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(151-191)/269

只何か漠然とした感銘を受けるのに了るだけであります。

All I have to do is impress with something vague.

この丹念に目を配ることは一篇の大局を忘れない以上、微細に亘れば亘るほどよろしい。

It is all right to pay close attention to the details, as long as you keep an eye on the whole story.

露西亜に生まれなかつた我々は到底トルストイの文章の末までも目を通すことは出来ません。

Being born in Russia Xia, we cannot even see the end of Tolstoy's writing.

それはやむを得ない運命でありますが、苟くも外国人にも窺はれる所は悉看破するだけの気組みを持たなければなりません。

It is an unavoidable destiny, but you must have the motivation to overlook the place where both foreigners and foreigners can see it.

支那人は古来「一字の師」と言ふことを言ひます。

Chinese people often say that they are "one-letter teachers."

詩は一字の妥当を欠いても、神韻を伝へることは出来ませんから、その一字を安からしめる人を「一字の師」と称するのであります。

Even if a poem lacks the properness of one character, it cannot convey the hermit, so the person who reassures that one character is called the "one character teacher."

たとへば唐の任翻と言ふ詩人が天台山の巾子峰に遊んだ時、寺の壁に一詩を題しました。

When the poet, Tatoheba Tang's rendition, played on the Fusso peak of Mt. Tendai, he wrote a poem on the wall of the temple.

その詩は便宜上仮名まじりにすると、「絶頂の新秋、夜涼を生ず。

For the sake of convenience, the poem is spelled with a kana: "The new autumn, the yoru ryo, is born.

鶴は松露を翻して衣裳に滴る。

The crane hangs on the dewdrops and drips on the costume.

前峰の月は照す、一江の水。

The moon in Maemine illuminates the water of Ichie.

僧は翠微に在つて竹房を開く。」

The monk opens a bamboo workshop in Susui. "

と言ふのであります。

It is said.

が、天台山を去つて数十里――と言つても六町一里位でありませうが、兎に角数十里来るうちに、ふと任翻は「一江の水」よりも「半江の水」と言つた方が適切だつたことに気づきました。

However, leaving Tendaisan to dozens of ri – even though it is said that it is about 6 ri in Rokumachi, as soon as a few dozen ri come to the rabbit, suddenly the relocation is more than “Ichie no Mizu”. I realized that it was more appropriate to say "Hange River water".

そこでもう一度御苦労にも巾子峰へ引き返して見ると、誰かもう壁に書いた「一江の水」を「半江の水」と書き改めてしまつた後でありました。

So, when I went back to Fushikomine again, it was after rewriting "Ichie no Sui" written on the wall as "Hange no Sui".

先手を打たれた任翻はこの改作を眺めながら、しみじみ「台州(天台山のある土地の名)人有り」と長嘆したと言ふことであります。

It is said that the promiscuous Narita screamed with admiration, "There are people in Taizhou (the name of the land where Mount Tendai is)" while looking at this adaptation.

既に一篇の詩の生死は一字に関してゐるとすれば、「一字の師」は同時に又「一篇の師」にならなければなりません。

Assuming that the life and death of a poem is already a character, the "one-letter teacher" must at the same time become the "one-letter teacher."

これを鑑賞の上へ移すと、一字を知るものは一篇を知るもの、――或は一篇を知る為には一字を知らなければならぬと言ひ換へられる筈であります。

If you move this over to appreciation, you must be aware that to know one character knows one story, or to know one character you must know one character.

今如何に一行の文章も等閑視し難いかを示す為に夏目先生を例に引いて見ませう。

In order to show how difficult it is to read a single line of sentences, let's take Natsume-sensei as an example.

 「木戸を開けて表へ出ると、大きな馬の足迹の中に雨が一杯たまつてゐた。」

“When I opened the door and went out to the table, I found a big rain in the foot of a big horse.”

(「永日小品」の「蛇」)

("Snake" in "Einichi Piece")

 「風が高い建物に当たつて、思ふ如く真直に抜けられないので、急に稲妻に折れて、頭の上から斜に鋪石迄吹き卸ろして来る。

”I hit a building with a high wind and couldn't go straight as I expected, so I suddenly broke into a lightning bolt and blown down the stones from the top of the head to the slope.

自分は歩きながら、被つてゐた山高帽を右の手で抑へた。」

While walking, I restrained the covered bowler hat with my right hand. "

(「永日小品」の「暖かい夢」)

("Warm dreams" of "Einichi Piece")

 これはいづれも数語の中に一事件の起る背景を描いた辣腕を示してゐるものであります。

 This shows the skill of drawing the background of an incident in a few words.

前者の馬の足跡に雨中の田舎道を浮かび出させてゐますし、後者は又稲妻形の風に大都市の往来を浮かび出させてゐます。

The former allows the trails of a horse to stand out in the footsteps of a rainy road, and the latter also creates a lightning-like breeze that highlights the traffic of large cities.

かう言ふ例に富んでゐるのは勿論夏目先生に限りません。

Of course, Dr. Natsume isn't the only one who is rich in humor.

古来名作と称へられるものはいづれもこの妙所を具へてゐます。

Anything that has been called a masterpiece since ancient times will make use of this unique place.

この妙所を捉へぬ限り、鑑賞上の十全を期することは――殊に創作上の利益を得ることは不可能と言つても好い位であります。

As far as this strange place is concerned, it is good to say that it is impossible to make the utmost in appreciation-especially it is impossible to make a profit for creation.

 尤も前にも述べた通り、細部に心を配ると言つても、それは只全篇の大意を見のがさない上の話であります。

However, as I said before, even if I say that I pay attention to the details, that is the above story that does not overlook the whole meaning of the whole story.

若し細部に注意するのを「心の動かしかた」と称へるならば、この全篇の大意を捉へるのは「心の抑へかた」と言つても好いかと思ひます。

If attention to detail is called "how to move my heart," I think it is good to say that it is "how to suppress my heart" that captures the essence of this whole story.

或は又前者は「どう書いたか?」

Or the former is "how did you write?"

の問題、後者は「何を書いたか?」

, The latter is "what did you write?"

の問題と区別出来ないこともありません。

It is not indistinguishable from the problem of.

次にはこの「何を書いたか?」

Next, this "What did you write?"

の問題へ話を進めませう。

Let's move on to the problem.

 前回に「何を書いたか?」

Last time, "What did you write?"

の問題へ話を進めると言ひましたが、「文芸講座」もそろ/\完結に近づいた為にこの問題を論ずることは他日に譲る外はありません。

I said that I would like to proceed to the problem of, but since the "literature course" is about to be completed /\, I will not give up on other days to discuss this problem.

尤もこれは前回にも既にちよつと話してゐますし、(第五号の「鑑賞講座」の二頁より三頁に亘る一節)又わたしの「文芸一般論」の「内容」の条にも通ずることでありますから、必しも論ずるのを待ちますまい。

However, I have already spoken about this in the last time, as well (it goes from page 2 to page 3 of the 5th "Appreciation Lecture") and also to the "contents" section of my "General Literature". So let's not wait for the discussion.

唯手軽に実際上の用意だけに言及すれば、「何を書いたか?」

Simply mentioning only the actual preparation, "What did you write?"

を捉へる為には種々の教養も必要でありますが、何よりも心得なければならぬことはその作品の中の事件なり或は又人物なりを読者自身の身の上に移して見ること、――即ち体験に徴して見ることであります。

It takes a lot of education to capture, but the most important thing to know is to move the case or person in the work into the reader's own body. That is, seeing it as an experience.

これは小説や戯曲の鑑賞は勿論、抒情詩などの鑑賞にも多少の役に立つでせう。

This will be useful not only for watching novels and plays but also for watching lyrical poems.