ジョージ・オーウェル『動物農場』の使用言語
山 内 暁 彦
Language in Animal Farm by George Orwell
YAMAUCHI Akihiko
言語文化研究 徳島大学総合科学部
ISSN 1340−5632
第 23 巻 別刷 2015 年 12 月
Offprinted from Journal of Language and Literature
The Faculty of Integrated Arts and Sciences
Tokushima University
Volume ⅩⅩⅢ, December 2015
17
rœ§r¦d§`aŸĕʧΎŢ>Ôʴ͙ͬ
ƚõȸDŽ
Language in Animal Farm by George Orwell
YAMAUCHI Akihiko
Abstract
This essay examines the role of the raven Moses and the solicitor Mr Whymper in
George Orwell’s Animal Farm, focusing particularly on the change of animal language
from mere bleating or grunting to the human language English. Moses is seen as
representing the religious situation on the farm, with attention paid to the historical
and mythological background of crows, rooks and ravens, birds that have been
considered to be gloomy and sinister since Aesop.
There is mention of ravens’
remarkable ability to mimic human voice and how Poe’s “The Raven” and Grip in
Dickens’ Barnaby Rudge influence Orwell’s characterization of Moses, who
supposedly speaks English after coming back to the farm. Mr Whymper is viewed as
an intermediary between the farm and the outside world, showing how Orwell avoided
spoken language in order to suggest that human beings cannot possibly speak to
animals. The impact of the description that some pigs, including the leader Napoleon,
speak English, wear clothes and stand upright while holding a whip in their trotters is
seen as the result that Whymper’s role is not merely in trading but also in concealing
the pigs’ gradual transformation from beasts to humans.
18
Ƶ
Ɉʹ7?rœ§r¦d§`aŸ϶George Orwell 1903-1950Ϸ>ĕʧƍͨ;
RU͵ćƒͭĕʧΎŢ Animal Farm϶1945Ϸ;ȏV0ΎŢõ7ʴSV
U͙ͬ;46̡Ǝ*UĕʧΎŢ?.>ċϞA Fairy Story϶
8
ͨϷ˛*R;ƍͨ7U.(6.>͙ͬ?̽ͬ736ĕʧ>ͨ
*͙̿M*E6̽ͬ7͊͝'V6Uǎ36ĕʧ02?0M½μ8
ĸɢ;̽ͬYʴ6ʳʈ(6U>R;͑U((Ɔφ;?ĕʧ?
ŸLS̽ͬYÔʴ(60>7?:!ͻYž§y§;(6Ɓ̞(0̌ɔ
̽ͬ>ͮJȾY̞Ǐ(0%8;M:36U4ITΎŢ>ĕʧ02>Ô
ʴ͙ͬ?Ǎ;ŧę(6͆308̡SVU>7U7?LjS?¨Ð9
>R;(6ĕʧ>͙̿8½μ>͙̿7U̽ͬ8Yñ;ÔUR
;:30>7WɈʹ7?͙ͬ>ϔ7?ʰƆˇ:ƒͭ8ɷE6̱ʶƷ
>Ϫƍͨ7U8ĊȐY¨ȬόV6ʰƆˇ:͗βYƑî*U%8;
RTĕʧΎŢ>Ȧ0:ͮJ>ı̬ǚYȐ΅(0
̡Ǝ>ɍȤ8(6?ÓŅYΗ)601¹Ʒ(˅Ţ(:M>>ǁʚ:
ĠͼY̢ͮ;®Uūfs>—§vs϶Moses the ravenϷ8ĕʧΎŢ8ũ
Ϋ>½μ˝È8>ŊĬƽ>Æ¿LJ7U`]£‡§ɸ϶Mr WhymperϷ8;ːˌ
(ɞ͛*U—§vs;ν(6?ǎɐ>͗β7?ÓŅ;ΐLSV0ƍǣ
>²7ȞÈOƃȞY͊X*ſř7U8LJČYɔ0(6U1#>̭LJ
8Í̙5#7UɈʹ7?Ğ;.V1#7:!ΎŢ>²7>͙ͬ
>ǴXVȧ;6MˎǗ>LJČYɔ0(6U%8;ːˌ(6ʹ)6J0
I0`]£‡§ɸ;46?Lj?½μ7U;MXS+ĕʧ>Ύ
Ţ8ũΫ>˝È8>μ7ŊĬƽ«>Æ¿Y(ÓŅ>s§ž§Ƙλ;¨Ƅ>
LJČYɔ0*M>>ǎɐ>͗β7?ƍǣ>ϔ7¡q\ϕł>õƆ;ɹ5
<͏á>˔ͷ½>Õ8(6͗β*U˴>Á?Lj>ʨ΃;46?ITʹ)
SV6?ɐ:30Ɉʹ7?LjYΎŢ>õũ>Æ¿LJ8(61#7?:
!͙ͬ> ŽŸ7Mĕʧ8½μYÆ¿*U½ʧ7U8ȆÓ²7>Lj>
LJČ;46Ȧ0:Í̙5#YͦJ0
19
I+?ūfs>—§vs;46˚ͫ(6% 1 Lj?ǂĂΎŢ
³>rœ§£t϶JonesϷ>ɹ;îT8(6ϥXV60ȭ̤́Ⱦ>ϝ̢͙
8ĸ)—§vs϶—§uϷ8ĹSMƋȰ;ȎƎ7UR;ƍǣˇ;
?¡q\ɭȞÈ:(¡§“ež{iȞÈY͊(6TwΙ>˝È³̜ϕ
ł8.>nj>sx§ž£ÐĆƍǣˇ;ȏVUΎŢ>˝È>²7>¨˧>
ʽĀż8:36ULj?˝È³̜8Ȫſ>ƃȞ8>ǐŶ:νÚYÐʰ*U̢
:>7UΎŢõ7—§vs?ɻ˗˾ƚ>Ȟ̜YͭϕłĊSĕʧ
02YǠX(60ĕʧ?ˈɰ(6nj?Φ:Ʊ,>ŖD͆#U8͙36
ʰƆ>ē̼SLjS>ˌYΜS*>7U
It was situated somewhere up in the sky, a little distance beyond the clouds,
Moses said. In Sugarcandy Mountain it was Sunday seven days a week, clover
was in season all the year round, and lump sugar and linseed cake grew on the
hedges.
.V?˪>«>9%ώ>Ɠ(«;U8—§vs?͙I(0
ɻ˗˾ƚ7?¨Κμ;©ȫȫȼȫ7¨ư²i¡§†§ń
ʳ#ŝ;?͖˗˾8\“‚˻ʳ6U8͙>7(02
ϕłǩ30njLj?rœ§£tO.>Ů½88M;¨Ȭ?ΎŢYĦTÓŅ
SŹYʌ(6(I—§vs?ɬITɅSϢAˬ2e§e§8ūŦ
7Ō:Sű'Z>njYΔ36†x†x8ϢZ7͆I(0 “Moses
ūfs?ĄĹ¢xžfs϶ʑʛ¦ʑϯϷ8͙XVUūŜ>es7
TȫɈ;?Ěʊ΢;ʑ36ɐUʑTϭ7U̽Ĺ?m—£¦ ^¤£
϶common ravenϷU?Ğ; ^¤£϶ravenϷ8:UƁ˘>ŕι
ϭ123 ϙ;RV@e’£e‘£8Ϯ!.7U
2
George Orwell, Animal Farm: A Fairy Story (London: Penguin Books, 2000), p. 12.
ÓŅS>ƽʴ?%>ʥ;RTɈȢ²>Ǿƿõ;ϙȠY˛*ǻ͡?Ϫʻ
ȢŮ ͡ĕʧΎŢ϶ɑ¼Ђ͖ƟȾƶ1972 ưϷƟ˯ƹω ͡ĕʧΎŢ
϶ɑ¼ЂƛʃȾƶ2009 ưϷλϪà͡ĕʧΎŢ϶ɑ¼Ђ˵ȕȾDZ2013
ưϷÏƚəŭΪ͡ĕʧΎŢ϶ɑ¼Ђj§}£ŽŸi 212003 ưϐżȾ˹Ϸ
Yħ̡;(0
1
20
sprang off his perch and flapped after her, croaking loudly.” (13-14) 1—§vs
?nj;:36ȢžΗT̴ǰ36ɐ6S?’ d£϶NapoleonϷY
ŸL8*Ușίυ̅>ͻ028δĶ(6ϕłĊRTMȽ;Ǟǡ'>ƷYţ(
0ʰƆS¨̶>ĕʧ02>ˌYΜS,UE!÷Aé>R;LjS;ƲǢY
ȄTI!>1—§vsΎŢ;̴ǰ30%8>͝Γ?˲Ё˭;U
In the middle of the summer Moses the raven suddenly reappeared on the farm,
after an absence of several years. He was quite unchanged, still did no work, and
talked in the same strain as ever about Sugarcandy Mountain. (84)
Ũ>²Ϛūfs>—§vs˫ʞΎŢ;ŹY͑,I(0Ċ8I30
!ŧX36S+ˎŧXS+ÑMÀ¸Y,+I0ĸ)ͱż7ɻ˗˾
ƚ;46ͬTI(0
ͻΣ?Lj>Ȟ̜Y͊ĺ;?¨˰;Â*>1'T86LjYΔț*U%8?
,+ΎŢõ;ʺIU%8Y͠Ƌ*U@T7:!:T̷NJΞY®U
%87șί>΢ò;(6͆!>7U
—§vs;Ə*UNJΞ>̷'?—§vs;ș̎'VU‰§Ÿ>ε;˯ˇ;
͊XV6U©ǫ϶The Seven CommandmentsϷ>˲Ͻʼˌ7ĕʧ?ΰ
YϤKES+“No animal shall drink alcohol.” (17) 8ϤΰǫLSV6
0;MǺXS+UȴͻΣ?αέ(6(I.>ϩĕ>ˍnj;ɏȢ;
?ΡƷ;?8>Ȣ͙Â#·'VϤΰ̱Ð?Χʂ;'V6(I%V
?©ǫ:(ƞ(;Țŧ'V6͆!¨Õ7U—§vs÷AΎŢ;ʰ
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8Ȣ͙>Âđ30njM.VI78ĸɢϤΰ͠'V0R;?͑
:%8SM—§vs1#?ͻ8ĸ˴>ǴYĭ#6U%8;:U
.V/V>ͻ?Ϲȫ‰§ŸϹ‡^£>ί̎Yĭ#U%8;:T’ d
£̱Ή?ĝf¡£ϼ‡^£.Vƪ;i`£y§‰§>ʍˉ7Lj;
Ö'VU8%8;:30 “[E]very pig was now receiving a ration of a pint
of beer daily, with half a gallon for Napoleon himself, which was always served to him
in the Crown Derby soup tureen.” (83) %V;Ə(6—§vs;46?Lj
S϶ͻΣϷ?Lj;ΎŢ;ʺIU%8Y͠(I(0Lj?åM,+Ϲȫ;
ϹrŸϼĀ>Ϲ‡^£>‰§Ÿ>ί̎ČTǂ6SV6I(0“[Y]et
they [the pigs] allowed him to remain on the farm, not working, with an allowance of a
21
gill of beer a day.” (85) 8U%(0͝ΓS*U8—§vs;Ə*Uί
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’ d£?¾OÐγ 24 s§£́ 150 g¡MUǩκ(30ωŒ
x8:36I(0 “Napoleon was now a mature boar of twenty-four stone.” (92)
8U¨ȧ—§vs;?%>R;?3T(0͝Ό?:>7ʰƆ>
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€¦…^£ž{z϶Bernd HeinrichϷ;RU8“In one sample of fifty-six ravens from
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to 1. 53 kilograms, averaging 1. 22 kilograms.” 8>%87ULjͱE0–§
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ƏϹ8:Uǎ36ǔ͐:‰§Ÿ>εM%V8ĸ)! 125 ƏϹ7̷?+1
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s?ϹrŸϼĀ>Ϲ‡^£7T.>ɷ? 16 ƏϹ϶Ģ2 125 Ə 7. 8125Ϸ
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?‰§Ÿ;ʋ(0‡£Ɨ “crusts of bread soaked in beer” (12) YMS˦
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ϕłĊ?rœ§£t>á;30—§vsϕłnj?ͻΣ>á;T¨̶
3
Bernd Heinrich, Ravens in Winter (New York: Simon & Schuster Paperbacks, 1989),
p. 20. ̟͡?ʑΏȜτ ͡¢xžfs>Ͷ϶ɑ¼Ђ9C4˝1995
ưϷ23 ϙ
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A Crow became very jealous of a Raven, because the latter was regarded by men
as a bird of omen which foretold the future, and was accordingly held in great
respect by them. She was very anxious to get the same sort of reputation herself;
and, one day, seeing some travellers approaching, she flew on to a branch of a
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tree at the roadside and cawed as loud as she could.7
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U%>ƍͨ7?ƒfs϶CrowϷ?̌ƕȩ½02;?ˎdz;'V:
.(6˰'΀M>7*only make themselves ridiculous.” 8>Ȟ͜
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Who’ll be the parson?
I, said the Rook,
With my little book,
I’ll be the parson.8
%%7>es?ūfs7Mƒfs7M:!%VS8?I0Ą˧>”
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ŕͭ “p§j§s
϶ɑ¼ЂɿÿȾDZȦ˝2007 ưϷ17 ϙĨA iv (123) ϙ
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̇Ɋ:ʿŋYŪ!>½?Ȁ47W8%WƆφ;?ūfs?
2Q9^£m˴>R;½ͬYI=U%87U>7U“Like other
corvids, ravens can mimic sounds from their environment, including human speech.”
%V? ‘Common raven’ ;ν*U Wikipedia >͝Γ7UǛS! ‘Raven’
¨̶;46Mĸɢ>ʨǚUM>8ǙXVUz˜§Ÿt¦~]k£t
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8M;n§€£Ȼĕ϶Gordon RiotsϷYǴ30%>ÓŅïÐ;ſ*UĪe
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Poe’s symbolic raven—which follows the Romantic tradition of Coleridge’s
albatross, Shelley’s skylark and Keats’ nightingale—was influenced not only by
Barrett’s “Lady Geraldine’s Courtship” but also by Grip, the raven, “the
embodied spirit of evil,” in Dickens’ Barnaby Rudge (1841).13
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Jeffrey Meyers, Edgar Allan Poe: His Life and Legacy (New York: Charles
Scribner’s Sons, 1992), p. 162.
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Tweedledum and Tweedledee
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Which frightened both the heroes so,
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23
The Annotated Alice, ed. Martin Gardner (Penguin Books, 1965), p. 95.
The Annotated Alice, p. 244.
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The Tralfamadorians had no voice boxes. They communicated telepathically.
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organ which made very Earthling speech sound.
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Kurt Vonnegut, Slaughterhouse 5 (London: Triad Grafton, 1979), p. 55.
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ť>`]£‡§ɸ8½ĕʧΎŢ8ũ>¯ʹ8>Æ¿½;:U%8;ĸ
ǣ(ȁŕYĭ#U0L;ɶΚɁȼȫ;ΎŢY͞VU “A Mr Whymper, a
solicitor living in Willingdon, had agreed to act as intermediary between Animal Farm
and the outside world, and would visit the farm every Monday morning to receive his
instructions.” (47) 8%8’ d£Sĕʧ02;ĺ#6¨ȧˇ;Η
ľ'VUΎŢ;O36ɐU`]£‡§ɸ;Ə*Uĕʧ02>ǦƷ?Ĭ>
R730œ4·>’ d£¹Ɉ·7ˬ36U`]£‡§;ȁ
ŕY(6UɢżY͑U8ĕʧ02?ͪS(ɹȀ2;:TI(0“[T]he
sight of Napoleon, on all fours, delivering orders to Whymper, who stood on two legs,
roused their pride . . .” (48)
ɨ;Lj˅Ţ*U>?˲Ͽ˭7UƆφ;?:Tǝę(6UΎŢ>ϣ
34
Ȥ¸ǟYψ͂*UơÓLj;Àȉ#SVUŢϔ7U#V9M¾7?Ϻ
ϻ>Ψ@V0ĕʧ02ūǸ?̚Lj>̣;îUŢDz7ϣȤί̎ţ0%
8YÑɹ:!͙R;ȞΐIVI(0“[A] few selected animals, mostly
sheep, were instructed to remark casually in his hearing that rations had been
increased.” (55) ƍǣ>ϔ7%>Ţϔ?¡q\ϕł>õƆ;ɹ5<͏á>
˔ͷ½>Õ8(6͗β'VU8%W7Uɨ?˲Ѐ˭7ɍɅ>Ĭƽ;ǎ¸
(6Uɢż̢ͮ;˔S'VU.%;?`]£‡§ɸYÆˬ2;(6
’ d£?‹ ~ž{iĨAŠŸg££8ΐJî30ŊͲ;νX36
I(08>ͭȯU“Meanwhile, through the agency of Whymper, Napoleon
was engaged in complicated negotiations with Frederick and Pilkington.” (69) ɀnj;
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“Three days later there was a terrible hullabaloo. Whymper, his face deadly pale, came
racing up the path on his bicycle, flung it down in the yard and rushed straight into the
farmhouse.” (73) %>R;͑6ɐU8`]£‡§ɸ?ĕʧΎŢ>²;:
Tʍ!νX36U8ĠͼYĭ#U7W29 8%WLj>˅Ţ˶
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29
35
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œ£?Ñ8ʩ>raq§϶JessieϷ͆:36U>1Š§x§¦›sz„
‹϶Peter UstinovϷO^\£¦Ÿ•϶Ian HolmϷYŸL8*UĹè02Ľȿ
Yǹǂ(6U1954 ư>\‚–§qœ£ʥ8?ʽ:T;M½μ>
36
Ŧ7U%8ɯʞ8(6UȽ;ɈÓ?Ɔø7ȏV6U%>
ʙMΤŃǥ;4:36Uĕʧ02̽ͬYͨ*φ>Įé>ĕȧ:
9ЄЈ>ýʲ;MŪƓ>­̱ʞ'U>MĻL:30 01(ĕʧƆ
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ĀUÀȉ#;:36T%>ʙ?͕Ƈ;836͔ā7U(Uǣŀ
7?ĤÓYΆ6U8ͣ×Y*U%8M7RNeil Sinyard ?Ȳʸ
ęÓŅ>ǣ̜;46Ĭ>R;ΓE6U
It does seem to me that the great screen adaptations are the ones that go for the
spirit rather than the letter of the text; or exploit a unique affinity between the
personalities of the original writer and the present film-maker; or use the camera
to interpret and not simply illustrate the tale.31
1999 ư> Animal Farm ;46ųǣˇ;͑V@ĕʧ>Ŧ>Ǵ;ν(6%>
ÓŅ?ĤÓY:/U1#;ʺI36:͡7TĤÓ>ǣŕYΆ0͗
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¨ȧ1954 ư>\‚–§qœ£ʥ7?ĕʧ>Ŧ>ǹǂ?—§žs¦~•
϶Maurice DenhamϷ¨½ĕʧS(Ŧ̸YÔĀ#44MĜḀ̄ĬT
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UI7Yʕ)36U%>\‚–>ЅАЅ;ʨóȲæ8(6īLSV
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32
6ϟI7ͻ;Ë6ɐ0.7
%>ÓŅ7?ĕʧ?Ɉɐ>ĕʧͬYͨ*>8ĸȴ;̽ͬ7
Ǫ͕Ƈ;ͬT#U%8M76U.>ǣŀ7ĕʧƍͨ>́Ɏ;2Z
8ǎ36U8̡U%87U>7U%>R;+V>ȲæęÓ
%>ʙ;ν(6?1999 ư8ĆÓưÃ>į'Mȥή,=@:S:
Neil Sinyard, Filming Literature: The Art of Screen Adaptation (London: Routledge,
2013), p. x.
32
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30
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37
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££˴>ũΫ>½μ02YΎŢ;Ǽ0«7LjS>ϔĊ7ʕͭY*U%
>ʕͭ>͙ͬ?Ȫ;ĕʧͬ7?:7Wʜʹ.V?̽ͬ7:#
V@:S:’ d£?½μ8ĸ)͙ͬYʴ6ĕʧΎŢ϶Animal FarmϷ
Yé>“§¦‹[§•϶Manor FarmϷ;ǰ(.V8ĸȴ;ͻΣ?46
>½μ8ĸɢ>ˬŢ7¨̶>ĕʧ02YȓĬ(̑#R8*UǦƷY͊ȯ*
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M:8%8:>7U
It did not seem strange to learn that the pigs had bought themselves a wireless set,
were arranging to install a telephone, and had taken out subscriptions to John
Bull, Tit-Bits and the Daily Mirror. It did not seem strange when Napoleon was
seen strolling in the farmhouse garden . . . Napoleon himself appearing in a black
coat, ratcatcher breeches and leather leggings . . . (98)
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