Day7 2023/11/19
(46%)
もし日本座敷を一つの墨絵に喩えるなら、障子は墨色のもっとも淡い部分であり、床の間はもっとも濃い部分である。私は、数寄を凝らした日本座敷の床の間を見る毎に、いかに日本人が陰影の秘密を理解し、光りと陰との使い分けに巧妙であるかに感嘆する。なぜなら、そこにはこれと云う特別なしつらえがあるのではない。要するにただ、清楚な木材と清楚な壁とを以って一つの凹んだ空間を仕切り、そこへ引き入れられた光線が凹みの此処彼処へ朦朧たる隈を生むようにする。
A Japanese room might be likened to an inkwash painting, the paper-paneled shoji being the expanse where the ink is thinnest and the alcove where it is darkest. Whenever I see the alcove of a tastefully built Japanese room, I marvel at our comprehension of the secrets of shadows, our sensitive use of shadow and light. For the beauty of the alcove is not the work of some clever device. An empty space is marked off with plain wood and plain walls, so that the light drawn into it forms dim shadows within emptiness. There is nothing more.
もし日本座敷を一つの墨絵に喩えるなら、
A Japanese room might be likened to an inkwash painting,
liken
に例える
be likened to
-にたとえられる
an ink-wash painting, an indian ink painting, a japanese ink painting, a black-and-white drawing
水墨画
障子は墨色のもっとも淡い部分であり、
the paper-paneled shoji being the expanse where the ink is thinnest,
paper-paneled shoji, shoji screen, paper sliding door
障子
expanse
(陸、海、空などの）広がり
床の間はもっとも濃い部分である。
and the alcove where it is darkest.
alcove
床の間
私は、数寄を凝らした日本座敷の床の間を見る毎に、（感嘆する）
Whenever I see the alcove of a tastefully built Japanese room, I marvel at
Whenever
-の度に
tastefully
数寄をこらして
marvel at
に驚く
いかに日本人が陰影の秘密を理解し
our comprehension of the secrets of shadows,
comprehension
理解力
光りと陰との使い分けに巧妙であるか(に感嘆する。)
our sensitive use of shadow and light.
sensitive
敏感に
なぜなら、そこにはこれと云う特別なしつらえがあるのではない。
For the beauty of the alcove is not the work of some clever device.
For-
なぜなら
device
嗜好、からくり
（要するにただ、）清楚な木材と清楚な壁とを以って一つの凹んだ空間を仕切り、
An empty space is marked off with plain wood and plain walls,
is marked off
仕切られる
そこへ引き入れられた光線が (生むようにする→形作る)
so that the light drawn into it forms
drawn into it(space)
そこへ引き寄せられた
form
形づくる
凹みの此処彼処へ朦朧たる隈を（生むようにする→形作る）
dim shadows within emptiness.
dim
ぼんやりとした、霞んだ
emptiness
空虚、空
(それ以上のものではない。）
There is nothing more.
A Japanese room might be likened to an inkwash painting, the paper-paneled shoji being the expanse where the ink is thinnest and the alcove where it is darkest. Whenever I see the alcove of a tastefully built Japanese room, I marvel at our comprehension of the secrets of shadows, our sensitive use of shadow and light. For the beauty of the alcove is not the work of some clever device. An empty space is marked off with plain wood and plain walls, so that the light drawn into it forms dim shadows within emptiness. There is nothing more.
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Day8 2023/12/17
(54%)
I may be alone in thinking so, but to me, it seems that nothing quite so becomes the Japanese skin as the costumes of the No Theater. Of course, many are gaudy in the extreme, richly woven of gold and silver. But the No actor, unlike the Kabuki performer, wears no white powder. Whenever I attend the No, I am impressed by the fact that on no other occasion is the beauty of the Japanese complexion set off to such advantage - the brownish skin with a flush of red that is so uniquely Japanese, the face like old ivory-tinged with yellow.
それから、これは私一人だけの感じであるかも知れないが、およそ日本人の皮膚に能衣装ほど映りのいいものはないと思う。云うまでもなくあの衣装にはずいぶん絢爛なものが多く、金銀が豊富に使ってあり、しかもそれを着て出る能役者は、歌舞伎俳優のようにお白粉を塗ってはいないのであるが、日本人特有の赧みがかった褐色の肌、或いは黄色味をふくんだ象牙色の地顔があんなに魅力を発揮する時はないのであって、私はいつも能を見に行くたび毎に関心する。
I may be alone
私だけかもしれない
in thinking so,
そう考えるのは
but to me, it seems that
でも私にとっては、ーのように見える
nothing quite so becomes
他にない
the Japanese skin as the costumes of the No Theater.
日本人の肌が能役者の衣装のようになることは
Of course, many are gaudy in the extreme,
もちろん極端に派手なもの（衣装）が多いのだが
＊gaudy
派手な
richly woven of gold and silver.
金と銀が贅沢に織込まれて
＊woven
weaveの過去分詞形、織られている
But the No actor, unlike the Kabuki performer,
しかし、能の役者は歌舞伎役者のように
wears no white powder.
白い白粉をぬっていない。
Whenever I attend the No,
私は能に行くたび
＊attend
出席する
I am impressed by the fact that
この事実に驚くのだ
＊be impressed by
ーに驚く
on no other occasion is
他にないことは
the beauty of the Japanese complexion set off to such advantage
日本人の顔色の美しさが以下の利点を引き立てることです。
＊complexion 表情
＊set off 引き立たせる
- the brownish skin with a flush of red
（利点とはつまり）赤みかかった褐色の肌
a flush of red
真っ赤な赤み
that is so uniquely Japanese,
それは日本人独特のものである
＊uniquely
独特の
the face like old ivory-tinged with yellow.
黄色を含んだ象牙色の顔
＊tinged
色がついた
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DAY9 2024/1/14
知っての通り文楽の芝居では、女の人形は顔と手の先だけしかない。
胴や足の先は長い衣装の裡（うら）に包まれているので人形使いが自分達の手を
内部に入れて動きを示せば足りるのであるが、
The female puppets consist only of a head and a pair of hands. The body, legs, and feet are concealed within a long kimono, and the operators need only work their hands within the costume to suggest movements.
consist of -から構成される
conceal 隠す
The female puppets consist only of a head and a pair of hands.
女の人形は顔と手の先だけしかない。
The body, legs, and feet are concealed within a long kimono,
胴や足の先は長い衣装の裡（うら）に包まれているので、
and the operators need only work their hands within the costume to suggest movements.
人形使いが自分達の手を内部に入れて動きを示せば足りるのであるが、
The female puppets consist only of a head and a pair of hands. The body, legs, and feet are concealed within a long kimono, and the operators need only work their hands within the costume to suggest movements.
私はこれが最も実際に近いのであって、昔の女というものは襟から上と袖口から先だけの存在であり、他は悉く闇に隠れていたものだと思う。当時にあっては、中流階級以上の女はめったに外出することもなく、しても乗物の奥深く潜んで街頭に姿を曝さないようにしていたとすれば、大概はあの暗い家屋敷の一と間に垂れ籠めて、昼も夜も、ただ闇の中に五体を埋めつつその顔だけで存在を示していたと言える。
To me, this is the very epitome of reality, for a woman of the past did indeed exist only from the collar up and the sleeves out; the rest of her remained hidden in darkness. A woman of the middle or upper ranks of society seldom left her house, and when she did, she shielded herself from the gaze of the public in the dark recesses of her palanquin.
Most of her life was spent in the twilight of a single house, her body shrouded day and night in the gloom, her face the only sign of her existence.
epitome 典型、縮図
collar 襟
remained 残された
hidden 隠された
seldom 滅多にない
gaze 見つめる
recess 床の間 へこみ
palanquin 駕籠（かご）
shroud 包む
in the gloom 暗がり
To me, this is the very epitome of reality,
私はこれが最も実際に近いのであって
for a woman of the past did indeed exist only from the collar up and the sleeves out;
昔の女というものは襟から上と袖口から先だけの存在であり
the rest of her remained hidden in darkness.
他は悉く闇に隠れていたものだと思う。
A woman of the middle or upper ranks of society
時にあっては、中流階級以上の女は
seldom left her house, and when she did, she shielded herself from the gaze of the public in the dark recesses of her palanquin.
めったに外出することもなく、しても乗物の奥深く潜んで街頭に姿を曝さないようにしていたとすれば、
Most of her life was spent in the twilight of a single house,
大概はあの暗い家屋敷の一と間に垂れ籠めて
her body shrouded day and night in the gloom,
昼も夜も、ただ闇の中に五体を埋めつつ
her face the only sign of her existence.
その顔だけで存在を示していたと言える。
To me, this is the very epitome of reality, for a woman of the past did indeed exist only from the collar up and the sleeves out; the rest of her remained hidden in darkness. A woman of the middle or upper ranks of society seldom left her house, and when she did, she shielded herself from the gaze of the public in the dark recesses of her palanquin.
Most of her life was spent in the twilight of a single house, her body shrouded day and night in the gloom, her face the only sign of her existence.
されば衣装なども、男の方が現代に比べて派手な割合に、女の方はそれほどでない。
旧幕時代の町家の娘や女房のものなどは驚くほど地味であるが、それは要するに、衣装というものは闇の一部分、闇と顔のつながりにすぎなかったからである。
Though the men dressed somewhat more carefully than they do today, the women dressed more somberly. Daughters and wives of the merchant class wore astonishingly severe dresses. Their closing was, in effect, no more than a part of the darkness, the tradition between darkness and face.
Though ーだが、
somberly 重苦しく
astonishingly おどろいたことに。
in effect 事実上
no more than ーにすぎない
Though the men dressed somewhat more carefully
されば衣装なども、男の方が（現代に比べて）派手な割合に
than they do today,
現代に比べて
the women dressed more somberly.
女の方はそれほどでない。
Daughters and wives of the merchant class
旧幕時代の町家の娘や女房のものなどは
wore astonishingly severe dresses.
驚くほど地味であるが
Their closing was, in effect, no more than a part of the darkness,
それは要するに、衣装というものは闇の一部分、
the tradition between darkness and face.
闇と顔のつながりに すぎなかったからである。
Though the men dressed somewhat more carefully than they do today, the women dressed more somberly. Daughters and wives of the merchant class wore astonishingly severe dresses. Their closing was, in effect, no more than a part of the darkness, the tradition between darkness and face.
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One thinks of the practice of blackening the teeth. Might it not have been an attempt to push everything except the face into the dark? Today this ideal of beauty has quite disappeared from everyday life, and one must go to an ancient Kyoto teahouse, such as Sumiya in Shimabarra, to find traces of it.
practice 習慣
blacken 黒くする
attempt 試み
Might ーかもしれない
traces 追跡する
But when I think back to my own youth in the old downtown section of Tokyo, and I see my mother at work on her sewing in the dim light from the garden, I think I can imagine a little what the old Japanese woman was like. In those days - it was around 1890 - the Tokyo townsman still lived in the dusky house, and my mother, my aunts, my relatives, and most women of their age still blackened their teeth. I do not remember what they wore for every day, but when they went out, it was often in a grey kimono with a small, modest pattern.
think back to 思いかえす
youth わかもの
sewing 裁縫
in the dim light 薄暗い光で
in those days 当時
dusky 薄暗い
relatives 親戚
modest 控えめな
The female puppets consist only of a head and a pair of hands. The body, legs, and feet are concealed within a long kimono, and the operators need only work their hands within the costume to suggest movements.
To me, this is the very epitome of reality, for a woman of the past did indeed exist only from the collar up and the sleeves out; the rest of her remained hidden in darkness. A woman of the middle or upper ranks of society seldom left her house, and when she did, she shielded herself from the gaze of the public in the dark recesses of her palanquin.
Most of her life was spent in the twilight of a single house, her body shrouded day and night in the gloom, her face the only sign of her existence.
Though the men dressed somewhat more carefully than they do today, the women dressed more somberly. Daughters and wives of the merchant class wore astonishingly severe dresses. Their closing was, in effect, no more than a part of the darkness, the tradition between darkness and face.
One thinks of the practice of blackening the teeth. Might it not have been an attempt to push everything except the face into the dark? Today this ideal of beauty has quite disappeared from everyday life, and one must go to an ancient Kyoto teahouse, such as Sumiya in Shimabarra, to find traces of it.
But when I think back to my own youth in the old downtown section of Tokyo, and I see my mother at work on her sewing in the dim light from the garden, I think I can imagine a little what the old Japanese woman was like. In those days - it was around 1890 - the Tokyo townsman still lived in the dusky house, and my mother, my aunts, my relatives, and most women of their age still blackened their teeth. I do not remember what they wore for every day, but when they went out, it was often in a grey kimono with a small, modest pattern.