原書： Young Japan: Yokohama and Yedo. Vol. 2. A Narrative of the Settlement and the City from the Signing of the Treaties in 1858, to the Close of the Year 1879. With a Glance at the Progress of Japan During a Period of Twenty-one Years by John Reddie Black. Trubner & Company, 1881
(4) 春畝公追頌会 1940, 1943, etc.
我国旗の中央に点ぜる赤き丸形は、最早（もはや）帝国を封ぜし封蝋の如くに見ゆることなく、将来は事実上その本来の意匠たる、昇る朝日の尊き徽章となり、世界に於ける文明諸国の間に伍して前方に且つ上方に動かんとす。
伊藤博文「日の丸演説」 a. 瀧井一博（たきい・かずひろ）＝編 『伊藤博文演説集』
講談社学術文庫 2011-07-11 b. 加藤周一〔ほか〕＝編 田中彰（たなか・あきら）＝校注
『日本近代思想大系1 開国』 岩波書店 1991-01-23 c. 春畝公追頌会（しゅんぽこうついしょうかい）＝編 『伊藤博文伝 上巻』
明治百年史叢書 原書房 1970 d. 春畝公追頌会＝編 『伊藤博文伝 上巻』 再版 統正社 1943 e. 春畝公追頌会＝編 『伊藤博文伝 上巻』 統正社 1940
a. 2011年版の底本は e. 1940年版。 b. 1991年版の底本は d. 1943年版または e. 1940年版。 c. 1970年版は d. 1943年版の再版。 d. 1943年版は e. 1940年版の再版。
引用は b. 1991年版に拠りました。
"The red disc in the centre of our national flag shall no longer appear like a wafer over a sealed
empire, but henceforth be in fact what it is designed to be, the noble emblem of the rising sun, moving
onward and upward amid the enlightened nations of the world."
Page 16. The Japanese in America by Charles Lanman
London : Longmans, Green, Reader and Dyer. 1872.
2009-04-29 『写真・絵図で甦る堂々たる日本人―この国のかたちを創った岩倉使節団「米欧回覧」の旅』 (2001) および Japan Rising: The Iwakura Embassy to the USA and Europe (2009) の表紙画像，ならびに The Japanese in America (1872) の扉画像を追加しました。
↓ 以下の本・CD・DVDのタイトルはブラウザ画面を更新すると入れ替ります。
↓ Refresh the window to display alternate titles of books, CDs and DVDs.
■和書 Books in Japanese
(1) 伊藤博文
(2) 岩倉使節団
■洋書 Books in non-Japanese languages
(1) Iwakura Mission/Iwakura Embassy
Top Left Robert Louis Stevenson (age 9) with his father Thomas Stevenson. Image source: NYPL Digital Gallery Centre Robert Louis Stevenson (age 15). Photograph by John Moffat. Image source: Edinburgh City Libraries and Information Services. Image reproduced from The EdinPhoto web site Right Robert Louis Stevenson (age 19). Image source: NYPL Digital Gallery
(a) tomoki y. 2009
過ちというのは、単に言葉上の過ちに限らず、ある主張を行なう際、強力な手段となる。その主張とは、すなわち、世間で真理として通用するものが、実は完璧ではないという意見表明である。若気の過ちの基礎には、健全な理性がある。それはちょうど幼子の問いかける、大人を困らせるような質問の根底には、健全な理性が宿っているのと同じことだ。若者たちの反社会的行為は、社会の欠陥を指摘する。潮が人を岩に打ちつけたら、この人は悲鳴をあげると予想するのが当然だ。その悲鳴が、ときに理論の形をとったとしても、驚くにはあたらない。
All error, not merely verbal, is a strong way of stating that the current truth is incomplete. The follies of youth have a basis in sound reason, just as much as the embarrassing questions put by babes and sucklings. Their most antisocial acts indicate the defects of our society. When the torrent sweeps the man against a boulder, you must expect him to scream, and you need not be surprised if the scream is sometimes a theory.
Most of our pocket wisdom is conceived for the use of mediocre people, to discourage them from ambitious attempts, and generally console them in their mediocrity. And since mediocre people constitute the bulk of humanity, this is no doubt very properly so.
(a) tomoki y. 2009
だけれども、死ぬよりは、たとえバカでも生きているほうがマシだ。人生の矛盾や不調和にたいしてまったく不感症で、なんでもかんでもそのまんま、救いがたいバカさかげんで受け入れてしまうよりは、理論の体（てい）を成した悲鳴をあげるほうがマシだ。なかには、全宇宙を錠剤のようにゴクンと飲み込んでしまう人がいる。そんな人が世間を渡る様子は、まるで笑顔を描いた画像がなにかに後ろから押されて進んでいるかのようだ。若い人には、バカなまねをして笑い者になれるだけの頭脳を持っていてほしいものだ。
But it is better to be a fool than to be dead. It is better to emit a scream in the shape of a theory than to be entirely insensible to the jars and incongruities of life and take everything as it comes in a forlorn stupidity. Some people swallow the universe like a pill; they travel on through the world, like smiling images pushed from behind. For God's sake give me the young man who has brains enough to make a fool of himself!
■はじめに Introduction Video 1 Frasier, Season 8, Episode 8.09: Cranes Unplugged
■中国語訳（簡体字） Translation into simplified Chinese
■中國語譯（繁體字） Translation into traditional Chinese
■日本語訳 Translations into Japanese
(J1) 服部 2010
(J2) 今泉 2004
(J3) 酒本 2000
(J4) 飯田 1995, 2001
(J5) 佐渡谷 1991
(J6) 神原 1983
(J8) 出水 1957, 1976
(J9) 富田 1953
(J10) 神吉 1951, 1979, etc.
(J11) 宮西 1950
(J12) 酒井 1948
(J13) 今井（規） 1948
(J14) 古舘 1930, 1933
(J15) 和田 1927
(J16) 今井（嘉） 1925, 1934
(J17) 水島 1911, 1913, etc.
■ベトナム語訳（部分） Translation into Vietnamese (fragment)
■トルコ語訳 Translation into Turkish
■フィンランド語訳（部分） Translation into Finnish (fragment)
■ギリシャ語訳（部分） Translation into Greek (fragment)
■ロシア語訳 Translation into Russian
■ウクライナ語訳 Translation into Ukrainian
■ブルガリア語訳 Translation into Bulgarian
■ポーランド語訳 Translation into Polish
■チェコ語訳 Translation into Czech
■ドイツ語訳 Translations into German
(D1) Nobbe, 1922
(D2)
■イタリア語訳 Translation into Italian
■ポルトガル語訳 Translation into Portuguese
■ガリシア語訳（部分） Translation into Galician (fragment)
■カタルーニャ語訳（カタロニア語訳） Translation into Catalan
■スペイン語訳 Translations into Spanish
(Es1) Lobato, 1999
(Es2) Molina y Vedia, 1945
■フランス語訳 Translation into French Video 2 英語原文の朗読 Audiobook presented by CCProse
■英語原文 The original text in English
■ネット上の電子テキストや朗読録音など Online resources, etc. Video 3 Walden (1997) - The Learning Channel's Great Books Video 4 Thoreau & Walden Pond, a short video by Jim Hilgendorf Images 表紙画像その他 Cover photos, etc.
■Walden 日本語訳 - 出版年逆順の、まあまあ詳しいリスト Japanese translations: A somewhat detailed list in reverse chronological order
■Walden 日本語訳 - 訳者別リスト Japanese translations: A list by translators
■解説書・研究書・再構成本その他 Guides, Studies, etc. in Japanese
■邦題の異同 Variations of the title translated into Japanese
■その他の外部リンク Other external links
■更新履歴 Change log
ソロオ＝著 今井嘉雄（いまい・よしお）＝譯 a. 『森の生活』 新潮文庫 1934-03-20（昭和9） b. 『森の生活』 新潮社 1925（大正14）
引用箇所について見るかぎり、今井嘉雄譯は、上の今井規清訳と同文で
ある。規清氏と嘉雄氏は同一人物だろうか？ それとも、規清氏は嘉雄氏
の親族その他の著作権継承者だろうか？
(J17) 水島 1911, 1913, etc.
余が森林に入つた理由は、徐ろに工夫を運して生活を營み、人生百般の事情のうち、其最も根本的の要點のみに接し、又人生の敎訓を學ばんと試み、死に臨んで、我生の空きを嘆ずるやうな事がない樣にしたいと、斯う考へたからである。余は眞の生活でない生活を營むことを欲しなかつた。生きて往くと云ふ事は、余に取つていとも大切なのである。余は又眞に必要でない限り、隱遁を實行することも欲しなかつた。
「住所、及び目的」
トロー＝原著 水島耕一郎（みずしま・こういちろう）＝譯 a. 『哲人の森林生活』 南天堂出版部 1933（昭和8）
★b. 『森林生活―生の價値』 中央出版社 1925-06-17 （大正14） c. 『森林生活』 中央出版社 1921-07-17 （大正10） d. 『森林生活』 成光館書店 1911（明治44） e. 『森林生活』 文成社 1911（明治44）
■ベトナム語訳（部分） Translation into Vietnamese (fragment)
Tôi đi vào rừng vì tôi muốn sống một cách có chủ tâm, muốn đối diện với những gì là thật thiết yếu của sự sống, và để xem có thể học hỏi được những gì từ nơi chúng. Tôi không muốn rồi một ngày nào khi tôi chết, lại khám phá ra rằng, tôi chưa từng bao giờ thật sự sống. [Omission]
Ormana gittim, çünkü yaşamı bilinçli yaşamak istiyordum, sadece hayatın zorunluluklarıyla yüzleşmek ve bana öğreteceklerinden bir şeyler öğrenip öğrenemeyeceğimi görmek istiyordum. Ölüm saatim geldiğinde yaşamamış olduğumu fark etmek istemiyordum. Yaşamak sayılmayan bir hayatım olmasını istemiyordum, hayat o kadar güzeldi ki. Çok gerekli olmadığı sürece boynumu eğmeyi de arzu etmiyordum.
Menin metsään, koska halusin elää harkitusti, halusin katsoa silmästä silmään elämän olennaisimpia tosiasioita ja nähdä, enkö voisi oppia, mitä sillä oli opetettavaa, ja välttää kuolemani hetkellä sitä mahdollista havaintoa, etten ollutkaan elänyt.
Πήγα στα δάση, γιατί ήθελα να ζήσω λεύτερος, γιατί ήθελα ν' αντικρίζω μόνο την ουσία της ζωής, και ήθελα να δοκιμάσω, αν μπορώ να μάθω εκείνο που είχα χρέος να διδάξω. Και τότε ένοιωσα πως, ενώ πήγα να πεθάνω κοντά τους δεν είχα ακόμη ζήσει. [Omission]
Я ушел в лес потому, что хотел жить разумно, иметь дело лишь с важнейшими фактами жизни и попробовать чему-то от нее научиться, чтобы не оказалось перед смертью, что я вовсе не жил. Я не хотел жить подделками вместо жизни - она слишком драгоценна для этого; не хотел я и
самоотречения, если в нем не будет крайней необходимости.
Где я жил и для чего Генри Дэвид Торо. Уолден, или Жизнь в лесу
Translated by З.Александрова. М., "Наука", 1979.
E-text at Lib.Ru
■ウクライナ語訳 Translation into Ukrainian
Я пішов до лісу тому, що прагнув жити розумно, мати справу лише з найважливішими фактами життя і спробувати навчитися чогось від нього, щоб не видалось, начебто я і не жив. Я не хотів жити не своїм життям, воно таке дорогоцінне, проте я не намагався навчитися покірності та самотності, поки це не було потрібним.
Генрі Девід Торо. Уолден, або Життя в лісі
Translated by О. Острянко
Excerpt at Випуск 75 Серія
■ブルガリア語訳 Translation into Bulgarian
Отидох в гората, защото исках да живея по своя воля, да виждам само същината на живота и да се опитам да извлека всичко от нея, та когато удари часът ми, да не се окаже, че изобщо не съм живял. Не исках да живея противно на живота - той е тъй драгоценен; не исках и да залинявам в примирено съществуване, доколкото не бе наложително.
Zamieszkałem w lesie, albowiem chciałem żyć świadomie, stawać w życiu wyłącznie przed najbardziej ważkimi kwestiami, przekonać się, czy potrafię przyswoić sobie to, czego może mnie życie nauczyć, abym w godzinie śmierci nie odkrył, że nie żyłem. Nie chciałem prowadzić życia, które nim nie jest, wszak życie to taki skarb; nie chciałem też rezygnować z niczego, chyba że było to absolutnie konieczne.
Odešel jsem do lesů, protože jsem chtěl žít uvědoměle, postavit se čelem k základním skutečnostem života, a vyzkoumat, zda bych se mohl naučit to, čemu mě život má učit, a ne abych teprve až budu umírat, seznal, že jsem vůbec nežil. Nechtěl jsem prožívat něco, co není život. A také jsem nechtěl trpně se odevzdávat osudu, ledaže by to bylo naprosto nezbytné.
(D1) Nobbe, 1922
Ich zog in die Wälder, weil ich den Wunsch hatte mit Überlegung zu leben, »alle Wirkenskraft und Samen« zu schau'n, zu ergründen, ob ich nicht lernen konnte was ich lehren sollte, um beim Sterben vor der Entdeckung bewahrt zu bleiben, daß ich nicht gelebt habe. Ich wollte nicht das leben, was kein Leben war; das Leben ist so kostbar. Auch wollte ich keine Entsagung üben, höchstens im Notfall.
Wo ich lebte und wofür ich lebte
Walden oder Leben in den Wäldern by Henry David Thoreau Translated by Wilhelm Nobbe, 1922
E-text at Projekt Gutenberg-DE
(D2)
Ich zog in die Wälder, weil ich bewusst leben, mich nur mit den wesentlichen Dingen des Lebens auseinandersetzen und zusehen wollte, ob ich das nicht lernen konnte, was es mich zu lehren hatte, um nicht auf dem Sterbebett einsehen zu müssen, dass ich nicht gelebt hatte. Ich wollte nicht das leben, was kein Leben war, denn das Leben ist so kostbar; noch wollte ich Entsagen üben, wenn es nicht unumgänglich nötig war.
Walden oder Leben in den Wäldern by Henry David Thoreau
Excerpt at Denkanstöße
■イタリア語訳 Translation into Italian
Andai nei boschi perché desideravo vivere con saggezza, per affrontare solo I fatti essenziali della vita, e per vedere se non fossi capace di imparare quanto essa aveva da insegnarmi, e per non scoprire, in punto di morte, che non ero vissuto. Non volevo vivere quella che non era una vita, a meno che non fosse assolutamente necessario.
Walden ovvero vita nei boschi by Henry David Thoreau
Excerpt at PensieriParole
■ポルトガル語訳 Translation into Portuguese
Fui para os bosques porque pretendia viver deliberadamente, para a frente apenas os factos essenciais da vida, e ver se eu não podia aprender o que ele tinha para ensinar, e não, quando eu vim para morrer, descobrir que eu não tinha vivido . Eu não queria viver o que não era vida, viver é tão caro, nem gostaria de praticar a resignação, a menos que fosse absolutamente necessário.
Fun ós bosques porque deliberadamente quería vivir, enfrontarme só cos feitos esenciais da vida e ver se non podía aprende-lo que me tina que ensinar, e non esperar a ter que morrer, para descubrir que non vivira.
Vaig anar als boscos perquè volia viure deliberadament, enfrontar-me només als fets essencials de la vida i veure si podia aprendre el que la vida havia d’ensenyar, i per no haver de descobrir, quan em tocara morir, que no havia viscut. No volia viure el que no fóra la vida, perquè viure és car, ni volia practicar la resignació a menys que fóra completament necessari.
Walden by Henry David Thoreau
Edited and translated by Javier Alcoriza and Antonio Lastra
Cátedra, «Letras Universales», Madrid, 2005
Excerpt at revistes.iec.cat [PDF]
■スペイン語訳 Translations into Spanish
(Es1) Lobato, 1999
Fui a los bosques porque quería vivir deliberadamente; enfrentar sólo los hechos esenciales de la vida, y ver si podía aprender lo que ella tenía que enseñar, no sea que cuando estuviera por morir descubriera que no había vivido. No quería vivir lo que no fuera la vida; ¡es tan hermoso el vivir! ;. tampoco quise practicar la resignación, a no ser que fuera absolutamente necesaria.
(Es2) Molina y Vedia, 1945
Fui a los bosques porque deseaba vivir en la meditación, afrontar únicamente los hechos esenciales, y no sucediera que estando próximo a morir, descubriese que no había vivido. No quería vivir lo que no fuera vida; ¡la vida es tan cara!, ni tampoco deseaba practicar la resignación, a menos que fuese enteramente necesaria.
Walden o la mística del bosque by Henry David Thoreau
Henry David Thoreau, Walden o la vida en los bosques, Buenos Aires, Emecé, 1945,
Translated by Julio Molina y Vedia. Colección "El navío", dirigida por Eduardo Mallea.
Excerpt at Temakel
■フランス語訳 Translation into French
Je gagnai les bois parce que je voulais vivre suivant mûre réflexion, n'affronter que les actes essentiels de la vie, et voir si je ne pourrais apprendre ce qu'elle avait à enseigner, non pas, quand je viendrais à mourir, découvrir que je n'avais pas vécu. Je ne voulais pas vivre ce qui n'était pas la vie, la vie nous est si chère; plus que ne voulais pratiquer la résignation, s'il n'était tout à fait nécessaire.
Chapitre II - Où je vécus, et ce pourquoi je vécus
Walden ou la vie dans les bois by Henry David Thoreau
Translated by Louis Fabulet in 1922
E-text at Wikisource
Uploaded to YouTube by CCProse on 26 Jul 2011. Audio courtesy of LibriVox.
■英語原文 The original text in English
I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practise resignation, unless it was quite necessary.
2. Where I Lived, and What I Lived For
Walden (1854) by Henry David Thoreau
ポルトガル語版。 Uploaded to YouTube by grandeslivros on 31 Jan 2012. Original air date: 13 Sept 1997. Producer: Ginny Durrin. Narrator: Donald Sutherland. Dubbed in Portuguese.
Video 4
Thoreau & Walden Pond, a short video by Jim Hilgendorf
Although Japan has only recently begun intercourse and commerce with foreign countries, many items made in Japan are regarded as unusual and attractive by Europeans and Americans. Nevertheless, Japan does not profit from exports for the following three basic reasons: 1. The volume of exported goods is so small that it does not satisfy overseas demand; 2. Shipping is unreliable, and we have not yet established a regular presence and role in foreign markets; 3. Aiming only for short-term profits, we do not build any reputation or fame; worse, we even squander any recognition we may have won.
The example of the corks proves that spreading one's reputation and promoting demand throughout the world creates profit and results in the volume of trade increasing tremendously. Corks are made from the bark of a tree (cork-trees were growing in the flower-beds in Woodward's Gardens) and are exported from Spain and Portugal. In Algeria, in Africa, planting French cork-trees on about 350,000 acres of land yielded a profit of 10,000,000 francs a year. If cork-trees and corks can yield such profits, how large a business it must be!
Japan Rising: The Iwakura Embassy to the USA and Europe
by Kume Kunitake
Edited by Chushichi Tsuzuki
Excerpt at Cambridge University Press
公文書に見る岩倉使節団
提供：国立公文書館 アジア歴史資料センター（アジ歴）
Digital timelines, route map, etc. of the Iwakura Mission (in Japanese)
by Japan Center for Asian Historical Records, National Archives of Japan
睡眠薬、テニスラケット、ロビンソン・クルーソー。傑作映画。
Sleeping pills, a tennis racket, and Robinson Crusoe. A brilliant film.
■The Apartment (1960) directed by Billy Wilder
『アパートの鍵貸します』 (1960) 監督：ビリー・ワイルダー
■脚本 Screenplay
INT. THE APARTMENT - EVENING
Buddy-boy is bending over a hot stove, preparing an Italian
dinner. He takes a saucepan of spaghetti off the fire, and
picking up the tennis racquet with the other hand, pours the
spaghetti on top of the racquet strings. Then he turns on
the faucet, runs water over the spaghetti. With the combined
technique of Brillat-Savarin and Pancho Gonzales, he gently
agitates the racquet, letting the water drain off the
spaghetti. As he works, he hums a theme from Tschaikowsky's Capriccio Italien.
Fran walks in, still in her robe.
FRAN
Are we dressing for dinner?
BUD
No -- just come as you are.
FRAN
(watching him)
Say, you're pretty good with that
racquet.
BUD
You ought to see my backhand.
(dumping spaghetti
into platter)
And wait till I serve the meatballs.
(demonstrates)
FRAN
Shall I light the candles?
BUD
It's a must -- gracious-living-wise.
As Fran starts into the living room, Bud begins to ladle
meat sauce onto the spaghetti, humming operatically.
In the living room, the small table has been set for two,
and prominent on it is the champagne bottle that Mr. Kirkeby
left behind, still in its cardboard bucket, but freshly iced.
As Fran lights the candles, she notices the napkins on the
table, peels a price-tag off the corner of one of them.
FRAN
I see you bought some napkins.
BUD
Might as well go all the way.
He carries the platter of spaghetti and meat sauce in from
the kitchen, sets it on the table, sprinkles some cheese on
it. Then he crosses to the coffee table, where a full
martini pitcher stands in readiness, fills a couple of
glasses. Fran seats herself at the table.
BUD
You know, I used to live like
Robinson Crusoe -- shipwrecked
among eight million people. Then
one day I saw a footprint in the
sand -- and there you were --
(hands her martini)
It's a wonderful thing -- dinner
for two.
FRAN
You usually eat alone?
BUD
Oh, no. Sometimes I have dinner
with Ed Sullivan, sometimes with
Dinah Shore or Perry Como -- the
other night I had dinner with Mae
West -- of course, she was much
younger then.
(toasting)
Cheers.
「時間の起源」
レスリー・アドキンズ＋ロイ・アドキンズ＝著 木原武一（きはら・ぶいち）＝訳
a. 『ロゼッタストーン解読』 新潮文庫 2008-05-28
b. 『ロゼッタストーン解読』 新潮社 2002-03-20
引用は b. に拠りました。
■英語原文 The original text in English
The house at 28 rue Mazarine, where Jean-François Champollion lived and carried on his research into hieroglyphs, was less than 200 yards from the Institute of France where his brother Jacques-Joseph had his office. Towards midday on 14 September 1822, Champollion covered the distance in the shortest time possible. Clutching his papers, notes and drawings, he fled along the narrow, gloomy street, around the corner and into the Institute. Not fully recovered from his latest spell of ill-health and at the highest pitch of excitement, he was already breathless as he burst into his brother's office, flung his papers on to a desk and shouted 'Je tiens l'affaire!' ('I've found it!'). Working since early morning on the latest drawings of inscriptions from Abu Simbel, he had at last seen the system underlying the seemingly unintelligible Egyptian hieroglyphs, and it was now only a matter of time before he would be able to read any hieroglyphic text. He began to explain to Jacques-Joseph what he had discovered, but only managed a few words before collapsing unconscious on the floor. For a few moments his brother feared he was dead....
■はじめに Introduction Audio 「金金節」 歌： 小沢昭一 Kanekane-bushi sung by Shoichi Ozawa
■「金金節」日本語歌詞 Kanekane-bushi: The original lyrics in Japanese
■「金金節」を試聴する Listen to Kanekane-bushi Images 本・CD・DVDの画像 Book, CD and DVD covers Video 1 Meryl Streep - Money, Money, Money from Mamma Mia! The Movie Video 2 Money, Money, Money by ABBA Video 3 Money, Money, Money lyrics 歌詞
■外部リンク External links
■更新履歴 Change log
■はじめに Introduction
♪カネだカネカネ カネカネカネだ カネだカネカネ この世はカネだ♪
♪Money, money, money. Must be funny. In the rich man's world.♪
Audio
「金金節（かねかねぶし）」 歌： 小沢昭一 Kanekane-bushi. Performed by Shoichi Ozawa.
Writing is among the greatest inventions in human history, perhaps the greatest invention, since it made history possible. Yet it is a skill most writers take for granted. We learn it at school, building on the alphabet, or (if we live in China or Japan) the Chinese characters. As adults we seldom stop to think about the mental-cum-physical process that turns thoughts into symbols on a piece of paper or on a video screen, or bytes of information in a computer disc. Few of us have any clear recollection of how we learnt to read or write.
The Story of Writing by Andrew Robinson
* Second edition: Paperback. Thames and Hudson, 2007-05
* First edition: Paperback. Thames and Hudson, 1999-09-01
* First edition: Hardcover. Thames and Hudson, 1995
* Publisher's page for the Second Edition is here.
* Excerpt is here.
The stone may be part of an ancient past, but it is also an icon of the modern world, since it gave us back one of the longest and most romantic chapters of our history, a chapter which had been thought lost beyond recall. To recover past memory is to regain identity. The Rosetta Stone is, in effect, an emblem of our identity.
The fabric of causality becomes terribly complex in the case of invention. That is why we do better if we begin with a seemingly illogical acceptance that invention is the emergence of a collective idea at the same time it is an expression of one person's genius. Once we make that willing suspension of common sense, we are in a position to start looking for ways that the individual and the community form two facets of a single cause.
Fanny Vandergrift Osbourne (1840-1914), shortly before her meeting with Robert Louis Stevenson. スティーヴンスンの妻ファニー・オズボーン。Image source: Fanny Vandegrift - Wikipedia
Voyage to Windward: The Life of Robert Louis Stevenson by J. C. Furnas. Faber and Faber (1952) Image source: eBay.com これまでに出た最良のスティーヴンスン伝と評されることが多い。初版1951年。
↓ クリックして拡大 Click to enlarge ↓
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■スティーヴンスンの伝記 Biographies of Robert Louis Stevenson
(a) tomoki y. 2009
黙っているのに、とんでもない嘘つきになってしまうことは珍しくない。部屋に閉じこもって何時間も口をきかなかったのに、部屋を出たときには裏切り者だの中傷家だのと非難されることもある。はたまたどれだけ多くの愛が破滅したことだろう――プライドや意地や臆病や、本当の気持ちを打ち明けるのを抑えてしまう男らしくない羞恥心ゆえに、男女の仲の肝腎なところで、うつむいて口をつぐんでしまったがために。
下に引用する箇所は 15:24 あたりから始まります。 Uploaded to YouTube by rt20bg on 3 Nov 2012. Audio courtesy of LibriVox. Read by StephenC. The excerpt below starts around 15:24.
■英語原文 The original text in English
The cruellest lies are often told in silence. A man may have sat in a room for hours and not opened his teeth, and yet come out of that room a disloyal friend or a vile calumniator. And how many loves have perished because, from pride, or spite, or diffidence, or that unmanly shame which withholds a man from daring to betray emotion, a lover, at the critical point of the relation, has but hung his head and held his tongue?
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