『オレステイア』に於ける「狩」のイメージ
スポンサーリンク
概要
- 論文の詳細を見る
In Aeschylus' Oresteia one may notice many elaborate images which have an important association with the motif of the work. In the present article the writer takes up the image of hunting representing two conflicting powers and tries to show how it develops organically. In the Oresteia there appear four hunting-scenes and in each of them the hunter chases the victim. The first hunting-scene. Agamemnon takes revenge on Paris for the rape of Helen and regards his own deed as δικα&b.sigmav; (Ag. 813) . Agamemnon and Troy (with Paris) are symbolized respectively by αιετο&b.sigmav; and the hare with the young. Agamemnon, however, is not only represented as αιετο&b.sigmav;, but also αιγυπιο&b.sigmav; and the lion cub. The second hunting-scene. Clytaemnestra takes vengeance on Agamemnon for the murder of their own daughter with the help of Aegisthus who desires to let him make amends for the death of Thyestes and his children. She talks of her bloody deed boastfully as μα την τελειον τη&b.sigmav; εμη&b.sigmav; παιδο&b.sigmav; Δικην (Ag. 1432), while Aegisthus is unable to conceal his joy, seeing Agamemnon caught τη&b.sigmav; δικη&b.sigmav; εν ερκεσιν (Ag. 1611). The fact that both the hunters (Clytaemnestra and Aegisthus) and the hunted (Agamemnon) are symbolized by the lion makes the family strife seem all the more horrible. The third hunting-scene. The resentment of his father's murder causes Orestes to revenge his own mother. In expectation of his appearance the chorus sing Δικα&b.sigmav; δ' ερειδεται πυθμην (Cho. 646). Orestes, the hunter, is first mentioned as αιετο&b.sigmav;, a chick of the αιετο&b.sigmav;, i. e. Agamemnon who was killed by the coil of εχιδνα (Clytaemnestra), and then compared to δρακων in the dream of Clytaemnestra. The fourth hunting-scene. The Erinyes, represented as the hounds, chase the nimble fawn, Orestes, with a view to make him expiate the matricide with his own blood. But in vain. They regard the pursuit as their duty based on the principle βωμον αιδεσαι δικα&b.sigmav; (Eum. 539). This scene makes a striking contrast with the previous ones in that the hunter fails to capture the intended victim. The failure of the Erinyes is made more apparent by Athene's intervention which may be interpreted as the attack of an Olympian against the chthonian goddesses. A close examination of these scenes shows that every hunter acts according to his δικη, and one may see in the "conflict of the two δικαι" the leading motif of the Oresteia. In each of the scenes the δικη of the hunter struggles with that of the hunted for power and comes off victorious except in the fourth scene. The defeat of the Erinyes' δικη or the victory of Orestes' δικη, on the other hand, means that the Moirai have fallen from their power and that Zeus' δικη represented by Apollon prevails. The process of the submission of the Erinyes to Zeus shows how the once dreaded gods have come to be deprived of their power and-one might say-how a similiar fate awaits also the victorious δκιη of Zeus.
- 日本西洋古典学会の論文
- 1970-03-23
日本西洋古典学会 | 論文
- STRAUSS, BARRY S., Athens after the Peloponnesian War. Class, Faction and Policy, 403-386 B. C., Pp.xiii+191, Croom Helm, London & Sydney, 1986., £19.95.
- クセルクセスの遠征軍の規模
- FURLEY, D., The Greek Cosmologists, Vol.1 : The Formation of the Atomic Theory and its Earliest Critics., Pp.viii+220, Cambridge University Press, Cambridge, 1987., £25.
- SWEENY, Leo, Infinity in the Presocratics. A Bibliographical and Philosophical Study., Pp. xxxiii+222, Martinus Nijhoff, The Hague, 1972.
- COLE, Th., Demoeritus and the Sources of Greek Anthropology. (Philological Monographs, XXV.), Pp. xii+225 S., Ohio, Western Reserve Univ. Press, 1967, $ 6.50