「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07月

The Bridges of Madison County(マディソン郡の橋)―(52)

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。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。そして彼とのことを思い出しています。

彼との思い出:
彼をこの小説の舞台となった屋根付き橋に案内し到着し、家まで戻ってきました。冷たいお茶を出し、お互いが何をしているのかを語り合い、FrancescaはRobert Kincaidに夕食を食べて行かないかと誘い、Robert Kincaidも同意します。そして、夕食も終わり、2人は散歩に出かけ、戻ってきてブランデイとコーヒーを飲みますが、午後9時52分になり彼が帰って行きました。本章の最後となりました。

Ancient Evenings, Distant Music (9)

After he left, Francesca stood before the bureau mirror, naked. Her hips flared only a little from the children, her breasts were still nice and firm, not too large, not too small, belly slightly rounded. She couldn’t see her legs in the mirror, but she knew they were still good. She should shave more often, but there didn’t seem much point to it.
Richard was interested in sex occasionally, every couple of months, but it was over fast, rudimentary and unmoving, and he didn’t seem to care much about perfume or shaving or any of that. It was easy to get a little sloppy.
She was more of a business partner to him than anything else. Some of her appreciated that. But rustling yet within her was another person who wanted to bathe and perfume herself … and be taken, carried away, and peeled back by a force she could sense, but never articulate, even dimly within her mind.
She dressed again and sat at the kitchen table writing on half a sheet of plain paper. Jack followed her out to the Ford pickup and jumped in when she opened the door. He went to the passenger side and stuck his head out the window as she backed the truck out of the shed, looking over at her, then out of the window again as she drove down the lane and turned right onto the country road.
Roseman Bridge was dark. But Jack loped on ahead, checking things out while she carried s flashlight from the truck. She tacked the note on the left side of the entrance to the bridge and went home.


解説:

After he left, Francesca stood before the bureau mirror(鏡付きのドレッサー), naked.

Her hips flared(張りだす) only a little from the children, her breasts were still nice and firm, not too large, not too small, belly slightly rounded.
■from the children:2人の子供を産んだせいで

She couldn’t see her legs in the mirror, but she knew they were still good. She should shave more often, but there didn’t seem much point to it.
Richard was interested in sex occasionally, every couple of months, but it was over fast, rudimentary(原始的な) and unmoving(動きのない), and he didn’t seem to care much about perfume or shaving or any of that. It was easy to get a little sloppy(ずさんな).
She was more of a business partner to him than anything else. Some of her appreciated that. But rustling(サラサラと音を立てる) yet within her was another person who wanted to bathe and perfume herself … and be taken, carried away, and peeled back(ここでは「身につけているものを剥がす」の意) by a force she could sense, but never articulate(はっきりした), even dimly(かすかに) within her mind.
She dressed again and sat at the kitchen table writing on half a sheet of plain paper. Jack followed her out to the Ford pickup and jumped in when she opened the door.

He went to the passenger side and stuck his head out the window as she backed the truck out of the shed, looking over at her, then out of the window again as she drove down the lane and turned right onto the country road.
■stuck his head out the window:(体の一部である)頭を窓から外に突き出した

Roseman Bridge was dark. But Jack loped(大またでゆったりと歩く) on ahead, checking things out while she carried s flashlight from the truck. She tacked(をびょうで留める) the note(形式張らない短い手紙) on the left side of the entrance to the bridge and went home.

The Bridges of Madison County(マディソン郡の橋)―(51)

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。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。そして彼とのことを思い出しています。

彼との思い出:
彼をこの小説の舞台となった屋根付き橋に案内し到着し、家まで戻ってきました。冷たいお茶を出し、お互いが何をしているのかを語り合い、FrancescaはRobert Kincaidに夕食を食べて行かないかと誘い、Robert Kincaidも同意します。そして、夕食も終わり、2人は散歩に出かけ、戻ってきてブランデイとコーヒーを飲みますが、午後9時52分になり彼がホテルに帰る時間。

Ancient Evenings, Distant Music (8)

He had known, just as she thought. But she wasn’t offended by his words. He was talking about romance, and he meant it in the best possible way. She could tell by the softness of his language, the way he said the words. What she didn’t know was that he wanted to shout at the kitchen walls, bas-reliefing his words in the plaster: “For Christ’s sake, Richard Johnson, are you as big a fool as I think you must be?”
She followed him out to his truck and stood by while he put his gear into it. The collie came across the yard, sniffing around the truck. “Jack, come here,” she whispered sharply, and the dog moved to sit by her, panting.
“Good-bye. Take care,” he said, stopping by the truck door to look at her for a moment, straight at her. Then, in one motion, he was behind the wheel and shutting the door after him. He turned the old engine over, stomped at the accelerator, and it rattled into a start. He leaned out the window, grinning, “Tune-up required, I think.”
He clutched it, backed up, shifted again, and headed across the yard under the light. Just before he reached the darkness of the lane, his left hand came out of the window and waved back at her. She waved, too, even though she knew he couldn’t see it.
As the truck moved down the lane, she jogged over and stood in shadow, watching the red lights rising and falling with the bumps. Robert Kincaid turned left on the main road toward Winterset, while heat lightning cut the summer sky and Jack slumbered toward the back porch.


解説:

He had known, just as she thought. But she wasn’t offended(の感情を害する) by his words. He was talking about romance(ロマンチックな気分), and he meant it in the best possible way. She could tell by the softness of his language, the way he said the words. What she didn’t know was that he wanted to shout at the kitchen walls, bas-reliefing(浅浮き彫りする) his words in the plaster(壁土):

“For Christ’s sake, Richard Johnson, are you as big a fool as I think you must be?”
■For Christ’s sake:疑問文では「いらだち」の気持ちを表します。「いったい全体」。
■are you as big a fool as I think you must be:文字通りの意味は「あなたは、私があなたがそうであるに違いないと思うのと同じくらい大きな馬鹿もの(⇒大ばか者)ですか?」。

She followed him out to his truck and stood by while he put his gear(持ち物) into it.
■stand by:その場にいた

The collie came across the yard, sniffing(くんくんかぐ) around the truck. “Jack, come here,” she whispered sharply, and the dog moved to sit by her, panting(ハアハアいう).

“Good-bye. Take care,” he said, stopping by the truck door to look at her for a moment, straight at her.
■Take care:分かれる時の挨拶。「じゃあ、お大事に」

Then, in one motion, he was behind the wheel(ハンドル) and shutting the door after him.
■after him:ここでの「after」は「順序」を表し「・・・した後で」の意。「彼がハンドルの後ろに座った後で」の意。

He turned the old engine over, stomped(踏みつける) at the accelerator, and it rattled(ガタガタ音を立てる) into a start.
■turned the old engine over:古いエンジンを始動させた

He leaned out the window, grinning(にこっと笑う), “Tune-up(調整) required, I think.”

He clutched it, backed up(後退する), shifted(ギアを入れ替える) again, and headed across the yard(敷地) under the light.
■He clutched it:「clutch」は動詞では「をぐいと握る」、名詞では「ぐいとつかみこと」「クラッチ、クラッチペダル・クラッチレバー」の意。しかし、ここでは文脈から「クラッチを入れた」の意(クラッチを入れないと動力が伝わらないので車は動かない)。

Just before he reached the darkness of the lane, his left hand came out of the window and waved back at her. She waved, too, even though she knew he couldn’t see it.

As the truck moved down the lane, she jogged(ゆっくり走る) over and stood in shadow, watching the red lights rising and falling with the bumps(隆起).
■she jogged(ゆっくり走る) over and stood in shadow:副詞としての「over」は色々な日本語が対応しますが「少し距離がある」イメージがあります。覚えておられると思いますが、Francesca は隣人の目にとまるのを恐れて Robert Kincaid に車を家の裏側に駐車させました。家の裏側からゆっくり走って彼の車が見えるところに(即ち家の正面の方に)きたということです。ですが用心をして隣人が通ったとしても見えないように暗闇に立っていたのです。

Robert Kincaid turned left on the main road toward Winterset, while heat lightning(稲光) cut the summer sky and Jack slumbered(うとうとする) toward the back porch.
■toward the back porch:裏玄関の方を向いて。家の中に入れてもらおうとして待っている間にうとうととしたのでしょう。

The Bridges of Madison County(マディソン郡の橋)―(50)

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。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。そして彼とのことを思い出しています。

彼との思い出:
彼をこの小説の舞台となった屋根付き橋に案内し到着し、家まで戻ってきました。冷たいお茶を出し、お互いが何をしているのかを語り合い、FrancescaはRobert Kincaidに夕食を食べて行かないかと誘い、Robert Kincaidも同意します。そして、夕食も終わり、2人は散歩に出かけ、戻ってきてブランデイとコーヒーを飲みます。

Ancient Evenings, Distant Music (7)

It was still hot, no breeze, some humidity now. Robert Kincaid was perspiring mildly, his top two shirt buttons undone. He was not looking at her directly, though she sensed his peripheral vision could find her, even as he seemed to stare out the window. In the way he was turned, she could see the top of his chest through the open buttons of his shirt and small beads of moisture lying there upon his skin.
Francesca was feeling good feelings, old feelings, poetry and music feelings. Still it was time for him to go, she thought. Nine fifty-two on the clock above the refrigerator. Faron Young on the radio. Tune from a few years back: “The Shrine of St. Cecilia.” Roman martyr of the third century A.D., Francesca remembered that Patron saint of music and the blind.
His glass was empty. Just as he swung around looking out the window, Francesca picked up the brandy bottle by the neck and gestured with it toward the empty glass. He shook his head. “Roseman Bridge at dawn. I’d better get going.”
She was relieved. But she sank in disappointment. She turned around inside of herself. Yes, please leave. Have some more brandy. Stay. Go. Faron Young didn’t care about her feelings. Neither did the moth above the sink. She didn’t know for sure what Robert Kincaid thought.
He stood, swung one knapsack onto his left shoulder, put the other on top of his cooler. She came around the table. His hand moved toward her, and she took it. “Thanks for the evening, the supper, the walk. They were all nice. You’re a good person, Francesca. Keep the brandy toward the front of cupboard, maybe it’ll work out after a while.”


解説:

It was still hot, no breeze, some humidity(湿気) now. Robert Kincaid was perspiring(汗をかく) mildly, his top two shirt buttons undone(ほどけた).

He was not looking at her directly, though she sensed his peripheral(視野周辺部の) vision could find her, even as he seemed to stare out the window.
■as:when とほぼ同じ意味になりますが「同時性」が基本的なイメージです。

In the way he was turned, she could see the top of his chest(胸) through the open buttons of his shirt and small beads(しずく) of moisture(水分) lying there upon his skin.
■he was turned:受動態なので「誰かによって向きを変えられた」イメージになります。能動態なら「向きを変えた」、受動態では「向きが変った」くらいの違いがあるでしょうか。

Francesca was feeling good feelings, old feelings, poetry and music feelings. Still it was time for him to go, she thought. Nine fifty-two on the clock above the refrigerator.

Faron Young on the radio.
■Faron Young:1950年代初頭から1980年代半ばまでのアメリカのカントリーミュージックシンガーおよびソングライター

Tune(曲) from a few years back: “The Shrine(聖堂) of St. Cecilia.” Roman martyr(殉教者) of the third century A.D., Francesca remembered that Patron saint(守護聖人) of music and the blind.
■St. Cecilia:セシリアあるいは聖チェチリアは、キリスト教の聖人。特にカトリック教会において有名な聖人であり、音楽家と盲人の守護聖人とされる。記念日は11月22日。キリスト教では色々な守護聖人がいます。

His glass was empty.

Just as he swung around(同じ場所で回転する) looking out the window, Francesca picked up the brandy bottle by the neck and gestured with it toward the empty glass.
■picked up the brandy bottle by the neck:日本語では「ブランデイの首を手に取る」といいますが、英語では「ブランデイを手に取った、首のあたりで」と表現します。

He shook his head. “Roseman Bridge at dawn(夜明け). I’d better get going.”
■Roseman Bridge:この小説の舞台となった屋根つき橋。今日の午後彼女が彼を案内した橋です。
■I’d better get going:行き出した方がよい。「もういかなくちゃ」という感じです。

She was relieved. But she sank in disappointment. She turned around inside of herself. Yes, please leave. Have some more brandy. Stay. Go. Faron Young didn’t care about her feelings. Neither did the moth above the sink. She didn’t know for sure what Robert Kincaid thought.
He stood, swung one knapsack onto his left shoulder, put the other on top of his cooler. She came around the table. His hand moved toward her, and she took it. “Thanks for the evening, the supper, the walk. They were all nice. You’re a good person, Francesca.

Keep the brandy toward the front of cupboard(食器棚), maybe it’ll work out(うまく行く) after a while.”
■Keep the brandy toward the front of cupboard:そのブランデイを食器棚の前面の方に向けてしまっておきなさい⇒食器棚を開けた時、そのラベルが直ぐ目に入るようにするため。
■after a while:しばらくして

The Bridges of Madison County(マディソン郡の橋)―(49)

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。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。そして彼とのことを思い出しています。

彼との思い出:
彼をこの小説の舞台となった屋根付き橋に案内し到着し、家まで戻ってきました。冷たいお茶を出し、お互いが何をしているのかを語り合い、FrancescaはRobert Kincaidに夕食を食べて行かないかと誘い、Robert Kincaidも同意します。そして、夕食も終わり、2人は散歩に出かけ、戻ってきてブランデイとコーヒーを飲もうとしています。

Ancient Evenings, Distant Music (6)

She wondered in how many kitchens, how many good restaurants, how many living rooms with subdued light he had practiced that small trade. How many sets of long fingernails had he watched delicately pointing toward him from the stems of brandy glasses, how many pairs of blue-round and brown-oval eyes had looked at him through foreign evenings, while anchored sail-boats rocked offshore and water slapped against the quays of ancient ports?
The overhead kitchen light was too bright for coffee and brandy. Francesca Johnson, Richard Johnson’s wife, would leave it on. Francesca Johnson, a woman walking through after-supper grass and leafing through girlhood dreams, would turn it off. A candle was in order, but that would be too much. He might get the wrong idea. She put on the small light over the kitchen sink and turned off the overhead. It was still not perfect, but it was better.
He raised his glass to shoulder level and moved it toward her. “To ancient evenings and distant music.” For some reason those words made her take a short, quick breath. But she touched her glass to his, and even though she wanted to say, “To ancient evenings and distant music,” she only smiled a little.
They both smoked, saying nothing, drinking brandy, drinking coffee. A pheasant called from the fields. Jack, the collie, barked twice out in the yard. Mosquitoes tested the window screen near the table, and a single moth, circuitous of thought yet sure of instinct, was goaded by the sink light’s possibilities.


解説:

She wondered in how many kitchens, how many good restaurants, how many living rooms with subdued(和らげられた) light he had practiced that small trade(手仕事).
■that small trade:彼がブランデイの蓋を空け、2人のグラスに丁度よい量をついだことを指しています。

How many sets of long fingernails had he watched delicately pointing toward him from the stems(脚) of brandy glasses, how many pairs of blue-round and brown-oval(卵形の) eyes had looked at him through foreign(外国の) evenings, while anchored(錨で止められた) sail-boats rocked(揺れ動く) offshore(沖合で) and water slapped(打ちつける) against the quays(埠頭) of ancient ports?

The overhead kitchen light was too bright for coffee and brandy. Francesca Johnson, Richard Johnson’s wife, would leave it on.
■Richard Johnsonの妻としてのFrancesca Johnsonならば台所の明かりはつけたままにしておくだろう。

Francesca Johnson, a woman walking through after-supper grass and leafing(ページをめくる) through girlhood dreams, would turn it off.
■夕食後に牧草地を散歩し、少女時代の夢を思い返したFrancesca Johnsonならば台所の明かりを消すだろう。

A candle was in order, but that would be too much.
■in order:ここでは「(その場に)ふさわしい」

He might get the wrong idea. She put on the small light over the kitchen sink and turned off the overhead. It was still not perfect, but it was better.
He raised his glass to shoulder level and moved it toward her. “To ancient evenings and distant music.” For some reason those words made her take a short, quick breath. But she touched her glass to his, and even though she wanted to say, “To ancient evenings and distant music,” she only smiled a little.
They both smoked, saying nothing, drinking brandy, drinking coffee. A pheasant(キジ) called from the fields. Jack, the collie, barked twice out in the yard.

Mosquitoes tested the window screen near the table, and a single moth(ガ), circuitous(回りくどい) of thought yet sure of instinct, was goaded(駆り立てる) by the sink light’s possibilities.
■蚊が台所に入ってこようとしているが 窓網戸でブロックされ、1匹の餓が台所の明かりを目指して飛んできた様を表現しています。夜活動する虫たちは、月を見ながら、月明かりに対して一定角度で飛ぶことで高さや方向を一定に保つしくみを持っています。月は地球からものすごく遠くにあるために、自分がいくら動いても月のある方角は変わらず、自分の向いている方向を知るいい目印になります)。そういうしくみを持った虫たちが人工の灯りを見て、その光の向きに対して一定の角度で飛ぼうとすると、どうなるでしょうか。月と違って人工の灯りはごく近くにあるから、一定角度を保って飛ぼうとすると結果として、灯りの周りをグルグルとまわりながら近づいてしまいます。つまり、虫たちは、人間がつくった灯りを月と勘違いして方向の目印に使ってしまうために、知らず知らずのうちに灯りに集まってしまうという訳です。

The Bridges of Madison County(マディソン郡の橋)―(48)

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。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。そして彼とのことを思い出しています。

彼との思い出:
彼をこの小説の舞台となった屋根付き橋に案内し到着し、家まで戻ってきました。冷たいお茶を出し、お互いが何をしているのかを語り合い、FrancescaはRobert Kincaidに夕食を食べて行かないかと誘い、Robert Kincaidも同意します。そして、夕食も終わり、2人は散歩に出かけ、戻ってきてブランデイを飲もうとしています。

Ancient Evenings, Distant Music (5)

But he failed and wondered again how it would feel to touch her skin, to put his belly against hers. The questions eternal, and always the same. The goddamned old ways, fighting toward the surface. He pounded them back, pushed them down, lit a Camel, and breathed deeply.
She could feel his eyes on her constantly, though his watching was circumspect, never obvious, never intrusive. She knew that he knew brandy had never been poured into those glasses. And with his Irishman’s sense of the tragic, she also knew he felt something about such emptiness. Not pity. That was not what he was about. Sadness, maybe. She could almost hear his mind forming the words:

the bottle unopened,
and glasses empty,
she reached to find them,
somehow north of Middle River,
In Iowa.
I watched her with eyes
that had seen a Jivaro’s Amazon
and the Silk Road
with caravan dust
climbing behind me,
reaching into unused
spaces of Asian sky.


As Francesca stripped the Iowa liquor seal from the top of the brandy bottle, she looked at her fingernails and wished they were longer and better cared for. Farm life did not permit long fingernails. Until now it hadn’t mattered.
Brandy, two glasses, on the table. While she arranged the coffee, he opened the bottle and poured just the right amount into each glass. Robert Kincaid had dealt with after-dinner brandy before.


解説:

But he failed and wondered again how it would feel to touch her skin, to put his belly against hers. The questions eternal, and always the same.

The goddamned old ways, fighting toward the surface.
■goddamned:ここでは「意味を持たない」と考えてよいでしょう。「ののしりや怒り・困惑・驚き・感嘆などの発声音。

He pounded(を何度も強く打つ) them back, pushed them down, lit a Camel, and breathed deeply.
She could feel his eyes on her constantly, though his watching was circumspect(用心深い), never obvious(明らかな), never intrusive(侵入的な). She knew that he knew brandy had never been poured into those glasses.

And with his Irishman’s sense of the tragic(悲劇的要素), she also knew he felt something about such emptiness.
■アイルランドには宗教的な対立から始まって歴史的に「非劇の島」のイメージがつきまとっています。

Not pity. That was not what he was about. Sadness, maybe. She could almost hear his mind forming the words:

the bottle unopened,
and glasses empty,
she reached to find them,
somehow north of Middle River,
In Iowa.
I watched her with eyes
that had seen a Jivaro’s Amazon
and the Silk Road
with caravan dust
climbing behind me,
reaching into unused
spaces of Asian sky.

■Middle River:屋根つき橋がかかっている川
■Jivaro:ヒバロ族。エクアドル・ペルー東部に住む。人間の首をミイラにする風習を持つ。
■a Jivaro’s Amazon:Amazonは「アマゾン川」の意の固有名詞ですがJivaro’sと修飾語を付けることで普通名詞化して使っています。

As Francesca stripped the Iowa liquor seal from the top of the brandy bottle, she looked at her fingernails and wished they were longer and better cared for. Farm life did not permit long fingernails. Until now it hadn’t mattered.
Brandy, two glasses, on the table. While she arranged the coffee, he opened the bottle and poured just the right amount into each glass. Robert Kincaid had dealt with after-dinner brandy before.
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