著者

五之治 昌比呂

出版者

京都大学西洋古典研究会

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.16, pp.39-59, 1999-08-31

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。

著者

五之治 昌比呂

出版者

京都大学

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.16, pp.39-59, 1999-08-31

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。A famous short story be Osamu Dazai, "Hashire Meros" and a nursery tale by Miekichi Suzuki are both based on the same Greek story known as 'Damon and Pythias, 'one of the anecdotes concerning a tyrant of Syracuse, Dionysius. This paper attempts to survey the Dionysius legends contained in Suzuki's work, especially the Damon-Pythias story, and to give a new point of view to Dazai's story. Suzuki's work is a collection of seven legends about Dionysius. It is unique in containing not only famous legends. like 'Damocles' sword, 'but also minor ones. His direct source is untraceable. But these anecdotes are extracted probably from Diodorus Siculus, Cicero, and Diogenes Laertius. A lot of classical authors recount the Damon-Phintias story. There are some differences among them. Remarkable differences are : 1. which is sentenced to death, and which becomes a hostage ; 2. the reason of the punishment ; 3 . the reason for requesting the release ; 4. the period of the release ; 5. whether the two accept the king as their third friend. Considering these points. Suzuki's version seems to be from Diodorus. The Damon story in Hyginus and that in Polyaenus are rather different from the other authors, in the protagonists' name and the reason and the period of the temporary release. In addition to that, there is a quite peculiar element in Hyginus that a torrent blocks the protagonist's way back to the tyrant. Authors of posterity used the Damon story for their literary works. The most famous is Schiller's ballad, "Die Burgschaft." He wrote this ballad from Hyginus' version. He took over its peculiarities and made his work more dramatic. Later he revised the ballad, changing the title to "Damon und Pythias" and the name, 'Moros, ' in the second verse to 'Damon.' Dazai wrote his short story using a Japanese translation of "Die Burgschaft" based on the text before revision and the annotation attached to it by the translator. Basically he followed Schiller faithfully, but he added a lot of new elements. The most remarkable is that he made the protagonist a shepherd living in a village. This setting suits the 'three days' release of Hyginus and Schiller. Besides, the characterization of the protagonist as a simple and honest person, significant to the plot and theme of this work, depends on this setting.

著者

小川 正広

出版者

京都大学

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.6, pp.89-117, 1989-09-30

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。

出版者

京都大学西洋古典研究会

巻号頁・発行日

2001-01-31

著者

内田 次信

出版者

京都大学

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.11, pp.62-80, 1994-03-30

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。In the first half of the Odyssey, both the hero's longing for his wife and her attachment to her absent husband are emphasized. This could suggest to the audience that the poet would reproduce the original naive world of the homecomer, but in the second part the hero manifests mistrust of women in general, and would not confide his true self or intention of revenge to his wife. It is only after he successfully fights off the suitors that Penelope acknowledges him as her husband. She was excluded from the fighting but, in the underworld the ghost of a suitor tells of Penelope's assistance to her husband with the plot. Thereupon, Agamemnon praises Odysseus for having Penelope as his wife, which again reminds us of the romantic world of the folk tale. It would have been easier and his victory more certain, if Odysseus had really gotten Penelope's aid, as may have occurred in the original tale. But to Odysseus, who represents the modern man, such a world was alien. The discrepancy between the two worlds creates irony.

著者

竹下 哲文

出版者

京都大学西洋古典研究会

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.24, pp.21-46, 2016-09-28

著者

安村 典子

出版者

京都大学西洋古典研究会

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.22, pp.22-37, 2010-03-28

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The motherless goddess Athene is more like a man than a woman; or, as J. Harrison suggested, she is rather a sexless thing, neither man nor woman. She appears as an equal to Zeus, and shares several qualities with him, including intelligence. The most telling, and curious, correlation is their sharing of the aegis. The phrase 'aegis-bearing' (αἰγιόχος) is one of Zeus' most common epithets, and the aegis itself is made by Hephaestus for Zeus in the Iliad (15.309-10). However, in the Chrysippus fragment, Metis makes the aegis for Athene. Also, in the fragment of the Meropis, the aegis is made by Athene herself from the skin of the Giant Asteros whom she killed in the Gigantomachy. In the Iliad, Athene wears the aegis to encourage the Achaeans (2.450-2 and 5.738-42) and to fight with Ares (21. 400-414); she also casts it over Achilles' shoulder (18.203-4). Two of these passages, 5.738-42 and 21.400-414, in particular merit our attention for their connection with Zeus. In these two passages, Ares' challenge is quite easily beaten off by Athene, who is backed up by Zeus' aegis. By giving birth to Athene, Zeus acquires a counterpart who fights on his side and as his deputy, defeating his son, Ares, who might prove a challenger to his power. It is a marker of Athene's functional affinity to Zeus that, as Zeus becomes more remote from human beings, she eventually replaces him as the chief guardian of the state and people. Athene is the symbolic representation of the rule of Zeus; she is the symbol of a new kind of state, or of the cultural renewal of Zeus' world. The concept of a strong alliance between Zeus and Athena fits perfectly both with Panhellenic ideals and Greek societal and moral norms, thus ensuring the continued popularity and success of Homer and Hesiod. The sharing of the aegis between Zeus and Athene could be interpreted in this context.

著者

木曽 明子

出版者

京都大学西洋古典研究会

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.9, pp.1-13, 1991-12-20

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。

出版者

京都大学西洋古典研究会

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.別冊, pp.1-2, 2001-01-31

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。

著者

柳沼 重剛

出版者

京都大学西洋古典研究会

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.別冊, pp.53-56, 2001-01-31

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。

著者

内田 次信

出版者

京都大学

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.8, pp.1-41, 1991-12-20

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。Im Gegensatz zur Tragodie steht die Komodie von Anfang an nicht in hohem Ansehen bei den Athenern (vgl. Aristoteles' Poetik, Kap. 5). Die Einstellungen, die die Komodiendichter den Tragikern gegenuber hatten, zeigen komplizierte Aspekte : Wahrend sie Neid bzw. Infe-rioritatskomplex merken lassen, scheuen sich die Komiker nicht, die verwendbaren Elemente der Tragodie zu benutzen, und indem sie sich aus dem Standpunkt der gesellschaftlich Geringgeschatzten parodistisch-kritisch mit der Tragodie auseinandersetzen, bereichern sie die Komodie durch nachahmende und gleichzeitig das Original ubertreffende Gestaltungen, was sie auch zur allgemeinen Anerkennung berechtigt. Dies alles laβt sich auch in den 'Acharnern' des Aristophanes feststellen.

著者

安村 典子

出版者

京都大学

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.15, pp.1-23, 1998-08-10

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。One of the most controversial problems about the Hymn to Apollo concerns the composition and unity of the hymn. Since David Ruhnken (1794), most scholars have divided the hymn into a 'Delian' and a 'Pythian' part. I recognise, however, some kind of unity between the two sections, while admitting the separate authorship. The digression of the Typhon episode (305-355) has also often been regarded as an interpolation. However, I think that there is in the arrangement of the motifs a design which contributes to the effectiveness and persuasiveness of the digression. It is the aim of this essay, therefore, to look at the details of this digression, and to see if there is some detectable logic in its connection with a narrative as a whole. The episode of the dragon functions as the framework of the digression of Typhon. In the parallel of the dragon and Typhon, only the birth of Typhon and the death of the dragon are narrated. The reasons advantageous to the composer for this complicated arrangement are to stress (1)the unrivalled nature of Apollo's first oracular installation ; (2)the aetiological design in the name of the dragon ; (3)the gender of the dragon ; (4)emphasis on the role of Hera. Being female, the dragon is able to become nurse to Typhon, and this is crucial if we think of the succession myth. Since Gaia has ceased to challenge Zeus after he has established his power in Olympus (according to the Theogony), now in the hymn, Hera may attempt to destroy Zeus' order by initiating a cycle of succession catalysed by his son's rebellion ; Typhon is the figure who could have overthrown Zeus, helped by the dragon, just as Zeus overthrew Kronos, aided by his nurse, Gaia. The dragon (the nurse), by helping Typhon, might have played the decisive role in the usurpation of Zeus, if Apollo had not killed her. The killing of the dragon is, therefore, not merely evidence of Apollo's aristeia, but contributes a much graver meaning : Apollo intervenes in the succession myth, alleviating the crisis of Zeus. Hera might have accomplished her desire if Apollo had not come to help Zeus-this seems to be the implication of the hymn. It is startling to begin the hymn with a scene of potential threat. This may imply that Apollo has just returned from the battle with Typhon, and is demonstrating his authority among the gods. Although Apollo could be another threat to overthrow Zeus, his father, Leto assists Zeus, acting as a king-maker by influencing Apollo. The opening scene depicts the celebration both of Apollo's victory over Typhon and an overall peace between Zeus and Apollo. The opening scene and the digression of the Typhon episode are thus inter-related, and illustrative of the wider struggle for cosmic power. One of the main purposes in selecting the dragon-Typhon story is to sing about Hera By means of Hera's entrance into the narrative, the encomiastic aim of this hymn is fully achieved. Apollo degrades Hera by destroying the dragon and the end result is the gain of great esteem not only for himself but also for Leto. The killing of the dragon is, consequently, the most critical moment in the process of establishing his dignity and position in Olympus. To sum up, the digression of the dragon demonstrates the compositional technique of 'a story within a story' and this technique focalises the importance of the dragon. The abrupt transition back to the main narrative emphasises the doublet of the dragon and Typhon, and also functions as a deliberative device, hinting at the broader perspective, but leaving the exact linking inexplicit. Structurally and thematically the hymn can indeed be described as a unity, the digression of the dragon being linked with the rest of the hymn by the devices of repetition and nesting or embedding that constitute the narrative technique. The digression of the dragon, in short, attains its greatest effect through the development and colouring of the motifs and their arrangement within the structure of the nested narrative.

著者

藤井 琢磨 高橋 宏幸

出版者

京都大学西洋古典研究会

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.22, pp.216-248, 2010-03-28

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In Plautus' Bacchides we have in Chrysalus a typical cunning slave whose trickery, more than anything else, moves the play forward. The protagonist, however, leaves the stage just before the final act without celebrating his triumph. Stage action is taken over by the Bacchis sisters seducing a pair of old men and inviting them into their house, as if to reflect the change of the title from Menander's Dis Exapaton. No triumph, Chrysalus says to the spectators, because it is all too common (1073). Does this allude to real-life triumphs (thus Ritschl, Barsby), or to a stage convention (Fraenkel, Slater)? This paper attempts to see in the play a metatheatrical reference to the role of servus callidus and, from this point of view, compares the tricks used by Chrysalus and the Bacchis sisters. Points of comparison: (1) money is gained and wasted; (2) deceptions are based on suggesting the opposite of what one's goal is; (3) victims are enslaved and deemed worthless; (4) use of slave 's services. (1): the names of Chrysalus and Bacchis are in a meaningful juxtaposition(240-42, 703-05; 53, 372-73): while Chrysalus is interested in swindling people out of their money (218-21, 229-33, 640-50), the Bacchis sisters focus on luring them into their house to make them incur losses (62-72, 85-86). (2): comparison of 90-91 and 94-100 (Bacchis – Pistoclerus), 988-1043 (Chrysalus – Nicobulus), and 1173-74 with 1184-85 (Bacchis – Nicobulus), shows that similar psychological tactics may be seen at work. (3): finding it difficult to resist Bacchis' charm, Pistoclerus wonders if he is worth nothing (nihili 91) and, once seduced, tells her 'tibi me emancupo' (92). The term comptionalis senex, used of Nicobulus swindled out of his money (976), evidently emphasizes his worthless state. The old men who are victimized like sheep well shorn (1122-28), as predicted by Chrysalus (241-42), have lost all their value (exsoluere quanti fuere 1135). When charmed by Bacchis minor, Philoxenus too admits that he is worthless (nihili 1157) and the same is confirmed by Nicobulus as well (1162). At the end, Nicobulus says to Bacchides 'ducite nos tamquam addictos' (1205). Note also grex explicitly stating that the old men have been worthless (nihili 1207) since their youth, and Chrysalus calling Cleomachus worthless (nihili homo 904) once the deal has been done. (4): while Chrysalus envisions selling Nicobulus as a slave once he gets his job done (814-15, 976-77), the Bacchis sisters seem to keep their slaves in service. Pistoclerus, a typical adolenscens, weak and wavering at the start, seems to change his role and begins to act as if he were a cunning slave (to a lesser degree than Chrysalus), making smart replies to Lydus (e.g. 125-29, 161-62), bragging about his success as if he assumed the persona of Pellio acting the role of Epidicus(206-15), and driving back the parasite sent from Cleomachus (573-611). Since addicti (1205) are to serve as slaves until they have repaid their debt, the old men are supposed to do some menial work in the sisters' house. Conclusion: Chrysalus, an expert in eliciting money from people, has no further business with his victims who are, in his view, worthless. So, once his mission is complete, he just exits with all the booty to the quaestor (1075). The Bacchis sisters seem to use "the worthless'' to create stage action. In the final act, the moment the old sheep are said to be not just shorn but mute (1138-39) and the sisters are about to exit, Nicobulus begins to speak (1140), much to everyone's surprise (prodigium 1141). It is as if a mute character who is supposed just to stand by (astent 1134) speaks out and thus opens up a new strand of action. The paradox noted here, creation from nothing, recalls Pseudolus 395-405 and sounds significant for the whole play; from the grex we hear that were it not for such useless old men, they would not even be able to put on this drama (1207-10).

著者

中務 哲郎

出版者

京都大学

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.7, pp.1-22, 1990-05-31

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。The Polyphemus story in the Odyssey is based on a popular folktale, wide-spread throughout the world. Since the time of Wilhelm Grimm, more and more versions of this folk-tale have been collected and various elements of the Homeric version have been analyzed by many scholars. Some parts of the Homeric version correspond with the folk-tales and illustrat ions in Greek art, while others differ. So, a comparative study of Homer's story with other versions will suggest what Homer borrowed and what he invented. The Homeric version consists of three main episodes (the blinding of the ogre ; the name-trick ; and the escape of the hero), and omits apparently the motif of the magic ring. Each episode contains a variety of incidents, but here I shall consider only four of these. They are amusing in themselves and also illustrate Homer's art of story-telling. I have used O. Hackman's and J. G. Frazer's collections of folk-tales as the basis for my study. 1. The inebriation of Polyphemus, In some folk-tale versions, the giant gets drunk with his own wine. Polyphemus, however, drinks not wine but milk and is made drunk by the marvellous wine given to him by Odysseus. Perhaps Homer changed the drunken ogre into a milk-drinker and invented Odysseus' offering of wine to Polyphemus to introduce the gruesome present from Polyphemus and the name-trick of Odysseus. 2. The method of escape. The commonest method of escape in the folk-tales is for the heroes to cover themselves with an animal skin and to crawl out of the cave. Odysseus and his companions, however, escaped--Odysseus clinging to the belly of one ram ; his companions each tied to three rams. There has been much speculation about the reason why Homer did not follow the usual method. I think that Homer chose his version for the sake of variation and contrast, with the episode of the Seirenes in mind. When Odysseus sailed past the Seirenes' island, he alone was tied to the mast, in contrast to the escape from Polyphemus when only Odysseus was not tied to a ram. Thisuse of variation and contrast is found in many other episodes. 3. The motif of the magic ring. Many folk-take versions end with the episode of the talking ring or other magic objects. After the hero has escaped from the cave, he mocks the giant, who throws down a ring as a gift to the victor. The moment he puts it on his finger, it cries out, 'Here I am!', and guides the blinded giant to him. The hero escapes only by cutting off his finger. While A. B. Cook, D. L. Page and C. S. Brown have attempted to find the traces or transformations of this motif in the Odyssean story. A. Kurumisawa argues that the Homeric version cannot include the ring motif. Considering the difference between epic and folk-tale, I am inclined toagree with the former theory. 4. The origin of the name 'Utis'. According to Hackman, the trick with the name 'Utis' ('No body') does not belong to the Polyphemus story but is borrowed from another popular folk-tale. in which a human being outwits a fairy or a demon with the deceptive name, 'Myself '. The name 'Utis' seldom occurs in genuine folk-tales. I am not convinced by the argument that 'Utis' is not a false name but a nickname derived from Etruscan forms of Odysseus or the word 'us' (ear). It seems more likely that Homer borrowed the idea of the name-trick from some unrelated folk-tale and invented 'Utis' for his story. He appreciated that the main point of the folk-tale was the giant's defeat by a little man and devised an appropriate name for the little hero. 'Utis' means 'Nobody' or 'Worthless One', but the 'Worthless One' conquers the mighty giant. Polyphemus (Much Famed). If Homer invented Odysseus' offering of wine to Polyphemus, it is probable that he also invented the name 'Utis'.

著者

五之治 昌比呂

出版者

京都大学西洋古典研究会

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.24, pp.47-65, 2016-09-28

著者

山下 太郎

出版者

京都大学西洋古典研究会

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.別冊, pp.158-159, 2001-01-31

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。

出版者

京都大学西洋古典研究会

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.別冊, pp.30-42, 2001-01-31

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。

著者

平山 晃司

出版者

京都大学西洋古典研究会

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.15, pp.37-71, 1998-08-10

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。

著者

平山 晃司

出版者

京都大学西洋古典研究会

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

no.15, pp.37-71, 1998-08-10

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。

著者

高橋 宏幸

出版者

京都大学

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.10, pp.30-53, 1992-09-30

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。This paper reexamines the Arachne story in Ovid's Metamorphoses Bk. 6, focusing on the deception-fascination by poetry-art which affects the motivation and manner of Minerva's vengeance on Arachne. Minerva has praised the song and righteous rage of the Muses, which motivates her to avenge. Two aspects are noticed in Minerva on Helicon who is curious about anything marvelous aud eager to listen to the Muses' tales. First, she wanted to see the fountain which burst forth under the hard(dura : 257) hooves of Pegasus ; a Muse addresses her as a goddess whose valor has led her to greater tasks(virtus opera ad maiora : 269) ; and she asks the Muse to recite their song in order(ordine : 335). These are suggestive of the classical epic that is the kind of song which Minerva wants to have sung. Second, asking the Muses for the causes(cf. origo : 262), she recalls Callimachus in the Aetio(frgg. 2, 114) and Ovid in the Fasti interviewing the gods and goddesses throughout the work ; and when listening to Calliope's song, Minerva takes her seat in the light shade(levi in umbra : 336). What these imply is elegiac or hellenistic poetry, which Minerva seems to be (perhaps potentially) capable of appreciating well. Corresponding to these opposing aspects of Minerva we find two mixed elements in Calliope's song : epic pretentions, the most eminent feature of which is the rage of the gods that vindicates their order, on an asymmetrical structure which is "rambling, dragging in almost anything and straying far from its subject" through set-in tales which are characteristic of hellenistic poetry, tuned to the querulous chords(339) which imply elegiac poetry. What is suggested here? Attention should be paid to the Pierides' accusation of the Muses deceiving the unlearned vulgar with the empty sweetness(indoctum vana dulcedine vulgus/ fallere : 309f.). At first glance it sounds false, but "sweet"(glykys, dulcis) is one of the characteristics which are highly valued on the hellenistic criteria of poetry, aud "empty" may refer to the leisure of poetry ; unlike Callimachus or Horatius who hates and keeps away the vulgar(Carm. 3. 1. 1), doctus as he is, Ovid is proud of his popularity all over the world ; and deception can mean fascination by poetry, as the Muses "have the skill to tell lies similar to the truth" (Hesiod. Theog. 27). Then, the accusation seems to point accurately to the nature of Ovid's poetry, and to turn out to be true. That is, Minerva is deceived by Calliope's song in the meaning that she is so fascinated by its charm (which she has the capability to really enjoy) that she thinks it was the epic, but it is actually not. Deceived(fascinated) this way, Minerva wants to be praised as she praised the Muses' song aud rage. Here her thoughts do not follow the usual pattern of vengeance stories where human arrogance causes divine anger at the start, resulting in punishment of the hybris. As her motive to avenge comes first the common desire for her own praise, and in order to avenge she finds Arachne to be an appropriate victim. And Ovid's expression in lines 3-4 shows humorously the change of her state of mind from praising to being praised : when she wants to be praised(laudemur) herself too(et ipsae), then, at the top of the next line, the idea that she is a deity(numina) who deserves to be praised comes into her mind. It looks as if she had forgotten about it until now. She can be compared to the audience (indoctum vulgus) who want to be the hero on the stage whom they empathize with. Now leaving the theater, it seems, Minerva remembers who she is, a goddess who can actually play the part. Whatever the motive may be, her vengeance appears to be inevitable, when Arachne's stubborn refusal to yield leads to the weaving duel, in which Minerva's tapestry is orderly in form and content, embodying the perfect classical art, while Arachne's is contrastively chaotic with the various stories of "the divine comedy" scattered in no set pattern of any kind. To our surprise, however, Minerva or Envy couldn't find any fault in Arachne's work(129f.), and Ovid depicts Minerva's act of vengeance in sympathy with Arachne. The interpretation I'd like to suggest is that as with the Muses, Minerva is deceived again here by Arachne's deceptive art which makes her pictures look real(vermu taurum, freta vera putares ; / ipsa videbatur : 104f.). Painfully facing Arachne's success(130), which Minerva sees as threatening to snatch praise away from her, she tears Arachne' s tapestry, which is "divine crimes." Here, caeletia crimina(131), equated to the tapestry by juxtaposition, and given a position to split the phrase pictas vestes, creates an impression that Minerva is trying to shake off a guilty conscience with an excuse while destroying the perfect work of art. Otherwise, Envy could have criticized it the moment she looked at it. And this excuse seems to come as a natural result. of Minerva's deception by the pictures, which are so real that she cannot discern whether they are imaginary or real. Then, the tapestry paradoxically proves its perfection by being torn. When Arachne cannot endure it(non tulit infelix : 134) and hangs herself, Minerva feels pity (miserata : 135), as if the heroic act of Arachne wakes up Minerva to herself. Minerva, who, charmed by the Muses' song, wanted to be a hero at the start of the story, now at the end fascinated by Arachne's work, seems to be leaving the stage to give away the leading part to Arachne, whose metamorphosis into a spider(140-5) takes place just after Minerva's exit(discedens : 139). If there is any programmatic implication in the story, I'd like to consider it in the same terms as I did in my former papers on Fama-fama in bk. 12 and the epilogue, where I discussed creative transformation of tradition(fama) by the poet(Fama) who adds "falsehoods" to "true" traditional stories. Hearing of the rumor of the fount Hippocrene(5.255), Minerva visited the Muses to listen to their tales. Deceived by them, she contributed to creation of a new kind of vengeance story. And when she exits, the rumor fills the whole world with talk(6.146f.)