「オレステス」考 : συνεσιζとφιλια

In Orestes' opening scene, Orestes exposes himself to two dangers; a danger of the soul (συνεσιζ, λυπη, μανιαι) and that of life (death by stoning). Unlike Orestes in Aeschylus, Orestes in Euripides killed his mother unwillingly, and therefore he always feels pangs of remorse about the matricide. Orestes in Aeschylus also is not always prudent and lucid about his immoral act, and occasionally shows mental helplessness (cf. Cho. 899, 1023-25). But Aeschylus only expresses it as mere mental weakness, while Euripides names this disposition συνεσιζ and presents it as a recognition. The signification of this term συνεσιζ is "to know" or "die Einsicht". This ethical portrait of Orestes reminds us of Oedipus. Orestes, however, is beneath Oedipus, who endures sufferings boldly and heroically, in character. To survive is an important matter to Orestes. The words, σωξειν, σωτηρια, μη θανειν etc. are seen from beginning to end in this play. These words express desire for escape from the danger of life. At first Orestes entreats Menelaus to save his life. Orestes is related to Menelaus, the latter being the uncle of the former. In addition, he receives many benefits from Agamemnon concerning Helen and the Trojan War. Orestes, therefore, requires that Menelaus should save his life. Menelaus, however, hesitates to save him, and between them φιλια breaks down. This shows the denial of "old φιλια", which is based on the blood relationship or the concept of favor. After the collapse of this φιλια, Orestes is obliged to rely upon Pylades to survive. These two young men are in close friendship with each other, and Pylades is not only a mere intimate friend, but also an accomplice to Orestes in the matricide. Besides, he must make an effort to save Orestes and Electra in order to make Electra his wife. Between them there is "new φιλια"; the feeling of solidarity which is based on their interests. Namely, these two φιλια are of different nature. A rise of the idea of this "new φιλια" reflects the social circumstances and human relations at the time of the Peloponnesian War (cf. Thuc. III, 82). In the last scene of this play, only the danger of life is saved by Apollo. Apollo, who is supposed to appear as the Saviour of the danger of the soul (414, 416), acts as the Saviour of the danger of life. It is natural that the danger of the soul can not be saved by Apollo. Because it is not what is brought on him by God Apollo, but a mental phenomenon of a human being named Orestes which the matricide itself gave rise to. By an avoidance of the danger of life, the drama tentatively accomplishes its purpose. But the persecution by Erinyes, a fit of madness and above all the pain of the soul i. e. συνεσιζ will go on further. To Orestes "living" is "suffering". In this sense, Deus ex machina is extremely ironical. Orestes has the self-consciousness i. e. συνεσιζ, but he is not a hero. He is no more than a typical citizen in the latter half of the 5th century B. C.. Unlike Oedipus, he did not dare to endure the sufferings heroically and to maintain the dignity of the human being. We may say that it is his tragedy. But he, being not a hero, had not the capacity to endure the sufferings. He, knowing that "living" is "suffering", must continue the endless flight burning with the will to live. This is the tragedy of a so-called petit bourgeois, not that of a hero. And the intention of the poet, I believe, was to write this tragedy of a petit bourgeois.