11.6 Yi lâi kàu Uthwaite
Sīm-chì chit ê só͘-chāi sī tī Connie kàu Wragby í-āu chiah khí-chō khí-lâi, hiah-ê bô͘-hoān chū-the̍h nih tòa chi̍t-kóa sì-kè lâi ê put-sam put-sù ê lâng, in ê sit-thâu kî-tiong ê chi̍t hāng tō sī khì thau lia̍h Clifford ê thò͘-á.
Chhia iân tio̍h ko-goân teh kiâⁿ, khòaⁿ tio̍h khí-khí lo̍h-lo̍h ê kūn-tē tián-khui. Kūn-tē! Chia pún-sī hong-sîn tak-tak koh kùi-cho̍k khì-phài ê kūn-tē. Tī thâu-chêng, ná ū ná bô phû-hiān tī thiⁿ-piⁿ ê sī hông-tōa, hôa-lē ê Chadwick Tōa-lâu, thang-á pí piah khah tōa-bīn, sī Elizabeth sî-tāi chi̍t keng siōng chhut-miâ ê kiàn-tio̍k. I ko͘-to̍k, ko-kùi khiā tī chi̍t ê hoe-hn̂g téng, m̄-koh í-keng kòe-sî, mā kòe-khì lah. I iáu hông pó-chûn tī hia, tòng-chò tián-lám ê só͘-chāi. “Lí khòaⁿ, lán ê chó͘-sian sī gōa-nī hián-kùi!”
He sī kòe-khì. Hiān-tāi tī ē-bīn. Kan-ta Sîn chiah chai bī-lâi tī tó-ūi. Chhia í-keng se̍h tī sè koh kū ê o͘-àm khòng-kang ê o͘ chhun-sià tiong-kan, lo̍h-kiā hiòng Uthwaite khì. Uthwaite tī chit ê tâm-sip ê thiⁿ-khì, tng-teh puh-chhut chi̍t chūn chi̍t chūn ê ian-bū, ná-chhiūⁿ phiau hiòng khòaⁿ bē-tio̍h ê sîn-bêng. Uthwaite tī ē-bīn ê soaⁿ-kok, só͘-ū óng Sheffield ê thih-lō͘ lóng keng-kòe hia, hia ê thòaⁿ-khòng kap kng-thih chhiáng ê ian-tâng bū-ian koh siám-kng, khó-liân ê ná lô-si-ká ê kàu-tn̂g sió cheng-lâu, sui-jiân tit-boeh tó-khì, iáu-sī thóng-chhut ian-bū tiong, che chóng-sī hō͘ Connie chi̍t chióng kî-koài ê kám-tōng. He sī chi̍t ê lāu chhī-tìn, sī soaⁿ-kok ê tiong-sim. Kî-tiong chi̍t keng kheh-chàn sī Chatterley Arms. Uthwaite ê lâng kā Wragby tòng-chò sī kui-ê só͘-chāi ê tē-miâ, m̄-sī chhiūⁿ gōa-tē lâng án-ne: kā Wragby tòng-chò kan-ta sī Wragby Hall, tī Tevershall hū-kīn: Wragby, sī chi̍t ê “ki-tē”.
Khòng-kang o͘--khì ê chhun-sià khí tī jîn-hêng-tō piⁿ-á, kheh koh sè ná-chhiūⁿ ū chi̍t pah nî hiah kū ah. Chhù iân lō͘ khí. Kui tiâu lō͘ í-keng piàn-sêng ke-lō͘, kiâⁿ-ji̍p chia, lí sûi tō͘ bē-kì-tit khui-khoah, khí-lo̍h ê chng-kha, hia iáu ū chi̍t kóa siâⁿ-pó kap tōa chhù, m̄-koh ná chhiūⁿ sī kúi-á iáⁿ. Taⁿ lí sī tī kau-chhap thih-lō͘ bāng ê téng-koân, toàn-liān chhiáng kap kî-thaⁿ ê “kang-chhiáng”khí tī lí ê sì-bīn, koân-tōa kah lí kan-ta ē-tàng khòaⁿ tio̍h in ê chhiûⁿ-piah. Thih sio kho̍k hoat-chhut khin-khin khōng-khōng ê siaⁿ, tōa khah-chhia chùn-tāng tē-bīn, chúi-lê-siaⁿ tân koh hiáng.
M̄-koh, lí nā koh chi̍t kái kiâⁿ ji̍p hit ê ke-lō͘ oan-oan khiau-khiau ê chhī tiong-sim, tī kàu-tn̂g āu-piah, lí tō ē tī 2 sè-kí chêng ê sè-kài, ē tī Chatterley Arms kheh-chàn kap lāu io̍h-pâng só͘ khiā-khí ê khiau-khi ke-lō͘ téng, chiah-ê ke-lō͘ í-chêng sī thong hiòng gōa-kháu ê siâⁿ-pó kap kùi-cho̍k tō͘-ká pia̍t-chong ê iá-gōa sè-kài.
M̄-koh, tī oat-kak ê ūi, chi̍t ê kéng-chhat gia̍h-chhiú, hō͘ 3 chiah chài-móa kǹg-thih ê khah-chhia kòe-khì, chùn-tāng tio̍h khó-liân ê lāu kàu-tn̂g. It-ti̍t kàu khah-chhia kòe liáu, i chiah ū êng hiòng Chatterley Hu-jîn kiâⁿ-lé.
Tō sī án-ne. Tī chhī-khu ê oan-khiau ke-lō͘ nn̄g pêng, kheh chē-chē lāu-sek o͘--khì ê khòng-kang chū-the̍h, iân-lō͘ khan chhut-khì. Tī chiah-ê chhù āu-bīn, ū kúi-nā pâi khah sin, khah hún-âng ê khah tōa keng ê chhù, chng-tiám tio̍h chit ê soaⁿ-kok: che sī khah hiān-tāi ê kang-lâng ê chhù. Hiah-ê koh kòe, tī siâⁿ-pó khiā-ūi ê iá-gōa tē-khu, ian-bū kún-ká, thàu-lām, hián-chhut chi̍t phiàn chi̍t phiàn ê âng-chng kiàn-tio̍k, he sī sin ê khòng-khu, ū ê tī lap-o, ū ê bái-kô͘-kô͘ hián-sī tī iân soaⁿ-phiâⁿ ê thiⁿ-piⁿ. Tī chiah-ê khòng-khu ê tiong-kan, tō sī kū-sî England bé-chhia kheh-chàn kap chhun-sià sî-tāi só͘ lâu lo̍h-lâi ê chân-phò hûn-jiah, sīm-chì kū kàu Robin Hood sî-tāi; hit ê só͘-chāi, khòng-kang bô chò-kang ê sî, ah-ut in bô-tè hoat-hui ê ūn-tōng pún-lêng, tī hia lōa-lōa-sô.
England, góa ê England! M̄-koh, tó chi̍t ê sī góa ê England? England kùi-cho̍k ê tōa-chhù hip-siōng chin hó-khòaⁿ, chhòng-chō chi̍t ê kap Elizabeth sî-tāi ê ū khan-liân ê hoàn-siōng. Ùi Jîn-chû ê Anne Ông-hiō kap Tom Jones sî-tāi í-lâi, hó-khòaⁿ ê kū tōa-lâu lóng iáu tī hia. M̄-koh, eng-ia khàm-kòe piah-bīn ê pe̍h chio̍h-hoe, chá tō sit khì kim-sek ê kong-chhái. Kap kùi-cho̍k ê tōa-chhù kāng-khoán, chi̍t-keng chi̍t-keng pī hòng-khì. Chit-má in tng-teh hông thiah-tiāu. Nā kóng tio̍h England ê chhun-sià neh, tī bô ǹg-bāng ê chng-kha, taⁿ lóng khí chò chng-á boah-chio̍h-hoe ê tōa-chhù.
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11.6 她來到 Uthwaite
甚至這个所在是 tī Connie 到 Wragby 以後才起造起來, hiah-ê 模範住宅 nih 蹛一寡四界來 ê 不三不四 ê 人, in ê 穡頭其中 ê 一項 tō 是去偷掠 Clifford ê 兔仔.
車沿著高原 teh 行, 看著起起落落 ê 郡地展開. 郡地! 遮本是風神 tak-tak koh 貴族氣派 ê 郡地. Tī 頭前, ná 有 ná 無浮現 tī 天邊 ê 是宏大, 華麗 ê Chadwick 大樓, 窗仔比壁較大面, 是 Elizabeth 時代一間上出名 ê 建築. 伊孤獨, 高貴徛 tī 一个花園頂, m̄-koh 已經過時, mā 過去 lah. 伊猶 hông 保存 tī 遐, 當做展覽 ê 所在. “你看, 咱 ê 祖先是 gōa-nī 顯貴!”
彼是過去. 現代 tī 下面. 干焦神才知未來 tī 佗位. 車已經踅 tī 細 koh 舊 ê 烏暗礦工 ê 烏村舍中間, 落崎向 Uthwaite 去. Uthwaite tī 這个澹濕 ê 天氣, tng-teh puh 出一陣一陣 ê 煙霧, ná 像飄向看袂著 ê 神明. Uthwaite tī 下面 ê 山谷, 所有往 Sheffield ê 鐵路攏經過遐, 遐 ê 炭礦 kap 鋼鐵廠 ê 煙筒 bū 煙 koh 閃光, 可憐 ê ná 螺絲絞 ê 教堂小鐘樓, 雖然得欲倒去, 猶是捅出煙霧中, 這總是予 Connie 一種奇怪 ê 感動. 彼是一个老市鎮, 是山谷 ê 中心. 其中一間客棧是 Chatterley Arms. Uthwaite ê 人 kā Wragby 當做是規个所在 ê 地名, 毋是像外地人 án-ne: kā Wragby 當做干焦是 Wragby Hall, tī Tevershall 附近: Wragby, 是一个 "基地".
礦工烏去 ê 村舍起 tī 人行道邊仔, kheh koh 細 ná 像有一百年 hiah 舊 ah. 厝沿路起. 規條路已經變成街路, 行入遮, 你隨 tō͘ 袂記得開闊, 起落 ê 庄跤, 遐猶有一寡城堡 kap 大厝, m̄-koh ná 像是鬼仔影. 今你是 tī 交插鐵路網 ê 頂懸, 煅煉廠 kap 其他 ê "工廠" 起 tī 你 ê 四面, 懸大 kah 你干焦 ē-tàng 看著 in ê 牆壁. 鐵相硞發出 khin-khin khōng-khōng ê 聲, 大卡車顫動地面, 水螺聲霆 koh 響.
M̄-koh, 你若 koh 一改行入彼个街路彎彎曲曲 ê 市中心, tī 教堂後壁, 你 tō 會 tī 2 世紀前 ê 世界, 會 tī Chatterley Arms 客棧 kap 老藥房所徛起 ê khiau-khi 街路頂, chiah-ê 街路以前是通向外口 ê 城堡 kap 貴族渡假別莊 ê 野外世界.
M̄-koh, tī 斡角 ê 位, 一个警察攑手, 予 3 隻載滿鋼鐵 ê 卡車過去, 顫動著可憐 ê 老教堂. 一直到卡車過了, 伊才有閒向 Chatterley 夫人行禮.
Tō 是 án-ne. Tī 市區 ê 彎曲街路兩爿, kheh 濟濟老式烏去 ê 礦工住宅, 沿路牽出去. Tī chiah-ê 厝後面, 有幾若排較新, 較粉紅 ê 較大間 ê 厝, 妝點著這个山谷: 這是較現代 ê 工人 ê 厝. Hiah-ê koh 過, tī 城堡徛位 ê 野外地區, 煙霧滾絞, 透濫, 顯出一遍一遍 ê 紅磚建築, 彼是新 ê 礦區, 有 ê tī lap-o, 有 ê 䆀糊糊顯示 tī 沿山坪 ê 天邊. Tī chiah-ê 礦區 ê 中間, tō 是舊時 England 馬車客棧 kap 村舍時代所留落來 ê 殘破痕跡, 甚至舊到 Robin Hood 時代; 彼个所在, 礦工無做工 ê 時, 壓鬱 in 無 tè 發揮 ê 運動本能, tī 遐 lōa-lōa 趖.
England, 我 ê England! M̄-koh, 佗一个是我 ê England? England 貴族 ê 大厝翕相真好看, 創造一个 kap Elizabeth 時代 ê 有牽連 ê 幻象. Ùi 仁慈 ê Anne 王后 kap Tom Jones 時代以來, 好看 ê 舊大樓攏猶 tī 遐. M̄-koh, eng-ia 崁過壁面 ê 白石灰, 早 tō 失去金色 ê 光彩. Kap 貴族 ê 大厝仝款, 一間一間被放棄. 這馬 in tng-teh hông 拆掉. 若講著 England ê 村舍 neh, tī 無 ǹg 望 ê 庄跤, 今攏起做磚仔抹石灰 ê 大厝.
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11.6
Even since Connie’s arrival at Wragby this new place had arisen on the face of the earth, and the model dwellings had filled with riff-raff drifting in from anywhere, to poach Clifford’s rabbits among other occupations.
The car ran on along the uplands, seeing the rolling county spread out. The county! It had once been a proud and lordly county. In front, looming again and hanging on the brow of the sky-line, was the huge and splendid bulk of Chadwick Hall, more window than wall, one of the most famous Elizabethan houses. Noble it stood alone above a great park, but out of date, passed over. It was still kept up, but as a show place. ‘Look how our ancestors lorded it!’
That was the past. The present lay below. God alone knows where the future lies. The car was already turning, between little old blackened miners’ cottages, to descend to Uthwaite. And Uthwaite, on a damp day, was sending up a whole array of smoke plumes and steam, to whatever gods there be. Uthwaite down in the valley, with all the steel threads of the railways to Sheffield drawn through it, and the coal-mines and the steel-works sending up smoke and glare from long tubes, and the pathetic little corkscrew spire of the church, that is going to tumble down, still pricking the fumes, always affected Connie strangely. It was an old market-town, centre of the dales. One of the chief inns was the Chatterley Arms. There, in Uthwaite, Wragby was known as Wragby, as if it were a whole place, not just a house, as it was to outsiders: Wragby Hall, near Tevershall: Wragby, a ‘seat’.
The miners’ cottages, blackened, stood flush on the pavement, with that intimacy and smallness of colliers’ dwellings over a hundred years old. They lined all the way. The road had become a street, and as you sank, you forgot instantly the open, rolling country where the castles and big houses still dominated, but like ghosts. Now you were just above the tangle of naked railway-lines, and foundries and other ‘works’ rose about you, so big you were only aware of walls. And iron clanked with a huge reverberating clank, and huge lorries shook the earth, and whistles screamed.
Yet again, once you had got right down and into the twisted and crooked heart of the town, behind the church, you were in the world of two centuries ago, in the crooked streets where the Chatterley Arms stood, and the old pharmacy, streets which used to lead Out to the wild open world of the castles and stately couchant houses.
But at the corner a policeman held up his hand as three lorries loaded with iron rolled past, shaking the poor old church. And not till the lorries were past could he salute her ladyship.
So it was. Upon the old crooked burgess streets hordes of oldish blackened miners’ dwellings crowded, lining the roads out. And immediately after these came the newer, pinker rows of rather larger houses, plastering the valley: the homes of more modern workmen. And beyond that again, in the wide rolling regions of the castles, smoke waved against steam, and patch after patch of raw reddish brick showed the newer mining settlements, sometimes in the hollows, sometimes gruesomely ugly along the sky-line of the slopes. And between, in between, were the tattered remnants of the old coaching and cottage England, even the England of Robin Hood, where the miners prowled with the dismalness of suppressed sporting instincts, when they were not at work.
England, my England! But which is MY England? The stately homes of England make good photographs, and create the illusion of a connexion with the Elizabethans. The handsome old halls are there, from the days of Good Queen Anne and Tom Jones. But smuts fall and blacken on the drab stucco, that has long ceased to be golden. And one by one, like the stately homes, they were abandoned. Now they are being pulled down. As for the cottages of England—there they are—great plasterings of brick dwellings on the hopeless countryside.
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