ウェルギリウス『アエネイス』 : maius opus の解釈をめぐって

Abstract

This is an attempt to find out the meaning of maius opus (Aen. 7.45) in the theme of the Italians and in Juno's reconciliation. The Italians, including the Etruscans and Arcadians (cf. 8.502-3 ; 8.331-2, 510-1 ; 8.513, 11.591-2), are described as a great people in the second half of the Aen. The invocation to the Muse (7.37ff.) indicates the connection between maius opus and the Italians (cf. 38 Latio, 39 Ausoniis, 43 Tyrrhenam, 44 Hesperiam). The catalogue in Aen. 7 has the function of celebrating the Italians (cf. 643-4). In every book of Aen. 9-12, Italian warriors' aristeiai are depicted. Even Mezentius is depicted sympathetically after the death of Lausus. The speech of Numanus recalls Georgic 2, where Virgil praises the Italians and says their simple life and sturdiness made Rome great (cf. Aen. 9.603, 607, Geo. 2.167ff., 472, 532-5). The description of the shield also reflects the association of Rome and the Italians (8.626, 678, 714-5). The thought that the Italians make Rome great comes to a climax in 12.807ff. (esp. 827, 838-9). The Roman race, arising from the union of the Trojans and Italians, becomes great by Italian uirtus. This thought is not stated in the first half of the Aen. In the prooemium (1.1-33) and in Jupiter's prophecy (1.257ff.), it is the Trojans that are regarded as the ancestors of the Romans (1.6-7, 19-22, 286-8. cf. 234-7). In 6.756ff. the union of the Trojans and Italians is mentioned, but the Italians who are not yet united with the Trojans are not depicted, nor is the greatness of such Italians told. Hence the thought in the first half that Rome arises from the Trojans developes into the thought in the second half that from the union of the great Italians and Trojans a still greater nation, Rome, arises. Thus the second half of the Aen., treating a more important theme, becomes maius opus. I talian uirtus and pietas are emphasized as elements that make Rome great (12.827, 838-9). Turnus, the central figgure of the Italians, embodies Italian uirtus, just as Aeneas Embodies pietas. Therefore Turnus plays an important part in the meaning of maius opus. The second half of the Aen. can be interpreted as the tragedy of Turnus, which corresponds to that of Dido in the first half. The parallels repeated near the endof Aen. 12 (the simile of a chased deer, the bird of ill omen, the simile of a nightmare, etc.) make the difference of the last scene conspicuous. Turnus, recognizing the anger of the gods through the defeat (cf. 11.443-4), offers reconciliation (12.950, 1.33). On the contrary, Dido does not understand the missi on of Aeneas. Her words are concluded with curses (4.382-7, 612-29, 661-2), and her death leads to the ruin of her nation (4.669-71, 682-3). Thus the tragedy of Turnus is greater with respect to its end than that of Dido from the viewpoint of the foundation of the nation, which is a principal theme of the Aen. This point corresponds to maius opus. Juno's wrath is an important theme of the Aen. (cf. 1.4, 8-33). Her reconciliation is promised in the first half of the Aen. (1.279-82). an its realization is depicted in the second half (12.807ff.). Therefore Juno's reconciliation itself is an element of maius opus. Furthermore, it is closely connected with the theme of the Italians. In the second half of the Aen., Juno changes her positions gradually as follows. (1) a mere persecutor of the Trojans (7.293ff., esp. 316-9) (2) a trans itional stage (9.1ff., 745-6, 802-3, lO.81-4) (3) the guardian deity of Turnus (lO.606ff., esp. 614-6, 628-32, 685-6) (4) a transitional stage (12.134ff., esp. 147-8) (5) the guardian deity of the Italians (12.807ff., esp. 819-28) (6) one of the guardian deities of the Romans (12.838-42) Juno is reconciled, because she gained an advantage over the Trojans (12.833-7) as the guardian deity of the Italians. And then the Trojans win over Juno (cf. 3.433-40, 8.59-61) through the Ita lians (esp. Turnus). On the whole, the second half of Aen. is called maius opus, because it reveals the greatness of the Italians, untold in the first half. This fact is vitally important in the major themes of the whole Aen., i. e. the foundation of Rome (the union of the Trojans and Italians), the victims that it needs (Dido and Turnus), and the suffering of Aeneas (Juno's wrath).