(D-304) (54'00" のあたり) CLARISSA: And everyone's made to feel they're amusing, and. . . yes, liked, and then go home thinking, "Oh, what fun it was! Oh, what a wonderful evening! How good it is to be alive!" (D-305) RICHARD: I don't think poor old Ellie Hendersen could put a stop to that. (D-306) CLARISSA: Ha-ha, you're laughing at me. (D-307) RICHARD: Not in the least. (D-308) CLARISSA: Oh, Richard, you're so much nicer than I am. You should never have married me. (D-309) RICHARD: Then what would you have done? (D-310) CLARISSA: Married Peter Walsh, I suppose. Would you believe it? He was here this morning. (D-311) RICHARD: Yes. Millie Bruton told me he's in town. (D-312) CLARISSA: He's in love with someone in India. He's here to see about the divorce. He's just the same. He hasn't changed the slightest. (D-313) (55'00") （レストランにて、ウェイトレスが）: Would you like some cake, sir? (D-314) 男性の客: Thank you. (D-315) MISS KILLMAN: Did you understand what the Reverend Whitaker had said this morning about knowledge coming through suffering? (D-316) ELIZABETH: Not really, no. But then, I suppose I haven't really suffered yet. (D-317) KILLMAN: Maybe you never will. Oh, oh, not that I wish to mean any harm. But, as he says, real knowledge is only gained through suffering. (D-318) ELIZABETH: What was it you wanted to buy here? (D-319) (55'34") KILLMAN: A petticoat. Mine is in threads ***. (D-320) ELIZABETH: They have some pretty striped ones. (D-321) KILLMAN: Oh, couldn't possibly afford striped ones. (D-322) ELIZABETH: I might have to go to the party tonight. I'd forgotten all about it when I said I'd help with the mission. Mommy will be upset if I don't go.
0101吾輩は名無しである2013/01/03(木) 12:34:44.13 (D-323) KILLMAN: It's a great pity that great women like your mother have nothing better to do with their time than to give parties. (D-324) KILLMAN: Oh, I know it's not their fault. Women like your mother can't help it. They're spoilt. (D-325) ELIZABETH: She likes giving parties. (D-326) KILLMAN: I never go to parties. Why should they ask me? I'm plain. I'm unhappy. But I don't pity myself. I pity other people more. (D-327) WAITRESS: Your bill, madam. (D-328) ELIZABETH: You finish your tea. I'll pay this at the desk. I'll have another night for the mission. I'm sorry. I have to go. (D-329) (57'52") （Septimus の家で）SEPTIMUS: Fear no more. （しばらく沈黙、そのあと笑いながら）Who are you making that hat for? (D-330) LUCREZIA: Mrs. Filmer's married daughter. (D-331) SEPTIMUS: And what's the name of Mrs. Filmer's married daughter? (D-332) LUCREZIA: Mrs. Peters. I don't like him, but Mrs. Filmer has been so good to us, so I wanted to do something good for her. (D-333) SEPTIMUS: Ha-ha, that's too small for Mrs. Peters. She's enormous. That's an organ grinder's monkey's hat. (D-334) LUCREZIA: Ha-ha, there! (D-335) SEPTIMUS: Ha-ha, well, now the poor woman looks like a pig at a fair. Come on, let's ***. This one's beautiful. There, there. Stitch that together, very, very carefully. (接吻のあと横たわる。） (D-336) SEPTIMUS: （一人になり、不安に満たされ）Evans? Evans! (D-337) LUCREZIA: It was only the evening paper. Mrs. Filmer for the evening paper. (D-338) SEPTIMUS: They're going to take me away, Rezia. （Rezia というのは、Lucrezia の愛称。） (D-339) LUCREZIA: Sir William Bradshaw said you must learn to rest, Septimus. (D-340) SEPTIMUS: It's "must." Must. Why must? What right has he to say "must" to me? (D-341) LUCREZIA: It is because you talked of killing yourself. 0102吾輩は名無しである2013/01/03(木) 17:09:05.39 Mrs. Dalloway (1997) (Rupert Graves) (http://www.youtube.com/watch?v=w227rhzbQ_c)
(D-342) SEPTIMUS: So, I'm in their power. Where are my writings, Rezia? （自分の書いた絵や文章を確認して） Burn them. (D-343) LUCREZIA: Some are very beautiful. I'm going with you, Septimus. They can't separate us against our will. (D-344) SEPTIMUS: （妻に帽子をかぶせて）You're a flowering tree. You're a sanctuary. You. . . fear no more. . . about Holmes and Bradshaw. You've triumphed. (D-345) (1:02'26") LUCREZIA: I'm going to pack our things. I shall *** (D-345-B) （下の階からの声）DR. HOLMES: *** is he home? (D-346) （下の階からの声）LANDLADY: Good afternoon, Dr. Holmes. (D-347) LUCREZIA: It's Dr. Holmes. I won't let him come in here. （下に降りる。） (D-348) SEPTIMUS: （部屋を見渡す。どうすべきか考えている様子） (D-349) LUCREZIA: Look, look. *** No, I cannot allow you. Please don't go into the room. I beg you. (D-350) DR. HOLMES: Mr. Warren Smith. (D-351) SEPTIMUS: You want my life? I'll give it to you. （窓から飛び降りる。） (D-352) DR. HOLMES: God! The coward! Why the devil did he do it? (D-353) (1:04'34") PETER: *** Good afternoon. （ホテルのロビーにて） Number 12, please. （部屋の鍵を受け取る）Thank you. (D-354) RECEPTIONIST: And this came for you, Mr. Walsh. （手紙を手渡す。） (D-355) PETER: Thank you. Thank you. (D-356) (1:05'07") （手紙の内容、Clarissa の声）: Peter, it was heavenly to see you. I must tell you that. Clarissa. (D-357) （若き日の）SALLY: We could play tennis. (D-358) CLARISSA: No, it's too hot *** for tennis. Besides, we need a fourth person to play doubles. And Hugh's gone to visit his mother. And Herbert won't play. (D-359) SALLY: Maybe, "My name is Dalloway" will turn up. （笑う。） (D-360) PETER: And his perfect white matching his perfect teeth. "My name is Dalloway." 0103吾輩は名無しである2013/01/03(木) 17:10:15.00 (D-361) CLARISSA: I think we've had enough of that feeble joke! （走り去る） (D-362) SALLY: She can't be serious about him. (D-363) PETER: I'm going to have this out. （Clarissa の後を追う） You've come to an understanding with Dalloway, haven't you? Haven't you? (D-364) CLARISSA: It's difficult, Peter. (D-365) PETER: Just tell me the truth. Tell me the truth. Tell me the truth! (D-366) CLARISSA: He makes me feel safe. (D-367) PETER: Safe!? Is that want you want!? (D-368) CLARISSA: You want so much of me, Peter. I just can't do it. Throw everything away and go across the world with you. I'm just not brave in that way. And Richard. . . . (D-369) And Richard pamper you, and keep you in a perfectly beautiful, safe prison, filled with flowers and stuffed with elegant antique furniture. He'll make all the decisions for you, and you'll never have to think again! (D-370) (1:07'15") CLARISSA: You demand so much from me. (D-371) PETER: Because I love you for God's sake! (D-372) CLARISSA: Richard leaves me room. . . room to breathe. (D-373) PETER: Clarissa! He's a fool. An unimaginative, dull fool! (D-374) (1:07'38") CLARISSA: You want too much of me, Peter. I can't give it. (D-375) PETER: So it's no use. This is the end. (D-376) CLARISSA: I'm sorry, Peter. (D-377) PETER: Clarissa! Clarissa! Clarissa! （夕立の中で Peter が一人で悲嘆に暮れる） (D-378) （Clarissa が主催したパーティが始まる） LORD LEXTER: （自分の名前を執事に伝える） Lord Lexham. 執事： （来客の名前をアナウンスする）Lord Lexham. 0104吾輩は名無しである2013/01/03(木) 17:59:01.05 Mrs. Dalloway (1997) (Rupert Graves) (http://www.youtube.com/watch?v=w227rhzbQ_c)
(D-379) CLARISSA: (1:09'36") How delightful to see you! (D-380) LEXHAM: I'm so sorry my dear wife has a cold. (D-380) CLARISSA: Oh, dear! (D-381) LEXHAM: She simply would not wear her furs at the garden party at the Buck House and it was bitterly cold. (D-382) CLARISSA: （考えている内容）Oh, dear, it's going to be a failure, a complete failure! （声に出して） How delightful of you to come. (D-383) LADY: Lovely to see you. (D-384) MAN: Pretty nice to see you. (D-385) CLARISSA: Glad you could come, Freddy. （考え事）Why do I do it? （声に出して）How lovely of you to come! (D-386) LADY: It's nice of you to invite me. (D-387) BUTLER: Mr. Peter Walsh. (D-388) CLARISSA: (1:10'14") Peter! You came! How delightful to see you! (D-389) RICHARD: Peter, back from India, eh? (D-390) PETER: Yes, back from India. (D-391) RICHARD: Must be years since we have seen you. (D-392) CLARISSA: （考え事） Oh, it was a mistake to invite him. He'll all know and he's sorry he's come. He's criticizing me, accusing me of being insincere. Why do I do these things? Why seek pinnacles and stand drenched in fire? I feel burned to a cinder. (D-393) BUTLER: Miss Henderson. (D-394) CLARISSA: （考え事） Either that or dwindle away like Ellie Henderson? （声に出して） Ellie! I'm so glad you've come. (D-395) ELLIE HENDERSON: It's so grand! (D-396) CLARISSA: （考え事）Oh, dear, why can't she at least stand up properly? Well, well, I suppose it's her weaponless state. (D-397) RICHARD: Wonderful to see you again. (D-398) (1:11'09") HENDERSEN: Richard, how lovely! (D-399) BUTLER: Duke and Duchess of Mobra(???). (D-400) HENDERSEN: A Duke! 0105吾輩は名無しである2013/01/03(木) 19:52:49.29 (D-401) (1:11'15") CLARISSA: （考え事）Oh, why did the Marbras have to follow Ellie Henderson? (D-402) DUCHESS: Clarissa! (D-403) CLARISSA: （考え事）He must have wondered what kind of people I invite to my parties. (D-404) DUKE: Clarissa, how lovely to see you. Thank you so much for inviting us. (D-405) CLARISSA: Oh, Pertie(???), how lovely of you to come! （考え事） It's a disaster! The party is a disaster! How humiliating! And there's Peter wandering off. (D-406) CLARISSA: I'll speak to him. To get the troubles, I know it. Why is like that? He thinks I am absurd. Oh, it's too much of an effort. I'm not enjoying it at all. I feel like a stake driven in at the top of the stairs. (D-407) CLARISSA: （声を出して） Delighted to see you! (D-408) RICHARD: Good to see you, Colonel. (D-409) BUTLER: Mr. Hugh Whitbread. (D-410) CLARISSA: How did you find Evelyn today? (D-411) HUGH: Oh, bearing up, bearing up. (D-412) (1:12'09") CLARISSA: I shall visit her tomorrow. I do hope she'll ask for Mrs. Asquith's memoirs. (D-413) HUGH: Oh, I doubt it. Not Evelyn. She's not a great reader. (D-414) BUTLER: Lady Bruton. (D-415) CLARISSA: （考え事） Lady Bruton!? So she came!? (D-416) LADY BRUTON: My dear Clarissa! (D-417) CLARISSA: （考え事）Maybe she doesn't dislike me as much as I thought she did. (D-418) 白いあごひげの男性: The essential condition for studies for any depth of study, Wilson, oh, a momentary sensation of an embrace! Ha-ha. (D-419) CLARISSA: （考え事） Oh, it's not a failure, after all. It's going to be all right. Hmmm, it's still touch and go, but it's begun, my party. It's begun. (D-420) BUTLER: Lady Rosseter. (D-421) CLARISSA: Lady Rosseter? Who can that be? (D-422) LADY ROSSETER (= SALLY SETON): Clarissa! 0106吾輩は名無しである2013/01/03(木) 19:54:24.31 (D-422) LADY ROSSETER (= SALLY SETON): Clarissa! （このあと、番号が飛びました。） (D-433) CLARISSA: Sally? （考え事） That voice! （声を出して）Sally Seton! （考え事）Goodness! She didn't look like that when she kissed me by the fountain! (D-434) SALLY: Oh, wonderful to see you! (D-434-B) CLARISSA:（考え事）It's extraordinary to see her again! She's older. She's happier, but less lovely. But oh, how wonderful she's come to my party! (D-435) LADY: I'll tell her that. (D-436) CLARISSA: Oh, Sally, I've been thinking about Bourton all day. (D-437) SALLY: Oh, have you? Have you? (D-438) (1:13'56") BUTLER: The Prime Minister. (D-439) CLARISSA: Oh, my goodness! Sally, I must go. Where's Richard? (D-440) RICHARD: Sorry, Eliot. Duty calls. (D-441) CLARISSA: Oh, how delightful to see you. (D-442) PRIME MINISTER: Very sweet of you. Unfortunately *** couldn't come. (D-443) LADY 1: Clarissa is looking well, considering how ill she's been. (D-444) LADY 2: I know that Richard was very worried about her. (D-445) LADY 1: Envy his wife. Really shouldn't get Hugh. (D-446) LADY 2: I believe it was her heart. (D-447) BRUTON: I think Hugh can always bring us up together. Mind of a matter. (D-448) CLARISSA: You painted your wife. Lovely. I hang it on there. (D-449) MAN: Oh, that's wonderful. (D-450) SALLY: Peter! Peter Walsh! (D-451) PETER: Good Lord! Sally Seton! (D-452) SALLY: Lady Rosseter now. (D-453) PETER: Don't be absurd. (D-454) SALLY: It's true. Lady Rosseter. We live in Manchester. And I have five enormous boys. (D-455) LADY: *** deceiving. Even if I doubt but it's Ellie Henderson. She's ***'s daughter. She's gaping at the Prime Minister. 0107吾輩は名無しである2013/01/03(木) 19:56:16.59 (D-455) LADY: *** deceiving. Even if I doubt but it's Ellie Henderson. She's ***'s daughter. She's gaping at the Prime Minister. Drooping all over before she disgraces herself isn't the faintest astonishment. (D-456) MAN: Prime Minister, how nice to see you. (D-457) LADY: She's always looked delicate to me. But such charm. (D-457-B) BRUTON: Richard would have done a great deal better if he'd married a woman with less charm, with more backbone. (D-458) BRUTON: (She) would have helped him with his work. He's lost his chance in the government. (D-459) PETER: No one but the snobs of the English are!(???) How they love dressing up and doing homage. Listen to them. I hear baboons chatter and coolies beat their wives. (D-460) SALLY: Still same old, Peter. Still playing with your pocket knife? (D-461) SALLY: We're not all the same, Peter. My husband may have his own *** ***, but he's a miner's son. When he. . . oh, look. Look. Isn't that Hugh Whitbread? (D-462) PETER: What a toady! What an obsequious toady! He's not changed at all. Haven't you fare him?(??? よくは聴き取れません) (D-463) SALLY: He still makes you angry. (D-464) PETER: Look at her. Intoxicated by their all thinking she's brilliant. (D-465) SALLY: Don't be too hard on her. After all, (she) has to do a kind of a performance. She has to give a performance. It isn't the real Clarissa. (D-466) PETER: Our real Clarissa was lot years ago. (D-467) CLARISSA: Prime Minister, can I introduce our daughter? (D-468) SALLY: I'm sure she has a goal. To find the old Clarissa again. (D-469) PETER: Functions there this evening.(???) (D-470) (1:17'17") CLARISSA: Richard so enjoyed your luncheon party. (D-471) BRUTON: Oh, Richard was the most encouraging. And he's promised to drop my little idea into the right again. (D-472) CLARISSA: He's having with the Prime Minister a quiet word now before he leaves. 0108吾輩は名無しである2013/01/04(金) 07:20:28.45 Mrs. Dalloway (1997) (Rupert Graves) (http://www.youtube.com/watch?v=w227rhzbQ_c)
(D-473) (1:17'32") BRUTON: Why plans to save the government fortune? Maybe, Richard is so inseet(???) this very minute. (D-474) LADY: Isn't that Peter Walsh talking to old Miss Parry? (D-475) CLARISSA: Yes, that's Peter. (D-476) BRUTON: Dear Peter! He was very sharp and clever, short of made a name of himself. But he always seems to be in some trouble with women. (D-477) CLARISSA: Do come and say hello to him. (D-478) BRUTON: Now, Peter. We can get it straight from the horse's mouth. What is going on in India? (D-479) (1:18'03") PETER: Well, a great deal, Lady Bruton. It's uh, it's a very complex issue. (D-480) BRUTON: It's a tragedy. If my father the General were alive, he'd sort them out. Hey, Miss Parry. (D-481) (1:18'19") PETER: Clarissa, I must speak with you, please. (D-482) CLARISSA: Peter, I must go and deal with Sir William and Lady Bradshaw. We'll talk later, I promise. Awfully good of you to come. (D-482-B) LADY BRADSHAW: We are shockingly late, dear Mrs. Dalloway. We hardly dared to come in. (D-483) SIR WILLIAM BRADSHAW: We couldn't resist the temptation. But our own sad account held us. A young patient of mine killed himself. (D-483-B) SIR WILLIAM: Really, Richard, there must be some provision in the government's bill to *** these cases of poor children. (D-484) LADY BRADSHAW: Yes, poor young man. A war did brave(???) during the war, and this evening, he just throws himself out of the window, impaled on the railings. It's quite upset William. (D-485) CLARISSA: （考え事） She looks like a sea lion, barking at me. (D-486) LADY BRADSHAW: Dear William, he does hate to lose patients. (D-487) SIR BRADSHAW: *** parties loses an arm or leg or half of his face. He seems so awful. It's immediate. 0109吾輩は名無しである2013/01/04(金) 07:22:44.12 (D-488) CLARISSA: （考え事）Stop it. Stop it. Don't talk of death in the middle of my party. I don't like you. I never liked you. You're obscurely evil. (D-489) CLARISSA: A young man came to you on the edge of insanity and you forced his soul. You made his life intolerable and he killed himself. (D-490)（精神科医の夫妻の話が続いたあと）CLARISSA: If you'll excuse me, Lady Bradshaw, I. . . have to. . . . (D-491) RICHARD: The problem is that, uh, politicians are not really very interested in shell shock. (D-492) SIR BRADSHAW: This is it. This is exactly it. (D-493) (1:20'30") HUGH: Hello, Henry. (D-494) HENRY: It's delightful to see you. (D-495) HUGH: I see that Sir William Bradshaw has just arrived. I think you would be most useful to bring him in on your emigration scheme. (D-496) HUGH: I know he's treating many of these fellows suffering from shell shocks or whatever. I'm sure it is a good idea to send them to Canada. It will open their lives. Excellent for mental disturbance. (D-497) LADY BRUTON: What a good idea, Hugh! (D-497-B) PETER: She's disappeared! You think she went upstairs? She can't have gone to bed, can she? (D-498) SALLY: No. No. She couldn't leave her own party. (D-499) PETER: Well, I don't know. I don't know. I don't know if she's been ill. (D-499-B) SALLY: Stop worrying, Peter. (D-500) (1:21'25") CLARISSA: He threw himself out of the window and impaled himself on the railings. Up flashed the ground; threw him, blundering and bruising, went the rusty spikes. (D-501) CLARISSA: And there he lay with a thud, thud, thud in his brain. And then a suffocation of blackness. Why, why did he do it? (D-502) CLARISSA: Why did the Bradshaws talk of it in my party? He's thrown it all away. His life. Just like that. I once threw a shilling into the Serpentine. But he's thrown his life away. 0110吾輩は名無しである2013/01/04(金) 07:25:51.49 (D-503) SALLY: You were going to her house, I remember. Have you written anything? (D-504) PETER: Um, uh, not a word. Not a solitary word. (D-505) (1:22'29") CLARISSA: But then, he. . . will always stay young. All day long, I've been thinking of Bourton, with Peter and Sally. We've grown old. (D-506) CLARISSA: We'll grow older. Have I lost the things that matter? Let it get obscured gradually, every day in corruption? Lies, and chatter. (D-507) SALLY: Do you remember the night we went boating on the lake? (D-507-B) PETER: Yes, I remember thinking she's abandoned me. (D-508) PETER: And then, all of a sudden, she was there with a hand stretched out, looking utterly beautiful, saying, "Come on. Come on. They're all waiting." Why wouldn't she marry me, Sally? (D-509) SALLY: She was afraid. (D-510) (1:23'59") CLARISSA: Your parents just handed to you life, to be lived right through to the end. We must walk it serenely. (D-511) CLARISSA: To the depth of my heart, in an awful fear sometimes that I couldn't go on. （このあと、うっかりと番号を10個ほど飛ばしてしまいました。） (D-522) CLARISSA: Without Richard, sitting there, calmly reading the Times, while I crouched like a bird and gradually revived. I well might have perished. (D-523) RICHARD: I looked across the room and wondered "Who's that lovely girl?" And then I realized "That's my daughter." (D-524) SALLY: Maybe she needs someone who makes her life simple. She certainly cared for you -- more than she cared for Richard. (D-525) PETER: My life isn't simple. My relationship with her. . . wasn't simple. She broke my heart. And you can't love like that twice. (D-526) CLARISSA: What makes us go on? What sends roaring up in us that immeasurable delight surprises, then nothing can be slow enough. Nothing lasts too long. (D-527) CLARISSA: You want to say to each moment, "Stay, stay, stay." 0111吾輩は名無しである2013/01/04(金) 07:32:32.32 (D-528) SALLY: I cherish the friendship I have with Clarissa. There was something pure about her. She had such charm, such generosity. (D-529) SALLY: I can see it to this day, going about the house all in white. She always seemed to be in white, and her arms were full of flowers. (D-530) SALLY: And I wonder, "Does absence really matter?" Does distance? You think me sentimental, and so I am. But I have come to believe that the only thing worth saying is what you really feel. (D-531) SALLY: But I don't know what I feel. I know that I loved her once. And that it's stayed all my life -- and colored everything. (D-532) CLARISSA: I must go back to my party, to Sally and Peter. That young man killed himself. But I don't pity him. (D-533) CLARISSA: I'm somehow glad he could do it, throw it away. It's made me feel the beauty, somehow feel very like him -- less afraid. (D-534) SALLY: I have to go. (D-535) PETER: （Richard を見ながら）Do you think he's made her happy? (D-536) SALLY: Who can tell, Peter? All our relationships are just scratches and ***. We thought that you were bright. But what does the brain matter? (D-537) PETER: Compared to the heart. (D-538) RICHARD: （戻ってきた Clarissa に気づいて）There you are! (D-539) CLARISSA: Peter and Sally haven't left, have they? (D-540) RICHARD: I don't know. (D-541) SALLY: Clarissa! I couldn't leave without saying goodbye. (D-542) RICHARD: But you can't leave until you've danced with me. (D-543) SALLY: Peter's in the library. (D-544) CLARISSA: Here I am at last. （Peter と Clarissa が踊る。）
もちろん、お遊びのビデオもたくさんあるでしょうけど、それらにしてもやはり、娯楽ビデオがおびただしく 溢れる世の中で、YouTube 上にどうしても掲載したいと思うものだけが投稿されていくのだと 思います。 0113吾輩は名無しである2013/01/04(金) 12:22:17.11 To the Lighthouse - 1983 - Kenneth Branagh, Virginia Woolf FULL http://www.youtube.com/watch?v=tGfC-o5vGWI
これは、Virginia Woolf の "To the Lighthouse" という小説を映画化した2時間ほどにわたる映画であり、YouTube 上で無料で見られます。 これを何とか最後まで書き取ってみたいのですが、途中で挫折しないことを祈りたいもんです。この "To the Lighthouse" についても、Wikipedia の英文による記事の中で、 この小説の荒筋が掲載されています。
(L-1) (1'29") （Cornwall, 1912 という字幕が出る。テーブルでみんなが食事をしている。 二階で5歳の男の子 James が駄々をこねており、子守のフランス人がフランス語でそれをたしなめる声が聞こえる。） FRENCH WOMAN: J'en ai assez! Tu entends? Assez! Assez! (L-2) MRS. RAMSAY: James. Oh, I know, I know. There'll be another day. And when you go, you must be up with a lark. (L-3) (1'50") MR. RAMSAY: Braddy is essential *** was that, the more we consider the matter, the less able we are to grasp it. Our analysis is destructive. (L-4) MR. RAMSAY: We go on slicing away at objects in the world, separating characteristics, describing. (L-4-B) MR. RAMSAY: It's as though we were condemned to advance each time half the distance covered by the preceding step. (L-5) MR. RAMSAY: Braddie insists that part beyond physical analysis. We need a metaphysical system. It completes the process of perception and then we arrive. (L-6) LILY BRISCOE: James is *** again. (L-7) PRUE: I'm afraid so. (L-8) MR. RAMSAY: That boy will have to learn that he cannot can(???) our lives around with what HE wants to do. 0114吾輩は名無しである2013/01/04(金) 12:23:34.44 (L-9) CAM: Oh, thank you. Thank you, Esmeralda. Yes, I would love to come to your party. I have just addressed *** It's all over paper. And the dearest little, little shells *** (L-10) CAM: Oh, how so much joy, Esmeralda. Really, you know. It gives me a headache ***. （Mrs. Ramsay が James に話しかけているシーン。） （海辺で家族とその客がクリケットを楽しむシーン。） (L-11) (3'56") LILY BRISCOE: *** must be the subject of fifteens of his own life. Yet threatens us, with oblivion. (L-12) MRS. RAMDSAY: Lily! (L-13) LILY BRISCOE: James is like a kite. There's Mrs. Ramsay, holding the other and whispering. (L-14) MR. RAMSAY: Well, ho, Nancy! Bravo! (L-15) PRUE(?): James! James! It's your turn to bat! (L-16) MR. RAMSAY: A day's a-slipping by. (L-17) CHARLES TANSLEY: Yes, sir, I did hope you might have an opportunity to discuss my dissertation soon. (L-18) MR. RAMSAY: Time we did, Charles! Time we did. (L-19) CHARLES TANSLEY: Yes I would value that. (L-20) MR. RAMSAY: Bravo! (L-21) AUGUSTUS CARMICHAEL: Is this the last man of whom cricket legend's on me? (L-22) NANCY: I doubt it. (L-23) JASPER: *** that! (L-24) JAMES: I wasn't ready. (L-25) JASPER: Oh, yes, you were! (L-26) PRUE: Jasper, you did bowl rather hard. (L-27) JAMES: I wasn't ready. (L-28) MR. RAMSAY: Come on, James. Out is out. (L-29) NANCY: Oh, give him another go. (L-30) 息子: Yes, I'm all for that. 0115吾輩は名無しである2013/01/04(金) 12:25:34.25 (L-31) MR. RAMSAY: James, you are out. （James が怒ってバットを投げ捨てるのを見て） I don't want this little fish. I don't want this little fish in MY net. (L-31-B) MR. RAMSAY: It's a naughty, naughty little fish. And I don't want HIM for dinner. (L-32) (5'53") LILY BRISCOE: Hello, Cam. (L-33) CAM: Hello, Aunt Lily. (L-34) CHARLES TANSLEY: How was your sketching, Miss Briscoe? (L-35) LILY BRISCOE: Uh, I wasn't really pleased with my efforts today, I'm afraid, Mr. Tansley. (L-36) MRS. RAMSAY: You're such a harsh judge of your own talents, Lily dearest. (L-37) CHARLES TANSLEY: There's never been a major woman artist. (L-38) LILY BRISCOE: Really? (L-39) CHARLES TANSLEY: I wish it were not so. (L-40) LILY BRISCOE: We're not dealing with the matter of "is so" or "is not so." We're discussing your opinions, aren't we? (L-41) CHARLES TANSLEY: I think there isn't such things as objective truths, an undeniable manifested consensus of thought. Mr. Ramsay, I'm sure, would agree with me. (L-42) (6'29") LILY BRISCOE: I expect you have a fondness for lists. Best poet, second best poet, third best poet. (L-43) CHARLES TANSLEY: It's hardly that facile. (L-44) LILY BRISCOE: Doubtless you have jolly arguments as to who is the best undergraduate of this year. (L-45) CHARLES TANSLEY: In my year, it was me. (L-46) ANDREW: Have you seen a shipwreck, Mr. Tansley. (L-47) CHARLES TANSLEY: Ah, no, Andrew, I haven't. (L-48) 息子： Come here. (L-48-B) *** soon, of course. (L-49) 息子： It's not my sea now. (L-50) 息子： Even so. You went down that storm. (L-51) PRUE: Masterly, Mother, dearest! (L-52) MR. RAMSAY: Let's hope it's fine tomorrow. (L-53) ANDREW: Why's that, Father? (L-54) MR. RAMSAY: The tournament, Andrew, the tournament! 0116吾輩は名無しである2013/01/04(金) 12:26:16.95 (L-55) MRS. RAMSAY: Come along, James. Not too slow. （Tournament に参加する若い男たちが、屋外で服を着替えて準備している。） (L-56) MR. RAMSAY: Caroline, I've had enough of your damn philanthropy. We do less and less together. (L-56-B) MR. RAMSAY: You write letters to the bereaved relatives and you're fiddling about with your constable. You will accompany me and the children to the tournament. (L-57) MRS. RAMSAY: Michael, I cannot. (L-58) MR. RAMSAY: You will not make any of your damn visits today. (L-59) MRS. RAMSAY: *** is dying. I have to visit him. (L-60) MR. RAMSAY: Oh, Caroline! (L-61) CAM(???): *** should be, Mother? (L-62) MRS. RAMSAY: No. But you must go to the beach today. (L-63) CAM: *** Father and me. (L-64) MRS. RAMSAY: Marie, here's one found. (L-65) 娘： I can't find James. I've looked everywhere. (L-66) MRS. RAMSAY: Well, look again. The house isn't that big. (L-67) MILDRED (MAID): They're parting, sir. I thought everyone was finished. (L-68) CARMICHAEL: A little vice I have. (L-69) MR. RAMSAY: You hurry up, you confounded children! I should be there by now. (L-70) 娘: I'm sure *** (L-71) NANCY: *** (L-72) PRUE: Don't be such a misery, Nancy, please! Would you rather change places with me, Mr. Tansley? The wrestling isn't really like up to me at all. But I'd love going along with Mother out. People, they're so real.(???) (L-73) CHARLES TANSLEY: Oh, I'm sorry to keep you waiting, Mr. Tansley. （二人が歩き始める）Good morning! (L-73-B) 男性: Good morning, ma'am. (L-74) MRS. RAMSAY: *** Enjoy yourselves. We're going to the village, Mr. Carmichael. You want anything? Stamps, writing paper? Tobacco? (L-75) （Augustus Carmichael は答えもしない。Mrs. Ramsay は諦め、Charles Tansley と共に再び歩き始める。） 0117吾輩は名無しである2013/01/04(金) 14:49:35.00 To the Lighthouse - 1983 - Kenneth Branagh, Virginia Woolf FULL http://www.youtube.com/watch?v=tGfC-o5vGWI
(L-76) MRS. RAMSAY: He could have been a great philosopher. He made an unfortunate marriage. Have you come this way before? (L-77) (10'28") CHARLES TANSLEY: Is it quicker? (L-78) MRS. RAMSAY: It's prettier. Your predecessor liked it. (L-79) CHARLES TANSLEY: My what? (L-80) MRS. RAMSAY: Your predecessor. My husband invites one of his students down here most year. Why, Mr. Tansley, you look quite good. (L-81) CHARLES TANSLEY: No, no, it's just that I. . . well, I forget there's a pattern everything has. (L-82) MRS. RAMSAY: We've been coming down here for several years now. (L-83) CHARLES TANSLEY: Who lived in that house before? (L-84) MRS. RAMSAY: A mining family. They went bankrupt, I believe. How sad! The house stood unrented for years. Nobody wanted it. (L-85) (10'57") CHARLES TANSLEY: It's pleasant to have two houses. (L-86) MRS. RAMSAY: (11'02") You disapprove? (L-87) CHARLES TANSLEY: Many people in Cornwall don't even have one. (L-88) CAROLINE TANSLEY: You are our guest, Mr. Tansley. Why, Mr. Tansley, you are tinder-dry. I do believe that you stand out here in the sun for more than an hour. You blow up like a stove just like that. Ha-ha. (L-89) CHARLES TANSLEY: Mrs. Ramsay, let me carry your basket. （屋外でのレスリング大会） (L-90) 男の子： Come on! (L-91) MICHAEL TANSLEY: Good morning. Hello, good morning. Have you met my daughters? (L-92) MAN: No. (L-93) MICHAEL TANSLEY: Rose, Nancy, and Prue? And these couple of rascals are my sons. (L-94) MICHAEL RAMSAY: How is it, Mr. DeMorrow. How is your young son of yours doing at the fair, hmmm? He's going to win the belt and bring you glory. (L-95) MAN: He's got Hawkins to deal with. (L-96) MICHAEL RAMSAY: Ah, yes, Hawkins. 0118吾輩は名無しである2013/01/04(金) 14:50:22.18 (L-97) NANCY: They risk their lives every day. What a hideous sport! They break each other's bodies. (L-98) PRUE: Well, I don't think it's quite as dangerous as that, Nancy. (L-99) NANCY: Last year one man broke his back. He's in a wheelchair now. It's an *** poorly ridiculous tragedy. (L-100) PRUE: Well, it's just the way they are. (L-101) 小さい息子: It's someone against you. (L-102) 大きい息子: Next bout. Semi-final, isn't it? (L-103) 小さい息子： I've got a bed on final. Don't tell Father. (L-104) 大きい息子: Backing up Sam, are you? (L-105) 小さい息子: I've got a bed on Mildred. (L-106) LILY BRISCOE: Paul's coming soon, isn't he, Prue? (L-107) PRUE: Yes. (L-108) LILY BRISCOE: We shall see less of you. (L-109) NANCY: *** train journeys. I'm ??? devotion. (L-110) WOMAN: Tom, will you come up, please? (L-111) MAN: The boy should be at the tournament. (L-112) WOMAN: *** needing me, Walter. And don't you be arguing with that. (L-113) WOMAN: Tom, Mrs. Ramsay has a word to say. (L-114) CAROLINE RAMSAY: Tom, you know where I live, don't you? I've told your mother that, if she needs me urgently at any time, just to send you to fetch me. (L-115) CAROLINE RAMSAY: You must use the back door if it's in the night. It's never locked. （屋外の wrestling） (L-116) MAN: Come on, son. (L-117) MICHAEL RAMSAY: You predicted well, Mr. DeMorrow. Bad luck, Sam. (L-118) MAN: ***??? 0119吾輩は名無しである2013/01/04(金) 14:52:34.69 (L-119) MICHAEL RAMSAY: Come around, DeMorrow. Lose like a gentleman. (L-120) MAN: *** don't have *** （家族3人が歩き始める。） (L-121) PRUE: Have you got your speech ready, Father? (L-122) MICHAEL RAMSAY: Well, Andrew, what do you think? Does Ham have a fair back or no? (L-123) ANDREW: I really don't know, Father. I don't know the rules. (L-124) MICHAEL RAMSAY: Well, you should. This is an important sport of the people here. The least you can do is to try to understand it. (L-125) ANDREW: Well, tomorrow Jasper and I are playing chess in the garden. How's an end? Hasn't taken any interest in that? (L-126) MICHAEL RAMSAY: Do you think that's comparable? (L-127) ANDREW: I'm just giving you my point of view, Father. (L-128) MICHAEL RAMSAY: Then you're a fool. (L-129) ANDREW: I suppose HE knows the rules. (L-130) PRUE: Of course, he does, Andrew. He sat down on the local experts the first summer he came here and found out all about it. （Michael Ramsay の演説） (L-131) MICHAEL RAMSAY: I wish only to say that I am honored that you have asked me to present the prizes today. We Ramsays are only swallows, you know, here for the summer. (L-132) MICHAEL RAMSAY: Indeed, I feel it presumptuous that someone like I should stand here in the place of honor. . . (L-133) MICHAEL RAMSAY: . . . when there are doubtless others whose roots are deep down in this countryside that I love so much, others far more fitting than I. Thank you. Fred Hawkins. (L-134) NANCY: He's won again. （海岸の小道を歩く Caroline Ramsay と Charles Tansley） (L-135) CAROLINE RAMSAY: I'm sure you'll find this pace most irritating. You like to be in a hurry, don't you, Mr. Tansley? (L-136) CHARLES TANSLEY: I'm sure I can't still find *** (L-137) CAROLINE TANSLEY: Have you been home since you've been here? (L-137-B) CHARLES TANSLEY: Of course not. (L-137-C) CAROLINE TANSLEY: You've always been happy, though. 0120吾輩は名無しである2013/01/04(金) 16:27:09.29 (L-138) (17'52") CHARLES TANSLEY: One DOES feel sometimes on the outside. (L-139) CAROLINE RAMSAY: I expect you haven't had all the time you would like with Michael. I hope you've been writing regularly to your mother and father. (L-140) CHARLES TANSLEY: Well, I can. (L-141) CAROLINE RAMSAY: I shouldn't pry into other people's lives. It's a vice I have. (L-142) (18'10") CHARLES TANSLEY: And what have you been doing this afternoon, a vice or a virtue? The little boy Tom is rather hostile. (L-143) CAROLINE RAMSAY: Such fierce pride. (L-144) CHARLES TANSLEY: On the other side of my family. (L-145) CAROLINE RAMSAY: So you are. (L-146) CHARLES TANSLEY: I can't afford to visit much during the term. I and Mrs. McBright, you know. I earn the money to pay for the schooling. (L-146-B) CHARLES TANSLEY: I earn the money for my own school and all my studies at the university. （Michael Ramsay の書斎にて） (L-147) (18'48") MICHAEL RAMSAY: Come in. (L-148) CHARLES TANSLEY: I brought my dissertation. You said I should at dinner. (L-149) MICHAEL RAMSAY: Yeah, put it on the desk then. (L-150) CHARLES TANSLEY: You'll be up through it this evening, will you? (L-151) MICHAEL TANSLEY: Don't worry, Charles. Off you go. (L-152) CHARLES TANSLEY: I hope it won't be a trouble to you, sir. (L-153) MICHAEL TANSLEY: Of course, it's no trouble. I'm a teacher, am I not? I must help my students, mustn't I? How like you I was when I was 25? But I was further on the new R, Charles my boy. You have reached H. I was as far as O. （二人の子供が寝床で遊んでいる。） (L-154) CAROLINE RAMSAY: That was lovely. Oh, dear, oh, dear, oh, dear. I DO feel the lack of any real education on these occasions. Arithmetic, for instance. (L-155) NANCY: Did you enjoy your walk with the atheist? (L-156) (20'57") CAROLINE RAMSAY: I wish you wouldn't call him that, Nancy. 0121吾輩は名無しである2013/01/04(金) 16:28:06.02 (L-157) NANCY: The Church of England has the vested interest in the perpetuation for the property owning role in France. No God would *** with *** of Bishop. (L-158) CAROLINE RAMSAY: Ha-ha, you really must show him more respect. Your father has a very high opinion of young Mr. Tansley. Very able. He does say he's very able. (L-159) NANCY: I'm sick of Aristotles like him. He's a bore -- and a prig. I wish he wasn't here. Next year, don't you think we can come down here and just be on our own? (L-160) NANCY: Couldn't we do that, just the family? No boring old students or crusty old family friends. No injured birds. Now, Mother, please. (L-161) (22'00") I don't know who you mean by injured birds, Nancy. (L-162) NANCY: Yes, you do. (L-163) CAROLINE RAMSAY: That's enough. (L-164) MICHAEL RAMSAY: If you wouldn't mind, Nancy, I wish to talk with your mother. You'll strain your eyes, Caroline. (L-165) CAROLINE RAMSAY: Yes, I must stop soon. (L-166) MICHAEL RAMSAY: Who are you knitting for now? (L-167) CAROLINE RAMSAY: Ben Sorley's son. The night housekeeper's son. (L-168) MICHAEL RAMSAY: I've been trying to work. (L-169) CAROLINE RAMSAY: It's so noisy out. That's why you can't ***. (L-170) MICHAEL RAMSAY: Whether they are noisy or not is beside the point. I am unable to work with it. My brain has become an unwilling beast. (L-171) CAROLINE RAMSAY: That's the retiring day for you, Michael. Leave it. I'm sorry I sounded a wimp. (L-172) MICHAEL RAMSAY: Your absence was a subject of comment. (L-173) CAROLINE RAMSAY: The light is gone. Cannot be bothered to have the ***. （海岸にて） (L-174) (24'40") CAROLINE RAMSAY: They don't have the will together.(???) Don't you think, Mr. Carmichael? 0122吾輩は名無しである2013/01/04(金) 19:26:52.95 To the Lighthouse - 1983 - Kenneth Branagh, Virginia Woolf FULL http://www.youtube.com/watch?v=tGfC-o5vGWI
(L-175) (24'40") CARMICHAEL: Always arguing, aren't they? (L-176) CAROLINE RAMSAY: They're both so serious. Mr. Tansley should be a politician. He would change the world for the better. (L-177) CAROLINE RAMSAY: And Lily is a source of strength. She would have a studio and he a study. You're not listening, Mr. Carmichael. (L-178) NANCY: Do you like Charles Tansley? (L-179) LILY BRISCOE: We have certain problems in common. Do you? (L-180) NANCY: He's not my type. (L-181) LILY BRISCOE: What is your type? (L-182) NANCY: I don't know, Lily. (L-183) CAM: Come on! (L-184) NANCY: People say he's too serious. The world isn't a funny place, is it? (L-185) LILY BRISCOE: It's strange. Your mother believes the world is filled with tragedy but she laughs all day long. (L-186) NANCY: Mr. Carmichael says it's extraordinary beautiful. Lily, I don't know what that means. (L-187) LILY BRISCOE: I do. If you could win one, I suspect you choose to be someone other than Nancy Ramsay. (l-188) NANCY: I'd like to be Marie. She's a long way from home, with foreigners. I'd love to be among them, with secrets. (L-189) LILY BRISCOE: Don't you? (L-190) NANCY: No. The Ramsays aren't allowed to have secrets. We're endlessly inspected. (L-191) LILY BRISCOE: You're much loved. I envy you there. (L-192) NANCY: Marie had a letter from Switzerland. She read it up in her room. She cried *** (L-193) (27'21") CAROLINE RAMSAY: Oh, Andrew, quick! (L-194) JAMES: We'll go soon, won't we, Mother? (L-195) ANDREW: You write too many letters, Mother. (L-196) JAMES: Mother, we will go soon. (L-197) CAROLINE RAMSAY: Where, my dear? (L-198) JAMES: To the lighthouse. 0123吾輩は名無しである2013/01/04(金) 19:27:54.91 (L-199) (28'04") MICHAEL RAMSAY: Oh, dear boy, I'm sorry to have kept you waiting. Prue wanted to come with me but I thought it best she stay at home. (L-200) MICHAEL RAMSAY: The evenings are growing chilly this late in the summer. It's lovely here. You'll like it. (L-201) MICHAEL RAMSAY: When I come down in mid-July, you know, and it's been the summer term. And the year is stuffy. Let me tell you my mind is in a parlor state. (L-202) MICHAEL RAMSAY: They do say, don't they, you can improve an old clock by putting a piece of cloth in the back with a trace of oil on it. This is my piece of oily clock. (L-203) CAROLINE RAMSAY: I'm sure you could have persuaded him, dear Brisc. (L-204) LILLY BRISCOE: Why should I, Mrs. Ramsay? He didn't come to go through invigorating walks. He came to. . . . (L-205) CAROLINE RAMSAY: Oh, the dissertation. *** I'm glad you two seem to be getting on better than you used to. (L-206) MICHAEL RAMSAY: We're going to the standing stone, not there. (L-207) CAROLINE RAMSAY: I'm having a rest. (L-208) BOY: Base camp. (L-209) CAROLINE RAMSAY: Come on, children. Base camp. (L-210) CAROLINE RAMSAY: There. Michael has his expedition. (L-211) (30'15") LILY BRISCOE: Ah, hello, Mr. Rayley. (L-212) PAUL RAYLEY:: Am I disturbing you? (L-213) LILY BRISCOE: Come on, Mr. Rayley, we artists are solitary, you know. (L-214) PAUL RAYLEY: It's quite marvelous up here, Miss Briscoe. I think that, if I had any ability with the brush, this is where I'd come. (L-215) LILY BRISCOE: I have no ability. (L-216) PAUL RAYLEY: Of course, you have. (L-217) LILY BRISCOE: But I do persist. I'm very stubborn. (L-218) PAUL RAYLEY: Then perhaps you couldn't not paint even if you wanted to abandon it. (L-219) LILY BRISCOE: Do you know much about paintings, Mr. Rayley? 0124吾輩は名無しである2013/01/05(土) 06:34:38.04 ある人が2ちゃんねるを「修行の場」と呼んだとき、やっぱりそうか、僕が思った通りの人だった、 と思いました。僕はその人が直感しておられる通り、例の「愚直」な男です。僕もこの２ちゃんねるを 修行の場と感じています。でなければ、Virginia Woolf 関係のビデオを朝から晩まで休むこともなく 来る日も来る日も書き取り続けることなんでできません。
具体的なことは知りませんが、どうやら、一人の人は、3時間か4時間に つき4回までしか投稿できないようになっているらしいのです。だから、たとえば短いレスポンスを 調子に乗って4回ほど3時間以内に投稿してしまうと、5回目の投稿は、また3時間または4時間ほど 待ってからでないとできないのです。そういうわけで、そのスレにて僕が援護射撃するのは控えています。 0127吾輩は名無しである2013/01/05(土) 09:35:41.31 (L-220) (30'52") PAUL RAYLEY: Well, I go to exhibitions when I can. I'm sure you would find writers' very old hand.(???) I bought a painting last year, as a matter of fact. It's a Grizzly(???) Ford. A view of Richmond. (L-221) PAUL RAYLEY: I first met Mr. Ramsay in Richmond. He went through *** the Park. We watched the deer. (L-221-B) LILY BRISCOE: Painting isn't an aide-memoire, is it? (L-221-C) PAUL RAYLEY: Good day, Miss Briscoe. (L-222) (31'43") LILY BRISCOE: How can I catch all this. . . landscape? It's a record of men's labor to transform nature. . . to exploit it. It is their handiwork. (L-223) LILY BRISCOE: I suppose that's why male artists portray convincing me(???). Their fire by their pride of possession. It is all the more lamatore(???) than they think the landscape is feminine. (Caroline Ramsay が Michael Ramsay の髪を整えている。） (L-224) CAROLINE RAMSAY: Jasper tells me his feet are sore. He's certain to crack his pace, Michael. (L-225) MICHAEL RAMSAY: Get an appropriate pair, Caroline. The idiot boy would have canvas shoes. You must give him a decent pair of walking boots. (L-226) MICHAEL RAMSAY: Support their leather uppers, Caroline -- and a broad fitting. (L-227) CAROLINE RAMSAY: He'll outgrown them in a year. Michael, how do you find Paul Rayley? (L-228) MICHAEL RAMSAY: Same as ever, I suppose. Steady but dull. Why? (L-229) CAROLINE RAMSAY: I think he's come down to propose to our Prue. (L-230) MICHAL RAMSAY: Oh. I see. What will her answer be, do you think? (L-231) CAROLINE RAMSAY: Knowing Prue, she will be guided by what WE think. (L-232) MICHAEL RAMSAY: Would she be happy? (L-233) CAROLINE RAMSAY: I think they're very much in love. (L-234) MICHAEL RAMSAY: Perhaps I should raise the matter with him. Isn't that proper to us? (L-235) CAROLINE RAMSAY: No. I'm sure he will propose. 0128吾輩は名無しである2013/01/05(土) 09:36:50.85 (L-236) MICHAEL RAMSAY: If that is what you would have him do, Caroline, then, I'm sure he will. In this house, your wishes command us all. 夫婦が寝室にて (L-237) MICHAEL RAMSAY: Another day gone by. Nothing achieved. (L-238) CAROLINE RAMSAY: You're with your family, Michael. (L-239) MICHAEL RAMSAY: Consolation prize. I'm sorry. (L-240) CAROLINE RAMSAY: I know what your reputation is. And the people you invite here -- they speak so highly of you. （James の部屋） (L-241) JAMES: Nanny, nanny, there's a burglar! (L-242) NANNY: It's all right. Shhh. . . . It's *** It's no one. I know it isn't. It's not a burglar, James. *** (L-243) NANNY: Go back to bed, hein?（たぶんフランス語の "hein"）Like a good boy. （重病だった一家の主人が死ぬ。悲しむその妻を抱擁する Caroline Ramsay。） （Lily Briscoe の寝室） (L-244) (35'53") LILY BRISCOE: Why are you here? (L-245) CAROLINE RAMSAY: I've told you so many times: close doors but open windows. I'm sorry. I've used up all my warm feeling. I feel my face at its edge. (L-246) LILY BRISCOE: Have you been out? (L-247) CAROLINE RAMSAY: You know what is the very worst thing? The most awful event I can imagine? That Michael should die before me. (L-248) LILY BRISCOE: Mr. Ramsay will live to be a hundred. (L-249) CAROLINE RAMSAY: Well, I hope so. I hope I'll die first. This is a lonely little room. (L-250) LILY BRISCOE: I like it. (L-251) CAROLINE RAMSAY: I fear loneliness. That is why we really don't understand one another. (L-252) LILY BRISCOE: I don't live alone. I have a home, my father. I'm a painter. (L-253) CAROLINE RAMSAY: There cannot be much to share with your own papa, surely. 0129吾輩は名無しである2013/01/05(土) 10:45:59.77 To the Lighthouse - 1983 - Kenneth Branagh, Virginia Woolf FULL http://www.youtube.com/watch?v=tGfC-o5vGWI
(L-253) (37'21") LILY BRISCOE: As you wish. (L-254) CAROLINE RAMSAY: I'm actually afraid to be on my own. (L-255) LILY BRISCOE: I am sometimes. (L-256) CAROLINE RAMSAY: The other day I was sitting by the French windows in the evening. You know how I like to sit there with James? But I was alone. (L-257) CAROLINE RAMSAY: The children were all upstairs, in their rooms. You were off. Augustus somewhere. Michael was in town **** of chore away. And so, I sat there. (L-258) CAROLINE RAMSAY: And, because it was so quiet, there was nothing to distract me. I began to hear the waves on the shore. (L-259) （ここで "the waves" という言葉が出てきました。誰にとっても "waves" というものは特別な意味を持つのでしょうけど、Virginia Woolf の "The Waves" という作品をこないだ読んだばかりなので、 余計にこの waves という言葉が気になります。この "To the Lighthouse" においても、単数形の wave が 13回、複数形の waves が 18 回も出てきます。） (L-260) CAROLINE RAMSAY: You know how it is when you begin to hear something. *** it begins to get louder and louder and it really becomes quite insistent. (L-261) CAROLINE: You wonder how it is but you don't hear it all the time. So, I listened to the rhythm of the waves. Falling -- drawing back, falling again. And it frightened me. (L-262) （このあたりの Caroline の意識の奥底にあるものの微妙な味わいを噛みしめたいと思います。） (L-263) CAROLINE: It's foolish, really, but always have the words to rhythms like that. (L-264) LILY BRISCOE: You can't help it. (L-265) CAROLINE: The tick of the clock. Wheels of the train. The lighthouse lamp. The wave would fall. And as it drew back, I found myself sane. The Lord have mercy on us. Like that. The wave would fall. 0130吾輩は名無しである2013/01/05(土) 10:47:22.47 (L-266) (39'11") CAROLINE: And the Lord have mercy on us. I went to find some company. I remember I found Mildred in the kitchen and I started talking about neck-faced(???) meals. (L-267) CAROLINE: I can't imagine what she thought had got into me. (L-268) LILY: Is my situation so different from yours? (L-269) CAROLINE: Oh, I'll bet it is. Of course, it is. (L-270) LILY BRISCOE: Why? Because you have children and I do not? Because you have a man always to share your bed and I have none? (L-271) CAROLINE RAMSAY: Oh. (L-272) LILY BRISCOE: But what really do you share, Mrs. Ramsay? You don't cease to be one person, it seems. You don't become half a person, do you? (L-273) LILY BRISCOE: Do minds open like mouths in a kiss? I don't believe they do. Love can't claim so much. (L-274) CAROLINE RAMSAY: Poor Lily! (L-275) LILY BRISCOE: I'm not "poor Lily." You must not say that! (L-276) CAROLINE RAMSAY: I'm sorry. (L-277) LILY BRISCOE: Why must you always insist that the likes of me stand shivering outside the gate just because we're not married? (L-278) LILY BRISCOE: -- just because we don't have a man always to pamper and serve? (L-279) feministic な考え方を持つ独身の女性画家である Lily Briscoe が、ここでついに "pamper and serve" と言ってしまっている。つい僕は笑っちゃいました。 (L-280) CAROLINE RAMSAY: I do not serve here. (L-281) LILY BRISCOE: Am I not permitted to be as happy as I am on my own? (L-282) CAROLINE: Lily, I do assure you I do NOT serve here. This is MY household. And I am in control. When it comes down to it, you know, Michael is but ONE member of the household. (L-283) LILY BRISCOE: Mrs. Ramsay. . . . (L-284) CAROLINE RAMSAY: You don't understand. (L-285) LILY BRISCOE: Suppose he rejected you. . . . (L-286) CAROLINE RAMSAY: Oh, Lily! 0131吾輩は名無しである2013/01/05(土) 12:11:49.58 (L-287) (41'27") LILY BRISCOE: Suppose he did, what then? If he pushed you out the front door and locked it, what then? You would starve. (L-288) CAROLINE RAMSAY: You don't understand. （Michael Ramsay が Caroline に対して小言を言っている。） (L-289) (42'10") MICHAEL RAMSAY: Caroline! I've had enough of your damned philanthropy. We do less and less together. (L-290) MICHAEL: If you want writing letters to bereaved relatives, and you're fiddling about your account books for the poor and needy, *** making yourself busy. (L-291) MICHAEL: Caroline, do you understand? We have children who want you to themselves. And there's me. There is misery all around. I know. (L-292) MICHAEL: Damn it, I knew *** living. And I know his family is destitute. But I also know I cannot care for the whole world, Caroline. Can you? （James を抱いて歩く Mrs. Ramsay。） (L-293) JAMES: Mother, do you think *** will *** a boat tomorrow, couldn't we, Mother?（子供の英語は聴き取りにくいです。） (L-294) CAROLINE RAMSAY: Would you like that, my darling? (L-295) JAMES: Yes. (L-296) CAROLINE RAMSAY: Well, then, we shall ask him. （荷車で木材を運び込む職人） (L-297) MICHAEL RAMSAY: I do not agree that it has to be done. (L-298) CAROLINE RAMSAY: We must *** there's something to repair. (L-299) MICHAEL RAMSAY: I'm sorry, but I cannot afford it. This house is a luxury, Caroline. We are here for eight weeks in a year. (L-300) MICHAEL: But, for the remainder, it is a drain on my purse. Now, I love these summers more than anyone. (L-301) MICHAEL: But let me say this: If you continue to give the nod to such unnecessary expenditure, I shall sell. I will place the house on the market this very autumn. (L-302) CAROLINE: What do you want me to do? Shall I instruct the *** to take all the materials back? (L-303) MICHAEL: I have no wish to discuss this trivial matter any further. Do as you think fit. 0132吾輩は名無しである2013/01/05(土) 12:49:06.27 (L-304) (44'20") PRUE: Has he found out? (L-305) CAROLINE RAMSAY: He says he cannot afford it. It's ridiculous, of course he can afford it. Not easily, but it won't produce us to the workhouse. (L-306) PRUE: Father worries so about money. (L-307) CAROLINE RAMSAY: It's a moral issue, Prue. This house is a luxury. Luxuries are immoral. There's nothing to be spent on it. Oh, look at it. Such a pity! （Mr. Ramsay と Charles Tansley がテニスをしている。） (L-308) MICHAEL RAMSAY: You know, Charles, as I get older, I found out I return more and more to the central conundrum of philosophy, or rather it returns to me. (L-309) MICHAEL: The relationship between mind and body. Here I am, after 40 years of reflection, I feel that, somehow, we're all fundamentally wrong. (L-310) MICHAEL: I cannot find a concept that fits the physical facts. Minds are brains, after all. Brains are flesh and blood. Mind is meat, Charles. (L-311) CHARLES TANSLEY: I do not perceive our minds as meat, sir. (L-312) MICHAEL RAMSAY: Ah, but maybe we should, dear boy. That is my point. I go to the beach for a day. The sea sets my skin tingling, but the sea also sets my brain tingling. (L-313) MICHAEL RAMSAY: You get my point? The sea may affect how I think. How is this, Charles? Assist me. (L-314) CHARLES TANSLEY: I'm not sure I follow you, Mr. Ramsay. (L-315) (46'17") MICHAEL RAMSAY: Cheer up, Charles! Cheer up! Ha-ha. （Charles Tansley がテニスラケットを投げ捨てて立ち去る。） (L-316) (46'23") MICHAEL RAMSAY: Charles! Charles! Good gracious, boy! What's the matter? (L-317) CHARLES TANSLEY: I do not enjoy being the subject of amusement. (L-318) MICHAEL RAMSAY: Oh, come on, really! (L-319) CHARLES TANSLEY: I, I, I admire your abilities, Mr. Ramsay, enormously. You know that. I find it such a privilege to be asked down here, to work with you. 0133吾輩は名無しである2013/01/05(土) 13:09:41.37 (L-320) (46'48") CHARLES: I left my family and I came down. I fought and spent so many weeks to be able to discuss my dissertation with you. I must not miss such a chance. Now it's nearly over. (L-321) MICHAEL RAMSAY: What are you trying to say? (L-322) CHARLES: I feel disappointed. Deeply disappointed. (L-323) MICHAEL: Do you? (L-324) CHARLES: I don't understand you. Always gardening and sitting about, and playing cricket, and playing on the beach. None of it matters, does it? Well, what about your work? Isn't that what matters? (L-325) CHARLES: Well, it's your family that matters. It's all your reading and writing and all our discussions on the beach, is that all a game? Well, my work isn't a hobby to me. (L-326) CHARLES: It's real. It's absolute. And my political views are real too. I'm not playing games. Do I have to be a good sport to be acceptable to you? （Charles Tansley が立ち去る。） (L-327) MICHAEL RAMSAY: Mr. Tansley! Mr. Tansley! I have something more to say to you, Mr. Tansley. （Michael Ramsay は、さっきまではずっと Charles Tansley のことを Charles と呼んでいたが、ここでは Mr. Tansley と呼んでいることに注意。） （娘の Cam がピアノを弾いている。） (L-328) (47'46") CHARLES TANSLEY: Philip, if Mr. Ramsay wants to know where I am, tell him I am gone to the village. （James と Mrs. Ramsay。） (L-329) JAMES: Phew, I'm hot, Mother. (L-330) CAROLINE RAMSAY: Well, stand in the shade, then. I must finish this bed. (L-331) MICHAEL RAMSAY: ??? ??? All through the valley of ??? Roads of six hundred!(???) (L-332) CAM: Father! (L-333) MICHAEL RAMSAY: Yes, Cam? What is it? (L-334) CAM: Mr. Tansley, he gave me a message for you. (L-335) MICHAEL RAMSAY: What was the message? (L-336) CAM: ??? (L-337) MICHAEL RAMSAY: Come on! （Lily Briscoe がカンバスに向かっている。） 0134吾輩は名無しである2013/01/05(土) 13:59:47.94 (L-338) (48'57") LILY BRISCOE: Now, where's the focus of such a house? I'm not sure I can see it. The outside tells me nothing. It should be sliced through -- like a beehive against glass, passages revealed. (L-339) LILY: Storage areas. A Royal nursery. James, six, is stormy. Go, James. There'll be no trip to the lighthouse today. Today. . . is for the dissertation. (L-340) (49'45") CAROLINE RAMSAY: James! Anyone seen James? (L-341) LILY BRISCOE: Where is my focus? I found my subject. (Mr. Ramsay が Cam の虫取り網を直してあげている。） (L-342) MICHAEL RAMSAY: There! （Cam が走り去る）Cam, what was the message? （Paul Rayley と Prue） (L-343) PAUL RAYLEY: He's always asleep. (L-344) PRUE: That's because he. . . . Well, he's up for much of the night for his poetry. He's a quite well respected poet, you know. His work is rather ??? now. He was a teacher in India. (L-344) PRUE: He and Father were undergraduates together. He comes down every year. One of the traditions. （Augustus Carmichael が昼寝している。） (L-345) CAM: Mother! Mother! （悲鳴を挙げる）（Mrs. Ramsay が倒れている。） (L-346) MICHAEL RAMSAY: Cam! What is it? （みんなで Mrs. Ramsay を屋内に運び込む。） (L-347) NANCY: Well done, Jasper! (L-348) PRUE: I'm going to see Mother. （Mrs. Ramsay が部屋で休んでいる。ドアのノックに答える。） (L-349) CAROLINE RAMSAY: Come in! (L-350) PRUE: Shall I come back later? (L-351) CAROLINE RAMSAY: No, of course not, Prue dear. （Mr. Ramsay が幼い二人の子供に対して） (L-352) MICHAEL RAMSAY: Children, off you go. (L-353) CAROLINE RAMSAY: Now, Prue, please, let up the blinds. I do find this gloom horribly depressing. How is my household, Prue? Is it still running along without me? (L-354) PRUE: It's like Sleeping Beauty. The house is so silent. James and Cam haven't had a fight for three days. (L-355) CAROLINE RAMSAY: Extraordinary! How is Paul? 0135吾輩は名無しである2013/01/05(土) 15:21:41.26 (L-356) (53'35") PRUE: Rather sunburnt at the present. (L-357) CAROLINE: Don't be evasive. (L-358) PRUE: Last night I suddenly woke up and started wondering, "What will he be like when he's sixty?" (L-359) CAROLINE: Just as he is now. We grow old together, husbands and wives. (L-360) PRUE: I've been thinking. How did has happened? Why this particular man? I mean, we met and fell in love. But it's all so random. Is that an awful thing to say? (L-361) (54'32") CAROLINE: I first met Michael at a reception. Hundreds of people, you know, standing around, talking. (L-362) CAROLINE: And I saw him standing there, all alone, with a plate in one hand and a glass in the other. It was as if he were a thin, black coast sticking out of the wall. (L-363) CAROLINE: And all those other people were just bobbing around him. Like so much flotsam. Such a vivid recollection. (L-364) PRUE: Were you sure? (L-365) CAROLINE: Very. （ドアをノックする音） (L-366) CAROLINE: Yes? Oh, Jasper! (L-367) JASPER: Are you feeling better now, Mother? (L-368) CAROLINE: Yes, Jasper. Much better. （食卓で） (L-369) CAROLINE RAMSAY: But you must go out to the Land's End, Mr. Rayley. Every visitor to Cornwall does that. Don't you agree, Prue? Nancy? (L-370) PRUE: Yes, Mother. (L-371) CAROLINE: You should all three of you go -- for the day. (L-372) ANDREW: The biggest ever! (L-373) 別の息子： Look at it. (L-374) 男： Oh! (L-375) MICHAEL RAMSAY: Come and sit down. （一同が白ける。） My God! （スープの入った皿を窓から投げ捨てる。）This house is turning into a zoo. (L-376) MICHAEL: Andrew, remove that bucket. ??? and God knows what else. We'll all be poisoned if something isn't done. (L-377) MICHAEL: Mrs. Ramsay, if you spent a little more time here, which IS your responsibility, and a little less time in other people's houses, which is not, 0136吾輩は名無しである2013/01/05(土) 20:07:29.17 (L-378) you might be able to see that our kitchen has(???) started some note of elementary hygiene. Mildred! (L-379) (57'06") PRUE: Father! (L-380) MICHAEL: Mildred! (L-381) PRUE: Father, please, let me see to this. Father, please let ME see to this. Father! (L-382) NANCY: Prue needn't concern herself. Mildred will take it in her stride. She's as used to Father's rages as the rest of us. (L-383) CAROLINE: Nancy! I WILL not have you speak of your father like that. (L-384) NANCY: Why do you defend him!? I don't understand why you defend him! (L-385) CAROLINE: Andrew, do as you're told. Remove the bucket. (L-386) JAMES: Mother! (L-387) CAROLINE: Yes, James. (L-388) JAMES: I think we should go to the lighthouse today. (L-389) PAUL RAYLEY: That sounds very exciting. I'd like to visit the lighthouse, James. (L-390) JAMES: I see the boat is quite small. Mother, do you think we CAN go? (L-391) CAROLINE: I'll ask your father. (L-392) CAM: This one's Esmeralda. (L-393) PAUL RAYLEY: I like James. (L-394) CAM: James is all sixes. He's six years old. And here's six of us. (L-395) PAUL RAYLEY: You're an extraordinary family. All of you. (L-396) CAROLINE: I'm afraid you've seen us wots and all(???), Mr. Rayley. (L-397) PAUL RAYLEY: That's how it should be. (L-398) CAROLINE: Oh, no. I'm sure it's not. Suitors should not see behind the curtains. 0137吾輩は名無しである2013/01/06(日) 07:05:40.35 (L-399) (58'54") LILY BRISCOE: Oh, come! Mrs. Ramsay! (L-400) CAROLINE: There sits my small black cat. My brisk(???). She watches all our drums(???) with her narrowed unblinking eye. (L-401) （二階からの大声）MICHAEL RAMSAY: It is a disgrace! (L-402) CARMICHAEL: Michael Ramsay has the black mood on him. You young people will not understand what it is: the black mood. There is no comfort. (L-403) PRUE: I do believe Mr. Carmichael is on a different plane from the rest of us. (L-404) LILY BRISCOE: To listen more than one speaks is a rare gift. （Michael Ramsay と Augustus Carmichael） (L-405) MICHAEL RAMSAY: I have to deliver a lecture at Cardiff University early in the term. The damned thing has been on my mind. Damned nuisance. (L-406) CARMICHAEL: *** Undergraduates for the most part of the appetite of sparrows. (L-407) MICHAEL: I am quite unable to do that. (L-408) CARMICHAEL: I know that. (L-409) MICHAEL: I have no new ideas, Augustus, nothing at all. I shall end up breaking through all my old ideas, you know. Tightened bundles, stuck *** boxes. (L-410) MICHAEL: What's there that's still bright? That's the problem, you see. What can I hurl at them from the elect? Flash like a ***? (L-411) CARMICHAEL: Poor Michael! (L-412) MICHAEL: If you get any crawl from those slippers with "poor Michael," then I can do without you. (L-413) CARMICHAEL: I said that because your phrases are turning purple. (L-414) MICHAEL: Aaaagghh. I'm tired, Augustus. I'm weary. But I'm not at the summit. (L-415) (1:01'05") ANDREW: Perhaps he doesn't realize that it's all. . . I don't know. . . serious. Jasper has it in Marie's bed. Ask him. (L-416) NANCY: He doesn't understand. *** biggest questions. Universal questions. I can't go into a rage because of an earwig. 0138吾輩は名無しである2013/01/06(日) 07:07:07.69 (L-417) ANDREW: I asked Augustus to hide it for me. Just ** this evening, *** dissection with your father. Surely he'll be impressed. (L-418) NANCY: Why do you want to please him? (L-418-B) ANDREW: I don't care about that. Just want to dissect my crab. (L-419) NANCY: You do want to please him. You always do. *** （Augustus Carmichael の部屋。ドアをノックする音。） (L-420) CARMICHAEL: Come in. (L-421) ANDREW: Sorry I'm late, Mr. Carmichael. I said I'd come in to cut my crab. (L-422) CARMICHAEL: Oh, yes. I've got something here, Andrew, you may find useful. Better be careful. Very sharp. (L-423) CARMICHAEL: Don't ask me why I carry these odd things about me. I just like to have them near me. (L-424) ANDREW: Thank you very much. (L-425) CARMICHAEL: Mementos. （台所にて） (L-426) MILDRED (MAID): It is ready. (L-427) ANDREW: Thanks, Mildred. Did, uh, Jasper pay you? He told me he had a bet with you who'd win that wrestling final. (L-427-B) MILDRED: I paid up more like. He bet somewhat lose. Thank you. (L-428) MILDRED: I'll chicken out of the way. (L-429) JASPER: Perhaps we should just cook *** (L-430) JAMES: What are you doing? (L-431) JASPER: Having tea. (L-432) ANDREW: Oh, shut up, Jasper. This isn't for little boys like you, James. (L-433) JAMES: That's a nice knife. Is that yours? (L-434) JASPER: It isn't your business. (L-435) JAMES: Then whose is it? (L-436) ANDREW: Stop it, now, Jasper. Have Father up here. (L-437) JAMES: I want to watch. (L-438) ANDREW: No! (L-439) JAMES: I'll BE very quiet. *** let me. Let me in. Let me in. I want to watch. Let me in. I want to watch. 0139吾輩は名無しである2013/01/06(日) 07:08:40.57 (L-440) MICHAEL RAMSAY: James, you are going to bed. (L-441) JAMES: No. （悲鳴） (L-442) CAROLINE RAMSAY: It's all right, Michael. I said we'd have the story downstairs. (L-442-B) MICHAEL RAMSAY: No, he's going to bed. (L-443) JAMES: Stow it! Stow it! (L-444) CAROLINE RAMSAY: No, you'd better go to bed, James. ??? （屋外で本を読んでいる Nancy） (L-445) PAUL RAYLEY: Latin, Nancy? Are you reading Chaperone ***? (L-446) NANCY: Andrew and I are to be *** this afternoon. (L-447) PRUE: How dreadful! (L-448) NANCY: No, it isn't. My joint. (L-449) PRUE: Education continues throughout the summer, Mr. Rayley. At a thoroughly gentle pace, will you continue this? (L-450) NANCY: I think the chaperone is a bit silly. Don't you? （Andrew がラテン語のテキストを英訳するのを Mr. Ramsay が聞いている。） (L-451) ANDREW: To drive everyone away from fields, the neighboring fields, so that no one. . . dare? . . . dares. No one will challenge them or disturb their security. (L-452) MICHAEL RAMSAY: You're groping in the dark, Andrew. (L-453) ANDREW: Nancy is on her way. (L-454) MICHAEL RAMSAY: Nancy is always a bad time-keeper. (L-455) JAMES: He WAS here, Nancy. （Nancy は父親の書斎に入り、書物にはさんである簡単な伝言メモを目にする。その内容は、次の通り。） July 15th, 1912 Mr Dear Ramsay, It was kind of you to send your book "Selected Lectures 1910-12," which I read with great anticipation. Regrettably, I have to say that this book is not finally to be remembered as your best."
(L-456) CAROLINE RAMSAY: Let me take it off for you. (L-457) NANCY: Is he pacing a bat? (L-458) CAROLINE RAMSAY: I don't know what you mean by "pacing a bat." Your father has been working. And his car reflects it all day. That I do now. (L-459) NANCY: Oh. Yes. 0140吾輩は名無しである2013/01/06(日) 10:19:28.17 （Mr. Ramsay が詩を暗唱している。） (L-460) (1:08'18") MICHAEL RAMSAY: 彼が暗唱している詩の全文を読むには、 Alfred Tennyson "The Charge of the Light Brigade" http://poetry.eserver.org/light-brigade.html を見てください。
Half a league, half a league, Half a league onward, All through the valley of Death Rode the six hundred. (L-461) LILY BRISCOE: Oh, dear! (L-462) MICHAEL RAMSAY: "Forward the Light Bridge! Was there a man dismay'd? Was there a man dismay'd?
(L-463) LILY BRISCOE: It's dreadfully bad. There must be structure in the painting. The stronger mold(???) so that I can pull in everything. The sun, the summerhouse. (L-464) LILY BRISCOE: And an earwig. And poor Rayley's flame of love. And the miseries of little James. Pull it all in, Briscoe. What about ***, so far? (L-465) LILY BRISCOE: The ??? in child in a modern manner. (L-466) JAMES: Will they be finished in time, Mother? (L-467) (1:09'19") CAROLINE RAMSAY: Well, let me measure them against you. Come on, James. Help your mother. Let me see. The Sorley son is *** would be age *** Well, still too short. (L-468) JAMES: Will we leave early in the morning? If it's fine, my darling. If it's fine, you'll go. （Mr. Ramsay と Augustus Carmichael） (L-469) MICHAEL RAMSAY: Ideas don't come easily, Augustus. You can't just sit there like Saint Francis with birds perch on his shoulder. (Saint Francis of Assisi のことか？） (L-469-B) MICHAEL: A good idea, a truly great perception, is like the wildest of animals. (L-470) MICHAEL: It must be hunted in silence with absolute concentration. (L-471) CARMICHAEL: You have done that, Michael. (L-472) MICHAEL: But so long ago, those days when I used to, all long walks in the countryside, I don't know where in particular, finishing out in or other, ah, spent it on scrapped tables with no interruption. Yes. 0141吾輩は名無しである2013/01/06(日) 10:20:13.29 (L-473) MICHAEL: Then I glimpsed some thought, too(???). But too much ease, I lost my way. And I planted the nettles myself. (L-473-B) MICHAEL: Why do I surround myself with people who. . . the damnable domestic round? (L-474) MICHAEL: The children, Augustus. Demands, demands, demands. They love their regularities, the rhythms of our life together. (L-475) MICHAEL: So it must be every morning, so it(???) kiss good night, so every day, so every month, so every year, years, and years, and years. (L-476) CARMICHAEL: We're all issued with our measure of love. You had a great mirror, Michael. Much more than many of us. (L-477) MICHAEL: It's all gone, Augustus. All gone. I will not reach the summit. （James が切り絵をしている。） (L-478) (1:11'50") MICHAEL RAMSAY: He should be copying the pictures. (L-479) CAROLINE RAMSAY: He likes cutting them out, Michael. (L-480) MICHAEL RAMSAY: I see no point in it. (L-481) CAROLINE: What is it, Michael? (L-482) MICHAEL: I shall write to Cardiff to decline the invitation. (L-483) CAROLINE: Oh, dear, you mustn't do that. (L-484) MICHAEL: There are better men, you know, younger men. I have nothing to say, Caroline. (L-485) CAROLINE: Michael, each lecture you give is a great success. Mr. Tansley says so. (L-486) MICHAEL: Mr. Tansley, who's he? The men whose approval I want, well, give it to me. (L-487) JAMES: We will be going tomorrow. (L-488) MICHAEL: What? (L-489) CAROLINE: The lighthouse. *** just say *** go to the lighthouse. (L-490) MICHAEL: Why raise hopes? The wind is settled in the west and *** (L-491) CAROLINE: But it could change. Things could change. (L-492) MICHAEL: There will be no trip to the lighthouse tomorrow.
(L-493) (1:13'04") MICHAEL: Don't children grow? I said nothing but the truth. Do they need daydreams? Like roses need soil?(???) Caroline? 0142吾輩は名無しである2013/01/06(日) 12:38:08.87 (L-494) (1:13'43") CAROLINE: "Then I will," said Alice. "But why?" answered the fisherman, "How can you be King?" The fish cannot make a king." (L-495) CAROLINE: "Husband," said she. "Say no more about it. But go and try. I WILL be King." There. Marie's come. Let's stop now, shall we? (L-496) JAMES: Don't stop. (L-497) CAROLINE: You can look at the pictures. I'll be up soon. Off you go. (L-498) MICHAEL RAMSAY: Caroline.
(L-499) (1:14'40") CAM: Shall I be the belle of the ball, Esmeralda? Shall MY eyes shine like the *** shine? Oh, those are pretty, Esmeralda. Yes, I like those things. Shall I wear those ones? (L-500) CAM: Would you like me to wear those ones? *** Yes. (L-501) CAROLINE: What have you chosen for me, Cam? There! Now, to bed. I'll be along presently. (L-502) JAMES: Take it off, Cam, take it off! (L-503) CAM: You promised you won't talk about it. You DID talk about it, James VI, so! (L-504) JAMES: I like to look at it. (L-505) CAM: Well, you can't! (L-506) JAMES: I like dead things. (L-507) CAM: Oh, shut up! (L-508) (1:15'45") CAROLINE RAMSAY: Into bed, please, both of you. I can't imagine why I let Jasper put it here in the first place. There. Let's *** imagine, Cam. (L-509) CAROLINE: It's different now. A graceful secret. An over fare??? The nest will *** before to fly away to wonderful *** Imagine mountains again. (L-510) CAROLINE: Imagine birds. The sound of bells and everything that's wonderful. Can I think of everything ***? （James に）It's still there, James. （食卓で。みんなが拍手） (L-511) CAROLINE RAMSAY: Michael? (L-512) MICHAEL RAMSAY: Thank you, *** Thank you, Nancy. (L-512-B) CARMICHAEL: This is a triumph, Caroline. (L-512-C) CAROLINE RAMSAY: A little more, Mr. Carmichael? (L-513) MICHAEL RAMSAY: Glutton. 0143吾輩は名無しである2013/01/06(日) 12:39:47.08 (L-514) PRUE: A little more for you, Father? (L-515) (1:18'10") CAROLINE RAMSAY: Yes, Mr. Rayley, that's right. This IS a French recipe. It's my grandmother's. She was French, you know. (L-516) NANCY: Could any be French? English cooking is a disaster. (L-517) ANDREW: Tosh, Nancy. Everything foreign is better in your eyes. (L-518) NANCY: Oh, have I offended your patriotism? (L-519) CHARLES TANSLEY: Good for you, Mrs. Ramsay, we can do without your patriotism. (L-520) CAROLINE RAMSAY: I didn't intend to open our doors to attack your patriotism. It's just that I think the English overcook their vegetables. （みんな笑う。） (L-521) (1:18'48") CHARLES TANSLEY: [Voice-over] What am I doing here? With this family, pretending to be at a banquet. . . . (L-522) CHARLES TANSLEY: We've always been in a shabby old house, having dinner, while *** [声を出す] Talk about wind. No trip to the lighthouse tomorrow. (L-523) LILY BRISCOE: [Voice-over] Dear Charles clamoring for attention. All these men do so need our female sympathy for the meanest flowers bloom. (L-524) LILY: （声を出す）Your father opposed to the war, didn't he, Charles? The Lloyd George's man. [Voice-over] There, now bloom. (L-525) CAROLINE: Sweet brisk. (L-526) CHARLES: My livelihood is almost destroyed. The shop is very vulnerable to public prejudice, you see. You take that custom elsewhere. (L-527) MICHAEL: Yes, scandalous. That's why the spread of suffrage without the spread of education is such a frightening prospect. Rule by appeal to them all. (L-528) PAUL RAYLEY: I presume they brought their custom back in the new court. (L-529) (1:20'00") CHARLES TANSLEY: Yes. As with the war, the euphoria is followed by a sense of waste, my father was rather admired. But I carry the memory of the hatred, and aspect of my childhood I shall not forget. (L-530) PAUL RAYLEY: I have a poor memory of unhappiness. 0144吾輩は名無しである2013/01/06(日) 12:41:40.02 (L-531) LILY BRISCOE: Poor Charles! What chance have you against that? (L-532) NANCY: [Voice-over] Yes. They will marry. Unstoppable dear blind mother is arranged destiny celebrated betrothal, with only two of them who are supposed to know what's happened. (L-533) NANCY: [Voice-over] Mother knows she has arranged it all. Do I wish to celebrate? Prue will be happier for a time. What of me? Oh, Prue, what of ME? (L-534) (1:21'17") CHARLES TANSLEY: We're sitting in the midst of tragedy, which will be repeated all round the world for every precinct scale. (L-535) LILY BRISCOE: I shall complete my painting. I shall move the tree. (L-536) CHARLES TANSLEY: Capital *** the cheapest labor jumping over *** patriots cling. Here, in Cornwall, the whole community of people has been desolated. (L-527) CHARLES: Thousands of honest men have been forced to emigrate forever. There's poverty here and helplessness. Personally I find it hard to ignore. (L-528) MICHAEL RAMSAY: I know many Cornishmen. They're my friends. I know of these things. (L-529) CAROLINE RAMSAY: It's time for a toast, Michael. (L-530) MICHAEL RAMSAY: To another summer together! (L-531) EVERYONE: To another summer together! （Nancy が Mr. Ramsay に詩集を手渡す。） (L-532) (1:22'13") MICHAEL RAMSAY: Thank you, Nancy. (Shakespeare の Sonnet 30を朗読する。）
When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear time's waste: Then can I drown an eye, unused to flow, For precious friends hid in death's dateless night, And weep afresh love's long since cancelled woe, And moan the expense of many a vanished sight: Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, 0145吾輩は名無しである2013/01/06(日) 13:16:16.79 （Shakespeare の sonnet の続き） Which I new pay as if not paid before. But if the while I think on thee, dear friend, All losses are restored and sorrows end.
Like as the waves make towards the pebbled shore, So do our minutes hasten to their end; Each changing place with that which goes before, In sequent toil all forwards do contend. Nativity, once in the main of light, Crawls to maturity, wherewith being crown'd, Crooked eclipses 'gainst his glory fight, And Time that gave doth now his gift confound. Time doth transfix the flourish set on youth And delves the parallels in beauty's brow, Feeds on the rarities of nature's truth, And nothing stands but for his scythe to mow: And yet to times in hope my verse shall stand, Praising thy worth, despite his cruel hand.
(L-534) (1:25'05") LILY BRISCOE: I must paint it again. （雪が降る。）（Caroline Ramsay 死去。）(L-535) (1:26'19") MICHAEL RAMSAY: She didn't know I loved her. . . so much. So much. (L-536) PRUE: Of course, she knew! (L-537) (1:27'30") （Prue と Paul Rayley の結婚式） (L-538) (1:27'58") MICHAEL RAMSAY: Abandoned, Lily, is the word I would use. I am one person who has come to realize ** ever since I lost Caroline. I'm an old man, Lily. (L-539) MICHAEL: It comes rather hard to learn one is to be condemned to struggle the last years of one's life all down by the worries of our house to maintain our children to raise. (L-540) MICHAEL: I'm alone now, Lily. So alone. (L-541) (1:28'50") （息子の一人が戦死。） 0146吾輩は名無しである2013/01/06(日) 14:42:07.15 (L-542) (1:29'57") （Prue が出産のときに死去。） (L-543) PAUL RAYLEY: If you were so worried(???), why did you say nothing? I had no warning from you, Doctor. No warning! （Michael Ramsay の部屋） (L-544) (1:30'36") MICHAEL RAMSAY: Still a damned bad time-keeper! （ドアをノックする音。） Yes. (L-545) MICHAEL: You're late, Nancy. (L-546) NANCY: I'm sorry, Father. I had to see to. . . . (L-547) MICHAEL RAMSAY: Never, never mind. Don't start your excuses. And don't push Cam through the door ahead of you next time. (L-548) NANCY: No. (L-549) MICHAEL: Well, what sort of a week have we had? Plumber. What's this, plumber? (L-550) NANCY: A tap in the scullery, Father. It kept dripping. (L-551) MICHAEL: It's been dripping for years. (L-552) NANCY: I couldn't stand the dripping any longer. (L-553) MICHAEL: Stupid child. It doesn't balance. It doesn't balance! (L-554) CAM: Have you decided whether we're going to down to St. Ives again, Father? Your said you *** DeMorrow to see. . . . I know you said I shouldn't ask again. (L-555) CAM: But when Aunt Lily came to tea, she said she thought she *** the coat and rescue the house and go down again. . . just us. . . like we used to. Father? (L-556) (1:32'28") MICHAEL: We shall go there. (L-557) CAM: *** (L-558) NANCY: (Voice-over) He's won again. （Michael Ramsay と Lily Briscoe) (L-559) LILY BRISCOE: Dearest Lily! (L-560) LILY: （手にキスしてくる Nancy に対して） Nancy! Cam! James! (L-561) JASPER: Lily, glad you could come. (L-562) LILY BRISCOE: It's all mine, Jasper. （Nancy と Lily Briscoe） (L-563) NANCY: I don't suppose we slept at all last night. Our first here, you can imagine. Oh, Lily, it's awful. I woke up and cried. I was standing there down in the hall. (L-564) NANCY: You know, where the tea used to be. Standing there. Staring at nothing. And weeping. *** 0147吾輩は名無しである2013/01/06(日) 14:43:34.39 （みんなが食卓についている。） (L-565) (1:34'20") LILY BRISCOE: I WAS reading about your poetry, Mr. Carmichael. (L-566) CARMICHAEL: Trip is to live long enough in a fashion. *** I have been out in the cold, Lily. And now, I am back by the fire. (L-567) CARMICHAEL: You know, Michael, in the new book, there's a poem I wrote when I was 17. "Dog Star Waitress." I thought you might remember it. (L-568) CARMICHAEL: At the college magazine, oh, what was it? (L-569) MICHAEL RAMSAY: I don't remember it. Probably one of your best. What would produce in a flash of our youth is often the best we ever produced. (L-570) MICHAEL: Then we sing our melody. From then on, it's elaborate harmonies and orchestrations. But our melody is already sung. (L-571) CARMICHAEL: Your phrases are becoming purple again, Michael. (L-571-B) MICHAEL: I'm surprised your success has not brought out this sartorial aspect of your tastes. You were a dapper chap in our eyes (???) in our student days. (L-572) CARMICHAEL: No, it's the same old suitcase. And much the same inside. Eh, Lily? (L-573) MICHAEL: Well, what did the coast guard have to say, James? (L-574) JAMES: They said the weather would change in two or three days. (L-575) MICHAEL: Excellent. What you could call weather. (L-576) ***: Sam says you could be whistling for a wind. (L-577) MICHAEL: Well, whistle we shall. And we will find this. Will you be ready for our early ***, Cam? James? （二人が答えないので、苛立ってテーブルを強く叩く。） (L-578) CAM: Yes, Father. (L-579) JAMES: Yes, Father. （James と Cam） (L-580) JAMES: He's a morbid old man. Naturally he didn't ask ME if I wanted to come here again. (L-581) CAM: Don't be horrible, please! (L-582) JAMES: Here we are again in this smelly old house, with dear old Augustus to just lord over poetry, and dear Aunt Lily with her paintings. 0148吾輩は名無しである2013/01/06(日) 15:57:31.73 To the Lighthouse - 1983 - Kenneth Branagh, Virginia Woolf FULL http://www.youtube.com/watch?v=tGfC-o5vGWI
(L-583) (1:36'48") JAMES: He has what he wanted. Good morrow in the past. The past is dead, gone, finished. People shouldn't look back. They should only look forward. (L-584) CAM: You've got a photograph of Mother. You took for your chest at home. (L-585) JAMES: That's different. (L-586) CAM: It isn't, James. (L-587) (1:37'05") JAMES: That's different. And now we have a trip to the lighthouse. Do you know that Nancy rushing around all evening to *** pack a parcel for the lighthouse men? (L-588) JAMES: He even wanted her to knit something. Poor Nancy! She's so afraid of him. Cam, why does he want to go to the lighthouse so much? (L-589) CAM: Don't you know? For you, James. It's for you. (L-590) LILY BRISCOE: I saw Charles Tansley during the war. Did I ever tell you? (L-591) NANCY: I think you mentioned it. (L-592) LILY: It's rather extraordinary. I have a friend who is very, uh, you know, active in politics and feminism and so on. (L-593) LILY: She took me to a meeting. It was rather a dreary church hall in Kensington. The speakers were opposed to conscription. It was incredibly noisy. (L-594) LILY: These soldiers were shouting and making awful threats. That's why people were seeing him. And suddenly, there, in all this confusion, I saw it was Charles. (L-595) LILY: Up there, on the stage, giving us a speech. He looked even thinner. Even all poverty-stricken. I never knew he was a conscientious objector. (L-596) LILY: Well, we can really have lost touch. (L-597) NANCY: Needn't have worried. I doubt that the army would have wanted him anyway. (L-598) LILY BRISCOE: Nancy! 0149吾輩は名無しである2013/01/06(日) 15:58:09.80 (L-599) NANCY: Well, I suppose he is laudable except when he has a right to oppose the whole mad ***. I often find myself admiring someone with principles. Men despise him anyway. Why are the virtuous sent ugly? (L-600) LILY BRISCOE: Well, I really can't blame you for hating the conscious. I mean, people who lost. (L-601) NANCY: It's all right, Lily. We must go *** anyway here. Poor old Augustus was terribly upset, you know, about Andrew. Apparently he was near to death himself. (L-602) LILY BRISCOE: Andrew was his favorite, wasn't he? (L-603) NANCY: They had something in common. Andrew had that same. It's all sufficiency. (L-604) (1:39'42") LILY BRISCOE: He liked the army, didn't he? (L-605) NANCY: *** Poor (L-606) LILY BRISCOE: I remember talking to him at Prue's wedding. (L-607) NANCY: There, now you HAVE penetrated my home, Lily. (L-608) LILY BRISCOE: The wedding. (L-609) NANCY: Yes. (L-610) LILY BRISCOE: Oh, I'm an old blunderer. (L-611) (1:40'16") NANCY: I think I should be going now. I see your fortune painting things with you. (L-612) LILY BRISCOE: I must balance with Augustus. Same old case. Same old things. Mind you have a work to finish. （3人が食事をしている。メイドが入ってくる。） (L-613) MICHAEL RAMSAY: Mrs. Prescot, will you send my compliments to James and Cam and tell them to hurry up? (L-614) (1:41'13") MRS. PRESCOT: Yes, sir. 0150吾輩は名無しである2013/01/06(日) 18:54:44.79 (L-615) (1:41'25") LILY BRISCOE: Move the tree. （過去の思い出のシーン） (L-616) CAROLINE RAMSAY: Michael, it's time for a toast. (L-617) EVERYONE: To another summer together. (L-618) CARMICHAEL: Good morning. (L-619) LILY BRISCOE: Good morning, Mr. Carmichael. I never recall your appearing so early for breakfast, Mr. Carmichael. (L-620) CARMICHAEL: Oh, I grew out of all that. Silly *** working at night. A muse beguiled in the small hours. *** Sixty-five. (L-621) MICHAEL RAMSAY: Will you damned children come out here? (L-622) CARMICHAEL: Poor Michael! Do you know. . , that final summer we spent here, Michael had published a serious ??? and, the spring of that year, +++ you know. (L-623) CARMICHAEL: Not quite up to the standard but the previous work *** was the best. (L-624) LILY BRISCOE: I never knew that. (L-635) CARMICHAEL: He had his heart out all that summer. Caroline consoled him, distracted him. You know the way she always did, always had. Perhaps too much. （Mr. Ramsayが、部屋にこもっているNancy に声をかける。） (L-636) MICHAEL RAMSAY: What's the matter with you? (L-637) NANCY: Nothing. (L-638) MICHAEL: Just your usual misery, is it? You have nothing to say to your own father? No crumb of pity? What's this? (L-639) NANCY: It's a present for the lighthouse men. (L-640) MICHAEL: （Nancyの用意したプレゼントをクシャクシャにしてしまう。）I will not arrive with something that looks like remnants from a church bazaar. （Nancy の悲しみと怒りが爆発する。） （Michael Ramsay が dining room に入ってくる。） 0151吾輩は名無しである2013/01/06(日) 18:56:06.00 (L-641) (1:44'41") MICHAEL: I thought you were in ***. This expedition is in memory of my wife. She liked to see that the lighthouse men were cared for. （しばらくのぎごちない沈黙のあと） (L-642) LILY BRISCOE: Oh, what beautiful boots! (L-643) MICHAEL RAMSAY: Yes. ??? There is only one man in England who can make boots as good as these. Let's see if you can tie a good knot, young lady. (L-644) MICHAEL RAMSAY: ***, Lily. (L-645) LILY BRISCOE: He's happy now. He has this exhibition. （思い出の場面） (L-646) NANCY: James, it's your turn to bat. (L-647) MICHAEL: James, out is out. James! （現実に戻る。） (L-648) MICHAEL: James!
(L-651) MICHAEL RAMSAY: I'm glad you came now, Cam. (L-652) CAM: It is beautiful out here. (L-653) MICHAEL: I'm glad you came. You and James too. (L-654) CAM: What are you reading? (L-655) MICHAEL: Ha-ha, a nonsense. This apparently is one of the bright young men in my field. All flashes here and there, I suppose. There are as many holes as in that shrimping(???) you used to love. (L-656) ボートの管理人： I'll take the *** now, Master James. (L-657) MICHAEL: We have arrived. *** 0152吾輩は名無しである2013/01/06(日) 18:56:43.09 (L-658) LILY BRISCOE: They have arrived. It is finished. I shall not look at it. Close doors. But open windows. (L-659) CAROLINE RAMSAY: (Voice-over) Dearest Brisk. You are a fool.
Virginia Woolf の伝記をちらちらと読んでいるのだけれども、彼女の生き様について知れば知る ほど、彼女がそういう作品を書かないではいられなかった気持ちがわかってくるし、Septimus の 狂った人格（そして実は、誠実な人であれば陥ってもおかしくはない生き方）に似たものを Virginia 自身が持っていたのだろうと思える。
"The Lady in the Looking-Glass: A Reflection" という短編小説の題名が気になった。 というのも、鏡というものは人の心の中を映し出すものだ、というような観点から 書かれた物語かもしれない、と思ったからだ。とはいえ、短編には長編ほどの面白さは 期待しないで、軽い気持ちで読んでいた。
冒頭。 People should not leave looking-glasses hanging in their rooms any more than they should leave open cheque books or letters confessing some hideous crime.
she had bought this house and collected with her own hands--often in the most obscure corners of the world and at great risk from poisonous stings and Oriental diseases--the rugs, the chairs, the cabinets which now lived their nocturnal life before one's eyes.
部屋には姿見がある。第三段落の初め。
. . . the looking-glass reflected the hall table, the sunflowers, the garden path so accurately and so fixedly
このように、姿見は敷地内を映し出している。家の中の雰囲気については、次のように書いている。
. . . there was a perpetual sighing and ceasing sound, the voice of the transient and the perishing, it seemed, coming and going like human breath, while in the looking-glass things had ceased to breathe and lay still in the trance of immortality.
Isabella の人となりについては、誰も知らない、というふうに書いている。
Yet it was strange that after knowing her all these years one could not say what the truth about Isabella was;
しかし、昔はたくさんの人と知り合い、友達もたくさんいた、と書いている。
Isabella had known many people, had had many friends
数通の手紙が来たときには、Isabella はそれを一通一通じっくりと読んだあと、あらゆるものの奥底を理解したかのように深いため息をついて、知られたくないことを隠そうとして、それを引き出しにしまい込んでいた。 （その3に続く） 0160吾輩は名無しである2013/01/10(木) 10:25:44.59 （その3） Isabella would come in, and take them, one by one, very slowly, and open them, and read them (= 手紙) carefully word by word, and then with a profound sigh of comprehension, as if she had seen to the bottom of everything, she would tear the envelopes to little bits and tie the letters together and lock the cabinet drawer in her determination to conceal what she did not wish to be known.
優しさと悔恨の念を抱いた人である、とも書いている。
. . . surely one could penetrate a little farther into her being. Her mind then was filled with tenderness and regret. . . . To cut an overgrown branch saddened her because it had once lived, and life was dear to her. Yes, and at the same time the fall of the branch would suggest to her how she must die herself and all the futility and evanescence of things.
このように、枝を剪定するたびに、その命を切り刻むことを悲しく思う人だ、と書いて いる。"life was dear to her" というのは、Virginia Woolf の実感だったろう。という のも、彼女は13歳の時に母親を亡くし、そのあと数年のうちに兄や父親を失っている。 そのせいで、彼女は13歳のときから何度も気が狂ったりノイローゼになったりしている。 人生をかけがえのないものと感じると同時に、その人生は不毛なものだということも 熟知している。そんな思いが綴られている。
she was one of those reticent people whose minds hold their thoughts enmeshed in clouds of silence
Isabella のことを、このように無口で、自分の思いを表に出さない人であるとも 書いている。 （その4に続く） 0161吾輩は名無しである2013/01/10(木) 10:29:32.53 （その4） . . . and then her whole being was suffused (= filled, covered). . . with a cloud of some profound knowledge, some unspoken regret, and then she was full of locked drawers, stuffed with letters, like her cabinets.
さらにこのように、彼女の胸の中は深い知恵や悔恨で満たされている、というふうに 書いている。
At last there she was, in the hall. She stopped dead. She stood by the table. She stood perfectly still. At once the looking-glass began to pour over her a light that seemed to fix her; that seemed like some acid to bite off the unessential and superficial and to leave only the truth.
She stood naked in that pitiless light. And there was nothing. Isabella was perfectly empty. She had no thoughts. She had no friends. She cared for nobody. As for her letters, they were all bills. Look, as she stood there, old and angular, veined and lined, with her high nose and her wrinkled neck, she did not even trouble to open them.
People should not leave looking-glasses hanging in their rooms.
Virginia Woolf の伝記を拾い読みしてるだけだから、まだ詳しいことは知らないけど、Katherine Mansfield も Virginia Woolf にとってとても重要な作家かつ友人であったらしい。 当時としては自分以外に作家として飯を食っていた女性は Katherine Mansfield しかいなかった から、Virginia としては Katherine に関心を持たないわけにはいかなかったみたい。第一、 Katherine Mansfield の作品をいくつも Virginia Woolf とその旦那である Leonard Woolf が建てた Hogarth Press という出版社が出版してるもんね。 0164吾輩は名無しである2013/01/16(水) 06:36:28.72 意識の流れについてのスレ http://toro.2ch.net/test/read.cgi/book/1356348264/l50
そのスレで議論されていることに十分についていけるほどの見識を僕は持っていないのが悲しい。 第一、James Joyce もまだ20ページくらいしか読んだことがないし、William Faulkner も ほんの100ページほどしか読んでない。William James は、"Varieties of Religious Experience" を大昔に読んだだけ。
Virginia Woolf だけは、ほんの2か月ほど前からあれこれ拾い読みみたいなことをしている。 基本的には翻訳を読まずに原文だけを読もうと躍起になっている。一つには「俺は外大の英米 学科を出たんだから、英米のものは翻訳を読むわけには参らぬ」という意地がある。
ついでに「ダロウェイ夫人」の本文の翻訳もちらちらと拾い読みしたら、その読みやすさにびっくりした。 翻訳とは思えない自然さ。無理をして原文でひいこら言いながら、辞書とかネット上のあちこちを 引っ張り回し、この小説に出てくる単語のみならず、引用される詩歌の全文を英文で端から端まで 読んでいき、出てくる地名は片っ端から Wikipedia やネット上の地図を見てその場所を確認し、 その地名に関連する写真も眺め、出てくる有名な人名も調べ、登場人物については、それぞれ Virginia Woolf がなぜそのような名前をつけたのかを考えながら読み進める。
そして、ため息ばかりついてしまう。僕は、原文ではたったの220ページほどでしかないこんなに 短い小説でさえ、満足には理解できないのだと思い知らされ、絶望に近いものを感じる。短くて 有名で比較的に平易なはずのこの小説についてさえこんなに苦労するんだから、もっとはるかに 難しいと言われる James Joyce の "Ulysses" とか Henry James なんて僕に読める日が 来るのだろうか？ 0165吾輩は名無しである2013/01/16(水) 07:15:48.09 そうは言いながら、"Mrs. Dalloway" は、最初に読んだときにはろくに辞書も引かず、ろくに ネット上の調査もしないでぐんぐん読み進めたけど、面白いと思った。ただし、YouTube 上で 公開されているその映画版を見たあとでの話だけど。もし映画を見ないでいきなり辞書なしでこの 小説を原文で読んだら、途中で挫折していただろう。
何度も言うけど、僕はこの小説に出てくる Septimus Warren Smith という狂人が好きなのだ。 そして、Mrs. Dalloway も好き。さらには彼女に恋焦がれてきた不器用な Peter Walsh も好き。 さらには、自分の考え方が正しいと信じ込む Sir. William Bradshaw や男勝りの Lady Bruton も、この世の中によくいるタイプの人たちをよく描いていて、キャラクターとしてはとても面白い。
それはともかく、Virginia Woolf を読んでいると、今、誰のことを書いているのか、いつの話 なのかがわからなくなることが多い。一応は登場人物の名前がまずは書かれるとしても、そのあとはずっと he か she で済まされるだけで、そのあとは延々と独白めいたものが続くので、誰のことを言っているか がわかりにくくなる。
＞無理をして原文でひいこら言いながら、辞書とかネット上のあちこちを 引っ張り回し、この小説に出てくる単語のみならず、引用される詩歌の全文を英文で端から端まで 読んでいき、出てくる地名は片っ端から Wikipedia やネット上の地図を見てその場所を確認し、 その地名に関連する写真も眺め、出てくる有名な人名も調べ、登場人物については、それぞれ Virginia Woolf がなぜそのような名前をつけたのかを考えながら読み進める。
Henri Bergson and British Modernism という本の中の一節（Google Booksでの検索結果） http://books.google.co.jp/books?id=myWgaRhIbBIC&;pg=PA109&lpg=PA109&dq =woolf+henri+bergson+pure+duration&source=bl&ots=QDejRTXITC&sig= F7UWqzxvU-jf1CYjhRz1fl2-9aU&hl=en&sa=X&ei=RLf3UKuyI4fDmQXZ4oCoBQ&ved =0CEUQ6AEwAw#v=onepage&q&f=true
To do this she developed a contrast beteween what she called "moments of being" and "moments of non-being." According to Woolf, the latter constitute the vast majority of our life; she referred to living in this state as being like "cotton wool" ("A Sketch," 84), something that muffles the senses and prevents a feeling of being alive, Moments of being are much rarer, said Woolf, and also much more valuable. During these brief moments one becomes alive: aware of one's immediate surroundings and also aware of one's place in history. As Woolf describes the moment, "It is a token of some real thing behind appearances; and I make it real by putting it into words. It is only by putting it into words that I make it whole; ... it gives me, ... a great delight to put the severed parts together" ("A Sketch," 84). These brief moments appear to arrest the flow of time, but they also bring about a conflation of times as each individual moment is related to previous moments that are resurrected almost instantaneously. （その2に続く） 0176吾輩は名無しである2013/01/17(木) 18:01:41.94 （その2） Far from being a moment out of time, Woolf's moments of being are instances of pure duration, moments during which past and present time not only literally coexist, but during which one is aware of their coexistence. In a Bergsonian sense, these are moments of pure duree. They are moments when we leave l'etendu and enter into an intuitive relationship with the essence of ourselves or those things that spark the moment. By penetrating to the level of duree, Woolf seeks to depict life as it occurs on a temporal, rather than spatial, level.
このあともずっと議論が続きます。この本も面白そうですが、これを読む前に僕はまず ここに出てくる Virginia Woolf の書いた "A Sketch" つまり "A Sketch of the Past" と いう評論を読みたいと思いますが、ネット上ではまだ読めないようです。この評論は、 "Moments of Being" という評論集（http://en.wikipedia.org/wiki/Moments_of_Being） に収められたものなので、さっそくその評論集を注文しました。Virginia Woolf の評論集 はいろいろと買いこんで、すべてを網羅したつもりだったのに、これは漏れていました。 その評論集が手元に届いたら、さっそく拾い読みだけでもいいからしたいと思います。 この評論集は、とても面白いみたいです。 0177吾輩は名無しである2013/01/17(木) 18:15:28.31>>175-176 上記の二つの書き込みの中で長々と引用してしまいましたが、そのうち最も注目してもらいたい部分を ここに再び掲げます。
Woolf's moments of being are instances of pure duration, moments during which past and present time not only literally coexist, but during which one is aware of their coexistence. In a Bergsonian sense, these are moments of pure duree.
つまり、Woolf は時間というものを二つに分けている。
(1) "moments of being" という充実した時間。Heidegger 的に言えば恐らくは「本来的な」 時間ということになるんでしょう。このような時間においては、過去と現在は共存する。 (2) "moments of non-being" という、空疎な時間。Heidegger 的に言えば「非本来的な」 時間ということになるんでしょう。このような時間のことを Woolf は "cotton wool" と呼んでいる。 このような時間は、語感を鈍磨せしめる。
こういう考え方は大好きなので、ぜひぜひこれについて書いている Virginia Woolf の "Moments of Being" という評論集の中の "A Sketch of the Past" という評論 を早く手に入れて読んでみたいと思います。 0178吾輩は名無しである2013/01/17(木) 18:31:18.64 このように Virginia Woolf の時間についての考え方は Bergson のそれに近いみたいですが、 Virginia Woolf 自身は Bergson を読んだことがないと言っているそうです。
17. Bergson's influence on Woolf remains controversial, not least because of her denial that she had ever read him. For a fuller account, see Michael H. Whitworth, "Virginia Woolf" (Authors in Context) (Oxford: Oxford University Press, 2005), pp.120-9
上記の一節は、 "The Cambridge Companion to Virginia Woolf," Second Edition, edited by Susan Sellers, p.122 から引用しました。 0179Xeno ◆ulOn/T2aKSkA 2013/01/18(金) 14:05:46.31 ウルフもベルクソンは読んでなかったみたいですね。
But what have I done with my life? thought Mrs. Ramsay, taking her place at the head of the table, and looking at all the plates making white circles on it. "William, sit by me," she said. "Lily," she said, wearily, "over there." They had that -- Paul Rayley and Minta Doyle -- she, only this -- an infinitely long table and plates and knives. At the far end, was her husband, sitting down, all in a heap, frowning. What at? She did not know. She did not mind. She could not understand how she had ever felt any emotion or affection for him. She had a sense of being past everything, as she helped the soup, as if there was an eddy -- there -- and one could be in it, or one could be out of it, and she was out of it. It's all come to an end, she thought, while they came in one after another, Charles Tansley -- "Sit there, please," she said -- Augustus Carmicheal -- and sat down. And meanwhile she waited, passively, for some one to answer her, for something to happen. But this is not a thing, she thought, ladling out soup, that one says. Raising her eyebrows at the discrepancy -- that was what she was thinking, this was what she was doing -- ladling out soup -- she felt, more and more strongly, outside that eddy; or as if a shade had fallen, and, robbed of colour, she saw things truly." (Woolf 83) 0181吾輩は名無しである2013/01/19(土) 07:30:01.27>>180からの続き
次に、それについての解説。
Mrs. Ramsay muses over the value of her life and her marriage to her husband -- weighty issues of much significance yet completely unrelated to the external events going on around her -- all while mechanically seating her guests round the dinner table and serving them soup. Throughout the whole of the novel Woolf makes the main characters' sensory feelings and internal sequences of thought accessible to the reader as she does here, thereby, reflecting the propensity of the human mind to rove even when our physical appearance gives pretense of our attention and listening.
その原文である "The Tale of Genji" という Virginia Woolf による essay は、彼女の essays をまとめた "The Essays of Virginia Woolf," Volume 4 (1925-1928), edited by McNeillie の pp.264-268に納められています。日本語訳にするとおそらくは400字詰め 原稿用紙10枚くらいだろうと思われるものです。この原文を僕はここにすべて 書き写したいと思います。
"The Essays of Virginia Woolf," Volume 4 (1925-1928), edited by McNeillie, pp.264-268
(G-1) Our readers will scarcely need to be reminded that it was about the year 991 that Aelfric composed his Homilies, that his treaties upon the Old and New Testament were slightly later in date, and that both works precede that profound, if obscure, convulsion which set Swegen of Denmark upon the throne of England. (note 2) 0183吾輩は名無しである2013/01/22(火) 11:06:49.50 (G-2) Perpetually fighting, now men, now swine, now thickets and swamps, it was with fists swollen with toil, minds contracted by danger, eyes stung with smoke and feet that were cold among the rushes that our ancestors applied themselves to the pen, transcribed, translated and chronicled, or burst rudely, and hoarsely into crude spasms of song. ------------- (G-3) Sumer is icumen in, --------------------- Lhude sing cuccu (note 3) (G-4) -- such is their sudden harsh cry. (G-5) Meanwhile, at the same moment, on the other side of the globe the Lady Murasaki was looking out into her garden, and noticing how 'among the leaves were white flowers with petals half unfolded like the lips of people smiling at their own thoughts'. (note 4) （第2段落の始まり） (G-6) While the Aelfrics and the Aelfreds croaked and coughed in England, this court lady, about whom we know nothing, for Mr. Waley artfully withholds all information until the six volumes of her novel are before us, was sitting down in her silk dress and trousers with pictures before her and the sound of poetry in her ears, with flowers in her garden and nightingales in the trees, with all day to talk in and all night to dance in -- she was sitting down about the year 1000 to tell the story of the life and adventures of Prince Genji. (note 5) (G-7) But we must hasten to correct the impression that the Lady Murasaki was in any sense a chronicler. (G-8) Since her book was read aloud, we may imagine an audience; but her listeners must have been astute, subtle minded, sophisticated men and women. (G-9) They were grown-up people, who needed no feats of strength to rivet their attention; no catastrophe to surprise them. (G-10) に続く 0184吾輩は名無しである2013/01/22(火) 11:19:18.08 (G-10) They were absorbed, on the contrary, in the contemplation of man's nature; how passionately he desires things that are denied; how his longing for a life of tender intimacy is always thwarted; how the grotesque and the fantastic excite him beyond the simple and straightforward; how beautiful the falling snow is, and how, as he watches it, he longs more than ever for someone to share his solitary joy. （第3段落の始まり） (G-11) The Lady Murasaki lived, indeed, in one of those seasons which are most propitious for the artist, and, in particular, for an artist of her own sex. (G-12) The accent of life did not fall upon war; the interests of men did not centre upon politics. (G-13) Relieved from the violent pressure of these two forces, life expressed itself chiefly in the intricacies of behaviour, in what men said and what women did not quite say, in poems that break the surface of silence with silver fins, in dance and painting, and in that love of the wildness of nature which only comes when people feel themselves perfectly secure. (G-14) In such an age as this Lady Murasaki, with her hatred of bombast, her humour, her common sense, her passion for the contrasts and curiosities of human nature, for old houses mouldering away among the weeds and the winds, and wild landscapes, and the sound of water falling, and mallets beating, and wild geese screaming, and the red noses of princesses, for beauty indeed, and that incongruity which makes beauty still more beautiful, could bring all her powers into play spontaneously. (G-15) It was one of those moments (how they were reached in Japan and how destroyed we must wait for Mr Waley to explain) when it was natural for a writer to write of ordinary things beautifully, and to say openly to her public. (G-16) に続く 0185吾輩は名無しである2013/01/22(火) 11:39:59.69 (G-16) It is the common that is wonderful, and if you let yourselves be put off by extravagance and rant and what is surprising and momentarily impressive you will be cheated of the most profound of pleasure. (G-17) For there are two kinds of artists, said Murasaki: one who makes trifles to fit the fancy of the passing day, the other who 'strives to give real beauty to the things which men actually use, and to give to them the shapes which tradition has ordained.' (G-18) How easy it is, she said, to impress and surprise; 'to paint a raging sea monster riding a storm' (note 7) -- any toy maker can do that, and be praised to the skies.. (G-19) 'But ordinary hills and rivers, just as they are, houses such as you may see anywhere, with all their real beauty and harmony of form -- quietly to draw such scenes as this, or to show what lies behind some intimate hedge that is folded away far from the world, and thick trees upon some unheroic hill, and all this with befitting care for composition, proportion, and the like -- such works demand the highest master's utmost skill and must needs draw the common craftsman into a thousand blunders.' (note 8) （第4段落の始まり） (G-20) Something of her charm for us is doubtless accidental. (G-20-B) に続く 0186吾輩は名無しである2013/01/22(火) 12:02:50.75 (G-20-B) It lies in the fact that when she speaks of 'houses such as you may see anywhere' we at once conjure up something graceful, fantastic, decorated with cranes and chrysanthemums, a thousand miles removed from Surbiton and the Albert Memorial. (G-21) We give her, and luxuriate in giving her, all those advantages of background and atmosphere which we are forced to do without in England today. (G-22) But we should wrong her deeply if, thus seduced, we prettified and sentimentalised an art which, exquisite as it is, is without a touch of decadence, which, for all its sensibility, is fresh and childlike and without a trace of the exaggeration or languor of an outworn civilisation. (G-23) But the essence of her charm lies deeper far than cranes and chrysanthemums. (G-24) It lies in the belief which she held so simply -- and was, we feel, supported in holding by Emperors and waiting maids, by the air she breathed and the flowers she saw -- that the true artist 'strives to give real beauty to the things which men actually use and to give to them the shapes which tradition has ordained.' (G-25および G-36) On she went, therefore, without hesitation or self-consciousness, effort or agony, to tell the story of the enchanting boy -- the Prince who danced 'The Waves of the Blue Sea' (note 9), so beautifully that all the princes and great gentlemen wept aloud; who loved those whom he could not possess; whose libertinage was tempered by the most perfect courtesy; who played enchantingly with children, and preferred, as his women friends knew, that the song should stop before he had heard the end. (G-27) To light up the many facets of his mind, Lady Murasaki, being herself a woman, naturally chose the medium of other women's minds. (G-28) に続く 0187吾輩は名無しである2013/01/22(火) 12:16:52.50 (G-28) Aoi, Asagao, Fujitsubo, Murasaki, Yugao, Suyetsumuhana, (note 10) the beautiful, the red-nosed, the cold, the passionate -- one after another they turn their clear or freakish light upon the gay young man at the centre, who flies, who pursues, who laughs, who sorrows, but is always filled with the rush and bubble and chuckle of life. （第5段落の初め） (G-29) Unhasting, unresting, with unabated fertility, story after story flows from the brush of Murasaki. (G-29-B) Without this gift of invention we might well fear that the tale of Genji would run dry before the six volumes are filled. (G-29-C) With it, we need have no such foreboding. (G-30) We can take our station and watch, through Mr Waley's beautiful telescope, the new star rise in perfect confidence that it is going to be large and luminous and serene -- but not, nevertheless, a star of the first magnitude. (G-31) No; the lady Murasaki is not going to prove herself the peer of Tolstoy and Cervantes (note 11) of those other great story-tellers of the Western world whose ancestors were fighting or squatting in their huts while she gazed from her lattice window at flowers which unfold themselves 'like the lips of people smiling at their own thoughts'. (G-32) Some element of horror, of terror, or sordidity, some root of experience has been removed from the Eastern world so that crudeness is impossible and coarseness out of the question, but with it too has gone some vigour, some richness, some maturity of the human spirit, failing which the gold is silvered and the wine mixed with water. (G-33) に続く 0188吾輩は名無しである2013/01/22(火) 12:51:50.96 (G-33) All comparisons between Murasaki and the great Western writers serve but to bring out her perfection and their force. (G-34) But it is a beautiful world; the quiet lady with all her breeding, her insight and her fun, is a perfect artist; and for years to come we shall be haunting her groves, watching her moons rise and her snow fall, hearing her wild geese cry and her flutes and lutes and flageolets tinkling and chiming, while the Prince tastes and tries all the queer savours of life and dances so exquisitely that men weep, but never passes the bounds of decorum, or relaxes his search for something different, something finer, something withheld. （これで Woolf のこの essay の本文は終わり。このあとに、この評論集の編集者が つけた脚注が続きます。）
[Note 1] A signed review in "Vogue", late July 1925, (Kp C264) of "The Tale of the Genji by Lady Murasaki", translated from the Japanese by Arthur Waley [1889-1966] (vol. i, George Allen and Unwin Ltd, 1925). VW (= Virginia Woolf) had met Waley, an acquaintance of Bloomsbury, at a recent dinner party, and found him 'a little demure and discreet' (III VW Letters, no. 1553 to Desmond MacCarthy, 17 May 1925). On 14 June she noted in her diary that she '. . . must answer Gerald Brenan, & read the Genji, for tomorrow I make a second 200 pounds from Vogue;' and wrote that day to Brenan, urging him to: 'Put this letter where it deserves to be, in Mrs Levey's earth closet; I would not send it, if I could write a better, but it is not possible, not in this perfectly divine heat. I'm reading Waley's Japanese novel and David Copperfield' (III VW Letters, no. 1560).
[Note 2] に続く 0189吾輩は名無しである2013/01/22(火) 13:17:58.19 [Note 2] Aelfric, called Gramaticus (d. c. 1020), 'Homilies' (990-2), 'A Treatise on the Old and New Testaments' (1005-12). Aelfred (849-901), king of the West Saxons (871-901). Swegen or Svein or Sweyn (c. 960-1014), king of Denmark, 986-1014, son of Harold Bluetooth, father of Canute, became king of England in 1013 upon the capitulation of Aethelred the Unready but died before he could be crowned.
[Note 3] Anonymous lyric of the earlier part of the 13th century, the second line quoted here being generally given as: 'Lhude sing! cuccu.'
[Note 4] Waley, vol. i, p. 93. Lady Shikibu Murasaki (c. 978-?1031)
[Note 5] According to Waley (Appendix I. p. 297) Book I of Murasaki's tale was read to the Emperor in 1008.
[Note 6] This passage does not occur in Waley and has not been discovered elsewhere.
[Note 7] For both quotations, Waley, ch. ii, 'The Broom-Tree', p. 49, which has 'striving to give', 'actually use and to give' and: 'One paints the Mountain of Horai (oの上に横 棒がついています); another a raging sea-monster riding a storm; another, ferocious animals from the land beyond the sea, or faces of imaginary demons. Letting their fancy run wildly riot they have no thought of beauty, but only of how best may astonish the beholder's eye.'
[Note 8] に続く 0190吾輩は名無しである2013/01/22(火) 13:19:01.25 [Note 8] Ibid., p. 50, which has: 'like, -- such work,'.
[Note 9] For the account of this episode, ibid., ch. vii, 'The Festival of the Red Leaves', p. 211.
[Note 10] Princess Aoi was Genji's first wife. Princess Asagao resisted his attempts to court her. Fujitsubo was the Emperor's consort and an aunt of Murasaki. Yugao became a mistress of Genji. Princes Suyetsumuhana was, according to Waley (p. 12), 'A timid and eccentric lady'.
[Note 11] L. N. Tolstoy (1828-1910); Miguel Cervantes Saavedra (1547-1616).
これで、 "The Tale of Genji" by Virginia Woolf "The Essays of Virginia Woolf," Volume 4 (1925-1928), edited by McNeillie, pp.264-268 の書き写しを終わります。 0191Ｇ ◆Y.6.rbvT92 2013/01/22(火) 20:34:17.16>>182 ありがとうございます。 0192吾輩は名無しである2013/01/28(月) 20:01:47.46 失礼します。スレ汚し申し訳ありません。 学校の講義に使用したテキストに、"a society”が断片的に掲載されており、 とても気になる作品だったため、全文、できれば日本語で読みたいと思い、 手を尽くして探したのですが見つけることができず、ここで質問させていただきます。
a societyの邦訳は出ていないのでしょうか… 詳しい方、教えて頂ければ有り難いです。 0193吾輩は名無しである2013/01/28(月) 20:13:26.60 Virginia Woolf の "Mrs Dalloway" の全編を6枚のCDに吹き込んだものを数日前に 手に入れて、それ以来、毎日、歩いたり食事したりするときにはそれを聞いている。
こんな短編を僕も書けたらなあ、と思う。文体はとても平易。わかりやすい。大学での購読テキスト としては、最適だと思う。ひねくれたスラングなんかないし、専門的な用語もない。装飾の多すぎる 美辞麗句もない。これがほんとに Virginia Woolf かと思うくらいにわかりやすい。
いや、ほんとは Virginia Woolf は実にわかりやすい文章を書く人のはずなんだけど、 "To the Lighthouse" と "Mrs Dalloway" と "The Waves" という重要な三部作が 雲をつかむような作品であるため、彼女の文体は深遠かつ難解であるかのようなイメージがつきまとって しまっているだけなんだろう。現に彼女の書く日記や評論 (essays) はとてもわかりやすい。
あとで時間があれば、この短編について詳しく書きたい。
"A Society"（短編）の全文を収録したウェブページ http://www.online-literature.com/virginia_woolf/857/0210吾輩は名無しである2013/02/01(金) 17:00:41.74 他のスレで誰かが紹介してくれていた本。 "Lectures on Literature" by Vladimir Nabokov その英文原書を一週間ほど前に手に入れた。まだ拾い読みしかしていないけど、パラッとめくったところで いきなり Vabokov がいい文章を引用してくれている。
Comme l'on serait savant si l'on connaissait bien seulement cinq a six livres. (What a scholar one might be if one knew well only some half a dozen books." （"Lectures on Literature" by Vladimir Nabokov の冒頭から5行目あたり）
If one begins with a ready-made generalization, one begins at the wrong end and travels away from the book before one has started to understand it. Nothing is more boring or more unfair to the author than starting ti read, say, "Madame Bovary," with the preconceived notion that it is a denunciation of the bourgeoisie. We should always remember that the work of art is invariably the creation of a new world, so that the first thing we should do is to study that new world as closely as possible, approaching it as something brand new, having no obvious connection with the worlds we already know. ("Lectures on Literature," Vladimir Nabokov, 冒頭から12行目あたり） 0212吾輩は名無しである2013/02/06(水) 19:20:05.64 女性の言語表現（話し方や書き方）は男性から見れば曖昧であることこの上ないけど、それは 男性から見てそう思えるだけのことであって、女性には男性とはまったく違う世界観に基づく 表現の方式があるに違いない、という意味のことをすでに書いた。
MR. BOLDWOOD: You never liked me. BATHSHEBA EVERDEEN: I did; and respected you, too. MR. BOLDWOOD: Do you now? BATHSHEBA: Yes. BOLDWOOD: Which? BATHSHEBA: How do you mean which? BOLDWOOD: Do you like me, or do you respect me? BATHSHEBA: I don't know -- at least, I cannot tell you. It is difficult for a woman to define her feelings in language which is chiefly made by men to express theirs. ("Far from the Madding Crowd" by Thomas Hardy" （Everyman's Library の一節を、わかりやすくするために僕が台詞の一つ一つを 誰がしゃべっているかを明示しました。）
この「言葉は主に男性が造った」という主張は真実かどうかは突き詰めてみると実は本当か どうかはそう簡単には結論が下せないと思うけど、仮に言葉は男女が半々に作ったものだとしても、 その言葉を使って女性が男性にわかるように説明するのは難しい、ということは言えると思う。 それは逆に、男性が女性にわかるように男性自身の感情を言語で表現するのも難しいということになろう。 0213吾輩は名無しである2013/02/06(水) 19:23:02.35 上記の "Far from the Madding Crowd" の一節は、Chapter LI すなわち「第51章」 にある一節だ。書き忘れてた。 0214吾輩は名無しである2013/02/06(水) 19:51:56.91>>212で引用した一節は、Project Gutenberg 版では次のようになっている。
You never liked me." "I did; and respected you, too. "Do you now?" "Yes." "Which?" "How do you mean which?" "Do you like me, or do you respect me?" "I don't know -- at least, I cannot tell you. It is difficult for a woman to define her feelings in language which is chiefly made by men to express theirs. http://www.gutenberg.org/cache/epub/27/pg27.html0215吾輩は名無しである2013/02/08(金) 11:14:48.12 William Makepeace Thackeray の "Vanity Fair" は、ずっと前から気にはなっていた。 でも、いまだに読んではいない。今さっき、Wikipedia 英語版にあるその小説についての 解説記事をすべて読んだ。単に荒筋を読んだだけなのに、何度も大笑いした。 僕の好みにぴったりの作品みたいだ。さっそく注文した。
イギリス文学作品をもとにしてBBCが作る映画はとても優れていると思うけど、その中でも、 一つの文学作品を5時間から6時間ほどかけて描く映画は、細かいところもじっくり描いてあって とてもうれしい。 0219吾輩は名無しである2013/02/13(水) 16:27:25.11 YouTube で E. M. Forster の小説に基づく映画を三つほど見て、興味が湧いたので彼の 小説を少し買ってみた。Forster は、Virginia Woolf と同じく Bloomsbury Group の 一員だ。
E. M. Forster の "A Passage to India" を手に取って拾い読みしていて、大笑いしてしまった。
Most of life is so dull that there is nothing to be said about it, and the books and talk that would describe it as interesting are obliged to exaggerate, in the hope of justifying their own existence. Inside its cocoon of work or social obligation, the human spirit slumbers for the most part, registering the distinction between pleasure and pain, but not nearly as alert as we pretend.
そこにある写真の一番左が、Virginia Woolf ですね。Virginia って、落ち込んでる時は すごく落ち込むけど、活動的な時はとことん活動的で明朗快活だったようですね。 0222吾輩は名無しである2013/02/19(火) 14:50:55.54 Charles Darwin の "The Origin of Species" は、世界中の人々、特に欧米人たちに 激しい衝撃を与え続けてきた本だ。19世紀の後半から20世紀の前半にかけては、 特にその衝撃が色濃いように思う。文学小説を読んでいても、登場人物たちが しきりに Darwin のこの学説を持ち出す。
ネットで無料で読める時代になったので、拾い読みしてみた。取っ付きにくそうだと 思い込んでいた Darwin の文章は、実はかなり読みやすそうだと思った。しかも、書いてある 話がかなり面白いところもある。次の一節を拾い読みでいいから、してほしい。
ある種のアリの話だ。奴隷なしでは生きていけないアリの生態をえがいている。 この種類のアリは、自分では何もしない。自分で食事することさえできない。 奴隷のアリが食べさせてくれない限り、食事ができないのだ。このほか、いろいろと 詳しく、しかも分かりやすそうな英語で書いてある。 0223吾輩は名無しである2013/02/19(火) 14:53:03.20 “SLAVE-MAKING INSTINCT. This remarkable instinct was first discovered in the Formica (Polyerges) rufescens by Pierre Huber, a better observer even than his celebrated father. This ant is absolutely dependent on its slaves; without their aid, the species would certainly become extinct in a single year. The males and fertile females do no work of any kind, and the workers or sterile females, though most energetic and courageous in capturing slaves, do no other work. They are incapable of making their own nests, or of feeding their own larvae. When the old nest is found inconvenient, and they have to migrate, it is the slaves which determine the migration, and actually carry their masters in their jaws. So utterly helpless are the masters, that when Huber shut up thirty of them without a slave, but with plenty of the food which they like best, and with their larvae and pupae to stimulate them to work, they did nothing; they could not even feed themselves, and many perished of hunger. Huber then introduced a single slave (F. fusca), and she instantly set to work, fed and saved the survivors; made some cells and tended the larvae, and put all to[…]”
Excerpt From: Darwin, Charles. “The Origin of Species by means of Natural Selection, 6th Edition.” Project Gutenberg より 0224吾輩は名無しである2013/02/20(水) 11:20:03.92 "Dr. Jekyl and Mr. Hide" を書いた Robert Kouis Stevenson の結婚観。男は、結婚すると、 その安楽さのあまり、心身共にダメになるという考え方を述べた一節。その考え方が 正しいかどうかはともかくとして、言い得て妙な部分もあるので、笑ってしまった。
But marriage, if comfortable, is not at all heroic. It certainly narrows and damps the spirits of generous men. In marriage, a man becomes slack and selfish, and undergoes a fatty degeneration of his moral being. It is not only when Lydgate misallies himself with Rosamond Vincy, but when Ladislaw marries above him with Dorothea, that this may be exemplified. The air of the fireside withers out all the fine wildings of the husband’s heart. He is so comfortable and happy that he begins to prefer comfort and happiness to everything else on earth, his wife included. Yesterday he would have shared his last shilling; to-day “his first duty is to his family,” and is fulfilled in large measure by laying down vintages and husbanding the health of an invaluable parent. Twenty years ago this man was equally capable of crime or heroism; now he is fit for neither. His soul is asleep, and you may speak without constraint; you will not wake him. It is not for nothing that Don Quixote was a bachelor and Marcus Aurelius married ill.
Dr. Jekyll and Mr. Hyde By Robert Louis Stevenson 0226吾輩は名無しである2013/03/02(土) 20:32:25.32 肝心の Virginia Woolf は最近はあまり読まず、他のものばかり読んでいる。でも、主に 19世紀から20世紀初め頃のイギリスの文章を読むことが多い。最近はイギリスに凝っているのだ。 できればもっと古い時代のものもどんどん読んでいきたい。とはいえ、いくら頑張っても Shakespeare でさえ苦しいので、それ以前の Chaucer あたりになると、原文の英語が古すぎて、 本格的なその時代の英語の文法などをしっかり勉強しない限りは読めない。
Lady Mary Wortley Montagu という、1689年から1762年までいきた英国の書簡文作家だ。 ここに彼女の日記を少しだけ引用する。こんなに古い時代のものなのに、まるで 現代の作家の日記みたいだ。これなら、日本の高校や大学で英語のテキストとして教えるのに 格好の教材になるだろう。書いてある内容も、実に面白い。 0227吾輩は名無しである2013/03/02(土) 20:35:27.82 LETTER 1.
To the Countess of ――.
Rotterdam, Aug. 3. O. S. 1716.
[1.1] I flatter myself, dear sister, that I shall give you some pleasure in letting you know that I have safely passed the sea, though we had the ill fortune of a storm. We were persuaded by the captain of the yacht to set out in a calm, and he pretended there was nothing so easy as to tide it over; but, after two days slowly moving, the wind blew so hard, that none of the sailors could keep their feet, and we were all Sunday night tossed very handsomely. I never saw a man more frighted than the captain. For my part, I have been so lucky, neither to suffer from fear nor seasickness; though, I confess, I was so impatient to see myself once more upon dry land, that I would not stay till the yacht could get to Rotterdam, but went in the long-boat to Helvoetsluys, where we had voitures to carry us to the Briel. I was charmed with the neatness of that little town; but my arrival at Rotterdam presented me a new scene of pleasure. All the streets are paved with broad stones, and before many of the meanest artificers doors are placed seats of various coloured marbles, so neatly kept, that, I assure you, I walked almost all over the town yesterday, incognito, in my slippers without receiving one spot of dirt; and you may see the Dutch maids washing the pavement of the street, with more application than ours do our bed-chambers. The town seems so full of people, with such busy faces, all in motion, that I can hardly fancy it is not some celebrated fair; but I see it is every day the same. 'Tis certain no town can be
more advantageously situated for commerce. Here are seven large canals, on which the merchants ships come up to the very doors of their houses. The shops and warehouses are of a surprising neatness and magnificence, filled with an incredible quantity of fine merchandise, and so much cheaper than what we see in England, that I have much ado to persuade myself I am still so near it. Here is neither dirt nor beggary to be seen. One is not shocked with those loathsome cripples, so common in London, nor teased with the importunity of idle fellows and wenches, that chuse to be nasty and lazy. The common servants, and little shop-women, here, are more nicely clean than most of our ladies; and the great variety of neat dresses (every woman dressing her head after her own fashion) is an additional pleasure in seeing the town. You see, hitherto, I make no complaints, dear sister; and if I continue to like travelling as I do at present, I shall not repent my project. It will go a great way in making me satisfied with it, if it affords me an opportunity of entertaining you. But it is not from Holland that you may expect a disinterested offer. I can write enough in the stile of Rotterdam, to tell you plainly, in one word that I expect returns of all the London news. You see I have already learnt to make a good bargain; and that it is not for nothing I will so much as tell you,
(66) Then a shout sounded across the watchers, a woman’s voice: God, oh God, it’s a shirt, it’s just a shirt. (67-1) It was falling, falling, falling, yes, a sweatshirt, fluttering, and then their eyes left the clothing in midair, (67-2) because high above the man had unfolded upward from his crouch, and a new hush settled over the cops above and the watchers below, a rush of emotion rippling among them, (67-3) because the man had arisen from the bend holding a long thin bar in his hands, jiggling it, testing its weight, bobbing it up and down in the air, a long black bar, so pliable that the ends swayed, (67-4) and his gaze was fixed on the far tower, still wrapped in scaffolding, like a wounded thing waiting to be reached, (67-5) and now the cable at his feet made sense to everyone, and whatever else it was there would be no chance they could pull away now, no morning coffee, no conference room cigarette, no nonchalant carpet shuffle; (67-6) the waiting had been made magical, and they watched as he lifted one dark- slippered foot, like a man about to enter warm gray water.
執筆用具に関していま一つ注目すべきものと言えば、彼女が好んで使ったヴァイオレットインクだが、これに関しては面白そうなサイトを見つけられないでいる。 とはいえThe Letters of Virginia Woolf. vol.3に次のような記述がみられるので、彼女が何を使っていたのか、ということははっきりしている：
"This ink is Waterman's fountain pen ink. Cheap, violet, indelible. (Which sounds as if I were paid to write their advertisements.)" (To Dorothy Brett. 5? March 1923; p.18)
なんだかとてつもなくとりとめのない書き込みをしてしまった。 02532432014/05/04(日) 23:05:35.44 訂正 *「どちらかと言うと機能を重視していたらしく」→誤り どこか別のところで読んだ話を混同したか、別の要因によってかはわからないが、とにかく言及先のサイトで このようなことは言われていない。"Woolf probably regarded her binding efforts (in most cases) as temporary steps taken for maintaining the integrity of her books, rather than as examples of fine craftsmanship"というのが 元の表現。 02542432014/05/04(日) 23:26:21.91 訂正に次ぐ訂正 *「調子が悪く」→誤り 引用されている言葉は確かにウルフが自分のタイプライターに不満を抱いていたことを示唆しているが、 記事の筆者はウルフのタイプライターの「調子が悪」かったとは言っていない。そうではなく、ウルフは レナードのレミントン(銃器メーカーのあのレミントン)を気に入っていた、と言っている。
Jacob's Room 1922年 邦題『ジェイコブの部屋』 Mrs Dalloway 1925年 邦題『ダロウェイ夫人』 To the Lighthouse 1927年 邦題『灯台へ』 Orlando 1928年 邦題『オーランドー』
The Common Reader (1925) A Room of One's Own (1929) 邦題『自分自身の部屋』
Freshwater: A Comedy (1923年初演, 1935年改訂, 1976年出版)
Selections Autobiographical and Imaginative from the Works of George Gissing Alfred Gissing編 序文ヴァージニア・ウルフ(London & New York, 1929) 0256吾輩は名無しである2014/09/30(火) 07:07:10.78 『灯台へ』を初読しましたが、よいですね、これは 0257吾輩は名無しである2014/09/30(火) 07:35:56.97 たいへんよろしいでしょう 0258吾輩は名無しである2014/11/21(金) 00:12:50.98 俺も『灯台へ』読了 大傑作ですな、読んでよかった 0259吾輩は名無しである2014/11/21(金) 20:28:08.31 『灯台へ』は原書で読みました。今後何度も再読するでしょう。 Youtubeにあがっていた映画も素晴らしい。 また『灯台へ』に似た質感の作品としては、ウルフと交友があったキャサリン・マンスフィールドの作品があります。 こちらの方が読みやすい。丹精に彫琢された静謐と自省の芸術です。 0260吾輩は名無しである2014/11/21(金) 20:34:52.82 『灯台へ』は岩波で読んで感動したから原書トライしたけどあっさり挫折 むずいわ、この人の英文 0261吾輩は名無しである2014/11/21(金) 22:38:53.39 灯台へ、はいいよなあ。 おれの生涯ベスト小説３０にまだ入ってるぞ。
新訳で読めるのを楽しみにしていただけに落胆が激しい。だが、だからといってハードルを高く設定していたつもりはない。 ちょっとやそっと悪いくらいなら新訳で読める喜びが勝ったはずだ。ところが実際にはどうか。 初回の読書から当惑させられ、五十頁も進まないうちに我慢ができなくなった。 これはちょっと駄目かもしれないと覚悟して初めから読み返していくと一ページごとに粗が見つかるようになった。 そもそも日本語になっていない。文意が通ってないのだから読めるはずもない。 この新訳の担当者は他作品の翻訳でも同様の仕事をしている。いわば前科持ちだ。 0301吾輩は名無しである2016/05/10(火) 22:51:00.28 History Lovers Club Virginia Woolf 1935 by Man Ray http://pbs.twimg.com/media/ChrmwZZVAAA7zc4.jpg 2016年5月5日 0302吾輩は名無しである2016/05/10(火) 23:21:58.62http://sixx6sixx.blog35.fc2.com/blog-entry-169.html Gleb Kolyadin (Piano)とMarjana Semkina (Vo)によるロシアのチェンバーデュオ、前作『Belighted』から2年ぶりの3rd。
今回のアルバムタイトル『Lighthouse』は Virginia Woolfの著作『To the Lighthouse（邦題「灯台にて」）』を モチーフにしていることが推測され、 また収録曲の歌詞も生きることに対する孤独・疑問・痛みが ストレートに描かれた悲痛なものとなっており Virginia、Sylviaのような精神疾患を患った人間の思いが反映されている。
アルバム序盤と終盤に配置されたI Came Before the Waterにある
And so, walking into water, I accept my final defeat
This album is dedicated to the subject of mental illness and we'd like to pass on the message to all the lost souls out there: you are not alone, ever.
