ࢩ࣮ࣕࣟࢵࢺ࣭ࣈࣟࣥࢸࡢࠗࢪ࢙࢖࣭࢚ࣥ࢔࠘ࢆぢࡿ̿‘written text’ ࡜͂visual text’ ࡢ࠶ࢃ࠸࡛̿᝷㇂ ⨾ᬛᏊᮏㄽ࡛ࡣࠊࢩ࣮ࣕࣟࢵࢺ࣭ࣈࣟࣥࢸ㸦Charlotteࢩ࣮ࣕࣟࢵࢺࡢ͂visual text̓࡜ࡶ࠸࠺࡭ࡁ

Brontë, 1816-1855㸧ࡢ⩦సࠕ࢟ࣕࣉࢸ࢕࣭ࣥࡶࡢࡣࠊࡲࡎ⩦సࡢẁ㝵࠿ࡽࠊ͂written text̓࣮࣭࣊ࣥࣜ࣊࢖ࢫࢸ࢕ࣥࢢࢬࠖ(‘Captain Henry࡟῝ࡃ⤌ࡳ㎸ࡲࢀ࡚࠸ࡿࠋ୍౛ࢆᣲࡆࢀࡤࠊᙼHastings’,1839)㸦௨ୗࠊࠕ࣮࣭࣊ࣥࣜ࣊࢖ࢫࢸዪࡢ⩦సࠕ࣮࣭࣊ࣥࣜ࣊࢖ࢫࢸ࢕ࣥࢢࢬࠖࡣࠊ࢕ࣥࢢࢬࠖ࡜ࡢࡳグࡍ㸧࡜ࠊࠗࢪ࢙࢖࣭࢚ࣥ࢔࠘౛ࡢᒎぴ఍ฟᒎ࠿ࡽ஬ᖺᚋࡢᑠㄝࡔࡀࠊࡑࡇ࡟

Jane Eyre, ࢆྲྀࡾୖࡆࠊࢩ࣮ࣕࣟࢵࢺࡢࡶࣆࢡࢳࣕࣞࢫࢡ࡜࠸࠺࢖࣓࣮ࢪ࡟ࡼࡗ࡚ษࡾ

͂visual text̓ࡀࠊ͂written text̓࡟࡝ࡢࡼ࠺

ྲྀࡽࢀࡓࠕ⮬↛ࠖࡀ࠶ࡿࠋࣆࢡࢳࣕࣞࢫࢡⓗᚿ࡞స⏝ࢆཬࡰࡋ࡚࠸ࡿ࠿࡟ࡘ࠸࡚⪃࠼ࡿࠋලయྥࡣࠊࢩ࣮ࣕࣟࢵࢺࡢ෇⇍సရ࡟㝶ᡤ࡟ࡳࡽࢀⓗ࡟ࡣࠊ୧సရ࡟࠾ࡅࡿ⮬↛ᥥ෗࡜⤮⏬࡜ࡢ㛵ࡿࡶࡢࡔࡀࠊࡑࡢഴྥࡣࡍ࡛࡟⩦స࡟ࡶⰍ⃰ࡃಀ࡟ࡘ࠸࡚ẚ㍑⪃ᐹࡋࡓ࠸ࠋ

⾲ࢀ࡚࠸ࡿࠋ

ࣈࣟࣥࢸ୕ጜጒࠊࡘࡲࡾࢩ࣮ࣕࣟࢵࢺࠊ࢚࣑ࡇࡢࠕ࣮࣭࣊ࣥࣜ࣊࢖ࢫࢸ࢕ࣥࢢࢬ࡛ࠖࡣࠊ

ࣜ㸦Emily㸧ࠊ࢔ࣥ(Anne) ࡜ࠊࡑࢀ࡟⏨඗ᘵࡇࢀࡲ࡛ࡢ⋤౳㈗᪘ࡢ୺ேබ࡟࠿ࢃࡾࠊ࢚ࣜࢨ

࡛࠶ࡿࣈ࢙ࣛࣥ࢘ࣝ(Branwell) ࡀࠊ࡜ࡶ࡟ᩥ࣋ࢫ࣭࣊࢖ࢫࢸ࢕ࣥࢢࢬ࡜࠸࠺ᐙᗞᩍᖌࠊࡘࡲᏛࡢࡳ࡞ࡽࡎࠊ⤮⏬࡟࠾࠸࡚ࡶࡍࡄࢀࡓᡯ⬟ࢆࡾࢩ࣮ࣕࣟࢵࢺࡢ➼㌟኱ࢆᛮࢃࡏࡿࡼ࠺࡞୺ே

Ⓨ᥹ࡋ࡚࠸ࡓࡇ࡜ࡣࡼࡃ▱ࡽࢀ࡚࠸ࡿࠋࠗࣈࣟ

බࡀࡣࡌࡵ࡚Ⓩሙࡍࡿࠋࡔࡀࠊ௚᪉ࠊࡑ࠺ࡋࡓࣥ ࢸ ⏬ 㞟 ࠘ (Christine Alexander and Jane୺ேබタᐃࡢ᪥ᖖᛶ࡜ࡶ࠸࠺࡭ࡁࡶࡢ࡜ే⾜ࡋSellars, The Art of the Brontës) ࡛ࡣࠊࢩ࣮࡚ࣕࠊࢦࢩࢵࢡ࡜ࡶศ࠿ࡕࡀࡓࡃ⤖ࡧࡘ࠸ࡓࣆࢡࣟࢵࢺ ࠊࣈ࢙ࣛࣥ࢘ࣝ ࠊ࢚࣑ࣜ ࠊ࢔ࢳࣕࣞࢫࢡⓗ㞺ᅖẼࡶࡲࡓ⃰ཌ࡟ᥥࡁฟࡉࢀ࡚ࣥ ࠊࡑࢀ࡟ࠊㄡࡀᥥ࠸ࡓࡢ࠿ุูಖ␃ࡢసရ࠸ࡿࠋ ࢆ⥙⨶ࡋ࡚࠸ࡿࡀࠊୖグࡢᩘᏐࡀ≀ㄒࡿࡼ࠺

About the Window there hung the festoons࡟ࠊࢩ࣮ࣕࣟࢵࢺ࡜ࣈ࢙ࣛࣥ࢘ࣝࡢసရᩘࡣ௚

& drapery of a heavy moreen curtainɆdeepࡢ஧ேࢆᘬࡁ㞳ࡋ࡚࠸ࡿࠋࡇࢀࡣࠊࢩ࣮ࣕࣟࢵ

crimson in coulour [sic.]Ɇthese, looped up,ࢺ࡜ࣈ࢙ࣛࣥ࢘ࣝࡀᮏ᱁ⓗ࡞⫋ᴗ⏬ᐙࢆ┠ᣦࡋ

showed a long roomɆglittering on all sides࡚ዧ㜚ࡋ࡚࠸ࡓࡇ࡜࡜ࡶ㛵ಀࡀ࠶ࡿࠋ⤮⏬ࡣዪwith the reflection of firelight from theᛶ࡟࡜ࡗ࡚ࠕࡓࡋ࡞ࡳࠖ(accomplishment)⛬darkest pannels [sic.] of oakɆthe room wasᗘ࡜⪃࠼ࡽࢀ࡚࠸ࡓᙜ᫬࡟࠾࠸࡚ࡉ࠼ࠊࢩ࣮ࣕ

carpeted & in the middle was massive tableࣟࢵࢺࡣࠊ࢖ࢠࣜࢫ࣭࣐ࣟࣥὴ⤮⏬ࡢᕧ໶ࠊ࢘

having the raven-gloss of ebonyɆthere࢕ࣜ࢔࣒࣭ࢱ࣮ࢼ࣮㸦William Turner㸧ࡽ࡟஺

were no candles, no lamps burningɆbut aࡌࡗ࡚ᒎぴ఍࡟⮬సࢆ㸰Ⅼฟᒎࡋ࡚࠸ࡿࠋ㸦ḟglowing hearthɆthis might have been a㡫 ᅗ㸯ࠊᅗ 2㸧 ᖺࠊᙅෙ༑ඵṓࡢ㡭ࡢᛌ

cheerful room when filled with company

ᣲ࡛࠶ࡿࠋ᭱⤊ⓗ࡟ࢩ࣮ࣕࣟࢵࢺࡣࠊ⏬ᐙ࡜ࡋ

Ɇbut to-night it wore, like the rest of࡚࡛ࡣ࡞ࡃࠊసᐙ࡜ࡋ࡚ྡࢆṧࡍࡇ࡜࡟࡞ࡿࡢ

Massinger-Hall, an air of proud gloomࡔࡀࠊ⏬ᐙ࡜ࡋ࡚ࡢ⣲㣴ࠊ⤮⏬ⓗឤᛶࡣࠊᙼዪ

almost too impressive to the imagination.

ࡢᑠㄝࡢ㝶ᡤ࡟⏕࠿ࡉࢀ࡚࠸ࡿࠋ

A figure came towards the window & then1− 1 −

ᅗ㸯Kirkstall Abbey  Brontë Parsonage Museum  ᅗ㸰Bolton Abbey  Brontë Parsonage Museum

2− 2 −

paced back again & was almost lost in theHer business is not half so much with theshadow of the opposite end . . . (199)

human heart as with the human eyes, ࠕ࢚ࣜࢨ࣋ࢫࡢࡶ࡜࡟ጼࢆ⌧ࡍ࣮࣊ࣥࣜࡣࠊ

mouth, hands and feet; what sees keenly,ࡲࡉ࡟ࢦࢩࢵࢡࡢ඾ᆺ࡜ࡶ࠸࠼ࡑ࠺࡞㐨ල❧࡚

speaks aptly, moves flexibly, it suits her toࡢ୰࡟ᾋ࠿ࡧୖࡀࡗ࡚ࡃࡿࠋ≀㡢ࡦ࡜ࡘࡋ࡞࠸

study, but what throbs fast and full,቎ࡢࡼ࠺࡞㟼ᐢࠋ୍᮲ࡢගࢆᢞࡆ࠿ࡅࡿ᭶᫂࠿

though hidden, what the blood rushesࡾࠋࡑࢀࡀ↷ࡽࡋฟࡍࡢࡣࠊ᳃ࢆ⫼ᬒ࡟ࡋࡓ୍

through . . . (April 12th, 1850) (vol. III, 99)㌺ࡢྂ࠸㤋ࠋࡉࡽ࡟ࠊⶬ࡛そࢃࢀࡓࠗࢦࢩࢵࢡୖグࡣࢩ࣮ࣕࣟࢵࢺ๰సࡢ≉ᚩࢆㄒࡿ࡜ࡁࠊ

ᵝᘧ࠘ࡢ❆ࠋࡑࡋ࡚ࡲࡿ࡛ࠗᗫቕ࠘ࢆᛮࢃࡏࡿ

ࡋࡤࡋࡤᘬ⏝ࡉࢀࡿಶᡤ࡛ࡣ࠶ࡿࡢࡔࡀࠊࡑࢀᒇᩜࠊࡑࡢࡲࢃࡾࢆྲྀࡾᕳࡃࠗ᝿ീຊࢆ࡯࡜ࢇ

ࡣࠊࢩ࣮ࣕࣟࢵࢺࡢ⾲⌧ἲ࡜࠸࠺ほⅬ࠿ࡽࡶ⯆࡝ᅽಽࡏࢇࡤ࠿ࡾࡢ㝜㨚࡞࠘ᬯ㜌ࠖ㸦᝷㇂㸧࿡῝࠸ࡶࡢࡀ࠶ࡿࠋࡋ࠿ࡋࠊࢩ࣮ࣕࣟࢵࢺࡀᵕ࡜࠸ࡗࡓලྜ࡛࠶ࡿࠋࡑࡋ࡚ࡑࡇ࡟㠀᪥ᖖࡢࢻ⋢࡟࠶ࡆ࡚࠸ࡿࠊࡇࡢ͂Her business̓ࡢࠕᙼ࣐ࣛࢸ࢕ࢵࢡ࡞ά๻ࠊࡘࡲࡾୖᐁẅࡋࠊ㏨ஸ๻ዪࠖ࡜ࡣࠊ࠸ࡗࡓ࠸ఱ⪅࡞ࡢ࠿ࠋࢩ࣮ࣕࣟࢵࢺࡀ௙⤌ࡲࢀࡿࠋࡑ࠺ࡋࡓ  ୡ⣖࣐ࣟࣥὴ⤮࡟ඛ❧ࡘࡇ࡜ᅄ༑ᖺ࡯࡝๓ࠊࡘࡲࡾ⣙୍ୡ௦๓⏬ࢆᛮࢃࡏࡿ≧ἣᥥ෗ࡣࠊࠕᐙᗞᩍᖌࠖ࡜࠸࠺ࠊ

ࡢඛ㍮సᐙࠊࢪ࢙࢖࣭࣮ࣥ࢜ࢫࢸ࢕ࣥ(Jane࠸࠿࡟ࡶ⌧ᐇⓗ࡞ዪ୺ேබࡢ㐀ᙧ࡜ࡣ┦ᐜࢀ࡞

Austen, 1775-1817)ࡢࡇ࡜࡛࠶ࡿࠋࢩ࣮ࣕࣟ

࠸ࡶࡢࢆྵࢇ࡛࠸ࡿࡼ࠺࡟ᛮࢃࢀࡿࠋࡋ࠿ࡋࠊࢵࢺࡢࡇࡢྎモࡣࡶ࡜ࡶ࡜ࠊ࣮࢜ࢫࢸ࢕ࣥࡢ࢚ࠗ㏫࡟࠸࠼ࡤࠊࡑࢀࡔࡅ࡟ࠊࡇ࠺ࡋࡓ⤮⏬ࠊ≉࡟࣐࠘㸦Emma, 1816㸧ᢈุ࡟⤡ࡵ࡚Ⓨࡏࡽࢀࡓࣆࢡࢳࣕࣞࢫࢡⓗ࡞ࡶࡢ࡟ᑐࡍࡿႴዲࠊ⤮⏬ࢆࡶࡢ࡛࠶ࡾࠊࢩ࣮ࣕࣟࢵࢺࡣࠊ࣮࢜ࢫࢸ࢕ࣥࡀᛮࢃࡏࡿᥥ෗ࢆྍ⬟࡟ࡍࡿឤᛶࡣࠊࡇࡢసᐙ࡟

passion ࡞࡝ࡲࡗࡓࡃ⌮ゎࡋ࡚࠸࡞࠸(‘. . . the῝ࡃ᰿ᕪࡋࡓᮏ㉁ⓗ࡞ࡶࡢࡔ࡜ࡶ⪃࠼ࡽࢀࡿࡢ

Passion are perfectly unknown to her.’ (April࡛࠶ࡿࠋ

12th, 1850) (vol. III, 99)࡜ᢈุࡋࡓࡇ࡜ࡀᘬ

ඛ࡟ᣲࡆࡓᅗ 1ࠊᅗ 2 ࡢࡼ࠺࡞⤮⏬࡟ࡼࡗ࡚ࡁ㔠࡜࡞ࡾࠊ⤖ᯝⓗ࡟⮬ศࡢ๰సែᗘࢆྤ㟢ࡋࡶࠊࢩ࣮ࣕࣟࢵࢺ࡟࡜ࡗ࡚ࠊࣆࢡࢳࣕࣞࢫࢡ࡜ࡓᙧ࡟࡞ࡗࡓ࡜࠸࠺ࢃࡅ࡛࠶ࡿࠋ࠸࠺ᴫᛕࡀࠊ⮬↛࡟ᑐࡍࡿ୍ࡘࡢ㔜せ࡞ㄆ㆑ࡢ௚ேࢆㄒࡿࡇ࡜ࡣࠊㄒࡽࢀ࡚࠸ࡿ௚ே௨ୖ࡟ࠊ

ษཱྀ࡛࠶ࡾࠊࡲࡓ⾲⌧᪉ἲ࡛ࡶ࠶ࡗࡓࡇ࡜ࡀࢃㄒࡗ࡚࠸ࡿᮏேࢆࡋࡤࡋࡤㄒࡗ࡚ࡋࡲ࠺ࡇ࡜࡟

࠿ࡿࡢࡔࡀࠊ෇⇍సရ࡟࡞ࡿ࡟ࡋࡓࡀࡗ࡚ࠊࡑ

࡞ࡿ̿ࡇ࠺ࡋࡓ࠸ࢃࡤ⤒㦂▱ࡣࠊࡇࡢࢩ࣮ࣕࣟ

࠺ࡋࡓ⮬↛ᥥ෗ࡣࠊ༢࡞ࡿసᐙࡢႴዲࢆ㞳ࢀࠊࢵࢺࡢ࣮࢜ࢫࢸ࢕ࣥᢈุࡢሙྜ࡟ࡶ┿ᐇ࡛࠶ࢁసရ඲యࡢᵓᡂ࡜ศ࠿ࡕࡀࡓࡃ⤖ࡧࡘ࠸ࡓࡶࡢ

࠺ࠋࡘࡲࡾࢩ࣮ࣕࣟࢵࢺࡣࠊࡲࡉࡋࡃࠕ㞃ࡉࢀ࡜࡞ࡗ࡚࠸ࡃࠋ෇⇍సရ࡜ࡋ࡚ࡣࠊ๓㏙ࡋ࡚࠸ࡣࡋ࡚࠸ࡿࡀࠊ‶ࡕ⁄ࢀࠊ࡝ࡃ࡝ࡃ࡜⬦ᡴࡘࡶࡿࡼ࠺࡟ࠊᮏㄽ࡛ࡣࠗࢪ࢙࢖࣭࢚ࣥ࢔࠘ࢆྲྀࡾ

ࡢࠊ⾑㥑ࡅᕠࡿࡶࡢࠖࢆ᭩ࡃ࡭ࡁ࡛࠶ࡿ࡜ᛮࡗ

ୖࡆࡓ࠸ࡀࠊࢩ࣮ࣕࣟࢵࢺࡢࡑ࠺ࡋࡓ⾲⌧ࡢᆺ࡚࠸ࡿࠋᙼዪࡢ࣮࢜ࢫࢸ࢕ࣥᢈุࡣ୍ᗘ࡞ࡽࡎ࡜ࡶ࠸࠺࡭ࡁࡶࡢࡣࠊᙼዪࡀ᭩ࡃᑠㄝ࡟࠿ࡂࡽ

⥆ࡁࠊࡓ࡜࠼ࡤࠊ࣮࢜ࢫࢸ࢕ࣥࡢసရࡣࠊ‘noࡎࠊಶேⓗ࡞᭩⡆࡟ࡶぢฟࡏࡿࡢ࡛ࠊࡲࡎࡑࢀ

open country, no fresh air, no blue hill, no࠿ࡽࡳ࡚࠸ࡁࡓ࠸ࠋ

bonny beck’ (vol. II, 17) ࡛࠶ࡿ࡜㓞ホࡍࡿࠋࡋࡓ࡜࠼ࡤࠊࢩ࣮ࣕࣟࢵࢺࡣࠊW. S. Williams࠿ࡋࠊࡑࡢᢈุ࡟࠾࠸࡚ࡍࡽࠊࡑࡇ࡟ࡣࡶ࠺ࡍ

(W. S.࢘࢕ࣜ࢔࣒ࢬ ࡬ࡢ᭩⡆࡛ࠊ⮬ࡽࡀ๰స࡛࡟ࠊ࣓ࢱࣇ࢓࣮࡜ࡋ࡚ࡶࠊ⤮⏬ᛶࠊࡘࡲࡾࠕ᪂࡟࠾࠸࡚┠ᣦࡍࡶࡢࢆ⾲᫂ࡋ࡚࠸ࡿࠋࡑࢀࡣࠕ㞃㩭࡞✵Ẽࠖࠊࠕ㟷ࠎ࡜ࡋࡓୣࠖࠊࡑࡋ࡚ࠕ⨾ࡋࡉࢀࡣࡋ࡚࠸ࡿࡀࠊ‶ࡕ⁄ࢀࠊ࡝ࡃ࡝ࡃ࡜⬦ᡴ࠸ᑠᕝࠖ࡜࠸ࡗࡓࡶࡢࡀⓏሙࡍࡿࡢ࡛࠶ࡿࠋ୍ࡘࡶࡢࠊ⾑㥑ࡅᕠࡿࡶࡢࠖࢆ᭩ࡃࡇ࡜࡛࠶ࡿࠋゝ࡛࠸࠼ࡤࠊࢩ࣮ࣕࣟࢵࢺࡣࠊ࣮࢜ࢫࢸ࢕ࣥ࡟
3− 3 −ࡣࠊே㛫ࡢ passion ࡜࠸࠺ࠊ⮬↛ࡢ᝟ࡶྵࡵ࡚ࠊࡲࡉ࡟㞴◚ࡏࢇ࡜ࡍࡿ⯪࡟ࠊ㞼㛫࠿ࡽᢞࡆ࠿ࡅ⮬↛ࡀḞዴࡋ࡚࠸ࡿࡇ࡜ࢆᢈุࡍࡿࡢࡔࡀࠊࡑࡽࢀࡿ෭ࡸࡸ࠿࡞ࠊஸ㟋ࡵ࠸ࡓ᭶ࡢගࠖࠊࡑࡋࢀ࡛ࡣࠊࢩ࣮ࣕࣟࢵࢺࡢࠕ᪂㩭࡞✵Ẽࠖࠊࠕ㟷ࠎ࡚ࡲࡓࠊࠕࡦࡗࡑࡾ࡜ࡋࡓ቎ᆅࠊ቎ᆅ࡬㏻ࡌࡿ࡜ࡋࡓୣࠖࠊࡑࡋ࡚ࠕ⨾ࡋ࠸ᑠᕝࠖࡣࠊ࡝ࡢࡼ㛛ࠊᮙࡕࡓሟቨ࡟ᅖࡲࢀࡓ஧ᮏࡢᶞࠊኤᬽࢀࢆ࠺࡞⌧ࢀ᪉ࢆࡍࡿࡢࡔࢁ࠺࠿ࠋ࿌ࡆࡿ᪂᭶ࠖ̿ࡇࢀࡽࢪ࢙࢖ࣥࡢ⬻⿬࡟ᾋ࠿ࢇ ࡇࢀ࠿ࡽࠗࢪ࢙࢖࣭࢚ࣥ࢔࠘࡟࠾ࡅࡿࢩ࣮ࣕࡔගᬒࡣࠊ᭕᫕࡞ࡀࡽࠊࡑࢀ࡛࠸࡚ࠊ῝ࡃ༳㇟ࣟࢵࢺࡢᥥ෗ࢆ᳨ウࡋ࡚࠸ࡁࡓ࠸ࡀࠊࡇࡢ≀ㄒ࡙ࡅࡽࢀࡿࡶࡢ࡛࠶ࡗࡓࠊ࡜స⪅ࡣㄒࡿࠋ࡞ࡿࡢⓎ➃࠿ࡽࡇࡢసᐙࡢ⤮⏬ᛶࡢࡼ࠺࡞ࡶࡢࡣࠊ

࡯࡝͂written text̓ࡣࡑ࠺ㄒࡿࡢࡔࡀࠊࡑࡇᶓ⁄ࡋ࡚࠸ࡿࠋ➃ⓗ࡟࠸ࡗ࡚ࡋࡲ࠼ࡤࠊࡇࡢ࡟ᥥ࠿ࢀࡓගᬒࡣࠊᙜ᫬ࡢㄞ⪅࡟࡜ࡗ࡚ࡣࠊࡓ

͂written text̓ࡣࠊ㡫ࢆ㛤࠸ࡓ㏵➃ࠊࡍ࡛࡟࡜࠼ࡤࠊḟ㡫ࡢᅗ㸱ࠊᅗ㸲ࠊᅗ㸳࡛♧ࡍࡼ࠺࡞ࠊ

͂visual text’࡜ࡋ࡚࡞࠿ࡤᶵ⬟ࡋࡣࡌࡵࡿࡢ

࢝ࢫࣃ࣮࣭ࢲ࣮ࣦ࢕ࢺ࣭ࣇ࣮ࣜࢻࣜࣄ (Caspar࡛࠶ࡿࠋDavid Friedrich, 1774-1840) ࡢ࣐ࣟࣥࢸ࢕ࢵ ࠗࢪ࢙࢖࣭࢚ࣥ࢔࠘➨㸯❶࡛ࡣࠊ୍ᐙᅋḗ࠿ࢡ⤮⏬ࠊࡑࢀࡽࡀ୚࠼ࡿ࢖ࣥࣃࢡࢺࡢࡲࡉࡋࡃ

ࡽࡣࡌࡁฟࡉࢀࡓ୺ேබࡢᏙඣ≀ㄒࡢᥥ෗ࡶࡑṧ㡪ࡢࡼ࠺࡞ࡶࡢ࡛ࡶ࠶ࡗࡓࡔࢁ࠺ࠋ

ࡇࡑࡇ࡟ࠊㄞ⪅ࡣࠊࢪ࢙࢖ࣥࡀ㌟ࢆᐤࡏࡿぶᡉ ࡇ࠺ࡋ࡚ࠗࢪ࢙࢖࣭࢚ࣥ࢔࠘ࡣࠊࡑࡶࡑࡶࡢࡢᒃ㛫࠿ࡽ᪩ࠎ࡟㐃ࢀฟࡉࢀࡿࠋࡑࡋ࡚ᘬࡁධ

ฟࡔࡋ࠿ࡽࠊ᭩࠿ࢀࡓ͂visual text̓࡜ࡶ࠸࠺ࢀࡽࢀࡿඛࡣࠊࡇࡢ୺ேබࡀࡦ࡜ࡾᾐࡿⓑ᫨ክ࡭ࡁᵝ┦ࢆࡳࡏࡿࡢࡔࡀࠊෑ㢌㒊ࡢࡳ࡞ࡽࡎࠊ

ࡢୡ⏺࡛࠶ࡿࠋࡑࡇࡣࠊࢺ࣐ࢫ࣭ࣅ࣮ࣗ࢖ࢵࢡ㔜せሙ㠃࡛ࡶࡲࡓࠊ͂visual text’ ࡟ࡶఝࡓ༳(Thomas Bewick)ࡢࠗⱥᅜ㫽㢮≀ㄒ࠘
㸦History㇟ࡀ⃰ཌ࡜࡞ࡿࠋ࢚ࢻ࣮࣡ࢻ࣭ࣟࢳ࢙ࢫࢱ࣮

of British Birds, 1816㸧࡟ㄏⓎࡉࢀࡓࢪ࢙࢖ࣥ(Edward Rochester)ࡀࢪ࢙࢖ࣥ࡟ࢯ࣮ࣥࣇ࢕㸦ࡑࡋ࡚ࠊ࠾ࡑࡽࡃࡣࢩ࣮ࣕࣟࢵࢺ⮬㌟㸧ࡢ࢖࣮ࣝࢻࡢᗞᅬ࡛ồឡࡍࡿሙ㠃ࡣ୍ࡘࡢࢡࣛ࢖࣐࣓࣮ࢪࡀࡘࡂࡘࡂ࡟ᒎ㛤ࡉࢀ࡚࠸ࡃୡ⏺࡜࡞ࡿࠋࢵࢡࢫ࣭ࢩ࣮ࣥࢆᵓᡂࡋ࡚࠸ࡿࡀࠊࡑࡢ๻ⓗሙࣅ࣮ࣗ࢖ࢵࢡࡢᮏࡢᗎᩥẁ㝵࠿ࡽࠊᗂᑡࡢࢪ࢙㠃ࡶࠊࡑࡢࠕᗞᅬࠖࢆ㍈࡟⤮⏬ⓗどⅬ࡛═ࡵ࡚࢖ࣥࡢ⯆࿡ࡣࡶࡗࡥࡽࡑࡢᤄ⤮࡟ὀࡀࢀࡿࡢࡔࡳࢀࡤࠊ⯆࿡῝࠸ࡶࡢࡀ࠶ࡿࠋࡓ࡜࠼ࡤࠊࠕᗞࡀࠊᏊ࡝ࡶ࡞ࡀࡽぢ㐣ࡈࡍࡇ࡜ࡢ࡛ࡁ࡞࠸ࠕᏐᅬࠖ࡟㛵ࡋ࡚ྜྷ⏣೺୍ࡣ௨ୗࡢࡼ࠺࡞ㄝࢆ㏙࡭ྃࠖࡀࢸࢡࢫࢺෆ࡟⌧ࢀࡿࠋࡑࢀࡀࠊ⮬↛ᥥ෗࡚࠸ࡿࠋⱥᅜ࡛ࡣࠊ᐀ᩍ⏬࡜ࡋ࡚ࡢⓎ㐩ࡀ ࡢ⢋࡜ࡶᛮࢃࢀࡿࠊࢪ࢙࢖࣒ࢬ࣭ࢺ࣒ࢯࣥୡ⣖ࡢ᐀ᩍᨵ㠉࡛ᡴࡕษࡽࢀࡓᚋࡣࠊ࢚ࣜࢨ࣋(James Thomson)ࡀャࡌࡓ㛗⦅リࠗᅄᏘ࠘(Theࢫᮅ࡜࠸࠺ࠊⱥᅜࡢṔྐୖࠊࡲࡓ࡜࡞࠸⢭⚄ⓗ࣭Seasons, 1726-30)ࡢ࠺ࡕࡢࠕ⛅ࠖ(Autumn,ᩥ໬ⓗ⇍ᡂࢆࡳࡓ᫬ᮇ࡛ࡉ࠼ࠊ⤮⏬ྐⓗ࡟ࡳࢀ1830) ࠿ࡽࡢ  ⾜࡛࠶ࡿࠋ

ࡤࠕ✵ⓑࠖ≧ែ࡟㏆࠸ࡶࡢ࡟࡞ࡗ࡚࠾ࡾࠊࡑࡢ

Where the Northern Ocean, in vast whirls,✵ⓑࡣ  ୡ⣖๓༙ࡲ࡛⥆࠸ࡓ࡜࠸࠺ࠋ
ࡑࡋ࡚ྜྷ

Boils round the naked, melancholy isles⏣ࡣᘬࡁ⥆ࡁࠊ♧၀ࡋ࡚࠸ࡿࠋࡘࡲࡾࠊࡑࡢࡼ

Of farthest Thule; and the Atlantic surge࠺࡟୍᫬᩿⤯ࡉࢀ࡚࠸ࡓⱥᅜ⤮⏬ࡢఏ⤫ࡀࠊᜥ

Pours in among the stormy Hebries. (40)ࢆ྿ࡁ㏉ࡋࠊࢱ࣮ࢼ࣮➼ࡢⱥᅜࢆ௦⾲ࡍࡿ࣐ࣟᾏ㫽ࡔࡅࡋ࠿᳇ᜥࡋ࡞࠸ᴟ໭ࡢᾏࡢࠕࡶࡢࡉࣥὴ⏬ᐙࡢⓏሙ࡟࠸ࡓࡿ㐣⛬࡟ࡣࠊⱥᅜࡢ㐀ᅬࡧࡋ࠸ᒾ♋࡜ᓁࠖ  ࡟่⃭ࡉࢀࡓࢪ࢙࢖ࣥࡣᢏ⾡ࡢⓎ㐩࡟ࡼࡗ࡚⏕ࡳฟࡉࢀࡓࠊⱥᅜ⊂⮬ࡢᏊ࡝ࡶᚰ࡟✵᝿ࢆ㏾ࡋࡃࡋ࡚࠸ࡃࠋࠕ኱Ἴ࡜㣕⮬↛ࢆ⏕࠿ࡍࡇ࡜ࢆ≉ᚩ࡜ࡍࡿⱥᅜᘧᗞᅬࡢᙳἓࢆᾎࡧ࡞ࡀࡽࡑࢀ࡛ࡶࡓࡔ୍ࡘᒧ❧ࡍࡿᒾࠖࠊ㡪ࡀ኱࡛࠶ࡗࡓ࡜࠸࠺ࡢ࡛࠶ࡿ  ࠋࠕ౧ࡋ࠸὾㎶࡟ᡴࡕୖࡆࡽࢀࡓ㞴◚⯪ࠖࠊࠕ௒ 
4− 4 −   ᅗ㸱. The Sea of Ice, 1823/24
Hamburger Kunsthalle

ᅗ㸲. The Cemetery Entrance, 1825        ᅗ㸳. The Cemetery Gate, 1825-1830
 Gemäldegalerie Neue Meister,      Kunsthalle BremenStaatliche Kunstsammlungen Dresden
5− 5 −

ྜྷ⏣ࡢ⪃࠼ࡣࠊ➃ⓗ࡟࠸ࡗ࡚ࡋࡲ࠼ࡤࠊⱥᅜ

burning with the light of red jewel and⤮⏬ࡢࠕ✵ⓑࠖࡣࠊ⮬↛ࢆ⾲⌧ࡍࡿⱥᅜᗞᅬ࡟furnace at one point, on one hill-peak, andࡼࡗ࡚ᇙࡵࡽࢀࠊኻࢃࢀࡓᖺ᭶ࡣࠊࡑࡢᗞᅬ࡟

extending high and wide, soft and stillࡼࡗ࡚ᤂᅇࡉࢀࡿ࡜࠸࠺ࡇ࡜࡟࡞ࢁ࠺ࡀࠊࡇࡢ

softer over half heaven. The east had its

ぢ᪉࡟ࡑࡗ࡚ࢩ࣮ࣕࣟࢵࢺࡢࠕᗞᅬࠖࢆࡳࢀࡤࠊ

own charm of fine, deep blue, and its ownࢯ࣮ࣥࣇ࢕࣮ࣝࢻࡢࡇࡢᗞᅬ⮬యࡀ⤮⏬ⓗᙺ๭

modest gem, a rising and solitary star: soonࢆᯝࡓࡋ࡚࠸ࡿࡼ࠺࡟ࡶᛮࢃࢀࡿࠋ

it would boast the moon; but she was yet
beneath the horizon. (276)ồឡࡀ⾜ࢃࢀࡿᗞᅬሙ㠃ࡣࠗࢪ࢙࢖࣭࢚ࣥ࢔࠘ࡢ➨  ❶࡛ࠊ୺ேබࡢࢪ࢙࢖ࣥ࡜ࣟࢳ࢙ࢫࢱ࣮

ࠕ✵࡟ᗈࡀࡿⲮ㔜࡞⣸Ⰽࠖࠊࠕᒣࡢ㡬ࡁ࠶ࡓࡀࢯ࣮ࣥࣇ࢕࣮ࣝࢻࡢᗞᅬ࡛ࡤࡗࡓࡾฟ఍࠺ࡇ

ࡾ࡛⅔ࡢࡼ࠺࡟ࡲࡓࡓࡁࠊ㉥࠸ᐆ▼࠿⅔ࡢࡼ࠺࡜࡟࡞ࡿࡢࡔࡀࠊࡇࡢሙ㠃ࡣࠊᗞᅬࡢ⮬↛ࢆᥥ࡟ගࡗ࡚ࡉࡉࡸ࠿࡞ගࢆᨺࡘ୍␒ᫍࠖࠊࡑ࠺ࡋࡁ࡞ࡀࡽࠊᐁ⬟ⓗ࡞㞺ᅖẼࢆ኱࠸࡟⁻ࢃࡏࡿࡶࡓኤᬽࢀࡢ᝟ᬒᥥ෗ࡢ୰࡟ࠊ࡝ࡇ࠿ࡢ❆࠿ࡽ⁻ࡢ࡜࡞ࡗ࡚࠸ࡿࠋࡗ࡚ࡃࡿࠕⴥᕳ↮ⲡࡢ࡯ࡢ࠿࡞㤶ࡾࠊࡼࡃ▱ࡗ࡚࠸ࡿ࠶ࡢ㤶ࡾ(a subtle, well-known scent)ࠖ

ࡇࡢ❶ࡢ┤๓ࡢ➨  ❶࡛ࡣࠊࢪ࢙࢖ࣥࡢ⁀ᜥ(276) ࡢ౵ධࡀ࠶ࡿࠋࠕ࠶࠶ࠊ⚾ࡣ௒ࡲ࡛࡟࡞ࡃࣟࢳ࢙ࢫࢱ࣮ࢆឡࡋ
࡚ࡋࡲࡗ࡚࠸ࡿࠖ(‘. . . alas! never had I lovedᯝᶞᅬࠊᮌࠎࠊဏࡁ஘ࢀࡿⰼࠎࠊࣈࢼࡢ୪ᮌ

him so well.’ )(278)࡛㛢ࡌࡽࢀࡿࡢࡔࡀࠊࡑࡢ㐨ࠊ᭶᱇ᶞࠊࢺࢳࡢᮌࠊ⏑࠸㟢ࠊ㟼ࡅࡉࠊࡓࡑ⇕࠸⁀ᜥࡣࠊḟࡢ➨  ❶࡛ࠊࠕ⣲ᬕࡽࡋ࠸ኟ⮳ࡀࢀࠊ⇍ࡋࡓᯝᐇ̿ࡑ࠺ࡋࡓࡶࡢࡢิᣲࡀ࠶ࡾࠊࡢ✵ࠖࢆ⫼ᬒ࡟ࡋࡓࢯ࣮ࣥࣇ࢕࣮ࣝࢻࡢᗞᅬࡢ᳃࡛㬆ࡃࢼ࢖ࢳࣥࢤ࣮ࣝ࡟ㄏࢃࢀࠊࡑࡒࢁṌࡃ⮬↛ᥥ෗࡟ᘬࡁ⥅ࡀࢀ࡚࠸ࡿࠋ࠶ࡿព࿡࡛ࡣࠊࢪ࢙࢖ࣥࡢ㊊ࡀࡣࡗ࡜Ṇࡲࡿࠋ͂my step isࡇࡢሙ㠃ࡣࡲࡉ࡟ࡑࡢࢪ࢙࢖ࣥࡢෆ࡞ࡿ

stayed Ɇnot by sound, not by sight, but oncepassion ࡢྉࡧࢆᘬࡁ⥅ࡄࡶࡢ࡜ࡋ࡚࠶ࡿࠋᑡ

more by a warning fragrance. (276)’ ࣟࢳ࢙ࢫ࡞ࡃ࡜ࡶࠊㄞ⪅ࡣࠊࢪ࢙࢖ࣥࡢᚰࡢྤ㟢ࡀࠊࡲࢱ ࣮ ࡢ ⴥ ᕳ ࡢ ࠶ ࡢ ࠕ ༴ 㝤 ࡞ 㤶 ࡾ ࠖ (warningࡔవ㡩࡜ࡋ࡚኱ࡁࡃ㡪࠸࡚࠸ࡿ࡜ࡁ࡟ࠊࡇࡢ༡fragrance)ࡀࠊࣁ࣐ࢼࢫࠊࢽ࢞ࣚࣔࢠࠊࢪࣕࢫ

ᅜࢆᛮࢃࡏࡿᗞᅬ࡬࡜ᑟࡁධࢀࡽࢀࡿࡇ࡜࡟࡞࣑ࣥࠊࢼࢹࢩࢥࠊࣂࣛࠊࡑ࠺ࡋࡓ㤶ࡾࢆᅽࡍࡿ

ࡿࡢ࡛࠶ࡿࠋ

ࡼ࠺࡟⁻ࡗ࡚ࡁࡓ࠿ࡽ࡛࠶ࡿࠋࢪ࢙࢖ࣥࡢ᝟ᛕࠊ࠶ࡿ࠸ࡣࠊࡑࢀࡣࡲࡓྠ᫬

ࣦ࢕ࢡࢺࣜ࢔ᮅࡢᙜ᫬ࡢ࠾ୖရ࡞ㄞ⪅ࡀࠊࠗࢪ࡟ࠊᙼዪࡢᛮះࡢᑐ㇟࡛࠶ࡿࣟࢳ࢙ࢫࢱ࣮ࡢ᝟

࢙࢖࣭࢚ࣥ࢔࠘࡟୍✀ࡢࡣࡋࡓ࡞ࡉࢆឤࡌ࡜ࡾࠊᛕ࡛ࡶ࠶ࡿࡢࡔࡀࠊࡑ࠺ࡋࡓ᝟ᛕࡣᙜ↛ࠊ⮬↛ࠊࡇࢀࢆ༴㝤࡞᭩࡜ࡳ࡞ࡋࡓࡢࡣࠊ୍ࡘ࡟ࡣࠊ௚ࡉࡽ࡟ཝᐦ࡟࠸࠼ࡤࠊ⮬↛ᥥ෗࡟ࡑࡢࡲࡲᢞᙳ࡞ࡽࡠࡇࡢᗞᅬࡢ⮬↛ᥥ෗ࡢࡓࡵ࡛࠶ࡿࠋ㏫࡟ࡉࢀࡿࡇ࡜࡟࡞ࡿࠋࡑࡋ࡚ࡑࡢࠕ⮬↛ࠖࡣࠊど࠸࠼ࡤࠊᙜ᫬ࡢሀⱞࡋ࠸ࠊ࠾ୖရ୺⩏ࡢࣦ࢕ࢡぬࠊ⫈ぬࠊࡢࡳ࡞ࡽࡎႥぬࡲ࡛ࡶືဨࡋࡓࠊ࠸ࢺࣜ࢔ᮅ᫬௦࡟࠾࠸࡚ࡉ࠼ࠊࢩ࣮ࣕࣟࢵࢺࡣࢃࡤ㠀ᖖ࡟⃰ᐦ࡞⫗యⓗ࡞ࡶࡢ࡟῝໬ࠊ⇍ᡂࡋpassionࠊᐁ⬟࡜࠸࠺ࡶࡢࢆ༑඲࡟⾲ࡍࡇ࡜ࡀ࡛࡚࠸ࡃࡢ࡛࠶ࡿࠋࡁࡓࡢࡔࡀࠊࡑࢀࡣࠊࡲࡉࡋࡃࡇࡢ⮬↛ᥥ෗࡟It was now the sweetest hour of theࡼࡗ࡚࡛࠶ࡗࡓࡔࢁ࠺ࠋtwenty-four; ‘day its fervid fires hadࡇࡢࠕᗞᅬࠖࡣࠊ⩦సࠕ࣮࣭࣊ࣥࣜ࣊࢖ࢫࢸ

wasted’, and dew fell cool on panting plain࢕ࣥࢢࢬࠖ࡟࠾ࡅࡿ୺ேබ࢚ࣜࢨ࣋ࢫ࣭࣊࢖ࢫ

and scorched summit. Where the sun hadࢸ࢕ࣥࢢࢬ(Elizabeth Hastings)ࡢࠕⲨ㔝ࠖgone down in simple stateɆpure of the࡜ẚ㍑ࡋ࡚ࡳࡿ࡜ࠊస⪅ࡢᥥ෗ࡢᢏ㔞࡟Ṕ↛ࡓ

pomp of cloudsɆspread a solemn purple,ࡿኚ໬ࢆࡳ࡚࡜ࡿࡇ࡜ࡀ࡛ࡁࡿࠋ
6− 6 −ࡇࡢ⩦స࡛ࡣࠊ୺ேබ࢚ࣜࢨ࣋ࢫࡣ⛎࠿࡟ᛮࢹ࢖ࣦ࢕ࢵࢻ࣭ࢭࢩࣝ(David Cecil)ࡶࡲࡓࠊ

࠸ࢆᐤࡏ࡚࠸ࡓ࢘࢕ࣜ࢔࣒࣭ࣃ࣮ࢩ࣮㸦Williamࢩ࣮ࣕࣟࢵࢺࡢ⮬↛ᥥ෗࡟ὀ┠ࡋ࡚࠸ࡿࠋᙼࡣࠊ

Percy㸧࡟ㄏࢃࢀࡿࡲࡲࠊ㋃ࡳ㉺ࡋྎ࠿ࡽᰙࢆ

ࢩ࣮ࣕࣟࢵࢺࡣᮏ㉁ⓗ࡟ࡣリே࡛࠶ࡾࠊࡋ࠿ࡶ

㉺࠼ࠊពẼᥭࠎ࡜Ⲩ㔝࡬࡜㣕ࡧฟࡋ࡚࠸ࡃࡢࡔࡑࡢリࡣ⣧⢋࡞᝟⇕ࢆḷ࠺ᢛ᝟リ࡛࠶ࡾࠊ㢼ᬒࡀࠊࡑࡇ࡛ᙼዪࢆᚅࡗ࡚࠸ࡓࡢࡣࠊᙼ࠿ࡽࡢồ࡟ᑐࡋ࡚ᙼዪࡀࡶࡗ࡚࠸ࡿឤཷᛶ࡜ࡶ⤖ࡧࡘ࠸፧࡛ࡣ࡞ࡃࠊឡே࡟࡞ࡿࡇ࡜࡬ࡢㄏᝨ࡛࠶ࡿࠋࡓࡶࡢ࡛࠶ࡿ࡜ᣦ᦬ࡍࡿࠋࡑࡋ࡚ᙼዪࡀᥥࡃồ୰ୡ⤮⏬࡟࠾࠸࡚ࡣࠊ᪋㘄ࡉࢀࡓᗞࠊ࡜࠸࠺ࡶឡࡢሙ㠃࡟≉᭷࡞᝟ឤࡣࠊࡑࡢሙࡢගᬒࡀᖏࡧࡢࡀฎዪᛶࡢ୍ࡘࡢࢩࣥ࣎ࣝ࡜ࡋ࡚ᶵ⬟ࡋ࡚࠸࡚࠸ࡿ᝟⥴ⓗ࡞ࡶࡢ࡟ྠ໬ࡋ࡚ࡋࡲ࠺ࠊ࡜࠸ࡗࡿࡀࠊࡇࡢሙ㠃࡟࠾ࡅࡿ࢚ࣜࢨ࣋ࢫࡢ኱⫹ࡉࡣࠊࡓព࿡ࡢࡇ࡜ࢆ㏙࡭࡚࠸ࡿࠋ
Like most of the other novelists of herࡑ࠺ࡋࡓㄞࡳࢆࡶྍ⬟࡟ࡍࡿࠋ

school, she is a poet; and her poetry is theࡔࡀࠊỴᐃⓗ▐㛫ࠊࡇࡢዪ୺ேබࡣ୍▐ࡢ㐁ᕠࡢᚋࠊ⮬ࡽࡢ⣧₩ࢆᏲࡿࡇ࡜ࡢ㔜せᛶ࡟Ẽ࡙pure lyrical poetry of passion.

It connectsࡁࠊ༴࠺ࡃㄏᝨࡢ㞴ࢆ㏨ࢀࠊለⴠࢆචࢀࡿࠋࡋ

itself with her sensibility to landscape.

࠿ࡋࠊࡇࡢሙ㠃࡟ឤࡌࡽࢀࡿࡢࡣࠊᐁ⬟ᛶࠊ࡛The special emotion of her love-scenes࠶ࡿࡼࡾࡣࠊࡴࡋࢁᡭཝࡋ࠸⓶⫗࡛࠶ࡾࠊࡇࡢ

swells to assimilate to itself the emotional୺ேබࡀ࠾ࡑࡽࡃჶࡳࡋࡵࡡࡤ࡞ࡽ࡞࠿ࡗࡓⱞ

quality of the scenery amid which they࠸ኻព࡛ࡋ࠿࡞࠸ࠋࡑࢀࡣࡲࡓࠊస⪅⮬㌟ࡢኻ

take place. (137)ព࡛ࡶ࠶ࡗࡓࡔࢁ࠺ࠋୗᡭࢆࡍࢀࡤࠊㄞ⪅ࡢⱞࡉࡽ࡟ࠕࢪࣕࢫ࣑ࣥࡢⰼࡢ㤶ࡶࠊⰏࡸ࠿࡞ᯞ

➗ࡍࡽᣍࡁ࠿ࡡ࡞࠸≧ἣ̿ࡇࡢሙ㠃ࡣࠊ୺ேබ

ࢆᗈࡆࡓࢡࣜࡢᮌࡶࠊ㐲࠸✵࡟㬆ࡾ㡪ࡃᔒࡶࠊ࡞ࡽࡠసᐙ⮬㌟࡟࡜ࡗ࡚ࡶ㸦Ⓩሙே≀ࡢ࢚ࣜࢨࡍ࡭࡚ࡀྜయࡋ࡚ࠊࡑ࠺ࡋࡓ࡞࠿࡛ືࡃ஧ேࢆ

࣋ࢫྠᵝࠊ⮬ࡽࡀᣍ࠸ࡓ⅏࠸࡜ࡣ࠸࠼㸧༴ᶵⓗάẼ࡙ࡅ࡚࠸ࡿ᝟⇕ࢆఏ࠼ࠊࡲࡓ㇟ᚩࡋࡶࡋ࡚≧ἣ࡛࠶ࡗࡓ࡟ࡕࡀ࠸࡞࠸ࠋࢩ࣮ࣕࣟࢵࢺࡣࠊ࠸ࡿࠖ࡜ࠊ⮬↛ ᥥ෗ ࡜࠸࠺ࡶࡢࡀࠊ࠸࠿࡟ᜊ㸦࠾ࡑࡽࡃࡣࠊⱞ⫗ࡢ㸧ᩍカⓗ⤖ᮎ࡛࠾Ⲕࢆ⃮ேࡓࡕࡢ᝟⇕ࢆ㇟ᚩࡍࡿᏑᅾࡓࡾᚓ࡚࠸ࡿ࠿ࢆࡍࠋ͂she [Elizabeth] was gone’  ࡜࠸࠺ࠊᣦ᦬ࡋࡶࡍࡿࡢ࡛࠶ࡿࠋసᐙࡢᶒ㝈ࠊࡘࡲࡾᴟࡵ࡚▷࠸ࡀࠊྠ᫬࡟ࡦ࡝

The scent of the jasmine flowers, theࡃ᩿ᐃⓗ࡛ࡶ࠶ࡿ⾲⌧ࢆᴂࡢࡼ࠺࡟ࡇࡢሙ㠃࡟

chestnut tree with its waxen candelabra,

ᡴࡕ㎸ࡳࠊࡑࢀ࡟ࡼࡗ࡚ᙉᘬ࡟୺ேබ࢚ࣜࢨ࣋

the storm that mutters in the distant sky,ࢫࢆࢸࢡࢫࢺࡢᙼ᪉࡬࡜Ọஂ㏣ᨺࡋ࡚ࡋࡲ࠺ࡢ

join to convey and symbolize the passion࡛࠶ࡿ㸦᝷㇂ 㸧ࠋthat animates the two beings who moveamong them. (137)⩦సࠕ࣮࣭࣊ࣥࣜ࣊࢖ࢫࢸ࢕ࣥࢢࢬࠖࡢࠕⲨ
㔝ࠖ࡜ࠊࠗࢪ࢙࢖࣭࢚ࣥ࢔࠘ࡢࠕᗞᅬࠖ࡜ࢆẚ ࡇࡢࡼ࠺࡟୺ேබࡓࡕࢆࠕᗞᅬࠖ࠿ࡽ㐃ࢀฟ

㍑ࡍࢀࡤࠊ୧సရ㛫ࡢ෇⇍ᗘࡢᕪࡣṔ↛࡜ࡋ࡚ࡍࡇ࡜࡞ࡃࠊ᝟⇕ࢆᥥࡁᚓࡓࢩ࣮ࣕࣟࢵࢺࡣࠊ࠸ࡿࠋ୺ேබࢆࠊၥ㢟ྵࡳࡢሙᡤࠊࠕⲨ㔝ࠖ࡟ࡑࡢ᝟⇕ࡢࡁࡓࡿ࡭ࡁ᣸ᢡࢆࡶࡲࡓࠊ⮬↛ᥥ෗ࡲ࡛ࢃࡊࢃࡊ㐃ࢀฟࡋ࡞ࡀࡽࠊ࡞ࢇࡽᐁ⬟ᛶࡢ࡟ጤࡡࡿࡔࡅࡢᢏ㔞ࢆࡑ࡞࠼࡚࠸ࡿࠋࡓ࡜࠼ࡤ࢖࣓࣮ࢪࢆ௜୚࡛ࡁ࡞࠸๓⪅࡟ᑐࡋࠊᚋ⪅࡛ࡣࠊࡇࡢᗞᅬࡢࠕ⮬↛ࠖࡣࠊ᣸ᢡࡢண඙࡜ࡋ࡚ࡶྠ

㸦୰ୡⓗឤぬ࠿ࡽ࠸࠼ࡤࠊࡲࡔ㸺Ᏻ඲ᅪෆ㸼࡟ᵝ࡟ᶵ⬟ࡍࡿࠋ

࠶ࡿ࡜ᛮࢃࢀࡿ㸧ࠕᗞᅬࠖ࡟୺ேබࡓࡕࢆ␃ࡵ ࢪ࢙࢖ࣥࡣࠊࣟࢳ࢙ࢫࢱ࣮ࡀጔᖏ⪅࡛࠶ࡿࡇ࠾࠸࡚ࡉ࠼ࠊㄏᝨ࡜࠸࠺ࡶࡢࡀᖏࡧࡿ᛹ࡋ࠸ᐁ࡜ࢆ▱ࡽࡎ࡟ࠊᙼࡢồ፧ࢆཷࡅධࢀࡿࡀࠊࡑࡢ⬟ᛶࡣ༑ศ࡟ᥥ෗ྍ⬟࡞ࡢ࡛࠶ࡿࠋ

ᚋࠊண඙࡜ࡋ࡚ࡢ⮬↛ࡀ኱ࡁࡃ㛵୚ࡋ࡚ࡃࡿࠋࡑࡢኪࡣ኱Ⲩࢀࡢኳೃ࡜࡞ࡾࠊᔒ 㞾ࡢ㡪ࡁࠊ
7− 7 −✄ጔࡢ㛝ගࠊ኱㞵ࡀ⥆࠸ࡓᚋࠊ⩣ᮅ᪩ࡃࠊࢪ࢙

drenched pomegranates and pineapples,࢖ࣥࡣⴠ㞾ࢆ▱ࡽࡉࢀࡿࡇ࡜࡟࡞ࡿࡢ࡛࠶ࡿࠋ

and while the refulgent dawn of the tropics

Before I left my bed in the morning, little

kindled round meɆI reasoned thus . . . it

Adele came running in to tell me that thewas true Wisdom that consoled me in that

great horse-chestnut at the bottom of thehour, and showed me the right path toorchard had been struck by lightning in thefollow. . . . “Go”, said Hope, “and live againnight, and half of it split away. (285)in Europe . . .”’ (335-334)ࣟࢳ࢙ࢫࢱ࣮ࡢồឡࢆཷࡅධࢀࡓྠࡌᗞᅬ࡛ ࣮ࣚࣟࢵࣃ࠿ࡽᾏࢆ㉺࠼࡚྿ࡁ㎸ࢇ࡛ࡃࡿ୍ࡣࠊࡑࡢኪ୰ࠊࠕᯝᶞᅬࡢ➃࡟࠶ࡿࠊ࠶ࡢ኱ࡁ㝕ࡢ㢼ࠊᔒࠊ㞵ࠊ㞾㬆ࠊ✄ጔࠊࡑࡋ࡚⃈ࡳࢃࡓ࡞ࢺࢳࡢᮌ࡟㞾ࡀⴠࡕࠊᖿࡀ༙ศ࡟⿣ࡅ࡚ࡋࡲࡗ࡚࠸ࡃ኱Ẽ̿ࡑ࠺ࡋࡓ⮬↛ࡢ⛣ࢁ࠸ࢆ┠ࡢᙜࡗ࡚࠸ࡓࠖࡢ࡛࠶ࡿࠋࡓࡾ࡟ࡋ࡚ᙼࡣ୍ࡘࡢỴពࢆᅛࡵࡿࠋᗞᅬ࡟㨚 ࡇࡢࡼ࠺࡟ࢩ࣮ࣕࣟࢵࢺࡢ⤮⏬ᛶ࡜࠸࠺≉㉁⵬࡜ⱱࡾࠊ௒ࡸࡋࡓࡓࡿ㞵ࡢ⁲ࢆࡁࡽࡵ࠿ࡏ࡚ࡣࠊᩥᏛⓗຠᯝ࡜ࡋ࡚ᑡ࡞࠿ࡽࡠ࢖ࣥࣃࢡࢺࢆ

㍤ࡁࡣࡌࡵࡓ࢜ࣞࣥࢪࠊࢨࢡࣟࠊࣃ࢖ࢼࢵࣉࣝ

୚࠼ࡿࡶࡢࡔࡀࠊࡑࢀࡣࠊồឡሙ㠃࡟࠿ࡂࡽࡎࠊࡢ㛫ࢆṌࡁ࡞ࡀࡽࠊࡑࡋ࡚⇕ᖏࡢ㍤ࡃኪ᫂ࡅࡀ⣽㒊࡟࠾࠸࡚ࡶࠊ⏕࿨ࡢ᰿※ࡢᜥ྿ࡁࡢࡼ࠺࡞࠶ࡓࡾࢆࡋࡔ࠸࡟᫂ࡿࡃ↷ࡽࡋฟࡍࡑࡢࡁࡽࡵ

ࡶࡢࢆ࢖࣓࣮ࢪ࡜ࡋ࡚ఏ࠼ࡿࡇ࡜࡟㈉⊩ࡋ࡚࠸ࡁ࡟ࠊ㌟ࢆࡺࡔࡡࠊ඲㌟඲㟋ࠊගࢆᾎࡧࡿ࡟ࡲࡿࠋㄒࡾᡭࢪ࢙࢖ࣥࡢどⅬ࠿ࡽࡍࢀࡤࠊồ፧࡯࠿ࡏ࡞ࡀࡽࠊᙼࡣ⪃࠼ࡿࠋࡑࡢ࡜ࡁ࡛࠶ࡿࠋࠕᕼ࡝ࡢ㔜せᛶࡣࡶࡓ࡞࠸࡟ࡋ࡚ࡶࠊࡓ࡜࠼ࡤࠊࣟᮃࠖࡀᙼ࡟࿌ࡆࡿࡢࡣࠋࠕ⾜ࡅࠊࡑࡋ࡚ࡶ࠺୍ࢳ࢙ࢫࢱ࣮ࡢኻព࠿ࡽࡢ⢭⚄ⓗ෌⏕ࡣࠊឤືⓗᗘࠊ࣮ࣚࣟࢵࣃ࡛⏕ࡁࡿࡢࡔࠖ࡜ࠋ࡛ࡍࡽ࠶ࡿࠋ⏕ࡢᜥ྿ࡁ࡜࠸ࡗࡓほⅬ࠿ࡽࡍࢀࡇࡢࡼ࠺࡟ࠊ⮬↛ᥥ෗ࡢ⤮⏬ᛶࡣࠊࣟࢳ࢙ࢫࡤࠊࡇࡕࡽࡢ࡯࠺ࡀࠕồឡࠖࡼࡾࡶࡉࡽ࡟㔜せࢱ࣮ࡢ⢭⚄ⓗ᚟άࠊ෌⏕࡜ࡶ኱ࡁࡃ㛵ࢃࡿࠋࣟ࡞ព࿡ࡉ࠼ᢸࡗ࡚࠸ࡿ࠿ࡶࡋࢀ࡞࠸ࠋࢳ࢙ࢫࢱ࣮ࡀ⮬ࡽࡢࠕ᪂⏕ࠖࢆ㢪࠸ࠊࠕ᚟άࠖ ࠗࢪ࢙࢖࣭࢚ࣥ࢔࠘࡟ࡣࠊࢪ࢙࢖ࣥࡀࣟࢳ࢙ࡢྍ⬟ᛶࢆ☜ಙࡍࡿ࡟࠸ࡓࡿࡢࡣࠊࡲࡉࡋࡃ⮬ࢫࢱ࣮࡜ฟ఍࠺௨๓ࡢࠊ࠸ࢃࡤ⯙ྎ⿬ࡢࢫࢺ࣮

↛ࡀᜥࢆ྿ࡁ㏉ࡋࡣࡌࡵࡿࠕ⇕ᖏࡢ㍤ࡃኪ᫂ࡅࠖ

࣮ࣜࡀ࠶ࡾࠊࡑࡢ࡞࠿࡛ࠊⱝࡁ᪥ࡢࣟࢳ࢙ࢫࢱࡢࡓࡔ࡞࠿࡟࠾࠸࡚࡛࠶ࡿࠋࡑࢀࡣࠊసᐙࡢᢏ࣮ࡣࠊᨾ㒓࢖ࢠࣜࢫ࠿ࡽ㐲ࡃ㞳ࢀࡓす࢖ࣥࢻࡢᕦⓗほⅬ࠿ࡽࡍࢀࡤࠊ⥥ᐦ࡟ᥥ࠿ࢀࡓ⁄ࢀࢇࡤᓥ࡛ࠊࣂ࣮ࢧ࣭࣓࢖ࢯࣥ(Bertha Mason)࡜ࡢ

࠿ࡾࡢ⤮⏬ᛶࢆ⫼ᬒ࡜ࡋ࡚࠸ࡿࠋᴟㄽࡍࢀࡤࠊ

⤖፧⏕ά࡟⤯ᮃࡋࠊ⮬ẅࡢ⾪ື࡟㥑ࡽࢀࡿ▐㛫ᙼࡢࠕ᚟άࠖࡣࠊࡑ࠺ࡋࡓ⤮⏬ⓗ⎔ቃ࡟ࡼࡗ࡚

ࡀ࠶ࡿࠋࡑࡢࠕ㐣ཤࠖࡣࠊࣟࢳ࢙ࢫࢱ࣮ࡢཱྀ࠿ㄝᚓᛶࢆቑࡍࡤ࠿ࡾ࡛࡞ࡃࠊㄞ⪅࡟ࡣ୍ࡘࡢගࡽࢪ࢙࢖ࣥ࡟ㄒࡽࢀࡿࡢࡔࡀࠊᙼࡀࡑࡢࠕ⤯ᮃᬒ࡜ࡋ࡚ࠊどぬⓗ࡟ࡶ῝ࡃ้༳ࡉࢀࡿࡢ࡛࠶ࡿࠋࡢ༴ᶵࠖࢆࡘ࠸࡟ࡣ⬺ࡋࠊ⏕ࡁࡿỴពࢆ୚࠼ࡽࢀࠊࡑࢀࡀ෌⏕ࡢዎᶵ࡜࡞ࡿࡢ࡟ࡶࡲࡓࠊ⮬↛ ࡇࢀࡲ࡛ࡳ࡚ࡁࡓࡼ࠺࡟ࠊࢩ࣮ࣕࣟࢵࢺࡢᥥᥥ෗ ࡀ኱ࡁ࡞ᙺ๭ࢆᯝࡓࡋ࡚࠸ࡿࠋࡃ⮬↛ࡣࠊ⩦సẁ㝵࠿ࡽࠊసᐙࡢ⤮⏬ᛶࢆ⃰ཌ

‘A wind fresh from Europe blew over the࡟⾲ࡋ࡚࠾ࡾࠊ෇⇍సရ࡟࠸ࡓࡿ࡜ࠊࡉࡽ࡟ᑠoceanopenㄝୡ⏺࡜ᐦ᥋࡟⤖ࡧࡘࡁࠊ㇟ᚩᛶࢆᖏࡧࡓࡶࡢ

casement: the storm broke, streamed,࡟࡞ࡗ࡚࠸ࡃࠋࠗࢪ࢙࢖࣭࢚ࣥ࢔࠘ࡀࠊㄞࡳᡭthundered, blazed, and the air grew pure, IࢆࡋࡤࡋࡤຬẼ࡙ࡅࡿࡇ࡜ࡀ࠶ࡿ࡜࠸ࢃࢀࡿࡢ

then framed and fixed a resolution.

Whileࡣࠊᙜ↛ࠊ୺ேබࡀヨ⦎ࢆ஌ࡾ㉺࠼࡚᭱⤊ⓗ࡟

I walked under the dripping orange-treesࡣᜊឡࢆᡂᑵࡍࡿ࠿ࡽ࡛࠶ࢁ࠺ࠋࡋ࠿ࡋࠊࡑࡇ

of my wet garden, and amongst its࡟ࡣࠊࢩ࣮ࣕࣟࢵࢺࡢ⤮⏬ᛶࠊ࡜࠸࠺సᐙⓗ≉andrushedthroughthe8− 8 −

㉁ࡶ኱࠸࡟㛵ಀࡋ࡚࠸ࡿ࡜ᛮࢃࢀࡿࠋࢪ࢙࢖ࣥ

࡜ࣟࢳ࢙ࢫࢱ࣮ࡢ᝟⇕ࡀ஬ឤࢆ㏻ࡋㄞ⪅࡟ఏࢃᘬドᩥ⊩ࡿࡼ࠺࡟ឤࡌࡽࢀࡿࠊࡴࡏ㏉ࡿࡼ࠺࡞ᯝᐇ࡜

Alexander, Chiristine and Jane Sellars. The Art ofⰼࠎࡢ㤶࡟‶ࡓࡉࢀࡓࢯ࣮ࣥࣇ࢕࣮ࣝࢻࡢᗞᅬࠊ

the Brontës. New York: Cambridge UP, 1995.

ࡑࡋ࡚ࣟࢳ࢙ࢫࢱ࣮ࡀṚ࡬ࡢ⾪ື࠿ࡽ⬺ࡋࠊ⮬

Brontë, Charlotte. ‘Captain Henry Hastings.’ Fiveࡽ⏕ࡁᢤࡃࡇ࡜ࢆ㑅ࡧྲྀࡿዎᶵ࡜࡞ࡿࠊす࢖ࣥNovelettes. London: Folio Press, 1971.

ࢻࡢᓥ࡟྿ࡁᐤࡏࡿ࣮ࣚࣟࢵࣃࡢ㢼࡜ࠊ⇕ᖏࡢ---. Jane Eyre. London: Penguin, 1985.

ᯝᐇࡢ⍞ࠎࡋࡉ̿ࡇ࠺ࡋࡓ⃰ཌ࡞⤮⏬ᛶࡶࡲࡓࠊ

---.The Brontës: Their Lives, Friendships andࡇࡢసရࢆࠊࡈ㒔ྜ୺⩏ࡢ༢࡞ࡿࠕ࣓ࣟࢻ࣐ࣛࠖ㸯

Correspondence. Ed. T. J. Wise and J. A. Symington.

࠿ࡽ㐲ࡃ㝸࡚ࡓࡶࡢ࡟ࡋ࡚࠸ࡿせᅉࡢ୍ࡘ࡛࠶

1933. Philadelphia Pennsylvania: Porcupine, 1980.

ࢁ࠺ࠋCecil, David. Early Victorian Novelists. 1934; ࠗࢪ࢙࢖࣭࢚ࣥ࢔࠘࡜࠸࠺‘written text’ ࡟London: Constable, 1980.

ࡣࠊᕦጁ࡟‘visual text’ ࡢせ⣲ࡀ⧊ࡾ㎸ࡲࢀ࡚Friedrich, Caspar David and Werner Hofmann.

࠾ࡾࠊࡑࢀࡀຊᙉ࠸㧊ࡢࡼ࠺࡞ࡶࡢ࡜࡞ࡗ࡚ࡇCaspar David Friedrich. London: Thames & Hudson,ࡢసရ඲యࢆⰺ࠿ࡽᨭ࠼࡚࠸ࡿࠋࢩ࣮ࣕࣟࢵࢺ2013.

ࡣࠊ⤖ᒁࠊᛕ㢪ࡢ⏬ᐙ࡜ࡋ࡚ࡣ࢟ࣕࣜ࢔ࢆ㐩ᡂ᝷㇂⨾ᬛᏊࠕࢫ࣮࣮ࣟࣔࢩ࡛ࣙࣥㄞࡴ͂+HQU\࡛ࡁ࡞࠿ࡗࡓࠋࡋ࠿ࡋࠊᑠㄝసᐙࡢႠⅭࢆ㏻ࡋ

+DVWLQJV̓̿&KDUORWWH%URQW­ ࡢ⩦స࡟࠾ࡅࡿෑ㝤࡚ࠊᙼዪࡣᮏ㉁ⓗ࡟ࡣࠊ⏬ᐙ࡜ࡋ࡚ࡶ☜࠿࡟⏕ ࠖࠗ:HE ⱥㄒ㟷ᖺ࠘◊✲♫➨  ᕳ➨  ྕࡁࡓࡢ࡛࠶ࡿࠋྜྷ⏣೺୍ࠕࢱ࣮ࢼ࣮࡜ⱥᅜࡢ⮬↛ࠖࠗࢱ࣮ࢼ࣮࡜࣐ࣟࣥὴ㢼ᬒ⏬࠘୰ኸබㄽ♫ὀ 㸨ᮏ✏ࡣࠊ᪥ᮏࣈࣟࣥࢸ༠఍බ㛤ㅮᗙ㸦 ᖺ  ᭶1. ࠗࢪ࢙࢖࣭࢚ࣥ࢔࠘ࡀ G. H. ࣝ࢖ࢫ࡟ࡼࡗ࡚ࠊ࠾ ᪥ᶓ὾࢖ࣥࢢࣜࢵࢩ࣭࣮ࣗ࢞ࢹ࡛ࣥ㛤ദ㸧࡛ࡢㅮ₇ࠕࣈࡑࡽࡃ‘melodrama’࡜ホࡉࢀ࡚࠸ࡓࡔࢁ࠺ࡇ࡜ࡣࠊࣟࣥࢸጜጒࡢࠗ⮬↛࠘ࢆㄞࡴࠖࡢ୍㒊ࠊࢩ࣮ࣕࣟࢵࢺㄽࣝ࢖ࢫ࡟ᑐࡍࡿࠊ௨ୗࡢࢩ࣮ࣕࣟࢵࢺࡢ᭩⡆࠿ࡽࡶࢆ➃⥴࡜ࡋ࡚ࠊ⤮⏬ᛶࢆࢸ࣮࣐࡟㆟ㄽࢆ኱ᖜ࡟Ⓨᒎࡉࡏఛ࠼ࡿࠋࡓࡔࡋࠊࡑࡢࢩ࣮ࣕࣟࢵࢺࡢ㏉஦࠿ࡽࡍࢀ

ࡓࡶࡢ࡛࠶ࡿࠋ

ࡤࠊᙼዪ⮬㌟ࡀࣝ࢖ࢫࡢホ౯࡟⣡ᚓࡋ࡚࠸ࡓ࠿࡝࠺࠿࡟㛵ࡋ࡚ࡣࠊࡣ࡞ࡣࡔ␲ࢃࡋ࠸ࡶࡢࡀ࠶ࡿࠋ
If I ever do write another book, I think I will
have nothing of what you call ‘melodrama’; Ithink so, but I am not sure. (January 12th,1848)(II, 179)9− 9 −