著者

引地 正俊

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.116-126, 1965

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The story of Leucippe and Clitophon has, more than any other Greek novel, a striking peculiarity in its structure In the introductory part of the novel where Chtophon is first introduced to us, the author (supposed to be Achilles Tatius) himself puts in an appearance as one of the characters, who, admiring the great force of the god of love, draws our attention to Eros depicted in a painting The force of Eros is, through the words of various characters, emphasized repeatedly in the novel the whole world, under the dominion of Eros, is considered to be provided with a "dynamic" harmony But why is that harmony dynamic ? It is made dynamic by Tyche, who actualizes or crystallizes the force of Eros in various ways All the incidents in the story are caused by Tyche (who is identified as the goddess to develop the very plot of the novel) Mehtte, Thersander's wife, who appears in the Book 5, should be regarded as one of such παιδια of Tyche And Clitophon, as a faithful slave to Eros, returns Melitte's violent love behind the back of Leucippe But here the author of the novel puts himself in a dilemma his is now obliged to admit Thersander's love for Leucippe and to give up the heroine's chastity, which has been traditionally important for the composition of novels, for Thersander too might be regarded as one of Tyche's victims burning with the flames of Eros On the other hand, Tyche is used in another sense for the composition of the novel Achilles Tatius, who holds that we are often informed beforehand of the actions of Tyche in various ways, interposes at regular intervals several descriptions of the pictures seen by certain characters and gives us hints of the incidents which are to happen in each successive part of the plot But his "oracular" method of composition is used up while the heroine's chastity is in peril, and the names of Eros and Tyche, which have so far appeared quite often, begin to vanish after the sixth volume, and Thersander soon turns out to be a thorough rascal Then, finally but abruptly, ignoring the plan laid out at the outset, Achilles Tatius puts an end to the novel without any words to thank Clitophon for his long narration and gives us an unsatisfactory impression, which might be attributable to the fact that the author has given up at midpoint the inner structure of his novel together with the outer one

著者

田中 咲子

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.53, pp.34-46, 2005

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It has been already noticed almost for one century that the figure of the dead as well as of the bereaved are often depicted together on white ground lekythoi of the Classical period It has, however, hardly been tried to define the status of the dead, namely whether the figure represents him in his life time or after his death Rather the definition seems to have been avoided This prevaling attitude is influenced by Buschor's view He regards the subject of the scenes as the "Verbundenheit" between two people, and he saids the idea that the bereaved and the dead should be distinguished clearly in the scenes is irrelevant The painters did not intend that Life and death are overlapped in the scenes and they are inseparable However, after I found a remarkable representation on some white ground lekythoi by the Achilles-Painter, his interpretation began to seem questionable to me It is the hand pointing to the earth with forefinger that I have found The painter depicted it three times on his lekythoi in New York , two on the lekythoi with grave stele (1989 281 72, 08 258 16) and one without suggestion of the location (08 258 18) Since the painter left us various exquisite representations of the hands, for example, that very soft hand playing the lyre in Munich, and also, by comparing some hands of the same form but in different contexts by some other vase painters from the time, we can conclude that he painted consciously these three hands to point to the earth Subsequently, what do these hands mean? Do they not mean that the figures belong to the world of Hades? We know from literary sources, for example, the tragedies from the same period, that the Greeks generally had a common idea that the dead lived in the underworld or in the tomb Therefore we can regard the figure of the dead as someone who has already crossed the river Acheron That means that the Achilles-painter intended to distinguish the dead and the bereaved Why therefore can the dead and the bereaved share the same sphere, even though each belongs to the different worlds? I regard the scene that the dead appears in front of the bereaved, especially in the scene with a grave stele, at the tomb It is of course a fantasy But this conception is sometimes seen also in the tragedies Aeschylus depicted the dead Dareios appearing at his tomb(Persai, 681ff), and Sophokles made Elektra speak to the tomb of her father asking him to appear in front of her (Elektra) These examples enable us to consider the scenes on the lekythoi as a representation of the wish of the family of the deceased to see him again In this interpretation the scene and the status of the dead is defined more precisely, but it is not always incompatible with the view of Buschor, because in this interpretation as well the essence of the scene is the "Verbundenheit"

著者

中谷 彩一郎

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.89-101, 2008

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This paper examines the reception of Achilles Tatius' Greek romance, Leucippe & Clitophon in Paris in the first half of the seventeenth century, when France took the lead in the vogue for Greek romances in Europe. In section 1, I investigate the readership. Abraham Bosse's engraving representing the stall of Augustin Courbe shows that Leucippe & Clitophon was then regarded as fashionable literature. Achilles Tatius flourished and became popular among intellectuals in Paris. It was translated, discussed, and even provided the nicknames of the salon. Section 2 summarises the literary influence. In the history of French literature, the first half of the seventeenth century is called the baroque age. The baroque refers to a cultural taste, which seeks change and movement, and departs from regulations. Achilles Tatius appealed strongly to this baroque sensibility and acted as a good source for literature. In prose, Nicolas de Montreux, Martin Fumee, Francois de Gerzan, and Honore d' Urfe, to a greater or a lesser degree, imitated scenes from Achilles Tatius, while Jean Herembert's Pandion et Yonice (1599) was solely dependent on Leucippe & Clitophon. In drama, Pierre du Ryer and probably Alexandre Hardy dramatised Achilles Tatius round 1629, and du Ryer's Alcimedon (1632) also has some allusion to the Greek author. Section 3 focuses on du Ryer's play, Clitophon: tragi-comedie. The description of the mise-en-scene by Laurent Mahelot illustrates how the play is spectacular. The plot is filled with varied incidents, adventures of the hero and the heroine over three cities: elopement, shipwreck, pirates, war, sacrifice, the court etc, as of course is the Greek novel. Section 4 treats Abraham Ravaud's romance, L'Angelique, which reflects his own view of Leucippe & Clitophon as a French translator. The opening scene is a pastiche of events specifically derived from Achilles Tatius (the shipwreck, the Scheintod, the attempt to die beside the lover's tomb, the appearance of two barbarians, and the conversation in a locus amoenus) embellished with the in medias res structure from Heliodorus' Aethiopica. It is surprising to find so many events combined in the opening scene, but it is the author's strategy to captivate readers right from the start and keep them in suspense. The final section presents an overview of the theory of prose fiction. In the preface to his edition of Achilles Tatius (1640), Claudius Salmasius traced a history of fiction from the Persian amatoria, the Asian Milesian tales through Arabic narrative to Spain, from which France acquired the romance. In 1641, George de Scudery was the first to call the ancient novel a Roman in the sense of prose fiction, and cleary propounded several rules of romance. And Huet's Lettre a M. de Segrais sur l'origine des romans (1670) not only systematised and developed their ideas, but was also the high-point of appreciation of the ancient novel. It is ironic that his treatise was attached to Zayde by Madame de La Fayette because her La princesse de Cleves (1678) would soon dramatically change the essence of prose fiction.

著者

大芝 芳弘

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.55, pp.149-151, 2007-03-16 (Released:2017-05-23)

著者

藤澤

出版者

日本西洋古典学会

雑誌

西洋古典学研究

巻号頁・発行日

vol.34, pp.179-180, 1986

著者

山下 太郎

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.39, pp.82-91, 1991

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In Virgil's Georgics, the relation between the end of Book 4 (the Aristaeus story) and the poem as a whole has often been questioned Many scholars have noticed that this story reflects the preceding main themes of the poem the Aristaeus episode reminds us of the theme of labor, while the Orpheus episode tells about the theme of amor and mors But how can we understand the relation between these two episodes? A close analysis of the episodes shows not only how Virgil explains the human condition in the age of Jupiter, but also how he develops the view of Lucretius on civilization, love, and death But here arises another question how can we interpret the fact that the story reflects the significant influence of Homer, with the Orpheus episode at the same time being connected with the Eclogues (esp Eel 6 and 10) ? This fact results in the impression that the story, irrelevant to the preceding didactic part of the poem, is abruptly introduced My answer is that the end of the fourth Georgic may have a hidden function of expressing the poet's career as a primus poet in Rome The Orpheus episode, closely united with the theme of amor and mors in the Eclogues, implies that Virgil has written the Eclogues, while the Aristaeus story as a whole shows Virgil's original point of view on the human condition Further, the impression that the story is closely related to epic poetry suggests Virgil's intention of writing an epic in the future This view is confirmed by another similar example found in the epilogue of Book 2 and the proem of Book 3 First, in 2 475-494, Virgil compares his view of nature and happiness with that of Lucretius, even though the former's view is quite like that of a shepherd in the Eclogues Second, through the description of happy farmers, the epilogue of Book 2 expresses the ideal of the Georgics which reflects the theme of labor in the first half of the poem Third, in the proem of Book 3, Virgil promises to write an epic which will glorify not only Caesar but also Virgil himself In short, this middle part of the poem implies that the poet has already written the Eclogues, and is writing the Georgics now, and will write an epic in the future Just as in this middle part, the end of the fourth Georgic not only reflects the preceding main themes but also, as a kind of sphragis, implies the poet's career as an original poet in Rome

著者

瀬口 昌久

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.25-35, 1994-03-28 (Released:2017-05-23)

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An Eleatic stranger presents the definition that being is nothing but power or function(dynamis)in the Sophist(247d-e). However, this definition is not accepted by the friends of the Forms because they are afraid of the paradox that Reality must be acted upon in so far as it is known(248a4-248e5). They believe that cannot happen to the changeless. I shall attempt to clarify the purpose of this paradox and whether the definition of being as power is maintained. D. Keyt analysed the paradox and found that it is based on five premises (Plato's Paradox that the Immutable is Unknowable, PQ, 19, 1969, 1-14). (1) Real being is completely changeless. (2) Being is known. (3)To know is to act on something. (4)If knowing is acting on something, then that which is known is acted upon. (5)To be acted upon is to be changed. Premises(2)-(5)entail the denial of(1) , which contradicts the belief of the friends of the Forms. Does Plato avoid the contradiction? If so, how? As Keyt points out, no one has claimed that Plato rejects either(2) or(4). I shall consider premises(1) , (3) and(5). Many commentators(e. g. J. Moravcsik, G. E. L. Owen, I. M. Crombie, R. S. Bluck, W. G. Runciman)think that Plato rejects(1). However, they are claiming that the Forms are subject to change only in the sense that dated propositions are true of them, not that the Forms undergo a change of their own nature when they are known. If the Form of Justice is known by an individual, a temporal proposition is added to the Form, and then the Form is changed in an accidental way. However, this view has no textual evidence. On the contrary, it contradicts the statement in the Timaeus that the Forms are timeless (37e1-38a8). W. D. Ross suggests that(3) is the only explicit hypothesis of the five and holds the view that in knowledge the object acts on the mind not vice versa. Ross ignores the fact that the paradox is meant to damage the claim that the power of acting or being acted upon belongs to becoming but not to being (Keyt, p. 4). Other commentators(F. M. Corn ford, H. Cherniss, G. Vlastos)suppose that Plato himself will abandon(5). They think that the spiritual motion distinguished from the physical does not alter its objects. Keyt and A. C. Ray criticize this interpretation on the ground that the distinction between physical and spiritual motion is not drawn in the Sophist. If it had been drawn, the friends of the Forms would not have adhered to(5). I support the denial of(5). The problem is why the friends of Forms stick to(5). I connect the definition of being as power with the perception theory in the Theaetetus(155e-157d). "More refined and subtle people" in the Theaetetus maintain the principle that everything arises from the motion of two kinds of power, the one being active and the other passive. I suggest the definition of being in the Sophist derives from this Heraclitean principle of being. Plato deliberately omits the crucial word "kinesis" in the Heraclitean principle from the definition of being in the Sophist. It is by virtue of this omission that the definition of being can be applied to real being as well as material things. Moreover, when the notion of the active and passive power is distinguished from that of changes or motions, the definition will ensure Plato's view of the communion of Forms. The paradox shows the absurdity which arises when we connect the active and passive power of Forms with motion or change. Plato's aim in the paradox is to establish the view that the power of Forms need not cause changes in its objects. I conclude that the definition of being as power is maintained and not given up after the paradox and is the key to understanding the meaning of real being.

著者

中谷 彩一郎

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.49, pp.74-85, 2001

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Achilles Tatius' Leukippe and Kleitophon consists of various doublings/double structures These include the shapes and structures of objects, developments of the plot, analogies or contrasts in human relationships, and rhetorical expressions or the like Of course such doublings are often used in Greek romance as well as in other classical genres as scholars have frequently noted However this feature is most remarkable in Achilles Tatius because double structures are stratified over and over again This fact has already been remarked in relation to individual matters like ekphrases or the relationship between the two main female characters, but there seems to be no overall study of this motif In this essay I therefore would like briefly to consider the character of these doublings in Achilles Tatius in various aspects The starting-point in an investigation of Achilles Tatius' multiplicity must be the painting of Europa in the opening scene At one level there is a simple contrast here with the high valuation the similar painting had received in the preface of Longus' Daphnis and Chloe, but in a more fundamental way it plays a central role in the multiplex structure of the work Accordingly I examine the doublings in Achilles Tatius along with the description of the painting of Europa First, the picture of Europa implies the elopement of Kleitophon and Leukippe (and the abduction of Kalligone by Kallisthenes) which occurs in book 1 and 2 as well as their marriage at the end Hence it anticipates the frame of the story Secondly, in respect of human relationships too, a pattern of doublets overlaps one after another and spreads over the whole story Thirdly, added to the framework mentioned above, a close observation of the painting of Europa proves further relation with the story I divide the description into five elements, namely (a)pasture, (b)maidens, (c)colours, (d)Europa, (e)Eros and look at the correspondence to the love-story step by step Furthermore I also examine the picture of Andromeda and Prometheus and the picture of Philomela because these two pictures have many features in common with the Europa picture and are both carefully situated, at the beginning of book 3 and 5 respectively And finally I indicate other double structures in the novel To conclude, Leukippe and Kleitophon is an mtertexture of various double structures in respect of keywords, expressions, complexities of human relationships and the structure and development of the plot The association of ideas 'doublings/double structures' is stratified over and over again In this multiplex structure the painting of the abduction of Europa plays a central role In other words the ideas and expressions originating from the Europa painting run through the whole story of Leukippe and Kleitophon

著者

城江 良和

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.35, pp.12-21, 1987

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The purpose of this paper is to explain a structural problem of the role which Hecatoncheires play in the Theogony, from the poet's religious sentiment. Their role can be seen from two aspects, namely as antagonists against Titans and as helpers of Zeus But in either role they have another god or other groups of gods who have similar functions to theirs. On the one hand in Titanomachy we see, beside Hecatoncheires, Zeus himself overpowers the enemies with his thunderbolt (the assertion that the ansteia of Zeus [687-712] is an interpolation is untenable), and on the other hand in order to support the supremacy of Zeus we already have Cyclopes who gave him the thunderbolt to be his weapon and the children of Styx, named "Emulation", "Victory", "Strength" and "Force", who dwell near Zeus and always escort him When we examine the episodes of these helper-gods, we discover two motifs recurrent in each of them First, the aid is motivated by the justice of Zeus and offered as a return for his kindness, and second, each episode ends with the words which praise the rule of Zeus. But the motifs are most conspicuous in the case of Hecatoncheires They fight together with Zeus in return for their release by him and Kottos, representing them, praises the wisdom of the supreme god We can infer that the aim of Hesiod who permitted the overlap of their role with that of the other gods was to express, through the mouth of Kottos, his own religious view This inference drawn from the internal arguments on the structure of the poem is supported by the external ones on the poet's attitude to the tradition of Titanomachy In the Iliad there are several allusions to the war against Titans, which tell that Zeus threw Kronos down into Tartaros, and in another place it is narrated that Thetis called up Briareos to rescue Zeus from being bound by three revolting gods In the Theogony the Titanomachy scene opens with the release of Hecatoncheires, for the poet's concern is concentrated on the alliance between Zeus and the monsters Accordingly the events which occurred before it are mentioned as briefly as possible. From these accounts on Titanomachy it is proper to assume a common source for both the epics, so to speak Ur-Titanomachy, which included the assistance to Zeus by Hecatoncheires The'tradition of Gigantomachy, beside that of Titanomachy, had also existed before Hesiod and he certainly knew it (SO, 185-6). Nevertheless he did not incorporate the war, unlike Titanomachy, in his work The reason for his selection is to be found in his piety for Zeus The story of Gigantomachy, where Olympian gods had not the power by themselves to defeat mortal enemies, and were forced to demand aid of a mortal hero Heracles, was not acceptable to the poet who believed in the sovereign power of Zeus. On the contrary in Titanomachy, though the situation is similar, the enemies as well as the helpers are immortal gods, therefore the tradition is less contrary to his religious sentiment. It is not certain whether the imprisonment of Hecat- oncheires by their father and their release by Zeus are an invention by Hesiod. But this plot, to be sure, gave the poet a good opportunity to make the monsters play an important role in the Theogony

著者

小坂 俊介

出版者

日本西洋古典学会 ; 1953-

雑誌

西洋古典学研究 (ISSN:04479114)

巻号頁・発行日

no.64, pp.75-87, 2016

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

著者

松原 俊文

出版者

日本西洋古典学会 ; 1953-

雑誌

西洋古典学研究 (ISSN:04479114)

巻号頁・発行日

no.64, pp.103-114, 2016

著者

立花 幸司

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.165-167, 2013-03-28 (Released:2017-05-23)

著者

南雲 泰輔

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.62, pp.91-102, 2014 (Released:2017-01-31)

著者

田中 あや

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.62, pp.39-50, 2014 (Released:2017-01-31)

著者

神崎 繁

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.41, pp.139-142, 1993

著者

吉田 俊一郎

出版者

日本西洋古典学会 ; 1953-

雑誌

西洋古典学研究 (ISSN:04479114)

巻号頁・発行日

no.63, pp.87-98, 2015

著者

吉田 俊一郎

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.63, pp.87-98, 2015

著者

南雲 泰輔

出版者

日本西洋古典学会 ; 1953-

雑誌

西洋古典学研究 (ISSN:04479114)

巻号頁・発行日

no.62, pp.91-102, 2014

著者

南雲 泰輔

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.62, pp.91-102, 2014