Ma-ma ê Ji̍t-Pún-ka-to *
媽媽的日本剪刀 * My mother’s Japanese scissors
Ma-ma ê Ji̍t-Pún-ka-to
My mother’s Japanese scissors
Í-tsá guán-tau teh tsò ka-kang, sóo-í tshù--nih ū tsin-tsē ka-to. Phó-thong-sî-á put-kuán sī ka soh-á, ka tsíng-kah, ka tsuá, iah-sī tsàu-kha teh-īng--ê lóng-sī Tâi-Uân-ka-to. Kang-tiûⁿ Tsò saⁿ-á-khòo tō īng Ji̍t-Pún-ka-to. Ji̍t-Pún-ka-to sī sing-tsâi khì-kū, sóo-í lóng buâ kah tsin-lāi. Mn̂g-tsit ê kāu-pòo kah po̍h-se-á īng Ji̍t-Pún-ka-to ka--kuè lóng bē-sui koh ē tak-bué.
Sè-hàn ê sî-tsūn, guá nā beh-khùn lóng ē thiaⁿ tio̍h tsián-pòo ê siaⁿ. Àm-sî tsing-sîn, tiān-hué-kha mā tiāⁿ-tiāⁿ khuàⁿ tio̍h guán lāu-bú gia̍h Ji̍t-Pún-ka-to teh tsò iûⁿ-tshâi. Ū-tang-sî-á, Tâi-Uân-ka-to nā khah tun, tsò lô-tsok ê sî-tsūn guá tō khì the̍h Ji̍t-pún-ka-to lâi ka tsuá-phue. M̄-kú tshù--nih ū tsi̍t-hāng mí-á bē-sái bong, he tō-sī má-mah ê ji̍t-pún-ka-to. Tsīng-kàu-taⁿ Guá lóng niā-tsún sī hit-ki-ka-to tsiok-lāi, sóo-í gín-á bē-sái-īng. Siūⁿ-bē-kàu tsit-ki ka-to khiok sī tshàng-tī má-mah sim-lāi lak-tsap-guā nî ê pì-bi̍t kah su-liām.
Guán lāu-bú sī Ji̍t-Pún-sî-tāi Tsiau-Hô jī-nî tshut-sì ê Tâi-uân-lâng. I saⁿ-huè tō bô lāu-pē. Guā-má teh thé lâng sé-saⁿ, tshù-lāi ū la̍k-ê thâu-tshuì ài-tshī. Koo-put-tsiong tsiah tsiōng tshut-sì bô-juā-kú ê tsa-bóo-kiáⁿ hōo-lâng-io. M̄-koh siu iúⁿ--i-ê mā-sī sàn-tshiah ê ka-tîng.
I peh-hue3 to7 khi3 gua7-khau2 tso3 gin2-a2-kang. Khi2-sian ti7 hi3-hng5 Be7 si3-siu3-a2, pau5 thng5-a2, kah8-lang5 tau3-phian3-gin2-a2, be7 tshia-phio3. it8-tit8-kau2 tsap8-hue3 tsiah jip8-khi3 Bing5 Ti7 Lu2-Tsu2 Kong-Hak8-Hau7 thak8 si3-tang am3-oh8-a2. M7-ku2 I tsiok-tshong-bing5, tsai-iann2 na7 beh kue3 khah-ho2 e5 jit8-tsi2 to7-ai3 sing oh8 tsit8-e5 kang-hu. I thau-thau-a2 khuann3 lang5 an2-na2 tso3-sann, an2-tsuann2 tah8-tshia-a2. Na7 khi3 in a-i5 hia, to7 koo-tsiann5 in a-i5 hoo7 i tah8-khuann3-mai7--leh.
In-tau keh-piah ū tsi̍t-ê tshù-piⁿ sī liû-ha̍k Ji̍t-Pún ê iûⁿ-tshâi lāu-su. Tsit-ê lāu-su tsò-lâng tsin-hó, siūⁿ-beh kah I o̍h- iûⁿ-tshâi. M̄-kú I ài ka̍h tshù--nih tàu-thàn-tsîⁿ. O̍h-sai-á sī bô-siu-ji̍p--ê. Sóo-í I tō siūⁿ-pān-huat ka-kī-o̍h, ū ki-huē tō tī thang-á-kháu thau-thau-á thiaⁿ lāu-su siōng-khò. Kàu-bué-tshiú, mā bô-su-tsū-thong, o̍h tio̍h tsi̍t-tshiú hó kang-hu.
1943 nî, I tsa̍p-tshit-huè,tī Hái-iá-sì saⁿ-lâu, Ji̍p-Pún-lâng king-îng ê tsè-i-tsoo-ha̍p tsò tsoo-tiúⁿ. Gue̍h-kip 80 khoo. Hit-tong-sî Lí-Hiong-Lân lâi Tâi-lâm ting-tâi ê mn̂g-phiò sī tsi̍t-khoo peh-kak. I ê khang-khuè sī tsò lâm-tsong ê kiàn-pún, an-pâi tsoo lāi ê ji̍t-siông kang-tsok, koh ài-tsò tsú-jīm siat-kè su Tsutomu Sàng ê tsōo-lí. Tsutomu sī lāu-thâu-ke ê koo-kiáⁿ, bat kà I siat-kè tông-tsong hām phah-pán ê ki-su̍t.
Aū-lâi, Tsutomu hōo Ji̍p-Pún-kun-pōo tiàu khì tsò-ping, suah sí tī tsiàn-tiûⁿ. 1945-nî tshun-thiⁿ, po̍k-gik khai-sí, bí-kun tī Tâi-lâm tìm tsin-tsē tsà-tân. I tō hâm tshù--nih ê lâng soo-khai khì Saⁿ-khám-tiàm. Ji̍p-Pún tâu-hâng liáu-āu tsiah puaⁿ-tńg lâi Tâi-lâm. Sa-Tóo Sàng sī tsi̍t-ê kóo-ì-lâng, pāi-tsiàn liáu-āu, sóo-ū ê tsâi-sán lóng bô khì. In nn̄g-ê lāu-ang-á-bóo hōo-lâng khián-sàng ê sî-tsūn, sing-khu í-king bô-puàⁿ-îⁿ. Lī-khui Tâi-Lâm ê sî, Sa-Tóo-Sàng beh tsiong in hāu-seⁿ ê ka-to sàng hōo-I tsò kì-liām. I kian-tshî beh hōo Sa-Tóo-Sàng 20 khoo. Aū--lâi Sa-Tóo-Sàng tsiah ka̍h siu 15 khoo.
Tī Sa-Tóo-Sàng ê tsoo-ha̍p tsia̍h-thâu-lōo ê sî, Guán lāu-bú sī tû-liáu Tsutomu í-guā uî-it ē-sái sú-iōng hit-ki ka-to ê lâng. Siōng-pan sî-kan i ē-sái ka-kī tsē tiān-thui, m̄-bián thìng-hāu kî-thaⁿ ê kang-uân tsò-hué tsē. Tsutomu tsiàn-sí ê siau-sit thuân lâi, hōo i háu kuí-nā-ji̍t. Tāi-tsì kuè-khì tsiah-tsē-tang, Tsutomu tshīng Ji̍p-Pún-saⁿ ê siōng, iáu-ko̍h tà-tī guán-tau ê siòng-phōo--nih.
Hit-ki ū khik Ji̍t-Pún Tang-Kiaⁿ Tsng-sam-lông tsò ê ka-to, saⁿ-tsa̍p-guā tang-tsîng sàng khì Tâi-Lâm Iân-Pîng-Hì-Īⁿ piⁿ-á hit-king ka-to-tiàm tîng-buâ ê sî, tiàm--nih ê sai-hū kóng tsit-ki ka-to tō ài lāu thâu-ke tsiah ū tsâi-tiāu buâ. Guá tsiah tsai-iáⁿ tsit-ki m̄-sī phóo-thong ka-to. Tī tsiàn-āu hit-tuāⁿ tsin-pháiⁿ-kuè ê ji̍t-tsí, guán tau ē-tàng ū tsia̍h-tshīng, siū-kàu-io̍k, āu--lâi koh ū tsi̍t-tè jia-hong phiah-hōo ê sóo-tsāi, tsīn-khuàⁿ tō sī tsit-ki ka-to.
Hông-hun ê li̍t-thâu tsiām-tsiām tuì po-lê-thang tsiò--ji̍p-lâi. Pè-tsa̍p guā-huè ê lāu-bú teh kóng tsit-tuāⁿ kuè-khì ê tāi-tsì, guá hiông-hiông káⁿ-ná khuàⁿ tio̍h i ê bīn sió-khuá âng-âng. Thiⁿ-sik í-king piàn àm. I bô-koh kóng sahⁿ. Guá ka-kī teh siūⁿ, Tsutomu huān-sè sī tsit-ê siàu-lú su-bōo ê lâng. I hit-tsūn m̄-tsai tsai--bô?
My parents were dressmakers. There were many scissors in my home. We usually used a pair of Taiwanese scissors to cut wires, cables, fingernails and paper. It was used in our kitchen too. However, my parents used a pair of Japanese scissors when they worked as dressmakers. For them it was an important tool to make money, so that all the time it was sharp enough to cut any kind of material such as wool, gauzes and so on, nicely.
When I was a kid, I always slept in the sound of cloth cutting. When I woke up at night, I usually saw my mother working hard with her scissors in her hand in a hazy light. I borrowed Japanese scissors to cut a pasteboard when my Taiwanese scissors was too blunt. However, touching my mother's scissors was prohibited in my family. Although no one told me the reason, I supposed it a matter of safety. Anyway, I never thought that there was a cherished memory and sad secret that have been hidden deeply in my mother's heart for more than sixty years.
My mother was born in 1927. Her father passed away when she was three. My grandmother-in-law was a laundress. At that time it was very hard for a married woman to earn her living and take care of six children and also a sick husband. In these tough circumstances, my mother was sent to her adopted family when she was a baby. Besides, the adopted family was poor, too.
She was a child laborer when she was eight. In the beginning, she sold snacks in a theater and then she was hired as a maidservant and an assistant who sold a ticket on a bus etc. The young girl never went to school until she was ten. She received her primary school education at night school for only four years. However, she was smart enough to understand that she had to learn a useful skill that would lead her to a better life in the future. She watched a sewing machine very carefully and asked for taking a try when she occasionally visited her aunt.
One of her neighbors was a fashion design teacher who received a series of training courses in Japan. The kind neighbor offered my mother to teach her free of charge if she agreed to be a trainee in the class without pay. My mother didn't accept it, because she needed money for her family. However, she learned by herself and peeked at the courses from outside of the windows when it was possible.
After that my mother became a forewoman of a dress manufacturer operated by Japanese in the third-floor of Hayashi Department. It was 1943, and she was seventeen. Her salary was 80 dollars per month. The price of a ticket for Li Xiang Lan (Yamaguchi Yoshiko)'s show was 1 dollar and eighty cents at that time. She was responsible for making dress samples and routine management of her section. She was the special assistant of her boss, Mr. Sato's only son, Tsutomu, a chief fashion designer who taught her how to design children's dress and tailoring technique.
Tsutomu became a soldier nearly the end of the war. He died in battle. A serious air attack started in spring in 1945. American air force dropped lots of bombs in Tainan area. My mother and her family moved to countryside and stayed there until Japan surrendered at last. Mr. Sato was an honest man. He lost all his properties after the war. He was penniless when he and his wife were sent to their hometown in Japan. However, Mr. Sato gave his son's scissors to my mother as a gift before he left Tainan. My mother insisted to pay him 20 dollars for the scissors but Mr. Sato took only 15 dollars.
My mother was the only person who was allowed to use Tsutomu's scissors when she worked for Mr. Sato's company. She didn't need to wait for other workers to take the elevator, when she went up and down in the building. She cried for a while when she heard the bad news of Tsutomu. A picture of Tsutome was kept in my family's photo album for many years.
The scissors with a trademark of Shozaburo, Tokyo, Japan was sent to a maintenance shop in Tainan for sharpening thirty years ago. A workman in the shop told me that the scissors should be handled by his teacher, the old boss. Then, I understood that my mother's Japanese scissors was a special one. It was the scissors we had depended on for many decades when we endured hard time after the war. Our food, dresses, education fee and housing came from my mother and her magic Japanese scissors.
The sun had ceased to shine in through the windowpanes when my eighty-three years old mother told her story. It seemed that a slight flush on my mother's checks went by unconsciously. Evening sunlight grew dim at dusk. She didn't say any more. Perhaps Tsutomu was the young girl's prince charming, I thought.
My mother’s Japanese scissors
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