この物語は、人拐いと化す笛吹きの印象が強いけれども、ハーメルン市の支配権がエーフェルシュタイン伯家からブラウンシュヴァイク公ヴェルフェン家に移ったときの政変劇と捉えれば、『鍋島の化け猫』に同じく、新政権側に都合のよい書き方になっている可能性が高い。逃げ出した原住民には、また別の物語があったのかもしれない。因みに『鍋島の化け猫』は The Vampire Cat. として英訳され、そこそこ人気があったようで、近々邦訳する予定。
*1:この詩人は専ら「ブラウニング」で通っており、英国人の発音もそれに近い。一方で、同じ姓を持つ銃火器設計家 John Browning は昔から「ブローニング」と呼ばれるので、レイモンド・チャンドラー描く私立探偵フィリップ・マーロウは「詩人のブローニングだ、君は拳銃の方が好きだろうが」と女に教えることになる。訳者は『赤毛のアン』を読んだことがなく、マーロウの科白からこの詩人を知ったので、どうしても「ブローニング」でないと他人な気がしてしまう
By famous Hanover city; The river Weser, deep and wide, Washes its wall on the southern side; A pleasanter spot you never spied; But, when begins my ditty, Almost five hundred years ago, To see the townsfolk suffer so From vermin, was a pity.
Rats!*3 They fought the dogs and killed the cats, And bit the babies in the cradles, And ate the cheeses out of the vats, And licked the soup from the cooks’ own ladles, Split open the kegs of salted sprats, Made nests inside men’s Sunday hats, And even spoiled the women’s chats By drowning their speaking With shrieking and squeaking In fifty different sharps and flats.
At last the people in a body To the Town Hall came flocking:
“’Tis clear,” cried they, “our Mayor’s a noddy; “And as for our Corporation—shocking. “To think we buy gowns lined with ermine*4 “For dolts that can’t or won’t determine “What’s best to rid us of our vermin! “You hope, because you’re old and obese, “To find in the furry civic robe ease? “Rouse up, sirs! Give your brains a racking “To find the remedy we’re lacking, “Or, sure as fate, we’ll send you packing!”
At this the Mayor and Corporation*5 Quaked with a mighty consternation.
An hour they sat in council, At length the Mayor broke silence: “For a guilder I’d my ermine gown sell, “I wish I were a mile hence! “It’s easy to bid one rack one’s brain— “I’m sure my poor head aches again, “I’ve scratched it so, and all in vain. “Oh for a trap*6, a trap, a trap!” Just as he said this, what should hap At the chamber door but a gentle tap? “Bless us,” cried the Mayor, “what’s that?” (With the Corporation as he sat, Looking little though wondrous fat; Nor brighter was his eye, nor moister Than a too-long-opened oyster, Save when at noon his paunch grew mutinous For a plate of turtle green and glutinous) “Only a scraping of shoes on the mat? “Anything like the sound of a rat “Makes my heart go pit-a-pat*7!”
“Come in!”—the Mayor cried, looking bigger: And in did come the strangest figure! His queer long coat from heel to head Was half of yellow and half of red, And he himself was tall and thin, With sharp blue eyes, each like a pin, And light loose hair, yet swarthy skin, No tuft on cheek nor beard on chin, But lips where smiles went out and in— There was no guessing his kith and kin: And nobody could enough admire The tall man and his quaint attire. Quoth one: “It’s as my great-grandsire*8, “Starting up at the Trump of Doom’s tone*9, “Had walked this way from his painted tombstone*10!”
He advanced to the council-table And, “Please your honours,” said he, “I’m able, “By means of a secret charm, to draw “All creatures living beneath the sun, “That creep or swim or fly or run, “After me so as you never saw! “And I chiefly use my charm “On creatures that do people harm, “The mole and toad and newt and viper; “And people call me the Pied Piper.” (And here they noticed round his neck A scarf of red and yellow stripe, To match with his coat of the self-same*11 cheque*12; And at the scarf’s end hung a pipe*13; And his fingers, they noticed, were ever straying As if impatient to be playing Upon this pipe, as low it dangled Over his vesture so old-fangled.) “Yet,” said he, “poor piper as I am, “In Tartary*14 I freed the Cham, “Last June, from his huge swarms of gnats; “I eased in Asia the Nizam*15 “Of a monstrous brood of vampire-bats: “And as for what your brain bewilders, “If I can rid your town of rats “Will you give me a thousand guilders?” “One? fifty thousand!”—was the exclamation Of the astonished Mayor and Corporation.
Into the street the Piper stept, Smiling first a little smile, As if he knew what magic slept In his quiet pipe the while; Then, like a musical adept, To blow the pipe his lips he wrinkled, And green and blue his sharp eyes twinkled, Like a candle-flame where salt is sprinkled; And ere three shrill notes*16 the pipe uttered, You heard as if an army muttered; And the muttering grew to a grumbling; And the grumbling grew to a mighty rumbling; And out of the houses the rats came tumbling*17. Great rats, small rats, lean rats, brawny rats, Brown rats, black rats, grey rats, tawny rats, Grave old plodders, gay young friskers, Fathers, mothers, uncles, cousins, Cocking tails and pricking whiskers, Families by tens and dozens, Brothers, sisters, husbands, wives— Followed the Piper for their lives. From street to street he piped advancing, And step for step they followed dancing*18, Until they came to the river Weser, Wherein all plunged and perished! —Save one who, stout as Julius Csar*19, Swam across and lived to carry (As he, the manuscript he cherished) To Rat-land home his commentary: Which was, “At the first shrill notes of the pipe, “I heard a sound as of scraping tripe, “And putting apples, wondrous ripe, “Into a cider-press’s gripe: “And a moving away of pickle-tub-boards, “And a leaving ajar of conserve-cupboards, “And a drawing the corks of train-oil-flasks, “And a breaking the hoops of butter-casks: “And it seemed as if a voice “(Sweeter far than by harp or by psaltery*20 “Is breathed) called out, ‘Oh rats, rejoice! “The world is grown to one vast drysaltery*21! “So munch on, crunch on, take your nuncheon*22, “Breakfast, supper, dinner, luncheon!’ “And just as a bulky sugar-puncheon,、 “All ready staved*23, like a great sun shone “Glorious scarce an inch before me, “Just as methought it said, Come, bore me! “—I found the Weser rolling o’er me.”
You should have heard the Hamelin people Ringing the bells till they rocked the steeple. “Go,” cried the Mayor, “and get long poles, “Poke out the nests and block up the holes! “Consult with carpenters and builders, “And leave in our town not even a trace “Of the rats!”—when suddenly, up the face Of the Piper perked in the market-place, With a, “First, if you please, my thousand guilders!”
A thousand guilders*24! The Mayor looked blue; So did the Corporation too. For council dinners made rare havock With Claret, Moselle, Vin-de-Grave*25, Hock*26; And half the money would replenish Their cellar’s biggest butt with Rhenish. To pay this sum*27 to a wandering fellow With a gipsy coat of red and yellow! “Beside,” quoth the Mayor with a knowing wink, “Our business was done at the river’s brink; “We saw with our eyes the vermin sink, “And what’s dead can’t come to life, I think. “So, friend, we’re not the folks to shrink “From the duty of giving you something for drink, “And a matter of money to put in your poke; “But as for the guilders, what we spoke “Of them, as you very well know, was in joke. “Beside, our losses have made us thrifty. “A thousand guilders! Come, take fifty!”
The Piper’s face fell, and he cried “No trifling! I can’t wait, beside! “I’ve promised to visit by dinnertime “Bagdat*28, and accept the prime “Of the Head-Cook’s pottage, all he’s rich in, “For having left, in the Caliph’s kitchen, “Of a nest of scorpions*29 no survivor— “With him I proved no bargain-driver, “With you, don’t think I’ll bate a stiver*30! “And folks who put me in a passion “May find me pipe to another fashion*31.”
“How?” cried the Mayor, “d’ye think I brook “Being worse treated than a Cook? “Insulted by a lazy ribald “With idle pipe*32 and vesture piebald? “You threaten us, fellow? Do your worst, “Blow your pipe there till you burst!”
Once more he stept into the street And to his lips again Laid his long pipe of smooth straight cane*33; And ere he blew three notes (such sweet Soft notes as yet musician’s cunning Never gave the enraptured air) There was a rustling*34 that seemed like a bustling Of merry crowds justling at pitching and hustling, Small feet were pattering, wooden shoes clattering, Little hands clapping and little tongues chattering, And, like fowls in a farm-yard when barley is scattering, Out came the children running. All the little boys and girls, With rosy cheeks and flaxen curls, And sparkling eyes and teeth like pearls, Tripping and skipping, ran merrily after The wonderful music with shouting and laughter*35.
The Mayor was dumb, and the Council stood As if they were changed into blocks of wood, Unable to move a step, or cry To the children merrily skipping by— And could only follow with the eye That joyous crowd at the Piper’s back. But how the Mayor was on the rack*36, And the wretched Council’s bosoms beat, As the Piper turned from the High Street To where the Weser rolled its waters Right in the way of their sons and daughters! However he turned from South to West, And to Koppelberg Hill his steps addressed, And after him the children pressed; Great was the joy in every breast. “He never can cross that mighty top! “He’s forced to let the piping drop, “And we shall see our children stop!” When, lo, as they reached the mountain-side, A wondrous portal*37 opened wide, As if a cavern*38 was suddenly hollowed; And the Piper advanced and the children followed, And when all were in to the very last, The door in the mountain-side shut fast. Did I say, all? No! One was lame, And could not dance the whole of the way; And in after years, if you would blame His sadness, he was used to say*39 “It’s dull in our town since my playmates left! “I can’t forget that I’m bereft “Of all the pleasant sights they see, “Which the Piper also promised me. “For he led us, he said, to a joyous land, “Joining the town and just at hand, “Where waters gushed and fruit-trees grew “And flowers put forth a fairer hue, “And everything was strange and new; “The sparrows were brighter than peacocks here, “And their dogs outran our fallow deer, “And honey-bees had lost their stings, “And horses were born with eagles’ wings: “And just as I became assured “My lame foot would be speedily cured, “The music stopped and I stood still, “And found myself outside the hill, “Left alone against my will, “To go now limping as before, “And never hear of that country more!”
Alas, alas for Hamelin! There came into many a burgher’s pate A text which says that heaven’s gate Opes to the rich at as easy rate As the needle’s eye takes a camel in!*40 The mayor sent East, West, North and South, To offer the Piper, by word of mouth, Wherever it was men’s lot to find him, Silver and gold to his heart’s content, If he’d only return the way he went, And bring the children behind him. But when they saw ’twas a lost endeavour, And Piper and dancers were gone for ever, They made a decree that lawyers never Should think their records dated duly*41 If, after the day of the month and year, These words did not as well appear, “And so long after what happened here “On the Twenty-second of July, “Thirteen hundred and seventy-six:”*42 And the better in memory to fix The place of the children’s last retreat, They called it, the Pied Piper’s Street— Where any one playing on pipe or tabor Was sure for the future to lose his labour. Nor suffered they hostelry or tavern To shock with mirth a street so solemn; But opposite the place of the cavern They wrote the story on a column, And on the great church-window painted The same, to make the world acquainted How their children were stolen away, And there it stands to this very day. And I must not omit to say That in Transylvania there’s a tribe Of alien people who ascribe The outlandish ways and dress On which their neighbours lay such stress, To their fathers and mothers having risen Out of some subterraneous prison Into which they were trepanned*43 Long time ago in a mighty band Out of Hamelin town in Brunswick land, But how or why, they don’t understand.
Of scores out with all men—especially pipers:*45 And, whether they pipe us free from rats or from mice, If we’ve promised them aught, let us keep our promise.
*42:この有名な物語は諸説あり、ブローニングは概ね Nathaniel Wanley "Wonders of the Little World"に拠った。但し、1376年7月22日という日付はWanleyではなく、その引用元 Richard Verstegan "A Restitution of Decayed Intelligence in Antiquities" に拠る。語呂の良さを採ったらしい(W & K)。ヴェルステガンの同書は、ハーメルンの笛吹き男を紹介した、英語では最初の本。但し典拠不明。
Spirited Away: Dream Work, the Outsider, and the Representation of Transylvania in the Pied Piper and Dracula Myth in Britain and Germany
サム・M・ジョージ Sam M George 萩原 學（訳）
訳注：
以下は ACADEMIA（要登録） にある Sam M George 先生の論文を、ご本人の許可を得て翻訳公開するものである。豊富な文献を参照しているため、ポインタ集としても便利な筈だが、訳者も全ては存在を確認できておらず、邦訳されたものはごく少数に過ぎない。原文はルーマニアのUniversity of Timisoara に於ける2015年 'Education, Beliefs and Cultures'カンファレンス用の原稿ということで、著作権を考慮し、原文の転載は差し控える。また、著者の許可なくしての転用は著作権法に触れる恐れあり、慎まれたい。
ドラキュラ伯爵と斑な笛吹きは、いずれも19世紀文学において最も強力な原型であるが、互いに関連して考察されることはほとんどなかった*1。 斑な笛吹きの物語は、グリム兄弟によって「Die Kinder zu Hameln（ハーメルンの子供たち）」として『Deutsche Sagen』（ドイツ伝説集、1816-18年）に発表され、後に1842年のロバート・ブローニング『Dramatic Lyrics（劇的なる抒情詩集）』で、「The Pied Piper of Hamelin（ハーメルンの斑な笛吹き）」として、英語の詩になった。
ドイツの大衆説話として Die Kinder zu Hameln（ハーメルンの子供たち）の翻訳が出たのに続き、この物語はロバート・ブローニングの『Dramatic Lyrics（劇的抒情詩）』*27で英語詩に翻訳されている。
ブローニングの出典はグリムではなく、17世紀イギリスの無名の2作、ナサニエル・ワンリー『The Wonders of the Little World; or A General History of Man』（1678年）と、リチャード・フェルステーゲン『A Restitution of Decayed Intelligence in Antiquities』（1605年）である。ワンリーでは、この話は「笛吹きによってネズミから救い出された町」であるハーメルンへの言及の下に記録されている*28。
例えば、ラドゥ・フロレスク Radu Florescu は In Search of the Pied Piper（2005, 未訳）と In Search of Dracula(1972, 邦題『ドラキュラ伝説―吸血鬼のふるさとをたずねて』角川選書)を出版している。しかし、当時の串刺し公ヴラドの領地のひとつがドイツ人入植者に「ハムレシュHamlesh」と呼ばれていたという事実があり、それを著者が「ハーメルンHamelinを思わせる」と主張した以上の関連はないようだ（In Search of Dracula (Twickenham: Athena Press, 2005), viii）。
ジョセフ・ジェイコブス（1854-1916）は1890年に English Fairy Tales を出版した(イギリス昔話集 English Fairy Tales [英米児童文学選書 5]研究社)。More English Fairy Tales（1894）には The Pied Piper of Franchville が収録されており（続イギリス昔話集 [英米児童文学選書 6]研究社）、出典はアブラハム・エルダー Abraham Elder の Tales and Legends of the Isle of Wight(London: Simpkin, Marshall, and Co., 1839 未訳)である。彼は、ナット氏がこの物語を要約し、部分的に書き直し、「ブローニングからのタッチ」を取り入れたと付け加えている（Joseph Jacobs, 'Notes and References', in More English Fairy Tales ([1894] Milton Keynes: Pook Press, 2010), 218）。この版では、物語はニュータウンかフランチヴィルが舞台となり、笛吹きが子供たちを森に案内して、そこで子供たちは姿を消す。山やトランシルヴァニアについての言及はない。
ラドゥ・フロレスクは、「ハーメルンは中世にはQuer-Hamelinとして知られており、これは『工場の町』を意味する」(In Search of the Pied Piper (London: Athena Press, 2005), p.197)と主張している。彼はまた、1589年に匿名の作者によって高地ドイツ語で書かれた「ハーメルンの歴史」と題された、ネズミに焦点を当てた韻文の武勇伝があったとも主張している(p.200)。 これはウィルケニングの主張と一致しており、彼は1500年代後半にヨーロッパ各地の町でネズミ捕りの話が初めて登場したと主張している。Christoph Wilkening, ‘The Pied Piper of Hamelin: Germany’s Mystery of Missing Children’, The World and I 15 (2000): 178-87 (181). フロレスクは、「トランシルヴァニアに伝わるドイツの民話」によれば、ネズミの王の脊椎から笛を作り、その皮を伸ばして太鼓にすると、ネズミを操ることができると述べている(p.191)。この話には年代は記されていない。
James F. Louks and Andrew M. Stauffer 編『Robert Browning's Poetry』(W. W. Norton: New York and London, 2007)所収、'The Pied Piper of Hamelin', l.72-74, l.92.[103-110] 以下の参照はすべてこの版に拠り、本文中の括弧内に示した
Stephen D. Arata, ‘The Occidental Tourist: Dracula and the Anxiety of Reverse Colonization’, in Bram Stoker, Dracula (New York and London: Norton, 1997), ed. Nina Auerbach and David J. Skal, 462-70 (463).
デイヴィッド・J・スカルはこの点を指摘し、『ノスフェラトゥ』におけるドラキュラの再話を「カルパチア人のためのシャイロック」であり、「ヒトラーの映画的予期」と呼んでいる。ハリウッド・ゴシック』（Faber and Faber: New York, 1990）、p.86を参照。ジュディス・ハルバースタムは、トッド・ブローニング監督の『魔人ドラキュラ』（1931）では、ベラ・ルゴシの首にかけられたメダリオンが「ダヴィデの星」に似ていると主張している（Gothic Horror and the Technology of Monsters (Durham, NC and London: DukeUniversity Press, 1995), 87）。
Gert Ueding, ed., Literature ist Utopie (Frankfurt: Suhrkamp, 1978), cited in Jack Zipes The Utopian Function of Art and Literature: Selected Essays, by Ernst Bloch, trans. Jack Zipes and Frank Mecklenburg, Studies in Contemporary German Social Thought (Cambridge, MA and London: MIT Press, 1989), xxxiii.
Stoker’s working notes for the novel are housed in the Rosenbach Museum and Library in Philadelphia. The museum only acquired them in 1970. They were originally sold at Sotherby’s by Stoker’s widow Florence in 1913. The notes were eventually transcribed and edited by Robert Eighteen-Bisang and Elizabeth Miller and published in facsimile in 2008.
For selected published work on the sources, see Frayling, Vampyres; Arata, ‘Occidental Tourist’;Miller and Eighteen-Bisang, Bram Stokers Notes for Dracula; Marius Mircea Crişan, The Birth of The Dracula Myth: Bram Stoker’s Transylvania (Bucharest: Pro Universitaria, 2013). Victorian works on Transylvania in English include John Paget, Hungary and Transylvania (London: Murray, 1855); James O. Noyes, Roumania (New York: Rudd & Carlton, 1857); Charles Boner, Transylvania: Its Product and Its People (London: Longman, 1865); Andrew W. Crosse, Round About the Carpathians(Edinburgh and London: William Blackwood, 1878); E. C. Johnson, On the Track of the Crescent:Erratic Notes from the Piraeus to Pesth (London: Hurst and Blackett, 1885); M. Edith Durham, The Burden of the Balkans (London: Edward Arnold, 1905); Jean Victor Bates, Our Allies and Enemies in the Near East (New York: E. P. Dutton & Co., n. d.); Emily Gerard, The Land Beyond the Forest, 2 vols. (Edinburgh and London: William Blackwood & Sons, 1888). See Arata, ‘The Occidental Tourist’ (note 3, 628). Stoker is known to have engaged with Boner and Crosse, and also William Wilkinson’s An Account of the Principalities of Wallachia and Moldavia (London: Longman, Hurst, Rees, Orme, and Brown, 1820). For a full list, see Miller and Eighteen-Bisang, Bram Stoker’s Notes for Dracula, 304.
I refer here to the following works: Heinz Rölleke, Die älteste Märchensammlung der Brǖder Grimm (Cologne-Geneva: Martin Bodmer Foundation, 1975); John Ellis, One Fairy Story Too Many: The Brothers Grimm and Their Tales (Chicago: Chicago University Press, 1983) and Jacob and Wilhelm Grimm, The Original Folk and Fairy Tales of the Brothers Grimm: The Complete First Edition, trans. and ed. Jack Zipes (Princeton and Oxford: Princeton University Press, 2014). Zipes argues that the Grimm brother’s primary method was to invite storytellers to their home and have them tell the tales aloud, which the Grimms then noted down. These people were not peasants, however, and Zipes adds that ‘most of the story tellers during this period were educated women from the middle class or aristocracy’ (Jack Zipes, The Brothers Grimm: From Enchanted Forests to Modern World(Basingstoke: Macmillan, 2002), 28).
Jacob and Wilhelm Grimm, ‘Die Kinder zu Hameln’, Deutsche Sagen, herausgegeben von den Brüdern Grimm (Berlin: In der Nicolaischen Buchhandlung, 1816), no. 244, 330-33. グリム兄弟/吉田孝夫（訳）『グリム ドイツ伝説集』八坂書房 第1部 p.298 #244「ハーメルンの子供たち」
Nathaniel Wanley, The Wonders of the Little World: or A General History of Man (London: C. Taylor, Holborn & T. Thornton, 1678), p.632. 以下の参照はすべてこの版によるもので、本文中の括弧内に示した。
Richard Verstegen, A Restitution of Decayed Intelligence: in Antiquities. Concerning the most noble, and renowned English nation. By the study and travell of R.V. (London: John Norton, for JoyceNorton and Richard Whitaker, St Paul’s Church-yard, 1643), p.86. 以下の参照は全てこの版によるもので、本文中の括弧内に示した。
『笛吹き男』批評は1892年から2013年に至るまで、こうしたおなじみの議論を繰り返している。以下、例を挙げると Eliza Gutch, ‘The Pied Piper of Hamelin’, Folklore 3:2 (June 1892): p.227-52; Bernard Queenan, ‘The Evolution of the Pied Piper’, Children’s Literature 7 (1978): p.104-14; Sheila Harty, ‘Pied Piper Revisited’, in Education and the Market Place, ed. David Bridges and Terence H. McLaughlin (London: Routledge, 1994), p.29-55; Christoph Wilkening, ‘“The Pied Piper of Hamelin”: Germany’s Mystery of Missing Children’; Floresco Radu, In Search of the Pied Piper; Wolfgang Mieder, The Pied Piper: A Handbook (Westport, CT: Greenwood Press, 2007); Mary Troxclair Adamson, ‘The Legend of the Pied Piper in the Nineteenth and Twentieth Centuries: Grimm, Browning, and Skurzynski’, The Looking Glass: New Perspectives on Children’s Literature 17:1 (2013), accessed June 3, 2015.
キリスト教会による牧神パンの悪魔化以降、笛吹きなど彼の役割の大半が、悪魔に移ったものと見ることができる。Jennifer Spinks and Sasha Handley, eds., Magic, Witches and Devils in the Early Modern World (Manchester: John Rylands Library, 2015)を参照。
「この詩は、名優ウィリアム・チャールズ・マクレディの息子ウィリー・マクレディのために作られた。少年は当時、病床にあり、この詩はその励ましとなるべく贈られた。」 ‘The poem was composed for Willie Macready, son of the famed actor William Charles Macready. The boy, sick at the time, was given the poem to illustrate’, Robert Browning’s Poetry, note 1, 103.
さらに最近の説では、子どもたちはモラヴィアなど中央・東ヨーロッパの他の地域にいたとされていることは注目に値する。ラドゥ・フロレスキュは著書『In Search of the Pied Piper（笛吹き男を探して）』に於て、子供たちは新しくできたバルト三国の入植者になるために連れ去られたが、海で行方不明になったという説を唱えていた。ライリーによれば、子供たちはベルリンの北にあるブランデンブルク州に定住したとライプチヒ大学の言語学者ユルガン・ウドルフは主張している。つまり、ここでも合意ないし意見一致は得られていない。これらの説の議論と比較については、ライリー『トランシルヴァニア』p.28.
See Katharina M. Wilson, ‘The History of the Word Vampire’, in Alan Dundes, The Vampire: A Casebook (Madison: University of Wisconsin Press, 1998), 3-12.
この映画についての考察は、デイヴィッド・J・スカル『ハリウッド・ゴシック』、エリック・バトラー『文学と映画における吸血鬼の変容』（サフォーク：カムデンハウス、2010年）、ステイシー・アボット『セルロイド吸血鬼』（オースティン：テキサス大学出版部、2007年）による。 I am indebted to David J. Skal, Hollywood Gothic for my discussion of this film, together with Erik Butler, Metamorphoses of the Vampire in Literature and Film (Suffolk: Camden House, 2010), and Stacey Abbott, Celluloid Vampires (Austin: University of Texas Press, 2007)
クリストファー・クラフトによる造語で、「赤い唇でキスして：ブラム・ストーカーの『ドラキュラ』におけるジェンダーと逆転」、Representations 5 (1984), 107-33(110) の中で、この小説におけるドラキュラの敵役を表現している。 A term coined by Christopher Craft to describe Dracula’s antagonists in the novel in ‘Kiss Me with Those Red Lips: Gender and Inversion in Bram Stoker’s Dracula’, Representations 5 (1984), 107-33(110).
Reinhart Fuchs [Reynard the Fox] (1834); Deutsche Mythology [German Mythology] (1835), Tales, 2 vols (1837). After this, they moved to Berlin to work on their German Dictionary.
バトラー『メタモルフォーゼ』162頁。永遠のユダヤ人』は1940年にフリッツ・ヒップラーが監督。脚本はエバーハルト・タウベルト。この映画は反ユダヤ主義的で、ナチスのプロパガンダと見ることができる。 Butler, Metamorphoses, 162. The Eternal Jew was directed by Fritz Hippler in 1940. The screenplay is by Eberhard Taubert. The film anti-Semitic and can be seen as Nazi propaganda.
両者とも、鉤鼻、ふさふさした眉、うつろな目、爪のような手、長く尖った爪を持っている。19世紀の疑似科学である骨相学と人相学によれば、これらの共通する特徴は退廃性と犯罪性も表している。 David Glover, Vampires, Mummies and Liberals: Bram Stoker and the Politics of Popular Fiction (Durham, NC and London: DukeUniversity Press, 1996), 36.
‘Operation Pied Piper’ is described in detail in Judith Tydor Baumel-Schwartz, Never Look Back: Jewish Refugee Children in Great Britain, 1938-45 (West Lafayette, IN: Purdue University Press, 2012) and in Julie Summers, When the Children Came Home: Stories of Wartime Evacuees (London: Simon & Schuster, 2011).
Albert Allick ‘Al’ Bowlly (1898 - 1941) was a popular jazz guitarist, singer, and crooner in the 1930s, making more than 1,000 recordings between 1927 and 1941. His Pied Piper song is available here: ‘Al Bowlly - Pied Piper Of Hamelin 1931 Ray Noble’, YouTube, accessed 1 October, 2015, https://www.youtube.com/watch?v=S7xG5zWQicI.
ジャック・ザイプスは、ディズニーが「彼自身の "アメリカ的 "気概と創意工夫でヨーロッパの物語を利用した」と論じている。Maria Tatar (New York and London: W. W. Norton, 1999), p.332-44 (332).
Jack Zipes has argued that Disney ‘used his own “American” grit and ingenuity to appropriate European tales’, ‘Breaking the Disney Spell’, in The Classic Fairy Tales, ed. Maria Tatar (New York and London: W. W. Norton, 1999), 332-44 (332).
ジュリー・サンダースは『アダプテーションと収用』（ロンドン、ニューヨーク：ラウトレッジ、2006年）の87ページでこの点を指摘している。Margaret L. Carter, 'The Vampire as Alien' も参照。
Julie Sanders makes this point in Adaptation and Appropriation (London and New York: Routledge, 2006), 87. See also Margaret L. Carter, ‘The Vampire as Alien’.
Fredric Jameson, ‘Conclusion: The Dialectic of Utopia and Ideology’, in The Political Unconscious:Narrative as a Socially Symbolic Act (London: Routledge, 1989), 281–99.
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