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Terence biography. Publius terence afr

Terence biography. Publius terence afr

27.01.2019

Life

The best source for his biography is an ancient biography of him by Suetonius.

He lived between the 2nd and 3rd Punic Wars, was from Carthage and belonged to some African (or Libyan) tribe, as indicated by his nickname "Afr".

Once somehow in Rome, Terentius was a slave to the senator Terentius Lucan, who, noticing his outstanding abilities, gave him a thorough education, and then freedom.

Terence's talent opened him access to the highest circles of Roman society. The best part younger generation Roman aristocracy, well acquainted with the rich literature of the Greeks, then sought, under foreign influence, to ennoble both domestic speech and domestic customs.

At the center of this society was Scipio the Younger, next to whom stood his friend Lelius. Terence also joined this circle. Encouraged by his patrons, he decided to devote his energies to comedy.

Creation

According to the tastes of the time, Terentius was not original; he chose as a model for himself mainly the Greek comedian Menander, without translating him, however, literally, and borrowing entire scenes from other Greek writers, such as Apollodorus. In the art of composing his plays based on the works of two authors or on two works of the same author (the so-called contamination), Terentius achieved considerable skill, but this indicates, at the same time, the poet’s lack of his own ingenuity.

By virtue of a rare accident, all the works of Terentius have come down to us, there are only 6 of them:

"Girl from the island of Andros" (Andria),
" Mother-in-law"(Hecyra),
"Punishing himself" (or Self-torturer) ( Heautontimorumenos),
"Eunuch" (Eunuchus),
"Formion" (Phormio; the name of the pimp in the play);
"Brothers" (Adelphae).

These plays, listed in chronological order, were first staged on the Roman stage in the period from to BC. BC e. Biggest success had a play "The Eunuch", which was given twice on the same day and received prizes.

Quite coldly, on the contrary, the “Mother-in-Law” was accepted by the public. During the 1st and 2nd performances, the people preferred to leave the theater and watch rope dancers and gladiators. At present, the Brothers are recognized as the most sustained work of Terentius, both in the course of action and in the development of characters. The success of The Eunuch with the Roman public must be attributed to some juicy details of this play, the hero of which disguised himself as a eunuch and, in this capacity, was present at the bathing of his beloved. After the production of "The Brothers" in 160 BC. e. Terentius undertook a journey to Greece, from which he never returned: he died in 159 BC. e. , 25 or 35 years old.

The plays of Terentius, in accordance with the society in which the poet moved, are distinguished by a much greater purity and nobility of language than the comedies of Plautus. Terence's style was so refined that the poet's enemies spread the rumor that he was assisted in compiling comedies by Scipio and Lelius. Along with this, Terentius tries to avoid anything especially obscene in action. great attention, apparently, he drew on the development of characters actors, which in most cases are much more sustained than types Plautus.

There are no hints of Roman life in Terentius. This feature of his comedies most contributed to the vitality of his works almost to 19th century. Terence's plays could mostly appeal to a select audience, not to the masses. We read their praises in ancient world from authors such as Caesar and Cicero. A close acquaintance with Terentius is found by Horace, Persius and Tacitus. Even in ancient times, the comedies of Terentius found their way into schools and became the property of learned grammarians, who wrote various interpretations of them.

Subsequent tradition

There are a lot of Terence's manuscripts that have come down to us. All of them, with the exception of the main source for restoring the text - the Bemba Codex (5th century; named after the former owner, Cardinal Bembo, now in the Vatican), - date back to the review of the grammarian of the 3rd century. n. e. Calliope. Some of the manuscripts (Paris, Vatican, Milan) are provided with curious drawings.

Even in ancient times, the comedies of Terentius found their way into schools and became the property of learned grammarians, who wrote various interpretations of them. The most valuable among them are the comments of the scientist of the 4th century. n. e. Donat, whose work contains very interesting instructions to the actors.

Interest in Terentius did not stop even in the Middle Ages: in the 9th century, Alcuin read his comedies at the court feasts of Charlemagne; in the 10th century, the nun Hrothsvita fought against the plays of Terentius as a source of all kinds of temptations. In the era of the Reformation, Erasmus zealously recommends Terence for his language, and Melanchthon for the development of characters. In France, Terence influenced Molière, especially his plays Le dépit amoureux, L'école des maris and Les fourberies de Scapin. In the UK, many translations of Terentius were made by J. Colmen.

The most complete critical review of Terence's text in the 19th century belongs to Umpfenbach'y (B., 1870); then the editions of Fabia (P., 1895), Fleckeisen'a (Lpts., 1898, 2nd ed.), Dziatzko (Lpts., 1884) deserve attention. Foreign literature about Terence before late XIX century is indicated in the book of Schantz “Geschichte der röm. Litteratur" (part 1, Munich, 1898).

A cycle of large-format paintings illustrating the play "Andria" was painted by the Danish artist Nicolai Abildgaard.

Editions

A complete translation of all comedies (by A. Khvostov, M. Golovina and others) was published in St. Petersburg. in 1773 - 74:

The comedies of Publius Terentius Africanus, translated from Latin into Russian language. With the addition of the original. T. 1-3. SPb, -. (the same in 2 vols. St. Petersburg, 1773-1774)
- T. 1. Andrianka. / Per. A. Khvostova. Eunuch, or Skopets. / Per. M. Golovina. 1773. 444 pages.
- T. 2. Eavton-timorumenos, or Man Punishing Himself. / Per. F. Richmann. Adelphi, or Brothers. / Per. K. Florinsky. 1774. 424 pages.
- T. 3. Ekira, or mother-in-law. / Per. F. Moiseenkova. Formion. / Per. F. Sinsky. 1774. 380 pages.

Gawton timorumenos. (Punisher of himself.) Comedy Publius Terence the African. / Per. A. Rezoali. Kyiv, 1862. 62 p.
Brothers. Comedy P. Terence. / Per. M. P[etrov]sky. Kazan, 1873. 87 p.
"Andria" translated by D. Podgursky (Kyiv, 1874; print from "Proceedings of the Kiev Spiritual Academician" for 1873),
Punishing himself. Comedy P. Terence. / Introduction, comm. and Russian per. A. K. Dellena. Kharkov, 1879. 379 pages.
P. Terence. Andrianka. / Per. V. Alekseeva. St. Petersburg, 1896. 69 p.
A migrant from the island of Andros. Comedy P. Terence. / Per. S. Nikolaev. St. Petersburg, 1893. 85 p.
Brothers. Comedy Terence. / Per. P. N. Chernyaeva. Rostov-on-Don, 1917. 94 p.

In the 1930s, all of Terence's comedies were translated into Russian by A. V. Artyushkov (published by the Academia publishing house).

Terence. Comedy. / Per. A. V. Artyushkov, ed. and with comm. M. M. Pokrovsky, entry. Art. P. Preobrazhensky. (Series "Antique literature) M.-L.: Academia. . 643 pages. 5300 copies.
- reissue: (Series "Library ancient literature. Rome"). M., artist. lit. 1985. 576 pages.
- republished: (Series "Antique Dramaturgy"). M., Art. 1988. 480 pages.
- republished: (Series "Library of ancient literature"). Kharkov, "Folio", 2001. 605 pages.
Adelphi. Latin text, trans. A. V. Artyushkova, introduced. and comm. S. I. Sobolevsky. M., Publishing House of the Academy of Sciences of the USSR. 1954. 463 pages, 4000 copies.

Notes

Research

Zotov, "Analysis of comedies T." ("Repertoire" for 1845).
The language of Tajik was studied by K. Tress (see his works in the Zhurn. Min. Nar. Pr., 1877, and in the Warsaw Univ. Izv., 1880).
V. I. Modestov, "Lectures on the history of Roman literature" (St. Petersburg, 1888);
Chernyaev P. N. Observations on Terentius and his interpreter Donatus. Warsaw, 1910. 143 pages.
Chernyaev P. N. Life and manners based on Terence's comedies. Warsaw, 1912. 464 pages.
Savelyeva L. I. artistic method P. Terence Afra. Kazan, Kazan Publishing House. university 1960. 208 pages, 500 copies.
Yarkho V. Dramaturgy of Terence: Lessons of Humanity // Terence. Comedy. M., " Fiction", 1985

Wikimedia Foundation. 2010 .

Terentius Publius, Roman playwright. Born in Carthage, moved to Rome in his youth. Using the plots and masks of the new Attic comedy, in 166-160. BC e. wrote (or rather, revised) the plays of Menander and Apollonius of Athens "The Girl from Andros", "The Self-Tormentor", "The Eunuch", "Brothers", "Formion" and "Mother-in-Law". The main creative principles of Terence are the refusal to mix Greek and Roman features and the rough comic inherent in the dramaturgy of Plautus, seriousness and consistency, strict selection stage facilities and sequence of actions. The plays of Terence had a strong influence on all subsequent dramaturgy. ancient rome(first of all - on the so-called "togatu" - a comedy, especially common in the middle of the 2nd century BC), as well as later. In particular, researchers note the influence of Terence on Molière's dramaturgy; A. N. Ostrovsky translated the play “Mother-in-Law” into Russian, and in this form it was included in the repertoire of Russian theaters for quite a long time.

Life

The best source for his biography is an ancient biography of him by Suetonius.

He lived between the 2nd and 3rd Punic Wars, was from Carthage and belonged to some African (or Libyan) tribe, as indicated by his nickname "Afr".

Once somehow in Rome, Terentius was a slave to the senator Terentius Lucan, who, noticing his outstanding abilities, gave him a thorough education, and then freedom.

Terence's talent opened him access to the highest circles of Roman society. The best part of the younger generation of the Roman aristocracy, well acquainted with the rich literature of the Greeks, then, under foreign influence, strove to ennoble both native speech and native customs.

At the center of this society was Scipio the Younger, next to whom stood his friend Lelius. Terence also joined this circle. Encouraged by his patrons, he decided to devote his energies to comedy.

Creation

According to the tastes of the time, Terentius was not original; He chose as a model for himself mainly the Greek comedian Menander, without translating him, however, literally, and borrowing entire scenes from other Greek writers, for example, from Apollodorus. In the art of composing his plays based on the works of two authors or on two works of the same author (the so-called contamination), Terentius achieved considerable skill, but this indicates, at the same time, the poet’s lack of his own ingenuity.

By virtue of a rare accident, all the works of Terentius have come down to us, there are only 6 of them:

"Girl from the island of Andros" (Andria),

"Mother-in-law" (Hecyra),

"Punishing himself" (or Self-torturer) (Heautontimorumenos),

"Eunuch" (Eunuchus),

"Formion" (Phormio; the name of the pimp in the play);

"Brothers" (Adelphae).

These plays, listed in chronological order, were first staged on the Roman stage between 166 and 160 AD. BC e. The greatest success was the play "The Eunuch", which was given twice on the same day and received awards.

Quite coldly, on the contrary, the “Mother-in-Law” was accepted by the public. During the 1st and 2nd performances, the people preferred to leave the theater and watch rope dancers and gladiators. At present, the Brothers are recognized as the most sustained work of Terentius, both in the course of action and in the development of characters. The success of The Eunuch with the Roman public must be explained by some of the piquant details of this play, the hero of which disguised himself as a eunuch and, in this capacity, was present at the bathing of his beloved. After the production of "The Brothers" in 160 BC. e. Terentius undertook a journey to Greece, from which he never returned: he died in 159 BC. e., 25 or 35 years old.

The plays of Terentius, in accordance with the society in which the poet moved, are distinguished by a much greater purity and nobility of language than the comedies of Plautus. Terence's style was so refined that the poet's enemies spread the rumor that he was assisted in compiling comedies by Scipio and Lelius. Along with this, Terentius tries to avoid anything especially obscene in action. He apparently paid much attention to the development of the characters of the characters, which in most cases are much more restrained than the types of Plautus.

There are no hints of Roman life in Terentius. This feature of his comedies most contributed to the vitality of his works until almost the 19th century. Terence's plays could mostly appeal to a select audience, not to the masses. We read praise for them in the ancient world from such authors as Caesar and Cicero. A close acquaintance with Terence is found by Horace, Persius and Tacitus. Even in ancient times, the comedies of Terentius found their way into schools and became the property of learned grammarians, who wrote various interpretations of them.

(c. 195 - 159 BC)

en.wikipedia.org

Biography

Life

The best source for his biography is an ancient biography of him by Suetonius.

He lived between the 2nd and 3rd Punic Wars, was from Carthage and belonged to some African (or Libyan) tribe, as indicated by his nickname Afer.

Once somehow in Rome, Terentius was a slave to the senator Terentius Lucan, who, noticing his outstanding abilities, gave him a thorough education, and then freedom.

At the center of this society was Scipio Africanus, next to whom stood his friend Lelius. Terence also joined this circle. Encouraged by his patrons, he decided to devote his energies to comedy.

Creation

According to the tastes of the time, Terentius was not original; as a model for himself, he chose mainly the Greek comedian Menander, without translating him, however, literally and borrowing entire scenes from other Greek writers, such as Apollodorus. In the art of composing his plays based on the works of two authors or on two works of the same author (the so-called contamination), Terentius achieved considerable skill, but this indicates, at the same time, the poet’s lack of his own ingenuity.

Quite coldly, on the contrary, the “Mother-in-Law” was accepted by the public. During the 1st and 2nd performances, the people preferred to leave the theater and watch rope dancers and gladiators. At present, the Brothers are recognized as the most sustained work of Terentius, both in the course of action and in the development of characters. The success of The Eunuch with the Roman public must be explained by some of the piquant details of this play, the hero of which disguised himself as a eunuch and, in this capacity, was present at the bathing of his beloved. After the production of "The Brothers" in 160 BC. e. Terentius undertook a journey to Greece, from which he never returned: he died in 159 BC. e., 25 or 35 years old.

The plays of Terentius, in accordance with the society in which the poet moved, are distinguished by a much greater purity and nobility of language than the comedies of Plautus. Terence's style was so refined that the poet's enemies spread the rumor that he was assisted in compiling comedies by Scipio and Lelius. Along with this, Terentius tries to avoid anything especially obscene in action. He apparently paid much attention to the development of the characters of the characters, which in most cases are much more restrained than the types of Plautus.

Subsequent tradition

Interest in Terentius did not stop even in the Middle Ages: in the 9th century, Alcuin read his comedies at the court feasts of Charlemagne; in the 10th century, the nun Hrothsvita fought against the plays of Terentius as a source of all kinds of temptations. In the era of the Reformation, Erasmus zealously recommends Terence for his language, and Melanchthon for the development of characters. In France, Terence influenced Molière, especially his plays Le depit amoureux, L "ecole des maris" and "Les fourberies de Scapin." In the UK, many translations of Terence were made by J. Colman.

The most complete critical review of Terence's text in the 19th century belongs to Umpfenbach'y (B., 1870); then the editions of Fabia (P., 1895), Fleckeisen'a (Lpts., 1898, 2nd ed.), Dziatzko (Lpts., 1884) deserve attention. Foreign literature about Terence until the end of the 19th century is indicated in Schantz's book Geschichte der rom. Litteratur" (part 1, Munich, 1898).

A cycle of large format paintings illustrating the play "Andria" was painted by the Danish artist Nikolai Abildgaard.

Terence in Russia

In Russia, Feofan Prokopovich, while teaching a course in piitika at the Kyiv Academy, taught "Russian Misters Moliere": "who wants to write a comedy, let him imitate Terence."

Two plays by T. were published with Russian notes: "Heautontimorumenos" - by Dellen (Kharkov, 1879, reprint from "West. Kharkov. Univ." for 1878-79) and "Eunuchus" - by Vogel (Nezhin, 1884; reprint from " Izvest. Nezh. inst. ", vols. IX and X).
Cm.
VI Modestov, "Lectures on the history of Roman literature" (St. Petersburg, 1888);
Zotov, "Analysis of comedies by T." ("Repertoire" for 1845).
The language of Tajik was studied by K. Tress (for his works, see the Journal of the Ministry of People's Pr., 1877, and the Warsaw Univ. Izv., 1880).
Chernyaev P.N. Life and manners based on Terence's comedy. Warsaw, 1912.
Savelyeva L. I. Artistic method of P. Terence Afra. Kazan, 1960.

Editions

Translations of T.'s comedies into Russian: "Andria" by D. Podgursky (Kiev, 1874; print from "Proceedings of the Kiev Spiritual Academician" for 1873), V. Alekseev (St. Petersburg, 1896, in the "Cheap Suvorin Library" "), S. Nikolaev in ("Pantheon of Literature" for 1893 and the department of Voronezh, 1897), "Geavtontimorumenos" A. Rezoali (Kiev, 1862), "Brothers" M. P. P (etrovsky) (in "Zap. Kaz. Univ.", 1873, No. 2-3).

A complete translation of all comedies (by A. Khvostov, M. Golovina and others) was published in St. Petersburg. in 1773 - 74. In the 1930s, A. V. Artyushkov translated all Terence's comedies into Russian (published by the Academia publishing house).

Comedies by Publius Terentius the African, translated from Latin into Russian with the addition of the original. T.1-3. St. Petersburg, 1773.

Terence. Comedy. / Per. A. V. Artyushkova. M.-L., 1934. Reissues: M., Khudozh. lit. 1985. 576 pp. and others

Biography

Publius Terence Afr

Publius Terentius Afr (195-159 BC) created more serious palliata. This writer was neither Roman nor Italian. His nickname (cognomen) Afr, as it were, means that the comedian is from Africa, but it is not clear what origin he is: Libyan, Punian, or maybe Greek. The name Terence indicates that he was a slave (according to Roman custom, freed slaves received the name of the master's clan), but we do not know how or when he got to Rome. The writer died young. The opinion that he died by drowning on a ship is the most popular, but it is also not accepted by everyone, since in the 4th century. n. e. the grammarian Donat, who wrote a biography of Terentius and comments on his comedies, offers several versions (Don. Vita, 5). What is clear is that the writer left for Greece or even further and never returned to Rome. He created 6 comedies that have survived to this day. These are: "Andrianka" ("Girl from Andros"), "Brothers", "Formion", "Mother-in-law", "Punishing Himself", "Eunuch".

The plays of Terentius differ from the plays of Plautus in that they almost lack the carnival gaiety of the Saturnalia, foul language or vilification, Roman vigor and pressure. Terence varies the universal and eternal humanistic ideas of Menander. The motto of the comedian can be considered the expression: "I am a man, and I believe that nothing human is alien to me" (Heaut. 77). He is ready to help realize the vices, he is determined to correct society. He is guided by the principle of fabula docet ("fable teaches"), he is more concerned about the psychological situation, and not intrigue, human characters, not laughter. Comedy characters most often love and respect each other, conflicts arise only because of misunderstandings or ignorance.

In the comedy "Brothers" Terence raises questions of relationships different generations, education and in general human communication. At the beginning of the first act, Mikion outlines the background of the comedy. Being rich and unmarried, he adopted a nephew. The other son is being raised by his brother. They don't get along when it comes to education. The brother "considers that power is more authoritative / And stronger, which only rests on strength, / Than that which is created by friendliness" (66-68). Mikion is sure that children should be indulgent and friendly. In dialogues with his brother Demeya, he appears to be a complete liberal, although in private he admits to himself that the ugly actions of his pupil do not like him either. Later it becomes clear that not a single brother raised a perfect, blameless person. Brought up in strictness, Ctesiphon falls in love with a hetera, and Aeschines, spoiled by indulgence, seduces the neighbors' daughter. True, they are not completely spoiled people. Ctesiphon, who flashed in passing in the play, turns out to be sincere and conscientious, only a young man struck by the evil arrow of Cupid. Aeschines nobly accepted the disgrace of the kidnapping of the citharist and vowed to marry his girlfriend, but did not dare to open up to his father. Because of this selfish fear, he has to listen to a sermon on humanism:
Offended the girl: did you have the right to do this?
Yes, a great, great misdeed, yet human;
People and good people, it happened, did the same.
But, if it happened, then what were you waiting for?
What did you watch? What's next? How will it go? ashamed of me
All to say? But then how could I know? That's for now
You hesitated, nine whole months have already passed!
He betrayed himself, and his son, and her unfortunate.
(Adelph. 686-693).

At the end of the comedy, the stern Demea is corrected, but Terence shows that Mikion is not always right either. In his comedies, there are no completely negative or perfect heroes at all.

Occasionally, Terence also attracts elements of buffoonery. Such ridiculous fun is full of the scene of the fight organized by Aeschines with the pimp. However, there are few such scenes. The comedian is more likely to amuse the audience with misunderstandings that have arisen due to ignorance (Demea does not know that Ctesiphon is fascinated by the citharist, most of the characters do not know that Aeschines stole the citharist for his brother, Aeschines does not know that Mikion is preparing his wedding, etc.), parody (Sir aptly parodies Demea's pedagogy), etc.

There is less Roman spirit in the comedies of Terentius than in the plays of Plautus. They were better understood and appreciated educated people. Reviews of the work of Terentius have been preserved in the verses of two famous Romans who lived later, Cicero and Caesar (Don. Vita, 7). Both of them consider Terence an excellent translator of Menander's comedies, both admire his correct, pure, beautiful language. This shows that the Romans valued Terentius for quite different things than the new times. We like Terence's call to love others, to help them, to sympathize, his tactful instruction to abandon vices. The comedies of Menander and other Hellenistic authors did not reach us, but the Romans read them, the ideas and content of the plays were known to them, Terentius did not say anything particularly new.

Therefore, it is more important for Cicero and Caesar to note that Terence began the formation of a literary Latin. The protagonists of Plautus' comedies spoke juicy, rich, but deranged vernacular, and Terentius, according to Cicero, writes in "selective language" - lecto sermone (Don. Vita 7, 13). Caesar, calling him a lover of pure language - puri sermonis amator (Don. Vita 7, 9), regrets that the writer lacks strong comedy.

Thanks to the clean beautiful language, Terence was read in schools, and many expressions from his plays, remembered by readers, became maxims. For example: "how many people, so many opinions" - quot homines, tot sententiae (Phorm. 454); "lovers' quarrels renew love" - amantium irae amoris integratiost" (Andr. 555); "everyone has his own character" - suus cuique mos (Phorm. 454); "old age itself is a disease" - senectus ipsa est morbus (Phorm. 575) "I am a man, and I believe that nothing human is alien to me" - homo sum: humani nihil a me alienum puto (Heaut. 77), etc.

Like Plautus, Terentius did not translate Menander or other authors verbatim. From parts of their various comedies, he wove his own fabric, the various threads of which we would not have noticed if we did not have the surviving commentary of Donat. Although new comedy had more influence on Terence than on Plautus, it is not easy to see symmetry in his plays. The commentator Donath twice emphasizes that it is difficult to divide them into five acts (Don. Euanth. III, 8; Andr. Praef. II 3). Modern researchers of Terence's comedies fully agree with him. However, they emphasize that even without a symmetrical construction, Terence's comedy is carefully thought out: it fully reveals the unfolding action and theme.

The prologues of Terence's comedies are especially original and interesting. They are not written off or translated, the writer created them himself. Terence's prologues are reminiscent of the parabases of Aristophanes' comedies, which were not connected with the content of the play: in them, the writer, on his own behalf, explained the phenomena of political or political interest that interested him. cultural life. In the prologues, Terence speaks about the evaluation of his work, argues with critics. In the prologue of the comedy "Brothers" he explains which plays of the authors of the New Comedy he used, mentions the rumors that spread in Rome that he was not the author of his comedies, that they were written by Scipio or Lelius, who, not daring to admit it (at that time, work writer in Rome was not yet respected), hide behind the name of a poet of low origin. Terence neither denies nor confirms this. Calling the peddlers of rumors spiteful critics, he asks for the favor of fair spectators, which gives the poet strength and determination to write.

In the comedy "Mother-in-Law" there are even two prologues. This play was staged three times, and only in last time she managed to play. We do not have a prologue of the first attempt. When the comedy was staged a second time, Terence complained in a short prologue that the audience had not gathered the last time, because at the same time a performance of rope acrobats was going on. The second prologue mentions the first failure and talks about the failed second attempt: at first they liked the play, but when the rumor spread about the gladiator fights that took place nearby, the audience fled. Now, for the third time, the writer asks the audience for indulgence and goodwill.

The laughter of ancient comedy through the plays of Plautus and Terence, dressed in a Greek cloak, came to the dramaturgy of modern times. Following Plautus' Menechmas, Shakespeare created The Comedy of Errors, Molière, under the influence of Plautus's Amphitryon, wrote his own play with the same name, and Terence's comedy Formion became the prototype of his Tricks of Scapin. From ancient comedies doubles, disguises and other elements came to the works of European writers. Cunning slaves became resourceful servants and maids, boastful warrior- the captain of the commedia dell'arte, and strict old men and sobbing young men in love only threw off the Greek cloak and put on a dress in the fashion of the new time. The influence of Plautus and Terentius on modern times was best expressed by La Fontaine, who wrote this epitaph to Molière:
Plautus and Terentius rest in this grave,
Although in fact you will find Molière here.
Three talents made one soul
And France was laughed together.

In the comedy "Brothers" Terence raises questions of the relationship between different generations, education and human communication in general. At the beginning of the first act, Mikion outlines the background of the comedy. Being rich and unmarried, he adopted a nephew. The other son is being raised by his brother. They don't get along when it comes to education. The brother "considers that power is more authoritative / And stronger, which only rests on strength, / Than that which is created by friendliness" (66-68). Mikion is sure that children should be indulgent and friendly. In dialogues with his brother Demeya, he appears to be a complete liberal, although in private he admits to himself that the ugly actions of his pupil do not like him either. Later it becomes clear that not a single brother raised a perfect, blameless person. Brought up in strictness, Ctesiphon falls in love with a hetera, and Aeschines, spoiled by indulgence, seduces the neighbors' daughter. True, they are not completely spoiled people. Ctesiphon, who flashed in passing in the play, turns out to be sincere and conscientious, only a young man struck by the evil arrow of Cupid. Aeschines nobly accepted the disgrace of the kidnapping of the citharist and vowed to marry his girlfriend, but did not dare to open up to his father. Because of this selfish fear, he has to listen to a sermon on humanism:

Offended the girl: did you have the right to do this?

Yes, a great, great misdeed, yet human;

People and good people, it happened, did the same.

But, if it happened, then what were you waiting for?

All to say? But then how could I know? That's for now

You hesitated, nine whole months have already passed!

He betrayed himself, and his son, and her unfortunate.

(Adelph. 686-693).

At the end of the comedy, the stern Demea is corrected, but Terence shows that Mikion is not always right either. In his comedies, there are no completely negative or perfect heroes at all.

There is less Roman spirit in the comedies of Terentius than in the plays of Plautus. They were better understood and appreciated by educated people. Reviews of the work of Terentius have been preserved in the verses of two famous Romans who lived later, Cicero and Caesar (Don. Vita, 7). Both of them consider Terence an excellent translator of Menander's comedies, both admire his correct, pure, beautiful language. This shows that the Romans valued Terentius for quite different things than the new times. We like Terence's call to love others, to help them, to sympathize, his tactful instruction to abandon vices. The comedies of Menander and other Hellenistic authors did not reach us, but the Romans read them, the ideas and content of the plays were known to them, Terentius did not say anything particularly new.

Therefore, it is more important for Cicero and Caesar to note that Terentius began the formation of the literary Latin language. The protagonists of Plautus' comedies spoke rich, rich, but irregular folk language, and Terentius, according to Cicero, writes in "selective language" - lecto sermone (Don. Vita 7, 13). Caesar, calling him a lover of pure language - puri sermonis amator (Don. Vita 7, 9), regrets that the writer lacks strong comedy.

Thanks to his pure, beautiful language, Terence was read in schools, and many expressions from his plays, remembered by readers, became maxims. For example: "how many people, so many opinions" - quot homines, tot sententiae (Phorm. 454); "lovers' quarrels renew love" - amantium irae amoris integratiost" (Andr. 555); "everyone has his own character" - suus cuique mos (Phorm. 454); "old age itself is a disease" - senectus ipsa est morbus (Phorm. 575) "I am a man, and I believe that nothing human is alien to me" - homo sum: humani nihil a me alienum puto (Heaut. 77), etc.

Like Plautus, Terentius did not translate Menander or other authors verbatim. From parts of their various comedies, he wove his own fabric, the various threads of which we would not have noticed if we did not have the surviving commentary of Donat. Although the New Comedy influenced Terence more than Plautus, it is not easy to see symmetry in his plays. The commentator Donath twice emphasizes that it is difficult to divide them into five acts (Don. Euanth. III, 8; Andr. Praef. II 3). Modern researchers of Terence's comedies fully agree with him. However, they emphasize that even without a symmetrical construction, Terence's comedy is carefully thought out: it fully reveals the unfolding action and theme.

The prologues of Terence's comedies are especially original and interesting. They are not written off or translated, the writer created them himself. Terence's prologues resemble the parabases of Aristophanes' comedies, which were not connected with the content of the play: in them the writer, on his own behalf, explained the phenomena of political or cultural life that interested him. In the prologues, Terence speaks about the evaluation of his work, argues with critics. In the prologue of the comedy "Brothers" he explains which plays of the authors of the New Comedy he used, mentions the rumors that spread in Rome that he was not the author of his comedies, that they were written by Scipio or Lelius, who, not daring to admit it (at that time, work writer in Rome was not yet respected), hide behind the name of a poet of low origin. Terence neither denies nor confirms this. Calling the peddlers of rumors spiteful critics, he asks for the favor of fair spectators, which gives the poet strength and determination to write.

In the comedy "Mother-in-Law" there are even two prologues. This play was staged three times, and only the last time it was able to be played. We do not have a prologue of the first attempt. When the comedy was staged a second time, Terence complained in a short prologue that the audience had not gathered the last time, because at the same time a performance of rope acrobats was going on. The second prologue mentions the first failure and talks about the failed second attempt: at first they liked the play, but when the rumor spread about the gladiator fights that took place nearby, the audience fled. Now, for the third time, the writer asks the audience for indulgence and goodwill.

The laughter of ancient comedy through the plays of Plautus and Terence, dressed in a Greek cloak, came to the dramaturgy of modern times. Following Plautus' Menechmas, Shakespeare created The Comedy of Errors, Molière, under the influence of Plautus's Amphitryon, wrote his own play with the same name, and Terence's comedy Formion became the prototype of his Tricks of Scapin. From ancient comedies, doubles, disguises and other elements came to the works of European writers. Cunning slaves became resourceful servants and maids, a boastful warrior became the captain of the commedia dell'arte, and strict old men and sobbing young men in love only threw off the Greek cloak and put on a dress in the fashion of the new time. The influence of Plautus and Terentius on modern times was best expressed by La Fontaine, who wrote this epitaph to Molière:

Plautus and Terentius rest in this grave,

Although in fact you will find Molière here.

Three talents made one soul

And France was laughed together.

Bibliography

1. Braun L. Die Cantica des Plautus. Göttingen, 1970.

2. Brozek M. Terencijusz i jego komedie. Wroclaw, 1960.

3. Büchner K. Das Theater des Terenz. Stuttgart, 1974.

4. Duckworth G. The Nature of Roman Comedy. Princeton, 1952.

5. Dunkin P. Sch. Post-Aristophanic Comedy. Illinois, 1946.

6 Fraenkel E. Plautisches in Plautus. Berlin, 1931.

7. Haecker E. Zum Aufbau plautinischer Cantica. Berlin, 1936.

8. Jachmann G. Plautinisches und Attisches. Berlin, 1931.

9. Lefèvre E. Die Expositionstechnik in der Komödien des Terenz. Darmstadt, 1969.

10. Lefevre E. Plautus barbarus. Tübingen, 1991.

11. Leo F. Plautinische Forschungen. Berlin, 1912.

12. Leo F. Geschichte der römischer Literatur. Berlin, 1913.

13. Maurach G. Untersuchungen zum Aufbau plautinischen Lieder. Göttingen, 1964.

14. Norwood G. Plautus and Terence. New York, 1932.

15. Primmer A. Handlungsgliederung in Nea und Palliata. Vienna, 1984.

16. Przychocki G. Plautus. Krakow, 1925.

17. Segal E. Roman Laughter: The Comedy of Plautus. Cambridge, 1968.

18. Spranger F. Historische Untersuchungen zu den Sklavenfiguren des Plautus und Terenz. Mainz, 1960.

19. Skutsch F. Plautinisches und Romanisches. Darmstadt, 1970.

20. Sudhaus S. Der Aufbau der plautinischen Cantica. Leipzig and Berlin, 1909.

21. Talladoire B. A. Essai sur le comique de Plaute. Monaco, 1965.

22. Zagagi N. Tradition and Originality in Plautus. Göttingen, 1980.

23. Zwierleine O. Zur Kritik und Exagese des Plautus. Stuttgart, 1990-1991, I-III.

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Publius Terence Afr

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The plays of Terentius, in accordance with the society in which the poet moved, are distinguished by a much greater purity and nobility of language than the comedies of Plautus. Terence's style was so refined that the poet's enemies spread the rumor that he was assisted in compiling comedies by Scipio and Lelius. Along with this, Terentius tries to avoid anything especially obscene in action. He apparently paid much attention to the development of the characters of the characters, which in most cases are much more restrained than types Plautus.

There are no hints of Roman life in Terentius. This feature of his comedies most contributed to the vitality of his works until almost the 19th century. Terence's plays could mostly appeal to a select audience, not to the masses. We read praise for them in the ancient world from such authors as Caesar and Cicero. A close acquaintance with Terentius is found by Horace, Persius and Tacitus. Even in ancient times, the comedies of Terentius found their way into schools and became the property of learned grammarians, who wrote various interpretations of them.

Subsequent tradition

The most complete critical review of Terence's text in the 19th century belongs to Umpfenbach'y (B., 1870); then the editions of Fabia (P., 1895), Fleckeisen'a (Lpts., 1898, 2nd ed.), Dziatzko (Lpts., 1884) deserve attention. Foreign literature about Terence until the end of the 19th century is indicated in Schantz's book Geschichte der röm. Litteratur" (part 1, Munich, 1898).

A cycle of large-format paintings illustrating the play "Andria" was painted by the Danish artist Nikolai Abildgor.

Latin texts:

(lat.)
In the Loeb classical library series, the works were published in 2 volumes (No. 22, 23)
In the series "Collection Budé" Terence's plays in 3 volumes.

Terence in Russia

Editions

A complete translation of all comedies (by A. Khvostov, M. Golovina and others) was published in St. Petersburg. in 1773 - 74:

Comedies by Publius Terentius Africanus, translated from Latin into Russian. With the addition of the original. T. 1-3. SPb, -. (the same in 2 vols. St. Petersburg, 1773-1774)
- T. 1. Andrianka. / Per. A. Khvostova. Eunuch, or Skopets. / Per. M. Golovina. 1773. 444 pages.
- T. 2. Eavton-timorumenos, or Man Punishing Himself. / Per. F. Richmann. Adelphi, or Brothers. / Per. K. Florinsky. 1774. 424 pages.
- T. 3. Ekira, or mother-in-law. / Per. F. Moiseenkova. Formion. / Per. F. Sinsky. 1774. 380 pages.

Gawton timorumenos. (Punisher of himself.) Comedy Publius Terence the African. / Per. A. Rezoali. Kyiv, 1862. 62 p.
Brothers. Comedy P. Terence. / Per. M. P[etrov]sky. Kazan, 1873. 87 p.
"Andria" translated by D. Podgursky (Kyiv, 1874; print from "Proceedings of the Kiev Spiritual Academician" for 1873),
Punishing himself. Comedy P. Terence. / Introduction, comm. and Russian per. A. K. Dellena. Kharkov, 1879. 379 pages.
"Formion" (Comedy Terence). Translation by A. N. Sirotinin // Journal of the Ministry of Public Education, 1900, book. 4, 5, 6.
P. Terence. Andrianka. / Per. V. Alekseeva. St. Petersburg, 1896. 69 p.
A migrant from the island of Andros. Comedy P. Terence. / Per. S. Nikolaev. St. Petersburg, 1893. 85 p.
Brothers. Comedy Terence. / Per. P. N. Chernyaeva. Rostov-on-Don, 1917. 94 p.

In the 1930s, all of Terence's comedies were translated into Russian by A. V. Artyushkov (published by the Academia publishing house).

Terence. Comedy. / Per. A. V. Artyushkov, ed. and with comm. M. M. Pokrovsky, entry. Art. P. Preobrazhensky. (Series "Antique literature) M.-L.: Academia. . 643 pages. 5300 copies.
- republished: (Series "Library of ancient literature. Rome"). M., artist. lit. 1985. 576 pages.
- republished: (Series "Antique Dramaturgy"). M., Art. 1988. 480 pages.
- republished: (Series "Library of ancient literature"). Kharkov, "Folio", 2001. 605 pages.
Adelphi. Latin text, trans. A. V. Artyushkova, introduced. and comm. S. I. Sobolevsky. M., Publishing House of the Academy of Sciences of the USSR. 1954. 463 pages, 4000 copies.

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Notes

Literature

Zotov, "Analysis of comedies T." ("Repertoire" for 1845).
The language of Tajik was studied by K. Tress (see his works in the Zhurn. Min. Nar. Pr., 1877, and in the Warsaw Univ. Izv., 1880).
V. I. Modestov, "Lectures on the history of Roman literature" (St. Petersburg, 1888);
Chernyaev P. N. Observations on Terentius and his interpreter Donatus. Warsaw, 1910. 143 pages.
Chernyaev P. N. Life and manners based on Terence's comedies. Warsaw, 1912. 464 pages.
Savelyeva L. I. The artistic method of P. Terence Afra. Kazan, Kazan Publishing House. university 1960. 208 pages, 500 copies.
Yarkho V. // Terence. Comedy. M., "Fiction", 1985

Source

Terence, Publius // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.

Links

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An excerpt characterizing Publius Terence Afr

He gently touched my hand and gradually the sadness disappeared. Only bitterness remained, as if I had lost something bright and dear ...
– You mustn't relax... War awaits you, Isidora.
– Tell me, Sever, was the teaching of the Cathars called the Teaching of Love because of Magdalene?
– Here you are not quite right, Isidora. The uninitiated called it the Teaching of Love. For those who understood, it carried a completely different meaning. Listen to the sound of words, Isidora: love sounds in French - amor (amour) - right? And now divide this word by separating the letter “a” from it ... You get a’mor (a "mort) - without death ... So it turns out true value the teachings of Magdalene - the Teachings of the Immortals. As I told you before, everything is simple, Isidora, if you only look and listen correctly... Well, for those who do not hear, let it remain the Teaching of Love... it is also beautiful. And yes, there is still some truth to it.
I stood completely dumbfounded. The Teaching of the Immortals!.. Daaria... So that was the teaching of Radomir and Magdalena!.. The North surprised me many times, but never before had I felt so shocked!.. The Cathar teachings attracted me with their powerful, magic power, and I could not forgive myself for not talking about this with the North before.
- Tell me, Sever, is there anything left of the records of the Cathars? There must have been something left? Even if not the Perfect Ones themselves, then at least just students? I mean something about them real life and teaching?
– Unfortunately, no, Isidora. The Inquisition destroyed everything and everywhere. Her vassals, by order of the Pope, were even sent to other countries to destroy every manuscript, every remaining piece of birch bark that they could find ... We were looking for at least something, but we could not save anything.
Well, what about the people themselves? Could there be something left with people who would keep it through the centuries?
– I don’t know, Isidora... I think even if someone had some kind of record, it was changed over time. After all, it is human nature to reshape everything in its own way ... And especially without understanding. So it is unlikely that anything has been preserved as it was. It's a pity... True, we still have the diaries of Radomir and Magdalena, but that was before the creation of the Cathars. Though I don't think the doctrine has changed.
– Forgive me for my chaotic thoughts and questions, Sever. I see that I lost a lot by not coming to you. But still, I'm still alive. And while I breathe, I can still ask you, can't I? Can you tell me how Svetodar's life ended? Sorry for interrupting.
North smiled sincerely. He liked my impatience and my thirst to "find out in time". And he gladly continued.
After his return, Svetodar lived and taught in Occitania for only two years, Isidora. But these years have become the most expensive and happy years his wandering life. His days, illuminated by the merry laughter of Beloyar, passed in his beloved Montsegur, surrounded by the Perfect, to whom Svetodar honestly and sincerely tried to convey what long years the distant Stranger taught him.
They gathered in the Temple of the Sun, which multiplied tenfold the living force. And also protected them from unwanted "guests" when someone was going to secretly enter there, not wanting to appear openly.
The Temple of the Sun was a tower specially built in Montsegur, which certain time let direct sunlight through the window for days, which made the Temple truly magical at that moment. And this tower also concentrated and strengthened energy, which for the Qatari working there at that moment eased the tension and did not require too much effort.

Soon, an unforeseen and rather funny incident occurred, after which the nearest Perfects (and then the rest of the Cathars) began to call Svetodar "fiery". And it began after Svetodar, having forgotten, completely revealed his high energy Essence to them during one of the usual classes ... As you know, all the Perfect Ones without exception were seers. And the appearance of the essence of Svetodar flaming with fire caused a real shock to the Perfect Ones... Thousands of questions poured down, many of which even Svetodar himself did not have answers. Probably only the Stranger could answer, but he was inaccessible and distant. Therefore, Svetodar was forced to somehow explain himself to his friends ... Whether he succeeded or not is unknown. Only from that very day did all the Cathars begin to call him the Fiery Teacher.
(The existence of the Fiery Teacher is indeed mentioned in some modern books about Qatar, only, unfortunately, not about the one that was real ... Apparently, the North was right when he said that people, not understanding, remake everything in their own way ... As they say: “they heard the ringing, but they don’t know where he"... For example, I found the memories of the "last Qatar" Deod Roche, who says that a certain Steiner (?!) was the Fiery Teacher... Again, the people of Israel are forcibly "accustomed" to the Pure and Light.... which has never been among the real Qatar).
Two years have passed. Peace and tranquility reigned in the tired soul of Svetodar. Days ran after days, taking old sorrows farther and farther ... Baby Beloyar seemed to grow by leaps and bounds, becoming smarter and smarter, surpassing all his older friends in this, which greatly pleased grandfather Svetodar. But on one of these happy, calm days, Svetodar suddenly felt a strange, nagging anxiety... His Gift told him that trouble was knocking on his peaceful door... Nothing seemed to change, nothing happened. But Svetodar's anxiety grew, poisoning pleasant moments of complete peace.
Once, Svetodar was walking around the neighborhood with little Beloyar (whose worldly name was Frank) not far from the cave in which almost all of his family died. The weather was wonderful - the day was sunny and warm - and Svetodar's legs themselves carried him to visit the sad cave ... Little Beloyar, as always, plucked near the growing wild flowers, and the grandfather and great-great-grandson came to bow to the place of the dead.
Probably, someone once put a curse on this cave for his family, otherwise it was impossible to understand how they, so extraordinarily gifted, for some reason, suddenly completely lost their sensitivity, just getting into this cave, and like blind kittens , headed straight for someone's trap.
Cheerfully chirping his favorite song, Beloyar suddenly fell silent, as it always happened, as soon as he entered the familiar cave. The boy did not understand what made him behave that way, but as soon as they went inside, all his cheerful mood evaporated somewhere, and only sadness remained in his heart ...
“Tell me, grandfather, why was it always killed here?” This place is very sad, I "hear" it... Let's get out of here grandfather! I don't like it very much... It always smells of trouble here.
The kid timidly twitched his shoulders, as if, indeed, sensing some kind of trouble. Svetodar smiled sadly and hugged the boy tightly, he was about to go outside, when four strangers suddenly appeared at the entrance to the cave.
“You were not invited here, uninvited. This is a family sadness, and outsiders are not allowed to enter here. Leave in peace, - Svetodar said quietly. He immediately bitterly regretted that he had taken Beloyar with him. The kid frightened huddled up to his grandfather, apparently feeling bad.
“Well, this is just the right place!” one of the strangers laughed insolently. You don't have to look for anything...
They began to surround the unarmed couple, obviously trying not to get close yet.
- Well, servant of the Devil, show us your strength! - the "holy wars" braved. - What, your horned master does not help?
Strangers deliberately angered themselves, trying not to succumb to fear, as incredible strength Apparently the Fiery Teachers have been heard enough.
With his left hand, Svetodar easily pushed the baby behind his back, and extended his right hand to those who came, as if blocking the entrance to the cave.
“I warned you, the rest is up to you…” he said sternly. "Go away and nothing bad will happen to you."
The four chuckled defiantly. One of them, the tallest, pulled out a narrow knife, brazenly brandishing it, went to Svetodar ... And then Beloyar, squeaking in fright, wriggled out of his grandfather's hands holding him, and darting like a bullet towards the man with the knife, began to beat painfully on his knees caught on I run like a heavy stone. The stranger roared in pain and, like a fly, threw the boy away from him. But the trouble was that the "comers" were still standing at the very entrance to the cave... And the stranger threw Beloyar exactly in the direction of the entrance... Shouting thinly, the boy rolled over his head and flew into the abyss like a light ball.. It took only a few short seconds, and Svetodar did not have time ... Blinded from pain, he extended his hand to the man who had hit Beloyar - he, without making a sound, flew a couple of steps in the air and crashed his head against the wall, with a heavy bag slid down onto a stone floor. His "partners", seeing such a sad end to their leader, retreated in a bunch into the inside of the cave. And then, Svetodar made a single mistake... Wanting to see if Beloyar was alive, he moved too close to the cliff and turned away from the killers only for a moment. Immediately, one of them, jumping up from behind with lightning, struck him in the back with a sharp kick with his foot ... Svetodar's body flew into the abyss after little Beloyar ... It was all over. There was nothing else to look at. Vile "little men", pushing each other, quickly got out of the cave...

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