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THE LAW OF OIL
AND GAS IN
UGANDA
First Edition
First Edition
©2021
i
Isaac Christopher Lubogo
THE LAW OF
OI L A ND GA S
IN UGANDA
The right of Isaac Christopher Lubogo to be identified as the author of this book has
been asserted by him in accordance with the Copy right, Designs and Patents Act 2006.
All rights reserved. No part of this publication may be reproduced or transmitted in
whole or in part in any form or by any means, electronic or mechanical, including
photocopy, recording or any information storage and retrieval system, without
permission in writing from the author.
Published in Uganda by
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The Law of Oil and Gas in Uganda
CONTENTS
CHAPTER ONE ........................................................................................ 1
INTRODUCTION ........................................................................................................................ 1
HISTORICAL BACKGROUND OF OIL AND GAS ................................................................. 1
THE LARGE OIL COMPANIES UP UNTIL THE FIRST WORLD WAR, EARLY
COMPETITION ........................................................................................................................... 1
STANDARD OIL ......................................................................................................................... 1
THE OTHER AMERICAN OIL COMPANIES: GULF, TEXACO ............................................ 7
THE CREATION OF ANGLO-PERSIAN: THE ROLE OF THE BRITISH GOVERNMENT . 8
THE DEVELOPMENT OF PRODUCTION IN MEXICO AND VENEZUELA ....................... 9
BETWEEN THE WARS: THE ROLE OF THE STATE ........................................................... 10
CREATION OF THE CFP ......................................................................................................... 11
THE PROTECTION OF THE FRENCH PETROLEUM INDUSTRY ..................................... 12
BETWEEN THE WARS (2): COOPERATION AND COMPETITION BETWEEN OIL
COMPANIES. ............................................................................................................................ 13
THE TURKISH PETROLEUM COMPANY ............................................................................ 13
THE ACHNACARRY AGREEMENT ...................................................................................... 14
AFTER WWII: INCREASING OIL CONSUMPTION, NEW OIL COMPANIES, CREATION
AND DEVELOPMENT OF OPEC ............................................................................................ 15
AFTER 1945: A NEW RELATIONSHIP .................................................................................. 16
A. THE CREATION OF ENI BY ENRICO MATTEI .............................................................. 16
B. THE CREATION OF ELF, A SECOND NATIONAL FRENCH OIL COMPANY ............ 17
C. THE INSTITUT FRANÇAIS DU PÉTROLE (NOW IFP ENERGIES NOUVELLES) ....... 18
DEVELOPMENTS IN THE U.S.: QUOTAS, ISOLATION OF U.S. MARKET ..................... 18
FALLING PRICES AND THE CREATION OF OPEC ............................................................ 19
EARLY SIGNS OF THE OIL SHOCKS ................................................................................... 19
A. POLITICAL EVENTS .......................................................................................................... 19
B. ECONOMIC CLIMATE........................................................................................................ 20
THE FIRST OIL SHOCK .......................................................................................................... 21
NATIONALISATIONS ............................................................................................................. 23
THE CREATION OF THE IEA ................................................................................................. 23
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CHAPTER
INTRODUCTION
Standard oil
The history of petroleum from 1859 up to about 1960 is inseparable from that of the
big oil companies which formed and grew rapidly in order to seek, produce,
transform, transport and sell this precious liquid. The first company to become very
large in the oil sector belonged to John D. Rockefeller. He initially headed up a
wholesale business, one of whose products was petroleum, and built the first refinery
in Pennsylvania, then a second, progressively extending his activities to cover the
entire range of activities of the burgeoning petroleum industry. He acted according
to a number of simple but effective principles: control the various links in the
petroleum chain (storage, refining, transport, distribution infrastructure) and ensure
that they operate at minimum cost. Rockefeller eschewed production, which he
considered anarchical, preferring to buy in his crude, which was then available on
the market at a very competitive price.
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Isaac Christopher Lubogo
On 10 January 1870, he created Standard Oil together with his brother and some
friends. The name “Standard” reflected the desire to sell a product of constant and
high quality. After a decade of fierce struggle with his competitors Standard Oil
achieved a dominant position in the market, controlling 80% of the distribution of
the principal oil products, and in particular kerosene.
But the success—and size—of Standard Oil provoked defiance and hostility not only
amongst its competitors but also amongst some sections of the public and the
authorities. In order to defuse these attacks, the company formed itself into a trust in
1882. The shares in the various operating companies in the group were presented as
being no longer the property of a single company but rather as being held in trust on
behalf of their owners, the shareholders of the main company. The Standard Oil
Trust issued 700000 shares, distributed amongst its members; it received, in trust,
the shares of all the companies in the group (14 were totally controlled and 26
partially controlled). The group continued to be run by a small team led by
Rockefeller.
Against a background of rapid growth in the demand for lighting, heating, lubricants
and greases, Standard Oil continued to grow, maintaining its firm grip on the
refining, transport, distribution and retail of petroleum. After 1880 it felt the need to
increase its presence in oil production in order to guarantee its supplies of crude.
This strategy of developing its production capacity proved particularly judicious
when in 1888 a chemist employed by Standard Oil perfected a refining process
which permitted Sulphur to be removed from oil products, particularly kerosene.
Hitherto kerosene with a high Sulphur content had been impossible to sell because
of the odor produced when it burned. This invention meant that new high-Sulphur
crudes could be used.
Having become a trust in 1882, Standard Oil was forced to transform itself after anti-
trust legislation was enacted (Sherman Act, 1890). In 1899 a new holding company,
the Standard Oil Company of New Jersey, was created, bringing under its umbrella
all the companies then constituting the group.
The new company continued to represent a great concentration of power, attracting
hostility not only from the authorities, who sought to promote competition, but also
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The Law of Oil and Gas in Uganda
from some journalists and writers who probed the mechanisms used by the group in
its operations, criticizing its harmful aspects. A series of articles published at the
turn of the century by the journalist Ida Tarbell, subsequently compiled into a book,
“The history of Standard Oil”, had a tremendous impact. Eventually action was
taken in the courts, and in 1909 the Federal Court ordered the break-up of Standard
Oil. Despite delaying tactics employed by the company, the ruling was confirmed in
1911. The group divided up into 34 separate companies
– Some of the companies which emerged from the break-up of Standard Oil
include Standard Oil of New Jersey (now Exxon);
– Standard Oil of New York (Mobil, after merger with Vacuum and until its
merger with Exxon);
– Standard Oil of California (now Chevron);
– Standard Oil of Indiana (Amoco until its merger with BP in 1998;
– Atlantic Petroleum Company (Arco until its merger with BP);
– Continental Oil Company (now Continental);
– Ohio Oil Company (now Marathon Oil Company);
– Standard Oil Company (Ohio) (bought by BP, and now BP USA);
– Ashland Oil Company (now Ashland); – Pennzoil Company (now Pennzoil).
It should be noted that the mergers between Exxon and Mobil, and between BP,
Amoco and Arco further reduced by several companies the number of “offspring
companies” of Standard Oil
The strategy adopted by Standard Oil illustrates the constant concern of industry to
control the entire chain of its activity. Furthermore, this desire for control rapidly
translated itself into a financial obligation, the demands of technological and
industrial development imposing investments on companies which only the largest
could bear. This was conducive to the emergence of a vertically integrated and
oligopolistic industry. Although in the first twenty years of its existence the
petroleum industry was American, and dominated by Standard Oil, it rapidly became
an international industry, even though the U.S. continued to account for more than
half of world production until 1950. The growth in the consumption of kerosene,
followed by gasoline, diesel-oil, and fuel oil was a worldwide phenomenon. Not
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Isaac Christopher Lubogo
only Europe but also Russia and Asia became important markets. New oil companies
were created (e.g. Shell, Royal Dutch, Texaco, Gulf, Anglo-Persian, later to become
BP).
It had long been known that the Baku region was rich in oil. Travelers had been
struck by the permanent fires fueled by natural sources of petroleum. There was a
thriving trade in “naphtha” (nefte is the Russian word for petroleum) between the
shores of the Caspian and the Far East. It was transported by camel in goatskins. The
early discoveries of oil in the U.S. rekindled interest in the Baku resources, and
drilling commenced there in 1872 (Fig. 1.6). Oil production grew rapidly, attaining
1 Mt in 1889, 4 Mt in 1890 and 10 Mt in 1900. At that time this was half of world
production, and exceeded U.S. production. Among the first to buy up land on the
banks of the Caspian were Robert and Ludwig Nobel, brothers of Alfred, the
inventor of nitroglycerine and dynamite, and creator of the prize which bears his
name. They rapidly developed oilfields, refineries and transport facilities. They
arranged for the bulk transport of oil across the Caspian Sea, launching the first oil
tanker, the Zoroastra, in 1878, and became the largest producers in the region. Of
course a problem which rapidly presented itself was how the oil was to be
transported out of Azerbaijan, across Georgia to the Black Sea. The isolation of the
oil resources in the Caspian, already a critical problem at the end of the nineteenth
century, continues to be relevant to this day. In 1893 a railway was proposed to
connect Baku to Batum on the Black Sea, and a French financier Alphonse de
Rothschild was approached. The latter already had interests in the oil industry: the
import of kerosene from the U.S. and a refinery on the Adriatic. He agreed to
participate in financing the pipeline, and went on to establish a company, BNITO,
which was to become one of the largest in the region.
The Nobels and the Rothschilds rapidly sought to sell their product to external
markets: Europe and the East. While the Nobel brothers controlled much of the
Russian market, the Rothschilds were much more dependent on foreign markets.
The latter therefore turned to Marcus Samuel (Fig. 1.7), a London businessman
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The Law of Oil and Gas in Uganda
specialising in imports and exports, particularly the import of antiques and sea shells
from the Far East, in regard to the transportation of their products.
For many years there was fierce competition between Standard Oil and the Caspian
producers. But there was a rapid deterioration in economic and social conditions in
Russia, the Tsarist administration proving weak and inept. A revolution in 1905
failed, but in 1917 the Bolsheviks took power and overthrew the Tsar. During this
whole period the Baku region was being shaken by a whole series of strikes and
industrial unrest caused by the deplorable working conditions. One of the leaders of
these actions was a certain Jossef Djugashvili, later to become the notorious Stalin.
In the face of this situation, the Rothschilds decided in 1912 to sell most of their
interests to Royal Dutch Shell, which had been set up in 1907. In 1918 the new
Soviet regime nationalised the entire oil industry. Royal Dutch Shell lost 50% of its
oil supplies at a stroke. The last remaining Nobel was stripped of all his assets, which
Standard Oil of New Jersey nevertheless bought from him, doubtless convinced that
it would one day be able to resume operations on Russian territory. This hope was
dashed, because despite the adoption of a new and more liberal New Economic
Policy in the 1920s, none of the companies which had been nationalised ever
managed to resume any significant activity. Standard Oil of New York, on the other
hand, was later to contract to purchase Russian products.
By 1920, Russian oil production had fallen to 3 Mt/y, compared with 10 Mt/y at the
turn of the century. By 1930, however, it had regained the level it had enjoyed before
the outbreak of the 1914 – 1918 war, the government being in dire need of foreign
currency earnings from oil exports. These exports benefited from a small discount
relative to the international price.
As already mentioned, competition on the oil products market was stiff at the end of
the nineteenth century, and there was particularly fierce competition between
Standard Oil, the Nobel brothers and the Rothschild family.
In order to find new markets in the East the Rothschilds, seeking new transport
possibilities, turned, as we saw, to Marcus Samuel. In 1892 Samuel turned his hand
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Isaac Christopher Lubogo
to the oil sector, providing bulk transport of kerosene bought from Rothschild in
Batum on the Black Sea to Asia (Singapore and Bangkok via the Suez Canal (Fig.
1.8)). Marcus Samuel gradually built up his oil interests, and in 1897 he created the
Shell Transport and Trading Company Limited to manage these activities. The
company prospered, trading not only kerosene but also, after 1885 when Karl Benz
invented the internal combustion engine, gasoline.
In order to diversify his sources of supply, Marcus Samuel acquired concessions in
the Dutch East Indies (East of Borneo), where he produced crude which was refined
in a factory in the Balikpapan region. He also acquired interests in oil produced in
Texas from the Spindletop oilfield, discovered in 1901. Shell therefore became the
first company with oil sources throughout the world. Aware of the threat posed by
its competitor, Standard Oil attempted to buy Shell out, but was turned down by
Marcus Samuel.
The company Royal Dutch was developing at the same time. It was created in 1890
by Aeilko Gans Zijlker, a former head of the East Sumatra Tobacco Company who,
on discovering traces of a paraffin-rich petroleum on the island, decided to throw
himself into oil exploration.
After first drilling a dry well (without oil), he was successful on his second drilling
attempt. In June 1885 there was a gusher from the Telaga Tunggal 1 well in Sumatra,
which had been drilled to a depth of 121 metres; the oil well continued to produce
oil for another 50 years. Supported by powerful allies (including the Dutch King
Willem III, who granted him a royal seal), Zijlker founded the Royal Dutch
Company. When he died, several years later, his mantle was taken on by Jean-
Baptiste Auguste Kessler. A refinery with a capacity of 8000 bbl/d (400000 t/y),
about 50% of the production of which was kerosene, was commissioned in the
vicinity of the well (Fig. 1.9). Part of the production was exported, putting Royal
Dutch into direct competition with Standard Oil. From 1894, the latter made
attempts to capture Asian markets. It introduced millions of oil lamps onto Asian
markets (particularly China) at derisory prices, or even gave them away.
Competition was also intense with Marcus Samuel who owned a refinery virtually
next door to that of the Royal Dutch in Balikpapan.
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The Law of Oil and Gas in Uganda
Many attempts were made to combine Royal Dutch and Shell; and in 1902 a working
relationship was established whereby. Marcus Samuel became the Chairman and
Henry Deterding, who had taken over from Kessler on the latter’s death in 1899,
became Managing Director. Deterding also took on the day-to-day management,
which was his wish. The Rothschilds became associated with this new organisation
when the Asiatic Petroleum Company was created also in 1902, bringing together
these three interests who nevertheless retained their autonomy. It was not until 1907
that a more comprehensive agreement was signed between Royal Dutch and Shell.
In fact, this made Royal Dutch, based in the Netherlands, the senior partner, with
60% of the shares in the new company, Shell Transport and Trading, based in the
UK owning 40%. The formation of this new Anglo-Dutch group ushered in a new
chapter in the competition with Standard Oil. In order to avoid falling victim to the
power of the American company, Henry Deterding decided to gain a foothold in the
American market by buying the American Gasoline Company and the Roxane
Petroleum Company.
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Isaac Christopher Lubogo
This discovery had a number of consequences. First of all, the resulting glut of oil
led to a fall in prices. The large oil companies, including Standard Oil and Shell,
bought oil from Texas in order to take advantage of the low prices. But after 18
months the flow from Spindletop collapsed. In 1902 the Mellons raised further
capital and founded another integrated company, also called the Gulf Oil
Corporation. Their efforts were rewarded, because Gulf went on to become one of
the world’s largest oil companies.
Another company, the Texas Company or Texaco, was formed in 1901, based on a
production facility in Texas. Like its competitors, Texaco developed an integrated
structure, with a refinery in Port Arthur, a number of sources of crude and a
distribution network. The lone red star logo (the symbol of Texas) was increasingly
seen throughout the U.S. before embarking on the conquest of the world.
8
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Le origini del Teatro Tragico, facile è argomentarlo, sono comuni con
quelle del Teatro Comico: i due generi si vennero solo col progresso
di tempo separando, divisione poi compiutamente operata
allorquando il trovato de’ scenici ludi si sollevò all’onore dell’arte,
mercè le composizioni de’ poeti che si vennero sul teatro
rappresentando.
Tuttavia per taluni assegnare si vuole speciale carattere agli
incunaboli della tragedia, e se a’ principj della commedia satirica si
prestarono i cavalletti di Susarione, il primo arringo a quelli della
Tragedia si pretese riconoscerlo nell’Attica, nel carro di Tespi, forse
quello stesso carro, che i medesimi abitatori della campagna
valevansi ne’ giorni della vendemmia a portar uve e vasi vinarj.
La vecchia tradizione è consacrata ne’ seguenti versi del libro, o
epistola De Arte Poetica di Orazio, indirizzata a’ Pisoni:
Ipsa dierum
Festorum herboso colitur si quando theatro
Majestas tandemque redit ad pulpita notum
Exodium, cum personæ pallentis hiatum
In gremio matris formidat rusticus infans [51].
Di venticinque specie almeno si contavano le maschere della
tragedia: sei di vecchi, sette di giovani, nove di donne e tre di
schiavi, distinte tutte da una peculiare diversità di lineamenti, di
colore, di capellatura e barba.
Eravi poi la persona muta, sorta di maschera portata dall’attore, che,
pur figurando nel dramma, non parlava mai, come le comparse del
teatro moderno. Questa maschera aveva dunque la bocca chiusa e
non aveva espressione al pari delle altre.
Tanto negli scavi di Pompei che in quelli di Ercolano, si rinvennero
nelle pitture esempi di personæ, o maschere tanto comiche, che
tragiche, e che di semplici comparse e rispondono perfettamente a
quei cenni che son venuto adesso fornendo.
Ho accennato più sopra che la maschera aggiungeva altresì valore
alla voce: infatti essa la rendeva più sonora, quasi raccogliendola
nell’emissione, come faremmo noi al bisogno di più grande clamore,
che portiamo le mani intorno alla bocca. Un attore tragico
domandava una forte e tonante voce, perchè dice Apulejo, il
commediante recita e l’attor tragico grida a tutta possa. Nè
diversamente intese dire Cicerone, quando nella enumerazione delle
doti necessarie all’oratore, chiede ch’egli abbia la voce d’attor
tragico: In oratore autem acumen dialecticorum, sententiæ
philosophorum, verba prope poetarum, memoria juriconsultorum,
vox tragœdorum, gestus pene summorum actorum est
requirendus [53]. — Vedrà facilmente il lettore quanta modificazione
avesse in progresso, e massime a’ tempi nostri codesto requisito; il
quale or vuolsi risponda alla vera naturalezza.
Seconda invenzione di Eschilo, al dire di Orazio, fu la palla, o con
più proprio vocabolo greco, pur serbato dai Romani, la sirma, Συρμα,
ed era la tunica che l’attor tragico portava lunga sino ai talloni,
sostenendo le parti di personaggi eroici o divini. Era essa intesa a
dare grandezza e dignità alla persona, e nascondeva la
sconveniente apparenza dello stivale tragico, cothurnus, ad alta
suola. Giovenale vi accenna nella Satira VIII, quando così apostrofa
Nerone:
Hæc opera atque hæ sunt generosi principis artes,
Gaudentis fœdo peregrina ad pulpita saltu
Prostitui, Graiægue apium meruisse coronæ.
Majorum effigies habeant insignia vocis:
Ante pedes Domiti longum tu pone Thiestæ
Syrma vel Antigones, seu personam Menalippes,
Et de marmoreo citharam suspende colosso [54].
Questo coturno poi era uno stivale portato dagli attori tragici sulle
scene, il quale aveva una suola di sughero alta parecchi pollici,
all’intento di far comparire, egualmente che la sirma, più grande la
loro statura ed aggiungere loro un più imponente aspetto. Da siffatta
consuetudine originò la frase sumere cothurnum, calzare il coturno,
per indicare tanto l’attore tragico, che il poeta che componeva
tragedie. Questa promiscuità d’indicazione fu motivata allora, come
fino a’ tempi moderni, da ciò che più spesso il poeta era anche
l’attore. Già, pur allora, ne accennai implicitamente nel parlare di
Livio Andronico; come dei tempi moderni può recarsene ad esempio
Shakespeare.
L’uso del coturno nella recitazione della tragedia vuolsi
generalmente introdotto da quell’altro sommo poeta tragico greco
che fu Sofocle; onde scambiasi, per metonimia, fin nel linguaggio
d’oggidì, coturno sofocleo bene spesso par tragica composizione.
Virgilio l’usò in un’egloga ad esprimere la severità o sublimità dello
stile, parlando de’ versi di Cornelio Gallo, al quale quel
componimento è diretto:
Il teatro Tragico era situato sul declivio di una collina, sulla sommità
della quale si trova il lungo e vasto portico accommodato a ricevere
gli spettatori in caso di pioggia, potendo all’uopo anche servire di
passeggio, e di lizza per gli esercizi ginnastici. A differenza del
Comico, era esso scoperto al pari dell’anfiteatro e della più parte dei
teatri d’allora, massime di Roma; onde notai come particolarità
quella dell’Odeum pompejano d’essere stato coperto, riferendo anzi
a prova l’iscrizione che l’attesta, ma che d’altronde non può dirsi che
fosse l’unico nella Campania, avvertendoci Stazio che pur in Napoli,
dei due teatri, l’uno fosse coperto e l’altro no, in quel verso:
Sotto la seconda cavea dovevano trovarsi tre statue, delle quali due
esser dovevano indubbiamente degli Olconii, Celere e Rufo, alla cui
spesa erasi eretto il teatro.
Una particolarità poi offre l’orchestra del teatro tragico in un
piedistallo, o piuttosto altare, su cui, a norma della costumanza
greca, — e della Grecia molti usi osservavansi, più che altrove
dell’orbe romano, in Pompei, — sacrificavasi a Bacco prima di dar
principio allo spettacolo. Chiamavasi con greco vocabolo thymele o
thimela, θυμελη, e serviva altresì ad altri usi, come anche di
monumento funebre, o di qualunque altro oggetto richiesto nella
rappresentazione drammatica, nascondeva il suggeritore che stava
di dietro, mentre il suonatore di flauto (tibicen) e qualche volta il capo
del coro prendevan posto su quello. In un teatro strettamente
romano non v’era thymele, perchè ivi l’orchestra fosse interamente
destinata ad accogliere gli spettatori, al pari della nostra platea [83].
Al sommo di ciascuna sala eranvi le porte, vomitoria, cui si giungeva
per mezzo di corridoi e scale praticate internamente.
Il proscenio presenta sette nicchie semicircolari per i tibicini e nella
parte anteriore corre tutto per il lungo quella cavità dell’hyposcenium,
da cui sorgeva l’aulæum, o sipario della tragedia.
Altre particolarità non si notano che il Gran Teatro distinguano
dall’Odeum, ove non s’eccettui la prospettiva della scena ch’era
costituita da tre ordini di colonne, l’uno sull’altro, con eleganti basi e
capitelli di marmo e sei statue saviamente collocate. Sembra che
anche questo publico edificio fosse stato ben danneggiato dal
tremuoto del 63 e che si trovasse nel momento della catastrofe del
79 in istato di riparazione, perocchè la scena che evidentemente
doveva essere rivestita di marmi ed altre decorazioni, se ne presenti
ora affatto spoglia. Delle tre porte ordinarie che la scena si aveva, e
che qui sono maestose, aperta quella di mezzo, secondo l’uso, nel
fondo di un emiciclo, chiamavasi regia, perchè di là uscivano i
principali personaggi della tragedia: le due laterali appellavansi
hospitalia. Fiancheggiano la porta di mezzo due nicchie che
contenevano le statue di Nerone e di Agrippina.
Piacemi finalmente tener conto di ciò che afferma il Rosmini nella
sua Dissertatio Isagogica, altre volte da me citata, che cioè questo
teatro fosse stato aperto al publico, od almeno dedicato ad Augusto
nell’anno vigesimosecondo del tribunato di questo imperatore [84].
Frammenti di statue di marmo, lapidi con iscrizioni, tegole ed
embrici, e pezzi di legno carbonizzati si rinvennero dalla parte del
Foro Triangolare, e il complessivo giudizio che dalle interessanti
reliquie è dato di formulare, può sicuramente mettere in sodo che a
questo loro teatro avessero i Pompejani ad aggiungere grande
importanza, se gli Olconj vi credettero portare enormi dispendj; tanta
vi pare la magnificenza e la perfezione dell’arte.
Quali fossero le tragiche composizioni che a questo teatro venissero
rappresentate cerchiamo ora coll’usata rapidità d’indagare.
Se ci fosse lecito di mettere il teatro pompejano a fascio cogli altri
teatri d’Italia, mi trarrei presto e facilmente d’impegno, dicendo che a
siffatto teatro si rappresentassero, nè più nè meno che ai teatri di
Roma, le tragedie de’ latini scrittori, e mi avverrebbe allora di
ricordare i nomi de’ più celebrati poeti; ma gli scavi ed oggetti teatrali
rinvenuti mi impongono obblighi maggiori.
Sappiamo che Andronico lasciò diciannove tragedie, comunque
appena qualche frammento sia rimasto superstite e giunto fino a noi,
e di questo autore ho già parlato altrove abbastanza: egual numero
ne lasciò Marco Pacuvio, e Quintiliano le loda per profondità di
sentenze, nerbo di stile, varietà di caratteri, sebbene la critica
moderna più severa, nel poco che ci è pervenuto, giudichi non esser
concesso ravvisare che liberissime imitazioni in istile oscuro e senza
armonia. Lucio Accio alla sua volta ne compose e raffazzonò di
molte, fra cui il Bruto e il Decio, soggetti patrizi che recitavansi
ancora ai tempi di Cicerone e più volontieri venivano lette, e
dell’Atreo, che Gellio scrisse aver Accio, giovanetto ancora, letto in
Taranto a Pacuvio, pur lodandolo di grandiose e solenni cose scritte,
non gli tacque di altre sembrargli dure alquanto ed acerbe; al che
avesse a rispondergli: non dolere ciò a lui, e trarne anzi auspicio di
buon avvenire, per accader degli ingegni quello che delle mele, che,
se nate agre e dure, divengono poscia tenere e succose; ma se
spuntino tenere e succose, col tempo, non mature ma vizze si
rendano e corrotte [85].
Di Gneo Nevio campano già dissi nel precedente capitolo del pari;
ora ricorderò Quinto Ennio Calabrese, che scrisse tragedie e
commedie non poche, che predicava di sè aver ereditato l’anima di
Omero, Cassio Severo, Varo da Cremona e C. Turrano Graecula
rammentati, a cagion d’onore, da Ovidio, come autori di buone
tragedie [86]; ma più vorrei intrattenermi di Asinio Pollione, che fu
riconosciuto siccome il più celebre tragico latino: ma che dirne, se
nulla di lui, come degli altri sunnominati, sopravisse? Istessamente
della Medea, che si sa avere scritto Ovidio stesso, della quale egli
nel libro secondo Dei Tristi, dopo avere ricordato i libri dei Fasti, i sei
ultimi dei quali o non iscrisse, come crede il Masson, o andarono
perduti, soggiunge:
Se non che, oltre la Medea, più altri lavori sembra che Ovidio abbia
scritto pel romano teatro; fra i quali certo la Guerra de’ Giganti,
com’ei ce ne avverte nell’elegia I degli Amori:
Ausus eram, memini, cœlestia dicere bella
Centimanumque Gygen; et satis oris erat [90].
Si gloria egli stesso che molte volte fossero rappresentate anche alla
presenza d’Augusto [91], e continuassero a rappresentarsi con
grande concorso anche dopo il suo bando [92].
Nè di più posso dire del Tieste di Vario, che a giudizio di Quintiliano
cuilibet Græcorum comparari potest [93], e che Orazio nell’Arte
Poetica mette con Virgilio a paro.
Alcune tragedie, gonfie di declamazioni e mancanti di quel che
appunto costituisce il dramma, che è l’azione, raccolte in volume,
vengono tuttavia spacciate sotto il nome di Lucio Anneo Seneca da
Cordova. Esagerazioni, passion falsa, caratteri atroci, furori,
situazioni improbabili sono difetti comuni a queste composizioni, alle
quali non ponno tuttavia negarsi ben coloriti racconti, spesso maschii
concetti e qualche buona sentenza, laconiche e concettose parole.
Nella Medea, a cagion d’esempio, quando la nutrice la compiange
perchè più nulla le sia rimasto:
Nell’Ippolito, Teseo chiede a Fedra qual delitto creda dover ella colla
morte espiare:
Fedra risponde:
Venient annis
Sæcuta seris, quibus Oceanus
Vincula rerum laxet, et ingens
Pateat tellus, Tethysque novos
Delegat orbes; nec sit terris ultima Thule [96].