Resolutionと単語の選択
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概要
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Zielinski's 'laws', of which infringements he used as criteria to give the chronological order to Euripides' tragedies, are not so well known as his name. But these prohibitive rules were strictly observed by Aeschylus and Sophocles as well as by Euripides himself in his earlier works, so that they can be considered fundamental laws governing the relation between wordforms and resolutions of iambic trimeter. A resolution of each longum is differentiated respectively legitimate or illegitimate according to caesura or other breaks between words and the kind of contiguous anceps even if the disposition of longum and bveve is similar. (See examples, page 35, 36) Unbalanced preponderance of peculiar forms indicates that both the restraint of the irregular resolution of older tragedians and the steadily progressive increase of Euripides are conscious. From the 3rd, 4th, 5th, 6th and 8th Zieliriski's laws we can deduce the word-shapes which are inevitably illegitimate wherever they may appear in a verse, in other words, the shapes which predecessors would not choose for their verses. Two did not exist in the traditional vocabulary of trimeter in tragedy: ionicus such as ικετευω and paeon primus such asαλλοτρια. Euripides uses the former 130 times and the latter 50. (See Table 3 & 4, page 39, 41) Is there any particular reason for preference of these words? They are not keywords nor do they represent the new tendency of theme or thought, if any, of later Euripides tragedies. All of them cannot be considered to be borrowed from epic (the two word-shapes above mentioned fit easily to dactylic hexameter), nor from comedy (in which trimeter is much freer). The only characteristic is that all are common words. And it is for their commonness and nuance that Euripides, who rejected bombast, chose them in contriving his verses. On the other hand, they may have been chosen for the rhythmical effect by increasing the number of short syllables. But who could perceive this' device? There is no relation between these irregular metric combinations and a certain character or a certain emotion of speech, and they appear too sporadic to modify the ethos of iambic trimeter. Further, the irregularities are so subtle that one cannot distinguish them if only rhythm is extracted. Infringements of Zielinski's laws will not be appreciated fully unless we suppose that the meter is perceived with the aid of the traditional wording or 'formula' in the loosest sense. By this word I mean a word or words repeated several times in a peculiar position or positions in a verse. The words in Tables 3 & 4 were not formulaic; thus they could not occur to a tragedian's mind. But Euripides refined traditional formula, and in this process the infringements took place. He not only adopted new words into the vocabulary of trimeter but contrived new positions for the words used formerly in fixed positions. Words, which were hitherto separated and modified decoratively to fill the gap, are adjoined, so that the sentense construction became simpler or more condensed. At first not every word in those word-shapes but only special words were allowed to infringe the rules. This is the reason why the frequence of the infringement increases in chronological order. For once a traditional 'formula' is transfigured by adopting new words or new construction and this device is convenient, it is repeat-ed and becomes itself 'formula'.
- 日本西洋古典学会の論文
- 1974-03-30
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関連論文
- ギリシア悲劇の詩句分析と電子計算機
- 平田松吾, 『エウリピデス悲劇の民衆像-アテナイ市民団の自他意識』, 岩波アカデミック叢書, Pp.x+206+16, 岩波書店, 2002年, 7500円.
- DOVER, KENNETH(ed.), Aristophanes, Frogs., Pp. xvi+398., Clarendon Press, Oxford, 1993.
- WEST, M. L., Greek Metre, Pp. xiv+208, Clarendon Press, Oxford, 1982, £15
- メトロン・コーロン・ペリオドス
- NAGLER, Michael N., Spontaneity and Tradition. A Study in the Oral Art of Homer., Pp. xxv+236, Univ. of California Press, Berkeley, Los Angels, London, 1974.
- Resolutionと単語の選択
- 教訓詩人個々人の系譜的自己規定,ないしジャンル意識