Nói cuill Chrimaill, ind fhir glic, dochuiret tall fon tiprait: atát le doilbi smachta fo cheó doirchi dráidechta.
The nine hazels of Crimall the sage drop their fruits yonder under the well: they stand by the power of magic spells under a darksome mist of wizardry.
I n-óen-fhecht, amail nách gnáth, fhásas a nduille 's a mbláth: ingnad ciarsad sóer-búaid sin 's a mbeith i n-óen-úair abaig.
Together grow, in unwonted fashion, their leaves and their flowers: — a wonder is this, though a noble quality, and a wonder their ripening all in a moment.
木の実が熟し 泉に落ちる、 底に散らばり、 鮭が摂る。
In úair is abaig in cnúas tuitit 'sin tiprait anúas: thís immarlethat ar lár, co nosethat na bratán.
When the cluster of nuts is ripe they fall down into the well: they scatter below on the bottom, and the salmon eat them.
Téit ind ingen, toisc úaille, 'na ndiaid 'sin sruth srib-úaine: báiter hí da toisc aall; conid úaidi atá Sinann. S.
The maiden goes on a lamentable venture after them into the green-flowing river: she is drowned yonder through her venture; so from her is Sinann named.
ロバート・バーンズ『ハロウィン』(1785)が思ってたのと違ったので、ハロウィンについて初のまとまった解説書 The Book of Hallowe'en(1919) を翻訳してみる。2026年現在から100年余り前、バーンズのバラッドから130年少々後れて出たこの本は、Wikisource で公開され、Internet Archive でも影印の PDF が入手できるが、Google books には無い。
This book is intended to give the reader an account of the origin and history of Hallowe'en, how it absorbed some customs belonging to other days in the year,—such as May Day, Midsummer, and Christmas. The context is illustrated by selections from ancient and modern poetry and prose, related to Hallowe'en ideas.
Those who wish suggestions for readings,recitations, plays, and parties, will find the lists in the appendix useful, in addition to the books on entertainments and games to be found in any public library.
W. M. レッツ『オックスフォードの尖塔とその他の詩』所収の詩「ハロウィーン」の使用許可をいただいたE. P. ボタン・アンド・カンパニー社、ウィリアム・モリス著の詩「ポモナ」を提供してくださったロングマンズ・グリーン・アンド・カンパニー社、ならびに5編の詩の使用を許可してくださった『インディペンデント』紙の編集部には、格別の感謝を。
Special acknowledgment is made to Messrs. E. P. Button & Company for permission to use the poem entitled "Hallowe'en" from ''The Spires of Oxford and Other Poems," by W. M. Letts ; to Messrs. Longmans, Green &Company for the poem "Pomona," by William Morris ; and to the Editors of The Independent for the use of five poems.
If we could ask one of the old-world pagans whom he revered as his greatest gods, he would be sure to name among them the sun-god ; calling him Apollo if he were a Greek ; if an Egyptian, Horus or Osiris ; if of Norway, Sol ; if of Peru, Bochica. As the sun is the center of the physical universe, so all primitive peoples made it the hub about which their religion revolved, nearly always believing it a living person to whom they could say prayers and offer sacrifices, who directed their lives and destinies, and could even snatch men from earthly existence to dwell for a time with him, as it draws the water from lakes and seas.
In believing this they followed an instinct of all early peoples, a desire to make persons of the great powers of nature, such as the world of growing things, mountains and water, the sun, moon, and stars ; and a wish for these gods they had made to take an interest in and be part of their daily life. The next step was making stories about them to account for what was seen ; so arose myths and legends.
The sun has always marked out work-time and rest, divided the year into winter idleness, seed-time, growth, and harvest ; it has always been responsible for all the beauty and goodness of the earth ; it is itself splendid to look upon. It goes away and stays longer and longer, leaving the land in cold and gloom ; it returns bringing the long fair days and resurrection of spring. A Japanese legend tells how the hidden sun was lured out by an image made of a copper plate with saplings radiating from it like sunbeams*1, and a fire kindled, dancing, and prayers ; and round the earth in North America the Cherokees believed they brought the sun back upon its northward path by the same means of rousing its curiosity, so that it would come out to see its counterpart and find out what was going on.
All the more important church festivals are survivals of old rites to the sun. "How many times the Church has decanted the new wine of Christianity into the old bottles of heathendom." Yule-tide, the pagan Christmas, celebrated the sun's turning north, and the old midsummer holiday is still kept in Ireland and on the Continent as St. John's Day by the lighting of bonfires and a dance about them from east to west as the sun appears to move. The pagan Hallowe'en at the end of summer was a time of grief for the decline of the sun's glory, as well as a harvest festival of thanksgiving to him for having ripened the grain and fruit, as we formerly had husking-bees when the ears had been garnered, and now keep our own Thanksgiving by eating of our winter store in praise of God who gives us our increase.
Pomona, the Koman goddess of fruit, lends us the harvest element of Hallowe'en ; the Celtic day of "summer's end" was a time when spirits, mostly evil, were abroad; the gods whom Christ dethroned joined the ill-omened throng ; the Church festivals of All Saints' and All Souls' coming at the same time of year—the first of November—contributed the idea of the return of the dead; and the Teutonic May Eve assemblage of witches brought its hags and their attendant beasts to help celebrate the night of October 31st.
The first reference to Great Britain in European annals of which we know was the statement in the fifth century b. c. of the Greek historian Herodotus, that Phoenician sailors went to the British Isles for tin. He called them the "Tin Islands." The people with whom these sailors traded must have been Celts, for they were the first inhabitants of Britain who worked in metal instead of stone.
The Druids were priest of the Celts centuries before Christ came. There is a tradition in Ireland that they first arrived there in 270 B.C., seven hundred years before St. Patrick. The account of them written by Julius Cæsar half a century before Christ speaks mainly of the Celts of Gaul, dividing them into two ruling classes who kept the people almost in a state of slavery; the knights, who waged war, and the Druids who had charge of worship and sacrifices, and were in addition physicians, historians, teachers,scientists, and judges.
Cæsar says that this cult originated in Britain, and was transferred to Gaul. Gaul and Britain had one religion and one language, and might even have one king, so that what Cæsar wrote of Gallic Druids must have been true of British.
The Celts worshipped spirits of forest and stream, and feared the powers of evil, as did the Greeks and all other early races. Very much of their primitive belief has been kept, so that to Scotch, Irish, and Welsh peasantry; brooks, hills, dales, and rocks abound in tiny supernatural beings, who may work them good or evil, lead them astray by flickering lights, or charm them into seven years' servitude unless they are bribed*2-1 to show favor.
The name "Druid " is derived from the Celtic word "druidh," meaning "sage," connected with the Greek word for oak, " drus," for the oak was held sacred by them as a symbol of the omnipotent god, upon whom they depended for life like the mistletoe growing upon it. Their ceremonies were held in oak-groves.
"The Druid followed him and suddenly, as we are told, struck him with a druidic wand, or according to one version, flung at him a tuft of grass over which he had pronounced a druidical incantation."
They dealt in symbols, common objects to which was given by the interposition of spirits, meaning to signify certain facts, and power to produce certain effects. Since they were tree-worshippers, trees and plants were thought to have peculiar powers.
Cæsar provides them with a galaxy of Roman divinities. Mercury, Mars, Jupiter, and Minerva, who of course were worshipped under their native names. *2-2.:Their chief god was Baal, of whom they believed the sun the visible emblem. They represented him by lowlier tokens, such as circles and wheels. The trefoil, changed into a figure composed of three winged feet radiating from a center, represented the swiftness of the sun's journey. The cross too was a symbol of the sun, being the appearance of its light shintng upon dew or stream, making to the half-closed eye little bright crosses. One form of the cross was the swastika.
To Baal they made sacrifices of criminals or prisoners of war, often burning them alive in wicker images*2-3. These bonfires lighted on the hills were meant to urge the god to protect and bless the crops and herds. From the appearance of the victims sacrificed in them, omens were taken that foretold the future. The gods and other supernatural powers in answer to prayer were thought to signify their will by omens, and also by the following methods: the ordeal, in which the innocence or guilt of a person was shown by the way the god permitted him to endure fire or other torture; exorcism, the driving out of demons by saying mysterious words or names over them. Becoming skilled in interpreting the will of the gods, the Druids came to be known as prophets.
They kept their lore for the most part a secret, forbidding it to be written, passing it down by word of mouth. They taught the immortality of the soul, that it passed from one body to another at death.
" If, as those Druids taught, which kept the British rites, And dwelt in darksome groves, there counselling with sprites, When these our souls by death our bodies do forsake They instantly again do other bodies take―― "
They believed that on the last night of the old year (October 31st)*2-7 the lord of death gathered together the souls of all those who had died in the passing year and had been condemned to live in the bodies of animals, to decree what forms they should inhabit for the next twelve months. He could be coaxed to give lighter sentences by gifts and prayers.
The badge of the initiated Druid was a glass ball*2-8 reported to be made in summer of the spittle of snakes, and caught by the priests as the snakes tossed it into the air. It was real glass, blown by the Druids themselves. It was supposed to aid the wearer in winning lawsuits and securing the favor of kings.
An animal sacred to the Druids was the cat. "A slender black cat reclining on a chain of old silver"*2-9 guarded treasure in the old days. For a long time cats were dreaded by the people because they thought human beings had been changed to that form by evil means.*2-10
The chief festivals of the Druids fell on four days, celebrating phases of the sun's career. Fires of sacrifice were lighted especially at spring and midsummer holidays, by exception on November 1st.
May Day and November Day were the more important, the beginning and end of summer, yet neither equinoxes nor solstices. The time was divided then not according to sowing and reaping, but by the older method of reckoning from when the herds were turned out to pasture in the spring and brought into the fold again at the approach of winter—by a pastoral rather than an agricultural people.
On the night before Beltaine ("Baal-fire"), the first of May, fires were burned to Baal to celebrate the return of the sun bringing summer. Before sunrise the houses were decked with garlands to gladden the sun when he appeared; a rite which has survived in "going maying." The May-Day fires were used for purification. Cattle were singed by being led near the flames, and sometimes bled that their blood might be offered as a sacrifice for a prosperous season. A cake was baked in the fire with one piece blacked with charcoal. Whoever got the black piece was thereby marked for sacrificeto Baal, so that, as the ship proceeded in safety after Jonah was cast overboard, the affairs of the group about the May-Eve fire might prosper when it was purged of the one whom Baal designated by lot. Later only the symbol of offering was used, the victim being forced to leap thrice over the flames.
" When lo ! a flame, A wavy flame of ruddy light Leaped up, the farmyard fence above. And while his children's shout rang high, His cows the farmer slowly drove Across the blaze,—he knew not why."
In history it was the day of the coming of good. Partholon, the discoverer and promoter of Ireland, came thither from the other world to stay three hundred years. The gods themselves, the deliverers of Ireland, first arrived there " through the air " on May Day.
June 21st, the day of the summer solstice, the height of the sun's power, was marked by midnight fires of joy and by dances. These were believed to strengthen the sun's heat. A blazing wheel to represent the sun was rolled down hill.
" A happy thought. Give me this cart-wheel. I'll have it tied with ropes and smeared with pitch, And when it's lighted, I will roll it down The steepest hillside."
Spirits were believed to be abroad, and torches were carried about the fields to protect them from invasion. Charms were tried on that night with seeds of fern and hemp, and dreams were believed to be prophetic.
" The hour may hither drift When at the last, amid the o'erwearied Shee — Weary of long delight and deathless joys — One you shall love may fade before your eyes, Before your eyes may fade, and be as mist Caught in the sunny hollow of Lu's hand, Lord of the Day."
Lugh, in old Highland speech "the summer sun" had for father one of the gods and for mother the daughter of a chief of the enemy. Hence he possessed some good and some evil tendencies. He may be the Celtic Mercury, for they were alike skilled in magic and alchemy, in deception, successful in combats with demons, the bringers of new strength and cleansing to the nation. He said farewell to power on the first of August, and his fostermother had died on that day, so then it was he set his feast-day. The occasion was called “Lugnasad,” “the bridal of Lugh” and the earth, whence the harvest should spring. It was celebrated by the offering of the first fruits of harvest, and by races and athletic sports. In Meath, Ireland, this continued down into the nineteenth century, with dancing and horse-racing the first week of August.
wicker man というものがあって、編み細工（wicker）で出来た人型の構造物を意味する。ドルイド教における供犠・人身御供の一種で、生贄に捧げる家畜や人間を、巨大な人型の檻に閉じ込めたまま焼き殺す祭儀があったという。但しカエサルとストラボンの聞き書き以外に史料がなく、描かれた絵は18世紀の想像図に過ぎず、実在性は甚だ怪しい
On November first was Samhain ("summer's end"). Then the flocks were driven in, and men first had leisure after harvest toil. Fires were built as a thanksgiving to Baal for harvest. The old fire on the altar was quenched before the night of October 31st, and the new one made, as were all sacred fires, by friction. It was called "forcedfire." A wheel and a spindle were used: the wheel, the sun symbol, was turned from east to west, sunwise. The sparks were caught in tow, blazed upon the altar, and were passed on to light the hilltop fires. The new fire was given next morning, New Year's Day, by the priests to the people to light their hearths, where all fires had been extinguished. The blessed fire was thought to protect the year through the home it warmed. In Ireland the altar was Tlactga, on the hill of Ward in Meath, where sacrifices, especially black sheep, were burnt in the new fire. From the death struggles and look of the creatures omens for the future year were taken.
The year was over, and the sun's life of a year was done. The Celts thought that at this time the sun fell a victim for six months to the powers of winter darkness. In Egyptian mythology one of the sun-gods, Osiris, was slain by a banquet by his brother Sitou, the god of darkness. On the anniversary of the murder, the first day of winter, no Egyptian would begin any new business for fear of bad luck, since the spirit of evil was then in power.
「この日に太陽が敵から苦しめられた」という発想から、サウインと死との結びつきが生まれた。
From the idea that the sun suffered from his enemies on this day grew the association of Samhain with death.
" The melancholy days are come, the saddest of the year, Of wailing winds, and naked woods, and meadows brown and sere. Heaped in the hollows of the grove, the wither'd leaves lie dead; They rustle to the eddying gust, and to the rabbit's tread. The robin and the wren are flown, and from the shrub the jay And from the wood-top calls the crow, through all the gloomy day.
" The wind-flower and the violet, they perished long ago, And the wild rose and the orchis died amid the summer glow: Bat on the hill the golden-rod, and the aster in the wood, And the yellow sun-flower by the brook in autumn beauty stood, Till fell the frost from the cold clear heaven, as falls the plague on men, And the brightness of their smile was gone from upland, glade, and glen."
In the same state as those who are dead, are those who have never lived, dwelling right in the world, but invisible to most mortals at most times. Seers could see them at any time, and if very many were abroad at once others might get a chance to watch them too. These supernatural spirits ruled the dead. There were two classes : the Tuatha De Danann, " the people of the goddess Danu," gods of light and life ; and spirits of darkness and evil. The Tuatha had their chief seat on the Isle of Man, in the middle of the Irish Sea, and brought under their power the islands about them. On a Midsummer Day they vanquished the Fir Bolgs and gained most of Ireland, by the battle of Moytura.
" There is a world in which we dwell, And yet a world invisible. And do not think that naught can be Save only what with eyes ye see; I tell ye that, this very hour, Had but your sight a spirit's power. Ye would be looking, eye to eye. At a terrific company."
A long time afterwards—perhaps 1000 b. c. —the Fomor, sea-demons, after destroying nearly all their enemies by plagues, exacted from those remaining, as tribute, " a third part of their corn, a third part of their milk, and a third part of their children." This tax was paid on Samhain. It was on the week before Samhain that the Fomor landed upon Ireland. On the eve of Samhain the gods met them in the second battle of Moytura, and they were driven back into the ocean.
" Then came Tigernmas, the prince of Tara yonder On Hallowe'en with many hosts. A cause of grief to them was the deed. Dead were the men Of Bamba's host, without happy strength Around Tigernmas, the destructive man of the north, From the worship of Crom Cruaich. 'T was no luck for them. For I have learnt, Except one-fourth of the keen Gaels, Not a man alive—lasting the snare ! Escaped without death in his mouth."
As Tigernmas, a mythical king of Ireland, was sacrificing " the firstlings of every issue, and the scions of every clan " to Crom Croich, the king idol, and lay prostrate before the image, he and three-fourths of his men mysteriously disappeared. This was direct invocation, but the fire rites which were continued so long afterwards were really only worshipping the sun by proxy, in his nearest likeness, fire.
Samhain was then a day sacred to the death of the sun, on which had been paid a sacrifice of death to evil powers. Though overcome at Moytura evil was ascendant at Samhain. Methods of finding out the will of spirits and the future naturally worked better then, charms and invocations had more power, for the spirits were near to help, if care was taken not to anger them, and due honors paid.
Thereafter Patrick went over the water to Mag Slecht, a place in which was the chief idol of Ireland, namely, Cenn Cruaich,*3-3 covered with gold and silver, and twelve other idols covered with brass about him. When Patrick saw the idol from the water named Guth-ard (i.e. he uplifted his voice), and when he drew nigh to the idol, he raised up his hand to put Jesu's staff upon it, and reached it not, but . . . its right side, for to the south was its face, namely, to Tara; and the mark of the staff still remains on its left side, and yet the staff did not move out of Patrick's hand. And the earth swallowed up the twelve other images as far as their heads, and they [still] stand thus in token of the miracle. And he cursed the demon, and expelled him into hell. And Patrick summoned all with king Loegaire. These are they who adored the idol, and all saw him, namely the demon, and they feared they would perish unless Patrick should cast him into hell. Then his brooch fell out of Patrick s mantle as he was . . . the conflict and the prowess against the idol. He stript off the heather in that place, and he found his brooch; and no heather-plant grows in that place more than in the rest of the field.
He founded a church in that stead, namely Domnach Maige Slecht, and left therein Mabran [whose cognomen is] Barbaras Patricii, a relative of his and a prophet. And there is Patrick's well, wherein he baptized many.
*3-3:
Colgan has Crom-cruach, which is the Cromm Cruaich of the Dinnsenchas in the Book of Leinster, p. 213, col. 2.
第4章。ポーモーナ CHAPTER IV POMONA
Pomona, Pomona (from Flora and Pomona)1906 After designs by Sir Edward Burne-Jones (English, 1833–1898) and John Henry Dearle (English, 1860–1932) Produced by Morris & Co., London (English, 1875-1940) Woven by Walter Taylor (English, 1875–1965) and John Keich (English, active 1890s–1910) Merton Abbey Tapestry Works, London (English, 1881–1940)
「私は古のリンゴの女王、 今なお在りし日の如く。 永遠に、見えざる希望、 花と枝との間に宿る。
" I am the ancient apple-queen, As once I was so am I now — For evermore a hope unseen Betwixt the blossom and the bough.
Ops*4-1 was the Latin goddess of plenty. Single parts of her province were taken over by various other divinities, among whom was Pomona*4-2 (pomorum patrona, " she who cares for fruits "). She is represented as a maiden with fruit in her arms and a pruning-knife in her hand.
Many Roman poets told storied about her, the best known being by Ovid, who says that she was wooed by many orchard-gods, but preferred to remain unmarried. Among her suitors was Vertumnus("the changer")*4-3, the god of the turning year, who had charge of the exchange of trade, the turning of river channels, and chiefly of the change in nature from flower to ripe fruit. True to his character he took many forms to gain Pomona's love. Now he was a ploughman (spring), now a fisherman (summer), now a reaper (autumn). At last he took the likeness of an old woman (winter), and went to gossip with Pomona. After sounding her mind and finding her averse to marriage, the woman pleaded for Vertumnus's success.
Then the crone told her the story of Anaxarete who was so cold to her lover Iphis that he hanged himself, and she at the window watching his funeral train pass by was changed to a marble statue. Advising Pomona to avoid such a fate, Vertumnus donned his proper form, that of a handsome young man, and Pomona, moved by the story and his beauty, yielded and became his wife.
Vertumnus had a statue in the Tuscan*4-4 Way in Rome, and a temple. His festival, the Vortumnalia, was held on the 23d of August, when the summer began to wane. Garlands and garden produce were offered to him.
Pomona had been assigned one of the fifteen flamina*4-5, priests whose duty it was to kindle the fire for special sacrifices. She had a grove near Ostia*4-6 where a harvest festival was held about November first. Not much is known of the ceremonies, but from the similar August holiday much may be deduced. Then the deities of fire and water were propitiated that their disfavor might not ruin the crops. On Pomona's day doubtless thanks was rendered them for their aid to the harvest. An offering of first-fruits was made in August ; in November the winter store of nuts and apples was opened. The horses released from toil contended in races.
From Pomona's festival nuts and apples, from the Druidic Samhain the supernatural element, combined to give later generations the charms and omens from nuts and apples which are made trial of at Hallowe'en.
残念ながら日本語版 Wikipedia はスコットランドの風習について全く触れず、参考にはならなかった。ハロウィンという祭事がまだイングランドには知られていなかった頃、スコットランドに行われた習俗として紹介した詩があると聞いて、読もうと思ったら、まだ邦訳されていなかった。ので、此処に翻訳する。底本に用いたWikisource にある The Beauties of Burn's Poems 出版は1819年、奇しくも『吸血鬼』と同年で、何か運命的なものを感じざるを得ない。
The following Poem will, by many readers, be well enough understood; but for the sake of those who are unacquainted with the manners and traditions of the country where the scene is cast, notes are added, to give some account of the principal charms and spells of that night, so big with prophecy to the peasantry*1 in the west of Scotland. The passion of prying into futurity makes a striking part of the history of human nature, in its rude state, in all ages and nations; and it may be some entertainment to a philosophic mind, if any such should honour the Author with a perusal, to see the remains of it, among the more unenlightened in our own.]
Yes! let the rich deride, the proud disdain, The simple pleasures of the lowly train; To me more dear, congenial to my heart, One native charm, than all the gloss of art.
Upon that night, when Fairies light, On Cassilis-Downans[2] dance, Or owre the lays, in splendid blaze, On sprightly coursers prance; Or from Colean the rowte is ta'en, Beneath the moon's pale beams: There, up the Cove[3], to stray and rove, Amang the rocks and streams, To sport that night.
Amang the bonie, winding banks, Where Doon rins, wimplin, clear, Where Bruce[4] ance rul'd the martial ranks, An' shook his Carrick spear, Some merry, friendly, countra folks, Together did convene, To burn their nits, an' pou their stocks, An' haud their Halloween Fu' blythe that night.
The lasses feat, an' cleanly neat, Mair braw than when they're fine; Their faces blythe, fu' sweetly kythe, Hearts leal, an' warm, an' kin: The lads sae trig, wi' wooer-babs, Weel knotted on their garten, Some unco blate, an' some wi' gabs, Gar lasses' hearts gang startin Whyles fast at night.
Then, first an' foremost, thro' the kail, Their stocks[5] maun a' be sought ance: They steek their een, an' grape an' wale, For muckle anes, an' straught anes. Poor hav'rel Will fell aff the drift, An' wander'd thro' the Bow-kail, An' pou't, for want o' better shift, A runt was like a sow-tail, Sae bow't that night.
Then, straught or crooked, yird or nane, They roar an' cry a' throu'ther; The vera wee things, toddlin, rin, Wi' stocks out-owre their shouther; An' gif the custock's sweet or sour, Wi' joctelegs they taste them; Syne coziely, aboon the door, Wi' cannie care, they've plac'd them To lie that night.
The lasses staw frae' mang them a' To pou their stalks o' corn;[6] But Rab slips out, an' jinks about, Behint the muckle thorn: He grippet Nelly hard an' fast; Loud skirl'd a' the lasses; But her tap-pickle maist was lost, When kiutlin i' the fause-house[7] Wi' him that night.
The auld guidwife's weel-hoordet nits[8] Are round an' round divided, An' monie lads' and lasses' fates Are there that night decided. Some kindle, couthie, side by side, An' burn thegither trimly; Some start awa, wi' saucy pride, An' jump out-owre the chimlie Fu' high that night.
Jean slips in twa, wi' tentie e'e; Wha 'twas, she wadna tell; But this is Jock, and this is me, She says in to hersel: He bleez'd owre her, an' she owre him, As they wad never mair part; Till fuff! he started up the lum, An' Jean had e'en a sair heart To see't that night.
Poor Willie*2, wi' his bow-kail runt*3, Was brunt wi' primsie Mallie*4, An' Mary*5, nae doubt, took the drunt, To be compar'd to Willie: Mall's nit lap out, wi' pridefu' fling, An' her ain fit it brunt it; While Willie lap, an' swoor by jing*6, 'Twas just the way he wanted To be that night.
Nell had the fause-house in her min', She pits hersel an' Rob in; In loving bleeze they sweetly join, Till white in ase they're sobbin: Nell's heart was dancin at the view; She whisper'd Rob to leuk for't: Rob, stownlins, prie'd her bonnie mou, Fu' cozie in the neuk for't, Unseen that night.
But Merran sat behint their backs, Her thoughts on Andrew Bell; She lea'es them gashin at their cracks, An' slips out by hersel: She thro' the yard the nearest taks, An' to the kiln she goes then, An' darklins grapit for the bauks, And in the blue-clue[9] throws them, Right fear't that night.
An' aye she win't, an' ay she swat, I wat she made nae jaukin; Till something held within the pat, Guid Lord! but she was quaukin! But whether 'twas the Deil himsel, Or whether 'twas a bauk-en', Or whether it was Andrew Bell, She did na wait on talkin To spier that night.
Wee Jenny to her Graunie says, 'Will ye go wi' me, Graunie? I'll eat the apple[10] at the glass, 'I gat frae uncle Johnie:' She fuff't her pipe wi' sic a lunt, In wrath she was sae vap'rin, She notic't na, an aizle brunt, Her braw new worset apron Out thro' that night.
'Ye little Skelpie-limmer's face! 'I daur you try sic sportin, 'As seek the foul Thief ony place, 'For him to spae your fortune? 'Nae doubt but ye may get a sight! 'Great cause ye hae to fear it; 'For monie a ane has gotten a fright, 'An liv'd an' di'd deleeret, On sic a night.
'Ae Hairst afore the Sherra-moor, 'I mind't as weel's yestreen, 'I was a gilpey then, I'm sure 'I was na past fyfteen: 'The simmer had been cauld and wat, 'An' stuff was unco' green; 'An' ay a rantin kirn we gat, 'An' just on Halloween 'It fell that night.
'Our stibble-rig was Rab M'Graen, 'A clever, sturdy fallow; 'His sin gat Eppie Sim wi' wean, 'That liv'd in Achmacalla; 'He gat hemp-seed,[11] I mind it weel, 'An' he made unco light o't; 'But monie a day was by himsel, 'He was sae sairly frighted 'That vera night.'
Then up gat fechtin Jamie Fleck, An' he swoor by his conscience, That he could saw hemp-seed a peck; For it was a' but nonsense: The auld guidman raught down the pock, An' out a handfu' gied him; Syne bad him slip frae 'mang the folk, Sometime when nae ane see'd him, An' try't that night.
He marches thro' amang the stacks, Tho' he was something sturtin; The graip he for a harrow taks, An' haurls at his curpin: An' ev'ry now an' then, he says, 'Hemp-seed, I saw thee, 'An' her that is to be my lass, 'Come after me an' draw thee As fast this night.'
He whistl'd up Lord Lenox' march, To keep his courage cheary; Altho' his hair began to arch, He was sae fley'd an' eerie: Till presently he hears a squeak, An' then a grane an' gruntle; He by his shouther gae a keek, An' tumbl'd wi' a wintle Out-owre that night.
He roar'd a horrid murder shout, In dreadfu' desperation! An' young an' auld come rinnin out, An' hear the sad narration: He swoor 'twas hilchin Jean M'Craw, Or crouchie Merran Humphie, Till stop! she trotted thro' them a'; An' wha was it but Grumphie Asteer that night!
Meg fain wad to the barn gaen To winn three wechts o' naething;[12] But for to meet the Deil her lane, She pat but little faith in: She gies the Herd a pickle nits, And twa red-cheekit apples, To watch, while for the barn she sets, In hopes to see Tam Kipples That vera night.
She turns the key, wi' cannie thraw, An' owre the threshold ventures, But first on Sawnie*8 gies a ca', Syne bauldly in she enters; A ratton rattl'd up the wa', An' she cry'd, Lord preserve her! An' ran thro' midden-hole an' a', An' pray'd wi' zeal an' fervour, Fu' fast that night.
They hoy't out Will, wi' sair advice; They hecht him some fine braw ane; It chanc'd the stack he faddom't thrice[13] Was timmer-propt for thrawin: He taks a swirlie, auld moss-oak, For some black, grousome Carlin; An' loot a winze, an' drew a stroke, Till skin in blypes cam haurlin Aff's nieves that night.
A wanton widow Leezie was, As cantie as a kittlin; But Och! that night, amang the shaws, She gat a fearfu' settlin! She thro' the whins, an' by the cairn, An' owre the hill gaed scrievin, Whare three lairds' lands met at a burn,[14] To dip her left sark-sleeve in, Was bent that night.
Whyles owre a linn the burnie plays, As thro' the glen it wimpl't; Whyles round a rocky scar it strays; Whyles in a wiel it dimpl't; Whyles glitter'd to the nightly rays, Wi' bickering, dancing dazzle; Whyles cookit underneath the braes, Below the spreading hazel, Unseen that night.
Amang the brachens on the brae, Between her an' the moon, The Deil, or else an' outler Quey, Gat up an' gae a croon: Poor Leezie's heart maist lap the hool; Near lav'rock height she jumpit, But mist a fit, an' in the pool Out-owre the lugs she plumpit, Wi'a plunge that night.
In order, on the clean hearth-stane, The luggies three[15] are ranged; And ev'ry time great care is taen, To see them duly changed: Auld uncle John, wha wedlock's joys Sin' Mar's-year did desire, Because he gat the toom dish thrice, He heav'd them on the fire In wrath that night.
Wi' merry sangs, an' friendly cracks, I wat they did na weary; And unco tales, an' funnie jokes, Their sports were cheap and cheary; Till butt'rd So'ns,[16] wi' fragrant lunt, Set a' their gabs a-steerin; Syne, wi' a social glass o' strunt, They parted aff careerin Fu' blythe that night.
Halloween is thought to be a night when witches, devils, and other mischief-making beings are all abroad on their baneful, midnight errands; particularly those aërial people, the fairies, are said, on that night, to hold a grand anniversary.*9
A noted cavern near Colean-house, called the Cove of Colean*11; which, as well as Cassilis Downans, is famed in country story for being a favourite haunt of fairies.
The first ceremony of Halloween is, pulling each a stock, or plant of kail. They must go out, hand in hand, with eyes shut, and pull the first they meet with. Its being big or little, straight or crooked, is prophetic of the size and shape of the grand object of all their spells the husband or wife. If any yird, or earth, stick to the root, that is tocher, or fortune; and the taste of the custoc, that is, the heart of the stem, is indicative of the natural temper and disposition. Lastly, the stems, or, to give them their ordinary appellation, the runts, are placed somewhere above the head of the door; and the christian names of the people whom chance brings into the house, are, according to the priority of placing the runts, the names in question. R. B.
They go to the barn-yard, and pull each, at three several times, a stalk of oats*13. If the third stalk wants the tap-pickle, that is, the grain at the top of the stalk, the party in question will come to the marriage-bed any thing but a maid.
When the corn is in a doubtful state, by being too green, or wet, the stack-builder*14, by means of old timber, etc., makes a large apartment in his stack, with an opening in the side which is fairest exposed to the wind: this he calls a Fause-house*15.
Burning the nuts is a famous charm. They name the lad and the lass to each particular nut, as they lay them in the fire; and accordingly as they burn quietly together, or start from beside one another, the course and issue of the courtship will be. R. B.
Whoever would, with success, try this spell, must strictly observe these directions: Steal out, all alone, to the kiln, and, darkling, throw into the pot a clue of blue yarn: wind it in a new clue off the old one: and, towards the latter end, something will hold the thread; demand, Wha hands? i.e., who holds? an answer will be returned from the kiln-pot, by naming the christian and surname of your future spouse. R. B.
Take a candle, and go alone to a looking-glass; eat an apple before it, and some traditions say, you should comb your hair all the time; the face of your conjugal companion, to be, will be seen in the glass, as if peeping over your shoulder. R. B.
Steal out unperceived, and sow a handful of hemp-seed: harrowing it with any thing you can conveniently draw after you. Repeat now and then, 'Hemp-seed, I saw thee, hemp-seed, I saw thee; and him (or her) that is to be my true-love, come after me and pou thee.' Look over your left shoulder, and you will see the appearance of the person invoked, in the attitude of pulling hemp. Some traditions say, 'come after me, and shaw thee,' that is, show thyself: in which case it simply appears. Others omit the harrowing, and say, 'come after me, and harrow thee.' R. B.*16
This charm must likewise be performed unperceived, and alone. You go to the barn, and open both doors, taking them off the hinges, if possible; for there is danger, that the being, about to appear, may shut the doors, and do you some mischief. Then take that instrument used in winnowing the corn, which, in our country dialect, we call a wecht; and go through all the attitudes of letting down corn against the wind. Repeat it three times; and the third time an apparition will pass through the barn, in at the windy door, and out at the other, having both the figure in question, and the appearance or retinue, marking the employment or station in life. R. B.
Take an opportunity of going, unnoticed, to a Bear-stack, and fathom it three times round. The last fathom of the last time, you will catch in your arms the appearance of your future conjugal yoke-fellow. R. B.
You go out, one or more (for this is a social spell), to a south running spring or rivulet, where 'three lairds' lands meet,' and dip your left shirt sleeve. Go to bed in sight of a fire, and hang your wet sleeve before it to dry. Lie awake; and some time near midnight, an apparition, having the exact figure of the grand object in question, will come and turn the sleeve, as if to dry the other side of it. R. B.
Take three dishes; put clean water in one, foul water in another, leave the third empty: blindfold a person, and lead him to the hearth where the dishes are ranged; he (or she) dips the left hand: if by chance in the clean water, the future husband or wife will come to the bar of matrimony, a maid: if in the foul, a widow: if in the empty dish, it foretells, with equal certainty, no marriage at all. It is repeated three times; and every time the arrangement of the dishes is altered. R. B.
*10:Cassillis and Its Dule-Tree という版画の紹介として、次のようにある。キャシリス・ダウナンズ（Cassillis Downans）は、城の南約1/4マイル（約400メートル）、メイボールとダルリンプルを結ぶ道路の近くに盛り上がる、3つか4つの小さな丘です。その中で最も大きく、屋敷に一番近い丘は、ドゥーン川の水面から300フィート（約90メートル）ほどの高さがあるように見えます。2番目の丘はやや低く、他の1つ2つは人目につきません。丘は緑の芝生に覆われつつも、所々で岩肌が露出しており、そのためバーンズは注釈でこれらを「岩だらけの（rocky）」丘と表現しています。最も高い丘の頂上には円形の土塁があり、その西側には通路の出入り口と思しき切れ目があります。ここが初期の砦であった可能性は高く、特に丘の中腹にある農場が「ダンリー（Dunree）」という……明らかに「ダン・リー（Dun-righ）」、すなわち「王の城」を意味する……名を冠していることは、その説を裏付けています。こうした小高い丘の独特な形状や、平坦な土地の真ん中に忽然とそびえ立つという状況は、教育を受ける機会のなかった当時の人々の心に、迷信的な想像をかき立てずにはおかないものだったでしょう。そのため、バーンズの時代に至るまで、これらは妖精の仕業であり、真夜中の宴が繰り広げられる特別な場所だと信じられていました。実際には、これらはトラップ（粗粒玄武岩などの火成岩）の塊であり、うち一つは今なお、近隣の道路の補修にぴったりの「資材」（砕石）を供給しています。バーンズは、父親がオリファント山に住んでいた頃、ダルリンプルの学校へ通っていたことがあるので、この版画に描かれた風景は彼にとって馴染み深いものだったに違いありません。www.maybole.org
C'est la mer mêlée Au soleil という曲が複数あったので、ここで聴いてみる事にした。マーク・ノップラーのアルバム Get Lucky から、最後の曲 Piper to the End が夕陽を歌い、夕陽を収めた動画があったのはもちろん偶然だが。しみじみと良いアルバムなのに、あまり売れていないのか廃番になっているらしいのは残念なことだ。
特に冒頭で引っ掛かるのは alliée の訳し方で、「溶け合う」「溶け込んだ」「とろけた」「番う」「共に去る」「手を取り合って行った」「いっしょに消えた」「混じった」「もろとも行って」などと訳し分けられている。それでは、と字引きを見ると、英語 gone に当たるものらしく、avec と合わせて gone with と考えれば、Gone with the Wind（風と共に去りぬ）の引用か？
コールリッジ『年寄り船乗り The Ancient Mariner』の影響であったが。検索しても、そんな話は出てこない。はて？という訳で、自分でも訳してみた。制作当時のランボー16歳は船に乗ったことも、船乗りに話を訊くこともなかったらしく、コールリッジの切実なリアリティには欠けるものの、それは問題にはならない。もとより立場も目指すところも違うのだから。
画像は塗り絵アプリ Color Planet から。翻訳の底本は Wikisource と Google books から。以下に参考文献を列べておく。
Comme je descendais des Fleuves*1 impassibles*2, Je ne me sentis plus guidé par les haleurs*3: Des Peaux-rouges*4 criards les avaient pris pour cibles, Les ayant*5 cloués*6 nus aux poteaux*7 de couleurs*8.
J'étais insoucieux de tous les équipages*9, Porteur de blés flamands*10 ou de cotons anglais. Quand avec mes haleurs ont fini ces tapages, Les Fleuves m'ont laissé descendre où je voulais.
www.youtube.com Tom Bodin : Dans les clapotements furieux des marées
Dans les clapotements*11, furieux*12 des marées*13 Moi, l'autre hiver, plus sourd que les cerveaux d'enfants, Je courus! et les Péninsules démarrées*14 N'ont pas subi tohu-bohus*15 plus triomphants.
La tempête a béni mes éveils maritimes.*16 Plus léger qu’un bouchon*17 j’ai dansé sur les flots*18 Qu’on appelle rouleurs éternels de victimes,*19 Dix nuits*20, sans regretter l’œil niais des falots !
Plus douce qu’aux enfants la chair des pommes*21 sures, L’eau verte*22 pénétra ma coque de sapin Et des taches de vins bleus et des vomissures Me lava, dispersant*23 gouvernail et grappin.
Et dès lors, je me suis baigné dans le Poème De la Mer, infusé*24 d’astres, et lactescent, Dévorant les azurs verts; où, flottaison blême Et ravie, un noyé pensif parfois descend;
www.youtube.com Le pianiste Ismaël Margain interprète la valse "La Plus que lente" de Claude Debussy.
Où, teignant tout à coup les bleuités*25, délires Et rythmes lents*26 sous les rutilements du jour, Plus fortes que l’alcool, plus vastes que nos lyres, Fermentent les rousseurs amères de l’amour !
Je sais les cieux crevant en éclairs, et les trombes Et les ressacs, et les courants : je sais le soir, L’Aube exaltée ainsi qu’un peuple de colombes, Et j’ai vu quelquefois ce que l’homme a cru voir !
J’ai vu le soleil bas, taché d’horreurs mystiques, Illuminant de longs figements violets, Pareils à des acteurs de drames très antiques Les flots roulant au loin leurs frissons*27 de volets*28!
J’ai rêvé la nuit verte*29*30 aux neiges éblouies, Baisers montant aux yeux des mers*31 avec lenteurs, La circulation des sèves inouïes, Et l’éveil jaune et bleu des phosphores*32 chanteurs!
J’ai suivi, des mois pleins, pareille aux vacheries*33, Hystériques*34 la houle à l’assaut des récifs, Sans songer que les pieds lumineux des Maries*35 Pussent forcer le mufle aux Océans poussifs !
J’ai heurté, savez-vous, d’incroyables Florides*36 Mêlant aux fleurs des yeux de panthères à peaux D’hommes ! Des arcs-en-ciel tendus comme des brides Sous l’horizon des mers, à de glauques troupeaux !
J’ai vu fermenter les marais énormes, nasses Où pourrit dans les joncs tout un Léviathan*37! Des écroulements d’eaux au milieu des bonaces, Et les lointains vers les gouffres cataractant!*38
Glaciers, soleils d’argent, flots nacreux, cieux de braises ! Échouages hideux au fond des golfes bruns Où les serpents géants dévorés des punaises Choient, des arbres tordus, avec de noirs parfums!*40
J’aurais voulu montrer aux enfants ces dorades*41 Du flot bleu, ces poissons d’or*42, ces poissons chantants. — Des écumes de fleurs ont bercé mes dérades Et d’ineffables vents m’ont ailé par instants.
Parfois, martyr lassé des pôles*43*44 et des zones*45, La mer dont le sanglot faisait mon roulis doux Montait vers moi ses fleurs d’ombre aux ventouses jaunes*46 Et je restais, ainsi qu’une femme à genoux…
Presque île, ballottant sur mes bords les querelles Et les fientes d’oiseaux clabaudeurs aux yeux blonds. Et je voguais, lorsqu’à travers mes liens frêles Des noyés descendaient dormir, à reculons !
Or moi, bateau perdu sous les cheveux des anses, Jeté par l’ouragan dans l’éther sans oiseau, Moi dont les Monitors*47 et les voiliers des Hanses*48 N’auraient pas repêché la carcasse ivre d’eau*49;
Libre, fumant, monté de brumes violettes, Moi qui trouais le ciel rougeoyant comme un mur Qui porte, confiture exquise aux bons poètes, Des lichens*50 de soleil et des morves d’azur,
Qui courais, taché de lunules électriques, Planche folle, escorté des hippocampes*51 noirs, Quand les juillets*52 faisaient crouler à coups de triques Les cieux ultramarins aux ardents entonnoirs;
Moi qui tremblais, sentant geindre à cinquante lieues Le rut des Béhémots*53 et les Maelstroms*54 épais, Fileur*55 éternel des immobilités bleues*56, Je regrette l’Europe aux anciens parapets !
J’ai vu des archipels sidéraux*57! et des îles Dont les cieux délirants sont ouverts au vogueur: — Est-ce en ces nuits sans fonds que tu dors et t’exiles, Million d’oiseaux d’or, ô future Vigueur ? —
Mais, vrai, j’ai trop pleuré ! Les Aubes sont navrantes. Toute lune est atroce et tout soleil amer: L’âcre amour m’a gonflé de torpeurs enivrantes. Ô que ma quille*58 éclate ! Ô que j’aille à la mer !
www.youtube.com Can't find my way home; Steve Winwood + Eric Clapton
Si je désire une eau d’Europe, c’est la flache Noire et froide où vers le crépuscule embaumé Un enfant accroupi, plein de tristesse, lâche Un bateau frêle comme un papillon de mai.
Je ne puis plus, baigné de vos langueurs, ô lames, Enlever leur sillage aux porteurs de cotons, Ni traverser l'orgueil des drapeaux*59 et des flammes, Ni nager sous les yeux horribles*60 des pontons!*61
W.H. オーデン“In Sickness and in Health,” (1942)のほか、The Oxford English Dictionary に拠れば、ラブレー（1548）、ヴォルテール（1776）、19世紀のグラッドストン、ブラウニング、L・S・ホートン、20世紀のウォルター・リップマンによる用例が確認されている evidenceanecdotal.blogspot.com
With sloping masts and dipping prow, Still treads the shadow of his foe And forward bends his head, The ship drove fast, loud roar'd the blast, The southward aye we fled.
この一語は名詞「新郎「新婦」の複数形または「夫婦」、動詞marier「結婚する」「結婚させる」の活用形とも、はたまた女性の名である Marie の集合とも取れる、厄介な書き方になっている。特に女性名とした場合は聖母マリアを含意し、海上では海の星の聖母 Stella Maris すなわち北極星として崇拝される存在でもあり、『年寄り船乗り』第5部にも歌われている。
Oh sleep! it is a gentle thing, Belov'd from pole to pole! To Mary Queen the praise be given! She sent the gentle sleep from Heaven, That slid into my soul.
Beyond the shadow of the ship, I watched the water-snakes: They moved in tracks of shining white, And when they reared, the elfish light Fell off in hoary flakes.
2004年11月14日より前、Fir0002
_by_Shunsai_Toshimasa_1889.jpg){kind=spacer}
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A Witches'-Caldron Table.
A Black-Cat Table.
キャシリス・ダウナンズ（Cassillis Downans）は、城の南約1/4マイル（約400メートル）、メイボールとダルリンプルを結ぶ道路の近くに盛り上がる、3つか4つの小さな丘です。その中で最も大きく、屋敷に一番近い丘は、ドゥーン川の水面から300フィート（約90メートル）ほどの高さがあるように見えます。2番目の丘はやや低く、他の1つ2つは人目につきません。丘は緑の芝生に覆われつつも、所々で岩肌が露出しており、そのためバーンズは注釈でこれらを「岩だらけの（rocky）」丘と表現しています。最も高い丘の頂上には円形の土塁があり、その西側には通路の出入り口と思しき切れ目があります。ここが初期の砦であった可能性は高く、特に丘の中腹にある農場が「ダンリー（Dunree）」という……明らかに「ダン・リー（Dun-righ）」、すなわち「王の城」を意味する……名を冠していることは、その説を裏付けています。こうした小高い丘の独特な形状や、平坦な土地の真ん中に忽然とそびえ立つという状況は、教育を受ける機会のなかった当時の人々の心に、迷信的な想像をかき立てずにはおかないものだったでしょう。そのため、バーンズの時代に至るまで、これらは妖精の仕業であり、真夜中の宴が繰り広げられる特別な場所だと信じられていました。実際には、これらはトラップ（粗粒玄武岩などの火成岩）の塊であり、うち一つは今なお、近隣の道路の補修にぴったりの「資材」（砕石）を供給しています。バーンズは、父親がオリファント山に住んでいた頃、ダルリンプルの学校へ通っていたことがあるので、この版画に描かれた風景は彼にとって馴染み深いものだったに違いありません。
George Catlin (1796–1872) No Horns on His Head, a Brave(1832)
ルイ・ル・ブルトン『トゥーロンの廃船』 