ࢫ࣮࣮ࣟࣔࢩ࡛ࣙࣥㄞࡴࠕᪧಟ㎡Ꮫࠖ̿̿ಟ㎡Ꮫࡢᮌࡢࡑࡼࡂ̿̿
᝷㇂⨾ᬛᏊᗎ ࣭ࣟࣛࣥࣂࣝࢺ㸦Roland Barthes㸧ࡣ 1970 ᖺࠊࠕᪧಟ㎡Ꮫ ౽ぴࠖ( “L’ancienneɆAide-mémoire”)
㸦ⱥㄒ∧“The Old Rhetoric: an aide-mémoire”㸧ࢆⓎ⾲ࡋࡓࠋ㸦௨㝆ࠊᮏ᭩ࡣࠕᪧಟ㎡Ꮫࠖ㸯࡜␎グࠋ㸧ࣂࣝࢺࡣ⥴ゝ࡟࠾࠸࡚⮬ࡽࡢ௻࡚ࢆ௨ୗࡢࡼ࠺࡟ㄞ⪅࡟࿌ࡆ࡚࠸ࡿࠋ
. . . the old Rhetoric: old does not mean that there is a new Rhetoric today; rather old Rhetoric is

set in opposition to that new which may not yet have come into being . . . (11) 㸰ࠕᩥᏛゝㄒࡢྂ࠸ᐇ㊶ࠖࠊࡘࡲࡾࠕᪧಟ㎡Ꮫࠖࡣࠊࡇࡇ࡛ࡣ࢚ࢡࣜࢳ࣮ࣗࣝࡢ᪂ࡋ࠸グྕㄽࡢᣮᡓ
ࢆཷࡅࡿࠋࡋ࠿ࡋࠊࣂࣝࢺ࡟ࡼࢀࡤࠊᪧಟ㎡ᏛࡀᑐỴࡍ࡭ࡁࡑࡢ┦ᡭࡣ࠸ࡲࡔᏑᅾࡋ࡚ࡣ࠸࡞࠸ࠋࠕᪧࠖࢆෙࡉࢀࡓࠊࡇࡢᪧࠕಟ㎡Ꮫࠖ㸱ࡣࠊࡍ࡛࡟ࢃࢀࢃࢀࡀ᪂ࠕಟ㎡Ꮫࠖࢆᡭ࡟ࡋ࡚࠸ࡿ࡜࠸࠺ព࿡࡛ࡣ࡞
ࡃࠊ࠾ࡑࡽࡃ࠸ࡲࡔᐇ⌧࡟ࡣ࠸ࡓࡗ࡚࠸࡞࠸ࠕ࢚ࢡࣜࢳ࣮ࣗࣝࡢ᪂ࡋ࠸グྕㄽࠖ࡜࠸࠺ࠊ ᪂࡟ᑐ❧ࡋ࡚࠸ࡿࡢ࡛࠶ࡿࠋᮏ᭩ࡣࠊⴭ⪅⮬㌟ࡢ᩿ࡾ࡟ࡼࢀࡤ⚾ⓗ࡞ணഛసᴗ࡛࠶ࡾࠊಟ㎡Ꮫ࡟㛵ࡍࡿㄪᰝ⤖ᯝࡢࠕࡲ࡜ࡵࠖࠊࡑࡋ࡚ಟ㎡Ꮫࡢ⾡ㄒ࡜ศ㢮ࡢࠕ࠾ࡉࡽ࠸ࠖ࡟ࡍࡂ࡞࠸ࡢࡔࡀࠊࡑࡢ┠ⓗࡣಟ㎡Ꮫ࡜࠸࠺ࠊࣂࣝࢺࡀウࡘ࡭ࡁࠕᩛࡢṇయࠖ㸦ἑᓮ 197㸧ࢆ☜ᐇ࡟ぢᴟࡵࠊࠕಟ㎡ᏛࡢṚࠖ㸦“the death of Rhetoric”㸧ࢆᐉ࿌ࡍࡿࡇ࡜࡛࠶ࡿࡢࡔࠋࣂࣝࢺࡣಟ㎡Ꮫࡢ㉳※࠿ࡽṔྐⓗ㸦㏻᫬ⓗ㸧࡟᫬ࢆୗ㝆ࡋࠊ௚᪉ࠊ㠀᫬㛫ⓗ㸦ඹ᫬ⓗ㸧࡟ࡣࠊಟ㎡Ꮫࢆయ⣔໬ࡍࡿࡓࡵࡢ㡯┠ࡢ⥙⨶࡟ᣮࡴࠋࠕ㸿㸬᪑ࠖ࡜ࠕ㹀㸬⥙┠ࠖɆɆ࠶ࡓ࠿ࡶ஧➽࡟࡞ࡗ࡚ὶࢀࡿἙࡢࡼ࠺࡟㎺ࡽࢀࡿグ㏙ࡣࠊࣂࣝࢺࡀ᭱ᚋ࡟࡞ࡗ࡚㏙᠜ࡍࡿࡼ࠺࡟ࠊ᭱⤊ⓗ࡟ᪧಟ㎡Ꮫࡢ⤊↉ࢆぢᒆࡅࡼ࠺࡜ࡍࡿࠊᙼ⮬㌟ࡢࠕᛮ࠸ฟ῝࠸᪑ࠖ㸦90㸧ࡢグ㘓࡟࡞ࡿࡢ࡛࠶ࡿࠋ஧༓᭷వᖺࢃࡓࡿྛ᫬௦ࠊࡑࡢᝆஂࡢὶࢀࢆぢΏࡍࣂࣝࢺࡢࠕ᪑ࠖࡣࠊࡲࡉ࡟㫽▔ࢆᛮࢃࡏࡿᕧどⓗ࡞どⅬࢆࡶࡘࡢࡔࡀࠊࡑࡢ࠶࡜࡟㓄ࡉࢀࡿಟ㎡Ꮫࡢࠕ⥙┠ࠖࡶ࠶ࡿព࿡ࠊ㫽▔ࢆᛮࢃࡏࡿࠋಟ㎡Ꮫࡢ㡯┠ࡢ⥙⨶ࠊ⦪ᶓ࡟ᒎ㛤ࡉࢀ࡚࠸ࡃ⥙┠ࡢ඲ㇺࠊࡑࢀࡶࡲࡓ㫽▔ᅗࡢࡼ࠺࡟ㄞࡳྲྀࢀࡿ࠿ࡽ࡛࠶ࡿࠋ
ࡑ࠺ࡋࡓࣂࣝࢺࡢኊ኱࡛ࡍࡽ࠶ࡿᕧどⓗどⅬ࠿ࡽࡍࢀࡤࠊᮏㄽ࡛ࡇࢀ࠿ࡽヨࡳࡽࢀࡼ࠺࡜ࡋ࡚࠸ࡿ
ࡶࡢࡣࠊࡑࡢኊ኱ࡉ࡜ࡣࡲࡉࡋࡃᑐᴟ࡟࠶ࡿᚤ⣽࠿ࡘᚤどⓗ࡞どⅬࢆࡶࡘࡶࡢ࡜࡞ࡿࡔࢁ࠺ࠋ࡜࠸࠺
ࡢࡶࠊࡇࡇ࡛ࡢヨࡳࡣࠊࣂࣝࢺࡢ⦅ࢇࡔࠕ⥙┠ࠖ࠿ࡽࠕศ㢮ࠖ࡟㛵ࡍࡿ୍㡯┠ࢆᥒ࠸ୖࡆ࡚ㄞࡳ㐍ࡴࠕ㐜ㄞࠖ࡜ࡶ࠸࠺࡭ࡁసᴗ࡛࠶ࡿ࠿ࡽࡔࠋ
ࣂࣝࢺࡣࡇࡢ㡯┠ࡢ᭱ᚋ࡟ࠊEdgar Allan Poe ࡀ⮬సࡢリ “The Raven”ࡢ๰సἲࢆ᫂࠿ࡋࡓリㄽ࡛
࠶ࡿ “The Philosophy of Composition” ࢆྲྀࡾୖࡆ࡚࠸ࡿࡀࠊࡑࢀࡶࡲࡓ㐜ㄞࢆ㏻ࡋ࡚ㄞࡳゎ࠸࡚࠸ࡁࡓ࠸ࠋࣂࣝࢺࡣྠࡌ࣏࣮ࡢ▷⦅ࠊ“The Facts in the Case of Mr. Valdemar” ࢆࢸࢡࢫࢺศᯒࡍࡿ㝿ࠊ⮬ศࡢࡑࡢヨࡳࢆࠕࢫ࣮࣮ࣟࣔࢩ࡛ࣙࣥ᧜ᙳࡉࢀࡓㄞ᭩ࠖ(“reading filmed in slow motion”)㸦Barthes,“Analysis” 264㸧࡟႘࠼࡚࠸ࡿࠋࡇࡢࡦࡑࡳ࡟ೌࡗ࡚࠸࠼ࡤࠊࡇࡇ࡛ࡢ୍㡯┠ࡢㄞࡳࡣࣂࣝࢺࡢࠕᪧಟ㎡Ꮫࠖࢆ㎺ࡿࠕࢫ࣮࣮ࣟࣔࢩࣙࣥࠖࡢ᪑࡜ࡶ࡞ࢁ࠺ࠋ

－ 31 －⥙┠ࠕศ㢮ࠖࢆㄞࡴ㸸ࠕከᩘࡢኚ␗ࠖ࡜࢚ࢻ࣮࣭࢞࢔࣭࣏࣮ࣛࣥᮏ᭩ࡢࠕ⥙┠ࠖࡢ㒊࡟࠾࠸࡚ࠊࣂࣝࢺࡣࡲࡎ Aristotelřs ࢆฟⓎⅬ࡜ࡋ࡚࢔ࣜࢫࢺࢸࣞࢫࡢಟ㎡⾡㸦ᢏ⾡㸧㸦techné㸧ࡢ୺せ࡞㸳ࡘࡢ᧯సࢆᣲࡆࡿࠋࡘࡲࡾࠕⓎぢࠖ㸦inventio㸧ࠊࠕ㓄⨨ࠖ㸦dispositio㸧ࠊࠕ⾲⌧ἲࠖ㸦elocutio㸧ࠊࡑࡋ࡚ࠕ⾜Ⅽࠖ㸦actio㸧ࠊࠕグ᠈ࠖ㸦memoria㸧ࡢ㸳᧯స࡛࠶ࡿࠋࡋ࠿ࡋ
ᚋ⪅ࡢ㸰᧯సࡣ㝖እࡉࢀࡿࠋ࡞ࡐ࡞ࡽࠊ࡜ࣂࣝࢺࡣ⌮⏤ࢆ㏙࡭࡚࠸ࡿࠋࠕ⾜Ⅽࠖࠊࠕグ᠈ࠖࡣࠊ୧⪅࡜ࡶࡑࢀ⮬యࡣࡑࢀࡒࢀゝⴥ㸦la parole㸧㸦“rhétorique”929㸧ࡢࢻ࣐ࣛࢺࢗࣝࢠ࣮࡜ࡋ࡚ࠊࡑࡋ࡚ࡲࡓࠊ┦஫ࢸࢡࢫࢺⓗ࡞ほⅬ࠿ࡽࡍࢀࡤᤞ࡚ࡀࡓ࠸ࡶࡢ࡛࠶ࡿ࡜ࡣ࠸࠼ࠊ᧯స࡜ࡋ࡚ࡣᘚㆤኈࡸᨻ἞ᐙࠊ
ࡑࡋ࡚ㅮ₇⪅ࡓࡕ࡟ࡼࡗ࡚ㄒࡽࢀࡿᘚㄽࠊࡘࡲࡾ₇♧ⓗࢪࣕࣥࣝࡢࡳࢆᑐ㇟࡟ࡋࡓࡶࡢ࡛࠶ࡾࠊಟ㎡Ꮫࡀࠊࠕ᭩࠿ࢀࡓࡶࡢࠖ㸦“desӐœuvresӑécrites㸧”㸧㸦“rhétorique”929㸧 ࢆ୺࡟ᑐ㇟࡜ࡍࡿࡼ࠺࡟࡞ࡿ࡜ࠊࡑࢀࡽࡣࡓࡕࡲࡕᾐ㣗ࡉࢀ࡚ࡋࡲ࠺ࡶࡢ࡜࡞ࡿ࠿ࡽ࡛࠶ࡿࠋ
ࡇ࠺ࡋ࡚ࣂࣝࢺࡣࠊ᭩࠿ࢀࡓసရࢆᑐ㇟࡜ࡍࡿ㸱᧯సࠊࠕⓎぢࠖࠊࠕ㓄⨨ࠖࠊࠕ⾲⌧ἲࠖࢆ※࡜ࡋ࡚ࠊࡑࡇ࠿ࡽୗ࡟ఙࡧ࡚࠸ࡃࠕࠗಟ㎡Ꮫ࠘ࡢᮌࠖ㸦ἑᓮ x㸧㸲 ࡢࡼ࠺࡞ࡶࡢࢆᵓ᝿ࡋ࡚࠸ࡿࠋࡑࢀࡣࠊࣂࣝࢺ࡟ࡼࢀࡤࠊᪧಟ㎡Ꮫࡢୗ఩༊ศࢆศ๭ࠊ㞟ྜࡉࡏ࡚⧊ࡾ㎸ࢇ࡛࠸ࡃࠕ⥙┠࡛ࠖ࠶ࡾࠊࠕᮌ࡛ࠖ
࠶ࡾࠊ࠶ࡿ࠸ࡣࡴࡋࢁẁ㝵ⓗ࡟୍ࡘࡎࡘ㝆ࡾ࡚ࡃࡿࠕ኱ࡁ࡞⶝᳜≀ࠖ㸦“a great liana”㸧㸦50㸧࡜ࡶ࡞ࡿࡢ࡛࠶ࡿࠋ

ࣂࣝࢺࡣࠊ࢔ࣜࢫࢺࢸࣞࢫ௨㝆ࡢಟ㎡Ꮫ࡟ࠊಟ㎡Ꮫ⪅ࡓࡕࢆศ㢮࡬࡜㥑ࡾ❧࡚ࡓᙼࡽࡢ೫ᇳࠊ᝟⇕ࢆぢ࡚ྲྀࡗ࡚࠸ࡿࡀࠊࡇ࠺ࡋࡓಟ㎡Ꮫࡢᮌࢆᵓ᝿ࡋࠊ⥙┠ࢆ⧊ࡾࠊ࠶ࡿ࠸ࡣ⶝᳜≀ࢆ⦾ⱱࡉࡏࡼ࠺࡜
௻ࡳࠊࡑࡋ࡚ࡘ࠸࡟ࡣᐇ⌧ࡉࡏ࡚ࡋࡲ࠺ࣂࣝࢺ⮬㌟ࡢ᝟⇕㸦ࡴࡋࢁࠊ೫ᇳ㸧ࡶࡲࡓࠊ୪ࠎ࡞ࡽࡠࡶࡢ࡛࠶ࡾࠊྂ௦࠿ࡽ⬦ࠎ࡜ཷࡅ⥅࠸࡛ࡁࡓಟ㎡Ꮫ⪅ࡢࡑࢀ࡟ඃ࡟ఃࡍࡿࡶࡢ࡛࠶ࡿࡇ࡜ࡣ᝿ീ࡟㞴ࡃ࡞࠸ࡔࢁ࠺ࠋࡇࢀࡲ࡛ࡳ࡚ࡁࡓࡼ࠺࡟ࠊࣂࣝࢺࡢศ㢮ࡢ⤌ࡳ❧࡚సᴗࡢヨࡳ࡟ࡣࠊᙼࡢಟ㎡Ꮫ࡟ᑐࡍࡿᇳᛕࡢࡼ࠺࡞ࡶࡢࡀ࠺࠿ࡀ࠼ࡿࠋࡔࡀ௚᪉ࠊࡑࡇ࡟ࡣࡲࡓ୍▐ࡢ㌋㌉ࡶㄞࡳྲྀࢀࡿࠋศ㢮࡬ࡢᇳᛕ࡟ࡶ࠿࠿ࢃ
ࡽࡎࠊ࡛ࡣ࡞ࡃࠊࡴࡋࢁࡑࡢࡺ࠼ࡢ㌋㌉࡛࠶ࡿ࡜࠸ࡗ࡚ࡶࡼ࠸ࠋ
๓㏙ࡋࡓࡼ࠺࡟ࠊࣂࣝࢺࡣࠕB ⥙┠ࠖ࡟࠾࠸࡚ࡲࡎಟ㎡Ꮫࡢ኱ඖ࡜࡞ࡿ᭩࠿ࢀࡓసရࢆᑐ㇟࡜ࡍࡿ
㸱᧯సࠊࡘࡲࡾࠕ㓄⨨ࠖࠊࠕ⾲⌧ἲࠖࠊࠕⓎぢࠖࢆྲྀࡾୖࡆࠊࡑࡢศ㢮࡟ྲྀࡾ࠿࠿ࡿࡢࡔࡀࠊᙼࡣ᭱ึ࡟ࠕศ㢮ࠖ⮬యࢆㄽࡌࡿ୍㡯┠ࢆタࡅ࡚࠸ࡿࠋᙼ࡟ࡣࠊࠕࡲࡎ୍ゝゐࢀ࡞࠸ࢃࡅ࡟ࡣ࠸࠿࡞࠸ࠖࡇ࡜ࡀ࠶ࡿ࠿ࡽ࡛࠶ࡿࠋࡇࡇ࡛ࡣࠊ⣬ᖜࡢ㛵ಀࡶ࠶ࡾࠊࡲࡓ㆟ㄽࡢᣑᩓࢆ㑊ࡅࡿࡓࡵ࡟ࡶࡇࡢࠕศ㢮ࠖࡢ୍㡯┠ࢆ୰ᚰ࡟ྲྀࡾୖࡆࠊࢫ࣮࣮ࣟࣔࢩࣙࣥࡢㄞࡳ࡛㎺ࡾ࡞ࡀࡽࠊࣂࣝࢺࡢ᪉ἲࡢ୍➃ࢆ᥈ࡗ࡚࠸
ࡁࡓ࠸ࠋࡑࡶࡑࡶศ㢮ἲࡢ㑅ᢥ࡜࠸࠺ࡶࡢࡀࠊྠ᫬࡟࢖ࢹ࢜ࣟࢠ࣮ࡢ㑅ᢥ࡛ࡶ࠶ࡿࡇ࡜ࢆචࢀ࡞࠸࡜ࡍࢀࡤࠊ
ศ㢮ἲࡣᚲ↛ⓗ࡟ᦂࢀࢆᏎࡲࡎ࡟ࡣ࠸ࡽࢀ࡞࠸ࡶࡢ࡜࡞ࡿࠋࣂࣝࢺࡀࡇࡇ࡛ࡇࡔࢃࡿࡢࡣࠊศ㢮࡜࠸
࠺⾜Ⅽ࡟ᰁࡳࡘ࠿ࡎ࡟ࡣ࠸ࡽࢀ࡞࠸ࠊ㸦ศ㢮ࡍࡿഃࡢ㸧ࡑ࠺ࡋࡓࠕ࢖ࢹ࢜ࣟࢠ࣮ࠖࡢᏑᅾ࡛࠶ࡿࠋࠕྩࡣㄡࡢᐙ࡟ࡼࡃฟධࡾࡍࡿ࠿ࠊ࠸ࡗ࡚ࡈࡽࢇࠋࡑ࠺ࡍࢀࡤࠊྩࡀ࡝ࢇ࡞ே㛫࠿ࠊ࠸ࡗ࡚࠶ࡆࡼ࠺ࠖ࡜࠸࠺ㅗࡀ࠶ࡿࡀࠊᙼࡣࡑࡢ๓༙㒊ࢆධࢀ᭰࠼ࠊࡑࡋ࡚᤟ࡗ࡚ḟࡢࡼ࠺࡟࠸ࡗ࡚࠸ࡿࠋࠕྩࡣ࡝ࡢࡼ࠺࡟ศ㢮ࡍࡿ࠿ࠊ࠸ࡗ࡚ࡈࡽࢇࠋࡑ࠺ࡍࢀࡤࠊྩࡀ࡝ࢇ࡞ே㛫࡛࠶ࡿࡢ࠿ࠊ࠸ࡗ࡚࠶ࡆࡼ࠺ࠖࠋࡇࡇ࡛ࡣಟ㎡Ꮫࡢศ㢮ࡢ௙᪉࡜࠸࠺ࡶࡢࡀࠊࡑࢀࢆ⾜࠺ே㛫ࡀ࠸࠿࡞ࡿ⪅࡛࠶ࡿ࠿ࠊࡑࡢᣦᶆ࡟ࡉ࠼࡞ࡿࠋᑡ࡞ࡃ࡜ࡶࣂࣝࢺࡣࡑ࠺♧၀ࡋ࡚࠸ࡿࠋศ㢮ἲ࡟࠾ࡅࡿࡉࡲࡊࡲ࡞ࠕᦂࢀࠖ㸦“flottements”㸧

－ 32 －

㸦“rhétorique”927㸧ࠊࡘࡲࡾࠊศ㢮ࡍࡿ࡜࠸࠺⾜Ⅽࡀᚲ↛ⓗ࡟Ꮞࡴࡑࡢࠕᦂࢀࠖ࡟ᙼࡣ❧ࡕṆࡾࠊᙼ
⮬㌟ࠊᩥᏐ㏻ࡾࠕ㌋㌉ࠖ㸦“flottements”㸧ࡍࡿࡢ࡛࠶ࡿࠋ
Hence we cannot adoptɆas we shall do here, for didactic purposesɆa single, canonicalclassification which will deliberately “forget”the many variations of which the plan of the technèrhétorikè has been the object, without first saying a word about these variations. (47-48)
ࠕࡲࡎ୍ゝゐࢀ࡞࠸ࢃࡅ࡟ࡣ࠸࠿࡞࠸ࠖɆɆ࡜ᙼࡣ࠸ࡗ࡚࠸ࡿࠋ࡜࠸࠺ࡢࡶࠊᙼࡣᩍ⫱ⓗ࡞┠ⓗࡢࡓࡵ࡟࢔ࣜࢫࢺࢸࣞࢫࡢࠕ၏୍࠿ࡘつ⠊ⓗ࡞ศ㢮ࠖࢆ⏝࠸ࡿࡇ࡜ࡀࠊtechnè rhétorikèࠝಟ㎡⾡ࠞࡢࣉࣛࣥࢆᑐ㇟࡜ࡋࡓከᩘࡢኚ␗ࠊࡘࡲࡾࡣࠕᦂࢀࠖࢆࢃࡊ࡜ࠕᛀࢀࡿࠖࡇ࡜࡟࡞ࡿ࠿ࡶࡋࢀ࡞࠸࡜༴᝹ࡍࡿ࠿ࡽ࡛࠶ࡿࠋࠕኚ␗ࠖ࡟㛵ࡋ࡚ࡇࢀ࠿ࡽㄒࡽࢀࡼ࠺࡜ࡍࡿࣂࣝࢺࡢࠕ୍ゝࠖࡣࠊᮏ᭩࡟࠾࠸࡚ࠊ᩿இ࡜ࡋ࡚ࠊ࢔ࣜࢫࢺࢸࣞࢫⓗฟⓎⅬࢆ㑅ࡪࡇ࡜࡟ᑐࡍࡿ௜ᖏ஦㡯࡛࠶ࡾࠊⴭ⪅ࡣࡑࢀࡀᚲせ୙ྍḞ࡛࠶ࡿ࡜ឤࡌ࡚࠸ࡿࠋᐇ㝿ࡢ࡜ࡇࢁࠊࣂࣝࢺࡣࡑࡢࠕከᩘࡢኚ␗ࠖࢆ࡝ࡢࡼ࠺࡟ᥒ࠸ୖࡆࡼ࠺࡜ࡍࡿࡢࡔࢁ࠺࠿ࠋࡇࡇ࡛ࡣࡑࡢ᧯సࢆࡳ࡚࠸ࡃࡀࠊ⤖ㄽࢆඛྲྀࡾࡋ࡚࠸࠼ࡤࠊࣂࣝࢺࡀࡇࡇ࡛⾜࠺᧯సࡢඛ࡟࠶ࡿࡢࡣࠊ୍ࡘࡢỴᐃⓗ⤖ㄽ࡜࠸࠺ࡼࡾࡣࠊࡴࡋࢁ࠸ࢃࡤᮍỴᐃࡢࡲࡲ࡟㛤࠿ࢀࡓ⤖ㄽ࡛࠶ࡿ࡜࠸ࡗ࡚ࡶࡼ࠸ࠋ
ࡑࢀࡣ༢࡞ࡿࠕ௜ᖏ஦㡯ࠖ௨ୖࡢࡶࡢ࡜࡞ࡿࡔࢁ࠺ࠋ࡜࠸࠺ࡢࡶࠊᙼࡣ᥍࠼ࡵ࡟ࠕᦂࢀࠖࡢ཰ᣠࢆࡘࡅࡿࡼ࠺࡞⣲᣺ࡾࢆࡳࡏ࡞ࡀࡽࡶࠊᐇ㝿ࡢ࡜ࡇࢁࠊ௚᪉࡛ࡣㄞ⪅ࡀࡑࡢࠕᦂࢀࠖࢆࠕᛀࢀࡿࠖࡇ࡜ࡢ
࡞࠸ࡼ࠺࡟ࠊࡋࡓࡓ࠿࡟ᴂࢆᡴࡕ㎸ࡴ࠿ࡽ࡛࠶ࡿࠋࠕᦂࢀࠖࡣ⤖ᒁࠊㄞ⪅ࡢഃ࡟ᘬࡁΏࡉࢀ࡚ࡋࡲ࠺ࠋ
ࡑ࠺ࡋࡓ᪉ἲ࡟ࡣࣂࣝࢺ⮬㌟ࡢ≉ᚩⓗ࡞ࡶࡢࡀㄞࡳྲྀࢀࡿࠋࡑࢀࡣࠕᪧಟ㎡Ꮫࠖ࡟࠾࠸࡚ࡣ⮬ࡽࡢࠕṔྐⓗ⤖ㄽࡣ㑊ࡅࡿࠖ࡜࠸࠺ࣂࣝࢺࡢ❧ࡕ఩⨨࡟ࡶ㏻ᗏࡍࡿࠋᮏ᭩࡛ࡣࠊࣂࣝࢺࡣ⮬ࡽࡀ࠸ࢃࡤ㏱᫂࡞ⴭ⪅ࡓࡿࡇ࡜ࢆ⧞ࡾ㏉ࡋ୺ᙇࡍࡿࡢࡔࡀࠊࡇࡢࠕ⚾ⓗ࡞౽ぴࠖࢆ⦅ࡴࡢࡣᙜ↛࡞ࡀࡽᙼ⮬㌟࡛࠶ࡗ࡚ࠊ
ᮏ᭩ࡣᙼ⮬㌟ࡢࠕᪧಟ㎡Ꮫࠖ࡟௚࡞ࡽ࡞࠸ࠋࡔࡀࠊࡑࡢࡇ࡜࡟Ẽࡀࡘࡃࡢࡣࠊㄞ⪅ࡀࣂࣝࢺ࠿ࡽ࡞࡟࠿ᦂࢀࡢࡼ࠺࡞ࡶࡢࢆጤࡡࡽࢀ࡚ࡋࡲࡗ࡚࠿ࡽ࡛࠶ࡿࠋ
ศ㢮࡟࠾ࡅࡿࠕᦂࢀࠖࠊࡘࡲࡾࠕከᩘࡢኚ␗ࠖࢆ⪃ᐹࡍࡿᡭࡣࡌࡵ࡟ࠊࣂࣝࢺࡣࠊࡲࡎಟ㎡Ꮫࡢᴫㄽࡢᇶᮏ࡛࠶ࡿ୕ࡘࡢ␗࡞ࡗࡓฟⓎⅬ࡟❧ࡕ㏉ࡾࠊᛮᘚⓗ࡞࢔ࣜࢫࢺࢸࣞࢫࠊᐇ⏝ⓗ࡞ Ciceroࠊࡑࡋ࡚୧⪅ࡢㄪ೵ᙺ࡜ࡋ࡚ࡢ Quintilianusࠊ୕⪅ࡑࢀࡒࢀࡢಟ㎡Ꮫࢆᴫほࡋ࡚࠸ࡃࠋࡑࡋ࡚ᙼࡣࠊࡇࢀࡽࡢಟ㎡Ꮫࡢ㛫࡟ࡍ࡛࡟ࡳࡽࢀࡿᦂࢀࠊࠕศ㢮ୖࡢࡉࡲࡊࡲ࡞㉃ࡅ㔠ࠖࡣࠊࡘࡲࡿ࡜ࡇࢁᘚㄽࢆᵓᡂࡋ࡚࠸ࡿㅖ㒊ศࡢ㡰ᗎࡢ఩⨨࡟࠶ࡿ࡜ࡋ࡚ࠊdispositio ࠝ㓄⨨ࠞ࡟ὀ┠ࡋࠊࡑࢀࢆఱ࡜⤖ࡧࡘࡅࡿ࡭ࡁ࡞ࡢ࠿࡟ࡘ࠸࡚ࠊ௨ୗࡢࡼ࠺࡞஧ࡘࡢ㑅ᢥ⫥ࢆ♧ࡍࡢ࡛࠶ࡿࠋࡲࡎࠕӐࣉࣛࣥӑࢆ㸦࡛ࡁୖࡀࡗࡓ㡰ᗎ࡛ࡣ࡞ࡃ㸧Ӑ㡰ᗎ❧࡚ӑࠊ⣲ᮦࡢ㓄ศࠖ࡜࠸ࡗࡓ๰㐀⾜Ⅽ࡜ࡋ࡚ࠊࡘࡲࡾసᴗࡸᵓ㐀໬࡜࠸ࡗࡓࡶࡢ࡜ࡋ࡚ᤊ࠼ࡿ࡞ࡽࠊࣉࣛࣥࡣᘚㄽࡢ‽ഛ࡜⤖ࡧࡘࡅࡽࢀࡿࠋ௚᪉ࠊࣉࣛࣥࢆࠕ⏕⏘≀ࠖࠊࠕᅛᐃࡋࡓᵓ㐀ࠖ࡜ࡋ࡚⪃࠼ࡿ࡞ࡽࠊࡑࢀࡣసရ࡜⤖ࡧࡘࡃࠋࡍ࡞ࢃࡕ๓⪅ࡢሙྜࠊ㡰ᗎࡣࠕ⬟ືⓗࠊ๰㐀ⓗࠖ࡞ࡶࡢ࡜࡞ࡾࠊࡲࡓࠊᚋ⪅࡛ࡣࠕཷືⓗ࡛ࠊ๰㐀ࡉࢀࡓࡶࡢࠖ
࡜࡞ࡿࠋࡑࡋ࡚ࡇ࠺ࡋࡓ㑅ᢥ⫥ࡢᦂࢀ࡟㛵ࡍࡿゝཬࡢ࠶࡜࡛ࠊࣂࣝࢺࡀᘬࡁྜ࠸࡟ฟࡍࡢࡣࠊRamus㸦Pierrede La Ramée㸧ࠊRené DescartesࠊBlaise Pascalࠊࡑࡋ࡚࢚ࢻ࣮࣭࢞࢔࣭࣏࣮ࣛࣥࡢ㸲ே࡛࠶ࡿࠋ
ࣂࣝࢺࡣಟ㎡Ꮫࢆ 16 ୡ⣖࡟ࡲ࡛ୗ㝆ࡋࠊ࣒ࣛࢫࡢㄝࢆᣲࡆ࡚࠸ࡿࠋࣝࢿࢧࣥࢫᮇࡢဴᏛ⪅࡛࠶ࡾࠊࡲࡓேᩥᏛ⪅࡛ࡶ࠶ࡗࡓ࣒ࣛࢫࡣࠊ࢔ࣜࢫࢺࢸࣞࢫࡢᶒጾ࡟୍㎶ಽࡢᙜ᫬ࡢ㢼₻࡟཯Ⓨࡋࠊ࢔ࣜࢫࢺࢸࣞࢫࡢㄝ࡟⃭ࡋࡃ␗ࢆၐ࠼ࠊࠕ㓄⨨ࠖ࡜ࠕⓎぢࠖ࡜ࡢᚭᗏⓗศ᩿ࢆ୺ᙇࡋࡓࠋ࣒ࣛࢫ࡟ࡼࢀࡤࠊࡲ

－ 33 －

ࡎ᭱ึ࡟ࠊㄽドࡢࠕⓎぢࠖࡀ࠶ࡾࠊࡘ࠸࡛ࠕ᪉ἲ࡜࿧ࡤࢀࡿ⦅ᡂࠖࠊࡘࡲࡾࠕ㓄⨨ࠖࡀ࠶ࡿࡇ࡜࡟࡞ࡿࠋ
ࡋ࠿ࡋࠊ17 ୡ⣖࡟࡞ࡿ࡜ࡑ࠺ࡋࡓࠊ㸦ࣂࣝࢺ⮬㌟ࡢゝⴥࢆ౑࠺࡞ࡽ㸧ࠕࣉࣛࣥࠊdispositio ࡢ≀໬㸦reification㸧㸦49㸧ࠖ࡟ᑐࡋ࡚㢼✰ࡀ࠶ࡅࡽࢀࡿࡼ࠺࡟࡞ࡿࠋࢹ࢝ࣝࢺ࡜ࣃࢫ࡛࢝ࣝ࠶ࡿࠋࣂࣝࢺࡣࠊࢹ࢝ࣝࢺࡀࠊࡶࡣࡸࡑࢀ⮬యࡀࠕ⏕⏘≀ࠖ࡟ࡲ࡛࡞ࡗࡓ㸦࠾ࡑࡽࡃࡣࠊ࡞ࡾ㸺ୗࡀࡗࡓ㸼㸧ಟ㎡
Ꮫ࡟ぢษࡾࢆࡘࡅ࡚࠾ࡾࠊᙼࡀᵓ᝿࡜㡰ᗎࡢ୍⮴ࢆぢฟࡍࡢࡣࠊಟ㎡Ꮫ⪅࡛ࡣ࡞ࡃᩘᏛ⪅࡟࠾࠸࡚࡛
࠶ࡗࡓࡍࡿࠋ௚᪉ࣂࣝࢺࡣࠊࣃࢫ࢝ࣝ࡟࡜ࡗ࡚ࡣ㡰ᗎ⮬యࡀࡴࡋࢁࠕ๰㐀ⓗ౯್ࠖࢆࡶࡗ࡚࠸ࡓ࡜ࡋ
࡚ࠊࡇࡢဴᏛ⪅ࡢゝⴥࢆ⤂௓ࡋ࡚࠸ࡿࠋ
ӐQu’on ne dise pas que je n’an rien dit de nouveau: la disposition des matières est nouvelleӑ.
㸦“rhétorique” 928㸧                          Ӑ⚾ࡀఱ࠿᪂ࡋ࠸ࡇ࡜ࢆ㏙࡭࡞࠿ࡗࡓ࡜ࠊ࠸ࢃ࡞࠸࡛࠸ࡓࡔࡁࡓ࠸ࠋᮦᩱࡢ㓄⨨ࡀ᪂ࡋ࠸ࡢࡔӑࠋ㸦ࠗࣃࣥࢭ᩿࠘❶ 22㸧㸦ἑᓮヂ 77㸧ࡑࡋ࡚ࠊࣂࣝࢺࡣᵓ᝿࡜ᥦ♧ࡢ㡰ᗎࡢၥ㢟ࡣᩥᏛࡢᴫᛕࡑࡢࡶࡢ࡟㛵ࢃࡗ࡚ࡃࡿࡢ࡛࠶ࡾࠊࡑࢀࡣ௒᪥ࡶ࡞࠾ࠕ⌮ㄽⓗ࡞ព⩏ࠖࡀ࠶ࡿ࡜ㄽࡌࡿࡢࡔࡀࠊ᭱⤊ⓗ࡟ࡇࡢⴭ⪅ࡀࡑࡢዲ౛࡜ࡋ࡚ᣢࡕฟࡋ࡚
ࡃࡿࡢࡣࠊ19 ୡ⣖ࡢ࢔࣓ࣜ࢝సᐙ࣭リே࡛࠶ࡿ࢚ࢻ࣮࣭࢞࢔࣭࣏࣮࡛ࣛࣥ࠶ࡿࠋ

ࠕ኱㬏ࠖ࡜ࠕリసࡢဴ⌮ࠖࣂࣝࢺࡣࠊ࣏࣮ࡀ⮬సࡢリࠕ኱㬏ࠖࡢ๰సἲ࡟㛵ࡋ࡚ᒎ㛤ࡋࡓࠕᶍ⠊ⓗศᯒ࡛ࠖ࠶ࡿࠕリసࡢဴ⌮ࠖ࡟ࡘ࠸࡚ㄒࡿࠋ
. . . “The Raven”: starting, in order to write the work, from the last thing apparently received by
the reader (received as “ornament”), i.e., the melancholy effect of the word nevermore (e/o), thentracing back from this to the invention of the story and of the metrical form. (50)ᙼࡣࠊ࣏࣮ࡀࠕ኱㬏ࠖ ࢆ๰సࡍࡿ㝿࡟ࠊㄞ⪅࡟࡜ࡗ࡚ࡣ᫂ࡽ࠿࡟᭱ᚋࡢゝⴥ࡜࡞ࡿ“nevermore”(e/o)࡜࠸࠺ㄒࡢ᾿ࡋ࠸ຠᯝࢆฟⓎⅬ࡜ࡋ࡚ࠊࡑࡇ࠿ࡽ㐳ࡗ࡚ࢫࢺ࣮࣮ࣜࢆᵓ᝿ࡋࡓࡢࡔ࡜ࡍࡿࠋࡋ࠿ࡋࠊࡇࢀࢆ᭱ᚋ࡟ࣂࣝࢺࡢゝㄝࡣ⤊ࢃࡾࠊᵓ᝿ࡢ㡰ᗎ㸦dispositio㸧࡜ᥦ♧ࡢ㡰ᗎ㸦ordo㸧࡜ࡢ㛵ಀ࡟ࡘ࠸࡚ࠊᙼࡣࡶࡣࡸࡇࢀ௨ୖㄒࢁ࠺࡜ࡣࡋ࡞࠸ࠋࣂࣝࢺࡶࡲࡓࠊ࣏࣮ࡢ “Nevermore” ࢆ⮬ࡽࡢ᭱ᚋࡢゝⴥ࡜ࡋ࡚ࠊ࠶ࡢ኱㬏ࡢࡈ࡜ࡃỌ㐲࡟ཱྀࢆ㛢ࡊࡋ࡚ࡋࡲ࠺ࡢ࡛࠶ࡿࠋࡇ࠺ࡋࡓࣂࣝࢺࡢ᪉ἲࡣࠊ࡞ࡿ࡯࡝ࡇࡢ᭩ࡁᡭࡣࠕ೉⏝ࠖࡢே࡛࠶ࡗࡓࡢࡔ࡜࠸࠺ࡇ࡜ࢆ෌ㄆ㆑ࡉࡏࡿࡢࡔࡀࠊྠ᫬࡟ᙼ⮬㌟ࡀ୺ᙇࡍࡿࡼ࠺࡟ࠊࣂࣝࢺࡣ㏱᫂࡞ⴭ⪅࡛࠶ࡿ㸦࠿ࡶࡋࢀ࡞࠸㸧࡜ㄞ⪅࡟ᛮࢃࡏࡶࡍࡿࡢ࡛࠶ࡿࠋ
ࣂࣝࢺࡢఏグࢆⴭࡋࡓ Louis-Jean Calvet ࡣࠊࣂࣝࢺࡢᛮ⪃ഴྥࡀయ⣔ᆺ࡛࠶ࡿࡼࡾࡣࠊࡲࡎ࡞࡟ࡼࡾࡶ┤ほᆺ࡛࠶ࡾࠊࡑࡢ཯ᛂࡣ⇍⪃࡜࠸࠺ࡼࡾࡣ▐㛫ⓗ࡛࠶ࡗ࡚ࠊᙼࡢᛮ⣴ࢆࡑࡑࡿࡢࡣࡴࡋࢁࠕẼศ࡛ࠖ࠶ࡿ࡜㏙࡭ࠊࡉࡽ࡟⥆ࡅ࡚࠸ࡿࠋࠕࣂࣝࢺࡢ┤ほࡣࠊഅ↛ࠊฟྜࡗࡓࡶࡢࡸ௚࠿ࡽ೉⏝ࡋࡓࡶࡢ࡟ࡼࡗ࡚⌮ㄽ໬ࡉࢀࡿࠖ㸦282㸧ࠊࡘࡲࡾࠕ⮬ศ⮬㌟ࡢ┤ほࢆ⿵ᙉࡋ࡚ࡃࢀࡿᴫᛕࢆ௚ࡢⴭ⪅ࡢࡶ࡜࠿ࡽ೉ࡾ࡚ࡃࡿࠖ㸦361㸧ࡢࡔ࡜ᣦ᦬ࡍࡿࠋࣂࣝࢺࡢࡇ࠺ࡋࡓ࠸ࢃࡤࠕ೉⏝ࠖࡢᡭἲࠊ࠶ࡿ࠸ࡣࡴࡋࢁ
ᒓᛶ࡜ࡶ࠸࠺࡭ࡁࡶࡢࡣࠊࠕࣂࣝࢺࠖ࡟ࡘ࠸࡚ㄒࡽࢀࡿ࡜ࡁ㸦Jane Austen ࡢ Pride and Prejudice ࡢ－ 34 －ෑ㢌ࡢ୍⠇࡛ࡣ࡞࠸ࡀ㸧ࠊࡍ࡛࡟ࠊ࠸ࡲࡸࠕᬑ㐢ⓗ┿⌮ࠖ㸦“a truth universally acknowledged”㸧㸦3㸧࡟ࡲ࡛࡞ࡗ࡚࠸ࡿ࡜࠸ࡗ࡚ࡶ㐣ゝ࡛ࡣ࡞࠸ࡔࢁ࠺ࠋ
ࡑࡋ࡚ࠕᪧಟ㎡Ꮫࠖࡢࡇࡢࠕศ㢮ࠖࡢ㡯┠࡟࠾࠸࡚ࡶࠊࡑ࠺ࡋࡓᐃㄝࡢࠕࣂࣝࢺࠖࡣ౫↛ࠊ೺ᅾ࡛࠶ࡾࠊᙼࡣ⮬ศࡢ⌮ㄽ࡟ࣃࢫ࢝ࣝࡢࡳ࡞ࡽࡎࠊ࣏࣮ࡢリㄽࠕリసࡢဴ⌮ࠖࡶ೉⏝ࡍࡿࡢ࡛࠶ࡿࠋࡑࢀࡣ࣏࣮ࡀࠕ኱㬏ࠖࡢリࡢ๰స㐣⛬ࢆ⮬ࡽ᫂࠿ࡍࠊ࠸ࢃࡃࡘࡁࡢホㄽ࡛࠶ࡿࡢࡔࡀࠊ๓㏙ࡋࡓࡼ࠺࡟ࣂࣝࢺࡣࡑࢀࢆࠕศ㢮ࡢኚ␗ࠖࡢ㡯┠ࡢ᭱ᚋ࡟㓄⨨ࡋࠊⴭ⪅࡛࠶ࡿᙼ⮬㌟ࡣỿ㯲ࡋ࡚ࡋࡲ࠺ࠋ௨ୗ࡛ࡣࡲࡎࠊࡑࡢࠕリసࡢဴ⌮ࠖ࡟ࡘ࠸࡚ヲࡋࡃࡳ࡚࠸ࡇ࠺ࠋࡓࡋ࠿࡟ࣂࣝࢺࡀࠕศ㢮ࠖࡢ㡯࡛᭱ᚋ࡟ᣦ᦬ࡋࡓࡼ࠺࡟ࠊ࣏࣮ࡢリࡣ⤊ᒁ㸦the end㸧࠿ࡽࡣࡌࡲࡗ
࡚࠸ࡿࠋ“Nevermore” ࡜࠸࠺ゝⴥ࡟✺ࡁື࠿ࡉࢀ࡚ࡇࡢリேࡀࡲࡎᥗࡳྲྀࡗࡓࡢࡣࠊࡑࡢリࡢࢡࣛ࢖࣐ࢵࢡࢫࠊࡘࡲࡾ஦ᐇୖࡢࠕ⤊ᒁ࡛ࠖ࠶ࡗࡓࠋᙼ⮬㌟ࡑࡢࠕリసࡢဴ⌮ࠖ࡟࠾࠸࡚ドゝࡋ࡚࠸ࡿࠋ࣏
࣮ࡣࠊࠕ⤊ᒁࠖࡇࡑࡍ࡭࡚ࡢⱁ⾡సရࡢฟⓎⅬ࡛࠶ࡿ࡜ࡋ࡚ࠊ⮬ศࡀࡣࡌࡵ࡚࣌ࣥࢆ࡜ࡗࡓࡢࡣࠊࡇࡢ⤊ᒁࡢ࢖࣓࣮ࢪࢆᤊ࠼ࡓ࡜ࡁ࡛࠶ࡾࠊ඲ 16 ࢫࢱࣥࢨࡢ࠺ࡕࠊࡇࡢ➨ 14 ┠ࡢࢫࢱࣥࢨ࠿ࡽ᭩ࡁࡣࡌࡵࡓ࡜᫂࠿ࡍࡢ࡛࠶ࡿࠋ. . . I first established in mind the climax, or concluding queryɆthat to which “Nevermore”
should be in the last place an answerɆthat in reply to which this word “Nevermore” should
involve the utmost conceivable amount of sorrow and despair.
Here then the poem may be said to have its beginningɆat the end, where all works of art
should beginɆfor it was here, at this point of my preconsiderations, that I first put pen topaper in the composition of the stanza. . . (Poe 29)ࡲࡎࠊ࣏࣮ࡀࡦࡓࡍࡽ⭉ᚰࡋࡓࡢࡣࠊリࡢࠕࡣࡌࡲࡾ࡛ࠖࡣ࡞ࡃࠊࠕࢡࣛ࢖࣐ࢵࢡࢫ࡛ࠖ࠶ࡾࠊ኱
㬏ࡀ᭱ᚋ࡟Ⓨࡍࡿ “Nevermore” ࡀ࠸࠿࡟ᝒယ࡜⤯ᮃࡢຠᯝࢆᴟ㝈ࡲ࡛Ⓨ᥹࡛ࡁࡿ࠿ࠊࡑࢀ࡟ࡘ࠸࡚ࡢᕤኵࠊ࠸ࢃࡤᩥᏛⓗタ࠼㸦ࡋࡘࡽ࠼㸧࡟㛵ࡋ࡚࡛࠶ࡿࡢࡔࠋࣂࣝࢺࡀᣦ᦬ࡍࡿࡼ࠺࡟ࠊㄞ⪅࡟࡜ࡗ࡚ࡣ᫂ࡽ࠿࡟᭱ᚋࡢࡶࡢ࡜࡞ࡿゝⴥ࡛࠶ࡾࠊࡋ࠿ࡶࠕ⿦㣭ࠖ࡜ࡋ࡚ཷࡅྲྀࡽࢀࡿゝⴥ “Nevermore”ࡇࡑࡀࠊ࣏࣮ࡢᵓ᝿ࢆ✺ࡁື࠿ࡋࡓリࡢཎⅬࠊࡑࡶࡑࡶࡢฟⓎⅬࡔࡗࡓ࡜࠸࠺ࡇ࡜࡟࡞ࡿࠋࡇࡢࡼ࠺࡟⪃࠼࡚ࡃࡿ࡜ࠊࣂࣝࢺࡀ㆟ㄽࡢ᭱ᚋ࡟೉⏝ࡋࡓ࣏࣮ࡢࡇࡢࠕ๰స㐣⛬ࠖࡣࠊࡑࡢ೉ࡾ୺ࡢᛮ࠺࡜ࡇࢁࢆᕦࡳ࡟௦ᘚࡋ࡚ࡃࢀࡿࡶࡢ࡜࡞ࢁ࠺ࠋࡘࡲࡾ⮬ࡽࡣࡶࡣࡸỿ㯲ࡋ࡚ࡋࡲࡗ࡚࠸ࡿⴭ⪅ࣂࣝࢺ࡟᭰ࢃࡗ࡚ࠊࡇࡇ࡛ࡣ࣏࣮࠿ࡽࡢ೉⏝ࡀࣂࣝࢺࡢ୺ᙇࢆㄒࡾฟࡍࡢࡔࠋ➃ⓗ࡟࠸࠼ࡤࠊ࣏࣮ࡢ᪉ἲ⮬యࡀࠕᵓ᝿ࡢ㡰ᗎ࡜ᥦ♧ࡢ㡰ᗎࡢ㛵ಀࡀᖖ࡟Ꮞࢇ࡛࠸ࡿ೫ᕪ࡜᪉ྥ㸦▩┪ࠊ㌿ಽ㸧(“contradictionand inversion”)㸦49-50㸧ࠖࢆࡶࡢࡢぢ஦࡟♧ࡋ࡚ࡳࡏࡿࠊ࠶ࡿ࠸ࡣࠊࡴࡋࢁ₇ࡌ࡚ࡳࡏࡉ࠼ࡋ࡚ࡃࢀ
ࡿࡢ࡛࠶ࡿࠋ࣏࣮ࢆࡵࡄࡿ␲ᝨࡋ࠿ࡋࠊࡶࡋ࣏࣮࡟ࡼࡗ࡚᭩࠿ࢀࡓࡇࡢリㄽ⮬యࡀഇࡾࡔ࡜ࡋࡓࡽ࡝࠺ࡔࢁ࠺ࠋࡲࡎ࣏࣮ࡢࠕ኱㬏ࠖ࡜࠸࠺リ⮬యࢆࠊࡑࡋ࡚ḟ࡟ࡑࡢ๰స㐣⛬ࢆグࡋࡓ࡜ࡉࢀࡿࠕリసࡢဴ⌮ࠖࡀᏎࡴၥ㢟ᛶࢆ௨ୗ࡟☜ㄆࡋ࡚࠸ࡁࡓ࠸ࠋ

ࠕ኱㬏ࠖࡣ 1945 ᖺࠊMirror ㄅ (January 29 issue) ࡟Ⓨ⾲ࡉࢀࠊ⥆࠸࡚⩣ 1846 ᖺ 4 ᭶࡟ࡣࡑࡢリㄽࠕసリࡢဴ⌮ࠖࡶබ⾲ࡉࢀࡿࠋࡑࡢ㛫ࡢ≧ἣࢆࠊࡓ࡜࠼ࡤ Kenneth Silverman ࡢఏグ࡟ἢࡗ࡚࡞
ࡒࡗ࡚࠸ࡅࡤࠊࡇࡢリࡣࡇࢀࡲ࡛᭩࠿ࢀࡓリࡢ࡞࠿࡛ࡶࠊࡶࡗ࡜ࡶேཱྀ࡟⮊⅝ࡉࢀࡓ౛࡛࠶ࡾ(237)ࠊ

－ 35 －ࡲࡓࡑࡢリㄽࡶࠊ࣏࣮࡟࡜ࡗ࡚ࡣࠕᚲ↛ࠖࢆᛮࢃࡏࡿࡼ࠺࡞㔜せホㄽࡢ୍ࡘ㸦295㸧࡛࠶ࡿࡢࡔࡀࠊ࠾ࡑࡽࡃࡑࢀࡔࡅၥ㢟ྵࡳࡢ㸺సရ㸼࡛ࡶ࠶ࡿ࡜࠸࠺ࡇ࡜࡞ࡢࡔࢁ࠺ࠋࠕ ኱ 㬏 ࠖ ࡣ ࠊ ௒ ᪥ ࡞ ࡽ ࡉ ࡋ ࡎ ࡵ “hit song” ࡜ ࡶ ࠸ ࠼ ࡑ ࠺ ࡞ ே Ẽ ࢆ ༤ ࡋ ࠊ ཯ ᚟ ྃ (refrain) ࡢ“Nevermore” ࡣࢽ࣮࣮ࣗࣚࢡ୍࡛✀ࡢὶ⾜ㄒ࡜໬ࡍࠋ࣏࣮ࡢࠕពᅗࠖࡣ኱ᡂຌࢆ཰ࡵࡿࠋᩥᏐ㏻ࡾࡑࢀࡣ࣏࣮ࡢᛮ࠺ࢶ࣎࡟ࡣࡲࡿࠋࡋ࠿ࡋ⓶⫗࡞ࡇ࡜࡟ࠊࡲࡉ࡟ࠕㄡࡶࡀㄞࡳࠊ⛠㈶ࡍࡿࠖࡼ࠺࡞ࡑࡢ኱
⾗ᛶࠊ኱⾗ࡢႴዲ࡟ྜ⮴ࡋࡍࡂ࡚ࡋࡲࡗࡓࡇ࡜ࡶࠊ࠾ࡑࡽࡃࡣ⅏࠸ࡋࡓࡢ࡛࠶ࢁ࠺ࠋࡑࡢリࡣࠊリேࡓࡕࡢᑂ⨾║࡟ࡼࡗ࡚ࡣ㓞ホࡉࢀࡿࡶࡢ࡜࡞ࡿࠋࡓ࡜࠼ࡤࠊ࣏࣮࡜ࡣ┦ᛶࡀࡼࡃ࡞࠿ࡗࡓ࡜ࡉࢀࡿ㉸⤯୺⩏⪅ࠊRalph Waldo Emerson ࡟ࠊࠕぢࡿ࡭ࡁࡶࡢ࡞ࡋࠖ㸦265㸧࡜୍ย୧᩿࡟᩾ࡾᤞ࡚ࡽࢀࡿࡢ
ࡣู࡟ࡋ࡚ࡶࠊWilliam Butler Yeats ࡢホ౯ࡶఝࡓࡼ࠺࡞ࡶࡢ࡛ࡋ࠿࡞࠸ࠋࡑࡢリࡣࠕ୙ㄔᐇ࠿ࡘୗ
ရࠖ࡞ࡶࡢ࡛࠶ࡾࠊ୺㢟ࡶ㝞⭉࡞ࡽࠊリࡢࣜࢬ࣒ࡶࢺࣜࢵࢡࡵ࠸࡚࠸ࡿ࡜ࠊࡇࡢリே࠿ࡽࡶᡭཝࡋ࠸
ᢈุࢆཷࡅࡿࡇ࡜࡟࡞ࡿࡢ࡛࠶ࡿ㸦239㸧ࠋࣂࣝࢺࡀࠕᪧಟ㎡Ꮫࠖ࡟࠾࠸࡚ࡑࡢ୍⠇ࢆ೉⏝ࡋࡓࠕリసࡢဴ⌮ࠖࡢ࡯࠺ࡣリࡢ⩣ᖺ࡟Ⓨ⾲ࡉࢀࡓࡶࡢࡔࡀࠊࡑࢀࡣࡉࡽ࡟≀㆟ࢆ㔊ࡍࡶࡢ࡜࡞ࡿࠋリேࡀ⮬ࡽࡢ๰సἲࡢ⛎ᐦࢆゎࡁ᫂࠿ࡋ࡚࠸ࡃɆɆࡇ
ࢀࡣࠊ࣏࣮࡟ࡼࢀࡤࠊ࠸ࡲࡲ࡛࠸࠿࡞ࡿリேࡶヨࡳࡿࡇ࡜ࡢ࡞࠿ࡗࡓ᪂ࡋ࠸ᣮᡓ࡛࠶ࡾࠊㄞ⪅࡟ࡣࠕ࠾ࡶࡋࢁ࠸ࠖ㸦22㸧ㄞࡳ≀࡟࡞ࡿࡣࡎࡢࡶࡢ࡛࠶ࡗࡓࠋࡇࡢリே⮬㌟ࡀࠕᩘᏛࡢၥ㢟ࡢࡼ࠺࡞ṇ☜ࡉ࡜ཝ᱁࡞ᅉᯝ㛵ಀࠖ(“the precision and rigid consequence of a mathematical problem”)㸦Poe 23㸧ࢆࡶࡗ࡚᭩ࡁ㐍ࡵࡓ࡜ࡍࡿリࡢᴫせࡣ௨ୗࡢࡼ࠺࡞ࡶࡢ࡜࡞ࡿࠋI had now gone so far as the conception of a Raven, the bird of ill-omen, monotonously repeating
the one word “Nevermore” at the conclusion of each stanza in a poem of melancholy tone, and inlength about one hundred lines. (28)ࡑࡋ࡚リࢆ⤌ࡳ❧࡚ࡿྛせ⣲࡟ࡣࠊࠕṇ☜ࠖ࠿ࡘࠕཝ᱁ࠖ࡞⌮⏤㸦௜ࡅ㸧ࡀグࡉࢀ࡚࠸ࡿࠋ࣏࣮࡟
ࡼࢀࡤࠊࡓ࡜࠼ࡤリࡢ㛗ࡉࡣࠊ⣙ 100 ⾜ࠋࡑࡢ᰿ᣐࡣࠊリࡀ୚࠼ࡿ༳㇟ࡢ⤫୍࡟㓄៖ࡍࡿ࡞ࡽࠊㄞ⪅࡟࡜ࡗ࡚ࡑࢀࡀࠕ୍Ẽ࡟ࠖ㸦“at one sitting”㸧㸦23㸧ㄞࡳ㏻ࡏࡿ㛗ࡉࡢ㝈⏺ࡔ࠿ࡽ࡛࠶ࡿࠋ㸦ᐇ㝿ࡢ࡜ࡇࢁࠊࠕ኱㬏ࠖࡢ㛗ࡉࡣ 108 ⾜࡛ࠕ⣙ 100 ⾜ࠖ࡜࠸࠺㸺ཎ๎㸼࡟࡯ࡰ๎ࡗ࡚࠸ࡿࡇ࡜ࢆ࣏࣮ࡣ㸺ド᫂㸼ࡋ࡚࠸ࡿࠋ㸧ࡑࡋ࡚ࣜࣇࣞ࢖ࣥࡣࠊ“Nevermore”ࠋ“o” 㡢࡜“r” 㡢ࡢ⤖ྜ࡟ࡼࡗ࡚㝜㨚࡞ຠᯝࢆฟࡍࡇ࡜ࡀ࡛ࡁࡿࠋࡑࡢ௚ࠊリࡢ㡿ᇦࡣࠕ⨾ࠖࠊㄪᏊࡣࠕᝒယࠖ࡜࠸ࡗࡓලྜ࡟ࠊ࣏࣮ࡣ෭ᚭ࡞ࠕពᅗࠖ࡜ィ⟬ࡢࡶ࡜ࠊリࡢᵓ᝿ࢆゎࡁ᫂࠿ࡋ࡚࠸ࡃɆɆᑡ࡞ࡃ࡜ࡶ࣏࣮⮬ࡽࡢ✀᫂࠿ࡋ࡛ࡣࡑ࠺࡞ࡿࠋࡋ࠿ࡋࠊࡑࢀ࡟ࡶ࠿࠿ࢃࡽࡎࠊྰࠊ࠾ࡑࡽࡃࡣࡑࢀࡺ࠼࡟ࠕリసࡢဴ⌮ࠖࡢホ౯ࡶࡲࡓ஧ศࡉࢀࡿ
ࡇ࡜࡟࡞ࡿࠋ㈹㈶ࡉࢀࡿ୍᪉࡛ࠊリே⮬㌟ࡀ๰సἲ࡜⛠ࡍࡿࡑࡢࠕィ⟬ࠖ࡟ࡣࠊ␲⩏ࡀᣳࡲࢀࠊಙ៰ᛶࡀ␲ࢃࢀࡿࠋࡉࡽ࡟ࡑ࠺ࡋࡓ┿ഇㄽதࡢᯝ࡚࡟ࡣࠊㄞࡳᡭഃࡢ㸺ゎ㔘㸼ࡶࡲࡓㄏⓎࡉࢀ࡚࠸ࡃࡇ࡜࡟࡞ࡿࡢ࡛࠶ࡿࠋ

ࡓ࡜࠼ࡤࠊ࣏࣮ࡢఏグࢆ᭩࠸ࡓ Joseph Wood Krutch ࡣࠊ༢࡞ࡿᩥᏛᢈホࢆ㉺࠼ࡓ࣏࣮ࡢ⌮ㄽ໬ࡢᡯ⬟࡟ὀ┠ࡋ㸦98㸧ࠊࡲࡓ Charles Baudelaire ࡣࠊ࣏࣮ࡢඃ⚽ᛶࢆㆭ࠼ࡿ㸦Lanford 243-65㸧ࠋࡑࡋ࡚࣮࣎ࢻ࣮ࣞࣝ࡜ྠࡌࣇࣛࣥࢫࡢリேࡓࡕࠊࡓ࡜࠼ࡤ Stéphane Mallarmé ࡸ Paul Valéry ࡟࠸ࡓࡗ࡚
ࡣࠊ࣏࣮ࡢリㄽࢆ㈹㈶ࡍࡿࡢࡳ࡞ࡽࡎࠊリసୖࠊᙼ࠿ࡽཷࡅࡓ኱ࡁ࡞ᙳ㡪࡟ࡘ࠸࡚⮬ࡽㄒࡾࠊࡲࡓࡑ
ࢀࢆᐇ㊶࡟ࡶ⛣ࡍࡢࡔ㸦Silverman 296㸧ࠋࡔࡀࠊࡇ࠺ࡋࡓ⇕≬ࡪࡾ࡜ࡣᑐ↷ⓗ࡟ࠊ࣏࣮ࡢ⌮ㄽ㸦࡜ࠊᐇ㝿ࡢリ࡜ࡢࠕ㛵ಀࠖ㸧࡟␲ᛕࢆᣳࡴリேࡓࡕࡶฟ࡚ࡃࡿࠋࡓ࡜࠼ࡤ T. S. Eliot ࡣࡇ࠺ࡋࡓᙼࡢࠕ᪉－ 36 －ἲࠖࡣಙࡌࡿẼ࡟࡞ࢀ࡞࠸࡜ࡋ㸦Hoffman 76㸧ࠊ࡞࠿࡟ࡣࠕ㦄ࡋࠖࠊࠕ࣌ࢸࣥࠖ㸦“a hoax”㸧ࢆ␲࠺⪅ࡓࡕࡉ࠼⌧ࢀࡿ㸦Silverman 296㸧ࠋࡑࡢࡼ࠺࡟ࠕリసࡢဴ⌮ࠖࢆࡵࡄࡿ㆟ㄽࡢ㐣⇕ࡣࠊ┿ഇࡢ᫝㠀ࡢㄽதࢆ㉺࠼࡚ࡉࡽ࡟ゎ㔘࡟ࡲ࡛ཬࡪࡼ࠺࡟࡞ࡿࠋࢩࣝࣂ࣮࣐ࣥࢆ౛࡟ྲྀࢀࡤࠊᙼࡣ࣏࣮ࡢఏグࡢ࡞࠿࡛ࠊࡇࡢసᐙࡢ᭩ࡁ࠿ࡓ㸦style㸧࡟ࡣࠊ࣏࣮࡜ྠ᫬௦సᐙ࡛࠶ࡗࡓ Gustave Flaubert ࡟ࡶẚ⫪ࡍࡿࡼ࠺࡞ຊᙉࡉࡀ࠶ࡿ࡜ㄆࡵ࡞ࡀࡽࡶࠊ
࣏࣮ࡢᐇே⏕࠿ࡽ㏱࠿ࡋ࡚ࡳࢀࡤࠊࠕリసࡢဴ⌮ࠖࡣࠊ෭ᚭ࡞ࠊ⌮ㄽⓗ࡞᭩ࡁ≀࡛࠶ࡿࡼࡾࡣࠊࡴࡋ
ࢁࡑࢀ࡜ࡣ┿㏫ࡢࡶࡢ࡟ᛮࢃࢀࡿ࡜ࡋ࡚࠸ࡿࠋࡘࡲࡾࠊࡑࢀࡣࡇࡢリே⮬㌟ࡀᵓ⠏ࡏࡊࡿࢆᚓ࡞࠿ࡗࡓ㜵ᚚᰙࡔࡗࡓࡢ࡛ࡣ࡞࠸࠿࡜᠈

ࡍࡿࡢࡔࠋ࣏࣮ࡢ㌟ࡢ࠺ࡕ࡟ເࡾࠊ࠸ࡸቑࡋ࡚࠸ࡃ୙᮲⌮ࡢឤぬ࡟ᢠ࠺ࡓࡵ࡟ᚲせ୙ྍḞ࡞ࠕࡉࡽ࡟኱ࡁࡃᙉᅛ࡞㞀ቨࠖ
㸦“a larger and more fortified hedge against hisincreasing irrationality”㸧㸦296㸧࡛࠶ࡿࠋ

࣏࣮⮬ࡽᢨṔࡍࡿࡇࡢリస㐣⛬ࡣࠊࡣࡓࡋ࡚┿ᐇࡢࡶࡢ࡞ࡢࡔࢁ࠺࠿ࠋࡑࡢ⌮ㄽࡣࠊࡍ࡛࡟᏶ᡂ῭ࡳࡢリࠕ኱㬏ࠖࢆ࡞ࡒࡗࡓࡔࡅࡢࠊ࠸ࢃࡤᚋ௜ࡅࡢ⌮ᒅ࡛ࡣ࡞࠸ࡢ࠿ࠋリㄽ࡛ᙼࡣ㸺ᩘᏛ㸼ࢆ㄂♧ࡋ࡚࠸ࡿࡀࠊࡑࢀࡣࠕ኱㬏ࠖ࡟ే⾜ࡋ࡚ㄒࡽࢀࡿࠊࡴࡋࢁࡶ࠺୍ࡘࡢ㸺≀ㄒ㸼࡜ࡋ࡚ࡶㄞࡳྲྀࡾྍ⬟࡞ࡢ࡛ࡣ࡞࠸ࡢ࠿ࠋ

ࣂࣝࢺ⮬㌟ࡢ“Nevermore”࣏࣮ࡀ㛤♧ࡋࡓ๰సἲࡢ┿ഇࢆࡵࡄࡿ␲ᝨࡣࠊࡋ࠿ࡋࠊᑡ࡞ࡃ࡜ࡶࣂࣝࢺࡢࠕ೉⏝ࠖ࡟㛵ࡋ࡚࠸࠼ࡤࠊ኱ࡋ࡚ၥ㢟࡛ࡣ࡞࠸ࡔࢁ࠺ࠋࡴࡋࢁࡑ࠺ࡋࡓ␲ᝨࢆࡶྵࡵ࡚ࠊࣂࣝࢺ࡟࡜ࡗ࡚ࡣࡉࡽ࡟ዲ㒔ྜ࡞೉⏝࡜࡞ࡿ࠿ࡶࡋࢀ࡞࠸ࠋ࣏࣮ࡣᙼ⮬㌟࠸࠺ࡼ࠺࡟ࠊࠕ኱㬏ࠖࡢ๰సἲࡢࡑ࠺ࡋࡓㅦ᫂࠿ࡋࡀࠊㄞ⪅࡟࡜ࡗ࡚࠾ࡶࡋࢁ࠸ࡶࡢ࡟࡞ࡿࡇ࡜ࢆពᅗࡋ࡚࠸ࡓࡢࡔࡀࠊࣂࣝࢺ࡟ࡼࡿࡇࡢ೉⏝ࡶࡲࡓ⤖ᯝⓗ࡟ࡣࠊࡇࡢ೉ࡾ୺ࡢࠕ᪉ἲࠖࡀᛮ࠺ࢶ࣎࡟ࡣࡲࡾࠕ࠾ࡶࡋࢁ࠸ࠖࡶࡢ࡟࡞ࡗ࡚࠸ࡿࠋࣂࣝࢺࡀ♧၀ࡍࡿࠕ㡰ᗎࡢ೫ᕪ࡜᪉ྥ㸦▩┪ࠊ㌿ಽ㸧ࠖࡣࠊࡇ࠺ࡋࡓ࣏࣮ࡢḭࡁ࣭㦄ࡋ㸦࠿ࡶࡋࢀ࡞࠸ࡶࡢ㸧࡟ᑐࡍࡿཷᐜ⪅ഃࡢከᵝ࡞཯ᛂ࡟ࡼࡗ࡚ࠊࡴࡋࢁࡉࡽ࡟㔜ᒙᛶࢆቑࡋ࡚ㄞ⪅ࡢഃ࡟❧ࡕ⌧ࢀ࡚ࡃࡿࠊ࠶ࡿ࠸ࡣࠊᑡ࡞ࡃ࡜ࡶࡑࡢࡼ࠺࡟ㄞࡳྲྀࢀ࡚ࡃࡿ࠿ࡽ࡛࠶ࡿࠋ
࣏࣮ࡢࡑࡢリㄽ㸦࠶ࡿ࠸ࡣࠊ࠾ࡑࡽࡃᙼࡢࡶ࠺୍ࡘࡢ㸺సရ㸼࡜ࡶ࠸࠺࡭ࡁࡶࡢ㸧ࡀⓎᩓࡍࡿ㨩ຊ࡜ࠊ࠶ࡿ✀ࡢ࠸࠿ࡀࢃࡋࡉࠊ⬌ᩓ⮯ࡉࠊࡑ࠺ࡋࡓࡶࡢࡢ┦஌ຠᯝࢆࡶࣂࣝࢺࡣィ⟬῭ࡳ࡛࠶ࡗࡓࠊ࡜࠸࠺ࡇ࡜ࡣ኱࠸࡟⪃࠼ࡽࢀࡿ࡛࠶ࢁ࠺ࠋࡕࡻ࠺࡝࣏࣮ࡀ᭱ᚋ࡟ࡃࡿࣜࣇࣞ࢖ࣥࡢ “Nevermore” ࡢຠᯝࢆࡦࡓࡍࡽ⪃࠼ࡿࡇ࡜࡟ࡼࡗ࡚ࡑࡢ
リసࢆ㛤ጞࡋࡓࡼ࠺࡟ࠊࣂࣝࢺࡶࡲࡓࠊ஦ᐇ࡜ࡶ๰స࡜ࡶࡘ࠿ࡠࠊࡇࡢ࣏࣮ࡢࠕリసࡢဴ⌮ࠖࢆࠊ⮬ࡽࡢ㆟ㄽࡢࢡࣛ࢖࣐ࢵࢡࢫ㸦⤊ᒁ㸧࡟೉⏝ࡍࡿ࡜࠸࠺ᵓ᝿ࢆᢪ࠸ࡓ࡜ࡋ࡚ࡶ୙ᛮ㆟࡛ࡣ࡞࠸ࠋࡑ࠺ࡋ
ࡓ⪃࠼ࡀࠊ࠸ࡘࣂࣝࢺࡢ⬚୰࡟ཤ᮶ࡋࡓ࠿ࡣ▱ࡿࡼࡋࡶ࡞࠸ࡀࠊࡋ࠿ࡋᑡ࡞ࡃ࡜ࡶࠕリసࡢဴ⌮ࠖࡢࡇࡢ୍⠇ࢆࠕᥦ♧ࡢ㡰ᗎࠖࡢ᭱ᚋ࡟㓄⨨ࡍࡿ࡜࠸࠺ᵓ᝿ࡣࠊ࠾ࡑࡽࡃ㑅ࡧᢤ࠿ࢀࡓࡶࡢ࡛࠶ࡾࠊࣂࣝ
ࢺࡣࡑࡢࠕ㓄⨨ࠖࡢ㡰ᗎࢆỴࡋ࡚ᡭᨺࡑ࠺࡜ࡣࡋ࡞࠿ࡗࡓ࡛࠶ࢁ࠺ࠋ
ࡇࡇ࡛ࡣࣂࣝࢺࡣࠕ㓄⨨ࠖ࡟ࡘ࠸࡚ㄽࡌ࡚࠸ࡿࡢࡔࡀࠊࡇ࠺ࡋࡓᙼࡢ᪉ἲ࡟ὀ┠ࡍࢀࡤࠊ࠸ࡲ୍ࡘ⯆࿡῝࠸ࡇ࡜ࡀࡳ࡚࡜ࢀࡿࠋࣂࣝࢺࡢࡇࡢ㸺ࢡࣛ࢖࣐ࢵࢡࢫ㸼ࡣࠊࡓ࡜࠼ࡤࠕ୧ศἲࠖࢆ㏱࠿ࡋ᙮ࡾ
࡟ࡋ࡚࠸ࡿࡼ࠺࡟ࡶᛮ࠼࡚ࡃࡿࡢ࡛࠶ࡿࠋࣂࣝࢺࡣࠕಟ㎡Ꮫࠖ࡟࠾࠸࡚ࠊ࢔ࣜࢫࢺࢸࣞࢫࡢಟ㎡Ꮫࡢ≉Ⰽࡢ୍ࡘ࡛࠶ࡿゝㄝࡢࠕ୧ศἲࠖࠊࡘࡲࡾࠕಟ㎡ᢏ⾡ࠖ㸦Technè rhétorikè㸧࡜ࠕリⓗᢏ⾡ࠖ㸦Technè
poiétikè㸧ࡢᢏ⾡ࡢ༊ศ࡟ࡘ࠸࡚௨ୗࡢࡼ࠺࡟㏙࡭࡚࠸ࡿࠋ

－ 37 －

. . . they are quite distinct: the Technè rhétorikè deals with an art of everyday communication,with public discourse; the Technè poiétikè deals with an art of imaginary evocation; in the firstcase, we are concerned to order the progress of discourse from idea to idea; in the second, theprogress of the work from image to image . . . (20-21)
ࡲࡎࠕಟ㎡ᢏᕦࠖࡣࠊබ⾗࡟ᑐࡋ࡚ពᚿఏ㐩ࢆ⾜࠺ࡓࡵࡢ᪥ᖖⓗࢥ࣑ࣗࢽ࣮ࢣ࣮ࢩ࡛ࣙࣥ࠶ࡿࡢࡔ
ࡀࠊ௚᪉ࠊࠕリⓗᢏ⾡ࠖࡣࠊ᝿ീຊႏ㉳ࡢࡓࡵࡢࡶࡢ࡛ࠊࡇࡢᢏ⾡ࡀఏ㐩ࡍࡿࡢࡣࠊಟ㎡ᢏ⾡ࡢሙྜࡢࡼ࠺࡞ほᛕ࡛ࡣ࡞ࡃࠊࡴࡋࢁࠕ࢖࣓࣮ࢪࠖ࠿ࡽࠕ࢖࣓࣮ࢪࠖ࡬ࡢఏ㐩࡜࡞ࡿ㸳ࠋࣂࣝࢺࡀ㆟ㄽࡢ᭱ᚋࢆ࣏࣮ࡢ೉⏝࡟ࡲ࠿ࡏ࡚ࡋࡲ࠺ᡭἲࡣࠊࠕほᛕࠖࡢࡼ࠺࡟ࠊẁ㝵ࢆ⤒࡚₞㐍ⓗ࡟㐍ࡴఏ㐩࡛ࡣ࡞ࡃࠊࡴࡋࢁࠕ࢖࣓࣮ࢪ࠿ࡽ࢖࣓࣮ࢪ࡬ࠖࡢఏ㐩ࡢ㡿ᇦࠊࡘࡲࡾ࢔ࣜࢫࢺࢸࣞࢫࡢ࠸
࠺ࠊࠕリⓗᢏ⾡ࠖࡢ࡯࠺࡟㋃ࡳ㎸ࢇ࡛࠸ࡿほࡀ࠶ࡿࠋࡇࡇ࡛ࡣࠊࣂࣝࢺࡣࠕ⮬ศ⮬㌟ࡢ┤ほࢆ⿵ᙉࡋ࡚ࡃࢀࡿᴫᛕࢆ௚ࡢⴭ⪅ࡢࡶ࡜࠿ࡽ೉ࡾ࡚ࡃࡿࠖࡇ࡜ࡣࡋ࡞࠸ࠋᙼࡣ⮬㌟ࡢ┤ほࢆᴫᛕ໬ࡍࡿࡇ࡜࡞ࡃࠊ┤ほࢆ┤ほ࡜ࡋ࡚ࠊࡑࡢࡲࡲ࡟␃ࡵ࠾ࡃࠋࡇࡇ࡛ࡣࠊ┤ほࢆࠕ⿵ᙉࠖࡍࡿ௙஦ࡣࡴࡋࢁㄞ⪅ࡢഃ࡟ㆡࡾΏࡉࢀࡿࠋࡑࢀࡣゎᾘ࡛ࡣ࡞ࡃࠊࡴࡋࢁࡑࢀ࡜ࡣ㏫ࡢ᪉ྥᛶࢆᖏࡧ࡚ࡃࡿࠋቑᖜࡉࢀࠊᦂࡉࡪࡾ㏉ࡉࢀ࡚ࡑࢀࡣㄞ⪅࡟ࡑࡢࡲࡲጤࡡࡽࢀࡿࡢ࡛࠶ࡿࠋࣂࣝࢺࡀ᭩࠿࡞࠿ࡗࡓࠕ⤖ㄒࠖ㸸࠶ࡿ࠸ࡣࠊࠕ⤖ㄒࠖࡢඛ࡟࠶ࡿࡶࡢࣂࣝࢺࡣᮏ᭩ࡢ⤖ㄒ࡟࠾࠸࡚ࠕṔྐⓗ⤖ㄽࠖࢆୗࡍࡇ࡜ࢆ࿘฿࡟㑊ࡅࡿࠋ⤖ㄽࢆᅇ㑊ࡍࡿࣂࣝࢺࡢࡑ࠺ࡋࡓഴྥࡣࡇࢀࡲ࡛࣏࣮ࡢ೉⏝࡟࠾࠸࡚ࡶࡳ࡚ࡁࡓ㏻ࡾ࡛࠶ࡿࠋࡋ࠿ࡋࠕᪧಟ㎡Ꮫࠖࡢ⥴ゝࡢண࿌࡟㐪࠼ࡎࠊࡲࡓࠕࠗಟ㎡Ꮫ࠘ࡢ᭱ᮇࠖ࡜࠸࠺┠ḟ࡟ᛅᐇ࡟ࠊᪧಟ㎡Ꮫࢆࠕ㐣ཤࡢ㑇≀ࠖ࡜ࡋ࡚⤊↉ࡉࡏ࡚ࡋࡲ࠺ࠋࡔࡀࠊࡇࡢࠕ⤖ㄽࠖ࡟ࡣࡲࡔඛࡀ࠶ࡿࠋࣂࣝࢺࡣ⮬ࡽࡀᡭࢆୗࡋࡓᪧಟ㎡Ꮫࢆࠊ෌ࡧ⮬ࡽࡢᡭ࡟ࡼࡗ࡚ࠕ᚟ඖࠖ㸦⠛⏣ 301㸧ࡉࡏࡿࡢ࡛࠶ࡿࠋࠕᪧಟ㎡ᏛࠖⓎ⾲ᚋࡢࣂࣝࢺࡢ㊊㊧ࢆ୹ᛕ࡟㎺ࡗ࡚࠸
ࡅࡤࠊࡓ࡜࠼ࡤ⠛⏣ᾈ୍㑻ࡢᣦ᦬ࡢࡼ࠺࡟ࠊᪧಟ㎡Ꮫࡢ┬␎୕ẁㄽἲ㸦enthumèma/enthymeme㸧ࡣࠊ㹑/Z ࡟࠾ࡅࡿࠗࢧࣛࢪ࣮ࢾ࠘ࡢศᯒ࡟ά⏝ࡉࢀࡿ㸦313㸧ࠋࡲࡓ Sade/Fourier/Loyola ࡟࠾ࡅࡿࠕゝㄝࡢ≧ἣࠖࡢᴫᛕࠊࡑࡋ࡚㹑/Z ࡟࠾ࡅࡿࠕࢸࢡࢫࢺࠖ࡜࠸࠺⾡ㄒࢆࡣࡌࡵ࡜ࡋ࡚ࠊᪧಟ㎡Ꮫࡢ⏝ㄒࠊᴫᛕࠊ▱㆑ࡣࠊࠕᪧಟ㎡ᏛࠖⓎ⾲ᚋࡢࣂࣝࢺࡢゝㄝ࡟࠾࠸࡚኱࠸࡟ᜥࢆ྿ࡁ㏉ࡍࠋࣂࣝࢺࡣᪧಟ㎡Ꮫࡢࡇࡢࠕ࠾
ࡉࡽ࠸ࠖ࡟࠾࠸࡚ಟ㎡Ꮫࡢ᭱ᮇࢆ┳ྲྀࡾ࡞ࡀࡽࡶࠊࡑࡢᚋࠊྂ࠸ಟ㎡Ꮫ࠿ࡽᏛࡧྲྀࡗࡓࡶࡢࢆ೉⏝࡜࠸࠺ᙧ࡛⢭ຊⓗ࡟Ⓨಙࡋ࡚࠸ࡃࠋࡑࢀࡣ✲ᴟⓗ࡟ࡣᪧಟ㎡Ꮫࢆ᚟ඖࡋ࡚࠸ࡃసᴗ࡟௚࡞ࡽ࡞࠸ࠋ
ࡲࡓࠕᪧಟ㎡Ꮫࠖࡀࠊ᮶ࡓࡿ࡭ࡁࠗࢧࢻࠊࣇ࣮࢚ࣜࠊࣟࣚࣛ࠘ࡢห⾜ࢆᛕ㢌࡟࠾࠸࡚ࡢⓎ⾲ࠊࡘࡲࡾࠕணഛ▱㆑ࢆᥦ౪ࡍࡿࡓࡵࡢබ⾲ࠖ㸦⠛⏣ 305-306㸧࡛࠶ࡗࡓ࡜ࡍࡿ࡞ࡽࠊࡇࡢⴭࡣࠊࣂࣝࢺࡢ࠸࠺ࡼ࠺࡟ࠊ☜࠿࡟ᙼ⮬㌟ࡀಟ㎡Ꮫࢆ⌮ゎࡍࡿࡓࡵࡢࠕ⚾ⓗ࡞ணഛసᴗ࡛ࠖࡣ࠶ࡗࡓࢁ࠺ࡀࠊྠ᫬࡟ࠊᙼࡣ⮬ศࡢᮍ᮶ࡢㄞ⪅ࡢࡓࡵ࡟ᚲせ࡞ࠕணഛసᴗࠖࢆ╔ࠎ࡜ᐇ㊶ࡋ࡚࠸ࡗࡓ࡜ࡶ࠸࠼ࡿࡔࢁ࠺ࠋࡑࡋ࡚ࡉࡽ࡟
௜ࡅຍ࠼ࡿ࡭ࡁࡣࠊᙜ᫬ࠊᩥᏛᢈホ⏺࡟≀㆟ࢆ㔊ࡋヰ㢟ࢆࡉࡽࡗࡓᙼࡢホㄽࠕస⪅ࡢṚࠖࡶࡲࡓࠊࢮ࣑
ࢼ࣮ࣝ࡟࠾ࡅࡿᙼ⮬㌟ࡢᪧಟ㎡Ꮫࡢㅮ⩏࡟ࡼࡗ࡚ᵓ᝿ࢆᚓࡓࡶࡢ࡛࠶ࡿࡇ࡜ࡔ㸴 ࠋ ࣂࣝࢺ࡟࡜ࡗ࡚ࠕస
⪅ࠖࡢࠕṚࠖࠊࡘࡲࡾస⪅ࡢ⤊↉ࢆ♧၀ࡋࠊࡲࡓᚋᢲࡋࡶࡋ࡚ࡃࢀࡓࡢࡣࠊ⓶⫗࡞ࡇ࡜࡟ࠊᙼ࡟ࡼࡗ࡚
࠸ࡲࠊࡲࡉࡋࡃᜥࡢ᰿ࢆṆࡵࡽࢀࡼ࠺࡜ࡋ࡚࠸ࡿᪧಟ㎡Ꮫࡔࡗࡓࡢ࡛࠶ࡿࠋ

－ 38 －Notes
1. ࣂࣝࢺࡢ௖ཎ᭩࡛ࡣࠊࠕᪧಟ㎡Ꮫࠖ㸦“ancienne rhétorique”㸧࡜ࠕಟ㎡Ꮫࠖ㸦“rhétorique”㸧ࡢ㸰✀ࡢ⏝ㄒࡢే⏝ࡀࡳࡽࢀࡿࡀࠊᮏㄽࡢ⏝ㄒࡶཎ๎࡜ࡋ࡚ࡑࢀ࡟‽ᣐࡋ࡚࠸ࡿࠋ࡞࠾ࠊ᪥ᮏㄒヂࡣཎ๎࡜ࡋ࡚ࠗᪧಟ㎡Ꮫ ౽ぴ࠘㸦ࡳࡍࡎ᭩ᡣ㸧ࡢἑᓮᾈᖹẶࡢヂࢆ౑⏝ࡉࡏ࡚࠸ࡓࡔ࠸ࡓࠋཎ᭩ࡢពࢆỮࢇࡔ࿡ࢃ࠸῝࠸᪥ᮏㄒヂ࡜࡜ࡶ࡟ࠊヲ⣽࡞ヂὀ࡟ࡼࡿ㈗㔜࡞ࡈᩍ♧࡟῝ㅰࡋࡓ࠸ࠋ㸰㸬௨㝆ࠊࠕᗎࠖ࡟࠾࠸࡚ฟ඾㡫ࢆ≉࡟グ㍕ࡋ࡚࠸࡞࠸ᘬ⏝ࡣࠊࡍ࡭࡚ⱥㄒ∧“The Old Rhetoric: anaid-mémoire.”ࡢࠕㅖゝࠖ㸦11-12㸧࠿ࡽࡢᘬ⏝࡛࠶ࡿࠋ࡞࠾ᚋ༙ࠕ㹀 ⥙┠ࠖ㸦“The Network”㸧࡟࠾ࡅࡿᘬ⏝࡟㛵ࡋ࡚ࡶࠊࠕศ㢮ࠖ࡟㛵ࡍࡿグ㍕㸦B.O.1-B.O.5㸧㸦47-52㸧࠿ࡽࡢᘬ⏝ࡣ↹㞧ࡉࢆ㑊ࡅࡿࡓࡵࠊཎ๎࡜ࡋ࡚ྛ㡫グ㍕ࢆ┬␎ࡋ࡚࠸ࡿࠋᮏ᭩ࡢ௚㡯┠࠿ࡽᘬ⏝ࡣ㡫ࡢࡳグࡋࠊᚲせ࡟ᛂࡌ࡚ୗグࠊ௖ㄒཎ᭩࠿ࡽࡢᘬ⏝ㄒྃࠊᩥࢆ㸦rhétorique 㡫㸧࡜ࡋ࡚ేグࡋ࡚࠸ࡿࠋ
㸱. ཎ᭩࡟࠾ࡅࡿᙉㄪࡢ࢖ࢱࣜࢵࢡ㸦᪥ᮏㄒ࡛ࡣഐⅬ⾲♧㸧ࡣᮏ✏࡛ࡣୗ⥺࡛⾲♧ࠋ➹⪅࡟ࡼࡿᙉㄪࡣ
஧㔜ୗ⥺࡛⾲♧ࡋ࡚࠸ࡿࠋ
㸲.ࠕࠗಟ㎡Ꮫ࠘ࡢᮌࠖࡣࣂࣝࢺࡢᵓ᝿ࡢࡳ࡛ࠊᅗ⾲࡜ࡋ࡚ࡣ௖ㄒཎ᭩࡟ࡣᏑᅾࡋ࡞࠸ࡀࠊヂ᭩ࠗᪧಟ㎡Ꮫ ౽ぴ࠘࡟ࡣࠕ௜㘓 IIࠖ࡜ࡋ࡚ᥖ㍕ࡉࢀ࡚࠸ࡿࠋཎ᭩࡛ࡣࠊࣂࣝࢺ⮬㌟ࡢࣞࢺࣜࢵࢡ࡜࡜ࡶ࡟ࠕ⶝᳜≀ࠖࡢࡈ࡜ࡃ⮬⏤⮬ᅾ࡟⦾ⱱࡍࡿࠕ㡯┠ࠖࡀࠊࠕ௜㘓 II࡛ࠖࡣヂ⪅࡛࠶ࡿἑᓮẶ࡟ࡼࡗ࡚ᩚ↛ࡓࡿࠕࠗಟ㎡Ꮫ࠘ࡢᮌࠖ࡜ࡋ࡚ࠊどぬⓗ࡟ࡶ୍┠░↛ࡢᙧ࡛♧ࡉࢀ࡚࠸ࡿࠋ㸳. ࢔ࣜࢫࢺࢸࣞࢫࡣࡇࢀࡽ஧ࡘࡢᢏ⾡ࢆཝᐦ࡟ศࡅ࡚࠸ࡿࡀࠊࣂࣝࢺࡣࠊࠕಟ㎡Ꮫࠖ࡜ࠕリᏛࠖࡢᑐ❧ࡀ୰࿴ࡉࢀࠊಟ㎡Ꮫࡀリࡢࠊࡘࡲࡾࡣࠕ๰㐀ࠖࡢ technèࠝᢏ⾡ࠞ࡟ࡲ࡛⼥ྜࡉࢀࡓ࡜ࡁࠊ࢔ࣜࢫ
ࢺࢸࣞࢫಟ㎡Ꮫࡣ⤊↉ࡍࡿࡇ࡜࡟࡞ࡿࡢ࡛࠶ࡾࠊࡑࡢ᫬ᮇࡣ Augustus ࡸ Plutarch ➼ࡢ᫬௦ࡔࡗࡓ
࡜ࡳ࡚࠸ࡿࠋ㸦21㸧
㸴. ホㄽࠕᪧಟ㎡Ꮫࠖࡢබ⾲ࡣ 1970 ᖺ࡛࠶ࡿࡀࠊࡑࡢࠕᪧಟ㎡Ꮫࠖࡢ㦵᱁࡜࡞ࡗ࡚࠸ࡿࡢࡣࠊ1964-65ᖺ࡟⾜ࢃࢀࡓᅜ❧㧗➼◊✲ᡤࡢࢮ࣑ࢼ࣮ࣝࡢෆᐜ࡛࠶ࡾࠊࠕస⪅ࡢṚࠖ㸦1967 ᖺ㸧࡟ඛ❧ࡘࡶࡢ࡜⪃࠼ࡽࢀ࡚࠸ࡿࠋ ࡞࠾ࠕస⪅ࡢṚࠖ࡟㛵ࡋ࡚ࡣㄽࢆᨵࡵࠊ௨ୗ࡛ヲ㏙ࡋ࡚࠸ࡿࠋ
ࠕJane Austen ෌ㄞɆɆࠕస⪅ࡢṚࠖ࡜Ⱬ⏿ɆɆࠖࠗゝㄒᩥ໬◊✲࠘➨㸴ྕࠋ⚄ᡞᾏᫍዪᏊᏛ㝔኱Ꮫゝㄒᩥ໬◊✲ᡤࠊ2022ࠋ

Works Cited
Barthes, Roland. “L’anncienne rhétorique Aide-mémoire”Roland Barthes Œuvres complètes Tome 2

1966-1975, 909-959.
-----. “The Old Rhetoric: an aid-mémoire.”The Semiotic Challenge. Trans. Richard Howard. NewYork: Hill and Wang, 1971.
ࣂࣝࢺࠊࣟࣛࣥࠗᪧಟ㎡Ꮫ ౽ぴ࠘ἑᓮ ᾈᖹヂࠊࡳࡍࡎ᭩ᡣࠊ1988ࠋ
㸨Austen, Jane. Pride and Prejudice. Ed. Pat Rogers. Cambridge UP, 2006.
Barthes, Roland. “Textual Analysis of a Tale by Edgar Allan Poe.” The Semiotic Challenge. Trans.
Richard Howard. New York: Hill and Wang, 1971.
-----. “The Death of the Author.” The Rustle of Language. Trans. Richard Howard. New York: Hilland Wang, 1986.
Hoffman, Daniel. Poe, Poe, Poe, Poe, Poe, Poe, Poe. Baton Rouge: Louisiana State UP, 1972.

－ 39 －Krutch, Joseph Wood. Edgar Allan Poe: A Study in Genius. New York: Alfred A. Knops,1926.
Lanford, Michael. “Ravel and ‘The Raven’: The Realisation of an Inherited Aesthetic in Boléro.”Cambridge Quarterly 40 (3), 243-265.
Silverman, Kenneth. Edgar A. Poe: Mournful and Never-Ending Remembrance. New York: HarperCollins, 1991.
Poe, Edgar Allan. The Raven with the Philosophy of Composition. Wakefield: Moyer Bell. 1996.
ࣦ࢙࢝ࣝࠊL.- J. ࣭ࠗࣟࣛࣥࣂࣝࢺఏ࠘ⰼ㍯ ගヂࠊࡳࡍࡎ᭩ᡣࠊ1993ࠋ
(Calvet, Louis-Jean. Roland Barthes. Paris: Flammarion, 1990.)
ἑᓮᾈᖹ ࠕヂ⪅࠶࡜ࡀࡁࠖࠗᪧಟ㎡Ꮫ ౽ぴ࠘197-199ࠋ1988ࠋ⠛⏣ᾈ୍㑻࣭ࠗࣟࣛࣥࣂࣝࢺ̿̿ୡ⏺ࡢゎㄝ̿̿࠘ᒾἼ᭩ᗑࠊ1989ࠋ*㈨ᩱ཰㞟➼࡟㛵ࡋ࡚ࡣᮏᏛᅗ᭩㤋ྖ᭩ࡢᶓᒣ⨾࿴ࡉࢇ࡟ࡈᑾຊ࠸ࡓࡔ࠸ࡓࠋឤㅰ࠸ࡓࡋࡲࡍࠋ

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