【テーマ】 ファンタシー作品 The Last Unicorn の英語記述を検証する。訳文には反映されにくい原文英語の持つ背景的な情報内容を読 み取り、立体的に言語記述の内実を理解する読解法を身につける。
【授業概要】 アニメーション映画 The Last Unicorn を観て作品の具体 的なストーリーの進行とシーンの背景内容を把握し、該当する原作記述の箇所を比較検証することにより英文記述内容の具体的な理解を図る。文章記述と映像表現の相関あるいは相違に注目し、表面的 な翻訳に止まらない原文表現に対する全方位的把握を試み、文章表 現の前提としてある英語圏文化の様々な背景知識を指摘していく。
【授業計画】 1 回 冒頭のユニコーンの記述、ユニコーンの性は神話とは異なる The unicorn lived in a lilac wood, and she lived all alone. 2 回 森にやって来た狩人達の会話、ユニコーンの実在が疑われる One day it happened that two men with long bows rode... 3 回 ユニコーンの神話的属性と神的存在のあり方 I am the only unicorn there is. 4 回 時間性と永遠性、“mortal” と “immortal” Time had always passed her by in her forest... 5 回 蝶々との遭遇、集合的無意識と時間と空間を跳躍する想念 Then one afternoon the butterfly wobbled out of a breeze 6 回 人の世界と道、魔女マミーフォルチュナとの遭遇 There were nine wagons, each draped in black,... 7 回 ミッドナイトカーニバルと見世物にされた神話上の怪物達 The nine black wagons of the Midnight Carnival seemed... 8 回 神話と伝説の中の存在達、真実と偽りと魔法の業と芸術表現 The unicorn stared through the bars at the animal... 9 回 アニメには登場していなかった怪物達、アラクネとエリ “Arachne of Lydia,” he told the crowd. 10 回 ハーピーセラエノ、邪悪で醜い真実の存在、本体と影の関係 “This one is real. This is the harpy Celaeno.” 11 回 ユニコーンの姿を見た人々の示す反応、知覚と実質と表現 She heard hearts bounce, tears brewing, and breath going... 12 回 魔女とユニコーンの会話、ショービジネスと魔法の業 The witch’s stagnant eyes blazed up so savagely bright 13 回 魔法使いシュメンドリックとユニコーンの会話 It’s a rare man who is taken for what he truly is... 14 回 ユニコーンを助け出すために用いたシュメンドリックの魔法 He spoke three angled words and snapped his fingers. 15 回 ハーピーとユニコーン We are two sides of the same magic I will kill you if you set me free,... Set me free.
【教科書名】黒田誠註釈『Annotated Last Unicorn』(近代文藝社) 【参考図書】黒田誠註釈『研究アニメ The Last Unicorn』(牧歌舎) 【評価方法】文章記述の内容を前後の関係や主題との関連を把握して具体的に説明する課題に答える。レポート及び本講座コミュニティにおける質疑応答に対する参加貢献度。 【履修について】コンピュータの基本操作を理解しておくこと。 【事前・事後学習等】ウェブ上のサイト Fantasy as Antifantasy とブログ Fantasy as Antifantasy Daily Lecture を随時参照する。 【備考】参考資料の提示及び質疑応答を行う場所として、manaba folio のコミュニティ「2016英語圏文化 a」を活用していく。
She did not look anything like a horned horse, as unicorns are often pictured, being smaller and cloven-hoofed, and possessing that oldest, wildest grace that horses have never had, that deer have only in a shy, thin imitation and goats in dancing mockery.
p. 7
It is their nature to live alone in one place: usually a forest where there is a pool clear enough for them to see themselves─for they are a little vain, knowing themselves to be the most beautiful creatures in all the world, and magic besides.
p. 7
Early one morning, about to turn off the road to sleep, she saw a man hoeing in his garden. Knowing that she should hide she stood still instead and watched him work, until he straightened and saw her. He was fat, and his cheeks jumped with every step he took. “Oh,” he said. “Oh, you’re beautiful.” When he tugged off his belt, made a loop in it, and moved clumsily toward her, the unicorn was more pleased than frightened. The man knew what she was, and what he himself was for[makoto1]: to hoe turnips and pursue something that shone and could run faster than he could. She sidestepped his first lunge as lightly as though the wind of it had blown her out of his reach. “I have been hunted with bells and banners in my time,” she told him. “Men knew that the only way to hunt me was to make the chase so wondrous that I would come near to see it.[makoto2] And even so I was never once captured.”
“My foot must have slipped,” said the man. “Steady now, you pretty thing.”
“I’ve never really understood,” the unicorn mused as the man picked himself up, “what you dream of doing with me, once you’ve caught me.” The man leaped again, and she slipped away from him like rain[makoto3]. “I don’t think you know yourselves,[makoto4]” she said.
“Ah, steady, steady, easy now. “The man s sweating face was striped with dirt, and he could hardly get his breath. “Pretty,” he gasped. “You pretty little mare.[makoto5]”
“Mare?” The unicorn trumpeted the word so shrilly that the man stopped pursuing her and clapped his hands to his ears. “Mare?” she demanded, “I, a horse? Is that what you take me for? Is that what you see?”
“Good horse,” the fat man panted. He leaned on the fence and wiped his face. “Curry you up, clean you off[makoto6], you’ll be the prettiest old mare anywhere.” He reached out with the belt again. “Take you to the fair[makoto7],” he said, “Come on, horse.”
“A horse,” the unicorn said. “That's what you were trying to capture. A white mare with her mane full of burrs[makoto8],” As the man approached her, she hooked her horn through the belt, jerked it out of his grasp, and hurled it across the road into a patch of daisies. “A horse, am I?” she snorted. “A horse, indeed!”
For a moment the man was very close to her, and her great eyes stared into his own, which were small and tired and amazed[makoto9]. Then she turned and fled up the road, running so swiftly that those who saw her exclaimed. “Now there’s a horse! There's a real horse!”[makoto10] One old man said quietly to his wife. “That's an Ayrab horse[makoto11]. I was on a ship with an Ayrab horse once.”
[makoto1]“この男には自分なりに彼女が何物であり、彼女に対して自分が何をしようとしているのか分かっていた”。ユニコーンが予期していたものとは全く異なったさもしい認識(知覚)と価値観。キーワード“reality”と関連する。
[makoto2]かつてユニコーンを知っていた人々がユニコーンを狩るのに用いた方法は、現代において支配的であるような実利的なやり方ではなく、狩る対象に対する崇敬の念を備えた、儀式的な形式美を備えたものであった。
[makoto3]キーワード “poetic phrases”と関連する。“彼女は雨のように彼の手からのがれた”
[makoto4]ユニコーンに対する態度のあり方が誤っている、ということは、自分の行動を律する原理を失っていて、世界との関わりにおける自分自身の位地が分かっていない、ということを意味する。
[makoto5]男の価値観からはユニコーンが雌馬に見える。
[makoto6]=(If I) curry you up, (if I) clean you off、 “お前の毛を櫛で梳いて、きれいにしてやったなら”。
[makoto7]=(I will) take you out to the fair、 “市場に出して売ってやろう”。
[makoto8]to be researched、 毛の中の汚れが固まって玉のようになったのがburrらしい。
[makoto9]小さく、疲れた、泡を食ったような目。realityを反映している。
[makoto10]キーワード “true―false”と関連する。人々にはユニコーンがユニコーンとしては知覚できないにせよ、彼等なりに一般の基準を超えた優れたものとして見える。
[makoto11]“Arab”(thorough bred と並んで名高い名馬の血統)を連想させる。
蝶: Wave the flag for Hudson High, boys, show them how we stand[i]!
ハドソン高校の旗を振れ、少年達!僕らの戦いぶりを見せてやれ!
I am a roving gambler[ii]; how do you do?
僕はさすらいのギャンブラー、ご機嫌いかが?
ユニコーン: Hello, butterfly, welcome[iii]! いらっしゃい、蝶々さん。 Have you traveled very far? ずいぶん遠くから来たの?
[i] 1933年から1951年まで放映された、毎日15分放送の連続ラジオドラマ “Jack Armstrong, the All American Boys” で歌われた曲。ハドソン高校のジャックが主人公。“stand”は“持ちこたえる”の意味から、“戦う”と同義となる。
[ii] Brothers Fourのヒット曲“I Am a Roving Gambler”から。
[iii] 原作では、ユニコーンは森を出た後に路上で蝶に出会ったので、この台詞は無かった。アニメーション版では、ユニコーンがまだ自分の森にいる時にこの蝶と出会ったことに変更されているので、「いらっしゃい」と蝶を迎える台詞が新たに付け加えられている。
There were nine wagons, each draped in black, each drawn by a lean black horse, and each baring barred sides like teeth when the wind blew through the black hangings[makoto1]. The lead wagon was driven by a squat old woman, and it bore signs on its shrouded sides that said in big letters; MOMMY FORTUNA’S MIDNIGHT CARNIVAL. And below, in smaller print: Creatures of night, brought to light[makoto2].
When the first wagon drew even with the place where the unicorn lay asleep, the old woman suddenly pulled her black horse to a stop. All the other wagons stopped too and waited silently as the old woman swung herself to the ground with an ugly grace[makoto3]. Gliding close to the unicorn, she peered down at her for a long time, and then said, “Well. Well, bless my old husk of a heart.[makoto4] And here I thought I’d seen the last of them.” Her voice left a flavor of honey and gunpowder on the air. [makoto5]
“If he knew,” she said and she showed pebbly teeth as she smiled. “But I don't think I’ll tell him[makoto6]. She looked back at the black wagons and snapped her fingers twice.
[makoto1]どの馬車も風が黒い垂れ布を吹き抜けると、歯をむき出すように檻の格子が見えた。
[makoto2]Creatures of night / brought to light: 2行の詩句が脚韻を踏んでいる。この2行一組を “rhyme”と呼ぶ。詩のパターンを形成する最小単位。
[makoto3]“醜悪な優雅さで。”矛盾した形容の技工。 “oxymoron” (撞着語法)と呼ばれる。Edgar Allan Poe が好んだ詩的表現。
[makoto4]喜び等強い感情の動きを感じた時の言い回し。Bless〜=May God bless 〜=神が私の〜に祝福を与えて下さいますように=おやおや、これはこれは。干涸びたような老婆だから自分の心臓を “husk of a heart”と呼んでいる。
[makoto5]キーワード“poetic phrases”に関連する。想像を絶したイメージの喚起を目論む表現法。
[makoto6]he=King Haggardのこと。後出。
The drivers of the second and third wagons got down and came toward her. One was short and dark and stony, like herself; the other was a tall thin man with an air of resolute bewilderment[makoto1]. He wore an old black cloak, and his eyes were green.[makoto2]
“What do you see?” the old woman asked the short man. “Rukh, what do you see lying there?”
“Dead horse,” he answered. “No not dead. Give it to the manticore, or the dragon.” His chuckle sounded like matches striking.[makoto3]
“You’re a fool,” Mommy Fortuna said to him. Then to the other, “What about you, wizard, seer, thaumaturge[makoto4]? What do you see with your sorcerer’s sight[makoto5]?” She joined with the man Rukh in a ratchety roar of laughter[makoto6], but it ended when she saw that the tall man was still staring at the unicorn. “Answer me you Juggler[makoto7]!” she snarled but the tall man did not turn his head. The old woman turned it for him, reaching out a crablike hand to yank his chin around. His eyes fell before her yellow stare.
“A horse,” he muttered, “A white mare.”
Mommy Fortuna [makoto8]looked at him for a long time. “You’re a fool too, magician,” she snickered at last, “but a worse fool than Rukh, and a more dangerous one. He lies only out of greed, but you lie out of fear. Or could it be kindness?” The man said nothing, and Mommy Fortuna laughed by herself.
“All right,” she said, “It’s a white mare. I want her for the Carnival. The ninth cage is empty.”
“I'll need rope,” Rukh said. He was about to turn away, but the old woman stopped him.
“The only rope that could hold her,” she told him, “would be the cord with which the old gods bound the Fenris-wolf[makoto9]. That one was made of fishes’ breath, bird spittle, a woman’s beard, the miaowing of a cat, the sinews of a bear and one thing more. I remember―mountain roots.[makoto10] Having none of these elements, nor dwarfs to weave them for us, we’ll have to do the best we can with iron bars. I’ll put a sleep on her, thus.” and Mommy Fortuna’s hands knitted the night air while she grumbled a few unpleasant words in her throat. There was a smell of lightning[makoto11] about the unicorn when the old woman had finished her spell.
The unicorn stared through the bars at the animal in the cage. Her eyes were wide with disbelief. “It’s only a dog,” she whispered. “It’s a hungry, unhappy dog with only one head and hardly any coat[makoto1] at all, the poor thing. How could they ever take it for Cerberus? Are they all blind?”
“Look again,” the magician said.
“And the satyr,” the unicorn continued, “The satyr is an ape, an old ape with a twisted foot[makoto2]. The dragon is a crocodile, much more likely to breathe fish than fire. And the great manticore is a lion―a perfectly good lion, but no more monstrous than the others[makoto3]. I don’t understand.”
“It’s got the whole world in its coils[makoto4],” Rukh was droning. And once more the magician said, “Look again.”
Then, as though her eyes were getting used to darkness, the unicorn began to perceive a second figure in each cage. They loomed hugely over the captives of the Midnight Carnival, and yet they were joined to them: stormy dreams sprung from a grain of truth[makoto5]. So there was a manticore―famine-eyed, slobber-mouthed, roaring, curving his deadly tail over his back until the poison spine lolled and nodded just above his ear―and there was a lion too, tiny and absurd by comparison[makoto6]. Yet they were the same creature. The unicorn stamped in wonder.
[makoto1]coat:毛皮の外周の部分。毛がふさふさしている訳でもないみすぼらしい犬。
[makoto2]病気(gout)に罹って足が捻じ曲がっている
[makoto3]他の者達よりいっそうmonstrousであるということは全くない。ここでの“monstrous”は一般の生き物ではない、神話、伝説上の生き物=本物の存在に近い。
[makoto4]大蛇のとぐろ。
[makoto5]ひと粒の(小さな)真実
[makoto6]幻影が存在感豊かであるのに対して実体は取るに足らない、愚かし気なものにしか見えない。キーワード“reality”と関連する。
The nine black wagons of the Midnight Carnival seemed smaller by daylight and not menacing at all, but flimsy and fragile as dead leaves. Their draperies were gone, and they were now adorned with sad[makoto1] black banners cut from blankets, and stubby black ribbons that twitched in the breeze.[makoto2] They were arranged strangely in a scrubby field; a pentacle of cages enclosing a triangle, and Mommy Fortuna’s wagon lumping in the center[makoto3].
[makoto1]=地味な、くすんだ。cf. gay: 派手な。
[makoto2]キーワード“antifantasy”に関連する。格調高く、あくまでも高貴な、あるいは邪悪な存在を描こうとする潜在的願望を含んだ作品がファンタシーであるとするならば、ここに描かれたような、日常性を誇張した諧謔的表現を、“antifantasy”と呼ぶことができる。典型的なファンタシー的要素(崇高)と楽屋落ち的な悪ふざけ(諧謔)が混在しているのがこの作品の特徴であり、またこのような機構がファンタシー文学そのものの心理的構造の中でいかに機能しているかを考察することが、ファンタシー文学の思想的特質を理解する際の要点となろう。
[makoto3]外側に五角形を形作って、5台の馬車が配置されている。その中に3台の馬車が三角形の形に配置されており、さらにその中にMommy Fortunaの乗った1台の馬車がある。
Rukh was standing before a cage that contained nothing but a small brown spider weaving a modest web across the bars. “Arachne of Lydia,” he told the crowd. “Guaranteed the greatest weaver in the world―her fate’s the proof of it. She had the bad luck to defeat the goddess Athena in a weaving contest. Athena was a sore loser, and Arachne is now a spider, creating only for Mommy Fortuna’s Midnight Carnival, by special arrangement. Warp of snow and woof of flame, and never any two the same. Arachne.”
Strung on the loom of iron bars, the web was very simple and almost colorless, except for an occasional rainbow shiver when the spider scuttled out on it to put a thread right. But it drew the onlookers’ eyes―and the unicorn’s eyes as well―back and forth and steadily deeper, until they seemed to be looking down into great rifts in the world, black fissures that widened remorselessly and yet would not fall into pieces as long as Arachne’s web held the world together. The unicorn shook herself free with a sigh, and saw the real web again. It was very simple, and almost colorless.
“It isn’t like the others,” she said.
“No,” Schmendrick agreed grudgingly. “But there’s no credit due to Mommy Fortuna for that. You see, the spider believes. She sees those cat’s-cradles herself and thinks them her own work. Belief makes all the difference to magic like Mommy Fortuna’s. Why, if that troop of witlings withdrew their wonder, there’d be nothing left of all her witchery but the sound of a spider weeping. And no one would hear it.”
Inside the cage, it was darker than the evening, and cold stirred behind the bars like a live thing. Something moved in the cold, and the unicorn saw Elli―an old, bony, ragged woman who crouched in the cage rocking and warming herself before a fire that was not there. She looked so frail that the weight of the darkness should have crushed her, and so helpless and alone that the watchers should have rushed forward in pity to free her. Instead, they began to back silently away, for all the world as though Elli were stalking them. But she was not even looking at them. She sat in the dark and creaked a song to herself in a voice that sounded like a saw going through a tree, and like a tree getting ready to fall.
“What’s plucked will grow again,
What is slain lives on,
What is stolen will remain―
What is gone is gone.”
“She doesn’t look like much, does she?” Rukh asked, “But no hero can stand before her, no god can wrestle her down, no magic can keep her out―or in, for she’s no prisoner of ours. Even while we exhibit her here, she is walking among you, touching and taking. For Elli is Old Age.”
The cold of the cage reached out to the unicorn, and wherever it touched her she grew lame and feeble. She felt herself withering, loosening, felt her beauty leaving her with her breath. Ugliness swung from her mane, dragged down her head, stripped her tail, gaunted her body, ate up her coat, and ravaged her mind with remembrance of what she had once been. Somewhere nearby, the harpy made her low, eager sound, but the unicorn would gladly have huddled in the shadow of her bronze wings to hide from this last demon. Elli’s song sawed away at her heart.
“What is sea-born dies on land,
Soft is trod upon.
What is given burns the hand―
What is gone is gone.”
The tall man smiled, and even his pale, solemn fingers grew merry. “I told you that the witch has made three great mistakes. Your capture was the last, and the taking of the harpy the second, because you are both real, and Mommy Fortuna can no more make you hers than she can make the winter a day longer. But to take me for a mountebank like herself―that was her first and fatal folly. For I too am real. I am Schmendrick the Magician, the last of the red-hot swamis, and I am older than I look.”
“Where is the other?” the unicorn asked.
Schmendrick was pushing back his sleeves. “Don’t worry about Rukh. I asked him another riddle, one that has no answer. He may never move again.”
He spoke three angled words and snapped his fingers. The cage disappeared. The unicorn found herself standing in a grove of trees―orange and lemon, pear and pomegranate, almond and acacia―with soft spring earth under her feet, and the sky growing over her. Her heart turned light as smoke, and she gathered up the strength of her body for a great bound into the sweet night. Bur she let the leap drift out of her, untaken, for she knew, although she could not see them, that the bars were still there. She was too old not to know.
“I’m sorry,” Schmendrick said, somewhere in the dark. “I would have liked it to be that spell that freed you.”
Now he sang something cold and low, and the strange trees blew away like dandelion down. “This is a surer spell,” he said. “The bars are now as brittle as old cheese, which I crumble and scatter, so.” Then he gasped and snatched his hands away. Each long finger was dripping blood.
“I must have gotten the accent wrong,” he said hoarsely. He hid his hands in his cloak and tried to make his voice light. “It comes and goes.”
A scratching of flinty phrases this time, and Schmendrick’s bloody hands flickering across the sky. Something gray and grinning, something like a bear, but bigger than a bear, something that chuckled muddily, came limping from somewhere, eager to crack the cage like a nut and pick out bits of the unicorn’s flesh with its claws. Schmendrick ordered it back into the night, but it wouldn’t go.
The unicorn backed into a corner and lowered her head; but the harpy stirred softly in her cage, ringing, and the gray shape turned what must have been its head and saw her. It made a foggy, globbering sound of terror, and was gone.
The magician cursed and shivered. He said, “I called him up one other time, long ago. I couldn’t handle him then either. Now we owe our lives to the harpy, and she may yet come to call for them before sun rises.” He stood silent, twisting his wounded fingers, waiting for the unicorn to speak. “I’ll try once more,” he said finally. “Shall I try once more?”
The unicorn thought that she could still see the night boiling where the gray thing had been. “Yes,” she said.
Schmendrick took a deep breath, spat three times, and spoke words that sounded like bells ringing under the sea. He scattered a handful of powder over the spittle, and smiled triumphantly as it puffed up in a single silent flash of green. When the light had faded, he said three more words. They were like the noise bees might make buzzing on the moon.
The cage began to grow smaller. The unicorn could not see the bars moving, but each time Schmendrick said “Ah, no!” she had less room in which to stand. Already she could not turn around. The bars were drawing in, pitiless as the tide or the morning, and they would shear through her until they surrounded her heart, which they would keep a prisoner forever. She had not cried out when the creature Schmendrick had summoned came, grinning, toward her, but now she made a sound. It was small and despairing, but not yet yielding.
Schmendrick stopped the bars, though she never knew how. If he spoke any magic, she had not heard it; but the cage stopped shrinking a breath before the bars touched her body. She could feel them all the same, each one like a little cold wind, miaowing with hunger. But they could not reach her.
The magician’s arms fell to his sides. “I dare no more,” he said heavily. “The next time, I might not be able...” His voice trailed miserably away, and his eyes were as defeated as his hands. “The witch made no mistake in me,” he said.”
Rhetoric of Nonexistence: Impossible simile and Unimaginable Scenes in The Last Unicorn
https://folio.wayo.ac.jp/ct/link_cushion?url=https%3A%2F%2Fwww.academia.edu%2F7865619%2FRhetoric_of_Nonexistence_Impossible_simile_and_Unimaginable_Scenes_in_The_Last_Unicorn