Monday or Tuesday (1921) (Short Stories)--Text-- ZIP 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
"The Waves" という作品に出てくる6人のうちの一人が Rhoda という名前で、Virginia 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
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.
続き --- (17) He also edited the Cornhill Magazine for a number of years and was the first editor of the Dictionary of National Biography, a monumental work which includes biographies of all men of note in English history. (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.
(32) Memories of this time permeate her novels ("The Waves," "Jacob's Room," and most especially, "To the Lighthouse") draw upon her holidays here. (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.
続き --- (50) But the rigorous course of reading she set herself must have been almost more appropriate to her eventual career as a writer. (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.
Virginia Woolf Documentary (http://www.youtube.com/watch?v=2Hnlsh8WyPE) の書き取り (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 sexual 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 sexual 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.
続き --- (81) (10'56") Forgetting his faults, and convincing herself that she failed to fully appreciate his good qualities. (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.
(100) (13'15") But the Stephen household at 46 Gordon Square must have seemed an ideal meeting place for the group, once they had left Cambridge to London. (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 homosexual. (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.
(118) But she worked there for eight years and her income meant that she did not need to work at all must be some measure of her interest and concern. (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.
(136) This is Virginia. The successful hoax made the national front pages. Soon afterwards, Virginia suffered another nervous breakdown. (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.
続き ---(157) (20'26") Throughout her life, her major nervous crises and periods of mental illness coincided with a period between the completion and publication of her novels. (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.
(176) (22'49") Theirs was a successful marriage and it is quite likely that, without Leonard's love and support, Virginia would never have been able to write as she did. (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.
続き --(195) But they were certainly much attracted to each other. In "Orlando," Virginia describes Vita's life, as if she aged from 16 to 36, between the years 1586 and 1928. (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.
(214) The war depressed her, and also reminded her that she had last gone mad during the First World War. And finally, she was finishing "Between the Acts." (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。
Virginia Woolf's house （Youtube 上のビデオ）の書き取りhttp://www.youtube.com/watch?v=Bkk3Ui6ainM このビデオも、とても面白いです。 (1) SHOW HOST: This very pretty unprepossessing house in the Sessex 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.
(17) JONATHAN: No, those are the Scarson(???). Virginia is known to have smoked. (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 sexuality. (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.
(31) (3'33") HOST: Monk's House was a retreat from the busy chaotic phantom of life. But Virginia Woolf's real retreat was the rambling garden, complete with orchids, which became an inspiration to her. (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. . . ."
(42) HOST: After Virginia Woolf 's death, her husband Leonard continued to live here at Monk's House until his own death in 1969. (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。
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.
The Mind and Times of Virginia Woolf (Part 1 of 3) (9'54") (http://www.youtube.com/watch?v=GN_lpbEOzbM) (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 sexually molested her as a child. (15) There was obviously, uh, some very traumatic sexual 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 sexual 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.
The Mind and Times of Virginia Woolf (Part 1 of 3) (9'54") (http://www.youtube.com/watch?v=GN_lpbEOzbM) (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.
The Mind and Times of Virginia Woolf (Part 1 of 3) (9'54") (http://www.youtube.com/watch?v=GN_lpbEOzbM) (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.
The Mind and Times of Virginia Woolf (Part 1 of 3) (9'54") (http://www.youtube.com/watch?v=GN_lpbEOzbM) (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 bisexual: 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 omnisexual. 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.
(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 sexual being, a sexual partner. (60) It seems clear that they did not have a normal, if that's the word you want to use, or continuing sex 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."
(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." (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.
(78) She was really attempting to describe people's relationships, not in the way that they talked to each other, or behaved to each other, 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 Sussex as well as in London. They bought a rather small, quite ordinary little cottage called Monk's House in the village of Rodmell.
(90) Virginia Woolf wrote mostly in her garden shed which she called "my lodge." Sometimes she would sit at her table. (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 Sussex 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."
(101) (7'30") "What sort of a sun?" she would say, "A kindly sun? Angry sun?" We would answer that in some way, then she would be fascinated by the detail of how we dressed. (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.
(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.
(115) 頭髪のない男性： Virginia Woolf and Leonard Woolf were very worried that, in the event of invasion by the Germans, they would be imprisoned for their political work and because Leonard was a Jew. (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.
(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.
(138) 最後に出る credits の一部： 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。
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.
(5) As related in various letters that I received from her during that period. (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 analyzed 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.
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
続き 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
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.
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.
(6) LW: We were simply a fortuitous aggravation of *** who hadn't lived together. And I mean, some of us were politicians. Some of us were artists, and some of us were writers. (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.
(20) LW: I think it really was, of course, that she used to be thinking about other things and walking about rather as if she was in a dream. (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 analyst. (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 psychoanalysis. I didn't know anything. (25) I doubt whether there was then ten people (???) who were psychoanalysts. 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.
(31) And we had to see some printing machines in Carrington Road, and went in and bought one and started printing ourselves, and that started the Hogarth Press. (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. . .?
(43) LW: Uh, no, not really. She used to go down into the basement in Tavistock Square when we lived there and set up type or even she quite often used to pick up the books, but only in the afternoon, since only wrote in the mornings. (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.
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。
(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-6) (階段を降りながら) Of course, now I think that there are no gods, there's no one to blame. (2'50") It's so very dangerous to live for only one day. (メイドに向かって) I'll buy the flowers myself, Lucy. (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."
(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) 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-97) SALLY: How about that one? (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-135) PETER: . . . who wanted to marry you. (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-158) SALLY： It's my turn to shuffle, Herbert. Hugh, you ever stop ***? (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-185) CLARISSA: So you're definitely going into politics. (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-218) WILLIAM: No, I never use that word. I prefer to say "lacking a sense of proportion." (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.
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。
(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-273) (48'36") CLARISSA: Come on, Peter. （Peter に対して手を差し出す。）We'll race you to the top. （全員で走り出す。） (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 sexes 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-290) HUGH: I think I'd like to buy something for Evelyn. She's very low. And Juberry never loses its price. （注釈： Juberry はバッグなどのメーカーであるらしい。） (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.
(D-304) (54'00" のあたり) CLARISSA: And everyone's made to feel they're amusing, and. . . yes, liked, and then go home thinking, "Oh, what fun it was! Oh, what a wonderful evening! How good it is to be alive!" (D-305) RICHARD: I don't think poor old Ellie Hendersen could put a stop to that. (D-306) CLARISSA: Ha-ha, you're laughing at me. (D-307) RICHARD: Not in the least. (D-308) CLARISSA: Oh, Richard, you're so much nicer than I am. You should never have married me. (D-309) RICHARD: Then what would you have done? (D-310) CLARISSA: Married Peter Walsh, I suppose. Would you believe it? He was here this morning. (D-311) RICHARD: Yes. Millie Bruton told me he's in town. (D-312) CLARISSA: He's in love with someone in India. He's here to see about the divorce. He's just the same. He hasn't changed the slightest. (D-313) (55'00") （レストランにて、ウェイトレスが）: Would you like some cake, sir? (D-314) 男性の客: Thank you. (D-315) MISS KILLMAN: Did you understand what the Reverend Whitaker had said this morning about knowledge coming through suffering? (D-316) ELIZABETH: Not really, no. But then, I suppose I haven't really suffered yet. (D-317) KILLMAN: Maybe you never will. Oh, oh, not that I wish to mean any harm. But, as he says, real knowledge is only gained through suffering. (D-318) ELIZABETH: What was it you wanted to buy here? (D-319) (55'34") KILLMAN: A petticoat. Mine is in threads ***. (D-320) ELIZABETH: They have some pretty striped ones. (D-321) KILLMAN: Oh, couldn't possibly afford striped ones. (D-322) ELIZABETH: I might have to go to the party tonight. I'd forgotten all about it when I said I'd help with the mission. Mommy will be upset if I don't go.
(D-323) KILLMAN: It's a great pity that great women like your mother have nothing better to do with their time than to give parties. (D-324) KILLMAN: Oh, I know it's not their fault. Women like your mother can't help it. They're spoilt. (D-325) ELIZABETH: She likes giving parties. (D-326) KILLMAN: I never go to parties. Why should they ask me? I'm plain. I'm unhappy. But I don't pity myself. I pity other people more. (D-327) WAITRESS: Your bill, madam. (D-328) ELIZABETH: You finish your tea. I'll pay this at the desk. I'll have another night for the mission. I'm sorry. I have to go. (D-329) (57'52") （Septimus の家で）SEPTIMUS: Fear no more. （しばらく沈黙、そのあと笑いながら）Who are you making that hat for? (D-330) LUCREZIA: Mrs. Filmer's married daughter. (D-331) SEPTIMUS: And what's the name of Mrs. Filmer's married daughter? (D-332) LUCREZIA: Mrs. Peters. I don't like him, but Mrs. Filmer has been so good to us, so I wanted to do something good for her. (D-333) SEPTIMUS: Ha-ha, that's too small for Mrs. Peters. She's enormous. That's an organ grinder's monkey's hat. (D-334) LUCREZIA: Ha-ha, there! (D-335) SEPTIMUS: Ha-ha, well, now the poor woman looks like a pig at a fair. Come on, let's ***. This one's beautiful. There, there. Stitch that together, very, very carefully. (接吻のあと横たわる。） (D-336) SEPTIMUS: （一人になり、不安に満たされ）Evans? Evans! (D-337) LUCREZIA: It was only the evening paper. Mrs. Filmer for the evening paper. (D-338) SEPTIMUS: They're going to take me away, Rezia. （Rezia というのは、Lucrezia の愛称。） (D-339) LUCREZIA: Sir William Bradshaw said you must learn to rest, Septimus. (D-340) SEPTIMUS: It's "must." Must. Why must? What right has he to say "must" to me? (D-341) LUCREZIA: It is because you talked of killing yourself.
(D-342) SEPTIMUS: So, I'm in their power. Where are my writings, Rezia? （自分の書いた絵や文章を確認して） Burn them. (D-343) LUCREZIA: Some are very beautiful. I'm going with you, Septimus. They can't separate us against our will. (D-344) SEPTIMUS: （妻に帽子をかぶせて）You're a flowering tree. You're a sanctuary. You. . . fear no more. . . about Holmes and Bradshaw. You've triumphed. (D-345) (1:02'26") LUCREZIA: I'm going to pack our things. I shall *** (D-345-B) （下の階からの声）DR. HOLMES: *** is he home? (D-346) （下の階からの声）LANDLADY: Good afternoon, Dr. Holmes. (D-347) LUCREZIA: It's Dr. Holmes. I won't let him come in here. （下に降りる。） (D-348) SEPTIMUS: （部屋を見渡す。どうすべきか考えている様子） (D-349) LUCREZIA: Look, look. *** No, I cannot allow you. Please don't go into the room. I beg you. (D-350) DR. HOLMES: Mr. Warren Smith. (D-351) SEPTIMUS: You want my life? I'll give it to you. （窓から飛び降りる。） (D-352) DR. HOLMES: God! The coward! Why the devil did he do it? (D-353) (1:04'34") PETER: *** Good afternoon. （ホテルのロビーにて） Number 12, please. （部屋の鍵を受け取る）Thank you. (D-354) RECEPTIONIST: And this came for you, Mr. Walsh. （手紙を手渡す。） (D-355) PETER: Thank you. Thank you. (D-356) (1:05'07") （手紙の内容、Clarissa の声）: Peter, it was heavenly to see you. I must tell you that. Clarissa. (D-357) （若き日の）SALLY: We could play tennis. (D-358) CLARISSA: No, it's too hot *** for tennis. Besides, we need a fourth person to play doubles. And Hugh's gone to visit his mother. And Herbert won't play. (D-359) SALLY: Maybe, "My name is Dalloway" will turn up. （笑う。） (D-360) PETER: And his perfect white matching his perfect teeth. "My name is Dalloway."
(D-361) CLARISSA: I think we've had enough of that feeble joke! （走り去る） (D-362) SALLY: She can't be serious about him. (D-363) PETER: I'm going to have this out. （Clarissa の後を追う） You've come to an understanding with Dalloway, haven't you? Haven't you? (D-364) CLARISSA: It's difficult, Peter. (D-365) PETER: Just tell me the truth. Tell me the truth. Tell me the truth! (D-366) CLARISSA: He makes me feel safe. (D-367) PETER: Safe!? Is that want you want!? (D-368) CLARISSA: You want so much of me, Peter. I just can't do it. Throw everything away and go across the world with you. I'm just not brave in that way. And Richard. . . . (D-369) And Richard pamper you, and keep you in a perfectly beautiful, safe prison, filled with flowers and stuffed with elegant antique furniture. He'll make all the decisions for you, and you'll never have to think again! (D-370) (1:07'15") CLARISSA: You demand so much from me. (D-371) PETER: Because I love you for God's sake! (D-372) CLARISSA: Richard leaves me room. . . room to breathe. (D-373) PETER: Clarissa! He's a fool. An unimaginative, dull fool! (D-374) (1:07'38") CLARISSA: You want too much of me, Peter. I can't give it. (D-375) PETER: So it's no use. This is the end. (D-376) CLARISSA: I'm sorry, Peter. (D-377) PETER: Clarissa! Clarissa! Clarissa! （夕立の中で Peter が一人で悲嘆に暮れる） (D-378) （Clarissa が主催したパーティが始まる） LORD LEXTER: （自分の名前を執事に伝える） Lord Lexham. 執事： （来客の名前をアナウンスする）Lord Lexham.
(D-379) CLARISSA: (1:09'36") How delightful to see you! (D-380) LEXHAM: I'm so sorry my dear wife has a cold. (D-380) CLARISSA: Oh, dear! (D-381) LEXHAM: She simply would not wear her furs at the garden party at the Buck House and it was bitterly cold. (D-382) CLARISSA: （考えている内容）Oh, dear, it's going to be a failure, a complete failure! （声に出して） How delightful of you to come. (D-383) LADY: Lovely to see you. (D-384) MAN: Pretty nice to see you. (D-385) CLARISSA: Glad you could come, Freddy. （考え事）Why do I do it? （声に出して）How lovely of you to come! (D-386) LADY: It's nice of you to invite me. (D-387) BUTLER: Mr. Peter Walsh. (D-388) CLARISSA: (1:10'14") Peter! You came! How delightful to see you! (D-389) RICHARD: Peter, back from India, eh? (D-390) PETER: Yes, back from India. (D-391) RICHARD: Must be years since we have seen you. (D-392) CLARISSA: （考え事） Oh, it was a mistake to invite him. He'll all know and he's sorry he's come. He's criticizing me, accusing me of being insincere. Why do I do these things? Why seek pinnacles and stand drenched in fire? I feel burned to a cinder. (D-393) BUTLER: Miss Henderson. (D-394) CLARISSA: （考え事） Either that or dwindle away like Ellie Henderson? （声に出して） Ellie! I'm so glad you've come. (D-395) ELLIE HENDERSON: It's so grand! (D-396) CLARISSA: （考え事）Oh, dear, why can't she at least stand up properly? Well, well, I suppose it's her weaponless state. (D-397) RICHARD: Wonderful to see you again. (D-398) (1:11'09") HENDERSEN: Richard, how lovely! (D-399) BUTLER: Duke and Duchess of Mobra(???). (D-400) HENDERSEN: A Duke!
(D-401) (1:11'15") CLARISSA: （考え事）Oh, why did the Marbras have to follow Ellie Henderson? (D-402) DUCHESS: Clarissa! (D-403) CLARISSA: （考え事）He must have wondered what kind of people I invite to my parties. (D-404) DUKE: Clarissa, how lovely to see you. Thank you so much for inviting us. (D-405) CLARISSA: Oh, Pertie(???), how lovely of you to come! （考え事） It's a disaster! The party is a disaster! How humiliating! And there's Peter wandering off. (D-406) CLARISSA: I'll speak to him. To get the troubles, I know it. Why is like that? He thinks I am absurd. Oh, it's too much of an effort. I'm not enjoying it at all. I feel like a stake driven in at the top of the stairs. (D-407) CLARISSA: （声を出して） Delighted to see you! (D-408) RICHARD: Good to see you, Colonel. (D-409) BUTLER: Mr. Hugh Whitbread. (D-410) CLARISSA: How did you find Evelyn today? (D-411) HUGH: Oh, bearing up, bearing up. (D-412) (1:12'09") CLARISSA: I shall visit her tomorrow. I do hope she'll ask for Mrs. Asquith's memoirs. (D-413) HUGH: Oh, I doubt it. Not Evelyn. She's not a great reader. (D-414) BUTLER: Lady Bruton. (D-415) CLARISSA: （考え事） Lady Bruton!? So she came!? (D-416) LADY BRUTON: My dear Clarissa! (D-417) CLARISSA: （考え事）Maybe she doesn't dislike me as much as I thought she did. (D-418) 白いあごひげの男性: The essential condition for studies for any depth of study, Wilson, oh, a momentary sensation of an embrace! Ha-ha. (D-419) CLARISSA: （考え事） Oh, it's not a failure, after all. It's going to be all right. Hmmm, it's still touch and go, but it's begun, my party. It's begun. (D-420) BUTLER: Lady Rosseter. (D-421) CLARISSA: Lady Rosseter? Who can that be? (D-422) LADY ROSSETER (= SALLY SETON): Clarissa!
(D-422) LADY ROSSETER (= SALLY SETON): Clarissa! （このあと、番号が飛びました。） (D-433) CLARISSA: Sally? （考え事） That voice! （声を出して）Sally Seton! （考え事）Goodness! She didn't look like that when she kissed me by the fountain! (D-434) SALLY: Oh, wonderful to see you! (D-434-B) CLARISSA:（考え事）It's extraordinary to see her again! She's older. She's happier, but less lovely. But oh, how wonderful she's come to my party! (D-435) LADY: I'll tell her that. (D-436) CLARISSA: Oh, Sally, I've been thinking about Bourton all day. (D-437) SALLY: Oh, have you? Have you? (D-438) (1:13'56") BUTLER: The Prime Minister. (D-439) CLARISSA: Oh, my goodness! Sally, I must go. Where's Richard? (D-440) RICHARD: Sorry, Eliot. Duty calls. (D-441) CLARISSA: Oh, how delightful to see you. (D-442) PRIME MINISTER: Very sweet of you. Unfortunately *** couldn't come. (D-443) LADY 1: Clarissa is looking well, considering how ill she's been. (D-444) LADY 2: I know that Richard was very worried about her. (D-445) LADY 1: Envy his wife. Really shouldn't get Hugh. (D-446) LADY 2: I believe it was her heart. (D-447) BRUTON: I think Hugh can always bring us up together. Mind of a matter. (D-448) CLARISSA: You painted your wife. Lovely. I hang it on there. (D-449) MAN: Oh, that's wonderful. (D-450) SALLY: Peter! Peter Walsh! (D-451) PETER: Good Lord! Sally Seton! (D-452) SALLY: Lady Rosseter now. (D-453) PETER: Don't be absurd. (D-454) SALLY: It's true. Lady Rosseter. We live in Manchester. And I have five enormous boys. (D-455) LADY: *** deceiving. Even if I doubt but it's Ellie Henderson. She's ***'s daughter. She's gaping at the Prime Minister.
(D-455) LADY: *** deceiving. Even if I doubt but it's Ellie Henderson. She's ***'s daughter. She's gaping at the Prime Minister. Drooping all over before she disgraces herself isn't the faintest astonishment. (D-456) MAN: Prime Minister, how nice to see you. (D-457) LADY: She's always looked delicate to me. But such charm. (D-457-B) BRUTON: Richard would have done a great deal better if he'd married a woman with less charm, with more backbone. (D-458) BRUTON: (She) would have helped him with his work. He's lost his chance in the government. (D-459) PETER: No one but the snobs of the English are!(???) How they love dressing up and doing homage. Listen to them. I hear baboons chatter and coolies beat their wives. (D-460) SALLY: Still same old, Peter. Still playing with your pocket knife? (D-461) SALLY: We're not all the same, Peter. My husband may have his own *** ***, but he's a miner's son. When he. . . oh, look. Look. Isn't that Hugh Whitbread? (D-462) PETER: What a toady! What an obsequious toady! He's not changed at all. Haven't you fare him?(??? よくは聴き取れません) (D-463) SALLY: He still makes you angry. (D-464) PETER: Look at her. Intoxicated by their all thinking she's brilliant. (D-465) SALLY: Don't be too hard on her. After all, (she) has to do a kind of a performance. She has to give a performance. It isn't the real Clarissa. (D-466) PETER: Our real Clarissa was lot years ago. (D-467) CLARISSA: Prime Minister, can I introduce our daughter? (D-468) SALLY: I'm sure she has a goal. To find the old Clarissa again. (D-469) PETER: Functions there this evening.(???) (D-470) (1:17'17") CLARISSA: Richard so enjoyed your luncheon party. (D-471) BRUTON: Oh, Richard was the most encouraging. And he's promised to drop my little idea into the right again. (D-472) CLARISSA: He's having with the Prime Minister a quiet word now before he leaves.
(D-473) (1:17'32") BRUTON: Why plans to save the government fortune? Maybe, Richard is so inseet(???) this very minute. (D-474) LADY: Isn't that Peter Walsh talking to old Miss Parry? (D-475) CLARISSA: Yes, that's Peter. (D-476) BRUTON: Dear Peter! He was very sharp and clever, short of made a name of himself. But he always seems to be in some trouble with women. (D-477) CLARISSA: Do come and say hello to him. (D-478) BRUTON: Now, Peter. We can get it straight from the horse's mouth. What is going on in India? (D-479) (1:18'03") PETER: Well, a great deal, Lady Bruton. It's uh, it's a very complex issue. (D-480) BRUTON: It's a tragedy. If my father the General were alive, he'd sort them out. Hey, Miss Parry. (D-481) (1:18'19") PETER: Clarissa, I must speak with you, please. (D-482) CLARISSA: Peter, I must go and deal with Sir William and Lady Bradshaw. We'll talk later, I promise. Awfully good of you to come. (D-482-B) LADY BRADSHAW: We are shockingly late, dear Mrs. Dalloway. We hardly dared to come in. (D-483) SIR WILLIAM BRADSHAW: We couldn't resist the temptation. But our own sad account held us. A young patient of mine killed himself. (D-483-B) SIR WILLIAM: Really, Richard, there must be some provision in the government's bill to *** these cases of poor children. (D-484) LADY BRADSHAW: Yes, poor young man. A war did brave(???) during the war, and this evening, he just throws himself out of the window, impaled on the railings. It's quite upset William. (D-485) CLARISSA: （考え事） She looks like a sea lion, barking at me. (D-486) LADY BRADSHAW: Dear William, he does hate to lose patients. (D-487) SIR BRADSHAW: *** parties loses an arm or leg or half of his face. He seems so awful. It's immediate.
(D-488) CLARISSA: （考え事）Stop it. Stop it. Don't talk of death in the middle of my party. I don't like you. I never liked you. You're obscurely evil. (D-489) CLARISSA: A young man came to you on the edge of insanity and you forced his soul. You made his life intolerable and he killed himself. (D-490)（精神科医の夫妻の話が続いたあと）CLARISSA: If you'll excuse me, Lady Bradshaw, I. . . have to. . . . (D-491) RICHARD: The problem is that, uh, politicians are not really very interested in shell shock. (D-492) SIR BRADSHAW: This is it. This is exactly it. (D-493) (1:20'30") HUGH: Hello, Henry. (D-494) HENRY: It's delightful to see you. (D-495) HUGH: I see that Sir William Bradshaw has just arrived. I think you would be most useful to bring him in on your emigration scheme. (D-496) HUGH: I know he's treating many of these fellows suffering from shell shocks or whatever. I'm sure it is a good idea to send them to Canada. It will open their lives. Excellent for mental disturbance. (D-497) LADY BRUTON: What a good idea, Hugh! (D-497-B) PETER: She's disappeared! You think she went upstairs? She can't have gone to bed, can she? (D-498) SALLY: No. No. She couldn't leave her own party. (D-499) PETER: Well, I don't know. I don't know. I don't know if she's been ill. (D-499-B) SALLY: Stop worrying, Peter. (D-500) (1:21'25") CLARISSA: He threw himself out of the window and impaled himself on the railings. Up flashed the ground; threw him, blundering and bruising, went the rusty spikes. (D-501) CLARISSA: And there he lay with a thud, thud, thud in his brain. And then a suffocation of blackness. Why, why did he do it? (D-502) CLARISSA: Why did the Bradshaws talk of it in my party? He's thrown it all away. His life. Just like that. I once threw a shilling into the Serpentine. But he's thrown his life away.
(D-503) SALLY: You were going to her house, I remember. Have you written anything? (D-504) PETER: Um, uh, not a word. Not a solitary word. (D-505) (1:22'29") CLARISSA: But then, he. . . will always stay young. All day long, I've been thinking of Bourton, with Peter and Sally. We've grown old. (D-506) CLARISSA: We'll grow older. Have I lost the things that matter? Let it get obscured gradually, every day in corruption? Lies, and chatter. (D-507) SALLY: Do you remember the night we went boating on the lake? (D-507-B) PETER: Yes, I remember thinking she's abandoned me. (D-508) PETER: And then, all of a sudden, she was there with a hand stretched out, looking utterly beautiful, saying, "Come on. Come on. They're all waiting." Why wouldn't she marry me, Sally? (D-509) SALLY: She was afraid. (D-510) (1:23'59") CLARISSA: Your parents just handed to you life, to be lived right through to the end. We must walk it serenely. (D-511) CLARISSA: To the depth of my heart, in an awful fear sometimes that I couldn't go on. （このあと、うっかりと番号を10個ほど飛ばしてしまいました。） (D-522) CLARISSA: Without Richard, sitting there, calmly reading the Times, while I crouched like a bird and gradually revived. I well might have perished. (D-523) RICHARD: I looked across the room and wondered "Who's that lovely girl?" And then I realized "That's my daughter." (D-524) SALLY: Maybe she needs someone who makes her life simple. She certainly cared for you -- more than she cared for Richard. (D-525) PETER: My life isn't simple. My relationship with her. . . wasn't simple. She broke my heart. And you can't love like that twice. (D-526) CLARISSA: What makes us go on? What sends roaring up in us that immeasurable delight surprises, then nothing can be slow enough. Nothing lasts too long. (D-527) CLARISSA: You want to say to each moment, "Stay, stay, stay."
(D-528) SALLY: I cherish the friendship I have with Clarissa. There was something pure about her. She had such charm, such generosity. (D-529) SALLY: I can see it to this day, going about the house all in white. She always seemed to be in white, and her arms were full of flowers. (D-530) SALLY: And I wonder, "Does absence really matter?" Does distance? You think me sentimental, and so I am. But I have come to believe that the only thing worth saying is what you really feel. (D-531) SALLY: But I don't know what I feel. I know that I loved her once. And that it's stayed all my life -- and colored everything. (D-532) CLARISSA: I must go back to my party, to Sally and Peter. That young man killed himself. But I don't pity him. (D-533) CLARISSA: I'm somehow glad he could do it, throw it away. It's made me feel the beauty, somehow feel very like him -- less afraid. (D-534) SALLY: I have to go. (D-535) PETER: （Richard を見ながら）Do you think he's made her happy? (D-536) SALLY: Who can tell, Peter? All our relationships are just scratches and ***. We thought that you were bright. But what does the brain matter? (D-537) PETER: Compared to the heart. (D-538) RICHARD: （戻ってきた Clarissa に気づいて）There you are! (D-539) CLARISSA: Peter and Sally haven't left, have they? (D-540) RICHARD: I don't know. (D-541) SALLY: Clarissa! I couldn't leave without saying goodbye. (D-542) RICHARD: But you can't leave until you've danced with me. (D-543) SALLY: Peter's in the library. (D-544) CLARISSA: Here I am at last. （Peter と Clarissa が踊る。）
(L-1) (1'29") （Cornwall, 1912 という字幕が出る。テーブルでみんなが食事をしている。 二階で5歳の男の子 James が駄々をこねており、子守のフランス人がフランス語でそれをたしなめる声が聞こえる。） FRENCH WOMAN: J'en ai assez! Tu entends? Assez! Assez! (L-2) MRS. RAMSAY: James. Oh, I know, I know. There'll be another day. And when you go, you must be up with a lark. (L-3) (1'50") MR. RAMSAY: Braddy is essential *** was that, the more we consider the matter, the less able we are to grasp it. Our analysis is destructive. (L-4) MR. RAMSAY: We go on slicing away at objects in the world, separating characteristics, describing. (L-4-B) MR. RAMSAY: It's as though we were condemned to advance each time half the distance covered by the preceding step. (L-5) MR. RAMSAY: Braddie insists that part beyond physical analysis. We need a metaphysical system. It completes the process of perception and then we arrive. (L-6) LILY BRISCOE: James is *** again. (L-7) PRUE: I'm afraid so. (L-8) MR. RAMSAY: That boy will have to learn that he cannot can(???) our lives around with what HE wants to do.
(L-9) CAM: Oh, thank you. Thank you, Esmeralda. Yes, I would love to come to your party. I have just addressed *** It's all over paper. And the dearest little, little shells *** (L-10) CAM: Oh, how so much joy, Esmeralda. Really, you know. It gives me a headache ***. （Mrs. Ramsay が James に話しかけているシーン。） （海辺で家族とその客がクリケットを楽しむシーン。） (L-11) (3'56") LILY BRISCOE: *** must be the subject of fifteens of his own life. Yet threatens us, with oblivion. (L-12) MRS. RAMDSAY: Lily! (L-13) LILY BRISCOE: James is like a kite. There's Mrs. Ramsay, holding the other and whispering. (L-14) MR. RAMSAY: Well, ho, Nancy! Bravo! (L-15) PRUE(?): James! James! It's your turn to bat! (L-16) MR. RAMSAY: A day's a-slipping by. (L-17) CHARLES TANSLEY: Yes, sir, I did hope you might have an opportunity to discuss my dissertation soon. (L-18) MR. RAMSAY: Time we did, Charles! Time we did. (L-19) CHARLES TANSLEY: Yes I would value that. (L-20) MR. RAMSAY: Bravo! (L-21) AUGUSTUS CARMICHAEL: Is this the last man of whom cricket legend's on me? (L-22) NANCY: I doubt it. (L-23) JASPER: *** that! (L-24) JAMES: I wasn't ready. (L-25) JASPER: Oh, yes, you were! (L-26) PRUE: Jasper, you did bowl rather hard. (L-27) JAMES: I wasn't ready. (L-28) MR. RAMSAY: Come on, James. Out is out. (L-29) NANCY: Oh, give him another go. (L-30) 息子: Yes, I'm all for that.
(L-31) MR. RAMSAY: James, you are out. （James が怒ってバットを投げ捨てるのを見て） I don't want this little fish. I don't want this little fish in MY net. (L-31-B) MR. RAMSAY: It's a naughty, naughty little fish. And I don't want HIM for dinner. (L-32) (5'53") LILY BRISCOE: Hello, Cam. (L-33) CAM: Hello, Aunt Lily. (L-34) CHARLES TANSLEY: How was your sketching, Miss Briscoe? (L-35) LILY BRISCOE: Uh, I wasn't really pleased with my efforts today, I'm afraid, Mr. Tansley. (L-36) MRS. RAMSAY: You're such a harsh judge of your own talents, Lily dearest. (L-37) CHARLES TANSLEY: There's never been a major woman artist. (L-38) LILY BRISCOE: Really? (L-39) CHARLES TANSLEY: I wish it were not so. (L-40) LILY BRISCOE: We're not dealing with the matter of "is so" or "is not so." We're discussing your opinions, aren't we? (L-41) CHARLES TANSLEY: I think there isn't such things as objective truths, an undeniable manifested consensus of thought. Mr. Ramsay, I'm sure, would agree with me. (L-42) (6'29") LILY BRISCOE: I expect you have a fondness for lists. Best poet, second best poet, third best poet. (L-43) CHARLES TANSLEY: It's hardly that facile. (L-44) LILY BRISCOE: Doubtless you have jolly arguments as to who is the best undergraduate of this year. (L-45) CHARLES TANSLEY: In my year, it was me. (L-46) ANDREW: Have you seen a shipwreck, Mr. Tansley. (L-47) CHARLES TANSLEY: Ah, no, Andrew, I haven't. (L-48) 息子： Come here. (L-48-B) *** soon, of course. (L-49) 息子： It's not my sea now. (L-50) 息子： Even so. You went down that storm. (L-51) PRUE: Masterly, Mother, dearest! (L-52) MR. RAMSAY: Let's hope it's fine tomorrow. (L-53) ANDREW: Why's that, Father? (L-54) MR. RAMSAY: The tournament, Andrew, the tournament!
(L-55) MRS. RAMSAY: Come along, James. Not too slow. （Tournament に参加する若い男たちが、屋外で服を着替えて準備している。） (L-56) MR. RAMSAY: Caroline, I've had enough of your damn philanthropy. We do less and less together. (L-56-B) MR. RAMSAY: You write letters to the bereaved relatives and you're fiddling about with your constable. You will accompany me and the children to the tournament. (L-57) MRS. RAMSAY: Michael, I cannot. (L-58) MR. RAMSAY: You will not make any of your damn visits today. (L-59) MRS. RAMSAY: *** is dying. I have to visit him. (L-60) MR. RAMSAY: Oh, Caroline! (L-61) CAM(???): *** should be, Mother? (L-62) MRS. RAMSAY: No. But you must go to the beach today. (L-63) CAM: *** Father and me. (L-64) MRS. RAMSAY: Marie, here's one found. (L-65) 娘： I can't find James. I've looked everywhere. (L-66) MRS. RAMSAY: Well, look again. The house isn't that big. (L-67) MILDRED (MAID): They're parting, sir. I thought everyone was finished. (L-68) CARMICHAEL: A little vice I have. (L-69) MR. RAMSAY: You hurry up, you confounded children! I should be there by now. (L-70) 娘: I'm sure *** (L-71) NANCY: *** (L-72) PRUE: Don't be such a misery, Nancy, please! Would you rather change places with me, Mr. Tansley? The wrestling isn't really like up to me at all. But I'd love going along with Mother out. People, they're so real.(???) (L-73) CHARLES TANSLEY: Oh, I'm sorry to keep you waiting, Mr. Tansley. （二人が歩き始める）Good morning! (L-73-B) 男性: Good morning, ma'am. (L-74) MRS. RAMSAY: *** Enjoy yourselves. We're going to the village, Mr. Carmichael. You want anything? Stamps, writing paper? Tobacco? (L-75) （Augustus Carmichael は答えもしない。Mrs. Ramsay は諦め、Charles Tansley と共に再び歩き始める。）
(L-76) MRS. RAMSAY: He could have been a great philosopher. He made an unfortunate marriage. Have you come this way before? (L-77) (10'28") CHARLES TANSLEY: Is it quicker? (L-78) MRS. RAMSAY: It's prettier. Your predecessor liked it. (L-79) CHARLES TANSLEY: My what? (L-80) MRS. RAMSAY: Your predecessor. My husband invites one of his students down here most year. Why, Mr. Tansley, you look quite good. (L-81) CHARLES TANSLEY: No, no, it's just that I. . . well, I forget there's a pattern everything has. (L-82) MRS. RAMSAY: We've been coming down here for several years now. (L-83) CHARLES TANSLEY: Who lived in that house before? (L-84) MRS. RAMSAY: A mining family. They went bankrupt, I believe. How sad! The house stood unrented for years. Nobody wanted it. (L-85) (10'57") CHARLES TANSLEY: It's pleasant to have two houses. (L-86) MRS. RAMSAY: (11'02") You disapprove? (L-87) CHARLES TANSLEY: Many people in Cornwall don't even have one. (L-88) CAROLINE TANSLEY: You are our guest, Mr. Tansley. Why, Mr. Tansley, you are tinder-dry. I do believe that you stand out here in the sun for more than an hour. You blow up like a stove just like that. Ha-ha. (L-89) CHARLES TANSLEY: Mrs. Ramsay, let me carry your basket. （屋外でのレスリング大会） (L-90) 男の子： Come on! (L-91) MICHAEL TANSLEY: Good morning. Hello, good morning. Have you met my daughters? (L-92) MAN: No. (L-93) MICHAEL TANSLEY: Rose, Nancy, and Prue? And these couple of rascals are my sons. (L-94) MICHAEL RAMSAY: How is it, Mr. DeMorrow. How is your young son of yours doing at the fair, hmmm? He's going to win the belt and bring you glory. (L-95) MAN: He's got Hawkins to deal with. (L-96) MICHAEL RAMSAY: Ah, yes, Hawkins.
(L-97) NANCY: They risk their lives every day. What a hideous sport! They break each other's bodies. (L-98) PRUE: Well, I don't think it's quite as dangerous as that, Nancy. (L-99) NANCY: Last year one man broke his back. He's in a wheelchair now. It's an *** poorly ridiculous tragedy. (L-100) PRUE: Well, it's just the way they are. (L-101) 小さい息子: It's someone against you. (L-102) 大きい息子: Next bout. Semi-final, isn't it? (L-103) 小さい息子： I've got a bed on final. Don't tell Father. (L-104) 大きい息子: Backing up Sam, are you? (L-105) 小さい息子: I've got a bed on Mildred. (L-106) LILY BRISCOE: Paul's coming soon, isn't he, Prue? (L-107) PRUE: Yes. (L-108) LILY BRISCOE: We shall see less of you. (L-109) NANCY: *** train journeys. I'm ??? devotion. (L-110) WOMAN: Tom, will you come up, please? (L-111) MAN: The boy should be at the tournament. (L-112) WOMAN: *** needing me, Walter. And don't you be arguing with that. (L-113) WOMAN: Tom, Mrs. Ramsay has a word to say. (L-114) CAROLINE RAMSAY: Tom, you know where I live, don't you? I've told your mother that, if she needs me urgently at any time, just to send you to fetch me. (L-115) CAROLINE RAMSAY: You must use the back door if it's in the night. It's never locked. （屋外の wrestling） (L-116) MAN: Come on, son. (L-117) MICHAEL RAMSAY: You predicted well, Mr. DeMorrow. Bad luck, Sam. (L-118) MAN: ***???
(L-119) MICHAEL RAMSAY: Come around, DeMorrow. Lose like a gentleman. (L-120) MAN: *** don't have *** （家族3人が歩き始める。） (L-121) PRUE: Have you got your speech ready, Father? (L-122) MICHAEL RAMSAY: Well, Andrew, what do you think? Does Ham have a fair back or no? (L-123) ANDREW: I really don't know, Father. I don't know the rules. (L-124) MICHAEL RAMSAY: Well, you should. This is an important sport of the people here. The least you can do is to try to understand it. (L-125) ANDREW: Well, tomorrow Jasper and I are playing chess in the garden. How's an end? Hasn't taken any interest in that? (L-126) MICHAEL RAMSAY: Do you think that's comparable? (L-127) ANDREW: I'm just giving you my point of view, Father. (L-128) MICHAEL RAMSAY: Then you're a fool. (L-129) ANDREW: I suppose HE knows the rules. (L-130) PRUE: Of course, he does, Andrew. He sat down on the local experts the first summer he came here and found out all about it. （Michael Ramsay の演説） (L-131) MICHAEL RAMSAY: I wish only to say that I am honored that you have asked me to present the prizes today. We Ramsays are only swallows, you know, here for the summer. (L-132) MICHAEL RAMSAY: Indeed, I feel it presumptuous that someone like I should stand here in the place of honor. . . (L-133) MICHAEL RAMSAY: . . . when there are doubtless others whose roots are deep down in this countryside that I love so much, others far more fitting than I. Thank you. Fred Hawkins. (L-134) NANCY: He's won again. （海岸の小道を歩く Caroline Ramsay と Charles Tansley） (L-135) CAROLINE RAMSAY: I'm sure you'll find this pace most irritating. You like to be in a hurry, don't you, Mr. Tansley? (L-136) CHARLES TANSLEY: I'm sure I can't still find *** (L-137) CAROLINE TANSLEY: Have you been home since you've been here? (L-137-B) CHARLES TANSLEY: Of course not. (L-137-C) CAROLINE TANSLEY: You've always been happy, though.
(L-138) (17'52") CHARLES TANSLEY: One DOES feel sometimes on the outside. (L-139) CAROLINE RAMSAY: I expect you haven't had all the time you would like with Michael. I hope you've been writing regularly to your mother and father. (L-140) CHARLES TANSLEY: Well, I can. (L-141) CAROLINE RAMSAY: I shouldn't pry into other people's lives. It's a vice I have. (L-142) (18'10") CHARLES TANSLEY: And what have you been doing this afternoon, a vice or a virtue? The little boy Tom is rather hostile. (L-143) CAROLINE RAMSAY: Such fierce pride. (L-144) CHARLES TANSLEY: On the other side of my family. (L-145) CAROLINE RAMSAY: So you are. (L-146) CHARLES TANSLEY: I can't afford to visit much during the term. I and Mrs. McBright, you know. I earn the money to pay for the schooling. (L-146-B) CHARLES TANSLEY: I earn the money for my own school and all my studies at the university. （Michael Ramsay の書斎にて） (L-147) (18'48") MICHAEL RAMSAY: Come in. (L-148) CHARLES TANSLEY: I brought my dissertation. You said I should at dinner. (L-149) MICHAEL RAMSAY: Yeah, put it on the desk then. (L-150) CHARLES TANSLEY: You'll be up through it this evening, will you? (L-151) MICHAEL TANSLEY: Don't worry, Charles. Off you go. (L-152) CHARLES TANSLEY: I hope it won't be a trouble to you, sir. (L-153) MICHAEL TANSLEY: Of course, it's no trouble. I'm a teacher, am I not? I must help my students, mustn't I? How like you I was when I was 25? But I was further on the new R, Charles my boy. You have reached H. I was as far as O. （二人の子供が寝床で遊んでいる。） (L-154) CAROLINE RAMSAY: That was lovely. Oh, dear, oh, dear, oh, dear. I DO feel the lack of any real education on these occasions. Arithmetic, for instance. (L-155) NANCY: Did you enjoy your walk with the atheist? (L-156) (20'57") CAROLINE RAMSAY: I wish you wouldn't call him that, Nancy.
(L-157) NANCY: The Church of England has the vested interest in the perpetuation for the property owning role in France. No God would *** with *** of Bishop. (L-158) CAROLINE RAMSAY: Ha-ha, you really must show him more respect. Your father has a very high opinion of young Mr. Tansley. Very able. He does say he's very able. (L-159) NANCY: I'm sick of Aristotles like him. He's a bore -- and a prig. I wish he wasn't here. Next year, don't you think we can come down here and just be on our own? (L-160) NANCY: Couldn't we do that, just the family? No boring old students or crusty old family friends. No injured birds. Now, Mother, please. (L-161) (22'00") I don't know who you mean by injured birds, Nancy. (L-162) NANCY: Yes, you do. (L-163) CAROLINE RAMSAY: That's enough. (L-164) MICHAEL RAMSAY: If you wouldn't mind, Nancy, I wish to talk with your mother. You'll strain your eyes, Caroline. (L-165) CAROLINE RAMSAY: Yes, I must stop soon. (L-166) MICHAEL RAMSAY: Who are you knitting for now? (L-167) CAROLINE RAMSAY: Ben Sorley's son. The night housekeeper's son. (L-168) MICHAEL RAMSAY: I've been trying to work. (L-169) CAROLINE RAMSAY: It's so noisy out. That's why you can't ***. (L-170) MICHAEL RAMSAY: Whether they are noisy or not is beside the point. I am unable to work with it. My brain has become an unwilling beast. (L-171) CAROLINE RAMSAY: That's the retiring day for you, Michael. Leave it. I'm sorry I sounded a wimp. (L-172) MICHAEL RAMSAY: Your absence was a subject of comment. (L-173) CAROLINE RAMSAY: The light is gone. Cannot be bothered to have the ***. （海岸にて） (L-174) (24'40") CAROLINE RAMSAY: They don't have the will together.(???) Don't you think, Mr. Carmichael?
(L-175) (24'40") CARMICHAEL: Always arguing, aren't they? (L-176) CAROLINE RAMSAY: They're both so serious. Mr. Tansley should be a politician. He would change the world for the better. (L-177) CAROLINE RAMSAY: And Lily is a source of strength. She would have a studio and he a study. You're not listening, Mr. Carmichael. (L-178) NANCY: Do you like Charles Tansley? (L-179) LILY BRISCOE: We have certain problems in common. Do you? (L-180) NANCY: He's not my type. (L-181) LILY BRISCOE: What is your type? (L-182) NANCY: I don't know, Lily. (L-183) CAM: Come on! (L-184) NANCY: People say he's too serious. The world isn't a funny place, is it? (L-185) LILY BRISCOE: It's strange. Your mother believes the world is filled with tragedy but she laughs all day long. (L-186) NANCY: Mr. Carmichael says it's extraordinary beautiful. Lily, I don't know what that means. (L-187) LILY BRISCOE: I do. If you could win one, I suspect you choose to be someone other than Nancy Ramsay. (l-188) NANCY: I'd like to be Marie. She's a long way from home, with foreigners. I'd love to be among them, with secrets. (L-189) LILY BRISCOE: Don't you? (L-190) NANCY: No. The Ramsays aren't allowed to have secrets. We're endlessly inspected. (L-191) LILY BRISCOE: You're much loved. I envy you there. (L-192) NANCY: Marie had a letter from Switzerland. She read it up in her room. She cried *** (L-193) (27'21") CAROLINE RAMSAY: Oh, Andrew, quick! (L-194) JAMES: We'll go soon, won't we, Mother? (L-195) ANDREW: You write too many letters, Mother. (L-196) JAMES: Mother, we will go soon. (L-197) CAROLINE RAMSAY: Where, my dear? (L-198) JAMES: To the lighthouse.
(L-199) (28'04") MICHAEL RAMSAY: Oh, dear boy, I'm sorry to have kept you waiting. Prue wanted to come with me but I thought it best she stay at home. (L-200) MICHAEL RAMSAY: The evenings are growing chilly this late in the summer. It's lovely here. You'll like it. (L-201) MICHAEL RAMSAY: When I come down in mid-July, you know, and it's been the summer term. And the year is stuffy. Let me tell you my mind is in a parlor state. (L-202) MICHAEL RAMSAY: They do say, don't they, you can improve an old clock by putting a piece of cloth in the back with a trace of oil on it. This is my piece of oily clock. (L-203) CAROLINE RAMSAY: I'm sure you could have persuaded him, dear Brisc. (L-204) LILLY BRISCOE: Why should I, Mrs. Ramsay? He didn't come to go through invigorating walks. He came to. . . . (L-205) CAROLINE RAMSAY: Oh, the dissertation. *** I'm glad you two seem to be getting on better than you used to. (L-206) MICHAEL RAMSAY: We're going to the standing stone, not there. (L-207) CAROLINE RAMSAY: I'm having a rest. (L-208) BOY: Base camp. (L-209) CAROLINE RAMSAY: Come on, children. Base camp. (L-210) CAROLINE RAMSAY: There. Michael has his expedition. (L-211) (30'15") LILY BRISCOE: Ah, hello, Mr. Rayley. (L-212) PAUL RAYLEY:: Am I disturbing you? (L-213) LILY BRISCOE: Come on, Mr. Rayley, we artists are solitary, you know. (L-214) PAUL RAYLEY: It's quite marvelous up here, Miss Briscoe. I think that, if I had any ability with the brush, this is where I'd come. (L-215) LILY BRISCOE: I have no ability. (L-216) PAUL RAYLEY: Of course, you have. (L-217) LILY BRISCOE: But I do persist. I'm very stubborn. (L-218) PAUL RAYLEY: Then perhaps you couldn't not paint even if you wanted to abandon it. (L-219) LILY BRISCOE: Do you know much about paintings, Mr. Rayley?
(L-220) (30'52") PAUL RAYLEY: Well, I go to exhibitions when I can. I'm sure you would find writers' very old hand.(???) I bought a painting last year, as a matter of fact. It's a Grizzly(???) Ford. A view of Richmond. (L-221) PAUL RAYLEY: I first met Mr. Ramsay in Richmond. He went through *** the Park. We watched the deer. (L-221-B) LILY BRISCOE: Painting isn't an aide-memoire, is it? (L-221-C) PAUL RAYLEY: Good day, Miss Briscoe. (L-222) (31'43") LILY BRISCOE: How can I catch all this. . . landscape? It's a record of men's labor to transform nature. . . to exploit it. It is their handiwork. (L-223) LILY BRISCOE: I suppose that's why male artists portray convincing me(???). Their fire by their pride of possession. It is all the more lamatore(???) than they think the landscape is feminine. (Caroline Ramsay が Michael Ramsay の髪を整えている。） (L-224) CAROLINE RAMSAY: Jasper tells me his feet are sore. He's certain to crack his pace, Michael. (L-225) MICHAEL RAMSAY: Get an appropriate pair, Caroline. The idiot boy would have canvas shoes. You must give him a decent pair of walking boots. (L-226) MICHAEL RAMSAY: Support their leather uppers, Caroline -- and a broad fitting. (L-227) CAROLINE RAMSAY: He'll outgrown them in a year. Michael, how do you find Paul Rayley? (L-228) MICHAEL RAMSAY: Same as ever, I suppose. Steady but dull. Why? (L-229) CAROLINE RAMSAY: I think he's come down to propose to our Prue. (L-230) MICHAL RAMSAY: Oh. I see. What will her answer be, do you think? (L-231) CAROLINE RAMSAY: Knowing Prue, she will be guided by what WE think. (L-232) MICHAEL RAMSAY: Would she be happy? (L-233) CAROLINE RAMSAY: I think they're very much in love. (L-234) MICHAEL RAMSAY: Perhaps I should raise the matter with him. Isn't that proper to us? (L-235) CAROLINE RAMSAY: No. I'm sure he will propose.
(L-236) MICHAEL RAMSAY: If that is what you would have him do, Caroline, then, I'm sure he will. In this house, your wishes command us all. 夫婦が寝室にて (L-237) MICHAEL RAMSAY: Another day gone by. Nothing achieved. (L-238) CAROLINE RAMSAY: You're with your family, Michael. (L-239) MICHAEL RAMSAY: Consolation prize. I'm sorry. (L-240) CAROLINE RAMSAY: I know what your reputation is. And the people you invite here -- they speak so highly of you. （James の部屋） (L-241) JAMES: Nanny, nanny, there's a burglar! (L-242) NANNY: It's all right. Shhh. . . . It's *** It's no one. I know it isn't. It's not a burglar, James. *** (L-243) NANNY: Go back to bed, hein?（たぶんフランス語の "hein"）Like a good boy. （重病だった一家の主人が死ぬ。悲しむその妻を抱擁する Caroline Ramsay。） （Lily Briscoe の寝室） (L-244) (35'53") LILY BRISCOE: Why are you here? (L-245) CAROLINE RAMSAY: I've told you so many times: close doors but open windows. I'm sorry. I've used up all my warm feeling. I feel my face at its edge. (L-246) LILY BRISCOE: Have you been out? (L-247) CAROLINE RAMSAY: You know what is the very worst thing? The most awful event I can imagine? That Michael should die before me. (L-248) LILY BRISCOE: Mr. Ramsay will live to be a hundred. (L-249) CAROLINE RAMSAY: Well, I hope so. I hope I'll die first. This is a lonely little room. (L-250) LILY BRISCOE: I like it. (L-251) CAROLINE RAMSAY: I fear loneliness. That is why we really don't understand one another. (L-252) LILY BRISCOE: I don't live alone. I have a home, my father. I'm a painter. (L-253) CAROLINE RAMSAY: There cannot be much to share with your own papa, surely.
(L-253) (37'21") LILY BRISCOE: As you wish. (L-254) CAROLINE RAMSAY: I'm actually afraid to be on my own. (L-255) LILY BRISCOE: I am sometimes. (L-256) CAROLINE RAMSAY: The other day I was sitting by the French windows in the evening. You know how I like to sit there with James? But I was alone. (L-257) CAROLINE RAMSAY: The children were all upstairs, in their rooms. You were off. Augustus somewhere. Michael was in town **** of chore away. And so, I sat there. (L-258) CAROLINE RAMSAY: And, because it was so quiet, there was nothing to distract me. I began to hear the waves on the shore. (L-259) （ここで "the waves" という言葉が出てきました。誰にとっても "waves" というものは特別な意味を持つのでしょうけど、Virginia Woolf の "The Waves" という作品をこないだ読んだばかりなので、 余計にこの waves という言葉が気になります。この "To the Lighthouse" においても、単数形の wave が 13回、複数形の waves が 18 回も出てきます。） (L-260) CAROLINE RAMSAY: You know how it is when you begin to hear something. *** it begins to get louder and louder and it really becomes quite insistent. (L-261) CAROLINE: You wonder how it is but you don't hear it all the time. So, I listened to the rhythm of the waves. Falling -- drawing back, falling again. And it frightened me. (L-262) （このあたりの Caroline の意識の奥底にあるものの微妙な味わいを噛みしめたいと思います。） (L-263) CAROLINE: It's foolish, really, but always have the words to rhythms like that. (L-264) LILY BRISCOE: You can't help it. (L-265) CAROLINE: The tick of the clock. Wheels of the train. The lighthouse lamp. The wave would fall. And as it drew back, I found myself sane. The Lord have mercy on us. Like that. The wave would fall.
(L-266) (39'11") CAROLINE: And the Lord have mercy on us. I went to find some company. I remember I found Mildred in the kitchen and I started talking about neck-faced(???) meals. (L-267) CAROLINE: I can't imagine what she thought had got into me. (L-268) LILY: Is my situation so different from yours? (L-269) CAROLINE: Oh, I'll bet it is. Of course, it is. (L-270) LILY BRISCOE: Why? Because you have children and I do not? Because you have a man always to share your bed and I have none? (L-271) CAROLINE RAMSAY: Oh. (L-272) LILY BRISCOE: But what really do you share, Mrs. Ramsay? You don't cease to be one person, it seems. You don't become half a person, do you? (L-273) LILY BRISCOE: Do minds open like mouths in a kiss? I don't believe they do. Love can't claim so much. (L-274) CAROLINE RAMSAY: Poor Lily! (L-275) LILY BRISCOE: I'm not "poor Lily." You must not say that! (L-276) CAROLINE RAMSAY: I'm sorry. (L-277) LILY BRISCOE: Why must you always insist that the likes of me stand shivering outside the gate just because we're not married? (L-278) LILY BRISCOE: -- just because we don't have a man always to pamper and serve? (L-279) feministic な考え方を持つ独身の女性画家である Lily Briscoe が、ここでついに "pamper and serve" と言ってしまっている。つい僕は笑っちゃいました。 (L-280) CAROLINE RAMSAY: I do not serve here. (L-281) LILY BRISCOE: Am I not permitted to be as happy as I am on my own? (L-282) CAROLINE: Lily, I do assure you I do NOT serve here. This is MY household. And I am in control. When it comes down to it, you know, Michael is but ONE member of the household. (L-283) LILY BRISCOE: Mrs. Ramsay. . . . (L-284) CAROLINE RAMSAY: You don't understand. (L-285) LILY BRISCOE: Suppose he rejected you. . . . (L-286) CAROLINE RAMSAY: Oh, Lily!
(L-287) (41'27") LILY BRISCOE: Suppose he did, what then? If he pushed you out the front door and locked it, what then? You would starve. (L-288) CAROLINE RAMSAY: You don't understand. （Michael Ramsay が Caroline に対して小言を言っている。） (L-289) (42'10") MICHAEL RAMSAY: Caroline! I've had enough of your damned philanthropy. We do less and less together. (L-290) MICHAEL: If you want writing letters to bereaved relatives, and you're fiddling about your account books for the poor and needy, *** making yourself busy. (L-291) MICHAEL: Caroline, do you understand? We have children who want you to themselves. And there's me. There is misery all around. I know. (L-292) MICHAEL: Damn it, I knew *** living. And I know his family is destitute. But I also know I cannot care for the whole world, Caroline. Can you? （James を抱いて歩く Mrs. Ramsay。） (L-293) JAMES: Mother, do you think *** will *** a boat tomorrow, couldn't we, Mother?（子供の英語は聴き取りにくいです。） (L-294) CAROLINE RAMSAY: Would you like that, my darling? (L-295) JAMES: Yes. (L-296) CAROLINE RAMSAY: Well, then, we shall ask him. （荷車で木材を運び込む職人） (L-297) MICHAEL RAMSAY: I do not agree that it has to be done. (L-298) CAROLINE RAMSAY: We must *** there's something to repair. (L-299) MICHAEL RAMSAY: I'm sorry, but I cannot afford it. This house is a luxury, Caroline. We are here for eight weeks in a year. (L-300) MICHAEL: But, for the remainder, it is a drain on my purse. Now, I love these summers more than anyone. (L-301) MICHAEL: But let me say this: If you continue to give the nod to such unnecessary expenditure, I shall sell. I will place the house on the market this very autumn. (L-302) CAROLINE: What do you want me to do? Shall I instruct the *** to take all the materials back? (L-303) MICHAEL: I have no wish to discuss this trivial matter any further. Do as you think fit.
(L-304) (44'20") PRUE: Has he found out? (L-305) CAROLINE RAMSAY: He says he cannot afford it. It's ridiculous, of course he can afford it. Not easily, but it won't produce us to the workhouse. (L-306) PRUE: Father worries so about money. (L-307) CAROLINE RAMSAY: It's a moral issue, Prue. This house is a luxury. Luxuries are immoral. There's nothing to be spent on it. Oh, look at it. Such a pity! （Mr. Ramsay と Charles Tansley がテニスをしている。） (L-308) MICHAEL RAMSAY: You know, Charles, as I get older, I found out I return more and more to the central conundrum of philosophy, or rather it returns to me. (L-309) MICHAEL: The relationship between mind and body. Here I am, after 40 years of reflection, I feel that, somehow, we're all fundamentally wrong. (L-310) MICHAEL: I cannot find a concept that fits the physical facts. Minds are brains, after all. Brains are flesh and blood. Mind is meat, Charles. (L-311) CHARLES TANSLEY: I do not perceive our minds as meat, sir. (L-312) MICHAEL RAMSAY: Ah, but maybe we should, dear boy. That is my point. I go to the beach for a day. The sea sets my skin tingling, but the sea also sets my brain tingling. (L-313) MICHAEL RAMSAY: You get my point? The sea may affect how I think. How is this, Charles? Assist me. (L-314) CHARLES TANSLEY: I'm not sure I follow you, Mr. Ramsay. (L-315) (46'17") MICHAEL RAMSAY: Cheer up, Charles! Cheer up! Ha-ha. （Charles Tansley がテニスラケットを投げ捨てて立ち去る。） (L-316) (46'23") MICHAEL RAMSAY: Charles! Charles! Good gracious, boy! What's the matter? (L-317) CHARLES TANSLEY: I do not enjoy being the subject of amusement. (L-318) MICHAEL RAMSAY: Oh, come on, really! (L-319) CHARLES TANSLEY: I, I, I admire your abilities, Mr. Ramsay, enormously. You know that. I find it such a privilege to be asked down here, to work with you.
(L-320) (46'48") CHARLES: I left my family and I came down. I fought and spent so many weeks to be able to discuss my dissertation with you. I must not miss such a chance. Now it's nearly over. (L-321) MICHAEL RAMSAY: What are you trying to say? (L-322) CHARLES: I feel disappointed. Deeply disappointed. (L-323) MICHAEL: Do you? (L-324) CHARLES: I don't understand you. Always gardening and sitting about, and playing cricket, and playing on the beach. None of it matters, does it? Well, what about your work? Isn't that what matters? (L-325) CHARLES: Well, it's your family that matters. It's all your reading and writing and all our discussions on the beach, is that all a game? Well, my work isn't a hobby to me. (L-326) CHARLES: It's real. It's absolute. And my political views are real too. I'm not playing games. Do I have to be a good sport to be acceptable to you? （Charles Tansley が立ち去る。） (L-327) MICHAEL RAMSAY: Mr. Tansley! Mr. Tansley! I have something more to say to you, Mr. Tansley. （Michael Ramsay は、さっきまではずっと Charles Tansley のことを Charles と呼んでいたが、ここでは Mr. Tansley と呼んでいることに注意。） （娘の Cam がピアノを弾いている。） (L-328) (47'46") CHARLES TANSLEY: Philip, if Mr. Ramsay wants to know where I am, tell him I am gone to the village. （James と Mrs. Ramsay。） (L-329) JAMES: Phew, I'm hot, Mother. (L-330) CAROLINE RAMSAY: Well, stand in the shade, then. I must finish this bed. (L-331) MICHAEL RAMSAY: ??? ??? All through the valley of ??? Roads of six hundred!(???) (L-332) CAM: Father! (L-333) MICHAEL RAMSAY: Yes, Cam? What is it? (L-334) CAM: Mr. Tansley, he gave me a message for you. (L-335) MICHAEL RAMSAY: What was the message? (L-336) CAM: ??? (L-337) MICHAEL RAMSAY: Come on! （Lily Briscoe がカンバスに向かっている。）
(L-338) (48'57") LILY BRISCOE: Now, where's the focus of such a house? I'm not sure I can see it. The outside tells me nothing. It should be sliced through -- like a beehive against glass, passages revealed. (L-339) LILY: Storage areas. A Royal nursery. James, six, is stormy. Go, James. There'll be no trip to the lighthouse today. Today. . . is for the dissertation. (L-340) (49'45") CAROLINE RAMSAY: James! Anyone seen James? (L-341) LILY BRISCOE: Where is my focus? I found my subject. (Mr. Ramsay が Cam の虫取り網を直してあげている。） (L-342) MICHAEL RAMSAY: There! （Cam が走り去る）Cam, what was the message? （Paul Rayley と Prue） (L-343) PAUL RAYLEY: He's always asleep. (L-344) PRUE: That's because he. . . . Well, he's up for much of the night for his poetry. He's a quite well respected poet, you know. His work is rather ??? now. He was a teacher in India. (L-344) PRUE: He and Father were undergraduates together. He comes down every year. One of the traditions. （Augustus Carmichael が昼寝している。） (L-345) CAM: Mother! Mother! （悲鳴を挙げる）（Mrs. Ramsay が倒れている。） (L-346) MICHAEL RAMSAY: Cam! What is it? （みんなで Mrs. Ramsay を屋内に運び込む。） (L-347) NANCY: Well done, Jasper! (L-348) PRUE: I'm going to see Mother. （Mrs. Ramsay が部屋で休んでいる。ドアのノックに答える。） (L-349) CAROLINE RAMSAY: Come in! (L-350) PRUE: Shall I come back later? (L-351) CAROLINE RAMSAY: No, of course not, Prue dear. （Mr. Ramsay が幼い二人の子供に対して） (L-352) MICHAEL RAMSAY: Children, off you go. (L-353) CAROLINE RAMSAY: Now, Prue, please, let up the blinds. I do find this gloom horribly depressing. How is my household, Prue? Is it still running along without me? (L-354) PRUE: It's like Sleeping Beauty. The house is so silent. James and Cam haven't had a fight for three days. (L-355) CAROLINE RAMSAY: Extraordinary! How is Paul?
(L-356) (53'35") PRUE: Rather sunburnt at the present. (L-357) CAROLINE: Don't be evasive. (L-358) PRUE: Last night I suddenly woke up and started wondering, "What will he be like when he's sixty?" (L-359) CAROLINE: Just as he is now. We grow old together, husbands and wives. (L-360) PRUE: I've been thinking. How did has happened? Why this particular man? I mean, we met and fell in love. But it's all so random. Is that an awful thing to say? (L-361) (54'32") CAROLINE: I first met Michael at a reception. Hundreds of people, you know, standing around, talking. (L-362) CAROLINE: And I saw him standing there, all alone, with a plate in one hand and a glass in the other. It was as if he were a thin, black coast sticking out of the wall. (L-363) CAROLINE: And all those other people were just bobbing around him. Like so much flotsam. Such a vivid recollection. (L-364) PRUE: Were you sure? (L-365) CAROLINE: Very. （ドアをノックする音） (L-366) CAROLINE: Yes? Oh, Jasper! (L-367) JASPER: Are you feeling better now, Mother? (L-368) CAROLINE: Yes, Jasper. Much better. （食卓で） (L-369) CAROLINE RAMSAY: But you must go out to the Land's End, Mr. Rayley. Every visitor to Cornwall does that. Don't you agree, Prue? Nancy? (L-370) PRUE: Yes, Mother. (L-371) CAROLINE: You should all three of you go -- for the day. (L-372) ANDREW: The biggest ever! (L-373) 別の息子： Look at it. (L-374) 男： Oh! (L-375) MICHAEL RAMSAY: Come and sit down. （一同が白ける。） My God! （スープの入った皿を窓から投げ捨てる。）This house is turning into a zoo. (L-376) MICHAEL: Andrew, remove that bucket. ??? and God knows what else. We'll all be poisoned if something isn't done. (L-377) MICHAEL: Mrs. Ramsay, if you spent a little more time here, which IS your responsibility, and a little less time in other people's houses, which is not,
(L-378) you might be able to see that our kitchen has(???) started some note of elementary hygiene. Mildred! (L-379) (57'06") PRUE: Father! (L-380) MICHAEL: Mildred! (L-381) PRUE: Father, please, let me see to this. Father, please let ME see to this. Father! (L-382) NANCY: Prue needn't concern herself. Mildred will take it in her stride. She's as used to Father's rages as the rest of us. (L-383) CAROLINE: Nancy! I WILL not have you speak of your father like that. (L-384) NANCY: Why do you defend him!? I don't understand why you defend him! (L-385) CAROLINE: Andrew, do as you're told. Remove the bucket. (L-386) JAMES: Mother! (L-387) CAROLINE: Yes, James. (L-388) JAMES: I think we should go to the lighthouse today. (L-389) PAUL RAYLEY: That sounds very exciting. I'd like to visit the lighthouse, James. (L-390) JAMES: I see the boat is quite small. Mother, do you think we CAN go? (L-391) CAROLINE: I'll ask your father. (L-392) CAM: This one's Esmeralda. (L-393) PAUL RAYLEY: I like James. (L-394) CAM: James is all sixes. He's six years old. And here's six of us. (L-395) PAUL RAYLEY: You're an extraordinary family. All of you. (L-396) CAROLINE: I'm afraid you've seen us wots and all(???), Mr. Rayley. (L-397) PAUL RAYLEY: That's how it should be. (L-398) CAROLINE: Oh, no. I'm sure it's not. Suitors should not see behind the curtains.
(L-399) (58'54") LILY BRISCOE: Oh, come! Mrs. Ramsay! (L-400) CAROLINE: There sits my small black cat. My brisk(???). She watches all our drums(???) with her narrowed unblinking eye. (L-401) （二階からの大声）MICHAEL RAMSAY: It is a disgrace! (L-402) CARMICHAEL: Michael Ramsay has the black mood on him. You young people will not understand what it is: the black mood. There is no comfort. (L-403) PRUE: I do believe Mr. Carmichael is on a different plane from the rest of us. (L-404) LILY BRISCOE: To listen more than one speaks is a rare gift. （Michael Ramsay と Augustus Carmichael） (L-405) MICHAEL RAMSAY: I have to deliver a lecture at Cardiff University early in the term. The damned thing has been on my mind. Damned nuisance. (L-406) CARMICHAEL: *** Undergraduates for the most part of the appetite of sparrows. (L-407) MICHAEL: I am quite unable to do that. (L-408) CARMICHAEL: I know that. (L-409) MICHAEL: I have no new ideas, Augustus, nothing at all. I shall end up breaking through all my old ideas, you know. Tightened bundles, stuck *** boxes. (L-410) MICHAEL: What's there that's still bright? That's the problem, you see. What can I hurl at them from the elect? Flash like a ***? (L-411) CARMICHAEL: Poor Michael! (L-412) MICHAEL: If you get any crawl from those slippers with "poor Michael," then I can do without you. (L-413) CARMICHAEL: I said that because your phrases are turning purple. (L-414) MICHAEL: Aaaagghh. I'm tired, Augustus. I'm weary. But I'm not at the summit. (L-415) (1:01'05") ANDREW: Perhaps he doesn't realize that it's all. . . I don't know. . . serious. Jasper has it in Marie's bed. Ask him. (L-416) NANCY: He doesn't understand. *** biggest questions. Universal questions. I can't go into a rage because of an earwig.
(L-417) ANDREW: I asked Augustus to hide it for me. Just ** this evening, *** dissection with your father. Surely he'll be impressed. (L-418) NANCY: Why do you want to please him? (L-418-B) ANDREW: I don't care about that. Just want to dissect my crab. (L-419) NANCY: You do want to please him. You always do. *** （Augustus Carmichael の部屋。ドアをノックする音。） (L-420) CARMICHAEL: Come in. (L-421) ANDREW: Sorry I'm late, Mr. Carmichael. I said I'd come in to cut my crab. (L-422) CARMICHAEL: Oh, yes. I've got something here, Andrew, you may find useful. Better be careful. Very sharp. (L-423) CARMICHAEL: Don't ask me why I carry these odd things about me. I just like to have them near me. (L-424) ANDREW: Thank you very much. (L-425) CARMICHAEL: Mementos. （台所にて） (L-426) MILDRED (MAID): It is ready. (L-427) ANDREW: Thanks, Mildred. Did, uh, Jasper pay you? He told me he had a bet with you who'd win that wrestling final. (L-427-B) MILDRED: I paid up more like. He bet somewhat lose. Thank you. (L-428) MILDRED: I'll chicken out of the way. (L-429) JASPER: Perhaps we should just cook *** (L-430) JAMES: What are you doing? (L-431) JASPER: Having tea. (L-432) ANDREW: Oh, shut up, Jasper. This isn't for little boys like you, James. (L-433) JAMES: That's a nice knife. Is that yours? (L-434) JASPER: It isn't your business. (L-435) JAMES: Then whose is it? (L-436) ANDREW: Stop it, now, Jasper. Have Father up here. (L-437) JAMES: I want to watch. (L-438) ANDREW: No! (L-439) JAMES: I'll BE very quiet. *** let me. Let me in. Let me in. I want to watch. Let me in. I want to watch.
(L-440) MICHAEL RAMSAY: James, you are going to bed. (L-441) JAMES: No. （悲鳴） (L-442) CAROLINE RAMSAY: It's all right, Michael. I said we'd have the story downstairs. (L-442-B) MICHAEL RAMSAY: No, he's going to bed. (L-443) JAMES: Stow it! Stow it! (L-444) CAROLINE RAMSAY: No, you'd better go to bed, James. ??? （屋外で本を読んでいる Nancy） (L-445) PAUL RAYLEY: Latin, Nancy? Are you reading Chaperone ***? (L-446) NANCY: Andrew and I are to be *** this afternoon. (L-447) PRUE: How dreadful! (L-448) NANCY: No, it isn't. My joint. (L-449) PRUE: Education continues throughout the summer, Mr. Rayley. At a thoroughly gentle pace, will you continue this? (L-450) NANCY: I think the chaperone is a bit silly. Don't you? （Andrew がラテン語のテキストを英訳するのを Mr. Ramsay が聞いている。） (L-451) ANDREW: To drive everyone away from fields, the neighboring fields, so that no one. . . dare? . . . dares. No one will challenge them or disturb their security. (L-452) MICHAEL RAMSAY: You're groping in the dark, Andrew. (L-453) ANDREW: Nancy is on her way. (L-454) MICHAEL RAMSAY: Nancy is always a bad time-keeper. (L-455) JAMES: He WAS here, Nancy. （Nancy は父親の書斎に入り、書物にはさんである簡単な伝言メモを目にする。その内容は、次の通り。） July 15th, 1912 Mr Dear Ramsay, It was kind of you to send your book "Selected Lectures 1910-12," which I read with great anticipation. Regrettably, I have to say that this book is not finally to be remembered as your best."
(L-456) CAROLINE RAMSAY: Let me take it off for you. (L-457) NANCY: Is he pacing a bat? (L-458) CAROLINE RAMSAY: I don't know what you mean by "pacing a bat." Your father has been working. And his car reflects it all day. That I do now. (L-459) NANCY: Oh. Yes.
Half a league, half a league, Half a league onward, All through the valley of Death Rode the six hundred. (L-461) LILY BRISCOE: Oh, dear! (L-462) MICHAEL RAMSAY: "Forward the Light Bridge! Was there a man dismay'd? Was there a man dismay'd?
(L-463) LILY BRISCOE: It's dreadfully bad. There must be structure in the painting. The stronger mold(???) so that I can pull in everything. The sun, the summerhouse. (L-464) LILY BRISCOE: And an earwig. And poor Rayley's flame of love. And the miseries of little James. Pull it all in, Briscoe. What about ***, so far? (L-465) LILY BRISCOE: The ??? in child in a modern manner. (L-466) JAMES: Will they be finished in time, Mother? (L-467) (1:09'19") CAROLINE RAMSAY: Well, let me measure them against you. Come on, James. Help your mother. Let me see. The Sorley son is *** would be age *** Well, still too short. (L-468) JAMES: Will we leave early in the morning? If it's fine, my darling. If it's fine, you'll go. （Mr. Ramsay と Augustus Carmichael） (L-469) MICHAEL RAMSAY: Ideas don't come easily, Augustus. You can't just sit there like Saint Francis with birds perch on his shoulder. (Saint Francis of Assisi のことか？） (L-469-B) MICHAEL: A good idea, a truly great perception, is like the wildest of animals. (L-470) MICHAEL: It must be hunted in silence with absolute concentration. (L-471) CARMICHAEL: You have done that, Michael. (L-472) MICHAEL: But so long ago, those days when I used to, all long walks in the countryside, I don't know where in particular, finishing out in or other, ah, spent it on scrapped tables with no interruption. Yes.
(L-473) MICHAEL: Then I glimpsed some thought, too(???). But too much ease, I lost my way. And I planted the nettles myself. (L-473-B) MICHAEL: Why do I surround myself with people who. . . the damnable domestic round? (L-474) MICHAEL: The children, Augustus. Demands, demands, demands. They love their regularities, the rhythms of our life together. (L-475) MICHAEL: So it must be every morning, so it(???) kiss good night, so every day, so every month, so every year, years, and years, and years. (L-476) CARMICHAEL: We're all issued with our measure of love. You had a great mirror, Michael. Much more than many of us. (L-477) MICHAEL: It's all gone, Augustus. All gone. I will not reach the summit. （James が切り絵をしている。） (L-478) (1:11'50") MICHAEL RAMSAY: He should be copying the pictures. (L-479) CAROLINE RAMSAY: He likes cutting them out, Michael. (L-480) MICHAEL RAMSAY: I see no point in it. (L-481) CAROLINE: What is it, Michael? (L-482) MICHAEL: I shall write to Cardiff to decline the invitation. (L-483) CAROLINE: Oh, dear, you mustn't do that. (L-484) MICHAEL: There are better men, you know, younger men. I have nothing to say, Caroline. (L-485) CAROLINE: Michael, each lecture you give is a great success. Mr. Tansley says so. (L-486) MICHAEL: Mr. Tansley, who's he? The men whose approval I want, well, give it to me. (L-487) JAMES: We will be going tomorrow. (L-488) MICHAEL: What? (L-489) CAROLINE: The lighthouse. *** just say *** go to the lighthouse. (L-490) MICHAEL: Why raise hopes? The wind is settled in the west and *** (L-491) CAROLINE: But it could change. Things could change. (L-492) MICHAEL: There will be no trip to the lighthouse tomorrow.
(L-493) (1:13'04") MICHAEL: Don't children grow? I said nothing but the truth. Do they need daydreams? Like roses need soil?(???) Caroline?
(L-494) (1:13'43") CAROLINE: "Then I will," said Alice. "But why?" answered the fisherman, "How can you be King?" The fish cannot make a king." (L-495) CAROLINE: "Husband," said she. "Say no more about it. But go and try. I WILL be King." There. Marie's come. Let's stop now, shall we? (L-496) JAMES: Don't stop. (L-497) CAROLINE: You can look at the pictures. I'll be up soon. Off you go. (L-498) MICHAEL RAMSAY: Caroline.
(L-499) (1:14'40") CAM: Shall I be the belle of the ball, Esmeralda? Shall MY eyes shine like the *** shine? Oh, those are pretty, Esmeralda. Yes, I like those things. Shall I wear those ones? (L-500) CAM: Would you like me to wear those ones? *** Yes. (L-501) CAROLINE: What have you chosen for me, Cam? There! Now, to bed. I'll be along presently. (L-502) JAMES: Take it off, Cam, take it off! (L-503) CAM: You promised you won't talk about it. You DID talk about it, James VI, so! (L-504) JAMES: I like to look at it. (L-505) CAM: Well, you can't! (L-506) JAMES: I like dead things. (L-507) CAM: Oh, shut up! (L-508) (1:15'45") CAROLINE RAMSAY: Into bed, please, both of you. I can't imagine why I let Jasper put it here in the first place. There. Let's *** imagine, Cam. (L-509) CAROLINE: It's different now. A graceful secret. An over fare??? The nest will *** before to fly away to wonderful *** Imagine mountains again. (L-510) CAROLINE: Imagine birds. The sound of bells and everything that's wonderful. Can I think of everything ***? （James に）It's still there, James. （食卓で。みんなが拍手） (L-511) CAROLINE RAMSAY: Michael? (L-512) MICHAEL RAMSAY: Thank you, *** Thank you, Nancy. (L-512-B) CARMICHAEL: This is a triumph, Caroline. (L-512-C) CAROLINE RAMSAY: A little more, Mr. Carmichael? (L-513) MICHAEL RAMSAY: Glutton.
(L-514) PRUE: A little more for you, Father? (L-515) (1:18'10") CAROLINE RAMSAY: Yes, Mr. Rayley, that's right. This IS a French recipe. It's my grandmother's. She was French, you know. (L-516) NANCY: Could any be French? English cooking is a disaster. (L-517) ANDREW: Tosh, Nancy. Everything foreign is better in your eyes. (L-518) NANCY: Oh, have I offended your patriotism? (L-519) CHARLES TANSLEY: Good for you, Mrs. Ramsay, we can do without your patriotism. (L-520) CAROLINE RAMSAY: I didn't intend to open our doors to attack your patriotism. It's just that I think the English overcook their vegetables. （みんな笑う。） (L-521) (1:18'48") CHARLES TANSLEY: [Voice-over] What am I doing here? With this family, pretending to be at a banquet. . . . (L-522) CHARLES TANSLEY: We've always been in a shabby old house, having dinner, while *** [声を出す] Talk about wind. No trip to the lighthouse tomorrow. (L-523) LILY BRISCOE: [Voice-over] Dear Charles clamoring for attention. All these men do so need our female sympathy for the meanest flowers bloom. (L-524) LILY: （声を出す）Your father opposed to the war, didn't he, Charles? The Lloyd George's man. [Voice-over] There, now bloom. (L-525) CAROLINE: Sweet brisk. (L-526) CHARLES: My livelihood is almost destroyed. The shop is very vulnerable to public prejudice, you see. You take that custom elsewhere. (L-527) MICHAEL: Yes, scandalous. That's why the spread of suffrage without the spread of education is such a frightening prospect. Rule by appeal to them all. (L-528) PAUL RAYLEY: I presume they brought their custom back in the new court. (L-529) (1:20'00") CHARLES TANSLEY: Yes. As with the war, the euphoria is followed by a sense of waste, my father was rather admired. But I carry the memory of the hatred, and aspect of my childhood I shall not forget. (L-530) PAUL RAYLEY: I have a poor memory of unhappiness.
(L-531) LILY BRISCOE: Poor Charles! What chance have you against that? (L-532) NANCY: [Voice-over] Yes. They will marry. Unstoppable dear blind mother is arranged destiny celebrated betrothal, with only two of them who are supposed to know what's happened. (L-533) NANCY: [Voice-over] Mother knows she has arranged it all. Do I wish to celebrate? Prue will be happier for a time. What of me? Oh, Prue, what of ME? (L-534) (1:21'17") CHARLES TANSLEY: We're sitting in the midst of tragedy, which will be repeated all round the world for every precinct scale. (L-535) LILY BRISCOE: I shall complete my painting. I shall move the tree. (L-536) CHARLES TANSLEY: Capital *** the cheapest labor jumping over *** patriots cling. Here, in Cornwall, the whole community of people has been desolated. (L-527) CHARLES: Thousands of honest men have been forced to emigrate forever. There's poverty here and helplessness. Personally I find it hard to ignore. (L-528) MICHAEL RAMSAY: I know many Cornishmen. They're my friends. I know of these things. (L-529) CAROLINE RAMSAY: It's time for a toast, Michael. (L-530) MICHAEL RAMSAY: To another summer together! (L-531) EVERYONE: To another summer together! （Nancy が Mr. Ramsay に詩集を手渡す。） (L-532) (1:22'13") MICHAEL RAMSAY: Thank you, Nancy. (Shakespeare の Sonnet 30を朗読する。）
When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear time's waste: Then can I drown an eye, unused to flow, For precious friends hid in death's dateless night, And weep afresh love's long since cancelled woe, And moan the expense of many a vanished sight: Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan,
Like as the waves make towards the pebbled shore, So do our minutes hasten to their end; Each changing place with that which goes before, In sequent toil all forwards do contend. Nativity, once in the main of light, Crawls to maturity, wherewith being crown'd, Crooked eclipses 'gainst his glory fight, And Time that gave doth now his gift confound. Time doth transfix the flourish set on youth And delves the parallels in beauty's brow, Feeds on the rarities of nature's truth, And nothing stands but for his scythe to mow: And yet to times in hope my verse shall stand, Praising thy worth, despite his cruel hand.
(L-534) (1:25'05") LILY BRISCOE: I must paint it again. （雪が降る。）（Caroline Ramsay 死去。）(L-535) (1:26'19") MICHAEL RAMSAY: She didn't know I loved her. . . so much. So much. (L-536) PRUE: Of course, she knew! (L-537) (1:27'30") （Prue と Paul Rayley の結婚式） (L-538) (1:27'58") MICHAEL RAMSAY: Abandoned, Lily, is the word I would use. I am one person who has come to realize ** ever since I lost Caroline. I'm an old man, Lily. (L-539) MICHAEL: It comes rather hard to learn one is to be condemned to struggle the last years of one's life all down by the worries of our house to maintain our children to raise. (L-540) MICHAEL: I'm alone now, Lily. So alone. (L-541) (1:28'50") （息子の一人が戦死。）
(L-542) (1:29'57") （Prue が出産のときに死去。） (L-543) PAUL RAYLEY: If you were so worried(???), why did you say nothing? I had no warning from you, Doctor. No warning! （Michael Ramsay の部屋） (L-544) (1:30'36") MICHAEL RAMSAY: Still a damned bad time-keeper! （ドアをノックする音。） Yes. (L-545) MICHAEL: You're late, Nancy. (L-546) NANCY: I'm sorry, Father. I had to see to. . . . (L-547) MICHAEL RAMSAY: Never, never mind. Don't start your excuses. And don't push Cam through the door ahead of you next time. (L-548) NANCY: No. (L-549) MICHAEL: Well, what sort of a week have we had? Plumber. What's this, plumber? (L-550) NANCY: A tap in the scullery, Father. It kept dripping. (L-551) MICHAEL: It's been dripping for years. (L-552) NANCY: I couldn't stand the dripping any longer. (L-553) MICHAEL: Stupid child. It doesn't balance. It doesn't balance! (L-554) CAM: Have you decided whether we're going to down to St. Ives again, Father? Your said you *** DeMorrow to see. . . . I know you said I shouldn't ask again. (L-555) CAM: But when Aunt Lily came to tea, she said she thought she *** the coat and rescue the house and go down again. . . just us. . . like we used to. Father? (L-556) (1:32'28") MICHAEL: We shall go there. (L-557) CAM: *** (L-558) NANCY: (Voice-over) He's won again. （Michael Ramsay と Lily Briscoe) (L-559) LILY BRISCOE: Dearest Lily! (L-560) LILY: （手にキスしてくる Nancy に対して） Nancy! Cam! James! (L-561) JASPER: Lily, glad you could come. (L-562) LILY BRISCOE: It's all mine, Jasper. （Nancy と Lily Briscoe） (L-563) NANCY: I don't suppose we slept at all last night. Our first here, you can imagine. Oh, Lily, it's awful. I woke up and cried. I was standing there down in the hall. (L-564) NANCY: You know, where the tea used to be. Standing there. Staring at nothing. And weeping. ***
（みんなが食卓についている。） (L-565) (1:34'20") LILY BRISCOE: I WAS reading about your poetry, Mr. Carmichael. (L-566) CARMICHAEL: Trip is to live long enough in a fashion. *** I have been out in the cold, Lily. And now, I am back by the fire. (L-567) CARMICHAEL: You know, Michael, in the new book, there's a poem I wrote when I was 17. "Dog Star Waitress." I thought you might remember it. (L-568) CARMICHAEL: At the college magazine, oh, what was it? (L-569) MICHAEL RAMSAY: I don't remember it. Probably one of your best. What would produce in a flash of our youth is often the best we ever produced. (L-570) MICHAEL: Then we sing our melody. From then on, it's elaborate harmonies and orchestrations. But our melody is already sung. (L-571) CARMICHAEL: Your phrases are becoming purple again, Michael. (L-571-B) MICHAEL: I'm surprised your success has not brought out this sartorial aspect of your tastes. You were a dapper chap in our eyes (???) in our student days. (L-572) CARMICHAEL: No, it's the same old suitcase. And much the same inside. Eh, Lily? (L-573) MICHAEL: Well, what did the coast guard have to say, James? (L-574) JAMES: They said the weather would change in two or three days. (L-575) MICHAEL: Excellent. What you could call weather. (L-576) ***: Sam says you could be whistling for a wind. (L-577) MICHAEL: Well, whistle we shall. And we will find this. Will you be ready for our early ***, Cam? James? （二人が答えないので、苛立ってテーブルを強く叩く。） (L-578) CAM: Yes, Father. (L-579) JAMES: Yes, Father. （James と Cam） (L-580) JAMES: He's a morbid old man. Naturally he didn't ask ME if I wanted to come here again. (L-581) CAM: Don't be horrible, please! (L-582) JAMES: Here we are again in this smelly old house, with dear old Augustus to just lord over poetry, and dear Aunt Lily with her paintings.
(L-583) (1:36'48") JAMES: He has what he wanted. Good morrow in the past. The past is dead, gone, finished. People shouldn't look back. They should only look forward. (L-584) CAM: You've got a photograph of Mother. You took for your chest at home. (L-585) JAMES: That's different. (L-586) CAM: It isn't, James. (L-587) (1:37'05") JAMES: That's different. And now we have a trip to the lighthouse. Do you know that Nancy rushing around all evening to *** pack a parcel for the lighthouse men? (L-588) JAMES: He even wanted her to knit something. Poor Nancy! She's so afraid of him. Cam, why does he want to go to the lighthouse so much? (L-589) CAM: Don't you know? For you, James. It's for you. (L-590) LILY BRISCOE: I saw Charles Tansley during the war. Did I ever tell you? (L-591) NANCY: I think you mentioned it. (L-592) LILY: It's rather extraordinary. I have a friend who is very, uh, you know, active in politics and feminism and so on. (L-593) LILY: She took me to a meeting. It was rather a dreary church hall in Kensington. The speakers were opposed to conscription. It was incredibly noisy. (L-594) LILY: These soldiers were shouting and making awful threats. That's why people were seeing him. And suddenly, there, in all this confusion, I saw it was Charles. (L-595) LILY: Up there, on the stage, giving us a speech. He looked even thinner. Even all poverty-stricken. I never knew he was a conscientious objector. (L-596) LILY: Well, we can really have lost touch. (L-597) NANCY: Needn't have worried. I doubt that the army would have wanted him anyway. (L-598) LILY BRISCOE: Nancy!
(L-599) NANCY: Well, I suppose he is laudable except when he has a right to oppose the whole mad ***. I often find myself admiring someone with principles. Men despise him anyway. Why are the virtuous sent ugly? (L-600) LILY BRISCOE: Well, I really can't blame you for hating the conscious. I mean, people who lost. (L-601) NANCY: It's all right, Lily. We must go *** anyway here. Poor old Augustus was terribly upset, you know, about Andrew. Apparently he was near to death himself. (L-602) LILY BRISCOE: Andrew was his favorite, wasn't he? (L-603) NANCY: They had something in common. Andrew had that same. It's all sufficiency. (L-604) (1:39'42") LILY BRISCOE: He liked the army, didn't he? (L-605) NANCY: *** Poor (L-606) LILY BRISCOE: I remember talking to him at Prue's wedding. (L-607) NANCY: There, now you HAVE penetrated my home, Lily. (L-608) LILY BRISCOE: The wedding. (L-609) NANCY: Yes. (L-610) LILY BRISCOE: Oh, I'm an old blunderer. (L-611) (1:40'16") NANCY: I think I should be going now. I see your fortune painting things with you. (L-612) LILY BRISCOE: I must balance with Augustus. Same old case. Same old things. Mind you have a work to finish. （3人が食事をしている。メイドが入ってくる。） (L-613) MICHAEL RAMSAY: Mrs. Prescot, will you send my compliments to James and Cam and tell them to hurry up? (L-614) (1:41'13") MRS. PRESCOT: Yes, sir.
(L-615) (1:41'25") LILY BRISCOE: Move the tree. （過去の思い出のシーン） (L-616) CAROLINE RAMSAY: Michael, it's time for a toast. (L-617) EVERYONE: To another summer together. (L-618) CARMICHAEL: Good morning. (L-619) LILY BRISCOE: Good morning, Mr. Carmichael. I never recall your appearing so early for breakfast, Mr. Carmichael. (L-620) CARMICHAEL: Oh, I grew out of all that. Silly *** working at night. A muse beguiled in the small hours. *** Sixty-five. (L-621) MICHAEL RAMSAY: Will you damned children come out here? (L-622) CARMICHAEL: Poor Michael! Do you know. . , that final summer we spent here, Michael had published a serious ??? and, the spring of that year, +++ you know. (L-623) CARMICHAEL: Not quite up to the standard but the previous work *** was the best. (L-624) LILY BRISCOE: I never knew that. (L-635) CARMICHAEL: He had his heart out all that summer. Caroline consoled him, distracted him. You know the way she always did, always had. Perhaps too much. （Mr. Ramsayが、部屋にこもっているNancy に声をかける。） (L-636) MICHAEL RAMSAY: What's the matter with you? (L-637) NANCY: Nothing. (L-638) MICHAEL: Just your usual misery, is it? You have nothing to say to your own father? No crumb of pity? What's this? (L-639) NANCY: It's a present for the lighthouse men. (L-640) MICHAEL: （Nancyの用意したプレゼントをクシャクシャにしてしまう。）I will not arrive with something that looks like remnants from a church bazaar. （Nancy の悲しみと怒りが爆発する。） （Michael Ramsay が dining room に入ってくる。）
(L-641) (1:44'41") MICHAEL: I thought you were in ***. This expedition is in memory of my wife. She liked to see that the lighthouse men were cared for. （しばらくのぎごちない沈黙のあと） (L-642) LILY BRISCOE: Oh, what beautiful boots! (L-643) MICHAEL RAMSAY: Yes. ??? There is only one man in England who can make boots as good as these. Let's see if you can tie a good knot, young lady. (L-644) MICHAEL RAMSAY: ***, Lily. (L-645) LILY BRISCOE: He's happy now. He has this exhibition. （思い出の場面） (L-646) NANCY: James, it's your turn to bat. (L-647) MICHAEL: James, out is out. James! （現実に戻る。） (L-648) MICHAEL: James!
(L-651) MICHAEL RAMSAY: I'm glad you came now, Cam. (L-652) CAM: It is beautiful out here. (L-653) MICHAEL: I'm glad you came. You and James too. (L-654) CAM: What are you reading? (L-655) MICHAEL: Ha-ha, a nonsense. This apparently is one of the bright young men in my field. All flashes here and there, I suppose. There are as many holes as in that shrimping(???) you used to love. (L-656) ボートの管理人： I'll take the *** now, Master James. (L-657) MICHAEL: We have arrived. ***
(L-658) LILY BRISCOE: They have arrived. It is finished. I shall not look at it. Close doors. But open windows. (L-659) CAROLINE RAMSAY: (Voice-over) Dearest Brisk. You are a fool.
she had bought this house and collected with her own hands--often in the most obscure corners of the world and at great risk from poisonous stings and Oriental diseases--the rugs, the chairs, the cabinets which now lived their nocturnal life before one's eyes.
. . . the looking-glass reflected the hall table, the sunflowers, the garden path so accurately and so fixedly
. . . there was a perpetual sighing and ceasing sound, the voice of the transient and the perishing, it seemed, coming and going like human breath, while in the looking-glass things had ceased to breathe and lay still in the trance of immortality.
Yet it was strange that after knowing her all these years one could not say what the truth about Isabella was;
Isabella had known many people, had had many friends
（その3） Isabella would come in, and take them, one by one, very slowly, and open them, and read them (= 手紙) carefully word by word, and then with a profound sigh of comprehension, as if she had seen to the bottom of everything, she would tear the envelopes to little bits and tie the letters together and lock the cabinet drawer in her determination to conceal what she did not wish to be known.
. . . surely one could penetrate a little farther into her being. Her mind then was filled with tenderness and regret. . . . To cut an overgrown branch saddened her because it had once lived, and life was dear to her. Yes, and at the same time the fall of the branch would suggest to her how she must die herself and all the futility and evanescence of things.
このように、枝を剪定するたびに、その命を切り刻むことを悲しく思う人だ、と書いて いる。"life was dear to her" というのは、Virginia Woolf の実感だったろう。という のも、彼女は13歳の時に母親を亡くし、そのあと数年のうちに兄や父親を失っている。 そのせいで、彼女は13歳のときから何度も気が狂ったりノイローゼになったりしている。 人生をかけがえのないものと感じると同時に、その人生は不毛なものだということも 熟知している。そんな思いが綴られている。
she was one of those reticent people whose minds hold their thoughts enmeshed in clouds of silence
（その4） . . . and then her whole being was suffused (= filled, covered). . . with a cloud of some profound knowledge, some unspoken regret, and then she was full of locked drawers, stuffed with letters, like her cabinets.
At last there she was, in the hall. She stopped dead. She stood by the table. She stood perfectly still. At once the looking-glass began to pour over her a light that seemed to fix her; that seemed like some acid to bite off the unessential and superficial and to leave only the truth.
She stood naked in that pitiless light. And there was nothing. Isabella was perfectly empty. She had no thoughts. She had no friends. She cared for nobody. As for her letters, they were all bills. Look, as she stood there, old and angular, veined and lined, with her high nose and her wrinkled neck, she did not even trouble to open them.
People should not leave looking-glasses hanging in their rooms.
ついでに「ダロウェイ夫人」の本文の翻訳もちらちらと拾い読みしたら、その読みやすさにびっくりした。 翻訳とは思えない自然さ。無理をして原文でひいこら言いながら、辞書とかネット上のあちこちを 引っ張り回し、この小説に出てくる単語のみならず、引用される詩歌の全文を英文で端から端まで 読んでいき、出てくる地名は片っ端から Wikipedia やネット上の地図を見てその場所を確認し、 その地名に関連する写真も眺め、出てくる有名な人名も調べ、登場人物については、それぞれ Virginia Woolf がなぜそのような名前をつけたのかを考えながら読み進める。
そして、ため息ばかりついてしまう。僕は、原文ではたったの220ページほどでしかないこんなに 短い小説でさえ、満足には理解できないのだと思い知らされ、絶望に近いものを感じる。短くて 有名で比較的に平易なはずのこの小説についてさえこんなに苦労するんだから、もっとはるかに 難しいと言われる James Joyce の "Ulysses" とか Henry James なんて僕に読める日が 来るのだろうか？
何度も言うけど、僕はこの小説に出てくる Septimus Warren Smith という狂人が好きなのだ。 そして、Mrs. Dalloway も好き。さらには彼女に恋焦がれてきた不器用な Peter Walsh も好き。 さらには、自分の考え方が正しいと信じ込む Sir. William Bradshaw や男勝りの Lady Bruton も、この世の中によくいるタイプの人たちをよく描いていて、キャラクターとしてはとても面白い。
それはともかく、Virginia Woolf を読んでいると、今、誰のことを書いているのか、いつの話 なのかがわからなくなることが多い。一応は登場人物の名前がまずは書かれるとしても、そのあとはずっと he か she で済まされるだけで、そのあとは延々と独白めいたものが続くので、誰のことを言っているか がわかりにくくなる。
＞無理をして原文でひいこら言いながら、辞書とかネット上のあちこちを 引っ張り回し、この小説に出てくる単語のみならず、引用される詩歌の全文を英文で端から端まで 読んでいき、出てくる地名は片っ端から Wikipedia やネット上の地図を見てその場所を確認し、 その地名に関連する写真も眺め、出てくる有名な人名も調べ、登場人物については、それぞれ Virginia Woolf がなぜそのような名前をつけたのかを考えながら読み進める。
Henri Bergson and British Modernism という本の中の一節（Google Booksでの検索結果） http://books.google.co.jp/books?id=myWgaRhIbBIC&pg=PA109&lpg=PA109&dq =woolf+henri+bergson+pure+duration&source=bl&ots=QDejRTXITC&sig= F7UWqzxvU-jf1CYjhRz1fl2-9aU&hl=en&sa=X&ei=RLf3UKuyI4fDmQXZ4oCoBQ&ved =0CEUQ6AEwAw#v=onepage&q&f=true
To do this she developed a contrast beteween what she called "moments of being" and "moments of non-being." According to Woolf, the latter constitute the vast majority of our life; she referred to living in this state as being like "cotton wool" ("A Sketch," 84), something that muffles the senses and prevents a feeling of being alive, Moments of being are much rarer, said Woolf, and also much more valuable. During these brief moments one becomes alive: aware of one's immediate surroundings and also aware of one's place in history. As Woolf describes the moment, "It is a token of some real thing behind appearances; and I make it real by putting it into words. It is only by putting it into words that I make it whole; ... it gives me, ... a great delight to put the severed parts together" ("A Sketch," 84). These brief moments appear to arrest the flow of time, but they also bring about a conflation of times as each individual moment is related to previous moments that are resurrected almost instantaneously. （その2に続く）
（その2） Far from being a moment out of time, Woolf's moments of being are instances of pure duration, moments during which past and present time not only literally coexist, but during which one is aware of their coexistence. In a Bergsonian sense, these are moments of pure duree. They are moments when we leave l'etendu and enter into an intuitive relationship with the essence of ourselves or those things that spark the moment. By penetrating to the level of duree, Woolf seeks to depict life as it occurs on a temporal, rather than spatial, level.
このあともずっと議論が続きます。この本も面白そうですが、これを読む前に僕はまず ここに出てくる Virginia Woolf の書いた "A Sketch" つまり "A Sketch of the Past" と いう評論を読みたいと思いますが、ネット上ではまだ読めないようです。この評論は、 "Moments of Being" という評論集（http://en.wikipedia.org/wiki/Moments_of_Being） に収められたものなので、さっそくその評論集を注文しました。Virginia Woolf の評論集 はいろいろと買いこんで、すべてを網羅したつもりだったのに、これは漏れていました。 その評論集が手元に届いたら、さっそく拾い読みだけでもいいからしたいと思います。 この評論集は、とても面白いみたいです。
Woolf's moments of being are instances of pure duration, moments during which past and present time not only literally coexist, but during which one is aware of their coexistence. In a Bergsonian sense, these are moments of pure duree.
(1) "moments of being" という充実した時間。Heidegger 的に言えば恐らくは「本来的な」 時間ということになるんでしょう。このような時間においては、過去と現在は共存する。 (2) "moments of non-being" という、空疎な時間。Heidegger 的に言えば「非本来的な」 時間ということになるんでしょう。このような時間のことを Woolf は "cotton wool" と呼んでいる。 このような時間は、語感を鈍磨せしめる。
こういう考え方は大好きなので、ぜひぜひこれについて書いている Virginia Woolf の "Moments of Being" という評論集の中の "A Sketch of the Past" という評論 を早く手に入れて読んでみたいと思います。
このように Virginia Woolf の時間についての考え方は Bergson のそれに近いみたいですが、 Virginia Woolf 自身は Bergson を読んだことがないと言っているそうです。
17. Bergson's influence on Woolf remains controversial, not least because of her denial that she had ever read him. For a fuller account, see Michael H. Whitworth, "Virginia Woolf" (Authors in Context) (Oxford: Oxford University Press, 2005), pp.120-9
上記の一節は、 "The Cambridge Companion to Virginia Woolf," Second Edition, edited by Susan Sellers, p.122 から引用しました。
But what have I done with my life? thought Mrs. Ramsay, taking her place at the head of the table, and looking at all the plates making white circles on it. "William, sit by me," she said. "Lily," she said, wearily, "over there." They had that -- Paul Rayley and Minta Doyle -- she, only this -- an infinitely long table and plates and knives. At the far end, was her husband, sitting down, all in a heap, frowning. What at? She did not know. She did not mind. She could not understand how she had ever felt any emotion or affection for him. She had a sense of being past everything, as she helped the soup, as if there was an eddy -- there -- and one could be in it, or one could be out of it, and she was out of it. It's all come to an end, she thought, while they came in one after another, Charles Tansley -- "Sit there, please," she said -- Augustus Carmicheal -- and sat down. And meanwhile she waited, passively, for some one to answer her, for something to happen. But this is not a thing, she thought, ladling out soup, that one says. Raising her eyebrows at the discrepancy -- that was what she was thinking, this was what she was doing -- ladling out soup -- she felt, more and more strongly, outside that eddy; or as if a shade had fallen, and, robbed of colour, she saw things truly." (Woolf 83)
Mrs. Ramsay muses over the value of her life and her marriage to her husband -- weighty issues of much significance yet completely unrelated to the external events going on around her -- all while mechanically seating her guests round the dinner table and serving them soup. Throughout the whole of the novel Woolf makes the main characters' sensory feelings and internal sequences of thought accessible to the reader as she does here, thereby, reflecting the propensity of the human mind to rove even when our physical appearance gives pretense of our attention and listening.
Virginia Woolf が書いた「源氏物語」についての評論が別のスレで話題になりました。 その日本語訳は、みすず書房の「病むことについて」の中に収録されているそうです。 そしてその原文については、著作権が切れてはいますが、まだネット上で全文は公開 されていないようです。
その原文である "The Tale of Genji" という Virginia Woolf による essay は、彼女の essays をまとめた "The Essays of Virginia Woolf," Volume 4 (1925-1928), edited by McNeillie の pp.264-268に納められています。日本語訳にするとおそらくは400字詰め 原稿用紙10枚くらいだろうと思われるものです。この原文を僕はここにすべて 書き写したいと思います。
"The Essays of Virginia Woolf," Volume 4 (1925-1928), edited by McNeillie, pp.264-268
(G-1) Our readers will scarcely need to be reminded that it was about the year 991 that Aelfric composed his Homilies, that his treaties upon the Old and New Testament were slightly later in date, and that both works precede that profound, if obscure, convulsion which set Swegen of Denmark upon the throne of England. (note 2)
(G-2) Perpetually fighting, now men, now swine, now thickets and swamps, it was with fists swollen with toil, minds contracted by danger, eyes stung with smoke and feet that were cold among the rushes that our ancestors applied themselves to the pen, transcribed, translated and chronicled, or burst rudely, and hoarsely into crude spasms of song. ------------- (G-3) Sumer is icumen in, --------------------- Lhude sing cuccu (note 3) (G-4) -- such is their sudden harsh cry. (G-5) Meanwhile, at the same moment, on the other side of the globe the Lady Murasaki was looking out into her garden, and noticing how 'among the leaves were white flowers with petals half unfolded like the lips of people smiling at their own thoughts'. (note 4) （第2段落の始まり） (G-6) While the Aelfrics and the Aelfreds croaked and coughed in England, this court lady, about whom we know nothing, for Mr. Waley artfully withholds all information until the six volumes of her novel are before us, was sitting down in her silk dress and trousers with pictures before her and the sound of poetry in her ears, with flowers in her garden and nightingales in the trees, with all day to talk in and all night to dance in -- she was sitting down about the year 1000 to tell the story of the life and adventures of Prince Genji. (note 5) (G-7) But we must hasten to correct the impression that the Lady Murasaki was in any sense a chronicler. (G-8) Since her book was read aloud, we may imagine an audience; but her listeners must have been astute, subtle minded, sophisticated men and women. (G-9) They were grown-up people, who needed no feats of strength to rivet their attention; no catastrophe to surprise them. (G-10) に続く
(G-10) They were absorbed, on the contrary, in the contemplation of man's nature; how passionately he desires things that are denied; how his longing for a life of tender intimacy is always thwarted; how the grotesque and the fantastic excite him beyond the simple and straightforward; how beautiful the falling snow is, and how, as he watches it, he longs more than ever for someone to share his solitary joy. （第3段落の始まり） (G-11) The Lady Murasaki lived, indeed, in one of those seasons which are most propitious for the artist, and, in particular, for an artist of her own sex. (G-12) The accent of life did not fall upon war; the interests of men did not centre upon politics. (G-13) Relieved from the violent pressure of these two forces, life expressed itself chiefly in the intricacies of behaviour, in what men said and what women did not quite say, in poems that break the surface of silence with silver fins, in dance and painting, and in that love of the wildness of nature which only comes when people feel themselves perfectly secure. (G-14) In such an age as this Lady Murasaki, with her hatred of bombast, her humour, her common sense, her passion for the contrasts and curiosities of human nature, for old houses mouldering away among the weeds and the winds, and wild landscapes, and the sound of water falling, and mallets beating, and wild geese screaming, and the red noses of princesses, for beauty indeed, and that incongruity which makes beauty still more beautiful, could bring all her powers into play spontaneously. (G-15) It was one of those moments (how they were reached in Japan and how destroyed we must wait for Mr Waley to explain) when it was natural for a writer to write of ordinary things beautifully, and to say openly to her public. (G-16) に続く
(G-16) It is the common that is wonderful, and if you let yourselves be put off by extravagance and rant and what is surprising and momentarily impressive you will be cheated of the most profound of pleasure. (G-17) For there are two kinds of artists, said Murasaki: one who makes trifles to fit the fancy of the passing day, the other who 'strives to give real beauty to the things which men actually use, and to give to them the shapes which tradition has ordained.' (G-18) How easy it is, she said, to impress and surprise; 'to paint a raging sea monster riding a storm' (note 7) -- any toy maker can do that, and be praised to the skies.. (G-19) 'But ordinary hills and rivers, just as they are, houses such as you may see anywhere, with all their real beauty and harmony of form -- quietly to draw such scenes as this, or to show what lies behind some intimate hedge that is folded away far from the world, and thick trees upon some unheroic hill, and all this with befitting care for composition, proportion, and the like -- such works demand the highest master's utmost skill and must needs draw the common craftsman into a thousand blunders.' (note 8) （第4段落の始まり） (G-20) Something of her charm for us is doubtless accidental. (G-20-B) に続く
(G-20-B) It lies in the fact that when she speaks of 'houses such as you may see anywhere' we at once conjure up something graceful, fantastic, decorated with cranes and chrysanthemums, a thousand miles removed from Surbiton and the Albert Memorial. (G-21) We give her, and luxuriate in giving her, all those advantages of background and atmosphere which we are forced to do without in England today. (G-22) But we should wrong her deeply if, thus seduced, we prettified and sentimentalised an art which, exquisite as it is, is without a touch of decadence, which, for all its sensibility, is fresh and childlike and without a trace of the exaggeration or languor of an outworn civilisation. (G-23) But the essence of her charm lies deeper far than cranes and chrysanthemums. (G-24) It lies in the belief which she held so simply -- and was, we feel, supported in holding by Emperors and waiting maids, by the air she breathed and the flowers she saw -- that the true artist 'strives to give real beauty to the things which men actually use and to give to them the shapes which tradition has ordained.' (G-25および G-36) On she went, therefore, without hesitation or self-consciousness, effort or agony, to tell the story of the enchanting boy -- the Prince who danced 'The Waves of the Blue Sea' (note 9), so beautifully that all the princes and great gentlemen wept aloud; who loved those whom he could not possess; whose libertinage was tempered by the most perfect courtesy; who played enchantingly with children, and preferred, as his women friends knew, that the song should stop before he had heard the end. (G-27) To light up the many facets of his mind, Lady Murasaki, being herself a woman, naturally chose the medium of other women's minds. (G-28) に続く
(G-28) Aoi, Asagao, Fujitsubo, Murasaki, Yugao, Suyetsumuhana, (note 10) the beautiful, the red-nosed, the cold, the passionate -- one after another they turn their clear or freakish light upon the gay young man at the centre, who flies, who pursues, who laughs, who sorrows, but is always filled with the rush and bubble and chuckle of life. （第5段落の初め） (G-29) Unhasting, unresting, with unabated fertility, story after story flows from the brush of Murasaki. (G-29-B) Without this gift of invention we might well fear that the tale of Genji would run dry before the six volumes are filled. (G-29-C) With it, we need have no such foreboding. (G-30) We can take our station and watch, through Mr Waley's beautiful telescope, the new star rise in perfect confidence that it is going to be large and luminous and serene -- but not, nevertheless, a star of the first magnitude. (G-31) No; the lady Murasaki is not going to prove herself the peer of Tolstoy and Cervantes (note 11) of those other great story-tellers of the Western world whose ancestors were fighting or squatting in their huts while she gazed from her lattice window at flowers which unfold themselves 'like the lips of people smiling at their own thoughts'. (G-32) Some element of horror, of terror, or sordidity, some root of experience has been removed from the Eastern world so that crudeness is impossible and coarseness out of the question, but with it too has gone some vigour, some richness, some maturity of the human spirit, failing which the gold is silvered and the wine mixed with water. (G-33) に続く
(G-33) All comparisons between Murasaki and the great Western writers serve but to bring out her perfection and their force. (G-34) But it is a beautiful world; the quiet lady with all her breeding, her insight and her fun, is a perfect artist; and for years to come we shall be haunting her groves, watching her moons rise and her snow fall, hearing her wild geese cry and her flutes and lutes and flageolets tinkling and chiming, while the Prince tastes and tries all the queer savours of life and dances so exquisitely that men weep, but never passes the bounds of decorum, or relaxes his search for something different, something finer, something withheld. （これで Woolf のこの essay の本文は終わり。このあとに、この評論集の編集者が つけた脚注が続きます。）
[Note 1] A signed review in "Vogue", late July 1925, (Kp C264) of "The Tale of the Genji by Lady Murasaki", translated from the Japanese by Arthur Waley [1889-1966] (vol. i, George Allen and Unwin Ltd, 1925). VW (= Virginia Woolf) had met Waley, an acquaintance of Bloomsbury, at a recent dinner party, and found him 'a little demure and discreet' (III VW Letters, no. 1553 to Desmond MacCarthy, 17 May 1925). On 14 June she noted in her diary that she '. . . must answer Gerald Brenan, & read the Genji, for tomorrow I make a second 200 pounds from Vogue;' and wrote that day to Brenan, urging him to: 'Put this letter where it deserves to be, in Mrs Levey's earth closet; I would not send it, if I could write a better, but it is not possible, not in this perfectly divine heat. I'm reading Waley's Japanese novel and David Copperfield' (III VW Letters, no. 1560).
[Note 2] Aelfric, called Gramaticus (d. c. 1020), 'Homilies' (990-2), 'A Treatise on the Old and New Testaments' (1005-12). Aelfred (849-901), king of the West Saxons (871-901). Swegen or Svein or Sweyn (c. 960-1014), king of Denmark, 986-1014, son of Harold Bluetooth, father of Canute, became king of England in 1013 upon the capitulation of Aethelred the Unready but died before he could be crowned.
[Note 3] Anonymous lyric of the earlier part of the 13th century, the second line quoted here being generally given as: 'Lhude sing! cuccu.'
[Note 4] Waley, vol. i, p. 93. Lady Shikibu Murasaki (c. 978-?1031)
[Note 5] According to Waley (Appendix I. p. 297) Book I of Murasaki's tale was read to the Emperor in 1008.
[Note 6] This passage does not occur in Waley and has not been discovered elsewhere.
[Note 7] For both quotations, Waley, ch. ii, 'The Broom-Tree', p. 49, which has 'striving to give', 'actually use and to give' and: 'One paints the Mountain of Horai (oの上に横 棒がついています); another a raging sea-monster riding a storm; another, ferocious animals from the land beyond the sea, or faces of imaginary demons. Letting their fancy run wildly riot they have no thought of beauty, but only of how best may astonish the beholder's eye.'
[Note 8] Ibid., p. 50, which has: 'like, -- such work,'.
[Note 9] For the account of this episode, ibid., ch. vii, 'The Festival of the Red Leaves', p. 211.
[Note 10] Princess Aoi was Genji's first wife. Princess Asagao resisted his attempts to court her. Fujitsubo was the Emperor's consort and an aunt of Murasaki. Yugao became a mistress of Genji. Princes Suyetsumuhana was, according to Waley (p. 12), 'A timid and eccentric lady'.
[Note 11] L. N. Tolstoy (1828-1910); Miguel Cervantes Saavedra (1547-1616).
これで、 "The Tale of Genji" by Virginia Woolf "The Essays of Virginia Woolf," Volume 4 (1925-1928), edited by McNeillie, pp.264-268 の書き写しを終わります。
他のスレで誰かが紹介してくれていた本。 "Lectures on Literature" by Vladimir Nabokov その英文原書を一週間ほど前に手に入れた。まだ拾い読みしかしていないけど、パラッとめくったところで いきなり Vabokov がいい文章を引用してくれている。
Comme l'on serait savant si l'on connaissait bien seulement cinq a six livres. (What a scholar one might be if one knew well only some half a dozen books." （"Lectures on Literature" by Vladimir Nabokov の冒頭から5行目あたり）
If one begins with a ready-made generalization, one begins at the wrong end and travels away from the book before one has started to understand it. Nothing is more boring or more unfair to the author than starting ti read, say, "Madame Bovary," with the preconceived notion that it is a denunciation of the bourgeoisie. We should always remember that the work of art is invariably the creation of a new world, so that the first thing we should do is to study that new world as closely as possible, approaching it as something brand new, having no obvious connection with the worlds we already know. ("Lectures on Literature," Vladimir Nabokov, 冒頭から12行目あたり）
MR. BOLDWOOD: You never liked me. BATHSHEBA EVERDEEN: I did; and respected you, too. MR. BOLDWOOD: Do you now? BATHSHEBA: Yes. BOLDWOOD: Which? BATHSHEBA: How do you mean which? BOLDWOOD: Do you like me, or do you respect me? BATHSHEBA: I don't know -- at least, I cannot tell you. It is difficult for a woman to define her feelings in language which is chiefly made by men to express theirs. ("Far from the Madding Crowd" by Thomas Hardy" （Everyman's Library の一節を、わかりやすくするために僕が台詞の一つ一つを 誰がしゃべっているかを明示しました。）
You never liked me." "I did; and respected you, too. "Do you now?" "Yes." "Which?" "How do you mean which?" "Do you like me, or do you respect me?" "I don't know -- at least, I cannot tell you. It is difficult for a woman to define her feelings in language which is chiefly made by men to express theirs. http://www.gutenberg.org/cache/epub/27/pg27.html
YouTube で E. M. Forster の小説に基づく映画を三つほど見て、興味が湧いたので彼の 小説を少し買ってみた。Forster は、Virginia Woolf と同じく Bloomsbury Group の 一員だ。
E. M. Forster の "A Passage to India" を手に取って拾い読みしていて、大笑いしてしまった。
Most of life is so dull that there is nothing to be said about it, and the books and talk that would describe it as interesting are obliged to exaggerate, in the hope of justifying their own existence. Inside its cocoon of work or social obligation, the human spirit slumbers for the most part, registering the distinction between pleasure and pain, but not nearly as alert as we pretend.
“SLAVE-MAKING INSTINCT. This remarkable instinct was first discovered in the Formica (Polyerges) rufescens by Pierre Huber, a better observer even than his celebrated father. This ant is absolutely dependent on its slaves; without their aid, the species would certainly become extinct in a single year. The males and fertile females do no work of any kind, and the workers or sterile females, though most energetic and courageous in capturing slaves, do no other work. They are incapable of making their own nests, or of feeding their own larvae. When the old nest is found inconvenient, and they have to migrate, it is the slaves which determine the migration, and actually carry their masters in their jaws. So utterly helpless are the masters, that when Huber shut up thirty of them without a slave, but with plenty of the food which they like best, and with their larvae and pupae to stimulate them to work, they did nothing; they could not even feed themselves, and many perished of hunger. Huber then introduced a single slave (F. fusca), and she instantly set to work, fed and saved the survivors; made some cells and tended the larvae, and put all to[…]”
Excerpt From: Darwin, Charles. “The Origin of Species by means of Natural Selection, 6th Edition.” Project Gutenberg より
"Dr. Jekyl and Mr. Hide" を書いた Robert Kouis Stevenson の結婚観。男は、結婚すると、 その安楽さのあまり、心身共にダメになるという考え方を述べた一節。その考え方が 正しいかどうかはともかくとして、言い得て妙な部分もあるので、笑ってしまった。
But marriage, if comfortable, is not at all heroic. It certainly narrows and damps the spirits of generous men. In marriage, a man becomes slack and selfish, and undergoes a fatty degeneration of his moral being. It is not only when Lydgate misallies himself with Rosamond Vincy, but when Ladislaw marries above him with Dorothea, that this may be exemplified. The air of the fireside withers out all the fine wildings of the husband’s heart. He is so comfortable and happy that he begins to prefer comfort and happiness to everything else on earth, his wife included. Yesterday he would have shared his last shilling; to-day “his first duty is to his family,” and is fulfilled in large measure by laying down vintages and husbanding the health of an invaluable parent. Twenty years ago this man was equally capable of crime or heroism; now he is fit for neither. His soul is asleep, and you may speak without constraint; you will not wake him. It is not for nothing that Don Quixote was a bachelor and Marcus Aurelius married ill.
[1.1] I flatter myself, dear sister, that I shall give you some pleasure in letting you know that I have safely passed the sea, though we had the ill fortune of a storm. We were persuaded by the captain of the yacht to set out in a calm, and he pretended there was nothing so easy as to tide it over; but, after two days slowly moving, the wind blew so hard, that none of the sailors could keep their feet, and we were all Sunday night tossed very handsomely. I never saw a man more frighted than the captain. For my part, I have been so lucky, neither to suffer from fear nor seasickness; though, I confess, I was so impatient to see myself once more upon dry land, that I would not stay till the yacht could get to Rotterdam, but went in the long-boat to Helvoetsluys, where we had voitures to carry us to the Briel. I was charmed with the neatness of that little town; but my arrival at Rotterdam presented me a new scene of pleasure. All the streets are paved with broad stones, and before many of the meanest artificers doors are placed seats of various coloured marbles, so neatly kept, that, I assure you, I walked almost all over the town yesterday, incognito, in my slippers without receiving one spot of dirt; and you may see the Dutch maids washing the pavement of the street, with more application than ours do our bed-chambers. The town seems so full of people, with such busy faces, all in motion, that I can hardly fancy it is not some celebrated fair; but I see it is every day the same. 'Tis certain no town can be
more advantageously situated for commerce. Here are seven large canals, on which the merchants ships come up to the very doors of their houses. The shops and warehouses are of a surprising neatness and magnificence, filled with an incredible quantity of fine merchandise, and so much cheaper than what we see in England, that I have much ado to persuade myself I am still so near it. Here is neither dirt nor beggary to be seen. One is not shocked with those loathsome cripples, so common in London, nor teased with the importunity of idle fellows and wenches, that chuse to be nasty and lazy. The common servants, and little shop-women, here, are more nicely clean than most of our ladies; and the great variety of neat dresses (every woman dressing her head after her own fashion) is an additional pleasure in seeing the town. You see, hitherto, I make no complaints, dear sister; and if I continue to like travelling as I do at present, I shall not repent my project. It will go a great way in making me satisfied with it, if it affords me an opportunity of entertaining you. But it is not from Holland that you may expect a disinterested offer. I can write enough in the stile of Rotterdam, to tell you plainly, in one word that I expect returns of all the London news. You see I have already learnt to make a good bargain; and that it is not for nothing I will so much as tell you,
(66) Then a shout sounded across the watchers, a woman’s voice: God, oh God, it’s a shirt, it’s just a shirt. (67-1) It was falling, falling, falling, yes, a sweatshirt, fluttering, and then their eyes left the clothing in midair, (67-2) because high above the man had unfolded upward from his crouch, and a new hush settled over the cops above and the watchers below, a rush of emotion rippling among them, (67-3) because the man had arisen from the bend holding a long thin bar in his hands, jiggling it, testing its weight, bobbing it up and down in the air, a long black bar, so pliable that the ends swayed, (67-4) and his gaze was fixed on the far tower, still wrapped in scaffolding, like a wounded thing waiting to be reached, (67-5) and now the cable at his feet made sense to everyone, and whatever else it was there would be no chance they could pull away now, no morning coffee, no conference room cigarette, no nonchalant carpet shuffle; (67-6) the waiting had been made magical, and they watched as he lifted one dark- slippered foot, like a man about to enter warm gray water.
執筆用具に関していま一つ注目すべきものと言えば、彼女が好んで使ったヴァイオレットインクだが、これに関しては面白そうなサイトを見つけられないでいる。 とはいえThe Letters of Virginia Woolf. vol.3に次のような記述がみられるので、彼女が何を使っていたのか、ということははっきりしている：
"This ink is Waterman's fountain pen ink. Cheap, violet, indelible. (Which sounds as if I were paid to write their advertisements.)" (To Dorothy Brett. 5? March 1923; p.18)
訂正 *「どちらかと言うと機能を重視していたらしく」→誤り どこか別のところで読んだ話を混同したか、別の要因によってかはわからないが、とにかく言及先のサイトで このようなことは言われていない。"Woolf probably regarded her binding efforts (in most cases) as temporary steps taken for maintaining the integrity of her books, rather than as examples of fine craftsmanship"というのが 元の表現。
The 25 Most Powerful Women of the Past Century http://content.time.com/time/specials/packages/completelist/0,29569,2029774,00.html Jane Addams (1860-1935) Corazon Aquino (1933-2009) Rachel Carson (1907-1964) Coco Chanel (1883-1971) Julia Child (1912-2004) Hillary Clinton (1947-Present) Marie Curie (1867-1934) Aretha Franklin (1942-Present) Indira Gandhi (1917-1984) Estée Lauder (1908-2004) Madonna (1958-Present) Margaret Mead (1901-1978) Golda Meir (1898-1978) Angela Merkel (1954-Present) Sandra Day O'Connor (1930-Present) Rosa Parks (1913-2005) Jiang Qing (1914-1991) Eleanor Roosevelt (1884-1962) Margaret Sanger (1879-1966) Gloria Steinem (1934-Present) Martha Stewart (1941-Present) Mother Teresa (1910-1997) Margaret Thatcher (1925-Present) Oprah Winfrey (1954-Present) Virginia Woolf (1882-1941)