41. Sè-hàn sî, tō sī án-ne liān
Lêng koh ti̍t ê phīⁿ sió-khóa ko͘-toaⁿ khoán, m̄-koh chhùi-phé âng-gê, ū goân-khì, ká-ná khin-siaⁿ tih kóng: góa tī chia lah. Nn̄g-tè súi koh âng-jūn ê chhùi-tûn, sió-khóa ha̍p óa ê sî, téng-bīn ná-chhiūⁿ siám-sih âng-kuiⁿ. Ná sió eng-thô ê chhùi, nā ūi tio̍h chhiùⁿ-koa peh khui, chin kín tō koh ha̍p óa, ná-chhiūⁿ yi ê hûn-su hiah-nī bê-lâng. Tī lio̍h-á oan ê ba̍k-bâi ē-bīn, nn̄g-lúi ba̍k-chiu, ba̍k-bóe bô khiàu mā bô sûi, bē-su sī thiâu-kang ōe ti̍t ê, taⁿ kim koh bêng, ū kúi-hun ê gín-á khoán. Yi bô boah pe̍h-hún, keng-kòe to͘-chhī ê gē-tòaⁿ seng-oa̍h, taⁿ koh ke chi̍t-iân soaⁿ ê sek-chhái, yi ê phôe-hu ná-chhiūⁿ tú peh-khui ê soaⁿ-soàn a̍h iûⁿ-chhang thâu, pe̍h lih koh thàu-chhut tām-tām ê hún-âng, liân ām-kún mā án-ne. Chóng-sī, chheng-chheng-khì-khì.
Toan-toan chiàⁿ-chiàⁿ chē ê chu-sè, khòaⁿ tio̍h ná siàu-lú, hām pêng-sî bô kāng.
Chòe-āu yi kóng, lâi tôaⁿ iáu tih liān-si̍p ê khek, tō ná khòaⁿ phó͘ ná tôaⁿ "Sin Khek Urashima" (新曲浦島), tôaⁿ liáu, Komako kā hiân-poah gia̍p tī hiân tiong-ng, kui-ê hûn-su pàng khin-sang.
Chek-sî yi hián-chhut iau-kiau, bê-lâng ê chu-thài.
Shimamura m̄-chai boeh kóng sáⁿ hó. Komako koh-khah bô iàu-ì i ē án-nóa phe-phêng, kan-ta hián-chhut thian-chin ê hoaⁿ-hí.
"Chit-só͘-chāi gē-tòaⁿ tôaⁿ samisen, lí kám lóng ē-tàng thiaⁿ siaⁿ tō hun-pia̍t sī sáⁿ tih tôaⁿ?"
"Tong-jiân hun-pia̍t ē chhut, lóng-chóng to bô jī-cha̍p lâng. Nā tôaⁿ "Dodoitsu" (都都逸) siāng hó hun-pia̍t, in-ūi he siāng ē-tàng piáu-hiān ta̍k-lâng ê hong-keh."
Chū án-ne, yi sió-khóa sóa kūi tio̍h ê chiàⁿ-kha, the̍h samisen khǹg tī kha-tó͘, io se̍h tò-pêng, hûn-su àⁿ chiàⁿ-pêng, ná khòaⁿ samisen ná kóng:
"Sè-hàn ê sî, tō sī án-ne liān."
"O͘...thâu...chang...ê..." ná chhiùⁿ gín-á siaⁿ, ná tin-tin tiang-tiang tih tôaⁿ.
"Lí tú khai-sí tō sī o̍h chhiùⁿ 'O͘-thâu-chang' (黑髮) hioh?"
"Ńg-n̄g." Komako ná sè-hàn sî án-ne iô-thâu.
Chū-chiông án-ne liáu-āu, kiàn-pái lâu lo̍h-lâi kòe-mê, Komako mā bē koh kian-chhî boeh tī thiⁿ-kuiⁿ chìn-chêng kóaⁿ túiⁿ khì.
"Komako Chan." Cháu-lông hūiⁿ-hūiⁿ hit-thâu ū bóe-im khiú koân ê kiò siaⁿ. Komako kā kheh-chàn ê chă-gín-á phō lâi phōe-lô͘ chia, hām yi chò-hóe sńg kah bē-kì-lih lâng, it-ti̍t kàu boeh-tàu, chiah koh chhōa chit-ê saⁿ-hòe gín-á khì sé un-chôaⁿ.
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41. 細漢時, tō 是 án-ne 練
稜 koh 直 ê 鼻小可孤單款, 毋過喙 phé 紅牙, 有元氣, ká-ná 輕聲 tih 講: 我 tī 遮 lah. 兩塊媠 koh 紅潤 ê 喙唇, 小可合倚 ê 時, 頂面 ná 像閃爍紅 kuiⁿ. Ná 小櫻桃 ê 喙, 若為著唱歌擘開, 真緊 tō koh 合倚, ná 像她 ê 魂軀 hiah-nī 迷人. Tī 略仔彎 ê 目眉下面, 兩蕊目睭, 目尾無翹 mā 無垂, 袂輸是 thiâu-kang 畫直 ê, 今金 koh 明, 有幾分 ê 囡仔款. 她無抹白粉, 經過都市 ê 藝旦生活, 今 koh 加一沿山 ê 色彩, 她 ê 皮膚 ná 像拄擘開 ê 山蒜 a̍h 洋蔥頭, 白 lih koh 透出淡淡 ê 粉紅, 連頷頸 mā án-ne. 總是, 清清氣氣.
端端正正坐 ê 姿勢, 看著 ná 少女, hām 平時無仝.
最後她講, 來彈猶 tih 練習 ê 曲, tō ná 看譜 ná 彈 "Sin Khek Urashima" (新曲浦島), 彈了, Komako kā 弦撥 gia̍p tī 弦中央, 規个魂軀放輕鬆.
即時她顯出妖嬌, 迷人 ê 姿態.
Shimamura 毋知欲講啥好. Komako 閣較無要意伊會 án-nóa 批評, 干焦顯出天真 ê 歡喜.
"這所在藝旦彈 samisen, 你敢攏會當聽聲 tō 分別是 sáⁿ tih 彈?"
"當然分別會出, 攏總 to 無二十人. 若彈 "Dodoitsu" (都都逸) 上好分別, 因為 he 上會當表現逐人 ê 風格."
自 án-ne, 她小可徙跪著 ê 正跤, 提 samisen 囥 tī 跤肚, 腰踅倒爿, 魂軀 àⁿ 正爿, ná 看 samisen ná 講:
"細漢 ê 時, tō 是 án-ne 練."
"O͘...thâu...chang...ê..." ná 唱囡仔聲, ná tin-tin tiang-tiang tih 彈.
"你拄開始 tō 是學唱 'O͘-thâu-chang' (黑髮) hioh?"
"Ńg-n̄g." Komako ná 細漢時 án-ne 搖頭.
Chū-chiông án-ne 了後, 見擺留落來過暝, Komako mā 袂 koh 堅持欲 tī 天 kuiⁿ 進前趕 túiⁿ 去.
"Komako Chan." 走廊 hūiⁿ-hūiⁿ 彼頭有尾音搝懸 ê 叫聲. Komako kā 客棧 ê chă 囡仔抱來被爐遮, 和她做伙耍 kah 袂記 lih 人, 一直到欲晝, 才 koh chhōa 這个三歲囡仔去洗溫泉.
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41.
The high, thin nose was usually a little lonely, a little sad, but today, with the healthy, vital flush on her cheeks, it was rather whispering: I am here too. The smooth lips seemed to reflect back a dancing light even when they were drawn into a tight bud; and when for a moment they were stretched wide, as the singing demanded, they were quick to contract again into that engaging little bud. Their charm was exactly like the charm of her body itself. Her eyes, moist and shining, made her look like a very young girl. She wore no powder, and the polish of the city geisha had over it a layer of mountain color. Her skin, suggesting the newness of a freshly peeled onion or perhaps a lily bulb, was flushed faintly, even to the throat. More than anything, it was clean.
Seated rigidly upright, she seemed more demure and maidenly than usual.
This time using a score, she sang a song she had not yet finished memorizing. At the end she silently pushed the plectrum under the strings and let herself fall into an easier posture.
Her manner quickly took on a touch of the seductive and alluring.
Shimamura could think of nothing to say. Komako did not seem to care particularly what he thought of her playing, however. She was quite unaffectedly pleased with herself.
"Can you always tell which geisha it is from the tone of the samisen?"
"That's easy. There aren't twenty of us all together. It depends a little on the style, though. The individual comes out more in some styles than in others."
She took up the samisen again and shifted her weight so that her feet were a little to one side and the instrument rested on the calf of one leg.
"This is the way you hold it when you're small." She leaned toward the samisen as though it were too large for her. "Da-a-ark hair. . . ." Her voice was deliberately childish and she picked out the notes uncertainly.
" 'Dark Hair' was the first one you learned?"
"Uh-uh." She shook her head girlishly, as no doubt she did in the days when she was still too small to hold the samisen properly.
Komako no longer tried to leave before day-break when she stayed the night.
"Komako," the two-year-old daughter of the innkeeper would call from far down the hall, her voice rising in the mountain-country lilt. The two of them would play happily in the kotatsu until nearly noon, when they would go for a bath.
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