The Sleeper Awakes by H. G. Wells, PREFACE TO THE NEW EDITION

PREFACE TO THE NEW EDITION

When the Sleeper Wakes , whose title I have now altered to The Sleeper Awakes , was first published as a book in 1899 after a serial appearance in the Graphic and one or two American and colonial periodicals. It is one of the most ambitious and least satisfactory of my books, and I have taken the opportunity afforded by this reprinting to make a number of excisions and alterations. Like most of my earlier work, it was written under considerable pressure; there are marks of haste not only in the writing of the latter part, but in the very construction of the story. Except for certain streaks of a slovenliness which seems to be an almost unavoidable defect in me, there is little to be ashamed of in the writing of the opening portion; but it will be fairly manifest to the critic that instead of being put aside and thought over through a leisurely interlude, the ill-conceived latter part was pushed to its end. I was at that time overworked, and badly in need of a holiday. In addition to various necessary journalistic tasks, I had in hand another book, Love and Mr. Lewisham , which had taken a very much stronger hold upon my affections than this present story. My circumstances demanded that one or other should be finished before I took any rest, and so I wound up the Sleeper sufficiently to make it a marketable work, hoping to be able to revise it before the book printers at any rate got hold of it. But fortune was against me. I came back to England from Italy only to fall dangerously ill, and I still remember the impotent rage and strain of my attempt to put some sort of finish to my story of Mr. Lewisham, with my temperature at a hundred and two. I couldn't endure the thought of leaving that book a fragment. I did afterwards contrive to save it from the consequences of that febrile spurt— Love and Mr. Lewisham is indeed one of my most carefully balanced books—but the Sleeper escaped me.

It is twelve years now since the Sleeper was written, and that young man of thirty-one is already too remote for me to attempt any very drastic reconstruction of his work. I have played now merely the part of an editorial elder brother: cut out relentlessly a number of long tiresome passages that showed all too plainly the fagged, toiling brain, the heavy sluggish driven pen, and straightened out certain indecisions at the end. Except for that, I have done no more than hack here and there at clumsy phrases and repetitions. The worst thing in the earlier version, and the thing that rankled most in my mind, was the treatment of the relations of Helen Wotton and Graham. Haste in art is almost always vulgarisation, and I slipped into the obvious vulgarity of making what the newspaper syndicates call a "love interest" out of Helen. There was even a clumsy intimation that instead of going up in the flying-machine to fight, Graham might have given in to Ostrog, and married Helen. I have now removed the suggestion of these uncanny connubialities. Not the slightest intimation of any sexual interest could in truth have arisen between these two. They loved and kissed one another, but as a girl and her heroic grandfather might love, and in a crisis kiss. I have found it possible, without any very serious disarrangement, to clear all that objectionable stuff out of the story, and so a little ease my conscience on the score of this ungainly lapse. I have also, with a few strokes of the pen, eliminated certain dishonest and regrettable suggestions that the People beat Ostrog. My Graham dies, as all his kind must die, with no certainty of either victory or defeat.

Who will win—Ostrog or the People? A thousand years hence that will still be just the open question we leave to-day.

H.G. WELLS.

PREFACE TO THE NEW EDITION مقدمة للإصدار الجديد VORWORT ZUR NEUAUFLAGE PREFACE TO THE NEW EDITION PREFACIO A LA NUEVA EDICIÓN PRÉFACE À LA NOUVELLE ÉDITION 新版への序文 NAUJOJO LEIDIMO PRATARMĖ PRZEDMOWA DO NOWEGO WYDANIA PREFÁCIO À NOVA EDIÇÃO YENİ BASIMA ÖNSÖZ 新版序言

When the Sleeper Wakes , whose title I have now altered to The Sleeper Awakes , was first published as a book in 1899 after a serial appearance in the Graphic and one or two American and colonial periodicals. عندما تم نشر The Sleeper Wakes ، الذي قمت بتغيير عنوانه الآن إلى The Sleeper Awakes ، لأول مرة ككتاب في عام 1899 بعد ظهور متسلسل في الجرافيك وواحدة أو اثنتين من الدوريات الأمريكية والاستعمارية. タイトルが「スリーパーアウェイク」に変更された「スリーパーウェイク」がグラフィックとして連載された後、1899年に最初の本として出版され、アメリカと植民地時代の定期刊行物が1つか2つ出版されました。 When the Sleeper Wakes, cujo título alterei agora para The Sleeper Awakes, foi publicado pela primeira vez como livro em 1899, após uma publicação em série no Graphic e em um ou dois periódicos americanos e coloniais. It is one of the most ambitious and least satisfactory of my books, and I have taken the opportunity afforded by this reprinting to make a number of excisions and alterations. إنه أحد أكثر كتبي طموحًا وأقلها إرضاءً ، وقد انتهزت الفرصة التي أتاحتها لي إعادة الطبع لإجراء عدد من عمليات الاستئصال والتعديلات. それは私の本の中で最も野心的で最も満足のいくものではありません、そして私はこの再版によって与えられた機会を利用して多くの切除と変更をしました。 Like most of my earlier work, it was written under considerable pressure; there are marks of haste not only in the writing of the latter part, but in the very construction of the story. ||||||||||significant||||||||||||||||||||structure of||| مثل معظم أعمالي السابقة ، تمت كتابته تحت ضغط كبير ؛ هناك علامات على التسرع ليس فقط في كتابة الجزء الأخير ، ولكن في بناء القصة ذاته. 私の以前の作品のほとんどのように、それはかなりのプレッシャーの下で書かれました。後半の執筆だけでなく、物語の構成そのものにも急いでいる痕跡があります。 Como a maioria dos meus trabalhos anteriores, foi escrito sob uma pressão considerável; há marcas de pressa não só na escrita da última parte, mas na própria construção da história. Except for certain streaks of a slovenliness which seems to be an almost unavoidable defect in me, there is little to be ashamed of in the writing of the opening portion; but it will be fairly manifest to the critic that instead of being put aside and thought over through a leisurely interlude, the ill-conceived latter part was pushed to its end. ||||||carelessness|||||||||||||||||||||||||||||||||||||||||||||||||||||||| وباستثناء بعض الخطوط المتساقطة التي تبدو وكأنها عيب لا مفر منه في داخلي ، هناك القليل مما يخجل منه في كتابة الجزء الافتتاحي ؛ ولكن سيكون واضحًا للناقد أنه بدلاً من التنحية والتفكير في فاصل مهل ، تم دفع الجزء الأخير غير المفهوم إلى نهايته. 私のほとんど避けられない欠陥であるように思われるだらしないの特定の縞を除いて、冒頭部分の執筆において恥ずべきことはほとんどありません。しかし、批評家には、のんびりとした間奏で脇に置いて考え直す代わりに、思いがけない後半の部分が終わりに追いやられたことはかなり明白です。 Exceptuando alguns traços de um desleixo que parece ser um defeito quase inevitável em mim, não há muito de que se envergonhar na escrita da parte inicial; mas será bastante manifesto para o crítico que, em vez de ser posta de lado e pensada através de um interlúdio de lazer, a mal concebida última parte foi empurrada até ao fim. I was at that time overworked, and badly in need of a holiday. كنت في ذلك الوقت منهكة في العمل ، وبحاجة ماسة إلى عطلة. その時私は働き過ぎで、ひどく休暇を必要としていました。 In addition to various necessary journalistic tasks, I had in hand another book, Love and Mr. Lewisham , which had taken a very much stronger hold upon my affections than this present story. بالإضافة إلى العديد من المهام الصحفية الضرورية ، كان لدي كتاب آخر بعنوان Love and Mr. Lewisham ، كان له تأثير أقوى بكثير على مشاعري من هذه القصة الحالية. さまざまな必要なジャーナリズムの仕事に加えて、私はもう 1 本の本、「愛とルイシャム氏」を手にしていました。 My circumstances demanded that one or other should be finished before I took any rest, and so I wound up the Sleeper sufficiently to make it a marketable work, hoping to be able to revise it before the book printers at any rate got hold of it. طالبت ظروفي بإنهاء واحد أو آخر قبل أن آخذ أي قسط من الراحة ، ولذلك أنهيت النائم بما يكفي لجعله عملاً قابلاً للتسويق ، على أمل أن أتمكن من مراجعته قبل أن تحصل عليه طابعات الكتب بأي حال من الأحوال. 私の状況では、休む前にいずれかを終わらせる必要があったので、とにかく本の印刷業者がそれを手に入れる前にそれを修正できることを期待して、それを市場に出せる作品にするのに十分なほどスリーパーを巻き上げました。 But fortune was against me. لكن الحظ كان ضدي. しかし、運命は私に逆らった。 I came back to England from Italy only to fall dangerously ill, and I still remember the impotent rage and strain of my attempt to put some sort of finish to my story of Mr. Lewisham, with my temperature at a hundred and two. عدت إلى إنجلترا من إيطاليا فقط لأصاب بمرض خطير ، وما زلت أتذكر الغضب والتوتر العاجزين من محاولتي لإنهاء قصتي للسيد لويسهام ، مع درجة حرارة مائة واثنين. 私はイタリアからイギリスに戻ってきたが、危険なほどの病気になっただけだった。体温が 120 度にもなる中、ルイシャム氏の話を何らかの形で終わらせようとした無力な怒りと緊張を今でも覚えている。 I couldn't endure the thought of leaving that book a fragment. لم أستطع تحمل فكرة ترك هذا الكتاب جزءًا. その本の断片を残すという考えに耐えられなかった。 I did afterwards contrive to save it from the consequences of that febrile spurt— Love and Mr. Lewisham is indeed one of my most carefully balanced books—but the Sleeper escaped me. لقد حاولت بعد ذلك إنقاذها من عواقب تلك الطفرة الحموية - الحب والسيد لويسهام هو بالفعل أحد أكثر كتبي توازناً - لكن سليبر هرب مني. 私はその後、あの熱病の噴出の結果からそれを救うために工夫を凝らしました—愛とルイシャム氏は、実際に私の最も慎重にバランスの取れた本の1つです—しかし、スリーパーは私を逃れました。

It is twelve years now since the Sleeper was written, and that young man of thirty-one is already too remote for me to attempt any very drastic reconstruction of his work. لقد مرت اثني عشر عامًا منذ كتابة سليبر ، وهذا الشاب البالغ من العمر واحد وثلاثين عامًا بعيد جدًا بالفعل عن محاولة إعادة بناء جذرية لعمله. スリーパーが書かれてから 12 年が経ちましたが、その 31 歳の青年は、私が彼の作品を抜本的に再構築しようとするには、すでにあまりにも遠い存在です。 I have played now merely the part of an editorial elder brother: cut out relentlessly a number of long tiresome passages that showed all too plainly the fagged, toiling brain, the heavy sluggish driven pen, and straightened out certain indecisions at the end. Except for that, I have done no more than hack here and there at clumsy phrases and repetitions. それ以外は、不器用なフレーズや繰り返しをあちこちでハックするだけです。 The worst thing in the earlier version, and the thing that rankled most in my mind, was the treatment of the relations of Helen Wotton and Graham. 以前のバージョンで最悪だったのは、ヘレン・ウォットンとグラハムの関係の扱いでした。 Haste in art is almost always vulgarisation, and I slipped into the obvious vulgarity of making what the newspaper syndicates call a "love interest" out of Helen. 芸術における速攻はほとんどの場合下品であり、私は、新聞シンジケートがヘレンから「愛の関心」と呼ぶものを作成するという明らかな下品に陥りました。 There was even a clumsy intimation that instead of going up in the flying-machine to fight, Graham might have given in to Ostrog, and married Helen. I have now removed the suggestion of these uncanny connubialities. 私は今、これらの奇妙な共生関係の示唆を取り除きました. Not the slightest intimation of any sexual interest could in truth have arisen between these two. 実際には、これら2つの間に性的関心のわずかな兆候も生じていませんでした. They loved and kissed one another, but as a girl and her heroic grandfather might love, and in a crisis kiss. 彼らはお互いを愛し、キスをしましたが、女の子と彼女の英雄的な祖父が愛するように、危機に瀕してキスをしました。 I have found it possible, without any very serious disarrangement, to clear all that objectionable stuff out of the story, and so a little ease my conscience on the score of this ungainly lapse. 私は、非常に深刻な混乱を招くことなく、物語からその好ましくないものをすべて取り除くことが可能であることを発見しました。 I have also, with a few strokes of the pen, eliminated certain dishonest and regrettable suggestions that the People beat Ostrog. 私はまた、数回のペンのストロークで、人々がオストログを打ち負かすという不誠実で残念な提案を排除しました. My Graham dies, as all his kind must die, with no certainty of either victory or defeat. 私のグラハムは、彼のすべての種類が死ななければならないので、勝利または敗北の確実性なしに死にます。

Who will win—Ostrog or the People? A thousand years hence that will still be just the open question we leave to-day. 千年後、それは今日私たちが残した未解決の問題のままです.

H.G. WELLS.