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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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  • Nakay702
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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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質問者からのお礼

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。

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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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  • SPS700
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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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質問者からのお礼

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。

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