← Beowulf: An Anglo-Saxon Epic Poem

Beowulf: An Anglo-Saxon Epic Poem — Page 4

English → Japanese Full Text Level 9/10

Of those translators who have used verse, several have written from what would seem a mistaken point of view.

韻文を用いた翻訳者たちの中には、誤った観点から訳したと思われる者が何人かいる。

Is it proper, for instance, that the grave and solemn speeches of Beowulf and Hrothgar be put in ballad measures, tripping lightly and airily along?

例えば、ベオウルフとフロスガールの重厚で厳粛な言葉を、軽やかに軽々と進むバラッド調の韻律に置き換えることが果たして適切であろうか。

Or, again, is it fitting that the rough martial music of Anglo-Saxon verse be interpreted to us in the smooth measures of modern blank verse?

あるいはまた、アングロサクソン詩の荒々しく勇壮な響きを、現代の無韻詩のなめらかな韻律で我々に伝えることが相応しいといえるだろうか。

Do we hear what has been beautifully called "the clanging tread of a warrior in mail"?

「鎖帷子をまとった戦士の鳴り響く足音」と美しく称されたものが、果たして聞こえてくるであろうか。

Of all English translations of Beowulf, that of Professor Garnett alone gives any adequate idea of the chief characteristics of this great Teutonic epic.

ベオウルフの英語翻訳のすべての中で、ガーネット教授の訳のみが、この偉大なゲルマン叙事詩の主要な特徴について十分な印象を与えている。

The measure used in the present translation is believed to be as near a reproduction of the original as modern English affords.

本翻訳で用いた韻律は、現代英語で可能な限り原文に近い再現であると考えられる。

The cadences closely resemble those used by Browning in some of his most striking poems.

そのリズムは、ブラウニングの最も印象的な詩のいくつかで用いられたものに酷似している。

The four stresses of the Anglo-Saxon verse are retained, and as much thesis and anacrusis is allowed as is consistent with a regular cadence.

アングロサクソン詩の四つの強勢は保持されており、規則的なリズムと一致する範囲で、強音節と弱起音節が可能な限り取り入れられている。

Alliteration has been used to a large extent; but it was thought that modern ears would hardly tolerate it on every line.

頭韻は広範囲に用いられているが、現代の耳には全行にわたってそれを許容することはほとんどできないと考えられた。

End-rhyme has been used occasionally; internal rhyme, sporadically.

行末韻は時折用いられており、内部韻は散発的に用いられている。

Both have some warrant in Anglo-Saxon poetry.

両者ともアングロサクソン詩においていくらかの根拠を持っている。

(For end-rhyme, see 1_53, 1_54; for internal rhyme, 2_21, 6_40.)

(行末韻については1_53、1_54を、内部韻については2_21、6_40を参照されたい。)

What Gummere[1] calls the "rime-giver" has been studiously kept; viz., the first accented syllable in the second half-verse always carries the alliteration; and the last accented syllable alliterates only sporadically.

グメレ[1]が「韻付与音節」と呼ぶものは注意深く守られている。すなわち、後半詩行の最初の強勢音節は常に頭韻を担い、最後の強勢音節が頭韻を踏むのは散発的に過ぎない。

Vocabulary

韻文
inbun — Poetry or verse written in metrical form.
wo — Object marker particle in Japanese grammar.
用い
moochi — To use or employ something.
ta — Past tense auxiliary verb suffix.
翻訳者
hon'yakusha — A person who translates texts between languages.
たち
tachi — Plural suffix for people or animate beings.
no — Possessive or linking particle in Japanese.
naka — Inside, middle, or among a group.
ni — Location, direction, or indirect object particle.
wa — Topic marker particle in Japanese grammar.
誤っ
ayamatte — To err or make a mistake.
観点
kanten — A viewpoint or perspective on a matter.
から
kara — From a place, time, or reason.
訳し
yakushi — To translate text from one language to another.
to — Quotation or conjunctive particle meaning 'and' or 'that'.
思わ
omowa — To think or feel about something.
れる
reru — Passive or potential auxiliary verb suffix.
mono / sha — A person or individual, often in formal contexts.
ga — Subject marker particle in Japanese grammar.
何人
nannin — How many people; several people.
ka — Question particle or indefinite marker in Japanese.
いる
iru — To exist or be present (animate beings).
例えば
tatoeba — For example; used to introduce an illustration.
重厚
jūkō — Weighty, solemn, and dignified in tone or manner.
de — Particle indicating means, location of action, or context.
厳粛
genshuku — Grave, solemn, and serious in atmosphere or manner.
na — Adjectival linking particle for na-adjectives.
言葉
kotoba — Words, language, or speech in general.
軽やか
karoyaka — Light, airy, and nimble in movement or feel.
軽々
karogaro — Lightly, effortlessly, without weight or gravity.
進む
susumu — To advance, proceed, or move forward.
バラッド
baraddo — A ballad; narrative song or poem form.
調
chō — Tone, style, or tune of expression or music.
韻律
inritsu — Meter or rhythm in poetry or verse.
置き換える
okikaeru — To replace or substitute one thing for another.
こと
koto — Thing, fact, or act (nominalizer in grammar).
果たし
hatashi — To accomplish, fulfill, or carry out a task.
te — Conjunctive particle connecting clauses or actions.
適切
tekisetsu — Appropriate, suitable, or fitting for a situation.
あろう
arō — Volitional or speculative form of 'to be'.
あるいは
aruiwa — Or; alternatively; on the other hand.
また
mata — Also, again, or furthermore.
shi — Poetry or a poem as a literary form.
荒々しく
araarashiku — Roughly, fiercely, or wildly in manner.
勇壮
yūsō — Brave and grand; heroic and magnificent in nature.
響き
hibiki — A sound, echo, or resonance of something.
現代
gendai — The modern era or contemporary times.
無韻詩
muinshi — Blank verse; poetry without end rhyme.
なめらか
nameraka — Smooth, flowing, and without roughness or interruption.
我々
wareware — We or us; formal first-person plural pronoun.
伝える
tsutaeru — To convey, communicate, or transmit information or feeling.
相応しい
fusawashii — Suitable, appropriate, or befitting a situation or purpose.
いえる
ieru — Can be said; possible to say or claim.
だろう
darō — Probably; speculative or conjecture form of 'is'.
まとっ
matotte — To wear or drape something over the body.
戦士
senshi — A warrior or soldier; a person who fights.
鳴り響く
narihibiku — To resound or ring out loudly through space.
足音
ashioto — The sound of footsteps while walking or running.
美しく
utsukushiku — Beautifully; in a beautiful or aesthetically pleasing manner.
称さ
shōsa — To be called, named, or referred to as something.
re — Passive verb ending indicating something is done to subject.
もの
mono — A thing, object, or matter in general.
聞こえ
kikoe — To be audible; to be heard or sound like.
くる
kuru — To come; auxiliary indicating action toward the speaker.
英語
Eigo — The English language.
翻訳
hon'yaku — Translation; converting text between two languages.
すべて
subete — All, everything, or entirely without exception.
教授
kyōju — A professor or university-level academic teacher.
yaku — Translation or rendering of a text in another language.
mi — Only, solely (literary suffix implying reading or seeing).
この
kono — This; demonstrative adjective referring to nearby thing.
偉大
idai — Great, magnificent, or outstanding in scale or importance.
叙事詩
jojishi — An epic poem narrating heroic deeds and events.
主要
shuyō — Main, primary, or most important among several things.
特徴
tokuchō — A characteristic, feature, or distinctive quality of something.
ついて
tsuite — Concerning, about, or regarding a topic.
十分
jūbun — Sufficient, enough, or fully adequate for a purpose.
印象
inshō — An impression or image left in one's mind.
与え
atae — To give, provide, or grant something to someone.
hon — A book or volume of written material.
可能
kanō — Possible, feasible, or capable of being done.
限り
kagiri — As much as possible; limit or extent of something.
原文
genbun — The original text before any translation or editing.
近い
chikai — Close, near, or similar in distance or degree.
再現
saigen — Reproduction or recreation of something from the past.
ある
aru — To exist or be (for inanimate objects).
考え
kangae — A thought, idea, or way of thinking about something.
られる
rareru — Passive or potential auxiliary indicating possibility or passivity.
その
sono — That; demonstrative adjective for something previously mentioned.
リズム
rizumu — Rhythm; a regular pattern of beats or sounds.
最も
mottomo — Most; superlative degree marker in Japanese.
印象的
inshōteki — Impressive or striking; leaving a strong impression.
いくつか
ikutsuka — Some; a few; an unspecified small number.
られ
rare — Passive verb suffix indicating being acted upon.
酷似
kokuji — Closely resembling; being nearly identical to something else.
shi — Conjunctive verb form; and; moreover.
四つ
yottsu — Four items or four units of something.
強勢
kyōsei — Stress or emphasis placed on a syllable or word.
保持
hoji — To maintain, retain, or keep something intact.
sa — Suffix nominalizing adjectives or softening statements.
おり
ori — Humble form of 'to be'; presently existing or doing.
規則的
kisokuteki — Regular, systematic, or following a consistent rule.
一致
icchi — Agreement, correspondence, or matching of two things.
する
suru — To do; general-purpose action verb in Japanese.
範囲
han'i — Range, scope, or extent of something.
音節
onsetsu — A syllable; unit of pronunciation in a word.
取り入れ
toriire — To adopt, incorporate, or bring something into use.
頭韻
tōin — Alliteration; repetition of initial consonant sounds in verse.
広範囲
kōhan'i — Wide range or broad extent covering many areas.
mimi — The ear; the sense of hearing.
わたって
watatte — Spanning or extending across a range or period.
それ
sore — That; referring to something previously mentioned.
許容
kyoyō — Tolerance, acceptance, or allowance of something.
ほとんど
hotondo — Almost, mostly, or nearly all of something.
でき
deki — To be able to; capability or possibility.
ない
nai — Negative form; does not exist or is not done.
in — Rhyme; correspondence of sounds at end of lines.
時折
tokiori — Occasionally, sometimes, or from time to time.
内部
naibu — Interior, inside, or internal part of something.
散発的
sanpatsuteki — Sporadic, occasional, or occurring at irregular intervals.
両者
ryōsha — Both parties or both of two things in question.
とも
tomo — Both; together; indicating inclusion of all mentioned.
おいて
oite — At, in, or with regard to a place or topic.
いくらか
ikuraka — Somewhat, a little, or some degree of something.
根拠
konkyo — Basis, grounds, or evidence supporting a claim.
持っ
motte — To hold, have, or possess something.
参照
sanshō — Reference; to refer to or consult a source.
たい
tai — Desire form; wanting to do something.
付与
fuyo — To grant, bestow, or assign something to someone.
呼ぶ
yobu — To call, name, or summon someone or something.
注意深く
chūibukaku — Carefully, attentively, or with great caution.
守ら
mamora — To protect, observe, or follow a rule carefully.
すなわち
sunawachi — That is; namely; in other words.
後半
kōhan — The latter half or second part of something.
詩行
shikō — A line of poetry in a verse or poem.
最初
saisho — The first; the beginning or earliest point.
常に
tsuneni — Always, constantly, or at all times.
担い
ninai — To carry, bear, or take on a responsibility.
最後
saigo — The last; the final point or end of something.
踏む
fumu — To step on or follow a set pattern or rule.
過ぎ
sugi — Too much; excess; going beyond an appropriate limit.
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