6. Tī chheh-pâng só͘ chìn-hêng ê chhù-bī koh tiōng-iàu ê kiám-cha
6.1 Kā chit-pún chhàu-tōaⁿ ông sàng khì tōa-tiâⁿ
I iáu teh khùn, só͘-tì sîn-hū hiòng in gōe-seng-lú the̍h khǹg chheh pâng-keng ê só-sî, he chheh sī it-chhè gia̍t-thiok ê kin-goân, yi mā chin hoaⁿ-hí the̍h hō͘ i. In tâng-chê ji̍p-khì, koán-ke mā tòe leh, hoat-hiān pah-gōa pún chong-tèng kah chin hó ê tōa-pún chheh, koh chi̍t-kóa khah sè pún ê. Koán-ke chi̍t-ē khòaⁿ tio̍h che tō cháu chhut pâng-keng, chi̍t-ē-á koh sûi tńg-lâi, chhiú the̍h chi̍t ti̍h-á sèng-chúi kap hiù-chúi sut-á, kóng:
"Chia, kàu-sū Ss koh-hā, chhiáⁿ seng tī pâng-keng hiù sèng-chúi. M̄-thang pàng kòe chheh tiong ê jīm-hô mô͘-sîn-á, bián-tit in lâi pò-ho̍k lán boeh kā in kóaⁿ-lī sè-kài ê kè-ōe."
Koán-ke ê sûn-phok hō͘ kàu-sū khí ài-chhiò, i kiò thì-thâu-sai kā he chheh chi̍t-pún chi̍t-pún kau hō͘ i, khòaⁿ lāi-bīn siá siáⁿ, hoān-sè ū-ê m̄-bián chhú hóe-hêng.
"Bián," gōe-seng-lú kóng, "chi̍t-pún to bián khoan-sià, in ta̍k-pún to sī hāi-lâng chiaⁿ. Thōng-hó ta̍k-pún lóng ùi thang-á hiat chhut-khì, khioh kui-tui kā sio-tiāu. a̍h sī kā poaⁿ khì tōa-tiâⁿ, chò iâⁿ-hóe sio, án-ne hóe-hun mā khah bē cha̍k lâng."
Koán-ke mā án-ne kóng, nn̄g-lâng lóng kip boeh kā hiah-ê bû-ko͘ ê chheh chhú-sí, m̄-koh sîn-hū bô tông-ì, siōng-bô, i boeh seng khòaⁿ hiah-ê chheh ê chheh-miâ.
Nicholas Sai-hū kau hō͘ i ê tē-it pún sī "Gaul ê Amadis ê Sì-phiⁿ."
"Che khòaⁿ sī kài sîn-pì ê mi̍h," sîn-hū kóng, "in-ūi, góa thiaⁿ-kóng, che sī Sepanga ìn-soat ê tē-it pún khî-sū-tō ê chheh. It-chhè kî-thaⁿ ê lóng ùi chia chò kin-goân sán-seng. Tùi chit-chióng siâ-ok kàu-phài ê khai-ki-chó͘, lán it-tēng tio̍h kō͘ hóe kā hêng-hoa̍t, bô sià."
"Tán leh, sian-siⁿ," thì-thâu-sai kóng, "góa mā thiaⁿ kóng, che sī chit-lūi chheh tiong-kan siá liáu siōng-hó ê, só͘-tì, kì-jiân ū i ê te̍k-sek, ē-sái tit-tio̍h sià-bián."
"Bô m̄-tio̍h," sîn-hū kóng, "só͘-í lán chiām-sî jiâu i chi̍t-miā. Lán lâi khòaⁿ i piⁿ-á hit-pún."
"Chit-pún sī," thì-thâu-sai kóng, "‘Sergas de Esplandian,’ che sī Gaul ê Amadis ê chiàⁿ-thoân hāu-seⁿ."
"Si̍t-chāi sī," sîn-hū kóng, "lāu-pē ê kong-lô sǹg hō͘ kiáⁿ-jî. The̍h-khì, koán-ke lú-sū, thang-á khui--khui, kā phiaⁿ khì tōa-tiâⁿ, chò lán boeh sio ê iâⁿ-hóe-tui ê ki-chhó͘."
Koán-ke hui-siông móa-ì chiàu án-ne chò, hit-pún hó chheh "Esplandian" tō poe kàu tōa-tiâⁿ, nāi-sim tī hia tán-thāi tit-boeh lâi ê hóe-sio."
"Kè-sio̍k lâi," sîn-hū kóng.
"Koh-lâi chit-pún," thì-thâu-sai kóng, "sī ‘Hi-lia̍p ê Amadis,’ khak-si̍t, góa siong-sìn chit-pêng chiah-ê lóng sio̍k tī kap Amadis kāng hē-lia̍t."
"Án-ne tō hō͘ in kui-ê lóng khì tōa-tiâⁿ," sîn-hū kóng, "in-ūi boeh sio Pintiquiniestra Lú-ông, khòaⁿ-iûⁿ-á Darinel kap i ê si-koa, í-ki̍p i ê chok-chiá ê siâ-ok koh ho̍k-cha̍p ê giân-lūn, góa sīm-chì liân ka-tī seⁿ-pē mā tâng-chê sio, ká-sú i chong-pān chò iû-kiap khî-sū bô͘-iūⁿ."
"Góa mā án-ne siūⁿ," thì-thâu-sai án-ne kóng.
"Góa mā sī," gōe-seng-lú pó͘-chhiong kóng.
"Nā án-ne," koán-ke kóng, "lâi, lóng hō͘ in khì tōa-tiâⁿ!"
Chheh lóng kau hō͘ koán-ke, in-ūi kài chē pún, yi tō kui-khì bián kiâⁿ lâu-thui, kā in choân-pō͘ ùi thang-á phiaⁿ lo̍h-khì.
"Hit-pún kāu chheh sī siáⁿ?" sîn-hū mn̄g.
"Che," thì-thâu-sai kóng, "sī ‘Don Olivante de Laura.’"
"Hit-pún chheh ê chok-chiá," sîn-hū kóng, "hām siá ‘Pah-hoe Hn̂g’ ê chok-chiá kāng-lâng. Si̍t-chāi kóng, chit nn̄g-pún ê tó chi̍t-pún siá liáu khah chin, a̍h sī kóng khah pe̍h leh: siá liáu khah bô pe̍h-chha̍t, iáu bô tēng-lūn. Góa kan-ta ē-tàng kóng, kā chit-pún chhàu-tōaⁿ ông sàng khì tōa-tiâⁿ."
"Koh-lâi chit-pún sī ‘Hircania ê Florismarte,’" thì-thâu-sai kóng.
"Chia mā ū Florismarte Ss?" sîn-hū kóng, "nā án-ne, góa siong-sìn, i tiāⁿ-tio̍h ài khì tōa-tiâⁿ, sui-bóng i ū kî-miāu ê sin-sè kap kî-hoàn ê lāng-hiám, m̄-koh i ê bûn-pit ta-siap bô-bī. Kā i kap kî-thaⁿ ê lóng sàng khì tōa-tiâⁿ, koán-ke lú-sū."
"Oân-choân tông-ì, sian-siⁿ," yi kóng, tō hoaⁿ-hoaⁿ hí-hí chip-hêng hit-ê bēng-lēng.
"Chit-pún," thì-thâu-sai kóng, "sī ‘Platir Khî-sū.’"
"Che sī chi̍t-pún lāu chheh," sîn-hū kóng, "m̄-koh góa bô hoat-hiān ū siáⁿ lí-iû tùi i khoan-sià. Kā tòe leh sàng chhut-khì, bián koh khó-lī ah;" chiū án-ne chò ah.
Lēng-gōa chi̍t-pún chheh hian-khui, in hoat-hiān he chheh miâ sī: "Si̍p-jī-kè Khî-sū."
"Khòaⁿ tī chheh miâ ê sîn-sèng," sîn-hū kóng, "ē-sái khoan-sià i ê bû-ti. M̄-koh, lâng mā án-ne kóng, ‘si̍p-jī-kè āu-bīn ū mô͘-kúi.’ Kā the̍h khì sio."
Thì-thâu-sai koh the̍h chi̍t-pún chheh, kóng:
"Chit-pún sī ‘Khî-sū ê Kiàⁿ.’"
"Góa chai chit-pún tōa chok-phín," sîn-hū kóng, "sī Montalvan ê Reinaldos Ss biô-siá in pêng-iú kap tông-phōaⁿ, in lóng pí Cacus [tōa chha̍t] koh-khah gâu thau, í-ki̍p Franse 12 Kùi-cho̍k kap chiàⁿ-pâi le̍k-sú-ka Turpin. Put-jî-kò, góa bô chàn-sêng tùi in chò chhiau-kòe éng-oán hóng-tio̍k ê phòaⁿ-hêng, in-ūi bô-lūn jû-hô, in tùi chhut-miâ ê Matteo Boiardo ê chhòng-chok ū kòng-hiàn, jiân-āu koh iû Kitok kàu si-jîn Ludovico Ariosto kè-sio̍k seⁿ-ki thòaⁿ-hio̍h, tùi i, ká-sú tī chia góa tú-tio̍h, á i bô kóng ka-tī ê gí-giân, góa chi̍t-sut-á to bē chun-kèng i. Tān ká-sú i kóng ka-tī ê gí-giân, góa tō tùi i tōa chun-kèng."
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6. Tī 冊房所進行 ê 趣味 koh 重要 ê 檢查
6.1 Kā 這本臭彈王送去大埕
伊猶 teh 睏, 所致神父向 in 外甥女提囥冊房間 ê 鎖匙, he 冊是一切 gia̍t-thiok ê 根源, 她 mā 真歡喜提 hō͘ 伊. In 同齊入去, 管家 mā 綴 leh, 發現百外本裝訂 kah 真好 ê 大本冊, koh 一寡較細本 ê. 管家一下看著 che tō 走出房間, 一下仔 koh sûi 轉來, 手提一碟仔聖水 kap hiù 水 sut-á, 講:
"Chia, 教士 Ss 閣下, 請先 tī 房間 hiù 聖水. 毋通放過冊中 ê 任何魔神仔, 免得 in 來報復咱欲 kā in 趕離世界 ê 計畫."
管家 ê 純樸 hō͘ 教士起愛笑, 伊叫剃頭師 kā he 冊一本一本交 hō͘ 伊, 看內面寫啥, 凡勢 ū-ê 毋免處火刑.
"免," 外甥女講, "一本 to 免寬赦, in ta̍k 本 to 是害人精. Thōng 好 ta̍k 本 lóng ùi 窗仔㧒出去, 抾規堆 kā 燒掉. A̍h 是 kā 搬去大埕, 做營火燒, án-ne 火薰 mā 較袂 cha̍k 人."
管家 mā án-ne 講, 兩人 lóng 急欲 kā hiah-ê 無辜 ê 冊處死, m̄-koh 神父無同意, 上無, 伊欲先看 hiah-ê 冊 ê 冊名.
Nicholas 師傅交 hō͘ 伊 ê 第一本是 "Gaul ê Amadis ê 四篇."
"Che 看是 kài 神祕 ê 物," 神父講, "因為, 我聽講, 這是 Sepanga 印刷 ê 第一本騎士道 ê 冊. 一切其他 ê lóng ùi chia 做根源產生. Tùi 這種邪惡教派 ê 開基祖, 咱一定著 kō͘ 火 kā 刑罰, 無赦."
"等 leh, 先生," 剃頭師講, "我 mā 聽講, 這是這類冊中間寫了上好 ê, 所致, 既然有伊 ê 特色, ē-sái 得著赦免."
"無毋著," 神父講, "所以咱暫時饒伊一命. 咱來看伊邊仔彼本."
"這本是," 剃頭師講, "‘Sergas de Esplandian,’ 這是 Gaul ê Amadis ê 正傳後生."
"實在是," 神父講, "老爸 ê 功勞算 hō͘ 囝兒. 提去, 管家女士, 窗仔開--開, kā 抨去大埕, 做咱欲燒 ê 營火堆 ê 基礎."
管家非常滿意照 án-ne 做, 彼本好冊 "Esplandian" tō 飛到大埕, 耐心 tī hia 等待得欲來 ê 火燒."
"繼續來," 神父講.
"Koh-lâi 這本," 剃頭師講, "sī ‘希臘 ê Amadis,’ 確實, 我相信這爿 chiah-ê lóng 屬 tī kap Amadis 仝系列."
"Án-ne tō hō͘ in 規个 lóng 去大埕," 神父講, "因為欲燒 Pintiquiniestra 女王, 看羊仔 Darinel kap 伊 ê 詩歌, 以及伊 ê 作者 ê 邪惡 koh 複雜 ê 言論, 我甚至連 ka-tī 生爸 mā 同齊燒, 假使伊裝扮做遊俠騎士模樣."
"我 mā án-ne 想," 剃頭師 án-ne 講.
"我 mā 是," 外甥女補充講.
"若 án-ne," 管家講, "來, lóng hō͘ in 去大埕!"
冊 lóng 交 hō͘ 管家, 因為 kài 濟本, 她 tō 規氣免行樓梯, kā in 全部 ùi 窗仔抨落去.
"彼本厚冊是啥?" 神父問.
"這," 剃頭師講, "是 ‘Don Olivante de Laura.’"
"彼本冊 ê 作者," 神父講, "kap 寫 ‘百花園’ ê 作者仝人. 實在講, 這兩本 ê 佗一本寫了較真, a̍h 是講較白 leh: 寫了較無白賊, 猶無定論. 我 kan-ta ē-tàng 講, kā 這本臭彈王送去大埕."
"Koh-lâi 這本是 ‘Hircania ê Florismarte,’" 剃頭師講.
"Chia mā 有 Florismarte Ss?" 神父講, "若 án-ne, 我相信, 伊定著愛去大埕, 雖罔伊有奇妙 ê 身世 kap 奇幻 ê 弄險, m̄-koh 伊 ê 文筆焦澀無味. Kā 伊 kap 其他 ê lóng 送去大埕, 管家女士."
"完全同意, 先生," 她講, tō 歡歡喜喜執行彼个命令.
"這本," 剃頭師講, "是 ‘Platir 騎士.’"
"這是一本老冊," 神父講, "m̄-koh 我無發現有啥理由 tùi 伊寬赦. Kā 綴 leh 送出去, 免 koh 考慮 ah;" 就 án-ne 做 ah.
另外一本冊掀開, in 發現 he 冊名是: "十字架騎士."
"看 tī 冊名 ê 神聖," 神父講, "ē-sái 寬赦伊 ê 無知. M̄-koh, 人 mā án-ne 講, ‘十字架後面有魔鬼.’ Kā 提去燒."
剃頭師 koh 提一本冊, 講:
"這本是 ‘騎士 ê 鏡.’"
"我知這本大作品," 神父講, "是 Montalvan ê Reinaldos Ss 描寫 in朋友 kap 同伴, in lóng 比 Cacus [大賊] koh-khah gâu 偷, 以及 Franse 12 貴族 kap 正牌歷史家 Turpin. 不而過, 我無贊成 tùi in 做超過永遠放逐 ê 判刑, 因為無論如何, in tùi 出名 ê Matteo Boiardo ê 創作有貢獻, 然後 koh 由 Kitok 到詩人 Ludovico Ariosto 繼續生枝湠葉, tùi 伊, 假使 tī chia 我拄著, á 伊無講 ka-tī ê 語言, 我一屑仔 to 袂尊敬伊. 但假使伊講 ka-tī ê 語言, 我 tō tùi 伊大尊敬."
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CHAPTER VI.
OF THE DIVERTING AND IMPORTANT SCRUTINY WHICH THE CURATE AND THE BARBER MADE IN THE LIBRARY OF OUR INGENIOUS GENTLEMAN
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6.1
He was still sleeping; so the curate asked the niece for the keys of the room where the books, the authors of all the mischief, were, and right willingly she gave them. They all went in, the housekeeper with them, and found more than a hundred volumes of big books very well bound, and some other small ones. The moment the housekeeper saw them she turned about and ran out of the room, and came back immediately with a saucer of holy water and a sprinkler, saying, /
“Here, your worship, señor licentiate, sprinkle this room; don’t leave any magician of the many there are in these books to bewitch us in revenge for our design of banishing them from the world.”
The simplicity of the housekeeper made the licentiate laugh, and he directed the barber to give him the books one by one to see what they were about, as there might be some to be found among them that did not deserve the penalty of fire.
“No,” said the niece, “there is no reason for showing mercy to any of them; they have every one of them done mischief; better fling them out of the window into the court and make a pile of them and set fire to them; or else carry them into the yard, and there a bonfire can be made without the smoke giving any annoyance.” /
The housekeeper said the same, so eager were they both for the slaughter of those innocents, but the curate would not agree to it without first reading at any rate the titles.
The first that Master Nicholas put into his hand was “The four books of Amadis of Gaul.”
“This seems a mysterious thing,” said the curate, “for, as I have heard say, this was the first book of chivalry printed in Spain, and from this all the others derive their birth and origin; so it seems to me that we ought inexorably to condemn it to the flames as the founder of so vile a sect.”
“Nay, sir,” said the barber, “I too, have heard say that this is the best of all the books of this kind that have been written, and so, as something singular in its line, it ought to be pardoned.”
“True,” said the curate; “and for that reason let its life be spared for the present. Let us see that other which is next to it.”
“It is,” said the barber, “the ‘Sergas de Esplandian,’ the lawful son of Amadis of Gaul.”
“Then verily,” said the curate, “the merit of the father must not be put down to the account of the son. Take it, mistress housekeeper; open the window and fling it into the yard and lay the foundation of the pile for the bonfire we are to make.”
The housekeeper obeyed with great satisfaction, and the worthy “Esplandian” went flying into the yard to await with all patience the fire that was in store for him.
“Proceed,” said the curate.
“This that comes next,” said the barber, “is ‘Amadis of Greece,’ and, indeed, I believe all those on this side are of the same Amadis lineage.”
“Then to the yard with the whole of them,” said the curate; “for to have the burning of Queen Pintiquiniestra, and the shepherd Darinel and his eclogues, and the bedevilled and involved discourses of his author, I would burn with them the father who begot me if he were going about in the guise of a knight-errant.”
“I am of the same mind,” said the barber.
“And so am I,” added the niece.
“In that case,” said the housekeeper, “here, into the yard with them!”
They were handed to her, and as there were many of them, she spared herself the staircase, and flung them down out of the window.
“Who is that tub there?” said the curate.
“This,” said the barber, “is ‘Don Olivante de Laura.’”
“The author of that book,” said the curate, “was the same that wrote ‘The Garden of Flowers,’ and truly there is no deciding which of the two books is the more truthful, or, to put it better, the less lying; all I can say is, send this one into the yard for a swaggering fool.”
“This that follows is ‘Florismarte of Hircania,’” said the barber.
“Señor Florismarte here?” said the curate; “then by my faith he must take up his quarters in the yard, in spite of his marvellous birth and visionary adventures, for the stiffness and dryness of his style deserve nothing else; into the yard with him and the other, mistress housekeeper.”
“With all my heart, señor,” said she, and executed the order with great delight.
“This,” said the barber, “is ‘The Knight Platir.’”
“An old book that,” said the curate, “but I find no reason for clemency in it; send it after the others without appeal;” which was done.
Another book was opened, and they saw it was entitled, “The Knight of the Cross.”
“For the sake of the holy name this book has,” said the curate, “its ignorance might be excused; but then, they say, ‘behind the cross there’s the devil;’ to the fire with it.”
Taking down another book, the barber said, “This is ‘The Mirror of Chivalry.’”
“I know his worship,” said the curate; “that is where Señor Reinaldos of Montalvan figures with his friends and comrades, greater thieves than Cacus, and the Twelve Peers of France with the veracious historian Turpin; however, I am not for condemning them to more than perpetual banishment, because, at any rate, they have some share in the invention of the famous Matteo Boiardo, whence too the Christian poet Ludovico Ariosto wove his web, to whom, if I find him here, and speaking any language but his own, I shall show no respect whatever; but if he speaks his own tongue I will put him upon my head.”
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