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In ancient Rome, the ''pompa circensis'' ("circus parade") was the procession that preceded the official games ''(ludi)'' held in the circus as part of religious festivals and other occasions. ==Description== The most detailed description of the ''pompa circensis'' during the Republican era is given by Dionysius of Halicarnassus, based on eyewitness observation and the historian Fabius Pictor,〔Dionysius of Halicarnassus, 7.72.1–13 = Q. Fabius Pictor, ''FRH''2 1 frg. 20.〕 who says he is describing the original ''Ludi Romani''; Fabius may, however, have been more influenced by what he saw in the ''pompa'' of the Saecular Games in 249 BC. The procession was led by boys of the nobility ''(nobiles)'' riding on horseback, followed by boys on foot who were future infantrymen. Next came the charioteers and athletes who would compete in the games.〔H.S. Versnel, ''Triumphus: An Inquiry into the Origin, Development and Meaning of the Roman Triumph'' (Brill, 1970), pp. 96–97.〕 Troops of dancers followed to musical accompaniment performed on ''auloi'', a type of woodwind instrument, and the lyre. The dancers were divided into age classes, men, youths, and children. Wearing purple tunics, they wielded swords and short spears in war dances similar to the Cretan pyrrhics. The adult dancers also wore bronze helmets〔Versnel, ''Triumphus'', p. 97.〕 with "conspicuous crests and wings."〔W.J. Slater, "Three Problems in the History of Drama," ''Phoenix'' 47.3 (1993), p. 202.〕 A chorus dressed as satyrs and ''sileni'' followed the armed dancers and mocked them. They were costumed in woolly tunics, garlands of different kinds of flowers, and goatskin loincloths, with their hair standing out on their heads in tufts.〔Slater, "Three Problems," p. 203.〕 The appearance of ''satyristai'' at the original ''Ludi Romani'' is the earliest known reference to satyrs in Roman culture.〔T.P. Wiseman, "Satyrs in Rome? The Background to Horace's ''Ars Poetica''," ''Journal of Roman Studies'' 78 (1988), pp. 7.〕 Although Dionysius suggests that both the war dances and the Bacchic dancing were in imitation of the Greeks, the armed dances had a Roman precedent in the Salian priests, who danced with sword and shield, and the role of the satyrs seems based on Etruscan custom.〔Wiseman, "Satyrs in Rome?" p. 11, note 86; Slater, "Three Problems," p. 203.〕 The procession concluded with men carrying golden bowls and perfumes, and then the statues of the gods carried on litters ''(fercula)'', with their attributes ''(exuviae)'' transported separately in special chariots or carts (''tensae'' or ''thensae''). The ''tensae'' were pulled by boys whose mothers and fathers were still alive.〔Versnel, ''Triumphus'', pp. 98, 260.〕 The images and ''exuviae'' were displayed at the circus, probably on the wooden platform called a ''pulvinar''.〔Duncan Fishwick, "Prudentius and the Cult of Divus Augustus," ''Historia'' 39.4 (1990), p. 481, citing Festus (500 in the edition of Lindsay).〕 The procession started from the Capitolium, and through the ''clivus Capitolinus'' came to the Roman Forum. It then proceeded along the Via Sacra and passed through the ''Vicus Tuscus'' to arrive at the Circus Maximus.〔Patrizia Arena, "The ''pompa circensis'' and the ''domus Augusta'' (1st–2nd c. A.D.)," in ''Ritual Dynamics and Religious Change in the Roman Empire. Proceedings of the Eighth Workshop of the International Network Impact of Empire (Heidelberg, July 5–7, 2007)'' (Brill, 2009), p. 86.〕 The magistrate who presided over the games rode in a two-horse chariot ''(biga)'' and wore the traditional attire of the triumphing general ''(triumphator)''.〔Versnel, ''Triumphus'', pp. 102, 104, 129–130.〕 It had been the view of Theodor Mommsen that the ''pompa circensis'' was simply a repurposing of the triumphal procession, to which the presenting of games had originally been attached. After ''ludi'' began to be presented apart from a triumph, the presiding magistrate took the place of the ''triumphator'' in the parade.〔As summarized by Versnel, ''Triumphus'', p. 101f.〕 H.S. Versnel considered the ''pompa'' to be a blend of Greek, Roman, and Etruscan elements.〔Versnel, ''Triumphus'', p. 97.〕 Frank Bernstein has argued that the tradition of Etruscan origin is essentially sound, and that the circus games and their opening procession were established during Rome's Regal period under the rule of Etruscan kings as part of the cult of the Capitoline Jupiter.〔Frank Bernstein, "Complex Rituals: Games and Processions in Republican Rome in ''A Companion to Roman Religion'' (Blackwell, 2007), p. 223ff.〕 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「pompa circensis」の詳細全文を読む スポンサード リンク
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