26. Ūi ài-chêng tī Morena soaⁿ-khu khó͘-siu ê sè-chiat
26.1 Koat-tēng boeh bô͘-hóng Amadis ê ut-chut siáu
Taⁿ, lán tńg-lâi khòaⁿ hit-ê Khó͘-koe-bīn. I hoat-hiān ka-tī ko͘ chi̍t-lâng ê sî, le̍k-sú án-ne kì-chài: tán Don Quixote piáu-ián soah chhia pùn-táu, io í-hā chhiah khò͘-lān, saⁿ chhēng kàu io, khòaⁿ-tio̍h Sancho í-keng lī-khui, bô lâu lo̍h-lâi koh khòaⁿ i ê siáu tāi-chì, i tō peh-chiūⁿ chi̍t-lia̍p koân-koân ê chio̍h-thâu téng, tī hia kè-sio̍k su-khó i siūⁿ chiok chē-pái lóng bô kiat-lūn ê tāi-chì, iā tō sī boeh bô͘-hóng Roland ê hong-kông siáu, a̍h sī boeh bô͘-hóng Amadis ê ut-chut siáu khah ha̍h i ê bo̍k-tek? I chū-giân chū-gí án-ne kóng:
"He ū siáⁿ kî-koài, Roland nā chhiūⁿ ta̍k-ê só͘ kóng ê án-ne, sī eng-ióng ê hó khî-sū, pit-kèng i ū mô͘-hoat, bô-lâng ū châi-tiāu thâi-sí i, tî-hui kō͘ tēng-chiam chha̍k i ê kha-té, tān i chóng-sī chhēng 7-iân thih chò té ê ê-á? Put-kò, chiâh-ê kan-khiáu pō͘-sò͘ bô hoat-tō͘ tùi-hù Bernardo del Carpio, in-ūi che i chiâu chai, chòe-āu, tī Roncesvalles soaⁿ-koan, i kō͘ siang-chhiú kā Roland le̍k-sí.
"Tān, seng mài kóng i ê ióng-khì, lán lâi khòaⁿ i kám ū khí-siáu? Khak-si̍t sī án-ne, i ū khí-siáu. In-ūi tī chúi-chôaⁿ piⁿ i hoat-hiān chèng-kì, jî-chhiáⁿ khòaⁿ-iûⁿ-á hō͘ i chêng-pò, kóng Angelica put-chí 2-pái kap Medoro khùn-tàu, he sī chi̍t-ê sió-khóa khiû-mo͘ ê Moor lâng, sī Agramante ê sū-chiông. I nā siong-sìn che siau-sit sī chin ê, i ê hu-jîn chò tùi-put-khí i ê tāi-chì, bo̍k-koài i ē khí-siáu. Tān-sī góa, góa boeh án-chóaⁿ bô͘-hóng i khí-siáu. tî-hui góa ē-tàng bô͘-hóng i khí-siáu ê goân-in?
"Góa káⁿ chiù-chōa, góa ê Dulcinea chi̍t-sì-lâng m̄-bat khòaⁿ-kòe chhēng chèng-sek ho̍k-chong ê Moor lâng. Yi kàu taⁿ iáu sûn-kiat kah ná tú ùi niû-thai chhut-lâi, góa nā siūⁿ-tang siūⁿ-sai, siáu kah ná Hong-kông ê Roland, án-ne tō ē chin tùi-put-khí yi.
"Lēng-gōa, góa khòaⁿ Gaul ê Amadis, i bô sit-khì lí-tì, bô chò siáu tāi-chì, in-ūi to-chêng, kāng-khoán tit-tio̍h hó miâ-siaⁿ. Kin-kì i ê kò͘-sū, tī i hoat-hiān ka-tī hō͘ Oriana Hj kī-choa̍t, kiò i mài chhut-hiān tī yi bīn-chêng, i só͘ chò ê it-chhè tō sī kap chi̍t-ê ún-sū ún-ki tī Peña Pobre, tī hia mà-mà háu, it-ti̍t kàu Thiⁿ-kong tī i ke̍k pi-siong koh su-iàu ê sî, kā i kái-kiù chhut-lâi.
"Che nā sī chin, taⁿ góa ná tio̍h ke giâ-kê thǹg kng-kng, a̍h sī khì kāng chhiū-á, in iā bô tùi góa án-chóaⁿ, a̍h sī góa ná boeh kā sió-khe ê chheng-chúi kiáu lô, he góa su-iàu ê sî iáu-tio̍h lim neh?
"Tùi Amadis ê kì-tî bān-sòe, ta̍t-tit La Mancha ê Don Quixote chīn-liōng bô͘-hóng i. Tō-kóng Don Quixote bô sêng-chiū siáⁿ tōa tāi-chì, lâng mā ē ná kòe-khì kóng pa̍t-lâng án-ne, kóng, siōng-bô i sí tī phah-piàⁿ tang-tiong. Góa nā bô hō͘ Dulcinea pâi-thek a̍h kī-choa̍t, tō ná chhiūⁿ góa só͘ kóng ê, góa lī-khui yi tō ū-kàu ah. Só͘-tì, taⁿ kín lâi pān chiàⁿ-sū, lâi siūⁿ Amadis ê sū-chek, kà góa án-chóaⁿ bô͘-hóng i. Góa í-keng chai, i chú-iàu sī kî-tó koh hiòng Sîn chhàm-hóe. Tān-sī, góa bô liām-chu, góa boeh án-chóaⁿ chò ah?"
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26. 為愛情 tī Morena 山區苦修 ê 細節
26.1 決定欲模仿 Amadis ê 鬱卒痟
今, 咱轉來看彼个苦瓜面. 伊發現 ka-tī 孤一人 ê 時, 歷史 án-ne 記載: 等 Don Quixote 表演 soah 捙畚斗, 腰以下赤褲膦, 衫穿到腰, 看著 Sancho 已經離開, 無留落來 koh 看伊 ê 痟代誌, 伊 tō peh 上一粒懸懸 ê 石頭頂, tī hia 繼續思考伊想足濟擺 lóng 無結論 ê 代誌, 也 tō 是欲模仿 Roland ê 慌狂痟, a̍h 是欲模仿 Amadis ê 鬱卒痟較 ha̍h 伊 ê 目的? 伊自言自語 án-ne 講:
"He 有啥奇怪, Roland nā 像逐个所講 ê án-ne, 是英勇 ê 好騎士, 畢竟伊有魔法, 無人有才調刣死伊, 除非 kō͘ tēng 尖鑿伊 ê 跤底, 但伊總是穿 7 沿鐵做底 ê 鞋仔? 不過, chiah-ê 奸巧步數無法度對付 Bernardo del Carpio, 因為 che 伊 chiâu 知, 最後, tī Roncesvalles 山關, 伊 kō͘ 雙手kā Roland 勒死.
"但, 先莫講伊 ê 勇氣, 咱來看伊 kám 有起痟? 確實是 án-ne, 伊有起痟. 因為 tī 水泉邊伊發現證據, 而且看羊仔 hō͘ 伊情報, 講 Angelica 不止 2 擺 kap Medoro 睏晝, he 是一个小可虯毛 ê Moor 人, 是 Agramante ê 侍從. 伊若相信 che 消息是真 ê, 伊 ê 夫人做對不起伊 ê 代誌, 莫怪伊 ē 起痟. 但是我, 我欲按怎模仿伊起痟. 除非我 ē-tàng 模仿伊起痟 ê 原因?
"我 káⁿ 咒誓, 我 ê Dulcinea 一世人 m̄-bat 看過穿正式服裝 ê Moor lâng. 她到今猶純潔 kah ná 拄 ùi 娘胎出來, 我若想東想西, 痟 kah ná 慌狂 ê Roland, án-ne tō ē 真對不起她.
"另外, 我看 Gaul ê Amadis, 伊無失去理智, 無做痟代誌, 因為多情, 仝款得著好名聲. 根據伊 ê 故事, tī 伊發現 ka-tī hō͘ Oriana Hj 拒絕, 叫伊莫出現 tī 她面前, 伊所做 ê 一切 tō 是 kap 一个隱士隱居 tī Peña Pobre, tī hia mà-mà 吼, 一直到天公 tī 伊極悲傷 koh 需要 ê 時, kā 伊解救出來.
"Che 若是真, 今我那著 ke 夯枷褪光光, a̍h 是去 kāng 樹仔, in 也無對我按怎, a̍h 是我那欲 kā 小溪 ê 清水攪濁, he 我需要 ê 時猶著啉 neh?
"對 Amadis ê 記持萬歲, 值得 La Mancha ê Don Quixote 盡量模仿伊. Tō 講 Don Quixote 無成就啥大代誌, 人 mā ē ná 過去講別人 án-ne, 講, 上無伊死 tī 拍拚當中. 我若無 hō͘ Dulcinea 排斥 a̍h 拒絕, tō ná 像我所講 ê, 我離開她 tō 有夠 ah. 所致, 今緊來辦正事, 來想 Amadis ê 事蹟, 教我按怎模仿伊. 我已經知, 伊主要是祈禱 koh 向神懺悔. 但是, 我無念珠, 我欲按怎做 ah?"
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CHAPTER XXVI.
IN WHICH ARE CONTINUED THE REFINEMENTS WHEREWITH DON QUIXOTE PLAYED THE PART OF A LOVER IN THE SIERRA MORENA
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26.1
Returning to the proceedings of him of the Rueful Countenance when he found himself alone, the history says that when Don Quixote had completed the performance of the somersaults or capers, naked from the waist down and clothed from the waist up, and saw that Sancho had gone off without waiting to see any more crazy feats, he climbed up to the top of a high rock, and there set himself to consider what he had several times before considered without ever coming to any conclusion on the point, namely whether it would be better and more to his purpose to imitate the outrageous madness of Roland, or the melancholy madness of Amadis; and communing with himself he said:
“What wonder is it if Roland was so good a knight and so valiant as everyone says he was, when, after all, he was enchanted, and nobody could kill him save by thrusting a corking pin into the sole of his foot, and he always wore shoes with seven iron soles? Though cunning devices did not avail him against Bernardo del Carpio, who knew all about them, and strangled him in his arms at Roncesvalles. /
But putting the question of his valour aside, let us come to his losing his wits, for certain it is that he did lose them in consequence of the proofs he discovered at the fountain, and the intelligence the shepherd gave him of Angelica having slept more than two siestas with Medoro, a little curly-headed Moor, and page to Agramante. If he was persuaded that this was true, and that his lady had wronged him, it is no wonder that he should have gone mad; but I, how am I to imitate him in his madness, unless I can imitate him in the cause of it? /
For my Dulcinea, I will venture to swear, never saw a Moor in her life, as he is, in his proper costume, and she is this day as the mother that bore her, and I should plainly be doing her a wrong if, fancying anything else, I were to go mad with the same kind of madness as Roland the Furious. /
On the other hand, I see that Amadis of Gaul, without losing his senses and without doing anything mad, acquired as a lover as much fame as the most famous; for, according to his history, on finding himself rejected by his lady Oriana, who had ordered him not to appear in her presence until it should be her pleasure, all he did was to retire to the Peña Pobre in company with a hermit, and there he took his fill of weeping until Heaven sent him relief in the midst of his great grief and need. /
And if this be true, as it is, why should I now take the trouble to strip stark naked, or do mischief to these trees which have done me no harm, or why am I to disturb the clear waters of these brooks which will give me to drink whenever I have a mind? /
Long live the memory of Amadis and let him be imitated so far as is possible by Don Quixote of La Mancha, of whom it will be said, as was said of the other, that if he did not achieve great things, he died in attempting them; and if I am not repulsed or rejected by my Dulcinea, it is enough for me, as I have said, to be absent from her. And so, now to business; come to my memory ye deeds of Amadis, and show me how I am to begin to imitate you. I know already that what he chiefly did was to pray and commend himself to God; but what am I to do for a rosary, for I have not got one?”
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