ホラティウスc. 4.7 : carpe diem のない歌

Abstract

In c.4.7, which begins with the arrival of spring, Horace states the rapid passing of time and the mortality of man. This poem has some of the motifs common to several poems with a carpe diem theme (c.1.4, 1.7, 1.9, 2.3, 2.11 and ep.13) , but carpe diem is not clearly told here. By comparing it with other poems and examination of its structure, this paper attempts to seek the reason c.4.7 lacks carpe diem. In ep.13, the gloomy weather in winter is described at the beginning (1f. Horrida tempestas...) , followed by carpe diem advice (3ff. rapiamus, amici, /occasionem de die, ...) , and, in the middle, it is said that now is the time to drive anxieties away (10 levare diris pectora sollicitudinibus) . In the second half, an episode of young Achilles, reinforcing carpe diem, typically shows the grief of being a mortal (18 aegrimoniae-10 sollicitudinibus) and the attitude toward the fate of death (17 levato-10 levare) . Therefore, this winter scene brings sorrow. Similarly, in c.1.7, 1.9 and 1.11, nature, especially wintry weather, causes or represents anxiety and grief, accompanied by images of labor. In c.2.3 and 2.11, a comfortable place -- locus amoenus -- where a stream is running in the shade of trees is described (2.3.9-12; 2.11.13f.) . Here the poet's eyes are attracted by the ephemeral objects which flee away (2.312 lympha fugax, 13f. nimium brevis/ flores amoenae... rosae; 2.11.9f. flaribus.../...venis, 14 rosa, 20 praetereunte lympha) , and they cause carpe diem by calling up the mutability of all things and the rapid passing of time. The arrival of spring does not bring anxieties as a winter scene does, but spring is the season when the change of nature is most remarkable. In c.4.7, however, changing things are not referrred to as in c.2.3 and 2.11, but the concept of change comes to the front. It seems as if nature takes on a new look in an instant (1f. Diffugere nives, ...) , and many words showing movement are used (1 diffugere, redeunt, 3 mutat...vices, decrescentia, 4 praetereunt) . Furthermore, this spring scene is expanded through the gnome (7-8) into the alternation of the four seasons condensed in 9-12. Therefore, the transient beauties which call up the grief of life are not taken up here and carpe diem does not emerge. On the other hand, in other poems, the present is fixed and emphasized especially by the anaphora of nunc (c.1.4.9, 11; 1.9.18, 21; ep.13.2) , while, in c.4.7, the present spring is replaced by the four seasons and the future pervades the second half (19 cuncta... fugient, 21f. cum semel occideris...) . Concerning the location, Tibur in c.1.7, offered by the priamel (1-14) , is a private area for the poet and the recipient of this poem. In c.2.3 and 2.11, as mentioned above, the most comfortable place for an individual is suggested. In c.4.7, however, such a place is not described. The second singular at 7 (immortalia ne speres) seems to refer to not only the recipient but anyone else, and moreover, Torquatus is not merely a private person, because his virtues (23 genus, facundia, 24 pietas) correspond to those of Aeneas, Tullus and Ancus (15 pius, dives) . This poem has no sphere of carpe diem. The problems related to the structure are dealt with as follows. In 1-12, not only inanimate nature is mentioned, but men who run away are suggested by personification of snow (1 Diffugere nives) , war imagery (9 proterit) and so on. Consequently, the natural world including living things is mentioned here, and then, in contrast to it (13 tamen) , the cyclic movement of nature (13) and the mortality of man (14-16) are stated. In this connection, lunae are not some months, but the moon which represents inanimate nature, and caelestia, meaning 'in the sky', contrasts with the upperworld in the first half and the underworld in the first half and the underworld in the second half. 17-20 are not an interpolation, because a gnome that brings development as the gnome in 7-8 is necessary here. Indeed, 17-18 where the uncertainty of tomorrow is told link 14 (nos ubi decidimus) to 21f. (cum semel occideris...) , and the historical figures (15) are connected with a contemporary Torquatus (23) through the current topic about heir (19-20) . In summary, the structure of c.4.7 is as follows. [Table omitted] From a structural point of view as well, there is no room for carpe diem in this poem.