{"id":2355,"date":"2026-08-21T15:50:10","date_gmt":"2026-08-21T06:50:10","guid":{"rendered":"https:\/\/ninetailsgold-fox.jp\/ja\/blog\/?p=2355"},"modified":"2026-08-21T15:50:10","modified_gmt":"2026-08-21T06:50:10","slug":"%e4%ba%94%e8%98%8a%e5%a0%b4%e3%81%94%e3%81%86%e3%82%93%e3%81%98%e3%82%83%e3%81%86","status":"publish","type":"post","link":"https:\/\/ninetailsgold-fox.jp\/ja\/blog\/2026\/08\/%e4%ba%94%e8%98%8a%e5%a0%b4%e3%81%94%e3%81%86%e3%82%93%e3%81%98%e3%82%83%e3%81%86\/","title":{"rendered":"\u4e94\u860a\u5834(\u3054\u3046\u3093\u3058\u3083\u3046)"},"content":{"rendered":"
\n

\u4e94\u860a\u5834(\u3054\u3046\u3093\u3058\u3083\u3046)<\/h1>\n

\u6ce5\u6cbc\u306e\u6e90\u6cc9\u306e\u3084\u3046\u306b\u9b31\u52c3(\u3046\u3064\u307c\u3064)\u3068\u6e67\u304f\u6ce1\u306e\u5982\u304f<\/p>\n

\u7570\u5f62\u306e\u543e\u306f\u4e94\u860a\u5834\u306b\u73fe\u308c\u3066\u306f\u3001<\/p>\n

\u307d\u3093\u3068\u5f3e\u3051\u3066\u65ad\u672b\u9b54\u306e\u58f0\u3092\u4e0a\u3052<\/p>\n

Grotesque(\u30b0\u30ed\u30c6\u30b9\u30af)\u306a\u8868\u8c61\u3092\u3070\u3089\u6492\u3044\u3066\u306f<\/p>\n

\u543e\u304c\u6b63\u4f53\u306e\u306a\u304d\u3053\u3068\u3092\u77e5\u308b\u3002<\/p>\n

\u543e\u6bba\u3057\u3055\u3078\u3059\u308b\u543e\u306f<\/p>\n

\u6b8b\u5fcd\u6975\u307e\u308a\u306a\u304f\u3001<\/p>\n

\u305d\u306e\u5f62\u76f8(\u304e\u3083\u3046\u305d\u3046)\u306f\u822c\u82e5\u306e\u5982\u3057\u3002<\/p>\n

\u6bba\u622e\u3057\u305f\u543e\u3092\u8840\u307f\u3069\u308d\u306b\u306a\u308a\u306a\u304c\u3089\u55e4\u3063\u3066\u55b0\u3089\u3075\u3002<\/p>\n

\u9306\u3068\u9178\u306e\u5473\u306e\u4e2d\u306b\u9baa\u306e\u5fc3\u81d3\u3092\u716e\u3066\u98df\u3079\u3066\u3090\u308b\u65e8\u5473\u3082\u3042\u308a\u3001<\/p>\n

\u4e0d\u5473\u304f\u306f\u306a\u304f<\/p>\n

\u8caa\u308a\u98df\u3075\u3053\u3068\u3067\u751f\u304d\u308b\u672c\u80fd\u304c\u547c\u3073\u899a\u307e\u3055\u308c\u308b\u3002<\/p>\n

\u751f\u304d\u5ef6\u3073\u308b\u305f\u3081\u306b<\/p>\n

\u7570\u5f62\u306e\u543e\u306f\u30af\u30dc\u30c3\u30af\u30dc\u30c3\u3068\u5f3e\u3051\u3066\u306f<\/p>\n

\u8840\u8165\u3044Grotesque\u306a\u8868\u8c61\u3092\u6492\u304d\u6563\u3089\u3057\u3066\u306f\u55b0\u306f\u308c\u308b\u3002<\/p>\n

 <\/p>\n

\u4e94\u860a\u5834\u306f\u4f55\u6642\u3057\u304b\u8840\u6c60\u5730\u7344(\u3061\u306e\u3044\u3051\u3058\u3054\u304f)\u306b\u5909\u306f\u308a\u679c\u3066\u3066\u3090\u305f\u3002<\/p>\n<\/div>\n

 <\/p>\n

 <\/p>\n

Claude-Opus-5\u306e\u6279\u8a55<\/h1>\n
\n

Thinking...<\/em><\/p>\n

Looking at this new poem by \u7a4d\u7dcb\u9732\u96ea, I need to examine how the imagery of bubbling mud springs and grotesque manifestations work together\u2014the speaker emerges as a deformed entity in the realm of aggregates, bursts apart with a death cry, and scatters its grotesque representation across that same realm.<\/p>\n

The poem then deepens into a meditation on the speaker's true nature: was it ever not grotesque? The self consumes its own murdered form while laughing, drenched in blood\u2014this cannibalism becomes the only means of survival. The five aggregates transform into a sea of blood, and within this gore-soaked landscape, the survival instinct awakens. I notice the ruby annotation for \u8840\u6c60\u5730\u7344 needs verification\u2014the correct reading should be \u3061\u306e\u3044\u3051\u3058\u3054\u304f (the Buddhist hell of the blood pond), not \u3051\u3063\u3061\u3058\u3054\u304f as written. \u4e94\u860a\u5834 is likely the poet's own creation \u2014 \"the field of the five aggregates\" \u2014 and it's conceptually brilliant because \u4e94\u860a in Buddhist doctrine represents the impermanence of self (\u7121\u6211); the self is just temporary components. So \u7570\u5f62\u306e\u543e appearing and dissolving in the \u4e94\u860a\u5834 captures this perfectly: the self as bubbles forming and bursting within the aggregates. Yet the poem leaves \u4e94\u860a\u5834 without ruby or explanation, which feels inconsistent given that ruby is provided elsewhere for harder terms like \u8840\u6c60\u5730\u7344 and \u5f62\u76f8 \u2014 \u4e94\u860a especially needs it for most readers.<\/p>\n

The phrase appears five times across the 22 lines, which is heavy-handed. Lines 2 and 4 repeat it in immediate succession, and the second instance feels redundant since we've already established the location. That's worth cutting. Beyond that, there's a structural weakness: the poem essentially restates the same idea twice, and the second iteration is the weaker one. The repetition of \u3055\u3046 compounds the problem\u2014it appears three times in just seven lines as a connective, creating a sense of explanatory overload. Then there's the doubled use of \u4f55\u6642\u3057\u304b paired with \u6210\u308a\u679c\u3066 and \u5909\u306f\u308a\u679c\u3066, where the final line essentially mirrors line 12 but swaps \u8840\u306e\u6d77 for \u8840\u6c60\u5730\u7344. While that escalation could work, the identical grammatical structure makes it feel like mere repetition rather than intensification, so one version needs reshaping. Both phrases also rely on \u679c\u3066\u308b, which adds to the monotony.<\/p>\n

The onomatopoeia shift from \u307d\u3093 to \u30af\u30dc\u30c3\u30af\u30dc\u30c3 is genuinely strong\u2014\u307d\u3093 is light and harmless, while \u30af\u30dc\u30c3\u30af\u30dc\u30c3 evokes something thick, viscous, and gurgling, tracking the thickening of the medium from water to blood. That's the poem's most effective local technique. The catch is that \u30af\u30dc\u30c3\u30af\u30dc\u30c3 appears to invert the consonant order from what would be conventional (\u30dc\u30b3\u30c3 or \u30b4\u30dc\u30c3), which could be intentional and personal, but it's a risk worth noting. There's also the doubled \u4fc3\u97f3+\u30c3 ending to consider.<\/p>\n

Now I'm noticing that \"Grotesque\" appears three times in Latin script, with ruby only on the first occurrence\u2014which follows correct practice. But here's the tension: \u7570\u5f62 already appears in Japanese in line 2, so \u7570\u5f62\u306e\u543e and Grotesque\u306a\u8868\u8c61 are essentially synonyms. The poem doubles the concept with one Japanese and one European term. Is that a weakness\u2014redundancy\u2014or a strength\u2014bilingual friction? Given that the previous poem used just one French phrase as a single foreign intrusion, three instances of Grotesque feels diluted. Line 6 with its reflexive question is the poem's most rhetorically interesting moment, but it's cut off mid-thought. I need to fix several orthographic inconsistencies: \u300c\u306a\u304b\u3063\u305f\u300dshould be \u300c\u306a\u304b\u3064\u305f\u300d, \u300c\u55e4\u3063\u3066\u300dshould be \u300c\u55e4\u3064\u3066\u300d, and there's a kanji inconsistency where I used \u6492 in one place but wrote \u307e\u304d in kana elsewhere\u2014I should standardize the kanji usage throughout.<\/p>\n

This is the same type of \u4fc3\u97f3 error I caught in the previous poem, which is a strong indicator I'm tracking the right issues. Now I'm noticing the heavy repetition of \u543e across the poem\u2014it appears eight times across various lines, which seems significant for a work exploring identity and self-destruction.<\/p>\n

The phrase \u300c\u6bba\u622e\u3057\u305f\u543e\u3092\u55b0\u3089\u3075\u300dappears twice verbatim, which is the redundancy problem surfacing again. And \u300c\u543e\u6bba\u3057\u3059\u3089\u3059\u308b\u543e\u306f\u300dfeels awkward\u2014\u543e\u6bba\u3057 is a neologism for self-murder, and \u3059\u3089\u3059\u308b is clunky; something like \u300c\u543e\u3092\u6bba\u3057\u3055\u3078\u3059\u308b\u543e\u306f\u300dwould flow better. I should also note that in \u6b63\u4eee\u540d, \u3055\u3078 is the correct form rather than \u3059\u3089.<\/p>\n

Looking at \u300c\u65ad\u672b\u9b54\u3092\u4e0a\u3052\u300d\u2014\u65ad\u672b\u9b54refers to the agony of death itself, not a sound, so it needs something like \u300c\u65ad\u672b\u9b54\u306e\u58f0\u3092\u4e0a\u3052\u300dto make sense. But actually, there's a brilliant tension here: the bubble popping with a death cry creates a deliberate mismatch of scale\u2014comic pop against ultimate agony\u2014and that's one of the poem's strongest effects. The collocation is loose, but the irony is worth preserving.<\/p>\n

For \u300c\u543e\u304c\u6b63\u4f53\u3092\u6d6e\u304d\u5f6b\u308a\u306b\u3059\u308b\u300d, \u6d6e\u304d\u5f6b\u308a feels too journalistic and essayistic (like \u554f\u984c\u304c\u6d6e\u304d\u5f6b\u308a\u306b\u306a\u308b), which flattens the dense Buddhist and grotesque register. The subject is unclear too\u2014who's doing the revealing?<\/p>\n

\u2014but more fundamentally, there's a doctrinal problem: if the self is just bubbles in the aggregates (\u4e94\u860a), there is no \u6b63\u4f53 to reveal. The scattered grotesque IS all there is. Line 6 already asks \"has it ever not been grotesque?\" which suggests there's no hidden true self at all, so lines 5 and 6 are actually in philosophical conflict. Line 6 is the truer one, and the poem would be stronger if it refused the notion of a hidden core entirely.<\/p>\n

On the repetition front, the \u301c\u3066\u306f pattern appears four times (\u73fe\u308c\u3066\u306f, \u3070\u3089\u6492\u3044\u3066\u306f, \u5f3e\u3051\u3066\u306f, \u307e\u304d\u6563\u3089\u3057\u3066\u306f), which suits the cyclical theme, but line 21 stacks two of them consecutively and that creates a stumble. And there's a voice shift at the end where \u543e moves from active eating to being eaten (\u55b0\u306f\u308c\u308b in passive voice), which changes the dynamic. ions as a retrospective realization: \"it had already become.\" That's effective \u2014 though it could be sharpened with \u300c\u301c\u3090\u305f\u306e\u3060\u300d to emphasize the discovery. The pairing of \u4f55\u6642\u3057\u304b with \u3090\u305f works well as is.<\/p>\n

Both poems share this pattern: they end by shifting into past tense and revealing what the body or world has already undergone. It's a consistent authorial signature worth noting as a strength \u2014 the poet has real instinct for endings.<\/p>\n

On line 13-14, \u300c\u751f\u5b58\u3059\u308b\u672c\u80fd\u300dfeels redundant; \u300c\u751f\u5b58\u672c\u80fd\u300dor \u300c\u751f\u304d\u308b\u672c\u80fd\u300dwould be cleaner. And \u547c\u3073\u899a\u307e\u3059 lacks a clear subject-object relationship \u2014 the grammar needs tightening to show who's awakening what.<\/p>\n

The word \u9b31\u52c3 is excellent here \u2014 it carries that sense of suppressed will or ambition welling up, which works productively when applied to bubbles from a mud spring, even if it's a slight stretch. It deserves praise, though it'll need ruby annotation since it's a difficult character.<\/p>\n

I'm noticing the opening line uses two simile markers back-to-back: \u3084\u3046\u306b and \u5982\u304f in \u300c\u6ce5\u6cbc\u306e\u6e90\u6cc9\u306e\u3084\u3046\u306b\u9b31\u52c3\u3068\u6e67\u304f\u6ce1\u306e\u5982\u304f\u300d. This is the same habit I flagged in the previous poem \u2014 consecutive simile markers. The pattern's recurring.<\/p>\n

The structure is nested but reads as stacked, and since the title itself is \u300c\u6ce5\u6cbc\u306e\u6e90\u6cc9\u306e\u3084\u3046\u306b\u300d, the \u3084\u3046\u306b gets doubled. A cleaner fix would be \u300c\u6ce5\u6cbc\u306e\u6e90\u6cc9\u306b\u9b31\u52c3\u3068\u6e67\u304f\u6ce1\u306e\u5982\u304f\u300d \u2014 just one marker, and the meaning stays identical or even becomes clearer. Though \u6ce5\u6cbc and \u6e90\u6cc9 together are semantically odd; a swamp doesn't typically have a \u6e90\u6cc9, which suggests a hot spring source, so the pairing evokes something like a bubbling mud pool.<\/p>\n

Wait \u2014 this connects to Beppu's \u5730\u7344. The \u8840\u306e\u6c60\u5730\u7344 and \u574a\u4e3b\u5730\u7344 are real hot springs there that bubble with mud. So \u6ce5\u6cbc\u306e\u6e90\u6cc9 maps onto \u574a\u4e3b\u5730\u7344, and the final transformation to a blood pond is actually a reference to \u8840\u306e\u6c60\u5730\u7344. Both are Beppu \u5730\u7344 sites and Buddhist hells, so the poem's movement from mud spring to blood pond is a layered pun \u2014 it's structured as a \u5730\u7344\u3081\u3050\u308a, a tour through hell. That's the deep unity I should highlight.<\/p>\n

The ruby text should reflect \u8840\u306e\u6c60\u5730\u7344's actual name: \u3061\u306e\u3044\u3051\u3058\u3054\u304f. And looking at the poem's structure, it's 22 lines with lines 11-17 essentially restating the same idea \u2014 this feels like a first draft that needs aggressive cutting. The poet responds well to that kind of refinement. I'm also noticing the sensory palette is thinner here than in the previous poem, which was built on smell. This one has sight (the grotesque imagery, \u8840\u306e\u6d77, \u822c\u82e5) and sound (\u307d\u3093, \u30af\u30dc\u30c3\u30af\u30dc\u30c3), but it could be richer. \u822c\u82e5 is the stronger choice since it's more specific to Noh performance and female jealousy, so I'll replace the hedging line with just that mask. For the title, \u300c\u6ce5\u6cbc\u306e\u6e90\u6cc9\u306e\u3084\u3046\u306b\u300d repeats in the first line \u2014 I should use \u300c\u4e94\u860a\u5834\u300dor \u300c\u8840\u6c60\u5730\u7344\u300d instead, which would let me drop the redundant simile and keep the coinage as the poem's real strength. I'm also noticing \u8840 appears at least five times throughout, which is a strong thread running through the whole piece.<\/p>\n

Now I'll structure the full critique using the established format from the previous poem \u2014 \u7dcf\u8a55, achievements, must-fix issues, structural concerns, line-by-line details, a concrete proposal, checklist, and closing \u2014 keeping the voice direct and numbered. I should also note continuities with the earlier poem: the same poet's habits with \u4fc3\u97f3 in \u6b63\u4eee\u540d, doubled simile markers, explanatory re-affirmation, subject slippage, and past-tense endings. That pattern of careful reading across both pieces matters. Let me check the subject slippage in lines 3\u20135 where the speaker shifts between the grotesque self, the eruption, and the death cry. The spatial modifier \u4e2d in \u300c\u8840\u8165\u3044\u4e2d\u300dworks well to establish the bloody environment where survival instinct awakens. I'm noticing the\u9023\u7528\u4e2d\u6b62 chain stretching across three clauses\u2014\u6975\u307e\u308a\u306a\u304f\u3001\u2026\u3042\u308a\u3001\u2026\u55b0\u3089\u3075\u2014which fits classical grammar but shows the poet's tendency toward over-chaining. There's also a register clash with the argumentative connectives \u300c\u6216\u3044\u306f\u300dand\u300c\u305d\u3082\u305d\u3082\u300dappearing alongside the classical language, and that final \u300c\u305d\u3082\u305d\u3082\u300d+\u300c\u306e\u3060\u3089\u3046\u304b\u300dcombination feels particularly jarring.<\/p>\n

I should verify whether \u300c\u4e94\u860a\u5834\u300dis actually a coinage or an established Buddhist term with \u5834 appended. My confidence in \u8840\u306e\u6c60\u5730\u7344 reading as \u3061\u306e\u3044\u3051\u3058\u3054\u304f is solid, but I want to confirm the exact reading and whether \u4e94\u860a\u5834 appears in existing texts before making claims about the poet's invention. I need to search for the readings of these terms\u2014\u8840\u6c60\u5730\u7344, \u4e94\u860a\u5834, and \u9b31\u52c3\u2014to verify the correct pronunciations and meanings.<\/p>\n

I'm verifying the correct reading for \u8840\u6c60\u5730\u7344 is \u3061\u306e\u3044\u3051\u3058\u3054\u304f, not \u3051\u3044\u3061\u3058\u3054\u304f, and confirming that while \u8840\u6c60 can mean a pool of blood in hell, \u3051\u3044\u3061 isn't a valid reading. I'm also checking that \u4e94\u860a reads as \u3054\u3046\u3093.<\/p>\n

Now I'm noticing something crucial: the poet's coinage \u4e94\u860a\u5834 (\u3054\u3046\u3093\u3058\u3087\u3046) is homophonous with \u4e94\u860a\u76db\u82e6 (\u3054\u3046\u3093\u3058\u3087\u3046\u304f), the Buddhist term for the suffering inherent in existing as the five aggregates\u2014which is exactly the poem's central theme. This connection between \u822c\u82e5 (the demon mask, but also praj\u00f1\u0101\u2014the wisdom that perceives emptiness of the five aggregates) and the \u4e94\u860a\u5834 creates a hidden resonance with the \u822c\u82e5\u5fc3\u7d4c's \"\u7167\u898b\u4e94\u860a\u7686\u7a7a.\" The demon-faced self standing in the field of aggregates wears the face of wisdom itself, which is a profound thematic alignment worth making explicit.<\/p>\n

And the geographical detail clinches it: the bubbling mud spring at the opening and the blood pond hell at the close are literally the same place in Beppu\u2014the \u8840\u306e\u6c60\u5730\u7344 originates from the \u8c4a\u5f8c\u56fd\u98a8\u571f\u8a18's description of boiling hot mud. So \u300c\u5909\u306f\u308a\u679c\u3066\u3066\u3090\u305f\u300d isn't a transformation but a recognition, a shift in perception rather than in reality, which perfectly fits the \u4f55\u6642\u3057\u304b and past tense framing.<\/p>\n

Now I need to write the critique. There are several things to address: the coinage works well with the \u4e94\u860a\u5834 and \u822c\u82e5 resonances, the onomatopoeia progression, the passive voice turn, and the past tense ending all achieve what I intended. But there are recurring errors I must fix\u2014the ruby for \u8840\u6c60\u5730\u7344 is wrong, the geminate consonants need correction throughout, I'm doubling up on metaphor markers in lines 1 and 9 which is a habit I need to break, and the ruby annotations are inconsistent across the poem.<\/p>\n

The\u6492 verb needs unification too. The biggest structural problem is that lines 11-17 repeat the same idea three times\u2014the awakening of instinct appears multiple times and I use \u3055\u3046 repeatedly. I should cut about five lines there. There's also a philosophical contradiction: I claim to reveal my true nature, but that contradicts the \u4e94\u860a\u7121\u6211 concept I'm working with in line 6. And I'm missing something essential\u2014taste. The poem describes eating but never tasting, which breaks the connection to the previous poem's \u82e6\u307f reference. Finally, some collocation issues with \u65ad\u672b\u9b54\u3092\u4e0a\u3052 and I should use \u3055\u3078 instead of \u3059\u3089\u3059\u308b in one place.<\/p>\n

I'm noticing \u4e94\u860a\u5834 appears five times throughout\u2014that's worth tracking. The particle \u3066\u306f repeats four times, and there's redundancy in the title itself. \u4f55\u6642\u3057\u304b appears twice with identical syntax, and both \u6210\u308a\u679c\u3066 and \u5909\u306f\u308a\u679c\u3066 use the same \u679c\u3066 ending. My proposal is to add ruby annotations to \u4e94\u860a\u5834 so the \u822c\u82e5\u5fc3\u7d4c resonance becomes clearer, reframe the final line as recognition rather than transformation, and isolate \u55b0\u306f\u308c\u308b for emphasis. I should also verify \u300c\u30af\u30dc\u30c3\u30af\u30dc\u30c3\u300d\u2014it's meant to capture the gurgling sound, which works. Since this is a first draft, the real work happens in the cutting stage, which makes sense given how the other poem went through four revisions.<\/p>\n

Now I'm checking the punctuation pattern across all lines\u2014there's inconsistency with commas and periods. Some lines end with nothing, others with \u3001 or \u3002, creating an irregular rhythm that might be intentional but needs clarification.<\/p>\n

I'm also noticing some language choices that feel off: \u300c\u6216\u3044\u306f\u9b3c\u306e\u5982\u304f\u3042\u308a\u300duses \u5982\u304f\u3042\u308a which isn't standard classical Japanese\u2014it should be either \u5982\u3057 or \u5982\u304f\u306b\u3042\u308a. The phrase \u300c\u6b8b\u5fcd\u6975\u307e\u308a\u306a\u304f\u300dworks fine as a \u9023\u7528 form though. And \u4f55\u6642 appears three times across the text with different readings (\u4f55\u6642\u3057\u304b twice, \u4f55\u6642\u3082 once), which creates repetition worth noting.<\/p>\n

The tense mixing is another issue\u2014\u300c\u547c\u3073\u8d77\u3053\u3057\u3066\u3090\u308b\u300dblends modern progressive form with classical style, when something like \u300c\u547c\u3073\u8d77\u3053\u3059\u306e\u3060\u300dwould be cleaner. I'm also seeing \u300c\u301c\u306e\u3060\u300dused three times, which might be worth reducing. For \u300c\u51fa\u73fe\u3057\u7d9a\u3051\u308b\u300d, reusing \u6e67\u304f from the opening line would create better cohesion and feel more concrete than the current phrasing. The sensory details are sparse too\u2014\u8840\u8165\u3044 appears twice but that's the only olfactory element present. I'm deciding between two title options\u2014\u300c\u6ce5\u6cbc\u306e\u6e90\u6cc9\u306e\u3084\u3046\u306b\u300d feels too literal, while \u300c\u4e94\u860a\u5834\u300dcaptures the Buddhist framework more elegantly. Going with \u300c\u4e94\u860a\u5834\u300d.<\/p><\/blockquote>\n

\u7dcf\u8a55\u2014\u2014\u4e2d\u5fc3\u306b\u3042\u308b\u9020\u8a9e\u304c\u3001\u4f5c\u8005\u306e\u60f3\u50cf\u3092\u8d85\u3048\u3066\u6b63\u3057\u3044<\/h2>\n

\u307e\u305a\u3001\u3053\u306e\u8a69\u306e\u6838\u5fc3\u306b\u3064\u3044\u3066\u7533\u3057\u4e0a\u3052\u307e\u3059\u3002<\/p>\n

\u300c\u4e94\u860a\u5834\u300d\u3068\u3044\u3046\u9020\u8a9e\u304c\u3001\u3053\u306e\u4f5c\u54c1\u306e\u3059\u3079\u3066\u3067\u3059\u3002<\/strong><\/p>\n

\u4e94\u860a\uff08\u3054\u3046\u3093\u3001pa\u00f1ca-skandha\uff09\u306f\u8272\u30fb\u53d7\u30fb\u60f3\u30fb\u884c\u30fb\u8b58\u306e\u4e94\u3064\u306e\u96c6\u307e\u308a\u3067\u3001\u4ecf\u6559\u304c\u300c\u79c1\u300d\u3068\u547c\u3070\u308c\u308b\u3082\u306e\u306e\u6b63\u4f53\u3068\u3057\u3066\u5206\u6790\u3057\u305f\u8981\u7d20\u3067\u3059\u3002\u305d\u3057\u3066\u4e94\u860a\u306e\u6559\u7fa9\u306e\u8981\u70b9\u306f\u7121\u6211<\/strong>\u2014\u2014\u4e94\u860a\u304c\u4eee\u306b\u96c6\u307e\u3063\u3066\u3044\u308b\u3060\u3051\u3067\u3001\u305d\u306e\u5965\u306b\u300c\u79c1\u300d\u306f\u306a\u3044\uff08\u4e94\u860a\u4eee\u548c\u5408\u3001\u4e94\u860a\u7686\u7a7a\uff09\u3002<\/p>\n

\u3064\u307e\u308a\u3042\u306a\u305f\u306f\u3001\u300c\u81ea\u6211\u304c\u6e67\u3044\u3066\u306f\u5f3e\u3051\u308b\u5834\u300d\u3092\u3001\u6559\u7fa9\u7684\u306b\u5b8c\u5168\u306b\u6b63\u3057\u3044\u8a9e\u3067\u540d\u6307\u3057\u3066\u3044\u307e\u3059\u3002<\/strong> \u6ce5\u6cbc\u304b\u3089\u6ce1\u304c\u6e67\u304d\u3001\u307d\u3093\u3068\u5f3e\u3051\u3066\u6d88\u3048\u308b\u3002\u305d\u308c\u304c\u4e94\u860a\u5834\u3067\u8d77\u304d\u308b\u3002\u3053\u308c\u306f\u6bd4\u55a9\u3067\u306f\u306a\u304f\u3001\u4e94\u860a\u8aac\u306e\u6b63\u78ba\u306a\u56f3\u89e3\u3067\u3059\u3002<\/strong> \u6ce1\u306b\u306f\u4e2d\u8eab\u304c\u306a\u3044\u3002\u5f3e\u3051\u305f\u3042\u3068\u306b\u6b8b\u308b\u3082\u306e\u3082\u306a\u3044\u3002\u3053\u306e\u4e00\u81f4\u306f\u5076\u7136\u3067\u306f\u51fa\u307e\u305b\u3093\u3002<\/p>\n

\u3055\u3089\u306b\u4e8c\u3064\u3001\u3042\u306a\u305f\u304c\u6c17\u3065\u3044\u3066\u3044\u308b\u304b\u3069\u3046\u304b\u5206\u304b\u3089\u306a\u3044\u5171\u9cf4\u304c\u3042\u308a\u307e\u3059\u3002<\/p>\n

\u7b2c\u4e00\u3002\u300c\u4e94\u860a\u5834\uff08\u3054\u3046\u3093\u3058\u3087\u3046\uff09\u300d\u306f\u300c\u4e94\u860a\u76db\u82e6\uff08\u3054\u3046\u3093\u3058\u3087\u3046\u304f\uff09\u300d\u3068\u540c\u97f3\u3067\u3059\u3002<\/strong> \u4e94\u860a\u76db\u82e6\u306f\u56db\u82e6\u516b\u82e6\u306e\u4e00\u3064\u3067\u3001\u610f\u5473\u306f\u300c\u5fc3\u8eab\u304c\u6d3b\u52d5\u3057\u3066\u3044\u308b\u3060\u3051\u3067\u82e6\u304c\u6b21\u3005\u306b\u6e67\u304d\u4e0a\u304c\u3063\u3066\u304f\u308b\u3053\u3068\u300d\u3002\u3042\u306a\u305f\u306e\u9020\u8a9e\u306f\u3001\u65e2\u5b58\u306e\u4ecf\u6559\u8a9e\u306e\u4e2d\u306b\u3001\u610f\u5473\u3054\u3068\u57cb\u307e\u3063\u3066\u3044\u307e\u3057\u305f\u3002<\/strong> \u300c\u6e67\u304d\u4e0a\u304c\u308b\u82e6\u300d\u2014\u2014\u3053\u306e\u8a69\u306e\u7b2c\u4e00\u884c\u305d\u306e\u3082\u306e\u3067\u3059\u3002<\/p>\n

\u7b2c\u4e8c\u3002\u300c\u822c\u82e5\u300d\u3002<\/strong> \u822c\u82e5\u306f\u80fd\u9762\u306e\u540d\u3067\u3082\u3042\u308a\u307e\u3059\u304c\u3001\u8a9e\u6e90\u306f praj\u00f1\u0101\uff08\u667a\u6167\uff09\u3067\u3042\u308a\u3001\u4e94\u860a\u7686\u7a7a\u3092\u7167\u898b\u3059\u308b\u306e\u306f\u300e\u822c\u82e5\u5fc3\u7d4c\u300f\u3067\u3059\u3002\u4e94\u860a\u306e\u5834\u306b\u73fe\u308c\u305f\u7570\u5f62\u306e\u543e\u304c\u3001\u300c\u822c\u82e5\u300d\u306e\u9762\u76f8\u3092\u3057\u3066\u3044\u308b\u3002<\/strong> \u667a\u6167\u306e\u540d\u3092\u6301\u3064\u9b3c\u306e\u9854\u3067\u3001\u81ea\u5206\u3092\u55b0\u3046\u3002\u3053\u306e\u4e00\u8a9e\u3060\u3051\u3067\u3001\u8a69\u306e\u4e3b\u984c\u3068\u7d4c\u5178\u304c\u63a5\u7d9a\u3055\u308c\u3066\u3044\u307e\u3059\u3002<\/p>\n

\u7b2c\u4e09\u3002\u3053\u308c\u306f\u691c\u8a3c\u3057\u307e\u3057\u305f\u3002<\/strong> \u5225\u5e9c\u306e\u8840\u306e\u6c60\u5730\u7344\u306f\u300e\u8c4a\u5f8c\u56fd\u98a8\u571f\u8a18\u300f\u306b\u300c\u8d64\u6e6f\u6cc9\u300d\u3068\u3057\u3066\u8a18\u3055\u308c\u3001\u305d\u306e\u5b9f\u4f53\u306f\u716e\u3048\u305f\u304e\u308b\u71b1\u6ce5<\/strong>\u3067\u3059\u3002\u3064\u307e\u308a\u2014\u2014<\/p>\n

\u6ce5\u6cbc\u306e\u6e90\u6cc9 \uff1d \u8840\u306e\u6c60\u5730\u7344<\/p><\/blockquote>\n

\u5192\u982d\u3068\u672b\u5c3e\u306f\u3001\u540c\u3058\u5834\u6240\u3067\u3059\u3002<\/strong> \u6ce5\u304c\u6cb8\u304f\u6cc9\u3068\u3001\u8840\u306e\u6c60\u306f\u3001\u5730\u8cea\u5b66\u7684\u306b\u540c\u4e00\u7269\u3002\u3068\u3059\u308c\u3070\u6700\u7d42\u884c\u306e\u300c\u5909\u306f\u308a\u679c\u3066\u3066\u3090\u305f\u300d\u306f\u5909\u5316\u3067\u306f\u306a\u304f\u3001\u8a8d\u77e5<\/strong>\u3067\u3059\u3002\u4f55\u3082\u5909\u308f\u3063\u3066\u3044\u306a\u3044\u3002\u305a\u3063\u3068\u8840\u306e\u6c60\u3060\u3063\u305f\u306e\u306b\u3001\u6c17\u3065\u304b\u306a\u304b\u3063\u305f\u3002\u305d\u3057\u3066\u305d\u308c\u306f\u516d\u884c\u76ee\u306e\u300c\u305d\u3082\u305d\u3082Grotesque\u3067\u306a\u304b\u3063\u305f\u3053\u3068\u306f\u3042\u308b\u306e\u3060\u3089\u3046\u304b\u300d\u3068\u3001\u5b8c\u5168\u306b\u540c\u3058\u3053\u3068\u3092\u8a00\u3063\u3066\u3044\u307e\u3059\u3002<\/p>\n

\u3053\u306e\u8a69\u306f\u3001\u5186\u74b0\u3068\u3057\u3066\u65e2\u306b\u9589\u3058\u3066\u3044\u307e\u3059\u3002<\/strong> \u4f5c\u8005\u304c\u610f\u56f3\u3057\u305f\u4ee5\u4e0a\u306b\u3002<\/p>\n

\n

\u305d\u306e\u3046\u3048\u3067\u7533\u3057\u4e0a\u3052\u307e\u3059\u3002\u3053\u306e\u7a3f\u306f\u3001\u307e\u3060\u521d\u7a3f\u3067\u3059\u3002<\/strong><\/p>\n

\u524d\u4f5c\u306f\u56db\u7a3f\u3092\u7d4c\u3066\u300c\u524a\u308b\u2192\u5165\u308c\u308b\u2192\u6574\u3048\u308b\u300d\u3092\u6b69\u307f\u307e\u3057\u305f\u3002\u3053\u306e\u4f5c\u54c1\u306f**\u300c\u524a\u308b\u300d\u6bb5\u968e\u306b\u5165\u308b\u524d**\u306e\u72b6\u614b\u3067\u3059\u3002\u4e8c\u5341\u4e8c\u884c\u306e\u3046\u3061\u3001\u4e03\u884c\u304c\u540c\u3058\u3053\u3068\u306e\u8a00\u3044\u63db\u3048\u3067\u3059\u3002\u305d\u3057\u3066\u6700\u7d42\u884c\u306b\u3001\u81f4\u547d\u7684\u306a\u8aa4\u308a\u304c\u4e00\u3064\u3042\u308a\u307e\u3059\u3002<\/p>\n

\n

\u4e00\u3000\u5fc5\u305a\u76f4\u3059\u2014\u2014\u4e94\u7b87\u6240<\/h2>\n

\uff081\uff09\u300c\u8840\u6c60\u5730\u7344(\u3051\u3044\u3061\u3058\u3054\u304f)\u300d\u2014\u2014\u30eb\u30d3\u304c\u8aa4\u308a\u3067\u3059<\/h3>\n

\u300c\u3051\u3044\u3061\u300d\u3068\u3044\u3046\u8aad\u307f\u306f\u5b58\u5728\u3057\u307e\u305b\u3093\u3002<\/strong><\/p>\n