Publius Terence Afr. Brothers

25.02.2019

The old man Mikion does not have any children of his own, so he adopted Aeschines, the son of his brother Demea. Mikion brought up his adopted son in reasonable freedom and trust. For this ego reproached Demei.

In the evening, Mekion, worried, waits for her son. Tells himself no stronger than excitement than the parent...

The singer Bakhidou, is the concubine of Sannion, he is a greedy pimp and is afraid of Aeschines. Ctesiphon, son of Demea, falls in love with her.

Aeschines grew up smart and noble, but sometimes he also likes to have fun. Some of the sins of his brother, he takes upon himself without fear of ruining his reputation. This brotherly love is admirable.

Mikion has a devoted slave, Sir. He actively helped in the education of Aeschines and Ctesiphon. Sir, always ready to help his masters. Takes part in the "taming" of the pimp Sannion.

Aeschines has a girlfriend, Pamphila, whom he dishonored, and she is soon to give birth. The young man does not refuse his father's duty and is ready to take full responsibility. But the Pamphila family, having heard about the imaginary sins of Aeschines, which he took upon himself to cover for his brother, forbids coming to the bride's house.

Mikion wants to test his son's feelings. He talks about a fiance from Miletus who wants to take Pamphyla. The girl is already in her ninth month. And Aeschines is still pulling with marriage. Aeschines is upset by this news. The father reassures him and says that Pamfila's family was told that he took the sins of his brother, and they believed.

Demea understands that his brother, raising Aeschines with kindness and respect, achieved more than he did with strictness and prohibitions, and begins to change. Becomes more tolerant and kind even to slaves. Orders to demolish the fence between the houses to play a big wedding. And the bride would not have to, in her position, go from house to house.

Mikion ransoms Bakhida from a mercenary pimp and leaves her to live with him. Sir and his wife for all the merits, he gives freedom.

Comedy teaches that everything hidden usually becomes clear, and goodness and love can achieve a lot.

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The famous Roman playwright Publius Terentius (190-159 BC), nicknamed Afr (African), was from Carthage. In Rome, he ended up as a slave in the house of Senator Terentius Lucan. The owner drew attention to the gifted young man, gave him an education and set him free. Having become a freedman, Terentius retained his friendly relations, acquired in the owner's house, with Publius Cornelius Scipio, the future conqueror of Carthage and his friends: Gaius Lelius, Lucius Furius Phil (later consul in 136) and Spurius Mummius, brother of the future destroyer of Corinth Lucius Mummius. From the prologue to the play Adelphi, some scholars have even deduced the conclusion that Scipio and Lelius helped Terentius write comedies. The literary circle of Scipio, to which Publius Terentius Afr belonged, sought to reconcile the different strata of Roman society, preaching their mutual consent. The members of the circle thought to lay the spread of humane views at the basis of social peace. Similar ideas permeate the work of Terence. In the mouth of the old man Simon, the hero of the comedy "The Girl from Andros", this is the positive program of the young man's behavior (Simon speaks of his son):

“So he lived. He easily endured everyone, endured:
With whom he was together, he gave himself completely.
Adapted to their tastes, no one
In defiance, in front of no one else
Didn't stand out. It's easier to find
Friends and a good name without envy"
(Art. 61–66; translated by A. Artyushkov).

Comedy Terence

Publius Terentius Afr, both by origin and by education, was far from the folk Italian theater. He was close to the humanistic spirit of the neo-Attic comedy (Menander and Apollodorus). Terence wrote 6 comedies. All of them are remakes of comedies very close to the originals. Menander, the most elegant and modest of the Neo-Attic playwrights. Terence's language is pure and correct, its versification is good; the plan of the comedy is thought out and beautifully executed; women and family life depicted without vulgar antics; the form of the plays is artistic. But the characters of Terence are pale, comic element weak, political animation and strong passions No. Terentius Aphra's dialogue is calm, there is neither emotional excitement, nor brilliant wit, characteristic of another major Roman comedian - Plautus; there are no hints of Italian life, which Plautus sometimes allowed himself. Publius Terence did not have creative imagination, he took the entire content of his comedies entirely from Menander, but almost always composed one of his two plays. Terentius was not the favorite of the masses of the public, as was Plautus; twice he had to see with bitterness that the audience left his comedy to look at the gladiator fights and the performances of conjurers; but he was in vain offended by this: it was impossible to expect otherwise. Terence himself sought the approval of a few educated people, for which good plan, moral tone, instructive denouement of his plays were more attractive than the rough naturalness and immoral intrigues of Plautus's folk comedies.

Publius Terence Afr

Terence's comedies belong to the Roman palliata genre. Their names are: "Girl from Andros", "Punishing Himself", "Eunuch", "Formion", "Mother-in-Law", "Brothers". Terence developed a noble variant traditional masks palliates: his young people are modest and respectful of their fathers (“Mother-in-law”, “Brothers”), getters are humane and kind to their lovers (“Mother-in-law”, “Eunuch”), unlike the cruel and stingy old men of Plautus, the old men of Terence appear not only condescending to the actions of their sons, but even cruelly executing themselves for their harsh attitude towards children (“Punishing Himself”).

The traditional evil mother-in-law, one of the characteristic characters of the folk farce, turns out to be the embodiment of spiritual nobility and selflessness. So, in the comedy Mother-in-Law, Terence paints the image of the good Sostrata, who is ready to retire to the village with her husband so as not to be a burden to her daughter-in-law:

“What is convenient for you will go to my credit:
I decided to go with your father to the village,
My presence will not interfere, will not remain
An excuse not to return Filumena "
(Art. 586–589; translated by A. Artyushkov).

Terentius also uses the method of contamination, but (unlike Plautus) does it in such a way that the sequence of presentation, the integrity of the plot and the characters do not suffer. actors. There is no exposition in the prologues of Terence's comedies: his plays are not preceded by a retelling of the content, and the action is structured in such a way as to interest the viewer in the development of events on the stage. The prologues are dedicated literary controversy and close to Roman oratory 2nd century BC e. So, in the prologue to the play "Punishing Himself" Terence puts one of the burning questions for discussion by the audience:

“The old poet repeats out of malice,
That the author suddenly took up poetry.
Not hoping for your gift,
And relying on the talent of his friends.
But it's up to you to decide and evaluate
And I beg you all very much, therefore,
So that the speech of enemies means no more to you,
Than the voice of conscientious connoisseurs"
(Art. 24–31; translated by A. Artyushkov).

Terence's prologues reflected his views on the attitude to creative heritage literary predecessors (in response to the poet's accusations of insufficiently careful handling of Greek originals). The question is also raised about the significance of the aesthetic tastes of the public: successful staging Terence's play "The Mother-in-Law" was realized only for the third time, since the first time the audience ran over to the performance of rope dancers, and the second time the audience preferred gladiatorial games to her.

Terence Caesar called the language of comedies "pure speech". It is the language of the educated Romans, freed from archaic forms and striving for stylistic perfection. During the Middle Ages and the Renaissance, Terence's language was considered a model of classical Latin literary language.

In modern times, Terence's follower was Molière, who imitated "Formion" in "The Scams of Scapin" and "Brothers" in the "School of Husbands". Terence was considered his predecessor in the 18th century. theorists of the genre of "tearful comedy". He was very interested in the dramatic technique of Terence prominent representative German Enlightenment Lessing in his Hamburg Dramaturgy.

Summary comedies Terentia

Here is a summary of Terence's comedies in the order in which they were most likely staged.

Terence "The Girl from Andros" - a summary

"The Girl from Andros" (or "The Found Daughter") was given in 166 at the Megalesian Games. The Athenian Pamphilus, the son of Simon, acquired such good reputation that Khremes, a rich man, wants to give his daughter for him, to whom he appointed a large dowry and whose hand was refused young man Harina, also an Athenian. The wedding day has already been set; but Khremes learns that Pamphilus has a mistress, Glykeria, a native of the island of Andros, living in Athens in the house of a deceased hetaera, who was considered her sister. Chremes takes back his promise, much to the annoyance of Pamphilus' father, Simon. He quarrels with his son and orders to put in chains his slave Dav, whom he had previously trusted. Suddenly, a relative of the deceased hetaera arrives from Andros, and from conversations with him it turns out that Glyceria is the daughter of Khremes, who once suffered a shipwreck near Andros and abandoned the baby there. In joy that a daughter was found, whom he considered dead, Khremes agrees to give her to Pamfil, and gives her another daughter to Kharin, who loves her.

Terence "Mother-in-law" - a summary

In the comedy "Mother-in-law" (Hecyra), Terence depicts how the young man Pamphil loves a hetera, but at the request of his parents he leaves her and agrees to marry another girl. Hetera generously renounces all claims. He marries, but leaves without starting married life with his wife. During his trip, his wife gives birth to a child. Her father-in-law and mother-in-law (Pamfil's father and mother) rejoice at the birth of their grandson; but the young woman tells her mother that before she became the bride of Pamphilus, she was raped by a villain whom she does not know. Geter intervenes in the matter; thanks to her, it turns out that Pamphil himself was the father of the child; drunk, he raped a girl whose face he could not see. Terence ends the comedy with a general reconciliation.

Terence "Punishing Himself" - summary

In Terence's comedy Heautontimorumenos, Menedemos, a sixty-year-old man, is angry with his son Clinius for his love for Antiphila, the daughter of an unknown Corinthian. He showers him with such reproaches that he runs away from his father's house and leaves for Asia to serve as a mercenary. Old man Menedemos bitterly repents and decides to punish himself for the severity of his son, the hardest agricultural work and all sorts of hardships. After some time, Clinius returns and stays with a neighbor, Chremes, whose son Clitiphon is his friend. Clitiphon also has a mistress, whom his father does not allow him to marry. The cunning slave Sir deceives the old people with various intrigues. Finally, it is revealed that the beloved Klinia Antifila is the daughter of Khremes, abandoned in infancy. Delighted, Menedemos allows his son to marry her, and Clitiphon promises to improve.

Terence "Formion" - a summary

Terence "The Eunuch" - a summary

"The Eunuch" is a wonderful play in terms of the harmony of the plan and the delineation of the characters. In it, the boastful chief of the mercenaries is fooled; the noble, generous hetaera Taida frees the girl he bought from his hands and returns her to her brother; with the consent of her brother, she marries Kherey, who has crept into Taida's house, posing as a eunuch. Taida becomes the wife of her lover Phaedrius, brother of Kherei.

Terence "Brothers" - summary

"Brothers" (Adelphi) - the best of all the comedies of Terence. Her plan, its development, the characterization of faces - everything about her is excellent. The plot is full of unexpected twists and turns.

Terence was concerned about the problem of educating young people. He advocated a softening of the traditional Roman system of education, but at the same time he objected to the slavish adherence to models alien to Rome. The play "Brothers" is devoted to this problem. In this comedy, Terentius deviated from the Greek original (The Brothers by Menander), giving it his own ending. The summary of the "Brothers" is as follows: an Attic peasant, a zealous and hardworking owner of Demei, has two sons - Aeschines and Ctesiphon. Demea also has a single brother, Mikion, who lives in the city. Demea gives one of his sons (Aeschines) to be raised by Mikion. But the brothers have different views on the principles of education. Mikion is a supporter of a condescending upbringing, he allows Aeschines any liberties and expenses, requiring only one thing from him - to tell the truth without hiding any of his actions. Mikion's aspirations are aimed at awakening feelings in his pupil dignity. Demea, on the contrary, keeps his son Ctesiphon extremely strict, constantly watching him, not for a minute, as it seems to him, without leaving him unattended. Young people receive different upbringing. Story line The play develops based on the theme of love. Each of the young people is in love. Beloved Aeschines Pamfila from an impoverished family, she is already expecting a child, and Aeschines promised to marry her, but he still does not dare to tell his uncle about this. Ctesiphon is in love with a harpist. Helping his brother, Aeschines kidnaps a harpist from a pimp. Demea, having learned about all the misdeeds of Aeschines, reproaches his brother for connivance, saying that Ctesiphon, who lives with him in the village, is not capable of such tricks. But then it turns out that the abduction was committed just for Ctesiphon. Aeschines is going to marry his beloved Pamphila. It would seem that Demea lost and must admit that his education system is worse - he allows Aeschines to marry and does not interfere in Ctesiphon's relationship with the harpist. But Terence offers a new unexpected ending to the play. Demea suddenly decides to change his character, wanting to be kind to everyone. He persuades his brother Mikion to marry Pamphila's mother, a poor but honest woman, and to release the slave Cyrus, who helped in the kidnapping of the harpist, into the wild. Thus, Terence does not give preference to either principle of education.

Terence

Translation from Latin by A. V. Artyushkov

DIDASCALIA

Terence's comedy "Brothers" begins. Greek, Mevavdra. Presented at the funeral games in honor of Lucius Aemilius Paulus, (which) were given by Quintus Fabius Maximus and Publius Cornelius Scipio Africanus. Played by Lucius Ambivius Turpion. The melodies were composed by Flaccus, the slave of Claudius, throughout on Sarran flutes. Composed by the sixth, in the consulate of Mark Cornelius Cethegus and Lucius Anncius Gallus.

Gaia Sulpicia Apollinaria

Had Demeus two sons; he gave

Zshina Mikion, brother, sons,

Left Ctesiphon. The one in the harpist

Fell in love, and hid from his old father

His love is Aeschines; all the rumor about that love

He took it upon himself, in the end

He took away the harpist from the pimp. poor

He dishonored the citizen, giving a word

Marry her. It's hard to bear everything

10 And Demea is angry. Soon

The truth is revealed; Aeschines marries her,

And Ctesiphon owns that harpist.

Mikion, old man

Demea, his brother

Sannion, pimp

Aeschines, son of Demea, adopted by Mikion

Parmenon |

) Mikion's slaves

Ctesiphon, brother of Aeschines

Sostrata, mother of Pamphila, future wife Aeschines

Kantara, old woman, Sostrata's nurse

Geta, slave of Sostrata

Gegion, old man, relative of Sostrata

Pamphila, girl, daughter of Sostrata

Dromon, slave of Mikion

When the poet noticed that the envious

Watch with malice for his creation

B what opponents are ready to blaspheme

The comedy we want to play

He decided to testify about himself.

You will be judges over him,

He deserves praise or blame.

There is Difilova comedy,

Its title is "",

And in the alteration of Plautus "Death is joint."

In tone Greek comedy there is a young man

He takes the girl from the pimp

10 At the beginning of the play; this item intact

In the comedy "Adelphoe", moved in full

From word to word; this new

Comedy is being staged right now.

Having learned everything, judge what is here, whether theft

Or we only borrow one place,

Carelessly trimmed. What do they say

Envious people, that if people are noble

And share his writing work,

It seems to them that this is the strongest scolding,

For those people, he is, therefore, attractive,

Which are attractive to you all,

And to the whole city: after all, to their help

20 Whether in war, or in peace, or in any important matters,

Forgetting pride, everyone ran in his turn.

First, the old people will come out, they will tell the part,

The other part will be shown in action,

Let it increase your impartiality

The desire to work with the writer.

Act one

SunapoJnhskonteV

(speaking towards the house)

Old man! Hey listen! This night from dinner

Aeschines did not return, there are no those slaves,

who followed him. Yes, faithful

Proverb: when you leave home

Or, it happens, you will linger somewhere,

It is better for you to let it be fulfilled,

30 What will he say or think to himself

With annoyance at you, the wife is angry,

Than what gentle parents think.

Linger - the wife will decide: fell in love, they say,

Or fell in love with him. Drinks himself

He amuses. Good for him alone

And she's so bad. I'm here - the son did not return

Whatever I'm worried about! Whatever I change my mind!

Wouldn't catch a cold! Wouldn't fall anywhere

Don't break anything! Oh oh!

It will come to a person, right, in the head

Acquire what is yourself

It will become more expensive! And besides, he is not my son,

40 But my brother; and that according to inclination

He was different from me from his youth.

I city life loved the cozy

Leisure and what is considered happiness.

Was not married. He is the opposite in everything.

In the village he always lived in severe avarice,

Married, two sons were born; I am one of them

He adopted Aeschines, the eldest,

How he raised his own from infancy,

He loved and cherished, in him my joy is all.

One is precious to me. And so that he

He had the same attitude towards me.

50 I try carefully, I give him,

I make concessions and use the right

Paternal not in everything; and taught his son

Finally, so that he does not hide from me

Your actions, as others do

Secretly from the elders in the hobbies of youth.

Who is accustomed to lie and boldly on the father's deceit

He goes, the more boldly he will lead others.

Shame and a sense of honor make it much easier for us

To restrain children than by fear, I suppose.

But my brother does not agree with me on anything here.

60 He often shouts to me:

"Why are you, Mikion, ruining the little one for us?

Why does he drink, fall in love? Why are you on your own

Are you giving him money for all this?

It encourages panache! How ridiculous you are!"

And he is harsh to the point of injustice.

And very deluded, in my opinion,

And stronger, which only holds on to strength,

Than the one created by friendliness.

My own beliefs and rules:

Whoever fulfills his duty under duress, he

70 He is afraid as long as he is afraid,

So that they do not know; if it appears

He has hope that everything will be hidden,

He will return again to his old inclinations.

But the one whom you attract with kindness to yourself,

He pays the same, does everything from the heart:

Are you here, are you not, it will be the same.

A father's duty to teach children as soon as possible

Do everything not out of fear - good will.

The father and the despot differ in this.

And whoever can't, let him confess

That he does not know how to manage children at all.

A! He is what I was talking about now.

And indeed! He's too gloomy!

I'm sure, scolding, as always, will begin,

80 Demea, I am glad to see you healthy.

Demea, Mikion

Oh, by the way, I'm just looking for you.

Are you gloomy?

Here is the question! What about Aeschines?

I would ask. Gloomy...

Here! I knew it. And what

He did?

Did! No shame at all

He has no fear, and the law is his

Not written. Well, what has been done before,

Let's leave it. Here's what I did recently!

He broke the door and into someone else's house

He broke in, beat the owner himself

90 And the household to death and the mistress

He took his. Everyone shout: outrageous

Deed! On the way they told me

And how many! On everyone's lips. In the end,

If you take an example - he sees his brother behind the business

In the village, thrifty and modest!

Behind this - no, it doesn’t follow at all,

What do I say to him, Mikion, to you

I say: you let it go bad

There is nothing more unfair

Uneducated people: only then they

They think it's right to do what they do.

Why are you doing this?

And besides, Demea, that

100 You judge this quite wrong.

There is no scandal, believe me, for a young man

Walking, carousing and at least breaking doors.

After all, if we did not do this with you,

Poverty did not give us. What are you boasting about?

Yes, what he did only because of poverty!

Not fair! Why should we do so

We would do; and be yourself a man

Now would you let your son behave like that,

While it is more convenient in youth,

The later, in years less fit,

110 When, having waited, he will throw you out.

No, you drive me crazy!

Is there no scandal in such matters for the small?

Listen, so as not to repeat often about

You gave me your son to adopt,

He became mine, and if he sins in any way,

That's right in front of me. Most

Here I am crying. Walking, carousing, strangling

All at my expense. Falling in love? For now me

Convenient, money will be received from me,

And it will become uncomfortable, it may very well be,

They will show him the door. Did you break the doors?

120 will be corrected. Did you tear your dress? Will fix it.

Yes, thank God, there are funds for that

And still not a burden to me. So, therefore,

Leave, otherwise let the arbiter

Whatever you want - I'll prove you wrong

Much more here than me.

Trouble! Learn

Those fatherhood, who knows how to be a father.

Nature - you, in spirit I'm rather a father.

In spirit? You?

Don't go on or I'll leave.

Listen to the same thing so many times!

I care about this.

And me. Let's

130 We will share the care. Let that son to you

Me - this one. Take care of both

Conversely, it means to demand what is given.

So I guess.

Well! If so, let

Winds, spends, perishes! I don't care!

And if even a word after...

getting angry

Don't you believe? I don't require