他刚从这儿走过。
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★ 続き（３）
18頁 その日が来た。私は身辺を整理し、荷物を持った。友人たちが中心部まで私を連れ立った。私の決意の前に、彼らの態度はすっかり（du tout au tout）変わった。アンナだけが融通がなく、私たちと来るのを拒んだ。「では本当に、良い旅を。」「またな、フランツ。」「そんなことしないでくれ。私は遅れない。」「出発するのは正しいです。シストスは息が詰まる。」
＊ 決意という語が出てくる。この頁から単純過去が使われ出した（！）。アンナの拒否のところからだ。なぜ、ここから単純過去に？ その前までは大過去とか。２両の小さな電車に乗って出発する。
19頁 私たちはじきにB駅の前に着いた（単純過去）。国境は歩いて越えなければならない。私の旅が本当に始まった（半過去）。「私たちが降りるのはここだ。」「さようなら、フランツ。幸運を。」「整っています（C’est en ordre.）。」「ありがとう。」
＊ ほとんど単なる通路の管理室を経て、壁の向こうに出て、そこには1～2両の機関車が。
20頁 郊外の街（faubourg）は最速度で通過しなければならない。掠奪者（pillard）たちによって列車が攻撃されることは稀ではなかった。今回は、幸運にも、そうしたことは私たちに訪れなかった。私の任務命令がそう明示した（spécifiait）ように、列車は中央N駅まで私を運んで行った。そこで、私の旅を続けるために、アルティプラン（alti…高度のある～：この飛行機の名前）の出発を待つだけだった。
＊ N駅は、ものすごく高そうな円柱だけの場所。
★ 英語版（３）
Yet for all we don't know about it, we're already getting a feel for Xhystos and for Franz, and our attention to detail pays off. No one says it's a city defined by bureaucracy, despite its cleanly glories, but the reader can't help but begin to get that sense, as Franz signs forms. There's a vaguely（曖昧な） authoritarian tenor（方針） to this bureaucracy, suggested by the men promising Franz "the order of the Grand Commander." This is also suggested by the notion of a council that can send men to recruit someone, reassuring him with platitudes（陳腐な言葉） and promises, yet offering little in the way of facts. This bureaucratic, vaguely authoritarian air seems to have infected the characters as well, and we see this in the fact that the men who recruited him abandon Franz immediately, once he's before the functionary who has the appropriate paperwork.
(Peeters, in his afterword, describes Xhystos as he conceived of it as "calm and a little fatigued（疲労した）, almost maternal in its enveloping（包む） power," which suggests a bureaucratic state with a long history that organizes the area around it. This is essentially what made it into the printed book, even if most of it is only hinted.)
Franz seems part of his city's bureaucracy. Though we don't know what qualifies him for this mission, his dress is formal, although weird（気味の悪い） to our contemporary sensibilities. His narration has a certain poetry to it, fond of ne... que expressions (to signify "only"), but it's quite formal, arguably（論じうる） slightly stilted. He even carries himself in a stilted, formal manner.
This is the level of careful, considered reading that The Walls of Samaris demands of the reader, and recognizing this only encourages that reader to slow down and think further.
But the narrative is even more aggressively ambiguous, or mysterious, than this. Because on the bottom of page two and the top of page three, while Franz is narrating but before we've met him, we meet three men in formal clothes who are waiting for a trolley car at an art deco station. We may be forgiven for thinking that one of these men must be the narrator. Surely, that's how virtually any other comic book would proceed. Instead, the brief scene with these three men ends, and the "camera" heads upward before introducing Franz and his interlocutors（対話者）, who are wearing different clothes and clearly are not the same men.
＊ 2～3頁というのは、私の本だと10～11頁。
To make this situation even odder, in the four panels with these three men at the trolley station, we never see their faces. This suggests that they might not be important characters, let alone the still unseeen narrator — which proves to be true. So why are they here at all? Presumably（思うに、仮定では）, their dialogue must illuminate the mystery of the main narrative in some way. But that dialogue is even more ambiguous than the narration, which continues through these panels, as if inviting the reader to find connections between the two.
One man says, "It's now been two years... / They are hiding something from us, it’s certain / ...I've always thought that's the source of our malaise（身体の不快、イライラ、もやもや）." But the most interesting panel is the final one in this four-panel sequence. It alone has no narrative caption, and in it, one of the three men says, "They're lying to us. They seek only to trick us."
＊ les ennuis（心配ごと、不安、トラブル、退屈さ、倦怠、無関心）
There's zero indication（印） what happened two years before, nor who this "they" are, although these three men presumably know these facts. They do not, presumably, know what's being hidden. But the vague sense of something hidden reinforces the reader's suspicions about the reassurances（安心、自信）, given in Franz's accompanying narration, that there's nothing to the rumor about Samaris. After all, this book is called The Walls of Samaris.
★ 自動詞 … 第一文型
１、自動詞
２、自動詞 + 補語
３、自動詞 + 叙述語
４、自動詞 + 副詞的付加語
５、など（前置詞、TOとかがつく）
このうち３について
（１）Be動詞
（２）Be動詞以外 → 形容詞、名詞句、代名詞句
（３） 〃 lay,go,come → 現在分詞、現在分詞句
（４） 〃 seem,appear,prove
このうち（２）は、いろいろ。ただ、ある程度、パターンがある感じ。
動詞としては、turn, get, come, fall, become, taste, keep, blow, feel, deid, make など
過去分詞タイプの叙述語だと、You look tired がよく見かけるかな！
おまけに drunk でひいても、「叙述的」に用いられるとの記載あり。
drunken の方が、通例、限定的で、まれに「叙述的」に用いられる、とある。
