プラウトゥス『プセウドルス』の策略と芝居

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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 reconsiders two much discussed inconsistencies in Act V of the play, i. e. no action for Callipho, who promised to act as a mediator in Act I, and Pseudolus' promise to Simo to return part of the money, which the slave is supposed to pay to Ballio. It will be suggested that these are part of a plot designed upon the audience. I have called attention to Simo's soliloquy at the end of Act IV, saying that he is going to prepare a trap for Pseudolus in a manner different from other comedies, to bring money to him unasked(1239-45). It is because he actually does so in Act V(1313-4) that the role of the mediator becomes unnecessary, and it is certain that he is aiming to get some money back(1290-1) and Pseudolus could not make the promise before he was given the money. Simo's soliloquy can be compared to Pseudolus' in Act I, Scs. iv and v, where he likens himself to a playwrite, who finds what is nowhere in the world (395-405), and promises to produce something new in new fashion on the stage (562-70). Also. Simo's move to give momey unasked seems to correspond to Pseudolus' straightforward confession to Simo of his intention and of Calidorus' love(479-503), which places Simo on firmest guard against his plot(504-6, 516). Both look desperately unusual in giving away what they have in hand, namely, they force themselves to begin from a state of blank. Then, Simo's plot appears similar to Pseudolus' at the start, and eventually becomes successful. Does this mean a failure of the central character at the ending of the play? In this respect, it should be noted that in Act IV Pseudolus acts highly anxious and awkward, in a sharp contrast with Simia, who, entering grandiosely and full of confidence, completes the plot successfully. It is interesting to see that Pseudolus there seems to correspond to negatively nervous Calidorus in Act I, and Simia to positively confident Pseudolus in Acts I and II. I have observed some pairs of images and motifs, which, combined with theatrical metaphor as pointed out by Wright and Slater, appear to control the actions of characters : confident vs. anxious ; cautious vs. credulous ; alive vs. dead; standing(or entering) grandiosely vs. tumbling or staggering. Anxious, credulous, almost dead, and tumbling, Calidorus is never successful in Act I. Preparing to celebrate his birthday. Ballio acts confident, cautious, and grandiose in Act I, whereas in Act IV, after the cook has made him anxious, he is unable to walk straightways in entering, wrongly trusts Simia and mistrusts Harpax, and calls his birthday his death-day as he exits. In Act III, the cook's confident verbosity stresses that his dishes are for eternal life, criticizing others' as for death, whereas Simo suspects that he cooks for the dead. In Act V, Sc. i Pseudolus enters staggering with wine, and speaks of the banquet, which he has just come out of. The festivity described is said to be what life is for(1255), but there Pseudolus fails to enjoy himself fully because he is requested to dance, and ends up falling down, which marks the end of his play(naenia ludo 1278), as he daubs and takes off his mantle, a symbol of servus. In Sc. ii, he humiliates Simo by belching and adding an insult "vae victis" when he gets the money from him, but he needs Simo's hold to stand when he belches, and "vae victis" are the words of Brennus, one of the most abhorred of the Romans' foes. These images for Pseudolus seem to imply that he is no more servus callidus in Act V. I have suggested that the ending scene is directed as follows, with Callipho placed in the audience (CALL. lubidost ludos tuos spectare 552) : when Simo proposes to Pseudolus to invite the audience together(1331f.), Callipho stands up, pointing to himself as if to ask that he should also be called ; when Pseudolus negates the proposal(1332-3), he, already heading toward the side of the stage, does not glance at Callipho, as Simo, following Pseudolus, turns a smile to Callipho with a gesture of his index finger pointed to the purse at Pseudolus's back and his thumb to himself, as if to say, "that's mine". Now we may see the real target of Simo's plot, i. e. of this play : not Pseudolus, but, rather, the audience represented by Callipho. The unexpected ending must have surprised them, especially Callipho, who is robbed of his chance to speak, although his name means "fine voice". Pseudolus' final words to the audience, to invite them tomorrow(in crastinum) if they applaude the play(1334), seem to endorse that all the actors, including the audience, have successfully finished their roles. Pseudolus had cautioned the audience against himself for today(in hunc diem 128), and they have played roles to be played by the play's plot : the slave acting the fool. So has Callipho, whom Pseudolus had asked to be a witness to his play just for today(in hunc diem 547). There will be no play (therefore, no invitation) tomorrow, when Ballio will transact with citizens(cras agam cum civibus 1231).
京都大学の論文
1996-03-31

著者

高橋宏幸
京都大学

プラウトゥス『プセウドルス』の策略と芝居

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