Middlemarch:

Reading as George Eliot’s “Sense and Sensibility”
᝷㇂ ⨾ᬛᏊ
F. R. Leavis ࡣࠊGeorge Eliot ࢆⱥᩥᏛࡢࠕ೧኱࡞ఏ⤫ࠖୖ࡟࠶ࡿ Jane Austen ࡢ⥅ᢎ⪅࡜ࡋ࡚఩⨨࡙ࡅࠊ࢚ࣜ࢜ࢵࢺࡀࡇࡢඛ㍮సᐙ࠿ࡽ㔜せ࡞ᙳ㡪ࢆཷࡅࡓࡇ࡜ࢆ♧၀ࡋ࡚࠸ࡿ㸦The Great Tradition
18-20㸧ࠋᮏㄽ࡟ඛ❧ࡘᣋㄽࠕ“An Extraordinary Fate”ࢆㄞࡴɆɆGeorge Eliot Middlemarch ࡜ JaneAusten Sense and Sensibilityࠖ㸦௨㝆ࠊࡇࡢᣋㄽࡣ “Fate” ࡜ࡢࡳ␎グ㸧࡛ࡣࠊࡑ࠺ࡋࡓ࣮࢜ࢫࢸ࢕
ࣥ࡜࢚ࣜ࢜ࢵࢺ࡜ࡢ㛵ಀᛶࢆࠊࠗศู࡜ከឤ࠘࡜࣑ࠗࢻ࣐࣮ࣝࢳ࠘࡟࠾ࡅࡿࠕ␗ᖖ࡞㐠࿨ࠖࢆษཱྀ࡟ẚ㍑⪃ᐹࡋ࡚࠸ࡿࡀࠊᮏㄽࡣࡑࡢ⥆⦅࡟࠶ࡓࡿࡶࡢ࡛࠶ࡿࠋࡇࡇ࡛ࡣࠊ࢚ࣜ࢜ࢵࢺ⮬㌟ࡀෆໟࡍࡿ sense ࡜sensibility㸯࡜࠸࠺஧㠃ᛶ࡜ࠊࡇࡢసᐙࡢ๰సᢏἲ࡜ࡢ㛵㐃ࢆ᥈ࡿࡀࠊᮏㄽ࡟࠾࠸࡚ࡶᘬࡁ⥆ࡁ࣮࢜ࢫࢸ࢕ࣥ࡜ࡢẚ㍑࡟࠾࠸࡚⪃ᐹࢆ㐍ࡵ࡚࠸ࡁࡓ࠸ࠋ

㸯㸬࢚ࣜ࢜ࢵࢺࡢ sense ࡜ sensibilityࢭࢩࣝࡣస⪅࢚ࣜ࢜ࢵࢺ⮬㌟ࡀᢪ࠼࡚࠸ࡓ஧㠃ᛶࠊࡘࡲࡾࠊ“intellectual”࡜“imaginative” ࡞㠃㸦ࡘࡲࡾࠊ࢚ࣜ࢜ࢵࢺ⮬㌟ࡢ sense ࡜ sensibility ࡜࠸ࡗ࡚ࡶࡼ࠸ࡼ࠺࡞ࡶࡢ㸧ࡢศ࠿ࡕࡀࡓࡃ⤖ࡧྜࢃࡉࢀࡓ⥭ᐦ࡞㛵ಀᛶࢆ௨ୗࡢࡼ࠺࡟ᣦ᦬ࡋ࡚࠸ࡿࠋ
. . . the truth is that there was a congenital disproportion in the original composition of George
Eliot’s talent.
connected.

,t had two sides intellectual and imaginative.

And they were inextricably

The intellect was the engine which started the machinery of the imagination

working. But the engine was too powerful for the machine; it kept it at a strain at which it could
not run smoothly and easily.

So that it never produced a wholly satisfactory work of art.

(327-28)ࢭࢩࣝ࡟ࡼࢀࡤࠊ࢚ࣜ࢜ࢵࢺࡢ⊂≉࡞ᡯ⬟࡟ࡣ▱ⓗ (intellectual) ࡞㠃࡜᝿ീⓗ (imaginative) ࡞㠃ࡀ࠶ࡗࡓࡀࠊ୧⪅ࡢ㛵ಀᛶ࡟ࡣࠊඛኳⓗ࡟୙ᆒ⾮ࡀ࠶ࡾࠊ▱ᛶࡀ຾ࡕࡍࡂ࡚ࠊ᝿ീຊࡣࡓࡸࡍࡃືࡅ࡞࠸ࡼ࠺࡞⥭ᙇ≧ែ࡟࠾࠿ࢀ࡚࠸ࡓ࡜࠸࠺ࠋࡑࡢ⤖ᯝࠊ࢚ࣜ࢜ࢵࢺ࡟ࡣ඲㠃ⓗ࡟‶㊊࡛ࡁࡿⱁ⾡సရࡣ୍ࡘࡶ࡞࠿ࡗࡓ࡜ࢭࢩࣝࡣ⿢᩿ࡍࡿࡢࡔࡀࠊࠕࡑࢀ࡛ࡶࠊࡸࡣࡾࠖ࡜ࠊࢭࢩࣝࡣ⥆ࡅ࡚࢚ࣜ࢜ࢵࢺࡢసရࢆ㧗ࡃホ౯ࡋ࡚࠸ࡿࠋAll the same her achievement is a considerable one more considerable than that of many more
accomplished writers. Middlemarch . . . rouses far deeper emotions sets the mind far more
seriously astir. (328) ᙼࡣࠊ࢚ࣜ࢜ࢵࢺࡀ▱ᛶ࡜᝿ീຊ࡜࠸࠺஧㠃ᛶࡺ࠼࡟ࠊ࣑ࠗࢻ࣐࣮ࣝࢳ࡛࠘ࡣࠊᙼዪࡣ⮬ศࡼࡾࡶ⇍㐩ࡋࡓసᐙࡓࡕ௨ୖ࡟ࠊㄞ⪅࡟ᑐࡋ࡚ࠊࡣࡿ࠿࡟῝࠸ࠕឤ᝟ࠖࢆ࿧ࡧぬࡲࡋࠊࡲࡓࠕ⢭⚄ࠖࢆࡣࡿ࠿࡟
┿ᦸ࡟ᦂࡉࡪࡿࡢࡔ࡜㏙࡭࡚࠸ࡿࡢࡔࡀࠊ☜࠿࡟ᙼࡀᣦ᦬ࡍࡿ sense ࡜ sensibility (ࡢⴱ⸨) ࡣࠊ♧၀－ 33 －ⓗ࡛࠶ࡿࠋ࡜࠸࠺ࡢࡶࠊ࢚ࣜ࢜ࢵࢺࡢసရࡀࠊࡑࡢࡼ࠺࡟ㄞ⪅ࡢࠕឤ᝟ࠖ࡜ࠕ⢭⚄ࠖࡢ῝㒊࡟ࡲ࡛స⏝ࡍࡿࡢࡣࠊࡇࡢసᐙ⮬㌟ࡢ┦஫࡟ධࡾ⤌ࢇࡔ sense ࡜ sensibility ࡢ஧㠃ᛶ࡜኱࠸࡟㛵㐃ࡀ࠶ࡿࡼ࠺࡟
ᛮࢃࢀࡿ࠿ࡽ࡛࠶ࡿࠋࡑࡋ࡚≉࡟࣑ࠗࢻ࣐࣮ࣝࢳ࡛࠘ࡣࠊࡑࡢࡼ࠺࡞ഴྥࡀᙉࡃࡳࡽࢀࡿࠋ “Fate” ࡛ࡣ࣑ࠗࢻ࣐࣮ࣝࢳ࠘࡟࠾ࡅࡿ୺ேබ Dorothea Brooke ࡢࠕ␗ᖖ࡞㐠࿨ࠖࢆᙧసࡿࡇ࡜࡟࡞ࡿࠕⴠᕪࠖ࡟
ࡘ࠸࡚ࠊ࣮࢜ࢫࢸ࢕ࣥࡢࠗศู࡜ከឤ࠘ࡢሙྜ࡜ẚ㍑⪃ᐹࡋ࡚࠸ࡿࡀࠊᮏㄽ࡛ࡣࡑ࠺ࡋࡓࠕⴠᕪࠖ࡟ࡲࡘࢃࡿಶᡤࢆ୍㒊ྲྀࡾୖࡆࠊ๰సᡭἲ࡟࠾࠸࡚࢚ࣜ࢜ࢵࢺࡢ⥭ᐦ࡟⤡ࡳྜࡗࡓ sense ࡜ sensibility ࡢ࠶ࡾࡼ࠺ࢆࡳ࡚࠸ࡇ࠺ࠋ⣬ᖜࡢ㛵ಀࡶ࠶ࡾࠊࡇࡇ࡛ࡣࢭࢩࣝࡀᣦ᦬ࡍࡿ࢚ࣜ࢜ࢵࢺࡢ sense ࡜sensibility ࡢࠕඛኳⓗ࡞୙ᆒ⾮ࠖ࡟ࡘ࠸࡚ࡣㄽࢆᨵࡵ࡚⪃ᐹࡍࡿࡇ࡜࡟ࡋ࡚ࠊࡲࡎࡣ࢚ࣜ࢜ࢵࢺࡢ sense࡜ sensibility ࡢᖏࡧࡿ⥭ᙇ≧ែࡀࠊࡇࡢసᐙࡢ๰స࡜࡝ࡢࡼ࠺࡟㛵ಀࡋ࡚ࡃࡿࡢ࠿ࠊ࣮࢜ࢫࢸ࢕ࣥ࡜
ࡢẚ㍑࡟࠾࠸࡚ࡶ᳨ドࡋ࡚࠸ࡁࡓ࠸ࠋ㸰㸬▱ⓗᢏᕦ࡜ࡋ࡚ࡢࠕឤ᝟࢚ࠖࣜ࢜ࢵࢺࡢసရࡣᴫࡋ࡚ࡑࡢ᰿ᗏ࡟ࠊㄞ⪅ഃࡢࠕඹឤࠖ(sympathy) ࡬ࡢసᐙࡢ┠㓄ࡾࡢࡼ࠺࡞ࡶࡢࡀឤࡌࡽࢀࡿࡀࠊࡑ࠺ࡋࡓඹឤ࡬ࡢ࠸ࢃࡤㄏᑟࡀࠊస⪅ࡢឤ᝟ࡢఏ㐩࡜࠸࠺ࡼࡾࡣࠊࡴࡋࢁసᐙⓗᢏᕦࠊࡘࡲࡾస⪅ࡢ๰సୖࡢ▱ⓗ᧯స࡛࠶ࡿⅬࡣ⯆࿡῝࠸ࠋ࢚ࣜ࢜ࢵࢺࡣࡑ࠺ࡋࡓᡭἲ࠾࠸࡚ࡶ࣮࢜ࢫࢸ࢕ࣥ࡜㓞ఝࡋ࡚࠸ࡿࠋࡓ࡜࠼ࡤࠊࠗศู࡜ከឤ࠘࡟࠾࠸࡚࣮࢜ࢫࢸ࢕ࣥࡀヨࡳࡓ୺ேබ Marianne
Dashwood ࡢࠕ␗ᖖ࡞㐠࿨ࠖࡢ๰㐀ࡀࠊᢈホᐙ Marvin Mudrick ࡢࠕඹឤ࡛ࠖࡣ࡞ࡃࠊ㏫࡟③Ⅿ࡞ࠕ཯
Ⓨࠖࢆ࿧ࡧ㉳ࡇࡋࡓ౛ࢆ௨ୗ࡟ᘬ⏝ࡋ࡚ࡳࡼ࠺ࠋ
:e may be assured that everyone turns out to be prudently happy with even a share of domestic
satisfaction left for the villain >:illoughby@. But we are not to be reconciled. Marianne the lifeand center of the novel [Sense and Sensibility@ has been betrayed; and not by :illoughby. (3)➃ⓗ࡟࠸ࡗ࡚ࡋࡲ࠼ࡤࠊ࣐ࢻࣜࢵࢡࡣࠊ࣓࢔ࣜ࢔ࣥࢆ⿬ษࡗࡓࡢࡣᙼዪࡢᜊே࡛ࡣ࡞ࡃࠊࡴࡋࢁస⪅ࡢ࣮࢜ࢫࢸ࢕ࣥ⮬㌟࡛࠶ࡿࡇ࡜ࢆࡇࡇ࡛⣕ᙎࡋ࡚࠾ࡾࠊᙼࡣస⪅࣮࢜ࢫࢸ࢕ࣥ⮬㌟࡟ᑐࡍࡿឤ᝟ⓗ࡞ࡲ࡛ࡢ཯ᧁࢆヨࡳ࡚࠸ࡿࠋࡋ࠿ࡋࠊࡇ࠺ࡋࡓ཯Ⓨࡣࠊ㏫࡟࠸࠼ࡤࠊ࣮࢜ࢫࢸ࢕ࣥࡢసᐙ࡜ࡋ࡚ࡢ຾฼ࢆࡇ
ࡑ≀ㄒࡗ࡚࠸ࡿࡔࢁ࠺ࠋ࡜࠸࠺ࡢࡶࠊඹឤ࡛ࡣ࡞ࡃ཯Ⓨ࡛࠶ࡗࡓ࡟ࡋࢁࠊ࣮࢜ࢫࢸ࢕ࣥࡢᡭἲࡣࡑࢀ࡯࡝ࡲ࡛࡟ࡇࡢᢈホᐙࡢࠕឤ᝟ࠖࢆᦂࡉࡪࡗࡓ࡜࠸࠺ࡇ࡜࡛࠶ࡾࠊࡑࢀࡣ࣐ࢻࣜࢵࢡ㸦ࡘࡲࡾࡣࠊㄞ⪅㸧ഃࡢࡑ࠺ࡋࡓឤ᝟࡟ࡲ࡛࠸ࡁࡘࡃࡼ࠺࡟ࡋࡓసᐙഃࡢࠕពᅗࠖ㸦“Fate” 21㸧ࠊ▱ⓗ᧯సࡢᡂຌࢆࡲࡉࡋࡃ≀ㄒࡗ࡚࠸ࡿ࠿ࡽ࡛࠶ࡿࠋࡑࡋ࡚ࡇࢀ࡟㢮ఝࡋࡓࡇ࡜ࡀࠊ࢚ࣜ࢜ࢵࢺࡢሙྜ࡟ࡶ㉳ࡇࡿࠋ᝟⇕㐣ከ࡜࠸࠺ḞⅬ࡟ࡶ࠿࠿ࢃࡽࡎࠊࢻࣟࢩ࢔ࡶࡲࡓࠗศู࡜ከឤ࠘ࡢ࣓࢔ࣜ࢔ࣥࡀࡑ࠺࡛࠶ࡗࡓࡼ࠺࡟㨩ຊⓗ࡟ᜥ࡙࠸࡚࠸ࡿࡢࡔࡀࠊ୺ேබ࡟㸺⏕࿨㸼ࢆ྿ࡁ㎸ࡴࡢࡀࠊస⪅ࡢࡁࢃࡵ࡚▱ⓗ࡞᧯స࡛࠶ࡿⅬ࡛ࡶ࢚ࣜ࢜ࢵࢺ࡜࣮࢜ࢫࢸ࢕ࣥࡣ㔜࡞ࡗ࡚ࡃࡿࠋ࢚ࣜ࢜ࢵࢺࡢሙྜࠊస⪅ࡣ⮬ࡽࡀ≺࠺ࠕඹឤࠖ࡬ࡢ࠸ࢃࡤ㉳⇿๣ࢆࠊ࠸࠿࡟ㄞ⪅ࡢෆዟࡢ῝㒊࡟ࡲ࡛฿㐩ࡉࡏࡿࡢࡔࢁ࠺࠿ࠋRoland Barthes ࡣ஧㡯ᑐ❧ࢆ“the very spectacle of meaning” (Barthes 138)࡜ࡋ࡚ᤊ࠼࡚࠸ࡿࡀࠊ௨ୗ࡟࠾࠸࡚୺࡟஧㡯ᑐ❧ࠊᑐẚ࡜࠸࠺ᡭἲࢆ㏻ࡋ࡚࢚ࣜ࢜ࢵࢺࡢᩥᏛⓗᢏᕦࢆࡳ࡚࠸ࡁࡓ࠸ࠋ

㸱㸬୺ேබࡢ㨩ຊ－ 34 －ࢻࣟࢩ࢔ࡢࠕ␗ᖖ࡞㐠࿨ࠖࡀࠊㄞ⪅ࡢឤ᝟ࢆᦂࡉࡪࡿࡇ࡜࡟࡞ࡿ኱ࡁ࡞せᅉࡢ୍ࡘࡣࠊጞࡲࡾ࡜⤊ࢃࡾࡢ㛫࡟⏕ࡌࡉࡏࡽࢀࡓⴠᕪࡢຠᯝ࡟ࡼࡿࡶࡢ࡛࠶ࡿࡇ࡜ࡣ⪃ᐹࡋ࡚ࡁࡓࡀ㸦“Fate”㸧ࠊࡑ࠺ࡋࡓຠᯝࢆ☜ᐇ࡟ࡍࡿࡓࡵ࡟ࡣࠊస⪅ࡣࡲࡎ୺ேබࢆ㨩ຊⓗ࡟ᥥฟࡋ࡚ࠊᙼዪࡓࡕ࡟ᑐࡍࡿㄞ⪅ࡢඹឤࠊᛮ࠸ධ
ࢀࠊ࡜࠸ࡗࡓࠕྠ໬ࠖࢆ☜ಖࡋ࡚࠾ࡃᚲせࡀ࠶ࡿࠋ࡜࠸࠺ࡢࡶࠊࡇࢀࡣ࣑ࠗࢻ࣐࣮ࣝࢳ࠘࡜ࠗศู࡜ከ
ឤ࠘ࡢ୺ேබࡓࡕ࡟ඹ㏻ࡋ࡚࠸࠼ࡿࡇ࡜ࡔࡀࠊᙼዪࡓࡕ࡟ᮏ᮶ⓗ࡟ഛࢃࡗ࡚࠸ࡿ࡜ࡉࢀࡿ㨩ຊࠊ㍤ࡁࡀ㩭࡛᫂࠶ࢀࡤ࠶ࡿ࡯࡝ࡑࡢᾘ⁛ࡣࠊⴠᕪࡢពእᛶ࡜࡞ࡗ࡚῝ࡃㄞ⪅࡟༳㇟࡙ࡅࡽࢀࡿࡶࡢ࡜࡞ࡿ࠿ࡽ࡛
࠶ࡿࠋ୧୺ேබࢆ≉ᚩ࡙ࡅ࡚࠸ࡿࡢࡣࠊⱝࡉࡢ㍤ࡁ࡛࠶ࡿࡀࠊࡑࢀࡣᚲ↛ⓗ࡟ே⏕⤒㦂࡟ஈࡋ࠸ⱝ⪅ࡢᛮ៖ศูࡢḞዴ࡛࠶ࡾࠊࡲࡓ㐣๫࡞ࡲ࡛ࡢ᝟⇕ࢆࡶྵࡲࡎ࡟ࡣ࠸ࡽࢀ࡞࠸ࡶࡢ࡛࠶ࡿࠋࠗศู࡜ከឤ࠘ࡣ㢼⩦႐๻ (comedy of manners ) ࡢᖖ࡜ࡋ࡚㍍ⷧࠊᅉ⩦ࠊហ⾜ࢆᥥࡁ࡞ࡀࡽࡶ࣮࢜ࢫࢸ࢕ࣥࡢሙྜࠊỴࡋ࡚ࢩࢽ࢝ࣝ࡟࡞ࡽࡎࠊసᐙࡢⓗ☜࠿ࡘ⢭ጁ࡞ᛶ᱁ᥥ෗࡟⿬࡙ࡅࡽࢀࡓே≀ࡓࡕࡀ⧊ࡾ࡞ࡍே㛫ᶍᵝࡣࠊసရ඲య࡟௙᥃ࡅࡽࢀࡓ࣮࢜ࢫࢸ࢕ࣥ⊂≉ࡢ࣮ࣘࣔ࢔࡟ᨭ࠼ࡽࢀࠊ᭱⤊ⓗ࡟ࡣ⤖፧ࣉࣟࢵࢺ (marriageplot) ࡟ࡩࡉࢃࡋ࠸⤖፧ࡢ㸺⚃⚍㸼࡟ᙬࡽࢀࡿࠋ௚᪉ࠊ࣑ࠗࢻ࣐࣮ࣝࢳ࠘ࡣࠊࢭࢩࣝ࡞࡝ࡀᣦ᦬ࡍࡿࡼ
࠺࡟ࠊసရࡑࡢࡶࡢࡀ࢚ࣜ࢜ࢵࢺࡢཝ᱁࡞㐨ᚨⓗ౯್ᇶ‽ࠊ⢭⚄ⓗែᗘ࡟⿬ᡴࡕࡉࢀࡓ୍ࡘࡢ㔜ཌ࡞“criticism of life” (21) ࡢែࢆ࡞ࡋ࡚࠸ࡿ (“Fate” 12)ࠋ ࡇࡢࡼ࠺࡟୧సရࡢࢪࣕࣥࣝࡣ␗࡞ࡿࡢࡔࡀࠊࢻࣟࢩ࢔ࡶࡲࡓྠᵝ࡟సᐙࡢ㄂ᙇ࡟ࡼࡗ࡚ࠊ☜࠿࡟࠸ࡉࡉ࠿⁥✍ࡢほࢆචࢀᚓ࡞࠸Ꮡᅾ࡟࡞ࡗ࡚࠸ࡿࡇ
࡜ࡶ஦ᐇ࡛࠶ࡿࠋࡉࡽ࡟୺ேබࡓࡕࡀ㏨ࢀࡽࢀ࡞࠸ࡑ࠺ࡋࡓᙅⅬࡀࠊྠ᫬࡟ࡴࡋࢁᙼዪࡓࡕࡢᙉࡳ࡜ࡶ
࡞ࡾࠊ࡜ࡁ࡟ࡣḞⅬࢆ࠿ࡍࡲࡏ࡚ࡋࡲ࠺࡯࡝ᙉⅯ࡞㨩ຊ࡜࡞ࡿⅬ࡛ࡶ୧⪅ࡣඹ㏻ࡍࡿࡔࢁ࠺ࠋㄞ⪅ࡣࠊ୺ேබࡓࡕࡢḞⅬ࡟ࡶ࠿࠿ࢃࡽࡎࠊ࡛ࡣ࡞ࡃࠊᙼዪࡓࡕࡢḞⅬࡺ࠼࡟ᙼዪࡓࡕࡢⱝࡉࡢࡶࡘ⣧⢋ᛶࠊ⇕Ⅿࡉࠊࡑࡋ࡚⇕≬࡜࠸࠺ࡶࡢࡀⓎᩓࡍࡿ㌍ືឤࠊ⏕࿨ឤࡢࡼ࠺࡞ࡶࡢ࡟ᚰື࠿ࡉࢀࡎ࡟ࡣ࠸ࡽࢀ࡞࠸ࡢ࡛࠶ࡿࠋࡑࡢព࿡࡛୺ேබࡓࡕࡣࠊே≀๰㐀ࡢほⅬ࠿ࡽࡍࢀࡤࠊE. M. Forster ࡢ࠸࠺ࠊ“round ” (65) ࡞Ꮡᅾ࡬࡜⫱ࡗ࡚࠸ࡁࠊㄞ⪅ࡣ୺ேබࡀࠕḞⅬ࡟ࡶ࠿࠿ࢃࡽࡎ࡛ࠖࡣ࡞ࡃࠊࡴࡋࢁࡑ࠺ࡋࡓࠕḞⅬࡺ࠼࡟ࠖ㨩ຊⓗ࡛࠶ࡿ࡜࠸࠺༳㇟ࢆᢪࡃࠋࡑࢀࡣࠊ௒㏙࡭ࡓࡼ࠺࡞ࠕⱝࡉࠖ࡜࠸࠺ࡶࡢࡀ↓᮲௳࡟ㄞ⪅ࡢᚰ࡟‪ࡁୖࡀࡽࡏࡿࠊ୍✀៿᠄ࡵ࠸ࡓඹឤ࠿ࡽࡔࢁ࠺ࡀࠊࡋ࠿ࡋࠊᩥᏛⓗᢏᕦ࠿ࡽࡳࢀࡤࠊࡑ࠺ࡋࡓㄞ⪅ഃࡢ࠸ࢃࡤ sensibility ࡟స⏝ࢆཬࡰࡍࡢࡀࠊస⪅ഃࡢ sensibility ࡛࠶ࡿ࡜࠸࠺ࡼࡾࡣࠊࡴࡋࢁ sense ࡛࠶ࡿࡇ࡜ࡣὀ┠ࡍ࡭ࡁ࡛࠶ࢁ࠺ࠋ௨ୗ࡟ࡑ࠺ࡋࡓస⏝ࢆྍ⬟࡟ࡋ࡚࠸ࡿ࢚ࣜ࢜ࢵࢺࡢᢏᕦࡢ୍ࡘ࡛࠶ࡿ
ࠕᑐẚࠖࡢᡭἲࢆࡳ࡚࠸ࡇ࠺ࠋ

㸲㸬ࠕᑐẚࠖ࡜࠸࠺ᡭἲ
࣮࢜ࢫࢸ࢕ࣥࡢሙྜࡣ sense ࡜ sensibility ࡜࠸࠺ࠊ஧㡯ᑐ❧ࠊᑐẚ࡟ࡼࡿ᭩ྡࡀ᫂♧ࡍࡿࡼ࠺࡟ࠊ
୍᪉࡛ࡣࠊsense ࡢయ⌧໬࡜ࡉࢀࡿ Elinor Dashwood ࢆ㨩ຊⓗ࡟ࡳࡏ࡞ࡀࡽࠊࡲࡓ௚᪉࡛ࡣࠊsensibilityࡢ࣓࢔ࣜ࢔ࣥࡢ㨩ຊࡶᾋࡁ᙮ࡾ࡟ࡋ࡚࠸ࡿࠋࡋ࠿ࡋࠊࡇ࠺ࡋࡓጜጒࡢ୍ぢࠊ᫂░࡟ᑐẚࡋ࡚࠸ࡿ sense ࡜sensibility ࡶࠊࡓ࡜࠼ࡤࣂࣝࢺࡢ࠸࠺ࡼ࠺࡟ࠊⓏሙே≀ࢆྜᡂࡍࡿ୍ࡘࡢࠕព࿡⣲ࠖ࡜ࡋ࡚⪃࠼ࢀࡤ࡝࠺࡛࠶ࢁ࠺࠿ࠋ
:hen identical semes traverse the same proper name several times and appear to settle upon ita character is created. Thus the character is a product of combinations: the combination isrelatively stable (denoted by the recurrence of the semes) and more or less complex (involving
more or less congruent more or less contradictory figures); this complexicy determines thecharacter’s “personality”. (SZ 67)－ 35 －ࡶࡋࠊⓏሙே≀࡜࠸࠺ࡶࡢࡀࠊࣂࣝࢺࡀᣦ᦬ࡍࡿࡼ࠺࡟ࠕྜᡂࡢ⏘≀࡛ࠖ࠶ࡾࠊࡑࡢ」㞧ᛶࡇࡑࡀࠊⓏሙே≀ࡢࠕಶᛶࠖࢆỴᐃࡍࡿ࡜ࡍࢀࡤࠊ
㸦Ⓩሙே≀ࡢព࿡⣲࡛࠶ࡿ࡜⪃࠼ࡽࢀࡿ㸧sense ࡜ sensibilityࡶࡲࡓࠊࠕᑐẚࠖ࡜࠸࠺ᡭἲࢆ₯ࡽࡏࡓᚋ࡛ࡣࠊࠕ཰ᩡࡉࢀࡿࡶࡢ࡛࠶ࡿࡼࡾࡶࠊࡴࡋࢁືⓗ࡟ᣑᩓࡋ࡚࠸ࡃࡶࡢ࡛ࠖ࠶ࡾࠊࠕ࢔ࣞࢦࣜ࢝ࣝ࡞సရ࡜ࡋ࡚㝈ᐃࡋࡓሙྜ࡟ࡳ࠼࡚࠸ࡓࠊ㢟ྡࡢᑐ❧ᴫᛕࡢ༢⣧᫂ᛌࡉࡣ᭕᫕ᶍ⢶࡜ࡋࡓࡶࡢࠖ㸦᝷㇂ࠗ⹫ᵓ࠘76㸧࡟࡞ࡿࡔࢁ࠺ࠋ
࣮࢜ࢫࢸ࢕ࣥ࡜ྠᵝ࡟ࠊ࢚ࣜ࢜ࢵࢺࡶࡲࡓࢻࣟࢩ࢔࡜ Celia Brooke ࡜࠸࠺ࠊSense and Sensibility࡟࠾ࡅࡿ࢚ࣜࢼ࡜࣓࢔ࣜ࢔ࣥࡢ counter parts ࢆᛮࢃࡏࡿᑐ↷ⓗ࡞ጜጒࢆ㓄⨨ࡋ࡚࠸ࡿࡀࠊࡇࡢጜጒࡢᑐẚ࡟㛵ࡋ࡚ࡶㄞ⪅ࡣࡑࡢᑐẚࡢぢᴟࡵ࡟ࠊὀព῝࠸Ὕᐹຊࠊ࠸ࢃࡤ▱ⓗどຊࡢㄪᩚࡀᚲせ࡜࡞ࢁ࠺ࠋ࣮࢜ࢫࢸ࢕ࣥࡢሙྜྠᵝࠊ࢚ࣜ࢜ࢵࢺࡢᑐẚࡢᢅ࠸࡟ࡶࡲࡓసᐙࡢ▱ⓗ᧯స࡜࠸࠺ࠊពᅗⓗ࡞ࡶࡢࡀឤࡌࡽࢀࡿ࠿ࡽ࡛࠶ࡿࠋ ࡲࡎ࢚ࣜ࢜ࢵࢺࡢሙྜࠊࡑ࠺ࡋࡓே≀㛫࡟ࡳࡽࢀࡿ sense ࡜ sensibility ࡢᑐẚࡣࢻࣟࢩ࢔⮬㌟ࡢෆ
㒊࡟ࡶ௙᥃ࡅࡽࢀࡿࡇ࡜࡟࡞ࡿࠋࡋ࠿ࡶࡑࡢᑐẚࡣ㟼ⓗ࡞ࡶࡢ࡜ࡋ࡚ᐃ╔ࡍࡿࡶࡢ࡛ࡣ࡞࠸ࠋࡑࢀࡣ࢚
ࣜ࢜ࢵࢺࡢస⪅ࡢኌ࡟ࡼࡗ࡚ㄒࡽࢀࡿ࡜ࠊ࠶ࡿ✀ࡢព࿡ࡢᦂࡽࡂࡢࡼ࠺࡞ࡶࡢࡀ⏕ࡌ࡚ࡃࡿࠋ௨ୗ࡟ࡑࡢලయⓗ࡞୍⠇ࢆ౛࡟࡜ࡾࠊࢻࣟࢩ࢔ࢆࡵࡄࡿ “custom” ࡜ “passion” ࡢ㛵ಀᛶࡢ࠸ࢃࡤᦂࡽࡂࢆࠊࡓ࡜࠼ࡤࣂࣝࢺࡢゝⴥࢆ೉ࡾࢀࡤࠊࠕࢫ࣮ࣟࣔࢩࣙࣥࡢㄞࡳࠖ (“. . . this reading will be filmed in slowmotion.”) (Challenge 264)࡟࠾࠸࡚ࡳ࡚ࡳࡼ࠺ࠋ௨ୗࡣࢻࣟࢩ࢔࡜࠸࠺ே≀ࡀ᭱ึ࡟⤂௓ࡉࢀࡿሙ㠃࡛࠶ࡿࠋ
. . . she was enarmoured of intensity and greatness and rash in embracing whatever seemed toher to have those aspects; likely to seek martyrdom to make retractations and then to incur
martyrdom after all in a quarter where she had not sought it. (8) ࢻࣟࢩ࢔ࡢẼ⣮ࢀ࡟ࡶఝࡓࠕṥᩍ⪅ࠖ(“martyrdom”㸧࡬ࡢῬᮃࠊࡍ࡞ࢃࡕࠕᙉⅯ࡞ࡶࡢࠊ೧኱࡞ࡶࡢ࡟ᚰ㓉ࡋࠊࡑࢀࡽࡋࡁࡶࡢ࡞ࡽ࡞࡟࡛࠶ࢀࠊᢪࡁ࠿࠿࠼ࡼ࠺࡜ࡍࡿࠖ᝟⇕ࡣࠊ☜࠿࡟⊩㌟࡜࠸࠺౑࿨ឤ࡟⇞࠼ࡓࢻࣟࢩ࢔ࡢ㐨ᚨⓗ౯್ほ࡟῝ࡃ᰿ᕪࡋࡓࡶࡢ࡛࠶ࡿࠋࡑࢀࡣᙜ↛ࠊࡑࡢࡲࡲ႐๻࡟࠾ࡅࡿ࣓࢔ࣜ࢔ࣥࡢ᝟⇕ࠊࡘࡲࡾಶேࡢ࣐ࣟࣥࢫⓗႴዲ࡬ࡢ sensibility ࡢ⪮⁒࡜ྠ୍どࡍࡿࢃࡅ࡟ࡣ࠸࠿࡞࠸ࡀࠊࢻࣟࢩ࢔ࡢṥᩍ⪅࡬ࡢῬᮃࡣࠊᮏேࡣࡋࡈࡃ኱┿㠃┠࡛࠶ࡿ࡜ࡣ࠸࠼ࠊ࿘ᅖࡢ⪅ࠊࡑࡋ࡚ㄞ⪅࡟࡜ࡗ࡚ࡣࠊ࡜ࡶࡍࢀࡤ⁥✍࡟ࡶឤࡌࡽࢀࡿࡶࡢ࡛࠶ࡾࠊࡑࡢᴟ➃ࡉࡺ࠼࡟ㄞ⪅ࡣࢻࣟࢩ࢔࡟ᑐࡋࠊ࠾ࡢࡎ࠿ࡽ႐๻ࡢⓏሙே≀࡟ᑐࡍࡿࡼ࠺࡞ᢈุⓗ㊥㞳ࢆྲྀࡿࡼ࠺࡟࡞ࡿࠋࡇ࠺ࡋࡓಶᡤࡢࡳྲྀࡾୖࡆࢀࡤࠊࡇࡢ୺ேබࡀ࣮࢜ࢫࢸ࢕ࣥࡢ๰㐀ୡ⏺ࡢఫே㸦Ⓩሙே≀㸧࡛࠶ࡗ࡚ࡶᑡࡋࡶ㐪࿴ឤࡣ࡞࠸ࠋࢻࣟࢩ࢔ࡀṥᩍ⪅ࢆ┠ᣦࡍࡑࡶࡑࡶࡢⓎ➃ࠊࡑࡢືᶵ⮬యࡣ୍ぢ sense ࡟ࡳ࠼࡞ࡀࡽࡶࠊࡴࡋࢁ sensibility ࡢᏑᅾࢆ࠺࠿
ࡀࢃࡏࡿࠋࢻࣟࢩ࢔ࢆᥥࡃ࢚ࣜ࢜ࢵࢺࡢ࣌ࣥࡣ㏱ᚭࡋ࡚࠾ࡾࠊ㓰ࡵ࡚࠸ࡿࠋࢻࣟࢩ࢔ࡢᓫ㧗࡞ពᅗࠊ᝟
⇕ࡣ࡝ࡇࡲ࡛ sense ࡜ࡋ࡚␃ࡲࡾࠊࡲࡓ࡝ࡇ࠿ࡽ sensibility ࡟ኚㇺࡍࡿࡢࡔࢁ࠺࠿ࠋࢻࣟࢩ࢔ࡢᓫ㧗࡜ࡶ࠸࠺࡭ࡁ⌮᝿ࡣࠊࡑࡢ㐣๫࡟ࡼࡗ࡚ㄞ⪅ࡢ┠࡟ࡣࠊࡴࡋࢁ୺ேබࡢ sensibility ࡢ࡯࠺࡬࡜ᚲ↛ⓗ࡟ᆅࡍ࡭ࡾࢆ㉳ࡇࡍࡇ࡜࡟࡞ࡿࠋࡇࡇ࡛ࡣࠊ࢚ࣜ࢜ࢵࢺࡢసᐙⓗ▱ᛶࡣࢻࣟࢩ࢔ࡢ sense ࡜ sensibility ࡢ༴࠺ࡉࢆᕦࡳ࡟㏱࠿ࡋฟࡋ࡚࠸ࡿࡢ࡛࠶ࡿࠋ ࡔࡀࠊసᐙࡢㄒࡾࡣࡇࢀ࡛⤊ࢃࡾ࡟࡞ࡗࡓࢃࡅ࡛ࡣ࡞࠸ࠋᡭἲࡢⅬ࡛ࡣࠊㄒࡾࡢᚋ⥆㒊ศࡢ࡯࠺ࡀࡴ
ࡋࢁࡉࡽ࡟ᕦጁ࡟࡞ࡗ࡚ࡃࡿࠋస⪅ࡢ▱ᛶࡣࠊㄒࡾࡢ๓༙࡛ࡣࢻࣟࢩ࢔ࡢ “passion” ࢆ㏱ᚭࡍࡿࡼ࠺࡞

－ 36 －෭㟼࡞᧯సࢆ⾜࠸࡞ࡀࡽࡶࠊ㏫࡟ᚋ⥆ᩥ࡛ࡣ☜ᐇ࡟ࡑࡢ “passion” ࢆ᧦ㆤࡍࡿഃ࡟ࡲࢃࡗ࡚࠸ࡿࡼ࠺࡟ࡶࡳ࠼ࡿ࠿ࡽ࡛࠶ࡿࠋ
Certainly such elements in the character of marriageable girl tended to interfere with her lot andhinder it from being decided according to custom by good looks vanity and merely canine
affection. (8) ୖグࡢ⾲⌧࡟ࡣࠊ࠿ࡍ࠿࡞౯್ࡢ㌿そ࡜ࡶ࠸࠼ࡿࡶࡢࡀぢฟࡏࡿࠋ࣮࢜ࢫࢸ࢕ࣥࡢ㢼⩦႐๻࡟ࡶ㏻ࡌ
ࡿࡼ࠺࡞ “intellectual” ࡞ഃ㠃ࡀ⾲ฟࡍࡿࠋ࡞ࡿ࡯࡝స⪅ࡀㄒࡿࡼ࠺࡟ࠊࠕ⤖፧㐺㱋ᮇࡢፉࡢᛶ᱁࡟ࡑ
࠺ࡋࡓ [ṥᩍ⪅࡬ࡢῬᮃࡢࡼ࠺࡞] せ⣲ࠖࡀ࠶ࡿࡓࡵ࡟ࠊ୺ேබࡢࠕ㐠࿨ࠖࡀࠊ“custom” ࡟ࡼࡿỴᐃࢆචࢀࡿࡇ࡜ࡶ࠶ࢁ࠺ࠋࡔࡀࠊᚋ⥆ᩥ࡛ิᣲࡉࢀࡿࡇ࡜࡟࡞ࡿ “custom” ࡢෆヂࡀࠊ “good looks vanity
and merely canine affection”࡜࠸ࡗࡓࡶࡢ࡛ࡋ࠿࡞࠸࡜࡞ࢀࡤࠊࡇࡇ࡛స⪅࡟ᢨṔࡉࢀࡿࡢࡣࠊ
“custom” ࡢ༝ᑠࡉ࡛ࡋ࠿࡞࠸ࠋ⤖ᒁࠊㄞ⪅ࡀ☜ㄆࡍࡿࡇ࡜࡟࡞ࡿࡢࡣࠊ༝಑࡞ “custom” ࠿ࡽ㐓⬺ࡋࠊ࠶ࡿ࠸ࡣࡴࡋࢁࡑࢀࢆ㉸㉺ࡋࡼ࠺࡜ࡍࡿࠊࢻࣟࢩ࢔ࡢࢫࢣ࣮ࣝࡢ኱ࡁࡉࡢ࡯࠺࡛࠶ࡿࡢࡔࠋࡇࡢࡼ࠺࡟࢚ࣜ࢜ࢵࢺࡣࠊࢻࣟࢩ࢔࡟ᑐࡍࡿㄞ⪅ࡢඹឤࢆ⋓ᚓࡍࡿࡢࡔࡀࠊࡑࢀࡣ㟼ⓗ࡞ࡶࡢ࡛ࡣ࡞
ࡃࠊࡴࡋࢁ᤟ࢀࢆྵࢇࡔస⪅ࡢࣞࢺࣜࢵࢡࡢᦂࢀࡢࡼ࠺࡞ࡶࡢ࡟౫ࡗ࡚࠸ࡿࠋࡇࡇ࡛స⏝ࡋ࡚࠸ࡿࡢࡣࠊ
࢚ࣜ࢜ࢵࢺࡢឤ᝟࡜࠸࠺ࡼࡾࡣࠊࡴࡋࢁඛ⾜ᩥࢆࠕ㌿ಽࠖࡉࡏࡿ࡜࠸࠺ࠊసᐙࡢࡁࢃࡵ࡚▱ⓗ࡞௙᥃ࡅ࡛࠶ࡿࡔࢁ࠺ࠋゝⴥࢆ࠿࠼ࢀࡤࠊ࢚ࣜ࢜ࢵࢺࡣࠊ࠸ࢃࡤసᐙ࡜ࡋ࡚ࡢ sense ࡟ࡼࡗ࡚ㄞ⪅ഃࡢ sensibilityࢆᜥ࡙࠿ࡏ࡚࠸ࡿࡢ࡛࠶ࡿࠋࡇ࠺ࡋࡓస⪅ࡢ sense ࡀㄞ⪅ࡢ sensibility ࢆᦂࡉࡪࡿࡼ࠺࡞ᡭἲࡣࠊࢻࣟࢩ࢔࡜ࢩ࣮ࣜ࢔࡜ࡢᑐẚ࡟࠾࠸࡚ࡶぢฟࡏࡿࠋࡑࡋ࡚ࡑࡇ࡟ࡶ࡞࡟࠿ពᅗⓗ࡞஧㔜ᛶࡀㄞࡳྲྀࢀࡿࠋࢩ࣮ࣜ࢔ࡣࠊ࠶࡝ࡅ࡞࠸እぢ࡟ఝྜࢃࡠᢤࡅ┠࡞ࡉ࡜ୡ▱ࢆවࡡഛ࠼࡚࠾ࡾࠊ࣑ࢻ࣐࣮ࣝࢳࡢఫẸࡢ┠࡟ࡣࠊࢻࣟࢩ࢔࡜ࡣᑐ↷ⓗ࡟“common-sense” ࢆ௦ᘚࡍࡿࡼ࠺࡞ே≀࡜ࡋ࡚ᥥ࠿ࢀ࡚࠸ࡿࠋ“Dorothea is not always consistent.”(14)ɆɆࢻࣟࢩ࢔࡟ෆᅾࡍࡿ▩┪ࡣࠊࡍ࡛࡟ࢩ࣮ࣜ࢔ࡢ“consistency” (13) ࡜࠸࠺ุ᩿ᇶ‽࡟ࡼࡗ࡚ぢ㏱࠿ࡉࢀ࡚࠸ࡿࡢ࡛࠶ࡾࠊࢩ࣮ࣜ࢔ࡢ sense ࡀࢻࣟࢩ࢔ࡢ sensibilityࠊ࠶ࡿ࠸ࡣ sense ࡜ sensibility ࡜ࡢࠊ㸦ࢭࢩࣝࡀ࢚ࣜ࢜ࢵࢺ⮬㌟࡟ᙜ࡚ᔐࡵࡓゝⴥࢆࡇࡇ࡛ࡶ⏝࠸ࢀࡤ㸧༴࠺࠸ࠕ୙ᆒ⾮ࠖࢆぢᢤ࠸࡚࠸ࡿࠋࡔࡀࠊࢩ࣮ࣜ࢔ࡢ “common-sense” ࡶࠊࡑࡢ㉁ࢆᑡࡋ᳨ウࡋ࡚ࡳࢀࡤࠊࡑࢀࡣᐇ࡟༝ᑠࠊ༝಑࡞
ࡶࡢ࡛ࡋ࠿࡞ࡃࠊ⤖ᒁࠊࢻࣟࢩ࢔࡜ࡢᑐẚࡣࠊㄞ⪅࡟ࡣ㏫࡟ࠊࢻࣟࢩ࢔࡜࠸࠺Ⓩሙே≀ࡢࢫࢣ࣮ࣝࡢ኱
ࡁࡉࢆ༳㇟࡙ࡅࠊࡇࡢ୺ேබࡢࡶࡘࢲ࢖ࢼ࣑ࢬ࣒ࡢࡼ࠺࡞ࡶࡢࢆࡉࡽ࡟ຊᙉࡃࠊ᰿῝ࡃㄞ⪅࡟ឤࡌࡉࡏ
ࡿࡇ࡜࡟࡞ࡿࠋ
ࡓ࡜࠼ࡤࠊ࣮࣭࣊ࣥࣜࢪ࢙࢖࣒ࢬࡣࠊ“Celia Brooke is as pretty a fool as any of Miss Austen’s.” (358)࡜ࢩ࣮ࣜ࢔ࢆ୍ゝࡢࡶ࡜࡟ษࡾᤞ࡚࡚࠸ࡿࠋᙼࡢྎモࡢ⫼ᬒ࡟ࡣᙜ↛ࠊୡ⣖ᮎⓗ࡞᫬௦ᛮ₻࡛࠶ࡗࡓ“decadence” ࡶ኱࠸࡟㛵ಀࡋ࡚࠸ࡿࡔࢁ࠺ࡀࠊࡋ࠿ࡋࠊᙼࡢពぢࡣṇ㭀ࢆᑕ࡚࠸ࡿࠋࢩ࣮ࣜ࢔ࡢ
“common-sense” ࡶࡲࡓ┙▼࡛ࡣ࡞࠸ࠋࡉࡽ࡟ṇ☜࡟࠸࠼ࡤࠊ┙▼ࡢࡼ࠺࡟ࡣᥥ࠿ࢀ࡚࠸࡞࠸ࠋ
ࢪ࢙࢖࣒ࢬࡀ⿢᩿ࡍࡿࡼ࠺࡟ࠊࢩ࣮ࣜ࢔ࡀࡣࡓࡋ࡚࣮࢜ࢫࢸ࢕ࣥࡢᥥࡃ႐๻ⓗே≀࡟ࡲ࡛ᘬࡁୗࡆࡽ
ࢀࡿ㸦࠶ࡿ࠸ࡣࠊᘬࡁୖࡆࡽࢀࡿ㸧࠿ྰ࠿ࡣู࡟ࡋ࡚ࠊே≀ࡢࢫࢣ࣮ࣝ࡜࠸࠺Ⅼ࡛ࡣࠊࢻࣟࢩ࢔ࡣࠊࡣ
ࡿ࠿࡟ࢩ࣮ࣜ࢔ࢆ෽࠸࡛࠸ࡿࡔࢁ࠺ࠋࠕࢩ࣮ࣜ࢔ࠖࡣࠊࢻࣟࢩ࢔㸦ࡢ “greatness” 㸧ࢆ๓ᬒ໬ࡍࡿࡓࡵ
࡟୍᪉ⓗ࡟࠸ࢃࡤᾘ㈝ࡉࢀࡿࠋ๓㏙ࡋࡓࡼ࠺࡟ࠊసᐙ⮬㌟ࡢㄒࡾ࡟࿊♧ࡉࢀࡓ “custom”ࡣࠊ๓ᩥ࡜ࡣ
ᑐẚⓗ࡞ᚋ⥆ᩥ࡟ࡼࡗ࡚㌿ಽࡉࡏࡽࢀࡓࡢࡔࡀࠊࡇࡇ࡛ࡣࢻࣟࢩ࢔࡜ᑐ↷ⓗ࡞ே≀࡛࠶ࡿࢩ࣮ࣜ࢔ࢆ㸦ࢻࣟࢩ࢔࠿ࡽࢃࡎ࠿࡟㞳ࢀࡓ࡜ࡇࢁ࡛㸧㌿ಽࡉࡏ࡚ࡳࡏࡿࠊ࡜࠸࠺ᵓᅗ࡟ࡼࡗ࡚࢚ࣜ࢜ࢵࢺࡢᢏᕦࡣ

－ 37 －ㄞ⪅ࡢඹឤࢆ☜ᐇ࡟ࡍࡿࠋࢻࣟࢩ࢔ࡣࠊࡇࡇ࡛ࡶࡲࡓࢩ࣮ࣜ࢔ࡀ㄂ࡿ “common-sense” ࠿ࡽࡢ㐓⬺ࠊ㉸㉺࡟ࡼࡗ࡚ㄞ⪅࡟ᑐࡋࠊࡑࡢᏑᅾࢆࡉࡽ࡟኱ࡁࡃࡍࡿࠋ➃ⓗ࡟࠸ࡗ࡚ࡋࡲ࠼ࡤࠊࢻࣟࢩ࢔ࡢࢲ࢖ࢼ࣑ࢬ࣒ࢆ⏘ฟࡍࡿࡢࡣࠊࡲࡉࡋࡃస⪅ࡢᢏᕦࡢࢲ࢖ࢼ࣑ࢬ࣒࡟ࡼࡗ࡚࡛࠶ࡿࡢࡔࠋ㸳㸬ࠕඹㅛࠖࡍࡿㄞ⪅ࢻࣟࢩ࢔ࡢ㨩ຊࢆᥥࡁฟࡍሙྜࠊ๰స⪅࡜ࡋ࡚ࡢ࢚ࣜ࢜ࢵࢺࡣࠊ┤᥋ᛶࢆᕦࡳ࡟㑊ࡅ࡚࠸ࡿࠋࡉࡽ࡟ཝᐦ࡟࠸࠼ࡤࠊ࢚ࣜ࢜ࢵࢺࡣ┤᥋ⓗ⾲⌧࡛࠶ࡿࡼࡾࡣࠊᑐẚ࡟ࡼࡗ࡚ㄞ⪅ࢆࡴࡋࢁ่⃭ࡍࡿ࡜࠸࠺ᡭἲ࡟ࡼࡗ࡚ࠊ⮬ศࡀᥥࡇ࠺࡜ࡍࡿ୺ேබࡢ㨩ຊࢆࠊࡲࡎㄞ⪅࡜༠ാࡋ࡚๰ࡾୖࡆࡿࡇ࡜ࢆពᅗࡋ࡚࠸ࡿࡼ࠺࡟ᛮࢃࢀࡿࠋඹឤ࡬ࡢឤཷᛶ࡜࠸ࡗࡓࡶࡢࡢ⫼ᚋ࡟ࡣࠊᙜ↛࢚ࣜ࢜ࢵࢺ⮬㌟ࡢ㇏࠿࡞ sensibility ࡢᏑᅾࡣ࠶ࡿࡢࡔࡀࠊࡑ࠺ࡋࡓ sensibility ࡢ㡿ᇦࢆ⾲⌧ࡍࡿሙྜ࡟ࠊ࢚ࣜ࢜ࢵࢺࡣࡴࡋࢁ෭ᚭ࡜ࡶ࠸࠺࡭ࡁsense ࡢ㡿ᇦ࡛๰సࡋ࡚࠸ࡿࡢ࡛࠶ࡿࠋ⤖ᒁࠊࡇࡇ࡛ࡣㄞ⪅ࡶ࠶ࡿព࿡ࠊ࢚ࣜ࢜ࢵࢺ࡜ࠕㄞࡳࠖࡢඹㅛ⪅࡜࠸࠺ࡇ࡜࡟࡞ࢁ࠺ࠋ࡜࠸࠺ࡢࡶࠊ࢚ࣜ࢜ࢵࢺࡢࡇࡢᡭἲ࡟ࡼࡗ࡚ㄞ⪅ࡀඹឤࡋࠊࠕឤ᝟ࠖ࡟ᾐࡿࡢࡣࠊ௙᥃ࡅே࡛࠶ࡿ࢚ࣜ࢜ࢵࢺࡢ┤᥋ⓗ࡞ࠕឤ᝟࡛ࠖࡣ࡞ࡃࠊࠕ▱ⓗࠖ࡞᧯సࢆࠊㄞ⪅ࡶࡲࡓ▱ⓗ࡟ゎㄞࡋࡓ⤖ᯝ࡟௚࡞ࡽ࡞࠸࠿ࡽ࡛࠶ࡿࠋㄞ⪅ࡢࡇ࠺ࡋࡓඹㅛᛶ㸦࡜࠸࠺ࠊ୍✀ࡢ₯ᅾ⬟ຊ㸧ࡣࠊ࠾ࡑࡽࡃ࢚ࣜ࢜ࢵࢺࡀ⮬ศࡢㄞ⪅࡟ồࡵ࡚࠸ࡓ๓ᥦ᮲௳࡛࠶ࡾࠊࡇ࠺ࡋࡓࠕඹㅛࠖࡣࠊ๰సࡢ᫬Ⅼ࡛ࡍ࡛࡟ࡇࡢసᐙ࡟ࡣ⧊ࡾ㎸ࡳࡎࡳࡢࡶࡢ࡛ࡶ࠶ࡗ
ࡓࡔࢁ࠺ࠋㄞ⪅ഃࡢࡑ࠺ࡋࡓඹㅛᛶࡣࠊ㆟ㄽࢆ✺ࡁワࡵࢀࡤࠊㄞ⪅⮬㌟ࡀࠕㄞࡴࠖࡇ࡜࠿ࡽࠊࡴࡋࢁࠕ᭩
ࡁࠖࡣࡌࡵࡿ⾜Ⅽ࡟ࡶࡘ࡞ࡀࡗ࡚࠸ࡃࠋࡇࡢసᐙ࡟࡜ࡗ࡚ࠊㄞ⪅࡬ࡢඹឤ࡬ࡢႏ㉳ࡣࠊᥥࡃࡇ࡜࡛࠶ࡿ
ࡼࡾࡣࠊඹឤࢆㄞ⪅࡜࡜ࡶ࡟ศ࠿ࡕྜ࠺⾜Ⅽࠊྰࠊࡉࡽ࡟ṇ☜࡟࠸࠼ࡤࠊࡴࡋࢁㄞ⪅࡜࡜ࡶ࡟๰ࡾୖࡆ
ࡿ⾜Ⅽ࡜࡞ࡿࡢ࡛࠶ࡿࠋ㸰 ๓㏙ࡋࡓࡼ࠺࡟ࠊࢪ࢙࢖࣒ࢬࡣࢩ࣮ࣜ࢔ࢆࠊ࣮࢜ࢫࢸ࢕ࣥࡀᥥࡃ “fool” ࡜ ྠ୍どࡋࡓࡀࠊࢻࣟࢩ࢔ࡶࡲࡓࠊ࡜ࡁ࡜ࡋ࡚࣮࢜ࢫࢸ࢕ࣥࡢⓏሙே≀ࢆᛮࢃࡏࡿࠋࡑࢀࡣᙜ↛ࠊ“fool” ࡜ࡋ࡚࡛ࡣ࡞ࡃࠊᮏ㉁ⓗ࡞ព࿡࡟࠾࠸࡚࡛࠶ࡿࠋࢻࣟࢩ࢔ࡢ୺ேබ࡜ࡋ࡚ࡢ㐀ᙧࡢᣑࡀࡾ࡜῝ࡉ࡟ࡣࠊ๓㏙ࡋ࡚ࡁࡓ࣓࢔ࣜ࢔ࣥࡢࡳ࡞ࡽࡎࠊ࣮࢜ࢫࢸ࢕ࣥࡢᚋᮇసရ࡟࠾ࡅࡿ୺ேබࡓࡕ࡟ࡉ࠼㐃࡞ࡿࡶࡢࡀ࠶ࡿ࡜ᛮࢃࢀࡿࠋ㸱 ࡑ࠺ࡋࡓࡇ࡜ࡀྍ⬟࡛࠶ࡿࡢࡣࠊࢻࣟࢩ࢔ࡀࠊ࢚ࣜ࢜ࢵࢺ⮬㌟ࡀෆໟࡋ࡚࠸ࡿ sense ࡜ sensibility ࡜ࡢศ࠿ࡕࡀࡓ࠸⤖ࡧࡘࡁ࡜࠸࠺ࠊᙉຊ࡞࿡᪉ࢆࡘࡅ࡚๰㐀ࡉࢀࡓே≀࡛࠶ࡿࡇ࡜࡜ࡶ኱࠸࡟㛵ಀࡋ࡚࠸ࡿࡔࢁ࠺ࠋ ࣮ࣦࣜ࢕ࢫࡀ࢚ࣜ࢜ࢵࢺ࡟ᑐࡍࡿ࣮࢜ࢫࢸ࢕ࣥࡢ῝㐲࡞ᙳ㡪ࢆᣦ᦬ࡋ࡞ࡀࡽࠊලయⓗ࡞ᐃ⩏࡟ࡣཬࡤ࡞࠿ࡗࡓࡢࡣࠊࠕ೧኱࡞⊂๰ⓗసᐙ㛫ࡢᙳ㡪ࡢᐃ⩏ࡣᅔ㞴ᴟࡲࡾ࡞࠸ࠖ(Leavis 18-1) ࡜࠸࠺ࡢࡀࠊ⌮⏤࡛࠶ࡗࡓࡀࠊᮏㄽ࡛ࡳ࡚ࡁࡓࡼ࠺࡟ࠊᑐẚ࡜࠸࠺ᡭἲࢆษཱྀ࡟ࠊ࢚ࣜ࢜ࢵࢺࡢ sense ࡜ sensibilityࢆྫྷ࿡ࡋ࡚࠸ࡅࡤࠊ࣮ࣦࣜ࢕ࢫࡀ♧၀ࡢࡳ࡟␃ࡵ࡚࠸ࡓ࣮࢜ࢫࢸ࢕ࣥ࡜ࡢ㛵ಀᛶࡶ࠸ࡃࡪࢇㄝᚓᛶࢆࡶࡗ࡚ࡃࡿࡼ࠺࡟ᛮࢃࢀࡿࠋ࢚ࣜ࢜ࢵࢺࡀෆໟࡍࡿศ࠿ࡕࡀࡓࡃ⤖ࡧྜࡗࡓ sense ࡜ sensibility ࡣࠊࢭࢩࣝࡀᣦ᦬ࡍࡿࡼ࠺࡟ࠊࡓ࡜࠼ࡑࢀࡀࠕ୙ᆒ⾮ࠖ࡞ࡶࡢ࡛࠶ࢀࠊ࣑ࠗࢻ࣐࣮ࣝࢳ࡛࠘ࡢᡭἲ࡜ࡋ࡚ࡣぢ஦࡟⤖ᐇࡋ࡚࠸ࡿࠋࡑࡢࠕ୙ᆒ⾮ࠖࢆᣦ᦬ࡋࡓࢭࢩ࡛ࣝࡉ࠼ࠊࠕ⤖ᒁࡢ࡜ࡇࢁࠖ࡜ࠊ௨ୗࡢࡼ࠺࡟⤖ㄽ࡙ࡅࡿࡢࡔࠋᙼࡣ࢚ࣜ࢜ࢵࢺࡢࡇ࡜ࢆࠊ᭱㧗ࡢⱁ⾡ᐙ࡛ࡣ࡞࠸࡟ࡏࡼࠊᑠᆺ࡛ࡶ࡞ࡃࠊᙼዪࡣࠕ೧኱࡞
సᐙ (“a great writer”) ࠖ (328) ࡛࠶ࡗࡓ࡜ࡍࡿࡢ࡛࠶ࡿࠋࡑࡋ࡚ㄞ⪅ࡣࠊస⪅࡟ᑐࡋ࡚ࡢࡳ࡞ࡽࡎࠊࢻࣟࢩ࢔ࠊࡘࡲࡾస⪅࡜ྠᵝ࡟ࠊ᭱㧗࡛࡞࠸࡟ࡏࡼࠊᑠᆺ࡛ࡶ࡞࠸ࠊࠕ೧኱࡞ࠖ୺ேබ࡟ඹឤࡍࡿࡇ࡜
࡟࡞ࡿ㸦“Fate” 23㸧ࡢࡔࡀࠊࡲࡉ࡟ࠊࡑࢀࡣ࢚ࣜ࢜ࢵࢺ⮬㌟ࡀෆໟࡍࡿ sense ࡜ sensibility ࡀΰ↛୍య໬ࡋࡓᩥᏛⓗᡭἲࡢ࡞ࡏࡿᢏ࡟౫ࡿ࡜ࡇࢁ኱࡛࠶ࢁ࠺ࠋ

－ 38 －

Notes㸯㸬“sense”ࠊ“sensibility” ࡢヂㄒ࡟㛵ࡋ࡚ࡣࠊ୍⯡࡟ࠕ▱ᛶࠖࠊࠕឤᛶࠖ➼⪃࠼ࡽࢀࡼ࠺ࡀࠊ࢚ࣜ࢜ࢵ
ࢺ⮬㌟ࡀෆໟࡍࡿ“sense”ࠊ“sensibility”ࡣࠊ࣮࢜ࢫࢸ࢕ࣥࡢࠗศู࡜ከឤ࠘࡟࠾ࡅࡿ“sense”ࠊ“sensibility”
ྠᵝࠊࡑࡢព࿡ྜ࠸ࡣᚤጁ࡛ࠊᮏㄽ࡛ࡶ㏙࡭ࡿࡼ࠺࡟ࠊ࠾ࡑࡽࡃࠕ཰ᩡࡉࢀࡿࡶࡢ࡛࠶ࡿࡼࡾࡶࠊࡴࡋ
ࢁືⓗ࡟ᣑᩓࡋ࡚࠸ࡃࡶࡢࠖ࡜ࡶ⪃࠼ࡽࢀࡿࡢ࡛ࠊᮏㄽ࡛ࡣ୍ࡘࡢヂㄒ࡟ᐃ╔ࡉࡏࡿࡼࡾࠊὶືⓗ࡞ゎ㔘ࡀྍ⬟࡞ࡼ࠺࡟ࠊᴫࡋ࡚ⱥㄒࢆࡑࡢࡲࡲ᥇⏝ࡋ࡚࠸ࡿࠋ࡞࠾ࡇࡢ஧ㄒ࡟㛵ࡋ࡚ࡣࠊㄞࡳ࡟࠾ࡅࡿ↹㞧ࡉࢆ㑊ࡅࡿࡓࡵ࡟ᘬ⏝➢ࢆ┬␎ࡋ࡚࠸ࡿࠋ
㸰㸬ཷᐜ⪅ഃࡢࠕㄞࡳࠖ࠿ࡽࠕ᭩ࡃࠖ⾜Ⅽ࡬࡜⛣⾜ࡍࡿࣉࣟࢭࢫ࡟ࡣ⯆࿡῝࠸ഃ㠃ࡀぢฟࡏࡿࡀࠊࡇࡢၥ㢟࡟㛵ࡋ࡚ࡣࠊ“Fate” ࡢ⤖ㄽ࡛ᑡࡋゐࢀࠊࡲࡓࠊࡓ࡜࠼ࡤ Anne Brontë ࡟ࡼࡗ࡚ᥥ࠿ࢀࡓ⤮ࡢ୍ᯛࢆࢸ࣮࣐࡟ࠊࡍ࡛࡟௨ୗࡢⱥᅜ࣐ࣟࣥὴᏛ఍୺ദࡢᅜ㝿Ꮫ఍ࢩ࣏ࣥࢪ࣒࡛࢘ࡶⓎ⾲ࡋ࡚࠸ࡿࡢ࡛ᮏㄽ
࡛ࡣヲ㏙ࡋ࡞࠸ࠋ
“Anne Brontë and Her Friedrich-like Romantic Drawing ¶:oman gazing at a sunrise over aseascape’” presented at the 14th International conference for the British Association for Romantic
Studies. Cardiff 8niversity 1 July 2015.
㸱㸬⣬ᖜࡢ㛵ಀୖࠊࡇࡢࢸ࣮࣐࡟ࡘ࠸࡚ࡢ㆟ㄽᒎ㛤ࡣࠊㄽࢆᨵࡵ࡚⾜࠺ࠋWorks CitedAusten Jane. The Works of Jane Austen. Vol.1. Sense and Sensibility. 1811. Ed. R. W. Chapman.
London: 2xford 83 174.
Barthes Roland. S/Z. 170. Trans. Richard Howard. New <ork: Hill and Wang 174.
---. Roland Barthes by Roland Barthes. 175. Trans. Richard Howard. New <ork: Hill and Wang
177.
---. The Semiotic Challenge. 185. Trans. Richard Howard. New <ork: Hill and Wang 188.
Cecil David. Early Victorian Novelists. 134. London: Constable 180.
Eliot George. Middlemarch. 1871-1872. New <ork: 2xford 83 2008.
Forster E. M. Aspects of the Novel. 127. London: Edward Arnold 158.
James Henry. “8nsigned Review” Galaxy March 1873.George Eliot: Critical Heritage. Ed. David
Carroll. London: Routledge and .egan 3aul 171.
Leavis. F. R. The Great Tradition. 148. Middlesex: 3enguin 174.
᝷㇂⨾ᬛᏊࠗ⹫ᵓࢆ⧊ࡿɆɆ࢖ࢠࣜࢫዪᛶᩥᏛ ࣛࢻࢡࣜࣇࠊ࣮࢜ࢫࢸ࢕ࣥࠊC.ࣈࣟࣥࢸ࠘ⱥᐆ♫ 2002.
---. ࠕ“An Extraordinary Fate” ࢆㄞࡴɆɆGeorge Eliot Middlemarch ࡜ Jane Austen Sense andSensibilityࠖࠗࢪ࣮ࣙࢪ࣭࢚ࣜ࢜ࢵࢺ◊✲࠘➨஧༑஧ྕࠊ᪥ᮏࢪ࣮ࣙࢪ࣭࢚ࣜ࢜ࢵࢺ༠఍. 2020.11-25.
Soya Michiko. “Anne Brontë and Her Friedrich-like Romantic Drawing ¶Woman gazing at asunrise over a seascape’” presented at the 14th International conference for the British
Association for Romantic Studies. Cardiff 8niversity 1 July 2015.

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