90. Khì jiâu-se ê sán-tē khòaⁿ-khòaⁿ leh
Shimamura kám-kak, chit-kái túiⁿ, chiām-sî bô khó-lêng koh lâi chit-ê un-chôaⁿ e̍k-tiûⁿ. Seh ê kùi-cheh boeh kàu, i óa-kīn hóe-lô͘, ná thiaⁿ he kheh-chàn thâu-ke te̍k-pia̍t the̍h chhut-lâi, Kyoto chhut-sán ê lāu tê-kó͘, só͘ hoat chhut-lâi, ná siông-á hong ê siaⁿ.
Tê-kó͘ téng-bīn ū an gîn ê hoe-chiáu. Siông-á hong ê siaⁿ ū nn̄g-têng, chi̍t-ê kīn, chi̍t-ê hūiⁿ. Pí hūiⁿ siông-á hong koh-khah hūiⁿ ê ūi, ká-ná ū khin-khin ê lin-liang-á siaⁿ. Shimamura kā hīⁿ-khang óa-kīn tê-kó͘ khì thiaⁿ lin-liang-á siaⁿ.
Tī hūiⁿ-hūiⁿ lin-liang-á siaⁿ bô-thêng ê só͘-chāi, Komako ta̍h tio̍h ná lin-liang-á siaⁿ ê sè kha-pō͘ kiâⁿ kòe-lâi, hit-siang sè-sè ê kha tú-hó hō͘ Shimamura khòaⁿ tio̍h. Shimamura tio̍h chi̍t-kiaⁿ, sim-koaⁿ àm-àm tih siūⁿ, í-keng kàu bô lī-khui chit-ê só͘-chāi bē-sái ah-lah.
Chū án-ne, Shimamura siūⁿ boeh khì jiâu-se ê sán-tē khòaⁿ-khòaⁿ leh. Án-ne mā ū kiâⁿ-khui chit-ê un-chôaⁿ e̍k-tiûⁿ ê ì-bī.
M̄-koh, khe-lâu ê hā-iû ū kúi-ā ê tìn, Shimamura m̄-chai boeh khì tá chi̍t-ê hó. I bô siūⁿ boeh khòaⁿ tng-tih hoat-tián chò pháng-chit kang-gia̍p-khu ê tōa tìn, tō tī chi̍t-ê chám-jiân hi-bî ê sió chām lo̍h-chhia. Kiâⁿ bô gōa kú, tō kàu chi̍t-tiâu ná chhiūⁿ kó͘-chá ia̍h-chām ê ke-lō͘.
Ke-ke hō͘-hō͘ ê gîm-chîⁿ lóng tn̂g-tn̂g chhun chhut-khì, chi-chhî ê thiāu-á iân-lō͘ khiā kui-pâi. Che kài sêng Edo sî-tāi ke-lō͘ ê tiàm-kha (店下, têng-á-kha), tī Seh-kok in chū kó͘ kiò chò "gān-bo̍k" (雁木). Chek seh siuⁿ kāu ê sî, che têng-á-kha tō chiâⁿ-chò óng-lâi ê thong-lō͘. Ke-lō͘ kui-pêng ê gîm-chîⁿ lóng sio-liân chò-hóe.
Gîm-chîⁿ sio-liân, chhù-téng ê seh kan-ta ē-tàng sàu khì ke-lō͘. Si̍t-chè-siāng, sī ùi chhù-téng kā seh hiù khì lō͘-tiong-ng ê seh-hōaⁿ téng-koân. Boeh kòe tōa-lō͘, soah tio̍h tī seh-hōaⁿ óe kúi-ā ūi ê pōng-khang. Chāi-tē lâng kā che kiò chò "thai-lāi-chùiⁿ" (胎內潜).
Pêⁿ-pêⁿ tī Seh-kok, Komako hia ê un-chôaⁿ chng, gîm-chîⁿ bô sio-liân, Shimamura chho͘-chhù tī chia khòaⁿ tio̍h gān-bo̍k. In-ūi hòⁿ-kî, tō kiâⁿ kòe kā khòaⁿ-māi chi̍t-ē. Kū gîm-chîⁿ kha chin àm-sàm, oai-oai ê thiāu-á kha í-keng àu. Kám-kak bē-su sī tih thau bî kúi-ā tāi hō͘ seh tâi tio̍h ê khó͘-būn ka-cho̍k.
Tī seh ē-bīn choan-sim chò chhiú-kang ê chit-pò͘ ko͘-niû só͘ kòe ê seng-oa̍h, pēng bô yi ê sán-phín hiah-nī sóng-khoài, bêng-liāng ah. Chia hō͘ lâng ê ìn-siōng sī chin kó͘-ló ê sió-tìn. Kì-chài jiâu-se ê kó͘-chheh mā ū ín-iōng Tông-tiâu Qin Tao-yu (秦韜玉) ê si-kù [苦恨年年壓金線, 為他人作嫁衣裳 (Khó͘-hūn nî-nî ah kim-sòaⁿ, ūi pa̍t-lâng chò sin-niû saⁿ)], thiaⁿ-kóng pháng-chit-siang bô-ài chhiàⁿ chit-kang, tō sī in-ūi chit jiâu-se chin kāu-kang, kè-siàu bē ha̍h.
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90. 去皺紗 ê 產地看看 leh
Shimamura 感覺, 這改 túiⁿ, 暫時無可能 koh 來這个溫泉浴場. 雪 ê 季節欲到, 伊倚近火爐, ná 聽 he 客棧頭家特別提出來, Kyoto 出產 ê 老茶鈷, 所發出來, ná 松仔風 ê 聲.
茶鈷頂面有安銀 ê 花鳥. 松仔風 ê 聲有兩 têng, 一个近, 一个 hūiⁿ. 比 hūiⁿ 松仔風閣較 hūiⁿ ê 位, ká-ná 有輕輕 ê lin-liang-á 聲. Shimamura kā 耳空倚近茶鈷去聽 lin-liang-á 聲.
Tī hūiⁿ-hūiⁿ lin-liang-á 聲無停 ê 所在, Komako 踏著 ná lin-liang-á 聲 ê 細跤步行過來, 彼雙細細 ê 跤拄好予 Shimamura 看著. Shimamura 著一驚, 心肝暗暗 tih 想, 已經到無離開這个所在袂使 ah-lah.
自 án-ne, Shimamura 想欲去皺紗 ê 產地看看 leh. Án-ne mā 有行開這个溫泉浴場 ê 意味.
毋過, 溪流 ê 下游有幾 ā 个鎮, Shimamura 毋知欲去 tá 一个好. 伊無想欲看當 tih 發展做紡織工業區 ê 大鎮, tō tī 一个嶄然稀微 ê 小站落車. 行無偌久, tō 到一條 ná 像古早驛站 ê 街路.
家家戶戶 ê 砛簷攏長長伸出去, 支持 ê 柱仔沿路徛規排. 這蓋成 Edo 時代街路 ê tiàm-kha (店下, têng-á-kha), tī 雪國 in 自古叫做 "gān-bo̍k" (雁木). 積雪傷厚 ê 時, 這亭仔跤 tō 成做往來 ê 通路. 街路規爿 ê 砛簷攏相連做伙.
砛簷相連, 厝頂 ê 雪干焦會當掃去街路. 實際上, 是 ùi 厝頂 kā 雪 hiù 去路中央 ê 雪岸頂懸. 欲過大路, 煞著 tī 雪岸挖幾 ā 位 ê 磅空. 在地人 kā 這叫做 "thai-lāi-chùiⁿ" (胎內潜).
平平 tī 雪國, Komako 遐 ê 溫泉庄, 砛簷無相連, Shimamura 初次 tī 遮看著雁木. 因為好奇, tō 行過 kā 看覓一下. 舊砛簷跤真暗毿, 歪歪 ê 柱仔跤已經漚. 感覺袂輸是 tih 偷眯幾 ā 代予雪埋著 ê 苦悶家族.
Tī 雪下面專心做手工 ê 織布姑娘所過 ê 生活, 並無她 ê 產品 hiah-nī 爽快, 明亮 ah. 遮予人 ê 印象是真古老 ê 小鎮. 記載皺紗 ê 古冊 mā 有引用唐朝 Qin Tao-yu (秦韜玉) ê 詩句 [苦恨年年壓金線, 為他人作嫁衣裳 (Khó͘-hūn nî-nî ah kim-sòaⁿ, ūi pa̍t-lâng chò sin-niû saⁿ)], 聽講紡織 siang 無愛倩織工, tō 是因為織皺紗真厚工, 價數袂合.
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90.
He leaned against the brazier, provided against the coming of the snowy season, and thought how unlikely it was that he would come again once he had left. The innkeeper had lent him an old Kyota teakettle, skillfully inlaid in silver with flowers and birds, and from it came the sound of wind in the pines.
He could make out two pine breezes, as a matter of fact, a near one and a far one. Just beyond the far breeze he heard faintly the tinkling of a bell. He put his ear ta the kettle and listened.
Far away, where the bell tinkled on, he suddenly saw Komako's feet, tripping in time with the bell. He drew back. The time had come to leave.
He thought of going to see the Chijimi country. That excursion might set him on his way toward breaking away from this hot spring.
He did not know at which of the towns down-stream he should get off the train. Not interested in modern weaving centers, he chose a station that looked suitably lonesome and backward. After walking for a time he came out on what seemed to be the main street of an old post town.
The eaves pushing out far beyond the houses were supported by pillars along both sides of the street, and in their shade were passages for communication when the snow was deep, rather like the open lean-to the old Edo shopkeeper used for displaying his wares. With deep eaves on one side of each house, the passages stretched on down the street.
Since the houses were joined in a solid block, the snow from the roofs could only be thrown down into the street. One might more accurately say that at its deepest the snow was thrown not down but up, to a high bank of snow in the middle of the street. Tunnels were cut through for passage from one side to the other.
The houses in Komako's hot-spring village, for all of its being a part of this same snow country, were separated by open spaces, and this was therefore the first time Shimamura had seen the snow passages. He tried walking in one of them. The shade under the old eaves was dark, and the leaning pillars were beginning to rot at their bases. He walked along looking into the houses as into the gloom where generation after generation of his ancestors had endured the long snows.
He saw that the weaver maidens, giving themselves up to their work here under the snow, had lived lives far from as bright and fresh as the Chijimi they made. With an allusion to a Chinese poem, Shimamura's old book had pointed out that in harsh economic terms the making of Chijimi was quite impractical, so great was the expenditure of effort that went into even one piece. It followed that none of the Chijimi houses had been able to hire weavers from outside.
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