I turn to a direction going against a flow of the Seine at Saint Germain Street, and an in a mess narrow path clashes with each other in Invalides, and there is so time, Rodin Museum is in there. In front of the big gate, there were the several people who waited for late opening
Afternoon of late fall, sunlight just shined in the inside of the gate, and, as for the face, a shadow of a slightly cold wall has begun to lengthen. A little pretty lady who just stood in the place that burst of the shadow attracted my heart strangely.
The opened museum was a big garden. The images of Rodin which stand around the well-kept ground met with me. It was quiet. I enter a building. I touched a work one by one. A building was big unexpectedly and the breathing of Rodin was gradually deepened. I felt like gradually understanding Rodin for me. At the Metropolitan Museum of Art of New York, the strong impressions of "The Kiss" that I saw in old days were not different in its own way. However, the commentary of somebody who found the beauty in a figure of an old woman was different to me. The old woman was dirty and ugly. Rodin carved "The Kiss" and carved "The Embrace" and carved "The Caress" and carved illness and the figure which became senile miserably. I felt that Rodin compiles the momentary humans with a practical turn of mind with quite actuality and it is his strong intention that stare the life and fate of all people including Rodin oneself. This intention is over "Statics" and feels "Dynamics", and it is compiled into one book ahead of a wave by "The Gate of Hell".
The conversation with a little lady I mentioned began in such an atmosphere extremely naturally. She mentioned me a strange projection stage stretching in some images here is very important matter to understand the constitution of a work that was remained with cutting off an end of a frame work at making an image. I am surprised that she understand the frame work to embody the will is a process of the sculpture which Rodin followed, and I respected her study.
I very much surprised she knew Hino Samurai and its incident, and it was a time that the early winter sunset that already decline clung to a treetop of a horse chestnut tree and got in a quiet garden such as going to fall asleep again.
"Though the Hino Samurai is a very beautiful car, unfortunately, it is disqualified for car inspection, and it will be the car which a race did not have", she said, and continued "I knew it"
In the summer of 1966, the racing machine "HINO-PROTO" won at the race of Fuji Speed Way. At the time of just after it, our racing group made every possible effort for making perfect its engine provide for Grand Prix Race on 1967. In California, on the other hand, a racing driver and designer Mr. Pete Brock made energy for completion of a flowing elegant racing machine equipped its perfect engine. However, because participation to this race was canceled suddenly by a policy of a company, Mr. Brock had a finished his machine with the after engine tuned by himself and participated in a personal qualification. I was given one day off by company and went to Fuji Speed Way as his friend, but I went into a pit and received only adjustment of an engine. Because the Samurai was personal participation at the time of unacceptable uproar of car inspection, I merely went into a pit because I did not want to cause strange misunderstanding. However, Mr. H who was one of the judges found me and rebuked it me aloud with irresponsibility about not coming to car inspection ground.
I wanted to rush as the friendship from Pete immediately and naturally understood what I should have done so in ordinary circumstances. If I surely participated in car inspection, there may not have been the trouble of car inspection by Japanese for English of Peter. If do so it, this case would not need to be told in such a form now in a foreign country. However, today, a personal thing does not have me who am Hino racing team until yesterday. I am the person that must not be there. I merely lowered a head without being able to say anything.
However, I have been found by another person. It is Mr. S who was a leader of a race driver team of Hino. HINO-PROTO had a special prize in a race of this last year August by the effort of this driver team, but I did not appear as Hino team, and it was personally participated this time.
"You are the person who offered an excellent engine to this race and stopped participation to our Funabashi race, but you come out to why without exchanging greetings and work with an engine!"
Because of necessary for him to put up a good performance in a strategy of his team by all means in Funabashi circuit track a half year ago, he asked me to lend the HINO-PROTO engine which did a special prize in a race of an August to him by all means and he kneeled on the ground and approached to me. It was a parking lot of the Prince Hotel which finished a victory celebration of a race in August strangely. Because investigating of the engine was not yet over analysis after a race, and the next prospects of success did not stand when I did it without this investigation, I kicked him hardening oneself.
For Hino who declared cancellation of race activity, there is not an offer of a race engine now. It is a conventional engine of Hino Contessa which I work now, and it is not a racing engine of the Hino samurai!
However, the explanation was not permitted me. I only apologized again. In the Fuji Grand Prix of 1967, the unparalleled "Hino Samurai" of American Peter Brock who dreamed of the use of the engine which we spent a big effort with our heart and soul was wound up in a whirlpool of fate, and Samurai turned its body back on Fuji and calmly the day so that there was not imagination from glory of "HINO-PROTO" of the last year.
I remembered a flowing elegant "Hino Samurai" that had left in ancient times already, vigil for a car inspection uproar in a pit of Fuji Speedway, and the beautiful morning glow. Its red was red like the sunset which shined in a pond of this museum at this moment and. it broke off like the surface of the water in a pond.
There is fate in a work also by sculpture or car. However, it must be precious with will and philosophy to build a bottom of a family tree of a work.
And we learn it from will of a senior and must keep it alive now in an edge of a family tree of an engine of Hino where I work. I also think that projecting of a framework of a work must not cut it off heartily.
By the way, in a foreign country, why did she know the Hino Samurai in detail? And I want to decide to hand it over at other opportunities how I became her after Rodin.
