26.4 Chè-chú kan-ta teh tán i sí
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2 goe̍h chhe 5.
Oh, Armand, lâi, lí lâi! Góa chin kan-khó͘; góa
tit-boeh sí ah, Oh, Thiⁿ ah! Cha-hng ū kàu chhi-chhám, boeh-àm góa bô boeh tiàm
chhù, góa boeh khì pa̍t-ūi, in-ūi góa khióng-kiaⁿ ē ná chêng-àm hiah-nī pháiⁿ
kòe. Chá-sî kong-chiok ū lâi. Góa bē-su nā khòaⁿ tio̍h chit ê Giâm-lô-ông
bē-kì-tit ê lāu-kâu tō ē khah kín sí.
Sui-jiân choân-sin sio-thǹg-thǹg, góa kiò in pang
góa chhēng-saⁿ, chhōa góa khì Vaudeville kio̍k-tiûⁿ. Julie thè góa sió-khóa
hòa-chong leh, nā bô, góa tō khòaⁿ tio̍h ná kiong-si. Góa chē tī tē-it kái kap
lí sio-iok ê pau-siuⁿ. It-ti̍t góa lóng teh khòaⁿ hit kang lí chē ê ūi, m̄-koh
chē hia ê sī chi̍t ê chng-kha bô͘-iūⁿ ê lâng, i it-ti̍t tòe ián-oân kóng ê
gōng-ōe chhiò. In koh chhōa góa tńg-lâi ê sî, góa í-keng pòaⁿ-sí ah. Kui-mê góa
lóng teh sàu, koh phùi-hoeh. Kin-á-ji̍t góa bô hoat-tō͘ kóng-ōe, chhiú mā kiông
boeh gia̍h bē khí-lâi. Thiⁿ ah! Góa ê Sîn ah! Goa tit-boeh sí ah! Góa chai, che
sī chá-bān, m̄-koh góa siūⁿ bē-kàu ē chhiūⁿ taⁿ hiah-nī kan-khó͘, nā sī....
Siá kàu chia, koh lo̍h-khì ê jī tō khòaⁿ bē
chheng-chhó͘ ah lah, koh-lâi ê lóng sī Julie Duprat só͘ siá ê.
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2 goe̍h 18.
Armand Sian-siⁿ:
Chū-chiông hit kang Marguerite kian-chhî boeh khì
kio̍k-tiûⁿ, i ê pēⁿ lú lâi lú tāng. I oân-choân bô-siaⁿ, kha-chhiú mā bô
hoat-tō͘ gia̍h-tāng. Chit ê khó-liân ê pêng-iú ê thòng-khó͘ sī bô hoat-tō͘ iōng
kóng ê. Góa m̄-bat siū-tio̍h chit-khoán chhì-kek, góa it-ti̍t lóng chin
kiaⁿ-hiâⁿ.
Lí nā tī chia tō hó lah! I it-ti̍t ū hoàn-kak;
m̄-koán i sī bîn-bāng a̍h-sī chheng-chhéⁿ, i nā ē-tàng kóng siáⁿ, tō kan-ta kiò
lí ê miâ niā-niā.
I-seng kă kóng, i koh oa̍h bô kú. Chū-chiông i pēⁿ
kah chiah tāng, kong-chiok tō bô koh lâi ah. I kā i-seng kóng, i put-jím-sim
khòaⁿ che.
Duvernoy Hj chò-lâng bô hó. Chit ê cha-bó͘ kòe-khì
ê khai-siau it-ti̍t lóng sī khò Marguerite, i siūⁿ-kóng ē-tàng ùi chia the̍h
chi̍t kóa chîⁿ, tō khì khiàm lâng chîⁿ bô hoat-tō͘ hêng, taⁿ hoat-hiān chit ê
chhù-piⁿ bô lō͘-iōng ah, i tō lóng bô koh lâi thàm i lah. Ta̍k lâng lóng teh
pàng-sak i. G Ss in-ūi chè-bū só͘ pek, koh tńg-khì London lah. Lī-khui
chìn-chêng, i ū koh phài-lâng sàng kóa chîⁿ lâi; i í-keng chīn-le̍k ah lah,
m̄-koh in koh tńg-lâi cha-hong mi̍h-kiāⁿ ah, chè-chú kan-ta sī teh tán i sí, tō
thang-hó phah-bē mi̍h-kiāⁿ lah.
Góa boeh iōng góa ê tām-po̍h-á chîⁿ kā chó͘-tòng,
m̄-koh chip-hêng-koaⁿ kă kóng, án-ne bô-hāu, i tio̍h kè-sio̍k cha-hong. In-ūi i
tio̍h sí, lêng-khó ta̍k-hāng lóng phah-bē tiāu, m̄-bián lâu hō͘ ka-cho̍k, i
chiông-lâi bô teh chiàu-kò͘ in, in mā m̄-bat lâi koan-sim i. Lí bē lí-kái chit
ê khó-liân ko͘-niû gōa-piáu kim-sih-sih, sī sí kah gōa chhi-chhám leh. Cha-hng
goán tō oân-choân bô chîⁿ ah lah. Óaⁿ-pôaⁿ, chu-pó, moa-kin, tt [téng-téng] lóng tǹg ah; chhun ê m̄-sī bē khì tō-sī cha-hong. Marguerite ê ì-sek iáu
chai-iaⁿ sì-piⁿ ê tāi-chì, i ê sin-khu, cheng-sîn, kah sim-koaⁿ lóng teh
chia̍h-khó͘. Ba̍k-sái sûi-lo̍h chhùi-phé, lí it-hiòng thiàⁿ-thàng ê bīn-iông
í-keng sán koh pe̍h chhi-chhi, lí khòaⁿ tio̍h mā bē-jīn-tit ah lah. I ū kau-tài
góa, tī i bô hoat-tō͘ siá-phe ê sî, tio̍h tī i bīn-chêng thè i siá hō͘ lí. I
ba̍k-chiu hiòng góa, m̄-koh khòaⁿ bē tio̍h góa; i ê ba̍k-chiu í-keng hō͘
lâi-lîm ê sí-bông só͘ jia-khàm; m̄-koh i ê chhùi ū bî-chhiò, góa chin
khak-tēng, i kui-ê su-sióng, kui-ê lêng-hûn lóng sī lí.
Ta̍k-kái nā ū-lâng khui-mn̂g, i ê ba̍k-chiu tō
siám-kng, i siūⁿ kóng lí lâi ah; tng i khòaⁿ tio̍h he m̄-sī lí, i bīn-sek tō
koh kan-khó͘, tō koh lâu chhìn-kōaⁿ, chhùi-phé tńg âng.
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26.4 債主干焦 teh 等伊死
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2 月初 5.
Oh, Armand, 來, 你來! 我真艱苦; 我得欲死 ah, Oh, 天 ah! 昨昏有夠悽慘, 欲暗我無欲踮厝, 我欲去別位, 因為我恐驚會 ná 前暗 hiah-nī 歹過. 早時公爵有來. 我袂輸 nā 看著這个閻羅王袂記得 ê 老猴 tō 會較緊死.
雖然全身燒燙燙, 我叫 in 幫我穿衫, chhōa 我去 Vaudeville 劇場. Julie 替我小可化妝 leh, nā 無, 我 tō 看著 ná 殭屍. 我坐 tī 第一改 kap 你相約 ê 包廂. 一直我攏 teh 看彼工你坐 ê 位, 毋過坐遐 ê 是一个庄跤模樣 ê 人, 伊一直綴演員講 ê 戇話笑. In koh
chhōa 我轉來 ê 時, 我已經半死 ah. 規暝我攏 teh 嗽, koh 呸血. 今仔日我無法度講話, 手 mā 強欲攑袂起來. 天 ah! 我 ê 神 ah! 我得欲死 ah! 我知, 這是早慢, 毋過我想袂到會像今 hiah-nī 艱苦, nā 是....
寫到遮, koh 落去 ê 字 tō 看袂清楚 ah lah, 閣來 ê 攏是 Julie
Duprat 所寫 ê.
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2 月 18.
Armand 先生:
自從彼工 Marguerite 堅持欲去劇場, 伊 ê 病愈來愈重. 伊完全無聲, 跤手 mā 無法度攑動. 這个可憐 ê 朋友 ê 痛苦是無法度用講 ê. 我 m̄-bat 受著這款刺激, 我一直攏真驚惶.
你 nā tī 遮 tō 好 lah! 伊一直有幻覺; 毋管伊是眠夢抑是清醒, 伊 nā 會當講啥, tō 干焦叫你 ê 名 niā-niā.
醫生 kă 講, 伊 koh 活無久. 自從伊病甲 chiah 重, 公爵 tō 無 koh 來 ah. 伊 kā 醫生講, 伊不忍心看這.
Duvernoy Hj 做人無好. 這个查某過去 ê 開銷一直攏是靠 Marguerite,
伊想講會當 ùi 遮提一寡錢, tō 去欠人錢無法度還, 今發現這个厝邊無路用 ah, 伊 tō 攏無 koh 來探伊 lah. 逐人攏 teh 放捒伊. G Ss 因為債務所迫, koh 轉去 London lah. 離開進前, 伊有 koh 派人送寡錢來; 伊已經盡力 ah lah, 毋過 in koh 轉來查封物件 ah, 債主干焦是 teh 等伊死, tō 通好拍賣物件 lah.
我欲用我 ê 淡薄仔錢 kā 阻擋, 毋過執行官 kă 講, án-ne 無效, 伊著繼續查封. 因為伊著死, 寧可逐項攏拍賣掉, 毋免留予家族, 伊從來無 teh 照顧 in, in mā m̄-bat 來關心伊. 你袂理解這个可憐姑娘外表金 sih-sih, 是死甲偌悽慘 leh. 昨昏阮 tō 完全無錢 ah lah. 碗盤, 珠寶, 幔巾, tt [等等] 攏當 ah; 賰 ê 毋是賣去 tō 是查封. Marguerite
ê 意識猶知影四邊 ê 代誌, 伊 ê 身軀, 精神, kah 心肝攏 teh 食苦. 目屎垂落喙䫌, 你一向疼痛 ê 面容已經瘦 koh 白 chhi-chhi, 你看著 mā 袂認得 ah lah. 伊有交代我, tī 伊無法度寫批 ê 時, 著 tī 伊面前替伊寫予你. 伊目睭向我, 毋過看袂著我; 伊 ê 目睭已經予來臨 ê 死亡所遮崁; 毋過伊 ê 喙有微笑, 我真確定, 伊規个思想, 規个靈魂攏是你.
逐改 nā 有人開門, 伊 ê 目睭 tō 閃光, 伊想講你來 ah; 當伊看著彼毋是你, 伊面色 tō koh 艱苦, tō koh 流凊汗, 喙䫌 轉紅.
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26.4
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February 5.
Oh, come, come, Armand! I suffer horribly; I am going to die, O God! I was so miserable yesterday that I wanted to spend the evening, which seemed as if it were going to be as long as the last, anywhere but at home. The duke came in the morning. It seems to me as if the sight of this old man, whom death has forgotten, makes me die faster.
Despite the burning fever which devoured me, I made them dress me and take me to the Vaudeville. Julie put on some rouge for me, without which I should have looked like a corpse. I had the box where I gave you our first rendezvous. All the time I had my eyes fixed on the stall where you sat that day, though a sort of country fellow sat there, laughing loudly at all the foolish things that the actors said. I was half dead when they brought me home. I coughed and spat blood all the night. To-day I can not speak, I can scarcely move my arm. My God! My God! I am going to die! I have been expecting it, but I can not get used to the thought of suffering more than I suffer now, and if--
After this the few characters traced by Marguerite were indecipherable, and what followed was written by Julie Duprat.
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February 18.
MONSIEUR ARMAND:
Since the day that Marguerite insisted on going to the theatre she has got worse and worse. She has completely lost her voice, and now the use of her limbs. What our poor friend suffers is impossible to say. I am not used to emotions of this kind, and I am in a state of constant fright.
How I wish you were here! She is almost always delirious; but delirious or lucid, it is always your name that she pronounces, when she can speak a word.
The doctor tells me that she is not here for long. Since she got so ill the old duke has not returned. He told the doctor that the sight was too much for him.
Mme. Duvernoy is not behaving well. This woman, who thought she could get more money out of Marguerite, at whose expense she was living almost completely, has contracted liabilities which she can not meet, and seeing that her neighbour is no longer of use to her, she does not even come to see her. Everybody is abandoning her. M. de G., prosecuted for his debts, has had to return to London. On leaving, he sent us more money; he has done all he could, but they have returned to seize the things, and the creditors are only waiting for her to die in order to sell everything.
I wanted to use my last resources to put a stop to it, but the bailiff told me it was no use, and that there are other seizures to follow. Since she must die, it is better to let everything go than to save it for her family, whom she has never cared to see, and who have never cared for her. You can not conceive in the midst of what gilded misery the poor thing is dying. Yesterday we had absolutely no money. Plate, jewels, shawls, everything is in pawn; the rest is sold or seized. Marguerite is still conscious of what goes on around her, and she suffers in body, mind, and heart. Big tears trickle down her cheeks, so thin and pale that you would never recognise the face of her whom you loved so much, if you could see her. She has made me promise to write to you when she can no longer write, and I write before her. She turns her eyes toward me, but she no longer sees me; her eyes are already veiled by the coming of death; yet she smiles, and all her thoughts, all her soul are yours, I am sure.
Every time the door opens her eyes brighten, and she thinks you are going to come in; then, when she sees that it is not you, her face resumes its sorrowful expression, a cold sweat breaks out over it, and her cheek-bones flush.
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