“It is as you say, senor canon,” said the curate; “and for that reason those who have hitherto written books of the sort deserve all the more censure1 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 tempted2 to write a book of chivalry3 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 judgment5 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 vogue6, 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 eyebrows7 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 thoroughly8 wedded9 to their own opinion that no argument or evidence can wean them from it.
“I remember saying one day to one of these obstinate10 fellows, ‘Tell me, do you not recollect11 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 admiration12, 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 Ingratitude13 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 renown14, 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 disabuse15 him of his error.”
“You have touched upon a subject, senor canon,” observed the curate here, “that has awakened16 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 folly17, and images of lewdness18. 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 absurdity19 can there be than putting before us an old man as a swashbuckler, a young man as a poltroon20, a lackey21 using fine language, a page giving sage22 advice, a king plying24 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 semblance26 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 affected27 refinement28. And then if we turn to sacred dramas — what miracles they invent in them! What apocryphal29, ill-devised incidents, attributing to one saint the miracles of another! And even in secular30 plays they venture to introduce miracles without any reason or object except that they think some such miracle, or transformation31 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 corruption32 of history, nay33 more, to the reproach of the wits of Spain; for foreigners who scrupulously34 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 engender35; and that, as this may be attained36 by any sort of play, good or bad, there is no need to lay down laws, or bind37 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 artistic38 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, inflamed39 against vice23, and in love with virtue40; for in all these ways a good play will stimulate41 the mind of the hearer be he ever so boorish42 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 perfectly43 well aware of their faults, and know what they ought to do; but as plays have become a salable44 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. And that this is the truth may be seen by the countless45 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 eloquence46 and elevation47 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 abscond48, 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, standing25 in awe49 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 inflicting50 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 bent51, nor can weak human nature exist without some lawful52 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, senor licentiate, that I said was a good one for fresh and plentiful53 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 mule54, which by this time ought to have reached the inn, carried provisions enough to make it unnecessary to get anything from the inn except barley55.
“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, “Senor, to ease my conscience I want to tell you the state of the case as to your enchantment56, 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 enchanted57, 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.”
“Ask what thou wilt58, Sancho my son,” returned Don Quixote, “for I will satisfy thee and answer all thou requirest. As to what thou sayest, that these who accompany us yonder are the curate and the barber, our neighbours and acquaintances, it is very possible that they may seem to he those same persons; but that they are so in reality and in fact, believe it not on any account; what thou art to believe and think is that, if they look like them, as thou sayest, it must be that those who have enchanted me have taken this shape and likeness59; for it is easy for enchanters to take any form they please, and they may have taken those of our friends in order to make thee think as thou dost, and lead thee into a labyrinth60 of fancies from which thou wilt find no escape though thou hadst the cord of Theseus; and they may also have done it to make me uncertain in my mind, and unable to conjecture61 whence this evil comes to me; for if on the one hand thou dost tell me that the barber and curate of our village are here in company with us, and on the other I find myself shut up in a cage, and know in my heart that no power on earth that was not supernatural would have been able to shut me in, what wouldst thou have me say or think, but that my enchantment is of a sort that transcends62 all I have ever read of in all the histories that deal with knights-errant that have been enchanted? So thou mayest set thy mind at rest as to the idea that they are what thou sayest, for they are as much so as I am a Turk. But touching63 thy desire to ask me something, say on, and I will answer thee, though thou shouldst ask questions from this till to-morrow morning.”
“May Our Lady be good to me!” said Sancho, lifting up his voice; “and is it possible that your worship is so thick of skull64 and so short of brains that you cannot see that what I say is the simple truth, and that malice65 has more to do with your imprisonment66 and misfortune than enchantment? But as it is so, I will prove plainly to you that you are not enchanted. Now tell me, so may God deliver you from this affliction, and so may you find yourself when you least expect it in the arms of my lady Dulcinea — ”
“Leave off conjuring67 me,” said Don Quixote, “and ask what thou wouldst know; I have already told thee I will answer with all possible precision.”
“That is what I want,” said Sancho; “and what I would know, and have you tell me, without adding or leaving out anything, but telling the whole truth as one expects it to be told, and as it is told, by all who profess4 arms, as your worship professes68 them, under the title of knights-errant — ”
“I tell thee I will not lie in any particular,” said Don Quixote; “finish thy question; for in truth thou weariest me with all these asseverations, requirements, and precautions, Sancho.”
“Well, I rely on the goodness and truth of my master,” said Sancho; “and so, because it bears upon what we are talking about, I would ask, speaking with all reverence69, whether since your worship has been shut up and, as you think, enchanted in this cage, you have felt any desire or inclination70 to go anywhere, as the saying is?”
“I do not understand ‘going anywhere,’” said Don Quixote; “explain thyself more clearly, Sancho, if thou wouldst have me give an answer to the point.”
“Is it possible,” said Sancho, “that your worship does not understand ‘going anywhere’? Why, the schoolboys know that from the time they were babes. Well then, you must know I mean have you had any desire to do what cannot be avoided?”
“Ah! now I understand thee, Sancho,” said Don Quixote; “yes, often, and even this minute; get me out of this strait, or all will not go right.”
“你说得对，牧师大人，”神甫说，“因此，现在已经出版的这类书都应该摒弃。它们没有任何教育意义可言，也没有遵循艺术规律，不可能产生出像希腊和罗马两位诗坛王子①的诗歌创作中那样优秀的作品来。”
①此处指荷马和维吉尔。
“不过，我曾试图按照我刚才说的那些观点创作一部骑士小说。”牧师说，“不瞒你说，我已经写了一百多页。为了检验我的这种尝试是否符合我的意图，我曾与一些喜爱这类传奇的学者和一味喜欢听荒唐故事的下等人接触过，他们都对我的做法予以肯定。尽管如此，我并没有继续把小说写下去。一方面我觉得这种事情与我的职业无关；另一方面是因为我发现平庸之辈毕竟多于文人墨客，受到少数雅士学者赞扬比受到多数头脑简单的人嘲笑要好。我不愿意曲意迎合妄自尊大的平民市侩，而这种人大部分都喜欢看这类小说。
“不过，让我辍笔不想继续写下去的最主要原因，就是我曾从现在上演的喜剧中得出一个结论：现在风靡于世的都是这种戏剧，它们无论出于虚构还是根据历史改编的，都是彻头彻尾的胡编乱造。尽管这些戏远非好戏，可老百性却看得津津有味，说这是好戏。创作戏剧的编剧和演戏的演员们都说就得这样，因为老百姓喜欢。另一方面，那些按照艺术要求编排的剧作却只有寥寥几个有学识的人欣赏，其他人对它的艺术技巧全然不知。所以，这些编剧和演员宁愿靠迎合多数人吃饭，而不愿只为少数人服务。我的书也会是这样。如果我想保持它的艺术性，即使我呕心沥血地写出来，也只能落个费力不讨好的结局。
“虽然有几次，我力图劝阻那些演员不要自欺欺人，上演具有艺术性而不是荒谬的戏剧同样可以吸引很多观众，赢得很高的声誉，但他们仍然固执己见，对你讲的道理和列举的例子根本不予理睬。
“记得有一天，我对一个顽固分子说：‘告诉我，你是不是还记得，几年前在西班牙上演了一位著名作家创作的三部悲剧，真是做到了雅俗共赏，而且演员们演这三部戏得到的钱比后来上演三十部上座率很高的戏赚的还多？’
“‘不错’那位艺术家说，‘您大概是指《伊萨贝拉》、《菲丽斯》和《亚历杭德拉》①吧。’
①这三部悲剧的作者均为卢佩西奥·莱昂纳多·德阿亨索拉。
“‘就是它们，’我说，‘这些剧目保持了自己的艺术特性，可并没有因此不受到人们的喜欢。因此，不能怪老百姓非要看那些胡编乱造的东西不可，而要怪演员们只会演那些东西。的确，《恩将仇报》就没有那些乌七八糟的东西，《努曼西亚》也没有，《多情商人》也是如此，《可爱的冤家》就更别提了。还有一些很有水平的作家编的一些剧目，作者出了名，演员得了利。’我觉得他听了有些动摇，却并没有因此被说服，自然不肯抛弃他的错误观念。”
“您一谈到这点，牧师大人，”神甫说，“就勾起了我对现在风行的喜剧早已形成的愤恨，就像我现在对骑士小说的愤恨一样。我觉得喜剧应该像图利奥说的，是人类生活的反映、世俗的典范和真理的再现。可现在上演的这些东西都是荒诞离奇的反映、愚昧的典范和淫荡的再现。戏的第一幕第一场里还是个幼雅无知的女孩，第二场就成了老态龙钟的男人，还有什么比这更离奇吗？剧目向我们表现的是老人勇敢，年轻人怯懦，佣人能言善辩，侍童足智多谋，国王粗俗鄙陋，公主为人浅薄，难道还不荒唐吗？他们是否注意到了剧目情节的时空呢？我曾看过一出喜剧，开始第一场演在欧洲的事，第二场就到了亚洲，第三场结束时已经跑到非洲去了。假如有第四场，那么肯定演到美洲去了，这样世界各地就都演到了。
既然如此，我还有什么好说的呢？
“忠实是喜剧的关键，可是有的人假设一个剧情发生在丕平国王①和卡洛曼国王②的时代，却又让希拉克略皇帝③做主角。他手持十字架进入耶路撒冷，又像布荣的哥德夫利④一样占领了圣陵⑤，而他们却相隔多年。把喜剧建立在杜撰的基础上，却又加上史实，中间再掺入一些不同时期的不同人物，让人看着觉得并不可信，而且还有许多无法解释的明显错误，这种戏剧，即使一个中等水平的观众看了，能够满意吗？最糟糕的就是那些孤陋寡闻的人竟说这种戏剧已经至善至美，如果再对它们提出什么要求，那就是鸡蛋里挑骨头。咱们再来看看神话剧又怎么样呢？这种戏剧里编造了多少奇迹，多少虚假晦涩的东西，把其他人的奇迹安到一个圣人身上！而在世俗剧里也编造奇迹，一味地觉得加进了这种奇迹或者他们称作表现手段的东西，那些愚昧无知的人就会来看戏，为戏叫好。这种做法不尊重事实，不尊重历史，而且也是对西班牙文人学者的污辱，因为其他国家的人仍然恪守喜剧的原则，见我们如此荒谬，会把我们看成野蛮无知的人。有人说，在一些治理有方的国家里允许演出喜剧，以供大众有正当的消遣，避免那些由无聊产生的低级趣味。所有喜剧不管是好戏还是坏戏，都能起到这个作用。所以，没有必要画出框框，规定编剧和演员应该如何去做。因为就像刚才说的，无论怎样，戏都可以起到这种作用。可是，他们这样说，并不能为自己开脱。
①丕平国王是8世纪的意大利国王。而丕平一世、二世则是法国加洛林王朝阿基坦的国王。
②卡洛曼是9世纪的西法兰克国王。
③希拉克略又译赫拉克利乌斯，是7世纪东罗马帝国即拜占庭帝国的皇帝。
④欧洲第一次十字军东侵的首领之一，1099年7月参加攻占耶路撒冷。
⑤指耶稣基督的陵墓，或建在耶稣受难与埋葬原址的教堂。
“我对此的回答是，即使出于这个目的，好戏要比不那么好的戏作用大得多，是坏戏远不能相比的。一部精心雕琢、编排合理的喜剧，观众可以开心于它的诙谐，受教于它的真谛，意外于它的情节，受启迪于它的情理，可以在狡诈中学会警觉，可以在典范中学到睿智，可以对丑恶忿忿不平，也可以为高尚品质赞叹不已。所有这些都是一部好喜剧应该在观众的精神上产生的效果，不管这些观众的文化素质有多么低下。如果一部喜剧具备了上述各种条件，就一定会使观众感到愉快、轻松、高兴和满意，而且会远远超过那些现在上演的普遍缺乏上述条件的喜剧。编写了这种缺乏上述条件的喜剧的作家们并没有过错，因为其中一些作家十分清楚自己的错误所在，他们完全知道自己应该怎样做，可是因为喜剧已经成为一种可出售的商品，他们也是这么说的，而且他们说得也对，若不是这类剧本，演员们就不会出钱买，因此，作家就得按照购买他的剧本的演员的要求去写作。从这儿就可以看出，为什么我们这个王国的一位极其幸运的才子①倜傥儒雅，谈吐风趣，诗句华丽，妙语横生，言近旨远，总之，风格高雅隽永，蜚声世界，可是他为了迎合演员的口味，除了少数几部作品之外，都没能达到应有的完美的水平。
①此处影射西班牙作家洛贝·德·维加。
“还有一些作家写作时欠考虑，编写了有损于某些国王或败坏了某些家族的名誉的戏剧，所以演员们演完戏后就得赶紧逃走，免得受到惩罚。他们常常为此受到惩罚。这些以及其它一些我还未说到的麻烦，只要宫廷里专设一个聪明而又谨慎的人，负责在所有喜剧上演之前审查剧本，就可以避免。这个人不仅要负责在宫廷里演的戏，而且要负责在西班牙上演的所有喜剧。没有他的批准、盖章、签字，各地机构都不允许任何喜剧上演。这样，喜剧家们在把他们的剧本送往宫廷之前就会小心多了，得估计他们的剧本能否被允许上演。而剧作家也会格外小心仔细，考虑到他们编的喜剧会受到某个行家的严格审查。如果能这样，就会出现优秀喜剧，就会顺利实现喜剧的宗旨，也就能使西班牙的群众得到了消遣，学者受到了尊重，演员们可以安心演戏赚钱，不必担心受到惩罚。
“如果由另外一个人，或者就是由这个行家本人负责审查新编写的骑士小说，那么肯定会出现一些您说的那样的优秀小说，可以丰富我们的语言宝库，使那些旧小说与新出版的文明消遣小说相比黯然失色。文明消遣不仅空闲的人需要，而且繁忙的人也需要，因为弓不能总是绷紧的，人类体质的孱弱性决定了没有正常的消遣，人的生命就不能维持。”
牧师和神甫正说着话，理发师赶到他们身边，对神甫说：
“神甫大人，这就是我说的那个适合我们午休，而且牛也可以得到丰盛水草的地方。”
“我也这样认为。”神甫说。
神甫把自己的想法告诉了牧师。牧师被眼前美丽的山谷吸引，也愿意停下来同他们一起休息，而且他觉得同神甫谈得很投机，还想从他那儿再听到一些唐吉诃德的事情。于是，牧师吩咐一个随从到前面不远的客店去给大家弄些吃的，他想就在那个地方午休。佣人说他们那头驮驴已经到了客店，它驮的食物足够大家用的，只需在客店弄些大麦就够了。
“既然这样，你就把所有牲口都赶到客店去，把那头驮驴牵回来。”
桑乔本来就怀疑这两个人是神甫和理发师，此时见他们不在唐吉诃德身边，就赶紧来到关唐吉诃德的笼子旁，对唐吉诃德说：
“关于您被魔法制服的事，我想对您说说我的心里话。我告诉您，这两个蒙面人就是咱们那儿的神甫和理发师。我猜他们设计这样送您走，纯粹是由于您做了一些声名显赫的业绩，超过了他们。假如我这个猜测是真的，就可以断定您并不是中了魔法，而是上当犯傻了。为了证明这点，我想问您一件事，如果您回答得与我估计的一样，这个骗局就昭然若揭了，由此您就会明白，您并不是中了魔法，而是精神错乱了。”
“你随便问，亲爱的桑乔，”唐吉诃德说，“我一定会诚心诚意地满足你的要求。你说，同咱们一起走的那两个人是咱们熟悉的神甫和理发师。很可能他们特别像神甫和理发师，但要说他们就是，那是万万不可相信的。你应该相信和清楚，如果他们真像你说的那样是神甫和理发师，那一定是对我施了魔法的妖怪让他们变得很像神甫和理发师。它们要想变出什么模样来都易如反掌。而妖怪要变出我们朋友的模样，就是为了让你的意识陷入迷魂阵，你就是有英雄忒修斯的本事也不会解脱出来。它们这样做还是为了让我对自己的意识产生怀疑，看不出我的遭遇从何而来。你可以认为与咱们同行的是咱们村上的神甫和理发师；可我被关在笼子里，仍然认为如果不是一种超自然的力量，人类的力量远不足以把我关进笼子里。除了说妖怪在我身上施的魔法已经大大超过了我在所有骑士小说里看到的对游侠骑士施的魔法之外，还能说明什么呢？你完全不必相信他们是你说的什么神甫和理发师，就像我不是土耳其人一样。至于你想问点什么，你就问吧，你就是从现在问到明天早晨，我也会一一回答你。”
“圣母保佑！”桑乔说，“您真的这么死脑筋，没脑子，看不出我对您说的全是真的吗？看不出您被关在这儿不是有什么魔法，而是有人陷害？但愿上帝能够把您从这场苦难中解救出来，让您意想不到地投入杜尔西内亚夫人的怀抱。”
“我刚刚发过誓，”唐吉诃德说，“你随便问，我一定如实回答。”
“我要求您，也希望您能够一五一十地回答，”桑乔说，“就像那些从武的战士说实话一样。您就是从武的，您得以游侠……骑士的名义……”
“我不会撒任何谎，”唐吉诃德说，“你该问了，别这么多‘除非如此’、‘向天发誓’、‘有言在先’什么的，桑乔。”
“我敢肯定我的主人是老实人，说实话。因为这同咱们说的事情有关，所以，我认真地问您，自从您被关进笼子后，或者如您说的被魔法制服在这个笼子里以后，您是不是想过人们常说的大小便？”
“我不懂什么便不便的，桑乔，你想问什么就直接问。”
“您不懂什么叫大小便，这可能吗？学校里骂男孩子就这么说。我是说您想不想做那个不能不做的事情？”
“噢，现在我明白了，桑乔！我想过很多次，现在就想。
快把我弄出去，别把这儿弄脏了！”
收听单词发音 |
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censure
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| v./n.责备；非难；责难 | |
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tempted
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| v.怂恿（某人）干不正当的事；冒…的险（tempt的过去分词） | |
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chivalry
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| n.骑士气概，侠义；（男人）对女人彬彬有礼，献殷勤 | |
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profess
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| v.声称，冒称，以...为业，正式接受入教，表明信仰 | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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Vogue
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| n.时髦，时尚；adj.流行的 | |
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eyebrows
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| 眉毛( eyebrow的名词复数 ) | |
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thoroughly
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| adv.完全地，彻底地，十足地 | |
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wedded
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| adj.正式结婚的；渴望…的，执著于…的v.嫁，娶，（与…）结婚( wed的过去式和过去分词 ) | |
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obstinate
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| adj.顽固的，倔强的，不易屈服的，较难治愈的 | |
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recollect
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| v.回忆，想起，记起，忆起，记得 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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ingratitude
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| n.忘恩负义 | |
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renown
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| n.声誉，名望 | |
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disabuse
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| v.解惑；矫正 | |
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awakened
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| v.（使）醒( awaken的过去式和过去分词 )；（使）觉醒；弄醒；（使）意识到 | |
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folly
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| n.愚笨，愚蠢，蠢事，蠢行，傻话 | |
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lewdness
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| n. 淫荡, 邪恶 | |
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absurdity
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| n.荒谬，愚蠢；谬论 | |
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poltroon
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| n.胆怯者；懦夫 | |
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lackey
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| n.侍从；跟班 | |
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sage
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| n.圣人，哲人；adj.贤明的，明智的 | |
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vice
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| n.坏事；恶习；[pl.]台钳，老虎钳；adj.副的 | |
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plying
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| v.使用（工具）( ply的现在分词 )；经常供应（食物、饮料）；固定往来；经营生意 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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semblance
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| n.外貌，外表 | |
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affected
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| adj.不自然的，假装的 | |
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refinement
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| n.文雅；高尚；精美；精制；精炼 | |
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apocryphal
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| adj.假冒的，虚假的 | |
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secular
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| n.牧师，凡人；adj.世俗的，现世的，不朽的 | |
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transformation
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| n.变化；改造；转变 | |
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corruption
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| n.腐败，堕落，贪污 | |
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nay
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| adv.不；n.反对票，投反对票者 | |
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scrupulously
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| adv.一丝不苟地；小心翼翼地，多顾虑地 | |
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engender
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| v.产生，引起 | |
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attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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bind
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| vt.捆，包扎；装订；约束；使凝固；vi.变硬 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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inflamed
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| adj.发炎的，红肿的v.（使）变红，发怒，过热( inflame的过去式和过去分词 ) | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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stimulate
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| vt.刺激，使兴奋；激励，使…振奋 | |
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boorish
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| adj.粗野的，乡巴佬的 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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salable
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| adj.有销路的，适销的 | |
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45
countless
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| adj.无数的，多得不计其数的 | |
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46
eloquence
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| n.雄辩；口才，修辞 | |
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elevation
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| n.高度；海拔；高地；上升；提高 | |
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48
abscond
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| v.潜逃，逃亡 | |
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49
awe
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| n.敬畏，惊惧；vt.使敬畏，使惊惧 | |
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inflicting
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| 把…强加给，使承受，遭受( inflict的现在分词 ) | |
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51
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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52
lawful
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| adj.法律许可的，守法的，合法的 | |
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53
plentiful
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| adj.富裕的，丰富的 | |
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54
mule
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| n.骡子，杂种，执拗的人 | |
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barley
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| n.大麦，大麦粒 | |
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enchantment
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| n.迷惑，妖术，魅力 | |
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enchanted
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| adj. 被施魔法的，陶醉的，入迷的 动词enchant的过去式和过去分词 | |
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58
wilt
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| v.(使)植物凋谢或枯萎；(指人)疲倦，衰弱 | |
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59
likeness
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| n.相像，相似（之处） | |
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60
labyrinth
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| n.迷宫；难解的事物；迷路 | |
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61
conjecture
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| n./v.推测，猜测 | |
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62
transcends
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| 超出或超越（经验、信念、描写能力等）的范围( transcend的第三人称单数 )； 优于或胜过… | |
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63
touching
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| adj.动人的，使人感伤的 | |
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64
skull
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| n.头骨；颅骨 | |
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65
malice
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| n.恶意，怨恨，蓄意；[律]预谋 | |
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66
imprisonment
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| n.关押，监禁，坐牢 | |
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67
conjuring
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| n.魔术 | |
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68
professes
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| 声称( profess的第三人称单数 )； 宣称； 公开表明； 信奉 | |
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69
reverence
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| n.敬畏，尊敬，尊严；Reverence:对某些基督教神职人员的尊称；v.尊敬，敬畏，崇敬 | |
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70
inclination
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| n.倾斜；点头；弯腰；斜坡；倾度；倾向；爱好 | |
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