ズミ2 の山 11 月 3 週
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○自由な題名
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○Thomas Hearne was(感) 英文のみのページ(翻訳用)
Thomas Hearne was a native of Restharrow, a stonemason, who, after spending his active years working for a firm of builders in a distant part of the county, had in his old age drifted back to the home of his childhood. Hearne had in his day been a first-class workman with experience, skill, and that something beyond skill which is a compound of taste and imagination. His firm had valued his services. When there had been a difficult or a delicate job to be done, it had been given to Hearne as a matter of course. Specimens of his workmanship stood, and some must still be standing, all over that countryside, in the renovated stonework of restored churches, the arches of bridges, stone piers at entrance gates, and on the facades of mansions. He had in his day instructed two generations of apprentices.
But by the 1880s Hearne's day was over. Physically he was past his prime, though still hale and hearty and capable of a full day's work at his bench in the shop, or of walking, toolbag on shoulder, three or four miles or more to an outside job. But times and ideas had changed and his fastidious, painstaking methods were out of date. Speed had become more important than craftsmanship and the artistry which aimed at nothing less than perfection was little esteemed. The more important jobs were being given to younger men, smart fellows who knew all the latest dodges for saving time and materials. Young workmen, apprentices but yesterday, would take upon themselves to instruct him in his craft. It had been all very well in his day, they told him, to go in for all this undercutting and finishing, but who was going to wait or to pay for it now? and the kindly disposed would bring their mallets and chisels over to Hearne's bench and show him what they called the tricks of the trade.
But Hearne had no use for tricks. He preferred to work as he had been taught to work, leisurely and lovingly, striving always to approach as nearly as possible to his own vision of perfection. For a few more years he continued to use the bench which for more than a quarter of a century had been known as "Hearne's", working steadily at such jobs as were given him, consulted by others less often than formerly and respected less, but never abating his own self-respect. In his home village he was liked and respected as a man with a good trade in his hands, who had a good wife and a pleasant, cheerful cottage, and there were some who envied him those blessings, for it was a poor agricultural neighbourhood.
This state of things might have lasted until his working life had ended in the natural way had not his old employer, the head of the firm, died and his son, a young man with modern ideas and a determination to increase his business, come into possession. The firm was reorganized, the latest and cheapest methods were instituted, and in the new scheme there was no place for Hearne as leading mason. He was called into the office and told that a younger and smarter man was to have his bench in the shop. The young builder was about to add that he had no idea of cutting adrift an old servant like Hearne, that as long as he was able to work there would still be a job in the yard for him, an old man's job with an old man's wages, but, before he could speak further, Hearne took him up sharply." Is anything wrong with my work ?" he demanded. His young employer hummed and hawed , for he had no wish to hurt Hearne's feelings. "Well, since you ask me," he said, "I'11 say that you're a bit too finicking. You put in too much time on a job to justify your wage in these competitive times."
"But look at my work!" cried Hearne. "Look at that east window tracery in Tisley Church, and the new keystone I let into the Norman arch at Bradbury, and that bridge over the Ouse at Biddingfold; masterpieces all of them, though I say so myself. Other jobs, too. You've only got to take a walk in the cool of the evening and use your eyes and wherever you go in any direction you'll find something worth seeing with my mark upon it," and this he said, not pleadingly, but rather by way of a challenge, and as he spoke he stretched out his arms as though to call the whole neighbourhood as witness.
The young builder was in a difficult position. "I know all that," he said. "I'm not denying you've been a good mason, a first-rate man in your day. But those were the days of my father and grandfather and those times have gone, the world's on the move, and the truth of the matter, though I'm sorry to say it, is that you do your work too well. You take too much time over it, and that doesn't pay in these days. We've been out of pocket by you for years."
Hearne's fine dark eyes flamed and his long, thin old figure shook with rage. "Too much time over it!" he shouted. "Too much time! And how do you think good work has always been done? By hurrying? By scamping? By begrudging a stroke here or a moment there? Look at the churches round here. Bloxham for length, Adderbury for strength, and Kings Sutton for beauty! Think they grew out of the ground like mushrooms? Or were flung together by slick youngsters such as yours? Let me tell you, young feller-me-lad, I learnt my craft from those who made a craft of it, not a come-day-go-day means of putting a bit of bread in their mouths, and I ain't going to alter my ways and disgrace my upbringing for anybody. I'll make up my time-sheet and you can put one of your slick youngsters at my bench, for I've done with the firm. And this I'll say before I've done with you for ever: the work of my hands will be standing to bear witness for me when you and your like are frizzling in the spot old Nick keeps specially hot for bad workmen!"
Old Hearne neither starved nor entered the workhouse. For some years longer he made a poor livelihood by replacing roof tiles, building pigsties, setting grates, repairing walls, sweeping chimneys, or any other odd job which could be regarded, however remotely, as included in his own trade. When his wife died he left the village near the town where he had worked and returned to his native Restharrow, where he still owned the cottage in which he had been born, and there carried on his humble occupation of jobbing mason. On chimney-sweeping days he was grimy, but, at other times, he went about his work in the immemorial garb of his craft, corduroy trousers scrubbed white, or whitish, white apron girded up round the waist for walking, billycock hat and nondescript coat powdered with stone and mortar dust. He had become, as they said, as thin as a rake, and his fine dark eyes, into which the fire of fanaticism was creeping, had become so sunken that his forehead looked like that of a skull. By the time I first remembered him, he had become queer in his ways. Harvesters going to the fields at daybreak would meet him far from home, wild-eyed and wild-haired and dew-soaked. When asked where he had been he would whisper confidentially that he had been out all night, guarding some church or other building, but who had set him to guard them or what they were to be guarded against he would not say. Otherwise he talked more freely than he had been used to do and with many a "he sez" and "sez I" he would relate the story of his last interview with his former employer to anyone he could buttonhole Everybody in the parish had heard the story, though few with sympathy, for it seemed to most of his listeners but an instance of a man throwing away a good job in a fit of temper, and, to save themselves from a third or fourth recital, when they saw Hearne in the distance they would turn aside to avoid a meeting. The more kindly spoke of him as poor old Tom Hearne", the less kindly as "that tiresome old fool", and the children would tease him by calling after him, "Tom! you're slow! You're too slow for a funeral! Old Slowcoach! Old Slowcoach!"

★ガイドブック等で(感)
 【1】ガイドブック等で、見るべき価値があるものとして紹介されたものを読んでいたのに、実際自分でその場所に出向いてみると、「裏切られた」と失望することもある。【2】だがその様に失望することが何を意味するかを考えると、「既知感」に陥ることなく、自分自身の解釈が加わったと考えられる。これは少なくとも、自分自身が介在できたことを意味している。【3】また事前にある程度の情報があったとしても、それ程心動かされないままに出向いて、実際自分の目で見回してみると、予想外に心に響いた事があれば、この場合も「既知感」に陥らずに、自分自身が介在して得られた発見であることは間違いない。
 【4】あくまでも情報で得られた対象に関心を寄せ、目的と考えたものだけに焦点を当てる、つまり極小点へ接近し、再確認することだけで納得する様な状態から、我々は逃れる方法がないものなのだろうか。
 【5】それは周囲を見渡す余裕を、積極的に引き出せるかに掛かっている。というのも、その余裕を引き出すことができれば、フッと肩の力を抜き、周囲に目を向けて見られるようになるからだ。そして大切なのは、点へ接近することだけで終わらず、その点に留意しながらも、その点を少しでも広げることを意識することである。
 【6】目的と考えた、その点に辿り着くまでの間に何もない筈がなく、そこで何か拾おうとすることは、必然的に点的思考から線的思考へと移行する。つまり点的思考とは、たとえれば、目的地に辿り着くまで、乗り物の中で居眠りして、着いた時にようやく目を覚まし、目的地だけを見てしまうことだ。【7】線的思考とは、たとえ目的地に向かって乗り物に乗っていたとしても、その間居眠りすることもなく、周囲の風景に目を凝らしながら乗っている状態である。当然、線的思考では乗り物を利用しなくても、徒歩でじっくり周囲に眼差しを注ぎながら目的地に向かうことも含まれる。
 【8】また面的思考とは、点的思考、線的思考よりも、もっと広範囲に眼差しを注ぐことである。点的思考、線的思考における点、線∵は、目的とする範囲が限定されたものだが、面的思考になれば、目的地そのものが限定されない、つまりどこも目的地ではなくなるのだ。【9】そのことを逆に言えば、周囲のどこでもが目的地になることだ。さらに上空に広がる大空間へといった、空間的思考になればもっと広がり、三次元空間において、きっと予想を越える発見が舞い降りてくる、言わば予感に満ちた状態を手に入れることができるだろう。
 【0】「既知感」は空間的に捉えた、点的思考、線的思考、面的思考、更に空間的思考への関心に留まるものではない。新しく創作することにおいても「既知感」を持って臨んでいるか、臨んでいないかが、創造することを考える上で重要になる。
 新しく創作される時に、もし創作者が「既知感」を持って創作の方向性を決めていたとしたら、その時、創造することから大きく後退してしまうのではないだろうか。つまりその行為は、事前に見たり知識で得られたものに依ってイメージされたものがあり、そこに向かおうとすることに他ならず、先人達が成し遂げた形象や形態、あるいは考え方や論考等に近付こうとすることが、第一義となるからだ。確かに行為そのものに依って何がしかが生み出されたとしても、創造性に関して言えば何も新しいことが生み出されないことになる。それはなぞりにしか過ぎない、あるいは模倣でしかないと見なされる運命を辿る。
 もしそれ等を一旦脇に置くことができずに、創作する方向性さえも同じ、つまり「既知感」を持ちつつ、なぞりや模倣の域で終わるものになるなら、それは創作されたものとは決して見なされないのだ。
 もし「既知感」という手立てに対する意識から離れることができれば、初めてその人にとって未知の世界が立ち現われたことを意味する。創造することとは、やはり未知の世界の中に自分が飛び込み、未知の世界の中から自分自身が必要な因子を拾い上げ、構築、あるいは再構築する作業であることを忘れてはならないのだ。

 その意味において「既知感」は、事前に得られた情報、既に世に出た作品等に頼ることなく、それぞれの局面において、いかに自分自身で発見できるかを問う、自分自身だけに与えられたリトマス紙の様な、大切な判断の手立てと言えるのだろう。

(矢萩()喜従郎()「多中心の思考」より)