Understanding Goethe's Faust
- Goethe's Faust explores the idea of striving for the better
- The devil losing his wager and the redemption of a human being are important themes in Faust
- Goethe's Faust is characterized by its lack of a central idea or concept
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英文について教えてください。
Even as he realized that he was constitutionally incapable of writing anything "truly tragic"-and (1)【actually felt compelled to tone down the end of the Urfaust】-he laughed at those who "come and ask me what idea I sought to embody in my Faust. As if I myself knew that and could express it! From heaven through the world to hell,' one might say in a pinch; (2)【but that is no idea but the course of the action. 】 And further, that the devil loses his wager and that a human being who, out of profound aberrations, continues to strive always for the better, is to be saved-(3)【that】 is indeed an effective thought which explains a few things and is good, but it is not an idea that is the foundation of the whole and of every scene in particular. 『Goethe's Faust by Walter Kaufmann』 (1)【actually felt compelled to tone down the end of the Urfaust】 実際にUrfaust（初期のFaust？）の終わりを和らげることを強いられるのを感じた？ tone downは和らげる、という意味でしょうか？ compelledは強いられる？ (2)【but that is no idea but the course of the action. 】 しかしそれは行動のコース（成り行き？）以外の考えではありません？ （訳は合っていますか？） つまりどういうことを言いたいのでしょうか？ (3)【that】について このthatはthat the devil loses his wager and that a human being who, out of profound aberrations, continues to strive always for the better, is to be savedを指しているのでしょうか？ （更に悪魔が賭けを失うことと甚大な精神錯乱を脱して常によい方向に努力し続ける人間は救われること――それは実に少しのものを説明する効果的な考えであり、良いです。しかしそれは全体の、そして特にすべての場面の基盤である考えではありません？）訳はこんな感じですか？ 内容がいまひとつ入って来ない感じですが、 よろしくお願いいたします。
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以下のとおりお答えします。 ＞(1)【actually felt compelled to tone down the end of the Urfaust】 ＞実際にUrfaust（初期のFaust？）の終わりを和らげることを強いられるのを感じた？⇒「実際、彼は初稿ファウストの終末を和らげざるを得ないと感じていた」。 「ファウストの終末を和らげる」とは、ファウストを「地獄に突き落とすのでなく、その魂を救って天上へ導く」というような構図にすることを意味すると思います。なお、Urfaustは、1773年に書かれた『初稿ファウスト』で、「グレートヘン悲劇」を中心としている戯曲です。通常知られている『ファウスト悲劇』は、ゲーテ晩年の1800年代に書かれ、1808年（第１部）と1831年（第２部）に公刊されたものを言います。 ＞tone downは和らげる、という意味でしょうか？ ⇒はい、それでいいと思います。 ＞compelledは強いられる？ ⇒それでもいいと思いますが、「強いる主体が明示されない場合」は、受け身形にせず、「（彼は）～せざるを得ない」と訳す方がいいかも知れません。 ＞(2)【but that is no idea but the course of the action. 】 ＞しかしそれは行動のコース（成り行き？）以外の考えではありません？ ⇒no ～ but ― は、「～でなく、―である」と訳す方がいいでしょうね。こんな感じです。 「しかし、それは理念ではなく、行動の経過です／行動の経過に過ぎません」。 ＞つまりどういうことを言いたいのでしょうか？ ⇒言外の意味をカッコ内に補えば、「しかし、それ（天国から地獄へ）は、理念（そうすべきだという当為の言明）ではなく、単に行動の経過（世界遍歴の過程を表すもの）に過ぎません」、ということではないでしょうか。 ＞(3)【that】について ＞このthatはthat the devil loses his wager and that a human being who, out of profound aberrations, continues to strive always for the better, is to be savedを指しているのでしょうか？ ⇒はい、そのとおりだと思います。このthatは、先行の２つのthatに導かれる名詞節を一括して受けているわけですね。 ＞（更に悪魔が賭けを失うことと甚大な精神錯乱を脱して常によい方向に努力し続ける人間は救われること――それは実に少しのものを説明する効果的な考えであり、良いです。しかしそれは全体の、そして特にすべての場面の基盤である考えではありません？）訳はこんな感じですか？ ⇒構文の取り方はいいと思います。ただ、be to～は、通常「～することになっている、～すべきである、～することができる」のように訳されます。ですから、～is to be savedは、「救われるべきである」としましょうか。その他、一部、対訳語句を入れ替えるようお勧めします。こんな感じです。 「さらに、悪魔は賭けを失い（失墜し）、精神異常の深淵からより良きものを求める努力を絶えず続ける人間は救われるべきである、ということです―それは確かに、若干の事柄は説明する結構な効果的な考えですが、全体の基盤であり、かつ個々の固有の場面の基盤となるような理念ではありません」。
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１。tone downは和らげる、という意味でしょうか？ はい、そうです。 compelledは強いられる？ というと誰かに～されると感じがちですが、「必要性を感じる」という自動的な意味でしょう。 原ファウストの終わりをもっと柔らかいものにしなければと初めは思った。 ２。（訳は合っていますか？）つまりどういうことを言いたいのでしょうか？ （天国から地獄へというのは単なる）行動に過ぎず（具体的にはどういうことかという）構想ではない。という意味でしょう。 ３。この前の「－３」が、that と同格、というかまとめの説明で、 更に悪魔が賭けを失うことや、深い精神錯乱を脱した者でも、常によい方向に努力し続ける人間は救われることなど ― それらはたしかに部分的には説明の効果がありそれはそれで悪くはない、しかしながら、それは全体の、特にすべての場面の基盤である考えではない みたいなことではないかと思います。
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簡潔にわかりやすく回答していただいてありがとうございました！ compelledを「必要性を感じる」という訳にしてみると意味が取りやすくなりました。 but that is no idea but the course of the action. の意味の取り方もわかりました。 (3)についても改めて訳していただいてありがとうございました。
関連するQ&A
- 英文について教えてください。
Moreover-taking the word "tragedy" in its most ordinary modern sense-it is Gretchen who suffers the tragedy, which Faust takes in his stride. We never see him hunted by the furies, like Orestes: no sooner has Part Two begun than spirits "remove the burning arrows of remorse, and cleanse his mind of memories." And though he dies blind like Oedipus, (1)【he does not blind himself with clasps plucked in a passion from the corpse of his beloved, resolved to live in infamy and night.】 Rather, he loses his sight when he is a hundred years old, just before he dies in a moment of elation. Faust's sufferings are incidental. He is not a tragic hero like Orestes, who is called upon to kill his mother, or like Oedipus, who owes it to his city to find out who killed his predecessor and who thus discovers that he killed his father and is wedded to his mother. In Faust, tragedy engulfs not the hero but representatives of unheroic, non-outstanding, suffering humanity: Gretchen, Philemon and Baucis, Gretchen's mother. The death of Philemon and Baucis in the fifth act of Part Two involves no tragic conflict in Faust's mind: he has given different instructions; their death is a hideous surprise to him; but again he takes it in his stride.(2)【 It is another episode, no more.】(3)【 In retrospect we realize, if it was not clear to us all along, that Gretchen's tragedy, too, was a mere episode.】 The drama is epic, the effect cumulative. 『Goethe's Faust by Walter Kaufmann』 上記の英文の(1)【】、(2)【】、(3)【】の部分について質問です。 (1)【he does not blind himself with clasps plucked in a passion from the corpse of his beloved, resolved to live in infamy and night.】 ＊clasps pluckedとはどういう意味にとればよいのでしょうか？ ＊全体はどういう訳になりますか？ (2)【 It is another episode, no more.】 ＊これはどういうことを言っているのでしょうか？ another episodeとは？ (3)【 In retrospect we realize, if it was not clear to us all along, that Gretchen's tragedy, too, was a mere episode.】 ＊文の構造がよくわかりません。 if節があって、帰結はGretchen's tragedy, too, was a mere episodeだと思うのですが、Gretchen's tragedyの前にthatがついているのがわかりません。 ＊また、it was not clear to us all alongのitは何をさしているのでしょうか？ よろしくお願いいたします。
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In another aphorism of The Wanderer and His Shadow, Nietzsche rather pointedly calls "the conversations with Eckermann the best German book there is." He preferred the mature Goethe-who was untimely, unpopular, and widely resented because he was so unromantic, civilized, and humane-to Faust, the all-too-popular creation that was threatening to eclipse him. (1)【Still】: are the conversations with Eckermann a greater book than Faust? Happily, one need not choose; (2)【but the case for Faust must certainly depend upon a very different conception of the drama from the one Nietzsche derided.】 (3)【As a nineteenth-century philosophic poem and the vehicle of "the Faust idea," the play is nearly as inadequate as it would be if considered as an attempt at a Shakespearean tragedy.】 But Goethe himself knew that. 『Goethe's Faust by Walter Kaufmann』 (1)【Still】 ＊この単独のStillは”まだ”の意味ですか？ (2)【but the case for Faust must certainly depend upon a very different conception of the drama from the one Nietzsche derided.】 確かにファウストの場合は、ニーチェがばかにした戯曲のとても異なる概念に依拠しなければならない？ ＊意味がよくとれないのですが、ニーチェがばかにした点というのはファウストがthe all-too-popular creation（あまりにポピュラーな創造物）である、ということで、これが戯曲の異なる概念（？）でありファウストの存在のよりどころになっている、ということですか？（different conception of the dramaというのがどういうことなのかよくわからないのですが） (3)【As a nineteenth-century philosophic poem and the vehicle of "the Faust idea," the play is nearly as inadequate as it would be if considered as an attempt at a Shakespearean tragedy.】 ＊訳がわかりません。 As a nineteenth-century philosophic poem and the vehicle of "the Faust idea 19世紀の哲学詩と「ファウストの着想」の手段として？ （the vehicleがよくわかりません） the play is nearly as inadequate as it would be 演劇はほとんどそれがそうであるのと同じくらい不十分です？？ if considered as an attempt at a Shakespearean tragedy. もしシェイクスピアの悲劇の試みとして考えられるならば？ ＊どういうことを言っているのでしょうか？ よろしくお願いいたします。
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At that age, he is likely to be employed, but if he loses his job new employment is harder to find than when he was younger. Furthermore, even if he stays employed, the extra financial burdens and high economic inflation may force a reduction in the standard of living. Recently the problem is being avoided by the wife’s reentering the labor force, but unless she has specialized training, a well-paying job will be hard to find. お願いします。
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In the examples I'm thinking of the person continues to behave in what most people would agree is a normal manner, but one so remote from his old self that he appears, to those who know him, to be someone else entirely.
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Parmenides of Elea c. 510–? 440BC ‘One cannot know that which is not –that is impossible’ Little is known of Parmenides’ life and background, and fragments of a poem entitled On Nature are all that survive of his work. Nevertheless, it contains one of the first examples of reasoned argument in which, perhaps as a reaction to Heraclitus, Parmenides attempts to prove that change is impossible and that reality is singular, undivided and homogenous. In the first part of his poem, ‘The Way of Truth’, which was revealed to him, he claims, in meeting with a goddess, Parmenides distinguishes between an inquiry into what is and an inquiry into what is not. The latter, he says, is impossible. ‘One cannot know that which is not –that is impossible –nor utter it; for it is the same thing that can be thought, that is’. The essence of this somewhat cryptic argument is that in order to think of something which is not –let us say, ‘a unicorn’ for example –one must be thinking of something: there must be some idea present to the mind, presumably the idea of a unicorn. But to think of a unicorn means that the unicorn (or the idea of a unicorn) exists in the mind, and therefore it cannot be truly said that unicorns completely fail to exist. The argument turns principally on two complex issues. 冒頭の ‘One cannot know that which is not –that is impossible’ について 「人はそれが存在していないことを知ることができない。それは不可能である。」という意味ですか？thatは代名詞、whichは関係代名詞ですか？ ‘One cannot know that which is not –that is impossible –nor utter it; for it is the same thing that can be thought, that is’. について for it is the same thing that can be thought, that is’.のthat isはthat is impossibleですか？ 最後のit cannot be truly said that unicorns completely fail to exist. について fail toは、～し損なう、という意味だと思うのですが、 fail to existで、「存在し損なう」と訳すと意味が取りにくいです。ここのfail to～はどういう意味合いになるのでしょうか？ 以下次の英文が続きます。 First, exactly what is meant by ‘exists’ here? What is the difference between existing in the world and existing in the mind? This begins a controversy that will reappear throughout much of the history of philosophy in many different contexts, but most notoriously in Anselm’s ontological argument, some 1500 years later. Second, what are the connections between thoughts, words, and things? If that debate started with Parmenides, it has taxed almost every major thinker ever since, up to and including the seminal works of the twentieth century by philosophers such as Bertrand Russell, Ludwig Wittgenstein and W.V. Quine. よろしくお願いたします。
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以下の翻訳をお願いします One who travels hopefully in life knows where he wants to be and what he wants to do, but quite never arrives. Yet the pursuit of things may bring him more pleasure than would the victory. He will enjoy a wide experience of life, the highs and the lows, the wealth and the poverty, life riches tapestry of experience but he has not realized that it is the journey for him that counts, not the success or failure at the end of it. He is free with his gains, and can be lavish and prodigal, can throw himself totally into everything he becomes involved He is not extreme so much as whole hearted in things, he has no moderation. He is irascible, yet kind. He gives advice and wisdom and the benefit of his experience to those who are more expert or aught to know better than him. He has a kind of shrewd cleverness, A good judge of things as they are. And an intuitive knowledge of how to manipulate things to his own advantage in life.
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長文で恐縮ですが、 英文の和訳をお願いします。 He will attract money. He has little understanding of the depth of human greed cupidity and envy, jealousy. He is weak willed where friendships or illicit unions are concerned, the combination will bring about his rune. Not everyone will understand his motives and will think he is only concerned with pleasure and falls victim to it, for he has a sense of gaiety, fun, and independence or unconventionality, but it is also circumstance, not shallowness or weakness that place her in difficult relationships. Unfortunate or foolish in human relationships or marriage. But in other area s of life successful. He can brighten up drab days and difficult surroundings and likes to add color to life, he has much energy that way, but will help others and will do them with no great fuss or bother, and won't expect praise or recognition. For this reason he has many good qualities but they tend to get taken for granted, while his minor falls from grace get noticed..
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・It is the laborious and painstaking men who are the rulers of the world.There has not been a statesman of eminence but was a man of industry. ・The true genius is a mind of large general powers, accidentally determined to some particular direction. ・No man of science is likely to achieve anything great,unless he brings to his work a zeal comparable with that of religion,and unless he is prepared to follow truth wherever it leads him. But zeal without strict discipline of the intellect will get him nowhere. ※以下の日本語でお願いします。 laborious:勤勉な painstaking:骨折りを惜しまない eminence:卓越 but＝that…not industry:勤勉 general:一般に通じる accidentally:偶然に determined:限定された zeal:熱心 discipline:統制、規律 可能ならば解釈なども併せてお願いします。
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デザイナーに関する本を読んでいるのですが、この辺りが訳せなくて困っています。お時間のある方、よろしければ日本語訳お願いします。 From the beginning,Jean-Paul Gaultier has enjoyed a reptation as the enfant terrible of fashion. It is a subversive and yet strangely innocent image that he has always been keen to live up to. Of all the top designers,he is the most marginal,but also the best at incarnating the aesthetics,attitudes,desires and ambiguities of a whole generation of young people,not only in France but on an international level.The high level of recognition that Gaultier has achieved in London and New York is reinforced by the success of his perfume.
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英文の和訳をしていただけるかた のみで、お願いできますでしょうか？ 抽象的かもしれませんが どうぞよろしくお願いいたします。 On the day you meet he will impress you, and in the days and hours afterwards he will haunt you. That is the only word for it. He will make an impact on the depth of your being that barely registers, except that in the time that follows you will not be able to think of any man but him.. He will seem striking, alluring in some way that you cannot fathom, and which has nothing to do with his looks, as though a chord is struck in your deeper soul, or the innermost chambers of your being. You will recognize him, not only from the description, which is in a sense quite bland, but something inside of you will be mesmerized. All day and days afterwards he will have stamped his indelible impression on your mind and you’ll keep thinking back to him, to the meeting, to the man, to the warm kindling feeling inside of you. Like a curtain of a dream it will drop across you life. It will be that mystical, that beautiful, yet real and solid too.
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詳しく解説して回答をいただいてありがとうございました！ tone downの意味の取り方についてなるほど、と思いました。 Urfaust『初稿ファウスト』とFaust『ファウスト悲劇』についても調べていただいてありがとうございました。 compelledは「～せざるを得ない」という訳も文脈に合う気がしました。（No.1の方のご回答＝「必要性を感じる」と両方比べてみて） (2)はno ～ but ―のポイントを押さえるべきでした。 カッコ内に補っていただいた訳文でよくわかりました。 (3)のbe to～の部分を指摘いただいて、対訳語句を入れ替えた訳文を改めていただいてありがとうございました。