The Oval Portrait /by Edgar Allan Poe
http://pinkmonkey.com/dl/library1/oval.pdf
Tn̂g-ti-îⁿ ê Ōe-siōng | 長株圓 ê 畫像
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1. Siàu-liân ko͘-niû ê ōe-siōng
Hit-chō siâⁿ-pó, góa ê lâm-po̍k sái-kiông mō͘-hiám ji̍p-khì, in-ūi góa ê siong-sè, i m̄-khéng hō͘ góa tī gōa-kháu kòe-mê, he sī Appennine Soaⁿ-khu, kú-nî lâi kau-chhap tio̍h ut-chut kap hui-hông ê chē-chē siâⁿ-pó kî-tiong ê chi̍t-chō, bē khah-su Radcliffe Tt tī sio-soat só͘ biô-siá ê siâⁿ-pó. Ùi gōa-piáu khòaⁿ, i í-keng chiām-sî tī chòe-kīn hông kā hòng-khì. Goán tòa ji̍p kî-tiong chi̍t-keng siōng-sè, ka-kū siōng kán-tan ê pâng-keng. He sī tī kiàn-bu̍t hn̄g-ūi ê kak-lâu téng-bīn. Pâng-keng ū káng-kiù ê chong-hông, m̄-koh í-keng phòa koh kū. Piah-téng kòa chit-thán, pâi-lia̍t kok-sek kok-iūⁿ ê chiàn-lī-phín, iáu-ū hui-siông chē mé-chhéⁿ ê hiān-tāi ōe-chok, chng tī hôa-lē kim-sek ê Arab-hong-keh ōe-kheng.
Chiah-ê ōe-chok, m̄-nā kòa tī ta̍k-bīn piah ê chú-iàu só͘-chāi, mā kòa tī in-ūi koài-kî kiàn-tio̍k ê su-iàu sán-seng ê chē-chē kak-lo̍h -- chiah-ê ōe-chok, hoān-sè in-ūi góa chho͘-kî ê jia̍t-kông chèng-thâu hoat-chok, ín-khí góa chhim-chhim ê hèng-chhù; só͘-tì, góa hoan-hù Pedro koaiⁿ pâng-keng ê thang-á-lî -- in-ūi í-keng thiⁿ-àm ah -- tiám to̍h góa chhn̂g-thâu ê koân chek-tâi ê só͘-ū teng-sim, koh kā pau-ûi bîn-chhn̂g ê o͘ thian-gô-jiông, khan hoe-piⁿ ê tiàu-lî hn̄g-hn̄g, tōa-tōa giú khui. Góa hi-bāng án-ne liáu-āu, mài kóng boeh khùn, siōng-bô ē-tàng hō͘ ka-tī hioh lo̍h-lâi, hó-hó lûn-liû him-sióng chiah-ê ōe-chok, koh hó-hó gián-kiù tī chím-thâu téng chhōe tio̍h ê chi̍t-pún sió chheh, he kóng i sī tùi chiah-ê ōe-chok ê phe-phêng kap biô-siá.
Góa kú-kú tī hia tha̍k, choan-sim koh khiân-sêng. sî-kan kín-kín teh kòe, í-keng sī pòaⁿ-mê. Chek-tâi ê ūi-tì góa bô kah-ì, sui-bóng bô chin hó-sè chhun-chhiú, góa mā bô-ài kiáu-jiáu tng-teh hó-khùn ê lâm-po̍k, tō kā i sóa chi̍t-ē, thang-hó hō͘ khah chē kng-sòaⁿ chiò tī góa ê chheh.
M̄-koh, chit-ê tōng-chok sán-seng chi̍t-ê oân-choân siūⁿ-bē-kàu ê hāu-kó. Chin chē la̍h-chek ê kng-sòaⁿ (in-ūi ū chin chē ki la̍h-chek) taⁿ chiò kàu chi̍t-ê goân-pún hō͘ chi̍t-ki chhn̂g-thiāu cha̍h tio̍h ê lap-o nih. Tī kng-iāⁿ-iāⁿ tang-tiong, góa khòaⁿ tio̍h chi̍t-pak goân-pún bô chù-ì tio̍h ê tô͘. He sī chi̍t-pak tú tńg tōa-lâng ê ko͘-niû ê ōe-siōng. Góa lia̍h hit-pak ōe kín-kín gán chi̍t-ē, koh kā ba̍k-chiu kheh khí-lâi. Góa ná boeh án-ne chò, tong-chho͘ góa ka-tī mā m̄ chai. M̄-koh, tī ba̍k-chiu kheh-kheh ê sî, góa sim-nih siūⁿ-khí án-ne chò ê lí-iû. Che sī chi̍t-ê chhóng-pōng ê tōng-chok, bo̍k-tek sī boeh ū sî-kan thang su-khó -- boeh khak-tēng góa khòaⁿ-tio̍h-ê bô khi-phiàn góa -- án-ne ē-tàng ah-lo̍h góa ê hoàn-sióng, thang-hó koh-khah chheng-chhéⁿ, koh-khah khak-tēng koh kā khòaⁿ chi̍t-pái. Kòe chi̍t-ē-á, góa koh chi̍t-pái kim-kim siòng hit-tiuⁿ ōe-chok.
Chit-chūn góa khòaⁿ ê sī chèng-khak, góa bē-tàng hoâi-gî; in-ūi la̍h-chek chiò tī ōe-pò͘ ê tē-it tō kng, ká-ná í-keng pek-cháu goân-pún am-khàm tio̍h góa ê kám-koan ná bîn-bāng ê bê-bông, chek-sî hō͘ góa kiaⁿ chi̍t-tiô, chhéⁿ khí-lâi.
Góa kóng kòe, hit-pak tô͘ sī chi̍t-ê siàu-liân ko͘-niû ê ōe-siōng. I kan-ta sī thâu hām keng-thâu, ki-su̍t-te̍k lâi kóng sī sio̍k sió-phín hong-sek, hām Sully siōng kah-ì ê thâu-siōng hong-keh chin sio-kāng. Chhiú-kut, heng-khám, sīm-chì kng-sih-sih thâu-chang ê bóe-liu, lóng put-ti-put-kak iûⁿ ji̍p kui-ê pōe-kéng bông-biáu koh chhim-khek ê o͘-iáⁿ nih. Ōe-kheng sī ntn̂g-ti-îⁿ-hêng, chhiong-móa Moors hong-keh ê tō͘-kim hām khan-sòaⁿ. Chò chi̍t-ê gē-su̍t phín, siōng tit-lâng him-sióng ê tō-sī ōe-chok pún-sin lah. M̄-koh, hiah hut-jiân hō͘ góa hiah tōa kám-tōng ê, hoān-sè m̄-sī chit-ê chok-phín ê chip-hêng, mā m̄-sī lâng-bīn éng-chûn ê bí-lē. Koh-khah bô khó-lêng, káⁿ sī in-ūi góa ê hoàn-sióng, ùi pòaⁿ-khùn tang-tiong chhéⁿ lâi, kā hit-ê thâu khòaⁿ chò chi̍t-ê oa̍h-lâng. Góa chi̍t-ē tō khòaⁿ-chhut, chit-pak tô͘ ê siat-kè, vignetting (ūn-iáⁿ 暈影), hām ōe-kheng ê te̍k-sek, tiāⁿ-tio̍h chek-sî tō phah-siau hit-ê siūⁿ-hoat -- sīm-chì tiāⁿ-tio̍h mā chó͘-chí hit-lō chi̍t-sî ê sim-sek.
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1. 少年姑娘 ê 畫像
彼座城堡, 我 ê 男僕使強冒險入去, 因為我 ê 傷勢, 伊毋肯予我 tī 外口過暝, 彼是 Appennine 山區, 久年來交插著鬱卒 kap 輝煌 ê 濟濟城堡其中 ê 一座, 袂較輸 Radcliffe Tt tī 小說所描寫 ê 城堡. Ùi 外表看, 伊已經暫時 tī 最近 hông kā 放棄. 阮蹛入其中一間上細, 家具上簡單 ê 房間. 彼是 tī 建物遠位 ê 角樓頂面. 房間有講究 ê 裝潢, 毋過已經破 koh 舊. 壁頂掛織毯, 排列各式各樣 ê 戰利品, 猶有非常濟猛醒 ê 現代畫作, 裝 tī 華麗金色 ê Arab 風格畫框.
Chiah-ê 畫作, 毋但掛 tī 逐面壁 ê 主要所在, mā 掛 tī 因為怪奇建築 ê 需要產生 ê 濟濟角落 -- chiah-ê 畫作, 凡勢因為我初期 ê 熱狂症頭發作, 引起我深深 ê 興趣; 所致, 我吩咐 Pedro 關房間 ê 窗仔簾 -- 因為已經天暗 ah -- 點 to̍h 我床頭 ê 懸燭台 ê 所有燈心, koh kā 包圍眠床 ê 烏天鵝絨, 牽花邊 ê 吊簾遠遠, 大大搝開. 我希望 án-ne 了後, 莫講欲睏, 上無會當予家治歇落來, 好好輪流欣賞 chiah-ê 畫作, koh 好好研究 tī 枕頭頂揣著 ê 一本小冊, he 講伊是對 chiah-ê 畫作 ê 批評 kap 描寫.
我久久 tī 遐讀, 專心 koh 虔誠. 時間緊緊 teh 過, 已經是半暝. 燭台 ê 位置我無佮意, 雖罔無真好勢伸手, 我 mā 無愛攪擾 tng-teh 好睏 ê 男僕, tō kā 伊徙一下, 通好予較濟光線照 tī 我 ê 冊.
毋過, 這个動作產生一个完全想袂到 ê 效果. 真濟蠟燭 ê 光線 (因為有真濟支蠟燭) 今照到一个原本予一支床柱閘著 ê lap-o nih. Tī 光焱焱當中, 我看著一幅原本無注意著 ê 圖. 彼是一幅拄轉大人 ê 姑娘 ê 畫像. 我掠彼幅畫緊緊眼一下, koh kā 目睭瞌起來. 我那欲 án-ne 做, 當初我家治 mā 毋知. 毋過, tī 目睭瞌瞌 ê 時, 我心 nih 想起 án-ne 做 ê 理由. 這是一个衝碰 ê 動作, 目的是欲有時間通思考 -- 欲確定我看著 ê 無欺騙我 -- án-ne 會當壓落我 ê 幻想, 通好閣較清醒, 閣較確定 koh kā 看一擺. 過一下仔, 我 koh 一擺金金相彼張畫作.
這陣我看 ê 是正確, 我袂當懷疑; 因為蠟燭照 tī 畫布 ê 第一道光, 敢若已經逼走原本掩崁著我 ê 感官 ná 眠夢 ê 迷茫, 即時予我驚一趒, 醒起來.
我講過, 彼幅圖是一个少年姑娘 ê 畫像. 伊干焦是頭和肩頭, 技術 te̍k 來講是屬小品方式, 和 Sully 上佮意 ê 頭像風格真相仝. 手骨, 胸坎, 甚至光 sih-sih 頭鬃 ê 尾溜, 攏不知不覺溶入規个背景茫渺 koh 深刻 ê 烏影 nih. 畫框是長株圓形, 充滿 Moors 風格 ê 鍍金和牽線. 做一个藝術品, 上得人欣賞 ê 就是畫作本身 lah. 毋過, hiah 忽然予我 hiah 大感動 ê, 凡勢毋是這个作品 ê 執行, mā 毋是人面永存 ê 美麗. 閣較無可能, 敢是因為我 ê 幻想, ùi 半睏當中醒來, kā 彼个頭看做一个活人. 我一下 tō 看出, 這幅圖 ê 設計, vignetting (ūn-iáⁿ 暈影), 和畫框 ê 特色, 定著即時 tō 拍消彼个想法 -- 甚至定著 mā 阻止 hit-lō 一時 ê 心適.
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1.
THE CHATEAU into which my valet had ventured to make forcible entrance, rather than permit me, in my desperately wounded condition, to pass a night in the open air, was one of those piles of commingled gloom and grandeur which have so long frowned among the Appennines, not less in fact than in the fancy of Mrs. Radcliffe. To all appearance it had been temporarily and very lately abandoned. We established ourselves in one of the smallest and least sumptuously furnished apartments. It lay in a remote turret of the building. Its decorations were rich, yet tattered and antique. Its walls were hung with tapestry and bedecked with manifold and multiform armorial trophies, together with an unusually great number of very spirited modern paintings in frames of rich golden arabesque.
In these paintings, which depended from the walls not only in their main surfaces, but in very many nooks which the bizarre architecture of the chateau rendered necessary--in these paintings my incipient delirium, perhaps, had caused me to take deep interest; so that I bade Pedro to close the heavy shutters of the room--since it was already night--to light the tongues of a tall candelabrum which stood by the head of my bed--and to throw open far and wide the fringed curtains of black velvet which enveloped the bed itself. I wished all this done that I might resign myself, if not to sleep, at least alternately to the contemplation of these pictures, and the perusal of a small volume which had been found upon the pillow, and which purported to criticise and describe them.
Long--long I read--and devoutly, devotedly I gazed. Rapidly and gloriously the hours flew by and the deep midnight came. The position of the candelabrum displeased me, and outreaching my hand with difficulty, rather than disturb my slumbering valet, I placed it so as to throw its rays more fully upon the book.
But the action produced an effect altogether unanticipated. The rays of the numerous candles (for there were many) now fell within a niche of the room which had hitherto been thrown into deep shade by one of the bed-posts. I thus saw in vivid light a picture all unnoticed before. It was the portrait of a young girl just ripening into womanhood. I glanced at the painting hurriedly, and then closed my eyes. Why I did this was not at first apparent even to my own perception. But while my lids remained thus shut, I ran over in my mind my reason for so shutting them. It was an impulsive movement to gain time for thought--to make sure that my vision had not deceived me--to calm and subdue my fancy for a more sober and more certain gaze. In a very few moments I again looked fixedly at the painting.
That I now saw aright I could not and would not doubt; for the first flashing of the candles upon that canvas had seemed to dissipate the dreamy stupor which was stealing over my senses, and to startle me at once into waking life.
The portrait, I have already said, was that of a young girl. It was a mere head and shoulders, done in what is technically termed a vignette manner; much in the style of the favorite heads of Sully. The arms, the bosom, and even the ends of the radiant hair melted imperceptibly into the vague yet deep shadow which formed the back-ground of the whole. The frame was oval, richly gilded and filigreed in Moresque. As a thing of art nothing could be more admirable than the painting itself. But it could have been neither the execution of the work, nor the immortal beauty of the countenance, which had so suddenly and so vehemently moved me. Least of all, could it have been that my fancy, shaken from its half slumber, had mistaken the head for that of a living person. I saw at once that the peculiarities of the design, of the vignetting, and of the frame, must have instantly dispelled such idea--must have prevented even its momentary entertainment.
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