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The stage-lyrics-what Aristotle called τα απο τηζ σκηνηζ in his Poetics (12, 1452 b 17)-, the solos, duets, and trios sung by the characters on the stage, are particularly Euripidean The present author examines all these lyrics απο τηζ σκηνζ in the tragedies of Euripides*, and his conclusions are as follows In the Alcestis, the Medea and the Hippolytus, the vehement pathos of their heroines is set forth before the spectators in the lyric dialogues at the beginning of the plays The Andromache and the Hecuba have beginning lyrics of a similar sort m their 'pre-parodos' monodies The function of these lyrics is to repeat and emotionalize the dramatic situation already made known to the spectators in the preceding parts of the plays, especially in the so-called Euripidean prologues In other words, to be able to introduce the emotional, which was his main concern in this period, as early as possible in his plays, Euripides had to give the preliminary explanation of the dramatic situation in his peculiar prologues he stage-lyrics in the earlier part of his plays, therefore, have something to do with his dramaturgy derived from his conception of the tragic The beginning lyrics απο τηζ σκηνηζ are formalized, in the Hecuba and the Trojan Women, as the 'pre-parodos' anapaestic monody, and as the background of this we must recognize that the monodies of Hecuba in the two plays have lost the violent passion of Medea or Phaedra, gaining instead in their tone of sorrowful lamentation To this process corresponds the inner world of the poet, who has become more and more concerned with human suffering in its passivity The 'pre-parodos' monody, however, becomes merely accessory and decorative in the Electra, and was entirely given up in the Iphigenia among the Taurians and the Helen And it must be admitted at the same time, that the tragic world of the Trojan Women has given place to another, to which the 'pre-parodos' monody of the Ion makes a strenuous effort to adapt itself But, in spite of this effort, most of the examples of the later stage-lyrics in Euripides, which are characterized, as are the plays themselves in this period, by the various devices in novelty and variety, are 'post-parodos' astrophic arias (whose forerunners were the monodies of Hippolytus in the play bearing his name, and of Polymestor in the Hecuba, both of them sung in physical pain), such as Creusa's in the Ion, Jocasta's in the Phoenician Women, or the Phrygian's in the Orestes The last of these is the boldest possible innovation conceivable on the tragic stage, and marks an extreme in τα απο τηζ σκηνηζ, beyond which the last two plays of Euripides, written in Macedonia, were not able to go These conclusions lead to a supposition that the lyrics απο τηζ σκηνηζ in Euripides are in close connection with the nature and the design of Eunpidean tragedy, and vice versa * A1e 244-279, 393-415, Med 96-130, Hipp 176-266, 669-679, 1347-1388, Andr 103-116, 501-544, 825-865, Hec 59-97, 154-215, 1056-1106, Suppl 990-1030, Here F 1178-1213, Troad 96-152, 235-291, 308-341, 577-607, 782-798, E1 112-166, Iphig T 827-899, He1 625-697, Ion 82-183, 859-922, 1439-1509, Phoen 103-192, 301-354, 1485-1581, Or 960-1012, 1369-1502, Iphig A 1279-1335
日本西洋古典学会の論文
1963-03-30

著者

中村善也
京都府立大学

ΤΑ ΑΠΟ ΤΗΣ ΣΚΗΝΗΣ : エウリピデスにおける

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