Tē
8 Chiong
8.1 Siūⁿ-tio̍h kap i kìⁿ-bīn ê phiat-pō͘
M̄-koh
(thêng chi̍t khùn liáu, Armand kè-sio̍k kóng), sui-bóng góa chai, góa iáu-koh
ài i, taⁿ góa kám-kak tùi ka-tī ū sìn-sim ah, góa siūⁿ boeh kā i piáu-sī ê
kî-tiong chi̍t hāng tō sī kóng, taⁿ góa pí i khah kian-kiông ah.
Ūi
tio̍h boeh tit-tio̍h sim-koaⁿ só͘ ài--ê, tàu-té lán ài chhái-chhú gōa-chē
pān-hoat, ài pian-chhut gōa-chē lí-iû ah!
Goá
bē-tàng lâu tī cháu-lông chia, góa sûi tńg-khì kio̍k-tiûⁿ lāi góa ê ūi, sì-kè
chhōe khòaⁿ i chē tī tó chi̍t ê pau-siuⁿ. I chē tī it-lâu ê pau-siuⁿ, kan-ta i
ka-tī niā-niā. Góa tú-chiah ū kóng kòe, i í-keng piàn ah, chhùi-kak bô
chá-chêng hit-chióng bô-iàu bô-kín ê bî-chhiò. I phòa-pēⁿ kòe, kàu taⁿ iáu-bōe
hó. Sui-jiân taⁿ sī sì--goe̍h, i iáu sī chhēng kôaⁿ-thiⁿ ê saⁿ, kui-sin pau
phôe-chháu tōa-i.
Góa
ba̍k-chiu bô-nih kim-kim kā khòaⁿ, soah ín-khí i ê chù-ì. I kă khòaⁿ chi̍t-ē,
koh the̍h tiàu-kiàⁿ khòaⁿ khah chin chi̍t-ē, ká-ná chhiūⁿ i bat góa, iū-koh bô
khak-tēng góa sī siáng, in-ūi tī i pàng-lo̍h tiàu-kiàⁿ ê sî, chhùi-kak
chhut-hiān bê-lâng ê ba-bún chhiò, ká-ná sī kî-thāi góa ē kā tìm-thâu, i seng
hôe chi̍t-ē lú-sèng ê lé-sò͘; m̄-koh góa lóng bô tín-tāng, án-ne khia i,
ná-chhiūⁿ kóng i ē-kì-tit góa, m̄-koh góa khiok m̄-bat i. I siūⁿ-kóng i jīn
m̄-tio̍h khì ah, kā thâu oa̍t-cháu.
Khai-bō͘
ah. Poaⁿ-hì ê sî, góa tiāⁿ-tiāⁿ khòaⁿ i, ta̍k-kái lóng bô khòaⁿ tio̍h i
jīn-chin teh khòaⁿ hì. Kāng-khoán, góa mā lóng bô chhù-bī khòaⁿ hì teh poaⁿ
siáⁿ, góa kan-ta choan-sim teh chù-ì i niā-niā, m̄-koh góa chin sió-sim, bô-ài
hō͘ i chai góa teh chù-ì i.
Chit
sî-chūn, góa khòaⁿ i ba̍k-chiu khòaⁿ hiòng tùi-bīn pau-siuⁿ; góa mā khòaⁿ
kòe-khì, he sī chi̍t ê góa chin se̍k ê cha-bó͘. Hit ê cha-bo͘ í-chêng mā sī
thàn-chia̍h--ê, bat siūⁿ boeh chò ián-oân, bô sêng-kong, āu-lâi, khò i tī Paris
se̍k-sāi ê sin-sî-tāi ê lâng, taⁿ khui chi̍t-keng sî-chong tiàm teh chò
seng-lí. Khòaⁿ tio̍h i, góa tō siūⁿ-tio̍h chi̍t ê kap Mariguerite kìⁿ-bīn ê
phiat-pō͘, tō thàn i khòaⁿ hiòng góa chia lâi ê sî, kā ia̍t-chhiú. Ná góa só͘
liāu, i ia̍t-chhiú kiò góa kòe-khì i ê pau-siuⁿ.
Prudence
Duvernoy (sî-chong tiàm thâu-ke-niû ê miâ) sī sì-cha̍p chhut-thâu ê pûi
cha-bó͘, m̄-bián siáⁿ-mih kau-chè tō ē-tàng ùi i hia thàm-thiaⁿ lí boeh
chai--ê, hô-hóng góa boeh chai ê tāi-chì sī hiah-nī kán-tan.
Góa
thàn ki-hōe tī i kap Marguerite teh sái ba̍k-bóe ê sî mn̄g i, "Lí teh
khòaⁿ siáng?"
"Marguerite
Gautier."
"Lí
bat i sioh?"
"Bat,
i sī góa ê ho̍k-chong kheh-hō͘, i mā sī goán chhù-piⁿ."
"Lí
kám tòa tī d'Antin Ke?"
"7
hō. I ê se-chng-pâng ê thang-á kap góa ê thang-á sio tùi-siòng."
"Ta̍k-ê
lóng kóng i chin súi."
"Lí
kám m̄-bat i?"
"M̄-bat,
m̄-koh góa siūⁿ boeh bat i."
"Góa
kiò i kòe-lâi lán ê pau-siuⁿ, hó bô?"
"M̄-hó,
siōng hó sī lí kā góa kài-siāu hō͘ i."
"Tī
in tau?"
"Tio̍h."
"Che
sió-khóa ū khùn-lân."
"Sī
án-chóaⁿ?"
"In-ūi
ū chi̍t ê ài chia̍h-chhò͘ ê kong-chiok teh kàm-hō͘ i."
"Kàm-hō͘?
chiâⁿ sîn-kî."
"Sī
ah, kàm-hō͘," Prudence hôe-tap. "Khó-liân ê lāu cha-po͘, chò
Marguerite ê chêng-hu khióng-kiaⁿ i bô kàu la̍t."
Chū
án-ne Prudence kă kóng Margurite kap kong-chiok tī Bagneres se̍k-sāi ê
keng-kòe.
--
第 8 章
8.1
毋過 (停一睏了, Armand 繼續講), 雖罔我知, 我猶閣愛伊, 今我感覺對家己有信心 ah, 我想欲 kā 伊表示 ê 其中一項 tō 是講, 今我比伊較堅強 ah.
為著欲得著心肝所愛 ê, 到底咱愛採取偌濟辦法, 愛編出偌濟理由 ah!
我袂當留 tī 走廊遮, 我隨轉去劇場內我 ê 位, 四界揣看伊坐 tī 佗一个包廂. 伊坐 tī 一樓 ê 包廂, 干焦伊家己 niā-niā. 我拄才有講過, 伊已經變 ah, 喙角無早前彼種無要無緊 ê 微笑. 伊破病過, 到今猶未好. 雖然今是四月, 伊猶是穿寒天 ê 衫, 規身包皮草大衣.
我目睭無 nih 金金 kā 看, 煞引起伊 ê 注意. 伊 kă 看一下, koh 提召鏡看較真一下, 敢若像伊捌我, 又 koh 無確定我是 siáng, 因為 tī 伊放落召鏡 ê 時, 喙角出現迷人 ê ba-bún 笑, 敢若是期待我會 kā tìm 頭, 伊先回一下女性 ê 禮數; 毋過我攏無振動, án-ne khia 伊, ná 像講伊會記得我, 毋過我卻毋捌伊. 伊想講伊認毋著去 ah, kā 頭越走.
開幕 ah. 搬戲 ê 時, 我定定看伊, 逐改攏無看著伊認真 teh 看戲. 仝款, 我 mā 攏無趣味看戲 teh 搬啥, 我干焦專心 teh 注意伊 niā-niā, 毋過我真小心, 無愛予伊知我 teh 注意伊.
這時陣, 我看伊目睭看向對面包廂; 我 mā 看過去, 彼是一个我真熟 ê 查某. 彼个查某以前 mā 是趁食 ê, bat 想欲做演員, 無成功, 後來, 靠伊 tī Paris 熟似 ê 新時代 ê 人, 今開一間時裝店 teh 做生理. 看著伊, 我 tō 想著一个 kap Mariguerite 見面 ê 撇步, tō 趁伊看向我遮來 ê 時, kā ia̍t 手. Ná 我所料, 伊 ia̍t 手叫我過去伊 ê 包廂.
Prudence Duvernoy (時裝店頭家娘 ê 名) 是四十出頭 ê 肥查某, 毋免啥物交際 tō 會當 ùi 伊遐探聽你欲知 ê, 何況我欲知 ê 代誌是 hiah-nī 簡單.
我趁機會 tī 伊 kap Marguerite teh 使目尾 ê 時問伊, "你 teh 看 siáng?"
"Marguerite Gautier."
"你捌伊 sioh?"
"捌, 伊是我 ê 服裝客戶, 伊 mā 是阮厝邊."
"你敢蹛 tī d'Antin 街?"
"7 號. 伊 ê 梳妝房 ê 窗仔 kap 我 ê 窗仔 sio 對相."
"逐个攏講伊真媠."
"你敢毋捌伊?"
"毋捌, 毋過我想欲捌伊."
"我叫伊過來咱 ê 包廂, 好無?"
"毋好, 上好是你 kā 我介紹予伊."
"Tī in 兜?"
"著."
"這小可有困難."
"是按怎?"
"因為有一个愛食醋 ê 公爵 teh 監護伊."
"監護? 誠神奇."
"是 ah, 監護," Prudence 回答. "可憐 ê 老查埔, 做 Marguerite ê 情夫恐驚伊無夠力."
自 án-ne Prudence kă 講 Margurite kap 公爵 tī Bagneres 熟似 ê 經過.
--
Chapter 8
8.1
However (continued Armand after a pause), while I knew myself to be still in love with her, I felt more sure of myself, and part of my desire to speak to Marguerite again was a wish to make her see that I was stronger than she.
How many ways does the heart take, how many reasons does it invent for itself, in order to arrive at what it wants!
I could not remain in the corridor, and I returned to my place in the stalls, looking hastily around to see what box she was in. She was in a ground-floor box, quite alone. She had changed, as I have told you, and no longer wore an indifferent smile on her lips. She had suffered; she was still suffering. Though it was April, she was still wearing a winter costume, all wrapped up in furs.
I gazed at her so fixedly that my eyes attracted hers. She looked at me for a few seconds, put up her opera-glass to see me better, and seemed to think she recognised me, without being quite sure who I was, for when she put down her glasses, a smile, that charming, feminine salutation, flitted across her lips, as if to answer the bow which she seemed to expect; but I did not respond, so as to have an advantage over her, as if I had forgotten, while she remembered. Supposing herself mistaken, she looked away.
The curtain went up. I have often seen Marguerite at the theatre. I never saw her pay the slightest attention to what was being acted. As for me, the performance interested me equally little, and I paid no attention to anything but her, though doing my utmost to keep her from noticing it.
Presently I saw her glancing across at the person who was in the opposite box; on looking, I saw a woman with whom I was quite familiar. She had once been a kept woman, and had tried to go on the stage, had failed, and, relying on her acquaintance with fashionable people in Paris, had gone into business and taken a milliner's shop. I saw in her a means of meeting with Marguerite, and profited by a moment in which she looked my way to wave my hand to her. As I expected, she beckoned to me to come to her box.
Prudence Duvernoy (that was the milliner's auspicious name) was one of those fat women of forty with whom one requires very little diplomacy to make them understand what one wants to know, especially when what one wants to know is as simple as what I had to ask of her.
I took advantage of a moment when she was smiling across at Marguerite to ask her, "Whom are you looking at?"
"Marguerite Gautier."
"You know her?"
"Yes, I am her milliner, and she is a neighbour of mine."
"Do you live in the Rue d'Antin?"
"No. 7. The window of her dressing-room looks on to the window of mine."
"They say she is a charming girl."
"Don't you know her?"
"No, but I should like to."
"Shall I ask her to come over to our box?"
"No, I would rather for you to introduce me to her."
"At her own house?"
"Yes.
"That is more difficult."
"Why?"
"Because she is under the protection of a jealous old duke."
"'Protection' is charming."
"Yes, protection," replied Prudence. "Poor old man, he would be greatly embarrassed to offer her anything else."
Prudence then told me how Marguerite had made the acquaintance of the duke at Bagneres.
--
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