75. I koan-chhat thâng-thōa ê sí-bông | 伊觀察蟲豸 ê 死亡

75. I koan-chhat thâng-thōa ê sí-bông

Yi ê āu-niá hiàn-hiàn, āu-niā kàu keng-thâu ná chi̍t-ki tián khui ê pe̍h khôe-sìⁿ. He pe̍h-hún boah kāu-kāu ê ki-hu, pûi-núi kah boeh bô-siá-sì, ná mô͘ ê pò͘, koh ná tōng-bu̍t ê khoán.

"Tong-kin ê sè-kài tō sī án-ne." Shimamura nauh chi̍t-ē. He ōe khang-khak koh peng-léng, m̄-koh Komako tan-sûn kā ìn:

"It-ti̍t lóng mā sī án-ne."

Yi thâu taⁿ khí-lâi, chhìn-chhái koh ke chi̍t-kù:

"Che lí kám m̄-chai?"

Yi he tah kha-chiah-phiaⁿ ê âng lāi-saⁿ khòaⁿ bē tio̍h ah.

Shimamura tng-tih hoan-e̍k Valéry hām Alain ê chok-phín, iáu ū Franse chhut-pán ê Rusia balet-bú chhiang-sēng sî-tāi ê bú-tō lí-lūn. I chún-pī boeh chū-hùi chhut-pán, kan-ta boeh súi-súi ìn chió-chió kúi-pún. Chit-lō chheh tùi tong-kin ê Ji̍t-pún bú-tō-kài kin-pún bô-lō͘-iōng, mā ē-sái kóng, án-ne chò kan-ta hō͘ i ka-tī sim-an. I iōng ka-tī ê khang-khòe lâi khau-sé ka-tī, án-ne lâi an-ùi ka-tī, lâi gô͘-lo̍k ka-tī. I he khó-liân ê, ná bîn-bāng ê sè-kài tō án-ne lâi seⁿ-chiâⁿ. Tō-kóng chhut-mûi lí-hêng, i mā bô su-iàu kóaⁿ-kín.

I siâng-sè koan-chhat thâng-thōa ut-būn sí-bông ê chêng-hêng.

Chhiu thiⁿ lú liâng, i pâng-keng ê tatami téng, ta̍k-kang lóng ū thâng-thōa sí tī hia. Tēng-khak ê ku-á chi̍t péng-sin tō peh bē khí-lâi. Phang sô kúi-pō͘ tō tó loeh. Ná-chhiūⁿ kùi-cheh ê piàn-hòa, in tō chū-jiân sí-bông. Sí ê sî sui-jiân tiām chiuh-chiuh, m̄-koh nā siâng-sè kā khòaⁿ, in ê kha a̍h-sī chhiok-kak iáu ē kan-khó͘ chùn-tāng. Thâng-thōa sí-bông ê sió-sió só͘-chāi, peh-tè tatami khòaⁿ khí-lâi sī chin khòng-khoah.

Shimamura iōng chéng-thâu-á ni sí ê thâng-thōa boeh hiat tiāu, hut-jiân siūⁿ tio̍h lâu tī chhù lih ê gín-á.

Ū-ê ia̍h-á, khòaⁿ sī it-ti̍t heⁿh tī thih se-thang, kî-si̍t í-keng sí ah, ná-chhiūⁿ ta hio̍h án-ne lak lo̍h. Mā ū ùi piah téng liàn lo̍h-lâi ê. Kā khioh khí-lâi khòaⁿ, Shimamura kám-kak, in ná ē seⁿ-chò chiah-nī-á súi ah.

Cha̍h báng-thâng ê thih se-thang i-keng pak lo̍h, thâng-siaⁿ mā chám-jiân-á tiām ah.

--

75. 伊觀察蟲豸 ê 死亡

她 ê 後領現現, 後陵到肩頭 ná 一支展開 ê 白葵扇. He 白粉抹厚厚 ê 肌膚, 肥 núi kah 欲無捨世, ná 毛 ê 布, koh ná 動物 ê 款.

"當今 ê 世界 tō 是 án-ne." Shimamura nauh 一下. 彼話空殼 koh 冰冷, 毋過 Komako 單純 kā 應:

"一直攏 mā 是 án-ne."

她頭 taⁿ 起來, 凊彩 koh 加一句:

"這你敢毋知?"

她 he 貼尻脊骿 ê 紅內衫看袂著 ah.

Shimamura 當 tih 翻譯 Valéry 和 Alain ê 作品, 猶有 Franse 出版 ê Rusia balet 舞 chhiang 盛時代 ê 舞蹈理論. 伊準備欲自費出版, 干焦欲媠媠印少少幾本. Chit-lō 冊對當今 ê 日本舞蹈界根本無路用, mā 會使講, án-ne 做干焦予伊家治心安. 伊用家治 ê 工課來剾洗家治, án-ne 來安慰家治, 來娛樂家治. 伊 he 可憐 ê, ná 眠夢 ê 世界 tō án-ne 來生成. Tō 講出 mûi 旅行, 伊 mā 無需要趕緊.

伊詳細觀察蟲豸鬱悶死亡 ê 情形.

秋天 lú 涼, 伊房間 ê tatami 頂, 逐工攏有蟲豸死 tī 遐. tēng 殼 ê 龜仔一 péng 身 tō peh 袂起來. 蜂趖幾步 tō 倒 loeh. Ná 像季節 ê 變化, in tō 自然死亡. 死 ê 時雖然恬 chiuh-chiuh, 毋過若詳細 kā 看, in ê 跤抑是觸角猶會艱苦顫動. 蟲豸死亡 ê 小小所在, 八塊 tatami 看起來是真曠闊.

Shimamura 用指頭仔 ni 死 ê 蟲豸欲㧒掉, 忽然想著留 tī 厝 lih ê 囡仔.

有 ê 蝶仔, 看是一直 heⁿh tī 鐵紗窗, 其實已經死 ah, ná 像焦葉 án-ne lak 落. Mā 有 ùi 壁頂輾落來 ê. Kā 抾起來看, Shimamura 感覺, in 那會生做 chiah-nī-á 媠 ah.

閘蠓蟲 ê 鐵紗窗已經剝落, 蟲聲 mā 嶄然仔恬 ah.

--

75.

Her kimono stood out from her neck, and her back and shoulders were like a white fan spread under it. There was something sad about the full flesh under that white powder. It suggested a woolen cloth, and again it suggested the pelt of some animal.

"In the world as it is," he murmured, chilled at the sterility of the words even as he spoke.

But Komako only replied: "As it always has been." She raised her head and added absentmindedly: "You didn't know that?"

The red under-kimono clinging to her skin disappeared as she looked up.

Shimamura was translating Valery and Alain, and French treatises on the dance from the golden age of the Russian ballet. He meant to bring them our in a small luxury edition at his own expense. The book would in all likelihood contribute nothing to the Japanese dancing world. One could nonetheless say, if pressed, that it would bring aid and comfort to Shimamura. He pampered himself with the somewhat whimsical pleasure of sneering at himself through his work, and it may well have been from such a pleasure that his sad little dream world sprang. Off on a trip, he saw no need to hurry himself.

He spent much of his time watching insects in their death agonies.

Each day, as the autumn grew colder, insects died on the floor of his room. Stiff-winged insects fell on their backs and were unable to get to their feet again. A bee walked a little and collapsed, walked a little and collapsed. It was a quiet death that came with the change of seasons. Looking closely, however, Shimamura could see that the legs and feelers were trembling in the struggle to live. For such a tiny death, the empty eight-mat room seemed enormous.

As he picked up a dead insect to throw it out, he sometimes thought for an instant of the children he had left in Tokyo.

A moth on the screen was still for a very long time. It too was dead, and it fell to the earth like a dead leaf. Occasionally a moth fell from the wall. Taking it up in his hand, Shimamura would wonder how to account for such beauty.

The screens were removed, and the singing of the insects was more subdued and lonely day by day.

--

74. Ta̍k-ê lóng chai lán ê tāi-chì | 逐个攏知咱 ê 代誌

74. Ta̍k-ê lóng chai lán ê tāi-chì

Yi kā chiah-ê tāi-chì, a̍h sī ùi tá chi̍t-keng kheh-chàn kàu lēng-gōa chi̍t-keng, hām tī iàn-hōe ê tāi-chì téng-téng lóng pò-kò hō͘ i thiaⁿ.

"Góa ē koh lâi." Yi ná lim chúi, ná khiā khí-lâi, kóng:

"Hoān-sè mā bô lâi. Saⁿ-ê lâng tio̍h àn-nāi saⁿ-cha̍p ê lâng-kheh, siuⁿ bô-êng, kiâⁿ bē khui kha."

M̄-koh, kòe bô gōa kú, yi koh lâi ah.

"Chiâⁿ chia̍h-la̍t. Saⁿ-cha̍p ê lâng-kheh, kan-ta saⁿ-ê pôe-chiú ê. Hit nn̄g-ê, lāu--ê lāu, chíⁿ--ê chíⁿ, góa chiâⁿ chia̍h-la̍t. Lâng-kheh ū-kàu tàng-sng, tiāⁿ-tio̍h sī sám-á lí-hêng-thoân ê. Saⁿ-cha̍p lâng siāng-bô tio̍h kiò la̍k-ê pôe-chiú. Góa lăi kā lim--kúi-poe, kā in heh chi̍t-ē."

Ta̍k-kang lóng án-ne, ē piàn-chò sáⁿ-khoán ah?  Komako ká-ná mā siūⁿ boeh kā hûn-su bih khí-lâi. M̄-koh, yi he ko͘-to̍k ê khoán-sè tian-tò khòaⁿ tio̍h koh-khah bê-lâng.

"Cháu-lông ê tē-pán chi̍t-kiâⁿ tō ki-ki koāiⁿ-koāiⁿ, chiâⁿ pháiⁿ-sè. Hó-lé-á kiâⁿ, mā ē thiaⁿ tio̍h. Góa keng-kòe chàu-kha hia, tō ū lâng chhiò kóng, ‘Koma-Chan, koh boeh khì Tê-hoe-pâng hoⁿh?’ Siūⁿ-bē-kàu chit-lō tāi-chì góa tio̍h uiⁿ-uiⁿ iap-iap." 

"Só͘-chāi e̍h, bô hoat-tō͘."

"Ta̍k-ê lóng chai lán ê tāi-chì ah."

"Án-ne tō bái ah."

"Sī ah. Chit-chióng sió só͘-chāi, nā ū pháiⁿ miâ-siaⁿ tō hāi lah." Sui-bóng án-ne kóng, yi taⁿ-bīn chhiò-chhiò kóng:

"Ah, bô iàu-kín lah. Goán khì tah lóng ē-sái chò."

Yi hit-chióng chin-chêng sit-ì ê kháu-khì, hō͘ khò chó͘-sán chia̍h-chhēng ê Shimamura chin ì-gōa.

"Sī ah. Tī tá-ūi chò lóng mā kāng-khoán. M̄-bián siūⁿ bē khui."

M̄-koh, Shimamura ùi yi he bû-só͘-ùi ê  siaⁿ-tiāu thiaⁿ chhut yi ê sim-siaⁿ.

"Bô iàu-kín lah. Kan-ta cha-bó͘ chiah ū hoat-tō͘ chin-sim khì ài chi̍t-ê lâng." Komako ê bīn sió-khóa âng, thâu lê loeh.

--

74. 逐个攏知咱 ê 代誌

她 kā chiah-ê 代誌, 抑是 ùi tá 一間客棧到另外一間, 和 tī 宴會 ê 代誌等等攏報告予伊聽.

"我會 koh 來." 她 ná 啉水, ná 徛起來, 講:

"凡勢 mā 無來. 三个人著按耐三十个人客, siuⁿ 無閒, 行袂開跤."

毋過, 過無偌久, 她 koh 來 ah.

"誠食力. 三十个人客, 干焦三个陪酒 ê. 彼兩个, 老--ê 老, 茈--ê 茈, 我誠食力. 人客有夠凍霜, 定著是 sám-á 旅行團 ê. 三十人上無著叫六个陪酒. 我 la̋i kā 啉--幾杯, kā in heh 一下."

逐工攏 án-ne, 會變做啥款 ah?  Komako ká-ná mā 想欲 kā 魂軀覕起來. 毋過, 她 he 孤獨 ê 款勢顛倒看著閣較迷人.

"走廊 ê 地板一行 tō ki-ki koāiⁿ-koāiⁿ, 誠歹勢. 好禮仔行, mā 會聽著. 我經過灶跤遐, tō 有人笑講, ‘Koma-Chan, koh 欲去茶花房 hoⁿh?’ 想袂到 chit-lō 代誌我著 uiⁿ-uiⁿ iap-iap." 

"所在狹, 無法度."

"逐个攏知咱 ê 代誌 ah."

"Án-ne tō 䆀 ah."

"是 ah. 這種小所在, 若有歹名聲 tō 害 lah." 雖罔 án-ne 講, 她 taⁿ 面笑笑講:

"Ah, 無要緊 lah. 阮去 tah 攏會使做."

她彼種真情失意 ê 口氣, 予靠祖產食穿 ê Shimamura 真意外.

"是 ah. Tī tá 位做攏 mā 仝款. 毋免想袂開."

毋過, Shimamura ùi 她 he 無所謂 ê  聲調聽出她 ê 心聲.

"無要緊 lah. 干焦查某才有法度真心去愛一个人." Komako ê 面小可紅, 頭犁 loeh.

--

74.

Such were the things she talked of. Or she told him of the inn she had gone to first, and the next and the next, and the parties she had been to at each.

"I'll come again later." She had a glass of water before she left. "Or maybe I won't. Thirty guests and only three of us. I'll be much too busy."

But almost immediately she was back.

"It's hard work. Thirty of them and only three of us. And the other two are the very oldest and the very youngest in town, and that leaves all the hard work for me. Stingy people. A travel club of some sort, I suppose. With thirty guests you need at least six geisha. I'll go have a drink and pick a fight with them."

So it was every day. Komako must have wanted to crawl away and hide at the thought of where it was leading. But that indefinable air of loneliness only made her the more seductive.

"The floor always creaks when I come down the hall. I walk very softly, but they hear me just the same. 'Off to the Camellia Room again, Komako?' they say as I go by the kitchen. I never thought I'd have to worry so about my reputation."

"The town's really too small."

"Everyone has heard about us, of course."

"That will never do."

"You begin to have a bad name, and you're ruined in a little place like this." But she looked up and smiled. "It makes no difference. My kind can find work anywhere."

That straightforward manner, so replete with direct, immediate feeling, was quite foreign to Shimamura, the idler who had inherited his money.

"It will be the same, wherever I go. There's nothing to be upset about."

But he caught an echo of the woman underneath the surface nonchalance.

"And I can't complain. After all, only women are able really to love." She flushed a little and looked at the floor.

--

73. I khì hō͘ Yoko bê tio̍h | 伊去予 Yoko 迷著

73. I khì hō͘ Yoko bê tio̍h

Ū khòaⁿ-e Yoko tī chàu-kha tàu-kha-chhiú, kàu taⁿ iáu m̄-bat khì iàn-hōe pôe-kheh. Lâng-kheh chē ê sî, chàu-kha lú-tiong ê siaⁿ-im mā tōa siaⁿ khí-lâi, m̄-koh bô thiaⁿ-e Yoko iu-bí ê siaⁿ-im. Hū-chek Shimamura pâng-keng ê lú-tiong kóng, Yoko boeh khùn chìn-chêng khì sé-e̍k, ū ná sé ná chhiùⁿ-koa ê phiah, m̄-koh i mā m̄-bat thiaⁿ kòe. 

Put-jî-kò, nā siūⁿ tio̍h Yoko mā tī chit-keng kheh-chàn, m̄-chai án-nóa, Shimamura tùi kiò Komako lâi pâng-keng soah ū kò͘-lī. Sui-bóng Komako ì-ài i, m̄-koh i ka-tī kám-kak khang-hi, chóng-sī kā he ài-chêng khòaⁿ chò sī chi̍t-chióng iu-bí ê bô-chhái kang. M̄-koh, Komako tùi sèⁿ-miā ê jia̍t-lia̍t tui-kiû ná-chhiūⁿ lō͘-thé ê ki-hu tah óa i. I khó-liân Komako, mā khó-liân ka-tī. 

I kám-kak, Yoko ê ba̍k-chiu thian-chin kah ná ū chi̍t-sok kuiⁿ, ē-tàng khòaⁿ chheng chiah-ê tāi-chì. Shimamura mā khì hō͘ chit-ê cha-bó͘ bê tio̍h ah.

Shimamura sui-jiân bô kiò Komako, yi tong-jiân iáu-sī tiāⁿ-tiāⁿ lâi.

I khì khe-chúi ê téng-lâu khòaⁿ âng-hio̍h, keng-kòe Komako ê mûi-chêng. Komako thiaⁿ tio̍h chhia siaⁿ, siūⁿ-kóng he tiāⁿ-tio̍h sī Shimamura, tō cháu chhut-lâi khòaⁿ, Shimamura soah liân thâu to bô oa̍t. Chū án-ne, yi kóng i sī po̍k-chêng-lông. Nā hông kiò khì kheh-chàn, yi it-tēng ē khì Shimamura ê pâng-keng. Liân khì un-chôaⁿ e̍k-keng, yi mā ē sūn-lō͘ lâi thàm i. Hù iàn-hōe ê chêng chi̍t-tiám-cheng, yi seng lâi i chia thit-thô, it-ti̍t kàu lú-tiong lâi kiò. Yi mā chhêng-chāi ùi iàn-hōe thau liu chhut-lâi, lâi i ê pâng-keng iōng se-chng kiàⁿ chéng-lí hòa-chong.

"Tio̍h túiⁿ-khì chò-kang. Che sī seng-lí ah. Ah, seng-lí, seng-lí." Kóng-liáu, tō khiā khí-lâi chhut-khì.

Yi túiⁿ khì ê sî, tiāⁿ-tiāⁿ kā chah lâi ê hiân-poah tē-á, kimono gōa-thò, téng-téng ê mi̍h-kiāⁿ làu-kau tī i ê pâng-keng.

"Cha-àm túiⁿ chhù, bô hiâⁿ kún-chúi. Góa tī chàu-kha chhi-chhi chhā-chhā iōng chá-tùiⁿ chhun ê miso-thng phàu chi̍t-óaⁿ pūiⁿ, phòe kiâm-môe-á chia̍h. Chìn léng, chìn léng... Chá-khí chhù lih bô lâng kiò góa khí-lâi, ba̍k-chiu peh-kim, í-keng cha̍p-tiám-pòaⁿ ah. Goân-té siūⁿ boeh chhit-tiám-pòaⁿ khí-chhn̂g, chò bē kàu."

--

73. 伊去予 Yoko 迷著

有看 e Yoko tī 灶跤鬥跤手, 到今猶 m̄-bat 去宴會陪客. 人客濟 ê 時, 灶跤女中 ê 聲音 mā 大聲起來, 毋過無聽 e Yoko 優美 ê 聲音. 負責 Shimamura 房間 ê 女中講, Yoko 欲睏進前去洗浴, 有 ná 洗 ná 唱歌 ê 癖, 毋過伊 mā m̄-bat 聽過. 

不而過, 若想著 Yoko mā tī 這間客棧, 毋知 án-nóa, Shimamura 對叫 Komako 來房間煞有顧慮. 雖罔 Komako 意愛伊, 毋過伊家治感覺空虛, 總是 kā he 愛情看做是一種優美 ê 無彩工. 毋過, Komako 對性命 ê 熱烈追求 ná 像露體 ê 肌膚貼倚伊. 伊可憐 Komako, mā 可憐家治. 

伊感覺, Yoko ê 目睭天真 kah ná 有一束 kuiⁿ, 會當看清 chiah-ê 代誌. Shimamura mā 去予這个查某迷著 ah.

Shimamura 雖然無叫 Komako, 她當然猶是定定來.

伊去溪水 ê 頂流看紅葉, 經過 Komako ê mûi 前. Komako 聽著車聲, 想講 he 定著是 Shimamura, tō 走出來看, Shimamura 煞連頭 to 無越. 自 án-ne, 她講伊是薄情郎. 若 hông 叫去客棧, 她一定會去 Shimamura ê 房間. 連去溫泉浴間, 她 mā 會順路來探伊. 赴宴會 ê 前一點鐘, 她先來伊遮 thit-thô, 一直到女中來叫. 她 mā chhêng 在 ùi 宴會偷溜出來, 來伊 ê 房間用梳妝鏡整理化妝.

"著 túiⁿ 去做工. 這是生理 ah. Ah, 生理, 生理." 講了, tō 徛起來出去.

她 túiⁿ 去 ê 時, 定定 kā 扎來 ê 弦撥袋仔, kimono 外套, 等等 ê 物件落勾 tī 伊 ê 房間.

"昨暗 túiⁿ 厝, 無燃滾水. 我 tī 灶跤 chhi-chhi chhā-chhā 用早 tùiⁿ 賰 ê miso 湯泡一碗 pūiⁿ, 配鹹梅仔食. 晉冷, 晉冷... 早起厝 lih 無人叫我起來, 目睭擘金, 已經十點半 ah. 原底想欲七點半起床, 做袂到."

--

73.

Yoko worked only in the kitchen, apparently. She was not yet serving at parties. As the inn filled, the voices of the maids in the kitchen became louder, but he did not remember having heard Yoko's clear voice among them. The maid who took care of his room said that Yoko liked to sing in the bath before she went to bed, but that, too, Shimamura had missed.

Now that he knew Yoko was in the house, he felt strangely reluctant to call Komako. He was conscious of an emptiness that made him see Komako's life as beautiful but wasted, even though he himself was the object of her love; and yet the woman's existence, her strammg to live, came touching him like naked skin. He pitied her, and he pitied himself.

He was sure that Yoko's eyes, for all their innocence, could send a probing light to the heart of these matters, and he somehow felt drawn to her too.

Komako came often enough without being called.

When he went to see the maple leaves up the valley, he passed her house. Hearing the automobile and thinking it must be he, she ran out to look-and he did not even glance back, she complained. That was most unfeeling of him. She of course stopped by whenever she came to the inn, and she stopped by too on her way to the bath. When she was to go to a party, she came an hour or so early and waited in his room for the maid to call her. Often she would slip away from a party for a few minutes. After retouching her face in the mirror, she would stand up to leave. "Back to work. I'm all business. Business, business."

She was in the habit of forgetting something she had brought with her, a cloak, perhaps, or the cover to a samisen plectrum.

"Last night when I got home there was no hot water for tea. I hunted through the kitchen and found the left-overs from breakfast. Co-o-old. They didn't call me this morning. When I woke up it was already ten-thirty. I meant to come see you at seven, but it was no good."

--

72. Yoko tī kheh-chàn tàu-kha-chhiú | Yoko tī 客棧鬥跤手

72. Yoko tī kheh-chàn tàu-kha-chhiú

Án-ne liáu, yi koh bô-nāi khioh khí hiah-ê ké-thâu-chang.

"Boaih hō͘ pêng-iú tán bô lâng. Tún-lâi ê sî, góa bô koh lâi ah."

"Ū khòaⁿ-e lō͘ bô?"

"Ū khòaⁿ--ē."

M̄-koh, ta̍h tio̍h saⁿ-á-ki, soah kha tio̍h-tak.

Siūⁿ tio̍h tī chá-khí chhit-tiám hām àm-sî saⁿ-tiám, chi̍t-kang lāi-té, yi tī ī-siâng ê sî-kan chhōe phāng lâi nn̄g-kái, Shimamura kám-kak che sī put-tek-liáu ê tāi-chì.

Ná kòe-nî chng siông-á ki án-ne, kheh-chàn oân-kang tng-tih mûi-kháu chng âng-hio̍h ê png-á ki. Che sī ūi-tio̍h boeh hoan-gêng lâi khòaⁿ âng-hio̍h ê lâng-kheh.

Tī hia tōa-sè-siaⁿ chí-hui ê sī chi̍t-ê lîm-sî chhiàⁿ ê niá-pan, i keng-thé ka-tī kóng, sī chi̍t-chiah kòe-lō͘-chiáu. Chit-chióng lîm-sî-kang, ū-ê ùi chhun-thiⁿ chhiū-á puh-íⁿ kàu chhiu-thiⁿ hio̍h-á piàn âng tiong-kan, lâi lāi-soaⁿ un-chôaⁿ-khu chia̍h-thâu-lō͘. Kôaⁿ-thiⁿ, in tō sóa khì Atami (熱海) a̍h Nagaoka (長岡) téng óa hái ê un-chôaⁿ khu. I tō sī kî-tiong chi̍t-ê. Ta̍k-nî bô tiāⁿ-tio̍h tī kāng-keng kheh-chàn chò. Chit-ê lâng tián i tī Izu (伊豆) ê hoân-hôa un-chôaⁿ chin ū keng-giām, tiu-tiu kóng chit só͘-chāi chiap-kheh hong-sek ê pháiⁿ-ōe. I kan-ta kek chi̍t-ê bô sêng-ì ê khit-chia̍h bīn, ná so chhiú, ná  phīⁿ-sô lâng-kheh khiú seng-lí. 

"Thâu-ke ah, bat khòaⁿ kòe akebi (bo̍k-thong, 木通) kó-si̍t bô? Nā siūⁿ boeh chia̍h, góa lâi khì the̍h." I tùi sàn-pō͘ tún-lâi ê Shimamura án-ne kóng. I kā akebi-kó liân tîn pa̍k tī chi̍t-ki âng-hio̍h png-á-ki.

He âng-hio̍h png-á-ki tāi-khài sī soaⁿ-téng chhò lâi ê, pí gîm-chîⁿ koh-khah koân, sûi tō kā mûi-kháu chng-thāⁿ kah chiâⁿ hiáⁿ-ba̍k, múi chi̍t-phìⁿ âng-hio̍h mā lóng chiok tōa hio̍h.

Shimamura chhiú tēⁿ léng-léng ê akebi-kó ná khòaⁿ, bô-ì-tiong khòaⁿ ji̍p-khì siàu-pâng, khòaⁿ tio̍h Yoko chē tī hóe-lô͘ piⁿ.

Thâu-ke-niû iōng tâng-tê-kó͘ tih un chiú. Yoko chē tī yi tùi-bīn, thiaⁿ tio̍h yi kóng sáⁿ, sûi tō tōa-la̍t tìm-thâu. Yi bô chhēng seh-khò͘, mā bô chhēng chèng-sek kimono, kan-ta chhēng chi̍t-su ká-ná tú chiuⁿ kòe ê tiû-á piān-ho̍k.

"He sī sin chhiàⁿ lâi tàu-kha-chhiú ê?" Shimamura chhìn-chhái mūi niá-pan.

"Sī ah, ū lín tì-ìm, goán tio̍h ke kha-chhiú."

"Hām lí kāng-khoán neh."

"Eh, m̄-koh yi sī pún-chng ko͘-niû, ū yi te̍k-pia̍t ê só͘-chāi."

--

72. Yoko tī 客棧鬥跤手

Án-ne 了, 她 koh 無奈抾起 hiah-ê 假頭鬃.

"Boaih 予朋友等無人. Tún 來 ê 時, 我無 koh 來 ah."

"有看 e 路無?"

"有看 e."

毋過, 踏著衫仔裾, 煞跤著觸.

想著 tī 早起七點和暗時三點, 一工內底, 她 tī 異 siâng ê 時間揣縫來兩改, Shimamura 感覺這是不得了 ê 代誌.

Ná 過年裝松仔枝 án-ne, 客棧員工當 tih mûi 口裝紅葉 ê 楓仔枝. 這是為著欲歡迎來看紅葉 ê 人客.

Tī 遐大細聲指揮 ê 是一个臨時倩 ê 領班, 伊供體家治講, 是一隻過路鳥. 這種臨時工, 有 ê ùi 春天樹仔 puh-íⁿ 到秋天葉仔變紅中間, 來內山溫泉區食頭路. 寒天, in tō 徙去 Atami (熱海) a̍h Nagaoka (長岡) 等倚海 ê 溫泉區. 伊 tō 是其中一个. 逐年無定著 tī 仝間客棧做. 這个人展伊 tī Izu (伊豆) ê 繁華溫泉真有經驗, tiu-tiu 講這所在接客方式 ê 歹話. 伊干焦激一个無誠意 ê 乞食面, ná 挲手, ná  鼻趖人客搝生理. 

"頭家 ah, bat 看過 akebi (bo̍k-thong, 木通) 果實無? 若想欲食, 我來去提." 伊對散步 tún 來 ê Shimamura án-ne 講. 伊 kā akebi 果連藤縛 tī 一支紅葉楓仔枝.

彼紅葉楓仔枝大概是山頂剉來 ê, 比砛簷閣較懸, 隨 tō kā mûi 口妝 thāⁿ kah 誠顯目, 每一片紅葉 mā 攏足大葉.

Shimamura 手捏冷冷 ê akebi 果 ná 看, 無意中看入去數房, 看著 Yoko 坐 tī 火爐邊.

頭家娘用銅茶鈷 tih 溫酒. Yoko 坐 tī 她對面, 聽著她講啥, 隨 tō 大力 tìm 頭. 她無穿雪褲, mā 無穿正式 kimono, 干焦穿一軀 ká-ná 拄漿過 ê 綢仔便服.

"彼是新倩來鬥跤手 ê?" Shimamura 凊彩 mūi 領班.

"是 ah, 有恁致蔭, 阮著加跤手."

"和你仝款 neh."

"Eh, 毋過她是本庄姑娘, 有她特別 ê 所在."

--

72.

Unsure what to do with herself, she reached to pick up the false hair. "I have to go. It's not right to keep them waiting. I'll not come again tonight."

"Can you see your way home?"

"Yes."

But she tripped over the skirt of her kimono on the way out.

At seven and again at three in the morning--twice in one short day she had chosen unconventional hours to come calling. There was something far from ordinary in all this, Shimamura told himself.

Guests would soon be coming for the autumn leaves. The door of the inn was being decorated with maple branches to welcome them.

The porter who was somewhat arrogantly directing operations was fond of calling himself a "migrant bird." He and his kind worked the mountain resorts from spring through to the autumn leaves, and moved down to the coast for the winter. He did not much care whether or not he came to the same inn each year. Proud of his experience in the prosperous coast resorts, he had no praise for the way the inn treated its guests. He reminded one of a not-too-sincere beggar as he rubbed his hands together and hovered about prospective guests at the station.

"Have you ever tasted one of these?" he asked Shimamura, picking up a pomegranatelike akebi. "I can bring some in from the mountains if you like." Shimamura, back from a walk, watched him tie the akebi, stem and all, to a maple branch.

The freshly cut branches were so long that they brushed against the eaves. The hallway glowed a bright, fresh scarlet. The leaves were extraordinarily large.

As Shimamura took the cool akebi in his hand, he noticed that Yoko was sitting by the hearth in the office.

The innkeeper's wife was heating sake in a brass boiler. Yoko, seated opposite her, nodded quickly in answer to each remark. She was dressed informally, though she did not have on the everyday "mountain trousers." Her plain woolen kimono was freshly washed.

"That girl is working here?" Shimamura asked the porter nonchalantly.

"Yes, sir. Thanks to all of you, we've had to take on extra help."

"You, for instance."

"That's right. She's an unusual type, though, for a girl from these parts."

--

71. Góa ū chah ka-to lâi | 我有扎鉸刀來

71. Góa ū chah ka-to lâi

Án-ne liáu, iū-koh pê khí-lâi, ku-lu ku-lu tih koàn-chúi.

"Lí án-ne bô hoat-tō͘ túiⁿ lah."

"Góa boeh lâi túiⁿ. Góa ū phōaⁿ lah. Sé-e̍k ê ke-si tá-ūi khì ah?"

Shimamura khiā khí-lâi khui tiān-hóe, Komako siang-chhiú om bīn, phak tī tatami, kóng:

"Bē-sái khòaⁿ!"

Yi chhēng chi̍t-su súi-tang-tang ê té-úiⁿ mô͘ khùn-saⁿ, khan o͘ toān ām-niá, ha̍h sè-pán io-tòa, bô khòaⁿ-e lāi-saⁿ ê niá. Yi ê kha-té mā chùi kah âng kì-kì, hûn-su kiu-kiu, bē-su boeh bih khí-lâi ê khoán-sè, chiâⁿ khó-ài. 

Sé-e̍k ê ke-si hiat kah kui sì-kè, sap-bûn, loa̍h-á, sòaⁿ phún-phún.

"Kā ka tiāu, góa ū chah ka-to lâi."

"Boeh ka sáⁿ-mih?"

"Che." Yi chhun chhiú kàu thâu-chang kòe āu-bīn, kóng: 

"Tī chhù tō siūⁿ boeh ka thâu-mo͘ soh-á, m̄-koh chhiú m̄ thiaⁿ-ōe, chiah ē siūⁿ boeh lâi chia chhiáⁿ lí tàu-kha-chhiú."

Shimamura kā thâu-chang hun-khui, chián tūiⁿ soh-á. Múi chián-tūiⁿ chi̍t-chat, Komako tō kā hit-sok ké-thâu-chang pàng lo̍h-lâi, yi ê sim-chêng mā chiām-chiām pêng-chēng lo̍h-lâi.

"Chit-má kúi-tiám ah?"

"Í-keng saⁿ-tiám ah."

"Ah, hiah òaⁿ ah? Lí m̄-thang ka tio̍h thâu-chang oh."

"Pa̍k kah hiah chē sok."

I tēⁿ tio̍h ê thâu-chang kin, ū chi̍t-chūn sio-ho.

"Í-keng saⁿ-tiám ah? Ùi iàn-hōe tún lâi, khó-lêng tó loeh tō khùn khì ah. Góa ū hām cha-bó͘-phōaⁿ iak-sok, kiám-chhái yin ē chhōe góa, siūⁿ-kóng góa cháu taih khì ah."

"Yin tih tán lí hioh?"

"Tī kong-kiōng e̍k-tiûⁿ, saⁿ-ê lâng. Kin-á-ji̍t ū la̍k-tiûⁿ iàn-hōe, goán kan-ta chham-ka sì-tiûⁿ. Āu lé-pài sī âng-hio̍h kùi-cheh, ē chìn bô-êng. To-siā lí lah." Ná kóng, yi ná se he sòaⁿ-khui ê thâu-mo͘, bīn gia̍h khí-lâi, tiⁿ but-but, chhiò bún-bún, kóng:

"M̄-chai lah, ha-ha-ha, chiâⁿ hó-chhiò."

--

71. 我有扎鉸刀來

Án-ne 了, 又閣爬起來, ku-lu ku-lu tih 灌水.

"你 án-ne 無法度 túiⁿ lah."

"我欲來 túiⁿ. 我有伴 lah. 洗浴 ê 家私 tá 位去 ah?"

Shimamura 徛起來開電火, Komako 雙手 om 面, 仆 tī tatami, 講:

"袂使看!"

她穿一軀媠噹噹 ê 短 úiⁿ 毛睏衫, 牽烏緞頷領, 縖細板腰帶, 無看 e 內衫 ê 領. 她 ê 跤底 mā 醉 kah 紅 kì-kì, 魂軀勼勼, 袂輸欲覕起來 ê 款勢, 誠可愛. 

洗浴 ê 家私㧒 kah 規四界, sap-bûn, 捋仔, 散 phún-phún.

"Kā 鉸掉, 我有扎鉸刀來."

"欲鉸啥物?"

"這." 她伸手到頭鬃髻後面, 講: 

"Tī 厝 tō 想欲鉸頭毛索仔, 毋過手毋聽話, 才會想欲來遮請你鬥跤手."

Shimamura kā 頭鬃分開, 剪 tūiⁿ 索仔. 每剪 tūiⁿ 一節, Komako tō kā 彼束假頭鬃放落來, 她 ê 心情 mā 漸漸平靜落來.

"這馬幾點 ah?"

"已經三點 ah."

"Ah, hiah 晏 ah? 你毋通鉸著頭鬃 oh."

"縛 kah hiah 濟束."

伊捏著 ê 頭鬃根, 有一陣燒熇.

"已經三點 ah? Ùi 宴會 tún 來, 可能倒 loeh tō 睏去 ah. 我有和查某伴 iak 束, 檢彩姻會揣我, 想講我走 taih 去 ah."

"姻 tih 等你 hioh?"

"Tī 公共浴場, 三个人. 今仔日有六場宴會, 阮干焦參加四場. 後禮拜是紅葉季節, 會晉無閒. 多謝你 lah." Ná 講, 她 ná 梳 he 散開 ê 頭毛, 面攑起來, 甜 but-but, 笑 bún-bún, 講: 

"毋知 lah, ha-ha-ha, 誠好笑."

--

71.

She got to her knees and took a drink of water in great swallows.

"I can't let you go home like this."

"I'm going home. 1 have some people waitIng. Where did 1 leave my towel?"

Shimamura got u p and turned o n the light. "Don't!" She hid her face in her hands, then buried it, hands and all, in the quilt.

She had on a bold informal kimono with a narrow undress obi, and under it a nightgown. Her under-kimono had slipped down out of sight. She was flushed from drink even to the soles of her bare feet, and there was something very engaging about the way she tried to tuck them out of sight.

Evidently she had thrown down her towel and bath utensils when she came in. Soap and combs were scattered over the floor.

"Cut. I brought scissors."

"What do you want me to cut?"

"This." She pointed at the strings that held her

Japanese coiffure in place. "I tried to do it myself, but my hands wouldn't work. I thought maybe 1 could ask you."

Shimamura separated the hair and cut at the strings, and as he cut she shook the long hair loose. She was somewhat calmer.

"What time is it?"

"Three o'clock."

"Not really! You'll be careful not to cut the hair, won't you?"

"I've never seen so many strings."

The false hair that filled out the coiffure was hot where it touched her head.

"Is it really three o'clock? I must have fallen asleep when I got home. I promised to come for a bath with some people, and they stopped by to call me. They'll be wondering what's happened."

"They're waiting for you?"

"In the public bath. Three of them. There were six parties, but I only got to four. Next week we'll be very busy with people coming to see the maple leaves. Thanks very much." She raised her head to comb her hair, now long and flowing, and she laughed uncertainly. 

"Funny, isn't it." 

--

70. Kóng boeh lâi, í-keng lâi lah | 講欲來, 已經來 lah

70. Kóng boeh lâi, í-keng lâi lah

Yoko ká-ná siū-khì, thâu àⁿ loeh, ùi tiū-sūi ē ê ji̍p-kháu ji̍p khì.

"Kan-ta yi chi̍t-lâng tòa tī chit-keng chhù?" Shimamura ba̍k-chiu khòaⁿ yi he sió-khóa oan-io ê sin-iáⁿ.

"He mā bô it-tēng." Komako kóng kah chin thó͘:

"Ah, chin thó-ià. Góa m̄ khì chò thâu-chang ah-lah. Lí kóng chi̍t-kóa ū-ê bô-ê, khì chak-chō tio̍h yi ê pài bōng."

"Bô-ài tī bōng-á hia tú tio̍h yi. Sī lí tih kek-khùi."

"Lí m̄-chai góa ê sim-chêng. Liâm-mi nā ū sî-kan, góa chiah khì kheh-chàn sé thâu-chang. Hoān-sè ē chin òaⁿ, m̄-koh góa tiāⁿ-tio̍h ē khì."

Chū án-ne, kàu àm-sî saⁿ-tiám.

Shimamura khì hō͘ chi̍t-chūn ká-ná boeh kā thoah-mûi sak-tó ê siaⁿ phah cheng-sîn, Komako hut leh phak lo̍h-lâi, teh tī i ê hûn-su.

"Kóng boeh lâi, taⁿ lâi ah. Neh, kóng boeh lâi, í-keng lâi lah." Yi chhoán kah liân pak-tó͘ tō phòng chi̍t-ē, neh chi̍t-ē.

"Lí chùi bâng-bâng neh."

"Neh, kóng boeh lâi, í-keng lâi lah."

"Sī ah, lí í-keng lâi lah."

"Lâi ê lō͘ àm bong-bong, sáⁿ to khòaⁿ bô. Ai-ah, chìn kan-khó͘."

"Lí ū hoat-tō͘ peh hit-ê kiā neh."

"M̄-chai, bô chhap hiah chē." Komako haiⁿ chi̍t-siaⁿ, péng thán-chhiò, Shimamura khì hō͘ teh kah tòng bē-tiâu, siūⁿ boeh peh khí-lâi. M̄ koh in-ūi tú-chiah cheng-sîn, i khiā bē chāi, tō koh tó lo̍h-khì, thâu-khak teh tio̍h sio-thǹg-thǹg ê mi̍h-kiāⁿ, hō͘ i kiaⁿ chi̍t-tiô.

"Lí ná hóe tih sio neh! Sam-pat ah."

"Sī oh? Hóe ê chím-thâu. Lí m̄-thang khì hō͘ thǹg tio̍h."

"Bô m̄-tio̍h." Shimamura ba̍k-chiu kheh-kheh, he sio-tō͘ thàng kàu thâu-khak-té, i kám-kak ka-tī ê chûn-chāi. Tòe he Komako kek-lia̍t ê chhoán-khùi, i kám-kak tio̍h hiān-si̍t ê mi̍h-kiāⁿ. He ná chhin-chhiūⁿ sī hoâi-liām ê hiō-hóe, kan-ta an-jiân tih tán-thāi bó͘-chióng ê pò-ho̍k.

"Kóng boeh lâi, í-keng lâi lah." Komako tiu-tiu tiông-ho̍k chit-kù ōe. Iū-koh kóng:

"Í-keng lâi ah-lah, tio̍h lâi túiⁿ. Tio̍h khì sé thâu-mo͘."

--

70. 講欲來, 已經來 lah

Yoko ká-ná 受氣, 頭 àⁿ loeh, ùi 稻穗下 ê 入口入去.

"干焦她一人蹛 tī 這間厝?" Shimamura 目睭看她 he 小可彎腰 ê 身影.

"彼 mā 無一定." Komako 講 kah 真土:

"Ah, 真討厭. 我毋去做頭鬃 ah-lah. 你講一寡有 ê 無 ê, 去齪嘈著她 ê 拜墓."

"無愛 tī 墓仔遐拄著她. 是你 tih 激氣."

"你毋知我 ê 心情. Liâm-mi 若有時間, 我才去客棧洗頭鬃. 凡勢會真晏, 毋過我定著會去."

自 án-ne, 到暗時三點.

Shimamura 去予一陣 ká-ná 欲 kā 挩 mûi 捒倒 ê 聲拍精神, Komako 忽 leh 仆落來, 硩 tī 伊 ê 魂軀.

"講欲來, 今來 ah. Neh, 講欲來, 已經來 lah." 她喘 kah 連腹肚 tō 膨一下, neh 一下.

"你醉茫茫 neh."

"Neh, 講欲來, 已經來 lah."

"是 ah, 你已經來 lah."

"來 ê 路暗摸摸, 啥 to 看無. Ai-ah, 晉艱苦."

"你有法度 peh 彼个崎 neh."

"毋知, 無 chhap hiah 濟." Komako haiⁿ 一聲, péng 坦笑, Shimamura 去予硩 kah 擋袂牢, 想欲 peh 起來. 毋過因為拄才精神, 伊徛袂在, tō koh 倒落去, 頭殼硩著燒燙燙 ê 物件, 予伊驚一趒.

"你 ná 火 tih 燒 neh! 三八 ah."

"是 oh? 火 ê 枕頭. 你毋通去予燙著."

"無毋著." Shimamura 目睭瞌瞌, he 燒度迵到頭殼底, 伊感覺家治 ê 存在. 綴 he Komako 激烈 ê 喘氣, 伊感覺著現實 ê 物件. 彼 ná 親像是懷念 ê 後悔, 干焦安然 tih 等待某種 ê 報復.

"講欲來, 已經來 lah." Komako tiu-tiu 重複這句話. 又閣講:

"已經來 ah-lah, 著來 túiⁿ. 著去洗頭毛."

--

70

Bowing her head sharply, almost angrily, Yoko went in through the opening in the headed rice. "Does she live alone?" Shimamura asked, looking after the bowed figure.

"I imagine not." Komako's answer was a little tart. "But what a nuisance. I'll not go to the hair-dresser's after all. You say things you have no business saying, and we ruin her visit to the cemetery."

"You're only being difficult-is it really so terrible to run into her at the cemetery?"

"You have no idea how I feel. . . . If 1 have time later, I'll stop by to wash my hair. I may be late, but I'll stop by."

It was three in the morning.

Shimamura was awakened by a slamming as though someone were knocking the doors loose. Komako lay stretched out on top of him.

"I said 1 would come and I've come. Haven't I? I said I'd come and I've come, haven't I?" Her chest, even her abdomen, rose and fell violently.

"You're dead-drunk."

"Haven't I? 1 said I'd come and I've come, haven't I?"

"You have indeed."

"Couldn't see a thing on the way. Not a thing. My head aches."

"How did you manage to get up the hill?"

" I have n o idea. Not the slightest." She lay heavily across his chest. He found it a little oppressive, especially when she turned over and arched her back; but, too suddenly awakened, he fell back as he tried to get up. It was an astonishingly hot object that his head came to rest on.

"You're on fire."

"Oh? Fire for a pillow. See that you don't burn yourself."

"I might very well." He closed his eyes and the warmth sank into his head, bringing an immediate sense of life. Reality came through the violent breathing, and with it a sort of nostalgic remorse. He felt as though he were waiting tranquilly for some undefined revenge.

"I said I'd come, and I've come." She spoke with the utmost concentration. "I've come, and now I'm going home. I'm going to wash my hair."

--

69. Góa boeh lâi-khì chò thâu-chang | 我欲來去做頭鬃

69. Góa boeh lâi-khì chò thâu-chang

Shimamura ba̍k-chiu sóa khì khòaⁿ Tē-chông Phô͘-sat: i ū saⁿ-ê tn̂g-tn̂g ê bīn, heng-chêng ū chi̍t-siang ha̍p-chiáng ê chhiú, tò-pêng hām chiàⁿ-pêng mā lóng ū nn̄g-ki chhiú.

"Góa boeh lâi-khì chò thâu-chang." Komako kā Yoko kóng, tō iân chhân-hōaⁿ ǹg chng lih kiâⁿ khì.

Ùi chi̍t-châng chhiū-kut kàu lēng-gōa chi̍t-châng chhiū-kut, iōng tek-ki a̍h chhâ-ki ná tek-ko án-ne pa̍k kúi-ā chàn, kòa koah lo̍h-lâi ê tiū-á tī téng-koân phak-ta, khòaⁿ tio̍h ná chi̍t-chō tiū-chháu khiā-pîn. Che chāi-tē lâng kiò chò "hatte" (its tiū-kè). Shimamura in keng-kòe ê lō͘-piⁿ, peh-sèⁿ mā tng-tih chò tiū-kè.

Ko͘-niû khin-khin ngiú chi̍t-ē chhēng seh-khò͘ ê io, hiat chi̍t-khún tiū-á khí lih, peh koân-koân tī tiū-kè téng ê cha-po͘ tō se̍k-chhiú chih tio̍h, sûi kā hun-chhe, kòa tī kè-á téng. Chit-chióng se̍k-liān, choan-sim, koh ū chiat-chàu ê tōng-chok liân-sòa bô thêng.

Komako ná-chhiūⁿ chhìn kùi-tiōng ê mi̍h-kiāⁿ án-ne, kā tiū-kè téng sûi lo̍h ê tiū-sūi phô͘ tī chhiú lih sìm-sìm leh, kóng:

"Chìn pá-tīⁿ, sī iōng chhiú bong tō khí-mo͘-giang ê hó tiū-á. Hām kū-nî ê chha chìn chē." Yi ba̍k-chiu bui-bui, ná chhiūⁿ tih him-sióng. Chi̍t-tīn chhek-chiáu-á kē-kē ùi thâu-khak téng poe kòe.

Lō͘-piⁿ ê piah téng ū chi̍t-tiuⁿ kū ê chóa-tiâu: "Pò͘-chhân kang-chu hia̍p-tēng.  Káu-cha̍p chîⁿ chi̍t-kang, hù hóe-si̍t. Cha-bó͘-kang la̍k-chiat."

Yoko yin chhù mā ū tiū-kè, sī tī khah kē ke-lō͘ ê hûiⁿ-tē hia. Koân-koân ê tiū-kè pa̍k tī mûi-tiâⁿ tò-pêng, iân keh-piah-chhù pe̍h piah hit-chōa khī-á chhiū. Lēng-gōa, hûiⁿ hām tiâⁿ sio-chiap ê ūi, iā-tō-sī hām khī-á chhiū ti̍t-kak oat-kòe mā ū tiū-kè, ē-bīn ū chi̍t-ê ji̍p-kháu ē-sái nùi kòe-khì. Án-ne bē-su sī tah chi̍t-ê pêⁿ-á, m̄-koh khàm ê sī tiū-á, m̄-sī chháu-chhio̍h. Hûiⁿ lih, tī siā khì ê ta-lí-á hām chhiûⁿ-bî thâu-chêng, ō͘-á tián-khui ióng-chòng ê hio̍h. Ū âng lí-hî ê liân-hoe-tî hō͘ tiū-kè cha̍h-tio̍h, khòaⁿ bē-tio̍h.

Kū-nî Komako tòa ê hit-keng niû-á pâng ê thang-á-mûi mā khì hō͘ cha̍h tio̍h.

--

69. 我欲來去做頭鬃

Shimamura 目睭徙去看地藏菩薩: 伊有三个長長 ê 面, 胸前有一雙合掌 ê 手, 倒爿和正爿 mā 攏有兩支手.

"我欲來去做頭鬃." Komako kā Yoko 講, tō 沿田岸 ǹg 庄 lih 行去.

Ùi 一叢樹骨到另外一叢樹骨, 用竹枝 a̍h 柴枝 ná 竹篙 án-ne 縛幾 ā 層, 掛割落來 ê 稻仔 tī 頂懸曝焦, 看著 ná 一座稻草徛屏. 這在地人叫做 "hatte" (its 稻架). Shimamura in 經過 ê 路邊, 百姓 mā 當 tih 做稻架.

姑娘輕輕扭一下穿雪褲 ê 腰, 㧒一捆稻仔起 lih, peh 懸懸 tī 稻架頂 ê 查埔 tō 熟手 chih 著, 隨 kā 分叉, 掛 tī 架仔頂. 這種熟練, 專心, koh 有節奏 ê 動作連紲無停.

Komako ná 像秤貴重 ê 物件 án-ne, kā 稻架頂垂落 ê 稻穗 phô͘ tī 手 lih sìm-sìm leh, 講:

"晉飽滇, 是用手摸 tō 起毛婸 ê 好稻仔. 和舊年 ê 差晉濟." 她目睭 bui-bui, ná 像 tih 欣賞. 一陣粟鳥仔低低 ùi 頭殼頂飛過.

路邊 ê 壁頂有一張舊 ê 紙條: "播田工資協定.  九十錢一工, 附伙食. 查某工六折."

Yoko 姻厝 mā 有稻架, 是 tī 較低街路 ê hûiⁿ 地遐. 懸懸 ê 稻架縛 tī mûi 埕倒爿, 沿隔壁厝白壁彼逝柿仔樹. 另外, hûiⁿ 和埕相接 ê 位, 也 tō 是和柿仔樹直角斡過 mā 有稻架, 下面有一个入口會使 nùi 過去. Án-ne 袂輸是搭一个棚仔, 毋過崁 ê 是稻仔, 毋是草蓆. Hûiⁿ lih, tī 謝去 ê ta-lí-á 和薔薇頭前, 芋仔展開勇壯 ê 葉. 有紅鯉魚 ê 蓮花池予稻架閘著, 看袂著.

舊年 Komako 蹛 ê 彼間娘仔房 ê 窗仔 mûi mā 去予閘著.

--

69

Shimamura looked away, toward the Jizo. It had three long faces, and, besides the hands clasped at its breast, a pair each to the left and the right.

"'I'm going to wash my hair," Komako said to V(lko. She turned and started back along a ridge between the paddies.

It was the practice in the snow country to string wooden or bamboo poles on a number of levels from tree trunk to tree trunk, and to hang rice sheaves head down from them to dry. At the height of the harvest the frames presented a solid screen of rice. Farmers were hanging out rice along the path Shimamura and Komako took back to the village.

A farm girl threw up a sheaf of rice with a twist of her trousered hips, and a man high above her caught it expertly and in one deft sweep of his hand spread it to hang from the frame. The unconscious, practiced motions were repeated over and over.

Komako took one of the dangling sheaves in her hand and shook it gently up and down, as though she were feeling the weight of a jewel.

"See how it's headed. And how nice it is to the touch. Entirely different from last year's rice." She half-closed her eyes from the pleasure. A disorderly flock of sparrows flew low over her head.

An old notice was pasted to a wall beside the road: "Pay for field hands. Ninety sen a day, meals included. Women forty per cent less."

There were rice frames in front of Yoko's house too, beyond the slightly depressed field that separated the house from the road. One set of frames was strung up high in a row of persimmon trees, along the white wall between the garden and the house next door, while another, at right angles to it, followed the line between the field and the garden. With an opening for a doorway at one end, the frames suggested a makeshift little theater covered not with the usual straw mats but with unthreshed rice. The taro in the field still sent out powerful stems and leaves, but the dahlias and roses beyond were withered. The lotus pond with its red carp was hidden behind the screen of rice, as was the window of the silkworm room, where Komako had lived.

--