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

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."

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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."

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CHAPTER XLVIII.

IN WHICH THE CANON PURSUES THE SUBJECT OF THE BOOKS OF CHIVALRY, WITH OTHER MATTERS WORTHY OF HIS WIT

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“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.”

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47.5 這種冊提供舞台 hō͘ 作者自由發揮

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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47.4 騎士道小說 tùi 國家有害

47.4  Khî-sū-tō sio-soat tùi Kok-ka ū-hāi

"Kóng hit-lō 5-4-3!" thì-thâu-sai thiaⁿ tio̍h che, tōa-siaⁿ hoah, "lí sī lín chú-lâng ê hó hiaⁿ-tī hioh, Sancho? Thiⁿ ah, góa khòaⁿ lí boeh pôe i ji̍p lông-á lāi neh, chhiūⁿ i án-ne tiòng-siâ, in-ūi lí í-keng jiám-tio̍h i he khî-sū-tō ê khì-chit. Chū-chiông lí thâu-khak lāi chhiong-móa i ê èng-ún, siàu-siūⁿ boeh tit-tio̍h tó-sū, lí ê pháiⁿ-ūn tō khai-sí ah lah."

"Góa chiah bô chhiong-móa siáⁿ," Sancho hôe-tap, "i mā m̄-sī kā góa thâu-khak koàn mi̍h-kiāⁿ ê lâng, liân Kok-ông mā bô hoat-tō͘ neh. Sui-bóng sàn, góa sī lāu Kitok-tô͘, góa bô khiàm lâng siáⁿ. Nā kóng góa siàu-siūⁿ tó-sū, á pa̍t-lâng ê siàu-siūⁿ koh-khah hāi neh. Lán ta̍k-ê lóng tio̍h khò ka-tī phah-piàⁿ. Chò chi̍t-ê cha-po͘-kiáⁿ, góa ū khó-lêng chiâⁿ-chò kàu-chong, koh-khah bián kóng chiâⁿ-chò tó-sū chóng-tok. Goán chú-lâng ū khó-lêng chiàn-iâⁿ chē-chē tó-sū, chē kah m̄-chai boeh sàng hō͘ siáng hó. Kóng-ōe khah kheh-khì leh, thì-thâu sai-hū, thì-thâu bô siáⁿ liáu-put-khí lah, Peter kap Peter tiong-kan sī ū cheng-chha neh. Góa án-ne kóng, in-ūi lán chai-chai lah, lí mài tùi góa pìⁿ pá-hì. Á nā kóng tio̍h goán chú-lâng tiòng-siâ chit-chân tāi, Sîn chiah chai chin-siòng. Lán mài koh chèⁿ he, lú kā kiáu-tāng tāi-chì lú mâ-hoân."

Thì-thâu-sai bô siūⁿ boeh hôe-tap Sancho, bián-tit i he ti̍t-lí ti̍t-lō͘ ê ōe sia̍p-lāu i kap sîn-hū khó͘-sim am-khàm ê chin-siòng. Kāng-khoán chit-ê kò͘-lī, sîn-hū chhiáⁿ kàu-sū khiâ khah hiòng-chêng, hó-thang hō͘ i kā i kóng-khí lông-á lāi hit-ê lâng ê pì-bi̍t, í-ki̍p kî-thaⁿ ê chhù-bī tāi.

Kàu-sū tông-ì, tō kap i ê sûi-chiông kiâⁿ khì thâu-chêng, nāi-sim thiaⁿ sîn-hū kā i kóng Don Quixote ê sèng-keh, sin-sè, siáu-kông kap hêng-ûi téng-téng. Sîn-hū kán-iàu kā i kóng-khí Don Quixote khí-siáu ê goân-in kap it-chhè ê keng-kòe, it-ti̍t kóng kàu kā i koaiⁿ tī lông-á lāi, í-ki̍p kè-ōe boeh kā i chhōa tńg-chhù, hi-bāng chhōe tio̍h tī-liâu i ê siáu-chèng ê hoat-tō͘. Kàu-sū kap sûi-chiông thiaⁿ tio̍h Don Quixote ê chit-chióng koài-kî ê kò͘-sū, iū-koh tōa-tōa tio̍h-kiaⁿ, tán kò͘-sū kóng liáu, i án-ne kóng:

"Kóng si̍t-chāi ê, sîn-hū Ss, góa kò-jîn jīn-ûi, só͘-ūi ê khî-sū-tō sio-soat tùi Kok-ka ū-hāi. Sui-bóng, góa mā bat in-ūi bô-liâu kap chhò-gō͘ phín-bī, hian kòe chha-put-to só͘-ū chhut-pán kòe ê khî-sū sió-soat, tān góa chiông-lâi m̄-bat kā jīm-hô chi̍t-pún ùi thâu kàu bóe tha̍k kah liáu. In-ūi chāi góa khòaⁿ, in chha-put-to lóng sī kāng-khoán ê mi̍h-kiāⁿ, ta̍k-pún tiong-kan bô siáⁿ-mih tōa chha-pia̍t, bô siáⁿ-mih sin lāi-iông. 

"Góa jīn-ûi, chit-lūi ê bûn-pit kap siá-chok sī sio̍k tī só͘-ūi Miletus gū-giân kò͘-sū hit-lūi, sī chi̍t-kóa hàm-kó͘ tāi, sûn-chhùi ūi-tio̍h boeh hō͘ lâng gô͘-lo̍k, bô siáⁿ kàu-io̍k ì-gī. I kap hit-chióng tông-sî gô͘-lo̍k koh ē-tit kàu-io̍k ê tō-tek gū-giân kò͘-sū tian-tò-péng. Chún-kóng chit-chióng chheh ê chú-iàu bo̍k-tek sī gô͘-lo̍k, tān lāi-iông hàm kah m̄-sī khoán, góa m̄-chai in án-nóa ē-tàng ta̍t-sêng hit-ê bo̍k-tek. Lán-lâng sim-lāi kám-kak tio̍h khoài-kám, sī ùi khòaⁿ tio̍h a̍h siūⁿ tio̍h ê mi̍h-kiāⁿ tiong-kan, kám-siū tio̍h a̍h him-sióng tio̍h in ê súi kap hô-hâi, á nā bái kap sit-tiâu ê mi̍h-kiāⁿ, sī bē hō͘ lâng sán-seng khoài-kám.

"Nā án-ne, chi̍t-pún chheh a̍h kò͘-sū lāi-bīn kóng: chi̍t-ê 16-hòe siàu-liân-ke kā chi̍t-ê koân kah ná thah ê kī-jîn chám chò nn̄g-koe̍h, bē-su chhiūⁿ chhiat hēng-jîn nn̄g-ko kāng-khoán, che ê súi tī tó-ūi ah, a̍h sī kóng i ê chéng-thé tùi pō͘-hūn tiong-kan ū siáⁿ hô-hâi ah? A̍h sī kóng, tī biô-siá chiàn-cheng tiûⁿ-bīn ê sî, seng kóng te̍k-kun ū 100 bān lâng, iû chheh tiong eng-hiông ko͘-lâng bīn-tùi, m̄-koán lán boeh a̍h m̄, pek lán tio̍h siong-sìn, hit-ê khî-sū kō͘ i ê chho͘-ióng chhiú-kut chiàn-iâⁿ, tit-tio̍h sèng-lī. Iáu ū, chi̍t-ê pún-chiâⁿ ê lú-ông a̍h hông-hiō, chhìn-chhái tō chông kòe-khì hō͘ chi̍t-ê bô sio-bat ê liû-lōng khî-sū kā lám tī heng-khám, che lán boeh án-nóa kái-soeh ah? ...

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47.4 騎士道小說 tùi 國家有害

"講 hit-lō 5-4-3!" 剃頭師聽著 che, 大聲喝, "你是恁主人 ê 好兄弟 hioh, Sancho? 天 ah, 我看你欲陪伊入櫳仔內 neh, 像伊 án-ne 中邪, 因為你已經染著伊 he 騎士道 ê 氣質. 自從你頭殼內充滿伊 ê 應允, 數想欲得著島嶼, 你 ê 歹運 tō 開始 ah lah."

"我才無充滿啥," Sancho 回答, "伊 mā 毋是 kā 我頭殼灌物件 ê 人, 連國王 mā 無法度 neh. 雖罔 sàn, 我是老 Kitok 徒, 我無欠人啥. 若講我數想島嶼, á 別人 ê 數想 koh-khah 害 neh. 咱逐个 lóng 著靠 ka-tī 拍拚. 做一个查埔囝, 我有可能成做教宗, koh-khah 免講成做島嶼總督. 阮主人有可能戰贏濟濟島嶼, 濟 kah 毋知欲送 hō͘ siáng 好. 講話 khah 客氣 leh, 剃頭師傅, 剃頭無啥了不起 lah, Peter kap Peter 中間是有精差 neh. 我 án-ne 講, 因為咱知知 lah, 你莫 tùi 我 pìⁿ 把戲. Á 若講著阮主人中邪這層代, 神才知真相. 咱莫 koh 諍 he, lú kā 攪動代誌 lú 麻煩."

剃頭師無想欲回答 Sancho, 免得伊 he 直理直路 ê 話洩漏伊 kap 神父苦心掩崁 ê 真相. 仝款這个顧慮, 神父請教士騎 khah 向前, hó-thang hō͘ 伊 kā 伊講起櫳仔內彼个人 ê 祕密, 以及其他 ê 趣味代.

教士同意, tō kap 伊 ê 隨從行去頭前, 耐心聽神父 kā 伊講 Don Quixote ê 性格, 身世, 痟狂 kap 行為等等. 神父簡要 kā 伊講起 Don Quixote 起痟 ê 原因 kap 一切 ê 經過, 一直講到 kā 伊關 tī 櫳仔內, 以及計畫欲 kā 伊𤆬轉厝, 希望揣著治療伊 ê 痟症 ê 法度. 教士 kap 隨從聽著 Don Quixote ê 這種怪奇 ê 故事, 又閣大大著驚, 等故事講了, 伊 án-ne 講:

"講實在 ê, 神父 Ss, 我個人認為, 所謂 ê 騎士道小說 tùi 國家有害. 雖罔, 我 mā bat 因為無聊 kap 錯誤品味, 掀過差不多所有出版過 ê 騎士小說, 但我從來 m̄-bat kā 任何一本 ùi 頭到尾讀 kah 了. 因為在我看, in 差不多 lóng 是仝款 ê 物件, 逐本中間無啥物大差別, 無啥物新內容. 

"我認為, 這類 ê 文筆 kap 寫作是屬 tī 所謂 Miletus 寓言故事彼類, 是一寡譀古代, 純粹為著欲 hō͘ 人娛樂, 無啥教育意義. 伊 kap 彼種同時娛樂 koh ē-tit 教育 ê 道德寓言故事顛倒反. 準講這種冊 ê 主要目的是娛樂, 但內容 hàm kah 毋是款, 我毋知 in án-nóa 會當達成彼个目的. 咱人心內感覺著快感, 是 ùi 看著 a̍h 想著 ê 物件中間, 感受著 a̍h 欣賞著 in ê 媠 kap 和諧, á 若䆀 kap 失調 ê 物件, 是袂 hō͘ 人產生快感.

"若 án-ne, 一本冊 a̍h 故事內面講: 一个 16 歲少年家 kā 一个懸 kah ná 塔 ê 巨人斬做兩 koe̍h, 袂輸像切杏仁卵糕仝款, che ê 媠 tī 佗位 ah, a̍h 是講伊 ê 整體 tùi 部份中間有啥和諧 ah? A̍h 是講, tī 描寫戰爭場面 ê 時, 先講敵軍有 100 萬人, 由冊中英雄孤人面對, 毋管咱欲 a̍h m̄, 迫咱著相信, 彼个騎士 kō͘ 伊 ê 粗勇手骨戰贏, 得著勝利. 猶有, 一个本成 ê 女王 a̍h 皇后, 凊彩 tō 傱過去 hō͘ 一个無 sio-bat ê 流浪騎士 kā 攬 tī 胸坎, che 咱欲 án-nóa 解說 ah? ...

--

47.4

“Trim those lamps there!” exclaimed the barber at this; “so you are of the same fraternity as your master, too, Sancho? By God, I begin to see that you will have to keep him company in the cage, and be enchanted like him for having caught some of his humour and chivalry. It was an evil hour when you let yourself be got with child by his promises, and that island you long so much for found its way into your head.”

“I am not with child by anyone,” returned Sancho, “nor am I a man to let myself be got with child, if it was by the King himself. Though I am poor I am an old Christian, and I owe nothing to nobody, and if I long for an island, other people long for worse. Each of us is the son of his own works; and being a man I may come to be pope, not to say governor of an island, especially as my master may win so many that he will not know whom to give them to. Mind how you talk, master barber; for shaving is not everything, and there is some difference between Peter and Peter. I say this because we all know one another, and it will not do to throw false dice with me; and as to the enchantment of my master, God knows the truth; leave it as it is; it only makes it worse to stir it.”

The barber did not care to answer Sancho lest by his plain speaking he should disclose what the curate and he himself were trying so hard to conceal; and under the same apprehension the curate had asked the canon to ride on a little in advance, so that he might tell him the mystery of this man in the cage, and other things that would amuse him. /

The canon agreed, and going on ahead with his servants, listened with attention to the account of the character, life, madness, and ways of Don Quixote, given him by the curate, who described to him briefly the beginning and origin of his craze, and told him the whole story of his adventures up to his being confined in the cage, together with the plan they had of taking him home to try if by any means they could discover a cure for his madness. The canon and his servants were surprised anew when they heard Don Quixote’s strange story, and when it was finished he said, /

“To tell the truth, señor curate, I for my part consider what they call books of chivalry to be mischievous to the State; and though, led by idle and false taste, I have read the beginnings of almost all that have been printed, I never could manage to read any one of them from beginning to end; for it seems to me they are all more or less the same thing; and one has nothing more in it than another; this no more than that. /

And in my opinion this sort of writing and composition is of the same species as the fables they call the Milesian, nonsensical tales that aim solely at giving amusement and not instruction, exactly the opposite of the apologue fables which amuse and instruct at the same time. And though it may be the chief object of such books to amuse, I do not know how they can succeed, when they are so full of such monstrous nonsense. For the enjoyment the mind feels must come from the beauty and harmony which it perceives or contemplates in the things that the eye or the imagination brings before it; and nothing that has any ugliness or disproportion about it can give any pleasure. /

What beauty, then, or what proportion of the parts to the whole, or of the whole to the parts, can there be in a book or fable where a lad of sixteen cuts down a giant as tall as a tower and makes two halves of him as if he was an almond cake? And when they want to give us a picture of a battle, after having told us that there are a million of combatants on the side of the enemy, let the hero of the book be opposed to them, and we have perforce to believe, whether we like it or not, that the said knight wins the victory by the single might of his strong arm. And then, what shall we say of the facility with which a born queen or empress will give herself over into the arms of some unknown wandering knight? /

--

47.3 毋通 án-ne 虐待阮主人

47.3 M̄-thang án-ne ge̍k-thāi goán chú-lâng

Don Quixote thiaⁿ tio̍h in ê tùi-ōe, kóng:

"Lia̍t-ūi sin-sū, lín tùi iû-kiap khî-sū ê tāi-chì ū lāi-hâng bô? Lín nā lāi-hâng, góa tō kā lín kóng góa ê put-hēng. Nā bô, góa tō bián hiah hùi-khì kóng he, ke-kóng mā bô siáⁿ hó-chhù."

Chit-sî sîn-hū kap thì-thâu-sai khòaⁿ tio̍h lí-kheh kap Don Quixote teh kau-tâm, tō kiâⁿ hiòng chêng, bián-tit kè-bô͘ khì hō͘ thiah-phòa.

Hit-ê kàu-sū hôe-tap Don Quixote, kóng: "Kóng si̍t-chāi, hiaⁿ-tī, góa tùi khî-sū-tō ê chheh bat pí Villalpando ê logic ki-chhó͘ khah chē neh. Chiū án-ne, lí ē-sái hòng-sim kā ōe kóng hō͘ góa thiaⁿ."

"Kō͘ Sîn ê miâ, sian-siⁿ," Don Quixote ìn, "kah nā án-ne, góa tō kóng hō͘ lí chai. Góa tiòng-siâ, hông koaiⁿ tī chit-ê lông-á lāi, he sī in-ūi siâ-ok mô͘-hoat-su ê ba̍k-chhiah kap kúi-kè. Bí-tek chóng-sī siū ok-lâng pek-hāi, khah chió siū hó-lâng ài-tài. Góa sī chi̍t-ê iû-kiap khî-sū, m̄-sī hit-chióng miâ-siaⁿ bô kì-chài tī Bêng-jîn Lo̍k ê sió-chut-á; sī hit-chióng m̄-koán Persia ê mô͘-hoat-su, India ê Brahman, a̍h Ethiopia ê Gymnosophist [lō͘-thé tiat-ha̍k-ka] án-nóa hoán-tùi a̍h ba̍k-chhiah, tō ē kā miâ lâu tī put-hiú biō-tn̂g ê khî-sū, chiâⁿ-chò bī-lâi sè-tāi ê bô͘-hoān, hō͘ í-āu ê iû-kiap khî-sū tòe i ê kha-pō͘, tui-kiû chòe-ko ê bú-gē êng-iāu."

"La Mancha ê Don Quixote Ss só͘ kóng ê bô m̄-tio̍h," sîn-hū chhap-chhùi kóng, "i sī in-ūi tiòng-siâ chiah chē chit-chiah chhia, m̄-sī in-ūi i ū siáⁿ kòe-chhò a̍h chōe-kò, sī in-ūi khì-hiâm bí-tek kap oàn-hūn ióng-khì ê lâng ê ok-ì. Sian-siⁿ, chit-ūi tō sī Khó͘-koe-bīn khî-sū, hoān-sè lí bat thiaⁿ-kòe chit-ê miâ-hō, i ê eng-ióng sêng-chiū í-ki̍p úi-tāi sū-chek chiong-ē khek tī tâng-pâi a̍h tāi-lí-chio̍h, m̄-koán siáⁿ-khoán oàn-tò͘ chhì boeh kā siau-tî, siáⁿ-khoán ok-ì siūⁿ boeh kā am-chhàng, he éng-oán to bē siau-biat."

Kàu-sū thiaⁿ tio̍h koaiⁿ ê lâng kap chū-iû lâng lóng án-ne kóng, put-kìm tio̍h-kiaⁿ ōe si̍p-jī-kè, tùi chit-lâng tàu-té sī án-noa, oân-choân sa bô liâu-á-mn̂g. I ê sûi-chiông mā kāng-khoán kám-kak tio̍h-kiaⁿ.

Chit-sî, tòe kòe-lâi thiaⁿ tùi-ōe ê Sancho Panza khui-chhùi ah, bo̍k-tek sī boeh kā tāi-chì kóng khah pe̍h leh:

"Oeh ah, lia̍t-ūi sian-siⁿ, m̄-koán lín kah-ì thiaⁿ a̍h bô kah-ì thiaⁿ góa tit-boeh kóng ê ōe, tāi-sī tān-chì ê sū-si̍t tō sī án-ne. Kóng goán chú-lâng tiòng-siâ, he bē-su kóng goán lāu-bú tiòng-siâ. I thâu-náu chheng-chhó, ē lim, ē chia̍h, ē pàng, ē khùn, cha-hng hông koaiⁿ chìn-chêng, kap pa̍t-lâng kāng-khoán it-chhè chèng-siông. I nā tiòng-siâ, in boeh án-nóa kiò góa siong-sìn? Góa bat thiaⁿ chē-chē lâng kóng kòe, tiòng-siâ ê lâng bē chia̍h, bē khùn, bē kóng-ōe. Goán chú-lâng, lí nā mài kā tòng, i kóng ê ōe khah chē kòe 30-ê lu̍t-su neh."

Jiân-āu, i oa̍t hiòng sîn-hū, tōa-siaⁿ kóng:

"Ah, sîn-hū Ss, sîn-hū Ss! lí siūⁿ-kóng góa bē jīn-tit lí ah? Lí siūⁿ-kóng góa bē hoâi-gî, khòaⁿ bē chhut chit-chióng sin mô͘-hoat ê pá-hì ah? Hó lah, góa kā lí kóng, góa ē jīn-tit lí, m̄-koán lí án-nóa kā bīn am khí-lâi. Góa kā lí kóng, lí ê kúi-kè góa chai-chai lah, m̄-koán lí án-nóa am-khàm. Chóng-kóng chi̍t-kù, ba̍k-chhiah lâi, bí-tek hāi; tàng-sng kàu, khóng-khài cháu, mô͘-kúi khì sí hó lah! Nā m̄-sī in-ūi koh-hā, goán chú-lâng chit-chūn í-keng kap Micomicona Kong-chú kiat-hun ah, góa siōng-bô mā í-keng chiâⁿ-chò pek-chiok ah lah. Che m̄-nā in-ūi goán chú-lâng Khó͘-koe-bīn Khî-sū ê jîn-chû, koh-khah in-ūi sī góa ê úi-tāi ho̍k-bū. Tān-sī taⁿ góa chai ah, sio̍k-gí kóng, miā-ūn ê lián-á pí bō-pâng lián-á pháng khah kín, cha-hng chiah peh-koân ê lâng, kin-á-ji̍t í-keng poa̍h loaih ah.

"Góa ūi bó͘-kiáⁿ teh m̄-kam, in-ūi in pún-chiâⁿ ē-tit khòaⁿ lāu-pē chiâⁿ-chò bó͘ chi̍t-ê tó-sū a̍h ông-kok ê chóng-tok tńg-lâi, taⁿ soah khòaⁿ i chò chi̍t-ê khan-bé--ê. Góa kóng che, sîn-hū Ss, chí-sī tok-chhiok lí ê liông-sim, m̄-thang án-ne ge̍k-thāi goán chú-lâng. Lí tio̍h sè-jī, bián-tit āu sì-lâng Sîn chhōe lí sǹg-siàu, in-ūi lí án-ne kā goán chú-lâng Don Quixote koaiⁿ khiaih, hāi i bē-tit oân-sêng kiù-chō͘ sè-kài kap hêng-siān ê sū-gia̍p.” 

--

47.3 毋通 án-ne 虐待阮主人

Don Quixote 聽著 in ê 對話, 講:

"列位紳士, 恁 tùi 遊俠騎士 ê 代誌有內行無? 恁若內行, 我 tō kā 恁講我 ê 不幸. 若無, 我 tō 免 hiah 費氣講 he, 加講 mā 無啥好處."

這時神父 kap 剃頭師看著旅客 kap Don Quixote teh 交談, tō 行向前, 免得計謀去 hō͘ 拆破.

彼个教士回答 Don Quixote, 講: "講實在, 兄弟, 我 tùi 騎士道 ê 冊 bat 比 Villalpando ê logic 基礎 khah 濟 neh. 就 án-ne, 你 ē-sái 放心 kā 話講 hō͘ 我聽."

"Kō͘ 神 ê 名, 先生," Don Quixote 應, "kah 若 án-ne, 我 tō 講 hō͘ 你知. 我中邪, hông 關 tī 這个櫳仔內, he 是因為邪惡魔法師 ê 目赤 kap 詭計. 美德總是受惡人迫害, khah 少受好人愛戴. 我是一个遊俠騎士, 毋是彼種名聲無記載 tī 名人錄 ê 小卒仔; 是彼種毋管 Persia ê 魔法師, India ê Brahman, a̍h Ethiopia ê Gymnosophist [露體哲學家] án-nóa 反對 a̍h 目赤, tō ē kā 名留 tī 不朽廟堂 ê 騎士, 成做未來世代 ê 模範, hō͘ 以後 ê 遊俠騎士綴伊 ê 跤步, 追求最高 ê 武藝榮耀."

"La Mancha ê Don Quixote Ss 所講 ê 無毋著," 神父 chhap-chhùi 講, "伊是因為中邪才坐 chit 隻車, 毋是因為伊有啥過錯 a̍h 罪過, 是因為棄嫌美德 kap 怨恨勇氣 ê 人 ê 惡意. 先生, 這位 tō 是苦瓜面騎士, 凡勢你 bat 聽過這个名號, 伊 ê 英勇成就以及偉大事蹟將 ē 刻 tī 銅牌 a̍h 大理石, 毋管啥款怨妒試欲 kā 消除, 啥款惡意想欲 kā 掩藏, he 永遠 to 袂消滅."

教士聽著關 ê 人 kap 自由人 lóng án-ne 講, 不禁著驚畫十字架, 對 chit 人到底是 án-noa, 完全捎無寮仔門. 伊 ê 隨從 mā 仝款感覺著驚.

這時, 綴過來聽對話 ê Sancho Panza 開喙 ah, 目的是欲 kā 代誌講 khah 白 leh:

"Oeh ah, 列位先生, 毋管恁佮意聽 a̍h 無佮意聽我得欲講 ê 話, 但是代誌 ê 事實 tō 是 án-ne. 講阮主人中邪, he 袂輸講阮老母中邪. 伊頭腦清楚, ē 啉, ē 食, ē 放, ē 睏, 昨昏 hông 關進前, kap 別人仝款一切正常. 伊若中邪, in 欲 án-nóa 叫我相信? 我 bat 聽濟濟人講過, 中邪 ê 人袂食, 袂睏, 袂講話. 阮主人, 你若莫 kā 擋, 伊講 ê 話 khah 濟過 30 个律師 neh."

然後, 伊越向神父, 大聲講:

"Ah, 神父 Ss, 神父 Ss! 你想講我袂認得你 ah? 你想講我袂懷疑, 看袂出這種新魔法 ê 把戲 ah? 好 lah, 我 kā 你講, 我 ē 認得你, 毋管你 án-nóa kā 面掩起來. 我 kā 你講, 你 ê 詭計我知知 lah, 毋管你 án-nóa 掩崁. 總講一句, 目赤來, 美德害; 凍霜到, 慷慨走, 魔鬼去死好 lah! 若毋是因為閣下, 阮主人這陣已經 kap Micomicona 公主結婚 ah, 我上無 mā 已經成做伯爵 ah lah. Che 毋但因為阮主人苦瓜面騎士 ê 仁慈, koh-khah 因為是我 ê 偉大服務. 但是今我知 ah, 俗語講, 命運 ê 輪仔比磨房輪仔紡 khah 緊, 昨昏才 peh 懸 ê 人, 今仔日已經跋 loaih ah.

"我為某囝 teh 毋甘, 因為 in 本成會得看老爸成做某一个島嶼 a̍h 王國 ê 總督轉來, 今煞看伊做一个牽馬-ê. 我講 che, 神父 Ss, 只是督促你 ê 良心, 毋通 án-ne 虐待阮主人. 你著細膩, 免得後世人神揣你算數, 因為你 án-ne kā 阮主人 Don Quixote 關 khiaih, 害伊袂得完成救助世界 kap 行善 ê 事業.” 

--

47.3

Don Quixote overheard the conversation and said, /

“Haply, gentlemen, you are versed and learned in matters of errant chivalry? Because if you are I will tell you my misfortunes; if not, there is no good in my giving myself the trouble of relating them;” but here the curate and the barber, seeing that the travellers were engaged in conversation with Don Quixote, came forward, in order to answer in such a way as to save their stratagem from being discovered.

The canon, replying to Don Quixote, said, “In truth, brother, I know more about books of chivalry than I do about Villalpando’s elements of logic; so if that be all, you may safely tell me what you please.”

“In God’s name, then, señor,” replied Don Quixote; “if that be so, I would have you know that I am held enchanted in this cage by the envy and fraud of wicked enchanters; for virtue is more persecuted by the wicked than loved by the good. I am a knight-errant, and not one of those whose names Fame has never thought of immortalising in her record, but of those who, in defiance and in spite of envy itself, and all the magicians that Persia, or Brahmans that India, or Gymnosophists that Ethiopia ever produced, will place their names in the temple of immortality, to serve as examples and patterns for ages to come, whereby knights-errant may see the footsteps in which they must tread if they would attain the summit and crowning point of honour in arms.”

“What Señor Don Quixote of La Mancha says,” observed the curate, “is the truth; for he goes enchanted in this cart, not from any fault or sins of his, but because of the malevolence of those to whom virtue is odious and valour hateful. This, señor, is the Knight of the Rueful Countenance, if you have ever heard him named, whose valiant achievements and mighty deeds shall be written on lasting brass and imperishable marble, notwithstanding all the efforts of envy to obscure them and malice to hide them.”

When the canon heard both the prisoner and the man who was at liberty talk in such a strain he was ready to cross himself in his astonishment, and could not make out what had befallen him; and all his attendants were in the same state of amazement.

At this point Sancho Panza, who had drawn near to hear the conversation, said, in order to make everything plain, /

“Well, sirs, you may like or dislike what I am going to say, but the fact of the matter is, my master, Don Quixote, is just as much enchanted as my mother. He is in his full senses, he eats and he drinks, and he has his calls like other men and as he had yesterday, before they caged him. And if that’s the case, what do they mean by wanting me to believe that he is enchanted? For I have heard many a one say that enchanted people neither eat, nor sleep, nor talk; and my master, if you don’t stop him, will talk more than thirty lawyers.” /

Then turning to the curate he exclaimed, /

“Ah, señor curate, señor curate! do you think I don’t know you? Do you think I don’t guess and see the drift of these new enchantments? Well then, I can tell you I know you, for all your face is covered, and I can tell you I am up to you, however you may hide your tricks. After all, where envy reigns virtue cannot live, and where there is niggardliness there can be no liberality. Ill betide the devil! if it had not been for your worship my master would be married to the Princess Micomicona this minute, and I should be a count at least; for no less was to be expected, as well from the goodness of my master, him of the Rueful Countenance, as from the greatness of my services. But I see now how true it is what they say in these parts, that the wheel of fortune turns faster than a mill-wheel, and that those who were up yesterday are down to-day. /

I am sorry for my wife and children, for when they might fairly and reasonably expect to see their father return to them a governor or viceroy of some island or kingdom, they will see him come back a horse-boy. I have said all this, señor curate, only to urge your paternity to lay to your conscience your ill-treatment of my master; and have a care that God does not call you to account in another life for making a prisoner of him in this way, and charge against you all the succours and good deeds that my lord Don Quixote leaves undone while he is shut up.[”]

--

47.2 牛車行上頭前

47.2 Gû-chhia kiâⁿ siōng thâu-chêng

Siâⁿ-pó kok-ūi lú-sū tng-teh kap Don Quixote kau-tâm ê sî, sîn-hū kap thì-thâu-sai hiòng Don Fernando kap in tông-phōaⁿ, mā hiòng siōng-ùi, in sió-tī, kap hiah-ê taⁿ kám-kak hēng-hok ê lú-sū kò-sî, iû-kî sī hiòng Dorothea kap Luscinda. In hō͘-siong sio-lám, tah-èng í-āu kau-liû siau-sit, hō͘ tùi-hong chai ka-tī kīn-hóng. Don Fernando kā sîn-hū kóng, phe kià khì tó-ūi, hō͘ i chai Don Quixote ê chōng-hóng, kóng che sī i chòe hoaⁿ-hí chai-iáⁿ ê tāi-chì. I mā tah-èng ē hō͘ sîn-hū chai-iáⁿ i ài chai ê tāi-chì: iú-koan i ê hun-in, Zoraida ê sé-lé, Don Luis ê tāi-chì, í-ki̍p Luscinda tńg-chhù ê tāi-chì. Sîn-hū tah-èng chun-chiàu i ê iau-kiû, in iū-koh sio-lám, koh kóng chi̍t-piàn èng-ún ê tāi-chì.

Tiàm thâu-ke kiâⁿ óa sîn-hū, kau hō͘ i chi̍t-kóa bûn-kiāⁿ, kóng, he sī hoat-hiān tī té "Sit-chhek ê Hòⁿ-kî" hit-pún sió-soat ê hêng-lí-siuⁿ ê lāi-lí, kóng, kì-jiân siuⁿ-á chú-lâng kàu-taⁿ bô tńg-lâi the̍h, i ē-sái chóng the̍h-khì. In-ūi i pún-lâng m̄-bat jī, i bô su-iàu che. Sîn-hū kā kám-siā, jiân-āu hian-khui bûn-kiāⁿ, khòaⁿ tio̍h chhiú-kó ê khí-thâu án-ne siá: " Rinconete kap Cortadillo ê Kò͘-sū," chai-iáⁿ che sī chi̍t-pún sio-soat, koh chai "Sit-chhek ê Hòⁿ-kî" siá kah chin hó, chit-pún tek-khak mā bē-bái, in-ūi chin khó-lêng chit nn̄g-pún sī kāng chi̍t-ê chok-chiá. Chū án-ne, i kā siu khí-lâi, tán ū ki-hōe ê sî thang-hó tha̍k.

Sîn-hū kap in pêng-iú thì-thâu-sai lóng am-bīn, bián-tit hō͘ Don Quixote jīn chhut-lâi. Taⁿ in lóng í-keng chiūⁿ lî-á chhut-hoat, tòe tī gû-chhia āu-bīn. Chi̍t-kiâⁿ-lâng ê sūn-sī sī án-ne: gû-chhia kiâⁿ siōng thâu-chêng, iû chhia-chú chhōa tūi. Chhia ê siang-pêng sī Hiaⁿ-tī Hōe koaⁿ-oân, thâu-chêng kóng-kòe, lóng am-bīn. Koh-lâi sī Sancho khiâ lî-á, kō͘ khan-soh khan Rocinante tòe tī āu-bīn. Āu-bīn tō sī sîn-hū kap thì-thâu-sai, sûi-lâng khiâ ióng-chòng ê lî-á, kāng-khoán ū am-bīn. Nn̄g-lâng piáu-chêng giâm-siok, khì-hun tîm-tāng, tiâu-chéng kha-pō͘ tòe he gû ê bān-sô kha-pō͘ kiâⁿ.

Don Quixote chē tī lông-á lāi, siang-chhiú pa̍k-tio̍h, siang-kha chhun-ti̍t, sin-khu khò tī lông-á koaiⁿ, chheng-sim, tiām-chēng, bē-su chi̍t-sian chio̍h-thâu tiau-siōng, m̄-sī ū hoeh ū bah ê lâng.

Chū án-ne, in bān-bān, tiām-tiām kiâⁿ 2-league [9.6 km], it-ti̍t lâi-kàu chi̍t-ê soaⁿ-kok. Gû-chhia thâu-ke jīn-ûi chit só͘-chāi sek-ha̍p hioh-khùn, sūn-sòa hō͘ gû chia̍h-chháu. I kā sîn-hū thê-gī tī chia hioh-khùn, tān thì-thâu-sai jīn-ûi tio̍h kè-sio̍k kiâⁿ, in-ūi i chai, tī khah kòe hit-chō soaⁿ ê hit-pêng hia, ū chi̍t-ê chháu khah chē, pí chia koh-khah hó ê soaⁿ-kok. I ê kiàn-gī tit-tio̍h chhái-la̍p, in tō kè-sio̍k kiâⁿ hiòng chêng.

Tī hit-ê sî-chūn, sîn-hū oa̍t-thâu, khòaⁿ tio̍h la̍k/chhit-ê lâng khiâ lô-á, siat-pī chiâu-chn̂g ùi āu-bīn óa lâi. In ê sok-tō͘ bô chhiūⁿ gû-chhia hiah bān-sô, ká-ná sī teh kóaⁿ-lō͘ kip boeh khì bô 1-league [4.8 km] lō͘ thâu-chêng ê kheh-chàn hioh-tàu.

In chin kín jiok kàu-ūi, siang-pêng chò lé-māu-tek ê sio-chioh-mn̄g. Kî-tiong chi̍t-lâng sī Toledo tē-hng ê tōa kàu-sū, sī kî-thaⁿ tông-phōaⁿ ê chhōa-thâu, khòaⁿ tio̍h chit-kiâⁿ-lâng, gû-chhia, koaⁿ-oân, Sancho, Rocinante, sîn-hū kap thì-thâu-sai, iû-kî sī khòaⁿ-tio̍h koaiⁿ tī lông-á lāi ê Don Quixote, jím put-chū mn̄g kóng, kō͘ chit-chióng hong-sek chài hit-ê lâng ū siáⁿ ì-gī. Sui-bóng ùi koaⁿ-oân ê hui-chiong i phòaⁿ-toàn, chit-ê lâng tiāⁿ-tio̍h sī cha̍h-lō͘ chhiúⁿ-kiap a̍h siáⁿ pháiⁿ-lâng khì hō͘ Sèng Hiaⁿ-tī Hōe lia̍h khí-lâi. I só͘ mn̄g ê kî-tiong chi̍t-ê koaⁿ-oân án-ne kā ìn:

"Kiò hit-ê sin-sū pún-lâng kā lí hôe-tap án-ne chhú-lí ê ì-gī pah, sian-siⁿ, goán pēng bô chheng-chhó."

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47.2 牛車行上頭前

城堡各位女士 tng-teh kap Don Quixote 交談 ê 時, 神父 kap 剃頭師向 Don Fernando kap in 同伴, mā 向上尉, in 小弟, kap hiah-ê 今感覺幸福 ê 女士告辭, 尤其是向 Dorothea kap Luscinda. In 互相相攬, 答應以後交流消息, hō͘ 對方知 ka-tī 近況. Don Fernando kā 神父講, 批寄去佗位, hō͘ 伊知 Don Quixote ê 狀況, 講這是伊最歡喜知影 ê 代誌. 伊 mā 答應 ē hō͘ 神父知影伊愛知 ê 代誌: 有關伊 ê 婚姻, Zoraida ê 洗禮, Don Luis ê 代誌, 以及 Luscinda 轉厝 ê 代誌. 神父答應遵照伊 ê 要求, in 又閣相攬, koh 講一遍應允 ê 代誌.

店頭家行倚神父, 交 hō͘ 伊一寡文件, 講, he 是發現 tī 貯 "失策 ê 好奇" hit 本小說 ê 行李箱 ê 內裡, 講, 既然箱仔主人到今無轉來提, 伊 ē-sái 總提去. 因為伊本人毋捌字, 伊無需要 che. 神父 kā 感謝, 然後掀開文件, 看著手稿 ê 起頭 án-ne 寫: " Rinconete kap Cortadillo ê 故事," 知影這是一本小說, koh 知 "失策 ê 好奇" 寫 kah 真好, chit 本的確 mā 袂䆀, 因為真可能 chit 兩本是仝一个作者. 自 án-ne, 伊 kā 收起來, 等有機會 ê 時 thang-hó 讀.

神父 kap in 朋友剃頭師 lóng 掩面, 免得 hō͘ Don Quixote 認出來. 今 in lóng 已經上驢仔出發, 綴 tī 牛車後面. 一行人 ê 順序是 án-ne: 牛車行上頭前, 由車主𤆬隊. 車 ê 雙爿是兄弟會官員, 頭前講過, lóng 掩面. 閣來是 Sancho 騎驢仔, kō͘ 牽索牽 Rocinante 綴 tī 後面. 後面 tō 是神父 kap 剃頭師, 隨人騎勇壯 ê 驢仔, 仝款有掩面. 兩人表情嚴肅, 氣氛沉重, 調整跤步綴 he 牛 ê 慢趖跤步行.

Don Quixote 坐 tī 櫳仔內, 雙手縛著, 雙跤伸直, 身軀靠 tī 櫳仔杆, 清心, 恬靜, 袂輸一仙石頭雕像, 毋是有血有肉 ê 人.

自 án-ne, in 慢慢, 恬恬行 2-league [9.6 km], 一直來到一个山谷. 牛車頭家認為 chit 所在適合歇睏, 順紲 hō͘ 牛食草. 伊 kā 神父提議 tī chia 歇睏, 但剃頭師認為著繼續行, 因為伊知, tī khah 過 hit 座山 ê 彼爿 hia, 有一个草 khah 濟, 比 chia koh-khah 好 ê 山谷. 伊 ê 建議得著採納, in tō 繼續行向前.

Tī 彼个時陣, 神父越頭, 看著六七个人騎騾仔, 設備 chiâu-chn̂g ùi 後面倚來. In ê 速度無像牛車 hiah 慢趖, ká-ná 是 teh 趕路急欲去無 1-league [4.8 km] 路頭前 ê 客棧歇晝.

In 真緊 jiok 到位, 雙爿做禮貌 tek ê 相借問. 其中一人是 Toledo 地方 ê 大教士, 是其他同伴 ê 𤆬頭, 看著這行人, 牛車, 官員, Sancho, Rocinante, 神父 kap 剃頭師, 尤其是看著關 tī 櫳仔內 ê Don Quixote, 忍不住問講, kō͘ 這種方式載彼个人有啥意義. 雖罔 ùi 官員 ê 徽章伊判斷, 這个人定著是閘路搶劫 a̍h 啥歹人去 hō͘ 聖兄弟會掠起來. 伊所問 ê 其中一个官員 án-ne kā 應:

"叫彼个紳士本人 kā 你回答 án-ne 處理 ê 意義 pah, 先生, 阮並無清楚."

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47.2

While this was passing between the ladies of the castle and Don Quixote, the curate and the barber bade farewell to Don Fernando and his companions, to the captain, his brother, and the ladies, now all made happy, and in particular to Dorothea and Luscinda. They all embraced one another, and promised to let each other know how things went with them, and Don Fernando directed the curate where to write to him, to tell him what became of Don Quixote, assuring him that there was nothing that could give him more pleasure than to hear of it, and that he too, on his part, would send him word of everything he thought he would like to know, about his marriage, Zoraida’s baptism, Don Luis’s affair, and Luscinda’s return to her home. The curate promised to comply with his request carefully, and they embraced once more, and renewed their promises.

The landlord approached the curate and handed him some papers, saying he had discovered them in the lining of the valise in which the novel of “The Ill-advised Curiosity” had been found, and that he might take them all away with him as their owner had not since returned; for, as he could not read, he did not want them himself. The curate thanked him, and opening them he saw at the beginning of the manuscript the words, “Novel of Rinconete and Cortadillo,” by which he perceived that it was a novel, and as that of “The Ill-advised Curiosity” had been good he concluded this would be so too, as they were both probably by the same author; so he kept it, intending to read it when he had an opportunity. /

He then mounted and his friend the barber did the same, both masked, so as not to be recognised by Don Quixote, and set out following in the rear of the cart. The order of march was this: first went the cart with the owner leading it; at each side of it marched the officers of the Brotherhood, as has been said, with their muskets; then followed Sancho Panza on his ass, leading Rocinante by the bridle; and behind all came the curate and the barber on their mighty mules, with faces covered, as aforesaid, and a grave and serious air, measuring their pace to suit the slow steps of the oxen. /

Don Quixote was seated in the cage, with his hands tied and his feet stretched out, leaning against the bars as silent and as patient as if he were a stone statue and not a man of flesh. /

Thus slowly and silently they made, it might be, two leagues, until they reached a valley which the carter thought a convenient place for resting and feeding his oxen, and he said so to the curate, but the barber was of opinion that they ought to push on a little farther, as at the other side of a hill which appeared close by he knew there was a valley that had more grass and much better than the one where they proposed to halt; and his advice was taken and they continued their journey.

Just at that moment the curate, looking back, saw coming on behind them six or seven mounted men, well found and equipped, who soon overtook them, for they were travelling, not at the sluggish, deliberate pace of oxen, but like men who rode canons’ mules, and in haste to take their noontide rest as soon as possible at the inn which was in sight not a league off. /

The quick travellers came up with the slow, and courteous salutations were exchanged; and one of the new comers, who was, in fact, a canon of Toledo and master of the others who accompanied him, observing the regular order of the procession, the cart, the officers, Sancho, Rocinante, the curate and the barber, and above all Don Quixote caged and confined, could not help asking what was the meaning of carrying the man in that fashion; though, from the badges of the officers, he already concluded that he must be some desperate highwayman or other malefactor whose punishment fell within the jurisdiction of the Holy Brotherhood. One of the officers to whom he had put the question, replied, /

“Let the gentleman himself tell you the meaning of his going this way, señor, for we do not know.”

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47. Don Quixote 中邪 hông 載走, 以及其他奇事/ 47.1 彼个魔鬼有松膠味

47. Don Quixote tiòng-siâ hông chài-cháu, í-ki̍p kî-thaⁿ kî-sū

47.1 Hit-ê mô͘-kúi ū siông-ka bī

Don Quixote khòaⁿ ka-tī hông koaiⁿ-tio̍h, kō͘ chit-chióng hong-sek kng chiūⁿ gû-chhia, tō án-ne kóng:

"Góa tha̍k-kòe chē-chē iû-kiap khî-sū ê chong-giâm le̍k-sú, m̄-bat tha̍k tio̍h, khòaⁿ tio̍h, a̍h thiaⁿ tio̍h in kō͘ chit-khoán hong-sek ūn-sàng tiòng-siâ ê iû-kiap khî-sū, iōng chit-khoán lán-lán, bān-bān ê tōng-bu̍t thoa. In chóng-sī kō͘ kî-miāu kín-sok, kā kńg tī o͘-sek kāu hûn ni̍h, a̍h khǹg tī hóe chiàn-chhia, nā-bô tō sī iōng eng-thâu bé-sin a̍h hit-lūi koài-siù poaⁿ-ūn. Kèng-jiân iōng gû-chhia poaⁿ-ūn góa! Thiⁿ ah, góa chiâⁿ gông-ngia̍h! Hoān-sè chit-ê sî-tāi ê khî-sū-tō í-ki̍p mô͘-hoat í-keng kap kòe-khì bô kāng-khoán. Hoān-sè, mā in-ūi góa sī chit-ê sè-kài ê sin khî-sū, sī ho̍k-heng í-keng hông bē-kì-tit ê khî-sū lāng-hiám ê tē-it lâng, in khó-lêng hoat-bêng sin mô͘-hoat, í-ki̍p kî-thaⁿ ūn-sàng tiòng-siâ chiá ê hoat-tō͘. Chit-hāng tāi-chì lí án-nóa siūⁿ, Sancho, góa ê koai gín-á?"

"Góa m̄-chai boeh siūⁿ siáⁿ," Sancho hôe-tap, "góa bô chhiūⁿ koh-hā tha̍k hiah chē iû-kiap kò͘-sū, m̄-koh, góa káⁿ kóng, káⁿ chiù-chōa, lán chiu-ûi ê chiah-ê iu-lêng bô kài chiàⁿ-thóng neh."

 "Chiàⁿ-thóng!" Don Quixote kóng. "Thiⁿ ah! In boeh án-nóa chiàⁿ-thóng ah? In lóng sī mô͘-kúi neh, kî-hêng koài-chōng lâi chia chò sū, kā góa pìⁿ kah chit-lō khoán. Lí nā boeh chèng-bêng, lí khì kā bong, kā kám-kak, in ê sin-khu put-kò sī khong-khì, kan-ta ū gōa-koan, bô si̍t-thé."

"Sîn ah, chú-lâng," Sancho ìn-ōe, "góa í-keng kā in bong kòe ah. Hit-ê tī hia bô-êng chhih-chhih ê mô͘-kúi, i ê bah chin kiat-si̍t neh, koh ū chi̍t-chióng te̍k-sèng, he kài bô-sêng thiaⁿ-kóng ê mô͘-kúi, in-ūi thiaⁿ-kóng mô͘-kúi sin-khu lóng ū liû-hông bī, í-ki̍p kî-thaⁿ chhàu-hiàn. Hit-ê ùi hn̄g-hn̄g phīⁿ khí-lâi tō ū siông-ka bī." Sancho só͘-kóng ê hit-ê sī Don Fernando, i sī kùi-cho̍k kai-kip, chin khó-lêng ū hiù phang-chúi, ū Sancho só͘-kóng ê hit-khoán khì-bī. 

"Bián tio̍h-kiaⁿ, Sancho, góa ê pêng-iú," Don Quixote kóng, "góa kā lí kóng, mô͘-kúi kài kan-khiáu, sui-bóng in tòa khì-bī, in pún-sin sī bô bī, in put-kò sī lêng-hûn. A̍h sī kóng, ká-sú in ū khì-bī, he bē sī tiⁿ-bi̍t ê khì-bī, sī chhàu koh àu ê bī. Goân-in sī, in khì kàu toh to chah tē-ga̍k bī, chiat-bôa tit bē-tio̍h kái-thoat. Tiⁿ-bi̍t ê khì-bī hō͘ lâng sóng-sim, só͘-tì, in bô khó-lêng ū tiⁿ-bi̍t khì-bī. Ká-sú hit-ê lí kóng ê mô͘-kúi ū siông-ka bī, nā m̄-sī lí phiàn ka-tī, tō sī i boeh phiàn lí siong-sìn i m̄-sī mô͘-kúi."

Che sī chú-lâng kap ē-kha-chhiú ê tùi-ōe. Don Fernando kap Cardenio khióng-kiaⁿ kè-bô͘ piak-khang, in-ūi i kóng-ê í-keng chin chiap-kīn, tō koat-tēng boeh kín lī-khui. In kiò tiàm thâu-ke kòe-lâi, kiò i ūi Rocinante thò bé-an, ūi Sancho ê lî-á pho͘ phāiⁿ-an, thâu-ke kha-chhiú mé-lia̍h sûi chò hó. Kāng chit sî-kan, sîn-hū kap koaⁿ-oân chih-chiap hó-sè, kiò in pôe-phōaⁿ kàu in chng, kang-chu chiàu ji̍t sǹg.

Cardenio kā tún-pâi kòa tī Rocinante bé-an chêng-keng (前弓) ê chi̍t-pêng, bīn-tháng tiàu tī iáu chi̍t-pêng. Jiân-āu kō͘ chhiú-sè kiò Sancho khiâ-chiūⁿ lî-á, chhiú khan Rocinante ê khan-soh, lēng-gōa tī gû-chhia nn̄g-pêng kok an-pâi nn̄g-ê gia̍h hóe-chhèng ê koaⁿ-oân. Gû-chhia tú boeh khí-kiâⁿ, kheh-chàn thâu-ke-niû, yin cha-bó͘-kiáⁿ, í-ki̍p Maritornes cháu chhut-lâi kap Don Quixote sio-sî, ké-kúi ūi i ê put-hēng pi-siong lâu ba̍k-sái. Don Quixote án-ne tùi yin kóng:

"M̄-mó khàu, siān-liông ê lú-sū, chit-chióng put-hēng sī góa chit-chióng hâng-gia̍p só͘ lân-bián ê. Nā bô cho-siū chit-chióng tōng-tu̍t, góa tō bô chu-keh chò chi̍t-ê chhut-miâ iû-kiap khî-sū. Chit-khoán tāi-chì bē hoat-seng tī bô-miâ ê khî-sū, in-ūi sè-kài bô lâng koan-sim in. Eng-ióng ê khî-sū tō ē, in-ūi in ê bí-tek kap ióng-khì hō͘ chē-chē kun-ông kap kî-thaⁿ khî-sū ba̍k-chhiah, kō͘ pi-phí chhiú-tōaⁿ hām-hāi in. Put-jî-kò, bí-tek pún-sin chin ū-la̍t, ū-kàu phah-pāi mô͘-hoat khai-ki-chó͘ Zoroaster ê só͘-ū mô͘-hoat, kā ka-tī ê kong-hui ná chhiūⁿ thiⁿ-téng ji̍t-kng án-ne iā hiòng tāi-tē.

"Chhiáⁿ goân-liōng góa, bí-lē lú-sū, jû-kó bô-ì-tiong góa ū tek-sit tio̍h lín. Góa m̄-bat thiau-kang a̍h kò͘-ì siong-hāi jīm-hô lâng. Chhiáⁿ hiòng Sîn kî-tó, kái-kiù góa chhut chit-ê iû ok-ì mô͘-hoat-su só͘ koaiⁿ góa ê lông-á. It-tàn tit-tio̍h kái-kiù, góa éng-oán ē-kì-tit lín tī chit-chō siâⁿ-pó tùi góa só͘ chò ê un-hūi, tiāⁿ-tio̍h kō͘ sek-ha̍p hong-sek kám-siā koh pò-tap lín." 

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47. Don Quixote 中邪 hông 載走, 以及其他奇事

47.1 彼个魔鬼有松膠味

Don Quixote 看 ka-tī hông 關著, kō͘ 這種方式扛上牛車, tō án-ne 講:

"我讀過濟濟遊俠騎士 ê 莊嚴歷史, m̄-bat 讀著, 看著, a̍h 聽著 in kō͘ 這款方式運送中邪 ê 遊俠騎士, 用這款懶懶, 慢慢 ê 動物拖. In 總是 kō͘ 奇妙緊速, kā 卷 tī 烏色厚雲 ni̍h, a̍h 囥 tī 火戰車, 若無 tō 是用鷹頭馬身 a̍h hit 類怪獸搬運. 竟然用牛車搬運我! 天 ah, 我誠 gông-ngia̍h! 凡勢這个時代 ê 騎士道以及魔法已經 kap 過去無仝款. 凡勢, mā 因為我是這个世界 ê 新騎士, 是復興已經 hông 袂記得 ê 騎士弄險 ê 第一人, in 可能發明新魔法, 以及其他運送中邪者 ê 法度. 這項代誌你 án-nóa 想, Sancho, 我 ê 乖囡仔?"

"我毋知欲想啥," Sancho 回答, "我無像閣下讀 hiah 濟遊俠故事, 毋過, 我 káⁿ 講, káⁿ 咒誓, 咱周圍 ê chiah-ê 幽靈無 kài 正統 neh."

"正統!" Don Quixote 講. "天 ah! In 欲 án-nóa 正統 ah? In lóng 是魔鬼 neh, 奇形怪狀來 chia 做事, kā 我 pìⁿ kah chit-lō 款. 你若欲證明, 你去 kā 摸, kā 感覺, in ê 身軀不過是空氣, kan-ta 有外觀, 無實體."

"神 ah, 主人," Sancho 應話, "我已經 kā in 摸過 ah. 彼个 tī hia 無閒 chhih-chhih ê 魔鬼, 伊 ê 肉真結實 neh, koh 有一種特性, he kài 無成聽講 ê 魔鬼, 因為聽講魔鬼身軀 lóng 有硫磺味, 以及其他臭羶. 彼个 ùi 遠遠鼻起來 tō 有松膠味." Sancho 所講 ê 彼个是 Don Fernando, 伊是貴族階級, 真可能有 hiù 芳水, 有 Sancho 所講 ê 彼款氣味. 

"免著驚, Sancho, 我 ê 朋友," Don Quixote 講, "我 kā 你講, 魔鬼 kài 奸巧, 雖罔 in 帶氣味, in 本身是無味, in 不過是靈魂. A̍h 是講, 假使 in 有氣味, he 袂是甜蜜 ê 氣味, 是臭 koh 漚 ê 味. 原因是, in 去到佗 to 扎地獄味, 折磨得袂著解脫. 甜蜜 ê 氣味 hō͘ 人爽心, 所致, in 無可能有甜蜜氣味. 假使彼个你講 ê 魔鬼有松膠味, 若毋是你騙 ka-tī, tō 是伊欲騙你相信伊毋是魔鬼."

這是主人 kap 下跤手 ê 對話. Don Fernando kap Cardenio 恐驚計謀煏空, 因為伊講 ê 已經真接近, tō 決定欲緊離開. In 叫店頭家過來, 叫伊 ūi Rocinante 套馬鞍, ūi Sancho ê 驢仔鋪揹鞍, 頭家跤手猛掠隨做好. 仝 chit 時間, 神父 kap 官員 chih-chiap 好勢, 叫 in 陪伴到 in 庄, 工資照日算.

Cardenio kā 盾牌掛 tī Rocinante 馬鞍 chêng-keng (前弓) ê 一爿, 面桶吊 tī 猶一爿. 然後 kō͘ 手勢叫 Sancho 騎上驢仔, 手牽 Rocinante ê 牽索, 另外 tī 牛車兩爿各安排兩个攑火銃 ê 官員. 牛車拄欲起行, 客棧頭家娘, 姻查某囝, 以及 Maritornes 走出來 kap Don Quixote 相辭, 假鬼 ūi 伊 ê 不幸悲傷流目屎. Don Quixote án-ne tùi 姻講:

"M̄-mó 哭, 善良 ê 女士, 這種不幸是我這種行業所難免 ê. 若無遭受這種撞突, 我 tō 無資格做一个出名遊俠騎士. 這款代誌袂發生 tī 無名 ê 騎士, 因為世界無人關心 in. 英勇 ê 騎士 tō ē, 因為 in ê 美德 kap 勇氣 hō͘ 濟濟君王 kap 其他騎士目赤, kō͘ 卑鄙手段陷害 in. 不而過, 美德本身真有力, 有夠拍敗魔法開基祖 Zoroaster ê 所有魔法, kā ka-tī ê 光輝 ná 像天頂日光 án-ne 掖向大地.

"請原諒我, 美麗女士, 如果無意中我有得失著恁. 我 m̄-bat 刁工 a̍h 故意傷害任何人. 請向神祈禱, 解救我出這个 iû 惡意魔法師所關我 ê 櫳仔. 一旦得著解救, 我永遠會記得恁 tī 這座城堡 tùi 我所做 ê 恩惠, 定著 kō͘ 適合方式感謝 koh 報答恁." 

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CHAPTER XLVII.

OF THE STRANGE MANNER IN WHICH DON QUIXOTE OF LA MANCHA WAS CARRIED AWAY ENCHANTED, TOGETHER WITH OTHER REMARKABLE INCIDENTS

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47.1

When Don Quixote saw himself caged and hoisted on the cart in this way, he said, .

“Many grave histories of knights-errant have I read; but never yet have I read, seen, or heard of their carrying off enchanted knights-errant in this fashion, or at the slow pace that these lazy, sluggish animals promise; for they always take them away through the air with marvellous swiftness, enveloped in a dark thick cloud, or on a chariot of fire, or it may be on some hippogriff or other beast of the kind; but to carry me off like this on an ox-cart! By God, it puzzles me! But perhaps the chivalry and enchantments of our day take a different course from that of those in days gone by; and it may be, too, that as I am a new knight in the world, and the first to revive the already forgotten calling of knight-adventurers, they may have newly invented other kinds of enchantments and other modes of carrying off the enchanted. What thinkest thou of the matter, Sancho my son?”

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“I don’t know what to think,” answered Sancho, “not being as well read as your worship in errant writings; but for all that I venture to say and swear that these apparitions that are about us are not quite catholic.”

“Catholic!” said Don Quixote. “Father of me! how can they be Catholic when they are all devils that have taken fantastic shapes to come and do this, and bring me to this condition? And if thou wouldst prove it, touch them, and feel them, and thou wilt find they have only bodies of air, and no consistency except in appearance.”

“By God, master,” returned Sancho, “I have touched them already; and that devil, that goes about there so busily, has firm flesh, and another property very different from what I have heard say devils have, for by all accounts they all smell of brimstone and other bad smells; but this one smells of amber half a league off.” Sancho was here speaking of Don Fernando, who, like a gentleman of his rank, was very likely perfumed as Sancho said.

“Marvel not at that, Sancho my friend,” said Don Quixote; “for let me tell thee devils are crafty; and even if they do carry odours about with them, they themselves have no smell, because they are spirits; or, if they have any smell, they cannot smell of anything sweet, but of something foul and fetid; and the reason is that as they carry hell with them wherever they go, and can get no ease whatever from their torments, and as a sweet smell is a thing that gives pleasure and enjoyment, it is impossible that they can smell sweet; if, then, this devil thou speakest of seems to thee to smell of amber, either thou art deceiving thyself, or he wants to deceive thee by making thee fancy he is not a devil.”

Such was the conversation that passed between master and man; and Don Fernando and Cardenio, apprehensive of Sancho’s making a complete discovery of their scheme, towards which he had already gone some way, resolved to hasten their departure, and calling the landlord aside, they directed him to saddle Rocinante and put the pack-saddle on Sancho’s ass, which he did with great alacrity. In the meantime the curate had made an arrangement with the officers that they should bear them company as far as his village, he paying them so much a day. /

Cardenio hung the buckler on one side of the bow of Rocinante’s saddle and the basin on the other, and by signs commanded Sancho to mount his ass and take Rocinante’s bridle, and at each side of the cart he placed two officers with their muskets; but before the cart was put in motion, out came the landlady and her daughter and Maritornes to bid Don Quixote farewell, pretending to weep with grief at his misfortune; and to them Don Quixote said:

“Weep not, good ladies, for all these mishaps are the lot of those who follow the profession I profess; and if these reverses did not befall me I should not esteem myself a famous knight-errant; for such things never happen to knights of little renown and fame, because nobody in the world thinks about them; to valiant knights they do, for these are envied for their virtue and valour by many princes and other knights who compass the destruction of the worthy by base means. Nevertheless, virtue is of herself so mighty, that, in spite of all the magic that Zoroaster its first inventor knew, she will come victorious out of every trial, and shed her light upon the earth as the sun does upon the heavens. /

Forgive me, fair ladies, if, through inadvertence, I have in aught offended you; for intentionally and wittingly I have never done so to any; and pray to God that he deliver me from this captivity to which some malevolent enchanter has consigned me; and should I find myself released therefrom, the favours that ye have bestowed upon me in this castle shall be held in memory by me, that I may acknowledge, recognise, and requite them as they deserve.”

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46.4 結果是 hông 關 tī 櫳仔內

46.4 Kiat-kó sī hông koaiⁿ tī lông-á lāi

Só͘-ū chāi-tiûⁿ ê lâng tang-tiong, kan-ta Sancho pó-chhî chheng-chhéⁿ, pó-chhî pún-sèng. Sui-bóng hiám-á kap chú-lâng kāng-khoán sit khì lí-tì, i iáu jīn ē-chhut chiah-ê chng-pān ê lâng sī siáng. M̄-koh i m̄-káⁿ khui-chhùi, chí sī tiām-tiām khòaⁿ chú-lâng hông lia̍h. Don Quixote mā bô kóng-ōe, chí sī tán khòaⁿ tāi-chì ê kiat-kio̍k. Kiat-kó tō sī hông kng-ji̍p lông-á, koaiⁿ tī lāi-bīn, koh kō͘ kúi-nā ki hoâiⁿ-koaiⁿ kā tèng ân-ân, bô khó-lêng lòng-khui.

Jiân-āu in kā kng tī keng-kah-thâu, kiâⁿ-chhut pâng-keng ê sî, thiaⁿ tio̍h chi̍t-ê khó-phà ê siaⁿ, sī thì-thâu-sai ê siaⁿ, m̄-sī thó phāiⁿ-an hit-ê, sī lēng-gōa hit-ê. He siaⁿ án-ne kóng:

"O, Khó͘-koe-bīn Khî-sū, hông koaiⁿ tī hia, lí bián àu-náu. Tio̍h án-ne, lí chiah ē-tàng khah kín oân-sêng lí úi-tāi sim-koaⁿ só͘ tui-kiû ê lāng-hiám. He boeh oân-sêng, tio̍h tán Mancha béng-sai kap Toboso pe̍h hún-chiáu kiat-ha̍p, in ê ngō͘-bān keng-thâu tio̍h àⁿ kē taⁿ khí un-jiû ê hun-in tàⁿ-thâu. Tī chit-ê sîn-kî hun-in lāi-bīn, chiong ē chhut-sì ióng-kám ê iù-sai, he eng-ióng bô su ióng-chòng lāu-pē ê lāi jiáu. Che it-chhè, boeh si̍t-hiān tī sian-lú tui-kiû chiá [goe̍h-niû] tī i ê kín-sok poe-thiⁿ lō͘-sòaⁿ nn̄g-pái hóng-būn kûn-chheⁿ ê sî.

"Iáu ū lí, O, chòe chun-kùi, chòe tiong-si̍t ê sū-chiông, hâ pó-kiàm, lâu chhùi-chhiu, hó phīⁿ-sai, chhiáⁿ m̄-thang in-ūi chhin-ba̍k khòaⁿ iû-kiap khî-sū ê hoe hông chhōa-cháu teh sit-chì a̍h pi-siong. In-ūi chin kín, nā Chō-bu̍t Chiá goān-ì, lí tō ē tit-tio̍h thê-seng, kàu chi̍t-ê lí siūⁿ bē-kàu ê tē-ūi, siān-liông chú-lâng tùi lí ê ín-chún m̄-sī ké. Góa kō͘ gâu-lâng Mentironiana [Ké-ōe Lú-sîn] ê miâ-gī kā lí pó-chèng, lí ê kang-chîⁿ ē hù hō͘ lí, kàu-sî lí tō chai. Chhiáⁿ tòe tiòng-siâ ióng-kám khî-sū ê kha-pō͘, in-ūi lí tio̍h tòe i kàu chí-tēng hō͘ lín nn̄g-lâng ê bo̍k-tek-tē. Góa bē-tàng koh kóng siáⁿ, goān Sîn pó-pì, góa boeh tńg-khì góa ê só͘-chāi ah."

Tī ī-giân kàu boeh kiat-sok ê sî, i seng kā siaⁿ-tiāu thê-koân, chiah koh chiām-chiām kàng-kē chò un-jiû ê siaⁿ-im, sīm-chì chai che put-kò sī chhiò-ōe ê lâng, mā kiông boeh siong-sìn in só͘ thiaⁿ tio̍h ê.

Thiaⁿ-tio̍h che ī-giân, Don Quixote kám-kak hòng-sim, in-ūi i lí-kái he ì-gī, chai-iáⁿ ū-lâng ín-chún i ē-tit kap sim-ài ê Dulcinea del Toboso kiat-sêng sîn-sèng, ha̍p-hoat hun-in, ùi Dulcinea ê pak-lāi boeh seⁿ-chhut sai-kiáⁿ, its i ê hāu-seⁿ, chiâⁿ-chò La Mancha ê éng-oán êng-iāu. I chhim-chhim siong-sìn che, tō thê-koân siaⁿ-tiāu thàn-khì, hoah kóng:

"Oh, m̄-koán lí sī siáng, kì-jiân lí ī-pò góa chiah chē hó sū, góa pài-thok lí thè góa hiòng hit-ê hū-chek góa sū-bū ê mô͘-hoat-su chhéng-kiû, tī si̍t-hiān tú-chiah thiaⁿ-tio̍h ê hoaⁿ-hí bû-pí ê èng-ún chìn-chêng, m̄-thang hō͘ góa sí tī chit-ê lông-á lāi. Chí-iàu èng-ún ē-tit si̍t-hiān, góa tō kā chē-kaⁿ ê thòng-khó͘ tòng-chò kong-êng, ùi pa̍k góa ê só-liān tit-tio̍h an-ùi, bô kā tēng chhâ-pang khòaⁿ-chò kan-khó͘ ê chiàn-tiûⁿ, sī jiû-nńg ê tōng-pông. Kóng-tio̍h án-nóa an-ùi Sancho Panza, its góa ê sū-chiông, góa siong-sìn i siān-liông chiàⁿ-ti̍t, tú-tio̍h hó pháiⁿ-ūn lóng bē pàng-sak góa. M̄-koán sī in-ūi i pháiⁿ-ūn a̍h in-ūi góa bô châi-tiāu, bē-tàng chiàu góa ê èng-ún sàng i tó-sū a̍h kî-thaⁿ mi̍h-kiāⁿ, tān siōng-chió i ê kang-chiⁿ bē o͘-iú khì, in-ūi tī góa ê ûi-chiok, góa í-keng ū kau-tài tio̍h hù hō͘ i ê kim-gia̍h, he m̄-sī kin-kì i ê chē-chē tiong-sêng ho̍k-bū, sī kin-kì góa ê ke-hóe só͘ kè-sǹg ê."

Sancho àⁿ-thâu kiâⁿ-lé koh chim i ê siang-chhiú, in-ūi he siang-chhiú pa̍k chò-hóe, bô hoat-tō͘ kan-ta chhim chi̍t-chhiú. Jiân-āu hit-tīn iu-lêng kā lông-á kng khí-lâi, kā kò͘-tēng tī gû-chhia téng.

[2024-11-16]

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46.4 結果是 hông 關 tī 櫳仔內

所有在場 ê 人當中, kan-ta Sancho 保持清醒, 保持本性. 雖罔險仔 kap 主人仝款失去理智, 伊猶認會出 chiah-ê 裝扮 ê 人是 siáng. M̄-koh 伊毋敢開喙, 只是恬恬看主人 hông 掠. Don Quixote mā 無講話, 只是等看代誌 ê 結局. 結果 tō 是 hông 扛入櫳仔, 關 tī 內面, koh kō͘ 幾若支橫杆 kā 釘 ân-ân, 無可能挵開.

然後 in kā 扛 tī 肩胛頭, 行出房間 ê 時, 聽著一个可怕 ê 聲, 是剃頭師 ê 聲, 毋是討揹鞍彼个, 是另外彼个. He 聲 án-ne 講:

"O, 苦瓜面騎士, hông 關 tī hia, 你免懊惱. 著 án-ne, 你才 ē-tàng khah 緊完成你偉大心肝所追求 ê 弄險. He 欲完成, 著等 Mancha 猛獅 kap Toboso 白粉鳥結合, in ê 傲慢肩頭著 àⁿ 低擔起溫柔 ê 婚姻擔頭. Tī 這个神奇婚姻內面, 將 ē 出世勇敢 ê 幼獅, he 英勇無輸勇壯老爸 ê 利爪. Che 一切, 欲實現 tī 仙女追求者 [月娘] tī 伊 ê 緊速飛天路線兩擺訪問群星 ê 時.

"猶有你, O, 最尊貴, 最忠實 ê 侍從, 縖寶劍, 留喙鬚, 好鼻獅, 請毋通因為親目看遊俠騎士 ê 花 hông 𤆬走 teh 失志 a̍h 悲傷. 因為真緊, 若造物者願意, 你 tō ē 得著提升, 到一个你想袂到 ê 地位, 善良主人對你 ê 允准毋是假. 我 kō͘ gâu 人 Mentironiana [假話女神] ê 名義 kā 你保證, 你 ê 工錢 ē 付 hō͘ 你, 到時你 tō 知. 請綴中邪勇敢騎士 ê 跤步, 因為你著綴伊到指定 hō͘ 恁兩人 ê 目的地. 我袂當 koh 講啥, 願神保庇, 我欲轉去我 ê 所在 ah."

Tī 預言到欲結束 ê 時, 伊先 kā 聲調提懸, 才 koh 漸漸降低做溫柔 ê 聲音, 甚至知 che 不過是笑話 ê 人, mā 強欲相信 in 所聽著 ê.

聽著 che 預言, Don Quixote 感覺放心, 因為伊理解 he 意義, 知影有人允准伊會得 kap 心愛 ê Dulcinea del Toboso 結成神聖, 合法婚姻, ùi Dulcinea ê 腹內欲生出獅囝, its 伊 ê 後生, 成做 La Mancha ê 永遠榮耀. 伊深深相信 che, tō 提懸聲調嘆氣, 喝講:

"Oh, 毋管你是 siáng, 既然你預報我 chiah 濟好事, 我拜託你替我向彼个負責我事務 ê 魔法師請求, tī 實現拄才聽著 ê 歡喜無比 ê 應允進前, 毋通 hō͘ 我死 tī 這个櫳仔內. 只要應允會得實現, 我 tō kā 坐監 ê 痛苦當做光榮, ùi 縛我 ê 鎖鍊得著安慰, 無 kā tēng 柴枋看做艱苦 ê 戰場, 是柔軟 ê 洞房. 講著 án-nóa 安慰 Sancho Panza, its 我 ê 侍從, 我相信伊善良正直, 拄著好歹運 lóng 袂放捒我. 毋管是因為伊歹運 a̍h 因為我無才調, 袂當照我 ê 應允送伊島嶼 a̍h 其他物件, 但上少伊 ê 工錢袂烏有去, 因為 tī 我 ê 遺囑, 我已經有交代著付 hō͘ 伊 ê 金額, he 毋是根據伊 ê 濟濟忠誠服務, 是根據我 ê 家伙所計算 ê."

Sancho àⁿ 頭行禮 koh 唚伊 ê 雙手, 因為 he 雙手縛做伙, 無法度 kan-ta 唚一手. 然後 hit 陣幽靈 kā 櫳仔扛起來, kā 固定 tī 牛車頂.

[2024-11-16]

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46.4

Of all that were there Sancho was the only one who was at once in his senses and in his own proper character, and he, though he was within very little of sharing his master’s infirmity, did not fail to perceive who all these disguised figures were; but he did not dare to open his lips until he saw what came of this assault and capture of his master; nor did the latter utter a word, waiting to the upshot of his mishap; which was that bringing in the cage, they shut him up in it and nailed the bars so firmly that they could not be easily burst open.

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They then took him on their shoulders, and as they passed out of the room an awful voice—as much so as the barber, not he of the pack-saddle but the other, was able to make it—was heard to say, /

“O Knight of the Rueful Countenance, let not this captivity in which thou art placed afflict thee, for this must needs be, for the more speedy accomplishment of the adventure in which thy great heart has engaged thee; the which shall be accomplished when the raging Manchegan lion and the white Tobosan dove shall be linked together, having first humbled their haughty necks to the gentle yoke of matrimony. And from this marvellous union shall come forth to the light of the world brave whelps that shall rival the ravening claws of their valiant father; and this shall come to pass ere the pursuer of the flying nymph shall in his swift natural course have twice visited the starry signs. /

And thou, O most noble and obedient squire that ever bore sword at side, beard on face, or nose to smell with, be not dismayed or grieved to see the flower of knight-errantry carried away thus before thy very eyes; for soon, if it so please the Framer of the universe, thou shalt see thyself exalted to such a height that thou shalt not know thyself, and the promises which thy good master has made thee shall not prove false; and I assure thee, on the authority of the sage Mentironiana, that thy wages shall be paid thee, as thou shalt see in due season. Follow then the footsteps of the valiant enchanted knight, for it is expedient that thou shouldst go to the destination assigned to both of you; and as it is not permitted to me to say more, God be with thee; for I return to that place I wot of;” /

and as he brought the prophecy to a close he raised his voice to a high pitch, and then lowered it to such a soft tone, that even those who knew it was all a joke were almost inclined to take what they heard seriously.

Don Quixote was comforted by the prophecy he heard, for he at once comprehended its meaning perfectly, and perceived it was promised to him that he should see himself united in holy and lawful matrimony with his beloved Dulcinea del Toboso, from whose blessed womb should proceed the whelps, his sons, to the eternal glory of La Mancha; and being thoroughly and firmly persuaded of this, he lifted up his voice, and with a deep sigh exclaimed, /

“Oh thou, whoever thou art, who hast foretold me so much good, I implore of thee that on my part thou entreat that sage enchanter who takes charge of my interests, that he leave me not to perish in this captivity in which they are now carrying me away, ere I see fulfilled promises so joyful and incomparable as those which have been now made me; for, let this but come to pass, and I shall glory in the pains of my prison, find comfort in these chains wherewith they bind me, and regard this bed whereon they stretch me, not as a hard battle-field, but as a soft and happy nuptial couch; and touching the consolation of Sancho Panza, my squire, I rely upon his goodness and rectitude that he will not desert me in good or evil fortune; for if, by his ill luck or mine, it may not happen to be in my power to give him the island I have promised, or any equivalent for it, at least his wages shall not be lost; for in my will, which is already made, I have declared the sum that shall be paid to him, measured, not by his many faithful services, but by the means at my disposal.”

Sancho bowed his head very respectfully and kissed both his hands, for, being tied together, he could not kiss one; and then the apparitions lifted the cage upon their shoulders and fixed it upon the ox-cart.

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