Wednesday, September 7, 2022

Chin Té-phiⁿ Bo̍k-lo̍k | 真短篇目錄

Chin Té-phiⁿ Bo̍k-lo̍k | 真短篇目錄
(Sek-ha̍p Tiong-ha̍k-seng | 適合中學生)

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C01 Bē Nn̄g ê Lāu-lâng | 賣卵 ê 老人 (An Old Man Selling Eggs)

C02 Niáu-chhí | 鳥鼠 (The Mice /by Lydia Davis)

C03 Chit-keng Sin Kū-chhù | 這間新舊厝  (This New Old House /by BatoutofHell821)

C04 Tô͘-tē | 徒弟 (The Disciple /by Oscar Wilde)

C05 Kî-koài ê Kò͘-sū/ 奇怪 ê 故事 (A StrangeStory /by O. Henry)

C06 Ū Nāi-sim ê Niau | 有耐心 ê 貓 (The Patient Cat /by Laura E. Richards)

C07 Cha-bó͘ Gín-a | 查某囡仔 (Girl /by Jamaica Kincaid)

C08 Chóng Ū Chi̍t-kang | 總有一工 (One Of  These Days /by Gabriel García Márquez)

C09 Kiô-téng ê Lāu-lâng | 橋頂 ê 老人 (The Old Man at the Bridge /by Ernest Hemingway)

C10 Ka-têng Le̍k-ha̍k | 家庭力學 (Popular Mechanics /by Raymond Carver)

C11 Iàn-hōe | 宴會 (The Dinner Party /by Mona Gardner)

C12 Sió Lé-phín | 小禮品 (Pilón /by Sandra Cisneros) 

C13 Lāu A-niâ | 老阿娘 (The Aged Mother /by Matsuo Basho)

C14 "Iá-chháu" Tê-sû | "野草" 題辭 ("Iá-chháu" Tê-sû /by Lu Xun [魯迅])

C15 In Sī kō͘ Bah Chò ê | In 是 kō͘ 肉做 ê (They're Made out of Meat /by Terry Bisson)

C16 Seh | 雪 (Snow /by Ann Beattie)

C17 Kong-hn̂g ê Liân-sòa | 公園 ê 連綴 (The Continuity of Parks /by Julio Cortázar)

C18 Barney /by Will Stanton

C19 Chhù | 厝 (Home /by Gwendolyn Brooks)

C20 Lí ê | 你 ê (Yours /by Mary Robison)

C21 Chi̍t Tiám-cheng ê Kò͘-sū | 一點鐘 ê 故事  (The Story of an Hour /by Kate Chopin)

  1. 聽著消息她放聲大哭
  2. 她 ê 死是因為心臟病

C22 Sái-Kiông | 使強 (The Use of Force /by William Carlos Williams)

  1. 彼个囡仔眼神冷霜, 堅定
  2. 她喙咬絚絚, 拚命反抗!

C23 Kan-ta Sap-bûn Pho | 干焦雪文泡 (Lather and Nothing Else /by Hernando Tellez)

  1. 今伊 tī 我 ê 手中
  2. 我行倚, 剃頭刀攑懸
  3. 我無愛做殺人犯

C24 Ba̍k-chiu Án-ne-seⁿ | 目睭 Án-ne 生 (The Eyes Have It /by Philip K. Dick)

  1. 目睭 tī 房間內 se̍h
  2. 伊 ê 心交予彼个少年家

C25 Chia Bô Ba̍k-chiu | 遮無目睭 (The Eyes Are Not Here /by Ruskin Bond)

  1. 青盲 ê 顛倒較專心
  2. 伊是真性格 ê 姑娘

C26 Pe̍h-seh Ko͘-niû | 白雪姑娘 (Yuki Onna /by Lafcadio Hearn)

  1. 去剉柴拄著大雪
  2. 她化做一陣白煙

C27 Saⁿ-ê Būn-tê | 三个問題
(Three Questions /by Leo Tolstoy /Eng trans Louise and Aylmer Maude)

  1. 決定欲去請教山人
  2. 因為你發落我 ê 空喙

C28 Chiàn-cheng | 戰爭 (War /by Luigi Pirandello)

  1. 戰爭拖走她 ê 孤囝
  2. 咱 ê 囡仔是國家 ê

C29 Tē-cha̍p lâng | 第十人 (The Tenth Man /by Ida Fink)

  1. 木匠師第一个轉來
  2. 有 10 个人轉來 tō 通好辦祈禱

C30 Sí-lâng ê Lō͘ | 死人 ê 路 (Dead Men's Path /by Chinua Achebe)

  1. 少年校長濟濟美妙 ê 想法
  2. 學校是欲根除這種迷信

C31 Saⁿ-lâu ê Tùi-ōe | 三樓 ê 對話
(A Conversation From the Third Floor /by Mohamed El-Bisatie /Eng trans Denys Johnson-Davies)

  1. 她 kā 囡仔攑到頭殼頂
  2. 我得欲 hông 徙走 ah

C32 Kóng Hó | 講好 (Say Yes /by Tobias Wolff)

  1. 無仝文化 ê 人永遠袂互相了解
  2. He 聲是一个生份人

C33 Góa ê Tē-it-chiah Gô | 我 ê 第一隻鵝
(My First Goose /by Isaac Babel /Eng trans Ronald Meyer)

  1. 目鏡 tī 遮無較縒
  2. 來和阮做伙食寡物

C34 Tn̂g-ti-îⁿ ê Ōe-siōng | 長株圓 ê 畫像 (The Oval Portrait /by Edgar Allan Poe)

  1. 少年姑娘 ê 畫像
  2. 這本身就是性命

C35 Lēng-ê bó͘ | 另个某 (The Other Wife /by Colette)

  1. 她是我 ê 前某
  2. 她永遠袂滿足

C36 Tap-àn Sī M̄ | 答案是毋 (The Answer Is No /by Naguib Mahfouz)

  1. 我會來提親
  2. 有自尊 ê 孤獨並袂孤單

C37 Tūi-lo̍h ê Ko͘-niû | 墜落 ê 姑娘
(The Falling Girl /by Dino Buzzati /Eng trans. Lawrence Venuti)

  1. 你那著 chiah-nī 趕緊?
  2. 這改連 pòng 聲 to 無

C38 Kòe-lō͘-lâng | 過路人 (The Pedestrian /by Ray Bradbury)

  1. 伊佮意行路散步
  2. 去精神病中心

C39 Ban-kiáⁿ | 屘囝 (The Last of Her Sons /by Alden Nowlan)

  1. 伊定著會是一个紳士
  2. 第五擺, 她又閣失敗 ah

C40 Kim Hong-chhoe, Gîn Hong | 金風吹, 銀風
(The Golden Kite, the Silver Wind /by Ray Bradbury)

  1. Kā 咱城市 ê 形狀改變一下
  2. 若做伙, 一切 tō 攏媠

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Pún hē-lia̍t ê kî-thaⁿ pō͘-hūn | 本系列 ê 其他部份

Té-phiⁿ Kò͘-sū | 短篇故事
https://tephinnkoosu.blogspot.com/2021/07/te-phi-ko-su-bok-lok.html

Té-phiⁿ Kò͘-sū II | 短篇故事二
https://tephinnkoosu.blogspot.com/2022/05/te-phi-ko-su-ii-bok-lok.html

Chin Té-phiⁿ II | 真短篇二
https://tephinnkoosu.blogspot.com/2023/01/chin-te-phi-ii-bok-lok.html

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Tuesday, September 6, 2022

C40b 若做伙, 一切 tō 攏媠

2. Nā chò-hóe, it-chhè tō lóng súi

Kui-ê siâⁿ-chhī tōa hoaⁿ-hí, chai-iáⁿ in koh chi̍t-pái in-ūi ū úi-tāi ê phiat-pō͘ Tāi-ông lâi tit-tio̍h kái-kiù. In cháu kàu siâⁿ-chhiûⁿ, kā chhiûⁿ chiàu só͘ kî-thāi ê lâi kái-chō, ná teh chhiùⁿ-koa, tong-jiân bô chhiūⁿ téng-kái hiah tōa siaⁿ, in-ūi in chin thiám, mā bô hiah kín, in-ūi téng-kái í-keng khai chi̍t kò goe̍h ê sî-kan, in bē-tit chiàu-kò͘ sū-gia̍p kap chèng-choh, só͘-í in lóng í-keng khah hi-jio̍k, khah sàn-chhiah.

Sòa lo̍h-lâi ū sio liân-sòa ê khó-phà kap kî-miāu ê ji̍t-chí, chi̍t-ê tòe chi̍t-ê, ná-chhiūⁿ lop chò-hóe ê khó-phà a̍p-á án-ne.

"Oh, Tāi-ông," pò-bé-á tōa-siaⁿ kiò, "Kwan-Si í-keng kā in ê siâⁿ-chhiûⁿ kái-chō chò ná-chhiūⁿ chhùi, boeh kō͘ he lim ta lán ê ô͘!"

"Nā án-ne," Tāi-ông kóng, khiā óa i ê si-á pîn-hong, "kā lán ê siâⁿ kiàn chò ná chiam, thang-hó kā hit-ê chhùi thīⁿ khí-lâi!"

"Tāi-ông!" pò-bé-á tōa-siaⁿ kiò. "In kā siâⁿ-chhiûⁿ kái chò ná-chhiūⁿ chi̍t-ki kiàm, boeh chām lí ê chiam!"

Tāi-ông khiā tiāⁿ, khu̍h-khu̍h chùn, bīn ǹg si-á pîn-hong. "Nā án-ne, lán koh sóa chio̍h-thâu, kā kái chò kiàm-siò thang siu hit-ki kiàm."

"Khó-liân ah," keh-kang chá-khí pò-bé-á ai-ai kiò, "in kui-mê kóaⁿ-kang, í-keng kā siâⁿ-chhiûⁿ kái chò sih-nah ê hêng, he ē po̍k-chah koh húi-hoāi lán ê kiàm-siò!"

Pēⁿ-thiàⁿ ná-chhiūⁿ siáu-káu tīn thòaⁿ kah kui siâⁿ-chhī. Tiàm-á koaiⁿ-mn̂g. Kúi-ā kò goe̍h bô-thêng it-ti̍t teh kái-chō siâⁿ-chhiûⁿ ê peh-sèⁿ taⁿ khòaⁿ tio̍h bē-su ka-tī tō sī kúi, tī léng-hong tang-tiong hàiⁿ-tāng ná ga̍k-khì ê pe̍h-kut. Ke-lō͘ chhut-hiān chhut-soaⁿ ê tīn-thâu, sui-bóng taⁿ iáu tng-teh joa̍h, eng-tong sī chèng-choh kap siu-sêng ê sî-chūn. Tāi-jîn pēⁿ kah chin tāng, i kā bîn-chhn̂g sóa óa si-á pîn-hong, tó tī hia, chhi-chhám chē-kòa hoat-pò͘ i ê kiàn-tio̍k bēng-lēng. Pîn-hong āu-bīn ê siaⁿ taⁿ mā ná-chhiūⁿ gîm-chîⁿ-kha ê hong hiah-nī sè koh hi-jio̍k. 

"Kwan-Si sī chi̍t-chiah lāi-hio̍h. Nā án-ne lán ê chhiûⁿ tio̍h ài sī lia̍h hit-chiah lāi-hio̍h ê chiáu-bāng-á. In sī ji̍t-thâu boeh pha̍k kah lán ê bāng-á to̍h-hóe. Nā án-ne, lán tio̍h khí chi̍t-ê goe̍h lâi chō-sêng ji̍t-si̍t!"

Ná-chhiūⁿ seⁿ-sian ê ke-khì, chit-ê siâⁿ-chhī ká bē tín-tāng ah.

Lo̍h-bóe, pîn-hong āu-bīn ê khin-siaⁿ hoah chhut-lâi:

"Khòaⁿ chāi chiòng-sîn ê miâ, khì chhiáⁿ Kwan-Si lâi!"

Tī joa̍h-thiⁿ ê siōng-bóe kang, Kwan-Si Tāi-jîn, pēⁿ kah chin tāng koh siau-sán lo̍h-bah, hō͘ 4-ê iau kah boeh sí ê ē-kha-lâng kng lâi-kàu Tāi-jîn ê thiaⁿ-tn̂g. Nn̄g-ê tāi-jîn hông chhah khí-lâi, bīn tùi bīn. In ê chhùi chhoán-khùi ê siaⁿ ná-chhiūⁿ kôaⁿ-thiⁿ ê hong. Kî-tiong chi̍t-ê siaⁿ kóng:

"Lán tio̍h kiat-sok it-chhè."

Hit-ê lāu-lâng tìm-thâu.

"Bē-sái koh án-ne lo̍h-khì ah," hi-jio̍k ê siaⁿ án-ne kóng. "Lán ê peh-sèⁿ siáⁿ to bô hoat-tō͘ chò, kan-ta ta̍k-kang, ta̍k tiám-cheng teh kái-chō siâⁿ-chhī ê hêng-chōng. In bô sî-kan khì phah-la̍h, khì lia̍h-hî, khì loân-ài, khì hó-hó tùi-thāi chó͘-sian hām chó͘-sian ê kiáⁿ-jî."

"Che, góa tông-ì," nn̄g-ê Tāi-jîn án-ne kóng, in tìn siâⁿ-chhiûⁿ ê hêng ū-sî sī Chiáu-lông-á, Goe̍h, Chhiuⁿ, Hóe, Kiàm, a̍h sī che a̍h he ê hêng.

"Kng goán chhut-khì ji̍t-kng ē-bīn," in ê siaⁿ án-ne kóng.

Nn̄g-ê lāu-lâng hông kng chhut-lâi ji̍t-thâu ē, kàu soaⁿ-lūn téng. Tī joa̍h-thiⁿ bóe-liu ê bî-hong tang-tiong, ū kúi-ê sán pi-pa ê gín-á teh pàng liông ê hong-chhoe, he ū ji̍t-thâu ê chhái-sek, mā ū kap-á hām chháu ê sek, hái ê sek, koh ū gîn-kak-á hām be̍h-á ê sek.

Tē-it ê Tāi-jîn in cha-bó͘-kiáⁿ khiā tī i sin-piⁿ.

"Lín khòaⁿ," yi kóng.

"Hiah-ê put-kò sī hong-chhoe," nn̄g-ê lāu-lâng kóng.

"M̄-koh, hong-chhoe tī thô͘-kha sī siáⁿ ah?" yi kóng. "Siáⁿ to m̄-sī. I su-iàu siáⁿ lâi chi-chhî, lâi hō͘ i ē-tàng tián súi koh chin-chiàⁿ ū goân-khì?"

"Tong-jiân sī hong lah!" pa̍t-lâng án-ne kóng.

"Iá thiⁿ kap hong su-iàu siáⁿ lâi hō͘ in piàn súi?"

"Tong-jiân sī hong-chhoe -- chē-chē ê hong-chhoe ē-tàng phah-phòa tan-tiāu, phah-phòa bô piàn-hòa ê thiⁿ-téng. Chhái-sek ê hong-chhoe, teh poe ê hong-chhoe!"

"Nā án-ne," Tāi-jîn ê chă-kiáⁿ kóng. "Lín Kwan-Si ē-sái tùi lín tìn chò chòe-āu ê kái-chō, hō͘ i chiok-chiok ná-chhiūⁿ hong. Iá goán chiong boeh khí kah ná-chhiūⁿ chi̍t-ê kim hong-chhoe. Hong ē hō͘ hong-chhoe koh-khah súi, kā chhōa kàu kî-miāu ê koân-tō͘. Iá hong-chhoe ē phah-phòa hong bô-piàn-hòa ê chûn-chāi, hō͘ i ū bo̍k-te̍k, ū ì-gī. Sûi-ê nā khiàm iáu chi̍t-ê tō siáⁿ to m̄-sī ah. Nā chò-hóe, it-chhè tō lóng súi, ha̍p-chok, ū tn̂g koh kú ê sèⁿ-miā."

Chit-sî, hit nn̄g-ê tāi-jîn tōa hoaⁿ-hí, tō chia̍h kúi-ji̍t lâi ê tē-it tǹg pn̄g, sûi kám-kak ū khùi-la̍t, sio-siâm chò-hóe, hō͘-siong o-ló, kóng Tāi-jîn ê cha-bó͘-kiáⁿ sī chi̍t-ê cha-po͘-kiáⁿ, sī lâm-chú-hàn, sī chio̍h-thiāu, sī bú-sū, sī chin-chin chiàⁿ-chiàⁿ hō͘ lâng éng-oán ē-kì-tit ê hó lâm-jî.

In chek-sî hun-khui, kóaⁿ-kín tńg sûi-lâng ê tìn, tōa-siaⁿ hiu, ná teh chhiùⁿ-koa, sui-bóng hi-jio̍k m̄-koh chin hoaⁿ-hí.

Chū án-ne, tòe sî-kan ê keng-kòe, hit nn̄g-ê siâⁿ piàn sêng Kim Hong-chhoe Tìn hām Gîn-hong Tìn. Siu-sêng siu hó-sè, seng-lí kè-sio̍k ū-lâng chiàu-kò͘, sin-thé piàn khah ióng-kiāⁿ, pēⁿ-thiàⁿ ná tio̍h-kiaⁿ ê chhâi-lông làng-cháu ah. Kui-nî tang-tiong ê múi chi̍t-àm, Hong-chhoe Tìn ê ki-bîn ē-tàng thiaⁿ tio̍h un-hô ê chheng-hong teh chi-chhî in. Gîn-hong Tìn ê ki-bîn ē-tàng thiaⁿ tio̍h hong-chhoe teh chhiùⁿ-koa, teh khin-siaⁿ sè-soeh, teh poe, hō͘ in ê seng-oa̍h koh-khah bí-lē.

"Án-ne tō tio̍h lah," Tāi-jîn tī si-á pîn-hong thâu-chêng án-ne kóng.

(Soah)

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2. 若做伙, 一切 tō 攏媠

規个城市大歡喜, 知影 in koh 一擺因為有偉大 ê 撇步大王來得著解救. In 走到城牆, kā 牆照所期待 ê 來改造, ná teh 唱歌, 當然無像頂改 hiah 大聲, 因為 in 真忝, mā 無 hiah 緊, 因為頂改已經開一個月 ê 時間, in 袂得照顧事業 kap 種作, 所以 in 攏已經較虛弱, 較散赤.

紲落來有相連紲 ê 可怕 kap 奇妙 ê 日子, 一个綴一个, ná 像 lop 做伙 ê 可怕盒仔 án-ne.

"Oh, 大王," 報馬仔大聲叫, "Kwan-Si 已經 kā in ê 城牆改造做 ná 像喙, 欲 kō͘ he 啉焦咱 ê 湖!"

"若 án-ne," 大王講, 徛倚伊 ê 絲仔屏風, "kā 咱 ê 城建做 ná 針, 通好 kā 彼个喙紩起來!"

"大王!" 報馬仔大聲叫. "In kā 城牆改做 ná 像一支劍, 欲鏨你 ê 針!"

大王徛定, khu̍h-khu̍h 顫, 面 ǹg 絲仔屏風. "若 án-ne, 咱 koh 徙石頭, kā 改做劍鞘通收彼支劍."

"可憐 ah," 隔工早起報馬仔哀哀叫, "in 規暝趕工, 已經 kā 城牆改做爍爁 ê 形, 彼會爆炸 koh 毀壞咱 ê 劍鞘!"

病疼 ná 像痟狗陣湠甲規城市. 店仔關門. 幾若個月無停一直 teh 改造城牆 ê 百姓今看著袂輸家己 tō 是鬼, tī 冷風當中幌動 ná 樂器 ê 白骨. 街路出現出山 ê 陣頭, 雖罔今猶 tng-teh 熱, 應當是種作 kap 收成 ê 時陣. 大人病甲真重, 伊 kā 眠床徙倚絲仔屏風, 倒 tī 遐, 悽慘 chē-kòa 發布伊 ê 建築命令. 屏風後面 ê 聲今 mā ná 像砛簷跤 ê 風 hiah-nī 細 koh 虛弱. 

"Kwan-Si 是一隻 lāi-hio̍h. 若 án-ne 咱 ê 牆著愛是掠彼隻 lāi-hio̍h ê 鳥網仔. In 是日頭欲曝甲咱 ê 網仔 to̍h 火. 若 án-ne, 咱著起一个月來造成日食!"

Ná 像生鉎 ê 機器, 這个城市絞袂振動 ah.

落尾, 屏風後面 ê 輕聲喝出來:

"看在眾神 ê 名, 去請 Kwan-Si 來!"

Tī 熱天 ê 上尾工, Kwan-Si 大人, 病甲真重 koh 消瘦落肉, 予 4 个枵甲欲死 ê 下跤人扛來到大人 ê 廳堂. 兩个大人 hông chhah 起來, 面對面. In ê 喙喘氣 ê 聲 ná 像寒天 ê 風. 其中一个聲講:

"咱著結束一切."

彼个老人頕頭.

"袂使 koh án-ne 落去 ah," 虛弱 ê 聲 án-ne 講. "咱 ê 百姓啥 to 無法度做, 干焦逐工, 逐點鐘 teh 改造城市 ê 形狀. In 無時間去拍獵, 去掠魚, 去戀愛, 去好好對待祖先和祖先 ê 囝兒."

"這, 我同意," 兩个大人 án-ne 講, in 鎮城牆 ê 形有時是鳥櫳仔, 月, 槍, 火, 劍, a̍h 是這 a̍h 彼 ê 形.

"扛阮出去日光下面," in ê 聲 án-ne 講.

兩个老人 hông 扛出來日頭下, 到山崙頂. Tī 熱天尾溜 ê 微風當中, 有幾个瘦 pi-pa ê 囡仔 teh 放龍 ê 風吹, 彼有日頭 ê 彩色, mā 有蛤仔和草 ê 色, 海 ê 色, koh 有銀角仔和麥仔 ê 色. 

第一个大人 in 查某囝徛 tī 伊身邊.

"恁看," 她講.

"Hiah-ê 不過是風吹," 兩个老人講.

"毋過, 風吹 tī 塗跤是啥 ah?" 她講. "啥 to 毋是. 伊需要啥來支持, 來予伊會當展媠 koh 真正有元氣?"

"當然是風 lah!" 別人 án-ne 講.

"Iá 天 kap 風需要啥來予 in 變媠?"

"當然是風吹 -- 濟濟 ê 風吹會當拍破單調, 拍破無變化 ê 天頂. 彩色 ê 風吹, teh 飛 ê 風吹!"

"若 án-ne," 大人 ê chă 囝講. "恁 Kwan-Si 會使對恁鎮做最後 ê 改造, 予伊足足 ná 像風. Iá 阮將欲起甲 ná 像一个金風吹. 風會 hō͘ 風吹閣較媠, kā chhōa 到奇妙 ê 懸度. Iá 風吹會拍破風無變化 ê 存在, 予伊有目的, 有意義. 隨个若欠猶一个 tō 啥 to 毋是 ah. 若做伙, 一切 tō 攏媠, 合作, 有長 koh 久 ê 性命."

這時, 彼兩个大人大歡喜, tō 食幾日來 ê 第一頓飯, 隨感覺有氣力, 相尋做伙, 互相 o-ló, 講大人 ê 查某囝是一个查埔囝, 是男子漢, 是石柱, 是武士, 是真真正正予人永遠會記得 ê 好男兒.

In 即時分開, 趕緊轉隨人 ê 鎮, 大聲咻, ná teh 唱歌, 雖罔虛弱毋過真歡喜.

自 án-ne, 綴時間 ê 經過, 彼兩个城變成金風吹鎮和銀風鎮. 收成收好勢, 生理繼續有人照顧, 身體變較勇健, 病疼 ná 著驚 ê 豺狼閬走 ah. 規年當中 ê 每一暗, 風吹鎮 ê 居民會當聽著溫和 ê 清風 teh 支持 in. 銀風鎮 ê 居民會當聽著風吹 teh 唱歌, teh 輕聲細說, teh 飛, 予 in ê 生活閣較美麗.

"Án-ne tō 著 lah," 大人 tī 絲仔屏風頭前 án-ne 講.

(煞)

--

2.

The city turned out in joy to learn that once again they had been saved by the magnificent Emperor of ideas. They ran to the walls and built them nearer to this new vision, singing, not as loudly as before, of course, for they were tired, and not as quickly, for since it had taken a month to build the wall the first time, they had had to neglect business and crops and therefore were somewhat weaker and poorer.

There then followed a succession of horrible and wonderful days, one in another like a nest of frightening boxes.

"Oh, Emperor," cried the messenger, "Kwan-Si has rebuilt their walls to resemble a mouth with which to drink all our lake!"

"Then," said the Emperor, standing very close to his silken screen, "build our walls like a needle to sew up that mouth!"

"Emperor!" screamed the messenger. "They make their walls like a sword to break your needle!"

The Emperor held, trembling, to the silken screen. "Then shift the stones to form a scabbard to sheathe that sword!"

"Mercy," wept the messenger the following morn, "they have worked all night and shaped their walls like lightning which will explode and destroy that sheath!"

Sickness spread in the city like a pack of evil dogs. Shops closed. The population, working now steadily for endless months upon the changing of the walls, resembled Death himself, clattering his white bones like musical instruments in the wind. Funerals began to appear in the streets, though it was the middle of summer, a time when all should be tending and harvesting. The Mandarin fell so ill that he had his bed drawn up by the silken screen and there he lay, miserably giving his architectural orders. The voice behind the screen was weak now, too, and faint, like the wind in the eaves.

"Kwan-Si is an eagle. Then our walls must be a net for that eagle. They are a sun to burn our net. Then we build a moon to eclipse their sun!"

Like a rusted machine, the city ground to a halt.

At last the whisper behind the screen cried out:

"In the name of the gods, send for Kwan-Si!"

Upon the last day of summer the Mandarin Kwan-Si, very ill and withered away, was carried into our Mandarin's courtroom by four starving footmen. The two mandarins were propped up, facing each other. Their breaths fluttered like winter winds in their mouths. A voice said:

"Let us put an end to this."

The old men nodded.

"This cannot go on," said the faint voice. "Our people do nothing but rebuild our cities to a different shape every day, every hour. They have no time to hunt, to fish, to love, to be good to their ancestors and their ancestors' children."

"This I admit," said the Mandarins of the towns of the Cage, the Moon, the Spear, the Fire, the Sword and this, that, and other things.

"Carry us into the sunlight," said the voice.

The old men were borne out under the sun and up a little hill. In the late summer breeze a few very thin children were flying dragon kites in all the colors of the sun, and frogs and grass, the color of the sea and the color of coins and wheat.

The first Mandarin's daughter stood by his bed.

"See," she said.

"Those are nothing but kites," said the two old men.

"But what is a kite on the ground?" she said. "It is nothing. What does it need to sustain it and make it beautiful and truly spiritual?"

"The wind, of course!" said the others.

"And what do the sky and the wind need to make them beautiful?"

"A kite, of course - many kites, to break the monotony, the sameness of the sky. Colored kites, flying!"

"So," said the Mandarin's daughter. "You, Kwan-Si, will make a last rebuilding of your town to resemble nothing more nor less than the wind. And we shall build like a golden kite. The wind will beautify the kite and carry it to wondrous heights. And the kite will break the sameness of the wind's existence and give it purpose and meaning. One without the other is nothing. Together, all will be beauty and co-operation and a long and enduring life."

Whereupon the two Mandarins were so overjoyed that they took their first nourishment in days, momentarily were given strength, embraced, and lavished praise upon each other, called the Mandarin's daughter a boy, a man, a stone pillar, a warrior, and a true and unforgettable son.

Almost immediately they parted and hurried to their towns, calling out and singing, weakly but happily.

And so, in time, the towns became the Town of the Golden Kite and the Town of the Silver Wind. And harvestings were harvested and business tended again, and the flesh returned, and disease ran off like a frightened jackal. And on every night of the year the inhabitants in the Town of the Kite could hear the good clear wind sustaining them. And those in the Town of the Wind could hear the kite singing, whispering, rising, and beautifying them.

"So be it," said the Mandarin in front of his silken screen.

--

// 2022-04-13



Monday, September 5, 2022

C40 Kim Hong-chhoe, Gîn Hong | 金風吹, 銀風 - a Kā 咱城市 ê 形狀改變一下

The Golden Kite, the Silver Wind /by Ray Bradbury ~ 1953
https://mschapmansclass.files.wordpress.com/2014/03/the-golden-kite-the-silver-wind.pdf

Kim Hong-chhoe, Gîn Hong | 金風吹, 銀風

--

1. Kā lán siâⁿ-chhī ê hêng-chōng kái-piàn chi̍t-ē

"Sī ti ê hêng sioh?" Tāi-jîn tōa-siaⁿ kóng.

"Sī ti ê hêng," pò-bé-á kóng, jiân-āu lī-khui.

"Oh, chin-chiàⁿ sī pháiⁿ nî-tang ê pháiⁿ ji̍t-chí," Tāi-jîn tōa-siaⁿ kóng.

"Góa sè-hàn ê sî, soaⁿ-lūn hit-thâu ê Kwan-Si iáu sī chi̍t-ê sió só͘-chāi. Taⁿ, i í-keng tōa kah mā boeh khí ka-tī ê siâⁿ-chhiûⁿ ah."

"M̄-koh, sī án-chóaⁿ 2 mai í-gōa ê chi̍t-chō siâⁿ-chhiûⁿ hō͘ goán lāu-pē kui tiám-cheng teh cho-sim koh siū-khì?" in cha-bó͘-kiáⁿ sim-lāi tiām-tiām án-ne siūⁿ.

"In khí ê siâⁿ-chhiûⁿ," Tāi-jîn kóng, "sī chi̍t-chiah ti ê hêng! Lí chai bô? Lán ê siâⁿ-chhiûⁿ sī kam-á hêng. Hit-chiah iau-sâi ti ē lâi kā lán hàu-ko͘ khì!"

In nn̄g lâng chē leh teh siūⁿ.

Seng-oa̍h tiong móa-móa sī siōng-teng hām chhái-tiāu. Ok-mô͘ sì-kè bih. Sí-bông siû tī ba̍k-chiu chúi nih, hái-chiáu ê si̍t oat-oat piáu-sī boeh lo̍h-hō͘, lán gia̍h ê khôe-sìⁿ mā án-ne, chhù-téng ê siâ-tō͘, iáu-ū, sī lah, sīm-chì siâⁿ-chhiûⁿ mā ke̍k iàu-kín. Lí-kheh hām iû-kheh, siong-tūi, im-ga̍k-ka, gē-su̍t-ka, lâi-kàu chit nn̄g-ê tìn, kāng-khoán phòaⁿ-toàn chiah-ê chhái-thâu, in ē kóng, "Chit-ê siâⁿ sī kam-á hêng! M̄! Góa boeh lâi-khì hit-ê ti-á hêng ê siâⁿ, thang-hó heng-ōng, chia̍h hó-liāu, tī hó-ūn kap hoân-êng tang-tiong chia̍h kah pûi-pûi!"

Tāi-jîn khàu chhut-lâi. "Hāi liáu-liáu ah! Chiah-ê siōng-teng hām kì-hō chiâⁿ khó-phà. Lán ê siâⁿ-chhī tú tio̍h pháiⁿ ji̍t-chí ah."

"Nā án-ne," cha-bó͘-kiáⁿ kóng, "kiò lí ê thia̍p-chio̍h sai hām khí biō ê sai-hū lâi. Góa ē bih tī si-á pîn-hong āu-bīn, kē-siaⁿ kā lí kóng lí tio̍h kóng ê ōe."

Lāu-lâng phah-pho̍k-á, m̄-koh sim-lāi choa̍t-bōng. "Lâi oh, thia̍p-chio̍h sai ah! Lâi oh, khí siâⁿ, khí kiong-tiān ê sai-hū ah!"

Hiah-ê ē-hiáu thia̍p tāi-lí chio̍h, hoa-kong chio̍h, bé-ló hām chio̍h-eng ê sai-hū chin kín tō lâi ah. Tāi-jîn bīn-tùi in, chin bē chū-chāi, teh tán pó-chō āu-bīn si-á pîn-hong nih ê sè-siaⁿ ōe. Ka-chài, khin-siaⁿ ōe lâi ah.

"Góa kiò lín lâi chia," sè-siaⁿ ōe án-ne kóng.

"Góa kiò lín lâi chia," Tāi-jîn tōa-siaⁿ kóng, "in-ūi lán ê siâⁿ-chhiûⁿ sī kam-á hêng, m̄-koh hit-ê ok-to̍k Kwan-Si taⁿ kā in ê siâⁿ khí chò chi̍t-chiah iau-sâi ti ê hêng..."

Chit-sî, thia̍p-chio̍h sai lóng teh haiⁿ-chhan, teh thî-khàu. Sí-sîn tī gōa-kháu chhù-tiâⁿ teh lāng koái-á hoe. Sàn-chhiah tī pâng-keng ê o͘-iáⁿ kheⁿh chi̍t-ê tâm-sip ê ka-sàu siaⁿ.

"Tō sī án-ne," sè-siaⁿ ōe kóng, Tāi-jîn mā kóng, "lín chiah-ê khí-chō-chiá ah, kín the̍h hó ke-si, chhoân hó chio̍h-thâu, kā lán siâⁿ-chhī ê hêng-chōng kái-piàn chi̍t-ē!"

Kiàn-tio̍k-su hām thia̍p-chio̍h sai lóng suh chi̍t-ê tōa-khùi. Tāi-jîn tùi ka-tī kóng ê ōe mā suh chi̍t-ê tōa-khùi.

Sè-siaⁿ ōe kè-sio̍k kóng. Tāi-jîn mā kè-sio̍k kóng: "Lín tio̍h kā lán ê siâⁿ-chhiûⁿ kái chò chi̍t-ki kùn-á, án-ne thang iōng lâi kòng hit-chiah ti, kā i kóaⁿ khui!"

Thia̍p-chio̍h sai khiā khí-lâi, tōa-siaⁿ hoah. Sīm-chì Tāi-jîn, ūi ka-tī ê ōe kám-kak hoaⁿ-hí, mā phah-pho̍k-á, ùi pó-chō kiâⁿ lo̍h-lâi. "Kín!" i hoah. " Kóaⁿ-kín hêng-tōng!"

Tán hiah-ê lâng hoaⁿ-hoaⁿ hí-hí, e-e kheh-kheh lī-khui liáu-āu, Tāi-jîn chiah móa-sim ê ài-ì oa̍t-thâu ǹg si-á pîn-hong. "Chă-kiáⁿ ah," i khin-siaⁿ kóng, "góa boeh lám lí." Bô ìn-siaⁿ. I se̍h kòe pîn-hong, yi í-keng bô tī hia.

Chiah-nī khiam-hi, i án-ne siūⁿ. Yi í-keng liu-cháu, lâu chit-ê sèng-lī hō͘ góa, bē-su che sī góa ê.

Chit-ê siau-sit thoân-phiàn kui siâⁿ-chhī; Tāi-jîn siū tio̍h o-ló. Lâng-lâng kng chio̍h-thâu khì thia̍p siâⁿ-chhiûⁿ. Lâng-lâng chò-hóe phah-piàⁿ ê sî, phàu-siaⁿ sì-kè hiáng, sí-bông hām sàn-chhiah ê ok-mô͘ cháu kah li̍h khò͘-kha. Kàu hit-ê goe̍h-té, siâⁿ-chhiûⁿ í-keng kái-chō hó-sè. Taⁿ he sī chi̍t-ki tōa kòng-thûi, ē-sái iōng lâi kóaⁿ ti-á, kóaⁿ soaⁿ-ti, sīm-chì kóaⁿ sai-á, kóaⁿ kah hn̆g-hn̄g-hn̄g. Tāi-jîn ta̍k-àm lóng khùn kah ná chi̍t-chiah khoài-lo̍k ê hô͘-lî.

"Góa siūⁿ boeh khòaⁿ, Kwan-Si ê Tāi-jîn thiaⁿ tio̍h chit-ê siau-sit ê sî ê hoán-èng sī án-chóaⁿ. Tú tio̍h chit-chióng tōa hūn-loān hām tōa sit-sim, i tiāⁿ-tio̍h ē siūⁿ boeh ùi soaⁿ-téng thiàu lo̍h-khì! Koh hō͘ góa lim chi̍t-kóa hit-lō chiú lah, oh, góa chhin-ài ê ná hāu-seⁿ ê chă-kiáⁿ ah."

M̄-koh, chit-chióng khoài-lo̍k ná chhiūⁿ kôaⁿ-thiⁿ ê hoe-lúi; chin kín tō sí khì ah. Kāng hit-kang ê ē-po͘, pò-bé-á lâi kàu kiong-têng. "Oh, Tāi-jîn ah, pēⁿ-thiàⁿ, ì-gōa ê pi-siong, seh-pang, chháu-meh-á che, ū-to̍k ê chéⁿ-chúi!"

Tāi-jîn kui-sin phi̍h-phi̍h chhoah.

"Kwan-Si Tìn," pò-bé-á kóng, "goân-pún khí kah ná chi̍t-chiah ti, lán kā siâⁿ-chhiûⁿ kái-piàn chò chi̍t-ki tōa-ki kùn-á kā kóaⁿ-cháu, taⁿ í-keng kā lán ê sèng-lī piàn-chò kôaⁿ-thiⁿ ê hóe-hu ah. In í-keng kā siâⁿ-chhiûⁿ khí chò chi̍t-tui chhâ-hóe, boeh lâi sio lán ê kùn-á!"

Tāi-jîn ê sim-koaⁿ tōa ut-chut, ná-chhiūⁿ kó͘-chá chhiū téng ê chi̍t-lia̍p chhiu-thiⁿ kóe-chí. "Oh, Thiⁿ ah! Lí-kheh ē siám-pī lán. Khòaⁿ tio̍h chit-lō sìn-hō, seng-lí-lâng ē lī-khui chit-ê kín húi-hoāi ê kùn-á, cháu khì ē-tàng cheng-ho̍k it-chhè ê hóe hia!"

"Bē," si-á pîn-hong āu-bīn chi̍t-ê ná seh-hoe ê khin-siaⁿ án-ne kóng.

"Bē," tio̍h-kiaⁿ ê Tāi-jîn mā án-ne kóng.

"Kā góa ê thia̍p-chio̍h sai kóng," hit-ê ná hō͘-tih lak-lo̍h ê khin-siaⁿ kóng, "kā lán ê siâⁿ kái chò ná chi̍t-ê kim sih-sih ê ô͘."

Tāi-jîn tōa-siaⁿ kóng chiah-ê ōe, i ê sim-koaⁿ sio ho-ho.

"Ū chit-ê ū chúi ê ô͘," khin-siaⁿ hām lāu-lâng án-ne kóng, "lán boeh kā hóe lâm hoa, hō͘ i éng-oán bē koh to̍h!"

--

1. Kā 咱城市 ê 形狀改變一下

"是豬 ê 形 sioh?" 大人大聲講.

"是豬 ê 形," 報馬仔講, 然後離開.

"Oh, 真正是歹年冬 ê 歹日子," 大人大聲講.

"我細漢 ê 時, 山崙彼頭 ê Kwan-Si 猶是一个小所在. 今, 伊已經大甲 mā 欲起家己 ê 城牆 ah."

"毋過, 是按怎 2 mai 以外 ê 一座城牆予阮老爸規點鐘 teh 慒心 koh 受氣?" in 查某囝心內恬恬 án-ne 想.

"In 起 ê 城牆," 大人講, "是一隻豬 ê 形! 你知無? 咱 ê 城牆是柑仔形. 彼隻枵饞豬會來 kā 咱孝孤去!"

In 兩人坐 leh teh 想.

生活中滿滿是象徵和彩兆. 惡魔四界覕. 死亡泅 tī 目睭水 nih, 海鳥 ê 翼斡斡表示欲落雨, 咱攑 ê 葵扇 mā án-ne, 厝頂 ê 斜度, 猶有, 是 lah, 甚至城牆 mā 極要緊. 旅客和遊客, 商隊, 音樂家, 藝術家, 來到這兩个鎮, 仝款判斷 chiah-ê 彩頭, in 會講, "這个城是柑仔形! 毋! 我欲來去彼个豬仔形 ê 城, 通好興旺, 食好料, tī 好運 kap 繁榮當中食甲肥肥!"

大人哭出來. "害了了 ah! Chiah-ê 象徵和記號誠可怕. 咱 ê 城市拄著歹日子 ah."

"若 án-ne," 查某囝講, "叫你 ê 疊石師和起廟 ê 師傅來. 我會覕 tī 絲仔屏風後面, 低聲 kā 你講你著講 ê 話."

老人拍噗仔, 毋過心內絕望. "來 oh, 疊石師 ah! 來 oh, 起城, 起宮殿 ê 師傅 ah!"

Hiah-ê 會曉疊大理石, 花崗石, 瑪瑙和石英 ê 師傅真緊 tō 來 ah. 大人面對 in, 真袂自在, teh 等寶座後面絲仔屏風 nih ê 細聲話. 佳哉, 輕聲話來 ah.

"我叫恁來遮," 細聲話 án-ne 講.

"我叫恁來遮," 大人大聲講, "因為咱 ê 城牆是柑仔形, 毋過彼个惡毒 Kwan-Si 今 kā in ê 城起做一隻枵饞豬 ê 形..."

這時, 疊石師攏 teh 哼呻, teh 啼哭. 死神 tī 外口厝埕 teh 弄拐仔花. 散赤 tī 房間 ê 烏影喀一个澹濕 ê 咳嗽聲.

"就是 án-ne," 細聲話講, 大人 mā 講, "恁 chiah-ê 起造者 ah, 緊提好家私, 攢好石頭, kā 咱城市 ê 形狀改變一下!"

建築師和疊石師攏欶一个大氣. 大人對家己講 ê 話 mā 欶一个大氣.

細聲話繼續講. 大人 mā 繼續講: "恁著 kā 咱 ê 城牆改做一支棍仔, án-ne 通用來摃彼隻豬, kā 伊趕開!"

疊石師徛起來, 大聲喝. 甚至大人, 為家己 ê 話感覺歡喜, mā 拍噗仔, ùi 寶座行落來. "緊!" 伊喝. " 趕緊行動!"

等 hiah-ê 人歡歡喜喜, 挨挨 kheh-kheh 離開了後, 大人才滿心 ê 愛意越頭 ǹg 絲仔屏風. "Chă 囝 ah," 伊輕聲講, "我欲攬你." 無應聲. 伊踅過屏風, 她已經無 tī 遐.

Chiah-nī 謙虛, 伊 án-ne 想. 她已經溜走, 留這个勝利予我, 袂輸這是我 ê.

這个消息傳遍規城市; 大人受著 o-ló. 人人扛石頭去疊城牆. 人人做伙拍拚 ê 時, 炮聲四界響, 死亡和散赤 ê 惡魔走甲裂褲跤. 到彼个月底, 城牆已經改造好勢. 今彼是一支大槓槌, ē-sái 用來趕豬仔, 趕山豬, 甚至趕獅仔, 趕甲 hn̆g 遠遠. 大人逐暗攏睏甲 ná 一隻快樂 ê 狐狸.

"我想欲看, Kwan-Si ê 大人聽著這个消息 ê 時 ê 反應是按怎. 拄著這種大混亂和大失心, 伊定著會想欲 ùi 山頂跳落去! Koh 予我啉一寡 hit-lō 酒 lah, oh, 我親愛 ê ná 後生 ê chă 囝 ah."

毋過, 這種快樂 ná 像寒天 ê 花蕊; 真緊 tō 死去 ah. 仝彼工 ê 下晡, 報馬仔來到宮廷. "Oh, 大人 ah, 病疼, 意外 ê 悲傷, 雪崩, 草蜢仔災, 有毒 ê 井水!"

大人規身咇咇掣.

"Kwan-Si 鎮," 報馬仔講, "原本起甲 ná 一隻豬, 咱 kā 城牆改變做一支大支棍仔 kā 趕走, 今已經 kā 咱 ê 勝利變做寒天 ê 火烌 ah. In 已經 kā 城牆起做一堆柴火, 欲來燒咱 ê 棍仔!"

大人 ê 心肝大鬱卒, ná 像古早樹頂 ê 一粒秋天果子. "Oh, 天 ah! 旅客會閃避咱. 看著 chit-lō 信號, 生理人會離開這个緊毀壞 ê 棍仔, 走去會當征服一切 ê 火遐!"

"袂," 絲仔屏風後面一个 ná 雪花 ê 輕聲 án-ne 講.

"袂," 著驚 ê 大人 mā án-ne 講.

"Kā 我 ê 疊石師講," 彼个 ná 雨滴 lak 落 ê 輕聲講, "kā 咱 ê 城改做 ná 一个金 sih-sih ê 湖."

大人大聲講 chiah-ê 話, 伊 ê 心肝燒熇熇.

"有這个有水 ê 湖," 輕聲和老人 án-ne 講, "咱欲 kā 火淋 hoa, 予伊永遠袂 koh to̍h!"

--

1.

"In the shape of a pig?' cried the Mandarin.

"In the shape of a pig," said the messenger, and departed.

"Oh, what an evil day in an evil year," cried the Mandarin.

"The town of Kwan-Si, beyond the hill, was very small in my childhood. Now it has grown so large that at last they are building a wall."

"But why should a wall two miles away make my good father sad and angry all within the hour?" asked his daughter quietly.

"They build their wall," said the Mandarin, "in the shape of a pig! Do you see? Our own city wall is built in the shape of an orange. That pig will devour us, greedily!"

They both sat thinking.

Life was full of symbols and omens. Demons lurked everywhere. Death swam in the wetness of an eye, the turn of a gull's wing meant rain, a fan held so, the tilt of a roof, and, yes, even a city wall was of immense importance. Travelers and tourists, caravans, musicians, artists, coming upon these two towns, equally judging the portents, would say, "The city shaped like an orange! No! I will enter the city shaped like a pig and prosper, eating all, growing fat with good luck and prosperity!"

The Mandarin wept. "All is lost! These symbols and signs terrify. Our city will come on evil days."

"Then," said the daughter, "call in your stone-masons and temple builders. I will whisper from behind the silken screen and you will know the words."

The old man clapped his hands despairingly. "Ho, stone-masons! Ho, builders of towns and palaces!"

The men who knew marble and granite and onyx and quartz came quickly. The Mandarin faced them most uneasily, himself waiting for a whisper from the silken screen behind his throne. At last the whisper came.

"I have called you here," said the whisper.

"I have called you here," said the Mandarin aloud, because our city is shaped like an orange, and the vile city of Kwan-Si has this day shaped theirs like a ravenous pig -"

Here the stone-masons groaned and wept. Death rattled his cane in the outer courtyard. Poverty made a sound like a wet cough in the shadows of the room.

"And so," said the whisper, said the Mandarin, "you raisers of walls must go bearing trowels and rocks and change the shape of our city!"

The architects and masons gasped. The Mandarin himself gasped at what he had said.

The whisper whispered. The Mandarin went on: "And you will change our walls into a club which may beat the pig and drive it off!"

The stone-masons rose up, shouting. Even the Mandarin, delighted at the words from his mouth, applauded, stood down from his throne. "Quick!" he cried. "To work!"

When his men had gone, smiling and bustling, the Mandarin turned with great love to the silken screen. "Daughter," he whispered, "I will embrace you." There was no reply. He stepped around the screen, and she was gone.

Such modesty, he thought. She has slipped away and left me with a triumph, as if it were mine.

The news spread through the city; the Mandarin was acclaimed. Everyone carried stone to the walls. Fireworks were set off and the demons of death and poverty did not linger, as all worked together. At the end of the month the wall had been changed. It was now a mighty  bludgeon with which to drive pigs, boars, even lions, far away. The Mandarin slept like a happy fox every night.

"I would like to see the Mandarin of Kwan-Si when the news is learned. Such pandemonium and hysteria; he will likely throw himself from a mountain! A little more of that wine, oh Daughter-who-thinks-like-a-son."

But the pleasure was like a winter flower; it died swiftly. That very afternoon the messenger rushed into the courtroom. "Oh, Mandarin, disease, early sorrow, avalanches, grasshopper plagues, and poisoned well water!"

The Mandarin trembled.

"The town of Kwan-Si," said the messenger, "which was built like a pig and which animal we drove away by changing our walls to a mighty stick, has now turned triumph to winter ashes. They have built their city's walls like a great bonfire to burn our stick!"

The Mandarin's heart sickened within him, like an autumn fruit upon an ancient tree. "Oh, gods! Travelers will spurn us. Tradesmen, reading the symbols, will turn from the stick, so easily destroyed, to the fire, which conquers all!"

"No," said a whisper like a snowflake from behind the silken screen.

"No," said the startled Mandarin.

"Tell my stone-masons," said the whisper that was a falling drop of rain, "to build our walls in the shape of a shining lake."

The Mandarin said this aloud, his heart warmed.

"And with this lake of water," said the whisper and the old man, "we will quench the fire and put it out forever!"

--



Sunday, September 4, 2022

C39b 第五擺, 她又閣失敗 ah

2. Tē-gō͘ pái, yi iū-koh sit-pāi ah

Tī i 12 hòe hit-nî ê joa̍h-thiⁿ, Skipper kō͘ chhiū-leng phia̍k-á phia̍k sí chi̍t-chiah chhù-chiáu-á. Ethel jīn-ûi che sī chi̍t-ê pháiⁿ kiat-tiāu. Hō͘ i kiaⁿ chi̍t-tiô ê sī, yi ná khàu ná kā lé. Chit-ê tāi-chì liáu ê kúi-ā kang, yi kī-choa̍t kap i kóng-ōe.

Tī i 14 hòe seⁿ-ji̍t ê sî, Judd sàng i chi̍t-ki 22 kháu-kèng ê la̍h-chhèng. Ethel chai, chit-ê lé-mi̍h m̄-sī chhut tī kám-chêng, sī in-ūi chai-iáⁿ yi oàn-chheh he. Sim-koaⁿ ah-ut, yi ba̍k-chiu kim-kim khòaⁿ Skipper hām in lāu-pē khì phah chiáu. I tńg-lâi ê sî, thoa chi̍t-chiah chiah-ko͘, chi̍t-chiah khó-liân, lâu-hoeh lâu-tih ê mi̍h, ba̍k-chiu sí-sí, kiaⁿ-hiâⁿ iáu bōe lī. Yi put-jím-sim mài kā chú, m̄-koh he bah yi chi̍t-chhùi to m̄ chia̍h. Khòaⁿ tio̍h yin kiáⁿ iau-sâi gè iû lop-lop ê ke-thúi ê sî, yi tùi i chiâⁿ tò-tōaⁿ. "He tiāⁿ-tio̍h sī Skipper kā tōaⁿ sí ê," Judd ná án-ne pûn ke-kui, ná kō͘ kan-khiáu ê ba̍k-sîn khòaⁿ in bó͘. Hit-sî Skipper hong-sîn kah chhùi gi-gi, hiáng-siū lāu-pē ê o-ló. Só͘-í, che sī lāu-pē kap kiáⁿ tē-it-pái kiàn-li̍p tông-phōaⁿ ê liân-kiat.

M̄-koh, yi iáu sī kī-choa̍t siong-sìn i ē chhiūⁿ kî-thaⁿ ê lâng án-ne. It-ti̍t kàu i 16 hòe hit-nî ê chhiu-thiⁿ, yi chiah khak-tēng khòaⁿ tio̍h bī-lâi chù-tiāⁿ boeh hoat-seng ê tāi-chì.

He sī chi̍t-ê pài-la̍k ê àm-sî. I hām chi̍t-tīn cha-po͘ gín-á khì tìn-siōng, kīn-lâi i chhiâng-chāi án-ne. Chiah-ê cha-po͘ gín-á tōa pō͘-hūn lóng í-keng chhut-gia̍p, ji̍p khì kang-tiûⁿ kang-chok. Ethel sim-koaⁿ àm-tiong hoâi-gî, in í-keng o̍h ē-hiáu lim-chiú ah. Yi chai-iáⁿ in kō͘ kûn-thâu-bó sio-cheng, kau chi̍t-kóa chheⁿ-hūn cha-bó͘ gín-á. Yi bat thê-chhéⁿ Skipper tio̍h chù-ì chiah-ê lâng. "Tio̍h sió-sim, koai-kiáⁿ," yi án-ne kā kóng. I tō phok yi ê chhiú, kiò yi bián hoân-ló. M̄-koh yi thó-ià tùi i chhiò gi-gi ê bīn só͘ khòaⁿ tio̍h ê bô tāi-toān kap hong-sîn khì.

I kàu chhù ê sî, yi tng-teh tán i. Hit-sî Judd iáu bōe ùi tìn-siōng tńg-lâi. Ethel chē tī chàu-kha, thiaⁿ tio̍h yin hāu-seⁿ tī mn̂g-kha-kháu ê tōng-chok. Yi chai, i teh chīn-liōng pó-chhî mài chhut-siaⁿ. Siūⁿ-tio̍h yi ē hō͘ i chhoah chi̍t-tiô, yi tō ū chi̍t-chióng sèng-lī ê kî-koài kám-kak.

"Eh! Hái, Mama!" chi̍t-ē khui chàu-kha mn̂g, i kiaⁿ chi̍t-ē, i-i ū-ū án-ne kóng.

"Halo, Skipper."

I ê bō-á tì oai-oai, ná-chhiūⁿ kang-tiûⁿ siàu-liân-ke án-ne. I ê gōa-thò chhiú-ńg ū thô͘ jiah.

I tùi yi gi chi̍t-ē, bô lé bô sò͘.

"Skipper..." yi khui-chhùi.

"Sī."

I kè-sio̍k gi-chhùi, kha-té khiā bē chāi, iô lâi hàiⁿ khì.

Yi ùi í-á khiā khí-lâi, kiâⁿ hiòng i. Yi tōa-la̍t suh chi̍t-kháu khùi, phīⁿ i chhoán ê khùi.

"Skipper, lí ū lim-chiú hoⁿh!"

I chhiò chhut-lâi.

"Góa siūⁿ, góa ū lah, Mama."

Yi kā chhiú hōaⁿ tī i ê keng-thâu.

"Oh, Skipper, Lí chai he tùi lí ū siáⁿ éng-hióng! Lí chai, Judd sī án-nóa siū he éng-hióng! Skipper, lí bat tah-èng góa!"

I ê keng-thâu giâ chi̍t-ē. Chi̍t-sî-kan yi khòaⁿ tio̍h i chhēng té-khò͘ hām polo saⁿ, chhiú tiong móa-móa ê hoe.

"Taⁿ góa sī chi̍t-ê tōa hàn cha-po͘-kiáⁿ ah lah, Mama," i chhiò-chhiò kóng. "Góa í-keng m̄-sī sè-hàn gín-á ah lah, Mama. Lí ài ē-kì-tit che."

Chiâⁿ liáu-jiân, yi oat-tńg í-á hia, koh chē lo̍h-lâi, ba̍k-sîn sí-sí khòaⁿ thô͘-kha.

"Sī lah, góa tio̍h ài ē-kì-tit che."

I ê siang-kha tī tē-thán téng-bīn lù.

"Lí khòaⁿ, Mama," i kóng, "e-àm góa ū hām Bill Spence kóng-ōe."

Bill Spence sī kang-tiûⁿ ê kang-thâu.

"Mài kóng," yi chēng-chēng kî-tó, "pài-thok mài kóng he."

"I kóng, i hoān-sè ē-tàng thè góa chhōe khang-khòe."

"Sī."

Yi bô-ài sio-chèⁿ. Yi bô-ài hām i lí-lūn. Yi í-keng hòng-khì ah. Che sī tē-gō͘ pái, yi iū-koh sit-pāi ah.

"Lán su-iàu chîⁿ, Mama."

"Sī."

"Góa bô kóng hó, mā bô kóng m̄-hó."

"Bô."

"Lí ū teh thiaⁿ--bô, Mama?"

"Sī, sī, góa teh thiaⁿ, Skipper."

I hut-jiân tōa-chhiò. Yi taⁿ-thâu khòaⁿ i. "Góa tú-tú siūⁿ tio̍h chi̍t-ê chhù-bī ê tāi-chì," i kái-soeh kóng.

"Sī oh?"

"Lāu-hòe-á e-àm chèng-keng ū-kàu chùi ah. Tī tìn nih, góa ū khòaⁿ tio̍h i. I chùi kah ná-chhiūⁿ chhàu-hiàn-bâ."

I ê kháu-khì ū chi̍t-chióng khin-sī koh liáu-kái ê khì-bī. Kòe-khì yi m̄-bat thiaⁿ tio̍h i kō͘ chit-chióng siaⁿ-soeh kóng in lāu-pē.

Yi bô-lám bô-ne khiā khí-lâi, kiâⁿ hiòng lâu-thui.

"Góa boeh khì khùn ah, Skipper."

"Sī... Góa siūⁿ, góa ē tán lāu-hòe-á, Mama."

Yi bô kā ìn. Ná lī-khui chàu-kha ê sî, yi khòaⁿ tio̍h i chhāi tī toh piⁿ ê chi̍t-tè í-á. Hit-tè í-á, chin kú í-chêng, i bat chē tī hia kō͘ chúi-chhat ōe-tô͘.

Ethel peh-chiūⁿ bîn-chhn̂g, chhiat hoa tiān-hóe. Kòe chi̍t-ē-á, yi thiaⁿ tio̍h Judd kàu-ūi. Jiân-āu, chi̍t-tōaⁿ chin kú ê sî-kan, yi tó tī o͘-àm tiong, thiaⁿ Judd hām in hāu-seⁿ tī chhù hit-thâu ê chàu-kha ū kóng ū chhiò.

(Soah)

--

2. 第五擺, 她又閣失敗 ah

Tī 伊 12 歲彼年 ê 熱天, Skipper kō͘ 樹奶擗仔擗死一隻厝鳥仔. Ethel 認為這是一个歹吉兆. 予伊驚一趒 ê 是, 她 ná 哭 ná kā 詈. 這个代誌了 ê 幾若工, 她拒絕 kap 伊講話.

Tī 伊 14 歲生日 ê 時, Judd 送伊一支 22 口徑 ê 獵銃. Ethel 知, 這个禮物毋是出 tī 感情, 是因為知影她怨慼彼. 心肝壓鬱, 她目睭金金看 Skipper 和 in 老爸去拍鳥. 伊轉來 ê 時, 拖一隻鷓鴣, 一隻可憐, 流血流滴 ê 物, 目睭死死, 驚惶猶未離. 她不忍心莫 kā 煮, 毋過 he 肉她一喙 to 毋食. 看著姻囝枵饞嚙油 lop-lop ê 雞腿 ê 時, 她對伊誠倒彈. "彼定著是 Skipper kā 彈死 ê," Judd ná án-ne 歕雞胿, ná kō͘ 奸巧 ê 目神看 in 某. 彼時 Skipper 風神甲喙 gi-gi, 享受老爸 ê o-ló. 所以, 這是老爸 kap 囝第一擺建立同伴 ê 連結.

毋過, 她猶是拒絕相信伊會像其他 ê 人 án-ne. 一直到伊 16 歲彼年 ê 秋天, 她才確定看著未來註定欲發生 ê 代誌.

彼是一个拜六 ê 暗時. 伊和一陣查埔囡仔去鎮上, 近來伊常在 án-ne. Chiah-ê 查埔囡仔大部份攏已經出業, 入去工場工作. Ethel 心肝暗中懷疑, in 已經學會曉啉酒 ah. 她知影 in kō͘ 拳頭母相舂, 交一寡生份查某囡仔. 她 bat 提醒 Skipper 著注意 chiah-ê 人. "著小心, 乖囝," 她 án-ne kā 講. 伊 tō 扑她 ê 手, 叫她免煩惱. 毋過她討厭對伊笑 gi-gi ê 面所看著 ê 無大段 kap 風神氣.

伊到厝 ê 時, 她 tng-teh 等伊. 彼時 Judd 猶未 ùi 鎮上轉來. Ethel 坐 tī 灶跤, 聽著姻後生 tī 門跤口 ê 動作. 她知, 伊 teh 盡量保持莫出聲. 想著她會予伊掣一趒, 她 tō 有一種勝利 ê 奇怪感覺.

"Eh! Hái, Mama!" 一下開灶跤門, 伊驚一下, i-i ū-ū án-ne 講.

"Halo, Skipper."

伊 ê 帽仔戴歪歪, ná 像工場少年家 án-ne. 伊 ê 外套手䘼有塗跡.

伊對她 gi 一下, 無禮無數.

"Skipper..." 她開喙.

"是."

伊繼續 gi 喙, 跤底徛袂在, 搖來幌去.

她 ùi 椅仔徛起來, 行向伊. 她大力欶一口氣, 鼻伊喘 ê 氣.

"Skipper, 你有啉酒 hoⁿh!"

伊笑出來.

"我想, 我有 lah, Mama."

她 kā 手扞 tī 伊 ê 肩頭.

"Oh, Skipper, 你知彼對你有啥影響! 你知, Judd 是按怎受彼影響! Skipper, 你 bat 答應我!"

伊 ê 肩頭夯一下. 一時間她看著伊穿短褲和 polo 衫, 手中滿滿 ê 花.

"今我是一个大漢查埔囝 ah lah, Mama," 伊笑笑講. "我已經毋是細漢囡仔 ah lah, Mama. 你愛會記得這."

誠了然, 她斡轉椅仔遐, koh 坐落來, 目神死死看塗跤.

"是 lah, 我著愛會記得這."

伊 ê 雙跤 tī 地毯頂面鑢.

"你看, Mama," 伊講, "下暗我有和 Bill Spence 講話."

Bill Spence 是工場 ê 工頭.

"莫講," 她靜靜祈禱, "拜託莫講彼."

"伊講, 伊凡勢會當替我揣工課."

"是."

她無愛相諍. 她無愛和伊理論. 她已經放棄 ah. 這是第五擺, 她又閣失敗 ah.

"咱需要錢, Mama."

"是."

"我無講好, mā 無講毋好."

"無."

"你有 teh 聽--無, Mama?"

"是, 是, 我 teh 聽, Skipper."

伊忽然大笑. 她 taⁿ 頭看伊. "我拄拄想著一个趣味 ê 代誌," 伊解說講.

"是 oh?"

"老歲仔下暗正經有夠醉 ah. Tī 鎮 nih, 我有看著伊. 伊醉甲 ná 像臭羶猫."

伊 ê 口氣有一種輕視 koh 了解 ê 氣味. 過去她毋捌聽著伊 kō͘ 這種聲說講 in 老爸.

她無攬無拈徛起來, 行向樓梯.

"我欲去睏 ah, Skipper."

"是... 我想, 我會等老歲仔, Mama."

她無 kā 應. Ná 離開灶跤 ê 時, 她看著伊 chhāi tī 桌邊 ê 一塊椅仔. 彼塊椅仔, 真久以前, 伊 bat 坐 tī 遐 kō͘ 水漆畫圖.

Ethel peh 上眠床, 切 hoa 電火. 過一下仔, 她聽著 Judd 到位. 然後, 一段真久 ê 時間, 她倒 tī 烏暗中, 聽 Judd 和 in 後生 tī 厝彼頭 ê 灶跤有講有笑.

(煞)

--

2.

In the summer of his twelfth year, Skipper killed a sparrow with his slingshot. Ethel regarded this as an evil omen. To his astonishment, she wept and berated him. For several days, following this incident, she refused to speak to him.

For his fourteenth birthday, Judd gave him a 22 calibre rifle. This gift, Ethel knew, had been inspired not by affection but by the knowledge that she would hate it. Sick at heart, she saw Skipper go hunting birds with his father. He came home dragging a partridge, a poor, bloody thing with dead, fear-crazed eyes. She could not bring herself to refuse to cook it. But she would not taste the meat. And she detested her son when she observed the gusto with which he attacked a greasy drumstick. "That Skipper's a dead shot for sure", Judd bragged, eying his wife slyly. And Skipper grinned proudly, relishing his father's praise. For the first time, the man and the boy had established a bond of fellowship.

Still, she refused to believe that he would be like the others. And it was not until the autumn of his sixteenth year that she saw for certain what the future was destined to bring.

It was Saturday night. He had gone to town with the boys, something that he did frequently now. Most of these boys had left school and gone into the mill. Ethel harboured a dark suspicion that they were already learning to drink. She knew that they fought with their fists and picked up strange girls. She warned Skipper about them. "Be careful, honey", she said. And he patted her hand, reassuringly. But she hated the amusement and arrogance she detected in his grin.

She was waiting up for him when he got home. Judd had not come back from town. Ethel sat in the kitchen and listened to her son's movements in the porch. He was trying to be very quiet, she knew. The knowledge that she was going to surprise him gave her a strange sensation of triumph.

"Eh! Hi, Mama!" he grunted in surprise, as he opened the kitchen door.

"Hello, Skipper".

He wore his cap at a rakish angle, like the boys who worked at the mill. There were mud-stains on the sleeves of his jacket.

He grinned at her, insolently.

"Skipper ... ", she began.

"Yeah".

He continued to grin, swaying back and forth on his heels.

She got up from her chair and went over to him. She inhaled deeply, smelling his breath.

"Skipper, you've been drinking!"

He laughed. 

"I guess maybe I have, Mama".

She put her hands on his shoulders.

"Oh, Skipper, you know what it will do to you! You know what it does to Judd! Skipper, you promised me!"

He shrugged. She had a momentary vision of him coming to her in his shorts and polo shirt, his hands full of flowers.

"I'm a big boy now, Mama", he chuckled. "I ain't no little boy any more, Mama. You gotta remember that".

Hopelessly, she returned to her chair and sat there, staring sightlessly at the floor.

"Yes, I have to remember that".

He shuffled his feet on the linoleum.

"Look, Mama", he said, "I was talking to Bill Spence tonight".

Bill Spence was foreman at the mill. "Don't say it", she prayed silently, "please don't say it."

"He says he might be able to find a job for me".

"Yes".

She would not argue. She would not try to reason with him. Already, she had given up. For the fifth time, she had been defeated.

"We need the money, Mama".

"Yes".

"I didn't tell him yes and I didn't tell him no".

"No".

"Are you listening to me, Mama?"

"Yes, yes, I'm listening, Skipper".

He burst into laughter. She looked up at him. "I just thought of something funny", he explained.

"Yes?"

"The old man really tied one on tonight. I seen him in town. He was drunk as a skunk".

In his voice there was a strange alloy of contempt and understanding. Never before had she heard him use this tone of voice in speaking of his father.

Wearily, she rose and started toward the stairs.

"I'm going to bed now, Skipper".

"Yes .. I guess I'll wait up for the old man, Mama".

She did not answer. As she left the room she saw him throw himself into a chair by the table. It was the chair in which he had sat painting his water colour pictures so long ago.

Ethel got into bed and switched off the light. In a little while she heard Judd arrive. Then, for a long time, she lay in the darkness listening to Judd and his son laughing together in the kitchen at the other end of the house.

--

// 2022-3-7



Saturday, September 3, 2022

C39 Ban-kiáⁿ | 屘囝 - a 伊定著會是一个紳士

The Last of Her Sons /by Alden Nowlan
https://dalspace.library.dal.ca/bitstream/handle/10222/58894/dalrev_vol42_iss1_pp50_54.pdf?sequence=1&isAllowed=y


Ban-kiáⁿ | 屘囝

--

1. I tiāⁿ-tio̍h ē sī chi̍t-ê sin-sū

Skipper sī Ethel hām Judd Syverson gō͘-ê kiáⁿ siōng sè hit-ê. Ban-kiáⁿ Skipper hām in ta̍k-ê hiaⁿ-ko kāng-khoán, lóng chin kiaⁿ koh chin chheh in lāu-pē, hām in lāu-bú ū chi̍t-ê bô kóng chhut chhùi ê hō͘-siong pó-hō͘ ê hia̍p-gī.

Chiàu i ka-tī kóng ê, Judd sī chi̍t-ê khó͘-miā lâng. Ta̍k lé-pài 60 tiám-cheng, i tī kì-châi-só͘ chò poaⁿ-ūn, kō͘ keng-thâu ùi kì-tâi poaⁿ khì bo̍k-châi tui. Pêng-ji̍t ê àm-sî, i chiúⁿ tī chàu-kha, bô-lám bô-ne, iu-thâu kat-bīn, it-ti̍t kàu káu-tiám chiah khì khùn. Tī lāu-pē bīn-chêng, Skipper kek kah chin chèng-keng, bē-su bīn-tùi chheⁿ-hūn-lâng: i khin-kha khin-chhiú, koh chin chió kóng-ōe. Hām lāu-bú kóng-ōe ê sî, Skipper chheng-ho͘ i "Judd," m̄-bat kiò i "papa" a̍h "lāu-pē." Judd iau-kiû lâng tùi i tio̍h chun-kèng koh ho̍k-chiông, m̄-koh bô án-chóaⁿ koán in kiáⁿ. Pài-la̍k àm-sî, Judd hām kì-châi-só͘ kî-thaⁿ kang-lâng kāng-khoán, khì tìn-siōng, kàu tē-jī kang chá-khí nn̄g/saⁿ tiám chiah lim kah chùi bâng-bâng tńg-chhù.

Hām chiú-phōaⁿ chò-hóe, Judd thong-siông oa̍h-thiàu koh ū khì-sè. M̄-koh tán i chiú-chùi tńg-chhù, i kàn-kiāu in bó͘, kóng gín-á sī yi ê, thōng-hó in sī niau-á-kiáⁿ, thang kā liân chio̍h-thâu thīⁿ ji̍p pò͘-tē, the̍h khì tū-chúi. Ū kúi-nā kái, i kō͘ kûn-thâu-bó cheng Ethel, koh ū chi̍t-kái, kā yi that kah poa̍h-tó, hit-sî Skipper khiā tī piⁿ-á teh ki. Koh ū chē-chē kái, tī pòaⁿ-mê, i kā Skipper khiú lo̍h chhn̂g, iōng kok-chióng chioh-kháu, kō͘ gû-phôe-tòa kā i sut. Tī chit-chióng sî-chūn, thiⁿ-khì nā un-loán, Ethel tō chhōa Skipper chhut-khì, tī àm-mê tiong sio-lám chē tī soaⁿ-piⁿ, ná khòaⁿ in tau, ná tán Judd khùn khì, hóe-khì hoa khì.

Kō͘ chi̍t-chióng kî-koài, léng-chēng ê hong-sek, Skipper oàn-hūn in lāu-pē. I thó-ià Judd kā ka-tī kang-chok kah thiám oaiⁿ-oaiⁿ ê kang-tiûⁿ. I oàn-chheh lâi chhōe in lāu-pē, kā chiú-koàn-á chhàng tī ûi-su-kûn ê hiah-ê lâng. Iáu-ū, tī 6 hòe kàu 14 hòe tiong-kan, i bat chē-chē kái hiòng lāu-bú li̍p-sè, kóng, chí-iàu oa̍h-leh, éng-oán i to bē lim lia̍t-chiú.

Ethel ióng-sêng Skipper kò-sèng tiong-kan Judd siōng khòaⁿ-khin ê kok hong-bīn. Iáu-sī chi̍t-ê pe̍h-mo͘ gín-á ê sî, chhēng mî-pò͘ té-khò͘, polo shirts /siat.chuh/, Skipper chhiâng-chāi sàng yi hoe-sok: chi̍t-pé chí-lô-lân a̍h chi̍t-pa̍k gō͘-goe̍h-hoe a̍h chhu-kiok. Yi jīn-ûi i khó-ài, ū lâm-chú khì-khài. Yi chai chiah-ê lé-mi̍h m̄-sī tong-jiân; chāi-chāi hō͘ yi tōa kám-tōng, bē-su he sī ài-jîn ê lé-mi̍h.

Yi kó͘-lē Skipper ài káⁿ bîn-bāng. Tī chìn-chêng, yi mā án-ne kó͘-lē in hiah-ê hiaⁿ-ko. Yi kóng, tōa-hàn liáu-āu, i ē chò ha̍k-īⁿ ê īⁿ-tiúⁿ, chi̍t-ê chheng-chhéⁿ ê lâng, chhēng shirts, kat nekutái khì siōng-pan. I boeh lī-khui chng-kha, khì hn̄g-hn̄g ê só͘-chāi, tong-jiân lāu-bú mā boeh tòe i khì. Kiám-chhái i bô piàn hó-gia̍h -- m̄-koh i tiāⁿ-tio̍h ē sī chi̍t-ê sin-sū.

Skipper iōng-sim thiaⁿ só͘-ū yi kā i kóng ê tāi-chì. Yi sī i ê hiáng-tō, mā sī i ê pī-lān-só͘. Judd khòaⁿ tio̍h i tī yi ê kûn-piⁿ khîⁿ tiâu-tiâu, tō kóng i sī chi̍t-ê ài-khàu gín-á. Judd chho͘-chhân toàn-tēng: i ê bāng-sióng lóng sī gû-gōng. Tán Skipper tōa-hàn, i tio̍h chhin-chhiūⁿ in lāu-pē, in a-kong chìn-chêng só͘ chò ê án-ne, khì kang-tiûⁿ chò-kang. I ē pìⁿ-chiâⁿ giám-ngē, in-ūi cha-po͘-lâng tio̍h giám-ngē chiah ē-tit khiā-khí. I nā ū lâm-chú khì-khài, tio̍h tī pài-la̍k lim kah chùi, in-ūi káⁿ lim tō sī chi̍t-chióng lâm-chú khì-khài.

Skipper kā lāu-bú kóng, i kam-goān sí mā m̄-chún chit-lō tāi-chì hoat-seng tī i. Ethel tiāⁿ-tiāⁿ tī àm-sî liu ji̍p-khì i ê pâng-keng, tó tī i sin-piⁿ, thiaⁿ i kóng i ê sim-su, i ê kám-sióng, hām i ê bāng-sióng.

I kah-ì ōe la̍h-pit. Yi koh bé chi̍t-thò chúi-chhat hō͘ i. Sui-bóng hō͘ Judd hiâm kah chhàu-sái, àm-sî i chóng-sī tī chàu-kha toh-á ōe-tô͘ ōe kúi-ā tiám-cheng. Tī yi hán-tit khì tìn-siōng ê sî, yi chóng-sī bé chheh hō͘ i. Thâu-khí-seng bé Hans Christian Andersen. Āu-lâi bé Robinson Cursoe, Iú-koái (Kidnapped), hām Kim-gîn Tó (Treasure Island). Yi chin hoaⁿ-hí khòaⁿ tio̍h i ê chéng-thâu-á jia̍t-chhiat iân-tio̍h chheh ia̍h teh tín-tāng.

Ethel tī Skipper sin-siōng khòaⁿ tio̍h ka-tī chòe-āu ê hi-bōng. I ê chiòng hiaⁿ-ko lóng tòe tio̍h lāu-sek, chân-khok ê bô͘-iūⁿ tit-tio̍h kiat-lūn. Kí-lē lâi kóng, Harold tī 15 hòe chhut-gia̍p tō ji̍p kang-tiûⁿ. Tī hia, o̍h ē-hiáu lim-chiú. Kàu 18 hòe ê sî, i kā chi̍t-ê ko͘-niû pìⁿ kah chhut būn-tê, soah tio̍h chhōa yi. Kàu i 22 hòe ê sî, i í-keng ū 4-ê gín-á. Ethel ê sin-pū kā yi kóng, taⁿ i tō chhiūⁿ in lāu-pē án-ne, pài-la̍k àm-mê lóng lim kah chùi bâng-bâng chiah tńg-chhù. Tùi kî-thaⁿ ê gín-á, yi mā lóng bat ū kòe koân koh súi ê kî-bōng, m̄-koh in lóng kap Harold kāng chi̍t-ê khoán. In lóng hām hiah-ê tòa kāng-chng, tī kang-tiûⁿ chò-kang ê cha-po͘-lâng kāng-khoán. Ethel tùi in ê ài, in-ūi sit-bōng hām siong-hāi, í-keng kian-tàng ah. Ū sî-chūn, siūⁿ tio̍h in án-ne tùi-thāi ka-tī ê sèⁿ-miā, yi chha-put-to kiông boeh oàn-hūn in. 

--

1. 伊定著會是一个紳士

Skipper 是 Ethel 和 Judd Syverson 五个囝上細彼个. 屘囝 Skipper 和 in 逐个兄哥仝款, 攏真驚 koh 真慼 in 老爸, 和 in 老母有一个無講出喙 ê 互相保護 ê 協議.

照伊家治講 ê, Judd 是一个苦命人. 逐禮拜 60 點鐘, 伊 tī 鋸材所做搬運, kō͘ 肩頭 ùi 鋸台搬去木材堆. 平日 ê 暗時, 伊 chiúⁿ tī 灶跤, 無攬無拈, 憂頭結面, 一直到九點才去睏. Tī 老爸面前, Skipper 激甲真正經, 袂輸面對生份人: 伊輕跤輕手, koh 真少講話. 和老母講話 ê 時, Skipper 稱呼伊 "Judd," 毋捌叫伊 "papa" a̍h "老爸." Judd 要求人對伊著尊敬 koh 服從, 毋過無按怎管 in 囝. 拜六暗時, Judd 和鋸材所其他工人仝款, 去鎮上, 到第二工早起兩三點才啉甲醉茫茫轉厝.

和酒伴做伙, Judd 通常活跳 koh 有氣勢. 毋過等伊酒醉轉厝, 伊 kàn-kiāu in 某, 講囡仔是她 ê, thōng 好 in 是貓仔囝, 通 kā 連石頭紩入布袋, 提去 tū 水. 有幾若改, 伊 kō͘ 拳頭母舂 Ethel, 閣有一改, kā 她踢甲跋倒, 彼時 Skipper 徛 tī 邊仔 teh 吱. 閣有濟濟改, tī 半暝, 伊 kā Skipper 搝落床, 用各種借口, kō͘ 牛皮帶 kā 伊 sut. Tī 這種時陣, 天氣若溫暖, Ethel tō chhōa Skipper 出去, tī 暗暝中相攬坐 tī 山邊, ná 看 in 兜, ná 等 Judd 睏去, 火氣 hoa 去.

Kō͘ 一種奇怪, 冷靜 ê 方式, Skipper 怨恨 in 老爸. 伊討厭 Judd kā 家治工作甲忝 oaiⁿ-oaiⁿ ê 工場. 伊怨慼來揣 in 老爸, kā 酒罐仔藏 tī 圍軀裙 ê hiah-ê 人. 猶有, tī 6 歲到 14 歲中間, 伊 bat 濟濟改向老母立誓, 講, 只要活 leh, 永遠伊 to 袂啉烈酒.

Ethel 養成 Skipper 個性中間 Judd 上看輕 ê 各方面. 猶是一个白毛囡仔 ê 時, 穿棉布短褲, polo shirts /siat.chuh/, Skipper 常在送她花束: 一把紫羅蘭 a̍h 一縛五月花 a̍h 雛菊. 她認為伊可愛, 有男子氣概. 她知 chiah-ê 禮物毋是當然; 在在予伊大感動, 袂輸彼是愛人 ê 禮物.

她鼓勵 Skipper 愛 káⁿ 眠夢. Tī 進前, 她 mā án-ne 鼓勵 in hiah-ê 兄哥. 她講, 大漢了後, 伊會做學院 ê 院長, 一个清醒 ê 人, 穿 shirts, 結 nekutái 去上班. 伊欲離開庄跤, 去遠遠 ê 所在, 當然老母 mā 欲綴伊去. 減采伊無變好額 -- 毋過伊定著會是一个紳士.

Skipper 用心聽所有她 kā 伊講 ê 代誌. 她是伊 ê 向導, mā 是伊 ê 避難所. Judd 看著伊 tī 她 ê 裙邊拑牢牢, tō 講伊是一个愛哭囡仔. Judd 粗殘斷定: 伊 ê 夢想攏是愚戇. 等 Skipper 大漢, 伊著親像 in 老爸, in 阿公進前所做 ê án-ne, 去工場做工. 伊會變成儼硬, 因為查埔人著儼硬才會得徛起. 伊若有男子氣概, 著 tī 拜六啉甲醉, 因為敢啉 tō 是一種男子氣概.

Skipper kā 老母講, 伊甘願死 mā 毋准 chit-lō 代誌發生 tī 伊. Ethel 定定 tī 暗時溜入去伊 ê 房間, 倒 tī 伊身邊, 聽伊講伊 ê 心思, 伊 ê 感想, 和伊 ê 夢想.

伊佮意畫蠟筆. 她 koh 買一套水漆予伊. 雖罔予 Judd 嫌甲臭屎, 暗時伊總是 tī 灶跤桌仔畫圖畫幾若點鐘. Tī 她罕得去鎮上 ê 時, 她總是買冊予伊. 頭起先買 Hans Christian Andersen. 後來買 Robinson Cursoe, 誘拐 (Kidnapped), 和金銀島 (Treasure Island). 她真歡喜看著伊 ê 指頭仔熱切沿著冊頁 teh 振動.

Ethel tī Skipper 身上看著家治最後 ê 希望. 伊 ê 眾兄哥攏綴著老式, 殘酷 ê 模樣得著結論. 舉例來講, Harold tī 15 歲出業 tō 入工場. Tī 遐, 學會曉啉酒. 到 18 歲 ê 時, 伊 kā 一个姑娘 pìⁿ 甲出問題, 煞著 chhōa 她. 到伊 22 歲 ê 時, 伊已經有 4 个囡仔. Ethel ê 新婦 kā 她講, 今伊 tō 像 in 老爸 án-ne, 拜六暗暝攏啉甲醉茫茫才轉厝. 對其他 ê 囡仔, 她 mā 攏 bat 有過懸 koh 媠 ê 期望, 毋過 in 攏 kap Harold 仝一个款. In 攏和 hiah-ê 蹛仝庄, tī 工場做工 ê 查埔人仝款. Ethel 對 in ê 愛, 因為失望和傷害, 已經堅凍 ah. 有時陣, 想著 in án-ne 對待家治 ê 性命, 她差不多強欲怨恨 in. 

--

1.

SKIPPER WAS THE YOUNGEST of the five sons of Ethel and Judd Syverson. As a small boy, Skipper, like each of his brothers before him, feared and hated his father and entered into a wordless pact of mutual defence with his mother.

Judd, as he himself said, was a hard man. For sixty hours in every week he carried deal at the saw mill, balancing the shoulder and bearing them from the trimmer saw to the lumber piles. Week-nights he lounged about the kitchen, sluggish and sullen, until nine o'clock, then went to bed. In his father's presence, Skipper adopted his formal manners, as though before a stranger: he walked softly and seldom spoke. In conversations with his mother, Skipper spoke of "Judd", never of "daddy" or "father". For his part, Judd demanded respect and obedience but otherwise left his son pretty much alone. On Saturday night, like almost all of the mill hands, Judd went to town and came home, violently drunk, at two or three o'clock the following morning.

When with his drinking companions, Judd was usually sportive and exuberant. But when he came home drunk, he cursed his wife, called the boys her brats and wished they were kittens so he could sew them in a sack weighed down with rocks and drown them. On several occasions he beat Ethel with his fists and once he kicked her and sent her sprawling while Skipper stood by, screaming. And many times he yanked Skipper out of bed in the dead of night and, on one pretext or another, flogged him with a cowhide strap. At such times, if the weather was warm, Ethel led Skipper out into the night where they sat, wrapped in one another's arms, on the hillside overlooking the house and certain that Judd's rage had been extinguished by sleep.

In a curiously dispassionate way, Skipper hated his father. He loathed the mill where Judd worked himself into dumb exhaustion. He detested the men who came for his father with rum bottles hidden under their overalls bibs. And, on numerous occasions between his sixth and his fourteenth year, he vowed to his mother that never, as long as he lived, would he taste strong drink.

Ethel fostered those aspects of Skipper's character which Judd most despised. While a white-haired little lad in cotton shorts and a polo shirt, Skipper often brought her bouquets: handfuls of violets or bunches of mayflowers or daisies. She thought him cute and manly. And she never took such gifts for granted; they touched her to the quick, like presents from a lover.

She encouraged Skipper to daydream. She had done this with his brothers before him. When he grew up, she said, he would be a dean, sober man who would wear a white shirt and necktie to work. He would go far away from the village and, of course, his mother would accompany him. Perhaps he would never become rich--but he would be a gentleman.

And Skipper listened attentively to all that she told him. She was his guide and his refuge. A snivelling brat, Judd called him when he saw him clinging to her skirts. His daydreams were foolishness, Judd asserted brutally. When Skipper grew up he would go into the mill, as his father and grandfather had done before him. He would become hard, because a man had to be hard to survive. And if there was any man in him, when Saturday came he would get drunk, because the ability to drink was one of the measures of a man.

Skipper told his mother that he would die rather than allow this to happen to him. Often, at night, Ethel slipped into his room and lay on the bed beside him, and listened to him whisper of his thoughts, feelings, and ambitions.

He liked to play with crayons. She bought him a water colour set. To Judd's vocal disgust, he spent many evening hours making pictures at the kitchen table. On her infrequent visits to town, she bought him books. First, Hans Christian Andersen. Later Robinson Crusoe, Kidnapped and Treasure Island. She rejoiced, watching him run his finger affectionately along the edges of the pages.

In Skipper, Ethel saw her last hope. His elder brothers had followed the old, brutal pattern to its conclusion. Harold, for example, had left school at fifteen to go into the mill. There, he had learned to drink. At eighteen he got a girl in trouble and had to marry her. By the time he was twenty-two he had four children. And Ethel's daughter-in-law told her that now every Saturday night he came home roaring drunk like his father. The others, for whom she had once had such high and splendid dreams, were replicas of Harold. They were no different from any of the men who worked in the mill and lived in the village. Ethel's love for them had been curdled by disappointment and hurt. Sometimes, thinking of what they had done with their lives, she almost hated them. 

--




Friday, September 2, 2022

C38b 去精神病中心

2. Khì Cheng-sîn-pēⁿ Tiong-sim

Chi̍t-ê kim-sio̍k siaⁿ kiò i:

"Khiā tiām. Khiā tī lí hia! Mài tín-tāng!"

I thêng lo̍h-lâi.

"Siang-chhiú gia̍h khí-lâi!"

"M̄-koh..." i kóng.

"Chhiú gia̍h koân! Nā bô, goán ē khui-chhèng!"

Tong-jiân, he sī kéng-chhat, m̄-koh iáu-sī chin hán-kiàn, lân-tit ê tāi-chì; tī chit-ê 300-bān lâng ê siâⁿ-chhī, kan-ta chhun chi̍t-tâi kéng-chhat chhia, kám m̄-sī án-ne? Chū-chiông chi̍t-nî chêng, its 2052, soán-kí nî, kéng-le̍k í-keng iû 3-tâi chhia kiám kàu chhun chi̍t-tâi. Hoān-chōe teh kiám-chió; taⁿ í-keng bô su-iàu kéng-chhat, kan-ta chit-tâi ko͘-to̍k ê chhia tī khang so-so ê ke-lō͘ sô lâi sô khì.

"Lí kiò siáⁿ miâ?" kéng-chhia kō͘ chi̍t-ê kim-sio̍k siaⁿ khin-khin mn̄g. In-ūi ba̍k-chiu chhiō tio̍h kng, i khòaⁿ bē-tio̍h chhia-lāi ê lâng.

"Leonard Mead," i kóng.

"Khah tōa siaⁿ leh!"

"Leonard Mead!"

"Hâng-gia̍p a̍h chit-gia̍p sī siáⁿ?"

"Góa siūⁿ, lí ē kóng góa sī chok-ka."

"Bô-gia̍p," kéng-chhat chhia kóng, ká-ná sī tùi ka-tī kóng. Teng-kng kā i kò͘-tēng tio̍h, ná-chhiūⁿ phok-bu̍t-koán ê piau-pún, chiam chhak thàng i ê heng-khám.

"Lí ē-sái án-ne kóng," Mead Ss án-ne kóng. Í-keng kúi-ā nî i bô siá siáⁿ ah. Cha̍p-chì a̍h chheh í-keng bô lâng bé ah. Taⁿ ê sū-sū lóng tī àm-sî tī hiah-ê ná bōng-á ê chhù nih chìn-hêng, i án-ne siūⁿ, án-ne kè-sio̍k i ê khang-siūⁿ. Tī kan-ta ū tiān-sī kng ê bōng-á nih, lâng-lâng ná sí-lâng án-ne chē leh, phú-sek a̍h chhái-sek ê kng chiò tio̍h in ê bīn, m̄-koh chiò bē-tio̍h in ê sim.

"Bô chit-gia̍p," lâu-siaⁿ-ki ê siaⁿ án-ne kóng, hoat-chhut ssh-ssh ê siaⁿ. "Lí tī gōa-kháu chhòng-siáⁿ?"

"Sàn-pō͘," Leonard Mead kóng.

"Sàn-pō͘!"

"Kan-ta sàn-pō͘," i kán-té kóng, m̄-koh i ê bīn kám-kak chin léng.

"Sàn-pō͘, kan-ta sàn-pō͘, sàn-pō͘?"

"Sī lah, Sian-siⁿ."

"Sàn-pō͘ khì toh? Ūi siáⁿ-mi̍h?"

"Sàn-pō͘ suh khong-khì. Sàn-pō͘ koan-khòaⁿ."

"Lí ê tē-chí!"

"Lâm Saint James Ke 11-hō."

"Jî-chhiáⁿ lín tau ū khong-khì, ū khong-tiâu-ki, Mead Ss?"

"Sī."

"Lín tau mā ū koan-khòaⁿ-bō͘ thang-hó khòaⁿ?"

"Bô."

"Bô?" Ū chi̍t-khùn ê ap-pek tiām-chēng, he pún-sin sī chi̍t-chióng chí-chek.

"Lí kiat-hun bô, Mead Ss?"

"Bô."

"Bô kiat-hun," âng-sek teng-kng āu-bīn ê kéng-chhat siaⁿ án-ne kóng. Goe̍h-niû chheng-chheng, koân-koân kòa tī chiòng-chheⁿ tiong-kan, ē-bīn ê chhù lóng phú-phú, an-chēng.

"Bô-lâng ài góa," Leonard Mead kóng, bīn chhiò-chhiò.

"Lí tiām-tiām, tî-hui ū tùi lí kóng-ōe!"

Leonard Mead tī chheⁿ-léng ê àm-mê tán-thāi.

"Kan-ta sàn-pō͘ sioh, Mead Ss?"

"Sī."

"M̄-koh lí bô kái-soeh, sī ūi siáⁿ bo̍k-tek?"

"Góa ū kái-soeh; ūi-tio̍h suh khong-khì, ūi-tio̍h koan-khòaⁿ, mā kan-ta ūi-tio̍h sàn-pō͘."

"Lí chhiâng-chāi án-ne chò sioh?"

"Ta̍k-àm án-ne, í-keng kúi-ā nî ah."

Kéng-chhat chhia thêng tī ke-lō͘ tiong-ng, i ê bô-sòaⁿ-tiān nâ-âu hoat-chhut khin-khin hiⁿ ê siaⁿ.

"Hó ah, Mead Ss," he kóng.

"Án-ne hó ah sioh?" i hó-lé kā mn̄g.

"Sī," hit-ê siaⁿ kóng. "Chia." Chi̍t-ê thó͘-khùi siaⁿ, chi̍t-ê pok siaⁿ. Kéng-chhat chhia ê āu-mn̂g hut-leh tôaⁿ khui. "Ji̍p-lâi."

"Sió tán leh, góa siáⁿ to bô chò neh!"

"Ji̍p-lâi."

"Góa khòng-gī!"

"Mead Ss."

I ná-chhiūⁿ hut-jiân chiú-chùi ê lâng án-ne kiâⁿ. Keng-kòe chhia ê thâu-chêng thang-á ê sî, i khòaⁿ ji̍p-khì. Tō ná i só͘ liāu, thâu-chêng ūi bô lâng, chhia-lāi kin-pún to bô lâng.

"Ji̍p-lâi."

I chhun-chhiú hōaⁿ mn̂g, thàm khòaⁿ āu-chō, he sī chi̍t-ê sió keh-keng, sī chi̍t-ê ū lân-kan ê sió-sió o͘ kaⁿ-lô. He ū liú-chiap pe̍h-thih ê khì-bī. He ū chha̍k-phīⁿ hông-hú-che ê khì-bī; he phīⁿ tio̍h siuⁿ chheng-khì, siuⁿ tēng, siuⁿ kim-sio̍k. Hia bô chi̍t-sut-á jiû-nńg ê mi̍h.

"Taⁿ, chún-kóng lí ū chi̍t-ê bó͘ thang chèng-bêng lí bô chāi-tiûⁿ," hit-ê thih ê siaⁿ-im kóng. "M̄-koh..."

"Lí boeh chhōa góa khì tó-ūi?"

Chhia tiû-tû chi̍t-ē, a̍h sī kóng, sū-si̍t sī hoat chi̍t-ê khin-khin ê khia̍k-khia̍k siaⁿ, ná-chhiūⁿ sī sìn-sit, tī bó͘ chi̍t-ê só͘-chāi, tī tiān-gán-ē, tng-teh chi̍t-tiuⁿ chi̍t-tiuⁿ lak lo̍h phah-khang ê khah-phìⁿ. "Khì Gián-kiù Tò-thè Kheng-hiòng ê Cheng-sîn-pēⁿ Tiong-sim."

I chhiūⁿ chhia. Mn̂g khin-khin chi̍t-siaⁿ koaiⁿ khí-lâi. Kéng-chhat-chhia kiâⁿ kòe àm-mê ê tōa-lō͘, thâu-chêng siám-sih tio̍h àm-bong ê teng-kng.

Chi̍t-khùn liáu-āu, in keng-kòe chi̍t-tiâu ke-lō͘ piⁿ ê chi̍t-tòng chhù, tī kui-ê siâⁿ-chhī ê chhù lóng àm-àm tang-tiong, chit-tòng te̍k-pia̍t ê chhù ê ta̍k-pha tiān-hóe lóng tiám kah kng iāⁿ-iāⁿ, ta̍k-sìⁿ thang-á lóng sī hiáng-liāng ê n̂g-sek chiò-bêng, tī léng-chheng ê o͘-àm tang-tiong hián-tit sì-chiàⁿ koh un-loán.

"He sī goán tau," Leonard Mead kóng.

Bô lâng kā i ìn.

Chhia iân he ná khang-khang khe-té ê ke-lō͘ kiâⁿ loeh, lī-khui jîn-hêng-tō khang-khang ê khang ke-lō͘, kui-ê kî-thaⁿ 11-goe̍h léng ki-ki ê àm-mê, lóng bô siaⁿ, mā bô tōng-chēng.

(Soah)

--

2. 去精神病中心

一个金屬聲叫伊:

"徛恬. 徛 tī 你遐! 莫振動!"

伊停落來.

"雙手攑起來!"

"毋過..." 伊講.

"手攑懸! 若無, 阮會開銃!"

當然, 彼是警察, 毋過猶是真罕見, 難得 ê 代誌; tī 這个 300 萬人 ê 城市, 干焦賰一台警察車, 敢毋是 án-ne? 自從一年前, its 2052, 選舉年, 警力已經由 3 台車減到賰一台. 犯罪 teh 減少; 今已經無需要警察, 干焦這台孤獨 ê 車 tī 空 so-so ê 街路趖來趖去.

"你叫啥名?" 警車 kō͘ 一个金屬聲輕輕問. 因為目睭炤著光, 伊看袂著車內 ê 人.

"Leonard Mead," 伊講.

"較大聲 leh!"

"Leonard Mead!"

"行業 a̍h 職業是啥?"

"我想, 你會講我是作家."

"無業," 警察車講, ká-ná 是對家治講. 燈光 kā 伊固定著, ná 像博物館 ê 標本, 尖鑿迵伊 ê 胸坎.

"你會使 án-ne 講," Mead Ss án-ne 講. 已經幾若年伊無寫啥 ah. 雜誌 a̍h 冊已經無人買 ah. 今 ê 事事攏 tī 暗時 tī hiah-ê ná 墓仔 ê 厝 nih 進行, 伊 án-ne 想, án-ne 繼續伊 ê 空想. Tī 干焦有電視光 ê 墓仔 nih, 人人 ná 死人 án-ne 坐 leh, 殕色 a̍h 彩色 ê 光照著 in ê 面, 毋過照袂著 in ê 心.

"無職業," 留聲機 ê 聲 án-ne 講, 發出 ssh-ssh ê 聲. "你 tī 外口創啥?"

"散步," Leonard Mead 講.

"散步!"

"干焦散步," 伊簡短講, 毋過伊 ê 面感覺真冷.

"散步, 干焦散步, 散步?"

"是 lah, 先生."

"散步去佗? 為啥物?"

"散步欶空氣. 散步觀看."

"你 ê 地址!"

"南 Saint James 街 11 號."

"而且恁兜有空氣, 有空調機, Mead Ss?"

"是."

"恁兜 mā 有觀看幕通好看?"

"無."

"無?" 有一睏 ê 壓迫恬靜, 彼本身是一種指責.

"你結婚無, Mead Ss?"

"無."

"無結婚," 紅色燈光後面 ê 警察聲 án-ne 講. 月娘清清, 懸懸掛 tī 眾星中間, 下面 ê 厝攏殕殕, 安靜.

"無人愛我," Leonard Mead 講, 面笑笑.

"你恬恬, 除非有對你講話!"

Leonard Mead tī 生冷 ê 暗暝等待.

"干焦散步 sioh, Mead Ss?"

"是."

"毋過你無解說, 是為啥目的?"

"我有解說; 為著欶空氣, 為著觀看, mā 干焦為著散步."

"你常在 án-ne 做 sioh?"

"逐暗 án-ne, 已經幾若年 ah."

警察車停 tī 街路中央, 伊 ê 無線電嚨喉發出輕輕 hiⁿ ê 聲.

"好 ah, Mead Ss," 彼講.

"Án-ne 好 ah sioh?" 伊好禮 kā 問.

"是," 彼个聲講. "遮." 一个吐氣聲, 一个 pok 聲. 警察車 ê 後門 hut-leh 彈開. "入來."

"小等 leh, 我啥 to 無做 neh!"

"入來."

"我抗議!"

"Mead Ss."

伊 ná 像忽然酒醉 ê 人 án-ne 行. 經過車 ê 頭前窗仔 ê 時, 伊看入去. Tō ná 伊所料, 頭前位無人, 車內根本 to 無人.

"入來."

伊伸手扞門, 探看後座, 彼是一个小隔間, 是一个有欄杆 ê 小小烏監牢. 彼有 liú 接白鐵 ê 氣味. 彼有鑿鼻防腐劑 ê 氣味; 彼鼻著 siuⁿ 清氣, siuⁿ tēng, siuⁿ 金屬. 遐無一屑仔柔軟 ê 物.

"今, 準講你有一个某通證明你無在場," 彼个鐵 ê 聲音講. "毋過..."

"你欲 chhōa 我去佗位?"

車躊躇一下, a̍h 是講, 事實是發一个輕輕 ê khia̍k-khia̍k 聲, ná 像是信息, tī 某一个所在, tī 電眼下, tng-teh 一張一張 lak 落拍空 ê 卡片. "去研究倒退傾向 ê 精神病中心."

伊上車. 門輕輕一聲關起來. 警察車行過暗暝 ê 大路, 頭前閃爍著暗摸 ê 燈光.

一睏了後, in 經過一條街路邊 ê 一棟厝, tī 規个城市 ê 厝攏暗暗當中, 這棟特別 ê 厝 ê 逐葩電火攏點甲光 iāⁿ-iāⁿ, 逐扇窗仔攏是響亮 ê 黃色照明, tī 冷清 ê 烏暗當中顯得四正 koh 溫暖.

"彼是阮兜," Leonard Mead 講.

無人 kā 伊應.

車沿 he ná 空空溪底 ê 街路行 loeh, 離開人行道空空 ê 空街路, 規个其他 11 月冷 ki-ki ê 暗暝, 攏無聲, mā 無動靜.

(煞)

--

2.

A metallic voice called to him:

"Stand still. Stay where you are! Don't move!"

He halted.

"Put up your hands!"

"But-" he said.

"Your hands up! Or we'll Shoot!"

The police, of course, but what a rare, incredible thing; in a city of three million, there was only one police car left, wasn't that correct? Ever since a year ago, 2052, the election year, the force had been cut down from three cars to one. Crime was ebbing; there was no need now for the police, save for this one lone car wandering and wandering the empty streets.

"Your name?" said the police car in a metallic whisper. He couldn't see the men in it for the bright light in his eyes.

"Leonard Mead," he said.

"Speak up!"

"Leonard Mead!"

"Business or profession?"

"I guess you'd call me a writer."

"No profession," said the police car, as if talking to itself. The light held him fixed, like a museum specimen, needle thrust through chest.

"You might say that, " said Mr. Mead. He hadn't written in years. Magazines and books didn't sell any more. Everything went on in the tomblike houses at night now, he thought, continuing his fancy. The tombs, ill-lit by television light, where the people sat like the dead, the gray or multicolored lights touching their faces, but never really touching them.

"No profession," said the phonograph voice, hissing. "What are you doing out?"

"Walking," said Leonard Mead.

"Walking!"

"Just walking," he said simply, but his face felt cold.

"Walking, just walking, walking?"

"Yes, sir."

"Walking where? For what?"

"Walking for air. Walking to see."

"Your address!"

"Eleven South Saint James Street."

"And there is air in your house, you have an air conditioner, Mr. Mead?"

"Yes."

"And you have a viewing screen in your house to see with?"

"No."

"No?" There was a crackling quiet that in itself was an accusation.

"Are you married, Mr. Mead?"

"No."

"Not married," said the police voice behind the fiery beam. The moon was high and clear among the stars and the houses were gray and silent.

"Nobody wanted me," said Leonard Mead with a smile.

"Don't speak unless you're spoken to!"

Leonard Mead waited in the cold night.

"Just walking, Mr. Mead?"

"Yes."

"But you haven't explained for what purpose."

"I explained; for air, and to see, and just to walk."

"Have you done this often?"

"Every night for years."

The police car sat in the center of the street with its radio throat faintly humming.

"Well, Mr. Mead," it said.

"Is that all?" he asked politely.

"Yes," said the voice. "Here." There was a sigh, a pop. The back door of the police car sprang wide. "Get in."

"Wait a minute, I haven't done anything!"

"Get in."

"I protest!"

"Mr. Mead."

He walked like a man suddenly drunk. As he passed the front window of the car he looked in. As he had expected, there was no one in the front seat, no one in the car at all.

"Get in."

He put his hand to the door and peered into the back seat, which was a little cell, a little black jail with bars. It smelled of riveted steel. It smelled of harsh antiseptic; it smelled too clean and hard and metallic. There was nothing soft there.

"Now if you had a wife to give you an alibi," said the iron voice. "But-"

"Where are you taking me?"

The car hesitated, or rather gave a faint whirring click, as if information, somewhere, was dropping card by punch-slotted card under electric eyes. "To the Psychiatric Center for Research on Regressive Tendencies."

He got in. The door shut with a soft thud. The police car rolled through the night avenues, flashing its dim lights ahead.

They passed one house on one street a moment later, one house in an entire city of houses that were dark, but this one particular house had all of its electric lights brightly lit, every window a loud yellow illumination, square and warm in the cool darkness.

"That's my house," said Leonard Mead.

No one answered him.

The car moved down the empty river-bed streets and off away, leaving the empty streets with the empty side-walks, and no sound and no motion all the rest of the chill November night.

--

// 2022-3-27

Bradbury, Ray (1920- ), is an American author best known for his fantasy stories and science fiction. Bradbury's best writing effectively combines a lively imagination with a poetic style.

Collections of Bradbury's stories include The Martian Chronicles (1950), The Illustrated Man (1951), The October Country (1955), I Sing the Body Electric! (1969), Quicker Than the Eye (1996), and One More for the Road (2002). His novel Fahrenheit 451 (1953) describes a society that bans the ownership of books. His other novels include Dandelion Wine (1957), a poetic story of a boy's summer in an Illinois town in 1928; and Something Wicked This Way Comes (1962), a suspenseful fantasy about a black magic carnival that comes to a small Midwestern town. He has also written poetry, screenplays, and stage plays.


Thursday, September 1, 2022

C38 Kòe-lō͘-lâng | 過路人 - a 伊佮意行路散步

The Pedestrian /by Ray Bradbury
https://www.riversidelocalschools.com/Downloads/pedestrian%20short%20story.pdf

Kòe-lō͘-lâng | 過路人

--

1. I kah-ì kiâⁿ-lō͘ sàn-pō͘

Chhut-mn̂g chìn-ji̍p chit-ê siâⁿ-chhī ê an-chēng, tī 11-goe̍h chi̍t-ê tà-bū àm-thâu 8-tiám ê sî, ta̍h-kha tī sio-liân-kiat ê konkulí jîn-hêng-tō, hāⁿ-kòe hoat-chháu ê lō͘-phāng, kiâⁿ ka-tī ê lō͘, siang-chhiú chhah lak-tē-á, thàng-kòe chi̍t-chūn-chūn ê an-chēng, che sī Leonard Mead Ss siōng kah-ì chò ê tāi-chì. I ē khiā tī si̍p-jī-lō͘ ê oat-kak, hiòng 4-pêng hn̄g-hn̄g khòaⁿ goe̍h-kng-ē ê jîn-hêng-tō, ná koat-tēng boeh kiâⁿ tó chi̍t-tiâu, kî-si̍t che bô siáⁿ chha-pia̍t; tī Se-goân 2053 nî ê chit-ê sî-chūn, i sī ko͘-to̍k chi̍t-ê, a̍h-sī kóng bē-su ko͘-to̍k chi̍t-ê, it-tàn koat-tēng liáu, soán hó lō͘-sòaⁿ, i tō tōa-pō͘ chhut-hoat, bīn-thâu-chêng chhoán chhut ná-chhiūⁿ cigar hun-ian ê bū-khì.

Ū-sî, i ē kiâⁿ kúi-ā tiám-cheng, kúi-ā mai, it-ti̍t kàu pòaⁿ-mê chiah tńg kàu chhù. Tī lō͘-siōng, i ē khòaⁿ tio̍h thang-á àm-àm ê chhù-liâu-á hām bîn-ke-chhù, che bē-su sī kiâⁿ-kòe bōng-á-po͘, tī hia kan-ta thang-á āu siám-sih tio̍h bî-bî ê hóe-kim-ko͘ kng. Iáu-bōe koaiⁿ kòe-mê ê bó͘ chi̍t-ê thang-á-lî, ká-ná ū hut-jiân chhut-hiān tī lāi-bīn piah ê phú-sek kúi-iáⁿ, a̍h-sī tī ná bōng-á kiàn-bu̍t ê bó͘ chi̍t-sìⁿ iáu khui-khui ê thang-á lāi ū khin-khin ê ōe-siaⁿ.

Leonard Mead Ss ē thêng lo̍h-lâi, thâu-khak khi-khi, thiaⁿ chi̍t-ē, khòaⁿ chi̍t-ē, chiah koh kiâⁿ hiòng-chêng, tī che kham-khia̍t ê jîn-hêng-tō, i ê kha-pō͘ bô siaⁿ. Chin chá í-lâi, àm-sî ê sàn-pō͘ i í-keng kái chhēng ūn-tōng-ê, in-ūi i nā chhēng tēng-té ê-á, iân-lō͘ ē tòe tio̍h chi̍t-chūn chi̍t-chūn ê káu pūi, tiān-hóe chhiat to̍h, lâng-bīn chhut-hiān, kui ke-lō͘ ūi-tio̍h 11-goe̍h chhe àm-thâu keng-kòe ê chi̍t-ê ko͘-to̍k lâng-iáⁿ, its* i ka-tī, teh tio̍h-kiaⁿ. [* its = Iā-tō-sī]

Tī chit-ê te̍k-pia̍t ê àm-mê, i hiòng sai, ǹg khòaⁿ bē-tio̍h ê hái hit-hiòng chhut-hoat, khai-sí i ê lō͘-tô͘. Khong-khì tang-tiong ū chin hó ê, ná chúi-chiⁿ ê sng; he ē-sái chheng phīⁿ-khang, hō͘ hì khí-sio, ná-chhiūⁿ lāi-bīn ū Kitok-seⁿ ê chhiū-á teh siám-sih; lí kám-kak ē-tio̍h léng-kng teh siám-sih, só͘-ū ê chhiū-ki chhiong-móa khòaⁿ  bē-tio̍h ê seh. I thiaⁿ ka-tī ê nńg-té-ê khin-siaⁿ liâu-kòe chhiu-thiⁿ lo̍h-hio̍h, kám-kak móa-ì, kō͘ chhùi-khí phāng kho͘ chhut léng-léng chheng-chēng ê su̍t-á, ū-sî tī keng-kòe ê sî khioh chi̍t-phìⁿ hio̍h-á, ná kiâⁿ ná lī-iōng chió-chió chhut-hiān ê teng-kng gián-kiù hio̍h-á ki-kut ê hoe-iūⁿ, phīⁿ ta-hio̍h ê thih-sian bī.

"Halô, lí hó," i ná kiâⁿ, ná hiòng siang-pêng ê ta̍k-keng chhù phah chio-ho͘. "E-àm tī Tē-4-tâi, Tē-7-tâi, Tē-9-tâi ū siáⁿ chiat-bo̍k? Khòaⁿ-gû-á kóaⁿ boeh khì tó-ūi? Tī koh-lâi hit-ê soaⁿ-thâu góa ē khòaⁿ tio̍h Bí-kok Khî-peng-tūi lâi kiù-oān bô?"

Ke-lō͘ tiām chiuh-chiuh, tn̂g lóng-lóng, khang so-so, kan-ta i ê iáⁿ ná-chhiūⁿ pòaⁿ-soaⁿ-io ê lāi-hio̍h iáⁿ teh se̍h. Nā ba̍k-chiu kheh-kheh, khiā tiām-tiām , mài tín-tāng, i ē-tàng sióng-siōng ka-tī tī chi̍t-ê pêng-goân tiong-ng, tī hân-léng, bô hong ê Arizona soa-bo̍k, kui-chheng lí bô chhù, kan-ta ta khok-khok ê khe-té, its ke-lō͘, hām i chò-phōaⁿ.

"Taⁿ sī kúi-tiám ah?" i ná khòaⁿ ka-tī ê chhiú-pió-á, ná án-ne mn̄g hiah-ê chhù. "Àm-sî peh-tiám-pòaⁿ? Sī kok-chióng àm-sat ê sî-chūn ah hioh? Chhì-giām ê sî-chūn? Sî-tāi nāu-kio̍k ê sî-chūn? Hí-kio̍k ián-oân poa̍h-lo̍h bú-tâi ê sî-chūn?"

He kám sī ùi goe̍h-kng-pe̍h chhù-keng lâi ê kē-kē chhiò-siaⁿ? I tiû-tû chi̍t-ē, m̄-koh tī bô koh-khah chē tāi-chì hoat-seng ê chêng-hêng-hā, i koh chìn-chêng. Tī chi̍t-tōaⁿ te̍k-pia̍t kham-khia̍t ê jîn-hêng-tō hia, i poa̍h chi̍t-tó. Chúi-nî siau-sit tī hoe kap chháu ē-bīn khì. Cha̍p-nî lâi, m̄-koán àm-sî a̍h ji̍t-sî, i kiâⁿ kúi-ā chheng mai, m̄-bat tú-tio̍h pa̍t-lâng tī lō͘-nih kiâⁿ, só͘-ū chiah-ê sî-kan, chi̍t-kái mā bô.

I lâi-kàu chi̍t-ê mûi-hoe hêng ê kau-chhe lō͘-kháu, chia ū nn̄g-tiâu chú-iàu ê kong-lō͘ chēng-chēng keng-kòe chit-ê tìn. Tī ji̍t-sî, chia ê chhia chē kah pìn-piàng kiò, ka-iû-chām lóng ū khui, kui-tīn chhia sio e-kheh, ná kim-ku án-ne bô chi̍t-sî thêng teh sóa-ūi, pâi-khì-kóng ná bū ian, ná cháu hiòng in hn̄g-hn̄g ê chhù. M̄-koh, chit sî-chūn, chiah-ê kong-lō͘ mā ná-chhiūⁿ ko͘-ta sî-chūn ê khe-lâu, kan-ta chhun chio̍h-thâu, khe-té hām goe̍h-kng.

I tī chi̍t-tiâu sió-ke-lō͘ oa̍t-thâu, se̍h tò tńg-lâi hiòng in tau kiâⁿ. Koh chi̍t-ê ke-khu i tō boeh kàu-chhù, hit-sî chi̍t-tâi ko͘-to̍k ê chhia hut-jiân oat chi̍t-ê kak, hiòng i chhiō chi̍t-ê pe̍h-sek kng-sok. I gông-ngia̍h chi̍t-ē thêng lo̍h-lâi, ná-chhiūⁿ lah-sap ia̍h-á án-ne, khì hō͘ he kng siâⁿ tio̍h, tō ná kiâⁿ óa i.

--

1. 伊佮意行路散步

出門進入這个城市 ê 安靜, tī 11 月一个罩霧暗頭 8 點 ê 時, 踏跤 tī 相連結 ê konkulí 人行道, 迒過發草 ê 路縫, 行 ka-tī ê 路, 雙手插橐袋仔, 迵過一陣陣 ê 安靜, 這是 Leonard Mead Ss 上佮意做 ê 代誌. 伊會徛 tī 十字路 ê 斡角, 向 4 爿遠遠看月光下 ê 人行道, ná 決定欲行佗一條, 其實這無啥差別; tī 西元 2053 年 ê 這个時陣, 伊是孤獨一个, a̍h 是講袂輸孤獨一个, 一旦決定了, 選好路線, 伊 tō 大步出發, 面頭前喘出 ná 像 cigar 薰煙 ê 霧氣.

有時, 伊會行幾若點鐘, 幾若 mai, 一直到半暝才轉到厝. Tī 路上, 伊會看著窗仔暗暗 ê 厝寮仔和民家厝, 這袂輸是行過墓仔埔, tī 遐干焦窗仔後閃爍著微微 ê 火金蛄光. 猶未關過暝 ê 某一个窗仔簾, ká-ná 有忽然出現 tī 內面壁 ê 殕色鬼影, a̍h 是 tī ná 墓仔建物 ê 某一扇猶開開 ê 窗仔內有輕輕 ê 話聲.

Leonard Mead Ss 會停落來, 頭殼 khi-khi, 聽一下, 看一下, 才 koh 行向前, tī 這 kham-khia̍t ê 人行道, 伊 ê 跤步無聲. 真早以來, 暗時 ê 散步伊已經改穿運動鞋, 因為伊若穿 tēng-té 鞋仔, 沿路會綴著 chi̍t-chūn chi̍t-chūn ê 狗吠, 電火 chhiat to̍h, 人面出現, 規街路為著 11 月初暗頭經過 ê 一个孤獨人影, its* 伊家治, teh 著驚. [* its = iā-tō-sī]

Tī 這个特別 ê 暗暝, 伊向西, ǹg 看袂著 ê 海彼向出發, 開始伊 ê 路途. 空氣當中有真好 ê, ná 水晶 ê 霜; 彼會使清鼻空, 予肺起燒, ná 像內面有基督生 ê 樹仔 teh 閃爍; 你感覺會著冷光 teh 閃爍, 所有 ê 樹枝充滿看袂著 ê 雪. 伊聽家治 ê 軟底鞋輕聲遼過秋天落葉, 感覺滿意, kō͘ 喙齒縫 kho͘ 出冷冷清靜 ê su̍t-á, 有時 tī 經過 ê 時抾一片葉仔, ná 行 ná 利用少少出現 ê 燈光研究葉仔枝骨 ê 花樣, 鼻焦葉 ê 鐵鉎味.

"Halô, 你好," 伊 ná 行, ná 向雙爿 ê 逐間厝拍招呼. "下暗 tī 第 4 台, 第 7 台, 第 9 台有啥節目? 看牛仔趕欲去佗位? Tī 閣來彼个山頭我會看著美國騎兵隊來救援無?"

街路恬 chiuh-chiuh, 長 lóng-lóng, 空 so-so, 干焦伊 ê 影 ná 像半山腰 ê lāi-hio̍h 影 teh 踅. 若目睭瞌瞌, 徛恬恬 , 莫振動, 伊會當想像家治 tī 一个平原中央, tī 寒冷, 無風 ê Arizona 沙漠, 規千里無厝, 干焦焦涸涸 ê 溪底, its 街路, 和伊做伴.

"今是幾點 ah?" 伊 ná 看家治 ê 手錶仔, ná án-ne 問 hiah-ê 厝. "暗時八點半? 是各種暗殺 ê 時陣 ah hioh? 試驗 ê 時陣? 時代鬧劇 ê 時陣? 喜劇演員跋落舞台 ê 時陣?"

彼敢是 ùi 月光白厝間來 ê 低低笑聲? 伊躊躇一下, 毋過 tī 無閣較濟代誌發生 ê 情形下, 伊 koh 進前. Tī 一段特別 kham-khia̍t ê 人行道遐, 伊跋一倒. 水泥消失 tī 花 kap 草下面去. 十年來, 毋管暗時 a̍h 日時, 伊行幾若千 mai, 毋捌拄著別人 tī 路 nih 行, 所有 chiah-ê 時間, 一改 mā 無.

伊來到一个梅花形 ê 交叉路口, 遮有兩條主要 ê 公路靜靜經過這个鎮. Tī 日時, 遮 ê 車濟甲 pìn-piàng 叫, 加油站攏有開, 規陣車相挨 kheh, ná 金龜 án-ne 無一時停 teh 徙位, 排氣管 ná 霧煙, ná 走向 in 遠遠 ê 厝. 毋過, 這時陣, chiah-ê 公路 mā ná 像枯焦時陣 ê 溪流, 干焦賰石頭, 溪底和月光.

伊 tī 一條小街路越頭, 踅倒轉來向 in 兜行. Koh 一个街區伊 tō 欲到厝, 彼時一台孤獨 ê 車忽然斡一个角, 向伊炤一个白色光束. 伊 gông-ngia̍h 一下停落來, ná 像垃圾蝶仔 án-ne, 去予 he 光唌著, tō ná 行倚伊.

--

1.

To enter out into that silence that was the city at eight o'clock of a misty evening in November, to put your feet upon that buckling concrete walk, to step over grassy seams and make your way, hands in pockets, through the silences, that was what Mr. Leonard Mead most dearly loved to do. He would stand upon the corner of an intersection and peer down long moonlit avenues of sidewalk in four directions, deciding which way to go, but it really made no difference; he was alone in this world of A.D. 2053, or as good as alone, and with a final decision made, a path selected, he would stride off, sending patterns of frosty air before him like the smoke of a cigar.

Sometimes he would walk for hours and miles and return only at midnight to his house. And on his way he would see the cottages and homes with their dark windows, and it was not unequal to walking through a graveyard where only the faintest glimmers of firefly light appeared in flickers behind the windows. Sudden gray phantoms seemed to manifest upon inner room walls where a curtain was still undrawn against the night, or there were whisperings and murmurs where a window in a tomblike building was still open.

Mr. Leonard Mead would pause, cock his head, listen, look, and march on, his feet making no noise on the lumpy walk. For long ago he had wisely changed to sneakers when strolling at night, because the dogs in intermittent squads would parallel his journey with barkings if he wore hard heels, and lights might click on and faces appear and an entire street be startled by the passing of a lone figure, himself, in the early November evening.

On this particular evening he began his journey in a westerly direction, toward the hidden sea. There was a good crystal frost in the air; it cut the nose and made the lungs blaze like a Christmas tree inside; you could feel the cold light going on and off, all the branches filled with invisible snow. He listened to the faint push of his soft shoes through autumn leaves with satisfaction, and whistled a cold quiet whistle between his teeth, occasionally picking up a leaf as he passed, examining its skeletal pattern in the infrequent lamplights as he went on, smelling its rusty smell.

"Hello, in there," he whispered to every house on every side as he moved. "What's up tonight on Channel 4, Channel 7, Channel 9? Where are the cowboys rushing, and do I see the United States Cavalry over the next hill to the rescue?"

The street was silent and long and empty, with only his shadow moving like the shadow of a hawk in midcountry. If he closed his eyes and stood very still, frozen, he could imagine himself upon the center of a plain, a wintry, windless Arizona desert with no house in a thousand miles, and only dry river beds, the streets, for company.

"What is it now?" he asked the houses, noticing his wrist watch. "Eight-thirty P.M.? Time for a dozen assorted murders? A quiz? A revue? A comedian falling off the stage?"

Was that a murmur of laughter from within a moon-white house? He hesitated, but went on when nothing more happened. Was that a murmur of laughter from within a moon-white house? He hesitated, but went on when nothing more happened. He stumbled over a particularly uneven section of sidewalk. The cement was vanishing under flowers and grass. In ten years of walking by night or day, for thousands of miles, he had never met another person walking, not once in all that time.

He came to a cloverleaf intersection which stood silent where two main highways crossed the town. During the day it was a thunderous surge of cars, the gas stations open, a great insect rustling and a ceaseless jockeying for position as the scarabbeetles, a faint incense puttering from their exhausts, skimmed homeward to the far directions. But now these highways, too, were like streams in a dry season, all stone and bed and moon radiance.

He turned back on a side street, circling around toward his home. He was within a block of his destination when the lone car turned a corner quite suddenly and flashed a fierce white cone of light upon him. He stood entranced, not unlike a night moth, stunned by the illumination, and then drawn toward it.

--




Chin Té-phiⁿ II Bo̍k-lo̍k | 真短篇二 目錄

Chin Té-phiⁿ II Bo̍k-lo̍k | 真短篇二 目錄 (Sek-ha̍p Tiong-ha̍k-seng | 適合中學生) = C41 Chi̍t-ê Óng-seng Cha-bó͘ ê Pì-bi̍t | 一个往生查某 ê 秘密 [ Gí-im | 語音 ]...