40. Khîm-siaⁿ hiáng kàu soaⁿ-gōa khì
Chi̍t-ê cha̍p-káu a̍h jī-cha̍p ê chng-kha gē-tòaⁿ, chiàu-kóng samisen bē kài gâu. Sui-jiân kan-ta tī tatami-pâng tôaⁿ, soah bē-su tī bú-tâi téng. Shimamura sim-lih siūⁿ: che tāi-khài sī ka-tī tùi soaⁿ-khu kòe-tō͘ kám-siang ê iân-kò͘. Komako ū-sî thiâu-kang kan-ta liām koa-sû, ū-sî pàng khah bān, ū-sî koh kóng hia siuⁿ mâ-hoân, tō kā thiàu kòe. M̄-koh chiām-chiām yi ká-ná tio̍h-bê ah, siaⁿ-im koh giâ koân. Shimamura sió-khóa tio̍h-kiaⁿ, che tôaⁿ-khîm ê siaⁿ ē-tàng kiâng koh chheng kàu sáⁿ-mih só͘-chāi ah? Iōng chhiú-khiau chò chím-thâu, i ké-tak-tak tó lo̍h-lâi thiaⁿ.
"Khùiⁿ Chìn Tiòng" tôaⁿ oân liáu-āu, Shimamura chiah tháu chi̍t-kháu khùi. Ah, chit-ê cha-bó͘ ài tio̍h góa ah, i án-ne siūⁿ, che mā chiâⁿ pi-ai.
"Chit-chióng ji̍t-chí, im-sek bô-kāng." Komako taⁿ-thâu khòaⁿ seh téng-koân ê thiⁿ, kan-ta án-ne kóng chi̍t-kù.
Tek-khak, sī in-ūi khong-khì bô-kāng ê iân-kò͘. Bô kio̍k-tiûⁿ ê piah, bô thiaⁿ-chiòng, mā bô to͘-chhī ê eng-ia, khîm-siaⁿ ē-tàng thàng-kòe tang-thiⁿ chá-khí chheng-khì ê khong-khì, chi̍t-lō͘ hiáng, it-ti̍t kàu chek-seh ê soaⁿ-gōa khì.
Sui-jiân ka-tī bô kám-kak tio̍h, yi chóng-sī kā tāi-chū-jiân ê soaⁿ-kheⁿ tòng-chò ka-tī ê thiaⁿ-chiòng, ko͘-to̍k chi̍t-ê liān-si̍p tôaⁿ-khîm. Kú-tn̂g lâi, yi ê tôaⁿ hām poah chū-jiân tō ū la̍t-thâu. Chit-chióng ko͘-to̍k phah-phòa ai-chhiû, lāi-bīn ū chi̍t-chióng iá-sèng ê ì-chì. Tō-kóng sió-khóa ū ki-chhó͘, ho̍k-cha̍p ê khek-tiāu kan-ta khò ga̍k-phó͘ lâi liān-si̍p, sīm-chì bô ga̍k-phó͘ mā tôaⁿ ū-lō͘-lâi, che nā bô kian-kiâng ê ì-chì hām bô-thêng ê phah-piàⁿ sī bô hoat-tō͘ ê.
Chāi Shimamura khòaⁿ, Komako chit-chióng seng-oa̍h ē-sái kóng sī bô-chhái-kang, mā ē-sái kóng sī tùi bī-lâi ǹg-bāng ê pi-ai. M̄-koh, chit-chióng seng-oa̍h hoān-sè tùi yi pún-sin ū kè-ta̍t, só͘-í yi chiah ē-tàng tôaⁿ chhut kian-kiâng ū-la̍t ê khîm-siaⁿ.
Shimamura ê hīⁿ-khang hun bē-chhut yi he iù-siù chhiú ê iù-lō͘, kan-ta ē-tàng ùi khîm-siaⁿ lâi lí-kái yi ê kám-chêng, che hoān-sè sī Komako siāng lí-sióng ê thiaⁿ-chiòng.
Khai-sí tôaⁿ tē-saⁿ khek "To͘ Chiáu" (都鳥) ê sî, tōa-bīn sī khek-tiāu iu-bí jiû-hô ê iân-kò͘, Shimamura bīn téng ê ke-bó-phôe siau khì, i piàn kah un-jiû pêng-chēng, gāng-gāng khòaⁿ Komako ê bīn. Chū án-ne, i chhim-chhim kám-siū tio̍h bah-thé chhin-kīn ê kám-chêng.
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40. 琴聲響到山外去
一个十九 a̍h 二十 ê 庄跤藝旦, 照講 samisen 袂蓋 gâu. 雖然干焦 tī tatami 房彈, 煞袂輸 tī 舞台頂. Shimamura 心 lih 想: 這大概是家治對山區過度感 siang ê 緣故. Komako 有時 thiâu-kang 干焦念歌詞, 有時放較慢, 有時閣講 hia 傷麻煩, tō kā 跳過. 毋過漸漸她 ká-ná 著迷 ah, 聲音 koh 夯懸. Shimamura 小可著驚, che 彈琴 ê 聲會當 kiâng koh 清到啥物所在 ah? 用手曲做枕頭, 伊假 tak-tak 倒落來聽.
"Khùiⁿ Chìn Tiòng" 彈完了後, Shimamura 才敨一口氣. Ah, 這个查某愛著我 ah, 伊 án-ne 想, 這 mā 誠悲哀.
"這種日子, 音色無仝." Komako taⁿ 頭看雪頂懸 ê 天, 干焦 án-ne 講一句.
的確, 是因為空氣無仝 ê 緣故. 無劇場 ê 壁, 無聽眾, mā 無都市 ê 坱埃, 琴聲會當迵過冬天早起清氣 ê 空氣, 一路響, 一直到積雪 ê 山外去.
雖然家治無感覺著, 她總是 kā 大自然 ê 山坑當做家治 ê 聽眾, 孤獨一个練習彈琴. 久長來, 她 ê 彈和撥自然 tō 有力頭. 這種孤獨拍破哀愁, 內面有一種野性 ê 意志. Tō 講小可有基礎, 複雜 ê 曲調干焦靠樂譜來練習, 甚至無樂譜 mā 彈有路來, 這若無堅 kiâng ê 意志和無停 ê 拍拚是無法度 ê.
在 Shimamura 看, Komako 這種生活會使講是無彩工, mā 會使講是對未來 ǹg 望 ê 悲哀. 毋過, 這種生活凡勢對她本身有價值, 所以她才會當彈出堅 kiâng 有力 ê 琴聲.
Shimamura ê 耳空分袂出她 he 幼秀手 ê 幼路, 干焦會當 ùi 琴聲來理解她 ê 感情, 這凡勢是 Komako 上理想 ê 聽眾.
開始彈第三曲 "To͘ Chiáu" (都鳥) ê 時, 大面是曲調優美柔和 ê 緣故, Shimamura 面頂 ê 雞母皮消去, 伊變 kah 溫柔平靜, 愣愣看 Komako ê 面. 自 án-ne, 伊深深感受著肉體親近 ê 感情.
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40.
She was a mountain geisha, not yet twenty, and she could hardly be as good as all that, he told himself. And in spite of the fact that she was in a small room, was she not slamming away at the instrument as though she were on the stage? He was being carried away by his own mountain emotionalism. Komako purposely read the words in a monotone, now slowing down and now jumping over a passage that was too much trouble; but gradually she seemed to fall into a spell. As her voice rose higher, Shimamura began to feel a little frightened. How far would that strong, sure touch take him? He rolled over and pillowed his head on an ann, as if in bored indifference.
The end of the song released him. Ah, this woman is in love with me-but he was annoyed with himself for the thought.
Komako looked up at the clear sky over the snow. "The tone is different on a day like this." The tone had been as rich and vibrant as her remark suggested. The air was different. There were no theater walls, there was no audience, there was none of the city dust. The notes went out crystalline into the clean winter morning, to sound on the far, snowy peaks.
Practicing alone, not aware herself of what was happening, perhaps, but with all the wideness of nature in this mountain valley for her companion, she had come quite as a pan of nature to take on this special power. Her very loneliness beat down sorrow and fostered a wild strength of will. There was no doubt that it had been a great victory of the will, even granted that she had had an amount of preparatory training, for her to learn complicated airs from only a score, and presently go through them from memory.
To Shimamura it was wasted effort, this way of living. He sensed in it too a longing that called out to him for sympathy. But the life and way of living no doubt flowed thus grandly from the samlsen with a new worth for Komako herself.
Shimamura, untrained in the niceties of samisen technique and conscious only of the emotion in the tone, was perhaps an ideal audience for Komako.
By the time she had begun her third song-the voluptuous softness of the music itself may have been responsible-the chill and the goose flesh had disappeared, and Shimamura, relaxed and warm, was gazing into Komako's face. A feeling of intense physical nearness came over him.
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