著者

岩崎 務

出版者

日本西洋古典学会

雑誌

西洋古典學研究 (ISSN:04479114)

巻号頁・発行日

vol.46, pp.77-87, 1998-03-23

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In Tibullus 2. 5, the last section(105-22)balances the first section(1-18)in length and in words, but the two sections differ in some respects. Messalinus, who is introduced at first as a newly elected priest of Apollo, is later imagined as a triumphant general. What development of the poem causes this change? Moreover, bringing in a new theme, the poet talks about his love for Nemesis and asserts that she is the source of his poetry. How does Tibullus' personal love affair match this national poem which treats Rome's history? In this paper, I attempt to consider Tibullus' attitude to Rome's growth and the new regime by examining these questions. After mentioning the Sibylline Books, the care of which is entrusted to quindecimuiri, the poet quotes the Sibyl's former prophecy to Aeneas(39-64). She predicted that Troy would be reconstructed to be Rome and dominate the whole world. Here the marvelous development of Rome is the poem's theme. The poet's intention is to heighten his praise of Messalinus by placing him in Rome's victorious history. Singing of a great victory has been suggested, because Apollo was asked to dress up as he had done when he celebrated Jupiter's triumph over Saturn (7-10). However, as Bright points out, Saturn is also a significant god for Tibullus. In 1.3, he states how happily men lived in the Golden Age of Saturn in contrast to his contemporary men. The coming of Jupiter's age is good and right, but can be viewed from a different angle. Therefore in the description of Rome's history its dark side is hinted dimly, e. g. Romulus' fratricide(23-4), and emerges more clearly when the poet refers to the ominous phenomena associated with the death of Julius Caesar(71-8). Now, facing Rome's painful realities, Tibullus himself predicts a happy future of Rome, which is imagined in the peaceful country(83-104). This joyful picture of a country festival is similar to the former description of the site of Rome before the arrival of Aeneas(23-38), but I agree with Mutschler that these two scenes differ in accent. While the former scene as a whole is very idyllic and fantastic, the latter is rather realistic in that the rural life is depicted more concretely. Especially the charming picture of a united family(91-4)makes a vivid impression on us. Therefore the poet doesn't suggest the restoration of the early pastoral world nor an utterly fanciful ideal society. In the last section the praise of Messalinus which has been reserved begins at last, and Tibullus as uates glorifies Messalinus as a future conqueror. Although war is a target of the poet's criticism in other poems and the dark side of Rome's development has been hinted, here the poet makes a realistic choice to assure a happy future, which corresponds to the more realistic tone of the preceding description of the rural life. What makes possible this realistic choice? I think that is showed in 105-12 referring to love and Nemesis. The poet keenly expresses the ambivalence of love, especially his love, in 107-8, where ars bona makes a sharp contrast with ars...malum, and in 110(faueo morbo cum iuuat ipse dolor). Moreover it is emphasized that Nemesis inspires Tibullus as uates and that she is the truth he reveals, because 111-2 with uati(114)is parallel to 15-6 with uatis(18), and to 63-4 with uates(65). By his sensibility to the ambivalence of love the poet can realize that Rome's prosperity cannot but involve a negative element, and on the other hand that the peaceful rural world he loves may be easily destroyed. Therefore the realistic glorification of a victorious general of Rome becomes possible for the poet, though he does not praise only the political and martial power, as pia...spectacula displayed by Messalla(119)shows. Tibullus is not singing a reluctant and unnatural praise. His song here rests on the same foundation that underlies his other elegiac poems. In this poem Tibullus sings his own song to the end, while he as uates makes a responsible prediction.