Saturday, September 27, 2025

50.4 蹛寮仔 ê 人累積濟濟經驗

50.4 Tòa liâu-á ê lâng lúi-chek chē-chē keng-giām

Khòaⁿ-iûⁿ-á ê ōe hō͘ chèng-lâng kám-kak hó-sńg, iû-kî sī kàu-sū, i tō tùi i kóng:

"Sim-chêng pàng khin-sang, hiaⁿ-tī, bián hiah tio̍h-kip boeh kā chit-chiah iûⁿ-á kóaⁿ tńg-khì iûⁿ-tiâu. In-ūi sī iûⁿ-bó, lí chai lah, i chóng-sī khah hòng-tōng, hō͘ lí koán bē-lâi. Lâi chia chia̍h kóa mi̍h-kiāⁿ, sió sip chi̍t-ē, án-ne lí tō bē hóe-khì tōa, mā thang hō͘ iûⁿ-á sió hioh-khùn chi̍t-ē," ná án-ne kóng, i kō͘ chhiám-á chhiám chi̍t-tè léng thò͘-á bah kau hō͘ i.

Khòaⁿ-iûⁿ-á liân-liân soeh-siā kā chiap kòe-lâi, koh lim chi̍t-ē chiú, sim-chêng chēng lo̍h-lâi, jiân-āu kóng:

"Chhiáⁿ lia̍t-ūi koh-hā m̄-thang in-ūi khòaⁿ góa hiah chèng-keng kap iûⁿ-á kóng-ōe, soah kā góa tòng-chò gōng-á. Sū-si̍t sī, tī góa kóng ê ōe lāi-bīn ū bó͘-chióng ê ki-bi̍t. Sui-bóng góa sī chng-kha-sông, iáu bô gōng kah bē-hiáu hun-pia̍t lâng kap tōng-bu̍t."

"Che góa siong-sìn," sîn-hū kóng, "chiū góa ê keng-giām, chhiū-nâ lāi mā ē chhut ha̍k-chiá, khòaⁿ-iûⁿ ê liâu-á mā ē tòa tiat-ha̍k ka."

"M̄-koán án-nóa kóng, sian-siⁿ," khòaⁿ-iûⁿ-á hôe-tap, "tòa liâu-á ê lâng lúi-chek chē-chē keng-giām. Che sī chin-si̍t, góa kóng lín tō ē liáu-kái, sui-bóng bô lâng kiò góa kóng, m̄-koh, lia̍t-ūi sin-sū nā bô khì-hiâm, khéng thiaⁿ góa kóng, góa ē-sái kā lín kóng chi̍t-ê chin-si̍t ê kò͘-sū, chèng si̍t chit-ūi sin-sū (i pí hiòng sîn-hū) í-ki̍p góa só͘ kóng ê ōe pēng bô m̄-tio̍h."

Thiaⁿ tio̍h che, Don Quixote ìn: "Khòaⁿ khí-lâi, chit-chân tāi-chì ū bó͘-chióng khî-sū-tō sek-chhái, chiū góa kò-jîn lâi kóng, hiaⁿ-tī, góa kài kah-ì thiaⁿ lí ê kó͘. Góa siong-sìn, chāi-chō ê lia̍t-ūi sin-sū mā kāng-khoán, in-ūi in lóng ū ko-sióng ê tì-hūi, koh jia̍t-ài chhù-bī, sin-kî, ē-tit gô͘-lo̍k sim-lêng ê sū-bu̍t. Góa kám-kak kài khak-tēng, lí ê kó͘ tō sī hit-chióng kó͘. Khai-sí kóng pah, hiaⁿ-tī, goán lóng chún-pī boeh thiaⁿ ah lah."

"Góa boeh thiu-kha," Sancho kóng, "boeh the̍h chit-tè piáⁿ khì khe-á piⁿ hia, ū-kàu tī hia chia̍h saⁿ-kang. Góa thiaⁿ goán chú-lâng kóng kòe, iû-kiap khî-sū nā ū ki-hōe, tio̍h chīn-liōng chia̍h kah pak-tó͘ té bē loeh, in-ūi in chhiâng-chāi ì-gōa chhim-ji̍p chhiū-nâ, la̍k-kang chhōe bô chhut-lō͘. Chit-sî nā bô sū-sian chia̍h pá-pá, a̍h sī bé-an tē ê chia̍h-mi̍h bô-kàu, tō ē iau-sí tī hia, piàn chò ìm-si, che chhiâng-chāi hoat-seng."

"Lí kóng ê bô m̄-tio̍h, Sancho," Don Quixote kóng, "boeh khì kín khì, chīn-liōng chia̍h. Góa í-keng chia̍h ū-kàu ah, kan-ta siūⁿ boeh hō͘ sim-sîn khin-sang chi̍t-ē, siūⁿ boeh lâi thiaⁿ chit-ūi hiaⁿ-tī ê kò͘-sū."

"Taⁿ lán lóng lâi thiaⁿ," kàu-sū án-ne kóng, jiân-āu i chhiáⁿ hit-ê khòaⁿ-iûⁿ-á khai-sí kóng i ê kò͘-sū.

Khòaⁿ-iûⁿ-á ná phok goân-lâi lia̍h tī kak ê soaⁿ-iûⁿ kha-chiah-phiaⁿ, ná tùi i kóng:

"Tó tī góa piⁿ-á chia, Hoe-tiám-á, lán iáu bô kip boeh tńg-khì iûⁿ-tiâu."

Soaⁿ-iûⁿ ká-ná thiaⁿ ū i ê ōe, in-ūi chi̍t-ē khòaⁿ tio̍h chú-lâng chē lo̍h-lâi, i mā sûi tiām-tiām tó lo̍h-lâi tī i sin-piⁿ, koh gia̍h-thâu khòaⁿ chú-lâng, bē-su piáu-sī boeh choan-sim thiaⁿ i kóng-kó͘. Chū án-ne khòaⁿ-iûⁿ-á khai-sí i ê kò͘-sū.

[2025-1-4]

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50.4 蹛寮仔 ê 人累積濟濟經驗

看羊仔 ê 話 hō͘ 眾人感覺好耍, 尤其是教士, 伊 tō 對伊講:

"心情放輕鬆, 兄弟, 免 hiah 著急欲 kā 這隻羊仔趕轉去羊牢. 因為是羊母, 你知 lah, 伊總是 khah 放蕩, hō͘ 你管袂來. 來 chia 食寡物件, 小 sip 一下, án-ne 你 tō 袂火氣大, mā thang hō͘ 羊仔小歇睏一下," ná án-ne 講, 伊 kō͘ 攕仔攕一塊冷兔仔肉交 hō͘ 伊.

看羊仔連連說謝 kā 接過來, koh 啉一下酒, 心情靜落來, 然後講:

"請列位閣下毋通因為看我 hiah 正經 kap 羊仔講話, soah kā 我當做戇仔. 事實是, tī 我講 ê 話內面有某種 ê 機密. 雖罔我是庄跤 sông, 猶無戇 kah 袂曉分別人 kap 動物."

"Che 我相信," 神父講, "就我 ê 經驗, 樹林內 mā ē 出學者, 看羊 ê 寮仔 mā ē 蹛哲學家."

"毋管 án-nóa 講, 先生," 看羊仔回答, "蹛寮仔 ê 人累積濟濟經驗. 這是真實, 我講恁 tō ē 了解, 雖罔無人叫我講, 毋過, 列位紳士若無棄嫌, 肯聽我講, 我 ē-sái kā 恁講一个真實 ê 故事, 證實這位紳士 (伊比向神父) 以及我所講 ê 話並無毋著."

聽著 che, Don Quixote 應: "看起來, 這層代誌有某種騎士道色彩, 就我個人來講, 兄弟, 我 kài 佮意聽你 ê 古. 我相信, 在座 ê 列位紳士 mā 仝款, 因為 in lóng 有高尚 ê 智慧, koh 熱愛趣味, 新奇, 會得娛樂心靈 ê 事物. 我感覺 kài 確定, 你 ê 古 tō 是彼種古. 開始講 pah, 兄弟, 阮 lóng 準備欲聽 ah lah."

"我欲抽跤," Sancho 講, "欲提這塊餅去溪仔邊 hia, 有夠 tī hia 食三工. 我聽阮主人講過, 遊俠騎士若有機會, 著盡量食 kah 腹肚貯袂 loeh, 因為 in 常在意外深入樹林, 六工揣無出路. 這時若無事先食飽飽, a̍h 是馬鞍袋 ê chia̍h-mi̍h 無夠, tō ē 枵死 tī hia, 變做蔭屍, che 常在發生."

"你講 ê 無毋著, Sancho," Don Quixote 講, "欲去緊去, 盡量食. 我已經食有夠 ah, kan-ta 想欲 hō͘ 心神輕鬆一下, 想欲來聽這位兄弟 ê 故事."

"今咱 lóng 來聽," 教士 án-ne 講, 然後伊請彼个看羊仔開始講伊 ê 故事.

看羊仔 ná 撲原來掠 tī 角 ê 山羊尻脊骿, ná 對伊講:

"倒 tī 我邊仔 chia, 花點仔, 咱猶無急欲轉去羊牢."

山羊 ká-ná 聽有伊 ê 話, 因為一下看著主人坐落來, 伊 mā 隨恬恬倒落來 tī 伊身邊, koh 攑頭看主人, 袂輸表示欲專心聽伊講古. 自 án-ne 看羊仔開始伊 ê 故事.

[2025-1-4]

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50.4

The goatherd’s talk amused all who heard it, but especially the canon, who said to him, /

“As you live, brother, take it easy, and be not in such a hurry to drive this goat back to the fold; for, being a female, as you say, she will follow her natural instinct in spite of all you can do to prevent it. Take this morsel and drink a sup, and that will soothe your irritation, and in the meantime the goat will rest herself,” and so saying, he handed him the loins of a cold rabbit on a fork.

The goatherd took it with thanks, and drank and calmed himself, and then said, /

“I should be sorry if your worships were to take me for a simpleton for having spoken so seriously as I did to this animal; but the truth is there is a certain mystery in the words I used. I am a clown, but not so much of one but that I know how to behave to men and to beasts.”

“That I can well believe,” said the curate, “for I know already by experience that the woods breed men of learning, and shepherds’ huts harbour philosophers.”

“At all events, señor,” returned the goatherd, “they shelter men of experience; and that you may see the truth of this and grasp it, though I may seem to put myself forward without being asked, I will, if it will not tire you, gentlemen, and you will give me your attention for a little, tell you a true story which will confirm this gentleman’s word (and he pointed to the curate) as well as my own.”

To this Don Quixote replied, “Seeing that this affair has a certain colour of chivalry about it, I for my part, brother, will hear you most gladly, and so will all these gentlemen, from the high intelligence they possess and their love of curious novelties that interest, charm, and entertain the mind, as I feel quite sure your story will do. So begin, friend, for we are all prepared to listen.”

“I draw my stakes,” said Sancho, “and will retreat with this pasty to the brook there, where I mean to victual myself for three days; for I have heard my lord, Don Quixote, say that a knight-errant’s squire should eat until he can hold no more, whenever he has the chance, because it often happens them to get by accident into a wood so thick that they cannot find a way out of it for six days; and if the man is not well filled or his alforjas well stored, there he may stay, as very often he does, turned into a dried mummy.”

“Thou art in the right of it, Sancho,” said Don Quixote; “go where thou wilt and eat all thou canst, for I have had enough, and only want to give my mind its refreshment, as I shall by listening to this good fellow’s story.”

“It is what we shall all do,” said the canon; and then begged the goatherd to begin the promised tale.

The goatherd gave the goat which he held by the horns a couple of slaps on the back, saying, /

“Lie down here beside me, Spotty, for we have time enough to return to our fold.” /

The goat seemed to understand him, for as her master seated himself, she stretched herself quietly beside him and looked up in his face to show him she was all attention to what he was going to say, and then in these words he began his story.

c50e.jpg (27K)

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50.3 伊對 Sancho ê 天真感覺著驚

50.3 I tùi Sancho ê thian-chin kám-kak tio̍h-kiaⁿ

"Góa bô liáu-kái hiah-ê tiat-ha̍k lah," Sancho Panza hôe-tap, "góa kan-ta chai-iáⁿ, it-tàn góa o̍h ē-hiáu án-nóa koán-lí, góa tō ài-boeh ū léng-tē. Góa kap pa̍t-lâng kāng khoán, ū góa ê lêng-hûn, góa mā kap ta̍k-lâng kāng-khoán, ū ka-tī ê sin-khu, góa mā boeh kap pa̍t-ê kok-ông kāng-khoán, ū góa ka-tī ê léng-tē. Nā chiâⁿ-chò kok-ông, góa tō it-chhè chiàu góa ê kah-ì khì chò, án-ne góa tō ē-tàng hō͘ ka-tī hoaⁿ-hí, nā hoaⁿ-hí, góa tō it-chhè boán-chiok. Chi̍t-ê lâng nā boán-chiok, i tō bô koh-khah chē ê su-kiû, nā bô koh-khah chē ê su-kiû, tāi-chì tō oân-boán ah lah. Só͘-tì, léng-tē tio̍h kín lâi lah, kî-thaⁿ ê, tō ná chi̍t-ê chheⁿ-mê-ê kā lēng-gōa hit-ê kóng: Goān Sîn pó-pì, hō͘ lán koh sio-kìⁿ." 

"Lí teh kóng he ōe mā sī bē-bái ê tiat-ha̍k neh, Sancho," kàu-sū kóng, "m̄-koh, koan-hē hong-tē ê tāi-chì, iáu-ū chē-chē su-iàu thó-lūn."

Thiaⁿ tio̍h che, Don Quixote hôe-tap:

"Góa m̄-chai iáu-ū siáⁿ hó kóng ê, góa put-kò sī khòaⁿ úi-tāi ê Gaul ê Amadis chò bô͘-hoān. I hong i ê sū-chiông chò Firme Tó-sū ê pek-chiok, só͘-tì, góa mā ē-sái an-sim-á hong Sancho Panza chò pek-chiok, in-ūi i sī iû-kiap khî-sū ê sū-chiông tang-tiong siōng hó ê sū-chiông." 

Kàu-sū tùi Don Quixote kóng kah ū-lō͘-lâi ê hàm-kó͘ ōe (ká-sú hàm-kó͘ ōe mā ē-tàng kóng kah ū-lō͘-lâi) kám-kak tio̍h-kiaⁿ, iû-kî sī i iú-koan ô͘ tiong khî-sū ê kóng-hoat, hián-sī chhut i tùi só͘ tha̍k chheh tiong he bênng-hián ké-ōe ê ìn-siōng. Chòe-āu, i tùi Sancho ê thian-chin mā kám-kak tio̍h-kiaⁿ, chit-ê lâng kèng-jiân chiah-nī kip-chhiat ài-boeh tit-tio̍h chú-lâng èng-ún i ê léng-tē.

Chit-sî, kàu-sū phài khì kheh-chàn khan chài-hòe ê lô-á ê chhiú-ē í-keng tńg-lâi, koh tī chheⁿ chháu-tē pho͘ chi̍t-niá thán-á chò chia̍h-pn̄g-toh, sûi-lâng chē tī chhiū-iáⁿ ē-bīn teh chia̍h mi̍h-kiāⁿ, ná gû-chhia chú-lâng tī thâu-chêng só͘ kóng ê, hó-hó teh hiáng-siū chit-ê tē-tiám ê sù-sī. 

Tng-teh chia̍h-pn̄g ê sî, chèng-lâng hut-jiân thiaⁿ tio̍h chi̍t-chūn tōa siaⁿ-hiáng, koh ū liang-á siaⁿ, kài sêng sī ùi hū-kīn ê chhì-phè kap ba̍t-ba̍t ê é-chhiū-á tang-tiong thoân lâi ê. Kāng hit sî-chūn, in khòaⁿ tio̍h chi̍t-chiah súi soaⁿ-iûⁿ, kui sin-khu o͘, pe̍h, kap chang-sek ê hoe-tiám, thiàu chhut kē-chhiū-châng, āu-piah tòe chi̍t-ê khòaⁿ-iûⁿ-á, ná kā kho͘, koh ná hoah i tòng-tiām, kiò i tòng-tiām a̍h sī tńg-khì iûⁿ-tiâu. Tô-cháu ê tio̍h-kiaⁿ soaⁿ-iûⁿ, bē-su boeh chhōe lâng pó-hō͘, cháu hiòng in chia lâi, jiân-āu khiā tiām tī hia. Khòaⁿ-iûⁿ-á jiok kòe-lâi, lia̍h-tiâu i ê iûⁿ-kak, khai-sí tùi i kóng-ōe, bē-su i thiaⁿ-ū lán-lâng ê ōe:

"Ah, lí chit-ê lōng-liú-lian, Hoe-tiám-á, Hoe-tiám-á. Lí ná ē it-ti̍t teh loān-sú chông ah? Kám sī khì hō͘ siáⁿ iá-lông kā lí heh-kiaⁿ tio̍h, koai kiáⁿ? Lí kā góa kóng tàu-té sī án-nóa, hó bô, koai gín-á? Kám iáu-ū siáⁿ kî-thaⁿ lí-iû, in-ūi lí sī iûⁿ-á sió-chiá, bô chi̍t-sî tek-tiāⁿ? M̄-thang pháiⁿ sèng-tē, mā m̄-thang o̍h pa̍t-lâng pháiⁿ sèng-tē! Tńg-lâi, kín tńg-lâi, koai-koai. Sui-bóng lí bô hoaⁿ-hí, tān, tī iûⁿ-tiâu a̍h sī kap tông-phōaⁿ chò-hóe, siōng-bô lí ē khah an-choân. Chò chi̍t-ê chhōa-thâu ê, ká-sú liân lí to sì-kè lōng-liú-lian, boeh kiò kî-thaⁿ iûⁿ-á án-nóa hó ah?"

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50.3 伊對 Sancho ê 天真感覺著驚

"我無了解 hiah-ê 哲學 lah," Sancho Panza 回答, "我 kan-ta 知影, 一旦我學 ē-hiáu án-nóa 管理, 我 tō 愛欲有領地. 我 kap 別人仝款, 有我 ê 靈魂, 我 mā kap 逐人仝款, 有 ka-tī ê 身軀, 我 mā 欲 kap 別个國王仝款, 有我 ka-tī ê 領地. 若成做國王, 我 tō 一切照我 ê 佮意去做, án-ne 我 tō 會當 hō͘ ka-tī 歡喜, 若歡喜, 我 tō 一切滿足. 一个人若滿足, 伊 tō 無 koh-khah 濟 ê 需求, 若無 koh-khah 濟 ê 需求, 代誌 tō 圓滿 ah lah. 所致, 領地著緊來 lah, 其他 ê, tō ná 一个青盲 ê kā 另外彼个講: 願神保庇, hō͘ 咱 koh 相見." 

"你 teh 講 he 話 mā 是袂䆀 ê 哲學 neh, Sancho," 教士講, "毋過, 關係封地 ê 代誌, 猶有濟濟需要討論."

聽著 che, Don Quixote 回答:

"我毋知猶有啥好講 ê, 我不過是看偉大 ê Gaul ê Amadis 做模範. 伊封伊 ê 侍從做 Firme 島嶼 ê 伯爵, 所致, 我 mā ē-sái 安心仔封 Sancho Panza 做伯爵, 因為伊是遊俠騎士 ê 侍從當中上好 ê 侍從." 

教士對 Don Quixote 講 kah 有路來 ê 譀古話 (假使譀古話 mā ē-tàng 講 kah 有路來) 感覺著驚, 尤其是伊有關湖中騎士 ê 講法, 顯示出伊 tùi 所讀冊中 he 明顯假話 ê 印象. 最後, 伊對 Sancho ê 天真 mā 感覺著驚, 這个人竟然 chiah-nī 急切愛欲得著主人應允伊 ê 領地.

這時, 教士派去客棧牽載貨 ê 騾仔 ê 手下已經轉來, koh tī 青草地鋪一領毯仔做食飯桌, 隨人坐 tī 樹影下面 teh 食物件, ná 牛車主人 tī 頭前所講 ê, 好好 teh 享受這个地點 ê 四序. 

Tng-teh 食飯 ê 時, 眾人忽然聽著一陣大聲響, koh 有喨仔聲, kài 成是 ùi 附近 ê 刺 phè kap ba̍t-ba̍t ê 矮樹仔當中傳來 ê. 仝彼時陣, in 看著一隻媠山羊, 規身軀烏, 白, kap 棕色 ê 花點, 跳出低樹叢, 後壁綴一个看羊仔, ná kā kho͘, koh ná 喝伊擋恬, 叫伊擋恬 a̍h 是轉去羊牢. 逃走 ê 著驚山羊, 袂輸欲揣人保護, 走向 in chia 來, 然後徛恬 tī hia. 看羊仔 jiok 過來, 掠牢伊 ê 羊角, 開始對伊講話, 袂輸伊聽有咱人 ê 話:

"Ah, 你這个浪 liú-lian, 花點仔, 花點仔. 你那會一直 teh 亂使傱 ah? Kám 是去 hō͘ 啥野狼 kā 你嚇驚著, 乖囝? 你 kā 我講到底是 án-nóa, 好無, 乖囡仔? Kám 猶有啥其他理由, 因為你是羊仔小姐, 無一時 tek-tiāⁿ? 毋通歹性地, mā 毋通學別人歹性地! 轉來, 緊轉來, 乖乖. 雖罔你無歡喜, 但, tī 羊牢 a̍h 是 kap 同伴做伙, 上無你 ē khah 安全. 做一个𤆬頭 ê, 假使連你 to 四界浪 liú-lian, 欲叫其他羊仔 án-nóa 好 ah?"

--

50.3

“I don’t understand those philosophies,” returned Sancho Panza; “all I know is I would I had the county as soon as I shall know how to govern it; for I have as much soul as another, and as much body as anyone, and I shall be as much king of my realm as any other of his; and being so I should do as I liked, and doing as I liked I should please myself, and pleasing myself I should be content, and when one is content he has nothing more to desire, and when one has nothing more to desire there is an end of it; so let the county come, and God be with you, and let us see one another, as one blind man said to the other.”

“That is not bad philosophy thou art talking, Sancho,” said the canon; “but for all that there is a good deal to be said on this matter of counties.”

To which Don Quixote returned, /

“I know not what more there is to be said; I only guide myself by the example set me by the great Amadis of Gaul, when he made his squire count of the Insula Firme; and so, without any scruples of conscience, I can make a count of Sancho Panza, for he is one of the best squires that ever knight-errant had.”

The canon was astonished at the methodical nonsense (if nonsense be capable of method) that Don Quixote uttered, at the way in which he had described the adventure of the knight of the lake, at the impression that the deliberate lies of the books he read had made upon him, and lastly he marvelled at the simplicity of Sancho, who desired so eagerly to obtain the county his master had promised him.

By this time the canon’s servants, who had gone to the inn to fetch the sumpter mule, had returned, and making a carpet and the green grass of the meadow serve as a table, they seated themselves in the shade of some trees and made their repast there, that the carter might not be deprived of the advantage of the spot, as has been already said. /

As they were eating they suddenly heard a loud noise and the sound of a bell that seemed to come from among some brambles and thick bushes that were close by, and the same instant they observed a beautiful goat, spotted all over black, white, and brown, spring out of the thicket with a goatherd after it, calling to it and uttering the usual cries to make it stop or turn back to the fold. The fugitive goat, scared and frightened, ran towards the company as if seeking their protection and then stood still, and the goatherd coming up seized it by the horns and began to talk to it as if it were possessed of reason and understanding: /

“Ah wanderer, wanderer, Spotty, Spotty; how have you gone limping all this time? What wolves have frightened you, my daughter? Won’t you tell me what is the matter, my beauty? But what else can it be except that you are a she, and cannot keep quiet? A plague on your humours and the humours of those you take after! Come back, come back, my darling; and if you will not be so happy, at any rate you will be safe in the fold or with your companions; for if you who ought to keep and lead them, go wandering astray, what will become of them?”

--


50.2 我恐驚伊無能力管理領地

50.2 Góa khióng-kiaⁿ i bô lêng-le̍k koán-lí léng-tē

"... Ū-kàu bê-lâng neh, tī che liáu-āu, in án-ne kóng, in chhōa khî-sū khì lēng-gōa chi̍t-ê pâng-keng, hia ê toh-téng ê pò͘-tì hō͘ i khòaⁿ kah tio̍h-kiaⁿ koh hòⁿ-hiân. In kō͘ ùi hó͘-phek kap phang-hoe cheng-liû ê chheng-chúi kā i sé-chhiú, chhiáⁿ i chē tī chhiūⁿ-gê í-á, ū kúi-ê siàu-lú tiām-tiām ho̍k-sāi i, phâng chhut-lâi chi̍t-lō͘ chi̍t-lō͘ kok-chióng cheng-tì ê chia̍h-mi̍h, he hó-chia̍h khoán hō͘ i m̄-chai boeh seng chia̍h tó chi̍t-hāng. Chia̍h-pn̄g ê tiong-kan, im-ga̍k-siaⁿ hiáng-khí, tān i m̄-chai he sī siáng tī tó-ūi ián-chàu ê. Jiân-āu iōng-chhan kiat-sok, toh-téng siu hó liáu-āu, khî-sū theⁿ tī í-á, ná pêng-sî án-ne teh ngiáu-gê ê sî, chi̍t-ê siàu-lú, pí pa̍t-ê lóng khah súi, khah khó-ài, ùi pâng-keng mn̂g ji̍p-lâi, kiâⁿ óa i sin-piⁿ, khai-sí kā i siāu-kài chit-ê siâⁿ-pó, í-ki̍p yi sī án-nóa siū-tio̍h mô͘-hoat hông koaiⁿ tī chia, iáu-ū kî-thaⁿ sū-hāng, che lóng hō͘ khî-sū kap tho̍k-chiá tōa-tōa tio̍h-kiaⁿ. 

"Taⁿ góa bô-ài koh siông-sè kóng che ah lah, in-ūi bô-lūn ùi tó chi̍t-pún iû-kiap khî-sū kò͘-sū ê tó chi̍t pō͘-hūn, chóng-sī hō͘ tho̍k-chiá, bô-lūn he sī siáng, tit-tio̍h khoài-lo̍k kap kiaⁿ-kî. Lí tio̍h thiaⁿ góa ê kiàn-gī, sian-siⁿ, góa thâu-chêng ū kóng-kòe, tha̍k chit-chióng chheh, lí ē hoat-hiān, in ē-tàng siau-kái lí sim-thâu ê ut-būn, hō͘ lí ah-ut ê sim-chêng tit-tio̍h thê-seng.

"Chiū góa ka-tī lâi kóng, chū-chiông chiâⁿ-chò iû-kiap khî-sū í-lâi, góa piàn chò ióng-kám, lé-māu, khóng-khài, ū siu-ióng, hó tō͘-liōng, kheh-khì, hó-táⁿ, bûn-ngá, ū nāi-sim, o̍h ē-hiáu jím-siū khùn-lân, kaⁿ-lô, kap tiòng-siâ ê chiat-bôa. Sui-bóng tú-chiah góa iáu hông tòng-chò siáu-lâng koaiⁿ tī lông-á lāi, tān góa hi-bāng, chí-iàu thiⁿ pang-chān, miā-ūn mài chó͘-tòng, pîn góa chhiú-kut ê le̍k-liōng, góa tiāⁿ-tio̍h ē chiâⁿ-chò bó͘ chi̍t-ê ông-kok ê kok-ông, hō͘ góa ē-tit piáu-ta̍t sim-lāi ê kám-kek kap khóng-khài. In-ūi góa kian-sìn, sian-siⁿ, sàn-chhiah lâng sui-bóng ū chòe chông-ko ê khóng-khài ê sim, sī bô hoat-tō͘ kā hit-chióng bí-tek tián-hiān hō͘ jīm-hô lâng. Kan-ta sèng-chêng ê kám-un sī sí ê mi̍h, tō ná chhiūⁿ bô hêng-tōng ê sìn-gióng mā sī sí ê.

"In-ūi chit-ê iân-kò͘, góa hi-bāng miā-ūn ē-tàng kín hō͘ góa ki-hōe chiâⁿ-chò hông-tè, án-ne góa tō ē-tàng kā sim-lāi ê hó-ì kō͘ hêng-tōng chò hō͘ goán pêng-iú, iû-kî sī hō͘ khó-liân ê Sancho Panza, its góa ê sū-chiông. I sī choân sè-kài siōng hó ê lâng, góa boeh sàng i chi̍t-tè léng-tē, he chin chá góa tō tah-èng i, chí-sī góa khióng-kiaⁿ i bô-kàu lêng-le̍k thang koán-lí hit-tè léng-tē."

Sancho thiaⁿ tio̍h chú-lâng siōng āu-bīn chiah-ê ōe, tō tùi i kóng: 

"Ka-iû oh, Don Quixote Ss, kín kā lí put-sî tah-èng ê léng-tē hong hō͘ góa, góa tán kài kú ah neh, góa kā lí pó-chèng, góa bô khiàm lêng-le̍k koán-lí he. Tō-kóng góa khiàm, góa mā thiaⁿ kóng, chit sè-kài mā ū-lâng hù nî-cho͘ teh sòe léng-tē, iû in ka-tī hū-chek koán-lí, léng-chú kan-ta khiau-kha hiáng-siū cho͘-kim tō hó, siáⁿ to bián chhau-sim neh. Góa ē án-ne chò, bô chhap sió tāi-chì, siu-kha sé-chhiú, kō͘ cho͘-kim hiáng-siū ná kong-chiok ê seng-oa̍h, kā tāi-chì kau hō͘ in chiàu in ê hoat-tō͘ khì chò."

"Sancho hiaⁿ-tī," kàu-sū kóng, "chit-chióng chò-hoat, kan-ta ē-sái-tit iōng tī siu cho͘-kim, tān léng-chú koh tio̍h chhin-sin chhú-lí su-hoat sū-bū neh. Che chiū su-iàu lêng-le̍k kap hó ê phòaⁿ-toàn, te̍k-pia̍t sī ài ū kian-tēng ê koat-sim khì hoat-hiān chin-siòng. Nā chi̍t khai-sí tō khiàm che, kàu pòaⁿ-lō͘ kap kiat-bóe tiāⁿ-tio̍h chhut chha-chhò. Sîn chóng-sī pang-chān tan-sûn ê lâng ê siān-liông ì-tô͘, chó͘-gāi kan-chà ê lâng ê siâ-ok kè-ōe."

--

50.2 我恐驚伊無能力管理領地

"... 有夠迷人 neh, tī che 了後, in án-ne 講, in 𤆬騎士去另外一个房間, hia ê 桌頂 ê 布置 hō͘ 伊看 kah 著驚 koh 好玄. In kō͘ ùi 琥珀 kap 芳花蒸餾 ê 清水 kā 伊洗手, 請伊坐 tī 象牙椅仔, 有幾个少女恬恬服侍伊, 捀出來一路一路各種精致 ê chia̍h-mi̍h, he 好食款 hō͘ 伊毋知欲先食佗一項. 食飯 ê 中間, 音樂聲響起, 但伊毋知 he 是 siáng tī 佗位演奏 ê. 然後用餐結束, 桌頂收好了後, 騎士 theⁿ tī 椅仔, ná 平時 án-ne teh ngiáu 牙 ê 時, 一个少女, 比別个 lóng khah 媠, khah 可愛, ùi 房間門入來, 行倚伊身邊, 開始 kā 伊紹介這个城堡, 以及她是 án-nóa 受著魔法 hông 關 tī chia, 猶有其他事項, che lóng hō͘ 騎士 kap 讀者大大著驚. 

"今我無愛 koh 詳細講 che ah lah, 因為無論 ùi 佗一本遊俠騎士故事 ê 佗一部份, 總是 hō͘ 讀者, 無論 he 是 siáng, 得著快樂 kap 驚奇. 你著聽我 ê 建議, 先生, 我頭前有講過, 讀這種冊, 你 ē 發現, in ē-tàng 消解你心頭 ê 鬱悶, hō͘ 你壓鬱 ê 心情得著提升.

"就我 ka-tī 來講, 自從成做遊俠騎士以來, 我變做勇敢, 禮貌, 慷慨, 有修養, 好肚量, 客氣, 好膽, 文雅, 有耐心, 學 ē-hiáu 忍受困難, 監牢, kap 中邪 ê 折磨. 雖罔拄才我猶 hông 當做痟人關 tī 櫳仔內, 但我希望, 只要天幫贊, 命運莫阻擋, 憑我手骨 ê 力量, 我定著 ē 成做某一个王國 ê 國王, hō͘ 我 ē-tit 表達心內 ê 感激 kap 慷慨. 因為我堅信, 先生, 散赤人雖罔有最崇高 ê 慷慨 ê 心, 是無法度 kā 彼種美德展現 hō͘ 任何人. Kan-ta 性情 ê 感恩是死 ê mi̍h, tō ná 像無行動 ê 信仰 mā 是死 ê.

"因為這个緣故, 我希望命運 ē-tàng 緊 hō͘ 我機會成做皇帝, án-ne 我 tō ē-tàng kā 心內 ê 好意 kō͘ 行動做 hō͘ 阮朋友, 尤其是 hō͘ 可憐 ê Sancho Panza, its 我 ê 侍從. 伊是全世界上好 ê 人, 我欲送伊一塊領地, he 真早我 tō 答應伊, 只是我恐驚伊無夠能力 thang 管理彼塊領地."

Sancho 聽著主人上後面 chiah-ê 話, tō 對伊講: 

"加油 oh, Don Quixote Ss, 緊 kā 你不時答應 ê 領地封 hō͘ 我, 我等 kài 久 ah neh, 我 kā 你保證, 我無欠能力管理 he. Tō 講我欠, 我 mā 聽講, chit 世界 mā 有人付年租 teh 稅領地, 由 in ka-tī 負責管理, 領主 kan-ta khiau-kha 享受租金 tō 好, 啥 to 免操心 neh. 我 ē án-ne 做, 無 chhap 小代誌, 收跤洗手, kō͘ 租金享受 ná 公爵 ê 生活, kā 代誌交 hō͘ in 照 in ê 法度去做."

"Sancho 兄弟," 教士講, "這種做法, kan-ta 會使得用 tī 收租金, 但領主 koh 著親身處理司法事務 neh. Che 就需要能力 kap 好 ê 判斷, 特別是愛有堅定 ê 決心去發現真相. 若一開始 tō 欠 che, 到半路 kap 結尾定著出差錯. 神總是幫贊單純 ê 人 ê 善良意圖, 阻礙奸詐 ê 人 ê 邪惡計畫."

--

50.2

How charming it is, then, when they tell us how, after all this, they lead him to another chamber where he finds the tables set out in such style that he is filled with amazement and wonder; to see how they pour out water for his hands distilled from amber and sweet-scented flowers; how they seat him on an ivory chair; to see how the damsels wait on him all in profound silence; how they bring him such a variety of dainties so temptingly prepared that the appetite is at a loss which to select; to hear the music that resounds while he is at table, by whom or whence produced he knows not. And then when the repast is over and the tables removed, for the knight to recline in the chair, picking his teeth perhaps as usual, and a damsel, much lovelier than any of the others, to enter unexpectedly by the chamber door, and herself by his side, and begin to tell him what the castle is, and how she is held enchanted there, and other things that amaze the knight and astonish the readers who are perusing his history.

c50d.jpg (433K)

“But I will not expatiate any further upon this, as it may be gathered from it that whatever part of whatever history of a knight-errant one reads, it will fill the reader, whoever he be, with delight and wonder; and take my advice, sir, and, as I said before, read these books and you will see how they will banish any melancholy you may feel and raise your spirits should they be depressed. /

For myself I can say that since I have been a knight-errant I have become valiant, polite, generous, well-bred, magnanimous, courteous, dauntless, gentle, patient, and have learned to bear hardships, imprisonments, and enchantments; and though it be such a short time since I have seen myself shut up in a cage like a madman, I hope by the might of my arm, if heaven aid me and fortune thwart me not, to see myself king of some kingdom where I may be able to show the gratitude and generosity that dwell in my heart; for by my faith, señor, the poor man is incapacitated from showing the virtue of generosity to anyone, though he may possess it in the highest degree; and gratitude that consists of disposition only is a dead thing, just as faith without works is dead. /

For this reason I should be glad were fortune soon to offer me some opportunity of making myself an emperor, so as to show my heart in doing good to my friends, particularly to this poor Sancho Panza, my squire, who is the best fellow in the world; and I would gladly give him a county I have promised him this ever so long, only that I am afraid he has not the capacity to govern his realm.”

Sancho partly heard these last words of his master, and said to him, /

“Strive hard you, Señor Don Quixote, to give me that county so often promised by you and so long looked for by me, for I promise you there will be no want of capacity in me to govern it; and even if there is, I have heard say there are men in the world who farm seigniories, paying so much a year, and they themselves taking charge of the government, while the lord, with his legs stretched out, enjoys the revenue they pay him, without troubling himself about anything else. That’s what I’ll do, and not stand haggling over trifles, but wash my hands at once of the whole business, and enjoy my rents like a duke, and let things go their own way.”

“That, brother Sancho,” said the canon, “only holds good as far as the enjoyment of the revenue goes; but the lord of the seigniory must attend to the administration of justice, and here capacity and sound judgment come in, and above all a firm determination to find out the truth; for if this be wanting in the beginning, the middle and the end will always go wrong; and God as commonly aids the honest intentions of the simple as he frustrates the evil designs of the crafty.”

--



50. Don Quixote kap 教士 ê 論戰, 以及其他事項/ 50.1 騎士跳入滾泡 ê 湖

50. Don Quixote kap kàu-sū ê lūn-chiàn, í-ki̍p kî-thaⁿ sū-hāng

50.1 Khî-sū thiàu-ji̍p kún-pho ê ô͘

"Ū-kàu hó-chhiò, neh!" Don Quixote hôe-tap, "Hiah-ê chheh ê chhut-pán ū kok-ông ê ín-chún, ū keng-kòe khoân-ui jîn-sū sím-he̍k, chèng-lâng tha̍k lóng hoaⁿ-hí, bô-lūn tōa-sè, hó-gia̍h a̍h sàn-chhiah, ha̍k-chiá a̍h chho͘-lâng, kùi-cho̍k a̍h pêng-bîn, iā tō sī kok-sek lâng, bô-lūn sin-hūn tē-ūi, thong-lâng to o-ló, lí soah kóng che sī pe̍h-chha̍t! Iû-kî sī, chiah-ê chheh piáu-hiān kah hiah chin-si̍t, kì-chài khî-sū ê pē-bú, pún-che̍k, chhin-chiâⁿ, nî-hòe, tē-tiám, í-ki̍p sū-chek, chi̍t-pō͘ chi̍t-pō͘, chi̍t-kang chi̍t-kang, siông-sè koh chheng-chhó kau-tài in ê só͘ chò só͘ kiâⁿ! 

"Mài koh kóng ah, sian-siⁿ, lí m̄-thang kóng chit-khoán siat-to̍k ê ōe! Siong-sìn góa, góa khǹg lí taⁿ tio̍h piáu-hiān kah chhin-chhiūⁿ chi̍t-ê lí-sèng ê lâng. Chí-iàu lí khì tha̍k chiah-ê chheh, lí tō ē hoat-hiān kî-tiong ê ò-miāu. Lâi, góa mn̄g lí, ū siáⁿ pí khòaⁿ tio̍h án-ne ê chêng-kéng koh-khah sóng-sim? Bīn-thâu-chêng sī chi̍t-ê tōa ô͘, kún-pho ê o͘ chúi, lāi-bīn chē-chē ê chôa, tō͘-tēng, kap kok-chióng khó-phà ê seng-bu̍t siû lâi siû khì, ô͘ tiong-ng thoân-lâi chi̍t-ê pi-ai ê siaⁿ-im, kóng:

"‘Khî-sū, m̄-koán lí sī siáng, khòaⁿ tio̍h chit-ê khó-phà ê ô͘, nā siūⁿ boeh tit-tio̍h chhàng tī che o͘-sek pho-lōng ē-bīn ê chióng-siúⁿ, lí tio̍h thê-khí lí ê kian-kiông ióng-khì, thiàu ji̍p che teh kún ê ô͘-chúi, nā bô, lí tō bô iân-hūn khòaⁿ tio̍h ē-bīn 7 sian-lú ê 7-chō siâⁿ-pó ê kiaⁿ-lâng bí-kéng.’

"Chŏaⁿ, hit-ê khî-sū tī he khó-phà siaⁿ-im bōe soah chìn-chêng, oân-choân bô tiû-tû, chi̍t-sut-á to bô khó-lī ka-tī só͘ bīn-tùi ê hûi-hiám, sīm-chì bô thǹg lo̍h tîm-tāng ê khoe-kah, tō kā ka-tī kau-thok hō͘ Sîn kap i ê hu-jîn, thiàu ji̍p he kún-pho ê ô͘ tiong. Tī i oân-choân bô iàu-ì, mā m̄-chai miā-ūn jû-hô ê tang-tiong, i hoat-hiān ka-tī lâi kàu chi̍t-tè chhiong-móa súi hoe ê chháu-tē, he kéng-sek liân thoân-soat ê ke̍k-lo̍k sè-kài Elysium to bē pí-phēng tit.

"Hia ê thiⁿ khòaⁿ khí-lâi khah thàu-bêng, ji̍t-thâu ê kong-bông te̍k-pia̍t bêng-liāng. Chi̍t-phìⁿ chheⁿ-chhùi ê chhiū-nâ tián-hiān tī gán-chêng, chheⁿ sìm-sìm siâⁿ lâng ba̍k-chiu. Bû-sò͘ ê kok-sek chiáu-á tī kau-chhap ê chhiū-ki tiong-kan nǹg-chǹg, hoat chhut hó-thiaⁿ ê koa-siaⁿ. Ū chi̍t-tiâu sió khe, khe-chúi thàu-bêng, lâu tī kim-n̂g ê iù soa kap ná chúi-chiⁿ ê pe̍h-sek îⁿ chio̍h-thâu téng-bīn. Iáu-koh ū chi̍t-ê cheng-tì ê, iû to-chhái phek-gio̍k kap bôa-iu tāi-lí-chio̍h só͘ chō-sêng ê phùn-chôaⁿ. Lēng-gōa koh ū chi̍t-ê khah chng-kha khoán ê phùn-chôaⁿ, téng-bīn kō͘ bô kui-chek ê hong-sek tah móa lâ-á khak í-ki̍p pe̍h-sek kap n̂g-sek ê lō͘-lê khak, tiong-kan koh chhap siám-kng ê chúi-chiⁿ chhùi-phìⁿ kap hóng húi-chhùi, chō-sêng chi̍t-kiāⁿ to-iūⁿ ê chok-phín, khòaⁿ khí-lâi gē-su̍t í-keng chhiau-kòe thian-jiân. 

"Hut-jiân, tī i bīn-chêng chhut-hiān chi̍t-chō kian-kò͘ ê siâⁿ-pó, mā ē-sái kóng sī hôa-lē ê kiong-tiān, ûi-chhiûⁿ sī sûn-kim, thah-lâu sī soān-chio̍h, tōa-mn̂g sī âng-gio̍k. Kán-tan kóng, he kò͘-chō kî-miāu, m̄-nā sú-iōng ê châi-liāu sī soān-chio̍h, âng pó-chio̍h, chin-chu, n̂g-kim, kap húi-chhùi, kiàn-tio̍k ê kang-gē koh-khah sī hán-kiàn.

"Khòaⁿ tio̍h it-chhè chiah-ê liáu-āu, ū siáⁿ koh-khah bê-lâng ê chêng-kéng ē iâⁿ-kòe khòaⁿ tio̍h chi̍t-tīn chhēng súi-saⁿ ê siàu-lú ùi siâⁿ-pó tōa-mn̂g kiâⁿ chhut-lâi? Taⁿ góa nā chiàu le̍k-sú ê kì-chài kā biâu-su̍t, khióng-kiaⁿ mā kóng bē oân. Jiân-āu, hit-ê khòaⁿ sī chhōa-thâu ê siàu-lú, kiâⁿ hiòng hit-ê thiàu lo̍h kún-chúi ô͘ ê ióng-kám khî-sū, khan khí i ê chhiú, tiām-tiām bô kóng-ōe, chhōa i ji̍p he hù-lē tông-hông ê kiong-tiān a̍h siâⁿ-pó, kā i thǹg kah kui-sin kng liu-liu, kō͘ lâ-lun sio-chúi kā i sé sin-khu, koh kā i kui sin-khu boah phang-iû, jiân-āu hō͘ i chhēng phang kòng-kòng ê jiû-nńg tiû-toān siatchuh. Lēng-gōa chi̍t-ê siàu-lú kòe-lâi, kā chi̍t-niá gōa-moa phi chiūⁿ i ê keng-kah-thâu, thiaⁿ-kóng he gōa-moa siōng-bô kè-ta̍t chi̍t-chō siâⁿ-chhī, sīm-chì koh-khah chē neh...

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50. Don Quixote kap 教士 ê 論戰, 以及其他事項

50.1 騎士跳入滾泡 ê 湖

"有夠好笑, neh!" Don Quixote 回答, "Hiah-ê 冊 ê 出版有國王 ê 允准, 有經過權威人士審核, 眾人讀 lóng 歡喜, 無論大細, 好額 a̍h 散赤, 學者 a̍h 粗人, 貴族 a̍h 平民, 也 tō 是各色人, 無論身份地位, 通人 to o-ló, 你 soah 講這是白賊! 尤其是, chiah-ê 冊表現 kah hiah 真實, 記載騎士 ê 爸母, 本籍, 親情, 年歲, 地點, 以及事蹟, 一步一步, 一工一工, 詳細 koh 清楚交代 in ê 所做所行! 

"莫閣講 ah, 先生, 你毋通講這款褻瀆 ê 話! 相信我, 我勸你今著表現 kah 親像一个理性 ê 人. 只要你去讀 chiah-ê 冊, 你 tō ē 發現其中 ê 奧妙. 來, 我問你, 有啥比看著 án-ne ê 情境 koh-khah 爽心? 面頭前是一个大湖, 滾泡 ê 烏水, 內面濟濟 ê 蛇, 杜定, kap 各種可怕 ê 生物泅來泅去, 湖中央傳來一个悲哀 ê 聲音, 講:

"‘騎士, 毋管你是 siáng, 看著這个可怕 ê 湖, 若想欲得著藏 tī che 烏色波浪下面 ê 獎賞, 你著提起你 ê 堅強勇氣, 跳入 che teh 滾 ê 湖水, 若無, 你 tō 無緣份看著下面 7 仙女 ê 7 座城堡 ê 驚人美景.’

"Chŏaⁿ, 彼个騎士 tī he 可怕聲音未 soah 進前, 完全無躊躇, 一屑仔 to 無考慮 ka-tī 所面對 ê 危險, 甚至無褪落沉重 ê 盔甲, tō kā ka-tī 交托 hō͘ 神 kap 伊 ê 夫人, 跳入 he 滾泡 ê 湖中. Tī 伊完全無要意, mā 毋知命運如何 ê 當中, 伊發現 ka-tī 來到一塊充滿媠花 ê 草地, he 景色連傳說 ê 極樂世界 Elysium to 袂比並得.

"Hia ê 天看起來 khah 透明, 日頭 ê 光芒特別明亮. 一片青翠 ê 樹林展現 tī 眼前, 青 sìm-sìm 唌人目睭. 無數 ê 各色鳥仔 tī kau-chhap ê 樹枝中間 nǹg-chǹg, 發出好聽 ê 歌聲. 有一條小溪, 溪水透明, 流 tī 金黃 ê 幼沙 kap ná 水晶 ê 白色圓石頭頂面. 猶閣有一个精致 ê, 由多彩碧玉 kap 磨幽大理石所造成 ê 噴泉. 另外 koh 有一个 khah 庄跤款 ê 噴泉, 頂面 kō͘ 無規則 ê 方式貼滿 lâ-á 殼以及白色 kap 黃色 ê 露螺殼, 中間 koh chhap 閃光 ê 水晶碎片 kap 仿翡翠, 造成一件多樣 ê 作品, 看起來藝術已經超過天然. 

"忽然, tī 伊面前出現一座堅固 ê 城堡, mā ē-sái 講是華麗 ê 宮殿, 圍牆是純金, 塔樓是璇石, 大門是紅玉. 簡單講, he 構造奇妙, 毋但使用 ê 材料是璇石, 紅寶石, 真珠, 黃金, kap 翡翠, 建築 ê 工藝 koh-khah 是罕見.

"看著一切 chiah-ê 了後, 有啥 koh-khah 迷人 ê 情境 ē 贏過看著一陣穿媠衫 ê 少女 ùi 城堡大門行出來? 今我若照歷史 ê 記載 kā 描述, 恐驚 mā 講袂完. 然後, 彼个看是𤆬頭 ê 少女, 行向彼个跳落滾水湖 ê 勇敢騎士, 牽起伊 ê 手, 恬恬無講話, 𤆬伊入 he 富麗堂皇 ê 宮殿 a̍h 城堡, kā 伊褪 kah 規身光 liu-liu, kō͘ lâ-lun 燒水 kā 伊洗身軀, koh kā 伊規身軀抹芳油, 然後 hō͘ 伊穿芳 kòng-kòng ê 柔軟綢緞 siatchuh. 另外一个少女過來, kā 一領外幔披上伊 ê 肩胛頭, 聽講 he 外幔上無價值一座城市, 甚至 koh-khah 濟 neh...

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CHAPTER L.

OF THE SHREWD CONTROVERSY WHICH DON QUIXOTE AND THE CANON HELD, TOGETHER WITH OTHER INCIDENTS

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50.1

“A good joke, that!” returned Don Quixote. “Books that have been printed with the king’s licence, and with the approbation of those to whom they have been submitted, and read with universal delight, and extolled by great and small, rich and poor, learned and ignorant, gentle and simple, in a word by people of every sort, of whatever rank or condition they may be—that these should be lies! And above all when they carry such an appearance of truth with them; for they tell us the father, mother, country, kindred, age, place, and the achievements, step by step, and day by day, performed by such a knight or knights! /

Hush, sir; utter not such blasphemy; trust me I am advising you now to act as a sensible man should; only read them, and you will see the pleasure you will derive from them. For, come, tell me, can there be anything more delightful than to see, as it were, here now displayed before us a vast lake of bubbling pitch with a host of snakes and serpents and lizards, and ferocious and terrible creatures of all sorts swimming about in it, while from the middle of the lake there comes a plaintive voice saying: ‘Knight, whosoever thou art who beholdest this dread lake, if thou wouldst win the prize that lies hidden beneath these dusky waves, prove the valour of thy stout heart and cast thyself into the midst of its dark burning waters, else thou shalt not be worthy to see the mighty wonders contained in the seven castles of the seven Fays that lie beneath this black expanse;’ and then the knight, almost ere the awful voice has ceased, without stopping to consider, without pausing to reflect upon the danger to which he is exposing himself, without even relieving himself of the weight of his massive armour, commending himself to God and to his lady, plunges into the midst of the boiling lake, and when he little looks for it, or knows what his fate is to be, he finds himself among flowery meadows, with which the Elysian fields are not to be compared.

c50b.jpg (344K)

“The sky seems more transparent there, and the sun shines with a strange brilliancy, and a delightful grove of green leafy trees presents itself to the eyes and charms the sight with its verdure, while the ear is soothed by the sweet untutored melody of the countless birds of gay plumage that flit to and fro among the interlacing branches. Here he sees a brook whose limpid waters, like liquid crystal, ripple over fine sands and white pebbles that look like sifted gold and purest pearls. There he perceives a cunningly wrought fountain of many-coloured jasper and polished marble; here another of rustic fashion where the little mussel-shells and the spiral white and yellow mansions of the snail disposed in studious disorder, mingled with fragments of glittering crystal and mock emeralds, make up a work of varied aspect, where art, imitating nature, seems to have outdone it.

c50c.jpg (334K)

“Suddenly there is presented to his sight a strong castle or gorgeous palace with walls of massy gold, turrets of diamond and gates of jacinth; in short, so marvellous is its structure that though the materials of which it is built are nothing less than diamonds, carbuncles, rubies, pearls, gold, and emeralds, the workmanship is still more rare. /

And after having seen all this, what can be more charming than to see how a bevy of damsels comes forth from the gate of the castle in gay and gorgeous attire, such that, were I to set myself now to depict it as the histories describe it to us, I should never have done; and then how she who seems to be the first among them all takes the bold knight who plunged into the boiling lake by the hand, and without addressing a word to him leads him into the rich palace or castle, and strips him as naked as when his mother bore him, and bathes him in lukewarm water, and anoints him all over with sweet-smelling unguents, and clothes him in a shirt of the softest sendal, all scented and perfumed, while another damsel comes and throws over his shoulders a mantle which is said to be worth at the very least a city, and even more? /

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Wednesday, September 24, 2025

49.4 Don Quixote Ss, 你所講 ê 有淡薄道理

49.4 Don Quixote Ss, lí só͘ kóng ê ū tām-po̍h tō-lí

"... A̍h sī, hoān-sè mā ū-lâng boeh kā góa kóng, eng-ióng ê Lusitania khî-sū Joan de Mero pēng bô chûn-chāi. Kò͘-sū kóng i khì Burgundy, tī Arras Siâⁿ kap chhut-miâ ê Charny léng-chú Mosen Pierres koat-tàu, āu-lâi iū tī Basle Siâⁿ kap Mosen Enrique de Remesten sio-chiàn, tī chit nn̄g-tiûⁿ chiàn-tàu tit-tio̍h êng-ū kap miâ-siaⁿ. A̍h sī kóng, pēng bô chûn-chāi eng-ióng Sepanga khî-sū Pedro Barba kap Gutierre Quixada (āu-bīn chit-ê koh sī góa ê chhing-tông neh), kāng-khoán tī Burgundy, chiàn-pāi San Polo Pek-chiok ê kúi-ê hāu-seⁿ ê le̍k-hiám kap thiau-chiàn. He̍k-chiá mā ū-lâng boeh kā góa kóng, Don Fernando de Guevara pēng bô khì Tek-kok lāng-hiám, bô tī hia kap Austria Kong-chiok ka-cho̍k ê Micer George khî-sū kau-chiàn. 

"Ū-lâng boeh kā góa kóng, Suero de Quiñones, its ‘Paso’ (Kòe-koan) hit-ê, ê pí-bú, í-ki̍p Mosen Luis de Falces kap Castilia khî-sū Don Gonzalo de Guzman ê tùi-koat lóng sī teh tèⁿ-siáu. Kāng-khoán, iáu-ū chē-chē lâi chū pún-kok kap gōa-kok ê Kitok-kàu khî-sū ê sêng-chiū, chiah-ê lóng chin koh si̍t, góa koh kóng chi̍t-piàn, jīm-hô hóⁿ-jīn che ê lâng lóng sī sit lí-tì, bô siông-sek."

Thiaⁿ Don Quixote án-ne kā chin kap ké chhap-cha̍p chò-hóe kóng, koh khòaⁿ i hiah-nī chheng-chhó iû-kiap khî-sū ê lāng-hiám sū-chek, kàu-sū tōa-tōa tio̍h chi̍t-kiaⁿ, tō án-ne kā i ìn: 

"Góa bē-tàng hóⁿ-jīn, Don Quixote Ss, lí só͘ kóng ê ū tām-po̍h tō-lí, iû-kî sī koan-hē Sepanga iû-kiap khî-sū ê pō͘-hūn. Góa mā goān-ì sêng-jīn Franse ê 12 Kùi-cho̍k khak-si̍t bat chûn-chāi, tān góa bô siong-sìn in chò kòe só͘-ū Turpin Tōa-chú-kàu só͘ kóng ê tāi-chì. Sū-si̍t sī, in sī Franse Kok-ông só͘ kéng ê khî-sū, kā chheng-ho͘ chò ‘Kùi-cho̍k’ sī in-ūi in tī kè-ta̍t, tē-ūi kap ióng-khì lóng eng-kai pêng-téng (tō kóng in m̄-sī án-ne, mā tio̍h án-ne). Che kài chiap-kīn hiān-tāi ê Santiago Thoân kap Calatrava Thoân, ka-ji̍p chiah-ê kàu-hōe khî-sū thoân ê sêng-oân lóng sī ko-kùi chhut-sin ê eng-ióng khî-sū. Tō ná chhiūⁿ lán taⁿ kóng bó͘-lâng sī St. John Khî-sū a̍h Alcátara Khî-sū kāng-khoán, tī kòe-khì in kā kiò chò 12 Kùi-cho̍k Khî-sū, in-ūi che sī ūi kun-sū bo̍k-tek só͘ kéng-soán ê 12-ê tē-ūi pêng-téng ê khî-sū.

"Ū chûn-chāi Cid kap chûn-chāi Bernardo del Carpio, che mā bô gî-būn. M̄-koh, in sī m̄-sī ū oân-sêng lâng só͘ kóng ê hiah-ê sū-chek, góa jīn-ûi che ta̍t-tit hoâi-gî. Koh kóng tio̍h lí thê-khí ê Pierres Pek-chiok ê thih-chiam, thiaⁿ-kóng he tī Kun-hâi-khò͘ lāi-bīn sī khǹg tī Babieca ê bé-an piⁿ-á, góa sêng-jīn góa ê kòe-chhò. Nā m̄-sī góa siuⁿ gōng, tō sī góa kòe-thâu kīn-sī, in-ūi góa ū khòaⁿ kòe hit-ê bé-an, tān góa bô khòaⁿ tio̍h hit-ki chiam, sui-bóng koh-hā kóng he sī gōa tōa tú gōa tōa."

"Bô-lūn jû-hô, he chiam khak-si̍t tī hia, kin-pún bô gî-būn lah," Don Quixote kóng, "koh chìn chi̍t-pō͘ kóng, thiaⁿ-kóng he chiam ê gōa-bīn pau chi̍t-ê gû-phôe siò, bián-tit seⁿ-sian." 

"Che lóng ū khó-lêng," kàu-sū ìn, "tān góa li̍p-sè, chiū góa ê kì-tî, góa bô khòaⁿ tio̍h he. Put-jî-kò, tō kóng he khak-si̍t ū tī hia, án-ne mā bē-tàng hō͘ góa siong-sìn só͘-ū koan-hē Amadis ê kò͘-sū, mā bē siong-sìn chèng-lâng só͘-kóng ê chē-chē khî-sū ê tāi-chì. Koh-khah bô tō-lí ê sī, chhiūⁿ koh-hā chit-chióng ta̍t-tit chun-kèng, phín-tek iu-siù, koh chiah-nī chhong-bêng ê lâng, ē khì siong-sìn hiah-ê hàm-kó͘ khî-sū sió-soat só͘ siá ê hong-tông tāi-chì sī chin ê."

[2024-12-22]

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49.4 Don Quixote Ss, 你所講 ê 有淡薄道理

"... A̍h 是, 凡勢 mā 有人欲 kā 我講, 英勇 ê Lusitania 騎士 Joan de Mero 並無存在. 故事講伊去 Burgundy, tī Arras 城 kap 出名 ê Charny 領主 Mosen Pierres 決鬥, 後來又 tī Basle 城 kap Mosen Enrique de Remesten 相戰, tī 這兩場戰鬥得著榮譽 kap 名聲. A̍h 是講, 並無存在英勇 Sepanga 騎士 Pedro Barba kap Gutierre Quixada (後面這个 koh 是我 ê 親堂 neh), 仝款 tī Burgundy, 戰敗 San Polo 伯爵 ê 幾个後生 ê 歷險 kap 挑戰. 或者 mā 有人欲 kā 我講, Don Fernando de Guevara 並無去德國弄險, 無 tī hia kap Austria 公爵家族 ê Micer George 騎士交戰. 

"有人欲 kā 我講, Suero de Quiñones, its ‘Paso’ (過關) 彼个, ê 比武, 以及 Mosen Luis de Falces kap Castilia 騎士 Don Gonzalo de Guzman ê 對決 lóng 是 teh 佯痟. 仝款, 猶有濟濟來自本國 kap 外國 ê Kitok 教騎士 ê 成就, chiah-ê lóng 真 koh 實, 我 koh 講一遍, 任何否認 che ê 人 lóng 是失理智, 無常識."

聽 Don Quixote án-ne kā 真 kap 假 chhap-cha̍p 做伙講, koh 看伊 hiah-nī 清楚遊俠騎士 ê 弄險事蹟, 教士大大著一驚, tō án-ne kā 伊應: 

"我袂當否認, Don Quixote Ss, 你所講 ê 有淡薄道理, 尤其是關係 Sepanga 遊俠騎士 ê 部份. 我 mā 願意承認 Franse ê 12 貴族確實 bat 存在, 但我無相信 in 做過所有 Turpin 大主教所講 ê 代誌. 事實是, in 是 Franse 國王所揀 ê 騎士, kā 稱呼做 ‘貴族’ 是因為 in tī 價值, 地位 kap 勇氣 lóng 應該平等 (tō 講 in 毋是 án-ne, mā 著 án-ne). 這 kài 接近現代 ê Santiago 團 kap Calatrava 團, 加入 chiah-ê 教會騎士團 ê 成員 lóng 是高貴出身 ê 英勇騎士. Tō ná 像咱今講某人是 St. John 騎士 a̍h Alcátara 騎士仝款, tī 過去 in kā 叫做 12 貴族騎士, 因為這是為軍事目的所揀選 ê 12 个地位平等 ê 騎士.

"有存在 Cid kap 存在 Bernardo del Carpio, 這 mā 無疑問. M̄-koh, in 是毋是有完成人所講 ê hiah-ê 事蹟, 我認為 che 值得懷疑. Koh 講著你提起 ê Pierres 伯爵 ê 鐵針, 聽講 he tī 軍械庫內面是囥 tī Babieca ê 馬鞍邊仔, 我承認我 ê 過錯. 若毋是我 siuⁿ 戇, tō 是我過頭近視, 因為我有看過彼个馬鞍, 但我無看著彼支針, 雖罔閣下講 he 是偌大拄偌大."

"無論如何, he 針確實 tī hia, 根本無疑問 lah," Don Quixote 講, "koh 進一步講, 聽講 he 針 ê 外面包一个牛皮鞘, 免得生鉎." 

"這 lóng 有可能," 教士應, "但我立誓, 就我 ê 記持, 我無看著 he. 不而過, tō 講 he 確實有 tī hia, án-ne mā 袂當 hō͘ 我相信所有關係 Amadis ê 故事, mā 袂相信眾人所講 ê 濟濟騎士 ê 代誌. Koh-khah 無道理 ê 是, 像閣下這種值得尊敬, 品德優秀, koh chiah-nī 聰明 ê 人, ē 去相信 hiah-ê 譀古騎士小說所寫 ê 荒唐代誌是真 ê."

[2024-12-22]

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49.4

Or perhaps I shall be told, too, that there was no such knight-errant as the valiant Lusitanian Juan de Merlo, who went to Burgundy and in the city of Arras fought with the famous lord of Charny, Mosen Pierres by name, and afterwards in the city of Basle with Mosen Enrique de Remesten, coming out of both encounters covered with fame and honour; or adventures and challenges achieved and delivered, also in Burgundy, by the valiant Spaniards Pedro Barba and Gutierre Quixada (of whose family I come in the direct male line), when they vanquished the sons of the Count of San Polo. I shall be told, too, that Don Fernando de Guevara did not go in quest of adventures to Germany, where he engaged in combat with Micer George, a knight of the house of the Duke of Austria. /

I shall be told that the jousts of Suero de Quiñones, him of the ‘Paso,’ and the emprise of Mosen Luis de Falces against the Castilian knight, Don Gonzalo de Guzman, were mere mockeries; as well as many other achievements of Christian knights of these and foreign realms, which are so authentic and true, that, I repeat, he who denies them must be totally wanting in reason and good sense.”

The canon was amazed to hear the medley of truth and fiction Don Quixote uttered, and to see how well acquainted he was with everything relating or belonging to the achievements of his knight-errantry; so he said in reply:

“I cannot deny, Señor Don Quixote, that there is some truth in what you say, especially as regards the Spanish knights-errant; and I am willing to grant too that the Twelve Peers of France existed, but I am not disposed to believe that they did all the things that the Archbishop Turpin relates of them. For the truth of the matter is they were knights chosen by the kings of France, and called ‘Peers’ because they were all equal in worth, rank and prowess (at least if they were not they ought to have been), and it was a kind of religious order like those of Santiago and Calatrava in the present day, in which it is assumed that those who take it are valiant knights of distinction and good birth; and just as we say now a Knight of St. John, or of Alcántara, they used to say then a Knight of the Twelve Peers, because twelve equals were chosen for that military order. /

That there was a Cid, as well as a Bernardo del Carpio, there can be no doubt; but that they did the deeds people say they did, I hold to be very doubtful. In that other matter of the pin of Count Pierres that you speak of, and say is near Babieca’s saddle in the Armoury, I confess my sin; for I am either so stupid or so short-sighted, that, though I have seen the saddle, I have never been able to see the pin, in spite of it being as big as your worship says it is.”

“For all that it is there, without any manner of doubt,” said Don Quixote; “and more by token they say it is inclosed in a sheath of cowhide to keep it from rusting.”

“All that may be,” replied the canon; “but, by the orders I have received, I do not remember seeing it. However, granting it is there, that is no reason why I am bound to believe the stories of all those Amadises and of all that multitude of knights they tell us about, nor is it reasonable that a man like your worship, so worthy, and with so many good qualities, and endowed with such a good understanding, should allow himself to be persuaded that such wild crazy things as are written in those absurd books of chivalry are really true.”

c49e.jpg (22K)

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49.3 聖經內面有真實 ê 英雄事蹟

49.3 Sèng-keng lāi-bīn ū chin-si̍t ê eng-hiông sū-chek

"... Jû-kó lí iáu-sī siū-tio̍h pún-sèng ê ín-chhōa, ài-boeh tha̍k iú-koan eng-hiông sū-chek kap khî-sū-tō ê chheh, lí ē-sái tha̍k Sèng-keng lāi-bīn ê Sū-si Kì (士師記), in-ūi tī hia lí só͘ tha̍k ê sī tōa hiān-si̍t, sī chin-si̍t ê eng-hiông sū-chek. Lusitania ū Viriatus, Rome ū Cæsar, Carthage ū Hannibal, Hi-lia̍p ū Alexander, Castile ū Fernan Gonzalez Pek-chiok, Valencia ū Cid, Andalusia ū Gonzalo Fernandez, Estremadura ū Diego García de Paredes, Jerez ū Garci Perez de Vargas, Toledo ū Garcilaso, Seville ū Don Manuel de Leon. Tha̍k in ê eng-hiông sū-chek, m̄-nā tit-tio̍h gô͘-lo̍k, mā kà-sī ko-kùi ê sim-tì, hō͘ he chhiong-móa hoaⁿ-hí kap kiaⁿ-kî.

"Tī chia, Don Quixote Ss, lí ē-tàng tha̍k-tio̍h hû-ha̍p lí ko-chhiau lí-kái-le̍k ê tho̍k-bu̍t, án-ne lâi cheng-thong le̍k-sú, jia̍t-ài bí-tek, ka-kiông siān-liông, kái-siān hêng-ûi, ióng-kám tān bē chho͘-ló͘, kín-sīn tān bē bô-táⁿ, it-chhè lóng ha̍h tī Sîn ê êng-iāu, ūi lí tòa lâi hó-chhù, cheng-ka La Mancha ê kong-chhái, góa thiaⁿ-kóng hia tō sī koh-hā chhut-sì ê só͘-chāi."

Don Quixote choan-sim chù-ì thiaⁿ kàu-sū ê ōe, tán i kóng liáu, kim-kim lia̍h i siòng chi̍t-khùn, jiân-āu án-ne kā i ìn:

"Chāi góa khòaⁿ, chun-kèng ê sian-siⁿ, koh-hā ê giân-lūn sī boeh soeh-ho̍k góa, kóng, sè-kài-siōng chiông-lâi to m̄-bat ū iû-kiap khî-sū, it-chhè ê khî-sū-tō sió-soat lóng sī ké ê, sī phiàn-lâng, sī o͘-pe̍h lâi, he tùi Kok-ka bô hó-chhù, á góa mā bô eng-kai tha̍k hiah-ê, bô eng-kai siong-sìn in, koh-khah bô eng-kai bô͘-hóng in, chhì boeh si̍t-hiān in só͘ kiàn-li̍p ê iû-kiap khî-sū ê kan-khó͘ sú-bēng. In-ūi lí bô sêng-jīn bat ū Gaul a̍h Hi-lia̍p ê Amadis, a̍h sī chhut-hiān tī hiah-ê chheh lāi-bīn ê jīm-hô kî-thaⁿ khî-sū."

"Chiàⁿ-chiàⁿ tō chhiūⁿ lí só͘ kóng ê," kàu-sū kóng. Don Quixote sûi tòe leh kā ìn:

"Lí koh kóng, chiah-ê chheh tùi góa chō-sêng ke̍k tōa siong-hāi, in-ūi in jiáu-loān góa ê lí-tì, kā góa koaiⁿ-ji̍p lông-á, kóng, siōng-hó góa tio̍h kái-piàn góa ê ha̍k-si̍p, khì tha̍k kî-thaⁿ chin-si̍t ê chheh, he hō͘ góa tit-tio̍h gô͘-lo̍k kap kà-sī."

"Oân-choân chèng-khak," kàu-sū kóng.

"Nā sī án-ne, chin hó," Don Quixote hôe-tap, "chāi góa khòaⁿ, sī lí teh chhò-loān, teh tiòng-siâ, in-ūi lí kèng-jiân kóng chit-khoán siat-to̍k ê ōe, hóⁿ-jīn thong-lâng sêng-jīn koh chiap-siū ê chin-si̍t tāi-chì. Hóⁿ-jīn che ê lâng, lí tō sī, eng-kai tit-tio̍h lí só͘-kóng ê chhú-hoa̍t, iā tō-sī lí kóng ê, tha̍k hiah-ê chheh hō͘ lí siū-khì, jīn-ûi he tio̍h kā chhú-hoa̍t. In-ūi chhì boeh hō͘ lâng siong-sìn Amadis, í-ki̍p kî-thaⁿ tī chheh lāi-bīn kóng-tio̍h ê iû-kiap khî-sū m̄-bat chûn-chāi kòe, bē-su sī chhì boeh soeh-ho̍k lâng siong-sìn ji̍t-thâu bē hoat-kng, peng bē léng, thó͘-tē bē chu-ióng bān-bu̍t kāng-khoán.

"Sè-kài-siōng siáⁿ-khoán thâu-náu ū hoat-tō͘ soeh-ho̍k pa̍t-lâng siong-sìn, 'Floripes Kong-chú' kap 'Purgundy ê Guy' ê kò͘-sū m̄-sī chin ê? a̍h-sī hoat-seng tī Charlemagne sî-tāi ê 'Fierabras' kap 'Mantible ê Kiô' ê kò͘-sū? Góa kō͘ it-chhè hó-sū chiù-chōa, tō ná chhiūⁿ taⁿ sī ji̍t-sî kāng-khoán, he lóng sī chin ê. Nā kóng he sī ké ê, tō ná chhiūⁿ kóng Hector, a̍h Achilles, a̍h Trrojan chiàn-cheng, a̍h Franse 12 Kùi-cho̍k, a̍h England ê Arthur Ông (thiaⁿ-kóng i piàn chò chi̍t-chiah o͘-a-á, i ê ông-kok iáu teh tán i tńg-lâi) téng-téng lóng sī ké ê.

"Ū-lâng khó-lêng mā boeh kóng Guarino Mezquino ê le̍k-sú, a̍h sī Sèng-poe ê Tui-kiû sī ké ê, a̍h sī kóng Tristram kap Yseult Lú-ông ê ài-chêng sī hi-kò͘ ê, iáu-ū Guinevere kap Lancelot ê kò͘-sū mā sī án-ne. Kî-si̍t, kàu taⁿ iáu ū-lâng ē-kì-tit kìⁿ kòe Quintañona Hu-jîn neh, yi sī Tāi Britain chòe iu-siù ê thîn-chiú-lú. Che choa̍t-tùi sī chin ê, góa ē-kì-tit goán lāi-má, ta̍k-pái khòaⁿ tio̍h pau tōa thâu-kin ê lú-sū, chóng-sī tùi góa kóng, ‘koai-sun, hit-ê cha-bó͘ kài sêng Quintañona Hu-jîn neh.’ Ùi chia, góa jīn-ûi, a-má tek-khak bat yi, a̍h sī siōng-bô bat khòaⁿ kòe yi ê siàu-siōng. Nā sī án-ne, siáng iū-koh ē-tàng hóⁿ-jīn Pierres kap bí-lē Magalona ê kò͘-sū ê chin-si̍t? Sīm-chì kàu tong-kim, tī kok-ông ê kun-hâi-khò͘ lāi-bīn, lán iáu ē-tàng khòaⁿ tio̍h eng-ióng Pierres khòng-chè i khiâ ê, poe-thiⁿ bo̍k-bé ê hit-ki thih-chiam, he sió-khóa pí chhia-lián-sim koh-khah tōa-ki neh. Tī thih-chiam ê piⁿ-á sī Babieca ê bé-an. Lēng-gōa, tī Roncesvalles, ē-tàng khòaⁿ tio̍h Roland ê hō-kak, he tōa kah ná chhù ê tiong-êⁿ. Só͘-tì, lán ē-sái thui-chhek, khak-si̍t ū 12 Kùi-cho̍k, ū Pierres, ū Cid, í-ki̍p kî-thaⁿ chhin-chhiūⁿ in ê khî-sū, it-poaⁿ lâng kā in kiò chò mō͘-hiám-ka...

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49.3 聖經內面有真實 ê 英雄事蹟

"... 如果你猶是受著本性 ê 引𤆬, 愛欲讀有關英雄事蹟 kap 騎士道 ê 冊, 你 ē-sái 讀聖經內面 ê Sū-si Kì (士師記), 因為 tī hia 你所讀 ê 是大現實, 是真實 ê 英雄事蹟. Lusitania 有 Viriatus, Roma 有 Cæsar, Carthage 有 Hannibal, 希臘有 Alexander, Castile 有 Fernan Gonzalez Pek-chiok, Valencia 有 Cid, Andalusia 有 Gonzalo Fernandez, Estremadura 有 Diego García de Paredes, Jerez 有 Garci Perez de Vargas, Toledo 有 Garcilaso, Seville 有 Don Manuel de Leon. 讀 in ê 英雄事蹟, 毋但得著娛樂, mā 教示高貴 ê 心智, hō͘ he 充滿歡喜 kap 驚奇.

"Tī chia, Don Quixote Ss, 你 ē-tàng 讀著符合你高超理解力 ê 讀物, án-ne 來精通歷史, 熱愛美德, 加強善良, 改善行為, 勇敢但袂粗魯, 謹慎但袂無膽, 一切 lóng ha̍h tī 神 ê 榮耀, 為你帶來好處, 增加 La Mancha ê 光彩, 我聽講 hia tō 是閣下出世 ê 所在."

Don Quixote 專心注意聽教士 ê 話, 等伊講了, 金金掠伊相一睏, 然後 án-ne kā 伊應:

"在我看, 尊敬 ê 先生, 閣下 ê 言論是欲說服我, 講, 世界上從來 to m̄-bat 有遊俠騎士, 一切 ê 騎士道小說 lóng 是假 ê, 是騙人, 是烏白來, he 對國家無好處, á 我 mā 無應該讀 hiah-ê, 無應該相信 in, koh-khah 無應該模仿 in, 試欲實現 in 所建立 ê 遊俠騎士 ê 艱苦使命. 因為你無承認 bat 有 Gaul a̍h 希臘 ê Amadis, a̍h 是出現 tī hiah-ê 冊內面 ê 任何其他騎士."

"正正 tō 像你所講 ê," 教士講. Don Quixote 隨綴 leh kā ìn:

"你 koh 講, chiah-ê 冊對我造成極大傷害, 因為 in 擾亂我 ê 理智, kā 我關入櫳仔, 講, 上好我著改變我 ê 學習, 去讀其他真實 ê 冊, he hō͘ 我得著娛樂 kap 教示."

"完全正確," 教士講.

"若是 án-ne, 真好," Don Quixote 回答, "在我看, 是你 teh 錯亂, teh 中邪, 因為你竟然講這款褻瀆 ê 話, 否認 thong 人承認 koh 接受 ê 真實代誌. 否認 che ê 人, 你 tō 是, 應該得著你所講 ê 處罰, 也 tō 是你講 ê, 讀 hiah-ê 冊 hō͘ 你受氣, 認為 he 著 kā 處罰. 因為試欲 hō͘ 人相信 Amadis, 以及其他 tī 冊內面講著 ê 遊俠騎士 m̄-bat 存在過, 袂輸是試欲說服人相信日頭袂發光, 冰袂冷, 土地袂滋養萬物仝款.

"世界上啥款頭腦有法度說服別人相信, 'Floripes 公主' kap 'Purgundy ê Guy' ê 故事毋是真 ê? a̍h 是發生 tī Charlemagne 時代 ê 'Fierabras' kap 'Mantible ê 橋' ê 故事? 我 kō͘ 一切好事咒誓, tō ná 像今是日時仝款, he lóng 是真 ê. 若講 he 是假 ê, tō ná 像講 Hector, a̍h Achilles, a̍h Trrojan 戰爭, a̍h Franse 12 貴族, a̍h England ê Arthur 王 (聽講伊變做一隻烏鴉仔, 伊 ê 王國猶 teh 等伊轉來) 等等 lóng 是假 ê.  

"有人可能 mā 欲講 Guarino Mezquino ê 歷史, a̍h 是 聖杯 ê 追求是假 ê, a̍h 是講 Tristram kap Yseult 女王 ê 愛情是虛構 ê, 猶有 Guinevere kap Lancelot ê 故事 mā 是 án-ne. 其實, 到今猶有人會記得見過 Quintañona 夫人 neh, 她是大 Britain 最優秀 ê 斟酒女. Che 絕對是真 ê, 我會記得阮內媽, 逐擺看著包大頭巾 ê 女士, 總是對我講, ‘乖孫, 彼个查某 kài 成 Quintañona 夫人 neh.’ Ùi chia, 我認為, 阿媽的確捌她, a̍h 是上無 bat 看過她 ê 肖像. 若是 án-ne, siáng 又閣會當否認 Pierres kap 美麗 Magalona ê 故事 ê 真實? 甚至到當今, tī 國王 ê 軍械庫內面, 咱猶會當看著英勇 Pierres 控制伊騎 ê, 飛天木馬 ê 彼支鐵針, he 小可比車輪心 koh-khah 大支 neh. Tī 鐵針 ê 邊仔是 Babieca ê 馬鞍. 另外, tī Roncesvalles, 會當看著 Roland ê 號角, he 大 kah ná 厝 ê 中楹. 所致, 咱會使推測, 確實有 12 貴族, 有 Pierres, 有 Cid, 以及其他親像 in ê 騎士, 一般人 kā in 叫做冒險家...

--

49.3

And if, still led away by your natural bent, you desire to read books of achievements and of chivalry, read the Book of Judges in the Holy Scriptures, for there you will find grand reality, and deeds as true as they are heroic. Lusitania had a Viriatus, Rome a Cæsar, Carthage a Hannibal, Greece an Alexander, Castile a Count Fernan Gonzalez, Valencia a Cid, Andalusia a Gonzalo Fernandez, Estremadura a Diego García de Paredes, Jerez a Garci Perez de Vargas, Toledo a Garcilaso, Seville a Don Manuel de Leon, to read of whose valiant deeds will entertain and instruct the loftiest minds and fill them with delight and wonder. /

Here, Señor Don Quixote, will be reading worthy of your sound understanding; from which you will rise learned in history, in love with virtue, strengthened in goodness, improved in manners, brave without rashness, prudent without cowardice; and all to the honour of God, your own advantage and the glory of La Mancha, whence, I am informed, your worship derives your birth.”

Don Quixote listened with the greatest attention to the canon’s words, and when he found he had finished, after regarding him for some time, he replied to him:

“It appears to me, gentle sir, that your worship’s discourse is intended to persuade me that there never were any knights-errant in the world, and that all the books of chivalry are false, lying, mischievous and useless to the State, and that I have done wrong in reading them, and worse in believing them, and still worse in imitating them, when I undertook to follow the arduous calling of knight-errantry which they set forth; for you deny that there ever were Amadises of Gaul or of Greece, or any other of the knights of whom the books are full.”

“It is all exactly as you state it,” said the canon; to which Don Quixote returned, /

“You also went on to say that books of this kind had done me much harm, inasmuch as they had upset my senses, and shut me up in a cage, and that it would be better for me to reform and change my studies, and read other truer books which would afford more pleasure and instruction.”

“Just so,” said the canon.

“Well then,” returned Don Quixote, “to my mind it is you who are the one that is out of his wits and enchanted, as you have ventured to utter such blasphemies against a thing so universally acknowledged and accepted as true that whoever denies it, as you do, deserves the same punishment which you say you inflict on the books that irritate you when you read them. For to try to persuade anybody that Amadis, and all the other knights-adventurers with whom the books are filled, never existed, would be like trying to persuade him that the sun does not yield light, or ice cold, or earth nourishment. /

What wit in the world can persuade another that the story of the Princess Floripes and Guy of Burgundy is not true, or that of Fierabras and the bridge of Mantible, which happened in the time of Charlemagne? For by all that is good it is as true as that it is daylight now; and if it be a lie, it must be a lie too that there was a Hector, or Achilles, or Trojan war, or Twelve Peers of France, or Arthur of England, who still lives changed into a raven, and is unceasingly looked for in his kingdom. /

One might just as well try to make out that the history of Guarino Mezquino, or of the quest of the Holy Grail, is false, or that the loves of Tristram and the Queen Yseult are apocryphal, as well as those of Guinevere and Lancelot, when there are persons who can almost remember having seen the Dame Quintañona, who was the best cupbearer in Great Britain. And so true is this, that I recollect a grandmother of mine on the father’s side, whenever she saw any dame in a venerable hood, used to say to me, ‘Grandson, that one is like Dame Quintañona,’ from which I conclude that she must have known her, or at least had managed to see some portrait of her. Then who can deny that the story of Pierres and the fair Magalona is true, when even to this day may be seen in the king’s armoury the pin with which the valiant Pierres guided the wooden horse he rode through the air, and it is a trifle bigger than the pole of a cart? And alongside of the pin is Babieca’s saddle, and at Roncesvalles there is Roland’s horn, as large as a large beam; whence we may infer that there were Twelve Peers, and a Pierres, and a Cid, and other knights like them, of the sort people commonly call adventurers. /

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49.2 Ùi 櫳仔出來, 伊暢 kah 無地講

49.2 Ùi lông-á chhut-lâi, i thiòng kah bô-tè kóng

Don Quixote kui-ê ū thiaⁿ tio̍h chiah-ê ōe, i kóng: 

"Góa tông-ì, hô-hóng, chhiūⁿ góa chit-chióng tiòng-siâ ê lâng, sī bô hoat-tō͘ chū-chú hêng-tōng. In-ūi si mô͘-hoat ê lâng ē-tàng hō͘ i 3-tē lâng bē-tit sóa-ūi, ká-sú i chhì boeh tô-cháu, sûi tō kō͘ poe ê kā lia̍h tńg-lâi." 

Tāi-chì kì-jiân án-ne, in ē-sái pàng i chhut-lâi lah, iû-kî án-ne tùi ta̍k-ê lóng hó. In-ūi in nā bô pàng i chhut-lâi, i khòng-gī kóng, i chiong bô hoat-tō͘ pī-bián tek-sit chèng-lâng ê phīⁿ-khang, tî-hui ta̍k-ê lóng cháu hn̄g-hn̄g.

Kàu-sū lia̍h i chi̍t-ki chhiú, kî-si̍t sī nn̄g-chhiú pa̍k chò-hóe, hō͘ i chiù-chōa pó-chèng liáu, in tō kā i tháu-khui. Hoat-hiān í-keng ùi lông-á chhut-lâi, i thiòng kah bô-tè kóng. I siōng tāi-seng chò ê tō sī kui-sin chhun-ûn, jiân-āu cháu kàu Rocinante khiā ê só͘-chāi, phok kúi-nā ē tī i ê kha-chhng-phé, kóng:

"Góa iáu sī siong-sìn Sîn kap Sèng-bó, O, chùn-bé ê hoe kap kiàⁿ ah, lán chin kín tō koh khòaⁿ tio̍h ka-tī ah, its lí kap góa, chiàu lán ê hi-bāng, lí ê sin-siōng ū chú-lâng khiâ, góa khiâ lí, tui-sûi Sîn sàng lán lâi-kàu chit sè-kài ê sú-bēng."

Ná án-ne kóng, Sancho tòe tī i sin-piⁿ, i tō bih khì chi̍t-ê iap-phiah ê só͘-chāi. Ùi hia tńg-lâi ê sî, i kui-ê tōa khin-sang, tō koh-khah siūⁿ boeh si̍t-hêng i ê sū-chiông ê kè-ōe.

Kàu-sū lia̍h i kim-kim khòaⁿ, tùi i chit-chióng chhiau-kip siáu-chèng kám-kak tio̍h-kiaⁿ, m̄-koh iū khòaⁿ i kóng-ōe iā-hó, ìn-tap iā-hó lóng kài lí-sèng, kan-ta tī kóng-tio̍h khî-sū-tō ê sî, chiah chhiūⁿ kóng kòe ê, ē tùn-teⁿ. Chū án-ne, in-ūi tông-chêng, tī in chò-hóe chē tī chháu-tē tán chia̍h-mi̍h kàu-ūi ê sî, i án-ne tùi i kóng:

"Kám ū khó-lêng, chhin-ài ê sian-siⁿ, tha̍k he àu-kó͘ koh bô-liâu ê khî-sū sió-soat, ná ē tùi koh-hā ū chiah tōa éng-hióng, hō͘ lí sit-khì lí-tì, kiò-sī ka-tī tiòng-siâ, téng-téng, kā ké ê tòng chò sī chin? Chiū lâng ê lí-kái, ná ū khó-lêng soeh-ho̍k ka-tī siong-sìn sè-kài ū put-chīn ê Amadis, a̍h sī siong-sìn it-chhè hiah-ê chhut-miâ khî-sū, it-chhè hiah-ê Trebizond hông-tè, it-chhè hiah-ê Hiracania ê Felixmarte, it-chhè hiah-ê chùn-bé, koh-ū iû-kiap siàu-lú, to̍k-chôa, koài-bu̍t, kū-jîn, kî-miāu lāng-hiám, kok-chióng mô͘-hoat, chiàn-tàu, kiaⁿ-lâng cho-gū, hôa-lē ho̍k-chong, to-chêng kong-chú, sū-chiông hong pek-chiok, ná ang-á ê é-á-lâng, chêng-phe, un-ài koh sai-nai, chhiah chhâ-pê; kán-tan chi̍t-kù, siong-sìn it-chhè siá tī khî-sū sió-soat lāi-bīn ê hàm-kó͘ tāi?

"Chiū góa ka-tī lâi kóng, góa kan-ta ē-tàng kóng, tī tha̍k chit-chióng chheh ê sî, góa nā mài khì siūⁿ che lóng sī ké, sī khang, in tō ē hō͘ góa bó͘-chióng chhù-bī. Tān-sī tán góa su-khó in ê chin-si̍t-sèng ê sî, khah hó ê chheh góa to ē kā phiaⁿ hiòng piah, sin-piⁿ nā ū hóe-lô͘, góa tō kā phiaⁿ lo̍h hóe, che sī in kai-tong ê chhù-hoa̍t, in-ūi in ê khi-phiàn koh ké-pâu chhiau-kòe ē-tit iông-ún ê thêng-tō͘, koh bē-su sin kàu-phài kap seng-oa̍h hong-sek ê chhòng-li̍p chiá, sī bû-ti tāi-chiòng ê tō-su, ín-tō in siong-sìn koh chiap-siū it-chhè chiah-ê gû-gōng tāi-chì, kā tòng-chò sī chin-lí. 

"Jî-chhiáⁿ, in ū-kàu tōa-táⁿ, kèng-jiân káⁿ jiáu-loān ū sin-hūn, ū tì-sek ê sin-sū ê sim-tì. Che ùi koh-hā cho-siū ê chok-iōng tō khòaⁿ ē-chhut, kā lí thoa-lūi kàu chit-ê tē-pō͘, hō͘ lí tio̍h koaiⁿ tī lông-á, kō͘ gû-chhia thoa, ná chhiūⁿ thoa sai a̍h hó͘ án-ne, ùi chi̍t-ūi kàu pa̍t-ūi, tián-sī hō͘ lâng khòaⁿ lâi thàn-chîⁿ. Aih-ah, Don Quixote Ss, lí tio̍h koan-sim ka-tī, tio̍h hôe-ho̍k kàu pêng-siông ê lí-tì, hó-hó sú-iōng thiⁿ-kong sù hō͘ lí ê pún-sèng, lī-iōng lí hong-hù ê châi-lêng, khì tha̍k chi̍t-kóa kî-thaⁿ ê chheh, hó-thang lī-ek lí ê liông-ti, cheng-ka lí ê êng-ū...

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49.2 Ùi 櫳仔出來, 伊暢 kah 無地講

Don Quixote 規个有聽著 chiah-ê 話, 伊講: 

"我同意, 何況, 像我這種中邪 ê 人, 是無法度自主行動. 因為施魔法 ê 人 ē-tàng hō͘ 伊 3 代人袂得徙位, 假使伊試欲逃走, 隨 tō kō͘ 飛 ê kā 掠轉來." 

代誌既然 án-ne, in ē-sái 放伊出來 lah, 尤其 án-ne 對逐个 lóng 好. 因為 in 若無放伊出來, 伊抗議講, 伊將無法度避免得失眾人 ê 鼻空, 除非逐个 lóng 走遠遠.

教士掠伊一支手, 其實是兩手縛做伙, hō͘ 伊咒誓保證了, in tō kā 伊敨開. 發現已經 ùi 櫳仔出來, 伊暢 kah 無地講. 伊上代先做 ê tō 是規身伸勻, 然後走到 Rocinante 徛 ê 所在, phok 幾若下 tī 伊 ê 尻川䫌, 講:

"我猶是相信神 kap 聖母, O, 駿馬 ê 花 kap 鏡 ah, 咱真緊 tō koh 看著 ka-tī ah, its 你 kap 我, 照咱 ê 希望, 你 ê 身上有主人騎, 我騎你, 追隨神送咱來到這世界 ê 使命."

Ná án-ne 講, Sancho 綴 tī 伊身邊, 伊 tō 覕去一个揜僻 ê 所在. Ùi hia 轉來 ê 時, 伊規个大輕鬆, tō koh-khah 想欲實行伊 ê 侍從 ê 計畫.

教士掠伊金金看, 對伊這種超級痟症感覺著驚, m̄-koh 又看伊講話也好, 應答也好 lóng kài 理性, kan-ta tī 講著騎士道 ê 時, 才像講過 ê, ē 頓蹬. 自 án-ne, 因為同情, tī in 做伙坐 tī 草地等 chia̍h-mi̍h 到位 ê 時, 伊 án-ne 對伊講:

"Kám 有可能, 親愛 ê 先生, 讀 he 漚古 koh 無聊 ê 騎士小說, 那會對閣下有 chiah 大影響, hō͘ 你失去理智, 叫是 ka-tī 中邪, 等等, kā 假 ê 當做是真? 就人 ê 理解, 那有可能說服 ka-tī 相信世界有不盡 ê Amadis, a̍h 是相信一切 hiah-ê 出名騎士, 一切 hiah-ê Trebizond 皇帝, 一切 hiah-ê Hiracania ê Felixmarte, 一切 hiah-ê 駿馬, koh 有遊俠少女, 毒蛇, 怪物, 巨人, 奇妙弄險, 各種魔法, 戰鬥, 驚人遭遇, 華麗服裝, 多情公主, 侍從封伯爵, ná 尪仔 ê 矮仔人, 情批, 恩愛 koh sai-nai, chhiah 柴耙; 簡單一句, 相信一切寫 tī 騎士小說內面 ê 譀古代?

"就我 ka-tī 來講, 我 kan-ta ē-tàng 講, tī 讀這種冊 ê 時, 我若莫去想這 lóng 是假, 是空, in tō ē hō͘ 我某種趣味. 但是等我思考 in ê 真實性 ê 時, khah 好 ê 冊我 to ē kā 抨向壁, 身邊若有火爐, 我 tō kā 抨落火, 這是 in 該當 ê 處罰, 因為 in ê 欺騙 koh 假 pâu 超過會得容允 ê 程度, koh 袂輸新教派 kap 生活方式 ê 創立者, 是無知大眾 ê 導師, 引導 in 相信 koh 接受一切 chiah-ê 愚戇代誌, kā 當做是真理. 

"而且, in 有夠大膽, 竟然 káⁿ 擾亂有身份, 有智識 ê 紳士 ê 心智. 這 ùi 閣下遭受 ê 作用 tō 看會出, kā 你拖累到這个地步, hō͘ 你著關 tī 櫳仔, kō͘ 牛車拖, ná 像拖獅 a̍h 虎 án-ne, ùi 一位到別位, 展示 hō͘ 人看來趁錢. Aih-ah, Don Quixote Ss, 你著關心 ka-tī, 著回復到平常 ê 理智, 好好使用天公賜 hō͘ 你 ê 本性, 利用你豐富 ê 才能, 去讀一寡其他 ê 冊, 好 thang 利益你 ê 良知, 增加你 ê 榮譽...

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49.2

Don Quixote, who was listening to all this, said, /

“I give it;—moreover one who is enchanted as I am cannot do as he likes with himself; for he who had enchanted him could prevent his moving from one place for three ages, and if he attempted to escape would bring him back flying.”—/

And that being so, they might as well release him, particularly as it would be to the advantage of all; for, if they did not let him out, he protested he would be unable to avoid offending their nostrils unless they kept their distance.

The canon took his hand, tied together as they both were, and on his word and promise they unbound him, and rejoiced beyond measure he was to find himself out of the cage. The first thing he did was to stretch himself all over, and then he went to where Rocinante was standing and giving him a couple of slaps on the haunches said, /

“I still trust in God and in his blessed mother, O flower and mirror of steeds, that we shall soon see ourselves, both of us, as we wish to be, thou with thy master on thy back, and I mounted upon thee, following the calling for which God sent me into the world.” /

And so saying, accompanied by Sancho, he withdrew to a retired spot, from which he came back much relieved and more eager than ever to put his squire’s scheme into execution.

The canon gazed at him, wondering at the extraordinary nature of his madness, and that in all his remarks and replies he should show such excellent sense, and only lose his stirrups, as has been already said, when the subject of chivalry was broached. And so, moved by compassion, he said to him, as they all sat on the green grass awaiting the arrival of the provisions:

“Is it possible, gentle sir, that the nauseous and idle reading of books of chivalry can have had such an effect on your worship as to upset your reason so that you fancy yourself enchanted, and the like, all as far from the truth as falsehood itself is? How can there be any human understanding that can persuade itself there ever was all that infinity of Amadises in the world, or all that multitude of famous knights, all those emperors of Trebizond, all those Felixmartes of Hircania, all those palfreys, and damsels-errant, and serpents, and monsters, and giants, and marvellous adventures, and enchantments of every kind, and battles, and prodigious encounters, splendid costumes, love-sick princesses, squires made counts, droll dwarfs, love letters, billings and cooings, swashbuckler women, and, in a word, all that nonsense the books of chivalry contain? /

For myself, I can only say that when I read them, so long as I do not stop to think that they are all lies and frivolity, they give me a certain amount of pleasure; but when I come to consider what they are, I fling the very best of them at the wall, and would fling it into the fire if there were one at hand, as richly deserving such punishment as cheats and impostors out of the range of ordinary toleration, and as founders of new sects and modes of life, and teachers that lead the ignorant public to believe and accept as truth all the folly they contain. /

And such is their audacity, they even dare to unsettle the wits of gentlemen of birth and intelligence, as is shown plainly by the way they have served your worship, when they have brought you to such a pass that you have to be shut up in a cage and carried on an ox-cart as one would carry a lion or a tiger from place to place to make money by showing it. Come, Señor Don Quixote, have some compassion for yourself, return to the bosom of common sense, and make use of the liberal share of it that heaven has been pleased to bestow upon you, employing your abundant gifts of mind in some other reading that may serve to benefit your conscience and add to your honour. /

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49. Sancho Panza kap 主人 Don Quixote ê 機智對話/ 49.1 伊求神父 kā 主人 ùi 櫳仔小放出來

49. Sancho Panza kap chú-lâng Don Quixote ê ki-tì tùi-ōe

49.1 I kiû sîn-hū kā chú-lâng ùi lông-á sió pàng chhut-lâi

"Ah-hah, lí án-ne ìn tō tio̍h ah," Sancho kóng, "che chiàⁿ-chiàⁿ sī góa sim-lāi kî-thāi boeh chai ê tāi-chì. Taⁿ lí kóng, sian-siⁿ, lí kám ē hóⁿ-jīn chit-chióng ta̍k-ê lóng án-ne kóng ê tāi-chì? iā-tō sī tī lâng sim-chêng bô-hó ê sî: ‘góa m̄-chai bó͘-bó͘ lâng sī án-nóa, i m̄-chia̍h, m̄-lim, iā m̄-khùn, mn̄g i siáⁿ i mā ìn bô lō͘-lâi, khòaⁿ sī tiòng-siâ ah lah.’ Ùi chia, lán tit-tio̍h kiat-lūn: kìⁿ nā m̄-chia̍h, m̄-lim, m̄-khùn, a̍h bô chò góa tú-chiah só͘ kóng ê chū-jiân tōng-chok ê lâng, chiah sī tiòng-siâ. Tān bô pau-koat chhiūⁿ koh-hā chit-chióng iáu-ū io̍k-bōng ê, hō͘ lí lim, lí tō lim, hō͘ lí chia̍h ê, lí tō chia̍h, kā lí mn̄g koh ìn ū lō͘-lâi ê lâng."

"Lí kóng ê bô m̄-tio̍h, Sancho," Don Quixote ìn, "tān góa í-keng kā lí kóng kòe, mô͘-hoat ū pah-pah chióng, he koh ū khó-lêng tòe sî-kan kái-piàn, ùi chit-hāng piàn chò pa̍t-hāng, taⁿ tiòng-siâ ê lâng mā khó-lêng ē chò it-chhè góa só͘ chò ê tāi-chì, sui-bóng í-chêng in bē án-ne chò. Só͘-tì, chiū tong-kim ê chōng-hóng lâi kóng, sio-chèⁿ a̍h thui-lūn sī bô jīm-hô ì-gī. Góa chai-iáⁿ, mā kám-kak góa í-keng tiòng-siâ ah, án-ne í-keng ū-kàu hō͘ góa sim-chêng khin-sang, nā-bô, góa tō kham-tong bē-khí. Góa nā siūⁿ kóng ka-tī bô tiòng-siâ, soah in-ūi nńg-chiáⁿ a̍h-sī bô-táⁿ chiah lâi tó tī che lông-á lāi, khi-phiàn chē-chē tī chit sî-chūn su-iàu góa pang-chō͘ ê kan-khó͘ lâng, góa ê sim-chêng tiāⁿ-tio̍h tîm-tāng."

"Tō kóng sī án-ne," Sancho ìn, "góa tio̍h án-ne kóng, ūi-tio̍h hō͘ lí koh-khah boán-ì, koh-khah sim-an, siōng-hó koh-hā iáu sī siūⁿ hoat-tō͘ thoat-lī chit-ê lông-á (góa pó-chèng góa ē chīn-la̍t tàu saⁿ-kāng, sīm-chì chhin-sin kā lí pàng chhut-lâi), khòaⁿ lí sī m̄-sī ē-tàng koh khîa lí hit-chiah hó bé Rocinante. I khòaⁿ khí-lâi ut-chut koh sit-chì, mā ká-ná sī tiòng-siâ ah. Án-ne, lán tō ē-tàng chhōe ki-hōe koh khì lāng-hiám. Lán nā bô kàu hó-ūn, chóng-sī ū sî-kan koh tńg-khì lông-á lāi. Chò chi̍t-ê tiong-hō͘ koh khó-khò ê sū-chiông, góa kō͘ jîn-keh pó-chèng, bān-it lí pháiⁿ-ūn, a̍h sī góa siuⁿ han-bān, bē-tàng si̍t-hêng góa ê kè-ōe, góa it-tēng kap koh-hā chò-hóe koaiⁿ tī lông-á lāi."

"Góa chin goān-ì chiàu lí só͘ kóng ê khì chò, Sancho hiaⁿ-tī," Don Quixote kóng, "tán lí khòaⁿ ū hó ki-hōe pàng góa chhut-lâi, góa choa̍t-tùi chiàu lí ê chí-sī. Tān, lí chiong ē hoat-hiān, Sancho, lí tùi góa ê put-hēng ê khòaⁿ-hoat sī gōa-nī-á chhò-gō͘."

Iû-kiap khî-sū kap iûⁿ-hîn sū-chiông ê tùi-ōe tō án-ne chi̍t-lō͘ kiâⁿ, chi̍t-lō͘ kóng, it-ti̍t kàu sîn-hū, kàu-sū, í-ki̍p thì-thâu-sai lóng í-keng lo̍h-khiâ teh tán in. Gû-chhia-chú kā gû lo̍h-taⁿ, pàng in tī hit-phàn chheⁿ phiàng-phiàng ê chháu-tē chū-iû kiâⁿ-ta̍h. Chháu-tē ê chhiⁿ-chhioh pēng bô án-nóa kám-tōng chū jīn-ûi tiòng-siâ ê Don Quixote, tān chin khip-ín chhiūⁿ i ê sū-chiông chit-chióng chheng-chhéⁿ ê lâng. Sancho kiû sîn-hū kā chú-lâng ùi lông-á sió pàng chhut-lâi chi̍t-ē, in-ūi nā bô kā pàng chhut-lâi, he lông-á tō bô khó-lêng ûi-chhî hû-ha̍p chú-lâng sin-sū sin-hūn só͘ su-iàu ê chéng-chê. Sîn-hū chai-iáⁿ i ê ì-sù, kóng i chin goān-ì tah-èng i chit-ê iau-kiû, m̄-koh tam-sim i ê chú-lâng chi̍t-ē tit-tio̍h chū-iû, tō ē koh hoan-thâu kiâⁿ kū-lō͘, cháu kah hō͘ lâng bô-tè khì chhōe.

"Góa kòa pó-chèng, i bē thau-cháu lah," Sancho kóng.

"Góa mā pó-chèng," kàu-sū kóng, "iû-kî i nā khéng kō͘ khî-sū sin-hūn kā lán pó-chèng, kóng, bô lán ê tông-ì i bē lī-khui."

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49. Sancho Panza kap 主人 Don Quixote ê 機智對話

49.1 伊求神父 kā 主人 ùi 櫳仔小放出來

"Ah-hah, 你 án-ne 應 tō 著 ah," Sancho 講, "這正正是我心內期待欲知 ê 代誌. 今你講, 先生, 你 kám ē 否認這種逐个 lóng án-ne 講 ê 代誌? 也 tō 是 tī 人心情無好 ê 時: ‘我毋知某某人是 án-nóa, 伊 m̄-chia̍h, 毋啉, 也毋睏, 問伊啥伊 mā 應無路來, 看是中邪 ah lah.’ Ùi chia, 咱得著結論: 見若毋食, 毋啉, 毋睏, a̍h 無做我拄才所講 ê 自然動作 ê 人, 才是中邪. 但無包括像閣下這種猶有慾望 ê, hō͘ 你啉, 你 tō 啉, hō͘ 你食 ê, 你 tō 食, kā 你問 koh 應有路來 ê 人."

"你講 ê 無毋著, Sancho," Don Quixote 應, "但我已經 kā 你講過, 魔法有百百種, he koh 有可能綴時間改變, ùi 這項變做別項, 今中邪 ê 人 mā 可能 ē 做一切我所做 ê 代誌, 雖罔以前 in 袂 án-ne 做. 所致, 就當今 ê 狀況來講, 相諍 a̍h 推論是無任何意義. 我知影, mā 感覺我已經中邪 ah, án-ne 已經有夠 hō͘ 我心情輕鬆, 若無, 我 tō 堪當袂起. 我若想講 ka-tī 無中邪, soah 因為軟汫 a̍h 是無膽才來倒 tī che 櫳仔內, 欺騙濟濟 tī 這時陣需要我幫助 ê 艱苦人, 我 ê 心情定著沉重."

"Tō 講是 án-ne," Sancho 應, "我著 án-ne 講, 為著 hō͘ 你 koh-khah 滿意, koh-khah 心安, 上好閣下猶是想法度脫離這个櫳仔 (我保證我 ē 盡力鬥相共, 甚至親身 kā 你放出來), 看你是毋是 ē-tàng koh 騎你彼隻好馬 Rocinante. 伊看起來鬱卒 koh 失志, mā ká-ná 是中邪 ah. Án-ne, 咱 tō ē-tàng 揣機會 koh 去弄險. 咱若無夠好運, 總是有時間 koh 轉去櫳仔內. 做一个忠厚 koh 可靠 ê 侍從, 我 kō͘ 人格保證, 萬一你歹運, a̍h 是我 siuⁿ han-bān, 袂當實行我 ê 計畫, 我一定 kap 閣下做伙關 tī 櫳仔內."

"我真願意照你所講 ê 去做, Sancho 兄弟," Don Quixote 講, "等你看有好機會放我出來, 我絕對照你 ê 指示. 但, 你將 ē 發現, Sancho, 你對我 ê 不幸 ê 看法是 gōa-nī-á 錯誤."

遊俠騎士 kap 羊眩侍從 ê 對話 tō án-ne 一路行, 一路講, 一直到神父, 教士, 以及剃頭師 lóng 已經落騎 teh 等 in. 牛車主 kā 牛落擔, 放 in tī 彼遍青 phiàng-phiàng ê 草地自由行踏. 草地 ê 鮮沢並無 án-nóa 感動自認為中邪 ê Don Quixote, 但真吸引像伊 ê 侍從這種清醒 ê 人. Sancho 求神父 kā 主人 ùi 櫳仔小放出來一下, 因為若無 kā 放出來, he 櫳仔 tō 無可能維持符合主人紳士身份所需要 ê 整齊. 神父知影伊 ê 意思, 講伊真願意答應伊這个要求, m̄-koh 擔心伊 ê 主人一下得著自由, tō ē koh 翻頭行舊路, 走 kah hō͘ 人無地去揣.

"我掛保證, 伊袂偷走 lah," Sancho 講.

"我 mā 保證," 教士講, "尤其伊若肯 kō͘ 騎士身份 kā 咱保證, 講, 無咱 ê 同意伊袂離開."

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CHAPTER XLIX.

WHICH TREATS OF THE SHREWD CONVERSATION WHICH SANCHO PANZA HELD WITH HIS MASTER DON QUIXOTE

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49.1

“Aha, I have caught you,” said Sancho; “this is what in my heart and soul I was longing to know. Come now, señor, can you deny what is commonly said around us, when a person is out of humour, ‘I don’t know what ails so-and-so, that he neither eats, nor drinks, nor sleeps, nor gives a proper answer to any question; one would think he was enchanted’? From which it is to be gathered that those who do not eat, or drink, or sleep, or do any of the natural acts I am speaking of—that such persons are enchanted; but not those that have the desire your worship has, and drink when drink is given them, and eat when there is anything to eat, and answer every question that is asked them.”

“What thou sayest is true, Sancho,” replied Don Quixote; “but I have already told thee there are many sorts of enchantments, and it may be that in the course of time they have been changed one for another, and that now it may be the way with enchanted people to do all that I do, though they did not do so before; so it is vain to argue or draw inferences against the usage of the time. I know and feel that I am enchanted, and that is enough to ease my conscience; for it would weigh heavily on it if I thought that I was not enchanted, and that in a faint-hearted and cowardly way I allowed myself to lie in this cage, defrauding multitudes of the succour I might afford to those in need and distress, who at this very moment may be in sore want of my aid and protection.”

“Still for all that,” replied Sancho, “I say that, for your greater and fuller satisfaction, it would be well if your worship were to try to get out of this prison (and I promise to do all in my power to help, and even to take you out of it), and see if you could once more mount your good Rocinante, who seems to be enchanted too, he is so melancholy and dejected; and then we might try our chance in looking for adventures again; and if we have no luck there will be time enough to go back to the cage; in which, on the faith of a good and loyal squire, I promise to shut myself up along with your worship, if so be you are so unfortunate, or I so stupid, as not to be able to carry out my plan.”

“I am content to do as thou sayest, brother Sancho,” said Don Quixote, “and when thou seest an opportunity for effecting my release I will obey thee absolutely; but thou wilt see, Sancho, how mistaken thou art in thy conception of my misfortune.”

The knight-errant and the ill-errant squire kept up their conversation till they reached the place where the curate, the canon, and the barber, who had already dismounted, were waiting for them. The carter at once unyoked the oxen and left them to roam at large about the pleasant green spot, the freshness of which seemed to invite, not enchanted people like Don Quixote, but wide-awake, sensible folk like his squire, who begged the curate to allow his master to leave the cage for a little; for if they did not let him out, the prison might not be as clean as the propriety of such a gentleman as his master required. The curate understood him, and said he would very gladly comply with his request, only that he feared his master, finding himself at liberty, would take to his old courses and make off where nobody could ever find him again.

“I will answer for his not running away,” said Sancho.

“And I also,” said the canon, “especially if he gives me his word as a knight not to leave us without our consent.”

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Monday, September 22, 2025

48.4 我來證明你並無中邪

48.4 Góa lâi chèng-bêng lí pēng bô tiòng-siâ

"Kì-chāi lí mn̄g, Sancho koai gín-á," Don Quixote hôe-tap, "góa ē boán-chiok lí ê iau-kiû, hôe-tap lí só͘ mn̄g ê it-chhè. Lí kóng, hia hit nn̄g-ê pôe lán kiâⁿ ê lâng sī sîn-hū kap thì-thâu-sai, sī lán se̍k-sāi ê chhù-piⁿ, chin ū khó-lêng, in-ūi in khòaⁿ khí-lâi kài sêng hit nn̄g-ê lâng. M̄-koh, lí chhian-bān m̄-thang siong-sìn in sū-si̍t siōng tō sī hit nn̄g-lâng. Lí tio̍h siong-sìn, tio̍h án-ne siūⁿ, in nā ná lí kóng ê án-ne chhin-chhiūⁿ in, he tek-khak sī kā góa si mô͘-hoat ê lâng só͘ piàn sêng ê hêng-chōng kap gōa-māu. Tùi mô͘-hoat-su lâi-kóng, sûi-ì to ē-tàng piàn chò in boeh ài ê hêng-thài. In ū khó-lêng piàn chò lán ê pêng-iú ê khoán, hō͘ lí ū chit-má chit-chióng siūⁿ-hoat, tì-sú lí hām-lo̍h chi̍t-ê hoàn-sióng bê-kiong, tō kóng lí ū Theseus ê sòaⁿ-soh mā kiâⁿ bē chhut-lâi. Lēng-gōa, in án-ne chò, khó-lêng mā sī ūi-tio̍h boeh hō͘ góa sim-sîn bê-bông, hō͘ góa bô hoat-tō͘ thui-chhek che chai-lān sī ùi tó-ūi lâi ê. In-ūi, chi̍t hong-bīn lí kā góa kóng, lán chng ê sîn-hū kap thì-thâu-sai tī chia pôe-phōaⁿ lán, lēng hong-bīn, góa hoat-hiān ka-tī hông koaiⁿ tī lông-á lāi, sim-lāi iū-koh bêng-pe̍k, chit sè-kài tî-hui sī chhiau chū-jiân ê le̍k-liōng, jīm-hô le̍k-liōng to bē-tàng kā góa koaiⁿ khí-lâi. Lí boeh kiò góa án-nóa kóng, án-nóa siūⁿ ah? Góa kan-ta ē-tàng kóng, góa ê tiòng-siâ í-keng tōa-tōa chhiau-kòe góa só͘ tha̍k-kòe ê, bat hông si mô͘-hoat ê iû-kiap khî-sū ê le̍k-sú kì-chài. Só͘-tì, lí ē-sái hòng-sim, mài koh jīn-ûi in tō sī lí só͘ kóng ê hiah-ê lâng ah lah. Kóng in sī bó͘-mih lâng, bē-su kóng góa sī Turk lâng. Koh kóng tńg-lâi, lí kóng boeh mn̄g góa, chò lí mn̄g lah, góa ē kā lí hôe-tap, chún-kóng lí boeh ùi taⁿ mn̄g kàu bîn-á chá-khí mā bô iàu-kín."

"Sèng-bó pó-pì oh!" Sancho kóng, hoah kah chiâⁿ tōa-siaⁿ, "ū-kàu hāi neh, koh-hā thâu-khak khōng ku-lí, a̍h sī thâu-náu koàn-chúi sioh? ná ē khòaⁿ bē-chhut góa só͘ kóng ê sī kán-tan ê sū-si̍t, lí ê hông-koaiⁿ kap put-hēng chāi-tī ok-ì, he kap tiòng-siâ bô-koan? Tāi-chì kàu taⁿ ah, góa tō lâi chheng-chhó chèng-bêng hō͘ lí khòaⁿ, lí pēng bô tiòng-siâ. Chhiáⁿ lí kā góa kóng, hi-bāng Sîn kiù lí chhut chit-ê khùn-kéng, hō͘ lí ē-tàng ì-gōa tńg kàu góa ê hu-jîn Dulcinea ê hoâi-phō..."

"Mài koh se̍h-se̍h liām ah lah," Don Quixote kóng, "ū siáⁿ boeh chai, kín mn̄g lah. Góa kóng kòe, góa ē chīn-liōng chún-khak kā lí hôe-tap."

"He chiàⁿ-chiàⁿ sī góa boeh-ài ê," Sancho kóng, "sī góa ài boeh chai ê. Lí tio̍h chiàu-si̍t kā góa kóng, bián ke, mā bô kiám, kóng chhut oân-chéng ê sū-si̍t, i-chiàu it-poaⁿ ê kî-thāi, chiàu lâng só͘ kóng ê, kō͘ iû-kiap khî-sū ê miâ-gī, kō͘ koh-hā chip-hêng bú-gē ê choan-gia̍p án-ne..."

"Góa kā lí kóng, góa chi̍t sut-á to bē pe̍h-chha̍t," Don Quixote kóng, "kín mn̄g lah. Kóng si̍t-chāi, lí chit-lō 5-4-3 ê pó-chèng, tiâu-kiāⁿ, kap chiân-tê hō͘ góa chiok hoân ê neh, Sancho."

"Hó lah, góa sìn-jīm goán chú-lâng ê siān-liông kap láu-si̍t," Sancho kóng, "só͘-í, in-ūi che kap lán ê ōe-tê ū koan-hē, góa boeh chun-chun kèng-kèng kā lí chhéng-kàu, chū-chiông lí hông koaiⁿ tī lông-á lāi, koh jīn-ûi ka-tī tiòng-siâ, tī chit-ê kî-kan, lí kám ū chhiūⁿ sio̍k-gí só͘ kóng ê, kám-kak ū jīm-hô siūⁿ-boeh a̍h sī su-iàu khì tó-ūi chi̍t-ē?"

"Góa bô liáu-kái ‘khì tó-ūi’ sī siáⁿ ì-sù," Don Quixote kóng, "lí nā ài-boeh góa ê hôe-tap chún-khak, Sancho, lí tio̍h ka-tī kā he kái-soeh khah chheng-chhó chi̍t-ē."

"Ná ū khó-lêng ah," Sancho kóng, "koh-hā m̄-chai ‘khì tó-ūi’ ê ì-sù? Ai-ah, che liân sió-hak-seng chū gín-á sî tō chai ê neh. Hó lah, góa ê ì-sù sī, lí kám ū siūⁿ-boeh khì chò bô chò bē-sái-tit ê tāi-chì?"

"Ah! taⁿ góa chai ah lah, Sancho," Don Quixote kóng, "tio̍h, tiāⁿ-tiāⁿ ū, sīm-chì taⁿ tō ū. Kín thè góa pâi-kái, nā bô tō hāi loh."

[2024-12-16]

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48.4 我來證明你並無中邪

"據在你問, Sancho 乖囡仔," Don Quixote 回答, "我 ē 滿足你 ê 要求, 回答你所問 ê 一切. 你講, hia hit 兩个陪咱行 ê 人是神父 kap 剃頭師, 是咱熟似 ê 厝邊, 真有可能, 因為 in 看起來 kài 成 hit 兩个人. 毋過, 你千萬毋通相信 in 事實上 tō 是 hit 兩人. 你著相信, 著 án-ne 想, in 若 ná 你講 ê án-ne 親像 in, he 的確是 kā 我施魔法 ê 人所變成 ê 形狀 kap 外貌. 對魔法師來講, 隨意 to ē-tàng 變做 in 欲愛 ê 形態. In 有可能變做咱 ê 朋友 ê 款, hō͘ 你有 chit-má 這種想法, 致使你陷落一个幻想迷宮, tō 講你有 Theseus ê 線索 mā 行袂出來. 另外, in án-ne 做, 可能 mā 是為著欲 hō͘ 我心神迷茫, hō͘ 我無法度推測 che 災難是 ùi 佗位來 ê. 因為, 一方面你 kā 我講, 咱庄 ê 神父 kap 剃頭師 tī chia 陪伴咱, 另方面, 我發現 ka-tī hông 關 tī 櫳仔內, 心內又閣明白, chit 世界除非是超自然 ê 力量, 任何力量 to 袂當 kā 我關起來. 你欲叫我 án-nóa 講, án-nóa 想 ah? 我 kan-ta ē-tàng 講, 我 ê 中邪已經大大超過我所讀過 ê, bat hông 施魔法 ê 遊俠騎士 ê 歷史記載. 所致, 你 ē-sái 放心, 莫 koh 認為 in tō 是你所講 ê hiah-ê 人 ah lah. 講 in 是 bó͘-mih人, 袂輸講我是 Turk 人. 閣講轉來, 你講欲問我, 做你問 lah, 我 ē kā 你回答, 準講你欲 ùi 今問到明仔早起 mā 無要緊."

"聖母保庇 oh!" Sancho 講, 喝 kah 誠大聲, "有夠害 neh, 閣下頭殼 khōng ku-lí, a̍h 是頭腦灌水 sioh? 那會看袂出我所講 ê 是簡單 ê 事實, 你 ê hông 關 kap 不幸在 tī 惡意, he kap 中邪無關? 代誌到今 ah, 我 tō 來清楚證明 hō͘ 你看, 你並無中邪. 請你 kā 我講, 希望神救你出這个困境, hō͘ 你會當意外轉到我 ê 夫人 Dulcinea ê 懷抱..."

"莫 koh 踅踅唸 ah lah," Don Quixote 講, "有啥欲知, 緊問 lah. 我講過, 我 ē 盡量準確 kā 你回答."

"He 正正是我欲愛 ê," Sancho 講, "是我愛欲知 ê. 你著照實 kā 我講, 免加, mā 無減, 講出完整 ê 事實, 依照一般 ê 期待, 照人所講 ê, kō͘ 遊俠騎士 ê 名義, kō͘ 閣下執行武藝 ê 專業 án-ne..."

"我 kā 你講, 我一屑仔 to 袂白賊," Don Quixote 講, "緊問 lah. 講實在, 你 chit-lō 5-4-3 ê 保證, 條件, kap 前題 hō͘ 我足煩 ê neh, Sancho."

"好 lah, 我信任阮主人 ê 善良 kap 老實," Sancho 講, "所以, 因為 che kap 咱 ê 話題有關係, 我欲尊尊敬敬 kā 你請教, 自從你 hông 關 tī 櫳仔內, koh 認為 ka-tī 中邪, tī 這个期間, 你 kám 有像俗語所講 ê, 感覺有任何想欲 a̍h 是需要去佗位一下?"

"我無了解 ‘去佗位’ 是啥意思," Don Quixote 講, "你若愛欲我 ê 回答準確, Sancho, 你著 ka-tī kā he 解說 khah 清楚一下."

"那有可能 ah," Sancho 講, "閣下毋知 ‘去佗位’ ê 意思? Ai-ah, che 連小學生自囡仔時 tō 知 ê neh. 好 lah, 我 ê 意思是, 你 kám 有想欲去做無做袂使得 ê 代誌?"

"Ah! 今我知 ah lah, Sancho," Don Quixote 講, "著, 定定有, 甚至今 tō 有. 緊替我排解, 若無 tō 害 loh."

[2024-12-16]

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48.4

“Ask what thou wilt, Sancho my son,” returned Don Quixote, “for I will satisfy thee and answer all thou requirest. As to what thou sayest, that these who accompany us yonder are the curate and the barber, our neighbours and acquaintances, it is very possible that they may seem to be those same persons; but that they are so in reality and in fact, believe it not on any account; what thou art to believe and think is that, if they look like them, as thou sayest, it must be that those who have enchanted me have taken this shape and likeness; for it is easy for enchanters to take any form they please, and they may have taken those of our friends in order to make thee think as thou dost, and lead thee into a labyrinth of fancies from which thou wilt find no escape though thou hadst the cord of Theseus; and they may also have done it to make me uncertain in my mind, and unable to conjecture whence this evil comes to me; for if on the one hand thou dost tell me that the barber and curate of our village are here in company with us, and on the other I find myself shut up in a cage, and know in my heart that no power on earth that was not supernatural would have been able to shut me in, what wouldst thou have me say or think, but that my enchantment is of a sort that transcends all I have ever read of in all the histories that deal with knights-errant that have been enchanted? So thou mayest set thy mind at rest as to the idea that they are what thou sayest, for they are as much so as I am a Turk. But touching thy desire to ask me something, say on, and I will answer thee, though thou shouldst ask questions from this till to-morrow morning.”

“May Our Lady be good to me!” said Sancho, lifting up his voice; “and is it possible that your worship is so thick of skull and so short of brains that you cannot see that what I say is the simple truth, and that malice has more to do with your imprisonment and misfortune than enchantment? But as it is so, I will prove plainly to you that you are not enchanted. Now tell me, so may God deliver you from this affliction, and so may you find yourself when you least expect it in the arms of my lady Dulcinea—”

“Leave off conjuring me,” said Don Quixote, “and ask what thou wouldst know; I have already told thee I will answer with all possible precision.”

“That is what I want,” said Sancho; “and what I would know, and have you tell me, without adding or leaving out anything, but telling the whole truth as one expects it to be told, and as it is told, by all who profess arms, as your worship professes them, under the title of knights-errant—”

“I tell thee I will not lie in any particular,” said Don Quixote; “finish thy question; for in truth thou weariest me with all these asseverations, requirements, and precautions, Sancho.”

“Well, I rely on the goodness and truth of my master,” said Sancho; “and so, because it bears upon what we are talking about, I would ask, speaking with all reverence, whether since your worship has been shut up and, as you think, enchanted in this cage, you have felt any desire or inclination to go anywhere, as the saying is?”

“I do not understand ‘going anywhere,’” said Don Quixote; “explain thyself more clearly, Sancho, if thou wouldst have me give an answer to the point.”

“Is it possible,” said Sancho, “that your worship does not understand ‘going anywhere’? Why, the schoolboys know that from the time they were babes. Well then, you must know I mean have you had any desire to do what cannot be avoided?”

“Ah! now I understand thee, Sancho,” said Don Quixote; “yes, often, and even this minute; get me out of this strait, or all will not go right.”

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48.3 有審查 tō ē 出現優秀 ê 作品

48.3 Ū sím-cha tō ē chhut-hiān iu-sìu ê chok-phín

"... Che sī chin ê. Ùi lán-kok bó͘ chi̍t-ê siōng ū châi-hôa ê to-sán chok-ka só͘ siá ê chē-chē hì-kio̍k khòaⁿ chhut-lâi, he chok-phín chhiong-móa tì-hūi, iu-ngá koh hí-khì, si-kù iu-bí, bûn-kù cheng-liān, su-khó chhim-khek, kán-tan kóng, gí-giân phông-phài, hong-keh ko-ngá, hō͘ i ê miâ-siaⁿ thoân-piàn sè-kài. Tān-sī, ūi-tio̍h i hi-bāng boán-chiok ián-oân ê kháu-bī, tì-sú i ê chok-phín m̄-sī choân-pō͘ lóng chhiūⁿ i ê chi̍t-kóa chok-phín án-ne ta̍t-kàu eng-kai ū ê oân-bí thêng-tō͘. Kî-thaⁿ ū-ê chok-ka siá-chok bô iōng-sim, tì-sú hì-kio̍k ián-chhut liáu-āu, ián-oân kiaⁿ siū chhú-hoa̍t, soah tio̍h làng-káng, in-ūi in éng-éng in-ūi ián-chhut tek-sit bó͘ chi̍t-ūi kok-ông a̍h kùi-cho̍k, lâi siū-tio̍h chhú-hoa̍t.

"It-chhè chiah-ê būn-tê, í-ki̍p chē-chē góa bô kóng tio̍h ê, lóng ē-tàng tit-tio̍h kái-koat, chí-iàu tī siú-to͘ siat chi̍t-ê chhong-bêng koh ū kiàn-sek ê lâng, tī hì iáu-bōe ián-chhut chìn-chêng seng kā sím-cha, m̄-nā sím-cha siú-to͘ chè-chok ê kio̍k-pún, tio̍h pau-koat só͘-ū boeh tī Sepanga piáu-ián ê kio̍k-pún. Nā bô thong-kòe sím-cha-koaⁿ ê phe-chún, bô khām ìn-á, bô chhiam-miâ, tē-hng tong-kio̍k tō bē-tàng ín-chún jīm-hô hì-kio̍k ê ián-chhut.

"Nā án-ne, ián-oân tō ē khak-si̍t kā kio̍k-pún seng sàng kàu siú-to͘ sím-cha, hó-thang an-choân ián-chhut; siá kio̍k ê lâng mā ē khah sè-jī, khah chù-sim tī in ê chok-phín, in-ūi kòa-ì he tio̍h sàng kàu lāi-hâng ê lâng hia chò giâm-keh kiám-giām. Chū án-ne, iu-siù ê kio̍k-pún tō ē sán-seng, sūn-lī ta̍t-kàu hì-kio̍k ê bo̍k-tek, peh-sèⁿ tit-tio̍h gô͘-lo̍k, Sepanga bûn-jîn tit-tio̍h hó miâ-siaⁿ, ián-oân ê lī-ek kap an-choân ū pó-chiong, mā tōa-tōa kiám-chió tùi in chò chhú-hoa̍t ê mâ-hoân.

"Ká-sú siū-khoân hō͘ kāng hit-ê sim-cha chiá a̍h lēng-gōa lâng lâi sím-cha sin siá ê khî-sū-tō sió-soat, bô-gî tiāⁿ-tio̍h ē chhut-hiān lí só͘ kóng ê hit-chióng iu-siù sió-soat, chhiong-si̍t iu-ngá, pó-kùi ê gí-sû pó-khò͘, hō͘ kū chheh sit-sek tī sin chheh ê kong-bông bīn-chêng. Sin chheh chiong ūi tho̍k-chiá thê-kiong bô-hāi ê gô͘-lo̍k, m̄-nā hō͘ êng-lâng siau-khián, mā hō͘ siōng bô-êng ê lâng pàng-sang, in-ūi keng bē-sái it-tit keng-ân, lán lâng chhùi-jio̍k ê pún-sèng, nā bô sek-tòng ê siau-khián mā sī bē-tàng kè-sio̍k chûn-chāi."

Kàu-sū kap sîn-hū ê tùi-ōe kóng kàu chia ê sî, thì-thâu-sai kiâⁿ óa lâi, tùi sîn-hū kóng:

"Sîn-hū Ss, chia tō sī góa kóng ê só͘-chāi, ū chē-chē chúi-chháu hō͘ gû chia̍h, mā sek-ha̍p lán hioh tiong-tàu."

"Khòaⁿ khí-lâi khak-si̍t sī án-ne," sîn-hū ìn, tō kā kiàn-gī hō͘ kàu-sū, kàu-sū mā koat-tēng boeh tī chia hioh-khùn, kám-kak gán-chêng ê súi soaⁿ-kok kéng-sek bê-lâng, ē-sái ná him-sióng ná kè-sio̍k kap sîn-hū khai-káng. I í-keng tùi sîn-hū ū hó-kám, hi-bāng ùi i hia chìn chi̍t-pō͘ thàm-thiaⁿ Don Quixote ê sū-chek. I hoan-hù kúi-ê chhiú-ē khì thâu-chêng bô hn̄g ê kheh-chàn, chhoân chi̍t-kóa mi̍h-kiāⁿ tńg-lâi hō͘ ta̍k-ê chia̍h-tàu, in-ūi i boeh tī chia hioh-tàu. I ê chi̍t-ê po̍k-jîn ìn-ōe kóng, phāiⁿ ta-niû ê lô-á taⁿ tiāⁿ-tio̍h í-keng kàu kheh-chàn ah, i só͘ phāiⁿ ê chia̍h-mi̍h ū-kàu ta̍k-ê iōng, tî-liáu tōa-be̍h í-gōa, bô su-iàu koh ùi kheh-chàn khoán siáⁿ mi̍h-kiāⁿ ah.

"Nā sī án-ne," kàu-sū kóng, "kā só͘-ū ê thâu-seⁿ chhōa khì kheh-chàn, koh kā hit-chiah phāiⁿ niû-si̍t ê lô-á khan tńg-lâi."

Tī che hoat-seng ê tang-tiong, Sancho kám-kak taⁿ i ē-tàng tī bô sîn-hū kap thì-thâu-sai (i hoâi-gî hit nn̄g-ê tō-sī) chāi-tiûⁿ, tan-to̍k kap chú-lâng kóng-ōe, tō kiâⁿ óa koaiⁿ Don Quixote ê lông-á, án-ne kóng:

"Sian-siⁿ, ūi-tio̍h hō͘ liông-sim hó kòe, góa boeh kā lí kóng lí tiòng-siâ ê chin-siòng. Iā tō sī, chit nn̄g-ê am-bīn tī chia ê lâng, kî-si̍t sī lán chng ê sîn-hū kap thì-thâu-sai. Góa hoâi-gî sī in siat-kè chit-ê kè-ōe, kō͘ chit-chióng hoat-tō͘ kā lí chhōa-cháu, sûn-chhùi sī in-ūi in ba̍k-chhiah koh-hā ê úi-tāi sū-chek chhiau-kòe in. Ká-sú che sī sū-si̍t, lí tō bô tiòng-siâ, sī khì hō͘ hó͘-lāng, hō͘ khi-phiàn. Ūi-tio̍h chèng-bêng che, góa boeh mn̄g lí chi̍t-ê būn-tê, lí ê hôe-tap nā hû-ha̍p góa só͘ liāu ê, lí tō ē-tàng phòa chit-ê phiàn-kio̍k, án-ne lí tō chai-iaⁿ ka-tī bô tiòng-siâ, put-kò sī cheng-sîn chhò-loān niâ."

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48.3 有審查 tō ē 出現優秀 ê 作品

"... 這是真 ê. Ùi 咱國某一个上有才華 ê 多產作家所寫 ê 濟濟戲劇看出來, he 作品充滿智慧, 優雅 koh 喜氣, 詩句優美, 文句精煉, 思考深刻, 簡單講, 語言 phông-phài, 風格高雅, hō͘ 伊 ê名聲傳遍世界. 但是, 為著伊希望滿足演員 ê 口味, 致使伊 ê 作品毋是全部 lóng 像伊 ê 一寡作品 án-ne 達到應該有 ê 完美程度. 其他有 ê 作家寫作無用心, 致使戲劇演出了後, 演員驚受處罰, soah 著閬港, 因為 in 往往因為演出得失某一位國王 a̍h 貴族, 來受著處罰.

"一切 chiah-ê 問題, 以及濟濟我無講著 ê, lóng 會當得著解決, 只要 tī 首都設一个聰明 koh 有見識 ê 人, tī 戲猶未演出進前先 kā 審查, 毋但審查首都製作 ê 劇本, 著包括所有欲 tī Sepanga 表演 ê 劇本. 若無通過審查官 ê 批准, 無 khām 印仔, 無簽名, 地方當局 tō 袂當允准任何戲劇 ê 演出.

"若 án-ne, 演員 tō ē 確實 kā 劇本先送到首都審查, 好 thang 安全演出; 寫劇 ê 人 mā ē khah sè-jī, khah 注心 tī in ê 作品, 因為掛意 he 著送到內行 ê 人 hia 做嚴格檢驗. 自 án-ne, 優秀 ê 劇本 tō ē 產生, 順利達到戲劇 ê 目的, 百姓得著娛樂, Sepanga 文人得著好名聲, 演員 ê 利益 kap 安全有保障, mā 大大減少對 in 做處罰 ê 麻煩.

"假使授權 hō͘ 仝彼个審查者 a̍h 另外人來審查新寫 ê 騎士道小說, 無疑定著 ē 出現你所講 ê 彼種優秀小說, 充實優雅, 寶貴 ê 語詞寶庫, hō͘ 舊冊失色 tī 新冊 ê 光芒面前. 新冊將為讀者提供無害 ê 娛樂, 毋但 hō͘ 閒人消遣, mā hō͘ 上無閒 ê 人放鬆, 因為弓袂使一直弓絚, 咱人脆弱 ê 本性, 若無適當 ê 消遣 mā 是袂當繼續存在."

教士 kap 神父 ê 對話講到 chia ê 時, 剃頭師行倚來, 對神父講:

"神父 Ss, chia tō 是我講 ê 所在, 有濟濟水草 hō͘ 牛食, mā 適合咱歇中晝."

"看起來確實是 án-ne," 神父應, tō kā 建議 hō͘ 教士, 教士 mā 決定欲 tī chia 歇睏, 感覺眼前 ê 媠山谷景色迷人, 會使 ná 欣賞 ná 繼續 kap 神父開講. 伊已經對神父有好感, 希望 ùi 伊 hia 進一步探聽 Don Quixote ê 事蹟. 伊吩咐幾个手下去頭前無遠 ê 客棧, 攢一寡物件轉來 hō͘ 逐个食晝, 因為伊欲 tī chia 歇晝. 伊 ê 一个僕人應話講, 揹焦糧 ê 騾仔今定著已經到客棧 ah, 伊所揹 ê chia̍h-mi̍h 有夠逐个用, 除了大麥以外, 無需要 koh ùi 客棧款啥物件 ah.

"若是 án-ne," 教士講, "kā 所有 ê 頭牲𤆬去客棧, koh kā hit 隻揹糧食 ê 騾仔牽轉來."

Tī che 發生 ê 當中, Sancho 感覺今伊 ē-tàng tī 無神父 kap 剃頭師 (伊懷疑 hit 兩个 tō 是) 在場, 單獨 kap 主人講話, tō 行倚關 Don Quixote ê 櫳仔, án-ne 講:

"先生, 為著 hō͘ 良心好過, 我欲 kā 你講你中邪 ê 真相. 也 tō 是, 這兩个掩面 tī chia ê 人, 其實是咱庄 ê 神父 kap 剃頭師. 我懷疑是 in 設計這个計畫, kō͘ 這種法度 kā 你𤆬走, 純粹是因為 in 目赤閣下 ê 偉大事蹟超過 in. 假使 che 是事實, 你 tō 無中邪, 是去 hō͘ 唬弄, hō͘ 欺騙. 為著證明 che, 我欲問你一个問題, 你 ê 回答若符合我所料 ê, 你 tō ē-tàng 破這个騙局, án-ne 你 tō 知影 ka-tī 無中邪, 不過是精神錯亂 niâ."

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48.3

And that this is the truth may be seen by the countless plays that a most fertile wit of these kingdoms has written, with so much brilliancy, so much grace and gaiety, such polished versification, such choice language, such profound reflections, and in a word, so rich in eloquence and elevation of style, that he has filled the world with his fame; and yet, in consequence of his desire to suit the taste of the actors, they have not all, as some of them have, come as near perfection as they ought. Others write plays with such heedlessness that, after they have been acted, the actors have to fly and abscond, afraid of being punished, as they often have been, for having acted something offensive to some king or other, or insulting to some noble family. /

All which evils, and many more that I say nothing of, would be removed if there were some intelligent and sensible person at the capital to examine all plays before they were acted, not only those produced in the capital itself, but all that were intended to be acted in Spain; without whose approval, seal, and signature, no local magistracy should allow any play to be acted. /

In that case actors would take care to send their plays to the capital, and could act them in safety, and those who write them would be more careful and take more pains with their work, standing in awe of having to submit it to the strict examination of one who understood the matter; and so good plays would be produced and the objects they aim at happily attained; as well the amusement of the people, as the credit of the wits of Spain, the interest and safety of the actors, and the saving of trouble in inflicting punishment on them. /

And if the same or some other person were authorised to examine the newly written books of chivalry, no doubt some would appear with all the perfections you have described, enriching our language with the gracious and precious treasure of eloquence, and driving the old books into obscurity before the light of the new ones that would come out for the harmless entertainment, not merely of the idle but of the very busiest; for the bow cannot be always bent, nor can weak human nature exist without some lawful amusement.”

The canon and the curate had proceeded thus far with their conversation, when the barber, coming forward, joined them, and said to the curate, /

“This is the spot, señor licentiate, that I said was a good one for fresh and plentiful pasture for the oxen, while we take our noontide rest.”

“And so it seems,” returned the curate, and he told the canon what he proposed to do, on which he too made up his mind to halt with them, attracted by the aspect of the fair valley that lay before their eyes; and to enjoy it as well as the conversation of the curate, to whom he had begun to take a fancy, and also to learn more particulars about the doings of Don Quixote, he desired some of his servants to go on to the inn, which was not far distant, and fetch from it what eatables there might be for the whole party, as he meant to rest for the afternoon where he was; to which one of his servants replied that the sumpter mule, which by this time ought to have reached the inn, carried provisions enough to make it unnecessary to get anything from the inn except barley.

“In that case,” said the canon, “take all the beasts there, and bring the sumpter mule back.”

While this was going on, Sancho, perceiving that he could speak to his master without having the curate and the barber, of whom he had his suspicions, present all the time, approached the cage in which Don Quixote was placed, and said, /

“Señor, to ease my conscience I want to tell you the state of the case as to your enchantment, and that is that these two here, with their faces covered, are the curate of our village and the barber; and I suspect they have hit upon this plan of carrying you off in this fashion, out of pure envy because your worship surpasses them in doing famous deeds; and if this be the truth it follows that you are not enchanted, but hoodwinked and made a fool of. And to prove this I want to ask you one thing; and if you answer me as I believe you will answer, you will be able to lay your finger on the trick, and you will see that you are not enchanted but gone wrong in your wits.”

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48.2 戲劇著做人類生活 ê 鏡

48.2 Hì-kio̍k tio̍h chò jîn-lūi seng-oa̍h ê kiàⁿ

"Lí thê-khí chit-tiám, kàu-sū Ss," sîn-hū kóng, "hō͘ góa tùi tong-kim liû-hêng hì-kio̍k ê oàn-chheh koh giâ khí-lâi, he bē khah su góa tùi khî-sū-tō sió-soat ê thó-ià. In-ūi kin-kì Tully [Marcus Tullius Cicero] ê kóng-hoat, hì-kio̍k tio̍h chò jîn-lūi seng-oa̍h ê kiàⁿ, kiâⁿ-ta̍h ê bô͘-hoān, chin-si̍t ê hêng-siōng, á taⁿ teh ián-chhut ê kio̍k soah sī hàm-kó͘-tāi ê kiàⁿ, gû-gōng ê bô͘-hoān, òe-sòe ê hêng-siōng. Chhiáⁿ-mn̄g, ū siáⁿ pí ē-bīn thó-lūn che koh-khah hàm-kó͘ ah: tī tē-it-bō͘ iáu-sī pau jiō-chū ê âng-eⁿ-á, kàu tē-jī-bō͘ í-keng sī lâu chhùi-chhiu ê tōa-lâng? A̍h sī kóng, ū siáⁿ koh-khah hong-tông ah: chhin-chhiūⁿ kóng, hō͘ lán khòaⁿ tio̍h lāu-hòe-á sī kang-ô͘ kiàm-kheh, siàu-liân lâng nńg-chiáⁿ bô-táⁿ, po̍k-jîn kóng-ōe bûn-ngá, sió-chut-á thê-chhut tì-hūi ê kiàn-gī, kok-ông chò ku-lí, kong-chú chò chú-chia̍h--ê? Koh-lâi, hì-kio̍k tùi kò͘-sū hoat-seng ê sî-kan kap tē-tiám ê an-pâi, góa ū siáⁿ hó kóng ah: góa khòaⁿ kòe chi̍t-chhut hì, tē-it bō͘ ùi Europa khai-sí, tē-jī bō͘ tī Asia, tē-saⁿ bō͘ tī Afrika kiat-sok, bô-gî, nā ū tē-sì bō͘, tek-khak tio̍h tī Amerika siu-bóe, án-ne tē-kiû sì-kho͘ liàn-tńg tō lóng kò͘-tio̍h ah?

"Ká-sú hì-kio̍k ê chú-iàu bo̍k-tek sī tián-hiān chin-si̍t seng-oa̍h, chèng-siông ê lí-kái ná ū khó-lêng chiap-siū án-ne ê an-pâi: kio̍k-chêng kóng hoat-seng tī Pepin Kok-ông a̍h Charles Tōa-tè (Charlemagne) ê sî-tāi, chú-iàu ê kak-sek soah sī Heraclius Hông-tè, i chah si̍p-jī-kè ji̍p Jerusalem, toa̍t-hôe Sèng-Bōng, ná chhiūⁿ Bouillon ê Godfrey, sui-bóng in tiong-kan ê nî-tāi siong-chha bô-tè-sǹg? A̍h-sī, ká-sú hì sī hi-kò͘ ê, lāi-bīn iū-koh chhap-cha̍p le̍k-sú sū-si̍t, sīm-chì kā bô kāng sî-tāi, bô kāng jîn-bu̍t ê sū-chek thàu-lām chò-hóe, che it-chhè m̄-nā bô ha̍p-lí, koh sī bêng-hián chhò-gō͘, bô-lūn ùi tó chi̍t-ê kak-tō͘ khòaⁿ lóng bē-tàng goân-liōng.

"Koh-khah hāi ê sī, ū chi̍t-kóa bû-ti ê lâng kóng, che í-keng sī oân-bí, nā koh iau-kiû chìn-pō͘, he tō sī ké-sian ké-tak. Jiân-āu, lán lâi khòaⁿ chong-kàu hì-kio̍k, lāi-bīn ê kî-chek chē kah kóng bē-liáu! O͘-pe̍h an-pâi jîn-bu̍t kap sū-chek, kā bó͘ sèng-jîn ê kî-chek tàu hō͘ pa̍t-ê sèng-jîn! Sīm-chì tī sè-sio̍k hì-kio̍k lāi-bīn, mā bô-tāi bô-chì an-chhah kî-chek, goân-in sī in jīn-ûi kî-chek a̍h sī in só͘ kóng ê choán-hòa hāu-kó, ē-tàng khip-ín bû-ti ê lâng, siâⁿ in lâi khòaⁿ-hì.

"Che it-chhè kap sū-si̍t ū phian-chha, mā ûi-pōe le̍k-sú, sīm-chì koh-khah hāi, bú-jio̍k tio̍h Sepanga ê bûn-jîn. Giâm-keh chun-siú hì-kio̍k goân-chek ê gōa-kok lâng, khòaⁿ tio̍h lán chè-chok ê hì chiah-nī hàm-kó͘ koh hong-tông, chiong jīn-ûi lán iá-bân koh bû-ti. Lēng-gōa, kā hì-kio̍k ê ián-chhut kóng chò sī tī-lí sūn-sī ê chèng-hú só͘ thê-kiong hō͘ tāi-chiòng ê bô-hāi gô͘-lo̍k, kō͘ án-ne lâi kiám-chió in-ūi bô-liâu só͘ sán-seng ê put-liông chêng-sū, chit-chióng piān-kái mā khiā bē-chāi. In-ūi boeh ta̍t-kàu chit-ê bo̍k-tek, bô-lūn hó bái hì lóng chò ē-kàu, nā án-ne tō bô su-iàu chè-tēng kui-chek a̍h iau-kiû hì-kio̍k chok-ka a̍h ián-oân chiàu he lâi chhòng-chok a̍h piáu-ián. Só͘-tì góa chiah kóng, bô-lūn siáⁿ-khoán ê hì-kio̍k lóng ē-tàng ta̍t-kàu hit-ê bo̍k-tek.

"Tùi chit-tiám, góa ê hôe-èng sī, ūi tio̍h ta̍t-kàu chit-ê bo̍k-tek, hó hì-kio̍k pí bô hiah hó ê hì-kio̍k hāu-kó ke hó chin chē. In-ūi tī him-sióng gē-su̍t-sèng kiông, kiat-kò͘ ha̍p-lí ê hì-kio̍k liáu-āu, koan-chiòng m̄-nā in-ūi chhiò-khoe kám-kak khin-sang, koh ē in-ūi giâm-siok ê lāi-iông tit-tio̍h khé-hoat, tùi hì lāi-bīn ê sū-kiāⁿ chhiong-móa khim-phòe, in-ūi kio̍k tiong ê piān-lūn thê-ko tì-hūi, tùi kúi-kè kéng-chhéⁿ, in-ūi àn-lē hō͘ ka-tī piàn chhong-bêng, thó-ià siâ-ok, jia̍t-ài bí-tek. Hó ê hì-kio̍k ē-tàng kō͘ chit-chióng hong-sek kek-hoat koan-chiòng ê su-sióng, bô-lūn in án-nóa chho͘-ló͘, gû-gōng. Ū chit-chióng te̍k-chit ê hì-kio̍k, bô-lūn jû-hô lóng pí hiah-ê bô chit-chióng te̍k-chit ê tōa pō͘-hūn ê tong-kim ián-chhut ê hì-kio̍k koh-khah hō͘ lâng hoaⁿ-hí, boán-chiok, koh kah-ì. 

"Lán mā m̄-bián khián-chek hiah-ê siá tong-kim hì-kio̍k ê si-jîn, in-ūi in tiong-kan ū chi̍t-kóa oân-choân chai-iáⁿ ka-tī chok-phín ê khiàm-tiám, mā chai-iáⁿ án-nóa chò chiah tio̍h. Tān-sī, in-ūi hì-kio̍k í-keng piàn chò chi̍t-chióng siong-phín, in án-ne kóng, kóng kah chin ū tō-lí, nā bô ha̍h chit-chióng hong-keh ê chok-phín, ián-oân tō m̄-khéng bé, chū án-ne, si-jîn tio̍h phòe-ha̍p bé kio̍k-pún ê ián-oân ê iau-kiû lo̍h-khì siá-chok...

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48.2 戲劇著做人類生活 ê 鏡

"你提起這點, 教士 Ss," 神父講, "hō͘ 我對當今流行戲劇 ê 怨慼 koh 夯起來, he 袂較輸我對騎士道小說 ê 討厭. 因為根據 Tully [Marcus Tullius Cicero] ê 講法, 戲劇著做人類生活 ê 鏡, 行踏 ê 模範, 真實 ê 形象, á 今 teh 演出 ê 劇 soah 是譀古代 ê 鏡, 愚戇 ê 模範, òe-sòe ê 形象. 請問, 有啥比下面討論 che koh-khah 譀古 ah: tī 第一幕猶是包尿苴 ê 紅嬰仔, 到第二幕已經是留喙鬚 ê tōa 人? A̍h 是講, 有啥 koh-khah 荒唐 ah: 親像講, hō͘ 咱看著老歲仔是江湖劍客, 少年人軟汫無膽, 僕人講話文雅, 小卒仔提出智慧 ê 建議, 國王做 ku-lí, 公主做煮食-ê? 閣來, 戲劇對故事發生 ê 時間 kap 地點 ê 安排, 我有啥好講 ah: 我看過一齣戲, 第一幕 ùi Europa 開始, 第二幕 tī Asia, 第三幕 tī Afrika 結束, 無疑, 若有第四幕, 的確著 tī Amerika 收尾, án-ne 地球四箍輾轉 tō lóng 顧著 ah?

"假使戲劇 ê 主要目的是展現真實生活, 正常 ê 理解那有可能接受 án-ne ê 安排: 劇情講發生 tī Pepin 國王 a̍h Charles 大帝 (Charlemagne) ê 時代, 主要 ê 角色 soah 是 Heraclius 皇帝, 伊扎十字架入 Jerusalem, 奪回聖墓, ná 像 Bouillon ê Godfrey, 雖罔 in 中間 ê 年代相差無地算? A̍h 是, 假使戲是虛構 ê, 內面又閣 chhap-cha̍p 歷史事實, 甚至 kā 無仝時代, 無仝人物 ê 事蹟透濫做伙, che 一切毋但無合理, koh 是明顯錯誤, 無論 ùi 佗一个角度看 lóng 袂當原諒.

"Koh-khah 害 ê 是, 有一寡無知 ê 人講, che 已經是完美, 若 koh 要求進步, he tō 是假仙假觸. 然後, 咱來看宗教戲劇, 內面 ê 奇蹟濟 kah 講袂了! 烏白安排人物 kap 事蹟, kā 某聖人 ê 奇蹟鬥 hō͘ 別个聖人! 甚至 tī 世俗戲劇內面, mā 無代無誌安插奇蹟, 原因是 in 認為奇蹟 a̍h 是 in 所講 ê 轉化效果, ē-tàng 吸引無知 ê 人, 唌 in 來看戲.

"這一切 kap 事實有偏差, mā 違背歷史, 甚至 koh-khah 害, 侮辱著 Sepanga ê 文人. 嚴格遵守戲劇原則 ê 外國人, 看著咱製作 ê 戲 chiah-nī 譀古 koh 荒唐, 將認為咱野蠻 koh 無知. 另外, kā 戲劇 ê 演出講做是治理順序 ê 政府所提供 hō͘ 大眾 ê 無害娛樂, kō͘ án-ne 來減少因為無聊所產生 ê 不良情緒, 這種辯解 mā 徛袂在. 因為欲達到這个目的, 無論好䆀戲 lóng 做 ē 到, 若 án-ne tō 無需要制定規則 a̍h 要求戲劇作家 a̍h 演員照 he 來創作 a̍h 表演. 所致我才講, 無論啥款 ê 戲劇 lóng ē-tàng 達到彼个目的.

"對這點, 我 ê 回應是, 為著達到這个目的, 好戲劇比無 hiah 好 ê 戲劇效果 ke 好真濟. 因為 tī 欣賞藝術性強, 結構合理 ê 戲劇了後, 觀眾毋但因為笑詼感覺輕鬆, koh ē 因為嚴肅 ê 內容得著啟發, 對戲內面 ê 事件充滿欽佩, 因為劇中 ê 辯論提高智慧, 對詭計警醒, 因為案例 hō͘ ka-tī 變聰明, 討厭邪惡, 熱愛美德. 好 ê 戲劇 ē-tàng kō͘ 這種方式激發觀眾 ê 思想, 無論 in án-nóa 粗魯, 愚戇. 有這種特質 ê 戲劇, 無論如何 lóng 比 hiah-ê 無這種特質 ê 大部份 ê 當今演出 ê 戲劇 koh-khah hō͘ 人歡喜, 滿足, koh 佮意. 

"咱 mā 毋免譴責 hiah-ê 寫當今戲劇 ê 詩人, 因為 in 中間有一寡完全知影 ka-tī 作品 ê 欠點, mā 知影 án-nóa 做才著. 但是, 因為戲劇已經變做一種商品, in án-ne 講, 講 kah 真有道理, 若無 ha̍h 這種風格 ê 作品, 演員 tō 毋肯買, 自 án-ne, 詩人著配合買劇本 ê 演員 ê 要求落去寫作...

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48.2

“You have touched upon a subject, señor canon,” observed the curate here, “that has awakened an old enmity I have against the plays in vogue at the present day, quite as strong as that which I bear to the books of chivalry; for while the drama, according to Tully, should be the mirror of human life, the model of manners, and the image of the truth, those which are presented now-a-days are mirrors of nonsense, models of folly, and images of lewdness. For what greater nonsense can there be in connection with what we are now discussing than for an infant to appear in swaddling clothes in the first scene of the first act, and in the second a grown-up bearded man? Or what greater absurdity can there be than putting before us an old man as a swashbuckler, a young man as a poltroon, a lackey using fine language, a page giving sage advice, a king plying as a porter, a princess who is a kitchen-maid? And then what shall I say of their attention to the time in which the action they represent may or can take place, save that I have seen a play where the first act began in Europe, the second in Asia, the third finished in Africa, and no doubt, had it been in four acts, the fourth would have ended in America, and so it would have been laid in all four quarters of the globe? /

And if truth to life is the main thing the drama should keep in view, how is it possible for any average understanding to be satisfied when the action is supposed to pass in the time of King Pepin or Charlemagne, and the principal personage in it they represent to be the Emperor Heraclius who entered Jerusalem with the cross and won the Holy Sepulchre, like Godfrey of Bouillon, there being years innumerable between the one and the other? or, if the play is based on fiction and historical facts are introduced, or bits of what occurred to different people and at different times mixed up with it, all, not only without any semblance of probability, but with obvious errors that from every point of view are inexcusable? /

And the worst of it is, there are ignorant people who say that this is perfection, and that anything beyond this is affected refinement. And then if we turn to sacred dramas—what miracles they invent in them! What apocryphal, ill-devised incidents, attributing to one saint the miracles of another! And even in secular plays they venture to introduce miracles without any reason or object except that they think some such miracle, or transformation as they call it, will come in well to astonish stupid people and draw them to the play. /

All this tends to the prejudice of the truth and the corruption of history, nay more, to the reproach of the wits of Spain; for foreigners who scrupulously observe the laws of the drama look upon us as barbarous and ignorant, when they see the absurdity and nonsense of the plays we produce. Nor will it be a sufficient excuse to say that the chief object well-ordered governments have in view when they permit plays to be performed in public is to entertain the people with some harmless amusement occasionally, and keep it from those evil humours which idleness is apt to engender; and that, as this may be attained by any sort of play, good or bad, there is no need to lay down laws, or bind those who write or act them to make them as they ought to be made, since, as I say, the object sought for may be secured by any sort. /

To this I would reply that the same end would be, beyond all comparison, better attained by means of good plays than by those that are not so; for after listening to an artistic and properly constructed play, the hearer will come away enlivened by the jests, instructed by the serious parts, full of admiration at the incidents, his wits sharpened by the arguments, warned by the tricks, all the wiser for the examples, inflamed against vice, and in love with virtue; for in all these ways a good play will stimulate the mind of the hearer be he ever so boorish or dull; and of all impossibilities the greatest is that a play endowed with all these qualities will not entertain, satisfy, and please much more than one wanting in them, like the greater number of those which are commonly acted now-a-days. /

Nor are the poets who write them to be blamed for this; for some there are among them who are perfectly well aware of their faults, and know what they ought to do; but as plays have become a salable commodity, they say, and with truth, that the actors will not buy them unless they are after this fashion; and so the poet tries to adapt himself to the requirements of the actor who is to pay him for his work. /

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Don Quixote/ 唐.奇訶諦 目錄

Don Quixote /by Miguel de Cervantes /Eng Tran by John Ormsby https://www.gutenberg.org/cache/epub/996/pg996-images.html#ch74b Don Quixote/唐....