Mrs Dalloway (1925) (Novel)--Text--ZIP--HTML
The Common Reader (1925) (Essays)--Text--ZIP--HTML--ZIPPED HTML (includes image of Greek characters)
The Common Reader Second Series (1935) (Essays) --Text --ZIP--HTML
To the Lighthouse (1927) (Novel)--Text --ZIP--HTML
Orlando: A Biography (1928) (Novel)--Text --ZIP--HTML
A Room of One's Own (1929) (Essay)--Text--ZIP--HTML
The Waves (1931) (Novel)--Text --ZIP--HTML
Three Guineas (1938) (Essay)--Text --ZIP--HTML--ZIPPED HTML (includes image of Greek characters)
Flush: A Biography (1933)--Text--ZIP--HTML
Between the Acts (1941) (Novel)--Text--ZIP--HTML
The Years (1937) (Novel)--Text--ZIP--HTML
Collected Essays--Text--ZIP
Collected Short Stories--Text--ZIP
The Voyage Out (1915) (Novel)--Text
Night and Day (1919) (Novel)--Text
Jacob's Room (1922) (Novel)--Text
Walter Sickert: A Conversation--HTML
The Haunted House and Other Short Stories--HTML
The Death of the Moth and Other Essays--HTML
ベキものではなく、新しいジャンルのものであると Woolf 自身が言ってたように思う。
他の人たちの書評によると、小説と詩との間みたいな感じだそうだ。僕も、読んでいてそう
感じる。
Woolf の作品はどれもさほど長くはない。"The Waves" も、僕の持っている本では
たかだか 230ページくらい。もしこれを日本語訳して文庫本に収録すると、たぶん
400 ページくらいかな？ だから、すぐに読了できそうなもんだ。ところが、なかなか
そうもいかない。
今、全体の四分の一ほど読んだところ。単語や構文が複雑という
わけではないので、英語の得意な人なら辞書なしで大丈夫なはずだ。でも、それなのに
すいすいとは読めない。いや、すいすいと読み流したくはないのだ。こんなにまで細部に
神経をゆき届かせて丁寧に書かれた文章なんて、そんなに多くはないんではなかろうか。
まだ読了もしてないし、大した英語力があるわけでもなく、また文学に詳しいわけでもない
僕が偉そうなことは言えないんだけど、今のところ、僕はこの作品はまさに「詩」だ、
と感じている。だから、ないがしろに読み流す気に離れないし、読み流したらすぐに
訳がわからなくなる。
"The Waves" の邦訳は、アマゾンでちらっと見る限りでは、角川文庫とみすず書房との
にしゅるいがでているのですね。この作品の邦訳についての日本人からの書評が
http://www.amazon.co.jp/波-ヴァージニア・ウルフコレクション-ヴァージニア-ウルフ/dp/4622045052/ref=sr_1_2?s=books&ie=UTF8&qid=1356222942&sr=1-2
このページに掲載されています。
英文で書いてあるものの方が、はるかに多いですね。
http://www.amazon.com/product-reviews/0141198532/ref=cm_cr_dp_syn_footer?k=The%20Waves%20(Penguin%20Hardback%20Classics)&showViewpoints=1
このリンク先にあるページでは、アメリカのAmazonにある "The Waves" についての書評が45本もあります。全部を読んだわけじゃないけど、最初の数本を
読むだけでも、けっこう参考になると思います。
hangs in a loop of light.'
'I see a slab of pale yellow,' said Susan, 'spreading away until it
meets a purple stripe.'
'I hear a sound,' said Rhoda, 'cheep, chirp; cheep chirp; going up
and down.'
'I see a globe,' said Neville, 'hanging down in a drop against the
enormous flanks of some hill.'
'I see a crimson tassel,' said Jinny, 'twisted with gold threads.'
'I hear something stamping,' said Louis. 'A great beast's foot is
chained. It stamps, and stamps, and stamps.'
'Look at the spider's web on the corner of the balcony,' said
Bernard. 'It has beads of water on it, drops of white light.'
'The leaves are gathered round the window like pointed ears,' said
Susan.
戯曲みたい
そうそう。その部分は、この "The Waves" の冒頭近い箇所ですね。
ところで、この作品は9つのセクションに分かれていて、それぞれのセクションの冒頭には、
実に美しい詩的な風景描写があります。あまりにも美しいので、それらすべてを
引用したくなるほどです。今、僕が読んでいる箇所にも感動していますが、ほんの
二、三行だけ引用してみます。
The sun, risen, no longer couched on a green mattress darting a fitful glance through
watery jewels, bared its face and looked straight over the waves.
http://gutenberg.net.au/ebooks02/0201091h.html
あけぼのの時刻。地平線にある緑のマットレスに横たわっていた太陽が、水のような
宝石を通してチラチラとこちらを覗いていたのだけど、ついに顔をのぞかせた、というようなことを
書いていますが、よくもまあ、こんなに綺麗な表現が生み出せるものです。
この作品は、このように詩的な表現が、冒頭から最後まで、数百ページにわたって延々と続くのです。
だから、読んでいて、気を抜くことができないのです。素晴らしいと感動しながらも、
あまりたくさんのページ数を短時間にこなすことはできないのです。
丁寧に読まないと損だし、そして、丁寧に真剣に読むからこそ、読んでいてとても疲れます。
もちろん、悪い意味で疲れるわけじゃないんですけどね。
Woolf 自身の分身だそうだ。私自身も、Rhoda が一番好きだ。彼女のセリフを引用する。
'Oh, life, how I have dreaded you,' said Rhoda, 'oh, human beings, how I have hated you!
How you have nudged, how you have interrupted, how hideous you have looked in Oxford Street,
how squalid sitting opposite each other staring in the Tube! Now as I climb this mountain, from the top of
which I shall see Africa, my mind is printed with brown-paper parcels and your faces. I have been stained
by you and corrupted. You smelt so unpleasant too, lining up outside doors to buy tickets. All were dressed
in indeterminate shades of grey and brown, never even a blue feather pinned to a hat. None had the courage
to be one thing rather than another. What dissolution of the soul you demanded in order to get through one day,
what lies, bowings, scrapings, fluency and servility! How you chained me to one spot, one hour, one chair, and sat
yourselves down opposite! How you snatched from me the white spaces that lie between hour and hour and rolled
them into dirty pellets and tossed them into the waste-paper basket with your greasy paws. Yet those were my life
http://gutenberg.net.au/ebooks02/0201091h.html
But I yielded. Sneers and yawns were covered with my hand. I did not go out into the street
and break a bottle in the gutter as a sign of rage. Trembling with ardour, I pretended that I was
not surprised. What you did, I did. If Susan and Jinny pulled up their stockings like that, I pulled
mine up like that also. So terrible was life that I held up shade after shade.
http://gutenberg.net.au/ebooks02/0201091h.html
ここに出てくる Rhoda は女性で、六人のうちの Luois と恋仲になる。小さい時からあまりに繊細なため
人間や人生について純粋に考えすぎ、何もかもが嫌になったり恐れたりしてしまう。
そういう彼女の性格を最も良く表した一節が、ここに紹介したもの。あとでこの Rhoda
は自殺してしまう。Rhoda の文章は、読んでいて痛々しい。あまりにも良く彼女の気持ちが
分かってしまう。
いいと僕も思うけど、ともかく読むのがしんどい。無理をして英語で読まずに日本語で読もうかとも
思うが、この作品は日本語で読んでも、たぶん読みにくいと思う。どうせ読みにくいんだったら、
英語のままでもいいか、と開き直ってる。第一、邦訳は二つ出ているけど、両方とも絶版らしく、
古本はすごく高い。
アマゾンによると、
(1) 波 (みすず書房、ヴァージニア・ウルフコレクション) ヴァージニア ウルフ、
Virginia Woolf、 川本 静子 (1999/10)
￥ 4,498 中古品 (5 出品)
(2) 波 (角川文庫) ヴァジニア・ウルフ、 鈴木 幸夫 (1954/6)
￥ 693 中古品 (8 出品)
上記の (2) は安いけど、翻訳が60年前。それから、新訳はものすごく高い。何よ、これ？
誰か読んだ人、いる？
サマセット・モーム (著), William Somerset Maugham (原著), 西川 正身 (翻訳)
中古品の出品：14￥ 198
198円 ワロタ
値段通りの価値だと思う。川本教授のじゃないとだめだろ。
『ヴァージニア・ウルフコレクション 壁のしみ』 みすず書房, 1999
『波』 みすず書房, 1999 （ヴァージニア・ウルフコレクション）
『自分だけの部屋』 みすず書房, 1999 （ヴァージニア・ウルフコレクション）
『オーランドー ある伝記』 みすず書房, 2000 （ヴァージニア・ウルフコレクション）
『病むことについて』 ヴァージニア・ウルフ みすず書房, 2002
これだけ翻訳してる。
だから彼女の小説を読んでると、ひっきりなしに詩人やその詩歌の一節が出てくる。
Woolf の作品に出てくる詩の一節については、次のスレで私は紹介している。
英語の詩を鑑賞するスレ
http://toro.2ch.net/test/read.cgi/book/1350602505/l50
200ページくらいをやっと読んだ。あと 25ページほどで終わる。相変わらず、
読み進めるのがすごくしんどい。
読むのがしんどいのは、僕の英語力が足りないから「だけ」ではないらしい。
ネイティブらしき人たちが、アマゾンの書評などで、口を揃えて「ウルフは読むのが大変だが、この
"The Waves" は特に読むのが大変だ」と書いている。
辞書を引きながら通読するだけでも大変なんだけど、頻繁に引用される有名な詩歌の原典に戻って、
その引用されている短い一節のみならず、詩の全体をまたもや端から端まで辞書を
引きながら読んでる。また、古代ギリシャの故事などが出てきたら、それについての解説を
ネットなどでやっぱり調べて行く。Penguin Classics という edition で読んでるので、
Introduction も濃密であり、さらには Notes が丁寧。それらも丁寧に読んで行く。
僕は他の作家の作品を読む時は、ろくに辞書も引かないし、ネットで調査もろくにしない。
そんなことをしていたら、いつまでたっても小説の最後までたどり着けず、そのうちに
その作品に飽きてしまう。途中まで読んで、挫折。でも、Woolf だけは例外。
正直に言おう。僕は、一ヶ月くらい前に Wikipedia に貼り付けられている Woolf の
横顔の写真を見て、一目惚れしたのだ。彼女は単なる美人とは違う。痛々しいような繊細
かつ知的な風貌。この人の作品を僕は一行も読んだことがなかった。でも、
この写真を見て、何が何でもこの人の作品を読まねばならない、そう僕は思って、
まずは Mrs. Dalloway の映画を Youtube で見たあと、その小説を読んだのだった。
いろんな写真を眺めて、人となりを想像して頂きたい。
https://www.google.co.jp/search?q=virginia+woolf&hl=en&client=safari&tbo=u&tbm=isch&source=univ&sa=X&ei=TtHaUJ7III7RkwWSyICAAQ&ved=0CDkQsAQ&biw=1024&bih=672
若い時は、見ているこちらの胸が痛くなるほど綺麗だけど、歳をとると、失礼ながら、
同じ人物とは思えないほど変貌している。僕にそんなことをいう資格がないことは
百も承知。許されたし。
https://www.google.co.jp/search?q=virginia+woolf+mugs&hl=en&client=safari&tbo=d&source=lnms&tbm=isch&sa=X&ei=XODaUNPOE4ulkQX-jIHwAQ&ved=0CAkQ_AUoAQ&biw=1024&bih=672
投稿されている。その中の一つを、今さっき見た。彼女が夫に宛てて書いた別離の手紙が
朗読され、彼女が川に入るシーンが、実に見事な演技で展開されるビデオ。
Virginia Woolf's Suicide letter to Leonard Woolf
http://www.youtube.com/watch?v=tP-Ih1ENGn4
このビデオで朗読されている Woolf の手紙の全文は、次のリンク先で読める。
http://en.wikisource.org/wiki/Virginia_Woolf_suicide_note
ある。
Virginia Woolf Documentary
http://www.youtube.com/watch?v=2Hnlsh8WyPE
これを何度か見たけど、もっと細かいところまですべて理解したいと思ったので、ナレーションを
すべて dictation してみようと思った。その結果を少しずつここに貼り付けていこうと思う。
http://www.youtube.com/watch?v=Bkk3Ui6ainM
Youtube 上にあるこのビデオは、 Virginia Woolf が晩年にその夫である LeonRd Woolf と
一緒に暮らしていた Monk's House という家屋を取材したもの。二人の男性が面白い
解説をしてくれている。Virginia はこの家の近くにある川で 1941年に59歳にして入水自殺した
が、夫の Leonard はこの家で 1969年まで暮らした。観光地になっているらしい。
僕も、行って見たくなった。Woolf のみならず、Shakespeare や Bronte 姉妹のゆかりの
地を訪ね、ロンドンでは Shakespeare や Samuel Beckett の芝居を毎晩鑑賞したいもんだ。
さらには、あアイルランドとスコットランドを訪ね、イギリス諸島の人々のケルト人や
アングロサクソン人の数千年に渡る歴史、そして最近は旧植民地からのおびただしい
移民がひしめいているイギリスの生の姿を見てみたいもんだ。
http://www.youtube.com/watch?v=GN_lpbEOzbM
このビデオも、元々は30分の番組だったものを三つに分けて投稿してある。Virginia Woolf
の私生活について色々な学者が面白いことを話してくれている。
これだけでなく、Yoube 上にはWoolf についての面白そうなビデオがものすごくたくさんあるので、
じゃんじゃん見て、その詳細をゆっくりコメントしていきたいと思う。
http://www.youtube.com/watch?v=2Hnlsh8WyPE
SKAN Productions --- "Famous Authors" --- Virginia Woolf, Novelist, 1882-1941
[Childhood] --- (1) London in the 19th century was a city of contrasts.
(2) There were the leisured rich with their secure incomes and elegant lifestyle. And there were the desperately poor.
(4) In between were the mass of professional people, office workers, tradesmen. People of all sorts formed the lower and the middle classes.
(5) Somewhere towards the upper end of the scale living in the respectable area of Kensington were the Stephen family.
(6) Virginia Stephen was born at 22 Hyde Park Gate on January 25, 1882.
(7) The tall house with its dark and narrow interior was to be her home until her father's death some 22 years later.
(8) Both of her parents had been married before and had been widowed.
(9) Leslie Stephen, her father, had been married to a daughter of William Thackeray.
(10) Julia, Virginia's mother, already had three children from her marriage to Herbert Duckworth.
(11) The Duchess of Bedford was her cousin. And she came from an artistic background.
(13) Her family was closely connected with the pre-Raphaelite painters: Holman Hunt and Edward Burne-Jones.
(14) And her sister, who took this picture of her, was a famous photographer, whose work is now much sought after.
(15) Leslie Stephen was a man of many and varied talents. Like his father and his grandfather before him, he was a writer.
(18) Virginia was their third child, following Vanessa and Thoby, and to be followed by Adrian.
(19) This meant a household of eight children, the older (???) separated from the younger by about 10 years.
(20) There were seven servants, all women, which was not an excessive number for a family of the size and status of the Stephens.
(21) In those days before any of today's modern conveniences which have so changed the way in which people live.
(22) Through her earliest years, Virginia became familiar with London's streets and played often in Kensington Gardens, which were only a hundred yards from her home.
(23) As she grew older, there would be skating on The Long Water on the park. The Stephens knew many of the literary and intellectual figures of the day.
(25) Throughout her childhood, Virginia would have encountered such people as Tennyson, George Eliot, and Henry James.
(26) As he talked, Henry James would tilt back his chair further and further as he became more and more involved in what he was saying.
(27) To the children's delight, he fell over backwards on one occasion but still finished what he had to say, lying on his back on the floor.
(28) The highlight of Virginia's year was the family holiday on St. Ives in Cornwall, where they spent several weeks every summer from her earliest childhood until she was 14.
(29) The whole family stayed at Talland House, which overlooks Carver's Bay on the Godreedy(???) Lighthouse, and surrounded themselves with friends and relations.
(30) It is difficult to underestimate the importance of these annual pilgrimages to Virginia.
(31) Since they undoubtedly gave her her happiest moments in this the happiest part of her childhood.
(33) Virginia's sister Vanessa recognized in "To the Lighthouse" an almost perfect recreation of their parents:
(34) the father dominant but insecure, the mother extraordinarily good but almost too acceptant.
(35) In the garden, they played croquet and cricket. This is the four-year-old Virginia. And the batsman is her brother Adrian.
(37) By the time she was 10, her family recalling her the Demon Bola and her elder brother Thoby thought her a better player than many of his contemporaries of the prep school.
(38) They had many visitors, from the famous, like Henry James and George Meredith, to the very young, like the future poet Rupert Brook,
(39) who was an enthusiastic participant in the day games of cricket.
(40) The children mixed little with everyday life in St. Ives, preferring their own company. But Virginia derived great joy from the physical surroundings.
(42) (6'45" あたり) At home, in London, Virginia spent much of her time in the tall, narrow house, to which her father had added an extra two stories to accommodate his large household.
(43) For, although Thoby and Adrian were sent to school, the two girls were not.
(44) In those days, boys went to school and university but, even in such an intellectually active and enlightened family as this,
(45) girls were expected merely to acquire the necessary accomplishments and marry. Vanessa and Virginia were educated at home by their parents.
(47) By all accounts, they were poor teachers, seemingly unable to understand how children could find difficult things which to them were obvious.
(48) Both lost their tempers easily, so it fell to the girls to educate themselves. Virginia always felt the lack of a formal education.
(51) (7'43"のあたり) She was a sensitive child. But, although she was late in learning to speak, she was very soon using words with extraordinary facility.
(52) She was accident-prone and excitable, sometimes wild and prey to what her family called "purple rages."
(53) She was always the family's story teller. And indeed, she and Vanessa decided very early that they would be, respectively, writer and painter.
(55) And so it turned out. (8'14") In 1891, they started a handwritten magazine, the "Weekly Hyde Park Gate News," which reported incidents in the household.
(57) Julia Stephen died in 1895, aged only 49.
(58) As if her mother's death was not enough for the naturally oversensitive Virginia,
her father was so overcome with grief and self-pity that he made no attempt to come to terms with his loss.
(60) Virginia had her first nervous breakdown. (8'49") The lot of looking after her fell to her half-sister, Stella, who took over the running of the household.
(62) Soon she became engaged. Her stepfather was not prepared actually to stop the marriage.
(64) But the prospect of losing his new prop so soon after losing Julia filled him with such despondency that he insisted that Stella should continue to live in his house after the marriage.
(65) A compromise was reached. Stella married and she was gloriously happy for three short months before she died.
(67) In two years, the settled happiness of Virginia's childhood had been irrevocably destroyed.
(68) By now, she was lonely. Her half-brothers went to work. Her brothers were away at school and Vanessa was out much of the time.
(69) Her father became increasingly gloomy and withdrawn. And Virginia's excursions into the social world were failures, since she he had no smortle (???).
(72) Something which probably affected the rest of her life was the Rual attentions of George Duckworth, the half-brother.
(73) It seems that his sympathetic embraces developed into something rather less brotherly.
(74) It is impossible to say whether these incidents contributed to her mental instability.
(75) But they must have been in part responsible for her inability to sustain a Rual relationship when she married.
(76) Virginia was also the main recipient of the emotional demands made by her father. Her resentment was tempered by her appreciation of his intellectual integrity.
(78) For support, she turned to an older woman, Violet Dickinson, to whom she remained emotionally close for some years.
(79) In 1904, Sir Lesley Stephen, for he had been knighted in 1902, died. Virginia was filled with guilt.
(82) Her grief and morbidity became such that those around her realized that she was approaching madness.
(83) She heard birds singing in Greek and tried to commit suicide by jumping out of the window.
(84) Vanessa, Thoby, and Adrian were eager to leave 22 Hyde Park Gate, which Henry James had called the "House of All the Deaths."
(86) They moved northeast to Bloomsbury, which is made up of a series of leafy squares, surrounded with solid, early nineteenth-century houses.
(87) Extraordinarily enough, all their relatives disapproved of the move. Bloomsbury was not a good address.
(89) And this meant, however, that they were escaping from the eyes which had watched so eagerly and closely over their upbringings.
(90) (11'51") Suddenly they were free from the strict conventions of their class and age.
(91) In 1899, Thoby went to Cambridge University, where he soon became friendly with some people, who were members of the group called the "Apostles."
(92) It had been founded in 1820, and only new undergraduates of exceptional promise were invited to join, usually no more than one or two each year.
(93) Members remained active for life, and this time such notable figures as E. M. Forster, Bertrand Russell, and the philosopher G. E. Moore.
(94) Their weekly discussions were supposed to be held in a spirit of complete intellectual honesty.
(95) Leonard Woolf was invited to join in 1902. Other undergraduate members of this time included Lytton Strachey, Saxon Sydney-Turner, and Maynard Keynes.
(97) All four were to become part of what is now called the "Bloomsbury Group." Thoby was not himself an Apostle. And nor was his friend Clive Bell.
オレのような者にはscriptが有るか無いかでは雲泥の差があるので大変助かります
大変でしょうが、徐々にでもいいので是非最後までがんばってください
(101) They all came to the Thursday evening's gatherings. Strachey was odd to look at but witty and cultured, and later to a famous biographer.
(103) Clive Bell, whose intellect tended to be underestimated by his friends, was admired for being a mixture of English country squire and avid lover of literature and art.
(104) He was soon to become an influential writer about art. Saxon Sydney-Turner was thought by all to be brilliant, but he never in fact achieved anything at all.
(106) The man whose ideas they all admired most was the philosopher and Fellow Apostle, G. E. Moore.
(107) His "Principia Ethica" was almost a Bible to them, with its extreme rationalism and its rejection of received truth unless the truth in action could actually be proved.
(108) Virginia first listened to and then participated enthusiastically in the discussions.
(109) And this must largely have made up for the university education she had missed.
(110) The beautiful Miss Stephens, as Vanessa and Virginia were known, would have been an added attraction to the Gordon Square House, had not most men in the group been homoRual.
(111) This didn't, however, stop Lytton Strachey from proposing to Virginia.
(112) (14'55") And she seriously considered his proposal before he himself realized that he could not go through it.
(113) In 1904, she published her first article in a weekly newspaper and was soon writing reviews and other short pieces.
(115) She also taught at Morley College, an evening institute for working men and women.
(116) Here, she had her main experience of the kind of people who read books rather than write them.
(117) She appreciated their intelligence and saw how they suffered because of their relative lack of education.
(119) In 1906, Thoby died of typhoid, which he caught on holiday in Greece. (15'47") Only two days later, Vanessa became engaged to Clive Bell.
(121) They kept the Gordon Square House after their marriage. And Adrian and Virginia moved a few hundred yards to Fitzroy Square.
(123) They still spent much time together, and as little as a year after the wedding, and Clive and Virginia began a flirtation which was to continue for some years.
(124) She was certainly not in love with Clive. Indeed it seems that her main motivation was her loneliness, in the face of her sister's married happiness.
(126) Of course, this behavior didn't bring Vanessa any closer to her. Virginia was a sparkling talker, not least because of her almost uncontrolled imagination.
(128) She would introduce newcomers with entirely invented descriptions of their lives and characters.
(129) In her conversation and in her letters, she tended to describe in her brilliant and imaginative way things as she felt they ought to be rather than as they were.
(130) In 1910, there were two distinct parts to the Bloomsbury Group.
(131) Centered around Vanessa and Clive, were an art set, including Roger Fry, who was responsible for the first post-impressionist exhibition in London.
(132) Literary Bloomsbury included Lytton Strachey and Virginia, who was still writing reviews and was working hard on her first novel. E. M. Forster was also a part of the circle.
(134) (17'31") Nineteen-ten (1910) was also the year of the "Dreadnought hoax," as it became known.
(135) Adrian and her friend managed to convince the Navy the newest and most secret ship HMS Dreadnought was to be visited by the Emperor of Abyssinia and his entourage.
(139) (18'09") Perhaps because of the excitement of this incident or perhaps because she thought she was close to finishing her first novel.
(140) Since 1904, Leonard Woolf, who was one of Thoby's original friends in Cambridge and an Apostle, had been a civil servant in Ceylon.
(141) In June 1911, he turned on leave and before the year was out, he proposed to Virginia.
[Marriage] (142) Leonard Woolf's father had been a successful barrister, but had died age 44, leaving a widow and nine young children.
(143) Leonard did well at school and expected to do equally well at Cambridge.
(144) He was perhaps overconfident. He did not do particularly well in degree and, did even worse, in the civil service examination.
(146) He ended up in Ceylon, where he was a remarkably successful administrator.
(147) Virginia, with her 9,000 pounds' capital, and 400 pounds a year income, was not considered particularly well off by members of her class,
but the fact that Leonard, as a successful civil servant, had been earning only 260 pounds a year, put this figure rather more in perspective.
(149) Nevertheless, Virginia was largely accurate when he wrote to Violet Dickinson, telling her she was going to marry a "penniless Jew."
(151) For Leonard had given up his job in the hope that she would marry him and intended to earn his living as a writer.
(152) They married in August 1912, Virginia aged 30 and Leonard 31.
(153) (20'02") And after their honeymoon, they moved to their rooms in Clifford's Inn.
(154) Leonard published his first novel, based on his first experiences in Ceylon, but it was a critical, rather than financial success.
(155) Virginia was continuing to work on "The Voyage Out" as she had been for many years. As it neared completion, her health declined.
(158) She began to suffer delusions, would not eat, and was sent to a nursing home. When she moved back to London, she tried to commit suicide.
(160) Throughout this period, Leonard, who hadn't been properly warned of the extent of Virginia's mental instability, was suffering too.
(161) But he did eventually discover that, by keeping her away from excitement, not allowing her to get tired, and making sure that she ate properly,
he could keep her healthy both mentally and physically.
(163) To this end, they left Central London, moving to Richmond. Hogarth House was to be their home until 1924.
(165) Even before her marriage, Virginia had been spending some time outside London, on the South Downs close to Brighton.
(166) This house, in the village of Firle, still bears the name she gave it, "Little Talland," in memory of her happy childhood holidays in Cornwall.
(167) On a walk with Leonard along the Downs, she discovered Ushen(???) House. It was to remain her favorite home, beautiful and melancholy.
(169) Duncan Grant painted this group at Ushen(???). "The Voyage Out" was published in 1915 to critical acclaim.
(171) No praise was more welcome to Virginia than that of E. M. Forster, who was by now the most successfully established writer of the Bloomsbury Group.
(172) (22'20") For the 20 years after its publication, she experienced no major breakdowns and settled down to married life and to writing.
(173) Many of her friends, from this time onwards, were completely unaware of her history of mental illness.
(174) To them she appeared lively and balanced.
(175) She was indeed happy for much of the time thanks to the stability which Leonard had brought to her life.
(177) In 1917, the Woolfs bought a printing press and published a small book.
("Two Stories" というタイトルの本の表紙を映した映像）
(178) The work was time-consuming but they did it all themselves and made a small profit.
(179) The Hogarth Press expanded into a major publishing company over the next few years
and was the first publisher of T. S. Eliot and Katherine Mansfield, both friends of Leonard and Virginia.
(181) Katherine Mansfield was important to Virginia as the first other woman she knew who was entirely committed to writing.
(182) As their books became more successful, they did less actual printing.
(183) But, for many years, Virginia spent her afternoon setting type, sewing bindings, and packaging up orders.
(184) To her dismay, they had to leave Ushem in 1919. And they moved a mile or so to Monk's House, Rodmell. Monk's House was their country home until Virginia died.
(187) There was no mains water, gas, or electricity. But as her novels became more and more successful, they were able to improve the house and employ a gardener.
(189) In "Jacob's Room," which is in part a memorial to her brother Thoby, she broke with the traditional form of the English novel.
(190) The real turning-point came in 1926, with the success of "To the Lighthouse," after which money was never a worry.
(191) (24'37") Virginia was well enough now to undertake a London house, something which she had greatly missed.
(192) In 1923, Virginia met Vita Sackville-West, a gifted and attractive novelist whose family home was the 16th-century Knoll in Kent.
(193) By 1925, they were close friends. Whether or not their love affair was physical is something that will probably never be known.
(197) Starting life as a boy and changing into a woman, this is Vita dressed up as Orlando.
(198) (25'45") At Charleston, a few miles from Monk's House, Vanessa lived with her children.
(199) Virginia was bitterly unhappy about having none of her own. Her doctors had decided that her mental equilibrium was too precarious to take such a risk.
(200) Quentin Bell, her nephew and the author of the fullest biography of her, remembers her affinity with children.
(201) The way she was able to join in their games without condescending to them, effortlessly accepting their fantasies and delighting them in her company.
(202) With older people, who saw her as a celebrity, she seemed to enjoy her power to terrify.
(203) Perhaps she was getting her own back on her misery on social occasions when she was younger.
(204) The publication of "A Room of One's Own" in 1928, assured her of a place at the forefront of the feminist movement with its witty and polished comparison of the lots of men and women.
(205) She became more and more famous, and more and more people wanted to know her.
(206) (27'08") One such was a composer, Gould(???) Ethel Smyth. Virginia likened her friendship to be in court by a giant crab.
(208) Nineteen thirty-nine (1939) brought a start to the Second World War. The Woolfs' house in London was bombed, so they had to live all the time at Monk's House.
(210) This dramatic woodcut gives us some ideas to the scene of German planes that flew over the house on their way to bomb London.
(211) There were many pressures on Virginia. (27'45") Her stability relied on rest, a calm environment, and nourishing food. And these were now not possible.
(216) As always, writing excited and then depressed her.
(217) (28'07") On March 28, 1941, she wrote this note for Leonard, explaining that she was hearing voices and was certain she was going mad and would not recover.
(219) She left the house and walked down to the River Ouse, where she drowned herself.
（ビデオの終わり）
以上の文章は、Youtube 上にある30分のビデオ Virginia Woolf Documentary (http://www.youtube.com/watch?v=2Hnlsh8WyPE) を書き取ったものです。
>>35 の方へ。励ましの言葉を心から感謝します。2チャンネルでこんなことをやって
いるといつも馬鹿にされるのですが、あなたのような方からそういう言葉を頂くと、
本当にうれしいです。これに似たことは過去にブログで大量にやっていて、
原稿用紙にすれば数千枚にも及ぶような語学関係の文章を載せていたのですが、
ネット上の失礼な人たちに対して短気を起こし、すべてを削除してしまったのです。
2チャンネル上では僕が途中で短気を起こしても、僕自身にはそれを編集したり削除したりは
できないので、好都合なのです。僕自身も、あとになって「やっぱり削除しなければよかった」
と思うことが多いのです。ここでは、すべてが嫌でも残るので、ここで頑張りたいと思います。
それから上記の script においては、ある程度の長さごとにテキストを区切って通し番号を
つけましたが、その番号はときどき飛びますが、気にしないでください。文章そのものは
省略したり飛ばしたりはしていませんが、番号だけが飛ぶことがあります。
このビデオも、とても面白いです。
(1) SHOW HOST: This very pretty unprepossessing house in the SesR village of Rodmell was home to one of the greatest writers of the twentieth century: Monk's House.
(2) It was Virginia Woolf's country retreat.
(3) Virginia Woolf is the most famous British writer in the 1920s and '30s. Her work and her life are closely associated with women's rights.
(4) But she was a tortured genius who took her own life at the age of 59. Virginia Woolf suffered from severe depression throughout her lifetime.
(5) And she experienced several nervous breakdowns. But during that period, she never stopped writing: novels, journals, letters, diaries. . . .
(6) (0'46") And together with her husband Leonard, she founded the Hogarth Press, which published works by authors such as T. S. Eliot and D. H. Lawrence.
(7) Virginia and Leonard were members of the infamous Bloomsbury set, who soon adopted Monk's House as a regular retreat.
(8) They were intellectuals, artists, and writers, and the place is decorated with avant-garde style by various members of the Group.
(9) (1'10") Monk's House was acquired by the National Trust in the 1980s. For the last ten years it has been looked after by Jonathan Zoob and his wife Caroline.
(10) And I'm very pleased to meet you.
(11) JONATHAN: Nice to meet you.
(12) SHOW HOST: Do you know, as I walked into this house, it embraced me.
(13) JONATHAN: Yeah.
(14) SHOW HOST: It really did like a mini-trance and I love the art(???) and colors.
(15) JONATHAN: It's a treasure trait(???) of the whole spirit of the Bloomsbury Group. And not just the paintings, they painted all the surfaces. . . .
(16) HOST: Exactly, exactly, just like Charleston. I see the table is painted, the lampshades. I notice there's a packet of cigars there. Are they yours? Prop.
(18) HOST: Really?
(19) JONATHAN: Yes. And she would have sat there in that chair. There are photographs of her in that chair, uh, in front of the fire, which is the obvious place in a very cold, damp room like this.
(20) HOST: So, do you think these ten years they mostly built up a picture of what she's like a very good picture? Just tell me a little about that woman.
(21) JONATHAN: Well, she was, uh, a genius and obsessed with words. So, all her life, she was focused on writing. It could have been letters to a friend. It could have been her diaries, which she kept every single day.
(22) And of course, then, her great works, novels. She was also reviewing books. So she was just surrounded with words.
(23) HOST: I think she was writing at a time when men had all the political power and the wealth.
(24) (2'39") JONATHAN: Yeah, she was a proto-feminist in an era where that was really fashionable.
(25) She wrote "A Room of One's Own" about how she didn't just want to be an ordinary little housewife
but that she wanted to have the space and the freedom to devote herself to her work.
(27) (2'57") HOST: Throughout the 1920s, for that whole decade, she had a very close, intimate relationship with Vita Sackville-West.
(28) JONATHAN: Well, she was somebody who was maybe quite confused in her own mind about her Ruality.
(29) And she certainly explored some quite intimate relationships with other women, uh, not just with Sackville-West but also the famous composer Ethel Smyth.
(30) And I think this is part of the whole Bloomsbury experience, that they were experimenting, uh, in many of the ways in which they lived their lives.
(30-B) HOST: Yes.
(32) In 1934, Leonard built this small writing lodge especially for her. It's a marvelous writing studio.
(33) There's a writing shed, in fact a clappable(???) shed. It must be the most famous one in the world. You're talking about sheds.
(34) JONATHAN: Ha, ha. . . . It certainly is most of the most, and it's something that a lot of people come to see here, exactly, where was she when she wrote these famous words of "To the Lighthouse."
(35) And the paper that she wrote on, this blue paper, because, panish(???) she had bad eyes, so she didn't like white paper.
(36) (4'16") Just think how many famous people, let's say eighty to a hundred years ago, would have sat here under the canopy of this chestnut tree.
(37) JONATHAN: They'd love to come down here to work but they were definitely entertained here as well.
(38) And there are photographs of the Bloomsbury Group assembled, in fact, on this very bit of terracing here. People like E. M. Forster, T. S. Eliot. . . . They all came here and were all photographed here.
(39) HOST: Despite her lifestyle and open relationships, Virginia Woolf's heart belonged to Monk's House and the man she shared it with was Leonard.
(40) And he did support her in everything she did. He was a loving man. And, and, I know they had a great friendship right throughout their life.
(41) (5'00") JONATHAN: Yes, yes, and she, when she died, said in her, the, letter that she left, that "you have been the best husband"
that anyone could have been because, obviously, she didn't want him to feel guilty about it, "if only I have done this. . . ."
(43) And there's no doubt about it this humble little house really does embody the spirit of one of the twentieth century's greatest writers.
(44) It illuminates her life and it's definitely well worth a visit.
（ビデオの終わり）
Virginia Woolf's house (http://www.youtube.com/watch?v=Bkk3Ui6ainM) というビデオの書き取りはこれで終わり。
The Mind and Times of Virginia Woolf (Part 1 of 3) (9'54") (http://www.youtube.com/watch?v=GN_lpbEOzbM)
HERMIONE LEE [Virginia Woolf Biographer]: (1) It's clear from the evidence Virginia could be described as manic-depressive. And, who knows,
if she had had ???, uh, she might have lived longer. We don't know that.
(2) She did alternate between periods of mania and high excitement and periods of very inert depression. She suffered terribly from sleeplessness.
(3) She had appalling headaches. I mean, these are not just headaches that you and I know. These are really terrible incapacitating headaches.
(4) She clearly suffered tremendously, um, from a lot of physical pain all through her life. And I think her life is a story of great courage and stoicism.
[Virginia の日記か何かの朗読] (0'41") (5) Two days ago, Sunday the 16th of April 1939, to be precise, Necessar(???) decided not to write my memoirs. I should soon be too old. There are several difficulties.
(6) In the first place, the enormous number of things I can remember. Many bright colors, many distinct psalms, some human beings, caricatures, comic,
several violent moments of being, always including a circle of the scene which they cut out, and all surrounded by vast space.
(7) That is a rough visual description of childhood. This is how I shape it and how I see myself as a child.
DR. FRANCIS SPALDING [Art histories, critic and biographer]
(8) Virginia Woolf was born in London. Her parents were, uh, Leslie and Julia Stephen. Her mother had descended from an Anglo-Indian family. The women of
the family were famous for their beauty. Something of that Virginia Woolf inherited.
(9) Her father, Leslie Stephen, who became Sir Leslie Stephen, was an eminent author and editor. He edited 26 volumes of the Dictionary of National Biography.
(10) He was really at the very center of the English literary establishment.
MOLLY HITE [Professor of English, Cornell University]
(11) Her father and mother were both on second marriages. They were both widowed.
Uh, they were much older than the group of children that, uh, started with Vanessa.
(12) Then there was Thoby, Virginia, and Adrian. So she grew up with parents that were really of the age of grandparents.
(13) And her mother, Julia, had had three sons by her previous marriage: George and Gerald Duckworth.
(14) And one of these two brothers has become notorious, because, later on in life,
Virginia Woolf wrote in her memoir in which she suggested that George Duckworth had Rually molested her as a child.
(15) There was obviously, uh, some very traumatic Rual interference going on.
眼鏡をかけた学者 (16) And there is a school of thought that argues that her life was dominated by, uh, childhood Rual abuse. I'm not of that opinion. Uh, because I don't read her life as that of a victim.
金髪のアメリカ人学者 (17) She grew up in a very Victorian household despite the fact that she was born in 1882, very, very, near the end of the century.
(18) And she basically, till the death of her father, lived under quite Victorian circumstances. She disliked them intensely.
朗読 (19) By nature, both Vanessa and I were explorers, revolutionists, reformers, but our surroundings were at least 50 years behind the times.
(20) (3'22") Father himself was a typical Victorian. Virginia Woolf's whole political argument which had to do with the unfair treatment of women in British society in the early 20th century
was based on the fact that she didn't go to school and she didn't go to university.
(21) She was burningly resentful of the fact that she was self-taught and that she didn't have an education like her brothers.
朗読 (22) Was I clever? Stupid? Good-looking? Ugly? Passionate? Cold? Owing partly to the fact that I was never at school, never competed in any way with children of my own age,
I have never been able to compare my gifts and defects with other people's.
学者 (23) She was very close particularly to her sister because both her brothers were sent away to school but she remained at home.
(24) And her sister Vanessa, very early on, decided she wanted to be a painter, and Virginia perhaps wanted also to have a root decided that she would be a writer.
眼鏡の学者 (25) (4'16") I think she probably started to write at the age of three. Uh, I was writing non-stop and unstoppably, uh, all through her life, from the minute she could hold the pencil until the day she drowned in the river.
金髪 (26) She was also a superb artist as it turned out as one of the real phenomena. Of that family, both daughters came out as highly significant artists.
(27) Her mother died when Virginia was 13. This was an upset catastrophe in her life.
(28) We had been set up to a day nursery after she died and were crying. How that early morning picture her stayed with me.
(29) The first, uh, serious part of mental illness which Virginia Woolf underwent happened soon after her mother's death at the age of around 13.
(30) There was a moment of the Paladins' Path, when for no reason I could discover her. Everything suddenly became unreal. I was suspended.
(31) I could not step across the puddle. I tried to touch something. The whole world became unreal.
(32) Then immediately her half-sister to whom she was very close, Stella, died. And then her father died. I mean, this is a staggering succession of blows.
----- 男性 Alastair Upton (Director, The Charleston Trust)
(33) Virginia Woolf had serious very debilitating attacks of mental illness throughout her life. They came at times of great stress.
(34) She was visited by voices. She was incapable of getting up, working or looking after herself.
(35) And those voices were, for her, about it. They were masculine voices. They told her she was worthless. They told her she was terrible.
(36) She spent her whole life, actually, coming to terms with the death of her parents, trying to prove herself to them.
(37) There's a scene in a novel by Virginia Woolf, called "Mrs. Dalloway," where the grownup Mrs. Dalloway imagines herself carrying her life in her arms as if it's a baby,
and walking towards her parents who are both dead in the novel, and putting this thing down in front of them, and saying "This is my life. This is what I've made of it."
(38) And I always feel that sort of biographical and that's what Virginia was always doing when she was writing. She was proving herself to her dead parents.
男性 (6'33") (39) It was in 1904 that the Stephen family (Vanessa, Virginia, Thoby, Adrian) moved from the Victorian house in Hyde Park Gate to Bloomsbury,
then an area that was not considered to be a good place to live. They set up a home there and invited their friends and the place became a meeting point for artists, writers, intellectuals.
(40) We were full of experiments and reforms. We were going to do without table napkins. We were going to paint, to write, to have coffee after dinner instead of tea at nine o'clock.
(41) Everything was going to be new. Everything was going to be different. Everything was on trial.
(42) Virginia's elder brother was called Thoby Stephen. And he's a crucial character in the story of both Virginia Woolf's life and the Bloomsbury.
(43) Because, when he left Cambridge, he began holding at homes. At their house 46 Gordon Square in Bloomsbury. And he invited his Cambridge friends to those events.
男性 (7'36") (44) The Bloomsbury Group was never a club. It was just a collection of friends.
眼鏡の女性 (45) It consisted of Thoby Stephen and his serious young philosophical and literary friends from Cambridge, uh, who were mostly, uh, gay or biRual: Lytton Strachey, Duncan Grant, and so on.
(7'52") (46) And they all sat around discussing (???) good. They were very aware that the Victorian place had a great deal of attention on public life.
(47) And these friends wanted to turn that kind of investigation on personal lives, private lives, on the understanding that only through intellectual honesty close at hand could you hope to achieve it in the public sphere.
(8'15") 男性 (48) And, in the pursuit of truth, conventions where they were mere conventions were there to be ignored, to be torn up, to be challenged.
女性 (49) Someone to part from convention today, people would hardly raise an eyebrow.
(50) But you could be damned in Vanessa and Virginia's day, simply by a lack of an inch in the length of your skirt. So, in that setting, they were very bold.
(51) The Bloomsbury Group was quite wonderfully omniRual. Everybody had relations with everybody else.
(52) A lot of people hated them, regarded them as very exclusionary as an elite, uh, also as lascivious and immoral, which is kind of fun to think about now.
(53) The Stephen family went on holiday to Greece in the summer of 1906. And, while they were abroad, both Thoby and Vanessa fell ill.
(54) Thoby came back to London a little before the rest of the party. He was thought to be getting better. But suddenly he died. He contracted typhoid.
(55) And his death had an extraordinary effect on his siblings, because it drew the world that much closer.
(56) Virginia and Vanessa and their brother Adrian were completely desolated by this death. Vanessa's reaction was to get married to one of Thoby's closest friends. It was almost like a replacement.
(57) Virginia lost her brother, and she also, as it were, lost her sister, pretty much at the same time. And she was distraught, absolutely distraught.
The Mind and Times of Virginia Woolf (Part 1 of 3) (http://www.youtube.com/watch?v=GN_lpbEOzbM) の書き取りの終わり。
(58) 眼鏡の女性：The marriage between Virginia Stephen and Leonard Woof, which started in 1912 and lasted for the whole of the rest of her life, was, I think, a very good marriage.
(59) It was a marriage which began in total desperation because, the minute they got married, she became extremely ill,
and you can draw your own conclusion from that clearly: her illness was triggered by, um, the new situation, by the shock of having to come to terms with being a Rual being, a Rual partner.
(60) It seems clear that they did not have a normal, if that's the word you want to use, or continuing R life.
(61) (0'39") For a period of about three years, on and off, she was incarcerated, she was under the care of nurses, she tried to kill herself.
(62) And, uh, um, she was heavily treated with, uh, sedative drugs, and with a "rest cure treatment," which was a very fashionable one of the time.
(63) You were put in a dark room, you were made to drink milk with animal fat, was left in the dark, not allowed to talk to anybody, read or write.
----- 男性 NIGEL NICOLSON (son of Vita Sackville-West)
(64) (1'10") When Virginia went off her head, she did about four times in her life. It was a total transformation. She, uh, was insulting, cruel to the people she loved most, like Leonard Woolf.
(65) She spat at people. She thought that Edward VII was coming to dinner when he had been dead for 20 years.
(66) She also had periods of mania, of very high, exhilarated peak periods where she talked wonderfully, and somewhat really(???) wonderfully.
(67) And then gradually she emerged from these extraordinary traumas and was able to say, as she did in one of her letters or her diary,
"It's really great fun being mad. You have the most wonderful ideas better than you do when you're sane."
"It's really great fun being mad. You have the most wonderful ideas better than you do when you're sane."
(68) (2'16") But it wasn't fun for her or for anybody else when it was happening.
(69) Well, there was a writer who was very good at portraying the instability of the mind, the way it flits this way and that and catches on some things and jumps over others.
(70) I begin to lose my kind principally from looking at their faces, really, raw red beef, so they are having get me more pleasure to look upon.
(71) Leonard felt it was a stress of modern life that was the cause of some of Virginia's breakdowns. He moved to Richmond to Hogarth House where he felt she would be less likely to become overexcited by society.
(72) She didn't publish her first novel until 1915, when she was 33. And this was because she had worked at it, and worked at it, and worked at it, all through her 20s, all through her periods of mental breakdown.
(73) Um, uh, it had been a fantastically difficult novel for her to write. This was the novel called "The Voyage Out."
(74) (3'15") Because it was about her childhood and the loss of her mother and her becoming an adult.
(75) When Virginia Woolf was still trying to write her first novel, her sister entered upon a very radical period as a painter and cut out detail in representation.
(76) She began painting portraits of people where the face is left empty. It was a sudden, very daring method of representation because these portraits do convey character.
(77) And Virginia was intrigued and, I think, gradually began to wonder if the same thing could happen in literature.
but what they didn't say to each other, what was in their minds.
(79) It was the method which has become known as the stream of consciousness. The body language without the body.
(80) (4'23") （ヴァージニアの日記か何かの朗読） The day after my birthday, in fact, I'm 38, and happier today than I was yesterday, having this afternoon arrived at some idea of a new form for a novel.
(81) For I figure that the approach will be entirely different this time. No scaffolding, scarcely a brick to be seen, all corpuscular(???), but the heart, the passion, humor, everything as bright as fire in the mist.
(82) (4'46") The Woolfs founded their own printing press and their own publishing house called the Hogarth Press.
(83) In 1916, when they were in Richmond, the basement of the house in Richmond was the office of the press.
(84) This was very, very important for Virginia because it meant she could publish her own work.
(85) It also meant she could publish little books, little sketches, little stories, things like "Kew Gardens" and "The Mark on the Wall," beautiful covers done by Vanessa.
(86) And it freed her up to be an experimental writer.
(87) （朗読） On Sunday, Leonard went through Jacob's Room. He thinks it my best work, unlike any other novel, neither of us knows what the public will think.
(88) There's no doubt in my mind that I have found out about how to begin, at forty, to say something in my own voice.
(89) (5'29") From 1919, the Woolfs lived in SusR as well as in London. They bought a rather small, quite ordinary little cottage called Monk's House in the village of Rodmell.
(91) But, very often, she would write standing up. She had a special desk made for somebody on their feet, you see.
(92) And it was in that lodge that she really composed a greater part of her novels. It was her sanctum.
(93) The SusR landscape was extremely important to Virginia Woolf. She walked all the time. She was a great walker like her father.
(94) (6'20") And you can imagine her striding over the Downs wearing a terrible old hat, and shouting out loud the next paragraph of her novel.
(95) She used to talk out loud to get the rhythm of the sentences.
(96) She had no children of her own. And so she adopted, for a very short period of time, other people's children -- her nephew and niece, of course, and Vita's children -- my brother and myself.
(97) And when she was coming to stay long, our mother would say, "Virginia is coming for tonight." Our immediate reaction was "Oh, good."
--- OLIVIER BELL (niece of Virginia Woolf)
(98) (7'01") Everybody said, "Oh, hurray, Virginia's coming to tea. Now we shall enjoy ourselves." Because she was very enlivening and spiriting. . . .
(99) And then she would set us down and interrogate us. Number one, she said, "What has happened to you this morning?"
(100) And I would reply, "Well, nothing." "Oh, come on, come on," she would say, "What woke you up?" And I would reply, "It was the sun, the sun coming through our bedroom window."
(102) Of course, what she was doing was gathering copy.
(103) She loved nothing so much as to have people come to tea and quiz them, and to ask every single detail about their lives. And that intense curiosity is obviously part of what makes her a novelist.
The Mind and Times of Virginia Woolf (Part 2 of 3) (http://www.youtube.com/watch?v=dFBDu6prDwg) の書き取りは、これで終わり。
http://www.youtube.com/watch?v=T-YSdVpzaUc
England の SusR の Rodmell という村にある Monk's House と呼ばれる、Virginia Woolf
とその夫である Leonard Woolf が住んでいた家を、ほんの2分ほどのビデオで紹介したもの。
ナレーションはない。美しい音楽のみ。
(104) 頭髪のない男性： Perhaps her most important female friend was her sister Vanessa. But after that, it would have been the writer Vita Sackville-West.
(105) 老人の男性： She was my mother, who was her most intimate friend. In fact, for a short period, they were lovers.
(106) 眼鏡の女性： Virginia Woolf loved women. She was a married woman deeply involved in her marriage. It was a marriage which left space, for very intense, even erotic relations with other women.
(107) 金髪の女性： Woolf's own activities, uh, included this rather formidable body of feminist work on the question of the intellectual status of women.
(108) And this exchange gave rise to a number of writings, finally "A Room of One's Own," which was her most thought-out version of the relation of women to writing and questions of fame.
(109) 頭髪のない男性： Set in Cambridge, she mocks the institution that wouldn't allow her, a woman, to enter a university library where her father had given manuscripts.
(110) 朗読： For here again, we come within range of that very interesting and obscure masculine complex, which has had so much influence on the women's movement.
(111) That deep-seated desire not so much that she should be inferior as that he should be superior.
(112) (1'21") 眼鏡の女性: Virginia Woolf often says, "Why shouldn't more attention be given to books about war, or governments, or football, as opposed to stories about women going shopping or making a meal?
(113) 金髪の女性： Later on she wrote an even more inflammatory book published in 1938, called "Three Guineas," which was an indictment of both fascism and war from the feminist perspective.
(114) She and Leonard had gone to Germany in the late 30s, and they actually went on a botering(???) tour to see for themselves.
(116) They knew they were on Hitler's blacklist. They had made, actually, very practical suicide plans in case of an invasion.
(117) She was extremely despairing about her final book "Between the Acts," and felt that she had lost her talent. She felt useless in war time.
(118) She felt that the role of the writer, the novelist, was something that seemed to have no point any more.
(119) 金髪： They were constantly, when the war started, being bombed, and straved(???) by German planes.
(120) And the normality of being constantly, constantly under their attack was the kind of stress, the kind of tension and the horror that happened from this war, day in and day out.
(121) It was an enormous, I think, part of her final decision to commit suicide.
(122) 眼鏡： She wasn't sleeping, and she wasn't eating, and she was beginning to border on hallucination.
(123) And I think she took a courageous, even a rational, decision to end her life because she felt that she was going into a dark place and there might be no return from it.
(124) (3'11") She thought, "Well, I'm losing my wits and can't keep it up and I shall be a burden on Leonard. I can't go on. I can't pull myself together." And she drowned herself.
(125) And I think it a brave thing to do.
(126) 男性： It was an extraordinary, cruel self-inflicted death because she could swim very well. And the instinct of a person drowning must be to save themselves.
(127) She was wearing a heavy overcoat and put a stone in her pocket. But all the same she forced herself to die in the cold water of the river -- one of the most gallant, in a way, actions of her own life.
(128) It must have been an enormous and wonderful industry editing a posthumous work, you know, putting her essays, and letters, and her diaries into marvelous editions.
(129) And this is (???) we see her as a much more muscular, prolific, energetic, strong, big writer than I think what she was thought of at the time.
(130) 細面の女性： We've looked for a long time admiringly as a novelist because they were experimental and they uncovered new methods in ways of doing things.
(131) But I think it's possible that, in the long run, it may be that her diaries and her letters -- what we most value. They have a texture to them, a richness of observation.
(132) 朗読: What sort of diary should I like mine to be? Something loosened yet not slovenly, so elastic but it will embrace anything, solemn, slight, or beautiful that comes into my mind.
(133) I should like to resemble some deep old desk. Occupacious(???) corridor which one things (???) odds and ends without looking them through.
(134) I should like to come back after a year or two. I'll find that the collection have sorted itself and refined itself, and coalesced, as such deposits so mysteriously do.
into a mold, transparent enough to reflect the light of our life, and yet steady, tranquil, compounds, with the aloofness of a work of art.
(135) 老人の男性: She once said to me, "Nothing has really happened until it's been described."
(136) And she meant "described in words." "Therefore," she said, "write a lot of letters to your family and friends.
(137) "Keep a diary," she said. "Don't let a day passed without recording it, whether anything interesting has happened or not. Something interesting happens every day," she said.
Music from "The Hours" composed by: Phillip Glass （実に素晴らしい曲）
Additional music composed by: John Massari
Copyright 2003 by Paramount Pictures
The Mind and Times of Virginia Woolf (Part 3 of 3) (http://www.youtube.com/watch?v=5abnf7S8hPk) の書き取りの終わり
Virginia Woolf についてのドキュメンタリーはいくつも YouTube 上に投稿されているけど、このビデオも本当に素晴らしいと思う。
ここで収録されているようなことは伝記などの研究書を読めばわかることなんだろうけど、本人たちの顔を見てその肉声で話を聞くと、また別の意味でとても刺激になる。
さらに Virginia Woolf の写真もたくさん収録されているので、とてもいい。
残っている。その内容は、"The Death of the Moth and Other Essays" (1942)
という評論として出版されたとのこと。ほんの7分30秒ほどのこの録音は、
http://atthisnow.blogspot.jp/2009/06/craftsmanship-virginia-woolf.html
というページで聴くことができる。そしてそれを文字に表したものを、それと同じページで読むことができる。
きわめて平明でシンプルなことしか言っていないように最初は思ったけど、じっくりと聞きながら何度も
読んでいるうちに、実はけっこう含蓄の深い評論だと思った。
http://www.youtube.com/watch?v=aRjT7PnBsKY
3分ほどのこのビデオは、Virginia Woolf と恋人関係にあった Vita Sackville-West がインタビューに答えてしゃべっているもの。
Virginia Woolf が彼女 (Vita) に宛てた手紙の中で、いかにして Virginia が Vita をモデルにして "Orlando" という小説を
書き始めたかということを話している。これも今から書き取ってみる。なお、YouTube 上の英語のビデオは、自動的にその音声を文字に変換するシステムが
ついていて、話されている英語が同時に文字になっているように見える。ただこれは笑止千万なくらいにデタラメ。あくまで機械でビデオ上の音声を聞き取り、それを機械的に
それらしき英文に変えているだけなので、間違いだらけ。
(1) I think it is made pretty clear in the recently published extract from Virginia Woolf's diary that the idea of her book "Orlando"
was inspired by her own strange conception of myself and my family, and Knoll -- my family home.
(2) Such things as old families and great houses have a sort of Proustian fascination for her. Not only did she romanticize them. She was at heart broad romantic.
(3) But they satisfied her very acute sense of the continuity of history, English history in particular.
(4) Their least fact having been made clear for all to read on the printed pages of her diary, there can be no reason why I should not now reveal something of the inception of that book and of its progress throughout the month she spent writing it.
(6) The first letter is dated October 9, 1927. It startled me considerably.
(7) "Yesterday morning I was in despair. You know that bloody book which Dady at dinner did extort dropped by *** fiction or some title to that effect.
(8) I couldn't screw a word from me. And the last drop hit in my hands, dipped my pen and ink, and wrote these words as automatically on a clean sheet, "Orlando: A Biography."
(9) No sooner had I done this than my body was flooded with ideas I wrote passages till twelve then I did in art fiction.
(10) So, every morning, I'm going to write fiction -- my own fiction -- till twelve, and the other fiction till one.
(11) But listen, suppose Orlando turns out to be Vita and it's all about you, and *** your mind, heart you have none.
(12) Suppose this is a kind of shimmer of reality which is sometimes attached to my people as the luster on an oyster shell.
(13) Suppose I say that the next October someone says, "There's Virginia that's writing a book about Vita." Shall you mind? Say yes or no.
(14) Your excellence in the subject rises largely from your noble birth. But what's 400 years of nobility all the same?
(15) And the opportunity that's given for flurried descriptive passages and ???. Though I admit I should like to untwine a twist gained very odd incongruous scares in you.
(16) And also, as I told you, it's frowned(???) on me how to revolutionize a biography in the night.
(17) And so, if it's agreeable to you, I would like to toss this up in the air and see what happens. Yet, of course, I may not write another night.
これでこのビデオは終わり。録音が明瞭ではないので、僕にとっては聴き取りが実に難しいので、わからないところだらけ。
http://www.youtube.com/watch?v=-pftudSnzpA&list=PLE46F1A63C4503B35
このビデオは、Virginia Woolf の sister である Vanessa Bell が画家として描いた
数々の絵を紹介したもの。6分ほどのビデオ。文字情報はなく、ナレーションもない。絵画とその背景の
音楽のみ。
http://www.youtube.com/watch?v=_bYcaaOJm7E&list=PLE46F1A63C4503B35
これは、1分ほどのとても短いビデオ。Virginia Woolf の sister である Vanessa Bell が子供のころに Virginia Woolf と共に風呂場で裸でいるときに、
父母について話し合った内容についての思い出話。これも僕にとっては聞き取りにくいけど、できるだけ書き取っておきたい。
Vanessa Bell が考えたこともないようなことを Virginia が子供のときにすでに考えていたことを知り、そのおかげで自由な発想ができるようになった、ということを言っているらしい。
(1) I remember one evening, as we were jumping about naked, she and I in the bathroom, she suddenly asked me which I liked best, my father or mother.
(2) Such a question seemed to me rather terrible, surely I would not want to ask it. However, being asked, I had to reply.
(3) And I found I had little doubt as to my answer. "Mother," I said. And she went on to explain, "Why she? I, ???, prefer Father." I don't think, however, her preference was quite assured example as mine.
(4) She could consider both critically and more or less Ryzed her feelings for them, which I at any rate consciously had ever attempted.
(5) This seemed to give an age(???) as much freer speech between us. If one could criticize one's parents, what or whom could one not criticize? Dimly, some freedom of thought and speech seemed born, created by her question.
http://toro.2ch.net/test/read.cgi/book/1356180563/l50
という場所にある「マルセル・プルーストのスレ」の 482 番で、Gさんが紹介してくれたものです。
勝手ながら、ここでも掲載させてもらいます。
It is simple enough to say that since books have classes--fiction, biography, poetry
--we should separate them and take from each what it is right that each should give us.
Yet few people ask from books what books can give us. Most commonly we come to books with
blurred and divided minds, asking of fiction that it shall be true, of poetry that it
shall be false, of biography that it shall be flattering, of history that it shall enforce
our own prejudices. If we could banish all such preconceptions when we read, that would be
an admirable beginning. Do not dictate to your author; try to become him. Be his fellow-worker
and accomplice. If you hang back, and reserve and criticise at first, you are preventing
yourself from getting the fullest possible value from what you read. But if you open your
mind as widely as possible, then signs and hints of almost imperceptible fineness, from
the twist and turn of the first sentences, will bring you into the presence of a human
being unlike any other. Steep yourself in this, acquaint yourself with this, and soon
you will find that your author is giving you, or attempting to give you, something far
more definite.
続く
The thirty-two chapters of a novel--if we consider how to read a novel
first--are an attempt to make something as formed and controlled as a building: but
words are more impalpable than bricks; reading is a longer and more complicated
process than seeing. Perhaps the quickest way to understand the elements of what a
novelist is doing is not to read, but to write; to make your own experiment with the
dangers and difficulties of words. Recall, then, some event that has left a distinct
impression on you--how at the corner of the street, perhaps, you passed two people
talking. A tree shook; an electric light danced; the tone of the talk was comic, but
also tragic; a whole vision, an entire conception, seemed contained in that moment.
http://gutenberg.net.au/ebooks03/0301251h.html#e26
Virginia Woolf, "The Common Reader, Second Series" (1935) の中の
"How Should One Read a Book" という essay からの抜粋
います。まだ少しだけですが。
>>68>>69の引用部分、 to receive impressions with the utmost understandingは
あくまで読書の過程の前半でしかなく、to judge, to compareという後半の過程が
あるのでしたね。
http://andrewswebsite.net/books/readabook.html
Wait for the dust of reading to settle; for the conflict and the questioning to die down;
walk, talk, pull the dead petals from a rose, or fall asleep. Then suddenly without our
willing it, for it is thus that Nature under-takes these transitions, the book will return,
but differently. It will float to the top of the mind as a whole. And the book as a whole is
different to the book received as separate phrases. Details now fit themselves into their
places. We see the shape from start to finish; it is a barn, a pig-sty, or a cathedral. Now
then we can compare book with book as we compare building with building. But this act of
comparison means that our attitude has changed. We are no longer the friends of the writer,
but his judges; and just as we cannot be too sympathetic as friends, so as judges we cannot
be too severe. Are they not criminals, books that have wasted our time and sympathy; are they
not the most insidious enemies of society, corrupters, defilers, the writers of false books,
faked books, books that fill the air with decay and disease? Let us then be severe in our
judgements; let us compare each book with the greatest of its kind.
(http://www.youtube.com/watch?v=WN4uhX4URr4)
10分ほどのこのビデオでは、Virginia Woolf の夫である Leonard Woolf が、Virginia Woolf が生きていたころのBloomsbury Group の様子や、
Hogarth Press という自分たち夫婦で作った出版社について、そして妻の Virginia についての思い出を語っている。
ただ、録音が古くて、発音がはっきりとは聴き取れず、僕の実力では90%から95%くらいしか聴き取れませんでした。
(1) INTERVIEWER: What would you say exactly the Bloomsbury Group was?
(2) LEONARD WOOLF: Well, it really consisted originally of 13 people: three women and ten men, nine out of ten men had been at Cambridge and ***.
(3) And it so happened that, after I came back from Sudan in 1911, we all went to live in the Bloomsbury. Thirteen people with three Stephens: Vanessa Stephen, Virginia Stephen, and Adrian Stephen.
(4) Vanessa Stephen married Clive Bell, also a member of the original group. And I married Virginia, then there was Lytton Strachey, Maynard Keynes, Roger Fry, Duncan Grant the painter, E. M. Forster,
and Saxon Sydney-Turner, who was in the Treasury, and Desmond MacCarthy and his wife Molly, who lived in Chelsea.
(5) INT: They were all people with widely different talents.
(7) INT: You were all more or less in revolt against Victorian standards, I suppose, in effect, that, uh, . . . .
(8) LW: Yes, of course, all intelligent people at that time were in revolt against their ancestors.
(9) INT: When you were up at Cambridge, I suppose you met Rupert Brook.
(10) (1'59") LW: Well, he was younger. I met him when I came back from Sudan in 1911. He was then at Cambridge.
(11) INT: He was a former friend of your wife and yours, wasn't he?
(12) LW: Yes, simply he became quite a friend of actual poet and rather far, and he was a rather dangerous friend. He took very much against all of us in Bloomsbury towards the end of his life.
(13) INT: To return to your wife, I think you wouldn't hesitate to call her person a genius. Apart from the evidence of her writings, can you describe any special attributes that marked her right from ordinary people?
(14) LW: She had what I call genius of a combination of imagination and intelligence, which is extremely rare, I think. Normally, she was extremely happy and enjoyed all the usual things in life.
(15) But, every now and then in the conversation, for instance, she would do what I call "leave the ground"
and give me a fantastic account of, say, perfectly ordinary things that would happen, which she would see, which was like all she does, I think, when she's at her best in her novels.
(17) (3'28") INT: I can see from her photographs she really was a very beautiful person like her sister Vanessa Bell.
(18) Yet there is a very moving section in your book, rather disturbing section. You talk about how people in the street used to laugh at her, how distressed she was.
(19) Can you give any reasons about why she should have been thought so strange.
(21) She dressed, I think, very beautifully but it was rather unlike most people and walked about in this curious way.
(22) It was, I think, also *** that she had mental breakdowns all her life. And it showed to us to a certain extent, to ordinary people and there of course they would laugh at them.
(23) (4'30") INT: One of your remarkable facts that potentially became Freud's publisher, it is strange that there's no mention in your book of either your wife, deciding to consult a Freudian Ryst.
(24) Very simple answer. She had had a mental breakdown before 1900. And then she had one in 1912. And in 1912, nobody really knew anything about psychoRysis. I didn't know anything.
(25) I doubt whether there was then ten people (???) who were psychoRysts. Because, afterwards, we published all Freud's works and we once went and thought when he came here.
(26) (5'20") You both had your first novels published during your marriage: "The Voyage Out" and "The Village in the Jungle." The first novels very seldom make a fortune for writers.
(27) Both of the books stood in print, I believe, it is interesting to know if you had any differently whether you made much money out of them.
(28) LW: No, we made practically nothing. I think that, in the first ten years of writing, I made six pounds of my book and she made about 15.
(29) INT: How did you come to start the Hogarth Press? And what is your reason for becoming a publisher?
(30) (5'59") LW: We wanted to print and we went to, uh, school printing. They couldn't teach us because you could only be taught printing if you undertook to be an apprentice.
(32) INT: There's an extraordinary list of authors in your first years.
(33) I think many publishers became envious of all these people and you published T. S. Eliot and Katherine Mansfield, I think. "The Waste Land."
(33) We printed "The Waste Land" with our own hands and published it in an edition of 300.
(34) INT: Three hundred?
(35) LW: Yes. And (we) made about 15 or 20 pounds.
(36) INT: Yes. When did you become an ordinary commercial publishing house?
(37) LW: We started in 1919, really, in a big sort of way, 1917, and we turned into a regular publisher about 1923 or '24.
(38) INT: What was your first success?
(39) (7'15") LW: "Kew Gardens" by my wife printed by our own hands, and it was very able to *** by the time ** one. And that really turned us into a publisher.
(40) INT: Why do you think the Hogarth Press survived?
(41) LW: Our authors were so good, and our publishing was so efficient, I think.
(42) INT: Did your wife work full time sometimes in the publishing while writing it in any sort of way, or. . .?
(44) The reading of manuscripts, (???) because there were so many manuscripts she used to rather deplore the amount of time which she had to spend.
(45) INT: What you advise to a young man or woman who wanted to go into publishing or journalism?
(46) LW: No, I personally wouldn't. I am told that I am quite wrong about this. I think it gets fun into the habit of regarding writing quite rightly for the purpose of journalism as a theme or thing.
(47) INT: Your fiction, I think, was almost totally confined to your earliest writing days.
(48) LW: Yes, I gave it up, really.
(49) INT: Was there anything to do with publishing or journalism?
(50) LW: It was simply that we had to earn our living. And, if we'd both written fiction for the first 15 years, we should have been completely bankrupt, unable to feed ourselves.
(51) One of them had to give it up.
(52) INT: One reviewer, Angus Wilson I think it was, commented on the fact that you don't tell us what your wife thought of the practical politics in your life.
(53) Was she involved in your political life in any way?
(54) LW: She was very interested in it. I mean, for instance, she ??? a women's coop's view march in Richmond, but her business was to write novels, and therefore it was full-time experience.
(55) But she was very experienced, in fact, in everything.
Leonard Woolf - On the Bloomsbury Group and a critical appraisal of Virginia Woolf
(http://www.youtube.com/watch?v=WN4uhX4URr4) の書き取りは、これで終わり。
Gさん、ありがとうございます。僕の書き取りには100％の自信はありません。特に自信のないところには
はっきりと (???) とか *** というマークをつけてありますが、他にも聴き取れていないところがあるかも
しれません。特に最後の三つほどのビデオは、昔のラジオで放送されたものらしく、僕の聴き取り能力では
正確には聴き取れません。とはいえ、90％くらいは聴き取れているはずなので、何もないよりは
マシだと自負しています。
Virginia Woolf についてのこれまでの一連のビデオは、どれもこれもかなり重要なものを含んで
いるみたいです。最初は何気なく聞いていたのですが、細かい部分まできちんと裏を取りながら書き取っている
うちに、実に素晴らしい資料だと思うようになりました。特に素晴らしいと思ったのは、最初の二つです。
つまり、30分ほどの Virginia Woolf の生涯を写真とナレーションで綴ったドキュメンタリーと、
そのあとの30分ほどの学者たちが入れ代わり立ち代わりに話をするビデオです。
この90分ほどにわたる映画は、Virginia Woolf の "Mrs. Dalloway" という小説を映画化したものです。
最初に見たときは、小説の原作を読む前の予備知識を得るだけのために見たので、大してよいとも何とも
思いませんでしたが、どうも忘れられなくなって、何度も見て、それから音声を歩きながら何度も聞いているうちに、
ますますよい映画だと思うようになりました。"Mrs. Dalloway" の映画は90分にわたり、最後まで書き取る気力が僕にあるかどうかわかりませんが、
ともかく始めてみます。なお、初めて見る方は、Wikipedia の日本語版と英語版（特に英語版）などにより、この小説の荒筋を把握し、
登場人物の名前だけでもしっかり覚えておいてから見た方がいいと思います。登場人物が多くて、途中で混乱するかもしれないからです。
なお、"Mrs. Dalloway" の映画のセリフの書き取りについては、"D-1" とか "D-2" という形で続き番号をつけていきます。D というのは、"Dalloway" の頭文字です。
(D-1) ト書き： Italy, 1918（第一次大戦に参加している Septimus Warren Smith が英国軍の兵士として銃を構えて射撃しているシーン。彼の目の前でその親友である Evans が砲弾によって死ぬ。）
(D-2) SEPTIMUS: Evans, don't come!
(D-3) ト書き： London, June 13, 1923（つまり第一次大戦の終了から6年後）
(D-4) (2'27") CLARISSA DALLOWAY: Those ruffians and Gods shan't have it all their own way.
(D-5) Those Gods who never lose the chance of hurting, thwarting, and spoiling human lives were seriously put out if, all the same, you behaved like a lady.
(D-7) LUCY (メイド): Yes, ma'am. And Mrs. Walker said not to forget Rumpelmayer's men will be here at eleven.
(D-8) CLARISSA: I won't forget. What a day, Lucy, what a day for my party! (ドアを開けて外を見る) What a lark! What a plunge!
(D-9) (若い時の) CLARISSA: What a plunge!
(主人公であるMrs. Dalloway すなわち初老の Clarissa Dalloway がロンドンの街を歩く)
(D-10) (4'50") (公園で、初老の男性) HUGH WHITBREAD: Good morning to you, Clarissa!
(D-11) (初老の) CLARISSA: Hugh!
(D-12) HUGH: And where are you off to?
(D-13) CLARISSA: To buy some flowers for my party. I love walking in London on a day like this. It's better than in the country.
(D-14) HUGH: Evelyn (Hugh の妻) wouldn't agree with you there, she felt bad coming out to town. I had to go to the ***. . . see ***. She's put on a nursing home for a few days.
(D-15) CLARISSA: Nothing serious?
(D-16) HUGH: No. Nothing serious. She's just a good deal out of salts(???). The war may be over but there'd still be an echo of it.
(D-17) The Bexborough boy was killed, you know．She is very close to Lady Bexborough, of course. And Evelyn takes things badly.
(D-18) (5'33") CLARISSA: Yes. One does still here dreadful stories.
(D-19) HUGH: I must get on. They'll be waiting for this (鞄を指さす) at the Palace. (注釈: Hugh Whitbread は Buckingham Palace つまり British Royal household で働いている。)
(D-20) CLARISSA: Will you still come to my party tonight?
(D-21) HUGH: Oh, yes. Evelyn absolutely insists I go.
(D-22) (6'00") (若い時の) PETER WALSH: Hugh Whitbread. I can't forgive you like him, Clarissa.
(D-23) (若い時の) CLARISSA: He's an oaf(???). Even when he plays tennis, his hair ***, doesn't it?
(D-24) (6'11") (若い) WALSH (ブランコを押しながら): He's a barber's block. An imbecile. He's nothing but his clothes.
(D-25) CLARISSA DALLOWAY: （ブランコに揺られながら）I like him.
(D-26) PETER WALSH: How can you!? He's never read anything, never thought anything, never felt anything. Stable boys have more life than Hugh.
（ここで Hugh と言っているのは、彼らの前を去っていく Hugh Whitbread のこと。Hugh は後に Buckingham Palace に勤務することになる。）
(D-27) CLARISSA: Well, Sally says he tried to kiss her in the smoking room.
(D-28) PETER: Oh, she didn't let him!
(D-29) CLARISSA: She said she'd rather die first.
(D-30) PETER: Good for Sally. She sees through all that public school nonsense. All manners and breeding. No country but English would refuse Hugh.
(D-31) CLARISSA: He's sweet and unselfish. And he's very good to his mother.
(D-32) PETER: You're so sentimental, Clarissa!
(D-33) CLARISSA: And you're impossible!
(D-34) （パーティーの席上で、正装した若い Clarissa） CLARISSA: Oh, what beautiful flowers! That's absolutely wonderful, Sally!
(D-35) （老婦人）: Oh, I thought Sally could be trusted to do the flowers. But that's wicked! To cut off the heads of those flowers, really!
(D-36) CLARISSA: I think they're beautiful. Peter, look at the flowers.
(D-37) PETER: （立ち上がって）Yes.
(D-38) CLARISSA: 笑う。
(D-39) (8'10") （初老の）CLARISSA: Roses for the hall, I think.
(D-40) （花屋さん）: And then, some sweet peas for the table, perhaps?
(D-41) CLARISSA: Yes, sweet peas for the table. It will be perfect!
(D-42) 花屋さん: Those awful motorcars!
(D-43) CLARISSA: Uh, yes, yes, ***, of course, those cars
(D-44) SEPTIMUS WARREN SMITH: *** is here.
(D-45) LUCREZIA （Septimus の妻）: Septimus, please, we must go on.
(D-46) SEPTIMUS: *** is here. And I don't know for what purpose.
(D-47) LUCREZIA: Septimus, please, people are looking at us.
(D-48) SEPTIMUS: Am I backing away? All right, then. （二人は歩き出す。）
(D-49) (9'30") 花屋さん: Good bye, Mrs. Dalloway.
(D-50) CLARISSA: Mrs. Dalloway, Mrs. Dalloway, and not even Clarissa, you know. You marry him, no more children, just Mrs. Dalloway. Mrs. Richard Dalloway is to give a party.
(D-51) （若い時の）PETER: You'll marry a Prime Minister. You'll stand at the top of the staircase. You'll give parties. You'll be the perfect hostess. You have the makings of a perfect hostess. You could do so much, be so much.
(D-52) （若い時の）CLARISSA: What do you want me to be? Life seems to me to be very dangerous.
(D-53) PETER: But we must live life dangerously! （飛び降りる） Oh, ah! （Peter が怪我をしたのではないかと心配した Clarissa。無事だとわかり、立ち去る。）
(D-54) (11'45") LUCREZIA: Look! Look, Septimus!（二人で公園にいても、悩んでばかりいるSeptimus に対して、空を飛ぶ飛行機を見上げるよう促す。）
(D-55) SEPTIMUS: There's no crime. There's no death. (12'00") A bird says this in Greek. There's clangoring. Kill yourself. Kill yourself!
(D-56) LUCREZIA: Septimus, I'm going to the lake and back.
(D-57) 女性： Kreemo. It says "Kreemo."
(D-58) 女性： I quite agree. Bushes, flowers, so well kept. Yes, this is a wonderful garden. Beautiful.
(D-59) LUCREZIA: You should see me in the Landgarden(???).
(D-60) 女性： What a strange person! She's a foreigner.
(D-61) 二人目の女性: Oh. . . .
(D-62) (13'09") SEPTIMUS: But there IS no God! No one kills for hatred! Evans, for God's sake, don't come! （Septimus は Evans の幻影を見る。Evans が爆弾によって散る。）
(D-63) 老婦人： T-O-F-F-E-E.
(D-64) 老紳士： It says "Toffee."
今まで気づかなかったけど、ネット上には
http://subtitlesbank.com/mrs-dalloway-english-sub-753553/
というサイトがあり、ここで適当な処理をするとこの映画の script の全文が見られるみたいだ。ただ、どのようにすればいいのかわからない。
仮にそのサイトで script の全文が見られるとしても、僕はせっかく始めたこの書き取り作業を続けようと思う。
他の書き取りについても言えることだけど、すでに誰かが書き取ったものを僕が読んでも、読み流してしまうだけで、あまり身につかない。
今回、僕は一連のビデオを書き取っているけども、できれば別の人の役に立ちたいという強い思いもあるけど、
まず第一に僕自身のために書き取りをしている。書き取りをすると、英文の隅々までがよく理解できるようになる。誰かがすでに書き取ったものを
読むだけでは、僕の場合はいい加減に聞き流し、読み流してしまう。
(D-65) 老婦人： Oh, no, it's "Toffee."
(D-66) (14'54") （自宅に戻った) CLARISSA: Look, Lucy, it says "Kreemo, Toffee."
(D-67) LUCY: Ha-ha. There was a telephone message, ma'am. Mr. Dalloway said to tell you he would not be home for lunch. He will be lunching at Lady Bruton's.
(D-68) CLARISSA: Thank you. Lady Bruton. . . .
(D-69) （Clarissa の夫である）RICHARD DALLOWAY: Clarissa, my darling, Parliament sits so late and Doctor said you must get your rest. You must sleep undisturbed.
(D-70) (15'53") （花屋さんで見かけた Septimus の絶望的な表情を思い出しながら）
CLARISSA: Fear no more the heat o' the sun; Nor the furious winter's rages, . . . .
（これは、Shakespeare の sonnet の一節。このsonnet の全文は、（http://www.poemhunter.com/poem/fear-no-more/）に載っている。）
(D-71) CLARISSA: It's all over for me. She's stretched the bed for tomorrow(???).
(D-71) (16'36") （若き日のClarissa の親友である）SALLY SETON: What we need to do is abolish private property.
Because that really is of course all the problems. Let's write a letter to the "Times" about it. Then we should found a society, to abolish private property and do away with it for ever and ever.
(D-72) CLARISSA: This house, as well.
(D-73) SALLY: You always look so virginal, Clarissa.
(D-74) CLARISSA: I AM virginal.
(D-75) SALLY: Are you in love with Peter?
(D-76) CLARISSA: Oh, love. . . . I. . . I don't know.
(D-77) (17'19") SALLY: But you love ME. （本来ならイタリックで示すべきところは、大文字で表記しておきます。）
Damn, I'm blast, I left my sponge in the bathroom. Damn it, I'm going to get it. . . like this. （全裸になる。）
(D-78) CLARISSA: You wouldn't!
(D-79) SALLY: I would! （Sally が廊下を全裸で走る。）
(D-80) (17'50") （初老の）CLARISSA: Is it all over for me? I've come up to the Tower and left them all. Blackberries in the sun.
(D-81) (18'10") 老婦人： （Clarissa が家の中を走り回るのを見て）Don't run, Clarissa. Young ladies don't run.
(D-82) 老紳士： （Peter に向かって）Life gets good. But I think *** beautiful, especially at this time of the year.
(D-83) The philosophers thought and the mind's very much *** here *** unfortunate gardens *** and you have many trees, and parlors, and *** orchestrated. That's tremendously fine. I think this is a great achievement of the English garden.
(D-84) (18'37") SALLY: （詩集を朗読している）
LOVE in her Sunny Eyes does basking play;
Love walks the pleasant Mazes of her Hair;
Love does on both her Lips for ever stray;
And sows and reaps a thousand kisses there.
In all her outward parts Love's always seen;
But, oh, He never went within.
（この詩の全文は、http://www.bartleby.com/105/61.html というページに掲載されている。）
(D-85) SALLY: Ha-ha. . . . Clarissa!
(D-86) CLARISSA: What? Really?
（ここで Sally は、この詩の持っている erotic な意味合いを耳打ちして教える。やっと真意を理解した Clarissa と Sally が共に笑い転げる。）
(D-87) (19'19") SALLY: The men lead such exciting lives, but their poor wives don't seem to do so well. Marriage is a catastrophe for women.
(D-88) CLARISSA: (Sighs.) But it is inevitable, isn't it? Sally, will we always be together?
(D-89) SALLY: Always. Always. We'll do everything together. We'll change the world! Come on! （二人は走り出す。）
(D-90) （初老の）CLARISSA: Oh, Lucy! Oh, it does look nice.
(D-91) LUCY: The door's off the hinges in the dining room, ma'am. And the Rumpelmayer's men will be here soon. Can I help you with that, ma'am?
(D-92) CLARISSA: No, Lucy, you've got enough to do.
(D-93) (20'17") （若き日の Clarissa が Sally と共にパーティで踊っている。二人は接吻する。）
(D-94) PETER: Star-gazing, are we?
(D-95) SALLY: Yes. Come on, Joseph. You know the stars. You can tell us which is which.
(D-96) JOSEPH: （空を見上げながら、星座の説明を始める。）You see, that star just above the horizon. . . . That's Antares. Heart of the Scorpio constellation. His name means "Rival of Mars."
(D-98) JOSEPH: That's Libra. We have Alpha. There goes a bright star. And see how Altair, the brightest star of the Eagle, shines in the east for us tonight.
(D-99) （Clarissa の娘）ELIZABETH: Miss Killman and I are going out. Is there anything we can get for you, Mother?
(D-100) （初老の）CLARISSA: Where are you going, Elizabeth, dear?
(D-101) (21'49") ELIZABETH: Miss Killman is taking me to meet the Reverend Whitaker.
(D-102) CLARISSA: Reverend Whitaker. . . . Oh, yes. Wasn't he very instrumental in your conversion, Miss Killman?
(D-103) （Elizabeth の歴史の家庭教師）MISS KILLMAN: Yes, he helped to bring me to Our Lord.
(D-104) CLARISSA: And is today's visit part of the history lesson?
(D-105) ELIZABETH: The Reverend Whitaker is also an historian, Mother.
(D-106) MISS KILLMAN: He can put history in the proper perspective.
(D-107) CLARISSA: I wonder what that is. I've never wanted to convert anyone, I hope. I just want everyone to be themselves. I've often thought that religious fanaticism can make a person. . . rather callous.
(D-108) ELIZABETH: Mother, we're just going to talk to him.
(D-109) CLARISSA: You won't forget about my party tonight, Elizabeth?
(D-110) ELIZABETH: I WAS going to help Miss Killman with the clothes for the mission.
(D-111) CLARISSA: Well, I dare say Miss Killman could spare you for one evening.
(D-112) (22'50") ELIZABETH: I'll see, Mother. We must go. Or we'll be late.
(D-113) PETER: It all seems useless. Going on being in love, going on quarreling, going on making out. . . .
(D-114) CLARISSA: But Peter, you want so much from me. You leave me nothing to myself. You want every little bit of me.
(D-115) PETER: Well, I do. I want us to be everything to each other.
(D-116) CLARISSA: But that's so suffocating.
(D-117) PETER: God, God, God!
（Clarissa の家に人が訪ねてくる。）
(D-118) （初老の）CLARISSA: Peter Walsh!
(D-119) PETER: Clarissa.
(D-120) CLARISSA: Peter! But you're in India.
(D-121) PETER: No, no, didn't you get my last letter? I said I'd be here in June.
(D-122) CLARISSA: No, your last letter said you might be back, but I never suspected it. It's extraordinary to have you, Peter, put me into this state just by coming here.
（心の中で） He looks awfully well. （再び Peterに）It's heavenly to see you again, Peter.
(D-123) PETER: I arrived last night.
(D-124) CLARISSA:（心の中で）Playing with his knife.
(D-125) PETER: How is everything? How are you?
(D-126) CLARISSA: （心の中で）Ha-ha, so like him!
(D-127) PETER: How's Richard?
(D-128) CLARISSA: Oh, Richard's with some committee or other, something to do with his constituency.
(D-129) PETER: What's this? What's all this here?
(D-130) CLARISSA: Ha-ha, I'm mending my dress. It's for my party tonight, which I shan't invite you to, my dear Peter.
(D-131) PETER: Why? Why won't you ask me?
(D-132) CLARISSA: It's extraordinary that you shall knock this morning. I've been thinking about Bourton all day.
(D-133) PETER: I heard about your father. I should have written to you, of course, though I never got on with him.
(D-134) CLARISSA: But he never liked anyone who. . . .
(D-136) CLARISSA: Herbert bought it. I never go there. And what happened to you?
(D-137) (25'47") PETER: Hmmm, millions of things. Shall I tell you? Shall I make a clean breast of it? I'm in love. I'm in love with a girl in India.
(D-138) CLARISSA: And who is she? A younger woman, of course?
(D-139) PETER: Well, I'm not old, you know. My life isn't old enough by any means, though YOU, of course, think me a failure. You'll bet I am compared to all this.
(D-140) CLARISSA: And who is she? Tell me.
(D-141) PETER: Uhm, ha-ha. . . . A married woman, unfortunately. She is the, uh, the wife of a major in the Indian Army.
(D-142) PETER: She has two young children, a boy and a girl, and it's a bit of a mess. And I'm here to see the lawyers about a divorce. She's called Daisy.
(D-143) CLARISSA: Yes? Yes. . . . （ため息）But what shall you do?
(D-144) PETER: Oh, uh, the lawyers and solicitors are going to do it.
(D-145) CLARISSA: For Heaven's sake, leave that knife alone!
(D-146) PETER: I don't know what I'm up against. I know what I'm up against. （泣く）
(D-147) PETER: *** I 'm behaving all like a fool, weeping, being emotional. *** at this hour, I told you everything as usual. Are you happy, Clarissa?
(D-148) LUCY: Excuse me, ma'am, a gentleman here from the Rumpelmayers.
(D-149) CLARISSA: Oh, thank you, Lucy.
(D-150) PETER: Good bye, Clarissa.
(D-151) CLARISSA: My party tonight. Please come to my party tonight.
(D-152) （パーティーでのダンスの最中、若き日の）PETER: Come on, let's get out of this.
(D-153) CLARISSA: I want to do another.
(D-154) PETER: Come on. Clarissa, what do you want? Stay here and go to parties?
(D-155) CLARISSA: But I like parties.
(D-156) PETER: Clarissa! （彼女にキスする。）
(D-157) （若き日の）HUGH: You always turn me up. ***
(D-159) HUGH: Did you know when Gaiter(???) married again?
(D-160) 老婦人： Yes, they came to call last week.
(D-161) (30'47") 初老の男性： The woman used to be Hugh's housemaid.
(D-162) HUGH: He had a nerve. Bringing a housemaid to Court.
(D-163) 女性：Yes, she was absurdly overdressed. She looked like a cockatoo. And she never stopped talking.
SALLY: She probably thought you all knew.
(D-164) CLARISSA： Knew what?
(D-165) SALLY: That she had a baby before she was married.
(D-166) CLARISSA: Oh, I don't think I shall be able to speak to her again.
(D-167) PETER: Don't be ridiculous, Clarissa!
(D-168) 初老の男性： If this is true, we shall certainly not receive her again.
(D-169) 初老の女性： I should think not.
(D-170) HUGH: If you start receiving women like that, you don't know where it'll end.
(D-171) SALLY: Oh, you snob! You represent all the detestable in the British middle class life! It's men like you who are responsible for prostitutes around Piccadilly!
(D-172) HUGH: Me!?
(D-173) SALLY: Yes. Men like you.
(D-174) 老婦人： That's enough, Sally. We'll have no more of this conversation.
(D-175) (31'55") SALLY: I'm glad I walked out. They're all such snobs and Hugh is a fraud.
(D-176) PETER: Clarissa is so prudish and arrogant.
(D-177) SALLY: Not really. It's just what she's been brought up to.
(D-178) PETER: I wish she thinks more clearly.
(D-179) (32'13") SALLY: Clearly enough to marry you, you mean.
(D-180) （正装したたくさんの男女がパーティの食卓についている）CLARISSA: This is Mr. Wickham, Peter.
(D-181) RICHARD DALLOWAY: My name is Dalloway. Richard Dalloway.
(D-182) CLARISSA: But I introduced you to everyone as Mr. Wickham.
(D-183) RICHARD: It's still Dalloway. My name is Dalloway.
(D-184) CLARISSA: Dalloway.
(D-186) SALLY: My name's Dalloway. Now what's the matter?
(D-187) PETER: Someone is just holding my grave. She's going to marry that man.
(D-188) (33'46) SEPTIMUS: I went under the sea. I have been dead. And now, I am alive. I must rest. Rest.
(D-189) LUCREZIA: Septimus, I'm going to ask someone the time. I think we have to go now.
(D-190) SEPTIMUS: There's nowhere to go. Nowhere to hide.
(D-191) LUCREZIA: Septimus, you know we're going to see a doctor who will help you.
(D-192) SEPTIMUS: No more doctors! No more lies!
(D-193) LUCREZIA: Septimus, please!
(D-194) (34'44") SEPTIMUS: Evans? Evans! For God's sake, don't come!
(D-195) LUCREZIA: Septimus, it isn't Evans. All right? It isn't Evans. There's nothing wrong about it. Really, he isn't. Let's go.
(D-196) （パーティの席で、若き日の）SALLY: Clarissa, it's such a lovely evening. Let's go to the lake. Oh, yes, we could go boating. Let's get our shawl. It might get cold.
(D-197) CLARISSA: Peter, we're going boating on the lake. Aren't you coming?
(D-198) PETER: You're a perfect hostess.
(D-199) CLARISSA: Well, don't come if you're going to be beastly.
(D-200) PETER: Dalloway. It's still Dalloway.
(D-201) CLARISSA: Come on. They're all waiting. （ボートのわきでみんなが待っているが、Clarissa と Peter が二人でそこまで走っていく。）
(D-202) (37'25") CLARISSA: （ボートに乗って歌う）
Away, lance(???) away, down to Rio
And I'll sing you a song of the fish of the sea
As where above the Rio ***
Away, lance, away, down to Rio
And I'll sing you a song of the fish of the sea
As where above the Rio
（他のグループが歌いだす。）
(D-203) LUCREZIA: Poor old woman. You won't *** a doctor, will you? You mustn't. They'll take you away from me.
(D-204) (38'58")（精神科医）SIR WILLIAM BRADSHAW: I've looked at Dr. Holmes' notes, and he's been seeing your husband for some six weeks?
(D-205) LUCREZIA: Yes. He's our landlady's doctor. She said for him because I had told him I was worried about Septimus.
(D-206) WILLIAM: He threatened to kill himself.
(D-207) LUCREZIA: He didn't mean it.
(D-208) WILLIAM: No, of course not. (39'17") And Dr. Holmes prescribed bromide?
(D-209) (39'21") LUCREZIA: Yes. He said that there was nothing really wrong. But Septimus keeps talking to the dead man, Evans, his friend who was killed in the war.
(D-210) LUCREZIA: But the war has been over for years now. And Septimus wasn't like this when I met him. It's happened in just the last few months.
(D-211) LUCREZIA: He says people are talking behind bedroom walls, and he saw a woman's head in the middle of a fern. He says he's on trial for some terrible crime.
(D-212) LUCREZIA: But, of course, he's done nothing, and then he seems to forget it all and seems happy again as he used to be.
(D-213) LUCREZIA: We went to Hampton Court on top of a bus the other day and all the red and yellow flowers were out on the grass and he said they looked like floating lamps.
(D-214) LUCREZIA: And he was funny as he used to be, and he made me laugh. And I was so happy and then suddenly, as we were standing by the river, he said, "We will kill ourselves."
(D-215) LUCREZIA: Then he held my hand and said he was falling into the flames and he cried and cried.
(D-216) (40'28") WILLIAM: Mrs. Warren Smith, your husband is very seriously ill. From everything you've told me and from Dr. Holmes' report, I believe that he is suffering from a delayed shell shock.
(D-217) LUCREZIA: He's not mad, is he?
(D-219) LUCREZIA: But Dr. Holmes said that there was nothing whatsoever the matter.
(D-220) WILLIAM: Your husband needs rest. A complete rest.
(D-221) LUCREZIA: But not away from me.
(D-222) WILLIAM: Mr. dear Mrs. Warren Smith, sometimes we have to separate such people from their loved ones for their own good.
(D-223) （41'09") （屋外）HUGH: Oh, Dalloway, I met Clarissa this morning. So, she's giving another of her famous parties tonight.
(D-224) RICHARD: Right as usual, Hugh. Lady Bruton's summoned Hugh as well.
(D-225) HUGH: What about *** good luck, I'm sure. Ah, good day, Miss Brush.
(D-226) HUGH: How is your brother in South Africa?
(D-227) LADY BRUTON: I got you here under false pretenses. I actually need your help. But we'll have lunch first. And how is Clarissa?
(D-228) RICHARD: Well, she's quite well recovered, thank you. Doctor says she must take ease, but she does so want to give the party tonight. Well, I just wish to have the pleasure of your company.
(D-229) LADY BRUTON: Of course, Richard. I wouldn't miss one of your parties.
(D-230) HUGH: I met Clarissa in the Park this morning. She was wearing a yellow feathered hat.
(D-231) RICHARD: Oh, yes, I like that hat.
(D-232) (42'31") 精神科医の受付の女性： Will you come in now, please? Good.
(D-233) WILLIAM: Do sit down. I see that you served with great distinction in the war, Mr. Warren Smith.
(D-234) SEPTIMUS: The war? The European war. A little shindy of schoolboys with gunpowder? Did I serve with distinction? I've forgotten. In the war itself, I failed.
(D-235) LUCREZIA: No. He served with the greatest distinction. He was promoted.
(D-236) SEPTIMUS: I have an. . . I have committed a crime.
(D-237) LUCREZIA: He has done nothing wrong whatever.
(D-238) (43'28") WILLIAM: What did Dr. Holmes advise you to do?
(D-239) SEPTIMUS: My wife, she said she would make porridge. And headaches, dreams, fears are just nerves. Health is largely a matter in our own control. I should take up some hobby.
(D-240) (43'45") SEPTIMUS: Dr. Holmes throws himself into outside interests, "throws himself," he's able to, um, switch off from his parents on to old furniture.
(D-241) LUCREZIA: Dr. Holmes is interested in antique furniture.
(D-242) WILLIAM: Oh, yes, of course.
(D-243) SEPTIMUS: When the damned fool came again, I refused to see him. The repulsive brute! Blood-red nostrils! So, once you stumble, human nature is on you. Holmes is on you.
(D-244) SEPTIMUS: Our only chance is to escape without letting Holmes know. Um, anywhere away from Dr. Holmes. It's no excuse. Nothing whatever is the matter. . . .
(D-245) SEPTIMUS: . . . except the sin, for which human nature has condemned me to death. I cannot feel. I did not care when Evans was killed.
(D-246) SEPTIMUS: It was the worst. But all the other crimes raised their heads and shook their fingers and jeered and sneered. The verdict of human nature on such a beast is death.
(D-247) WILLIAM: We all have our moments of depression. He has impulses sometimes?
(D-248) SEPTIMUS: That is my own affair.
(D-249) WILLIAM: No, there you are mistaken, sir. We are all responsible, one for another.
(D-250) (45'43) SEPTIMUS: Well, I am responsible to Dr. Holmes. Ha-ha-ha. Another humbug.
(D-251) WILLIAM: We have been arranging that you should go into a home.
(D-252) SEPTIMUS: One of Holmes' homes?
(D-253) WILLIAM: No, into my home, Mr. Warren Smith. And there, we will teach you to rest and to regain a sense of proportion.
http://www.youtube.com/watch?v=w227rhzbQ_c
この映画のセリフを書き取り始めて、ほぼ真ん中に到達した。この映画は何度も見て、歩きながら
何度も聞いた。すでに言ったように、最初はさほどいい映画だとも思わなかった。しかし、原作の小説
を読み、さらにはその小説をもっとよく理解しようと思うけれども原作を２回ほど読んだだけでけっこう
くたびれる。
ところが、映画ならたったの90分だし、基本的に映画というものは書籍に比べると
はるかに楽に楽しめるし、基本的には映画というものは文学に比べると娯楽的な要素が強いので、
実に楽。特に、運動のために歩いている最中でも聞ける。自動車の通る危ない道をさすがに
Virginia Woolf の原書を読みながら歩くわけにはいかないけど、その小説の映画化されたものを
聞きながらなら何とか歩ける。
そんなふうにして何度も見たり聞いたりしているうちに、この映画がますます素晴らしいと思うようになった。
そして、最初はあまり気に入らなかった役者の演技も、ますます深く味わえるようになった。
主人公の Mrs. Dalloway すなわち Caroline Dalloway を演じる Vanessa Redgrave
の演技も素晴らしく、しかも女性として実に美しく魅力的だ。
そして誰よりも、気が狂った Septimus Warren Smith を演じる Rupert Graves の
鬼気迫る演技は素晴らしい。特に 46分12秒あたりの
"But I've confessed! I confessed my crimes."
と叫ぶあたりは圧巻だと思う。
（続く）
文学の傑作の映画化されたものは、原作とは別物であって、映画化されたものを楽しんでも
原作そのものを楽しんだことにはならないし、映画ばかり見て原作を読み込む努力を怠ってしまう
ことのないように肝に銘じておきたい。でも、せっかく映画化されていて、しかもかなりよくできた
映画であり、さらには原作にかなり忠実に作ってあると思われるので、この映画は原作の小説
とセットにして、これからも大いに活用したい。
そしてこのことは、同じく YouTube 上で見られる "To the Lighthouse" の映画化されたもの
についてもいえる。（http://www.youtube.com/watch?v=tGfC-o5vGWI)
同じく Virginia Woolf が書いた "Orlando" の映画化されたものもあるのだが、これについては
YouTube 上では見られないので、僕は見ていない。DVD をいずれビデオ屋で借りるか買うかして、見てみたい。
http://www.imdb.com/title/tt0119723/
(2) "Mrs. Dalloway" の小説についての Wikipedia での解説（英語）
http://en.wikipedia.org/wiki/Mrs_Dalloway
（Wikipedia には、日本語による解説もあるけど、ごくわずか。ぜひ英語版の Wikipedia
の解説を読むといい。）
(3) "Mrs. Dalloway" についての詳しい注釈（SparkNotes)
http://www.sparknotes.com/lit/dalloway/
（この SparkNotes というのは、いろいろな純文学作品についての注釈サイト。
英語圏の学生が学校で出される宿題をこなすための虎の巻サイトみたい。）
しまって、スレ違いだとは思いながらも、ついついこの俳優について少し語りたくなる。
Biography for Rupert Graves
http://www.imdb.com/name/nm0001291/bio
このページにある次の一節を読んでほしい。
Britain's Rupert Graves was born a rebel, resisting authority and
breaking rules at an early age. In his teens he became a punk rocker
and even found work as a circus clown and in traveling comedy troupes.
（中略）
Rupert moved to the front of the class quickly. His decisions to
select classy, obscure arthouse films as opposed to box-office
mainstream may have put a dimmer on his star, but earned him a
distinct reputation as a daring, controversial artist in the same
vein as Johnny Depp.
Johnny Depp と似た感じの人であり、魅力ある容姿と傑出した演技力を持ちながらも、
売れ筋の映画には出演せず、売れなくてもいいからともかく芸術的な香りの高い作品にしか
出演したくないタイプの俳優。子供のときから権威に対して反抗的であり、パンクロッカーをやったり
サーカス団で働いていたこともあったとのこと。
まさにこの映画の Septimus にぴったりの俳優だ。イギリスにはこのような純文学タイプの俳優が
たくさんいるみたいなので、楽しい。
(D-254) (46'10") SEPTIMUS: But I've confessed! I confessed my crimes! Why won't you let off?
(D-255) LUCREZIA: He has done nothing. Nothing.
(D-256) WILLIAM: He will be perfectly looked after. I will visit once a week.
(D-257) LUCREZIA: But my husband does not like doctors. And he will refuse to go.
(D-258) (46'25") WILLIAM: Your husband has threatened to kill himself. There is no alternative. It's a question of the law.
(D-258) WILLIAM: It's a very beautiful home in the country, and the nurses are admirable. Now if you have no further questions to ask, I will arrange everything with Dr. Holmes.
(D-259) WILLIAM: He will send somebody around this evening, and between five and six. It is the law, Mrs. Warren Smith. It's for the best.
(D-260) LUCREZIA: It won't be Dr. Holmes who'll come, will it?
(D-261) WILLIAM: Trust everything to me.
(D-262) （診療所の外で）LUCREZIA: I do not like that man.
(D-263) SEPTIMUS: It's humbug! Yet, is that it?
(D-264) （食卓で）LADY BRUTON: Do you know who's in town? Our old friend, Peter Walsh, back from India.
(D-265) RICHARD: Peter Walsh back?
(D-266) LADY BRUTON: In trouble with some woman, evidently. Some woman in India.
(D-267) HUGH: Peter Walsh is always in trouble of some sort.
(D-268) (47'42") RICHARD: Didn't he marry someone on the boat going out?
(D-269) LADY BRUTON: Oh, I don't believe it lasted long. I imagine it was somewhat. . . . I believe it's what is known as the rebound.
(D-270) HUGH: I suppose he is trying to settle here now. I'd say it's difficult to help him. He's quite a misfit.
(D-271) LADY BRUTON: I'm sure that Clarissa will know that he's here. And I have no doubt he'll be at the party tonight, and all will be revealed.
(D-272) (48'08") RICHARD: Oh, yes. If Peter Walsh is in town, Clarissa will know.
(D-274) (48'54") LADY BRUTON: Well, my idea is this. We all agree, do we not, that Britain is overpopulated.
(D-275) HUGH: Yes, and the inn(???).
(D-276) BRUTON: And, you agree that many of these men back from the war are finding it difficult to find employment.
(D-277) BRUTON: Indeed, in some cases, their work has been commandeered by women. However, you all know that the rot has set in there.
(D-278) HUGH: Unfortunately, yes.
(D-279) BRUTON: Well, my idea is a simple one. But all the best ideas are simple, as we know.
(D-280) BRUTON: My project is to encourage, by making it financially easy, young people of both Res to emigrate to Canada.
(D-281) BRUTON: They will be set up with the fair chance of doing well in Canada. And Britain would gain financially in the long run.
(D-282) BRUTON: Is there anything so much that I can do, being a woman? But Richard, I ask you to make this suggestion in the House.
(D-283) BRUTON: And Hugh, I want you to help me start the ball rolling with a letter to the Times. I know, my dear Hugh, that you will know exactly how to phrase it for me.
(D-284) (50'15") RICHARD: I think someone's already taken some kind of emigration plan going, but I suppose letters to the Times will do nohow.
(D-285) HUGH: I'll take it further. Make emigration obligatory so you couldn't get work after a certain period of time.
(D-286) RICHARD: I wouldn't go that far. These things are never quite that simple.
(D-287) HUGH: There's a new chef at the Cafe Royal. Does. . . .（あとは聞こえない）
(D-288) BRUTON: You just have time to catch three-o'clock post, Midred. I think we can safely say that the job's well done. I shall take my risk now.
(D-289) （ロンドンの街中）RICHARD: I wonder if Peter Walsh has got in touch with Clarissa.
(D-291) RICHARD: I think I'll buy Clarissa some flowers. Yes, I'll hop in to see her on my way back to the House with some flowers. （Hugh から離れて一人で歩き出す。そして花屋で花を買う。）
(D-292) （若き日のRichard が花を Clarissa に手渡す）RICHARD: They WERE meant to be red.
(D-293) CLARISSA: I know.
(D-294) RICHARD: No red ones left. （Clarissa に接吻。）
(D-295) (52'43") （花を携えて自宅に戻った Richard を迎えて）
CLARISSA: Richard! Ah, red roses! Oh, I'll put them somewhere very special. How was lunch? Was it amusing?
(D-296) RICHARD: Hugh was there. He's really getting quite intolerable. She wants him to write some letters to the Times. One of her "schemes" to put the world in order. What's all this?
(D-297) CLARISSA: Richard, you can't have forgotten it's for my party. And now, it will all be spoiled.
(D-298) RICHARD: （気落ちした Clarissa を慰めるように）Oh, come here. Let's sit down. . . for five minutes. Why will it all be spoiled?
(D-299) CLARISSA: Mrs. Marsha just sent me this note to say that she's quite sure I wouldn't mind she's invited Ellie Hendersen!
(D-300) RICHARD: What's so dreadful about that?
(D-301) CLARISSA: Richard! She's one of the dullest women in the world! She'll bore everyone, and Elizabeth said she isn't coming to the party tonight, and she's gone off to pray with that dreadful Miss Killman.
(D-302) RICHARD: You worry too much about your parties, Clarissa.
(D-303) CLARISSA: Richard, it's all that I can do. (To) give people one night which everything seems enchanting and all the women seem beautiful and the men are handsome.
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