27.6 Góa ê pó-chōng í-keng hông chhiúⁿ-khì
"Góa kín chhìn-chhái kā yi ìn, khióng-kiaⁿ bô sî-kan hôe-tap, ‘Tān-goān lí kóng ê chò ē-kàu, hu-jîn. Lí ū té-to kò͘ lí ê êng-ū, góa ū kiàm thang pó-hō͘ lí, a̍h tī sî-ki tùi lán put-lī ê sî chū-sat.’
"Góa siūⁿ yi bô thiaⁿ oân góa ê ōe, in-ūi góa kám-kak ū-lâng kóaⁿ kín-kín kā yi kiò cháu, in-ūi sin-lông teh tán ah. Taⁿ, góa pi-siong ê àm-iā kàu-ūi ah, góa khoài-lo̍k ê ji̍t-thâu mā lo̍h-soaⁿ ah. Góa ê ba̍k-chiu ian-n̄g, sim-su hūn-loān. Góa bē-tàng ji̍p yin chhù, mā bô hoat-tō͘ chhòng-siáⁿ. Tān, siūⁿ-tio̍h bān-it hoat-seng siáⁿ tāi-chì, góa ê chāi-tiûⁿ kài iàu-kín. Góa thê-khí ióng-khì ji̍p-khì, in-ūi góa tùi yin chhù ê chhut-ji̍p kháu chin se̍k. Lēng-gōa, in-ūi chhù-lāi su-té-hā loān chhau-chhau, bô lâng chù-ì tio̍h góa, só͘-tì bô-lâng hoat-hiān góa. Góa chhōe tio̍h chi̍t-ê hó ki-hōe, kā ka-tī siám kàu tōa-thiaⁿ chi̍t-ê thang-á lap-o ê só͘-chāi, bih tī nn̄g-phìⁿ thang-á-lî āu-bīn. Ùi he phāng góa khòaⁿ ē-tio̍h pâng-keng lāi hoat-seng ê it-chhè, tān bô lâng ē khòaⁿ-tio̍h góa. Siáng ē-tàng biô-siá góa khiā tī hia sim-chêng ê kek-tōng: sim-koaⁿ só͘ siūⁿ, í-ki̍p siám kòe náu-hái ê chióng-chióng ì-liām? Che bô hoat-tō͘ kóng, siōng hó mā mài kóng.
"Án-ne kóng tō ū-kàu ah: sin-lông chhēng ji̍t-siông ho̍k-chong ji̍p kàu tōa-thiaⁿ, bô án-chóaⁿ chng-pān. Kap sin-lông tâng-chê ê sī Luscinda ê chi̍t-ê piáu-tē, koh tî-liáu chhù lāi po̍k-jîn í-gōa, pâng-keng bô kî-thaⁿ ê lâng. Kòe chi̍t-ē-á, Luscinda ùi chêng-pâng chhut-lâi, iû yin lāu-bú kap 2-ê lú-po̍k pôe-phōaⁿ. Yi ê chhēng-chhah kap táⁿ-pān oân-choân hû-ha̍p sin-hūn kap bí-māu, ho̍k-chong hôa-lē koh hí-khì. Góa ê sim cho koh hoân, bô hoat-tō͘ koan-chhat a̍h te̍k-pia̍t chù-ì yi chhēng siáⁿ. Góa kan-ta chù-ì tio̍h he sek-tì sī chhim-âng kap pe̍h. Yi thâu-khak téng kap saⁿ-á téng ê pó-chio̍h kap chu-pó kim sih-sih, tān koh-khah chhut-sek ê sī yi he o͘ sìm-sìm ê thâu-mo͘, kong-bông iâⁿ-kòe pó-chio̍h í-ki̍p tiám tī tōa-thiaⁿ hit 4-pha chiò kah iāⁿ-iāⁿ sih ê teng-hóe.
"Oh, kì-tî, hō͘ góa bē-tit an-lêng! Sī án-chóaⁿ taⁿ boeh kā hit-ê bí-māu bô tè pí ê góa só͘ chông-pài ê te̍k-jîn chhōa kàu góa bīn-chêng? Chân-jím ê kì-tî ah, lí put-jû thê-chhéⁿ góa siūⁿ-khí hit-sî yi ê só͘ chò, he bêng-hián ê put-gī hō͘ góa siū-khì, mài kóng taⁿ khì kā pò-ho̍k, siōng-bô ē-sái kiat-sok góa ka-tī ê sèⁿ-miā, án-ne kám m̄-sī khah hó? Sian-siⁿ, chhiáⁿ m̄-thang ià-siān góa kóng che lī-tê ê ōe. Góa ê pi-siong m̄-sī kán-té kúi-kù tō kóng ē-bêng; góa jīn-ûi múi chi̍t-ê sū-kiāⁿ lóng su-iàu chē-chē ê ōe-gí."
Tùi che, sîn-hū ìn kóng, in thiaⁿ liáu bē ià-siān, jî-chhiáⁿ tùi i kóng tio̍h ê sè-chiat kài ū hèng-chhù, he bē-sái kiám-séng, ta̍t-tit kap chú-iàu kò͘-sū kāng-khoán ê tiōng-sī.
"Sòa lo̍h-lâi," Cardenio kè-sio̍k kóng, "ta̍k-ê chi̍p tī toa-thiaⁿ, kàu-khu sîn-hū ji̍p-lâi, jiân-āu chiàu gî-sek khan-khí chit-tùi sin-lâng ê chhiú, mn̄g kóng: ‘Luscinda Sc [Sió-chiá], lí goān-ì chiàu Sèng-bó Kàu-tn̂g ê kui-tēng, kè hō͘ chit-ê Don Fernando Ss [Sian-siⁿ] chò lí ê ha̍p-hoat ang-sài bô?’ Hit-sî, góa kā thâu chhun-chhut thang-á-lî ê phāng, àⁿ hīⁿ-khang koh sim-koaⁿ phi̍h-pho̍k chhái, boeh thiaⁿ Luscinda ê hôe-tap, tán-thāi yi ê hôe-tap tàu-té sī phòaⁿ sí a̍h phòaⁿ oa̍h. Oh, tān-goān hit-sî góa káⁿ chông chhut-lâi, tōa-siaⁿ hoah:
"‘Luscinda, Luscinda! Chù-ì lí ê só͘ chò. Siūⁿ khòaⁿ lí tah-èng góa ê tāi-chì. Tio̍h chai, lí sī góa ê, bē-sái sī pa̍t-lâng ê. Thiaⁿ hō͘ hó, lí kóng "Góa goān-ì" ê tông-sî mā sī góa sèⁿ-miā kiat-sok ê sî. O, lí chit-ê pōe-sìn put-gī ê Don Fernando! Lí toa̍t-cháu góa ê êng-iāu, hāi-sí góa ê sèⁿ-miā! Lí sī teh chhòng-siáⁿ? Kì hō͘ hó, chò chi̍t-ê Kitok-tô͘, lí bē-tàng án-ne tit-tio̍h lí hi-bāng ê mi̍h-kiāⁿ. Luscinda sī góa ê sin-niû, góa chiah sī yi ê ang-sài!’
"Góa sī chi̍t-ê gōng-tai! Taⁿ góa í-keng lī-khui hn̄g-hn̄g, bô hûi-hiám ah. Hit-sî, góa si̍t-chāi tio̍h chiàu góa só͘ kóng ê chò, m̄-koh góa bô. Taⁿ, góa pó-kùi ê pó-chōng í-keng hông chhiúⁿ khì, góa chiù-chhàm chhiúⁿ-tô͘. Góa nā ū-sim boeh ho̍k-siû, tō ná góa ai-thàn góa ê ūn-miā kāng-khoán, góa goân-pún ē-tàng án-ne chò. Kán-tan kóng, hit-sî góa sī bô-táⁿ koh gōng-tai, chiah ē chit-chūn kiàn-siàu, àu-náu, koh siáu kah boeh sí.
--
27.6 我 ê 寶藏已經 hông 搶去
"我緊凊彩 kā 她應, 恐驚無時間回答, ‘但願你講 ê 做 ē 到, 夫人. 你有短刀顧你 ê 榮譽, 我有劍 thang 保護你, a̍h tī 時機 tùi 咱不利 ê 時自殺.’
"我想她無聽完我 ê 話, 因為我感覺有人趕緊緊 kā 她叫走, 因為新郎 teh 等 ah. 今, 我悲傷 ê 暗夜到位 ah, 我快樂 ê 日頭 mā 落山 ah. 我 ê 目睭 ian-n̄g, 心思混亂. 我 bē-tàng 入姻厝, mā 無法度創啥. 但, 想著萬一發生啥代誌, 我 ê 在場 kài 要緊. 我提起勇氣入去, 因為我 tùi 姻厝 ê 出入口真熟. 另外, 因為厝內私底下亂操操, 無人注意著我, 所致無人發現我. 我揣著一个好機會, kā ka-tī 閃到大廳一个窗仔 lap-o ê 所在, 覕 tī 兩片窗仔簾後面. Ùi he 縫我看會著房間內發生 ê 一切, 但無人 ē 看著我. Siáng ē-tàng 描寫我徛 tī hia 心情 ê 激動: 心肝所想, 以及閃過腦海 ê 種種意念? Che 無法度講, 上好 mā 莫講.
"Án-ne 講 tō 有夠 ah: 新郎穿日常服裝入到大廳, 無按怎裝扮. Kap 新郎同齊 ê 是 Luscinda ê 一个表弟, koh 除了厝內僕人以外, 房間無其他 ê 人. 過一下仔, Luscinda ùi 前房出來, 由姻老母 kap 2 个女僕陪伴. 她 ê 穿插 kap 打扮完全符合身份 kap 美貌, 服裝華麗 koh 喜氣. 我 ê 心慒 koh 煩, 無法度觀察 a̍h 特別注意她穿啥. 我 kan-ta 注意著 he 色致是深紅 kap 白. 她頭殼頂 kap 衫仔頂 ê 寶石 kap 珠寶金 sih-sih, 但 koh-khah 出色 ê 是她 he 烏 sìm-sìm ê 頭毛, 光芒贏過寶石以及點 tī 大廳 hit 4 葩照 kah iāⁿ-iāⁿ sih ê 燈火.
"Oh, 記持, hō͘ 我袂得安寧! 是按怎今欲 kā 彼个美貌無塊比 ê 我所崇拜 ê 敵人𤆬到我面前? 殘忍 ê 記持 ah, 你不如提醒我想起彼時她 ê 所做, he 明顯 ê 不義 hō͘ 我受氣, 莫講今去 kā 報復, 上無 ē-sái 結束我 ka-tī ê 性命, án-ne kám 毋是 khah 好? 先生, 請 m̄-thang 厭僐我講 che 離題 ê 話. 我 ê 悲傷毋是簡短幾句 tō 講 ē 明; 我認為每一个事件 lóng 需要濟濟 ê 話語."
Tùi che, 神父應講, in 聽了袂厭僐, 而且 tùi 伊講著 ê 細節 kài 有興趣, he bē-sái 減省, 值得 kap 主要故事仝款 ê 重視.
"紲落來," Cardenio 繼續講, "逐个集 tī 大廳, 教區神父入來, 然後照儀式牽起 chit 對新人 ê 手, 問講: ‘Luscinda Sc [小姐], 你願意照聖母教堂 ê 規定, 嫁 hō͘ 這个 Don Fernando Ss [先生] 做你 ê 合法翁婿無?’ 彼時, 我 kā 頭伸出窗仔簾 ê 縫, àⁿ 耳空 koh 心肝 phi̍h-pho̍k 採, 欲聽 Luscinda ê 回答, 等待她 ê 回答到底是判死 a̍h 判活. Oh, 但願彼時我 káⁿ 傱出來, 大聲喝:
"‘Luscinda, Luscinda! 注意你 ê 所做. 想看你答應我 ê 代誌. Tio̍h 知, 你是我 ê, bē-sái 是別人 ê. 聽 hō͘ 好, 你講 "我願意" ê 同時 mā 是我性命結束 ê 時. O, 你這个背信不義 ê Don Fernando! 你奪走我 ê 榮耀, 害死我 ê 性命! 你是 teh 創啥? 記 hō͘ 好, 做一个 Kitok 徒, 你 bē-tàng án-ne 得著你希望 ê 物件. Luscinda 是我 ê 新娘, 我才是她 ê 翁婿!’
"我是一个戇呆! 今我已經離開遠遠, 無危險 ah. 彼時, 我實在 tio̍h 照我所講 ê 做, m̄-koh 我無. 今, 我寶貴 ê 寶藏已經 hông 搶去, 我咒讖搶徒. 我若有心欲復仇, tō ná 我哀嘆我 ê 運命仝款, 我原本 ē-tàng án-ne 做. 簡單講, 彼時我是無膽 koh 戇呆, 才 ē 這陣見笑, 懊惱, koh 痟 kah 欲死.
--
27.6
I replied to her distractedly and hastily, in fear lest I should not have time to reply, ‘May thy words be verified by thy deeds, lady; and if thou hast a dagger to save thy honour, I have a sword to defend thee or kill myself if fortune be against us.’
“I think she could not have heard all these words, for I perceived that they called her away in haste, as the bridegroom was waiting. Now the night of my sorrow set in, the sun of my happiness went down, I felt my eyes bereft of sight, my mind of reason. I could not enter the house, nor was I capable of any movement; but reflecting how important it was that I should be present at what might take place on the occasion, I nerved myself as best I could and went in, for I well knew all the entrances and outlets; and besides, with the confusion that in secret pervaded the house no one took notice of me, so, without being seen, I found an opportunity of placing myself in the recess formed by a window of the hall itself, and concealed by the ends and borders of two tapestries, from between which I could, without being seen, see all that took place in the room. Who could describe the agitation of heart I suffered as I stood there—the thoughts that came to me—the reflections that passed through my mind? They were such as cannot be, nor were it well they should be, told. /
Suffice it to say that the bridegroom entered the hall in his usual dress, without ornament of any kind; as groomsman he had with him a cousin of Luscinda’s and except the servants of the house there was no one else in the chamber. Soon afterwards Luscinda came out from an antechamber, attended by her mother and two of her damsels, arrayed and adorned as became her rank and beauty, and in full festival and ceremonial attire. My anxiety and distraction did not allow me to observe or notice particularly what she wore; I could only perceive the colours, which were crimson and white, and the glitter of the gems and jewels on her head dress and apparel, surpassed by the rare beauty of her lovely auburn hair that vying with the precious stones and the light of the four torches that stood in the hall shone with a brighter gleam than all. /
Oh memory, mortal foe of my peace! why bring before me now the incomparable beauty of that adored enemy of mine? Were it not better, cruel memory, to remind me and recall what she then did, that stirred by a wrong so glaring I may seek, if not vengeance now, at least to rid myself of life? Be not weary, sirs, of listening to these digressions; my sorrow is not one of those that can or should be told tersely and briefly, for to me each incident seems to call for many words.”
To this the curate replied that not only were they not weary of listening to him, but that the details he mentioned interested them greatly, being of a kind by no means to be omitted and deserving of the same attention as the main story.
“To proceed, then,” continued Cardenio: “all being assembled in the hall, the priest of the parish came in and as he took the pair by the hand to perform the requisite ceremony, at the words, ‘Will you, Señora Luscinda, take Señor Don Fernando, here present, for your lawful husband, as the holy Mother Church ordains?’ I thrust my head and neck out from between the tapestries, and with eager ears and throbbing heart set myself to listen to Luscinda’s answer, awaiting in her reply the sentence of death or the grant of life. Oh, that I had but dared at that moment to rush forward crying aloud, /
‘Luscinda, Luscinda! have a care what thou dost; remember what thou owest me; bethink thee thou art mine and canst not be another’s; reflect that thy utterance of “Yes” and the end of my life will come at the same instant. O, treacherous Don Fernando! robber of my glory, death of my life! What seekest thou? Remember that thou canst not as a Christian attain the object of thy wishes, for is my bride, and I am her husband!’ /
Fool that I am! now that I am far away, and out of danger, I say I should have done what I did not do: now that I have allowed my precious treasure to be robbed from me, I curse the robber, on whom I might have taken vengeance had I as much heart for it as I have for bewailing my fate; in short, as I was then a coward and a fool, little wonder is it if I am now dying shame-stricken, remorseful, and mad.
--
No comments:
Post a Comment