• 検索結果がありません。

密教文化 Vol. 1997 No. 198 007吉田 一穂「The Old Curiosity Shop : The Escape of Little Nell and the World of Fantasy―― PL43-L58」

N/A
N/A
Protected

Academic year: 2021

シェア "密教文化 Vol. 1997 No. 198 007吉田 一穂「The Old Curiosity Shop : The Escape of Little Nell and the World of Fantasy―― PL43-L58」"

Copied!
16
0
0

読み込み中.... (全文を見る)

全文

(1)

The

Old

Curiosity

Shop.

The Escape of Little Nell and the World of Fantasy

Kazuho Yoshida

1. The Meaning of Nell's Escape

Through all ages, children have been anxious to seek the unknown world as a place of their escape from an adult world, and many fantas-tic books have answered their needs. In The Fantasfantas-tic in Literature, Eric S. Rabkin offers an opinion:"the most common of the marks by which we recognize a work that has passed through the world of Fanta-sy is the vision of escape. The fantastic involves a diametric reversal of the ground rules of the extra-textual world. A fantastic reversal serves as a much-needed psychological escape".1) Charles Dickens(1812-70) was one of those who gave much attention to this effect, and all his works are, more or less, fantastic to many readers. He used his abilities of creating a fantastic world to the full in The Old Curiosity Shop (1840-41). This work has many themes that can be seen in fantas-tic world; grotesqueness, death and eros, horror, the world of infancy, dream, madness. Dickens makes good use of such themes to describe the various social phenomena. The Old Curiosity Shop is charged with the atmosphere of the thirties. 2) At the beginning of the nineteenth century, cruel industrial managers worked women and children very hard. Nell's escape reflects the condition that such a rough treatment was done under an unspoken agreement and people's desire to make money corrupted humanity. The main cause of Nell's escape is her grandfather's desperate nature and his delution about money, and that

(2)

Nell cannot get separated from her granfather until she dies, symbol-izes that the children were suffering from hard labour in a materialis-tic society.

In the British ecomomy, an agriculture had transfered the position of leadership to an industry and the city began to make rapid progress, while it gave rise to a lot of serious problems. In 1830, seven cities Manchester, Liverpool, Birmingham, Leeds, Bristol, Glasgow, and Ed-inburgh, -made tremendous progress as industrial cities; each had a population of more than 100,000. Each city made progress being linked with development of specific industry. The Black Country and Bir-mingham had the small metal trades. BirBir-mingham had much juvenile labour, mostly employed at home or in small workshops. In the city's pin factories the average age of young workers was put at 8 or 9. 3) The representation of nature of the Black Country in The Old Curiosity Shop, is in exquisite contrast to a rural landscape which Nell and her grangf afher saw after they left London:"coal-dust and factory smoke darkened the shrinking leaves and coarse rank flowers"4):"the strug-gling vegetation sickened and sank under the hot breath of kiln and furnace (335)". In Chapter 44, a man who was brought up by the fire of a furnace takes Nell to the gloomy place. His father had died before the fire and his mother had been killed by hard work in those parts. The point to observe is that the man who cannot escape from such a bad working condition, discovers himself in Nell who escapes from the influence of Quilp, when he sees her in the street. Dickens evidently cre-ated the two characters, the man and Nell, as victims of industrialism and people's desire to make money arising out of it. Cruel industrial managers need children of a lower station as labour force. It is Miss Monflathers who speaks for cruel industrial managers. In Chapter 31,

The Old Ciriosty Sh

o

p

(3)

-79-密

Nell takes a parcel of bills of 'Jarley's Waxwork' to Miss Monflath-ers's Boarding and Day Establishment. When Nell curtseys and pres-ents her little packet, Miss Monf lathers commands that the line shall halt and takes the opportunity of impressing a 'moral truth' on Nell, and tries to make her duty as a poor child, abusing her in public. Monflathers emphasizes the necessity of Nell's hard work:

' Don't you feel how naughty it is of you,'...,'to be a wax-work child, when you might have the proud consciousness of assisting, to the extent of your infant powers, the manufactures of your country; of improving your mind by the constant contemplation of the steam-engine; and of earning a comfortable and independent subsistence of from two-and-ninepence to three shillings per week? Don't you know that the harder your are at work, the happier you are?' (235)

Monflathers completely despises Nell, a child of a lower station, or, a child who was used as the hard labour force in the society. More noteworthy is that she makes reference to "the steam engine". A her-ald of reference to "the steam engine" in both two works, Dombey and Son (1846-48) and Little Dorrit (1855-57), was already apparent in The Old Curiosity Shop; construction of a railway and speculation in it helped the spread of utilitarian way of looking at things and the in-crease of rationalists. Children were always victims of such a current of the times. Parents absolutely controlled the minds of their children, so that they seeked a place of refuge, that is, the place of a vent of their resentment or such a dream world as the Neverland; Peter Pan escapes from an adult world. He says to Wendy,"I don't want ever to be a man","I want always to be a little boy and to have fun".5'

(4)

James Hook who has the iron hook instead of a right hand, is a char= acter as a threat to children's world.

In The Old Curiosity Shop, Dickens intends to make us feel the fan-tastic world through the use of ultimate contrast. He uses the adjec-tive "little"; Little Nell, Little Paul, Little Dorrit, and it makes Nell's hardships severe in her case. A.H. Gomme supposes that little things (especially children) are instinctively felt to be defenceless and hence pathetic.6) On the other hand, in the case of Quilp, his existence as ' dwarf' emphasizes his grotesqueness. That he is little makes the con-trast with Nell who is innocent and little. Such little characters con-tribute to make the fantastic world. In Alice's Adventures in Wonder-land(1865), Alice begins to shrink from imbibing the liquid in the bott-le with the words 'DRINK ME', and eating the cake makes her grow taller. Susan Stewart writes that she both loses and explores her sense of identity." Nell cannot grow short nor tall as Alice can, but Nell can feel the change of self through the movement from narrow London to the countryside. When she moves, Nell feels "a mingled sensation of hope and fear (113)". We can experience hope and fear in the world of our dreams, and this world is the escape from reality. Until Nell dies and we know that the dream world of the story has been realized, Nell has to escape from the realities of the age and the characters who menaces her with their power of destructing humanity.

2. The Psychological Invader

From the viewpoint of fantasy, Quilp can be considered to be a psy-chological invader. Quilp is quite the opposite virtuously and gentle-manly; he drives Nell and her grandfather out of their house by his overwhelmingly destructive power. Various rulers appear in Dickens's

The Old Curi oity Sho p -77

(5)

other novels and they exert harmful influences over children-Fagin, the boss of a thieves's den in Oliver Twist (1837-39), Mr. Dombey, the representative of the firm in Dombey and Son, Merdle, the man of prodigious enterprise8), and William Dorrit, the "Father of the Marshalsea" in Little Dorrit, for instance. Fagin gives good-natured Oliver education of vice. The aim of Fagin is not only that he will lead a comfortable life in his old age, but that he will increase the number of his pupils and enlarge his gang of thieves. He tries to stir up them to commit crimes, to drown his grief. Mr. Dombey cruelly treats Flor-ence, his eldest daughter, while he treats Paul, his son or his inheritor, very well. In spite of all his efforts about Paul's education, Paul dies young. Merdle is a popular financier on an extensive scale and many people speculate with Mr. -Merdle. Arthur Clennam also speculates with him, but when the injustice of Mr. Merdle has been exposed and he kills himself, DOYCE AND CLENNAM goes bankrupt. William Dorrit goes around with people in high society and pushes himself very hard to keep up with them, after he was released from the Marshalsea Prison. He tries to change himself and his daughters, but he goes back to what he was. They are the men of influence, but on the other hand, they reflect the bad side of the society. The grotesqueness of Quilp re-flects the mind of a cruel industrial manager who is greedy and feels hostile towards those who do not want to express their hearty welcome to him. Dickens symbolizes Quilp's greedy mind through the represen-tation of his appetite. Quilp eats gigantic prawns the day after the party which incurs his displeasure.

Here, he by no means diminished the impression he had just pro-duced, for he ate hard eggs, shell and all, devoured gigantic prawns

(6)

with the heads and tails on, chewed tabacco and water-cresses at the same time and with extraordinary greediness, drank boiling tea without winking, bit his fork and spoon till they bent again, and in short performed so many horrifying and uncommon acts that the women were nearly frightened out of their wits and began to doubt if he were really a human creature. (40)

Quilp's destructive way of eating tells us that he has a royal and controlling power over women and children. Quilp displays his great power especially over Nell. Dickens makes sexuality by bringing out the contrast between Quilp and Nell; the Victorian age had doctorines of sexual restraint. In Chapter 11, Quilp breaks in the house of Nell and her grandfather when he is ill in bed. He takes formal possession of the premises and all upon them, and teaches Tom Scott, a tumbling boy, that smoking is the way to keep off fever. Quilp cries,'Smoke away!''Never stop! you can talk as you smoke. Don't lose time!' Quilp displays aggressiveness and gives offensive language to the boy, but he suddenly changes his attitude, when Nell comes down.

' He's very bad,' replied the weeping child. ' What a pretty little Nell !' cried Quilp.

' Oh beautiful, sir, beautiful indeed, ' said Brass. 'Quite charming!' ' Has she come to sit upon Quilp's knee', said the dwarf, in what he meant to be a soothing tone,'or is she going to bed in her own little room inside here? Which is poor Nelly going to do?' (86)

Quilp's sudden change reveals his sexual desire. Nell shrinks from all his advances and flees from the very sound of his voice. Nell is a good

The

Old Curiosity Sho

p

(7)

-75-密

example of the poor women of the Victorian age; they were often treated as helpless victims who could not take care of themselves. All Nell has to do is to escape from Quilp. Nell and her grandfather reach the passage on the ground floor, where the snoring of Quilp and Mr. Brass sounds more terrible in their ears than 'the roars of lions'. It is Quilp's wife who strangely does not want escape from the influence of-Quilp, although she has become free of her husband's supervision. Inter-estingly enough, Daniel Quilp is connected with Robinson Crusoe. In The Strange and Surprising Adventures of Robinson Crusoe (1719), the ship that Crusoe has embarked, is washed up on the shore of a desolate island, where he lives for twenty eight years. He provides for himself and finally becomes a king of the island. The character of Robinson Crusoe reflects the current that the middle class people of those days pile up a fortune after arduous effort and labour. In The Old Curiosity Shop, Quilp seeks a source of revenue in his collection of a rent and in his smuggle, but, compared with Robinson Crusoe, he has a weak sense of morals. Quilp proudly shows off his power as a character who works as a terrifying, psychological invader to the world of inno-cent children and women. In Chapter 50, his wife comes to the counting house to make an apology for her misunderstanding that her husband has died. Quilp is very happy to have the other house and says, 'I've got a country-house like Robinson Crusoe (372)'; Dickens hyperbolizes the house of Daniel Quilp (Crusoe lives in a Tent). As Joseph Gold supposes9), Quilp who claims that he would be a 'jolly bachelor (371Y, has the sadistic instinct as madness. There are no bounds to his sadis-tic deed; he devises a plot against Kit. Quilp uses Sampson Brass as a man under him; Sampson Brass seeks to ruin and disgrace Kit by plac-ing a banknote in the hat of Kit, and then chargplac-ing him with theft.

(8)

The trial in the Old Bailey is not a fair trial. A lawyer for the plain-tiff tries to carry the trial to Brass's advantage with words of admi-ration for him. The lawyer of Brass does not have Richard Swiveller speak so much by his oppressive attitude. Kit is convicted because Mr. Garland has had no character with Kit, no recommendation of him but from his own mother, and the lawyer of Brass wins a runaway vic-tory and Kit is led away though he insists that he has clean hands in that matter. Dickens criticizes the way of the trial showing its real-ity.

Lewis Carrol gives the other example of absurdity of a trial in Chap-ter 11, "WHO STOLE THE TARTS?", in Alice's Adventures in Wonder-land. The judge is the king and the accused in the knave. The knave is suspected of the theft but the Hutter and the Duchess's cook do not give clear evidence, and at last Alice who has grown large enters the jurybox. The trial disgresses from the main subject and the King reads out from his books, 'Rule Forty-two. All persons more than a mile high to leave the court'. 10) And that's not all. The way of a Trial is ' Sentence first-verdict afterwards'. Alice assumes an attitude of

con-frontation towards such a trial. Alice's Adventures in Wonderland is part of satirical tradition of the critique of a corrupt judicial system, and as such is also a contrario defence of an ideal judicial fairness and the correct administration of justice.11) The way to criticize the judicial system in The Old Curiosity Shop and in Alice's Adventures in Wonder-land is the way of contrast one who overwhelmingly has power and the other who is weak or innocent. Quilp exerts an influence on both good and bad characters, and has a sort of dirty trick of overturning justification of others, as the King does in Alice's Adventures in Won-derland.

The Old Curiosity Sh

p

(9)

-73-密

3. The Relation between Master and Servant

Let us now attempt to extend the observation into the relation between master and servant. It is worth noting that the story of The Old Curiosity Shop is parallel to that of King Lear (1605-6) from the standpoint of personal-flaw tragedy12); the unhappiness and the death of Quilp and Nell's grandfather have their roots in their illusion in human happiness. In Chapter 29, fearful of taking shelter beneath a tree or hedge, the old man and Nell hurry along the high roads, hoping to find some house in which they seek a refuge from the storm. In Val-iant Soldier, where Nell tries to persuade her grandfather to give up playing cards:'Come, and we may be so happy (223)'. The old man pays no attention to Nell's anxiety and says,'The means of happiness are on the cards and dice (223)'. The scene of the storm in The Old Curiosity Shop reminds us of the scene of the stormy heath of King Lear; the two stomy scenes seem to be clear manifestations of the mental conditions of the two kings. Nell and Cordelia are both entan-gled in the difficulties that bad views of the world by the two kings brought about. The change of the old man in the Valiant Soldier makes Nell sink into abyss of terror. Nell's terror at that time, is be-yond her terror of Quilp who is 'a perfectual nightmare (217)' to her; the change of the old man is great shock to Nell who has thought of her grandfather a reliable person. Compared with the dangerous mind of the old man that plunges himself into the difficult situation, Kit has a sound mind. Dickens expresses his opinion that Kit's family is happy although they are poor.

Kit is not only a character who has his good sense of values that is worthy of praise, but a loyal follower of the old man and Nell;

(10)

Dickens creates Kit as a character who makes us feel a sense of sympa thy. Dickens clearly conveys his intention of emphasizing the distance between Kit and Nell through the representation of his appearance and turn; Kit is good-natured and has an influence on a pony which others cannot control, but in the eyes of Master Humphrey, Kit is "a shock-headed shambling awkward lad with an uncommonly wide mouth, very red cheeks, a turned-up nose, and certainly the most comical expression of face I (Master Humphrey) ever saw (7)'. Master Humphrey feels that Kit is the comedy of the child's life. Dickens explains the impres-sion of Kit in Chapter 14:"he was by no means of a sentimental turn, and perhaps had never heard that adjective in all his life (107)'. Kit is, as it were, an ordinary person and comic, and is a worshipper of Nell. More noteworthy is that Kit plays an important part of easing the tragic vision of the story. The story of King Lear has such a char-acter as Kit. As a loyal retainer, Kent renders devoted service to Lear; Kent disguises himself and accompanies Lear after he has been cruelly treated by Goneril and Regan. Interestingly enough, the charac-ters of King Lear can be seen in the various sides of the characcharac-ters of The Old Curiosity Shop. In King Lear, Kent remonstrates Lear about his foolish behavior that he would disown his child, but Kent's remon-strance incurs Lear's suspicion. Lear is seething with rage and says,

"Turn thy hated back Up

on our kingdom". (I.I.174-5)13) Nell's grand-facher thinks Kit has leaked his secret to Quilp and completely doubts his good-naturedness. Nell delivers the message from the old man:

"You

must not return to us any more (81)". Although Kit has been completely misunderstood, he continues to be loyal to the end. In the last Chapter, Kit beautifies death telling to his children that Nell has gone to heaven and someone who is good, can go to heaven and see Nell.

The Old Curiosity Shop

(11)

-71-密

Kit performs his role as a character who makes the children, the hard workers of the age, feel that death is comfortable. There is one furth-er point we must not ignore. It is that his role colours the dramatic side of the story; Kit tells us the end of the story as Puck in A Mid-summer Night's Dream (1595-96) does.

The other than Kit who tells us the end of the story, is Tom Scott. Tumbling is a distinctive characteristic of him; his tumbling reflects at once the side of his comical role and an itinerant entertainer. What-ever Quilp may treat him cruelly, Tom Scott is a loyal follower of Quilp. Scott admirably performs his duty as a character who helps Dickens's characterization of Quilp. In King Lear, Lear asks about himself:"Does any here know me?" (I.N.223) Fool gives an answer to the question:"Lear's shadow". (I.IV.228) In this play, the existence of Fool reflects the faults, the weakness, and the foolishness of Lear, but, on the other hand, the existence of Tom Scott in The Old Curiosity Shop only reflects the comical side of Quilp. The scene of the fight of

Quilp and Scott in Chapter 6, is very amusing.

' Come a little nearer, and I'll drop it on your skull, you dog,' said Quilp with gleaming eyes:'a little nearer, nearer yet.'

But the boy declined the invitation until his master was apparently a little off his guard, when he darted in and seizing the weapon tried to wrest it from his grasp. Quilp, who was as strong as a lion, easi-ly kept his hold until the boy was tugging at it with utmost power, when he suddenly let it go and sent him reeling backwards, so that he fell violently upon his head. (46)

(12)

devo-tes himself to being the partner of Quilp who is as strong as a lion. Kit and Scott both continue to have their comical sides and hold a memorial service for their masters, in the end of the story. They con-tribute to give the strong impression of the relation between master and servant. As a result, Dickens is successful in his attempt to create the dramatic side of the story.

4. The Heavenly Child

It is important to bear in mind that Quilp performs the part of a ruler in his kingdom, and we also need to remind ourselves of Dick Swiveller, a prince who saves a girl within it. As H. M. Burton sup-posed14', Swiveller has important as Fred's friend and a clerk to Sampson Brass and as the protector of 'The Marchioness' (ill-used servant-girl of the Brass family). The Brass family is perfectly gov-erned by Sampson Brass as Quilp's henchman and Sally, the sister of Sampson. Sally Brass is one of the grotesque characters who work as terrifying, psychological invaders to the innocent world of the story. Sally's accomplishments are all of a masculine and strictly legal kind; the law has been her nurse. For Swiveller who has sociability and sings the praises of life, Sally is an imaginary and mysterious figure. 'A dragon (206)' and 'the sphynx of private life (373)' are Swiveller's metaphorical ways of expressing the character of Sally. In Chapter 60, when the subordinate minister of justice is about to take Kit, as a person under suspicion, Swiveller, Mr. Brass, and Sally to the office, the minister looks at Miss Sally as if in some doubt whether she might not be "a griffin or other fabulous monster (444)". She ill-treats the Marchioness, a poor girl, but Swiveller gets information out of the Marchioness and begins to love her and saves her from the

under-The Old Curiosity

Sho

p

(13)

-69-密

ground. The change of the story of the Marchioness as a subplot re-minds us of the Cinderella story; the Marchioness, who works under-ground, does not go out, is poorly dressed, does not have any rest or joys, and is beaten by Sally Brass, can go to school with the help of Swiveller and becomes a lady who is "good-looking, clever, and good-humoured (551)", in the last chapter. Cinderella was good-natured, but lost her mother at an early age, and suffers from ill-natured sis-ters and a new mother. A fairy godmother appears for the unhappy Cinderella; she finally becomes a happy wife of a prince.

The story of the Marchioness as a subplot plays an important part in The Old Curiosity Shop; the main plot of Little Nell and her grand-father is supported by the vision of escape from the world of grotesque-ness, and more noteworthy is that their escape from the city which oppresses them. Michael Goldberg suggests that for them the idyll with its Edenic overtones burns brightly as they determine to "travel afoot through fields and woods, and by the side of rivers, and trust ourselves to God in the places where He dwells (94)"15) Their journey to death has a meaning of a dream that the Victorian people would move "from the city to the countryside", or is the realization of Victo-rian nostalgia. Christpher Hibbert also refers to the fact that in The Old Curiosity Shop the desire to escape from the imprisoning city back to the countryside of innocent childhood is shown.16)After they leave London, Nell and her grandfather have the freshness of the day, the singing of the birds, the beauty of the waving grass, the deep green leaves, the wild flowers, and the thousand exquisite scents and sounds that floated in the air. Although Nell's grandfather says,"No-never to return," and shut London where Quilp lives, out of his mind, he is possessed by desire for money in the Valiant Soldier. Nell clearly

(14)

con-veys the intention of their escape, to her grandfather in Chapter 31.

' Only remember what we have been since that bright morning when we turned our backs upon it for the last time,' said Nell,'only remember what we have been since we have been free of all those miseries-what peaceful days and quiet nights we have had-what pleasant times we have known-what happiness we have enjoyed. If we have been tired or hungry, we have been soon refreshed, and slept the sounder for it. Think what beautiful things we have seen, and how contented we have felt. And why was this blessed change?' (233)

The escape of Little Nell means not only that the innocent child es-capes from kingdom of Quilp where he has everything his own way, and both his power and his sexual desire are great menaces to her, but that she goes to Heaven. In the New Testament, Jesus Christ says, "Whosoe

ver shall not receive the kingdom of God as a little child, he shall not enter therein (St. Mark 10:15)". In The Old Curiosity Shop, Dickens is omniscient and omnipotent, and as Almighty God, Dickens delivers Nell from evil. Dickens finally protected Nell, the holy child from industrialism, and he wanted the working children to have rest from hard work.

Notes

1) Eric S.Rabkin, The Fantastic in Literature (Princeton University Press, 1976), p.42.

The Old Curiosity Sho

p

(15)

-67-密

2) Michael Goldberg, Carlyle and Dickens (University of Georgia Press, 1972), p.156.

3) Pamela Horn, Children's work and welfare, 1780-1890 (Cambridge University Press, 1994), p.32.

4) Charles Dickens, The Old Curiosity Shop (New York: Oxford Univer-sity Press, 1981), p. 335. The following citations from the same book are indicated in parenthesis by page numbers.

5) J.M. Barrie, Peter Pan (Harmondsworth: Puffin Books, 1986), pp. 41-2. In 1911, Barrie turned the story into a book, which was originally called Peter and Wendy.

6) A.H. Gomme, Dickens (London: Evans Brothers Ltd., 1972), p.98. 7) Susan Stewart, nonsense (The Johns Hopkins University Press, 1979),

p.102.

8) Hamilton Ellis tells us the golden age of George Hudson in British Railway History (London: George Allen and Unwin Ltd., 1956):

George Hudson is 'a greasy butcher-looking fellow, with a tremen-dous bump of self-esteem' who 'made an attempt at a speech and behaved very badly, talking frequently while others were speaking.' (p.97)

On May 10, 1844, Hudson had secured the amalgamation of the Mid-land Counties, North Midland, Birmingham and Derby Junction as the Midland Railway. He was master of the entire railway route, and projected railway route, between Rugby in the Midlands, and Bristol in the West, and Edinburgh. (p.110)

9) Joseph Gold, Charles Dickens: Radical Moralist (Minneapolis: The Copp Clark Publishing Company, 1972), p.102.

10) Lewis Carrol, Alice's Adventures in Wonderland and Through the Looking-Glass (Oxford: Oxford University Press, 1992), p.105.

11) Jean-Jacque Lecercle, Philosophy of Nonsense (London: Routledge, 1994)'p. 87.

In Bleak House (1852-53), Dickens criticizes the Chancery world. His words,"mountains of costly nonsense (Chap.1)", express the foolishness of the world.

(16)

Lord Cross of Chelsea and G.J. Hand explain the state of affairs of the Chancery in The English Legal System (London: Butterworths, 1971):

The Chancery, like the courts of common law, felt great difficulty in proceeding in default of the appearance of the defendant, and insisted on the plaintiff making every effort to seize the person of the defendant. The defendant was often ordered to do some act, to pay money into court or to excute some document, etc., and on failure to do so he was liable to imprisonment. (pp. 272-3)

12) Joseph Gold studied the problem of the tragic vision of King Lear and that of The Old Curiosity Shop in Charles Dickens: Radical Moral-ist.

A. E. Dyson writes that the role of Nell is that of 'more humane Cordelia' in his essay,"The Old Curiosity Shop": Innocence and the Grotesque (1966), that is printed in Dickens, ed. A. E. Dyson (London: Macmillan & Co. Ltd., 1968), p. 79.

13) The Arden Shakespeare: King Lear, ed. Kenneth Muir, Methuen, 1972. 14) H. M. Burton, Dickens and His Works (London: Methuen Educational

Ltd., 1968), p. 46.

15) Michael Goldberg, op. cit. p.158.

16) Christopher Hibbert, The Making of Charles Dickens (London: Long-mans Green and Co. Ltd., 1867), p. 73.

〈 キ ー ワ ー ド〉 The World of Fantasy,

The Psychological Escape

The Heavenly Child

The Old Curiosity Sho

p

参照

関連したドキュメント

The inclusion of the cell shedding mechanism leads to modification of the boundary conditions employed in the model of Ward and King (199910) and it will be

(Construction of the strand of in- variants through enlargements (modifications ) of an idealistic filtration, and without using restriction to a hypersurface of maximal contact.) At

Theorem 2 If F is a compact oriented surface with boundary then the Yang- Mills measure of a skein corresponding to a blackboard framed colored link can be computed using formula

It is suggested by our method that most of the quadratic algebras for all St¨ ackel equivalence classes of 3D second order quantum superintegrable systems on conformally flat

This paper develops a recursion formula for the conditional moments of the area under the absolute value of Brownian bridge given the local time at 0.. The method of power series

Answering a question of de la Harpe and Bridson in the Kourovka Notebook, we build the explicit embeddings of the additive group of rational numbers Q in a finitely generated group

Then it follows immediately from a suitable version of “Hensel’s Lemma” [cf., e.g., the argument of [4], Lemma 2.1] that S may be obtained, as the notation suggests, as the m A

In our previous paper [Ban1], we explicitly calculated the p-adic polylogarithm sheaf on the projective line minus three points, and calculated its specializa- tions to the d-th