14. Lú-tiong kiò chi̍t-ê chng-kha gē-tòaⁿ
Shimamura tùi ka-tī mūi chit-lō sam-pat būn-tê kám-kak hó-chhiò. Iū-koh siūⁿ: chit-ê soaⁿ-chng hoān-sè chin-chiàⁿ ū chit-chióng tāi-chì mā bô tiāⁿ-tio̍h.
Êng-êng bô-sū ê i, phō chi̍t-ê tui-kiû tōa-chū-jiân hām pó-hō͘-sek ê sim, tùi lí-tô͘ tiong múi chi̍t-ê só͘-chāi ê hong-thó͘ bîn-chêng, i lóng ū chit-chióng pún-lêng ê bín-kám. Ùi soaⁿ-téng lo̍h-lâi ê sî, hūiⁿ-hūiⁿ khòaⁿ chit-ê chng-kha phok-si̍t ê kéng-tì, i sûi kám-siū tio̍h chi̍t-chióng chheng-êng, an-cheng ê khì-hun. Tī kheh-chàn thàm-thiaⁿ chi̍t-ē, kó-jiân, chia sī Seh-kok seng-oa̍h siāng sù-sī kî-tiong ê chi̍t-ê chng-thâu.
Thiaⁿ-kóng tī kúi-tang chêng thih-lō͘ iáu-bōe khai-thong ê sî, chia sī chò-sit-lâng ê liâu-iáng e̍k-tiûⁿ. Ū gē-tòaⁿ ê tiàm lóng kòa liāu-lí tiàm a̍h âng-tāu-thng tiàm téng-téng í-keng thè-sek ê mûi-lî-á. Khòaⁿ he kó͘-ló͘-sō͘-kó͘, hun kah o͘-o͘-o͘ ê thoah-mûi, lâng it-tēng hoâi-gî, chit-chióng só͘-chāi kám ū kò͘-kheh. Só͘-í, cha̍p-hòe-á tiàm a̍h thn̂g-á-piáⁿ tiàm lóng kan-ta chhiàⁿ chi̍t-ê gē-tòaⁿ niā-niā, chiah-ê tiàm thâu-ke tî-liáu keng-êng i ê tiàm, ká-ná mā tio̍h kiam chhân-hûiⁿ ê khang-khòe. Hoān-sè in-ūi yi sī sai-hū chhù ê ko͘-niû, sui-jiân sī bô chip-chiàu ê ko͘-niû, ū-sî khì iàn-hōe tàu-kha-chhiú, mā bô gē-tòaⁿ ē chhōe mâ-hoân.
"Án-ne, tàu-té ū gōa-chē ê?"
"Gē-tòaⁿ? tāi-khài cha̍p-jī/saⁿ ê."
"Tá-chi̍t-ê khah hó?" Shimamura khiā khí-lâi, khì chhi̍h lêng-á.
"Góa boeh lâi túiⁿ ah, hoⁿh?"
"Lí iáu m̄-thang túiⁿ."
"Boaih lah." Cha-bó͘ ká-ná boeh siám-khui khut-jio̍k, kóng:
"Góa lâi túiⁿ. Bô iàu-kín, góa bē kè-kàu sáⁿ lah. Góa ē koh-lâi."
M̄-koh, khòaⁿ tio̍h lú-tiong ê sî, yi iū ná bô-sū, koh chē hó-hó tī hia. Lú-tiong kúi-ā kái mūi kóng boeh kiò sáng, yi lóng bô chí-miâ.
Put-jî-kò, kòe chi̍t-ē-á chi̍t-ê cha̍p-chhit/peh hòe ê gē-tòaⁿ tō ji̍p-lâi ah. Shimamura chi̍t khòaⁿ tio̍h yi, lo̍h-soaⁿ ji̍p-chng ê sî hit-chióng giàn cha-bó͘ ê hèng-chhù sûi tō hoa khì. Yi he o͘-té ê chhiú-kut ta-sán, lâng kó͘-ì, khòaⁿ-tio̍h iáu sī gín-á khoán. Shimamura chīn-liāng bô hián-chhut sit-bōng ê gán-sîn, ǹg gē-tòaⁿ hia khòaⁿ kòe-khì, si̍t-chè sī hō͘ yi āu-piah thang-á gōa hit-phiàn chheⁿ-chhùi ê soaⁿ-kéng só͘ khip-ín. I liân ōe to lán-lih kóng ah. Si̍t-chāi sī soaⁿ-chng ê gē-tòaⁿ bô m̄-tio̍h.
Shimamura ba̍k-thâu kat-kat bô kóng-ōe, cha-bó͘ khòaⁿ pān-sè tō khiā khí-lâi, tiām-tiām kiâⁿ chhut-khì, chhun i hām gē-tòaⁿ nn̄g-lâng, koh-khah bô ōe hó kóng. Sui-jiân án-ne, i hām gē-tòaⁿ tī hia tō͘ chha-put-to chi̍t-tiám-cheng, tō siūⁿ khòaⁿ ū sáⁿ hoat-tō͘ kā sàng-cháu. I siūⁿ tio̍h ū chi̍t-tiuⁿ tiān-pò ê hōe-phiò, tio̍h kóaⁿ sî-kan khì iû-kio̍k niá. Chū án-ne, i hām gē-tòaⁿ tâng-chê kiâⁿ chhut pâng-keng.
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14. 女中叫一个庄跤藝旦
Shimamura 對家治 mūi chit-lō 三八問題感覺好笑. 又閣想: 這个山庄凡勢真正有這種代誌 mā 無定著.
閒閒無事 ê 伊, 抱一个追求大自然和保護色 ê 心, 對旅途中每一个所在 ê 風土民情, 伊攏有這種本能 ê 敏感. Ùi 山頂落來 ê 時, hūiⁿ-hūiⁿ 看這个庄跤樸實 ê 景致, 伊隨感受著一種清閒, 安靜 ê 氣氛. Tī 客棧探聽一下, 果然, 遮是雪國生活上四序其中 ê 一个庄頭.
聽講 tī 幾冬前鐵路猶未開通 ê 時, 遮是做穡人 ê 療 iáng 浴場. 有藝旦 ê 店攏掛料理店 a̍h 紅豆湯店等等已經退色 ê mûi 簾仔. 看 he kó͘-ló͘-sō͘-kó͘, 薰 kah 烏烏烏 ê 挩 mûi, 人一定懷疑, 這種所在敢有顧客. 所以, 雜貨仔店 a̍h 糖仔餅店攏干焦倩一个藝旦 niā-niā, chiah-ê 店頭家除了經營伊 ê 店, ká-ná mā 著兼田 hûiⁿ ê 工課. 凡勢因為她是師傅厝 ê 姑娘, 雖然是無執照 ê 姑娘, 有時去宴會鬥跤手, mā 無藝旦會揣麻煩.
"Án-ne, 到底有偌濟个?"
"藝旦? 大概十二三个."
"Tá 一个較好?" Shimamura 徛起來, 去揤鈴仔.
"我欲來 túiⁿ ah, hoⁿh?"
"你猶毋通 túiⁿ."
"Boaih lah." 查某 ká-ná 欲閃開屈辱, 講:
"我來 túiⁿ. 無要緊, 我袂計較 sáⁿ lah. 我會 koh 來."
毋過, 看著女中 ê 時, 她又 ná 無事, koh 坐好好 tī 遐. 女中幾 ā 改 mūi 講欲叫 sáng, 她攏無指名.
不而過, 過一下仔一个十七八歲 ê 藝旦 tō 入來 ah. Shimamura 一看著她, 落山入庄 ê 時彼種癮查某 ê 興趣隨 tō hoa 去. 她 he 烏底 ê 手骨焦瘦, 人古意, 看著猶是囡仔款. Shimamura 盡 liāng 無顯出失望 ê 眼神, ǹg 藝旦遐看過去, 實際是予她後壁窗仔外彼遍青翠 ê 山景所吸引. 伊連話 to 懶 lih 講 ah. 實在是山庄 ê 藝旦無毋著.
Shimamura 目頭結結無講話, 查某看扮勢 tō 徛起來, 恬恬行出去, 賰伊和藝旦兩人, 閣較無話好講. 雖然 án-ne, 伊和藝旦 tī 遐度差不多一點鐘, tō 想看有啥法度 kā 送走. 伊想著有一張電報 ê 匯票, 著趕時間去郵局領. 自 án-ne, 她和藝旦同齊行出房間.
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14.
Shimamura smiled wryly at the foolishness of his question. In a mountain village, though, the arrangements between a geisha and her keeper might indeed still be so easygoing. . . .
Perhaps with the idler's bent for protective coloring, Shimamura had an instinctive feeling for the spirit of the places he visited, and he had felt as he came down from the mountains that, for all its air of bare frugality, there was something comfortable and easy about the village. He heard at the inn that it was indeed one of the more comfortable villages in this harsh snow country.
Until the railway was put through, only very recently, it had served mainly as a medicinal spring for farmers in the area. The house that kept geisha would generally have a faded shop curtain that advertised it as a restaurant or a tearoom, but a glance at the old-style sliding doors, their paper panels dark with age, made the passer-by suspect that guests were few. The shop that sold candy or everyday sundries might have its one geisha, and the owner would have his small farm besides the shop and the geisha.
Perhaps because she lived with the music teacher, there seemed to be no resentment at the fact that a woman not yet licensed as a geisha was now and then helping at parties.
"How many are there in all?"
"How many geisha? Twelve or thirteen, I suppose."
"Which one do you recommend?" Shimamura stood up to ring for the maid.
"You won't mind if I leave now."
"I mind very much indeed."
"I can't stay." She spoke as if trying to shake off
the humiliation. "I'm going. It's all right. I don't mind. I'll come again."
When the maid came in, however, she sat down as though nothing were amiss. The maid asked several times which geisha she should call, but the woman refused to mention a name.
One look at the seventeen- or eighteen-year-old geisha who was presently led in, and Shimamura felt his need for a woman fall dully away. Her arms, with their underlying darkness, had not yet filled out, and something about her suggested an unformed, good-natured young girl. Shimamura, at pains not to show that his interest had left him, faced her dutifully, but he could not keep himself from looking less at her than at the new green on the mountains behind her. It seemed almost too much of an effort to talk. She was the mountain geisha through and through.
He lapsed into a glum silence. No doubt thinking to be tactful and adroit, the woman stood up and left the room, and the conversation became still heavier. Even so, he managed to pass perhaps an hour with the geisha. Looking for a pretext to be rid of her, he remembered that he had had money telegraphed from Tokyo. He had to go to the post office before it closed, he said, and the two of them left the room.
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