『オデュッセイア』のキルケの段

概要

論文の詳細を見る
Circe is given much weight in the Apologoi of the Odyssey ; she occupies approximately four-fifths of Bk. 10 and one-third of Bk. 12. The goddess makes her appearance in two sequences : the first runs from 10. 133 to 486, and the second from 10. 487 to 574 and from 12. 1 to 150. In terms of plot the importance of the Circe-episodes derives mainly from the latter one, in which she provides Odysseus with an instruction to pay a visit to Hades and practical advice to cope with the risks awaiting him on his homeward journey. It is often pointed out that 10. 487 to 574 and 12. 1 to 150 are tightly connected with Bk. 11 and Bk. 12 respectively, and that her warnings, in constructing a framework for his adventure in Bk. 12, associate the episode with the story of the Argo. In comparison with the latter, the former one, at first sight, seems to have nothing to do with the development of the entire narrative. However, it contains the impressive episode of the transformation of Odysseus' companions into swine by Circe. A careful scrutiny of the first Circe-episode will reveal that it is tightly incorporated into the rest of the narrative and the motif of transformation foreshadows Odysseus' disguise in Bk. 13. The first clue to clarify a firm link between her first sequence and other books is to be gained from an extraordinary resemblance between Circe and her doublet in Bk. 5, Calypso. It is true that both goddesses are exactly like each other, but Circe does not display these similarities in both of the Circe-episodes. It is only in the first of her episodes that one finds not only affinities in the environments surrounding the goddesses, but also much of the same diction is used to describe them. Their relationship is often discussed by the critics : which of them was modeled on the other. There has been the same kind of argument over Odysseus' visit to Hades in Bk. 11 and Menelaus' trip to Pharos in Bk. 4. Both journeys are based on the same narrative pattern, and one of them is said to be derived from the other. It is remarkable that the doublets in terms of characters are placed in Bk. 5 and the first Circe-episode, and the doublets in terms of plot are presented in Bk. 4 and the second Circe-episode. It means that two different kinds of doublets are repeated in successive books and the Circe-episodes. Polyphemus provides a second clue. His story in Bk. 9 has its origin in folktales, just as Circe's does. Both stories show a close affinity in narrative sequence ; many of the same details in the stories are arranged in identical order. Besides, the scenes of Polyphemus and those of Circe share a peculiar feature of deceit, which is not found in ordinary hospitality scenes in the Odyssey. A third similarity between their stories can be found in the manner both hosts recognize Odysseus' identity : they recall a prophecy told beforehand. The first Circe-episode serves to make the hero's character clear. The appearance of the huge stag preceding the transformation scene reminds us of Odysseus as a stout warrior in the heroic world by means of diction used in typical battle scenes in the Iliad. The process of his encounter with Circe sheds light upon his awakening consciousness as a leader of a group. At the same time, the diction describing the parallel situations of Odysseus' and his companions' encounters with her gives a contrastive illustration of his superiority to them. The motif of transformation in the first Circe-episode comes originally from a folktale, but magical elements peculiar to fairy stories are reduced to a minimum in the Homeric epic. His manner of dealing with the motif is innovative, in that the transformation of Odysseus' companions by Circe realizes the function of foreshadowing the essential device of his disguise as an old beggar in Bk. 13. Although his disguise does not coincide in every respect with the metamorphosis of his companions, both transfigurations share some common features : first, the companions suffered from a mere bodily change but their human hearts remain unaltered, and in Odysseus' case, just like them, only his surface appearance is altered. Secondly, the direction of their outward change is identical : both Odysseus and his companions are turned into lower beings. In addition, when the companions turned back once more into men, they looked younger, taller, and handsomer than they had been. Likewise Odysseus' strength and stature are increased by Athena, when he discloses his identity to his son, and he is made taller and thicker, just before Penelope recognizes him. Thus, Homeric artistic touches are evidenced in the manner of the anticipating function of the first half of the Circe-episodes and in the close linkage between the first episode and the rest of the Odyssey.
1997-03-10

著者

西村賀子
名古屋経済大学

『オデュッセイア』のキルケの段

スポンサーリンク

概要

著者

関連論文

スポンサーリンク