文学その3

『青空文庫』にある作品を『Google Translate』で英訳してみました。

俳人蕪村:正岡 子規(106-189)/1055

をちこちに滝の音聞く若葉かな

Wakaba who hears the sound of the waterfall here and there

 雲の峰の句を比較せんに

To compare the phrases of Kumo no Mine

ひら/\とあぐる扇や雲の峰      芭蕉

Hira / \ and Aguru fan and Kumo no Mine Basho

雲の峰いくつ崩れて月の山       同

The peak of the clouds collapsed and the mountain of the moon

游力亭

Yurikitei

湖や暑さを惜む雲の峰         同

Kumo no Mine, which misses the lake and heat

 月山の句やや力強けれど、なほ蕪村のに比すべくもあらず。

Gassan's phrase is a little powerful, but it's not comparable to Naho Buson's.

蕪村の句多からずといへども

From Buson's phrase to the beginning

揚州の津も見えそめて雲の峰

Cloud peak with a view of Yangzhou Tsu

雲の峰|四沢の水の涸れてより

Kumo no Mine | From the water of Yosawa

旅意

Travel intention

廿日路の背中に立つや雲の峰

Kumo no Mine stands on the back of the road

の如き皆十分の力あるを覚ゆ。

Everyone wakes up with enough power.

五月雨は芭蕉にも

May rain is also for Basho

五月雨の雲吹き落せ大井川       芭蕉

Blow off the clouds of the May rain Oi River Basho

五月雨をあつめて早し最上川      同

Collecting the rain in May and accelerating the Mogami River

の如き雄壮なるものあり。

There is something magnificent like.

蕪村の句またこれに劣らず。

Buson's phrase is no less than this.

五月雨の大井越えたるかしこさよ

It ’s a good idea to cross Oi in the rain of May.

五月雨や大河を前に家二軒

Two houses in front of the May rain and the taiga

五月雨の堀たのもしき砦かな

May rain moat is a fort

 夕立の句は芭蕉になし。

The phrase of the rainy season is not in Basho.

蕪村にも二、三句あるのみなれども、雄壮当るべからざるの勢あり。

There are a few phrases in Buson, but there is a force that should not be magnificent.

夕立や門脇殿の人だまり

A crowd of people in the rainy season and Kadowakiden

夕立や草葉をつかむむら雀

A purple sparrow that grabs the rain and leaves

双林寺独吟千句

Sorinji Dougin Chiku

夕立や筆も乾かず一千言

Thousands of words without the rain and brush drying

 時鳥の句は芭蕉に多かれど、雄壮なるは

Tokitori's phrase is often found in Basho, but it is magnificent

時鳥声|横ふや水の上          芭蕉

Tokitori Voice | Side Pawn Capture on the Water Basho

の一句あるのみ。

There is only one phrase.

蕪村の句の中には

In Buson's phrase

時鳥|柩をつかむ雲間より

Tokitori | From the clouds that grab the coffin

時鳥平安城をすぢかひに

Tokitori Heian Castle

鞘ばしる友切丸や時鳥

Scabbard Tomokirimaru and Tokitori

など極端にものしたるもあり。

There are also extreme things such as.

 桜の句は蕪村よりも芭蕉に多し。

There are more cherry blossom phrases in Basho than in Buson.

しかも桜のうつくしき趣を詠み出でたるは

What's more, the beautiful taste of cherry blossoms is sung out.

四方より花吹き入れて鳰の海      芭蕉

A sea of grebes with flowers blown from all sides, Basho

木のもとに汁も鱠も桜かな       同

I wonder if the soup and the rice cake are cherry blossoms under the tree.

しばらくは花の上なる月夜かな     同

I wonder if it's a moonlit night with flowers for a while.

奈良七重七堂|伽藍八重桜        同

Nara Shichido Shichido | Sangharama Yae Sakura

の如きに過ぎず。

It's just like.

蕪村に至りては

When it comes to Buson

阿古久曾のさしぬき振ふ落花かな

I wonder if Ako Hisaso's Sashinuki shaking fallen flowers

花に舞はで帰るさ憎し白拍子

Mai returns to the flowers, hates white clapping

花の幕|兼好を覗く女あり

Flower curtain | There is a woman who looks into Kaneyoshi

の如き妖艶を極めたる者あり、その外春月、春水、暮春などいへる春の題を艶なる方に詠み出でたるは蕪村なり。

There is a person who is extremely bewitching like this, and it is Buson who sings the titles of spring such as Harutsuki, Harutsuki, and Kureharu to those who are lustrous.

例へば

To example

伽羅くさき人の仮寐や朧月

Agarwood's tentative and Otsuki

女倶して内裏拝まん朧月

A woman's back worship, Otsuki

薬盗む女やはある朧月

There is a woman who steals medicine

河内路や東風吹き送る巫が袖

Kawachi Road and the shrine that blows the easterly wind are sleeves

片町にさらさ染るや春の風

Katamachi is exposed to the spring breeze

春水や四条五条の橋の下

Under the bridge of Harusui and Shijo Gojo

梅散るや螺鈿こぼるゝ卓の上

Plums fall and Raden spills on the table

玉人の座右に開く椿かな

Is it a camellia that opens to the right of Tamato?

梨の花月に書読む女あり

There is a woman who reads a book in Kagetsu Arashi

閉帳の錦垂れたり春の夕

Closed brocade or spring evening

折釘に烏帽子掛けたり春の宿

Eboshi on a folded nail or a spring inn

  ある人に句を乞はれて

Begging for a phrase from a certain person

返歌なき青女房よ春の暮

Aonyobo without a renga, spring life

  琴心挑美人

Kotoshin challenge beauty

妹が垣根三味線草の花咲きぬ

My sister does not bloom the hedge shamisen grass

 いづれの題目といへども芭蕉または芭蕉派の俳句に比して蕪村の積極的なることは蕪村集を繙く者誰かこれを知らざらん。

Compared to the Basho or Basho school haiku, the proactiveness of Buson is the one who cultivates the Buson collection. No one knows this.

一々ここに贅せず。

Don't be extravagant here one by one.

客観的美

Objective beauty

 積極的美と消極的美と相対するが如く、客観的美と主観的美ともまた相対して美の要素を為す。

As opposed to positive beauty and negative beauty, objective beauty and subjective beauty also face each other to form an element of beauty.

これを文学史の上に照すに、上世には主観的美を発揮したる文学多く、後世に下るに従ひ一時代は一時代より客観的美に入ること深きを見る。

To illuminate this in the history of literature, there are many literatures that show subjective beauty in the upper generations, and as we descend to posterity, we see the depth of entering objective beauty from the first era.

古人が客観に動かされたる自己の感情を直叙するは、自己を慰むるために、将た当時の文学に幼稚なる世人をして知らしむるために必要なりしならん。

It must be necessary for the old man to directly express his feelings that are driven by the objective, in order to comfort himself and to inform the literature of the time as a childish world.

これ主観的美の行はれたる所以なり。

This is the reason why subjective beauty is done.

かつその客観を写す処極めて麁鹵にして精細ならず。

Moreover, the place where the objective is copied is extremely stubborn and not detailed.

例へば絵画の輪郭ばかりを描きて全部は観る者の想像に任すが如し。

For example, draw only the outline of the painting and leave everything to the imagination of the viewer.

全体を現さんとして一部を描くは作者の主観に出づ。

Drawing a part of the whole as the present is not the subjectivity of the author.

一部を描いて全体を想像せしむるは観る者の主観に訴ふるなり。

Drawing a part and imagining the whole is appealing to the viewer's subjectivity.

後世の文学も客観に動かされたる自己の感情を写す処において毫も上世に異ならずといへども、結果たる感情を直叙せずして原因たる客観の事物をのみ描写し、観る者をしてこれによりて感情を動かさしむること、あたかも実際の客観が人を動かすが如くならしむ。

In the literature of posterity, where the emotions of oneself, which are moved by the objective, are copied, even though Shiháo is no different from the upper world, he does not directly describe the emotions that result, but only describes the objective things that are the cause, and makes the viewer. This makes emotions move, as if the actual objective moves people.

これ後世の文学が面目を新にしたる所以なり。

This is the reason why posterity literature has renewed its face.

要するに主観的美は客観を描き尽さずして観る者の想像に任すにあり。

In short, the subjective beauty is left to the imagination of the viewer without drawing the objective.

 客観的、主観的両者いづれが美なるかは到底判じ得べきに非ず。

It must be clear whether both objective and subjective are beautiful.

積極的、消極的両美の並立すべきが如く、これもまた並立して各自の長所を現すを要す。

Just as positive and negative beauty should stand side by side, this also needs to stand side by side to show their strengths.

主観を叙して可なるものあり、叙して不可なるものあり。

There are things that can be described as subjective, and things that cannot be described.

客観を写して可なるものあり、写して不可なるものあり。

Some are possible by copying the objective, and some are not possible by copying.

可なる者はこれを現し不可なるものはこれを現さず。

Those who are able will show this, and those who are not will not show this.

しかして後に両者おのおの見るべし。

But later, both should see each other.

 芭蕉の俳句は古来の和歌に比して客観的美を現すこと多し。

Basho's haiku often expresses objective beauty compared to ancient Japanese poems.