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The Elm and the Vine were associated particularly by Latin authors. Because pruned elm trees acted as vine supports, this was taken as a symbol of marriage〔Peter Demetz, “The elm and the vine: notes towards the history of a marriage topos”, Proceedings of the Modern Language Association, 73.5, New York 1958, pp. 521-532〕 and imagery connected with their pairing also became common in Renaissance literature. Various fables were created out of their association in both Classical and later times. Although Aesop was not credited with these formerly, later fables hint at his authorship. ==Marriage imagery== The 'marriage' of elm trees and vines continued in Italy from Roman times into the 20th century.〔(''The historical relationship of elms and vines'' ), P. Fuentes-Utrilla, R. A. López-Rodríguez and L. Gil, Universidad Politécnica de Madrid 2004.〕 There are references to this in both works on husbandry and in poetry. The most famous of the latter was Ovid's account of the myth of Vertumnus and Pomona in his ''Metamorphoses''. Vertumnus takes the shape of an old woman and urges the reluctant goddess to marriage by pointing to the vine in her orchard. In the version by the work's first English translator, Arthur Golding: :::Ageinst him where he sat :::A goodly Elme with glistring grapes did growe: which after hee :::Had praysed, and the vyne likewyse that ran uppon the tree: :::But if (quoth hee) this Elme without the vyne did single stand, :::It should have nothing (saving leaves) to bee desyred: and :::Ageine if that the vyne which ronnes uppon the Elme had nat :::The tree to leane unto, it should uppon the ground ly flat. :::Yit art not thou admonisht by example of this tree :::To take a husband, neyther doost thou passe to maryed bee.〔(Book 14, lines 755-63 )〕 The subject was commonly painted in Europe between the 16th - 18th centuries, and there are examples which feature a vine trained up an elm from Italy, the Netherlands, France and England (see the Gallery below). This was partly encouraged by the entry of the imagery into Emblem books, beginning with the most popular of them all, Andrea Alciato's ''Emblemata'', in which it figures under the title ''Amicitia etiam post mortem durans'' (Friendship lasting even after death).〔(Emblem 160 )〕 This interpretation had been influenced by a first-century CE poem by Antipater of Thessalonica in which a withered plane tree (rather than an elm) recounts how the vine trained about it keeps it green.〔(''Greek Anthology'' III.231 )〕 Alciato was followed in this interpretation by Geoffrey Whitney in England,〔(''Choice of Emblemes'' 62 )〕 using Alciato's illustration but accompanied by verses of his own, and by the Dutch poet Daniel Heinsius in his ''Emblemata Amatoria'' (1607). The latter makes the tree a plane, following the Greek epigram, interpreting it as the sign of undying love. The French version of his Latin poem reads ::::''Comme à la plane on voit la vigne survivante, ::::''Mon amour survivera à l’injure du sort'' (As the vine survives about the plane, So will my love the stroke of fate).〔Alison Saunder, ''The seventeenth-century French emblem: a study in diversity'', Geneva CH 2000 (p.168 )〕 Dependence of a different sort was signified soon after when an adaptation of the emblem was adopted as printer's mark by the House of Elzevir for their press in Leiden. There a scholar picks grapes from the vine trained round the tree, on the other side of which is the Latin device ''Non Solus'' (not alone), pointing to the alliance between learning and literature.〔(The Private Library )〕 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「The Elm and the Vine」の詳細全文を読む スポンサード リンク
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