The first Roman poets. Livius Andronicus and Gnaeus Nevius. The meaning of Livy Andronicus in ancient literature See what "Livy Andronicus" is in other dictionaries

3. Titus Livy about the Winter War Modern historians note that the story of Titus Livy about the death of the Bastarnae army as a result of the collapse of ice on the river has not reached us. They write as follows: “The story of Livy about the tragedy of the Bastarni, which formed the basis of the message of Orosius, has not been preserved. About the events

LIVIUS ANDRONIKUS

In 240 BC. e., after the end of the first Punic War, the festival of the “Roman Games” celebrated with special solemnity (p. 283); Greek-style dramas were first introduced into the ritual of the stage plays of this festival, and the first staging of such a drama in Latin was entrusted to Livius Andronicus (died about 204).

Livy Andronicus was a teacher. Among the Greeks, the initial education was based on explanatory reading, and the first text that the student approached was the Homeric epic. Livy Andronicus takes this method to Rome and creates a corresponding Latin text: he translates the Odyssey into Latin. What was dictated by the choice of the Odyssey, and not the Iliad, one can only guess. The translator could be guided both by considerations of a moral and pedagogical nature, and by the fact that the figure of Odysseus and his wanderings were of local interest to the Romans (p. 283). Livy's Latin Odyssey remained a school book in Rome for two centuries, but at the same time it was also the first monument of Roman literature. In order to fully appreciate its significance, it must be taken into account that Greek literature did not know literary translation. The work of Livy was new and unparalleled; this is the first literary translation in European literature. The names of the Greek gods are altered in the Roman way. This principle of free translation was adopted by subsequent Roman translators. Their task was not to reproduce a foreign monument with all its historical features, but to adapt it to the cultural needs of Rome, to enrich their own literature and their own literary language with the help of someone else's material. Such a translation was regarded as an independent literary work. Livy did not follow the verse form of the original either. He translated the Odyssey in Saturnian verse (p. 284), thus adhering to the Roman poetic tradition. Saturn's verse is shorter than a hexameter, and the rhythmic-syntactic movement of the original turns out to be completely changed in Livy.

Since 240, Livius Andronicus has been working for the Roman stage, processing Greek tragedies and comedies. The tragedies had Greek mythological themes; Livy especially willingly chose subjects from the Trojan cycle, mythologically connected with Rome. He took the works of the great Attic playwrights (for example, Sophocles' Ajax) and later plays as the basis of his tragedies. Roman drama, like Greek drama, is always composed in verse. Livy created forms of dramatic verse, approaching the Greek.

Roman tragedy consisted of the dialogue and arias common in Greek tragedy since the time of Euripides (p. 154). The comedies retained the Greek plot and Greek characters. The sources of the Roman palliata were the plays of the "middle" and "new" Attic comedy; The "ancient" comedy, with its political topicality of the 5th century, was, of course, of no interest to the Roman stage.

GNEI NEVIUS

worked in the same genres as Livius Andronicus, but everywhere he followed original paths, trying to update literature, enrich it with Roman themes. In his temperamental comedies, carnival liberties sounded, he did not stop at a mockery of Roman statesmen, with an open naming of names. For Roman conditions, the liberty of Naevius was too bold and did not take root. Nevius was put in the pillory and expelled from Rome. Another technique used by Nevius in processing Greek comedies became widespread. This is a contamination, the introduction of interesting scenes and motifs from other comedies into the play being translated. The Roman public demanded stronger comic effects than the Greek; The Attic plays were not funny enough and needed to be more comical. For this purpose, contamination served; the possibility of such a technique was due to the uniformity of the plots and the constancy of the masks of the Greek everyday comedy.

What worked poorly for tragedy turned out to be much more viable in the field of epic. The most original achievement of Nevius is the historical epic "Punic War" created by him. The theme is a historical event of the recent past, the first Punic War; Nevius began with the death of Troy, talked about the wanderings of Aeneas who left Troy, about the storm that Juno, hostile to the Trojans, sent to him, about the arrival of Aeneas in Italy. The Olympian alternated with the earthly plan: Aeneas' mother, Venus, stood up for her son before Jupiter. This narrative of Naevius, reminiscent of some episodes of the Odyssey, was subsequently used by Virgil for the Aeneid. There was also a legend about Romulus, whom Nevius imagined as the grandson of Aeneas. Nevi also mentioned Queen Dido, the founder of Carthage. In Virgil's Aeneid, Aeneas finds himself in Carthage under construction during his wanderings, and Dido falls in love with Aeneas. Whether such a plot link already existed in Naevius is not known; if so, Dido's rejected love would have served as a mythological justification for the enmity between Rome and Carthage and for that Punic War, which was detailed in the second part of the poem. The epic of Nevius, divided by later Roman publishers into seven books, was written, like Livius Andronicus' Latin Odyssey, in Saturnian verse.

QUINT ENNIUS

The end of the second Punic War is one of the turning points of Roman history: Rome is moving eastward, into the countries of Hellenism. Rapprochement with Greek culture is going on at an accelerated pace. Literature begins to play a new role.

He received a serious Greek education, was familiar not only with literature, but also with the philosophical systems of Western Greek thinkers common in southern Italy, with Pythagoreanism, and with the teachings of Empedocles. During the Second Punic War, he taught and directed plays. Ennius sharply criticizes his predecessors, the first Roman poets, for the rudeness of form, insufficient attention to stylistic processing, for lack of education; philosophy, none of them "even in a dream saw." Ennius's program is to introduce the principles of Greek form and Greek ideological content into Roman literature, rebuild it on the basis of Greek poetics, rhetoric and philosophy. He works, like Livy Andronicus and Nevius, in various fields and enriches Roman literature with new genres.

The most significant work of Ennius is the historical epic "Annals", covering in 18 books the entire history of Rome, from the flight of Aeneas from Troy to the poet's contemporaries. In the introduction to the poem, a certain "dream" was stated. Ennius sees himself carried away to the Mount of Muses, and there Homer appears to him. The Pythagorean doctrine of the transmigration of souls (metempsychosis) and the story of the fate of his own soul, which, it turns out, has now settled into the body of Ennius, are put into the mouth of Homer. From this it is clear that Ennius wants to give a poem in the Homeric style, to become a second, Roman Homer.

Ennius is the creator of the Latin hexameter, which has now become the obligatory verse form of the Roman epic. This style of Ennius also left its mark on the subsequent development of the Roman epic, up to the Aeneid.

The poem was dominated by military-historical themes: it depicted the growth of Rome and glorified its leaders.

he handled Greek tragedies and comedies. Comedies did not work well for the master of high style and were soon forgotten; tragedies entered the repertoire of the Roman theater for a long time. Ennius loved to depict the pathos of passion, madness, heroic self-sacrifice. In the choice of originals, he focuses mainly on Euripides, but also gives other tragedians; The rationalistic orientation characteristic of Euripides is also preserved in Ennius - various free-thinking thoughts were expressed - about the non-interference of the gods in human life, about the falsity of predictions.

a number of didactic works popularizing Greek philosophy.

Ennius is a poet of the educated elite, serving the needs of the Hellenizing aristocracy.

Ennius founded the school. Ennia's nephew, the "learned" tragic poet Pacuvius (220 - 130) and comedian Caecilius Statius (died 168) belonged to her.

Similar information.

Livy Andronicus

Livy Andronicus, Lucius; Livius Andronicus, Lucius , OK. 284-ok. 204 BC e., the first Roman poet, Greek by origin. After the capture of Tarentum by the Romans in 272, he was brought as a prisoner to Rome. He was a teacher to the sons of nobles, among them Lucius Livius Salinator, who released him and gave his name as a patron. - His early literary activity was directly connected with the didactic work of L.A. For his students, he translated Homer's Odyssey into Latin using Saturnian verse. This book has long been the main textbook of the native language for the Romans. From L.A.'s translation, only fragments have survived. The main area of ​​literary activity of L. A. was dramatic work. In September 240, during Ludi Romani, L.A. was the first in Rome to stage Greek tragedy and comedy in Latin adaptation, therefore, 240 BC. e. generally regarded as the birth date of Roman literature. L.A. worked primarily on tragedies. Separate fragments and names of tragedies have been preserved from his work: Achilles, Aegisthus, Ajax the spear-bearer (Aiax mastigoforus), Andromeda, Danae, the Trojan horse (Equos Troianus), Hermione, Theseus and the unclear name of Ino. Greek tragedies of the 5th century served as a model for L.A. BC e. (Aeschylus, Sophocles, Euripides). From L.A.'s comedic work, hardly 6 fragments and the names of comedies, called fabula palliata, have survived: Gladiolus (Gladiolus), Actor (Ludius) and the unclear title Verpus or Vargus (Circumcised or Bow-legged), or even Virgo (Virgo). In addition to processing Greek dramas, L. A. was also engaged in directing and acting. In 207, in order to appease the angry gods, at the request of the college of priests, he wrote a parthenion according to the Greek model, that is, a song for the choir of girls, performed in the temple of Juno, reigning on Aventine. L. A. created the poetic language of dramaturgy, epics and lyrics. In gratitude for the merits of L.A., the temple of Minerva on the Aventine was given so that actors and poets writing for the stage would meet there for common prayers and solutions to various issues. They gathered there, creating the College of Poets and Actors.

M.V. Belkin, O. Plakhotskaya. Dictionary "Ancient writers". St. Petersburg: Publishing house "Lan", 1998

See what "Livy Andronicus" is in other dictionaries:

- (lat. Livius Andronīcus) the founder of the epic and lyric poetry of the Romans; genus. about 280 BC. e. in Tarentum, where he could learn Greek; was made a slave during the capture of the city by the Romans and belonged to a representative of the Livius family, from ... Wikipedia

- (Lucius Livius Andronicus) (circa 284 around 204 BC), Roman poet. By origin a Greek from Tarentum. Plays L. A. free translation of Greek tragedies and comedies. The date of the first production of the play by L.A. at the Roman Games (240 BC) and ... ... Great Soviet Encyclopedia

- (Livius Andronicus) founder of the epic and lyric poetry of the Romans, b. about 280 BC. Chr. in Tarentum, where he could learn Greek; was made a slave during the capture of the city by the Romans and belonged to a representative of the Livius family, from whom ... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron

Livy Andronicus- (c. 280 204 BC) one of the first Roman. writers, by origin. the Greek is a freedman. Translated into lat. lang. "Odyssey", processed a number of plays by the great Greek. tragedians and representatives of the New Attic. comedy... Ancient world. encyclopedic Dictionary

Livy Andronicus- (Livius Andronicus), mind. in con. 3 in. BC e., the first known Rome. poet, Greek by birth. In his youth he was taken prisoner during the capture of Tarentum, was brought to Rome and bought by a certain Livy, subsequently received freedom. He taught Greek. and lat. yaz… Dictionary of antiquity

- (Lucius Livius Andronicus) (c. 284 c. 204 BC), ancient Roman writer. Greek captive and slave set free. His transpositions of Greek poetry into Latin marked the beginning of Roman literature... encyclopedic Dictionary

The first Roman poet Livius Andronicus (circa 284-204 BC) was a Greek who was taken prisoner during the conquest of Tarentum and came to the senator Livius Salinator, who set him free. In Suetonius, we read that Livius Andronicus, like his younger contemporary Ennius, was engaged, among other things, in teaching Greek and Latin, of course, according to the Greek system. The Greeks took the poems of Homer as the basis for such teaching. There was no such model for teaching Latin, and Livius Andronicus translated the Odyssey into Latin in Saturnian verse. Only a few verses have come down to us from this translation. The first verse reads: Virum mihi, Camena, insece versutum (Tell me, Kamena, about the crafty husband).

The translation, apparently, was very bad, and Cicero compared it with the works of the first mythical sculptor Daedalus, who did not separate his legs yet, and marked his eyes with a line. Nevertheless, even in the time of Horace, schools taught the language and literature from this translation, and students often got blows on the hands with a ruler from the strict teacher Orbilius, generous with such pedagogical influence (plagosus "pugnacious").

No matter how few passages we have, it is clear from them that the translation was very free (the ancients, however, generally did not adhere to the original too much): some verses are translated too short, in others they are omitted in places, in places the images of the original are changed.

It is characteristic in the sense of the assimilation of Greek religion and mythology by the Romans that was completed by this time, that the Homeric, Greek gods are translated with Latin names (which means that the Romans have already managed to adapt their deities to Greek ones): for example, the Muse is translated through Kamena, the goddess of fate Moira through Morta, the goddess of memory Mnemosyne through Coin, Kronos - Saturn, Zeus - Jupiter, Poseidon - Neptune, etc.

A year after the end of the First Punic War, that is, in 240 BC, the curule aediles decided to give comedies and tragedies at the national games (Ludi Romani), entrusting their processing to Livy Andronicus. He took both from the Greek repertoire, in which, as a tragedian, Euripides was especially popular, and as comedians, representatives of the so-called neo-Attic everyday comedy, especially Menander, Philemon and Diphilus.

Livy's plays were bad, and Cicero says they don't deserve to be read a second time. However, the undoubted merit of Livy is the assimilation of Greek sizes - iambs and trochees (choreas), and he adapted them to the laws of Latin phonetics, and all the early Roman playwrights followed him in this.

We know almost nothing about the comedies of Livy; it is known, however, that he wrote The Boastful Warrior. His tragedies, which we also know very little about, largely belonged to the Trojan cycle (the Wrath of Achilles, the Madness of Ajax, Aegisthus, Andromache, Hermione, the Trojan Horse), the titles of Andromeda and Danae are also known.

In 207, in order to atone for one terrible omen, Livius Andronicus was ordered by the state to hymn in honor of Juno (Titus Livius - XXVII, 37 - did not consider it necessary to bring it, finding it too primitive and unprocessed). This anthem was supposed to be sung by 27 girls in a solemn religious procession: two white cows walked in front, followed by two cypress images of Queen Juno, then girls in long white dresses and sacral decemvirs with laurel wreaths on their heads walked.

In this regard, the state, apparently recognizing some importance for poetry, especially dramatic, allowed writers (scribae) and actors to unite in a special board and set aside premises for them in the temple of Minerva.

But even in society, the modest literary activity of Livy brought to life dormant poetic talents: already during the life of Livy, two major talents appear on the dramatic stage - Nevius and Plautus.

Passing from Livius Andronicus to his successors, we will allow ourselves to once again dwell on some issues related to Greek influence.

Already the victory over the great Greek strategist and tactician Pyrrhus should have increased the Romans' sense of national pride. To a much greater extent, all sections of the Roman people were shaken by the victory won in the First Punic War over Carthage. This war lasted a very long time, was accompanied by repeated defeats, the death of entire Roman squadrons and transports with troops; in the end, the naval victory of the consul Lutatio Catulus, which decided the war, was achieved by him at a moment of almost complete exhaustion of all Roman economic and human resources. Great sacrifices were made by wealthy people, but the main burden of the war fell, of course, on the Roman plebs.

In times of protracted and difficult wars, the Roman political parties, according to Polybius, usually suspended their struggle, which resumed after the end of the war. So it was now: no matter how little we are aware of the history of this era, we know that in the second half of the interval between the I and II Punic Wars, the plebs already had their energetic leader in the person of Flaminius, who was consul in 223 and 217. and censor in 220 BC: suffice it to say that he, against the will of the senate, distributed the ager Gallicus among the citizens and that around his time the voting system was democratized by merging centuries with tribes, with separate property classes each receiving the same number of centuries or votes , and as a result, the predominance of the wealthy classes was greatly limited. The growth of democracy - it is true, in this era, which consisted of wealthy people - was also reflected in literature, i.e. first of all, on the democratic attacks of Nevi against prominent aristocrats, even in dramatic works. Increased national well-being led even, at least in Nevi, to competition with the teachers of the Romans - the Greeks. The Greek tragedy that was staged for the Roman stage was based on Greek national legends; the Greek epic had the same basis. But after all, Rome also had its own national legends, worthy of processing in tragedy and epic; moreover, his heroic history, including modern history, also deserved the attention of national poets. That's how they arose. "pretexts", i.e. tragedies with a Roman content, and the epic of Naevia about the Punic War. And this moral upsurge of all classes of the population undoubtedly contributed to the rapid emergence and development of literature. We know only a few names of the writers of this time, but they obviously were not few: the prologue to the comedy of Plautus "Casina" says that in his era - and therefore in the era of his older contemporary Naevius - in Rome there was "the color of poets "(flos poetarum); in any case, more than a hundred comedies circulated under the name of Plautus alone, in addition to those that undoubtedly belonged to him. The very alteration of Greek comedies with the introduction of Roman details into them, which we know from Naevius and Plautus, testifies to the desire of these poets not only to intrigue the broad masses for literature, but also to show a certain amount of originality in the thankless work of a translator or transcriber.

Even such a severe critic of ancient Roman poetry as Horace must have applauded the indefatigable efforts of the early Roman poets to create a national drama.

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