Pub Date : 2022-01-01 DOI:10.21638/spbu20.2022.203
B. Nikolsky
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摘要

这篇文章讨论了阿里斯托芬的《阿卡尼亚书》(Acharnians)序言中的一段话。30 - 31。仔细阅读短文,分析每一个动词。30-31表明,阿查尼亚书30-31中所有的动词都描述了Dikaiopolis的痛苦,并构成了他独白中列出的悲剧的高潮。他最后的也是最大的痛苦,不可能仅仅是因为他第一个来到尼克斯而不知道如何消磨时间而烦恼。στ ω必然是悲剧性的悲歌,而σ σ α通过加入喜剧的旋律来强化这种悲歌。σκορδιν ν μαι在这里并不是指学者们通常所解释的昏昏欲睡的伸展,而是指愤怒和绝望的抽搐。π δομαι表示Dikaiopolis失望的尖锐程度和强度;σκορδιν ν μαι和σκ κο μαι之间的关系类似于στ ω和κ να之间的关系,其中第二个动词强调并标志着第一个动词的高潮(“我呻吟得太厉害了,我的嘴张得太大了”和“我抽搐到要放个嗝”)。παρ τ末梢λλομαι的意思一定是“扯掉头上的头发”,这个手势显然是悲伤和绝望的象征。动词γρ φω和λογ ομαι描述了Dikaiopolis坐在集会的地方记录和评估他的债务。接下来的台词与30-31紧密相连,解释了主人公绝望的原因:Dikaiopolis梦想乡村,憎恨城市,但由于战争无法回到乡村(32-33);他对城市的厌恶进一步说明了城市生活所带来的巨大开支。
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Dikaiopolis in Despair (Aristophanes’ Acharnians 30–31)
The article deals with a passage from the prologue of Aristophanes’ Acharnians, vv. 30–31. Close reading of the passage and analyzing each verb of the series in vv. 30–31 shows that the entire series of verbs in Acharnians 30–31 describes Dikaiopolis’ suffering and constitutes the culmination of the woes listed in his monologue. This last and greatest of his woes cannot be mere annoyance at having come first to the Pnyx and not knowing how to kill time. στένω must mean a lament tragic in tone, and κέχηνα intensifies this vocal lament though adding a comic bathos. σκορδινῶμαι does not refer here to drowsy stretching as it is usually interpreted by scholars but to convulsions of rage and despair. πέρδομαι indicates acuteness and intensity of Dikaiopolis’ disappointment; the relationship between σκορδινῶμαι and πέρδομαι is similar to that between στένω and κέχηνα, where the second verb emphasizes and marks the culmination of the first (“I’m moaning so much that my mouth is open wide” and “I’m convulsed to the point of farting”). παρατίλλομαι must mean “to tear out the hair on one’s head”, a gesture that is obviously a sign of sorrow and despair. The verbs γράφωand λογίζομαι describe Dikaiopolis writing out and assessing his debts sitting in the assembly place. The lines that follow are tightly connected to 30–31 and explain the reason for the protagonist’s despair: Dikaiopolis dreams of the countryside and hates the city, but due to the war cannot return to the country (32–33); his hatred of the city is further explained by the enormous expenses city life entails.
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