62. Sim-koaⁿ iū khì hō͘ soaⁿ khip khì
Iáu ū chit-tiâu koa: "Sam-á chhiū téng àm-hong chhoe, tōa chiah o͘-a hut leh poe." Ùi chit-ê thang-á khòaⁿ loeh, kin-á-ji̍t mā ū kui-tīn ê chhân-eⁿ tī khong-tiong lâu-tāng. Thiⁿ boeh àm ah, in tī khong-tiong iû-éng ê sok-tō͘ ká-ná lú lâi lú kín.
Chhut-hoat chìn-chêng, Shimamura tī chhia-thâu hoàn-bē-pō͘ hoat-hiān sin chhut-pán siāu-kài chit só͘-chāi peh-soaⁿ ê chheh, tō kā bé chi̍t-pún chah lâi. Chhìn-chhái tih tha̍k ê sî, tú tio̍h ū chi̍t-tōaⁿ án-ne siá: Ùi chit-ê pâng-keng khòaⁿ ē tio̍h ê pian-kài hiah-ê soaⁿ tiong-kan, kî-tiong ū chi̍t-ê soaⁿ-téng hū-kīn, ū chi̍t-tiâu iân chúi-tî, chin súi ê sió-lō͘, hit-tah-á ê làm-tē ū chē-chē koân-soaⁿ si̍t-bu̍t, sì-kè tih khui-hoe. Joa̍h-thiⁿ ê sî, âng chhân-eⁿ iāⁿ-iāⁿ poe, káⁿ hioh tī lâng ê bō-á téng, chhiú téng, ū-sî liân ba̍k-kiàⁿ-kheng mā káⁿ hioh. Hit-chióng chū-iû chū-chāi ê khoán, hām siū-chīn ge̍k-thāi ê to͘-chhī chhân-eⁿ, bē-su thiⁿ hām tē ê chha-pia̍t.
M̄-koh, gán-chêng ê chit-tīn chhân-eⁿ, ká-ná ū sáⁿ tih kā kóaⁿ, iū ná-chhiūⁿ sī boeh tī thiⁿ-o͘ chìn-chêng phah-piàⁿ poe, bián-tit hō͘ sam-nâ ê o͘-iáⁿ kā thun-chia̍h khì.
Hūiⁿ soaⁿ chiò tī chhiâ-sai ê ji̍t-thâu ē, khòaⁿ ē chhut âng-hio̍h ùi soaⁿ-téng chiām-chiām piàn âng.
"Lâng chin chhùi-jio̍k, kám m̄-sī? Ùi thâu-khak kàu kut-thâu lóng ē siak kah chhùi-kô͘-kô͘. Iah nā hîm neh, ùi khah koânê chio̍h-phiâⁿ siak lo̍h-lâi, chi̍t-sut-á to bē siang tio̍h." Shimamura siūⁿ tio̍h chá-khí Komako kóng ê ōe. Ná khí hit chō soaⁿ, ná kóng, hia ê chhái-chio̍h-tiûⁿ ū lâng hoat-seng chai-lān.
Lâng nā chhiūⁿ hîm án-ne ū chi̍t-iân tēng koh kāu ê mo͘-phôe, lâng ê koan-lêng it-tēng tō oân-choân bô kāng-khoán ah. Lâng kah-ì bong po̍h koh ku̍t-liu ê phôe-hu. I ná án-ne tih siūⁿ, ná khòaⁿ hông-hun ji̍t-thâu ē ê soaⁿ. Chi̍t-chūn kám-siang, Shimamura soah tih su-bō͘ lâng ê phôe-hu.
"Ia̍h-á, chhân-eⁿ, hām tō͘-kâu..." M̄-chai tá chi̍t-ê gē-tòaⁿ, tī thê-chá chia̍h-àm ê sî, kē-lō͘ kē-lō͘ tôaⁿ samisen, koh chhiùⁿ chit-tiâu koa.
Peh-soaⁿ chí-lâm kan-ta kán-tan kì-chài peh-soaⁿ ê lō͘-sòaⁿ, ji̍t-thêng, tòa ê só͘-chāi, hùi-iōng téng-téng hāng-bo̍k, kî-thaⁿ ê tō hō͘ i ka-tī khì chū-iû khang-siūⁿ. Shimamura chho͘-chhù tú tio̍h Komako, sī ùi soaⁿ téng lo̍h-lâi chit-ê un-chôaⁿ chhun ê sî, hit-sî soaⁿ-téng ê seh iáu bōe iûⁿ liáu, chháu-bo̍k tng-tih thiu íⁿ. Taⁿ, iū-koh kàu chhiu-thiⁿ peh-soaⁿ ê kùi-cheh, tī chia khòaⁿ ka-tī bat ta̍h-kha-kàu, lâu kha-jiah ê soaⁿ, kui-ê sim-koaⁿ iū khì hō͘ soaⁿ khip khì.
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62. 心肝又去予山吸去
猶有這條歌: "杉仔樹頂暗風吹, 大隻烏鴉忽 leh 飛." Ùi 這个窗仔看 loeh, 今仔日 mā 有規陣 ê 田嬰 tī 空中流動. 天欲暗 ah, in tī 空中游泳 ê 速度 ká-ná lú 來 lú 緊.
出發進前, Shimamura tī 車頭販賣部發現新出版紹介這所在 peh 山 ê 冊, tō kā 買一本扎來. 凊彩 tih 讀 ê 時, 拄著有一段 án-ne 寫: Ùi 這个房間看會著 ê 邊界 hiah-ê 山中間, 其中有一个山頂附近, 有一條沿水池, 真媠 ê 小路, 彼搭仔 ê 湳地有濟濟懸山植物, 四界 tih 開花. 熱天 ê 時, 紅田嬰颺颺飛, 敢歇 tī 人 ê 帽仔頂, 手頂, 有時連目鏡框 mā 敢歇. 彼種自由自在 ê 款, 和受盡虐待 ê 都市田嬰, 袂輸天和地 ê 差別.
毋過, 眼前 ê 這陣田嬰, ká-ná 有啥 tih kā 趕, 又 ná 像是欲 tī 天烏進前拍拚飛, 免得予杉林 ê 烏影 kā 吞食去.
Hūiⁿ 山照 tī 斜西 ê 日頭下, 看會出紅葉 ùi 山頂漸漸變紅.
"人真脆弱, 敢毋是? Ùi 頭殼到骨頭攏會摔 kah 碎糊糊. Iah 若熊 neh, ùi 較懸 ê 石坪摔落來, 一屑仔 to 袂 siang 著." Shimamura 想著早起 Komako 講 ê 話. Ná kí 彼座山, ná 講, 遐 ê 採石場有人發生災難.
人若像熊 án-ne 有一沿 tēng koh 厚 ê 毛皮, 人 ê 官能一定 tō 完全無共款 ah. 人佮意摸薄 koh 滑溜 ê 皮膚. 伊 ná án-ne tih 想, ná 看黃昏日頭下 ê 山. 一陣感 siang, Shimamura 煞 tih 思慕人 ê 皮膚.
"蝶仔, 田嬰, 和杜猴..." 毋知 tá 一个藝旦, tī 提早食暗 ê 時, 低路低路彈 samisen, koh 唱這條歌.
Peh 山指南干焦簡單記載 peh 山 ê 路線, 日程, 蹛 ê 所在, 費用等等項目, 其他 ê tō 予伊家治去自由空想. Shimamura 初次拄著 Komako, 是 ùi 山頂落來這个溫泉村 ê 時, 彼時山頂 ê 雪猶未溶了, 草木當 tih 抽穎. 今, 又閣到秋天 peh 山 ê 季節, tī 遮看家治 bat 踏跤到, 留跤跡 ê 山, 規个心肝又去予山吸去.
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62
How large the crow is, starting up from the cedar in the evening breeze -- so says the poet. Again there were swarms of dragonflies by the cedar grove Shimamura could see from his window. As the evening approached, they seemed to swim about faster, more restlessly.
Shimamura had bought a new guide to these mountains while he was waiting for his train in Tokyo. Thumbing through it, he learned that near the top of one of the Border Range peaks a path threaded its way through beautiful lakes and marshes, and in this watery belt Alpine plants grew in the wildest profusion. In the summer red dragonflies flew calmly about, lighting on a hat or a hand, or the rim of a pair of spectacles, as different from the persecuted city dragonfly as a cloud from a mud puddle.
But the dragonflies here before him seemed to be driven by something. It was as though they wanted desperately to avoid being pulled in with the cedar grove as it darkened before the sunset.
The western sun fell on distant mountains, and in the evening light he could see how the red leaves were working their way down from the summits.
"People are delicate, aren't they?" Komako had said that morning. "Broken into a pulp, they say, skull and bones and all. And a bear could fall from a higher ledge and not be hurt in the least." There had been another accident up among the rocks, and she had pointed out the mountain on which it had happened.
If man had a rough, hairy hide like a bear, his world would be different indeed, Shimamura thought. It was through a thin, smooth skin that man loved. Looking out at the evening mountains, Shimamura felt a sentimental longing for the human skin.
"The butterfly, the dragonfly, the cricket." A geisha had been singing the song to a clumsy samisen accompaniment as he sat down to an early dinner.
The guidebook gave only the most essential information on routes, schedules, lodgings, costs, and left the rest to the imagination. Shimamura had come down from these mountains, as the new green was making its way through the last of the snow, to meet Komako for the first time; and now, in the autumn climbing season, he found himself tracks in.
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