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Several poems, known popularly as ''Paixao de Cristo'' (Passion of Christ) in Portuguese, and as ''Christi Vilapika'' in Marathi, were written in Goa during the 17th century in Marathi language using the Latin script, based on the sublime pathos of the crucifixion of Jesus Christ. Some of these poems were well-known to scholars like A.K. Priolkar and V.B. Prabhudessai, who called for critical study of them. Critical texts of three of these have recently been published in the book ''Goan Christian Marathi Vilapika during the 17th Century'' by Dr. S. M. Tadkodkar, currently Head of the Department of Marathi at the Goa University. 〔.〕 ==Attribution to Thomas Stephens, SJ== The three poems published by Tadkodkar are found in the bound volume of Thomas Stephens’'' Khristapurāṇa'' at the Central Library, Panjim (''Discurso sobre a vinda de Jesu Christo Nosso Salvador ao Mundo dividido em dous tratados feito pelo Padre Thomas Estevão Ingrez da Companhia de Jesus. Impresso em Goa com licenca das Inquisicão, e Ordinario no Collegio de S. Paulo novo de Companhia de Jesu. Anno de 1654, Escripto por Manoel Salvador Rebello, Natural de Margão no Anno 1767''). (This manuscript will henceforth be referred to as CL.) Tadkodkar attributes two of these, for reasons which will be listed below, to Thomas Stephens himself.〔See Ivo Coelho, Review of S.M. Tadkodkar, ''Goan Christian Marathi Vilāpikā in the 17th Century,'' ''Divyadaan: Journal of Philosophy and Education'' 22/2 (2011) 265-271.〕 Of the three texts, the authorship of the second (PG-2) is clearly identified within the text itself: “Esta paixão foy composta pello Padre Manoel Jacques de Noronha natural de Sancoale morador em Azossim freguezia de Sam Matheus das Ilhas de Goa. Escripto por Manoel Salvador Rebello, morador em Margão da Provincia da Salcete no anno 1768.”〔Tadkodkar 28, 149.〕 As for the other two (PG-1 and PG-3), Tadkodkar proposes—somewhat tentatively—that the author is Thomas Stephens himself.〔Tadkodkar 15-21, 62-64.〕 His reasons are as follows: # 4 stanzas of the ''Khristapurāṇa'' (II, 48-92, 95, 183, 184) have been bodily transferred to PG-3 (44, 45, 59). “There is no doubt that the poet ... was well conversant with the () Stephens’ classic writing. One cannot avoid the possibility that Stephens himself wrote the Vilāpikā, since that writing is included in the same bound (). Joaquim Heliodoro da Cunha Rivara ... states about it in his epoch-making Ensaio ... (Nova Goa, 1858).”〔Tadkodkar 15-16.〕 # A certain Alex Rhodes speaks of having seen “a very fine poem on the Passion of Our Lord which the Christians sang in the Church in the evenings of all Lent Fridays.” However, he does not actually attribute this work to Etienne de la Croix.〔Tadkodkar 19.〕 # J.H. da Cunha Rivara speaks of a ''Paixão'' composed by Stephens, with additions made by da Faria: “Passion of Christ Our Redeemer, composed by Father Thomas Stephens of the Society of Jesus, and additions made by Pascoal Gomes da Faria, priest of the Order and habit of the Prince of the Apostles Saint Peter, native of Batim, parish of our Lady of Guadalupe, of the Island of Goa of a few hymns at the end of the book. Year 1772.”〔J.H. da Cunha Rivara, “An Historical Essay on the Konkani Language,” tr. Theophilus Lobo, in A.K. Priolkar, ''The Printing Press in India: Its Beginnings and Early Development. Being a Quartercentenary Commemorative Study of the Advent of Printing in India (in 1556)'' (Mumbai: Marathi Samsodhana Mandala, 1958) 227. Tadkodkar 19-20.〕 # PG-1 and PG-3 have no confirmed authorship. “However, the nature of sublimity one experiences in the texts of the Passion resembles the sublimity one experiences in the PURĀNNA. Besides, some of the strophes from the PURĀNNA are bodily present in the third text of the Paixão de Cristo.” Croix, says Tadkodkar, would never have claimed authorship, given that Stephens had died just recently, in 1619.〔Tadkodkar 20.〕 # Michel Foucault, drawing from St Jerome, proposes four criteria for determining authorship: a constant level of quality or value; conceptual or theoretical coherence; stylistic unity; and historical unity.〔Tadkodkar 20-21.〕 Apart from pointing out a stylistic similarity (the ''Charanna-seuacu'' in PG-1 recalls the ''Christadāssu'' of the ''Khristapurāṇa'' II, 59, 123) Tadkodkar does not really pursue this fertile suggestion. # It would not have been possible for anyone to insert the verses from the ''Khristapurana'' into the main handwritten copy of the ''Paixao'' without a nod from the Inquisition. “I strongly feel that paixão do Christo was part and parcel of Christpurānna, and that Stephens might have written two of the three poems.”〔Tadkodkar 125.〕 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「Paixao de Cristo」の詳細全文を読む スポンサード リンク
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