17.9 Mellors āu lé-pài la̍k ē lī-khui
"Put-jî-kò, ta̍k-ê lóng teh thiaⁿ, góa mā kāng-khoán. Cha̍p-kúi nî chêng, it-poaⁿ ê lé-māu ē ah-lo̍h chit-chióng tāi-chì. M̄-koh taⁿ í-keng bô it-poaⁿ ê lé-māu, hiah-ê thòaⁿ-kang ê bó͘ chiâu bú-chong khí-lâi, kāu-bīn-phôe teh hoah-siaⁿ. Ū-lâng ē siūⁿ-kóng, 50 nî lâi tī Tevershall chhut-sì ê ta̍k-ê gín-á lóng sī sèng-thai, iah lán hiah-ê bô sìn-kàu ê hū-jîn-lâng ta̍k-ê lóng sī kim-sih-sih ê sèng-lú Joan d’Arc (貞德). Lán chit-ê khó-kèng ê la̍h-tiûⁿ khàn-siú soah ū [sek-chêng chok-ka Francois] Rabelais ê kháu-bī, che hō͘ i khòaⁿ khí-lâi pí [sat-jîn-mô͘ Dr. Hawley Harvey] Crippen koh-khah khó-phà. Lí nā siong-sìn só͘-ū hiah-ê êng-á-ōe, Tevershall chiah-ê lâng si̍t-chāi sī chi̍t-tīn hā-liû ê lâng.
"Put-jî-kò, mâ-hoân ê tāi-chì sī, khó-hūn ê Bertha Coutts m̄-nā kóng yi ka-tī ê keng-giām hām chia̍h-khó͘, yi koh sì-kè chhiàng-siaⁿ, kóng yi ū hoat-hiān yin ang bat tī chhun-sià "lâu" cha-bó͘, koh kóng kah ū-miâ ū-sèⁿ. Chū án-ne, kā kúi-nā ê ko-sióng ê miâ thoa-lo̍h làm-thô͘, hō͘ kui-ê tāi-chì piàn kah chiâⁿ kòe-hūn, tong-kio̍k í-keng tùi chit-ê cha-bó͘ hoat-chhut kìm-chè-lēng (injunction).
"In-ūi bô hoat-tō͘ kìm-chí hit-ê cha-bó͘ ji̍p chhiū-nâ, góa tio̍h chhiáⁿ Mellors kā tāi-chì kóng chheng-chhó. I hām pêng-siông kāng-khoán, kek chi̍t ê bô-sū-lâng ê khoán: bô, góa bô chhap lâng, m̄-koán lâng án-chóaⁿ kóng góa! Put-jî-kò, góa chin-chiàⁿ hoâi-gî, i èng-tong kám-kak ná bóe-liu hông kat tâng-kóng-á ê káu: sui-bóng i chin gâu am-khàm, ké-sian bô tâng-kóng-á tī hia. M̄-koh, góa thiaⁿ-kóng, i nā keng-kòe, chng nih ê cha-bó͘ tō kā gín-á kiò cháu, ká-ná i sī [sek-chêng tiat-ha̍k-ka] Marquis de Sade ê hòa-sin. I kè-sio̍k bīn-phôe kek kāu-kāu, m̄-koh góa khióng-kiaⁿ he tâng-kóng-á í-keng ân-ân pa̍k tī i ê bóe, i ê lāi-sim tō it-ti̍t kā ka-tī kóng, ná Don Rodrigo só͘ chhiùⁿ ê Spanga bîn-iâu: ‘Ah, góa hoān-chōe ê só͘-chāi, taⁿ kā tio̍h góa lah!’
"Góa mn̄g i kóng, i sī m̄-sī jīn-ûi i ē-tàng chò hó chhiū-nâ nih ê chit-bū, i kóng, i bô jīn-ûi i ū so͘-hut he. Góa kā i kóng, ū hit-ê cha-bó͘ lâi chhim-ji̍p chin thó-ià: che i kóng, i bô khoân thang kìm-chí yi lâi. Jiân-āu, góa kā àm-sī kóng, he kiàn-siàu-tāi lú lâi lú pháiⁿ-thiaⁿ. ‘Ái,’ i kóng. ‘Ta̍k-lâng tio̍h koán ka-tī ê sio-kàn-tāi, án-ne tō bē hèng thiaⁿ lâng kóng pa̍t-lâng ê êng-á-ōe.’
"I ê ōe tiong ū khó͘-siap, bô-gî he tiong-kan pau-hâm tio̍h pó-kùi ê sū-si̍t. Put-jî-kò, i ê kóng-hoat put-tān bô iù-siù, mā bô chun-tiōng. Góa koh kā i àm-sī, chū án-ne góa thiaⁿ tio̍h tâng-kóng-á siaⁿ koh hiáng. ‘Clifford Sià, lí chit-khoán chōng-hóng ê lâng eng-kai bē chek-pī góa kha-phāng-ē ū lān-pha.’
"Chiah-ê tāi-chì, chhìn-chhìn-chhái-chhái tùi lâng kóng, tong-jiân tùi i bô hó-chhù, iah bo̍k-su, hām Finley, hām Burroughs lóng jīn-ûi, siōng-hó sī kiò hit-lâng lī-khui.
"Góa mn̄g i, sī m̄-sī chin ê, i lâu cha-bó͘ tī chhun-sià, i kan-ta kóng: ‘Ai-ah, he hām lír ū ssⁿ koan-hē, Clifford Sià?’ Góa kā kóng, tī góa ê tē-sán téng-koân, góa put-chún ū a-cha ê tāi-chì, che i soah án-ne kă ìn: ‘Nā án-ne, lír siōng-hó kā só͘-ū cha-bó͘ ê chhùi thīⁿ khír-lâi.’ ... Tng góa pek mn̄g i ê chhun-sià seng-oa̍h ê sî, i kóng: ‘Tong-jiân lír ē-tàng chhòng kiàn-siàu-tāi, kóng óa hām óa ê káu-bó Flossie an-ná an-ná. Hia lír bô kóng tio̍h.’ Sū-si̍t siōng, kóng tio̍h chho͘-ló͘ koh bô-lé, bô lâng ē iâⁿ i.
"Góa mn̄g i, koh chhōe thâu-lō͘ sī m̄-sī hó chhōe. I kóng: ‘Lír nā boeh àm-sī kóng boeh kă sî thâu-lō͘, che tō ná nih-ba̍k hiah kán-tan.’ Só͘-í i chin sóng-khoài tō tah-èng āu lé-pài liáu tō ē lī-khui, mā chin goān-ì kā chi̍t-kóa sit-thâu ê mê-kak kau-tài hō͘ chi̍t-ê siàu-liân-ke Joe Chambers. Góa kā kóng, góa boeh tī i lī-khui ê sî ke hù i chi̍t goe̍h-ji̍t ê sin-súi. I kóng, góa siōng-hó sī kā góa ê chîⁿ lâu lo̍h-lâi, bián-tit góa liông-sim bē an-chēng. Góa mn̄g i, he sī siáⁿ ì-sù, i kóng: ‘Lír bô khiàm óa sáⁿ, Clifford Sià, só͘-í m̄-thang ke hù óa sáⁿ. Lír nā khòaⁿ góa sàn kah chhēng-saⁿ siuⁿ lâm-lūi, chò lír ti̍t-chiap kóng chhut-lâi.’
"Hó lah, taⁿ tāi-chì chóng sǹg sī kiat-sok ah. Hit ê cha-bó͘ í-keng lī-khui: goán mā m̄-chai yi khì toh: m̄-koh nā koh tī Tevershall chhut-hiān, yi tō ē hông lia̍h khì. Góa thiaⁿ-kóng, yi kiaⁿ-sí hông koaiⁿ, in-ūi yi tiāⁿ-tio̍h ē hông koaiⁿ. Mellors āu lé-pài la̍k ē lī-khui, chit-ê só͘-chāi chin kín tō ē koh hoe-ho̍k chèng-siông.
"Chhin-ài ê Connie, hiān-chú-sî lí nā kám-kak hoaⁿ-hí, lí tō tī Venice a̍h sī Sūi-se lâu kàu peh-goe̍h chhe, án-ne chò, góa ē hoaⁿ-hí lí m̄-bián poān tio̍h chit-chióng òe-sòe ê tāi-chì, chiah-ê kàu chit kò goe̍h té eng-tong tō lóng kòe-khì ah.
"Só͘-í lí chai, lán lóng sī chhim-hái ê koài-bu̍t, nā ū liông-hê kiâⁿ kòe thô͘-môe, tō ē kā chúi hut lô. Lán tio̍h kian-chhî iōng tiat-ha̍k ê kak-tō͘ lâi chiap-siū che."
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17.9 Mellors 後禮拜六會離開
"不而過, 逐个攏 teh 聽, 我 mā 仝款. 十幾年前, 一般 ê 禮貌會壓落這種代誌. M̄-koh 今已經無一般 ê 禮貌, hiah-ê 炭工 ê 某 chiâu 武裝起來, 厚面皮 teh 喝聲. 有人會想講, 50 年來 tī Tevershall 出世 ê 逐个囡仔攏是聖胎, iah 咱 hiah-ê 無信教 ê 婦人 lâng 逐个攏是金 sih-sih ê 聖女 Joan d’Arc (貞德). 咱這个可敬 ê 獵場看守煞有 [色情作家 Francois] Rabelais ê 口味, 這予伊看起來比 [殺人魔 Dr. Hawley Harvey] Crippen koh 較可怕. 你若相信所有 hiah-ê 閒仔話, Tevershall chiah-ê 人實在是一陣下流 ê 人.
"不而過, 麻煩 ê 代誌是, 可恨 ê Bertha Coutts m̄-nā 講她家己 ê 經驗和食苦, 她 koh 四界唱聲, 講她有發現姻翁 bat tī 村舍 "留" 查某, koh 講 kah 有名有姓. 自 án-ne, kā 幾若个高尚 ê 名拖落湳塗, 予規个代誌變 kah 誠過份, 當局已經對這个查某發出禁制令 (injunction).
"因為無法度禁止彼个查某入樹林, 我著請 Mellors kā 代誌講清楚. 伊 hām 平常仝款, 激一个無事人 ê 款: 無, 我無 chhap 人, 毋管人按怎講我! 不而過, 我真正懷疑, 伊應當感覺 ná 尾溜 hông 結銅管仔 ê 狗: 雖罔伊真 gâu 掩崁, 假仙無銅管仔 tī 遐. M̄-koh, 我聽講, 伊若經過, 庄 nih ê 查某 tō kā 囡仔叫走, ká-ná 伊是 [色情哲學家] Marquis de Sade ê 化身. 伊繼續面皮激厚厚, m̄-koh 我恐驚彼銅管仔已經絚絚縛 tī 伊 ê 尾, 伊 ê 內心 tō 一直 kā 家己講, ná Don Rodrigo 所唱 ê Spanga 民謠: ‘Ah, 我犯罪 ê 所在, 今咬著我 lah!’
"我問伊講, 伊是毋是認為伊會當做好樹林 nih ê 職務, 伊講, 伊無認為伊有疏忽彼. 我 kā 伊講, 有彼个查某來侵入真討厭: 這伊講, 伊無權通禁止她來. 然後, 我 kā 暗示講, 彼見笑代 lú 來 lú 歹聽. ‘Ái,’ 伊講. ‘逐人著管家己 ê sio-kàn 代, án-ne tō 袂興聽人講別人 ê 閒仔話.’
"伊 ê 話中有苦澀, 無疑彼中間包含著寶貴 ê 事實. 不而過, 伊 ê 講法不但無幼秀, mā 無尊重. 我 koh kā 伊暗示, 自 án-ne 我聽著銅管仔聲 koh 響. ‘Clifford Sià, 你這款狀況 ê 人應該袂責備我跤縫下有膦脬.’
"Chiah-ê 代誌, 凊凊采采對人講, 當然對伊無好處, iah 牧師, 和 Finley, 和 Burroughs 攏認為, 上好是叫彼人離開.
"我問伊, 是毋是真 ê, 伊留查某 tī 村舍, 伊干焦講: ‘Ai-ah, 彼和 lír 有 sáⁿ 關係, Clifford Sià?’ 我 kā 講, tī 我 ê 地產頂懸, 我不准有 a-cha ê 代誌, 這伊煞 án-ne kă 應: ‘若 án-ne, lír 上好 kā 所有查某 ê 喙紩 khír 來.’ ... 當我逼問伊 ê 村舍生活 ê 時, 伊講: ‘當然 lír 會當創見笑代, 講 óa 和 óa ê 狗母 Flossie an-ná an-ná. 遐 lír 無講著.’ 事實上, 講著粗魯 koh 無禮, 無人會贏伊.
"我問伊, koh 揣頭路是毋是好揣. 伊講: ‘Lír 若欲暗示講欲 kă 辭頭路, 這 tō ná nih 目 hiah 簡單.’ 所以伊真爽快 tō 答應後禮拜了 tō 會離開, mā 真願意 kā 一寡穡頭 ê 鋩角交代予一个少年家 Joe Chambers. 我 kā 講, 我欲 tī 伊離開 ê 時加付伊一月日 ê 薪水. 伊講, 我上好是 kā 我 ê 錢留落來, 免得我良心袂安靜. 我問伊, 彼是啥意思, 伊講: ‘Lír 無欠 óa sáⁿ, Clifford Sià, 所以毋通加付 óa sáⁿ. Lír 若看我 sàn kah 穿衫 siuⁿ lâm-lūi, 做 lír 直接講出來.’
"好 lah, 今代誌總算是結束 ah. 彼个查某已經離開: 阮 mā 毋知她去佗: m̄-koh 若 koh tī Tevershall 出現, 她 tō 會 hông 掠去. 我聽講, 她驚死 hông 關, 因為她定著會 hông 關. Mellors 後禮拜六會離開, 這个所在真緊 tō 會 koh 恢復正常.
"親愛 ê Connie, 現此時你若感覺歡喜, 你 tō tī Venice 抑是 Suise 留到八月初, án-ne 做, 我會歡喜你毋免 poān 著這種 òe-sòe ê 代誌, chiah-ê 到這個月底應當 tō 攏過去 ah.
"所以你知, 咱攏是深海 ê 怪物, 若有龍蝦行過塗糜, tō 會 kā 水 hut 濁. 咱著堅持用哲學 ê 角度來接受這."
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17.9
‘However, everybody listens: as I do myself. A dozen years ago, common decency would have hushed the thing. But common decency no longer exists, and the colliers’ wives are all up in arms and unabashed in voice. One would think every child in Tevershall, for the last fifty years, had been an immaculate conception, and every one of our nonconformist females was a shining Joan of Arc. That our estimable game-keeper should have about him a touch of Rabelais seems to make him more monstrous and shocking than a murderer like Crippen. Yet these people in Tevershall are a loose lot, if one is to believe all accounts.
‘The trouble is, however, the execrable Bertha Coutts has not confined herself to her own experiences and sufferings. She has discovered, at the top of her voice, that her husband has been ‘keeping’ women down at the cottage, and has made a few random shots at naming the women. This has brought a few decent names trailing through the mud, and the thing has gone quite considerably too far. An injunction has been taken out against the woman.
‘I have had to interview Mellors about the business, as it was impossible to keep the woman away from the wood. He goes about as usual, with his Miller-of-the-Dee air, I care for nobody, no not I, if nobody care for me! Nevertheless, I shrewdly suspect he feels like a dog with a tin can tied to its tail: though he makes a very good show of pretending the tin can isn’t there. But I heard that in the village the women call away their children if he is passing, as if he were the Marquis de Sade in person. He goes on with a certain impudence, but I am afraid the tin can is firmly tied to his tail, and that inwardly he repeats, like Don Rodrigo in the Spanish ballad: ‘Ah, now it bites me where I most have sinned!’
‘I asked him if he thought he would be able to attend to his duty in the wood, and he said he did not think he had neglected it. I told him it was a nuisance to have the woman trespassing: to which he replied that he had no power to arrest her. Then I hinted at the scandal and its unpleasant course. ‘Ay,’ he said. ‘Folks should do their own fuckin’, then they wouldn’t want to listen to a lot of clatfart about another man’s.’
‘He said it with some bitterness, and no doubt it contains the real germ of truth. The mode of putting it, however, is neither delicate nor respectful. I hinted as much, and then I heard the tin can rattle again. ‘It’s not for a man the shape you’re in, Sir Clifford, to twit me for havin’ a cod atween my legs.’
‘These things, said indiscriminately to all and sundry, of course do not help him at all, and the rector, and Finley, and Burroughs all think it would be as well if the man left the place.
‘I asked him if it was true that he entertained ladies down at the cottage, and all he said was: ‘Why, what’s that to you, Sir Clifford?’ I told him I intended to have decency observed on my estate, to which he replied: ‘Then you mun button the mouths o’ a’ th’ women.’—When I pressed him about his manner of life at the cottage, he said: ‘Surely you might ma’e a scandal out o’ me an’ my bitch Flossie. You’ve missed summat there.’ As a matter of fact, for an example of impertinence he’d be hard to beat.
‘I asked him if it would be easy for him to find another job. He said: ‘If you’re hintin’ that you’d like to shunt me out of this job, it’d be easy as wink.’ So he made no trouble at all about leaving at the end of next week, and apparently is willing to initiate a young fellow, Joe Chambers, into as many mysteries of the craft as possible. I told him I would give him a month’s wages extra, when he left. He said he’d rather I kept my money, as I’d no occasion to ease my conscience. I asked him what he meant, and he said: ‘You don’t owe me nothing extra, Sir Clifford, so don’t pay me nothing extra. If you think you see my shirt hanging out, just tell me.’
‘Well, there is the end of it for the time being. The woman has gone away: we don’t know where to: but she is liable to arrest if she shows her face in Tevershall. And I heard she is mortally afraid of gaol, because she merits it so well. Mellors will depart on Saturday week, and the place will soon become normal again.
‘Meanwhile, my dear Connie, if you would enjoy to stay in Venice or in Switzerland till the beginning of August, I should be glad to think you were out of all this buzz of nastiness, which will have died quite away by the end of the month.
‘So you see, we are deep-sea monsters, and when the lobster walks on mud, he stirs it up for everybody. We must perforce take it philosophically.’
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