文学その6

『青空文庫』にある作品を『Google Translate』で英訳してみました。

芥川竜之介論:芸術家としての彼を論ず:堀 辰雄(142-178)/915

嫌でも神を捨てなければならなかつた。

Even if I didn't like it, I had to abandon God.

さうして又嫌でも戀愛を捨てなければならなかつた。

By the way, even if I didn't like it, I had to throw away my love.

……我々が彼等の耽美主義から、嚴肅な感激を浴びせられるのは、實にこの「地獄のドン・ジユアン」のやうな冷酷な心の苦しみを見せつけられるからである。

… The reason why we are so exaggerated from their aestheticism is that they show us the pain and pain of this "Don Jiyuan of Hell".

しかし谷崎氏の耽美主義には、この動きのとれない息苦しさの代りに、餘りに享樂的な餘裕があり過ぎた。

However, Mr. Tanizaki's aestheticism had too much euphoria for the sun, instead of this stifling suffocation.

……その點が氏は我々に、氏の寧輕蔑するゴオテイエを髣髴させる所以だつた。

...... That's the reason why he makes us feel like Gootei, who he despises.

ゴオテイエの病的傾向は、ボオドレエルのそれとひとしく世紀末の色彩は帶びてゐても、云はば活力に滿ちた病的傾向だつた。

Gooteyer's morbidity was similar to that of Vaudreel, and although the colors at the end of the century were widespread, it was a vigorous morbidity.

更に洒落れて形容すれば、寶石の重みを苦にしてゐる、肥滿したサルタンの病的傾向だつた。

In a more fashionable way, it was the pathological tendency of fattened sultan, which suffers from the weight of alluvial stones.

だから彼には谷崎氏と共に、ポオやボオドレエルに共通する切迫した感じが缺けてゐた。」

Therefore, with Tanizaki, he felt the urgency common to Poo and Vaudreel. "

 ポオやボオドレエルの魂のどん底に彼の見たものはこの恐るべき冷酷な心である。

What he saw at the bottom of the souls of Poo and Vaudreel is this terrifying ruthless heart.

さういふ彼等の恐るべき冷酷な心に深い共鳴を感じ、のみならずそれを自分の中にも持つことを烈しく欲望したのは彼の悲劇であつた。

It was his tragedy that felt deeply sympathetic to their horrifying ruthless hearts, and eagerly wanted to have it in themselves.

言はば、「世紀末の惡鬼に憑かれたのである。」

In other words, "I was possessed by the evil spirits at the end of the century."

が、若し彼がこの「世紀末の惡鬼」に憑かれなかつたならば、彼の一生は、彼が身を以て完成した凄じい生涯とは全く異り、もつと平靜な學者的詩人のそれであつたかも知れぬ。

But if he had never been possessed by this "end of century evil spirit," his life would be completely different from the terrible life he had completed, and that of a polite scholarly poet. I don't know.

さういふ學者的傾向から彼を轉向させ、彼を「暗い死の魅力」にまで引きずりこみ、彼の詩的才能に彼の他の多くの才能の間において最も重要な位置を占めさしたものは、實にこの「世紀末の惡鬼」の惡戲に外ならないのである。

What turned him from a scholarly tendency, dragged him into the "dark charm of death" and occupied his poetic talent with the most important position among many of his other talents. Is a true evil of this "end of the century evil spirit."

 そのやうに、彼の本に對する情熱(それは人生そのものに對する情熱以上だつた!)は、一方彼を「藝術に依る藝術」家たらしめ、一方彼に「世紀末の惡鬼」を取り憑かせた。

In the end, his passion for books (which was more than his passion for life itself!), On the other hand, made him a "artistic artist by art", while taking him "the end of the century evil spirits". Haunted.

が、そればかりならばまだよかつた。

However, if that is all, it is still good.

彼の本に對する情熱は、その上に、彼を「雜駁に」した。

His passion for his books, on top of that, "hewn" him.

(「雜駁な」といふ語は彼が彼自身を批評するために使用した語である。

(The term "gaunting" is the word he used to criticize himself.

彼はそれを、あらゆる大作家は雜駁である、さういふ意味の雜駁さであると斷つてゐる。

He refers to it as all major writers are gazes, a sense of sense of gaze.

僕も此處でこの言葉をさういふ意味で使用するのだ。)

I also use this word here in a sense. )

「僕一時精神的に革命を受け始めてゲエテの如きトルストイの如き巨匠を正眼に見得たりと信ぜし時あり。

"Sometimes I believed that I would begin to undergo a spiritual revolution, and that I could see a giant like Toethi like Goethe with a straight eye.

僕をしてその境地に置きしもの種々複雜なる事情あれどジアン・クリストフの影響大なりしは今に到つて忘るる能はず。

There are various complexities that make me a place in that place, but the influence of Gian Christoph should be the ability to forget about now.

今にして思へば當時の僕は始めて天日を仰ぎしものの如く唯天日あるを知つて諸他の星辰あるを知らざりしが如し。

Now, when I think about it, for the first time I looked up at the heavens and for the first time I knew that there was a heavenly sun, and I knew that there were other stars.

(例せはゲエテの大を知れどテイク、ホフマン以下獨乙羅曼派の諸家の特色を輕蔑すべきものとして却けたり。)

(For example, take is known as the Great of Geete, but the characteristic of the houses of the Hokumann and the Hokutara Mandala can be dismissed as something that should be despised.)

されど天日を知らざるものにして如何ぞ諸他の星辰を知るを得んや。

However, without knowing the celestial sun, I can't help getting to know other star dragons.

是當時の僕なくして現在の僕あらざる所以なり。

It's the reason why I don't have to be without me at the time of correction.

同時に又當時の僕の如くトルストイ、ドストエフスキイを説きて他を顧みざる幾多年少の豪傑に同情なき能はざる所以なり。」

At the same time, it is the reason why I can't sympathize with Torusty and Dostoevsky, who are like me at the time, and who do not care about others. "

(大正八年七月三十一日佐佐木茂索宛書翰)

(Books addressed to Shigebu Sasaki, July 31, 1931)

 彼は地獄のポオやボオドレエルを見るその眼で、ゲエテやトルストイやドストエフスキイの偉大を仰がずにはゐられなかつた。

He couldn't help looking at the greatness of Goethe, Tolstoy and Dostoevsky with his eyes to see Pooh and Vodoreel in hell.

彼はあらゆるものを見、愛し、理解したがために「雜駁な」のである。

He is "negligent" because he sees, loves, and understands everything.

彼は彼の「雜駁さ」に調和を與へ得てゐた間は、寧、幸福だつたであらう。

He was happy and happy while he was in harmony with his "haze".

しかし彼はその調和を次第に失ひ出した。

But he gradually lost that harmony.

そしてそれを失ひ出すや否や、彼には雜駁なことが純粹なことに若かないやうに思はれ出した。

And as soon as he lost it, he realized that he wasn't young at all.

彼の中で、鋭い理性と柔かい心臟との調和が破れ始めたのを彼の第一の悲劇とすれば、この「雜駁さ」の調和の破れ始めたのは彼の第二の悲劇であると言はなければならぬ(註一)。

In his first tragedy, when the harmony between the sharp reason and the soft mind began to break in him, it was in his second tragedy that the harmony of "haze" started to break. It must be said that there is (Note 1).

 しかし僕は又思ふのである。

However, I'm thinking again.

この「雜駁さ」から生じた彼の悲劇こそ、晩年の彼を、一層(それは彼の如き個性にあつては殆ど不思議なほど)強くポオやボオドレエルの魅力に引きつけ、そしてそこにあのやうな「惡の花」を奇蹟のやうに咲かせたのではないだらうか。

His tragedy resulting from this "haze" attracted him to his later years more strongly (which is almost mysterious for his personality) to the charm of Poo and Vaudreel, and there I wonder if "the flowers of evil" were made to bloom miraculously.

註一。

Note 1.

後年の彼がいつも彼の中の無數の分裂に苦しんだのはこれに原因する。

It is because of this that in later years he always suffered an infinite split in him.