GODS’ BLUE HAIR IN HOMER AND IN EIGHTEENTH-DYNASTY EGYPT
GODS’ BLUE HAIR IN HOMER AND IN EIGHTEENTH-DYNASTY EGYPT
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荷马和第十八王朝埃及诸神的蓝色头发
DOI：
10.1093/cq/bmi034
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发表时间：
2005
期刊：
影响因子：
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通讯作者：
R. D. Griffith
中科院分区：
文献类型：
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作者：
R. D. Griffith
这实际上是一个脚注的脚注。菲迪亚斯曾告诉画家帕那努斯，他计划在奥林匹亚建造宙斯的金银石雕像，因为荷马描述了一个震撼天空的时刻，当宙斯用他的蓝眉毛点头（kuané}sin）向忒提斯屈服时。. .我的天。1.528，斯特拉布。8.3.30 [C 345]）。在讨论菲迪亚斯的雕像时，查尔斯·皮卡德提到了荷马的文字，并想知道，“ces sourcebleus”。. .不解释它们与古埃及神秘的雕像或古巴比伦人的雕像相比吗？埃及艺术家也使用这种古玩技术，就像格雷茜·德莱萨一样。荷马主义者在很大程度上忽略了这个反问句中隐含的暗示，但我将在下面试图表明，它比这些学者通常喜欢的解释具有更大的解释价值。在开始之前，我必须坦率地承认，希腊罗马色彩术语是出了名的狡猾：萨福，例如，变成绿色在痛苦的焦虑发作; Pelias的智慧是白色;紫色天鹅滑过贺拉斯的文本;等等（萨福31.14洛贝尔页，福格特; Pind。派斯4.109; Hor.卡蜜拉4.1.10）。面对这种不可能的情况，威廉·尤尔特·格莱斯顿推测，荷马只能模糊地、不确定地感知到棱镜的颜色，或者换句话说，古代的希腊人是色盲。最近的当局采取了一种不那么激烈的做法。埃莉诺欧文说，荷马的颜色术语是不精确的，因为他的人物不能思考抽象的术语，所以制定的问题，“什么是颜色？”P. G.麦克斯韦-斯图尔特认为，以前的希腊颜色词的学生已经创造了他们自己的大部分困难，专注于诗句。如果我们忽略文学史（在文学史中，诗歌先于散文），并将字面意义的标签专门分配给散文用法，而将诗歌中出现的额外意义归因于意象的语义扩展，那么我们可以得出结论，诸如库阿涅夫这样的术语通常只指颜色，并且指现代西方人通常感知的同一种颜色。
This is in effect a footnote to a footnote. Phidias once told the painter Panaenus that he planned to base his chryselephantine statue of Zeus at Olympia on Homer’s description of the heaven-shakingmoment when that god yielded to Thetis by nodding with his blue eyebrows (kuané}sin . . . o frúsi, Il. 1.528, Strab. 8.3.30 [C 345]). In his discussion of Phidias’ statue—the footnote in question—Charles Picard refers to Homer’s text, and wonders, ‘ces sourcils bleus. . . ne s’expliquent-ils pas par comparaison avec les statues aux sourcils inscrutés, ou aux chevelures postiches en kúanov (lapis-lazzuli, uk-yu des Babyloniens)? L’art égyptien employait aussi cette curieuse technique, que la Grèce délaissa.’ The suggestion implicit in this rhetorical question has been largely ignored by Homerists, yet I shall try to show in what follows that it has greater explanatory value than the interpretations that these same scholars generally prefer. Before beginning, I must freely admit that Graeco-Roman colour terms are notoriously tricky: Sappho, for example, turns green in the throes of an anxiety-attack; Pelias’ wits are white; purple swans glide through the text of Horace; and so on (Sappho 31.14 Lobel-Page, Voigt; Pind. Pyth. 4.109; Hor. Carm. 4.1.10). Confronted with such improbabilities, William Ewart Gladstone speculated that Homer perceived the prismatic colours only vaguely and indeterminately, or in other words that Greeks of the archaic period were colour-blind. More recent authorities have taken a less drastic approach. Eleanor Irwin says that Homer’s colour-terms are imprecise because his characters cannot think in abstract terms and so formulate the question, ‘What is colour?’ P. G. Maxwell-Stuart argues that previous students of Greek colour-terms have created most of their own difficulties by focusing on verse. If one ignores literary history, in which verse pre-dates prose, and assigns the label of literal meaning exclusively to prose usage, while attributing such extra meanings as appear in poetry to the semantic expansion of imagery, one can conclude that terms such as kuáneov normally refer only to colour—and to the same colour that modern Westerners typically perceive.