祝勝歌の一人称単数

概要

論文の詳細を見る
The present paper has two purposes The first is to present the author's basic theory concerning the first person in the epinicion by briefly surveying Pindaric scholarship In particular, the author suggests that the epinician "ego" should be understood in a way similar to the "ego" of the choral song in Greek Tragedy It is the chorus that stands in the epmicion as the first person This "ego" is a momentary and fictional person existing only as long as one particular epinicion is performed Thus, we should not use Bundy's term, laudator or enkomiast, with its connotation of a person existing continuously as this "ego", but rather we should use ταμιαζ κωμων (I 6 57 f) Moreover, this "ego" has nothing to do with the poets themselves as historical persons The second purpose is to offer evidence to supporting this theory Here, the author observes two typical cases where "ego" appears in epinician poetry In the first typical case "ego" appears together with the Muses To get a clear picture of the stylistic features of the phrases we find here, the "ego"-Muse relations of early, non-choral Greek poetry are cited This comparison allows us to see, among other things, an obvious distinction between the two "ego"-Muse relations of these genres of poetry, in the epinicion their relation is always expressed with physical movements (ιφτημι, αφικνεομαι, φερω etc), while in the other genre it is expressed without such accompaniments, i e , their relation is expressed as that of the phone (αειδω, κλυθι etc ) The reason for this is, the author believes, that the "ego" in the epinicion is the chorus commanding physical movements while, in non-choral poetry, "ego", either a bard or poet, sings without physical movement The author names this characteristic feature of epinician poetry the βασιζ-expression, and considers this expression the direct reflection of the βασιζ (march, dance, gesture etc, on βασιζ see P 1 2) of the chorus We also find that there exist only four types of such expression (1) the coming and going of human beings, (2) the shooting, (3) the coming and going of boats, (4) the coming and going of chariots or carts The types themselves are created on the assumption that they reflect directly the βασιζ of the chorus Moreover, the very fact that they encompass all the sentences with "ego"-Muse relations makes this typology more plausible In addition they make clear the true characters of the epinician style Second the author observes the so-called "Abbruchsformel" wherein we find a large number of sentences in or with the first person Here too, βασιζ-expressions are consistently used and the number and the kinds of the types are the same as in the preceding case Thus, the validity of the theory that the chorus stands as the first person in epinician poetry is confirmed Furthermore, phrases with functions resembling those of "Abbruchsformel" found in Georgica and Ars Amatoria are cited to give an exact account of the "metaphorical" expressions of "Abbruchsformel" (this "Formel" has been presumed to be made of metaphor) In the "metaphorical" sentences of "Abbruchsformel" we cannot find sentences with the characteristics of metaphor, e g words or phrases which unite the two levels of expressions Yet, these characteristics can be easily found in the phrases of Georgica and Ars Amatoria, such as G 2 542 f and A A 2 425 f Thus, the "metaphors" found in the epinicion are, in fact, not metaphors What, then, exactly are they ? Their true nature can be interpreted, the author believes, as such Singing and making βασειζ at the same time, the chorus create two flows, i e, one of βασειζ and one of words, and the βασιζ corresponding to the core of "Abbruchsformel", ie αφισταμαι, κωπαν σχασον, στασον αρμα etc , gives the audience almost the same impression as the chorus saying "I stop here (in the flows of words)" or "Stop here !"
日本西洋古典学会の論文
1990-03-29

祝勝歌の一人称単数

スポンサーリンク

概要

著者

関連論文

スポンサーリンク