著者

磯部 稔 Uyakul D. 高橋 宏幸 後藤 俊夫

出版者

天然有機化合物討論会

雑誌

天然有機化合物討論会講演要旨集

巻号頁・発行日

no.31, pp.396-403, 1989-09-17

---

Lampteroflavin (1), a riboflavin α-D-riboside was isolated in extraordinary small amount from the luminous mushroom, Lampteromyces japonicus (Fig 1), which was available only two weeks in a year. Extraction method was improved to utilize only alive gills under aeration instead of using the whole body (Fig 3), and the method was established as Scheme 1. It's structure has been elucidated by chromatographic and spectroscopic analyses(1). It's fluorescence spectrum was identical to the bioluminescence spectrum of the mushroom, having maximum at 524nm (Fig 2). We concluded that 1 was responsible to the bioluminescence mechanism as the light emitter, since 1 was only the fluorescent constituent in fresh gills. Previous report that illudin S (lampterol) or ergosta-4,6,8(14),22-tetraen-3-one(2) could be the emitter is thus unlikely judging from the weak fluorescent intensity and the different maximum wavelength from that of mush-room bioluminescence. Lampteroflavin (Table 1) was hydrolyzed with dil. mineral acid to give riboflavin and D-ribose. Riboflavin was identified by HPLC, ^1H NMR, UV, Fluorescence and FAB mass spectrometry. D-ribose was acetylated and then confirmed by ^1H NMR, CD and tandem mass spectrometry. Riboflavin and D-ribose was connected together with α-glycosidic linkage which was determined by ^<13>C NMR of the anomeric carbon (δ=103.2ppm)(3), NOSEY spectrum (H-1" being close to H-3" and H-5') and ^1H NMR pattern of anomeric proton. The total structure of lampteroflavin was confirmed through its chemical synthesis.

著者

中務 哲郎 高橋 宏幸

出版者

京都大学

雑誌

基盤研究(C)

巻号頁・発行日

2006

---

古代ギリシア・ローマ喜劇と狂言はまったく異なる文化伝統の中で生成発展したが、同時代に材をとり、滑稽な言葉・しぐさ・趣向を用いて笑いの劇を目指すという共通点をもつ。両ジャンルに共通して現れる仲裁人のモチーフ、仕方話の趣向等がいかなる社会制度から生まれたかを考察することにより、両ジャンルの特性を解明した。と同時に、芝居(企み、変装)の意義と効果、虚と実のすり替え、等を具体的な作品に即して分析することにより、喜劇的なるものの本質が両ジャンルに共通することも明らかにした。

著者

藤井 琢磨 高橋 宏幸

出版者

京都大学西洋古典研究会

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.22, pp.216-248, 2010-03-28

---

In Plautus' Bacchides we have in Chrysalus a typical cunning slave whose trickery, more than anything else, moves the play forward. The protagonist, however, leaves the stage just before the final act without celebrating his triumph. Stage action is taken over by the Bacchis sisters seducing a pair of old men and inviting them into their house, as if to reflect the change of the title from Menander's Dis Exapaton. No triumph, Chrysalus says to the spectators, because it is all too common (1073). Does this allude to real-life triumphs (thus Ritschl, Barsby), or to a stage convention (Fraenkel, Slater)? This paper attempts to see in the play a metatheatrical reference to the role of servus callidus and, from this point of view, compares the tricks used by Chrysalus and the Bacchis sisters. Points of comparison: (1) money is gained and wasted; (2) deceptions are based on suggesting the opposite of what one's goal is; (3) victims are enslaved and deemed worthless; (4) use of slave 's services. (1): the names of Chrysalus and Bacchis are in a meaningful juxtaposition(240-42, 703-05; 53, 372-73): while Chrysalus is interested in swindling people out of their money (218-21, 229-33, 640-50), the Bacchis sisters focus on luring them into their house to make them incur losses (62-72, 85-86). (2): comparison of 90-91 and 94-100 (Bacchis – Pistoclerus), 988-1043 (Chrysalus – Nicobulus), and 1173-74 with 1184-85 (Bacchis – Nicobulus), shows that similar psychological tactics may be seen at work. (3): finding it difficult to resist Bacchis' charm, Pistoclerus wonders if he is worth nothing (nihili 91) and, once seduced, tells her 'tibi me emancupo' (92). The term comptionalis senex, used of Nicobulus swindled out of his money (976), evidently emphasizes his worthless state. The old men who are victimized like sheep well shorn (1122-28), as predicted by Chrysalus (241-42), have lost all their value (exsoluere quanti fuere 1135). When charmed by Bacchis minor, Philoxenus too admits that he is worthless (nihili 1157) and the same is confirmed by Nicobulus as well (1162). At the end, Nicobulus says to Bacchides 'ducite nos tamquam addictos' (1205). Note also grex explicitly stating that the old men have been worthless (nihili 1207) since their youth, and Chrysalus calling Cleomachus worthless (nihili homo 904) once the deal has been done. (4): while Chrysalus envisions selling Nicobulus as a slave once he gets his job done (814-15, 976-77), the Bacchis sisters seem to keep their slaves in service. Pistoclerus, a typical adolenscens, weak and wavering at the start, seems to change his role and begins to act as if he were a cunning slave (to a lesser degree than Chrysalus), making smart replies to Lydus (e.g. 125-29, 161-62), bragging about his success as if he assumed the persona of Pellio acting the role of Epidicus(206-15), and driving back the parasite sent from Cleomachus (573-611). Since addicti (1205) are to serve as slaves until they have repaid their debt, the old men are supposed to do some menial work in the sisters' house. Conclusion: Chrysalus, an expert in eliciting money from people, has no further business with his victims who are, in his view, worthless. So, once his mission is complete, he just exits with all the booty to the quaestor (1075). The Bacchis sisters seem to use "the worthless'' to create stage action. In the final act, the moment the old sheep are said to be not just shorn but mute (1138-39) and the sisters are about to exit, Nicobulus begins to speak (1140), much to everyone's surprise (prodigium 1141). It is as if a mute character who is supposed just to stand by (astent 1134) speaks out and thus opens up a new strand of action. The paradox noted here, creation from nothing, recalls Pseudolus 395-405 and sounds significant for the whole play; from the grex we hear that were it not for such useless old men, they would not even be able to put on this drama (1207-10).

著者

宮本 琢也 高橋 宏幸 前川 佳一

出版者

グローバルビジネス学会

雑誌

第3回 全国大会 予稿集

巻号頁・発行日

pp.45-50, 2015

---

第3回全国大会; 「地方創生とグローバルビジネス」(統一テーマ), 2015/7/4(土) - 7/5(日), 早稲田大学国際会議場(井深大記念ホール)他

著者

高橋 宏幸

出版者

日本西洋古典学会

雑誌

西洋古典学研究 (ISSN:04479114)

巻号頁・発行日

no.44, pp.96-108, 1996

---

This paper reexamines an inconsistency considering the fatal spear in the Cephalus-Procris episode in Met. 7 : one of the companions of Cephalus says that the spear flies back spontaneously after hitting the target, whereas it remains stuck in Procris at the ending of the story told by Cephalus. It will be suggested that the inconsistency hints at a transformation of the story as narrated by Cephalus. I have observed three recurrent story patterns in the episode : someone (thing)comes back after being lost(or gone) (P1) ; a rumor is believed before eventually turning out to be false(P2) ; happiness follows a disaster (P3). P1 fails only at the ending, where Procris dies, never to return. This failure of P1 corresponds to the inconsistency about the spear, since its power to fly back after launched exactly matches P1, whereas it did not return when piercing Procris. Why not an ending that would imply a return of Procris, in accord with P1? We note that there is no metamorphosis of a main character in the episode, that the spear is almost identical to Procris with regard to fate (7531, 846) , beauty(679, 730) , and name(Procris<procuris ; cf. Fasti 2.477), and that mirabere(682)is one of the words suggestive of metamorphosis(cf. mirandum 758). Seeing these points, it would not be quite hard to imagine that, the moment Procris dies, her soul enters the spear to give it the miracle power, so that, every time Cephalus launches the spear, it would come back into his hands, as she did in her life. This would have happened, if only Procris had not emitted her soul in the mouth of Cephalus(861) , but into the spear. With this ending by metamorphosis, the inconsistency about the spear would not have occurred, since it obtained its power after she died, but, instead, an eternal, spiritual union of the couple would have been achieved, quite a suitable finish for the story of mutual love (800). Considering P2 and P3, we should note that Cephalus echoes the phrases in the Orithyia story in Bk. 6(esp., 681f.). When Cephalus comments that he was said(dicebar 698)to be happy, he seems to presume that such a rumor is prevalent(cf. also 694), coming from the story told in Bk. 6. He rejects it as untrue with his tragic story, which fits in P2, but, it would be different with the ending by metamorphosis, which implies a kind of bliss for Cephalus as Procris' spear never goes without returning as if to ease his bad conscience, granting pardon for his wrongdoing. This version would match P3, and support the rumor of Cephalus' happy marriage with Procris. Then, we may assume that Cephalus did not speak of the metamorphosis because he intended to deny the rumor about his marriage, and I think this is where the inconsistency arises. What, then, was his motivation? On his arrival at Aegina he was spectabilis hews, which is a reminiscence of what he looked like(496f.), and Procris, when dying, was looking at him as long as possible(dumque aliquid spectare potest, me spectat 860). Then, after she exhales her soul(if exhaled into the spear, there would have been the metamorphosis), that is, at the end of his story, Cephalus appears as lacrimans hews (863). It looks as if, instead of narrating the metamorphosis of Procris, Cephalus himself has transformed from a good-looking hero into a hero in tears. Why, then, in tears? Presumably because it is a mark of great heroes, to Cephalus' eyes. In fact, Cephalus is presenting himself as a great hero like Odysseus or Aeneas, not only in his marital or tragic love as pointed out by Labate and Segal, but also in his story-telling, which takes place at the palace of a king(or queen), whose assistance the hero needs to return home, as in Od. Bks. 8-12 and Aen. Bks. 2-3. It is such an enchanting tale of his own sufferings that causes all listeners to cry. A tragic story like this, which enables Cephalus to play a role of great hero, would have been ruined if he had told of the metamorphosis of Procris, which would have made her a heroine, with him serving as a foil. This is, it seems, where his motivation lies : to make himself a hero, not her. Returning to the inconsistency about the spear, we should note that "nullo referente" (684)can be translated as "as nobody(else)tells it" (also note the frequent use of referre in the story), and that "in ore"(861)can mean "spoken" as in 1.708. Here it seems to be implied that the metamorphosis of Procris goes unspoken as nobody tells that story, while Cephalus stands out as a great tragic hero as a tearful tale of his own is put in his mouth.

著者

高橋 宏幸

出版者

京都大学

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.10, pp.30-53, 1992-09-30

---

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 reexamines the Arachne story in Ovid's Metamorphoses Bk. 6, focusing on the deception-fascination by poetry-art which affects the motivation and manner of Minerva's vengeance on Arachne. Minerva has praised the song and righteous rage of the Muses, which motivates her to avenge. Two aspects are noticed in Minerva on Helicon who is curious about anything marvelous aud eager to listen to the Muses' tales. First, she wanted to see the fountain which burst forth under the hard(dura : 257) hooves of Pegasus ; a Muse addresses her as a goddess whose valor has led her to greater tasks(virtus opera ad maiora : 269) ; and she asks the Muse to recite their song in order(ordine : 335). These are suggestive of the classical epic that is the kind of song which Minerva wants to have sung. Second, asking the Muses for the causes(cf. origo : 262), she recalls Callimachus in the Aetio(frgg. 2, 114) and Ovid in the Fasti interviewing the gods and goddesses throughout the work ; and when listening to Calliope's song, Minerva takes her seat in the light shade(levi in umbra : 336). What these imply is elegiac or hellenistic poetry, which Minerva seems to be (perhaps potentially) capable of appreciating well. Corresponding to these opposing aspects of Minerva we find two mixed elements in Calliope's song : epic pretentions, the most eminent feature of which is the rage of the gods that vindicates their order, on an asymmetrical structure which is "rambling, dragging in almost anything and straying far from its subject" through set-in tales which are characteristic of hellenistic poetry, tuned to the querulous chords(339) which imply elegiac poetry. What is suggested here? Attention should be paid to the Pierides' accusation of the Muses deceiving the unlearned vulgar with the empty sweetness(indoctum vana dulcedine vulgus/ fallere : 309f.). At first glance it sounds false, but "sweet"(glykys, dulcis) is one of the characteristics which are highly valued on the hellenistic criteria of poetry, aud "empty" may refer to the leisure of poetry ; unlike Callimachus or Horatius who hates and keeps away the vulgar(Carm. 3. 1. 1), doctus as he is, Ovid is proud of his popularity all over the world ; and deception can mean fascination by poetry, as the Muses "have the skill to tell lies similar to the truth" (Hesiod. Theog. 27). Then, the accusation seems to point accurately to the nature of Ovid's poetry, and to turn out to be true. That is, Minerva is deceived by Calliope's song in the meaning that she is so fascinated by its charm (which she has the capability to really enjoy) that she thinks it was the epic, but it is actually not. Deceived(fascinated) this way, Minerva wants to be praised as she praised the Muses' song aud rage. Here her thoughts do not follow the usual pattern of vengeance stories where human arrogance causes divine anger at the start, resulting in punishment of the hybris. As her motive to avenge comes first the common desire for her own praise, and in order to avenge she finds Arachne to be an appropriate victim. And Ovid's expression in lines 3-4 shows humorously the change of her state of mind from praising to being praised : when she wants to be praised(laudemur) herself too(et ipsae), then, at the top of the next line, the idea that she is a deity(numina) who deserves to be praised comes into her mind. It looks as if she had forgotten about it until now. She can be compared to the audience (indoctum vulgus) who want to be the hero on the stage whom they empathize with. Now leaving the theater, it seems, Minerva remembers who she is, a goddess who can actually play the part. Whatever the motive may be, her vengeance appears to be inevitable, when Arachne's stubborn refusal to yield leads to the weaving duel, in which Minerva's tapestry is orderly in form and content, embodying the perfect classical art, while Arachne's is contrastively chaotic with the various stories of "the divine comedy" scattered in no set pattern of any kind. To our surprise, however, Minerva or Envy couldn't find any fault in Arachne's work(129f.), and Ovid depicts Minerva's act of vengeance in sympathy with Arachne. The interpretation I'd like to suggest is that as with the Muses, Minerva is deceived again here by Arachne's deceptive art which makes her pictures look real(vermu taurum, freta vera putares ; / ipsa videbatur : 104f.). Painfully facing Arachne's success(130), which Minerva sees as threatening to snatch praise away from her, she tears Arachne' s tapestry, which is "divine crimes." Here, caeletia crimina(131), equated to the tapestry by juxtaposition, and given a position to split the phrase pictas vestes, creates an impression that Minerva is trying to shake off a guilty conscience with an excuse while destroying the perfect work of art. Otherwise, Envy could have criticized it the moment she looked at it. And this excuse seems to come as a natural result. of Minerva's deception by the pictures, which are so real that she cannot discern whether they are imaginary or real. Then, the tapestry paradoxically proves its perfection by being torn. When Arachne cannot endure it(non tulit infelix : 134) and hangs herself, Minerva feels pity (miserata : 135), as if the heroic act of Arachne wakes up Minerva to herself. Minerva, who, charmed by the Muses' song, wanted to be a hero at the start of the story, now at the end fascinated by Arachne's work, seems to be leaving the stage to give away the leading part to Arachne, whose metamorphosis into a spider(140-5) takes place just after Minerva's exit(discedens : 139). If there is any programmatic implication in the story, I'd like to consider it in the same terms as I did in my former papers on Fama-fama in bk. 12 and the epilogue, where I discussed creative transformation of tradition(fama) by the poet(Fama) who adds "falsehoods" to "true" traditional stories. Hearing of the rumor of the fount Hippocrene(5.255), Minerva visited the Muses to listen to their tales. Deceived by them, she contributed to creation of a new kind of vengeance story. And when she exits, the rumor fills the whole world with talk(6.146f.)

著者

高橋 宏幸

出版者

京都大学

雑誌

京都大學文學部研究紀要 (ISSN:04529774)

巻号頁・発行日

vol.41, pp.192_a-151_a, 2002-03

---

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。

著者

惣野 円彩 坂梨 秀地 中川 洸志 田久 浩志 高橋 宏幸 田中 秀治

出版者

日本蘇生学会

雑誌

蘇生 (ISSN:02884348)

巻号頁・発行日

vol.41, no.2, pp.71-76, 2022-10-07 (Released:2022-10-15)

参考文献数

10

---

【背景】昨今,本邦においてオートショックAEDが発売された【目的】ファーストレスポンダーを対象にオートショックAEDと一般的なAEDの操作時間の比較を行うこと【方法】ファーストレスポンダーを対象に,オートショックAEDと一般的なAEDを用いたクロスオーバーランダム化比較試験(n=39)を行い,操作時間を比較した【結果】オートショックAEDでは,到着から電気ショックまでの平均が77.1±10.9秒とAEDの82.9±10.6秒と比べ5.8秒短縮した【結語】ファーストレスポンダーにおいてオートショックAEDは適切かつ迅速に操作が可能である

著者

千田 いずみ 田中 秀治 高橋 宏幸 喜熨斗 智也 白川 透 島崎 修次

出版者

一般社団法人 日本臨床救急医学会

雑誌

日本臨床救急医学会雑誌 (ISSN:13450581)

巻号頁・発行日

vol.18, no.4, pp.575-584, 2015-08-31 (Released:2015-08-31)

参考文献数

12

被引用文献数

1

---

背景:2011年10月に発表された救急蘇生法の指針に,心肺蘇生の学校へのさらなる普及の重要性が示された。目的:小学生の心肺蘇生法に対する理解力および実技能力を検討すること。対象方法:小学6年生96名を対象に心肺蘇生の知識の確認試験および1〜6年生214名を対象に実技試験を行った。結果:心肺蘇生法に関わる知識ではほとんどの問題で80%以上の正答率を得た。実技では高学年でも平均圧迫深さが30mmと十分な圧迫深度に達しなかった。人工呼吸では十分な吹き込みができたのが64%,AED操作は100%正しく操作することができた。考察:心肺蘇生に対する理解力は小学6年生で十分備わっていることが判明した。胸骨圧迫の確実な実施は難しいものの,人工呼吸やAED操作は正しく実施する可能性が見出せた。結論:中学生の体格では胸骨圧迫の実施が可能であると報告されていることから,小学生への心肺蘇生法教育の目的は今後の成長を見越した知識の習得および技術の獲得にあるといえる。

著者

宮本 琢也 高橋 宏幸

出版者

一般社団法人 グローバルビジネス学会

雑誌

グローバルビジネスジャーナル (ISSN:24340111)

巻号頁・発行日

vol.1, no.1, pp.18-25, 2015 (Released:2019-08-07)

参考文献数

17

---

本研究は、ここ数年、南アジア地域で注目を集めるようになったスリランカの経済状況と日系企業の現 状と課題について議論する。 スリランカは、古くから親日国として知られているが、日系企業も数多く進出している。 同国は、現 地での人材マネジメントの取り組みやすさなど経営面でのメリット、インドやパキスタンへの近接性とい う立地面でのメリットなどが数多くあるものの、電気代などエネルギーコストが高さや、現地の裾野産業 が未成熟なためにサプライチェーンにおいて課題がある。このようなメリットと課題を総合的に検討しな がら、スリランカにおける日系企業の優位点について検討する。

著者

宮本 琢也 高橋 宏幸

出版者

一般社団法人 グローバルビジネス学会

雑誌

グローバルビジネスジャーナル

巻号頁・発行日

vol.1, no.1, pp.18-25, 2015

---

本研究は、ここ数年、南アジア地域で注目を集めるようになったスリランカの経済状況と日系企業の現 状と課題について議論する。 スリランカは、古くから親日国として知られているが、日系企業も数多く進出している。 同国は、現 地での人材マネジメントの取り組みやすさなど経営面でのメリット、インドやパキスタンへの近接性とい う立地面でのメリットなどが数多くあるものの、電気代などエネルギーコストが高さや、現地の裾野産業 が未成熟なためにサプライチェーンにおいて課題がある。このようなメリットと課題を総合的に検討しな がら、スリランカにおける日系企業の優位点について検討する。

著者

加藤 静子 高橋 宏幸 中川 美和

出版者

都留文科大学

雑誌

都留文科大学大学院紀要

巻号頁・発行日

no.4, pp.1-16, 2000

著者

白川 透 田中 秀治 喜熨斗 智也 高橋 宏幸

出版者

国士舘大学体育学部附属体育研究所

雑誌

国士舘大学体育研究所報 (ISSN:03892247)

巻号頁・発行日

vol.31, 2013

著者

高橋 宏幸

出版者

京都大学

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.4, pp.29-58, 1988-04-30

---

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 attempts to trace a final voice of the poet in 4.7 and 4.8 by re-examining the parallels between Cynthia-domina and the Homeric heroes, esp. hero as aristocrat in 4.7. In 4.7, the apparition of Cynthia's ghost before Propertius seems to correspond to Patroclus' appearance before Achilles ; however, whereas Patroclus had urgently to ask Achilles for burial, to enable him to cross the river Styx, Cynthia, now in Elysium, has no such need. Why, then, does she come? She is indignant over Propertius' forgetfulness and coldheartedness at her burial (23-34), her slaves' treachery (35-38), and her rival's assumption of her former status (39-48) ; all have offended her. She must restore her dignity : thus she comes. She swears that her faith was kept(49-58), refers to the Elysian heroines as her comrades (55-70), and commands Propertius to take care of her nurse and favorite maid(73-6), to burn the verses in her name (77f.) , to inscribe the poem she deserves (81-6) etc. The wrath caused by offence to one's dignity recalls the theme of the Iliad. In this respect, Cynthia can be likened to Achilles, and the two heroic qualities embodied in Cynthia reinforce this interpretation. One of these qualities is thymos. Upon Propertius she casts her voice with spirantis animos (11), which expresses ably in Latin the Greek, the word not being found in the Patroclus-scene of Il. 23. Her voice itself eloquently demonstrates the heat of her anger. Another is time, worth based on riches. Her jewel (9), funeral offerings (31ff.), golden dress (40), monument (43) , image of gold (47), and household of many servants and slaves (35ff., 43f., 73f.) were included in her time. Their loss means loss of face for her so she must avenge herself. The parallel may be more conspicuous between Cynthia and Odysseus in 4.8. Here also is her indignation, not only in speech, but in action, with thundering eyes and the woman's full power of rage (55). Spoils, victory and rule cause her exultant rejoicing (64f., 82), since her time is restored at her homecoming. These parallels help to paint a vivid portrait of Cynthia as a domina who also has a hot temper and absolute rule over her men ; thus an offence to her dignity can make her furious. And we should take into account the following features of Cynthia-domina ; her eyes as a symbol of the power by which she was the first to capture Propertius (1. 1. 1) : her unadorned hair representing the charms of natural beauty, e. g. 2. 1. 1 : Propertius' frequent references to her fama, as Boucher points out. What survives of Cynthia in 4.7 are only her eyes and hair, together with her voice. In 4.8, she thunders with her eyes ; beautifully with her hair. Fama is, however, not always as-sociated with riches as is time. Traditionally, love-elegists are poor, hate the rich and money as the source of corruption. We notice vulgar images attributed to Cynthia's rival in 4.7 and to the luxurious banquet in 4.8. In 4.7, particularly, all the riches Cynthia had have been damaged or taken, and, although she has come to reclaim them, she demands the return of none, but only Propertius' poems. The Homeric hero would rather be a slave in life than a king of the dead (cf. Od. 11.488ff.), while Cynthia, after death, continues to rule over Propertius, a slave of love ; death is not the end of all (1). The poet seems to say that loveelegiac values survive while heroic-aristocratic values will not long stand, thouth he is now giving up his love poetry. Against this interpretation, some may argue that the epitaph Cynthia commands be erected at Tibur is of sufficient magnificence to merit a heroine. But her instruction contrasts strangely to Propertius' in 3.6, one of the other two poems on Tibur. The passage says that the lovers' tombs along the busy highway are dishonored, recalling, as Lyne remarks, Callimachean literary polemic in Aet. 1.25ff. (cf.Epigr. 28Pf. 1f.). Here, 4. 7.81ff. sounds a wordplay between the heroic-common sense and the elegiac. Pomifer (81) surely refers to fruitfullness, but poma-ferens can imply a lover bringing a gift of wooing, of which poma was symbolic in antiquity. Aurea (85) may recall the Homeric epithet chrysee, but can mean <greedy of money>, as in Ov. A. A. 2.277f. These two words, in the same position in similar lines both in content (Anio or Cynthia lies in the earth) and versification (a polysyllable in the first half and three diaereses in the second), appear to be in immediate response : a man who gives and a woman who takes. And in ll.81-2 there is a grammatical possibility to take ebur as an acc, of respect to pomifer with Anio as the subject of pallet. Then, the combination pomifer-ebur, a man with such a precious gift as ivory, seems to suggest dives amator, who never pales since he knows no real love, of which color is paleness as in Ov. A. A. 1 729. In addition relating to this imagery of the rich, we have a cause-story of the Heraclean Temple ; a merchant beat away the pirates (without getting pale for fear) to return safe successfully, thanks to Heracles, the divinity of war and trade (Macrob. 3. 6. 11).

著者

高橋 宏幸 田中 秀治 中山 友紀 前住 智也 中尾 亜美 白川 透 小峯 力

出版者

流通経済大学

雑誌

流通経済大学スポーツ健康科学部紀要 (ISSN:18829759)

巻号頁・発行日

vol.3, pp.43-48, 2010-03

著者

高橋 宏幸

出版者

京都大学

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.16, pp.9-38, 1999-08-31

---

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 attempts to treat the nature of Livy's historiography by observing his use of an exemplum in Ap. Claudius' speech in Bk. 5. In his speech(5. 3. 1-6. 17) intended to advocate that the siege of Veii be continued in winter, a tactic never adopted before, Appius refers to the Trojan war to the effect of contrast ; the Romans are reluctant to besiege Rome's archenemy within her sight while all of Greece crossed lands and seas to sack Troy for one women's sake. This exemplum turns out to be ironical in the course of the narrative, for there are similarities between the Veientan war and the Fall of Troy ; fought for ten years(405-396 BC) ; conditions of Fall prophesied(15.1-12 ; 16.8-11 ; 19.1 ; 21.8-9) ; tactics for breakthrough(19.10-11, 21.10-13) ; urbs opulentissima and troubles about dealing out the booty(20.1-10, 21.14-15, 22.1-2, 8) ; Camillus praying like Achilles when forced into exile because of praeda Veientana(5. 32. 8-9).Since for a Roman in 403 BC to use a mythological example is unimaginable and Appius never predicts the analogy between the two wars, the exemplum should be appreciated in literary or narrative terms : its function seems to highlight the analogy for the readers. If so, however, it is remarkable that there is one missing point in the Veientan war : woman as cause of war. This aspect could have been most appealing to Livy's readers, seeing that (1) Helen as causa belli is almost a literary cliche(Hor. Ep. 1. 2. 9 ; Prop. 2. 3. 35-36 ; Ov. Am. 2. 12. 17-18, A. A. 3.253-54 ; cf. Verg. A. 6.93, 11.479f.), evoking the image of Cleopatra, that (2) una mulier, the phrase used there, is highly impressive, as appearing in Enn. Trag. v. 47 apud Cic. Div. 1.114(=Cassandra's prophesy about Helen), Cir. Clu. 15(quot. Quintil. Inst. Or. 4. 2. 105)(=Sassia), Cael. 47, 51(=Clodia), and Prop. 4. 6. 65(=Cleopatra), and that (3) 'all troubles began with a woman'(1. 46. 7) is a recurrent motif in Bks. 1-4 : Lavinia(1. 2. 1-6), the Sabine women(1. 9. 1-13.5), Tullia ? Lucretia(1.46ff.), Veturia(2. 40. 5-9), Verginia(3.44ff.), and the maid of Ardea(4. 9. 1-11)(also cf. Fabia minor(6. 34. 5-11)).Livy assigns Appius the role of orator speaking for the interests of the senate, his first speech suggesting that the senators break the power of the plebeian tribunes through the veto of their colleagues(4. 48. 4-10), his second (which includes the exemplum) also countering the tribunes' move as Livy introduces him as an equal opponent to them with reference to the first speech (5. 2. 13-14, 7. 1), and his third claiming that the money captured at Veii go to the treasury when Camillus referred the matter of booty to the senate.Appius' intention, however, is for the good of the whole nation and not to suppress the plebs as he himself says in his fourth speech(6. 40. 5). His third speech loses to P. Licinius', but this loss turns out to be crucial to the fortune of Camillus, that is, of Rome. Licinius looks like a good arbitrator, the first military tribune elected from the plebs, bringing an end to the serious trouble caused by the tribunes(5. 12. 7-9, 12-13), and elected again without his seeking office as the senate had no objection(5. 18. 1). His opinion that whoever wants a share in the spoils get to the camp at Veii, however, intended to conciliate the plebs with the gift, made the senate plebeian(5. 20. 10). Due to those first seeds of greed sown by this conciliation Camillus incurs people's hatred(5. 22. 1-2, 23. 8-12), and finally he, the only human aid against the Gauls, goes into exile (5. 32. 7-9). Another cause of people's hate against Camillus is linked to Appius' first speech ; Camillus openly rebuked the plebs and the senate for doing away with the veto of the tribunes(5. 29. 6). It looks as if the action and hardship of Camillus were to prove that the words of Appius had been pointing in the right direction.His second speech is parallel with Camillus' at the end of Bk. 5 in form and content, and here I would call attention to the incidents after each speech, the news of the disaster at Veii and the voice of a centurion accepted as an omen, which not just decided the matter but inspired the Romans to do more than restore the loss caused by the fire. The news from Veii and its consequences are, however, depicted as sudden and unexpected happenings with the voluntary actions on the part of the knights and the plebs followed by the senate (5. 7. 1, 4, 6), whereas to the centurion's voice, opportune emissa, the senate took the immediate action of se accipere omen, to which the plebs gives a simultaneous approval(5. 55. 1-2).It would be helpful here to compare two other divine voices appearing in Bk. 5 : Iuno Regina and Aius Locutius. It is a mere rumor that a voice of the goddess was heard to say she would be pleased when moved from Veii to Rome, but, at the same time it is the tradition accepted among the Romans (accepimus) that she was transferred as easily as if she just followed(5. 22. 5-6). The negligence of the voice which warned against the Gauls(5. 32. 6-7) was costly to the Romans ; after regaining Rome they make atonement and dedicate a temple to the new god(5. 50. 5, 51. 7, 52. 11). These episodes seem to stress an active recognition of celestial voices as critically important to the welfare of Rome.Now the passage from Ennius quoted of una mulier may be also helpful ; Cassandra's prophesy about Helen was never believed. In this respect it is, I think, suggestive that the rejection by the senate of Appiu's opinion in his third speech marked the first step to Rome's downfall ; his voice also sounds like what they should listen to. We may find a similar function in the exemplum. 'A woman as cause of war', though one missing point in the analogy between the two wars, should have been strikingly appealing to Livy's readers, then it could be a signal for them to listen to as a warning against a woman like Cleopatra. This is surely out of the immediate context, but it accords with the nature of the omen, κληδων, with a meaning which depends on the person who is to receive it, no matter what sense the speaker intended.

著者

高橋 宏幸

出版者

京都大学

雑誌

西洋古典論集 (ISSN:02897113)

巻号頁・発行日

vol.11, pp.151-184, 1994-03-30

---

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。The second choral ode of Seneca's Troades denies the existence of life after death, saying that nothing is after death and death itself is nothing. This view of death is inconsistent with the mood of the chorus in the rest of the play, especially at the commos where they are in grievous mourning. This paper attempts to interpret the inconsistency as representing a psychological conflict in the chorus' minds, and thereby characterizing their tears as fletus cum sapientia, in contrast not only to those of the turba in Act 5, but to Andromacha's and Hecuba's in Acts 3 and 4 respectively. The commos in Act 1 is led by Hecuba's impatient urge, "lamenta cessant?"(63), answered by the chorus, "non rude vulgus lacrimisque novum/ lugere iubes... non indociles lugere sumus"(67-8, 82), because not a day has passed when they did not shed tears since the Trojan War began ten years before. Why, then, had they ceased weeping at this moment, just after the fall of Troy, which should have most naturally evoked their most painful lamentation? The reason for this hesitation of the chorus about lamentation at the beginning of the commos should be sought for in the second choral ode, because it is, as Owen(1970a) has convincingly demonstrated, represented as simultaneous with the event in Act 1, and therefore we can assume that the thoughts expressed there is also in the chorus's mind at the commos. The ode, with a suspicious questioning about life after death(A : 371-81) and its definite negation as a fancy(A' : 397-408) in the outer frame, balances an end-of-the-world image reminiscent of ekpyrosis(B : 382-9) with similes of smoke and cloud scattered by the winds which recall Lucretian passages(B' : 392b-5), embracing in the center the sententia that the dead are nowhere(C : 390-2a). Therefore, the two imageries (B-B') are structurally represented as closely counected with each other and unfolding the chorus's thoughts. No doubt the fall of Troy has brought image B to the chorus's minds, and image B' is recurrently used of the fall of Troy(cf. 17-21, 1053-5 ; Aisch. Ag. 818, Eur. Tro. 128-9, 1320-1). Then, here it seems to be implied that the chorus, experiencing the fall of Troy, has come to the wisdom on life and death, and that is the inner voice which held back the chorus from weeping. We may compare with Andromacha. She, for whom Hector was Troy itself, had fallen into apathy at his death, and subsequently had been incapable of mourning(409-17). Bearing in mind this wisdom, which denies the existence of the dead, however, the chorus resumes lamentation, in compliance with Hecuba's urging. To consider the mourning the chorus puts on, it first should be compared with the tears shed by the people in Act 5 who gather to watch the deaths as if acted on the stage(spectator : 1087 ; theatri more : 1125). The same words are used for those people(turba : 1077, 1081, 1099, 1119 ; vulgus : 1078, 1093, 1128, 1143) and for the chorus(turba : 63, 409 ; vulgus : 67, 81), but the former is just a crowd moved by transient emotions while the latter call themselves non rude vulgus lugere(67f.), non indociles lugere(82). These expressions suggest that, unlike the turba in Act 5, in their weeping they are eruditae and doctae, that is, having philosophical learning, which probably refers to the learning to be expressed in the second choral ode. When the chorus resumes lamentation with all the wisdom, their tears will be given great weight, as they come from the eyes with profound insight into life and death. We can also see the chorus flentes cum sapientia, looking upon the stage throughout the play, standing in a sharp contrast with the illusions or misunderstandings involved in Andromacha's and Hecuba's tears for their children, as is examined below. Schetter has ingeniously illustrated Andromacha's illusion about her husband's power to save her son in Act 3. She suffers another illusion when she bids her son farewell in tears. She must have believed that her words could relieve him from fear of death(789b-91), but his cry to her "Miserere, mater"(792), ironically sounds as if he was afraid of his mother as an enemy threatening his life, for it echoes the very words the mother herself used twice to supplicate Ulixes to spare her son : "miserere matris"(694, 703). In Act 4, Polyxena's soul, describes Andromacha, is mighty enough to be joyful(laetus) in knowing her doom(945), while, according to the usual interpretation of the text we have in the MS, Hecuba sees tears burst from Polyxena's eyes and tells her to be joyful(laetare) (965b-7a). To solve this inconsistency, most modern editors except Zwierlein have accepted Richter's suggestion that 11. 967-8 be put after 978, attributing the tears to Hecuba and providing an answer to Helena's words in 1.978. This transposition, however, does not fulfill the purpose since it still remains that the person who is already joyful is urged to be joyful. We should begin again by considering the incongruity as it is. At the same time that Polyxena happily hears her fate, Hecuba faints and falls down(949-50), so we can imagine that she has had no time to notice Polyxena's reaction. Soon she returns to life(954), but there is no indication that she has stood up. Here we may compare with Eur. Tro. 462ff., where, after Kassandra is taken away, Hekabe falls down, declines a hand offered by the chorus to help her rise, and chooses to remain lying because that posture is fitting for her mishaps which she now begins to tell. For Hecuba here also it is natural to lie down, probably with her eyes cast down, while she weeps over her sufferings and wishes for her soul to slip away(955-64a). If so, she is not yet likely to look at Polyxena. And the moment she utters the word funeral, tears come down(remitte funus inrigat fletus genas : 965), as if the thought of the funeral has drawn out the tears. The situation here seems that Hecuba, buried deep in grief and remembering innumerable funerals she has attended, sees Polyxena standing on Achilles's tomb for her wedding-funeral in an illusory vision : there she sheds tears for Polyxena, and encourages her to rejoice because she believes her daughter must be in great sorrow as she herself is. Andromacha's following words (Nos, Hecuba, nos, nos, Hecuba, lugendae sumus : 969) sound appropriate to recall Hecuba from such a vision back to reality : she is trying to wake Hecuba by calling her name twice and make her aware by triple repetitions of "us" that it is not Polyxena, who will have her resting place, who should be grieved, but rather the Trojan women including Hecuba who will be taken to unknown lands. If Hecuba has come to herself after this call, and is somewhat relieved to see Polyxena's appearance, then it is understandable that there is no mention of her until Pyrrhus appears to take her away.