摘要
托名俄耳甫斯的88首希腊文祷歌成形于罗马帝国初期,而在神话谱系和词句风格上沿袭古希腊传统,既大量援引赫西俄德和荷马的神谱说法,又保留俄耳甫斯神谱的若干典型特征。在三大希腊神话传统中,荷马神谱和赫西俄德神谱分别将大洋和大地奉为奥林波斯诸神的始祖,俄耳甫斯神谱古版本则将黑夜视为诸神的起源。88首祷歌中的夜神形象兼有宇宙神和城邦神两种特质,既是宇宙起源叙事中的最初的神,又在神权神话中扮演不可或缺的角色。祷歌中的夜神和宇宙起源叙事呈现出多重谱系并置、诸神混同和修饰语混用等现象,表现出祷歌作者对早期神话诗人的仿效和翻转,对彼时通行的诸种俄耳甫斯神谱版本的借鉴,对罗马帝国初期多样化的宗教影响和哲学思潮的整合努力。
The Orphic Hymns came into being in the early Roman Imperial age,but their mythological genealogy and verbal style inherited the ancient Greek traditions,namely,relying heavily on the citations from Hesiod and Homer while maintaining certain typical features of the orphic theogonies.Within the three major traditions of the Greek mythology,Homer and Hesiod regarded respectively Oceanus and Gaia as the ancestor of the Olympian gods,whereas the orphic eudemian theogony saw the goddess of the night(Nyx)as the origin of all gods.The image of Nyx in the orphic hymns carries the characteristics of both the creator deity and the city-state patron deity.Nyx is the primordial goddess in the narrative of cosmogony,and plays an indispensable role in the theocratic myths as well.The fact that Nyx is presented in these hymns in a hybrid of multiple mythological genealogies,the assimilation to several other deities,and a mixed use of the epithets demonstrates how the anonymous author of the orphic hymns understood the tradition and innovation in Hellenistic poetry,and strove to integrate diverse religious influences and philosophical trends during the early period of the Roman Empire.
作者
吴雅凌
Wu Yaling(Shanghai Academy of Social Sciences)
出处
《外国文学研究》
CSSCI
北大核心
2021年第5期152-164,共13页
Foreign Literature Studies
