37.4 Don Quixote khai-sí tùi ta̍k-ê ián-káng
"Tī chhēng-chhah kap gōa-piáu," i kóng, "yi sī Moor lâng, tān tī lāi-sim, yi oân-choân sī chi̍t-ê Kitok-tô͘, in-ūi yi kui-sim ǹg-bāng boeh chò Kitok-tô͘."
"Nā án-ne, yi iáu-bōe siū-sé hioh?" Luscinda mn̄g.
"Iáu bô ki-hōe," hu-ló͘ ìn, "chū-chiông yi lī-khui kò͘-hiong Algiers, it-ti̍t kàu taⁿ, iáu bô tú-tio̍h siáⁿ sí-bông ê hûi-hiám, su-iàu yi seng siū-sé, he tio̍h tán yi o̍h ē-hiáu lán sîn-sèng kàu-hōe ê lé-gî í-āu chiah lâi chò. Tān-goān Sîn pó-pì, chin kín yi tō ē-tit chiap-siū ha̍h yi sin-hūn ê sé-lé, he sin-hūn pí goán taⁿ ê chhēng-chhah lóng ke chiok koân.
Chiah-ê ōe kek-khí chāi-tiûⁿ ê lâng tùi chit-ūi Moor lú-sū í-ki̍p hu-ló͘ ê hòⁿ-kî, m̄-koh hit-sî bô-lâng koh mn̄g, kám-kak sī sî-chūn an-pâi in khì hioh-khùn, m̄-thang koh mn̄g in ê sin-sè. Dorothea chhiú khan Moor lú-sū lâi yi sin-piⁿ ê í-á chē, chhiáⁿ yi bīn-se pak lo̍h-lâi. Moor lú-sū khòaⁿ hu-ló͘, káⁿ sī teh mn̄g i che sī siáⁿ ì-sù, yi boeh án-chóaⁿ chò hó.
Hu-ló͘ kō͘ Arab ōe kā yi kóng, in chhiáⁿ yi pak bīn-se, chŏaⁿ yi kā bīn-se pak-lo̍h, lō͘-chhut súi tang-tang ê bīn, Dorothea kám-kak yi khah súi Luscinda, Luscinda mā jīn-ûi yi khah súi Dorothea. Só͘-ū chāi-tiûⁿ ê lâng lóng jīn-ûi, ē-tàng kap Dorothea a̍h Luscinda ê súi pí-phēng ê lâng, kan-ta sī chit-ūi Moor lú-sū, sīm-chì ū-lâng kám-kak yi sió-khóa khah súi. In-ūi bí-māu ū tit lâng thiàⁿ, kám-tōng sim ê hó-chhù kap bī-le̍k, ta̍k-ê tō lóng jia̍t-lia̍t tùi chit-ê khó-ài Moor lú-sū piáu-sī chhin-chhiat kap koan-sim.
Don Fernando mn̄g hu-ló͘ yi ê miâ, i ìn kóng, kiò Lela Zoraida. Chi̍t-ē thiaⁿ i án-ne kóng, yi ioh chhut Kitok-tô͘ mn̄g-ōe ê ì-sù, tō bô hoaⁿ-hí koh kek-tōng, kín-kín kóng:
"M̄-sī, m̄-sī Zoraida; Maria, Maria!" kā in piáu-bêng, yi kiò chò "Maria" m̄-sī "Zoraida."
Chiah-ê ōe, yi kóng ê hit-chióng chin-chêng kek-tōng, hō͘ chāi-tiûⁿ thiaⁿ tio̍h ê, iû-kî sī pún-chiâⁿ siān-liông koh ū tông-chêng sim ê cha-bó͘, kám-tōng kah lâu ba̍k-sái. Luscinda kā yi chhin-chhiat lám-tio̍h, kóng:
"Sī, sī, Maria, Maria," Moor lú-sū sûi tòe leh kóng: "Sī, sī, Maria; Zoraida macange," ì-sù sī kóng "m̄-sī Zoraida."
Chit-chūn, thiⁿ chiām-chiām àm, chiàu Don Fernando hit-kiâⁿ lâng ê hoan-hù, tiàm thâu-ke chīn-la̍t ūi in khoán chheⁿ-chhau ê àm-tǹg. Chia̍h-pn̄g ê sî, ta̍k-ê ûi chi̍t-tè sì-kak tn̂g-toh chē, in-ūi kheh-chàn bô îⁿ-toh, mā bô chiàⁿ sì-kak toh. Sui-bóng i the-sî, ta̍k-ê chhiáⁿ Don Quixote chē toh-thâu tōa-ūi, i tō chhiáⁿ Micomicona Hj chē i piⁿ-á, in-ūi i sī yi ê siú-hō͘ lâng.
Luscinda kap Zoraida chē tī yi piⁿ-á, yin tùi-bīn chē Don Fernando kap Cardenio, koh lâi sī hu-ló͘ kap kî-thaⁿ sin-sū, lú-sū hit-pêng koh-lâi sī sîn-hū kap thì-thâu-sai. Chèng-lâng hoaⁿ-hoaⁿ hí-hí hiáng-siū àm-tǹg. Khì-hun piàn koh-khah hó, ta̍k-ê hoat-hiān Don Quixote thêng-khùn bô koh chia̍h, tō ná chhiūⁿ í-chêng i bat hut-leh hèng-thâu giâ khí-lâi, tùi khòaⁿ-iûⁿ-á kóng lò-lò tn̂g ê oē án-ne, khai-sí tùi ta̍k-ê ián-káng:
"Kóng si̍t-chāi, lia̍t-ūi sin-sū, lán nā hoán-séng chi̍t-ē, khî-sū-tō chit-ê chit-gia̍p, khak-si̍t sī úi-tāi koh sîn-kî. Kóng khòaⁿ-māi, sè-kài ū siáng tī chit-ê sî-chūn, chìn-ji̍p chit-chō siâⁿ-pó ê tōa-mn̂g, ē-tit ká-siat a̍h sióng-siōng lán sī siáng ah? Siáng ē siūⁿ-tio̍h, chē góa piⁿ-á ê chit-ūi lú-sū, sī lán lóng bat yi ê úi-tāi lú-ông? a̍h-sī chai-iáⁿ, góa sī miâ-siaⁿ thàng sù-hái ê Khó͘-koe-bīn Khî-sū? Taⁿ, oân-choân bô gî-būn, chit-mn̂g gē-su̍t kap i ê sú-bēng í-keng chhiau-kòe jîn-lūi só͘ hoat-bêng ê it-chhè chit-gia̍p. Oa̍t-lú bīn-tùi hûi-hiám, chit-ê chit-gia̍p oa̍t-lú ta̍t-tit siū-tio̍h chun-kèng.
"Siám-khui lah, hiah-ê kóng bûn-gē pí bú-gē khah chhut-tioh ê lâng. Án-ne kóng ê lâng, m̄-koán he sī siáng, góa boeh kā in kóng, in m̄-chai sī teh kóng siáⁿ. Hiah-ê lâng só͘ kóng ê lí-iû, koh kō͘ che chò chú-iàu ê kin-kì, jīn-ûi sim-tì ê lô-tōng pí sin-thé ê lô-tōng koh-khah sin-khó͘, koh jīn-ûi bú-gē kan-ta tāng tio̍h sin-thé, bē-su bú-gē ê sú-bēng put-kò sī ku-lí ê khang-khòe, bô su-iàu kî-thaⁿ, tan-tan sī thé-la̍t niā-niā; a̍h-sī bē-su kóng, lán khò che chò chit-gia̍p ê lâng só͘ kóng ê bú-gē, bô pau-koat su-iàu ko tì-hūi chiah ē-tit chip-hêng ê eng-ióng hêng-tōng; a̍h-sī bē-su kóng, chiàn-sū ê lêng-hûn, tī léng-tō kun-tūi ê sî, a̍h siú-ūi siâⁿ-chhī ê sî, ē-sái bián iōng thâu-náu, kan-ta iōng sin-thé tō ē-sái-tit...
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37.4 Don Quixote 開始對逐个演講
"Tī 穿插 kap 外表," 伊講, "她是 Moor 人, 但 tī 內心, 她完全是一个 Kitok 徒, 因為她規心 ǹg 望欲做 Kitok 徒."
"若 án-ne, 她猶未受洗 hioh?" Luscinda 問.
"猶無機會," 俘虜應, "自從她離開故鄉 Algiers, 一直到今, 猶無拄著啥死亡 ê 危險, 需要她先受洗, he 著等她學會曉咱神聖教會 ê 禮儀以後才來做. 但願神保庇, 真緊她 tō 會得接受 ha̍h 她身份 ê 洗禮, he 身份比阮今 ê 穿插 lóng 加足懸.
Chiah-ê 話激起在場 ê 人對這位 Moor 女士以及俘虜 ê 好奇, 毋過彼時無人 koh 問, 感覺是時陣安排 in 去歇睏, 毋通 koh 問 in ê 身世. Dorothea 手牽 Moor 女士來她身邊 ê 椅仔坐, 請她面紗剝落來. Moor 女士看俘虜, káⁿ 是 teh 問伊這是啥意思, 她欲按怎做好.
俘虜 kō͘ Arab 話 kā 她講, in 請她剝面紗, chŏaⁿ 她 kā 面紗剝落, 露出媠 tang-tang ê 面, Dorothea 感覺她較媠 Luscinda, Luscinda mā 認為她較媠 Dorothea. 所有在場 ê 人 lóng 認為, 會當 kap Dorothea a̍h Luscinda ê 媠比並 ê 人, kan-ta 是這位 Moor 女士, 甚至有人感覺她小可較媠. 因為美貌有得人疼, 感動心 ê 好處 kap 魅力, 逐个 tō lóng 熱烈對這个可愛 Moor 女士表示親切 kap 關心.
Don Fernando 問俘虜她 ê 名, 伊應講, 叫 Lela Zoraida. 一下聽伊 án-ne 講, 她臆出 Kitok 徒問話 ê 意思, tō 無歡喜 koh 激動, 緊緊講:
"毋是, 毋是 Zoraida; Maria, Maria!" kā in 表明, 她叫做 "Maria" 毋是 "Zoraida."
Chiah-ê 話, 她講 ê 彼種真情激動, hō͘ 在場聽著 ê, 尤其是本成善良 koh 有同情心 ê 查某, 感動 kah 流目屎. Luscinda kā 她親切攬著, 講:
"是, 是, Maria, Maria," Moor 女士隨綴 leh 講: "是, 是, Maria; Zoraida macange," 意思是講 "毋是 Zoraida."
這陣, 天漸漸暗, 照 Don Fernando hit 行人 ê 吩咐, 店頭家盡力為 in 款 chheⁿ-chhau ê 暗頓. 食飯 ê 時, 逐个圍一塊四角長桌坐, 因為客棧無圓桌, mā 無正四角桌. 雖罔伊推辭, 逐个請 Don Quixote 坐桌頭大位, 伊 tō 請 Micomicona Hj 坐伊邊仔, 因為伊是她 ê 守護人.
Luscinda kap Zoraida 坐 tī 她邊仔, 姻對面坐 Don Fernando kap Cardenio, koh 來是俘虜 kap 其他紳士, 女士彼爿 koh 來是神父 kap 剃頭師. 眾人歡歡喜喜享受暗頓. 氣氛變 koh-khah 好, 逐个發現 Don Quixote 停睏無 koh 食, tō ná 像以前伊 bat hut-leh 興頭夯起來, 對看羊仔講 lò-lò 長 ê 話 án-ne, 開始對逐个演講:
"講實在, 列位紳士, 咱若反省一下, 騎士道這个職業, 確實是偉大 koh 神奇. 講看覓, 世界有 siáng tī 這个時陣, 進入 chit 座城堡 ê 大門, ē-tit 假設 a̍h 想像咱是 siáng ah? Siáng ē 想著, 坐我邊仔 ê 這位女士, 是咱 lóng 捌她 ê 偉大女王? a̍h 是知影, 我是名聲迵四海 ê 苦瓜面騎士? 今, 完全無疑問, chit 門藝術 kap 伊 ê 使命已經超過人類所發明 ê 一切職業. Oa̍t-lú 面對危險, 這个職業 oa̍t-lú 值得受著尊敬.
"閃開 lah, hiah-ê 講文藝比武藝較 chhut-tioh ê 人. Án-ne 講 ê 人, 毋管 he 是 siáng, 我欲 kā in 講, in 毋知是 teh 講啥. Hiah-ê 人所講 ê 理由, koh kō͘ che 做主要 ê 根據, 認為心智 ê 勞動比身體 ê 勞動 koh-khah 辛苦, koh 認為武藝 kan-ta 動著身體, 袂輸武藝 ê 使命不過是 ku-lí ê 工課, 無需要其他, 單單是體力 niā-niā; a̍h 是袂輸講, 咱靠 che 做職業 ê 人所講 ê 武藝, 無包括需要高智慧才 ē-tit 執行 ê 英勇行動; a̍h 是袂輸講, 戰士 ê 靈魂, tī 領導軍隊 ê 時, a̍h 守衛城市 ê 時, ē-sái 免用頭腦, kan-ta 用身體 tō 會使得...
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37.4
“In dress and outwardly,” said he, “she is a Moor, but at heart she is a thoroughly good Christian, for she has the greatest desire to become one.”
“Then she has not been baptised?” returned Luscinda.
“There has been no opportunity for that,” replied the captive, “since she left Algiers, her native country and home; and up to the present she has not found herself in any such imminent danger of death as to make it necessary to baptise her before she has been instructed in all the ceremonies our holy mother Church ordains; but, please God, ere long she shall be baptised with the solemnity befitting her which is higher than her dress or mine indicates.”
By these words he excited a desire in all who heard him, to know who the Moorish lady and the captive were, but no one liked to ask just then, seeing that it was a fitter moment for helping them to rest themselves than for questioning them about their lives. Dorothea took the Moorish lady by the hand and leading her to a seat beside herself, requested her to remove her veil. She looked at the captive as if to ask him what they meant and what she was to do. /
He said to her in Arabic that they asked her to take off her veil, and thereupon she removed it and disclosed a countenance so lovely, that to Dorothea she seemed more beautiful than Luscinda, and to Luscinda more beautiful than Dorothea, and all the bystanders felt that if any beauty could compare with theirs it was the Moorish lady’s, and there were even those who were inclined to give it somewhat the preference. And as it is the privilege and charm of beauty to win the heart and secure good-will, all forthwith became eager to show kindness and attention to the lovely Moor.
Don Fernando asked the captive what her name was, and he replied that it was Lela Zoraida; but the instant she heard him, she guessed what the Christian had asked, and said hastily, with some displeasure and energy, /
“No, not Zoraida; Maria, Maria!” giving them to understand that she was called “Maria” and not “Zoraida.” /
These words, and the touching earnestness with which she uttered them, drew more than one tear from some of the listeners, particularly the women, who are by nature tender-hearted and compassionate. Luscinda embraced her affectionately, saying, /
“Yes, yes, Maria, Maria,” to which the Moor replied, “Yes, yes, Maria; Zoraida macange,” which means “not Zoraida.”
Night was now approaching, and by the orders of those who accompanied Don Fernando the landlord had taken care and pains to prepare for them the best supper that was in his power. The hour therefore having arrived they all took their seats at a long table like a refectory one, for round or square table there was none in the inn, and the seat of honour at the head of it, though he was for refusing it, they assigned to Don Quixote, who desired the lady Micomicona to place herself by his side, as he was her protector. /
Luscinda and Zoraida took their places next her, opposite to them were Don Fernando and Cardenio, and next the captive and the other gentlemen, and by the side of the ladies, the curate and the barber. And so they supped in high enjoyment, which was increased when they observed Don Quixote leave off eating, and, moved by an impulse like that which made him deliver himself at such length when he supped with the goatherds, begin to address them:
“Verily, gentlemen, if we reflect upon it, great and marvellous are the things they see, who make profession of the order of knight-errantry. Say, what being is there in this world, who entering the gate of this castle at this moment, and seeing us as we are here, would suppose or imagine us to be what we are? Who would say that this lady who is beside me was the great queen that we all know her to be, or that I am that Knight of the Rueful Countenance, trumpeted far and wide by the mouth of Fame? Now, there can be no doubt that this art and calling surpasses all those that mankind has invented, and is the more deserving of being held in honour in proportion as it is the more exposed to peril. /
Away with those who assert that letters have the preeminence over arms; I will tell them, whosoever they may be, that they know not what they say. For the reason which such persons commonly assign, and upon which they chiefly rest, is, that the labours of the mind are greater than those of the body, and that arms give employment to the body alone; as if the calling were a porter’s trade, for which nothing more is required than sturdy strength; or as if, in what we who profess them call arms, there were not included acts of vigour for the execution of which high intelligence is requisite; or as if the soul of the warrior, when he has an army, or the defence of a city under his care, did not exert itself as much by mind as by body. /
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