Androclus and the Lion (play)

As a literary basis of the play, Shaw took an old legend about the friendship of man and a lion , set forth by the Roman writer of the 2nd century Aul Gell in the collection "Attic nights". The show made the protagonist a Christian and introduced a new character - the Christian Lavinia, who shares the views of the author of the play.

The first production of the play took place in September 1913 at the London St. James Theater ^[3] , then the play went on in many European cities. In Soviet Russia, the only attempt to stage Androclus and the Lion was made by the KhPSRO Theater Studio in 1919, but the premiere did not take place, in December 1919 the theater was closed ^[4] .

• Androclus is a Greek tailor, a Christian, a friend of all people and animals.
• Vixen is the wife of Androclus, a grumpy and stupid woman.
• Lavinia - a Christian from a family of aristocrats, "smart and fearless freethinker" (definition of Shaw).
• The captain is a Roman officer in love with Lavinia.
• Ferrovy is a Christian of heroic power, who is heavily worried about his hot-tempered character and its consequences.
• The emperor is the Roman emperor.
• Spinto is a drunkard, a thief and a debaucher who converted to Christianity in the hope of forgiveness beyond his many sins.

Prologue. Throughout the Roman Empire there is a raid on Christians. Androclus and his wife Megera wander through the North African desert, they sold all their property and are now looking for where to hide from persecution. Vixen curses her husband all the way. Suddenly they meet a lion, which, however, does not show aggression and moans plaintively. Androclus notices that the lion pierced his paw with a big splinter and is not able to pull it out. Under affectionate words, to calm the beast, Androclus pulls out a splinter. A feline lion expresses his gratitude to him ^[5] .

The first act. Soldiers lead a party of captured Christians to the city gates of Rome, including Androclus, Lavinia, strongman Ferrovy and Spinto. The captain informs the captives that they will be immediately released if he agrees to sacrifice to the Roman gods, otherwise they will be executed in the Coliseum arena - men will be forced to fight the gladiators, and women will be given to be eaten by the lions. Especially persistently he tries to convince Lavinia, to whom he is indifferent, but the captive refuses. She explains that she cannot recognize false gods, this would be a betrayal of herself and surrender to the evil reigning in the empire.

Two aristocratic youths appear, one of whom, Lentulus, is trying to mock Ferrovy and gives him a slap in the face. Ferrovy conscientiously turns the other cheek, after which he takes Lentulia in an armful and persuades, to the accompaniment of his cries, to repent and become a Christian. Androclus anxiously asks Ferrovius: “Take it easy; to the latter, you broke your jaw. ” A fairly dented Lentulius is carried away in a deep faint ^[5] .

The second act. The same group of Christians in the Coliseum is preparing for a fateful entry into the arena. Spinto in horror renounces Christianity and runs to sacrifice to idols, but instead gets to dinner at the newly brought hungry lion. The emperor appears, admires the view of Ferrovius and offers him a place in his Praetorian guard. Ferrovy rejects the offer and enters the arena without armor, ready to die without resistance, but, excited by the battle, does not withstand and kills six of his opponents. The emperor in ecstasy promises to continue to take only Christians into the army. The captain, seizing the opportunity, seeks pardon from the emperor for Lavinia and other Christians. Ferrovy sadly agrees to join the guard: "The time of the Christian God has not come yet."

The public, however, is indignant and demands the number “Christian and lion”; Androclus is volunteered. At the sight of Androclus, the lion freezes, sniffs, recognizes, and again enthusiastically expresses its disposition towards it. The emperor from the lodge screams, demanding to kill the lion; the beast jumps into the imperial box and drives the monarch out. Androclus hardly restrains the lion and asks the emperor to speak in a friendly tone so as not to arouse the beast. The terrified emperor submits to death: “My dearest Mr. Androclus, my most dear friend, my newly-found brother! Come into my arms! (Hugs Androclus.) Oh, what a monstrous smell of garlic! ”Everyone parted, the man and the beast left free.

The play “Androclus and the Lion” is a metaphorical call for a radical restructuring of the European social system on an ethical basis. According to Shaw, early Christianity was a non-violent protest against an immoral, cruel and unjust system, and its goals were largely in tune with the modern Show's socialist movements. Accordingly, the persecution of Christians in the first centuries of our era had not religious, but socio-political goals, was "an attempt to stop the propaganda of the doctrine that threatens the established" legal "order of things." The show proclaimed in the epilogue to the play: “All those in whom the light is on, who, with their inner eyes, see the better world in the future, whose spirit seeks a more elevated and full life for everyone, and not for themselves at the expense of others, naturally inspire fear and therefore hatred of the Compromising owners ... My martyrs are martyrs of all times, my persecutors are persecutors of all times ” ^[6] .

In the print versions of the text of the play, Shaw placed a detailed (longer than the play itself) own analysis of the Gospels , entitled "Preface on the Perspectives of Christianity." Shaw later developed his ethical philosophy of “extra-church faith” in the plays “Back to Methuselah” and “ St. John ”. In his article in the Daily News newspaper (September 25, 1913), Shaw branded modern civilization for abominable things such as fighter wars, mass poverty, social inequality, work houses , compulsory military service, etc. Shaw concluded: “I don’t see how any sane person can claim that Christianity has advanced at least one inch since being crucified.” Christianity, in his opinion, suffered a historical defeat, capitulated to the forces of social evil ^[7] . In the afterword, written after the outbreak of World War I , Shaw especially condemned the "patriotic" priests who "serve Mars in the name of Christ to shame all religious humanity" ^[8] .

The critic P. Balashov noted the dramatic skill of the author, who skillfully uses the richest artistic palette, from touching drama to outright farce ^[9] .

The play was filmed three times.

1. 1946: Androclus and the Lion, .
2. 1952: Androclus and the Lion , .
3. 1984: Androclus and the Lion, Ronald Smedley.

In 1967, the Androclus and the Lion television musical production appeared in the USA, the music of which was written by Richard Rogers .

• Balashov P. The art world of Bernard Shaw. - M .: Fiction, 1982. - 326 p.
• Denninghouse F. Theatrical vocation of Bernard Shaw. - M .: Progress, 1978.- 328 s.
• Pearson, Hesket. Bernard Show. - Rostov-on-Don: Phoenix, 1997 .-- 544 p. - (Mark on history). - ISBN 5-222-00176-8 .
• Romm A. S. Comments on the play “Androclus and the Lion” // Bernard Shaw . A complete collection of plays in six volumes. - M .: Art, 1980. - T. 4. - 656 p.
• Hughes, Emrys. Bernard Show. - M .: Young Guard, 1968 .-- 288 p. - (The life of wonderful people).
• Bernard Show. Afterword to the play “Androclus and the Lion” // Complete collection of plays in six volumes. - M .: Art, 1980. - T. 4. - S. 171-175.