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In ancient Roman religion, the Mamuralia or ''Sacrum Mamurio'' ("Rite for Mamurius") was a festival held March 14 or 15, named only in sources from late antiquity. According to Joannes Lydus, an old man wearing animal skins was beaten ritually with sticks.〔Michele Renee Salzman, ''On Roman Time: The Codex-Calendar of 354 and the Rhythms of Urban Life in Late Antiquity'' (University of California Press, 1990), pp. 124 and 128–129; William Warde Fowler, ''The Roman Festivals of the Period of the Republic'' (London, 1908), pp. 44–50.〕 The name is connected to Mamurius Veturius, who according to tradition was the craftsman who made the ritual shields (''ancilia'') that hung in the temple of Mars. Because the Roman calendar originally began in March, the ''Sacrum Mamurio'' is usually regarded as a ritual marking the transition from the old year to the new. It shares some characteristics with scapegoat or ''pharmakos'' ritual. ==The craft of Mamurius== According to legend, Mamurius was commissioned by Numa, second king of Rome, to make eleven shields identical to the sacred ''ancile'' that fell from the heavens as a pledge of Rome's destiny to rule the world. The ''ancile'' was one of the sacred guarantors of the Roman state ''(pignora imperii)'',〔Joseph Rykwert, ''The Idea of a Town: The Anthropology of Urban Form in Rome, Italy and the Ancient World (MIT Press, 1976, 1988), p. 96.〕 and the replicas were intended to conceal the identity of the original and so prevent its theft; it was thus a kind of "public secret."〔In the terminology of Michael Taussig, as discussed by Thomas Habinek, ''The World of Roman Song: From Ritualized Speech to Social Order'' (Johns Hopkins University Press, 2005), p. 10ff.〕 The shields were under the care of Mars' priests the Salii, who used them in their rituals. As payment, Mamurius requested that his name be preserved and remembered in the song sung by the Salii, the ''Carmen Saliare'', as they executed movements with the shields and performed their armed dance.〔The ancient sources for the story of Mamurius include Livy 1.20; Ovid, ''Fasti'' 3; Plutarch, ''Life of Numa'' (13 ), Bill Thayer's edition at LacusCurtius.〕 Fragments of this archaic hymn survive, including the invocation of Mamurius.〔See C. M. Zander's 1888 edition, ''Carminis Saliaris reliquiae'', p. 8 (online ), with notes (in Latin).〕 Several sources mention the invocation of the hymn and the story of the smith, but only Lydus describes the ritual as the beating of an old man. Mamurius was also supposed to have made a bronze replacement for a maple statue of Vertumnus, brought to Rome in the time of Romulus.〔Propertius 4.2; Daniel P. Harmon, "Religion in the Latin Elegists", ''Aufstieg und Niedergang der römischen Welt'' 2.16.3 (1986), pp. 1960–61.〕 He may have been Oscan and thought to have been buried in his homeland, since at the end of a poem about Vertumnus, Propertius has the god express a wish that the Oscan earth should not wear away Mamurius's skilled hands.〔W.A. Camps, ''Propertius: Elegies Book IV'' (Cambridge University Press, 1968), p. 77.〕 ''Veturius'' is considered either an Etruscan or Oscan family name.〔John F. Hall, "From Tarquins to Caesars: Etruscan Governance at Rome," in ''Etruscan Italy: Etruscan Influences on the Civilizations of Italy from Antiquity to the Modern Era'' (Indiana University Press, 1996), p. 179.〕 "Mamurius Veturius" became the nickname of Marcus Aurelius Marius Augustus, a former smith or metalworker who was briefly Roman emperor in 269.〔''Historia Augusta'' 2.104. Habinek, ''The World of Roman Song,'' p. 25.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Mamuralia」の詳細全文を読む スポンサード リンク
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