཯ᫎ࡜཯᚟̿̿The Turn of the Screw ࡟࠾ࡅࡿ㙾ീ̿̿
Reflection and Repetition: Mirror Images in The Turn of the Screwᯇᮧ ⪽Ꮚ
MATSUMURA Satokoࡣࡌࡵ࡟Henry James (1843-1916)ࡢ The Turn of the Screw (1898)ࡣࠊᵝࠎ࡞ㄞࡳ᪉࡟㛤࠿ࢀࡓసရ࡛࠶ࡿࠋ୍⯡࡟ࡣᗃ㟋≀ㄒ࡜࠸࠺⤂௓ࡢ௙᪉ࢆࡉࢀࡿࡇ࡜ࡶከ࠸ࡇࡢసရࡔࡀࠊ୺ேබ
ࡢࣦ࢞࢓ࢿࢫࡀぢࡓ࡜୺ᙇࡍࡿࣆ࣮ࢱ࣮࣭ࢡ࢕ࣥࢺ࡜࣑ࢫ࣭ࢪ࢙ࢫࣝࡀࠊᮏᙜ࡟ᗃ㟋࡜ࡋ࡚⌧ࢀࡓࡢ࠿࡝࠺࠿ࡉ࠼ᢈホᐙࡢ㛫࡛ࡣពぢࡀ๭ࢀ࡚࠸ࡿࠋSheila Teahan ࡀ࠸ࡳࡌࡃࡶ㏙࡭
࡚࠸ࡿࡼ࠺࡟ࠊThe Turn of the Screw ࡣㄞ⪅ࡀࡇࡢసရࢆᢕᥱࡋ࡚ࠊ࠶ࡿ୍ᐃࡢ᪉ྥ࡟ᅛ
ᐃࡋࡼ࠺࡜ࡍࡿㄞࡳࡑࡢࡶࡢࢆᣄ⤯ࡋ࡚࠸ࡿ࡜ゝ࠼ࡿࡔࢁ࠺(401)ࠋࡇࡢࡇ࡜࡟ࡣࠊㄒࡾࡢ
ᵓ㐀ࡀධࢀᏊᘧ࡛」㞧࡞ࡶࡢ࡟࡞ࡗ࡚࠸ࡿࡇ࡜ࡸࠊ୺せ࡞ㄒࡾᡭ࡛࠶ࡿࣦ࢞࢓ࢿࢫࡀࠊே⏕⤒㦂ࡀὸࡃ⢭⚄ⓗ࡟Ᏻᐃࡋ࡚࠸࡞࠸ࡇ࡜ࠊࡑࡢࡓࡵㄞ⪅ࡀᙼዪࡢㄒࡾ࡟඲ᖜࡢಙ㢗ࢆ⨨ࡁࡀࡓ࠸ࡇ࡜ࠊࡑࡶࡑࡶࣦ࢞࢓ࢿࢫ࡜࠸࠺❧ሙࡀ♫఍ⓗ࡟ᚤጁ࡞఩⨨࡙ࡅ࡟࠶ࡿࡇ࡜࡞࡝ࠊ࠸
ࡃࡘࡶࡢせᅉࢆᣲࡆࡿࡇ࡜ࡀ࡛ࡁࡿࠋ1)ࣦ࢞࢓ࢿࢫࡢᡭグࡣࠊ㉱௵ඛࡢࣈࣛ࢖㑰࡬ྥ࠿࠺୙Ᏻឤ࠿ࡽᖥࢆ㛤ࡅࡿࠋᡭグࡢฟࡔࡋࡣࠊࠕᛮ࠸ฟࡍ࡜ࠊ᭱ึࡢࡇࢁࡣ⯆ዧ࡜Ẽᣢࡕࡢⴠࡕ㎸ࡳࡀἼࡢࡼ࠺࡟㐃㙐ࡋࠊᖹᖖ࡞࡜ࡁ࡜ኚ࡞ື᝘ࡀࡍࡿ࡜ࡁ࡜ࡀ஺஫࡟くࡗ࡚ࡁ࡚ࠊࡲࡿ࡛ࢩ࣮ࢯ࣮࡟ࡢࡗ࡚࠸ࡿࡳࡓ࠸࡛ࡋࡓࠖ2) ࡜ጞࡲࡗ࡚࠸ࡿࠋࣈࣛ࢖࡟╔ࡃ๓࠿ࡽ୙Ᏻឤ࡟ⱔࡲࢀ࡚࠸࡚ࠊ᣺ᖜࡢ኱ࡁ࠸ᚰ⌮≧ἣࡔࡗࡓࡇ࡜ࡀศ࠿ࡿࠋࣈࣛ࢖࡟㉱௵ࡋࡓࣦ࢞࢓ࢿࢫࡣࠊ㑰ෆ࡛ࡶ᭱ࡶ❧ὴ࡞㒊ᒇࡢࡦ࡜ࡘࢆ࠶࡚ࡀࢃࢀࡿࠋ㒊ᒇ࡟ධࡗࡓᙼዪࡀ᭱ึ࡟┠࡟ࡋࡓࡢࡣࠊ኱ࡁࡃ࡚❧ὴ࡞ኳ⵹௜ࡁࡢ࣋ࢵࢻ࡜ጼぢ࡛࠶ࡗࡓࠋ
The large impressive room, one of the best in the house, the great state bed, asI almost felt it, the figured full draperies, the long glasses in which, for the firsttime, I could see myself from head to foot, all struck me—like the wonderfulappeal of my small charge—as so many things thrown in. (80; ch.1)
㙾ࡢ୰࡟ࣦ࢞࢓ࢿࢫࡀぢࡓࡢࡣࠊࡇࢀ࠿ࡽጞࡲࡿ௙஦ࢆ๓࡟ࡋ࡚ࠊ୙Ᏻ࡟࠾ࡢࡢࡃጼࡔࡗࡓ
ࡢ࠿ࡶࡋࢀ࡞࠸ࡋࠊண᝿ࡋ࡚࠸ࡓ௨ୖ࡟ཌ㐝ࡉࢀ࡚࠸ࡿ࡜ࡢ༳㇟ࢆཷࡅ࡚ࡢࠊᏳሚࡢ⾲᝟ࡔࡗࡓࡢ࠿ࡶࡋࢀ࡞࠸ࠋࡋ࠿ࡋࡇࡢ࡜ࡁࠊࣦ࢞࢓ࢿࢫࡣࠕึࡵ࡚⮬ศ⮬㌟ࡢ඲㌟ീࢆぢࡓࠖ࡜࠸࠺஦ᐇࢆ㏙࡭ࡿ࡟࡜࡝ࡲࡗ࡚࠸ࡿࠋ㙾࡟ᫎࡗࡓጼࡀ࡝ࡢࡼ࠺࡟ぢ࠼ࡓࡢ࠿ࡸࠊࡑࡢጼࢆぢ࡚࡝ࡢࡼ࠺࡟ឤࡌࡓࡢ࠿ࠊ࡜࠸ࡗࡓࡇ࡜ࡣ୍ษ㏙࡭ࡽࢀ࡚࠸࡞࠸ࠋࡘࡲࡾࠊࡇࡇ࡛ࡣ࡝ࡢࡼ
࠺࡟⮬ᕫࢆㄆ㆑ࡋࡓࡢ࠿ࠊ࡜࠸࠺Ỵᐃⓗ࡟㔜せ࡞᝟ሗࡀḞࡅ࡚࠸ࡿࡢࡔࠋᗃ㟋ࢆ┠ᧁࡋ࡚௨㝆ࠊࣦ࢞࢓ࢿࢫࡣ⮬ࡽࡢ࿘ᅖ࡛㉳ࡇࡗ࡚࠸ࡿฟ᮶஦ࢆ⌮ゎࡍ࡭ࡃࠊ࡜ࡾࢃࡅᏊ࡝ࡶࡓࡕࡢᵝ1 

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Ꮚ࡟┠ࢆගࡽࡏ࡞ࡀࡽࠊᙼࡽࡢゝື࡟ࡉࡲࡊࡲ࡞ព࿡ࢆㄞࡳ㎸ࢇ࡛࠸ࡃࡇ࡜࡟࡞ࡿࠋࡋ࠿ࡋࠊ
ࡑࡢㄞࡳ㎸ࢇ࡛࠸ࡃ୺య࡜࡞ࡿ࡭ࡁࣦ࢞࢓ࢿࢫ⮬㌟ࡀఱ⪅࡞ࡢ࠿ࠊ࡜࠸࠺ࡇ࡜࡟ࡘ࠸࡚ࠊᙼዪࡣ᭱ᚋࡲ࡛ࡁࡕࢇ࡜ࡋࡓ⮬ᕫㄆ㆑ࢆࡍࡿࡇ࡜ࡀ࡞࠿ࡗࡓࡢ࡛ࡣ࡞࠸ࡔࢁ࠺࠿ࠋసရෆ࡛ࡇࡢ㒊ᒇࡢጼぢ࡟ࡘ࠸࡚ゝཬࡉࢀࡿࡇ࡜ࡣࠊୖグᘬ⏝୰ࡢ୍ᅇࡢࡳ࡛࠶ࡿࠋࡋ࠿ࡋࠊࡇࡢసရ࡟ࡣࠊ㙾ࡸࡑࢀ࡟㢮ࡍࡿ㐨ල❧࡚ࡀ⧞ࡾ㏉ࡋぢࡽࢀࡿ࡜ᣦ᦬ࡍࡿᢈホᐙࡣከ࠸ࠋ3) ᙼዪࡀࡇࡢ࠶࡜ㄒࡗ࡚࠸ࡃࡇ࡜࡟࡞ࡿࢡ࢕ࣥࢺࡸࢪ࢙ࢫࣝࡢᗃ㟋ࡣࠊ㙾ࡢ୰࡛ࡣ࡜ࡽ࠼ࡁࢀ࡞࠿ࡗࡓ⮬ᕫീࡢ཯ᫎ࡜ࡋ࡚⪃࠼ࡿࡇ࡜ࡀ࡛ࡁࡿࡢ࡛ࡣ࡞࠸ࡔࢁ࠺࠿ࠋࢡ࢕ࣥࢺࡸࢪ࢙ࢫࣝࡢᏑᅾࡣࠊ࠶࠸ࡲ࠸࡛୺యᛶࡀ☜❧࡛ࡁ࡚࠸࡞࠸ࣦ࢞࢓ࢿࢫ⮬㌟ࢆᢞᙳࡋࡓࡶࡢ࡛࠶ࡿ࡜ゝ࠺ࡇ࡜ࡀ࡛ࡁࡑ࠺࡛࠶ࡿࠋࣦ࢞࢓ࢿࢫࡀ࡝ࡢࡼ࠺࡞ே≀࡛࠶ࡗࡓࡢ࠿࡟ࡘ࠸࡚ࠊ௚ࡢⓏሙே≀࠿ࡽࡢゝཬࡀࡲࡗࡓࡃ࡞࠸ࢃࡅ࡛ࡣ࡞࠸ࠋࢲࢢࣛࢫࡣᙼዪࡢࡇ࡜ࢆࠕ൅ࡀ▱ࡗ࡚࠸ࡿࣦ࢞࢓ࢿࢫ࡜࠸࠺❧ሙ࡟࠶ࡿዪᛶ࡜ࡋ࡚ࡣࠊࡶࡗ࡜ࡶ㨩ຊⓗ࡛ࠊఱ࡛࠶ࢀࡶࡗ࡜ࡶ⣲ᬕࡽࡋ࠸ேࡔࡗࡓࠖ(73; prol.)࡜
㏙࡭࡚࠸ࡿࠋࡉࡽ࡟ࣈࣛ࢖㑰ࡢᐙᨻ፬ࠊࢢ࣮ࣟࢫኵேࡣࠊࣦ࢞࢓ࢿࢫࡀࠕⱝࡃ࡚⨾ࡋ࠸ࠖ(87;ch.2)࡜௎ࡵ࠿ࡋ࡚࠸ࡿࠋࡋ࠿ࡋࠊ࠸ࡎࢀࡢⓎゝࡶ₍↛࡜ࡋ࡚࠸࡚ࠊࣦ࢞࢓ࢿࢫࡢጼࡀලయⓗ࡞ീࢆకࡗ࡚ᾋ࠿ࡪࡇ࡜ࡣ࡞࠸ࠋࡑࡢ௦ࢃࡾㄞ⪅ࡣࠊᚋ㏙ࡍࡿࡼ࠺࡟ࠊࣦ࢞࢓ࢿࢫࡀㄒࡗ࡚࠸ࡃ௚ࡢⓏሙே≀ࡓࡕ࡟ࣦ࢞࢓ࢿࢫീࡢ཯ᫎࡢ୍➃ࢆぢฟࡍࡇ࡜ࡀ࡛ࡁࡿࠋゝࡗ࡚ࡳࢀࡤࠊᗃ㟋ࡓࡕࡶྵࡵ࡚ࣈࣛ࢖ࡢఫேࡓࡕࡣࠊࣦ࢞࢓ࢿࢫࡢጼࡸᚰቃࢆᫎࡋฟࡍ㙾ࡢᙺ๭ࢆᯝࡓࡋ࡚࠸ࡿࡢࡔࠋᮏ✏ࡣࡇ࠺ࡋࡓ๓ᥦ࡟❧ࡗ࡚ࠊࣦ࢞࢓ࢿࢫࡢ⮬ᕫ⌮ゎࡢ࠶࠸ࡲ࠸ࡉࡸᙼዪࡀᑐᓖࡍࡿࡇ࡜࡟࡞ࡿᜍᛧ࡟ࡘ࠸࡚⪃࠼࡚࠸ࡃࠋ
1. ぢࡿࡇ࡜/ぢ࡞࠸ࡇ࡜ࡢᜍᛧࣦ࢞࢓ࢿࢫࡀࣈࣛ࢖ࡢᩜᆅෆ࡟࠶ࡿụ㉺ࡋ࡟ึࡵ࡚ࢪ࢙ࢫࣝࡢጼࢆ┠ᧁࡋࡓ࡜ࡁࠊᙼዪࡣࣇ࣮ࣟࣛࡶࢪ࢙ࢫࣝࢆぢࡓ࡟㐪࠸࡞࠸ࡢ࡟ࠊࡑࡢ஦ᐇࢆࡦࡓ㞃ࡋ࡟ࡋ࡚࠸ࡿ࡜☜ಙࡍࡿࠋࡇࡢ࡜ࡁࡢࡇ࡜ࢆࢢ࣮ࣟࢫኵே࡟࿌ࡆࡓ࡜ࡁࠊࣦ࢞࢓ࢿࢫࡣኵே࡜ḟࡢࡼ࠺࡞ࡸࡾྲྀࡾࢆ
஺ࢃࡍࠋ
‘Because I’m clear. Flora doesn’t want me to know.’‘It’s only, then, to spare you.’‘No, no—there are depths, depths! The more I go over it the more I see in it, andthe more I see in it the more I fear. I don’t know what I don’t see, what I don’t fear!!
Mrs Grose tried to keep up with me. ‘You mean you’re afraid of seeing her again?’‘Oh no; that’s nothing—now!’ Then I explained. ‘It’s of not seeing her.’But my companion only looked wan. ‘I don’t understand.’‘Why, it’s that the child may keep it up—and that the child assuredly will—
without my knowing it.’ (115; ch.7)2 
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 ࣦ࢞࢓ࢿࢫࡢⓎゝࡢ୰࡟ぢࡽࢀࡿẚ㍑⣭ࢆ⏝࠸ࡓ␚ࡳ࠿ࡅࡿࡼ࠺࡞ᵓᩥ࡟ࠊࡇࡢ࡜ࡁࡢᙼዪࡢᜍᛧ࡜⯆ዧࡀぢ࡚ྲྀࢀࡿࠋࡇࡇ࡟ࡣࠊ௒ᚋࡶࢪ࢙ࢫࣝࡀᙼዪࡢ๓࡟⌧ࢀࡿ࡛࠶ࢁ࠺࡜࠸࠺ணࡀྵពࡉࢀ࡚࠸ࡿ࡜࡜ࡶ࡟ࠊࢪ࢙ࢫࣝࢆ┠ᧁࡍࡿࡇ࡜࡟≉ᐃࡢព࿡̿̿ࣇ࣮ࣟࣛ࡜ࢪ࢙ࢫࣝࡢ༴㝤࡞஺ಙ̿̿ࢆ௜୚ࡋࡼ࠺࡜ࡍࡿᙼዪࡢែᗘࡀ᫂ⓑ࡟⾲᫂ࡉࢀ࡚࠸ࡿࠋࡅࢀ
࡝ࡶࠊࢢ࣮ࣟࢫኵேࡣࠕぢࡿࡇ࡜ࠖ࡜ࠕぢ࡞࠸ࡇ࡜ࠖࢆ୪⨨ࡍࡿࣦ࢞࢓ࢿࢫࡢⓎゝࡢពᅗࢆཷࡅṆࡵࡁࢀࡎ࡟ΰ஘ࡋ࡚ࡋࡲࡗ࡚࠸ࡿࡼ࠺࡛࠶ࡿࠋࡇࡢ࡜ࡁࡢ఍ヰ࡟ࡘ࠸࡚ࡣ➨༑୕❶࡛෌ࡧゝཬࡉࢀ࡚࠸ࡿࠋࡑࢀ࡟ࡼࡿ࡜ࠊࣦ࢞࢓ࢿࢫࡀッ࠼ࡓ࠿ࡗࡓࡇ࡜ࡣࠊࠕ⚾ࡣ᭱ᝏࡢࡇ࡜࡟ࡶྥࡁྜ࠺ぬᝅࡀ࡛ࡁ࡚࠸ࡲࡋࡓࠋ⚾ࡀ࠶ࡢ᫬ឤࡌࡓᜍࢁࡋࡉ࡜ࡣࠊᏊ࡝ࡶࡓࡕࡢ┠ࡣぢ㛤࠿ࢀ࡚࠸ࡿࡢ࡟ࠊ⚾ࡢ┠ࡀᑒ༳ࡉࢀ࡚ぢ࠼࡞࠸ࡇ࡜ࡔࡗࡓࡢ࡛ࡍࠖ(146; ch.13)࡜ㄝ᫂ࡉࢀ࡚࠸ࡿࠋࡘࡲࡾࠊᙼዪࡢ┘どࡢ┠ࡀ⾜ࡁᒆ࠿࡞࠸ሙᡤ࡛ࠊᏊ࡝ࡶࡓࡕࡀᗃ㟋࡜᥋ゐࡍࡿࡇ࡜ࡇࡑࡀᜍࢁࡋ࠸࡜㏙࡭࡚࠸ࡿࡢ࡛࠶ࡿࠋࣦ࢞࢓ࢿࢫᮏேࡢ┠࡟ぢ࠼࡞ࡅࢀࡤࠊࡑࡇ࡟ఱࡽ࠿ࡢព࿡ࢆㄞࡳ㎸ࡴࡇ࡜ࡶ࡛ࡁ࡞ࡃ࡞ࡗ࡚ࡋࡲ࠺ࠋ
ࡋࡓࡀࡗ࡚ࠊᙼዪࡀࡍ࡭࡚ࢆᘬࡁཷࡅࠊࡍ࡭࡚ࢆぢ࡞ࡅࢀࡤ࡞ࡽ࡞࠸ࠊ࡜࠸࠺ࢃࡅ࡛࠶ࡿࠋࡇ࠺ࡋ࡚ࠊࠕ⚾ࡀぢࢀࡤぢࡿ࡯࡝ࠊᏊ࡝ࡶࡓࡕࡣぢ࡞ࡃ࡚ࡍࡴࡔࢁ࠺ࠖ(111; ch.6)࡜࠸࠺⌮ᒅ࡛ࠊᏊ࡝ࡶࡓࡕ࡬ࡢཝࡋ࠸⑓ⓗ࡞ࡲ࡛ࡢほᐹࡀ㛤ጞࡉࢀࡿࡼ࠺࡟࡞ࡿࠋࡑࡋ࡚ࠊࣦ࢞࢓ࢿࢫࡣ⮬ࡽࡢ┠࡛ぢࡓࡇ࡜࡟ᙼዪ࡞ࡾࡢゎ㔘ࢆຍ࠼ࠊࡑࡇ࡟ᜍᛧ࡟ᙬࡽࢀࡓ⊂⮬ࡢ≀ㄒࢆㄞࡳ㎸ࢇ࡛࠸ࡃࡢ࡛࠶ࡿࠋ
ࣦ࢞࢓ࢿࢫࡣࢪ࢙ࢫࣝࡢពᅗ࡟ࡘ࠸࡚ࠊࣇ࣮ࣟࣛࢆࠕࡀࡗࡕࡾ࡜ᤕࡲ࠼࡚࠾ࡃ/ᢕᥱࡍࡿࡇ࡜(“To get hold of her”)ࠖ(116; ch.7)ࡔ࡜᩿ᐃࡋ࡚࠸ࡿࠋᙼዪࡀぢᐃࡵࡓᗃ㟋ࡓࡕࡢពᅗ࡟ᑐࡋ࡚ࠊࣦ࢞࢓ࢿࢫ⮬㌟ࡶࡲࡓᏊ࡝ࡶࡓࡕࢆ┘どୗ࡟⨨࠸࡚ࠕࡀࡗࡕࡾᤕࡲ࠼ࡿ/ᢕᥱࡍࡿࠖࡇ࡜࡛ᑐᢠࡋࡼ࠺࡜ࡋࡓࠋᙼዪࡀࡋࡤࡋࡤぢࡏࡿࠊᏊ࡝ࡶࡓࡕࢆᢪࡁࡋࡵࡿ⾜Ⅽࡣࠊឡ᝟⾲⌧࡛࠶ࡿ௨ୖ࡟ࠊᙼࡽࢆࠕᤕࡲ࠼/ᢕᥱࡋࠖᨭ㓄ୗ࡟⨨ࡇ࠺࡜ࡍࡿḧᮃࡢ⾲ࢀ࡛ࡶ࠶ࡿࡢࡔࠋ2㸬≀ㄒࢆㄒࡿ⾜Ⅽ࡜ỿ㯲㞠࠸୺࡟ࡼࡗ࡚㉱௵ඛ࡛ࡢࠕ᭱㧗ࡢᶒ㝈ࠖ(76; prol.)ࢆ௵ࡉࢀࡓࣦ࢞࢓ࢿࢫࡣࠊࣈࣛ࢖࡛
ࡢ⏕ά࡟ࡘ࠸࡚ࠊࠕ⚾ࡓࡕࡣࠊ⁻ὶࡍࡿᕧ኱࡞⯪࡟࡞ࡍࡍ࡭ࡶ࡞ࡃṧࡉࢀࡓࢃࡎ࠿࡞஌ᐈࡢࡼ࠺࡟ᛮ࠼ࡓࡶࡢ࡛ࡋࡓࠋࡑࡋ࡚ࠊ࡞ࡐࡔ࠿⚾ࡀࡑࡢ⯪ࡢ⯦ࢆᥱࡗ࡚࠸ࡓࡢ࡛ࡍࠖ(83; ch.1)࡜⾲⌧ࡋ࡚࠸ࡿࠋࣈࣛ࢖ࢆ⁻ὶ⯪࡟౛࠼ࡿࡇ࡜࡛ࠊ୙Ẽ࿡ࡉࡸ୙Ᏻឤࢆᙉㄪࡍࡿ୍᪉ࠊ⮬ࡽࡀ୰ᚰ࡜࡞ࡗ࡚ࣈࣛ࢖ࡢ⏕άࢆᅇࡋ࡚࠸ࡃࡇ࡜࡬ࡢᙼዪࡢᙉ࠸⮬㈇ᚰࡀ࠺࠿ࡀ࠼ࡿࠋࡇࡢ
ࠕ⯦ྲྀࡾࠖࡢ㞃႘ࡣࠊ➨஧༑஧❶࡛ࡶ෌ࡧྲྀࡾୖࡆࡽࢀࡿࠋࢢ࣮ࣟࢫኵே࡜ࣇ࣮ࣟࣛࡀࣈࣛ࢖ࢆཤࡗࡓࡇ࡜࡛ືᦂࡍࡿ௚ࡢ౑⏝ேࡓࡕ࡟ᑐࡋ࡚ࠊ⮬ࡽࡢጾಙࢆಖࡘࡓࡵࠊࣦ࢞࢓ࢿࢫࡣ
ࠕ⯦࡟ࡋࡀࡳࡘࡁࠖ(187; ch.22)ᒇᩜෆࢆ㜏Ṍࡍࡿࠋࣦ࢞࢓ࢿࢫ࡟ࡣࡇࡢࡼ࠺࡞ᶒጾ୺⩏ⓗ࡞ഃ㠃ࡀぢࡽࢀࡿ཯㠃ࠊ⮬ࡽࢆ࣐ࣟࣥࢫࡢࣄࣟ࢖ࣥ࡟࡞ࡒࡽ࠼ࡼ࠺࡜ࡋ࡚࠸ࡓࡇ࡜ࡣࠊ᪩࠸ẁ㝵࠿ࡽ᫂ࡽ࠿࡛࠶ࡿࠋᙼዪࡣࠕࣁࣥࢧ࣒࡛኱⫹࡛ឤࡌࡢࡼ࠸ࠖ(75; prol.) 㞠࠸୺ࡢ⤀ኈ࡟៿ࢀࢆᢪࡁࡘࡘࣈࣛ࢖࡟㉱௵ࡋࡓࠋ୍᪥ࡢ௙஦࠿ࡽゎᨺࡉࢀ࡚ࠊኤᬽࢀࡢᗞᅬࢆ୍ேᩓ⟇ࡍ3 ࡿ࡜ࡁࠊᙼዪࡣࠕࢫࢸ࢟࡞≀ㄒࠖࡢࡼ࠺࡟㞠࠸୺࡜ࡢᛮ࠸ࡀࡅ࡞࠸෌఍࡜ᜊឡ࡬ࡢⓎᒎࢆክぢ࡚࠸ࡿࡢࡔࠋ
One of the thoughts that, as I don’t in the least shrink now from noting, used to
be with me in these wanderings was that it would be as charming as a charming
story suddenly to meet some one. Some one would appear there at the turn of apath and would stand before me and smile and approve. I didn’t ask more than
that—I only asked that he should know; and the only way to be sure he knew
would be to see it, and the kind light of it, in his handsome face. (92; ch.3)✵᝿ࡢ୰࡛ᙼዪࡣࠊ㞠࠸୺࡟ㄆࡵ࡚ࡶࡽ࠸ࡓ࠸࡜㢪࠺ࡀࠊࡑࡢࡓࡵ࡟ࡣᙼࡢ㢦࡟ᢎㄆࡢගࢆࠕぢࡿࠖࡇ࡜ࡀᚲせࡔ࡜⪃࠼࡚࠸ࡿⅬࢆぢ㏨ࡍ࡭ࡁ࡛ࡣ࡞࠸ࠋPriscilla L. Walton ࡣࠊど⥺ࡣࢭࢡࢩࣗ࢔ࣜࢸ࢕࡜ᨭ㓄ḧࡢᣦᶆ࡟࡞ࡿ࡜ᣦ᦬ࡋ࡚࠸ࡿࡀ (353) ࠊ㞠࠸୺࠿ࡽㄆ▱ࡋ࡚ࡶࡽ࠺ᑐ㇟࡜ࡋ࡚ࡔࡅ࡛࡞ࡃࠊ⮬ࡽࡶぢࡿ୺య࡜ࡋ࡚つᐃࡋࡼ࠺࡜ࡋ࡚࠸ࡿࣦ࢞࢓ࢿࢫ࡟ࡶࠊࢭࢡࢩࣗ࢔ࣜࢸ࢕࡜ᨭ㓄ḧࡀ ᕳ࠸࡚࠸ࡿࡇ࡜ࡀᬯ♧ࡉࢀ࡚࠸ࡿࠋ┤ᚋ࡟ᙼዪࡣࠊሪࡢୖ࡟ேࡢጼࢆㄆࡵࠊࡢࡕ࡟ࢡ࢕ࣥࢺ࡜ศ࠿ࡿࡇࡢே≀࠿ࡽࠊᙉⅯ࡞ど⥺ࢆᾎࡧࡏࡽࢀࡿࠋ✺ዴ࡜ࡋ࡚จどࡢᑐ㇟࡟ࡉࢀࡓࢃࡅࡔࡀࠊࡇࡢ࡜ࡁࡢᙼዪࡣ༢࡞ࡿᐈయ࡬࡜㈘ࡵࡽࢀࡓࡢ࡛ࡣ࡞࠸ࡇ࡜࡟ὀ┠ࡋࡓ࠸ࠋ࡜࠸࠺ࡢࡶࠊᙼዪࡶࡲࡓ⏨ࢆࡦࡓ࡜ぢᤣ࠼ࡿࡇ࡜࡛ࠊ஧ேࡣࠕ࠾
஫࠸࡟ࡲࡗࡍࡄ࡞ど⥺(“our straight mutual stare”)ࠖ(94; ch.3)ࢆ஺ࢃࡋ࡚࠸ࡿࡢ࡛࠶ࡿࠋ
ࣦ࢞࢓ࢿࢫࡣぢ㏉ࡍࡇ࡜ࢆ㏻ࡌ࡚ࠊ⏨ࡢど⥺࡟᢬ᢠࢆ♧ࡍࡢࡔࠋ࣐ࣟࣥࢫ࡟ᙬࡽࢀࡓᙼዪࡢ✵᝿ࡣࠊࢡ࢕ࣥࢺ࡜ᑐᓖࡋࡓ┤ᚋ࡟ࠕࣘࢻࣝࣇ࢛ࡢㅦࠊࡉࡶ࡞ࡃࡤୡ㛫࠿ࡽ㞃ࡉࢀࡓ≬Ẽࡢぶ᪘ࡀே▱ࢀࡎ┘⚗ࡉࢀ࡚࠸ࡿࠖ࡜࠸ࡗࡓࠕ⛎ᐦࠖ(95; ch4)ࡀ
ࣈࣛ࢖࡟ࡶ࠶ࡿࡢ࡛ࡣ࡜ᛮ࠸ࢆᕠࡽࡍ࡜ࡁࡶ㢧ⴭ࡟࡞ࡿࠋࡇࡢ࡜ࡁᙼዪࡀᛮ࠸ᾋ࠿࡭ࡿ┘⚗ࡉࢀࡓぶ᪘ࡢ࢖࣓࣮ࢪࡣࠊ᫂ࡽ࠿࡟ࣦ࢞࢓ࢿࢫᩥᏛࡢ௦⾲ⓗసရ࡛࠶ࡿ Charlotte Brontë(1816-55)ࡢ Jane Eyre (1847) ࢆᛕ㢌࡟⨨࠸࡚࠸ࡿࠋ4) The Turn of the Screw ࡢࣦ࢞࢓ࢿࢫࢆᢚᅽࡉࢀࡓዪᛶᛶࡢ㇟ᚩ࡜ぢࡿᕝᮏ㟼Ꮚࡣࠊࠕࣦ࢞࢓ࢿࢫ࡜㞠࠸୺ࡢᜊឡ࡜⤖፧ࢆ୺㢟࡟ࡋࡓࣦ࢞࢓ࢿࢫᩥᏛ࡜࠸࠺ᩥ໬⿦⨨ࠖࡀᙼዪࡢព㆑ࡢ⫼ᬒ࡟࠶ࡗࡓ࡜ᣦ᦬ࡋ࡚࠸ࡿ(191)ࠋ
ᙼዪࡀࠊᩘࠎࡢⱞ㞴ࢆ஌ࡾ㉺࠼࡚᭱⤊ⓗ࡟㞠࠸୺࡛࠶ࡿࣟࢳ࢙ࢫࢱ࣮࡜⤖ࡤࢀࡓࢪ࢙࢖࣭࢚ࣥ࢔࡟⮬ࡽࡢ㐠࿨ࢆ㔜ࡡྜࢃࡏ࡚࠸ࡿ࡜ࡍࡿ࡞ࡽࡤࠊࢪ࢙࢖ࣥࡀ⮬ࡽࡢ༙⏕ࢆ᣺ࡾ㏉ࡗ࡚ㄒࡗ࡚࠸ࡿࡢ࡜ྠᵝ࡟ࠊᙼዪࡶ⮬ࡽࡢ≀ㄒࢆᥥࡁฟࡑ࠺࡜ࡋ࡚࠸ࡿ࡜ゝ࠼ࡿࡢ࡛ࡣ࡞࠸ࡔࢁ࠺࠿ࠋ5) ࡓࡔࡋࠊࢪ࢙࢖ࣥࡀᖾࡏࢆ຾ࡕᚓࡓ຾฼⪅࡜ࡋ࡚ࡢ❧ሙ࠿ࡽㄒࡗ࡚࠸ࡿࡢ࡟ᑐࡋ࡚ࠊࡇࡢసရࡢࣦ࢞࢓ࢿࢫࡣࠊᜊឡឤ᝟ࢆᡂᑵࡍࡿࡇ࡜ࡶࠊࣦ࢞࢓ࢿࢫ࡜ࡋ࡚ࡢ⫋ົࢆ඲࠺ࡍࡿࡇ࡜ࡶ࠿࡞ࢃ࡞࠿ࡗࡓኻᩋ⪅࡜࠸࠺❧ሙ࠿ࡽㄒࡿ࡜࠸࠺ࠕࡡࡌࡢࡦࡡࡾࠖࡀຍ࠼ࡽࢀ࡚࠸ࡿࠋࡑࢀ࡛ࡶࠊ⮬ࡽࡀ୺ேබ࡜࡞ࡿ≀ㄒࢆ᭩࠸࡚グ㘓ࡍࡿ࡜࠸࠺⾜Ⅽࡣࠊᙼዪ࡟࡜ࡗ࡚୺యᛶࡀⓎ᥹࡛ࡁࡿ⤯ዲࡢᶵ఍࡛࠶ࡗࡓ࡜ゝ࠼ࡼ࠺ࠋࣈࣛ࢖࡛ࡣኻᩋ࡟⤊ࢃࡗࡓࠕ⯦ྲྀࡾ࡛ࠖ࠶ࡿࡀࠊᡭグࡢ୰࡛ࡣࠊᙼዪࡀ⮬㌟ࡢゎ㔘ࢆ᥎ࡋ㐍ࡵࠊ≀ㄒࢆ⏕ࡳฟࡍࡇ࡜ࡀ࡛ࡁࡿࠋࡔ࠿4    ࡽࡇࡑࠊᡭグࢆ᭩ࡁ㐍ࡵ࡚࠸ࡃ࡟ࡘࢀࠊࣦ࢞࢓ࢿࢫࡣࠕ࠶ࡢ᫬ࡢⱞࡋࡳࢆ㏣య㦂ࡏࡡࡤ࡞ࡽ࡞࠸ࠖࡇ࡜ࢆᛮ࠺࡜ࠕᮏᙜࡣヰࢆ㐍ࡵࡓࡃ࡞࠸ࠖ(127; ch.9)࡜㏙࡭࡞ࡀࡽࡶࠊᡭグࢆ᭩ࡃࡇ࡜ࢆࡸࡵࡼ࠺࡜ࡣࡋ࡞࠸ࡢ࡛࠶ࡿࠋᡭグࡣࡲࡓࠊ⮬㌟ࢆᘚㆤࡋࠊࡑࡢṇᙜᛶࢆ୺ᙇ࡛ࡁࡿሙ
࡜ࡶ࡞ࡿࠋඛ㏙ࡋࡓࡼ࠺࡟ࠊᙜึ࠿ࡽࣈࣛ࢖ࡀࠕ⁻ὶ⯪ࠖ࡟౛࠼ࡽࢀ࡚࠸ࡓࡢࡶࠊᙼዪࡀࠕ⯦ྲྀࡾࠖࢆ௵ࡉࢀࡓ᫬Ⅼ࡛ࠊࡍ࡛࡟㞴◚࡟⮳ࡿࡇ࡜ࡣỴᐃⓗࡔࡗࡓ࡜ໝࢃࡏࡿࡓࡵ࡛ࡶ࠶ࡗࡓ࡜ᛮࢃࢀࡿࠋࡘࡲࡾࠕ⁻ὶ⯪ࠖࡢ࢖࣓࣮ࢪࢆ⏝࠸ࡿࡇ࡜࡛⮬㌟ࢆṇᙜ໬ࡋࠊ㈐௵ࢆ㏨ࢀࡼ࠺
࡜ࡋ࡚࠸ࡿࡢࡔࠋࣦ࢞࢓ࢿࢫࡀࣈࣛ࢖࡛ࡢయ㦂ࢆᡭグ࡟ṧࡍ࡜࠸࠺⾜Ⅽࡣࠊࠕ⯦ྲྀࡾࠖ࡟ኻ
ᩋࡋ࡚ᡴࡕ○࠿ࢀࡓᙼዪ⮬㌟ࡢ⮬ᑛᚰࡸ୺యᛶࢆᅇ᚟ࡍࡿࡓࡵࡢ⾜Ⅽ࡛ࡶ࠶ࡗࡓࡢ࡛࠶ࡿࠋ
㛗࠸ᖺ᭶ࡀ⤒ࡕࠊࡑࡢᡭグࡢᏑᅾࡀࢲࢢࣛࢫ࡟ࡼࡗ࡚௎ࡵ࠿ࡉࢀࡓ࡜ࡁࠊ⫈⾗࡜࡞ࡿேࡓ
ࡕࡀࡲࡎ㛵ᚰࢆᐤࡏࡓࡢࡀࠊ᭩ࡁᡭࡢࣦ࢞࢓ࢿࢫࡀࠕᜊࢆࡋ࡚࠸ࡓࠖ(73; prol.)ࡇ࡜ࡔࡗࡓ
࡜࠸࠺ࡢࡣ⯆࿡῝࠸ࠋ࣐ࣟࣥࢫࡢࣄࣟ࢖ࣥ࡟⮬ࡽࢆ࡞ࡒࡽ࠼ࡿ࡜࠸࠺ࣦ࢞࢓ࢿࢫࡢࡦࡑ࠿
࡞㢪ᮃࡣࠊᡭグࢆṧࡍࡇ࡜࡟ࡼࡗ࡚ࡘ࠸࡟ᡂᑵࡉࢀࡓ࡜ࡶゝ࠼ࡿࡢࡔࠋࣦ࢞࢓ࢿࢫ࡜ᗃ㟋ࡀ㐼㐝ࡍࡿሙ㠃ࡣࠊᙉⅯ࡞ど⥺࡟ຍ࠼࡚ࠊ୍▐࡟ࡋ࡚࿘ᅖࡢ≀㡢ࡀᾘ࠼ࠊỿ㯲ࡀゼࢀࡓࡇ࡜࡟ࡼࡗ࡚ࡶ≉ᚩ࡙ࡅࡽࢀࡿࠋ
It was as if, while I took in what I did take in, all the rest of the scene had beenstricken with death. I can hear again, as I write, the intense hush in which thesounds of evening dropped. The rooks stopped cawing in the golden sky and thefriendly hour lost for the unspeakable minute all its voice. But there was noother change in nature, unless indeed it were a change that I saw with astranger sharpness. The gold was still in the sky, the clearness in the air, andthe man who looked at me over the battlements was as definite as a picture ina frame. (93; ch.3)ࡑࢀࡲ࡛ࡢ⨾ࡋ࠸ኤᬽࢀࡢගᬒࡀࠊࠕ㢠⦕ࡢ୰ࡢ⤮ࠖࡢࡼ࠺࡟ࠊ࿘ᅖࡀ㡢࡜᫬㛫ࡢὶࢀࢆኻ࠸ࠊṚࡢⰍྜ࠸ࢆᖏࡧࡓ㟼Ṇ⏬࡟ኚࢃࡗࡓࡼ࠺࡟ᛮ࠼ࡓࡢࡣࠊࣦ࢞࢓ࢿࢫᮏேࡶ༙ࡤẼ࡙࠸࡚࠸ࡿࡼ࠺࡟ࠊ㢼ᬒ⮬య࡟ኚ໬ࡀ࠶ࡗࡓ࠿ࡽ࡛ࡣ࡞࠸ࠋኚࢃࡗࡓࡢࡣࠊ࿘ᅖࢆぢࡿ୺య࡜ࡋ࡚ࡢᙼዪࡢㄆ㆑ࡢ࠶ࡾࡼ࠺࡛࠶ࡿࠋぢࡿ⪅ࡢᚰቃ࡟ࡼࡗ࡚ࠊ▱ぬࡢ࡜ࡽ࠼᪉ࡀኚࢃࡗ࡚ࡃࡿྍ⬟ᛶ࡟ࠊࡇࢀ௨㝆ࡢࣦ࢞࢓ࢿࢫࡣࡶࡗ࡜ὀពࢆᡶࡗ࡚ࡶࡼ࠸ࡣࡎ࡛࠶ࡗࡓࠋࡋ࠿ࡋࠊᙼዪࡣᗃ㟋࡟㐼㐝ࡋ࡚௨᮶ࠊᏊ࡝ࡶࡓࡕࡀᙼዪࢆḭࡁ࡞ࡀࡽࠊᙼࡽ࡜ぶࡋࡃ஺ࢃࡗ࡚࠸ࡿ࡜࠸࠺ゎ㔘࡟㣕ࡧࡘ࠸࡚ࡋࡲ࠺ࠋࡑࡋ࡚ࠊࡇࡢ๓ᥦ࡟❧ࡗ࡚ᵝࠎ࡞ព࿡ࢆㄞࡳ㎸ࢇ࡛࠸ࡃࡇ࡜࡛ࠊ௚ࡢព࿡ࡀ࠶ࡿ࠿ࡶࡋࢀ࡞࠸࡜࠸࠺ྍ⬟ᛶ࡟ࡣ┠ࢆࡘࡪࡗ࡚ࡋࡲ࠺ࠋ⏫⏣ࡳ࡝ࡾࡶᣦ᦬ࡋ࡚࠸ࡿࡼ࠺࡟ࠊࣦ࢞࢓ࢿࢫࡣࠕ⌧ᐇࡢ୰࡟ព࿡ࢆࠗㄞࡳ㎸ࡴ࠘ࡇ࡜࡟ࡼࡗ࡚ࠊ⌧ᐇࡢ᪉ࢆ⮬ศࡢどⅬ࡟ࡼࡿゎ㔘࡟ྜ⮴ࡉࡏࡼ࠺࡜ࡋ࡚࠸ࡿࠖ(70)ࡢ࡛࠶ࡿࠋỿ㯲࡜จど࡟≉ᚩ࡙ࡅࡽࢀࡿᗃ㟋ࡓࡕ࡜ࡢ㑍㏪ࡢሙ㠃ࡣࠊࣦ࢞࢓ࢿࢫࡀᏊ࡝ࡶࡓࡕ࡟␲ᛕࢆྥࡅ࡞ࡀࡽࡶࠊࡑࡢࡇ࡜ࡣ
ཱྀ࡟ࡏࡎࠊὀどࡋ࡚࠸ࡃᵝ࡜┦ఝࡢ㛵ಀ࡟࠶ࡿ࡜ࡶゝ࠼ࡿࡔࢁ࠺ࠋࣦ࢞࢓ࢿࢫࡀᏊ࡝ࡶࡓࡕ5 ࡟ᑐࡋ࡚ྲྀࡿࡇ࡜࡟࡞ࡿᇶᮏⓗ࡞ጼໃࡀࠊᗃ㟋ࡢⓏሙሙ㠃࡟᭱ึ࠿ࡽ≉ᚩ࡙ࡅࡽࢀ࡚཯ᫎࡉࢀ࡚࠸ࡿࡢ࡛࠶ࡿࠋ ⌧ᐇࢆㄆ㆑ࡍࡿ㝿ࡢ୙☜ᐇᛶࡣࠊ࣐࢖ࣝࢬ࡟ࡼࡗ࡚ࣦ࢞࢓ࢿࢫ࡟┤᥋ᣦ᦬ࡉࢀ࡚ࡶ࠸ࡿࠋ
I went in with my light and found him in bed, very wide awake but very muchat his ease. ‘Well, what are you up to?’ he asked with a grace of sociability inwhich it occurred to me that Mrs Grose, had she been present, might havelooked in vain for proof that anything was ‘out’.
I stood over him with my candle. ‘How did you know I was there?’‘Why of course I heard you. Did you fancy you made no noise? You’re like atroop of cavalry!’ he beautifully laughed. (162; ch.17)ࡇࡢ࡜ࡁࡢࣦ࢞࢓ࢿࢫࡣኪࡢぢᅇࡾ⾜Ⅽࡢ᭱୰࡛ࠊᡬࢆ㝸࡚࡚࣐࢖ࣝࢬࡢᵝᏊࢆ᥈ࢁ࠺࡜
ࡋ࡚࠸ࡓࠋࡋࡓࡀࡗ࡚ᙼዪ⮬㌟࡟ࡣࠊ≀㡢ࢆ❧࡚࡚࠸ࡿ࡜࠸࠺ㄆ㆑ࡀ࡞࠿ࡗࡓ࡟㐪࠸࡞࠸ࠋࠕ㥽ර㝲ࡳࡓ࠸ࠖ࡞㡢ࡀࡋ࡚࠸ࡓ࡜ゝ࠺࣐࢖ࣝࢬࡢ཯ᛂࡣࠊࣦ࢞࢓ࢿࢫ࡟࡜ࡗ࡚ࠊ⮬㌟ࡢㄆ
㆑࡜௚ேࡢㄆ㆑࡟ࡣࢬࣞࡀ࠶ࡿ࡜࠸࠺ࡇ࡜ࢆẼ࡙࠿ࡏࠊ᜛ពⓗ࡞ゎ㔘ࢆಟṇ࡛ࡁࡿ⤯ዲࡢࢳࣕࣥࢫࡔࡗࡓࡣࡎ࡛࠶ࡿࠋࡋ࠿ࡋࡇࡢ࡜ࡁࡶࠊࣦ࢞࢓ࢿࢫࡣ࣐࢖ࣝࢬࡢែᗘ࡟ぢ࠼ࡿࠕぶࡋࡳࡸࡍ࠸ୖရࡉࠖࡣࠊ༢࡟࠺ࢃ࡭ࢆྲྀࡾ⧋ࡗ࡚࠸ࡿࡔࡅࡔ࡜ゎ㔘ࡍࡿࠋࡑࡋ࡚ᙼࡢࠕ⏦ࡋศ࡞ࡃ᫂ࡿ࠸ཱྀㄪࠖࡣࠕ୙⮬↛࡞ࡲ࡛࡟Ꮚ࡝ࡶࡗࡱ࠸ᝒ๻ࠖ(165)࡬࡜ࠊ⮬ࡽࡀᛮ࠸ᥥࡃ≀ㄒ࡟ᚑࡗ࡚ㄞࡳ᭰࠼ࡽࢀ࡚ࡋࡲ࠺ࡢࡔࠋ┤ᚋ࡟ࣦ࢞࢓ࢿࢫࡣࠊᙼࢆኻ࠺ࡲ࠸࡜࣐࢖ࣝࢬࢆᢪࡁࡋࡵࡿࠋ๓⠇࡛ࡶゝཬࡋࡓࡇ࠺ࡋࡓ⾜Ⅽࡣࠊ⮬ࡽࡢゎ㔘ࡢᯟ⤌ࡳࡢ୰࡟Ꮚ࡝ࡶࡓࡕࢆ㛢ࡌ㎸ࡵࠊᣊ᮰ࡍࡿ㇟ᚩⓗ࡞ព࿡ྜ࠸ࡀ࠶ࡿ࡜࡜ࡶ࡟ࠊ✲ᴟⓗ࡟ࡣ᭱ᚋࡢሙ㠃࡟ぢࡽࢀࡿࡼ࠺࡟ࠊ
࣐࢖ࣝࢬࢆᩥᏐ㏻ࡾ❅ᜥࡉࡏࠊᙼࡢṚ࡟┤⤖ࡉࡏ࡚ࡋࡲ࠺ࡇ࡜࡟࡞ࡿࡢ࡛࠶ࡿࠋ
3㸬㙾ീ࡜ࡋ࡚ࡢⓏሙே≀ ๓⠇࡛ࡣࠊᡭグࢆ᭩ࡃࡇ࡜ࡣࠊࣦ࢞࢓ࢿࢫࡀ୺యᛶࢆᅇ᚟ࡉࡏࡿሙ࡜࡞ࡿ࡜㏙࡭ࡓࠋࡋ࠿
ࡋ୺యᛶࢆⓎ᥹ࡋࡓ࠸࡜࠸࠺ḧᮃ࡜ࡣ⿬⭡࡟ࠊࣈࣛ࢖࡟⁫ᅾ୰ࠊᙼዪࡣ⮬㌟ࢆ┤どࡍࡿࡇ࡜ࢆ㑊ࡅ⥆ࡅ࡚࠸ࡓࡢ࡛ࡣ࡞࠸ࡔࢁ࠺࠿ࠋᙼዪࡢど⥺ࡸ㛵ᚰࡣࡶࡗࡥࡽᏊ࡝ࡶࡓࡕ࡜ᗃ㟋ࡢ㛵ಀࢆᭀࡁฟࡍࡇ࡜࡟ྥࡅࡽࢀࠊ⮬㌟ࡢෆ࡟⛎ࡵࡽࢀࡓḧᮃ࡟ࡣ┠ࢆ㐓ࡽࡏ⥆ࡅ࡚࠸ࡓࡢ࡛ࡣ࡞࠸࠿ࠋ⏫⏣ࡣࠊࣦ࢞࢓ࢿࢫࡀᗃ㟋ࡓࡕࢆ┠ᧁࡋࡓ࠶࡜ࠊᙼࡽࡢ⾜࠸ࢆ཯᚟ࡋ࡚࠸ࡿࡇ࡜࡟╔┠ࡋ࡚ࠊᙼዪࡀᗃ㟋ࡢ㙾ീ࡜ࡋ࡚ᶵ⬟ࡋ࡚࠸ࡿ࡜ㄽࡌ࡚࠸ࡿ(67)ࠋࡅࢀ࡝ࡶࠊୖ㏙ࡋࡓࡼ࠺࡟ࠊࣦ࢞࢓ࢿࢫࡣ㙾࡟ᫎࡗࡓ⮬ᕫࡢጼࢆ୍ษᥥ෗ࡋ࡚࠸࡞࠸ࡇ࡜ࠊᗃ㟋ࡓࡕࡣࡋࡤࡋࡤࢲ࢖ࢽࣥࢢ࣮࣒ࣝࡢ❆ࡸụ࡜࠸ࡗࡓࠊ㙾ࡢ௦᭰࡜࡞ࡿࡶࡢࢆᣳࢇ࡛ࣦ࢞࢓ࢿࢫ࡜ᑐᓖࡋ࡚࠸ࡿࡇ࡜ࢆ㔜どࡍࢀࡤࠊࡴࡋࢁᗃ㟋ࡓࡕࢆࣦ࢞࢓ࢿࢫࡢ㙾ീ࡜ࡋ࡚࡜ࡽ࠼ࡿ᪉ࡀ⮬↛ࡔ࡜ᛮࢃࢀࡿࠋࡉࡽ࡟ࣦ࢞࢓ࢿࢫࡀ⮬ᕫീࡢ཯ᫎࢆぢࡿࡢࡣࠊᗃ㟋ࡓࡕࡤ࠿ࡾ࡛ࡣ࡞࠸ࠋ࡜ࡁ࡟ᙼዪࡀᥥࡁฟࡍࢢ࣮ࣟࢫኵே࡟ࡉ࠼ࡶࠊᙼዪࡢ⮬ᕫീࡀᢞᙳࡉࢀ࡚࠸ࡿࡼ࠺࡟ᛮࢃࢀࡿࠋ
6    I applied my face to the pane and looked, as he had looked, into the room. As if,at this moment, to show me exactly what his range had been, Mrs Grose, as I
had done for himself just before, came in from the hall. With this I had the fullimage of a repetition of what had already occurred. She saw me as I had seen
my own visitant; she pulled up short as I had done; I gave her something of theshock that I had received. She turned white, and this made me ask myself if I
had blanched as much. She stared, in short, and retreated just on my lines, . . .
(100; ch.4)ࣦ࢞࢓ࢿࢫࡣ❆㉺ࡋ࡟ぢ࠼ࡓࢡ࢕ࣥࢺࡢ⾜Ⅽࢆ⧞ࡾ㏉ࡍ࡜࡜ࡶ࡟ࠊᙼዪ⮬㌟ࡢࡩࡿࡲ࠸ࡶ
ࢢ࣮ࣟࢫኵே࡟ࡼࡗ࡚཯᚟ࡉࢀ࡚࠸ࡿࠋࡇࡇ࡛ࡶࣦ࢞࢓ࢿࢫࡣࠊࢡ࢕ࣥࢺ࠿ࡽ༢࡟ぢࡽࢀࡿࡇ࡜࡟⏑ࢇࡌࡎࠊ⮬ࡽぢࡿഃ࡟ᅇࡗ࡚࠸ࡿࠋࡑࡋ࡚ࠊእ࠿ࡽᐊෆࢆなࡁ㎸ࢇࡔᙼዪࡣࠊ⮬ศࡀ࠸࠿࡟⾪ᧁࢆཷࡅ⵬ⓑ࡟࡞ࡗ࡚࠸ࡓ࠿ࢆࢢ࣮ࣟࢫኵேࡢ⾲᝟࠿ࡽ☜ㄆࡍࡿࡇ࡜࡟࡞ࡿࡢ
࡛࠶ࡿࠋࢡ࢕ࣥࢺࡀ㒊ᒇࢆなࡁࡇࡴᵝᏊࡣࠕ㢦ࡀ❆࢞ࣛࢫ࡟㏆࡙ࡅࡽࢀ࡚ (“His face wasclose to the glass”)ࠖ(99; ch.4)࠸ࡓ࡜⾲ࡉࢀ࡚࠸ࡿࡀࠊ“glass”࡟ࡣࠕ㙾ࠖ࡜࠸࠺ព࿡ࡶ࠶ࡿ
ࡇ࡜ࢆᛮ࠼ࡤࠊࡇࡢ“glass”ࢆᣳࢇ࡛ྥ࠿࠸ྜ࠺ࣦ࢞࢓ࢿࢫ࡜ࢡ࢕ࣥࢺࠊ࠾ࡼࡧࣦ࢞࢓ࢿࢫ࡜
ࢢ࣮ࣟࢫኵேࡣ㙾ീ㛵ಀ࡟࠶ࡿ࡜࠸࠺ࡇ࡜ࡀ᫂ࡽ࠿࡛࠶ࡿࠋࡍ࡞ࢃࡕࠊࢡ࢕ࣥࢺࡢᙉⅯ࡞ど⥺ࡣࣦ࢞࢓ࢿࢫ࡟ࡼࡗ࡚཯᚟ࡉࢀࠊᙼዪ⮬㌟ࡢ⾲᝟ࡀࢢ࣮ࣟࢫኵே࡟཯᚟ࡉࢀࠊ஫࠸ࡀ஫࠸
ࢆ཯ᫎࡋ࠶ࡗ࡚࠸ࡿࡢ࡛࠶ࡿࠋࢪ࢙ࢫࣝࡢጼࢆぢࡓ࠶࡜ࡢሙ㠃࡛ࡶࠊྠࡌࡼ࠺࡞ࡇ࡜ࡀゝ࠼ࡿࠋࣦ࢞࢓ࢿࢫࡣࢢ࣮ࣟࢫኵேࡢ⾲᝟ࡀࠊᙼዪ⮬㌟ࡢࠕࡦ࡝࠸ᙧ┦ࠖࢆࠕࡺࡗࡃࡾ࡜཯ᫎ(“slow reflexion”)ࠖ(114; ch.7)ࡋࠊࡉࡽ࡟ࢢ࣮ࣟࢫኵேࡀࠕࡲࡿ࡛ࢪ࢙ࢫࣝࡉࢇࡢᜍࢁࡋ࠸
┠ࡘࡁ࡜ᮏᙜ࡟ఝ࡚࠸ࡿ࠿ࡢࡼ࠺࡟ࠖ(116; ch.7)ࣦ࢞࢓ࢿࢫࡢ┠ࢆぢࡘࡵ࡚࠸ࡓࡇ࡜࡟Ẽࡀࡘ࠸࡚࠸ࡿࠋࡇࡢࡼ࠺࡟ࣦ࢞࢓ࢿࢫࡢ୍㠃ࡣࠊᗃ㟋ࡓࡕࡸࢢ࣮ࣟࢫኵே࡟཯ᫎࡉࢀࡓࡶࡢ࡜
ࡋ࡚ㄞࡴࡇ࡜ࡀ࡛ࡁࡿࠋ ึࡵ࡚ࢡ࢕ࣥࢺ࡟㐼㐝ࡋࡓ᫬ࠊࣦ࢞࢓ࢿࢫࡣሪࡢୖ࡟ᙼࢆぢࡓࠋࡇࡢ࡜ࡁࡢࣦ࢞࢓ࢿࢫࡣࠊ
㞠⏝୺࡜ࡢฟ఍࠸ࢆክ᝿ࡋ࡚࠸ࡓࠋ୍▐࡜ࡣ࠸࠼ࠊᙼዪࡀሪࡢୖ࡟❧ࡘ⏨ᛶࡢጼࢆ㞠࠸୺ࡔ࡜㘒ぬࡋࡓࡇ࡜ࡣ㔜せ࡛࠶ࡿࠋࢡ࢕ࣥࢺࡀ༢࡞ࡿᚑ⪅࡟㐣ࡂ࡞࠿ࡗࡓ࡜ศ࠿ࡗࡓ࠶࡜࡛ࡣࠊᙼࡢጼࡀࣦ࢞࢓ࢿࢫࡢୖ᪉࡟⌧ࢀࡿࡇ࡜ࡣ࡞࠸ࠋBruce Robbins ࡶᣦ᦬ࡋ࡚࠸ࡿࡼ࠺࡟ࠊࣦ࢞࢓ࢿࢫ࡜ᗃ㟋ࡓࡕࡢ✵㛫ⓗ࡞఩⨨㛵ಀࡣࠊᙼዪࡢ㝵⣭ព㆑ࢆ┤ᡖⓗ࡟཯ᫎࡋ࡚࠸ࡿ࡜ゝ࠼ࡿ(382)ࠋࡋࡓࡀࡗ࡚ࠊࣦ࢞࢓ࢿࢫࡀ៿ࢀࡿ㞠⏝୺ࢆሪࡢୖ࡟ぢࡓ࡜ᛮࡗࡓࠊ࡜࠸࠺ࡇ࡜ࡣࠊᙼዪࡢୖ᪼ᚿྥࢆ཯ᫎࡋ࡚࠸ࡿ࡜⪃࠼ࡿࡇ࡜ࡀ࡛ࡁࡿࠋᙼዪ࡟࡜ࡗ࡚ࢡ࢕ࣥࢺ࡜ࢪ࢙ࢫࣝࡢᜊឡἋửࡀࡇ࡜ࡉࡽ࡟࠸࠿ࡀࢃࡋࡃᛮࢃࢀࡿࡢࡣࠊࢪ࢙ࢫࣝࡀ“lady”࡛࠶ࡿࡢ࡟ᑐࡋ࡚ࠊ
ࢡ࢕ࣥࢺࡣ♫఍ⓗ㝵ᒙࡀᙼዪࡼࡾࡶࠕࡣࡿ࠿࡟ୗ(“so dreadfully below”)ࠖ(117; ch.7)ࡔࡗ
ࡓ࠿ࡽ࡛࠶ࡿࠋࣦ࢞࢓ࢿࢫࡀ㑰ෆࡢ㝵ẁࢆୖࢁ࠺࡜ࡍࡿࢡ࢕ࣥࢺࢆୖ࠿ࡽࡢど⥺࡛ไࡋࡓࡾࠊ㝵ẁࡢୗ᪉ࡢẁ࡟ᗙࡾ㎸ࢇ࡛Ⴣࡃࢪ࢙ࢫࣝࢆ┠ᧁࡋࡓࡾࡍࡿሙ㠃ࡣࠊ࡜ࡾࢃࡅ㩭᫂࡟ᙼ
7 

ዪࡢ㝵⣭ព㆑ࢆ཯ᫎࡋ࡚࠸ࡿ࡜ゝ࠼ࡿࠋࡅࢀ࡝ࡶࠊᙼዪࡀ㞠⏝୺࡜ࡢ㛫࡟ክぢࡓᜊࡶࠊ♫఍㝵ᒙࡢ༊ศࢆ㣕ࡧ㉺࠼ࡓࡶࡢࡔ࡜࠸࠺Ⅼ࡛ࡣࠊࢪ࢙ࢫࣝ࡜ࢡ࢕ࣥࢺࡢ㛵ಀ࡜ྠᵝࡔ࡜ゝ࠼ࡿࡔࢁ࠺ࠋࣦ࢞࢓ࢿࢫࡀࠕୖࠖࡢ㝵ᒙ࡟࠸ࡿ⏨ᛶ࡟៿ࢀࢆᢪ࠸ࡓࡢ࡟ᑐࡋ࡚ࠊ๓௵⪅ࡢࢪ࢙ࢫࣝࡣ༢࡟ᙼዪ⮬㌟ࡼࡾࡶࠕୗࠖࡢ⏨ᛶࢆ㑅ࢇࡔ࡜࠸࠺ࡢ࡟㐣ࡂࡎ (Robbins 380-81)ࠊࢡ
࢕ࣥࢺ࡜ࢪ࢙ࢫࣝࡣࠊࣦ࢞࢓ࢿࢫࡢෆ࡟⛎ࡵࡓḧᮃࢆྍど໬ࡋ࡚ࠊ✺ࡁࡘࡅࡿᏑᅾ࡜ࡶ࡞ࡗ
࡚࠸ࡿࡢ࡛࠶ࡿࠋᗃ㟋ࡓࡕ࡜Ꮚ࡝ࡶࡓࡕࡀࡦࡑ࠿࡟஺ὶࡋ࡚࠸ࡿ༴㝤ᛶࢆᙉࡃ␲࠸࡞ࡀࡽࡶࠊࣦ࢞࢓ࢿࢫ
ࡣᏊ࡝ࡶࡓࡕ࡟஦ᐇࢆ┤᥋ၥ࠸ࡓࡔࡑ࠺࡜ࡣࡋ࡞࠸ࠋ
He could do what he liked, with all his cleverness to help him, so long as I should
continue to defer to the old tradition of the criminality of those caretakers of theyoung who minister to superstitions and fears. He ‘had’ me indeed, and in a cleft
stick; for who would ever absolve me, who would consent that I should go unhung,if, by the faintest tremor of an overture, I were the first to introduce into ourperfect intercourse an element so dire? (138; ch.11)࣐࢖ࣝࢬ࡜ࣇ࣮ࣟࣛࡀࠊࢡ࢕ࣥࢺ࡜ࢪ࢙ࢫࣝ࡟ࡘ࠸୍࡚ゝࡶཱྀ࡟ࡋ࡞࠸≧ἣࢆࠊࣦ࢞࢓ࢿࢫࡣࠕィ⏬ⓗ࡞ỿ㯲ࠖ(140; ch.12)࡜࿧ࡧࠊᙼࡽࡀពᅗⓗ࡟ᙼዪࢆḭࡁࠊ஦ᐇࢆ㞃ࡋ࡚࠸ࡿ࡜ุ᩿ࡍࡿࠋࡑࡢ୍᪉࡛ࡇ࠺ࡋࡓᙼዪࡢゎ㔘ࡣࠊᩍᖌ࡜ࡋ࡚ࡢࠕྂࡁఏ⤫ࠖ࡟࡜ࡽࢃࢀࠊ␲ᛕ
ࢆ㞃ࡋỿ㯲ࢆㄢࡋ࡚࠸ࡿ⮬ࡽࡢែᗘࢆᢞᙳࡉࡏࡓࡶࡢࡔ࡜⪃࠼ࡿࡇ࡜ࡶྍ⬟࡛࠶ࢁ࠺ࠋඛ࡟ཱྀⅆࢆษࡿࡇ࡜࡛ࠊᏊ࡝ࡶࡓࡕ࡟㏞ಙࡸᜍࢀࢆ᳜࠼ࡘࡅࡿࡇ࡜ࡣࠕ⨥ࠖࡔ࡜ࡲ࡛⪃࠼ࡿࣦ࢞࢓ࢿࢫࡣࠊኪ୰࡟㉳ࡁࡔࡋ࡚ᗞ࡟❧ࡗ࡚࠸ࡓ࣐࢖ࣝࢬ࡟⌮⏤ࢆၥ࠸ワࡵࡿࡇ࡜ࡀ࡛ࡁ࡞
࠸ࡇ࡜࡟Ẽ࡙ࡁࠊᙼ࡟ࠕࡋ࡚ࡸࡽࢀࡓࠖ࡜ᛮ࠺ࠋᏊ࡝ࡶࡓࡕࢆࠕᢕᥱࡋࠖᗃ㟋ࡓࡕࡢᙳ㡪ࢆ㜼ࡴ࡭ࡃඛᡭࢆᡴࡘࡇ࡜ࡣࠊࣦ࢞࢓ࢿࢫ⮬㌟ࡀ┠ᣦࡋ࡚࠸ࡓࡇ࡜࡛࠶ࡗࡓࡣࡎ࡛࠶ࡿࠋࡋ࠿ࡋࠊᘬ⏝㒊࡛ࡣ࣐࢖ࣝࢬ᪉ࡀᶵඛࢆไࡋࠊᙼዪࡣ㏣࠸ワࡵࡽࢀࡓẼศ࡟࡞ࡗ࡚ࡋࡲࡗࡓࠋࡇࡢࡼ࠺࡟ࠊࣦ࢞࢓ࢿࢫࡀᏊ࡝ࡶࡓࡕ࡟⾜࠾࠺࡜ࡋ࡚࠸ࡓᑐᛂࡸࠊᢪ࠸࡚࠸ࡓẼᣢࡕࡣࠊᏊ࡝ࡶࡓࡕ࠿ࡽᙼዪ⮬㌟ࡢ᪉࡬㊴ࡡ㏉ࡗ࡚࠸ࡿࡇ࡜ࡀศ࠿ࡿࠋࡑࡢⅬ࡛ࠊᏊ࡝ࡶࡓࡕࡶᙼዪ࡟࡜ࡗ୍࡚✀ࡢ㙾ീ࡜ࡋ࡚ᶵ⬟ࡋ࡚࠸ࡿ࡜ゝ࠼ࡿࠋྠᵝ࡟ࠊᙼዪࡀࠕࡼࡾ⃭ࡋࡃ᝟⇕ⓗ࡟ࠖᏊ౪ࡓࡕ࡬ឡ᝟ࢆὀࡄ࡜ࠊᏊ࡝ࡶࡓࡕࡢ᪉ࡶࣦ࢞࢓ࢿࢫ࡬ࡢឡ╔ࢆࠕ┠࡟ぢ࠼࡚ቑࡸࡍࠖ(127;ch.9)ࡼ࠺࡟ࡋ࡚࠸ࡿࡋࠊࡢࡕ࡟ࣦ࢞࢓ࢿࢫࡀࣇ࣮ࣟࣛ࡟ᾎࡧࡏࡓࠕࡲࡿ࡛࠾㧗ࡃ࡜ࡲࡗࡓேࡳࡓ࠸࡟ࠊ⮬ศࡢㄔᐇࡉࡸయ㠃ࢆയࡘࡅࡽࢀࡿࡢࡀᡃ៏࡞ࡽ࡞࠸ࡢࡼࠖ(180; ch.21)࡜࠸
࠺㠀㞴ࡢゝⴥࡣࠊࡑࡢࡲࡲᙼዪ⮬㌟࡟ࡶ㊴ࡡ㏉ࡗ࡚ᙜ࡚ࡣࡲࡿࡶࡢࡔ࡜ゝ࠼ࡿࡔࢁ࠺ࠋ࠾ࢃࡾ࡟ ⏣⯋ࡢࡘࡘࡲࡋ࠸∾ᖌ㤋࡛⫱ࡗࡓࣦ࢞࢓ࢿࢫࡀࠊࣈࣛ࢖࡟㉱௵ࡍࡿࡲ࡛⮬ᕫࡢ඲㌟ീࢆ
ぢࡿᶵ఍࡟ᜨࡲࢀ࡞࠿ࡗࡓࡇ࡜ࡀዴᐇ࡟♧ࡍࡼ࠺࡟ࠊぢࡿࡇ࡜ࡣ㈈ຊࡸᶒຊ࡜⤖ࡧࡘࡃࠋ୺8    యⓗ࡟ほᐹࡋ࡚≀ㄒࢆㄒࡿ࡜࠸࠺⾜Ⅽࡣࠊఏ⤫ⓗ࡟⏨ᛶⓗ࡞≉ᛶ࡛࠶ࡿ࡜ࡉࢀ࡚ࡁࡓࠋࡋ࠿
ࡋྠ᫬࡟ࠊ㝵⣭ព㆑ࡸᩍᖌほࠊ㞠࠸୺࡬ࡢᜊ࡞࡝ᵝࠎ࡞ᢚᅽ࡟ࡉࡽࡉࢀࡿ୰࡛ࠊࣦ࢞࢓ࢿࢫ
ࡀ⮬ࡽࡢ୰࡟⛎ࡵࡽࢀࡓᨭ㓄ḧࡸࢭࢡࢩࣗ࢔ࣜࢸ࢕ࡢᏑᅾࢆㄆࡵࡿࡇ࡜࡟ࡣࠊከࡃࡢᅔ㞴ࡀకࢃࡊࡿࢆᚓ࡞࠸ࠋᙼዪࡀ⮬ᕫീࡢ཯ᫎ࡜ࡋ࡚ࡶᶵ⬟ࡋ࡚࠸ࡿࢡ࢕ࣥࢺ࡜㐼㐝ࡋࡓ᭱ึࡢ஧ᅇࡣࠊ࠸ࡎࢀࡶሪࡢ⬚ቨࡸ❆ᯟ࡟௙ษࡽࢀࡓᙼࡢ༙㌟ീ࡛ࡋ࠿࡞࠿ࡗࡓ࡜࠸࠺ࡇ࡜ࡣࠊ
ᙼዪࡀ඲㠃ⓗ࡟⮬ᕫ࡟ྥࡁྜ࠺‽ഛࡀ࡛ࡁ࡚࠸࡞࠸ࡇ࡜ࢆ➃ⓗ࡟♧ࡋࡓࡶࡢ࡛࠶ࡿ࡜⪃࠼ࡿࡇ࡜ࡀ࡛ࡁࡿࠋ ࣦ࢞࢓ࢿࢫࡢ㞃ࡉࢀࡓᨭ㓄ḧࡣࠊᙼዪ࡜Ꮚ࡝ࡶࡓࡕ࡜ࡢ㛵ಀࡀࠊḟ➨࡟ࣃ࣮࣡ࢤ࣮࣒ࡢᵝ┦ࢆ࿊ࡋ࡚ࡃࡿࡇ࡜࡟ࡶぢฟࡉࢀࡿࡼ࠺࡟ᛮࢃࢀࡿࠋࣦ࢞࢓ࢿࢫࡣᙼዪ⮬㌟ࡢゎ㔘ࢆ᥎ࡋ㐍ࡵࡿ࠺ࡕ࡟ࠊᏊ࡝ࡶࡓࡕࡼࡾඃ఩࡟❧ࡕࠊ“triumph”ࡸ“victory”ࢆᕼồࡍࡿࡼ࠺࡟࡞ࡿࡢࡔࠋ6)ᵝࠎ࡞ᢚᅽࡢࡶ࡜࡟࠶ࡗ࡚ࡶࠊࣦ࢞࢓ࢿࢫࡣ⮬ࡽ࡟ぢࡿࡇ࡜ࠊほᐹࡍࡿࡇ࡜ࢆ⩏ົ࡙ࡅࠊࡑࡇ࡟⊂⮬ࡢព࿡ࢆㄞࡳ㎸ࡴࡇ࡜࡟୺యᛶࢆⓎ᥹ࡋࡼ࠺࡜ࡋࡓࠋࡔ࠿ࡽࡇࡑࠊᙼዪࡀࡘ
࠸࡟ࢪ࢙ࢫࣝࡢᏑᅾࢆཱྀ࡟ࡋࡓ࡜ࡁࡢࣇ࣮ࣟࣛࡢ཯ᛂࡣࠊࣦ࢞࢓ࢿࢫ࡟ࡣ⪏࠼㞴࠸ࡶࡢ࡜࡞ࡗࡓࡢࡔࠋ
To see her, without a convulsion of her small pink face, not even feign to glance inthe direction of the prodigy I announced, but only, instead of that, turn at me anexpression of hard still gravity, an expression absolutely new and unprecedented
and that appeared to read and accuse and judge me—this was a stroke thatsomehow converted the little girl herself into a figure portentous. (176; ch.20)
ࡇࡢ࡜ࡁࡢࣇ࣮ࣟࣛࡣࠊࡶࡣࡸࣦ࢞࢓ࢿࢫ࠿ࡽほᐹࡉࢀㄞࡲࢀࡿᏑᅾ࡛ࡣ࡞ࡃ࡞ࡗ࡚࠸ࡿࠋ
⮬ࡽࡀㄞࡳ㎸ࢇ࡛ࡁࡓ≀ㄒࡢᏑᅾࢆ┿ࡗྥ࠿ࡽྰᐃࡉࢀࠊࣦ࢞࢓ࢿࢫࡢ᪉ࡀࣇ࣮ࣟࣛ࠿ࡽ
ㄞࡳྲྀࡽࢀࠊุ᩿ࡉࢀࡿ࡜࠸࠺≧ἣ࡟㝗ࡗࡓ࡜ࡁࠊ࣐ࣟࣥࢳࢵࢡ࡟ᙬࡽࢀࡓࣇ࣮ࣟࣛ࡬ࡢᗁ᝿ࡣᾘ࠼ࠊࣦ࢞࢓ࢿࢫࡢㄆ㆑ࡢ୰࡛ࠊᙼዪࡢࠕኳ౑ࡢࡼ࠺࡞⨾ࡋࡉࠖ(80; ch.1)ࡣࠕ୙Ẽ࿡࡞ጼࠖ࡬࡜ኚㇺࢆ㐙ࡆ࡚ࡋࡲ࠺ࠋThe Turn of the Screw ࡣࠊᵝࠎ࡞ᢚᅽୗ࡟࠶ࡗ࡚ࡶ୺యᛶࢆ☜❧ࡋࡼ࠺࡜ⱞ㜚ࡍࡿࣦ࢞࢓ࢿࢫࡢጼࢆグ㘓ࡍࡿࠋࡑࢀ࡜࡜ࡶ࡟ࠊゎ㔘ࡢ᜛ពᛶࡀᣍࡃᝒ๻࡜ࠊ⮬ࡽࡢᢪ࠼ࡿḧᮃࢆ┤どࡍࡿࡇ࡜࡬ࡢᜍᛧࢆᥥ࠸࡚࠸ࡿࡢࡔࠋト1) ࣦ࢞࢓ࢿࢫࡢ♫఍ⓗ࡟࠶࠸ࡲ࠸࡛」㞧࡞❧ሙ࡟ࡘ࠸࡚ࡣࠊᕝᮏ㟼Ꮚࡸ࣓࣭ࣜࣥ࢘࢕ࣜ࢔࣒ࢬࢆཧ↷ࠋ2) James, Henry. Daisy Miller and The Turn of the Screw. London: Penguin, 2012. Print.
p.79ࠋ௨ᚋࠊThe Turn of the Screw ࠿ࡽࡢᘬ⏝ࡣࡍ࡭࡚ࡇࡢ Penguin ∧࡟ࡼࡾࠊᘬ⏝㡫ᩘࢆᣓᘼෆ࡟ධࢀ࡚ᮏᩥ୰࡟♧ࡍࠋ࡞࠾ࠊᮏᩥ୰࡟♧ࡍ᪥ᮏㄒヂࡣࠊࡍ࡭࡚ᣋヂ࡛࠶ࡿࠋ9 3) ౛࠼ࡤ⏫⏣ࡳ࡝ࡾࡸ Sheila Teahan ࢆཧ↷ࠋ4) ᗃ㟋࡜Ꮚ࡝ࡶࡓࡕ࡜ࡢ஺ὶࢆ␲࠺๓ࡢẁ㝵࡛ࡢࣦ࢞࢓ࢿࢫࡣࠊᏊ࡝ࡶࡓࡕ࡜ࡢ∾ḷⓗ࡞᫬㛫ࡶࠕ࣐ࣟࣥࢫࠖࡸࠕリࠖ࡟౛࠼࡚࠸࡚ (97; ch.4)ࠊ⌧ᐇ࡜⹫ᵓࢆ⤖ࡧࡘࡅࡼ࠺࡜ࡍࡿᙼዪࡢ✵᝿Ⓑࡀᙉㄪࡉࢀ࡚࠸ࡿࠋ5) ࡇࡢ࡜ࡁࡢࣦ࢞࢓ࢿࢫࡀ✵᝿ࡢ୰࡛ྲྀࡾୖࡆࡿࡶ࠺ࡦ࡜ࡘࡢసရࡣ Ann Radcliffe(1764-1823)ࡢࢦࢩࢵࢡᑠㄝࠊThe Mysteries of Udolpho (1794)࡛࠶ࡿࠋࣄࣟ࢖ࣥࡢ࢚
࣑ࣜࡣࣦ࢞࢓ࢿࢫ࡛ࡣ࡞࠸ࡀࠊከࡃࡢⱞ㞴ࡢࡢࡕ࡟┦ᛮ┦ឡࡔࡗࡓ⏨ᛶ࡜⤖ࡤࢀࡿ࡜࠸
࠺Ⅼ࡛ࡣࠊJane Eyre ࡜ඹ㏻ࡋ࡚࠸ࡿࠋ
6) ࣦ࢞࢓ࢿࢫ࡜Ꮚ࡝ࡶࡓࡕ࡜ࡢຊ㛵ಀ࡟㛵ࡍࡿᩥ⬦࡛“triumph”࡜࠸࠺༢ㄒࡀ౑ࢃࢀ࡚࠸
ࡿࡢࡣࠊ➨༑୍❶ࡸ➨༑୕❶ࠊ➨஧༑❶ࠊ➨஧༑ᅄ❶࡟ぢࡿࡇ࡜ࡀ࡛ࡁࡿࠋࡲࡓࠊ“victory”࡜࠸࠺༢ㄒࡣ➨஧༑ᅄ❶࡟஧ᅇ⌧ࢀࡿࠋᘬ⏝ᩥ⊩
Beidler, Peter G., ed. The Turn of the Screw. By Henry James. 3rd ed. Boston: Bedford;
New York: St. Martin’s, 2010. Print.
James, Henry. Daisy Miller and the Turn of the Screw. London: Penguin, 2012. Print.
Robbins, Bruce. “‘They don’t much count, do they?’: The Unfinished History of The Turnof the Screw.” Beidler. 376-89. Print.
Teahan, Sheila. “‘I caught him, yes, I held him’: The Ghostly Effects of Reading (in) The

Turn of the Screw.” Beidler. 392-405. Print.
Walton, Priscilla L. “‘He took no notice of her; he looked at me’: Subjectivities andSexualities in The Turn of the Screw.” Beidler. 348-59. Print.
࢘࢕ࣜ࢔࣒ࢬ, ࣓ࣜࣥ. ࠗዪᛶࡓࡕࡢ࢖ࢠࣜࢫᑠㄝ࠘㩗ἑ஌ග࣭ཎබ❶࣭኱ᖹᰤᏊヂ. ᮾி:ࡳࡍࡎ᭩ᡣ, 2005. Print.
ᕝᮏ㟼Ꮚ. ࣦࠗ࢞࢓ࢿࢫࣦ̿̿࢕ࢡࢺࣜ࢔᫬௦ࡢࠑవࡗࡓዪࠒࡓࡕ̿̿࠘ᮾி: ࡳࡍࡎ᭩ᡣ,2007. Print.
⏫⏣ࡳ࡝ࡾ. ࠕ㙾ീ࡜ࡋ࡚ࡢዪᐙᗞᩍᖌ㸸ࠗࡡࡌࡢࡦ࡜ࡦࡡࡾ࠘ㄽࠖStrata 4 (1989): 61-77.
Print.

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