3. Behrman boeh ōe chi̍t-pak kia̍t-chok
"Lí khùn chi̍t-ē," Sue kóng. "Góa tio̍h khì kiò Behrman chiūⁿ-lâu, lâi chò góa hit-ê ún-ki lāu khòng-kang ê model. Góa ē sûi tńg lâi. Lí m̄-thang tāng, tán góa tńg lâi."
Lāu Behrman sī chi̍t-ê ōe-ka, tòa tī yin ē-bīn ê it-lâu. I í-keng 60-gōa ah, i ê hô͘-chhiu kap Michael Angelo ê Moses chhùi-chhiu kāng-khoán, ná-chhiūⁿ sī ùi pòaⁿ-lâng pòaⁿ-siù ê som-lîm chi sîn (satyr) ê thâu-khak hoat chhut-lâi, koh oan-oan khiau-khiau khàm kàu i he ná siáu-kúi-á (imp) ê sin-khu téng. Behrman sī chi̍t-ê sit-pāi ê gē-su̍t-ka. Lāng hit-ki ōe-pit 40-tang, i iáu-sī bô-hoat-tō͘ chiap-kīn kah bak ē-tio̍h Gē-su̍t Lú-sîn ê kûn-ki. I tiu-tiu teh kóng boeh ōe chi̍t-pak kia̍t-chok, m̄-koh chóng-sī iáu-bōe khai-sí ōe. Kúi-nî lâi, tî-liáu ū-sî chu̍t chi̍t-kóa siong-gia̍p kóng-kò hit-lūi ê mi̍h-kiāⁿ í-gōa, i siáⁿ to bô ōe. I mā tī chit-ê chū-lo̍h chò model, ùi hiah-ê chhiàⁿ bē-khí choan-gia̍p model ê siàu-liân gē-su̍t-ka hia thàn kóa chîⁿ. I lim-chiú bô chām-chat, iáu-sī teh kóng i boeh ōe ê kia̍t-chok. Tî-liáu án-ne, i mā sī chi̍t-ê hóe-khì tōa ê lāu-hòe-á, khòaⁿ bē-khí pa̍t-lâng ê nńg-chiáⁿ, kā ka-tī khòaⁿ chò sī pó-hō͘ lâu-téng hit-nn̄g-ê siàu-liân cha-bó͘ ōe-ka te̍k-iú ê kò͘-mn̂g-káu.
Sue tī ē-bīn hit-keng kng-sòaⁿ àm-tām ê sió pâng-keng chhōe tio̍h chiâu sī chiú-hiàn ê Behrman. Chi̍t-tè khang-pe̍h phâng-pò͘ peⁿ hó tī ōe-kè, chhāi tī chi̍t-ê kak-lo̍h, í-keng tī hia 25-nî, teh tán-thāi hit-pak kia̍t-chok, m̄-koh liân chi̍t-ê sòaⁿ-tiâu mā iáu tán bô. Sue kā i kóng-khí Johnsy ê o͘-pe̍h-siūⁿ, koh kóng, yi khióng-kiaⁿ sán koh hi kah khak-si̍t ná-chhiūⁿ chi̍t-phìⁿ hio̍h-á ê Johnsy, tùi chit-ê sè-kài ê liû-loân lú lâi lú khin, ē chin-chiàⁿ sûi-hong phiau khì.
Lāu Behrman, ba̍k-chiu âng-âng, ba̍k-sái ná lâu ná hoah-siaⁿ khau-sé chit-chióng gōng-siūⁿ.
"O͘-pe̍h kóng!" i hoah siaⁿ. "Sè-kan ū lâng gōng-kah in-ūi sam-pat soan-tîn ê hio̍h-á lak loài tō beh sí? Óa m̄-bat thiaⁿ kè chit-chióng koài-sū. M̄, óa chiah bô-beh chò lí hit-ê ún-ki gōng khòng-kang ê model. Lí ná beh hō͘ yi án-ne o͘-pe̍h loān-siūⁿ? Ai-ah, óa khó-liân ê sió-sió Johnsy Sc."
"Yi pēⁿ kah chin hāi koh chin hi," Sue kóng, "hoat-sio hoat kah yi sin-keng chhò-loān, o͘-pe̍h siūⁿ kóa kî-koài ê tāi-chì. Hó lah, Behrman Ss, lí nā m̄-ài chò góa ê model, lí tō mài chò. M̄-koh góa khòaⁿ, lí sī chi̍t-ê thó-ià ê lāu... lāu koh lo-so ê lâng."
"Lí tō ná chi̍t-ê chhâ-pê!" Behrman hoah. "Sáng kóng óa m̄ chò model? Kiâⁿ, óa tòe lí khì. Óa m̄-sī kóng kui-pòaⁿ-kang, óa beh chò lí ê model? Thiⁿ ah! Chia m̄-sī chhiūⁿ Johnsy Sc chit-chióng hó ko͘-niû tó loài phòa-pēⁿ ê só͘-chāi. Chóng ū chi̍t-kang, óa ē ōe chi̍t-pak kia̍t-chok, án-ne lán tō lóng ē-sái poaⁿ chhut-khì. Thiⁿ ah! Án-ne bô m̄-tio̍h."
In chiūⁿ-lâu ê sî, Johnsy tng-teh khùn. Sue kā thang-á-lî pàng lo̍h kàu thang-tâi, chò chhiú-sè kiò Behrman kàu keh-piah pâng. Tī hia, in sim tám-tám lió chi̍t-ē thang-á gōa ê siông-chhun-tîn. Tō tiām-tiām sio-tùi khòaⁿ chi̍t-khùn. Chhap-lām seh ê léng hō͘ it-ti̍t teh lo̍h. Behrman, chhēng i ê nâ-sek siatchuh, taⁿ-pān chò ún-ki ê khòng-kang, chē tī kō͘ péng kòe-lâi ê tê-kó͘ tòng-chò khòng-chio̍h ê téng-bīn.
Khùn chi̍t-tiám-cheng liáu, Sue tī tē-jī kang chhéⁿ lâi, yi hoat-hiān Johnsy kō͘ bô-sîn ê ba̍k-chiu kim-kim khòaⁿ pàng lo̍h-lâi ê le̍k-sek thang-á-lî.
"Kā giú khí-lâi; góa boeh khòaⁿ," yi khin-siaⁿ bēng-lēng.
Sue bô-lám-bô-ne chiàu chò.
M̄-koh, lí khòaⁿ! keng-kòe tn̂g-tn̂g àm-iā ê hong chhoe hō͘ phah, tī chng-á chhiûⁿ téng iáu ū chi̍t-phìⁿ soan-tîn ê hio̍h-á. Óa hio̍h-kut ê ūi iáu sī chhim le̍k-sek, khih-khih ê hio̍h-piⁿ hián-chhut lian koh ta ê n̂g-sek, i ióng-kám kòa tī lī thô͘-kha 7-bí hn̄g ê tîn-ki téng-koân.
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3. Behrman 欲畫一幅傑作
"你睏一下," Sue 講. "我著去叫 Behrman 上樓, 來做我彼个隱居老礦工 ê model. 我 ē 隨轉來. 你毋通動, 等我轉來."
老 Behrman 是一个畫家, 蹛 tī yin 下面 ê 一樓. 伊已經 60 外 ah, 伊 ê 鬍鬚 kap Michael Angelo ê Moses 喙鬚仝款, ná 像是 ùi 半人半獸 ê 森林之神 (satyr) ê 頭殼發出來, koh 彎彎蹺蹺崁到伊 he ná 痟鬼仔 (imp) ê 身軀頂. Behrman 是一个失敗 ê 藝術家. 弄彼支畫筆 40 冬, 伊猶是無法度接近 kah 沐會著藝術女神 ê 裙裾. 伊 tiu-tiu teh 講欲畫一幅傑作, m̄-koh 總是猶未開始畫. 幾年來, 除了有時 chu̍t 一寡商業廣告彼類 ê 物件以外, 伊啥 to 無畫. 伊 mā tī 這个聚落做 model, ùi hiah-ê 倩袂起專業 model ê 少年藝術家 hia 趁寡錢. 伊啉酒無站節, 猶是 teh 講伊欲畫 ê 傑作. 除了 án-ne, 伊 mā 是一个火氣大 ê 老歲仔, 看袂起別人 ê 軟汫, kā ka-tī 看做是保護樓頂彼兩个少年查某畫家特有 ê 顧門狗.
Sue tī 下面彼間光線暗淡 ê 小房間揣著 chiâu 是酒羶 ê Behrman. 一塊空白帆布繃好 tī 畫架, chhāi tī 一个角落, 已經 tī hia 25 年, teh 等待彼幅傑作, m̄-koh 連一个線條 mā 猶等無. Sue kā 伊講起 Johnsy ê 烏白想, koh 講, 她恐驚瘦 koh 虛 kah 確實 ná 像一片葉仔 ê Johnsy, 對這个世界 ê 留戀 lú 來 lú 輕, ē 真正隨風飄去.
老 Behrman, 目睭紅紅, 目屎 ná 流 ná 喝聲剾洗這種戇想.
"烏白講!" 伊喝聲. "世間有人戇 kah 因為三八旋藤 ê 葉仔 lak loài tō beh 死? Óa m̄-bat 聽 kè 這種怪事. 毋, óa 才 bô-beh 做你彼个隱居戇礦工 ê model. 你 ná beh hō͘ 她 án-ne 烏白亂想? Ai-ah, óa 可憐 ê 小小 Johnsy Sc."
"她病 kah 真害 koh 真虛," Sue 講, "發燒發 kah 她神經錯亂, 烏白想寡奇怪 ê 代誌. 好 lah, Behrman Ss, 你若毋愛做我 ê model, 你 tō 莫做. M̄-koh 我看, 你是一个討厭 ê 老... 老 koh lo-so ê 人."
"你 tō ná 一个柴耙!" Behrman 喝. "Sáng 講 óa 毋做 model? 行, óa 綴你去. Óa 毋是講規半工, óa beh 做你 ê model? 天 ah! Chia 毋是像 Johnsy Sc 這種好姑娘倒 loài 破病 ê 所在. 總有一工, óa 會畫一幅傑作, án-ne 咱 tō lóng ē-sái 搬出去. 天 ah! Án-ne 無毋著."
In 上樓 ê 時, Johnsy tng-teh 睏. Sue kā 窗仔簾放落到窗台, 做手勢叫 Behrman 到隔壁房. Tī hia, in 心膽膽瞭一下窗仔外 ê 常春藤. Tō 恬恬相對看一睏. 插濫雪 ê 冷雨一直 teh 落. Behrman, 穿伊 ê 藍色 siatchuh, 打扮做隱居 ê 礦工, 坐 tī kō͘ péng 過來 ê 茶鈷當做礦石 ê 頂面.
睏一點鐘了, Sue tī 第二工醒來, 她發現 Johnsy kō͘ 無神 ê 目睭金金看放落來 ê 綠色窗仔簾.
"Kā giú 起來; 我欲看," 她輕聲命令.
Sue 無攬無拈照做.
M̄-koh, 你看! 經過長長暗夜 ê 風吹雨拍, tī 磚仔牆頂猶有一片旋藤 ê 葉仔. 倚葉骨 ê 位猶是深綠色, khih-khih ê 葉邊顯出 lian koh 焦 ê 黃色, 伊勇敢掛 tī 離塗跤 7 米遠 ê 藤枝頂懸.
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3.
"Try to sleep," said Sue. "I must call Behrman up to be my model for the old hermit miner. I'll not be gone a minute. Don't try to move 'til I come back."
Old Behrman was a painter who lived on the ground floor beneath them. He was past sixty and had a Michael Angelo's Moses beard curling down from the head of a satyr along with the body of an imp. Behrman was a failure in art. Forty years he had wielded the brush without getting near enough to touch the hem of his Mistress's robe. He had been always about to paint a masterpiece, but had never yet begun it. For several years he had painted nothing except now and then a daub in the line of commerce or advertising. He earned a little by serving as a model to those young artists in the colony who could not pay the price of a professional. He drank gin to excess, and still talked of his coming masterpiece. For the rest he was a fierce little old man, who scoffed terribly at softness in any one, and who regarded himself as especial mastiff-in-waiting to protect the two young artists in the studio above.
Sue found Behrman smelling strongly of juniper berries in his dimly lighted den below. In one corner was a blank canvas on an easel that had been waiting there for twenty-five years to receive the first line of the masterpiece. She told him of Johnsy's fancy, and how she feared she would, indeed, light and fragile as a leaf herself, float away, when her slight hold upon the world grew weaker.
Old Behrman, with his red eyes plainly streaming, shouted his contempt and derision for such idiotic imaginings.
"Vass!" he cried. "Is dere people in de world mit der foolishness to die because leafs dey drop off from a confounded vine? I haf not heard of such a thing. No, I will not bose as a model for your fool hermit-dunderhead. Vy do you allow dot silly pusiness to come in der brain of her? Ach, dot poor leetle Miss Yohnsy."
"She is very ill and weak," said Sue, "and the fever has left her mind morbid and full of strange fancies. Very well, Mr. Behrman, if you do not care to pose for me, you needn't. But I think you are a horrid old - old flibbertigibbet."
"You are just like a woman!" yelled Behrman. "Who said I will not bose? Go on. I come mit you. For half an hour I haf peen trying to say dot I am ready to bose. Gott! dis is not any blace in which one so goot as Miss Yohnsy shall lie sick. Some day I vill baint a masterpiece, and ve shall all go away. Gott! yes."
Johnsy was sleeping when they went upstairs. Sue pulled the shade down to the window-sill, and motioned Behrman into the other room. In there they peered out the window fearfully at the ivy vine. Then they looked at each other for a moment without speaking. A persistent, cold rain was falling, mingled with snow. Behrman, in his old blue shirt, took his seat as the hermit miner on an upturned kettle for a rock.
When Sue awoke from an hour's sleep the next morning she found Johnsy with dull, wide-open eyes staring at the drawn green shade.
"Pull it up; I want to see," she ordered, in a whisper.
Wearily Sue obeyed.
But, lo! after the beating rain and fierce gusts of wind that had endured through the livelong night, there yet stood out against the brick wall one ivy leaf. It was the last one on the vine. Still dark green near its stem, with its serrated edges tinted with the yellow of dissolution and decay, it hung bravely from the branch some twenty feet above the ground.
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