西洋古典学研究
Online ISSN : 2424-1520
Print ISSN : 0447-9114
ISSN-L : 0447-9114
《夢》のドラマトゥルギー : MercatorとRudens
木村 健治
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ジャーナル フリー

1989 年 37 巻 p. 78-90

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This article attempts to consider the dramatic structures of Mercator and Rudens, both of which have similar dream-scenes, from the viewpoint of the audience rather than that of chronology-the approach pursued so far Mercator begins with the prologue spoken by a character whose name is Charinus The fact that the speaker of the prologue is a human being who is a character seems to be deeply related to the structure of the play and it means that he can only tell the story, past and present, through his own eyes Such a prologue inevitably differs very much from an impersonal prologue (eg Asin, Capt, Cas , Men, Poen, Ps, True, Vid) or a prologue spoken by a divine being (e g Amph, Aul, Cist, Rud, Trin) Therefore I think II _1 (225-254), which is the scene where Demipho tells his dream, functions as the second prologue, and supplements the limited information provided by the prologue proper As to the dream-allegory, it is only capra=Pasicompsa that Demipho and the audience can easily identify among the animals which appear in the dream Some intelligent members of an audience may conjecture that Channus is the haedus in the dream As for simia, however, neither Demipho nor the audience can understand who he is For the rest of the play the audience are supposed to see it, feeling suspense in identifying the other animals and in comparing the plotdevelopment of the play with the dream-scene Rudens also begins with a prologue, the speaker of which is, however, a divine being, Arcturus This means that with this prologue much more information about the past, the present and the future is to be imparted than with the prologue of Mercator The prologue in such a structure reduces the relative significance of the dreamscene (593-612) in Rudens The animals which appear in the dream of Daemones can be quite easily identified by the audience as well as by Daemones himself, so that the scene does not create so much suspense in the audience as the scene in Mercator Furthermore, the details depicted in the dream-scene in Rudens are not well co-ordinated with the rest of the play Thus we can conclude that the dream-scene is more deeply and elaborately built into the dramatic structure of Mercator than it is into the structure of Rudens

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