43.2 Goán ê nî-hòe siong-tong
"Chhin-ài ê lú-sū, chit-ê koa-chhiú sī Aragon chi̍t-ê sin-sū ê hāu-seⁿ, hit-ê sin-sū sī nn̄g-ê chhun-chng ê léng-chú, taⁿ tòa tī goán lāu-pē tī Madrid ê chhù tùi-bīn. Goán lāu-pē ê chhù, sui-bóng kôaⁿ-thiⁿ kòa thang-á-lî, joa̍h-lâng ū keh-á-thang, tān m̄-chai án-chóaⁿ, chit-ê iáu teh tha̍k-chheh ê sin-sū khòaⁿ tio̍h góa, góa mā m̄-chai sī tī kàu-tn̂g a̍h tī tó-ūi, soah khì ài-tio̍h góa, koh ùi in tau ê thang-á hō͘ góa chai, kō͘ kok-chióng chhiú-sè, sīm-chì kō͘ ba̍k-sái, hō͘ góa put-tek-put siong-sìn i, sīm-chì ài-tio̍h i, mā m̄-chai i tàu-té sī boeh chhòng-siáⁿ.
"I tiāⁿ iōng ê chi̍t-ê chhiú-sè sī siang-chhiú sio khan, piáu-sī i boeh chhōa góa. Sui-bóng góa goān-ì, m̄-koh góa ko͘-toaⁿ, bô lāu-bú, m̄-chai boeh kā siáng kóng, só͘-í góa kek tiām-tiām, bô hoán-èng, tî-hui tán goán lāu-pē í-ki̍p in lāu-pē bô tī chhù, góa chiah sió-khóa hian thang-á-lî a̍h khui keh-á-thang, hō͘ i khòaⁿ góa choân-pō͘, nā án-ne, i tō hoaⁿ-hí kah ná boeh khí-siáu.
"Tī hit-sî, goán lāu-pē tit-boeh lī-khui ah, i mā chai-iaⁿ, m̄-sī góa kā i kóng ê, in-ūi góa bô ki-hōe kā i kóng. In-ūi iu-būn, i phòa-pēⁿ ah, só͘-tì goán lī-khui hit-kang, góa bô khòaⁿ tio̍h i, bô kap i kò-pia̍t, sīm-chì kō͘ ba̍k-chiu mā hó. Tān, tī goán chiūⁿ-lō͘ nn̄g-kang, lâi-kàu chi̍t-ê lī chia chi̍t-ji̍t lō͘-tô͘ ê chng-kha kheh-tiàm, góa khòaⁿ tio̍h i tī kheh-chàn mn̂g-kháu, chhēng lô-hu ho̍k-chong, chng-pān kah chiok sêng, nā m̄-sī góa kā i ê hêng-iáⁿ khek tī sim-koaⁿ, góa mā bô hoat-tō͘ jīn-chhut sī i.
"Góa chai he sī i, hō͘ góa tio̍h-kiaⁿ koh hoaⁿ-hí. I tiu-tiu thau-khòaⁿ góa, bô ín-khí goán lāu-pē chù-ì. Tī lō͘-siōng keng-kòe a̍h tī goán tòa ê kheh-tiàm sio-tú, i chóng-sī bih-khui goán lāu-pē. In-ūi góa chai i sī siáng, chai i ūi-tio̍h ài góa, bô kò͘ kan-khó͘ kiâⁿ-lō͘ lâi chia, hō͘ góa pi-siong kah boeh sí. I kiâⁿ kàu tó-ūi, góa ê ba̍k-chiu mā tòe kàu tó-ūi. Góa m̄-chai i lâi ê bo̍k-tek, mā m̄-chai i án-chóaⁿ ùi in lāu-pē hia liu chhut-lâi. In lāu-pē chiok thiàⁿ i, bô pa̍t-ê kè-sêng-jîn, á i mā seⁿ-chò tit-lâng thiàⁿ, che lí khòaⁿ-tio̍h tō chai.
"Lēng-gōa, góa ē-sái kā lí kóng, i chhiùⁿ ê, lóng sī i só͘ chhòng-chok, in-ūi góa thiaⁿ-kóng i sī tōa ha̍k-chiá, sī si-jîn. Iû-kî sī, ta̍k-pái khòaⁿ-tio̍h a̍h thiaⁿ-tio̍h i chhiùⁿ-koa, góa tō kui sin-khu ka-lún-sún, kiaⁿ lāu-pē jīn-chhut i, chai goán ê ài. Chit sì-lâng góa iáu m̄-bat kap i kóng-ōe. Sui-bóng án-ne, góa iáu-sī ài i, bô i bē-sái. Chhin-ài ê lú-sū, che tō sī góa ē-tàng kā lí kóng iú-koan chit-ê im-ga̍k-ka ê it-chhè, i ê koa-siaⁿ lí mā kah-ì thiaⁿ. Tan-tan ùi che koa-siaⁿ, lí chin kán-tan tō ē-tit kak-chhat, i m̄-sī lô-hu, sī sim kap tìn ê léng-chú, che góa tú-chiah tō kā lí kóng ah."
"Mài koh kóng ah, Clara Sc," Dorothea ná kā ìn ná kā chim chē-chē-ē, "mài koh kóng, thiaⁿ góa ê ōe, tán sî-ki lâi. Góa siong-sìn Sîn ē ūi lín an-pâi, chit-ê hó khí-thâu ē ū hó kiat-bóe."
"Ah, lú-sū," Clara Sc kóng, "goán ū siáⁿ hó kî-thāi ê? In lāu-pē sin-hūn hiah koân, hiah hó-gia̍h, i khó-lêng jīn-ûi góa liân chò in kiáⁿ ê chă-kán to bô chu-keh, koh-khah bián kóng chò i ê bó͘. Á nā sī ún-môa goán lāu-pē khì kiat-hun, che góa chò bē-kàu. Góa kan-ta hi-bāng chit-ê siàu-liân-ke tńg-khì, lī-khui góa. Hoān-sè mài koh khòaⁿ tio̍h i, í-ki̍p lán tio̍h tn̂g-tô͘ lí-hêng, góa taⁿ ê thòng-khó͘ ē-tit kiám-khin. Sui-bóng góa chai, chit-ê hoat-tō͘ tùi góa bô-hāu. Góa m̄-chai sī siáⁿ kúi-koài teh chok-lōng, góa tùi i ê ài sī án-chóaⁿ lâi ê. Góa iáu chiah siàu-liân, i mā iáu sī chi̍t-ê gín-á hiaⁿ. Góa siong-sìn goán ê nî-hòe siong-tong, á góa to iáu-bōe móa 16 neh. Goán lāu-pē kóng, tio̍h kàu āu chi̍t-ê Michaelmas Cheh, góa chiah móa 16-hòe."
Thiaⁿ Clara Sc kóng he gín-á ōe, Dorothea jím bē-tiâu soah chhiò chhut-lâi. Jiân-āu tùi yi kóng:
"Lán taⁿ kín koh khùn, sió-chiá. Mê tit-boeh kòe liáu ah, chin kín Sîn tō ē kā lê-bêng sàng hō͘ lán, hō͘ lán kā tāi-chì pān oân-pī, nā bô, góa mā bē chún-kòe."
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43.2 阮 ê 年歲相當
"親愛 ê 女士, 這个歌手是 Aragon 一个紳士 ê 後生, 彼个紳士是兩个村庄 ê 領主, 今蹛 tī 阮老爸 tī Madrid ê 厝對面. 阮老爸 ê 厝, 雖罔寒天掛窗仔簾, 熱人有格仔窗, 但毋知按怎, 這个猶 teh 讀冊 ê 紳士看著我, 我 mā 毋知是 tī 教堂 a̍h tī 佗位, soah 去愛著我, koh ùi in tau ê 窗仔 hō͘ 我知, kō͘ 各種手勢, 甚至 kō͘ 目屎, hō͘ 我不得不相信伊, 甚至愛著伊, mā 毋知伊到底是欲創啥.
"伊 tiāⁿ 用 ê 一个手勢是雙手相牽, 表示伊欲娶我. 雖罔我願意, 毋過我孤單, 無老母, 毋知欲 kā siáng 講, 所以我激恬恬, 無反應, 除非等阮老爸以及 in 老爸無 tī 厝, 我才小可掀窗仔簾 a̍h 開格仔窗, hō͘ 伊看我全部, 若 án-ne, 伊 tō 歡喜 kah ná 欲起痟.
"Tī 彼時, 阮老爸得欲離開 ah, 伊 mā 知影, 毋是我 kā 伊講 ê, 因為我無機會 kā 伊講. 因為憂悶, 伊破病 ah, 所致阮離開彼工, 我無看著伊, 無 kap 伊告別, 甚至 kō͘ 目睭 mā 好. 但, tī 阮上路兩工, 來到一个離 chia 一日路途 ê 庄跤客店, 我看著伊 tī 客棧門口, 穿騾夫服裝, 裝扮 kah 足成, 若毋是我 kā 伊 ê 形影刻 tī 心肝, 我 mā 無法度認出是伊.
"我知 he 是伊, hō͘ 我著驚 koh 歡喜. 伊 tiu-tiu 偷看我, 無引起阮老爸注意. Tī 路上經過 a̍h tī 阮蹛 ê 客店相拄, 伊總是 bih 開阮老爸. 因為我知伊是 siáng, 知伊為著愛我, 無顧艱苦行路來 chia, hō͘ 我悲傷 kah 欲死. 伊行到佗位, 我 ê 目睭 mā 綴到佗位. 我毋知伊來 ê 目的, mā 毋知伊按怎 ùi in 老爸 hia 溜出來. In 老爸足疼伊, 無別个繼承人, á 伊 mā 生做得人疼, che 你看著 tō 知.
"另外, 我 ē-sái kā 你講, 伊唱 ê, lóng 是伊所創作, 因為我聽講伊是大學者, 是詩人. 尤其是, 逐擺看著 a̍h 聽著伊唱歌, 我 tō 規身軀 ka-lún-sún, 驚老爸認出伊, 知阮 ê 愛. 這世人我猶 m̄-bat kap 伊講話. 雖罔 án-ne, 我猶是愛伊, 無伊袂使. 親愛 ê 女士, che tō 是我 ē-tàng kā 你講有關這个音樂家 ê 一切, 伊 ê 歌聲你 mā 佮意聽. 單單 ùi che 歌聲, 你真簡單 tō 會得覺察, 伊毋是騾夫, 是心 kap 鎮 ê 領主, che 我拄才 tō kā 你講 ah."
"莫 koh 講 ah, Clara Sc," Dorothea ná kā 應 ná kā 唚濟濟下, "莫 koh 講, 聽我 ê 話, 等時機來. 我相信神 ē 為恁安排, 這个好起頭 ē 有好結尾."
"Ah, 女士," Clara Sc 講, "阮有啥好期待 ê? In 老爸身份 hiah 懸, hiah 好額, 伊可能認為我連做 in 囝 ê chă 𡢃 to 無資格, koh-khah 免講做伊 ê 某. Á 若是隱瞞阮老爸去結婚, che 我做袂到. 我 kan-ta 希望這个少年家轉去, 離開我. 凡勢莫 koh 看著伊, 以及咱著長途旅行, 我今 ê 痛苦會得減輕. 雖罔我知, 這个法度對我無效. 我毋知是啥鬼怪 teh 作弄, 我對伊 ê 愛是按怎來 ê. 我猶 chiah 少年, 伊 mā 猶是一个囡仔兄. 我相信阮 ê 年歲相當, á 我 to 猶未滿 16 neh. 阮老爸講, 著到後一个 Michaelmas 節, 我才滿 16 歲."
聽 Clara Sc 講 he 囡仔話, Dorothea 忍袂牢 soah 笑出來. 然後對她講:
"咱今緊 koh 睏, 小姐. 暝得欲過了 ah, 真緊神 tō ē kā 黎明送 hō͘ 咱, hō͘ 咱 kā 代誌辦完備, 若無, 我 mā 袂準過."
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43.2
“This singer, dear señora, is the son of a gentleman of Aragon, lord of two villages, who lives opposite my father’s house at Madrid; and though my father had curtains to the windows of his house in winter, and lattice-work in summer, in some way—I know not how—this gentleman, who was pursuing his studies, saw me, whether in church or elsewhere, I cannot tell, and, in fact, fell in love with me, and gave me to know it from the windows of his house, with so many signs and tears that I was forced to believe him, and even to love him, without knowing what it was he wanted of me. /
One of the signs he used to make me was to link one hand in the other, to show me he wished to marry me; and though I should have been glad if that could be, being alone and motherless I knew not whom to open my mind to, and so I left it as it was, showing him no favour, except when my father, and his too, were from home, to raise the curtain or the lattice a little and let him see me plainly, at which he would show such delight that he seemed as if he were going mad. /
Meanwhile the time for my father’s departure arrived, which he became aware of, but not from me, for I had never been able to tell him of it. He fell sick, of grief I believe, and so the day we were going away I could not see him to take farewell of him, were it only with the eyes. But after we had been two days on the road, on entering the posada of a village a day’s journey from this, I saw him at the inn door in the dress of a muleteer, and so well disguised, that if I did not carry his image graven on my heart it would have been impossible for me to recognise him. /
But I knew him, and I was surprised, and glad; he watched me, unsuspected by my father, from whom he always hides himself when he crosses my path on the road, or in the posadas where we halt; and, as I know what he is, and reflect that for love of me he makes this journey on foot in all this hardship, I am ready to die of sorrow; and where he sets foot there I set my eyes. I know not with what object he has come; or how he could have got away from his father, who loves him beyond measure, having no other heir, and because he deserves it, as you will perceive when you see him. /
And moreover, I can tell you, all that he sings is out of his own head; for I have heard them say he is a great scholar and poet; and what is more, every time I see him or hear him sing I tremble all over, and am terrified lest my father should recognise him and come to know of our loves. I have never spoken a word to him in my life; and for all that I love him so that I could not live without him. This, dear señora, is all I have to tell you about the musician whose voice has delighted you so much; and from it alone you might easily perceive he is no muleteer, but a lord of hearts and towns, as I told you already.”
“Say no more, Doña Clara,” said Dorothea at this, at the same time kissing her a thousand times over, “say no more, I tell you, but wait till day comes; when I trust in God to arrange this affair of yours so that it may have the happy ending such an innocent beginning deserves.”
“Ah, señora,” said Doña Clara, “what end can be hoped for when his father is of such lofty position, and so wealthy, that he would think I was not fit to be even a servant to his son, much less wife? And as to marrying without the knowledge of my father, I would not do it for all the world. I would not ask anything more than that this youth should go back and leave me; perhaps with not seeing him, and the long distance we shall have to travel, the pain I suffer now may become easier; though I daresay the remedy I propose will do me very little good. I don’t know how the devil this has come about, or how this love I have for him got in; I such a young girl, and he such a mere boy; for I verily believe we are both of an age, and I am not sixteen yet; for I will be sixteen Michaelmas Day, next, my father says.”
Dorothea could not help laughing to hear how like a child Doña Clara spoke. “Let us go to sleep now, señora,” said she, “for the little of the night that I fancy is left to us: God will soon send us daylight, and we will set all to rights, or it will go hard with me.”
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