アイギストス殺害報告におけるオレステス像 : エウリピデス『エレクトラ』774-858行をめぐって
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概要
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Orestes slays Aegisthus at the sacrificial ceremony by taking his victim unaware As the messenger's report continues, it becomes apparent that because of the manner in which Orestes had his revenge it is far from a heroic act Yet at the same time the messenger's report is replete with images that suggest a heroic world images such as swordmanship and Olympic games These images represent the code of heroism which Orestes should have followed, and ironically, juxtaposed as they are with the tyranny of his aet, they bring out in full relief Orestes' transgression from this code This ironic juxtaposition is not meant to criticize the unheroic nature of Orestes' character, as Arnott would have it Rather, it is an attempt on Euripides part to underscore the fact that the heroic context for vengeance has been lost In the play, the background situation for the revenge is such that the act itself can no longer be regarded as a great act of heroism reinstating justice (δικη) throughout the whole πολιζ. This loss of the heroism in the background context of the revenge can be clearly seen in a comparison of the scene with that of Aeschylus' Choephoroi (1) In Electra the antagonists are not large figures but are seen in complete isolation from the citizen-life of πολιζ Aegisthus' attendants are not citizens of Argos but are house slaves Clytaemnestra fears aspersion on her morality and lives an exotic life only with Phrygian slave-women (2) The action in Euripides' play is at a distance from πολιζ, whereas Aeschylus centers the action of his play in the heart of political power Aeschylus' Orestes marches into the palace, while Euripides' Orestes is ushered into a farm-house in the countryside, led there hand in hand by the very man he will eventually slay Once Orestes has completed his revenge in Aeschylus' play, he addresses the citizens in apology for his deed Euripides' Orestes, however, shakes his javelin "with courage" ανδρειαζ δ' υπο (845) against Aegisthus' slaves who earlier were scorned (632-633) After they recognize him, they surround him with praise and crown him This last point culminates the irony of the scene Orestes has called his revenge "the crown" στεφανον(614) Eventually he gets his crown, but it is the crown of slaves Having lost the heroic context for revenge, Orestes is no match for the legendary heroes of the past, heroes he nevertheless believes he has imitated. The poet's overall stance towards the protagonists, however, is neither critical nor cynical Rather, as he observes them grappling with their impossible situations, he seems to be sympathetic This sympathetic view is suggested in the noteworthy change that takes place in the attitude of the gods as presented in the play. Moved by the lament of the protagonists, Dioscuri say, "Sad is your plaint to hear For in me and the gods of the heaven, there is pity for the many hardships of mortals" (1327-1330) Apollo is, of course, included among "the gods of heaven" And he is present in this play, as a statue on the stage He keeps silent, but he has seen every detail of the act His silent observation of the protagonists is much the same as that of the audience In Apollo's pity one can see a reflection of the sympathy the audience and the poet feel for the protagonists
- 1988-03-18
論文 | ランダム
- 他者の心の問題
- 感情のあり方--哲学史の場面から (特集 情の構造とその倫理的意義に関する研究)
- 心身の同一について
- 同一性の諸位相 (特集 アイデンティティ-の意味探究--東西における同一性の諸位相の考察)
- 生の概念 (生命観の論理と構造--生と死の意味探究)