On vient de mettre a jour un manscrit fragmentaire du Pelerinage de l'Ame de Guillaume de Digullavile. Il faisait partie de la collection de Monsieur A qui habite a Tokyo dans laquelle nous avons deja decouvert les fragments du Tristan en prose. De meme que les fragments du Tristan en prose Monsieur A avait acquis ce manuscrit a San Francisco chez Bernard M. Rosenthal. Description du fragment Cette fois, il s'agit d'un feuillet de parchemin plie en deux folios (4 pages) d'un format de 305 mm sur 230. Le bout droit du deuxieme folio est decoupe de 27 mm. C'est pourquoi la largeur de celui-ci n'est que de 305 mm sur 203. Le bas du feuillet est mutile. Il n'y a presque pas de marge au bas de chaque page, tandis que la marge du haut mesure 28 mm. La peau est ridee en quelques endroits. Le parchemin original a donc du etre plus large qu'il ne l'est actuellement. La justification est de 269 mm sur 195. Le texte de ce fragment correspond aux vv.8198-8405 et aux vv.9612-9811 de l'edition de Sturzinger. Il manque a peu pres 1.200 vers entre ces deux folios. Caracteres de ce fragment Par rapport au manuscrit de base (BN, f.fr. 12466) de l'edition de Sturzinger, le texte de ce fragment presente une divergence assez interessante car le copiste de ce dernier a modifie en 8 syllabes les vers qui n'en ont que 7 dans le manuscrit de l'edition de Sturzinger. Par exemple. 8366: Pour los et houneur aquerre (Sturzinger) Pour los et por honneur acquerre (souligne par nous, ainsi de suite) 9656: A foison et caroloient (Sturzinger) A grant foison et caroloient Sturzinger signale dans son Introduction que la marque de la versification de l'auteur Guillaume de Digulleville est de compter comme une syllabe le "e" muet final dans la rime feminine.

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The aim of this thesis is to present an aspect of Martial through money matters I have treated the poems of Martial that are connected with money matters in some way or other There is an excellent thesis on legacy-hunting by Prof Katsuhiko Higuchi, entitled "'Captatio' as depicted by Martial" (in Journal of Classical Studies, Vol I, 1956, Tokyo), I have expanded the theme from "captatio" to money in general, and attempted to survey Martial's way of looking at money through some of his works, in so doing, I have tried to carve his profile in relief as an epigrammatist While "captatio" and the system of inheritance at the time are only briefly treated in order to avoid overlapping with Prof Higuchi's thesis, emphasis is put on the economic background of Roman society from which the custom of "captatio" was originated Vergil's first Ecloga-which suggests the situation of a poet deprived of his estate by political pressure-seems to me not irrelevant to numerous epigrams on money written by Martial He was one of the "client-poets" -the status of poets had already been lowered to that of mere entertainers under the reign of Emperor Domitian It is interesting to note that Martial, a "client-poet", did not care to show any sympathy towards the victims of "captatio" To illustrate Martial's view on money matters, examples were taken from his satire on "eques"-hood Martial went further to attack wasters-those who waste money on costly food, clothes and other luxuries But Martial's scorn of wealth is not the distaste that the labouring poor feel towards those who enjoy their unearned incomes It is the scorn of a poor intellectual for the unlettered new rich His satirical epigrams on niggardliness were written in that spirit Poems treating sexual affairs in connexion with money are not confined to Martial "Money rules the sexual world" is, as it were, one of his favourite mottoes, and its living examples could be seen in the everyday life of corrupted Rome Woman, he thought, is nothing but a means to satisfy his sexual desire, hence, the cheaper the better a common opinion at the time, which one sees already in Horace What has come under my notice is his masochistic lowering of himself Martial was over-conscious of his poverty His poems often suggest that wealth and honesty do not go together-and perhaps this view represents a correct comprehension of the society in which he was living But we must bear in mind that the words were uttered by a man whose worldly ambitions were frustrated, and to whom his provincial origin was a lifelong burden Martial must have found a vent in bitter words, pretending to be sometimes a picaro Flattering and begging poems "dedicated" to Emperor Domitian and other men of power may have had the same origin Cynical words are hurled at the absurd custom of salutatio His attitude on composing poetry is naturally affected by these feelings Never believing in the eternal value of literature, yet proud of his being a rather famous poet hence conies his mocking attitude Literature yields little profit, he declared, while always having scorn for profit-chasers It is quite doubtful, however, whether Martial himself was really in extreme poverty He often sang about his straitened circumstances Indeed, he had much interest in his economic situation, he was much too interested in it, in fact, to have let himself starve This paradox may account for his pretence as a picaro Wasn't Martial merely a normal, ordinary person ? His witticism seen through the poems on poverty seems to be a proof of his normality To conclude, Martial belonged to the lower middle class, be himself being excessively conscious of his status as one of the poor populace On the one hand, he did not hesitate to ask for material aid from the Emperor and his rich

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Purpose: In this experiment we try to explain the construction and function of phonetic symbolism in Japanese.
Materials: The words used in this exp. are 418 which are formed of 2 syllables and used repeatedly as adverb, for example paka-paka, peki-peki, bara-bara, basabasa, poko-poko, haki-haki, hara-hara etc.
Method: Subjects are orderd to make a short sentence using a stimulus word adverbially with noun and verb as the completion test. Ss are 4 Japanese students and 3 Chinese girl students. Results:
1. Easiness and hardness of expression The time which needs to complete a sentence is different from words and persons. But considering the frequency curve (Fig. 1), these words be recognized as current words for Japanese except few words. And the expression of the words which need short reaction time have generally a common meaning for all Ss.
2. Limitation of meaning The representation of the meaning by the voice is limited by following factors.
A) Relation of clear and turbid in consonants -k-g, s-z, t-d, h-p-b-The clear sound is bright and strong, the turbid is dark and weak.
B) Character of double consonants Some consonants which connected with y, as kya, gya, sya, zya, tya-, represent childish, feeble, tumble and rashness.
C) Character of vowel i express small and sharp feeling, a and o express large feeling,. a expresses clearer, warmer and larger than o, but o smaller but sharper than a, u is between a and o, e is smaller than o.
Therefore the vowels may be arranged from small to large in the order of -I→E→O→U→A.
D) Character of other consonants It is difficult to definit strictly the symbolic character of consonant expect above mentioned, but s and k seems to show slender, m fragility.
3. Commutability of meaning
Interpretation of the same words by each S. is not always same. The sameinterpretation by all Japanese is not agreeable with the interpretation by Chinese. Japanese students are mostly agreeable with each other in interpreting words as things, but Chinese students express the same words as onomatopoeia.
Generally the voice symbolize the matters by mean of the quality of vocal sound and the melody and rythm of pronunciation that is so called Gestaltqualitat, but when the matters are expressed by the latter, the special contents of perception can be changed transpositionaly, therefore the commutability of meaning in the phonetic symbolism is extended.
But the commutability is limited in a definite meaning by the habit of using the words, and by the habit he phonetic symbolism becomes communicable and a special speech community is formed.
In short the word is not only a meaning clanging to ear, but a voice clinging to habit.

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