9. Hit-ê cha-bó͘ te̍k-pia̍t chheng-khì-siùⁿ
Shimamura jīn-ûi, che ōe bô khó-khò, tō bô kā khǹg tī sim-lāi. Tāi-khài kòe chi̍t-tiám-cheng, lú-tiong kā cha-bó͘ chhōa lâi, Shimamura gāng chi̍t-ē, kín chē hō͘ hó-sè. Cha-bó͘ kā khiā khí-lâi tō boeh kiâⁿ-khui ê lú-tiong giú tiâu, chhiáⁿ yi koh chē lo̍h-lâi.
Hit-ê ha-bó͘ hō͘ lâng ê ìn-siōng sī te̍k-pia̍t chheng-khì-siùⁿ, sīm-chì kha chéng-thâu-á té ê oan-khiau mā chheng-khì liu-liu. Shimamura soah hoâi-gî, che sī-m̄-sī in-ūi i ê ba̍k-chiu tú khòaⁿ kòe chho͘-hā soaⁿ-niá ê iân-kò͘.
Yi ê chhēng-chhah sui-bóng ū tām-po̍h gē-tòaⁿ ê khoán-sè, m̄-koh saⁿ-á-ki bô thoa kàu tē-pán. Yi chhēng chi̍t-niá chin ha̍h-su, jiû-núi ê po̍h-saⁿ. M̄-koh he io-tòa bô sù-phòe, ká-ná sī koân-kè ê mi̍h-kiāⁿ, án-ne tian-tò hō͘ lâng sió-khóa m̄-kam.
In khai-sí tih kóng soaⁿ ê ōe-tê ê sî, lú-tiong tō khiā khí-lâi, kiâⁿ chhut-khì. M̄-koh, liân ùi chng-lih khòaⁿ ē-tio̍h ê kúi-lia̍p soaⁿ ê miâ, yi mā m̄-chai, Shimamura kám-kak bô hèng lim-chiú ê khì-hun, yi tō thán-pe̍h kóng yi ê sin-sè.
Yi pún-chiâⁿ chhut-sì tī chit-ê Seh-kok, tī Tokyo chiú-tiàm chò chiú-lú ê sî, ū-lâng kā sio̍k-sin chhut-lâi, goân-pún phah-sùiⁿ chiang-lâi boeh chò chi̍t-ê Ji̍t-pún bú-tō sai-hū, khò he seng-oa̍h, m̄-koh kòe chi̍t-tang-pòaⁿ, hit-ê cha-po͘ tō sí khì ah. Hoān-sè hit-lâng sí-liáu kàu taⁿ, chiah sī yi chin-chiàⁿ ê sin-sè, m̄-koh chiah-ê yi iū bô kóng kah chin thán-pe̍h.
Yi kóng yi cha̍p-káu hòe. Nā bô pe̍h-chha̍t, chit-ê cha̍p-káu hòe ê cha-bó͘ khòaⁿ khí-lâi ná-chhiūⁿ ū jī-cha̍p it/jī ah. Shimamura chiah sió-khóa kám-kak khah an-sim, tō khai-sí hām yi kóng-khí kabuki (歌舞伎) ê tāi-chì. Yi pí i koh-khah liáu-kái pâi-iu ê gē-hong hām siau-sit. Hoān-sè yi giàn boeh ū chit-chióng kóng-ōe-phōaⁿ, piàⁿ-sèⁿ-miā kóng ah kóng, soah thán-pe̍k hián-chhut ian-hoa cha-bó͘ ê pún-sèng, ká-ná chin lia̍h ē-tio̍h cha-po͘-lâng ê sim-lí.
Put-jî-kò, Shimamura khí-thâu tō seng kā tùi-hong khòaⁿ chò sò͘-jîn, iū-koh chiang-kīn chi̍t-lé-pài bô hām pa̍t-lâng hó-hó kóng-ōe, sim-lāi un-chêng móa-móa, tō tùi yi liû-lō͘-chhut iú-chêng. I tùi soaⁿ ê kám-siang mā ta̍t-kàu cha-bó͘ ê hûn-su.
--
9. 彼个查某特別清氣相
Shimamura 認為, 這話無可靠, tō 無 kā 囥 tī 心內. 大概過一點鐘, 女中 kā 查某 chhōa 來, Shimamura 愣一下, 緊坐予好勢. 查某 kā 徛起來 tō 欲行開 ê 女中搝牢, 請她 koh 坐落來.
查某予人 ê 印象是特別清氣相, 甚至跤指頭仔底 ê 彎曲 mā 清氣溜溜. Shimamura 煞懷疑, 這是毋是因為伊 ê 目睭拄看過初夏山嶺 ê 緣故.
她 ê 穿插雖罔有淡薄藝旦 ê 款勢, 毋過衫仔裾無拖到地板. 她穿一領真合軀, 柔 núi ê 薄衫. 毋過 he 腰帶無四配, ká-ná 是懸價 ê 物件, án-ne 顛倒予人小可毋甘.
In 開始 tih 講山 ê 話題 ê 時, 女中 tō 徛起來, 行出去. 毋過, 連 ùi 庄 lih 看會著 ê 幾粒山 ê 名, 她 mā 毋知, Shimamura 感覺無興啉酒 ê 氣氛, 她 tō 坦白講她 ê 身世.
她本成出世 tī 這个雪國, tī Tokyo 酒店做酒女 ê 時, 有人 kā 贖身出來, 原本拍 sùiⁿ chiang 來欲做一个日本舞蹈師傅, 靠 he 生活, 毋過過一冬半, 彼个查埔 tō 死去 ah. 凡勢彼人死了到今, 才是她真正 ê 身世, 毋過 chiah-ê 她又無講 kah 真坦白.
她講她十九歲. 若無白賊, 這个十九歲 ê 查某看起來 ná 像有二十一二 ah. Shimamura 才小可感覺較安心, tō 開始和她講起 kabuki (歌舞伎) ê 代誌. 她比伊閣較了解俳優 ê 藝風和消息. 凡勢她癮欲有這種講話伴, 拚性命講 ah 講, 煞坦白顯出煙花查某 ê 本性, ká-ná 真掠會著查埔人 ê 心理.
不而過, Shimamura 起頭 tō 先 kā 對方看做素人, 又閣 chiang 近一禮拜無和別人好好講話, 心內溫情滿滿, tō 對她流露出友情. 伊對山 ê 感 siang mā 達到查某 ê 魂軀.
--
9.
An odd story, Shimamura said to himself, and dismissed the matter. An hour or so later, however, the woman from the music teacher's came in with the maid. Shimamura brought himself up straight. The maid started to leave but was called back by the woman.
The impression the woman gave was a wonderfully clean and fresh one. It seemed to Shimamura that she must be clean to the hollows under her toes. So clean indeed did she seem that he wondered whether his eyes, back from looking at early summer in the mountains, might not be deceiving him.
There was something about her manner of dress that suggested the geisha, but she did not have the trailing geisha skirts. On the contrary, she wore her soft, unlined summer kimono with an emphasis on careful propriety. The obi* seemed expensive, out of keeping with the kimono, and struck him as a little sad. [* obi: The sash with which a kimono is tied. A woman's obi is wide and stiff, a man's narrower and usually softer.]
The maid slipped out as they started talking about the mountains. The woman was not very sure of the names of the mountains that could be seen from the inn, and, since Shimamura did not feel the urge to drink that might have come to him in the company of an ordinary geisha, she began telling of her past in a surprisingly matter-of-fact way.
She was born in this snow country, but she had been put under contract as a geisha in Tokyo. Presently she found a patron who paid her debts for her and proposed to set her up as a dancing teacher, but unfortunately a year and a half later he died. When it came to the story of what had happened since, the story of what was nearest to her, she was less quick to tell her secrets.
She said she was nineteen. Shimamura had taken her to be twenty-one or twenty-two, and, since he assumed that she was not lying, the knowledge that she had aged beyond her years gave him for the first time a little of the ease he expected to feel with a geisha. When they began talking of the Kabuki, he found that she knew more about actors and styles than he did. She talked on feverishly, as though she had been starved for someone who would listen to her, and presently began to show an ease and abandon that revealed her to be at heart a woman of the pleasure quarters after all. And she seemed in general to know what there was to know about men.
Shimamura, however, had labeled her an amateur and, after a week in the mountains during which he had spoken to almost no one, he found himself longing for a companion. It was therefore friendship more than anything else that he felt for the woman. His response to the mountains had extended itself to cover her.
--
No comments:
Post a Comment