著者

根本 英世

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.39, pp.28-37, 1991

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The author has inquired into the implications and functions of απατη and δολοζ in Hom, by examining their usage in their context Among the four examples of απατη in Il we first scrutinize the one in B (114) Agamemnon says to the Greeks that Zeus, who had once promised him the sack of Troy, has now devised κακη απατη in bidding him retreat to Argos in disgrace (the same lines are repeated in I) In these scenes as well as in the one in 0 where Zeus warns Hera against απατη, the deed is not of human agency, but divine This is true as well in the case in Δ 168 where the word apparently refers to the truce-breaking of Pandarus, which is in fact instigated by Athena It should also be remembered that Zeus' απατη in B and I is depicted as ατη from Agamemnon's point of view In Od, on the other hand, the word appears only once in ν, and here it is applied to a human being, Odysseus, who is praised by Athena for this quality Through investigation it is proved that the same holds true of the derivatives of απατη (απαταω, εξαπαταω, απατηλιοζ, απατηλοζ), in Il they refer to divine deeds or to human deeds resulting from divine intervention, whereas in Od they depict or relate to human actions which in most cases are characteristic of the persons concerned and often have much to do with the development of the story Remarkable is the difference in the frequency of the use of δολοζ between Il and Od, i e 11 times in the former versus 32 times in the latter In Il, except for two scenes where gods' actions are mentioned (Hera's in O and Apollo's in Φ), the word is found only in small episodes and digressions which are of little or no importance in the plot In this respect Od is rather different from Il Firstly, in Od the word is used mostly to describe the tactics of human beings , the only exceptions are in the "Ares-Aphrodite song", the "Kirke-story", a small episode in δ and Odysseus' lamentation in e Secondly, δολοζ as a human strategy is generally significant in the narrative, e g in the case of Penelope it stands for the "Scheme of Weaving", in that of Aigisthus-Klytaimnestra for the "Murder of Agamemnon" and in that of Telemachus for "Vengeance upon the suitors" These repetitions of the word δολοζ, pointing up "contrasts" and "parallels" between different characters, including of course Odysseus himself, must have contributed much to the audience's appreciation of the orally recited poem Thirdly, the word is employed effectively to delineate the characters of the persons concerned The derivatives of δολοζ, as well as ψευδοζ and its derivatives, are morefrequently and significantly applied in Od than in Il Striking is the equivalency of "δολω" and "αμφαδον" in the advice given by Athena and Teiresias (α 296 a= λ 120 a) Here can be seen quite another norm of moral values than that in Il (cf H 243) As observed also from Athena's applause of Odysseus in ν where the goddess places the hero on a par with herself by using the "dual-number" (296 f), the words απατη and δολοζ in Od are not tinged with a negative import but generally with a rather positive one Nevertheless δολοζ may be regarded as having a negative implication when its agents, like Aigisthus and Clytaimnestra, are devoid of the virtues of patience and self-possession It is indeed with these virtues that Odysseus and Penelope resort to δολοζ, especially the former who, by being πολυτλαζ and πολυμητιζ, succeeded not only in reestablishing his status in Ithaka but also in establishing himself as a "hero" entirely different from Achilleus in Il

著者

根本 英世

出版者

日本西洋古典学会

雑誌

西洋古典學研究 (ISSN:04479114)

巻号頁・発行日

vol.26, pp.23-33, 1978-03-23

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The author has tried to examine the Nausicaa scene in ζ, in order to interpret her function in the narrative as well as to explore the poet's elaboration of her description. In the interventions of the Homeric gods we can generally recognize "a pattern" : the narration of their approach to the human world, their appearance and removal from the scene. In addition to these, the motifs of transformation and sleep(or mist)are remarkable where Athena helps and advises throughout the Odyssey. Considering these elements, her entrance at the beginning of the Nausicaa episode is a "typical" one. The process of acquaintance between Nausicaa and Odysseus and the growth of her goodwill towards him is prepared by the goddess at every stage 25f., 1121, 139f., and especially, 229f. after which she not only introduces herself but also gives him detailed advice. Here we should remember that the goddess' help and advice are given only to the main characters in the Odyssey. Her maiden beauty is fully depicted in the simile of φοινικο&b.sigmav; νεον ερνο&b.sigmav;(162 f.)as well as in 15f., 102f., and 0 457. Her inner excellence is also noteworthy; even before the unclothed foreigner she is wise enough to judge his personality from his words(187 f.). Her prudence is to be seen in her manner of leading him to the city(257 f.) , which will ward off the gossip of those whom she calls CnrspcpiaAoi (274) , while nevertheless judging their assumptions to be not unfounded (286 f.). Above all, shyness characterizes her(66). Only indirectly in the form of an imaginary rumour can she reveal her name to the hero(276f.). Though she seems rather affected towards him(239 f.) , she bids a brief but impressive farewell(461 f.). Such a farewell is also possible because they have not fallen in love with each other (cf. ε 203 f). Now she stands before him as a trial, a trial of a kind he has never experienced. He has to gain her advice, as well as food and clothes, to make his homecoming possible. Thus he gives his most eloquent speech in the entire Odyssey(149 f). The simile of the lion(130 f.) could be interpreted as preparing this demonstration of his uflTis, i.e., to introduce his apicrTEicc. He has so far been "a hero in a fairy tale" in finding his way out of danger, but is here confronted with a "realistic" trial, which leads by means of her gift of clothes to another trial in the Phaeacian court; both trials seem to make him ready for those to come in Ithaca. We should also like to note 230-4, 235b=ψ 157-61, 162b. In ψ Athena beautifies him before he is recognized by Penelope, in ζ the goddess does the same before he is received by the princess(which results in the first step of his success in homecoming)-both groups of the verses, so to speak, are preludes to the climaxes of the former and the latter half of the story respectively(cf. Athena's influence on both through dreams, the motif of marriage in both cases). Through the elaborate portrayal of Nausicaa the poet seems to have tried to represent an ideal of maidenhood.