Biography of Titus Plavt

The epigram, written by an unknown poet after the death of Plavt, states that the Roman scene is empty, and cry "laughter, jokes, game and all countless metric sizes". The biography of the comedian is not known to us. With undoubtedness, it can be said that Plavt belonged to the lower layers of Roman society. He was born in Sarsin, a place in Umbria, on the Gallic border. Roman grammars report that, having ruined during a shipwreck, Plavt hired a mill, where he turned Zhernova, and only later engaged in literary work.

In ancient times, a very large number of comedies were attributed to Plavt. The Roman scientist Varron selected 21 comedy, establishing their belonging to Plavt. These comedies are preserved before us. Borrowing the plots and the main material of the new -articographers - Filenes, the praise and others - PLAB introduces elements of the Italian People’s Theater with its usual masks into its plays.

He gives the heroes talking names. The Rostov worker, for example, is the call of Misargiride "Hatter of Money", a boastful warrior - a pyrgolitan "Tower -Gradolator". Philosophical thoughts, psychological subtleties and the nuances that are rich in the new -acttic comedy, are of little interest to Plavt. His plays are written in bright, sometimes rude strokes, shine with verbal buffoonery, full of fun and wit.

Some comedies, as it were, break up, on a number of scenes and do not have a harmonious and coherent composition. PLAVT also uses the technique of contamination, that is, together connects separate scenes taken from different comedies. Traces of contamination can sometimes be found in his plays, for example, in the comedy "boastful warrior" two intrigues. The plays of Plavt are also distinguished by the features of the artistic form.

So, in Palliat of Plavta, a musical element is extremely strong. The play resembles modern operetta dialogical parties alternate with Kantiki, that is, musical arias, duets, trio. There are kantics written in a variety of complex sizes. In Kantiki, sometimes such thoughts are expressed that were still too complicated for the mass viewer in the Roman theater. Music and singing helped the author to interest the audience, draw attention to the reasoning of the heroes.

The musical side of Plavt's comedies is probably associated with the features of the Italian People’s Theater. In his message about the origin of theatrical performances in Rome, Titus Libya says that after the drama some mixture was performed, "full of melodies." The connection with the People’s Theater is manifested in Plavt and in the democratic orientation of its cheerful comedy. Sympathy, the poet is always on the side of cunning and smart heroes, dodgy slaves, honest old people and workers.

With great warmth, he draws, for example, Rybakov in the comedy “Kanat”: yes, the poor person is completely poor, especially to whom there is no income, the crafts have not learned. Road -nilly, as it may seem, we have at home, be it and that, apparently, the outfit shows ours, no matter how rich we are, these hooks, fishing rods - income for us and food: we need to feed.

STs of the Plavt's mockery are falling on greedy usurists, cruel architects, rich stingy old people. In the Comedy "Ghost", the usurer annoyingly requires the payment of interest due to him: the percentage here! Come on a percentage! Pay percentage! Pay interest to me immediately!

Will there be interest? The slave drives the usurist, exclaiming with indignation: there is a percentage and there is a percentage: it does not know the words, except as a percentage! You went away! Merssee of your animal anywhere I have not seen my life in my whole life. Marx, for ancient society in many comedies of Plavt, a dodgy slave acts. The upset of behavior and the familiar attitude towards the young master, which is characteristic of the slaves of the comedies of Plavt, contradicts the real Roman reality, since the position of the slaves in Rome was difficult.

Plavt retains elements of carnival liberties in his plays characteristic of the festivities of the Roman Saturnali, during which the slaves and the hosts changed places and the owner obeyed the orders of the slave. At the same time, impudent jokes and buffonous monologues that pronounce slaves in Plavt's plays could hardly be invested in the mouth of free citizens. The main carrier of the comic was, thus, in the comedy of Plavt, a representative of the lowest social system of Roman society.

The play “Ghost”, characteristic of Plave, is a sample of comedy. The New Authetic play of the Fillene is based on the basis. Fileon processed the plot that is found in other works of ancient literature. So, in Lucian in the dialogue “lies of lies” a certain Arignot talks about how he settled in the house where the black hairy spirit, which was at night, lived.

Pliny the youngest in one of his letters mentions the philosopher Athenodore, to which a ghost appeared at night. The comedy of Plavt begins with a cheerful border of two slaves, city and rustic. From this bike, the audience will learn that the owner of the house has left for trade matters from the city, and his son with friends and a slave Trunion has fun spending time in feasts and entertainment.After the comic dialogue of the slaves, solo aria of the young man of Philolahta, the son of the left old Feopropid, leaving the house.

Philolate talks about his love for the hether of Philematia. The assessment that the young man gives to his feeling is extremely curious. Plavt has no psychological subtlety, so characteristic of the image of a love feeling in Menander's comedies. Love seems to be a disaster, a disease, which gradually destroys in his soul all the good qualities, carefully brought up in him by his parents.

I completely destroyed all their work, laziness came completely. She became a storm and then love came after the rain penetrated my chest. I went to the very depths and wet my heart to me. In such an assessment, a neglect of this area of ​​life, considered from the standpoint of patriarchal morality, is manifested in such an assessment. In the next scene, a heteronet of Philematia appears with his servant.

Philolate is eavesdropping on their conversation. Filematia makes her toilet, seeking the tips to Skave. Skaf teaches the mistress the art of dressing, and at the same time the art of money -grubbing. Her replicas are full of rude wit. Philematia asks her to serve Belil, Skafa replies to this that she did not need her: “Anyway, that she wanted to whiten the elephant ink,” and immediately tells the mistress the wise idea that “to live with one is not a mistress, but sailor”.

The scene resembles the beloved and comedians of the New Age, for example, Moliere, the conversations of young heroines with their servants-servants. Further action is unfolding without any organic connection with this scene: in front of the house appears the tipsy friend of Filolahet Callidamant with his lover Delphia. He is invited to a cheerful feast. Plavt puts drunken speeches in the Callidamant's mouth, which he pronounces with a braided tongue.

The scene was supposed to have a plenty of Roman spectators. Somehow a drunk hero gets into the house. Only the street was empty, as the out -of -breath slave Trunion came, informing that he had just seen the returning owner in the harbor. It is necessary to put things in order in the house. In a desperate bustle of a slave, a shiny plan of action suddenly comes to mind.

Without devoting his young owner into him, he promises to save the situation, but it requires that a cheerful company locked himself in the house and sit there quietly. So the main intrigue of the comedy begins to unfold, which is led by a cunning and dodgy slave. Here, in front of the house, thanks to Neptune, Feopropid, for a successful return. As soon as the old man begins to knock on the door of the house, Trunion addresses him with warnings and assures him that everyone had left the house for a long time, as a ghost appeared in him.

Trunion with enthusiasm tells the details of the appearance of a terrible spirit: - Here listen. Once your son had dinner at a party, he returned home from dinner, all went to sleep. And I forgot to put out the flashlight, but suddenly, as he screams right away! Scary so. The inventive slave, without hesitation, improvises the speech of the dead man who appeared at night.

In the midst of his inspired lies behind the door of the house, movement begins. Trunion is afraid that his brilliant game will suddenly be spoiled by the negligence of the Gulyak lurking in the house. However, here he finds a way out, demanding that Theopropid immediately run away away from the house. The deadly frightened old man runs away in horror. He does not have time to retire, as a trap suddenly appears, brazenly requiring money from Trunion.

The fact is that during the absence of his father, the philosophage bought from the Certain to Geter Filematia. The dodgy slave was confused for a minute. Again, you have to look for a way out of a difficult situation. Hearing the conversation of Trunion with a usurer, the old man asks where the money received went. With the courage of despair, the slave announces that with this money the philosophage bought a new house, because I had to hurry out of the old.

The stingy and prudent Theopropid demands that he be immediately shown the house. Here, the intriguer has to start all sorts of tricks again so that the inspection of a foreign house will pass safely. He assures his neighbor that Theopropid himself is going to build a house and is interested in the device of a neighboring one. He asks his owner to behave delicately and not remind the owner of the deal.

When Trunion sees that everything worked out well, then, proud of his successes, he laughs at the deceived old people, comparing himself with a crow, pecking two kite. The resourceful slaves in Plavt's comedies love to compare themselves with the great commanders, and their art with military art.