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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