2.2 人攏叫伊茶花女

2.2 Lâng lóng kiò i Tê-hoe-lú

Tī lān-í biô-siá ê iu-ngá ah-nn̄g bīn, an-khǹg nn̄g lúi o͘ ba̍k-chiu, tah-phòe oan-tō͘ tú-hó, ná-chhiūⁿ ōe--khí-lih ê nn̄g chōa ba̍k-bâi; iōng ba̍k-chiu-mo͘ jia ba̍k-chiu, hō͘ in khàm-lo̍h ê sî, tī hún-âng ê chhùi-phóe tâu-lo̍h in ê iáⁿ; biô chi̍t ê iù-siù, ti̍t-ti̍t ê phīⁿ, phīⁿ-khang sió-khòa hiàn-hiàn, ná-chhiūⁿ chiok hèng bah-thé lo̍k-thiòng ê seng-oa̍h; ōe chi̍t ê sì-chiàⁿ ê chhùi, chhùi-tûn iu-ngá, sió-khóa peh-khui, lō͘-chhut ná gû-leng hiah pe̍h ê chhùi-khí; kā phoe-hu chhat jiông-mn̂g iáu bô lâng bong-kòe ê chúi-bi̍t-thô ê sek, án-ne lí tùi chit ê bê-lâng ê bīn-māu tō ū tāi-khài ê ìn-siōng. O͘-sìm-sìm ê thâu-chang, m̄-koán sī thian-jiân ê a̍h-sī se--ê, khiû-kah ná pho-lōng, tī hia̍h-thâu hun-chò nn̄g chhok, khàm kòe kui-ê thâu-khak, kan-ta lō͘-chhut hīⁿ-chu kap kòa tī hia ê nn̄g lia̍p siám-kng ê soān-chio̍h, múi-lia̍p kè-ta̍t gō͘-chheng franc. Kòe hit chióng la-thian ê seng-oa̍h, Marguerite ná ē iáu hián-chhut ná chhù-lú, sīm-chì thian-chin ê bīn-iông, che lán mā m̄-chai, mā bô hoat-tō͘ chai.

Marguerite ū chi̍t tiuⁿ chiok chán ê ōe-siōng, sī Vidal kā ōe ê, mā kan-ta Vidal chiah ū hoat-tō͘ ōe-kah hiah sêng. I sí liáu, ū kúi-nā kang chit tiuⁿ tô͘ bat lâu tī góa chia. Tô͘ kap chin lâng ē-sái kóng sī kǎng-kāng, hō͘ góa tī chin chē só͘-chāi koh ē kì-tit i.

Pún chiong ū chi̍t kóa sè-chiat sī āu-lâi góa chiah chai ê, góa seng kā siá tī chia, án-ne lán kàu āu-piah kóng tio̍h i ê kò͘-sū ê sî, tō m̄-bián koh thê-khí.

Marguerite chóng-sī ē tē-it àm khì khòaⁿ hì, ta̍k àm i m̄-sī tī kio̍k-tiûⁿ tō sī tī bú-hōe. Nā ū sin kio̍k siōng-ián, i it-tēng ē chhut-hiān, chóng-sī chah saⁿ hāng mi̍h-kiāⁿ, khǹg tī i tī ē-chàn pau-siuⁿ ê tâi-á téng: khòaⁿ-hì ê tiàu-kiàⁿ, chi̍t pau kiām-sng-tiⁿ, kap chi̍t sok tê-hoe.

Chi̍t kò goe̍h nih ū jī-cha̍p gō͘ kang he tê-hoe sī pe̍h ê, gō͘ kang sī âng ê; bô lâng chai tê-hoe piàn sek ê ò-miāu, góa chí-sī án-ne siá, góa mā m̄-chai goân-in; in pêng-iú kap kio̍k-tiûⁿ ê lāu hì-bê lóng ū chù-ì tio̍h che. Tî liáu tê-hoe, bô lâng khòaⁿ kòe i chah kî-thaⁿ ê hoe. Tī i khì bé hoe ê hoe-tiàm, kiò Barjon Hu-jîn Hoe-tiàm, lâng lóng kiò i "Tê-hoe Lú," chit ê miâ chū án-ne piàn i ê.

Kap oa̍h-tāng tī Paris bó͘ chióng siā-kau khian ê lâng kāng-khoán, góa chai Marguerite bat kap siōng sin-phài ê chi̍t kóa siàu-liân-ke chò-hóe, che i mā kong-khai sêng-jīn, hiah-ê siàu-liân-ke mā ài ka-tī án-ne chhàu-tōaⁿ, khòaⁿ khí-lâi siang-hong lóng chin móa-ì. M̄-koh, thiaⁿ-kóng chū-chiông khì Bagnees tńg-lâi liáu-āu, i kap chi̍t ê gōa-kok kong-chiok tông-ki, chha-put-to ū saⁿ nî. Kong-chiok chin hó-gia̍h, to̍k-to̍k ài i chhiat-tn̄g kòe-khì ê seng-oa̍h, khòaⁿ khí-lâi i mā oân-choân chêng-goān án-ne.

Chit chân sū, lâng sī án-ne kǎ kóng ê: 1847 nî chhun-thiⁿ, Marguerite pēⁿ-kah chin tāng, i-seng hoan-hù i khì un-chôaⁿ khu liâu-ióng, i tō khì Bagneres. Pēⁿ-lâng tiong-kan ū chi̍t ê sī kong-chiok ê cha-bó͘-kiáⁿ; i m̄-nā ū kāng-khoán ê chèng-thâu, seⁿ-chò koh chin sêng Marguerite, ná-chhiūⁿ sī chí-mōe; kong-chiok sió-chiá í-keng sī hì-lô ê bóe-kî, tī Marguerite lâi bô kúi-kang tō sí ah. Kong-chiok ūi tio̍h boeh chiap-kīn i ê sim-koaⁿ íⁿ-á só͘ bâi-chòng ê thó͘-tē, kè-sio̍k lâu tī Bagneres.

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2.2 人攏叫伊茶花女

Tī 難以描寫 ê 優雅鴨卵面, 安囥兩蕊烏目睭, 搭配彎度拄好, 若像畫起 lih ê 兩 chōa 目眉; 用目睭毛 jia 目睭, 予 in 崁落 ê 時, tī 粉紅 ê 喙䫌投落 in ê 影; 描一个幼秀, 直直 ê 鼻, 鼻空小可 hiàn-hiàn, 若像足興肉體樂暢 ê 生活; 畫一个四正 ê 喙, 喙脣優雅,  小可 peh 開, 露出若牛奶 hiah 白 ê 喙齒; kā 皮膚漆絨毛猶無人摸過 ê 水蜜桃 ê 色, án-ne 你對這个迷人 ê 面貌 tō 有大概 ê 印象. 烏 sìm-sìm ê 頭鬃, 毋管是天然 ê 抑是梳 ê, 虯甲若波浪, tī 額頭分做兩撮, 崁過規个頭殼, 干焦露出耳珠 kap 掛 tī 遐 ê 兩粒閃光 ê 璇石, 每粒價值五千 franc. 過彼種 la-thian ê 生活, Marguerite ná 會猶顯出若處女, 甚至天真 ê 面容, 這咱 mā 毋知, mā 無法度知.

Marguerite 有一張足讚 ê 畫像, 是 Vidal kā 畫 ê, mā 干焦 Vidal 才有法度畫甲 hiah 成. 伊死了, 有幾若工這張圖 bat 留 tī 我遮. 圖 kap 真人會使講是 kăng 仝, 予我 tī 真濟所在 koh 會記得伊.

本章有一寡細節是後來我才知 ê, 我先 kā 寫 tī 遮, án-ne 咱到後壁講著伊 ê 故事 ê 時, tō 毋免 koh 提起.

Marguerite 總是會第一暗去看戲, 逐暗伊毋是 tī 劇場 tō 是 tī 舞會. Nā 有新劇上演, 伊一定會出現, 總是扎三項物件, 囥 tī 伊 tī 下層包廂 ê 台仔頂: 看戲 ê 召鏡, 一包鹹酸甜, kap 一束茶花.

一個月 nih 有二十五工彼茶花是白 ê, 五工是紅 ê; 無人知茶花變色 ê 奧妙, 我只是 án-ne 寫, 我 mā 毋知原因; in 朋友 kap 劇場 ê 老戲迷攏有注意著這. 除了茶花, 無人看過伊扎其他 ê 花. Tī 伊去買花 ê 花店, 叫 Barjon 夫人花店, 人攏叫伊 "茶花女," 這个名自 án-ne 變伊 ê.

Kap 活動 tī Paris 某種社交圈 ê 人仝款, 我知 Marguerite bat kap 上新派 ê 一寡少年家做伙, 這伊 mā 公開承認, hiah-ê 少年家 mā 愛家己 án-ne 臭彈, 看起來雙方攏真滿意. 毋過, 聽講自從去 Bagneres 轉來了後, 伊 kap 一个外國公爵同居, 差不多有三年. 公爵真好額, 獨獨愛伊切斷過去 ê 生活, 看起來伊 mā 完全情願 án-ne.
這層事, 人是 án-ne kǎ 講 ê: 1847 年春天, Marguerite 病甲真重, 醫生吩咐伊去溫泉區療養, 伊 tō 去 Bagneres. 病人中間有一个是公爵 ê 查某囝; 伊毋但有仝款 ê 症頭, 生做 koh 真成 Marguerite, 若像是姊妹; 公爵小姐已經是肺癆 ê 尾期, tī Marguerite 來無幾工 tō 死 ah. 公爵為著欲接近伊 ê 心肝穎仔所埋葬 ê 土地, 繼續留 tī Bagneres.

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2.2

Set, in an oval of indescribable grace, two black eyes, surmounted by eyebrows of so pure a curve that it seemed as if painted; veil these eyes with lovely lashes, which, when drooped, cast their shadow on the rosy hue of the cheeks; trace a delicate, straight nose, the nostrils a little open, in an ardent aspiration toward the life of the senses; design a regular mouth, with lips parted graciously over teeth as white as milk; colour the skin with the down of a peach that no hand has touched, and you will have the general aspect of that charming countenance. The hair, black as jet, waving naturally or not, was parted on the forehead in two large folds and draped back over the head, leaving in sight just the tip of the ears, in which there glittered two diamonds, worth four to five thousand francs each. How it was that her ardent life had left on Marguerite's face the virginal, almost childlike expression, which characterized it, is a problem which we can but state, without attempting to solve it. 

Marguerite had a marvellous portrait of herself, by Vidal, the only man whose pencil could do her justice. I had this portrait by me for a few days after her death, and the likeness was so astonishing that it has helped to refresh my memory in regard to some points which I might not otherwise have remembered. 

Some among the details of this chapter did not reach me until later, but I write them here so as not to be obliged to return to them when the story itself has begun. 

Marguerite was always present at every first night, and passed every evening either at the theatre or the ball. Whenever there was a new piece she was certain to be seen, and she invariably had three things with her on the ledge of her ground-floor box: her opera-glass, a bag of sweets, and a bouquet of camellias. 

For twenty-five days of the month the camellias were white, and for five they were red; no one ever knew the reason of this change of colour, which I mention though I can not explain it; it was noticed both by her friends and by the habitue's of the theatres to which she most often went. She was never seen with any flowers but camellias. At the florist's, Madame Barjon's, she had come to be called "the Lady of the Camellias," and the name stuck to her. 

Like all those who move in a certain set in Paris, I knew that Marguerite had lived with some of the most fashionable young men in society, that she spoke of it openly, and that they themselves boasted of it; so that all seemed equally pleased with one another. Nevertheless, for about three years, after a visit to Bagnees, she was said to be living with an old duke, a foreigner, enormously rich, who had tried to remove her as far as possible from her former life, and, as it seemed, entirely to her own satisfaction. 

This is what I was told on the subject. In the spring of 1847 Marguerite was so ill that the doctors ordered her to take the waters, and she went to Bagneres. Among the invalids was the daughter of this duke; she was not only suffering from the same complaint, but she was so like Marguerite in appearance that they might have been taken for sisters; the young duchess was in the last stage of consumption, and a few days after Marguerite's arrival she died. 

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