- 著者
-
津上 英輔
- 出版者
- 成城大学
- 雑誌
- 成城美学美術史 (ISSN:13405861)
- 巻号頁・発行日
- no.19, pp.1-19, 2013-03
ρυθμο[s] is one of the three media (εν ετεροι[s]) of poetry Aristotle names besides words and melody in the Poetics (1447a8-b29). The Italian philologist Pier Vettori in his Commentarii in primum librum Aristotelis de Arte Poetarum (1560), which contains his own Greek text, followed by its verbatim Latin translation and comprehensive running commentary on textual, grammatical and interpretative topics, identifies it with dance, instead of rhythm as it is commonly held. Vettori was led to this (mis-)conception through two factors: (i) his supposition, conforming to the then current notion, that all poetry was verse (words with metre), with the consequence that metre, present, according to his view, in every poem, belongs to words, not rhythm; and more importantly (ii) the limited knowledge scholars in the sixteenth century commanded about the sources of the Poetics, without the aid of the Arabic version, from which modern editors have substantially benefited. Since both factors were historically conditioned, the resulting misunderstanding of Vettori's was more of a historical nature than his personal.ρυθμο[s] is one of the three media (εν ετεροι[s]) of poetry Aristotle names besides words and melody in the Poetics (1447a8-b29). The Italian philologist Pier Vettori in his Commentarii in primum librum Aristotelis de Arte Poetarum (1560), which contains his own Greek text, followed by its verbatim Latin translation and comprehensive running commentary on textual, grammatical and interpretative topics, identifies it with dance, instead of rhythm as it is commonly held. Vettori was led to this (mis-)conception through two factors: (i) his supposition, conforming to the then current notion, that all poetry was verse (words with metre), with the consequence that metre, present, according to his view, in every poem, belongs to words, not rhythm; and more importantly (ii) the limited knowledge scholars in the sixteenth century commanded about the sources of the Poetics, without the aid of the Arabic version, from which modern editors have substantially benefited. Since both factors were historically conditioned, the resulting misunderstanding of Vettori's was more of a historical nature than his personal.