文学その5

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

銀座の朝:岡本 綺堂(1-25)/25

銀座の朝

Ginza morning

岡本綺堂

Kido Okamoto

 夏の日の朝まだきに、瓜の皮、竹の皮、巻烟草の吸殻さては紙屑なんどの狼籍たるを踏みて、眠れる銀座の大通にたたずめば、ここが首府の中央かと疑わるるばかりに、一種荒凉の感を覚うれど、夜の衣の次第にうすくかつ剥げて、曙の光の東より開くと共に、万物皆生きて動き出ずるを見ん。

In the morning of a summer day, if you step on the wolf skins such as melon skin, bamboo skin, cigarette butts, and paper scraps, and stand in the sleeping Odori of Ginza, you will doubt that this is the center of the capital. Although I feel a kind of ruggedness, I see that the clothes of the night gradually peel off and open from the east of Akebono's light, and that everything is alive and moving.

 車道と人道の境界に垂れたる幾株の柳は、今や夢より醒めたらんように、吹くともなき風にゆらぎ初めて、凉しき暁の露をほろほろと、飜せば、その葉かげに瞬目するかと見ゆる瓦斯灯の光の一つ消え、二つ消えてあさ霧絶え絶えの間より人の顔おぼろに覗かるる頃となれば、派出所の前にいかめしく佇立める、巡査の服の白きが先ず眼に立ちぬ。

The many willows that hang down on the boundary between the road and the human road now sway in the wind without blowing, as if they were awakening from their dreams. When it's time to see one of the lights of the dew light disappear, and two of them disappear, and when it's time to peek into the face of a person from the end of the Asagiri, the white of the policeman's clothes stands in front of the police box. First of all, it doesn't stand in the eye.

新ばしの袂に夜あかしの車夫が、寝の足らぬ眼を擦りつ驚くばかりの大欠して身を起せば、乞食か立ん坊かと見ゆる風体怪しの男が、酔えるように踉蹌き来りて、わが足下に転がりたる西瓜の皮をいくたびか見返りつつ行過ぎし後、とある小ぐらき路次の奥より、紙屑籠背負いたる十二、三の小僧が鷹のようなる眼を光らせて衝と出でぬ、罪のかげはこの児の上を掩えるように思われて、その行末の何とやらん心許なく物悲しく覚えらるるなり、早き牛乳配達と遅れたる新聞配達は、相前後して忙しげに人道を行違う、時はいま午前三時。

If the car owner of the night witness rubs his sleepless eyes and wakes up with an amazing deficiency, the man who looks like a beggar or a standing boy gets drunk. After coming over and looking back at the skin of the watermelon rolling under my feet several times, from the back of a certain Koguraki road, twelve or three little boys carrying a paper scrap basket are like hawks. Begging to keep an eye out, the shadow of sin seems to be begging over this child, and at the end of the line I feel sad and sad, and I am late for the early milk delivery. Newspaper delivery is busy with humanity, and it's 3:00 am now.

 築地海岸にむかえる空は仄白く薄紅くなりて、服部の大時計の針が今や五時を指すと読まるる頃には、眠れる街も次第に醒めて、何処ともなく聞ゆる人の声、物の音は朝の寂静を破りて、商家の小僧が短夜恨めしげに店の大戸がらがらと明れば、寝衣姿媚きてしどけなき若き娘が今朝の早起を誇顔に、露ふくめる朝顔の鉢二つ三つ軒下に持出でて眼の醒むるばかりに咲揃いたる紅白|瑠璃の花を現ともなく見入れるさま、画に描ばやと思う図なり。

The sky facing the Tsukiji coast turned pale and light red, and by the time it was read that the hands of Hattori's big clock were now pointing at five o'clock, the sleeping city gradually awakened, and the voices and things of people who couldn't hear anything. The sound breaks the silence of the morning, and when the kid of the merchant screams at the store's Oto with a grudge for a short night, the young girl who is flirting with her sleeping clothes is proud of her early rise this morning, and the bowl of the morning glory Red and white that are brought out under a couple of eaves and bloom in full bloom with the eyes awakening |

あなたの二階の硝子窓おのずから明るくなれば、青簾の波紋うつ朝風に虫籠ゆらぎて、思い出したるように啼出す蟋蟀の一声、いずれも凉し。

If the glass window on the second floor naturally brightens, the ripples of the blue bamboo blinds will sway the insect cage in the morning breeze, and the cricket's voice will scream as you remember.

 六時をすぎて七時となれば、見わたす街は再び昼の熱閙と繁劇に復りて、軒をつらねたる商家の店は都て大道に向って開かれぬ。

After 6 o'clock and 7 o'clock, the town I saw returned to the heat of the day and the drama, and the shops of the merchants who pinched the eaves did not open toward the main road.

狼籍たりし竹の皮も紙屑も何時の間にか掃去られて、水うちたる煉瓦の赤きが上に、青海波を描きたる箒目の痕清く、店の日除や、路ゆく人の浴衣や、見るもの悉く白きが中へ、紅き石竹や紫の桔梗を一荷に担げて売に来る、花売爺の笠の檐に旭日の光かがやきて、乾きもあえぬ花の露|鮮やかに見らるるも嬉し。

Bamboo skins and paper scraps were swept away before I knew it, and the red water of the bricks was on top, and the broom marks that drew the Qinghai wave were clean. Yukata and the white of what you see are inside, and the red stone bamboo and purple bellflowers are carried in one load and come for sale. The light of the rising sun shines on the broom of the flower-selling grandfather, and the dew of flowers that never dries. I'm glad to see it vividly.

鉄道馬車は今より轟き初めて、朝詣の美人を乗せたる人力車が斜めに線路を横ぎるも危うく、活きたる小鰺うる魚商が盤台おもげに威勢よく走り来れば、月琴かかえたる法界節の二人|連がきょうの収入を占いつつ急ぎ来て、北へ往くも南へ向うも、朝の人は都て希望と活気を帯びて動ける中に、小さき弁当箱携えて小走りに行く十七、八の娘、その風俗と色の蒼ざめたるとを見れば某活版所の女工なるべし、花は盛の今の年頃を日々の塵埃と煤にうずめて、あわれ彼女はいかなる希望を持てる、老たる親を養わんとにや。

For the first time, a railroad carriage roars, and it is dangerous for a rickshaw carrying a beautiful morning pilgrimage to cross the railroad track diagonally. Two people | Ren rushes to fortune-telling today's income, and while the morning people can move with hope and liveliness in the city, whether they go north or south, they go for a short run with a small lunch box. If you look at the seven and eight daughters, their customs and the paleness of their colors, you should be a female worker at a certain typography, and the flowers are filled with daily dust and soot, and she has any hope. To support old parents who can have it.

わが嫁入の衣裳の料を造らんとにや。

I don't want to make a costume for my bride.

 八時をすぐれば街はいよいよ熱閙の巷となりて、田舎者を待って偽物を売る古道具商、女客を招いて恋を占う売卜者、小児を呼ぶ金魚商、労働者を迎うる氷水商、おもいおもいに露店を列べて賑わしく、生活のために社会と戦う人の右へ走り左へ馳せて、さなきだに熱き日のいよいよ熱く苦しく覚うる頃となれば、水撒人足の車の行すぎたる跡より、大路の砂は見る見る乾きてあさ露を飜し尽したる路傍の柳は、修羅の巷の戦を見るに堪えざらんように、再び万丈の塵を浴びて枝も葉も力なげに垂れたり。

As soon as eight o'clock, the town finally becomes a hot street, an old tool dealer who waits for the rural people to sell fake, a seller who invites female customers to fortune-telling love, a goldfish dealer who calls children, an ice water dealer who can accept workers. The stalls are lined up and crowded, and when it's time to run to the right and to the left of those who fight against society for a living, and when it's time to wake up hot and painful on a hot day, the watering people's feet The sand on the road is seen from the traces of the cars passing by, and the dry roadside willows that have exhausted the asahi are bathed in the dust again so that they can't stand to see the battle of the shura. The branches and leaves hang down with force.

底本:「岡本綺堂随筆集」岩波文庫、岩波書店

Bottom book: "Kido Okamoto essay collection" Iwanami Bunko, Iwanami Shoten

   2007(平成19)年10月16日第1刷発行

First print issued on October 16, 2007 (Heisei 19)

   2008(平成20)年5月23日第4刷発行

Issued the 4th print on May 23, 2008

底本の親本:「文芸倶楽部」

Parent of the bottom book: "Bungei Club"

   1901(明治34)年7月号

July 1901 (Meiji 34) issue

初出:「文芸倶楽部」

First appearance: "Bungei Club"

   1901(明治34)年7月号

July 1901 (Meiji 34) issue

入力:川山隆

Input: Takashi Kawayama

校正:noriko saito

Calibration: noriko saito

2008年11月29日作成

Created November 29, 2008

青空文庫作成ファイル:

Aozora Bunko Creation File:

このファイルは、インターネットの図書館、青空文庫(http://www.aozora.gr.jp/)で作られました。

This file was created at Aozora Bunko (http://www.aozora.gr.jp/), an internet library.

入力、校正、制作にあたったのは、ボランティアの皆さんです。

Volunteers were involved in the input, calibration, and production.