The painting is part of the Louis XVI collection and is currently in room 75 on the 1st floor of the Denon Gallery in the Louvre. Code: INV. 3692.
The picture is based on the story of the Roman historian Titus Livy, according to which three brothers from the Horatii clan were chosen to fight the three best warriors of the hostile city of Alba Longa to Rome - the Curiatii brothers. David captures the moment when three brothers, raising their hands in the Roman salute, vow to conquer or die, while their father hands them battle swords. On the right is a group of mourning women: in the distance the mother of the Horatii bends over her two grandchildren, closer is the sister Camilla, the bride of one of the Curatii, and Sabina, the sister of the Curatii and the wife of one of the Horatii. Three arches are visible in the background, each of which corresponds to a group of figures: the right - to a group of women, the left - to brothers, central to father with swords. David carefully thought out the composition of the picture, the “choreography” of the characters and the play of light, which concentrates the viewer’s attention in the center of the picture, revealing a moral atmosphere of such extraordinary strength that suffering recedes before it.
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| Sketch of the Oath of the Horatii: Old Horace , 1783 |
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| 58.2×36.2 cm | |
| Musee Bonnat, Bayonne |
Thus, David in this picture contrasts the ideals of patriotism, citizenship and self-sacrifice for the sake of the homeland of men with the suffering and sentimental weakness of women.
Background
Rome was originally a colony of Alba Longa, the main city of the Latin Union. However, within 100 years, by the end of the 7th century BC. e., Rome rose in power, while Alba Longa began to gradually lose its importance. This was the reason that none of the Latin cities came to the aid of Alba Longa during the war with Rome. The reason for the war was mutual border raids and robberies. Just at that time, Gaius Cluilius, the king of Alba Longa, died, and its inhabitants invested Meta Fufetius with dictatorial power. After waiting for some time, the armies of Rome and Alba Longa met in the open field. However, Met Fufetius summoned Tullus Hostilius to negotiations and warned him that civil strife would weaken both cities, and the discord between Rome and Alba Longa could lead to both of these cities being enslaved by the Etruscans. Therefore, it was decided to determine the winner through single combat of several selected soldiers. That's how it happened legendary battle between the three brothers Horatii and Curiatii from the side of Rome and Alba Longa respectively. The Horatii were victorious, and Alba Longa was forced into an offensive alliance with Rome against the Etruscans.
History of the painting
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Art encyclopedia
The story of Titus Livy and the painting by Jacques Louis David “The Oath of the Horatii”
The series of essays that we bring to the attention of readers is devoted to subjects borrowed by artists from literary sources. When talking about the subjects of European painting, we will more than once have to turn to literary monuments, just as the artists themselves did when choosing themes for their paintings and engravings. Without knowing the sources, we are unable to understand many stories. The main problem for an artist using literary material when creating a picture, lies in how, through the means of painting - spatial art - to convey images of temporal art, which is literature. In other words, as a series of sequential events
A simple list of literary monuments important for understanding European painting would take many pages. And this is only for subjects that have become widespread, that is, those that many artists have written about. To this we must add subjects that appear, perhaps, in only one artist and in a single work, but if you do not know the literary program, the picture will remain incomprehensible. It is quite obvious that there are a lot of such works. In art history there is a separate and very important science - iconography, which deals with the study of plot material and reveals to us literary programs paintings.
D For the first essay, we chose a plot called “The Oath of the Horatii.” In essence, it may seem random, since both literature and painting know a very large number of such subjects. We settled on it because one of Jacques Louis David's sketches for this painting is presented in State Museum Fine Arts named after A.S. Pushkin in Moscow at the exhibition “Faces of History”, dedicated to the festival “December Evenings 2009”.
It is difficult to say with certainty what comes to mind first when we mention the Horatii family - the painting by Jacques Louis David “The Oath of the Horatii” or the dramatic story of the ancient Roman historian Titus Livy about the establishment of the rule of Rome. Probably, after all, the painting of David is better known. But it is impossible to understand it in its entirety of psychological allusions without knowing Livy’s story. So we'll start with a story.
Jacques Louis David. Oath of the Horatii. 1784. Louvre, Paris
Titus Livius (c. 59 BC - 17 AD) - Ancient Roman historian, born in Padua. His History of Rome from the Founding of the City consisted of 142 books, of which only 35 have survived. He described all types of moral government - good and bad; its characteristics gave artists numerous subjects for painting.
The story of the battle of the Horatii with the Curiatii, on the basis of which the painting by Jacques Louis David was created, is contained in the first book of the History of Rome. This story was reworked by Charles Rollin in his 16-volume Roman History (1761–1767).
Almost simultaneously with the French edition, this work was published in the 60s. XVIII century published in Russian, translated by V.K. Trediakovsky.
J.L. David relied on Rollin’s presentation as literary text for your painting. In characterizing the picture and its plot, we will start from the original source - the story of Titus Livy.
In accordance with the program drawn up in 1776 by the Count of Anjivillier, director of the Office of Royal Buildings, it was planned to create a series of large historical canvases “designed to revive virtues and patriotic feelings.” For this series, Jacques Louis David was supposed to paint a picture based on the plot of the battle between the Horatii and the Curiatii.
Here is the beginning of this story from Titus Livy:
There were then three twin brothers in each army, equal in age and strength. These were, as everyone knows, the Horatii and the Curiatii, and there is hardly a tradition of antiquity more widely known; but even in such a clear matter there was not without confusion about which people the Horatii belonged to, which Curiatia. Writers disagree, but
most of
, as far as I can judge, calls the Romans Horatii, and I would like to join them. The kings turn to the twins, inviting them to draw their swords - each for his own fatherland: whichever side will get power, which will lead to victory.
There are no objections, they agree on a time and place. Before the battle began, a treaty was concluded between the Romans and the Albanians on the following terms: whose citizens would win the battle, that people would rule peacefully over the other. It should be noted that in the extensive history of this drama, Titus Livy makes no mention of the oath that the Horatii take, that is, of the moment that David depicted. It can be assumed that a similar oath was taken by the Curiatia; we, however, do not know of paintings depicting events from the perspective of the Curiatii. And initially the artist intended to paint a picture illustrating another moment in history - the speech of Horace the father in defense of his son (more on this below).
They give a sign, and six young men with weapons at the ready, three at a time, like two formations, converge, having absorbed all the ardor of two large armies. Both of them think not about the danger that threatens themselves, but about the domination or slavery that awaits the entire people, about the future fate of their fatherland, which is now in their own hands. As soon as the shields clashed in the first clash, the shining swords flashed, a deep trembling seizes everyone, and, while nothing encourages either side, the voice and breath freeze in the throat.
Giuseppe Cesare. Battle of the Horatii and the Curiati.
Fragment. Capitoline Museum, Rome
As a result of the duel, only one of the Horaces survived, as we see in the painting by Giuseppe Cesare, although, according to the story of Titus Livy, everything did not look quite like that: the victorious Horace dealt with his enemies, using special battle tactics. So Rome was declared the winner.
The circumstances of this battle are very interesting. They have more than once served as material for analyzing the tactics of military combat. Titus Livy writes:
When the fighters came chest to chest and one could already see not only the movement of bodies and the flashing of blades and shields, but also wounds and blood, three Albanians were wounded, and two Romans fell. Their death brought out a cry of joy from the Albanian army, and all hope had already abandoned the Roman legions... they lamented the fate of the latter, who was surrounded by three Curiatii. By chance, he was unharmed, and if he is powerless against everyone together, he is formidable to everyone individually. In order to separate the opponents, he takes flight, calculating that the pursuers will run as far as each wound will allow. He had already run some distance away from the battlefield when, looking back, he saw that those catching up were separated by considerable intervals and one was very close.
So, before the last one, who was not far away, could arrive, he finishes off another Curiatius: and now the military happiness was equal - the opponents were left one on one, but they had neither hopes nor strength.
The Roman, safe and sound, having won a double victory, was formidable, going into the third battle; the Albanian, exhausted from the wound, exhausted from running, broken by the sight of the death of his brothers, obediently falls under attack. And that was not a fight. The Roman exclaims, rejoicing: “I have sacrificed two to the shadows of my brothers, the third I will give to the altar of the cause for which this war is being fought, so that the Roman may rule over the Albanian.” With a blow from above, he plunges the sword into the throat of the enemy, who can barely hold the shield; removes the armor from the fallen.” The drama of this battle is aggravated by the fact that these two families - the Horatii and the Curiatii - not only represented warring tribes, but, according to ancient tradition , the Horace brothers were cousins
To the curiatians.
It was believed that their mothers were sisters from Alba Longa (a city founded three hundred years before Rome). The great French playwright of the 17th century. Pierre Corneille, who wrote the play “Horace” in 1639, makes one of the plots of the drama precisely the blood ties connecting these two families, who find themselves in enemy camps. According to Corneille, Sabina is the wife of Horace (the winner) and the sister of the Curatii, while Camilla is the lover of one of the Curiatii brothers and the sister of the Horatii. Corneille expressively described the moral suffering experienced by heroes connected by blood ties because of clan enmity.
Sabina's monologue (act I, scene 1):
Sabina
Horace is a Roman. Alas, custom is right. I became a Roman, becoming his wife.,
But I would like a cruel marriage
slavery was
When in Rome I would forget about my homeland.
O Alba, where the light first flashed before our eyes!
How tenderly I loved her from childhood!
Now we are at war, and our troubles are grave;
But for me, defeat is not harder than victory.
Let the enemy's sword rise against you, O Rome,
Which could ignite hatred in me! But the army of Alban will fight with your army,,
In one of them my husband, in the other -
siblings
Do I dare bother the immortal gods?
Is it criminal for them to beg you to give you victory?
I know: your power is still young,
And her warlike glory will strengthen her,
And the high rock told her to step over
The Romans greeted Horace with jubilation and congratulations, and the greater was their joy, the closer they were to despair.
Both sides began burying their dead, but with far from the same feelings - after all, some prevailed, while others lost. The tombs can still be seen in the very places where each fell: two Roman ones together, closer to Alba, three Alban ones at a distance, closer to Rome, and separately - exactly as the fighters fought.
The tomb and the story of Titus Livy have inspired many artists.
1754. Richard Wilson. Landscape with the tomb of the Horatii and Curiatii at Tivoli. National Museum Western art
, Tokyo Unknown artist
XVIII century.
Mausoleum of the Horatii
Horace the winner, seeing that his sister Camilla, betrothed to one of the Curiatii, was grieving for her lover, the enemy of their family, became indignant. (Note that the outburst of anger of the victorious Horace is difficult to explain, since he also had a wife from an enemy family.)
big picture 1824.
- “The death of Camilla, Horace’s sister”, before reaching the age of 22. The painting was exhibited in 1824 in Rome, in the Capitol, and brought the author considerable fame. She appeared in St. Petersburg only ten years later. For her, Bruni received the title of academician.
F. Bruni. Death of Camilla, Horace's sister.
State Russian Museum, St. Petersburg
Horace the winner, accused of murder - without trial or investigation - of a free Roman woman, such as Camilla's status, was sentenced to death. This was the Roman law. But the execution of the sentence was suspended following an appeal by his father.
At the trial, Publius Horace the father especially deeply touched those gathered, declaring that he considered his daughter rightfully killed: if it had happened differently, he himself would have punished his son with his father’s authority. Then he asked everyone not to leave him, who had so recently had an abundance of offspring, completely childless. Embracing the young man and pointing to the armor of the Curiatians, nailed to the place that is now called “Horace’s Spears,” the old man said: “Can it be, Quirites, that you can see the same one who was just seen entering the city in honorable attire, triumphant in victory, with a block?” on the neck, tied up, between whips and a crucifix? Even the eyes of the Albanians could hardly bear such an ugly sight! Go, lictor, tie the hands that only recently, armed, brought the Roman people dominion. Wrap the head of the liberator of our city; hang him from the ominous tree; cut him, even inside the city limits - but certainly between these spears and enemy armor, even outside the city limits - but certainly between the graves of the Curiatians. Wherever you take this young man, everywhere honorary distinctions will protect him from the shame of execution!”
The people could not bear either the tears of their father, or the calmness of the spirit of Horace himself, equal to any danger - he was acquitted more out of admiration for valor than in justice.
It should be admitted that David’s drawing vividly conveys the whole range of feelings of Horace the father.
This plot was popular not only in painting. It is known as the theme of the works different arts and genres.
The bronze clock clearly demonstrates the popularity and influence of Jacques Louis David's painting: it is decorated with characters from his Oath of the Horatii. However, it should be noted that the decorative plot here also includes the scene of the battle and the victory of one of the Horatii. This can be seen in the bas-relief on the base (pedestal) of the clock.
Watch “Oath of the Horatii”. OK. 1805 Bronze. Paris
Livy's story became the basis for two dramatic works: in addition to P. Corneille, already in the 20th century this plot was used by Bertolt Brecht in the play “Horaces and Curiaces”. The play was written in 1934, it completed the cycle of “educational”, or “instructive”, as Brecht himself designated them, plays. Professor Hans Mayer, a researcher of the writer’s work, defines the idea of this play as follows: “The ability to think is more important than material superiority. Temporary victories should not lead to premature rejoicing, it’s all about the final victory. And defeats can be turned into victories.”
At least three operas were written based on this plot. Their authors were (by the way, all Italians):
Domenico Cimarosa. Opera “Horaces and Curiaties”. Written to a libretto by Antonio Sografi based on the tragedy of Pierre Corneille. The first performance took place at the Venetian Teatro La Fenice on December 26, 1796. The opera was a failure at the premiere, and the disappointed Cimarosa immediately left the city. But the very next performance was a huge success. In total, the opera was performed 48 times during the season. Soon it was staged in Paris and then went around all the major European stages.
Antonio Salieri. The opera “Horaces” (1786) was written for Paris, where J.L. David’s painting had been delighting for two years. The name Salieri was also well known here, although his work was greeted coolly, which did not deprive the composer of the public’s trust.
Giuseppe Saverio Raffaele Mercadante. Opera “Horaces and Curations” (1846). Written in the genre lyrical tragedy
with a libretto by Salvador Sammorano based on a story by Titus Livy.
The premiere took place on the stage of the Teatro San Carlo in Naples.
There is no doubt that the artists, choosing moments of this story for the picture, took it for granted that the audience knew the story of Titus Livius, and in their imagination one scene was either an oath of brothers, or a moment of battle, or the murder of a sister by a brother, or a passionate speech Horace the Father - will resurrect the heartbreaking story in its entirety. This knowledge enriches our perception of a particular picture, and its semantic “overtones” should resound in our consciousness.
The theme of the Horatii, well known in France since the time of Corneille, immediately attracted David. He only hesitated for a long time which of the moments of the legend he should choose for his painting. Finally, he settled on the moment of the oath. A legendary episode from ancient Roman history tells that during the struggle between Rome and Albalonga, three twin brothers from the Horatii clan had to go to a mortal duel in order to decide the outcome of the feud between the warring cities. Oath of the Horatii. Jacques Louis David. Horatiev-Camilla. Thus, David had to give an answer on how to act when there is an irreconcilable contradiction between civic duty and the personal feelings of people. He could have emphasized their hesitation, shown the strength of their family attachments. But the artist’s intuition, the fidelity with which David always captured public moods, unmistakably told him correct solution. No hesitation, everything personal should recede into the background.
Sketches and drawings indicate that the artist, having settled on the plot, did not immediately find what he needed compositional structure: the contrast of women plunged into despair with the courageous figures of the Horatii, taking an oath with swords. David’s words that “a single feeling can be expressed by only one gesture” explain to us the main effect of the picture: the rhythmically repeating movement of the Horatii’s hands, the friendly turn of the heads and the decisive step towards the swords, emphasizing the commonality of their aspirations.
As if in ancient bas-reliefs, all participants in the scene are located in the foreground, parallel to the edge of the picture. By thus narrowing the space in which the action unfolds, David finally abandoned the old pictorial traditions of the 17th century. with their desire for maximum depth of construction.
The tripartite division of the architectural background with the Doric arcade corresponds to three semantic groups compositions: the Horace brothers on the left, their father, old Horace, holding swords, in the center, and a group of women and children (mothers, younger Horaces and their sisters Sabina and Camilla) on the right. As a result, the entire construction of the picture receives extraordinary clarity and thoughtfulness. An accurate drawing that attracted attention even more early works David, here reaches exceptional completeness, just like the cut-off volumetric modeling. Color, more local than in Belisarius, is completely subordinated to plastic modeling. The forms are interconnected not so much by the relationship of colorful tones, but by the rhythm of volumes and lines. The interpretation of faces and figures also receives even greater generalization and rigor. The character of the painting, stern and rhetorical, corresponds to the civic pathos of the theme.
The success of the Oath of the Horatii at the Salon of 1785 exceeded all expectations. The call contained in the picture to sacrifice the personal for the sake of the public in this pre-revolutionary period was greeted with enthusiasm by the French. I liked both the plot and the expressive art form. The picturesque frivolity of Rococo has long been considered outdated. Could no longer satisfy the viewer and those deprived active action paintings by Chardin, and works by Greuze glorifying family virtues. With the advent of the "Oath of the Horatii" in French art a direction was finally formed, usually called revolutionary classicism in art history.
The allegorical nature and rejection of modern historical concreteness inherent in this movement gave at that time a wide opportunity for embodiment in visual images abstractly, according to the bourgeois understanding of the ideas of “freedom” and “equality”. The constant support of classicism was an appeal to antiquity. This style was not, in essence, something completely new for France, but was a kind of revival on another historical stage traditions of classicism that arose in the first decades of the 17th century.
In the name of why the French bourgeoisie, at the approach of the revolution, draped itself in an ancient toga, Karl Marx revealed with great depth in his work “The Eighteenth Brumaire of Louis Bonaparte”: “In the classically strict traditions of the Roman Republic, the gladiators of bourgeois society found ideals and art forms, illusions they need in order to hide from themselves the bourgeois-limited content of their struggle, in order to maintain their inspiration at the height of the great historical tragedy.”
There is no doubt, however, that for the “gladiators” of these events themselves, one of whom was David, subjectively everything that happened seemed not relative and historically limited, but absolutely significant and truly great.
The term classicism is usually used to describe art, the main features of which are an emphasized ideological purposefulness, an indispensable focus on ancient monuments, rationalistic method in creating artistic image, a logically clear construction of the composition, a tendency towards strict selection and generalization of forms and plastic modeling of volumes, and hence the predominance of clear drawing and light and shadow modeling over coloristic tasks. Works of classicism are always characterized by a thoughtful rhythm in the movements of figures and often pathetic poses and gestures. All this as a whole creates that strict normativity of each element of the picture, which is the basis of the classicist system.
But, just like not. there is something abstractly understood, divorced from concrete reality artistic style, so classicism does not exist outside of time and space. While retaining a number of common, usually external features, the classicism of each given era, not to mention the classicism of different countries, is a deeply unique phenomenon, which has its own historical background and their individual manifestations.
In France, classicism was formed during the period of the final establishment and flowering of absolutism, that is, in the second and third quarter of the 17th century. The French state, which had become united and strong, then sought to create great national art.
Without dwelling here on all the richness of the phenomena of French artistic life of that time, it should only be noted that her highest achievements were the classical paintings of Nicolas Poussin, heroic images tragedies of Corneille and Racine and grandiose in scope of all types visual arts the ensemble of Versailles, in which the features of classical severity are combined with the lush decorativeness and pomp required by the court.
Poussin, who spoke during the period of national upsurge, expressed in his work the most progressive aspirations of the era, creating majestic images full of heroism. Large and deep feelings and thoughts concerning many aspects of human existence - this is what constitutes the essence of Poussin’s paintings. His heroes are always endowed with sublime moral qualities. Outwardly, Poussin presents them as close to the images of ancient art. Hence his appeal to antiquity, deep and organic.
It would seem natural, at first glance, to call Poussin the direct predecessor of David. However, this is unlikely to have deep foundations, and indeed the whole classicism XVII V. cannot be considered as something that directly prepared the classical doctrines late XVIII centuries. Both artists stand at the head of two temporally separated stages of French classicism, which developed in completely different historical conditions.
To be continued…
I chose this picture because it is very interesting legend formed its basis. And we are familiar with the artist. We discussed two of his works: “The Coronation of Napoleon” and “The Rape of the Sabine Women.”
"Oath of the Horatii"- painting by a French artist Jacques Louis David , written by him in 1784 in Rome . IN next year the painting was exhibited in Paris and brought unprecedented success to the artist. “The Oath of the Horatii” became an example of the school of French that was emerging at that time neoclassicism.
STORY:
Initially, Rome was a colony of Alba Longa, the main city of the Italian Union. However, over the course of 100 years, Rome rose to prominence, while Alba Longa began to gradually lose its importance. The reason for the war was mutual border raids. After waiting for some time, the armies of Rome and Alba Longa met in the open field. However, Met Fufetius summoned Tullus Hostilius to negotiations and warned him that civil strife would weaken both cities, and the discord between Rome and Alba Longa could lead to both of these cities being enslaved by the Etruscans.
Therefore, it was decided to determine the winner through single combat of several selected soldiers. This is how the legendary battle took place between the three brothers Horace and Curiatius, from the side of Rome and Alba Longa, respectively. The Horatii were victorious and Alba Longa was forced into an offensive alliance with Rome against the Etruscans.
Sketch.Horace Brothers.
DESCRIPTION:
David captured the moment when three brothers raised their hands in Roman greeting , vow to conquer or die, and their father hands them battle swords.
The Horatii's opponents are their childhood friends. One of them is engaged to the Horatii sister. Going into mortal combat, the brothers swear an oath to their father to protect the fatherland. They are unshakable and decisive in their noble impulse, emphasized by the unity of broad, energetic gestures. The father blesses them for their feat. David's heroes are free from contradictions and doubts. Their passions are subordinated to will and reason. They go to battle believing in the triumph of justice.
On the right is a group of mourning women: in the distance the mother of the Horatii bends over her two grandchildren, closer is the sister Camilla, the bride of one of the Curatii, and Sabina, the sister of the Curatii and the wife of one of the Horatii. Three are visible in the background arches , each of which corresponds to a group of figures: the right - to a group of women, the left - to brothers, the central one to a father with swords.
Camilla. Sister of the Horatii, bride of one of the Curatii.
Sabina is the sister of the Curatii, the wife of one of the Horatii.
At the beginning of the battle, all the Albanians were wounded, and two Romans were killed. The last of the Horatii deliberately fled. When the pursuers were separated due to their wounds, Horace fought with each individually and quickly defeated them. Thus the Horatii were victorious, and Alba Longa was forced to enter into an offensive alliance with Rome against the Etruscans.
Tombs Horatii and Curiatiaccording to Livy, it was possible to see even in his time; two Roman ones together, and three Albanian ones separately - in accordance with the place in the field the brothers were killed.
Old Horace.
“The Oath of the Horatii” is a strange and wonderful picture: strange because of a certain uncertainty of what it still tells us about. Her place in history is enormous - she foresaw the rising moods in society, clearly articulating their essence. David said that he took the plot from Corneille and the form from Poussin. Having attended a performance of Pierre Corneille’s tragedy “Horace,” which told about the conflict between love and duty, David first chose an episode where Horace, convicted of the murder of his sister Camilla (who cursed him for the death of her fiancé, who was killed by him in battle), is defended by his father and the Roman people .
Friends dissuaded David from this plot, which, in their opinion, did not reflect any special mood of the time. David stated that he would choose the moment before the battle, when old Horace takes an oath from his son to conquer or die - a moment that the artist could only assume, since there were no descriptions of it
In 1784 David, his wife and three disciples arrive in Rome , since, according to him, only in Rome could he write the Romans.
The model for the grandchildren that the Horatii mother bent over was probably younger sons David.
David completely finished work on the painting only in July 1785. One of his students, Drouet, wrote: “It is impossible to describe her beauty.” When the workshop became open to the public, the response exceeded all the artist's expectations. “All of Rome” gathered to watch the “Oath of the Horatii,” which was considered the greatest tribute To the Eternal City. The workshop turned into an object of pilgrimage. Laudatory speeches were dedicated to the picture, even pope came to look at her.
TECHNIQUE:
The Oath of the Horatii" was performed in the style of French neoclassicism, and David used many techniques characteristic of this style.
- The background of the painting is shaded, while the figures in the foreground are highlighted to show their significance.
- Dull colors are used to show that the story being depicted is more important than the painting itself.
- A clear and precise composition indicates the symbolism of the number three and the triangle
- Preference is given to clear details instead of the light brush strokes characteristic of Rococo
- Only women show strong emotions, while men do their duty
- The heroic theme of the entire plot of the picture
“The Oath of the Horatii” became a turning point not only in the work of David, but also in all European painting. If the art of the 18th century was dominated by the “female universe” with its curved lines, now it began to give way to the verticals of the “male world”, emphasizing the dominant role of courage, heroism, and military duty. With this painting David gained fame throughout Europe.
THE PICTURE aroused conflicting feelings. On the one hand, the bravery and courage of the brothers. And on the other, disadvantaged children, unhappy women. One brother survived, and he also killed his sister out of revenge. It’s a shame that in such situations it’s always men who decide. What about you? do you think?
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