The Epics in the Late Antiquities

在更广泛的意义上的史诗，指的是所有用指节六步格写成的诗歌，是贯穿整个古典文学的主流，无论是希腊语还是拉丁语。然而，对上古晚期诗歌的研究并不广泛，也没有必要对其进行研究。我们习惯于将史诗分为三种体裁：狭义的史诗如《伊利亚特》或《埃涅阿斯》，说教性的诗歌如作品和日子，以及布科里克诗。这种分类可以追溯到Servius的一条评论。这基本是合理的，但同时也要慎重对待。古典诗人自己是否意识到了这种分类，如果是的话，意识到了什么程度，必须重新询问。说教诗歌是这三类诗歌中最难欣赏的体裁。它似乎没有关于如何构建整首诗的僵化原则，更糟糕的是，它似乎并不打算认真地教授一些东西，尽管它的虚伪。阿罗特斯现象对后来说教诗歌的发展至关重要。赫西奥德的一些特征，例如目录或格言，被Aratus故意修改。所有的追随者，尼坎德，维吉尔，卢克莱修斯和马尼利厄斯，都受到了他的影响，无论是积极的还是消极的。史诗(狭义上)也是如此，比如卢尚。所有的六角线都是计算出来的，一些小作品在本报告中是首次用日语描述的。

The epic poetry in the broader sense, by which is meant all the poetry written in the dactylic hexameter, is the mainstream throughout the Classic literature, both in Greek and Latin. However the poems in the late antiquities are not widely read nor necessarily investigated. This project is a survey of these poems with a historical perspective.We are accustomed to classify the epic poems into three genres : the epic in the narrower sense like Iliad or Aeneid, the didactic poetry like Work and Days, and the bucolics. This classification goes back to a comment of Servius. It is basically reasonable, but at the same time should be carefully treated. Whether the classical poets themselves were conscious of the classification and, if so, to what extent, must be asked afresh.The didactic poetry is the most difficult genre to appreciate of the three classes. It does not seem to have the rigid principle about how to construct the whole poem, and even worse, it does not seem to intend to teach something seriously in spite of its pretension. The Phenomena of Aratus is crucial for the development of the didactic poetry afterwards. Some characteristics of Hesiod, for example, catalogs or maxims, are intentionally modified by Aratus. All the followers, Nicander, Virgil, Lucretius and Manilius, are under influence of him, positively or negatively. The same is true about the epic (in the narrower sense) poems too, like Lucan.All the hexametric lines are calculated in number, and some minor works are described for the first time in Japanese in this report.