This article attempts to consider the dramatic structures of Mercator and Rudens, both of which have similar dream-scenes, from the viewpoint of the audience rather than that of chronology-the approach pursued so far Mercator begins with the prologue spoken by a character whose name is Charinus The fact that the speaker of the prologue is a human being who is a character seems to be deeply related to the structure of the play and it means that he can only tell the story, past and present, through his own eyes Such a prologue inevitably differs very much from an impersonal prologue (eg Asin, Capt, Cas , Men, Poen, Ps, True, Vid) or a prologue spoken by a divine being (e g Amph, Aul, Cist, Rud, Trin) Therefore I think II _1 (225-254), which is the scene where Demipho tells his dream, functions as the second prologue, and supplements the limited information provided by the prologue proper As to the dream-allegory, it is only capra=Pasicompsa that Demipho and the audience can easily identify among the animals which appear in the dream Some intelligent members of an audience may conjecture that Channus is the haedus in the dream As for simia, however, neither Demipho nor the audience can understand who he is For the rest of the play the audience are supposed to see it, feeling suspense in identifying the other animals and in comparing the plotdevelopment of the play with the dream-scene Rudens also begins with a prologue, the speaker of which is, however, a divine being, Arcturus This means that with this prologue much more information about the past, the present and the future is to be imparted than with the prologue of Mercator The prologue in such a structure reduces the relative significance of the dreamscene (593-612) in Rudens The animals which appear in the dream of Daemones can be quite easily identified by the audience as well as by Daemones himself, so that the scene does not create so much suspense in the audience as the scene in Mercator Furthermore, the details depicted in the dream-scene in Rudens are not well co-ordinated with the rest of the play Thus we can conclude that the dream-scene is more deeply and elaborately built into the dramatic structure of Mercator than it is into the structure of Rudens

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Love affairs play an important role in the plots of Roman comedy, and that is one of the reasons when the origin of the Latin love elegy is argued, the reference to the amatory expressions of Plautus and Terence is not to be dismissed. Thispaper seeks to estimate the nuances of osculum and savium in Plautus as one of these amatory expressions, which I expect to lead to the comparative study of Roman comedy and the Latin love elegy in terms of their vocabulary and expression. Servius affords a commentary on Verg. Aen. I. 256 to the effect that osculum isof religio, savium of voluptas. This definition is most appropriate to the very passage, it is true, but cannot be valid for all the oscula(five times)in Vergil. Donatus(ad Ter. Eun. 456), on the other hand, gives another definition of the wordsfor kiss, in which osculum, basium, and savium are all mentioned, each of them, given its own separate meaning. But, as is well known, basium was not knwon in Rome at the time of Plautus and Terence, and is generally assumed to have been introduced by Catullus from Celtic. Therefore we cannot apply Donatus' definition to Plautus without reserve. The frequency of the words 'kiss' in Plautus is as follows: [table] The sheer number clearly shows that osculum and its derivatives are used more frequently than savium and its derivative, and that savium is not the principal word for kiss in Plautus, as some scholars think it is. Donatus says in his commentary that osculum is of officium, and we can apply it to such kisses as are found in Amph. 571, 800, where osculum is used with sahitare and manum prehendere. Similar greeting kisses are also found in Epid. 571-4. Savium, however, is not used in such a way as to suggest that it is of officium at all. The kisses between parent and child(Epid., Rud., Stick.) or between husband and wife(Ampk., Asin.) are all described with osculum and its derivative, which are not of voluptas or of libido-amor, but of officium or of pudicus affectus. In contrast to it, all savium are used exclusively between amatores. We have also several passages(e.g. Asin. 222-5; Cure. 51-6)which indicate that osculum and its derivatives are in a striking contrast to savium. The derivative osculari, however, obscures such a distinction in some cases (e.g. Mil. Gl.) , where it is used for kisses between amatores. Later history of the word for kiss in the poetic vocabulary is that of the exclusion of savium from it, with the exception of Catullus. Such a tendency even begins in Terence, who uses 'kiss' quite rarely(only twice). Catullus uses all osculum, basium, savium and their derivatives, and their distribution to the three groups testifies savium belongs to the vocabulary of epigrams. All the words for kiss in Tibullus, Propertius and Ovid are oscula(p1.) and osculor(Prop. IV. 3. 30), except only one savium(Prop. II. 29B. 29). Every kind of kiss, whether it is of officium or of libido-amor, is described with oscula by the Latin love elegists. Thus we can conclude that there was a clear distinction between osculum and savium in Plautus, but that as there was not known the verb saviari at the time of Plautus and Terence, osculari was used in some cases for its substitute. In the Latin love elegy savium and basium were excluded, because they were not regarded as so poetic, nor so appropriate as to enhance the Latin love elegy to a higher rank, but as colloquial and vulgar.

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[Present State of Science and Technology]At the present day, Science-Technology reveals increasingly its demerits, compared with its merits.

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ベトナム語には、比較言語学上で語族が異なるフランス語を起源とする語彙群がある。その数は、フランス植民地時代に入ってきた語、さらにはフランスからの独立後に取り込んだ科学技術語彙を中心におおむね1000語と考えられている。戦中戦後の社会変化や世界『英語化』の流れの中で、フランス語起源語を取り巻く環境は激変して、消滅した語もある。 　本稿では、旧ベトナム共和国時代の言語動態を記憶する人々へのインタビューと、印刷物の分析によってフランス語起源語を抽出してリスト化し、使用環境や用法を考察した。

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En la primera persona narrativa en general, el protagonista (el “yo” que actua en los episodios) y el narrador (el “yo” que los relata retrospectivamente) poseen puntos de vista distintos: el narrador, ya lejos de los sucesos que cuenta, puede mirarlos y valorarlos con cierta objetividad. Por eso, el mundo presentado por él tiende a ser relativamente estáble y estatico. En cambio, el protagonista se encuentra en el momento actual de los acontecimientos y tiene que percibirlos y juzgarlos con su propio criterio subjetivo. Necesariamente el mundo captado por él será ambiguo y oscilante como la vida rel.
Algunos de los episodios del Lazarillo están presentados estrictamente a través de la percepcion y el juicio del protagonista. Por ejemplo, en el encuentro de Lázaro con el Escudero (Tractado 3), gracias a esta técnica narrativa, el lector también queda enganado por la apariencia noble del tercer amo de Lázaro, y al lado de éste va comprendiendo poco a poco su miserable realidad. El resultado es la sensación de hallarse frente a una persona real y compleja. El punto de vista del protagonista se acentúa mediante el uso del articulo indetermidado y frases como “mi amo se paro, y yo con él” o “topóme Dios con un escudero”, etc.
Al contrario, en el Buscón predomina el punto de vista o la percepción del narrador. En la venta de Viveros (Libro I, Capitulo 4), el protagonista Pablos y don Diego quedan estafados por otros huéspedes, pero el narrador lo revela ya desde el principio del episodio ( “la siempre maldita venta de Viveros”), y descubre al lector el verdadero carácter de los personajes antes de que éste pueda juzgarlos por su propia cuenta. Esta manera de narrar los convierte en simples “figuras de guiñol” (F. Lázaro), faltos de complejidad humana, haciendo que los episodios carezcan de sorpresa.

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The medieval mind had an inclination for ransacking resemblances, equivalences and correspondences among things, which was a way of proving the order of the universe established by God. John Gower, a representative medieval man, seems to have possessed a strong sense of correspondence. All through his three major works he held a consistent idea that man is a little world, and on this principle of correspondence between macrocosm and microcosm he founded his social criticism, his earnest preaching on the individual responsibility for the chaos and degradation of the contemporary world. The author of Confessio Amantis was, however, not a mere social critic. In this work we perceive all aspects-religious, moral, scientific and poetic-of Gower unrolled, and in each of them his sense of correspondence is more or less discernible. Firstly, Gower was an advocate of such medieval sciences as alchemy and astronomy, which were both based on the principle of correspondence. In his ethics Gower insists on the theory of retribution, telling horrible examples of coincidence between sin and punishment. Gower's attitude toward mysterious phenomena, such as dream, omen and metamorphosis was more medieval than Chaucer whose dream psychology, for example, was astonishingly modern. Gower emphasizes the miraculous coincidences, resemblances and correspondences in those phenomena, showing how exactly God's plan works. Turning our attention to the structure of Confessio Amantis, two of the leading principls can also be stated in terms of correspondence. One is the correspondence between religion and love, that is, the application of the sermon of the Seven Deadly Sins to the matter of love, and the other is the correspondence between a moral and its exemplum. Now either of these principles carries with it some inevitable discrepancies or contradictions, but Gower's strong sense of correspondence yoked different or opposite things together. Lastly, and it is most interesting to us, the sense of correspondence finds expression in Gower's poetical or rhetorical devices. With the exception of a number of pregnant images, the imagery of Confessio Amantis is generally more logical than poetical. In many instances an image is nothing but a means of the author's analogical thinking, or often a cluster of images forms what is equivalent to an exemplum or a fable to be used for a didactic purpose. The frequent use of antithesis or parallelism is likewise noteworthy. It might be understood in connection with the metrical scheme of this work which is written in couplets of four-foot line, but probably it ultimately comes from his sense of correspondence. Although the sense of correspondence was a product of the age in which Gower lived, yet in Confessio Amantis the moral poet modified and developed it in his own way, making it a hidden unifying factor of this heterogeneous and voluminous work.

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En el Quijote hay un episodio conocido como la historia de Grisóstomo y Mercela (I. xii-xiv). Grisóstomo, desesperado por el desdén y desamor de Marcela, “murió de amores” de ella segün dicen. Sin embargo, antes de morir él había dejado una poesía en la que se quejaba de la crueldad de la mujer y expresaba la intención de matarse por su desesperación. De ahí que unos críticos pusieran en tela de juicio el modo verdadero de su muerte.
?Fue suicidio o muerte natural? Américo Castro dice que del contexto de la prosa “nadie saca la impresión de que el pastor obstinado se suicidó. ” Para dar plena explicación a la contradicción entre la prosa y la poesía en el contenido se han presentado varias interpretaciones tales como la de Castro, Luis Rosales y J.B. Avalle-Arce. A mí no me parece que ninguno de estos se diera buena cuenta de que había aun en la prosa unas alusiones al suicidio del Grisóstomo. Con esto se perderia la razón de por qué se discute la misma ambigüedad sobre su muerte. El autor, cuando describía al pastor perdido por el amor, intentó relevar otros personajes: Marcela y Don Quijote; los cuales persiguen el mismo camino hacia la virtud: La castidad para aquélla y la libertad del alma para éste.
Cervantes, como solía hacer en sus obras para resolver el enredo de los amores, usó del suicidio como ültimo medio de solución. Con la muerte voluntaria del enamorado quiso el autor elogiar la libertad del alma y la fuerza del amor. Aunque el no aceptaba el suicidio como recurso para escapar de las dificultades, porque era buen cristiano, lo admitía sólo cuando se trataba de la libertad del amor. Según nuestra iinterpretación, Cervantes no buscaba ninguna ambigüedad con la muerte de Grisóstomo, sino la contraposición marcada de caracteres en el episodio: Grisóstomo por un lado, Marcela y Don Quijote por el otro.

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