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。

文芸鑑賞講座:芥川 龍之介(107-150)/269

わたしの心構へをするなと言ふのも他意のある訳ではありません。

It doesn't mean that I shouldn't do my best.

片々たる批評家の言葉の為にも、何かと心構へを生じ易い結果、存外一かどの作品も看過されることが多いからであります。

This is because even the criticism of each criticism tends to cause some confusion, and as a result, the work that is the most unexpected is often overlooked.

 しかし素直に面して見ても、世界的に名高い作品さへ何の感銘も与へないことは必しもないとは限りません。

However, even if you look straightforwardly, it is not inevitable that you will not be impressed with the world-famous work.

かう言ふ時はどうするかと言へば、何も無理には感心したがらずに、そのまゝ少時は読まずにお置きなさい。

Speaking of what to do when you say something, do not want to be impressed by anything, and keep reading for that time.

実際如何なる傑作でも読者の年齢とか、境遇とか、或は又教養とか、種々の制限を受けることは当り前の話でありますから、誰にも容易に理解出来ないのは少しも不思議ではありません。

In fact, it is a matter of course that any masterpiece is subject to various restrictions such as the age of the reader, circumstances, or education, so it is no wonder that no one can easily understand it.

それは自慢は出来ないにもせよ、少くとも自己を欺いて感心した風を装ふよりも恥かしいことではない筈であります。

Even if I can't brag about it, it should be at least less embarrassing than wearing a wind that impresses me by impressing myself.

けれども前に読んだ時に理解出来なかつた作品も成る可くは読み返して御覧なさい。

However, please read back as much as you can if you can't understand the old works when you read it before.

その内には目のさめたやうに豁然と悟入も出来るものであります。

Among them, you can enlighten yourself as if you were awake.

古来禅宗の坊さんは「※啄の機」とか言ふことを言ひます。

Since ancient times, Zen Buddhist priests often say, "* a machine of scholarship."

これは大悟を雛に譬へ、一羽の雛の生まれる為には卵の中の雛の啄と卵の外の親鳥の啄と同時に殻を破らなければならぬと言ふことを教へたものであります。

This was taught to Daigo as a chick, and to teach that one chick had to break the shell at the same time as the chicks in the egg and the parent bird outside the egg. It is a thing.

文芸上の作品を理解するのもやはりこれと変りはありません。

Understanding literary works is no different from this.

読者自身の心境さへ進めば、鑑賞上の難関も破竹のやうに抜けるものであります。

If you proceed to the feelings of the reader himself, the difficulty of viewing will be overwhelming.

ではその心境を養ふにはどう言ふ道を採るかと言へば、半ばは後に出て来る問題、――即ちどうものを鑑賞すれば好いか?

Then, how to take a path to feed that feeling, halfway to the problem that comes up later, that is, what should I appreciate?

 並びにどう言ふ鑑賞上の議論を参考すれば好いか?

What should I refer to as well as discussions on how to appreciate the words?

 と言ふ問題にはひりますが、半ばは又人間的修業であります。

I'm afraid that is the problem, but in the middle is human training again.

或はもつと通俗的に言へば、一かどの人間になることであります。

Or, in a popular way, it means becoming a person.

文学青年ではいけません。

You must not be a literary youth.

当世才子ではいけません。

Don't be a child of this age.

自称天才ではなほいけません。

Don't be a self-proclaimed genius.

一通りは人情の機微を知つたほんたうの大人になることであります。

The first is to become an adult who knows the subtleties of humanity.

と言ふと「それは大事業だ」とひやかす読者もあるかも知れません。

Some readers may insist that it's a big business.

が、鑑賞は御意の通り、正に一生の大事業であります。

However, appreciation is, as you would expect, a very big business for the rest of your life.

 素直に作品に面すると言ふのはその作品を前にした心全体の保ちかたであります。

――The fact that we face the work obediently is how we keep our whole mind in front of the work.

が、心の動かしかたから言へば、今度は出来るだけ丹念に目を配つて行かなければなりません。

However, from the way of moving my mind, I have to pay close attention to my eyes.

もし小説だつたとすれば、筋の発展のしかたはとか人物の描写のしかたとかは勿論、一行の文字の使ひかたにも注意して行かなければなりません。

If it is a novel, it is necessary to pay attention not only to how to develop the lines and how to describe the person, but also to how to use one line of letters.

これは創作に志す青年諸君には殊に必要かと思ひます。

I think this is especially necessary for youths who aspire to creation.

古来の名作と言はれる作品を細心に読んで御覧なさい。

Carefully read the works that are said to be ancient masterpieces.

一篇の感銘を醸し出す源は到る所に潜んでゐます。

The source of inspiration for one story is lurking everywhere.

名高いトルストイの「戦争と平和」は古今に絶した長編であります。

Famous Tolstoy's "War and Peace" is a feature-length that has never been seen before.

しかしあの恐しい感銘は見事な細部の描写を待たずに生じて来るものではありません。

But that terrifying impression does not occur without waiting for the depiction of stunning detail.

たとへばラストオヴア伯爵家の独逸人の家庭教師を御覧なさい。

Take a look at the tutor of the German Countess of Last Ova.

(第一巻第十八章)この独逸人の家庭教師は主要な人物でない所か、寧ろ顔を出さずとも差支へないほどの端役であります。

(Vol. 1, Chapter 18) This German tutor is not a major person, or is a minor role that does not make a difference without showing his face.

しかしトルストイは伯爵家の晩餐会を描いた数行の中に彼の性格を躍動させてゐます。

But Tolstoy thrives on his character in a few lines depicting the Count's Dinner.

 「独逸人の家庭教師は食物だのデザアトだの(食事の後に出る菓子や果物)酒だのの種類を残らず覚えようと努力した。

 A German teacher tried hard to learn all kinds of food, desserts (confectionery and fruits that appear after meals) and sake.

それは後にこまごまと故郷の家族に書いてやる為だつた。

That was because I wrote it to Komagoma and my family in my hometown later.

だから家来がナプキンに包んだ酒の瓶を携へたまま、時々素通りをしたりすると、大いに憤慨して顔をしかめた。

So, when the servants carried a bottle of sake wrapped in a napkin and sometimes passed by, he was very upset and frowned.

が、なる可くそんな酒などは入るものかと言ふ風を見せるようにした。

However, I tried to show that I could buy such sake.

彼の酒を欲しがるのは格別渇いてゐる為でもなければ、根性のさもしい為でもない。

He wants his sake not because he is particularly thirsty or because he lacks guts.

只|頗る品の良い好奇心を持つてゐる為である。

This is because we have a good curiosity for the products.

しかしそれは不幸にも誰一人認めてくれるものはない。

But unfortunately no one acknowledges it.

――彼はかう思ふと口惜しかつた。」

――He was humorous. "

 翻訳は甚だ拙劣でありますが、大意は伝へられることと思ひます。

 Translation is very poor, but I think the main idea is to be transmitted.

前にもちよつと述べた通り、かう言ふ細部の美しさなしには「戦争と平和」十七巻の感銘、――あの手固い壮大の感銘を生み出すことは出来ません。

As I said before, without the beauty of details, it is impossible to create the impression of the seventeen volumes of "War and Peace"-that solid epic impression.

――と言ふのは創作の上でありますが、これを鑑賞の上へ移すと、かう言ふ細部の美しさをも鑑賞することが出来なければ、あの手堅い壮大の感銘は到底はつきりとは捉へられません。

―― is said to have been created, but if you move it to appreciation, if you can not appreciate the beauty of Kafu's details, you will be impressed with that solid grandeur. Can't be caught.