＊アーサー・ヒュー・クラフ（１８１９—６１）田代 尚路齋藤　一202006-07-29T01:59:00Z2006-08-16T07:41:00Z2006-08-16T07:41:00Z110245841 筑波大学大学院人文社会科学研究科文芸・言語専攻4813685211.5604日本英文学会関東支部第１回大会（２００６年７月２９日）　　ホプキンズの詩はどのように短いのか？“Inscape”の詩学についての一考察東京大学大学院博士課程２年　田代　尚路▽発表要旨１．はじめに〜二種類の短さ２．インスケープとは何か？３．列挙していくこと４．短さのエクスタシー５．なぜ列挙するのか６．ソネット・シークエンス７．おわりに〜今後に向けて１．はじめに〜二種類の短さ①Gerard Manley Hopkins (1844-1889)　聖職者詩人。イエズス会士。作品は親友ロバート・ブリッジズにより1918年に死後出版。②エリオットとイェイツからの引用T.S. Eliot: “The reading of long poems is not nowadays much practised: in the age of Tennyson it appears to have been easier. For a good many long poems were not written but widely circulated” (Eliot 330)W.B. Yeats: “In the Victorian era the most famous poetry was often a passage in a poem of some length, a poem full of thoughts that might have been expressed in prose. A short lyric seemed an accident, an interruption amid more serious work.” (Christ 143)　＊引用部分にある下線部はすべて引用者による。③二種類の短さ：構造的な求心性　　　　非連辞的(asyndetic)＝連鎖していく「短さ」、列挙。“morning’s minion, king-/dom of daylight’s dauphin, dapple-dawn-drawn Falcon”“as a stallion stalwart, very-violet-sweet!”④1877年に書かれた１０篇のペトラルカ風ソネットGod’s Grandeur”、“The Starlight Night”、“Spring”、“The Lantern out of Doors”、“The Sea and the Skylark”、“The Windhover”、“Pied Beauty”、“Hurrahing in Harvest”、“The Caged Skylark”、“In the Valley of the Elwy”２．インスケープとは何か？①１８７１年６月の日記からの引用“The Horned Violet is a pretty thing, gracefully lashed. Even in withering the flower ran through beautiful inscapes by the screwing up of the petals into straight little barrels or tubes” (Journal 211)②詩にみられるインスケープへのほのめかし“There lives the dearest freshness deep down things” (“God’s Grandeur”)“Nothing is so beautiful as Spring—/ When weeds, in wheels, shoot long and lovely and lush” (“Spring”)３．列挙していくこと①“The Sea and the Skylark”：「海」＝「ヒバリ」　　　‖　“The Windhover”：「鷹」＝「キリスト」②“Pied Beauty”「斑なる美」　（安田章一郎訳）Glory be to God for dappled things—栄光神にあれ、かかる斑なるものゆえに— For skies of couple-colour as a brinded cow;ぶちある牛に似し二色の空 For rose-moles in all stipple upon trout that swim;泳ぎゆく鱒の背一面に点彩されしばら色のぶちFresh-firecoal chestnut-falls; finches’ wings;つややかな燠火の色の落ち栗の実、うその翼 Landscape plotted and pieced—fold, fallow, and plough;区画され綴りあわされし土地—農家と休閑地と耕地 And all trades, their gear and tackle and trim,の風光、／またあらゆる生業とそを動かす歯車と滑車と内装とのあるゆえに。All things counter, original, spare, strange;すべて個にして独自、稀有にしてかつ奇異なるもの、 Whatever is fickle, freckled (who knows how?)すべて定めなく移ろうもの、また（おのずとかくな With swift, slow; sweet, sour; adazzle, dim;るは何故ぞ）／迅きと緩きと、甘きと酸きと、まぶHe fathers-forth whose beauty is past change;しきと暗きとの斑のあるもの、／そをすべて創りた Praise him.まいしは変わらざる美をもてるかの君なり。かの君を讃えよ。③ヒリス・ミラーからの引用“The relation of sameness and difference of the one and the many, of general and specific, pervades the whole universe” (Miller 302)④アームストロングからの引用“The poem arrests us in a lost history and social order to demonstrate the lost understanding of relation through difference, a history where individuals were defined through their uniqueness, and the uniqueness of their language, and not in terms of an aggregation of parts” (Armstrong 427)４．短さのエクスタシー①撞着語法（オクシモロン）②“The Windhover”「まくそ鷹」 (安田章一郎訳)　　　To Christ our Lord われらが主キリストに捧ぐI caught this morning morning’s minion, king-われは見たり、この朝、朝の寵児を、陽光の国の dom of daylight’s dauphin, dapple-dawn-drawn Falcon, in his王子、斑色の暁に引き出されしかの鷹の、波のごと ridingうねりたる大気にのりてゆるぎなく平かにこれを御 Of the rolling level underneath him steady air, and stridingし、遠く高空を／潤歩するさまを。そは小きざみにHigh there, how he rung upon the rein of a wimpling wingゆれたる翼の手綱もて／恍惚として輪を描きたり！In his ecstasy! then off, off forth on swing,とやがて輪をはなれ、あたかも／スケートの踵 As a skate’s heel sweeps smooth on a bow-bend: the hurl and なめらかに弧を描きゆくがごと整斉として進みゆく、 gliding投ぐるがごと滑るがごと、かの大風をもしりぞけぬ。 Rebuffed the big wind. My heart in hidingひそみたるわが心／ひそかに動き一羽の鳥をあこがStirred for a bird,—achieve of, the mastery of the thing!れぬーああかの完璧の御手のわざ、かの卓越の力をあらわすものよ！Brute beauty and valour and act, oh, air, pride, plume, here野生の美と勇気と行為、ああ大気と誇と羽毛よ、 Buckle! AND the fire that breaks from thee then, a billionここにそを／いざよろえかし！しかすれば汝よりTimes told lovelier, more dangerous. O my chevalier!ほとばしり出ずる火は／十億倍も美しくまたさらに危険きものたらん、ああわが騎士よ！ No wonder of it: sheer plod makes plough down sillionそも不可思議なことならじ、ひたむきの労役ありてShine, and blue-bleak embers, ah my dear,こそ／畝の下なる鋤光り、青くわびしき余燼も、 Fall, gall themselves, and gash gold-vermilion.ああ君よ、／くずれ、すりむき、身を裂くるによりて黄金色の朱に光るなり。③“morning’s minion, king-/dom of daylight’s dauphin, dapple-dawn-drawn Falcon”1 → 2 → 3④モットーからの引用“Far from dwelling in or on the creative imagination, the Hopkins poem […] would de-emphasize the speaker’s importance” (Motto 4)⑤ecstasy (Gk “ek+stasis”=“standing outside oneself”)５．なぜ列挙するのか①モットーからの引用“While the Romantic wills himself to know the other through a fusion of the self and the other,Hopkins poem celebrates God given otherness” (Motto 1)６．ソネット・シークエンス①ホームズからの引用“Yet in a number of ways Rossetti did reinvent the Petrarchan sonnet sequence for his generation. Firstly, he pared down the narrative element which had characterised the earlier revivals, in doing so decreasing both the text’s and the reader’s dependence on structural linearity. In Rossetti’s sequence the movement from one sonnet to another, the relationship between them and their relative importance is left much more in the hands of the reader. Secondly, Rossetti extended the thematic breadth of the form, which in English had tended to prioritise either sexual love or religion rather than according equal centrality to both” (Holmes 3)参考文献Armstrong, Isobel. Victorian Poetry: Poetry, Poetics and Politics. London: Routledge, 1993.Bouchard, Gary M. “What Gets Said in a Narrow (ten-by-fourteen) Room: A Reconsideration of Hopkins’s Later Sonnets”. Rereading Hopkins: Selected New Essays. Francis L. Fennell ed. Victoria: University of Victoria, 1996, 180-92.Christ, Carol T. Victorian and Modern Poetics. Chicago, The University of Chicago Press, 1984.Eliot, T.S. Selected Essays. London : Faber and Faber, 1999.Hartman, Geoffrey H. “The Dialectic of Sense-Perception”. Gerard Manley Hopkins (Modern Critical Review). Harold Bloom ed. New York: Chelsea House Publishers, 1986, 15-28.Holmes, John. Dante Gabriel Rossetti and the Late Victorian Sonnet Sequence: Sexuality, Belief and the Self. Aldershot: Ashgate Publishing Limited, 2005.Hopkins, Gerard Manley. Poems and Prose of Gerard Manley Hopkins. London: Penguin, 1985.Jenkins, Alice. The Poems of Gerard Manley Hopkins: A Sourcebook. London: Routledge, 2006.Miller, J. Hillis. The Disappearance of God: Five Nineteenth-Century Writers. Cambridge: Harvard University Press, 1963.Milward, Peter. A Commentary on the Sonnets of G.M. Hopkins. Tokyo: The Hokuseido Press, 1969.Motto, Marylou. “Mined with a Motion”: The Poetry of Gerard Manley Hopkins. New Brunswick:Rutgers University Press, 1984.安田章一郎、『新版G．M．ホプキンズ研究』、清水弘文堂、１９８３年PAGE PAGE 1