11.3 Antonio ê 歌謠

11.3 Antonio ê koa-iâu

"Kì-jiân án-ne, Antonio, lí sió chhiùⁿ chi̍t-ē hō͘ goán hoaⁿ-hí, hō͘ lán chit-ūi sin-sū lâng-kheh khòaⁿ, tī chhim-soaⁿ chhiū-nâ mā ū im-ga̍k-ka. Goán í-keng ū kā i kóng lí ê sêng-chiū, goán hi-bāng lí chīn-liōng tián, chèng-bêng goán kóng ê sī chin. Taⁿ lí í-keng kàu, chhiáⁿ chē lo̍h-lâi, chhiùⁿ hit-siú koan-hē lí ê ài-chêng ê koa-iâu, he sī lín a-chek ūi lí só͘ siá, tī lán tìn kài siū hoan-gêng."

"Góa ê kong-êng," siàu-liân-ke kóng, bián koh chhui-chhiok, i chē lo̍h tī chhò-tó ê chhiūⁿ-bo̍k chhâ-kho͘, kā rebeck khîm tiâu-im, sûi tō chhiùⁿ chhut chit-siú koa.

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ANTONIO Ê KOA-IÂU

Lí chhim-chhim ài góa, Olalla;

Che góa chai-iáⁿ, sui-bóng

Ài bô khui-chhùi, tān lí ê ba̍k-chiu

Nih ah nih, kóng chin bêng.

In-ūi góa chai lí chai góa ê ài,

Só͘-tì góa káⁿ kā lí piáu-bêng:

It-tàn he put-chài sī pì-bi̍t,

Ài-chêng éng-oán bē sit-bōng.

Khak-si̍t, Olalla, ū sî-chūn

Lí piáu-hiān kah siuⁿ bêng

Lí ê sim ná tâng hiah tēng,

Lí seh-pe̍h ê heng ná chio̍h-thâu.

Tō-kóng án-ne, tī lí ê pì-sù,

Kap lí ê to-piàn tiong-kan,

Hi-bāng tī hia -- siōng-bô

Khòaⁿ ē-tio̍h yi ê saⁿ-ki.

Iáⁿ-tio̍h ê, sī sìn-sim ê ín-iú,

Góa tùi lí ū sìn-sim;

Jîn-chû bē hō͘ he khah kiông,

Léng-tām bē hō͘ he piàn léng.

Ká-sú ài-chêng sī un-jiû,

Tī lí ê un-jiû, góa khòaⁿ-tio̍h

Ū pá-ak ê bó͘-chióng mi̍h

Ū hi-bāng tit-tio̍h lí.

Ká-sú tī hōng-hiàn tang-tiong

Ū kám-tōng sim ê le̍k-liōng,

Ta̍k-kang góa hiòng lí ê tián-sī,

Chiong chèng-bêng tui-kiû ū bāng.

Lí pit-tēng ū chù-ì tio̍h --

Ká-sū lí ū chù-ì --

Góa tī pài-it ê kiâⁿ-ta̍h

Chhēng lé-pài-ji̍t ê súi saⁿ.

Ài ê ba̍k-chiu ài khòaⁿ kng-bêng;

Ài ài chhiⁿ-chhioh ê chhēng-chhah;

Lé-pài, pài-it, góa só͘ koan-sim

Sī hō͘ lí khòaⁿ góa ê siōng-hó.

Góa m̄-sī teh kóng thiàu-bú,

Mā m̄-sī lí só͘ kah-ì ê im-ga̍k,

He hō͘ lí pòaⁿ-mê bōe khùn

It-ti̍t kàu ke-kang khai-sí thî;

Mā m̄-sī kóng góa chiù-chōa

Bô lâng pí lí khah súi;

He sī chin, tān góa án-ne kóng,

Hiah-ê cha-bó͘ taⁿ chheh góa.

In-ūi soaⁿ-kha ê Teresa

Thiaⁿ góa o-ló lí, khí-chheh;

Kóng, "Lí kiò-sī lí ài thiⁿ-sài;

Kî-si̍t he sī chi̍t-chiah kâu;

"Hō͘ yi siám-kng ê chng-thāⁿ bê-tio̍h,

Yi chioh-lâi ê ké thâu-chang pīⁿ,

Kap kui-tui hòa-chong ê súi

Liân Ài-sîn pún-sin tō tio̍h-tiàu."

He sī pe̍h-chha̍t ōe, góa án-ne kā ìn,

Á yin piáu-hiaⁿ thiaⁿ-tio̍h he

Piáu-sī i khòaⁿ góa bô; 

Āu-lâi ê tāi-chì lí í-keng chai.

Góa ê ài bô phòng-hong,

Góa ê chêng m̄-sī bah-io̍k -- 

Lâng án-ne kóng -- góa thê-kiong

Chin-sim, sûn-kiat ê ài.

Sîn-sèng Kàu-tn̂g ū kî-miāu si-sòaⁿ,

He sī siōng jiû-nńg ê soh-á,

Lí kā ām-kún kòa gû-taⁿ, chhin-ài ê;

Góa ē tòe lí, lí ē khòaⁿ-tio̍h.

Nā-bô -- góa kian-sim chiù-chōa

Kō͘ chòe-ko sèng-sîn ê miâ --

It-tàn lī-khui chhim-soaⁿ,

Góa it-tēng chhēng tō-phâu.

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Kàu chia, khòaⁿ-iûⁿ-á ê koa-siaⁿ kiat-sok, sui-bóng Don Quixote kiû i koh chhiùⁿ, Sancho sim-koaⁿ m̄-sī án-ne siūⁿ, koh-khah siūⁿ boeh khùn, bô-ài thiaⁿ koa. Chū án-ne, i kā chú-lâng án-ne kóng:

"Koh-hā siōng-hó kín koat-tēng boeh tī tó-ūi kòe-mê, in-ūi chiah-ê siān-liông ê lâng lô-tōng kui-ji̍t, bē kham-tit kui-mê chhiùⁿ-koa."

"Góa chai lí ì-sù, Sancho," Don Quixote ìn, "góa chheng-chhó chai-iáⁿ, kúi-ā pái khì chiú-lông, lí su-iàu khùn, m̄-sī im-ga̍k."

"Án-ne tùi ta̍k-ê lóng hó, Sîn pó-pì," Sancho kóng.

"Góa bô hoán-tùi," Don Quixote ìn, "lí ka-tī khì khùn hó lah. Góa ê chit-chek eng-kai sī kò͘-keⁿ, m̄-sī khùn. M̄-koh, siōng-hó lí koh chhú-lí góa ê hīⁿ-á chi̍t-ē, i hō͘ góa thiàⁿ kah kài lī-hāi."

Sancho chiàu i ê hoan-hù chò, kî-tiong chi̍t-ê khòaⁿ-iûⁿ-á khòaⁿ-tio̍h he khang-chhùi, kiò i bián hoân-ló, kóng i ē kā pau chi̍t-chióng io̍h, chin kín tō ē hó. I khì bán kóa thàng-thiⁿ phang (迷迭香, rosemary), che hit só͘-chāi chin chē, kā kô͘ tī hīⁿ-á koh kō͘ se-pò͘ kā pau hó-sè, kóng, chi̍t-thiap tō ū-hāu, sū-si̍t mā sī án-ne.

(2023-11-15)

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11.3 Antonio ê 歌謠

"既然 án-ne, Antonio, 你小唱一下 hō͘ 阮歡喜, hō͘ 咱 chit 位紳士人客看, tī 深山樹林 mā 有音樂家. 阮已經有 kā 伊講你 ê 成就, 阮希望你盡量展, 證明阮講 ê 是真. 今你已經到, 請坐落來, 唱 hit 首關係你 ê 愛情 ê 歌謠, he 是恁阿叔為你所寫, tī 咱鎮 kài 受歡迎."

"我 ê 光榮," 少年家講, 免 koh 催促, 伊坐落 tī 剉倒 ê 橡木柴箍, kā rebeck 琴調音, 隨 tō 唱出 chit 首歌.

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ANTONIO Ê 歌謠

你深深愛我, Olalla;

Che 我知影, 雖罔

愛無開喙, 但你 ê 目睭

Nih ah nih, 講真明.

因為我知你知我 ê 愛,

所致我 káⁿ kā 你表明:

一旦 he 不再是祕密,

愛情永遠袂失望.

確實, Olalla, 有時陣

你表現 kah siuⁿ 明

你 ê 心 ná 銅 hiah tēng,

你雪白 ê 胸 ná 石頭.

Tō 講 án-ne, tī 你 ê pì-sù,

Kap 你 ê 多變中間,

希望 tī hia -- 上無

看 ē-tio̍h 她 ê 衫裾.

影著 ê, 是信心 ê 引誘,

我 tùi 你有信心;

仁慈袂 hō͘ he 較強,

冷淡袂 hō͘ he 變冷.

假使愛情是溫柔,

Tī 你 ê 溫柔, 我看著

有把握 ê 某種 mi̍h

有希望得著你.

假使 tī 奉獻當中

有感動心 ê 力量,

逐工我向你 ê 展示,

將證明追求有望.

你必定有注意著 --

假使你有注意 --

我 tī 拜一 ê 行踏

穿禮拜日 ê 媠衫.

愛 ê 目睭愛看光明;

愛愛鮮沢 ê 穿插;

禮拜, 拜一, 我所關心

是 hō͘ 你看我 ê 上好.

我毋是 teh 講跳舞,

Mā 毋是你所佮意 ê 音樂,

He hō͘ 你半暝未睏

一直到雞公開始啼;

Mā 毋是講我咒誓

無人比你 khah 媠;

He 是真, 但我 án-ne 講,

Hiah-ê 查某今慼我.

因為山跤 ê Teresa

聽我 o-ló 你, 起慼;

講, "你叫是你愛天使;

其實 he 是一隻猴;

"Hō͘ 她閃光 ê chng-thāⁿ 迷著,

她借來 ê 假頭鬃辮,

Kap 規堆化妝 ê 媠

連愛神本身 tō 著吊."

He 是白賊話, 我 án-ne kā 應,

Á 姻表兄聽著 he

表示伊看我無; 

後來 ê 代誌你已經知.

我 ê 愛無膨風,

我 ê 情毋是肉慾 -- 

人 án-ne 講 -- 我提供

真心, 純潔 ê 愛.

神聖教堂有奇妙絲線,

He 是上柔軟 ê 索仔,

你 kā 頷頸掛牛擔, 親愛 ê;

我 ē 綴你, 你 ē 看著.

若無 -- 我堅心咒誓

Kō͘ 最高聖神 ê 名 --

一旦離開深山,

我一定穿道袍.

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到 chia, 看羊仔 ê 歌聲結束, 雖罔 Don Quixote 求伊 koh 唱, Sancho 心肝毋是 án-ne 想, koh-khah 想欲睏, 無愛聽歌. 自 án-ne, 伊 kā 主人 án-ne 講:

"閣下上好緊決定欲 tī 佗位過暝, 因為 chiah-ê 善良 ê 人勞動規日, 袂堪得規暝唱歌."

"我知你意思, Sancho," Don Quixote 應, "我清楚知影, kúi-ā 擺去酒囊, 你需要睏, 毋是音樂."

"Án-ne 對逐个 lóng 好, 神保庇," Sancho 講.

"我無反對," Don Quixote 應, "你 ka-tī 去睏好 lah. 我 ê 職責應該是顧更, 毋是睏. M̄-koh, 上好你 koh 處理我 ê 耳仔一下, 伊 hō͘ 我疼 kah kài 厲害."

Sancho 照伊 ê 吩咐做, 其中一个看羊仔看著 he 空喙, 叫伊免煩惱, 講伊 ē kā 包一種藥, 真緊 tō ē 好. 伊去挽寡迵天芳 (迷迭香, rosemary), che 彼所在真濟, kā 糊 tī 耳仔 koh kō͘ 紗布 kā 包好勢, 講, 一帖 tō 有效, 事實 mā 是 án-ne.

(2023-11-15)

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11.3

“In that case, Antonio, thou mayest as well do us the pleasure of singing a little, that the gentleman, our guest, may see that even in the mountains and woods there are musicians: we have told him of thy accomplishments, and we want thee to show them and prove that we say true; so, as thou livest, pray sit down and sing that ballad about thy love that thy uncle the prebendary made thee, and that was so much liked in the town.”

“With all my heart,” said the young man, and without waiting for more pressing he seated himself on the trunk of a felled oak, and tuning his rebeck, presently began to sing to these words.

ANTONIO’S BALLAD

Thou dost love me well, Olalla;

Well I know it, even though

Love’s mute tongues, thine eyes, have never

By their glances told me so.

For I know my love thou knowest,

Therefore thine to claim I dare:

Once it ceases to be secret,

Love need never feel despair.

True it is, Olalla, sometimes

Thou hast all too plainly shown

That thy heart is brass in hardness,

And thy snowy bosom stone.

Yet for all that, in thy coyness,

And thy fickle fits between,

Hope is there—at least the border

Of her garment may be seen.

Lures to faith are they, those glimpses,

And to faith in thee I hold;

Kindness cannot make it stronger,

Coldness cannot make it cold.

If it be that love is gentle,

In thy gentleness I see

Something holding out assurance

To the hope of winning thee.

If it be that in devotion

Lies a power hearts to move,

That which every day I show thee,

Helpful to my suit should prove.

Many a time thou must have noticed—

If to notice thou dost care—

How I go about on Monday

Dressed in all my Sunday wear.

Love’s eyes love to look on brightness;

Love loves what is gaily drest;

Sunday, Monday, all I care is

Thou shouldst see me in my best.

No account I make of dances,

Or of strains that pleased thee so,

Keeping thee awake from midnight

Till the cocks began to crow;

Or of how I roundly swore it

That there’s none so fair as thou;

True it is, but as I said it,

By the girls I’m hated now.

For Teresa of the hillside

At my praise of thee was sore;

Said, “You think you love an angel;

It’s a monkey you adore;

“Caught by all her glittering trinkets,

And her borrowed braids of hair,

And a host of made-up beauties

That would Love himself ensnare.”

’Twas a lie, and so I told her,

And her cousin at the word

Gave me his defiance for it;

And what followed thou hast heard.

Mine is no high-flown affection,

Mine no passion par amours—

As they call it—what I offer

Is an honest love, and pure.

Cunning cords the holy Church has,

Cords of softest silk they be;

Put thy neck beneath the yoke, dear;

Mine will follow, thou wilt see.

Else—and once for all I swear it

By the saint of most renown—

If I ever quit the mountains,

’Twill be in a friar’s gown.

Here the goatherd brought his song to an end, and though Don Quixote entreated him to sing more, Sancho had no mind that way, being more inclined for sleep than for listening to songs; so said he to his master, /

“Your worship will do well to settle at once where you mean to pass the night, for the labour these good men are at all day does not allow them to spend the night in singing.”

“I understand thee, Sancho,” replied Don Quixote; “I perceive clearly that those visits to the wine-skin demand compensation in sleep rather than in music.”

“It’s sweet to us all, blessed be God,” said Sancho.

“I do not deny it,” replied Don Quixote; “but settle thyself where thou wilt; those of my calling are more becomingly employed in watching than in sleeping; still it would be as well if thou wert to dress this ear for me again, for it is giving me more pain than it need.”

Sancho did as he bade him, but one of the goatherds, seeing the wound, told him not to be uneasy, as he would apply a remedy with which it would be soon healed; and gathering some leaves of rosemary, of which there was a great quantity there, he chewed them and mixed them with a little salt, and applying them to the ear he secured them firmly with a bandage, assuring him that no other treatment would be required, and so it proved.

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