『英和対訳袖珍辞書』初版(文久二1862年刊)の訳語は約6〜7割が『和蘭字彙』の訳語と一致すると言われてきたが、具体的にどの語が『和蘭字彙』から取られた訳語であるかを特定することがこれまで困難であった。本研究では、『和蘭字彙』の日本語部分の全てを電子テキスト化することで『和蘭字彙』の訳語を直接検索可能にし、それにより、『和蘭字彙』に見られない『袖珍』初版の訳語の例を明確に示すとともに、それらから窺われる『袖珍』初版の訳語の特色と編纂態度の一端を描き出した。

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This paper argues that a jātaka story in which the Buddha in the former life was a thief requires creativity and ingenuity in order to maintain enjoyment of the story and to avoid （or diminish） any inappropriate image of the Buddha. Although a handsome thief, a picaro, a trickster, is an extremely tempting character for storytellers and an audience （or readers）, it tends to be problematic from the viewpoint of Buddhist teachings. In ancient India, there existed a type of story beginning with a motif in which a rich woman falls in love with a thief. The 14th story in the Vetālapañcaviṃśatikā tells us that a rich merchant’s daughter is fascinated by a thief being dragged to the execution place, and they marry by the grace of Śiva in the end. The past story of the Kaṇaverajātaka in the Pāli Jātaka tells us that a courtesan is captivated by a good-looking thief in the above situation, and she makes a scapegoat to save his life, but he hurts her and runs away. According to the principle of identification in Jātaka stories, by samodhāna （application） the Buddha is the thief and Yasodharā is the courtesan in their respective former lives. The Śyāmājātaka in the Mahāvastu is similar to the Pāli version in structure, but there the Buddha in the former life is not a thief but a horse-dealer misidentified as a thief, and Yaśodharā is a courtesan with much more cunning behaviours and a deceptive mind. The Mahāvastu version is a unique one in which the Buddha-figure is almost unproblematic and Yaśodharā plays the role of a trickster.

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Motivated by the fact that the classical spirit of "Historia" is now being reconsidered through the crisis of "Historismus", this paper is an attempt to find the true meaning of 'Historein" (To search, to narrate, etc) in Herodotus The Greek word "Opsis" is known to signify both an act of seeing and a thing seen But of particular interest is the way in which Herodotus uses this term readers of Herodotus will find the phrase "Opsis oneirou" (Vision in a dream) very often, especially in Books I and VII In Book I dreams are about the destinies of kings in connection with the Persian dynasty in one way or another, and the dream in Book VII is of Xerxes on the eve of his Greek expedition The present author believes that he can observe a certain difference in the aspect of "Opsis oneirou' between these two books, and that this difference, naturally enough, is a reflection of the fact that Herodotus' "Histories" consist of two components an element of geography and tale or legend on the one hand and that of history on the other The most important dream in Book I is that concerning the birth of Cyrus In spite of the Magi's soothsaying, Cyrus usurped the throne and thus the vision in the dream came to be realized But, to Herodotus, the dream was not truly lealized until Cyrus met his violent death, which annihilated all his efforts, his ambitions, his glory, his concerns, his foolishness But readers must see there the "Opsis oneirou" of Herodotus himself Through this "Cyclos" of fate Herodotus suggests a grand cyclic construction of dynastic history, an which the beginning and the end correspond to each other In Book VII Xerxes hesitates and vacillates on account of the menacingdream it reflects the mechanism of an empire where the nobility was incessantly trying to impose restraints on royal prerogative Xerxes is represented there not as an emperor who firmly carries out his resolution, but as a mortal threatened by "Daimon's voice" within himself He is carried aside from the destined course of "Acta dei" of dynastic history and involved in "Acta hominis" of the Persian War This is what we ought to see in the King's "Opsis oneirou" "Opsis oneirou", indeed, embodies causality which lies hidden behind the phenomenal world It reveals the depth and the width of "Historia" If historians, unsatisfied with mere manipulation of evidences, want to have an insight into history through their own eyes, the way they ought to follow is unmistakably shown here

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This paper is an outcome of the group research on the use of video film Roman Holiday at senior high school and college levels in Japan. The first three papers concern classroom experiments, part and parcel of which were presented at the 12th annual conference of the Society of English Studies held in Hakodate, Hokkaido on August 26,1994. The last two papers aim to complement the validity of the experiments reported in the first three papers. HIRAKAWA emphasizes the important roles of Japanese subtitles and comprehension questions in teaching English to freslmen and sophomores at university level. She claims that Japanese subtitles, quickly read in advance by the students, can work as schemata with which they can infer and predict what they are going to listen to. She also maintains that by comprehension questions they are effectively guided (1) to get to the meaning through the clue words, (2) to realize the stylistic differences in the language used, (3) to appreciate the double meanings of some phrases, (4) to grasp the crucial words of the film.

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