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Title 迷子たちの楽園 : 'The Little Girl Lost' 'The Little Girl Found' 試論 迷子たちの楽園 : 'The Little Girl Lost' 'The Little Girl Found' Title 試論 Author(s) 佐藤, 光 Citation Zephyr (1994), 7: 45-58 Issue Date 1994-01-10 URL https://doi.org/10.14989/87534 Right Type Departmental Bulletin Paper Textversion publisher Kyoto University 迷子 た ちの楽 園 —‘The Little Girl Lost’ ‘ The Little Girl Found’ 試 論― 佐藤 光 1794年 に 印 刷 さ れ た 詩 集Songs of Innocence and ｏｆ Experienceの 扉 に は 、 副 題 と し て"Shewing the Two Contrary States of the Human Soul"1)と 記 さ れ て い る。 後 年 、 彼 が 預 言 詩 と 呼 ば れ る 作 品 を 次 々 と 著 し、 互いに対立 しあう登場人物たちの葛藤 と結合に象徴的意味を託 したことを考 え る な ら ば 、"Contrary"と い う 概 念 が ブ レ イ ク の 思 想 の 根 幹 を な し て い る と い っ て も 過 言 で は な い 。 初 期 の 作 品 の 一 っ で あ るThe Marriage o/ Heauen and Hellの 中 で 、 ブ レ イ ク は"Contrary"に っ い て 次 の よ う に 述 べ て い る 。 Without Contraries is no progression. Attraction and Repulsion, Reason and Energy, Love and Hate, are necessary to Human ex- istence. Songs o/Innocence and o/Experienceに 付 与 さ れ た 副 題 は 、 そ の4年 前 に書かれた引用の命題 と共鳴 し、詩集全体の解釈の方向性を明確に指示 して い る 。 す な わ ち 、"lnnocence"と"Experience"は 対をなす一組みの概念 と して用いられているということ、 したがって、われわれがこの詩集を読む と き 、"lnnocence"と"Experience"と の間に価値の上下を想定 してはならな い と い う こ と で あ る。 詩 集 に 描 か れ て い る の は、 堕 落=罪 と い う こ と ば で 表 されるような、価値判断をともなった魂の時間的な推移ではない。二っの相 反 す る 状 態 の 相 互 作 用 の 中 で 、 人 間 の 魂 が 絶 え 間 な い"progression"を 遂 げ て い く諸 相 が う た わ れ て い る の で あ る。 一45一 本 論 で は 、 こ の よ う な 視 点 か ら`The Little Girl Lost'`The Little Girl Found'2)を 読 み 直 し 、 そ れ を"a return to Innocence"3)と 解 釈 す る こ と の 是 非 を 検 討 し な が ら 、"lnnocence',と"Experience"と の 動 的 な 関 係 か ら う み だ さ れ る"progression"が 、そのどちらにも還元できない新 しい状態 であることをあきらかにしたい。 1 `The Little Girl Lost'`The Little Girl Found'は 、 そ の 冒 頭 に あ る よ う に 、 預 言 的 能 力 を も っ た 語 り 手 に よ っ て 語 ら れ る 未 来 の ヴ ィ ジ ョ ン("vi― sion")で あ る 。 In futurity I prophetic see, That the earth from sleep, (Grave the sentence deep) Shall arise and seek For her maker meek: And the desart wild Become a garden mild. (Me Little Girl Lost', 1-8) ヴィジョンとは、鋭敏な感受性と豊かな想像力を有するものが仮構する可能 性 としてのもう一っの現実像であり、 その基底にあるものは、 フィクション を対置することによって目前に横たわる現実の必然性をいったん無化 し、一 見 動 か しが た く見 え る 現 実 の あ り よ う を 再 点 検 し て み よ う と い う批 判 へ の 意 志 で あ る 。 そ う い っ た 意 味 で 、 こ の 詩 の 語 り手 はSongs O/Experienceの `lntroduction'や`The Voice of the Ancient Bard'に う た わ れ て い る よ うな、過去、現在、未来を見渡す ことので きる預言者であり、吟遊詩人であ 一46- る と い っ て よ い 。7行 目 の"the desart wild"は 、 様 々 な 問 題 と 不 幸 を 抱 え る現 実 の 様 態 を 比 喩 的 に 表 し た も の で あ る が 、 そ れ が い っ の 日 か"agar- den mild"に 変 容 す る の を 予 見 す る 彼 の こ と ば に は 、 現 状 に 対 す る 過 激 な までの懐疑と挑戦が秘められており、それはまた、変革を待望する声で もあ る。4) 語 り手 の想像力 が繰 り広 げ る少女Lycaと その両 親 にまっ わ る ヴ ィ ジ ョ ンは、文 字 と絵画 とい う同一 平面上 の二つ の媒体 を通 して読者 の眼前 に提示 され る。 In the southern clime, Where the summers prime, Never fades away; Lovely Lyca lay. Seven summers old Lovely Lyca told. She had wanderd long, Hearing wild birds song. (`The Little Girl Lost', 9-16) 両親の もとを去 り、野の鳥の歌を聞きなが ら孤独な旅を続けて、疲労困慰 し て い る は ず のLycaだ が 、 文 字 テ ク ス トを み て も 絵 画 テ ク ス ト を み て も 不 安の影 はまったくない。彼女 はようや くにして、厳 しい寒さや苛酷な風雨 と は無縁の常夏の南の国、すなわち、物理的にも精神的にも、何 ものをも恐れ る必 要 の な い 楽 園("agarden mild")に た ど りつ い た の で あ る 。 Lycaの 年 齢 に7が あ て ら れ て い る の も、 そ れ が 完 成 を 象 徴 す る 数 字 だ か ら だ 。5)四 っ の 季 節 の う ち 、 「夏」 を も っ て 一 年 を 代 表 さ せ て い る("Seven summers old")と こ ろ に も 、 楽 園 に あ っ て け っ して か げ る こ と の な い 落 ち 着 き と 平 安 を 得 たLycaの 魂 の 状 態 を う か が う こ と が で き る 。 こ う してLycaは 、 ア ダ ム と イ ヴ が エ デ ン の 園 を 去 っ た と き に 失 っ た 、 一47一 万物 が 自律的に共存 す る場 と して の 「自然」 との有機 的 な関 係 を 回復 す る。 語 り手 はその様子 を、 旧約聖書 に描 か れた楽園 のイ メジを換骨奪胎 しなが ら 語 って いる。6) The kingly lion stood And the virgin view'd, Then he gambold round O'er the hallowd ground; Leopards, tygers play, Round her as she lay; While the lion old, Bow'd his mane of gold. And her bosom lick, And upon her neck, From his eyes of flame, Ruby tears there came; While the lioness, Loos'd her slender dress, And naked they convey'd To caves the sleeping maid. (`The Little Girl Lost', 37-52) Lycaは も は や 、 人 間 だ け が も っ て い る 個 人 名("Lyca")を 失 い 、 彼 女 の 本 質 に 関 わ る語("virgin""maid")で 呼 ば れ る こ と に な る。 そ れ は 、 名 付 けるという特権的な行為をとおしてアダムが行 った、人間はすべての生 き物 の 司 で あ る と い う 自 己 規 定7)を 、 彼 女 が 放 棄 し た こ と を 意 味 す る 。 ブ レ イ ク は い っ て い る、 「生 き と し生 け る も の は す べ て 神 聖 で あ る 」("For every thing that lives is Holy")8)と 。 楽 園 に あ っ て は 性 質 や 能 力 の 差 異 は あ っ て も差 別 は な い。 身 体 的 、 精 神 的 な 力 の 強 弱 は あ っ て も、 そ れ に よ る支 配 も .・ な けれ ば抑圧 もな い。恣意 的 な規 範 と価値観 をふ りかざ し、 そ れにそ ぐわな い ものを悉 く 「悪」 とみな して断罪す る恐 るべ き審 判者 と して の 「神」 もい ない。 そこに は嫉妬 も中傷 も悪意 も狡智 も存在 しない。 すべて の もの はそれ ぞれ に固有 の天 分 と技量 を発揮 しなが ら共存 して いる。 獅子 が流 す"Ruby tears"と 、 第3プ レー トに描 か れた獣たち の柔和 な表情 が、 そ れを 如実 に 物語 って い る。 獅子 や虎 の間 にあ って安 らか に眠 って い るLycaは 、 ア ダ ムが まと った人為 の衣("dress")を 脱 ぎ捨 てて万物 との融 和 を果 した の で ある。9) 7歳 のLycaが 、 「若い 未 婚 の 女 性 」 と い う 語 義 を も つ"virgin""maid" で代置されているところに奇異を感 じるむきがあるかもしれないが、われわ れが読みとるべきものは語意よりもむ しろ、 これらの語に内在 している 「清 浄 」 「純潔 」 と い っ た 含 意 で あ る 。Lycaが 獣 た ち を 前 に し て 平 気 で 眠 る こ とができるのは、野獣 は狸猛であるという 「通劇 に対 して 「処女性」をもっ て い る か ら な の で あ る。 こ こ で さ ら に 注 意 し な け れ ば な ら な い の は 、7と い う数 字 に 引 き ず ら れ て 、 Lycaを 幼 い 少 女 と 読 ん で は な ら な い と い う こ と だ 。 そ れ はLycaを 大 人 と して解釈せよということではない。語 り手が語 っているのはヴィジョンであ る。そこに リアリズムの物差 しを持ち込んで議論するのは持ち込む側がまち が っ て い る 。 第2プ レ ー トに 描 か れ た 横 た わ る1.ycaは 、 あ き ら か に 成 年 に達 した女性であるが、文字テクス トと絵画テクス トのこの矛盾こそが、そ れがヴィジョンであることを端的に示 している。大人であると同時に子 ども で も あ るLycaは 、 日常 的 な 「通 念 」 に よ る 説 明 を 拒 絶 し て お り、 い わ ば 、 ある観念を具現化す るために語 り手の恣意によって呼び出された記号的存在 な の で あ る 。 したが って、 楽園 に到達 したLycaが 両親 に対 して示 して い る、7歳 の子 ど もに して は不 自然 な ほどの気 づか いも、 こ こでは全 く不 自然 ではな い。 Sweet sleep come to me 一49― Underneath this tree; Do father, mother weep.— Where can Lyca sleep. Lost in desart wild Is your little child, How can Lyca sleep, If her mother weep. If her heart does ake, Then let Lyca wake; If my mother sleep, Lyca shall not weep. Frowning frowning night, O'er this desart bright, Let thy moon arise, While I close my eyes.
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