2019.12.2 日米新貿易協定（日米FTA)について

付属書Ⅱ（２：Annex Ⅱ）の120ページ目から、
”Tariff Schedule of the United States”の表がある。 （https://www.mofa.go.jp/mofaj/files/000527401.pdf）
付属書Ⅱ（２）の内容は、英文でしか書かれていないが、効力がある。
アメリカ合衆国の側の関税なので、日本の関税については記していない。

ここでは、ふたつのことを記したい。
少なくともここに記載されている品目については、今後日本も協議していく事になるだろうという見立てがひとつ。

もうひとつも、今後の協議への推測、読み。
これらの品目についてどう関税を変えていくか、A～Kまで11項目に分けて詳しく述べてある。この詳細さと、付属書Ⅱ（２）第七条、
”Customs duties on automobile and auto parts will be subject to further negotiations with respect to the elimination of customs duties."
（自動車とその部品が、関税の撤廃に関して、今後の交渉の対象になる。）
におけるきめの粗さを比べると、この条文の読み方に補助線を引けるだろう。

ひらたくいうと、
A.自動車の関税撤廃は棚上げになっている。
B.この棚上げは、今後の協議で日本にはプラスには働かないだろう。
C.自動車の関税についての棚上げが、協議の継続自体を促進する仕掛けになっている。

というのが自分の考え。
自動車の関税がどの程度重要かについての受け方は、ひとそれぞれだろう。

いずれにせよ、（おわかりのように）付け焼刃のため判らない部分もあるが、日本の報道に偏向があるのは間違いないだろう。

長い目で見ると、個別の事案よりもその構図を変えていくことが肝要と自分は思う。

こういった事柄は、仕事以外で調べるのはたいへんだろうから、とことん精密でなくとも集約した情報をひろく知らせるため、公共放送や地上波放送が機能してくれると各方面結局はよい結果になるOR得すると考える。

送る側と受ける側それぞれに事情があるとしても、理想を失くすとどこまでも譲歩せざるをえない状況が作られる。と一席ぶってみたい。

https://www.mofa.go.jp/mofaj/files/000527401.pdf

TRADE AGREEMENT BETWEEN JAPAN AND THE UNITED STATES OF AMERICA

2019/11/19
”TRADE AGREEMENT BETWEEN JAPAN AND THE UNITED STATES OF AMERICA” （https://www.mofa.go.jp/mofaj/files/000527401.pdf）
を自分なりに訳してみる。（いろいろの説明は割愛。https://www.mofa.go.jp/mofaj/files/000527400.pdf ）
では。


アメリカ合州国と日本のあいだにおける貿易合意

日本とアメリカ合州国（この合意の当事者）は、次のような合意に至った。
2019/11/23
条項１
「関税金（”custom duty”=tariff）」は、あらゆる種類のあらゆる関税（”duty”=tax）と課徴金（”charge”）を（……）意味する。

老人と海 （Try 3）

しかし、一匹の魚も釣れなかった四十日間のあと、少年の両親は、じいさんはとうとう”サラオ”になってしまったに違いないと語った。”サラオ”というのは不ヅキの最悪形態で、少年は命令にしたがってほかの船へ去り、そこでは最初の一週間でいい魚が三匹釣れた。

But after forty days without a fish the boy's parents had told him that the old man was now definitely and finally _salao_, which is the worst form of unlucky, and the boy had gone at their orders in another boat which caught three good fish
the first week.

引用ノック1031: ("Does anybody really know what time it is?")

　それのはじまりは、やっぱりその後の色々のことと同じようにカラオケボックスの中でだった。
「……暗くて静かで、長くて遠い」
　と、三都雄くんが訳のわからないことを言いだしたのだ。
「なによそれ？　ぜんぜんわかんないわよ、そんなんじゃ」
　とあたしはもうこの段階でさえ何度も何度も言っていた言葉をまた使っていた。その日は、あたしの予知した”血の匂い”のことをみんなで探ろうということになっていた。
（中略）
「血の匂いだな、やっぱり、お前と同じで」
　彼は右肩を上げて言う。
「じゃあそいつは未来を暗示する香りよ。あんたとあたしは、やっぱりどっかで、また道端とかでぶつかるようことになるんだわ」
　あたしは人差し指を立てて、女教師みたいなエラそうな態度できっぱりと言った。
　そして二人して笑った。
　その笑いは、前にしていたような底なしの陽気さはなかったけど、でもやっぱり──やっぱりかけがえのない温もりのある、そういう笑いだった。

（上遠野浩平『ブギーポップ・イン・ザ・ミラー 「パンドラ」』「９． 血 ”Blood”」 1998年 電撃文庫）

老人と海（Just a try 2）

 In the first forty days a boy had been with him. 

　最初の四十日は、少年とじいさんは一緒にいた。

老人と海（Just a try 1）

試みに、『老人と海』の翻訳に挑戦してみる。
やり方、形式、その他ぜんぶ不明で、駄目そうならすぐ撤退するつもり。

では、さっそく。
下の、Gutenbergを元文にして、一日一行くらいで。
The Old Man and The Sea
---
古人と海
アーネスト・ヘミングウェイ
1952年
---
チャールズ・スクリブナーとマックス・パーキンスに
---
He was an who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish.
じいさんは小さい船に乗ってメキシコ湾流でひとり漁をする古兵（ふるつわもの）で、一匹の魚も取れない日が、84日間つづいていた。

引用ノック1027：

Chris: "Can I see that Lincoln Letter?"
Chris(reading): "Dear Marquis, I hope this letter finds you in good health and stead. I'm doing fine, although I wish there were more hours in a day. There's just so much to do. Times are changin slowly but surely, it's men like you that make a difference. Your military success is a credit not only to you, but your race as well. I'm very proud every time I hear news of you. We still have a long way to go, but hand in hand, I know we will get there. I just want to let you know you're my thoughts. Hopefully, our paths will cross in the future. Until then, I remain your friend. Ole Mary Todd's calling, so I guess it must be time for bed, Respectfully, Abraham Lincoln."
Chris: "Ole Mary Todd. That's a nice touch."
Marquis: "Yeah. Thanks."

(Major Marquis Warren & Chris Mannix in ”The Hateful Eight” in 2015 by Quentin Tarantino)

クリス：「あのリンカーンの手紙を見てもいいか？」
クリス（朗読）：「やあマーキス、この手紙と君が、健やかかつ役立つ感じに出会うことを、わたしは望んでいるよ。わたしは好調だ。１日にもっと時間があればいいけれども。時代は少しずつ、確実に動いている。君らのような人たちが変化をもたらすのだ。君の軍における成功は、君だけでなく、君の人種の歩みについての誇りでもある。君についての報せを聞くたび、わたしはとてもうれしく思うよ。わたしたちの歩むべき道はまだ長いが、しかし手に手をとり合って、いつか成し遂げられるだろうことを、わたしは知っている。わたしはただ、君がわたしの希望であることを、君に知ってほしい。願わくば、わたしたちそれぞれの道筋が、未来で交差せんことを。そのときまで、わたしは君の友達でいる。老メアリ・トッドが呼んでいる。もうベッドに行く時間だろう。敬意を込めて。エブラハム・リンカーン」
クリス：「老メアリ・トッドか。いいタッチだ。」
マーキス：「ああ。ありがとう。」

（マーキス・ウォーレン少佐とクリス・マニックス ：クエンティン・タランティーノ監督『ヘイトフル・エイト』 2015年、米）

引用ノック1007:

〔……〕ヤスパースは、（核をもつ）ソ連の全体主義を打破するためには、核の使用は許容されうるばあいがある、といっているのです。
　ヤスパースの主張と、「日本のわれわれ」の「心情と論理」とのこの大きな違いについて、日本のヤスパース研究者の方々がどれくらい、立ち止まり、検討を加えられているのかを、私は寡聞にして、知りません。しかし、いま、私たちがヤスパースについて考えるなら、この点の考究は避けて通れないところです。なぜ、このような違いが生まれるのか。（……）私のばあい、これを問い、とりあえずたどりついた彼我の分岐点が、日本の戦争体験のたまたま「生き残った」という原点とヤスパースの「生への決意性」という戦後の起点の違いだったということです。
（中略）
　（……）同じく、道徳上の罪は、主に自分の良心との関係から生じます。というか、それとの相互性のうちにささえられています。例を出せば、そのため、たとえば、殺人を犯した『罪と罰』のラスコーリニコフは、自分の老婆殺しはけっして「罪」ではないと自分の「良心」に照らして確信し、殺害を決行するのですが、母からの手紙を読み、肉親に接するうち、自分がもはや、以前のように彼らとのんびり、くつろいで話すということは永遠にできない、という直覚に襲われて、慄然とします。そして、苦しくなる。その果てに、その確信の崩壊に直面せざるをえなくなるのです。
　これに対し、形而上的な罪は、人間の関係が「きわめて緊密な人間的結合」を見せるばあいに、生じる、といわれています。では、ここにいう、人間としての連帯性（the solidarity of all men）、公民（fellow-citizens）としての連帯性、より狭いグループ（smaller groups）と異なる、「緊密な人間的結合（the closest human ties）」に基づく連帯性とは、何なのでしょうか。それを私は、あるできごとのなかでたまたま生じる絶対的な関係性から生まれる連帯性、つまりたまたま「居合わせる」という、偶然が作り出す絶対的な連帯性──偶有的であるために絶対的でもある人間間のつながり──と定義してみたいのです。

（加藤典洋『もうすぐやってくる尊皇攘夷思想のために』「戦争体験と「破れ目」」 幻戯書房、2017年）

引用ノック1005：

「席が狭いんだ」

（ベニー（ベン）： ジョン・カサヴェテス『アメリカの影』 1959年）

"... Cramped Booth."

(Ben(Ben Carruthers): John Cassavetes "Shadows" 1959, United States)

引用ノック1003:

"I'm dead now. Sorry about that. There's something I wanted to say to you I never really said when I was alive. I think you're got the makings of being a really good cop, Jason. And you know why? Because deep down you're a decent man."

("Three Billboards Outside Ebbing, Missouri" directed and by Martin McDonagh ：日本版字幕: 伊藤美和子)

翻訳： 吉川英治「随筆 宮本武蔵」

Preface

To watch an ancient is just like to watch a mountain. A face of a mountain varies in a thousand ways as to the state of viewers' heart and mind.
Looks from assets to inutility. From far to near.
Like watching a certain mountain to stand before it, watching the ancient across time. Taste and temptation in doing so is plenty.

There are crests, heads of mountains in the past sky. Musashi Miyamoto is one of my favorite ancients to watch a lot of the shadows of them.  He has been thought harsh as if the sword, residing spirit of autumn frost (秋霜) in it, represents his whole personality. But when you look at his kana character carefully (仮名文字). How many people there were in the past those who writes and streams out such decent flavor, grace, nicety and beauty of vacant slenderness from tip of digits.

He likes children. When he finds unfortunate quality children through the vagabondage, he takes in them. He is more humanly than Mr. Saigyo-san (西行) who gave the siliver cat away. Because he was also an unfortunate child.

Those, who make their bud which they won't nurture and the destiny, worm around in the shade, and tend to ascribe the situation only to times, can not make  friends with him. Weather or raging waves, or anything times introduce, ran against with open arms, and held his own he, that was his pace. Was the way.

He was born and lived in an age of feudalism, that respects family tree and sept more than physical power or mentality in the modern age, without status but a son of a squire or don (郷士). After made them available, he did not take on. There were the one thing he hadn't let gone until his death. Sword. And its way.

Through the sword, he gazed being's ordinary and foolishness and bodhi (菩提).
Beings are like chunks full of earthly desires, and they have fighting instinct to live. Musashi had tried to struggle with handling them for life.

In an age of fouling strings and savage atomsphere, Musashi was a person who thought hard and feelingly about "Shura (修羅)" in life, one of being's froths truculence, regarding the swords, which were supposed to be things only to slash people, considering them at the same time as light of Buddha (仏光), brand of love, too.

It is also he that raised the sword's state to one "Way (道)", an inner matter.
Persons walked on their road just only with the way of savage from Ounin(応仁) to the provincial wars. On the road of Samurai must have been taken a new re-step for trekking since then almost absolutely.

His iridiac color was amber. He was as tall as near six shaku(尺), 1.8 meter. He won sixty and some bouts through his whole life. And he hadn't taken a wife all his life. In late life he didn't fix his hair and avoided taking a bath. --It is good to wipe grime of mind, but not good to do so of body, thus still devoted himself to. He must have been an awfully formidable man. But looking at the left pictures drawn by him, how shall we sing his aroma and descent attraction, as old Japanese plum flower (老梅) or chrysanth flowers (菊華) of autumn forst (秋霜)?

Musashi like that described above. Musashi to be observed in many ways from several angles accoring to viewers' eyes.
So, he has drifted within praises and censures, theories of master and non-master, since a long time ago. And then I did write into a novel.
The novel doesn't historicieze necessarily. There is no way but persuing to approach his inside mind and spirit by the ancient's footmark. Especially, prehension and portrait of a character like Musashi whose historical sources are not plenty is, nearly equal to the works and tries to revive blood circulation in skeltonized remains below the ground. One who deciede to do this would be damn sightless or fearless.

I dared to write audaciously, but now I am afraid that the author's imagination and the correct history could be muddled in the future. As if one who have planted roses clips them by oneself, with scissors in small amounts of time, I decided to bundle this piece of bouths after pruning branches of fictions and historical evidences a little here and there.

Are you doubting that I do it because I don't have my own maxim of literature?
My friend, do not laugh. I, this daring man, have some timidity, too.

For people have wide thick knowledge and grand comprehension.
And, as neccessary decency to the ancient whose virtue I adore and look up to (景仰), I respect and fear him.

Showa（昭和） 14 mid spring

at Sousidou

Eiji(英治) sei(life)

   Essay: Miyamoto Musashi

preface

Build a roof on the rooftop. We have such a phrase.
This writing is, surely, is one like a roof built on the rooftop.
It is natural that you look upon this "Essay: Miyamoto Musashi"(Musashi Miyamoto) as redundant stuff because there is already "Novel: Miyamoto Musashi"(Musashi Miyamoto).
Frankly, Also I think of this to be unnecessary.
So, at first I made prints of this from Asahi Shinbunsha (Asahi Newspaper Company ;朝日新聞社). And then rolled off a only quite limited number of them for fewer people especially who are interested in studying Musashi. I haven't reprinted them until now.
But, book readers have a habit of asking too much, or for the moon. And printed books seem to be total comsumable goods. Recently, the part of Essay Musashi can rarely be found out in the market.
After the second World War, fellows of Miyamoto Musashi Mention Society in Kumamoto had been searching this book. They came to Tokyo because they weren't able to find it from used booksellers or find out in bookstores' catalog of publications. Now I have only one in hand for my own remarks. Furthermore, I had written many words here and there in it, hence I could not give it others and declined in vain frequently.
I don't esteem this essay as a writing worth repriting. But incidently there are such wishers, and after another edition of the novel part, voice to ask for it increased. So I have decided reprint only small number of the essay books nearly for hobby or palate.
The matters contained in the essay part are things that had not been used in my novel, such as biographies, historical sources, relics, stories handed by tradition and handwritings of Musashi, arranged directly as raw stuff.
In a word, I've only exhibited the darkside of my novel's subject matter.
You readers would know the process of composing a novel or how the storytellers treat historical sources and their intent, like "Ahh, by these means that long story are created!"
In addition, I have assembled my travel story to search the sources, study sent from my readers, notebooks around and the gleaned at the time I was writing it, in chaos, in passing of pen.

Today we have more and more excursuses about him from time to time, thanks to new discoveries of Musashi's historical sources. For example, we have come to know his letter during Shimabara combat from the Arima correspondence after the end of the war.

Eiji Yoshikawa ”Essay: Musashi Miyamoto”
https://www.aozora.gr.jp/cards/001562/files/52434_49777.html

引用ノック0986:

I knelt and started to pray and prayed for everybody , (...) so I prayed that the bull-fights would be good, and that it would be a fine fiesta, and that we would get some fishing.
*snip*
"I got hungry and woke up."
"Eat some soup," Bill said.
The three of us sat at the table, and it seemed as though about six people were missing.
*snip*
Ahead was a mounted policeman in khaki directing traffic. He raised his baton. The car slowed suddenly pressing Brett against me.

"Yes," I said. "Isn't it pretty to think so?"


(Ernest Hemingway "The Sun Also Rises" 1926)
https://gutenberg.ca/ebooks/hemingwaye-sunalsorises/hemingwaye-sunalsorises-00-h.html

煙か土か食い物33/Note about "Kemuri ka Tsuchi ka Kuimono" ("Smoke, Soil or Sacrifices") (You know absolutely no connection with real life and families)

梗概。原文と英訳並行で置く。
ウサマ・ビン・ラディンの生け捕りの話
→ジョン・ルース（『ヘイトフル・エイト』）

煙か土か食い物32/Note about "Kemuri ka Tsuchi ka Kuimono" ("Smoke, Soil or Sacrifices") (You know absolutely no connection with real life and families)

I omit the old second part now and will renew.
Then I lay my opinion as to this novel here.

Works of kiniship I assume are:
Salman Rushdie "Midnight's children" (1981)
Mikal Gilmore "Shot in the Heart" (1994)
James Ellroy "The Big Nowhere" (1988)
Günter Grass "Die Blechtrommel" (1959) EN:"The Tin Drum" (1959)
Quentin Tarantino "The Hateful Eight" (2015) (John Ruth and Hiroshi Nozaki problem)

煙か土か食い物31/Note about "Kemuri ka Tsuchi ka Kuimono" ("Smoke, Soil or Sacrifices") (You know absolutely no connection with real life and families)

”Where are you ya, now?”
"Me?" Being asked, made a sweep. Where is here (ya)?
Middle of somewhere. (pp. 335)

This novel culminates with a sentence in that he tolerates himself.

You must have been tired so expectionally.

煙か土か食い物30/Note about "Kemuri ka Tsuchi ka Kuimono" ("Smoke, Soil or Sacrifices") (You know absolutely no connection with real life and families)

There the ethics are as "Ethics of Being". Yoshimoto (Takaaki) tells that the understanding point of the turn is, to fully realize equivalentness of each being, putting it another way, that one and another have the same riddle and experienced the same suffering. Therefore he advocades the naming of the new understanding from the events above, "Ethics of Being". It sounds to me as a suggestion that, any human have their own origin of coordinates, where if one is able to return to it has the one make out the emotional ties. ("As to Ethics of Being" Norihiro Kato editing and writing "Murakami Haruki Yellow page PART2" "chapter.5 "Kafka on the shore"" pp.179-180 Arechi Shuppan-sha, 2004)

 Taking this thing into account, the next scene read tender.

"Why does Maruo want to eat meals with the all families? Each may eat whenever one chose. No need to see each other. Leave me alone and I'll do irresponsibly." (pp.170)

 (this part may be not tough and solid in attitude and theory. think again and polish or change a little or.)

And Shiro comes to think that there is a meaning (or point) of life. "Middle of Nowhere" in him reaches "Middle of Somewhere". This partly can be assumed as homage for the famous last scene of "Norwegian Wood".

(Haruki Murakami is now a very very difficult writer and person to tell. One thing I think is, his novel is not bad or sometimes good in a whole except his style. And the second I think is, the scene where the young Hoshino was told, I was disappointed by definition, for example at the way in which action movies were treated, or games like Pachinko.)

煙か土か食い物28/Note about "Kemuri ka Tsuchi ka Kuimono" ("Smoke, Soil or Sacrifices") (You know absolutely no connection with real life and families)

The same thing can be said as to my parents, and their parents retrospectively. Even if everybody is innocent respectively, when one is located in the world of the relation, his or her identity is relativized, and  one's innocence as the absolute becomes invalid and turns into the alternate thing.

煙か土か食い物26/Note about "Kemuri ka Tsuchi ka Kuimono" ("Smoke, Soil or Sacrifices") (You know absolutely no connection with real life and families)

It is a story that is everywhere, that, those with experiences of maltreatment in infancy become parents who kick around their children in the same way. A tragic circle. I am frequently seeing stuff like that in Sandiego.

煙か土か食い物25/Note about "Kemuri ka Tsuchi ka Kuimono" ("Smoke, Soil or Sacrifices") (You know absolutely no connection with real life and families)

Understanding to a certain type of affairs, which was named "Ethics of Being [on the earth]" by Takaaki Yoshimoto, comes into being psyche, here.

Assuming Maruo's experience of victimization from Daimaru, those hold water.

煙か土か食い物25/Note about "Kemuri ka Tsuchi ka Kuimono" ("Smoke, Soil or Sacrifices") (You know absolutely no connection with real life and families)

The most important thing to me is Maruo behind the veneer loved all of us decently. Now that I am just convinced with it. At long last I have come to recognize it.