ヨハン・ハインリヒ・フォスの詩的技法 --「暴力リズム」の構築--

Abstract

ドイツの詩人ヨハン・ハインリヒ・フォスは, 一般にはホメロス翻訳と自作牧歌詩によって知られているが, ドイツ譜韻律論の分野では, その先鋭的な擬古主義によりたびたび言及され, 多くの議論を呼んできた.フォスの理論が詳細に研究され評価されるようになっている今日でも, 詩学の主著『ドイツ語の時量時測』のテキストを読み解きその思想の射程を精確に見定めようとする議論はなお見当たらない.本稿はこの作業を行いながら実作を併せて対照し.はたしてフォスが旧世紀の遺物としての古典模倣者にすぎないのかどうか, あるいはその詩行に時代を突出する可能性が秘められているのかを検証する.

This paper aims to assess Humc's handling of the "liberty of indifferente" and to reveal some arbitrary selections in his philosophy. Although Hume refers to a certain "Sensation" regarding the liberty of indifferente, he firmly rejects it and accepts the liberty of spontaneity. However, this fact is cicarly in conflict with the attitudc of Hume's philosophy that regards sensation, passion, feeling, etc. as intemal impressions that ftindamentally constitute aIl our perceptions and knowledge. From what Hume states about liberty, it could naturally bc inferred that there is an impression of the liberty of indiffcrcncc in it and that we recognize liberty by way of this impression. The reason why Hume does not incorporate the liberty of indifferente as an impression into his philosophical system is, 1 think. that he sees human beings excIusively from the particular perspective of a "philosopher, " and regards knowing causality as more important for human beings. I conchide this paper by stating that according to the initial purpose of his philosophy, Hume should have accepted the liberty of indifference as well as the one of spontaneity, and from that perspective, should have considered how our two liberties arc concerned with morality and religion.