≉ูグ஦

think it may be useful for others to know; and passing in
total silence things which I have no pleasure in reviewing,
and which the reader would find no help in the account of.
... 1ㄞ᭩ࡢグ᠈ࠗࣉ࢚ࣛࢸࣜࢱ࠘ࡢ⤖ᮎ࡜ࠗࢲ࢙ࣟ࢘࢖ኵே࠘
ୖ‫ە‬బࠎᮌ ᚭ
Sasaki Toruࣛࢫ࢟ࣥࡢࠗࣉ࢚ࣛࢸࣜࢱ࠘ࡣ୍㢼ኚࢃࡗࡓ⮬ఏ࡛࠶ࡿࠋࡇ
ࡢᮏࡣࠊ౛࠼ࡤࠊࣁ࢚ࣜࢵࢺ࣭࣐࣮ࢸ࢕ࣀ࣮ࡢ⮬ఏࡢࡼ࠺࡟ࠊຌ࡞ࡾྡ㐙ࡆࡓே≀ࡀ⮬ศࡢ⏕࠸❧ࡕࠊⴭసࠊ஺཭㛵ಀࢆ᣺ࡾ㏉ࡿ࡜࠸࠺඾ᆺⓗ࡞ᵓᡂࢆ࡜ࡗ࡚࠸࡞࠸ࠋࣦ࢕ࢡࢺࣜ࢔ᮅ⮬ఏᩥᏛࡢᶒጾࣜࣥࢲ࣭ࣆ࣮ࢱ࣮ࢯࣥࡣࡇࢀ࡟ࡘ࠸࡚ࠊࣛࢫ࢟ࣥࡣ
ࣂࢽࣖࣥ௨᮶ࡢ࠸ࢃࡺࡿࠕ⢭⚄ⓗ⮬ఏࠖࡢఏ⤫࠾ࡼࡧࡑࡢゎ㔘Ꮫⓗᡭἲ࠿ࡽព㆑ⓗ࡟⮬ࡽࢆ㐲ࡊࡅࡼ࠺࡜ࡋࡓࡢࡔࠊ࡜ㄝ᫂ࡍ
ࡿࠋࣛࢫ࢟ࣥ⮬㌟ࡣࡇࡢ⮬ఏࡢ≉ᚩࢆᗎᩥ࡛ḟࡢࡼ࠺࡟㏙࡭࡚࠸ࡿࠋ

I have written these sketches of effort and incident informer years for my friends; and for those of the public
who have been pleased by my books.
I have written them therefore, frankly, garrulously, andat ease; speaking, of what it gives me joy to remember, atany length I like ̿ sometimes very carefully of what I
12 Web ⱥㄒ㟷ᖺ May , 2012ㄞ᭩ࡢグ᠈

12せࡍࡿ࡟ࠊ⮬ศ࡟࡜ࡗ࡚ⱞ③࡛࠶ࡿࡇ࡜࡟ࡣ୍ษゐࢀࡎࠊᴦࡋ࠸ᛮ࠸ฟࡔࡅࢆࡃࡘࢁ࠸࡛㤨⯉࡟ㄒࡗࡓࠊ࡜࠸࠺ࡢ࡛࠶ࡿࠋࣛࢫ࢟ࣥࡢே⏕࡟ࡣ࠿࡞ࡾࡢࢻ࣐ࣛࡀྵࡲࢀ࡚࠸ࡿ࠿ࡽࠊዲወᚰ࡟㥑ࡽࢀࡓㄞ⪅࡜ࡋ࡚ࡣ᫝㠀࡜ࡶࡑ࠺࠸࠺࡜ࡇࢁࡀㄞࡳࡓ࠸ࡢࡔࡀࠊస⪅ࡣࡑࡢᡭࡢ㔝ḟ㤿᰿ᛶ࡟⫪ࡍ࠿ࡋࢆࡃࢃࡏࡿࠋ⫗యⓗ࡟⤖ࡤࢀࡿࡇ࡜࡞ࡋ࡟⤊ࢃࡗࡓࢫ࢟ࣕࣥࢲࣛࢫ࡞⤖፧ࠊᑡዪ࣮ࣟࢬ࣭࣭ࣛࢺࢗࢩࣗ࡟ᑐࡍࡿᐇࡽࡠឡࠊ࠾ࡼࡧᙼዪࡢⓎ≬ࠊ࣍࢖ࢫ࣮ࣛ⿢ุࠊ࡞࡝࡜࠸ࡗࡓ࢚ࣆࢯ࣮ࢻࡣࡍ࡭࡚↓どࠋⴭྡ࡞⏬ᐙࡸᩥேࡶ࡯࡜ࢇ࡝ฟ␒ࡣ࡞ࡃࠊ⮬ศࡢⴭసࠊ≉࡟♫఍ᢈホᐙ࡜ࡋ࡚ࡢ௙஦࡟ࡘ࠸࡚ࡶỿ㯲ࠋ࢟ࣜࢫࢺᩍࢆᲠ࡚ࡓࡇ
࡜࡟ࡼࡗ࡚⏕ࡌࡓࠊᩗ⹥࡞⚟㡢୺⩏⪅ࡢẕぶ࡜ࡢ☜ᇳࡸࠊ⮬ࡽࡢ♫఍⤒῭⌮ㄽࡀྰᐃࡏࡊࡿࢆᚓ࡞࠸⮬⏤ᨺ௵⤒῭ࡢ⏦ࡋᏊ࡛࠶ࡿ࣡࢖ࣥၟࡢ∗ぶ࡟ᑐࡍࡿᛗᛸࡓࡿᛮ࠸࡜࠸ࡗࡓࡶࡢࡶ࡯࡜ࢇ࡝ゐࢀࡽࢀ࡞࠸ࠋ୧ぶ࡜ࡢⴱ⸨ࡣࡈࡃ࠿ࡍ࠿࡟࡯ࡢࡵ࠿ࡉࢀࡿࡔࡅ࡛ࠊ඲య࡜ࡋ࡚ࠊࡇࡢ᭩≀ࡣぶᛮ࠸ࡢᏕ⾜ᜥᏊࡀ୧ぶࡢ቎๓࡟ᤝࡆࡿᚑ㡰࡞㈉≀࡟⤊ࢃࡗ࡚࠸ࡿࠋ࢔࣭ࣥࢧࢵ࢝ࣞ࢖࣭ࣜࢵࢳ࣮ࡣࠊࠗࣉ࢚ࣛࢸࣜࢱ࠘ࢆㄞࢇࡔ
ឤ᝿࡜ࡋ࡚ࠊࣛࢫ࢟ࣥࡣᑠㄝᐙ࡟࡞ࡗ࡚࠸ࡿ࡭ࡁࡔࡗࡓ࡜ゝ࠸ࠊே≀ࢆࢫࢣࢵࢳࡍࡿ㝿ࡢ➹ຊࡢ☜࠿ࡉࢆᣦ᦬ࡍࡿࠋ

Ruskin should have been a novelist. It is true he says henever knew a child more incapable than himself of telling atale, but when he chooses to describe a man or a woman,
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ㄞ᭩ࡢグ᠈

13

there stands the figure before us; when he tells a story, welive it. His is rather the descriptive than the constructive
faculty; his mastery is over detail and quality rather thanover form. 9293ࡔࡀࠊᙼዪࡀே≀ᥥ෗ࡢዲ౛࡜ࡋ࡚ᣲࡆࡿࡢࡣࣛࢫ࢟ࣥࡢུẕࡸ∗ぶࡢၟ኎ࡢࣃ࣮ࢺࢼ࣮࡛࠶ࡗ࡚ࠊせࡍࡿ࡟ࠊ≀ㄒࡢ⬥ᙺ࡟㐣ࡂ࡞࠸ࠋࡋ࠿ࡶࠊᙼዪࡀゝ࠺ࡼ࠺࡟ࠊࣛࢫ࢟ࣥ࡟ࡣ≀ㄒࢆᵓ⠏ࡍࡿᡯ⬟ࡀḞࡅ࡚࠸ࡿࠋࡇࡇ࡛ࡢࣛࢫ࢟ࣥࡣࣉࣟࢵࢺࡢ࡞࠸ᑠㄝࢆ᭩࠸࡚࠸ࡿࡼ࠺࡞ࡶࡢ࡛࠶ࡿࠋ⾑‪ࡁ⫗㌍ࡿ࣓ࣟࢻࣛ
࣐ࢆឡዲࡍࡿ⪅࡟࡜ࡗ࡚ࡣࠊ
ࠗࣉ࢚ࣛࢸࣜࢱ࠘ࡣỴࡋ࡚㠃ⓑ࠸ㄞࡳ≀࡛ࡣ࡞࠸ࠋࡇࡢᮏࡣ඲య࡟ࠊே㛫ࡼࡾࡶࡴࡋࢁሙᡤࡢᥥ
෗ࡀከࡃࠊ᪑⾜グࡸ⣖⾜ᩥࡢឡዲᐙ࡟ྥ࠸࡚࠸ࡿసရ࠿ࡶࡋࢀ࡞࠸ࠋࡓࡔࠊࡑ࠺ࡣゝࡗ࡚ࡶࠊᩥ❶ࡀࡍࡤࡽࡋ࠸ࠊࡘࡲࡾࠊゝㄒ⾲⌧ࡀ⯆࿡῝࠸⟠ᡤࡣ࠸ࡃࡘࡶ࠶ࡿࠋᑵ୰ㄞࡳࡈࡓ࠼ࡀ࠶ࡿࡢࡀ⤖ᮎࡔࠋඛ㏙ࡋࡓࡼ࠺࡟ࠊࡇࡢ⮬ఏ࡟ࡣᮏ᮶࠶ࡗ࡚ࡋ࠿ࡿ࡭ࡁ࡞ࡢ࡟Ḟዴࡋ࡚࠸ࡿ㒊ศࡀࡓࡃࡉࢇ࠶ࡿࠋᇶᮏⓗ࡟᫬⣔ิ࡟ࡑࡗ࡚ே⏕ࢆࡓ࡝ࡿᮏ᭩ࡣ୕㒊࠿ࡽ࡞ࡿࡀࠊࡑࡢ➨୕㒊࡟ධࡿ࡜ࠊࣛࢫ࢟ࣥࡣ⮬ศࡢయㄪ࠿ࡽ࡜࡚ࡶ୍⏕ࡢࡍ࡭࡚ࢆㄒࡿ᫬㛫ࡣ࡞࠸࡜ᛮࡗࡓࡢ࡛࠶ࢁ࠺ࠊ౛࠼ࡤࠗ㏆௦⏬ᐙㄽ࠘➨ 3 ᕳ࡜➨4 ᕳࠊࣦ࢙ࠗࢿࢶ࢕࢔ࡢ▼࠘඲ 3 ᕳࢆⓎ⾲ࡋࡓ 1850 ᖺ௦ࡢ 10ᖺ㛫ࢆࠕ↓㥏࡞௙஦࡟ᾉ㈝ࡋ࡚ࡋࡲࡗࡓࠖ࡜ 2 ࣮࣌ࢪ࡛∦࡙ࡅࠊࡑࢀ࠿ࡽᚋࡣヰࡀ࠶ࡗࡕ࡬⾜ࡃ࠿࡜ᛮ࠼ࡤࡇࡗࡕ࡟⾜ࡗࡓࡾࠊ࠸ࡉࡉ࠿⬦⤡ࢆḞࡃࡼ࠺࡟࡞ࡿࠋ525 ࣮࣌ࢪ࠿ࡽ࡞ࡿ࢜ࢵࢡࢫࣇ࢛࣮ࢻ∧ࡢ⤖ᮎ㏆ࡃ࡛ࡣࠊḟ࡟ᣲࡆࡿࡼ࠺࡞ࠕࡕࡻࡗ࡜ヰࢆ୰᩿ࡋ࡚ࠖ࡜࠸࠺㢮ࡢࣇ࣮ࣞࢬࡀ㢖ฟࡍࡿࠋ
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14I interrupt myself for a moment to express. . . . 506 ; I
must pause again to tell the modern reader. . . . 515 ; I
pause again to distinguish this noble pride. . . . 516 ; I
must pause again, to crowd together one or two explanations.
. . . 517 ; I may forget, unless I speak of it here. . . .
522ࡲࡓࠊࡇࡢࡼ࠺࡞᩿ࡾ࡞ࡋ࡟຾ᡭ࡟ヰ㢟ࡀ㌿ࡌࡿࡇ࡜ࡶ࠶ࡿࡢ࡛ࠊ⤊ᑿ࡟࠾ࡅࡿヰࡢ㐠ࡧ᪉ࡣ┦ᙜẼࡲࡄࢀ࡞ࡶࡢࡔࠋᮏసࡣ࡯࡜ࢇ࡝ࠕព㆑ࡢὶࢀࠖࢆᛮࢃࡏࡿ᭩ࡁ᪉࡛⥾ࡵࡃࡃࡽࢀࡿࠊ࡜ゝࡗ࡚ࡶ࠸࠸ࡔࢁ࠺ࠋࡓࡔࠊࠕ⥾ࡵࡃࡃࡽࢀࡿࠖ࡜࠸ࡗ࡚ࡶࠊࡇࡢసရࢆᇳ➹ࡋ࡚࠸ࡿ㛫࡟ࣛࢫ࢟ࣥࡣఱᗘࡶ⢭⚄≧ែࡀ୙Ᏻᐃ࡟࡞ࡾࠊ᭱ᚋࡣ೺ᗣୖࡢ⌮⏤࡛➹ࢆ⨨࠿ࡊࡿࢆᚓ࡞ࡃ࡞ࡗࡓ࡜࠸࠺ࡢࡀᐇ᝟࡛࠶ࡾࠊᙼࡀࡣࡌࡵ࠿ࡽࡇࡢసရࢆࡇ࠺࠸࠺㢼࡟Ỵ╔ࡉࡏࡼ࠺࡜ィ⏬ࡋ࡚࠸ࡓ࡜ࡣ⪃࠼࡟ࡃ࠸ࠋ࡟ࡶ࠿࠿ࢃࡽࡎࠊࡇࡢᮏࡢ⤖ᮎ࡟ࡣࠊసရ඲యࢆ═ࡵࡿ࡜ࠊ࡞ࡿ࡯࡝࡜ᛮࢃࡏࡿࢹࢨ࢖ࣥࡀឤࡌࡽࢀࡿࡢ࡛࠶ࡿࠋ౛࠼ࡤࢺ࣮ࣟࣟࣉࡀ⮬ఏࡢ୰࡛⮬ศࡀ᭩࠸ࡓࡶࡢ࡟ࡘ࠸࡚ከࡃࢆㄒࡿࡢ࡜ࡣ␗࡞ࡾࠊࠗࣉ࢚ࣛࢸࣜࢱ࠘࡟࠾࠸࡚ࡣࣛࢫ࢟ࣥ㸬㸬㸬ࡀㄞࢇࡔࡶࡢ࡟ࡘ࠸࡚⣬ᩘࡀ๭࠿ࢀ࡚࠸ࡿࠋ

I am, and my father was before me, a violent Tory ofthe old school; ̿ Walter Scott’s school, that is to say, andHomer’s. I name these two out of the numberless great
Tory writers, because they were my own two masters. I
had Walter Scott’s novels, and the Iliad Pope’s translation ,for constant reading when I was a child, on week-days: on
Sunday their effect was tempered by Robinson Crusoe andthe Pilgrim’s Progress. . . . 515 Web ⱥㄒ㟷ᖺ May , 2012ㄞ᭩ࡢグ᠈15ࡇࢀࡣᮏ᭩ࡢෑ㢌ࡔࡀࠊ࠸ࡁ࡞ࡾࠊ᭱ึࡢᩥ࡟ࢫࢥࢵࢺ࡜࣓࣍ࣟࢫࡀⓏሙࡍࡿࠋࡇࡇ࡟㇟ᚩⓗ࡟⾲⌧ࡉࢀ࡚࠸ࡿࡼ࠺࡟ࠊࣛࢫ࢟ࣥࡢே⏕ࡣᙼࡢㄞࢇࡔᮏ࡟ࡼࡗ࡚Ỵᐃࡉࢀ࡚࠸ࡿ࡜ゝࡗ࡚ࡶ㐣ゝ࡛ࡣ࡞࠸ࠋࠗࣉ࢚ࣛࢸࣜࢱ࠘ࡢグ㏙࠿ࡽࠊࢫࢥࢵࢺ࡜࣓࣍ࣟࢫࡢ࡯࠿࡟ࠊ⪷᭩ࡣᙜ↛ࡢࡇ࡜࡜ࡋ࡚ࠊࣂ࢖ࣟࣥࠊࢩ࣮ࣕ࢘ࢵࢻኵேࠊࢪ࣮ࣙࢪ࣭ࣁ࣮ࣂ࣮ࢺࡀᙼࡢே⏕࡟኱ࡁ࡞ᙳ㡪ࢆ୚࠼ࡓࡇ࡜ࡀ❚࠸▱ࢀࡿ ࣁ࣮ࣂ࣮ࢺ࡜ࣛࢫ࢟ࣥ࡟ࡘ࠸࡚ࡣ࢔࢖ࢻࣝࡢㄽᩥࡀࠊ⚟㡢୺⩏࢟ࣜࢫࢺᩍࡢసᐙ࡜ࡋ࡚᭷ྡ࡞ࢩ࣮ࣕ࢘ࢵࢻኵே࡜ࠗࣉ࢚ࣛࢸࣜࢱ࠘࡟ࡘ࠸࡚ࡣࣁࣥࢯࣥࡢㄽᩥࡀཧ⪃࡟࡞ࡿ ࠋࡇࡇ࡟ྡࢆᣲࡆࡓసᐙࡢ୰࡛ࡶࠊᮏ᭩࡟࠾ࡅࡿゝཬ࠿ࡽุ᩿ࡍࡿ࡜ࠊ࡜ࡾࢃࡅࢫࢥࢵࢺ࡜ࣁ࣮ࣂ࣮ࢺࡣࣛࢫ࢟ࣥ࡟࡜ࡗ࡚Ỵᐃⓗ࡟㔜せ࡞ព࿡ࢆᣢࡗࡓసᐙ࡛࠶ࡗࡓ࡜ᛮࢃࢀࡿࠋ䛄ࣉ࢚ࣛࢸࣜࢱ࠘ࡢ᭱⤊❶ࡣࠕࢪࣙ࢔ࢼࡢୡヰࠖ࡜࠸࠺㢟ࡀࡘ࠸࡚࠾ࡾࠊᬌᖺࡢࣛࢫ࢟ࣥࡢୡヰࢆࡋ࡚࠸ࡓࢪࣙ࢔ࢼ࣭ࢭࣦ࢓ࣥ࡜࠸࠺ዪᛶ࡟ᑐࡍࡿឤㅰࡢẼᣢࡕࡀ⥛ࡽࢀ࡚࠸ࡿࠋඛ࡟ゐࢀࡓࡼ࠺࡟ࠊࡇࡇ࡛ࡣ㢖⦾࡟ヰ㢟㌿᥮ࡀ⾜ࢃࢀࡿࡢࡔࡀࠊࣛࢫ࢟ࣥࡢព㆑ࡢὶࢀࢆ⡆༢࡟♧ࡍ࡜ࠊḟࡢࡼ࠺࡟࡞ࡿࠋࢪࣙ࢔ࢼ࡜ࡢฟ఍࠸ࠊẕ࡜ࢪࣙ࢔ࢼࠊࢪࣙ࢔ࢼ࡜ࢫࢥࢵࢺࠊࢫࢥࢵࢺࣛࣥࢻࡢ㢼ᬒࠊࢫࢥࢵࢺࡢᑠㄝࠊࠗࣞࢵࢻࢦ࣮ࣥࢺࣞࢵࢺ ࠘ࠊࢫࢥࢵࢺ࡜㡢ᴦࠊ㡢ᴦ୍⯡ࠊࡩࡓࡓࡧࢫࢥࢵࢺ䛄 ࣑ࢻࣟࢪ࢔ࣥࡢᚰ⮚ 䛅 ࠊࢪࣙ࢔ࢼࡢࢲࣥࢫࠊ 20 ᖺ๓ࡢࡇ࡜ࠊᗞ࡟࠸ࡿࢪࣙ࢔ࢼࠋ
ࣛࢫ࢟ࣥࡣࡲࡎࢪࣙ࢔ࢼ࡜ࡢฟ఍࠸ࢆㄒࡿࠋᙼዪࡣぶ㢮ࡢ୍ே࡛ࠊ⪁࠸ࡓẕࡢ㠃ಽࢆぢ࡟ࡸࡗ࡚ࡁ࡚ࠊẕぶࡢṚᚋࠊ௒ᗘࡣ
ࣛࢫ࢟ࣥࡢ㠃ಽࢆぢࡿࡓࡵ࡟ᐙ࡟ṧࡿࠋࣛࢫ࢟ࣥࡣᙼዪࡢே࡜
16 Web ⱥㄒ㟷ᖺ May , 2012ㄞ᭩ࡢグ᠈

16࡞ࡾࢆㄒࡾࠊḟ࠸࡛ࠊᙼࡢ୧ぶ࡜ྠࡌࡃࢫࢥࢵࢺࣛࣥࢻฟ㌟ࡢᙼዪࡢຓࡅࢆ೉ࡾ࡚ࠊ࢛࢘ࣝࢱ࣮࣭ࢫࢥࢵࢺࡢᩥᏛ࡟ᑐࡍࡿ⌮ゎࡀ῝ࡲࡗࡓࡇ࡜ࠊᙼࡀឡࡋࡓࣦ࢙ࢿࢶ࢕࢔࡞࡝࢖ࢱࣜ࢔ࡢ㢼ᬒࡼࡾࡶࠊࢫࢥࢵࢺࣛࣥࢻࡢ㢼ᬒࡢ᪉ࡀ┿ࡢಙ௮ᚰࢆႏ㉳ࡍࡿࡇ࡜࡞࡝ࢆ㏙࡭ࡿࠋࡑࢀ࠿ࡽ 8 ࣮࣌ࢪ࡯࡝ࡀࢫࢥࢵࢺ࡟㈝ࡸࡉࢀࡿࠋࣛࢫ࢟ࣥࡣ⮬ศࡢዲࡁ࡞ࢫࢥࢵࢺࡢసရࡢྡ๓ࢆḟࠎ࡟ᣲࡆ ࠊࠗࣞࢵࢻࢦ࣮ࣥࢺࣞࢵࢺ࠘ࡢᨺᾉࡢࣦ࢓࢖࢜ࣜࣥᙎࡁࠊࡉࡍࡽ࠸ࡢ࢘࢕࣮ࣜ࡟ࡘ࠸࡚㏙࡭ࠊࢫࢥࢵࢺࡢ㡢ᴦ࡟㛵ࡍࡿ▱㆑ࡢ῝ࡉ࡟ゐࢀࠊࡑࡇ࠿ࡽ㡢ᴦ୍⯡ࡢヰ࡟࡞ࡾࠊࢫࢥࢵࢺ࡟ᡠࡗ࡚࣑ࠗࢻࣟࢪ࢔ࣥࡢᚰ⮚࠘ࡢ࠾Ẽ࡟ධࡾࡢࣃࢵࢭ࣮ࢪࢆ⤂௓ࡋࠊ၈✺࡟ࢪࣙ࢔ࢼࡢࢲࣥࢫ࡬࡜ヰ㢟ࡣ⛣ࡿࠋࡑࡋ࡚ࡩࡓࡓࡧ၈✺࡟ࠊࣛࢫ࢟ࣥࡣࢪࣙ࢔ࢼࡀⱝ࠸ፉࡔࡗࡓ 20 ᖺ๓ࠊࡍ࡞ࢃࡕ 1869 ᖺࡢࡇ࡜ࢆᛮ࠸ฟࡍࠋࡑࢀ࡟⥆ࡃ⟠ᡤࠊࡍ࡞ࢃࡕࠗࣉ࢚ࣛࢸࣜࢱ࠘ࡢ᭱ᚋࡢ 2 ẁⴠࢆ௨ୗ࡟ᘬࡃ ௨ୗࠊᮏ✏࡟࠾ࡅࡿୗ⥺ࡣࡍ࡭࡚ᘬ⏝⪅࡟ࡼࡿࡶࡢ࡛࠶ࡿ ࠋ

I draw back to my own home, twenty years ago, permitted
to thank Heaven once more for the peace, and hope, andloveliness of it, and the Elysian walks with Joanie, andParadisiacal with Rosie, under the peach-blossom branches
by the little glittering stream which I had paved withcrystal for them. I had built behind the highest cluster oflaurels a reservoir, from which, on sunny afternoons, I
could let a quite rippling film of water run for a coupleof hours down behind the hayfield, where the grass inspring still grew fresh and deep. There used to be always
a corncrake or two in it. Twilight after twilight I havehunted that bird, and never once got glimpse of it: the17 Web ⱥㄒ㟷ᖺ May , 2012

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17

voice was always at the other side of the field, or in theinscrutable air or earth. And the little stream had its falls,and pools, and imaginary lakes. Here and there it laid for
itself lines of graceful sand; there and here it lost itself
under beads of chalcedony. It wasn’t the Liffey, nor theNith, nor the Wandel; but the two girls were surely a little
cruel to call it “The Gutter”! Happiest times, for all of us,
that ever were to be; not but that Joanie and her Arthur
are giddy enough, both of them yet, with their five littleones, but they have been sorely anxious about me, and I
have been sorrowful enough for myself, since ever I lostsight of that peach-blossom avenue. “Eden-land” Rosie
calls it sometimes in her letters. Whether its tiny river
were of the waters of Abana, or Euphrates, or Thamesis, I
know not, but they were sweeter to my thirst than thefountains of Trevi or Branda.
How things bind and blend themselves together ! The lasttime I saw the Fountain of Trevi, it was from Arthur’sfather’s room ̿ Joseph Severn’s, where we both took Joanie
to see him in 1872, and the old man made a sweet drawingof his pretty daughter-in-law, now in her schoolroom; hehimself then eager in finishing his last picture of theMarriage in Cana, which he had caused to take place undera vine trellis, and delighted himself by painting the crystal
and ruby glittering of the changing rivulet of water out of
the Greek vase, glowing into wine. Fonte Branda I last saw
with Charles Norton, under the same arches where Dantesaw it. We drank of it together, and walked together thatevening on the hills above, where the fireflies among thescented thickets shone fitfully in the still undarkened air.
18 Web ⱥㄒ㟷ᖺ May , 2012

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How they shone ! moving like fine-broken starlight throughthe purple leaves. How they shone! through the sunset that
faded into thunderous night as I entered Siena three days
before, the white edges of the mountainous clouds stilllighted from the west, and the openly golden sky calmbehind the Gate of Siena’s heart, with its still golden words,“Cor magis tibi Sena pandit,” and the fireflies everywherein sky and cloud rising and falling, mixed with the lightning,and more intense than the stars. 52527
኱ࡲ࠿࡞ὶࢀࢆ࠾ࡉ࠼࡚࠾ࡃࠋ
20 ᖺ๓ࡢᡃࡀᐙࠋࢪࣙ࢔ࢼ ࡇࡇ࡛ࡣࢪࣙ࢔ࢽ࣮࡜⾲グࡉࢀ࡚࠸ࡿ ࡸ࣮ࣟࢪ࣮ ࣛࢫ࢟ࣥࡀឡࡋࡓᑡዪ࣮ࣟࢬ࣭࣭ࣛࢺࢗࢩࣗࢆᣦࡍ ࡜୍⥴࡟Ṍ࠸ࡓࣃࣛࢲ࢖ࢫࠋࡑࡇ࡟Ỉᬗࢆᩜࡁワ
ࡵࡓ㍤ࡃேᕤࡢᕝࢆసࡗࡓࠋࡇࡢᕝࢆ஧ேࡢፉࡓࡕࡣṧ㓞࡟ࡶ䛂⁁ࠖ࡜࿧ࢇࡔࠋ୍␒ᖾࡏࡔࡗࡓ࠶ࡢ㡭ࠋࡶࡗ࡜ࡶࠊࢪࣙ࢔ࢼࡣ࢔࣮ࢧ࣮࣭ࢭࣦ࢓ࣥ࡜⤖፧ࡋ࡚ 5 ேࡶᏊ౪ࡀ࠾ࡾࠊ௒ࡶ┠ࡀࡃࡽࡲࢇࡤ࠿ࡾ࡟ᖾࡏࡔࠋ⚾ࡣࠊ࢚ࢹࣥࡢᅜ࡜࣮ࣟࢪ࣮ࡀ࿧ࡪ࠶ࡢ᱈ࡢⰼࡢᑠ㐨ࢆኻࡗ࡚௨᮶ࠊᝒࡋࡳࡢከ࠸⏕άࢆ㏦ࡗ࡚࠸ࡿࠋ࠶ࡢᑠࡉ࡞ᕝࡣࢺࣞࣅࡸࣈࣛࣥࢲࡢἨࡢỈࡼࡾࡶ⏑࠸ࡶࡢࡔࡗࡓࠋᵝࠎ࡞ࡇ࡜ࡀࡽࡀ஺ࡌࡾྜࡗ࡚࠸ࡃ㸟 ࢺࣞࣅ࡜ゝ࠼ࡤࠊࢪࣙ࢔ࢼࡢኵ࡛࠶ࡿ࢔࣮ࢧ࣮ࡢ∗ぶࠊ⏬ᐙࡢࢪࣙ࢘ࢮࣇ࣭ࢭࣦ࢓ࣥࡢ㒊ᒇ࠿ࡽ࠶ࡢἨࢆぢࡓࠋ 1872 ᖺࡢࡇ࡜ࡔࠋ࠶ࡢ㡭ࢭࣦ࢓ࣥࡣᙼࡢ᭱ᚋࡢసရࢆ᏶ᡂࡉࡏࡼ࠺࡜ࡋ࡚࠸ࡓࠋࠕ࢝ࢼࡢ⤖፧ࠖ࡜࠸࠺⤮࡛ࠊࡑࡇ࡟ࡣࢠࣜࢩࣕࡢⰼ⎼࠿ࡽὀࡀࢀࡓỈࡀỈᬗࡢ
ࡼ࠺࡟㍤࠸࡚࣡࢖ࣥ࡟ኚ໬ࡍࡿᵝࡀᥥ࠿ࢀ࡚࠸ࡓࠋࣈࣛࣥࢲࡢἨࢆ᭱ᚋ࡟ぢࡓࡢࡣࢳ࣮ࣕࣝࢬ࣭࢚ࣜ࢜ࢵࢺ࣭ࣀ࣮ࢺࣥ࡜୍⥴19 Web ⱥㄒ㟷ᖺ May , 2012ㄞ᭩ࡢグ᠈19ࡢ᫬ࡔࡗࡓࠋࢲࣥࢸࡀࡇࡢἨࢆぢࡓࠊࡑࡢྠࡌ࢔࣮ࢳࡢୗ࡛ࠋᡃࠎࡣἨࡢỈࢆ୍⥴࡟㣧ࡳࠊࡑࢀ࠿ࡽἨࡢୖࡢୣ࡟஧ே࡛Ṍ࠸࡚࠸ࡗࡓࠋࡓࡃࡉࢇ⺯ࡀ࠸ࡓࠋ࡞ࢇ࡜࠸࠺㍤ࡁ㸟 ࡑࢀࡣࡲࡿ࡛ࠊ⣽࠿ࡃ○ࡅࡓᫍࡢࡼ࠺ࡔࡗࡓࠋࡑ࠺࠸࠼ࡤࠊࡑࡢ୕᪥๓ࠊࢩ࢚ࢼ࡟⾜ࡗࡓ᫬ࡶࠊኤ㜌ࡀኪࡢ㜌࡟ኚࢃࢁ࠺࡜ࡍࡿ㡭ࠊ㞾ࡀ㬆ࡾ㡪ࡁࠊ✄ጔ࡜ඹ࡟ࠊ⺯ࡢගࡀ✵ࡢ࠸ࡓࡿ࡜ࡇࢁࢆୖୗࡋࠊ
ᫍࡼࡾࡶᙉ࠸ග࡛㍤࠸࡚࠸ࡓࠋ
ࡇࡢ⤖ᮎࡢ୰ᚰⓗ࡞࢖࣓࣮ࢪࡣࣃࣛࢲ࢖ࢫ࡛࠶ࡾࠊࡑࡇࢆὶࢀࡿᕝࡔ࡜ゝࡗ࡚ࡼ࠸ࡔࢁ࠺ࠋ 1969 ᖺ࡟ࣆ࢚࣮࣭ࣝࣇ࢛ࣥࢱࢽ࣮ࡣ ࠊࠗࣉ࢚ࣛࢸࣜࢱ࠘ࡢ┿୰࠶ࡓࡾ࡟࠶ࡿࠊࢪࣗࢿ࣮ࣦࡢ࣮ࣟࢾᕝࡢᥥ෗࡟⚄ヰⓗ࡞ព࿡࡟࠾ࡅࡿࠕᴦᅬࠖࡀᥥ࠿ࢀ࡚࠸ࡿ࡜ࡋࠊࡑࡇ࡟⌧ࢀࡿࠕ㍤ࡃᐆ▼ࠖࡢ࢖࣓࣮ࢪࡣ↓ᇈ࡞ᗂᖺ᫬௦࡬ࡢᅇᖐ࡜ࠊࠕỌ㐲ࡢ⌧ᅾࠖࢆ⾲ࡋ࡚࠸ࡿ࡜ㄽࡌࡓࠋḟ࠸࡛1976 ᖺ࡟࢚ࣜࢨ࣋ࢫ࣭࣊ࣝࢩࣥࢪ࣮ࣕࡣࠊࣇ࢛ࣥࢱࢽ࣮ࡢᣦ᦬ࡋࡓࠕᴦᅬࠖࡢ࢖࣓࣮ࢪࡣࠊࠗࣉ࢚ࣛࢸࣜࢱ࠘ࡢ⤖ᮎ㒊࡟ぢࡽࢀࡿࠕᴦᅬࠖᚿྥ࡜࿧ᛂࡋ࡚࠸ࡿ࡜୺ᙇࡋࡓࠋᙜヱࡢ࣮ࣟࢾᕝࡢᥥ෗ࢆ௨ୗ࡟ᘬࡃࠋ

For all other rivers there is a surface, and an underneath,and a vaguely displeasing idea of the bottom. But theRhone flows like one lambent jewel; its surface is nowhere,
its ethereal self is everywhere, the iridescent rush andtranslucent strength of it blue to the shore, and radiant tothe depth.
Fifteen feet thick, of not flowing, but flying water; notwater, neither, ̿ melted glacier, rather, one should call it;
the force of the ice is with it, and the wreathing of theclouds, the gladness of the sky, and the continuance of20 Web ⱥㄒ㟷ᖺ May , 2012

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20Time.
Waves of clear sea are, indeed, lovely to watch, but they
are always coming or gone, never in any taken shape tobe seen for a second. But here was one mighty wave that
was always itself, and every fluted swirl of it, constant as
the wreathing of a shell. No wasting away of the fallenfoam, no pause for gathering of power, no helpless ebb ofdiscouraged recoil; but alike through bright day and lullingnight, the never-pausing plunge, and never-fading flash,and never-hushing whisper, and, while the sun was up, theever-answering glow of unearthly aquamarine, ultramarine,
violet -blue, gentian-blue, peacock-blue, river-of -paradise
blue, glass of a painted window melted in the sun, and thewitch of the Alps flinging the spun tresses of it for everfrom her snow. P, 29697☜࠿࡟ࠊ3 ⾜┠ࡢ lambent jewel ࡸୗ࠿ࡽ 4 ⾜┠ࡢ river-ofparadise ࡞࡝࡜࠸ࡗࡓࣇ࣮ࣞࢬࡣࠗࣉ࢚ࣛࢸࣜࢱ࠘ࡢ⤖ᮎ㒊ࡢୗ⥺ࢆ࡯࡝ࡇࡋࡓ࠸ࡃࡘ࠿ࡢࣇ࣮ࣞࢬ࡜ඹ㬆ࡍࡿࠋࡉ࡚ࠊୖࡢᘬ⏝࡛ࡣ No wasting; no pause; never-pausing;never-fading; never-hushing ࡜࠸ࡗࡓ⾲⌧ࡀࠊ1011 ⾜┠࡟࠶ࡿ continuance of Time ࡜࠸࠺ྃࢆᙉㄪࡋ࡚ࠊࡇࢀࡀࡇࡢࣃࢵࢭ࣮ࢪࡢᛴᡤ࡛࠶ࡿࡇ࡜ࢆ♧ࡋ࡚࠸ࡿࠋ࢚ࣆࣇ࢓ࢽ࣮࡜࡛ࡶゝ࠺࡭ࡁࠊࡇࡢ≉ᶒⓗ▐㛫࡜⮬ఏࡢ⤖ᮎ࡜ࡢ㐃㛵࡟ᛮ࠸⮳ࢀࡤࠊᚋ⪅࡟࠾࠸࡚ࡶࠕ᫬ࡢ⥅⥆ࠖࡀ㔜せ࡞ព࿡ྜ࠸ࢆᣢࡘ࡜⪃࠼ࡓࡃ࡞ࡿࠋࣇ࢛ࣥࢱࢽ࣮ࡸ࣊ࣝࢩࣥࢪ࣮ࣕࡢ㆟ㄽࢆࡩࡲ࠼࡚ࠊ 1982 ᖺ࡟࢘࢕ࣜ࢔࣒࣭࢔ࣟ࢘ࢫ࣑ࢫࡣࠊࠗࣉ࢚ࣛࢸࣜࢱ࠘ࡢ⤖ᮎ㒊ࠊ
21 Web ⱥㄒ㟷ᖺ May , 2012ㄞ᭩ࡢグ᠈21࠾ࡼࡧ࣮ࣟࢾᕝࡢᥥ෗࡟ぢࡽࢀࡿࣛࢫ࢟ࣥࡢᩥ❶ࡢᚰࡣࠊ⌧ᅾࡢ▐㛫ࢆỌ㐲໬ࡍࡿࠊ↓ᮇ㝈࡟ᘬࡁᘏࡤࡍヨࡳ࡟࠶ࡿ ̿“the Praeterita passage seems devoted to eternising, or at leastsuggesting the indefinite suspension of the present” Arrowsmith,225 ̿࡜ࡢぢゎࢆᥦฟࡋࡓࠋࡇࢀࡣࡲࡇ࡜࡟ṇ㭀ࢆᑕࡓពぢ࡛࠶ࡿࠋࠗࣉ࢚ࣛࢸࣜࢱ࠘ࡢ⤖ᮎ㒊࡟ࡘ࠸࡚ࡣ᪤࡟ከࡃࡢㄽ⪃ࡀⓎ⾲ࡉࢀ࡚࠾ࡾࠊࡇࡢసရࡢᵓᡂࡸゝㄒ⾲⌧࡟ࡘ࠸࡚ཧ㓃ࡍ࡭ࡁࡣࠊࣇ࢛ࣥࢱࢽ࣮ࠊ࣊ࣝࢩࣥࢪ࣮ࣕࠊ࢔ࣟ࢘ࢫ࣑ࢫ࡟ຍ࠼࡚ࠊࣇࣛ࢖ࢩ࣐ࣗࣥࠊ࣌ࣝࢱࢯࣥࠊ࣮ࣟࢮࣥࣂ࣮ࢢࠊࢯ࣮࣮ࣖ࡜࠸ࡗࡓ࠶ࡓࡾࡔࡀࠊ൅࡟࡜ࡗ୍࡚␒⯆࿡῝࠸ࡢࡣࣛࢫ࢟ࣥࡢ⺯࡟ᑐࡍࡿᇳ╔ࡪࡾࢆㄝ࠸ࡓ࢔ࣟ࢘ࢫ࣑ࢫࡢㄽᩥ࡛࠶ࡿࠋᙼࡣ⤖ᮎ࡟࠶ࡿࠕࢲࣥࢸࡀぢࡓࣈࣛࣥࢲࡢἨࠖ࡜࠸࠺㒊ศ࡟╔┠ࡋࠊࡇࡇ࡟ࡣࠗ⚄᭤࣭ᆅ⊹⠍࠘➨ 30 ❶࡟࠾ࡅࡿ㉚㔠సࡾ࢔ࢲࣔࡢ࢚ࣆࢯ࣮ࢻ࡟ᑐࡍࡿゝཬࡀ㞃ࡉࢀ࡚࠸ࡿࡇ࡜ࢆ᫂ࡽ࠿࡟ࡋ
ࡓ 210 ࠋࠗᆅ⊹⠍࡛࠘ࡣࠊ≢⨥⪅ࡢ࢔ࢲࣔࡣ⨩࡜ࡋ࡚Ọ㐲࡟ႃࡢῬࡁࢆぬ࠼ࠊࣈࣛࣥࢲࡢἨࡢỈࢆồࡵ⥆ࡅࡿே≀࡜ࡋ࡚ᥥ࠿ࢀ࡚࠸ࡿࠋ࢔ࣟ࢘ࢫ࣑ࢫࡣࡲࡓࠊ⅖࡟ໟࡲࢀࡓ⨥ேࢆ⾲ࡍ⺯ࡢᥥ෗ ➨ 26 ❶ ࡸࠊࡑࢀ࡟ᑐᛂࡍࡿࠗኳᅜ⠍࠘ Paradiso ࡟࠾ࡅࡿ⺯࡟ࡘ࠸࡚ࡶࣛࢫ࢟ࣥࡀ▱ࡽ࡞࠿ࡗࡓࡣࡎࡣ࡞࠸࡜୺ᙇ
ࡍࡿ 220 21 ࠋ࡞ࡿ࡯࡝ࠊ⺯࡜ࣃࣛࢲ࢖ࢫ࡜࠸࠺㐃㛵ࡀ࠶ࡿࡢ࡞ࡽ ࠊࠗࣉ࢚ࣛࢸࣜࢱ࠘ࡢ⤖ᮎ㒊࡟࠾࠸࡚ࠊࣛࢫ࢟ࣥࡀࢲࣥࢸࡢࠗ⚄᭤࠘ࢆ᝿㉳ࡋ࡚࠸ࡿࡢࡣ㛫㐪࠸࠶ࡿࡲ࠸ࠋ᭱ึ࡟ゐࢀࡓࡼ࠺࡟ࠊࠗࣉ࢚ࣛࢸࣜࢱ࠘ࡣࢫࢥࢵࢺ࡜࣓࣍ࣟ
ࢫ࡬ࡢゝཬ࠿ࡽጞࡲࡗ࡚࠸ࡿࠋࡋࡓࡀࡗ࡚ࠊᮏసࡀࢲࣥࢸࢆႏ㉳ࡋ࡚⤊ࢃࡿࡢࡣࡲࡇ࡜࡟ᩥᏛⓗ࡞ࢹࢨ࢖࡛ࣥ࠶ࡾࠊ㤳ᑿ୍㈏ࡋ࡚࠸ࡿࠋࡇ࠺ࡋ࡚⣡ᚓࡋࡓᚋࠊࡇࡢࢹࢨ࢖ࣥࢆᛕ㢌࡟⨨࠸࡚⤖ᮎ㒊ࢆࡌࡗࡃࡾ═ࡵ࡚࠸ࡿ࡜ࠊ࢔ࣟ࢘ࢫ࣑ࢫࡀⓎぢࡋࡓᰗࡢୗ࡟ࡣࡶ࠺୍༉ࢻࢪࣙ࢘ࡀ࠸ࡿࡼ࠺࡞Ẽ㓄ࡀࡍࡿ̿ࡇࡇ࡟ࡣࢲࣥࢸࡢࠗ⚄᭤࠘ࡔࡅ࡛ࡣ࡞ࡃࠊࡶ࠺୍ࡘูࡢᩥᏛసရ࡟ࡘ࠸
࡚ࡢࣛࢫ࢟ࣥࡢグ᠈ࡀస⏝ࡋ࡚࠸ࡿࡢ࡛ࡣ࡞࠸ࡔࢁ࠺࠿ࠋ䛄 ࣉ࢚ࣛࢸࣜࢱ࠘ࡢ⤖ᮎࡢ୰ᚰ࡟ࠕᕝࡢὶࢀࠖࡢ࢖࣓࣮ࢪࡀ
࠶ࡿࡇ࡜࡟ࡘ࠸࡚ࡣඛ࡟㏙࡭ࡓࠋᐇࡣࠊࡇࡇ࡟⮳ࡿఱ࣮࣌ࢪ࠿
๓࡟ࠊࣛࢫ࢟ࣥࡢព㆑ࡢὶࢀࡣࡕࡷࢇ࡜ࡑࡢୗ‽ഛࢆࡋ࡚࠸ࡿࠋ⤖ᮎ࡟⮳ࡿ┤๓ࠊࣛࢫ࢟ࣥࡣࢫࢥࢵࢺ࡟ࡘ࠸࡚ㄒࡗ࡚࠸ࡿࠋࡘࡲࡾࠊࢫࢥࢵࢺ࡟ᑐࡍࡿゝཬ࡛ጞࡲࡗࡓ⮬ఏ≀ㄒࡣࢫࢥࢵࢺ࡟ᑐࡍࡿゝཬ࡛᭱⤊ẁ㝵࡬࡜⮳ࡿࢃࡅ࡛࠶ࡿࠋࡑࡇ࡛స⪅ࡣ 䛄ࣞࢵࢻࢦ࣮ࣥࢺࣞࢵࢺ࠘࠿ࡽ㡢ᴦ୍⯡࡬࡜ヰ㢟ࢆ㌿ࡌࠊࡑࢀࢆ୰᩿ࡋ࡚ࠊࡸࡸ၈✺࡟ࠊࡇࢀࡔࡅࡣゝࡗ࡚࠾ࡁࡓ࠸࡜࠸࠺
ࡼ࠺࡞㊃࡛࣑ࠗࢻࣟࢪ࢔ࣥࡢᚰ⮚࠘࡟ヰࢆᡠࡍࠋࣛࢫ࢟ࣥࡣࠊ
ࣟࣥࢻࣥࡢࣜࢵࢳࣔࣥࢻࣄࣝ࠿ࡽ═ࡵࡓ㢼ᬒࢆᥥ࠸ࡓᩥ❶ࡣ࠶ࡲࡓ࠶ࢀ࡝ࠊࡇࢀ࡯࡝ࡍࡤࡽࡋ࠸ࡶࡢࡣ࡞࠸࡜ゝ࠸ࠊ 20 ⾜࡯࡝ࢫࢥࢵࢺࢆᘬ⏝ࡍࡿࠋ௨ୗࡀࡑࡢᩥ❶࡛࠶ࡿࠋ

22 Web ⱥㄒ㟷ᖺ May , 2012

23 Web ⱥㄒ㟷ᖺ May , 2012

ㄞ᭩ࡢグ᠈

22

“A huge sea of verdure, with crossing and intersectingpromontories of massive and tufted groves, was tenanted bynumberless flocks and herds, which seemed to wanderunrestrained, and unbounded, through the rich pastures.
The Thames, here turreted with villas, and there garlandedwith forests, moved on slowly and placidly, like the mighty
monarch of the scene, to whom all its other beauties were
but accessories, and bore on his bosom a hundred barks
and skiffs, whose white sails and gaily fluttering pennons
gave life to the whole.
“As the Duke of Argyle looked on this inimitable landscape,his thoughts naturally reverted to his own more grand andㄞ᭩ࡢグ᠈23

scarce less beautiful domains of Inveraray. ‘This is a finescene,’ he said to his companion, curious perhaps to draw
out her sentiments; ‘we have nothing like it in Scotland.’‘It’s braw rich feeding for the cows, and they have a finebreed o’ cattle here,’ replied Jeanie; ‘but I like just as weel
to look at the craigs of Arthur’s Seat, and the sea coming
in ayont them, as at a’ thae muckle trees.’ ” 52122 >TheHeart of Midlothian, Ch. 36@࡞ࡿ࡯࡝☜࠿࡟❧ὴ࡞ᩥ❶࡛ࡣ࠶ࡿࡀࠊࡇࢀࡀᯝࡓࡋ࡚ࣛࢫ࢟ࣥࡢ⃭㈹࡟್ࡍࡿ࡯࡝ࡢࡶࡢ࡞ࡢࡔࢁ࠺࠿㸽 ࠸ࡸࠊࡴࡋࢁࠊࣛࢫ࢟ࣥࡀࡇࢀࢆ࠸࠸ᩥ❶ࡔ࡜ᛮ࠺ࡢࡣࠊ࠶ࡿ࠸ࡣࠊࣛࢫ㸬㸬㸬࢟ࣥࡀࡇࢀࢆ࠸࠸ᩥ❶ࡔ࡜ࡇࡇ࡛ゝ࠺ࡢࡣࠊࡇࢀࡀࢸ࣒ࢬᕝ࡟㛵ࢃࡿ࠿ࡽࡔ̿ࡇ࠺ࠊ൅ࡣㄽࡌࡓ࠸ࠋࣛࢫ࢟ࣥࡢព㆑ࡣࡇࡢࢫࢥࢵࢺࡢࣃࢵࢭ࣮ࢪࡢグ᠈ࢆᘬࡁࡎࡾ࡞ࡀࡽࠊ⤖ᮎ࡟ὶࢀ㎸ࢇ࡛࠸ࡃࡢ࡛࠶ࡿࠋࠗࣉ࢚ࣛࢸࣜࢱ࠘ࡢ᭱ᚋ࠿ࡽ஧␒┠ࡢẁⴠ࡟ࡣ Abana, or Euphrates, or Thamesis ࡜୕ࡘࡢᕝࡢྡ๓ࡀᣲࡆࡽࢀ࡚࠸ࡿࠋ࢔ࣂࢼ࡜࣮ࣘࣇࣛࢸࢫࡣᪧ⣙⪷᭩࡟ฟ࡚ࡃࡿࡶࡢ࡛ࠊ≉࡟࣮ࣘࣇࣛࢸࢫࡣࠗ๰ୡグ࠘࡟ࡼࡿ࡜࢚ࢹࣥࡢᅬ࠿
ࡽὶࢀฟࡿᕝࡢ୍ࡘ࡜࠶ࡾࠊ Eden-land ࡜࠸࠺ㄒ࡜ࡢ㛵㐃࠿ࡽࠊࡇࡇ࡟ࡑࡢྡࡀᣲࡆࡽࢀࡿࡢࡣ⣡ᚓ࡛ࡁࡿࠋࡑࡋ࡚ࠊࠕࢱ࣓ࢩࢫࠖࠋࡇࢀࡣࢸ࣒ࢬࡢࣛࢸࣥྡ࡛࠶ࡿࠋࡼࡗ࡚ࠊ࣑ࠗࢻࣟࢪ࢔ࣥࡢᚰ⮚࠘ࡢᩥ❶ࡢグ᠈ࡀࡇࡇ࡟ὶࢀ㎸ࢇ࡛ࡁ࡚࠸ࡿࠊ࡜᥎ㄽࡉࢀࡿࠋࡋ࠿ࡋࠊ࡝࠺ࡋ࡚ࠊ
ࠕࢸ࣒ࢬ࡛ࠖ࡞ࡃࣛࢸࣥྡࡢ䛂ࢱ࣓ࢩࢫࠖ࡞ࡢ࠿㸽 ࡇࢀࡣࡑࢀ࡯࡝㢖⦾࡟࠾┠࡟࠿࠿ࡿㄒ࡛ࡣ࡞࠸ࠋࣛࢫ࢟ࣥ඲㞟ࡢ୰࡛ࡶࡇࡇ୍ᅇࡋ࠿౑ࢃࢀ࡚࠸࡞࠸ࠋ࡜࡞ࡿ࡜ࠊࡇࢀ࡟ࡣఱ࠿⌮⏤ࡀ࠶ࡿ࡜⪃࠼ࡓࡃ࡞ࡿࠋᪧ⣙⪷᭩ࡢᕝ࡟ྜࢃࡏࡿࡓࡵ࡟ྂ㢼࡞࿧ࡧྡ࡟ࡋࡓࡢ࠿㸽 ࠸ࡸࠊ
24 Web ⱥㄒ㟷ᖺ May , 2012ㄞ᭩ࡢグ᠈24ࡑ࠺࡛ࡣ࠶ࡿࡲ࠸ࠋࡍࡄࢀ࡚ᩥᏛⓗ࡞ࢸࢡࢫࢺ࡜ࡋ࡚ࡢࠗࣉ࢚ࣛࢸࣜࢱ࠘࡜࠸࠺ᩥ⬦ࢆ⪃࠼ࡓ᫬ࠊࡇࡇ࡟ࡣࠊ⺯ࡢᥥ෗࡟ࢲࣥ
ࢸࡢࢸࢡࢫࢺࡢグ᠈ࡀᇙࡵ㎸ࡲࢀ࡚࠸ࡓࡢ࡜ྠࡌࡼ࠺࡟ࠊ࠶ࡿ
ᩥᏛసရ࡟ࡘ࠸࡚ࡢࣛࢫ࢟ࣥࡢグ᠈ࡀᇙࡵ㎸ࡲࢀ࡚࠸ࡿࡢ࡛ࡣ
࡞࠸ࡔࢁ࠺࠿ࠋ
ࣛࢫ࢟ࣥࡣࢫ࣌ࣥࢧ࣮ࡢリࢆዲࡳࠊࠗዿ⢭ዪ⋤࠘ࢆ࠸ࢁ࠸ࢁ
࡞࡜ࡇࢁ࡛ᘬ⏝ࡋ࡚࠸ࡿࠋࠗࣉ࢚ࣛࢸࣜࢱ࠘ࡢ୰࡛ࡶࠊᏊ౪ࡢ᫬࡟∗ぶࡀࡼࡃㄞࢇ࡛ࡃࢀࡓリேࡢ୰࡟ࢩ࢙࢖ࢡࢫࣆ࢔ࡸ࣏࢘
ࣉ࡜࡜ࡶ࡟ࢫ࣌ࣥࢧ࣮ࡢྡࡀᣲࡀࡗ࡚࠸ࡿࠋࡑࡢ㛵㐃࡛ࠊࣛࢫ࢟ࣥࡀ 1884 ᖺ࡟᭩࠸ࡓࠊ࠶ࡿᡭ⣬࡟ὀ┠ࡋࡓ࠸ࠋ. . . don’t read any more George Eliot or Thackeray ̿ but
Scott continually, and more old-fashioned poetry ̿ George
Herbert’s “Church Porch” to begin with, and Spenser’sminor poems. To Miss Lizzie Watson, April 11, 1884䛄ࣉ࢚ࣛࢸࣜࢱ࠘ࡣ㐃㍕࡛ฟ∧ࡉࢀࠊࡑࢀࡀጞࡲࡗࡓࡢࡣ
1885 ᖺࡢ 7 ᭶࡛࠶ࡗࡓࠋࡋࡓࡀࡗ࡚ࠊࡇࢀࡣ⮬ఏᇳ➹ࡢࡍࡄ๓࡟᭩࠿ࢀࡓᡭ⣬࡛࠶ࡿࠋࣛࢫ࢟ࣥ࡟࡜ࡗ࡚㔜せ࡞సᐙࡣࢫࢥ
ࢵࢺ࡜ࣁ࣮ࣂ࣮ࢺࡔ࡜ඛ࡟㏙࡭ࡓࡀࠊࡇࡢ஧ே࡟௜ࡅ㊊ࡍ᱁ዲ࡛ࠊᙼࡣࢫ࣌ࣥࢧ࣮ࡢ࣐࢖ࢼ࣮࣭࣏࢚࣒ࢆㄞࡳ࡞ࡉ࠸࡜▱ே࡟⸀ࡵ࡚࠸ࡿࡢ࡛࠶ࡿࠋே࡟⸀ࡵࡿࡄࡽ࠸ࡔ࠿ࡽࠊᙼ⮬㌟ࢫ࣌ࣥࢧ࣮ࡣ࣐࢖ࢼ࣮࡞ࡶࡢࡲ࡛┦ᙜㄞࡳ㎸ࢇ࡛࠸ࡓ࡜᥎ᐹࡉࢀࡿࠋ
࡛࠶ࡿ࠿ࡽࠊ“The Ruines of Time” ࡜࠸࠺࣐࢖ࢼ࣮࡞リࢆࣛࢫ࢟ࣥࡀ▱ࡗ࡚࠸ࡓ࡜⪃࠼࡚ࡶぢᙜࡣࡎࢀ࡛ࡣ࡞࠸ࡔࢁ࠺ࠋࡇࡢリࡢෑ㢌࡟ࠕࢱ࣓ࢩࢫࠖࡀฟ࡚ࡃࡿࡢ࡛࠶ࡿ It chaunced
me on day beside the shore 㻛 Of siluer streaming Thamesis to25 Web ⱥㄒ㟷ᖺ May , 2012ㄞ᭩ࡢグ᠈

25bee ࠋࡕ࡞ࡳ࡟ࢫ࣌ࣥࢧ࣮ࡶࡇࡢㄒࢆࡇࡇ࡛ࡋ࠿⏝࠸࡚࠸࡞࠸ࠋ൅ࡣ ࠊࠗࣉ࢚ࣛࢸࣜࢱ࠘ࡢ⤖ᮎࢆ᭩࠸࡚࠸ࡓࣛࢫ࢟ࣥࡢ㢌ࡢ∦㝮࡟ࡇࡢリࡀ࠶ࡗࡓࡢ࡛ࡣ࡞࠸࠿ࠊ࡜᝿ീࡋࡓ࠸ࡢࡔࠋ䛂 ᫬ࡢᗫቕࠖ࡜㢟ࡉࢀࡓࡇࡢリࡣࠊࢫ࣌ࣥࢧ࣮ࡢᖌ࡛࠶ࡾࣃ
ࢺ࡛ࣟࣥ࠶ࡗࡓࣇ࢕ࣜࢵࣉ࣭ࢩࢻࢽ࣮ࡢṚࢆ᝚ࡴࡶࡢ࡛ࠊࢩࢻࢽ࣮ࡢጒ࣌ࣥࣈࣝࢵࢡ఑∖ኵே࣓࢔࣮ࣜ࡟ᤝࡆࡽࢀ࡚࠸ࡿࠋෑ
㢌ࢸ࣒ࢬᕝࡢ࡯࡜ࡾ࡛ࠊリேࡣ௒ࡢࢭࣥࢺ࣭࣮࢜ࣂࣥࢬࡢ࠶ࡓ
ࡾࡢᅵᆅࡢ⢭࡟ฟ఍࠺ࠋࡑࢀ࠿ࡽࠊ㢟࡟࠶ࡿࡼ࠺࡟ࠊ
ࠕୡࡢ୰ࡢࡶࡢࡣఱ࡛ࡶ᫬࡟ࡴࡋࡤࡲࢀࡿ㐠࿨࡟࠶ࡿࠖ࡜࠸࠺ࢸ࣮ࢮࡀ
ఱᗘ࠿ኚዌࡉࢀࡿࡢࡔࡀࠊ࣮࣭ࣜࢹࢽ࣮ࣇ 267 ࡀ㏙࡭࡚࠸ࡿࡼ࠺࡟ࠊリࡢᚋ༙࡟ࡣࠊリேࡀリ࡜࠸࠺ࣔࢽ࣓ࣗࣥࢺࢆసࡿ
ࡇ࡜࡟ࡼࡗ࡚ኻࢃࢀࡓࡶࡢࢆᩆฟࡋࠊ୙⁛ࡢࡶࡢ࡟ࡍࡿ࡜࠸࠺࢔ࣥࢳࢸ࣮ࢮࡀ⌧ฟࡍࡿ This pattern ̿ a temporal loss
finally “redeemed” by a poetic monument ̿ governs each ofthe subjects broached in the remainder of the poem. ࠋࡑࡋ࡚ࠊWhiles thou now in Elisian fields so free 㻛 . . . 㻛 So there
thou liuest, singing euermore, 㻛 And here thou liuest, beingeuer song 㻛 Of vs. ll. 332, 33739 ࡜࠶ࡿࡼ࠺࡟ࠊࣃࣛࢲ࢖
ࢫ࡛࠶ࡿ Elisian Fileds ࡟࠸ࡿࢩࢻࢽ࣮ࡣࠊᙼࡀసࡗࡓリ࡟ࡼࡗ࡚୙⁛ࡢᏑᅾ࡜ࡋ࡚ᥥ࠿ࢀ࡚࠸ࡿࠋࢹࢽ࣮ࣇࡢゎㄝࢆᘬࡇ࠺ࠋ

It serves first to demonstrate that despite the deaths ofindividual family members, each succeeding member keeps
alive, by imitation, the pattern of virtue, the Idea ofexcellence, which defines the family line. The poet, too,
becomes a member of this line by joining Sidney in song, byimitating Sidney’s singing, and by his new relationship withthe Countess, his own succeeding patron. 269
26 Web ⱥㄒ㟷ᖺ May , 2012ㄞ᭩ࡢグ᠈26ࡘࡲࡾࠊࢫ࣌ࣥࢧ࣮ࡶࡲࡓࢩࢻࢽ࣮ࢆ࠺ࡓ࠺リ࡜࠸࠺ࣔࢽ࣓ࣗࣥࢺࢆసࡿࡇ࡜࡟ࡼࡗ࡚ࠊᙼ⮬㌟୙⁛ࡢ⣔⤫࡟㐃࡞ࡿࡇ࡜ࡀྍ⬟࡟࡞ࡿࡢ࡛࠶ࡿࠋࡇࡢヨࡳࢆࢫ࣌ࣥࢧ࣮⮬㌟ࡣࠊ࣌ࣥࣈࣝ
ࢵࢡ఑∖ኵே࣓࢔࣮ࣜ࡟ᑐࡍࡿ⊩㎡ࡢ୰࡛ eternizing ࡜࠸࠺ゝⴥࢆ౑ࡗ࡚ㄝ᫂ࡋ࡚࠸ࡿ speciallie intended to the renowmingof that noble race, from which both you and he sprong, andto the eternizing of some of the chiefe of them late deceased ࠋ㠃ⓑ࠸ᬯྜࡔࡀࠊඛ࡟ぢࡓࡼ࠺࡟ࠊ࢔ࣟ࢘ࢫ࣑ࢫࡣࣛࢫ࢟ࣥࡢ
⮬ఏࢆㄽࡌࡿ࡟࠶ࡓࡾࠊస⪅ࡀ⤖ᮎ࡛ヨࡳࡓࡢࡣ≉ᶒⓗ࡞▐㛫ࢆ eternise ࡍࡿࡇ࡜࡛࠶ࡗࡓࠊ࡜ࡲࡉࡋࡃྠࡌゝⴥࢆ⏝࠸࡚࠸ࡿࠋࢱ࣓ࢩࢫࡣࡶ࡜ࡼࡾࠊࣃࣛࢲ࢖ࢫࡢࣔࢳ࣮ࣇࡶ࿧ᛂࡋ࡚ࠊࢫ࣌ࣥࢧ࣮ࡢࠕ᫬ࡢᗫቕࠖࡀ⤖ᮎ࡛᝿㉳ࡉࢀࡿ࡜࠸࠺⤖ᵓࡣࠊከࡃࡢᩥᏛࢸࢡࢫࢺࡀ࠶ࡸ࡞ࡍࣛࢫ࢟ࣥࡢ⮬ఏࡢ᭱ᚋ࡟ࡩࡉࢃࡋ࠸ࠊࡍࡄࢀ࡚ᩥᏛⓗ࡞ࢹࢨ࢖ࣥ࡜ゝ࠼ࡿࡔࢁ࠺ࠋຍ࠼࡚ࠊస⪅⮬㌟ࡀព㆑ࡋ࡚࠸ࡓ࠿࡝࠺࠿ࡣ࡜ࡶ࠿ࡃࠊࠗࣉ࢚ࣛࢸࣜࢱ࠘࡜࠸࠺リⓗグᛕ☃ࡣࠊ࠿ࡘ࡚ࡢࢫ࣌ࣥࢧ࣮ࡢヨࡳ࡜ྠࡌࡼ࠺࡟ࠊᩥᏛࡢ୙⁛ࡢ⣔⤫࡟㐃࡞ࡿ࡜࠸࠺ᙧ࡛ࠕ᫬ࡢ⥅⥆ࠖ࡜࠸࠺⌮᝿ࢆ㢧⌧ࡋࡼ࠺࡜ࡋ࡚࠸ࡿࡢ࡛ࡣ࡞࠿ࢁ࠺࠿ࠋᮏ✏ࡣࠊ 2010 ᖺ 5 ᭶ 29 ᪥࡟⚄ᡞ኱Ꮫ࡛⾜ࢃࢀࡓ᪥ᮏⱥᩥᏛ఍➨ 82 ᅇ඲ᅜ኱఍ࡢࢩ࣏ࣥࢪ࣒࢘ ࠊࠕ Victoria ᮅࡢ⮬ఏࢆㄞࡴࠖ࡟࠾ࡅࡿⓎ⾲࡟ᇶ࡙ࡃࠋ䚾ཧ⪃ᩥ⊩ࠒ
Arrowsmith , William . “ Ruskin ’ s Fireflies ” . The RuskinPolygon . Eds . John Dixon Hunt and Faith Holland .
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