27.2 Hut-jiân hīⁿ-piⁿ thoân-lâi chi̍t-chūn koa-siaⁿ
It-chhè chiah-ê, Sancho thiaⁿ ji̍p-hīⁿ koh kì tiâu-tiâu. I kám-siā in hó-ì boeh khǹg chú-lâng khì chò hông-tè, mài chò tōa chú-kàu, in-ūi i khak-sìn, tī siùⁿ-sù sū-chiông hong-bīn, hông-tè pí sûn-iû tōa chú-kàu koh-khah khóng-khài. I koh kóng, siōng-hó hō͘ i seng kàu-ūi hia chhōe-tio̍h chú-lâng, kā hu-jîn ê hôe-ōe kóng hō͘ i chai. Hoān-sè án-ne tō ē-tàng kā i chhōa lī-khui, m̄-bián in koh hùi-khì hùi-tak. In tông-ì Sancho ê kiàn-gī, tō koat-tēng boeh tán i seng chhōe-tio̍h chú-lâng chiah koh kóng.
Sancho kè-sio̍k hiòng-chêng, chìn-ji̍p soaⁿ-kok, lâu in tī chi̍t-tiâu sió-khe piⁿ, khe-chúi bān-bān lâu, khe-piⁿ koh ū chio̍h-thâu kap chhiū-á jia-iáⁿ, chin liâng-sóng. Chit-chūn sī 8-goe̍h, thiⁿ-khì joa̍h, chit só͘-chāi ê un-tō͘ te̍k-pia̍t koân, iû-kî hit-sî sī ē-tàu 3-tiám, hō͘ chit só͘-chāi koh-khah siâⁿ-lâng, sú in ài-boeh tī chia tán Sancho tńg-lâi.
Tī chhiū-iaⁿ kha, in tng-teh hioh-khùn, hut-jiân hīⁿ-piⁿ thoân lâi chi̍t-chūn koa-siaⁿ, bô jīm-hô ga̍k-khì phōaⁿ-chàu, m̄-koh im-sek tiⁿ koh hó-thiaⁿ. Che hō͘ in tōa-tōa kiaⁿ chi̍t-tiô, in-ūi, chāi in khòaⁿ, chit só͘-chāi bô khó-lêng ū chit-chióng hó koa-siaⁿ. Sui-bóng lâng chhiâng-chāi kóng, tī chhiū-nâ a̍h goân-iá ē-tit thiaⁿ-tio̍h khòaⁿ-iûⁿ-á ê hó koa-siaⁿ, m̄-koh, he put-kò sī si-jîn ê hoàn-sióng, m̄-sī sū-si̍t. Koh-khah hō͘ in tio̍h-kiaⁿ ê sī, in só͘ thiaⁿ-tio̍h ê m̄-sī chng-kha khòaⁿ-iûⁿ-á ê si-koa, jî sī siâⁿ-chhī iù-tì ê si-kù. Sū-si̍t chèng-bêng, in thiaⁿ-tio̍h ê si sī án-ne siá ê:
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Siáⁿ hō͘ góa tùi hēng-hok ê tui-kiû bô-hāu?
Biáu-sī.
Siáⁿ hō͘ góa hòng-khì tùi sù-sī ê hi-bāng?
Ba̍k-chhiah.
Siáⁿ hō͘ góa sim-koaⁿ ū kòa-lū ê kan-khó͘?
Lī-pia̍t.
Nā sī án-ne, ūi-tio̍h góa ê pi-siong
Góa tio̍h khì tó kiû kái-thoat,
Tng hi-bōng ê ta̍k hong-bīn lóng hō͘
Lī-pia̍t, Ba̍k-chhiah, Biáu-sī kā thâi-sí?
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Siáⁿ sī góa só͘-ū thòng-khó͘ ê kin-goân?
Ài.
Siáⁿ chóng-sī khòaⁿ-khin góa ê êng-iāu?
Ki-ūn.
Tá-lo̍h ín-chún hō͘ góa siū-khó͘?
Thiⁿ.
Nā sī án-ne, góa chí-hó tán-thāi
Bô-chêng miā-ūn ê táⁿ-kek,
In-ūi chit saⁿ-hāng: Ài, Ki-ūn, Thiⁿ
Liân-ha̍p sú góa thòng-khó͘.
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Góa tio̍h án-chóaⁿ chiah ē-tit pó͘-kiù?
Sí.
Siáⁿ ē-tit siâⁿ nai koh chheⁿ-hūn ê ài?
Piàn-hòa.
Nā lóng sit-pāi, siáⁿ ē-tit i pi-siong ê sim?
Siáu.
Nā sī án-ne, ū-kàu gōng
Khì chhōe ut-chut ê io̍h-hng:
Mn̄g he tī tó-ūi; tap-àn chāi tī
Piàn-hòa, Siáu, a̍h sī Sí.
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Sî-chūn, joa̍h--lâng, ko͘-tok só͘-chāi, koa-siaⁿ kap chhiùⁿ-hoat, chāi-chāi hō͘ chit nn̄g-ê thiaⁿ-koa ê lâng kám-kak tio̍h-kiaⁿ koh hoaⁿ-hí. In chēng-chēng tán boeh thiaⁿ khah chē, tān, hoat-hiān tán chi̍t tōa khùn bô tōng-chēng, tō koat-tēng boeh khì chhōe hit-ūi koa-siaⁿ iu-bí ê im-ga̍k-ka. Tú boeh chhut-hoat, kāng-khoán ê koa-siaⁿ koh khí, lâi kàu in ê hīⁿ-piⁿ, án-ne chhiùⁿ:
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14-Chōa Si
Tng lí, sîn-sèng Iú-gî, poe hiòng thiⁿ
Poe kàu thiⁿ-téng chhōe lín tau,
Chē lí ê ūi tī koân-koân sèng-tô͘ tiong-kan,
Lí koat-ì boeh lâu tī sè-kan
Lí ê hêng-iáⁿ, kau-thok hō͘ i
Lí ê bīn-se, ū sî-chūn ké tak-tak,
Chng-pān lí ê khoán, khi-phiàn ba̍k-chiu,
Hō͘ pi-phí ká-ná sī bí-tek ê kong-hui.
Iú-gî ah, kín tńg-lâi, nā bô tō pek
Taⁿ chhēng lí saⁿ ê pián-á, kā he hêng,
He í-keng pang-chō͘ sat-hāi chin-sêng.
Lí nā m̄-khéng hian-khui lí ê ké-bīn,
Sè-kài chiong koh-chài kiù-hun bô-thêng,
Ná-chhiūⁿ thài-chho͘ iû hūn-loān thóng-tī.
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Koa-siaⁿ tòe chi̍t-ê tōa-khùi liáu thêng lo̍h-lâi, thiaⁿ ê lâng koh-chài chù-ì tán koa-chhiú kè-sio̍k chhiùⁿ. Tān hoat-kak he im-ga̍k í-keng piàn-chò chheh-khùi kap ui-sim ê ai-thàn, in koat-tēng boeh chhōe-chhut hit-ê put-hēng ê lâng sī siáng, koa-siaⁿ hiah hán-iú, ai-thàn hiah pi-chhiat. In kiâⁿ bô kúi-pō͘, tī oat-kòe chi̍t-lia̍p chio̍h-thâu ê sî, khòaⁿ tio̍h chi̍t-ê lâng, gōa-piáu kap bīn-māu seⁿ-chò kap Sancho kā in kóng ê Cardenio kāng-khoán.
Khòaⁿ tio̍h in, i bô piáu-hiān tio̍h-kiaⁿ, khiā tiām-tiām, thâu sûi kàu heng-chêng, ná sī teh tîm-su, tî-liáu tī in hut-jiân chhut-hiān ê sî lia̍h in khòaⁿ chi̍t-ē, bô koh gia̍h-thâu khòaⁿ in. Sîn-hū pún-chiâⁿ tō gâu kóng-ōe, chai-iáⁿ i ê put-hēng, koh ùi gōa-piáu jīn chhut i, kiâⁿ hiòng i, kō͘ kúi-kù ha̍p-lí ê ōe khǹg i hòng-khì chit-chióng pi-chhám ê seng-oa̍h, bián-tit tī hia tîm-lûn, he chiong sī put-hēng tiong ê tōa put-hēng.
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27.2 忽然耳邊傳來一陣歌聲
一切 chiah-ê, Sancho 聽入耳 koh 記牢牢. 伊感謝 in 好意欲勸主人去做皇帝, 莫做大主教, 因為伊確信, tī 賞賜侍從方面, 皇帝比巡遊大主教 koh-khah 慷慨. 伊 koh 講, 上好 hō͘ 伊先到位 hia 揣著主人, kā 夫人 ê 回話講 hō͘ 伊知. 凡勢 án-ne tō ē-tàng kā 伊𤆬離開, 毋免 in koh 費氣費觸. In 同意 Sancho ê 建議, tō 決定欲等伊先揣著主人 chiah koh 講.
Sancho 繼續向前, 進入山谷, 留 in tī 一條小溪邊, 溪水慢慢流, 溪邊 koh 有石頭 kap 樹仔 jia 影, 真涼爽. 這陣是 8 月, 天氣熱, 這所在 ê 溫度特別懸, 尤其彼時是下晝 3 點, hō͘ 這所在 koh-khah 唌人, 使 in 愛欲 tī chia 等 Sancho 轉來.
Tī 樹影跤, in tng-teh 歇睏, 忽然耳邊傳來一陣歌聲, 無任何樂器伴奏, m̄-koh 音色甜 koh 好聽. Che hō͘ in 大大驚一趒, 因為, 在 in 看, 這所在無可能有這種好歌聲. 雖罔人常在講, tī 樹林 a̍h 原野 ē-tit 聽著看羊仔 ê 好歌聲, m̄-koh, he 不過是詩人 ê 幻想, 毋是事實. Koh-khah hō͘ in 著驚 ê 是, in 所聽著 ê 毋是庄跤看羊仔 ê 詩歌, 而是城市幼致 ê 詩句. 事實證明, in 聽著 ê 詩是 án-ne 寫 ê:
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啥 hō͘ 我 tùi 幸福 ê 追求無效?
藐視.
啥 hō͘ 我放棄 tùi 四序 ê 希望?
目赤.
啥 hō͘ 我心肝有掛慮 ê 艱苦?
離別.
若是 án-ne, 為著我 ê 悲傷
我 tio̍h 去佗求解脫,
Tng 希望 ê ta̍k 方面 lóng hō͘
離別, 目赤, 藐視 kā 刣死?
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啥是我所有痛苦 ê 根源?
愛.
啥總是看輕我 ê 榮耀?
機運.
Tá-lo̍h 允准 hō͘ 我受苦?
天.
若是 án-ne, 我只好等待
無情命運 ê 打擊,
因為 chit 三項: 愛, 機運, 天
連合 sú 我痛苦.
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我 tio̍h 按怎才 ē-tit 補救?
死.
啥 ē-tit 唌 nai koh 生份 ê 愛?
變化.
若 lóng 失敗, 啥 ē-tit 醫悲傷 ê 心?
痟.
若是 án-ne, 有夠戇
去揣鬱卒 ê 藥方:
問 he tī 佗位; 答案在 tī
變化, 痟, a̍h 是死.
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時陣, 熱--人, 孤獨所在, 歌聲 kap 唱法, chāi-chāi hō͘ chit 兩个聽歌 ê 人感覺著驚 koh 歡喜. In 靜靜等欲聽 khah 濟, 但, 發現等一大睏無動靜, tō 決定欲去揣彼位歌聲優美 ê 音樂家. 拄欲出發, 仝款 ê 歌聲 koh 起, 來到 in ê 耳邊, án-ne 唱:
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14逝詩
Tng 你, 神聖友誼, 飛向天
飛到天頂揣恁 tau,
坐你 ê 位 tī 懸懸聖徒中間,
你決意欲留 tī 世間
你 ê 形影, 交託 hō͘ 伊
你 ê 面紗, 有時陣假 tak-tak,
裝扮你 ê 款, 欺騙目睭,
hō͘ 卑鄙 ká-ná 是美德 ê 光輝.
友誼 ah, 緊轉來, 若無 tō 迫
今穿你衫 ê 諞仔, kā he 還,
He 已經幫助殺害真誠.
你若毋肯掀開你 ê 假面,
世界將 koh-chài 糾紛無停,
Ná 像太初由混亂統治.
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歌聲綴一个大氣了停落來, 聽 ê 人 koh-chài 注意等歌手繼續唱. 但發覺 he 音樂已經變做 chheh-khùi kap ui 心 ê 哀嘆, in 決定欲揣出彼个不幸 ê 人是 siáng, 歌聲 hiah 罕有, 哀嘆 hiah 悲切. In 行無幾步, tī 斡過一粒石頭 ê 時, 看著一个人, 外表 kap 面貌生做 kap Sancho kā in 講 ê Cardenio 仝款.
看著 in, 伊無表現著驚, 徛恬恬, 頭垂到胸前, ná 是 teh 沉思, 除了 tī in 忽然出現 ê 時掠 in 看一下, 無 koh 攑頭看 in. 神父本成 tō gâu 講話, 知影伊 ê 不幸, koh ùi 外表認出伊, 行向伊, kō͘ 幾句合理 ê 話勸伊放棄這種悲慘 ê 生活, 免得 tī hia 沉淪, he 將是不幸中 ê 大不幸.
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27.2
All this Sancho listened to and fixed it well in his memory, and thanked them heartily for intending to recommend his master to be an emperor instead of an archbishop, for he felt sure that in the way of bestowing rewards on their squires emperors could do more than archbishops-errant. He said, too, that it would be as well for him to go on before them to find him, and give him his lady’s answer; for that perhaps might be enough to bring him away from the place without putting them to all this trouble. They approved of what Sancho proposed, and resolved to wait for him until he brought back word of having found his master.
Sancho pushed on into the glens of the Sierra, leaving them in one through which there flowed a little gentle rivulet, and where the rocks and trees afforded a cool and grateful shade. It was an August day with all the heat of one, and the heat in those parts is intense, and the hour was three in the afternoon, all which made the spot the more inviting and tempted them to wait there for Sancho’s return, which they did. /
They were reposing, then, in the shade, when a voice unaccompanied by the notes of any instrument, but sweet and pleasing in its tone, reached their ears, at which they were not a little astonished, as the place did not seem to them likely quarters for one who sang so well; for though it is often said that shepherds of rare voice are to be found in the woods and fields, this is rather a flight of the poet’s fancy than the truth. And still more surprised were they when they perceived that what they heard sung were the verses not of rustic shepherds, but of the polished wits of the city; and so it proved, for the verses they heard were these:
What makes my quest of happiness seem vain?
Disdain.
What bids me to abandon hope of ease?
Jealousies.
What holds my heart in anguish of suspense?
Absence.
If that be so, then for my grief
Where shall I turn to seek relief,
When hope on every side lies slain
By Absence, Jealousies, Disdain?
What the prime cause of all my woe doth prove?
Love.
What at my glory ever looks askance?
Chance.
Whence is permission to afflict me given?
Heaven.
If that be so, I but await
The stroke of a resistless fate,
Since, working for my woe, these three,
Love, Chance and Heaven, in league I see.
What must I do to find a remedy?
Die.
What is the lure for love when coy and strange?
Change.
What, if all fail, will cure the heart of sadness?
Madness.
If that be so, it is but folly
To seek a cure for melancholy:
Ask where it lies; the answer saith
In Change, in Madness, or in Death.
The hour, the summer season, the solitary place, the voice and skill of the singer, all contributed to the wonder and delight of the two listeners, who remained still waiting to hear something more; finding, however, that the silence continued some little time, they resolved to go in search of the musician who sang with so fine a voice; but just as they were about to do so they were checked by the same voice, which once more fell upon their ears, singing this
SONNET
When heavenward, holy Friendship, thou didst go
Soaring to seek thy home beyond the sky,
And take thy seat among the saints on high,
It was thy will to leave on earth below
Thy semblance, and upon it to bestow
Thy veil, wherewith at times hypocrisy,
Parading in thy shape, deceives the eye,
And makes its vileness bright as virtue show.
Friendship, return to us, or force the cheat
That wears it now, thy livery to restore,
By aid whereof sincerity is slain.
If thou wilt not unmask thy counterfeit,
This earth will be the prey of strife once more,
As when primæval discord held its reign./
The song ended with a deep sigh, and again the listeners remained waiting attentively for the singer to resume; but perceiving that the music had now turned to sobs and heart-rending moans they determined to find out who the unhappy being could be whose voice was as rare as his sighs were piteous, and they had not proceeded far when on turning the corner of a rock they discovered a man of the same aspect and appearance as Sancho had described to them when he told them the story of Cardenio. /
He, showing no astonishment when he saw them, stood still with his head bent down upon his breast like one in deep thought, without raising his eyes to look at them after the first glance when they suddenly came upon him. The curate, who was aware of his misfortune and recognised him by the description, being a man of good address, approached him and in a few sensible words entreated and urged him to quit a life of such misery, lest he should end it there, which would be the greatest of all misfortunes. /
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