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The ''Catalogue of Women'' (, ''Gynaikôn Katálogos'')—also known as the ''Ehoiai '' (, )〔The Latin transliterations ''Eoeae'' and ''Ehoeae'' are also used (e.g. , ); see Title and the ''ē' hoiē''-formula, below. Though rare, ''Mulierum Catalogus'', the Latin translation of , might also be encountered (e.g. ). The work is commonly cited by the abbreviations ''Cat''., ''CW'' (occasionally ''HCW'') or ''GK'' (= ''Gynaikon Katalogos'').〕—is a fragmentary Greek epic poem that was attributed to Hesiod during antiquity. The "women" of the title were in fact heroines, many of whom lay with gods, bearing the heroes of Greek mythology to both divine and mortal paramours. In contrast with the focus upon narrative in the Homeric ''Iliad'' and ''Odyssey'', the ''Catalogue'' was structured around a vast system of genealogies stemming from these unions and, in M.L. West's appraisal, covered "the whole of the heroic age."〔; cf. .〕 Through the course of the poem's five books, these family trees were embellished with stories involving many of their members, and so the poem amounted to a compendium of heroic mythology in much the same way that the Hesiodic ''Theogony'' presents a systematic account of the Greek pantheon built upon divine genealogies. Most scholars do not currently believe that the ''Catalogue'' should be considered the work of Hesiod, but questions about the poem's authenticity have not lessened its interest for the study of literary, social and historical topics. As a Hesiodic work that treats in depth the Homeric world of the heroes, the ''Catalogue'' offers a transition between the divine sphere of the ''Theogony'' and the terrestrial focus of the ''Works and Days'' by virtue of its subjects' status as demigods. Given the poem's concentration upon heroines in addition to heroes, it provides evidence for the roles and perceptions of women in Greek literature and society during the period of its composition and popularity. Greek aristocratic communities, the ruling elite, traced their lineages back to the heroes of epic poetry; thus the ''Catalogue'', a veritable "map of the Hellenic world in genealogical terms," preserves much information about a complex system of kinship associations and hierarchies that continued to have political importance long after the Archaic period.〔The ''Catalogue'' as "map" is from ; for constructions of intra-Hellenic identities, see , , .〕 Many of the myths in the ''Catalogue'' are otherwise unattested, either entirely so or in the form narrated therein, and held a special fascination for poets and scholars from the late Archaic period through the Hellenistic and Roman eras. Despite its popularity among the Hellenistic literati and reading public of Roman Egypt, the poem went out of circulation before it could pass into a medieval manuscript tradition and is preserved today by papyrus fragments and quotations in ancient authors. Still, the ''Catalogue'' is much better attested than most "lost" works, with some 1,300 whole or partial lines surviving: "between a third and a quarter of the original poem", by one estimate.〔.〕 The evidence for the poem's reconstruction—not only elements of its content, but the distribution of that content within the ''Catalogue''—is indeed extensive, but the fragmentary nature of this evidence leaves many unresolved complexities and has over the course of the past century led to several scholarly missteps. ==Title and the ''ē' hoiē''-formula== Ancient authors most commonly referred to the poem as the ''Catalogue of Women'', or simply the ''Catalogue'', but several alternate titles were also employed.〔For the ancient naming conventions, see and . The plural ''Catalogues of Women'' also appears in Menander Rhetor; see , while the corresponding shorthand ''Catalogues'' is slightly more common (e.g. Schol. A.R. 3.1086 = ); cf. , and .〕 The tenth-century encyclopedia known as the ''Suda'' gives an expanded version, the ''Catalogue of Heroic Women'' (), and another late source, the twelfth-century Byzantine poet and grammarian Tzetzes, prefers to call the poem the ''Heroic Genealogy'' ().〔''Suda'' s.v. ( 583) ); Tzetzes, ''Exegesis of the Iliad'' p. 63.14. argues that Tzetzes understood ''Heroic Genealogy'' to be the title of a work distinct from the ''Catalogue''. Servius (on Vergil, ''Aeneid'' 7.268) calls the poem , ''Concerning Women''.〕 But the earliest and most popular alternate title was ''Ehoiai'' (), after the feminine formula ''ē' hoiē'' (, ), "or such as", which introduces new sections within the poem via the introduction of a heroine or heroines.〔The title ''Ehoiai'' is formed from the plural of the formula, (''ē' hoiai''); cf. Hesychius η 650, , "''Ehoiai'': Hesiod's ''Catalogue''".〕 This nickname also provided the standard title for a similar Hesiodic work, the ''Megalai Ehoiai'' or ''Great Ehoiai'' ().〔 has argued that the ''Catalogue'' and ''Megalai Ehoiai'' were the same poem, or that the latter was the title of an expanded edition of the former, but the vast majority of scholars view these as two distinct works; see, most recently, .〕 As is reflected by its use as an alternate title, the ''ē' hoiē''-formula was one of the poem's most recognizable features. It may have belonged originally to a genre of poetry that simply listed notable heroines,〔.〕 but in the ''Catalogue'' the formula is used as a structuring tool that allows the poet to resume a broken branch of a family tree, or to jump horizontally across genealogies to a new figure and line of descent.〔, .〕 A characteristic example is found in the introduction of the daughters of Porthaon at ''Cat''. 26.5–9:〔Unless noted otherwise, this article cites the ''Catalogue'' according to the text and numeration of the edition of record, that of Merkelbach (de) and West (M–W). Several fragments have appeared since the publication of their primary edition () and must be consulted in M–W's selection of fragments in the second and third editions of Solmsen's Oxford Classical Text ''Hesiod'' (); such fragments are distinguished by appending "OCT" to the fragment number. Martina Hirschberger's text and commentary () follows a different numeration and includes several fragments which M–W did not believe to belong to the ''Catalogue'' or were published after the appearance of the latest OCT. In the case of fragments found in Hirschberger but not M–W, or where her commentary contributes to the discussion at hand, her fragment numbers are specified. Almost all of the fragments printed by both M–W and Hirschberger can be found, with translation, in in which a table outlining these different numbering systems is also present.〕 The preceding section of the poem had dealt at some length with the extended family of Porthaon's sister Demodice, tracing her line down to the generation following the Trojan War. Here ''ē' hoiai'' (plural) is used to jump backwards in order to complete the account of the descendants of Porthaon and Demodice's father Agenor by covering the son's family. Elsewhere the formula is used in transitions to more distant branches. The Ehoie of Mestra, for example, ultimately serves to reintroduce the family of Sisyphus, Mestra's great-granduncle who hoped to win her as bride for his son Glaucus. Although that marriage does not take place, the descendants of Sisyphus are soon presented.〔''Cat''. fr. 43a; cf. .〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Catalogue of Women」の詳細全文を読む スポンサード リンク
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