4.5 干焦 chiah-ê

4.5 Kan-ta chiah-ê [Tâi-gí gí-im]

"Kó͘-siaⁿ chi̍t hiáng, iàn-hōe tō sio-lō khí-lâi ah." lāu-bú mā khòaⁿ hiòng tùi-bīn khì.

Chiyoko kap Yuriko mā khì hit-ê iàn-hōe ah.

Tāi-iok kòe-liáu chi̍t tiám-cheng, in sì ê lâng chò-hóe tńg--lâi ah.

"Kan-ta chiah-ê..." Bú-niû ná kóng ná kā tēⁿ tī chhiú ê chi̍t-kóa gō͘-cha̍p sén ê gîn-kak-á khǹg tī lāu-bú ê chhiú-té. Góa koh tha̍k chi̍t-khùn-á "Mito Komon Bān-iû-kì," in tō koh kóng-khí tī lí-tô͘ tiong sí khì ê gín-á. In kóng, eⁿ-á tú chhut-sì ê sî ná chúi hiah thàu-bêng, i liân khàu ê khùi-la̍t mā bô, m̄-koh iáu-sī ū oa̍h chi̍t lé-pài.

Góa tùi in bô siáⁿ-mih hòⁿ-kî, mā bô khòaⁿ-khin in, oân-choân bē-kì-tit in sī cháu-chhiàng hit-lūi ê gē-jîn. Góa chit chióng pêng-siông-sim ê hó-ì, ká-ná ū chhim-chhim chìn-ji̍p in ê sim-lāi. Put-ti put-kak tiong-kan, in í-keng koat-tēng góa tio̍h kap in khì Oshima ê chhù ni̍h.

"Nā a-kong teh tòa hit keng tō hó ah. Hia chin khoah, nā kā a-kong kóaⁿ-cháu, tō chin an-cheng, boeh tòa gōa kú lóng ē-sái, mā ē-tàng choan-sim tha̍k-chheh." In chò-hóe chham-siâng hó-sè, tō kā góa kóng:

"Goán ū nn̄g-keng sè keng chhù, soaⁿ hit pêng ê chhù sī khang ê."

In iáu-koh kóng, kiò góa chiaⁿ-goe̍h ài tàu-kha-chhiú, in boeh tī Habu káng-kháu ián-hì.

Góa chiām-chiām liáu-kái, in tī lí-tô͘ ê sim-chêng pēng bô chhiūⁿ góa tong-chho͘ só͘ siūⁿ ê hiah-nī kan-lân khùn-khó͘, jî sī chi̍t-chióng pó-liû chng-kha hong-bī, chū-iû chū-chāi ê seng-oa̍h. Chóng--sī, in ê tiong-kan m̄-sī lāu-bú kap cha-bó͘-kiáⁿ, tō-sī hiaⁿ-moē ê kut-jio̍k koan-hē. Chí-ū chhiàⁿ--lâi ê Yuriko, tng teh chheng-chhun kî, ta̍k-kái tī góa bīn-chêng lóng sī tiām-tiām bô-ōe.

Pòaⁿ-mê liáu, góa khí-sin lī-khui sió kheh-chàn. Ko͘-niû-á sàng góa kàu lâu-kha. Bú-niû thè góa kā ba̍k-kia̍h pâi hō͘ hó-chhēng. I ùi mn̂g-kháu thàm-thâu chhut-lâi, khòaⁿ he chheng-chheng ê thiⁿ.

"Ah, goe̍h-niû! Bîn-á-chài tō kàu Shimoda ah, chiâⁿ hoaⁿ-hí. Kā eⁿ-á chò móa-chhit, kiò a-bú kǎ bé chi̍t-ki loa̍h-á, iáu ū chin chē tāi-chì oh. Lí chhōa góa khì khòaⁿ tiān-iáⁿ, hó bô?"

Tùi phiau-liû tī Izu kap Sagami (相模) kok-tē un-chôaⁿ e̍k-tiûⁿ ê cháu-chhiàng gē-jîn lâi kóng, Shimoda káng-kháu tō-sī in lí-tô͘ tiong ê kò͘-hiong, sī chi̍t-ê chhiong-móa tio̍h hoâi-liām khong-khì ê ke-chhī.

--

4.5 干焦 chiah-ê [台語語音]

"鼓聲一響, 宴會 tō 燒烙起來 ah." 老母 mā 看向對面去.

Chiyoko kap Yuriko mā 去彼个宴會 ah.

大約過了一點鐘, in 四个人做伙轉來 ah.

"干焦 chiah-ê..." 舞娘 ná 講 ná kā 捏 tī 手 ê 一寡五十 sén ê 銀角仔囥 tī 老母 ê 手底. 我 koh 讀一睏仔 "Mito Komon 漫遊記," in tō koh 講起 tī 旅途中死去 ê 囡仔. In 講, 嬰仔 tú 出世 ê 時 ná 水 hiah 透明, 伊連哭 ê 氣力 mā 無, 毋過猶是有活一禮拜.

我對 in 無啥物好奇, mā 無看輕 in, 完全袂記得 in 是走唱彼類 ê 藝人. 我這種平常心 ê 好意, ká-ná 有深深進入 in ê 心內. 不知不覺中間, in 已經決定我著 kap in 去 Oshima ê 厝 ni̍h.

"若阿公 teh 蹛彼間 tō 好 ah. 遐真闊, 若 kā 阿公趕走, tō 真安靜, 欲蹛偌久攏會使, mā 會當專心讀冊." In 做伙參詳好勢, tō kā 我講:

"阮有兩間細間厝, 山彼爿 ê 厝是空 ê."

In 猶 koh 講, 叫我正月愛鬥跤手, in 欲 tī Habu 港口演戲.

我漸漸了解, in tī 旅途 ê 心情並無像我當初所想 ê hiah-nī 艱難困苦, 而是一種保留庄跤風味, 自由自在 ê 生活. 總是, in ê 中間毋是老母 kap 查某囝, 就是兄妹 ê 骨肉關係. 只有倩來 ê Yuriko, 當 teh 青春期, 逐改 tī 我面前攏是恬恬無話.

半暝了, 我起身離開小客棧. 姑娘仔送我到樓跤. 舞娘替我 kā 木屐排予好穿. 伊 ùi 門口探頭出來, 看彼清清 ê 天.

"Ah, 月娘! 明仔載 tō 到 Shimoda ah, 誠歡喜. Kā 嬰仔做滿七, 叫阿母 kǎ 買一支捋仔, 猶有真濟代誌 oh. 你 chhōa 我去看電影, 好無?"

對漂流 tī Izu kap Sagami (相模) 各地溫泉浴場 ê 走唱藝人來講, Shimoda 港口就是 in 旅途中 ê 故鄉, 是一个充滿著懷念空氣 ê 街市.

--

4.5

"When the drum enters, the party certainly does liven up." The woman was also looking across the way.

Chiyoko and Yuriko went to the same gathering.

About an hour later all four returned.

"This is all we got." The dancing girl dropped some fifty-sen coins from her fist into the older woman's palm. I read "The Story of the Lord of Mito" out loud for a while. Then they talked about the baby that had died while they were on the road. They said the baby was almost as transparent as water at birth and did not even have the strength to cry. Nevertheless, it lived for a week.

My common goodwill—which neither was mere curiosity nor bore any trace of contempt for their status as itinerant entertainers -- seemed to have touched their hearts. Before I knew it, they had decided that I should accompany them to their place on Oshima.

"The house where Grandpa lives would be good. It's big, and it would be quiet if we chased Grandpa out. You could stay as long as you wanted. And you could study." They made this announcement to me after conferring among themselves.

"We have two small houses. The one in the mountains is usually empty."

Moreover, I was to help out during new year holidays when they performed at the port in Habu.

I realized that their sense of the road was not so hardened as I had first supposed. Rather, it was more of a lighthearted attitude that had not lost the scent of the fields. They were bound together by the familial affection you would expect between parent and child or brother and sister.The hired girl, Yuriko, was the only one who was sullen around me. Perhaps she was at the age when a girl is most bashful.

I left their lodging house halfway through the night. The girls came downstairs to see me off. The dancing girl placed my clogs at the door so I could step into them easily. She stuck her head out the gate and looked up at the bright sky.

"Oh, the moon! We'll be in Shimoda tomorrow. How wonderful. We'll have the baby's forty-ninth-day services. Mother will buy me a comb.We'll do all kinds of things! Would you take me to see a movie?"

The port of Shimoda—it had the air of a hometown that the itinerant entertainers who traveled around the hot springs in Izu and Sagami longed for when they were on the road.