Chóng Ū Chi̍t-kang | 總有一工
Tâi-gí gí-im | 台語語音: https://www.youtube.com/watch?v=jaA9dZl1AAI
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Pài-it chá-khí un-loán koh bô hō͘. Aurelio Escovar sī chi̍t-ê bô chip-chiàu ê khí-kho, mā sī chi̍t-ê chá khí-chhn̂g ê lâng, i tī la̍k-tiám tō khui mn̂g pān-kong. I ùi po-lê kūi the̍h chhut chi̍t-kóa chng tī chio̍h-ko-bô͘ ê ké chhùi-khí, koh tī toh-á téng khǹg chi̍t-pé ke-si, ná-chhiūⁿ teh tián-lám án-ne, chiàu tōa-sè kā an-pâi hó-sè. I chhēng chi̍t-niá bô niá ê sòaⁿ-tiâu siatchuh, tī ām-kún kō͘ chi̍t-lia̍p kim-sek liú-á liú tio̍h, iá i ê khò͘ sī kō͘ keng-tòa tiàu tio̍h. I seⁿ-chò tōa-hàn, sán-thiu, i ê piáu-chêng chin chió tùi-èng chōng-hóng, tō ná-chhiūⁿ chhàu-hîⁿ-lâng ê piáu-chêng.
Tán mi̍h-kiāⁿ pâi hó-sè tī toh-á, i kā chǹg-á khiú hiòng khí-kho í-á, chē lo̍h-lâi bôa ké chhùi-khí. I ká-ná bô teh siūⁿ teh chò ê tāi-chì, m̄-koh chò kah chin sūn-sī, kō͘ kha pháng chǹg-á, sīm-chì bô su-iàu ê sî mā kā pháng.
Peh-tiám kòe, i thêng chi̍t-khùn, thàu-kòe thang-á khòaⁿ hiòng thiⁿ, i khòaⁿ tio̍h nn̄g-chiah eng-á chiáu hioh tī keh-piah chhù-bóe-téng tiām-tiām teh pha̍k-ji̍t. I koh kè-sio̍k chò khang-khòe, sim siūⁿ, tiong-tàu chêng ē koh lo̍h-hō͘. I ê sim-su khì hō͘ 11 hòe hāu-seⁿ ê chiam siaⁿ phah-tn̄g.
"Papa."
"Siáⁿ?"
"Chhī-tiúⁿ mn̄g kóng, lí ē-sái kā i bán chhùi-khí bô?"
"Kā kóng, góa bô tī chia."
I tng-teh bôa chi̍t-ki kim chhùi-khí. I kā he the̍h tio̍h, chhiú chhun-tn̂g, ba̍k-chiu bui-bui teh kiám-cha. In kiáⁿ koh ùi hāu-chín-sek hoah-siaⁿ.
"I kóng, lí ū tī hia, in-ūi i ū thiaⁿ tio̍h lí ê siaⁿ."
Khí-kho kè-sio̍k kiám-cha chhùi-khí. It-ti̍t kàu i kā oân-sêng ê khang-khòe khǹg tī toh-téng, i chiah kóng:
"Án-ne thōng hó."
I koh chhau-chok chǹg-á. I ùi chi̍t-ê chóa-siuⁿ the̍h chhut kúi-ê khí-kiô khai-sí bôa, siuⁿ-á nih iáu ū i su-iàu chò ê tāi-chì.
"Papa."
"Siáⁿ?"
I iáu sī bô kái-piàn i ê piáu-chêng.
"I kóng, lí nā m̄ kā bán chhùi-khí, i boeh kā lí tōaⁿ-chhèng."
Bô-kóaⁿ-bô-kín, i kō͘ chi̍t-chióng ke̍k tìn-chēng ê tōng-chok, thêng-chí ta̍h-tāng chǹg-á, kā ùi í-á sak khui, koh kā toh-á ē-bīn ê thoah-á khiú kàu siōng-khui. Hia ū chi̍t-ki chhiú-chhèng. "Oke," i kóng. "Kiò i kòe-lâi kā góa tōaⁿ-chhèng."
I kā í-á tháⁿ kàu mn̂g ê tùi-bīn, chhiú tam tī thoah-á kîⁿ. Chhī-tiúⁿ chhut-hiān tī mn̂g-kháu. I tò-pêng bīn ê chhùi-chhiu thì kng-kng, m̄-koh iáu chi̍t-pêng ê bīn, chéng koh thiàⁿ, chhùi-chhiu í-keng gō͘-kang bô thì.
Khí-kho ùi i he bô-sîn ê ba̍k-chiu khòaⁿ chhut kúi-ā mê ê khó͘-chêng. I kō͘ chéng-thâu-á bóe kā thoah-á koaiⁿ hó, jiû-jiû kóng:
"Chē lo̍h-lâi."
"Gâu-chá," Chhī-tiúⁿ kóng.
"Chá," khí-kho kóng.
Tng-teh hiâⁿ kún-chúi thǹg khì-kū ê sî, Chhī-tiúⁿ kā thâu-khak khòe tī í-á ê chím-thâu, án-ne kám-kak khah hó--kòa. I chhoán ê khùi peng-peng. Chit-keng pān-kong-sek chin liāu-siáu: chi̍t-tè kū chhâ-í, kha-ta̍h chǹg, chi̍t-ê khǹg chi̍t-kóa hûi-koàn ê po-lê kūi. Í-á tùi-bīn ê thang-á, kòa keng-thâu koân ê pò͘-lî. Tán i kám-kak khí-kho kiâⁿ óa, Chhī-tiúⁿ keng ân kha-āu-teⁿ, kā chhùi peh-khui.
Aurelio Escovar oa̍t-thâu hiòng kng. Kiám-cha siū kám-jiám ê chhùi-khí liáu-āu, i kō͘ chéng-thâu-á sió-sim kā Chhī-tiúⁿ ê ē-hâi ha̍p khí-lâi.
"Bē-tàng chù bâ-siā," i kóng.
"Sī án-nóa?"
"In-ūi lí ū pū-lâng."
Chhī-tiúⁿ lia̍h i ê ba̍k-chiu khòaⁿ. "Hó lah," i kóng, kek chi̍t-ê chhiò-bīn.
Khí-kho bô tòe i chhiò. I kā té siau-to̍k hó ê khì-kū ê chúi-phûn the̍h-lâi khǹg tī kang-chok-tâi, kō͘ léng ngeh-á kā khì-kū ùi chúi nih ngeh chhut-lâi, iáu-sī bô-kóaⁿ-bô-kín. Jiân-āu i kō͘ kha-chiam kā thâm-koàn sóa tiāⁿ-ūi, koh khì chúi-chô sé chhiú. I chò che it-chhè, lóng bô khòaⁿ Chhī-tiúⁿ chi̍t-ē. M̄-koh, Chhī-tiúⁿ ê ba̍k-chiu chi̍t-nih to bô lī-khui i.
He sī ē-bīn ê chi̍t-ki tì-khí. Khí-kho siang-kha khui-khui, kō͘ sio ngeh-á kā chhùi-khí gia̍p tio̍h. Chhī-tiúⁿ lia̍h tiâu í-á ê hû-chhiú, chīn-la̍t kā kha keng ân, kám-kak i ê io-chí ū chi̍t-ê léng sng-sng ê khang, m̄-koh bô chhut-siaⁿ. Khí-kho kan-ta tín-tāng i ê chhiú-óaⁿ. Bô oàn-hūn, chí-sī kō͘ chi̍t-chióng khó͘-siap ê un-jiû, i kóng:
"Taⁿ, lí tio̍h ūi goán sí-khì ê 20-ê lâng hù chhut tāi-kè."
Chhī-tiúⁿ kám-kak ē-hâi ê kut-thâu khia̍k-khia̍k kiò, i ê ba̍k-chiu ba̍k-sái kâm tīⁿ-tîⁿ. M̄-koh, i kìm-khùi, it-ti̍t kàu i kám-kak chhùi-khí chhut-lâi ah. Jiân-āu, thàu-kòe ba̍k-sái, i khòaⁿ tio̍h bán khí-lâi ê chhùi-khí. He khòaⁿ tio̍h ká-ná kap i ê thiàⁿ chin chheⁿ-hūn, sīm-chì hō͘ i bô hoat-tō͘ liáu-kái kòe-khì gō͘-àm ê thoa-bôa.
I àⁿ-io hiòng thâm-koàn, kui-sin kōaⁿ, tōa-khùi chhoán bē-lī, i tháu-khui tōa-i ê liú-á, chhun-chhiú khì khò͘-tē-á the̍h chhiú-kin. Khí-kho hō͘ i chi̍t-tiâu chheng-khì ê pò͘.
"Ba̍k-sái chhit hō͘ ta," i kóng.
Chhī-tiúⁿ chhit ba̍k-sái. I khu̍h-khu̍h chun. Khí-kho teh sé chhiú ê sî, i khòaⁿ tio̍h phòa-sàm ê thian-pông, kap chi̍t-ê eng-ia ê ti-tu bāng, téng-bīn ū ti-tu-nn̄g hām sí khì ê thâng-thōa. Khí-kho tńg-lâi, teh chhit chhiú. "Tńg khì khùn," i kóng, "kō͘ iâm-chúi ko̍k-chhùi." Chhī-tiúⁿ khiā khí-lâi, kō͘ chi̍t-ê sûi-ì ê kun-lé kā kò-pia̍t, kiâⁿ hiòng mn̂g-kháu, chhun-kha hoa̍h-pō͘, bô liú i ê tōa-i.
"Kià siàu-toaⁿ lâi," i kóng.
"Hō͘ lí a̍h hō͘ chhī chèng-hú?"
Chhī-tiúⁿ bô khòaⁿ i. I koaiⁿ-mn̂g, thàu-kòe khiā-pîn kóng:
"He lóng mā kāng-khoán."
--
拜一早起溫暖 koh 無雨. Aurelio Escovar 是一个無執照 ê 齒科, mā 是一个早起床 ê 人, 伊 tī 六點 tō 開門辦公. 伊 ùi 玻璃櫃提出一寡裝 tī 石膏模 ê 假喙齒, koh tī 桌仔頂囥一把家私, ná 像 teh 展覽 án-ne, 照大細 kā 安排好勢. 伊穿一領無領 ê 線條 siatchuh, tī 頷頸 kō͘ 一粒金色鈕仔鈕著, iá 伊 ê 褲是 kō͘ 肩帶吊著. 伊生做大漢, 瘦抽, 伊 ê 表情真少對應狀況, tō ná 像臭耳聾 ê 表情.
等物件排好勢 tī 桌仔, 伊 kā 鑽仔搝向齒科椅仔, 坐落來磨假喙齒. 伊 ká-ná 無 teh 想 teh 做 ê 代誌, 毋過做甲真順序, kō͘ 跤紡鑽仔, 甚至無需要 ê 時 mā kā 紡.
八點過, 伊停一睏, 透過窗仔看向天, 伊看著兩隻鷹仔鳥歇 tī 隔壁厝尾頂恬恬 teh 曝日. 伊 koh 繼續做工課, 心想, 中晝前會 koh 落雨. 伊 ê 心思去予 11 歲後生 ê 尖聲拍斷.
"Papa."
"啥?"
"市長問講, 你會使 kā 伊挽喙齒無?"
"Kā 講, 我無 tī 遮."
伊 tng-teh 磨一支金喙齒. 伊 kā he 提著, 手伸長, 目睭 bui-bui teh 檢查. In 囝 koh ùi 候診室喝聲.
"伊講, 你有 tī 遐, 因為伊有聽著你 ê 聲."
齒科繼續檢查喙齒. 一直到伊 kā 完成 ê 工課囥 tī 桌頂, 伊才講:
"Án-ne thōng 好."
伊 koh 操作鑽仔. 伊 ùi 一个紙箱提出幾个齒橋開始磨, 箱仔 nih 猶有伊需要做 ê 代誌.
"Papa."
"啥?"
伊猶是無改變伊 ê 表情.
"伊講, 你若毋 kā 挽喙齒, 伊欲 kā 你彈銃."
無趕無緊, 伊 kō͘ 一種極鎮靜 ê 動作, 停止踏動鑽仔, kā ùi 椅仔捒開, koh kā 桌仔下面 ê 屜仔搝到上開. 遐有一支手銃. "Oke," 伊講. "叫伊過來 kā 我彈銃."
伊 kā 椅仔挺到門 ê 對面, 手 tam tī 屜仔墘. 市長出現 tī 門口. 伊倒爿面 ê 喙鬚剃光光, 毋過猶一爿 ê 面, 腫 koh 疼, 喙鬚已經五工無剃.
齒科 ùi 伊 he 無神 ê 目睭看出幾若暝 ê 苦情. 伊 kō͘ 指頭仔尾 kā 屜仔關好, 柔柔講:
"坐落來."
"Gâu 早," 市長講.
"早," 齒科講.
Tng-teh 燃滾水燙器具 ê 時, 市長 kā 頭殼蹶 tī 椅仔 ê 枕頭, án-ne 感覺較好--寡. 伊喘 ê 氣冰冰. 這間辦公室真料小: 一塊舊柴椅, 跤踏鑽, 一个囥一寡瓷罐 ê 玻璃櫃. 椅仔對面 ê 窗仔, 掛肩頭懸 ê 布簾. 等伊感覺齒科行倚, 市長 keng 絚跤後蹬, kā 喙擘開.
Aurelio Escovar 越頭向光. 檢查受感染 ê 喙齒了後, 伊 kō͘ 指頭仔小心 kā 市長 ê 下頦合起來.
"袂當注麻射," 伊講.
"是按怎?"
"因為你有孵膿."
市長掠伊 ê 目睭看. "好 lah," 伊講, 激一个笑面.
齒科無綴伊笑. 伊 kā 貯消毒好 ê 器具 ê 水盆提來囥 tī 工作台, kō͘ 冷 ngeh-á kā 器具 ùi 水 nih ngeh 出來, 猶是無趕無緊. 然後伊 kō͘ 跤尖 kā 痰罐徙定位, koh 去水槽洗手. 伊做這一切, 攏無看市長一下. 毋過, 市長 ê 目睭一 nih to 無離開伊.
彼是下面 ê 一支智齒. 齒科雙跤開開, kō͘ 燒 ngeh-á kā 喙齒挾著. 市長掠牢椅仔 ê 扶手, 盡力 kā 跤 keng 絚, 感覺伊 ê 腰子有一个冷霜霜 ê 空, 毋過無出聲. 齒科干焦振動伊 ê 手腕. 無怨恨, 只是 kō͘ 一種苦澀 ê 溫柔, 伊講:
"今, 你著為阮死去 ê 20 个人付出代價."
市長感覺下頦 ê 骨頭 khia̍k-khia̍k 叫, 伊 ê 目睭目屎含滇滇. 毋過, 伊禁氣, 一直到伊感覺喙齒出來 ah. 然後, 透過目屎, 伊看著挽起來 ê 喙齒. 彼看著 ká-ná kap 伊 ê 疼真生份, 甚至予伊無法度了解過去五暗 ê 拖磨.
伊 àⁿ 腰向痰罐, 規身汗, 大氣喘袂離, 伊敨開大衣 ê 鈕仔, 伸手去褲袋仔提手巾. 齒科予伊一條清氣 ê 布.
"目屎拭予焦," 伊講.
市長拭目屎. 伊 khu̍h-khu̍h chun. 齒科 teh 洗手 ê 時, 伊看著破鬖 ê 天篷, kap 一个坱埃 ê 蜘蛛網, 頂面有蜘蛛卵和死去 ê 蟲豸. 齒科轉來, teh 拭手. "轉去睏," 伊講, "kō͘ 鹽水 ko̍k 喙." 市長徛起來, kō͘ 一个隨意 ê 軍禮 kā 告別, 行向門口, 伸跤伐步, 無鈕伊 ê 大衣.
"寄數單來," 伊講.
"予你 a̍h 予市政府?"
市長無看伊. 伊關門, 透過徛屏講:
"彼攏 mā 仝款."
--
Monday dawned warm and rainless. Aurelio Escovar, a dentist without a degree, and a very early riser, opened his office at six. He took some false teeth, still mounted in their plaster mold, out of the glass case and put on the table a fistful of instruments which he arranged in size order, as if they were on display. He wore a collarless striped shirt, closed at the neck with a golden stud, and pants held up by suspenders. He was erect and skinny, with a look that rarely corresponded to the situation, the way deaf people have of looking.
When he had things arranged on the table, he pulled the drill toward the dental chair and sat down to polish the false teeth. He seemed not to be thinking about what he was doing, but worked steadily, pumping the drill with his feet, even when he didn’t need it.
After eight he stopped for a while to look at the sky through the window, and he saw two pensive buzzards who were drying themselves in the sun on the ridgepole of the house next door. He went on working with the idea that before lunch it would rain again. The shrill voice of his eleven-year-old son interrupted his concentration.
“Papa.”
“What?”
“The Mayor wants to know if you’ll pull his tooth.”
“Tell him I’m not here.”
He was polishing a gold tooth. He held it at arm’s length, and examined it with his eyes half closed. His son shouted again from the little waiting room.
“He says you are, too, because he can hear you.”
The dentist kept examining the tooth. Only when he had put it on the table with the finished work did he say:
“So much the better.”
He operated the drill again. He took several pieces of a bridge out of a cardboard box where he kept the things he still had to do and began to polish the gold.
“Papa.”
“What?”
He still hadn’t changed his expression.
“He says if you don’t take out his tooth, he’ll shoot you.”
Without hurrying, with an extremely tranquil movement, he stopped pedaling the drill, pushed it away from the chair, and pulled the lower drawer of the table all the way out. There was a revolver. “O.K.,” he said. “Tell him to come and shoot me.”
He rolled the chair over opposite the door, his hand resting on the edge of the drawer. The Mayor appeared at the door. He had shaved the left side of his face, but the other side, swollen and in pain, had a five-day-old beard.
The dentist saw many nights of desperation in his dull eyes. He closed the drawer with his fingertips and said softly:
“Sit down.”
“Good morning,” said the Mayor.
“Morning,” said the dentist.
While the instruments were boiling, the Mayor leaned his skull on the headrest of the chair and felt better. His breath was icy. It was a poor office: an old wooden chair, the pedal drill, a glass case with ceramic bottles. Opposite the chair was a window with a shoulder-high cloth curtain. When he felt the dentist approach, the Mayor braced his heels and opened his mouth.
Aurelio Escovar turned his head toward the light. After inspecting the infected tooth, he closed the Mayor’s jaw with a cautious pressure of his fingers.
“It has to be without anesthesia,” he said.
“Why?”
“Because you have an abscess.”
The Mayor looked him in the eye. “All right,” he said, and tried to smile.
The dentist did not return the smile. He brought the basin of sterilized instruments to the worktable and took them out of the water with a pair of cold tweezers, still without hurrying. Then he pushed the spittoon with the tip of his shoe, and went to wash his hands in the washbasin. He did all this without looking at the Mayor. But the Mayor didn’t take his eyes off him.
It was a lower wisdom tooth. The dentist spread his feet and grasped the tooth with the hot forceps. The Mayor seized the arms of the chair, braced his feet with all his strength, and felt an icy void in his kidneys, but didn’t make a sound. The dentist moved only his wrist. Without rancor, rather with a bitter tenderness, he said:
“Now you’ll pay for our twenty dead men.”
The Mayor felt the crunch of bones in his jaw, and his eyes filled with tears. But he didn’t breathe until he felt the tooth come out. Then he saw it through his tears. It seemed so foreign to his pain that he failed to understand his torture of the five previous nights.
Bent over the spittoon, sweating, panting, he unbuttoned his tunic and reached for the handkerchief in his pants pocket. The dentist gave him a clean cloth.
“Dry your tears,” he said.
The Mayor did. He was trembling. While the dentist washed his hands, he saw the crumbling ceiling and a dusty spider web with spider’s eggs and dead insects. The dentist returned, drying his hands. “Go to bed,” he said, “and gargle with salt water.” The Mayor stood up, said goodbye with a casual military salute, and walked toward the door, stretching his legs, without buttoning up his tunic.
“Send the bill,” he said.
“To you or the town?”
The Mayor didn’t look at him. He closed the door and said through the screen:
“It’s the same damn thing.”
--
//
Gabriel García Márquez
From Wikipedia: Gabriel José de la Concordia García Márquez (born March 6, 1927[1]) is a Colombian novelist, short-story writer, screenwriter and journalist. García Márquez, familiarly known as "Gabo" in his native country, is one of Latin America’s most famous writers. He is considered one of the most significant authors of the 20th century, and in 1982 was awarded the Nobel Prize in Literature. In his early years he was strongly influenced by his grandfather who raised him. As he grew, he pursued a highly self-directed education that resulted in his quitting law school in order to begin a career in journalism. Early in this career he demonstrated he had no inhibitions to be critical of politics within Colombia and beyond. In 1958, he married Mercedes Barcha and they have since had two sons together.
He started out as a journalist, and has written many acclaimed nonfiction works, and short stories, but is best-known for his novels, such as One Hundred Years of Solitude (1967) and Love in the Time of Cholera (1985). He has achieved significant critical acclaim and widespread commercial success, most notably for popularizing a literary style labeled as magical realism in which he uses certain magical elements and events in order to explain real experiences. Some of his works take place in a fictional village called Macondo, and most of them express the theme of solitude.
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