英文学専攻
英米文学演習第二
5. レポーター担当リスト
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3. porch (6/18)
2. Nathaniel Hawthorne (1804-64) on Romance
and Novel
(1) If
the imaginative faculty refused to act at such an hour, it might well be deemed
a hopeless case. Moonlight, in a familiar room, falling so white upon the
carpet, and showing all its figures so distinctly, ―making every
object so minutely visible, yet so unlike a morning or noontide visibility, ―is a medium
the most suitable for a romance-writer to get acquainted with his illusive
guests. There is the little domestic scenery of the well-known apartment;
the chairs, with each its separate individuality; the centre-table, sustaining
a work-basket, a volume or two, and an extinguished lamp; the sofa; the
book-case; the picture on the wall; all these details, so completely seen, are
so spiritualized by the unusual light, that they seem to lose their actual
substance, and become things of intellect. Nothing is too small or too
trifling to undergo this change, and acquire dignity thereby. A child’s
shoe; the doll, seated in her little wicker carriage; the hobby-horse; ―whatever, in a
word, has been used or played with, during the day, is now invested with a
quality of strangeness and remoteness, though still almost as vividly present
as by daylight. Thus, therefore, the floor of our familiar room has
become a neutral territory, somewhere between the real world and fairy-land,
where the Actual and the Imaginary may meet, and each imbue itself with the
nature of the other. Ghosts might enter here, without affrighting
us. It would be too much in keeping with the scene to excite surprise,
were we to look about us and discover a form, beloved, but gone hence, now
sitting quietly in a streak of this magic moonshine, with an aspect that would
make us doubt whether it had returned from afar, or had never once stirred from
our fireside. (“The Custom-House,” introductory to The Scarlet Letter
[1850])
もしこのようなとき〔自身の空想が生み出した物語の登場人物たちに「おまえは私たちとなんの関係があるのだ」となじられて知的麻痺状態に陥った作者が夜遅くひとり居間に座って、明日は原稿用紙に流れ出て心を明るくしてくれるかもしれない想像上の場面を心に描きあげようとしているとき〕に想像力がはたらくことを拒否したとすれば、もうそれは絶望的だと見なされてもいたしかたのないことであろう。住みなれた部屋の絨毯にまことに白く射しこみ、絨毯の模様をじつにくっきりとすみずみまで照らしだす――あらゆる物体を微細な点まで明らかにしながら、しかも朝や真昼の明白さとはたいへんちがった効果をあたえる――月光こそは、ロマンス作家が彼の幻覚の客人たちと知己になるのにもっともふさわしい媒介物である。よく知りつくした部屋のちっぽけな家庭生活の光景が目の前にある。それぞれが独立した個性をもっている椅子、針仕事の籠に一、二冊の書物、火の消えたランプなどをのせた中央のテーブル、ソファ、書棚、壁の絵――こうした詳細がすべて、まことに完全に目に見えていながら、あの異様な光のためにたいへん霊化されてしまうので、それらは現実の実体を喪失して、知性の物となってしまうように思われる。どんな小さなものでも、あるいは些細なものでも、ことごとくがこの変貌をこうむり、そのことによって威厳を獲得してしまう。子供の靴、小さな枝編み細工の馬車に座っている人形、棒馬――要するに、昼間用事や遊びに使われたもののすべてが、いまなお日中とほとんどおなじように鮮明に存在していながらも、いまや異様な、遠い性質を帯びてしまうのだ。それゆえ、このようにして、私たちの住みなれた部屋の床は、現実の世界と妖精の国のどこかにある、「現実的なもの」と「想像的なもの」とが出あってそれぞれがたがいに相手の性質を自らに浸みこませてしまう、中立的な領域となってしまったのである。ここに亡霊たちがはいってきても、私たちはおびえることはない。たとえ周囲を見まわして、大好きではあるが、もうこの世にはいない人の姿が、遠くからまいもどってきたのか、それとも一度も私たちの炉辺から身動きひとつしなかったのか、目を疑わせるような風情で、一条のこの魔法の月光のなかに静かに坐っているのを発見したとしても、それはあまりにもこの場の情景にしっくり合っているので、驚愕を起こさせることもないにちがいない。（小津次郎・大橋健三郎訳『緋文字』〔集英社世界文学全集17 (1970)〕）
(2) THE AUTHOR of TWICE-TOLD TALES has a claim to
one distinction, which, as none of his literary brethren will care about
disputing it with him, he need not be afraid to mention. He was, for a
good many years, the obscurest man of letters in
These stories were published in Magazines and Annuals,
extending over a period of ten or twelve years, and comprising the whole of the
writer's young manhood, without making (so far as he has ever been aware) the
slightest impression on the Public. [. . .]
[…………]
At all events, there can be no harm in the Author's
remarking, that he rather wonders how the TWICE-TOLD TALES should have gained
what vogue they did, than that it was so little and so gradual. They have the pale tint of flowers that
blossomed in too retired a shade―the coolness of a meditative habit, which diffuses itself through the
feeling and obsenation of every sketch. Instead
of passion, there is sentiment; and, even in what purport to be pictures of
actual life, we have allegory, not always so warmly dressed in its habiliments
of flesh and blood, as to be taken into the reader's mind without a shiver. Whether from lack of power, or an unconquerable
reserve, the Author's touches have often an effect of tameness; the merriest
man can hardly contrive to laugh at his broadest humor; the tenderest woman,
one would suppose, will hardly shed warm tears at his deepest pathos. The book, if you would see anything in it,
requires to be read in the clear, brown, twilight atmosphere in which it was
written; if opened in the sunshine, it is apt to look exceedingly like a volume
of blank pages.
With the foregoing characteristics, proper to the
productions of a person in retirement, (which happened to be the Author's
category, at the time,) the book is devoid of others that we should quite as
naturally look for. The sketches are
not, it is hardly necessary to say, profound; but it is rather more remarkable
that they so seldom, if ever, show any design on the writer's part to make them
so. They have none of the abstruseness
of idea, or obscurity of expression, which mark the written communications of a
solitary mind with itself. They never
need translation. It is, in fact, the
style of a man of society. Every
sentence, so far as it embodies thought or sensibility, may be understood and
felt by anybody, who will give himself the trouble to read it, and will take up
the book in a proper mood.
This statement of apparently opposite peculiarities leads
us to a perception of what the sketches truly are. They are not the talk of a secluded man with
his own mind and heart, (had it been so, they could hardly have failed to be
more deeply and permanently valuable,) but his attempts, and very imperfectly
successful ones, to open an intercourse with the world.
[…] To conclude, however; ―these volumes have opened the way to most agreeable associations, and to
the formation of imperishable friendships; and there are many golden threads,
interwoven with his present happiness, which he can follow up more or less
directly, until he finds their commencement here; so that his pleasant pathway
among realities seems to proceed out of the Dream-Land of his youth, and to be
bordered with just enough of its shadowy foliage to shelter him from the heat
of the day. He is therefore satisfied with what the TWICE-TOLD TALES have
done for him, and feels it to be far better than fame.
LENOX, January 11, 1851. (“Preface,” Twice-Told
Tales)
(3) When
a writer calls his work a Romance, it need hardly be observed that he wishes to
claim a certain latitude, both as to its fashion and material, which he would
not have felt himself entitled to assume had he professed to be writing a
Novel. The latter form of composition is presumed to aim at a very minute
fidelity, not merely to the possible, but to the probable and ordinary course
of man's experience. The former―while, as a work of art, it must rigidly
subject itself to laws, and while it sins unpardonably so far as it may swerve
aside from the truth of the human heart―has fairly a
right to present that truth under circumstances, to a great extent, of the
writer's own choosing or creation. If he think fit, also, he may so
manage his atmospherical medium as to bring out or mellow the lights and deepen
and enrich the shadows of the picture. He will be wise, no doubt, to make
a very moderate use of the privileges here stated, and, especially, to mingle
the Marvelous rather as a slight, delicate, and evanescent flavor, than as any
portion of the actual substance of the dish offered to the public. He can
hardly be said, however, to commit a literary crime even if he disregard this
caution.
[
............]
[...] The
personages of the tale―though they give themselves out to be of
ancient stability and considerable prominence―are really of
the author's own making, or at all events, of his own mixing; their virtues can
shed no lustre, nor their defects redound, in the remotest degree, to the
discredit of the venerable town of which they profess to be inhabitants. He
would be glad, therefore, if―especially in the quarter to which he alludes―the book may
be read strictly as a Romance, having a great deal more to do with the clouds
overhead than with any portion of the actual soil of the County of Essex.
LENOX, January
27, 1851. (“Preface,” The House of the Seven Gables [1851])
作家が自分の作品を「ロマンス」（空想小説）と呼ぶとき、その作品の様式、素材の両方について、ある程度、作家が自由に裁量する権利を主張したいというのはいうまでもないことであって、もしその作家が、「ノヴェル」（写実小説）を書いているのだ、と公言したのであったら、そのような自由をかってにする資格があるとは思わなかったであろう。後者、「ノヴェル」の創作形式は、人間が経験するかもしれない、可能な生涯に対してのみならず、たぶん経験しそうな、ありふれた生涯に対しても、きわめて微細に忠実を旨とすべきであると考えられる。前者、「ロマンス」は――それが、芸術作品として、法則に厳密に従わなければならないと同時に、またそれが、人間感情の真理からはずれている限り、許し難い罪を犯すものであるが――作家が、大幅に、自分でかってに選び、またはかってに創造した環境に支配される、感情の真理を描く正当な権利を持つものである。作家はまた、もし適当と思うなら、絵の明るさを強く出したり、あるいは柔らかに美しくしたり、また陰影を深く豊かにするなど、作家自身の気分的媒質をあしらってもよいのである。作家は、もちろん、ここに述べた特権をきわめて節制して用い、そして、特に「驚異ごと」は、料理の実質的な内容の一部として世間の前へ差し出すよりは、ほんのりと、微妙な、はかなく消える風味として和(あ)える方が賢明であろう。しかし、たとい作家がこのような用心を怠るにしても、文学上の罪を犯しているということはできない。
この作品で、著者がみずから意図したことは――といって、幸いにどれだけ成功しているかは、作者が判断すべきでない――作家としての特権の領域に踏みとどまって逸脱しないことであった。この物語が「ロマンス」の定義を受けるという考え方は、行ってしまった過去の時と、今まさに飛び去りゆく現在とを、結び合わそうと試みている点にある。これは一つの伝説であって、今ははるか遠い灰色の時代から、われわれの白昼の時まで、延々と続いており、そしてそれには伝説らしい模糊とした霧をいくらか伴っている。読者はその霧を、好きなように、あるいは無視しようと、あるいは絵画的な効果のため、人物や事件のまわりにほとんど気づかれぬぐらいに、浮かび漂わせようと、どちらでもよい。この物語は、おそらく、そんな便宜を必要とするほど、また同時に、物語の芸術的仕上げをそれだけいっそう困難にするほど、地味な生地で織り合わされている。
〔中略〕
･･････この話の登場人物は――この人々は先祖重代の、れっきとした名門の出であると名のってはいるものの――実は著者がかってに作ったものか、または、何にしても、自分で混ぜ合わされた人間である。この人々の美点が、なんら光彩を放つはずはなく、またその欠点が、みずからそこの住民であると公言している古くゆかしいその町の、露ほどにも、不名誉となってはね返るはずもないのである。それゆえ、もし――特に著者が言及している地域では――この本が、エセックス郡の実際のどの土地よりも、はるかに多く頭上の雲と関係している一編の「ロマンス」として、厳密に読まれるならば、著者は満足するであろう。（鈴木武雄訳『呪いの館』角川文庫, 1971）
(4) In the "Blithedale" of this volume
many readers will, probably, suspect a faint and not very faithful shadowing of
Brook Farm, in Roxbury, which (now a little more than ten years ago) was
occupied and cultivated by a company of socialists. The author does not wish to deny that he had
this community in his mind, and that (having had the good fortune, for a time,
to be personally connected with it) he has occasionally availed himself of his
actual reminiscences, in the hope of giving a more life-like tint to the fancy-sketch
in the following pages. He begs it to be
understood, however, that he has considered the institution itself as not less
fairly the subject of fictitious handling than the imaginary personages whom he
has introduced there. His whole treatment of the affair is altogether
incidental to the main purpose of the romance; nor does he put forward the
slightest pretensions to illustrate a theory, or elicit a conclusion, favorable
or otherwise, in respect to socialism.
In
short, his present concern with the socialist community is merely to establish
a theatre, a little removed from the highway of ordinary travel, where the
creatures of his brain may play their phantasmagorical antics, without exposing
them to too close a comparison with the actual events of real lives. In the old countries, with which fiction has
long been conversant, a certain conventional privilege seems to be awarded to
the romancer; his work is not put exactly side by side with nature; and he is
allowed a license with regard to every-day probability, in view of the improved
effects which he is bound to produce thereby. Among ourselves, on the contrary, there is as
yet no such
These
characters, he feels it right to say, are entirely fictitious. It would, indeed
(considering how few amiable qualities he distributes among his imaginary progeny),
be a most grievous wrong to his former excellent associates, were the author to
allow it to be supposed that he has been sketching any of their likenesses. Had he attempted it, they would at least have
recognized the touches of a friendly pencil. But he has done nothing of the kind. The self-concentrated Philanthropist; the
high-spirited Woman, bruising herself against the narrow limitations of her
sex; the weakly Maiden, whose tremulous nerves endow her with sibylline attributes;
the Minor Poet, beginning life with strenuous aspirations, which die out with
his youthful fervor; -- all these might have been looked for at Brook Farm,
but, by some accident, never made their appearance there.
The
author cannot close his reference to this subject, without expressing a most
earnest wish that some one of the many cultivated and philosophic minds, which
took an interest in that enterprise, might now give the world its history. Ripley, with whom rests the honorable
paternity of the institution, Dana, Dwight, Channing, Burton, Parker, for in-
stance, -- with others, whom he dares not name, because they veil themselves
from the public eye, -- among these is the ability to convey both the outward narrative
and the inner truth and spirit of the whole affair, together with the lessons
which those years of thought and toil must have elaborated, for the behoof of
future experimentalists. Even the brilliant Howadji might find as rich a theme
in his youthful reminiscences of Brook Farm, and a more novel one, -- close at
hand as it lies, -- than those which he has since made so distant a pilgrimage
to seek, in Syria, and along the current of the Nile.
1. シラバス
〔講義題目〕 The Blithedale Romance を読む
〔教科書・参考書〕
① Nathaniel Hawthorne, The
Blithedale Romance. Ed. Seymour Lee
Gross and Rosalie Murphy.
②Monika Mueller., 'This
Infinite Fraternity of Feeling': Gender, Genre, and Homoerotic Crisis in
③Richard Chase, American Novel and Its Tradition. （古典）
④ Virginia大学図書館のE-text: http://flowerdew.org/etcbin/eafbin2/browse-eafall?id=Heaf573&data=/www/data/eaf2/private/texts&tag=public
⑤ Project GutenbergのE-text: http://www.gutenberg.org/dirs/etext00/blthd11.txt
〔主題と目的〕
①レポーター制によるアメリカ文学テキストの講読
②ホーソンのロマンス論の再検討
③19世紀の社会と作家の関係の検討――とりわけ女権論、スピリチュアリズム、超絶主義、メスメリズム等擬似科学、などの文脈で――
④メルヴィルとの比較
〔内容と構成〕
①のNorton版を使用して丁寧に読む。教室ではレポーター制による発表形式で精読する。レポーターはハンドアウトを用意する。
〔評価基準〕出席を前提とした上での授業への積極的な参加度80パーセント、期末レポート20パーセント
〔専門領域〕 近代アメリカ文学
〔研究テーマ〕 アメリカ文学史と宗教と神秘学、小説の語りと技法
〔主要研究業績〕「Ormond におけるピクチャレスクな意匠をめぐって」『英文學誌』47号（2005年3月）: 27-44、「ポーの宇宙論と錬金術（十） 第五章 ポーと現代――ゴシック、ロマン主義、オカルト、近代芸術についての覚え書（その二）」『法政大学文学部紀要』50号（2005年3月）: 91-110、「Re: Ripの妻はいつ死んだのか？」（『法政大学文学部紀要』51号（2005年9月）:
1-13.