28. Sîn-hū kap thì-thâu-sai tú-tio̍h ê sîn-kî sū-hāng
28.1 Kha chhiūⁿ chúi-chiⁿ, chhiú chhiūⁿ seh
He sī hēng-hok koh hó-ūn ê sî-tāi, hit-sî La Mancha chòe ióng-kám ê khî-sū Don Quixote lâi-kàu sè-kan. I chò-chhut chi̍t-ê kong-êng ê koat-tēng, boeh ho̍k-chín he í-keng kú-kú sit-thoân tī sè-kài ê khî-sū-tō, hō͘ lán tī chit-ê khiàm-khoat khin-sang gô͘-lo̍k ê sî-tāi, hiáng-siū tio̍h m̄-nā he bê-lâng ê chin-si̍t le̍k-sú, koh ū he lāi-bīn ê kò͘-sū chêng-chat, he tī thêng-tō͘-siōng, bē khah su le̍k-sú pún-sin ê chhù-bī, ò-miāu, chin-si̍t. Tī chit-phiⁿ, iân hit-ê le̍k-sú ê sòaⁿ-soh, lán kè-sio̍k kā se, kā pháng, kā pīⁿ, kóng kàu sîn-hū tú boeh kóng kóa ōe an-ùi Cardenio ê sî, i ê hīⁿ-khang piⁿ thoân lâi chi̍t-ê siaⁿ-im, kō͘ chhe-liâng ê siaⁿ-tiāu án-ne kóng:
"O Sîn ah! Kám ū khó-lêng góa í-keng chhōe-tio̍h chi̍t-ê só͘-chāi, he ē-tàng chò góa ê pì-bi̍t bōng-á, tâi chit-khū góa giâ kah chiah sin-khó͘ ê sin-khu? Jû-kó che soaⁿ-khu ê ko͘-che̍k bô khi-phiàn góa, tāi-chì tō sī án-ne lah! Ah! góa chin chhi-chhám! Góa tōa-tōa kám-siā chia ê chio̍h-thâu kap chhì-phè kap góa chò-phōaⁿ, hō͘ góa ē-tit ǹg Thiⁿ oàn-thàn góa ê put-hēng, in-ūi tī sè-kan, giâu-gî bô-tè chham-siâng, pi-siong bô-tè an-ùi, àu-náu bô-tè tháu-kái!"
Chiah-ê ōe, sîn-hū kap sin-piⁿ ê lâng lóng thiaⁿ chin chheng-chhó, kám-kak he tō tī hū-kīn. Sū-si̍t mā sī án-ne, in-ūi in chi̍t-ē khí-sin khì chhōe kóng he ōe ê lâng, kiâⁿ bô 20-pō͘ tō tī chi̍t-lia̍p tōa chio̍h-thâu āu-bīn, hoat-hiān chi̍t-ê chò-sit-lâng táⁿ-pān ê siàu-liân-ke, chē tī chi̍t-châng pe̍h-la̍h chhiū (ash tree) kha. I ê bīn khòaⁿ bē-tio̍h, in-ūi i tú-hó àⁿ-sin hiòng chêng, teh sé chìm tī lâu-kòe khe-chúi ni̍h ê kha. In chēng-chēng kiâⁿ óa, i chi̍t-sut-á to bô chù-ì tio̍h in, kan-ta sī choan-sim teh sé i ê kha. He kha pe̍h chhang-chhang, bē-su khe-té chio̍h-thâu tiong-kan nn̄g-tè siám-sih ê chúi-chiⁿ.
He kha pe̍h koh súi, hō͘ in tio̍h chi̍t-kiaⁿ, in-ūi chiàu chú-lâng ê chhēng-chhah lâi khòaⁿ, he bô sêng sī ta̍h chhân-thô͘ a̍h tòe lê kap gû ê kha. Chū án-ne, kì-jiân bô pī hoat-kak, kiâⁿ thâu-chêng ê sîn-hū tō kā lēng-gōa nn̄g-lâng chò chhiú-sè, bih kàu hū-kīn ê kúi-tè chio̍h-thâu āu-bīn. Bih hó liáu-āu, in tō tī hia koan-chhat hit-ê siàu-liân-ke. I chhēng chi̍t-niá khoah-khoah ê chhim chang-sek siang-ki gōa-thò, kō͘ chi̍t-tiâu pe̍h-pò͘ kā he hâ ân tī sin-khu. Ē-sin chhēng ê sī chang-sek pò͘-liāu ê bé-khò͘ kap khiā-háng, thâu-khak tì chi̍t-téng chang-sek montera bō-á. I kā khiā-háng pih kàu kha-tó͘, he kha-tó͘ chèng-keng pe̍h kah ná chio̍h-ko.
Súi kha chi̍t-ē sé hó-sè, i sûi kō͘ ùi bō-á ē-bīn giú lo̍h-lâi ê mô͘-kin kā chhit ta, tī giú mô͘-kin ê sî, i ê bīn taⁿ khí-lâi, hō͘ tng-teh khòaⁿ i ê lâng ū ki-hōe khòaⁿ i he iù-tì súi bīn, Cardenio khin-siaⁿ ǹg sîn-hū kóng:
"Kì-jiân che m̄-sī Luscinda, che m̄-sī hoân-jîn, eng-kai sī sîn-sian."
Chit-sî, siàu-liân-ke chhái-lo̍h bō-á, tōa-la̍t hàiⁿ thâu-khak, hàiⁿ-lo̍h chi̍t-thâu ê tn̂g thau-mo͘, ji̍t-thâu kng khòaⁿ-tio̍h to ē him-siān. Kàu chit-sî, tī hia khòaⁿ ê lâng chai-iáⁿ, he khòaⁿ ná chò-sit-lâng ê lâng, goân-lâi sī chi̍t-ê khó-ài ê cha-bó͘, sîn-hū kap thì-thâu-sai m̄-bat khòaⁿ-kòe chiah súi ê cha-bó͘, nā m̄ sī Cardenio bat khòaⁿ-kòe koh bat Luscinda, i mā ē án-ne siūⁿ. Sū-āu Cardenio toàn-tēng, kan-ta Luscinda ê bí-māu kap che ē-tit pí-phēg.
He tn̂g-tn̂g ê o͘ thâu-chang, m̄-nā khàm tio̍h yi ê keng-kah-thâu, sīm-chì tn̂g koh ōng, tî-liáu siang-kha í-gōa, kā kui-ê sin-khu jia-tio̍h, khòaⁿ bē-chhut yi ê hêng-thé. Taⁿ yi kō͘ siang-chhiú chò loa̍h-á loa̍h thâu-chang. Nā kóng he kha chhiūⁿ chúi-té ê chúi-chiⁿ, yi ê siang-chhiú khòaⁿ-tio̍h tō ná phiau tī thâu-chang si tiong-kan ê seh-phìⁿ. It-chhè chiah-ê, m̄-nā cheng-ka teh khòaⁿ 3-lâng ê chàn-thàn, koh-khah hō͘ in kip-chhiat boeh chai tàu-té yi sī siáⁿ-lâng.
In-ūi án-ne, 3-lâng koat-tēng hiàn-sin. In khí-sin ê siaⁿ ín-khí bí-lē ko͘-niû gia̍h-thâu, kō͘ siang-chhiú póe-khui ba̍k-chiu chêng ê thâu-chang, khòaⁿ he siaⁿ tàu-té sī siáⁿ. Chi̍t-ē khòaⁿ tio̍h in, yi sûi khiā khí-lâi, bô-khà chhēng ê-á a̍h láng thâu-chang, tō kóaⁿ kín-kín sa-khí sin-piⁿ chi̍t-pa̍k ká-ná sī saⁿ-á ê mi̍h-kiāⁿ, kiaⁿ koh heh, khí-kha tō cháu. Tān, cháu bô 6-pō͘, yi tō poa̍h-tó tī thô͘-kha, in-ūi yi iù-tì ê siang-kha bē-kham-tit ta̍h he kham-khia̍t ê chio̍h-thâu-á. Khòaⁿ-tio̍h chit-chióng chêng-hêng, 3-lâng kín lâi kàu yi bīn-chêng. Sîn-hū siú-sian khui-chhùi án-ne kóng:
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28. 神父 kap 剃頭師拄著 ê 神奇事項
28.1 跤像水晶, 手像雪
He 是幸福 koh 好運 ê 時代, 彼時 La Mancha 最勇敢 ê 騎士 Don Quixote 來到世間. 伊做出一个光榮 ê 決定, 欲復振 he 已經久久失傳 tī 世界 ê 騎士道, hō͘ 咱 tī 這个欠缺輕鬆娛樂 ê 時代, 享受著毋但 he 迷人 ê 真實歷史, koh 有 he 內面 ê 故事情節, he tī 程度上, 袂較輸歷史本身 ê 趣味, 奧妙, 真實. Tī 這篇, 沿彼个歷史 ê 線索, 咱繼續 kā 梳, kā 紡, kā 辮, 講到神父拄欲講寡話安慰 Cardenio ê 時, 伊 ê 耳空邊傳來一个聲音, kō͘ 淒涼 ê 聲調 án-ne 講:
"O 神 ah! Kám 有可能我已經揣著一个所在, he ē-tàng 做我 ê 祕密墓仔, 埋這具我夯 kah chiah 辛苦 ê 身軀? 如果 che 山區 ê 孤寂無欺騙我, 代誌 tō 是 án-ne lah! Ah! 我真悽慘! 我大大感謝 chia ê 石頭 kap chhì-phè kap 我做伴, hō͘ 我 ē-tit ǹg 天怨嘆我 ê 不幸, 因為 tī 世間, 憢疑無地參詳, 悲傷無地安慰, 懊惱無地敨解!"
Chiah-ê 話, 神父 kap 身邊 ê 人 lóng 聽真清楚, 感覺 he tō tī 附近. 事實 mā 是 án-ne, 因為 in 一下起身去揣講 he 話 ê 人, 行無 20 步 tō tī 一粒大石頭後面, 發現一个做穡人打扮 ê 少年家, 坐 tī 一叢白蠟樹 (ash tree) 跤. 伊 ê 面看袂著, 因為伊拄好 àⁿ 身向前, teh 洗浸 tī 流過溪水 ni̍h ê 跤. In靜靜行倚, 伊一屑仔 to 無注意著 in, kan-ta 是專心 teh 洗伊 ê 跤. He 跤白蔥蔥, 袂輸溪底石頭中間兩塊閃爍 ê 水晶.
He 跤白 koh 媠, hō͘ in 著一驚, 因為照主人 ê 穿插來看, he 無成是踏田塗 a̍h 綴犁 kap 牛 ê 跤. 自 án-ne, 既然無被發覺, 行頭前 ê 神父 tō kā 另外兩人做手勢, 覕到附近 ê 幾塊石頭後面. 覕好了後, in tō tī hia 觀察彼个少年家. 伊穿一領闊闊 ê 深棕色雙裾外套, kō͘ 一條白布 kā he 縖絚 tī 身軀. 下身穿 ê 是棕色布料 ê 馬褲 kap khiā-háng, 頭殼戴一頂棕色 montera 帽仔. 伊 kā khiā-háng pih 到跤肚, he 跤肚正經白 kah ná 石膏.
媠跤一下洗好勢, 伊隨 kō͘ ùi 帽仔下面搝落來 ê 毛巾 kā 拭 ta, tī 搝毛巾 ê 時, 伊 ê 面 taⁿ 起來, hō͘ tng-teh 看伊 ê 人有機會看伊 he 幼致媠面, Cardenio 輕聲 ǹg 神父講:
"既然 che 毋是 Luscinda, che 毋是凡人, 應該是神仙."
這時, 少年家採落帽仔, 大力幌頭殼, 幌落一頭 ê 長頭毛, 日頭光看著 to ē 欣羨. 到這時, tī hia 看 ê 人知影, he 看 ná 做穡人 ê 人, 原來是一个可愛 ê 查某, 神父 kap 剃頭師 m̄-bat 看過 chiah 媠 ê 查某, 若毋是 Cardenio bat 看過 koh bat Luscinda, 伊 mā ē án-ne 想. 事後 Cardenio 斷定, kan-ta Luscinda ê 美貌 kap che ē-tit 比並.
He 長長 ê 烏頭鬃, 毋但崁著她 ê 肩胛頭, 甚至長 koh 旺, 除了雙跤以外, kā 規个身軀遮著, 看袂出她 ê 形體. 今她 kō͘ 雙手做捋仔捋頭鬃. 若講 he 跤像水底 ê 水晶, 她 ê 雙手看著 tō ná 飄 tī 頭鬃絲中間 ê 雪片. 一切 chiah-ê, 毋但增加 teh 看 3 人 ê 讚嘆, koh-khah hō͘ in 急切欲知到底她是啥人.
因為 án-ne, 3 人決定現身. In 起身 ê 聲引起美麗姑娘攑頭, kō͘ 雙手掰開目睭前 ê 頭鬃, 看 he 聲到底是啥. 一下看著 in, 她隨徛起來, bô-khà 穿鞋仔 a̍h láng 頭鬃, tō 趕緊緊捎起身邊一縛 ká-ná 是衫仔 ê 物件, 驚 koh heh, 起跤 tō 走. 但, 走無 6 步, 她 tō 跋倒 tī 塗跤, 因為她幼致 ê 雙跤袂堪得踏 he kham-khia̍t ê 石頭仔. 看著這種情形, 3 人緊來到她面前. 神父首先開喙 án-ne 講:
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CHAPTER XXVIII.
WHICH TREATS OF THE STRANGE AND DELIGHTFUL ADVENTURE THAT BEFELL THE CURATE AND THE BARBER IN THE SAME SIERRA
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28.1
Happy and fortunate were the times when that most daring knight Don Quixote of La Mancha was sent into the world; for by reason of his having formed a resolution so honourable as that of seeking to revive and restore to the world the long-lost and almost defunct order of knight-errantry, we now enjoy in this age of ours, so poor in light entertainment, not only the charm of his veracious history, but also of the tales and episodes contained in it which are, in a measure, no less pleasing, ingenious, and truthful, than the history itself; which, resuming its thread, carded, spun, and wound, relates that just as the curate was going to offer consolation to Cardenio, he was interrupted by a voice that fell upon his ear saying in plaintive tones:
“O God! is it possible I have found a place that may serve as a secret grave for the weary load of this body that I support so unwillingly? If the solitude these mountains promise deceives me not, it is so; ah! woe is me! how much more grateful to my mind will be the society of these rocks and brakes that permit me to complain of my misfortune to Heaven, than that of any human being, for there is none on earth to look to for counsel in doubt, comfort in sorrow, or relief in distress!”
All this was heard distinctly by the curate and those with him, and as it seemed to them to be uttered close by, as indeed it was, they got up to look for the speaker, and before they had gone twenty paces they discovered behind a rock, seated at the foot of an ash tree, a youth in the dress of a peasant, whose face they were unable at the moment to see as he was leaning forward, bathing his feet in the brook that flowed past. They approached so silently that he did not perceive them, being fully occupied in bathing his feet, which were so fair that they looked like two pieces of shining crystal brought forth among the other stones of the brook. /
The whiteness and beauty of these feet struck them with surprise, for they did not seem to have been made to crush clods or to follow the plough and the oxen as their owner’s dress suggested; and so, finding they had not been noticed, the curate, who was in front, made a sign to the other two to conceal themselves behind some fragments of rock that lay there; which they did, observing closely what the youth was about. He had on a loose double-skirted dark brown jacket bound tight to his body with a white cloth; he wore besides breeches and gaiters of brown cloth, and on his head a brown montera; and he had the gaiters turned up as far as the middle of the leg, which verily seemed to be of pure alabaster.
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As soon as he had done bathing his beautiful feet, he wiped them with a towel he took from under the montera, on taking off which he raised his face, and those who were watching him had an opportunity of seeing a beauty so exquisite that Cardenio said to the curate in a whisper:
“As this is not Luscinda, it is no human creature but a divine being.”
The youth then took off the montera, and shaking his head from side to side there broke loose and spread out a mass of hair that the beams of the sun might have envied; by this they knew that what had seemed a peasant was a lovely woman, nay the most beautiful the eyes of two of them had ever beheld, or even Cardenio’s if they had not seen and known Luscinda, for he afterwards declared that only the beauty of Luscinda could compare with this. /
The long auburn tresses not only covered her shoulders, but such was their length and abundance, concealed her all round beneath their masses, so that except the feet nothing of her form was visible. She now used her hands as a comb, and if her feet had seemed like bits of crystal in the water, her hands looked like pieces of driven snow among her locks; all which increased not only the admiration of the three beholders, but their anxiety to learn who she was. /
With this object they resolved to show themselves, and at the stir they made in getting upon their feet the fair damsel raised her head, and parting her hair from before her eyes with both hands, she looked to see who had made the noise, and the instant she perceived them she started to her feet, and without waiting to put on her shoes or gather up her hair, hastily snatched up a bundle as though of clothes that she had beside her, and, scared and alarmed, endeavoured to take flight; but before she had gone six paces she fell to the ground, her delicate feet being unable to bear the roughness of the stones; seeing which, the three hastened towards her, and the curate addressing her first said:
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