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''Satire VI'' is the most famous of the sixteen Satires by the Roman author Juvenal written in the late 1st or early 2nd century. In English translation, this satire is often titled something in the vein of ''Against Women'' due to the most obvious reading of its content. It enjoyed significant social currency from late antiquity to the early modern period, being read largely as a proof-text for a wide array of misogynistic beliefs. Its current significance rests in its role as a crucial—although problematic—body of evidence on Roman conceptions of gender and sexuality. The overarching theme of the poem is a dissuasion of the addressee Postumus from marriage; the narrator uses a series of acidic vignettes on the degraded state of (predominantly female) morality to bolster his argument. At c. 695 lines of Latin hexameter, this satire is nearly twice the length of the next largest of the author's sixteen known satires; ''Satire VI'' alone composes Book II of Juvenal's five books of satire. In addition, ''Satire VI'' contains the famous phrase, ''"Sed quis custodiet ipsos custodes?"'' (but who will guard the guards themselves), which is variously translated as "But who guards the guards?", "But who watches the watchmen?", or similar. (This phrase has been used as an epigraph to numerous works, most notably ''Watchmen'' and the Tower Commission Report.()) In context, it refers to the impossibility of enforcing moral behavior when the enforcers (''custodes'') are corruptible: : ... I am aware : of whatever councils you old friends warn, : i.e. "throw the bolt and lock her in.” But who is going to guard the : guards themselves, who now keep silent the lapses of the loose : girl - paid off in the same coin? The common crime keeps its silence. : A prudent wife looks ahead and starts (her infidelities) with them. : ''... noui'' : ''consilia et ueteres quaecumque monetis amici,'' : pone seram, cohibe'. sed quis custodiet ipsos'' : ''custodes, qui nunc lasciuae furta puellae'' : ''hac mercede silent? crimen commune tacetur.'' : ''prospicit hoc prudens et a illis incipit uxor.'' : (6.O29-34) == The Themes of the Poem == The author commences ''Satire VI'' by setting his poem in opposition to the version of Roman women seen in the poems of Catullus and Propertius: : I believe that, when Saturn was king, Chastity lingered : on the earth and was seen for a time - when a cold cave : provided little homes, and enclosed fire, household gods, cattle, : and the masters of the household in common darkness. : A mountain wife spread out her woodsy bed : with leaves, straw, and skins of local wild animals, : - hardly similar to you, Cynthia, nor to you : whose wet eye the dead sparrow stirred up - : but offering breasts that needed suckeding to huge babies, : just as often hairier than her acorn-burping husband. : ''Credo Pudicitiam Saturno rege moratam'' : ''in terris uisamque diu, cum frigida paruas'' : ''praeberet spelunca domos ignemque laremque'' : ''et pecus et dominos communi clauderet umbra,'' : ''siluestrem montana torum cum sterneret uxor'' : ''frondibus et culmo uicinarumque ferarum'' : ''pellibus, haut similis tibi, Cynthia, nec tibi, cuius'' : ''turbauit nitidos extinctus passer ocellos,'' : ''sed potanda ferens infantibus ubera magnis'' : ''et saepe horridior glandem ructante marito.'' : (6.1-10) In the view of Peter Green, "'Cynthia' was the pseudonym which Propertius used to indicate his mistress Hostia in his poems; the girl who wept for her sparrow was 'Lesbia,' the mistress of Catullus, whose real name was Clodia." While the equation of these pseudonyms with historical women is debatable, the reference within ''Satire VI'' to Propertius and Catullus is clear.〔The specific poems of Catullus alluded to are poems II and III, in which the character Lesbia first plays with, then mourns, the passer (sparrow). The narrator refers to the poems of Propertius more generally as the source of the character Cynthia: e.g. 1.1, 1.3, 1.4, et cetera.〕 In opposition to the sophisticated, urban woman of the elegiac ideal, the woman of the mythical golden age was a simple rustic. The constant touchstone of the remainder of the poem is the deviance of contemporary Roman women from an amorphous ideal located in the unspecified past. Though it is frequently decried as a misogynistic rant, feminist scholar Jamie Corson has pointed out: :'' ''Satire VI'' is not merely a diatribe against women, but an all-out invective against marriage. .. This decaying of Rome’s social and moral standards has caused marriage to become the offspring of greed and corruption. Men have become weak, and allow women to challenge male supremacy so that marital power relations now favour women.'' The author sets the frame for his satire with a hyperbolic presentation of the options available to the Roman male – marriage, suicide, or a boy lover: : Are you even in this day and age preparing both a prenup : and an engagement, and getting a trim from a master : barber, and you have even perchance given the pledge to her finger? : You certainly used to be healthy. Postumus, are you getting married? : Tell me by what Fury and by what vipers you are goaded. : Can you endure any Master-ess when there are so many good strong ropes, : When high, vertiginous windows are wide open, : when the Aemilian bridge offers itself to you – just right next door? : Or if from so many options no mode of death strikes your fancy, : Surely you think it better that a supple boy sleep with you? : A boy, who does not conduct a nocturnal lawsuit at you, who wheedles : no little gifts from you as he lies there, and neither complains because : you are going easy on him, nor because you don’t gasp as much as he demands. : ''conuentum tamen et pactum et sponsalia nostra'' : ''tempestate paras iamque a tonsore magistro'' : ''pecteris et digito pignus fortasse dedisti?'' : ''certe sanus eras. uxorem, Postume, ducis?'' : ''dic qua Tisiphone, quibus exagitere colubris.'' : ''ferre potes dominam saluis tot restibus ullam,'' : ''cum pateant altae caligantesque fenestrae,'' : ''cum tibi uicinum se praebeat Aemilius pons?'' : ''aut si de multis nullus placet exitus, illud'' : ''nonne putas melius, quod tecum pusio dormit?'' : ''pusio, qui noctu non litigat, exigit a te'' : ''nulla iacens illic munuscula, nec queritur quod'' : ''et lateri parcas nec quantum iussit anheles.'' : (6.25-37) Juvenal was concerned with the morality and actions of the Roman elite; ''Satire VI'' can equally be read as an invective against the men who have permitted this pervasive degradation of the Roman world. The author harshly criticizes avaricious husbands who marry not for love but for the dowry and subsequently allow their rich wives to do whatever they wish (6.136-141). Similarly, men who care only for the fleeting beauty of their wives, and then divorce them as it fades, merit condemnation (6.142-48). While women are prone to temptation, Juvenal casts men as agents and enablers of the feminine proclivity toward vice. In the written ''Roma'' of the ''Satires'', men will even impersonate eunuchs to get unmonitored access to corrupt a woman (6.O-20-30). The literary trope of luxury imported into ''Roma'' along with the spoils of conquest and the goods (and banes) of the world is employed by Juvenal to explain the source of degradation: : Even so, do you ask from what spring these prodigies? : Humble fortune defended the chaste Latin women then, : nor did their labor, short slumbers, hard hands irritated : by Tuscan wool, Hannibal close to the city, : and husbands standing guard at the Colline tower : allow their little shelters to be stained with vices. : Now we suffer the evils of a long peace, luxury more savage than arms : presses its attack and takes vengeance for the conquered world. : No crime or act of lust is absent from where : Roman poverty has perished. To here, to these hills, 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「Satire VI」の詳細全文を読む スポンサード リンク
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