著者

伊藤 照夫

出版者

日本西洋古典学会

雑誌

西洋古典学研究 (ISSN:04479114)

巻号頁・発行日

vol.33, pp.49-57, 1985

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Here we do not pretend to solve all problems of the Stoic doctrine of Zeus the father-god or even to cover the whole ground which they embrace. Our interest is confined to the meaning and reference of προτερη γενεη and its combination with Zeus-θαυμα-ονειαρ. While agriculture and navigation are complements each of the other in Aratus, above all within his general (and traditional) idea of human life, Zeus in the proem turns his eyes away from navigators and exclusively upon ploughmen. This deflection of σημα is suggestive of subsequent development, that is to introduce Nyx and her σημα for navigators. Nyx, both αρχαιη and ουρανιη, is, the double image of Zeus, much more active than Zeus himself and personifies the "night-motif". Night as the stage of the starry sky and its personification alone enable men to distinguish all σηματα. τι&b.sigmav; ανδρων (373), too, does so, and that by originating a new method for men, the constellation, which should correct the method of Zeus (cf. 11 αστρα διακρινα&b.sigmav;→375 παντων οιοθι κεκριμενωνv). Nyx and τι&b.sigmav; αν., whose name and epithet build up a remote antiquity and a mythical fiction around them, can convert θαυμα-Zeus into ονειαρ-Zeus for men, through intervening in their life. But this connection is also fictive and intends to show the origin of the relation between stars and men. Then we can identify πρ. γεν., whose name describes the same mythical situation as that of Nyx and τι&b.sigmav; αν. does, with them. In Phaenomena θαυμα mirrors and means all aspects of the reaction of men against Zeus or the celestial world. Despite the dissolution of θαυμα by πρ. γεν. it remains still in the sky: nameless stars, which do not associate themselves with any constellation, and some constellations of which the shape and name stir up θαυμα again in the mind of men (e.g. Engonasin). Then that paradox rises (cf. 374 f. απαντ'……ηλιθα). But πρ. γεν., who will favour men constantly and devotedly, has nothing to do with it. Aratus shows us the origin of the paradox implicitly and skillfully. The contrast between ειδεα and ειδωλον is in this case more remarkable and intentional, because the former, only one example (381), indicates the shape of the constellation which τι&b.sigmav; αν. first designed, and the latter, nine examples, does for some of the constellations which were transmitted from τι&b.sigmav; αν. to mankind. The ειδλον means therefore constellations like Engonasin and nameless stars which men could not appreciate just as τι&b.sigmav; αν. intended and then which men see with θαυμα. From ειδεα to ειδωλον: in this process that paradox rises and gains ironical significance. It is through the same process as this that Nyx and her σημα finally lead also navigators to the ironical paradox. Men have themselves to blame for the failure. Gods favour men and lead them to ovsiccp. But θαυμα sometimes leads them astray. We may name such a belief "theodicy" as some interpreters do, and it goes without saying that Aratus intends there an ironical effect. In Phaenomena Aratus' purpose, the sole aim, is to describe the celestial sphere, in other words, to explain all σημαγα as intelligibly as possible. He could not, however, suppress his intent to install here one particular point (and the originality of this work), namely, when and how men have a concern with stars. For that purpose the mythical digressions were created by him. In parallel with the association between πρ. γεν. and mankind, then Zeus, the kindly father-god of the Stoics, rises again to the surface now as θαυμα, now as ονειαρ. Zeus is not always ovsiccp for men and that in consequence of mankind being paradoxical. It may safely be said that Aratus' Phaenomena is more ironical than allegorical.