2. Che pún-sin tō-sī sèⁿ-miā
Góa kè-sio̍k jīn-chin su-khó chiah-ê būn-tê, hoān-sè ū chi̍t tiám-cheng, pòaⁿ chē pòaⁿ theⁿ, ba̍k-chiu tèng tī hit-pak ōe-siōng. Chòe-āu, góa tùi hit-ê hāu-kó ê chin-chiàⁿ pì-bi̍t kám-kak móa-ì, chiah tó-pêⁿ tī bîn-chhn̂g. Góa hoat-hiān hit-tiuⁿ tô͘ ê mô͘-le̍k chāi-tī i choa̍t-tùi chin-tú-chin ê piáu-ta̍t, thâu-khí-seng hō͘ góa kiaⁿ-chi̍t-tiô, koh-lâi hō͘ góa khùn-jiáu, khut-ho̍k, chòe-āu khim-phòe. Kō͘ chi̍t-ê chhim-chhim chun-kèng koh tio̍h-kiaⁿ ê sim-chêng, góa kā chek-tâi koh sóa-tńg goân-lâi ê ūi-tì. Hō͘ góa chhim-chhim kek-tōng ê goân-in í-keng khòaⁿ bē-tio̍h, góa koh kip-chhiat khì chhōe thó-lūn chiah-ê ōe-chok hām in ê le̍k-sú ê hit-pún chheh. Hian kàu chí-tēng tn̂g-ti-îⁿ ōe-siōng ê pian-hō, góa tha̍k tio̍h ē-bīn chiah-ê hâm-hô͘ koh koài-kî ê bûn-jī:
"Yi sī chi̍t-ê hán-tit ê súi ko͘-niû, m̄-nā khó-ài koh-khah sī chhiong-móa hoaⁿ-hí. Put-hēng ê sī, yi tú tio̍h, ài tio̍h, koh kè hō͘ chi̍t-ê ōe-ka. Hit-lâng jia̍t-chêng, kut-la̍t, téng-chin, jî-chhiáⁿ í-keng kā Gē-su̍t tòng-chò sin-niû; yi, chi̍t-ê hán-kiàn ê súi ko͘-niû, m̄-nā khó-ài koh-khah chhiong-móa hoaⁿ-hí; móa-móa kong-chhái hām chhiò-iông, khin-khoài ná-chhiūⁿ siàu-liân lo̍k-á-kiáⁿ; ì-ài koh tin-sioh it-chhè; kan-ta thó-ià Gē-su̍t, he sī yi ê tùi-te̍k; kan-ta tam-iu tiâu-sek-pôaⁿ hām ōe-pit hām kî-thaⁿ pháiⁿ-pháng ê ōe-kū, in-ūi hiah-ê toa̍t khì yin ài-jîn ê chhiò-iông.
"Só͘-pái, tùi chit-ê lú-sū lâi kóng, thiaⁿ tio̍h ōe-ka kóng, i siūⁿ boeh ōe i ê siàu-liân sin-niû, he sī chi̍t-kiāⁿ khó-phà ê tāi-chì. M̄-koh yi chin khiam-pi, thiaⁿ-ōe, tō tī kak-lâu téng-koân àm-sàm ê pâng-keng koai-koai chē kúi-ā lé-pài, kng-sòaⁿ kan-ta ùi thâu-khak-téng chiò lo̍h tī sí-pe̍h ê ōe-pò͘ téng-bīn. M̄-koh, hit-ê ōe-ka tùi i ê khang-khòe kám-kak kong-êng, chi̍t tiám-cheng koh chi̍t tiám-cheng, chi̍t-kang koh chi̍t-kang. I sī chi̍t-ê jia̍t-chêng, hiong-kông, koh pháiⁿ sèng-tē ê lâng, sit-lo̍h tī hoàn-sióng, soah bô chù-ì tio̍h, ùi hit-ê ko͘-toaⁿ kak-lâu lak-lo̍h ê chhám-tām kng-sòaⁿ, tùi sin-niû kiān-khong hām cheng-sîn ê pāi-hāi, yi ê siau-sán lâng-lâng khòaⁿ ē-chhut, m̄-koh i bô. Sui-bóng án-ne, yi chēng-chēng koh kú-kú pó-chhî bî-chhiò, bô jīm-hô bâi-oàn, in-ūi yi khòaⁿ tio̍h ōe-ka (i ū chin koân ê hó miâ-siaⁿ) ùi i ê khang-khòe tit-tio̍h sio koh jia̍t ê khoài-lo̍k, ji̍t-iā bô-thêng teh biô-ōe hiah-nī ài i ê yi, yi khiok sī chi̍t-kang chi̍t-kang lú hi-jio̍k, lú bô goân-khì.
"Sū-si̍t-siōng, chi̍t-kóa ū khòaⁿ tio̍h chit-pak ōe ê lâng lóng khin-siaⁿ kóng he chiok thoân-sîn, jīn-ûi sī tōa kî-chek, m̄-nā chèng-bêng ōe-ka ê kang-hu bē khah-su i tùi yi ê chhim-ài, kā yi ōe kah hiah-nī chhut-sek. M̄-koh lo̍h-bóe, khang-khòe chiap-kīn oân-sêng ê sî, bô-lâng ē-tàng koh ji̍p-lâi kak-lâu; in-ūi ōe-ka ūi-tio̍h kang-chok jia̍t-kông kah boeh khí-siáu, ba̍k-chiu kan-ta tī ōe-pò͘ téng-bīn se̍h, khòaⁿ to bô-khòaⁿ in bó͘ ê bīn. I bô khòaⁿ tio̍h i boah tī ōe-pò͘ téng-bīn ê sek-chhái sī ùi chē tī sin-piⁿ ê in bó͘ ê chhùi-phé lâi ê. Keng-kòe kúi-ā lé-pài, su-iàu koh chò ê chin chió ah, tî-liáu chhùi-tûn koh ōe chi̍t-phiat, ba̍k-chiu ê sek koh boah chi̍t-ē, chit-ê lú-sū ê cheng-sîn iū chhiūⁿ teng-chō ê hóe-iām siám-sih khí-lâi. Jiân-āu, hit-phiat ōe liáu, hit-sek boah hó; hit-ê sî-chūn, ōe-ka khiā tī i só͘ chhòng-chō ê chok-phín thâu-chêng tio̍h-bê; koh-lâi ê sî, ná teh kim-kim-khòaⁿ ê tang-tiong, i soah khí ka-lún-sún, bīn-sek hoán-pe̍h, koh tio̍h chheⁿ-kiaⁿ, tōa-siaⁿ ai-kiò: ‘Che pún-sin tō-sī sèⁿ-miā ah!’ koh hut-jiân oa̍t-thâu khòaⁿ i ê ài-jîn: -- Yi í-keng sí-khì ah!"
(Soah)
--
2. 這本身就是性命
我繼續認真思考 chiah-ê 問題, 凡勢有一點鐘, 半坐半撐, 目睭釘 tī 彼幅畫像. 最後, 我對彼个效果 ê 真正祕密感覺滿意, 才倒平 tī 眠床. 我發現彼張圖 ê 魔力在 tī 伊絕對真拄真 ê 表達, 頭起先予我驚一趒, 閣來予我困擾, 屈服, 最後欽佩. Kō͘ 一个深深尊敬 koh 著驚 ê 心情, 我 kā 燭台 koh 徙轉原來 ê 位置. 予我深深激動 ê 原因已經看袂著, 我 koh 急切去揣討論 chiah-ê 畫作和 in ê 歷史 ê 彼本冊. 掀到指定長株圓畫像 ê 編號, 我讀著下面 chiah-ê 含糊 koh 怪奇 ê 文字:
"她是一个罕得 ê 媠姑娘, 毋但可愛閣較是充滿歡喜. 不幸 ê 是, 她拄著, 愛著, koh 嫁予一个畫家. 彼人熱情, 骨力, 頂真, 而且已經 kā 藝術當做新娘; 她, 一个罕見 ê 媠姑娘, 毋但可愛閣較充滿歡喜; 滿滿光彩和笑容, 輕快 ná 像少年鹿仔囝; 意愛 koh 珍惜一切; 干焦討厭藝術, 彼是她 ê 對敵; 干焦擔憂調色盤和畫筆和其他歹紡 ê 畫具, 因為 hiah-ê 奪去姻愛人 ê 笑容.
"所擺, 對這个女士來講, 聽著畫家講, 伊想欲畫伊 ê 少年新娘, 彼是一件可怕 ê 代誌. 毋過她真謙卑, 聽話, tō tī 角樓頂懸暗毿 ê 房間乖乖坐幾若禮拜, 光線干焦 ùi 頭殼頂照落 tī 死白 ê 畫布頂面. 毋過, 彼个畫家對伊 ê 工課感覺光榮, 一點鐘 koh 一點鐘, 一工 koh 一工. 伊是一个熱情, 兇狂, koh 歹性地 ê 人, 失落 tī 幻想, 煞無注意著, ùi 彼个孤單角樓 lak 落 ê 慘淡光線, 對新娘健康和精神 ê 敗害, 她 ê 消瘦人人看會出, 毋過伊無. 雖罔 án-ne, 她靜靜 koh 久久保持微笑, 無任何埋怨, 因為她看著畫家 (伊有真懸 ê 好名聲) ùi 伊 ê 工課得著燒 koh 熱 ê 快樂, 日夜無停 teh 描畫 hiah-nī 愛伊 ê 她, 她卻是一工一工 lú 虛弱, lú 無元氣.
"事實上, 一寡有看著這幅畫 ê 人攏輕聲講 he 足傳神, 認為是大奇蹟, 毋但證明畫家 ê 工夫袂較輸伊對她 ê 深愛, kā 她畫甲 hiah-nī 出色. 毋過落尾, 工課接近完成 ê 時, 無人會當 koh 入來角樓; 因為畫家為著工作熱狂甲欲起痟, 目睭干焦 tī 畫布頂面踅, 看 to 無看 in 某 ê 面. 伊無看著伊抹 tī 畫布頂面 ê 色彩是 ùi 坐 tī 身邊 ê in 某 ê 喙䫌來 ê. 經過幾若禮拜, 需要 koh 做 ê 真少 ah, 除了喙唇 koh 畫一撇, 目睭 ê 色 koh 抹一下, 這个女士 ê 精神又像燈座 ê 火焰閃爍起來. 然後, 彼撇畫了, 彼色抹好; 彼个時陣, 畫家徛 tī 伊所創造 ê 作品頭前著迷; 閣來 ê 時, ná teh 金金看 ê 當中, 伊煞起交懍恂, 面色反白, koh 著生驚, 大聲哀叫: ‘這本身就是性命 ah!’ koh 忽然越頭看伊 ê 愛人: -- 她已經死去 ah!"
(煞)
--
2.
Thinking earnestly upon these points, I remained, for an hour perhaps, half sitting, half reclining, with my vision riveted upon the portrait. At length, satisfied with the true secret of its effect, I fell back within the bed. I had found the spell of the picture in an absolute life-likeliness of expression, which, at first startling, finally confounded, subdued, and appalled me. With deep and reverent awe I replaced the candelabrum in its former position. The cause of my deep agitation being thus shut from view, I sought eagerly the volume which discussed the paintings and their histories. Turning to the number which designated the oval portrait, I there read the vague and quaint words which follow:
“She was a maiden of rarest beauty, and not more lovely than full of glee. And evil was the hour when she saw, and loved, and wedded the painter. He, passionate, studious, austere, and having already a bride in his Art; she a maiden of rarest beauty, and not more lovely than full of glee; all light and smiles, and frolicsome as the young fawn; loving and cherishing all things; hating only the Art which was her rival; dreading only the pallet and brushes and other untoward instruments which deprived her of the countenance of her lover.
"It was thus a terrible thing for this lady to hear the painter speak of his desire to portray even his young bride. But she was humble and obedient, and sat meekly for many weeks in the dark, high turret-chamber where the light dripped upon the pale canvas only from overhead. But he, the painter, took glory in his work, which went on from hour to hour, and from day to day. And he was a passionate, and wild, and moody man, who became lost in reveries; so that he would not see that the light which fell so ghastly in that lone turret withered the health and the spirits of his bride, who pined visibly to all but him. Yet she smiled on and still on, uncomplainingly, because she saw that the painter (who had high renown) took a fervid and burning pleasure in his task, and wrought day and night to depict her who so loved him, yet who grew daily more dispirited and weak.
"And in sooth some who beheld the portrait spoke of its resemblance in low words, as of a mighty marvel, and a proof not less of the power of the painter than of his deep love for her whom he depicted so surpassingly well. But at length, as the labor drew nearer to its conclusion, there were admitted none into the turret; for the painter had grown wild with the ardor of his work, and turned his eyes from canvas merely, even to regard the countenance of his wife. And he would not see that the tints which he spread upon the canvas were drawn from the cheeks of her who sat beside him. And when many weeks bad passed, and but little remained to do, save one brush upon the mouth and one tint upon the eye, the spirit of the lady again flickered up as the flame within the socket of the lamp. And then the brush was given, and then the tint was placed; and, for one moment, the painter stood entranced before the work which he had wrought; but in the next, while he yet gazed, he grew tremulous and very pallid, and aghast, and crying with a loud voice, ‘This is indeed Life itself!’ turned suddenly to regard his beloved:--She was dead!"
--
// 2022-2-25
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