Hachisuka Mochiaki's Overseas Achievements

蜂須賀茂韶の海外での功績

Hachisuka Mochiaki (1846-1918) was the last lord of the Awa (Tokushima) domain, and he became a successful businessman and a statesman after the Meiji Restoration. He went to the UK to study when he was 25 years old, and stayed there for seven years, during which he graduated from college at the Balliol College, University of Oxford. Three years after returning to Japan, he was appointed to an envoy extraordinary and minister plenipotentiary of Japan in France (also serving as a minister in Spain, Portugal, Switzerland and Belgium) and he stayed in Paris three years. Despite ten years of foreign life, little has been known about his overseas activities. In this study, we investigated his overseas activities using digital archives of European libraries, and could find information from British Newspaper Archive, Welsh Newspaper Online, and Gallica. He began to attend public events in the UK after graduating from the Oxford University. He received in an audience by Queen Victoria and the Prince of Wales in 1877 and 1878, and attended to parties hosted by the Ministry of Foreign Affairs. He also participated in the launching ceremony of three Japanese warships Kongo, Fuso, and Hiei in 1877. He worked variously as a diplomat in Paris during 1884-1886. He signed three treaties, the Geneva Convention, the treaty on remittance by postal money order, and the International Meter Convention. Conpared with signing the Geneva Convention remaining two have not received much attention so far. In this study we found that he encouraged the Japanese government to join the International Meter Convention and negotiated with the Comité International des Poids et Mesures many times. He organized Japanese exhibition at a museum to introduce Japanese culture to Parisians, and he contributed to the academic exchange between France and Japan with the Geographical Society. And he and his wife Yoriko participated in many social events, and they held parties, concerts and theaters in Paris and Brussels. Several French newspapers mentioned elegant behavior of his wife Yoriko at those parties. And He focused on politics and business after returning to Japan, but also worked to promote exchange with foreign countries. In particular, he established the Welcome Society, which was the first organization in Japan for attracting and accommodating foreign tourists, with other of founders, and became the chairman of the organization. His abundant overseas experience and wide-ranging personal connections helped to establish this association.

蜂須賀茂韶(はちすかもちあき)は，藩政期の終わりに徳島藩の最後の藩主となり，明治維新後は外交官，実業家，政治家として活躍した人物であるが，彼のイギリス遊学時代や外交官使時代の活動については，これまで情報が乏しかった．本研究はヨーロッパの図書館のデジタルアーカイブを利用して彼に関する情報を調べ，多数の資料を発見した．茂韶はオックスフォード大学を卒業してからもしばらくイギリスに滞在し，ヴィクトリア女王や皇太子に拝謁したり，軍艦「金剛」「扶桑」「比叡」の進水式に出席したりと公的な行事に現れるようになった．パリでの公使在任中の活動については多くの資料が見つかり，多彩な活動内容が明らかになった．条約関連では，ジュネーブ条約，日仏間郵便為替条約，メートル条約に署名した．この中ではジュネーブ条約署名がよく知られているが，メートル条約も日本の社会や産業に及ぼした影響は計り知れないものがある．国際度量衡委員会の活動報告書CIPM 1885(111)から，茂韶が国際度量衡委員会や日本政府と何度もやりとりを重ねて条約加盟にこぎつけたことが明らかになった． また，デジタルアーカイブには古新聞が多く含まれているため社交界の情報も多く，茂韶夫妻が多数の催しに出席したことが分かった．夫妻は主催することにも熱心で，ベルギーのブリュッセルで開いた舞踏会や，パリでの晩餐会やコンサートや観劇は評判になった．

Regional Science Research, the University of Tokushima


Wenceslau de Moraes's Proficiency of Japanese Language --- His Speaking Ability and Personality

ヴェンセスラウ・デ・モラエスの日本語会話能力 --- 会話能力の検証および会話内容からみえる人物像について

A Portuguese writer Wenceslau de Moraes spent his later life in Japan since 1897; he never left Japan until 1929 when he died. It is said that his speaking ability of Japanese language was not good although he lived in Japan more than thirty years. In this study, we investigated his speaking ability of Japanese based on the written memories of those who had direct discourse with him. The records of his speech were limited to the memories of his neighbors, a Buddhist nun who regularly came to his house, and a newspaper reporter from Osaka who interviewed him. Except for the words of affirmation or denial, the word that appeared most frequently in his speech was "kawaisou'' or ``kinodoku'' that means ``pity'' (``piedade'' in Portuguese). ``Piedade'' is the important key word of his masterpiece Ó-Yoné e Ko-Haru. In the preface to the book he quoted the sentence ``A litteratura do futuro será a Litteratura da piedade'' from Pierre Loti's work, and he wrote Ó-Yoné e Ko-Haru as a literature of pity. Therefore, his deep sympathy for vulnerable and oppressed existence was the propensity of his character shown in both his works and his real life. ``Kawaii / kawairashii'' (lovely) and ``shinsetsu'' (kind) are also the words he used frequently in his conversation with his neighbors. As for the grammar of Japanese language, Moraes did not seem to have mastered postpositional particles and conjugation of verbs. Two persons referred to his speaking ability of Japanese as follows: a newspaper reporter who interviewed Moraes wrote that ``he speaks in simple Japanese'' in his article, and a pastor who sometimes visited Moraes's house said that ``his Japanese was not good, but he spoke familiar Japanese slowly''. The reason why Moraes's Japanese did not improve is said that he did not want to associate with intellectual people here in Tokushima. On the other hand, he greeted familiarly and often exchanged gifts with his neighbors. He pointed out that Japanese people is a pleasant neighbor in his work Relance da Alma Japoneza, and he also tried to be a good neighbor to those he knew as well. There would have been no need for a formal and complicated conversation for him for that purpose.

ヴェンセスラウ・デ・モラエスは，1897年以来，日本に30年以上日本に住んでいたにもかかわらず，日本語の話す能力は良くなかったと言われている．本研究では，直接会話をした人々の記憶に基づいて，彼の日本語の話す能力を調査した．肯定や否定の言葉を除いて，彼の発話で最も頻繁に現れた言葉は「かわいそう」「気の毒」であった．ポルトガル語ではpiedadeが対応する言葉であり，彼の著作の中でも頻繁に現れ，彼を理解する上で重要なキーワードである．また 「カワイイ/カワイらしい」や「しんせつ」なども，会話によく使われた．日本語の文法に関しては，モラエスは助詞や動詞の活用形を習得していなかった．モラエスの日本語が上達しなかったのは，彼が徳島で知的な人々との付き合いを避けたためであろう．その一方で，彼はよく挨拶し，彼の近所の人たちと贈り物をしばしば交換していた．彼は日本人が心地よい隣人であることを自分の作品の中で述べており，彼もまた良い隣人であろうと努めた．彼の生活において知的で複雑な会話は必要なかったのである．


Landscape Architecture of Tokushima Central Park --- Comparison with Hibiya Park and Seifersdorf Castle

徳島公園(徳島中央公園)の造園設計について --- 日比谷公園及びザイファースドルフ城との比較

Tokushima Park (originally named Tokushima Central Park) is the Japan's second western-style park that was opened in 1906. We investigated landscape architecture of Tokushima Park based on a blueprint made in 1905 to understand its purpose and function of the park, and compared with Hibiya Park that is the Japan's first western-style park. Tokushima Park consisted of five areas. The central area included Mt. Shiroyama (Castle Mountain), and primeval forest was protected without allowing to make a big building within the area. A commercial museum, an athletic field, and a botanical garden and a library were placed in the southern, western and eastern areas respectively, so that each area was designed to exhibit each function. Tokushima Park and Hibiya Park were designed by the same two persons Seiroku Honda and Takanori Hongo. The two parks were equipped with a wide road, an athletic field, a botanical garden and so on, and these facilities were adopted to the park made since them. Because Seiroku Honda adopted three design drawings of German parks from the book Gärtnerisches Planzeichnen into a blueprint of Hibiya Park, we investigated the book to ascertain whether any design drawing was also used in Tokushima Park. We found that Seifersdorf Castle, the castle of count Brühl that was built at Seifersdorf in Germany in 13th century, is similar to the southern area of Tokushima Park.

徳島中央公園は明治39年(1906)に旧徳島藩主の居城跡に「徳島公園」として開設された我が国で二番目の西洋風近代公園であり，市の中心部に位置する総合公園として多くの人々に利用され親しまれてきた．徳島公園について設計の詳細に踏込んだ研究はこれまで行われてこなかったが，それは設立前後の公園の設計図や図面が残っていないことによる．演者らは明治38年(1905)の新聞紙上に徳島公園の設計図やその解説が掲載されていることを見いだし，それに基づいて徳島公園設計の意図や理念を探った． 徳島公園の設計を担当したのは，我が国初の西洋風近代公園として作られた日比谷公園の設計を担当した本多静六と弟子の本郷高徳である．徳島公園と日比谷公園の設計図の調査から，日本における初期の西洋風近代公園の特質を浮き彫りにした． また，本多は日比谷公園の設計にあたり，造園家マックス・ベルトラムによるドイツの公園の設計図集『造園設計図案』(Gärtnerisches Planzeichnen)を取り入れている．そこで，徳島公園の設計に際してもこれを参考にしている可能性があると考え，調査した結果，XXXII番の``Die Parkanlagen des Herrn Graf Brühl zu Seifersdorf bei Radeberg''と題された図が徳島公園と類似していることが分かった．この図はドイツのザクセン州ラーデベルク近くのザイファースドルフ(Seifersdorf)にある13世紀に作られたBrühl 伯爵の城である． また，林学者であった本多は，城山について「天然林として甚貴重すべきもの」とその価値を認め，「林木の伐採は道路の開鑿及び眺望を得るための他は之を避け」と述べているように，本丸跡の招魂碑と東二の丸跡の喫茶店の他に建築物は設けなかった．さらに彼は「徳島公園は公園としての資質を備ふる点に於て蓋し日本の各公園中第一位」と述べ，その理由を三つ挙げているが，いずれも城山に関係したものである．


Nature and landscape of Mt. Bizan based on ``Awa meisho zue''

『阿波名所図会』における眉山の自然と景観

In this paper the nature and the landscape of the Mt. Bizan are investigated based on ``Awa meisho zue'' which was a guidebook of Awa (Tokushima) published about 200 years ago. In the picture entitled ``Mt. Bizan'' a tower at the Jimyoin Temple and two buildings are drawn in the mountain. The mountain is covered with pine trees, and there is a waterfall near the tower. Besides pine trees, three types of trees, Japanese cedar and/or Japanese cypress, trees that presumably cherry, and unknown broadleaf trees are drawn in Mt. Otakiyama that is a part of Mt. Bizan based on the picture entitled ``Otakisan Jimyoin''. Other historical records in Edo era coincide with the composition of plant species in Mt. Bizan. Though the vegetation of Mt. Bizan was defended by laws throughout Edo era, it was deforested and the mountain became bald after the Meiji Restoration. Afterwards, it was protected by specifying it as the protection forest and by making it as a park. Now, pine trees and Japanese cedar and/or Japanese cypress have almost been lost, and pasania and live oak are well growing in the mountain. The tower at Jimyoin was burned down by the air raid in the World War II, and the waterfall has thinned. On the other hand, mountain trails and a ropeway were made, and a lot of buildings were built at the top of the mountain. Thus, the nature and the landscape of Mt. Bizan greatly changed in 200 years. However, citizens are still familiar with it as the symbol of Tokushima City.

『阿波名所図会』は，江戸時代後期に庶民の間で旅行ブームが興った時期に作られた阿波の名所を紹介したガイドブックである．同書巻頭の附言に「文化辛未之歳中冬」とあることから，文化8年(1811)に作成されたことが分かり，今年はちょうど200年目にあたる．本研究は『阿波名所図会』において眉山の景観や自然がどのように描かれているか分析するとともに，それ以降現在までの変化についても他の資料を基に調査した． 『阿波名所図会』において眉山が描かれた挿絵には，山中の樹木が4種類に描き分けられている．最も目立つのは，山中に生い茂っている松である．次に，松とは異なる針葉樹が多数描かれているが，これと同じ樹は同書にしばしば登場し，挿絵「舎心山太龍寺」では山中にこの樹が優占している．太龍寺の境内は現在，杉や檜の古木で覆われており，『阿波名所図会』においても杉または檜を描いていると考えられる．江戸時代に作成された別の史料『四国偏礼霊場記』や『四国遍札名所図会』との比較からも杉・檜であることが支持される．他の2種類の樹木は広葉樹であり，形態的特徴から樹種を特定することは難しいが，他の挿絵や別の史料との比較からそのうちの一つは桜であると考えられる． このような眉山の植生景観は明治期に一変する．大正5年(1916)版の『阿波名勝案内』には，明治維新後に眉山の樹木が伐採されて禿げ山となったことが記されている．その後，大正期から太平洋戦争前の間に作られた古絵葉書「徳島・新町橋」を見ると，再び眉山は木々で覆われている．樹種は判然としないが，広葉樹が主であり，松や杉・檜は目立たたない．また，同時期の別の古絵葉書「新町橋と眉山」では，山腹に白く桜並木が，筋状に延びているのが分かる． 平成16年の『徳島県環境基本計画(資料編)』には現在の眉山は，山地のアカマツ林はほとんど枯れてコナラ林に変わったと記されている．明治維新後の伐採で大きく数を減らした眉山の松は，マツ枯れによりさらにその数を減らしたのである．同資料は眉山の自然植生を，ヤブツバキ域にまとめられる照葉樹林「シイ - タブ林」に含まれる「ミミズバイ - スダジイ群集」に分類している．かつて眉山に広がっていた松林は，人間の影響下で自然植生の代償植生として成立していたものである． このように眉山の植生は，人為的影響やマツ枯れにより時代によって大きく変化してきた．現在は保安林，風致地区，鳥獣保護区に指定され，将来に残すべく保護対策がとられている．


Hankering for 'a Congenial Channel' --- Tricks of 'Time' in Two on a Tower

「共感の通路」を求めて --- 『塔上のふたり』に見られる時間のトリック

本論文は，ハーディの小説の中で，ややもすると評価の低い『塔上のふたり』について，時間の観点からの分析を試みた．宇宙的な時間を背景としつつ，身分あるコンスタンタイン夫人が，夫との「共感の通路」を見い出せぬままに，10歳年下のスイジンに心を寄せ，結ばれようとする様を，物語の流れの中に仕組まれた皮肉な時間のトリックに着目して論じた．ふたりの年齢差に見られる時間の断層や，ふたりの現在の中に潜んでいる「過去」に，ふたりが「共感の通路」を見出して結ばれようと考えながらも，常に挫かれてしまう様は，評価が低い作品でありながら，他のハーディの作品を読み解く上で大きな意味があるとした．

日本ハーディ協会会報 ハーディ研究

日本ハーディ協会会報 ハーディ研究


本論文は，HardyのThe Mayor of Casterbridgeについて，厭うべき過去を振り捨て新たに生まれ変わって町長にまで栄達した主人公の凋落の過程には，常に現在の自分に過去の自分の姿が重なり合うことによって，他者との関係に自己分裂を引き起こさざるを得ないことが関わっているのではないかと考察した．二つの自分の姿によって他者との関係が生まれ，同時に他者との関係が瓦解してゆくことによって，主人公は人間存在というものの孤独な姿を凝視し，Hardyはそれを冷徹に描き出しているのではないかと論じた．


Desperate Remedies as an Origin of Creation

創作の起源としての『非常手段』

本論文は，Hardyの小説家としての事実上の出発点に当たる『非常手段』(Desperate Remedies)について，Darwinismの観点からその構成上の問題を考察した．推理小説もしくは扇情小説の体裁を取りながらも，実質的に後のHardyの諸作品に見られる創作法をこの作品において模索しているのではないかと考えた．同時にその創作法が，Hardyの時間意識の問題に基づくものであって，彼が眼目とする人間心理の「進展」(evolution)とも密接に関係しているのではないかと論じた．

The Bulletin of the Thomas Hardy Society of Japan


A Laodicean: Time, Space and the Creation of an Enigmatic Character

A Laodicean: 開かれた時空間と謎めいた性格の造形

本論文では，A Laodicean(『微温の人』)というこの作品に見られる，表面上の今日的な問題である新旧の交替劇を時間と空間の観点から眺めつつ，その背後にある主人公Paulaの「微温の人」ぶり，そして彼女の「生温さ」によって示され明らかにされる人間の本質の今日的な問題を検討し考察した．


The Imagery of Closed Space in The Well-Beloved

本論文は，主人公Pierstonの，40年にわたる20歳の頃の恋人Aviceの幻を追っての特異な恋愛についてその本質を探ろうとしたものである．その本質が，特に，彼が恋の霊の幻に気づいて求愛へと向かってゆく過程に見られる閉ざされた空間のイメージと密接な関係が見られる．このイメージを手がかりとしてPierstonの恋愛感情を分析するとともに，40年という時間の関わりから精神と肉体の問題についても考察を加え，英文で論じた．

The Bulletin of the Thomas Hardy Society of Japan


On the Nostalgia and the Return in The Return of the Native --- from the Viewpoint of the Longing for Paradise and the Time Consciousness

The Return of the Native における郷愁と帰郷について --- 楽園願望と時間意識の観点から

本論文は，主人公Clym Yeobrightの帰郷後の夢が，理想主義よりもむしろ都会での疎外感と彼との一体的現実世界への希求に基づいているのではないかということに着目した．故郷Egdonでの時間意識と，彼の進みすぎた時代の時間意識とのずれが，Eustaciaとの恋愛と結婚，母との関係によって大きく拡大され，やがて3人とも悲劇的末路へと向かってゆく．その過程を二つの観点から分析してみた．


モラエスが見た「鳴門の渦潮」 --- 風景論の観点から

モラエスが見た「鳴門の渦潮」 --- 風景論の観点から

ポルトガル人ヴェンセスラウ・デ・モラエスは，徳島で16年間過ごして没したが，その間に「鳴門の渦潮」を2回見ている．本論文は，モラエスの見た「鳴門の渦潮」を風景論の観点から眺め，モラエスが，「鳴門の渦潮」を含む鳴門海峡の風景を日本的な風景として捉えていることを，風景論の流れを追いつつ傍証した．

「鳴門の渦潮」世界遺産登録学術調査報告書

「鳴門の渦潮」世界遺産登録学術調査報告書


Moraes's Garden --- (6)Moraes's Eyes: Tokushima Landscape through his Eyes

モラエスの庭 --- (6)モラエスの目:徳島の風景

This paper is part of the results from the social action activities financed by the Faculty of Integrated Arts and Sciences, and Tokushima University, 2015. The activities are mainly focused on the reevaluation by public lectures and other exhibitions of Wenceslau de Moraes 1854-1929, a Portugal naval officer and consul general who lived and died in Tokushima. This is also part of the outcomes of the Project Studies by Moraes's Studies Group launched on July 31, 2010.The members of Moraes's Studies Group, T. Miyazaki (English Literature, Comparative Literature), E. Ishikawa (German Literature, Comparative Literature), M. Satoh (Plant Physiology), M. Sakai (Clinical Psychology), all at the Institute of Socio-Arts and Sciences, Tokushima University, have been continuing to try to analyze Moraes's works and to approach new facets of Moraes's biographical aspects. Moraes was fascinated by the far-east Japan and fell in love with Ó-Yoné, who died soon after the marriage. After her death, Moraes decided to live in Tokushima, which was Ó-Yoné's hometown. He lived with Ko-Haru, Ó-Yoné's niece, for a while until she died from tuberculosis at the age of 21. His life until his death in Tokushima was a kind of a hermit, disregard of his fame as Consul General and Navy high-rank Officer of Portugal, and other financial merits entailed with them. Moraes published O ‟Bon-odori„ em Tokushima in 1916 after Ó-Yoné died, and Ó-Yoné é Ko-haru afterwards. In both works Moraes depicted Tokushima landscape and everyday things in general which his eyes caught through his keen sensitivity. He worshipped Japan's unique beautiful landscape, but he was disappointed at the rapidly westernized aspects of large cities like Kobe, Osaka and Tokyo. He had been, in a sense, allured and attracted by the old and beautiful landscape through the writings by his foregoing visitors to Japan. His choice of Tokushima as his residence for his remaining days might be considered to search for the old and traditional beautiful aspects of Japan that seemed to him to be remaining in a local city like Tokushima far away from the large cities. Moraes's sense of beauty through his eyes to Tokushima landscape may lead us Japanese to consider our identity in this now globalized society.

Regional Science Research, the University of Tokushima


Hardy's Sense of Humour Humour in `What the Shepherd Saw'

ハーディのユーモア感覚―「羊飼いが見たもの」に見られるユーモア―

`What the Shepherd Saw' (1881) in A Changed Man, The Waiting Supper and Other Tales (1913) by Thomas Hardy (1840-1928) is kind of a Christmas story like Charles Dickens's well-known Christmas stories. This story is certainly a weird one about a scary murder committed and witnessed on some part of Wessex downs. With well-constructed structure and calculated foreshadowing, this story is an excellent one in terms of narrative techniques. Furthermore, this story contains some kind of humour in the tense scenes. Hardy is still now regarded rather fixedly as a writer of tragic and pessimistic novels, stories and poems. This conventional image of Hardy is put in doubt if we read this story carefully. Hardy started writing novels with an acute critical eye on the society of class consciousness and on Christian religion; therefore, his works are in a sense full of satirical and ironical treatment of the then society and its system, and the religious state of mind of the people at that time. One of his earliest novels, however, Under the Greenwood Tree (1872), whose title is from the song in the Wood of Arden in Shakespeare's comedy As You Like It (1599), is a pastoral novel with some tint of pathos and humour. Hardy was as an ambitious writer with a keen consciousness of narrative techniques and seems to have tried every mode of narratives including humour, which element is as it were an undercurrent even in the most tragic novels like Tess of the d'Urbervilles (1891) and Jude the Obscure (1896). Focusing on Hardy's sense of humour might lead us to be aware of the hidden quality of humour in his novels and stories, and would contribute to a reevaluation of his writings in general. In this paper, `What the Shepherd Saw' is discussed and analyzed from the point of Hardy's sense of humour and narrative techniques with the attention to linguistic characteristics in the story.

Journal of Language and Literature, Faculty of Integrated Arts and Sciences, The University of Tokushima

徳島大学総合科学部言語文化研究


Moraes and the Novel Koshu --Saudade-- --- A Possibility of New Aspect of Moraes

モラエスと小説『孤愁〈サウダーデ〉』 --- 新たなモラエス像の可能性

This essay is based on my public lecture delivered at Tokushima Kenritsu Bungakushodokan on 21, November, 2015. Wenceslau de Moraes (1854-1928), a Portuguese, lived for sixteen years and died in Tokushima. His O "Bon-odori" em Tokushima well depicts Tokushima and its common people 100 years ago through his loving eyes. In 2012 a novel named Koshu-Saudade- was written and published by Masahiko Fujiwara, a mathematician and essayist, taking over his father's work Jiro Nitta, a meteorologist and novelist, who died before finishing the novel. It is a rare case in the point that father and his son wrote and finished the novel. There are some unique features in this novel as it is qritten by them two. Also this fiction based on biographical evidences seems to open a new aspect of Moraes in terms of the relationship between father and son.

ポルトガル人ヴェンセスラウ・デ・モラエスは，徳島で16年間過ごして没した．徳島の土地と人々を慈愛に満ちた目で描いた『徳島の盆踊り』や『おヨネとコハル』は，100年前の徳島の姿を祖国ポルトガルに伝えている．そのモラエスについては，2012年に藤原正彦が父新田次郎の遺作を書き継いで小説『孤愁〈サウダーデ〉』を完成した．モラエスを知るには格好の評伝小説であるが，モラエスの実像と虚像との隔たりには留意しておかなくてはならない．だが，この小説によってモラエスの新たな側面が開ける可能性がある．本論では，親子2代，ふたりによって書かれた類まれな小説に見られる特徴と，その小説が開く新たな可能性を検証しておきたい．

徳島大学大学開放実践センター紀要


Moraes's Garden --- (5) Writings in the Time and the 5th National Industrial Exhibition

モラエスの庭 --- (5) モラエスの著作の位置づけと第五回内国勧業博覧会

This paper and report is based on the oral presentation delivered on 29th, November 2014, as part of Symposium `Moraes in Kobe and Tokushima' held at the Faculty of Integrated Arts and Sciences, Tokushima University, in Tokushima. This is also part of the outcomes of the Project Studies by the activities in 2014 of Moraes's Studies Group launched on July 31, 2010. The members of Moraes's Studies Group, T. Miyazaki (English Literature, Comparative Literature), E. Ishikawa (German Literature, Comparative Literature), M. Satoh (Plant Physiology), M. Sakai (Clinical Psychology), all at the Institute of Socio-Arts and Sciences, Tokushima University, have been continuing to try to analyze Moraes's works and to explore new facets of Moraes's biographical facts. Moraes was fascinated by the far-east Japan and fell in love with Ó-Yoné, who died young at the age of 39 in Kobe. After her death, Moraes decided to leave Kobe and live in Tokushima, which was Ó-Yoné's hometown. He lived with Ko-Haru, Ó-Yoné's niece, for a while until she died from tuberculosis at the age of 21. He led his life until his death in Tokushima for 16 years as a kind of hermit, neglecting his fame as the Consul General and Navy high-rank Officer of Portugal, and other financial merits entailed with the post. Though Moraes is often regarded as a kind of hermit in Tokushima, we should pay more attention to and reevaluate his aspect of a diplomat and consul in Kobe days before coming to Tokushima. He was a very able diplomat and consul, and once actively involved with the 5th National Industrial Exhibition held in 1903. In Tokushima he wrote and published O Bon-odori em Tokushima and afterwards Ó-Yoné e Ko-haru. These works might be regarded as based on the forms of diary and essay, seemingly as reports from Tokushima to Bento Carqueja, editor of Comércio do Porto (Porto Commercial Newspaper) in Portugal. Concerning these works as such there seems to be an undercurrent of the image of garden, or paradise, which is strongly connected with the Exhibition he was concerned. In this paper, a tentative reevaluation of his works in Tokushima and the undercurrent of the image of garden related with the 5th National Industrial Exhibition he was involved with in Kobe days.


Hardy's Humour : Linguistic Characteristics in `The Distracted Preacher' (2)

ハーディのユーモア : 「惑える牧師」の言語表現(2)

This paper is the sequel to the former one, ``Hardy's Humour Linguistic Characteristics in `The Distracted Preacher'(1) .'' `The Distracted Preacher' (1879) in Wessex Tales (1888) by Thomas Hardy (1840-1928) is quite an interesting `long short story' in terms of humour and narrative techniques. This story was welcomed as `capital trifle, light and amusing' and `irresistibly comic' when published. Hardy is still now regarded rather fixedly as a writer of tragic and pessimistic novels, stories and poems. This conventional image of Hardy is at once blown away if we read this comical story. Hardy started writing novels with an acute critical eye on the society of class consciousness, and, therefore, his works are in a sense full of satirical and ironical treatment of the then society and its system. One of his earliest novels, however, Under the Greenwood Tree (1872), whose title is from the song in the Wood of Arden in Shakespeare's comedy As You Like It (1599), is a pastoral novel with tint of pathos and humour. Hardy was as an ambitious writer with keen consciousness of narrative techniques and seems to have tried every mode of narrative including humour, which element is as it were an undercurrent even in tragic novels like Tess of the d'Urbervilles (1891) and Jude the Obscure (1896). Focusing on Hardy's humour might have the possibility of changing the quality of his novels and stories, and would contribute to a reevaluation of his writings in general. In this paper, `The Distracted Preacher' is discussed and analyzed from the point of humour and narrative technique with the attention to linguistic characteristics in the story.

徳島大学総合科学部言語文化研究


モラエスの「徳島」 --- グローバリズム考

Wenceslau de Moraes (1854-1928), a Portuguese, lived for sixteen years and died in Tokushima. His O ``Bon-odori'' em Tokushima well depicts Tokushima and its common people 100 years ago through his loving eyes. It is most miraculous that Tokushima, a rural town and not a large city like Kobe or Osaka, was introduced to Portugal and even to Europe 100 years ago by a Portuguese. How he saw Tokushima and its people, living as a plain people not as a high rank maritime officer and afterwards a diplomat and consul in Kobe, is quite helpful to us living in a complicated modern `globalized' world.

ポルトガル人ヴェンセスラウ・デ・モラエスは，徳島で16年間過ごして没した．徳島の土地と人々を慈愛に満ちた目で描いた『徳島の盆踊り』は，100年前の徳島の姿を祖国ポルトガルに伝えている．異邦人としてモラエスが徳島をいかに眺めていたか，それを知ることがグローバリズムを迎えている現代において，我々に対し，異邦人の立場を理解する上で示唆するものを多く含んでいる．

徳島大学大学開放実践センター紀要


Moraes's Garden --- (4) Looking to Life, and Looking to Death

モラエスの庭 --- (4)生へのまなざし，死へのまなざし

This paper is an essay on Moraes's O Bon-odori em Tokushima and Ó-Yoné e Ko-haru, part of the outcomes of the Project Studies by the activities in 2013 of Moraes's Studies Group launched in July 31, 2010. The members of Moraes's Studies Group, T. Miyazaki (English Literature, Comparative Literature), E. Ishikawa (German Literature, Comparative Literature), M. Satoh (Plant Physiology), M. Sakai (Clinical Psychology), all at the Institute of Socio-Arts and Sciences, The University of Tokushima, have been continuing to try to analyze Moraes's works and to approach new facets of Moraes's biographical aspects. Moraes was fascinated by the far-east Japan, and fell in love with Ó-Yoné, who died soon after the marriage. After her death Moraes decided to live in Tokushima, which was Ó-Yoné's hometown. He lived with Ko-Haru, Ó-Yoné's niece, for a while until she died from tuberculosis at the age of 21. His life until his death in Tokushima was a kind of hermit, disregard of his fame as Consul General and Navy high-rank Officer of Portugal, and other financial merits entailed with them. Moraes published O Bon-odori em Tokushima in 1916 after Ó-Yoné died, and Ó-Yoné e Ko-haru afterwards. This work might be regarded as based on the forms of diary and essay, seemingly as reports from Tokushima to Bento Carqueja, editor of Comércio do Porto (Porto Commercial Newspaper) in Portugal. He consistently wrote these installment reports from Tokushima in the eyes of a stranger, putting some distance between him and the people in there. Everything seen in the eyes of Moraes wore some beautiful visional aspect because of his memory of Ó-Yoné. He expressed his thoughts on life and death throughout O Bon-odori em Tokushima and Ó-Yoné e Ko-haru with fragmentary memories of his own as objective correlatives for the readers of his writings. This paper is based on the presentation in the Symposium at the 49th Annual Conference of Japan Comparative Literature Association Kansai Branch held at the Faculty of Integrated Arts and Sciences, here in Tokushima.


Hardy's Humour : Linguistic Characteristics in `The Distracted Preacher' (1)

ハーディのユーモア : 「惑える牧師」の言語表現(1)

`The Distracted Preacher' (1879) in Wessex Tales (1888) by Thomas Hardy (1840-1928) is quite an interesting `long short story' in terms of humour and narrative techniques. This story was received as `capital trifle, light and amusing' and `irresistibly comic' when published. Hardy is still now regarded rather fixedly as a writer of tragic and pessimistic novels, stories and poems. This conventional image of Hardy is at once blown away if we read this comical story. Hardy started writing novels with an acute critical eye on the society of class-consciousness, and therefore his works are in a sense full of satirical and ironical treatment of the then society and its system. One of his earliest novels, however, Under the Greenwood Tree (1872), whose title is from the song in the Wood of Arden in Shakespeare's comedy As You Like It (1599), is a pastoral novel with a tint of pathos and humour. Hardy was an ambitious writer with keen consciousness of narrative techniques and seems to have tried every mode of narrative including humour, which element is as it were an undercurrent even in tragic novels like Tess of the d'Urbervilles (1891) and Jude the Obscure (1896).13; Focusing on Hardy's humour might have the possibility of changing the quality of his novels and stories, and would contribute to reevaluation of his writings in general. In this paper `The Distracted Preacher' is discussed and analyzed from the point of humour and narrative technique with the attention to linguistic characteristics in the story.

徳島大学総合科学部言語文化研究


Moraess tomb, funeral, and rooms reported in the January 1930 issue of the Portuguese popular magazine CIVILIZAÇÃO

ポルトガルの大衆紙"CIVILIZAÇÃO''が1930年1月号で伝えたモラエスの墓， 告別式，彼の部屋に関する記事について

Portuguese popular magazine ``CIVILIZAÇÃO'' published an article of the tomb, funeral, and rooms of Wenceslau de Moraes in the January 1930 issue after about half a year when he died at his house in Tokushima on July 1, 1929. This article has not been introduced to Japan. Even though it is short, we can understand high evaluation of him in Portugal. Furthermore, it contains seven photos; four of them have not been published in any Japanese documents. These photos, three are of his rooms and one is taken at the funeral, tell us Moraes's life vividly with new findings about his belongings and acquaintanceship.

1929年7月1にヴェンセスラウ・デ・モラエスが亡くなってからおよそ半年後，ポルトガルの月刊大衆誌``CIVILIZAÇÃO'' が彼の墓，葬儀，部屋の様子を紹介する記事を1930年1月号に掲載した．この記事は，日本ではこれまで紹介されたことはない．短い記事ではあるが，ポルトガルの大衆雑誌が彼の死をどのように伝えているか分かる興味深い資料である．さらに，この記事に掲載されている7枚の写真は，日本の資料では見ることのなかったものや，より鮮明に映っているものが含まれており，モラエスの生活を窺い知ることのできる貴重な資料である．本論文は，記事の文章や写真から読み取れる情報を整理し，モラエスに関する新たな知見を紹介した．また，今後明らかにすべき点についても述べた．

Regional Science Research, the University of Tokushima


Moraes's Garden --- (3) In the Eyes of a Stranger

モラエスの庭 --- (3)異邦人のまなざし

This paper is an essay on Moraes's O Bon-odori em Tokushima, part of the outcomes of the Project Studies by the activities in 2012 of Moraes's Studies Group launched in July 31, 2010. The members of Moraes's Studies Group, T. Miyazaki (English Literature), M. Satoh (Plant Physiology), M. Sakai (Clinical Psychology), all at the Institute of Socio-Arts and Sciences, The University of Tokushima, have been continuing to try to analyze Moraes's works and to approach a new facet of Moraes's biographical aspects. Moraes was fascinated by the far-east Japan, and fell in love with Ó-Yoné, who died soon after the marriage. After her death Moraes decided to live in Tokushima, which was Ó-Yoné's hometown. He lived with Ko-Haru, Ó-Yoné's niece, for a while until she died from tuberculosis at the age of 23. His life until his death in Tokushima was a kind of hermit, disregard of his fame as Consul General and Navy high-rank Officer of Portugal, and other financial merits entailed with them. Moraes published O Bon-odori em Tokushima in 1916 after O-Yoné died. This work might be regarded as based on the forms of diary and essay, seemingly as reports from Tokushima to Bento Carqueja, editor of Comércio do Porto (Porto Commercial Newspaper) in Portugal. He consistently wrote these installment reports from Tokushima in the eyes of a stranger, putting some distance between him and the people in there. Everything seen in the eyes of Moraes wore some beautiful visional aspect because of his memory of Ó-Yoné. He expressed his distress at the attitudes of Tokushima people at some sections in this book; that is, he was seen as a`ke-tojin,'an alien. This discrepancy and distancing from the people among whom he lived as a hermit, he seemed to see the deep gap between him and the people he loved, leading to the pathetic outcry at the final part of his letters to Bento Carqueja, the editor. This tentative paper intends to open a new perspective in a rather fixed image of Moraes and studies about him.


The Narrator and the Narrative Technique of `A Changed Man'

`A Changed Man' (1913) by Thomas Hardy (1840-1928) is an interesting short story in terms of narrative techniques. A supposed omniscient narrator who illogically avoids the responsibility of telling the whole truth throughout the story by asserting that `the man in the oriel' solely gives all the facts tells this story. As a handy-capped man who cannot go out without a wheelchair, this man gets familiarized with the episodes prevalent in the small town in a very limited way through the talk with his friends. Through the eyes of `the man in the oriel' as a point-of-view person, we readers `see' the places whereon the drama between Laura and Captain Maumbry is played. With the fragmented information given by the omniscient narrator along with `the man in the oriel' who naturally enough acquires the information about Laura and Captain Maumbry from his friends, we are supposed to get together the fragments of information and reconstruct the whole aspect of the drama. This unique method seems to approach in a sense the modernity method in the twentieth century fiction. Along with this uniqueness of narrative, the sensationalistic climax in the story leads us readers to the ambivalence of `changed' in the title `A Changed Man'; that is, `a changed man' could be `a man who has changed,' or `a man who has been changed,' or even `a man who has changed others.' This ambiguity seems to deepen and widen the construing of this story. These techniques may be anticipating some aspect of the modernity novel in the 20th century. In this paper some aspects of modernity in `A Changed Man' are discussed in relation with the narrative techniques.

Journal of Language and Literature, Faculty of Integrated Arts and Sciences, The University of Tokushima

徳島大学総合科学部言語文化研究


Three Books of Moraess Picture Postcards Living Areas, Tourist Resorts, and Religious Piety

モラエスの三つの絵葉書書簡集 — 絵葉書書簡からみえるモラエスの生活圏，旅行，信仰について —

Portuguese writer Wenceslau de Moraes sent a large amount of picture postcards to Portugal from Japan. 609 of them were donated to Tokushima city in 1989, and they are stored in the Moraes Museum located at the summit of Mt. Bizan. They were published as Moraes no Ehagaki-shokan and Moraes Ehagaki-shu I - IV respectively in 1994 and 2004, in Japan. Independent from the collection in Tokushima, a book of picture postcard-collection entitled "Permanências e Errâncias no Japão" was published from Fundação Oriente in 2004 in Portugal. In this paper, we characterized these books and summarized the data of the picture postcards concerning his living areas and tourist resorts where he visited. He was outing vigorously to famous temples, shrines, and tourist resorts in holiday while he lived in Kobe. However, such opportunity extremely reduced after he moved to Tokushima when he started a cloistered life. Although Buddhism gave a significant impact on his religious piety, that is able to be understood from his writings, his feeling to Shinto has been obscured. However, some picture postcards revealed his attraction to Shinto. There is a Moraess photo that was taken at a waterfall when he lived in Kobe. The place is often explained as Nunobiki-no-taki (Kobe Nunobiki Waterfall), but we found that the it was the Tsutsumi-ga-taki at Arima, now it is called Tsuzumigataki Waterfall in the Tsuzumigataki Park in Arima, Kobe.

ヴェンセスラウ・デ・モラエス(Wenceslau de Moraes)は，親族や友人に頻繁に絵葉書や書簡を送った．これらのうち，ポルトガルから徳島市に寄贈されたモラエス館所蔵の609通は，1994年(平成6)には『モラエスの絵葉書書簡』として，2004年(平成16)には『モラエス絵葉書集I』~『〃 IV』として刊行された．また，ポルトガルのコレクターが集め，2004年に``Permanências e Errâncias no Japão''として刊行された420通の絵葉書集もある．本研究は，これらの中から風景絵葉書や各地の風物の絵葉書に注目し，モラエスの生活圏や旅行に関するデータをまとめ，神戸時代と徳島時代で比較した．その結果，モラエスは，神戸での外交官時代，休日に頻繁に各地に旅行に出かけていたが，徳島に移り住んでからは滅多に遠出をせず，墓参を日課とする隠遁生活を送ったことが確認できた．また，彼は頻繁に寺社に参詣に出かけており，絵葉書の文面から見て取れる日本の宗教に対する彼の本音を探ったところ，著作では触れられることのなかった神道への愛着を認めることができた． また，数少ないモラエスの写真の中に，神戸時代に撮影された彼が滝を背景にして写っている写真があり，従来それは「布引の滝」とされていた．しかし，絵葉書データを詳細に分析した結果，これは有馬の「皷ヶ瀧」(現 鼓ヶ滝)であることが判明した．


Moraes's Garden --- (2) Change in the Quality of 'Essay'

モラエスの庭 --- (2)「随筆」の変質

This paper is an essay on Moraes's Tokushima no Bon-odori, part of the outcomes of the Project Studies by the activities in 2011 of Moraes's Studies Group launched in July 31, 2010. The members of Moraes's Studies Group, T. Miyazaki (English Literature), M. Satoh (Plant Physiology), M. Sakai (Clinical Psychology), all at the Institute of Socio-Arts and Sciences, The University of Tokushima, have been continuing to try to analyze Moraes's works and to approach a new facet of Moraes's biographical aspects. Moraes was fascinated by the far-east Japan, and fell in love with Oyoné, who died soon after the marriage. After her death Moraes decided to live in Tokushima, which was Oyoné's hometown. He lived with Koharu, Oyoné's niece, for a while until she died from tuberculosis at the age of 23. His life until his death in Tokushima was a kind of hermit, disregard of his fame as Consul General and Navy high-rank Officer of Portugal, and other financial merits entailed with them. Moraes published Tokushima no Bon-odori in 1913 after Oyoné died. This work might be regarded as based on the forms of diary and essay, seemingly as reports from Tokushima to Bento Carqueja, editor of Porto Commercial Newspaper in Portugal. His interest in Kino Tsurayuki's Tosa-Nikki (Tosa Diary), which was written in the persona of a woman, seems to be the key to understand the modification in the quality of Tokushima no Bon-odori. Though this work was written as a diary and an essay in the persona of alien people to Tokushima, the tone of this work was quite changed at the final part of his letters to Bento Carqueja, the editor. This tentative paper intends to open a new perspective in a rather fixed image of Moraes and studies about him.


The Firefly Which Wenceslau De Moraes Saw

A Portuguese writer, Wenceslau de Moraes (1854-1929), who lived in Tokushima 1913-1929, wrote the essay ``Será Ó-Yoné... Será Ko-Haru?...'' in June, 1918. In this essay there is a scene in which Moraes heard some children singing an old song of firefly-catching popular among people here in Tokushima in those days. He heard and wrote down the word ``tané-mushi'' in the song, and he seemed to have thought this word meant a firefly. However, it must have been his misunderstanding of ``ta-no-mushi'' which is found in an old children's song handed down in Tokushima district. The word ``ta-no-mushi'' means an insect of a rice field, indicating a kind of firefly, Luciola lateralis. In the essay, Moraes wrote that just after hearing the children's song, he saw a firefly in front of his house that was located near Mt. Bizan, and the firefly helped him find the keyhole to open the door of his house by its illumination. Today four species of firefly are found to live in Mt. Bizan: Luciola cruciata, L. lateralis, Lucidina biplagiata and Pyrocoelia disciollis. According to the interviews with some of the elder people in this area, and taking into consideration of the habits of the four firefly species, L. cruciata seems to be the most probable species which Moraes saw in the essay.

ヴェンセスラウ・デ・モラエスが大正7年(1918)6月に書いた短編 ``Será Ó-Yoné... Será Ko-Haru?...'' (邦題「おヨネだろうか⋯⋯コハルだろうか⋯⋯」)は，徳島での自らの生活を描くとともに，亡くなった二人の女性おヨネとコハルを懐かしむ内容の随想である．この作品の中で，蛍狩りからの帰りと思われる子供たちが歌う「蛍こい」の歌詞が "Hotaru-ko, tané-mushi koi!"(ホタル コ タネムシ コイ!)と記されている．「タネムシ」の用例について徳島に伝わるわらべ歌や民謡を調べたところ，「タネムシ」は見つからず，「タノムシ(田の虫)」であることが分かった．さらに京都でも「田の虫」と歌われるものがあった．「タネムシ」はモラエスの聴き間違いであると考えられる．「田の虫」は最近は，使われなくなったがホタルの別称であり，ホタルの中でも止水を好み，水田，池，湿原に生息する田の代表的な昆虫の一つヘイケボタルを指す． 本作では，子供たちが歌う蛍の歌を聞いた後で，モラエスは自分の家の戸口で一頭のホタルに遭遇する．徳島市の眉山周辺には，ゲンジボタル，ヘイケボタル，オバボタル，オオマドボタルの4種が生息する．これらの習性や文献調査および古老の話を総合すると，モラエスが見た蛍はゲンジボタルであった可能性が高い．


On the Narrative Technique of 'The Romantic Adventures of a Milkmaid'

`The Romantic Adventures of a Milkmaid'における語りの技巧について

'The Romantic Adventures of a Milkmaid' by Thomas Hardy (1840-1928) is ahighly elaborated short story in terms of romantic ideology. It is abundant in what iscalled romantic imagery implicated by the wording of the title itself. The title suggeststhat this story evolves around the complicated 'adventures' that a milkmaid, MargeryTucker, experiences with the mysterious dark gentleman of 'romance.' Margery, 'Nature'sown image' in the eyes of the Baron, gives him a refreshing impression andrelieving effect at the critical moment of his trying to commit suicide.The Baron takes Margery to a ball held at a certain manor house during the night,which is her only hope as a reward of saving his life. This experience affects Margeryas it opens her mind to the upper class. This story is somehow overlapped by thatfamous fairytale, Cinderella. Though Margery enjoys the dreamlike ball with theBaron for the whole night long, she is brought back again to her position as a milkmaid.Her mind goes through a little change by this experience; once she saw andexperienced the world of the upper class, she cannot be satisfied with her betrothed,James Hayward, a village youth.Hardy adopts a traditional story-telling technique in writing this story, as is oftenthe case with him. The assumed omniscient narrator asserts that his story is basedupon the 'the testimony' of his 'authority for the particulars of this story.' The narratorfurthermore introduces in the narrative the testimonies by Margery and James asthey are supposed to confirm the seeming truth. This technique juxtaposes in a sensethe past and the present in the narrative, which may be anticipating some aspect of themodern novel in the 20th century.In this paper romantic imagery and some aspects of modernity in 'The RomanticAdventures of a Milkmaid' are discussed in relation with the narrative technique.

徳島大学総合科学部言語文化研究


Moraes's Garden --- (1) On the Forms of Diary and Essay

モラエスの庭 --- (1)日記文学・随筆文学ということ


Goodwill in 'Old Mrs Chundle' -- Narrative Technique and Psychological Descriptions --

'Old Mrs Chundle'における善意の問題―語りの技法と心理描写―

`Old Mrs Chundle' by Thomas Hardy(1840-1928)was posthumously published in1929. Unlike other serious novels and short stories, this short story is unexpectdly andsurprisingly very comical in some of its climaxes. This comical aspect of many ofHardy's writings is perhaps a neglected one overshadowed by his other major tragic writings.In the story the new curate happens to know Old Mrs Chundle, who is hard of hearingand on this account has neglected to go to church for long years.She tells a lie to himthat she goes regularly to church for formality's sake. The curate later discovers her lieand tries hard to make this 'wicked' Old Mrs Chundle to come to his church. His ideasof setting up 'an ear-trumpet'and afterwards`a sound tube',especially for the sake ofOld Mrs Chundle, somehow moves her to attend church.His ordeal,however,during his his sermon caused by her fidgeting just under his pulpit and her stink breathings through thesound tube, discourages him to continue his sermon.His ordeal,the 'test' for the`discernment of actions as morally good, or indifferent', appears in the eyes of thepeople in the church as `miracle' or in fact a comedy.His goodwill heretofore for OldMrs Chundle quickly dwindles and he decidedly avoids meeting her.However hersudden death and her`will' full of her goodwill for him throws upon his soul a dark shadow.In this paper some ironic aspects of goodwill on both sides are discussed in relationwith narrative technique and psychological descriptions.

徳島大学総合科学部言語文化研究


Modes of Mismating (8): In the Case of 'Destiny and a Blue Cloak' --- Hankering for 'a Congenial Channel' ---

不釣り合いな結婚の生態(8):「運命と青い外套」の場合―「共感の通路」を求めて―

`Destiny and a Blue Cloak' (1874) was almost disregarded byThomas Hardy himself and was not included among any of his collectionsof short stories in his lifetime. This fact has tended to discourage criticsto analyze the story in its potentiality. Hardy wrote this story just beforeThe Hand of Ethelberta (1876) and he put it away as dispensable，because some points were， Hardy wrote，reproduced in The Hand ofEthelberta. Certainly enough，as R. L. Purdy points out，Old FarmerLovill seems to be a rough sketch or a prototype for Lord Mountclere.The marriage between Agatha Pollin and him can be regarded to bedeveloped into the marriage between Ethelberta and Lord Mountclere.If we see this story along the development of Hardy's career as apopular novelist at that time，he seems to have tried his hand at a certainkind of comedy，which was to be performed in The Hand of Ethelberta asits sub-title `Comedy in Chapters' shows. Comical aspects of Hardy'sworks are to be minutely discussed in other papers hereafter，but this storyseems to show vividly the delicate ballance of the`more sober' aspect andthe comical one in his story writing. This ballance might be reflected inthe title `Destiny and a Blue Cloak' itself.In the story Agatha Pollin is mistaken for a renowned beauty in thevillage，Frances Lovill，by Oswald Winwood. Through this mistake `acongenial channel' is confirmed between Agatha and Oswald who isafterwards informed of his mistake. Their attempt for marriage is to beslyly checked by Frances Lovell，who is to get married to Agatha's uncle，Humphrey，and becoming her aunt conspires to revenge herself on thembehind the scene as a kind of `femme fatale' or`destiny.Agatha's desperate attempt to build `a congenial channel' withOswald is baffled by her rival Frances，now her aunt . Ironically enoughtheir rivalry becomes an obstacle for their attempt to make `a congenialchannel' with Oswald and leads them to mismating severally; Agatha withOld Farmer Lovill，and Frances with Agatha's uncle as his second wife.In this paper`Destiny and a Blue Cloak' is analyzed from theviewpoint of the theme of hankering for `a congenial channel，' as part ofseries of studies of Thomas Hardy's short stories.

徳島大学総合科学部言語文化研究


Modes of Mismating (7): In the Case of 'The History of The Hardcomes' --- Hankering for 'a Congenial Channel'

不釣り合いな結婚の生態(7):「従兄弟ハードカムの話」の場合 --- 共感の通路を求めて

本論文は，短編集『人生の小さな皮肉』に収められている「古びた人々」の第2話「従兄弟ハードカムの話」について，時間の問題と心理の変容，そしてそれに伴う人間と人間との根源的な繋がりの変容に焦点を当てた．主人公たちが，気まぐれに婚約者を入れ替えて結婚するという状況において，男と女の繋がりのそのすり替わり，繋ぎ替わりの妙，そうしたものを時間の問題の観点から，また特に物語の技法の観点から分析し論じた．

徳島大学総合科学部言語文化研究


Modes of Mismating (6): In the Case of "The First Countess of Wessex" --- Hankering for 'a Congenial Channel'

不釣り合いな結婚の生態(6):「初代ウェッセックス伯爵夫人」の場合 --- 共感の通路を求めて

本論文は，短編集『貴婦人の群れ』の第1話「初代ウェッセックス伯爵夫人」について，時間の問題と心理の変容，そしてそれに伴う人間と人間との根源的な繋がりの変容に焦点を当てた．主人公の娘が，幼い時に親の野心によって結婚させられた年上の男と，思春期になって知り合った若者に対する感情の相克を通して，本来の夫の元に戻るという，男と女の繋がりの，そのすり替わり，繋ぎ替わりの妙，そうしたものを時間の問題の観点から，さらに物語の技法の観点から分析し論じた．

Journal of Language and Literature, Faculty of Integrated Arts and Sciences, The University of Tokushima

徳島大学総合科学部言語文化研究


Hardy's The Well-Beloved and Tanizaki's Chijin no Ai --- From the Viewpoint of Platonic Idealism

ハーディの『恋の霊』と谷崎の『痴人の愛』 --- プラトニズムの周辺

本論文は，トマス・ハーディの『恋の霊』と谷崎潤一郎の『痴人の愛』について，プラトニズムの観点から対比することにより分析し，論じた．ハーディのこの作品には，プラトニズムが色濃く反映されているが，主人公の「恋の霊」探求とかつての恋人の娘，孫娘に求愛し求婚する様子と，谷崎の描いた，ナオミを理想の女に育て妻に迎えようと目論む譲治の姿には共通するものがあるとして，対比しながらイメージ，心的傾向などを詳細に分析し論じた．

徳島大学総合科学部言語文化研究


Modes of Mismating (5): In the Case of "The Fiddler of the Reels" --- Hankering for 'a Congenial Channel'

不釣り合いな結婚の生態(5):「リールのバイオリン弾き」の場合 --- 共感の通路を求めて

本論文は，流れのバイオリン弾きが奏でる不思議な力を持つバイオリンの音色に翻弄されるひとりの娘と，そのかつての婚約者について，時間の問題と心理の変容，そしてそれに伴う人間と人間との根源的な繋がりの変容に焦点を当てた．万国博という出来事に，新と旧の対比が鮮やかに浮かび上がらされ，科学技術の進展とその未来に浮かれる時代に，バイオリンの音色が持つ魔力で象徴される旧弊で因襲的な世界，そしてそれが巣くう人間の深層心理というものを，この作品は巧みに描き出しているが，その中で，主人公の娘が，バイオリン弾きと結ばれ子供を産みながらも捨てられ，前の婚約者の元に戻るという，男と女の繋がりの，そのすり替わり，繋ぎ替わりの妙，そして血の繋がらぬ子供に対する父親の感情の変化，そうしたものを時間の問題の観点から，分析し論じた．

徳島大学総合科学部言語文化研究


Disfigurement and the Loss of 'a Congenial Channel' --- The withered Arm

本論文は，結婚を巡る3人の男女の関係に，美と老い，身分の違い，そして嫉妬に関わる呪いに着目し，時間の流れによって男と女の繋がりが変容し，もはや繋がり得なくなっていることを，外見的な美に惹かれる男女の関係性を，その美の崩壊と関係性の喪失について検討して，それぞれの思惑や思い込みから分析しつつ，普遍的なテーマである男と女の繋がり，さらには人間同士の繋がりが，いかにして形成され，また容易に崩壊してゆくものかを分析し論じた．

徳島大学総合科学部言語文化研究


Modes of Mismating (4): In the Case of "For conscience' Sake" --- Hankering for 'a Congenial Channel'

不釣り合いな結婚の生態(4):「良心ゆえに」の場合 --- 共感の通路を求めて

本論文は，結婚の約束をしながら見捨ててしまったかつての恋人に良心の呵責を感じた男が，20年の歳月を経て結婚の約束を果たそうとする様を，時間の流れによって男と女の繋がりが変容し，もはや繋がり得なくなっていることを，それぞれの思惑や思い込みから分析しつつ，普遍的なテーマである男と女の繋がり，さらには親子の繋がりといった，人間同士の繋がりが，いかにして形成され，崩壊してゆくかを分析し論じようとした．

徳島大学総合科学部言語文化研究


Modes of Mismating (3): In the Case of "On the Western Circuit" --- Hankering for 'a Congenial Channel'

不釣り合いな結婚の生態(3):「西部巡回裁判の途上」の場合 --- 共感の通路を求めて

本論文は，田舎の美しい娘との恋愛と結婚を，手紙のやり取りで実現した主人公が，その手紙が実は代筆であったということから，男と女の繋がり，さらには人間同士の繋がりが，いかにして形成され，崩壊してゆくかを分析して論じた．

徳島大学総合科学部言語文化研究


Modes of Mismating (2): In the Case of "The Son's Veto" --- Hankering for 'a Congenial Channel'

不釣り合いな結婚の生態(2)「息子の拒否」の場合 --- 共感の通路を求めて

本論文は，身分違いの「不釣り合いな結婚」をしている女性が，自己の存在場所を求め，昔の恋人との結婚によって実現しようと思いながらも，我が子に強く拒絶される様相を，「共感の通路」を求めようとする人間存在の心的傾向を分析し論じた．

徳島大学総合科学部言語文化研究


Modes of Mismating: The Case of "An Imaginative woman" --- Hankering for 'a Congenial Channel'

不釣り合いな結婚の生態:「幻想を追う女」の場合 --- 共感の通路を求めて

本論文は，「不釣り合いな結婚」(mismating)を手掛かりに，気質の違う男女の組み合わせが，結婚後の精神的に不毛な生活を生み出している状況から，主人公Ellaが想像力を逞しくしつつ「共感の通路」を見出そうとする様を分析しつつ，男女の繋がり，さらには親子の繋がりまでもが繋ぎ替わり得るものではないかと論じた．

徳島大学総合科学部言語文化研究


Irony of the 'Hand' --- A Study of The Hand of Ethelberta

「手」のアイロニー --- 『エセルバータの手』論

本論文は，作品のタイトルにある「手」に着目して，Ethelberta即ちPetherwin婦人に関わる4人の男たちの求婚が表されているとともに，下層階級の出身であるEthelbertaのしたたかともいえる結婚による階級の上昇志向が表されていることを論じた．「手」を求めること，つまり求婚の意味がタイトルに込められていると同時に，策略としての「手」が，この作品のタイトルにアイロニカルに込められていることを，さらにまた作者の「語り」または「騙り」との関わりの可能性も考察した．

Journal of Language and Literature, Faculty of Integrated Arts and Sciences, The University of Tokushima

徳島大学総合科学部言語文化研究


'Time' and 'Hearts Insurgent' --- A Study of Jude the Obscure

本論文は，HardyのJude the Obscureについて，その創作法が表面上初期の作品と同様の扇情小説の体裁を取りながら，不可逆的な時間の流れに沿って物語と登場人物の心理の進展がなされることに着目し，Hardyの時間に対する問題意識を考察した．主人公たち二人の生き様が過去の支配から逃れ自由になろうとする果敢な挑戦であったと同時にその敗北によって日陰的な人間の存在がヒーローになり得るのではないかと論じた．

徳島大学総合科学部言語文化研究


'Prevision' と 'Imagination' --- George Eliot: "The Lifted Veil" 論考

本論文は，Eliotの実験的なものと目されるこの短編について，予知能力previsionを持つ主人公の回想によって浮かび上がってくるimaginationの問題を考察した．物語構成上の無理を疑問として捉えつつ，主人公の悲惨な最期に関わる運命の女との関係によって，他者への理解というEliotの究極の問題意識が鮮明化されているのではないかと論じた．


'Mirror' and 'the art of Vision' --- George Eliot's Adam Bede

「鏡」と「洞察の力」 --- Adam Bede 論

本論文は，G·EliotのAdam Bedeについて，主人公Adamの精神的成長を辿りつつ，作者Eliotが「鏡」に仮託した「洞察の力」の獲得の過程について考察しようとした．「鏡」のイメージに着目しつつ，主人公の目に映る虚像と実像の乖離の解消が精神的な試練として主人公に負わされたものであるとして位置づけ，そこに不可欠とされるものが「想像力」であるとし，主人公の「洞察の力」の獲得にとってDinahの存在が補完的な意味を持ち，作者の意図する新たな人間宗教を暗示していると論じた．

徳島大学総合科学部言語文化研究


本論文は，HardyのWessex Poems and Other Verses(『ウェセックス詩集』)の掉尾を飾る詩を取り上げ，そこに典型的に見られる時間の問題を，時間に左右され翻弄される人間の肉体と内面との乖離の問題として論考した．特に「鏡」に着目し，「鏡」が持つイメージや象徴を神話や他の作品，さらに他の作家の作品に見られる「鏡」のイコンを比較傍証しながら，この詩がロマン的な雰囲気を漂わせながらもHardyらしいアイロニーに満ちた詩として，人間存在の深淵を窺わせるものであると論じた．


Shunkinsho and 'Barbara of the House of Grebe' --- Blindness and Propinquity

『春琴抄』と「グリーブ家のバーバラ」 --- 盲目と近接

本論文は，谷崎潤一郎の『春琴抄』とHardyの「グリーブ家のバーバラ」について比較論考したものであり，前者の盲目のモチーフが後者の作品に見られる視覚の問題に由来するのではないかと考察した上で，視覚を閉ざすことにより可能となる，時間や事故によって変容を被り得る肉体を解脱超越した愛の相が，後者の作品やHardyの他の作品に見られる近接愛の諸相に通ずるものであることを論証しようとした．

徳島大学総合科学部言語文化研究


Jack と Shadrach --- 'To Please His Wife' 論考

本論文は，作品中に言及されている'Jack'という名前についてある批評家が指摘していることに疑問を呈し，有名なおとぎ話との比較からこの作品が提示している，いわゆるHardy的な男女の結婚の問題を，結婚相手の選択の過ちと，人間の内奥に潜む非理性的な衝動原理との関わりで解釈しようとした．それにより，タイトルに潜みうる普遍性についても論考した．


The Marble Statue and Change --- 'Barbara of the House of Grebe'

大理石の彫像と変化 --- 「グリーブ家のバーバラ」

本論文は，A Group of Noble Dames(『貴婦人の群れ』)の中で，特にHardy的な問題を多く含んでいる「グリーブ家のバーバラ」を取り上げ，ひとつの解釈を試みた．この物語には象徴的な大理石の彫像の存在に加え，怪奇で加虐的な嗜好を示す場面などが絡み合って，より複雑な問題が提起されており，この物語に対する解釈を困難にしているが，本論文では，特に観念あるいは理性と感情の対立の問題を，象徴的な存在である大理石の彫像と「変化」との関連から考察した．

徳島大学教養部紀要(外国語·外国文学)

徳島大学教養部紀要(外国語·外国文学)


A Study of Two on a Tower --- The Emotional History and Time's Revenges

Two on a Tower 論 --- 「感情の歴史」と「時間」の復讐

本論文は，Hardyがこの作品で，広大な宇宙を背景とする二人の男女の「感情の歴史」を描いて，微細な存在である人間の方が宇宙よりも大きいことを示そうとしていることに着目した．年齢という時間の差，二人にとって個別に流れる時間の密度の差が，年上の女の側に老いという形で肉体上の変化をもたらす．二人の感情はそうした時間の差，時間の流れに左右され，皮肉な結末を迎える．二人の「感情の歴史」を「時間」の観点から考察した．

徳島大学教養部紀要(外国語·外国文学)

徳島大学教養部紀要(外国語·外国文学)


A Locked-up Chamber --- A Study of Scenes of Clerical Life by George Eliot

閉ざされた部屋 --- George Eliot: Scenes of Clerical Life 論考

本論文は，G. Eliotの処女作である3つの中篇を収めたScenes of Clerical Lifeについて考察を加えたもの．これら3つの中篇は，習作として見なされることが多く従って評価もそれほど高くないが，後の作品を考慮しながら眺めてみると，原型的な要素やテーマ，人物像が多く見出される．その意味ではむしろ重要な作品集といえるわけであるが，筆者は，その重要な要素のうち，「閉ざされた部屋」のイメージに着目して，3つの中篇を検討し，それぞれの作品についての新たな解釈を試みた．

徳島大学教養部紀要(外国語·外国文学)

徳島大学教養部紀要(外国語·外国文学)


Anne Garland at the Window --- A Reevaluation of The Trumpet-Major

窓辺の Anne Garland --- The Trumpet-Major 再評価の試み

本論文は，作品中窓辺に座って外を眺めるAnne Garlandの姿に着目し，「窓」と彼女のその姿をキーイメージとして，従来より評価の低かったこの作品の再評価を試みたものである．当時の絵画における同様な図像との比較から眺めてみると，あらゆる点でアイロニカルな側面が浮かび上がるのである．また時間意識の面からもイメージの分析を試みた．

徳島大学教養部紀要(外国語·外国文学)

徳島大学教養部紀要(外国語·外国文学)


A Study of Under the Greenwood Tree --- A Tentative Approach from the Viewpoint of Time Consciousness

Under the Greenwood Tree 論 --- 時間意識の観点からの解釈の試み

本論文は，Fancy Dayをめぐる3人の男達の恋愛劇に着目し，そこに見られる社会変化の様相について考察した．彼らの恋愛劇には，牧歌の世界Melstock村に押し寄せる近代化の波による騒動が重ねられているが，Fancyの結婚相手の選択は都会的なものと田舎的なものとの相克に極まる．彼女の内面にある二つの側面は，彼女の嫁入り支度の品である二つの時計に象徴的に表されている．その二つの時計に着目し，彼女をめぐる3人の男達の時間意識を検討し，新たな解釈の可能性を試みた．

徳島大学教養部紀要(人文·社会科学)

徳島大学教養部紀要(人文·社会科学)


An Essay on "The Waiting Supper" --- A Consideration on 'Time'

"The Waiting Supper" 考 --- 「時間」についての考察を中心に

本論文は，日本英文学会中国·四国支部第37回大口頭発表をもとに，更に考察を深めたもの．地主の二人の対照的な若者との三角関係に，田舎と都会の相克の問題を重ねて，主人公の地主の娘の心理を分析すると同時に，30余年の長い恋愛のあり方と，結局結ばれ得ぬ地主の娘と最初の恋人との関係に， Hardyの「時間」に対する意識を探ってみた．

徳島大学教養部紀要(人文·社会科学)

徳島大学教養部紀要(人文·社会科学)


A Study of Tess of the d'Urbervilles --- Tess's Pilgrimage and Fulfilment of Love

Tess of the d'Urbervilles 論 --- テスの精神的遍歴と愛の成就

本論文は，作品の深層構造を眺めることによって，社会的「過去」と個人的「過去」の二つに追いつめられて破滅に至るTessの姿が浮かび上がってくることに着目した．かつての清純な自己を失ってしまった彼女の，その自己を求めての精神的遍歴と，その自己によってのみ可能な霊的な愛の成就の物語とし見なして，Tessの心理と，彼女の求める究極的な愛の姿を考察してみた．

徳島大学教養部紀要(人文·社会科学)

徳島大学教養部紀要(人文·社会科学)


A Study of The Woodlanders --- The Return of a Native and the Alienation from Nature

本論文は，まず第一に，主人公Graceの帰郷に着目し，故郷を離れた人間のidentity喪失を分析した．「近代の神経」の接ぎ木によって，素朴な原初的自己を見出せぬ彼女は，誤った結婚をし，試練を受ける．その試練を経て，一時的に自然への回帰を達成するものの，観念に囚われるために，彼女には恒久的な回帰は許されないのである．再び故郷を後にする彼女の姿に，自然に対するHardyの考え方の変化と作品世界の変化をも考察してみた．

徳島大学教養部紀要(人文·社会科学)

徳島大学教養部紀要(人文·社会科学)


A Study of Far from the Madding Crowd --- Concerning Bathsheba's 'vanity,' 'freak' and 'impulsiveness'

Far from the Madding Crowd 論 --- Bathsheba の 'vanity,' 'freak,' 'impulsiveness' をめぐって

本論文は，主人公Bathshebaに見られる3つの際だった属性"vanity", "freak", "impulsiveness"に，彼女と関係を持つ3人の男達をそれぞれ対応させて分析·検討を加え，Hardyの，この作品以降の作品群で執拗に追求されている，人生の悲劇的なるものの原因の原型を捉えようとした．またその過程において，主人公が数々の試練を経て到達した境地"dignified calm", "indifference to fate"が，Hardy自身が宇宙的視野に立って究極的に求めようとしたものではなかったかと考察してみた．

徳島大学教養部紀要(人文·社会科学)

徳島大学教養部紀要(人文·社会科学)


本論文は，故郷を喪失した，つまりidentityの拠り所を持たぬJudeとSueのふたりが，言葉即ち観念にidentityの拠り所を求めようとしたために，自己の中にある内的自然をも嫌悪否定しようとしたのではないかとの観点から，ふたりの精神構造を分析·検討してみた．観念にとらわれるが故に，霊と肉との激しい相克を内に抱え込んでしまうふたりの姿は，故郷を喪失し，自然から離脱し，言葉即ち観念によって，自然を内的にも外的にも否定しようとする病める精神を持つ人間の末路ではなかろうかと考察してみた．


本論文は，作品のテーマである，人間の悲劇はその人間の性格に起因するものであるということについて，性格というものの虚像性と人間の実像ということに着目した．主人公の性格が，いかに彼を孤独な死へと追いつめてゆくかを検討した上で，一般的な悲観的運命論の立場を一歩押し進め，普遍的な性格の問題の提起の背後にある，作者Hardyの，不器用で孤独な人間達に対する擁護の思想を理解しようとした．


『トマス・ハーディ研究―時間意識と二重性の自己―』を刊行して

『トマス・ハーディ研究―時間意識と二重性の自己―』を刊行して

本エッセイは，ハーディ協会の依頼を受けて，刊行した著書について，大まかな趣旨と研究の今後の方向性を述べながら，ハーディの作品が持つ奥深さについてその魅力を述べると共に，詩人・小説家としてのハーディが，文化や言語を超えて，広く内外の後代の詩人・小説家たちに優れた影響力を及ぼしていることを綴ったものである．

News from The Thomas Hardy Sciety of Japan

日本ハーディ協会ニュース


本エッセイは，ハーディ協会の依頼を受け，これまでのハーディの研究を通して，ハーディの作品が持つ奥深さについてその魅力を述べると共に，詩人・小説家としてのハーディが，文化や言語を超えて，広く内外の後代の詩人・小説家たちに優れた影響力を及ぼしていることを綴ったものである．

日本ハーディ協会ニュース


本エッセイは，谷崎潤一郎がHardyの''Barbara of the House of Grebe"をヒントとして『春琴抄』を書いたとされていることについて，春琴の盲目のモチーフがなぜ生まれたのかを疑問とし，それがHardyのその作品において重要と考えられる視覚の問題と関わっているのではないかと考えた．Hardyのその作品に視覚に関わる言葉や表現を指摘し，二つの作品に窺うことのできる影響関係を示唆した．

日本ハーディ協会ニュース