「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。

The Bridges of Madison County

The Bridges of Madison County(マディソン郡の橋)―(57)

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、家に帰って食事をし、ブランデイとコーヒーを飲んで彼は帰っていきました。翌日彼は朝方、屋根付き橋に向かい、撮影を開始します。橋の入り口に1枚の紙に書かれたメモを見つけますが、それが何であるかをチェックする暇もなくポケットに入れて、撮影を続けます。そして、次の橋に向かいます。

The Bridges of Tuesday (4)

Francesca was in the barn doing chores when he barreled past her place. Noise from the livestock cloaked any sound from the road. And Robert Kincaid headed for Hogback Bridge, racing the years, chasing the light.
Things went well at the second bridge. It sat in a valley and still had mist rising around it when he arrived. The 300-millimeter lens gave him a big sun in the upper-left part of his frame, with the rest taking in the winding white rock road toward the bridge and the bridge itself.
Then into his viewfinder came a farmer driving a team of light brown Belgians pulling a wagon along the white road. One of the old-style boys, Kincaid thought, grinning. He knew when the good ones came by and could already see what the final print would look like as he worked. On the vertical shots he left some light sky where a title could go.
When he folded up his tripod at eight thirty-five, he felt good. The morning’s work had some keepers. Bucolic, conservative stuff, but nice and solid. The one with the farmer and horses might even be a cover shot, that’s why he had left the space at the top of the frame, room for type, for logo. Editors liked that kind of thoughtful craftsmanship. That’s why Robert Kincaid got assignments.
He had shot all or part of seven rolls of film, emptied the three cameras, and reached into the lower-left pocket of his vest to get the other four. “Damn!” The thumbtack pricked his index finger. He had forgotten about dropping it in the pocket when he’d removed the piece of paper from Roseman Bridge. In fact, he had forgotten about the piece of paper. He fished it out, opened it, and read: “If you’d like supper again when ‘white moths are on the wing,’ come by tonight after you’re finished. Anytime is fine.”


解説:

Francesca was in the barn(納屋) doing chores(<農場の>毎日の仕事) when he barreled(疾走する) past her place. Noise from the livestock(家畜) cloaked(を覆い隠す) any sound from the road.

And Robert Kincaid headed for Hogback Bridge, racing the years, chasing the light.
■racing the years:「race」には「を高速で運転する」の意があります。「the years」は「読者と共通認識のある長い年月」ということで。彼の古い車のことを言っていると思います。

Things went well at the second bridge. It sat in a valley(低地) and still had mist rising around it when he arrived. The 300-millimeter lens gave him a big sun in the upper-left part of his frame, with the rest taking in the winding white rock road toward the bridge and the bridge itself.

Then into his viewfinder came a farmer driving a team of light brown Belgians pulling a wagon along the white road.
■Belgians:ベルギー原産の大きく強い荷馬

One of the old-style boys, Kincaid thought, grinning. He knew when the good ones came by and could already see what the final print would look like as he worked. On the vertical shots he left some light sky where a title could go.
When he folded up his tripod at eight thirty-five, he felt good.

The morning’s work had some keepers.
■keepers:ここでは「とっておく価値のあるもの」の意。

Bucolic(田園的な), conservative stuff(もの), but nice and solid(中身の充実した).


The one with the farmer and horses might even be a cover shot, that’s why he had left the space at the top of the frame, room for type, for logo. Editors liked that kind of thoughtful craftsmanship(熟練). That’s why Robert Kincaid got assignments(仕事の割り当て).
He had shot all or part of seven rolls of film, emptied the three cameras, and reached into the lower-left pocket of his vest to get the other four. “Damn!” The thumbtack(錨) pricked(ちくりと刺す) his index finger. He had forgotten about dropping it in the pocket when he’d removed the piece of paper from Roseman Bridge. In fact, he had forgotten about the piece of paper.

He fished(取り出す) it out, opened it, and read: “If you’d like supper again when ‘white moths(餓) are on the wing,’ come by tonight after you’re finished. Anytime is fine.”
■on the wing:活動して、動き回って。昨晩ブランデイを一緒に飲んだ時に、餓が電灯目指して飛んで来たことが下敷きになっています。
■come by:立ち寄る

The Bridges of Madison County(マディソン郡の橋)―(56)

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、家に帰って食事をし、ブランデイとコーヒーを飲んで彼は帰っていきました。翌日彼は朝方、屋根付き橋に向かい、撮影を開始します。橋の入り口に1枚の紙に書かれたメモを見つけますが、それが何であるかをチェックする暇もなくポケットに入れます。

The Bridges of Tuesday (4)

  Up the bank, through the bridge, running with the equipment, racing the sun. Now the tough one. Grab second camera with faster film, sling both camera around neck, climb tree behind bridge. Scrape arm on bark – “Dammit!” – keep climbing. High up now, looking down on the bridge at an angle with the stream catching sunlight.
Use spot meter to isolate bridge roof, then shady side of bridge. Take reading off water. Set camera for compromise. Shoot nine shots, bracketing, camera resting on vest wedged into tree crotch. Switch cameras. Faster film. Shoot a dozen more shots.
Down the tree. Down the bank. Set up tripod, reload Kodachrome, shoot composition similar to the first series only from the opposite side of the stream. Pull third camera out of bag. The old SP, rangefinder camera. Black-and-white work now. Light on bridge changing second by second.
After twenty intense minutes of the kind understood only by soldiers, surgeons, and photographers, Robert Kincaid swung his knapsacks into the truck and headed back down the road he had come along before. It was fifteen minutes to Hogback Bridge northwest of town, and he might just get some shots there if he hurried.
Dust flying, Camel lit, truck bouncing, past the white frame house facing north, past Richard Johnson’s mailbox. No sign of her. What did you expect? She’s married, doing okay. You’re doing okay. Who needs those kinds of complications? Nice evening, nice supper, nice woman. Leave it at that. God, she’s lovely, though, and there’s something about her. Something I have trouble taking my eyes away from her.


解説:

  Up the bank, through the bridge, running with the equipment, racing(と競争する) the sun.

Now the tough one.
■one:文脈から「撮影(shooting)」。

Grab second camera with faster film, sling(吊るす) both camera around neck, climb tree behind bridge. Scrape(すりむく) arm on bark(キナの木) – “Dammit!(ちくしょう)” – keep climbing. High up now, looking down on the bridge at an angle with the stream catching sunlight.
■この橋(Roseman Bridge)の映像を写真で確認しましたが、確かに橋を見下ろせる程の高木が群生しています。

Use spot meter to isolate(孤立させる) bridge roof, then shady(陰になっている) side of bridge.
■spot meter:通例2度以下の受光角で反射光の強度を測定する露出計。

Take reading off water.
■reading off waterはtake の目的語。川を孤立させるのにベストな反射光の強度を露出計で読みとるということです。

Set camera for compromise. Shoot nine shots, bracketing, camera resting on vest wedged(押し込む) into tree crotch(木のまた). Switch cameras. Faster film. Shoot a dozen more shots.
Down the tree. Down the bank. Set up tripod, reload Kodachrome, shoot composition(作品) similar to the first series only from the opposite side of the stream. Pull third camera out of bag.

The old SP, rangefinder(距離計) camera.
■SP :ASAHI PENTAX SP

Black-and-white work now. Light on bridge changing second by second.
After twenty intense(強烈な) minutes of the kind understood only by soldiers, surgeons(外科医), and photographers, Robert Kincaid swung his knapsacks into the truck and headed back down the road he had come along before.

It was fifteen minutes to Hogback Bridge northwest of town, and he might just get some shots there if he hurried.
■Hogback Bridge:これも屋根付き橋

Dust flying, Camel lit, truck bouncing, past the white frame house facing north, past Richard Johnson’s mailbox.
■lit:light – lit – lit。ここでは過去分詞。「キャメルタバコが火をつけられて」のイメージ。
■彼はRoseman Bridge に向かった道を逆に戻っています。

No sign of her. What did you expect? She’s married, doing okay. You’re doing okay. Who needs those kinds of complications(込み入った関係)? Nice evening, nice supper, nice woman. Leave it at that. God, she’s lovely, though, and there’s something about her.

Something I have trouble taking my eyes away from her.
■have trouble …ing:「・・・するのに苦労する」。Something (for which) I have trouble taking my eyes away from her.の()内が省略されたような表現。

The Bridges of Madison County(マディソン郡の橋)―(55)

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、家に帰って食事をし、ブランデイとコーヒーを飲んで彼は帰っていきました。翌日彼は朝方、屋根付き橋に向かい、撮影の準備に入ります。

The Bridges of Tuesday (3)

Light meter out of left breast pocket. Check it at f/8. One-second exposure, but the Kodachrome would hold well for that extreme. Look through the viewfinder. Fine-tune leveling of camera. He pushed the plunger of the shutter release and waited for a second to pass.
Just as he fired the shutter, something caught his eye. He looked through the viewfinder again. “What the hell is hanging by the entrance to the bridge?” he muttered. “A piece of paper, Wasn’t there yesterday.”
Tripod steady. Run up the bank with sun coming fast behind him. Paper neatly tacked to bridge, Put it off, put tack and paper in vest pocket. Back toward the bank, down it, behind the camera. Sun 60 percent up.
Breathing hard from the sprint. Shoot again. Repeat twice for duplicates. No wind, grass still. Shoot three at two seconds and three at one-half second for insurance.
Click lens to f/16 setting. Repeat entire process. Carry tripod and camera to the middle of the stream. Get set up, silt from footsteps moving away behind. Shoot entire sequence again. New roll of Kodachrome. Switch lenses. Lock on the 24-millimeter, jam the 105 into a pocket. Move closer to the bridge, wading upstream. Adjust, level, light check, fire three, and bracket shots for insurance.
Flip the camera to vertical, recompose. Shoot again. Same sequence, methodical. There never was anything clumsy about his movements. All were practiced, all had a reason, the contingencies were covered, efficiently and professionally.


解説:

Light meter(露出計) out of left breast pocket.
■(He pulled) (the) light meter out of (his) left breast pocket.の()の部分が省略されています。「誤解を招かないならば省略できるものは省略する」ということです。今回は随所に見られます。その為、我々には理解が難しくなっています。

Check it at f/8.
■f/8のところで最適な露出時間を確認したということです。

One-second exposure(露出), but the Kodachrome would hold well for that extreme(極端).
■コダクロームならば、その極端な露出にも耐えられるだろう

Look through the viewfinder. Fine-tune(・・・に微調整を加える) leveling of camera. He pushed the plunger(ピストン) of the shutter release and waited for a second to pass.

Just as he fired the shutter, something caught his eye.
■fire:「fire」は「を発射する、を発砲する、を放つ」の意。「シャッターを発射する、を発砲する、を放つ」⇒「シャッターを切る」。
■catch one’s eye:人の注意を引く

He looked through the viewfinder again. “What the hell is hanging by the entrance to the bridge?” he muttered(つぶやく). “A piece of paper, Wasn’t there yesterday.”
■What the hell:一体何(が、を)

Tripod steady. Run up the bank with sun coming fast behind him. Paper neatly tacked(とめる) to bridge, Put it off, put tack(びょう) and paper in vest pocket. Back toward the bank, down it, behind the camera. Sun 60 percent up.
Breathing hard from the sprint(全力疾走). Shoot again. Repeat twice for duplicates(同一物の写し). No wind, grass still(静止した). Shoot three at two seconds and three at one-half second for insurance.
Click lens to f/16 setting. Repeat entire process. Carry tripod and camera to the middle of the stream.

Get set up, silt from footsteps moving away behind.
■準備をする、後ろに下がるときに足跡を泥でふさぐ。

Shoot entire sequence(順序) again. New roll of Kodachrome. Switch lenses. Lock(ドッキングする) on the 24-millimeter, jam(押し込む) the 105 into a pocket. Move closer to the bridge, wading(歩く) upstream. Adjust, level, light check, fire three, and bracket(段階露出で撮る) shots for insurance.
■bracket(段階露出で撮る):適正と思われる露出とそれより不足および適正な露出で何枚か余分にとることを言います。

Flip(ぐいと動かす) the camera to vertical, recompose(組み立て直す). Shoot again. Same sequence, methodical(順序だった). There never was anything clumsy(ぎこちない) about his movements. All were practiced, all had a reason, the contingencies(不慮の出来事) were covered, efficiently and professionally.

The Bridges of Madison County(マディソン郡の橋)―(54)

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、家に帰って食事をし、ブランデイとコーヒーを飲んで彼は帰っていきました。翌日彼は朝方、屋根付き橋に向かいます。

The Bridges of Tuesday (2)

He parked the truck well back from the bridge so it wouldn’t interfere with his compositions. From the small space behind the seat, he took a knee-high pair of rubber boots, sitting on the running board to unlace his leather ones and pull on the others. One knapsack with straps over both shoulders, tripod slung over his left shoulder by its leather strap, the other knapsack in his right hand, he worked his way down the steep bank toward the stream.
The trick would be to put the bridge at an angle for some compositional tension, get a little of the stream at the same time, and miss the graffiti on the walls near the entrance. The telephone wires in the background were a problem, too, but that could be handled through careful framing.
He took out the Nikon loaded with Kodachrome and screwed it onto the heavy tripod. The camera had the 24-millimeter lens on it, and he replaced that with his favorite 105- millimeter. Gray light in the east now, and he began to experiment with his composition. Move tripod two feet left, readjust legs in muddy ground by the stream. He kept the camera strap wound over his left wrist, a practice he always followed when working around water. He’d seen too many cameras go into the water when tripods tipped over.
Red color coming up, sky brightening. Lower camera six inches, adjust tripod legs. Still not there. A foot more to the left. Adjust legs again. Level camera on tripod legs. Set lens to f/8. Estimate depth of field, maximize it via hyperfocal technique. Screw in cable release on shutter button. Sun 40 percent above the horizon, old paint on the bridge turning a warm red, just what he wanted.


解説:

He parked the truck well back from the bridge so it wouldn’t interfere(邪魔する) with his compositions(制作品).
■back:ここでは「後ろに」の意ではなく「離れて」の意。

From the small space behind the seat, he took a knee-high pair of rubber boots, sitting on the running board(自動車の乗降用ステップ) to unlace(の紐を解く) his leather ones and pull on(を引っ張るようにして身につける) the others. One knapsack with straps over both shoulders, tripod(三脚) slung(つるす) over his left shoulder by(・・・の辺りで) its leather strap, the other knapsack in his right hand, he worked his way down the steep bank toward the stream.
■he worked his way down the steep bank toward the stream:小川に向けて急な土手をドンドン下って行った

The trick(計略) would be to put the bridge at an angle for some compositional(構成の) tension, get a little of the stream at the same time, and miss the graffiti(いたずら書き) on the walls near the entrance.
■would:ここでは「過去時の推量」を表します。「・・・だろう(だった)」。

The telephone wires in the background were a problem, too, but that could be handled through careful framing(枠組みを作ること).
■that could be handled:作者の頭の中は現在に戻っています。

He took out the Nikon loaded with Kodachrome and screwed(をねじで取り付ける) it onto the heavy tripod. The camera had the 24-millimeter lens on it, and he replaced that with his favorite 105- millimeter. Gray light in the east now, and he began to experiment(試みる) with his composition. Move tripod two feet left, readjust legs in muddy ground by the stream. He kept the camera strap wound(巻きつける) over his left wrist, a practice he always followed when working around water. He’d seen too many cameras go into the water when tripods tipped over(ひっくり返る).
Red color coming up, sky brightening. Lower camera six inches, adjust tripod legs. Still not there. A foot more to the left. Adjust legs again. Level(を水平にする) camera on tripod legs.

Set lens to f/8. Estimate depth of field, maximize it via hyperfocal technique.
■F8対応センサーが配置されていると暗いレンズでもAF(automatic focusing)が使用できるので、そのようにセットしたということです。
中級機以上の一部の測距点(測距センサー)には、「F2.8対応」のAF(automatic focusing)センサーが配置されている。通常の測距点はF5.6の明るさに対応するが、明るいレンズを使って絞りを開けて撮るときはピント精度に不安がある。F2.8対応センサーなら、明るいレンズで高精度なピント合わせが可能だ。ただし、開放F値がF2.8より暗いレンズではAFが効かなくなるため、F5.6やF8対応のセンサーなどと組み合わせながら、バランスよく配置されている。

これと似たように、F5.6対応センサーだけでは暗いレンズ使用時にAFが作動しない。例えば、開放F4の望遠レンズに2倍のテレコンバーターといったような、開放絞りF8となる組み合わせでは、従来はAFが効かずにMFのみのことが多かった。F8対応センサーが配置されていると暗いレンズでもAFが使用できる。

Screw in cable release on shutter button.
■cable release:カメラのぶれ防止のためのシャッターを作動させる短い柔軟性のあるケーブル

Sun 40 percent above the horizon, old paint on the bridge turning a warm red, just what he wanted.

The Bridges of Madison County(マディソン郡の橋)―(53)

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、家に帰って食事をし、ブランデイとコーヒーを飲んで彼は帰っていきました。

The Bridges of Tuesday (1)

Robert Kincaid drove past Richard Johnson’s mailbox an hour before dawn, alternately chewing on a Milky Way and taking bites from an apple, squeezing the coffee cup on the seat between his thighs to keep it from tipping over. He looked up at the white house standing in thin, late moonlight as he passed and shook his head at the stupidity of men, some men, most men. They could at least drink the brandy and not bang the screen door on their way out.
Francesca heard the out-of-tune pickup go by. She lay there in bed, having slept naked for the first time as far back as she could remember. She could imagine Kincaid, hair blowing in the wind curling through the truck window, one hand on the wheel, the other holding a Camel.
She listened as the sound of his wheels faded toward Roseman Bridge. And she began to roll words over in her mind from Yeats poem: “I went out to the hazel wood, because a fire was in my head …” Her rendering of it fell somewhere between that of teacher and supplicant.


解説:

Robert Kincaid drove past Richard Johnson’s mailbox an hour before dawn(夜明け), alternately(かわるがわる) chewing(かんで食べる) on a Milky Way and taking bites from an apple, squeezing(締め付ける) the coffee cup on the seat between his thighs to keep it from tipping over.
■Robert Kincaid drove past Richard Johnson’s mailbox:Robert KincaidはRoseman Bridge に向けて走っていますが、右手にこのmailboxが見え、それを右に曲がって砂利道(graveled lane)を走っていくとRichard Johnsonの家があります。
■Milky Way:アメリカのチョコレート菓子
■tip over:ひっくり返る

He looked up at the white house standing in thin, late moonlight as he passed and shook his head at the stupidity(愚かさ) of men, some men, most men.
■the white house:Richard Johnsonの家のこと。
■as:同時であることを示す接続詞。

They could at least drink the brandy and not bang(バタンと閉める) the screen door(虫よけ網戸) on their way out.
■on one’s way out:出る途中で。
■They:menを受けています。
■could:ここでは所謂「仮定法過去」。「やろうとすれば出来る」
■not bang(バタンと閉める):本当の自信はありませんが、「バタンと閉めない」という1つの動詞扱いをしていると思います。出る途中で虫よけ網戸を閉めないと虫が入ってきてしまいます(虫よけ網戸を閉めないこと=愚かなこと)。この文全体の意味は(確たる自信はありませんが)「男どもは少なくとも女との食後のブランデイを飲んで、その後ロマンスに発展しないで女の家を後にすることができる愚かさを持ち合わせている」即ちFrancescaと一緒にブランデイを飲んだのに何もしないで帰ったことを惜しい事をしたと思っているわけです・

Francesca heard the out-of-tune pickup go by. She lay there in bed, having slept naked for the first time as far back as she could remember. She could imagine Kincaid, hair blowing in the wind curling(カーブする) through the truck window, one hand on the wheel, the other holding a Camel.
She listened as the sound of his wheels faded toward Roseman Bridge.

And she began to roll words over in her mind from Yeats poem: “I went out to the hazel(ハシバミ) wood, because a fire was in my head …”
■roll … over:を転がす

Her rendering(表現) of it fell somewhere between that of teacher and supplicant(哀願する人).

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