20歳くらいのとき初めて日本語版を手に取り、冒頭の書簡の部分で挫折し、約10年後に英語版を読了しました。
この英語版を大学生が読むのは苦悶だろうな~と同情する。厳格なイギリス精神で一貫して語られ、それに馴染みのない日本の大学生には登場人物の言動が理解できないかも。特にこの本はぐんぐん前に進めるプロットでもなく、フォースターの若い頃の作品『眺めのいい部屋』や『天使も踏むのを恐れるところ』のほうがずっと読みやすい。ジーニアス英和に載っていない単語も満載で、英辞郎やgoogle検索ですら解明できない言葉もありました。よく言えば、英文学好きには語学的にも文学的にも噛み応えのある小説です。
この本の素晴らしさをすべて書き出すのは不可能。でもあえて一つ挙げるとすればMargaret Schlegelという主人公でしょうか。フォースターの墓石に刻まれている「ONLY CONNECT」を発した人物。彼の全作品に共通する概念(異なる階級、国籍、人間性を持った人たちをつなげること)を体現した人。現実的で心が空っぽな成功者Mr Wilcoxと、(その対極にいる)芸術的で同情心の強い妹Helenをつなぎ合わせることのできる共感と理性を兼ね備えた人です。フォースターはイングランド人にこのマーガレットの理性的で寛容な精神を持ってもらいたいと切実に願っていたのではないか、と読みながら感じました。
ハワーズエンド邸の場面はため息がもれるほど幻想的で美しい文章。せわしなく、時に醜い人間たちの生活の中で、神がかった熱を放っているこの家の存在も面白い。
何年後かにもう一度読み直したい。あらゆる面で、フォースターほどこんなにいろんなことを上手に書ける人はいないと思います。
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Howards End (Penguin Twentieth-Century Classics,) ペーパーバック – 2000/4/3
英語版
E. M. Forster
(著),
David Lodge
(序論)
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購入オプションとあわせ買い
E. M. Forster's meticulously observed drama of class warfare exploring the conflict inherent within English society—the inspiration for the award-winning two-part play The Inheritance, now on Broadway
"Only connect..." A chance acquaintance brings together the preposterous bourgeois Wilcox family and the clever, cultured and idealistic Schlegel sisters. As clear-eyed Margaret develops a friendship with Mrs Wilcox, the impetuous Helen brings into their midst a young bank clerk named Leonard Bast, who lives at the edge of poverty and ruin. When Mrs Wilcox dies, her family discovers that she wants to leave her country home, Howards End, to Margaret. Thus as Forster sets in motion a chain of events that will entangle three different families, he brilliantly portrays their aspirations to personal and social harmony. David Lodge's introduction provides an absorbing and eloquent overture to the 1910 novel that established Forster's reputation as an important writer, and that he himself later referred to as "my best novel." This edition also contains a note on the text, suggestions for further reading, and explanatory notes.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
"Only connect..." A chance acquaintance brings together the preposterous bourgeois Wilcox family and the clever, cultured and idealistic Schlegel sisters. As clear-eyed Margaret develops a friendship with Mrs Wilcox, the impetuous Helen brings into their midst a young bank clerk named Leonard Bast, who lives at the edge of poverty and ruin. When Mrs Wilcox dies, her family discovers that she wants to leave her country home, Howards End, to Margaret. Thus as Forster sets in motion a chain of events that will entangle three different families, he brilliantly portrays their aspirations to personal and social harmony. David Lodge's introduction provides an absorbing and eloquent overture to the 1910 novel that established Forster's reputation as an important writer, and that he himself later referred to as "my best novel." This edition also contains a note on the text, suggestions for further reading, and explanatory notes.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
- ISBN-10014118213X
- ISBN-13978-0141182131
- 出版社Penguin Classics
- 発売日2000/4/3
- 言語英語
- 寸法12.95 x 1.42 x 19.71 cm
- 本の長さ336ページ
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With a new Introduction by James Ivory
Commentary by Virginia Woolf, Lionel Trilling, Malcolm Bradbury, and Joseph Epstein
"Howards End is a classic English novel . . . superb and wholly cherishable . . . one that admirers have no trouble reading over and over again," said Alfred Kazin.
First published in 1910, Howards End is the novel that earned E. M. Forster recognition as a major writer. At its heart lie two families—the wealthy and business-minded Wilcoxes and the cultured and idealistic Schlegels. When the beautiful and independent Helen Schlegel begins an impetuous affair with the ardent Paul Wilcox, a series of events is sparked—some very funny, some very tragic—that results in a dispute over who will inherit Howards End, the Wilcoxes' charming country home. As much about the clash between individual wills as the clash between the sexes and the classes, Howards End is a novel whose central tenet, "Only connect," remains a powerful prescription for modern life.
"Howards End is undoubtedly Forster's masterpiece; it develops to their full the themes and attitudes of [his] early books and throws back upon them a new and enhancing light," wrote the critic Lionel Trilling.
Commentary by Virginia Woolf, Lionel Trilling, Malcolm Bradbury, and Joseph Epstein
"Howards End is a classic English novel . . . superb and wholly cherishable . . . one that admirers have no trouble reading over and over again," said Alfred Kazin.
First published in 1910, Howards End is the novel that earned E. M. Forster recognition as a major writer. At its heart lie two families—the wealthy and business-minded Wilcoxes and the cultured and idealistic Schlegels. When the beautiful and independent Helen Schlegel begins an impetuous affair with the ardent Paul Wilcox, a series of events is sparked—some very funny, some very tragic—that results in a dispute over who will inherit Howards End, the Wilcoxes' charming country home. As much about the clash between individual wills as the clash between the sexes and the classes, Howards End is a novel whose central tenet, "Only connect," remains a powerful prescription for modern life.
"Howards End is undoubtedly Forster's masterpiece; it develops to their full the themes and attitudes of [his] early books and throws back upon them a new and enhancing light," wrote the critic Lionel Trilling.
著者について
Edward Morgan Forster was born in London in 1879. He wrote six novels, four of which appeared before the First World War, Where Angels Fear to Tread (1905), The Longest Journey (1907), A Room with a View (1908), and Howard's End (1910). An interval of fourteen years elapsed before he published A Passage to India. It won both the Prix Femina Vie Heureuse and the James Tait Black Memorial Prize. Maurice, his novel on a homosexual theme, finished in 1914, was published posthumously in 1971. He also published two volumes of short stories; two collections of essays; a critical work, Aspects of the Novel; The Hill of Devi, a fascinating record of two visits Forster made to the Indian State of Dewas Senior; two biographies; two books about Alexandria (where he worked for the Red Cross in the First World War); and, with Eric Crozier, the libretto for Britten's opera Billy Budd. He died in June 1970.
登録情報
- 出版社 : Penguin Classics (2000/4/3)
- 発売日 : 2000/4/3
- 言語 : 英語
- ペーパーバック : 336ページ
- ISBN-10 : 014118213X
- ISBN-13 : 978-0141182131
- 寸法 : 12.95 x 1.42 x 19.71 cm
- Amazon 売れ筋ランキング: - 70,813位洋書 (洋書の売れ筋ランキングを見る)
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トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
2018年7月27日に日本でレビュー済み
Amazonで購入
2009年9月16日に日本でレビュー済み
Amazonで購入
吉田健一はやっぱり偉かった。こんな格調高いお話の流れを見事に掴んできちんとした日本語にしてくれた…この洋書を読んで。
フォースターらしくなくポップなお話。お堅いフォースターを期待していた方が読むと(?)だろうなあ。
会話がやたらに多い。それはこの小説がコミュニケーションをテーマにしているからに他ならない…というのはどなたにでも感じられるであろう。
それを吉田健一は(私の乏しい知識では「HE」日本語版は吉田しか知らない)あえて邦訳でお堅い日本語にした。わかるなあ。彼はおふざけ文学者のジョイスが嫌いだったから、あのような文体(『フィネガンズ・ウェイク』をお読みください)には決してしたくなかったのだろう。
昨年、「世界文学全集」として改めて手に取ったかたも多いと思う。上述のようなことでなんだが、自分も「ハワーズ〜」はシリーズの中で浮いているかも…とは思った。
なお、吉田健一版を「退屈だ」と思った方も多いだろう。そういう方はまずこのヴァージョンから入るといいのでは。このお値段だし、さほど分厚くありません。
フォースターらしくなくポップなお話。お堅いフォースターを期待していた方が読むと(?)だろうなあ。
会話がやたらに多い。それはこの小説がコミュニケーションをテーマにしているからに他ならない…というのはどなたにでも感じられるであろう。
それを吉田健一は(私の乏しい知識では「HE」日本語版は吉田しか知らない)あえて邦訳でお堅い日本語にした。わかるなあ。彼はおふざけ文学者のジョイスが嫌いだったから、あのような文体(『フィネガンズ・ウェイク』をお読みください)には決してしたくなかったのだろう。
昨年、「世界文学全集」として改めて手に取ったかたも多いと思う。上述のようなことでなんだが、自分も「ハワーズ〜」はシリーズの中で浮いているかも…とは思った。
なお、吉田健一版を「退屈だ」と思った方も多いだろう。そういう方はまずこのヴァージョンから入るといいのでは。このお値段だし、さほど分厚くありません。
2015年6月25日に日本でレビュー済み
Amazonで購入
卒業論文には何かいい本がないかと思っていて、この''Howard's End''で書きました。私は書いた論文が大満足なのに、教授はまったく良さに分かってくれずに一番低い点数をくれました。まあ通ったけど、人の理解力を期待するのは難しいです。
2016年2月18日に日本でレビュー済み
Amazonで購入
本の文章とか内容じゃなく、まず 包装を外したとたん表紙が破け、テープ補修。 本文の印刷の悪さにがっかり。 以前のPenguin本は、これほど悪くなかったと思います。 どうしたのでしょう。? これからも ずうっとこの調子としたら、Penguin本を買うの ためらいます。
2013年10月20日に日本でレビュー済み
Amazonで購入
大学の授業で読まねばならず、仕方なく読んでいるのでつまらなくて・・・
2012年12月15日に日本でレビュー済み
Amazonで購入
安いのと早く入手できたので選びました。ただpenguin版との最大の違いは、Preface("Only connecting...")とNotesがついてないことで、これは大きかったと思います。結局それらについては図書館でpenguin版を参照することに・・・。
他の国からのトップレビュー
Hélène V.
5つ星のうち5.0
Prix raisonnable et service rapide.
2022年12月31日にカナダでレビュー済みAmazonで購入
J'ai obtenu le format de livre que je recherchais, soit un livre à couverture souple, mais d'un format un peu plus grand qu'un livre de poche. De plus il a été livré très rapidement.
Aran Joseph Canes
5つ星のうち5.0
A Shift in the Collective Moral Perspective
2022年10月27日にアメリカ合衆国でレビュー済みAmazonで購入
E.M. Forster’s novels epitomize the values of the Bloomsbury set to which he belonged. Howard’s End wittingly satires the highly class conscious world of Edwardian England. A Room With a View portrays the vapidity of the arranged marriages of his day and makes a convincing case for matrimony based only on romantic love.
Influenced by the Cambridge philosopher G.E. Moore, who thought that the good could only be intuited instead of reasoned to, the Bloomsbury authors helped accomplish a revolution in morals which is ongoing. Instead of stemming from an ancient text, or derived from reflection on the correct behavior for the rational animal, Forster pens an articulate appeal for sensitivity to the needs of every person, the goodness of the human body and a strong aversion to moral judgment.
Thus, the Wilcoxes of Howard’s End orate proudly on the just desserts of their labor but blithely ignore their dying matriarch’s request to bequeath her house to someone outside the family. Mr. Wilcox is forgiven for an affair conducted with an orphaned teen, but refuses to house his sister-in-law who is pregnant out of wedlock. Throughout, upper class suitors are generally shown to be stuffy, self-obsessed and unfeeling towards the women they desire.
But it is no longer the early 20th century and we can now see the results of the experiment in Bloomsbury ethics. We’ve supposedly ended loveless marriages but instead have children growing up without the stable family structure they so strongly desire. The classes are thankfully less like a caste structure, but we’ve found other affiliations, like political party, on which to divide our communities. And while the body is certainly a good, it doesn’t take the recognition that many body images have to be photoshopped to realize that something is out of sorts with our obsession around the body.
I don’t feel a need to impose my philosophy on anyone, but I do think that we can use reason to establish virtues, norms and guides that transcend cultures and go beyond the simple ethic of good-heartedness and no personal judgment. But if you want to trace this source of modern mores, E.M. Forster’s early 20th century novels are perhaps the best place to start. Not only enjoyable, they subtly set about revolutionizing the world and thus they’re essential just for understanding ourselves. Highly recommended.
Influenced by the Cambridge philosopher G.E. Moore, who thought that the good could only be intuited instead of reasoned to, the Bloomsbury authors helped accomplish a revolution in morals which is ongoing. Instead of stemming from an ancient text, or derived from reflection on the correct behavior for the rational animal, Forster pens an articulate appeal for sensitivity to the needs of every person, the goodness of the human body and a strong aversion to moral judgment.
Thus, the Wilcoxes of Howard’s End orate proudly on the just desserts of their labor but blithely ignore their dying matriarch’s request to bequeath her house to someone outside the family. Mr. Wilcox is forgiven for an affair conducted with an orphaned teen, but refuses to house his sister-in-law who is pregnant out of wedlock. Throughout, upper class suitors are generally shown to be stuffy, self-obsessed and unfeeling towards the women they desire.
But it is no longer the early 20th century and we can now see the results of the experiment in Bloomsbury ethics. We’ve supposedly ended loveless marriages but instead have children growing up without the stable family structure they so strongly desire. The classes are thankfully less like a caste structure, but we’ve found other affiliations, like political party, on which to divide our communities. And while the body is certainly a good, it doesn’t take the recognition that many body images have to be photoshopped to realize that something is out of sorts with our obsession around the body.
I don’t feel a need to impose my philosophy on anyone, but I do think that we can use reason to establish virtues, norms and guides that transcend cultures and go beyond the simple ethic of good-heartedness and no personal judgment. But if you want to trace this source of modern mores, E.M. Forster’s early 20th century novels are perhaps the best place to start. Not only enjoyable, they subtly set about revolutionizing the world and thus they’re essential just for understanding ourselves. Highly recommended.
Antenna
5つ星のうち5.0
Accepting our differences
2023年10月29日に英国でレビュー済みAmazonで購入
In what was to prove the end of an idyllic period for the leisured English middle classes just before the outbreak of World War One, E. M. Forster captures the tensions and lack of “meeting of minds” between two middle class families with very different roots and attitudes: the Schlegels and the Wilcoxes. The intellectual Schlegels get away with appearing a bit unorthodox since they are half-German, that is “foreigners”. They are idealistic within their cocoon of privilege, living comfortably on inherited money. The much wealthier, pragmatic, materialistic Wilcoxes have built a fortune “in trade” and have no compunction about “keeping the workers in their place”. As Henry Wilcox observes,
“You do admit that, if wealth was divided up equally, in a few years…the hard-working man would come to the top, the wastrel sink to the bottom”.
Through a fateful meeting of the Schlegel siblings with the bookish, music-loving clerk Leonard Bast, Forster portrays the rigid class divide of the early 1900s. Too poor even to afford a decent umbrella, too decent to abandon the ageing, former prostitute lover who has latched on to him, unable to regain a foothold on the ladder of respectability when he loses his job through no fault of his own, it proves too hard for him to win acceptance and pursue his interests.
Howards End seems an unlikely place for the Wilcoxes to live, being a somewhat unfashionable place in the depths of the countryside, based on Forster’s own childhood home, “Rooks Nest House”. It turns out that this belongs to Mrs Wilcox, a rather unsatisfactorily vague, two-dimensional character, dismissed as “uninteresting” by Margaret Schlegel’s chatterati friends. She exerts a calming influence on her family, but is not the woman one would expect Mr. Wilcox to have chosen for a wife. It seems that she is the “guardian” of a house which is the almost mystical symbol of an idealised way of English life that is fast disappearing at the turn of the C19 century. Knowing that she is terminally ill, she appears to hold, but never clearly expresses, the belief that Margaret Schlegel is more suited to own the house than the soulless, capitalist family into which Mrs Wilcox has married. The implications of her decision form an important part of the plot.
It may be surprising that, when widowed, the patriarch Mr. Wilcox falls for Margaret, the plain, serious-minded elder sister who has devoted herself to her orphaned siblings to the point of risking becoming an old maid. It is understandable that she seeks “a real man” in the form of Mr Wilcox, even though the two are clearly fundamentally different in their attitude to life.
The main characters, at least on the “middle class” side, are well developed. Margaret’s younger sister Helen, impetuous with a hint of instability, plays the role of the character prepared to challenge the system, but ill-equipped to cope unaided when “it comes to the crunch”. Brother Tibby provides a further contrast as the hypochondriac, wimpish bookworm cosseted by his sisters, who do not seem to resent the fact that, being the male child, he is the one to go Oxford.
Written at the end of a prolonged period of social stability and convention, but foreshadowing some dramatic changes, this stands out as one of the first “modern” novels, quite radical and original in certain respects. The story proceeds with some unexpectedly humorous moments and a sense of real connection between the characters in the form of conversations to which one can relate. Forster focuses on the relevant scenes, confidently omitting any superfluous “linking” chapters. Perhaps he can be forgiven for drifting occasionally into overblown Victorian-style philosophising.
This is an engaging family drama, with some profound insights which repay rereading. It can be read at two levels: either an Edwardian soap opera, or a quite complex amalgam of Forster’s deep reflections on the nature and future of English society, the differences between people and the ultimate need for tolerance. Although the characters may be a little wiser at the end, the wry truth remains that in any crisis the poor and the underdogs will tend to be the ones who lose out, but hints of the approaching war suggest that the escapist paradise of Howard’s End may not last.
“You do admit that, if wealth was divided up equally, in a few years…the hard-working man would come to the top, the wastrel sink to the bottom”.
Through a fateful meeting of the Schlegel siblings with the bookish, music-loving clerk Leonard Bast, Forster portrays the rigid class divide of the early 1900s. Too poor even to afford a decent umbrella, too decent to abandon the ageing, former prostitute lover who has latched on to him, unable to regain a foothold on the ladder of respectability when he loses his job through no fault of his own, it proves too hard for him to win acceptance and pursue his interests.
Howards End seems an unlikely place for the Wilcoxes to live, being a somewhat unfashionable place in the depths of the countryside, based on Forster’s own childhood home, “Rooks Nest House”. It turns out that this belongs to Mrs Wilcox, a rather unsatisfactorily vague, two-dimensional character, dismissed as “uninteresting” by Margaret Schlegel’s chatterati friends. She exerts a calming influence on her family, but is not the woman one would expect Mr. Wilcox to have chosen for a wife. It seems that she is the “guardian” of a house which is the almost mystical symbol of an idealised way of English life that is fast disappearing at the turn of the C19 century. Knowing that she is terminally ill, she appears to hold, but never clearly expresses, the belief that Margaret Schlegel is more suited to own the house than the soulless, capitalist family into which Mrs Wilcox has married. The implications of her decision form an important part of the plot.
It may be surprising that, when widowed, the patriarch Mr. Wilcox falls for Margaret, the plain, serious-minded elder sister who has devoted herself to her orphaned siblings to the point of risking becoming an old maid. It is understandable that she seeks “a real man” in the form of Mr Wilcox, even though the two are clearly fundamentally different in their attitude to life.
The main characters, at least on the “middle class” side, are well developed. Margaret’s younger sister Helen, impetuous with a hint of instability, plays the role of the character prepared to challenge the system, but ill-equipped to cope unaided when “it comes to the crunch”. Brother Tibby provides a further contrast as the hypochondriac, wimpish bookworm cosseted by his sisters, who do not seem to resent the fact that, being the male child, he is the one to go Oxford.
Written at the end of a prolonged period of social stability and convention, but foreshadowing some dramatic changes, this stands out as one of the first “modern” novels, quite radical and original in certain respects. The story proceeds with some unexpectedly humorous moments and a sense of real connection between the characters in the form of conversations to which one can relate. Forster focuses on the relevant scenes, confidently omitting any superfluous “linking” chapters. Perhaps he can be forgiven for drifting occasionally into overblown Victorian-style philosophising.
This is an engaging family drama, with some profound insights which repay rereading. It can be read at two levels: either an Edwardian soap opera, or a quite complex amalgam of Forster’s deep reflections on the nature and future of English society, the differences between people and the ultimate need for tolerance. Although the characters may be a little wiser at the end, the wry truth remains that in any crisis the poor and the underdogs will tend to be the ones who lose out, but hints of the approaching war suggest that the escapist paradise of Howard’s End may not last.
Som
5つ星のうち5.0
Loved it !
2022年3月5日にインドでレビュー済みAmazonで購入
The story is great. The narration is superb. Loved the prose. Its lyrical and lucid. Pick it up and read.
Also have to mention, I searched the book. It was on the BBC list or something. All I did was searched for the best of English novels and this title intrigued me.
Such a page turner, a riveting story. You'll have lots as takeaway.
Also have to mention, I searched the book. It was on the BBC list or something. All I did was searched for the best of English novels and this title intrigued me.
Such a page turner, a riveting story. You'll have lots as takeaway.
Otto
5つ星のうち5.0
Un ritratto delle classi della società inglese dell'inizio del Novecento
2020年7月13日にイタリアでレビュー済みAmazonで購入
Non avevo mai acquistato queste edizioni, ma devo dire che sono rimasta soddisfatta!
La copertina è plastificata e le pagine sono di buona qualità anche se non ho apprezzato molto la presenza della linea che separa il titolo del libro dal corpo del testo, ma è un gusto estetico personale. La storia è molto bella, perché racconta dell'incontro tra classi differenti con le loro divergenze e battaglie personali. Consigliatissimo!
La copertina è plastificata e le pagine sono di buona qualità anche se non ho apprezzato molto la presenza della linea che separa il titolo del libro dal corpo del testo, ma è un gusto estetico personale. La storia è molto bella, perché racconta dell'incontro tra classi differenti con le loro divergenze e battaglie personali. Consigliatissimo!
Otto
2020年7月13日にイタリアでレビュー済み
La copertina è plastificata e le pagine sono di buona qualità anche se non ho apprezzato molto la presenza della linea che separa il titolo del libro dal corpo del testo, ma è un gusto estetico personale. La storia è molto bella, perché racconta dell'incontro tra classi differenti con le loro divergenze e battaglie personali. Consigliatissimo!
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