利用者:加藤勝憲/グエン・トゥアン

1951 bronze bust of Nguyễn Tuân by Diệp Minh Châu.

グエン・トゥアン（Nguyễn Tuân、1910年7月10日 - 1987年7月28日）はベトナムの著名な作家。ベトナムの公立学校に関する著書で、ベトナム現代文学の9大作家の一人に数えられる。彼は、言葉を賢く創造的に使用して、複数の主題についてエッセイを書いた。ハノイにはタインスアン区に彼の名を冠した通りがある。

生涯

グエン・トゥアンは1910年7月10日にハノイのHàng Bạc通りで生まれた。彼の家族はNhân Mụcコミューン（通称Mọc村）のThượng Đình集落（現在はハノイ市Thanh Xuân区Nhân Chính区の一部）に住んでいた。彼の家族は伝統的な儒教を信奉していたが、彼が幼少期を過ごす頃には、儒教や伝統的な中国の影響を受けた教育は衰退し始め、より近代的なフランスの影響を受けた文化に取って代わられた。

1929年、グエン・トゥアンは中等教育（中学3年生に相当）の最後の年に、ベトナム人を卑下した数人のフランス人教師に対する請願に参加したため、停学処分を受けた。その直後、彼は植民地時代の仏領インドシナの国境を不法に越えてタイに渡った罪で投獄された。釈放後、ジャーナリスト、作家として執筆活動を始める。

グエン・トゥアンは1930年代初頭に執筆活動を始めたが、1938年に『Vang Bóng Một Thời』、『Một Chuyến Đi（旅）』などのエッセイやルポルタージュで世間に知られるようになった。1941年、政治革命家との交流のため、再び投獄される。

1945年の8月革命後、グエン・トゥアンは共産党に入党し、作家として活動を続ける。1948年から1958年まで、ベトナム芸術文学協会の書記長を務める。エッセイ集『Sông Đà（ダー川）』（1960年）、ベトナム戦争（1965～1975年）の日記など、ベトナムの風景や文化的な色彩を中心に作品を発表。

グエン・トゥアンは1987年にハノイで死去し、読者に極めて創造的で芸術的な作品集を残した。1996年にはホーチミン芸術文学賞を受賞。

A vignette of the character

グエン・トゥアンはまず愛国者であり、伝統的な価値観や文化的な美しさを深く愛していた。ベトナム語に造詣が深く、Nguyễn Du、Đoàn Thị Điểm、Tú Xương、Tản Đà...といった有名な作家の名作だけでなく、ベトナム北部の演劇の一種であるca trùのような庶民の芸術も賞賛した。その興味は単なる観客にとどまらず、絵画、彫刻、舞台芸術、映画に至るまで、様々なテーマを研究し、知識を深めるのに役立った。グエン・トゥアンはまた、ベトナム初の映画『Cánh Đồng Ma（お化けの野原）』に参加したことで、ベトナム映画界の最初の俳優の一人となった。

Nguyễn Tuân was first a patriot, who expressed a deep love for traditional values and cultural beauties. Having a great appreciation of the Vietnamese language, he admired not only masterpieces from famous authors such as Nguyễn Du, Đoàn Thị Điểm, Tú Xương, Tản Đà..., but also the arts of the common people, like ca trù, a form of theatrical singing of northern Vietnam. The interest did not stop at being just a spectator, but helped him study and become knowledgeable at various topics, ranging from painting, sculpture, theater arts, to film. Nguyễn Tuân was also one of the first actors of the Vietnamese motion picture industry, with his participation in the first Vietnamese movie Cánh Đồng Ma (The Haunted Field).

伝統的なベトナムの人々の生活や認識が村の境界線に囲まれていたのとは異なり、グエン・トゥアンは冒険家であった。彼の初期の作品『Thiếu Quê Hương（祖国なくして）』には、変化と冒険を渇望し、自分の居心地の良い場所以外の世界を知り、自分を向上させようとする強い性格が描かれている。彼は、自分の性格はchủ nghl_129 xê dịch（「運動主義」）の原則に導かれていると主張し、自らこの言葉を作ったと言われている。また、当時の社会を凌駕するような考え方を自らに思い描き、読者や政府関係者から異論を巻き起こした。驕り高ぶったグエン・トゥアンは、年齢を重ねるにつれて次第に穏やかな性格へと変化し、それは作品のトーンの変化にも表れている。生涯を通じて、グエン・トゥアンは個人主義を強調し、高く評価した。

Unlike the traditional Vietnamese people whose life and perception were often enclosed by the border of their village, Nguyễn Tuân was an adventurer. His early works, such as Thiếu Quê Hương (Without a Homeland), depict a strong character yearning for change and adventure, to learn about the world outside one's comfort zone, and to improve oneself. He is said to claim that his personality is guided by the principle of chủ nghĩa xê dịch ("motionism"), having coined the term himself. He also envisioned himself as having a mindset greater than that of the society at the time, which provoked dispute from readers and government officials. The conceited Nguyễn Tuân gradually gave way to a calmer character as he aged, which showed in the change of tone in his works, going from self-centered to seldom self-humored and mostly observant and descriptive of the surroundings. Throughout his life, Nguyễn Tuân stressed and highly valued individualism.

Literary career and the main topics of interest

Nguyễn Tuân was not a successful writer from the beginning of his career. Having tried a variety of forms and techniques, such as poetry, journal, realist satire in the form of short story, he only realized his forte in essays in early 1938. This resulted in several successes: Một Chuyến Đi (A Trip), Vang Bóng Một Thời (Once Upon an Old Time), Thiếu Quê Hương (Without Homeland), Chiếc Lư Đồng Mắt Cua (The Crab-Eyed Copper Censer)...

Before the August Revolution of 1945, the main topics of Nguyễn Tuân's work revolved around "motionism", the beauty of the past, and the corrupted lifestyle. The idea of "motionism" was first created from his frustration and helplessness toward the historical period and its society. As he traveled, or "moved", however, his appreciation for the nature and culture of the country grew and was documented in his work (Một Chuyến Đi) with care.

The beauty of the past is portrayed in Vang Bóng Một Thời, with stories about old traditions, and the old lifestyle, which he collected from his trips. This collection of essays and short stories is written in the narrative voice of the Confucianists, whose roles were receding to the past and replaced by the new French-influenced culture. An example of this character type is Huấn Cao, in the short story Chữ Người Tử Tù (Penmanship of a Death Row Prisoner); Huấn Cao is another name of the historical figure Cao Bá Quát, a revolutionary against French control in Vietnam. Nguyễn Tuân's work during this period of time shows disbelief in the present and the future.

On the other hand, corrupt lifestyle is a common topic among the realist writers of the time, and Nguyễn Tuân was not an exception. In his work involving this topic, the narrator was often confused and lost. Nonetheless, the characters, despite living in poor conditions, wish for a pure lifestyle and maintain their respectable traditional values. Such characteristics make Nguyễn Tuân's work, Chiếc Lư Đồng Mắt Cua for example, different from other realists.

After the August Revolution of 1945, Nguyễn Tuân's work was heavily influenced by socialism and communism, as to be suitable for publication under the Communist government control. Although the stories and characters were changed, the style remained clever and honed to perfection. The main theme was still an illustration of his patriotism, with strong focus now shifted to the common people, farmers, workers, and military men, in a newly constructed society.

Literary style

Nguyễn Tuân mastered the journal free style, with a tone easily distinguished from other authors. Before the August Revolution in 1945, his style can be summarized as free will with a dash of eccentricity. Every subject of his essays was described with artistic remarks and knowledgeable observations. After 1945, his works no longer seek the contrast between the old traditional values and the new life, but the tone still had the light combination of quaintness and youthful.

Because Nguyễn Tuân praised the idea of "motionism," his characters are full of willful emotions; even the settings of his works usually reflected a sense of confidence and a majestic spirit, that is said to be higher than those of his surrounding environment and of his time. An example is the character Bạch in Thiếu Quê Hương (Without Homeland). Strongly emphasized, the self in Nguyễn Tuân's works also carries careful thoughts and examination of the surroundings. The aloofness in early works was replaced by a more subtle self-humor, an indication of the maturity in his literary style and life.

作品

• Ngọn đèn dầu lạc (1939) (The Peanut-Oil Lamplight)
• Vang bóng một thời (1940) (Once Upon an Old time)
• Chiếc lư đồng mắt cua (1941) (The Crab-Eyed Copper Censor)
• Tàn đèn dầu lạc (1941) (The Peanut-Oil Lamplight Part II)
• Một chuyến đi (1941) (A Trip)
• Tùy bút (1941) (Stories)
• Tóc chị Hoài (1943) (Miss Hoài's Hair)
• Tùy bút II (1943) (Stories II)
• Nguyễn (1945) (Nguyễn)
• Chùa Đàn (1946) (Dan Pagoda)
• Đường vui (1949) (Happy Road)
• Tình chiến dịch (1950) (Love at the Operations)
• Thắng càn (1953) (Over-victory)
• Chú Giao làng Seo (1953) (Uncle Giao from Village Seo)
• Đi thăm Trung Hoa (1955) (Visiting China)
• Tùy bút kháng chiến (1955) (Wartime Stories)
• Tùy bút kháng chiến và hòa bình (1956) (War and Peace Stories)
• Truyện một cái thuyền đất (1958) (Story of A Dirt Boat)
• Sông Đà (1960) (Đà River)
• Hà Nội ta đánh Mỹ giỏi (1972) (We Hanoians Fight the American Well)
• Ký (1976) (Diary)
• Tuyển tập Nguyễn Tuân (tập I: 1981, tập II: 1982) (Collection of Nguyễn Tuân, part I and II)
• Yêu ngôn (2000) (Love words, published after death)

外部リンク

• Nguyễn Tuân và quá trình hiện đại xã hội Việt Nam thế kỉ XX
• Độc đáo Nguyễn Tuân
• Tuyển tập Nguyễn Tuân trên Thư quán

[[Category:1987年没]] [[Category:1910年生]] [[Category:ベトナムの著作家]]