48. Kàu-sū gī-lūn khî-sū sió-soat kap kî-thaⁿ sū-hāng
48.1 Góa bat chhì siá ha̍p kui-chek ê khî-sū sió-soat
"Tō ná lí kóng ê, kàu-sū Ss," sîn-hū kóng, "tō sī chit-ê lí-iû, chi̍t-lō͘ kàu taⁿ hiah-ê siá chit-chióng chheh ê lâng kai-tong siū-tio̍h khah chē khián-chek, in-ūi in ê siá-chok bô chù-tiōng phín-bī a̍h sī gē-su̍t kui-chek. Che kui-chek ē-tit hō͘ in ín-tō ka-tī, koh ū khó-lêng chhiūⁿ Hi-lia̍p kap Latin ê hit nn̄g-ūi si-sû tāi-su [its Homer kap Virgil], tī sàn-bûn kài tit-tio̍h hó miâ-siaⁿ."
"Á nā góa," kàu-sū kóng, "siōng-bô góa bat chhì boeh kō͘ góa kóng ê hiah-ê goân-chek siá chi̍t-pō͘ khî-sū-tō sió-soat. Láu-si̍t kóng, góa í-keng siá chhiau-kòe 100 ia̍h, koh ūi-tio̍h boeh kiám-giām kám ū ta̍t-kàu góa ê kî-thāi, góa kā he hō͘ kah-ì chit-chióng tho̍k-bu̍t ê lâng tha̍k, pau-koat ū ha̍k-būn, ū tì-sek ê lâng kap kan-ta kah-ì hàm-kó͘ tāi ê bû-ti ê lâng. Kiat-kó, in lóng hō͘ góa bē-bái ê khéng-tēng. Put-jî-kò, góa bô kè-sio̍k siá, chi̍t hong-bīn in-ūi he kap góa ê chit-gia̍p bô tùi-tâng, lēng hong-bīn in-ūi góa kám-kak gōng-lâng khah chē kòe chhong-bêng lâng, sui-bóng hō͘ chió-chió ê chhong-bêng lâng o-ló khah iâⁿ hō͘ chē-chē gōng-lâng o-ló, m̄-koh góa bē-giàn kā ka-tī ê chok-phín kau hō͘ gû-gōng ê tāi-chiòng kóng tn̂g-té, á chit-chióng lâng soah sī chit-chióng chheh ê chú-iàu tho̍k-chiá.
"Tān, hō͘ góa thêng-pit, sīm-chì hòng-khì oân-sêng chit-pō͘ chok-phín ê chòe chú-iàu goân-in, sī góa ùi tong-kim hì-kio̍k tit-tio̍h ê koan-tiám. Tong-kim liû-hêng ê hì-kio̍k, góa sī án-ne siūⁿ, bô-lūn he sī hi-kò͘ a̍h sī kin-kì le̍k-sú, tōa pō͘-hūn, sīm-chì choân-pō͘ lóng sī o͘-pe̍h kóng, thâu tàu bē-tio̍h bóe. Tān-sī koan-chiòng thiaⁿ kah chiok hoaⁿ-hí, koh chàn-siaⁿ hoah hó, o-ló he oân-bí, sū-si̍t sī thiⁿ chha tē. Nā siá che ê chok-chiá kap piáu-ián ê ián-oân kóng hì-kio̍k tio̍h án-ne, in-ūi tāi-chiòng kah-ì che, bô-ài pa̍t-hāng, á hiah-ê kin-kì gē-su̍t hoat-chek só͘ chhòng-chok ê hì-kio̍k, tō kan-ta ē-tàng chhōe tio̍h chió-chió ū tì-sek ê lâng lâi him-sióng, kî-thaⁿ tōa to-sò͘ ê lâng khòaⁿ bô in ê pian-kio̍k iu-tiám. Só͘-tì, tùi hì-kio̍k kài lâi kóng, ùi tāi-chiòng thàn chîⁿ khah iâⁿ ùi chió-sò͘ lâng tit-tio̍h o-ló. Góa ê chheh ê miā-ūn mā kāng-khoán, sui-bóng góa piàⁿ-miā chun-siú góa só͘ kóng ê kui-chek, kiat-kó khó-lêng sī ke liáu kang: sui-jiân kang-hu chīn-tián, soah bô-lâng khòaⁿ ū.
"Sui-bóng ū sî-chūn góa mā chīn-la̍t khoàn-kái ián-oân, kóng, in ê koan-liām chhò-gō͘, kā in kóng, nā àn-chiàu gē-su̍t kui-chek chhòng-chok hì-kio̍k, in chiong ē-tàng khip-ín koh-khah chē koan-chiòng, tit-tio̍h koh-khah hó ê miâ-siaⁿ, tān-sī in-ūi in í-keng chhim-chhim tiâu tī ka-tī ê ì-kiàn, bô-lūn siáⁿ gī-lūn, siáⁿ chèng-kì to bô hoat-tō͘ kā in kái-piàn.
"Ē-kì-tit ū chi̍t-kang, góa tùi kî-tiong chi̍t-ê thih-khí ián-oân kóng, ‘Chhiáⁿ-mn̄g, lí kám iáu ē-kì-tit kúi-nî chêng, Sepanga bat ián-chhut saⁿ-chhut pi-kio̍k, he sī pún-kok ê chhut-miâ si-jîn só͘ siá ê, só͘-ū ê koan-chiòng, bô-lūn sī m̄-bat-jī ê peh-sèⁿ a̍h ū tì-sek ê téng-chân jîn-sū, lóng tùi he kám-kak khim-phòe, kah-ì, koh hèng-chhù, jî-chhiáⁿ tùi ián-oân lâi kóng, kan-ta chit 3-chhut hì ê siu-ji̍p í-keng pí āu-lâi ê 30-chhut thàn koh-khah chē?’
"‘Tong-jiân góa ē-kì-tit,’ hit-ê ián-oân hôe-tap, ‘lí kóng ê sī "Isabella," "Phyllis," kap "Alexandra" chit 3-chhut hì.’
"‘Bô m̄-tio̍h, góa kóng ê tō sī chit 3-chhut,’ góa ìn, ‘lí khòaⁿ, in kám bô chun-siú gē-su̍t goân-chek? chun-siú liáu-āu, in kám bô piáu-hiān chhut-tioh, kám bô tit-tio̍h sè-kài ê kah-ì? Só͘-tì, kòe-chhò m̄-sī chāi-tī tāi-chiòng kian-chhî ài khòaⁿ hàm-kó͘ hì-kio̍k, sī chāi-tī m̄-chai án-nóa chhòng-chok pa̍t-khoán hì-kio̍k ê lâng. "Bōng-un ê Pò-èng (The Ingratitude Revenged)" bē hàm-kó͘, "Numantia" mā bē, "To-chêng Seng-lí-lâng (The Merchant Lover)" chi̍t-sut-á to bē, "Khó-ài ê Tùi-te̍k (The Friendly Fair Foe)" koh-khah bē. Kāng-khoán, iáu-ū chē-chē ū châi-hôa ê si-jîn só͘ siá ê chok-phín, mā ūi ka-tī thàn tio̍h hó miâ-siaⁿ, ūi ián-chhut ê lâng tit-tio̍h hó lī-sûn.’ Tî-liáu chiah-ê, góa koh ū kóng chi̍t-kóa chìn chi̍t-pō͘ ê phêng-lūn. Chiah-ê ōe, góa siūⁿ, hō͘ i bô ōe thang ìn, tān-sī iáu bô-kàu kā i soeh-ho̍k, hō͘ i sêng-jīn ka-tī ê chhò-gō͘."
--
48. 教士議論騎士小說 kap 其他事項
48.1 我 bat 試寫 ha̍p 規則 ê 騎士小說
"Tō ná 你講 ê, 教士 Ss," 神父講, "tō 是這个理由, 一路到今 hiah-ê 寫這種冊 ê 人該當受著 khah 濟譴責, 因為 in ê 寫作無注重品味 a̍h 是藝術規則. Che 規則會得 hō͘ in 引導 ka-tī, koh 有可能像希臘 kap Latin ê hit 兩位詩詞大師 [its Homer kap Virgil], tī 散文界得著好名聲."
"Á 若我," 教士講, "上無我 bat 試欲 kō͘ 我講 ê hiah-ê 原則寫一部騎士道小說. 老實講, 我已經寫超過 100 頁, koh 為著欲檢驗 kám 有達到我 ê 期待, 我 kā he hō͘ 佮意這種讀物 ê 人讀, 包括有學問, 有智識 ê 人 kap kan-ta 佮意譀古代 ê 無知 ê 人. 結果, in lóng hō͘ 我袂䆀 ê 肯定. 不而過, 我無繼續寫, 一方面因為 he kap 我 ê 職業無對同, 另方面因為我感覺戇人 khah 濟過聰明人, 雖罔 hō͘ 少少 ê 聰明人 o-ló khah 贏 hō͘ 濟濟戇人 o-ló, 毋過我袂癮 kā ka-tī ê 作品交 hō͘ 愚戇 ê 大眾講長短, á 這種人 soah 是這種冊 ê 主要讀者.
"但, hō͘ 我停筆, 甚至放棄完成這部作品 ê 最主要原因, 是我 ùi 當今戲劇得著 ê 觀點. 當今流行 ê 戲劇, 我是 án-ne 想, 無論 he 是虛構 a̍h 是根據歷史, 大部份, 甚至全部 lóng 是烏白講, 頭鬥袂著尾. 但是觀眾聽 kah 足歡喜, koh 贊聲喝好, o-ló he 完美, 事實是天差地. 若寫 che ê 作者 kap 表演 ê 演員講戲劇著 án-ne, 因為大眾佮意 che, 無愛別項, á hiah-ê 根據藝術法則所創作 ê 戲劇, tō kan-ta ē-tàng 揣著少少有智識 ê 人來欣賞, 其他大多數 ê 人看無 in ê 編劇優點. 所致, 對戲劇界來講, ùi 大眾趁錢 khah 贏 ùi 少數人得著 o-ló. 我 ê 冊 ê 命運 mā 仝款, 雖罔我拚命遵守我所講 ê 規則, 結果可能是 ke 了工: 雖然工夫盡展, soah 無人看有.
"雖罔有時陣我 mā 盡力勸解演員, 講, in ê 觀念錯誤, kā in 講, 若按照藝術規則創作戲劇, in 將 ē-tàng 吸引 koh-khah 濟觀眾, 得著 koh-khah 好 ê 名聲, 但是因為 in 已經深深牢 tī ka-tī ê 意見, 無論啥議論, 啥證據 to 無法度 kā in 改變.
"會記得有一工, 我對其中一个鐵齒演員講, ‘請問, 你 kám 猶會記得幾年前, Sepanga bat 演出三齣悲劇, he 是本國 ê 出名詩人所寫 ê, 所有 ê 觀眾, 無論是毋捌字 ê 百姓 a̍h 有智識 ê 頂層人士, lóng 對 he 感覺欽佩, 佮意, koh 興趣, 而且對演員來講, kan-ta chit 3 齣戲 ê 收入已經比後來 ê 30 齣趁 koh-khah 濟?’
"‘當然我會記得,’ 彼个演員回答, ‘你講 ê 是 "Isabella," "Phyllis," kap "Alexandra" chit 3 齣戲.’
"‘無毋著, 我講 ê tō 是 chit 3 齣.’ 我應, ‘你看, in kám 無遵守藝術原則? 遵守了後, in kám 無表現出 tioh, kám 無得著世界 ê 佮意? 所致, 過錯毋是在 tī 大眾堅持愛看譀古戲劇, 是在 tī 毋知 án-nóa 創作別款戲劇 ê 人. "忘恩 ê 報應 (The Ingratitude Revenged)" 袂譀古, "Numantia" mā 袂, "多情生理人 (The Merchant Lover)" 一屑仔 to 袂, "可愛 ê 對敵 (The Friendly Fair Foe)" koh-khah 袂. 仝款, 猶有濟濟有才華 ê 詩人所寫 ê 作品, mā 為 ka-tī 趁著好名聲, 為演出 ê 人得著好利純.' 除了 chiah-ê, 我 koh 有講一寡進一步 ê 評論. Chiah-ê 話, 我想, hō͘ 伊無話 thang 應, 但是猶無夠 kā 伊說服, hō͘ 伊承認 ka-tī ê 錯誤."
--
CHAPTER XLVIII.
IN WHICH THE CANON PURSUES THE SUBJECT OF THE BOOKS OF CHIVALRY, WITH OTHER MATTERS WORTHY OF HIS WIT
c48a.jpg (80K)
“It is as you say, señor canon,” said the curate; “and for that reason those who have hitherto written books of the sort deserve all the more censure for writing without paying any attention to good taste or the rules of art, by which they might guide themselves and become as famous in prose as the two princes of Greek and Latin poetry are in verse.”
“I myself, at any rate,” said the canon, “was once tempted to write a book of chivalry in which all the points I have mentioned were to be observed; and if I must own the truth I have more than a hundred sheets written; and to try if it came up to my own opinion of it, I showed them to persons who were fond of this kind of reading, to learned and intelligent men as well as to ignorant people who cared for nothing but the pleasure of listening to nonsense, and from all I obtained flattering approval; nevertheless I proceeded no farther with it, as well because it seemed to me an occupation inconsistent with my profession, as because I perceived that the fools are more numerous than the wise; and, though it is better to be praised by the wise few than applauded by the foolish many, I have no mind to submit myself to the stupid judgment of the silly public, to whom the reading of such books falls for the most part.
“But what most of all made me hold my hand and even abandon all idea of finishing it was an argument I put to myself taken from the plays that are acted now-a-days, which was in this wise: if those that are now in vogue, as well those that are pure invention as those founded on history, are, all or most of them, downright nonsense and things that have neither head nor tail, and yet the public listens to them with delight, and regards and cries them up as perfection when they are so far from it; and if the authors who write them, and the players who act them, say that this is what they must be, for the public wants this and will have nothing else; and that those that go by rule and work out a plot according to the laws of art will only find some half-dozen intelligent people to understand them, while all the rest remain blind to the merit of their composition; and that for themselves it is better to get bread from the many than praise from the few; then my book will fare the same way, after I have burnt off my eyebrows in trying to observe the principles I have spoken of, and I shall be ‘the tailor of the corner.’ /
And though I have sometimes endeavoured to convince actors that they are mistaken in this notion they have adopted, and that they would attract more people, and get more credit, by producing plays in accordance with the rules of art, than by absurd ones, they are so thoroughly wedded to their own opinion that no argument or evidence can wean them from it.
“I remember saying one day to one of these obstinate fellows, ‘Tell me, do you not recollect that a few years ago, there were three tragedies acted in Spain, written by a famous poet of these kingdoms, which were such that they filled all who heard them with admiration, delight, and interest, the ignorant as well as the wise, the masses as well as the higher orders, and brought in more money to the performers, these three alone, than thirty of the best that have been since produced?’
“‘No doubt,’ replied the actor in question, ‘you mean the “Isabella,” the “Phyllis,” and the “Alexandra.”’
“‘Those are the ones I mean,’ said I; ‘and see if they did not observe the principles of art, and if, by observing them, they failed to show their superiority and please all the world; so that the fault does not lie with the public that insists upon nonsense, but with those who don’t know how to produce something else. “The Ingratitude Revenged” was not nonsense, nor was there any in “The Numantia,” nor any to be found in “The Merchant Lover,” nor yet in “The Friendly Fair Foe,” nor in some others that have been written by certain gifted poets, to their own fame and renown, and to the profit of those that brought them out;’ some further remarks I added to these, with which, I think, I left him rather dumbfoundered, but not so satisfied or convinced that I could disabuse him of his error.”
--
No comments:
Post a Comment