25.3 Góa boeh tī chia pān chò siáu-lâng, khó͘-siu
"Góa m̄-sī kā lí kóng-kòe," Don Quixote hôe-tap, "góa boeh tī chia bô͘-hóng Amadis, pān chò choa̍t-bōng, khí-siáu, hong-kông ê lâng. Tông-sî, mā bô͘-hóng eng-ióng ê Don Roland, hit-sî, i tī chúi-chôaⁿ piⁿ hoat-hiān bí-lē ê Angelica kap Medoro lām-sám ê chèng-kì, in-ūi pi-siong soah khí-siáu. I khau chhiū-á, kiáu lô chúi-chôaⁿ ê chheng-chúi, thâi-sí khòaⁿ-iûⁿ-á, phò-hāi iûⁿ-kûn, pàng-hóe sio liâu-á, sak-tó pâng-ok, chhù-the̍h, thoa-cháu bé-bó, koh hoān chē-chē po̍k-hêng, ta̍t-tit hó-hó kì-chài, lâu-thoân. Sui-bóng bô boeh chi̍t-pō͘ chi̍t-pō͘ bô͘-hóng Roland, a̍h Orlando, a̍h Rotolando (chiah-ê lóng sī i ê miâ) só͘ chò, só͘ kóng, só͘ siūⁿ ê hong-kông tāi-chì, góa ē chīn góa ê lêng-le̍k liōng-iok bô͘-hóng góa jīn-ûi tiōng-iàu ê it-chhè. Hoān-sè góa eng-kai boán-chiok tī tan-sûn bô͘-hóng Amadis, i bô chò hong-kông ê phò-hāi, kan-ta sī pi-siong, lâu ba̍k-sái, kap siōng chhut-miâ ê lâng kāng-khoán tit-tio̍h hó miâ-siaⁿ."
"Chāi góa khòaⁿ," Sancho kóng, "chiah-ê khî-sū sī siū-tio̍h chhì-kek kap kî-thaⁿ goân-in chiah khì chò chit-chióng gōng-sū kap khó͘-siu. Tān, koh-hā ū siáⁿ lí-iû tio̍h khí-siáu? Tó chi̍t-ūi hu-jîn kī-choa̍t lí ah? a̍h sī kóng, lí hoat-hiān siáⁿ chèng-kì chèng-bêng Dulcinea del Toboso Hj kap Moor lâng a̍h Kitok-tô͘ teh lām-sám ah?"
"Tiōng-tiám tī chia," Don Quixote ìn, "che mā sī góa án-ne chò ê súi-khùi. Iû-kiap khî-sū nā ū lí-iû chiah khí-siáu, he ū siáⁿ te̍k-pia̍t? Tiōng-tiám sī, bô siū chhì-kek tō khí-siáu, koh hō͘ góa ê hu-jîn chai-iáⁿ, chún-kóng tī hó-thiⁿ góa án-ne, á nā pháiⁿ-thiⁿ ê sî, góa ē án-chóaⁿ ah? Iû-kî sī, in-ūi í-keng kú-kú kap Dulcinea del Toboso Hj hun-lī, góa koh-khah ū chē-chē lí-iû. Chêng kúi-kang, lí ū thiaⁿ-tio̍h khòaⁿ-iûⁿ-á Ambrosio kóng, hun-khui bô kìⁿ-bīn, lâng tō phòa-pēⁿ, sim kiaⁿ-hiâⁿ.
"Só͘-í, Sancho pêng-iú, bián koh liáu sî-kan khǹg góa mài bô͘-hóng chit-chióng chiah hán-kiàn, chiah hēng-hok, chiah hi-kî ê tāi-chì. Góa í-keng siáu ah, góa ē kè-sio̍k siáu lo̍h-khì, it-ti̍t kàu lí chah hôe-phe tńg-lâi, góa taⁿ boeh seng iang lí sàng chi̍t-tiuⁿ phe khì hō͘ Dulcinea Hj. Ká-sú góa ê sêng-sim hō͘ yi khéng-tēng, góa ê pēⁿ í-ki̍p góa ê khó͘-siu tō kiat-sok ah. Nā m̄-sī án-ne, góa tō chin-chiàⁿ siáu ah, kì-jiân án-ne, góa mā bē kám-kak kan-khó͘ ah lah.
"Só͘-tì, m̄-koán yi ê hôe-phe án-chóaⁿ siá, góa lóng ē-tit kái-thoat chiat-bôa kap thòng-khó͘, nā m̄-sī hiáng-siū lí chah hō͘ góa ê hó siau-sit, tō sī siáu kah kám-kak bē-tio̍h lí chah hō͘ góa ê chai-lān. Tān-sī, Sancho, chhiáⁿ mn̄g, lí ū kā Mambrino thâu-khoe pó-koán hó bô? Góa ū khòaⁿ lí ùi thô͘-kha kā khioh khí-lâi. Hit-sî, hit-ê bōng-un ê sió-kiáⁿ piàⁿ-miā siūⁿ boeh kā kòng-phòa koh kòng bē-phòa, khó-kiàn i ê phín-chit ū-kàu chán."
Thiaⁿ i án-ne kóng, Sancho hôe-tap:
"Khòaⁿ Sîn ê bīn-chú, Khó-koe-bīn Khî-sū Sià, koh-hā só͘ kóng ê chi̍t-kóa tāi-chì góa bô jīn-tông, thiaⁿ bē lo̍h-khì. Ùi chia, góa khai-sí hoâi-gî, it-chhè lí kā góa thê-khí ê iú-koan khî-sū-tō, iâⁿ-tio̍h ông-kok kap tè-kok, koh i-chiàu khî-sū-tō koàn-lē, sàng tó-sū, hong chióng-sióng kap êng-ū tt [téng-téng], tiāⁿ-tio̍h sī phòng-hong kiam pe̍h-chha̍t, sī pûn ke-kui a̍h o͘-pe̍h kóng, m̄-koán lí án-chóaⁿ kā chheng-ho͘. Jīm-hô lâng thiaⁿ koh-hā kā thì-thâu bīn-tháng kiò-chò Mambrino thâu-khoe, koh it-ti̍t bô hoat-kak m̄-tio̍h, i só͘ siūⁿ-tio̍h ê sī, kóng che koh siong-sìn che ê lâng, tiāⁿ-tio̍h sī thâu-khak pháiⁿ-khì ah. Hit-ê bīn-tháng tī góa ê tē-á ni̍h, í-keng mi-mi mauh-mauh. Sîn ē pó-pì, hō͘ góa tńg-chhù kìⁿ bó͘-kiáⁿ, góa boeh kā chah tńg siu-lí, siu chhùi-chhiu ê sî thang iōng."
"Lí khòaⁿ, Sancho," Don Quixote kóng, "tú-chiah lí thê-khí Sîn, góa mā hiòng Sîn pó-chèng, lí sī sè-kài chòe bô thâu-náu ê sū-chiông. Kám ū khó-lêng, lí tòe góa chiah kú sî-kan, kám bô hoat-hiān, it-chhè sio̍k tī iû-kiap khî-sū ê tāi-chì ká-ná sī hoàn-kak, gōng-sū, siáu-ōe, koh chóng-sī bē sūn-sī? Sū-si̍t m̄-sī án-ne, sī in-ūi chóng-sī ū chi̍t-tīn kap tòe lán, chiàu in ê ì-sù kái-piàn lán ê mi̍h-kiāⁿ, kin-kì in sī boeh pang-chān a̍h phò-hāi, kā tāi-chì chò kái-piàn. Só͘-tì, lí khòaⁿ ê thì-thâu bīn-tháng, chāi góa khòaⁿ sī Mambrino thâu-khoe, tùi lēng-gōa lâng iū sī pa̍t-ê mi̍h-kiāⁿ. Che sī in-ūi kap ê oán-kiàn, i khiā góa chit-pêng, kā chin-si̍t ê Mambrino thâu-khoe piàn chò pa̍t-lâng khòaⁿ ê bīn-tháng. In-ūi nā chai he kài ū kè-ta̍t, tiāⁿ-tio̍h lâng-lâng boeh chhōe góa, boeh toa̍t i. Tān, tán in khòaⁿ he put-kò sī thì-thâu bīn-tháng, in tō bē siūⁿ boeh tit-tio̍h i. Chá-chêng chhì boeh kā kòng-phòa hit-ê lâng, kā lâu tī thô͘-kha bô chah cháu, che tō sī chèng-bêng. Góa siong-sìn, i nā chai si̍t-chêng, choa̍t-tùi bē kā phiaⁿ tī thô͘-kha. Kā pó-koán hó-sè, pêng-iú, bo̍k-chêng góa iáu bô su-iàu i. Khak-si̍t, góa nā ū-sim boeh bô͘-hóng Roland, m̄-sī Amadis, chìn-hêng khó͘-siu, góa mā tio̍h kā khoe-kah thǹg-tiāu, ná-chhiūⁿ tú chhut-sì ê sî án-ne."
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25.3 我欲 tī chia 扮做痟人, 苦修
"我毋是 kā 你講過," Don Quixote 回答, "我欲 tī chia 模仿 Amadis, 扮做絕望, 起痟, 慌狂 ê 人. 同時, mā 模仿英勇 ê Don Roland, 彼時, 伊 tī 水泉邊發現美麗 ê Angelica kap Medoro lām-sám ê 證據, 因為悲傷 soah 起痟. 伊 khau 樹仔, 攪濁水泉 ê 清水, 刣死看羊仔, 破壞羊群, 放火燒寮仔, 捒倒房屋, 厝宅, 拖走馬母, koh 犯濟濟暴行, 值得好好記載, 流傳. 雖罔無欲一步一步模仿 Roland, a̍h Orlando, a̍h Rotolando (chiah-ê lóng 是伊 ê 名) 所做, 所講, 所想 ê 慌狂代誌, 我 ē 盡我 ê 能力量約模仿我認為重要 ê 一切. 凡勢我應該滿足 tī 單純模仿 Amadis, 伊無做慌狂 ê 破壞, kan-ta 是悲傷, 流目屎, kap 上出名 ê 人仝款得著好名聲."
"在我看," Sancho 講, "chiah-ê 騎士是受著刺激 kap 其他原因才去做這種戇事 kap 苦修. 但, 閣下有啥理由 tio̍h 起痟? 佗一位夫人拒絕你 ah? A̍h 是講, 你發現啥證據證明 Dulcinea del Toboso Hj kap Moor 人 a̍h Kitok 徒 teh lām-sám ah?"
"重點 tī chia," Don Quixote 應, "che mā 是我 án-ne 做 ê 媠氣. 遊俠騎士若有理由才起痟, he 有啥特別? 重點是, 無受刺激 tō 起痟, koh hō͘ 我 ê 夫人知影, 準講 tī 好天我 án-ne, á 若歹天 ê 時, 我 ē 按怎 ah? 尤其是, 因為已經久久 kap Dulcinea del Toboso Hj 分離, 我 koh-khah 有濟濟理由. 前幾工, 你有聽著看羊仔 Ambrosio 講, 分開無見面, 人 tō 破病, 心驚惶.
"所以, Sancho 朋友, 免 koh 了時間勸我莫模仿這種 chiah 罕見, chiah 幸福, chiah 稀奇 ê 代誌. 我已經痟 ah, 我 ē 繼續痟落去, 一直到你扎回批轉來, 我今欲先央你送一張批去 hō͘ Dulcinea Hj. 假使我 ê 誠心 hō͘ 她肯定, 我 ê 病以及我 ê 苦修 tō 結束 ah. 若毋是 án-ne, 我 tō 真正痟 ah, 既然 án-ne, 我 mā 袂感覺艱苦 ah lah.
"所致, 毋管她 ê 回批按怎寫, 我 lóng 會得解脫折磨 kap 痛苦, 若毋是享受你扎 hō͘ 我 ê 好消息, tō 是痟 kah 感覺袂著你扎 hō͘ 我 ê 災難. 但是, Sancho, 請問, 你有 kā Mambrino 頭盔保管好無? 我有看你 ùi 塗跤 kā 抾起來. 彼時, 彼个忘恩 ê 小囝拚命想欲 kā 摃破 koh 摃袂破, 可見伊 ê 品質有夠讚."
聽伊 án-ne 講, Sancho 回答:
"看神 ê 面子, 苦瓜面騎士 Sià, 閣下所講 ê 一寡代誌 我無認同, 聽袂落去. Ùi chia, 我開始懷疑, 一切你 kā 我提起 ê 有關騎士道, 贏著王國 kap 帝國, koh 依照騎士道慣例, 送島嶼, 封獎賞 kap 榮譽 tt [等等], 定著是膨風兼白賊, 是歕雞胿 a̍h 烏白講, 毋管你按怎 kā 稱呼. 任何人聽閣下 kā 剃頭面桶叫做 Mambrino 頭盔, koh 一直無發覺毋著, 伊所想著 ê 是, 講 che koh 相信 che ê 人, 定著是頭殼歹去 ah. 彼个面桶 tī 我 ê 袋仔 ni̍h, 已經 mi-mi mauh-mauh. 神 ē 保庇, hō͘ 我轉厝見某囝, 我欲 kā 扎轉修理, 修喙鬚 ê 時 thang 用."
"你看, Sancho," Don Quixote 講, "拄才你提起神, 我 mā 向神保證, 你是世界最無頭腦 ê 侍從. Kám 有可能, 你綴我 chiah 久時間, kám 無發現, 一切屬 tī 遊俠騎士 ê 代誌 ká-ná 是幻覺, 戇事, 痟話, koh 總是袂順序? 事實毋是 án-ne, 是因為總是有一陣魔法師綴咱, 照 in ê 意思改變咱 ê 物件, 根據 in 是欲幫贊 a̍h 破壞, kā 代誌做改變. 所致, 你看 ê 剃頭面桶, 在我看是 Mambrino 頭盔, tùi 另外人又是別个物件. Che 是因為魔法師 ê 遠見, 伊徛我這爿, kā 真實 ê Mambrino 頭盔變做別人看 ê 面桶. 因為若知 he kài 有價值, 定著人人欲揣我, 欲奪伊. 但, 等 in 看 he 不過是剃頭面桶, in tō 袂想欲得著伊. 早前試欲 kā 摃破彼个人, kā 留 tī 塗跤無扎走, che tō 是證明. 我相信, 伊若知實情, 絕對袂 kā 抨 tī 塗跤. Kā 保管好勢, 朋友, 目前我猶無需要伊. 確實, 我若有心欲模仿 Roland, 毋是 Amadis, 進行苦修, 我 mā 著 kā 盔甲褪掉, ná 像拄出世 ê 時 án-ne."
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25.3
“Have I not told thee,” answered Don Quixote, “that I mean to imitate Amadis here, playing the victim of despair, the madman, the maniac, so as at the same time to imitate the valiant Don Roland, when at the fountain he had evidence of the fair Angelica having disgraced herself with Medoro and through grief thereat went mad, and plucked up trees, troubled the waters of the clear springs, slew shepherds, destroyed flocks, burned down huts, levelled houses, dragged mares after him, and perpetrated a hundred thousand other outrages worthy of everlasting renown and record? And though I have no intention of imitating Roland, or Orlando, or Rotolando (for he went by all these names), step by step in all the mad things he did, said, and thought, I will make a rough copy to the best of my power of all that seems to me most essential; but perhaps I shall content myself with the simple imitation of Amadis, who without giving way to any mischievous madness but merely to tears and sorrow, gained as much fame as the most famous.”
“It seems to me,” said Sancho, “that the knights who behaved in this way had provocation and cause for those follies and penances; but what cause has your worship for going mad? What lady has rejected you, or what evidence have you found to prove that the lady Dulcinea del Toboso has been trifling with Moor or Christian?”
“There is the point,” replied Don Quixote, “and that is the beauty of this business of mine; no thanks to a knight-errant for going mad when he has cause; the thing is to turn crazy without any provocation, and let my lady know, if I do this in the dry, what I would do in the moist; moreover I have abundant cause in the long separation I have endured from my lady till death, Dulcinea del Toboso; for as thou didst hear that shepherd Ambrosio say the other day, in absence all ills are felt and feared; /
and so, friend Sancho, waste no time in advising me against so rare, so happy, and so unheard-of an imitation; mad I am, and mad I must be until thou returnest with the answer to a letter that I mean to send by thee to my lady Dulcinea; and if it be such as my constancy deserves, my insanity and penance will come to an end; and if it be to the opposite effect, I shall become mad in earnest, and, being so, I shall suffer no more; /
thus in whatever way she may answer I shall escape from the struggle and affliction in which thou wilt leave me, enjoying in my senses the boon thou bearest me, or as a madman not feeling the evil thou bringest me.
But tell me, Sancho, hast thou got Mambrino’s helmet safe? for I saw thee take it up from the ground when that ungrateful wretch tried to break it in pieces but could not, by which the fineness of its temper may be seen.”
To which Sancho made answer, “By the living God, Sir Knight of the Rueful Countenance, I cannot endure or bear with patience some of the things that your worship says; and from them I begin to suspect that all you tell me about chivalry, and winning kingdoms and empires, and giving islands, and bestowing other rewards and dignities after the custom of knights-errant, must be all made up of wind and lies, and all pigments or figments, or whatever we may call them; for what would anyone think that heard your worship calling a barber’s basin Mambrino’s helmet without ever seeing the mistake all this time, but that one who says and maintains such things must have his brains addled? I have the basin in my sack all dinted, and I am taking it home to have it mended, to trim my beard in it, if, by God’s grace, I am allowed to see my wife and children some day or other.”
“Look here, Sancho,” said Don Quixote, “by him thou didst swear by just now I swear thou hast the most limited understanding that any squire in the world has or ever had. Is it possible that all this time thou hast been going about with me thou hast never found out that all things belonging to knights-errant seem to be illusions and nonsense and ravings, and to go always by contraries? And not because it really is so, but because there is always a swarm of enchanters in attendance upon us that change and alter everything with us, and turn things as they please, and according as they are disposed to aid or destroy us; thus what seems to thee a barber’s basin seems to me Mambrino’s helmet, and to another it will seem something else; and rare foresight it was in the sage who is on my side to make what is really and truly Mambrino’s helmet seem a basin to everybody, for, being held in such estimation as it is, all the world would pursue me to rob me of it; but when they see it is only a barber’s basin they do not take the trouble to obtain it; as was plainly shown by him who tried to break it, and left it on the ground without taking it, for, by my faith, had he known it he would never have left it behind. Keep it safe, my friend, for just now I have no need of it; indeed, I shall have to take off all this armour and remain as naked as I was born, if I have a mind to follow Roland rather than Amadis in my penance.”
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