文学その6

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わが俳諧修業:芥川 龍之介(1-41)/41

わが俳諧修業

My haiku training

芥川龍之介

Ryunosuke Akutagawa

 小学校時代。

Elementary school days.

――尋常四年の時に始めて十七字を並べて見る。

――I saw the 17 characters side by side for the first time in the fourth year of the ordinary.

「落葉|焚いて葉守りの神を見し夜かな」。

"Defoliation|Isn't it night when I see the god of burning and protecting the leaves?"

鏡花の小説など読みゐたれば、その羅曼主義を学びたるなるべし。

If you read Kyoka's novels, you should learn about Mandalaism.

 中学時代。

Middle school age.

――「獺祭書屋俳話」や「子規随筆」などは読みたれど、句作は殆どしたることなし。

--Although you read "Saishi Festival Bookstore Haiku" and "Shiki essay," you have hardly done any phrasing.

 高等学校時代。

High school days.

――同級に久米正雄あり。

--There is Masao Kume in the same class.

三汀と号し、朱鞘派の俳人なり。

Named San'oh, he became a Zhu sheath haiku.

三汀及びその仲間の仕事は詩に於ける北原白秋氏の如く、俳諧にアムプレシヨニスムの手法を用ひしものなれば、面白がりて読みしものなり。

The work of Sanoh and his associates is interesting and fun to read if the technique of Ampresionism is applied to haiku, like Mr. Shiraaki Kitahara in poetry.

この時代にも句作は殆どせず。

Almost no phrasing was done in this era.

 大学時代。

University days.

――略ぼ前時代と同様なり。

--Similar to the previous days.

 教師時代。

I was a teacher.

――海軍機関学校の教官となり、高浜先生と同じ鎌倉に住みたれば、ふと句作をして見る気になり、十句ばかり玉斧を乞ひし所、「ホトトギス」に二句御採用になる。

--When you became an instructor at the Navy School of Engineering and lived in Kamakura where Professor Takahama lived, you were suddenly tempted to write a phrase, and you adopted two phrases for "Hototogisu", a place where you can only play ballads.

その後引きつづき、二三句づつ「ホトトギス」に載りしものなり。

After that, it continues to be recorded in "Hototogisu" in a few phrases.

但しその頃も既に多少の文名ありしかば、十句中二三句づつ雑詠に載るは虚子先生の御会釈ならんと思ひ、少々尻こそばゆく感ぜしことを忘れず。

However, even at that time, if there are already some sentence names, I think that it would be the bow of Professor Kyoko to appear in the miscellaneous poems in each of the ten poems.

 作家時代。

Writer's time.

――東京に帰りし後は小沢碧童氏の鉗鎚を受くること一方ならず。

--After returning to Tokyo, you can only receive the forceps of Midori Ozawa.

その他|一游亭、折柴、古原艸等にも恩を受け、おかげさまにて幾分か明を加へたる心地なり、尤も新傾向の句は二三句しか作らず。

Others|Ichiyotei, Orishiba, Furuhara, etc. have helped me, and thanks to them, I feel a little more comfortable, and I can only make a few new phrases.

つらつら按ずるにわが俳諧修業は「ホトトギス」の厄介にもなれば、「海紅」の世話にもなり、宛然たる五目流の早じこみと言ふべし。

Niwa's haiku training is a troublesome thing for "Hototogisu" and a care for "Kamiko".

そこへ勝峯晉風氏をも知るやうになり、七部集なども覗きたれば、愈鵺の如しと言はざるべからず。

As soon as I knew Katsumine Shinpu, and if I looked into the 7th collection, I could not help saying that it was like Yuan.

今日は唯|一游亭、魚眠洞等と閑に俳諧を愛するのみ。

Today is only Yui Ichiyotei, Uomin-dong, etc. I just love haiku.

俳壇のことなどはとんと知らず。

I didn't know anything about haiku.

又格別知らんとも思はず。

I also think that I do not know exceptionally.

たまに短尺など送つて句を書けと云ふ人あれど、短尺だけ恬然ととりつ離しにして未だ嘗書いたことなし。

There are people who sometimes say that you should send a short length and write a phrase, but I haven't yet written it with the short length left alone.

この俳壇の門外漢たることだけは今後も永久に変らざらん乎。

The fact that this haiku poetry is an outsider will never change in the future.

次手を以て前掲の諸家の外にも、碧梧桐、鬼城、蛇笏、天郎、白峯等の諸家の句にも恩を受けたることを記しおかん。

In addition to the houses mentioned above with the next move, please note that he also benefited from the phrases of the houses such as Aoki Taki, Onijo, Jiko, Tenro, and Shiromine.

白峯と言ふは「ホトトギス」にやはり二三句づつ載りし人なり。

Shiramine and Kofu are people who are mentioned in "Hototogisu" with a few phrases.

(大正十三年)

(Taisho 13th year)

底本:「筑摩全集類聚 芥川龍之介全集第四巻」筑摩書房

Sokomoto: "Complete Works of Chikuma Ju, Ryunosuke Akutagawa Complete Works Vol.4" Chikuma Shobo

   1971(昭和46)年6月5日初版第1刷発行

Issued the first edition on June 5, 1971 (Showa 46)

   1979(昭和54)年4月10日初版第11刷発行

Publish the 11th edition of the first edition on April 10, 1979 (Showa 54)

入力:土屋隆

Input: Takashi Tsuchiya

校正:浅原庸子

Calibration: Yoko Asahara

2007年4月13日作成

Created April 13, 2007

青空文庫作成ファイル:

File created by Aozora Bunko:

このファイルは、インターネットの図書館、青空文庫(http://www.aozora.gr.jp/)で作られました。

This file was created at the Aozora Bunko (http://www.aozora.gr.jp/), a library on the Internet.

入力、校正、制作にあたったのは、ボランティアの皆さんです。

Volunteers helped with the input, proofreading, and production.