47.5 Chit-chióng chheh thê-kiong bú-tâi hō͘ chok-chiá chū-iû hoat-hui
"... Nā m̄-sī iá-bân koh bô bûn-hòa, ū siáⁿ-lâng ê sim ē him-sióng tha̍k chhin-chhiūⁿ án-ne ê biô-siá: chi̍t-chō kheh-móa khî-sū ê koân-thah, ná chhiūⁿ sūn-hong chûn án-ne hâng-hêng kòe tōa-hái, e-àm iáu tī Lombardy, thiⁿ-kng tō kàu Indies ê Prester John a̍h sī kàu liân Ptolemy to m̄-bat biô-siá kòe, liân Marco Polo mā m̄-bat khòaⁿ-kòe ê só͘-chāi? Nā ū-lâng piān-kái kóng, chit-chióng chheh ê chok-chiá siá ê sī hi-kò͘ ê kò͘-sū, bô su-iàu káng-kiù sè-chiat kap chin-si̍t, góa ē án-ne kā ìn, hi-kò͘ sī lú chiap-kīn sū-si̍t lú hó, lú ū khó-lêng si̍t-hiān lú ē-tàng ín-khí chhù-bī. Hi-kò͘ ê chêng-chiat tio̍h kap tho̍k-chiá ê lí-kái sio kiat-ha̍p, i ê kò͘-chō tio̍h tiâu-hô bô khó-lêng ê chêng-chiat, khek-ho̍k khùn-lân, hō͘ sim-tì pó-chhî kéng-kak, hō͘ lâng iā kiaⁿ, iā hèng, iā sóng, iā thiòng, hō͘ kiaⁿ-hiám kap hoaⁿ-hí chi̍t-chūn chi̍t-chūn tòe leh lâi. It-chhè chiah-ê, lóng sī siám-pī biô-siá chin-si̍t kap chū-jiân ê lâng só͘ chò bē-kàu ê, in-ūi chin-si̍t kap chū-jiân chiah sī siá-chok ê oân-bí kéng-kài.
"Góa m̄-bat khòaⁿ kòe jīm-hô chi̍t-pún khî-sū sió-soat ē-tàng kiàn-li̍p chi̍t-ê oân-chéng koh it-thé ê chêng-chiat, hō͘ tiong-ng kap khí-thâu sio tùi-tâng, kiat-bóe koh ē-tàng kap khí-thâu hām tiong-ng hō͘-siong hia̍p-tiau. Tian-tò-péng, in chóng-sī kā chē-chē mi̍h-kiāⁿ o͘-pe̍h tàu, bē-su sī teh chhòng-chō chi̍t-ê chong-ha̍p-thé koài-bu̍t, m̄-sī ài-boeh chi̍t-ê pí-lē hia̍p-tiau ê hêng-siōng. Lēng-gōa, in ê hong-keh ngē-chiāⁿ, sêng-chiū phòng-hong, ài-chêng lām-sám, kiong-têng ê tùi-ōe chho͘-ló͘, chiàn-tàu tn̂g ló-ló, lūn-tiám hong-tông, hêng-têng hàm-kó͘, chóng-kóng chi̍t-kù, oân-choân khiàm-khoeh tì-hūi gē-su̍t ê hûn-jiah. In-ūi án-ne, eng-kai kā in tòng-chò bô lō͘-iōng kha-siàu, ùi Kitok-kàu kok-ka chheng-tî."
Sîn-hū chù-sim kā thiaⁿ, kám-kak i sī chi̍t-ê ū kiàn-kái ê lâng, só͘ kóng ê ōe put-chí-á ū tō-lí. Chū án-ne, sîn-hū kā i kóng, ka-tī ê khòaⁿ-hoat kap i kāng-khoán, tùi khî-sū-tō sió-soat bô hó-kám, chiah ē sio tiāu só͘-ū Don Quixote ê chheh, sio bē chió pún neh. I koh kā i kóng-khí i án-nóa chò chheh ê sím-cha, tó chi̍t-kóa kā phòaⁿ hóe-hêng, tó chi̍t-kóa pàng in kòe. Kàu-sū thiaⁿ kah chin chhù-bī, tō pó͘-chhiong kóng, sui-bóng i tùi chiah-ê chheh ū chē-chē phe-phêng, tān i hoat-hiān in mā ū chi̍t-ê hó-chhù, tō sī in thê-kiong ki-hōe hō͘ ū châi-hôa ê chok-ka tián-sī ka-tī. Chit-chióng chheh thê-kiong khòng-khoah ê bú-tâi, hō͘ chok-chiá chū-iû hoat-hui, biô-siá hái-lān, tōa hong-hō͘, pí-bú, chiàn-cheng tt, biô-siá eng-ióng tūi-tiúⁿ ê kok-chióng iu-siù phín-chit: ī-kiàn te̍k-jîn ê kúi-kè, kō͘ liû-lī ê ián-káng kó͘-bú a̍h ap-chè i ê su-peng, su-khó sêng-se̍k, koat-chhek kín-sok, nāi-sim tán-thāi sî-ki koh kó-toàn chìn-kong. Ū-sî biô-siá pi-chhám ê pi-kio̍k, ū-sî biô-siá kiaⁿ-hí ê hí-kio̍k. Chia chi̍t-ê bí-lē ê hu-jîn, hiân-hūi koh tāi-hong, hia chi̍t-ê Kitok-tô͘ khî-sū, ióng-kám koh su-bûn. Chia chi̍t-ê iá-bân, chho͘-ló͘ ê chhàu-tōaⁿ-sian, hia chi̍t-ê khiam-hi ê ông-chú, ióng-kám koh ū lé-māu. Chióng-chióng ê biô-siá, tián-sī chú-bîn ê siān-liông kap tiong-sêng, í-ki̍p kùi-cho̍k ê úi-tāi kap khóng-khài.
"Lēng-gōa," i koh kóng, "chok-chiá koh ē-sái pān-ián thian-bûn ha̍k-ka, kiat-chhut ê ú-tiū ha̍k-ka, im-ga̍k-ka, a̍h sī se̍k-chhiú kok-ka sū-bū ê lâng, ū-sî, chí-iàu goān-ì, i sīm-chì ē-sái chò mô͘-hoat-su. I ē-tàng piáu-hiān Ulysses ê ki-khá, Æneas ê khiân-sêng, Achilles ê ióng-khì, Hector ê put-hēng, Sinon ê hoán-poān, Euryalus ê iú-chêng, Alexander ê khóng-khài, Cæsar ê khì-phek, Trajan ê khoan-iông kap chin-sêng, Zopyrus ê tiong-si̍t, Cato ê tì-hūi. Chóng-kóng chi̍t-kù, i ē-tàng kā só͘-ū chiah-ê piáu-hiān oân-bí kò-jîn ê iu-tiám, ū-sî kā chi̍p-tiong tī chi̍t-ê lâng, mā ē-sái kā hun-phòe hō͘ chē-chē lâng. Chí-iàu bûn-chhái siâⁿ-lâng, chhòng-ì sin-tiám, koh chīn-liōng chiap-kīn chin-si̍t, án-ne i tiāⁿ-tio̍h ē-tàng pian-chit chi̍t-pak ū bêng-liāng, to-iūⁿ sòaⁿ-tiâu ê bāng, tī oân-sêng liáu-āu, he só͘ tián-hiān ê oân-bí kap bí-lē, chiong ta̍t-kàu jīm-hô bûn-ha̍k chok-phín só͘ ē-tàng tui-kiû ê chòe-ko bo̍k-piau, its góa tú-chiah só͘ kóng ê, kiat-ha̍p kàu-io̍k kap gô͘-lo̍k. In-ūi chiah-ê chheh ê tê-châi hoān-ûi bô hān-chè, hō͘ chok-chiá ē-tit chīn-tián i ê châi-hôa, bô-lūn sī le̍k-sú si, ài-chêng si, pi-kio̍k, hí-kio̍k, lóng ē-tàng pau-koat si-koa kap siu-sû gē-su̍t tang-tiong it-chhè ê tiⁿ-bi̍t, bê-lâng ê chêng-kám kap piáu-ta̍t hong-sek. Le̍k-sú si m̄-nā ē-sái ah-ūn lâi siá, mā ē-sái kō͘ sàn-bûn lâi siá neh."
[2024-11-24]
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47.5 這種冊提供舞台 hō͘ 作者自由發揮
"... 若毋是野蠻 koh 無文化, 有啥人 ê 心 ē 欣賞讀親像 án-ne ê 描寫: 一座 kheh 滿騎士 ê 懸塔, ná 像順風船 án-ne 航行過大海, 下暗猶 tī Lombardy, 天光 tō 到 Indies ê Prester John a̍h 是到連 Ptolemy to m̄-bat 描寫過, 連 Marco Polo mā m̄-bat 看過 ê 所在? 若有人辯解講, 這種冊 ê 作者寫 ê 是虛構 ê 故事, 無需要講究細節 kap 真實, 我 ē án-ne kā 應, 虛構是 lú 接近事實 lú 好, lú 有可能實現 lú 會當引起趣味. 虛構 ê 情節著 kap 讀者 ê 理解相結合, 伊 ê 構造著調和無可能 ê 情節, 克服困難, hō͘ 心智保持警覺, hō͘ 人也驚, 也興, 也爽, 也暢, hō͘ 驚險 kap 歡喜一陣一陣綴 leh 來. 一切 chiah-ê, lóng 是閃避描寫真實 kap 自然 ê 人所做袂到 ê, 因為真實 kap 自然才是寫作 ê 完美境界.
"我 m̄-bat 看過任何一本騎士小說會當建立一个完整 koh 一體 ê 情節, hō͘ 中央 kap 起頭 sio 對同, 結尾 koh 會當 kap 起頭 hām 中央互相協調. 顛倒反, in 總是 kā 濟濟物件烏白鬥, 袂輸是 teh 創造一个綜合體怪物, 毋是愛欲一个比例協調 ê 形象. 另外, in ê 風格硬掙, 成就膨風, 愛情濫摻, 宮廷 ê 對話粗魯, 戰鬥長 ló-ló, 論點荒唐, 行程譀古, 總講一句, 完全欠缺智慧藝術 ê 痕跡. 因為 án-ne, 應該 kā in 當做無路用跤數, ùi Kitok 教國家清除."
神父注心 kā 聽, 感覺伊是一个有見解 ê 人, 所講 ê 話不止仔有道理. 自 án-ne, 神父 kā 伊講, ka-tī ê 看法 kap 伊仝款, tùi 騎士道小說無好感, 才 ē 燒掉所有 Don Quixote ê 冊, 燒袂少本 neh. 伊 koh kā 伊講起伊 án-nóa 做冊 ê 審查, 佗一寡 kā 判火刑, 佗一寡放 in 過. 教士聽 kah 真趣味, tō 補充講, 雖罔伊 tùi chiah-ê 冊有濟濟批評, 但伊發現 in mā 有一个好處, tō 是 in 提供機會 hō͘ 有才華 ê 作家展示 ka-tī. 這種冊提供曠闊 ê 舞台, hō͘ 作者自由發揮, 描寫海難, 大風雨, 比武, 戰爭 tt, 描寫英勇隊長 ê 各種優秀品質: 預見敵人 ê 詭計, kō͘ 流利 ê 演講鼓舞 a̍h 壓制伊 ê 士兵, 思考成熟, 決策緊速, 耐心等待時機 koh 果斷進攻. 有時描寫悲慘 ê 悲劇, 有時描寫驚喜 ê 喜劇. Chia 一个美麗 ê 夫人, 賢慧 koh 大方, hia 一个 Kitok 徒騎士, 勇敢 koh 斯文. Chia 一个野蠻, 粗魯 ê 臭彈仙, hia 一个謙虛 ê 王子, 勇敢 koh 有禮貌. 種種 ê 描寫, 展示子民 ê 善良 kap 忠誠, 以及貴族 ê 偉大 kap 慷慨.
"另外," 伊 koh 講, "作者 koh ē-sái 扮演天文學家, 傑出 ê 宇宙學家, 音樂家, a̍h 是熟手國家事務 ê 人, 有時, 只要願意, 伊甚至 ē-sái 做魔法師. 伊會當表現 Ulysses ê 機巧, Æneas ê 虔誠, Achilles ê 勇氣, Hector ê 不幸, Sinon ê 反叛, Euryalus ê 友情, Alexander ê 慷慨, Cæsar ê 氣魄, Trajan ê 寬容 kap 真誠, Zopyrus ê 忠實, Cato ê 智慧. 總講一句, 伊會當 kā 所有 chiah-ê 表現完美個人 ê 優點, 有時 kā 集中 tī 一个人, mā 會使 kā 分配 hō͘ 濟濟人. 只要文采唌人, 創意新點, koh 盡量接近真實, án-ne 伊定著會當編織一幅有明亮, 多樣線條 ê 網, tī 完成了後, he 所展現 ê 完美 kap 美麗, 將達到任何文學作品所會當追求 ê 最高目標, its 我拄才所講 ê, 結合教育 kap 娛樂. 因為 chiah-ê 冊 ê 題材範圍無限制, hō͘ 作者會得盡展伊 ê 才華, 無論是歷史詩, 愛情詩, 悲劇, 喜劇, lóng 會當包括詩歌 kap 修辭藝術當中一切 ê 甜蜜, 迷人 ê 情感 kap 表達方式. 歷史詩毋但會使押韻來寫, mā 會使 kō͘ 散文來寫 neh."
[2024-11-24]
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47.5
What mind, that is not wholly barbarous and uncultured, can find pleasure in reading of how a great tower full of knights sails away across the sea like a ship with a fair wind, and will be to-night in Lombardy and to-morrow morning in the land of Prester John of the Indies, or some other that Ptolemy never described nor Marco Polo saw? And if, in answer to this, I am told that the authors of books of the kind write them as fiction, and therefore are not bound to regard niceties of truth, I would reply that fiction is all the better the more it looks like truth, and gives the more pleasure the more probability and possibility there is about it. Plots in fiction should be wedded to the understanding of the reader, and be constructed in such a way that, reconciling impossibilities, smoothing over difficulties, keeping the mind on the alert, they may surprise, interest, divert, and entertain, so that wonder and delight joined may keep pace one with the other; all which he will fail to effect who shuns verisimilitude and truth to nature, wherein lies the perfection of writing. /
I have never yet seen any book of chivalry that puts together a connected plot complete in all its numbers, so that the middle agrees with the beginning, and the end with the beginning and middle; on the contrary, they construct them with such a multitude of members that it seems as though they meant to produce a chimera or monster rather than a well-proportioned figure. And besides all this they are harsh in their style, incredible in their achievements, licentious in their amours, uncouth in their courtly speeches, prolix in their battles, silly in their arguments, absurd in their travels, and, in short, wanting in everything like intelligent art; for which reason they deserve to be banished from the Christian commonwealth as a worthless breed.”
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The curate listened to him attentively and felt that he was a man of sound understanding, and that there was good reason in what he said; so he told him that, being of the same opinion himself, and bearing a grudge to books of chivalry, he had burned all Don Quixote’s, which were many; and gave him an account of the scrutiny he had made of them, and of those he had condemned to the flames and those he had spared, with which the canon was not a little amused, adding that though he had said so much in condemnation of these books, still he found one good thing in them, and that was the opportunity they afforded to a gifted intellect for displaying itself; for they presented a wide and spacious field over which the pen might range freely, describing shipwrecks, tempests, combats, battles, portraying a valiant captain with all the qualifications requisite to make one, showing him sagacious in foreseeing the wiles of the enemy, eloquent in speech to encourage or restrain his soldiers, ripe in counsel, rapid in resolve, as bold in biding his time as in pressing the attack; now picturing some sad tragic incident, now some joyful and unexpected event; here a beauteous lady, virtuous, wise, and modest; there a Christian knight, brave and gentle; here a lawless, barbarous braggart; there a courteous prince, gallant and gracious; setting forth the devotion and loyalty of vassals, the greatness and generosity of nobles. /
“Or again,” said he, “the author may show himself to be an astronomer, or a skilled cosmographer, or musician, or one versed in affairs of state, and sometimes he will have a chance of coming forward as a magician if he likes. He can set forth the craftiness of Ulysses, the piety of Æneas, the valour of Achilles, the misfortunes of Hector, the treachery of Sinon, the friendship of Euryalus, the generosity of Alexander, the boldness of Cæsar, the clemency and truth of Trajan, the fidelity of Zopyrus, the wisdom of Cato, and in short all the faculties that serve to make an illustrious man perfect, now uniting them in one individual, again distributing them among many; and if this be done with charm of style and ingenious invention, aiming at the truth as much as possible, he will assuredly weave a web of bright and varied threads that, when finished, will display such perfection and beauty that it will attain the worthiest object any writing can seek, which, as I said before, is to give instruction and pleasure combined; for the unrestricted range of these books enables the author to show his powers, epic, lyric, tragic, or comic, and all the moods the sweet and winning arts of poesy and oratory are capable of; for the epic may be written in prose just as well as in verse.”
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