3.3 夫人請伊來房間坐

3.3 Hu-jîn chhiáⁿ i lâi pâng-keng chē

Chá-tǹg tī kok-lâng khím-sek chia̍h; Clifford m̄-bat tī chia̍h-tàu chêng chhut-hiān, pn̄g-thiaⁿ sió-khóa būn-būn. Kapi lim-liáu, Michaelis sim-sîn bē tiāⁿ, m̄-chai boeh chhòng siáⁿ hó. Che sī 11 goe̍h ê hó-thiⁿ... tī Wragby lâi kóng, sī chin hó ê thiⁿ-khì. I bāng hiòng hit ê chheⁿ-chhìn ê lîm-hn̂g. Thiⁿ ah! Hit ê só͘-chāi chiâⁿ chán!

I kiò chi̍t ê ka-po̍k khì mn̄g Chatterley Hu-jîn, ū siáⁿ su-iàu i pang-bâng: i siūⁿ boeh khui-chhia khì Sheffield. Ka-po̍k tńg-lâi kóng, chhiáⁿ i kàu Chatterley Hu-jîn ê kheh-thiaⁿ chē.

Connie ê kheh-thiaⁿ tī sì-lâu, sī chhù tiong-ng pō͘-hūn ê siōng téng-chàn. Clifford ê pâng-keng, tong-jiân lóng tī tē-bīn chàn. Michaelis kám-kak, hông chhiáⁿ khì Chatterley Hu-jîn ê su-jîn kheh-thiaⁿ chin kong-chhái. I tòe ka-po̍k kho̍k-kho̍k kiâⁿ... lóng bô chù-ì mi̍h-kiāⁿ, mā kap sì-chiu ê mi̍h-kiāⁿ bô chiap-chhiok. Tī Connie ê kheh-thiaⁿ, i khiok ū tāi-khài gán chi̍t-ē hiah-ê Tek-kok kopi ê Renoir kap Cézanne ê chok-phín.

"Chia chiâⁿ sù-sī," i kóng, hiàn-chhut chi̍t ê koài chhiò, lō͘-chhut chhùi-khí, ká-ná i chhiò ē thiàⁿ. "Lí chiâⁿ khiáu, tòa tī lâu-téng."

"Sī ah, góa mā án-ne siūⁿ." Connie kóng.

Yi ê pâng-keng sī chit keng chhù nih ûi-it bêng-lóng, hiān-tāi ê pâng-keng, tī Wragby ûi-it hián-sī yi ê sèng-keh ê tē-tiám. Che Clifford m̄-bat khòaⁿ-kòe, yi mā chin chió chhiáⁿ lâng lâi chia.

Taⁿ, yi hām Michaelis tùi-bīn chē tī hóe-lô͘ ê nn̄g-pêng teh khai-káng. Yi mn̄g Michaelis ka-tī ê tāi-chì, kap in pē-bú, in hiaⁿ-tī... yi chóng-sī tùi pa̍t-lâng ū hèng-chhù, nā ín-khí yi ê tông-chêng sim, kai-kip ê koan-liām tō bô--khì. Michaelis chin sêng-khún kóng i ka-tī, láu-si̍t, bô pûn-ke-kui, kan-ta kóng-chhut i he kan-khó͘, léng-tām, sit-lo̍h ê lêng-hûn, jiân-āu liû-lō͘ chhut i sêng-kong liáu ho̍k-siû ê chū-chun.

"Sī án-chóaⁿ lí sī chit-chióng ko͘-chiáu?" Connie mn̄g i; Michaelis koh chi̍t-kái, iōng he phok-phok, chheⁿ kìn-kìn, chang-sek ê ba̍k-chiu khòaⁿ yi.

"Ū-lâng tō sī seⁿ-chò án-ne," i hôe-tap, sûi tō iōng koàn-sì ê hóng-chhì kóng: "M̄-koh, khòaⁿ lí ka-tī ah, lí ka-tī kám m̄-sī chi̍t chiah ko͘-chiáu?" Connie thiaⁿ tio̍h, sió-khóa kiaⁿ chi̍t-tiô, siūⁿ--chi̍t-ē liáu, kóng: "Sió-khóa sī! M̄-koh, pēng m̄-sī chhiūⁿ lí án-ne oân-choân ê ko͘-toaⁿ!"

"Góa sī oân-choân ê ko͘-chiáu?" i mn̄g, lō͘-chhut chhùi-khí koài chhiò, ná chhiūⁿ chhùi-khí teh thiàⁿ; chiâⁿ bô chū-jiân, i ê ba̍k-chiu it-ti̍t hián-sī chhut ut-chut, a̍h kan-khó͘, a̍h hoàn-bia̍t, a̍h kiaⁿ-hiâⁿ.

"Án-chóaⁿ kóng?" Connie kóng, ná khòaⁿ i, ká-ná chhoán bô khùi. "Lí chin ko͘-toaⁿ, kám m̄-sī?"

Connie kám-kak Michaelis ū khó-phà ê khip-ín, hō͘ yi kiông boeh tó--khì.

"Oh, lí kóng ê bô m̄-tio̍h!" Michailis kóng, kā thâu oa̍t-khui, khòaⁿ piⁿ-á, khòaⁿ ē-bīn, hiàn-chhut hit-chióng chit-chūn bô chûn-chāi ê kó͘-chá chéng-cho̍k ê koài-kî tiām-chēng. Tō sī khòaⁿ tio̍h i án-ne bô chhap ka-tī, Connie chū án-ne kui-ê lóng bô-la̍t khì.

I gia̍h-thâu khòaⁿ Connie, khòaⁿ tio̍h it-chhè, chim-chim chiok-chiok. Hit ê sî-chūn, ná chhiūⁿ pòaⁿ-mê teh khàu ê âng-eⁿ-á, i choân-sim piàⁿ-miā thî-kiò, kiò kah Connie ê chú-kiong kám-tōng.

"Lí chiah-nī koan-sim góa, lí si̍t-chāi chin hó," i té-té kóng.

"Sī án-chóaⁿ góa bē koan-sim lí?" yi kóng kah kiông boeh bô-khùi.

Michaelis chò chi̍t ê kan-khiáu ê khó͘-chhiò.

"Oh, sī án-ne! ... Góa ē-sái khan lí ê chhiú chi̍t-ē bô?" hut-jiân i án-ne mn̄g, ba̍k-chiu khòaⁿ kah Connie kiông boeh bê-hûn, hit-chióng khip-la̍t ti̍t-ti̍t ta̍t-kàu Connie ê chú-kiong.

Yi lia̍h i kim-kim khòaⁿ, sit-sîn khì, tiām-tiām bô tāng; i kiâⁿ óa, kūi tī yi thâu-chêng, siang-chhiú phóng yi ê siang-kha, kā thâu phak tī yi ê kha-thâu-u, bô koh tín-tāng. Yi oân-choân bâng--khì, sit-sîn khì, kiaⁿ-kiaⁿ àⁿ-thâu khòaⁿ i ām-kún iù-jūn ê āu-niā, kám-kak tio̍h i ê bīn teh tī yi ê tōa-thúi. Yi m̄-chai boeh án-chóaⁿ hó, jím-put-chū gia̍h chhiú, un-jiû koh tông-chêng, kā khǹg tī i he bô hông-pī ê ām-kún āu-niā, i chū án-ne tōa-la̍t chhoah chi̍t-ē, kui-sin khu̍h-khu̍h chùn.

Koh-lâi, i taⁿ-thâu khòaⁿ yi, nn̄g-lúi ba̍k-chiu îⁿ-kùn-kùn, kim-sih-sih, chah-tio̍h khó-phà ê khip-la̍t. Yi oân-choân bô la̍t thang té-khòng. Yi ê heng-khám ìn-chhut tùi i bô-hān ê saⁿh-sim; yi ē-sái hō͘ i it-chhè ê it-chhè.

I sī chi̍t ê kî-koài koh un-jiû ê chêng-jîn, tùi lú-sèng chin un-jiû, ē phi̍h-phi̍h chhoah, iū-koh chin léng-chēng, ē chù-ì, chù-ì thiaⁿ gōa-kháu ê tōng-chēng.

Tùi yi lâi kóng, tî-liáu hiàn-sin hō͘ i, kî-thaⁿ lóng bô siáⁿ. Bān-bān, i bô koh khu̍h-khu̍h chùn, tiām-tiām tó leh, tiām-tiām. Yi iōng móa-móa chêng-ì ê chhiú phok i khòe tī yi heng-khám ê thâu.

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3.3 夫人請伊來房間坐

早頓 tī 各人寢室食; Clifford m̄-bat tī 食晝前出現, 飯廳小可悶悶. Kapi 啉了, Michaelis 心神袂定, 毋知欲創啥好. 這是 11 月 ê 好天... tī Wragby 來講, 是真好 ê 天氣. 伊望向彼个 chheⁿ 凊 ê 林園. 天 ah! 彼个所在誠讚!

伊叫一个家僕去問 Chatterley 夫人, 有啥需要伊幫忙: 伊想欲開車去 Sheffield. 家僕轉來講, 請伊到 Chatterley 夫人 ê 客廳坐.

Connie ê 客廳 tī 四樓, 是厝中央部分 ê 上頂層. Clifford ê 房間, 當然攏 tī 地面層. Michaelis 感覺, hông 請去 Chatterley 夫人 ê 私人客廳真光彩. 伊綴家僕 kho̍k-kho̍k 行... 攏無注意物件, mā kap 四周 ê 物件無接觸. Tī Connie ê 客廳, 伊卻有大概眼一下 hiah-ê 德國 kopi ê Renoir kap Cézanne ê 作品.

"遮誠四序," 伊講, 現出一个怪笑, 露出喙齒, ká-ná 伊笑會疼. "你誠巧, 蹛 tī 樓頂."

"是 ah, 我 mā án-ne 想." Connie 講.

她 ê 房間是這間厝 nih 唯一明朗, 現代 ê 房間, tī Wragby 唯一顯示她 ê 性格 ê 地點. 這 Clifford 毋捌看過, 她 mā 真少請人來遮.

今, 她和 Michaelis 對面坐 tī 火爐 ê 兩爿 teh 開講. 她問 Michaelis 家己 ê 代誌, kap in 爸母, in 兄弟... 她總是對別人有興趣, 若引起她 ê 同情心, 階級 ê 觀念 tō 無去. Michaelis 真誠懇講伊家己, 老實, 無歕雞胿, 干焦講出伊彼艱苦, 冷淡, 失落 ê 靈魂, 然後流露出伊成功了復仇 ê 自尊.

"是按怎你是這種孤鳥?" Connie 問伊; Michaelis koh 一改, 用彼 phok-phok, 青 kìn-kìn, 棕色 ê 目睭看她.

"有人 tō 是生做 án-ne," 伊回答, 隨 tō 用慣勢 ê 諷刺講: "毋過, 看你家己 ah, 你家己敢毋是一隻孤鳥?" Connie 聽著, 小可驚一趒, 想一下了, 講: "小可是! 毋過, 並毋是像你 án-ne 完全 ê 孤單!"

"我是完全 ê 孤鳥?" 伊問, 露出喙齒怪笑, ná 像喙齒 teh 疼; 誠無自然, 伊 ê 目睭一直顯示出鬱卒, 抑艱苦, 抑幻滅, 抑驚惶.

"按怎講?" Connie 講, ná 看伊, ká-ná 喘無氣. "你真孤單, 敢毋是?"

Connie 感覺 Michaelis 有可怕 ê 吸引, 予她強欲倒去.

"Oh, 你講 ê 無毋著!" Michailis 講, kā 頭越開, 看邊仔, 看下面, 現出彼種這陣無存在 ê 古早種族 ê 怪奇恬靜. Tō 是看著伊 án-ne 無 chhap 家己, Connie 自 án-ne 規个攏無力去.

伊攑頭看 Connie, 看著一切, 斟斟酌酌. 彼个時陣, ná 像半暝 teh 哭 ê 紅嬰仔, 伊全心拚命啼叫, 叫甲 Connie ê 子宮感動.

"你 chiah-nī 關心我, 你實在真好," 伊短短講.

"是按怎我袂關心你?" 她講甲強欲無氣.

Michaelis 做一个奸巧 ê 苦笑.

"Oh, 是 án-ne! ... 我會使牽你 ê 手一下無?" 忽然伊 án-ne 問, 目睭看甲 Connie 強欲迷魂, 彼種吸力直直達到 Connie ê 子宮.

她掠伊金金看, 失神去, 恬恬無動; 伊行倚, 跪 tī 她頭前, 雙手捧她 ê 雙跤, kā 頭仆 tī 她 ê 跤頭趺, 無 koh 振動. 她完全茫去, 失神去, 驚驚 àⁿ 頭看伊頷頸幼嫩 ê 後陵, 感覺著伊 ê 面硩 tī 她 ê 大腿. 她毋知欲按怎好, 忍不住攑手, 溫柔 koh 同情, kā 囥 tī 伊彼無防備 ê 頷頸後陵, 伊自 án-ne 大力掣一下, 規身 khu̍h-khu̍h 顫.

Koh 來, 伊 taⁿ 頭看她, 兩蕊目睭圓 kùn-kùn, 金 sih-sih, 扎著可怕 ê 吸力. 她完全無力通抵抗. 她 ê 胸坎應出對伊無限 ê 煞心; 她會使予伊一切 ê 一切.

伊是一个奇怪 koh 溫柔 ê 情人, 對女性真溫柔, 會 phi̍h-phi̍h 掣, 又 koh 真冷靜, 會注意, 注意聽外口 ê 動靜.

對她來講, 除了獻身予伊, 其他攏無啥. 慢慢, 伊無 koh khu̍h-khu̍h 顫, 恬恬倒 leh, 恬恬. 她用滿滿情意 ê 手撲伊 khòe tī 她胸坎 ê 頭.

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3.3

Breakfast was served in the bedrooms; Clifford never appeared before lunch, and the dining-room was a little dreary. After coffee Michaelis, restless and ill-sitting soul, wondered what he should do. It was a fine November day… fine for Wragby. He looked over the melancholy park. My God! What a place!

He sent a servant to ask, could he be of any service to Lady Chatterley: he thought of driving into Sheffield. The answer came, would he care to go up to Lady Chatterley's sitting-room.

Connie had a sitting-room on the third floor, the top floor of the central portion of the house. Clifford's rooms were on the ground floor, of course. Michaelis was flattered by being asked up to Lady Chatterley's own parlour. He followed blindly after the servant… he never noticed things, or had contact with his surroundings. In her room he did glance vaguely round at the fine German reproductions of Renoir and Cézanne.

'It's very pleasant up here,' he said, with his queer smile, as if it hurt him to smile, showing his teeth. 'You are wise to get up to the top.'

'Yes, I think so,' she said.

Her room was the only gay, modern one in the house, the only spot in Wragby where her personality was at all revealed. Clifford had never seen it, and she asked very few people up.

Now she and Michaelis sat on opposite sides of the fire and talked. She asked him about himself, his mother and father, his brothers… other people were always something of a wonder to her, and when her sympathy was awakened she was quite devoid of class feeling. Michaelis talked frankly about himself, quite frankly, without affectation, simply revealing his bitter, indifferent, stray-dog's soul, then showing a gleam of revengeful pride in his success.

'But why are you such a lonely bird?' Connie asked him; and again he looked at her, with his full, searching, hazel look.

'Some birds are that way,' he replied. Then, with a touch of familiar irony: 'But, look here, what about yourself? Aren't you by way of being a lonely bird yourself?' Connie, a little startled, thought about it for a few moments, and then she said: 'Only in a way! Not altogether, like you!'

'Am I altogether a lonely bird?' he asked, with his queer grin of a smile, as if he had toothache; it was so wry, and his eyes were so perfectly unchangingly melancholy, or stoical, or disillusioned, or afraid.

'Why?' she said, a little breathless, as she looked at him. 'You are, aren't you?'

She felt a terrible appeal coming to her from him, that made her almost lose her balance.

'Oh, you're quite right!' he said, turning his head away, and looking sideways, downwards, with that strange immobility of an old race that is hardly here in our present day. It was that that really made Connie lose her power to see him detached from herself.

He looked up at her with the full glance that saw everything, registered everything. At the same time, the infant crying in the night was crying out of his breast to her, in a way that affected her very womb.

'It's awfully nice of you to think of me,' he said laconically.

'Why shouldn't I think of you?' she exclaimed, with hardly breath to utter it.

He gave the wry, quick hiss of a laugh.

'Oh, in that way! … May I hold your hand for a minute?' he asked suddenly, fixing his eyes on her with almost hypnotic power, and sending out an appeal that affected her direct in the womb.

She stared at him, dazed and transfixed, and he went over and kneeled beside her, and took her two feet close in his two hands, and buried his face in her lap, remaining motionless. She was perfectly dim and dazed, looking down in a sort of amazement at the rather tender nape of his neck, feeling his face pressing her thighs. In all her burning dismay, she could not help putting her hand, with tenderness and compassion, on the defenceless nape of his neck, and he trembled, with a deep shudder.

Then he looked up at her with that awful appeal in his full, glowing eyes. She was utterly incapable of resisting it. From her breast flowed the answering, immense yearning over him; she must give him anything, anything.

He was a curious and very gentle lover, very gentle with the woman, trembling uncontrollably, and yet at the same time detached, aware, aware of every sound outside.

To her it meant nothing except that she gave herself to him. And at length he ceased to quiver any more, and lay quite still, quite still. Then, with dim, compassionate fingers, she stroked his head, that lay on her breast.

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