ࢩ࣮ࣕࣟࢵࢺ࣭ࣈࣟࣥࢸࡢࠗࢪ࢙࣭࢚ࣥ࠘ࢆぢࡿ ̿‘written text’ ͂visual text’ ࡢ࠶ࢃ࠸࡛̿ ㇂ ⨾ᬛᏊ ࢩ࣮ࣕࣟࢵࢺࡢ͂visual text̓ࡶ࠸࠺ࡁ ᮏㄽ࡛ࡣࠊࢩ࣮ࣕࣟࢵࢺ࣭ࣈࣟࣥࢸ㸦Charlotte Brontë, 1816-1855㸧ࡢ⩦సࠕ࢟ࣕࣉࢸ࣭ࣥ ࡶࡢࡣࠊࡲࡎ⩦సࡢẁ㝵ࡽࠊ͂written text̓ ࣮࣭࣊ࣥࣜ࣊ࢫࢸࣥࢢࢬࠖ(‘Captain Henry ῝ࡃ⤌ࡳ㎸ࡲࢀ࡚࠸ࡿࠋ୍ࢆᣲࡆࢀࡤࠊᙼ Hastings’,1839)㸦௨ୗࠊࠕ࣮࣭࣊ࣥࣜ࣊ࢫࢸ ዪࡢ⩦సࠕ࣮࣭࣊ࣥࣜ࣊ࢫࢸࣥࢢࢬࠖࡣࠊ ࣥࢢࢬࠖࡢࡳグࡍ㸧ࠊࠗࢪ࢙࣭࢚ࣥ࠘ ࡢᒎぴฟᒎࡽᖺᚋࡢᑠㄝࡔࡀࠊࡑࡇ Jane Eyre,ࢆྲྀࡾୖࡆࠊࢩ࣮ࣕࣟࢵࢺࡢ ࡶࣆࢡࢳࣕࣞࢫࢡ࠸࠺࣓࣮ࢪࡼࡗ࡚ษࡾ ͂visual text̓ࡀࠊ͂written text̓ࡢࡼ࠺ ྲྀࡽࢀࡓࠕ⮬↛ࠖࡀ࠶ࡿࠋࣆࢡࢳࣕࣞࢫࢡⓗᚿ ࡞స⏝ࢆཬࡰࡋ࡚࠸ࡿࡘ࠸࡚⪃࠼ࡿࠋලయ ྥࡣࠊࢩ࣮ࣕࣟࢵࢺࡢ⇍సရ㝶ᡤࡳࡽࢀ ⓗࡣࠊ୧సရ࠾ࡅࡿ⮬↛ᥥ⤮⏬ࡢ㛵 ࡿࡶࡢࡔࡀࠊࡑࡢഴྥࡣࡍ࡛⩦సࡶⰍ⃰ࡃ ಀࡘ࠸࡚ẚ㍑⪃ᐹࡋࡓ࠸ࠋ ⾲ࢀ࡚࠸ࡿࠋ ࣈࣟࣥࢸ୕ጜጒࠊࡘࡲࡾࢩ࣮ࣕࣟࢵࢺࠊ࢚࣑ ࡇࡢࠕ࣮࣭࣊ࣥࣜ࣊ࢫࢸࣥࢢࢬ࡛ࠖࡣࠊ ࣜ㸦Emily㸧ࠊࣥ(Anne) ࠊࡑࢀ⏨ᘵ ࡇࢀࡲ࡛ࡢ⋤㈗᪘ࡢேබࢃࡾࠊ࢚ࣜࢨ ࡛࠶ࡿࣈ࢙ࣛࣥ࢘ࣝ(Branwell) ࡀࠊࡶᩥ ࣋ࢫ࣭࣊ࢫࢸࣥࢢࢬ࠸࠺ᐙᗞᩍᖌࠊࡘࡲ Ꮫࡢࡳ࡞ࡽࡎࠊ⤮⏬࠾࠸࡚ࡶࡍࡄࢀࡓᡯ⬟ࢆ ࡾࢩ࣮ࣕࣟࢵࢺࡢ➼㌟ࢆᛮࢃࡏࡿࡼ࠺࡞ே Ⓨࡋ࡚࠸ࡓࡇࡣࡼࡃ▱ࡽࢀ࡚࠸ࡿࠋࠗࣈࣟ බࡀࡣࡌࡵ࡚Ⓩሙࡍࡿࠋࡔࡀࠊ᪉ࠊࡑ࠺ࡋࡓ ࣥ ࢸ ⏬ 㞟 ࠘ (Christine Alexander and Jane ேබタᐃࡢ᪥ᖖᛶࡶ࠸࠺ࡁࡶࡢే⾜ࡋ Sellars, The Art of the Brontës) ࡛ࡣࠊࢩ࣮ࣕ ࡚ࠊࢦࢩࢵࢡࡶศࡕࡀࡓࡃ⤖ࡧࡘ࠸ࡓࣆࢡ ࣟࢵࢺ ࠊࣈ࢙ࣛࣥ࢘ࣝ ࠊ࢚࣑ࣜ ࠊ ࢳࣕࣞࢫࢡⓗ㞺ᅖẼࡶࡲࡓ⃰ཌᥥࡁฟࡉࢀ࡚ ࣥ ࠊࡑࢀࠊㄡࡀᥥ࠸ࡓࡢุูಖ␃ࡢసရ ࠸ࡿࠋ ࢆ⥙⨶ࡋ࡚࠸ࡿࡀࠊୖグࡢᩘᏐࡀ≀ㄒࡿࡼ࠺ About the Window there hung the festoons ࠊࢩ࣮ࣕࣟࢵࢺࣈ࢙ࣛࣥ࢘ࣝࡢసရᩘࡣ & drapery of a heavy moreen curtainɆdeep ࡢேࢆᘬࡁ㞳ࡋ࡚࠸ࡿࠋࡇࢀࡣࠊࢩ࣮ࣕࣟࢵ crimson in coulour [sic.]Ɇthese, looped up, ࢺࣈ࢙ࣛࣥ࢘ࣝࡀᮏ᱁ⓗ࡞⫋ᴗ⏬ᐙࢆ┠ᣦࡋ showed a long roomɆglittering on all sides ࡚ዧ㜚ࡋ࡚࠸ࡓࡇࡶ㛵ಀࡀ࠶ࡿࠋ⤮⏬ࡣዪ with the reflection of firelight from the ᛶࡗ࡚ࠕࡓࡋ࡞ࡳࠖ(accomplishment)⛬ darkest pannels [sic.] of oakɆthe room was ᗘ⪃࠼ࡽࢀ࡚࠸ࡓᙜ࠾࠸࡚ࡉ࠼ࠊࢩ࣮ࣕ carpeted & in the middle was massive table ࣟࢵࢺࡣࠊࢠࣜࢫ࣭࣐ࣟࣥὴ⤮⏬ࡢᕧࠊ࢘ having the raven-gloss of ebonyɆthere ࣒࣭ࣜࢱ࣮ࢼ࣮㸦William Turner㸧ࡽ were no candles, no lamps burningɆbut a ࡌࡗ࡚ᒎぴ⮬సࢆ㸰Ⅼฟᒎࡋ࡚࠸ࡿࠋ㸦ḟ glowing hearthɆthis might have been a 㡫 ᅗ㸯ࠊᅗ 2㸧 ᖺࠊᙅෙ༑ඵṓࡢ㡭ࡢᛌ cheerful room when filled with company ᣲ࡛࠶ࡿࠋ᭱⤊ⓗࢩ࣮ࣕࣟࢵࢺࡣࠊ⏬ᐙࡋ Ɇbut to-night it wore, like the rest of ࡚࡛ࡣ࡞ࡃࠊసᐙࡋ࡚ྡࢆṧࡍࡇ࡞ࡿࡢ Massinger-Hall, an air of proud gloom ࡔࡀࠊ⏬ᐙࡋ࡚ࡢ⣲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 the Her business is not half so much with the shadow of the opposite end . . . (199) human heart as with the human eyes, ࠕ࢚ࣜࢨ࣋ࢫࡢࡶጼࢆ⌧ࡍ࣮࣊ࣥࣜࡣࠊ mouth, hands and feet; what sees keenly, ࡲࡉࢦࢩࢵࢡࡢᆺࡶ࠸࠼ࡑ࠺࡞㐨ල❧࡚ speaks aptly, moves flexibly, it suits her to ࡢ୰ᾋࡧୖࡀࡗ࡚ࡃࡿࠋ≀㡢ࡦࡘࡋ࡞࠸ study, but what throbs fast and full, ࡢࡼ࠺࡞㟼ᐢࠋ୍᮲ࡢගࢆᢞࡆࡅࡿ᭶᫂ though hidden, what the blood rushes ࡾࠋࡑࢀࡀ↷ࡽࡋฟࡍࡢࡣࠊ᳃ࢆ⫼ᬒࡋࡓ୍ through . . . (April 12th, 1850) (vol. III, 99) ㌺ࡢྂ࠸㤋ࠋࡉࡽࠊⶬ࡛そࢃࢀࡓࠗࢦࢩࢵࢡ ୖグࡣࢩ࣮ࣕࣟࢵࢺసࡢ≉ᚩࢆㄒࡿࡁࠊ ᵝᘧ࠘ࡢ❆ࠋࡑࡋ࡚ࡲࡿ࡛ࠗᗫቕ࠘ࢆᛮࢃࡏࡿ ࡋࡤࡋࡤᘬ⏝ࡉࢀࡿಶᡤ࡛ࡣ࠶ࡿࡢࡔࡀࠊࡑࢀ ᒇᩜࠊࡑࡢࡲࢃࡾࢆྲྀࡾᕳࡃࠗീຊࢆࢇ ࡣࠊࢩ࣮ࣕࣟࢵࢺࡢ⾲⌧ἲ࠸࠺ほⅬࡽࡶ⯆ ᅽಽࡏࢇࡤࡾࡢ㝜㨚࡞࠘ᬯ㜌ࠖ 㸦㇂㸧 ῝࠸ࡶࡢࡀ࠶ࡿࠋࡋࡋࠊࢩ࣮ࣕࣟࢵࢺࡀᵕ ࠸ࡗࡓලྜ࡛࠶ࡿࠋࡑࡋ࡚ࡑࡇ㠀᪥ᖖࡢࢻ ⋢࠶ࡆ࡚࠸ࡿࠊࡇࡢ͂Her business̓ࡢࠕᙼ ࣐ࣛࢸࢵࢡ࡞άࠊࡘࡲࡾୖᐁẅࡋࠊ㏨ஸ ዪࠖࡣࠊ࠸ࡗࡓ࠸ఱ⪅࡞ࡢࠋࢩ࣮ࣕࣟࢵࢺ ࡀ⤌ࡲࢀࡿࠋࡑ࠺ࡋࡓ ୡ⣖࣐ࣟࣥὴ⤮ ඛ❧ࡘࡇᅄ༑ᖺ๓ࠊࡘࡲࡾ⣙୍ୡ௦๓ ⏬ࢆᛮࢃࡏࡿ≧ἣᥥࡣࠊ ࠕᐙᗞᩍᖌࠖ࠸࠺ࠊ ࡢඛ㍮సᐙࠊࢪ࢙࣭࣮ࣥ࢜ࢫࢸࣥ(Jane ࠸ࡶ⌧ᐇⓗ࡞ዪேබࡢ㐀ᙧࡣ┦ᐜࢀ࡞ Austen, 1775-1817)ࡢࡇ࡛࠶ࡿࠋࢩ࣮ࣕࣟ ࠸ࡶࡢࢆྵࢇ࡛࠸ࡿࡼ࠺ᛮࢃࢀࡿࠋࡋࡋࠊ ࢵࢺࡢࡇࡢྎモࡣࡶࡶࠊ࣮࢜ࢫࢸࣥࡢ࢚ࠗ ㏫࠸࠼ࡤࠊࡑࢀࡔࡅࠊࡇ࠺ࡋࡓ⤮⏬ࠊ≉ ࣐࠘㸦Emma, 1816㸧ᢈุ⤡ࡵ࡚Ⓨࡏࡽࢀࡓ ࣆࢡࢳࣕࣞࢫࢡⓗ࡞ࡶࡢᑐࡍࡿႴዲࠊ⤮⏬ࢆ ࡶࡢ࡛࠶ࡾࠊࢩ࣮ࣕࣟࢵࢺࡣࠊ࣮࢜ࢫࢸࣥࡀ ᛮࢃࡏࡿᥥࢆྍ⬟ࡍࡿឤᛶࡣࠊࡇࡢసᐙ passion ࡞ࡲࡗࡓࡃ⌮ゎࡋ࡚࠸࡞࠸(‘. . . the ῝ࡃ᰿ᕪࡋࡓᮏ㉁ⓗ࡞ࡶࡢࡔࡶ⪃࠼ࡽࢀࡿࡢ Passion are perfectly unknown to her.’ (April ࡛࠶ࡿࠋ 12th, 1850) (vol. III, 99)ᢈุࡋࡓࡇࡀᘬ ඛᣲࡆࡓᅗ 1ࠊᅗ 2 ࡢࡼ࠺࡞⤮⏬ࡼࡗ࡚ ࡁ㔠࡞ࡾࠊ⤖ᯝⓗ⮬ศࡢసែᗘࢆྤ㟢ࡋ ࡶࠊࢩ࣮ࣕࣟࢵࢺࡗ࡚ࠊࣆࢡࢳࣕࣞࢫࢡ ࡓᙧ࡞ࡗࡓ࠸࠺ࢃࡅ࡛࠶ࡿࠋ ࠸࠺ᴫᛕࡀࠊ⮬↛ᑐࡍࡿ୍ࡘࡢ㔜せ࡞ㄆ㆑ࡢ ேࢆㄒࡿࡇࡣࠊㄒࡽࢀ࡚࠸ࡿே௨ୖࠊ ษཱྀ࡛࠶ࡾࠊࡲࡓ⾲⌧᪉ἲ࡛ࡶ࠶ࡗࡓࡇࡀࢃ ㄒࡗ࡚࠸ࡿᮏேࢆࡋࡤࡋࡤㄒࡗ࡚ࡋࡲ࠺ࡇ ࡿࡢࡔࡀࠊ⇍సရ࡞ࡿࡋࡓࡀࡗ࡚ࠊࡑ ࡞ࡿ̿ࡇ࠺ࡋࡓ࠸ࢃࡤ⤒㦂▱ࡣࠊࡇࡢࢩ࣮ࣕࣟ ࠺ࡋࡓ⮬↛ᥥࡣࠊ༢࡞ࡿసᐙࡢႴዲࢆ㞳ࢀࠊ ࢵࢺࡢ࣮࢜ࢫࢸࣥᢈุࡢሙྜࡶ┿ᐇ࡛࠶ࢁ సရయࡢᵓᡂศࡕࡀࡓࡃ⤖ࡧࡘ࠸ࡓࡶࡢ ࠺ࠋࡘࡲࡾࢩ࣮ࣕࣟࢵࢺࡣࠊࡲࡉࡋࡃࠕ㞃ࡉࢀ ࡞ࡗ࡚࠸ࡃࠋ⇍సရࡋ࡚ࡣࠊ๓㏙ࡋ࡚࠸ ࡣࡋ࡚࠸ࡿࡀࠊ‶ࡕ⁄ࢀࠊࡃࡃ⬦ᡴࡘࡶ ࡿࡼ࠺ࠊᮏㄽ࡛ࡣࠗࢪ࢙࣭࢚ࣥ࠘ࢆྲྀࡾ ࡢࠊ⾑㥑ࡅᕠࡿࡶࡢࠖࢆ᭩ࡃࡁ࡛࠶ࡿᛮࡗ ୖࡆࡓ࠸ࡀࠊࢩ࣮ࣕࣟࢵࢺࡢࡑ࠺ࡋࡓ⾲⌧ࡢᆺ ࡚࠸ࡿࠋᙼዪࡢ࣮࢜ࢫࢸࣥᢈุࡣ୍ᗘ࡞ࡽࡎ ࡶ࠸࠺ࡁࡶࡢࡣࠊᙼዪࡀ᭩ࡃᑠㄝࡂࡽ ⥆ࡁࠊࡓ࠼ࡤࠊ࣮࢜ࢫࢸࣥࡢసရࡣࠊ‘no ࡎࠊಶேⓗ࡞᭩⡆ࡶぢฟࡏࡿࡢ࡛ࠊࡲࡎࡑࢀ open country, no fresh air, no blue hill, no ࡽࡳ࡚࠸ࡁࡓ࠸ࠋ bonny beck’ (vol. II, 17) ࡛࠶ࡿ㓞ホࡍࡿࠋࡋ ࡓ࠼ࡤࠊࢩ࣮ࣕࣟࢵࢺࡣࠊW. S. Williams ࡋࠊࡑࡢᢈุ࠾࠸࡚ࡍࡽࠊࡑࡇࡣࡶ࠺ࡍ (W. S.࣒࢘ࣜࢬࡢ᭩⡆࡛ࠊ⮬ࡽࡀస ࡛ࠊ࣓ࢱࣇ࣮ࡋ࡚ࡶࠊ⤮⏬ᛶࠊࡘࡲࡾࠕ᪂ ࠾࠸࡚┠ᣦࡍࡶࡢࢆ⾲᫂ࡋ࡚࠸ࡿࠋࡑࢀࡣࠕ㞃 㩭࡞✵Ẽࠖࠊࠕ㟷ࠎࡋࡓୣࠖࠊࡑࡋ࡚ࠕ⨾ࡋ ࡉࢀࡣࡋ࡚࠸ࡿࡀࠊ‶ࡕ⁄ࢀࠊࡃࡃ⬦ᡴ ࠸ᑠᕝࠖ࠸ࡗࡓࡶࡢࡀⓏሙࡍࡿࡢ࡛࠶ࡿࠋ୍ ࡘࡶࡢࠊ⾑㥑ࡅᕠࡿࡶࡢࠖࢆ᭩ࡃࡇ࡛࠶ࡿࠋ ゝ࡛࠸࠼ࡤࠊࢩ࣮ࣕࣟࢵࢺࡣࠊ࣮࢜ࢫࢸࣥ 3 − 3 − ࡣࠊே㛫ࡢ passion ࠸࠺ࠊ⮬↛ࡢࡶྵࡵ࡚ࠊ ࡲࡉ㞴◚ࡏࢇࡍࡿ⯪ࠊ㞼㛫ࡽᢞࡆࡅ ⮬↛ࡀḞዴࡋ࡚࠸ࡿࡇࢆᢈุࡍࡿࡢࡔࡀࠊࡑ ࡽࢀࡿ෭ࡸࡸ࡞ࠊஸ㟋ࡵ࠸ࡓ᭶ࡢගࠖࠊࡑࡋ ࢀ࡛ࡣࠊࢩ࣮ࣕࣟࢵࢺࡢࠕ᪂㩭࡞✵Ẽࠖࠊࠕ㟷ࠎ ࡚ࡲࡓࠊࠕࡦࡗࡑࡾࡋࡓᆅࠊᆅ㏻ࡌࡿ ࡋࡓୣࠖࠊࡑࡋ࡚ࠕ⨾ࡋ࠸ᑠᕝࠖࡣࠊࡢࡼ 㛛ࠊᮙࡕࡓሟቨᅖࡲࢀࡓᮏࡢᶞࠊኤᬽࢀࢆ ࠺࡞⌧ࢀ᪉ࢆࡍࡿࡢࡔࢁ࠺ࠋ ࿌ࡆࡿ᪂᭶ࠖ̿ࡇࢀࡽࢪ࢙ࣥࡢ⬻ᾋࢇ ࡇࢀࡽࠗࢪ࢙࣭࢚ࣥ࠘࠾ࡅࡿࢩ࣮ࣕ ࡔගᬒࡣࠊ᭕࡞ࡀࡽࠊࡑࢀ࡛࠸࡚ࠊ῝ࡃ༳㇟ ࣟࢵࢺࡢᥥࢆ᳨ウࡋ࡚࠸ࡁࡓ࠸ࡀࠊࡇࡢ≀ㄒ ࡙ࡅࡽࢀࡿࡶࡢ࡛࠶ࡗࡓࠊస⪅ࡣㄒࡿࠋ࡞ࡿ ࡢⓎ➃ࡽࡇࡢసᐙࡢ⤮⏬ᛶࡢࡼ࠺࡞ࡶࡢࡣࠊ ͂written text̓ࡣࡑ࠺ㄒࡿࡢࡔࡀࠊࡑࡇ ᶓ⁄ࡋ࡚࠸ࡿࠋ➃ⓗ࠸ࡗ࡚ࡋࡲ࠼ࡤࠊࡇࡢ ᥥࢀࡓගᬒࡣࠊᙜࡢㄞ⪅ࡗ࡚ࡣࠊࡓ ͂written text̓ࡣࠊ㡫ࢆ㛤࠸ࡓ㏵➃ࠊࡍ࡛ ࠼ࡤࠊḟ㡫ࡢᅗ㸱ࠊᅗ㸲ࠊᅗ㸳࡛♧ࡍࡼ࠺࡞ࠊ ͂visual text’ࡋ࡚࡞ࡤᶵ⬟ࡋࡣࡌࡵࡿࡢ ࢝ࢫࣃ࣮࣭ࢲ࣮ࣦࢺ࣭ࣇ࣮ࣜࢻࣜࣄ (Caspar ࡛࠶ࡿࠋ David Friedrich, 1774-1840) ࡢ࣐ࣟࣥࢸࢵ ࠗࢪ࢙࣭࢚ࣥ࠘➨㸯❶࡛ࡣࠊ୍ᐙᅋḗ ࢡ⤮⏬ࠊࡑࢀࡽࡀ࠼ࡿࣥࣃࢡࢺࡢࡲࡉࡋࡃ ࡽࡣࡌࡁฟࡉࢀࡓேබࡢᏙඣ≀ㄒࡢᥥࡶࡑ ṧ㡪ࡢࡼ࠺࡞ࡶࡢ࡛ࡶ࠶ࡗࡓࡔࢁ࠺ࠋ ࡇࡑࡇࠊㄞ⪅ࡣࠊࢪ࢙ࣥࡀ㌟ࢆᐤࡏࡿぶᡉ ࡇ࠺ࡋ࡚ࠗࢪ࢙࣭࢚ࣥ࠘ࡣࠊࡑࡶࡑࡶࡢ ࡢᒃ㛫ࡽ᪩ࠎ㐃ࢀฟࡉࢀࡿࠋࡑࡋ࡚ᘬࡁධ ฟࡔࡋࡽࠊ᭩ࢀࡓ͂visual text̓ࡶ࠸࠺ ࢀࡽࢀࡿඛࡣࠊࡇࡢேබࡀࡦࡾᾐࡿⓑክ ࡁᵝ┦ࢆࡳࡏࡿࡢࡔࡀࠊෑ㢌㒊ࡢࡳ࡞ࡽࡎࠊ ࡢୡ⏺࡛࠶ࡿࠋࡑࡇࡣࠊࢺ࣐ࢫ࣭ࣅ࣮ࣗࢵࢡ 㔜せሙ㠃࡛ࡶࡲࡓࠊ͂visual text’ ࡶఝࡓ༳ (Thomas Bewick)ࡢࠗⱥᅜ㫽㢮≀ㄒ࠘ 㸦History ㇟ࡀ⃰ཌ࡞ࡿࠋ࢚ࢻ࣮࣡ࢻ࣭ࣟࢳ࢙ࢫࢱ࣮ of British Birds, 1816㸧ㄏⓎࡉࢀࡓࢪ࢙ࣥ (Edward Rochester)ࡀࢪ࢙ࣥࢯ࣮ࣥࣇ 㸦ࡑࡋ࡚ࠊ࠾ࡑࡽࡃࡣࢩ࣮ࣕࣟࢵࢺ⮬㌟㸧ࡢ ࣮ࣝࢻࡢᗞᅬ࡛ồឡࡍࡿሙ㠃ࡣ୍ࡘࡢࢡ࣐ࣛ ࣓࣮ࢪࡀࡘࡂࡘࡂᒎ㛤ࡉࢀ࡚࠸ࡃୡ⏺࡞ࡿࠋ ࢵࢡࢫ࣭ࢩ࣮ࣥࢆᵓᡂࡋ࡚࠸ࡿࡀࠊࡑࡢⓗሙ ࣅ࣮ࣗࢵࢡࡢᮏࡢᗎᩥẁ㝵ࡽࠊᗂᑡࡢࢪ࢙ 㠃ࡶࠊࡑࡢࠕᗞᅬࠖࢆ㍈⤮⏬ⓗどⅬ࡛═ࡵ࡚ ࣥࡢ⯆ࡣࡶࡗࡥࡽࡑࡢᤄ⤮ὀࡀࢀࡿࡢࡔ ࡳࢀࡤࠊ⯆῝࠸ࡶࡢࡀ࠶ࡿࠋࡓ࠼ࡤࠊࠕᗞ ࡀࠊᏊࡶ࡞ࡀࡽぢ㐣ࡈࡍࡇࡢ࡛ࡁ࡞࠸ࠕᏐ ᅬࠖ㛵ࡋ࡚ྜྷ⏣୍ࡣ௨ୗࡢࡼ࠺࡞ㄝࢆ㏙ ྃࠖࡀࢸࢡࢫࢺෆ⌧ࢀࡿࠋࡑࢀࡀࠊ⮬↛ᥥ ࡚࠸ࡿࠋⱥᅜ࡛ࡣࠊ᐀ᩍ⏬ࡋ࡚ࡢⓎ㐩ࡀ ࡢ⢋ࡶᛮࢃࢀࡿࠊࢪ࢙࣒ࢬ࣭ࢺ࣒ࢯࣥ ୡ⣖ࡢ᐀ᩍᨵ㠉࡛ᡴࡕษࡽࢀࡓᚋࡣࠊ࢚ࣜࢨ࣋ (James Thomson)ࡀャࡌࡓ㛗⦅リࠗᅄᏘ࠘(The ࢫᮅ࠸࠺ࠊⱥᅜࡢṔྐୖࠊࡲࡓ࡞࠸⢭⚄ⓗ࣭ Seasons, 1726-30)ࡢ࠺ࡕࡢࠕ⛅ࠖ(Autumn, ᩥⓗ⇍ᡂࢆࡳࡓᮇ࡛ࡉ࠼ࠊ⤮⏬ྐⓗࡳࢀ 1830) 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ࡍࡿ࣐ࣟ ᾏ㫽ࡔࡅࡋ᳇ᜥࡋ࡞࠸ᴟࡢᾏࡢࠕࡶࡢࡉ ࣥὴ⏬ᐙࡢⓏሙ࠸ࡓࡿ㐣⛬ࡣࠊⱥᅜࡢ㐀ᅬ ࡧࡋ࠸ᒾ♋ᓁ่⃭ࠖࡉࢀࡓࢪ࢙ࣥࡣ ᢏ⾡ࡢⓎ㐩ࡼࡗ࡚⏕ࡳฟࡉࢀࡓࠊⱥᅜ⊂⮬ࡢ Ꮚࡶᚰ✵ࢆ㏾ࡋࡃࡋ࡚࠸ࡃࠋࠕἼ㣕 ⮬↛ࢆ⏕ࡍࡇࢆ≉ᚩࡍࡿⱥᅜᘧᗞᅬࡢᙳ ἓࢆᾎࡧ࡞ࡀࡽࡑࢀ࡛ࡶࡓࡔ୍ࡘᒧ❧ࡍࡿᒾࠖ ࠊ 㡪ࡀ࡛࠶ࡗࡓ࠸࠺ࡢ࡛࠶ࡿࠋ 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, and ࡼࡗ࡚ᇙࡵࡽࢀࠊኻࢃࢀࡓᖺ᭶ࡣࠊࡑࡢᗞᅬ extending high and wide, soft and still ࡼࡗ࡚ᤂᅇࡉࢀࡿ࠸࠺ࡇ࡞ࢁ࠺ࡀࠊࡇࡢ softer over half heaven. The east had its ぢ᪉ࡑࡗ࡚ࢩ࣮ࣕࣟࢵࢺࡢࠕᗞᅬࠖࢆࡳࢀࡤࠊ own charm of fine, deep blue, and its own ࢯ࣮ࣥࣇ࣮ࣝࢻࡢࡇࡢᗞᅬ⮬యࡀ⤮⏬ⓗᙺ modest gem, a rising and solitary star: soon ࢆᯝࡓࡋ࡚࠸ࡿࡼ࠺ࡶᛮࢃࢀࡿࠋ it would boast the moon; but she was yet beneath the horizon. (276) ồឡࡀ⾜ࢃࢀࡿᗞᅬሙ㠃ࡣࠗࢪ࢙࣭࢚ࣥ࠘ ࡢ➨ ❶࡛ࠊேබࡢࢪ࢙ࣥࣟࢳ࢙ࢫࢱ࣮ ࠕ✵ᗈࡀࡿⲮ㔜࡞⣸Ⰽࠖࠊࠕᒣࡢ㡬ࡁ࠶ࡓ ࡀࢯ࣮ࣥࣇ࣮ࣝࢻࡢᗞᅬ࡛ࡤࡗࡓࡾฟ࠺ࡇ ࡾ࡛⅔ࡢࡼ࠺ࡲࡓࡓࡁࠊ㉥࠸ᐆ▼⅔ࡢࡼ࠺ ࡞ࡿࡢࡔࡀࠊࡇࡢሙ㠃ࡣࠊᗞᅬࡢ⮬↛ࢆᥥ ගࡗ࡚ࡉࡉࡸ࡞ගࢆᨺࡘ୍␒ᫍࠖࠊࡑ࠺ࡋ ࡁ࡞ࡀࡽࠊᐁ⬟ⓗ࡞㞺ᅖẼࢆ࠸⁻ࢃࡏࡿࡶ ࡓኤᬽࢀࡢᬒᥥࡢ୰ࠊࡇࡢ❆ࡽ⁻ ࡢ࡞ࡗ࡚࠸ࡿࠋ ࡗ࡚ࡃࡿࠕⴥᕳ↮ⲡࡢࡢ࡞㤶ࡾࠊࡼࡃ▱ࡗ ࡚࠸ࡿ࠶ࡢ㤶ࡾ(a subtle, well-known scent)ࠖ ࡇࡢ❶ࡢ┤๓ࡢ➨ ❶࡛ࡣࠊ ࢪ࢙ࣥࡢ⁀ᜥ (276) ࡢධࡀ࠶ࡿࠋ ࠕ࠶࠶ࠊ⚾ࡣࡲ࡛࡞ࡃࣟࢳ࢙ࢫࢱ࣮ࢆឡࡋ ࡚ࡋࡲࡗ࡚࠸ࡿࠖ(‘. . . alas! never had I loved ᯝᶞᅬࠊᮌࠎࠊဏࡁࢀࡿⰼࠎࠊࣈࢼࡢ୪ᮌ him so well.’ )(278)࡛㛢ࡌࡽࢀࡿࡢࡔࡀࠊࡑࡢ 㐨ࠊ᭶᱇ᶞࠊࢺࢳࡢᮌࠊ⏑࠸㟢ࠊ㟼ࡅࡉࠊࡓࡑ ⇕࠸⁀ᜥࡣࠊḟࡢ➨ ❶࡛ࠊࠕ⣲ᬕࡽࡋ࠸ኟ⮳ ࡀࢀࠊ⇍ࡋࡓᯝᐇ̿ࡑ࠺ࡋࡓࡶࡢࡢิᣲࡀ࠶ࡾࠊ ࡢ✵ࠖࢆ⫼ᬒࡋࡓࢯ࣮ࣥࣇ࣮ࣝࢻࡢᗞᅬࡢ ᳃࡛㬆ࡃࢼࢳࣥࢤ࣮ࣝㄏࢃࢀࠊࡑࡒࢁṌࡃ ⮬↛ᥥᘬࡁ⥅ࡀࢀ࡚࠸ࡿࠋ࠶ࡿព࡛ࡣࠊ ࢪ࢙ࣥࡢ㊊ࡀࡣࡗṆࡲࡿࠋ͂my step is ࡇࡢሙ㠃ࡣࡲࡉࡑࡢࢪ࢙ࣥࡢෆ࡞ࡿ stayed Ɇnot by sound, not by sight, but once passion ࡢྉࡧࢆᘬࡁ⥅ࡄࡶࡢࡋ࡚࠶ࡿࠋᑡ more by a warning fragrance. (276)’ ࣟࢳ࢙ࢫ ࡞ࡃࡶࠊㄞ⪅ࡣࠊࢪ࢙ࣥࡢᚰࡢྤ㟢ࡀࠊࡲ ࢱ ࣮ ࡢ ⴥ ᕳ ࡢ ࠶ ࡢ ࠕ ༴ 㝤 ࡞ 㤶 ࡾ ࠖ (warning ࡔవ㡩ࡋ࡚ࡁࡃ㡪࠸࡚࠸ࡿࡁࠊࡇࡢ༡ fragrance)ࡀࠊࣁ࣐ࢼࢫࠊࢽ࢞ࣚࣔࢠࠊࢪࣕࢫ ᅜࢆᛮࢃࡏࡿᗞᅬᑟࡁධࢀࡽࢀࡿࡇ࡞ ࣑ࣥࠊࢼࢹࢩࢥࠊࣂࣛࠊࡑ࠺ࡋࡓ㤶ࡾࢆᅽࡍࡿ ࡿࡢ࡛࠶ࡿࠋ ࡼ࠺⁻ࡗ࡚ࡁࡓࡽ࡛࠶ࡿࠋ ࢪ࢙ࣥࡢᛕࠊ࠶ࡿ࠸ࡣࠊࡑࢀࡣࡲࡓྠ ࣦࢡࢺࣜᮅࡢᙜࡢ࠾ୖရ࡞ㄞ⪅ࡀࠊ ࠗࢪ ࠊᙼዪࡢᛮះࡢᑐ㇟࡛࠶ࡿࣟࢳ࢙ࢫࢱ࣮ࡢ ୍࢙࣭࢚ࣥ࠘✀ࡢࡣࡋࡓ࡞ࡉࢆឤࡌࡾࠊ ᛕ࡛ࡶ࠶ࡿࡢࡔࡀࠊࡑ࠺ࡋࡓᛕࡣᙜ↛ࠊ⮬↛ࠊ ࡇࢀࢆ༴㝤࡞᭩ࡳ࡞ࡋࡓࡢࡣࠊ୍ࡘࡣࠊ ࡉࡽཝᐦ࠸࠼ࡤࠊ⮬↛ᥥࡑࡢࡲࡲᢞᙳ ࡞ࡽࡠࡇࡢᗞᅬࡢ⮬↛ᥥࡢࡓࡵ࡛࠶ࡿࠋ㏫ ࡉࢀࡿࡇ࡞ࡿࠋࡑࡋ࡚ࡑࡢࠕ⮬↛ࠖࡣࠊど ࠸࠼ࡤࠊᙜࡢሀⱞࡋ࠸ࠊ࠾ୖရ⩏ࡢࣦࢡ ぬࠊ⫈ぬࠊࡢࡳ࡞ࡽࡎႥぬࡲ࡛ࡶືဨࡋࡓࠊ࠸ ࢺࣜᮅ௦࠾࠸࡚ࡉ࠼ࠊࢩ࣮ࣕࣟࢵࢺࡣ ࢃࡤ㠀ᖖ⃰ᐦ࡞⫗యⓗ࡞ࡶࡢ῝ࠊ⇍ᡂࡋ passionࠊᐁ⬟࠸࠺ࡶࡢࢆ༑⾲ࡍࡇࡀ࡛ ࡚࠸ࡃࡢ࡛࠶ࡿࠋ ࡁࡓࡢࡔࡀࠊࡑࢀࡣࠊࡲࡉࡋࡃࡇࡢ⮬↛ᥥ It was now the sweetest hour of the ࡼࡗ࡚࡛࠶ࡗࡓࡔࢁ࠺ࠋ twenty-four; ‘day its fervid fires had ࡇࡢࠕᗞᅬࠖࡣࠊ⩦సࠕ࣮࣭࣊ࣥࣜ࣊ࢫࢸ wasted’, and dew fell cool on panting plain ࣥࢢࢬࠖ࠾ࡅࡿேබ࢚ࣜࢨ࣋ࢫ࣭࣊ࢫ and scorched summit. Where the sun had ࢸࣥࢢࢬ(Elizabeth Hastings)ࡢࠕⲨ㔝ࠖ gone down in simple stateɆpure of the ẚ㍑ࡋ࡚ࡳࡿࠊస⪅ࡢᥥࡢᢏ㔞Ṕ↛ࡓ pomp of cloudsɆspread a solemn purple, ࡿኚࢆࡳ࡚ࡿࡇࡀ࡛ࡁࡿࠋ 6 − 6 − ࡇࡢ⩦స࡛ࡣࠊேබ࢚ࣜࢨ࣋ࢫࡣ⛎ᛮ ࢹࣦࢵࢻ࣭ࢭࢩࣝ(David Cecil)ࡶࡲࡓࠊ ࠸ࢆᐤࡏ࡚࠸ࡓ࣒࣭࢘ࣜࣃ࣮ࢩ࣮㸦William ࢩ࣮ࣕࣟࢵࢺࡢ⮬↛ᥥὀ┠ࡋ࡚࠸ࡿࠋᙼࡣࠊ Percy㸧ㄏࢃࢀࡿࡲࡲࠊ㋃ࡳ㉺ࡋྎࡽᰙࢆ ࢩ࣮ࣕࣟࢵࢺࡣᮏ㉁ⓗࡣリே࡛࠶ࡾࠊࡋࡶ ㉺࠼ࠊពẼᥭࠎⲨ㔝㣕ࡧฟࡋ࡚࠸ࡃࡢࡔ ࡑࡢリࡣ⣧⢋࡞⇕ࢆḷ࠺ᢛリ࡛࠶ࡾࠊ㢼ᬒ ࡀࠊࡑࡇ࡛ᙼዪࢆᚅࡗ࡚࠸ࡓࡢࡣࠊᙼࡽࡢồ ᑐࡋ࡚ᙼዪࡀࡶࡗ࡚࠸ࡿឤཷᛶࡶ⤖ࡧࡘ࠸ ፧࡛ࡣ࡞ࡃࠊឡே࡞ࡿࡇࡢㄏᝨ࡛࠶ࡿࠋ ࡓࡶࡢ࡛࠶ࡿᣦࡍࡿࠋࡑࡋ࡚ᙼዪࡀᥥࡃồ ୰ୡ⤮⏬࠾࠸࡚ࡣࠊ㘄ࡉࢀࡓᗞࠊ࠸࠺ࡶ ឡࡢሙ㠃≉᭷࡞ឤࡣࠊࡑࡢሙࡢගᬒࡀᖏࡧ ࡢࡀฎዪᛶࡢ୍ࡘࡢࢩࣥ࣎ࣝࡋ࡚ᶵ⬟ࡋ࡚࠸ ࡚࠸ࡿ⥴ⓗ࡞ࡶࡢྠࡋ࡚ࡋࡲ࠺ࠊ࠸ࡗ ࡿࡀࠊࡇࡢሙ㠃࠾ࡅࡿ࢚ࣜࢨ࣋ࢫࡢ⫹ࡉࡣࠊ ࡓពࡢࡇࢆ㏙࡚࠸ࡿࠋ Like most of the other novelists of her ࡑ࠺ࡋࡓㄞࡳࢆࡶྍ⬟ࡍࡿࠋ school, she is a poet; and her poetry is the ࡔࡀࠊỴᐃⓗ▐㛫ࠊࡇࡢዪேබࡣ୍▐ࡢ㐁 ᕠࡢᚋࠊ⮬ࡽࡢ⣧₩ࢆᏲࡿࡇࡢ㔜せᛶẼ࡙ pure lyrical poetry of passion. It connects ࡁࠊ༴࠺ࡃㄏᝨࡢ㞴ࢆ㏨ࢀࠊለⴠࢆචࢀࡿࠋࡋ itself with her sensibility to landscape. ࡋࠊࡇࡢሙ㠃ឤࡌࡽࢀࡿࡢࡣࠊᐁ⬟ᛶࠊ࡛ The 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⪅ࡢⱞ ࡉࡽࠕࢪࣕࢫ࣑ࣥࡢⰼࡢ㤶ࡶࠊⰏࡸ࡞ᯞ ➗ࡍࡽᣍࡁࡡ࡞࠸≧ἣ̿ࡇࡢሙ㠃ࡣࠊேබ ࢆᗈࡆࡓࢡࣜࡢᮌࡶࠊ㐲࠸✵㬆ࡾ㡪ࡃᔒࡶࠊ ࡞ࡽࡠసᐙ⮬㌟ࡗ࡚ࡶ㸦Ⓩሙே≀ࡢ࢚ࣜࢨ ࡍ࡚ࡀྜయࡋ࡚ࠊࡑ࠺ࡋࡓ࡞࡛ືࡃேࢆ ࣋ࢫྠᵝࠊ⮬ࡽࡀᣍ࠸ࡓ⅏࠸ࡣ࠸࠼㸧༴ᶵⓗ άẼ࡙ࡅ࡚࠸ࡿ⇕ࢆఏ࠼ࠊࡲࡓ㇟ᚩࡋࡶࡋ࡚ ≧ἣ࡛࠶ࡗࡓࡕࡀ࠸࡞࠸ࠋࢩ࣮ࣕࣟࢵࢺࡣࠊ ࠸ࡿࠖࠊ⮬↛ᥥ࠸࠺ࡶࡢࡀࠊ࠸ᜊ 㸦࠾ࡑࡽࡃࡣࠊⱞ⫗ࡢ㸧ᩍカⓗ⤖ᮎ࡛࠾Ⲕࢆ⃮ ேࡓࡕࡢ⇕ࢆ㇟ᚩࡍࡿᏑᅾࡓࡾᚓ࡚࠸ࡿࢆ ࡍࠋ͂she [Elizabeth] was gone’࠸࠺ࠊ ᣦࡋࡶࡍࡿࡢ࡛࠶ࡿࠋ సᐙࡢᶒ㝈ࠊࡘࡲࡾᴟࡵ࡚▷࠸ࡀࠊྠࡦ The scent of the jasmine flowers, the ࡃ᩿ᐃⓗ࡛ࡶ࠶ࡿ⾲⌧ࢆᴂࡢࡼ࠺ࡇࡢሙ㠃 chestnut tree with its waxen candelabra, ᡴࡕ㎸ࡳࠊࡑࢀࡼࡗ࡚ᙉᘬேබ࢚ࣜࢨ࣋ the storm that mutters in the distant sky, ࢫࢆࢸࢡࢫࢺࡢᙼ᪉Ọஂ㏣ᨺࡋ࡚ࡋࡲ࠺ࡢ join to convey and symbolize the passion ࡛࠶ࡿ㸦㇂ 㸧ࠋ that animates the two beings who move among them. (137) ⩦సࠕ࣮࣭࣊ࣥࣜ࣊ࢫࢸࣥࢢࢬࠖࡢࠕⲨ 㔝ࠖࠊࠗࢪ࢙࣭࢚ࣥ࠘ࡢࠕᗞᅬࠖࢆẚ ࡇࡢࡼ࠺ேබࡓࡕࢆࠕᗞᅬࠖࡽ㐃ࢀฟ ㍑ࡍࢀࡤࠊ୧సရ㛫ࡢ⇍ᗘࡢᕪࡣṔ↛ࡋ࡚ ࡍࡇ࡞ࡃࠊ⇕ࢆᥥࡁᚓࡓࢩ࣮ࣕࣟࢵࢺࡣࠊ ࠸ࡿࠋேබࢆࠊၥ㢟ྵࡳࡢሙᡤࠊࠕⲨ㔝ࠖ ࡑࡢ⇕ࡢࡁࡓࡿࡁᢡࢆࡶࡲࡓࠊ⮬↛ᥥ ࡲ࡛ࢃࡊࢃࡊ㐃ࢀฟࡋ࡞ࡀࡽࠊ࡞ࢇࡽᐁ⬟ᛶࡢ ጤࡡࡿࡔࡅࡢᢏ㔞ࢆࡑ࡞࠼࡚࠸ࡿࠋࡓ࠼ࡤ ࣓࣮ࢪࢆ࡛ࡁ࡞࠸๓⪅ᑐࡋࠊᚋ⪅࡛ࡣࠊ ࡇࡢᗞᅬࡢࠕ⮬↛ࠖࡣࠊᢡࡢணࡋ࡚ࡶྠ 㸦୰ୡⓗឤぬࡽ࠸࠼ࡤࠊࡲࡔ㸺Ᏻᅪෆ㸼 ᵝᶵ⬟ࡍࡿࠋ ࠶ࡿᛮࢃࢀࡿ㸧ࠕᗞᅬࠖேබࡓࡕࢆ␃ࡵ ࢪ࢙ࣥࡣࠊࣟࢳ࢙ࢫࢱ࣮ࡀጔᖏ⪅࡛࠶ࡿࡇ ࠾࠸࡚ࡉ࠼ࠊㄏᝨ࠸࠺ࡶࡢࡀᖏࡧࡿࡋ࠸ᐁ ࢆ▱ࡽࡎࠊᙼࡢồ፧ࢆཷࡅධࢀࡿࡀࠊࡑࡢ ⬟ᛶࡣ༑ศᥥྍ⬟࡞ࡢ࡛࠶ࡿࠋ ᚋࠊணࡋ࡚ࡢ⮬↛ࡀࡁࡃ㛵ࡋ࡚ࡃࡿࠋ ࡑࡢኪࡣⲨࢀࡢኳೃ࡞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 the was true Wisdom that consoled me in that great horse-chestnut at the bottom of the hour, and showed me the right path to orchard had been struck by lightning in the follow. . . . “Go”, said Hope, “and live again night, and half of it split away. (285) in Europe . . .”’ (335-334) ࣟࢳ࢙ࢫࢱ࣮ࡢồឡࢆཷࡅධࢀࡓྠࡌᗞᅬ࡛ ࣮ࣚࣟࢵࣃࡽᾏࢆ㉺࠼࡚྿ࡁ㎸ࢇ࡛ࡃࡿ୍ ࡣࠊࡑࡢኪ୰ࠊࠕᯝᶞᅬࡢ➃࠶ࡿࠊ࠶ࡢࡁ 㝕ࡢ㢼ࠊᔒࠊ㞵ࠊ㞾㬆ࠊ✄ጔࠊࡑࡋ࡚ࡳࢃࡓ ࡞ࢺࢳࡢᮌ㞾ࡀⴠࡕࠊᖿࡀ༙ศࡅ࡚ࡋࡲ ࡗ࡚࠸ࡃẼ̿ࡑ࠺ࡋࡓ⮬↛ࡢ⛣ࢁ࠸ࢆ┠ࡢᙜ ࡗ࡚࠸ࡓࠖࡢ࡛࠶ࡿࠋ ࡓࡾࡋ࡚ᙼࡣ୍ࡘࡢỴពࢆᅛࡵࡿࠋᗞᅬ㨚 ࡇࡢࡼ࠺ࢩ࣮ࣕࣟࢵࢺࡢ⤮⏬ᛶ࠸࠺≉㉁ ⱱࡾࠊࡸࡋࡓࡓࡿ㞵ࡢࢆࡁࡽࡵࡏ࡚ ࡣࠊᩥᏛⓗຠᯝࡋ࡚ᑡ࡞ࡽࡠࣥࣃࢡࢺࢆ ㍤ࡁࡣࡌࡵࡓ࢜ࣞࣥࢪࠊࢨࢡࣟࠊࣃࢼࢵࣉࣝ ࠼ࡿࡶࡢࡔࡀࠊࡑࢀࡣࠊồឡሙ㠃ࡂࡽࡎࠊ ࡢ㛫ࢆṌࡁ࡞ࡀࡽࠊࡑࡋ࡚⇕ᖏࡢ㍤ࡃኪ᫂ࡅࡀ ⣽㒊࠾࠸࡚ࡶࠊ⏕ࡢ᰿※ࡢᜥ྿ࡁࡢࡼ࠺࡞ ࠶ࡓࡾࢆࡋࡔ࠸᫂ࡿࡃ↷ࡽࡋฟࡍࡑࡢࡁࡽࡵ ࡶࡢࢆ࣓࣮ࢪࡋ࡚ఏ࠼ࡿࡇ㈉⊩ࡋ࡚࠸ ࡁࠊ㌟ࢆࡺࡔࡡࠊ㌟㟋ࠊගࢆᾎࡧࡿࡲ ࡿࠋㄒࡾᡭࢪ࢙ࣥࡢどⅬࡽࡍࢀࡤࠊồ፧ ࡏ࡞ࡀࡽࠊᙼࡣ⪃࠼ࡿࠋࡑࡢࡁ࡛࠶ࡿࠋ ࠕᕼ ࡢ㔜せᛶࡣࡶࡓ࡞࠸ࡋ࡚ࡶࠊࡓ࠼ࡤࠊࣟ ᮃࠖࡀᙼ࿌ࡆࡿࡢࡣࠋࠕ⾜ࡅࠊࡑࡋ࡚ࡶ࠺୍ ࢳ࢙ࢫࢱ࣮ࡢኻពࡽࡢ⢭⚄ⓗ⏕ࡣࠊឤືⓗ ᗘࠊ࣮ࣚࣟࢵࣃ࡛⏕ࡁࡿࡢࡔࠖࠋ ࡛ࡍࡽ࠶ࡿࠋ⏕ࡢᜥ྿ࡁ࠸ࡗࡓほⅬࡽࡍࢀ ࡇࡢࡼ࠺ࠊ⮬↛ᥥࡢ⤮⏬ᛶࡣࠊࣟࢳ࢙ࢫ ࡤࠊࡇࡕࡽࡢ࠺ࡀࠕồឡࠖࡼࡾࡶࡉࡽ㔜せ ࢱ࣮ࡢ⢭⚄ⓗάࠊ⏕ࡶࡁࡃ㛵ࢃࡿࠋࣟ ࡞ពࡉ࠼ᢸࡗ࡚࠸ࡿࡶࡋࢀ࡞࠸ࠋ ࢳ࢙ࢫࢱ࣮ࡀ⮬ࡽࡢࠕ᪂⏕ࠖࢆ㢪࠸ࠊࠕάࠖ ࠗࢪ࢙࣭࢚ࣥ࠘ࡣࠊࢪ࢙ࣥࡀࣟࢳ࢙ ࡢྍ⬟ᛶࢆ☜ಙࡍࡿ࠸ࡓࡿࡢࡣࠊࡲࡉࡋࡃ⮬ ࢫࢱ࣮ฟ࠺௨๓ࡢࠊ࠸ࢃࡤ⯙ྎࡢࢫࢺ࣮ ↛ࡀᜥࢆ྿ࡁ㏉ࡋࡣࡌࡵࡿࠕ⇕ᖏࡢ㍤ࡃኪ᫂ࡅࠖ ࣮ࣜࡀ࠶ࡾࠊࡑࡢ࡞࡛ࠊⱝࡁ᪥ࡢࣟࢳ࢙ࢫࢱ ࡢࡓࡔ࡞࠾࠸࡚࡛࠶ࡿࠋࡑࢀࡣࠊసᐙࡢᢏ ࣮ࡣࠊᨾ㒓ࢠࣜࢫࡽ㐲ࡃ㞳ࢀࡓすࣥࢻࡢ ᕦⓗほⅬࡽࡍࢀࡤࠊ⥥ᐦᥥࢀࡓ⁄ࢀࢇࡤ ᓥ࡛ࠊࣂ࣮ࢧ࣭࣓ࢯࣥ(Bertha Mason)ࡢ ࡾࡢ⤮⏬ᛶࢆ⫼ᬒࡋ࡚࠸ࡿࠋᴟㄽࡍࢀࡤࠊ ⤖፧⏕ά⤯ᮃࡋࠊ⮬ẅࡢ⾪ື㥑ࡽࢀࡿ▐㛫 ᙼࡢࠕάࠖࡣࠊࡑ࠺ࡋࡓ⤮⏬ⓗ⎔ቃࡼࡗ࡚ ࡀ࠶ࡿࠋࡑࡢࠕ㐣ཤࠖࡣࠊࣟࢳ࢙ࢫࢱ࣮ࡢཱྀ ㄝᚓᛶࢆቑࡍࡤࡾ࡛࡞ࡃࠊㄞ⪅ࡣ୍ࡘࡢග ࡽࢪ࢙ࣥㄒࡽࢀࡿࡢࡔࡀࠊᙼࡀࡑࡢࠕ⤯ᮃ ᬒࡋ࡚ࠊどぬⓗࡶ῝ࡃ้༳ࡉࢀࡿࡢ࡛࠶ࡿࠋ ࡢ༴ᶵࠖࢆࡘ࠸ࡣ⬺ࡋࠊ⏕ࡁࡿỴពࢆ࠼ࡽ ࢀࠊࡑࢀࡀ⏕ࡢዎᶵ࡞ࡿࡢࡶࡲࡓࠊ⮬↛ ࡇࢀࡲ࡛ࡳ࡚ࡁࡓࡼ࠺ࠊࢩ࣮ࣕࣟࢵࢺࡢᥥ ᥥࡀࡁ࡞ᙺࢆᯝࡓࡋ࡚࠸ࡿࠋ ࡃ⮬↛ࡣࠊ⩦సẁ㝵ࡽࠊసᐙࡢ⤮⏬ᛶࢆ⃰ཌ ‘A wind fresh from Europe blew over the ⾲ࡋ࡚࠾ࡾࠊ⇍సရ࠸ࡓࡿࠊࡉࡽᑠ ocean open ㄝୡ⏺ᐦ᥋⤖ࡧࡘࡁࠊ㇟ᚩᛶࢆᖏࡧࡓࡶࡢ casement: the storm broke, streamed, ࡞ࡗ࡚࠸ࡃࠋࠗࢪ࢙࣭࢚ࣥ࠘ࡀࠊㄞࡳᡭ thundered, blazed, and the air grew pure, I ࢆࡋࡤࡋࡤຬẼ࡙ࡅࡿࡇࡀ࠶ࡿ࠸ࢃࢀࡿࡢ then framed and fixed a resolution. While ࡣࠊᙜ↛ࠊேබࡀヨ⦎ࢆࡾ㉺࠼࡚᭱⤊ⓗ I walked under the dripping orange-trees ࡣᜊឡࢆᡂᑵࡍࡿࡽ࡛࠶ࢁ࠺ࠋࡋࡋࠊࡑࡇ of my wet garden, and amongst its ࡣࠊࢩ࣮ࣕࣟࢵࢺࡢ⤮⏬ᛶࠊ࠸࠺సᐙⓗ≉ and rushed through the 8 − 8 − ㉁ࡶ࠸㛵ಀࡋ࡚࠸ࡿᛮࢃࢀࡿࠋࢪ࢙ࣥ ࣟࢳ࢙ࢫࢱ࣮ࡢ⇕ࡀឤࢆ㏻ࡋㄞ⪅ఏࢃ ᘬドᩥ⊩ ࡿࡼ࠺ឤࡌࡽࢀࡿࠊࡴࡏ㏉ࡿࡼ࠺࡞ᯝᐇ Alexander, Chiristine and Jane Sellars. The Art of ⰼࠎࡢ㤶‶ࡓࡉࢀࡓࢯ࣮ࣥࣇ࣮ࣝࢻࡢᗞᅬࠊ the Brontës. New York: Cambridge UP, 1995. ࡑࡋ࡚ࣟࢳ࢙ࢫࢱ࣮ࡀṚࡢ⾪ືࡽ⬺ࡋࠊ⮬ Brontë, Charlotte. ‘Captain Henry Hastings.’ Five ࡽ⏕ࡁᢤࡃࡇࢆ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 and ࡇࡢసရࢆࠊࡈ㒔ྜ⩏ࡢ༢࡞ࡿࠕ࣓ࣟࢻ࣐ࣛࠖ㸯 Correspondence. Ed. T. J. Wise and J. A. Symington. ࡽ㐲ࡃ㝸࡚ࡓࡶࡢࡋ࡚࠸ࡿせᅉࡢ୍ࡘ࡛࠶ 1933. Philadelphia Pennsylvania: Porcupine, 1980. ࢁ࠺ࠋ Cecil, David. Early Victorian Novelists. 1934; ࠗࢪ࢙࣭࢚ࣥ࠘࠸࠺‘written text’ London: Constable, 1980. ࡣࠊᕦጁ‘visual text’ ࡢせ⣲ࡀ⧊ࡾ㎸ࡲࢀ࡚ Friedrich, Caspar David and Werner Hofmann. ࠾ࡾࠊࡑࢀࡀຊᙉ࠸㧊ࡢࡼ࠺࡞ࡶࡢ࡞ࡗ࡚ࡇ Caspar David Friedrich. London: Thames & Hudson, ࡢసရయࢆⰺࡽᨭ࠼࡚࠸ࡿࠋࢩ࣮ࣕࣟࢵࢺ 2013. ࡣࠊ⤖ᒁࠊᛕ㢪ࡢ⏬ᐙࡋ࡚ࡣ࢟ࣕࣜࢆ㐩ᡂ ㇂⨾ᬛᏊࠕࢫ࣮࣮ࣟࣔࢩ࡛ࣙࣥㄞࡴ͂+HQU\ ࡛ࡁ࡞ࡗࡓࠋࡋࡋࠊᑠㄝసᐙࡢႠⅭࢆ㏻ࡋ +DVWLQJV̓̿&KDUORWWH%URQW ࡢ⩦స࠾ࡅࡿෑ㝤 ࡚ࠊᙼዪࡣᮏ㉁ⓗࡣࠊ⏬ᐙࡋ࡚ࡶ☜⏕ ࠖࠗ:HE ⱥㄒ㟷ᖺ࠘◊✲♫➨ ᕳ➨ ྕ ࡁࡓࡢ࡛࠶ࡿࠋ ྜྷ⏣୍ࠕࢱ࣮ࢼ࣮ⱥᅜࡢ⮬↛ࠖࠗࢱ࣮ࢼ࣮࣐ࣟ ࣥὴ㢼ᬒ⏬࠘୰ኸබㄽ♫ ὀ 㸨ᮏ✏ࡣࠊ᪥ᮏࣈࣟࣥࢸ༠බ㛤ㅮᗙ㸦 ᖺ ᭶ 1. ࠗࢪ࢙࣭࢚ࣥ࠘ࡀ G. H. ࣝࢫࡼࡗ࡚ࠊ࠾ ᪥ᶓࣥࢢࣜࢵࢩ࣭࣮ࣗ࢞ࢹ࡛ࣥ㛤ദ㸧࡛ࡢㅮ₇ࠕࣈ ࡑࡽࡃ‘melodrama’ホࡉࢀ࡚࠸ࡓࡔࢁ࠺ࡇࡣࠊ ࣟࣥࢸጜጒࡢࠗ⮬↛࠘ࢆㄞࡴࠖࡢ୍㒊ࠊࢩ࣮ࣕࣟࢵࢺㄽ ࣝࢫᑐࡍࡿࠊ௨ୗࡢࢩ࣮ࣕࣟࢵࢺࡢ᭩⡆ࡽࡶ ࢆ➃⥴ࡋ࡚ࠊ⤮⏬ᛶࢆࢸ࣮࣐㆟ㄽࢆᖜⓎᒎࡉࡏ ఛ࠼ࡿࠋࡓࡔࡋࠊࡑࡢࢩ࣮ࣕࣟࢵࢺࡢ㏉ࡽࡍࢀ ࡓࡶࡢ࡛࠶ࡿࠋ ࡤࠊᙼዪ⮬㌟ࡀࣝࢫࡢホ౯⣡ᚓࡋ࡚࠸ࡓ࠺ 㛵ࡋ࡚ࡣࠊࡣ࡞ࡣࡔࢃࡋ࠸ࡶࡢࡀ࠶ࡿࠋ If I ever do write another book, I think I will have nothing of what you call ‘melodrama’; I think so, but I am not sure. (January 12th, 1848)(II, 179) 9 − 9 −
© Copyright 2024 Paperzz
