ブックタイトルRILAS 早稲田大学総合人文科学研究センター研究誌

概要

RILAS 早稲田大学総合人文科学研究センター研究誌

WASEDA RILAS JOURNAL NO. 3 (2015. 10)伝セネカ『オクタウィア』の独創性伝セネカ『オクタウィア』の独創性宮城徳也Originality in Pseudo-Seneca’s“Octavia”from the Viewpoint of PietasTokuya MIYAGIAbstract“Octavia”is the only existing example of so-called’fabula praetexta’, a drama not based on Greek mythology andlegend, but on Roman history. Octavia, the heroine of this tragedy, was an actual person in the first century RomanEmpire. She was a daughter of the fourth emperor Claudius and was married with Nero who became the fifth emperor.She was later divorced by her husband who became a tyrant, which brought her dishonorable exile and death. Tacitus, afamous Roman historian, recorded these historical facts in detail in his“Annals”in detail.Using Tacitus’work as a reference,the author of“Octavia”(who was identified in several medieval manuscripts as Seneca the philosopher, eventhough this identification is denied by most modern scholars), wrote a tragedy in the typical form of Greek drama.Although“Octavia”has originality compared to Greek tragedies and genuine Senecan tragedies, it is deeply influencedby Senecan tragedies. The theme of‘pietas’, which encompasses both religious piety and filial piety and is one ofthe most important Roman virtues, is an essential factor in most of Senecan tragedies.After examining the importance of‘pietas’in“Octavia”compared to genuine Senecan tragedies, the difference in thedescription of Octavia in“Octavia”compared to Octavia in Tacitus’“Annals”, and the role of the chorus in“Octavia”,it is concluded that the spiritual relief of Octavia through‘pietas’is intentional in the tragedy and it is the consequentspiritual relief that imparts the tragedy it originality.はじめに本稿は,完全に現存する唯一のプラエテクスタ劇(1)で,哲学者セネカの名前で伝わる『オクタウィア』の中に,1.セネカ劇に登場するピエタス(2)との比較2.歴史家タキトゥスの『年代記』(3)に描かれたオクタウィアとの比較3.合唱隊の立場の3つの視点からピエタスに関わる「救いのヴィジョン」を見ようとするものである.1.セネカ劇と『オクタウィア』のピエタスセネカの名で伝わる10作の悲劇の内,真作とされる8作と,現在は偽作と考えられることが多い『オエタ山上のヘルクレス』(4)は全て,ギリシア悲劇に原作を持つ翻案(5)であるが,家族間の葛藤を題材にしている作品が殆どなので,神を敬い,親族を愛し,共同体を支えるローマ的美徳ピエタスがそれぞれ作品において重要な位置を占めていると思われる.附表の整理から想像されるように,セネカの真作39