père 🐤さんの おぼえた日記 - 2013年8月13日(火)

今天不是跟润一约会吗?
/chinese/phrase/31066


★　英語版：続き（５）

On the trolley, a stranger tells Franz, "You're right to leave. It's suffocating（窒息死さ
せる） in Xhystos." This is the firmest（firmの最上級） statement yet that Xhystos has a bureaucratic, stilted（大げさな、不自然な） air to it. The stranger presumes something about Franz that Franz himself only discovered, in more uncertain terms, shortly before on the terrace. Reinforcing that the stranger is right, the two apparently talk together until the end of the line.
＊　見知らぬ人と、終点の駅まで一緒で、そこで荷物を渡して、見送る形になっている。

There, Franz must continue beyond the city by train. Reinforcing the sense of bureaucracy, he must present his papers at a counter before boarding. The train travels through what looks like a wasteland, populated by the metallic skeletons（骨格、骨組み） of structures that no longer exist. Franz narrates that the train must travel fast to prevent raiding（奇襲する、侵入する） by pirates, although no pirates attack.
＊　死んだような街を通過。掠奪に合わないため、というが、掠奪者とは出会わない。

What follows is an overly（過度に、極端に） long sequence depicting（描写する、描く） the rest of the voyage to Samaris, but it's necessary so that the city doesn't feel like it's a hop, skip, and a jump away from Xhystos. While a bit clunky（ckunk：鈍い音を出す）, the sequence also allows Peeters and Schuiten to depict their first exotic modes of transportation, which would later become a hallmark（特徴、品質証明） of the series.
＊　a hop, skip, and a jump awayとは、面白い表現！

Arriving at a way station（中間駅：急行列車は停車しない）, Franz waits until the next morning for a (propeller-powered) plane (called an "altiplane") to depart. After eight days in the plane, Franz reaches a jungle town called Trahmer. There, he must convince someone to take him to Samaris, but the first two refuse. The third accepts, and they take off in a smaller plane (called an aérophèle), which looks like a bizarre glider（グライダー）.
＊　翌日、出発。プロペラ機で8日間、トラメールというジャングルの駅に着く。次に変なグライダーに乗せてもらって数週間後、サマリの壁を見つける。しかし、あと12日も飛ぶ必要があると言われた。なぜなら、サマリに近づくと、サマリは遠ざかるからだ。

After several weeks, Franz spots the walls of Samaris. He's shocked when he asks if they're close and is told they're still 12 days away. The walls are apparently that high.
Franz narrates, "Each hour we advanced towards her, Samaris seemed to distance herself from us," which further suggests Franz"s wanderlust（放浪癖、旅行癖）. Samaris doesn't only become feminine here, but a sort of erotic dancer, teasing and distancing, tantalizing（じらす、手の届かないところに置く） but withholding（押さえる、保留する） her secrets. It's a pattern that holds true both in Franz's mind and in the narrative.
The plane lands at a shore outside of Samaris, where Franz finds barks that apparently run along rope lines into the city. This portion of the voyage still takes two days.
＊　サマリの外の岸辺に、飛行場があった。そこから2日間、ロープで牽引されるボートに乗った。

Arriving in Samaris, Franz narrates: "Different architectural styles seemed to overlap, as if the city had conserved some traces of all the civilizations she had sheltered." In his afterword, Peeters confirms this blending of styles, calling his and Schuiten's sources "multiple and heterogeneous." But, he says, whereas Xhystos is northern, Samaris sunny; Xhystos is defined by its use of glass, Samaris by its opaqueness（不透明な、曖昧な）.
Franz soon finds a hotel, where the other guests stare at him, as if Samaris doesn't get many visitors. The mystery only deepens when he asks the hotel manager, "Is this the only hotel in Samaris?" The hotel manager replies, "Why would you want there to be another? Does this one not satisfy you?"
＊　変な文に見える。仏文の方がここは分かりやすい。

Franz apologizes and takes a room. Inside, the hotel manager explains, "Don't be surprised by the windows. We had to seal them because of the humidity." Franz then asks about the whooshing（空気などのシューという音） sound that he's been hearing since his arrival. "What sound, sir? I don’t hear any sound." In narration, Franz notes that the sound then stopped, as if on cue（手がかり、きっかけ）. In his polite, bureaucratic way, he apologizes again.
Franz stashes（隠す） his belongings and quickly takes to the street, another sign of his wanderlust. Interestingly, he's now in the position the reader was in, back in Xhystos: being in an unknown and mysterious city, with an unknown culture and history that he doesn't understand.
＊　フランツは、読者と同じように、未知の都市に入ったことになる。

Entering a door, he finds an expansive room in which men in suits play cards. "It's your turn to deal," says one.
He spots a woman, alone at a table. She looks like Clara, Anna's younger sister who had left Xhystos. Yet when he talks with her, she says she doesn't know "any city by that name." She then quickly excuses herself, saying, "I must go back inside." She departs（出発する、逸脱する）, and the men playing cards also get up to leave, one saying, "Until tomorrow. At the same time."
＊　中に戻らなければ、がrentrer。