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Ma-ma ê Ji̍t-Pún-ka-to *

媽媽的日本剪刀 * My mother’s Japanese scissors

張東瀛

2009-03-22

電腦合成台語語音(Version 2.610R)



Ma-ma ê Ji̍t-Pún-ka-to

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 mother’s Japanese scissors

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.


媽媽的日本剪刀

從前我家做成衣加工,因此家裡有很多剪刀。一般剪繩子,指甲,紙張或是廚房裡用的都是台灣剪刀。工場做衣服則用日本剪刀。日本剪刀是生財器具,所以磨得比較銳利。厚厚的毛織布和薄棉紗,在日本剪刀下,應聲而斷,不會有毛邊。

童年的我,經常在剪布的沙沙聲中入眠。夜晚夢醒,矇朧的燈光下,經常看見母親手拿日本剪刀做洋裁。有時候台灣剪刀鈍了,做勞作時我就把日本剪刀拿來剪厚紙。不過家裡有一樣東西不能碰,那就是媽媽的日本剪刀。我一直以為那把剪刀太鋒利,所以小孩不能用。卻沒想到這把剪刀竟是藏在媽媽心中六十多年的秘密與思念。

我母親生於日政時期的昭和二年,三歲喪父。外婆替人洗衣為生,家裡還有六個小孩要照顧,不得已,只好把出生不久的小女兒送給鄰居作做養女。不過收養她的也是貧苦家庭。她八歲的時候就出外工作。起先在戲院賣零食,包糖果,幫傭,賣車票,一直到十歲才進入明治女子公學校讀夜校。只讀了四年。不過她很聰明,知道若要改善生活環境,必須習得一技之長。她很小心地觀察如何做衣服和操作縫紉機。偶而到她阿姨家時也會拜託阿姨讓她踩踩看。

她家有個鄰居是留學日本的洋裁老師。好心的老師想要教她學習洋裁。她雖然很想去,卻必須幫忙賺錢養家。當學徒是沒有收入的。所以她只好想辦法自己學習,有空時就在窗外偷偷聽課。到後來也無師自通,學得一手好工夫。

1943年,她十七歲,在林百貨公司的三樓,日本人經營的成衣組合當縫紉組長。月薪80圓。當年李香蘭來台南演唱時的門票是一圓八角。她的工作是縫製樣品並安排組內的日常工作,還要當主任設計師佐藤勉的助手。佐藤勉是老闆的獨子,曾經教她設計童裝和打版的技巧。

後來佐藤勉被日本軍部徵調服役,因艦艇遭美軍擊沉殉職。1945年春天,大規模空襲開始,美軍在台南地區丟下許多炸彈。她和家人也避居三崁店。日本投降後才回台南。佐藤先生是個老實人,日本敗戰後喪失所有的財產。老夫婦被遣送回國時已經一貧如洗。離開台南時佐藤先生只能將兒子的剪刀留給她作紀念。她堅持付給佐藤先生20圓。後來佐藤先生只收下15圓。

當年在成衣組合工作時,她是除了佐藤勉以外唯一可以使用那把剪刀的人。上班時她可以獨自搭乘電梯,不必等候其他工員同乘。當佐藤勉戰死的惡耗傳來,讓她哭了好幾天。多年後的今天,佐藤勉穿著和服的照片,仍然貼在我家的相簿裡。

那把刻有日本東京庄三郎製作的剪刀,三十多年前送到台南延平戲院旁邊巷子的剪刀鋪保養時,店裡的師傅說,這把剪刀要老頭家才能磨,我就知道它的來歷不凡。在戰後的艱困歲月裡,我們一家能夠溫飽,受教育,後來又有遮風避雨之處,多虧這把剪刀。

夕陽從玻璃窗照進來。八十多歲的母親在敘述這段陳年往事時,我隱約看到一抹紅霞從她的臉頰逐漸淡去。天色已經變得昏暗。她沒再多說甚麼。我想,佐藤勉也許曾經是這個少女心中的白馬王子,不知當時他知否?



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