30. Yoko hián-jiân sī pún-tē ko͘-niû
Cha-àm khì iàn-hōe chhēng ê saⁿ iáu kòa tī piah, hiàn-chhut lāi-té-saⁿ ê âng lāi-lí.
Komako the̍h hóe-thio, liú-lia̍h peh thui khí-lâi.
"Sui-jiân sī ùi pēⁿ-pâng lâi ê, m̄-koh thiaⁿ-kóng, hóe bē ū pēⁿ-khún."
Komako ná kóng, ná àⁿ tú se hó ê thâu, lo̍h-khì póe lô͘ lih ê hóe-thòaⁿ. Yi mā kā Shimamura kóng, pēⁿ-lâng hoān tn̂g-kiat-hu̍t, sī boeh tún-lâi tán sí ê.
Kóng sī "kò͘-hiang", kî-si̍t i m̄-sī chhut-sì tī chia. Chia sī in lāu-bú ê gōa-ke-chhù. Lāu-bú bô koh tī Káng-khu chò gē-tòaⁿ liáu, tō lâu lo̍h-lâi chò bú-tō sai-hū. Bōe gō͘-cha̍p ê sî tiòng-hong, tō tún-lâi chit-ê un-chôaⁿ liâu-iáng. Hāu-seⁿ chū sè-hàn ài pìⁿ ke-khì, thiâu-kang lâu tī Káng-khu, ji̍p chi̍t-keng cheng-pió-siā. Kòe bô-kú, ká-ná khì Tokyo tha̍k iā-hāu. Káⁿ sī siuⁿ piàⁿ-sè, sin-thé bē kham-lih. Kin-nî chiah jī-la̍k-hòe.
Komako chi̍t-khùi kóng chiah-ê ōe, m̄-koh, pôe hāu-seⁿ tún lâi ê ko͘-niû sī sáng? Komako ná ē tòa tī chit-ê chhù? Chiah-ê yi lóng bô kóng tio̍h.
M̄-koh, sui-jiân án-ne, tī ná-chhiūⁿ tiàu tī khong-tiong ê chit-keng chhù lih, Komako ê siaⁿ-im mā ná-chhiūⁿ ē sia̍p-kàu múi chi̍t-ê kak-lo̍h. Che hō͘ Shimamura kám-kak put-an.
Tú boeh kiâⁿ chhut pâng-keng mûi, ká-ná ū gán tio̍h chi̍t-ê pe̍h-sek ê mi̍h-kiāⁿ, oa̍t-thâu chi̍t khòaⁿ, he sī tông-bo̍k chò ê samisen a̍p-á. Khòaⁿ khí-lâi khah tōa it-poaⁿ ê samisen a̍p-á, mā khah tn̂g, siūⁿ bē-kàu yi tio̍h phāiⁿ che khì chham-ka iàn-hōe. Án-ne tih siūⁿ ê sî, hit-ê hō͘ ian hun o͘ ê keh-piah mûi khui--khui.
"Komako Chan*, che ē-sái hāⁿ kòe bô?" [* Chan /chiàng/ = San ê chhin-chhiat kóng-hoat]
He siaⁿ chheng koh iu-bí kah bô-siá-sì, ná-chhiūⁿ sī tá-ūi lâi ê hôe-im.
Shimamura thiaⁿ kòe chit-ê siaⁿ. He sī ùi iā-chhia thang-á-mûi thàm thâu kiò seh tiong ê chām-tiúⁿ, hit-ê Yoko ê siaⁿ.
"Ē-sái." Komako ìn chi̍t-siaⁿ, Yoko chhēng seh-khò͘, hut chi̍t-ē hāⁿ kòe samisen a̍p-á, chhiú the̍h chi̍t-ê po-lê jiō-ô͘.
M̄-koán ùi cha-àm yi hām chām-tiúⁿ kóng-ōe chhin-hò͘-hò͘, a̍h-sī ùi yi taⁿ chhēng seh-khò͘ lâi khòaⁿ, Yoko hián-jiân sī sio̍k tī chit-ê só͘-chāi ê ko͘-niû. Hit-tiâu hiáⁿ-ba̍k ê io-tòa hiàn chi̍t-pòaⁿ tī seh-khò͘ téng, hō͘ seh-khò͘ he chang-sek hām o͘-sek sio-chhap ê tiâu-bûn te̍k-pia̍t bêng-hián, mā hō͘ mô͘ kimono ê tn̂g chhiú-úiⁿ koh-khah chhiⁿ-chhioh. Khò͘-kha tī kha-thâu-u khah khí-lih ê ūi hun-chhe, khòaⁿ-tio̍h phòng-phòng, m̄-koh án-ne hō͘ ngē-chiaⁿ ê mî-chit khah thêng, khòaⁿ-tio̍h mā khah an-ún.
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30. Yoko 顯然是本地姑娘
昨暗去宴會穿 ê 衫猶掛 tī 壁, 現出內底衫 ê 紅內裡.
Komako 提火挑, 扭掠 peh 梯起來.
"雖然是 ùi 病房來 ê, 毋過聽講, 火袂有病菌."
Komako ná 講, ná àⁿ 拄梳好 ê 頭, 落去掰爐 lih ê 火炭. 她 mā kā Shimamura 講, 病人患腸結核, 是欲 tún 來等死 ê.
講是 "故 hiang", 其實伊毋是出世 tī 遮. 遮是 in 老母 ê 外家厝. 老母無 koh tī 港區做藝旦了, tō 留落來做舞蹈師傅. 未五十 ê 時中風, tō tún 來這个溫泉療 iáng. 後生自細漢愛 pìⁿ ke 器, thiâu 工留 tī 港區, 入一間鐘錶社. 過無久, ká-ná 去 Tokyo 讀夜校. Káⁿ 是傷拚勢, 身體袂堪 lih. 今年才二六歲.
Komako 一氣講 chiah-ê 話, 毋過, 陪後生 tún 來 ê 姑娘是 sáng? Komako 那會蹛 tī 這个厝? Chiah-ê 她攏無講著.
毋過, 雖然 án-ne, tī ná 像吊 tī 空中 ê 這間厝 lih, Komako ê 聲音 mā ná 像會洩到每一个角落. 這予 Shimamura 感覺不安.
拄欲行出房間 mûi, ká-ná 有眼著一个白色 ê 物件, 越頭一看, 彼是桐木做 ê samisen 盒仔. 看起來較大一般 ê samisen 盒仔, mā 較長, 想袂到她著揹這去參加宴會. Án-ne tih 想 ê 時, 彼个予煙薰烏 ê 隔壁 mûi 開--開.
"Komako Chan*, 這會使迒過無?" [* Chan /chiàng/ = San ê 親切講法]
彼聲清 koh 優美 kah 無捨世, ná 像是 tá 位來 ê 回音.
Shimamura 聽過這个聲. 彼是 ùi 夜車窗仔 mûi 探頭叫雪中 ê 站長, 彼个 Yoko ê 聲.
"會使." Komako 應一聲, Yoko 穿雪褲, 忽一下迒過 samisen 盒仔, 手提一个玻璃尿壺.
毋管 ùi 昨暗她和站長講話親戽戽, 抑是 ùi 她今穿雪褲來看, Yoko 顯然是屬 tī 這个所在 ê 姑娘. 彼條顯目 ê 腰帶現一半 tī 雪褲頂, 予雪褲 he 棕色和烏色 sio-chhap ê 條紋特別明顯, mā 予毛 kimono ê 長手 úiⁿ 閣較鮮沢. 褲跤 tī 跤頭趺較起 lih ê 位分叉, 看著膨膨, 毋過 án-ne 予硬 chiaⁿ ê 棉質較騰, 看著 mā 較安穩.
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30.
The kimono of the evening before hung on the wall, open to show the brilliant red under-kimono. Komako came spryly up the ladder with a supply of charcoal.
"It's from the sickroom. But you needn't worry.
They say fire spreads no germs." Her newly dressed hair almost brushed the kotatsu as she stirred away at the coals. The music teacher's son had intestinal tuberculosis, she said, and had come home to die.
But it was not entirely accurate to say that he had "come home." He had as a matter of fact not been born here. This was his mother's home. His mother had taught dancing down on the coast even when she was no longer a geisha, but she had had a stroke while she was still in her forties, and had come back to this hot spring to recover. The son, fond of machinery since he was a child, had stayed behind to work in a watch-shop. Presently he moved to Tokyo and started going to night school, and the strain was evidently too much for him. He was only twenty-five.
All this Komako told him with no hesitation, but she said nothing about the girl who had brought the man home, and nothing about why she herself was in this house.
Shimamura felt most uncomfortable at what she did say, however. Suspended there in the void, she seemed to be broadcasting to the four directions. As he stepped from the hallway, he saw something faintly white through the corner of his eye. It was a samisen box, and it struck him as larger and longer than it should be. He found it hard to imagine her carrying so unwieldy an object to parries. The darkened door inside the hallway slid open.
"Do you mind if I step over this, Komako?" It
was that clear voice, so beautiful that it was almost sad. Shimamura waited for an echo to come back. It was Yoko's voice, the voice that had called out over the snow to the station master the night before.
"No, please go ahead." Yoko stepped lightly over the samisen box, a glass chamber-pot in her hand.
It was clear, from the familiar way she had talked to the station master the evening before and from the way she wore "mountain trousers," that she was a native of this snow country, but the bold pattern of her obi, half visible over the trousers, made the rough russet and black stripes of the latter seem fresh and cheerful, and for the same reason the long sleeves of her woolen kimono took on a certain voluptuous charm. The trousers, split just below the knees, filled out toward the hips, and the heavy cotton, for all its natural stiffness, was somehow supple and gentle.
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