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萩原 朔太郎
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萩原 朔太郎
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群馬県前橋市の生れ。慶応大学中退。その口語自由詩は、新風を引き起こした。
日本の詩壇が、ずっとつながれていた古めかしい伝統文学のくびきを断ち切って、
次世代の現代詩として生まれ変わるにいたるまでの、その先駆者である。
室生犀星と共同で「感情」の編者。
金字塔的な処女詩集「月に吠える」(1917)、「青猫」(1923)。
詩論では、詩の目的とはなにぞや、それは浪漫的な叙情を表わす為である、との
考えだったので、のちの詩人たちの作にはかならずしも肯定的でなかった。
Born in Maebashi, Gunma Prefecture. Dropped out of Keio U. His vernacular free verse was a new wave in poetry. He was a pioneer that initiated the transformation of Japanese Poetry, which seemed forever shackled to traditional poetic forms, culminating in his successor generation of poets becoming the exponents the truly modern Gendai-shi poetry. He co-edited the magazine Kanjo("Feelings") with Murou Saisei. He has to his credit, his monumental first published work Tsuki ni hoeru("Howling at the Moon") (1917), Aoneko("Blue Cat"). In his poetic theory, he tended to view the essential purpose of poetry to be the expression of romantic lyricism, so that he was not always approving of works of his juniors. |
『純情小曲集』 / Collection of Innocent-Hearted Small Pieces |
1. 夜汽車
Ariake no usura akari wa
有明のうすらあかりは Garasu-do ni Yubi no Ato tsumetaku 硝子戸に指のあとつめたく hono-shirami yuku Yama no Ha wa ほの白みゆく山の Mizugane no gotoku ni shimeyaka naredomo みづがねのごとくにしめやかなれども mada Tabibito no Nemuri sameyaraneba まだ旅びとのねむりさめやらねば tsukaretaru Dentō no Tame-iki bakari kochitashi ya. つかれたる電燈のためいきばかりこちたしや。 amataruki Nisu no nioi mo あまたるきにすのにほひも sokohakatonaki Hamaki-Tabako no kemuri sae そこはかとなきはまきたばこの Yogisha nite aretaru Shita ni wa wabishiki wo 夜汽車にてあれたる舌には侘びしきを ikabakari Hito-zuma wa Mi ni hikitsumete nagekuramu. いかばかり人妻は身にひきつめて嘆くらむ。 mada YAMASHINA wa sugizuya まだ Kūki-makura no Kuchi-gane wo yurumete 空気まくらの sotto Iki wo nuite miru Onna-Gokoro そつと息をぬいてみる女ごころ futo futari kanashisa ni Mi wo suriyose ふと二人かなしさに身をすりよせ Shinonome chikaki Kisha no Mado yori soto wo nagamureba しののめちかき汽車の窓より tokoro mo shiranu Yama-zato ni ところもしらぬ山里に samo shiroku sakiteitaru Odamaki no Hana さも白く咲きてゐたるをだまきの花。
* 山科は、京都の南西の郊外あたりで、東海道本線上にある。
* おだまきの花は、たいがい紫花である。 |
1. NIGHT TRAIN
At dawn's light, the skies were lit pale,
On the window, the imprint of fingers, cold, The mountain's edge, whitish-turning, stood Like quicksilver, placidly still and yet, Travellers slept undisturbed; Only the jaded lamps' jarring sighs, Even the sweet shellacky smell, And so too, the vaguely tobacco-like fumes Tested a sore tongue on the night train; But how long are the married wife's complaints to continue? Yamashina1 has yet to pass by, So she undoes the air-cushion's plug a wee, To watch it vent: such are the ways of women-kind. Then man and wife snuggled up a-sudden, And stared out the car window by the dawn, Where on a mountain village, whereabouts unknown, So whitely bloomed the columbine2 flowers.
1 Yamashina is a suburb of Kyoto, and the train station is the Tokaido Line connecting east and the west.
2 The odamaki or the Japanese columbine usually have purple flowers, not white. (⇒)
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5. 旅上ふらんすはあまりにい遠し せめては新しき背広をきて きままなる旅にいでてみん。 汽車が山道をゆくとき みづいろの窓によりかかりて われひとりうれしきことをおもはむ 五月の朝のしののめ うら若草のもえいづる心まかせに。 |
5. ON JOURNEYBut France is so frightfully far, At the least though, I'll pick out a brand new suit, And mount on a trip carefree. When the train starts up the overpass, I'll lean on the azure window And think happy thoughts alone, This May day at dawn, Leaving it all to the new-grass-sprouting heart. (⇒)
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7. 静物そのうはべは哀しむ この 窓ぎはのみどりはつめたし。 |
7. STILL LIFEBut on the surface it grieves. At the windowside greenery are a cool Reflexions on the white-eyed vessel. (⇒) |
20. 波宜亭われは かなしき情歓の思ひにしづめり。 その亭の庭にも 風ふき渡りてばうばうたれども かのふるき待たれびとありやなしや。 いにしへの日には鉛筆もて
* 詩集の巻末「郷土望景詩の後に」は、波宜亭にはこうかかれる：
「波宜亭、萩亭ともいふ。先年まで前橋公園前にありき。庭に
秋草茂り、軒傾きて古雅に床しき旗亭なりしが、今はいづこに
行きしか、跡形さへなし」
「待たれびと」というのは、おそらくウェートレスの意訳であろう。
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20. HAGI-TEI1I stopped by the second floor of the Hagi-tei tavern. And lapsed into sorrowful musings. Shrubs grew thick in the tei's garden, But that waitress of long ago, I wonder if she's still there or no. Hers was a name I'd inscribed with pencil Upon bannisters, in days gone by.
1 A tei is an inn, restaurant, tavern, etc.
* The poet writes the appendix to the volume, "After the Nostalgic Poetry of Hometown"
"V. Hagi-Tei" as follows: "Hagi-tei[Wave-Good-Inn], also written Hagi-tei [Lespedeza Inn].
It used to be in front of Maebashi Park until some years ago. It had autumn plants
growing thick in the yard, with angled eaves, and was an old and elegant, nostalgic
bannered inn/tavern, but whereever it has gone now, there is no trace of it left."
(⇒)
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23. 小出新道われこの新道の交路に立てど さびしき 暗鬱なる日かな 天日家並の軒に低くして 林の雑木まばらに伐られたり。 いかんぞ いかんぞ思惟をかへさん われの叛きて行かざる道に 新しき樹木みな伐られたり。
* 詩集の巻末「郷土望景詩の後に」の「IV小出松林」にはこうかかれる： 「小出の林は前橋の北部、赤城山の遠き麓にあり。我れ少 年の時より、学校を厭〔きら〕ひて林を好み、常に一人行きて瞑想 に耽りたる所なりしが、今その林皆伐られ、楢〔なら〕、樫〔かし〕、橅〔ぶな〕の 類、むざんに白日〔はくじつ〕の下〔もと〕に倒されたり。新しき道路ここに敷 かれ、直として利根川の岸に通ずる如きも、我れその遠き 行方を知らず。」 |
23. THE NEW KOIDE ROADA direct access to town. At the crossing I stand, But failed to master the deserted horizons of all four directions, And gloom ruled the day, For as the sun dipped below the eaves, The coppice had been felled to sparsity. This mustn't be, This mustn't be! I churn my mind. This road, I shall revolt and refuse to take, Where the fresh new trees are all being felled.
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The poet writes the appendix to the volume, "After the Nostalgic Poetry of Hometown"
"IV. Koide Pine Woods" as follows:
"The Koide forest is in to the north of Maebashi City, in the remote foothills of Mt. Akagi. Ever since I was small, I abhorred school and preferred the woods, and this was the place I would go off on my own to meditate. But all of the forest is now felled, and the nara-oak, kashi oak, and beech trees are all brutally felled under the light of day. A new road is to be built here, connecting directly to Tonegawa River's shores, but to where the road is bound in the far distance, I do not know." (⇒)
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26. 広瀬川時さえばみな幻想は消えゆかん。 われの 過去の日川辺に糸をたれしが ああかの幸福は遠きにすぎさり ちひさき魚は
1前橋市の広瀬川は、利根川の支流。（仙台市付近や、福島県にも同名の川はあるが） |
26. HIROSE RIVERAs time wiles away, so too disappear all fanciful thoughts. Hoping to bait life on hook and line, I dangled my fishing rod in the river yesterday. O such merriment has long receded, Now minnowy fish scarce catch the eye.
1
The Hirose River here is a small tributary that merges with the Tone River in Maebashi City,
Gunma Prefecture.
(⇒)
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28. 公園の椅子われの思ふことはけふもまた烈しきなり。 いかなれば かなしきすももの 遠き越後2の山に雪の光りて 麦もまたひとの怒りにふるへをののくか。 われを嘲りわらふ声は野山にもみち 苦しみの叫びは心臓を破裂せり。 かくばかり つれなきものへの執着をされ。 ああ生れたる故郷の われは指にするどく 葉桜3のころ さびしき椅子に「復讐」の文字を刻みたり。
1 スモモの核というのは、つまり種を割ったときになかから出てくるアーモンドのようなもの。 2 越後(新潟県)−山を越えれば、となりの県。 3 葉桜 - 花が散って若葉が出はじめた頃の桜。 |
28. THE PARK BENCH
I laid back on the park bench where no one was around,
And again today my thoughts turn intensely furious. Why do they at my hometown, never relent From grinding the sour-plum's pit1 in my teeth? In Echigo3 afar, sparkling snow caps the mountains no doubt, And the wheats too must surely cower before one's wrath. The voices that mock me fill the moons and hills, And the anguished cry explodes my heart. They're all alike. Sever the attachment to those heartless ones. O, kick off and leave the soil the homeland of my birth. I take a pen-knife whetted sharp to my finger, and when the cherries switch to leaves3, I carve the word "Revenge" on the lonely bench.
1 The sumomo [the Chinese li] is the damson plum or bullace, but I translated it here literally as "sour-plum." As to the "sour-plum's pit", he's likely referring to the soft almond-like kernel inside the pit. This kind of plum differs from the ume [or the Chinese mei], made into dried ume-boshi and plum wine.
2 Echigo (modern name: Niigata) is a neighboring prefecture over on the other side of the mountains. 3 cheeries switch to leaves -- a cherry tree is bare in the winter, blossoms in the spring, and after the bloom have scattered, new leaves begin to grow. (⇒)
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『月に吠える』 / Howling at the Moon (1917) |
3. BAMBOOA bladed thing of green springs out of the ground, Piercing the iced-over winter, And when its green leaves shine on the morning's empty road, Tears fall, I let tears fall, Even now, from over the shoulders burdened by remorse. The hazy roots of bamboo spreads out, And the bladed thing of green spouts out of the ground. (⇒)
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遠夜に光る松の葉に、 |
9. Aerial StrangulationAccepted lettings of remorseful tears. On a far night, the skies were frosty-white, The lofty pine clutched the hanging noose. Love made descent on the lofty pine, He was suspended in the posture of prayer. (⇒)
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14. 殺人事件またぴすとるが鳴る。 ああ私の探偵は玻璃の衣裳をきて、 こひびとの窓からしのびこむ、 床は晶玉、 ゆびとゆびとのあひだから、 まつさをの血がながれてゐる、 かなしい女の死体のうへで、 つめたいきりぎりすが鳴いてゐる。 しもつき 探偵は玻璃の衣裳をきて、 街の 十字巷路に秋のふんすゐ、 はやひとり探偵はうれひをかんず。 みよ、遠いさびしい大理石の歩道を、 |
14. MURDER CASEAnd again. Ah, the Inspector dons his glass outfit, And he enters through the mistress' window. Crystal quartz floors, Deathly pale blood runs Between fingers. On the tragic girl's corpse, A cold-hearted grasshopper cricks. Morning at the beginning of the Frost-Moon of November, The Inspector dons his glass outfit, And makes a crossroad turn, Where the autumn fountain stood. Left alone, the inspector's turns an aggrieved one soon. Look. On the empty marble path out there, The intruder takes to his heels, gliding away. (⇒)
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19. Heavenly ViewThe sea brightens ever so dimly, The wheats swept away to the distance, Creak.. Through the heavenly view of glittering fish and fowl, And through the blue-paned architecture, Creak.. (⇒)
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20. かなしい遠景労働者にて東京市中が満員なり、 それらの 市街〔まち〕いちめんにひろがり、 あつちの市区でも、こつちの市区でも、 堅い地面を掘つくりかへす、 掘り出して見るならば、 煤ぐろい嗅煙草の銀紙だ。 重さ五匁1 ほどもある、 にほひ菫のひからびきつた根つ株だ。 それも本所深川あたりの遠方からはじめ、 おひおひ市中いつたいにおよぼしてくる。 なやましい薄暮のかげで、 しなびきつた心臓が
1 一匁は三・七五グラム。英米のダラムは通常一六分の一オンスで一・七七二グラムだが、
薬物では八分の一オンスで三・八八七九グラム。
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20. MELANCHOLIC FAR SCENERYThe whole of Tokyo fills with laborers, And the shadows of their fatigued hats Fill the whole city, And in the ward-district theareabouts and the ward-district hereabouts, Dig over the stiff ground, And what they discover they have dug up Is a sooty foil-wrap of snuff tobacco. [And] it's a shriveled up root-stalk of a fragrant-violet Weighing almost five momme1[drams]. And they start off from farther down, around the Honjo-Fukagawa district, And gradually start to encroach the whole city. In the shadow of the angst-filled twilight, A wilted heart is working the shovel and making it gleam.
1 The momme (3.75 grams) weighs approximately twice as much as an
ordinary dram (1/16 oz.), or 0.96 apothecary dram(1/8 tr. oz.)
(⇒)
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21. SAD MOONLIT NIGHTHe howls at the moon from the rotting pier. When the soul pricks up its ears, It hears the shrill girls choiring, Choiring With their gloomy voices, By the somber stone wall out at the pier.
Why is it always this way (⇒)
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22. 死奇妙きてれつの手がでる。 足がでる、 くびがでしゃばる、 諸君、 こいつはいつたい、 なんといふ鵞鳥だい。 みつめる 馬鹿づらをして、 手がでる。 足がでる、 くびがでしゃばる、 |
22. DeathWondrous queer hands jut out, Feet jut out, A neck sticks itself out. Folks, What on earth's goose Is this here sod? From the bed of earth I'm staring at, Hands jut out, Feet jut out, A neck sticks itself out. (⇒)
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26. 蛙の死
蛙が殺された、
子供がまるくなつて手をあげた、 みんないつしよに、 かわゆらしい、 血だらけの手をあげた、 月が出た、 丘の上に人が立つてゐる。 帽子の下に顔がある。 |
26. THE DEATH OF A FROG
A frog is killed.
A gang of kids in full circle throw their hands up in the air. All together, They hold their cutesy little, Blood-stained hands up in the air. There's someone on the hill, standing there, His face below the hat's cover. (⇒)
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31. およぐひと二本の手はながくそろへてひきのばされる、 およぐひとの およぐひとの およぐひとのたましひは |
31. THE SWIMMERTwo outstretched arms line up alongside one another. The swimmer's heart is sheer see-through like a jellyfish, The swimmer's eyes hears bells ringing, The swimmer's mind sees the moon above water. (⇒)
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32. ありあけその顔はくもの巣だらけとなり、 腰からしたは影のやうに消えてしまひ、 腰からうへには藪が生え、 手が腐れ、 ああ、けふも月が出で、 有明の月が空に出で、 そのぼんぼりのやうなうすらあかりで、 畸形の白犬が吠えてゐる。 しののめちかく、 さみしい道路の方で吠える犬だよ。 |
21. DAYBREAKThe face was riddled with cobwebs. Below the waist; there was nothing save shadow. Above the waist, there grew thickets. His knuckles were gangrenous. The whole face of his body was totally wrecked. And again the moon came up. The wan, twilight moon hung high, And in the illumination which was like a pale bonbori-lantern, The white misshapen dog yelps. Come daybreak, It's him barking up the ghastly alley, you know.
1 bonbori is a type of lantern consisting of an oil-lamp inside a
hand-held container wrapped around with silk or paper.
(⇒)
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33. 猫なやましいよるの家根のうへで、 ぴんとたてた尻尾のさきから、 糸のやうな 『おわあ、こんばんは』 『おわあ、こんばんは』 『おぎやあ、おぎやあ、おぎやあ』 『おわああ、ここの家の主人は病気です』 |
33. CATSUp on a rooftop, a plaintive eve, And on the tips of their pointed tails hung A wispy crescent-moon, looking hazy. "O-wah, good evening," "O-wah, good evening." "Waa, waa, waa."[*infant crying] "O-wah, the man of this household is bedridden." (⇒)
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40. 愛憐草のみどりをかみしめる女よ、 女よ、 このうすい青い草の まんべんなくお前の顔をいろどつて、 おまへの情慾をたかぶらしめ、 しげる草むらでこつそりあそばう、 みたまへ、 ここにはつりがね草がくびをふり、 あそこでは ああわたしあしつかりとお前の乳房を抱きしめる、 お前はお前で力いつぱいに私のからだを押へつける、 さうしてこの人気のない野原の中で、 わたしたちは蛇のやうなあそびをしよう、 ああ私は私できりきりとお前を可愛がつてやり、 おまへの美しい皮膚の上に、青い草の汁をぬるつけてやる。 |
40. LOVE-COMPASSIONWith the firm hard teeth of yours, How dainty [to watch you] chew the grass. With the dilute herbal ink, I'll paint your face entirely, To arouse you, And then we can play secretly in the bushes. Look, The bellflowers here jiggle their heads, And the gentians over there wiggle their arms. O I'll press you to my bosom in firm embrace. You, on your part, must pin me down with all your strength. And let us go to the meadows where there are no signs of people, And play our own serpentine game. O I'll caress you and wind myself all around you, And smear the green juice on your lovely skin, all over. (⇒)
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41. 恋を恋する人あたらしい白樺の幹に接吻した、 よしんば私が美男であらうとも、 わたしの胸には わたしの皮膚からは わたしはしなびきつた薄命男だ、 ああ、なんといういぢらしい男だ、 けふのかぐはしい初夏の野原で、 きらきらする木立の中で、 手には空色の手ぶくろをすつぽりとはめてみた、 腰には 襟には襟おしろいのやうなものをぬりつけた、 かうしてひつそりと わたしは娘たちのするやうに、 こころもちくびをかしげて、 あたらしい白樺の幹に接吻した、 くちびるに まつしろの高い樹木にすがりついた。 |
41. ONE WHO LOVES LOVEAnd kissed the white birch bark. Even if I were thought handsome, I have no rubber bouncing ball-like swelling of the bosom, Nor a powder-scoured scent to the skin. A luckless fellow, wilted through-and-through. Pathetic and lost. In the fragrant meadows of first summer today, In the glittering woods today, I snugly pulled on a cerulean pair of gloves, And slipped into a mock-corset for my waist, And rubbed pretend powder around my neck. And thus, I assumed contrived coquetry, Then like young girls do, I tilted my face just so, And kissed the fresh bark of the white birch, And rouged my lips rose-red, And clung to the trunk of the towering white arbor. (⇒)
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43. 白い月ふくれあがつた頬つぺたをかかへながら、 わたしは なにかの草の種を蒔かうとして、 きやしやの指を泥だらけにしながら、 つめたい地べたを掘つくりかへした、 ああ、わたしはそれをおぼえてゐる、 うすらさむい日のくれがたに、 まあたらしい穴の下で、 ちろ、ちろ、とみみずがうごいてゐた、 そのとき低い建物のうしろから、 まつしろい女の耳を、 つるつるとなでるやうに月があがつた、 月があがつた。 |
43. THE WAN-PALE MOONI was holding a swollen cheek, As I dug near the jujube tree, Wishing to plant some seeds. Getting my genteel fingers muddied up, I turned over the chilly ground. O, I do remember this much, That cold day, that evening, In the fresh-dug hole, there was A worm wiggling inside. And that moment, behind the eaves down low, The moon came up as if to slither up Behind a woman's ear — and that's how It came up, the moon. (⇒)
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47. 青樹の梢をあふぎて青樹がほそほそと生えてゐた。
わたしは愛をもとめてゐる、
わたしは遠い遠い街道で乞食をした、
愛をもとめる心は、かなしい孤独の長い長いつかれの後に
道ばたのやせ地に生えた青樹の梢で、
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47. LOOKING UP AT THE AOKI BOUGHSThere stood an aoki1 plant.
What I need is love,
I'd been a street-beggar in far away places,
I have a thirst for love that comes after the long-withstood
Growing on a roadside plot was the aoki and its boughs,
1 The aoki (Aucuba japonica, spotted laurel) plant is an evergreen ornamental shrub endemic to Japan,
with thick glossy leaves which are often variegated(flecked with yellow).
The female plants bear bright red seeds.
(⇒)
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53. 田舎を恐る田舎の人気のない水田の中にふるへて、 ほそながくのびる苗の列をおそれる。 くらい家屋の中に住むまづしい人間のむれをおそれる。 田舎のあぜみちに坐つてゐると、 おほなみのやうな土壌の重みが、わたしの心をくらくする、 土壌のくさつたにほひが私の皮膚をくろずませる、 冬枯れのさびしい自然が私の生活を苦しくする。
田舎の空気は陰鬱でおもくるしい、 |
53. I FEAR THE FARM COUNTRYI fear the farm country's unmanned rice-paddies, Where the quaking rice stalks grow row by row. I fear the destitute denizens of these dark homes, Crawling out in hordes. When I sit on the levee dividing the paddies, The weight of tsunami-like dirt piles gets me down. The fetid reek of the topsoil makes my skin grow dark. The desolate winter scene makes living here hard.
Out in the country, the very air we breathe feels goomy, weighty.
1
The word inaka, here rendered as "country" may mean rustic country or
farmland, but also a town of one's origin for anyone who has moved to a big city.
(⇒)
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『青猫』 / Blue Cat (1923) |
4. 強い腕に抱かる私の心は弱々しく いつも恐れにふるへてゐる 女よ おまへの美しい精悍の右腕で 私のからだをがつしりと抱いてくれ このふるへる病気の心を しづかにしづかになだめてくれ ただ抱きしめてくれ私のからだを ひつたりと肩によりそひながら 私の弱々しい心臓の上に おまへのかはゆらしい あたたかい手をおいてくれ ああ 心臓のここのところに手をあてて 女よ さうしておまへは私に話しておくれ 涙にぬれたやさしい言葉で 「よい子よ 恐れるな なにものをも恐れなさるな あなたは健康で幸福だ なにものがあなたの心をおびやかさうとも あなたはおび えてはなりません ただ遠方をみつめなさい めばたきをしなさるな めばたきをするならば あなたの弱々しい心は鳥のやうに 飛んで行つてしまふのだ いつもしつかりと私のそばによりそつて 私のこの健康な心臓を このうつくしい手を この胸を この腕を さうしてこの精悍の乳房をしつかりと。」 |
4. HELD IN SURE ARMSMy heart is feeble; it cowers in constant fear. Dear woman, With your beautiful, dauntless right arm, Hold this body tight, I beg you. And gently soothe this shudder-causing mind's affliction. And plain hold me, wind your arms around me, Press your shoulder flush next to mine, Then place on my feeble heart, That sweet warm hand of yours. O, put your hand here next to my heart, Dear woman. And say to me now, In your tear-muffled, kind-spoken words, "Now, now, sweet child, Don't you fear a thing. You're fit, you're fine, No matter what threatens your heart, don't be frightened. Just stare far out at the distance, that's all. Mind you, not an eyeblink, Lest your timid heart fly off like a dove. Stand firm, ever at my side. And take my heart which has vigor to spare, And take these hands that attract you, And this chest, and these arms, And hold on tight to this undaunted bosom." (⇒)
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5. 群衆の中を求めて歩く都会のにぎやかな群衆の中に居ることをもとめる 群集はおほきな感情をもつた浪のやうなものだ どこへでも流れてゆくひとつのさかんな意志と愛欲との ああ ものがなしき春のたそがれどき 都会の入り混みたる建築と建築との日影をもとめ おほきな群集のなかにもまれてゆくのはどんなに楽しいことか みよこの群集のながれてゆくありさまを ひとつの浪はひとつの浪の上にかさなり 浪はかずかぎりなき日影をつくり 日影はゆるぎつつひろ がりすすむ 人のひとりひとりにも憂ひと悲しみと みなそこの日影 に消えてあとかたもない ああ なんといふやすらかな心で 私はこの道をも歩いて 行くことか ああ このおほいなる愛と無心のたのしき日影 たのしき浪のあなたにつれられて行く心もちは涙ぐましく なるやうだ。 うらがなしい春の日のたそがれどき このひとびとの郡は 建築と建築との軒をおよいで どこへどうしてながれ行かうとするのか 私のかなしい憂鬱をつつんでゐる ひとつのおほきな地上 の日影 ただよふ無心の浪のながれ ああ どこまでも どこまでも この群集の浪の中をもま れて行きたい 浪の行方は地平にけむる ひとつの ただひとつの「方角」ばかりさしてながれ行か うよ。 |
5. SEEKING THE CROWD, I WALKSeeking the teeming crowd's company. The crowd is like a big wave that has feelings. A group formed of singular, lively will and lust, flowing everywhere. O, plaintive spring twilight-hour! What fun getting jostled in the crowd, And spotting those shadows that interlace the buildings. Watch the crowd go torentially by, One wave overlapping another, Casting numberless shadows that rollick, spread, and unfurl forth. Individual plights vanish in these here shadows. O, what serenity, as I fare my way? O, what great love of compassion, what innocent joy, these shadows? You jolly waves make me feel swept away, bring me to tears. O, plaintive spring twilight! These mass herds fin their way around the eaves. But where are they bound to go, and why? The one grand shadow over the terrain -- which envelope my sad gloom. The meditative state drifting on in a current of waves, O how I wish to ride this crowd, wherever the ride should take me. The waves' whereabouts are whisked off over the horizon. Let's just choose a "direction" and roll along. (⇒)
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15. 黒い風琴あなたは黒い着物をきて おるがんの前に坐りなさい あなたの指はおるがんを這ふのです かるく やさしく しめやかに 雪のふつてゐる音のやうに おるがんをお弾きなさい 女のひとよ。
だれがそこで唱つてゐるの
ああ まつくろのながい着物をきて |
15. BLACK PIPE ORGANDressed in black, You sit at an organ, Let your fingers crawl across the keyboard, Lithely, gently, coyly. Like the sound of snowfall. Won't you play the organ, mistress?
Who's that singing over there?
O wearing the long black robe (⇒)
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18. 鶏家家の戸の外で鳴いてゐるのは 声をばながくふるはして さむしい田舎の自然からよびあげる母の声です とをてくう、とおるもう、とおるもう。
朝のつめたい
恋びとよ
しののめきたるまへ |
18. ROOSTERIt's the rooster who's crowing door to door, With a tremolo voice in long measures. It's a motherly voice, hailing from Nature in the cold farm country. Toh-ti-koo, toh-ru-moh toh-ru-moh
In the cold morning bed,
My love.
Before dawn bereaks, (⇒)
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36. 馬車の中で私はすやすやと眠つてしまつた。 きれいな婦人よ 私をゆり起してくださるな 明るい街頭の すずしい緑蔭の田舎をすぎ いつしか海の匂ひも行手にちかくそよいでゐる。 ああ 私はうつつにうつつを追ふ きれいな婦人よ 旅館の花ざかりなる軒にくるまで 私をゆり起してくださるな。 |
36. IN THE HORSE-CARRIAGEI fell asleep, O lovely lady, Don't you rouse me from my sleep. Through brightly street-lit towns, Through the countryside of cool lush arbors. Then abruptly, balmy breeze from the sea from up ahead. The clickity-clack of hoofed feet Lull me to drowsed sleep. O lovely lady, Until we come upon the inn's festooned eaves, Don't you rouse me from my sleep. (⇒)
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42. 思想は一つの意匠であるかひとつの思想を歩ませながら 仏は蒼明の自然を感じた どんな瞑想をもいきいきとさせ どんな涅槃にも溶け入るやうな そんな美しい月夜をみた。
「思想は一つの意匠であるか」 |
42. IS THOUGHT A DESIGN OF A SORT, THEN?As let his thoughts amble forward, Buddha felt oneness with brilliant-blue Nature. He witnessed a moonlight full of splendor. Which injected life into every meditation And merged with every Nirvana. "Is thought a design of a sort, then?" Buddha walked upon the moonlit shadows. And asked one gentle soul. (⇒)
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46. 遺伝おほきな蜘蛛のやうに眠つてゐる。 さびしいまつ暗な自然の中で 動物は恐れにふるへ なにかの夢魔におびやかされ かなしく青ざめて吠えてゐます。 のをあある とをあある やわあ
もろこしの葉は風に吹かれて
「犬は病んでゐるの？お母あさん。」
犬のこころは恐れに青ざめ
「犬は病んでゐるの？お母あさん。」 |
46. GENTETICSSlumbering like giant spiders. In the desolate dark outdoors, All beasts cowered in terror, Frightened by the Succubus, And they barked a sad, paled blue bark:
The blades of sorghum, whipped by the wind,
"Is the dog feeling sick, mommy?" He felt the presence of our pitiful forbears.
The dog's soul paled in fear,
"Is the dog feeling sick, mommy?" (⇒)
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定本『青猫』（「青猫」拾遺一） / Standard Edition Blue Cat (Omissions from Blue Cat I) (1934) |
陸橋黒くうづまく下水のように もつれる軌道の高架をふんで はるかな落日の部落へでよう かしこを高く 天路を翔けさる鳥のように ひとつの架橋を越えて跳躍しよう |
ROAD-BRIDGE
Let us go across the road-bridge, Like black, swirling sewer water Treading the viaduct, over criss-crossing paths. And emerge on a distant, sun-setting hamlet. High up , every-which-way, Like birds on heavenly ascent, Let us soar in one leaping bound over the archway. (⇒)
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『桃李の道』（「青猫」拾遺二） / The Peach and Damson-Plum Road(Omissions from Blue Cat II) |
仏陀 |
BUDDHAYou, sleeping away in a desolate cave. You're netither shell nor bone; you're not a thing at all. Not remotely like and old rusted watch Awash on the beach with the dried-up seaweed. Are you Truth projected? Or specter? You mummified being, how you survive is like a fish of miracle. At the edge of hardly withstandable desert wasteland, The sea roars out at high heaven. An onrush of tidal-wave is there far ways off. Do your ears tell you this? O Eternal One. Buddha. (⇒)
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『田舎の時計 他十二篇』 / Clock in the Country and Twelve more Pieces |
郵便局 郵便局といふものは、港や停車場やと同じく、人生の遠い旅情を思はすところの、
悲しい
*
『若草』1929年3月号
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THE POST OFFICEOh strange post office, cheerless place! May you always be buzzing, and be red-taping, and be packed full of customers. I love to be there where you are, do my letter-writing and to observe life's nostalgia. An old, rustic woman pestered someone next to her to get her to write something she'll dictate for her. A note to the daughter back at the farm that a parcel of autumn awase and juban clothing were forthcoming. Oh, post office! How it pleases me to spot these nostalgic things. Say there, miss, in the corner, writing home, laden down with worldly woes. Your pencil lead has broken off, and your crabbed handwriting is a tear-stained mess. What could it be that torments you so, you who are still in your youth. The rest of us too, must put on our worn-out shoes of desperation, wandering the ports of life. Forever and ever, our souls are bereft of housing and are freezing cold. The post office is, like harbors and parking lots, a sad familiar place which touches off feelings of life's long journey; the soul's everlasting nostalgia.
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Wakakusa, Mar. 1929.
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