「社会人のための英語回路構築トレーニング自習帖」著者のブログ

Thank You for Visiting Me! 「英語赤ひげ先生」による「知っている英語」を「使える英語」にするための「理論」と「教材」を一挙に無料公開しています。

2020年06月

The Bridges of Madison County(マディソン郡の橋)―(21)

夫 が死んで8年。Francescaは67歳の誕生日を迎えました。昔からのド田舎の家に今も1人で住んでいます。子供たち2人は今年も母の誕生日に帰ってきませんでした。誕生日をお祝いするために来てくれた友達たちも帰って行きました。そして夕方Francescaは1人でブランデイを飲みながら、毎年の儀式になったRobert Kincaidから来た手紙を読み返したところです。そして彼を思い出しています。今回は最初の出会いの場面です。

Francesca (9)

He smiled, “I’m sorry to bother you, but I’m looking for a covered bridge out this way, and I can’t find it. I think I’m temporarily lost.” He wiped his forehead with a blue bandana and smiled again.
His eyes looked directly at her, and she felt something jump inside. The eyes, the voice, the face, the silver hair, the easy way he moved his body, old ways, disturbing ways, ways that draw you in. Ways that whisper to you in the final moment before sleep comes, when the barriers have fallen. Ways that rearrange the molecular space between male and female, regardless of species.
The generations must roll, and the ways whisper only of that single requirement, nothing more. The power is infinite, the design supremely elegant. The ways are unswerving, their goal is clear. The ways are simple, we have made them seem complicated. Francesca sensed this without knowing she was sensing it, sensed it at the level of her cells. And there began the thing that would change her forever.
A car went past on the road, trailing dust behind it, and honked. Francesca waved back at Floyd Clark’s brown arm sticking out of his Chevy and turned back to the stranger. “You’re pretty close. The bridge is only about two miles from here.” Then, after twenty years of living the close life, a life of circumscribed behavior and hidden feelings demanded by a rural culture, Francesca Johnson surprised herself by saying, “I’ll be glad to show it to you, if you want.”


解説:

He smiled, “I’m sorry to bother you, but I’m looking for a covered bridge out this way, and I can’t find it. I think I’m temporarily lost.” He wiped his forehead with a blue bandana and smiled again.
■I’m sorry to bother you, but …:「お邪魔してすみませんが・・・」(丁寧な尋ね方の定番表現)。
■out this way:outはここでは前置詞で「(道路など)を通って外に」の意。「この道を市外に向かって」のニュアンス。

His eyes looked directly at her, and she felt something jump inside. The eyes, the voice, the face, the silver hair, the easy(ゆっくりとした) way he moved his body, old ways, disturbing(心をかき乱す) ways, ways that draw you in.
■old ways:old に対応する日本語に自信がありませんが「老練な」と訳しておきます。
■draw … in:・・・を引き入れる。以下は本当に「文学的な」言い回しですが、すべて「彼女の心を引き込んだ」ということです。

Ways that whisper to you in the final moment before sleep comes, when the barriers(障害) have fallen. Ways that rearrange the molecular(分子の) space between male and female, regardless of species(種).

The generations must roll, and the ways whisper only of that single requirement, nothing more.
■文字通りの意味は「世代は転がって行かなければならず、その方法はその単一の要件だけをささやくだけで、それ以上のものはありません」。申し訳ありませんが、著者には具体的な絵が浮かんできません。

The power is infinite(無限の), the design supremely(最高に) elegant. The ways are unswerving(脇にそれない), their goal is clear. The ways are simple, we have made them seem complicated. Francesca sensed this without knowing she was sensing it, sensed it at the level of her cells. And there began the thing that would change her forever.
A car went past on the road, trailing(を引きずる) dust behind it, and honked. Francesca waved back at Floyd Clark’s brown arm sticking out of his Chevy(シボレー) and turned back to the stranger. “You’re pretty close. The bridge is only about two miles from here.”

Then, after twenty years of living the close(接近した) life, a life of circumscribed(制限された) behavior and hidden feelings demanded by a rural culture, Francesca Johnson surprised herself by saying, “I’ll be glad to show it to you, if you want.”
■the close(接近した) life:近所の人がFrancescaと見知らぬ男を見つけて車を鳴らし、窓から手を出して通り過ぎて行く間柄の(田舎の)密着した生活ということです。

The Bridges of Madison County(マディソン郡の橋)―(20)

夫 が死んで8年。Francescaは67歳の誕生日を迎えました。昔からのド田舎の家に今も1人で住んでいます。子供たち2人は今年も母の誕生日に帰ってきませんでした。誕生日をお祝いするために来てくれた友達たちも帰って行きました。そして夕方Francescaは1人でブランデイを飲みながら、毎年の儀式になったRobert Kincaidから来た手紙を読み返したところです。そして彼を思い出しています。

Francesca (8)

She had been sitting on the front porch swing, drinking iced tea, casually watching the dusts spiral up from under a pickup coming down the country road. The truck was moving slowly, as if the driver were looking for something, stopped just short of her lane, then turned up it toward the house. Oh, God, she had thought. Who’s this?
She was barefoot, wearing jeans and a faded blue workshirt with the sleeves rolled up, shirttail out. Her long black hair was fastened up by a tortoiseshell comb her father had given her when she left the old country. The truck rolled up the lane and stopped near the gate to the wire fence surrounding the house.
Francesca stepped off the porch and walked unhurriedly through the grass toward the gate. And out of the pickup came Robert Kincaid, looking like some vision from a never-written book called An Illustrated History of Shamans.
His tan military-style shirt was tacked down to his back with perspiration, there were wide, dark circles of it under his arms. The top three buttons were undone, and she could see tight chest muscles just below the plain silver chain around his neck. Over his shoulders were wide orange suspenders, the kind worn by people who spent a lot of time in wilderness areas.


解説:

She had been sitting on the front porch swing(ぶらんこ), drinking iced tea, casually(何気なく) watching the dusts spiral up from under a pickup coming down the country road.
■iced tea:ice teaともいいます。
■watching the dusts spiral up:up はここでは動詞で「立ち上がる」の意。
■from under a pickup:from は前置詞句をその目的語として取ることが出来ます。「小型トラックの下から」。日本語と同じ使い方です。
■coming down the country road:映画の予告編を見てみましたが、文字通り「高い所から低いところにやって来る」イメージです。埃も猛烈に撒き上がる田舎道です。

The truck was moving slowly, as if the driver were looking for something, stopped just short of her lane, then turned up it toward the house. Oh, God, she had thought. Who’s this?
■short of her lane:「彼女の家に行く小道の手前で」。
■turned up it toward the house:「その小型トラックは、向きを変えてその小道に沿って家に向かって走って行った」。この「up」は前置詞で、ここでは「・・・の上に」の意ではなく「・・・に沿って(along)」の意。

She was barefoot, wearing jeans and a faded(色あせた) blue workshirt(肉体労働で着られる特に丈夫なシャツ) with the sleeves rolled up(巻き上げる), shirttail(ワイシャツのすそ) out.

Her long black hair was fastened up by a tortoiseshell(カメの甲) comb her father had given her when she left the old country.
■fastened up:「(丸めて)しっかりと固定されていた」。
■when she left the old country:彼女は結婚を契機にイタリアからアメリカのド田舎に引っ越してきました。

The truck rolled(ゆっくり進む) up the lane and stopped near the gate to the wire fence surrounding the house.

Francesca stepped off the porch and walked unhurriedly through the grass toward the gate.

And out of the pickup came Robert Kincaid, looking like some vision(光景) from a never-written book called An Illustrated History of Shamans(呪術師).
■a never-written book called An Illustrated History of Shamans:架空の物語です。

His tan(黄褐色の) military-style shirt was tacked(接合する) down to his back with perspiration(汗), there were wide, dark circles of it under his arms. The top three buttons were undone(ほどけた), and she could see tight(ぴんと張った) chest muscles just below the plain(飾り気のない) silver chain around his neck.

Over his shoulders were wide orange suspenders, the kind worn by people who spent a lot of time in wilderness(荒野) areas.
■worn:wear の過去分詞

The Bridges of Madison County(マディソン郡の橋)―(19)

The Bridges of Madison County(マディソン郡の橋)―(19)

夫 が死んで8年。Francescaは67歳の誕生日を迎えました。昔からのド田舎の家に今も1人で住んでいます。子供たち2人は今年も母の誕生日に帰ってきませんでした。誕生日をお祝いするために来てくれた友達たちも帰って行きました。そして夕方Francescaは1人でブランデイを飲みながら、毎年の儀式になったRobert Kincaidから来た手紙を読み返したところです。そして彼を思い出しています。

Francesca (7)

Robert had asked her to arch her back ever so slightly, and he had whispered then, “Yes, yes, that’s it, stay there.” That was when he had taken the photograph at which she now stared. The light was perfect, that’s what he had said – “cloudy bright” was his name for it – and the shutter clicked steadily as he moved around her.
He was lithe, that was the word she had thought of while watching him. At fifty-two his body was all lean muscle, muscle that moved with the kind of intensity and power that comes only to men who work hard and take care of themselves. He told her he had been a combat photographer in the Pacific, and Francesca could imagine him coming up smoke-drenched beaches with the marines, cameras banging against him, one to his eye, the shutter almost on fire with the speed of his picture taking.
She looked at the picture again, studied it. I did look good, she thought, smiling to herself at the mild self-admiration. “I never looked that good before or after. It was him.” And she took another sip of brandy while the rain climbed up and rode hard on the back of November wind.
Robert Kincaid was a magician of sorts, who lived within himself in strange, almost threatening places. Francesca had sensed as much immediately on a hot, dry Monday in August 1965, when he stepped out of his truck onto her driveway. Richard and the children were at the Illinois State Fair, exhibiting the prize steer that received more attention than she did, and she had the week to herself.


解説:

Robert had asked her to arch her back ever so slightly, and he had whispered then, “Yes, yes, that’s it, stay there.”
■ever so slightly:「ほんの少しだけ」。「ever」は、ここでは「強調」を表します。
■that’s it:ここでは「ああそれだ」。必要なことが分かったり、手に入った時などに用います。

That was when he had taken the photograph at which she now stared.

The light was perfect, that’s what he had said – “cloudy bright” was his name for it – and the shutter clicked(カチッと音がする) steadily(ずっと、絶えず) as he moved around her.
■as:「同時性」を表します。

He was lithe(敏捷な), that was the word she had thought of while watching him. At fifty-two his body was all lean(やせた⇒褒め言葉) muscle, muscle that moved with the kind of intensity(強烈さ) and power that comes only to men who work hard and take care of themselves.

He told her he had been a combat photographer in the Pacific, and Francesca could imagine him coming up smoke-drenched(煙が一杯の) beaches with the marines, cameras banging(打ちつける) against him, one to his eye, the shutter almost on fire with the speed of his picture taking.
■a combat photographer in the Pacific:主人公は第二次世界大戦の時の戦闘が行われた太平洋での戦闘について行きました。
■on fire:(意図せず)燃えている

She looked at the picture again, studied(を注意深く観察する) it.
I did look good, she thought, smiling to herself at the mild self-admiration(自己賞賛).
■I did look good:本当は“ I did look good,”とすべきところですが、文脈から誤解は与えないということで間接話法にしたのでしょう。学校で習う英文法が必ずしも守られていない例です。

“I never looked that good before or after. It was him.”
■that good:「そんなに良く」
■It was him:「よく写っているのは彼のせいだった」。

And she took another sip of brandy while the rain climbed up and rode hard(しっかりと) on the back of November wind.
■climbed up:「上昇した」。結局「雨は通り過ぎた」ということです。

Robert Kincaid was a magician of sorts, who lived within himself in strange, almost threatening(危なっかしく感じるような) places.
■of sorts:一種の、いわば

Francesca had sensed as much immediately on a hot, dry Monday in August 1965, when he stepped out of his truck onto her driveway.
■sensed:目的語が省略されていますが、「Robert Kincaid was a magician of sorts, who lived within himself in strange, almost threatening places. 」であることを感じた。
■as much immediately:「直ぐに」。

Richard and the children were at the Illinois State Fair, exhibiting the prize (入賞の)steer(雄の子牛) that received more attention than she did, and she had the week to herself.
■the Illinois State Fair:毎年夏に農業をテーマにしたイベントが11日間開催されます。
■she had the week to herself:「その週は自分だけで使えた」

The Bridges of Madison County(マディソン郡の橋)―(18)

夫が死んで8年。Francescaは67歳の誕生日を迎えました。昔からのド田舎の家に今も1人で住んでいます。子供たち2人は今年も母の誕生日に帰ってきませんでした。誕生日をお祝いするために来てくれた友達たちも帰って行きました。そして夕方Francescaは1人でブランデイを飲みながら、毎年の儀式になったRobert Kincaidから来た手紙を読み返したところです。そして彼を思い出しています。

Francesca (6)
His narrow face, high cheekbones, and hair falling over his forehead set off light blue eyes that seemed never to stop looking for the next photograph. He had smiled at her, saying how fine and warm she looked in early light, asked her to lean against the post, and then moved around her in a wide arc, shooting from knee level, then standing, then lying on his back with the camera pointed up at her.
She had been slightly embarrassed at the amount of film he used but pleased by the amount of attention he paid to her. She hoped none of the neighbors were out early on their tractors. Though on that particular morning she hadn’t cared too much about neighbors and what they thought.
He shot, loaded film, changed lenses, changed cameras, shot some more, and talked quietly to her as he worked, always telling her how good she looked to him and how much he loved her. “Francesca, you’re incredibly beautiful.” Sometimes he stopped and just stared at her , inside of her.
Her nipples were clearly outlined where they pressed against the cotton T-shirt. She had been strangely unconcerned about that, about being naked under the shirt. More, she was glad of it and was warmed knowing that he could see her breasts so clearly down his lenses. Never would she have dressed this way around Richard. He would not have approved. Indeed, before meeting Robert Kincaid, she would not have dressed this way anytime.


解説:

His narrow(幅が狭い) face, high cheekbones, and hair falling over his forehead(額) set off light blue eyes that seemed never to stop looking for the next photograph.
■set off:ここでは「目立たせた」の意。

He had smiled at her, saying how fine and warm she looked in early light, asked her to lean against the post, and then moved around her in a wide arc, shooting from knee level, then standing, then lying on his back with the camera pointed up at her.
■He had smiled at her:この作者は「過去完了形」をよく使っています。今、彼女は写真を見ながら「過去」を振り返っています。振り返っている時点では、「彼が彼女に微笑んだ」のは更に過去だということをハッキリさせています。

She had been slightly embarrassed at the amount of film he used but pleased by the amount of attention he paid to her. She hoped none of the neighbors were out early on their tractors. Though on that particular morning she hadn’t cared too much about neighbors and what they thought.

He shot, loaded film, changed lenses, changed cameras, shot some more, and talked quietly to her as he worked, always telling her how good she looked to him and how much he loved her.
■changed lenses, changed cameras:「交換する」ためには「交換される」ものと「新しいもの」の両方が必要なのでlenses / cameras と複数形になっています。「握手する」「電車を乗り替える」場合も同じです。夫Richardが死んだのは8年前。この love affair は22年前。ということは完璧に不倫の恋ですね。

“Francesca, you’re incredibly(信じられないほど) beautiful.” Sometimes he stopped and just stared at her, inside of her.

Her nipples(乳首) were clearly outlined where they pressed against the cotton T-shirt. She had been strangely unconcerned(平気な) about that, about being naked under the shirt. More, she was glad of it and was warmed knowing that he could see her breasts so clearly down his lenses.

Never would she have dressed this way around Richard.
■仮定法過去完了の帰結部分。around Richardが仮定(Richardの周りでは決してこんなような着方はしなかったであろう)。

He would not have approved. Indeed, before meeting Robert Kincaid, she would not have dressed this way anytime.

The Bridges of Madison County(マディソン郡の橋)―(17)

夫が死んで8年。Francescaは67歳の誕生日を迎えました。昔からのド田舎の家に今も1人で住んでいます。子供たち2人は今年も母の誕生日に帰ってきませんでした。誕生日をお祝いするために来てくれた友達たちも帰って行きました。そして夕方Francescaは1人でブランデイを飲みながら、毎年の儀式になったRobert Kincaidから来た手紙を読み返したところです。

Francesca (5)

Francesca Johnson set her brandy glass on the wide oak windowsill and stared at an
eight-by-ten black-and-white photograph of herself. Sometimes it was hard for her to
remember how she had looked then, twenty-two years ago. In tight faded jeans,
sandals, and a white T-shirt, her hair blowing in the morning wind as she leaned
against a fence post.
Through the rain, from her place by the window, she could see the post where the old
fence still circumscribed the pasture. When she rented out the land, after Richard died, she stipulated the pasture must be kept intact, left untouched, even though it was empty now and had turned to meadow grass.
The first serious lines were just beginning to show on her face in the photograph. His
camera had found them. Still, she was pleased with what she saw. Her hair was
black, and her body was full and warm, filling out the jeans just about right. Yet it was
her face at which she stared. It was the face of a woman desperately in love with the
man taking the picture.
She could see him clearly, down the flow of her memory. Each year she ran all of
the images through her mind, meticulously, remembering everything, forgetting nothing, imprinting all of it, forever, like tribesmen passing down an oral history through the generations. He was tall and thin and hard, and he moved like the grass itself, without effort, gracefully. His silver-gray hair hung well below his ears and nearly always looked disheveled, as if he had just come in from a long sea voyage through a stiff wind and had tried to brush it into place with his hands.


解説:

Francesca Johnson set her brandy glass on the wide oak windowsill(窓の下枠) and
stared at an eight-by-ten(8X10 インチ) black-and-white photograph of herself. Sometimes it was hard for her to remember how she had looked then, twenty-two years ago.

In tight faded(色あせた) jeans, sandals, and a white T-shirt, her hair blowing in the morning wind as she leaned against a fence post(杭).
■前回「One is the shot(写真) I took of you in the pasture(放牧場) at sunrise.」とあった、あの写真の説明です。

Through the rain, from her place by the window, she could see the post where the old
fence still circumscribed(取り囲む) the pasture(放牧場).
■写真から目を離して外を見ています。

When she rented out(賃貸しする) the land, after Richard died, she stipulated(条件として要求する) the pasture must be kept intact(そのままの), left untouched, even though it was empty now and had turned to meadow(草地) grass.
The first serious lines(しわ) were just beginning to show on her face in the
photograph. His camera had found them. Still, she was pleased with what she saw.
Her hair was black, and her body was full(ぽっちゃりした) and warm, filling out(ふくらませる) the jeans just about right(丁度いい具合に). Yet it was her face at which she stared. It was the face of a woman desperately(物凄く) in love with the man taking the picture.
She could see him clearly, down the flow of her memory. Each year she ran all of
the images through her mind, meticulously(入念に), remembering everything, forgetting nothing, imprinting(を刻み込む) all of it, forever, like tribesmen(部族民) passing down(伝える) an oral history through the generations. He was tall and thin and hard, and he moved like the grass itself, without effort, gracefully. His silver-gray hair hung well below his ears and nearly always looked disheveled(かき乱された), as if he had just come in from a long sea voyage through a stiff(激しい) wind and had tried to brush it into place(しかるべき場所) with his hands.
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