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Содержание
Введение
Локрин – это пьеса эпохи Елизаветы, повествующая о легендарных троянских основателях Англии и Тройнованта (Лондона). Пьеса ставит перед исследователями английского театра эпохи Возрождения целый ряд сложных и неразрешенных вопросов.
Locrine is an Elizabethan play depicting the legendary Trojan founders of the nation of England and of Troynovant (London). The play presents a cluster of complex and unresolved problems for scholars of English Renaissance theatre.
Дата
Локрин был зарегистрирован в Реестре стационаров 20 июля 1594 года и опубликован в 1595 году в кварто, изданном печатником Томасом Кридом. Отдельные исследователи предлагают различные даты создания пьесы, начиная с начала 1580-х годов; многие склоняются к дате около 1591 года, основываясь на связях пьесы с другими произведениями того времени. Например, утверждается, что «Локрин» содержит заимствования из «Скорбей» Эдмунда Спенсера, опубликованных в 1591 году, и из «Жалобы Элстреда», поэмы Томаса Лоджа, написанной около 1591 года и распространявшейся в рукописном виде до первой публикации в 1593 году. Вопрос о датировке пьесы усложняется вопросом об авторстве; если Чарльз Тилни является автором пьесы (см. ниже), то она должна была быть написана до его смерти в 1586 году.
Locrine was entered into the Stationers' Register on 20 July 1594 and published in 1595 in a quarto issued by printer Thomas Creede. Individual scholars have proposed dates for the play from the early 1580s on; many have favored a date c. 1591, based on the play's links with other works of the era. It has been argued, for example, that Locrine borrows from the Complaints of Edmund Spenser, published in 1591, and from The Complaint of Elstred, a poem by Thomas Lodge, written c. 1591, that circulated in manuscript before its first printing in 1593. The question of the play's date is complicated by the question of its authorship; if Charles Tilney was the play's author (see below), it must date prior to Tilney's death in 1586.
Источники и влияние
В качестве сюжета своей пьесы автор «Локрина» использовал легендарную псевдоисторию основания Британии. Подобно тому как Вергилий в «Энеиде» возводил основание Древнего Рима к изгнанникам из поверженной Трои, так и более поздние английские писатели, такие как Уильям Кэкстон и Рафаэль Холиншед, адаптируя средневековую псевдоисторию валлийского нормандца Джеффри Монмута, приписывали основание британского королевства другой группе троянских изгнанников. Именно этот вымышленный миф о происхождении, примененный к англичанам, а не к бриттам, послужил основой для пьесы «Локрин» (Локрин в «Истории королей Британии» Джеффри). Автор также черпал материал из «Зеркала для магистратов». Трагедии мести Сенеки оказали значительное влияние на «Локрина». Помимо поэзии Спенсера и Лоджа, упомянутой выше, критики отмечают связь с современными драмами Кристофера Марлоу, Томаса Кида, Роберта Грина и Джорджа Пила. Связи с современными пьесами и драматургами могут и были по-разному истолкованы как свидетельство влияния или как указание на общее авторство.
For the subject of his play, the author of Locrine drew upon a legendary pseudo history of the founding of Britain. Just as Virgil, in the Aeneid, credited the founding of Ancient Rome to exiles from a defeated Troy, so later English writers such as William Caxton and Raphael Holinshed, adapting the medieval pseudo history of the Welsh Norman author Geoffrey of Monmouth, credited another band of Trojan exiles for the foundation of a British realm. It was this fanciful origin myth, applied to the English rather than the Brythons, that provided the foundation for Locrine (Locrinus in Geoffrey's Historia Regum Britanniae). The author also drew material from the Mirror for Magistrates. The revenge tragedies of Seneca were a major influence on Locrine. In addition to the poetry of Spenser and Lodge noted above, critics have pointed to links with the contemporary dramas of Christopher Marlowe, Thomas Kyd, Robert Greene and George Peele. Links with contemporary plays and playwrights can be, and have been, variously interpreted as evidence of influence or evidence of common authorship.
Локрин и Селимус
Локрин имеет сложную взаимосвязь с другой анонимной пьесой той же эпохи, «Селимусом», впервые опубликованной в 1594 году. Сходства между этими пьесами проявляются в параллелях сюжетных элементов, а также в общих вербальных выражениях и просодической структуре. Большинство исследователей, изучавших этот вопрос, полагают, что автор «Селимуса» заимствовал у Локрина, хотя меньшинство придерживается противоположного мнения. Эти общие черты побудили некоторых критиков предположить, что обе пьесы принадлежат одному автору; однако, поскольку обе пьесы анонимны и авторство их оспаривается, связь между этими двумя драмами скорее затемняет, чем проясняет ситуацию.
Locrine shares a complex inter relationship with another anonymous play of its era, Selimus, first published in 1594. The commonalities between the two plays involve parallels of plot elements and shared verbal expression and prosodic structure. The majority of scholars who have considered the problem judge the author of Selimus to have borrowed from Locrine – though a minority has favored the opposite conclusion. The common features in the two plays have led some critics to suppose that they are the work of the same author; but since both plays are anonymous and their authorship is disputed, the connection between the two dramas obscures as much as it enlightens.
Синопсис
В соответствии с сенеканской моделью трагедии о мести, каждому из пяти актов пьесы предшествует Пролог, в котором появляется Атта, древнегреческая богиня глупости и гибели. В каждом из них Атта представляет и объясняет пантомиму; пять пантомим пьесы изображают символические фигуры и животных, или персонажей классической мифологии. В первой из них стрелок убивает льва, во второй – Персея и Андромеду, а в третьей – змею, жалящую крокодила. В четвертой пантомиме представлены Геркулес и Омфала; в последней – убийство Медеей Ясона и Глауки. Атта возвращается в шестой и заключительный раз в финале пьесы. Открывающая сцена самой пьесы показывает стареющего Брута, вождя троянцев в Британии, перед своими придворными, включая трех сыновей – Локрина, Альбанакта и Камбера. Брут знает, что умирает, и пытается упорядочить дела королевства; в частности, он повелевает женить Локрина на Гендолине, дочери своего верного генерала Коринэя. Сцена заканчивается смертью Брута. Локрин повинуется воле отца и женится на Гендолине. Тем временем вторгшиеся скифы прибывают на Британские острова, ведомые своим королем Хамбером, его женой Эстрильдой и сыном Хаббой. Последующие сцены изображают ожесточенные сражения между троянцами и скифами. Когда его очевидная победа оборачивается внезапным поражением, троянский принц Альбанакт кончает жизнь самоубийством; призрак Альбанакта появляется на протяжении всей пьесы, призывая к мести. Троянцы в конечном итоге одерживают победу. Эстрильда, скифская королева, пленена и доставлена в троянский двор, где Локрин быстро влюбляется в нее. Кориней предупреждает своего королевского зятя оставаться верным Гендолине. Локрин не следует этому совету, хотя он скрывает Эстрильду в подземном убежище в течение семи лет. После смерти Коринэя Локрин выходит из тени со своим романом; брат Гендолины, Трасимах, клянется отомстить. Пораженный Хамбер живет в уединении и крайней нужде в течение семи лет после своего поражения; когда он совершает самоубийство, призрак Альбанакта ликует. Призрак Коринэя также является свидетелем судьбы Локрина; побежденный в битве силами Гендолины и Трасимаха, Локрин и Эстрильда кончают жизнь самоубийством, а их дочь Сабрина в конечном итоге тонет. Гендолина с почестями хоронит своего мужа рядом с отцом, но обрекает Эстрильду на безымянную могилу. Комедийное облегчение в пьесе обеспечивают группа клоунов – Стромбо, Тромпарт и Дороти. Стромбо, сапожник, женится на Дороти, но призывается в армию вместе со своим слугой Тромпартом, чтобы сражаться со скифами. Стромбо выживает в битве, притворившись мертвым:
Following the Senecan model of revenge tragedy, each of the play's five acts is preceded by a Prologue that features Atë, the ancient Greek goddess of folly and ruin. In each, Ate introduces and explicates a dumbshow; the play's five dumbshows feature symbolic figures and animals, or personages of classical mythology. In the first, an archer kills a lion; the second shows Perseus and Andromeda, and the third, a snake stinging a crocodile. The fourth dumbshow features Hercules and Omphale; the final dumbshow depicts Medea's murder of Jason and Glauce. Ate returns for a sixth and final appearance at the play's conclusion. The opening scene of the play proper shows the aged Brutus, the leader of the Trojans in Britain, before his courtiers, including his three sons, Locrine, Albanact and Camber. Brutus knows he is dying, and attempts to order the kingdom's affairs; among other points, he decrees that Locrine marry Guendoline, the daughter of his loyal general Corineus. The scene ends with Brutus's death. Locrine obeys his father's behest and marries Guendoline. Meanwhile, the invading Scythians arrive for their incursion into the British Isles, led by their king Humber, with his wife Estrild and their son Hubba. Subsequent scenes depict a back and forth combat between Trojans and Scythians. When his apparent victory turns to sudden defeat, the Trojan prince Albanact commits suicide; Albanact's ghost appears through the remainder of the play, calling for revenge. The Trojans are eventually victorious. Estrild, the Scythian queen, is captured and brought to the Trojan court, where Locrine quickly falls in love with her. Corineus warns his royal son in law to remain faithful to Guendoline. Locrine does not follow this advice, though he sequesters Estrild in a subterranean hideaway for seven years. Once Corineus dies, Locrine brings his affair into the open; Guendoline's brother Thrasimachus vows revenge. The defeated Humber has been living in seclusion and grinding privation for seven years since his defeat; when he kills himself, the ghost of Albanact exults. Corineus's ghost also appears to witness Locrine's fate; defeated in battle by the forces of Guendoline and Thrasimachus, Locrine and Estrild commit suicide, and their daughter Sabren eventually drowns herself. Guendoline has her husband buried royally, next to his father, but consigns Estrild to an obscure grave. The play's comic relief is provided by a coterie of clown characters, Strumbo, Trompart, and Dorothy. Strumbo the cobbler marries Dorothy, but is impressed into the army along with his servant Trompart, to fight the Scythians. Strumbo survives battle by counterfeiting death:
Trompart: Yet one word, good master. Strumbo: I will not speak, for I am dead, I tell thee. Later Strumbo has an encounter with Humber, just before the latter's suicide. Strumbo is prepared to feed the starving Humber, but is frightened away by Albanact's ghost.
Тромпарт: Но одно слово, добрый господин.
Стромбо: Я не буду говорить, ибо я мертв, говорю тебе.
Following the Senecan model of revenge tragedy, each of the play's five acts is preceded by a Prologue that features Atë, the ancient Greek goddess of folly and ruin. In each, Ate introduces and explicates a dumbshow; the play's five dumbshows feature symbolic figures and animals, or personages of classical mythology. In the first, an archer kills a lion; the second shows Perseus and Andromeda, and the third, a snake stinging a crocodile. The fourth dumbshow features Hercules and Omphale; the final dumbshow depicts Medea's murder of Jason and Glauce. Ate returns for a sixth and final appearance at the play's conclusion. The opening scene of the play proper shows the aged Brutus, the leader of the Trojans in Britain, before his courtiers, including his three sons, Locrine, Albanact and Camber. Brutus knows he is dying, and attempts to order the kingdom's affairs; among other points, he decrees that Locrine marry Guendoline, the daughter of his loyal general Corineus. The scene ends with Brutus's death. Locrine obeys his father's behest and marries Guendoline. Meanwhile, the invading Scythians arrive for their incursion into the British Isles, led by their king Humber, with his wife Estrild and their son Hubba. Subsequent scenes depict a back and forth combat between Trojans and Scythians. When his apparent victory turns to sudden defeat, the Trojan prince Albanact commits suicide; Albanact's ghost appears through the remainder of the play, calling for revenge. The Trojans are eventually victorious. Estrild, the Scythian queen, is captured and brought to the Trojan court, where Locrine quickly falls in love with her. Corineus warns his royal son in law to remain faithful to Guendoline. Locrine does not follow this advice, though he sequesters Estrild in a subterranean hideaway for seven years. Once Corineus dies, Locrine brings his affair into the open; Guendoline's brother Thrasimachus vows revenge. The defeated Humber has been living in seclusion and grinding privation for seven years since his defeat; when he kills himself, the ghost of Albanact exults. Corineus's ghost also appears to witness Locrine's fate; defeated in battle by the forces of Guendoline and Thrasimachus, Locrine and Estrild commit suicide, and their daughter Sabren eventually drowns herself. Guendoline has her husband buried royally, next to his father, but consigns Estrild to an obscure grave. The play's comic relief is provided by a coterie of clown characters, Strumbo, Trompart, and Dorothy. Strumbo the cobbler marries Dorothy, but is impressed into the army along with his servant Trompart, to fight the Scythians. Strumbo survives battle by counterfeiting death:
Trompart: Yet one word, good master. Strumbo: I will not speak, for I am dead, I tell thee. Later Strumbo has an encounter with Humber, just before the latter's suicide. Strumbo is prepared to feed the starving Humber, but is frightened away by Albanact's ghost.
Позже Стромбо встречается с Хамбером незадолго до самоубийства последнего. Стромбо готов накормить голодающего Хамбера, но его прогоняет призрак Альбанакта.
Following the Senecan model of revenge tragedy, each of the play's five acts is preceded by a Prologue that features Atë, the ancient Greek goddess of folly and ruin. In each, Ate introduces and explicates a dumbshow; the play's five dumbshows feature symbolic figures and animals, or personages of classical mythology. In the first, an archer kills a lion; the second shows Perseus and Andromeda, and the third, a snake stinging a crocodile. The fourth dumbshow features Hercules and Omphale; the final dumbshow depicts Medea's murder of Jason and Glauce. Ate returns for a sixth and final appearance at the play's conclusion. The opening scene of the play proper shows the aged Brutus, the leader of the Trojans in Britain, before his courtiers, including his three sons, Locrine, Albanact and Camber. Brutus knows he is dying, and attempts to order the kingdom's affairs; among other points, he decrees that Locrine marry Guendoline, the daughter of his loyal general Corineus. The scene ends with Brutus's death. Locrine obeys his father's behest and marries Guendoline. Meanwhile, the invading Scythians arrive for their incursion into the British Isles, led by their king Humber, with his wife Estrild and their son Hubba. Subsequent scenes depict a back and forth combat between Trojans and Scythians. When his apparent victory turns to sudden defeat, the Trojan prince Albanact commits suicide; Albanact's ghost appears through the remainder of the play, calling for revenge. The Trojans are eventually victorious. Estrild, the Scythian queen, is captured and brought to the Trojan court, where Locrine quickly falls in love with her. Corineus warns his royal son in law to remain faithful to Guendoline. Locrine does not follow this advice, though he sequesters Estrild in a subterranean hideaway for seven years. Once Corineus dies, Locrine brings his affair into the open; Guendoline's brother Thrasimachus vows revenge. The defeated Humber has been living in seclusion and grinding privation for seven years since his defeat; when he kills himself, the ghost of Albanact exults. Corineus's ghost also appears to witness Locrine's fate; defeated in battle by the forces of Guendoline and Thrasimachus, Locrine and Estrild commit suicide, and their daughter Sabren eventually drowns herself. Guendoline has her husband buried royally, next to his father, but consigns Estrild to an obscure grave. The play's comic relief is provided by a coterie of clown characters, Strumbo, Trompart, and Dorothy. Strumbo the cobbler marries Dorothy, but is impressed into the army along with his servant Trompart, to fight the Scythians. Strumbo survives battle by counterfeiting death:
Trompart: Yet one word, good master. Strumbo: I will not speak, for I am dead, I tell thee. Later Strumbo has an encounter with Humber, just before the latter's suicide. Strumbo is prepared to feed the starving Humber, but is frightened away by Albanact's ghost.
В исполнении
В 2020 году Beyond Shakespeare Company опубликовала в сети онлайн-чтение и обсуждение пьесы "Жалобная трагедия Локрина".
In 2020, the Beyond Shakespeare Company released online a play reading and discussion of The Lamentable Tragedy of Locrine.