Datasets:
Hoshikuzu
/
TEDtalk-en-ja

Dataset card Data Studio Files Community
translation
dict
{ "en": "But the situation, of course, in the human body is far more complicated than that. ", "ja": "しかしながら、圓然のこずですが、人間の䜓は、家よりもはるかに耇雑です。。" }
{ "en": "Instead of it being the case that that junction box in the spinal cord is just simple where one nerve connects with the next nerve by releasing these little brown packets of chemical information called neurotransmitters in a linear one-on-one fashion, in fact, what happens is the neurotransmitters spill out in three dimensions -- laterally, vertically, up and down in the spinal cord -- and they start interacting with other adjacent cells. ", "ja": "本来なら、脊髄の䞭の接続箱は、、神経䌝達物質ず呌ばれる化孊的な情報を、発するこずにより、぀の神経を、次の神経に察の圢で、、぀なぐだけなのですが、実際には䜕が起きたかず蚀うず、神経䌝達物質が、四方八方、脊髄䞭、至るずころにこがれだし、、呚りにある他の现胞たちず、䜜甚しあうのです。。" }
{ "en": "These cells, called glial cells, were once thought to be unimportant structural elements of the spinal cord that did nothing more than hold all the important things together, like the nerves. ", "ja": "これらの、神経こう现胞ず呌ばれる现胞は、か぀おは脊髄の䞭でも、神経のように、重芁な情報をたずめおおくためだけの、そんなに重芁ではない構造であるず、思われおいたした。。" }
{ "en": "But it turns out the glial cells have a vital role in the modulation, amplification and, in the case of pain, the distortion of sensory experiences. ", "ja": "しかしながら、神経こう现胞は、調敎や増幅、さらには痛みの、感芚を歪める䞊で、、必芁䞍可欠であるずいうこずが、分かりたした。。" }
{ "en": "These glial cells become activated. ", "ja": "これらの神経こう现胞が起動されるず。" }
{ "en": "Their DNA starts to synthesize new proteins, which spill out and interact with adjacent nerves, and they start releasing their neurotransmitters, and those neurotransmitters spill out and activate adjacent glial cells, and so on and so forth, until what we have is a positive feedback loop. ", "ja": "DNAは、隣接する神経ず亀流する、新しいたんぱく質の合成を、始めたす。、そのたんぱく質が、神経䌝達物質を攟出したす。、この神経䌝達物質は、あふれだし、私達がこの反応は害のないものだず思うたで、、繰り返し、隣接する神経こう现胞を、掻性化させたす。。" }
{ "en": "It's almost as if somebody came into your home and rewired your walls so that the next time you turned on the light switch, the toilet flushed three doors down, or your dishwasher went on, or your computer monitor turned off. ", "ja": "これはたるで、誰かが家にやっおきお、壁の䞭の配線を、電気のスむッチを入れるず、、他の堎所でトむレの氎が流れたり、、食噚掗い機が起動したり、コンピュヌタヌの、画面が切れるように现工するのず同じです。。" }
{ "en": "That's crazy, but that's, in fact, what happens with chronic pain. ", "ja": "こんなの、あり埗たせん。、あり埗ないはずですが、これは実際に、慢性痛で起こるこずなのです。。" }
{ "en": "And that's why pain becomes its own disease. ", "ja": "そしお、これこそが痛みが病気になる理由でもありたす。。" }
{ "en": "The nervous system has plasticity. ", "ja": "神経系には柔軟性がありたす。。" }
{ "en": "It changes, and it morphs in response to stimuli. ", "ja": "刺激によっお、倉化し、倉圢もしたす。。" }
{ "en": "Well, what do we do about that? ", "ja": "では、私たちは、シャンドラヌのような。" }
{ "en": "What can we do in a case like Chandler's? ", "ja": "堎合に、䜕ができるのでしょうか。。" }
{ "en": "We treat these patients in a rather crude fashion at this point in time. ", "ja": "この状態では、そういった患者には、かなり雑な方法で、治療を行いたす。。" }
{ "en": "We treat them with symptom-modifying drugs -- painkillers -- which are, frankly, not very effective for this kind of pain. ", "ja": "率盎に蚀うず、この皮の痛みには、あたり効果のない、、症状を緩和する薬や痛み止めを、䜿甚したす。。" }
{ "en": "We take nerves that are noisy and active that should be quiet, and we put them to sleep with local anesthetics. ", "ja": "痛みの原因ずなっおいる现胞を、捕えお、、局郚麻酔によっお眠らせたす。。" }
{ "en": "And most importantly, what we do is we use a rigorous, and often uncomfortable, process of physical therapy and occupational therapy to retrain the nerves in the nervous system to respond normally to the activities and sensory experiences that are part of everyday life. ", "ja": "最も重芁なこずですが、私たちは、日垞生掻の䞀郚である掻動や感芚に、、普通に反応できるように、、神経系の䞭にある、神経を再教育するために、苛烈で、時ずしお䞍快な理孊療法や、䜜業療法を甚いたす。。" }
{ "en": "And we support all of that with an intensive psychotherapy program to address the despondency, despair and depression that always accompanies severe, chronic pain. ", "ja": "そしおその党おの行皋で、慢性痛にい぀も䌎う萜胆や、絶望感、、憂鬱な気持ちなどに察凊するために、培底的な粟神療法プログラムを、甚いたす。。" }
{ "en": "It's successful, as you can see from this video of Chandler, who, two months after we first met her, is now doings a back flip. ", "ja": "治療を始めおから、か月でバックフリップができるようになった、このシャンドラヌを芋おいただくず分かりたすが、、この療法は成功を収めたした。。" }
{ "en": "And I had lunch with her yesterday because she's a college student studying dance at Long Beach here, and she's doing absolutely fantastic. ", "ja": "昚日のこずですが、ここ、ロングビヌチの倧孊で、ダンスを勉匷しおいる圌女ず昌食をずりたした。、今では圌女は玠晎らしいダンサヌです。。" }
{ "en": "But the future is actually even brighter. ", "ja": "しかし、この療法の未来はより䞀局茝かしいものです。。" }
{ "en": "The future holds the promise that new drugs will be developed that are not symptom-modifying drugs that simply mask the problem, as we have now, but that will be disease-modifying drugs that will actually go right to the root of the problem and attack those glial cells, or those pernicious proteins that the glial cells elaborate, that spill over and cause this central nervous system wind-up, or plasticity, that so is capable of distorting and amplifying the sensory experience that we call pain. ", "ja": "将来的には、今珟圚䜿われおいる、、単玔に問題をたぎらわし、、症状を緩和するだけの、薬ではなく、、問題の根本に、盎接䜜甚し、神経こう现胞、もしくは、その神経こう现胞が䜜り出す、こがれ出しお、䞭枢神経系を緊匵させる、有害なたんぱく質を、攻撃するような治療薬、すなわち、、私たちが痛みず呌ぶ感芚を、歪めたり拡倧したりできる、圢成性を持぀、治療薬を開発できるず、確信しおいたす。。" }
{ "en": "So I have hope that in the future, the prophetic words of George Carlin will be realized, who said, \"My philosophy: No pain, no pain.\" ", "ja": "ですから、私は、、近い将来、、ゞョヌゞ・カヌリンが残した、「痛みがなければ、それでいい」ずいう蚀葉が、実珟されおほしいず思いたす。。" }
{ "en": "Thank you very much. ", "ja": "ご枅聎、ありがずうございたす。。" }
{ "en": "(Applause) Imagine you're in Rome, and you've made your way to the Vatican Museums. ", "ja": "拍手、ロヌマにいる自分を想像しおください、向かっおいるのは、バチカン矎術通。" }
{ "en": "And you've been shuffling down long corridors, past statues, frescoes, lots and lots of stuff. ", "ja": "長い回廊をゆっくり歩き、圫刻やフレスコ画など、様々なものの暪を過ぎたす。" }
{ "en": "You're heading towards the Sistine Chapel. ", "ja": "目指しおいるのはシスティヌナ瀌拝堂。" }
{ "en": "At last -- a long corridor, a stair and a door. ", "ja": "長い回廊ず階段ず扉を抜けた先に。" }
{ "en": "You're at the threshold of the Sistine Chapel. ", "ja": "瀌拝堂の入り口が珟れたす。" }
{ "en": "So what are you expecting? ", "ja": "あなたなら䜕を期埅したすか。" }
{ "en": "Soaring domes? Choirs of angels? ", "ja": "広々ずしたドヌム、倩䜿の聖歌隊。" }
{ "en": "We don't really have any of that there. ", "ja": "実はそういうものは、ありたせん。" }
{ "en": "Instead, you may ask yourself, what do we have? ", "ja": "こう考える方が、いいかもしれたせん。䜕があるでしょうか。" }
{ "en": "Well, curtains up on the Sistine Chapel. ", "ja": "瀌拝堂の壁にかかっおいるのは、カヌテンです。" }
{ "en": "And I mean literally, you're surrounded by painted curtains, the original decoration of this chapel. ", "ja": "壁に描かれたカヌテンに、文字通り、囲たれたす。これが瀌拝堂、本来の装食です。" }
{ "en": "Churches used tapestries not just to keep out cold during long masses, but as a way to represent the great theater of life. ", "ja": "教䌚では、タペストリヌを䜿っお、長いミサの間、寒さをしのぐだけではなく、「偉倧なる生の劇堎」を衚したのです。" }
{ "en": "The human drama in which each one of us plays a part is a great story, a story that encompasses the whole world and that came to unfold in the three stages of the painting in the Sistine Chapel. ", "ja": "この人間ドラマは、私たち党員が、圹割を䞎えられた壮倧な物語、党䞖界を組み蟌んだ物語であり、システィヌナ瀌拝堂の絵画は、぀の段階に沿っお、展開しおいきたす。" }
{ "en": "Now, this building started out as a space for a small group of wealthy, educated Christian priests. ", "ja": "ここは圓初、富ず教逊を持぀、少数のキリスト教、聖職者甚に、建おられた空間でした。" }
{ "en": "They prayed there. They elected their pope there. ", "ja": "圌らは、ここで祈り、ここで教皇を遞出したした。" }
{ "en": "Five hundred years ago, it was the ultimate ecclesiastical man cave. ", "ja": "500幎前、ここは、聖職者のための、究極の「男の隠れ家」でした。" }
{ "en": "So, you may ask, how can it be that today it attracts and delights five million people a year, from all different backgrounds? ", "ja": "では、なぜこの堎所が、倚皮倚様な文化を持぀人々を、毎幎500䞇人も匕き぀け、魅了するようになったのでしょうか。" }
{ "en": "Because in that compressed space, there was a creative explosion, ignited by the electric excitement of new geopolitical frontiers, which set on fire the ancient missionary tradition of the Church and produced one of the greatest works of art in history. ", "ja": "それは、この狭い空間に、創造性が爆発しおいるからです。地政孊的な新たな領域の発芋ずいう、熱狂的な興奮に觊発されお、叀くからの教䌚による、垃教の䌝統に火が぀き、歎史䞊、最も偉倧な芞術䜜品が、生たれたのです。" }
{ "en": "Now, this development took place as a great evolution, moving from the beginning of a few elite, and eventually able to speak to audiences of people that come from all over the world. ", "ja": "この発展は倧きな進歩であり、少数の゚リヌト局に始たり、最終的には䞖界䞭の倧衆ずいう、芳客に向けお、語りかけるこずになりたした。" }
{ "en": "This evolution took place in three stages, each one linked to a historical circumstance. ", "ja": "この進歩は぀の段階を経おいお、それぞれが歎史的な出来事に、結び぀いおいたした。" }
{ "en": "The first one was rather limited in scope. ", "ja": "最初の段階は、かなり限定的で。" }
{ "en": "It reflected the rather parochial perspective. ", "ja": "ずおも狭い芋方しか、反映しおいたせんでした。" }
{ "en": "The second one took place after worldviews were dramatically altered after Columbus's historical voyage; and the third, when the Age of Discovery was well under way and the Church rose to the challenge of going global. ", "ja": "぀目の段階は、コロンブスの歎史的な航海によっお、䞖界芳が劇的に倉わるこずで、生じたものです。そしお぀目の段階は、「発芋の時代」が、かなり進み、教䌚がグロヌバル化ずいう詊緎に、立ち向かっおいた頃でした。" }
{ "en": "The original decoration of this church reflected a smaller world. ", "ja": "この教䌚の元々の装食は、小さな䞖界を反映しおいたす。" }
{ "en": "There were busy scenes that told the stories of the lives of Jesus and Moses, reflecting the development of the Jewish and Christian people. ", "ja": "キリストやモヌれの、人生を語る、掻気に満ちた堎面があり、ナダダ教埒やキリスト教埒の、進歩を衚しおいたす。" }
{ "en": "The man who commissioned this, Pope Sixtus IV, assembled a dream team of Florentine art, including men like Sandro Botticelli and the man who would become Michelangelo's future painting teacher, Ghirlandaio. ", "ja": "これを発泚した教皇シクストゥス䞖は、フィレンツェ画壇の、ドリヌムチヌムを結集したした。そこにいたのは、サンドロ・ボッティチェリや、埌幎ミケランゞェロの垫ずなる、ギルランダむオなどです。" }
{ "en": "These men, they blanketed the walls with a frieze of pure color, and in these stories you'll notice familiar landscapes, the artists using Roman monuments or a Tuscan landscape to render a faraway story, something much more familiar. ", "ja": "圌らは玔粋な色の装食で、壁を芆い尜くしたした。この物語の䞭に、芋慣れた光景が、あるのがわかるでしょう。ロヌマにある史跡や、トスカナの颚景を取り入れるこずで、はるか圌方の物語を、芪しみやすくしおいたす。" }
{ "en": "With the addition of images of the Pope's friends and family, this was a perfect decoration for a small court limited to the European continent. ", "ja": "教皇自身の友人や家族も、描き加えられ、欧州倧陞の小さな宮廷の装食には、ぎったりでした。" }
{ "en": "But in 1492, the New World was discovered, horizons were expanding, and this little 133 by 46-foot microcosm had to expand as well. ", "ja": "ずころが1492幎に、新䞖界が発芋された頃には、䞖界が、どんどん広がり、奥行き40m、幅14mの、この小宇宙も、広がる必芁に迫られたした。" }
{ "en": "And it did, thanks to a creative genius, a visionary and an awesome story. ", "ja": "そしお、それは実珟したした。豊かな創造性ずビゞョンに恵たれた、䞀人の倩才ず、玠晎らしい物語のおかげです。" }
{ "en": "Now, the creative genius was Michelangelo Buonarroti, 33 years old when he was tapped to decorate 12,000 square feet of ceiling, and the deck was stacked against him -- he had trained in painting but had left to pursue sculpture. ", "ja": "この倩才こそ、ミケランゞェロ・ブオナロッティ、1,100平方メヌトルある倩井の装食を、䟝頌された時は33歳でした。圌は苊境に立っおいたした。絵画の修行もしたしたが、圫刻を極めるために蟞めたした。" }
{ "en": "There were angry patrons in Florence because he had left a stack of incomplete commissions, lured to Rome by the prospect of a great sculptural project, and that project had fallen through. ", "ja": "フィレンツェには、怒り狂った、䟝頌人が沢山いたした。未完成の䟝頌を山のように残し、䞀倧圫刻プロゞェクトを期埅しお、ロヌマに行っおしたったからです。でも、その蚈画は反故になっおしたいたした。" }
{ "en": "And he had been left with a commission to paint 12 apostles against a decorative background in the Sistine Chapel ceiling, which would look like every other ceiling in Italy. ", "ja": "圌に残されたのは、システィヌナ瀌拝堂の倩井の、装食的な背景に重ねお、十二䜿埒を描く契玄だけでした。むタリア䞭、どこにでもあるような、装食画です。" }
{ "en": "But genius rose to the challenge. ", "ja": "ずころが、この倩才は挑戊したす。" }
{ "en": "In an age when a man dared to sail across the Atlantic Ocean, Michelangelo dared to chart new artistic waters. ", "ja": "人間が勇敢にも倧西掋を、暪断した、この時代に、ミケランゞェロは、新しい芞術の、海図を䜜ろうしたのです。" }
{ "en": "He, too, would tell a story -- no Apostles -- but a story of great beginnings, the story of Genesis. ", "ja": "圌も物語を䌝えようずしたした。ただし、䜿埒の物語ではなく、偉倧な、はじたりの物語、぀たり、『創䞖蚘』の物語です。" }
{ "en": "Not really an easy sell, stories on a ceiling. ", "ja": "倩井に物語を描くのは、容易な仕事ではありたせん。" }
{ "en": "How would you be able to read a busy scene from 62 feet below? ", "ja": "どうすれば19m䞋から、掻気あふれる情景を、読み取るこずができるでしょうか。" }
{ "en": "The painting technique that had been handed on for 200 years in Florentine studios was not equipped for this kind of a narrative. ", "ja": "200幎間フィレンツェの工房に、䌝わっおきた、絵画の技法は、このような物語を、描くには䞍十分でした。" }
{ "en": "But Michelangelo wasn't really a painter, and so he played to his strengths. ", "ja": "ただミケランゞェロの本職は、画家ではなかったので、自分の匷みを生かすこずにしたのです。" }
{ "en": "Instead of being accustomed to filling space with busyness, he took a hammer and chisel and hacked away at a piece of marble to reveal the figure within. ", "ja": "圌は、空間を矀衆で満たす技術を、身に぀ける代わりに、ハンマヌずノミを手に、倧理石の塊を圫り、その䞭から人物像を取り出したした。" }
{ "en": "Michelangelo was an essentialist; he would tell his story in massive, dynamic bodies. ", "ja": "ミケランゞェロは本質を重芖し、物語を䌝えるために、躍動感あふれる、堂々たる肉䜓を䜿いたした。" }
{ "en": "This plan was embraced by the larger-than-life Pope Julius II, a man who was unafraid of Michelangelo's brazen genius. ", "ja": "この蚈画を支持したのは、非凡な教皇ナリりス䞖でした。この教皇はミケランゞェロの、倧胆な才胜を恐れたせんでした。" }
{ "en": "He was nephew to Pope Sixtus IV, and he had been steeped in art for 30 years and he knew its power. ", "ja": "教皇シクストゥス䞖の甥で、30幎間、芞術にどっぷり浞かっおいたので、その力を心埗おいたした。" }
{ "en": "And history has handed down the moniker of the Warrior Pope, but this man's legacy to the Vatican -- it wasn't fortresses and artillery, it was art. ", "ja": "歎史䞊「戊う教皇」の異名をずった圌ですが、バチカンに残したのは、芁塞でも、砲台でもなく、芞術でした。" }
{ "en": "He left us the Raphael Rooms, the Sistine Chapel. ", "ja": "ラファ゚ロの間や、システィヌナ瀌拝堂。" }
{ "en": "He left St. Peter's Basilica as well as an extraordinary collection of Greco-Roman sculptures -- decidedly un-Christian works that would become the seedbed of the world's first modern museum, the Vatican Museums. ", "ja": "サン・ピ゚トロ倧聖堂や、倧芏暡なギリシャ・ロヌマ圫刻の、コレクションを埌䞖に残したのです。確かにキリスト教的ではありたせんが、このコレクションは、䞖界初の近代的矎術通、バチカン矎術通の基瀎ずなりたした。" }
{ "en": "Julius was a man who envisioned a Vatican that would be eternally relevant through grandeur and through beauty, and he was right. ", "ja": "ナリりスずいう人物は、壮麗さず矎を通しお、バチカンに氞遠の意矩を、䞎えようず考えたした。その刀断は正解でした。" }
{ "en": "The encounter between these two giants, Michelangelo and Julius II, that's what gave us the Sistine Chapel. ", "ja": "ミケランゞェロずナリりス䞖ずいう、人の巚人が出䌚いが、システィヌナ瀌拝堂を産んだのです。" }
{ "en": "Michelangelo was so committed to this project, that he succeeded in getting the job done in three and a half years, using a skeleton crew and spending most of the time, hours on end, reaching up above his head to paint the stories on the ceiling. ", "ja": "ミケランゞェロは、この蚈画に没頭し、幎半で完成させたした。最小限の人員しか䜿わず、䜕時間にも枡っお、ほずんどの時間を、頭䞊に手を䌞ばしお、倩井に物語を描いたのです。" }
{ "en": "So let's look at this ceiling and see storytelling gone global. ", "ja": "では、この倩井画を芋ながら、物語が䞖界に広がる様子を、芋おいきたしょう。" }
{ "en": "No more familiar artistic references to the world around you. ", "ja": "芞術ず私たちの䞖界の間に、ありふれた関係は、もう存圚したせん。" }
{ "en": "There's just space and structure and energy; a monumental painted framework which opens onto nine panels, more driven by sculptural form than painterly color. ", "ja": "そこにあるのは、空間ず構造ず゚ネルギヌだけです。枚のパネルを取り囲むように、堂々たる枠が描かれ、絵画的な色圩ずいうより、圫刻的な圢態に突き動かされたす。" }
{ "en": "And we stand in the far end by the entrance, far from the altar and from the gated enclosure intended for the clergy and we peer into the distance, looking for a beginning. ", "ja": "私たちは入り口の近く、郚屋の端に立っおいたす。祭壇から離れた堎所、聖職者甚の入り口が぀いた柵から、私たちは芗き蟌んで、遠くにある始たりを探したす。" }
{ "en": "And whether in scientific inquiry or in biblical tradition, we think in terms of a primal spark. ", "ja": "科孊的な探求であれ、聖曞の䌝統であれ、私たちは、たず原初の光を考えたす。" }
{ "en": "Michelangelo gave us an initial energy when he gave us the separation of light and dark, a churning figure blurry in the distance, compressed into a tight space. ", "ja": "ミケランゞェロは原初の゚ネルギヌを、光ず闇が分かれる様ず、遠くにがんやりず躍動する姿を、狭いスペヌスに、描き蟌むこずで衚珟したした。" }
{ "en": "The next figure looms larger, and you see a figure hurtling from one side to the next. ", "ja": "次にその姿は、より倧きくなり、巊から右ぞ、すごい勢いで、動いおいくのが芋えたす。" }
{ "en": "He leaves in his wake the sun, the moon, vegetation. ", "ja": "その埌には、倪陜ず月ず、怍物が残されたす。" }
{ "en": "Michelangelo didn't focus on the stuff that was being created, unlike all the other artists. ", "ja": "他の画家ずは違い、ミケランゞェロは創り出された物に、焊点は合わせたせん。" }
{ "en": "He focused on the act of creation. ", "ja": "創造ずいう行為自䜓に泚目したのです。" }
{ "en": "And then the movement stops, like a caesura in poetry and the creator hovers. ", "ja": "そしお詩の䌑止のように、動きは静たり、創造䞻は停止したす。" }
{ "en": "So what's he doing? ", "ja": "䜕をしおいるのでしょう。" }
{ "en": "Is he creating land? Is he creating sea? ", "ja": "造っおいるのは倧地でしょうか。それずも海でしょうか。" }
{ "en": "Or is he looking back over his handiwork, the universe and his treasures, just like Michelangelo must have, looking back over his work in the ceiling and proclaiming, \"It is good.\" ", "ja": "あるいは自分が造った、宇宙や、いろいろな宝物を振り返り、ミケランゞェロず同じように、倩井にある自分の創造物を振り返っお、「良し」ず蚀っおいるのでしょうか。" }
{ "en": "So now the scene is set, and you get to the culmination of creation, which is man. ", "ja": "これで堎面は敎い、いよいよ創造のクラむマックス、男の創造に至りたす。" }
{ "en": "Adam leaps to the eye, a light figure against a dark background. ", "ja": "アダムは、暗い背景に明るく描かれ、際立っおいたす。" }
{ "en": "But looking closer, that leg is pretty languid on the ground, the arm is heavy on the knee. ", "ja": "でも、よく芋るず、足は地面の䞊に力なく眮かれ、腕は膝の䞊に、重く寄りかかっおいたす。" }
{ "en": "Adam lacks that interior spark that will impel him to greatness. ", "ja": "アダムには、偉倧さぞず突き進むような、内面の茝きがありたせん。" }
{ "en": "That spark is about to be conferred by the creator in that finger, which is one millimeter from the hand of Adam. ", "ja": "創造䞻は、その茝きを、指先から䞎えようずしおいたす。アダムの手ずの間は、わずかミリです。" }
{ "en": "It puts us at the edge of our seats, because we're one moment from that contact, through which that man will discover his purpose, leap up and take his place at the pinnacle of creation. ", "ja": "これを芋お私たちは倢䞭になりたす。なぜなら、もう少しで指が觊れ、人間が自分の目的を芋぀けお、立ち䞊がり、創造物の頂点を、極めようずしおいるからです。" }
{ "en": "And then Michelangelo threw a curveball. ", "ja": "ここでミケランゞェロは、倉化球を投げたす。" }
{ "en": "Who is in that other arm? ", "ja": "もう䞀方の腕の䞭にいる人物は。" }
{ "en": "Eve, first woman. ", "ja": "最初の女性、むノです。" }
{ "en": "No, she's not an afterthought. She's part of the plan. ", "ja": "でもむノは単なる思い぀きではなく、筋曞きの䞀郚で。" }
{ "en": "She's always been in his mind. ", "ja": "最初からミケランゞェロの、頭にありたした。" }
{ "en": "Look at her, so intimate with God that her hand curls around his arm. ", "ja": "むノを芋おください、腕を、神の腕に回すほど芪しいのです。" }