17.5 Hoâi-īn hō͘ yi chi̍t-chióng hēng-hok ê bê-chùi
I chhōa lâi ê chō͘-chhiú kiò-chò Daniele. I m̄-sī chèng-sek ê gontola chûn-hu, só͘-tì i bô thàn-chia̍h ê khoán-sè. I sī sandola chûn-hu, sandola tō sī ùi hū-kīn tó-sū chài kóe-chí, chài lông-sán-phín lâi Venice ê tōa chiah chûn.
Daniele seⁿ-chò phiau-tì, koân koh hó thé-châi, îⁿ-îⁿ ê thâu-khak ū chhián-chang-sek ê khiû thâu-mo͘, phòe chi̍t-ê hó-khòaⁿ ê bīn, tō ná chi̍t chiah sai, koh ū nn̄g-lúi chhim-chhim ê nâ-sek ba̍k-chiu. I bô chhiūⁿ Giovanni hiah gâu phô͘, kāu-ōe, koh hèng-chiú. I tiām-tiām, chhut-la̍t chū-chāi kò-chûn, bē-su kan-ta i ka-tī tī chúi siōng. Thài-thài ná thài-thài leh, kap i bô koan-hē. I liân khòaⁿ to bô khòaⁿ yin. I khòaⁿ thâu-chêng.
I sī chi̍t-ê chiàⁿ lâm-chú, tng Giovanni lim siuⁿ chē chiú, kò bē hó-sè, tōa-chiúⁿ chhìn-chhái phiat ê sî, i tō sió-khóa siū-khì. I tō ná-chhiūⁿ Mellors hit-chióng bē chhut-bē ka-tī ê cha-po͘-kiáⁿ. Connie put-kìm khó-liân hit-ê hòng-tōng Giovanni ê bó͘. M̄-koh, Daniele ê bó͘, ē sī chi̍t-ê tiⁿ-bi̍t ê Venice bîn-kan hū-lú, hit-chióng hū-lú lán tī chit-ê ná bê-kiong ê siâⁿ-chhī ê iu-phiah só͘-chāi iáu khòaⁿ ē tio̍h, phok-sò͘ koh ná hoe kāng-khoán.
Ah, siong-sim tāi, cha-po͘ seng khai cha-bó͘, koh-lâi cha-bó͘ mā khai cha-po͘. Giovanni siàu-siūⁿ boeh bē-sin, siūⁿ kah ná káu teh lâu nōa, siūⁿ boeh bē-sin hō͘ cha-bó͘. Ūi tio̍h chîⁿ!
Connie khòaⁿ hn̄g-hn̄g ê Venice, hún-âng sek, kē-kē phû tī chúi-bīn. He sī chîⁿ khí ê, ūi chîⁿ khui-hoe, mā ūi chîⁿ sí-bông. Chîⁿ ê sí-bông! Chîⁿ, chîⁿ, chîⁿ, bē-sin kap sí-bông.
M̄-koh, Daniele iáu sī chi̍t-ê ē-tàng chū-ngó͘ tiong-chin ê cha-po͘. I bô chhēng gondola chûn-hu ê gōa-saⁿ: kan-ta chhēng chiam-chit ê té-saⁿ. I sió-khóa iá, m̄-jīn-su, ū chū-chun. I hō͘ pi-phí ê Giovanni só͘ chhiàⁿ, Giovanni khiok sī hō͘ nn̄g-ê cha-bó͘ só͘ chhiàⁿ. Tāi-chì tō sī án-ne! Tng Iâ-so͘ kī-choa̍t ok-mô͘ ê kim-chîⁿ ê sî, i lī-khui hit-ê ok-mô͘, ná-chhiūⁿ lī-khui chiáng-koán kui-ê chōng-hóng ê Iû-thài gîn-hâng-ka.
Connie hô͘-lí-hô͘-tô͘ ùi siám-sih ê ô͘-kng nih tńg-khì, hoat-hiān ū chhù nih siá lâi ê phe. Clifford tēng-sî siá-phe lâi. I chin gâu siá-phe: hiah-ê phe ē-sái the̍h khì ìn chò chheh. In-ūi án-ne, Connie mā kám-kak hiah-ê phe bô siáⁿ chhù-bī.
Yi seng-oa̍h tī ô͘-kng ê bê-chùi, tī chúi ê kiâm-bī, tī khong-kan, tī khang-hi, tī bô-pòaⁿ-hāng: m̄-koh kiān-khong, kiān-khong, oân-choân kiān-khong ê bê-chùi He hō͘ lâng hoaⁿ-hí, yi khì hō͘ khip-ín ji̍p-khì, m̄-koán it-chhè. Hô-hóng, yi í-keng ū sin-īn. Taⁿ yi chai-iáⁿ. Só͘-í, chióng-chióng ê bê-chùi: ji̍t-kng, ô͘ ê kiâm-bī, hái-chúi e̍k, tó tī soa-than, chhōe lê-á khak, phiau-liû, tī gondola phiau-liû chhut-khì, lóng in-ūi yi ê sin-īn tit-tio̍h oân-boán, hoâi-īn sī lēng-gōa chi̍t-chióng kiān-khong ê oân-boán, móa-ì koh bê-chùi.
Yi í-keng lâi Venice nn̄g lé-pài, yi boeh koh tòa 10 kang a̍h nn̄g lé-pài. Ji̍t-kng chiò kah hō͘ yi bē-kì-tit sî-kan, bah-thé kiān-khong ê oân-boán hō͘ yi koh-khah oân-choân bē-kì-tit. Yi sī tī chi̍t-chióng hēng-hok ê bê-chùi lāi-té.
Chit tiong-kan, chi̍t tiuⁿ Clifford ê phe kā yi phah-chhéⁿ.
"Lán chia mā ū chi̍t-tiûⁿ chāi-tē ê sió hong-pho. Thiaⁿ-kóng khàn-siú Mellors in gōa-chhut ê bó͘ tńg-lâi chhun-sià, hoat-hiān yi bô siū hoan-gêng. I khoán-khoán kiò yi chhut-khì, koh kā mn̂g só khí-lâi. Tān-sī, thiaⁿ-kóng, i ùi chhiū-nâ koh tńg-chhù ê sî, soah khòaⁿ tio̍h hit-ê chhâ-pê, sù-sù-sī-sī khùn tī i ê bîn-chhn̂g, kui-sin kng-liù-liù; a̍h-sī tio̍h kóng, kui-sin hiâu-teh-teh. Chóng-kóng, yi sī phah-phòa thang-á ji̍p-khì ê. Kì-jiân kóaⁿ bē cháu chit-ê bô siū hoan-gêng ê Venus chhut i ê siū, i tō niū yi, thiaⁿ kóng, i sóa khì tòa tī in lāu-bú tī Tevershall ê chhù. Chū án-ne, Stacks Gate ê Venus tòa tī chhun-sià, kóng he sī yin tau, iah Apollo soah tio̍h khì tòa tī Tevershall.
"Chiah-ê lóng sī thiaⁿ lâi ê, in-ūi Mellors pēng bô chhin-sin lâi kòe. Chiah-ê pún-tē pùn-sò lóng sī thiaⁿ Bolton Tt kóng ê, yi sī lán ê pùn-sò chiáu, lán ê chu-lō͘ (ibis), lán ê hèng chhàu-bah ê âng-thâu Bí-chiu lāi-hio̍h (turkey-buzzard). Góa koh kā lí kóng che, sī in-ūi yi ū án-ne kóng: hit-ê cha-bó͘ nā chhut-hiān, lán Hu-jîn tō bē koh khì chhiū-nâ lah!
"Góa kah-ì lí ōe Malcolm Sià ê tô͘: i ê pe̍h thâu-chang sûi hong chhoe, âng-gê ê bah-thé kng-iām-iām, liâu tī hái nih. Góa him-siān lí hia ê ji̍t-kng. Chia teh lo̍h-hō͘. M̄-koh góa bô him-siān Malcolm Sià pún-sèng hiah hèng hit-chióng ē siong sin-thé ê bah-io̍k. M̄-koh, che ha̍h i ê nî-kí. Hián-jiân, lâng lú lāu lú hèng-bah, mā lú chù-sí. Kan-ta siàu-liân-lâng chiah chai éng-seng ê chu-bī..."
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17.5 懷孕予她一種幸福 ê 迷醉
伊 chhōa 來 ê 助手叫做 Daniele. 伊毋是正式 ê gontola 船夫, 所致伊無趁食 ê 款勢. 伊是 sandola 船夫, sandola tō 是 ùi 附近島嶼載果子, 載農產品來 Venice ê 大隻船.
Daniele 生做標致, 懸 koh 好體材, 圓圓 ê 頭殼有淺棕色 ê 虯頭毛, 配一个好看 ê 面, tō ná 一隻獅, koh 有兩蕊深深 ê 藍色目睭. 伊無像 Giovanni hiah gâu phô͘, 厚話, koh 興酒. 伊恬恬, 出力自在划船, 袂輸干焦伊家己 tī 水上. 太太 ná 太太 leh, kap 伊無關係. 伊連看都無看姻. 伊看頭前.
伊是一个正男子, tng Giovanni 啉 siuⁿ 濟酒, 划袂好勢, 大槳凊彩撇 ê 時, 伊 tō 小可受氣. 伊 tō ná 像 Mellors 彼種袂出賣家己 ê 查埔囝. Connie 不禁可憐彼个放蕩 Giovanni ê 某. M̄-koh, Daniele ê 某, 會是一个甜蜜 ê Venice 民間婦女, 彼種婦女咱 tī 這个 ná 迷宮 ê 城市 ê 幽僻所在猶看會著, 樸素 koh ná 花仝款.
Ah, 傷心代, 查埔先開查某, koh 來查某 mā 開查埔. Giovanni 數想欲賣身, 想 kah ná 狗 teh 流瀾, 想欲賣身予查某. 為著錢!
Connie 看遠遠 ê Venice, 粉紅色, 低低浮 tī 水面. 彼是錢起 ê, 為錢開花, mā 為錢死亡. 錢 ê 死亡! 錢, 錢, 錢, 賣身 kap 死亡.
M̄-koh, Daniele 猶是一个會當自我長進 ê 查埔. 伊無穿 gondola 船夫 ê 外衫: 干焦穿針織 ê 短衫. 伊小可野, 毋認輸, 有自尊. 伊予卑鄙 ê Giovanni 所倩, Giovanni 卻是予兩个查某所倩. 代誌 tō 是 án-ne! Tng 耶穌拒絕惡魔 ê 金錢 ê 時, 伊離開彼个惡魔, ná 像離開掌管規个狀況 ê 猶太銀行家.
Connie hô͘-lí-hô͘-tô͘ ùi 閃爍 ê 湖光 nih 轉去, 發現有厝 nih 寫來 ê 批. Clifford 定時寫批來. 伊真 gâu 寫批: hiah-ê 批會使提去印做冊. 因為 án-ne, Connie mā 感覺 hiah-ê 批無啥趣味.
她生活 tī 湖光 ê 迷醉, tī 水 ê 鹹味, tī 空間, tī 空虛, tī 無半項: m̄-koh 健康, 健康, 完全健康 ê 迷醉彼予人歡喜, 她去予吸引入去, 毋管一切. 何況, 她已經有身孕. 今她知影. 所以, 種種 ê 迷醉: 日光, 湖 ê 鹹味, 海水浴, 倒 tī 沙灘, 揣螺仔殼, 漂流, tī gondola 漂流出去, 攏因為她 ê 身孕得著圓滿, 懷孕是另外一種健康 ê 圓滿, 滿意 koh 迷醉.
她已經來 Venice 兩禮拜, 她欲 koh 蹛 10 工抑兩禮拜. 日光照 kah 予她袂記得時間, 肉體健康 ê 圓滿予她 koh 較完全袂記得. 她是 tī 一種幸福 ê 迷醉內底.
這中間, 一張 Clifford ê 批 kā 她拍醒.
"咱遮 mā 有一場在地 ê 小風波. 聽講看守 Mellors in 外出 ê 某轉來村舍, 發現她無受歡迎. 伊款款叫她出去, koh kā 門鎖起來. 但是, 聽講, 伊 ùi 樹林 koh 轉厝 ê 時, 煞看著彼个柴耙, sù-sù-sī-sī 睏 tī 伊 ê 眠床, 規身光 liù-liù; 抑是著講, 規身嬈 teh-teh. 總講, 她是拍破窗仔入去 ê. 既然趕袂走這个無受歡迎 ê Venus 出伊 ê 岫, 伊 tō 讓她, 聽講, 伊徙去蹛 tī in 老母 tī Tevershall ê 厝. 自 án-ne, Stacks Gate ê Venus 蹛 tī 村舍, 講彼是姻兜, iah Apollo 煞著去蹛 tī Tevershall.
"Chiah-ê 攏是聽來 ê, 因為 Mellors 並無親身來過. Chiah-ê 本地糞埽攏是聽 Bolton Tt 講 ê, 她是咱 ê 糞埽鳥, 咱 ê 朱鷺 (ibis), 咱 ê 興臭肉 ê 紅頭美洲 lāi-hio̍h (turkey-buzzard). 我 koh kā 你講這, 是因為她有 án-ne 講: 彼个查某若出現, 咱夫人 tō 袂 koh 去樹林 lah!
"我佮意你畫 Malcolm Sià ê 圖: 伊 ê 白頭鬃隨風吹, 紅牙 ê 肉體光艷艷, liâu tī 海 nih. 我欣羨你遐 ê 日光. 遮 teh 落雨. M̄-koh 我無欣羨 Malcolm Sià 本性 hiah 興彼種會傷身體 ê 肉慾. M̄-koh, 這合伊 ê 年紀. 顯然, 人 lú 老 lú 興肉, mā lú 註死. 干焦少年人才知永生 ê 滋味..."
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17.5
The mate he brought was called Daniele. He was not a regular gondolier, so he had none of the cadger and prostitute about him. He was a sandola man, a sandola being a big boat that brings in fruit and produce from the islands.
Daniele was beautiful, tall and well-shapen, with a light round head of little, close, pale-blond curls, and a good-looking man’s face, a little like a lion, and long-distance blue eyes. He was not effusive, loquacious, and bibulous like Giovanni. He was silent and he rowed with a strength and ease as if he were alone on the water. The ladies were ladies, remote from him. He did not even look at them. He looked ahead.
He was a real man, a little angry when Giovanni drank too much wine and rowed awkwardly, with effusive shoves of the great oar. He was a man as Mellors was a man, unprostituted. Connie pitied the wife of the easily-overflowing Giovanni. But Daniele’s wife would be one of those sweet Venetian women of the people whom one still sees, modest and flower-like in the back of that labyrinth of a town.
Ah, how sad that man first prostitutes woman, then woman prostitutes man. Giovanni was pining to prostitute himself, dribbling like a dog, wanting to give himself to a woman. And for money!
Connie looked at Venice far off, low and rose-coloured upon the water. Built of money, blossomed of money, and dead with money. The money-deadness! Money, money, money, prostitution and deadness.
Yet Daniele was still a man capable of a man’s free allegiance. He did not wear the gondolier’s blouse: only the knitted blue jersey. He was a little wild, uncouth and proud. So he was hireling to the rather doggy Giovanni who was hireling again to two women. So it is! When Jesus refused the devil’s money, he left the devil like a Jewish banker, master of the whole situation.
Connie would come home from the blazing light of the lagoon in a kind of stupor, to find letters from home. Clifford wrote regularly. He wrote very good letters: they might all have been printed in a book. And for this reason Connie found them not very interesting.
She lived in the stupor of the light of the lagoon, the lapping saltiness of the water, the space, the emptiness, the nothingness: but health, health, complete stupor of health. It was gratifying, and she was lulled away in it, not caring for anything. Besides, she was pregnant. She knew now. So the stupor of sunlight and lagoon salt and sea-bathing and lying on shingle and finding shells and drifting away, away in a gondola, was completed by the pregnancy inside her, another fullness of health, satisfying and stupefying.
She had been at Venice a fortnight, and she was to stay another ten days or a fortnight. The sunshine blazed over any count of time, and the fullness of physical health made forgetfulness complete. She was in a sort of stupor of well-being.
From which a letter of Clifford roused her.
‘We too have had our mild local excitement. It appears the truant wife of Mellors, the keeper, turned up at the cottage and found herself unwelcome. He packed her off, and locked the door. Report has it, however, that when he returned from the wood he found the no longer fair lady firmly established in his bed, in PURIS NATURALIBUS; or one should say, in IMPURIS NATURALIBUS. She had broken a window and got in that way. Unable to evict the somewhat manhandled Venus from his couch, he beat a retreat and retired, it is said, to his mother’s house in Tevershall. Meanwhile the Venus of Stacks Gate is established in the cottage, which she claims is her home, and Apollo, apparently, is domiciled in Tevershall.
‘I repeat this from hearsay, as Mellors has not come to me personally. I had this particular bit of local garbage from our garbage bird, our ibis, our scavenging turkey-buzzard, Mrs Bolton. I would not have repeated it had she not exclaimed: her Ladyship will go no more to the wood if THAT woman’s going to be about!
‘I like your picture of Sir Malcolm striding into the sea with white hair blowing and pink flesh glowing. I envy you that sun. Here it rains. But I don’t envy Sir Malcolm his inveterate mortal carnality. However, it suits his age. Apparently one grows more carnal and more mortal as one grows older. Only youth has a taste of immortality—‘
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