9.3 換我來彈看覓

9.3 Ōaⁿ góa lâi tôaⁿ khòaⁿ-māi

Chit ê cha-bó͘ ū chi̍t chióng sûn-kiat. Lí ē-tàng tī i ê hòng-tōng nih khòaⁿ tio̍h i ê tan-sûn. I kiâⁿ-lō͘ tek-tiāⁿ, thé-thài jiû-nńg, lio̍h-á khui ê hún-âng phīⁿ-si̍t, ba̍k-chiu tōa-tōa, ba̍k-kheng sió-khóa o͘-chheⁿ, chāi-chāi piáu-hiān i ê jia̍t-chêng pún-sèng, sàn-hoat ín lâng chêng-io̍k ê phang-bī, tō ná Tang-hong ê phang-chúi-koàn, m̄-koán chūn gōa ân, chóng-sī sia̍p-chhut phang-khùi. Chóng-kóng, m̄-chai sī tan-sûn i ê khì-chit a̍h-sī hoat-sio ê khì-sek, chit ê cha-bó͘ ê ba̍k-chiu nih put-sî siám-sih tio̍h chêng-io̍k ê kng, ūi i eng-kai khì ài ê lâng ín-chún tio̍h thian-tông ê hiáng-siū. M̄-koh ài-kòe Marguerite ê lâng bô sǹg chāi-lāi, i ài-kòe ê lâng chi̍t ê mā bô.

Tī chit ê cha-bó͘ gín-á sin--siōng, bat sī chi̍t ê chhù-lú lûn-lo̍h chò kau-chè-hoe, koh sī chi̍t ê kau-chè-hoe piàn chò chi̍t ê siōng to-chêng, siōng sûn-kiat ê chhù-lú. Marguerite iáu ū chun-giâm kap to̍k-li̍p-sèng, chit nn̄g hāng kám-chêng nā siū-tio̍h siong-hāi, tō téng-î kiàn-siàu ê kám-kak. Góa siáⁿ lóng bô kóng; góa ê lêng-hûn ná-chhiūⁿ cháu-khì góa ê sim-koaⁿ, a̍h góa ê sim-koaⁿ ná-chhiūⁿ cháu-khì góa ê ba̍k-chiu.

"Án-ne kóng," i hut-jiân kóng, "sī lí tī góa phòa-pēⁿ ê sî lâi thàm-thiaⁿ góa ê pēⁿ-chêng?"

"Sī ah."

"Lí kám chai, che chiâⁿ chán! Góa ài án-chóaⁿ kám-siā lí?"

"Ín-chún góa tiāⁿ-tiāⁿ lâi khòaⁿ lí tō ē-sái lah."

"Sûi-sî hoan-gêng, tī ē-po͘ gō͘ tiám kàu la̍k tiám, a̍h-sī àm-sî cha̍p-it tiám kàu cha̍p-jī tiám. Ah, Gaston, lí tôaⁿ Iau Bú-khek (Invitation A la Valse)."

"Sī án-chóaⁿ?"

"Tē it, hō͘ góa hoaⁿ-hí, koh lâi, góa chóng-sī bô hoat-tō͘ ka-tī tôaⁿ che."

"Tah chi̍t pō͘-hūn lí bô hoat-tō͘ tôaⁿ?"

"Tē saⁿ tōaⁿ, ū koân pòaⁿ-im ê hit chat."

Gaston khiā khí-lâi kiâⁿ kàu kǹg-khîm chêng, khai-sí tôaⁿ Weber chò ê chit siú khek, ga̍k-phó͘ hian khui khǹg tī bīn-chêng.

Marguerite chi̍t chhiú hû kǹg-khîm, ba̍k-chiu tòe múi chi̍t ê im-hû, chhùi iōng kē-siaⁿ tòe leh chhiùⁿ. Tng Gaston tôaⁿ kàu i kóng ê hit chat ê sî, i chhiùⁿ chhut-siaⁿ, chéng-thâu-á tī kǹg-khîm téng tòe leh tāng:

" Do, re, mi, do, re, fa, mi, re; chia góa bē-hiáu tôaⁿ. Koh chi̍t piàn."

Gaston koh ùi thâu khai-sí, án-ne liáu Marguerite kóng:

"Ōaⁿ góa lâi tôaⁿ khòaⁿ-māi."

I chē hó khai-sí tôaⁿ; m̄-koh i he m̄-thiaⁿ-ōe ê chéng-thâu-á koh tī kî-tiong chi̍t ê im-hû tôaⁿ m̄-tio̍h khì.

"Ū-kàu kî-koài," tō ná gín-á leh, i án-ne kóng, "chit tōaⁿ góa ná ē tō sī tôaⁿ bē hó? Lí siong-sìn bô, ū-sî-chūn góa kui chá-khí tôaⁿ chit tōaⁿ liân tôaⁿ nn̄g tiám-cheng? Góa nā siūⁿ tio̍h hit ê pek-chiok m̄-bián ga̍k-phó͘ tō ē-tàng tôaⁿ-kah hiah-nī hó, góa siong-sìn tō sī án-ne góa chiah ē hiah-nī chheh i."

I koh khai-sí tôaⁿ, kiat-kó mā sī kāng-khoán.

"Weber, im-ga̍k, kap kǹg-khîm lóng khì sí hó lah!" i ná kiò ná kā ga̍k-phó͘ phiaⁿ khì pâng-keng hit pêng. "Góa boeh án-chóaⁿ liân-sòa tôaⁿ peh ê koân pòaⁿ im?" I siang-chhiú lám heng-chêng, ná khòaⁿ goán ná koh tǹg kha. I ê chhùi-phé âng kòng-kòng, chhùi-tûn khui-khui sió-khóa teh khām-sàu.

"Hó ah, hó ah" Prudence kóng, i kā bō-á chhái khí-lâi, ná tī kiàⁿ chêng chéng-lí thâu-chang, "i iáu-koh teh siū-khì ah, án-ne tùi i ka-tī m̄-hó. Lán lâi chia̍h siau-iā lah; góa iau-kah tit-boeh sí ah."

Marguerite khiú lêng-á, koh chē tī kǹg-khîm, chhùi nih hiⁿ chi̍t tiâu khin-khoài ê koa, he i tôaⁿ-kah chin se̍k-chhiú, lóng bô khùn-lân. Gaston mā bat chit tiâu koa, nn̄g ê tō chò-hóe chhiùⁿ.

"M̄-thang chhiùⁿ hit chióng hā-liû ê koa," góa án-ne pài-thok Marguerite.

"Oh, lí ū-kàu chèng-keng ê!" i kóng, ná chhiò ná chhun i ê chhiú hō͘ góa.

"M̄-sī ūi tio̍h góa, sī ūi tio̍h lí lah."

Marguerite chò chi̍t ê chhiú-sè, ná-chhiūⁿ kóng, "Oh, góa miâ-siaⁿ bái í-keng kú lah!"

Chit sî Nanine chhut-hiān.

"Siau-iā hó--boē?" Marguerite mn̄g i.

"Koh chi̍t-ē-á tō hó ah, hu-jîn."

"Ah, tio̍h," Prudence kă kóng, "lí iáu-bōe chham-koan; lâi, góa chhōa lí chham-koan chi̍t-ē."

Lí í-keng chai, tōa-thiaⁿ pò͘-tì-kah chiâⁿ sù-sī.

Marguerite kap goán tâng-chê; āu-lâi i chiah kiò Gaston kap i khì pn̄g-thiaⁿ khòaⁿ siau-iā khoán hó--boē.

--

9.3 換我來彈看覓

這个查某有一種純潔. 你會當 tī 伊 ê 放蕩 nih 看著伊 ê 單純. 伊行路得定, 體態柔軟, 略仔開 ê 粉紅鼻翼, 目睭大大, 目框小可烏青, 在在表現伊 ê 熱情本性, 散發引人情慾 ê 芳味, tō ná 東方 ê 芳水罐, 毋管捘偌絚, 總是洩出芳氣. 總講, 毋知是單純伊 ê 氣質抑是發燒 ê 氣色, 這个查某 ê 目睭 nih 不時閃爍著情慾 ê 光, 為伊應該去愛 ê 人允准著天堂 ê 享受. 毋過愛過 Marguerite ê 人無算在內, 伊愛過 ê 人一个 mā 無.

Tī 這个查某囡仔身上, bat 是一个處女淪落做交際花, koh 是一个交際花變做一个上多情, 上純潔 ê 處女. Marguerite 猶有尊嚴 kap 獨立性, 這兩項感情 nā 受著傷害, tō 等於見笑 ê 感覺. 我啥攏無講; 我 ê 靈魂若像走去我 ê 心肝, a̍h 我 ê 心肝若像走去我 ê 目睭.

"Án-ne 講," 伊忽然講, "是你 tī 我破病 ê 時來探聽我 ê 病情?"

"是 ah."

"你敢知, 這誠讚! 我愛按怎感謝你?"

"允准我定定來看你 tō 會使 lah."

"隨時歡迎, tī 下晡五點到六點, 抑是暗時十一點到十二點. Ah, Gaston, 你彈邀舞曲 (Invitation A la Valse)."

"是按怎?"

"第一, 予我歡喜, koh 來, 我總是無法度家己彈這."

"佗一部分你無法度彈?"

"第三段, 有懸半音 ê 彼節."

Gaston 徛起來行到鋼琴前, 開始彈 Weber 做 ê 這首曲, 樂譜掀開囥 tī 面前.

Marguerite 一手扶鋼琴, 目睭綴每一个音符, 喙用低聲綴 leh 唱. 當 Gaston 彈到伊講 ê 彼節 ê 時, 伊唱出聲, 指頭仔 tī 鋼琴頂綴 leh 動:

" Do, re, mi, do, re, fa, mi, re; 遮我袂曉彈. Koh 一遍."

Gaston koh ùi 頭開始, án-ne 了 Marguerite 講:

"換我來彈看覓."

伊坐好開始彈; 毋過伊彼毋聽話 ê 指頭仔 koh tī 其中一个音符彈毋著去.

"有夠奇怪," tō ná 囡仔 leh, 伊 án-ne 講, "這段我 ná 會 tō 是彈袂好? 你相信無, 有時陣我規早起彈這段連彈兩點鐘? 我 nā 想著彼个伯爵毋免樂譜 tō 會當彈甲 hiah-nī 好, 我相信 tō 是 án-ne 我才會 hiah-nī 慼伊."

伊 koh 開始彈, 結果 mā 是仝款.

"Weber, 音樂, kap 鋼琴攏去死好 lah!" 伊 ná 叫 ná kā 樂譜抨去房間彼爿. "我欲按怎連紲彈八个懸半音?" 伊雙手攬胸前, ná 看阮 ná koh tǹg 跤. 伊 ê 喙 phé 紅絳絳, 喙脣開開小可 teh khām 嗽.

"好 ah, 好 ah" Prudence 講, 伊 kā 帽仔採起來, ná tī 鏡前整理頭鬃, "伊猶 koh teh 受氣 ah, án-ne 對伊家己毋好. 咱來食宵夜 lah; 我 iau 甲得欲死 ah."

Marguerite 搝鈴仔, koh 坐 tī 鋼琴, 喙 nih hiⁿ 一條輕快 ê 歌, 彼伊彈甲真熟手, 攏無困難. Gaston mā 捌這條歌, 兩个 tō 做伙唱.

"毋通唱彼種下流 ê 歌," 我 án-ne 拜託 Marguerite.

"Oh, 你有夠正經 ê!" 伊講, ná 笑 ná 伸伊 ê 手予我.

"毋是為著我, 是為著你 lah."

Marguerite 做一个手勢, 若像講, "Oh, 我名聲䆀已經久 lah!"

這時 Nanine 出現.

"宵夜好未?" Marguerite 問伊.

"Koh 一下仔 tō 好 ah, 夫人."

"Ah, 著," Prudence kă 講, "你猶未參觀; 來, 我 chhōa 你參觀一下."

你已經知, 大廳布置甲誠四序.

Marguerite kap 阮同齊; 後來伊才叫 Gaston kap 伊去飯廳看宵夜款好未.

--

9.3

There was a kind of candour in this woman. You could see she was still in the virginity of vice. Her firm walk, her supple figure, her rosy, open nostrils, her large eyes, slightly tinged with blue, indicated one of those ardent natures which shed around them a sort of voluptuous perfume, like Eastern vials, which, close them as tightly as you will, still let some of their perfume escape. Finally, whether it was simple nature or a breath of fever, there passed from time to time in the eyes of this woman a glimmer of desire, giving promise of a very heaven for one whom she should love. But those who had loved Marguerite were not to be counted, nor those whom she had loved. 

In this girl there was at once the virgin whom a mere nothing had turned into a courtesan, and the courtesan whom a mere nothing would have turned into the most loving and the purest of virgins. Marguerite had still pride and independence, two sentiments which, if they are wounded, can be the equivalent of a sense of shame. I did not speak a word; my soul seemed to have passed into my heart and my heart into my eyes. 

"So," said she all at once, "it was you who came to inquire after me when I was ill?" 

"Yes."

"Do you know, it was quite splendid of you! How can I thank you for it?"

"By allowing me to come and see you from time to time." 

"As often as you like, from five to six, and from eleven to twelve. Now, Gaston, play the Invitation A la Valse." 

"Why?" 

"To please me, first of all, and then because I never can manage to play it myself." 

"What part do you find difficult?" 

"The third part, the part in sharps." 

Gaston rose and went to the piano, and began to play the wonderful melody of Weber, the music of which stood open before him. 

Marguerite, resting one hand on the piano, followed every note on the music, accompanying it in a low voice, and when Gaston had come to the passage which she had mentioned to him, she sang out, running her fingers along the top of the piano: 

"Do, re, mi, do, re, fa, mi, re; that is what I can not do. Over again." 

Gaston began over again, after which Marguerite said: 

"Now, let me try." 

She took her place and began to play; but her rebellious fingers always came to grief over one of the notes. 

"Isn't it incredible," she said, exactly like a child, "that I can not succeed in playing that passage? Would you believe that I sometimes spend two hours of the morning over it? And when I think that that idiot of a count plays it without his music, and beautifully, I really believe it is that that makes me so furious with him." 

And she began again, always with the same result. 

"The devil take Weber, music, and pianos!" she cried, throwing the music to the other end of the room. "How can I play eight sharps one after another?" She folded her arms and looked at us, stamping her foot. The blood flew to her cheeks, and her lips half opened in a slight cough. 

"Come, come," said Prudence, who had taken off her hat and was smoothing her hair before the glass, "you will work yourself into a rage and do yourself harm. Better come and have supper; for my part, I am dying of hunger." 

Marguerite rang the bell, sat down to the piano again, and began to hum over a very risky song, which she accompanied without difficulty. Gaston knew the song, and they gave a sort of duet. 

"Don't sing those beastly things," I said to Marguerite, imploringly. 

"Oh, how proper you are!" she said, smiling and giving me her hand. 

"It is not for myself, but for you." 

Marguerite made a gesture as if to say, "Oh, it is long since that I have done with propriety!" 

At that moment Nanine appeared. 

"Is supper ready?" asked Marguerite. 

"Yes, madame, in one moment." 

"Apropos," said Prudence to me, "you have not looked round; come, and I will show you." 

As you know, the drawing-room was a marvel. 

Marguerite went with us for a moment; then she called Gaston and went into the dining-room with him to see if supper was ready. 

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