87. Seh sī jiâu-se ê kin-goân
Shimamura siūⁿ khí, kū-nî té hit-ê chiò tio̍h chá-khí seh ê kiàⁿ, tō koh lia̍h hit-ê kiàⁿ-tâi khòaⁿ chi̍t-ē. Kiàⁿ lāi-té kāng-khoán phû-hiān peng-léng ê seh-hoe, ná chi̍t-tiâu chi̍t-tiâu pe̍h-sòaⁿ, phiau lo̍h tī saⁿ-niá hiàn-khui tng-tih boah ām-kún ê Komako sì-chiu.
Komako ê phôe-hu, ná tú sé kòe, chheng-khì liu-liu. Shimamura chi̍t-kù bô-ì-tiong ê ōe hō͘ yi sán-seng gō͘-hōe, che chin siūⁿ bē-kàu. Che khak-si̍t sī yi bô hoat-tō͘ pâi-tî ê pi-ai.
Âng-hio̍h ji̍t-chiām piàn àm-chhiah-sek ê hūiⁿ soaⁿ, tī chit-tiûⁿ chho͘-seh tang-tiong, iū-koh oa̍h-thiàu khí-lâi.
Phi chi̍t-iân po̍h seh ê sam-á-nâ, sam-á-chhiū chi̍t-châng chi̍t-châng chin hun-bêng, chhiū-chiam kí hiàng thiⁿ-téng, thêng-thêng khiā tī seh tē.
Tī seh lih pháng-se, tī seh lih chit-pò͘, iōng seh-chúi sé, tī seh téng pha̍k. Ùi pháng-se kàu chit-pò͘, lóng tī seh lih chìn-hêng. "Ū seh tō ū jiâu-se, seh sī jiâu-se ê kin-goân", kó͘-chá-lâng án-ne siá tī chheh lih.
Che sī chng lih ê hū-jîn-lâng tī tn̂g-tn̂g lo̍h-seh kùi-cheh ê chhiú-kang khang-khòe. Shimamura mā bat tī kū-saⁿ-tiàm chhōe chit-chióng Seh-kok ê jiâu-se pò͘, boeh the̍h lâi chò joa̍h-thiⁿ ê saⁿ. In-ūi bú-tō ê koan-hē, i ū se̍k-sāi keng-êng Nō (能)-kio̍k hì-ho̍k ê kó͘-bu̍t tiàm, sīm-chì pài-thok in, nā ū chit-liāu hó ê jiâu-se, sûi-sî the̍h lâi khòaⁿ. Chiah-nī kah-ì jiâu-se, i mā bat iōng he chò lāi-té-saⁿ chhēng.
Thiaⁿ-kóng, í-chêng múi-tang kàu chhun-thiⁿ, chek seh khai-sí iûⁿ ê sî, pha̍k se ê lî-á chi̍t-ē thiat-tiāu, jiâu-se tō chiūⁿ-chhī. Tōa to͘-chhī ê pò͘-chng thâu-ke, lóng hūiⁿ-hūiⁿ lâi kàu chia, pún-tē sīm-chì ūi in chún-pī tòa ê só͘-chāi.
Ko͘-niû-á pòaⁿ-nî lâi iōng-sim chit chhut ê jiâu-se, ūi tio̍h boeh chiūⁿ-chhī, hù-kīn chhun-chng ê lâm-lú mā lóng chi̍p-óa lâi. Piáu-ián a̍h sī cha̍p-hòe ê tiàm chi̍t-keng koh chi̍t-keng, bē-su nî-cheh hiah lāu-jia̍t. Jiâu-se téng-koân lóng kat chi̍t-tiuⁿ chóa-pâi, siá chit-pò͘ ko͘-niû ê miâ-jī hām chū-só͘, kin-kì phín-chit phêng-tēng téng-kip. Che mā chiâⁿ-chò soán sin-pū ê kin-kì.
Nā bô chū sè-hàn tō khai-sí o̍h pháng-chit, kàu liáu cha̍p-gō͘/la̍k, sīm-chì jī-sì/gō͘ ê cha-bó͘, sī bô-hoat-tō͘ chit chhut hó phín-chit ê jiâu-se. Nî-hòe chi̍t-ē chē, chit chhut-lâi ê pò͘ mā bô kong-chhái.
Ko͘-niû-á ūi tio̍h cheⁿ boeh tio̍h-téng, lóng phah-piàⁿ khó͘-liān, ùi kū-le̍k cha̍p-goe̍h khai-sí thiu-se, it-ti̍t kàu keh-nî jī-goe̍h chiah kiat-sok pha̍k-pò͘. Tī chit-tōaⁿ peng-seh kî-kan bô pa̍t-hāng tāi-chì, só͘-í chò liáu te̍k-pia̍t iōng-sim.
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87. 雪是皺紗 ê 根源
Shimamura 想起, 舊年底彼个照著早起雪 ê 鏡, tō koh 掠彼个鏡台看一下. 鏡內底仝款浮現冰冷 ê 雪花, ná 一條一條白線, 飄落 tī 衫領現開當 tih 抹頷頸 ê Komako 四周.
Komako ê 皮膚, ná 拄洗過, 清氣溜溜. Shimamura 一句無意中 ê 話予她產生誤會, 這真想袂到. 這確實是她無法度排除 ê 悲哀.
紅葉日漸變暗赤色 ê hūiⁿ 山, tī 這場初雪當中, 又閣活跳起來.
披一沿薄雪 ê 杉仔林, 杉仔樹一叢一叢真分明, 樹尖指向天頂, 騰騰徛 tī 雪地.
Tī 雪 lih 紡紗, tī 雪 lih 織布, 用雪水洗, tī 雪頂曝. Ùi 紡紗到織布, 攏 tī 雪 lih 進行. "有雪 tō 有皺紗, 雪是皺紗 ê 根源", 古早人 án-ne 寫 tī 冊 lih.
這是庄 lih ê 婦人 lâng tī 長長落雪季節 ê 手工 khang-khòe. Shimamura mā bat tī 舊衫店揣這種雪國 ê 皺紗布, 欲提來做熱天 ê 衫. 因為舞蹈 ê 關係, 伊有熟似經營 Nō (能) 劇戲服 ê 古物店, 甚至拜託 in, 若有質料好 ê 皺紗, 隨時提來看. Chiah-nī 佮意皺紗, 伊 mā bat 用 he 做內底衫穿.
聽講, 以前每冬到春天, 積雪開始溶 ê 時, 曝紗 ê 簾仔一下撤掉, 皺紗 tō 上市. 大都市 ê 布莊頭家, 攏 hūiⁿ-hūiⁿ 來到遮, 本地甚至為 in 準備蹛 ê 所在.
姑娘仔半年來用心織出 ê 皺紗, 為著欲上市, 附近村庄 ê 男女 mā 攏集倚來. 表演抑是雜貨 ê 店一間 koh 一間, 袂輸年節 hiah 鬧熱. 皺紗頂懸攏結一張紙牌, 寫織布姑娘 ê 名字和住所, 根據品質評定等級. 這 mā 成做選新婦 ê 根據.
若無自細漢 tō 開始學紡織, 到了十五六, 甚至二四五 ê 查某, 是無法度織出好品質 ê 皺紗. 年歲一下濟, 織出來 ê 布 mā 無光彩.
姑娘仔為著爭欲著頂, 攏拍拚苦練, ùi 舊曆十月開始抽紗, 一直到隔年二月才結束曝布. Tī 這段冰雪期間無別項代誌, 所以做了特別用心.
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87.
He remembered the snowy morning toward the end of the year before, and glanced at the mirror. The cold peonies floated up yet larger, cutting a white outline around Komako. Her kimono was open at the neck, and she was wiping at her throat with a towel.
Her skin was as clean as if it had just been laundered. He had not dreamed that she was a woman who would find it necessary to take offense at such a trivial remark, and that very fact lent her an irresistible sadness.
The mountains, more distant each day as the russet of the autumn leaves had darkened, came brightly back to life with the snow.
The cedars, under a thin coating of snow, rose sheer from the white ground to the sky, each cut off sharply from the rest.
The thread was spun in the snow, and the cloth woven in the snow, washed in the snow, and bleached in the snow. Everything, from the first spinning of the thread to the last finishing touches, was done in the snow. "There is Chijimi linen because there is snow," someone wrote long ago. "Snow is the mother of Chijimi."
The Chijimi grass-linen of this snow country was the handwork of the mountain maiden through the long, snowbound winters. Shimamura searched for the cloth in old-clothes shops to use for summer kimonos. Through acquaintances in the dance world, he had found a shop that specialized in old No robes, and he had a standing order that when a good piece of Chijimi came in he was to see it.
In the old days, it is said, the early Chijimi fair was held in the spring, when the snow had melted and the snow blinds were taken down from the houses. People came from far and near to buy Chijimi, even wholesalers from the great commercial cities, Edo, Nagoya, and Osaka; and the inns at which they stayed were fixed by tradition.
Since the labors of half a year were on display, youths and maidens gathered from all the mountain villages. Sellers' booths and buyers' booths were lined up side by side, and the market took on the air of a festival. With prizes awarded for the best pieces of weaving, it came also to be sort of competition for husbands.
The girls learned to weave as children, and they turned out their best work between the ages of perhaps fourteen and twenty-four. As they grew older they lost the touch that gave tone to the finest Chijimi.
In their desire to be numbered among the few outstanding weavers, they put their whole labor and love into this product of the long snowbound months--the months of seclusion and boredom, between October, under the old lunar calender, when the spmmng began, and mid-February of the following year, when the last bleaching was finished.
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