39. Ga̍k-phó͘ lí khòaⁿ ū?
"Ga̍k-phó͘ lí khòaⁿ ū?"
"Tong-jiân khòaⁿ ū."
"Ga̍k-phó͘-tiàm thâu-ke, chai-iáⁿ ū gē-tòaⁿ, m̄-sī it-poaⁿ-lâng, tī chiah hūiⁿ ê soaⁿ-chng jīn-chin liān-khîm, tiāⁿ-tio̍h thiòng kah."
"Tī Tokyo pôe-chiú, chú-iàu sī thiàu-bú, āu-lâi in mā kà góa thiàu-bú. Samisen kan-ta phó͘-phó͘ kì chi̍t-sut-á, bē-kì-lih mā bô-lâng thang chí-tiám, chí-hó khò ga̍k-phó͘ ah."
"Chhiùⁿ-koa án-nóa?"
"Góa bô kah-ì chhiùⁿ-koa. Thiàu-bú ê sî ná thiaⁿ ná o̍h chi̍t-kóa, sùiⁿ ē-sái lah. M̄-koh sin koa tōa-pō͘-hūn sī ùi rajíoh o̍h ê, mā m̄-chai o̍h liáu án-nóa. Kî-tiong ū góa ka-tī ê hong-keh, lí tiāⁿ-tio̍h ē kám-kak hó-chhiò. Koh-kóng, tī se̍k-sāi-lâng bīn-chêng, góa m̄-káⁿ chhut-siaⁿ. Nā sī m̄-bat ê lâng, tō ē-tàng pàng-siaⁿ chhiùⁿ." Yi án-ne kóng kah pháiⁿ-sè tiuh-tiuh, kek chi̍t-ê chu-sè, ba̍k-chiu tiu-tiu khòaⁿ Shimamura ê bīn, ká-ná tih tán i tiám-koa.
Shimamura soah khì hō͘ yi ê khì-sè ah lo̍h.
I tī Tokyo chhī-khu tōa-hàn, chū sè-hàn bat khòaⁿ Ji̍t-pún hì-kio̍k hām bú-tō, chi̍t-kóa tn̂g-koa koa-sû thiaⁿ koàn-sì, mā ē-kì-lih, m̄-koh m̄-bat o̍h kòe. Kóng tio̍h tn̂g-koa, sûi siūⁿ tio̍h bú-tâi, bē khì siūⁿ tio̍h gē-tòaⁿ ê tatami-pâng.
"Thó-ià, lí chit-ê lâng-kheh, hō͘ lâng chìn bē chū-chāi." Komako khin-khin kā ē-chhùi-tûn, samisen khǹg tī kha-thâu-u, hó-lé-á hian liān-si̍p phó͘, ná-chhiūⁿ lēng-gōa chi̍t-ê lâng, kóng:
"Che sī chhiu-thiⁿ khòaⁿ phó͘ liān ê."
Che sī "Khoàn Chìn Tióng" (勸進帳) ê khek-tiāu.
Hiông-hiông Shimamura chhùi-phé giâ ke-bó-phôe, kui-sin liâng kah kiâng boeh ka-lún-sún.
I he khang-khang ê thâu-khak chhiong-móa samisen ê im-ga̍k. Nā kóng i tio̍h chi̍t-kiaⁿ, put-jû kóng i khì hō͘ kòng kah phak-phak. I khì hō͘ he khiân-sêng ê sim-ì só͘ kám-tōng, hō͘ he hóe-hūn ê sim-su só͘ chheng-sé. I kám-kak ka-tī bô khùi-la̍t, chí-hó pàng khin-sang, kui-sin sûi-chāi Komako ê khip-la̍t, phû-phû tòe leh lâu.
--
39. 樂譜你看有?
"樂譜你看有?"
"當然看有."
"樂譜店頭家, 知影有藝旦, 毋是一般人, tī chiah hūiⁿ ê 山庄認真練琴, 定著暢 kah."
"Tī Tokyo 陪酒, 主要是跳舞, 後來 in mā kà 我跳舞. Samisen 干焦普普記一屑仔, 袂記 lih mā 無人通指點, 只好靠樂譜 ah."
"唱歌 án-nóa?"
"我無佮意唱歌. 跳舞 ê 時 ná 聽 ná 學一寡, sùiⁿ 會使 lah. 毋過新歌大部份是 ùi rajíoh 學 ê, mā 毋知學了 án-nóa. 其中有我家治 ê 風格, 你定著會感覺好笑. 閣講, tī 熟似人面前, 我毋敢出聲. 若是 m̄-bat ê 人, tō 會當放聲唱." 她 án-ne 講 kah 歹勢 tiuh-tiuh, 激一个姿勢, 目睭 tiu-tiu 看 Shimamura ê 面, ká-ná tih 等伊點歌.
Shimamura 煞去予她 ê 氣勢壓落.
伊 tī Tokyo 市區大漢, 自細漢 bat 看日本戲劇和舞蹈, 一寡長歌歌詞聽慣勢, mā 會記 lih, 毋過 m̄-bat 學過. 講著長歌, 隨想著舞台, 袂去想著藝旦 ê tatami 房.
"討厭, 你這个人客, 予人晉袂自在." Komako 輕輕咬下喙唇, samisen 囥 tī 跤頭趺, 好禮仔掀練習譜, ná 像另外一个人, 講:
"這是秋天看譜練 ê."
這是 "Khoàn Chìn Tióng" (勸進帳) ê 曲調.
雄雄 Shimamura 喙 phé 夯雞母皮, 規身涼 kah kiâng 欲 ka-lún-sún.
伊 he 空空 ê 頭殼充滿 samisen ê 音樂. 若講伊著一驚, 不如講伊去予摃 kah 仆仆. 伊去予 he 虔誠 ê 心意所感動, 予 he 悔恨 ê 心思所清洗. 伊感覺家治無氣力, 只好放輕鬆, 規身隨在 Komako ê 吸力, 浮浮綴 leh 流.
--
39.
"Can you really understand the music from only a score?"
"I understand it very well."
"The publishing gentleman would be happy if he knew he had a real geisha-not just an ordinary amateur--practicing from his scores way off here in the mountains."
"In Tokyo I was expected to dance, and they gave me dancing lessons. But I got only the faintest idea of how to play the samisen. If I were to lose that there would be no one here to teach me again. So I use scores."
"And singing?"
"I don't like to sing. I did learn a few songs from my dancing, and I manage to get through them, but newer things I've had to pick up from the radio. I've no idea how near right I am. My own private style-you'd laugh at it, I know. And then my voice gives our when I'm singing for someone I know well. It's always loud and brave for strangers." She looked a little bashful for a moment, then brought herself up and glanced at Shimamura as though signaling that she was ready for him to begin.
He was embarrassed. He was unfortunately no singer.
He was generally familiar with the Nagauta music of the Tokyo theater and dance, and he knew the words to most of the repertoire. He had had no formal training, however. Indeed he associated the Nagauta less with the parlor performance of the geisha than with the actor on the srage.
"The customer is being difficult." Giving her lower lip a quick little bite, Komako brought the samisen to her knee, and, as if that made her a different person, turned earnestly to the lyrics before her.
"I've been practicing this one since last fall."
A chill swept over Shimamura. The goose flesh seemed to rise even to his cheeks. The first notes opened a transparent emptiness deep in his entrails, and in the emptiness the sound of the samisen reverberated. He was startled-or, better, he fell back as under a well-aimed blow. Taken with a feeling almost of reverence, washed by waves of remorse, defenseless, quite deprived of strength-- there was nothing for him to do but give himself up to the current, to the pleasure of being swept off wherever Komako would take him.
--
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