50. Sī ia̍h-á seⁿ-nūi ê kùi-cheh
Lī-khui Tokyo ê chhù ê sî, Shimamura in bó͘ ū kau-tài, kóng, taⁿ sī lah-sap ia̍h-á seⁿ-nūi ê kùi-cheh, sebíloh m̄-thang tiàu tī saⁿ-á-kè a̍h piah-téng. Lâi liáu-āu, kó-jiân khòaⁿ tio̍h tiàu tī kheh-pâng gîm-chîⁿ-kha khòaⁿ-súi ê teng-hóe, khîⁿ la̍k-chhit chiah hoan-be̍h-sek ê ia̍h-á. Keh-piah saⁿ-tè tatami hit keng ê saⁿ-á-kè, mā ū chi̍t-chiah khah sè, m̄-koh hûn-su pí-lē tōa ê ia̍h-á thêng tī hia.
Joa̍h-thiⁿ iōng lâi cha̍h báng-thâng ê thih-se-thang iáu tàu tī thang-á-mûi. Chi̍t-chiah ia̍h-á ká-ná tah tī thih-se-thang téng, tiām-tiām bô tín-tāng. I he ná ú-mo͘ ê chhián-chang-sek chhiok-kak (觸角) chhun tn̂g-tn̂g, i ê si̍t sī thàu-bêng ê chhián-le̍k-sek, ū cha-bó͘-lâng chéng-thâu-á hiah tn̂g. Tùi-bīn pian-kài têng-têng-tha̍h-tha̍h ê soaⁿ, chiò tī hông-hun ji̍t-thâu ē, í-keng ū chhiu-thiⁿ ê sek-chhái, ia̍h-á ê chit-lō chhián-le̍k-sek tian-tò hō͘ lâng chi̍t-chióng sí-bông ê kám-kak. Kan-ta chêng si̍t hām āu-si̍t sio-tha̍h ê só͘-chāi sī khah chhim ê le̍k-sek. Chhiu-hong chhoe lâi, he si̍t tō ná po̍h chóa án-ne khin-khin iô-tāng.
Ia̍h-á kám sī oa̍h ê? Shimamura khiā khí-lâi, kiâⁿ kòe-khì, ùi thih-se-thang lāi-bīn iōng chéng-thâu-á kā tiak chi̍t-ē, ia̍h-á tāng to bô tāng. Koh iōng kûn-thâu-bó kā khok, i tō ná chi̍t-phìⁿ chhiū-hio̍h-á án-ne lak lo̍h, kàu pòaⁿ-lō͘ chiah khin-khin-á koh poe khí-lâi.
Chù-ì chi̍t-ē khòaⁿ, tùi-bīn sam-á-nâ thâu-chêng, gi̍p-gi̍p-gi̍p ê chhân-eⁿ tīn ná-chhiūⁿ pô͘-kong-eng ê jiông-mo͘ án-ne iāⁿ-iāⁿ poe.
Soaⁿ-kha ê hô ná-chhiūⁿ sī ùi sam-á ê chhiū-bóe lâu chhut-lâi ê.
Soaⁿ-lûn phiâⁿ ná-chhiūⁿ koaⁿ-chin ê hoe chi̍t-sì-kè khui kah pe̍h phāⁿ-phāⁿ, Shimamura khah khòaⁿ to bē ùi.
I ùi sit-lāi un-chôaⁿ chhut-lâi ê sî, khòaⁿ tio̍h chi̍t-ê Rusia cha-bó͘ hoàn-á chē tī mûi-kha-kháu. Ná ē lâi kàu chit-khoán chng-kha só͘-chāi? Shimamura kiâⁿ kòe kā khòaⁿ chi̍t-ē, chiâu sī Ji̍t-pún hòa-chong-phín a̍h thâu-chhah hit-lūi ê mi̍h.
Yi liāng-iak sì-cha̍p thóng, bīn sió-khóa jiâu koh lah-sap, m̄-koh ām-kún khòaⁿ ē-tio̍h ê ūi pe̍h-pe̍h koh bah-bah.
"Lí sī ùi tá-ūi lâi ê?" Shimamura mūi yi.
"Ùi tá-ūi lâi? Lí mūi góa sī ùi tá-ūi lâi?" Rusia cha-bó͘ m̄-chai án-nóa ìn hó, ná siu mi̍h-kiāⁿ, ná tih siūⁿ.
Yi ê kûn ná-chhiūⁿ ûi chi̍t-tè lah-sap pò͘, í-keng bô iûⁿ-chong ê khoán-sè. Yi ná-chhiūⁿ Ji̍t-pún-lâng án-ne, phāiⁿ chi̍t-ê tōa pau-ho̍k-á kiâⁿ túiⁿ khì. M̄-koh kha chhēng phôe-ê.
Siū tio̍h tâng-chê khòaⁿ Rusia cha-bó͘ lī-khui ê thâu-ke-niû ê iau-chhiáⁿ, Shimamura ji̍p-lâi siàu-pâng, khòaⁿ tio̍h chi̍t-ê tōa-chhāi cha-bó͘ chē tī hóe-lô͘ piⁿ, kha-chiah-āu ǹg i. Cha-bó͘ kā saⁿ-á-ki giú tio̍h, khiā khí-lâi. Yi chhēng ê sī ū ka-hoe (家徽) ê o͘ lé-ho̍k.
--
50. 是蝶仔生 nūi ê 季節
離開 Tokyo ê 厝 ê 時, Shimamura in 某有交代, 講, 今是垃圾蝶仔生 nūi ê 季節, sebíloh 毋通吊 tī 衫仔架 a̍h 壁頂. 來了後, 果然看著吊 tī 客房砛簷跤看媠 ê 燈火, khîⁿ 六七隻番麥色 ê 蝶仔. 隔壁三塊 tatami 彼間 ê 衫仔架, mā 有一隻較細, 毋過魂軀比例大 ê 蝶仔停 tī 遐.
熱天用來閘蠓蟲 ê 鐵紗窗猶鬥 tī 窗仔 mûi. 一隻蝶仔 ká-ná 貼 tī 鐵紗窗頂, 恬恬無振動. 伊彼 ná 羽毛 ê 淺棕色 chhiok-kak (觸角) 伸長長, 伊 ê 翼是透明 ê 淺綠色, 有查某人指頭仔 hiah 長. 對面邊界重重疊疊 ê 山, 照 tī 黃昏日頭下, 已經有秋天 ê 色彩, 蝶仔 ê chit-lō 淺綠色顛倒予人一種死亡 ê 感覺. 干焦前翼和後翼相疊 ê 所在是較深 ê 綠色. 秋風吹來, he 翼 tō ná 薄紙 án-ne 輕輕搖動.
蝶仔敢是活 ê? Shimamura 徛起來, 行過去, ùi 鐵紗窗內面用指頭仔 kā 擉一下, 蝶仔動 to 無動. Koh 用拳頭母 kā 硞, 伊 tō ná 一片樹葉仔 án-ne lak 落, 到半路才輕輕仔 koh 飛起來.
注意一下看, 對面杉仔林頭前, gi̍p-gi̍p-gi̍p ê 田嬰陣, ná 像蒲公英 ê 絨毛 án-ne 颺颺飛.
山跤 ê 河 ná 像是 ùi 杉仔 ê 樹尾流出來 ê.
山崙坪 ná 像菅蓁 ê 花, 一四界開 kah 白 phāⁿ-phāⁿ, Shimamura khah 看 to 袂畏.
伊 ùi sit 內溫泉出來 ê 時, 看著一个 Rusia 查某販仔坐 tī mûi 跤口. 那會來到這款庄跤所在? Shimamura 行過 kā 看一下, chiâu 是日本化妝品 a̍h 頭插彼類 ê 物.
她 liāng-iak 四十捅, 面小可皺 koh 垃圾, 毋過頷頸看會著 ê 位白白 koh 肉肉.
"你是 ùi tá 位來 ê?" Shimamura mūi 她.
"Ùi tá 位來? 你 mūi 我是 ùi tá 位來?" Rusia 查某毋知 án-nóa 應好, ná 收物件, ná tih 想.
她 ê 裙 ná 像圍一塊垃圾布, 已經無洋裝 ê 款勢. 她 ná 像日本人 án-ne, 揹一个大包袱仔行 túiⁿ 去. 毋過跤穿皮鞋.
受著同齊看 Rusia 查某離開 ê 頭家娘 ê 邀請, Shimamura 入來數房, 看著一个大 chhāi 查某坐 tī 火爐邊, 尻脊後 ǹg 伊. 查某 kā 衫仔裾搝著, 徛起來. 她穿 ê 是有 ka-hoe (家徽) ê 烏禮服.
--
50.
It was the egg-laying season for moths, Shimamura's wife told him as he left Tokyo, and he was not to leave his clothes hanging in the open. There were indeed moths at the inn. Five or six large corn-colored moths clung to the decorative lantern under the eaves, and in the little dressing-room was a moth whose body was large out of all proportion to its wings. The windows were still screened from the summer. A moth so still that it might have been glued there clung to one of the screens. Its feelers stood out like delicate wool, the color of cedar bark, and its wings, the length of a woman's finger, were a pale, almost diaphanous green. The ranges of mountains beyond were already autumn-red in the evening sun. That one spot of pale green struck him as oddly like the color of death. The fore and after wings overlapped to make a deeper green, and the wings fluttered like thin pieces of paper in the autumn wind.
Wondering if the moth was alive, Shimamura went over to the window and rubbed his finger over the inside of the screen. The moth did not move. He struck at it with his fist, and it fell like a leaf from a tree, floating lightly up midway to the ground.
In front of the cedar grove opposite, dragonflies were bobbing about in countless swarms, like dan delion floss in the wind.
The river seemed to flow from the tips of the cedar branches.
He thought he would never tire of looking at the autumn flowers that spread a blanket of silver up the side of the mountain.
A White-Russian woman, a peddler, was sitting in the hallway when he came out of the bath. So you find them even in these mountains- He went for a closer look.
She appeared to be in her forties. Her face was wrinkled and dirty, but her skin, where it showed at the full throat and beyond, was a pure, glowing white.
"Where are you from?" Shimamura asked.
"Where am I from? Where am I from?" The woman seemed troubled for an answer. She began to put away her wares, the most ordinary Japanese cosmetics and hair ornaments.
Her skirt, like a dirty sheet wrapped around her, had quite lost the feel of occidental dress, and had taken on instead something of the air of Japan. She carried her wares on her back in a large Japanese-style kerchief. But for all that, she still wore foreign shoes.
The innkeeper's wife stood beside Shimamura watching the Russian leave. The two of them went into the office, where a large woman was seated at the hearth with her back to them. She took her long skirts in her hand as she stood up to go. Her cloak was a formal black.
--
No comments:
Post a Comment