いつもお世話になっています。
A.Waleyの『TALE OF GENJI』（帚木 The Broom-Tree）から
わからないところと訳の間違っているところを教えていただければと思います。
1)
『 I think then that taking all things into account, we must put such ladies too into the ”middle class.” Ｂut when we come to classify the daughters of Zuryo, who are sent to labor at the affairs of distant provinces-they have such ups and downs that we may reasonably put them too into the middle class. 』
●私(馬頭）はその時すべてのことを考慮に入れてそれを考えます。私たちはそんな女性たちも「中流の階級」に置かなければならないでしょう。しかし私たちが受領の娘たちを分類するようになるとき、受領は遠い国の仕事において労働するために送られて--彼らはそんな幸運と不運を持っているので私たちは合理的に彼らも中流階級に置くかもしれません。
I think then ・・・・・ここのthenは「その時」、ですか？
I think then that ・・・・「that」は源氏が以前に言った「 It will not always be so easy to know into which of the three classes a woman ought to be put. 」のことですか？
such ladies・・・これは前回馬頭が言った「昇進しても低い家系の出身である女性たち」と「身分が高かったけれども軽蔑の対象になった女性たち」のことでしょうか？
the daughters of Zuryo, who are sent to labor ・・・・ここの関係代名詞「who」は「Zuryo」にかかっていますか？「the daughters of Zuryo」と取ると娘たちが労働のために地方に送られていることとなってしまい、意味的に変でした。英文的に読むと「the daughters are sent～」と取られなくもないのでしょうか？
labor at the affairs of distant provinces・・・・「at」は（地点）の意味ですか？
they have such ups and downs that～・・・・such A that・・・の構文ですか？
ここのsuchは「そんな」？「そんな」は、遠い国に送られたり送られなかったりすることでしょうか？
2）
『”Then there are Ministers of the third and fourth classes without Cabinet rank. These are generally thought less of even than the humdrum, ordinary officials. 』
●それから内閣の階級を持たない3、4番目の階級の大臣たちがいます。これらの者たちは一般的に平凡な、通常の役人達さえよりももっと下回って考えられています。・・・・・・？
less ofの「of」がここに使われている意味がわかりません。
3）
『 They are usually of quite good birth, but have much less responsibility than Ministers of State and consequently much greater peace of mind. Girls born into such households are brought up in complete security from want or deprivation of any kind, and, indeed often amid surroundings of the utmost luxury and splendor. 』
●彼らは通例かなりよい生まれで、しかし国の大臣たちよりほとんど責任を持っていません。その結果として心にはるかに崇高な平和を持っています。そんな家庭に生まれた少女たちは、困窮もしくはいかなる種類のはく奪から完璧な安全の中で、そして、実にしばしば最大の贅沢と豪華さに囲まれている真っただ中で、育てられます。・・・・・・・・・・・・・・・？
心にはるかに崇高な平和を持つためには中流階級がいいということのようですが。
よろしくお願い致します。
長文で、御手数ですが、どうか分かり易く翻訳お願い出来ないでしょうか？
But if asked to get to the heart of her greatness as an interpreter and draw out what distinguishes her from other great pianists, it is not this "feminie" aspect we would evoke, but rather the powerful virllity of her playnig. "Does she play like a man? No, she plays like an Argerich!" is a phrase one often hears. This is what comes across from her performances of music by those 20th-century composers who moved away from the romanticism of the past and established themselves as the embodiment of modernity. To appreciate this, we need only go back to her performances of the Prokofiev concertos, whose machine-like energy certainly derives from the virtuosity acquired from playing Liszt but also stands out for a tomado-like tangibility of sound in tune with the "technical", urban dimension of 20th-century music. In tha same way, while her liszt shows that she possesses the necessary resources to give romantic music its full evocative power, she nevertheless does so in a controlled way bound up with the modern sense of how to shape the sound, with no disgressions into the facile or mannered. This is the basis of her Mozart and early Beethoven in particular: both are interpreted with a bright, limpid sound in which logic prevails over sentiment.
音楽評論の一部です。非常に長いですが、どうかお力添えお願い致しますm(_ _)m
長文で、御手数ですが、どうか分かり易く翻訳お願い出来ないでしょうか？
But if asked to get to the heart of her greatness as an interpreter and draw out what distinguishes her from other great pianists, it is not this "feminie" aspect we would evoke, but rather the powerful virllity of her playnig. "Does she play like a man? No, she plays like an Argerich!" is a phrase one often hears. This is what comes across from her performances of music by those 20th-century composers who moved away from the romanticism of the past and established themselves as the embodiment of modernity. To appreciate this, we need only go back to her performances of the Prokofiev concertos, whose machine-like energy certainly derives from the virtuosity acquired from playing Liszt but also stands out for a tomado-like tangibility of sound in tune with the "technical", urban dimension of 20th-century music. In tha same way, while her liszt shows that she possesses the necessary resources to give romantic music its full evocative power, she nevertheless does so in a controlled way bound up with the modern sense of how to shape the sound, with no disgressions into the facile or mannered. This is the basis of her Mozart and early Beethoven in particular: both are interpreted with a bright, limpid sound in which logic prevails over sentiment.
音楽評論の一部です。非常に長いですが、どうかお力添えお願い致しますm(_ _)m
以下のような文章を作りたいのですが、of whichの使い方等、下の英文は間違ってはいないでしょうか？？
彼はそのギャラリー内に入ろうとしていますが、その中の(中に置いてある)絵画はまだ見れない事になっています。
(1)He will try to go inside of the gallery and paintings of which are not allowed to see yet.
(2)He will try to go inside of the gallery, and its paintings are not allowed to see yet.
どなたか宜しくおねがいいたします。
