ホラーティウスの第9エポードス : 『エポーディー』から『カルミナ』へ

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この論文は国立情報学研究所の学術雑誌公開支援事業により電子化されました。This paper interprets Horace's ninth Epode and especially attempts to clarify the meaning of curam metumque Caesaris rerum (37). We can divide the poem as follows from a temporal point of view. 1-6 (future) symposium 7-10 (past) the defeated-Pompeius 11-20 (present) the enemy-the soldiers 21-22 (future) triumph 23-26 (past) the victor-Marius, Scipio 27-32 (present) the enemy-the commander 33-38 (present) symposium While the symposium requested in the first part and the triumph expected in the middle are in the future, the symposium in the last is held at present. The tone of the poem is getting higher from the first half to the second with the Steigerung (symposium→triumph, the defeated→the victor, the soldiers→the commander), but at the last the poet's thought comes back to the present situation and he seeks to banish the anxiety and fear by drinking wine. This last part is inharmonious to the whole structure of the poem and therefore notable. The poet, waiting for the symposium of celebration, recollects Caesar's past victory and describes the defeated commander mockingly (7-8). Then, turning to present, he speaks of the disgraceful conduct of Antony's soldiers in a more invective tone (11-16). This tone, however, changes with the description of Antony's foreign cavalry and fleet whose desertion seems to have exerted a considerable influence on the issue of this fight (17-20). The poet, convinced of Caesar's victory, asks the god of Triumph for the triumphal procession (21-22) and sings an encomium. In the first part the poet refers to the music as one of the necessary elements for the symposium (5-6). Playing together the lyre (Doric melody) and the pipes (barbaric melody) reminds of Pindar's words (Ol. 3. 8-9) and Horace's later phrase (C. 4. 15. 29). Accordingly the poet hints his own manner of singing here. Doric music, which is usually regarded as manly, expresses bravery, while barbaric music, if it means Phrygian one, is regarded as languid and suitable for a symposium. The mixture of Doric music and Phrygian one suggests this poem itself, which praises a victory in a sympotic song. The poet, craving a triumph, turns to past again and sings an indirect encomium by comparing Caesar with the past victors (23-26). Africanus (25) could be taken as either Scipio and sepulcrum (26) could refer to the poetic monument, that is, Ennius' Scipio (Mankin, 175). In addition, the epic diction is conspicuous here and in the next part (periphrastic virtus 26, punico/lugubre mutavit sagum 27-28, centum nobilem Cretam urbibus 29). In 27-32 the flight of the enemy is described as a hard navigation full of danger (ventis iturus non suis, /exercitatas aut petit Syrtis Noto, /aut fertur incerto mari). When the poet's conviction of the victory has been confirmed and his praise of Caesar is heightening, abruptly he asks for wine to allay his anxiety for Caesar's affairs (33-38). His demand seems strange, but he has just showed the great hardship in the war, although the enemy is suffering from it. Watching changes in the situation of the war and the vicissitudes of men's fate, he seeks his firm standpoint as a lyric poet. As a result, now he desires to banish his worries by drinking. From a lyric standpoint, Caesar's affairs, including his victory, are expressed as anxiety and fear. In this last part, too, there are hints as to composing poetry. Chia vina aut Lesbia (34), echoing the line 6, is associated with the music. Lesbia probably suggests Alcaic and Sapphic meters used in Carmina. Also, fluentem (35) is a medical term here, but the verb fluo was used to express Lucilius' manner of composing poetry (S. 1. 4. 11), which reminds of Callimachus' expression (Hymn. 2. 108-109) comparing an epic poem to a big river. In contrast to this word, metire (36), echoing coerceat (35), suggests a well-regulated style of poetry. This poem's tone has changed from iambic and invective in the first half to epic and panegyric in the second, but at the last he suggests that praise in an epic style is not his manner of singing. On the other hand, an iambic style is not enough for his composition any longer, dulci (38) shows that it is an elegant style of lyric meters that he seeks. The anxiety and fear about Caesar's affairs must be solved with lyric poetry and lyric wisdom.
京都大学の論文
2002-10-30

著者

岩崎務
東京外国語大学

ホラーティウスの第9エポードス : 『エポーディー』から『カルミナ』へ

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