Chapter 7
圆形表演场里的康茂德，以及他对格斗的执迷，见Cassius Dio 73, 17–22。古代传记经常提到皇帝在自己闲暇时喜欢做的事情，而我引用的内容，多半都可以在这些传记中找到。从苏埃托尼乌斯明确批评卡利古拉不会游泳（Caligula 54），可以看出时人对游泳抱持正面态度。西泽跨越卢比孔河的时候，讲的其实是希腊语（如Plutarch, Pompey 60），只是拉丁语版（Suetonius Julius Caesar 32）现在变成标准版本。「面包与马戏」出自Juvenal, Satire 10, 77–81。关于罗马的大场面与不同类型的娱乐活动，见Gladiators and Caesars: The Power of Spectacle in Ancient Rome, edited by Eckart K·hne and Cornelia Ewigleben (University of California Press, 2000); Kathleen Coleman, ‘Entertaining Rome’, in Ancient Rome: The Archaeology of the Eternal City, edited by John Coulston and Hazel Dodge (Oxbow, 2000), 210–58; David S. Potter, ‘Spectacle’, in A Companion to the Roman Empire, edited by Potter（见前〈第一章〉），385–408；以及Nicholas Purcell, ‘“Romans, play on!”: City of the Games’, in The Cambridge Companion to Ancient Rome, edited by Paul Erdkamp (Cambridge UP, 2013), 441–58有清楚的探讨。The Roman Games: Historical Sources in Translation, edited by Alison Futrell (Blackwell, 2006)搜集了关于圆形表演场与大战车竞技场的古代史料。Katherine Dunbabin, Theater and Spectacle in the Art of the Roman Empire (Cornell UP, 2016)聚焦于现存的视觉形象。
大竞技场与其中的表演，是我与Keith Hopkins合着的书The Colosseum (Profile, 2005)的重点，本书提到的大多数主题，都可以从前书继续跟进。不过，仍有诸多对于罗马圆形表演场的探讨颇有启发，像是Jerry Toner, The Day Commodus Killed a Rhino: Understanding the Roman Games (Johns Hopkins UP, 2014)，我从这里借来跟歌剧的比方；Garrett G. Fagan, The Lure of the Arena: Social Psychology and the Crowd at the Roman Games (Cambridge UP, 2011)；Jonathan Edmondson, ‘Dynamic Arenas: Gladiatorial Presentations in the City of Rome’ in Roman Theater and Society, edited by W. J. Slater (University of Michigan Press, 1996), 69–112。Katherine E. Welch, The Roman Amphitheatre: From Its Origins to the Colosseum (Cambridge UP, 2007)研究沙场的建筑形式。特定皇帝举办的比赛，以及他对沙场的态度，通常可以在苏埃托尼乌斯或Imperial History的相应传记中找到。以下稍作补充。奥古斯都在What I Did, 22提到一万名格斗士。Cassius Dio 68, 15提到图拉真办的活动杀了一万一千头动物，43, 22则提醒这些数字有夸大之嫌。马可．奥里略是在Jottings to Himself 6, 46表示暴力很「无聊」，对于血腥的反感则在Cassius Dio 72, 29。关于「溅污」的说法（语出某个元老），见James H. Oliver and Robert E. A. Palmer, ‘Minutes of an Act of the Roman Senate’, Hesperia 24 (1955), 320–49, esp. 340。「在自身的毁灭中担纲主角」是Toner, The Day Commodus Killed a Rhino 10的名言；「玩命表演」取自K. M. Coleman, ‘Fatal Charades: Roman Executions Staged as Mythological Enactments’, Journal of Roman Studies 80 (1990), 44–73这篇卓有创见的文章的标题。马尔提阿利对于大竞技场启用典礼中比赛的赞美，可见氏着小书On the Spectacles（恢复为公众使用见poem 2）。尤维纳勒对那位元老妻子的挖苦，见Satire 6, 82–113。Barbara Levick, ‘The Senatus Consultum from Larinum’, Journal of Roman Studies 73 (1983), 97–115探讨禁止上层社会人士出入沙场的规定。指控塞普提米乌斯．塞维鲁斯伪善，引自Cassius Dio 76, 8。
战车竞速是Fik Meijer, Chariot Racing in the Roman Empire ( Johns Hopkins University Press, 2010)一书的主题。罗马帝国各竞技场（包括大战车竞技场）的考古以及功能之研究，细节讨论见John Humphrey, Roman Circuses: Arenas for Chariot Racing (University of California Press, 1986)。Alan Cameron, Circus Factions: Blues and Greens at Rome and Byzantium (Oxford UP, 1976)是竞速及其参赛者的历史，从奥古斯都时期写到拜占庭帝国。竞速引起色欲的一面，John Henderson, ‘A Doo-Dah-Doo-Dah-Dey at the Races: Ovid Amores 3. 2 and the Personal Politics of the Circus Maximus’, Classical Antiquity 21 (2002), 41–65有深入探讨。
Wulf-Rheidt, ‘The Palace of the Roman Emperors on the Palatine in Rome’（见前〈第四章〉，13简短讨论到皇宫跟竞技场的关系。四世纪的年历是所谓的Chronography of 354，Michele Renee Salzman, ‘Structuring Time: Festivals, Holidays and the Calendar’, in The Cambridge Companion to Ancient Rome, edited by Erdkamp, 478–96曾讨论到。奥古斯都的新枕台在What I Did 19曾提到，Cooley, Res Gestae Divi Augusti（见前〈第一章〉），187–8可见讨论。Ovid, Art of Dating (Ars Amatoria), 136–62拿在竞技场猎艳开玩笑。普林尼的反对态度写在Letters 9, 6, Tertullian’s at On the Spectacles 16。Pliny, Speech of Praise 51夸奖了图拉真在竞技场的「平等」。Herodian, History 4, 7 and 11提到卡拉卡拉在外地赛车，Cassius Dio 73, 17提到康茂德在夜里驾驶战车。红队支持者的自杀，见Pliny, Natural History 7, 186，而闻马粪则见Galen, On the Method of Medicine 7, 6 (translated in Loeb Classical Library)。除了Suetonius, Caligula 55，Cassius Dio 59, 14也有提到卡利古拉多么溺爱「飙速」，74, 4提到康茂德的佩勒蒂那克斯，以及这个名字的预兆。哈德良在大竞技场里用传令，见Cassius Dio 69, 6。Josephus, Jewish Antiquities 19, 24直接提到皇帝面对民众要求时的立场。Cassius Dio 74, 12–13 and 73, 13提到对狄狄乌斯．尤利阿努斯与克烈安德的抗议（他明确在79, 20提到「人多就不怕」）。
Richard C. Beacham, The Roman Theatre and its Audience (Harvard UP, 1996)介绍了罗马各式各样的戏剧表演，相当实用。剧场建筑是Frank Sear, Roman Theatres: An Architectural Study (Oxford UP, 2006)的焦点。问梅内斯特人在哪里的问题，见Cassius Dio 60, 28。尼罗与舞台的问题，Catharine Edwards, ‘Beware of Imitations: Theatre and the Subversion of Imperial Identity’ in Reflections of Nero, edited by Elsner and Masters（见前〈第三章〉，83–97, Opper, Nero（见前〈第三章〉），158–73有充分介绍，Bartsch, Actors in the Audience（见前〈第一章〉），1–62有细致分析。Tacitus, Annals 15, 33–4提到剧场倒塌。Suetonius, Nero 38, Tacitus, Annals 15, 39与Cassius Dio 62, 18对于尼罗「失火而我琴照弹」的纪录稍有不同。尼罗的戏剧面具见Cassius Dio 62, 9。斐洛斯特拉图斯的深思，见氏着Life of Apollonius 5, 7。Suetonius, Nero 26, Tacitus, Annals 13, 25, Cassius Dio 61, 9对于尼罗与蒙塔努斯的冲突，记录的内容稍有不同；Bartsch, Actors in the Audience, 16–20讨论了这件事。
J. K Anderson, Hunting in the Ancient World (University of California Press, 1985)是对罗马与希腊狩猎行为的概述，比较新的研究有Steven L. Tuck, ‘The Origins of Imperial Hunting Imagery: Domitian and the Re-definition of Virtus under the Principate’, Greece and Rome 52 (2005), 221–45; Eleni Manolaraki, ‘Imperial and Rhetorical Hunting in Pliny’s Panegyricus’, Illinois Classical Studies 37 (2012), 175–98；以及Matthew B. Roller, ‘Dining and Hunting as Courtly Activities’, in The Roman Emperor and his Court, edited by Kelly and Hug（见前〈通论〉），vol. I, 318–48, esp. 336–48。君士坦丁凯旋门上的哈德良狩猎场景，讨论见Mary Taliaferro Boatwright, Hadrian and the City of Rome (Princeton UP, 1987), 190–202（她也提到来到哈德良猎城的「狩猎纪念币」），以及Opper, Hadrian（见前〈第四章〉），171–3。脚破皮的笑话见Varro, Menippean Satires fragments 293–6 (French translation by J.-P. Cèbe in his Varron Satires Ménippées, vol. 8)。普林尼打猎风格见Pliny, Letters 1, 6；马可．奥里略的风格见Letters to Marcus 4, 5 (translated by Richlin, Marcus Aurelius in Love（见前〈第五章〉），no. 38)。普林尼对图拉真与图密善打猎风格的比较，见Speech of Praise 81–82；好皇帝与坏皇帝的比较，见Dio Chrysostom, Discourse 3, 133–8。哈德良的诗〈献给厄洛斯〉（‘To Eros’）很难懂。Birley, Hadrian: The Restless Emperor（见前〈General’), 184–5有节译版；完整译本（与相关讨论）见Ewen Bowie, ‘Hadrian and Greek Poetry’ in Greek Romans and Roman Greeks: Studies in Cultural Interaction, edited by Erik Nis Ostenfeld et al. (Aarhus UP, 2002), 172–97 (esp. 180–1)。潘克拉提斯的诗文引自Athenaeus, Deipnosophistae (Sophists at Dinner) 15, 21，另外POxy 8, 1085 (= Loeb Classical Library, Select Papyri 3, no. 128)还有三十多行写在莎草纸上的诗。性欲的暗示，讨论见Vout, Power and Eroticism（见前〈第五章〉），59–60。哈德良以博吕斯瑟尼斯为题写的诗，可以在Loeb Classical Library, Minor Latin Poets vol. II, Hadrian no. 4找到。
＊ ＊ ＊
参观景点：大竞技场是罗马的热门观光胜地；从外面看非常震撼，可惜很难感受到内部的原貌。大战车竞技场的遗迹可以自由参访，场外的马尔克勒卢斯剧院也是。城里有个较小的剧场──巴尔布斯剧场（Theatre of Balbus），其遗迹（巴尔布斯地下结构〔Crypta Balbi〕）是对外开放的。哈德良打猎像如今仍然可以在大竞技场旁的君士坦丁凯旋门看到。
