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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