27. Sîn-hū kap thì-thâu-sai ê kè-ōe, kap kî-thaⁿ sū-hāng
27.1 Lâi-kàu khǹg kim-chhiok-hoe chò lō͘-piau ê só͘-chāi
Thì-thâu-sai jīn-ûi sîn-hū ê kè-ōe bē-bái, si̍t-chāi chán, nn̄g-lâng chek-khek tāng-chhiú si̍t-si. In kā thâu-ke-niû chioh chi̍t-niá kûn kap thâu-kin, kā sîn-hū ê sin hoat-phâu lâu hō͘ yi chò té-ah. Thì-thâu-sai kō͘ tiàm thâu-ke iōng chò loa̍h-á chhah ê chang-sek gû-bóe mo͘ chò chi̍t-pé chhùi-chhiu. Thâu-ke-niû mn̄g in chioh chiah-ê mi̍h-kiāⁿ boeh chhòng-siáⁿ. Sîn-hū tō kán-tan kā yi kóng Don Quixote khí-siáu ê tāi-chì, in án-ne chng-pān sī boeh chhōa i lī-khui lāi-soaⁿ. Thâu-ke kap thâu-ke-niû sûi siūⁿ khí-lâi, hit-ê siáu-lâng sī in ê lâng-kheh, chah io̍h-chúi, mā sī hông kō͘ thán-á phau hit-ê sū-chiông ê chú-lâng. In koh kā sîn-hū kóng-khí it-chhè in tiong-kan ê tāi-chì, bô làu-kau Sancho bô-ài lâng chai hit pō͘-hūn.
Lo̍h-bóe, thâu-ke-niû kā sîn-hū chng-pān kah súi tang-tang, bô siáⁿ hó hiâm ah lah. Yi hō͘ i chhēng chi̍t-niá pò͘ kûn, téng-bīn ū chhiú-poân hiah khoah, siâ-siâ ê o͘-sek jiông-á chōa, téng-bīn saⁿ sī chheⁿ-sek thian-gô jiông, kheng pe̍h toān, khòaⁿ he khoán-sek sī chè-chō tī Wamba Ông sî-tāi. Sîn-hū bô hō͘ in kā tì thâu-khàm, i pau khùn-bō, sī ū pho͘-mî ê chho͘-pò͘ bō-á, koh tī hia̍h-thâu pa̍k chi̍t-tiâu o͘ si-tòa, koh kō͘ lēng-gōa chi̍t-tiâu si-kin chò bīn-am, kā chhùi-chhiu kap kui-ê bīn lóng am-tio̍h. Jiân-āu, i tì ka-tī ê khoah-piⁿ bō, he bō-kîⁿ khoah kah ē-sái chò hō͘-sòaⁿ, sin-khu koh pau hoan-moa, thán-khi sin chē chiūⁿ lô-á. Thì-thâu-sai mā khiâ tī ka-tī ê lô-á téng, âng-chhap-pe̍h ê chhùi-chhiu sûi kàu pak-tó͘ piⁿ. Tú-chiah kóng-kòe, he chhùi-chhiu sī kō͘ chang-sek gû-bóe mo͘ chò ê.
In kap ta̍k-lâng kò-sî, mā kò-sî hó-sim ê lú-po̍k Maritornes. Sui-bóng ka-tī hoān ū chōe-gia̍t, Maritornes tah-èng boeh ūi in liām-keng, kî-tó Sîn pó-pì in sêng-kong oân-sêng chhiú-thâu chit-hāng khùn-lân ê Kitok-tô͘ sū-gia̍p. To iáu-bōe ta̍h-chhut kheh-chàn, sîn-hū hut-jiân ì-sek tio̍h, sui-bóng tāi-chì chin tiōng-iàu, tān ka-tī án-ne chò m̄-tio̍h, sîn-chit jîn-oân chit-khoán táⁿ-pān bô thò-tòng. I chhiáⁿ thì-thâu-sai ōaⁿ i ê saⁿ, táⁿ-pān chò siū-lān ê ko͘-niû, á i ka-tī boeh chng-pān chò sū-chiông ê kak-sek, án-ne khah bē sún-hāi i ê chun-giâm. Nā-bô, i tō m̄-chhap chit-chân tāi-chì, hō͘ kúi kā Don Quixote lia̍h-khì.
Tú tī chit-sî, Sancho kiâⁿ kòe-lâi, khòaⁿ chit nn̄g-lâng chit-khoán táⁿ-pān, jím put-chū tōa-chhìo. Thì-thâu-sai tông-ì chiàu sîn-hū ê ì-sù chò, kái-piàn kè-ōe. Sîn-hū koh chìn chi̍t-pō͘ kà i tio̍h án-choáⁿ poaⁿ i ê kak-sek, tio̍h tùi Don Quixote kóng siáⁿ, pòaⁿ siâⁿ pòaⁿ pek i tòe in kiâⁿ, hòng-khì hit-ê i só͘ soán ê, chò bô-hāu khó͘-siu ê só͘-chāi. Thì-thâu-sai kā i kóng, bián kà i ka-tī ē-hiáu chhú-lí lah. In-ūi i boeh tán kàu óa-kīn Don Quixote ê só͘-chāi chiah chò táⁿ-pān, tō kā saⁿ-á chih khí-lâi. Sîn-hū mā kā ké chhùi-chhiu siu hó-sè. Sancho Panza chhōa in chhut-hoat, koh iân-lō͘ kā in kóng in tī soaⁿ-khu tú-tio̍h siáu-lâng ê tāi-chì. M̄-koh, i oân-choân bô kóng-khí hoat-hiān phôe-siuⁿ kap lāi-bīn mi̍h-kiāⁿ ê tāi-chì. Chit-kho͘ sió-kiáⁿ sui-jiân tan-sûn, soah ū tām-po̍h tham-sim neh.
Keh-kang, in lâi-kàu Sancho ū khǹg kim-chhiok-hoe chò lō͘-piau thang tńg-khì chhōe chú-lâng ê só͘-chāi, jīn-chhut he, i kā in kóng, ji̍p-kháu tī chia, in ē-sái ōaⁿ-saⁿ ah, ká-sú án-ne khah lī-ek kái-kiù chú-lâng. Goân-lâi in nn̄g-lâng tī pòaⁿ-lō͘ ū kā i kóng-khí, boeh kái-kiù in chú-lâng chhut chit-chióng i ka-tī soán-te̍k ê khó͘-siu seng-oa̍h, chò chit-chióng chng-pān sī kài tiōng-iàu ê. In koh hoan-hù i, bē-tàng sia̍p-lāu in ê sin-hūn, a̍h sī i bat in. Ká-sú chú-lâng mn̄g i, sī m̄-sī ū kā phe kau hō͘ Dulcinea, che i tek-khak ē mn̄g, i tio̍h kā kóng, í-keng kau hō͘ yi ah, tān-sī in-ūi yi m̄-bat jī, yi kháu-thâu hôe-ōe, kiò i tio̍h chek-khek tńg-khì kìⁿ yi, nā bô, yi ē bô hoaⁿ-hí. Che tùi Sancho kā-ti mā kài tiōng-iàu, in-ūi kō͘ chit-chióng hong-sek, í-ki̍p in phah-sǹg boeh kā in chú-lâng kóng ê ōe, in ū chū-sìn ē-tit hō͘ Don Quixote tńg-khì kòe khah hó ê seng-oa̍h, koh ē-tit ín-iú i chek-khek chhái-chhú hêng-tōng chiâⁿ-chò hông-tè a̍h kun-ông, án-ne tō bián kiaⁿ i ē chiâⁿ-chò tōa chú-kàu ah.
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27. 神父 kap 剃頭師 ê 計畫, kap 其他事項
27.1 來到囥金雀花做路標 ê 所在
剃頭師認為神父 ê 計畫袂䆀, 實在 chán, 兩人即刻動手實施. In kā 頭家娘借一領裙 kap 頭巾, kā 神父 ê 新法袍留 hō͘ 她做抵押. 剃頭師 kō͘ 店頭家用做捋仔插 ê 棕色牛尾毛做一把喙鬚. 頭家娘問 in 借 chiah-ê 物件欲創啥. 神父 tō 簡單 kā 她講 Don Quixote 起痟 ê 代誌, in án-ne 裝扮是欲𤆬伊離開內山. 頭家 kap 頭家娘隨想起來, 彼个痟人是 in ê 人客, 扎藥水, mā 是 hông kō͘ 毯仔拋彼个侍從 ê 主人. In koh kā 神父講起一切 in 中間 ê 代誌, 無 làu-kau Sancho 無愛人知 hit 部份.
落尾, 頭家娘 kā 神父裝扮 kah 媠 tang-tang, 無啥好嫌 ah lah. 她 hō͘ 伊穿一領布裙, 頂面有手盤 hiah 闊, 斜斜 ê 烏色絨仔逝, 頂面衫是青色天鵝絨, 框白緞, 看 he 款式是製造 tī Wamba 王時代. 神父無 hō͘ in kā 戴頭崁, 伊包睏帽, 是有鋪棉 ê 粗布帽仔, koh tī 額頭縛一條烏絲帶, koh kō͘ 另外一條絲巾做面掩, kā 喙鬚 kap 規个面 lóng 掩著. 然後, 伊戴 ka-tī ê 闊邊帽, he 帽墘闊 kah ē-sái 做雨傘, 身軀 koh 包番幔, thán-khi 身坐上騾仔. 剃頭師 mā 騎 tī ka-tī ê 騾仔頂, 紅 chhap 白 ê 喙鬚垂到腹肚邊. 拄才講過, he 喙鬚是 kō͘ 棕色牛尾毛做 ê.
In kap 逐人告辭, mā 告辭好心 ê 女僕 Maritornes. 雖罔 ka-tī 犯有罪孽, Maritornes 答應欲為 in 念經, 祈禱神保庇 in 成功完成手頭這項困難 ê Kitok 徒事業. To 猶未踏出客棧, 神父忽然意識著, 雖罔代誌真重要, 但 ka-tī án-ne 做毋著, 神職人員這款打扮無妥當. 伊請剃頭師換伊 ê 衫, 打扮做受難 ê 姑娘, á 伊 ka-tī 欲裝扮做侍從 ê 角色, án-ne khah 袂損害伊 ê 尊嚴. 若無, 伊 tō m̄-chhap 這層代誌, hō͘ 鬼 kā Don Quixote 掠去.
拄 tī 這時, Sancho 行過來, 看 chit 兩人這款打扮, 忍不住大笑. 剃頭師同意照神父 ê 意思做, 改變計畫. 神父 koh 進一步教伊 tio̍h 按怎搬伊 ê 角色, tio̍h 對 Don Quixote 講啥, 半唌半迫伊綴 in 行, 放棄彼个伊所選 ê, 做無效苦修 ê 所在. 剃頭師 kā 伊講, 免教伊 ka-tī 會曉處理 lah. 因為伊欲等到倚近 Don Quixote ê 所在才做打扮, tō kā 衫仔摺起來. 神父 mā kā 假喙鬚收好勢. Sancho Panza 𤆬 in 出發, koh 沿路 kā in 講 in tī 山區拄著痟人 ê 代誌. M̄-koh, 伊完全無講起發現皮箱 kap 內面物件 ê 代誌. 這箍小囝雖然單純, soah 有淡薄貪心 neh.
隔工, in 來到 Sancho 有囥金雀花做路標 thang 轉去揣主人 ê 所在, 認出 he, 伊 kā in 講, 入口 tī chia, in ē-sái 換衫 ah, 假使 án-ne khah 利益解救主人. 原來 in 兩人 tī 半路有 kā 伊講起, 欲解救 in 主人出這種伊 ka-tī 選擇 ê 苦修生活, 做這種裝扮是 kài 重要 ê. In koh 吩咐伊, bē-tàng 洩漏 in ê 身份, a̍h 是伊 bat in. 假使主人問伊, 是毋是有 kā 批交 hō͘ Dulcinea, che 伊的確 ē 問, 伊 tio̍h kā 講, 已經交 hō͘ 她 ah, 但是因為她 m̄-bat 字, 她口頭回話, 叫伊 tio̍h 即刻轉去見她, 若無, 她 ē 無歡喜. Che 對 Sancho kā-ti mā kài 重要, 因為 kō͘ 這種方式, 以及 in 拍算欲 kā in 主人講 ê 話, in 有自信 ē-tit hō͘ Don Quixote 轉去過 khah 好 ê 生活, koh ē-tit 引誘伊即刻採取行動成做皇帝 a̍h 君王, án-ne tō 免驚伊 ē 成做大主教 ah.
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CHAPTER XXVII.
OF HOW THE CURATE AND THE BARBER PROCEEDED WITH THEIR SCHEME; TOGETHER WITH OTHER MATTERS WORTHY OF RECORD IN THIS GREAT HISTORY
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27.1
The curate’s plan did not seem a bad one to the barber, but on the contrary so good that they immediately set about putting it in execution. They begged a petticoat and hood of the landlady, leaving her in pledge a new cassock of the curate’s; and the barber made a beard out of a grey-brown or red ox-tail in which the landlord used to stick his comb. The landlady asked them what they wanted these things for, and the curate told her in a few words about the madness of Don Quixote, and how this disguise was intended to get him away from the mountain where he then was. The landlord and landlady immediately came to the conclusion that the madman was their guest, the balsam man and master of the blanketed squire, and they told the curate all that had passed between him and them, not omitting what Sancho had been so silent about. /
Finally the landlady dressed up the curate in a style that left nothing to be desired; she put on him a cloth petticoat with black velvet stripes a palm broad, all slashed, and a bodice of green velvet set off by a binding of white satin, which as well as the petticoat must have been made in the time of king Wamba. The curate would not let them hood him, but put on his head a little quilted linen cap which he used for a night-cap, and bound his forehead with a strip of black silk, while with another he made a mask with which he concealed his beard and face very well. He then put on his hat, which was broad enough to serve him for an umbrella, and enveloping himself in his cloak seated himself woman-fashion on his mule, while the barber mounted his with a beard down to the waist of mingled red and white, for it was, as has been said, the tail of a clay-red ox.
They took leave of all, and of the good Maritornes, who, sinner as she was, promised to pray a rosary of prayers that God might grant them success in such an arduous and Christian undertaking as that they had in hand. But hardly had he sallied forth from the inn when it struck the curate that he was doing wrong in rigging himself out in that fashion, as it was an indecorous thing for a priest to dress himself that way even though much might depend upon it; and saying so to the barber he begged him to change dresses, as it was fitter he should be the distressed damsel, while he himself would play the squire’s part, which would be less derogatory to his dignity; otherwise he was resolved to have nothing more to do with the matter, and let the devil take Don Quixote. /
Just at this moment Sancho came up, and on seeing the pair in such a costume he was unable to restrain his laughter; the barber, however, agreed to do as the curate wished, and, altering their plan, the curate went on to instruct him how to play his part and what to say to Don Quixote to induce and compel him to come with them and give up his fancy for the place he had chosen for his idle penance. The barber told him he could manage it properly without any instruction, and as he did not care to dress himself up until they were near where Don Quixote was, he folded up the garments, and the curate adjusted his beard, and they set out under the guidance of Sancho Panza, who went along telling them of the encounter with the madman they met in the Sierra, saying nothing, however, about the finding of the valise and its contents; for with all his simplicity the lad was a trifle covetous.
The next day they reached the place where Sancho had laid the broom-branches as marks to direct him to where he had left his master, and recognising it he told them that here was the entrance, and that they would do well to dress themselves, if that was required to deliver his master; for they had already told him that going in this guise and dressing in this way were of the highest importance in order to rescue his master from the pernicious life he had adopted; and they charged him strictly not to tell his master who they were, or that he knew them, and should he ask, as ask he would, if he had given the letter to Dulcinea, to say that he had, and that, as she did not know how to read, she had given an answer by word of mouth, saying that she commanded him, on pain of her displeasure, to come and see her at once; and it was a very important matter for himself, because in this way and with what they meant to say to him they felt sure of bringing him back to a better mode of life and inducing him to take immediate steps to become an emperor or monarch, for there was no fear of his becoming an archbishop. /
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