著者

長谷川 岳男

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.58, pp.12-24, 2010-03-24 (Released:2017-05-23)

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Fustel de Coulange considered that ancient Greeks had never had any private spheres in their poleis and the polls was a fusion of state and society. In the entry 'polis' in the 3^<rd> edition of OCD 0. Murray basically followed his ideas and gave Sparta as a typical example. Thus the general understanding seems to have been that polis could not be translated as 'state'. M. Hansen, however, argued against taking Sparta as a typical case and insisted that there was a differentiation between public and private spheres in Athens and many other poleis and consequently concluded that we may view a polis as similar to a modern state. However S. Hodkinson, as part of his studies aimed at rescuing Sparta from a 'fossilized society' themepark and normalizing her position as a polis, objected to the idea that Sparta was a polis where the state and society were inseparably fused together. He argued that Xenophon showed no clear cases of Spartan authorities taking active control over every aspect of Spartan citizens' life in his Lakedaimonion Politeia which is the most credible source concerning the Classical Spartan society. Moreover, building on Humble's thesis that the characteristic feature of Spartan citizens was not σωψροσυνη but αιδωζ, it seems that Spartan citizens were only careful how they behaved in public spaces and in private they could do as they pleased. Therefore it can be recognized that there was a distinction between the public and private sphere in Sparta. Indeed, not only Xenophon, but also Thucydides painted the picture of the Spartan society as a system of voluntary corporations among citizens rather than one of severe controls over them. Hodkinson then insisted that there was no social control on the part of the Spartan authorities, but only social pressure from the citizens themselves within their society. I agree with his conclusion regarding the importance of social pressure in Sparta, but I do not think that there was no social control over the citizens, because the existence of social pressure reveals the existence of Gramsci's theory of the 'hegemony'. I think it is a flaw in Hodkinson's argumentations that he did not point clearly to the substance of the authorities in Sparta so that the reality of social control became obscured. In order to complement his contention, I would introduce the thesis on which Berent insisted in a series of articles, namely, that a polls is not a state but a stateless society. A polis did not have the public coercive power so that Greeks had to devise ways to keep order in their polis and prevent an outbreak of a stasis. If we are right to perceive a polis as a stateless society, it followed that it was of paramount importance for Greeks to reach consensus on public matters. As a result, politics became entangled with ethical considerations and education which internalized ethics became important. In consideration of this context, the images of Spartan society seem fit for achieving consensus among its citizens, the fact that made it an object of high esteem among other Greeks. We should realize from this conclusion that a polis was not a monolithic entity and that it was susceptible to being torn apart because of the lack of public coercive power, and that Sparta (and Athens) were exceptional in preserving their stability.

著者

片山 英男

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.42, pp.98-100, 1994-03-28 (Released:2017-05-23)

著者

桜井 万里子

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.51, pp.114-121, 2003-03-20 (Released:2017-05-23)

著者

三浦 洋

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.45, pp.72-83, 1997-03-10 (Released:2017-05-23)

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アリストテレスは『形而上学』Θ巻第6章(以下, Θ6)で様々な行為を「エネルゲイア(活動)」と「キーネーシス(運動)」に区別している.その一方の「ネルゲイア」とは,現在進行と完了が同時に成立する行為であり,「見る」がその典型例である(「見ている」と同時に「見てしまった」といえる).他方「キーネーシス」とは,一定の目的に向かう末完了的な過程を持つ行為であり,現在進行と完了が同時には成立しない.その典型例は「建築」である(「建築している」と同時に「建築してしまった」ということはない).この区別をめぐっては従来,他のテキストとの関連が注目される一方で,このような排他的区別の成立を根本的に疑う見解が研究者から示されてきた.とりわけ,アクリルが投げかけた疑問と,それを解消するべくペナーが提起した「二局面構造説」は,区別の成否を検討する上で重要な論点を提示している.本稿は,ぺナー説を批判的に検討しつつ,アクリルの疑問の発生源である「一つの現実態を構成する二つの項」をめぐる問題を解明し,疑問の解消を目指すものである.関連テキストにおけるアリストテレスの議論を検討することにより, 「エネルゲイア」と「キーネーシス」の区別が,単一の現実態,すなわち単一の事態について必然的に成立する区別であることを明らかにしたい.

著者

安村 典子

出版者

日本西洋古典学会 = Classical Society of Japan

雑誌

西洋古典学研究 = Journal of classical studies (ISSN:04479114)

巻号頁・発行日

vol.55, pp.24-37, 2007-03-16

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In the scene of the bow contest in Book 21 of the Odyssey, several questions are raised, among which are why Telemachus joined the contest for choosing the husband of Penelope, and what he really means by his speech at 21. 113-7. It is the aim of this paper to consider how the motif (story pattern) of "the conflict between father and son" is working behind this scene, and how the poet of the Odyssey incorporated this motif into his story. In the first section, the characterisation of Telemachus is looked at. The main feature of his identity that is given emphasis is the son who is like his father. In the first four books of the Odyssey, the emphasis is on the similarity of his appearance to his father, as Telemachus is still a powerless youth at this stage. But at the same time, it is hinted at that he is to become a true hero like his father. Viewed from this context, the narrative that he could have strung his father's bow if Odysseus had not given a warning nod and stopped him (Od. 21. 128-9) shows that Telemachus is now similar to his father in power as well. Since no proof of identification is shown to Telemachus for him to recognise Odysseus, this episode functions as a proof of their identity as father and son; stringing his father's bow would be the most definite demonstration of their similarity. In the second section, Telemachus' speech (21. 113-7) is examined, where he talks of the reason for his joining the contest. The ambiguities in his speech are (1) whether ου (115) should be taken with μοι αχνυμενω (115) or with λειποι (116); and (2) what αεθλια (117) actually means. On the first point, it is concluded that ου (115) goes with λειποι (116), and on the second, it is argued that αεθλια (117) denotes "the prize" instead of "the contest" or "the weapon". Thus Telemachus joins the contest in order to gain Penelope and the kingship of Ithaca. The third section points out the reasons why the motif of father-son conflict could have intruded into this epic. The relevant factors are: (1) the poet's knowledge of the episode in the Telegony, in which Odysseus is killed by his son by accident; (2) the close contact between the Trojan and Theban epic cycles, as is shown by mention of Teiresias (Od. 11. 90-151) and Oedipus (Il. 23. 679-80; Od. 11. 271-80), in which the motif of father-son conflict is the basic pattern of the story; (3) the parallel relationship of Telemachus and Telegonus to Odysseus; (4) the widespread motif of father-son conflict throughout the Indo-European world. Thus, in this scene of the bow contest, the poet of the Odyssey seems to have alluded to the story of Odysseus' death by his own son, but also presents us with the new relationship between father and son, narrating Telemachus' acceptance of his father's warning nod. This interpretation of their momentary crisis and reconciliation well explains the episode of the two eagles, who come flying close together and depart in the same way, but in the meantime harm each other (Od. 2. 146-56). Although this episode has been regarded as difficult to interpret, it fits well with the situation of Odysseus and Telemachus at the bow contest; the son is now equivalent in strength to his father, which might cause dangerous tension between them, but they are reconciled at once and establish a new relationship. In this way, the motif of father-son conflict seems to underlie the bow contest scene.

著者

松平 千秋

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.23, pp.167-169, 1975-03-29 (Released:2017-05-23)

著者

川本 愛

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.63, pp.62-73, 2015 (Released:2018-03-30)

著者

玉垣 あゆ

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.59, pp.96-106, 2011-03-23 (Released:2017-05-23)

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While Medea, the eponymous protagonist of Seneca's tragedy, has been interpreted in various ways, as a furious woman, as a symbol of the nature, as a witch, etc., not enough attention has been paid to her important position as the wife of Iason. The purpose of this paper is to explore, through an analysis of the construction of the play, the ways in which Seneca treats Medea as Iason's wife, and thereby to clarify the side of her character that signifies her as a proud heroine. The paper first focuses on the parallelism that we find between the prologue and the final scene. The words at 53-56 are intended to notify the audience/reader of the correspondence between her past kin-killings and those to come. It will suggest one more parallelism: her abandonment of her homeland and later the abandonment of her husband, too. The paper then considers the ambiguity of Medea's identity as Iason's wife. Since we hear an account of Iason's wedding with Creusa as taking place during the drama, we wonder whether she still retains her status as a wife. And since the author links those crimes to their marital relationship, we ask, in addition, who is responsible for the past crimes - only Medea or her husband as well? I shall argue that she keeps hold of her status throughout the play. We next consider Medea's change from 170 to 910. She was at the start a weak woman with no inherited property and nowhere to go, but her newly acquired supernatural power gives her the strength that enables her to overcome Creon and Creusa and, so, to leave her husband. Finally, the paper examines the different motives for Medea's two son-killings. Seneca divides the murder scene into two parts. The first killing means the atonement for her murder of her brother and her own punishment for past crimes; but it also involves her 'return of the dowry' at 982-984, an act that marks the end of her marriage. In this way, she abandons her position of Iason's wife volountarily, and takes the lead in the divorce from her husband. The second killing occurs right in front of Iason's eyes: this not only signifies her revenge on him but also her resolution to cut herself off from him completely. She asks him 'coniugem agnoscis tuam?' While several past studies have translated these words as "This is your wife", I shall argue that it is in fact a rhetorical question meaning "Do you recognize your wife in me? I am not your wife any longer". While, in the prologue, Medea was surrounded by enemies on all sides, in the final scene Iason is left alone and has nowhere to go. Their positions are now reversed entirely and Medea accomplishes the purpose that she had hinted at in the prologue. She would not allow herself to be a passive figure in the divorce. Seneca molded her as above all a proud-hearted wife.

著者

小坂 俊介

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.64, pp.75-87, 2016 (Released:2019-03-25)

著者

小川 正広

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.31, pp.66-81, 1983

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<p>Whether in terms of external or internal criteria, the Sixth Eclogue has been regarded as a poem which owes least to the Theocritean pastoral. This general opinion, however, seems to be inconsistent with the introductry statement in which the poet decides to return to his early manner of bucolic composition. The use of Hesiodic Dichterweihe, which may follow Callimachean example in Aetia, recalls also the application of the same idea to the Seventh Idyll by Theocritus. So this paper attempts to find another principle of unity in the frequent appearance of the.motif of labor and to show in this thematic adaptation from Id. VII Virgil's deep understanding of an important aspect of the Greek pastoral tradition. The Eclogue can be divided into three sections. In the main part, the Song of Silenus, the labor-motii is presented in various types of myth. The opening cosgomonical passage, emphasizing the autonomic movements of the elements in contrast with a similar account in Ovid's Met. I. 5 ff., represents the existence of labor at the origins of the world, while the Pyrrha-episode and the theft of Prometheus mark respectively, with a happy age (Saturnia vegnd) intermediate between them, the beginning and the aggravation of human struggle with nature. In the next stories, where the passions of love are depicted as cause of labores, the realistic description of Pasiphae's painful wandering is enclosed by brief allusions to the sufferings of Hercules and the suitor of Atalanta. The following two sketches can be also paired as failure and success of labor: Phaethon falls to the ground in his dangerous attempt but Gallus ascends on the top of Helicon after a bitter trial as love poet. Lastly, Silenus pictures Scylla and Philomela enduring through adversity even after their transformations into animals. Thus interpreted, the Song will be closely related with the framework. In the introduction, where Virgil talks about his poetics, stress is laid on the special effort to be spent to make a fine work(ludere-deductum dicere carmen-meditabor), and that this artistic labor should not be disjoined from the poet's own painful experiences is suggested by the scene in which Silenus passes a symbolic bondage. These two aspects of poetic creation, recapitulated and integrated by a phrase Phoebo meditante in the ending lines, explain the reason not only for the stylistic refinement but also for the thematic selection of Silenus' Song. Now, this interpretation will invite comparison with Id. VII. Structural affinities and topical resemblances are observed as in the following: (1) The relation between poetic creation and ponos, hinted at first by the opening mention of Burina and Chalcon, finds its full expression in the words of Lycidas : το μελυδριον εζεπονασα. And this locution, with a preceding phrase βουκολικα&b.sigmav;……αρζωμεθ' αοιδα&b.sigmav;, corresponds to agrestem tenui meditabor harundine Musam in Eel.VI. (2) But Lycidas is not thinking of his ponos solely from the artistic point of view, because the first part of his song is clearly concerned with his personal experience of ponos. The deliverance from this predicament, as in the case of Silenus, makes it an essential condition for the second subject of his poem. (3) Mythical ponoi which are narrated in this part (αμφεπονειτο : Daphnis, εζεπονασα&b.sigmav; : Comatas) reflect the former situation of Lycidas himself and remind us of various stories sung by Silenus. In the song of Simichidas, too, the bitterness of love is expressed in the form of fantastic and real trials. (4) The ending description of Thalysia, in which the close connection between bucolic poetry and ponos is symbolically summarized, fulfils the function analogous to the conclusion of Eel. VI. Despite Rosenmeyer's view, recent critics tend to estimate the importance of the ponos-motif in 'Theocritus' larger</p><p>(View PDF for the rest of the abstract.)</p>

著者

佐野 好則

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.61, pp.125-127, 2013-03-28 (Released:2017-05-23)

著者

小林 薫

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.49, pp.62-73, 2001-03-05 (Released:2017-05-23)

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It is generally agreed that the agon scene between Teucer and the Atreidai over the burial of Ajax in the latter half of Sophocles' Ajax ruins the tragic pathos which is subtly developed in the course of the dramatic action up to the point of the suicide scene Among three topics disputed in the debate-evaluation of Ajax' conduct, legitimacy of the Atreidai's generalship, and Teucer's birth (status)-the last is most frequently alleged to be responsible for the drama's incongruity as having no relevance at all to the question of burial Reexammation of this controversy, however, reveals that it not only holds an appropriate place in the debate but also relates the agon scene to the earlier part of the drama First, the issue of birth is effectively introduced in the agon to highlight the fundamental difference of the opponents of the debate in the moral principles, thus aptly pertaining to the dramatic context The dispute over evaluation of Teucer's birth makes strikingly clear the contrast between the two sides, the Atreidai demanding that all Greeks should be under their supreme authority and no hubris should ever be tolerated, and Teucer, on the other hand, claiming that every warrior is equal and is subject to none but himself Secondly, the dispute over Teucer's birth relates the latter half of the drama to the first by calling into question the objective clarity of 'nobility of birth' To the scornful reproach of his antagonists that he is a barbaros, a slave born of a captive, a non-hoplite, thus having no claim to privileges of free men, Teucer makes strong objections insisting that he prides himself upon his nobility originating from royal-both Greek and Trojan-parents as well as in outstanding performance as an archer, and that the Atreidai too have barbaric elements in their allegedly noble birth This argument of Teucer seriously undermines the Atreidai's assumptions concerning nobility of birth by posing two questions first, by what standard is nobility evaluated, and second, to what extent is nobility of character determined by nobility of birth ? Furthermore, Teucer's protest against the Atreidai's abusive attack on his birth reveals, in spite of himself, the problematic nature of his brother's belief in nobility, which is thoroughly presented in his discourses in the earlier part of the drama Ajax's obsessive preoccupation with his noble birth, inherited from Telamon and to be inherited by Eurysakes, as well as self-chosen death as its proof is put into question ironically in attempt to redeem the honor of his brother Understanding the agon scene in this manner allows us to interpret the scenes to follow as well Odysseus' intervention as an arbiter can be seen as an enactment of possible alternative to nobility by which Ajax abides determinedly to the death, Eurysakes' participation in the rite of burial as problematic presentation of consanguinity of the father and the son It is incontestable, therefore, that the issue of Teucer's birth plays an indispensable role to grant coherent unity to the drama

著者

廣川 洋一

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.20, pp.40-48, 1972-03-25 (Released:2017-05-23)

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As the forerunners of philosophy, we have no small numbers of semi-philosophical cosmogonies written both in verse and prose. Almost all cosmogonies in verse such as that of Hesiod and of Epimenides are composed in hexameters. While even in the age of philosophy hexameters were still influential as one of the effective means of expression, lyric meters on the other hand are scarcely found used for semi-philosophical as well as philosophical ideas. Although it has been admitted that lyric poets had perhaps so great an influence on the shaping of philosophy, it is to be noted that no philosopher set forth his thoughts with the aid of lyric meters. Alcman's cosmogony in lyric meters, viewed in this light, arouse a great deal of interest. However, serious problems, such as the fact that the cosmogonical subjects from thenceforward had not been treated in lyric meters are by no means answered here. In this article, as the first step towards solving these problems, merely some remarks on his cosmogony will be given. Though we may regard Thetis, poros and tekmor as characteristic of his cosmogony, we do not subscribe to the opinion which holds that by emphasizing Thetis' character as a craftsman too much, it is alien from the early Greek cosmogonies. It is perhaps more suitable, when considering the nature of his cosmogony, to draw a comparison with the Hesiodic cosmogony than with the Near Eastern cosmogonies. Indeed, some close parallels are found between Alcman and Hesiod: (1) The original state of the world in their cosmogonies is a confused, undifferentiated mass. (2) Thetis, poros and tekmor can be considered to make a group and have the same function, -differentiation; differentiation, however, in the same sense as the formation of Chaos implying a vast gap comes into being. τηζ θετιδοζ γενομενηζ κ. τ. λ. (vv. 15-16) is therefore equivalent to χαοζ γενετ' (v. 116). (3) The formation of Daylight, the moon and stars out of Darkness (vv. 22-27) corresponds well to that of Aither and Daylight out of Night (v. 24). From what we have seen above, we may conclude that Alcman's cosmogony follows Hesiod with considerable accuracy even after having given careful consideration to the point that while Hesiod, as G. S. Kirk (Pres. Ph.) suggests, places emphasis on the nature of the gap itself, Alcman, on the other hand, takes a vivid interest in the act of separation at the first stage in the formation of a differentiated world.

著者

西村 賀子

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.9-18, 1985

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The Bacchae is Euripides' tragic masterpiece based on the long tradition of Dionysiac plays. As is well known, the poet never fails to add his own original elements even when he treats a traditional subject. In the Bacchae such an innovation can be recognized in what is often called the Cadmus-Teiresias-scene in the first episode. It is almost certain that Euripides was the first to add the two old men. He combined the new element to enhance the tragedy; he made it indispensable to the development of the main plot by making effective use of parallel sequences and words. The purpose of this paper is to analyse Euripides' dramatic technique by examining these parallel relationships. First as to the parallel sequences, it is quite usual in drama for some motifs in the first scene to be repeated in later ones, but in the fourth episode of the Bacchae we find a whole concentration of recurrences. This episode shares the same motifs and emotional tone as the first one. Two characters, Cadmus and Teiresias in the first scene, and Pentheus and the Stranger in the fourth one, walk to Mt. Cithaeron in Bacchic dress. Both pairs have the same kind of attitudes and their dialogues have something in common. In addition, the magic of the god has great influence upon both pairs; the old men are filled with a mysterious strength and exaltation. On the other hand Pentheus feels supernatural power in his body. The emotional tone pervading both scenes is the indissoluble blending of the tragic and the comic. In all of these ways, from the viewpoint of motifs and emotional tone the fourth episode is parallel to the first one. But at the same time the relation is completely reversed when we consider who is laughing at whom. In the first scene it is Pentheus who sneers at the god, the old proselytes, and Dionysus' birth myth. He is afraid of becoming the laughingstock of Thebes; nevertheless, in the fourth episode he in turn is mocked by Dionysus. Thus both scenes are placed in symmetrical opposition. Secondly we should discuss the parallel use of words, in particular in the god's birth myth which Teiresias explains. The core of the myth lies in the story that Zeus concealed Dionysus within his thigh. The verb "conceal" appears many times in the Bacchae and constitutes an important motif. Hiding always occurs just before the miracles showing the absolute force of Dionysus. The motif of concealment is closely related with the final epiphany of the god, which brings a miserable destruction to his oponent. Therefore concealment and epiphany compose a paired motif. On the other hand this paired motif is parallel to another, the god's double birth and the antagonist's double death. It is clear from the context that Dionysus was born twice, but it may be necessary to explain in what sense Pentheus experiences double death. When he reappears on stage at v. 918, he is wearing Bacchic dress instead of the armour he called for in the preceding scene. He is suffering from Dionysiac delusions and has lost normal consciousness. In this sense his first death is mental, whereas the second one is physical, executed by his own mother. Seen against the background of these parallel motifs, Teiresias' words describing the birth of the god have a deeper meaning. They express not only Dionysus' birth but also give a hint of the coming destruction of Pentheus and his family in the last scene. V. 290 predicts the king's falling to his death from a high tree and the exile of Cadmus and Agave from their homeland. And v. 292 suggests that Pentheus will be torn to pieces.

著者

逸身 喜一郎

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.56, pp.1-13, 2008

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Did the poets we describe as 'didactic' regard their work as part of a generic tradition? Starting from this question I examine how each poet defines himself in relation to his predecessors. A central problem is that there is no word equivalent to 'didactic poetry' in the ancient world, except epos (all hexameter poetry). Grattius, Cynegetica 94-97 (o felix…) reminds us of Virgil, Georgica, 2. 490-2 (felix, qui…) or of Lucretius, 5. 8-12 (deus ille fuit, …, qui…). Has the tradition of didactic poetry a stock of common themes, motifs, or rhetorical expressions? Rather, Grattius, destined to be a second-rate poet, may have naively imitated a Virgilian/Lucretian expression. Contrary to Virgil or Lucretius, however, his appraisal of the felix is exaggerated. But the exaggeration is not deliberate. If it had been so, it would have been a parody, like Archestratos fr. 36. 1-5 vis-a-vis Hesiod, Erga, 383-4. Certainly, some poets were capable of comprehending the general idea of 'didactic poetry'. Ovid writes a mock-didactic in elegiac: Ars amatoria. Virgil seems to have grasped the essentials of didactic poetry when he made a Carthagian rhapsode sing an epos (Aeneid, 1. 740-6). Following Servius (Praef. ad Georg.) we tend to suppose a tradition of didactic poetry starting with Hesiod and culminating in Virgil's Georgica. The ancients, however, had no division between epic (in a narrower sense) and didactic poetry. Aristotle blames the tendency to classify poems according to metre (Ars poetica, 1. 1447b17), but he is an exception. Hesiod is not regarded by the didactic poets as their ancestor, or the originator of their genre. Rather, they are proud of being successors of Homer; e.g. Nicander (in the sphragis of Theriaca) or Lucretius (3. 1036-38). According to the latter, Homer is even a poet of rerum naturam expandere dictis (1. 126). Manilius' catalogue (2. 1-49) collecting Greek didactic poets starts with Homer. We should not over-estimate Hesiod's influence on Virgil, through a cliche in citation (Georgica 2. 176). Virgil is rather independent of Hesiod, especially in Book 2 (as well as 3 and 4). So is Aratus. The epigram of Callimachus (27 Pf.) does not say anything to suggest that Hesiod created a different generic entity from Homer. I imagine there are two characteristics in 'didactic poetry': (1) catalogue (2) denial of myth. There are some interactions between epic and didactic, of course, for example the Catalogue of Ships in the Iliad or the Orpheus myth in the Georgica. But Manilius's manifesto is interesting. At the end of his catalogue of heroic/historic epics (3. 1-30), he denies vulgarity. Myth is vulgar and should be denied (cf.ps.-Virgil, Aetna 74-5). Note the same tone in Virgil, Georgica, 3. 3-11. I imagine also there are two 'key-words' of 'didactic poetry': (1) artes (2) rerum causae. Observation of stars, weather, thunder, earthquakes leads to rerum causae. Interestingly, Ovid starts the Metamorphoses with the origin of the world and ends with Pythagorean theory (15. 66-72, similar to Virgil, Aeneid, 1. 740-6, above), although the central parts are catalogue of myths: this is an innovation of Ovid, self-conscious about the nature of epos. It is perhaps impossible to answer the question: 'What is didactic poetry?' There is no core of didactic poetry, comparable to the Iliad in the case of epic. Nor was there any agreement of opinion among the poets. Some simply imitate superior poets and other like to deny vulgarity. Virgil and Ovid are rare cases.

著者

山口 明子

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.13, pp.98-115, 1965-03-27 (Released:2017-05-23)

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The assertive sentence is by definition a form of proposition the content of which is presented as an assertion made by the speaker This assertiveness can also be expressed by way of vocabulary, using a certain group of verbs called verba adfirmandi (e g arbitror, puto, censeo, iudico, intellego, scio, etc) Now arises a question what is the relation between the assertiveness derived from the very form of the assertive sentence and the nature of assertion of the above verbs common to all the members of the group ? This is the first question Then comes the second what are the features characteristic to each member of the group apart from their common class-meanings, and, what is the correlation they may have with the form-meaning of assertive sentences Through the observation of verba adfirmandi used in Cicero's Letters (ca 500 in number), it is concluded 1) that the verba adfirmandi can be divided into two sub-groups one is that of verba ludicandi denoting judgement by the speaker of the things unknown and uncertain, and the other that of verba recognoscendi which denote recognition of the things as true or certain 2) that the assertive sentence describes things as they are, with no regards to the gap existing between expression and things expressed When the speaker feels it necessary to assert the content of his utterance more expressly, either as his judgement or as his recognition, he usually resorts to verba adfirmandi, and the result thus attained is that he stands also as the subject of the verb so as to express his responsibility for his assertion more distinctively 3) that both of these sub-groups may also be used for stylistic purposes i e verbs belonging to the former sub-group may denote contents of the sentences as something uncertain or at least as a judgement made by the subject of the verb only (i e not by the speaker), regardless whether it is true or not, whereas the verbs belonging to the latter sub-group express it as a fact 4) that the difference in distribution between these sub-groups can be explained, in the present writer's opinion, by the difference in stylistic nature of the sub-groups For example, the use of the 2nd person of verba iudicandi (putas etc), when used in assertive sentences, produces an impression more or less impolite, and, therefore, it is recommended to avoid it in politer expressions On the other hand, that of verba recognoscendi can be used in similar sentences quite freely, without such restrictions 5) that when a certain group of activities, such as absolutely mental activities or activities considered not honourable to their agents, are to be expressed, the expression always takes a form of oratio obliqua led by the verb of verba iudicandi (vereris-videris vereri etc) in contrast to the activities laudable to the speaker, which are expressed by means of verba cognoscendi (tibi curae est-scio tibi curae esse etc) Though the differences between these subdivisions of verba adfirmandi are essentially of logical nature, it is possible to say that the author of the Epistulae fully makes use of such differences in his own manner and for his own purposes, communicating subtle evaluations of a given activity or of its agent on the part of the speaker, and thus accomplishing a style of a true master of prose

著者

伊藤 貞夫

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.40, pp.195-197, 1992

著者

今泉 智之

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.44, pp.37-47, 1996

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<p>How are the following three propositions related to each other in the Phaedo? A Something is beautiful. B Something has(echei)beauty(immanent form or character). C Something participates in (metechei) beauty (transcendental Form). Some scholars(e. g. Vlastos, Fujisawa)identify A with B and consider C is the cause(reason) (aitia)of both A and B, but in my view this interpretation is open to further discussion. Plato does not identify A with B, but rather thinks B may also be the cause of A. This paper further considers this point. If anything else is beautiful besides beauty itself, it is so only because (dioti) it participates in that beauty(100c4-6). This sentence suggests that C is merely the cause(dioti)of A, and in the following passages of the Phaedo it is never said that B is caused by C. Simmias overtops Socrates because (hoti) Socrates has smallness in relation to Simmias' largeness(102c2-5). "Simmias overtops Socrates" is similar to "Socrates is smaller than Simmias" and "smallness" is immanent form. If so, the import of this sentence is that B is also entitled to be the cause(hoti)of C. In this respect, the next sentence is important. Nothing else makes a thing beautiful except beauty itself, whether by its presence or communion or whatever the manner and nature of the relation may be(100d4-6). The meaning of the word "presence(parousia)" is close to "echein" and "communion(koinonia)" to "'metechein". Of course the immanent form (beauty)does not appear clearly in this sentence, but the ambigious expression "whatever the manner and nature of the relation may be" alludes to it. If this understanding is correct, the role of this sentence is to suggest that A can be caused by either B or C. At 103c10f. Socrates introduces some other items, namely, "fire", "snow", "three" etc. The status of these is controversial, but I take them as immanent forms, because at the advance of their opposites, say, "cold", "hot", "even", they get out of the way or perish. Since immanent forms, "largeness", "smallness", are prescribed similarly at 102d5-103a2, "fire", "snow", "three" must be immanent forms(cf. Keyt). At 104d1-7 these items are defined thus : There would be those that compel whatever they occupy to have not only their own form but the form of some opposite as well(d1-3). Anything occupied by the form of three must be not only three but also odd(d5-7). This definition suggests that when something is occupied by "three" (immanent form), it is compelled to have not only "three" but "odd", so that it must be not merely three but odd. That is to say, in these two sentences too, it is suggested that possession of an immanent form causes predication. This becomes more obvious at 105b5-c6. In this passage, "fire", "fever", "one" are immanent forms. And it is clear that their immanence in something is the cause of predication. If the above consideration is correct, we can conclude that in the Phaedo A(predication) is caused either by B (possession of immanent forms) or by C (participation in transcendental Forms), but C is never the cause of B. Why, then, is B introduced in the argument? Is it necessary to Plato's argument? To answer these questions we must consider two points. One is that this argument is subordinate to proof of the immortality of the soul. In the argument soul is parallel to immanent forms. A body lives by the immanence of soul with it(105c9-11). As "three", which brings "odd" to something, can not admit "even" (104e8-10), so soul, which brings life to body , can not admit death, and therefore is immortal(105d3-e9). To prove this, Plato has to introduce B, namely, immanent</p><p>(View PDF for the rest of the abstract.)</p>

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

佐野 好則

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.59, pp.1-11, 2011

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Nestor's story in Iliad 11 seems to be without close correspondences with the main plot of the epic, unlike other paradeigmata in the Iliad such as the story of Meleager and the story of Niobe. Still, critics have detected some elements which are similar to the situations surrounding the Greeks in the Iliad, such as the loss of leading warriors and the besieged city of Tryoessa. A notable feature of the story is the similarity of Nestor's valour in the cattle raid and in the battle against the Epeians. Another notable feature is the repeated references to Nestor's relationship to his father Neleus. Both of these features strengthen the contrast between Nestor who displayed his valour though his father forbade him to enter the battle, and Achilleus who does not display his valour though his father Peleus ordered him to do so. These elements contribute to the function of this story as a paradeigma for Achilleus. Patroclus is moved by the story, and when he sees Achilleus in book 16 and reports Nestor's words, he does not overtly ask Achilleus to return to battle. Instead, Patroclus emphatically asks Achilleus to let him return to battle, though this was only Nestor's second option. Those elements in Nestor's story in book 11 which strengthen its function as a paradeigma for Achilleus are so designed that they also work on Patroclus. In Nestor's story, the point where Nestor stopped his pursuit of the enemies and withdrew is clearly marked. It is notable that the moment when Patroclus should have stopped his pursuit of the Trojans is emphasized. This contrast between Nestor and Patroclus is discernible for the audience (or readers) of the Iliad who know the outcome of the influence of Nestor's story on Patroclus through the course of the epic. Nestor's story, which seems to be merely a lengthy and garrulous boast, is skillfully connected to the main plot of the Iliad on different levels: It is scattered with elements which strengthen its function as a paradeigma both for Achilleus and Patroclus. It also points to Patroclus' death through a notable contrast between this story and the course of events in the main plot of the epic.