If a multitude of reflections used to harass1 Don Quixote before he had been overthrown2, a great many more harassed3 him since his fall. He was under the shade of a tree, as has been said, and there, like flies on honey, thoughts came crowding upon him and stinging him. Some of them turned upon the disenchantment of Dulcinea, others upon the life he was about to lead in his enforced retirement4. Sancho came up and spoke5 in high praise of the generous disposition6 of the lacquey Tosilos.
“Is it possible, Sancho,” said Don Quixote, “that thou dost still think that he yonder is a real lacquey? Apparently7 it has escaped thy memory that thou hast seen Dulcinea turned and transformed into a peasant wench, and the Knight8 of the Mirrors into the bachelor Carrasco; all the work of the enchanters that persecute9 me. But tell me now, didst thou ask this Tosilos, as thou callest him, what has become of Altisidora, did she weep over my absence, or has she already consigned10 to oblivion the love thoughts that used to afflict11 her when I was present?”
“The thoughts that I had,” said Sancho, “were not such as to leave time for asking fool’s questions. Body o’ me, senor! is your worship in a condition now to inquire into other people’s thoughts, above all love thoughts?”
“Look ye, Sancho,” said Don Quixote, “there is a great difference between what is done out of love and what is done out of gratitude12. A knight may very possibly he proof against love; but it is impossible, strictly13 speaking, for him to be ungrateful. Altisidora, to all appearance, loved me truly; she gave me the three kerchiefs thou knowest of; she wept at my departure, she cursed me, she abused me, casting shame to the winds she bewailed herself in public; all signs that she adored me; for the wrath14 of lovers always ends in curses. I had no hopes to give her, nor treasures to offer her, for mine are given to Dulcinea, and the treasures of knights-errant are like those of the fairies,’ illusory and deceptive15; all I can give her is the place in my memory I keep for her, without prejudice, however, to that which I hold devoted16 to Dulcinea, whom thou art wronging by thy remissness17 in whipping thyself and scourging18 that flesh — would that I saw it eaten by wolves — which would rather keep itself for the worms than for the relief of that poor lady.”
“Senor,” replied Sancho, “if the truth is to be told, I cannot persuade myself that the whipping of my backside has anything to do with the disenchantment of the enchanted19; it is like saying, ‘If your head aches rub ointment20 on your knees;’ at any rate I’ll make bold to swear that in all the histories dealing21 with knight-errantry that your worship has read you have never come across anybody disenchanted by whipping; but whether or no I’ll whip myself when I have a fancy for it, and the opportunity serves for scourging myself comfortably.”
“God grant it,” said Don Quixote; “and heaven give thee grace to take it to heart and own the obligation thou art under to help my lady, who is thine also, inasmuch as thou art mine.”
As they pursued their journey talking in this way they came to the very same spot where they had been trampled22 on by the bulls. Don Quixote recognised it, and said he to Sancho, “This is the meadow where we came upon those gay shepherdesses and gallant23 shepherds who were trying to revive and imitate the pastoral Arcadia there, an idea as novel as it was happy, in emulation24 whereof, if so he thou dost approve of it, Sancho, I would have ourselves turn shepherds, at any rate for the time I have to live in retirement. I will buy some ewes and everything else requisite25 for the pastoral calling; and, I under the name of the shepherd Quixotize and thou as the shepherd Panzino, we will roam the woods and groves26 and meadows singing songs here, lamenting27 in elegies28 there, drinking of the crystal waters of the springs or limpid29 brooks30 or flowing rivers. The oaks will yield us their sweet fruit with bountiful hand, the trunks of the hard cork31 trees a seat, the willows32 shade, the roses perfume, the widespread meadows carpets tinted33 with a thousand dyes; the clear pure air will give us breath, the moon and stars lighten the darkness of the night for us, song shall be our delight, lamenting our joy, Apollo will supply us with verses, and love with conceits34 whereby we shall make ourselves famed for ever, not only in this but in ages to come.”
“Egad,” said Sancho, “but that sort of life squares, nay35 corners, with my notions; and what is more the bachelor Samson Carrasco and Master Nicholas the barber won’t have well seen it before they’ll want to follow it and turn shepherds along with us; and God grant it may not come into the curate’s head to join the sheepfold too, he’s so jovial36 and fond of enjoying himself.”
“Thou art in the right of it, Sancho,” said Don Quixote; “and the bachelor Samson Carrasco, if he enters the pastoral fraternity, as no doubt he will, may call himself the shepherd Samsonino, or perhaps the shepherd Carrascon; Nicholas the barber may call himself Niculoso, as old Boscan formerly37 was called Nemoroso; as for the curate I don’t know what name we can fit to him unless it be something derived38 from his title, and we call him the shepherd Curiambro. For the shepherdesses whose lovers we shall be, we can pick names as we would pears; and as my lady’s name does just as well for a shepherdess’s as for a princess’s , I need not trouble myself to look for one that will suit her better; to thine, Sancho, thou canst give what name thou wilt39.”
“I don’t mean to give her any but Teresona,” said Sancho, “which will go well with her stoutness40 and with her own right name, as she is called Teresa; and then when I sing her praises in my verses I’ll show how chaste41 my passion is, for I’m not going to look ‘for better bread than ever came from wheat’ in other men’s houses. It won’t do for the curate to have a shepherdess, for the sake of good example; and if the bachelor chooses to have one, that is his look-out.”
“God bless me, Sancho my friend!” said Don Quixote, “what a life we shall lead! What hautboys and Zamora bagpipes43 we shall hear, what tabors, timbrels, and rebecks! And then if among all these different sorts of music that of the albogues is heard, almost all the pastoral instruments will be there.”
“What are albogues?” asked Sancho, “for I never in my life heard tell of them or saw them.”
“Albogues,” said Don Quixote, “are brass44 plates like candlesticks that struck against one another on the hollow side make a noise which, if not very pleasing or harmonious45, is not disagreeable and accords very well with the rude notes of the bagpipe42 and tabor. The word albogue is Morisco, as are all those in our Spanish tongue that begin with al; for example, almohaza, almorzar, alhombra, alguacil, alhucema, almacen, alcancia, and others of the same sort, of which there are not many more; our language has only three that are Morisco and end in i, which are borcegui, zaquizami, and maravedi. Alheli and alfaqui are seen to be Arabic, as well by the al at the beginning as by the they end with. I mention this incidentally, the chance allusion46 to albogues having reminded me of it; and it will be of great assistance to us in the perfect practice of this calling that I am something of a poet, as thou knowest, and that besides the bachelor Samson Carrasco is an accomplished47 one. Of the curate I say nothing; but I will wager48 he has some spice of the poet in him, and no doubt Master Nicholas too, for all barbers, or most of them, are guitar players and stringers of verses. I will bewail my separation; thou shalt glorify49 thyself as a constant lover; the shepherd Carrascon will figure as a rejected one, and the curate Curiambro as whatever may please him best; and so all will go as gaily50 as heart could wish.”
To this Sancho made answer, “I am so unlucky, senor, that I’m afraid the day will never come when I’ll see myself at such a calling. O what neat spoons I’ll make when I’m a shepherd! What messes, creams, garlands, pastoral odds51 and ends! And if they don’t get me a name for wisdom, they’ll not fail to get me one for ingenuity52. My daughter Sanchica will bring us our dinner to the pasture. But stay — she’s good-looking, and shepherds there are with more mischief53 than simplicity54 in them; I would not have her ‘come for wool and go back shorn;’ love-making and lawless desires are just as common in the fields as in the cities, and in shepherds’ shanties55 as in royal palaces; ‘do away with the cause, you do away with the sin;’ ‘if eyes don’t see hearts don’t break’ and ‘better a clear escape than good men’s prayers.’”
“A truce56 to thy proverbs, Sancho,” exclaimed Don Quixote; “any one of those thou hast uttered would suffice to explain thy meaning; many a time have I recommended thee not to be so lavish57 with proverbs and to exercise some moderation in delivering them; but it seems to me it is only ‘preaching in the desert;’ ‘my mother beats me and I go on with my tricks.”
“It seems to me,” said Sancho, “that your worship is like the common saying, ‘Said the frying-pan to the kettle, Get away, blackbreech.’ You chide58 me for uttering proverbs, and you string them in couples yourself.”
“Observe, Sancho,” replied Don Quixote, “I bring in proverbs to the purpose, and when I quote them they fit like a ring to the finger; thou bringest them in by the head and shoulders, in such a way that thou dost drag them in, rather than introduce them; if I am not mistaken, I have told thee already that proverbs are short maxims59 drawn61 from the experience and observation of our wise men of old; but the proverb that is not to the purpose is a piece of nonsense and not a maxim60. But enough of this; as nightfall is drawing on let us retire some little distance from the high road to pass the night; what is in store for us to-morrow God knoweth.”
They turned aside, and supped late and poorly, very much against Sancho’s will, who turned over in his mind the hardships attendant upon knight-errantry in woods and forests, even though at times plenty presented itself in castles and houses, as at Don Diego de Miranda’s , at the wedding of Camacho the Rich, and at Don Antonio Moreno’s; he reflected, however, that it could not be always day, nor always night; and so that night he passed in sleeping, and his master in waking.
人，过田园生活，以及其他有趣的真事
如果说唐吉诃德在被打倒之前就总是忧心忡忡，这次吃了败仗更显得烦躁不安了。前面说到他正在树荫下等待桑乔，脑子里乱哄哄的。他一会儿想到为杜尔西内亚解除魔法的事，一会儿又想到他迫不得已隐退后的生活。桑乔过来了，向他夸奖托西洛斯的慷慨大方。
“桑乔啊，”唐吉诃德说，“你仍然以为他真是那个仆人吗？你曾亲眼看到杜尔西内亚变成了农妇，镜子骑士变成了卡拉斯科学士，这些都是同我作对的魔法师们干的。看来你把这些都忘了。不过你告诉我，你向托西洛斯打听过那个阿尔蒂西多拉后来怎么样吗？她当着我的面哭哭啼啼，是不是在我走后就把同我的缠绵之情全都抛到脑后去了？”
“我没打听这些，也没时间问这种傻事。真见鬼，您这会儿怎么还打听别人的心思，特别是情思呢？”
“你看，桑乔，”唐吉诃德说，“爱慕之情与感激之情有很大区别，一个骑士可以对别人的爱慕之情不动声色，但是万万不可不感谢她的一片厚意。阿尔蒂西多拉看起来非常爱我，送给我三条头巾，这事你知道。我走的时候，她哭哭啼啼，不顾廉耻地诅咒我，埋怨我，这些都证明她对我一片痴心。情人的愤怒最后往往变成咒骂。我不能让她指望得到我的财富，因为我的财富像水中的月亮，是虚幻的东西。我能给她的只是我对她的怀念，不过这并不影响我对杜尔西内亚的怀念。说到杜尔西内亚，你总是迟迟不肯抽打自己，抽打你的皮肉，这可把她坑苦了。我真想看到你的皮肉被狼吃了！你宁可留着你的皮肉让蛆虫咬，却不肯用它去救那位可怜的夫人。”
“大人，”桑乔说，“说实话，我不相信抽打我的屁股跟解除魔法有什么关系，这就好比你头痛却让你去医脚似的。至少我敢发誓，您看过的那些有关游侠骑士的书里没有靠鞭笞解除魔法的事。不过，不管怎样，待我有了时间，而且愿意抽打自己的时候，我还是要打的。”
“但愿如此。”唐吉诃德说，“愿老天能让你明白，你有责任帮助我的女主人，她也是你的女主人，因为我是你的主人。”
他们边说边赶路，又到了他们那天被公牛群撞倒的地方。
唐吉诃德认出了这个地方，对桑乔说道：
“咱们就是在这片草地上遇到了英姿飒爽的牧羊女和精神抖擞的牧羊人，他们想在这里重现当年的牧羊人乐园。这倒是个挺新奇的想法。桑乔，如果你觉得合适，咱们也可以学学他们，做做牧羊人，至少在我隐退的这段时间里可以这样。我去买些羊和其他牧人需要的东西。我可以取名为牧人吉诃蒂斯，你就叫牧人潘西诺。咱们可以漫步在山间、森林和草地上，这儿唱唱歌，那儿吟吟诗，饮着晶莹的泉水，清澈的溪水，或者汹涌的河水；圣栎树以它极其丰富的枝叶供给我们香甜的果实，粗壮的栓皮槠树干是我们的坐凳，柳树为我们遮荫，玫瑰给我们送来芳香，广阔的草原就像是一块五彩斑斓的地毯；夜晚，空气清新，星月皎洁，咱们纵情歌唱，忧愁化为欢乐，阿波罗给我们带来诗兴，爱情为我们创造灵感，这样咱们就可以在现在和未来的世纪里闻名遐迩，功垂史册了。”
“天哪，”桑乔说，“我仿佛已经置身于这种生活之中了。参孙·卡拉斯科学士和理发师尼古拉斯师傅要是看见这种生活，也会来同咱们一起牧羊人；冲这快活劲儿，就连神甫也会身不由己地钻进羊圈里来呢。”
“你说得很对，”唐吉诃德说，“如果参孙·卡拉斯科加入我们这个牧人乐园，他肯定会来，可以叫他参索尼诺或者牧人卡拉斯孔；理发师尼古拉斯可以叫尼库洛索，就像博斯坎叫内莫罗索①一样；至于神甫，我就不知道该起什么名字了，除非起个派生的名字，叫库里昂布罗。至于那些可以做咱们情人的牧羊姑娘的名字，咱们不妨再仔细斟酌。不过，我的意中人叫牧羊姑娘或牧羊公主就行了，不必再费心另外寻找，没有比这更合适的名字了。桑乔，你的意中人叫什么名字，你可以随便起。”
①博斯坎·阿尔莫加维尔是16世纪初的西班牙诗人，曾引进意大利诗歌的格律和形式，并且影响了西班牙的伟大诗人加尔西拉索·德拉·维加。现代研究资料认为，内莫罗索是指加尔西拉索本人。
“她块头大，”桑乔说，“原名又叫特雷莎，我只能给她起个名字叫特雷索娜。此外，我还要在诗里赞颂她，以表现我的忠贞，并没有到外面去找野食。神甫应该以身作则，不应该有牧羊女做情人。如果学士想要情人，那就随他的便吧。”
“上帝保佑，”唐吉诃德说，“那是一种什么样的生活啊！木笛声飘送到我们耳边，还有萨莫拉风笛、长鼓、铃鼓和三弦琴！在这些乐器的音乐声中还能听到钹的声音，这样牧人的乐器就基本上全有了。”
“什么是钹呀？”桑乔问，“我这辈子还没听说过这个名字，也没见过这种东西呢。”
“钹就是两块烛台形的铜片，”唐吉诃德说，“中间隆起的部分撞击在一起时发出一种声音，即使算不上和谐悦耳，也不难听，而是像风笛和长鼓一样质朴。这个词源于摩尔语，就像西班牙语中所有那些以al开头的词一样，如almohaza、alBmorzar、alfombra、alguacil、alhucema、almacén、alcancía等等，不用再一一罗列了。以i结尾的源于摩尔语的词只有三个，那就是borceguí、zaquizamí和maravdí。albelí和alfaauí以al开头，以í结尾，显然都是源于阿拉伯语。你刚才问到钹，我想起了这些，顺便说说。我还有点儿诗才，这你知道，参孙·卡拉斯科更有了不起的诗才，这有助于使咱们的这种生活更加美满。至于神甫，我就不说什么了。不过我敢打赌，他也准有几分诗人的才气。尼古拉斯师傅肯定也是这样，我对此毫不怀疑，因为所有或大多数理发师都能弹弹吉他，念念诗。到时候我倾诉我的离情别绪，你自夸是忠实的情人，牧人卡拉斯孔为遭到鄙夷而忿忿不平，神甫库里昂布罗随便当什么角色都行，那种日子该多美呀！”
桑乔说道：
“大人，我总是很不幸，恐怕永远也不会有那么一天了。等我成了牧人，我得做光滑的木匙，还得做油煎面包，甜奶酪、花冠和许许多多牧人要做的事情呀！虽然别人并没有说我心灵，但我手巧是出了名的。我女儿桑奇卡可以给咱们送饭来。不过，也得小心，她相貌不错，有的牧人并不那么单纯，总是不怀好意。本来是好事，可别闹出个坏结局来。无论是乡村还是城里，无论是牧人的茅屋还是王宫的大殿，都有爱情，都有叵测的居心。‘祸根不存，罪恶不生’，‘眼不见，心不动’，‘与其操心，不如脱身’。”
“别说那么多俗语了，桑乔，”唐吉诃德说，“你说了那么多，其实一句话就足以表达你的意思。我讲你多少次了，别说那么多俗语，这等于对牛弹琴，可你总是‘你说你的，我干我的’。”
“而我觉得您总是‘煎锅嫌炒锅黑’。”桑乔说，“您总怪我说俗语，其实您说起俗语来也是一串一串的。”
“可是桑乔，”唐吉诃德说，“我说俗语总是用得恰到好处，而你却是不管三七二十一，抓来就说。如果我没记错的话，我曾对你说过，俗语是历代聪明人从他们的经验里提炼出来的警句，如果用得不当，就成了胡言乱语。咱们先别说这个了，天已经晚了，咱们得找个地方过夜。谁知道明天的情况会怎么样呢。”
他们离开大路去找住处。晚饭吃得很晚，也吃得不好，桑乔很不满意。桑乔想到游侠骑士只能在荒郊野岭凑合着吃，虽然有时也能在城堡或大户人家里饱餐一顿，就像在迭戈·德米兰达的家、富人卡马乔的婚礼和安东尼奥·莫雷诺家那样。不过，世界上不能总是白天，也不能总是黑夜，他想着想着就睡着了。唐吉诃德却彻夜未眠。
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harass
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| vt.使烦恼，折磨，骚扰 | |
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overthrown
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| adj. 打翻的，推倒的，倾覆的 动词overthrow的过去分词 | |
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harassed
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| adj. 疲倦的，厌烦的 动词harass的过去式和过去分词 | |
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retirement
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spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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disposition
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| n.性情，性格；意向，倾向；排列，部署 | |
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apparently
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knight
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persecute
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| vt.迫害，虐待；纠缠，骚扰 | |
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consigned
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afflict
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gratitude
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strictly
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wrath
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deceptive
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| adj.骗人的，造成假象的，靠不住的 | |
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devoted
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remissness
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| n.玩忽职守；马虎；怠慢；不小心 | |
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scourging
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| 鞭打( scourge的现在分词 )； 惩罚，压迫 | |
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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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ointment
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dealing
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| n.经商方法，待人态度 | |
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trampled
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| 踩( trample的过去式和过去分词 )； 践踏； 无视； 侵犯 | |
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gallant
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| adj.英勇的，豪侠的；(向女人)献殷勤的 | |
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emulation
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| n.竞争；仿效 | |
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requisite
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| adj.需要的，必不可少的；n.必需品 | |
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groves
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| 树丛，小树林( grove的名词复数 ) | |
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lamenting
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| adj.悲伤的，悲哀的v.（为…）哀悼，痛哭，悲伤( lament的现在分词 ) | |
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elegies
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| n.哀歌，挽歌( elegy的名词复数 ) | |
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limpid
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| adj.清澈的，透明的 | |
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brooks
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| n.小溪( brook的名词复数 ) | |
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cork
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| n.软木，软木塞 | |
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willows
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| n.柳树( willow的名词复数 )；柳木 | |
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tinted
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| adj. 带色彩的 动词tint的过去式和过去分词 | |
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conceits
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| 高傲( conceit的名词复数 )； 自以为； 巧妙的词语； 别出心裁的比喻 | |
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nay
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| adv.不；n.反对票，投反对票者 | |
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jovial
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| adj.快乐的，好交际的 | |
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formerly
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| adv.从前，以前 | |
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derived
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| vi.起源；由来；衍生；导出v.得到( derive的过去式和过去分词 )；（从…中）得到获得；源于；（从…中）提取 | |
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wilt
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| v.(使)植物凋谢或枯萎；(指人)疲倦，衰弱 | |
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stoutness
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| 坚固，刚毅 | |
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chaste
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| adj.贞洁的；有道德的；善良的；简朴的 | |
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bagpipe
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| n.风笛 | |
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bagpipes
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| n.风笛；风笛( bagpipe的名词复数 ) | |
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brass
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| n.黄铜；黄铜器，铜管乐器 | |
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harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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allusion
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| n.暗示，间接提示 | |
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accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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wager
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| n.赌注；vt.押注，打赌 | |
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glorify
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| vt.颂扬，赞美，使增光，美化 | |
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gaily
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| adv.欢乐地，高兴地 | |
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odds
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| n.让步，机率，可能性，比率；胜败优劣之别 | |
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ingenuity
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| n.别出心裁；善于发明创造 | |
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mischief
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| n.损害，伤害，危害；恶作剧，捣蛋，胡闹 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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shanties
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| n.简陋的小木屋( shanty的名词复数 )；铁皮棚屋；船工号子；船歌 | |
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truce
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| n.休战，(争执，烦恼等的)缓和；v.以停战结束 | |
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lavish
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| adj.无节制的；浪费的；vt.慷慨地给予，挥霍 | |
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chide
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| v.叱责；谴责 | |
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maxims
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| n.格言，座右铭( maxim的名词复数 ) | |
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maxim
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| n.格言，箴言 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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