5. Bô siūⁿ tio̍h in mā tī kāng chām lo̍h-chhia
Hit-tong-sî, ko͘-niû ê bīn chhut-hiān chi̍t-pha teng-hóe. Kiàⁿ-lāi ê iáⁿ-siōng bô kiâng kah ū-hoat-tō͘ ah-kòe thang-gōa ê teng-hóe. Teng-hóe mā bô-hoat-tō͘ ah-kòe iáⁿ-siōng. Teng-hóe tō án-ne ùi yi ê bīn téng liu kòe, m̄-koh bô kā yi ê bīn chiò kah khah bêng. He sī hūiⁿ-hūiⁿ, léng-léng ê teng-hóe. Hóe chiò kàu ko͘-niû ba̍k-chiu ê ang-á-jîn, tī ba̍k-chiu hām teng-hóe sio-tha̍h ê hit-sî, tō ná-chhiūⁿ súi tang-tang ê hóe-kim-ko͘ poe tī hông-hun ê iá-gōa.
Yoko bô chù-ì tio̍h ū-lâng án-ne tih kā khòaⁿ. Yi kan-ta tih koan-sim pēⁿ-lâng. Tō-kóng yi hiàng Shimamura hit-pêng khòaⁿ khì, mā khòaⁿ bē tio̍h po-lê-thang lāi ê ka-tī, koh-khah bē khì chù-ì tio̍h hit-ê tih khòaⁿ thang-á gōa-kháu ê cha-po͘-lâng.
Shimamura án-ne kú-kú thau-khòaⁿ Yoko, soah bô kám-kak bô thò-tòng. I tāi-khài sī khì hō͘ kiàⁿ lāi hông-hun kéng-tì hui-hiān-si̍t ê le̍k-liāng bê tio̍h ah.
Put-jî-kò, tī ko͘-niû chio-ho͘ chām-tiúⁿ ê sî, iū-koh hiah-nī téng-chin, hoān-sè án-ne ín-khí Shimamura tùi yi sán-seng chi̍t-chióng te̍k-pia̍t ê hèng-chhù.
Hóe-chhia thong-kòe sìn-hō-só͘ ê sî, thang-á gōa í-keng àm-bong-bong. Thang-á po-lê lâu-tāng ê kéng-sek chi̍t-ē bô, kiàⁿ mā bô sáⁿ-mih hó-sńg ah. Yoko ê súi-bīn iáu sī tī po-lê téng, sui-bóng piáu-chêng iáu sī hiah-nī un-jiû, m̄-koh Shimamura hoat-hiān yi tùi pa̍t-lâng te̍k-pia̍t léng-tām. Thang-á-mûi koh bū khì ê sî, i soah lán-lih koh khì kā chhit.
Tāi-khài kòe-liáu pòaⁿ tiám-cheng, bô siūⁿ tio̍h Yoko in mā hām Shimamura kāng chām lo̍h-chhia. Che hō͘ i kám-kak, ká-ná ē hoat-sengsáⁿ-mih khan-liân tio̍h ka-tī ê tāi-chì, tō oa̍t-thâu khòaⁿ-māi. Goe̍h-tâi téng ê léng-hong sûi hō͘ i kám-kak tī chhia-té ê bô-lé chin kiàn-siàu. I bô koh oa̍t-thâu, sûi tō ùi hóe-chhia-bó thâu-chêng hoa̍h kòe thih-lō͘.
Cha-po͘ hōaⁿ Yoko ê keng-thâu tú boeh ùi hit-pêng hoa̍h-lo̍h thih-ki-lō͘ ê sî, chit-pêng ê chām-bū-oân gia̍h-chhiú kā chó͘-tòng.
Bô chi̍t-ba̍k-nih, chi̍t-lia̍t tn̂g-tn̂g ê hòe-chhia ùi o͘-àm tiong chhut-hiān, cha̍h tio̍h in nn̄g-lâng ê hêng-iáⁿ.
Lâi chiap lâng-kheh ê kheh-chàn niá-pan chhēng kah kui-su ê seh-ho̍k, hīⁿ-á pau tio̍h, koh ta̍h chi̍t-siang chhiū-leng tn̂g ê-kóng, bē-su hóe-tiûⁿ ê siau-hông-oân. Ùi hāu-chhia-sit thang-á-mûi bāng hiàng thih-lō͘ ê hit-ê cha-bó͘, chhēng chi̍t-niá khóng-sek hoan-moa, kā thâu-kin khàm kàu thâu-khak-téng.
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5. 無想著 in mā tī 仝站落車
彼當時, 姑娘 ê 面出現一葩燈火. 鏡內 ê 影像無 kiâng kah 有法度壓過窗外 ê 燈火. 燈火 mā 無法度壓過影像. 燈火 tō án-ne ùi 她 ê 面頂溜過, 毋過無 kā 她 ê 面照 kah 較明. 彼是 hūiⁿ-hūiⁿ, 冷冷 ê 燈火. 火照到姑娘目睭 ê 尪仔仁, tī 目睭和燈火相疊 ê 彼時, tō ná 像媠噹噹 ê 火金蛄飛 tī 黃昏 ê 野外.
Yoko 無注意著有人 án-ne tih kā 看. 她干焦 tih 關心病人. Tō 講她向 Shimamura 彼爿看去, mā 看袂著玻璃窗內 ê ka-tī, 閣較袂去注意著彼个 tih 看窗仔外口 ê 查埔人.
Shimamura án-ne 久久偷看 Yoko, 煞無感覺無妥當. 伊大概是去予鏡內黃昏景致非現實 ê 力 liāng 迷著 ah.
不而過, tī 姑娘招呼站長 ê 時, 又閣 hiah-nī 頂真, 凡勢 án-ne 引起 Shimamura 對她產生一種特別 ê 興趣.
火車通過信號所 ê 時, 窗仔外已經暗摸摸. 窗仔玻璃流動 ê 景色一下無, 鏡 mā 無 sáⁿ-mih 好耍 ah. Yoko ê 媠面猶是 tī 玻璃頂, 雖罔表情猶是 hiah-nī 溫柔, 毋過 Shimamura 發現她對別人特別冷淡. 窗仔 mûi koh 霧去 ê 時, 伊煞懶 lih koh 去 kā 拭.
大概過了半點鐘, 無想著 Yoko in mā 和 Shimamura 仝站落車. 這予伊感覺, ká-ná 會發生 sáⁿ-mih 牽連著 ka-tī ê 代誌, tō 越頭看覓. 月台頂 ê 冷風隨予伊感覺 tī 車底 ê 無禮真見笑. 伊無 koh 越頭, 隨 tō ùi 火車母頭前伐過鐵路.
查埔扞 Yoko ê 肩頭拄欲 ùi 彼爿伐落鐵支路 ê 時, 這爿 ê 站務員攑手 kā 阻擋.
無一目 nih, 一列長長 ê 貨車 ùi 烏暗中出現, 閘著 in 兩人 ê 形影.
來接人客 ê 客棧領班穿 kah 規軀 ê 雪服, 耳仔包著, koh 踏一雙樹奶長鞋管, 袂輸火場 ê 消防員. Ùi 候車 sit 窗仔 mûi 望向鐵路 ê 彼个查某, 穿一領紺色番幔, kā 頭巾崁到頭殼頂.
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5.
It was then that a light shone in the face. The reflection in the mirror was not strong enough to blot out the light outside, nor was the light strong enough to dim the reflection. The light moved across the face, though not to light it up. It was a distant, cold light. As it sent its small ray through the pupil of the girl's eye, as the eye and the light were superimposed one on the other, the eye became a weirdly beautiful bit of phosphorescence on the sea of evening mountains.
There was no way for Yoko to know that she was being stared at. Her attention was concentrated on the sick man, and even had she looked toward Shimamura, she would probably not have seen her reflection, and she would have paid no attention to the man looking out the window.
It did not occur to Shimamura that it was improper to stare at the girl so long and stealthily. That too was no doubt because he was taken by the unreal, otherworldly power of his mirror in the evening landscape.
When, therefore, the girl called out to the station master, her manner again suggesting overearnestness, Shimamura perhaps saw her first of all as rather like a character out of an old, romantic tale.
The window was dark by the time they came to the signal stop. The charm of the mirror faded with the fading landscape. Yoko's face was still there, but for all the warmth of her ministrations, Shimamura had found in her a transparent coldness. He did not clear the window as it clouded over again.
He was startled, then, when a half-hour later Yoko and the man got off the train at the same station as he. He looked around as though he were about to be drawn into something, but the cold air on the platform made him suddenly ashamed of his rudeness on the train. He crossed the tracks in front of the locomotive without looking back agaIn.
The man, clinging to Yoko's shoulder, was about to climb down to the tracks from the platform opposite when from this side a station attendant raised a hand to stop them.
A long freight train came out of the darkness to block them from sight.
The porter from the inn was so well-equipped for the cold that he suggested a fireman. He had on ear flaps and high rubber boots. The woman looking out over the tracks from the waiting-room wore a blue cape with the cowl pulled over her head.
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