Au-tsiu Hiong-thóo Gú-giân ê Sîng-si̍k 歐洲鄉土語言的成熟

Au-tsiu Hiong-thóo Gú-giân ê Sîng-si̍k *

歐洲鄉土語言的成熟 * The Maturation of European Vernacular Languages

中文原著趙弘雅
台語翻譯張東瀛

2025-03-22

電腦合成台語語音(Taiwanese Speech Notepad, version TSNB5700RE)

Au-tsiu Hiong-thóo Gú-giân ê Sîng-si̍k

Au-tsiu ê bûn-gē-ho̍k-hing-ūn-tōng, sui-jiân sī tuī tîng-sin jīm-bat kóo-tsá Hi-lia̍p Lô-má ê bûn-ha̍k gē-su̍t tshut-huat, tsi̍t hong-bīn mā in-uī kok-kok hiong-thóo-gú-giân ê sîng-si̍k lâi sán-sing tsiok-tuā ê íng-hióng.

Guân-lâi kuí sè-kí í-lâi, Au-tsiu-lâng sui-liân kóng hiong-thóo-gú-giân, tān-sī tāi-pōo-hūn ê lâng lóng m̄-bat jī. Kan-tann siū-kuè ko-tíng kàu-io̍k ê lâng ē kóng, hē siá La-ting-bûn. M̄-kú in sóo kóng ê La-ting-uē pīng bô piau-tsún, sóo siá ê La-ting-bûn tiānn-tiānn siá m̄-tio̍h, kù-huat iā bô-tuì, tsin-tsió tho̍k-tsiá ē-tit uân-tsuân liáu-kái bûn-ì.

Hit-tsām, I-tá-lì ū tsap-sì tsióng hiong-thóo-gú-giân, tāng-sī bô tsi̍t tsióng su-siá bûn-jī hōo kui ê I-tá-lì puàn-tó ê lâng lóng tsiap-siū. Tàn-ting bat kóng " Tuì guá ê bó-gú, guá m̄-niā kám-kak tio̍h ài, sī siāng-kài uân-bí ê ài". 1304-nî tī " Iu-ngá ê hiong-thóo-gú-giân (de vulgari eloquentia)" tsit pún tsheh lāi-té thè I-tá-lì-bûn ē-tàng siá-tshut suí koh ū-hūn-liōng ê bûn-ha̍k tsok-phín tsò piān-hōo. I ū-giân " I-tá-lì-bûn tsiong sī sin ê kng, sin ê ji̍t-thâu, phuà-kū ê (ji̍t-thâu) teh-beh tîm-sit. ". I kám-kak it-puann bîn-tsiòng kin-pún bô-khó-lîng bat guā-tsuē La-ting-jī, tān-sī ē-tàng kà In lâi bat tsin tsē In ka-kī ê kháu-gú-bûn-jī. Tāi-iok 1310-nî khí, Tàn-ting sú-iōng Thá-sū-khā-nì (tuscany) ê tē-hng gú-giân siánn si-thé tsiok suí, ì-gī koh tsin-tshim ê "Sîn-khiò (Divina Commedia)". Tshú-āu, sú-iōng I-tá-lì-bûn siá-tsok tsiām-tsiām phóo-phiàn, Thá-sū-khā-nì ê hiong-thóo bûn-jī pìnn-tsò I-tá-lì-lâng ê bûn-jī. Li̍k-sú-siōng bô tsi̍t ê tsok-ka tuì hiān-tāi gú-giân sán-sing tsiah--nih tiōng-tāi ê tshiong-kik. Tsit tsióng sim khió it-tì, hōo it-puann-lâng khuànn ū, sim-lîng ē-tàng kái-hòng ê jîn-sìng-huà bûn-jī it-tàn thuànn-khui, Au-tsiu-bûn-ha̍k ê sin sè-kí tsū-án-ne tō khí-pōo.

Kóo-tián Lô-má-bûn-ha̍k tāi-su, thú-tsîng si-jîn Phiat-tshut--là-khoo (Francesco Petrarch,1304 kàu 1374-nî) iā kám-kak sú-iōng hiong-thóo-gú-giân pí La-ting-jī ke tsin iông-ī tsiōng tì-sik thuân-pòo hōo tāi-tsiòng. I iōng I-tá-lì bûn-jī siá 366-siú tsîng-si. Lo̍h-bué-tshiú hâm kî-thann ê si siu-tsi̍p tī 1349-nî ê Kua-á-tsheh (Canzoniere) lāi-té. Tsiah ê si sio̍k 14-hâng-si (sonnet), mué-tsi̍t-siú ū nn̄g tuānn, 1 tuānn sī 8 tsuā, līng-guā 1 tuānn sī 6 tsuā. Tsú-iàu ê jîn-bu̍t sī I hâm tsîng-lîn Láu-lah. Tsit tsióng 14-hâng-si āu--lâi tī Au-tsiu liû-hîng gōo-pah-guā-tang. Shakespeare iā ū-siánn tsin tsē siú, put-jî-kò mué siú ū 4 tuānn, tsîng-sann-tuānn mué tuānn ū 4 tsuā, āu tsi̍t tuānn ū 2 tsuā. Jîn-bu̍t sī tsi̍t tuì tsîng-lîn ka tsi̍t ê tsîng-ti̍k, kòo-sîng sann-kak kuan-hē.

Bo̍k-kha̍h--tshiù-ooh (Giovanni Boccaccio, 1313 kàu 1375-nî) iōng I-tá-lì-bûn pian siá nn̄g pún tsiok-tuā-pún ê kóo-tián pah-kho-tsuân-su. Tsi̍t pún sī kóo-tē-lí tē-hîng-tsì, tsi̍t pún sī īnn-kàu tsiòng-sîn-tsì. (The Genealogies of the Pagan Gods). Tē-jī-pún tsheh tsiōng tsi̍t-kuá hue-kô-kô ê kóo-tsá ê īnn-kàu tsiòng-sîn hun gah tsin tshing-tshó. Hōo tsin tsē siūnn beh liáu-kái kuè-khì ê ha̍k-tsiá, tsok-ka, gē-su̍t-ka thê-kióng tsin-tsē tiōng-iàu ê tsham-khó tsu-liāu. Ū-lâng phue-phîng I tī teh thê-tshiòng īnn-kàu ê sìn-gióng. I piān kóng tsiah ê sîn m̄ sī tsin-sîn, sī tsi̍t-kuá tsin tshut-tsiòng ê lâng, In ê kong-tsik hōo-lâng sîn-siànn-huà niā-niā. I ū-siá tsin tsē pún siáu-suat. Kî-tiong, iōng sàn-bûn-thé siá ê Li̍h-khe-mē-lòng (Decameron) siōng-kài tshut-miâ. Tsit pún siáu-suat iōng tshit-ê siàu-lú, sann-ê siàu-liân tuì Hu̍t-lóo-lūn-sù soo-khai khì tsng-kha tô-phiah oo-sí-pēnn tsò puē-kíng, lóng-tsóng ū 100-ê kòo-sū, mué tsi̍t ê kòo-sū iōng tsi̍t tiâu kua-khik (canzione) tsò kiat-sok. Sîn-khik (Divina Commedia), Kua-á-tsheh (canzoniere), Li̍h-khe-mē-lòng (Decameron), tsit sann pún tsheh kòo-sîng se-hong-bûn-ha̍k ê uí-tāi tù-tsok.

Lú-lâi lú-tsē ê bûn-lîn, si-jîn sú-iōng In pún-kok ê hiong-thóo-bûn-jī lâi siá-tsok. In huat-hiān sú-iōng hiong-thóo-gú-giân siá-tsok tshut--lâi-ê sī ua̍h-lìng-lìng ê sènn-miā-tsi-kua, tse sī La-ting-bûn-jī bô-huat-tōo thang pí-phīng--ê. Pat-jī ê jîn-kûn khuài-sok tsing-ka, tì-sik thuân-pòo kín khoh hn̄g. Pún-kok ê gú-giân bân-bân-á phiau-tsún-huà, pìnn-tsò huat-lu̍t, tsìng-tī, bûn-ha̍k, koo-thong ê gú-giân. Kok-ka tsú-gī tshut-thâu, ta̍h tī sìn-gióng ê tíng-bīn.

Huat-bûn phīng I-tá-lì-bûn koh kha̍h tsá sîng-si̍k, m̄-kú Huat-kok bô Tān-ting. In ê bûn-ha̍k-sian-hong sī Hu-juán-su-lá (Francois Rabelais, 1483 kàu 1553 nî). I ê Huat-bûn suí gah hōo Huat-kok-lâng thâu-tsi̍t-pái in-uī Huat-bûn kám-kak kiau-ngōo. I siá Huat-kok siā-huē ê kok-tsióng tāi-tsì; lông-hu, ha̍k-tsiá, sing-lí-lâng, i-sing tíng-tíng. Iu-á-tshīn (Joachim du bellay, 1522 kàu 1560-nî) īng Huat-bûn kài-siāu kóo-tián-tì-sik, tsiōng Huat-bûn kah kóo-tián-tì-sik kap-tsò-hué. 1549-nî, I tshut-pán " Huat kok-gú-giân ê Hông-uē kap Si̍t-lē" , hoo-io̍k Huat-kok si-jîn iōng Phiat-tshut--là-khoo (Petrarch) ê si-thé lâi siá thú-tsîng-si, buán-si. I ê si kah Phì-ia-á (Pierre de Ronsard, 1524 kàu 1585-nî) hâm Tsián-An-thōng-nè (Jean-Antoine de Baif, 1532 kàu 1589-nî) ê si tsiânn-tsò Huat-kok-si ê tián-huān ū sann-pah-tang hiah-kú. "Aì kuè-khì, an tī hiān-tsāi, m̄ kiann bī-lâi" ê Bông-thián (Michel de montaigne, 1533 kàu 1592-nî) tsik sī tsiōng Au-tsiu-bûn-ha̍k hiān-tāi-huà ê tō-su. I ê lūn-suat-bûn tshim-li̍p-tshián-tshut, huán-ìng lîn-sū, hong-sio̍k, sìn-gióng, it-sing ê kuan-khah, senn, siàu-liân, sîng-liân, kiat-hun, pēnn, sí. I tuì tho̍k-tsiá tâm-lūn ka-kī.

Se-pan-ga-bûn-ha̍k ē-sái iōng Se̍h-buàn-thē-sù (Miguel de Cervantes, 1547 kàu 1616-nî) siá ê "Tông-ki-ok-thè (Don Quixote)" hâm Beh-kà (Lope de Vega, 1562 kàu 1635-nî) siá ê 1500 ê hì-kio̍k siōng-kài ū miâ.

Ing-bûn kah I-tá-lì-bûn kâng-khuán, tī 14 sè-kí tshoo sîng-hîng. Ing-kok-bûn-ha̍k í tshiáu-sò (Geoffrey Chaucer, 1343 kàu 1400-nî) tī 1386 kàu 1400 nî-kan siá ê "Bô-Khe-Tsi-Tâm" tsò khai-lōo-sian-hong. Liáu-āu ū Shakespeare (1564 kàu 1616-nî) hâm Má-lòo (Christopher Marlowe, 1564 kàu 1593-nî) tíng. Ing-kok-bûn-ha̍k tī In ê tshiú--lin0 tuì bô piàn-tsò po̍k-tsà sìng ê sîng-tióng. Kî-tiong íng-hióng siāng-tuā--ê sī Shakespeare ê hì-kio̍k. It-ti̍t-kàu kin-á-ji̍t, i-guân sī sè-kài-siōng siōng tsē lâng khuànn--ê. In-uī án-ne ū-lâng tsiōng Tàn-ting kàu Shakespeare tsit tuānn sî-kî kiò-tsò "Bûn-Gē-Ho̍k-Hin-Sî-Kî."

The Maturation of European Vernacular Languages ( From Three Essays, Part 1. by Zhao, Hongya)

Although the Renaissance in Europe started from a new understanding of the literature and art of ancient Greece and Rome, it also had a huge impact due to the maturity of local languages in various countries.

It turns out that for centuries, the European population spoke native languages and most people were illiterate. Only the highly educated could speak and write Latin. However, the spoken Latin was not accurate, the written Latin was often misspelled and the syntax was incorrect, and very few readers could fully understand the meaning of the text.

At that time, there were 14 local languages in Italy, but no written language was accepted by the entire Italian peninsula. Dante, who wrote in 1304 in his book De vulgari eloquentia (The Elegant Vernacular) that "I feel not only love for my mother tongue, but the most perfect love," defended Italian's ability to produce beautiful and substantial literary works. He predicted that "this (Italian) will be the new light, the new sun, and the old (sun) will soon set." He felt that it was impossible for the general public to recognize many Latin words, but they could be taught to recognize many of their own spoken words. Starting around 1310, Dante wrote the "Divine Comedy" in the local dialect of Tuscany, which is extremely beautiful in poetry and profound in meaning. After that, writing in Italian gradually became popular, and the local language of Tuscany became the language of the Italians. No single writer in history has had such a profound impact on modern language. Once this kind of humane writing, which is consistent in words and deeds and can be understood by ordinary people and liberate their souls, spreads, a new century of European literature will begin.

The master of classical Roman literature, the lyric poet Francesco Petrarch (1304-1374) also felt that it was easier to spread knowledge to the public using vernacular languages rather than Latin. He wrote 366 love poems in Italian, which were later collected with other poems in the Canzoniere (songbook) of 1349. These poems are 14-line sonnets, each divided into 2 sections, 1 section with 8 lines and 1 section with 6 lines. The main characters are him and his lover Laura. This type of 14-line poem later became popular in Europe for more than 500 years. Shakespeare also wrote many poems, but each poem is divided into 4 sections, the first 3 sections have 4 lines each, and the last section has 2 lines. The characters are a pair of lovers and a rival, forming a triangle relationship.

Giovanni Boccaccio (1313-1375) compiled two huge classical encyclopedias in Italian. One is a record of ancient geography and topography, and the other is a record of pagan gods (The Genealogies of the Pagan Gods). The latter book clarifies the extremely confusing ancient pagan gods and provides extremely important reference materials for many scholars, writers, and artists who want to understand the past. Some people criticized him for promoting pagan beliefs. He defended that these gods were not real gods, but rather extraordinary people whose achievements were sanctified. He has written many novels. Among them, the Decameron written in prose is the most famous. This novel is set against the backdrop of seven girls and three boys who flee from Florence to the countryside to escape the Black Death. It contains 100 stories, each ending with a song (canzione). The Divine Comedy, Canzoniere and Decameron constitute the great works of Western literature.

More and more writers and poets use their native language to write. They found that the vernacular language produced a vivid song of life that was far beyond the reach of Latin. The number of literate people increased rapidly, and knowledge spread far and fast. The national language is gradually standardized and becomes the language of law, politics, literature, and communication. Nationalism is on the rise, trampling over beliefs.

French matured earlier than Italian, but France never produced Dante. Its literary pioneer was Francois Rabelais (1483-1553). The beauty of his French made the French excited about French for the first time. He wrote about all levels of French society, farmers, scholars, businessmen, doctors and so on. Joachim du Bellay (1522-1560) introduced classical knowledge in French, combining French with classical knowledge. In 1549, he published "Defense and Examples of the French Language", calling on French poets to write lyric and elegies in Petrarch style. His poems, together with those of Pierre de Ronsard (1524-1585) and Jean-Antoine de Baif (1532-1589), became the model of French poetry for three centuries. Michel de Montaigne (1533-1592), who "loved the past, was content with the present, and was not afraid of the future", was a mentor who modernized European literature. His argumentative essays are profound yet simple, reflecting people, events, customs, beliefs, and the stages of life: birth, youth, adulthood, marriage, illness, and death. He talks about himself to his readers.

Spanish literature is best known for Don Quixote, written by Miguel de Cervantes (1547-1616) and 1,500 plays written by Lope de Vega (1562-1635).

Like Italian, English was formed in the early 14th century. English literature was pioneered by "The Canterbury Tales" written by Geoffrey Chaucer (1343-1400) between 1386 and 1400. After that came William Shakespeare (1564-1616) and Christopher Marlowe (1564-1593). British literature grew explosively from nothing in their hands. The most influential of these are Shakespeare's plays, which are still the most read or watched works in the world today. Some people therefore call the period from Dante to Shakespeare the Renaissance.

歐洲鄉土語言的成熟 (趙弘雅隨筆三則之一) 隨筆三則趙弘雅 / 台語現代文協會

歐洲的文藝復興運動雖然從重新認識古希臘羅馬的文學藝術出發,一方面卻也因各國鄉土語言的成熟而產生巨大的影響。

原來幾世紀以來,歐洲人口說鄉土語言,大多數人都不識字。只有受過高等教育的人會說會寫拉丁文。然而說的拉丁話並不準,寫的拉丁文經常拼錯,句法也不對,極少讀者能夠完全了解文意。

那時義大利有14種鄉土語言,卻沒有一種書寫文字被整個義大利半島所接受。“對我的母語,我不只感覺到愛,是最完美的愛”的但丁於1304年在“優雅的鄉土語言(De vulgari eloquentia)”書裡為義大利文能寫出又美又有份量的文學作品做辯護。他預言“這(義大利文)將是新的光,新的太陽,破舊的(太陽)即將西沈。”他覺得一般大眾根本不可能認識到多少個拉丁字,但卻能教導來認識很多自己的口語文字。約1310年起,但丁使用他斯卡尼(Tuscany)的地方鄉語寫了詩體極優美,含義極深的“神曲”。此後,使用義大利文寫作慢慢普遍,他斯卡尼的鄉土文字變成了義大利人的文字。歷史上是沒有一個作家對現代語言產生如此重大的衝擊的。這種心口一致,讓一般人看得懂,心靈得以解放的人性化的文字一旦傳開,歐洲文學新世紀於焉起步。

古典羅馬文學大師,抒情詩人Francesco Petrarch(1304-1374)也感到使用鄉土語言比拉丁字更容易把知識傳播給大眾。他用義大利文字寫了366首情詩,後來和其他詩作收集在1349年的Canzoniere(歌冊)書裡。這些詩屬14行詩(sonnet),每首分2段,1段8行,1段6行,主要人物是他和情人Laura。這種14行詩後來在歐洲風行了500多年之久。莎士比亞也寫了很多首,不過每首分4段,前3段每段4行,後1段2行,人物是一對情人加上一情敵,構成三角關係。

Giovanni Boccaccio(1313-1375)用義大利文字編了2本巨大的古典百科全書。一本是古地理地形誌,一本是異教諸神誌(The Genealogies of the Pagan Gods)。後面這本書把極其混亂的古異教眾神做了釐清,給很多想瞭解過去的學者,作家,藝術家們提供了極其重要的參考資料。有人批評他是在提倡異教信仰。他辯護說這些神並非真神,而是一些不平凡的人,功績被神聖化而已。他寫了很多本小說。其中,以散文體寫成的Decameron最著名。這本小說以7個少女,3個少男從佛羅倫斯逃到鄉下躲避黑死病為背景,共100個故事,每個以一歌曲(canzione)做結束。神曲,Canzoniere,Decameron三者構成西方文學的偉大著作。

越來越多的文人,詩人使用他們本國的鄉土文字來寫作。他們發現使用鄉土語言寫作出來的是活生生的生命之歌,遠非拉丁文字所能及。識字人群極速增加,知識傳播得又快又遠。本國語言慢慢標準化,變成法律,政治,文學,溝通語言。國家主義抬頭,踏在信仰之上。

法文比義大利文更早成熟,不過法國沒有產生過但丁,其文學先鋒乃Francois Rabelais(1483-1553)。他的法文之美,讓法國人第一次為法文感到興奮。他寫法國社會各層面,農夫,學者,商人,醫生等等。Joachim du Bellay(1522-1560)用法文介紹古典知識,把法文與古典知識結合了起來。1549年,他出版“法國語言的防衛與實例”,呼籲法國詩人用Petrarch詩體來寫抒情詩,輓詩。他的詩與Pierre de Ronsard(1524-1585)和 Jean-Antoine de Baif(1532-1589)的詩成為法國詩的典範,達3個世紀之久。“喜愛過去,安於現在,不懼未來”的蒙田(Michel de Montaigne, 1533-1592)則是把歐洲文學現代化的導師。其論說文深入而淺出,反應人,事,風俗,信仰,一生的關卡,生,少年,成年,結婚,病,死。他對讀者談論自己。

西班牙文學以Miguel de Cervantes(1547-1616)寫的“唐吉訶德(Don Quixote)”和Lope de Vega(1562-1635)寫的1500個戲劇最為有名。

英文與義大利文一樣,成形於14世紀初。英國文學以喬塞(Geoffrey Chaucer, 1343-1400)於1386-1400年間寫的“無稽之談The Canterbury Tales”為開路先鋒。之後有莎士比亞(William Shakespeare, 1564-1616)和Christopher Marlowe(1564-1593)等。英國文學在他們手中從無而爆炸性成長。其中影響最大的是莎翁的戲劇,直到今天,仍然是世上最多人讀或看的。有人因此把從但丁到莎士比亞這段時期稱之為文藝復興期。

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