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كنز البخيل: فتاة تقية أم ثروة ذهبية: رؤية في مسرحية "أولولاريا" لبلاوتوس

العنوان بلغة أخرى: The Miser's Treasure: A Pious Maiden or a Golden Wealth: A Vision in Plautus Play Aulularia
المصدر: مجلة أوراق كلاسيكية
الناشر: جامعة القاهرة - كلية الآداب - قسم الدراسات اليونانية واللاتينية
المؤلف الرئيسي: عثمان، فاتن (مؤلف)
المجلد/العدد: ع16
محكمة: نعم
الدولة: مصر
التاريخ الميلادي: 2019
الصفحات: 437 - 481
DOI: 10.21608/acl.2019.89981
ISSN: 2314-7415
رقم MD: 1107668
نوع المحتوى: بحوث ومقالات
اللغة: العربية
قواعد المعلومات: AraBase
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المستخلص: ازدهرت الكوميديا الإغريقية الحديثة في اواخر القرن الرابع ق.م. وحتى منتصف القرن الثالث ق.م. من خلال كوميديات ميناندروس Menandrus (٣٤١/٣٤٢- ٢٩٠ ق. م.) ونماذج الكوميديات الرومانية، المواءمة، لمعاصريه، من أمثال الكاتب الروماني بلاوتوس Plautus (٢٥٤ - ١٨٤ ق. م.)، الذي كتب على وجه التحديد في نوع أدبي يعرف باسم "الكوميديا في الثوب الإغريقي" palliate comoedia، وهي الكوميديا التي لم يقم فيها الكتاب الرومان بمواءمة الكوميديات الإغريقية فحسب، بل حافظوا على عناصرها الأصلية من أماكن وشخصيات وأسماء وملابس، وقاموا بصياغتها في اللغة اللاتينية لجمهور روماني وبأذواق رومانية أصلية، فحدث تزاوج بين الثقافة الإغريقية ونظيرتها الرومانية كان من ثمرته الكوميديا الرومانية، التي أبدع بلاوتوس من خلالها مسرحية "أولولاريا" Aulularia

Plautus’ Aulularia embodies the stereotypical silent and invisible maiden (Phaedria) in Roman Comedy, who suffers from loneliness indoors and alienation from the community, because she lost her father’s (Euclio) care and attention. The latter has become excessively suspicious about a pot of gold that he found, concealing it even from his daughter. During that Phaedria herself is undergoing a private problem, as a young wealthy man named Lyconides raped her at the overnight festival for Ceres, and she is close to giving birth. Phaedria, a pious and blameless girl, is unaware of the identity of her rapist Lyconides, while he is conscious of her personality. Meanwhile, Megadorus, Lyconides’ uncle, is pressed by his sister Eunomia to get married, and he chooses Phaedria as his appropriate wife, then goes to ask Euclio for her hand. Although the miser suspects that Megadorus secretly knows about his treasure, and so is planning to plunder it, he agrees to marry his daughter, but without a dowry. While preparing for the wedding banquet by sending cooks, dancers and musicians to Euclio’s home, he became more frightened of his gold pot, therfore he decides to change its place. Firstly, he transferred it to the temple of Good Faith, and later to the distant orchard of Silvanus outside his city, where Lyconides’ slave, Strobilus, succeeded in robbing it. When Lyconides hears about his uncle's wedding, he decides to bear the consequences of his mistake, and admits to his mother Eunomia about his heinous act. After a misunderstanding conversation between Euclio and Lyconides, in which stealing the gold and raping the girl conflict, thereby integrating the fate of Phaedria with the pot of gold, Euclio realizes that his daughter is the real gold, which deserves his care and attention. Lyconides eventually recovers Euclio’s gold from his slave, and Euclio accepts Lyconides marriage proposal, and gives his treasure to Lyconides in the form of Phaedria’s dowry. In this way, Phaedria becomes able to integrate into society because she will regain her dignity and chastity by marrying with a dowry from her rapist. This study aims, through the use of the analytical method of the texts of Aulularia , to discuss the following points: - How Plautus employed the character of the silent Roman maiden - who suffers from isolation - in directing the actions of other characters, and influencing the course of events despite not appearing in the scenes of comedy. Moreover discussing how her not appearing came to reflect the family and social conditions that prevailed at that time. -Examining the relationship between the play's heroine and the golden pot. - Highlighting some of the problems, related to marriage, that annoyed Roman society at that time, such as rape and exaggeration of dowry.

ISSN: 2314-7415