→超越主義（Transcendentalism）に影響 (2) ベンジャミン・フランクリン Benjamin Franklin (1703-90)
ヤンキー的 、 者
独立戦争期
(1) ヘクター・セント・ジャン・デュ＝クレベクール
Hector St. Jean de Crèvecœur (1735-1813)
フランス生まれ physiocrat（重農主義者）で Jeffersonに影響を与える Letters from an American Farmer (1782) “What is an American?”と題された三通の手紙 アメリカ人とはまずなによりも耕す人だ。アメリカ人はヨーロッパ人でもなければヨーロッパ人
の子孫でもない。新しい原理に基づいて行動する新しい人間であり、従って、新しい思想を抱き、
新しい見解を持つ。 (「アメリカの農夫からの手紙」)
→→
−2−
アメリカ文学史講義
(2) フィリップ・フレノー Philip Freneau (1752-1832)
「 の詩人」
革命独立の立場を支持するとともに、田園詩人でもあった。
アメリカにおける、詩らしい詩のはじまり。
(3)チャールズ・ブロックデン・ブラウン Charles Brockden Brown (1771-1810)
最初の職業作家
Wieland (1798 ) により英国の を移入し、Hawthorneなどに影響を与える。
19世紀初めの作家
(1) ワシントン・アーヴィング Washington Irving (1783-1859)
文学の基準は依然ヨーロッパにある。
品位ある文体、平明な記述に優れる。
代表作：The Sketch Book (1819)
(2) ジェームズ・フェニモア・クーパー James Fenimore Cooper (1789-1851)
文学観については依然英国を範とする。
題材を と に求め、 の作品を描く。 代表作: を主人公とする
１）The Pioneers (1823) ２）The Last of the Mohicans (1826) ３）The Prairie (1827) ４）The Pathfinder (1840) ５）The Deerslayer (1841)
代表作: Walden, or, Life in the Woods (1854), Civil Disobedience (1848)
In such a day, in September or October, Walden is a perfect forest mirror, set round with stones as precious to my eye as if fewer or rarer. Nothing so fair, so pure, and at the same time so large, as a lake, perchance, lies on the surface of the earth. Sky water. It needs no fence. Nations come and go without defiling it. It is a mirror which no stone can crack, whose quicksilver will never wear off, whose gilding Nature continually repairs; no storms, no dust, can dim its surface ever fresh … A field of water betrays the spirit that is in the air. It is continually receiving new life and motion from above. It is intermediate in its nature between land and sky. On land only the grass and trees wave, but the water itself is rippled by the wind. I see where the breeze dashes across it by the streaks or flakes of light. It is remarkable that we can look down on its surface. We shall perhaps, look down thus on the surface of air at length, and mark where a still subtler spirit sweeps over it. (Walden)
• 現実と夢、事実と想像とが混在する中間地帯を扱う。 代表作: Twice-Told Tales (1837/42/51), The Scarlet Letter (1850), The House of the Seven Gables (1851)
“Why do you tremble at me alone?” cried he, turning his veiled face round the circle of pale spectators. “Tremble also at each other! Have men avoided me, and women shown no pity, and children screamed and fled, only for my black veil? What, but the mystery which it obscurely typifies, has made this piece of crape so awful? When the friend shows his inmost heart to his friend; the lover to his best-beloved; when man does not vainly shrink from the eye of his Creator, me a monster, for the symbol beneath which I have lived, and die! I look around me, and, lo! on every visage a Black Veil!” While his auditors shrank from one another, in mutual affright, Father Hooper fell back upon his pillow, a veiled corpse, with a faint smile lingering on the lips. Still veiled, they laid him in his coffin, and a veiled corpse they bore him to the grave. The grass of many years has sprung up and withered on that grave, the burial-stone is moss-grown, and good Mr. Hooper's face is dust; but awful is still the thought, that it mouldered beneath the Black Veil! (“The Minister’s Black Veil”) 「あなたがたは何で私を見るときだけ震えているのですか」彼は蒼ざめた一座にそのヴェール
代表作：Typee(1846), Omoo (1847), Mardi (1849) —— 初期の海洋小説 Moby-Dick (1851) Pierre, or the Ambiguities (1852), Billy Budd (1891), Clarel (1876) —— 長編詩
Small reason was there to doubt, then, that ever since that almost fatal encounter, Ahab had cherished a wild vindictiveness against the whale, all the more fell for that in his frantic morbidness he at last came to identify with him, not only all his bodily woes, but all his intellectual and spiritual exasperations. The White Whale swam before him as the monomaniac incarnation of all those malicious agencies which some deep men feel eating in them, till they are left living on with half a heart and half a lung. That intangible malignity which has been from the beginning; to whose dominion even the modern Christians ascribe one-half of the worlds; which the ancient Ophites of the East reverenced in their statue devil; —Ahab did not fall down and worship it like them’ but deliriously transferring its idea to the abhorred White Whale, he pitted himself, all mutilated, against it. All that most maddens and torments; all that stirs up the lees of things; all truth with malice in it; all that cracks the sinews and cakes the brains; all the subtle demonisms of life and thought; all evil, to crazy Ahab, were visibly personified, and made practically assailable in Moby-Dick. (Moby-Dick) そうであってみれば、ほとんど死の一歩手前にまで踏み込んだその格闘からこのかたエイハブ
代表作：Al Aaraaf, Tamerlane, and Minor Poems [“The Raven”(1845)]
The Fall of the House of Usher (1839), The Gold Bag (1843), The Black Cat (1843)
“The Raven” Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore— While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door— “ ‘This some visitor,” I muttered, “tapping at my chamber door— Only this and nothing more.” … And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon’s that is dreaming, And the lamp-light o’er him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifted—nevermore!
代表作：Leaves of Grass (1855-92) [“Song of Myself,” “When Lilacs Last in the Dooryard Bloom’d” ——リンカーン追悼詩]
“Song of Myself” I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you. I loafe and invite my soul, I lean and loafe at my ease observing a spear of summer grass. My tongue, every atom of my blood, form’d from this soil, this air, Born here of parents born here from parents the same, and their parents the same, I, now thirty-seven years old in perfect health begin, Hoping to cease not till death. 僕は自分を祝福し、自分について歌う。 僕の姿は君の姿だ。 僕を作る原子のひとつひとつが君にもちゃんとある。
(“The Significance of the Frontier in American History”)
1890 年の国勢調査をもとに、フロンティアの消滅を宣言
→→
南北戦争後のアメリカ文学
南北戦争終結からフロンティアの消滅まで（1865年から1890年まで）
二つの特徴 １． →
2． →
リアリズム文学の始まり
リアリズム文学：
現実や人間心理を 、 に描写
（⇔ロマン主義文学：奔放な情念の世界を描く）
−11−
リアリズムの代表作家
(1) ウィリアム・ディーン・ハウエルズ William Dean Howells (1837-1920)
「 」
The Atlantic Monthly の編集者
Twain, James, Crane, Norris らを援助
代表作：The Rise of Silas Lapham (1885)
(2) マーク・トゥエインMark Twain (1835-1910)
や （ローカルカラーの要素）
発音に即した表記法で を駆使
辛らつな
↓
ヨーロッパから完全に独立した、 文学を確立
代表作：The Innocent Abroad (1869), The Gilded Age (共作1873）
The Adventures of Tom Sawyer (1876)
The Adventures of Huckleberry Finn (1884)
“What do dey stan’ for? I’s gwyne to tell you. When I got all wore out wid work, en wid de callin’ for you, en went to sleep, my heart wuz mos’ broke bekase you wuz los’, en I wake up en fine you back again’, all safe en soun’, de tears come en I could a got down on my knees en kiss’ yo’ foot I’s so thankful. En all you wuz thinking ’bout wuz how you could make a fool uv ole Jim wid a lie. Dat truck dah is trash; en trash is what people is dat puts dirt on de head er dey fren’s en makes ’em ashamed.” Then he got up slow, and walked to the wigwam, and went in there, without saying anything but that. But that was enough. It made me feel so mean I could almost kissed his foot to get him to take it back. It was fifteen minutes before I could work myself up to go and humble myself to a nigger — but I done it, and I warn’t ever sorry for it afterwards, neither. I didn’t do him no more mean tricks, and I wouldn’t done that one if I’d a knowed it would make him feel that way. (The Adventures of Huckleberry Finn) 「どういう意味かって？ いいとも、教えてやるだ。おらは、流れとたたかったり、何度もあ
Daisy Miller (1878), The Portrait of a Lady (1881) 中期：前期テーマに迷い、実験小説を試みる The Turn of the Screw (1898) 後期：「国際テーマ」、「意識のドラマ」の象徴化 The Wings of the Dove (1908), The Ambassadors (1903)
He gazed at her a little, and for the first time his fixed eyes lowered their lids. But he raised them in a moment, and then, “He was greatly in love with you,” he answered. “Yes, he was in love with me. But he wouldn’t have married me if I had been poor. I don’t hurt you in saying that. How can I? I only want you to understand. I always tried to keep you from understanding; but that’s all over.” “I always understood,” said Ralph. “I thought you did, and I didn’t like it. But now I like it.” “You don’t hurt me—you make me very happy.” And as Ralph said this there was an extraordinary gladness in his voice. She bent her head again, and pressed her lips to the back of his hand. “ I always understood,” he continued, “though it was so strange — so pitiful. You wanted to look at life for yourself — but you were not allowed; you were punished for your wish. You were ground in the very mill of the conventional!” “Oh yes, I’ve been punished,” Isabel sobbed. (The Portrait of a Lady) 彼は彼女をちょっと眺め、それから初めてじっと注いでいた視線にまぶたをおろした。しか
代表作：O Pioneers! (1913), My Ántonia (1918), The Professor’s House (1925)
This was the road over which Ántonia and I came on that night when we got off the train at Black Hawk and were bedded down in the straw, wondering children, being taken we knew not whither. I had only to close my eyes to hear the rumbling of the wagons in the dark, and to be again overcome by that obliterating strangeness. The feelings of that night were so near that I could reach out and touch them with my hand. I had the sense of coming home to myself, and of having found out what a little circle man’s experience is. For Ántonia and for me, this had been the road of Destiny; had taken us to those early accidents of fortune which predetermined for us all that we can ever be. Now I understood that the same road was to bring us together again. Whatever we had missed, we possessed together the precious, the incommunicable past. (My Ántonia) この道は僕とアントニーアがブラック・ホークで汽車を降りたあの夜通った道だった。あの夜、
「説くこと（preaching）」を嫌う、短編や詩に優れている 代表作： Maggie; A Girl of the Streets (1893) 初の本格自然主義文学 The Red Badge of Courage (1895), “The Open Boat” (1898)
War Is Kind (1899) 詩集
“War Is Kind”: 「戦争は優し」
A man said to the universe, 兵士が天に言った。 “Sir, I exist!” 「私は実存するのです」 “However,” replied the universe, 「だからといって」と、天が答えた。 “The fact has not created in me 「どうこうしなければならない義務は A sense of obligation.” 私にはない」
“If I am going to be drowned — if I am going to be drowned — if I am going to be drowned, why, in the name of the seven mad gods who rule the sea, was I allowed to come thus far and contemplate sand and trees?” During this dismal night, it may be remarked that a man would conclude that it was really the intention of the seven mad gods to drown him, despite the abominable injustice of it. For it was certainly an abominable injustice to drown a man who had worked so hard, so hard. The man felt it would be a crime most unnatural. Other people had drowned at sea since galleys swarmed with painted sails, but still — When it occurs to a man that nature does not regard him as important, and that she feels she would not maim the universe by disposing of him, he at first wishes to throw bricks at the temple, and he hates deeply the fact that there are no bricks and no temples. Any visible expression of nature would surely be pelleted with his jeers. Then, if there be no tangible thing to hoot he feels, perhaps, the desire to confront a personification and indulge in pleas, bowed to one knee, and with hands supplicant, saying: “Yes, but I love myself.” (“The Open Boat”) 「やがて溺れ死ぬのなら——やがて溺れ死ぬのなら——やがて溺れ死ぬのなら、海を支配する七
代表作：McTeague (1899) The Epic of the Wheat: The Octopus (1901), The Pit (1903)
In that little, isolated group of human insects, misery, death, and anguish spun like a wheel of fire. But the WHEAT remained. Untouched, unassailable, undefiled, that mighty world force, that nourisher of nations, wrapped in Nirvanic calm, indifferent to the human swarm, gigantic, resistless, moved onward in its appointed grooves. Through the welter of blood at the irrigation ditch, through the sham charity and shallow philanthropy of famine relief committees, the great harvest of Los Muertos rolled like a flood from the Sierras to the Himalayas to feed thousands of starving scarecrows on the barren plains of India. Falseness dies; injustice and oppression in the end of everything fade and vanish away. Greed, cruelty, selfishness, and inhumanity are short-lived; the individual suffers but the race goes on. Annixter dies, but in a far-distant corner of the world a thousand lives are saved. The larger view always and through all shams, all wickednesses, discovers the truth that will, in the end, prevail, and all things surely, inevitably, resistlessly work together for good. (The Octpus) 人間という虫けらからなる、あの小さな孤立したグループの中にあっては、悲惨や死や苦悩は炎
代表作：Sister Carrie (1900)——典型的な自然主義文学 ：1） 2） 3） 4） An American Tragedy (1925)
Oh, Carrie, Carrie! Oh, blind strivings of the human heart! Onward, onward, it saith, and where beauty leads, there it follows. Whether it be the tinkle of a lone sheep bell o’er some quiet landscape, or the glimmer of beauty in sylvan places, or the show of soul in some passing eye, the heart knows and makes answer, following. It is when the feet weary and hope seems vain that the heartaches and the longings arise. Know, then, that for you is neither surfeit nor content. In your rocking chair, by your window dreaming, shall you long, alone. In your rocking chair, by your window, shall you dream such happiness as you may never feel. (Sister Carrie) ああ、キャリー、キャリー！ ああ、盲目にあがき続ける心よ。前へ、前へ、と心は求める。
そして、美が導く方へと、心は従ってゆく。それが、とある静かな風景に鳴り渡る、羊の首にか
かる鈴の音の小さな響きなのか、木々が茂る森の美しいきらめきなのか、通りすがりにちらりと
目にとまった人の魂なのか、彼女の心にはわかる。そして応じる。追い求めよと。足が疲れ、希
望が空しく見えるような時になって初めて、胸の痛みと強い憧れがわき起こる。その時には知る
がよい。汝は満たされもしなければ、足りることもないと。揺り椅子に揺られ、窓辺に座って、
ひとり憧れ続けるであろう。揺り椅子に揺られ、窓辺に座って、決して味わうことのない幸せを
夢見ることであろう。 （『シスター・キャリー』） (2) シンクレア・ルイスSinclair Lewis (1885-1951)
ミネソタ州生まれ。アメリカ を痛烈に攻撃。
「実用的、中産階級的」な楽観主義が見られる。 代表作：Main Street (1920), Babbit (1922), Arrowsmith (1925)
代表作家：Upton Sinclair (1878-1968) 代表作：The Jungle (1906), Boston (1928) Exiles (国籍離脱者)
時代：
定義：第一次大戦後のアメリカの好景気を反映し、ヨーロッパに渡った作家達
H. James, Edith Wharton ら が先駆 代表作家：ガートルード・スタイン Gertrude Stein (1874-1946)
のちに、Ezra Pound や Henry Miller も加わる。 さらに、Sherwood Anderson, Thomas Wolfe, Fitzgerald, Hemingway も一時期
ヨーロッパに渡っており、この時期の Exiles の影響力が窺える。
20世紀文学の先駆
シャーウッド・アンダーソンSherwood Anderson (1876-1941)
決定論（個人より社会、環境、運命のほうが決定的）を拒絶、人間を回復。
個人の から人間を捕らえ、その存在を問いかけ、20 世紀の「
」をいち早く描き出す。→→the Lost Generationに影響
を鋭く捕らえる。
躍動するような巧妙な を駆使。 代表作：Winesburg, Ohio (1919) , Poor White (1920), Tar, A Midwest Childhood (1926)
That in the beginning when the world was young there were a great many thoughts but no such thing as a truth. Man made the truths himself and each truth was a composite of a great many vague thoughts. All about in the world were the truths and they were all beautiful. And then the people came along. Each as he appeared snatched up one of the truths and some who were quite strong snatched up a dozen of them. It was the truths that made the people grotesques. The old man had quite an elaborate theory concerning the matter. It was his notion that the moment of the people took one of the truths to himself, called it his truth, and tried to live his life by it, he became a grotesque and the truth he embraced became a falsehood. (“The Book of the Grotesque” in Winesburg, Ohio)
(1) スコット・フィッツジェラルド F. Scott Fitzgerald (1896-1940)
時代に敏感な作家で、1920 年代 の代表作家とも見なされる。
「華やかな生活」やその基盤である と、それらを批判する
との、「 」が特徴。
キーツ的な 。
代表作：This Side of Paradise (1920), The Great Gatsby (1925), Tender Is the Night (1934),
Crack-up (1945)
And as I sat there brooding on the old, unknown world, I thought of Gatsby’s wonder when he first picked out the green light at the end of Daisy’s dock. He had come a long way to this blue lawn, and his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him, somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night. Gatsby believed in the green light, the orgiastic future that year by year recedes before us. It eluded us then, but that’s no matter — to-morrow we will run faster, stretch out our arms further … And one fine morning — So we beat on, boats against the current, borne back ceaselessly into the past.
(The Great Gatsby) そうして僕は、そこに座って、神秘の雲の包まれた昔の世界について思いをはせながら、ギャッ
A) Sherwood Anderson, Gertrude Stein, Ezra Pound などを師として、文壇に登場。
B) 「 」と呼ばれる文体を築く。
１）
２）
３）
４）
C) 戦争、または狩や漁を題材に、 を作り出し、
生きるとは何かを問う。
D) イリノイ州オークパーク生まれ。
E) 幼少期から父親の影響で、北ミシガンで狩りや漁を体験。 F) 第一次大戦においてイタリア戦線に参加 →→ A Farewell to Arms (1929) G) スペインでの闘牛 →→ 処女長編、The Sun Also Rises (1926)
この本の見返しに、 Gertrude Stein が “You are all a lost generation.”と言ったと
書いたところから、「ロストジェネレーション」という呼び名が付けられた。
H) アフリカでの狩猟→→平和な時期に狩猟は生と死の戦いの緊張感を提供。
I) ヘミングウェイはキーウェストを愛し、漁を楽しんだ。
→→To Have and Have Not (1937), The Old Man and the Sea (1950)に結実
J) スペイン独立戦争に義勇軍として参加
→→For Whom the Bell Tolls (1940)の材料を得る
K) 危険を顧みず生の極限を生きるたくましさは、多くのハードボイルド作家を生
み出し、パパ・ヘミングウェイとして親しまれたが、彼ほど深く人間存在の問
題を扱うことができた作家はダシール・ハメット(Dashill Hammett)ら少数であ
る。
“I’m terribly sorry I brought you along, Nickie,” said his father, all his post-operative exhilaration gone. “It was an awful mess to put you through.” “Do ladies always have such a hard time having babies?” “No, that was very, very exceptional.” “Why did he kill himself, Daddy?” “I don’t know, Nick. He couldn’t stand things, I guess.” “Do many men kill themselves, Daddy?” “Not very many, Nick.” “Do many women?” “Hardly ever.” “Don’t they ever?” “Oh, yes. They do sometimes.” “Daddy?” “Yes.” “Where did Uncle George go?”
−22−
アメリカ文学史講義
“He’ll turn up all right.” “Is dying hard, Daddy?” “No, I think it’s pretty easy, Nick. It all depends.” They were seated in the boat, Nick in the stern, his father rowing. The sun was coming up over the hills. A bass jumped, making a circle in the water. Nick trailed his hand in the water. It felt warm in the sharp chill of the morning. In the early morning on the lake sitting in the stern of the boat with his father rowing, he felt quite sure that he would never die. (“Indian Camp,” in In Our Time) 「おまえを連れてきたこと、すごく後悔してるよ、ニッキー」手術直後のあの昂揚感も今は失せ
彼の育った Lafayette 郡をモデルに Yoknapatawpha County という架空の郡を作り、
Oxford の町を Jefferson に仕立て、そこを舞台に一連の作品を形成。
−23−
伝統的南部貴族：Sartorise 家、Compson 家
成り上がり貴族：Thomas Sutopen
プア・ホワイト：Snopese 家 代表作:The Sound and the Fury (1929) :Compson 一家没落の物語を Quentin,Caddy, Jason, Benjy,のそれぞれの視点から描かれる
Absalom, Absalom (1936) :Thomas Sutopen 一家の興亡の悲劇 The Hamlet (1940), The Town (1957), The Mansion (1959) : Flem Snopes 三部作 “A Rose for Emily” (1930), Sanctuary (1931)
1962 年ノーベル賞受賞 代表作：The Red Pony (1933), Of Mice and Men (1937), Grapes of Wrath (1939),
East of Eden (1952) Then Billy walked quickly to Nellie’s head. He cried, “Turn your face away, damn you, turn your face.” This time Jody obeyed. His head turned sideways. He heard Billy whispering hoarsely in the stall. And then he heard a hollow crunch of bone. Nellie chuckled shrilly. Jody looked back in time to see the hammer rise and fall again on the flat forehead. Then Nellie fell heavily to her side and quivered for a moment. Billy jumped to the swollen stomach; his big pocketknife was in his hand. He lifted the skin and drove the knife in. He sawed and ripped at the tough belly. The air filled with the sick odor of warm living entrails. The other horses reared back against their halter chains and squealed and kicked. Billy dropped the knife. Both of his arms plunged into the terrible ragged hole and dragged out a big, white, dripping bundle. His teeth tore a hole in the covering. A little black head appeared through the tear, and little slick, wet ears. A gurgling breath was drawn, and then another. Billy shucked off the sac and found his knife and cut the string. For a moment he held the little black colt in his arms and looked at it. And then he walked slowly over and laid it in the straw at Jody’s feet. Billy’s face and arms and chest were dripping red. His body shivered and his teeth chattered. His voice was gone; he spoke in a throaty whisper. “There’s your colt. I promised. And there it is. I had to do it — had to.” He stopped and looked over his shoulder into the box stall. “Go get hot water and a sponge,” he whispered. “Wash him and dry him the way his mother would. You’ll have to feed him by hand. But there’s your colt, the way I promised.” Jody stared stupidly at the wet, panting foal. It stretched out its chin and tried to raise its head.
−25−
Its blank eyes were navy blue. “God damn you,” Billy shouted, “will you go now for the water? Will you go?” Then Jody turned and trotted out of the barn into the dawn. He ached from his throat to his stomach. His legs were stiff and heavy. He tried to be glad because of the colt, but the bloody face, and the haunted, tired eyes of Billy Buck hung in the air ahead of him. (“The Red Pony”) ビリーは急いでネリーの頭のそばへ戻った。そして叫んだ。 「向こうを向いてろ。いいか、向こうをむいてるんだ」 今度はジョーディもいうことをきいた。彼は頭を横に向けた。ビリーが仕切の中でしわがれた
f) 代表作：The Glass Menagerie (1945), A Streetcar Named Desire (1947), Cat on a Hot Tin Roof (1955) The scene is memory and is therefore nonrealistic. Memory takes a lot of poetic license. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart. The interior is therefore rather dim and poetic. … The narrator is an undisguised convention of the play. He takes whatever license with dramatic convention is convenient to his purposes. ********** Tom enters, dressed as a merchant sailor, and strolls across to the fire escape. There he stops and lights a cigarette. He addresses the audience. TOM: Yes, I have tricks in my pocket, I have things up my sleeve. But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguises of illusion. … In Spain there was revolution. Here there was only shouting and confusion. In Spain there was Guernica. Here there were disturbances of labor, sometimes pretty violent, in otherwise peaceful cities such as Chicago, Cleveland, Saint Louis … This is the social background of the play. [Music begins to play.] The Play is memory. Being a memory play, it is dimly lighted, it is sentimental, it is not realistic. In memory everything seems to happen to music. That explains the fiddle in the wings. I am the narrator of the play, and also a character in it. The other characters are my mother, Amanda, my sister, Laura, and a gentleman caller who appears in the final scenes. (The Glass Menagerie) 場面は思い出を扱ったもので、それ故に非現実的なものである。思い出はしばしば詩的放縦さ
(2) ラルフ・ウォルドー・エリソン Ralph Waldo Ellison (1914-1994 )
Invisible Man (1952)
白人の支配するアメリカ社会では、 であると主張。
黒人としての経験を書くことで Wright の抗議小説を越える。
I am an invisible man. No, I am not a spook like those who haunted Edgar Allan Poe; nor am I one of your Hollywood movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids — and I might even be said to possess a mind. I am invisible, understand, simply because people refuse to see me. Like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves, or figments of their imagination — indeed, everything and anything except me.
代表作： Miss Lonelyhearts (1933), The Day of the Locust (1939)
第二次大戦後のユダヤ系作家 (1)：ユダヤ的題材を強調しなかった作家
(1) ノーマン・メイラー Norman Mailer (1923- 2007 )
強大な組織としてのアメリカが個人を飲み込んでゆく危機を予見。
「 」と、「 」とをテーマにする。
代表作：The Naked and the Dead (1948): 第二次大戦を扱った最初の文学的傑作
An American Dream (1965), The Dear Park (1955)
後年、 に転進。
代表作：The Presidential Papers (1963)
(2) ジェローム・ディヴィッド・サリンジャー Jerome David Salinger (1919- )
アメリカの 、 に反逆。
を志向。
代表作：The Catcher in the Rye (1951), Nine Stories (1953), Franny and Zooey (1961)
−34−
アメリカ文学史講義
第二次大戦後のユダヤ系作家 (2)：ユダヤ的題材を用いた作家
(1) ソール・ベロー Saul Bellow (1915- 2005)
ユダヤ系アメリカ作家の第一人者
ユダヤ的特徴が強い人物によって、現代に生きる個人の苦境を、 や
を用い、 から描く。
1976 年、ノーベル賞受賞
代表作：Dangling Man (1944), The Adventures of Augie March (1953), Herzog (1964)
The son, Kotzie, worked evenings in the corner drugstore and went to school in the neighborhood of County Hospital, and it was he who told Grandma about the free dispensary. Or rather, the old woman sent for him to find out what one could get from those state and county places. She was always sending for people, the butcher, the grocer, the fruit peddler, and received them in the kitchen to explain that the Marches had to have discounts. Mama usually had to stand by. The old woman would tell them, “You see how it is — do I have to say more? There’s no man in the house and children to bring up.” This was her most frequent argument. When Lubin, the caseworker, came around and sat in the kitchen, familiar, bald-headed, in his gold glasses, his weight comfortable, his mouth patient, she shot it at him: “How do you expect children to be brought up?” While he listened, trying to remain comfortable but gradually becoming like a man determined not to let a grasshopper escape from his hand. (The Adventures of Augie March) 息子の方のコツィーは夜間、角のドラッグストアーで働き、地区病院のそばにある学校に通っ
“Let me ask you this,” Frank went on. “Do you consider yourself a real Jew?” Morris was startled, “What do you mean if I am a real Jew?” “Don’t get sore about this,” Frank said, “But I can give you an argument that you aren’t. First thing, you don’t go to the synagogue—not that I have ever seen. You don’t keep your kitchen kosher and you don’t eat kosher. You don’t even wear one of those little black hats like this tailor I knew in South Chicago. He prayed three times a day. I even hear the Mrs. say you kept the store open on Jewish holidays, it makes no difference if she yells her head off.” “Sometimes,” Morris answered, flushing, “to have to eat, you must keep open on holidays. On Yom Kippur I don’t keep open. But I don’t worry about kosher, which is to me old-fashioned. What I worry is to follow the Jewish Law.” “But all those things are the Law, aren’t they? And don’t the Law say you can’t eat any pig, but I have seen you taste ham.” “This is not important to me if I taste pig or if I don’t. To some Jews is this important but not to me. Nobody will tell me that I am not Jewish because I put in my mouth once in a while, when my tongue is dry, a piece ham. But they will tell me, and I will believe them, if I forget the Law. This means to do what is right, to be honest, to be good. This means to other people. Our life is hard enough. Why should we hurt somebody else? For everybody should be the best, not only for you or me. We ain’t animals. This is why we need the Law. This is what a Jew believes.” (The Assistant)
And how did my father take all this? He drank— of course, not whiskey like a goy, but mineral oil and milk of magnesia; and chewed on Ex-Lax; and ate All-Bran morning and night; and downed mixed dried fruits by the pound bag. He suffered — did he suffer — from constipation. Her ubiquity and his constipation, my mother flying in through the bedroom window, my father reading the evening paper with a suppository up his ass … these, Doctor, are the earliest impressions I have of my parents, of their attributes and secrets. (Portnoy’s Complaint ) そして、父はこうしたことすべてをどんなふうに受け取っていたでしょうか。父は飲みました
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