Lāu A-niâ | 老阿娘
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Kó͘-chá kó͘-chá, ū chi̍t-ê chò-sit-lâng hām in chiú-kóa ê lāu a-niâ tòa tī soaⁿ-kha. In ū chi̍t-tè sió chhân-tē, khò he chia̍h-pn̄g, in chò-lâng kó͘-ì, seng-oa̍h pêng-chēng, hēng-hok.
Shinano* [信濃] só͘-chāi sī chi̍t-ê to̍k-chhâi ê tāi-jîn teh koán-lí, i sui-bóng sī chi̍t-ê bú-sū, m̄-koh m̄-káⁿ bīn-tùi jīm-hô iú-koan kiān-khong a̍h thé-la̍t siau-thè ê tāi-chì. In-ūi án-ne, i hoat-pò͘ chi̍t-ê chân-khok ê kò-sī. Kui-ê tē-hng lóng chiap tio̍h giâm-keh ê bēng-lēng, kóng: tio̍h kā só͘-ū ê lāu-lâng chhú-sí. Hit-ê sî-tāi iáu chin iá-bân, pàng-sak lāu-lâng hō͘ in ka-tī sí, pēng m̄-sī hán-kiàn. Chit-ê chò-sit-lâng tùi lāu a-niâ ū un-jiû ê hàu-sim, chit-ê bēng-lēng hō͘ i sim-koaⁿ chiok kan-khó͘. M̄-koh, bô lâng káⁿ ûi-pōe tāi-jîn ê bēng-lēng, só͘-í tī tîm-tāng, choa̍t-bāng ê ai-thàn tang-tiong, chit-ê siàu-liân-ke chún-pī boeh sú-iōng hit-sî siōng jîn-chû ê sí-bông hong-sek.
Ji̍t-lo̍h sî-hun, chi̍t-kang ê khang-khòe kiat-sok liáu-āu, i the̍h chi̍t-kóa chhò-bí, che sī sàn-chhiah-lâng ê chú-si̍t, i kā chú se̍k, lī ta, kō͘ pau-ho̍k-kin pau hó-sè, kat tī ām-kún, koh ke chi̍t-hô͘-lô͘ liâng koh tiⁿ ê chúi. Jiân-āu, i kā lám sin-miā ê lāu a-niâ āiⁿ tī kha-chiah-phiaⁿ, khai-sí sin-khó͘ ê peh-soaⁿ lō͘-tô͘. Lō͘ tn̂g koh kiā; phah-la̍h-ê hām chhò-chhâ-ê kiâⁿ ê sió-lō͘ hām chit-tiâu lō͘ kau lâi chhap khì. Ū kúi-ā ūi, in bê-lō͘ khì, m̄-chai hong-hiòng, m̄-koh i bô kòa-ì. M̄-koán tó chi̍t-tiâu lō͘, lóng bô iàu-kín. I kè-sio̍k hiòng-chêng, bông-bo̍k peh koân -- it-ti̍t hiòng kng-liu-liu ê soaⁿ-téng peh khí-khì, hit-lia̍p soaⁿ hō-chò Obasuteyama* [姨捨山], its "pàng-sak lāu a-niâ ê soaⁿ" ê ì-sù.
Lāu a-niâ ê ba̍k-chiu bô kóng chin hoe, chù-ì tio̍h chi̍t-lō͘ kòe chi̍t-lō͘ ê chhóng-pōng, ín-khí yi jîn-chû sim-koaⁿ ê put-an. Yin hāu-seⁿ tùi soaⁿ-téng chiah chē lō͘ bô kóng chin se̍k, tò-tńg khì kiám-chhái ē ū hûi-hiám, yi tō chhun-chhiú chhut-khì at keng-kòe lō͘-piⁿ ām kòe-lâi ê chhiū-oe, múi kòe kúi-pō͘ koh kā chhiū-oe pàng-lo̍h, chŏaⁿ in ná peh, iân e̍h-e̍h ê sió-lō͘, sio-keh bô kúi-pō͘ tī in āu-bīn tō ū sió-sió chi̍t-pé ê chhiū-oe. Lo̍h-bóe, in lâi kàu soaⁿ-téng bóe-liu. Thiám koh sim-cho, hit-ê siàu-liân-ke khin-khin pàng-lo̍h hū-tam, chēng-chēng chún-pī chi̍t-ê sù-sī ê só͘-chāi, ūi sim-ài a-niâ chīn chòe-āu ê hàu-sim. I siu-chi̍p lak tī thô͘-kha ê ta siong-hio̍h, pho͘ chi̍t-ê jiû-nńg ê ūi, koh khin-khin phō lāu a-niâ khǹg tī hit téng-bīn. I kā yi ê hiû-á tī ku-ku ê keng-thâu hia khiú khah óa leh, ba̍k-sái ńa teh lâu, sim-koaⁿ ná teh thiàⁿ, i tō hām a-niâ sio-sî.
A-niâ chùn-tāng ê siaⁿ-im chhiong-móa chû-ài, yi kóng-chhut chòe-āu ê kau-tài. "Koai-kiáⁿ, lí tio̍h kā ba̍k-chiu peh khah kim leh," yi kóng. "Soaⁿ-lō͘ chhiong-móa hûi-hiám. Lí tio̍h chù-ì khòaⁿ, tòe ū hiat chhiū-oe ê lō͘ kiâⁿ. Chhiū-oe tō ē chhōa lí kiâⁿ kàu khah ē-bīn, lí se̍k-sāi ê lō͘ hia." Hāu-seⁿ ê ba̍k-chiu tián-tōa, khòaⁿ hiòng āu-bīn ê sió-lō͘, koh khòaⁿ a-niâ sán koh jiâu ê siang-chhiú, in-ūi ài-sim ê khang-khòe, chiâu sī siong-hûn kap lah-sap. I ê sim-koaⁿ phò-chhùi, ná àⁿ-sin hiòng thô͘-kha, ná khàu chhut-siaⁿ kóng: "ai-ah, góa sim-ài ê a-niâ, lí ê jîn-chû hō͘ góa sim-chhùi! Góa bē-sái pàng-sak lí. Lán tâng-chê iân ū chhiū-oe ê sió-lō͘ kiâⁿ, lán ē-sái tâng-chê sí!"
Koh chi̍t-pái, i ê keng-thâu āiⁿ-khí hū-tam (taⁿ ê kám-kak sī hiah-nī khin), kín-kín iân-lō͘ lo̍h-soaⁿ, keng-kòe o͘-iáⁿ hām goe̍h-kng, tńg-lâi kàu chng-lāi ê sió chhù-liâu. Tī chàu-kha tē-pán ē-bīn, ū chi̍t-ê té si̍t-bu̍t ê piah-tû, khàm hó tō khòaⁿ bē-chhut. Hāu-seⁿ kā a-niâ chhàng tī hia, thê-kiong yi só͘ su-iàu ê ta̍k-hāng mi̍h, koh tiu-tiu chù-ì koan-chhat, khióng-kiaⁿ yi khì hō͘ lâng hoat-hiān tio̍h. Sî-kan chiām-chiām kòe, i khai-sí kám-kak an-choân ah; kàu chi̍t-kang, tāi-jîn koh phài chhut thoân-lēng-peng, chah chi̍t-ê bô-lí ê bēng-lēng, khòaⁿ sī koh boeh tián i ê khoân-ui. I ê iau-kiû sī, peh-sèⁿ tio̍h kau chhut chi̍t-tiâu hóe-hu soh-á.
Kui-ê só͘-chāi, lâng-lâng kiaⁿ kah khū-khū chhoah. Chit-ê bēng-lēng bē-tit ûi-pōe, m̄-koh Shinano chit só͘-chāi ū siáng ē-hiáu chò hóe-hu soh-á ah? Chi̍t-kang àm-sî, sim-koaⁿ tōa kan-khó͘ ê hāu-seⁿ, khin-siaⁿ kā chit-ê siau-sit kóng hō͘ chhàng-tio̍h ê a-niâ chai. "Tán chi̍t-ē!" yi kóng. "Góa siūⁿ khòaⁿ-māi. Góa siūⁿ khòaⁿ-māi." Kàu tē-jī kang, yi kà i án-chóaⁿ chò. "Seng lián tiū-chháu kā pīⁿ chò soh-á," yi kóng. "Jiân-āu kā pho͘ tī chi̍t-pâi píⁿ chio̍h-phìⁿ téng-bīn, tī bô hong ê àm-mê tiám hóe kā sio." I tō khì chhōe lâng lâi, ta̍k-ê chò-hóe chiàu a-niâ kóng-ê khì chò, tán hóe sio liáu ê sî, tī chio̍h-thâu téng-bīn tō chhut-hiān chi̍t-tiâu hóe-hu soh-á, he pian-chit ê tńg-se̍h hām chhiam-ûi lóng hián-hiān kah chheng-chheng chhó-chhó.
Tāi-jîn chin hoaⁿ-hí khòaⁿ tio̍h chit-ê siàu-liân-ke chiah khiáu, m̄-koh i koh mn̄g i, sī ùi tó-ūi tit-tio̍h chit-ê tì-hūi. "Hāi ah! Hāi ah!" chò-sit-lâng ai chhut-siaⁿ, "tio̍h ài kóng láu-si̍t-ōe!" tō chhim-chhim oan-io kiâⁿ-lé, kóng chhut i ê kò͘-sū. Tāi-jîn thiaⁿ liáu, koh tiām-tiām àⁿ-thâu siūⁿ chi̍t-khùn. Lo̍h-bóe i chiah koh taⁿ-thâu. "Shinano só͘ su-iàu ê, m̄-nā sī siàu-liân-ke ê thé-la̍t," i kháu-khì giâm-siok, án-ne kóng. "Ah, góa soah bē-kì-tit chi̍t-kù chin ū-miâ ê kó͘-chá ōe: ‘thâu-khak pe̍h, tì-hūi chē!’" Chek-sî, hit-tiâu pàng-sak lāu-lâng ê hoat-lu̍t sûi tō hùi-tî, hit-chióng sio̍k-lē í-keng sī kó͘-chá kó͘-chá ê tāi-chì, kan-ta chiâⁿ-chò chi̍t-ê thoân-soat.
* Tē-hō miâ chhái-iōng hiān-sî ê Ji̍t-gí Roma-jī
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古早古早, 有一个做穡人和 in 守寡 ê 老阿娘蹛 tī 山跤. In 有一塊小田地, 靠 he 食飯, in 做人古意, 生活平靜, 幸福.
Shinano* [信濃] 所在是一个獨裁 ê 大人 teh 管理, 伊雖罔是一个武士, 毋過毋敢面對任何有關健康 a̍h 體力消退 ê 代誌. 因為 án-ne, 伊發布一个殘酷 ê 告示. 規个地方攏接著嚴格 ê 命令, 講: 著 kā 所有 ê 老人處死. 彼个時代猶真野蠻, 放捒老人予 in 家己死, 並毋是罕見. 這个做穡人對老阿娘有溫柔 ê 孝心, 這个命令予伊心肝足艱苦. 毋過, 無人敢違背大人 ê 命令, 所以 tī 沉重, 絕望 ê 哀嘆當中, 這个少年家準備欲使用彼時上仁慈 ê 死亡方式.
日落時分, 一工 ê 工課結束了後, 伊提一寡糙米, 這是散赤人 ê 主食, 伊 kā 煮熟, 濾焦, kō͘ 包袱巾包好勢, 結 tī 頷頸, koh 加一葫蘆涼 koh 甜 ê 水. 然後, 伊 kā 荏身命 ê 老阿娘偝 tī 尻脊骿, 開始辛苦 ê peh 山路途. 路長 koh 崎; 拍獵 ê 和 剉柴 ê 行 ê 小路和這條路交來插去. 有幾若位, in 迷路去, 毋知方向, 毋過伊無掛意. 毋管佗一條路, 攏無要緊. 伊繼續向前, 盲目 peh 懸 -- 一直向光溜溜 ê 山頂 peh 起去, 彼粒山號做 Obasuteyama* [姨捨山], its "放捒老阿娘 ê 山" ê 意思.
老阿娘 ê 目睭無講真花, 注意著一路過一路 ê 衝碰, 引起她仁慈心肝 ê 不安. 姻後生對山頂 chiah 濟路無講真熟, 倒轉去檢采會有危險, 她 tō 伸手出去 at 經過路邊 ām 過來 ê 樹椏, 每過幾步 koh kā 樹椏放落, chŏaⁿ in ná peh, 沿狹狹 ê 小路, 相隔無幾步 tī in 後面 tō 有小小一把 ê 樹椏. 落尾, in 來到山頂尾溜. 忝 koh 心慒, 彼个少年家輕輕放落負擔, 靜靜準備一个四序 ê 所在, 為心愛阿娘盡最後 ê 孝心. 伊收集 lak tī 塗跤 ê 焦松葉, 鋪一个柔軟 ê 位, koh 輕輕抱老阿娘囥 tī 彼頂面. 伊 kā 她 ê 裘仔 tī 痀痀 ê 肩頭遐搝較倚 leh, 目屎 ńa teh 流, 心肝 ná teh 疼, 伊 tō 和阿娘相辭.
阿娘顫動 ê 聲音充滿慈愛, 她講出最後 ê 交代. "乖囝, 你著 kā 目睭擘較金 leh," 她講. "山路充滿危險. 你著注意看, 綴有㧒樹椏 ê 路行. 樹椏 tō 會 chhōa 你行到較下面, 你熟似 ê 路遐." 後生 ê 目睭展大, 看向後面 ê 小路, koh 看阿娘瘦 koh 皺 ê 雙手, 因為愛心 ê 工課, 齊是傷痕 kap 垃圾. 伊 ê 心肝破碎, ná àⁿ 身向塗跤, ná 哭出聲講: "ai-ah, 我心愛 ê 阿娘, 你 ê 仁慈予我心碎! 我袂使放捒你. 咱同齊沿有樹椏 ê 小路行, 咱會使同齊死!"
閣一擺, 伊 ê 肩頭偝起負擔 (今 ê 感覺是 hiah-nī 輕), 緊緊沿路落山, 經過烏影和月光, 轉來到庄內 ê 小厝寮. Tī 灶跤地板下面, 有一个貯食物 ê 壁櫥, 崁好 tō 看袂出. 後生 kā 阿娘藏 tī 遐, 提供她所需要 ê 逐項物, koh tiu-tiu 注意觀察, 恐驚她去予人發現著. 時間漸漸過, 伊開始感覺安全 ah; 到一工, 大人 koh 派出傳令兵, 扎一个無理 ê 命令, 看是 koh 欲展伊 ê 權威. 伊 ê 要求是, 百姓著交出一條火烌索仔.
規个所在, 人人驚甲懼懼掣. 這个命令袂得違背, 毋過 Shinano 這所在有 siáng 會曉做火烌索仔 ah? 一工暗時, 心肝大艱苦 ê 後生, 輕聲 kā 這个消息講予藏著 ê 阿娘知. "等一下!" 她講. "我想看覓. 我想看覓." 到第二工, 她教伊按怎做. "先撚稻草 kā 辮 chò 索仔," 她講. "然後 kā 鋪 tī 一排扁石片頂面, tī 無風 ê 暗暝點火 kā 燒." 伊 tō 去揣人來, 逐个做伙照阿娘講 ê 去做, 等火燒了 ê 時, tī 石頭頂面 tō 出現一條火烌索仔, he 編織 ê 轉踅和纖維攏顯現甲清清楚楚.
大人真歡喜看著這个少年家 chiah 巧, 毋過伊 koh 問伊, 是 ùi 佗位得著這个智慧. "害 ah! 害 ah!" 做穡人哀出聲, "著愛講老實話!" tō 深深彎腰行禮, 講出伊 ê 故事. 大人聽了, koh 恬恬 àⁿ 頭想一睏. 落尾伊才 koh taⁿ 頭. "Shinano 所需要 ê, 毋但是少年家 ê 體力," 伊口氣嚴肅, án-ne 講. "Ah, 我煞袂記得一句真有名 ê 古早話: ‘頭殼白, 智慧濟!’" 即時, 彼條放捒老人 ê 法律隨 tō 廢除, 彼種俗例已經是古早古早 ê 代誌, 干焦成做一个傳說.
* 地號名採用現時 ê 日語羅馬字
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Long, long ago there lived at the foot of the mountain a poor farmer and his aged, widowed mother. They owned a bit of land which supplied them with food, and they were humble, peaceful, and happy.
Shining [Shinano] was governed by a despotic leader who though a warrior, had a great and cowardly shrinking from anything suggestive of failing health and strength. This caused him to send out a cruel proclamation. The entire province was given strict orders to immediately put to death all aged people. Those were barbarous days, and the custom of abandoning old people to die was not uncommon. The poor farmer loved his aged mother with tender reverence, and the order filled his heart with sorrow. But no one ever thought twice about obeying the mandate of the governor, so with many deep and hopeless sighs, the youth prepared for what at that time was considered the kindest mode of death.
Just at sundown, when his day’s work was ended, he took a quantity of unwhitened rice which was the principal food for the poor, and he cooked, dried it, and tied it in a square cloth, which he swung in a bundle around his neck along with a gourd filled with cool, sweet water. Then he lifted his helpless old mother to his back and started on his painful journey up the mountain. The road was long and steep; the narrow road was crossed and re-crossed by many paths made by the hunters and woodcutters. In some place, they lost and confues [confused], but he gave no heed. One path or another, it mattered not. On he went, climbing blindly upward -- ever upward towards the high bare summit of what is known as Obatsuyama [Obasuteyama], the mountain of the “abandoning of the aged.”
The eyes of the old mother were not so dim but that they noted the reckless hastening from one path to another, and her loving heart grew anxious. Her son did not know the mountain’s many paths and his return might be one of danger, so she stretched forth her hand and snapping the twigs from brushes as they passed, she quietly dropped a handful every few steps of the way so that as they climbed, the narrow path behind them was dotted at frequent intervals with tiny piles of twigs. At last the summit was reached. Weary and heart sick, the youth gently released his burden and silently prepared a place of comfort as his last duty to the loved one. Gathering fallen pine needles, he made a soft cushion and tenderly lifted his old mother onto it. He wrapped her padded coat more closely about the stooping shoulders and with tearful eyes and an aching heart he said farewell.
The trembling mother’s voice was full of unselfish love as she gave her last injunction. “Let not thine eyes be blinded, my son.” She said. “The mountain road is full of dangers. LOOK carefully and follow the path which holds the piles of twigs. They will guide you to the familiar path farther down.” The son’s surprised eyes looked back over the path, then at the poor old, shriveled hands all scratched and soiled by their work of love. His heart broke within and bowing to the ground, he cried aloud: “oh, Honorable mother, your kindness breaks my heart! I will not leave you. Together we will follow the path of twigs, and together we will die!”
Once more he shouldered his burden (how light it seemed now) and hastened down the path, through the shadows and the moonlight, to the little hut in the valley. Beneath the kitchen floor was a walled closet for food, which was covered and hidden from view. There the son hid his mother, supplying her with everything she needed, continually watching and fearing she would be discovered. Time passed, and he was beginning to feel safe when again the governor sent forth heralds bearing an unreasonable order, seemingly as a boast of his power. His demand was that his subjects should present him with a rope of ashes.
The entire province trembled with dread. The order must be obeyed yet who in all Shining could make a rope of ashes? One night, in great distress, the son whispered the news to his hidden mother. “Wait!” she said. “I will think. I will think” On the second day she told him what to do. “Make rope of twisted straw,” she said. “Then stretch it upon a row of flat stones and burn it on a windless night.” He called the people together and did as she said and when the blaze died down, there upon the stones, with every twist and fiber showing perfectly, lay a rope of ashes.
The governor was pleased at the wit of the youth and praised greatly, but he demanded to know where he had obtained his wisdom. “Alas! Alas!” cried the farmer, “the truth must be told!” and with deep bows he related his story. The governor listened and then meditated in silence. Finally he lifted his head. “Shining needs more than strength of youth,” he said gravely. “Ah, that I should have forgotten the well-known saying, “with the crown of snow, there cometh wisdom!” That very hour the cruel law was abolished, and custom drifted into as far a past that only legends remain.
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An illustration for the story The Aged Mother by the author Matsuo Basho
Yoshitoshi, The moon and the abandoned old woman, 1892
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