4.3 烏頭鬃強欲磕著我

4.3 O͘-thâu-chang kiông-boeh kha̍p tio̍h góa

M̄-koh goán chiah sńg chi̍t-ē-á gō͘-jí-kî, ko͘-niû-á tō kiâⁿ-kòe kiô, tok, tok, tok, peh khí-lâi jī-lâu. Kap pêng-siông kāng-khoán, in kiong-kiong kèng-kèng kiâⁿ chi̍t-ê lé, chē tī cháu-lông tiû-tû--chi̍t-ē, Chiyoko tē-it ê khiā-khí-lâi.

"Che sī góa ê pâng-keng lah. Bián sè-jī, kín ji̍p--lâi."

Tāi-iok sńg chi̍t tiám-cheng liáu, gē-jîn khì chit keng lí-koán ê sek-lāi e̍k-tiûⁿ sé un-chôaⁿ. In it-ti̍t chio góa tâng-chê khì, m̄-koh ū saⁿ-ê siàu-liân cha-bó͘, góa tō the kóng, góa tán-leh chiah khì. Chi̍t-ē-á, bú-niû chi̍t-ê lâng peh-lâi lâu-téng, choán Chiyoko ê ōe kóng:

"A-só kóng, chhiáⁿ lí khì, i boeh kā lí lù kha-chiah-phiaⁿ."

Góa bô khì e̍k-tî, tō hām bú-niû sńg gō͘-jí-kî. I kiâⁿ liáu si̍t-chāi chin hó. Sńg "chiàm-ông" ê sî, góa lóng chin kan-tan tō phah-pāi Eikichi kap kî-thaⁿ ê cha-bó͘. Gō͘-jí-kî góa chin se̍k-chhiú, tōa-pō͘-hūn lóng iâⁿ lâng. Taⁿ ē-tàng m̄-bián niū-chhiú kap i sńg, góa kám-kak sim-chêng chiâⁿ hó. In-ūi kan-ta goán nn̄g-lâng teh sńg, tú khai-sí, i chē hn̄g-hn̄g, chhiú chhun tn̂g-tn̂g pàng jí-á. M̄-koh chiām-chiām i tō sńg kah ji̍p-sîn, choân-sim àⁿ tī kî-pôaⁿ téng-bīn. I he súi kah bô-chū-jiân ê o͘ thâu-chang kiông-boeh kha̍p tio̍h góa ê heng-chêng. Hut-jiân, i móa-bīn âng-kì-kì. "Sit-lé, góa ē hông mē," kóng liáu tō kî-jí khǹg-leh, cháu--chhut-khì. In lāu-bú [chhin-ke-ḿ] hit-sî tú khiā tī kong-kiōng e̍k-tiûⁿ thâu-chêng. Chiyoko hām Yuriko mā hiông-hiông kông-kông ùi e̍k-tî khí-lâi, bô koh chiūⁿ jī-lâu tō cháu tńg--khì ah.

Chit kang, Eikichi mā tī góa ê pâng-keng chū chá-khí sńg kàu boeh-àm. Sûn-phok koh chhin-chhiat ê lí-koán thâu-ke-niû the̍h-chhéⁿ góa kóng, chhiáⁿ chit-chióng lâng chia̍h-pn̄g sī ke-liáu--ê.

Àm-sî, góa khì in ê sió kheh-chàn, bú-niû tú teh kap lāu-bú o̍h tôaⁿ samisen. Khòaⁿ tio̍h góa lâi, i tòng-tiām, thiaⁿ lāu-bú ê ōe tō koh mo͘h-khí samisen. Tng i ê koa-siaⁿ sió-khóa khah koân, in lāu-bú tō kóng:

"M̄-sī kóng--kòe, mài hiah tōa-siaⁿ?"

Eikichi hông kiò khì tùi-bīn chhan-thiaⁿ jī-lâu ê iàn-hōe, ká-ná tng teh liām siáⁿ, ùi chia khòaⁿ ē tio̍h.

"I teh liām siáⁿ?"

"He sī iâu-khek lah."

--

4.3 烏頭鬃強欲磕著我

毋過阮才耍一下仔五子棋, 姑娘仔 tō 行過橋, tok, tok, tok, peh 起來二樓. Kap 平常仝款, in 恭恭敬敬行一个禮, 坐 tī 走廊躊躇一下, Chiyoko 第一个徛起來.

"這是我 ê 房間 lah. 免細膩, 緊入來."

大約耍一點鐘了, 藝人去這間旅館 ê 室內浴場洗溫泉. In 一直招我同齊去, 毋過有三个少年查某, 我 tō 推講, 我等 leh 才去. 一下仔, 舞娘一个人 peh 來樓頂, 轉 Chiyoko ê 話講:

"阿嫂講, 請你去, 伊欲 kā 你 lù 尻脊骿."

我無去浴池, tō 和舞娘耍五子棋. 伊行了實在真好. 耍 "佔王" ê 時, 我攏真簡單 tō 拍敗 Eikichi kap 其他 ê 查某. 五子棋我真熟手, 大部分攏贏人. 今會當毋免讓手 kap 伊耍, 我感覺心情誠好. 因為干焦阮兩人 teh 耍, 拄開始, 伊坐遠遠, 手伸長長放子仔. 毋過漸漸伊 tō 耍甲入神, 全心 àⁿ tī 棋盤頂面. 伊彼媠甲無自然 ê 烏頭鬃強欲磕著我 ê 胸前. 忽然, 伊滿面紅記記. "失禮, 我會 hông 罵," 講了 tō 棋子囥 leh, 走出去. In 老母 [親家姆] 彼時 tú 徛 tī 公共浴場頭前. Chiyoko 和 Yuriko mā 雄雄狂狂 ùi 浴池起來, 無 koh 上二樓 tō 走轉去 ah.

這工, Eikichi mā tī 我 ê 房間自早起耍到欲暗. 純樸 koh 親切 ê 旅館頭家娘提醒我講, 請這種人食飯是加了 ê.

暗時, 我去 in ê 小客棧, 舞娘拄 teh kap 老母學彈 samisen. 看著我來, 伊擋恬, 聽老母 ê 話 tō koh mo͘h 起 samisen. 當伊 ê 歌聲小可較懸, in 老母 tō 講:

"毋是講過, 莫 hiah 大聲?"

Eikichi hông 叫去對面餐廳二樓 ê 宴會, ká-ná 當 teh 念啥, ùi 遮看會著.

"伊 teh 念啥?"

"彼是謠曲 lah."

--

4.3

However, we had been playing "five-in-a-row" only a short while when the girls came across the bridge and upstairs. They bowed politely as always and hesitated, kneeling in the hallway. First, Chiyoko, the oldest, stood up.

"This is my room. Don't be so formal. Come on in," I said.

The entertainers stayed about an hour, then went down to the inn bath. They begged me to come along, but I put them off. I said I would golater since there would be three girls in the bath. Shortly, the dancing girl came back upstairs alone to relay a message from Chiyoko.

"She said to come on down. She'll rinse your shoulders for you."

I did not go. Instead I played "five-in-a-row" with the dancing girl. She was surprisingly good. Earlier, when she had played "winner-stays" against Eikichi and the other girls, she had defeated them all handily. I usually win at "five-in-a-row," but I needed all my skill with her. It was refreshing not to have to make easy moves for her. With just the two of us there, the dancing girl initially sat back, playing her stones from adistance with her arm outstretched. But gradually she forgot herself and hunched over the board, absorbed in the game. Her unnaturally beautiful black hair almost touched my chest. Without warning, she blushed. "Please forgive me. I'll get in trouble." Tossing down her stones, she fled the room. The older woman was standing outside the public bath. Chiyoko and Yuriko rushed out of the bath at my inn and hurried back to their lodging house without coming upstairs.

Again Eikichi stayed at the inn with me from morning until late afternoon. The proprietress, a simple, honest woman, warned me against keeping his company, saying it was a waste to feed a fellow like him.

That evening, when I went to the entertainers' lodging house, I found the dancing girl receiving a samisen lesson from the older woman. She stopped playing when she saw me but resumed after the woman said something to her. Whenever the girl's voice rose as she was singing, the woman reprimanded her.

"I told you not so loud."

Eikichi had been called over to the banquet room of the inn on the other side of the road. I could see him across the way. From where I watched, it looked as though he were groaning.

"What's he doing?"

"That?. . . It's chanting from a Noh drama."