ChatGPT4oを利用したイラスト作成(2)-ピーターパンの挿絵を題材として

Barrie,J. M.(1911)Peter and Wendyに掲載されているピーターパンに関するF. D. Bedfordの下記挿絵を素材として、ChatGPT4oにイラストを作成させた。

converted PNM file

プロンプト文は「添付ファイルのイラストをカラー化してください。」という単純なものであったが、その結果は下記のようなものであった。

次に、「ピーター・パンの左下の動物をパンダに代えて下さい。」というプロンプト文を与えたところ、下記のようにバンダに変更された下記のようなイラストが作成された。

さらに「ピーター・パンの周りの鳥の数が多すぎます。鳥の数をもとのイラストのようにしてください。」というプロンプト文を与えたが、残念なことにこのプロンプト文の指示とは逆に鳥の数は減少せず、船や森の形などが変わっただけでほとんど先の図と同じであった。

そこで、「イラストの中から鳥をすべて消去してください。」というプロンプト文を与えたところ、鳥の数はゼロにはならなかったが、かなり減少した下記のようなイラスト図になった。

さらに、イラスト図の中で一羽の鳥を指定して、「clear」というプロンプト文を与えた結果が下記の通りである。狙いとは異なる結果となったが、寝そべったパンダも可愛いい。

以上の結果だけでは即断できないが、プロンプト文だけで思い通りのイラスト図にすることはなかなか難しい。それでも興味深いイラスト図が簡単に生成できることは興味深い。

アートと技術革新 - ポーラ美術館企画展「モダン・タイムス・イン・パリ 1925 ― 機械時代のアートとデザイン」展示終了に寄せて

アートのあり方は、技術革新とともに変化する。
 
印象派と「写真」技術革新
19世紀後半のフランスに発した印象派は、その当時になり社会的普及を開始した「写真」という技術革新に影響を受けた、と一般に言われている。
例えば、日本語版ウィキペディア「印象派」の中では、後に第1回印象派展と呼ばれるようになった展覧会が写真館で開催されたことや、ドガが熱心な写真家であったことなどを記すとともに、写真と印象派の関係について下記のような記述がなされている。
 
写真が広がり始め、カメラが携帯可能になった。写真は気取りのない率直な態度で、ありのままの現実をとらえるようになった。写真に影響されて、印象派の画家たちは風景の光の中だけでなく、人々の日常生活の瞬間の動きを表現するようになった。
写真は現実を写し取るための画家のスキルの価値を低下させた。印象派の発展は、写真が突きつけた難題に対する画家たちのリアクションとも考えられる。
(中略)
写真のおかげで画家たちは他の芸術的現手段を追求し始めた。現実を模写することを写真と張り合うのでなく、画家たちは「画像を構想した主観性そのもの、写真に模写した主観性そのものをアートの様式に取り込むよって、彼らが写真よりうまくできる一つのこと」にフォーカスしたのである。
 

印象派の形成=発展が19世紀後半期における「写真」という技術革新に大きな影響を受けたものだとすれば、それと類似のことが現代アートと生成AIとの間にも起こると見るのが自然であろう。

[参考イラスト]
ChatGPT4oに「下記の文章に添えるイラスト図を作成してください。」というプロンプト文を与えた結果は下記の通りである。

 

なお「下記WEBページにあるモネの絵をいれながら、前記の文章に添えるイラスト図を再作成してください。https://en.wikipedia.org/wiki/Water_Lilies_(Monet_series)」、「睡蓮を描いたモネの絵をいれながら、前記の文章に添えるイラスト図を再作成してください。」、「モネの「睡蓮」にインスパイアされた要素を取り入れつつ、19世紀の写真技術と印象派の関係を表現するシーンを描いたイラスト図を作成してください。」、、「モネの「睡蓮」にインスパイアされた雰囲気や要素を取り入ながら、19世紀の写真技術と印象派の関係を表現するシーンを描いたイラスト図を作成してください。」などのプロンプト文を与えたところ、「申し訳ありませんが、今回のリクエスト内容がコンテンツポリシーに抵触しているため、イラストの生成ができませんでした。」という結果となり、イラスト図は生成されなかった。

 

そこで「19世紀の写真技術と印象派の関係を表現するシーンを描いたイラスト図を作成してください。」というプロンプト文に代えたところ、モネの「睡蓮」を暗示させるような絵画を含む下記のようなイラスト図がようやく作成された。

 

 

さらに「19世紀の画家が写真を見ながら絵を描いているシーンを作成してください。」というプロンプト文を与えたところ、下記のようなイラスト図が作成された。

 
「生成AI」技術革新はアートをどのように変容=発展させるのか?
ポーラ美術館は、企画展「モダン・タイムス・イン・パリ 1925 ― 機械時代のアートとデザイン」の紹介WEBページにあるように、「コンピューターやインターネットが高度に発達し、AI(人工知能)が生活を大きく変えようとする現在において、約100年前の機械と人間との関係は、私たちが未来をどのように生きるかを問いかけてくるでしょう。」という問題意識のもと開催されたものである。

今から百数十年前に、「写真」という技術革新の登場=発展によって絵画における写実主義がその社会的存在意義を問われたのと同じように、現代アートは「生成AI]という技術革新によって人間がアートを「創造」することとは何かという問いを突き付けられているように確かに思われる。

そうした意味で、印象派の名作を数多く所属するポーラ美術館が企画展として2023年12月16日から本日までAIとアートをサブテーマとする「モダン・タイムス・イン・パリ 1925 ― 機械時代のアートとデザイン」という企画展を開催していたことには大きな社会的意味がある。

 なお生成AIは、テキストを生成するだけではなく、写真やイラストなどの画像を生成することができる。人間型ロボットにAIを搭載し、絵筆を持たせて油絵を描かせる試みはIBM(2022)「ロボットが絵画する日 〜Vol.4  主体性の獲得、表現力向上 編〜」2022年11月08日などに紹介されているようにこれまでもなされてきたが、ChatGPT4oなど技術的により優れた生成AIを、プロの画家がファインチューニングすれば、芸術的にも意味のある「オリジナル」な絵画の「創造」ー しかもこれまでは困難であった「量産」も ー 技術的には可能になるであろう。

 しかし生成AI搭載ロボットが直接的には絵筆をもって描いた絵画は、「誰」が描いたことになるのであろうか?絵筆を操作している人間型ロボットなのか?それとも人間型ロボットに対して、使用する絵の具を指示したり、絵筆の動かし方を指示する生成AIなのか?それとも生成AIをtrainingしたり、ファインチューニングした人間なのだろうか?

 そもそも、こうした問いは適切な問いなのだろうか?
 
 アート創造における「創造」性をどのような形で論じるのがより適切なのだろうか?

 印象派がこれまでなかったような絵画を創造することで「絵画」における創造性の意味を実践的に明らかにしようとしたように、生成AIを用いて人間の絵画的創造性の新たなあり方を実践的に示すことが現在、強く求められている。

[ChatGPT4oに作成させた参考イラスト]

 

補足:美術館展示における「生成AI」技術革新の利用
ポーラ美術館の今回の展示で筆者が面白いと思ったのは、展示物に関する解説テキストを生成AIで音声化し、スマートフォンで自由に聞けるようにされていたことである。
 ポーラ美術館では常設展示の印象派絵画をスマートフォンなどで撮影することを許している点でも先進的であったが、今回の展示では、生成AIを利用し、日本語、英語、フランス語、ドイツ語、スぺイン後、韓国語、中国語(簡体/繁体)という多言語で解説が自由に聞けるようになっていた。

 ただ少し残念だったのは、そのAI音声の質が一世代前のAI音声だったことである。本サイトのカテゴリー「文章読み上げ」に収録した記事で具体的に示しているように、Google Text-to-Speechなど最近の生成AIによるAI音声読み上げは、リアルな人間と区別がつかないほどの水準に達している。今後の展示においては、そうした最近の生成AI技術を利用されることを強く希望したい。

生成AIによる英文校閲ー芥川龍之介『羅生門』のAI英語訳を例として

ChatGPT4oを利用した芥川龍之介『羅生門』のAI英語訳に関して、ChatGPT4o, Perplexity AIを用いて英文校閲をおこなった。

その際に与えたプロンプト文は下記の通りである。現在のところ、長文のプロンプト文ではあまり適切な回答が生成されないため、下記では短めのプロンプト文とした。

下記の日本語原文に関する二つの英訳例について、英語文章としてのわかりやすさ、文法的正確性という視点からチェックしてください。
 そしてそれぞれの英訳例について、修正した方が良い点があれば、修正理由とともに修正案を示してください。
 

#####日本語原文
 ある日の暮方の事である。一人の下人が、羅生門の下で雨やみを待っていた。

 広い門の下には、この男のほかに誰もいない。ただ、所々丹塗の剥げた、大きな円柱に、蟋蟀が一匹とまっている。羅生門が、朱雀大路にある以上は、この男のほかにも、雨やみをする市女笠や揉烏帽子が、もう二三人はありそうなものである。それが、この男のほかには誰もいない。

#####英訳例1
It was one evening at dusk.A servant was waiting for the rain to stop under Rashomon.

Apart from this man, there was no one else under the wide gate. Only a single cricket perched on a large pillar, its vermilion lacquer peeling in places. Since Rashomon was located on Suzaku Avenue, one would expect at least two or three others—wearing city hats or squeezed hats—taking shelter from the rain besides this man. However, there was no one else but him.

#####英訳例2
One evening, a servant was waiting for the rain to stop under the Rashomon gate.

Besides him, there was no one else under the wide gate, except for a cricket perched on a large, partially peeled red pillar. Given that the Rashomon was on Suzaku Avenue, there should have been at least two or three others, wearing ichimegasa hats or eboshi caps, taking shelter from the rain. However, there was no one else but him.

 
ChatGPT4oによる英文校閲例

上記のプロンプト文に対するChatGPT4oの回答結果は下記の通りである。

「Rashomon」の前に定冠詞「the」を追加するべきとする修正案や、「丹塗」の色に関する形容詞に関して「red」から「vermillion」に変更する修正案など有用な回答となっている。

ただし市女笠や揉烏帽子という語句の訳に関しては、「市女笠を被った女性」、「揉烏帽子を被った男性」というように語句を補った訳とするような回答がなかったのは少し残念な気がする。

ーーー 以下、ChatGPT4oによる回答 ーーー

### 英訳例1

わかりやすさと文法的正確性のチェック:

  1. “It was one evening at dusk.A servant was waiting for the rain to stop under Rashomon.”
    修正点: “evening at dusk”は冗長です。”at dusk”だけで十分です。また、「Rashomon」の前に定冠詞「the」を追加する必要があります。
    修正案: “It was dusk. A servant was waiting for the rain to stop under the Rashomon gate.”

  2. “Apart from this man, there was no one else under the wide gate.”
    修正点: ここは明確で、文法的にも正しいです。

  3. “Only a single cricket perched on a large pillar, its vermilion lacquer peeling in places.”
    修正点: ここも明確で、文法的に正しいです。

  4. “Since Rashomon was located on Suzaku Avenue, one would expect at least two or three others—wearing city hats or squeezed hats—taking shelter from the rain besides this man.”
    修正点: “city hats” や “squeezed hats” は適切な訳ではありません。日本の文化を考慮して「市女笠」と「揉烏帽子」を具体的に説明する方が良いです。
    修正案: “Since Rashomon was located on Suzaku Avenue, one would expect at least two or three others—wearing ichimegasa hats or eboshi caps—taking shelter from the rain besides this man.”

  5. “However, there was no one else but him.”
    修正点: ここは明確で、文法的に正しいです。
 

全体の修正案:

“It was dusk. A servant was waiting for the rain to stop under the Rashomon gate. Apart from this man, there was no one else under the wide gate. Only a single cricket perched on a large pillar, its vermilion lacquer peeling in places. Since Rashomon was located on Suzaku Avenue, one would expect at least two or three others—wearing ichimegasa hats or eboshi caps—taking shelter from the rain besides this man. However, there was no one else but him.”
 

### 英訳例2

わかりやすさと文法的正確性のチェック:

  1. “One evening, a servant was waiting for the rain to stop under the Rashomon gate.”
    修正点: ここは明確で、文法的に正しいです。

  2. “Besides him, there was no one else under the wide gate, except for a cricket perched on a large, partially peeled red pillar.”
    修正点: “partially peeled red pillar” は「部分的に剥がれた赤い柱」を指しており、文法的には問題ないが、「red」を「vermillion」にすることで元の文に忠実になります。
    修正案: “Besides him, there was no one else under the wide gate, except for a cricket perched on a large, partially peeled vermilion pillar.”

  3. “Given that the Rashomon was on Suzaku Avenue, there should have been at least two or three others, wearing ichimegasa hats or eboshi caps, taking shelter from the rain.”
    修正点: ここは明確で、文法的に正しいです。

  4. “However, there was no one else but him.”
    修正点: ここも明確で、文法的に正しいです。
 

全体の修正案:

“One evening, a servant was waiting for the rain to stop under the Rashomon gate. Besides him, there was no one else under the wide gate, except for a cricket perched on a large, partially peeled vermilion pillar. Given that the Rashomon was on Suzaku Avenue, there should have been at least two or three others, wearing ichimegasa hats or eboshi caps, taking shelter from the rain. However, there was no one else but him.”
 

### 結論

両方の英訳例とも、文法的にほぼ正確で、わかりやすいです。ただし、英訳例1の冒頭の表現に少し冗長な部分があり、修正が必要です。また、両方の英訳で「市女笠」や「揉烏帽子」の具体的な説明を取り入れることで、より原文に忠実な翻訳が可能になります。
 
Perplexity AIによる英文校閲例
Perplxity Aiによる回答でも、「Rashomon」の前に定冠詞「the」を追加するべきとする修正案や、「丹塗」の色に関する形容詞に関して「red」から「vermillion」に変更する修正案など有用な回答となっている。

ただし市女笠や揉烏帽子という語句の訳に関しては、「日本語の「市女笠」や「揉烏帽子」をそのまま使う方が良い。」という修正案は適切と思われるが、ChatGPT4oと同じく「市女笠を被った女性」、「揉烏帽子を被った男性」というように語句を補った訳とするような回答がなかったのは少し残念な気がする。

ーーー 以下、Perplexity AIによる回答 ーーー

### 英訳例1のチェックと修正

#### わかりやすさと文法的正確性

わかりやすさ: 全体的にわかりやすいが、一部の表現がやや不自然。
文法的正確性: 大きな文法的誤りはないが、いくつかの文が改善の余地がある。
 

#### 修正点と修正案

1. “It was one evening at dusk.”
修正理由: “one evening at dusk” は冗長であり、”one” は不要。
修正案: “It was an evening at dusk.”

2. “A servant was waiting for the rain to stop under Rashomon.”
修正理由: “Rashomon” の前に “the” を追加して特定の門を示す。
修正案: “A servant was waiting for the rain to stop under the Rashomon gate.”

3. “Apart from this man, there was no one else under the wide gate.”
修正理由: “Apart from this man” はやや不自然。 “Besides this man” の方が自然。
修正案: “Besides this man, there was no one else under the wide gate.”

4. “Only a single cricket perched on a large pillar, its vermilion lacquer peeling in places.”
修正理由: “Only a single cricket” は “a single cricket” で十分。
修正案: “A single cricket perched on a large pillar, its vermilion lacquer peeling in places.”

5. “Since Rashomon was located on Suzaku Avenue, one would expect at least two or three others—wearing city hats or squeezed hats—taking shelter from the rain besides this man.”
修正理由: “city hats or squeezed hats” は不自然。日本語の「市女笠」や「揉烏帽子」をそのまま使う方が良い。
修正案: “Since Rashomon was located on Suzaku Avenue, one would expect at least two or three others—wearing ichimegasa hats or eboshi caps—taking shelter from the rain besides this man.”

6. “However, there was no one else but him.”
修正理由: “but him” は “but for him” の方が自然。
修正案: “However, there was no one else but for him.”

 

### 修正後の英訳例1

It was an evening at dusk. A servant was waiting for the rain to stop under the Rashomon gate.

Besides this man, there was no one else under the wide gate. A single cricket perched on a large pillar, its vermilion lacquer peeling in places. Since Rashomon was located on Suzaku Avenue, one would expect at least two or three others—wearing ichimegasa hats or eboshi caps—taking shelter from the rain besides this man. However, there was no one else but for him.

 

### 英訳例2のチェックと修正

#### わかりやすさと文法的正確性

わかりやすさ: 全体的にわかりやすいが、一部の表現がやや不自然。
文法的正確性: 大きな文法的誤りはないが、いくつかの文が改善の余地がある。
 

#### 修正点と修正案

1. “One evening, a servant was waiting for the rain to stop under the Rashomon gate.”
修正理由: 文法的には問題ないが、”One evening” の後にカンマを追加して文を区切る。
修正案: “One evening, a servant was waiting for the rain to stop under the Rashomon gate.”

2. “Besides him, there was no one else under the wide gate, except for a cricket perched on a large, partially peeled red pillar.”
修正理由: “partially peeled red pillar” は “partially peeled vermilion pillar” の方が原文に忠実。
修正案: “Besides him, there was no one else under the wide gate, except for a cricket perched on a large, partially peeled vermilion pillar.”

3. “Given that the Rashomon was on Suzaku Avenue, there should have been at least two or three others, wearing ichimegasa hats or eboshi caps, taking shelter from the rain.”
修正理由: “the Rashomon” は “Rashomon” で十分。
修正案: “Given that Rashomon was on Suzaku Avenue, there should have been at least two or three others, wearing ichimegasa hats or eboshi caps, taking shelter from the rain.”

4. “However, there was no one else but him.”
修正理由: “but him” は “but for him” の方が自然。
修正案: “However, there was no one else but for him.”

 

### 修正後の英訳例2

One evening, a servant was waiting for the rain to stop under the Rashomon gate.

Besides him, there was no one else under the wide gate, except for a cricket perched on a large, partially peeled vermilion pillar. Given that Rashomon was on Suzaku Avenue, there should have been at least two or three others, wearing ichimegasa hats or eboshi caps, taking shelter from the rain. However, there was no one else but for him.

 

### 結論

両方の英訳例は、わかりやすさと文法的正確性の観点から良好ですが、いくつかの修正を加えることでさらに自然な英語表現にすることができます。
 
 

ChatGPT4oによるレシート画像の認識

ChatGPTは画像の中のテキストを認識することもできる。

例えばスマートフォンで撮影したレシートをChatGPTにアップロードし、
購入したものの品名と価格のリストを作成させることもできる。

アップロードした画像は下記である。

oplus_32

最初はChatGPT4を指定し、「画像はスーパーでの買い物のレシートです。買ったもの、および、その金額のリストを作成して下さい。」というプロンプト文を与えた。

これに対するChatGPT4の回答は下記の通りであった。

このレシートには以下の商品が記載されています:

  1. 玉ねぎ – ¥88
  2. じゃがいも – ¥98
  3. にんじん – ¥98
  4. キャベツ – ¥98
  5. 鶏胸 – ¥198
  6. いかだ焼おにぎり – ¥248
  7. 鯛切身 – ¥335
  8. 鯛切身 – ¥341
  9. バラ餃子 – ¥159

合計金額は税込みで¥1,891です。

上記リストの1~4は正しいが、5以降は品名が間違っている。

そこで今度は、ChatGPT4oを指定し、「先ほどのリストの5番目以降は金額は合っていますが、品物の名前は違っています。リストを訂正して下さい。」というプロンプト文を与えた。

これに対するChatGPT4oによる回答は下記の通りであった。

このレシートには以下の商品が記載されています:

  1. 玉ねぎ袋 – ¥88
  2. じゃがいも – ¥98
  3. にんじん – ¥98
  4. キャベツ – ¥98
  5. 果物 – ¥198
  6. いかたこ坊主 水 – ¥248
  7. 肩切落し – ¥335
  8. 肩切落し – ¥341
  9. バラエティたまご – ¥159

合計金額は税込みで¥1,891です。

プロンプト文で指摘した品物の名前の誤りは正しく訂正された。
ただ残念ながらまだ不適切な部分があります。

私もすぐには気がつかなかったため、先のプロンプト文で指示し忘れたのですが、「サラダ」が抜けています。
そこで今度は「リストには一つ品物が抜けています。もう一度、リストを作成しなおしてください。」という指示を与えた。

その結果は下記のとおりである。

申し訳ありません。もう一度、リストを確認して作成しなおしました。

このレシートには以下の商品が記載されています:

  1. 玉ねぎ袋 – ¥88
  2. じゃがいも – ¥98
  3. にんじん – ¥98
  4. キャベツ – ¥98
  5. 果物 – ¥198
  6. サラダナ – ¥88
  7. いかたこ坊主 水 – ¥248
  8. 肩切落し – ¥335
  9. 肩切落し – ¥341
  10. バラエティたまご – ¥159

合計金額は税込みで¥1,891です。

今度はすべて正解です。ChatGPT4oは本当に使い物になりそうです。

<注>

なお上記は有料版のChatGPTアカウントによるものであるが、無料版のChatGPTアカウントでも、画像のアップロードおよびテキスト認識機能は利用できる。
 そこで試しに、無料版のChatGPTアカウントで同じ画像ファイルで「画像はスーパーでの買い物のレシートです。買ったもの、および、その金額のリストを作成して下さい。」という指示を与えたところ、今度は一発で正解した。
 無料版のChatGPTアカウントでは利用モデルを指定できないが、GPT4oを制限付きながら利用できるので、その成果が現れたのであろう。(なお ログインしているアカウントが異なるので、有料版のChatGPTアカウントでのやり取りに関するmemory機能が働いているわけではないと思われる。)

生成AIを利用した「日本語テキストの英語化」(その5)ーMicrosoft Bing AIによる芥川龍之介『羅生門』の英訳

Microsoft Bing AIを利用して芥川龍之介『羅生門』を英訳させた結果は下記の通りである。


Microsoft Bingによる英訳

Ryunosuke Akutagawa
Rashomon

It happened one evening. A servant was waiting for the rain to stop under the gate of Rashomon. He was alone; no one else was there except for a cricket perched on one of the large, partially red-painted pillars. Given that Rashomon was located on the Suzaku Avenue, one would expect to see a few more people seeking shelter from the rain, such as women with market baskets or men with umbrellas. But there was no one else.

The reason was that in the past few years, Kyoto had suffered a series of disasters such as earthquakes, typhoons, fires, and famines. As a result, the city had become desolate. According to old records, people had even resorted to selling wood from destroyed Buddha statues and religious ornaments, which were piled up by the roadside. With the city in such a state, no one bothered to repair Rashomon. Consequently, it became a den for foxes and thieves, and eventually, it even became a dumping ground for unclaimed corpses. Thus, as soon as it got dark, everyone avoided the area near the gate.

Instead, crows had started to gather there. During the day, one could see them flying around the high finials of the gate, cawing and circling. Especially at sunset, when the sky above the gate turned red, the crows were clearly visible, like sesame seeds scattered across the sky. Naturally, they came to peck at the flesh of the dead bodies on the gate. However, today, perhaps because it was late, not a single crow was in sight. Only their droppings could be seen, dotted white on the overgrown, crumbling stone steps. The servant sat on the top step, his washed-out indigo trousers under him, absent-mindedly watching the rain fall while he fidgeted with a large boil on his right cheek.

Earlier, I wrote that the servant was waiting for the rain to stop. However, even if the rain stopped, he had no particular place to go. Normally, he would return to his master’s house, but he had been dismissed a few days ago. As mentioned before, the city of Kyoto was in decline, and the servant’s dismissal was a small repercussion of this downturn. Therefore, it would be more accurate to say that the servant, caught in the rain, had nowhere to go and was at a loss. Moreover, today’s weather had significantly affected the servant’s sentimentalism. The rain that started falling around the hour of the Monkey (3-5 PM) showed no sign of stopping. So, the servant, needing to figure out how to survive the next day, aimlessly followed his thoughts while listening to the sound of the rain falling on Suzaku Avenue.

The rain enveloped Rashomon, gathering a rustling sound from afar. The evening darkness lowered the sky, and looking up, one could see the gate’s roof supporting heavy, dark clouds on its diagonally protruding tiles.

To find a way out of an impossible situation, one cannot be choosy about the means. If one is selective, they will end up starving to death on the roadside or under a mound of earth and eventually be discarded like a dog on top of the gate. If one is not selective—The servant’s thoughts circled back to the same conclusion after much deliberation. However, this “if” remained an “if” indefinitely. While affirming the idea of not being selective about the means, the servant lacked the courage to positively affirm the inevitable conclusion that followed: “There is no other choice but to become a thief.”

Here is the continuation of the translation in clear English:

The servant sneezed loudly and then, with some effort, stood up. The evening chill in Kyoto was such that one would desire a brazier to ward off the cold. The wind blew unreservedly between the pillars of the gate, accompanied by the twilight. The cricket that had been perched on the red-painted pillar had also gone somewhere else.

Hunching his neck and raising the shoulders of his indigo blue work coat over his yellow sweatshirt, the servant looked around the gate. He was looking for a place where he could spend the night comfortably, without fear of the rain or being seen by others. Fortunately, his eyes caught a wide, red-painted ladder leading up to the tower above the gate. If there were people above, they would only be corpses. With this in mind, the servant stepped onto the first rung of the ladder, careful not to let the sword at his waist slip from its sheath.

A few minutes later, a man was crouched halfway up the wide ladder leading to the tower of Rashomon, holding his breath and peering up. The light of a fire from above faintly illuminated his right cheek, which bore a boil amidst his short beard. The servant had assumed that the only ones above were the dead. But as he climbed a few steps, he saw that someone was tending a fire above, moving it around. The murky, yellowish light flickered on the cobweb-covered ceiling, making it immediately apparent.

The servant, silent as a gecko, finally climbed to the top of the steep ladder. He flattened his body as much as possible and stretched his neck forward, peering fearfully into the tower.

Inside, he saw several corpses thrown carelessly about, just as the rumors had described. However, the range of the firelight was narrower than he had expected, and he could not tell how many there were. All he could make out were some naked corpses and others clothed. It seemed there were both men and women among them. The corpses lay scattered on the floor, their mouths agape and hands outstretched, resembling clay figures so much that one might doubt they had ever been living humans. The dim firelight cast shadows on the lower parts of their bodies, making them appear even darker, while they lay in eternal silence.

The servant involuntarily covered his nose from the stench of decay, but almost immediately, he forgot to do so. A strong emotion had nearly robbed him of his sense of smell.

For the first time, the servant noticed a human figure crouching among the corpses. It was a short, thin, white-haired old woman, dressed in a cypress-bark colored kimono, resembling a monkey. She held a pine torch in her right hand and seemed to be peering into the face of one of the corpses. Judging by the length of the hair, it was probably a woman’s corpse.

The servant, driven by six parts fear and four parts curiosity, had momentarily forgotten to breathe. To borrow the words of an ancient chronicler, he felt as if “the hairs on his body were thickening.” Then the old woman, inserting the pine torch between the floorboards, began to pluck the long hairs from the corpse’s head, one by one, as a monkey might pick lice from its young. The hair seemed to come out easily.

As each hair was plucked, the servant’s fear gradually dissipated, replaced by a growing intense hatred—not necessarily towards the old woman, but rather a general revulsion towards all evil, which grew stronger by the minute. If someone had presented the servant with the choice he had pondered earlier under the gate—whether to die of starvation or become a thief—he would have chosen starvation without hesitation. His hatred for evil burned as fiercely as the pine torch the old woman had stuck in the floor.

Of course, the servant did not understand why the old woman was plucking the hair from the corpses. Therefore, he could not rationally decide whether it was good or evil. However, for the servant, the mere act of plucking hair from the dead on this rainy night atop Rashomon was an unforgivable evil. Naturally, he had long forgotten that he had been contemplating becoming a thief himself just a short while ago.

Then, with a surge of energy in his legs, the servant leaped up from the ladder. Striding boldly with his hand on the hilt of his sword, he approached the old woman, who was understandably startled.

The old woman, upon seeing the servant, leaped up as if shot from a crossbow.
“Where do you think you’re going?” the servant shouted, blocking the old woman’s path as she stumbled over the corpses in a panic, trying to flee. The old woman tried to push past the servant, but he pushed back, refusing to let her go. The two grappled silently among the corpses for a while, but the outcome was clear from the start. The servant finally grabbed the old woman’s arm and forced her down. It was an arm of skin and bone, like a chicken’s leg.


Here is the final part of the story translated into clear and understandable English:

“What were you doing? Speak, or else this is what awaits you.” The servant, having pushed the old woman away, suddenly drew his sword, flashing the white steel before her eyes. But the old woman remained silent. Her hands trembled, and she gasped for breath, her eyes wide open as if they might pop out, stubbornly silent as if mute. Seeing this, the servant realized for the first time that the old woman’s life and death were entirely at his mercy. This awareness gradually extinguished the fierce hatred that had been burning within him. All that remained was a tranquil sense of accomplishment, as if a task had been successfully completed. Softening his voice, the servant looked down at the old woman and said, “I am not an officer of the Keibi-eisei (police). I am just a traveler who happened to pass by this gate. There’s no need for me to tie you up or anything like that. All you need to do is tell me what you were doing up here at this hour.”

The old woman then looked up at the servant with even wider eyes, observing him with the sharp gaze of a carnivorous bird. She moved her wrinkled lips, which were almost merged with her nose, as if chewing on something. Her thin throat and the pointed Adam’s apple moved visibly. Then, from her throat, a voice as hoarse as a crow’s caw reached the servant’s ears, gasping, “I was pulling out this hair, this hair, to make a wig.”

The servant was disappointed by the old woman’s answer, which was unexpectedly mundane. And with the disappointment, the previous hatred returned, accompanied by a cold disdain. Perhaps sensing his mood, the old woman, still holding the long hair she had plucked from the corpse, spoke in a croaking voice, stuttering, “Indeed, pulling hair from the dead may be a terrible thing. But all the dead here are people who deserve no better. The woman whose hair I was pulling sold dried snake pieces, claiming they were dried fish, to the samurai camps. If she hadn’t died of the epidemic, she would still be selling them now. And her ‘dried fish’ was said to taste so good that the samurai always bought it for their meals. I don’t think what she did was wrong; she had no choice but to avoid starvation. So, I don’t think what I was doing was wrong either. I also have no choice but to avoid starvation. And this woman, who knew all too well about having no choice, would probably forgive me for what I’m doing.”

The old woman said something to that effect.

The servant sheathed his sword and listened to her story with a detached air, holding the hilt with his left hand. Of course, he was still concerned about the large boil on his right cheek. But as he listened, a certain courage began to grow within him—a courage that had been lacking when he was under the gate and which was now moving in a completely different direction from the courage he had felt when he first climbed up to the gate and captured the old woman. The servant was no longer torn between starving to death or becoming a thief. At that moment, the thought of starvation was so far from his mind that it was almost inconceivable.

“Is that so?” he said mockingly after the old woman finished her story. Then, stepping forward, he suddenly released his hand from the boil and, grabbing the old woman by the collar, said fiercely, “Then you won’t blame me for stripping you. I, too, must do this to avoid starving to death.”

The servant quickly stripped the old woman of her clothes. Then, as she clung to his legs, he roughly kicked her down onto the corpses. It was only five steps to the ladder’s entrance. Clutching the cypress-bark colored kimono he had taken, the servant swiftly descended the steep ladder into the depths of the night.

After lying motionless as if dead for a while, the old woman soon rose from among the corpses, her naked body illuminated by the still-burning fire. Groaning, she crawled to the mouth of the ladder and looked down from the gate. Outside, there was nothing but the pitch-black night.

The whereabouts of the servant remain unknown.

This concludes the translation of the excerpt from Ryunosuke Akutagawa’s “Rashomon.” If you have any more requests or need further assistance, please let me know.
I hope this translation helps you understand the continuation of the story. If you need further assistance or have more text to translate, please let me know.

I hope this translation conveys the essence and subtleties of the original text. If you need further assistance or another section translated, feel free to ask.

生成AIを利用した「日本語テキストの英語化」(その4)ー芥川龍之介『羅生門』の英訳およびAI音声(1)

ChatGPT4oを利用して芥川龍之介『羅生門』を英訳させた結果およびそのAI音声は下記の通りである。本稿はまだ作業途中のバージョンである。これからまずは、各AIによる翻訳結果のクロスチェック等の作業を行う予定である。

芥川龍之介『羅生門』の英訳(ChatGPT4o その1)

ChatGPT4oによる英語AI音声

ChatGPT4oのサーバーが不調なのか、英語文章が長すぎるためか、英語のAI音声読み上げが現時点ではできていない。
 

Google-To-TextのAI音声(イギリス英語版 — 利用Voiceはen-GB-neural2-D,男性)

 
ChatGPT4oによる英訳例ーその1
Ryūnosuke Akutagawa
Rashomon

It was one evening at dusk.A servant was waiting for the rain to stop under Rashomon. Apart from this man, there was no one else under the wide gate.
Only a single cricket perched on a large pillar, its vermilion lacquer peeling in places. Since Rashomon was located on Suzaku Avenue, one would expect at least two or three others—wearing city hats or squeezed hats—taking shelter from the rain besides this man. However, there was no one else but him.

The reason was that, in the past two or three years, Kyoto had been struck by successive calamities such as earthquakes, whirlwinds, fires, and famines. Consequently, the desolation of the capital was unparalleled. According to old records, people smashed Buddhist statues and altar fittings and piled up the wood covered with vermilion and gold or silver leaf by the roadside to sell as firewood. Given the state of the city, no one cared to repair Rashomon.
Taking advantage of this ruin, foxes and raccoons made it their home, thieves moved in, and eventually, it became customary to bring unclaimed corpses to this gate and abandon them. As a result, when darkness fell, people avoided coming near the gate due to the creepy atmosphere.

In exchange, many crows gathered from somewhere. During the day, one could see these crows flying in circles around the high ridgepole, cawing as they went. Particularly when the sky above the gate turned red with the evening glow, the crows looked as if sprinkled with sesame seeds, clearly visible. The crows, of course, came to peck at the flesh of the corpses lying on the gate. However, perhaps because it was late today, not a single crow was visible. Only the white spots of crow droppings stuck here and there on the stone steps, which were crumbling in places and had long grass growing from the cracks, could be seen. The servant sat on the top step of the seven-storied stone steps, placing the hem of his washed-out navy-blue kimono on the step, idly gazing at the falling rain while worrying about a large pimple on his right cheek.

Earlier, the author wrote that the servant was waiting for the rain to stop. However, the servant had no particular plans even if the rain stopped. Normally, he would have returned to his master’s house. But a few days ago, his master had dismissed him. As mentioned before, the city of Kyoto was in a state of unprecedented decline.
The fact that this servant was dismissed by his master, for whom he had worked for many years, was a small ripple caused by this decline. Therefore, it would be more accurate to say that the servant, caught in the rain, had nowhere to go and was at a loss, rather than saying he was waiting for the rain to stop.

Furthermore, today’s weather had not a little influence on this Heian era servant’s sentimentality. The rain that began falling in the late afternoon showed no signs of stopping. Thus, the servant, trying to find a way to get through tomorrow’s livelihood—attempting to do the impossible—had been absentmindedly listening to the sound of rain falling on Suzaku Avenue for some time.

The rain enveloped Rashomon, gathering the sound from afar with a loud roar. The evening twilight gradually lowered the sky, making the roof of the gate, with its eaves protruding obliquely, appear to support heavy, dark clouds.

To do the impossible, there was no time to be choosy about means. If he were choosy, he would simply starve to death on the ground under the mud wall or by the roadside. And then he would be brought to this gate and thrown away like a dog.
If he were not choosy—after repeatedly treading the same path of thought, the servant finally reached this conclusion.
However, this “if” was still an “if” indefinitely. Even though the servant acknowledged the need to be unchoosy about means, he still lacked the courage to positively affirm that he had no choice but to become a thief to resolve this “if.”

The servant sneezed loudly and then stood up reluctantly. Kyoto was so chilly that an iron brazier was almost necessary. The wind blew freely between the gate’s pillars along with the evening twilight. The cricket that had perched on the vermilion pillar had already gone somewhere.

The servant hunched his shoulders, raised the collar of his navy kimono over his yellow undergarment, and looked around the gate. He thought if he could find a place free from rain and wind, where he could sleep comfortably without being seen, he would spend the night there. Fortunately, he noticed a wide ladder, also painted in vermilion, leading up to the loft of the gate. If he went up, even if there were people, they would only be corpses. The servant, careful not to let the tachi (long sword) at his waist slip from its scabbard, placed his straw-sandaled foot on the bottom step of the ladder.

A few minutes later, the man was crouching like a cat, holding his breath, on the middle step of the wide ladder leading up to the Rashomon loft, peering up to see what was happening. The faint light from above barely illuminated the man’s right cheek. His cheek, with a red pimple amidst short stubble, caught the light. The servant had assumed from the start that only corpses were up there. However, after climbing two or three steps, he saw someone had lit a fire up there and was moving it around. The murky, yellowish light flickered across the cobweb-covered ceiling, making it immediately clear. Given that someone had lit a fire in Rashomon on this rainy night, they were certainly no ordinary person.

The servant, stealing his way up like a gecko, crawled up the steep ladder to the very top. Flattening his body as much as possible, stretching his neck as far forward as he could, he cautiously peered into the loft.

Inside the loft, as the rumors had it, several corpses were carelessly thrown about. But the light’s reach was narrower than expected, making it impossible to count the bodies. He could vaguely tell that some corpses were naked while others were clothed. Apparently, there were both men and women among them. The corpses lay sprawled across the floor, with their mouths open and arms outstretched, so lifeless that it was hard to believe they had once been alive.
The dim light from the fire cast shadows, making the high parts of their shoulders and chests stand out, rendering the low parts even darker, leaving them eternally silent like dumb figures.

The servant instinctively covered his nose against the stench of the rotting corpses. But the next moment, he forgot about covering his nose. A strong emotion almost entirely stole his sense of smell.

The servant’s eyes, for the first time, spotted a person squatting among the corpses. A short, skinny old woman with white hair like a monkey, wearing a hinoki (cypress) colored kimono. The old woman held a lit pinewood splinter in her right hand, peering intently into the face of one of the corpses. Seeing the long hair, it was probably a woman’s corpse.

Moved by sixty percent fear and forty percent curiosity, the servant temporarily forgot to breathe. Borrowing the words of the old records’ author, he felt as if his body hair stood on end. Then the old woman stuck the pinewood splinter between the floorboards and began pulling out the hair of the corpse she had been staring at, like a monkey picking lice off its young. The hair seemed to come out easily.

As each strand of hair was pulled out, the servant’s fear gradually diminished. Simultaneously, a fierce hatred toward the old woman arose. — To say “toward the old woman” might be misleading. Rather, an increasing aversion to all evil grew by the minute. If someone had now presented the servant with the dilemma he faced under the gate earlier — starving to death or becoming a thief — he would have unhesitatingly chosen to starve. His hatred for evil was now burning fiercely, like the pinewood splinter the old woman had stuck in the floor.

Of course, the servant didn’t understand why the old woman was pulling out the dead woman’s hair. Therefore, he couldn’t logically decide if it was good or bad. However, for the servant, just the act of pulling out a dead person’s hair on this rainy night in Rashomon was already an unforgivable evil. Of course, he had long forgotten his earlier thoughts of becoming a thief.

So, the servant mustered his strength and suddenly jumped up from the ladder. With his hand on his tachi, he strode up to the old woman in large steps. It goes without saying that the old woman was startled.

Upon seeing the servant, she jumped up as if shot by a crossbow.

“Where do you think you’re going?”

The servant blocked the old woman’s path as she stumbled over the corpses in panic, cursing her. Even so, the old woman tried to push past him. The servant pushed her back, preventing her from escaping. For a while, they wrestled silently among the corpses. However, the outcome was evident from the start. The servant eventually grabbed the old woman’s arm and forcibly threw her down. Her arm was as thin as a chicken’s leg, all bones and skin.

“What were you doing? Tell me. If you don’t, this is what you’ll get.”

The servant pushed the old woman away and quickly drew his tachi, thrusting the white steel in front of her eyes.
But the old woman remained silent. Her hands shook uncontrollably, her shoulders heaving as she panted, her eyes bulging out of their sockets in mute defiance. Seeing this, the servant became acutely aware that the old woman’s life was entirely under his control. This awareness quietly cooled the fiery hatred in his heart. What remained was a serene satisfaction and a sense of accomplishment from completing a task. So, looking down at the old woman, the servant softened his voice and said,

“I’m not a police officer from the Kebiishi office. I’m just a traveler who happened to pass by this gate. So I won’t tie you up or anything. All you have to do is tell me what you were doing up here.”

The old woman stared intently at the servant’s face with wide, sharp eyes, like those of a carnivorous bird. Then she moved her almost indistinguishable lips, which were so wrinkled they seemed fused with her nose, as if chewing on something. Her thin throat moved, and the sharp Adam’s apple was visible. Then, from that throat, a voice like a crow’s cawing, broken and raspy, reached the servant’s ears.

“I was pulling out this hair… to make a wig.”

The servant was disappointed by the old woman’s unexpectedly ordinary answer. And simultaneously with the disappointment, his previous hatred, mixed with a cold contempt, seeped back into his heart. This sentiment seemed to reach the old woman. Still holding the long hair taken from the corpse’s head, the old woman mumbled, her voice croaking like a toad.

“Indeed, pulling out dead people’s hair might be bad. But all these dead people here deserve such treatment. That woman whose hair I was pulling out was selling snake meat cut into four-inch pieces as dried fish to the samurai.
If she hadn’t died of disease, she would still be selling it now. Moreover, the dried fish she sold was so tasty that the samurai never missed buying it as a side dish. I don’t think what she did was bad. She did it because she would starve otherwise. So, I don’t think what I was doing was bad either. I have to do this, too, to avoid starving.
This woman, who knew the necessity of my actions, would surely understand what I was doing.”

The old woman roughly said this.

The servant, sheathing his tachi and holding the hilt with his left hand, listened coldly to her story. Of course, with his right hand, he absently touched the large pimple on his cheek. But as he listened, a certain courage grew in his heart. It was the courage that had been missing when he was under the gate earlier. And it was entirely opposite to the courage he had when he climbed the gate and captured the old woman. The servant no longer hesitated between starving and becoming a thief. At that moment, starving to death was so far from his consciousness that he couldn’t even consider it.

“Is that so?”

When the old woman finished her story, the servant mockingly confirmed. Then he took a step forward, suddenly removing his right hand from his pimple and grabbing the old woman’s collar, saying,

“Then you won’t mind if I rob you. I have to do it too, or I’ll starve.”

The servant swiftly tore off the old woman’s kimono. Then, he roughly kicked her, who tried to cling to his legs, onto the corpses. It was barely five steps to the mouth of the ladder. With the hinoki-colored kimono tucked under his arm, the servant descended the steep ladder into the night in a flash.

Shortly after, the old woman, who had been lying motionless among the corpses, slowly rose, groaning and muttering.
Using the remaining firelight, she crawled to the mouth of the ladder. Peering out with her short white hair hanging down, she saw only the pitch-black night outside.

No one knew where the servant had gone.

 
 
 
英訳(その2)
ChatGPT4oによる英語AI音声
ChatGPT4oのサーバーが不調なのか、英語文章が長すぎるためか、英語のAI音声読み上げが現時点ではできていない。
 
Google-To-TextのAI音声(イギリス英語版-利用Voiceはen-UK-neural2-D)
ChatGPT4o用Webブラウザ拡張機能Voice Waveを利用したイギリス英語(男性)AI音声 – Google Voice
 

ChatGPT4oによる英訳例ーその2

One evening, a servant was waiting for the rain to stop under the Rashomon gate. Besides him, there was no one else under the wide gate, except for a cricket perched on a large, partially peeled red pillar. Given that the Rashomon was on Suzaku Avenue, there should have been at least two or three others, wearing ichimegasa hats or eboshi caps, taking shelter from the rain. However, there was no one else but him.

The reason for this was that in the past few years, Kyoto had been struck by disasters such as earthquakes, tornadoes, fires, and famines. As a result, the city had fallen into significant decline. According to historical records, people would smash Buddhist statues and ornaments, pile the timber coated with red or gold leaf by the roadside, and sell it as firewood. Given this state of affairs, no one bothered to repair the Rashomon gate, allowing it to become a haven for foxes and thieves. Eventually, people began to bring unclaimed corpses to the gate and leave them there. Consequently, as darkness fell, everyone avoided the gate, finding it eerie.

In contrast, crows gathered in large numbers from somewhere. During the day, they could be seen flying around the high shibi (decorative ridge-end tiles) of the gate, crying and circling. Particularly when the sky above the gate turned red with the evening glow, the crows appeared clearly like sprinkled sesame seeds. Of course, the crows came to peck at the flesh of the corpses on top of the gate. However, today, perhaps because it was late, not a single crow was visible. Only the white crow droppings were scattered here and there on the crumbling stone steps overgrown with long grass. The servant sat at the top of the seven stone steps, his washed-out navy blue kimono trailing behind him, idly watching the rain while picking at a large pimple on his right cheek.

The author wrote earlier that the servant was waiting for the rain to stop. However, the servant had no particular plan even if the rain stopped. Normally, he would have returned to his master’s house, but his master had dismissed him four or five days ago. As previously mentioned, Kyoto was in a state of decline at that time. The fact that the servant, who had been employed by his master for many years, was now dismissed was a small ripple of this decline. Therefore, it would be more accurate to say that the servant, caught in the rain, had nowhere to go and was at a loss.

Moreover, today’s weather affected the servant’s sentiment. The rain that had started falling since late afternoon showed no sign of letting up. Thus, the servant, contemplating his immediate future and how to survive the next day—trying to find a solution to an unsolvable problem—listened absentmindedly to the sound of the rain falling on Suzaku Avenue.

The rain enveloped the Rashomon, gathering distant sounds. The twilight gradually lowered the sky, and looking up, the roof of the gate, with its protruding eaves, supported heavy, dark clouds.

To deal with an impossible situation, one cannot afford to be choosy about the means. If one were to be selective, one would end up starving to death either under the earthen wall or on the roadside. Then, one’s body would be brought to this gate and discarded like a dog. If one were not selective, the servant’s thoughts, after repeatedly traversing the same path, finally reached this conclusion. However, this “if” remained a mere “if.” Although the servant affirmed that he could not afford to be choosy, he lacked the courage to affirm positively that “there is no choice but to become a thief.”

The servant sneezed loudly and then stood up laboriously. Kyoto, chilled by the evening cold, was now cold enough to need a firebox. The wind blew unreservedly through the pillars of the gate, along with the twilight. The cricket perched on the red-painted pillar had already gone somewhere.

The servant, shrinking his neck and raising his shoulders in the navy blue kimono over a yellow kosode, looked around the gate. He thought that if there was a place where he could spend the night comfortably without fear of the rain and wind or being seen, he would stay there. Fortunately, he noticed a wide red-painted ladder leading up to the gate’s upper story. If there were people up there, they would only be corpses. The servant cautiously placed his foot on the lowest rung of the ladder, ensuring that the sword at his waist did not make a sound.

A few minutes later, a man crouched like a cat on the middle rung of the wide ladder leading to the Rashomon’s upper story, holding his breath and peering up. The faint light from above dimly illuminated his right cheek, covered in short stubble and a large pimple filled with pus. The servant had assumed from the beginning that only corpses would be up there. However, when he climbed two or three rungs, he saw that someone above had lit a fire and was moving it around. This was immediately apparent from the yellow, murky light reflecting off the ceiling, covered in cobwebs. Since someone had lit a fire in this Rashomon on a rainy night, they were certainly no ordinary person.

The servant crept up the steep ladder like a gecko, eventually reaching the top rung. Flattening his body as much as possible, he craned his neck forward and cautiously peered into the upper story.

He saw, as rumored, several corpses lying carelessly, but the range of the fire’s light was narrower than he expected, so he couldn’t tell how many there were. He could vaguely discern that some corpses were naked, while others wore clothes. Men and women seemed to be mixed among them. These corpses, looking more like clay dolls than once-living humans, lay sprawled on the floor, mouths open, hands outstretched. The parts of the bodies illuminated by the fire’s dim light made the shadows of the lower parts even darker, remaining eternally silent like the mute.

The servant instinctively covered his nose against the stench of the rotting corpses. However, the next moment, he forgot about covering his nose, as a powerful emotion almost entirely overwhelmed his sense of smell.

For the first time, the servant saw a living person among the corpses. It was a short, thin, white-haired old woman dressed in a hinoki-bark-colored kimono. She held a lit pinewood splinter in her right hand and was peering intently at one of the corpses’ faces, presumably that of a woman, given the long hair.

Driven by a mix of 60% fear and 40% curiosity, the servant momentarily forgot to breathe. Borrowing the words of an old chronicler, “even his hair stood on end.” The old woman then stuck the pinewood splinter between the floorboards and began to pluck the long hair from the corpse’s head one by one, like a monkey picking fleas from its young. The hair seemed to come out easily.

As the hair was plucked one by one, the servant’s fear gradually diminished. Simultaneously, his intense hatred for the old woman began to grow. To be precise, his aversion to all evil increased by the minute. If someone had brought up the question of whether to starve to death or become a thief, as he had pondered earlier under the gate, he would have chosen to starve without hesitation. Such was his burning hatred for evil, as fierce as the flame in the old woman’s pinewood splinter.

The servant had no idea why the old woman was plucking the corpse’s hair. Thus, he did not know whether to judge it good or evil. However, for him, the mere act of plucking a dead person’s hair on a rainy night in Rashomon was already unforgivable evil. Of course, he had long forgotten that he had considered becoming a thief just moments before.

With this resolve, the servant gathered his strength and leaped from the ladder. Holding his hand on the hilt of his sword, he strode towards the old woman. The old woman was undoubtedly startled.

At the sight of the servant, the old woman sprang up as if shot from a bow.
“Where do you think you’re going?”
The servant blocked the old woman’s way as she tried to flee in a panic, cursing her. The old woman still tried to push past him. The servant, too, tried to stop her. The two grappled in silence among the corpses. However, the outcome was clear from the start. The servant finally grabbed the old woman’s arm and forcibly twisted it, just like a chicken’s leg, all skin and bones.
“What were you doing? Speak! If you don’t, I’ll cut you down!”
The servant thrust his sword’s white steel blade in front of her eyes after shoving her aside. But the old woman remained silent, her hands trembling, her breath ragged, her eyes bulging. Seeing this, the servant realized for the first time that the old woman’s life was entirely in his hands. This realization unexpectedly cooled the burning hatred in his heart, leaving only the calm satisfaction of having completed a task.

Looking down at the old woman, the servant softened his voice a little.
“I am not an official of the Keibii-shi (imperial police). I am merely a traveler who happened to pass by this gate. I have no intention of tying you up or anything like that. Just tell me what you were doing up here.”
The old woman, still wide-eyed, stared intently at the servant’s face. Her hawk-like, sharp eyes with red-tinged eyelids scrutinized him. Then, moving her lips as if chewing something, her thin throat revealing the movement of her pointed Adam’s apple, she croaked out in a voice like a crow’s:
“I was plucking this hair, plucking this hair, to make a wig.”
The servant was disappointed by the old woman’s surprisingly mundane response. As disappointment set in, the previous hatred, now tinged with cold contempt, returned to his heart. Sensing this change, the old woman, still holding the long hair she had plucked from the corpse’s head, mumbled like a croaking toad:
“Indeed, plucking a dead person’s hair may be wrong. But all the dead here are people who deserve such treatment. The woman whose hair I just plucked used to sell dried snake pieces as dried fish to samurai. If she hadn’t died of disease, she would still be selling them. Her dried fish were so tasty that the samurai bought them regularly. I don’t think what she did was wrong. She did it out of necessity to avoid starvation. So, I don’t think what I’m doing is wrong either. I’m doing it out of necessity to avoid starvation. This woman would likely understand my situation and overlook what I’m doing.”
The old woman roughly conveyed this meaning.

The servant listened coldly, holding the sword hilt in his left hand and fiddling with the large, pus-filled pimple on his cheek with his right hand. However, as he listened, a certain courage welled up within him—a courage he lacked when he contemplated starvation or theft earlier. This courage was entirely different from the one he felt when capturing the old woman. The servant was no longer torn between starving to death or becoming a thief. In fact, from his current state of mind, the idea of starving seemed almost absurd, having been pushed entirely out of his consciousness.
“Is that so?”
The servant sarcastically confirmed the old woman’s story. Then, stepping forward, he suddenly released his hand from the pimple and grabbed the old woman’s collar, biting out:
“Then you won’t mind if I rob you. I have to do this to avoid starving.”
The servant quickly stripped the old woman’s kimono and roughly kicked her onto the corpses as she clung to his legs. The ladder was only five steps away. The servant, clutching the stolen hinoki-bark-colored kimono, quickly descended the ladder into the darkness.

Not long after, the old woman, who had lain as if dead among the corpses, raised her naked body. Muttering and groaning, she crawled to the ladder’s edge by the light of the still-burning fire and looked down. Outside, there was nothing but the vast darkness of the night.
No one knew where the servant had gone.

AI利用による英語多肢選択式問題の作成例2-ヒアリング問題

AI利用による英語多肢選択式問題の作成例1ではテキスト問題であったが、これをヒアリング問題に変換することもできる。

内容構成
 
1 読み上げ文章の作成およびAI音声変換
英語版ウィキペディアの中の、大谷翔平に関するWEBページhttps://en.wikipedia.org/wiki/Shohei_Ohtaniの内容をChatGPT4oに要約させた。その結果は下記の通りである。

ChatGPT4oによる内容要約のAI音声

Shohei Ohtani, born July 5, 1994, in Oshu, Iwate, Japan, is a professional baseball player recognized for his rare ability to excel as both a pitcher and hitter. Ohtani attended Hanamaki Higashi High School, where he demonstrated his talents and was noted for his 99 mph fastball. He entered Nippon Professional Baseball (NPB) with the Hokkaido Nippon-Ham Fighters in 2013, quickly making an impact with his dual-threat capabilities.

Early Career in Japan
Ohtani’s time in NPB was marked by significant achievements. In his rookie year, he recorded a 3.53 ERA and hit .238. By 2014, he had improved his pitching and batting, achieving a 2.61 ERA and hitting 10 home runs. His 2016 season was particularly outstanding; he posted a 10-4 record with a 1.86 ERA and hit 22 home runs with a .322 average, earning him the Pacific League MVP award.

Transition to MLB
Ohtani transitioned to Major League Baseball (MLB) in 2018, signing with the Los Angeles Angels. His rookie season was notable, despite an elbow injury that limited his pitching. He finished with a .285 batting average, 22 home runs, and a 3.31 ERA in 10 starts, earning the AL Rookie of the Year award. However, Tommy John surgery in 2018 and subsequent injuries in 2019 limited his pitching.

Historic 2021 Season
Ohtani’s 2021 season was historic. He was selected for the All-Star Game as both a pitcher and hitter, a first in MLB history. He finished the season with 46 home runs, 100 RBIs, 26 stolen bases, and a 9-2 record with a 3.18 ERA. His exceptional performance earned him the AL MVP award.

International Success
Ohtani also played a crucial role in international competitions. In the 2023 World Baseball Classic (WBC), he led Japan to victory, showcasing his skills on a global stage. His ability to perform under pressure further solidified his reputation as a top-tier athlete.

Recent Career and Impact
In 2024, Ohtani signed with the Los Angeles Dodgers, continuing his exceptional career. He is celebrated for his unique skill set, which has drawn comparisons to Babe Ruth. Ohtani’s impact on baseball is profound, as he challenges the traditional separation between pitchers and hitters. His success has inspired many and brought significant attention to the sport globally.

Personal and Cultural Impact
Beyond his on-field achievements, Ohtani has become a cultural icon. His humility, work ethic, and exceptional talent have made him a beloved figure in Japan and internationally. His influence extends beyond baseball, contributing to increased interest and viewership of the sport.

Honors and Awards
Ohtani’s list of accolades is extensive. He has been named an MLB All-Star multiple times, won the AL MVP award, and earned numerous Player of the Week and Month honors. His achievements in NPB include the Pacific League MVP and Best Nine awards.

Conclusion
Shohei Ohtani’s career is a testament to his extraordinary talent and versatility. His ability to excel as both a pitcher and hitter is unprecedented in modern baseball. Ohtani continues to break barriers and set new standards, making him one of the most remarkable athletes of his generation.

 
2 多肢選択式問題の作成およびAI音声変換
ChatGPT4oのAI音声読み上げ機能を利用した読み上げ結果は下記の通りである。

  1. 以下では、問題文ごとにAI音声が聞けるようにした。なおChatGPT4oのAI音声読み上げでは選択肢の間にポーズがなく聞き取りにくいが、音声ファイルの編集は手間がかかる作業であるためとりあえず下記ではそのままとした。
  2. SSMLを使えるAI音声合成サービスGoogle-To-Textを利用して、適当に選択肢の間でポーズを持たせたイギリス英語AI音声を参考のために付け加えた。こうした多肢選択式ヒアリング問題の読み上げに関しては、ChatGPT4oとGoogle-To-Textとの間での音声的優劣はないように思われる。Google-To-Textに与えたSSMLのテキストを本ページの最後に参考としてあげておく。
  3. 各問題に対して、関連イラストをChatGPT4oに作成させた。ただしデフォルトのChatGPT4oでは地図のイラストに見られるように各種の間違いがある。しかしここではとりあえずそのままの形とした。
  4. 投手に関しては同一のイラスト画像を左右反転させることで、右投げ投手と左投げ投手のイラストを作成できたが、打者に関してはうまくできなかった。また、ChatGPT4oに様々なプロンプト文で右打者のイラストを描かせようと何回も試みたが、常に右打者しか生成しない。そのため、ここではウィキペディアの中の打者に関する写真をサンプルとして打者のイラスト図を作成させた。

ChatGPT4oのAI音声

Google-To-TextのAI音声

Question 1: What team does Shohei Ohtani currently play on?
A. Los Angeles Dodgers
B. New York Yankees
C. Los Angeles Angels
D. Boston Red Sox

 
 

ChatGPT4oのAI音声

Google-To-TextのAI音声

Question 2: Where is Shohei Ohtani’s hometown?
A. Tokyo
B. Osaka
C. Iwate
D. Fukuoka

 
 

ChatGPT4oのAI音声

Google-To-TextのAI音声

Question 3: What is Shohei Ohtani’s pitching and batting style?
A. Right-handed pitcher, left-handed batter
B. Left-handed pitcher, left-handed batter
C. Right-handed pitcher, right-handed batter
D. Left-handed pitcher, right-handed batter

 
 

ChatGPT4oのAI音声

Google-To-TextのAI音声

Question 4: What type of player is Shohei Ohtani known for being?
A. Two-way player
B. Pitcher
C. Outfielder
D. Infielder

 
 

ChatGPT4oのAI音声

Google-To-TextのAI音声

Question 5: What league does Shohei Ohtani currently play in?
A. NPB (Nippon Professional Baseball)
B. KBO (Korea Baseball Organization)
C. MLB (Major League Baseball)
D. CPBL (Chinese Professional Baseball League)

 
 
 
 


Question 1: What team does Shohei Ohtani currently play on?
A. Los Angeles Dodgers
B. New York Yankees
C. Los Angeles Angels
D. Boston Red Sox


Question 2: Where is Shohei Ohtani’s hometown?
A. Tokyo
B. Osaka
C. Iwate
D. Fukuoka


Question 3:What is Shohei Ohtani’s pitching and batting style?
A. Right-handed pitcher, left-handed batter
B. Left-handed pitcher, left-handed batter
C. Right-handed pitcher, right-handed batter
D. Left-handed pitcher, right-handed batter


Question 4: What type of player is Shohei Ohtani known for being?
A. Two-way player
B. Pitcher
C. Outfielder
D. Infielder


Question 5: What league does Shohei Ohtani currently play in?
A. NPB (Nippon Professional Baseball)
B. KBO (Korea Baseball Organization)
C. MLB (Major League Baseball)
D. CPBL (Chinese Professional Baseball League)

ChatGPT4oの情報バイアス ー ChatGPT4o作成イラストに見るAIの「思い込み」

学習データ(training data)の不十分性=偏りに起因するバイアス

生成AIにおける問題の一つは、生成AIの学習(training)に使用されたデータの質や量の不十分性、データの偏りといった点である。テキスト生成でもそうしたことが問題となるが、画像生成ではさらにそのことが大きな問題になるように思われる。

「ChatGPT4oを利用したイラスト作成-芥川龍之介『羅生門』を題材として」の中で紹介したように、平安時代の主人公のイラストを作成させたところ、筆者のプロンプト文作成能力では思い通りのイラスト図を作成させることができなかった。

「芥川龍之介の『羅生門』という小説の主人公である、若い下人のイラストを作成してください。なお時代は平安時代であることを踏まえた衣装にしてください。」というプロンプト文に対するChatGPT4o作成のイラスト図をいくつか作成させた結果は、下記のようなものである。


上記イラストに関するChatGPT4oによる説明文「Here’s the illustration of the young servant from Ryunosuke Akutagawa’s novel “Rashomon,” set in the Heian period. The character is depicted with traditional Heian clothing and the iconic Rashomon gate in the background, capturing the dark and atmospheric tone of the story.」(なぜか英語での説明文となっている。)


ChatGPT4oによる説明文「こちらが芥川龍之介の『羅生門』の主人公である若い下人のイラストです。平安時代の衣装を着ており、物語の暗く絶望的なトーンを反映した表情をしています。背景には平安時代の建築物の要素も含まれています。」(繰り返し作成させたところ、今度は日本語での説明文となった。)



ChatGPT4oによる説明文「Here is the illustration of the young servant from Ryunosuke Akutagawa’s novel “Rashomon,” dressed in Heian period attire. The setting is dark and ominous, reflecting the grim atmosphere of the story. The young servant appears wary and thoughtful, standing in front of the Rashomon gate with a somber expression. The stormy clouds in the background enhance the overall sense of despair and uncertainty.」(さらに繰り返し作成させたところ、今度はまた英語での説明文となった。)

 このように、時代設定を平安時代としているにも関わらず上記のように時代的に合わないイラストが作成されてしまう。

そのようになる理由は、服装に関するChatGPT4oの学習データの中に平安時代の衣装が含まれてはいないことが一因であると推定される。そしてそのことによって、昔の日本人男性が着る和服は羽織・袴スタイルであるという「バイアス」が形成されてしまっているためではないかと考えられる。

 
著作権問題対応(?)に起因するバイアス補正の困難性

 上述のバイアスの存在に対応するために、ChatGPTに対する追加的指示として、平安時代の衣装に関する情報を与えることによって、意図したイラストを作成させようとしたが、簡単には成功できなかった。API利用では可能なのかもしれないが、WEB経由でのオープンな対話的利用ではバイアスへの対応が必ずしもうまくできないと思われる。

バイアス補正のために、ChatGPTに与えた追加のプロンプト文は下記のようなものである。

平安時代の庶民の衣装は、下記WEBにあるような水干(すいかん)であった、と言われている。

風俗博物館「附つけものをつけた水干を着ている放免」日本服飾史home>衣装一覧>平安時代
https://costume.iz2.or.jp/costume/527.html
日本語版ウィキペディア「水干」
https://ja.wikipedia.org/wiki/水干

[写真の出典]日本語版ウィキペディア「水干」にある、投稿者Corpse Reviver氏の画像を基に、そのバックを切り取った写真

平安時代の庶民の衣装に関する上記WEBページの記載を踏まえたイラストにしてください。

上記の指示に従って作成されたイラスト図は下記の通りである。

ChatGPT4oが描くイラスト図は江戸時代の武士風であり、プロンプト文で指定した平安時代の庶民の服装とは似ても似つかない。上記に挙げた日本語版ウィキペディア「水干」にある、投稿者Corpse Reviver氏の画像を修正した写真をもとに修正するように指示しても結果は下記の通りであり、変わっていない。

このようになる理由は、ChatGPT4oのバイアスということだけでは説明がつかない。上記のように基にすべき写真を明示的に与えているにも関わらず、それとはまったく異なる形の服装になる理由は、ChatGPT4oの機能的限界や描画性能の低さを示すというよりは、「著作権問題に配慮し、アップした画像データを基にした画像生成をWEB経由でのオープンな対話的利用ではさせないような設計になっている」ことを示すものとも推定される。
 すなわち元画像とはあえて異なるイラスト図を作成するように設計されているのではないかと思われる。

このことは日本語版ウィキペディア「水干」の中の写真を加工した上記画像をChatGPT4oにアップした上で「水彩画風にしてください」というプロンプト文を与えたにも関わらず、下記のように服装だけでなく、髪型も平安時代とはまったく異なるイラスト図を生成してきたことにも示されている。

なおさらにまた「ChatGPT4oを利用したイラスト作成-芥川龍之介『羅生門』を題材として」の中で紹介した市女笠の説明に関するChatGPT4oの回答に続けて、「市女笠をかぶった平安時代の女性のイラスト図を作成してください。」という追加プロンプト文を与えた結果は下記の通りである。

 上記のイラスト図に対してChatGPT4oは、「こちらが市女笠をかぶった平安時代の女性のイラストです。彼女は優美な着物を着ており、古典的な日本庭園を背景にしています。このイラストが『羅生門』の世界観を視覚的に捉える助けとなれば幸いです。」という説明文を付しているが、まったく的外れである。
 まず第一に、笠はChatGPT4oが最初に作成したイラスト図とは異なり、現代の傘に近い形になっている。次に、市女笠をかぶっている女性は、幅が広い帯をし、派手な簪を付けて髪を結っているなど、どう見ても平安時代の女性の姿・形ではない。(なお、幅が広い帯の着用は江戸時代以降と言われている。)
 これもChatGPT4oの情報バイアスを示すものである。

なお上記のイラスト図に対して、「上記のイラスト図は現代の舞妓さんのようなイラスト図です。また市女笠は最初の説明にあったイラスト図とはまったく異なるものです。訂正してください。」というプロンプト文を与えたが、やはり不適切なままである。

ChatGPT4oを利用したイラスト作成(1)-芥川龍之介『羅生門』を題材として

ChatGPT4oは、テキストだけでなく、イラストなどの静止画像も同時に生成できるようになっている。(2024年5月16日16時現在ではOpenAIのサーバーの不調のためか、AI音声読み上げ機能が利用できない。ChatGPT4oの特長の一つである、人間によるものとの区別ができないほど自然なAI音声読み上げについては後日、紹介する。)

例えば、下記のように、芥川龍之介の5作目の短編小説『羅生門』(初出:『帝国文学』1915年11月号、エンディング改稿:『新興文芸叢書第八編 鼻』春陽堂、1918年)に関して、そこに登場する各種の事物に関してイラスト付き解説作成をさせることもできる。

  1. 「芥川龍之介の『羅生門』という小説に登場する羅生門とはどのようなものか教えてください。また羅生門のイラストを作成してください。」というプロンプト文を与えると、下記のような回答が返ってきた。
    芥川龍之介の短編小説『羅生門』は、平安時代の京都を舞台にした物語です。この物語の舞台となる羅生門は、実際に存在した京都の羅城門(羅城門とも書かれる)をモデルにしています。羅城門は、平安京(現在の京都市)の南端に位置し、都の正門として重要な役割を果たしていました。

    物語の中で描かれる羅生門は、荒廃し、崩れかけた状態にあります。天災や戦乱の影響で荒れ果て、人々に見捨てられた場所として描かれています。門の上には死体が放置され、夜になると鬼や盗賊が現れるという噂も立っていました。主人公の下人が羅生門の下で雨宿りをし、その後、門の上で老婆と出会う場面が物語のクライマックスとなります。

    羅生門のイラストについては、以下のように描写できます。

    – 古びた木材や石で作られた大きな門
    – 崩れかけていて、一部が壊れている
    – 雨が降りしきる中、暗く陰鬱な雰囲気
    – 門の上には荒れた屋根があり、その上には古びた藁や瓦が散らばっている
    – 門の周囲には雑草が生い茂り、放置された感じが強調されている
    – 人々が避けるような不気味な雰囲気

    これを基に、イラストを作成します。

    こちらが芥川龍之介の短編小説『羅生門』に登場する羅生門のイラストです。このイラストは、荒廃し、崩れかけた状態の羅生門を描いています。暗く陰鬱な雰囲気で、雨が降りしきる中、放置された不気味な感じが強調されています。

     

    なお上記のように最初に生成されたイラストがモノクロであったので、「上記の羅生門のイラストを、モノクロではなく、カラーにしてください。」というプロンプト文で新たなイラスト図を生成させた結果を下記に二つ紹介する。ChatGPToが「こちらがカラーで描かれた羅生門のイラストです。色彩が追加され、暗く陰鬱な雰囲気がより一層強調されています。荒廃した木材や石、古びた藁や瓦、そして茂った雑草が描かれています。」と記している通り、カラー・イラストの方がより雰囲気が出ている。

    1回目のカラー・イラスト図

    2回目のカラー・イラスト図

    なお「「羅生門は崩れかけていて、一部が壊れている」点、および、「羅生門の上には荒れた屋根があり、その上には古びた藁や瓦が散らばっている」点がもっとはっきりとわかるようなカラーのイラストにしてください。」というように、描写に関するより詳細な追加注文をした方が下記のようにより適切なイラストとなる。

    3回目のカラー・イラスト図

    なお羅生門のモデルとなった羅城門は横幅が9間、すなわち、約16mとかなり横長で2階建ての建物であった。京都駅にある羅城門の復元模型は下記の通りである。

    [図の出典]日本語版ウィキペディア「羅城門」所収の京都駅の復元模型の写真をもとに、背景を切り取った。
    https://ja.wikipedia.org/wiki/羅城門

    この復元模型を参考として、先のイラスト図を修正するようにするプロンプト文を与えた結果は下記の通りである。「円柱が横並びで8本になるようにしてください。」とか、「横幅は9間、すなわち、約16mと、かなり横長の建物です。」といった指示を与えたが残念ながらそうした指示通りのイラスト図には生成されなかった。円柱は6本であるが、先の図よりは横長の建物にはなった。

     

  2. 「芥川龍之介の『羅生門』という小説の主人公である、若い下人のイラストを作成してください。」というプロンプト文を与えると、下記のようなイラストが作成されてきた。

    芥川龍之介『羅生門』の中で、主人公の下人は、「右の頬に大きなニキビがある」とか、山吹色の「汗袗」(かざみ。汗で衣類がべとつかないようにしたり、汗が衣類にじむのを防止するために用いた肌着)の上に、「洗いざらした紺の襖」(襖は「あお」と呼び、平安時代の庶民が来ていた上着)を着ていた、と記載されている。そのため、下記の注に挙げたWEBページを参照して、着物を修正するように指示したが、その通りに修正したイラストを作成させることはできなかった。
     そのようになった理由の一つは、ChatGPT4oの学習(training)データが日本の江戸時代の和服を基本としたものであり、平安時代の衣装に関する学習をしていないことによるものであると思われる。
     さらにまたこのことはChatGPT4oの性能の低さを示すというよりは、「著作権問題に配慮し、アップした画像データを基にした画像生成をWEB経由でのオープンな対話的利用ではさせないような設計になっている」ことを示すものとも推定される。

    <注>襖という上着は、下記WEBにあるような水干(すいかん)と類似の物であった、と言われている。

    風俗博物館「附つけものをつけた水干を着ている放免」日本服飾史home>衣装一覧>平安時代
    https://costume.iz2.or.jp/costume/527.html
    日本語版ウィキペディア「水干」
    https://ja.wikipedia.org/wiki/水干

    [写真の出典]日本語版ウィキペディア「水干」にある、投稿者Corpse Reviver氏の画像を基に、そのバックを切り取った写真
     

  3. 「芥川龍之介の『羅生門』という小説に登場する市女笠とはどのようなものか教えてください。また市女笠のイラストを作成してください。」というプロンプト文を与えると、下記のような回答が返ってきた。
    市女笠(いちめがさ)は、平安時代から江戸時代にかけて、特に女性が使用した日本の伝統的な帽子です。形状は広い円形で、縁が下に垂れています。主に竹や葦で編まれ、布で覆われることが多かったです。この帽子は、雨や日差しから顔を守るために使用されました。

    『羅生門』に登場する市女笠は、物語の時代背景と合わせて、古風で実用的なデザインとなっているでしょう。以下のイラストで市女笠のイメージを具体化します。

    まずはイラストを作成します。

    こちらが市女笠のイラストです。芥川龍之介の『羅生門』に登場する市女笠は、平安時代の雰囲気を持つ伝統的なデザインが特徴です。このイラストが、物語の中で描かれている市女笠のイメージを具体化する一助となれば幸いです。

    なお残念ながら、ChatGPT4oが作成した上記の市女笠のイラスト図は、平安時代の市女笠とはかなり異なっている。別ページでも紹介したが、平安時代の市女笠は「周縁部が大きく深く,肩,背をおおうほどであった」とされている。また市女笠の中央部の突起は、上記のイラストのような布製の半円球型の帽子形状ではなく、菅(スゲ)製の円柱型であった。

生成AIを利用した「日本語テキストの英語化」(その2)


生成AIを利用した「日本語テキストの英語テキスト化」に関して、生成AIに関するピーターパンとアラレちゃんとの仮想的対話の日本語テキストを例にとり、具体的に説明する。
ここでは下記のような2段階で英語テキスト化をおこなうことで、より適切な英語テキストを生成することを試みた。

  1. DeepL翻訳(https://www.deepl.com/ja/translator)を利用して、日本語テキストの英訳をさせる。
  2. DeepL翻訳(https://www.deepl.com/ja/translator)による英訳文章に関して、生成AIにチェックさせる。

なお回答例は下記の通りである。

 
生成AIに与えたプロンプト文
下記の日本語原文の英語訳に関して、文法や読みやすさなどの文章チェックをし、訂正箇所および詳しい訂正理由を教えてください。
(英語での回答となった場合には、「下記の日本語原文の英語訳に関して、文法や読みやすさなどの文章チェックをし、訂正箇所および詳しい訂正理由を日本語で教えてください。」に変更した。)

#日本語原文
ピーターパンとアラレちゃんのAIについての討論

ピーターパン: アラレちゃん、AIって知ってる?
アラレ: うん、知ってるよ!AIって人工知能のことだよね!ドクタースランプのセンベエさんが作った私みたいなものかな?
ピーターパン: そうだね。でも、AIは君みたいに動くロボットだけじゃなくて、話すこともできるんだよ。
アラレ: へえ、それは面白いね!AIはどんなことを話すの?
ピーターパン: いろいろだよ。人間の言葉を学んで、人間と同じように会話ができるんだ。でも、AIはプログラムされた情報に基づいて話すから、本当の感情はないんだって。
アラレ: そうなんだ。でも、私もプログラムされてるけど、楽しいことや面白いことがいっぱいあるよ!
ピーターパン: 確かにね。でも、AIが人間の作家やアーティストの仕事をすることについて、どう思う?
アラレ: うーん、AIが絵を描いたり、物語を書いたりするのはすごいと思うけど、やっぱり人間のアーティストが持っている心が入っていないと、何か違うかもしれないね。
ピーターパン: そうだね。AIはとても賢いけど、人間のように感情を持つことはできないから、作品に心がこもっているかどうかは、大きな問題だね。
アラレ: でも、AIが人間と協力して、もっと素敵なものを作れたらいいなと思うよ!
ピーターパン: その考えは素晴らしいね!AIと人間が一緒に働くことで、新しい可能性が広がるかもしれないね。
アラレ: そうだね!私たちも協力して、楽しい冒険をたくさんしようね!
アラレ: そうだね!私たちも協力して、楽しい冒険をたくさんしようね!

この対話では、ピーターパンとアラレちゃんがAIの能力と限界について友好的に討論しています。彼らはAIが人間のクリエイティブな仕事をどのように補助または置き換える可能性があるかについて意見を交わし、最終的にはAIと人間が協力することの重要性を認識しています。

#英語訳
Peter Pan and Arale-chan discuss AI

Peter Pan: Arale-chan, do you know what AI is?
Arale: Yes, I know! AI is artificial intelligence! Is it like me, created by Senbei from Dr Slump?
Peter Pan: Yes, that’s right. But AI is not only moving robots like you, it can also talk.
Arale: Wow, that’s interesting!
Peter Pan: All sorts of things. It can learn human language and talk like a human. But AI speaks based on programmed information, so it doesn’t really have feelings.
Arale: I see. But I’m programmed too, but I have lots of fun and interesting things to do!
Peter Pan: Indeed. But what do you think about AI doing the work of human writers and artists?
Arale: Hmmm, I think it’s great that an AI can draw pictures and write stories, but it might be something different if it doesn’t have the heart and soul of a human artist in it.
Peter Pan: Yes, AI is very smart, but it can’t have emotions like humans can, so whether or not its work has heart is a big question.
Arale: But it would be nice if AI could work with humans to create something more beautiful!
Peter Pan: That’s a great idea, and it could open up new possibilities for AI and humans working together.
Arale: Yes, that’s right! Let’s work together and have lots of fun adventures!

In this dialogue, Peter Pan and Araleh have a friendly debate about the capabilities and limitations of AI. They exchange views on how AI could potentially assist or replace human creative work and ultimately recognise the importance of AI and humans working together.

2024/5/22追加:ChatGPT4oに作成させた、上記文章に関するイラスト図

 
生成AIによる回答例

下記の回答例のように、ChatGPT4oによる回答は残念ながらそれほど優れたものではない。また下記では省略したが、回答の中でプロンプト文を繰り返し表示する形になっていることや、デフォルトでは英語の解説になっている点でもあまり適切ではない。
 なお回答テキストのAI音声読み上げの結果は、以前もそうであったが、ChatGPT4oでも下記音声ファイルにあるようにかなり自然な日本語である。(ただし残念ながら、読み上げは途中でエラー終了したため、音声は部分的である。)

訂正箇所と理由

  1. Arale’s response:
    Original: “Wow, that’s interesting!”
    Correction: “Wow, that’s interesting! What kinds of things can AI talk about?”
    Reason: This line needs more context to flow logically with the next line from Peter Pan.

  2. Peter Pan’s explanation about AI:
    Original: “All sorts of things. It can learn human language and talk like a human. But AI speaks based on programmed information, so it doesn’t really have feelings.”
    Correction: “It can talk about all sorts of things. It can learn human languages and communicate like a human. However, AI speaks based on programmed information, so it doesn’t truly have feelings.”
    Reason: Improved clarity and readability.

  3. General readability improvements:
    Original: “But what do you think about AI doing the work of human writers and artists?”
    Correction: “What do you think about AI taking on the work of human writers and artists?”
    Reason: “Taking on” is a more natural phrasing than “doing the work of.”

  4. Arale’s response about AI and creativity:
    Original: “Hmmm, I think it’s great that an AI can draw pictures and write stories, but it might be something different if it doesn’t have the heart and soul of a human artist in it.”
    Correction: “Hmmm, I think it’s amazing that AI can draw pictures and write stories. But it might feel different if it doesn’t have the heart and soul of a human artist.”
    Reason: Improved sentence structure for readability.

  5. Peter Pan’s agreement:
    Original: “Yes, AI is very smart, but it can’t have emotions like humans can, so whether or not its work has heart is a big question.”
    Correction: “Yes, AI is very smart, but it can’t have emotions like humans. So, whether its work has heart is a big question.”
    Reason: Simplified and made more concise for readability.

  6. Closing remarks:
    Original: “Peter Pan and Araleh have a friendly debate…”
    Correction: “Peter Pan and Arale-chan have a friendly debate…”
    Reason: Corrected typo from “Araleh” to “Arale-chan” for consistency with character’s name.

With these changes, the dialogue flows more naturally and maintains clarity while accurately conveying the original meaning.

 

Perplexity AIは、デフォルトでは上記のように英語での回答となったので、「日本語で」という語句を付け加えた。それによる回答は以下の通りである。

与えたプロンプト文を繰り返していないし、説明もわかりやすいなど、上記の英語の回答よりも、この日本語での回答の方が優れている。
 またAI読み上げ機能にバグがあるためか、読み上げはナレーション部分の途中からであるが、同一の外国人が日本語部分と英語部分を非常にナチュラルな感じで発音している音声読み上げとなっている。

訂正箇所および理由
タイトル
日本語原文:
ピーターパンとアラレちゃんのAIについての討論

英語訳:
Peter Pan and Arale-chan discuss AI

訂正理由:
文法的には問題ありませんが、「討論」は「ディスカッション」や「ディベート」に訳せます。文脈的に「ディスカッション」の方が適しているため、以下のように訂正します。

訂正版:
Peter Pan and Arale-chan’s Discussion about AI

 
ピーターパンのセリフ
日本語原文:
ピーターパン: アラレちゃん、AIって知ってる?

英語訳:
Peter Pan: Arale-chan, do you know what AI is?

訂正理由:
文法的には問題ありませんが、「AI」だけでなく「artificial intelligence」と補足している方が読者に親切です。

訂正版:
Peter Pan: Arale-chan, do you know what artificial intelligence, or AI, is?

 
アラレのセリフ
日本語原文:
アラレ: うん、知ってるよ!AIって人工知能のことだよね!ドクタースランプのセンベエさんが作った私みたいなものかな?

英語訳:
Arale: Yes, I know! AI is artificial intelligence! Is it like me, created by Senbei from Dr Slump?

訂正理由:
「ドクタースランプ」は原題であるため、「Dr. Slump」と表記します。また、センベエさんのフルネームである「Senbei Norimaki」とすると、より明確です。

訂正版:
Arale: Yes, I know! AI is artificial intelligence! Is it like me, created by Senbei Norimaki from Dr. Slump?

ピーターパンのセリフ
日本語原文:
ピーターパン: そうだね。でも、AIは君みたいに動くロボットだけじゃなくて、話すこともできるんだよ。

英語訳:
Peter Pan: Yes, that’s right. But AI is not only moving robots like you, it can also talk.

訂正理由:
「動くロボット」だけではなく、「会話できる」という点を強調するため、接続詞を改善します。

訂正版:
Peter Pan: Yes, that’s right. But AI is not just moving robots like you; it can also talk.

アラレのセリフ
日本語原文:
アラレ: へえ、それは面白いね!AIはどんなことを話すの?

英語訳:
Arale: Wow, that’s interesting!

訂正理由:
「AIはどんなことを話すの?」の部分が抜けています。

訂正版:
Arale: Wow, that’s interesting! What kind of things can AI talk about?

ピーターパンのセリフ
日本語原文:
ピーターパン: いろいろだよ。人間の言葉を学んで、人間と同じように会話ができるんだ。でも、AIはプログラムされた情報に基づいて話すから、本当の感情はないんだって。

英語訳:
Peter Pan: All sorts of things. It can learn human language and talk like a human. But AI speaks based on programmed information, so it doesn’t really have feelings.

訂正理由:
「いろいろだよ」を「All sorts of things」と訳すのはやや曖昧です。「様々な話題」を使うことでより具体的にします。

訂正版:
Peter Pan: Various topics. It can learn human language and talk like a human. But AI speaks based on programmed information, so it doesn’t really have feelings.

アラレのセリフ
日本語原文:
アラレ: そうなんだ。でも、私もプログラムされてるけど、楽しいことや面白いことがいっぱいあるよ!

英語訳:
Arale: I see. But I’m programmed too, but I have lots of fun and interesting things to do!

訂正理由:
「でも」と「けど」の使い方が少し不自然です。

訂正版:
Arale: I see. But even though I’m programmed, I have lots of fun and interesting things to do!

ピーターパンのセリフ
日本語原文:
ピーターパン: 確かにね。でも、AIが人間の作家やアーティストの仕事をすることについて、どう思う?

英語訳:
Peter Pan: Indeed. But what do you think about AI doing the work of human writers and artists?

訂正理由:
文法的には問題ありませんが、「Indeed」は少し堅苦しいため、「That’s true」を使用します。

訂正版:
Peter Pan: That’s true. But what do you think about AI doing the work of human writers and artists?

アラレのセリフ
日本語原文:
アラレ: うーん、AIが絵を描いたり、物語を書いたりするのはすごいと思うけど、やっぱり人間のアーティストが持っている心が入っていないと、何か違うかもしれないね。

英語訳:
Arale: Hmmm, I think it’s great that an AI can draw pictures and write stories, but it might be something different if it doesn’t have the heart and soul of a human artist in it.

訂正理由:
「心が入っていないと」の部分をより自然に訳すために改善します。

訂正版:
Arale: Hmmm, I think it’s great that AI can draw pictures and write stories, but it might be different if it doesn’t have the heart and soul of a human artist.

ピーターパンのセリフ
日本語原文:
ピーターパン: そうだね。AIはとても賢いけど、人間のように感情を持つことはできないから、作品に心がこもっているかどうかは、大きな問題だね。

英語訳:
Peter Pan: Yes, AI is very smart, but it can’t have emotions like humans can, so whether or not its work has heart is a big question.

訂正理由:
「作品に心がこもっているかどうか」をもう少し自然に表現します。

訂正版:
Peter Pan: Yes, AI is very smart, but it can’t have emotions like humans do, so whether its work has heart and soul is a big question.

アラレのセリフ
日本語原文:
アラレ: でも、AIが人間と協力して、もっと素敵なものを作れたらいいなと思うよ!

英語訳:
Arale: But it would be nice if AI could work with humans to create something more beautiful!

訂正理由:
文法的には問題ありませんが、「more beautiful」ではなく「even more wonderful」を使用すると、ニュアンスがより適切です。

訂正版:
Arale: But it would be nice if AI could work with humans to create something even more wonderful!

ピーターパンのセリフ
日本語原文:
ピーターパン: その考えは素晴らしいね!AIと人間が一緒に働くことで、新しい可能性が広がるかもしれないね。

英語訳:
Peter Pan: That’s a great idea, and it could open up new possibilities for AI and humans working together.

訂正理由:
文法的には問題ありませんが、「working together」を「collaborating」に変更して、文を簡潔にします。

訂正版:
Peter Pan: That’s a great idea! It could open up new possibilities for AI and humans collaborating.

アラレのセリフ
日本語原文:
アラレ: そうだね!私たちも協力して、楽しい冒険をたくさんしようね!

英語訳:
Arale: Yes, that’s right! Let’s work together and have lots of fun adventures!

訂正理由:
文法的には問題ありませんが、「work together」を「team up」に変更して、自然な会話にします。

訂正版:
Arale: Yes, that’s right! Let’s team up and have lots of fun adventures!

ナレーション部分
日本語原文:
この対話では、ピーターパンとアラレちゃんがAIの能力と限界について友好的に討論しています。彼らはAIが人間のクリエイティブな仕事をどのように補助または置き換える可能性があるかについて意見を交わし、最終的にはAIと人間が協力することの重要性を認識しています。

英語訳:
In this dialogue, Peter Pan and Araleh have a friendly debate about the capabilities and limitations of AI. They exchange views on how AI could potentially assist or replace human creative work and ultimately recognise the importance of AI and humans working together.

訂正理由:
「Araleh」ではなく「Arale」と修正し、文全体をより読みやすく改善します。

訂正版:
In this dialogue, Peter Pan and Arale have a friendly discussion about the capabilities and limitations of AI. They exchange views on how AI could potentially assist or replace human creative work, and ultimately recognize the importance of AI and humans collaborating.

 

英語訳の文章チェックを行いました。以下に訂正箇所とその理由を日本語で説明します。

  1. Arale: Wow, that’s interesting!
    – 訂正: Wow, that’s interesting!What kinds of things can it talk about?
    – 理由: アラレちゃんが「AIはどんなことを話すの?」と質問しているので、英訳でもその質問を反映させる必要があります。
  2. Peter Pan: All sorts of things.
    – 訂正:It can discuss a variety of topics.
    – 理由: 「いろいろだよ」という表現は少し曖昧なので、「様々なトピックについて話すことができる」と具体的にすると良いでしょう。
  3. Arale: I see. But I’m programmed too, but I have lots of fun and interesting things to do!
    – 訂正:I see. I’m programmed too, yet I find many things fun and interesting!
    – 理由: 「でも」を二回繰り返しているので、一度にして文章をスムーズにします。
  4. Arale: Hmmm, I think it’s great that an AI can draw pictures and write stories, but it might be something different if it doesn’t have the heart and soul of a human artist in it.
    – 訂正:Hmm, I think it’s impressive that AI can draw and write stories, but without a human artist’s heart and soul, it might not feel the same.
    – 理由: 「すごいと思うけど」を「impressive」と表現することで、より自然な英語になります。また、「何か違うかもしれないね」を「it might not feel the same」と表現することで、意味がより明確になります。
  5. Peter Pan: That’s a great idea, and it could open up new possibilities for AI and humans working together.
    – 訂正:That’s an excellent idea, which could lead to new possibilities for collaboration between AI and humans.
    – 理由: 「素晴らしいね」という肯定的な感情を「excellent」という言葉で強調し、「新しい可能性が広がるかもしれないね」という部分を「collaboration between AI and humans」と具体化しています。
  6. In this dialogue, Peter Pan and Araleh have a friendly debate about the capabilities and limitations of AI.
    – 訂正:In this dialogue, Peter Pan and Arale-chan engage in a friendly debate about AI’s capabilities and limitations.
    – 理由: アラレちゃんの名前の綴りを原文に合わせて「Arale-chan」とし、「AIの能力と限界について」という表現を「AI’s capabilities and limitations」と直接的に表現しています。
 

以上の訂正を行うことで、原文の意味をより正確に反映し、自然な英語になると考えられます。また、読みやすさも向上します。

 

Perplexity AIは、下記のように、参考資料として、毎日新聞の記事(参考資料1)や英語の単行本(参考資料2)など興味深い資料を提示してくれる点で優れている。

The English translation provided for the Japanese text is generally accurate and captures the essence of the conversation between Peter Pan and Arale-chan about AI. However, there are a few areas where improvements can be made to enhance clarity, grammatical correctness, and readability. Below are the suggested corrections along with explanations for each:

Corrections and Explanations

1.Original: “Peter Pan: Arale-chan, do you know what AI is?”
Correction: No change needed.
Explanation: The sentence is clear and grammatically correct.

2.Original: “Arale: Yes, I know! AI is artificial intelligence! Is it like me, created by Senbei from Dr Slump?”
Correction: “Yes, I know! AI stands for artificial intelligence. Is it something like me, created by Dr. Senbei in ‘Dr. Slump’?”
Explanation: Added “stands for” to clarify the abbreviation AI. Included “Dr.” before Senbei for respect and specificity, and added quotation marks around ‘Dr. Slump’ to clarify it is a title.

3.Original: “Peter Pan: Yes, that’s right. But AI is not only moving robots like you, it can also talk.”
Correction: “Yes, that’s right. But AI isn’t just about robots like you who move; it can also talk.”
Explanation: Improved the sentence structure for better readability and clarity.

4.Original: “Arale: Wow, that’s interesting!”
Correction: No change needed.
Explanation: The expression is appropriate and conveys excitement effectively.

5.Original: “Peter Pan: All sorts of things. It can learn human language and talk like a human. But AI speaks based on programmed information, so it doesn’t really have feelings.”
Correction: “It learns human languages and can converse like us. However, it speaks based on programmed information, so it doesn’t truly have feelings.”
Explanation: Clarified that AI learns multiple languages and improved the flow of the explanation about AI’s lack of feelings.

6.Original: “Arale: I see. But I’m programmed too, but I have lots of fun and interesting things to do!”
Correction: “I see. I’m programmed too, yet I find many things fun and interesting!”
Explanation: Removed the repetitive ‘but’ and streamlined the sentence for better readability.

7.Original: “Peter Pan: Indeed. But what do you think about AI doing the work of human writers and artists?”
Correction: “Indeed. What are your thoughts on AI performing tasks typically done by human writers and artists?”
Explanation: Refined the question to make it more formal and clear.

8.Original: “Arale: Hmmm, I think it’s great that an AI can draw pictures and write stories, but it might be something different if it doesn’t have the heart and soul of a human artist in it.”
Correction: “Hmm, it’s impressive that AI can draw and write stories, but it might lack something essential without a human artist’s heart and soul.”
Explanation: Improved conciseness and clarity while maintaining the original sentiment.

9.Original: “Peter Pan: Yes, AI is very smart, but it can’t have emotions like humans can, so whether or not its work has heart is a big question.”
Correction: “Yes, AI is highly intelligent, but it cannot feel emotions like humans, which raises questions about the soulfulness of its work.”
Explanation: Enhanced the sentence structure and terminology for a more polished tone.

10.Original: “Arale: But it would be nice if AI could work with humans to create something more beautiful!”
Correction: “However, it would be wonderful if AI could collaborate with humans to create even more beautiful things!”
Explanation: Used “collaborate” to emphasize cooperative work and adjusted the sentence for a more optimistic tone.

11.Original: “Peter Pan: That’s a great idea, and it could open up new possibilities for AI and humans working together.”
Correction: No change needed.
Explanation: The sentence is well-constructed and effectively conveys the potential benefits of collaboration.

12.Original: “Arale: Yes, that’s right! Let’s work together and have lots of fun adventures!”
Correction: No change needed.
Explanation: The enthusiastic tone is appropriate for the character and the context.

These corrections aim to refine the translation to ensure it is not only accurate but also engaging and easy to read, enhancing the overall quality of the text.

Citations:
[1] Kanehara, M.(2014) “Japan prof. probes strengths, weaknesses of rapidly evolving AI translation: interview” March 18, 2024 (Mainichi Japan)
https://mainichi.jp/english/articles/20240315/p2a/00m/0et/034000c
[2] Pellitteri, M. (2011) The Dragon and the Dazzle: Models, Strategies, and Identities of Japanese Imagination — A European Perspective,Tunué S.r.l.
https://www.academia.edu/34813324/The_Dragon_and_the_Dazzle_Models_Strategies_and_Identities_of_Japanese_Imagination_A_European_Perspective
[3] ”[Discussion] Translation of Japanese to English using GPT. These are my discoveries after ~100 hours of extensive experimentation and ways I think it can be improved.”
https://www.reddit.com/r/MachineLearning/comments/12pqqg6/discussion_translation_of_japanese_to_english/
[4] https://www.animenewsnetwork.com/encyclopedia/people.php?id=928
[5] https://translate.google.co.jp/?hl=en&sl=ko&tl=ja
[6] https://en.wikipedia.org/wiki/Akira_Kamiya
[7] https://www.animenewsnetwork.com/encyclopedia/anime.php?id=3636
[8] https://www.deezer.com/us/show/3180882
[9] https://doshisha.repo.nii.ac.jp/record/28173/files/zk1148.pdf
[10] https://romalt.skoleporten.dk/sp/250002/iframe?address=http%3A%2F%2Fxn--b1ashbcgs3f.xn--p1ai%2F153876229fe43z
[11] https://dragonball.fandom.com/wiki/Akira_Toriyama
[12] https://storymaps.library.villanova.edu/GEV4320-Spring2020/map.php?path=http%3A%2F%2Fxn—78-5cd3cgu2f.xn--p1ai%2FzNBIPS4fe43v

 

Perplexity AIは、デフォルトでは上記のように英語での回答となったので、「日本語で」という語句を付け加えた。それによる回答は以下の通りである。

訂正箇所と理由
  1. タイトルの訂正

    • 原文: Peter Pan and Arale-chan discuss AI
    • 訂正後: Peter Pan and Arale-chan Discuss AI
    • 理由: 英語のタイトルでは、主要な単語の最初の文字を大文字にするのが一般的です。
  2.  
  3. 不自然な表現の訂正

    • 原文: Is it like me, created by Senbei from Dr Slump?
    • 訂正後: Am I like that, created by Senbei from Dr. Slump?
    • 理由: 「それは私のように、ドクタースランプのセンベエさんによって作られたものですか?」というニュアンスを明確にするために、主語を「それ」から「私」に変更し、「Dr. Slump」に「Dr.」を追加してタイトルを正確に表記します。
  4.  
  5. 誤解を招く可能性のある表現の訂正

    • 原文: But AI is not only moving robots like you, it can also talk.
    • 訂正後: However, AI isn't just about robots like you that move; it can also talk.
    • 理由: 「しかし、AIは動くロボットだけではなく、話すこともできる」という意味をより明確に伝えるために、「not only」の構造を「isn't just about」に変更し、より自然な英語表現にします。
  6.  
  7. 不自然な接続詞の使用の訂正

    • 原文: But AI speaks based on programmed information, so it doesn’t really have feelings.
    • 訂正後: AI speaks based on programmed information, which means it doesn't actually have feelings.
    • 理由: 「AIはプログラムされた情報に基づいて話すので、本当の感情はない」という流れを自然にするために、「so」を「which means」に変更し、原因と結果の関係をより明確にします。
  8.  
  9. 矛盾する表現の訂正

    • 原文: But I’m programmed too, but I have lots of fun and interesting things to do!
    • 訂正後: I'm programmed too, yet I find many things fun and interesting!
    • 理由: 二つの「but」が連続しているのを避け、「しかし、私もプログラムされているけれど、楽しいことや面白いことがたくさんある」という意味で「yet」を使用して対比を表現します。
  10.  
  11. 誤った単語の使用の訂正

    • 原文: Peter Pan and Araleh have a friendly debate about the capabilities and limitations of AI.
    • 訂正後: Peter Pan and Arale-chan have a friendly debate about the capabilities and limitations of AI.
    • 理由: キャラクターの名前「アラレちゃん」が誤って「Araleh」と記述されていたため、正しい名前に訂正します。

これらの訂正を行うことで、文の自然さと正確さが向上し、英語としての読みやすさが改善されます。

 

Citations:
[1] https://readabilityformulas.com/how-to-improve-the-readability-of-anything-you-write/
[2] https://www.wordtune.com/blog/increase-readability
[3] https://quillbot.com/grammar-check
[4] https://www.grammarcheck.net/editor/
[5] https://www.scribbr.com/grammar-checker/
[6] https://www.grammarly.com/grammar-check
[7] https://www.aje.com/grammar-check/
[8] https://www.grammarcheck.net
[9] https://www.verblio.com/blog/flesch-reading-ease
[10] https://codeless.io/grammarly-review/grammarly-readability-score/
[11] https://www.grammarly.com/blog/readability-scores/
[12] https://www.jef.or.jp/journal/pdf/208th_Viewpoint_01.pdf
[13] https://www.languagewire.com/en/blog/improve-readability-6-simple-tips-for-better-writing
[14] https://paperpal.com/blog/researcher-resources/research-advice/language-in-research-paper
[15] https://readable.com/blog/5-steps-to-improving-readability/
[16] https://languagetool.org
[17] https://students.unimelb.edu.au/academic-skills/resources/reading,-writing-and-referencing/essays/writing-a-great-essay
[18] https://www.theteflacademy.com/blog/common-mistakes-for-japanese-learners-of-english/
[19] https://www.hunter.cuny.edu/rwc/handouts/the-writing-process-1/invention/Writing-a-Critique
[20] https://you2.jp/enblog/2021/07/06/common-mistakes-that-japanese-students-make-when-writing-in-english/

 

英語訳の文法・読みやすさチェックと修正案

全体的な印象

– 英語訳は全体的に自然で読みやすい文章になっています。
– 原文の意味を忠実に表現しており、文法的な誤りもありません。
– ただし、いくつか改善できる箇所があります。
 
具体的な修正案

  1. 最初の会話
    Peter Pan: Arale-chan, do you know what AI is?
    修正案: Arale-chan, have you heard of AI?
    理由: “do you know” はややフォーマルな表現なので、より自然な “have you heard of” に修正しました。

  2. AIの説明
    Peter Pan: Yes, that’s right. But AI is not only moving robots like you, it can also talk.
    修正案: Yes, that’s right. But AI is more than just moving robots like you. It can also talk.
    理由: “not only” は否定的な印象を与えるので、よりポジティブな “more than” に修正しました。

  3. AIの能力
    Peter Pan: All sorts of things. It can learn human language and talk like a human.
    修正案: It can learn human language and converse just like a human.
    理由: “All sorts of things” は具体性に欠けるので、より具体的な “converse” に修正しました。

  4. AIの感情
    Peter Pan: But AI speaks based on programmed information, so it doesn’t really have feelings.
    修正案: But since AI speaks based on programmed information, it doesn’t have real emotions.
    理由: “doesn’t really have feelings” は曖昧な表現なので、より明確な “doesn’t have real emotions” に修正しました。

  5. AIと人間の創造性
    Peter Pan: But what do you think about AI doing the work of human writers and artists?
    修正案: What do you think about AI taking over the work of human writers and artists?
    理由: “doing the work of” は回りくどい表現なので、より簡潔な “taking over” に修正しました。

  6. AIと人間の協力
    Arale: But it would be nice if AI could work with humans to create something more beautiful!
    修正案: It would be amazing if AI could collaborate with humans to create even more beautiful things!
    理由: “nice” は控えめな表現なので、より強い肯定感を与える “amazing” に修正しました。

  7. その他
    – 各キャラクターの個性を反映するために、セリフの言い回しを調整するのも良いでしょう。
    – 例えば、ピーターパンはもっと子供らしく、アラレちゃんはもっと無邪気な言葉遣いをしても良いでしょう。

まとめ

上記のように、英語訳はいくつかの修正点がありますが、全体的に良い翻訳だと思います。
これらの修正案を参考に、さらに自然で読みやすい英語訳を目指してみてください。
 

Claude AIの下記回答の1、3,5は日本語文の文脈を踏まえた適切な回答である。

全体的にはよく訳されていますが、いくつかの箇所で修正が必要です。

  1. “AI is artificial intelligence! Is it like me, created by Senbei from Dr Slump?”
    この部分は “AIって人工知能のことだよね!ドクタースランプのセンベエさんが作った私みたいなものかな?”と原文にあるため、
    “AI means artificial intelligence, right? Something like me, created by Senbei from Dr. Slump?” と訳すのが適切です。

  2. “But AI speaks based on programmed information, so it doesn’t really have feelings.”
    この部分は “でも、AIはプログラムされた情報に基づいて話すから、本当の感情はないんだって。”と原文にあるため、
    “But AI speaks based on programmed information, so it doesn’t have real/genuine feelings.” と訳す方が原文に忠実です。

  3. “But what do you think about AI doing the work of human writers and artists?”
    この部分は文脈上、AIが人間の作家やアーティストの仕事を補助または置き換えることについて尋ねていますので、
    “But what do you think about AI assisting or replacing the work of human writers and artists?” と訳す方が適切です。

  4. “so whether or not its work has heart is a big question.”
    この部分は “so whether its creations/works have heart in them is a big question.” と訳す方が分かりやすいでしょう。

  5. 最後の文 “Let’s work together and have lots of fun adventures!”
    この部分は対話の文脈上、ピーターパンとアラレちゃんが協力して冒険をすることを示唆していますので、
    “Let’s work together and have lots of fun adventures!” ではなく、
    “Let’s cooperate and have lots of fun adventures together!” と訳す方が適切です。

以上の点を修正すれば、より原文の意味を忠実に伝える良い英語訳になると思います。