https://aldus2006.typepad.fr/files/lady-chatterly-lover.pdf
Chatterley Hu-jîn ê Khè-hiaⁿ | Chatterley 夫人 ê 契兄
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Tē 1 Chiong
1.1 Che sī pi-kio̍k ê sî-tāi
Che sī chi̍t-ê pi-kio̍k ê sî-tāi, m̄-koh lán mài kō͘ ai-oàn lâi chiap-siū i. Chai-lān í-keng hoat-seng, lán oa̍h tī phòa-nōa-tui nih, lán khai-sí kiàn-li̍p sió-sió ê só͘-chāi thang tòa, khai-sí ū tām-po̍h hi-bāng. Che bô kán-tan: taⁿ bô hó-kiâⁿ ê lō͘ thàng khì bī-lâi: m̄-koh lán tio̍h tńg-se̍h, a̍h-sī khia̍t kòe chó͘-gāi. Lán chóng-sī ài oa̍h lo̍h-khì, m̄-koán thiⁿ boeh pang kúi kái.
Che tāi-khài tō-sī Constance Chatterley ê chêng-kéng. Chiàn-cheng phah kah thiⁿ-pang tē-li̍h hō͘ yi* siū-hāi. Só͘-í yi lí-kái, lán ài koh oa̍h, lán ài koh o̍h. [* lú-sèng tē-3 jîn-chheng]
Yi tī 1917 nî hām Clifford Chatterley kiat-hun, hit-sî i ùi pō͘-tūi chhéng-ká tńg-lâi, in ū chi̍t kò goe̍h ê bi̍t-goa̍t, liáu-āu i koh tńg-khì tī Flanders ê pō͘-tūi. La̍k kò goe̍h liáu, i koh hông sàng tńg-lâi Eng-kok, kui sin-khu bô chi̍t-tè hó. In bó͘ Constance hit sî 23 hòe, Clifford 29 hòe.
I ê sèⁿ-miā-le̍k ōng-sēng. I bô sí, phòa-li̍h ê sin-khu ná-chhiūⁿ koh kap-óa. Ū nn̄g-nî ê sî-kan i tòa tī pēⁿ-īⁿ tī-liâu. Lo̍h-bóe, i-seng kóng tī-liâu oân-sêng ah, bô sèⁿ-miā hûi-hiám ah, m̄-koh ē-pòaⁿ-sin éng-oán put-sūi.
1920 nî, Clifford hām Constance tńg-khì chó͘-chhù Wragby Hall. Lāu-pē í-keng bô tī-leh, Clifford kè-sêng i ê kùi-cho̍k tē-ūi, chū án-ne i sī lâm-chiok Clifford Sià*, in bó͘ Constance sī Chatterley Hu-jîn. In siu-ji̍p bô chē, lâi kàu chit ê phòa-sàm ê kū-chhù kòe ji̍t-chí. Clifford kan-ta ū chi̍t ê bô tòa tī chhù-nih ê tōa-chí, tōa-hiaⁿ í-keng chiàn-sí, chhun--ê bô siáⁿ chhin-chiâⁿ-gō͘-cha̍p. Clifford chai-iáⁿ ka-tī o͘-iú khì ah, bô khó-lêng seⁿ-kiáⁿ, tńg-lâi Midlands chit ê kāu ian-bū ê kò͘-hiong, chí-sī siūⁿ-boeh chīn-liōng ûi-chhî Chatterley ê hiuⁿ-hóe niā-niā. [* Sià = Sir, mā kiò chiok-sū 爵士]
I pēng bô chin-chiàⁿ sit-chì. I iáu ē-tàng chē lûn-í sì-kè kiâⁿ, i mā ū chi̍t tâi chng motor /mò.tà/ ê í-á-chhia, ē-tàng ka-tī sái, bān-bān-á se̍h kòe hoe-hn̂g, chìn-ji̍p hit ê bí-lē chheⁿ-chhìn ê lîm-hn̂g, chit ê lîm-hn̂g i sī chiok móa-ì ê, sui-jiân i ké-sian kóng che bô siáⁿ.
Khó͘, chia̍h kah ū-chhun, tì-sú i siū-khó͘ ê hān-tō͘ kiông boeh bô--khì ah. M̄-koh, i âng-ko-chhiah-chhi̍h, chhián-nâ-sek ê ba̍k-chiu kim sih-sih, iáu sī hiah-nī te̍k-pia̍t, hiah-nī oa̍h-phoat, hiah-nī bêng-lóng, sīm-chì ē-sái kóng sī chhio-tiô. I ê keng-kah-thâu chin khoah, lâng ióng-chòng, siang-chhiú ū-la̍t. I chhēng-chhah káng-kiù, kat súi-khùi ê nekutái, lóng sī ùi Bond Ke bé--lâi ê ko-ki̍p phín. M̄-koh i chheⁿ-kìn-kìn ê gán-sîn, iáu sī ke-kiám sia̍p-lāu phòa-siūⁿ ê lâng sim-lāi ê khang-hi.
I bat hiám-hiám-á bô-miā, só͘-í taⁿ i chin pó-sioh khioh tńg-lâi ê chit tiâu miā. Tī i chheⁿ-kìn-kìn ê ba̍k-sîn nih, ē-tàng khòaⁿ-chhut i sí-bô-khì sī gōa iāng ê tāi-chì. M̄-koh i siū--ê siong-hāi hiah-nī tōa, i ê lāi-sim ū kóa mi̍h-kiāⁿ soah phah-bô--khì, liân kám-chêng mā hoa--khì. I ê sim kan-ta chhun chi̍t-ê hông ó͘ liáu-liáu ê pōng-khang, bô kám bô kak.
In bó͘ Constance, khòaⁿ--khí-lâi chng-kha cha-bó͘ gín-á khoán, thâu-mo͘ nńg-sìm-sìm, sin-thé ióng-kiāⁿ, tōng-chok bān, la̍t-chháu pá. Yi ū tōa-tōa lúi koh hòⁿ-hiân ê ba̍k-chiu, siaⁿ-im koh un-jiû, ká-ná sī tú lī-khui kò͘-hiong. Sū-si̍t m̄-sī án-ne. Yin* lāu-pē Malcolm Reid Sià, kòe-khì sī ū-miâ ê Hông-ka Gē-su̍t Ha̍k-hōe ê hōe-oân. Yin lāu-bú tī chêng Raphael ê hoân-hôa sî-tāi bat sī ū hó kàu-ióng ê Fabian siā-oân. Tī gē-su̍t-ka kap siā-hōe-chú-gī-chiá ê kàu-ióng chi-hā, Constance hām yin a-chí Hilda lóng siū tio̍h hui-thoân-thóng bí-ha̍k ê chhiâⁿ-ióng. Yin bat khì Paris, Florence, kap Roma khì khip-siu gē-su̍t ê khong-khì; tī pa̍t ê léng-he̍k, yin mā bat khì Hague kap Berlin, khì chham-ka Siā-hōe-chú-gī-chiá ê hōe-gī, tī hia ián-káng ê lâng iōng kok-chióng bûn-bêng ê gí-giân, bô-lâng ē kám-kak gāi-gio̍h. [* yin = yi (她) ê só͘-iú-keh a̍h-sī to-sò͘]
Só͘-í kóng, chit nn̄g chí-mōe chū sè-hàn tō seng-oa̍h tī bí-su̍t kap chèng-tī tiong-kan. Chiah-ê, yin lóng chiok koàn-sì. Yin ū kok-chè-koan, mā chāi-tē-hòa, chit-chióng gē-su̍t ê kok-chè hiong-thó͘ chú-gī, chin ha̍h sûn-kiat ê siā-hōe lí-sióng.
Yin tī 15 hòe tō khì Dresden o̍h im-ga̍k kap kî-thaⁿ ê mi̍h-kiāⁿ. Tī hia yin kòe liáu chin khoài-lo̍k, khin-khin sang-sang kap tông-chhong chò-hóe, mā hām cha-po͘ thó-lūn tiat-ha̍k, siā-hōe-ha̍k kap gē-su̍t siōng téng-téng ê tāi-chì, chi̍t-tiám-á to bē su cha-po͘ ha̍k-seng, in-ūi sī cha-bó͘--ê, tian-tò koh khah tit lâng o-ló. Yin hām ióng-kiāⁿ ê siàu-liân-ke ta̍h ji̍p chhiū-nâ lāi-té, chah gihtà tôaⁿ-khîm, chhiùⁿ-koa! Yin chhiùⁿ Wandervogel ê koa, chū-iû chū-chāi. Chū-iû! Che sī chhèng-kōa-kōa ê jī-gán. Kiâⁿ ji̍p khui-khoah ê sè-kài, kiâⁿ ji̍p chá-khí-sî ê chhiū-nâ, chham chi̍t tīn jia̍t-chêng, siaⁿ-im hó-thiaⁿ ê siàu-liân-ke, chū-iû chò ài chò ê tāi-chì, koh khah iàu-kín ê sī, kóng yin ài kóng ê ōe. Siōng tiōng-iàu ê sī khai-káng: chhiong-móa jia̍t-chêng ê khai-káng. Ài-chêng sī kah--lâi ê.
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第 1 章
1.1 這是悲劇 ê 時代
這是一个悲劇 ê 時代, m̄-koh 咱莫 kō͘ 哀怨來接受伊. 災難已經發生, 咱活 tī 破爛堆 nih, 咱開始建立小小 ê 所在通蹛, 開始有淡薄仔希望. 這無簡單: 今, 無好行 ê 路迵去未來: m̄-koh 咱著 tńg-se̍h, 抑是 kap 阻礙對沖. 咱總是愛活落去, 無論天欲崩幾改.
這大概 tō-sī Constance Chatterley ê 情境. 戰爭拍甲天崩地裂予她受害. 所以她理解, 咱愛 koh 活, 咱愛 koh 學.
她 tī 1917 年和 Clifford Chatterley 結婚, 彼時伊 ùi 部隊請假轉來, in 有一個月 ê 蜜月, 了後伊 koh 轉去 tī Flanders ê 部隊. 六個月了, 伊 koh hông 送 tńg-lâi 英國, 規身軀無一塊好. In 某 Constance 彼時 23 歲, Clifford 29 歲.
伊 ê 性命力旺盛. 伊無死, 破裂 ê 身軀 ná 像 koh kap-óa. 有兩年 ê 時間伊蹛 tī 病院治療. 落尾, 醫生講治療完成 ah, 無性命危險 ah, m̄-koh 下半身永遠不遂.
1920 年, Clifford 和 Constance 轉去祖厝 Wragby Hall. 老爸已經無 tī-leh, Clifford 繼承伊 ê 貴族地位, 自 án-ne 伊是男爵 Clifford Sià*, in 某 Constance 是 Chatterley 夫人. In 收入無濟, 來到這个破毿 ê 舊厝過日子. Clifford 干焦有一个無蹛 tī 厝 nih ê 大姊, 大兄已經戰死, 賰 ê 無啥親 chiâⁿ-gō͘-cha̍p. Clifford 知影家己烏有去 ah, 無可能生囝, 轉來 Midlands 這个厚煙霧 ê 故鄉, 只是想欲盡量維持 Chatterley ê 香火 niā-niā. [* Sià = Sir, mā 叫做爵士]
伊並無真正失志. 伊猶會當坐輪椅四界行, 伊 mā 有一台裝 motor /mò.tà/ ê 椅仔車, 會當家己駛, 慢慢仔 se̍h 過花園, 進入彼个美麗 chheⁿ 凊 ê 林園, 這个林園伊是足滿意 ê, 雖然伊假仙講這無啥.
苦, 食 kah 有賰, 致使伊受苦 ê 限度強欲無去 ah. M̄-koh, 伊紅膏赤 chhi̍h, 淺藍色 ê 目睭金爍爍, 猶是 hiah-nī 特別, hiah-nī 活潑, hiah-nī 明朗, 甚至會使講是俏趒. 伊 ê 肩胛頭真濶, 人勇壯, 雙手有力. 伊穿插講究, 結 ê 媠氣 nekutái 攏是 ùi Bond 街買來 ê 高級品. M̄-koh 伊青 kìn-kìn ê 眼神, 猶是加減洩漏破相 ê 人心內 ê 空虛.
伊 bat 險險仔無命, 所以今伊真寶惜抾倒轉 ê 這條命. Tī 伊青 kìn-kìn ê 目神 nih, 會當看出伊死無去是偌 iāng ê 代誌. M̄-koh 伊受 ê 傷害 hiah-nī 大, 伊 ê 內底有寡煞拍無--去, 連感情 mā hoa--去. 伊 ê 心干焦賰一个 hông 挖了了 ê 磅空, 無感無覺.
In 某 Constance, 看起來庄跤查某囡仔款, 頭毛軟 sìm-sìm, 身體勇健, 動作慢, 力草飽. 她有大大蕊 koh 好玄 ê 目睭, 聲音 koh 溫柔, ká-ná 是拄離開故鄉. 事實毋是 án-ne. 姻* 老爸 Malcolm Reid Sià, 過去是有名 ê 皇家藝術學會 ê 會員. 姻老母 tī 前 Raphael ê 繁華時代 bat 是有好教養 ê Fabian 社員. Tī 藝術家 kap 社會主義者 ê 教養之下, Constance 和姻阿姊 Hilda 攏受著非傳統美學 ê 晟養. 姻 bat 去 Paris, Florence, kap Roma 去吸收藝術 ê 空氣; tī 別个領域, 姻 mā bat 去 Hague kap Berlin, 去參加社會主義者 ê 會議, tī 遐演講 ê 人用各種文明 ê 語言, 無人會感覺 gāi-gio̍h. [* 姻, yin = yi (她) ê 所有格抑是多數]
所以講, 這兩姊妹自細漢 tō 生活 tī 美術 kap 政治中間. Chiah-ê, 姻攏足慣勢. 姻有國際觀, mā 在地化, 這種藝術 ê 國際鄉土主義, 真合純潔 ê 社會理想.
姻 tī 15 歲 tō 去 Dresden 學音樂 kap 其他 ê 物件. Tī 遐姻過了真快樂, 輕輕鬆鬆 kap 同窗做伙, mā 和查埔討論哲學, 社會學 kap 藝術上等等 ê 代誌, 一點仔 to 袂輸查埔學生, 因為是查某 ê, 顛倒 koh 較得人 o-ló. 姻和勇健 ê 少年家踏入樹林內底, 扎 gihtà 彈琴, 唱歌! 姻唱 Wandervogel ê 歌, 自由自在. 自由! 這是衝 kōa-kōa ê 字眼. 行入開闊 ê 世界, 行入早起時 ê 樹林, 參一陣熱情, 聲音好聽 ê 少年家, 自由做愛做 ê 代誌, koh 較要緊 ê 是, 講姻愛講 ê 話. 上重要 ê 是開講: 充滿熱情 ê 開講. 愛情是 kah--來 ê.
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Lady Chatterley's Lover
by David Herbert Laurence
Chapter 1
1.1
Ours is essentially a tragic age, so we refuse to take it tragically. The cataclysm has happened, we are among the ruins, we start to build up new little habitats, to have new little hopes. It is rather hard work: there is now no smooth road into the future: but we go round, or scramble over the obstacles. We've got to live, no matter how many skies have fallen.
This was more or less Constance Chatterley's position. The war had brought the roof down over her head. And she had realized that one must live and learn.
She married Clifford Chatterley in 1917, when he was home for a month on leave. They had a month's honeymoon. Then he went back to Flanders: to be shipped over to England again six months later, more or less in bits. Constance, his wife, was then twenty-three years old, and he was twenty-nine.
His hold on life was marvellous. He didn't die, and the bits seemed to grow together again. For two years he remained in the doctor's hands. Then he was pronounced a cure, and could return to life again, with the lower half of his body, from the hips down, paralysed for ever.
This was in 1920. They returned, Clifford and Constance, to his home, Wragby Hall, the family 'seat'. His father had died, Clifford was now a baronet, Sir Clifford, and Constance was Lady Chatterley. They came to start housekeeping and married life in the rather forlorn home of the Chatterleys on a rather inadequate income. Clifford had a sister, but she had departed. Otherwise there were no near relatives. The elder brother was dead in the war. Crippled for ever, knowing he could never have any children, Clifford came home to the smoky Midlands to keep the Chatterley name alive while he could.
He was not really downcast. He could wheel himself about in a wheeled chair, and he had a bath-chair with a small motor attachment, so he could drive himself slowly round the garden and into the fine melancholy park, of which he was really so proud, though he pretended to be flippant about it.
Having suffered so much, the capacity for suffering had to some extent left him. He remained strange and bright and cheerful, almost, one might say, chirpy, with his ruddy, healthy-looking face, and his pale-blue, challenging bright eyes. His shoulders were broad and strong, his hands were very strong. He was expensively dressed, and wore handsome neckties from Bond Street. Yet still in his face one saw the watchful look, the slight vacancy of a cripple.
He had so very nearly lost his life, that what remained was wonderfully precious to him. It was obvious in the anxious brightness of his eyes, how proud he was, after the great shock, of being alive. But he had been so much hurt that something inside him had perished, some of his feelings had gone. There was a blank of insentience.
Constance, his wife, was a ruddy, country-looking girl with soft brown hair and sturdy body, and slow movements, full of unusual energy. She had big, wondering eyes, and a soft mild voice, and seemed just to have come from her native village. It was not so at all. Her father was the once well-known R.A., old Sir Malcolm Reid. Her mother had been one of the cultivated Fabians in the palmy, rather pre-Raphaelite days. Between artists and cultured socialists, Constance and her sister Hilda had had what might be called an aesthetically unconventional upbringing. They had been taken to Paris and Florence and Rome to breathe in art, and they had been taken also in the other direction, to the Hague and Berlin, to great Socialist conventions, where the speakers spoke in every civilized tongue, and no one was abashed.
The two girls, therefore, were from an early age not the least daunted by either art or ideal politics. It was their natural atmosphere. They were at once cosmopolitan and provincial, with the cosmopolitan provincialism of art that goes with pure social ideals.
They had been sent to Dresden at the age of fifteen, for music among other things. And they had had a good time there. They lived freely among the students, they argued with the men over philosophical, sociological and artistic matters, they were just as good as the men themselves: only better, since they were women. And they tramped off to the forests with sturdy youths bearing guitars, twang-twang! They sang the Wandervogel songs, and they were free. Free! That was the great word. Out in the open world, out in the forests of the morning, with lusty and splendid-throated young fellows, free to do as they liked, and — above all — to say what they liked. It was the talk that mattered supremely: the impassioned interchange of talk. Love was only a minor accompaniment.
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