ヴァージニア・ウルフ
0069吾輩は名無しである
2012/12/31(月) 20:33:33.75The thirty-two chapters of a novel--if we consider how to read a novel
first--are an attempt to make something as formed and controlled as a building: but
words are more impalpable than bricks; reading is a longer and more complicated
process than seeing. Perhaps the quickest way to understand the elements of what a
novelist is doing is not to read, but to write; to make your own experiment with the
dangers and difficulties of words. Recall, then, some event that has left a distinct
impression on you--how at the corner of the street, perhaps, you passed two people
talking. A tree shook; an electric light danced; the tone of the talk was comic, but
also tragic; a whole vision, an entire conception, seemed contained in that moment.
http://gutenberg.net.au/ebooks03/0301251h.html#e26
Virginia Woolf, "The Common Reader, Second Series" (1935) の中の
"How Should One Read a Book" という essay からの抜粋
0070Ｇ ◆Y.6.rbvT92
2013/01/01(火) 17:44:48.47います。まだ少しだけですが。
>>68>>69の引用部分、 to receive impressions with the utmost understandingは
あくまで読書の過程の前半でしかなく、to judge, to compareという後半の過程が
あるのでしたね。
http://andrewswebsite.net/books/readabook.html
Wait for the dust of reading to settle; for the conflict and the questioning to die down;
walk, talk, pull the dead petals from a rose, or fall asleep. Then suddenly without our
willing it, for it is thus that Nature under-takes these transitions, the book will return,
but differently. It will float to the top of the mind as a whole. And the book as a whole is
different to the book received as separate phrases. Details now fit themselves into their
places. We see the shape from start to finish; it is a barn, a pig-sty, or a cathedral. Now
then we can compare book with book as we compare building with building. But this act of
comparison means that our attitude has changed. We are no longer the friends of the writer,
but his judges; and just as we cannot be too sympathetic as friends, so as judges we cannot
be too severe. Are they not criminals, books that have wasted our time and sympathy; are they
not the most insidious enemies of society, corrupters, defilers, the writers of false books,
faked books, books that fill the air with decay and disease? Let us then be severe in our
judgements; let us compare each book with the greatest of its kind.
0071吾輩は名無しである
2013/01/01(火) 22:19:49.05(http://www.youtube.com/watch?v=WN4uhX4URr4)
10分ほどのこのビデオでは、Virginia Woolf の夫である Leonard Woolf が、Virginia Woolf が生きていたころのBloomsbury Group の様子や、
Hogarth Press という自分たち夫婦で作った出版社について、そして妻の Virginia についての思い出を語っている。
ただ、録音が古くて、発音がはっきりとは聴き取れず、僕の実力では90%から95%くらいしか聴き取れませんでした。
(1) INTERVIEWER: What would you say exactly the Bloomsbury Group was?
(2) LEONARD WOOLF: Well, it really consisted originally of 13 people: three women and ten men, nine out of ten men had been at Cambridge and ***.
(3) And it so happened that, after I came back from Sudan in 1911, we all went to live in the Bloomsbury. Thirteen people with three Stephens: Vanessa Stephen, Virginia Stephen, and Adrian Stephen.
(4) Vanessa Stephen married Clive Bell, also a member of the original group. And I married Virginia, then there was Lytton Strachey, Maynard Keynes, Roger Fry, Duncan Grant the painter, E. M. Forster,
and Saxon Sydney-Turner, who was in the Treasury, and Desmond MacCarthy and his wife Molly, who lived in Chelsea.
(5) INT: They were all people with widely different talents.
0072吾輩は名無しである
2013/01/01(火) 22:21:32.71(7) INT: You were all more or less in revolt against Victorian standards, I suppose, in effect, that, uh, . . . .
(8) LW: Yes, of course, all intelligent people at that time were in revolt against their ancestors.
(9) INT: When you were up at Cambridge, I suppose you met Rupert Brook.
(10) (1'59") LW: Well, he was younger. I met him when I came back from Sudan in 1911. He was then at Cambridge.
(11) INT: He was a former friend of your wife and yours, wasn't he?
(12) LW: Yes, simply he became quite a friend of actual poet and rather far, and he was a rather dangerous friend. He took very much against all of us in Bloomsbury towards the end of his life.
(13) INT: To return to your wife, I think you wouldn't hesitate to call her person a genius. Apart from the evidence of her writings, can you describe any special attributes that marked her right from ordinary people?
(14) LW: She had what I call genius of a combination of imagination and intelligence, which is extremely rare, I think. Normally, she was extremely happy and enjoyed all the usual things in life.
(15) But, every now and then in the conversation, for instance, she would do what I call "leave the ground"
and give me a fantastic account of, say, perfectly ordinary things that would happen, which she would see, which was like all she does, I think, when she's at her best in her novels.
(17) (3'28") INT: I can see from her photographs she really was a very beautiful person like her sister Vanessa Bell.
(18) Yet there is a very moving section in your book, rather disturbing section. You talk about how people in the street used to laugh at her, how distressed she was.
(19) Can you give any reasons about why she should have been thought so strange.
0073吾輩は名無しである
2013/01/01(火) 22:22:39.85(21) She dressed, I think, very beautifully but it was rather unlike most people and walked about in this curious way.
(22) It was, I think, also *** that she had mental breakdowns all her life. And it showed to us to a certain extent, to ordinary people and there of course they would laugh at them.
(23) (4'30") INT: One of your remarkable facts that potentially became Freud's publisher, it is strange that there's no mention in your book of either your wife, deciding to consult a Freudian analyst.
(24) Very simple answer. She had had a mental breakdown before 1900. And then she had one in 1912. And in 1912, nobody really knew anything about psychoanalysis. I didn't know anything.
(25) I doubt whether there was then ten people (???) who were psychoanalysts. Because, afterwards, we published all Freud's works and we once went and thought when he came here.
(26) (5'20") You both had your first novels published during your marriage: "The Voyage Out" and "The Village in the Jungle." The first novels very seldom make a fortune for writers.
(27) Both of the books stood in print, I believe, it is interesting to know if you had any differently whether you made much money out of them.
(28) LW: No, we made practically nothing. I think that, in the first ten years of writing, I made six pounds of my book and she made about 15.
(29) INT: How did you come to start the Hogarth Press? And what is your reason for becoming a publisher?
(30) (5'59") LW: We wanted to print and we went to, uh, school printing. They couldn't teach us because you could only be taught printing if you undertook to be an apprentice.
0074吾輩は名無しである
2013/01/01(火) 22:23:19.35(32) INT: There's an extraordinary list of authors in your first years.
(33) I think many publishers became envious of all these people and you published T. S. Eliot and Katherine Mansfield, I think. "The Waste Land."
(33) We printed "The Waste Land" with our own hands and published it in an edition of 300.
(34) INT: Three hundred?
(35) LW: Yes. And (we) made about 15 or 20 pounds.
(36) INT: Yes. When did you become an ordinary commercial publishing house?
(37) LW: We started in 1919, really, in a big sort of way, 1917, and we turned into a regular publisher about 1923 or '24.
(38) INT: What was your first success?
(39) (7'15") LW: "Kew Gardens" by my wife printed by our own hands, and it was very able to *** by the time ** one. And that really turned us into a publisher.
(40) INT: Why do you think the Hogarth Press survived?
(41) LW: Our authors were so good, and our publishing was so efficient, I think.
(42) INT: Did your wife work full time sometimes in the publishing while writing it in any sort of way, or. . .?
0075吾輩は名無しである
2013/01/01(火) 22:24:04.22(44) The reading of manuscripts, (???) because there were so many manuscripts she used to rather deplore the amount of time which she had to spend.
(45) INT: What you advise to a young man or woman who wanted to go into publishing or journalism?
(46) LW: No, I personally wouldn't. I am told that I am quite wrong about this. I think it gets fun into the habit of regarding writing quite rightly for the purpose of journalism as a theme or thing.
(47) INT: Your fiction, I think, was almost totally confined to your earliest writing days.
(48) LW: Yes, I gave it up, really.
(49) INT: Was there anything to do with publishing or journalism?
(50) LW: It was simply that we had to earn our living. And, if we'd both written fiction for the first 15 years, we should have been completely bankrupt, unable to feed ourselves.
(51) One of them had to give it up.
(52) INT: One reviewer, Angus Wilson I think it was, commented on the fact that you don't tell us what your wife thought of the practical politics in your life.
(53) Was she involved in your political life in any way?
(54) LW: She was very interested in it. I mean, for instance, she ??? a women's coop's view march in Richmond, but her business was to write novels, and therefore it was full-time experience.
(55) But she was very experienced, in fact, in everything.
Leonard Woolf - On the Bloomsbury Group and a critical appraisal of Virginia Woolf
(http://www.youtube.com/watch?v=WN4uhX4URr4) の書き取りは、これで終わり。
0076吾輩は名無しである
2013/01/02(水) 02:38:47.630077吾輩は名無しである
2013/01/02(水) 06:43:55.56Gさん、ありがとうございます。僕の書き取りには100％の自信はありません。特に自信のないところには
はっきりと (???) とか *** というマークをつけてありますが、他にも聴き取れていないところがあるかも
しれません。特に最後の三つほどのビデオは、昔のラジオで放送されたものらしく、僕の聴き取り能力では
正確には聴き取れません。とはいえ、90％くらいは聴き取れているはずなので、何もないよりは
マシだと自負しています。
Virginia Woolf についてのこれまでの一連のビデオは、どれもこれもかなり重要なものを含んで
いるみたいです。最初は何気なく聞いていたのですが、細かい部分まできちんと裏を取りながら書き取っている
うちに、実に素晴らしい資料だと思うようになりました。特に素晴らしいと思ったのは、最初の二つです。
つまり、30分ほどの Virginia Woolf の生涯を写真とナレーションで綴ったドキュメンタリーと、
そのあとの30分ほどの学者たちが入れ代わり立ち代わりに話をするビデオです。
0078吾輩は名無しである
2013/01/02(水) 09:51:11.32この90分ほどにわたる映画は、Virginia Woolf の "Mrs. Dalloway" という小説を映画化したものです。
最初に見たときは、小説の原作を読む前の予備知識を得るだけのために見たので、大してよいとも何とも
思いませんでしたが、どうも忘れられなくなって、何度も見て、それから音声を歩きながら何度も聞いているうちに、
ますますよい映画だと思うようになりました。"Mrs. Dalloway" の映画は90分にわたり、最後まで書き取る気力が僕にあるかどうかわかりませんが、
ともかく始めてみます。なお、初めて見る方は、Wikipedia の日本語版と英語版（特に英語版）などにより、この小説の荒筋を把握し、
登場人物の名前だけでもしっかり覚えておいてから見た方がいいと思います。登場人物が多くて、途中で混乱するかもしれないからです。
なお、"Mrs. Dalloway" の映画のセリフの書き取りについては、"D-1" とか "D-2" という形で続き番号をつけていきます。D というのは、"Dalloway" の頭文字です。
(D-1) ト書き： Italy, 1918（第一次大戦に参加している Septimus Warren Smith が英国軍の兵士として銃を構えて射撃しているシーン。彼の目の前でその親友である Evans が砲弾によって死ぬ。）
(D-2) SEPTIMUS: Evans, don't come!
(D-3) ト書き： London, June 13, 1923（つまり第一次大戦の終了から6年後）
(D-4) (2'27") CLARISSA DALLOWAY: Those ruffians and Gods shan't have it all their own way.
(D-5) Those Gods who never lose the chance of hurting, thwarting, and spoiling human lives were seriously put out if, all the same, you behaved like a lady.
0079吾輩は名無しである
2013/01/02(水) 09:52:11.81(D-7) LUCY (メイド): Yes, ma'am. And Mrs. Walker said not to forget Rumpelmayer's men will be here at eleven.
(D-8) CLARISSA: I won't forget. What a day, Lucy, what a day for my party! (ドアを開けて外を見る) What a lark! What a plunge!
(D-9) (若い時の) CLARISSA: What a plunge!
(主人公であるMrs. Dalloway すなわち初老の Clarissa Dalloway がロンドンの街を歩く)
(D-10) (4'50") (公園で、初老の男性) HUGH WHITBREAD: Good morning to you, Clarissa!
(D-11) (初老の) CLARISSA: Hugh!
(D-12) HUGH: And where are you off to?
(D-13) CLARISSA: To buy some flowers for my party. I love walking in London on a day like this. It's better than in the country.
(D-14) HUGH: Evelyn (Hugh の妻) wouldn't agree with you there, she felt bad coming out to town. I had to go to the ***. . . see ***. She's put on a nursing home for a few days.
(D-15) CLARISSA: Nothing serious?
(D-16) HUGH: No. Nothing serious. She's just a good deal out of salts(???). The war may be over but there'd still be an echo of it.
(D-17) The Bexborough boy was killed, you know．She is very close to Lady Bexborough, of course. And Evelyn takes things badly.
(D-18) (5'33") CLARISSA: Yes. One does still here dreadful stories.
(D-19) HUGH: I must get on. They'll be waiting for this (鞄を指さす) at the Palace. (注釈: Hugh Whitbread は Buckingham Palace つまり British Royal household で働いている。)
(D-20) CLARISSA: Will you still come to my party tonight?
(D-21) HUGH: Oh, yes. Evelyn absolutely insists I go.
(D-22) (6'00") (若い時の) PETER WALSH: Hugh Whitbread. I can't forgive you like him, Clarissa.
(D-23) (若い時の) CLARISSA: He's an oaf(???). Even when he plays tennis, his hair ***, doesn't it?
0080吾輩は名無しである
2013/01/02(水) 10:48:09.46(D-24) (6'11") (若い) WALSH (ブランコを押しながら): He's a barber's block. An imbecile. He's nothing but his clothes.
(D-25) CLARISSA DALLOWAY: （ブランコに揺られながら）I like him.
(D-26) PETER WALSH: How can you!? He's never read anything, never thought anything, never felt anything. Stable boys have more life than Hugh.
（ここで Hugh と言っているのは、彼らの前を去っていく Hugh Whitbread のこと。Hugh は後に Buckingham Palace に勤務することになる。）
(D-27) CLARISSA: Well, Sally says he tried to kiss her in the smoking room.
(D-28) PETER: Oh, she didn't let him!
(D-29) CLARISSA: She said she'd rather die first.
(D-30) PETER: Good for Sally. She sees through all that public school nonsense. All manners and breeding. No country but English would refuse Hugh.
(D-31) CLARISSA: He's sweet and unselfish. And he's very good to his mother.
(D-32) PETER: You're so sentimental, Clarissa!
(D-33) CLARISSA: And you're impossible!
(D-34) （パーティーの席上で、正装した若い Clarissa） CLARISSA: Oh, what beautiful flowers! That's absolutely wonderful, Sally!
(D-35) （老婦人）: Oh, I thought Sally could be trusted to do the flowers. But that's wicked! To cut off the heads of those flowers, really!
(D-36) CLARISSA: I think they're beautiful. Peter, look at the flowers.
(D-37) PETER: （立ち上がって）Yes.
(D-38) CLARISSA: 笑う。
(D-39) (8'10") （初老の）CLARISSA: Roses for the hall, I think.
(D-40) （花屋さん）: And then, some sweet peas for the table, perhaps?
(D-41) CLARISSA: Yes, sweet peas for the table. It will be perfect!
(D-42) 花屋さん: Those awful motorcars!
(D-43) CLARISSA: Uh, yes, yes, ***, of course, those cars
(D-44) SEPTIMUS WARREN SMITH: *** is here.
(D-45) LUCREZIA （Septimus の妻）: Septimus, please, we must go on.
0081吾輩は名無しである
2013/01/02(水) 11:44:44.61(D-46) SEPTIMUS: *** is here. And I don't know for what purpose.
(D-47) LUCREZIA: Septimus, please, people are looking at us.
(D-48) SEPTIMUS: Am I backing away? All right, then. （二人は歩き出す。）
(D-49) (9'30") 花屋さん: Good bye, Mrs. Dalloway.
(D-50) CLARISSA: Mrs. Dalloway, Mrs. Dalloway, and not even Clarissa, you know. You marry him, no more children, just Mrs. Dalloway. Mrs. Richard Dalloway is to give a party.
(D-51) （若い時の）PETER: You'll marry a Prime Minister. You'll stand at the top of the staircase. You'll give parties. You'll be the perfect hostess. You have the makings of a perfect hostess. You could do so much, be so much.
(D-52) （若い時の）CLARISSA: What do you want me to be? Life seems to me to be very dangerous.
(D-53) PETER: But we must live life dangerously! （飛び降りる） Oh, ah! （Peter が怪我をしたのではないかと心配した Clarissa。無事だとわかり、立ち去る。）
(D-54) (11'45") LUCREZIA: Look! Look, Septimus!（二人で公園にいても、悩んでばかりいるSeptimus に対して、空を飛ぶ飛行機を見上げるよう促す。）
(D-55) SEPTIMUS: There's no crime. There's no death. (12'00") A bird says this in Greek. There's clangoring. Kill yourself. Kill yourself!
(D-56) LUCREZIA: Septimus, I'm going to the lake and back.
(D-57) 女性： Kreemo. It says "Kreemo."
(D-58) 女性： I quite agree. Bushes, flowers, so well kept. Yes, this is a wonderful garden. Beautiful.
(D-59) LUCREZIA: You should see me in the Landgarden(???).
(D-60) 女性： What a strange person! She's a foreigner.
(D-61) 二人目の女性: Oh. . . .
(D-62) (13'09") SEPTIMUS: But there IS no God! No one kills for hatred! Evans, for God's sake, don't come! （Septimus は Evans の幻影を見る。Evans が爆弾によって散る。）
(D-63) 老婦人： T-O-F-F-E-E.
(D-64) 老紳士： It says "Toffee."
0082吾輩は名無しである
2013/01/02(水) 12:40:30.44今まで気づかなかったけど、ネット上には
http://subtitlesbank.com/mrs-dalloway-english-sub-753553/
というサイトがあり、ここで適当な処理をするとこの映画の script の全文が見られるみたいだ。ただ、どのようにすればいいのかわからない。
仮にそのサイトで script の全文が見られるとしても、僕はせっかく始めたこの書き取り作業を続けようと思う。
他の書き取りについても言えることだけど、すでに誰かが書き取ったものを僕が読んでも、読み流してしまうだけで、あまり身につかない。
今回、僕は一連のビデオを書き取っているけども、できれば別の人の役に立ちたいという強い思いもあるけど、
まず第一に僕自身のために書き取りをしている。書き取りをすると、英文の隅々までがよく理解できるようになる。誰かがすでに書き取ったものを
読むだけでは、僕の場合はいい加減に聞き流し、読み流してしまう。
(D-65) 老婦人： Oh, no, it's "Toffee."
(D-66) (14'54") （自宅に戻った) CLARISSA: Look, Lucy, it says "Kreemo, Toffee."
(D-67) LUCY: Ha-ha. There was a telephone message, ma'am. Mr. Dalloway said to tell you he would not be home for lunch. He will be lunching at Lady Bruton's.
(D-68) CLARISSA: Thank you. Lady Bruton. . . .
(D-69) （Clarissa の夫である）RICHARD DALLOWAY: Clarissa, my darling, Parliament sits so late and Doctor said you must get your rest. You must sleep undisturbed.
(D-70) (15'53") （花屋さんで見かけた Septimus の絶望的な表情を思い出しながら）
CLARISSA: Fear no more the heat o' the sun; Nor the furious winter's rages, . . . .
（これは、Shakespeare の sonnet の一節。このsonnet の全文は、（http://www.poemhunter.com/poem/fear-no-more/）に載っている。）
(D-71) CLARISSA: It's all over for me. She's stretched the bed for tomorrow(???).
0083吾輩は名無しである
2013/01/02(水) 12:42:57.60(D-71) (16'36") （若き日のClarissa の親友である）SALLY SETON: What we need to do is abolish private property.
Because that really is of course all the problems. Let's write a letter to the "Times" about it. Then we should found a society, to abolish private property and do away with it for ever and ever.
(D-72) CLARISSA: This house, as well.
(D-73) SALLY: You always look so virginal, Clarissa.
(D-74) CLARISSA: I AM virginal.
(D-75) SALLY: Are you in love with Peter?
(D-76) CLARISSA: Oh, love. . . . I. . . I don't know.
(D-77) (17'19") SALLY: But you love ME. （本来ならイタリックで示すべきところは、大文字で表記しておきます。）
Damn, I'm blast, I left my sponge in the bathroom. Damn it, I'm going to get it. . . like this. （全裸になる。）
(D-78) CLARISSA: You wouldn't!
(D-79) SALLY: I would! （Sally が廊下を全裸で走る。）
(D-80) (17'50") （初老の）CLARISSA: Is it all over for me? I've come up to the Tower and left them all. Blackberries in the sun.
(D-81) (18'10") 老婦人： （Clarissa が家の中を走り回るのを見て）Don't run, Clarissa. Young ladies don't run.
(D-82) 老紳士： （Peter に向かって）Life gets good. But I think *** beautiful, especially at this time of the year.
(D-83) The philosophers thought and the mind's very much *** here *** unfortunate gardens *** and you have many trees, and parlors, and *** orchestrated. That's tremendously fine. I think this is a great achievement of the English garden.
0084吾輩は名無しである
2013/01/02(水) 13:45:43.10(D-84) (18'37") SALLY: （詩集を朗読している）
LOVE in her Sunny Eyes does basking play;
Love walks the pleasant Mazes of her Hair;
Love does on both her Lips for ever stray;
And sows and reaps a thousand kisses there.
In all her outward parts Love's always seen;
But, oh, He never went within.
（この詩の全文は、http://www.bartleby.com/105/61.html というページに掲載されている。）
(D-85) SALLY: Ha-ha. . . . Clarissa!
(D-86) CLARISSA: What? Really?
（ここで Sally は、この詩の持っている erotic な意味合いを耳打ちして教える。やっと真意を理解した Clarissa と Sally が共に笑い転げる。）
(D-87) (19'19") SALLY: The men lead such exciting lives, but their poor wives don't seem to do so well. Marriage is a catastrophe for women.
(D-88) CLARISSA: (Sighs.) But it is inevitable, isn't it? Sally, will we always be together?
(D-89) SALLY: Always. Always. We'll do everything together. We'll change the world! Come on! （二人は走り出す。）
(D-90) （初老の）CLARISSA: Oh, Lucy! Oh, it does look nice.
(D-91) LUCY: The door's off the hinges in the dining room, ma'am. And the Rumpelmayer's men will be here soon. Can I help you with that, ma'am?
(D-92) CLARISSA: No, Lucy, you've got enough to do.
(D-93) (20'17") （若き日の Clarissa が Sally と共にパーティで踊っている。二人は接吻する。）
(D-94) PETER: Star-gazing, are we?
(D-95) SALLY: Yes. Come on, Joseph. You know the stars. You can tell us which is which.
(D-96) JOSEPH: （空を見上げながら、星座の説明を始める。）You see, that star just above the horizon. . . . That's Antares. Heart of the Scorpio constellation. His name means "Rival of Mars."
0085吾輩は名無しである
2013/01/02(水) 13:46:50.75(D-98) JOSEPH: That's Libra. We have Alpha. There goes a bright star. And see how Altair, the brightest star of the Eagle, shines in the east for us tonight.
(D-99) （Clarissa の娘）ELIZABETH: Miss Killman and I are going out. Is there anything we can get for you, Mother?
(D-100) （初老の）CLARISSA: Where are you going, Elizabeth, dear?
(D-101) (21'49") ELIZABETH: Miss Killman is taking me to meet the Reverend Whitaker.
(D-102) CLARISSA: Reverend Whitaker. . . . Oh, yes. Wasn't he very instrumental in your conversion, Miss Killman?
(D-103) （Elizabeth の歴史の家庭教師）MISS KILLMAN: Yes, he helped to bring me to Our Lord.
(D-104) CLARISSA: And is today's visit part of the history lesson?
(D-105) ELIZABETH: The Reverend Whitaker is also an historian, Mother.
(D-106) MISS KILLMAN: He can put history in the proper perspective.
(D-107) CLARISSA: I wonder what that is. I've never wanted to convert anyone, I hope. I just want everyone to be themselves. I've often thought that religious fanaticism can make a person. . . rather callous.
(D-108) ELIZABETH: Mother, we're just going to talk to him.
(D-109) CLARISSA: You won't forget about my party tonight, Elizabeth?
(D-110) ELIZABETH: I WAS going to help Miss Killman with the clothes for the mission.
(D-111) CLARISSA: Well, I dare say Miss Killman could spare you for one evening.
0086吾輩は名無しである
2013/01/02(水) 19:12:41.26(D-112) (22'50") ELIZABETH: I'll see, Mother. We must go. Or we'll be late.
(D-113) PETER: It all seems useless. Going on being in love, going on quarreling, going on making out. . . .
(D-114) CLARISSA: But Peter, you want so much from me. You leave me nothing to myself. You want every little bit of me.
(D-115) PETER: Well, I do. I want us to be everything to each other.
(D-116) CLARISSA: But that's so suffocating.
(D-117) PETER: God, God, God!
（Clarissa の家に人が訪ねてくる。）
(D-118) （初老の）CLARISSA: Peter Walsh!
(D-119) PETER: Clarissa.
(D-120) CLARISSA: Peter! But you're in India.
(D-121) PETER: No, no, didn't you get my last letter? I said I'd be here in June.
(D-122) CLARISSA: No, your last letter said you might be back, but I never suspected it. It's extraordinary to have you, Peter, put me into this state just by coming here.
（心の中で） He looks awfully well. （再び Peterに）It's heavenly to see you again, Peter.
(D-123) PETER: I arrived last night.
(D-124) CLARISSA:（心の中で）Playing with his knife.
(D-125) PETER: How is everything? How are you?
(D-126) CLARISSA: （心の中で）Ha-ha, so like him!
(D-127) PETER: How's Richard?
(D-128) CLARISSA: Oh, Richard's with some committee or other, something to do with his constituency.
(D-129) PETER: What's this? What's all this here?
(D-130) CLARISSA: Ha-ha, I'm mending my dress. It's for my party tonight, which I shan't invite you to, my dear Peter.
(D-131) PETER: Why? Why won't you ask me?
(D-132) CLARISSA: It's extraordinary that you shall knock this morning. I've been thinking about Bourton all day.
(D-133) PETER: I heard about your father. I should have written to you, of course, though I never got on with him.
(D-134) CLARISSA: But he never liked anyone who. . . .
0087吾輩は名無しである
2013/01/02(水) 19:13:54.99(D-136) CLARISSA: Herbert bought it. I never go there. And what happened to you?
(D-137) (25'47") PETER: Hmmm, millions of things. Shall I tell you? Shall I make a clean breast of it? I'm in love. I'm in love with a girl in India.
(D-138) CLARISSA: And who is she? A younger woman, of course?
(D-139) PETER: Well, I'm not old, you know. My life isn't old enough by any means, though YOU, of course, think me a failure. You'll bet I am compared to all this.
(D-140) CLARISSA: And who is she? Tell me.
(D-141) PETER: Uhm, ha-ha. . . . A married woman, unfortunately. She is the, uh, the wife of a major in the Indian Army.
(D-142) PETER: She has two young children, a boy and a girl, and it's a bit of a mess. And I'm here to see the lawyers about a divorce. She's called Daisy.
(D-143) CLARISSA: Yes? Yes. . . . （ため息）But what shall you do?
(D-144) PETER: Oh, uh, the lawyers and solicitors are going to do it.
(D-145) CLARISSA: For Heaven's sake, leave that knife alone!
(D-146) PETER: I don't know what I'm up against. I know what I'm up against. （泣く）
(D-147) PETER: *** I 'm behaving all like a fool, weeping, being emotional. *** at this hour, I told you everything as usual. Are you happy, Clarissa?
(D-148) LUCY: Excuse me, ma'am, a gentleman here from the Rumpelmayers.
(D-149) CLARISSA: Oh, thank you, Lucy.
(D-150) PETER: Good bye, Clarissa.
(D-151) CLARISSA: My party tonight. Please come to my party tonight.
(D-152) （パーティーでのダンスの最中、若き日の）PETER: Come on, let's get out of this.
(D-153) CLARISSA: I want to do another.
(D-154) PETER: Come on. Clarissa, what do you want? Stay here and go to parties?
(D-155) CLARISSA: But I like parties.
(D-156) PETER: Clarissa! （彼女にキスする。）
(D-157) （若き日の）HUGH: You always turn me up. ***
0088吾輩は名無しである
2013/01/02(水) 19:14:40.15(D-159) HUGH: Did you know when Gaiter(???) married again?
(D-160) 老婦人： Yes, they came to call last week.
(D-161) (30'47") 初老の男性： The woman used to be Hugh's housemaid.
(D-162) HUGH: He had a nerve. Bringing a housemaid to Court.
(D-163) 女性：Yes, she was absurdly overdressed. She looked like a cockatoo. And she never stopped talking.
SALLY: She probably thought you all knew.
(D-164) CLARISSA： Knew what?
(D-165) SALLY: That she had a baby before she was married.
(D-166) CLARISSA: Oh, I don't think I shall be able to speak to her again.
(D-167) PETER: Don't be ridiculous, Clarissa!
(D-168) 初老の男性： If this is true, we shall certainly not receive her again.
(D-169) 初老の女性： I should think not.
(D-170) HUGH: If you start receiving women like that, you don't know where it'll end.
(D-171) SALLY: Oh, you snob! You represent all the detestable in the British middle class life! It's men like you who are responsible for prostitutes around Piccadilly!
(D-172) HUGH: Me!?
(D-173) SALLY: Yes. Men like you.
(D-174) 老婦人： That's enough, Sally. We'll have no more of this conversation.
(D-175) (31'55") SALLY: I'm glad I walked out. They're all such snobs and Hugh is a fraud.
(D-176) PETER: Clarissa is so prudish and arrogant.
(D-177) SALLY: Not really. It's just what she's been brought up to.
(D-178) PETER: I wish she thinks more clearly.
(D-179) (32'13") SALLY: Clearly enough to marry you, you mean.
(D-180) （正装したたくさんの男女がパーティの食卓についている）CLARISSA: This is Mr. Wickham, Peter.
(D-181) RICHARD DALLOWAY: My name is Dalloway. Richard Dalloway.
(D-182) CLARISSA: But I introduced you to everyone as Mr. Wickham.
(D-183) RICHARD: It's still Dalloway. My name is Dalloway.
(D-184) CLARISSA: Dalloway.
0089吾輩は名無しである
2013/01/02(水) 19:17:32.84(D-186) SALLY: My name's Dalloway. Now what's the matter?
(D-187) PETER: Someone is just holding my grave. She's going to marry that man.
(D-188) (33'46) SEPTIMUS: I went under the sea. I have been dead. And now, I am alive. I must rest. Rest.
(D-189) LUCREZIA: Septimus, I'm going to ask someone the time. I think we have to go now.
(D-190) SEPTIMUS: There's nowhere to go. Nowhere to hide.
(D-191) LUCREZIA: Septimus, you know we're going to see a doctor who will help you.
(D-192) SEPTIMUS: No more doctors! No more lies!
(D-193) LUCREZIA: Septimus, please!
(D-194) (34'44") SEPTIMUS: Evans? Evans! For God's sake, don't come!
(D-195) LUCREZIA: Septimus, it isn't Evans. All right? It isn't Evans. There's nothing wrong about it. Really, he isn't. Let's go.
(D-196) （パーティの席で、若き日の）SALLY: Clarissa, it's such a lovely evening. Let's go to the lake. Oh, yes, we could go boating. Let's get our shawl. It might get cold.
(D-197) CLARISSA: Peter, we're going boating on the lake. Aren't you coming?
(D-198) PETER: You're a perfect hostess.
(D-199) CLARISSA: Well, don't come if you're going to be beastly.
(D-200) PETER: Dalloway. It's still Dalloway.
(D-201) CLARISSA: Come on. They're all waiting. （ボートのわきでみんなが待っているが、Clarissa と Peter が二人でそこまで走っていく。）
(D-202) (37'25") CLARISSA: （ボートに乗って歌う）
Away, lance(???) away, down to Rio
And I'll sing you a song of the fish of the sea
As where above the Rio ***
Away, lance, away, down to Rio
And I'll sing you a song of the fish of the sea
As where above the Rio
（他のグループが歌いだす。）
(D-203) LUCREZIA: Poor old woman. You won't *** a doctor, will you? You mustn't. They'll take you away from me.
0090吾輩は名無しである
2013/01/02(水) 20:43:16.65(D-204) (38'58")（精神科医）SIR WILLIAM BRADSHAW: I've looked at Dr. Holmes' notes, and he's been seeing your husband for some six weeks?
(D-205) LUCREZIA: Yes. He's our landlady's doctor. She said for him because I had told him I was worried about Septimus.
(D-206) WILLIAM: He threatened to kill himself.
(D-207) LUCREZIA: He didn't mean it.
(D-208) WILLIAM: No, of course not. (39'17") And Dr. Holmes prescribed bromide?
(D-209) (39'21") LUCREZIA: Yes. He said that there was nothing really wrong. But Septimus keeps talking to the dead man, Evans, his friend who was killed in the war.
(D-210) LUCREZIA: But the war has been over for years now. And Septimus wasn't like this when I met him. It's happened in just the last few months.
(D-211) LUCREZIA: He says people are talking behind bedroom walls, and he saw a woman's head in the middle of a fern. He says he's on trial for some terrible crime.
(D-212) LUCREZIA: But, of course, he's done nothing, and then he seems to forget it all and seems happy again as he used to be.
(D-213) LUCREZIA: We went to Hampton Court on top of a bus the other day and all the red and yellow flowers were out on the grass and he said they looked like floating lamps.
(D-214) LUCREZIA: And he was funny as he used to be, and he made me laugh. And I was so happy and then suddenly, as we were standing by the river, he said, "We will kill ourselves."
(D-215) LUCREZIA: Then he held my hand and said he was falling into the flames and he cried and cried.
(D-216) (40'28") WILLIAM: Mrs. Warren Smith, your husband is very seriously ill. From everything you've told me and from Dr. Holmes' report, I believe that he is suffering from a delayed shell shock.
(D-217) LUCREZIA: He's not mad, is he?
0091吾輩は名無しである
2013/01/02(水) 20:45:05.01(D-219) LUCREZIA: But Dr. Holmes said that there was nothing whatsoever the matter.
(D-220) WILLIAM: Your husband needs rest. A complete rest.
(D-221) LUCREZIA: But not away from me.
(D-222) WILLIAM: Mr. dear Mrs. Warren Smith, sometimes we have to separate such people from their loved ones for their own good.
(D-223) （41'09") （屋外）HUGH: Oh, Dalloway, I met Clarissa this morning. So, she's giving another of her famous parties tonight.
(D-224) RICHARD: Right as usual, Hugh. Lady Bruton's summoned Hugh as well.
(D-225) HUGH: What about *** good luck, I'm sure. Ah, good day, Miss Brush.
(D-226) HUGH: How is your brother in South Africa?
(D-227) LADY BRUTON: I got you here under false pretenses. I actually need your help. But we'll have lunch first. And how is Clarissa?
(D-228) RICHARD: Well, she's quite well recovered, thank you. Doctor says she must take ease, but she does so want to give the party tonight. Well, I just wish to have the pleasure of your company.
(D-229) LADY BRUTON: Of course, Richard. I wouldn't miss one of your parties.
(D-230) HUGH: I met Clarissa in the Park this morning. She was wearing a yellow feathered hat.
(D-231) RICHARD: Oh, yes, I like that hat.
(D-232) (42'31") 精神科医の受付の女性： Will you come in now, please? Good.
(D-233) WILLIAM: Do sit down. I see that you served with great distinction in the war, Mr. Warren Smith.
(D-234) SEPTIMUS: The war? The European war. A little shindy of schoolboys with gunpowder? Did I serve with distinction? I've forgotten. In the war itself, I failed.
(D-235) LUCREZIA: No. He served with the greatest distinction. He was promoted.
(D-236) SEPTIMUS: I have an. . . I have committed a crime.
(D-237) LUCREZIA: He has done nothing wrong whatever.
0092吾輩は名無しである
2013/01/02(水) 20:59:46.99(D-238) (43'28") WILLIAM: What did Dr. Holmes advise you to do?
(D-239) SEPTIMUS: My wife, she said she would make porridge. And headaches, dreams, fears are just nerves. Health is largely a matter in our own control. I should take up some hobby.
(D-240) (43'45") SEPTIMUS: Dr. Holmes throws himself into outside interests, "throws himself," he's able to, um, switch off from his parents on to old furniture.
(D-241) LUCREZIA: Dr. Holmes is interested in antique furniture.
(D-242) WILLIAM: Oh, yes, of course.
(D-243) SEPTIMUS: When the damned fool came again, I refused to see him. The repulsive brute! Blood-red nostrils! So, once you stumble, human nature is on you. Holmes is on you.
(D-244) SEPTIMUS: Our only chance is to escape without letting Holmes know. Um, anywhere away from Dr. Holmes. It's no excuse. Nothing whatever is the matter. . . .
(D-245) SEPTIMUS: . . . except the sin, for which human nature has condemned me to death. I cannot feel. I did not care when Evans was killed.
(D-246) SEPTIMUS: It was the worst. But all the other crimes raised their heads and shook their fingers and jeered and sneered. The verdict of human nature on such a beast is death.
(D-247) WILLIAM: We all have our moments of depression. He has impulses sometimes?
(D-248) SEPTIMUS: That is my own affair.
(D-249) WILLIAM: No, there you are mistaken, sir. We are all responsible, one for another.
(D-250) (45'43) SEPTIMUS: Well, I am responsible to Dr. Holmes. Ha-ha-ha. Another humbug.
(D-251) WILLIAM: We have been arranging that you should go into a home.
(D-252) SEPTIMUS: One of Holmes' homes?
(D-253) WILLIAM: No, into my home, Mr. Warren Smith. And there, we will teach you to rest and to regain a sense of proportion.
0093吾輩は名無しである
2013/01/03(木) 06:53:27.87http://www.youtube.com/watch?v=w227rhzbQ_c
この映画のセリフを書き取り始めて、ほぼ真ん中に到達した。この映画は何度も見て、歩きながら
何度も聞いた。すでに言ったように、最初はさほどいい映画だとも思わなかった。しかし、原作の小説
を読み、さらにはその小説をもっとよく理解しようと思うけれども原作を２回ほど読んだだけでけっこう
くたびれる。
ところが、映画ならたったの90分だし、基本的に映画というものは書籍に比べると
はるかに楽に楽しめるし、基本的には映画というものは文学に比べると娯楽的な要素が強いので、
実に楽。特に、運動のために歩いている最中でも聞ける。自動車の通る危ない道をさすがに
Virginia Woolf の原書を読みながら歩くわけにはいかないけど、その小説の映画化されたものを
聞きながらなら何とか歩ける。
そんなふうにして何度も見たり聞いたりしているうちに、この映画がますます素晴らしいと思うようになった。
そして、最初はあまり気に入らなかった役者の演技も、ますます深く味わえるようになった。
主人公の Mrs. Dalloway すなわち Caroline Dalloway を演じる Vanessa Redgrave
の演技も素晴らしく、しかも女性として実に美しく魅力的だ。
そして誰よりも、気が狂った Septimus Warren Smith を演じる Rupert Graves の
鬼気迫る演技は素晴らしい。特に 46分12秒あたりの
"But I've confessed! I confessed my crimes."
と叫ぶあたりは圧巻だと思う。
（続く）
0094吾輩は名無しである
2013/01/03(木) 06:53:59.20文学の傑作の映画化されたものは、原作とは別物であって、映画化されたものを楽しんでも
原作そのものを楽しんだことにはならないし、映画ばかり見て原作を読み込む努力を怠ってしまう
ことのないように肝に銘じておきたい。でも、せっかく映画化されていて、しかもかなりよくできた
映画であり、さらには原作にかなり忠実に作ってあると思われるので、この映画は原作の小説
とセットにして、これからも大いに活用したい。
そしてこのことは、同じく YouTube 上で見られる "To the Lighthouse" の映画化されたもの
についてもいえる。（http://www.youtube.com/watch?v=tGfC-o5vGWI)
同じく Virginia Woolf が書いた "Orlando" の映画化されたものもあるのだが、これについては
YouTube 上では見られないので、僕は見ていない。DVD をいずれビデオ屋で借りるか買うかして、見てみたい。
0095吾輩は名無しである
2013/01/03(木) 07:05:56.10http://www.imdb.com/title/tt0119723/
(2) "Mrs. Dalloway" の小説についての Wikipedia での解説（英語）
http://en.wikipedia.org/wiki/Mrs_Dalloway
（Wikipedia には、日本語による解説もあるけど、ごくわずか。ぜひ英語版の Wikipedia
の解説を読むといい。）
(3) "Mrs. Dalloway" についての詳しい注釈（SparkNotes)
http://www.sparknotes.com/lit/dalloway/
（この SparkNotes というのは、いろいろな純文学作品についての注釈サイト。
英語圏の学生が学校で出される宿題をこなすための虎の巻サイトみたい。）
0096吾輩は名無しである
2013/01/03(木) 07:24:51.43しまって、スレ違いだとは思いながらも、ついついこの俳優について少し語りたくなる。
Biography for Rupert Graves
http://www.imdb.com/name/nm0001291/bio
このページにある次の一節を読んでほしい。
Britain's Rupert Graves was born a rebel, resisting authority and
breaking rules at an early age. In his teens he became a punk rocker
and even found work as a circus clown and in traveling comedy troupes.
（中略）
Rupert moved to the front of the class quickly. His decisions to
select classy, obscure arthouse films as opposed to box-office
mainstream may have put a dimmer on his star, but earned him a
distinct reputation as a daring, controversial artist in the same
vein as Johnny Depp.
Johnny Depp と似た感じの人であり、魅力ある容姿と傑出した演技力を持ちながらも、
売れ筋の映画には出演せず、売れなくてもいいからともかく芸術的な香りの高い作品にしか
出演したくないタイプの俳優。子供のときから権威に対して反抗的であり、パンクロッカーをやったり
サーカス団で働いていたこともあったとのこと。
まさにこの映画の Septimus にぴったりの俳優だ。イギリスにはこのような純文学タイプの俳優が
たくさんいるみたいなので、楽しい。
0097吾輩は名無しである
2013/01/03(木) 10:21:18.39(D-254) (46'10") SEPTIMUS: But I've confessed! I confessed my crimes! Why won't you let off?
(D-255) LUCREZIA: He has done nothing. Nothing.
(D-256) WILLIAM: He will be perfectly looked after. I will visit once a week.
(D-257) LUCREZIA: But my husband does not like doctors. And he will refuse to go.
(D-258) (46'25") WILLIAM: Your husband has threatened to kill himself. There is no alternative. It's a question of the law.
(D-258) WILLIAM: It's a very beautiful home in the country, and the nurses are admirable. Now if you have no further questions to ask, I will arrange everything with Dr. Holmes.
(D-259) WILLIAM: He will send somebody around this evening, and between five and six. It is the law, Mrs. Warren Smith. It's for the best.
(D-260) LUCREZIA: It won't be Dr. Holmes who'll come, will it?
(D-261) WILLIAM: Trust everything to me.
(D-262) （診療所の外で）LUCREZIA: I do not like that man.
(D-263) SEPTIMUS: It's humbug! Yet, is that it?
(D-264) （食卓で）LADY BRUTON: Do you know who's in town? Our old friend, Peter Walsh, back from India.
(D-265) RICHARD: Peter Walsh back?
(D-266) LADY BRUTON: In trouble with some woman, evidently. Some woman in India.
(D-267) HUGH: Peter Walsh is always in trouble of some sort.
(D-268) (47'42") RICHARD: Didn't he marry someone on the boat going out?
(D-269) LADY BRUTON: Oh, I don't believe it lasted long. I imagine it was somewhat. . . . I believe it's what is known as the rebound.
(D-270) HUGH: I suppose he is trying to settle here now. I'd say it's difficult to help him. He's quite a misfit.
(D-271) LADY BRUTON: I'm sure that Clarissa will know that he's here. And I have no doubt he'll be at the party tonight, and all will be revealed.
(D-272) (48'08") RICHARD: Oh, yes. If Peter Walsh is in town, Clarissa will know.
0098吾輩は名無しである
2013/01/03(木) 10:23:42.69(D-274) (48'54") LADY BRUTON: Well, my idea is this. We all agree, do we not, that Britain is overpopulated.
(D-275) HUGH: Yes, and the inn(???).
(D-276) BRUTON: And, you agree that many of these men back from the war are finding it difficult to find employment.
(D-277) BRUTON: Indeed, in some cases, their work has been commandeered by women. However, you all know that the rot has set in there.
(D-278) HUGH: Unfortunately, yes.
(D-279) BRUTON: Well, my idea is a simple one. But all the best ideas are simple, as we know.
(D-280) BRUTON: My project is to encourage, by making it financially easy, young people of both sexes to emigrate to Canada.
(D-281) BRUTON: They will be set up with the fair chance of doing well in Canada. And Britain would gain financially in the long run.
(D-282) BRUTON: Is there anything so much that I can do, being a woman? But Richard, I ask you to make this suggestion in the House.
(D-283) BRUTON: And Hugh, I want you to help me start the ball rolling with a letter to the Times. I know, my dear Hugh, that you will know exactly how to phrase it for me.
(D-284) (50'15") RICHARD: I think someone's already taken some kind of emigration plan going, but I suppose letters to the Times will do nohow.
(D-285) HUGH: I'll take it further. Make emigration obligatory so you couldn't get work after a certain period of time.
(D-286) RICHARD: I wouldn't go that far. These things are never quite that simple.
(D-287) HUGH: There's a new chef at the Cafe Royal. Does. . . .（あとは聞こえない）
(D-288) BRUTON: You just have time to catch three-o'clock post, Midred. I think we can safely say that the job's well done. I shall take my risk now.
(D-289) （ロンドンの街中）RICHARD: I wonder if Peter Walsh has got in touch with Clarissa.
0099吾輩は名無しである
2013/01/03(木) 10:25:49.69(D-291) RICHARD: I think I'll buy Clarissa some flowers. Yes, I'll hop in to see her on my way back to the House with some flowers. （Hugh から離れて一人で歩き出す。そして花屋で花を買う。）
(D-292) （若き日のRichard が花を Clarissa に手渡す）RICHARD: They WERE meant to be red.
(D-293) CLARISSA: I know.
(D-294) RICHARD: No red ones left. （Clarissa に接吻。）
(D-295) (52'43") （花を携えて自宅に戻った Richard を迎えて）
CLARISSA: Richard! Ah, red roses! Oh, I'll put them somewhere very special. How was lunch? Was it amusing?
(D-296) RICHARD: Hugh was there. He's really getting quite intolerable. She wants him to write some letters to the Times. One of her "schemes" to put the world in order. What's all this?
(D-297) CLARISSA: Richard, you can't have forgotten it's for my party. And now, it will all be spoiled.
(D-298) RICHARD: （気落ちした Clarissa を慰めるように）Oh, come here. Let's sit down. . . for five minutes. Why will it all be spoiled?
(D-299) CLARISSA: Mrs. Marsha just sent me this note to say that she's quite sure I wouldn't mind she's invited Ellie Hendersen!
(D-300) RICHARD: What's so dreadful about that?
(D-301) CLARISSA: Richard! She's one of the dullest women in the world! She'll bore everyone, and Elizabeth said she isn't coming to the party tonight, and she's gone off to pray with that dreadful Miss Killman.
(D-302) RICHARD: You worry too much about your parties, Clarissa.
(D-303) CLARISSA: Richard, it's all that I can do. (To) give people one night which everything seems enchanting and all the women seem beautiful and the men are handsome.
0100吾輩は名無しである
2013/01/03(木) 12:33:28.65(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-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(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-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(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-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（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) 19:56:16.59Drooping 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(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-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-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-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。）
（これで、この映画は終わりです。）
Mrs. Dalloway (1997) (Rupert Graves) (http://www.youtube.com/watch?v=w227rhzbQ_c)
0112吾輩は名無しである
2013/01/04(金) 07:40:00.55まるまる書き取ったのは、生まれて初めてです。いつもこういう試みには挫折していました。そこまで
夢中になれるような映画やドキュメンタリーに出会ったことがなかったのです。
今回は、Virginia Woolf そのものに夢中になり、しかもそれを映画化した作品にあまりにも
深く惚れ込んだため、何とか最後まで書き取ることができました。とはいえ、やはりこれだけのものを
最後まで書き取るのは、本当に疲れます。何よりも、気力が途中で絶えそうになります。さらには、
完ぺきには聴き取れない僕自身の不甲斐なさを残念に思います。
さて、できれば次に、同じく YouTube 上で見ることのできる2時間ほどの映画である
"To the Lighthouse" を書き取ってみたいと思います。僕にできるかな？
それだけの気力が僕にあるかな？
何度も言いますが、Virginia Woolf の作品はまだ少ししか読んでいませんが、
実に素晴らしいと思います。そして、このスレで僕が書き取っている一連の Virginia
Woolf 関係のドキュメンタリーおよびこれらの長編映画2本は、どれもこれも本当に
素晴らしいです。素晴らしいからこそ、何とか僕はこれらを書き取り続けるだけの
気力を継続できたのです。いくら暇を持て余してたとしても、よほどその映画などに
惚れこまないと、こんなことを続けてはいられません。
さらには、YouTube にこういうビデオを投稿するのもものすごく手間のかかる作業ですが、
そういう投稿作業をわざわざ行った人たちも、これらのビデオにそこまでの手間をかける
価値があったと感じたのでしょう。世の中には腐るほどビデオがあるはずです。その中で
厳選されたものだけが YouTube 上に掲載されるのだと思います。
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) 12:22:17.11http://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。
(a) Wikipedia 上の記事（"To the Lighthouse" という小説について）
http://en.wikipedia.org/wiki/To_the_Lighthouse
(b) "To the Lighthouse" の小説の全文（Project Gutenberg Australia)
http://gutenberg.net.au/ebooks01/0100101.txt
(c) 映画版の "To the Lighthouse" についての解説
http://www.imdb.com/title/tt0086452/
(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-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-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（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) 14:49:35.00http://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-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-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-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-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) 19:26:52.95http://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-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。
ビデオで流れる英語を聞き取って書き取り続ける
作業は、英文で小説を読むよりもさらに僕にとって疲れる作業だということがわかりました。たまに数時間だけ
やるのは気分転換になって楽しいかもしれません。でも、一日にたとえば12時間くらい、それを
何日か連続して行うと、ものすごく疲れます。なぜ僕はこんなことをまたもややらかしているのだろう、
そう思いながらも続けています。
夕べ「僕もすごく頑張ったのですごく疲れた」というメッセージを、あるスレで書きましたが、
粘着の連中に僕がどのスレで何を書いている男かを悟られたくなかったからわざと曖昧に書きました。
その辺が僕の臆病なところです。
前にも言いましたが、僕はかつて6年ほど、実名入りでブログや公共の掲示板などで、
原稿用紙に換算すれば数千ページにわたるような、言語学や一般の語学などについての文章を
書きまくってました。他のすべての人がハンドルネームを名乗っている中で、僕だけが実名で
長文の連投を続けていたので、ものすごく攻撃を受けました。（その2に続く）
0125吾輩は名無しである
2013/01/05(土) 06:35:48.42僕が実名を使っていたのは、失礼なレスを返してくる連中を罵倒したり批判したりしたいときがあったのだけど、
それをハンドル名（つまり匿名）で行うのは不誠実だと思ったからでした。実名を使い始め、
失礼な連中を本気で批判し罵倒もしました。そのせいで僕の客先の一部は僕に不信感を感じただ
ろうと思います。
それはともかく、僕は２ちゃんねる上の固定ハンドルの人たちほど強い人間ではないので、
やはり実名の僕に対して名無しまたはハンドルネームの連中から攻撃され続けるのは耐え難いことでした。
それで、数年前に僕は実名を名乗ることをやめ、さらには固定ハンドルさえやめて、２ちゃんねるで名無しを名乗る
ようになりました。
身の上話を少しばかり長文で書くと、このように稚拙な文章しか書けない自分の実力の欠如が
すぐに露呈してしまいます。精一杯に頑張ってきたけど、この程度の人間でしかありません。
書き取りにあまりにも疲れ切り、しばらく休もうか（つまり書き取りは休んで、Virginia Woolf の
伝記でも読み始めようか）とも思いましたが、ここで休むと、この映画の書き取りを永遠に
休んでしまいそうです。もう少し頑張ろうかとも思います。映画と小説の原作とは違うけど、
それでも、映画（そしてドキュメンタリー）で流れる英語を書き取る作業をしていると、
Virginia Woolf の人となりやその作品を深く理解するのに大いに役立つに違いない、
そう思って頑張っています。（その3に続く）
0126吾輩は名無しである
2013/01/05(土) 06:36:40.46ボヤキみたいな文章を書いて、見苦しいとは思うけど、ぼやかないではいられないくらいに、
やっぱり疲れる作業なのです。じゃあ、やめろや、と言われるのですが、２ちゃんねるを
気晴らしではなく修行の場だと考えていますし、何よりも僕は文学や語学を娯楽や楽しみや
趣味でやっているのではなく、あくまで修行のためにやっておりますので、ぼやきながらも、
毎日毎日、ひいひい言いながら全速力で走り続けてきたのです。
あるスレで誰かが長文の連投を固定ハンドルで行っているため、粘着たちから盛んに攻撃されている
ので、僕は彼を擁護するために応援のメッセージや粘着たちへの反撃の罵倒レスを返していたことも
ありますが、そうすると、すぐに連投規制に引っ掛かって、Virginia Woolf についての文章を
投稿することができなくなります。
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-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) 10:45:59.77http://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-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-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-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-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-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-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-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-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-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-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(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-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-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-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-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) 13:16:16.79Which 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.
(L-533) (1:23'40") CAROLINE RAMSAY: Thank you, Nancy.
（Shakespeare の Sonnet 60を朗読。）
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-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(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) 15:57:31.73http://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-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（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（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!
この映画では、"waves" という言葉を登場人物が口に出すことは少ないけど、waves の映像は頻繁に出てくる。小説においても waves という言葉は頻繁に出てくる。
すでに言ったように、Virginia Woolf にとって waves はとても重要であるみたいだ。
(L-649) (1:47'06") ボートの管理人： ***, Master James?
(L-650) MICHAEL: James!
（Lily Briscoe がカンバスに向かっている。Lily Briscoe の顔は中性的で、Virginia Woolf の恋人であった Vita Sackville-West の顔にかなり似ていると僕は思う。）
（さらに、Virginia と仲がよかった姉の Vanessa が画家であったということにも注意を向けたい。）
(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-659) CAROLINE RAMSAY: (Voice-over) Dearest Brisk. You are a fool.
これで、BBC制作のこの2時間ほどの映画が終わりました。Charles Tansley を演じていたのは、有名な Kenneth Branagh。
あとで聴き直しているうちに、すでに書き取ったもののうちいくつもが間違っていることに気づきました。でも、この聴き取り作業をして本当によかったと思います。
僕自身の聴き取り能力がこれで少しは上達したはずだし、何よりもこの映画を、そしてさらにはこの原作の小説を以前よりははるかに深く理解できるようになりました。
DeMorrow だと思っていた人の名前は、実は Trevorrow だということ、それから
お手伝いさんの Mrs. Prescot は間違いで、実は Mrs. Truscott が正しいということにも
気づきました。
今回の映画だけではなく、このスレで書き取りしたすべてのビデオについて、いろいろと聴き取りは間違ってはいるでしょうけど、
少なくとも90%、もしかしたら95%くらいは正確に聞き取れていると自負しています。
To the Lighthouse - 1983 - Kenneth Branagh, Virginia Woolf FULL
http://www.youtube.com/watch?v=tGfC-o5vGWI
0153吾輩は名無しである
2013/01/06(日) 19:56:29.07嵐の海の灯台の光のように俺を力づけてくれるぜ！
0154Ｇ ◆Y.6.rbvT92
2013/01/06(日) 21:52:49.11をしましたが、そのとき固有名詞って難しいなと思いました。
そもそも固有名詞かすらわかりにくい
圧倒的に覚えている語彙が少ないということももちろんありましたが。
ウルフはいずれ、このスレも参照させてもらい、読むことになる予感がします。
0155Ｇ ◆Y.6.rbvT92
2013/01/06(日) 21:53:40.750156吾輩は名無しである
2013/01/07(月) 09:26:07.46お二人の方へ。レスをありがとうございます。すごくうれしいです。聴き取りに限らず、読書したり調査したりし続けるのは、本当に孤独だし、途中でやめたくなります。
大学などに所属して半ば強制されている場合でさえ大変だろうと思いますが、まったく一人でやっていて、社会では「そんなこと、早くやめちまった方がむしろ社会のためになる」
というような風潮のある中でこんなことを続けるのも、けっこう辛いですよね。
この二本の映画("Mrs. Dalloway" と "To the Lighthouse"）は、しっかりした原作に基づいているからだけでなく、脚本家や役者などがよほど優れているらしく、単なるテレビ向けの
映画であるにも関わらず、深い味わいのある作品だと思います。最初に見たときは、「何だ、こんなもん」と軽く流していました。でも、Virginia Woolf をできるだけ深く理解したい
と思って、映画の方も何度も見て、歩いたり食事したりするときにも音声を聞きつづけているうちに、そして書き取りをしているうちに、漢方薬やスルメのように
見れば見るほど、聞けば聞くほど、深く味わえる作品だと思うようになりました。"Mrs. Dalloway" に至っては、その最後の数分ほどのシーンで、書き取りをしながら僕は涙して
しまいました。特別に劇的なシーンでも何でもない、抑制されたプロットと演技なのに、観客を涙させる作品こそ、本当の価値ある作品と言えるのでしょう。
さて、YouTube に投稿されているVirginia Woolf 関係のビデオとしては、他にも、彼女の作品についての批評のビデオはいくつかあります。でも批評については、
僕自身がもっと彼女の作品そのものをもっと読み込んでから検討していきたいと思います。Virginia Woolf に対する非常にネガティブなビデオも2本（合計で20分ほど）投稿されています。
0157吾輩は名無しである
2013/01/09(水) 10:15:44.44とのことだ。
安藤一郎訳、新潮文庫、1958年
近藤いね子訳、 ヴァージニア・ウルフ・コレクション：みすず書房 1999年
富田彬訳、角川文庫、新版2003年（新字体に改め刊行、初版1955年）
丹治愛訳、集英社 1998年／集英社文庫 2007年
土屋政雄訳、 光文社古典新訳文庫、2010年
1950年代に2冊も刊行され、1998年以降に3冊も出ている。ほんとにすごい。それだけこの小説
は人気があるということか？それもあるだろうけど、翻訳しにくい、読みにくい作品だということも
言えるだろう。
アマゾンの書評やネット上の他の人たちの感想を読んでも、「翻訳を読んだけど、わかったような
気がしない」というコメントが目立つ。うう〜、そう言われると、僕も本当にこの作品（ひいては
これ以外の Virginia Woolf の作品）を本当に理解しているのかどうか、僕自身も不安だ。
でも、"Mrs. Dalloway" については、魅力的な映画化作品で非常に助けられているだけでなく、
そこに登場する、戦争に参加していて目の前で親友を爆撃によって失ってしまった Septimus
Warren Smith に僕は感情移入しやすいので、僕にとってはわかりやすい作品になっている。
さらに、主人公である Mrs. (Clarissa) Dalloway 自身も Septimus Warren Smith に
深く感情移入しているので、余計に僕にとってこの作品に親近感を覚える。おそらくは、Virginia
Woolf 自身がこの Septimus を自分の分身だと思っていたに違いないと思う。
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。
Virginia Woolf の伝記をもっと読み進め、他の小説や評論や日記もどんどん買い進めているので、
それらをどんどん読み、このスレで少しでもいいからそれについて紹介していきたいと思っている。
0158吾輩は名無しである
2013/01/10(木) 10:21:30.05http://www.amazon.co.jp/Complete-Shorter-Fiction-Virginia-Woolf/dp/0156212501/ref=sr_1_1?ie=UTF8&;amp;qid=1357776734&sr=8-1
こういう本を手に取って拾い読みしている。Virginia Woolf の書いた46本の短編を
すべて集めたものだ。注釈や付録もたくさんついていて、それぞれの短編が書かれた背景や、その短編に関連した彼女の日記の一節などが紹介されている。長編よりも短編の方が
楽に読めそうだし、拾い読みもできるし、長編小説を理解するためのヒントが短編小説の
中に隠れているかもしれないと思って、何となく拾い読みしてみた。
"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。
でも、この短編にはびっくりした。日本語訳を文庫本にすると、おそらくは10ページ
くらいの、とても短いものだ。それなのに、たくさんのことが詰め込んである。Woolf
特有の、例の静謐かつ透明な、きわめて繊細な文体。そして、最後の数行で、一種の
どんでん返しがある。なお、僕がこれから書くことを先に読んでしまうと、自分でこの
物語を読むときに白けてしまう、と思う人は、読まないでほしい。
この短編は、ネット上でも無料で読める。
http://gutenberg.net.au/ebooks02/0200781.txt
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.
この冒頭を読んで、笑ってしまった。鏡をあまり使わない男性でもこういうことは
よく感じるだろうが、鏡をひっきりなしに使う女性は、特にこの気持がわかるだろう。
いや、鏡などはただの比喩であって、本当は鏡そのもののことを言っているのではない。
人間の本性、ひいては自分自身の本性から目を背けたがる人間のさがを見事に描いている。
（その2に続く）
0159吾輩は名無しである
2013/01/10(木) 10:24:04.40この物語には、登場人物は一人だけ。Isabella という中年の独身女性である。一人
住まいしている。彼女は裕福で、そのお金であちこちを探し回っていい家を買い、面白い
家具を揃えている。
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) 10:25:44.59Isabella 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) 10:29:32.53with 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.
Isabella が姿見の前に立ったとき、その姿見は不要なものはすべて取り払って、彼女に
とって本質的なものだけ、真実だけを映し出した、と書いている。そしてこの物語の最後。
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.
このように、真実のみを映し出すその姿見の中では、彼女は素っ裸になっていた。そして
そこには、何もなかった。Isabella には、まるで何もなかった。まったく空虚な人
だったのだ。頭の中には、何の思いもなかった。友達もいなかった。彼女は、誰のことも
気にかけていなかった。手紙のように思えたものは、請求書に過ぎなかった。
そして物語の最後の文は、冒頭の文と同じ。「部屋には、姿見を吊っておかない方がいい。」
この短編が予想外に面白かったので、他の短編も読んでいこうと思う。そして、拙いながらも
このスレッド上で紹介していきたいと思う。（ほんと、拙いと自分で思う。）
0162吾輩は名無しである
2013/01/15(火) 18:31:25.320163吾輩は名無しである
2013/01/16(水) 06:19:37.90会わせてくれ」と強力に申し入れしてきて、その要望に応えて Virginia は Katherine に
会ったそうだね。Virginia も早く死んでるけど、Katherine はもっと若くして病死してしまったね。
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) 06:36:28.72http://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。
とは言いながら、プルーストスレの人から光文社の「ダロウェイ夫人」の解説を強く勧められ、
さっそく買って、解説だけはすぐに読んだ。確かに素晴らしい解説だった。とても短い解説なんだけど、
たくさんのことが詰まっている。Virginia Woolf の日記や評論や小説や当時の社会背景や
英文学の全体やイギリスの歴史などを広範に研究し尽くしている人だからこそ書ける解説だと思う。
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。
同時に、現在と過去が入り乱れるので、今は現在の話なのか過去の話なのかがわかりにくくなる。
一応、「現在」のことは英語では過去形で書かれ、過去の話は過去完了で書かれることが多いとは
いっても、それでもわかりにくくなる。
なぜこんな書き方をしたのか？Virginia Woolf を読んでいていつも思い出すのが、
「主客未分化の世界」とか何とかいう言葉だ。大昔に読んだ西田幾多郎の「善の研究」に
出てきた考え方だ。あまりよく覚えていないしよく理解もしていないけど、僕なりの荒削りの
解釈では、この考え方は、主体と客体とが分化されておらず、それらが混然一体となった
世界があるのだ、というようなことを言っていたと思う。
（その2に続く）
0166吾輩は名無しである
2013/01/16(水) 07:16:28.13さらにそれを推し進めると、主格と客体との未分化の世界、ひいては、彼であろうと彼女であろうと、
私であろうとあなたであろうと、彼らであろうと彼ひとりであろうと、そんなことはどうでもよくって、
すべての存在を私の中に収れんしてしまった世界、とでも言えばいいかな？---そういう世界を
Virginia Woolf は描きたいからこういう手法を採用したのではないかと思うのだ。
そして、人間を一人一人区別するだけではなく、時間さえをもそのように解釈する。つまり、過去と
現在を区別しないのだ。過去と現在を混然一体のものと考えれば、別に過去と現在とがごっちゃになっても
いいだろう。
たとえば「悲しい、悲しかった」という一節がこの小説に出てきたとする。その「悲しみ」を感じたのが
誰だったかを通常の読者は必死で突き止めようとして、その前のページ、あるいは数ページ前にまで
さかのぼろうとする。ところが、そんなもん、どうでもいいことではないか、とも言える。
要は、悲しみを感じた誰かがそこに存在していたことだけがわかればよい。それが Mrs. Dalloway
自身だったかもしれないし、例の狂人の Septimus Warren Smith だったかもしれないし、
娘の Elizabeth だったかもしれない。
さらには、悲しみを感じたのがいつであったのかも問題ではない。現在であろうと、過去であろうと、
そんなことはどうでもいい、という考え方もありうる。
そもそも、「わたし」と「あなた」、あるいは「われわれ」と「彼ら」などというふうに人間一人一人を
区別したり、人間と動物、人間と神を区別したり、現在と過去を区別したりし始めたのは誰か？
それは東洋人ではなく、白人たちではなかったか？しかも、白人の男性であって、白人女性では
なかったのではないか？
白人男性たちが長い歴史にわたって築き上げてきた「主体と客体とを峻別する考え方」と
「時間を直線的に考えて、一つ一つの小さな単位に分ける考え方」とに基づく文明のおかげで、
西洋人だけでなく僕ら東洋人も多大な恩恵を受けてきた。それには大いに感謝したいと思う。
（その3に続く）
0167吾輩は名無しである
2013/01/16(水) 07:17:03.26でも、その考え方だけでは説明のつかない曖昧模糊とした世界も大事にしないといけない、そういう
ことを僕ら東洋人はずっと前から感じて生きてきた。そして、そのことを指摘した東洋人たちも
いた。
そして今回、20世紀の初めごろ、Virginia Woolf という天才的な女性が、白人女性としては
もしかしたら初めて、この難題に挑んだのではないか？
主体と客体とを分け、時間を直線的に考える世界観だけでは説明がつかず、むしろ人間存在
（簡単に言えば「意識」）というものは、自分も他人も人間も神も、人間も動物もすべて
混然一体と感じられ、過去も現在も実は同一のコインの裏表に過ぎないかもしれないという
世界観を Virginia Woolf は構築しようとしているのではないか？
そしてこの世界観こそ、東洋人が大昔から大事にしていたものであり、白人たちのうちの女性たちは
それをずっと抱えてきたのではないか？
女性たちの文章や話し言葉を聞いていると、僕ら男性は、ついついイライラしてしまうことがよくある。
その曖昧さに苛立つのだ。
「それは、誰が言ったんだよ？お前が言ったのか？あいつが言ったのか？」
「それは、いつのことなんだよ？今日の話なのか？3年前の話なのか？」
そういう苛立ちの言葉を叫んだことのない男性はいないんじゃないか？そして、男性にとっては
苛立たしいその曖昧な女性的な話し方、表現の仕方こそ、本当は大切にすべき
「主格未分の、過去と現在が渾然一体となった」世界の中をそのまま表現しているのかもしれない。
僕は、そんなふうに思えてならない。だからこそ、僕にとって Virginia Woolf はわかりにくって
たまらないのに、手放せないのかもしれない。そしてそういう世界観を、僕は2か月前に
彼女の横顔の写真を初めて見たときに感じ取ったのかもしれない。
（終わり）
0168G ◆Y.6.rbvT92
2013/01/16(水) 07:28:39.67誠実謙虚な姿勢に頭が下がり、こちらが猪口才なことを書いたのが恥ずかしくなったりします。
「ダロウェイ夫人」ますます読みたくなってきました。
光文社の解説は私もプルーストスレで勧められ、読みました。確かに素晴らしい。
＞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。
やはり、こうあるべきなんだろうなあと反省します。フォークナーや宮澤賢治みたいに研究者の編纂した
事典等あれば、かなり効率的になるのかも（もしかしたら、すでにあるのかな）。
今、Le Petit Princeをの原文朗読を聴きながら（貴殿の書き込みを読んで、視聴覚体験の重要さを認識
しました）、加藤晴久「自分で訳す 星の王子さま」を読んでいます。
このまえがきには、
＞フランス語を学び始めてから５５年になるのに、Le Petit Princeさえちゃんと読み解けない
自分に絶望しながら仕事を進めました。
この道と思い定めて半世紀
異国の文の
究めがたさよ
とあります。
大学教授としてフランス語を教えていた人ですら、このように述懐している。
この人、『憂い顔の《星の王子さま》』で内藤濯訳、さらに新訳１１点の多くをくそみそにけなし物議をかもし
ましたが。「自分で訳す」では同じ三修社から近々出ると予告しているけど、結局、三修社はおそらく他の
訳者への批判の激しさに尻ごみしたのか、別の出版社から出ている（一昨年の１２月頃、プルーストスレ
でこの本の存在は教えてもらった）。
長文失礼しました。
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