Saturday, January 9, 2021

Bo̍k-lo̍k | 目錄

Goân-tù | 原著: L'étranger, by Albert Camus
Eng-e̍k | 英譯: The Stranger (Matthew Ward)
 
https://bxscience.edu/ourpages/auto/2019/2/28/69275970/The%20Stranger%20-%20Albert%20Camus.pdf 

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Bo̍k-lo̍k | 目錄
Tē 1 Phiⁿ | 第一篇
1.1 Mama 死去
1.2 我癮欲噗薰

1.3 守靈

1.4 最後一面
1.5 出山
2.1 和 Marie 去泅水
2.2 Uì 露台看街路
3.1 Salamano 拖狗去散步
3.2 Raymond 請我食晚頓
3.3 Raymond 央我 kā 寫批
4.1 Raymond 修理 in 搭頭
4.2 Salamano ê 狗拍毋見
5.1 頭家問我欲去 Paris 蹛無
5.2 彼个 ná 機器人 ê 查某
6.1 去 Masson in 厝
6.2 食晝了去沙埔散步
6.3 和 Arab 人相拍
6.4 我 kō͘ 銃 kā 彈死

Tē 2 Phiⁿ | 第二篇

7.1 法庭指定一个律師予我
7.2 推事 kō͘ 十字架 tī 我面前幌
7.3 我煞想講 in kap  "仝國"
8.1 Marie 來探監
8.2 面會場所鬧熱滾滾
8.3 久來逐項 lóng 會慣勢
8.4 我一直 kap 家己講話
9.1 法庭 ni̍hcha̍t-cha̍t-cha̍t
9.2 庭長問我問題態度溫和
9.3 院長講我 ê 鎮靜予伊著驚
9.4 Céleste , he lóng 是歹運
9.5 Raymond , he 是巧合
10.1 In 講我較濟過講我 ê 
10.2 In 探討我 ê 靈魂
10.3 欲 tī 大埕 kā 我鏨頭
11.1 敢有機會通逃命?
11.2 我 teh 想黎明 kap 我 ê 上訴
11.3 神父 koh 
11.4 伊講罪業著家己洗清
11.5 我 mā 欲重頭 koh 
關於作者

電影: "The Stranger" by Albert Camus - 1967 - Dir. Luchino Visconti

  




Friday, January 8, 2021

Koan-î chok-chiá | 關於作者

Koan-î chok-chiá

Albert Camus /al.ber ka.mú/ (1913-1960) chhut-sì tī tong-sî Franse sio̍k-tē Algeria ê chi̍t-ê kang-lâng ka-têng. Chá-nî i lóng tòa tī Pak-Afrika, tī hia i bat chia̍h-kòe chē-chē chióng thâu-lō͘ -- chhin-chhiūⁿ kóng tī khì-siōng-kio̍k, tī chū-tōng-chhia lêng-kiāⁿ hōe-siā, tī hòe-ūn-hâng -- koh ná tī Algeria Tāi-ha̍k oân-sêng ha̍k-gia̍p. Āu-lâi i chìn-ji̍p sin-bûn-kài. I tùi Kabylie tē-khu Muslim kan-khó͘ seng-oa̍h ê pò-tō ín-khí Algeria chèng-hú chhái-chhú hêng-tōng, chū-án-ne i mā siū-tio̍h tāi-chiòng ê chù-ì.

Ùi 1935 kàu 1938 nî, i keng-êng Theatre de l'Equipe. Che sī chi̍t-keng hì-kio̍k-siā, poaⁿ-ián iû Malraux, Gide, Synge, Dostoevski, téng-téng hì-kio̍k-ka ê chok-phín. Tī Tē-jī-chhù Sè-kài Tāi-chiàn kî-kan, i sī "Franse Hoán-khòng" oa̍h-tāng ê chú-iàu chok-ka, mā sī tong-sî chú-iàu tē-hā pò-chóa "Combat" (chiàn-tàu) ê pian-chi̍p. Camus tī hì-kio̍k kài it-ti̍t lóng chin oa̍h-thiàu, i ū chhut-pán kúi-ā chhut ê hì-kio̍k mā ū kong-ián. I ê sió-soat chú-iàu ê ū: Gōa-lâng (L'Étranger, 1942), Che (La Peste, 1947), Tūi-lo̍h (La Chute, 1956), kap Hòng-tio̍k hām Ông-kok (L'Exil et le Royaume, 1957); i ê tiat-ha̍k-tek ê bûn-chi̍p, Sisyphus ê Sîn-ōe (Le Mythe de Sisyphe, 1942) hām Hoán-poān-chiá (L'Homme révolté, 1951); iáu ū i ê kio̍k-pún chāi-chāi lóng khak-tēng i tī hiān-tāi Franse bûn-ha̍k kài ê chhut-tioh tē-ūi. 1957 nî Camus tit-tio̍h Nobel Bûn-ha̍k Chióng. Camus tī 1960 nî 1 goe̍h chhe 4 in-ūi chhia-hō sí-bông, hit-sî 46 hòe.

[Chu-liāu lâi-goân: Wikipedia]

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關於作者

Albert Camus /al.ber ka.mú/ (1913-1960) 出世 當時 Franse 屬地 Algeria ê 一个工人家庭. 早年伊 lóng Afrika, tī 遐伊 bat 食過濟濟種頭路 -- 親像講 氣象局, tī 自動車零件會社, tī 貨運行 -- koh ná tī Algeria 大學完成學業. 後來伊進入新聞界. 伊對 Kabylie 地區 Muslim 艱苦生活 ê 報導引起 Algeria 政府採取行動, án-ne 受著大眾 ê 注意.

Ùi 1935 1938 , 伊經營 Theatre de l'Equipe. 這是一間戲劇社, 搬演 Malraux, Gide, Synge, Dostoevski 等等戲劇家 ê 作品. Tī 第二次世界大戰期間, 伊是 "Franse 反抗" 活動 ê 主要作家, mā 是當時主要地下報紙 "Combat" (戰鬥) ê 編輯. Camus tī 戲劇界一直 lóng 真活跳, 伊有出版幾若齣 ê 戲劇 有公演. ê 小說主要 ê : 外人 (L'Étranger, 1942), (La Peste, 1947), 墮落 (La Chute, 1956), kap 放逐和王國 (L'Exil et le Royaume, 1957); ê 哲學的 ê 文集, Sisyphus ê 神話 (Le Mythe de Sisyphe, 1942) 和反叛者 (L'Homme révolté, 1951); 猶有伊 ê 劇本在在 lóng 確定伊 現代 Franse 文學界 ê chhut-tioh 地位. 1957 Camus 得著 Nobel 文學獎. Camus tī 1960 1 月初 4 因為車禍死亡, 彼時 46 .

[資料來源: Wikipedia]

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Thursday, January 7, 2021

11.5 我 mā 欲重頭 koh 來

11.5 Góa boeh têng-thâu koh-lâi

Hit-sî, góa mā m̄-chai sī án-chóaⁿ, ká-ná sin-khu ū siáⁿ piak-tn̄g khì, góa khai-sí tōa-siaⁿ jiáng, kā kàn-kiāu koh kiò i m̄-bián ūi góa thó-chè i ê kî-tó. Góa chang tio̍h i ê tō-phâu ām-niá, thò͘-chhut it-chhè ut tī sim-koaⁿ ni̍h ê ōe, hehùn-nō͘ ê ai-siaⁿ, mā sī hoaⁿ-hí ê ai-siaⁿ.

I bē-su ta̍k-hāng lóng hiah khak-tēng, kám m̄-sī? M̄-koh, i ê khak-tēng bô chi̍t-hāng ē ta̍t-tit chi̍t-ki cha-bó͘-lâng ê thâu-mo͘. I sīm-chì bô khak-tēng ka-tī iáu oa̍h tio̍h, in-ūi i ná sí-lâng án-ne oa̍h tio̍h. Iah góa neh, khòaⁿ khí-lâi góa ná-chhiūⁿ siang-chhiú khang-khang, m̄-koh góa tùi ka-tī, tùi ta̍k-hāng lóng chin khak-tēng, pí i chē-chē koh-khah khak-tēng, tùi góa ê sèⁿ-miā, tùi góa tng-teh tán-thāi ê sí-bông lóng chiâⁿ khak-tēng.

Tio̍h, che sī góa só͘-ū ê it-chhè. M̄-koh, siōng-bô tō ná góa ê miā-ūn lia̍h tio̍h góa kāng-khoán, góa mā lia̍h tio̍h góa ê miā-ūn. Chū-lâi góa tō tio̍h ah, taⁿ góa mā-sī tio̍h ê, góa it-ti̍t lóng sī tio̍h ê. Góa bat kō͘ chi̍t-chióng hong-sek seng-oa̍h, góa mā ē-sái kō͘ pa̍t-chióng hong-sek seng-oa̍h. Góa bat chò chit-hāng, góa bô chò hit-hāng. Góa m̄-bat chò chit-lō tāi-chì, m̄-koh góa ū chò pa̍t-hāng tāi-chì.

Koh-lâi neh? Bē-su góa it-ti̍t lóng teh tán chit-ê sî-khek, tán lê-bêng ê tē-it tiâu kng-sòaⁿ thang tit-tio̍h chèng-gī. Bô siáⁿ, bô siáⁿ ū tī-tāi lah, góa chai sī án-chóaⁿ. I mā chai.

Chi̍t-lō͘ lâi, tī góa keng-kòe ê chit-ê hàm-kó͘ ê jîn-seng, it-ti̍t ū chi̍t-chūn im-àm ê hong ǹg góa chhoe, he sī ùi góa bī-lâi ê kin-té, ùi iáu-bōe kàu ê nî-tang; chhoe kàu ê sî, chit-chūn hong kā góa ē-tàng ê soán-te̍k lóng piàn-chò bô chha-pia̍t, bī-lâi ê nî-tang bē pí góa í-óng ê seng-oa̍h koh-khah chin-si̍t. Pa̍t-lâng ê sí a̍h lāu-bú ê ài, tùi góa ū siáⁿ tī-tāi; kì-jiân lán -- iā-tō-sī góa hām hiah-ê chhiūⁿ i án-ne chheng-ho͘ góa hiaⁿ-tī ê chhian-chhian bān-bān hó-ūn ê lâng -- lóng hō͘ kāng chi̍t-ê miā-ūn só͘ an-pâi, i ê Sîn a̍h pa̍t-lâng soán ê seng-oa̍h a̍h in siūⁿ-kóng in soán ê miā-ūn, tùi góa ū siáⁿ tī-tāi ah? I kám khòaⁿ bē-chhut, che i kám khòaⁿ bē-chhut ah?

Ta̍k-lâng lóng hó-ūn. Kan-ta ū-ūn ê lâng. Kî-thaⁿ ê lâng chá-bān lóng tio̍h pī phòaⁿ-sí. I mā tio̍h pī phòaⁿ-sí. Án-ne ū siáⁿ tī-tāi ah, jû-kó i in-ūi thâi-lâng pī khí-sò͘, soah in-ūi lāu-bú chhut-soaⁿ bô khàu lâi pī chhú-sí?

Salamano ê káu ê kè-ta̍t bô su in bó͘. Hit-ê sè-hàn ki-khì cha-bó͘ ê chōe-kò bô su Masson chhōa ê hit-ê Paris cha-bó͘, mā bô su kiò góa kap yi kiat-hun ê Marie. Raymond hām Céleste lóng sī góa ê pêng-iú, m̄-koh Céleste ke khah ū kè-ta̍t, án-ne kám ū siáⁿ tī-tāi? Taⁿ Marie kā yi ê chhùi-tûn tu hō͘ chi̍t-ê sin ê Meursault, án-ne kám ū siáⁿ tī-tāi? Án-ne i kám ē liáu-kái, chit-ê pī phòaⁿ-sí ê lâng, ùi góa bī-lâi ê kin-té...

Só͘-ū chiah-ê hoah-siaⁿ hō͘ góa kiông boeh chhoán bô khùi. M̄-koh in í-keng kā sîn-hū ùi góa ê chhiú pak-khui, kéng-ūi teh ui-hia̍p góa. Put-jî-kò, i an-tah kéng-ūi tio̍h léng-chēng, koh tiām-tiām khòaⁿ góa chi̍t-khùn. I ê ba̍k-sái kâm ba̍k-kîⁿ. Lo̍h-bóe i oa̍t-sin, kiâⁿ khui.

I lī-khui liáu, góa koh tit-tio̍h léng-chēng. Góa thiám kah bô khùi-la̍t, tō siàng lo̍h bîn-chhn̂g-pang.

Góa tiāⁿ-tio̍h ū khùn khì, in-ūi chhéⁿ lâi ê sî, bīn-chêng móa-thiⁿ ê chheⁿ. Chng-kha ê siaⁿ-im thoân-ji̍p góa ê hiⁿ-khang. Àm-mê ê khì-bī, thô͘-bī kap kiâm-bī ê khong-khì hō͘ góa thâu-khak chheng-chhéⁿ. Hit-ê joa̍h-thiⁿ àm-mê kî-miāu ê pêng-hô ná-chhiūⁿ chi̍t-chūn hái-éng thàng kòe góa ê sin-khu.

Āu-lâi, tī lê-bêng chêng ê o͘-àm tiong, chúi-lê siaⁿ hiáng-khí. Siaⁿ-siaⁿ lóng teh soan-kò ū-lâng boeh lī-khui khì chi̍t-ê taⁿ kap éng-oán lóng tùi góa bô ì-gī ê sè-kài.

Chin kú í-lâi góa tē-it pái su-liām Mama. Góa kám-kak góa liáu-kái sī án-chóaⁿ tī yi sèⁿ-miā ê bóe-chām yi koh kau chi̍t-ê "bī-hun-hu," sī án-chóaⁿ yi sńg têng-thâu koh-lâi ê iû-hì. Sīm-chì tī hia, tī iáng-ló-īⁿ hit-ê sèⁿ-miā lo̍h-tâi ê só͘-chāi, hông-hun sī chi̍t-chióng ín-lâng iu-siong ê sî-chūn. Hiah chiap-kīn sí-bông, Mama it-tēng kám-kak tit-tio̍h chū-iû, tō chún-pī boeh kā it-chhè têng-thâu koh-lâi.

Bô-lâng, bô-lâng ū khoân-lī ūi yi háu.

Góa mā kám-kak chún-pī hó boeh têng-thâu koh-lâi. Bē-su sái hit-ê sèng-tē í-keng -chheng góa ê siâ-ok, siau-tî góa ê hi-bāng; tī hit-ê móa-móa sìn-hō kap thiⁿ-chheⁿ ê àm-mê, góa tē-it pái phah-khui góa ê sim-koaⁿ, chiap-siū sè-kài ê un-jiû léng-tām. He ū-kàu chhin-chhiūⁿ góa ka-tī -- chin ê, ū-kàu chhin-chhiūⁿ hó hiaⁿ-tī -- góa kám-kak kòe-khì góa chin hēng-hok, taⁿ góa mā chin hoaⁿ-hí.

Ūi-tio̍h ta̍k-hāng lóng oân-boán, ūi-tio̍h hō͘ góa khahko͘-toaⁿ, góa kan-ta hi-bāng chhú-koat hit-kang koan-chiòng chē-chē, ta̍k-ê kō͘ siû-hūn ê hoah-siaⁿ kap góa chio-ho͘.

[Soah]

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11.5 欲重頭 koh

彼時, 毋知是按怎, ká-ná 身軀有啥煏斷去, 我開始大聲 , kā kàn-kiāu koh 叫伊毋免為我討債伊 ê 祈禱. 我㨑著伊 ê 道袍頷領, 吐出一切鬱 心肝 ni̍h ê , he 是憤怒 ê 哀聲, mā 是歡喜 ê 哀聲.

伊袂輸逐項 lóng hiah 確定, 敢毋是? M̄-koh, ê 確定無一項會值得一支查某人 ê 頭毛. 伊甚至無確定家己猶活著, 因為伊 死人 án-ne 活著. Iah neh, 看起來我 像雙手空空, m̄-koh 我對家己, 對逐項 lóng 真確定, 比伊濟濟 koh 較確定, 對我 ê 性命, 對我 tng-teh 等待 ê 死亡 lóng 誠確定.

, 這是我所有 ê 一切. M̄-koh, 上無 tō ná ê 命運掠著我仝款, 掠著我 ê 命運. 自來我 ah, 今我 是著 ê, 我一直 lóng 是著 ê. bat kō͘ 一種方式生活, 會使 kō͘ 別種方式生活. bat 做這項, 我無做彼項. m̄-bat chit-lō 代誌, m̄-koh 我有做別項代誌.

Koh neh? 袂輸我一直 lóng teh 等這个時刻, 等黎明 ê 第一條光線通得著正義. 無啥, 無啥有底代 lah, 我知是按怎. .

一路來, tī 我經過 ê 這个譀古 ê 人生, 一直有一陣陰暗 ê ǹg 我吹, he ùi 我未來 ê 根底, ùi 猶未到 ê 年冬; 吹到 ê , 這陣風 我會當 ê 選擇 lóng 變做無差別, 未來 ê 年冬袂比我以往 ê 生活 koh 較真實. 別人 ê a̍h 老母 ê 愛, 對我有啥底代; 既然咱 -- 是我和 hiah-ê 像伊 án-ne 稱呼我兄弟 ê 千千萬萬好運 ê -- lóng 予仝一个命運所安排, ê a̍h 別人選 ê 生活 a̍h in 想講 in ê 命運, 對我有啥底代 ah? 伊敢看袂出, 這伊敢看袂出 ah?

逐人 lóng 好運. 干焦有好運 ê . 其他 ê 人早慢 lóng 著被判死. 著被判死. Án-ne 有啥底代 ah, 如果伊因為刣人被起訴, 煞因為老母出山無哭來被處死?

Salamano ê ê 價值無輸 in . 彼个細漢機器查某 ê 罪過無輸 Masson ê 彼个 Paris 查某, mā 無輸叫我 kap 她結婚 ê Marie. Raymond Céleste lóng 是我 ê 朋友, m̄-koh Céleste 加較有價值, án-ne 敢有啥底代? Marie kā ê 喙唇 tu 予一个新 ê Meursault, án-ne 敢有啥底代? Án-ne 伊敢會了解, 這个被判死 ê , ùi 我未來 ê 根底...

所有 chiah-ê 喝聲予我強欲喘無氣. M̄-koh in 已經 神父 ùi ê 手剝開, 警teh 威脅我. 不而過, 伊安搭警衛著冷靜, koh 恬恬看我一睏. ê 目屎 kâm 目墘. 落尾伊越身, 行開.

伊離開了, koh 得著冷靜. 我忝 kah 無氣力, tō siàng 落眠床枋.

我定著有睏去, 因為醒來 ê , 面前滿天 ê . 庄跤 ê 聲音傳入我 ê 耳空. 暗暝 ê 氣味, 塗味 kap 鹹味 ê 空氣予我頭殼清醒. 彼个熱天暗暝奇妙 ê 平和 像一陣海湧迵過我 ê 身軀.

後來, tī 黎明前 ê 烏暗中, 水螺聲響起. 聲聲 lóng teh 宣告有人欲離開去一个今 kap 永遠 lóng 對我無意義 ê 世界.

真久以來我第一擺思念 Mama. 我感覺我了解是按怎 她性命 ê 尾站她 koh 交一个 "未婚夫," 是按怎她耍重頭 koh ê 遊戲. 甚至 , tī 養老院彼个性命落台 ê 所在, 黃昏是一種引人憂傷 ê 時陣. Hiah 接近死亡, Mama 一定感覺得著自由, tō 準備欲 一切重頭 koh .

無人, 無人有權利為她吼.

感覺準備好欲重頭 koh . 袂輸使彼个性地已經洗清我 ê 邪惡, 消除我 ê 希望; tī 彼个滿滿信號 kap 天星 ê 暗暝, 我第一擺拍開我 ê 心肝, 接受世界 ê 溫柔冷淡. He 有夠親像我家己 -- ê, 有夠親像好兄弟 -- 我感覺過去我真幸福, 今我 真歡喜.

為著逐項 lóng 圓滿, 為著予我較袂孤單, 我干焦希望處決彼工觀眾濟濟, 逐个 kō͘ 仇恨 ê 喝聲 kap 我招呼.

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11.5

Then, I don't know why, but something inside me snapped. I started yelling at the top of my lungs, and I insulted him and told him not to waste his prayers on me. I grabbed him by the collar of his cassock. I was pouring out on him everything that was in my heart, cries of anger and cries of joy. He seemed so certain about everything, didn't he? And yet none of his certainties was worth one hair of a woman's head. He wasn't even sure he was alive, because he was living like a dead man. Whereas it looked as if I was the one who'd come up emptyhanded. But I was sure about me, about everything, surer than he could ever be, sure of my life and sure of the death I had waiting for me. Yes, that was all I had. But at least I had as much of a hold on it as it had on me. I had been right, I was still right, I was always right. I had lived my life one way and I could just as well have lived it another. I had done this and I hadn't done that. I hadn't done this thing but I had done another. And so? It was as if I had waited all this time for this moment and for the first light of this dawn to be vindicated. Nothing, nothing mattered, and I knew why. So did he. Throughout the whole absurd life I'd lived, a dark wind had been rising toward me from somewhere deep in my future, across years that were still to come, and as it passed, this wind leveled whatever was offered to me at the time, in years no more real than the ones I was living. What did other people's deaths or a mother's love matter to me; what did his God or the lives people choose or the fate they think they elect matter to me when we're all elected by the same fate, me and billions of privileged people like him who also called themselves my brothers? Couldn't he see, couldn't he see that? Everybody was privileged. There were only privileged people. The others would all be condemned one day. And he would be condemned, too. What would it matter if he were accused of murder and then executed because he didn't cry at his mother's funeral? Salamano's dog was worth just as much as his wife. The little robot woman was just as guilty as the Parisian woman Masson married, or as Marie, who had wanted me to marry her. What did it matter that Raymond was as much my friend as Celeste, who was worth a lot more than him? What did it matter that Marie now offered her lips to a new Meursault? Couldn't he, couldn't this condemned man see . . . And that from somewhere deep in my future . . . All the shouting had me gasping for air. But they were already tearing the chaplain from my grip and the guards were threatening me. He calmed them, though, and looked at me for a moment without saying anything. His eyes were full of tears. Then he turned and disappeared.

With him gone, I was able to calm down again. I was exhausted and threw myself on my bunk. I must have fallen asleep, because I woke up with the stars in my face. Sounds of the countryside were drifting in. Smells of night, earth, and salt air were cooling my temples. The wondrous peace of that sleeping summer Rowed through me like a tide. Then, in the dark hour before dawn, sirens blasted. They were announcing departures for a world that now and forever meant nothing to me. For the first time in a long time I thought about Maman. I felt as if I understood why at the end of her life she had taken a "fiance," why she had played at beginning again. Even there, in that home where lives were fading out, evening was a kind of wistful respite. So close to death, Maman must have felt free then and ready to live it all again. Nobody, nobody had the right to cry over her. And I felt ready to live it all again too. As if that blind rage had washed me clean, rid me of hope; for the first time, in that night alive with signs and stars, I opened myself to the gentle indifference of the world. Finding it so much like myself--so like a brother, really! felt that I had been happy and that I was happy again. For everything to be consummated, for me to feel less alone, I had only to wish that there be a large crowd of spectators the day of my execution and that they greet me with cries of hate.

[The End]

--



Wednesday, January 6, 2021

11.4 伊講, 罪業著家己洗清

11.4 I kóng, chōe-gia̍p tio̍h ka-tī sé-chheng

Hit-sî i khiā khí-lâi, kim-kim khòaⁿ ji̍p góa ê ba̍k-chiu. Chit-chióng pá-hì góa chiâⁿ chheng-chhó. Góa tiāⁿ-tiāⁿ kap Emmanuel hām Céleste án-ne sńg, pah-bīn sī in seng khòaⁿ pa̍t-ūi. Sîn-hū tùi chit-lō pá-hì mā chin se̍k-chhiú, góa chi̍t khòaⁿ tō chai: i ê ba̍k-sîn bô iû-gî. I ê siaⁿ-im mā bô iû-gî, i kóng, "Lí kám lóng bô hi-bāng ah? Lí kám chin-chiàⁿ siūⁿ kóng: lâng nā sí tō sí, siáⁿ lóng bô chhun?"

Góa kóng, "Sī."

Chū án-ne i thâu lê loeh, koh chē lo̍h-lâi. I kā góa kóng i thè góa khó-liân. I jīn-ûi, chit-khoán tāi-chì hō͘ lâng taⁿ bē-khí.

Góa bô kám-kak siáⁿ, kan-ta kám-kak i chiâⁿ hoân. Góa oa̍t-sin kiâⁿ-khui, khiā tī thiⁿ-thang ē-bīn. Góa kā keng-kah-thâu phēng tī piah. Bô chim-chiok thiaⁿ i teh kóng siáⁿ, góa koh thiaⁿ tio̍h i teh mn̄g góa būn-tê. I kóng-ōe ê siaⁿ-im kip koh pek-chhiat. Góa khòaⁿ ē chhut, i sī chin-chiàⁿ sit-chì ah, án-ne góa chiah sió-khóa khah chù-ì kā thiaⁿ.

I piáu-sī kóng i khak-tēng góa ê siōng-sò͘ ē pī chiap-siū, m̄-koh góa sin phāiⁿ chōe-gia̍p, tio̍h ka-tī lâi sé-chheng. Chiàu i ê kóng-hoat, jîn-kan ê chèng-gī bô sǹg siáⁿ, Sîn ê chèng-gī chiah-sī it-chhè. Góa kā thê-khí kóng, sī lâng phòaⁿ góa sí-hêng. I ìn kóng, he án-ne mā bē sé tiāu góa ê chōe-gia̍p. Góa kā i kóng, góa m̄-chai siáⁿ sī chōe-gia̍p. In kan-ta kóng góa hoān-chōe. Góa hoān tio̍h chōe, góa tng-teh ūi he hù-chhut tāi-kè, bē-tàng koh iau-kiû góa siáⁿ-mih ah-lah.

Hit-sî i koh khiā khí-lâi, góa sim ni̍h siūⁿ, tī chiah e̍h ê kaⁿ-pâng i nā siūⁿ boeh kiâⁿ-tāng sī bô siáⁿ khó-lêng. I kan-ta ē-tàng m̄-sī chē lo̍h tō-sī khiā tio̍h.

Góa kim-kim khòaⁿ thô͘-kha. I ǹg góa kiâⁿ chi̍t-pō͘ tō tòng-tiām, bē-su i m̄-káⁿ kiâⁿ koh-khah óa. I gia̍h-thâu khòaⁿ lân-kan gōa ê thiⁿ.

"Lí chhò loh, koai gín-á," i kóng. "Ē-tàng iau-kiû lí koh-khah chē. Hoān-sè mā ē thê-chhut iau-kiû."

"He sī siáⁿ?"

"Iau-kiû lí khòaⁿ."

"Khòaⁿ siáⁿ?"

Sîn-hū sì-kho͘-liàn-tńg khòaⁿ-khòaⁿ leh, kō͘ chi̍t-ê chāi góa siūⁿ sī lán-lán ê siaⁿ-im hôe-tap kóng:

"Chia ê ta̍k-lia̍p chio̍h-thâu lóng chiat-bôa kah chhut-kōaⁿ, góa chai-iáⁿ. Khòaⁿ tio̍h in góa chóng-sī kám-kak kan-khó͘. Góa ê sim-koaⁿ chhim-chhim chai-iáⁿ, lín tiong-kan siōng khó-liân-ê bat ùi chio̍h-thâu ê o͘-iáⁿ ni̍h khòaⁿ tio̍h chi̍t-ê sîn-sèng ê bīn. Iau-kiû lí khòaⁿ ê tō sī hit-ê bīn."

Che hō͘ góa sió-khóa chín-hùn chi̍t-ē. Góa kóng, hiah-ê piah ê chio̍h-thâu góa í-keng khòaⁿ kúi-ā kò goe̍h ah. Góa se̍k-sāi in khah chē kòe se̍k-sāi sè-kài ê jīm-hô mi̍h-kiāⁿ a̍h jīm-hô lâng. Hoān-sè, tī kòe-khì bó͘ chi̍t-ê sî-kan, góa bat tī in tiong-kan chhōe chi̍t-ê bīn. M̄-koh góa teh chhōe ê bīn sī kng-liāng kah ná ji̍t-thâu, ná io̍k-bōng ê hóe-iām -- he sī Marie ê bīn lah. Góa chhian chhōe to chhōe bô. Taⁿ, he lóng kòe-khì ah. Bô-lūn-jû-hô, góa chiông-lâi to m̄-bat khòaⁿ tio̍h lâu-kōaⁿ ê chio̍h-thâu hián-chhut siáⁿ-mih.

Sîn-hū kō͘ chi̍t-ê pi-ai ê piáu-chêng khòaⁿ góa. Chit-sî góa kha-chiah-phiaⁿ thêng-thêng khò tī piah, kng-sòaⁿ chiò tī góa ê hia̍h-thâu téng. I nauh ê ōe góa bô thiaⁿ chheng-chhó, koh hiông-hiông mn̄g kóng, i sī-m̄-sī ē-sái siâm góa. "Bē-sái," góa kóng. I oa̍t-sin kiâⁿ kàu piah piⁿ, bān-bān iōng chhiú khì so piah.

"Lí chèng-keng hiah-nī ài chit-ê sè-kài?" i nauh kóng.

Góa bô ìn.

I, kha-chiah-āu ǹg góa, kú-kú khiā tī hia. I tī hia hō͘ góa gāi-gio̍h koh bē chū-chāi. Góa tú boeh kiò i lī-khui, mài koh chhap góa, hut-jiân i soah oa̍t ǹg góa tōa-siaⁿ kóng:

"M̄, góa m̄ siong-sìn lí! Góa siong-sìn lí tiāⁿ-tio̍h siōng-chió ū chi̍t-kái bat hi-bāng kòe pa̍t-khoán ê seng-oa̍h."

Góa kóng, tong-jiân góa bat án-ne hi-bāng, m̄-koh he bô siáⁿ liáu-put-khí, put-kò sī hi-bāng ū-chîⁿ, hi-bāng siû-chúi khah kín leh, a̍h-sī hi-bāng góa ê chhùi seⁿ-chò khah súi chi̍t-ē. Hiah-ê lóng sī kāng-khoán ê tāi-chì. M̄-koh i chhap-ōe kóng, i siūⁿ boeh chai góa án-chóaⁿ khòaⁿ hit-lō pa̍t-khoán ê seng-oa̍h.

Góa tō tùi i jiáng kóng, "Hō͘ góa ē-kì-tit chit-má ê seng-oa̍h hit-chióng seng-oa̍h lah!" Hit-sî góa kā kóng, góa lún-bē-tiâu ah-lah.

I siūⁿ boeh koh kap góa kóng Sîn, m̄-koh góa kiâⁿ ǹg i, ì-tô͘ siōng bóe-kái koh kā kái-soeh kóng, góa chhun ê sî-kan bô chē ah, góa bô-ài lōng-hùi sî-kan tī Sîn téng-koân.

I ì-tô͘ kái-piàn ōe-tê, tō mn̄g góa sī án-chóaⁿ góa chheng-ho͘ i kiò "sian-siⁿ", m̄ kiò i "sîn-hū." Góa sûi lia̍h-kông, góa kóng i m̄-sī góa ê sîn-hū; i sī pa̍t-lâng ê sîn-hū.

"Góa sī, koai gín-á," i kóng, kā chhiú tah tī góa ê keng-thâu, "góa khiā tī lí chit-pêng. M̄-koh lí siūⁿ bē-kàu, in-ūi lí ê sim chheⁿ-mê. Góa ē ūi lí kî-tó."

--

11.4 伊講, 罪業著家己洗清

彼時伊徛起來, 金金看入我 ê 目睭. 這種把戲我誠清楚. 我定定 kap Emmanuel Céleste án-ne , 百面是 in 先看別位. 神父對 chit-lō 把戲 真熟手, 我一看 : ê 目神無猶疑. ê 聲音 無猶疑, 伊講, "你敢 lóng 無希望 ah? 你敢真正想講: 人若死 , lóng 無賰?"

我講, "."

án-ne 伊頭犁 loeh, koh 坐落來. 我講伊替我可憐. 伊認為, 這款代誌予人擔袂起.

我無感覺啥, 干焦感覺伊誠煩. 我越身行開, 天窗下面. 肩胛頭 phēng tī . 無斟酌聽伊 teh 講啥, koh 聽著伊 teh 問我問題. 伊講話 ê 聲音急 koh 迫切. 我看會出, 伊是真正失志 ah, án-ne 我才小可較注意 .

伊表示講伊確定我 ê 上訴會被接受, m̄-koh 我身揹罪業, 著家己來洗清. 照伊 ê 講法, 人間 ê 正義無算啥, ê 正義才是一切. 提起講, 是人判我死刑. 伊應講, he án-ne mā 袂洗掉我 ê 罪業. 伊講, 我毋知啥是罪業. In 干焦講我犯罪. 我犯著罪, tng-teh he 付出代價, 袂當 koh 要求我啥物 ah-lah.

彼時伊 koh 徛起來, 我心 ni̍h , tī chiah ê 監房伊若想欲 kiâⁿ 動是無啥可能. 伊干焦會當毋是坐落 是徛著.

我金金看塗跤. ǹg 我行一步 擋恬, 袂輸伊毋敢行 koh 較倚. 伊攑頭看欄杆外 ê .

"你錯 loh, 乖囡仔," 伊講. "會當要求你 koh 較濟. 凡勢 會提出要求."

"He 是啥?"

"要求你看."

"看啥?"

神父四箍輾轉看看 leh, kō͘ 一个在我想是懶懶 ê 聲音回答講:

"ê 逐粒石頭 lóng 折磨 kah 出汗, 我知影. 看著 in 我總是感覺艱苦. ê 心肝深深知影, 恁中間上可憐 ê bat ùi 石頭 ê 烏影 ni̍h 看著一个神聖 ê . 要求你看 ê tō 是彼个面."

這予我小可振奮一下. 我講, hiah-ê ê 石頭我已經看幾 ā 個月 ah. 我熟似 in 較濟過熟似世界 ê 任何物件 a̍h 任何人. 凡勢, tī 過去某一个時間, bat tī in 中間揣一个面. M̄-koh teh ê 面是光亮 kah ná 日頭, ná 慾望 ê 火焰 -- he Marie ê lah. 我千揣 to 揣無. , he lóng 過去 ah. 無論如何, 我從來 to m̄-bat 看著流汗 ê 石頭顯出啥物.

神父 kō͘ 一个悲哀 ê 表情看我. 這時我尻脊骿 thêng-thêng , 光線照 ê 額頭頂. nauh ê 話我無聽清楚, koh 雄雄問講, 伊是毋是會使 siâm . "袂使," 我講. 伊越身行到壁邊, 慢慢用手去挲壁.

"你正經 hiah-nī 愛這个世界?" nauh .

我無應.

, 尻脊後 ǹg , 久久徛 . 遐予我礙虐 koh 袂自在. 我拄欲叫伊離開, koh chhap , 忽然伊煞越 ǹg 我大聲講:

", 我毋相信你! 我相信你定著上少有一改 bat 希望過別款 ê 生活."

我講, 當然我 bat án-ne 希望, m̄-koh he 無啥了不起, 不過是希望有錢, 希望泅水較緊 leh, a̍h 是希望我 ê 喙生做較媠一下. Hiah-ê lóng 是仝款 ê 代誌. M̄-koh 伊插話講, 伊想欲知我按怎看 hit-lō 別款 ê 生活.

對伊嚷講, "予我會記得 chit-má ê 生活彼種生活 lah!" 彼時我 , lún 袂牢 ah-lah.

伊想欲 koh kap 我講神, m̄-koh 我行 ǹg , 意圖上尾改 koh kā 解說講, 我賰 ê 時間無濟 ah, 我無愛浪費時間 神頂懸.

伊意圖改變話題, tō 問我是按怎我稱呼伊叫 "先生", 毋叫伊 "神父." 我隨掠狂, 我講伊毋是我 ê 神父; 伊是別人 ê 神父.

"我是, 乖囡仔," 伊講, kā 手搭 ê 肩頭, "我徛 你這爿. M̄-koh 你想袂到, 因為你 ê 心青盲. 我會為你祈禱."

--

11.4

At that he stood up and looked me straight in the eye. It was a game I knew well. I played it a lot with Emmanuel and Celeste and usually they were the ones who looked away. The chaplain knew the game well too, I could tell right away: his gaze never faltered. And his voice didn't falter, either, when he said, "Have you no hope at all? And do you really live with the thought that when you die, you die, and nothing remains?" "Yes," I said.

Then he lowered his head and sat back down. He told me that he pitied me. He thought it was more than a man could bear. I didn't feel anything except that he was beginning to annoy me. Then I turned away and went and stood under the skylight. I leaned my shoulder against the wall. Without really following what he was saying, I heard him start asking me questions again. He was talking in an agitated, urgent voice. I could see that he was genuinely upset, so I listened more closely.

He was expressing his certainty that my appeal would be granted, but I was carrying the burden of a sin from which I had to free myself. According to him, human justice was nothing and divine justice was everything. I pointed out that it was the former that had condemned me. His response was that it hadn't washed away my sin for all that. I told him I didn't know what a sin was. All they had told me was that I was guilty. I was guilty, I was paying for it, and nothing more could be asked of me. At that point he stood up again, and the thought occurred to me that in such a narrow cell, if he wanted to move around he didn't have many options. He could either sit down or stand up.

I was staring at the ground. He took a step toward me and stopped, as if he didn't dare come any closer. He looked at the sky through the bars. "You're wrong, my son," he said. "More could be asked of you. And it may be asked." "And what's that?" "You could be asked to see." "See what?'

The priest gazed around my cell and answered in a voice that sounded very weary to me. "Every stone here sweats with suffering, I know that. I have never looked at them without a feeling of anguish. But deep in my heart I know that the most wretched among you have seen a divine face emerge from their darkness. That is the face you are asked to see."

This perked me up a little. I said I had been looking at the stones in these walls for months. There wasn't anything or anyone in the world I knew better. Maybe at one time, way back, I had searched for a face in them. But the face I was looking for was as bright as the sun and the flame of desire-and it belonged to Marie. I had searched for it in vain. Now it was all over. And in any case, I'd never seen anything emerge from any sweating stones.

The chaplain looked at me with a kind of sadness. I now had my back flat against the wall, and light was streaming over my forehead. He muttered a few words I didn't catch and abruptly asked if he could embrace me. "No," I said. He turned and walked over to the wall and slowly ran his hand over it. "Do you really love this earth as much as all that?" he murmured. I didn't answer.

He stood there with his back to me for quite a long time. His presence was grating and oppressive. I was just about to tell him to go, to leave me alone, when all of a sudden, turning toward me, he burst out, "No, I refuse to believe you! I know that at one time or another you've wished for another life." I said of course I had, but it didn't mean any more than wishing to be rich, to be able to swim faster, or to have a more nicely shaped mouth. It was all the same. But he stopped me and wanted to know how I pictured this other life. Then I shouted at him, "One where I could remember this life!" and that's when I told him I'd had enough. He wanted to talk to me about God again, but I went up to him and made one last attempt to explain to him that I had only a little time left and I didn't want to waste it on God. He tried to change the subject by asking me why I was calling him "monsieur" and not "father." That got me mad, and I told him he wasn't my father; he wasn't even on my side.

"Yes, my son," he said, putting his hand on my shoulder, "I am on your side. But you have no way of knowing it, because your heart is blind. I shall pray for you."

--



Bo̍k-lo̍k | 目錄

Goân-tù | 原著: L'étranger, by  Albert Camus Eng-e̍k | 英譯: The Stranger (Matthew Ward)   https://bxscience.edu/ourpages/auto/2019/2/28/692...