6.3 Kā he tòng-chò pó-pòe pó-chûn khí-lâi
"Ah, sian-siⁿ!" gōe-seng-lú kóng, "koh-hā chòe-hó hā-lēng kā chiah-ê lóng chhiūⁿ kî-thaⁿ ê án-ne sio-tiāu. In-ūi, tán goán a-kū khî-sū pēⁿ tī hó liáu-āu, nā tha̍k tio̍h chiah-ê, tiāⁿ-tio̍h ē siūⁿ boeh chò khòaⁿ-iûⁿ-á, phiau-lōng tī chhiū-nâ kap chháu-goân, chhiùⁿ-koa, pûn phín-á. a̍h sī, koh-khah chhám ê sī, ē siūⁿ boeh chò si-jîn, he, thiaⁿ-kóng sī chi̍t-chióng tī bē hó ê thoân-jiám pēⁿ."
"Sió-chiá ê kóng-hoat bô m̄-tio̍h," sîn-hū kóng, "thōng-hó lán seng kā chit-chióng pòaⁿ-kha chio̍h kap ín-iú, ùi lán pêng-iú ê lō͘ chheng-khui. Lán seng ùi Montemayor ê ‘Diana’ khai-sí. Góa jīn-ûi, chheh ē-sái bián sio, m̄-koh lāi-bīn iú-koan gâu-lâng Felicia kap mô͘-hoat chúi ê lāi-iông, í-ki̍p tōa pō͘-hūn ê tn̂g si lóng tio̍h san-tî, hō͘ i pó-chûn sàn-bûn, án-ne i iáu-sī chit-lūi chheh ê it-liû chok-phín."
"Koh-lâi chit-pún," thì-thâu-sai kóng, "sī ‘Diana,’ piau-tê sī ‘Tē-jī Phiⁿ, Salamanca lâng siá ê,’ koh ū chi̍t-pún kāng chheh miâ ê, chok-chiá sī Gil Polo."
"Salamanca lâng hit-pún," sîn-hū ìn, "kā sàng khì tōa-tiâⁿ tàu-gia̍h hiah-ê í-keng phòaⁿ-koat ê, á Gil Polo hit-pún, tō kā lâu lo̍h-lâi, tòng-chò Apollo ê chok-phín. Kè-sio̍k, lāu-hiaⁿ, lán tio̍h kóaⁿ-kín, sî-kan bô chá ah."
"Chit-pún chheh," thì-thâu-sai hian-khui lēng-gōa chi̍t-pún chheh, kóng, "sī ‘Ài ê Miā-ūn’ 10 phiⁿ, Antonio de Lofraso só͘ siá, chi̍t-ê Sarddin Tó si-jîn."
"Chāi góa khòaⁿ," sîn-hū kóng, "chū-chiông Apollo í-lâi, chiòng Muse lú-sîn í-lâi, í-ki̍p ū si-jîn í-lâi, m̄-bat ū-lâng siá kòe chhiūⁿ chit-pún chiah chhiò-khoe, chiah hàm-kó͘ ê chheh. Án-ne khòaⁿ, i sī chit-lūi chheh tang-tiong siōng hó, siōng to̍k-te̍k ê, bô tha̍k kòe chit-pún chheh ê lâng, tek-khak m̄-bat tha̍k kòe siáⁿ sī lo̍k-thiòng. Kā kau hō͘ góa, lāu-hiaⁿ, góa jīn-ûi che pí sàng góa chi̍t-niá Florence pò͘-liāu ê kàu-sū phâu koh-khah ū kè-ta̍t."
I ke̍k boán-chiok kā chheh khǹg chi̍t-pêng, thì-thâu-sai koh kè-sio̍k kóng:
"Koh-lâi sī ‘Iberia ê Bo̍k-iûⁿ lâng,’ ‘Henares ê Sian-lú,’ kap ‘Oàn-tò͘ ê Khé-bông.’"
"Lán tio̍h chò ê," sîn-hū kóng, "sī kā in kau hō͘ koán-ke. Mài mn̄g góa lí-iû, nā-bô, lán tō chò bē oân ah lah."
"Koh-lâi sī ‘Fílida ê Bo̍k-iûⁿ lâng.’"
"He m̄-sī Bo̍k-iûⁿ lâng," sîn-hū kóng, "sī chi̍t-ê kài sé-liān ê tāi-sîn. Kā he tòng-chò pó-pòe pó-chûn khí-lâi."
"Chit-pún tōa-chheh kiò chò ‘Kok-chióng Si-koa ê Pó-khò͘.’"
"Nā m̄-sī siuⁿ chē si," sîn-hū kóng, "in tō ē koh-khah hō͘ lâng pó-sioh. Chit-pún chheh tio̍h ùi cheng-hôa lāi-bīn san-tî chau-phoh. Chok-chiá sī góa ê pêng-iú, khòaⁿ chāi i bat siá bē-chió sú-si kap ko-sióng chok-phín, lán kā chheh lâu lo̍h-lâi."
"Chit-pún," thì-thâu-sai kóng, "sī Lopez de Maldonado ê ‘Cancionero’ (Si-koa Chi̍p)."
"Hit-pún chheh ê chok-chiá," sîn-hū kóng, "mā sī góa ê hó pêng-iú, ùi i chhùi chhut-lâi ê si-kù, thiaⁿ tio̍h ê lâng lóng him-siān, in-ūi i gîm-si ê siaⁿ-tiāu tiⁿ koh súi. Tān-sī lāi-bīn siuⁿ chē chhân-hn̂g si, siuⁿ chē bô it-tēng hó. Kā khǹg khì kéng lēng-gōa khǹg hia. Koh loeh hit-pún sī siáⁿ chheh?"
"Sī Miguel de Cervantes siá ê ‘Galatea,’" thì-thâu-sai kóng.
"Hit-ê Cervantes chē nî lâi it-ti̍t sī góa ê hó pêng-iú, chiū góa só͘ chai, i siōng ū thé-giām ê m̄-sī si, sī put-hēng. I ê chheh chin ū chhòng-sin, hō͘ lán khé-sī, m̄-koh bô chò kiat-lūn. Lán tio̍h tán i tah-èng boeh siá ê Tē-jī Phiⁿ. Hoān-sè keng-kòe siu-kái liáu-āu, hiān-sî hoán-tùi i ê lâng ē liōng-kái i. Bo̍k-chêng, lāu-hiaⁿ, lí seng kā chit-pún chheh só tī lín tau."
"Chin hó," thì-thâu-sai kóng, "chia ū 3-pún tâng-chê: Don Alonso de Ercilla siá ê ‘Araucana,’ Cordova hoat-lu̍t choan-ka Juan Rufo siá ê ‘Austriada,’ kap Valencia si-jîn Christobal de Virués siá ê ‘Montserrate.’"
"Chit 3-pún chheh," sîn-hū kóng, "sī kō͘ Sepanga gí só͘ siá siōng chán ê sú-si, ē-tàng pí-phēng Italia siōng chhut-miâ ê sú-si. Kā in tòng-chò Sepanga siōng pó-kùi ê si-koa ûi-sán pó-chûn lo̍h-lâi."
Sîn-hū thiám ah, bô sim-chiâⁿ koh khòaⁿ chheh ah, só͘-tì i koat-tēng kā kî-thaⁿ "lāi-iông bōe khak-tēng" ê chheh lóng sio-tiāu. M̄-koh, hit-sî thì-thâu-sai hian-khui chi̍t-pún chheh, kiò chò "Angelica ê Ba̍k-sái."
"Góa nā hā-lēng sio chit-pún chheh," thiaⁿ tio̍h chheh-miâ, sîn-hū kóng, "góa ka-tī to ē lâu ba̍k-sái. In-ūi chit-pún chheh ê chok-chiá sī sè-kài chhut-miâ ê si-jîn chi-it, koh-khah bián-kóng tī Sepanga. I bat hoan-e̍k chi̍t-kóa Ovid ê gū-giân, e̍k liáu chiâⁿ hó."
(2023-10-24)
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6.3 Kā he 當做寶貝保存起來
"Ah, 先生!" 外甥女講, "閣下最好下令 kā chiah-ê lóng 像其他 ê án-ne 燒掉. 因為, 等阮阿舅騎士病治好了後, 若讀著 chiah-ê, 定著 ē 想欲做看羊仔, 漂浪 tī 樹林 kap 草原, 唱歌, 歕品仔. A̍h 是, koh-khah 慘 ê 是, ē 想欲做詩人, he, 聽講是一種治袂好 ê 傳染病."
"小姐 ê 講法無毋著," 神父講, "thōng 好咱先 kā 這種絆跤石 kap 引誘, ùi 咱朋友 ê 路清開. 咱先 ùi Montemayor ê ‘Diana’ 開始. 我認為, 冊 ē-sái 免燒, m̄-koh 內面有關 gâu 人 Felicia kap 魔法水 ê 內容, 以及大部份 ê 長詩 lóng 著刪除, hō͘ 伊保存散文, án-ne 伊猶是這類冊 ê 一流作品."
"Koh-lâi 這本," 剃頭師講, "是 ‘Diana,’ 標題是 ‘第二篇, Salamanca 人寫 ê,’ koh 有一本仝冊名 ê, 作者是 Gil Polo."
"Salamanca 人彼本," 神父 ìn, "kā 送去大埕鬥額 hiah-ê 已經判決 ê, á Gil Polo 彼本, tō kā 留落來, 當做 Apollo ê 作品. 繼續, 老兄, 咱著趕緊, 時間無早 ah."
"這本冊," 剃頭師掀開另外一本冊, 講, "是 ‘愛 ê 命運’ 10 篇, Antonio de Lofraso 所寫, 一个 Sarddin 島詩人."
"在我看," 神父講, "自從 Apollo 以來, 眾 Muse 女神以來, 以及有詩人以來, m̄-bat 有人寫過像這本 chiah 笑詼, chiah 譀古 ê 冊. Án-ne 看, 伊是這類冊當中上好, 上獨特 ê, 無讀過這本冊 ê 人, 的確 m̄-bat 讀過啥是樂暢. Kā 交 hō͘ 我, 老兄, 我認為 che 比送我一領 Florence 布料 ê 教士袍 koh-khah 有價值."
伊極滿足 kā 冊囥一爿, 剃頭師 koh 繼續講:
"Koh-lâi 是 ‘Iberia ê 牧羊人,’ ‘Henares ê 仙女,’ kap ‘怨妒 ê 啟蒙.’"
"咱著做 ê," 神父講, "是 kā in 交 hō͘ 管家. 莫問我理由, 若無, 咱 tō 做袂完 ah lah."
"Koh-lâi 是 ‘Fílida ê 牧羊人.’"
"He 毋是牧羊人," 神父講, "是一个 kài 洗練 ê 大臣. Kā he 當做寶貝保存起來."
"這本大冊叫做 ‘各種詩歌 ê 寶庫.’"
"若毋是 siuⁿ 濟詩," 神父講, "in tō ē koh-khah hō͘ 人寶惜. 這本冊著 ùi 精華內面刪除糟粕. 作者是我 ê 朋友, 看在伊 bat 寫袂少史詩 kap 高尚作品, 咱 kā 冊留落來."
"這本," 剃頭師講, "是 Lopez de Maldonado ê ‘Cancionero’ (詩歌集)."
"彼本冊 ê 作者," 神父講, "mā 是我 ê 好朋友, ùi 伊喙出來 ê 詩句, 聽著 ê 人 lóng 欣羨, 因為伊吟詩 ê 聲調甜 koh 媠. 但是內面 siuⁿ 濟田園詩, siuⁿ 濟無一定好. Kā 囥去揀另外囥 hia. Koh loeh 彼本是啥冊?"
"是 Miguel de Cervantes 寫 ê ‘Galatea,’" 剃頭師講.
"彼个 Cervantes 濟年來一直是我 ê 好朋友, 就我所知, 伊上有體驗 ê 毋是詩, 是不幸. 伊 ê 冊真有創新, hō͘ 咱啟示, m̄-koh 無做結論. 咱著等伊答應欲寫 ê 第二篇. 凡勢經過修改了後, 現時反對伊 ê 人 ē 諒解伊. 目前, 老兄, 你先 kā 這本冊鎖 tī 恁兜."
"真好," 剃頭師講, "chia 有 3 本同齊: Don Alonso de Ercilla 寫 ê ‘Araucana,’ Cordova 法律專家 Juan Rufo 寫 ê ‘Austriada,’ kap Valencia 詩人 Christobal de Virués 寫 ê ‘Montserrate.’"
"這 3 本冊," 神父講, "是 kō͘ Sepanga 語所寫上讚 ê 史詩, ē-tàng 比並 Italia 上出名 ê 史詩. Kā in 當做 Sepanga 上寶貴 ê 詩歌遺產保存落來."
神父忝 ah, 無心情 koh 看冊 ah, 所致伊決定 kā 其他 "內容未確定" ê 冊 lóng 燒掉. M̄-koh, 彼時剃頭師掀開一本冊, 叫做 "Angelica ê 目屎."
"我若下令燒這本冊," 聽著冊名, 神父講, "我 ka-tī to ē 流目屎. 因為這本冊 ê 作者是世界出名 ê 詩人之一, koh-khah 免講 tī Sepanga. 伊 bat 翻譯一寡 Ovid ê 寓言, 譯了誠好."
(2023-10-24)
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6.3
“Ah, señor!” said the niece, “your worship had better order these to be burned as well as the others; for it would be no wonder if, after being cured of his chivalry disorder, my uncle, by reading these, took a fancy to turn shepherd and range the woods and fields singing and piping; or, what would be still worse, to turn poet, which they say is an incurable and infectious malady.”
“The damsel is right,” said the curate, “and it will be well to put this stumbling-block and temptation out of our friend’s way. To begin, then, with the ‘Diana’ of Montemayor. I am of opinion it should not be burned, but that it should be cleared of all that about the sage Felicia and the magic water, and of almost all the longer pieces of verse: let it keep, and welcome, its prose and the honour of being the first of books of the kind.”
“This that comes next,” said the barber, “is the ‘Diana,’ entitled the ‘Second Part, by the Salamancan,’ and this other has the same title, and its author is Gil Polo.”
“As for that of the Salamancan,” replied the curate, “let it go to swell the number of the condemned in the yard, and let Gil Polo’s be preserved as if it came from Apollo himself: but get on, gossip, and make haste, for it is growing late.”
“This book,” said the barber, opening another, “is the ten books of the ‘Fortune of Love,’ written by Antonio de Lofraso, a Sardinian poet.”
“By the orders I have received,” said the curate, “since Apollo has been Apollo, and the Muses have been Muses, and poets have been poets, so droll and absurd a book as this has never been written, and in its way it is the best and the most singular of all of this species that have as yet appeared, and he who has not read it may be sure he has never read what is delightful. Give it here, gossip, for I make more account of having found it than if they had given me a cassock of Florence stuff.”
He put it aside with extreme satisfaction, and the barber went on, “These that come next are ‘The Shepherd of Iberia,’ ‘Nymphs of Henares,’ and ‘The Enlightenment of Jealousy.’”
“Then all we have to do,” said the curate, “is to hand them over to the secular arm of the housekeeper, and ask me not why, or we shall never have done.”
“This next is the ‘Pastor de Fílida.’”
“No Pastor that,” said the curate, “but a highly polished courtier; let it be preserved as a precious jewel.”
“This large one here,” said the barber, “is called ‘The Treasury of various Poems.’”
“If there were not so many of them,” said the curate, “they would be more relished: this book must be weeded and cleansed of certain vulgarities which it has with its excellences; let it be preserved because the author is a friend of mine, and out of respect for other more heroic and loftier works that he has written.”
“This,” continued the barber, “is the ‘Cancionero’ of Lopez de Maldonado.”
“The author of that book, too,” said the curate, “is a great friend of mine, and his verses from his own mouth are the admiration of all who hear them, for such is the sweetness of his voice that he enchants when he chants them: it gives rather too much of its eclogues, but what is good was never yet plentiful: let it be kept with those that have been set apart. But what book is that next it?”
“The ‘Galatea’ of Miguel de Cervantes,” said the barber.
“That Cervantes has been for many years a great friend of mine, and to my knowledge he has had more experience in reverses than in verses. His book has some good invention in it, it presents us with something but brings nothing to a conclusion: we must wait for the Second Part it promises: perhaps with amendment it may succeed in winning the full measure of grace that is now denied it; and in the mean time do you, señor gossip, keep it shut up in your own quarters.”
“Very good,” said the barber; “and here come three together, the ‘Araucana’ of Don Alonso de Ercilla, the ‘Austriada’ of Juan Rufo, Justice of Cordova, and the ‘Montserrate’ of Christobal de Virués, the Valencian poet.”
“These three books,” said the curate, “are the best that have been written in Castilian in heroic verse, and they may compare with the most famous of Italy; let them be preserved as the richest treasures of poetry that Spain possesses.”
The curate was tired and would not look into any more books, and so he decided that, “contents uncertified,” all the rest should be burned; but just then the barber held open one, called “The Tears of Angelica.”
“I should have shed tears myself,” said the curate when he heard the title, “had I ordered that book to be burned, for its author was one of the famous poets of the world, not to say of Spain, and was very happy in the translation of some of Ovid’s fables.”--
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