我住在三号楼。
/chinese/phrase/31076?m=1
★ 英文続き
A New Status Quo
Days pass. Franz records his daily observations each night, including that he has already grown "accustomed to the whooshing sound that had struck me so strongly during the first hours of my stay." Continuing his sexualized description of Samaris, he narrates that "the city seemed to reveal herself only to the voyager who knew to take his time."
Franz finds the city full of surprises: "I could have sworn（swear：誓う） that I had never seen the stairway or the alley that, all at once, imposed itself incontrovertibly（明白に、議論の余地なく） upon me."
But while the city is surprising, it's also strangely repetitious（繰り返しの多い）. He feels as if he's passing the same architectural elements over and over, although he knows that each must have different details.
As days turn into weeks, Franz is overcome by a sense of monotony（単調さ）, of repetition. He feels a "sense of malaise" that seems to echo the ennui associated with Xhystos. Samaris has not solved Franz's wanderlust, or at least his boredom, despite retaining（retain：保つ） its mystery.
Among the mysteries Franz can't solve is why he never sees children in the city; it's likely only here that the reader notices no children have been depicted. In fact, Samaris seems sparsely（希薄に、薄く） populated, and the lack of children helps make Samaris seem as sterile as Xhystos.
Franz also asks himself, "Why were so many doors walled（壁などを塞ぐ、仕切る） up? / Why was there nothing behind the shutters that I brusquely opened?"
Franz meets Clara daily, where he first met her. He didn't call her by name then, although she now responds to it, which makes her claim not to know Xhystos all the more confusing. We don't hear their conversations, but they don't seem to ever leave the room in which they met. Nor do they kiss. Over an image of the couple talking, Franz narrates that he's repeating "the same beginnings of conversation," suggesting that his dialogue with Clara is superficial. Their interaction seems stilted, as if holding something back (which they both certainly are).
Each day, Carla and Franz talk until, at about the same time of day, she announces that she must goes back inside. Is she, perhaps, a prostitute, or somehow otherwise "owned" by the establishment（指導者階級）? It's not clear, although neither seem to make any sexual or emotional advance. If Clara is the personification of Samaris, which has already been sexualized, Franz seems to be getting nowhere with either.
Even the card players in the room are monotonous. One repeats, "It's your turn to deal," echoing the scene in which Franz first met Carla. It's a delightful but subtle touch. Cards might be intrinsically（本質的に） repetitive, but the repetition underlines the city's sense of lethargy（無気力、不活発、無感動）. And if we think about it, we may notice that, along with the city having no visible children, no one seems to be doing any work at all, outside of the hotel manager, who apparently has no staff and certainly fears no competition.
All of this description of Franz’s stay in Samaris actually unfolds over several pages, vaguely (but not totally successfully) reflecting the nature of his journal entries. During this time, only two significant events occur.
One night, returning to his hotel room, Franz finds the hotel manager in his room, seated at his table. "He rose and left without saying a word to me," Franz narrates.
This odd event in limited to a single panel, subsumed（包摂する、含める） within the description of this monotonous yet strange city.
