日本英文学会中部支部　第58回大会（三重大学）　2006年10月8日

シンポジウム「これからの小説批評：批評のリアリティを問う」資料

いまだにテクストにこんがらがって——あるいは、『トリストラム・シャンディ』に読まれ続けて

内田勝（岐阜大学）

I. 『トリストラム・シャンディ』（1759-67出版）はいかにして読者を巻き込むか


[1] この作品は、後世へと張られたリンクを通じて今なお増殖し続けるテキスト、と言えるかもしれません。さまざまな研究者がこの作品に付け加えた浩瀚な注釈も、ついでに私のサイトもそうした増殖の一環でしょうし、現在制作中のマイケル・ウィンターボトム監督による映画版『トリストラム・シャンディ』もやはり、この奇妙なテキストを映画化しようと悪戦苦闘する現代の監督や俳優たちを描くという形で、さらなる増殖を助長することになりそうです。（内田593）

[2]【『トリストラム・シャンディ』の読者が作者スターンに「シャンディ風ステッキ」を送ってきた。スターンの返事。】
Your walking stick is in no sense more shandaic than in that of its having more handles than one -- The parallel breaks only in this, that in using the stick, every one will take the handle which suits his convenience. In Tristram Shandy, the handle is taken which suits their passions, their ignorance or sensibility. . . . [A] true feeler always brings half the entertainment along with him. His own ideas are only call'd forth by what he reads, and the vibrations within, so entirely correspond with those excited, 'tis like reading himself and not the book. (Curtis 411, Sterne's Letter to Dr. John Eustace of 9 Feb. 1768)

[3]【トリストラムが「文章とは会話の別名です」と語る有名な箇所。】
Writing, when properly managed, (as you may be sure I think mine is) is but a different name for conversation: As no one, who knows what he is about in good company, would venture to talk all; -- so no author, who understands the just boundaries of decorum and good breeding, would presume to think all: The truest respect which you can pay to the reader's understanding, is to halve this matter amicably, and leave him something to imagine, in his turn, as well as yourself.
For my own part, I am eternally paying him compliments of this kind, and do all that lies in my power to keep his imagination as busy as my own. (Sterne 96; vol. 2, ch. 11)

[4] 【『トリストラム・シャンディ』のハイパーテキスト性を指摘する研究者は、上の引用をこう見る。】
As narrator, then, Tristram pays readers the compliment of expecting them to help construct the novel as they read. The more the narrator digresses and distances us from the story, the closer we feel to the narrator himself, as if we were conversing and not simply reading. (Bolter 133)

[5] 【トリストラムの言う「読者との会話」など幻想にすぎない。これは思い込み過多の人々が成立しない会話を続ける小説なのだ。】
The anonymity of print is dispelled, and perfect communication prevails.
Or that is Tristram's theory. But in a novel where perfect or even adequate communication is conspicuous by its absence, and conversation as practised by its characters the least auspicious way of making it happen, a whiff of contextual irony is hard to dispel. . . . Tristram will talk to his readers, and they will imaginatively respond; but there the conversational flow of response and counter-response must come to a halt. Thereafter only Tristram's manic construction of imaginary inscribed readers, including -- notoriously in recent feminist criticism -- the prurient, imperceptive 'Madam', can simulate a way round the impasse. (Keymer, Sterne 34-35)

[6] 【語り手トリストラムはいつも、読者に期待させて、期待させて、最後ではぐらかす。物語を引き渡したくないかのように。】
The text of Tristram Shandy functions rather as if the author's desire were to make his existential self and his narrator coincide, as if he were never prepared to give up his story to the reader, therefore never finishing it, always interrupting, on the contrary, at the point of closure. . . . as if the author did not want to stop writing his text as he also wanted it written, a creative version of having one's cake and eating it. (Descargues 252)

[7] 【読んでもらわないとトリストラムは存在できないので、読者をからかいつつも、読者が機嫌を損ねないように気を遣う。】
As you proceed further with me, the slight acquaintance which is now beginning betwixt us, will grow into familiarity; and that, unless one of us is in fault, will terminate in friendship. . . . ---- then nothing which has touched me will be thought trifling in its nature, or tedious in its telling. Therefore, my dear friend and companion, if you should think me somewhat sparing of my narrative on my first setting out, -- bear with me, -- and let me go on, and tell my story my own way . . . and as we jogg on, either laugh with me, or at me, or in short, do any thing, ---- only keep your temper. (Sterne 11; vol. 1, ch. 6)

II. 『トリストラム・シャンディ』はいかにして後世に読み継がれていった……のか？


[8] 【物語の中でトリストラムの母が話し始めたとき、トリストラムは突然語りを「一時停止」して後世の批評家に言及する。】
I dare say, quoth my mother ---- But stop, dear Sir ---- for what my mother dared to say upon the occasion ---- and what my father did say upon it ---- with her replies and his rejoinders, shall be read, perused, paraphrased, commented and discanted upon -- or to say it all in a word, shall be thumb'd over by Posterity in a chapter apart. . . . (Sterne 555; vol. 9, ch. 8)

[9] 【付録となる予定の地図（もちろんこの約束ははぐらかされる）の話に続いて、本作が世界中で読まれることを予言する。】
---- But I must here, once for all, inform you, that all this will be more exactly delineated and explain'd in a map, now in the hands of the engraver, which, with many other pieces and developments to this work, will be added to the end of the twentieth volume, --- not to swell the work, -- I detest the thought of such a thing; ---- but by way of commentary, scholium, illustration, and key to such passages, incidents, or inuendos as shall be thought to be either of private interpretation, or of dark or doubtful meaning after my life and my opinions shall have been read over, (now don't forget the meaning of the word) by all the world; -- which, betwixt you and me, and in spight of all the gentlemen reviewers in Great-Britain, and of all that their worships shall undertake to write or say to the contrary, ---- I am determined shall be the case. (Sterne 33-34; vol. 1, ch. 13)

[10] 【語り手がハッタリで書いた予言は当たり、『トリストラム・シャンディ』はどうにか後世に読まれ続けているのだが……。】
A few years ago someone took a poll of graduating college seniors asking them which of the texts assigned during their college careers they most hated. Tristram Shandy won. (Cash 33)

III. 『トリストラム・シャンディ』はいかにして映画作品に翻訳されたか


[11] 【『タイム』誌の映画評。スターンの原作が『タイム』の読者層にどう認識されているかが分かって興味深い。】
A daunting test -- more like a hazing or a prank -- for unsuspecting English majors, Laurence Sterne's The Life and Opinions of Tristram Shandy, Gent. has for nearly 2 1/2 centuries been the least-read classic in the canon. The novel is such a wildly, willfully discursive history of its hero and narrator (whose birth does not occur until more than halfway through the book) that the notion of turning it into a 94-min. film raises two stubborn questions: How? and Why? (Corliss)

[12] 【原作のストーリーがあまりに空疎なため、映画版はメタフィクション的な「映画制作についての映画」に方針変更される。】
. . . [W]hen [Frank] Cottrell Boyce went to write a straight adaptation, his screenplay ran a mere thirty pages. "That was all the plot there was in 500 pages," marvels producer [Andrew] Eaton. "So much for a long-running sitcom. We couldn't even stretch it to ninety minutes." That lack of material opened the way for another approach to adaptation, and Winterbottom decided to give a major motif a modern twist. "So much of the book was about the process of writing the book," he notes. "The only way to mirror that was to do a film about making a film." ("About the Production" 11-12)

[13] 【映画の中で、主演俳優スティーヴ・クーガンがインタビューを受けている。スティーヴは紋切型で答えてみるが……。】
TONY. Steve Coogan, why Tristram Shandy? This is the book that many people say is unfilmable.
STEVE. I think that's the attraction. Tristram Shandy was a postmodern classic written before there was any modernism to be post about. So it was way ahead of its time, and, in fact, for those who haven't heard of it, it was actually listed as number eight on the Observer's Top 100 Books of All Time.
TONY. That was a chronological list.
(Winterbottom; speakers' names and stage directions in all the quotations from the film are added by me.)

[14] 【スティーヴはもちろん原作を読んでいない。主演という条件で出演を引受けた彼は、恋人のジェニー（Jenny）に愚痴を言う。】
STEVE. I am playing Tristram Shandy in The Life of Tristram Shandy. You know what? At the end of the book, he's not even born. Who told me that? No one. (Winterbottom)

[15] 【スターン研究の大御所メルヴィン・ニューは映画版を酷評した。しかしこの批判は映画後半の自己言及性を見落としている。】
. . . [T]he director rests satisfied with the belief that these scenes represent "reality" as opposed to the "fiction" he is filming. But of course, these actors are no more real than the characters in Tristram Shandy, and probably a great deal less. Much is made of suddenly cutting away to the cameras filming Mrs. Shandy's birthing, but persuasively to capture Sterne and the Shandean understanding of self-consciousness and the shaping of reality, one needed to cut away as well from the scene, for example, where [Steve] Coogan (playing himself) and Kelly MacDonald (playing his "girlfriend" and mother of his child) come together in a love-making scene -- surely, this is as fictional (i.e., a performance) as anything happening in the recreated eighteenth-century world. (New 580-81)

[16] 【トリストラムが映画に登場する最初のシーン。原作がラブレーやセルバンテスといった先人に言及するなら、映画版は……。】
TRISTRAM. Groucho Marx once said that the trouble with writing a book about yourself is you can't fool around. Why not? People fool around with themselves all the time. I'm Tristram Shandy, the main character in this story. The leading role. (Winterbottom)

[17] 【五歳のトリストラムは上開きの窓からおしっこをしていて、落ちてきた窓枠に「割礼」を受ける。大人の彼がそれを眺める。】
TRISTRAM. [Speaks directly to the audience.] That is a child actor pretending to be me. I'll be able to play myself later. I think I could probably get away with being eighteen, nineteen. Until then, I'll be played by a series of child actors. This was the best of a bad bunch. He's unable to convey the pain or shock of such an event.
CHILD ACTOR. [To TRISTRAM.] I think I can. Susannah said I was doing it exactly how you did it! (Winterbottom)

[18] 【原作では物語の中でスターンの説教集を宣伝したりしているが、映画ではこうなる。引用13のインタビューの途中で……。】
VOICE-OVER NARRATOR. If you want to see the EPK [Electronic press kit] interview, it'll be part of the DVD package, along with extended versions of many of the scenes, which should act as footnotes to the main film. (Winterbottom)

[19] 【原作では語り手トリストラムによって「執筆中の現在」がしばしば日付まで特定して言及される。】
. . . [H]ere am I sitting, this 12th day of August, 1766, in a purple jerkin and yellow pair of slippers, without either wig or cap on. . . . (Sterne 546; vol. 9, ch. 1)

[20] 【ウィンターボトム版『トリストラム・シャンディ』は「映画制作中の現在」（2005年3月?）をラジオニュースで表現した。】
BBC PRESENTER. [On the car radio.] This morning's headlines. The Americans have conceded that insurgents in Iraq are as strong now as they were a year ago. More foreign terror suspects are expected to be freed on bail today as time runs out for the existing powers under which they are detained. And what Churchill thought of India, and what India thought of Churchill. (Winterbottom)

IV. 映画の中の監督はいかにして戦闘シーンへの期待を煽ったか


[21] 【トウビー・シャンディ大尉が活躍する戦闘シーンは予算不足で貧弱になってしまった。監督のマークは撮り直しを求める。】
STEVE. I think that that scene, because it looks so cheap, it actually makes it funnier. It works because it's funny.
MARK. It's not supposed to be funny. Toby's supposed to be funny. The battle is supposed to look like a battle.(Winterbottom)

[22] 【トウビーは戦場で負傷して退役する。庭に作った城郭都市の模型での戦争ごっこにつながるマニアはこうして始まった。】
. . . [T]he desire of knowledge, like the thirst of riches, increases ever with the acquisition of it. The more my uncle Toby pored over his map [of Namur], the more he took a liking to it; -- by the same process and electrical assimilation, as I told you, thro' which I ween the souls of connoisseurs themselves, by long friction and incumbition, have the happiness, at length, to get all be-virtu'd, -- be-pictur'd, -- be- butterflied, and be-fiddled.
The more my uncle Toby drank of this sweet fountain of science, the greater was the heat and impatience of his thirst, so that, before the first year of his confinement had well gone round, there was scarce a fortified town in Italy or Flanders, of which, by one means or other, he had not procured a plan, reading over as he got them, and carefully collating therewith the histories of their sieges, their demolitions, their improvements and new works, all which he would read with that intense application and delight, that he would forget himself, his wound, his confinement, his dinner. (Sterne 79-80; vol. 2, ch. 3)

[23] 【ハリウッド風戦闘シーンを嫌う制作助手が、映画史上最高の戦闘シーンを語る。彼女は筋金入りの映画マニアである。】
JENNIE. Do you know that the best battle scene is in Lancelot du Lac? You know, the Bresson film. It's just these two knights, and they're both encased in armour, and they just keep clobbering each other. It goes on forever, just hitting and hitting. It's actually like a metaphor for life, you know. It's about the impossibility of actually connecting with another human being, because we're all wearing these carapaces, these casing . . . this rubbish, really. And the more they hit and hit, actually the less they impact, and it's just really, really moving, actually. I'll see you later. [Exit JENNIE.]
STEVE. See you later.
ROB. See you later.
STEVE. What was all that about?
[All shake their heads in confusion.]
SIMON. She's a bit of a film nut. You should hear her when she's on about Fassbinder. (Winterbottom)

[24] 【撮り直される戦闘シーン（1695年のナミュール包囲戦）でエキストラを指揮する軍事史マニアが、トウビー役者に熱く語る。】
INGOLDSBY. I've got a list of the men that fell [in the siege of Namur]. Ninety-two died that morning, so your chap was lucky to be alive. I could fix up your lot with real, accurate names, and then they could shout out their names to each other in the heat of battle. What do you think? (Winterbottom)

[25] 【一般にこうした場で『ウィキペディア』の引用は推奨できませんが、私の思うところをうまくまとめてくれているので……。】
全編を通じて、神童育成マニアのウォルター、包囲戦再現マニアのトウビー、自伝執筆マニアのトリストラム、三人のマニアたちがそれぞれ完璧に自らの趣味を全うしようとする企てが、ことごとく無惨に打ち砕かれていく様が滑稽に描かれ、書物に頼った知識は豊富でも現実への適応能力に欠ける頭でっかちな人々を痛烈に諷刺する内容になっている。
　トリストラムは、人がマニアックな趣味にはまり込むことを乗馬にたとえて「道楽馬（どうらくうま、hobby-horse）に乗る」と呼んでいる。各人はそれぞれの道楽馬にまたがってゆるゆると人生を歩んでいるのだが、ときに度を過ぎた道楽は非人間的な行動につながる。[. . .]トウビーは自分の道楽を全うするためだけに、戦争の継続すら願ってしまうのだ。（「トリストラム・シャンディ」）

[26] 【トウビーが戦争継続を願う自分を正当化した弁明演説。語り手トリストラムは絶賛するが、作者スターンの意図は？】
. . . [W]hat is war ? what is it, Yorick, when fought as ours has been, upon principles of liberty, and upon principles of honour ---- what is it, but the getting together of quiet and harmless people, with their swords in their hands, to keep the ambitious and the turbulent within bounds? And heaven is my witness, brother Shandy, that the pleasure I have taken in these things, -- and that infinite delight, in particular, which has attended my sieges in my bowling green, has arose within me, and I hope in the corporal too, from the consciousness we both had, that in carrying them on, we were answering the great ends of our creation. (Sterne 416; vol. 6, ch. 32)

[27] 【トウビーが戦争ごっこで再現していたスペイン継承戦争の性質を思えば、彼の弁明演説は論理がめちゃくちゃである。】
Since the Treaty of Utrecht sealed the supremacy of Great Britain, it is difficult to believe that Marlborough and his epigons were only trying then to keep "the ambitious [. . .] within bounds." And it was this offensive rather than defensive war which Toby and Trim, both incapacitated by their wounds, had to be content with emulating virtually on their bowling green with their model sieges and fortifications. (Descargues 243)

[28] 【『トリストラム・シャンディ』を、七年戦争に沸き立つイギリス国民への諷刺と理解した同時代人たちもいた。】
Another category of readers looked to politics and current affairs, responding to Tristram Shandy as an exercise in topical satire. In the public context of the Seven Years War (1756-63), a struggle for European and colonial ascendancy that is teasingly burlesqued in the war-gaming antics of Toby and Trim, this was "a smart satyrical piece on the vices of the age," according to a writer in Lloyd's Evening Post for 4-6 June 1760: an age in which "arms and military atchievements engross the attention." (Keymer Laurence 6; the quotation is from Alan B. Howes, ed., Sterne: The Critical Heritage [London and Boston: Routledge & Kegan Paul, 1974] 85.)

[29] 【せっかく撮り直した戦闘シーンは、マーク監督の完成版ではばっさりカットされていた。出資者たちは監督に詰め寄る。】
ANITA. Where is the battle scene?
GREG. Yeah. Where's the battle?
MARK. [Smiles to the financiers.] It wasn't funny. (Winterbottom)

V. 本来は無縁の事物間に生じる観念連合がいかなる弊害をもたらすか


[30] 【父は射精の瞬間に「時計のネジは巻いた？」と聞かれて気が逸れ、気の逸れる息子を作ってしまう。諸悪の根元は観念連合。】
TRISTRAM. [Voice-over.] My father had two domestic obligations, and being a systematic man, he liked to dispense them both at once. The first was to wind the clock. The second was more enjoyable.
[WALTER has sex with ELIZABETH in their bed.]
TRISTRAM. [Voice-over.] You may be familiar with Locke's theory of the association of ideas. It's been updated since by Pavlov and his dog. If the dog hears the metronome when he's being fed, the dog starts to associate the metronome and food. So, in the end, if he hears the metronome even when there's no food, the dog starts to salivate. A similar association of ideas took root in my mother's head between one domestic obligation and the other.
[WALTER winds the clock in the corridor.]
TRISTRAM. [Voice-over.] As soon as she heard my father winding the clock. . .
[ELIZABETH undresses in the bedroom.]
TRISTRAM. [Voice-over.] . . . she began to salivate, as it were. (Winterbottom)

[31] 【同じ場面、原作では語り手トリストラムがこう付け加えている。】
. . . [This] strange combination of ideas, the sagacious Locke, who certainly understood the nature of these things better than most men, affirms to have produced more wry actions than all other sources of prejudice whatsoever. (Sterne 9; vol. 1, ch. 4)

[32] 【ジョン・ロック本人はどう言っているのか。】
This wrong connexion in our minds of ideas in themselves, loose and independent one of another, has such an influence, and is of so great force to set us awry in our actions, as well moral as natural, passions, reasonings, and notions themselves, that perhaps there is not any one thing that deserves more to be looked after. (Locke 356-57; bk. 2, ch. 33. sec. 9)

[33] 【あなたや私が他者に共感を抱くのも、反感を抱くのも、自然なことと思いきや、実は観念連合のなせるわざ。】
That there are such associations of them [ideas] made by custom in the minds of most men, I think nobody will question, who has well considered himself or others; and to this, perhaps, might be justly attributed most of the sympathies and antipathies observable in men, which work as strongly, and produce as regular effects as if they were natural. . . . (Locke 356; bk. 2, ch. 33, sec. 7)

[34] 【宗教対立をもたらすのは観念連合である。】
Some such wrong and unnatural combinations of ideas will be found to establish the irreconcilable opposition between different sects of philosophy and religion. . . . (Locke 359; bk. 2, ch. 33. sec. 18)

[35] 【トウビーの部下トリム伍長が、教区牧師ヨリックの説教を朗読する。説教は宗教裁判所の拷問を非難する内容だった。】
---- Behold Religion, with Mercy and Justice chained down under her feet, ---- there sitting ghastly upon a black tribunal, propp'd up with racks and instruments of torment. Hark! -- hark! what a piteous groan! [Here Trim's face turned as pale as ashes.] See the melancholy wretch who utter'd it -- [Here the tears began to trickle down] just brought forth to undergo the anguish of a mock trial, and endure the utmost pains that a studied system of cruelty has been able to invent. -- [D--n them all, quoth Trim, his colour returning into his face as red as blood.] -- Behold this helpless victim delivered up to his tormentors, ---- his body so wasted with sorrow and confinement. . . . (Sterne 123; vol. 2, ch. 17; square brackets in the original)

[36] 【やはり戦闘シーンは撮り直されていた。虚構と現実がないまぜになる手法もまた次作に引き継がれている。】
Think you've had the holiday from Hell? Wait till you see what happened to a trio of West Midlanders in Michael Winterbottom and Mat Whitecross' compelling docu-drama about the Tipton Three and how they ended up being branded terrorists by the American Government. Told specifically from the point of view of the three who survived the ordeal, this is a damning indictment of both Guantánamo Bay and the US government's insistence on detaining prisoners there without trial.
Mixing filmed interviews with the actual Tipton Three -- Shafiq Rasul, Ruhel Ahmed, and Asif Iqbal -- with recreations of their experiences using unknown actors, The Road To Guantánamo is not easy viewing. . . . Winterbottom and Whitecross also use actual news reports, successfully blurring the line between fact and fiction still further. (Hennigan)

引用した資料［映画についてはDVDの英語字幕を書き写して使用しました。］

(c) Masaru Uchida 2006
ファイル公開日: 2006-10-12
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