著者

勝又 悦子

出版者

東京大学文学部宗教学研究室

雑誌

東京大学宗教学年報 (ISSN:02896400)

巻号頁・発行日

no.28, pp.37-53, 2010

---

論文/ArticlesJerusalem Talmud Sanhrdrin. 9.2 and Genesis Rabba 80.1 convey a type of romp through the trenchant criticism of the Patriarch (Rabbi Jehuda II) by Jose Maon at the synagogue in Maon (Tiberias) in JT. Focusing on only certain portions of this story, scholars have regarded it as a testimony of the Patriarch's heavy tax or the conflict between the sages and the Patriarchal office, the sages and the clergy, or Jewish and non-Jewish cultures. However, the meaning of the entire romp has not yet been examined. In this paper, we investigate the entire process of this romp and elucidate the character and intentions of Jose Maon. Then, we clarify the relationship among the above characters, namely, between the Rabbis and Jose Maon, the Patriarch and Jose Maon, and the Rabbis and the Patriarch. Furthermore, we reveal the acceptance of Hellenistic popular leisure culture, circuses, theaters, and stadia by referring to other texts. Through our discussion, we reveal that Jose Maon's attack was not aimed exclusively at the Patriarch or the clergy; instead, it was aimed at the contemporary society en masse. Jose Maon and the rabbis were indifferent to each other. The sages and the Patriarch were in ambivalent relationship. Then, the flexible power of balance in the era of rabbinic Judaism will be clarified. Although rabbis opposed the Roman notion of leisure in the theater, the synagogue played as the role of a theater for the Jews, even with a crown, Jose Maon. Furthermore, interestingly, Midrashic described the story of Jose Maon with much dramatization, although Midrash itself opposed the Roman theater. This power of balance in rabbinic Judaism clarifies our understanding of various aspects of Judaism. Moreover, the influence of Roman or Greek drama on Midrash should be further considered.