http://coffeejp.com/article/wenxue/yuanzhu/2007-03-15/article_672.html
The Dancing Girl of Izu /Eng Trans. J. Martin Holman
https://archive.org/details/dancinggirlofizu00kawa/page/n14/mode/2up
https://archive.org/details/dancinggirlofizu00kawa/page/n14/mode/2up
http://coffeejp.com/article/wenxue/yuanzhu/2007-03-15/article_672.html
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Izu ê Bú-niû | 伊豆 ê 舞娘
Té 1 Chiong
1.1 Tī tê-koán koh sio-tú [Tâi-gí gí-im]
Lō͘ khai-sí oan-oan oat-oat ê sî, góa chai-iáⁿ tit-boeh kàu Amagi (天城) Soaⁿ-koan ah, hit-sî chi̍t-chūn hō͘ ùi soaⁿ-kha kín-kín tòe góa lâi, pe̍h-phú-phú sàu-kòe ba̍t-ba̍t ê sam-á nâ.
Góa jī-cha̍p hòe, tì ha̍k-seng bō, chhēng khóng-sek phùn pe̍h-hoe ê saⁿ-khò͘, keng-thâu phāiⁿ ha̍k-seng kha-báng. Che sī góa to̍k-sin lâi Izu (伊豆) lí-hêng ê tē-sì kang. Tī Shuzenji (修善寺) Un-chôaⁿ tòa chi̍t-mê, Yugashima (湯ヶ島) Un-chôaⁿ nn̄g-mê, taⁿ, góa chhēng koân-kha chhâ-kia̍h, lâi peh Amagi (天城) Soaⁿ. Sui-jiân têng-têng tha̍h-tha̍h ê soaⁿ kap goân-sú chhiū-nâ hām chhim-chhim khe-kok ê chhiu-sek chin bê-lâng, m̄-koh ū chi̍t-ê kî-thāi hō͘ góa it-tit kóaⁿ-lō͘. Hit-sî, tōa-lia̍p hō͘ khai-sí phah tī góa ê sin-khu, góa kóaⁿ-kín peh-chiūⁿ kiā koh oan-oat ê soaⁿ-lō͘. Ka-chài, chóng-sǹg lâi-kàu soaⁿ-koan pak-pêng ê chi̍t-keng tê-koán, m̄-koh góa khiā tī mn̂g-kha-kháu gāng--khì. In-ūi góa ê kî-thāi oân-choân si̍t-hiān--liáu: cháu-chhiàng--ê chi̍t-kiâⁿ lâng lóng tī hia hioh-khùn.
Bú-niû khòaⁿ góa gāng-gāng khiā-leh, sûi kā i iōng ê futon /hu.tón/ (布団) péng-bīn khǹg tī i piⁿ-á. "Ah..." góa kan-ta án-ne ìn chi̍t-siaⁿ, tō chē tī he téng-bīn. In-ūi tú-chiah peh-kiā chhoán-phīⁿ-phēⁿ koh kiaⁿ-tio̍h, góa liân "to-siā" chit-kù ōe to kha̍h tī nâ-âu kóng bē chhut-lâi. Góa kīn-kīn hām bú-niû chē tùi-bīn, hiong-kông tī chhiú-ńg ni̍h gîm-chhut chi̍t-ki hun. Bú-niû kā kāng-tīn cha-bó͘ thâu-chêng ê hun-khok-á sóa-kòe-lâi khǹg tī góa piⁿ-á. Góa iáu-sī tiām-tiām.
Bú-niû khòaⁿ-khí-lâi tāi-iok cha̍p-chhit hòe. I se chi̍t-ê góa m̄-bat ê kó͘-chá-sek ê tōa-hêng thâu-chang-kòe, hō͘ i ah-nn̄g-hêng ê bīn khòaⁿ-khí-lâi piàn chin sè, m̄-koh chin hia̍p-tiau, hó-khòaⁿ, kám-kak ná-chhiūⁿ bîn-kan sió-soat ōe ê thâu-chang phòng-phòng ê ko͘-niû. Bú-niû ê tông-phōaⁿ ū sì-cha̍p gōa hòe ê cha-bó͘ chi̍t lâng, siàu-liân cha-bó͘ nn̄g lâng, iáu ū chi̍t-ê jī-cha̍p gō͘-la̍k hòe ê cha-po͘, chhēng ìn Nagaoka (長岡) Un-chôaⁿ ê té-saⁿ.
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第 1 章
1.1 Tī 茶館 koh 相拄 [台語語音]
路開始彎彎斡斡 ê 時, 我知影得欲到 Amagi (天城) 山關 ah, 彼時一陣雨 ùi 山跤緊緊綴我來, 白殕殕掃過密密 ê 杉仔林.
我二十歲, 戴學生帽, 穿紺色噴白花 ê 衫褲, 肩頭揹學生 kha-báng. 這是我獨身來 Izu (伊豆) 旅行 ê 第四工. Tī Shuzenji (修善寺) 溫泉蹛一暝, Yugashima (湯ヶ島) 溫泉兩暝, 今, 我穿懸跤柴屐, 來 peh Amagi (天城) 山. 雖然重重疊疊 ê 山 kap 原始樹林和深深溪谷 ê 秋色真迷人, 毋過有一个期待予我一直趕路. 彼時, 大粒雨開始拍 tī 我 ê 身軀, 我趕緊 peh 上崎 koh 彎斡 ê 山路. Ka-chài, 總算來到山關北爿 ê 一間茶館, 毋過我徛 tī 門跤口愣去. 因為我 ê 期待完全實現了: 走唱 ê 一行人攏 tī 遐歇睏.
舞娘看我愣愣徛 leh, 隨 kā 伊用 ê futon /hu.tón/ (布団) 反面囥 tī 伊邊仔. "Ah..." 我干焦 án-ne 應一聲, tō 坐 tī he 頂面. 因為拄才 peh 崎喘 phīⁿ-phēⁿ koh 驚著, 我連 "多謝" 這句話 to kha̍h tī 嚨喉講袂出來. 我近近和舞娘坐對面, 兇狂 tī 手䘼 ni̍h 扲出一支薰. 舞娘 kā 仝陣查某頭前 ê 薰觳仔徙過來囥 tī 我邊仔. 我猶是恬恬.
舞娘看起來大約十七歲. 伊梳一个我毋捌 ê 古早式 ê 大型頭鬃髻, 予伊鴨卵形 ê 面看起來變真細, 毋過真協調, 好看, 感覺 ná 像民間小說畫 ê 頭鬃膨膨 ê 姑娘. 舞娘 ê 同伴有四十外歲 ê 查某一人, 少年查某兩人, 猶有一个二十五六歲 ê 查埔, 穿印 Nagaoka (長岡) 溫泉 ê 短衫.
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I
1.1
About the time the road began to wind and I realized that I was finally near Amagi Pass, a curtain of rain swept up after me at a terrific speed from the foot of the mountain, painting the dense cedar forests white.
I was twenty years old. I wore my school cap, hakama over my indigo-dyed kimono, and carried a student's bag over my shoulder. It was the fourth day of my solitary journey down the Izu Peninsula. I had stayed at Shuzenji Hot Spring one night, then two nights at Yugashima. And now, wearing high clogs, I was climbing Amagi. Although I had been enchanted by the layers upon layers of mountains, the virgin forests, and the shades of autumn in the deep valleys, I was hurrying along this road, my chest pounding with a certain expectation. Before long, great drops of rain began to pelt me, and I bolted up the steep, twisted road. I was relieved to reach the teahouse on the north side of the pass at last, but stopped short in the doorway. My expectation had been realized all too splendidly. The troupe of itinerant performers was inside, taking a rest.
As soon as the dancing girl noticed me standing there, she pulled out the cushion she had been kneeling on, turned it over, and placed it near her."Yes." That's all I said before I sat down. The words "thank you" stuck in my throat. I was out of breath from running up the road and from my astonishment. Sitting so close, facing the dancing girl, I fumbled to pull a cigarette from my kimono sleeve. The girl took the ashtray sitting in front of her female companion and placed it near me. Naturally, I did not speak.
The dancing girl looked to be about seventeen years old. Her hair was arranged elaborately in an unusual old style unfamiliar to me. Although it made her striking oval face look quite small, it created a beautiful harmony. She gave the impression of the girls from illustrations in old romances who were depicted with an emphasis on their extravagant hair. The dancing girl was accompanied by a woman in her forties, two older girls, and a man of about twenty-five, who was wearing a jacket with the insignia of Nagaoka Hot Springs on it.
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