Aristophanes, Thesmophoriazusae 295-382の話者問題に関する一考察
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Who plays the role of keryx(Thesm. 295-311, 331-351, 372-380, 381a)? This question has been discussed with reference to the number of actors necessary for the production of Aristophanic comedy. Yet the question should be approached through a re-examination of the manner in which the chorus of festive women enters the orchestra, and of the exact location where Kedestes is sitting during the scenes of prayers and orations until he stands up to defend Euripides. The solution of F. V. Fritzsche adopted by most editors, that the two 4ia lines(381-2)should be given to the koryphaios, the other lines(295-311, 331 -351, 372-380)to one of actors, is still unacceptable for two difficulties. (A) As Ed. Fraenkel rightly pointed out, "σιγα σιωπα προσεχε τον νουν(381a) " cannot be separated from the remaining parts of keryx(295-311, 331-351, 372-380). (B)If the actor who has played the role of keryx exits just after his last word(380) , he must go out without any motivation or pretext before his proper duty is finished, and if he does not exit, he must remain silent on stage until the end of the play. Two attempts to solve these difficulties, one by C. Beer and another by W. Lange, are no less objectionable : (A)Beer's hiereia-theory is blamed for introducing the fifth actor and a new character, "Priestess of the Thesmophorion" curiously ignorant of the happenings in her sanctuary(cf. 759-61) , (B) Lange's koryphaios-theory for attributing to the keryx=korpyhaios a passive role of spectator which cannot be consistent with his role of procedural control : 381b χρεμπτεται γαρ ηδη 382 οπερ ποιουσ οι ρητορεσ. Μακραν εοικε λεξειν. I propose to give this one and half line(381b-382)to Kedestes, as an aside (cf. 45, 48, 50, 51, 57, Ach. 59, 64), and all the remaining parts(295-311, 331351, 373-380, 381a)to the keryx=koryphaios. The following observations support this distribution : (A) The role of adding an affirmative reason of silence is proper to Kedestes, as he has been sent as a spy in the orations(588 των λογων κατασκοποσ cf. 292-4). (B) Kedestes is sitting not among but apart from the women, and looking into their ritual activity represented as a drama within a drama(cf. Ran. 311-412). (C) The chorus of women has entered not before πρωτη λεξι&b.sigmav; but accompanied by the biddings of koryphaios like other parodoi. This interpretation conforms to the dramatic conventions as shown by the following comparisons. I. [A] A hero notices the chorus drawing near(A. Cho. 10-2, S. OC 111 -2, E. El. 107-9, Ar. Ach.238, Ran.312-5 cf. Thesm.280-1). [B] He prays to gods for his success(A. Cho. 18-9, S. OC 84-110 cf. Thesm. 282 -3, 286-8). [C] He conceals himself(A. Cho.20-1, S. OC 113-5, E. El. 111-219, Ar. Ran. 315-22 cf. Thesm. 294), [D] with a word εκποδων(A. Cho.20, S. OC 113, Ar. Ach.240 cf. Thesm. 293)and [E] a proverbial expression(S. OC 115-6 cf. Thesm. 294). [F] He sits down(Ar. Ran. 315, S. El. 109 cf. Thesm. 292). II. The chorus enters singing and dancing(A. Cho. 22-105, S. OC 117-37, Ar. Ach. 241-79, Ran. 324-413). III. The hero appears before the chorus(A. Cho. 212, S. OC 138, Ar. Ach. 280-3, Ran. 413 cf. Thesm. 466). IV. An amoibaion, stichomythia or battle-scene follows(A. Cho. 212-224, S. OC 138-227, Ar. Ach. 284-357, Ran. 413-439 cf. Thesm. 533-70). Here exists a strong parallelism between Thesm. 280-570 and the other "eavesdropping" scenes. Fraenkel finds difficulty in the meter at 381 : "... bleibt bei dieser Anordnung ganz unverstandlich, warum die Heroldin nach alien ihren bisherigen Trimetern plotzlich in Tetrameter ubergeht, von denen sie jedoch nicht einmal den ersten zu Ende fuhrt." But the first(381) of 4ia lines following 3ia ones cannot be called 4ia so long as it is not finished. According to my distribution Kedestes influences the nature of meter with the abrupt change of style and point of view, while the speech of keryx=koryphaios remains coherent both in style and meter, beginning and ending with the bidding of silence(295, 381a). The following two points are the corollaries of my interpretation above. (A) Thesm. 295-372 is a parodos in the proper sense of the term : an entrance of chorus accompanied by singing and dancing. And it follows that Thesm. is as ordinary as other old comedies as regards the manner in which the chorus entered the orchestra. (B)Except for two scenes (Nub. 889-1104 and Ecc. 884-1183)both of which have a serious problem of transmission(that of χορου) , there is no play within the eleven plays that necessitates the fourth actor to speak as many as twenty five lines.
- 日本西洋古典学会の論文
- 1995-03-10