8. Peh soaⁿ liáu hit-àm, i boeh hiàm gē-tòaⁿ
Kàu phōe-lô͘ (火燵, kotatsu: tī hóe-lô͘ téng khàm mî-phōe, iōng-lâi hang-sio ê lô͘-á) thâu-chêng, yi chiah kā i ê chhiú pàng khui, kui-ê bīn chi̍t-khùn âng kàu ām-kún. Ūi-tio̍h am-khàm che, yi koh hiông-hiông lia̍h tio̍h i ê chhiú, kóng:
"Lí kóng, che ē-kì-lih góa?"
"M̄-sī chiàⁿ-chhiú, sī che lah!" i ùi cha-bó͘ ê chhiú-té khiú chhut i ê chiàⁿ-chhiú, khǹg ji̍p phōe-lô͘, koh kā tò-chhiú kûn-thâu-bó gia̍h chhut-lâi.
"Hmh, góa chai ah lah."
Yi kek chi̍t-ê bô-sū ê bīn, ná ha̍p-chhùi chhiò, koh ná peh-khui Shimamura ê kûn-thâu-bó, kā gia̍h lâi ù ka-tī ê bīn: "Sī che ē-kì-lih góa lah, hoⁿh?"
"Oh, chìn léng! Góa thâu-pái bong tio̍h chiah léng ê thâu-mo͘."
"Tokyo kám iáu-bōe lo̍h-seh?"
"Ē-kì lih hit-tong-sî lí kóng ê ōe bô, góa chóng-sī bô kā tòng-chò chin-ê. Nā-bô, sáng ē tī nî-bóe lâi chiah-nī kôaⁿ ê só͘-chāi?"
*
Hit-tong-sî -- Pang-seh ê hûi-hiám kî í-keng kòe, tú chìn-ji̍p chheⁿ-chhùi ê peh-soaⁿ kùi-cheh.
Bián gōa-kú, akebi (bo̍k-thong, 木通) gê ê iá-chhài tō bô tè chia̍h ah.
Chia̍h-pá êng-êng ê Shimamura, kám-kak tùi tāi-chū-jiân hām tùi ka-tī lóng sit-khì sûn-chin, boeh kā he chhōe tún lâi, thōng-hó ê hong-hoat tō sī khì peh-soaⁿ. Chū án-ne, i tiāⁿ-tiāⁿ ka-tī chi̍t-ê khì peh-soaⁿ.
I tī pian-kài ê koân soaⁿ peh chhit-kang, hit-àm lo̍h-lâi tòa tī un-chôaⁿ e̍k-tiûⁿ, sûi-tō kiò lâng boeh hiàm gē-tòaⁿ. M̄-koh lú-tiong hôe-ōe kóng, hit-kang tú-hó khèng-chiok sin thih-lō͘ ê lo̍h-sêng, chng lih ê niû-á-pâng kiam hì-pêⁿ mā iōng-lâi chò iàn-hōe tiûⁿ-só͘, lāu-jia̍t kún-kún, cha̍p-jī/saⁿ-ê gē-tòaⁿ lâng-chhiú í-keng bô-kàu, ná ū khó-lêng hiàm ē lâi? M̄-koh, sai-hū yin tau ê ko͘-niû tō-kóng ū khì iàn-hōe tàu-kha-chhiú, thōng-chē sī thiàu-bú piáu-ián nn̄g-saⁿ ê chiat-bo̍k tō ē túiⁿ, hoān-sè ē-sái hiàm yi lâi.
Shimamura koh siâng-sè mūi, lú-tiong tō án-ne kā kái-soeh: samisen (三味線, chi̍t-chióng 3-hiân ê ga̍k-khì) hām bú-tō sai-hū yin tau ê hit-ê ko͘-niû sui-bóng m̄-sī gē-tòaⁿ, ū-sî mā ē hông kiò khì tōa-hêng iàn-hōe téng-téng tàu-saⁿ-kāng, in-ūi chia bô siàu-liân gē-tòaⁿ, ū-hòe--ê iū-koh bē-giàn thiàu-bú, ko͘-niû tō piàn-chò ná pó leh. Sui-bóng yi hán-lih ko͘ chi̍t-lâng khì kheh-pâng, mā bē-tàng án-ne tō kóng yi sī choân-jiân ê sò͘-jîn.
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8. Peh 山了彼暗, 伊欲 hiàm 藝旦
到被爐 (火燵, kotatsu: tī 火爐頂崁棉被, 用來烘燒 ê 爐仔) 頭前, 她才 kā 伊 ê 手放開, 規个面一睏紅到頷頸. 為著掩崁這, 她 koh 雄雄掠著伊 ê 手, 講:
"你講, 這會記 lih 我?"
"毋是正手, 是這 lah!" 伊 ùi 查某 ê 手底搝出伊 ê 正手, 囥入被爐, koh kā 倒手拳頭母攑出來.
"Hmh, 我知 ah lah."
她激一个無事 ê 面, ná 合喙笑, koh ná 擘開 Shimamura ê 拳頭母, kā 攑來 ù ka-tī ê 面: "是這會記 lih 我 lah, hoⁿh?"
"Oh, chìn 冷! 我頭擺摸著 chiah 冷 ê 頭毛."
"Tokyo 敢猶未落雪?"
"會記 lih 彼當時你講 ê 話無, 我總是無 kā 當做真 ê. 若無, sáng 會 tī 年尾來 chiah-nī 寒 ê 所在?"
*
彼當時 -- 崩雪 ê 危險期已經過, 拄進入青翠 ê peh 山季節.
免外久, akebi (bo̍k-thong, 木通) 芽 ê 野菜 tō 無 tè 食 ah.
食飽閒閒 ê Shimamura, 感覺對大自然和對 ka-tī 攏失去純真, 欲 kā he 揣 tún 來, thōng 好 ê 方法 tō 是去 peh 山. 自 án-ne, 伊定定 ka-tī 一个去 peh 山.
伊 tī 邊界 ê 懸山 peh 七工, 彼暗落來蹛 tī 溫泉浴場, 隨 tō 叫人欲 hiàm 藝旦. 毋過女中回話講, 彼工拄好慶祝新鐵路 ê 落成, 庄 lih ê 娘仔房兼戲棚 mā 用來做宴會場所, 鬧熱滾滾, 十二三个藝旦人手已經無夠, 那有可能 hiàm 會來? 毋過, 師傅姻兜 ê 姑娘 tō 講有去宴會鬥跤手, thōng 濟是跳舞表演兩三个節目 tō 會 túiⁿ, 凡勢會使 hiàm 她來.
Shimamura koh 詳細 mūi, 女中 tō án-ne kā 解說: samisen (三味線, 一種 3 弦 ê 樂器) 和舞蹈師傅姻兜 ê 彼个姑娘雖罔毋是藝旦, 有時 mā 會 hông 叫去大型宴會等等鬥相共, 因為遮無少年藝旦, 有歲 ê 又閣袂癮跳舞, 姑娘 tō 變做 ná 寶 leh. 雖罔她罕 lih 孤一人去客房, mā 袂當 án-ne tō 講她是全然 ê 素人.
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8.
She let go his hand as they came to the kotatsu* in his room, and suddenly she was red from her forehead to her throat. As if to conceal her confusion, she clutched at his hand again. [* kotatsu: A charcoal brazier covered by a wooden frame and a quilt. Although it warms little more than the hands and feet, the kotatsu is the only heating device in the ordinary Japanese house.]
"This remembered me?"
"Not the right hand. This." He pushed his right hand into the kotatsu to warm it, and again gave her his left fist with the finger extended.
"I know." Her face carefully composed, she laughed softly. She opened his hand, and pressed her cheek against it. "This remembered me?"
"Cold! I don't think I've ever touched such cold hair."
"Is there snow in Tokyo yet?"
"You remember what you said then? But you were wrong. Why else would anyone come to such a place in December?"
"Then"; the danger of avalanches was over, and the season for climbing mountains in the spring green had come.
Presently the new sprouts would be gone from the table.
Shimamura, who lived a life of idleness, found that he tended to lose his honesty with himself, and he frequently went out alone into the mountains to recover something of it.
He had corne down to the hot-spring village after seven days in the Border Range. He asked to have a geisha called. Unfortunately, however, there was a celebration that day in honor of the opening of a new road, the maid said, so lively a celebration that the town's combined cocoon-warehouse and theater had been taken over, and the twelve or thirteen geisha had more than enough to keep them busy. The girl who lived at the music teacher's might corne, though. She sometimes helped at parties, but she would have gone horne after no more than one or two dances.
As Shimamura questioned her, the maid told him more about the girl at the music teacher's: the samisen and dancing teacher had living with her a girl who was not a geisha but who was sometimes asked to help at large parties. Since there were no young apprentice geisha in the town, and since most of the local geisha were at an age when they preferred not to have to dance, the services of the girl were much valued. She almost never carne alone to entertain a guest at the inn, and yet she could not exactly be called an amateur-such in general was the maid's story.
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