7.2 我 kā 恁介紹

7.2 Góa  kā lín kài-siāu

Góa chin chē pêng-iú lóng chù-ì tio̍h i lâu hō͘ góa chin te̍k-pia̍t ê ìn-siōng, tng in chai-iáⁿ chit ê lâu hō͘ góa te̍k-pia̍t ìn-siōng ê lâng sī siáng ê sî, in lóng kám-kak chin hó-sńg.

Tē-it kái góa khòaⁿ tio̍h i, sī tī Bourse Kóng-tiûⁿ ê sî-chong tiàm Susse gōa-kháu; chi̍t chiah hian-kòa ê bé-chhia thêng tī hia, chi̍t ê chhēng pe̍h-saⁿ ê cha-bó͘ ùi chhia-téng lo̍h-lâi. I kiâⁿ-ji̍p tiàm-lāi ê sî, ín-khí chi̍t chūn kē-siaⁿ ê chàn-thàn. Khòaⁿ tio̍h i, góa ná tèng tiâu tī thô͘-kha, ùi i ji̍p-khì kàu i chhut-lâi, góa lóng bô sóa tín-tāng. Thàu kòe tiàm ê thang-á, góa ē-tàng khòaⁿ i kéng boeh bé ê mi̍h-kiāⁿ. Pún-lâi góa mā ē-sái ji̍p-khì, m̄-koh góa bô táⁿ. Góa m̄-chai i sī siáng, khióng-kiaⁿ góa nā ji̍p-khì i ē ioh tio̍h góa ê ì-sù tō ē bô hoaⁿ-hí. Hit sî, góa m̄-chai góa kám ē koh tú tio̍h i.

I ê chhēng-chhah chin ko-sióng; chhēng kún móa hoe-piⁿ ê po̍h mî-pò͘ tn̂g-kûn, keng-thâu phi Indo moa-kin, sì-kak lóng ū kim-sòaⁿ kap si-á siù ê hoe, thâu-khak tì chháu-bō-á, koh kòa chhiú-khoân kap chi̍t tiâu hit sî tú khai-sí sî-kiâⁿ ê chho͘-kim phōa-liān.

I koh peh chiūⁿ i ê bé-chhia, lī-khui ah. Tiàm mn̂g-kháu chi̍t ê tiàm-oân khiā tī hia khòaⁿ chit ê ko-sióng ê kò͘-kheh ê bé-chhia. Góa kiâⁿ óa khì, mn̄g i hit ê hu-jîn kiò siáⁿ miâ.

"He sī Marguerite Gautier Sc," i kóng. Góa m̄-káⁿ mn̄g i ê tē-chí, tō án-ne lī-khui ah.

Chit ê chêng-kéng tō ná-chhiūⁿ chin chē hō͘ góa khòaⁿ kòe pàng bē tiāu ê hoàn-kéng, it-ti̍t lâu tī góa ê náu nih, chū án-ne góa khai-sí sì-kè teh chhōe chit ê chhēng pe̍h-saⁿ ko-kùi ê bí-lē cha-bó͘.

Kúi kang í-āu, Comique Kio̍k-tiûⁿ ū tōa kong-ián. Tī hiah-ê pau-siuⁿ nih, góa tē-it ê khòaⁿ tio̍h ê tō sī Marguerite Gautier.

Kap góa tâng-chê khì ê hit ê siàu-liân chi̍t khòaⁿ tō jīn-chhut i, kiò chhut i ê miâ, kă kóng: "Lí khòaⁿ hit ê súi ko͘-niû."

Hit ê sî-chūn, Marguerite tú-hó the̍h i ê tiàu-kiàⁿ khòaⁿ tùi goán chia lâi, khòaⁿ tio̍h goán pêng-iú, i chhiò chi̍t-ē, ia̍t-chhiú kiò i kòe-khì i hia.

"Góa kòe kap i phah chi̍t ê chio-ho͘," i kóng, "sûi tō tńg-lâi."

Góa kìm bē-tiâu soah kóng "Lí chiâⁿ hó-ūn!"

"Án-chóaⁿ kóng?"

"Ē-tàng khì khòaⁿ hit ê cha-bó͘."

"Lí sī-m̄-sī ài tio̍h i ah?"

"Bô lah," góa bīn âng khí-lâi, m̄-chai boeh kóng siáⁿ; "m̄-koh góa chin siūⁿ boeh kap i sio-bat."

"Tòe góa lâi, góa kā lín kài-siāu."

"Seng mn̄g i, khòaⁿ hó bô."

"Lí si̍t-chāi ah, kap i m̄-bián hiah sè-jī; kiâⁿ lah."

I ê ōe hō͘ góa kám-kak khùn-jiáu. Góa khióng-kiaⁿ hoat-hiān kóng, Marguerite bô ta̍t-tit góa ūi i tāng kám-chêng.

Arphonse Karr ê chi̍t pún kiò "Ian-bū" (Am Rauchen) ê sió-soat nih, ū chi̍t àm, chi̍t ê cha-po͘ tòe chi̍t ê iu-ngá ê cha-bó͘, in-ūi i ê bí-lē hō͘ i chi̍t khòaⁿ tō ài tio̍h. Ūi tio̍h boeh chim chit ê cha-bó͘ ê chhiú, i kám-kak i ū chip-hêng it-chhè ê le̍k-liōng, chiàn-iâⁿ it-chhè ê ì-chì, khek-ho̍k it-chhè ê ióng-khì. M̄-koh, i soah m̄-káⁿ khòaⁿ i ūi tio̍h làm-thô͘ láng kûn-ki só͘ hiān chhut-lâi ê kha āu-teⁿ. Tng i teh bāng-sióng án-chóaⁿ chò chiah ē-tàng tit-tio̍h chit ê cha-bó͘ ê sî, cha-bó͘ soah tī ke-lō͘ ê oat-kak tòng-tiām, mn̄g i sī-m̄-sī boeh kap i khì in tau. I sûi oa̍t-thâu, kiâⁿ-kòe ke-lō͘, chin sit-chì tò-tńg i ka-tī ê chhù.

Góa siūⁿ tio̍h chit ê kò͘-sū, in-ūi pún-lâi góa siūⁿ boeh ūi chit ê cha-bó͘ chia̍h-khó͘, só͘-í góa kiaⁿ i siuⁿ kín tō chiap-la̍p góa, m̄-sī góa só͘ siat-siūⁿ ê kú-kú tán-thāi a̍h-sī tōa-tōa hi-seng chiah lâi tit-tio̍h i ê ài. Lán cha-po͘-lâng tō-sī án-ne kau-koài, lán thâu-khak só͘ siūⁿ ê nā hù-ū si-ì, bah-thé ê io̍k-bōng nā thè-niū hō͘ lêng-hûn ê bōng-sióng, án-ne lán tō kám-kak hēng-hok. Nā ū-lâng kǎ kóng, lí e-àm ē-sái tit-tio̍h chit ê cha-bó͘, tān-sī bîn-á-chài lí tio̍h ài sí, góa ē-tàng chiap-siū. Nā ū-lâng kóng, lí hù 200 franc, i tō sī lí ê ài-jîn, che góa ē kī-choa̍t. Góa ē khàu-kah chin siong-sim, ná-chhiūⁿ gín-á chhéⁿ-lâi hoat-hiān i cha-àm bāng-tiong khòaⁿ tio̍h ê siâⁿ-pó í-keng siau-sit bô-chong ah.

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7.2 我 kā 恁介紹

我真濟朋友攏注意著伊留予我真特別 ê 印象, 當 in 知影這个留予我特別印象 ê 人是 siáng ê 時, in 攏感覺真好耍.

第一改我看著伊, 是 tī Bourse 廣場 ê 時裝店 Susse 外口; 一隻掀蓋 ê 馬車停 tī 遐, 一个穿白衫 ê 查某 ùi 車頂落來. 伊行入店內 ê 時, 引起一陣低聲 ê 讚嘆. 看著伊, 我 ná 釘牢 tī 塗跤, ùi 伊入去到伊出來, 我攏無徙振動. 透過店 ê 窗仔, 我會當看伊揀欲買 ê 物件. 本來我 mā 會使入去, 毋過我無膽. 我毋知伊是 siáng, 恐驚我 nā 入去伊會臆著我 ê 意思 tō 會無歡喜. 彼時, 我毋知我敢會 koh 拄著伊.

伊 ê 穿插真高尚; 穿滾滿花邊 ê 薄棉布長裙, 肩頭披 Indo 幔巾, 四角攏有金線 kap 絲仔繡 ê 花, 頭殼戴草帽仔, koh 掛手環 kap 一條彼時拄開始時行 ê 粗金 phoa̍h 鍊.

伊 koh peh 上伊 ê 馬車, 離開 ah. 店門口一个店員徛 tī 遐看這个高尚 ê 顧客 ê 馬車. 我行倚去, 問伊彼个夫人叫啥名.

"彼是 Marguerite Gautier 小姐," 伊講. 我毋敢問伊 ê 地址, tō án-ne 離開 ah.

這个情境 tō 若像真濟予我看過放袂掉 ê 幻景, 一直留 tī 我 ê 腦 nih, 自 án-ne 我開始四界 teh 揣這个穿白衫高貴 ê 美麗查某.

幾工以後, Comique 劇場有大公演. Tī hiah-ê 包廂 nih, 我第一个看著 ê tō 是 Marguerite Gautier.

Kap 我同齊去 ê 彼个少年一看 tō 認出伊, 叫出伊 ê 名, ka̋ 講: "你看彼个媠姑娘."

彼个時陣, Marguerite 拄好提伊 ê 召鏡看對阮遮來, 看著阮朋友, 伊笑一下, 擛手叫伊過去伊遐.

"我過 kap 伊拍一个招呼," 伊講, "隨 tō 轉來."

我禁袂牢煞講 "你誠好運!"

"按怎講?"

"會當去看彼个查某."

"你是毋是愛著伊 ah?"

"無 lah," 我面紅起來, 毋知欲講啥; "毋過我真想欲 kap 伊相捌."

"綴我來, 我 kā 恁介紹."

"先問伊, 看好無."

"你實在 ah, kap 伊毋免 hiah 細膩; 行 lah."

伊 ê 話予我感覺困擾. 我恐驚發現講, Marguerite 無值得我為伊動感情.

Arphonse Karr ê 一本叫 "煙霧" (Am Rauchen) ê 小說 nih, 有一暗, 一个查埔綴一个優雅 ê 查某, 因為伊 ê 美麗予伊一看 tō 愛著. 為著欲唚這个查某 ê 手, 伊感覺伊有執行一切 ê 力量, 戰贏一切 ê 意志, 克服一切 ê 勇氣. 毋過, 伊煞毋敢看伊為著湳塗 láng 裙裾所現出來 ê 跤後蹬. 當伊 teh 夢想按怎做才會當得著這个查某 ê 時, 查某煞 tī 街路 ê 斡角擋恬, 問伊是毋是欲 kap 伊去 in 兜. 伊隨越頭, 行過街路, 真失志倒轉伊家己 ê 厝.

我想著這个故事, 因為本來我想欲為這个查某食苦, 所以我驚伊 siuⁿ 緊 tō 接納我, 毋是我所設想 ê 久久等待抑是大大犧牲才來得著伊 ê 愛. 咱查埔人 tō 是 án-ne 狡怪, 咱頭殼所想 ê nā 富有詩意, 肉體 ê 慾望 nā 退讓予靈魂 ê 夢想, án-ne 咱 tō 感覺幸福. Nā 有人 kǎ 講, 你下暗會使得著這个查某, 但是明仔載你著愛死, 我會當接受. Nā 有人講, 你付 200 franc, 伊 tō 是你 ê 愛人, 這我會拒絕. 我會哭甲真傷心, 若像囡仔醒來發現伊昨暗夢中看著 ê 城堡已經消失無蹤 ah.

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7.2

It is certainly the fact that she made a very definite impression upon me, that many of my friends had noticed it and that they had been much amused when they saw who it was that made this impression upon me. 

The first time I ever saw her was in the Place de la Bourse, outside Susse's; an open carriage was stationed there, and a woman dressed in white got down from it. A murmur of admiration greeted her as she entered the shop. As for me, I was rivetted to the spot from the moment she went in till the moment when she came out again. I could see her through the shop windows selecting what she had come to buy. I might have gone in, but I dared not. I did not know who she was, and I was afraid lest she should guess why I had come in and be offended. Nevertheless, I did not think I should ever see her again. 

She was elegantly dressed; she wore a muslin dress with many flounces, an Indian shawl embroidered at the corners with gold and silk flowers, a straw hat, a single bracelet, and a heavy gold chain, such as was just then beginning to be the fashion. 

She returned to her carriage and drove away. One of the shopmen stood at the door looking after his elegant customer's carriage. I went up to him and asked him what was the lady's name. 

"Mademoiselle Marguerite Gautier," he replied. I dared not ask him for her address, and went on my way. 

The recollection of this vision, for it was really a vision, would not leave my mind like so many visions I had seen, and I looked everywhere for this royally beautiful woman in white. 

A few days later there was a great performance at the Opera Comique. The first person I saw in one of the boxes was Marguerite Gautier. 

The young man whom I was with recognised her immediately, for he said to me, mentioning her name: "Look at that pretty girl." 

At that moment Marguerite turned her opera-glass in our direction and, seeing my friend, smiled and beckoned to him to come to her. 

"I will go and say 'How do you do?' to her," he said, "and will be back in a moment." 

I could not help saying "Happy man!"

"Why?"

"To go and see that woman." 

"Are you in love with her?" 

"No," I said, flushing, for I really did not know what to say; "but I should very much like to know her." 

"Come with me. I will introduce you." 

"Ask her if you may." 

"Really, there is no need to be particular with her; come." 

What he said troubled me. I feared to discover that Marguerite was not worthy of the sentiment which I felt for her. 

In a book of Alphonse Karr entitles Am Rauchen, there is a man who one evening follows a very elegant woman, with whom he had fallen in love with at first sight on account of her beauty. Only to kiss her hand he felt that he had the strength to undertake anything, the will to conquer anything, the courage to achieve anything. He scarcely dares glance at the trim ankle which she shows as she holds her dress out of the mud. While he is dreaming of all that he would do to possess this woman, she stops at the corner of the street and asks if he will come home with her. He turns his head, crosses the street, and goes sadly back to his own house. 

I recalled the story, and, having longed to suffer for this woman, I was afraid that she would accept me too promptly and give me at once what I fain would have purchased by long waiting or some great sacrifice. We men are built like that, and it is very fortunate that the imagination lends so much poetry to the senses, and that the desires of the body make thus such concession to the dreams of the soul. If any one had said to me, You shall have this woman to-night and be killed tomorrow, I would have accepted. If any one had said to me, you can be her lover for ten pounds, I would have refused. I would have cried like a child who sees the castle he has been dreaming about vanish away as he awakens from sleep. 

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