よみうち英語Read the classics by typingNotes Scene 35: Julia's Room
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Notes on this scene
Helen fastens the shutters, and Holmes examines them from outside with a magnifying lens, trying every means of forcing them open. The party then enters through the whitewashed corridor and goes into the room where Helen now sleeps. It is the same room that her sister Julia once occupied. The scene begins from this carefully established point.
Japanese in this scene
- あらゆる手を尽くして
- あらゆる means ‘every possible.’ Holmes tries every method he can to force the shutter open.
- どっしり
- どっしりした describes the masonry as solid, massive, and heavy, helping establish that the shutter hinges cannot be pulled loose.
- しっかり
- しっかり shows the hinges are embedded firmly and securely in the stonework, supporting Holmes's conclusion that the shutters cannot be forced.
- 私の説には、たしかに難点がいくつかある
- たしかに is a candid concession: Holmes admits that his current theory does indeed have several difficulties.
Background
- Wilton carpet
- Wilton in southern England was known for closely woven carpets. The single rug in Julia's room stands out among the otherwise plain furnishings.
Full text: original English and Japanese translation
Miss Stoner did so, and Holmes, after a careful examination through the open window, endeavoured in every way to force the shutter open, but without success. There was no slit through which a knife could be passed to raise the bar. Then with his lens he tested the hinges, but they were of solid iron, built firmly into the massive masonry. "Hum!" said he, scratching his chin in some perplexity, "my theory certainly presents some difficulties. No one could pass these shutters if they were bolted. Well, we shall see if the inside throws any light upon the matter."
ストーナーさんがそのとおりにすると、ホームズは開けてある窓越しに念入りに調べたあと、あらゆる手を尽くして鎧戸をこじ開けようとしたが、うまくいかなかった。かんぬきを持ち上げるためにナイフを差し入れられるような隙間はなかった。次に拡大鏡で蝶番を調べたが、それは頑丈な鉄製で、どっしりした石積みにしっかり埋め込まれていた。「ふむ！」と彼は困ったようにあごをかきながら言った。「私の説には、たしかに難点がいくつかあるな。かんぬきがかかっていれば、誰にもこの鎧戸は通れない。まあ、中を見れば何か手がかりが得られるかどうか、見てみよう」
A small side door led into the whitewashed corridor from which the three bedrooms opened. Holmes refused to examine the third chamber, so we passed at once to the second, that in which Miss Stoner was now sleeping, and in which her sister had met with her fate. It was a homely little room, with a low ceiling and a gaping fireplace, after the fashion of old country-houses. A brown chest of drawers stood in one corner, a narrow white-counterpaned bed in another, and a dressing-table on the left-hand side of the window. These articles, with two small wicker-work chairs, made up all the furniture in the room save for a square of Wilton carpet in the centre. The boards round and the panelling of the walls were of brown, worm-eaten oak, so old and discoloured that it may have dated from the original building of the house. Holmes drew one of the chairs into a corner and sat silent, while his eyes travelled round and round and up and down, taking in every detail of the apartment.
小さな脇の戸から、三つの寝室が面している白塗りの廊下に出た。ホームズは三つ目の部屋を調べるのを断り、私たちはすぐ二つ目、つまりストーナーさんが今寝ていて、姉が最期を遂げた部屋へ進んだ。田舎の古い屋敷によくあるように、天井が低く、暖炉がぽっかり口を開けた、飾り気のない小さな部屋だった。一つの隅には茶色のたんす、別の隅には白い上掛けのかかった幅の狭いベッド、窓の左手には化粧台が置かれていた。これらに小さな籐編みの椅子が二脚加わり、中央に敷いた四角いウィルトン織りの絨毯を除けば、部屋の家具はそれですべてだった。床板と周囲の壁板は、茶色い虫食いだらけの樫材で、あまりに古く色あせていて、屋敷が最初に建てられた当時のものかもしれなかった。ホームズは椅子の一つを隅に引き寄せて黙って座り、目をぐるぐると上下に動かして、部屋のあらゆる細部を見て取っていた。