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再度、Goodbye Columbusより
Goodbye Columbusの全文は以下にあります。 https://www.theparisreview.org/fiction/4783/goodbye-columbus-philip-roth She pushed the black whirring fan up to High and that way it managed to stir the cord that hung from the kitchen light. 上記を訳して頂けませんか？up to High やstir the cord が何を意味するのかよく分かりません。 宜しくお願いします。
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She pushed the black whirring fan up to High and that way it managed to stir the cord that hung from the kitchen light. 「彼女が黒色のシーリングファン（の回転速度）を「強」にすると、キッチンの照明から垂れ下がった、スイッチのコードが揺れ動いた。」 "whirring fan" は、南国の国などでよく見る、天井（シーリング）に吊るされた扇風機（ファン）のようなものです。（whirring sound とはブイーン・ブイーンという音のことです） "pushed up to High" とは、そのシーリングファンの回転速度のスイッチを「強」に入れたということでしょう。 "stir the cord" は、キッチンの照明を点灯させるための紐（引っ張るスイッチ）が、シーリングファンからの風によって揺れなびいたということでしょう。
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The first time I saw Brenda she asked me to hold her glasses. Then she stepped out to the edge of the diving board and looked foggily into the pool; it could have been drained, myopic Brenda would never have known it. She dove beautifully, and a moment later she was swimming back to the side of the pool, her head of short-clipped auburn hair held up, straight ahead of her, as though it were a rose on a long stem. The rose glided dry to the edge and then it was beside me. “Thank you,” she said, her eyes watery though not from the water. She extended a hand for her glasses but did not put them on until she turned and headed away. I watched her move off. Her hands suddenly appeared behind her. She caught the bottom of her suit between thumb and index finger and flicked what flesh had been showing back where it belonged. My blood jumped. 上記はGoodbye Columbus の冒頭部分ですが、２か所質問があります。 1.it could have been drained, myopic Brenda would never have known it. を たとえ水がなくても、近眼のブレンダにはわからなかっただろう、と訳されています。it could have been drained,が何故「たとえ水がなくても」という意味になるのですか？仮定法のようですが、仮定法にするとどういう意味合いを付け加えるのでしょうか？ 2. flicked what flesh had been showing back where it belonged. これは「ずり上がっていたところを、ぐいっと引き下ろした」と訳されています。何故そういう訳になるのでしょう？ flesh とは具体的に何を指しますか？Itは何を指しますか？ flick はbackは一対でflick back と考えていいのでしょうか？ 宜しくお願いします。
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すいません質問があります。 One thing worth noting is that the digital and the vinyl have had separate masters produced optimally for each version. We had both pushed a lot of crazy low end into our mixes that if left as they were would have flung the needle out of the groove on the vinyl version. James managed to sculpt and tame those frequencies without loosing any of the 'sound' we were going for. 特筆すべき点は、デジタルとレコードで、それぞれに適したミックスがされたという事だ。 We had both pushed a lot of crazy low end into our mixes that if left as they were would have flung the needle out of the groove on the vinyl version. ジェイムズはなんとかして整えて、そして僕たちが求めていたサウンドのポイントを失うことなく音域を捉えたよ。 この英文のところがわかりません。low endは低域です。 よろしくお願いいたします。
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I A story is not merely an image of life, but of life in motion -- specifically, the presentation of individual characters moving through their particular experiences to some end that we may accept as meaningful. And the experience that is characteristically presented in a story is that of facing a problem, a conflict. To put it bluntly: no conflict, no story. II It is no wonder that conflict should be at the center of fiction, for conflict is at the center of life.But why should we, when we have the contrast and often painful experience of conflict in life, and yearn for inner peace, turn to fiction, which centers on conflict?The fact is that our attitude toward conflict is difficult to understand.If we do find a totally satisfactory adjustment in life we tend to sink into boredom.Only when our surroundings - or we ourselves - become problematic again do we wake up and feel that rush of energy which is life.And life more abundantly lives is what we seek. III So, even at the same time as we yearn for peace, we also yearn for the problematic.Explorers, sportspersons, gamblers, children playing hide-and-seek, teenage boys choosing up sides for a game of baseball, spectators cheering in a stadium - we all, in fact, seek out or create problematic situations of greater or lesser intensity.Such situations give us sense of heightened energy, a stronger sense of life.And fiction, too, gives us that heightened awareness of life, with all the fresh opportunity to release the rich emotional charge - tears, laughter, tenderness, sympathy, hate, love, and irony - that is stored up in us and can make us feel (5) with the accustomed.Furthermore, this heightened awareness ban be more fully enjoyed in fiction, because what in actually would be the threat of the problematic is here restricted to mere imagination, and because some kind of resolution of the problem is promised. (5) 1.bored 2.satisfied 3.disappointed 4.frustrated IV The story promises us a resolution, and we wait in suspense to learn how things will come out.We are in suspense, not only about what will happen, but even more about what the event will mean.We are in suspense about the story we are reading because weare in suspense about another story far closer and more important to us - the story of our own lives as we live them.We do not yet know how that story is going to come out. We do not yet know what it will mean. So, in that deep uncertainty about our own lives, which will be echoed in the suspense we feel about the story in fiction, we turn to fiction for some hint about the stories in the lives we live.The relation of our own lives to fictional lives is what, in a fundamental sense, attracts us to fiction.
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いつも回答ありがとうございます。 回答を読んでみると、何故こんなことがわからなかったのだろうと恥ずかしくなるのですが、自分でイメージを思い浮かべるのはなかなか難しいです。 whirring fanは天井にくっ付いてるものは思い浮かばず、日本によくある持ち運び式のものを思い浮かべていました。 そして、コードは点灯のためぶら下がっている軽い紐は思い浮かべず、重い重量のある電気コードを思い浮かべていました。 従って、そういう状況で何故重い重量のある電気コードが揺れるのか理解に苦しみました。 先のプールでお尻の出た所を引っ張って隠す動作とか、日常風景の何気ない描写が結構理解しにくいです。細かい描写のない軽いエッセーなどが一番読み易いのですが、重いエッセー作家はいっぱい居ても、軽いエーッセー作家というのは殆どいません(でしょ？)。また、読みやすいものばかり読んでいては上達しませんからね。 ありがとうございました。