17.4 Bâ-chùi lah! Hiáng-siū lah!
Pia̍t-chong ê iàn-hōe, chò chi̍t-ê iàn-hōe, si̍t-chāi hō͘ lâng ià-hoân. M̄-koh yin nn̄g chí-mōe bē bâi-oàn. Yin kui-kang chóng-sī tī gōa-kháu. Yin lāu-pē chhōa yin khì khòaⁿ tián-lám, khòaⁿ kúi-lō eng-lí bô-liâu ê tô͘. I chhōa yin khì Lucchese Pia̍t-chong chhōe só͘-ū i ê lāu-pêng-iú, tī un-loán ê àm-thâu chē tī kóng-tiûⁿ, chē tī Florian kapi tiàm ê chi̍t tè toh-á; i mā chhōa yin khì kio̍k-tiûⁿ, khì khòaⁿ Goldoni ê hì-kio̍k. Chia ū teng-kng bêng-liāng ê chúi-siōng iàn-hōe, mā ū bú-tiûⁿ. Chia sī só͘-ū ká-kî tiûⁿ-só͘ ê ká-kî tiûⁿ-só͘. Tī Lido, kui-phiàn chiâu sī ji̍t-thâu pha̍k âng a̍h-sī lom khùn-saⁿ ê sin-khu, bē-su sī kui-tui put-chīn ê hái-pà khí-lâi kau-phòe ê soa-than. Kóng-tiûⁿ móa-móa sī lâng, Lido móa-móa sī lâng ê sù-ki kap sin-khu. Móa-móa sī gondola, móa-móa sī mohtà-chûn, móa-móa sī cheng-khì-chûn, móa-móa sī hún-chiáu, móa-móa sī peng, móa-móa sī ke-bóe-chiú, móa-móa sī tán sió-hùi ê cha-po͘ ho̍k-bū-oân, móa-móa sī ōe-gí kau-tâm, móa-móa koh móa-móa ê sī ji̍t-kng, móa-móa sī Venice ê khì-bī, móa-móa sī chi̍t-chûn chi̍t-chûn ê chhì-pho, móa-móa sī si-á moa-kin, móa-móa sī ná tōa-tè gû-pâi ê si-koe pâi tī hòe-kè; móa-móa sī gô͘-lo̍k, sì-kè lóng móa-móa sī gô͘-lo̍k!
Connie hām Hilda chhēng yin ê joa̍h-thiⁿ iûⁿ-chong sì-kè se̍h. Yin bat tio̍h chin chē lâng, chin chē lâng mā bat tio̍h yin. Michaelis ná bô siū hoan-gêng ê lâng chhut-hiān tī bīn-chêng: "Halô! Lín tòa toh? Lâi chia̍h chi̍t-poe ais-krim a̍h siáⁿ! Hām góa chē góa ê gondola lâi khì tó-ūi se̍h-se̍h leh." Sīm-chì Michaelis mā pha̍k-âng: sui-bóng kóng pha̍k-se̍k tian-tò khah sek-ha̍p hit-chióng lâng bah tui ê kéng-tì.
Bó͘ hong-bīn lâi kóng, he sī hoaⁿ-hí. Chha-put-to sī hiáng-siū ê tāi-chì. M̄-koh, lim ke-bóe-chiú, tó tī sio-chúi nih hām tó tī sio soa pha̍k ji̍t-thâu, tī un-loán ê àm-mê hām bó͘-lâng tu pak-tó͘ thiàu jazz-bú, chia̍h peng thè sio, che oân-choân hō͘ lâng bâ-chùi. Che tō sī yin só͘ su-iàu ê, bâ-io̍h: bān-lâu ê chúi, sī bâ-io̍h; ji̍t-thâu, sī bâ-io̍h; jazz, sī bâ io̍h; hun, ke-bóe-chiú, peng, vermouth-chiú téng-téng lóng sī. Bâ-chùi lah! Hiáng-siū lah! Hiáng-siū lah!
Hilda pòaⁿ kah-ì bâ-chùi. Yi kah-ì khòaⁿ só͘-ū ê cha-bó͘, ioh yin ê tāi-chì. Cha-bó͘ tùi cha-bó͘ chóng-sī ū chhim-chhim ê hèng-chhù. Yi ū-kàu súi! bat tiò tio̍h siáⁿ-khoán cha-po͘? yi ū tit-tio̍h siáⁿ thiòng-lo̍k? ... Cha-po͘ tō ná chhēng jiông-á khò͘ ê tōa káu, tán lâng kā phok, tán boeh tîⁿ-tòe, tán boeh tī jazz im-ga̍k tiong iōng pak-tó͘ tu bó͘ chi̍t-ê cha-bó͘ ê pak-tó͘.
Hilda kah-ì jazz, in-ūi yi ē-tàng kā yi ê pak-tó͘ tah hiòng bó͘ chi̍t-ê só͘-ūi ê cha-po͘ ê pak-tó͘, hō͘ i ùi pak-lāi khòng-chè yi ê tōng-chok, tī tē-pán siōng se̍h lâi se̍h khì, án-ne, yi ē-tàng pàng khin-sang, bián chhap "hit-ê oa̍h-bu̍t". I chí-sī hō͘ lâng lī-iōng khì niā-niā. Khó-liân ê Connie chiâⁿ bô hoaⁿ-hí. Yi m̄ thiàu jazz-bú, in-ūi yi tō sī m̄-goān kā yi ê pak-tó͘ tah hiòng bó͘-chióng "oa̍h-bu̍t" ê pak-tó͘. Yi oàn-hūn chiah-ê tī Lido téng-koân kiông-boeh bô chhēng-saⁿ ê bah-thé ê chi̍p-ha̍p: chia ê chúi chha-put-to bô kàu kā in lóng ùn-tâm. Yi bô kah-ì Alexander Sià kap Cooper Hj. Yi bô-ài Michaelis a̍h-sī jīm-hô lâng kā yi tòe tiâu-tiâu.
Siōng hoaⁿ-hí ê sî-kan sī, tng yi ē-tàng chio Hilda hām yi kò-chûn kòe chhián-ô͘, hn̄g-hn̄g lâi kàu bó͘ chi̍t-ê phiah-chēng ê ô͘-hōaⁿ, kā gondola thêng tī ta-chio̍h ê lāi-té hiòng, án-ne yin tō ē-tàng ko͘-to̍k tī hia sé chúi-e̍k ah.
Hit-sî, Giovanni ke chhiàⁿ chi̍t-ê chûn-hu lâi tàu-kha-chhiú, in-ūi lō͘-tô͘ chin hn̄g, pha̍k-ji̍t hō͘ i kōaⁿ lâu bē-thêng. Giovanni lâng chin hó: i ū Italia lâng ê chhin-chhiat, koh bē siuⁿ jia̍t-chêng. Italia lâng lóng bē siuⁿ jia̍t-chêng: jia̍t-chêng chhim-chhim chhàng tio̍h. In kín kám-tōng, óng-óng chin chhin-chhiat, m̄-koh in chin chió ū jīm-hô bē-piàn ê jia̍t-chêng.
Chū án-ne, Giovanni í-keng choân-sim ho̍k-bū nn̄g-ūi hu-jîn, kòe khì i mā bat ho̍k-bū kòe bô-sò͘ ê hu-jîn. I mā oân-choân chún-pī hó kā sin-khu bē hō͘ yin, chí-iàu yin thiaⁿ ū i ê àm-sī: i su-té-hā hi-bāng yin ē su-iàu i. Yin ē hō͘ i tōa âng-pau, he tō tùi i chin hó iōng, in-ūi i tng-teh boeh kiat-hun. I kap yin kóng i ê hun-in, yin mā thiaⁿ kah chhù-bī kah.
I siūⁿ-kóng, chit-pái khì chhián-ô͘ hit-pêng phiah-chēng ê ô͘-hōaⁿ, khó-lêng piáu-sī ū thang thàn: thàn tō sī l’amore, tō sī chò-ài. Só͘-tì i chhiàⁿ chi̍t-ê chō͘-chhiú, in-ūi lō͘-tô͘ chin hn̄g; chóng-sī, yin ū nn̄g-ê thài-thài ah. Nn̄g-ê thài-thài, nn̄g bóe máka-hî (mackerel)! Ko-bêng ê sǹg-su̍t! Mā sī súi thài-thài ah! I thè yin kám-kak chin tek-ì. Sui-jiân hù-chîⁿ hām hoat bēng-lēng ê sī hit-ê tōa thài-thài, i khiok hi-bāng soán i lâi chò ài ê sī hit-ê siàu-liân hu-jîn. Yi mā ē hō͘ i khah chē ê chîⁿ.
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17.4 麻醉 lah! 享受 lah!
別莊 ê 宴會, 做一个宴會, 實在予人厭煩. M̄-koh 姻兩姊妹袂埋怨. 姻規工總是 tī 外口. 姻老爸 chhōa 姻去看展覽, 看幾 lō 英里無聊 ê 圖. 伊 chhōa 姻去 Lucchese 別莊 chhōe 所有伊 ê 老朋友, tī 溫暖 ê 暗頭坐 tī 廣場, 坐 tī Florian kapi 店 ê 一塊桌仔; 伊 mā chhōa 姻去劇場, 去看 Goldoni ê 戲劇. 遮有燈光明亮 ê 水上宴會, mā 有舞場. 遮是所有假期場所 ê 假期場所. Tī Lido, 規遍 chiâu 是日頭曝紅抑是 lom 睏衫 ê 身軀, 袂輸是規堆不盡 ê海豹起來交配 ê 沙灘. 廣場滿滿是人, Lido 滿滿是人 ê 四肢 kap 身軀. 滿滿是 gondola, 滿滿是 mohtà 船, 滿滿是蒸氣船, 滿滿是粉鳥, 滿滿是冰, 滿滿是雞尾酒, 滿滿是等小費 ê 查埔服務員, 滿滿是話語交談, 滿滿 koh 滿滿 ê 是日光, 滿滿是 Venice ê 氣味, 滿滿是一船一船 ê 刺波, 滿滿是絲仔幔巾, 滿滿是 ná 大塊牛排 ê 西瓜排 tī 貨架; 滿滿是娛樂, 四界攏滿滿是娛樂!
Connie 和 Hilda 穿姻 ê 熱天洋裝四界踅. 姻 bat 著真濟人, 真濟人 mā bat 著姻. Michaelis ná 無受歡迎 ê 人出現 tī 面前: "Halô! Lín 蹛佗? 來食一杯 ais-krim 抑啥! 和我坐我 ê gondola 來去佗位踅踅 leh." 甚至 Michaelis mā 曝紅: 雖罔講曝熟顛倒較適合彼種人肉堆 ê 景致.
某方面來講, 彼是歡喜. 差不多是享受 ê 代誌. M̄-koh, 啉雞尾酒, 倒 tī 燒水 nih 和倒 tī 燒沙曝日頭, tī 溫暖 ê 暗暝和某人 tu 腹肚跳 jazz 舞, 食冰退燒, 這完全予人麻醉. 這 tō 是姻所需要 ê, 麻藥: 慢流 ê 水, 是麻藥; 日頭, 是麻藥; jazz, 是麻藥; 薰, 雞尾酒, 冰, vermouth 酒等等攏是. 麻醉 lah! 享受 lah! 享受 lah!
Hilda 半佮意麻醉. 她佮意看所有 ê 查某, 臆姻 ê 代誌. 查某對查某總是有深深 ê 興趣. 她有夠媠! bat 釣著啥款查埔? 她有得著啥暢樂? ... 查埔 tō ná 穿絨仔褲 ê 大狗, 等人 kā 撲, 等欲纏綴, 等欲 tī jazz 音樂中用腹肚 tu 某一个查某 ê 腹肚.
Hilda 佮意 jazz, 因為她會當 kā 她 ê 腹肚貼向某一个所謂 ê 查埔 ê 腹肚, 予伊 ùi 腹內控制她 ê 動作, tī 地板上踅來踅去, án-ne, 她會當放輕鬆, 免 chhap "彼个活物". 伊只是予人利用去 niā-niā. 可憐 ê Connie 誠無歡喜. 她毋跳 jazz 舞, 因為她 tō 是毋願 kā 她 ê 腹肚貼向某種 "活物" ê 腹肚. 她怨恨 chiah-ê tī Lido 頂懸強欲無穿衫 ê 肉體 ê 集合: 遮 ê 水差不多無夠 kā in 攏搵澹. 她無佮意 Alexander Sià kap Cooper Hj. 她無愛 Michaelis 抑是任何人 kā 她綴牢牢.
上歡喜 ê 時間是, tng 她會當招 Hilda 和她划船過淺湖, 遠遠來到某一个僻靜 ê 湖岸, kā gondola 停 tī 礁石 ê 內底向, án-ne 姻 tō 會當孤獨 tī 遐洗水浴 ah.
彼時, Giovanni 加倩一个船夫來鬥跤手, 因為路途真遠, 曝日予伊汗流袂停. Giovanni 人真好: 伊有 Italia 人 ê 親切, koh 袂 siuⁿ 熱情. Italia 人攏袂 siuⁿ 熱情: 熱情深深藏著. In 緊感動, 往往真親切, m̄-koh in 真少有任何袂變 ê 熱情.
自 án-ne, Giovanni 已經全心服務兩位夫人, 過去伊 mā bat 服務過無數 ê 夫人. 伊 mā 完全準備好 kā 身軀賣予姻, 只要姻聽有伊 ê 暗示: 伊私底下希望姻會需要伊. 姻會予伊大紅包, 彼 tō 對伊真好用, 因為伊 tng-teh 欲結婚. 伊 kap 姻講伊 ê 婚姻, 姻 mā 聽 kah 趣味 kah.
伊想講, 這擺去淺湖彼爿僻靜 ê 湖岸, 可能表示有通趁: 趁 tō 是 l’amore, tō 是做愛. 所致伊倩一个助手, 因為路途真遠; 總是, 姻有兩个太太 ah. 兩个太太, 兩尾 máka 魚 (mackerel)! 高明 ê 算術! Mā 是媠太太 ah! 伊替姻感覺真得意. 雖然付錢和發命令 ê 是彼个大太太, 伊卻希望選伊來做愛 ê 是彼个少年夫人. 她 mā 會予伊較濟 ê 錢.
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17.4
The house-party, as a house-party, was distinctly boring. But this did not trouble the sisters. They were out all the time. Their father took them to the exhibition, miles and miles of weary paintings. He took them to all the cronies of his in the Villa Lucchese, he sat with them on warm evenings in the piazza, having got a table at Florian’s: he took them to the theatre, to the Goldoni plays. There were illuminated water-fêtes, there were dances. This was a holiday-place of all holiday-places. The Lido, with its acres of sun-pinked or pyjamaed bodies, was like a strand with an endless heap of seals come up for mating. Too many people in the piazza, too many limbs and trunks of humanity on the Lido, too many gondolas, too many motor-launches, too many steamers, too many pigeons, too many ices, too many cocktails, too many menservants wanting tips, too many languages rattling, too much, too much sun, too much smell of Venice, too many cargoes of strawberries, too many silk shawls, too many huge, raw-beef slices of watermelon on stalls: too much enjoyment, altogether far too much enjoyment!
Connie and Hilda went around in their sunny frocks. There were dozens of people they knew, dozens of people knew them. Michaelis turned up like a bad penny. ‘Hullo! Where you staying? Come and have an ice-cream or something! Come with me somewhere in my gondola.’ Even Michaelis almost sun-burned: though sun-cooked is more appropriate to the look of the mass of human flesh.
It was pleasant in a way. It was ALMOST enjoyment. But anyhow, with all the cocktails, all the lying in warmish water and sunbathing on hot sand in hot sun, jazzing with your stomach up against some fellow in the warm nights, cooling off with ices, it was a complete narcotic. And that was what they all wanted, a drug: the slow water, a drug; the sun, a drug; jazz, a drug; cigarettes, cocktails, ices, vermouth. To be drugged! Enjoyment! Enjoyment!
Hilda half liked being drugged. She liked looking at all the women, speculating about them. The women were absorbingly interested in the women. How does she look! what man has she captured? what fun is she getting out of it?—The men were like great dogs in white flannel trousers, waiting to be patted, waiting to wallow, waiting to plaster some woman’s stomach against their own, in jazz.
Hilda liked jazz, because she could plaster her stomach against the stomach of some so-called man, and let him control her movement from the visceral centre, here and there across the floor, and then she could break loose and ignore ‘the creature’. He had been merely made use of. Poor Connie was rather unhappy. She wouldn’t jazz, because she simply couldn’t plaster her stomach against some ‘creature’s’ stomach. She hated the conglomerate mass of nearly nude flesh on the Lido: there was hardly enough water to wet them all. She disliked Sir Alexander and Lady Cooper. She did not want Michaelis or anybody else trailing her.
The happiest times were when she got Hilda to go with her away across the lagoon, far across to some lonely shingle-bank, where they could bathe quite alone, the gondola remaining on the inner side of the reef.
Then Giovanni got another gondolier to help him, because it was a long way and he sweated terrifically in the sun. Giovanni was very nice: affectionate, as the Italians are, and quite passionless. The Italians are not passionate: passion has deep reserves. They are easily moved, and often affectionate, but they rarely have any abiding passion of any sort.
So Giovanni was already devoted to his ladies, as he had been devoted to cargoes of ladies in the past. He was perfectly ready to prostitute himself to them, if they wanted hint: he secretly hoped they would want him. They would give him a handsome present, and it would come in very handy, as he was just going to be married. He told them about his marriage, and they were suitably interested.
He thought this trip to some lonely bank across the lagoon probably meant business: business being L’AMORE, love. So he got a mate to help him, for it was a long way; and after all, they were two ladies. Two ladies, two mackerels! Good arithmetic! Beautiful ladies, too! He was justly proud of them. And though it was the Signora who paid him and gave him orders, he rather hoped it would be the young milady who would select him for L’AMORE. She would give more money too.
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