お月見 – 英語で説明するために – 英会話形式で学ぶ

A: What if a celebration of beauty isn’t actually ruined when the very thing you’re meant to admire, well, disappears? Sounds a bit strange, doesn’t it?

B: It really does. But today, we’re diving deep into exactly that kind of tradition. Tsukimi, Japan’s ancient moon viewing festival.

A: Ah, Tsukimi. Yeah.

B: It’s this beautiful autumn event centered around the full moon, obviously. But as we’re going to explore, its real genius lies, uh, way beyond just what you see. Right. Our mission today is definitely to get past that, you know, postcard image of just gazing at the moon.

A: Yeah.

B: We want to explore the origins, the surprising resilience really, and the, um, the deep cultural meaning behind it as well.

A: And for you listening, the idea is to give you those key insights, maybe some aha moments about appreciating nature, about gratitude—

B: and finding joy even when things aren’t, let’s say, perfect. Yeah.

A: It’s kind of a shortcut to understanding why this very old tradition is still so cherished.

B: Okay. So, let’s really get into the heart of it. Tsukimi—for someone who just knows the term “moon viewing,” what’s a core idea?

A: Well, at its heart, it absolutely is about admiring the autumn moon. Can’t deny that.

B: Sure.

A: But it’s much more than just looking up. It’s a deeper act of appreciating nature, feeling that, uh, transition between seasons,

B: that subtle shift in autumn.

A: Exactly. And expressing this profound gratitude for a good harvest.

B: Yeah.

A: It’s about connecting with the cycles that sustain us—

B: and the timing. What about the timing? Is there one key night or does it vary? I think I’ve heard the term jugoya.

A: Oh, you have? Yes.

B: Yeah.

A: That’s the most important celebration. Jugoya. It’s the 15th night of the eighth lunar month.

B: Okay.

A: And that specific night is picked because, well, usually the full moon is at its brightest and most beautiful then,

B: right? The optimal viewing time.

A: Pretty much. And because it’s lunar, the date shifts, but it generally lands in September or October.

B: Got it. Now, of course, no festival is complete without its rituals and, uh, maybe special foods. Tsukimi is often linked with tsukimi dango. What exactly are they?

A: Yes, the tsukimi dango. They’re round rice dumplings and they are absolutely central. The main offering, really—

B: and their shape is important.

A: Very important. Their roundness directly symbolizes the full moon. It’s a clear visual connection.

B: Okay.

A: And they’re often arranged in this, um, pyramid shape. It’s quite distinctive. A little tribute to the moon right there on the table. They aren’t just food. They’re like bringing the moon down to earth.

B: That’s a lovely image. And beyond the dango—are there other decorations, things that tie into that harvest theme you mentioned?

A: Absolutely. You almost always see susuki, which is pampas grass.

B: Pampas grass. Okay.

A: Yes. These long, elegant plumes. They directly symbolize a good harvest—ripe grain.

B: Ah.

A: And alongside that, people offer other seasonal produce. Things like taro, chestnuts, sweet potatoes.

B: All the autumn bounty.

A: Exactly. It’s all about celebrating what the land has provided and, you know, giving thanks.

B: And where does this all happen? Do people set up these displays at home, or is it more of a public gathering thing?

A: It’s actually a nice mix of both. Lots of people celebrate right at home. They’ll set up a little table near a window, maybe on a veranda—

B: somewhere with a view,

A: right? But it’s also really popular to go out. People visit temples, shrines, maybe just a local park with a good view.

B: I see.

A: And some places even host special otsukimi events. You might get traditional music, maybe some poetry readings—

B: adding to the atmosphere.

A: Definitely. It adds this layer of quiet contemplation. A kind of shared appreciation.

B: Now, here’s the part I find really, um, fascinating and maybe a bit counterintuitive for, you know, many of us. What happens if the moon isn’t visible?

A: Oh, yes.

B: I mean, it’s a moon viewing festival. What if it’s cloudy, rainy? Is the whole thing just off?

A: And this is where Tsukimi really shows its, let’s say, deeper philosophy. No, it’s not off at all. The festival is still celebrated—

B: even with no moon,

A: even if the moon is completely hidden by clouds. Or if it’s pouring rain, it’s absolutely not considered a failure.

B: Wow. Okay. So, they even have words for that, right? You mentioned this before. Mugetsu.

A: Exactly. There are specific terms. Mugetsu literally means “no moon” and ugetsu means “rain moon.”

B: So, it’s not just ignored. It’s actually acknowledged, named within the tradition itself.

A: Precisely. And that tells you a lot. It highlights that the focus is more on the act of appreciation, the spirit of the festival, the moment itself—

B: rather than just the perfect visual.

A: Yes, it’s about appreciating the experience, the gathering, the thought behind it—not just ticking the box of “saw the moon.” It shows this amazing flexibility. If there’s no moon, you contemplate the clouds where it should be or you just enjoy the company, the offerings, the feeling of the season.

B: That’s quite profound actually, because you can imagine certainly in many Western contexts if you planned an event around seeing something specific and it wasn’t there,

A: it would feel like a letdown. Right. A failure.

B: Definitely. So this idea of celebrating something that isn’t visually present, that’s a real shift in perspective. How does that affect the feeling of the festival for people taking part?

A: Well, it really shifts the focus inward. It becomes less about just seeing the moon and more about acknowledging the moon, its cycle, the harvest it represents—even if it’s hidden.

B: It fosters this sense of presence, you know, gratitude for the moment, for the shared experience, for the harvest itself, whether you get the perfect view or not. It’s less about the perfect picture—

A: and more about the feeling, the connection.

B: Exactly. The perfect moment of connection.

A: And speaking of connection and maybe unseen things, there’s a famous story, isn’t there? Tied deeply to Tsukimi—Kaguya-hime, the moon princess.

B: Ah, yes. The legend of Kaguya-hime adds such an incredible layer of, well, enchantment and even melancholy to the festival.

A: Tell us a bit about that connection. It comes from quite an old story.

B: It does. From the tale of the bamboo cutter, which is one of Japan’s oldest narratives. It’s this poignant story of a girl found inside a shining bamboo stalk.

A: Wow.

B: She’s raised on Earth by the bamboo cutter and his wife, grows into this incredibly beautiful woman. But eventually she has to return to her real home—

A: which is—

B: the moon. She’s a celestial being. And her departure is heartbreaking for everyone who knew her on Earth.

A: A princess returning to the moon. That’s such a powerful image. So how does that story weave into the experience of Tsukimi when people are gazing up, perhaps thinking about gratitude?

B: It adds this, um, bittersweet quality. There’s the gratitude for the harvest, yes. But there’s also this wistful feeling, a connection to the ephemeral, to things beyond our grasp.

A: The moon isn’t just a bright object anymore.

B: Exactly. It becomes this distant, beautiful, perhaps slightly sorrowful home. People gaze up during and they might imagine Kaguya-hime there looking back down. It deepens the experience, makes it incredibly personal. It reinforces how precious our time and connections on earth are—maybe tinged with a longing for something beautiful but unreachable.

A: So, we’ve really covered a lot of ground today with Tsukimi. It’s this amazing blend of appreciating the harvest, connecting deeply with nature, the seasons—

B: and that truly resilient spirit, celebrating even when conditions aren’t quote unquote “perfect.”

A: It’s definitely so much more than just looking at the moon.

B: Indeed, it really reminds us that true appreciation often lies beyond just what we can see immediately. It’s about the meaning underneath—the intention, the connection we feel.

A: So, as you’re listening, maybe reflect on how a tradition like this, one that finds meaning even when the main event is hidden, how that might resonate with your own life, your own experiences of appreciation.

B: Yeah, it makes you think. In a world that often demands instant results, clear visuals, perfect conditions, what can we learn from a tradition that’s centuries old and values the intangible?

A: The spirit of it all,

B: right? The spirit of the experience, gratitude for things we might not always see, the beauty found even in imperfection or when the main attraction is, well, behind the clouds.

A: It’s a really provocative thought to end on. How might that kind of appreciation apply elsewhere in our lives? Something to definitely mull over.

A: What if a celebration of beauty isn’t actually ruined when the very thing you’re meant to admire, well, disappears? Sounds a bit strange, doesn’t it?

A: 美を祝う祭りが、本来鑑賞すべきものが消えても実際には台無しにならないとしたらどうだろう？ちょっと変に聞こえるよね？

B: It really does. But today, we’re diving deep into exactly that kind of tradition. Tsukimi, Japan’s ancient moon viewing festival.

B: 確かにそうだね。でも今日は、まさにそんな伝統について深く掘り下げるんだ。月見、日本の古代から続く月を見る祭りについてね。

A: Ah, Tsukimi. Yeah.

A: ああ、月見ね。うん。

B: It’s this beautiful autumn event centered around the full moon, obviously. But as we’re going to explore, its real genius lies, uh, way beyond just what you see. Right. Our mission today is definitely to get past that, you know, postcard image of just gazing at the moon.

B: 明らかに満月を中心とした美しい秋の行事だよね。でも今日探求していくように、その真の素晴らしさは見た目をはるかに超えたところにあるんだ。そう。今日の僕たちの使命は、ただ月を眺めるだけのポストカードのようなイメージを超えることなんだ。

A: Yeah.

A: そうだね。

B: We want to explore the origins, the surprising resilience really, and the, um, the deep cultural meaning behind it as well.

B: 起源や、本当に驚くべき回復力、そして背後にある深い文化的意味も探りたいんだ。

A: And for you listening, the idea is to give you those key insights, maybe some aha moments about appreciating nature, about gratitude—

A: 聞いてくれている君にとって、重要な洞察を与えることが狙いなんだ。自然を鑑賞することや感謝について、何か「ああ、そうか！」と思う瞬間があるかもしれない—

B: and finding joy even when things aren’t, let’s say, perfect. Yeah.

B: そして物事が完璧でないときでも喜びを見つけることについてもね。そう。

A: It’s kind of a shortcut to understanding why this very old tradition is still so cherished.

A: この非常に古い伝統がなぜ今でも大切にされているのかを理解するための近道のようなものだね。

B: Okay. So, let’s really get into the heart of it. Tsukimi—for someone who just knows the term “moon viewing,” what’s a core idea?

B: じゃあ、本当に核心に入っていこう。月見について、「月を見る」という言葉しか知らない人のために、核となる考え方は何だろう？

A: Well, at its heart, it absolutely is about admiring the autumn moon. Can’t deny that.

A: そうですね、その核心では、確実に秋の月を愛でることなんだ。それは否定できないよ。

B: Sure.

B: もちろん。

A: But it’s much more than just looking up. It’s a deeper act of appreciating nature, feeling that, uh, transition between seasons,

A: でもそれは空を見上げるだけではずっと多くのことなんだ。自然をより深く鑑賞する行為で、季節の移ろいを感じることでもある、

B: that subtle shift in autumn.

B: 秋の微妙な変化をね。

A: Exactly. And expressing this profound gratitude for a good harvest.

A: その通り。そして豊作への深い感謝を表現することでもあるんだ。

B: Yeah.

B: うん。

A: It’s about connecting with the cycles that sustain us—

A: 僕たちを支える循環とつながることなんだ—

B: and the timing. What about the timing? Is there one key night or does it vary? I think I’ve heard the term jugoya.

B: そして時期について。時期はどうなの？重要な夜が一つあるのか、それとも変わるのか？十五夜という言葉を聞いたことがあると思うんだ。

A: Oh, you have? Yes.

A: ああ、聞いたことがあるの？そうだね。

B: Yeah.

B: うん。

A: That’s the most important celebration. Jugoya. It’s the 15th night of the eighth lunar month.

A: それが最も重要な祝いなんだ。十五夜。旧暦8月の15日の夜のことだよ。

B: Okay.

B: なるほど。

A: And that specific night is picked because, well, usually the full moon is at its brightest and most beautiful then,

A: その特定の夜が選ばれるのは、通常満月が最も明るく美しいからなんだ、

B: right? The optimal viewing time.

B: そうでしょ？最適な観賞時間なんだね。

A: Pretty much. And because it’s lunar, the date shifts, but it generally lands in September or October.

A: そうだね。そして太陰暦なので日付は変わるけど、一般的に9月か10月になるんだ。

B: Got it. Now, of course, no festival is complete without its rituals and, uh, maybe special foods. Tsukimi is often linked with tsukimi dango. What exactly are they?

B: わかった。もちろん、儀式や特別な食べ物なしには祭りは完成しないよね。月見は月見団子とよく関連付けられる。それは正確には何なの？

A: Yes, the tsukimi dango. They’re round rice dumplings and they are absolutely central. The main offering, really—

A: そう、月見団子だね。丸い米の団子で、絶対に中心的な存在なんだ。本当に主要なお供え物で—

B: and their shape is important.

B: そしてその形が重要なんだね。

A: Very important. Their roundness directly symbolizes the full moon. It’s a clear visual connection.

A: とても重要だよ。その丸さは直接満月を象徴しているんだ。明確な視覚的つながりなんだ。

B: Okay.

B: なるほど。

A: And they’re often arranged in this, um, pyramid shape. It’s quite distinctive. A little tribute to the moon right there on the table. They aren’t just food. They’re like bringing the moon down to earth.

A: そしてそれらはよくピラミッド型に並べられるんだ。とても特徴的だよ。テーブルの上に置かれた月への小さな贈り物なんだ。これらは単なる食べ物じゃない。月を地上に降ろしてくるようなものなんだ。

B: That’s a lovely image. And beyond the dango—are there other decorations, things that tie into that harvest theme you mentioned?

B: 素敵なイメージだね。団子以外に—他の装飾品、君が言った収穫のテーマにつながるものはあるの？

A: Absolutely. You almost always see susuki, which is pampas grass.

A: もちろんあるよ。ほぼ必ずススキを見るよね、パンパスグラスのことだ。

B: Pampas grass. Okay.

B: パンパスグラス。なるほど。

A: Yes. These long, elegant plumes. They directly symbolize a good harvest—ripe grain.

A: そう。これらの長く優雅な穂。これらは直接豊作を象徴しているんだ—熟した穀物をね。

B: Ah.

B: ああ。

A: And alongside that, people offer other seasonal produce. Things like taro, chestnuts, sweet potatoes.

A: そしてそれと一緒に、人々は他の季節の産物をお供えするんだ。里芋、栗、さつまいもなどをね。

B: All the autumn bounty.

B: 秋の恵み全部だね。

A: Exactly. It’s all about celebrating what the land has provided and, you know, giving thanks.

A: その通り。大地が与えてくれたものを祝い、感謝を捧げることなんだ。

B: And where does this all happen? Do people set up these displays at home, or is it more of a public gathering thing?

B: そしてこれらはどこで行われるの？人々は家でこれらの飾り付けをするのか、それともより公的な集まりなのか？

A: It’s actually a nice mix of both. Lots of people celebrate right at home. They’ll set up a little table near a window, maybe on a veranda—

A: 実際にはどちらもいい感じで混ざっているんだ。多くの人が家で祝うよ。窓の近くや縁側に小さなテーブルを設置して—

B: somewhere with a view,

B: 見晴らしの良いところにね、

A: right? But it’s also really popular to go out. People visit temples, shrines, maybe just a local park with a good view.

A: そうでしょ？でも外出することも本当に人気なんだ。お寺や神社を訪れたり、見晴らしの良い地元の公園に行ったりするんだ。

B: I see.

B: なるほど。

A: And some places even host special otsukimi events. You might get traditional music, maybe some poetry readings—

A: そして一部の場所では特別なお月見イベントを開催するんだ。伝統音楽や詩の朗読があるかもしれない—

B: adding to the atmosphere.

B: 雰囲気を高めるためにね。

A: Definitely. It adds this layer of quiet contemplation. A kind of shared appreciation.

A: 確実にそうだね。静かな瞑想の層を加えるんだ。共有された鑑賞のようなものだね。

B: Now, here’s the part I find really, um, fascinating and maybe a bit counterintuitive for, you know, many of us. What happens if the moon isn’t visible?

B: さて、ここが僕が本当に魅力的で、多くの人にとって少し直感に反するかもしれない部分だと思うんだ。月が見えない場合はどうなるの？

A: Oh, yes.

A: ああ、そうだね。

B: I mean, it’s a moon viewing festival. What if it’s cloudy, rainy? Is the whole thing just off?

B: つまり、月見の祭りなわけでしょ。曇りや雨だったらどうなるの？全部中止になるの？

A: And this is where Tsukimi really shows its, let’s say, deeper philosophy. No, it’s not off at all. The festival is still celebrated—

A: そしてここが月見が本当にその深い哲学を示すところなんだ。いや、全然中止にならないよ。祭りは依然として祝われる—

B: even with no moon,

B: 月が見えなくても、

A: even if the moon is completely hidden by clouds. Or if it’s pouring rain, it’s absolutely not considered a failure.

A: 月が雲に完全に隠れていても。土砂降りでも、絶対に失敗とは考えられないんだ。

B: Wow. Okay. So, they even have words for that, right? You mentioned this before. Mugetsu.

B: わあ。なるほど。そのための言葉まであるんでしょ？前に言っていたよね。無月。

A: Exactly. There are specific terms. Mugetsu literally means “no moon” and ugetsu means “rain moon.”

A: その通り。特定の用語があるんだ。無月は文字通り「月がない」という意味で、雨月は「雨の月」という意味なんだ。

B: So, it’s not just ignored. It’s actually acknowledged, named within the tradition itself.

B: つまり、単に無視されるのではなく、実際に認められ、伝統の中で名前が付けられているんだね。

A: Precisely. And that tells you a lot. It highlights that the focus is more on the act of appreciation, the spirit of the festival, the moment itself—

A: その通りだ。そしてそれは多くのことを物語っている。鑑賞の行為、祭りの精神、その瞬間そのものにより焦点が当てられていることを強調しているんだ—

B: rather than just the perfect visual.

B: 完璧な視覚的体験だけではなくてね。

A: Yes, it’s about appreciating the experience, the gathering, the thought behind it—not just ticking the box of “saw the moon.” It shows this amazing flexibility. If there’s no moon, you contemplate the clouds where it should be or you just enjoy the company, the offerings, the feeling of the season.

A: そう、体験、集まり、その背後にある思いを鑑賞することなんだ—単に「月を見た」という項目にチェックを入れるだけではないんだ。これは驚くべき柔軟性を示している。月が見えなければ、あるべき場所の雲を眺めるか、単に仲間と共にいること、お供え物、季節の感覚を楽しむんだ。

B: That’s quite profound actually, because you can imagine certainly in many Western contexts if you planned an event around seeing something specific and it wasn’t there,

B: それは実際かなり深いよね、なぜなら多くの西洋の文脈では、特定のものを見ることを中心にイベントを計画して、それがそこになかったら、

A: it would feel like a letdown. Right. A failure.

A: がっかりした気持ちになるだろうね。そう。失敗だと。

B: Definitely. So this idea of celebrating something that isn’t visually present, that’s a real shift in perspective. How does that affect the feeling of the festival for people taking part?

B: 確実にそうだね。だから視覚的に存在しないものを祝うというこの考え方は、本当に視点の転換だね。それは参加する人々の祭りの感覚にどう影響するの？

A: Well, it really shifts the focus inward. It becomes less about just seeing the moon and more about acknowledging the moon, its cycle, the harvest it represents—even if it’s hidden.

A: そうですね、本当に焦点を内側に向けるんだ。単に月を見ることではなく、月を認識すること、その周期、それが表す収穫について—たとえ隠れていてもね。

B: It fosters this sense of presence, you know, gratitude for the moment, for the shared experience, for the harvest itself, whether you get the perfect view or not. It’s less about the perfect picture—

B: 存在感、その瞬間への感謝、共有された体験、収穫そのものへの感謝の感覚を育むんだね、完璧な眺めが得られるかどうかに関係なく。完璧な写真についてではなく—

A: and more about the feeling, the connection.

A: 感情、つながりについてなんだ。

B: Exactly. The perfect moment of connection.

B: その通り。完璧なつながりの瞬間なんだね。

A: And speaking of connection and maybe unseen things, there’s a famous story, isn’t there? Tied deeply to Tsukimi—Kaguya-hime, the moon princess.

A: つながりや見えないものについて話すなら、有名な物語があるよね？月見と深く結びついた—かぐや姫、月の姫君の話だ。

B: Ah, yes. The legend of Kaguya-hime adds such an incredible layer of, well, enchantment and even melancholy to the festival.

B: ああ、そうだね。かぐや姫の伝説は祭りに信じられないほどの魅力の層、そして哀愁さえも加えるんだ。

A: Tell us a bit about that connection. It comes from quite an old story.

A: そのつながりについて少し教えてくれる？とても古い物語から来ているよね。

B: It does. From the tale of the bamboo cutter, which is one of Japan’s oldest narratives. It’s this poignant story of a girl found inside a shining bamboo stalk.

B: そうだね。竹取物語から来ていて、これは日本最古の物語の一つなんだ。光る竹の中から見つかった少女の感動的な物語なんだ。

A: Wow.

A: すごいね。

B: She’s raised on Earth by the bamboo cutter and his wife, grows into this incredibly beautiful woman. But eventually she has to return to her real home—

B: 竹取翁とその妻によって地上で育てられ、信じられないほど美しい女性に成長するんだ。でも最終的には本当の故郷に帰らなければならない—

A: which is—

A: それは—

B: the moon. She’s a celestial being. And her departure is heartbreaking for everyone who knew her on Earth.

B: 月なんだ。彼女は天の存在なんだ。そして彼女の旅立ちは地上で彼女を知っていた全ての人にとって心を引き裂くものなんだ。

A: A princess returning to the moon. That’s such a powerful image. So how does that story weave into the experience of Tsukimi when people are gazing up, perhaps thinking about gratitude?

A: 月に帰る姫君。とても力強いイメージだね。では人々が空を見上げて、おそらく感謝について考えている時、その物語は月見の体験にどう織り込まれるの？

B: It adds this, um, bittersweet quality. There’s the gratitude for the harvest, yes. But there’s also this wistful feeling, a connection to the ephemeral, to things beyond our grasp.

B: ほろ苦い性質を加えるんだ。収穫への感謝はある、そう。でも物悲しい感情、はかないものへのつながり、手の届かないものへのつながりもあるんだ。

A: The moon isn’t just a bright object anymore.

A: 月はもはや単なる明るい物体ではないんだね。

B: Exactly. It becomes this distant, beautiful, perhaps slightly sorrowful home. People gaze up during and they might imagine Kaguya-hime there looking back down. It deepens the experience, makes it incredibly personal. It reinforces how precious our time and connections on earth are—maybe tinged with a longing for something beautiful but unreachable.

B: その通り。遠く美しい、おそらく少し悲しみを帯びた故郷になるんだ。人々は月見の間に空を見上げて、そこにいるかぐや姫が見下ろしていることを想像するかもしれない。それは体験を深め、信じられないほど個人的なものにするんだ。地上での時間とつながりがいかに貴重かを強調し—美しいけれど手の届かないものへの憧れに色づけられているかもしれない。

A: So, we’ve really covered a lot of ground today with Tsukimi. It’s this amazing blend of appreciating the harvest, connecting deeply with nature, the seasons—

A: だから、今日は月見について本当に多くのことを取り上げたね。収穫を感謝し、自然や季節と深くつながる素晴らしい組み合わせなんだ—

B: and that truly resilient spirit, celebrating even when conditions aren’t quote unquote “perfect.”

B: そして本当に回復力のある精神、条件が「完璧」でなくても祝うんだね。

A: It’s definitely so much more than just looking at the moon.

A: 確実に月を見るだけよりもずっと多くのことなんだ。

B: Indeed, it really reminds us that true appreciation often lies beyond just what we can see immediately. It’s about the meaning underneath—the intention, the connection we feel.

B: 確かに、真の鑑賞はしばしば目に見えるもののすぐ先にあることを思い出させてくれるね。それは根底にある意味—意図、感じるつながりについてなんだ。

A: So, as you’re listening, maybe reflect on how a tradition like this, one that finds meaning even when the main event is hidden, how that might resonate with your own life, your own experiences of appreciation.

A: だから、聞いてくれている君も、メインイベントが隠れていても意味を見つけるようなこの伝統が、君自身の人生、君自身の鑑賞の体験とどう共鳴するかについて考えてみてほしい。

B: Yeah, it makes you think. In a world that often demands instant results, clear visuals, perfect conditions, what can we learn from a tradition that’s centuries old and values the intangible?

B: そうだね、考えさせられるよ。即座の結果、明確な視覚、完璧な条件をしばしば要求する世界で、何世紀も続き、無形のものを大切にする伝統から何を学べるだろう？

A: The spirit of it all,

A: それら全ての精神を、

B: right? The spirit of the experience, gratitude for things we might not always see, the beauty found even in imperfection or when the main attraction is, well, behind the clouds.

B: そうでしょ？体験の精神、いつも見えるとは限らないものへの感謝、不完全さの中にも、あるいはメインの魅力が雲の向こうにある時でも見つけられる美しさをね。

A: It’s a really provocative thought to end on. How might that kind of appreciation apply elsewhere in our lives? Something to definitely mull over.

A: 最後にとても刺激的な考えだね。そのような鑑賞が私たちの人生の他の場面でどのように応用できるだろう？確実に熟考すべきことだね。