Kong-hn̂g ê Liân-sòa | 公園 ê 連綴
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Kúi-kang chêng, i khai-sí tha̍k hit-pún sió-soat. In-ūi chi̍t-kóa kín-kip tāi-chì, i kā sió-soat khǹg chi̍t-piⁿ, tán chē hóe-chhia boeh tńg pâng-tē-sán ê só͘-chāi, i koh hian-khui lâi tha̍k; i ín-chún ka-tī bān-bān tùi chêng-chiat hām tùi jîn-bu̍t ê biô-siá sán-seng hèng-chhù. Hit ē-tàu, siá-phe hō͘ tāi-su, koh hām pâng-tē-sán keng-lí thó-lūn kiōng-tông só͘-iú-khoân liáu-āu, tī an-chēng ê chheh-pâng, i koh tńg-lâi tha̍k chit-pún chheh, ùi chheh-pâng khòaⁿ chhut-khì sī kong-hn̂g ê chhiūⁿ-chhiū.
I tó tī ka-tī siōng kah-ì ê kau-í, kha-chiah-āu hiòng mn̂g, in-ūi mn̂g ū chhim-ji̍p kiáu-jiáu ê khó-lêng-sèng, he ē hō͘ i sim bē-tiāⁿ. I ê tò-chhiú it-ti̍t teh bong he chheⁿ-sek thian-gô-jiông í-chū, khai-sí tha̍k chòe-āu kúi chiong. Chi̍t-sut-á to bē chia̍h-la̍t, i sûi kì-khí chú-iàu kak-sek ê miâ-jī hām hêng-siōng; ē-sái-kóng hoàn-kak chek-sî lia̍h tio̍h i.
I hiáng-siū chi̍t-chióng bē-su piàn-thài ê khoài-lo̍k, its* chi̍t-chōa chi̍t-chōa tha̍k, kā ka-tī thiu-lī chiu-ûi ê it-chhè, tông-sî koh kám-kak tio̍h ka-tī ê thâu khin-sang khòe tī kau-í ê chheⁿ-sek thian-gô-jiông koân í-pōe, hun tō tī chhiú piⁿ, tōa thang-á gōa ê ē-tàu khong-khì tī kong-hn̂g chhiūⁿ-chhiū ē-kha thiàu-bú. [* its = iā tō sī]
Chi̍t-jī chi̍t-jī tîm-chìm tī lâm-lú chú-kak ê o͘-àm khùn-kéng, hō͘ ka-tī kiâⁿ hiòng hêng-siōng chū-chi̍p ê só͘-chāi, hiàn-chhut sek-chhái kap tōng-chok, i chhin ba̍k-chiu khòaⁿ tio̍h in tī soaⁿ-téng sió-chhù ê chòe-āu iok-hōe. Hit-ê cha-bó͘ tāi-seng kàu, sim-koaⁿ pi̍h-pho̍k-chhái; chit-sî yin ài-jîn ji̍p-lâi, i ê bīn ū chhiu-oe tò-tōaⁿ sut-tio̍h ê siong-hûn. Hō͘ lâng him-siān ê sī, yi kō͘ chim chí he hoeh, m̄-koh i kī-choa̍t yi ê so-loa̍h, i lâi chia m̄-sī boeh tiông-ho̍k he pì-bi̍t kek-chêng ê gî-sek, chia sī thàng-kòe chhiū-nâ ê oan-oat sió-lō͘ hām chi̍t tōa-phiàn ê ta hio̍h chiah kàu-ūi ê iap-thiap só͘-chāi. Té-to tī i heng-chêng ù sio, ē-bīn thiàu-tāng tio̍h chū-iû, chún-pī hó boeh thiàu chhut-lâi. Ki-khat io̍k-bōng ê tùi-ōe ná-chhiūⁿ chi̍t-tīn chôa tī ia̍h-bīn soan bô-thêng, hō͘ lâng kám-kak it-chhè sī chhian-kó͘ í-lâi tō koat-tēng hó-sè.
Sui-bóng ká-ná hi-bāng i lâu lo̍h-lâi, m̄-koh iū khǹg i m̄-thang án-ne, sīm-chì tī ài-jîn sin-khu ê jiû-jiû so-loa̍h, mā oàn-hūn kah ōe chhut su-iàu húi-bia̍t ê lēng-gōa hit-ê sin-iáⁿ. Siáⁿ to bô bē-kì-tit: bô-chāi-tiûⁿ chèng-bêng, bōe ī-kiàn ê hong-hiám, khó-lêng ê chhò-gō͘. Chū chit tiám-cheng khai-sí, ta̍k sî-khek lóng ū siông-sè ê an-pâi. Chiah-ê sè-chiat ê léng-chēng, it-chài kiám-cha, chi̍t-sut-á to bô hō͘ so chhùi-phé ê chhiú só͘ kan-jiáu tio̍h. Thiⁿ khai-sí chiām-chiām teh àm.
Taⁿ, in bô sio tùi-khòaⁿ, kan-ta sī tèng-sim tī tio̍h khì chip-hêng ê jīm-bū, in tī sió-chhù ê mn̂g-kháu hun-chhiú. Yi boeh iân óng pak ê sió-lō͘ khì. I kiâⁿ bô kāng hong-hiòng ê lō͘, ū chi̍t-khùn i oa̍t-thâu khòaⁿ yi teh cháu, thâu-chang sàm-sàm. Koh-lâi, i mā khí-cháu, tī chhiū-á a̍h chhiū-lî tiong-kan ah-kē sin-khu, it-ti̍t kàu tī hông-hun ê n̂g-sek bū-khì tang-tiong, i ē-tit hun-pia̍t chhut thong-óng hit-keng chhù ê chhiū-ńg lō͘.
Káu eng-kai bē pūi, iá in mā bô pūi. Tī hit-ê sî-chūn, pâng-tē-sán keng-lí eng-kai bē tī hia, iá i mā bô tī leh. I peh saⁿ-ê khám-á kàu gîm-chîⁿ kháu, jiân-āu ji̍p khì. Thàu-kòe hīⁿ piⁿ kín-sok ê hoeh-me̍h, i kì khí hit-ê cha-bó͘ ê ōe: siōng tāi-seng sī nâ-sek ê kheh-thiaⁿ, jiân-āu ū chi̍t-ê thiaⁿ-lông, koh-lâi sī pho͘ tē-thán ê lâu-thui. Lâu-téng ū nn̄g-ê mn̂g. Bô lâng tī tē-it keng khùn-pâng. Mā bô lâng tī tē-jī keng. Khui chheh-pâng ê mn̂g, to tēⁿ tī chhiú, tōa thang-á ji̍p-lâi ê kng-sòaⁿ, pho͘ chheⁿ-sek thian-gô-jiông kau-í ê koân í-pōe, tó tī í-á tha̍k sió-soat hit-lâng ê thâu.
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幾工前, 伊開始讀彼本小說. 因為一寡緊急代誌, 伊 kā 小說囥一邊, 等坐火車欲轉房地產 ê 所在, 伊 koh 掀開來讀; 伊允准家己慢慢對情節和對人物 ê 描寫產生興趣. 彼下晝, 寫批予代書, koh 和房地產經理討論共同所有權了後, tī 安靜 ê 冊房, 伊 koh 轉來讀這本冊, ùi 冊房看出去是公園 ê 橡樹.
伊倒 tī 家己上佮意 ê 交椅, 尻脊後向門, 因為門有侵入攪擾 ê 可能性, he 會予伊心袂定. 伊 ê 倒手一直 teh 摸 he 青色天鵝絨椅苴, 開始讀最後幾章. 一屑仔 to 袂食力, 伊隨記起主要角色 ê 名字和形象; 會使講幻覺即時掠著伊.
伊享受一種袂輸變態 ê 快樂, its* 一逝一逝讀, kā 家己抽離周圍 ê 一切, 同時 koh 感覺著家己 ê 頭輕鬆蹶 tī 交椅 ê 青色天鵝絨懸椅背, 薰 tō tī 手邊, 大窗仔外 ê 下晝空氣 tī 公園橡樹下跤跳舞. [* its = iā tō sī]
一字一字沉浸 tī 男女主角 ê 烏暗困境, 予家己行向形象聚集 ê 所在, 現出色彩 kap 動作, 伊親目睭看著 in tī 山頂小厝 ê 最後約會. 彼个查某代先到, 心肝 pi̍h-pho̍k 採; 這時姻愛人入來, 伊 ê 面有樹椏倒彈 sut-tio̍h ê 傷痕. 予人欣羨 ê 是, 她 kō͘ 唚止 he 血, 毋過伊拒絕她 ê 挲捋, 伊來遮毋是欲重複 he 祕密激情 ê 儀式, 遮是迵過樹林 ê 彎斡小路和一大遍 ê 焦葉才到位 ê 揜貼所在. 短刀 tī 伊胸前焐燒, 下面跳動著自由, 準備好欲跳出來. 飢渴慾望 ê 對話 ná 像一陣蛇 tī 頁面旋無停, 予人感覺一切是千古以來 tō 決定好勢.
雖罔 ká-ná 希望伊留落來, 毋過又勸伊毋通 án-ne, 甚至 tī 愛人身軀 ê 柔柔挲捋, mā 怨恨 kah 畫出需要毀滅 ê 另外彼个身影. 啥 to 無袂記得: 無在場證明, 未預見 ê 風險, 可能 ê 錯誤. 自這點鐘開始, 逐時刻 lóng 有詳細 ê 安排. Chiah-ê 細節 ê 冷靜, 一再檢查, 一屑仔 to 無予挲喙䫌 ê 手所干擾著. 天開始漸漸 teh 暗.
今, in 無 sio 對看, 干焦是釘心 tī 著去執行 ê 任務, in tī 小厝 ê 門口分手. 她欲沿往北 ê 小路去. 伊行無仝方向 ê 路, 有一睏伊越頭看她 teh 走, 頭鬃鬖鬖. 閣來, 伊 mā 起走, tī 樹仔 a̍h 樹籬中間壓低身軀, 一直到 tī 黃昏 ê 黃色霧氣當中, 伊會得分別出通往彼間厝 ê 樹蔭路.
狗應該袂吠, iá in mā 無吠. Tī 彼个時陣, 房地產經理應該袂 tī 遐, iá 伊 mā 無 tī leh. 伊 peh 三个坎仔到砛簷口, 然後入去. 透過耳邊緊速 ê 血脈, 伊記起彼个查某 ê 話: 上代先是藍色 ê 客廳, 然後有一个廳廊, 閣來是鋪地毯 ê 樓梯. 樓頂有兩个門. 無人 tī 第一間睏房. Mā 無人 tī 第二間. 開冊房 ê 門, 刀捏 tī 手, 大窗仔入來 ê 光線, 鋪青色天鵝絨交椅 ê 懸椅背, 倒 tī 椅仔讀小說彼人 ê 頭.
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HE HAD BEGUN TO READ THE NOVEL a few days before. He had put it aside because of some urgent business, opened it again on his way back to the estate by train; he allowed himself a slowly growing interest in the plot, in the drawing of characters. That afternoon, after writing a letter to his agent and discussing with the manager of his estate a matter of joint ownership, he returned to the book in the tranquility of his study which looked out upon the park with its oaks.
Sprawled in his favorite armchair, with his back to the door, which would otherwise have bothered him as an irritating possibility for intrusions, he let his left hand caress once and again the green velvet upholstery and set to reading the final chapters. Without effort his memory retained the names and images of the protagonists; the illusion took hold of him almost at once.
He tasted the almost perverse pleasure of disengaging himself line by line from all that surrounded him, and feeling at the same time that his head was relaxing comfortably against the green velvet of the armchair with its high back, that the cigarettes were still within reach of his hand, that beyond the great windows the afternoon air danced under the oak trees in the park.
Word by word, immersed in the sordid dilemma of the hero and heroine, letting himself go toward where the images came together and took on color and movement, he was witness to the final encounter in the mountain cabin. The woman arrived first, apprehensive; now the lover came in, his face cut by the backlash of a branch. Admirably she stanched the blood with her kisses, but he rebuffed her caresses, he had not come to repeat the ceremonies of a secret passion, protected by a world of dry leaves and furtive paths through the forest. The dagger warmed itself against his chest, and underneath pounded liberty, ready to spring. A lustful, yearning dialogue raced down the pages like a rivulet of snakes, and one felt it had all been decided from eternity.
Even those caresses which writhed about the lover's body, as though wishing to keep him there, to dissuade him from it, sketched abominably the figure of that other body it was necessary to destroy. Nothing had been forgotten: alibis, unforeseen hazards, possible mistakes. From this hour on, each instant had its use minutely assigned. The cold-blooded, double re-examination of the details was barely interrupted for a hand to caress a cheek. It was beginning to get dark.
Without looking at each other now, rigidly fixed upon the task which awaited them, they separated at the cabin door. She was to follow the trail that led north. On the path leading in the opposite direction, he turned for a moment to watch her running with her hair let loose. He ran in turn, crouching among the trees and hedges until he could distinguish in the yellowish fog of dusk the avenue of trees leading up to the house.
The dogs were not supposed to bark, and they did not bark. The estate manager would not be there at this hour, and he was not. He went up the three porch steps and entered. Through the blood galloping in his ears came the woman's words: first a blue parlor, then a gallery, then a carpeted stairway. At the top, two doors. No one in the first bedroom, no one in the second. The door of the salon, and then the knife in his hand, the light from the great windows, the high back of an armchair covered in green velvet, the head of the man in the chair reading a novel.
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