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The Statue of Hermes
There are five fables of ancient Greek origin that deal with the statue of Hermes. All have been classed as burlesques〔Henk Versnel, ''Coping with the gods: wayward readings in Greek theology'', Brill 2011, (pp.329-30 )〕 that show disrespect to the god involved and some scepticism concerning the efficacy of religious statues as objects of worship.〔Michael Wojciechowsky, “Ancient criticism of religion”, in ''Deuterocanonical Additions of the Old Testament Books: Selected Studies'', Walter de Gruyter 2010, (p.68 )〕 Statues of Hermes differed according to function and several are referenced in these stories. Only one fable became generally retold in later times, although two others also achieved some currency.
==1 Hermes and the sculptor==
The fable appears as number 88 in the Perry Index〔(Aesopica )]〕 and was to become a favourite in Europe from the Renaissance on. It is directed against self-conceit in general and concerns a visit to a statue maker made in human disguise by the god Hermes. Finding that Jove, the king of the gods, was set at a low price and his queen at only a little more, he felt sure that, since he was their messenger, his own statue must command much more. When he asked about it, however, the sculptor told him that if he would buy the other two statues he could have that one free.
A Neo-Latin poem on the theme appeared in Gabriele Faerno's ''Centum Fabulae'' (1563) with the moral that 'Many who fancy themselves are set at nothing'.〔(''Mercurius et statuarius'', p.79 )〕 In England prose versions appeared in the collections of Roger L'Estrange (1692)〔"Mercury and the Statuary", (fable 169 )〕 and Samuel Croxall (1722).〔"Mercury and the carver" (fable 156 )〕 In all of these, the name of the Greek god is changed to Mercury, his Latin equivalent. There were also two English verse retellings. In Edward Arwaker's ''Truth in Fiction'' (1708), the story is subtitled "Vain-glory mortified" and is a much more circumstantial account. Statues of the gods are described as currently ‘a drug on the market’ to explain the low price asked and, in addition, the statue of Juno is cheaper since she is a woman.〔Book 4, Fable 7, (p.289 )〕 In 1820, Jefferys Taylor wrote a sprightly version for children in which the sculptor assures Mercury that his statue merely serves as a make-weight when a set of the gods is bought.〔''Aesop in Rhyme'', (pp.30-1 )〕
Illustrations of the tale, starting from the miniature in the Greek Medici Manuscript of about 1470, invariably feature the god pointing out his statue to the sculptor.〔(Laura Gibbs Flickr site )〕 An English copper engraving by David Jones for the specially commissioned ''Seven Fables of Aesop'' (1928) shows an up-to-date sculptor at work on the statue.〔"Hermes and the sculptor", the fourth print at the (Martin Tinney Gallery site )〕 The Australian linocut by John Ryrie is more sly in its updating. The god wears a collar, tie and smart overcoat as he enters into negotiation with the aproned workman. It is only the detail of sandals on his feet and the wings fluttering from beneath the trousers at his ankles that give his identity away.〔(Chrysalis Gallery )〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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