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ABSTRACT

A COMPARATIVE ANALYSIS OF‘THE PLOT DEVELOPMENT AND CHARACTERS OF
THE GIUSEPPE VERDI OPERA ADAPTATIONS OF WILLIAM SHAKESPEARE'S
MACBETH, OTHELLO, AND THE MERRY WIVES OF WINDSOR

 

 

by Donald M. Polzin

While the field of dramatic criticism is vast, the study of
the dramatic structure of operas, and more specifically, operas based
upon the plays of William Shakespeare, has been generally neglected.
This study attempts to fill a portion of this void by comparing the
plot development and characters of the three operas of Giuseppe Verdi
based upon Shakespearean plays: Qtellg, which is based upon Shake-

Speare's Othello; Macbeth, which is adapted from.Shakespeare's Macbeth;

 

\/
and Falstaff, which has its basis in Shakespeare's The Merry Wives of

 

Windsor.

A separate chapter is devoted to each of the three operas and
its comparison with the play upon which it is based. Through a de-
tailed examination of the libretti of the operas and the scripts of
the plays the study presents a statement of the number of acts and
scenes in each; a comparison of the major plot development of each
(through the five main steps in plot development: the opening situa-
tion, the initial incident, the turning point, the climax, and the
denouement); and a comparison of the number of characters, their com-
plexity, the size of their roles, the location, method, and prepar-
ation for their introduction, and their effect upon the plot develop—
ment. Also compared are the nature and scope of the conflicts in the

plays and the operas.

Donald M. Polzin

The study enumerates the changes which occur in plot develop—
ment and characterization between the operas and the plays and their
effect upon the overall concepts of the operas. These changes comprise
additions of plot materials, deletion of characters and plot materials,
interpolation of plot materials, alterations of characterization, and
general compression of materials. Finally, the study notes three
major results of the changes upon the operas. These results are that
the major plot developments are speeded up; certain melodramatic or
farcical elements are added; but the major plot development and con-

flicts are, for the most part, faithfully reproduced.

A COMPARATIVE ANALYSIS OF THE PLOT DEVELOPMENT AND CHARACTERS OF
THE GIUSEPPE VERDI OPERA ADMPTATIONS OF WILLIAM SHAKESPEARE'S

MACBETH, OTHELLO, AND THE MERRY WIVES OF WINDSOR

 

 

By

Donald M. Polzin

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

Department of Speech

1963

AAQVE

S J L!
/_,§,~’/:‘>/' 1’.- 5

CONTENTS

LIST OF‘TABLES .

INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . .
Purpose . . . . . . . . . . . . . . . . . . . .
Justification . . . . . . .

Limitations . . . . . . . . . . .
Methods . .
Source Materials .

Chapter

I. COMPARISON OF‘MACBETH (GIUSEPPE VERDI) AND MACBETH

(WILLIAM SHAKESPEM m5
A. Plot of the Play .
B. Comparison of the Plot of the Opera .
1. Sequence of Events . . .
2. Conflict
C. Comparison of Characters
D. Conclusions . .
1. Changes in the Opera
2. Results of Changes

II. COMPARISON OF OTELLO (GIUSEPPE VERDI) AND O_T____HELLO
(WILLIAM SHAKESPEARE) . . . . . . . . . . . . .
A. Plot of the Play .
B. Comparison of the Plot of the Opera .
1. Sequence of Events . . .
2. Conflict . . .
C. Comparison of Characters
D. Conclusions . . . . . . . .
1. Changes in the Opera . . . . . . .
2. Results of Changes

III. COMPARISON OF FALSTAET‘(GIUSEPPE VERDI) AND THE
MERRY WIVES OF———_WINDSOR (WILLIAM SHAKESPEARE)—
A. Plot of the Play .
B. Comparison of the Plot of the Opera .
1. Sequence of Events . . .
2. Conflict
C. Comparison of Characters
D. Conclusions . .
1. Changes in the Opera
2. Results of Changes

IV. CONCLUSIONS . . . . . . .

 

APPENDIX . . . . . . . . . .
BIBLIOGRAPHY .

ii

Page

iii

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10
13
13
21
23
29
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112
53
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61

66

103

116

LIST OF‘TABLES

Table Page

1. Utilization of the plot elements of Shakespeare's
Macbeth in Verdi's Macbeth . . . . . . . . . . . . . . 103

2. Utilization of the plot elements of Shakespeare’s
Othello in Verdi's Otello . . . . . . . . . . . . . . 107

3. Utilization of the plot elements of Shakespeare's
The Merrnyives of Windsor in Verdi's Falstaff . . . . 112

 

b. Enumeration of the changes in the Verdi opera
adaptations of ShakeSpeare . . . . . . . . . . . . . . 96

iii

INTRODUCTION
Purpose

Throughout the history of opera, composers have borrowed freely
from dramatic literature to provide libretti for their works. Some of
the most popular of these literary sources are the playscf the great
English playwright, William Shakespeare. Of those operas composed be-
fore l9bO, sixty-five were based upon Shakespeare or utilized Shake-
spearean themes.1 Three such adaptations are Giuseppe verdi's operas
Macbeth (18h7), 933119 (1887), and Falstaff (1893) as based upon Shake-

speare's Macbeth, Othello, and The Merry Wives of Windsor.

 

 

This study will compare those similarities and differences in
plot development and character which exist between these three operas
and the plays upon which they are based. The analysis will include a
description of the major plot development of each play, a comparison of
the plot of the resulting opera, and a comparison of the characters of
both versions.

The comparison of plot development will note the similarities
and differences in content, arrangement, and dramatic treatment of
materials between each opera and play, especially in regard to the five
major steps in plot development--the opening situation, the initial
incident, the turning point, the climax, and the denouement. The scope

of the conflicts in each version will also be compared. In addition,

 

lAlfred Loewenberg, Annals of Opera lS97—l9b0 (Cambridge, Eng.:
w. Heffer & Sons Ltd., 19h3).

 

whether these conflicts are man against man; man against nature, society,
the supernatural, destiny or fate; or man against himself (inner con-
flict) will be discussed.

Under characters this study will note the similarities and dif-
ferences between the operas and the plays in the number and size of
roles. There will be a comparison of the complexity of characteriza-
tion (i.e. stereotype, symbolic, or unique individual), the relation-
ship between characters, and the plausibility of characters as deter-
mined by their motivations and presence or absence of character growth
or development. In addition, a comparison of the method and location
of, and preparation fro the introduction of characters will be consid-
ered. Finally, the effects of these factors upon the plot development
will be discussed.

Conclusions will be drawn concerning the effects of those
changes in plot development and character noted between the operas

and the plays upon the overall dramatic concept of the operas.
Justification

While the field of dramatic criticism is vast, the study of the
dramatic structure of operas, and, more specifically, Shakespearean
operas, has been generally neglected. Charles Edward Parkhurst in his
1953 unpublished Doctoral dissertation, "A Comparative Analysis of
Selected European Opera Libretto Adaptations of the Romeo and Juliet
Legend," states: "Occasional short articles have appeared on the

subject of Shakespearean operas through the years, yet none is intended

3

to give a picture of the scope here proposed."1 The Parkhurst study
discusses the dramatic technique and plot development of eleven operas

which are based upon Shakespeare's Romeo and Juliet, and is a milestone

 

in the field of operatic dramatic criticism. The continued scarcity of
Operatic dramatic criticism since the 1953 Parkhurst study leaves the
body of Shakespearean opera criticism still relatively untouched, and
thereby prompts this study.

Three considerations have dictated the decision to analyze the

three Operas of Giuseppe Verdi—-Macbeth, based upon Shakespeare's

 

Macbeth; Otello from Othello; and Falstaff, which finds its basis in

The Merry Wives of Windsor. First, these operas are the work of

 

Giuseppe verdi, acknowledged by most as the greatest composer of
Italian opera, and, who therefore must certainly rank as one of the
greatest of all opera composers. Second, these are the only operas

of Verdi which are based upon Shakespeare, and may therefore be viewed
in 2929. Finally, they maintain a present degree of critical acclaim,
not only within the large Verdi repertory but within the entire field
of opera, which is unequalled by all other Shakespearean opera adapta—

tions. Francis Toye, in his biography, Giuseppe Verdi, has described

 

Macbeth as "the most interesting of Verdi's early operas,"2 and Otello

as "the greatest of Verdi's operas.“5 Of Falstaff, Toye says: "Only

 

1Charles Edward Parkhurst, "A Comparative Analysis of Selected
European Opera Libretto Adaptations of the Romeo and Juliet Legend"
(unpublished Ph.D. dissertation, School of Speech, Northwestern Univers-

ity, 1953), p. 13.

2Francis Toye, Giuseppe verdi (New York: Alfred Knopf, Inc.,
1931), p. 273.

 

3Ibid., p. L26.

A
one comic Opera by Mozart, one by Rossini and one by Wagner can rank
with it--and, Of all those great works, it is certainly not the least
in stature."1 In addition, Joseph Kerman asserts that in Otello "verdi
brought traditional Opera to its perfection.”2 Henry W. Simon describes
Macbeth as "an absorbing, faithful and masterly transmutation Of a great
Elizabethan play into a nineteenth—century Italian Opera."3 Such sig-

nificant works demand analysis.
Limitations

Several differences in dramatic structure found in Verdi adap-
tations of Shakespeare's plays are the sole result Of the addition Of
music. This study will not attempt to discuss these purely musical
considerations.

Throughout the study, English translations Of the Opera libretti
have been used in the interest Of uniform comparison Of word meanings.
As these translations make no attempt to duplicate the original Italian
verse structure, so this study will not concern itself with any compar-
ison Of the versification of the Operas with that of Shakespeare. As
a further result of the use Of English translations, all character
names in the Operas will be rendered in English in this study. Such

nomenclature as Bardolpho, Pistola, Banco, Jago, et_al. will be referred

 

1Ibid., p. AA2.

ZJoseph Kerman, Opera as Drama (New York: Alfred A. Knopf, Inc.,
1956), p. 159.

 

3Francesco Piave and Andrea Maffei, Macbeth (libretto), ed.
Henry W. Simon, trans. Glen.Sauls (Radio Corporation of America, 1959),
Introduction, unpaginated.

5

to in their Shakespearean equivalents. However, the title Qtellg of
Verdi's Opera will appear in the original Italian so that it may more
readily be differentiated from the title Of the play.

In this study Of plot development and character only the end-
product, the completed libretto as it compares with its Shakespearean
counterpart, will be considered. Although Verdi and his librettists
(Francesco Piave, the chief librettist of Macbeth, Andrea Maffei, who
revised portions of that same Opera, and ArrigO Boito, the librettist
for Otellg and Falstaff) each played their particular parts in the
creation Of the Operas, no attempt will be made to assess the contri-
butions of each. Rather, to maintain a uniformity Of crediting, this

study will refer to the operas exclusively as Verdi's Macbeth, Otello,

 

and Falstaff.
Methods

One chapter will be devoted to each Of the three Operas and
its comparison with the play upon which it is based. Each Of these
chapters will be constructed with the following form:

CHAPTER I, II, or III
COMPARISON OF (name Of Opera) AND (name or play)

 

 

A. Plot of the Play
B. Comparison of the Plot Of the Opera
1. Sequence of Events

2. Conflict
C. Comparison Of Characters
1. Macbeth Othello Falstaff
2. Lady Macbeth Iago Ford
3. The Witches Desdemona Fenton and Anne
E. Banquo and Emilia and Mistress Ford
Others Others and Others

D. Conclusions
1. Changes in the Opera
a. Additions

b. Interpolations
c. Deletions
d. Compression

2. Results of Changes

Information for these three chapters will be based upon an
examination of the play scripts and the Opera libretti. The section
"Plot of the Play" will state the number Of acts and scenes in the
play, will present a description Of the major plot action, and will
note the five main steps in plot development (named in the "Purpose")
as they occur.

Under "Comparison Of the Plot Of the Opera," the sub-section
"Sequence of Events” will state the number of acts and scenes in the
Opera. It will trace the plot development Of the Opera scene—by-scene
(or by group Of shorter scenes). It will delineate the plot similar-
ities and differences between the opera and the play and will compare
the five main steps in plot development in the Opera with those in the
play. The sub-section "Conflict" will state the conflicts in the play
and compare them to those in the Opera.

The section "Comparison Of Characters" will first list those
characters from the play found in the opera and then those which are
not. The section will then be divided into four sub-sections. The
first three of these will each include the comparison Of one Of the
major characters in the Opera tO his counterpart in the play in regard
to size Of role, complexity, and introduction thereof. The fourth sub—
section will present a similar discussion of the remainder Of the char—
acters in the Opera.

The "Conclusions" section will, in the four divisions under

"Changes in the Opera," enumerate the additions, deletions, interpolations,

7
and compression in plot development and character in the Opera. The
"Results Of Changes" sub—section will attempt to demonstrate the sig-
nificance Of these changes upon the overall dramatic concept of the
Opera.

A fourth and final chapter entitled CONCLUSIONS will enumerate
the similarities and differences in plot development and character which
appear throughout the previous three comparisons, and the resultant
alterations in the dramatic treatment Of the Operas.

Throughout the study certain word meanings will apply.

Two physical divisions of dramatic structure are defined as
follows: a spepe is that portion Of an act Of a play or Opera which
commences and concludes by indication Of the playwright or librettist
in his stage directions; an episode is a portion Of a scene which em-
bodies a particular and separate action.

The five main steps in plot development are defined as follows:

the Opening situation is that point in the entire story at which the

 

author chose to begin; the initial incident is that plot action which

 

precipitates the sequence Of events which terminate in the climax; the

turning point is that significant dramatic situation in the story which

 

forces the action to take a new direction toward the climax; the climax
is that moment Of highest interest in the story, the emotional end of

the story; and the denouement is the tying up Of loose ends after the

 

climax.
Five other terms relating to dramatic structure have the fol-

lowing meanings: exposition is the presentation Of facts (usually through

 

dialogue) concerning events previous to the play or Opera which are

necessary to the audience (reader) understanding of the plot and

8

characters; comic relief is the subordinate inclusion Of comedy into an

 

otherwise serious play to provide relief from emotional tension; melp-
dramatic describes serious plot action which creates conflict more
through tense situations than through the moral strength or weakness
Of characters; farcical describes humorous plot action which has its
basis more in comic situations than in clever characterizations; and
conflict is the strife between Opposing forces in the story.

Finally, the following three terms describe certain processes

and phenomena encountered in the study: interpolation refers tO the use

 

Of Shakespearean scenes or episodes from a given play in other than
Shakespearean order in the resultant Opera (discounting intervening
deletions); saying that the substance Of any scene or episode in Shake-
speare is utilized in the resultant Opera means that the general mean-
ing and spirit but not the specific dialogue Of that portion Of the

play is used; and Operatic recapitulation is that repetition of pre-

 

viously expressed thoughts or desires presented in a lengthy choral or

ensemble passage, usually at the end Of a scene or act in the Opera.
Source Materials

The texts Of the following play scripts and libretti will be
compared:

The Appleton-Century-Crofts, Inc. (New York) 19h6 edition of
Shakespeare's Othello, Mark Eccles, editor; and the Oliver Ditson and
Company Qtellg libretto, with Italian and English texts (no translator
indicated), published in Boston in 1888.

The Cambridge University Press (London) 195A edition Of Shake-

speare's The Merry Wives of Windsor, Sir Arthur Quiller-Couch and John

 

9

Dover Wilson, editors; and the G. Ricordi and Company (New York)
Falstaff libretto, English version by W. Beatty Kingston, published
in 1893.

And the New Hudson Shakespeare edition Of Shakespeare's Map-
PEER: Ebenezer Charlton Black, editor, with introduction and notes by
Henry Norman Hudson, published by Ginn and Company, Boston in 1908; and
the Radio Corporation Of.America reproduction of the Macbeth libretto,
Italian and English texts, translated by Glen.Sauls, with an introduc-
tion by Henry W. Simon, prepared for the 1959 RCA Victor recording
LM/LSC-6lh7 Of the Opera.

One note Of explanation about the Macbeth libretto is needed.
The content Of the original 18h? version Of the Opera was revised by
Verdi for the 1865 Paris production. The only edition of Macbeth avail—
able tO the public is that prepared after the 1865 revision made for
Paris.1 Therefore, as Simon explains, "it is the Paris version which
is used . . ."2 in the RCA Victor recording and in this study.

Supplementary play scripts consulted in connection with the

comparison Of Falstaff and The Merry Wives Of Windsor are the Ginn and

 

Company (Boston) 1922 edition of King Henry IV, Part I, edited by

 

Ebenezer Charlton Black; and the Cambridge University Press (London)
19h6 edition Of King Henry IV, Part II, edited by John Dover Wilson.
In addition, several Verdi biographies and criticisms and ShakeSpeare

criticisms have been consulted.

 

1Toye, p. 27h

2Piave and Maffei, Introduction.

CHAPTER I

COMPARISON OF MACBETH (GIUSEPPE VERDI) AND MACBETH
(WILLIAM SHAKESPEARE)

A. Plot Of the Play

Shakespeare's Macbeth consists Of five acts Of seven, four,
six, three, and eight scenes reSpectively. The Opening situation Of
the play is as follows: Macbeth, Thane Of Glamis and General of the
Army, having recently quelled a distant uprising against Duncan, a
well-loved King Of Scotland, is returning across the heath. He is
accompanied by Banquo, another General, who (like everyone else) is
unaware that Macbeth, with encouragement from his wife, Lady Macbeth,
secretly covets the throne and may have considered murder as a means
of attaining it.

Scenes 1 and 2 Of Act I present expository material which pre-
faces the introduction Of Macbeth. The former is the short meeting Of
three Witches who plan to meet Macbeth later. The latter consists of
the bloody Sergeant's account Of the war, Scottish nobleman Ross's
announcement Of the Thane Of Cawdor's traitorous conduct, and King
Duncan's appointment of Macbeth to Cawdor's post. It is in this
Scene 2 that the nobility Of Macbeth is mentioned and the goodness of
Duncan is demonstrated.

The major plot action of the play begins with initial incident,
Macbeth's meeting with the Witches, in Act I, Scene 3. The predictions

of the Witches that Macbeth will be Thane of Cawdor and later King and

10

11
that BanquO's children will be kings precipitate all the subsequent
plot action. Ross then informs Macbeth of his appointment as Thane of
Cawdor.

When Duncan invites himself to Inverness, Macbeth's castle,
Lady Macbeth urges Macbeth to murder him. With the arrival Of the
King, Macbeth and Lady Macbeth discuss the details Of the crime. In
Act II, Scene 2, Macbeth commits the murder, having been directed to
the King's chamber in the previous scene by the vision Of a dagger
about which he soliloquizes: "Is this a dagger which I see before me

."1 Macbeth forgets to return the daggers used in the murder to
Duncan's two sleeping grooms whom Lady Macbeth had earlier plied with
drink tO make possible her theft Of the daggers. Lady Macbeth re-
turns the daggers and smears the grooms with Duncan's blood so as to
make it appear that they committed the crime.

At this point Macduff and Lennox, two other Scottish noblemen,
are heard knocking at the door, and Macbeth and Lady Macbeth retire to
wash the blood from their hands. A drunken Porter, the only comic
relief element in the play, temporarily postpones the discovery of the
body when he philosophizes about the effects Of drink to Macduff and
Lennox who have come to wake the King for his return to the palace.
When the body is discovered, Macbeth rushes out and kills the grooms.
Lady Macbeth, learning Of the additional murders, faints. Malcolm, son
Of Duncan and heir to the throne, and Donalbain, the King's other son,

flee to England and Ireland respectively.

 

1William Shakespeare, Macbeth, ed. Ebenezer Charlton Black, with
introduction and notes by Henry Norman Hudson (Boston: Ginn and Company,

1908), p. Ah.

12

Near the beginning Of Act III Macbeth, now King, plots with
two Murderers to kill Banquo and his son, Fleance. In Scene 3 the two
Murderers are joined by a third and the three attack and kill Banquo,
but Fleance escapes. The turning point in the play occurs in the
following scene when Macbeth, after being informed by one Of the Mur-
derers Of the death Of Banquo, twice sees the Ghost of Banquo seated
in his chair at the banquet table. Throughout the scene Lady Macbeth
attempts to explain her husband's unusual behavior to and maintain a
friendly rapport with the assembled guests. She finally is forced to
ask the guests to leave.

In Act IV, Scene 1 Macbeth revisits the Witches who, through
three Apparitions, inform him to "beware the Thane of Fife [Macduff]."1
They also reveal that "none Of woman born shall harm Macbeth,"2 and
"Macbeth shall never vanquish'd be until great Birnam wood tO high
Dunsinane hill shall come against him."3 The Witches further show
Macbeth the vision Of eight kings, the last Of which is the Ghost Of
Banquo.

Lennox informs Macbeth that Macduff has fled to England, and
Macbeth determines to kill Macduff's family. In Act IV, Scene 2 the
deed is accomplished by the hired killers. The act closes as Malcolm
and Macduff prepare to bring the English army against Macbeth.

In Act V, Scene 1 Lady Macbeth is Observed sleep-walking. In

the presence Of her Doctor and her Lady-in-Attendance, she reveals all

 

11bid., p. 102. 21bid.

 

31bid., p. 103.

13
her pent—up emotions concerning Macbeth's reign Of terror. Her death
is subsequently announced in Scene 5. Meanwhile, Malcolm instructs his
soldiers to cut boughs to carry before them into battle, so that it
appears to Macbeth that Birnam wood is actually moving toward Dunsinane,
the fortress that he has chosen to defend. Scene 7 is the climax Of
the play--the meeting between Macbeth and Macduff and the death Of the
former. In the scene Macbeth hesitates fighting Macduff temporarily
when he discovers that Macduff was "from his mother's womb untimely
ripp'd,"1 and is theoretically not born of woman; but the combatants
move offstage where Macduff decapitates Macbeth. Following the ar-
rival on stage of the head of Macbeth carried on the end Of a pole, the
denouement, including a tumultuous "Hail, King of Scotland!"2 and a
final Speech by the new King, Malcolm, welcoming back the exiles and

promising better times, takes place.

B. Comparison Of the Plot Of the Opera

1. Sequence Of Events

Verdi's Macbeth consists of four acts Of two, three, one, and
three scenes respectively. The opening situation Of the Opera closely
parallels that Of the play. In fact, the suspicion that Macbeth has
been contemplating murdering Duncan even before the play begins is given
greater credence in the opera. In Act I, Scene 2 of the Opera, in a
discussion between Macbeth and Lady Macbeth, the entire murder plan is

dismissed as follows:

 

lIbid., p. 1L8. 2Ibid., p. 151.

1A

LADY MAC: When does he leave?

MACBETH: Tomorrow.

LADY MAC: May the sun not bring forth such a tomorrow.

MACBETH: What do you say?

LADY MAC: DO you not understand? .

MACBETH: I understand, I understand!1
As Macbeth has just returned from battle, it is Obvious that he and
his wife have made considerable plans before the Opera began. In
Shakespeare, with its discussion of the exact details of the murder,
the su5picion of any previous planning still persists but is diminished.
In addition, with the deletion of Shakespeare's Act I, Scene 2 the con-
cepts Of Macbeth's nobility and Duncan's goodness do suffer slightly in

the Opera. Otherwise, the opening situation of the play and the Opening

situation Of the Opera are identical.
Act I, Scene 1

The opera begins with the interpolated second appearance Of the

Witches (Act I, Scene 3 in Shakespeare), in which they predict that
Macbeth will be Thane of Cawdor and later King and Banquo will be father
Of kings. With the previously noted deletion Of Act I, Scene 2 in
Shakespeare, which includes Duncan's appointment Of Macbeth as Thane of
Cawdor, the announcement to Macbeth of this news becomes the first
mention Of the subject in the Opera. The announcement itself is also
compressed and altered from Ross's delivery and takes the form Of two
speeches by the Messengers:

MESS: Valiant Macbeth! Your soverign has made you Thane Of Cawdor.

MAC: But that Thane still lives.
MESS: NO. Struck down by law, he perished on the block.2

 

lPiave and Maffei, unpaginated.

ZIbid.

 

15
In fact, the scene, which is the initial incident in the Opera just as
it is in the play, is generally compressed after the Witches' predic-
tions and reduced tO four speeches after the Messengers' announcement.
The content, though, remains substantially the same as in the play. The
scene closes with the Witches discussion their next meeting. This

conversation bears a resemblance to Act I, Scene 1 Of the play.
Scene 2

Omitting Act I, Scene h in Shakespeare in which Duncan invites
himself to Inverness, the Opera moves ahead to the Opening Of Shakespeare's
Scene 5. Lady Macbeth's reading of her husband's letter and her resolve
tO urge him to murder Duncan, followed by the announcement Of the ar-
rival Of the King, are basically the same in both versions. The short
discussion between Macbeth and Lady Macbeth which closes Act I, Scene 5
in Shakespeare is also included in the Opera with the interpolation Of
the following two lines from Scene 7 Of the play:

MACBETH: And what if the stroke should fail?
LADY MAC: It will not fail . . . if you do not shrink.1

The remainder Of Act I, Scene 7 Of Shakespeare, including Macbeth's
soliloqdy, "If it were done . . ."2 and Lady Macbeth's inspirational
speech in which she charges Macbeth to "screw your courage to the stick-
ing place,"3 is deleted from the Opera. Also eliminated is Scene 6, the
welcoming of Duncan to Inverness. This is effected completely in pan-

tomime at this point in the Opera.

 

1Ibid. 2Shakespeare, p. 35.

3Ibid., p. 39.

16

Following the departure Of Duncan, Macbeth sings his aria, "Is
this a dagger that appears to me?"1 based upon the soliloquy at the end
Of Act II, Scene 1 in Shakespeare. The Opening of that scene in Shake-
speare, including Banquo's conversation with Fleance and Banquo's later
talk with Macbeth, is deleted from the Opera.

The opera then utilizes Act II, Scene 2 of Shakespeare in its
entirety, including the murder Of Duncan, the smearing of the blood,
and the knocking at the door. At this point the one comic relief epi-
sode in the play, that Of the drunken Porter, is deleted. In the Opera
there is a quick discovery of the body and a deletion Of the remainder
of Shakespeare's Act II, Scene 3. Thus eliminated are Macbeth's kill—
ing Of the grooms, Lady Macbeth's faint, and the flight Of Malcolm and
Donalbain. Malcolm does in fact flee in the Opera, but his discussion
with Donalbain (who does not appear in the Opera) concerning that flight
is not included.

Act II, Scene A of the play is also omitted from the opera. This
scene contains the discussion between Ross and the Old Man about the re-
cent weird happenings in nature, Macduff's comments concerning the suspi-
cion cast on Malcolm and Donalbain, and the announcement Of Macbeth's

forthcoming coronation.
Act II, Scene 1

The conversation between Lady Macbeth and Macbeth at the Open-
ing of this scene has its basis in selected sections Of Scenes 1 and 2

Of Act III in Shakespeare. However, that Lady Macbeth takes part in the

 

lPiave and Maffei.

1?
planning of the murders Of Banquo and Fleance is an addition in the
Opera. The omission of the remainder Of Act III, Scenes 1 and 2 in
Shakespeare eliminates Banquo's decision to go riding and Macbeth's

meeting with the Murderers from the Opera.
Scene 2

In this scene the Opera presents the murder Of Banquo (Act III,
Scene 3 in the play). In the Opera, however, there are two groups Of
Murderers—-the tenors and the basses of the Chorus. The unexpected
arrival of the third Murderer in Shakespeare is only hinted at in the
Opera when the one group Of Murderers inquires Of the other why they
are there, and they reply, "TO kill Banquo."1 The subsequent action

remains relatively the same as in the play.
Scene 3

Continuing in Shakespearean order the Opera presents the scene
in the banquet hall. It follows the same general order as Shakespeare's
Act III, Scene b: one Murderer tells Macbeth Of the murder Of Banquo
and the escape of Fleance, and the Ghost Of Banquo appears twice to
Macbeth. Notable additions to the scene are a conventional Operatic
drinking song or brindisi for Lady Macbeth, and a traditional Operatic

ensemble at the close Of the scene (and act). The drinking song is not
a great departure from Shakespeare, for the Lady Macbeth in each ver-
sion is attempting to create a spirit of joviality with which to mask
Macbeth's morose mood and subsequent lapses into fantasy. The words

of the brindisi:

 

lIbid.

 

18

Fill the goblet to the brim Let us drive away the dull

with choicest wine. cares Of the soul;

Let pleasure be born, let pleasure be born
let sorrows die, and sorrows die.

Have done with all hatred,

do away with all scorn. (second ending)

Let only love

and jollity reign here. We'll empty our goblets
Let us taste and enjdy to the renowned Banquo!
the cure of all ills, Flower of warriors,
that brings renewed life the glory Of Scotland!1

to every heart.
which are sung before each appearance Of the Ghost, emulate the Spirit
Of the following Shakespearean lines Of Macbeth and Lady Macbeth:

LADY MAC: Sit, worthy friends: my lord is Often thus .

upon a thought he will again be well . .
Feed, and regard him not.2

0 O O O I O O C O O O O O O O O O O O O O

MACBETH: Come, love and health to all;
Then I'll sit down. Give me some wine, fill full.3

LADY MAC: Think Of this, good peers,
But as a thing Of custom: 'tis no other;
Only it spoils the pleasure Of the time.4
The banquet scene is also the turning point in the Opera, and,
just as in the play, it marks the beginning Of the emotional and phys—
ical downfall Of Macbeth. In content the two versions are identical,
apart from the noneShakeSpearean additions in the Operatic handling.
Scenes 5 and 6 of Act III in Shakespeare do not find their way
into the Opera. The former includes Hecate's anger at not being in-
cluded in the Witches' dealings with Macbeth, and the latter consists
Of the discussion between Lennox and a Lord concerning the unhappy state

Of affairs in.Scot1and. Some Of the substance of Scene 6 does appear

in Act IV, Scene 1 Of the opera.

 

1Ibid. 2Shakespeare, p. 85

 

51bid., p. 87. 4Ibid., p. 88.

19

Act III

The single scene Act III Of the Opera follows the same basic
course as Act IV, Scene 1 of the play. The scene Opens with the Witches
concocting their brew. (It is at the climax of these incantations

that verdi added a ballet, with Hecate as the prima ballerina, for the

 

1865 Paris production.) The appearances Of the three Apparitions and
the eight kings receive Similar treatment in both versions. One devia-
tion from.Shakespeare occurs at the end Of the act with the entrance
Of Lady Macbeth, to whom Macbeth relates the latest predictions Of the
Witches and with whom he plots both the continued pursuit Of Fleance
and the murder of Macduff's family. This duet material replaces the
entrance Of Lennox with the news of Macduff's flight to England and
Macbeth's short soliloqdy about his plans for Macduff's family in the
play.

Act IV, Scene 2 in Shakespeare is deleted in the Opera. In
this scene Lady Macduff expresses her conviction that Macduff is a
traitor, and she and her son discuss what a traitor is. Although
earlier in the Opera Lady Macbeth and Macbeth are provided with their
emotional duet planning the murders Of Macduff's family, the actual
deed is not Shown. Scene 3 in Shakespeare, the rather protracted dis-
cussion Of Macbeth's evil reign between Malcolm and Macduff followed
by the announcement to Macduff Of the details Of the murders Of his
family, is also deleted. Small portions Of the substance Of this scene

do however, find their way into the next scene Of the opera.

9

20

Act IV, Scene 1

The refugees' chorus and Macduff's aria which open Act IV,
Scene 1 of the Opera draw together some of the various expressions Of
discontent with Macbeth's reign (notably from Act III, Scene 6 and
Act IV, Scene 3 of the play). Malcolm's order that each soldier carry
before him a tree branch is interpolated from Act V, Scene A Of the
play, while Macduff's lament that Macbeth has no children upon which

he can revenge himself harks back again to Act IV, Scene 3.
Scene 2

This scene of the opera, Lady Macbeth's sleep-walking scene,
is an almost identical reproduction Of the same sequence (Act V,
Scene 1) in the play. There are no significant differences in treat-

ment between versions.
Scene 3

The final scene of the opera is a compilation Of Shakespeare's
Act V, Scenes 5 through 8. Macbeth's Opening aria does, however, have
its basis in his first Speech in Act V, Scene 3 of the play. From
that pOint, though, the Opera proceeds from the announcement Of Lady
Macbeth's death and the approach of Birnam wood (Scene 5), through the
attack (Scene 6), to the encounter between Macbeth and Macduff (Scene 8).

In thus borrowing freely from but moving rather speedily
through Shakespeare's Act V, the Opera does omit some minor plot ele-
ments. The defection of the several Thanes to Malcolm's service

(Scene 2), Macbeth's conversation with Seyton (Scene 3), Macbeth's

21
killing Of Young Siward (Scene 7), and Macbeth's momentary refusal to
fight Macduff (Scene 8) are all eliminated. In addition, there is a
great amount Of compression Of those elements retained.

The climax Of the Opera--the encounter between Macbeth and
Macduff and the death of the former-—coincides with the climax Of the
play. One Significant difference does exist. The actual combat be-
tween Macbeth and Macduff takes place onstage in the opera, rather
than offstage (with Macduff bringing on the head of his victim later)
as in the play. The fight on stage provides Macbeth with a final solo
as he dies; although, in the Paris version, Verdi thoughtbetter Of the
device and cut the aria out.

The denouement follows quickly after the climax and resembles
that Of the play. In the opera the acclamation Of Malcolm takes the
form of a Hymn to Victory, sung by the chorus Of refugees. Macduff
indicates that Malcolm can be trusted, and Malcolm, in a short musical

passage, agrees.
2. Conflict

In Shakespeare's Macbeth the major conflicts are those created
within the minds Of Macbeth and Lady Macbeth. For Macbeth the conflict
is Of a dual nature. Before the murder of Duncan, Macbeth, aware Of
the predictions Of the Witches, must decide whether (having now been
presented with the opportunity) he has within him "that which cries,
'Thus thou must do,‘ if thou have it,"1 or whether he is a coward "let-

ting 'I dare not' wait upon 'I would.'"2 After the murder his mind is

 

11bid., p. 28 2Ibid., p. 38.

22
assailed with imagined plots against him resulting in his subsequent
murders and continued mental unrest.

Lady Macbeth, from her faint upon learning that Macbeth has
also killed the grooms, evidences a rapid mental degeneration brought
on by the realization that murder breeds murder. Although She takes
no part in the planning or execution Of the subsequent murders, and,
in fact, makes every effort not to think about them, it is this mental
conflict which brings about her eventual lapse into insanity.

In the Opera, where the entire plan to murder Duncan has been
thoroughly discussed prior to the overture, the conflict within Mac—
beth loses its dual character. As Dyneley Hussey says: "His [Macbeth's]
hesitations in the face Of temptation are barely touched upon."1 Also
missing from the Opera is the brief verbal conflict between Macbeth
and Lady Macbeth during which she SO cunningly accuses him Of cowardice:
"When you durst do it, then you were a man."2

Macbeth's second inner conflict, his sense Of insecurity and
fear of retaliation, is similarly portrayed in both versions. In the
opera it may even be said that his anguish is compounded for, unlike
in the play, Macbeth discusses each successive murder with Lady Macbeth
_and gains her reassurance that his suspicions are well founded.

The Lady Macbeth Of the Opera is a far stronger character than
in the play (see "Lady Macbeth", page 25). In addition, she remains

Macbeth's equal accomplice throughout. In this framework, her anxieties,

 

1Dyneley Hussey, Verdi (New York: Pelegrini and Cudahy, Inc.,
19119), p. A9. _—

2Shakespeare, p. 38.

23
Of which she displays few, can only be likened to those Of Macbeth.
This constitutes some difference from her more conscience-stricken
portrayal in the play.

The physical conflict between Macbeth and Macduff and their
respective forces is essentially the same in both versions, except, as
noted, Macbeth does not hesitate even after he learns Of Macduff's
unusual birth.

It should not be inferred that there is any conflict in either
version between Macbeth and the forces Of the supernatural—~the Witches.
As A. C. Bradley says of the Witches: "They merely announce events
. . . NO connection of these announcements with any action of his [Mac—
beth's] was even hinted by them."1 Paralleling this thought, Henry
Norman Hudson in his introduction to the script says: "They [the
Witches] do not create the evil heart; they only untie the evil hands.
They put nothing into Macbeth's mind, but merely draw out what was

already there."2
C. Comparison of Characters

The following characters appear in the Opera: Macbeth, Lady
Macbeth, Banquo, Macduff, Malcolm, Lady-in-Attendance to Lady Macbeth,
a Physician, a Murderer, three Apparitions, chorus of Witches, chorus
of Murderers, King Duncan, Fleance, a Manservant, Messengers, and the
Chorus (Lords, Ladies, Soldiers, and Scottish refugees). Also Hecate

(when the ballet is performed).

 

1A. C. Bradley, ShakeSpearean Tragedy (London: MacMillan and
Company, Ltd., 1916), p. 3AA.

 

2Shakespeare, p. xlix.

2A
By comparison, the following characters are deleted: Donalbain;
the Scottish noblemen Lennox, ROSS, Menteith, Angus, and Caithness;
Siward; Young Siward; Seyton; the boy, son Of Macduff; Lady Macduff;
the English Doctor; a Captain; the Porter; and the Old Man. In addi-

tion, Duncan and Fleance become non—speaking roles in the Opera.
1. Macbeth

The differences in the character of Macbeth in the two versions
have been summed up by Hussey as follows:
In the tragedy Macbeth is the protagonist, for all that he is
dominated by his wife. We are Shown a man of potentially noble
character and a great soldier, as well as a man in whom ambition
leads to crime, remorse, and neurotic weakness. In the opera . . .
Macbeth's nobility is not defined at all . . . As a character he
is reduced tO the stature Of a conventional melodramatic villain.l
As noted, Macbeth's entrance early in Act I, Scene 1 Of the Opera,
although Similar to his entrance in the play, is effected without the
two introductory scenes in Shakespeare which do serve tO delineate his
noble qualities. In addition, the Opera's Macbeth does not exhibit any
observable reluctance to kill Duncan. However, to assert that Macbeth
is no more than the melodramatic villain seems to this Observer an
over—simplification.
The Macbeth of the Opera, though certainly less complex than
the Shakespearean version, does retain a certain amount Of his poetic
imagination which Bradley describes as "an imagination on the one hand

extremely sensitive to impressions Of a certain kind, and, on the other

productive Of violent disturbance both Of mind and body."2 As Simon

 

lHussey, p. A9.

2Bradley, p. 352.

25
puts it: "verdi's Macbeth is a somewhat Simpler man than Shakespeare's:
he has not the same haunting conscience, has a less well developed
imagination, less poetry in him."1 The word "less" is the key; only a
complete absence of these qualities would reduce Macbeth to Hussey's
extreme description. True, Macbeth is more methodical than neurotic
in the Opera; nonetheless, he evidences sufficient motivation in terms

Of mental distress to remain believable.
2. Lady Macbeth

Conversely, Lady Macbeth becomes a sort of "co-protagonist"
with her husband in the Opera. Again, in the words Of Simon:

In both the play and Opera, it is she [Lady Macbeth] who supplies
the indomitable ruthlessness to prick on the hesitating Macbeth
to murder the king; and up tO the point where she faints after the
murder in the play . . . She takes charge Of putting a plausible
appearance Of innocence on the movements Of both herself and her
temporarily unmanned husband. With the close of Act II in the play,
however, Macbeth takes over so completely that she loses her man-
agerial function. Not so in the Opera. She knows all about
Macbeth's plan to murder Banquo and encourages him in it.. . .

In the play 'dearest chuck' remains innocent; in the Opera it is
She who summons the dark night to hide the bloody enterprise.2

She exhibits greater strength in the banquet scene, singing
the confident brindisi. After Macbeth's second visit with the Witches
she urges him further to bloody deeds. In some respects she comple-
ments Macbeth's imagination, weakened from the Shakespeare.

Consequently, her mental breakdown in the sleep-walking scene
comes as more Of a surprise in the Opera; but her increased participa-

tion in the murders does make it more motivated.

 

lPiave and Maffei, Introduction.

2Ibid.

26
That Lady Macbeth was one Of verdi's chief dramatic considera-

tions is evidenced by his letter tO Camarano concerning the choice Of
singer who was to play the part in the initial performance:

Mme. Tadolini looks beautiful and good, and I should like Lady

Macbeth to look ugly and evil. Mme. Tadolini sings to perfection,

and I Should like Lady Macbeth not to sing at all. Mme. Tadolini

has a stupendous voice——clear, limpid, powerful: I Should like in

Lady Macbeth a voice rough, harsh, and gloomy. Mme. Tadolini's

voice has angelic qualities: I should like the voice Of Lady Mac-

beth to have something diabolical about it.1

From an inauspicious entrance while reading Macbeth's letter

in each version (Act I, Scene 5 in the play; Act I, Scene 2 in the
Opera), she develops, in the Opera,from a proud, self-reliant, ambi-
tious woman, through her slight mngivings in her aria at the end Of
Act II, Scene 1 and through renewed strength to assist her husband,
to a person finally afflicted with remorse. Contrast this with Shake-
speare's Lady Macbeth who seemingly never does recover after her faint
in Act II, Scene 3, and who experiences a gradual decline to her death.
In all, the opera's interpretation seems to be on stronger psychological
ground. In any event, she is much the "devil" that Verdi wished to

create, and certainly more Of an evil creation than Shakespeare's Lady

Macbeth.
3. The Witches

The Witches are the only other characters in the Opera who do
not suffer a Significant reduction in the Size and scope Of their roles.

The composer said that there are three principal characters in his

 

1Letter of Giuseppe verdi to Salvatore Cammarano, Paris,
November 23, 18u8 (as quoted in ibid.).

27
Opera--Macbeth, Lady Macbeth and the Witches.1 In the Opera there

are rather than three Witches, three choruses Of Witches (the number

:
in each being set at six by Verdi for the Paris production, but vary-
ing, apparently, with the whim Of the subsequent directors). Their
handling in the two versions is so similar that any differentiation
must be made on the basis Of the musical treatment (which is described
by Simon as "primitive and naive"2), which is not our concern here. Of
course, their primary purpose, described by Milton Marx as the tendency
to "stress at once the supernatural atmosphere,"3 could, on this

musical basis, be impaired. That they are effective catalysts for

Macbeth's actions remains their strength in the Opera.
A. Banquo and Others

The remainder Of the characters in the Opera suffer severe re-
ductions in the size of their roles. To say that they further become
less complex, however, is to project into Shakespeare's characters
unique qualities which they scarcely possess. Banquo is the one char-
acter in Shakespeare, other than those already discussed, who gives any
evidence of complexity. However, the Opera deprives him, by omission,
of his moral strength in resisting the temptation of the Witches.
Further, there is no intimation, as in Shakespeare, that he suspects
Macbeth of killing Duncan; and when Banquo dies in the Opera, it is
(due to the deletion Of his intervening Speeches in the play) seemingly

without this suspicion.

 

1Piave and Maffei, Introduction. ZIbid.

 

3Milton Marx, The Enjoyment Of Drama (New York: F. S. Crofts
and Company, 19AO), p. 6E.

 

28

Similarly, Macduff and Malcolm, in the words of Hussey, "are
reduced to the merest shadows Of their real selves."1 However, as
their Shakespearean "real selves" is little more than a symbol Of
Scottish nobility, some equality in Macduff's capacity for compassion
between versions may be perceived in his Act IV, Scene 1 aria in the
Opera. The relatively simple motivations Of Malcolm and Macduff (the
former's desire to regain his throne and free his country, and the
latter's similar intent which is compounded by his desire for revenge
for the deaths Of his family) are as equally demonstrated through their
less frequent expression in the opera as they are in the play.

The other characters—-the Lady—in—Attendance; the Physician;
' the chorus Of Murderers (and the single Murderer to report to Macbeth
in the banquet scene); the three Apparitions; and the supernumerary
servant, attendants, and MessengerS--function similarly in both ver-
sions. Hecate appears in the Opera only when the ballet is performed.
Fleance, who does not speak in the Opera (he is Simply pursued across
the stage by the Murderers), does not say anything significant in his
two lines in the play.

One last word concerns the Silence Of King Duncan in the Opera.
Though his nobility is demonstrated by his grand entrance, the expres—
sions Of his goodness are lost and therefore his murder may not be

quite as appalling and saddening as it would be in the play.

 

1Hussey, pp. h8-h9.

29

D. Conclusions
1. Changes in the Opera
a. Additions

There are only two additions in the Opera Of plot materials
not present in Shakespeare. These are Lady Macbeth's brindisi and
Macbeth's short death aria. The former has been discussed previously.
The latter is interesting in that Verdi himself was not sure whether
or not it was entirely appropriate (see page 21). Three other addi-
tions are musical considerations and not within the scope of this
study. These are the refugees' chorus, all other ensembles, and the

ballet (which is seldom performed today).
b. Interpolations

The libretto is also characterized by its scarcity Of inter-
polations. There are, in fact, only four occasions in the Opera where
material is placed in other than Shakespearean order. The first Of
these occurs at the beginning Of the opera with the second appearance
of the Witches which is placed before their first (Act I, Scene 1 in
Shakespeare). Actually, the essence of the first Witches' scene is SO
altered in the Opera that it might be argued that it is an addition
rather than an interpolation.

A second more pronounced but even less lengthy interpolation
occurs in Act I, Scene 2 with the insertion Of only two lines from
Act I, Scene 7 in Shakespeare. The third borrowing occurs in Act IV,

Scene 1 Of the Opera, and, in this case, it is not the dialogue which

30

is utilized but it is the Spirit Of the borrowed scenes which is inter-
polated. This scene returns to two previous scenes, the dialogue Of
which is not used, to capture the mood Of unhappiness over the problems
in Scotland. This substance is translated into a choral number for

the Scottish refugees. In the fourth interpolation, still within this
same scene Of the Opera, material concerning how the English soldiers
should hide themselves behind tree branches is borrowed from Act V,
Scene A Of the play. Comprising several Short speeches, this fourth

interpolation is the most extensive of all those noted.
c. Deletions

The most numerous changes between the Opera and the play are
those due to deletion. Of deletions in the Opera, Simon says:

Macbeth is one Of Shakespeare's shorter plays, but the libretto
though its playing time is at least as long, has room for barely
half the number of words. Some Scenes, some actions, had to be
sacrificed . . . Duncan has not a single line to speak; minor
characters like Ross, Lennox, Donalbain, the bloody sergeant, the
two Siwards and the others disappear completely. Gone, except by
brief report, are the murder of Lady Macduff and her children;
gone are the respectful therapeutic attributes of King James I;
gone are a half dozen other incidental features--gone, but not
seriously missed.1

At first glance it may appear that there is an excessive amount
Of character deletion, but upon examination it is seen that Of the fif-
teen characters eliminated from the Opera as many as nine are seen in
only one scene. Further, seven of these characters have no more than
four speeches each, with the average for the seven being three Speeches.

The other two characters in this category, Lady Macduff and her son,

 

lPiave and Maffei, Introduction.

31
although providing an interesting discussion of what is a traitor, do
not (alive) make any Significant contribution to the plot of the play.

Of the Six remaining deleted characters, half appear in only
two scenes each and their average is five speeches each. Only the
three characters Of Lennox, Ross, and Siward represent any body Of
Spoken material. Even these cannot be considered complex characters
by any stretch of the imagination. Siward merely represents English
authority, ROSS is a messenger, and Lennox remains in the background
most of the time.

Of the fifteen characters eliminated from the Opera, the major-
ity——with the possible exception Of those which precipitate some minor
plot action (i.e. Young Siward, to die at the hands of Macbeth; the
Porter, for comic relief; or Donalbain, to flee to Ireland)--do not
contribute to the major plot development of the play.

In addition to those characters deleted, there is also the les-
sened conflict in the mind of Macbeth which makes him a somewhat less
complex character. Also there is the reduction Of Banquo to a two-
dimensional character and the lessening Of the size of his role as well
as the roles Of all the other minor characters.

Of the twenty-eight scenes in Shakespeare, nine are deleted in
their entirety from the Opera. The Opera also utilizes only a portion
Of two other scenes and the substance of three others.

SO as tO more readily Observe the plot deletions in the Opera
by scene and/Or episode, the reader may wish to turn to Table l in the
Appendix. In regard to the notation in that table (and the ones which
follow), it should be remembered that even the designation "None Signi-

ficant" usually carries with it the implication that the material tO

32
which it refers has been compressed. The nature Of this compression
will be discussed in the next section.

That material deleted from the opera, as would be expected,
can be associated with those characters eliminated or reduced in scope.
In Act I of Shakespeare, Scenes 2, A, 6, and 7 have been deleted. In
the first three Of these Duncan is a principal speaker. Reduced to
silence in the Opera, there is no Opportunity for him to announce Mac-
beth's appointment as Thane Of Cawdor, invite himself to Inverness, or
speak of how pleasant Macbeth's castle is. Scene 7 is a Slightly dif—
ferent case. Two lines from it do appear in an earlier interpolation,
but the essence Of the Scene-—Lady Macbeth's goading of her husband to
murder--is not found in the Opera. As noted, this discussion between
Macbeth and his wife no doubt took place before the Opera began.

Again, the absence Of ROSS and the Old man makes Act II, Scene
A impossible in the Opera. Similarly, the elimination of Hecate creates
the deletion of Act III, Scene 5. The pattern continues in Act IV, Scene
2 with the deletion Of Lady Macduff and her son; and in Act V, Scene 2
with the loss of the other Thanes. Finally, in Act V, Scene 7, the
deletion of Young Siward eliminates that action.

The deletion of partial scenes (Act II, Scenes 1 and 3) com-
prises, in the former instance, the conversation between Banquo and
Macbeth concerning the predictions Of the Witches and talk of another
meeting between the men which never takes place. In the latter case,
it is the Porter's episode which is deleted, again, with the lack Of
character to enact it. Also deleted are Macbeth's killing Of the

grooms, Lady Macbeth's faint, and Malcolm and Donalbain's flight.

33
The three scenes from which some substance is extracted are
Act III, Scenes 1 and 6 and Act IV, Scene 3. In these cases the speci-
fic plot actions not utilized are performed by deleted or de-emphasized
characters. In Act III, Scene 1, it is Banquo and his deleted conversa—
tion with Macbeth; in Act III, Scene 6, it is the discussion between
Lennox and a Lord concerning the state of affairs in Scotland; and in

Act IV, Scene 3, it is the English Doctor's appraisal of the health Of

his king and ROSS'S announcement Of the death Of Macduff's family.
d. Compression

Throughout the Opera there is a general compression of the
dialogue Of the original. A good example Of this compression is the
following comparison between the two renditions Of the Short talk be-
tween Macbeth and a Murderer just after the murder Of Banquo (Act II,

Scene 3 in the Opera and Act III, Scene A in the play):

Macbeth Macbeth
(Verdi) (Shakespeare)
MAC: You have blood MAC: . . There's blood upon
stains upon your face. thy face.
MUR: They are Banquo's. MUR: 'Tis Banquo's then.
MAC: DO I hear the truth? MAC: 'Tis better thee without

than he within.
Is he dISpatch'd?

MUR: Yes. MUR: My lord, his throat is cut;
that I did for him.
MAC: But the boy? MAC: Thou art the best '0 the

cut-throats; yet he's good
That did the like for Fleance:
if thou didst it,

Thou art the nonpareil.

MUR: He got away from MUR: Most royal sir,
us. Fleance is scap'd.

MAC: 0 heaven! . . . MAC: Then comes my fit again:
but Banquo? I had else been perfect,

Whole as the marble, founded
as the rock;

AS broad, and general, as
the casing air:

But now I am cabin'd,

3A
cribb'd, confin'd,
bound in
TO saucy doubts and fears.
But Banquo's safe?
MUR: He is dead1 MUR: Ay, my good lord; safe in a
ditch he bides,
With twenty trenched gashes
on his head,
The least a death to nature.2
The nature and scope Of the above compression is characteristic
Of that throughout the libretto. Only Lady Macbeth's sleep-walking
scene (Act IV, Scene 2 in the Opera) is free Of this compression. It

is rendered almost word for word identical to Shakespeare.
2. Results Of Changes

Notwithstanding the changes in the Opera as noted, Verdi's Map-
beth follows very closely the major plot development Of Shakespeare's
Macbeth. The five main steps in plot development—-the opening Situa-
tion, initial incident, turning point, climax, and denouement have been
meticulously reproduced. Of these five elements, only one has been
altered. This change is, or course, in the location on stage Of the
death of Macbeth at the climax Of the story.

On only four occasions do the deletions of plot elements in the
Opera directly effect the action of the three main characterS--Macbeth,
Lady Macbeth, and the Witches--as Verdi designated them. In addition,
these deletions, for the most part, are somehow justified or compensated
for in the Opera. The Scene in which Lady Macbeth goads Macbeth to

murder (Act I, Scene 7) is made unnecessary by the implication that

 

1Ibid.

 

2ShakeSpeare, p. 83.

35

the whole plan has been discussed before the Opera begins. The new
Operatic characterization Of Lady Macbeth removes the necessity of her
faint (Act II, Scene 3). Macbeth's planning with the Murderers (Act
III, Scene 1) is merely discussion which results in subsequent action
and is not highly Significant in the major plot development. Finally,
the killing Of Young Siward (Act V, Scene 7), though serving to prove
to Macbeth that he is invincible to a man born Of woman, is not scien—
tifically conclusive proof; and, in its brevity, the scene actually
does not greatly enhance the overall violent undertone of the play.
There is just one untidiness created by these deletions: what about
the sleeping grooms which Macbeth does not kill in the Opera?

Examination Of those other elements deleted reveals several
instances Of recapitulation (Act II, Scene A, Act III, Scene 6, and
Act IV, Scene 3) the substance Of which, in the Opera, is embodied in

the refugees' chorus and Macduff's aria in Act IV, Scene 1. There are

also two occasions Of relatively extraneous materials deleted from the
opera. Act II, Scene 1 presents Macbeth and Banquo's conversation about

the Witches and the suggestion of another meeting between the men which

never takes place. Act III, Scene 5 is Hecate's long tirade which is
completely unnecessary. The former scene does show Banquo's strength
to resist the predictions Of the Witches, and, with its elimination from
the Opera, reduces the complexity Of his characterization.

The elimination of the Porter episode is a slight plot loss.
In the play this material temporarily lowers the emotional tone and
thereby increases the impact of the discovery Of the body. The Opera,
by its deletion, negates this effect and allows the compounded horror

to continue unabated from the Opening strains of the overture to the

final note of the music.

36

The lessened complexity Of the character Of Macbeth, the various
deletions of materials not directly related to the major plot develop-
ment, and the general compression Speed up the plot action of the Opera.
In addition, with the fewer number Of characters, the opera focuses
most upon the three major personnages and their actions, which in turn
comprise the major plot development.

The reduction in complexity of the character Of Macbeth and the
increased villainy Of Lady Macbeth, together with the hastened plot
development, places the stress more upon the emotional rather than the
intellectual issues in the story. The addition Of the brindisi and
Macbeth's dying aria also further this emotionality.

In addition, a certain excitement is created by the act endings
in the Opera. Each curtain scene is one Of emotional tension. This
handling differs from Shakespeare in that these high points in plot
development are always followed directly by material Of a less emotional
nature in the play. Act I of the Opera ends with the discovery Of the
body of Duncan; the Shakespeare follows this with the discussion between
ROSS and the Old Man. Act II in the Opera ends after the banquet scene
and the appearances Of Banquo's Ghost; in the play there follow two
scenes Of lessened intensity. Similarly, Act III Of the Opera closes
after the Witches second predictions to Macbeth; in the play this scene
Opens Act IV. Only in the climax do the act endings coincide.

The Opera also smoothes over one Shakespearean inconsistency:
the Opera's Lady Macbeth does stress to Macbeth the importance of the
continued pursuit Of Fleance, a seemingly significant issue which is

suddenly dropped in Shakespeare.

 

37
In general, the Opera is a more emotionally rapid rendition Of
the story. It faithfully represents the major Shakespearean plot ac-
tion, supplementing and rearranging it infrequently, but making it more

emotional, melodramatic, and more rapidly expressed.

CHAPTER II

COMPARISON OF OTELLO (GIUSEPPE VERDI) AND OTHELLO
(WILLIAM SHAKESPEARE)

A. Plot Of the Play

Shakespeare's Othello is composed of five acts Of three, three,
four, three, and two scenes respectively. The Opening Situation Of
the play is as follows: Othello, a Moor and a Venetian military hero,
has just eloped.with Desdemona, a young Venetian girl. In addition,
Othello has recently appointed CaSSiO as his lieutenant. Iago, Othello's
ancient, is not only envious of Cassio's promotion, but suspects an
intrigue between Othello and his wife, Emilia. Roderigo, a naive
young gentleman, has been pursuing Desdemona, but her father, Brab-
antio, does not appreciate his attentions to his daughter.

The first act takes place in Venice. Most Of the Opening
situation is revealed in Scene 1 through a conversation between Iago
and Roderigo. The two men then proceed to the house of Brabantio to
tell him Of his daughter Desdemona's elopement with Othello. Brabantio
goes Off in search of Othello and finds him just after he has been
ordered to report to the Duke Of Venice. Brabantio accompanies Othello
to his meeting and there asks the Duke for Desdemona's return. Desde-
mona herself is summoned and her explanation, "my heart's subdued even

to the very quality Of my lord,"1 settles the argument in spite of

 

1William Shakespeare, Othello, ed. Mark Eccles (New York:
Appelton—Century-Crofts, Inc., 19A6), p. 19.

38

39
Brabantio's warning to Othello: "Look to her, Moor, if thou hast eyes
to see: She has deceived her father, and may thee."1 Othello is
ordered to sail immediately for Cyprus to undertake its defense against
the Turks. Iago tells Roderigo that he should Obtain some money with
which to press his suit with Desdemona, and then, in the soliloquy
which closes Act I, Iago explains how he suspects an intrigue between
Othello and Emilia. He vows to beseige Othello with rumors that
CaSSiO is tOO familiar with Desdemona.

The scene then Shifts to Cyprus where Othello arrives safely
through the storm which has destroyed the Turkish fleet and ended the
war. He is greated warmly by Desdemona, who arrived earlier. A feast
ensues. During the festivities Cassio, who has "poor and unhappy brains
for drinking,"2 is encouraged to imbibe by Iago who then instructs
Roderigo to start a fight with the drunken lieutenant. Montano,
Othello's predecessor as ruler of Cyprus, is wounded in attempting
separate the combatants. The appearance Of Othello, roused from his
bed, quells the uprising. As a result, Cassio loses his lieutenancy,
and Iago suggests that he appeal to Desdemona to intercede for him
with Othello for its return. The fight and Cassio's demOtion comprise
the initial incident in the play, for, as Iago reveals in a soliloquy,
the proposed meeting between CassiO and Desdemona can be used to pique
Othello's jealousy.

To accomplish this end, Iago makes certain that Othello sees
Desdemona meeting with CaSSiO. He especially calls Othello's attention

to Cassio's hasty departure at the approach Of Othello. When Desdemona

 

1Ibid., p. 21. 2Ibid., p. 36.

AO
pleads for CassiO, Othello further misinterprets. Iago presses his
evil course by warning Othello to beware Of jealousy, but adds that
Desdemona has, after all, deceived her father and may bear watching.
When, in his next meeting with Desdemona, Othello casts aside in anger
the handkerchief with which She offers to dry his brow, Emilia re-
trieves it. She goes tO deliver the handkerchief, which has been a
gift from Othello to Desdemona, to her husband, Iago, who had ex-
pressed a desire to have the handkerchief.

Othello returns to Iago who gives him further "proofs" Of
Desdemona's guilt: a story Of Cassio's sleeping murmurings which Iago
says he witnessed and in which Cassio spoke of his desire for Desde-
mona, and the fact that CassiO has the handkerchief (for Iago has planted
it in his room). Othello orders Iago tO kill Cassio and makes Iago
his lieutenant. Othello then returns to Desdemona to question her
about the whereabouts of the handkerchief. The act closes with Cassio,
having found the handkerchief, giving it to Bianca, a local prostitute
who is enamored Of him.

At the beginning of Scene 1 Of Act IV, Iago administers the
"final blow." He relates to Othello how Cassio has allegedly boasted
about having slept with Desdemona. At this news, Othello lapses into
a trance.

The turning point in the play is an elusive entity. Marx as-
serts that it occurs in Act III, Scene 3 when "Iago persuades Othello
that Desdemona is unfaithful."1 Elisabeth Woodbridge, however, believes

that that scene is only "a part Of the ascent which . . . culminates

 

lMarx, p. 75.

A1
[here] in Act IV, Scene 1."1 Yet, later, in Act IV, Scene 2, Shake—
speare has the not completely convinced Othello again question Desde-
mona about her fidelity, with the implication that he still hopes for
some satisfactory explanation from her.

At the end of Act IV, Scene 1 Othello overhears Iago and Cassio
discussing Bianca and thinks they are Speaking Of Desdemona. Othello
is most impressed by Cassio's laughter, which Othello does not realize
is directed at Bianca, whose insistent harlotry Cassio finds most amus-
ing. Othello then sees Bianca with the handkerchief. The arrival of
Lodovico, an emissary from the Duke, with the news of Othello's recall
to Venice temporarily prevents any action on the part Of Othello. How—
ever, when Desdemona joins the group, Othello strikes her. Lodovico and
the others tactfully depart, and, as previously mentioned, Othello again
questions his wife. Dissatisfied with her answers, he curses her, call-
ing her a strumpet.

Then, Iago orders Roderigo to kill Cassio. The act closes with
Desdemona's Singing Of the "Willow" song about an unfaithful lover, and
a discussion between Desdemona and Emilia concerning Othello's strange
behavior.

As Act V Opens, Roderigo attacks Cassio but in the swordplay
is wounded himself. In the dark, Iago lunges at Cassio but only wounds
him. When others come upon the scene, Iago pretends to be one Of them
and kills Roderigo.

The final scene Opens with Othello's soliloquy, "It is the

 

1Elisabeth Woodbridge, The Drama: Its Law and Its Technique
(Boston: Allyn and Bacon, 1898), p. 77.

 

A2

cause . . ."1 in which he ponders the murder Of Desdemona and during
which he kisses her three times as She sleeps. His final kiss awakens
her, but despite her protestations of innocence, he smothers her. He
is interrupted by the entrance Of Emilia who announces that Roderigo
has been killed and that CaSSiO is still alive. Desdemona, in a brief
dying declamation, refuses to name her killer, but Othello confesses
and explains to Emilia how Iago exposed his wife's affair with Cassio.
Emilia's cries bring the others, and Iago's treachery is uncovered
when Emilia tells how she had Obtained the handkerchief. Iago kills
Emilia, and Othello wounds Iago. Othello is then disarmed. Cassio
confirms that he found the handkerchief, and letters found in Roderigo's
pocket expose Iago's plotting. Othello, after his speech, "Soft you
now, a word or two before you go . . ."2 produces a hidden dagger and
kills himself. He falls upon the body Of Desdemona saying: "I kissed
thee ere I killed thee. No way but this, killing myself, to die upon
a kiss."3 Othello's final speech and suicide comprise the climax Of
the play.

The denouement follows quickly and consists Of Lodovico's Speech

promising torture for Iago and a Speedy report to the state.
B. Comparison Of the Plot of the Opera
1. Sequence of Events

Verdi's Otello consists Of four acts Of three, five, nine, and

four scenes respectively. Unlike the other Operas in this study, the

 

1Shakespeare, p. 99.

2Ibid., p. 111. 3Ibid., p. 112.

A3
scenes in 923112 change locale only from act to act.

Any comparison of the opening Situation Of the Opera to that Of
the play is necessarily hampered by the fact that the Opera begins
with Shakespeare's Act II. Therefore, the Opera takes place entirely
in Cyprus and the Opening situation is altered as follows: Othello,
still the Venetian military hero, is sailing through a storm to Cyprus,
having been ordered to defend the island from the Turks. Already ar-
rived are his wife (of an indeterminate period Of time) Desdemona, and
his ancient, Iago. Iago, like in the play, is jealous of Cassio who
has been recently appointed Othello's lieutenant. Also on Cyprus,
which is presently governed by Montano, is Roderigo who, apparently,
has loved Desdemona and now still desires her; and Emilia, the wife of
Iago and attendant to Desdemona.

Besides the locale and the impending war, other differences in
the Opera are: the duration of Othello and Desdemona's marriage, the
omission Of Iago's suspicion Of an intrigue between Emilia and Othello,
Brabantio's disapproval of Roderigo and his warning to Othello, and
the fact that Emilia is already Desdemona's confidante. Although Act I
Of Shakespeare is deleted from the Opera, some of the material Of that
act is interpolated into Act I of the Opera, and these borrowings will

be duly noted.
Act I, Scene 1

This scene in the opera takes place at the seaport at Cyprus
and marks the arrival Of Othello. Paralleling Shakespeare's Act II,
Scene 1, the action begins with a violent storm, described by the Chorus

of Cypriots and Venetian soldiers, the Opera's counterpart to

AA
Shakespeare's three gentlemen. Cassio and Montano add two short super-
ficial comments to the expressions Of concern for the safety Of Othello.
Iago, already arrived in the Opera, in his second Of two short comments
reveals his dislike for Othello in saying: "I fain would leave her
[Othello's ship] buried for the waves to cover."1

The expository material between Shakespeare's Montano and the
three gentlemen describing the loss of the Turkish fleet in the storm
is then dismissed briefly in Othello's appearance and one speech:

OTH: Hear glad tidings! Our wars are done.
The ocean has 'whelmed the Turk.
Heav'ns be and our the glory!
What our weapons had left,
The storm has scattered.2
This speech greatly resembles Othello's exit lines in Act II, Scene 1
in Shakespeare.

The arrival of Desdemona (who, with Emilia and Roderigo, makes
an entrance with Iago in Shakespeare) is delayed. First, three brief
speeches concerning Roderigo's erstwhile suicide are injected:

IAGO: Roderigo, well, now, what say'st thou?

ROD: Drowning, say I.

IAGO: Fool, who talks Of drowning for the love of woman!3
This discussion in ShakeSpeare comprises several long Speeches at the end
Of Act I, Scene 3. Then, Iago urges Roderigo to be patient in an aria
the majority of which is also borrowed from ShakeSpeare's Act I, Scene

3, excluding the instructions to make money. Also included in this

aria is one line noting Iago's feigned friendship for but inner hatred

 

1Arrigo Boito, Otello (libretto) Italian and English text
(Boston: Oliver Ditson Company, 1888), p. A.

2Ibid. 3Ibid.

 

 

A5

of Othello. The aria concludes with an expression Of Iago's displeasure
that Cassio, "the masterly arithmetician,"1 has been promoted before
him. This latter material is condensed from Iago's first long speech
early in Act I, Scene 1 Of the play.

Still before the arrival Of Desdemona, Iago provokes Cassio
to fight Roderigo (Act II, Scene 3 in the play). The action is com—
pressed and a typically Operatic brindisi for Iago, which is clearly
indicated by the Shakespearean song, "And let me the cannikan, clink,
clink . . ."2 is added. The action moves directly from this song to
the fight provoking words Of Roderigo (who is present for the drinking

in the Opera): "I laugh at drunkards."3

Scene 2

The ensuing scuffle is dispersed by the arrival Of Othello.
This begins Scene 2 in the Opera. He demotes Cassio; and, as in Act
II, Scene 3 Of Shakespeare, Desdemona, now making her first appearance
in the Opera, joins her husband. In the Opera she is silent.

This scene, as in the play, is the initial incident in the
plot development. Except for the compression in the Operatic treatment,
the handling is similar in both versions.

The remainder Of Shakespeare's Act II, Scene 3—-including
Cassio's bemoaning his lost reputation and Iago's deprecation of such
an attitude, Iago's vow to bombard Othello with lies about the relation-

ship between Desdemona and Cassio, and the final trivial scene between

 

1Ibid., p. 5. 2Shakespeare, p. 37.

 

3Boito, p. 9.

A6

Iago and RoderigO--is deleted in the Opera.
Scene 3

In Scene 3, the Opera returns to the middle Of Act II, Scene 1
Of Shakespeare. Eliminating that portion in which Iago composes verses
for Desdemona and Observes Cassio kissing Desdemona's hand, the Scene
presents the first meeting of Othello and Desdemona on Cyprus. This
brief encounter is supplemented with the eXpOSitory material from
Act I, Scene 3 Of Shakespeare wherein Othello tells the Duke Of how
his stories of danger and conquest SO excited Desdemona that she sug-
gested that he woo her. In the Opera Othello and Desdemona discuss
this relationship between them in the love-duet which closes this act.
Near the end Of the duet Othello speaks the words, "a kiss, and yet
another kiss,"l which presage the kisses in the death scene.

The Herald's short declamation (Act II, Scene 2) in Shakespeare

is deleted from the Opera.
Act II, Scenes 1 and 2

The first Short scene in Act II consists of the suggestion by
Iago to Cassio that he appeal to Desdemona to intercede for his rein-
statement, as abbreviated from the end Of Act II, Scene 3 in Shakespeare.
Scene 2 is taken up almost entirely with Iago's "Credo," an
aria famous in Operatic literature. It does not appear to have any
literal source in Shakespeare. It does, however, reinforce the demonic

nature of Iago. As Kerman states: "There is none Of Shakespeare's

 

1Ibid., p. 13.

A7
curiously inconclusive 'motive—hunting' in Verdi's 'Credo', but instead
the villain direct, complete, and terrible."1 He also indicates that
Verdi "sweeps together Shakespeare's four or five soliloquies"2 in
creating his "Credo." However, in the "Credo," Iago asserts directly
that he is a "vile germ Of nature [and] 'tis Fate that drives me."3
This sentiment is not strictly Shakespearean.

At the conclusion Of his "Credo," Iago watches Descemona and
CassiO speaking. This short conversation (which includes Emilia), ap-
pearing in Act III, Scene 3 Of the play, is thus only Observed but not
heard in the Opera. This is Emilia's first appearance in the Opera.
She does not speak (cannot be heard).

Eliminated to this point are Shakespeare's Act III, Scenes 1
and 2. The former includes the comic relief episode between the Clown
and the Musicians, and Emilia's agreement to assist CassiO in arranging
a meeting with Desdemona. The latter Shows Othello embarking on a tour

Of the fortifications.
Scene 3

It is at this point in the Opera that the major plot issue,
the building Of Othello's jealousy, actually commences. Scenes 3, A,
and 5 are based entirely upon Act III, Scene 3 Of the play. The major
difference between versions is in the great amount Of rearrangement of
Shakespearean episodes in the Opera. To better Observe these interpola-

tions, the reader may wish to refer to Table 2 in the Appendix.

 

1Kerman, p. lAO.

21bid. 3Boito, pp. lA-l5.

A8
The first suggestion to Othello that something may be amiss in
his marriage occurs at the beginning Of Scene 3 when Iago makes Cassio's
hasty departure from his conversation with Desdemona look suspicious.
The Opera then moves quickly ahead to Iago's speeches warning Othello
to beware of jealousy but to watch Desdemona from a later episode in
the scene. Although Othello resists the insinuations, the expression
Of his faith, appearing only as a brief apostrophe to the long choral
passage, is somewhat less positive than the Shakespearean twice-repeated,
"I will deny thee nothing."1 In the choral passage itself, the Chorus--
women, children, and Cypriot and Albanian soldiers--bring flowers and
jewels to Desdemona and their song, Othello says, "has wrung my bosum

. . . if she deceive me, the heav'n itself's a liar."2
Scenes A and 5

The action now returns to the episode in which Desdemona speaks

to Othello of Cassio. In the Opera she makes a stronger plea than in

the play: "You must forgive him."3 This plea has been described by

Toye as "stubborn and inappropriate insistence."4 The scene then con-
tinues with the casting aside Of the handkerchief. From this point

the action Of the remainder of Shakespeare's Act III, Scene 3 is compres-
sed to bring Act II Of the Opera to a close. To create the quartet
which closes out Scene A, there is added to Iago and Emilia's argument

over and Iago's subsequent snatching of the handkerchief (a departure

 

1Shakespeare, p. 53

ZBoito, p. 19. ‘ 3Ibid.

 

4Toye, p. A18.

A9

in the Opera), a concurrent speech by Desdemona. While she sings Of
her desire to serve, love, and comfort her husband; Othello, in an
aside, bemoans his broken heart and lost dream Of love. Neither of
these latter outbursts has any literal source in Shakespeare.

Scene 5, still paralleling the Shakespeare, presents the dis-
course in which Iago, through his "proofs" (Cassio's dream and the
handkerchief soon to come into Cassio's possession), further incenses
Othello to vengeance. In the ensuing duet Iago also sings Of his
vengeance upon Othello. Othello does not, however, command Iago to
kill Cassio as in the play.

Omitted from ShakeSpeare'S Act III, Scene 3 to this point are
Iago's references to men being what they seem, one's good name, and
jealousy, Also missing is Othello's soliloquy with its Opening reiter-

ation Of Iago's honesty.
Act III, Scenes 1, 2, 3, and A

In the short Scene 1 the Herald announces the arrival of
Lodovico, and Iago instructs Othello to overhear his conversation with
Cassio. This latter material is interpolated from Act IV, Scene 1 in
Shakespeare. The actual listening episode, however, is delayed in the
opera. Thus deleted from Act IV, Scene 1 are both the comic relief
episode containing the Clown's pun on the word "lie" (possibly indi-
rectly referred to in Act III, Scene 5 in the Opera when CaSSiO men-
tions his lodging), and Desdemona and Emilia's Short discussion con-
cerning the whereabouts Of the handkerchief.

Scene 2 presents the discussion over the handkerchief found in

Shakespeare's Act III, Scene A. The Scene is punctuated by material

50

from the middle Of Shakespeare's Act IV, Scene 2, that portion in which
Othello calls Desdemona a strumpet.

Scene 3 consists entirely of Othello's aria decrying the sorrows
heaven has rained on him. This aria is borrowed ahead from Act IV,
Scene 2 in Shakespeare (immediately previous to the name-calling mater-
ial used in Scene 2), and brings about Othello's first trance (even
without Iago's "final blow"--the story Of Cassio's boast).

Also deleted from the Opera is the remainder of Act III, Scene
A in the play. This includes Cassio's second appeal to Desdemona,
Desdemona and Emilia's discussion Of jealousy, and the episode in

which Cassio gives the handkerchief to Bianca.

Scenes 5 and 6

The Opera returns to Shakespearean order for Scenes 5 and 6.
Scene 5 includes the episode in which Othello overhears Iago and CassiO,
and Cassio produces the handkerchief (altered from the play because Of
the deletion of the character Of Bianca). Scene 6 consists of Iago and
Othello's discussion of the handkerchief. At the close Of this conversa-
tion, Othello resolves to kill Desdemona. This definite statement:
"Her fate is settled. This same night she must die,"1 marks the turning
point in the Opera; for, although Othello falters briefly before the
murder, his firm intent is never questioned after this scene.

At the conclusion Of Scene 6 Othello makes Iago his lieutenant.

This action harks back to Act III, Scene 3 in the play.

 

1Boito, p. 32.

51

Scenes 7, 8, and 9

Continuing with Shakespeare's Act IV, Scene 1, Lodovico is
introduced in the beginning Of Scene 7. The action moves from this
welcome to Othello's annoyance with Desdemona. However, he does not
strike her in the Opera. He is deterred by Lodovico. Then, again
departing from the play, Othello calls for Cassio.

The beginning Of Scene 8 marks the arrival Of Cassio and the

announcement Of the news that Othello has been recalled and CassiO has
been chosen to replace him. Then occurs some Operatic recapitulation
as Desdemona, Emilia, Roderigo, Cassio and Lodovico expound in musical

passages their particular woes and impressions. This is followed by
the Chorus (Knights and Ladies) expressing their Shock at Othello's
treatment Of his wife. Then, Iago urges Othello to strike by Offering
tO kill CaSSiO. Much earlier in the play (Act III, Scene 3) Othello
orders Iago to commit the murder.
Returning to the end of Shakespeare's Act IV, Scene 2, Iago
urges Roderigo to kill CassiO. This differs Slightly from Shakespeare
in that Roderigo has not been sending jewels to Desdemona through Iago
and therefore does not suspect Iago Of stealing them, and Iago does not
need to inform Roderigo of Othello's impending departure because Roderigo
is present when the letter is read in the Opera. In closing Scene 8,
the ensemble, still on stage during Iago's parenthetical comments to
Othello and Roderigo, sees Othello grow more agitated and curse his wife.
Continuing in Scene 9, Othello lapses into his second trance as

Iago, against the distant voices Singing praise to Othello, says sarcas-

tically over his motionless body: "See here the lion."1 This comment

 

11bid., p. 39.

52
cannot be traced to any Specific corresponding passage in Shakespeare.
Though borrowing on occasions from.Act IV, Scene 2 Of the play,
the Opera leaves unused the Opening discussion between Othello and
Emilia concerning her Observations of Desdemona's conduct; and Iago,
Desdemona and Emilia's discussion Of Othello's recent attitude toward

his wife.
Act IV, Scenes 1 and 2

Shakespeare's Act IV, Scene 3 forms the basis Of Scene 1 in the
opera. The introductory comments marking the departure Of Lodovico and
Othello and the latter's commamlto Desdemona to dismiss Emilia are ,
deleted. Used in the Opera is the song of the "Willow." The discus-
sion which accompanies the song, however, is Slightly abridged from
the Shakespearean version.

Scene 2 is composed entirely Of Desdemona's aria, "Ave Maria,"
which ranks almost equally with Iago's "Credo" as the most popular of
the Qtellg music. The text has no equivalent in Shakespeare, but the
song is justified by Othello's question in Scene 3 Of the Opera: "Say,

have you prayed tO-night?"1
Scenes 3 and A

The murder Of Desdemona receives similar treatment in both
versions. The action which Shakespeare presents in one scene (Act V,
Scene 2) is, however, divided into two scenes in the Opera. The divi-

sion occurs with the entrance Of the ensemble after Emilia's cry.

 

1Ibid., p. A3.

53

There are several other notable changes in the Opera. In
sequence they are: Othello's long Opening Speech is deleted (but the
three kisses are retained, being performed in pantomime in the opera);
the discovery and revelation of the contents of the letters is reduced
to one line by Montano: "The dying Roderigo has confessed all the dark
plots Of this villain."1; Iago does not kill Emilia; Othello does not
wound or threaten torture for Iago because the villain runs; and Othello
is not given his "word or two" before he goes. In all, the conclusion
Of the Opera comes swiftly, and the action ends abruptly with the suicide
Of Othello. Thus eliminated is Lodovico's closing speech.

Shakespeare's Act V, Scene 1, in which Roderigo is killed and
Cassio is wounded, and the appearance Of the non—essential Gratiano, is
deleted in its entirety from the opera. In the Opera Cassio kills
Roderigo, but the action is not shown.

Othello's final Short speech and suicide comprise the climax Of
the opera. In the play, the previous murder Of Desdemona, due to the
amount Of intervening material, becomes something Of an anti-climax.
However, in the Opera, compressed to have the suicide follow more close-
ly after the murder, this differentiation is more difficult to make.

There is no denouement in the opera; the action ends with the

climax.
2. Conflict

Woodbridge has called the conflict in Shakespeare's Othello:

 

11bid., p. A6.

5A
. . . a struggle between two natures: the one passionate, generous,
endowed with tremendous power to love and hate, but not well poised,
without controlling judgement; the other cold, intellectually
agile, self-sufficient and self-controlled, able to use himself

and others as tools with a skill founded in an accurate though
limited understanding Of human motives.1

This should not be misconstrued to mean that there is a con-
flict between individuals; for, as William Archer says: "There is no
struggle, no conflict between him [Othello] and Iago. It is Iago alone

who exerts any will. Neither Othello nor Desdemona makes the smallest
right."2

As a result Of Iago's force Of will, Othello's inner struggle
between love and jealousy becomes the major conflict in the play.

The Opera demonstrates the same conflict. Although Othello's
motivations are Slightly simplified in the opera, and the action is
compressed SO that Othello's jealousy is aroused more quickly, the basic
conflict remains the same as in the play. The Opera's Othello does
make a definite decision to kill Desdemona, thus temporarily resolving
his inner conflict. In the play, Othello continues to be ambivalent

up to the very moment that he kills Desdemona.
C. Comparison of Characters

In the cast of the Opera are Othello, Iago, Desdemona, Emilia,
Roderigo, Cassio, Lodovico, Montano, the Herald, and the Chorus (com-

posed at various times of combinations Of soldiers, sailors, and Cypriots

[Knights, Ladies, and children]). Deleted, therefore, are Shakespeare's

 

lWoodbridge, p. 37.

2WilliamArcher, Play—making: A Manual Of Craftsmanship (New
York: Dodd, Mead and Company, Inc., 193A), p. 30.

 

55
characters of Brabantio, Bianca, the Duke Of Venice, Gratiano, the
Clown, the Senators, the Musicians, servants, attendants, and the
Messenger. The gentlemen of Cyprus and the Officers are incorporated

into the Chorus.
1. Othello

The character of Othello is more consistent with its counter-
part in the play than any other character in the Opera. The more com-
pressed plot development Of the Opera does force its Othello to be
more speedily decisive, but his innate jealousy which finally overrides
his generous, trusting, loving nature is equally demonstrated in both
versions.

Othello is also the most complex of the characters in the Opera.
This is not to say that his characterization is psychologically com-
plete, but merely to indicate that he presents a figure less one-sided
and/Or superficial than those characters who surround him.

To say further that there is character growth in Othello,
however, is an overestimation. That his jealousy can be so easily
aroused by a series Of highly circumstantial insinuations, only proves
that his capacity for jealousy is already mature and undergoes, in
the words Of Woodbridge, "a gradual arousing of a passionate nature
until it reaches a whiteheat that destroys itself and those nearest
it."1 This cannot truly be considered character development.

Othello is a strong character. Not even Iago's professions Of

evil can overshadow the fact that in the end it will be Othello who

 

lWoodbridge, p. 13A.

56
will act. In fact, Shakespeare's Iago commits only one overt act (dis-
counting the unnecessary murder Of Emilia)—-the cowardly wounding Of
CaSSiO and the quasi-heroic killing of the childish Roderigo; in the
Opera he is even denied this. Contrast this with Othello, a man
driven by his own defect Of character to murder his wife and take his
own life, and the dominant character Of Othello is easily seen.

In the Opera Othello has a much stronger introduction. His
first entrance is at the height Of the storm. Shakespeare, through
his more subdued presentation Of a champion unperturbed at the prospect
Of his impending meeting with his wife's irate father, probably more
justly creates the picture Of the great black bear soon to be roused

frOm his peaceful hibernation and excited to violence.
2. Iago

The Opera's Iago is a villain, pure and Simple. Stripped of

his suspicions about his wife in the Opera, he is motivated only by
the loss Of the lieutenancy, and he concocts his dark plots with all
the evil machinations Of the stereotyped villain Of the most Obvious
melodrama. This characterization Of the arch-intriguer could become
comic to the modern taste. He only escapes this fate because, in the
words Of Woodbridge:

(1) the character Of the victim is so noble, and is so treated as

to awaken our emotional sympathy; and (2) that he is strong enough,

when finally aroused, to retaliate with the terrible energy and with

such terrible effectiveness that our thought is drawn away from

the intellectual phases Of the case to its emotional issues.1

verdi further allays this possible comic impression by his own

physical description Of Iago:

 

1Ibid., p. 1A8.

57
If I had to act the part Of Iago, I Should make him long and lean
with thin lips, small eyes set, ape-like, tOO close to nose, and
a head with receding brow and large development at the back. His
manner would be abstracted, nonchalant, indifferent tO everything,
incredulous, smart in repartee, saying good and ill alike lightly
with the air Of thinking about something else. SO if someone Should
reproach him for a monstrous suggestion, he might retort: "Really?
. I did not see it in that light . . . let's say no more Of it."
A man like that might deceive everybody, even up to a point his own
wife. A small, malignant fellow would put every one on his guard
and would take nobody in!1
Yet Iago is the motivating force in both the play and the Opera.
When Lajos Egri describes him as the "pivotal character,"2 this becomes
a semantic substitution for the nomenclature "protagonist" which car-
ries with it the picture Of a sympathetic character.
In his Opening speech early in each version Iago expresses his
villainous intent. Although Toye describes Verdi's handling Of Iago
as the "most subtle characterisation"3 in the Opera, it is difficult to
agree in view of the villain's forthright "Credo" and unwavering, arro-
gant, demonic personality (which is even recognized by the Opera's
Emilia). There is certainly nothing subtle about his sarcastic jibe
at the prostrate Othello at the close Of Act III in the Opera. Such
additions to Shakespeare only serve to simplify the character Of Iago,

who has already become, by the deletion Of all his physical action in

the Opera, a talkative plotter who runs when confronted.

 

1Letter Of Giuseppe Verdi to Domenico Morelli, St. Agata,
September 2A, 1881 (as quoted in Hussey, p. 2A9).

ZLajos Egri, The Art of Dramatic Writing (New York: Simon and
Schuster, 19A6), p. 10A.

 

3Toye, p. A20.

58

3. Desdemona

Desdemona, early in the Opera, achieves a distinct growth in
personality. From her love—duet which, in the words Of Kerman, She
"sing without any reserve on an equal plane with her Othello,"l to
her insistence upon Cassio's reinstatement, Desdemona becomes a more
flesh-and-blood character. This is quite a departure from the play in
which Desdemona, according to Bradley, "seems to lack . . . independence
and strength of spirit."2

In her first appearance in Act I, Scene 2 Of the Opera she does
not speak, but in her duet with Othello soon after, she reveals a
strength of character which is a worthy complement to that of her hus-
band and which Shakespeare's Desdemona never achieves. This character-
ization in the Opera, however, is not sustained to the end. In her
death scene, for example, she reacts quite similarly to Shakespeare's

more fragile Desdemona.
A. Emilia and Others

The three characters mentioned SO far--0thello, Desdemona, and
IagO-—dO not suffer as appreciably from the reduction of the size of
their roles as do the remainder Of the characters in the Opera. Emilia,
for instance, becomes a much more subordinate character in the Opera
than in the play. In her first appearance (as late as Act II, Scene 1)

she is, as far as anyone knows, merely an attendant to Desdemona. Her

 

1Kerman, p. 160.

2Bradley, P. 203.

59

failure to speak at that time only furthers the impression that she
bears nO significance to the plot. Although She appears in the same
act and scene in Shakespeare, She is already remembered from Act I as
Iago's possibly unfaithful wife whom Iago, in the later scene, chides
for having a quick tongue. However, Shakespeare's Emilia develops as
an unsuspecting, subordinated wife who humbly says: "You have little
cause to say so."1

On the other hand, when Emilia Speaks in the opera She is por-
trayed much more as Shakespeare's Iago describes her. In the quartet
(Act II, Scene A Of the Opera) She Shows that She understands Iago
enough tO suspect him of treachery, and she is not reluctant to tell
him: "Your wicked scheming too well I know it."2 Although she is
rarely seen again until the final act, her character as expressed in
the quartet already outstrips that Of Shakespeare's almost unbeliev-
ably naive Emilia who can say Of the handkerchief: "What he will do
with it heaven knows, not I."3

SO, although the Size Of Emilia's role is reduced, she does
achieve a strength Of character in the Opera not found in the play.

The appearances Of Roderigo, described by Shakespeare as early
as in the Dramatis Personae as "a gulled [gullible] gentleman," and
having a personality not unlike that of Cherubino in Mozart's The Mar-

riage Of Figaro (whose immaturity is best characterized by the fact

 

 

lShakespeare, p. 29.
2Boito, p. 20.

3Shakespeare, p. 60.

60
that his role in that Opera is taken by a soprano), are mercifully
reduced to three in the Opera. These are the Opening and drinking and
fight scenes in Act I, and Scenes 7 and 8 Of Act III in which he is
instructed by Iago to kill Cassio. Deleted is the majority of Roderigo's
puppy-like following of Iago's words and person to the limits Of credi-
bility. Retained, however, is his implicit trust in Iago, which, in
its more limited SCOpe in the Opera, seems more justified than in the
play.

Cassio, the unsuspecting target of all the malicious gossip
remains a relatively indefinable entity in the Opera. That he is mar-
ried is only revealed in Shakespeare. That he cannot hold his liquor
becomes important in both versions. But, beyond this fact, all that
can be ascertained in the Opera is that he is pleasant, courteous, and
he has a certain charm with the ladies.

Cassio's only premeditated action is that in which he appeals
to Desdemona to intercede for him with Othello. He is a curious example
Of a character necessary to but almost excluded from the plot. In the
Opera even the attack upon his person becomes a subject Of exposition.
His expressions Of levity at the mention Of Bianca do, however, consti-
tute the only humorous reSpite in an otherwise highly morose Opera.

Finally, Lodovico and Montano, utility characters reduced in the
Opera to their most necessary functions—-the former to deliver the let-
ter, and the latter to be wounded by Cassio (for that early in the Opera

who else could be sacrificed?)-—cannot be reckoned with as individual
personalities, any more than they can in the play. For most announce-
ments and proclamations the Opera employs the Chorus. Those Shakespear-
ean supernumerary functions not incorporated into the Chorus or assumed

by the Herald are deleted from the Opera.

61

D. Conclusions
1. Changes in the Opera
a. Additions

There are nine additions in the opera of plot materials not
found in the play. The first of these, Othello and Desdemona's love—
duet, is based upon Shakespearean dialogue but its concept is new. It
serves to delineate a different,more affectionate relationship between
Othello and his wife, as well as to demonstrate the strengthened char-
acter Of Desdemona. A second addition is Iago's "Credo," which, though
loosely based upon his Shakespearean soliloquies, helps to create the
picture of the more villainous Iago. The choral passage which sings
Of Desdemona's happy love is a third addition. The quartet in Act II,
Scene A is almost completely new even to Emilia's suspicion of Iago
which forces him to wrench the handkerchief from her. A fifth addition
is Othello and Iago's duet which ends Act II. Although in this duet
most Of the material is Of Shakespearean origin, the camaraderie which
seems to exist between the two men is an addition in the Opera. Iago's
sarcastic "See here the lion" is a Sixth addition.

The final three additions are the presence Of CaSSiO for the
reading Of the letter in Act III, Scene 8; Othello's second trance; and
Desdemona's "Ave Maria" just before her murder.

Also included in the Opera are several instances Of purely
Operatic recapitulation (notably in the Iago-Othello duet; the quartet;
and the ensemble in Act II, Scene 8). Finally, as noted, the characters
of Desdemona and Emilia evidence more emotionally human traits in the

Opera.

62

b. Interpolations

There are thirteen interpolations Of Shakespearean materials
in the Opera. Nine Of these occur in Acts II and III during the build-
ing Of Othello's jealousy. The other four interpolations appear in Act
I of the Opera. Three of these are borrowings from Act I in Shakespeare
which is otherwise not used in the Opera. Those three portions found
in the Opera are the short discussion Of drowning between Roderigo and
Iago and the latter's instructions to be patient from.Scene 3 of Act I
in the play, Iago's description of Cassio from Scene 1, and Othello's
description Of the wooing Of Desdemona as found in Scene 3. The fourth
interpolation in Act I Of the Opera is the use of the first meeting
between Othello and Desdemona on Cyprus after the Roderigo-Cassio fight
episode rather than before as in the play. This interpolation creates
the act-ending love-duet.

The four interpolations in Act II Of the Opera serve tO move
Iago's warnings to Othello to beware Of jealousy and to watch Desdemona,
and Othello's expression Of temporarily renewed faith to a position be-
fore the episode in which Desdemona speaks to Othello about Cassio.
This makes Desdemona's insistent plea that much stronger a force in
the building Of Othello's jealousy.

The five interpolations in Act III serve basically to place
Othello's lament Of the sorrows that have befallen him and his subse-
quent cursing Of Desdemona to a position before the episode in which he
overhears Cassio and Iago discussion Bianca. This emotional outburst,

in turn, makes Othello's first trance which follows seem more motivated.

63

C. Deletions

The most notable deletion in the Operatic version Of Othello
is the elimination Of Shakespeare's Act I (except those three interpola-
tions already noted). Withthis deletion the motivating factors for
Othello's killing Of Desdemona and those considerations prompting Iago
to bring him to it are each reduced by one. Gone is the suggestion
that Desdemona, having deceived her father, could be disposed to de-
ceive Othello. Also missing is Iago's suspicion Of an intrigue between
Othello and Emilia. It is interesting to note that the Opera also ex-
cludes Iago's suSpicion that his wife has been unfaithful with Cassio
as well. This brief suggestion occurs in Act II, Scene 3 Of the play.

There are ten characters or groups Of characters deleted from
the Opera. In addition, Of the twelve scenes in Shakespeare's Act II,
III, IV, and V utilized in the Opera, part or all Of every one suffers
deletion.

Looking first at those characters omitted from the Opera it
can be seen that they fall into three basic categories: (1) those elim-
inated because Of the deletion Of Act I Of the play (Brabantio, the
Duke Of Venice, the Senators, and [indirectly] Gratiano); (2) minor
characters not directly concerned with the building Of Othello's
jealousy (Bianca, the Clown, and the Musicians); and (3) supernumeraries
(servants, attendants, and the Messenger).

The absence Of those characters in the first category creates
two interesting deviations from.Shakespeare in the Opera. With the
deletion Of Brabantio and the circumstances surrounding Othello's mar-

riage to Desdemona, the long-standing argument among Shakespearean

6A

scholars as to whether or not Othello was in fact a Negro is avoided.
In the Opera Othello dresses as a Venetian general, all parental Ob-
jection to his marriage is removed, and the question of his race becomes
irrelevant. In addition, with the deletion of the Duke and the Sena-
tors, all echoes Of the state are reduced to an absolute minimum. Al-
though Lodovico, with his news of the change of command, is still in-
cluded so that Iago is forced to press Othello to strike swiftly, the
emissary's final speech with its reference to the state is deleted.
Finally, the role Of Montano is reduced to such a degree that only a
careful perusal Of the program would indicate who this man actually is.

In the second category the deletion of Bianca does constitute
a minor plot loss, but it can be argued that seeing Cassio with the
handkerchief is as strong a motivating force upon the watching Othello
as seeing Bianca with—-more SO, if Othello could admit the possibility
that she may not have Obtained it from CassiO. The Clown and the Musi-
cians, used only in the two brief comic relief episodes in the play,
are deleted from the Opera.
. In addition, the number Of appearances Of the naive Roderigo
are severely reduced. Finally, Iago is reduced to a more melodramatic
personality, and Othello loses some motivation for his jealousy.

Completely omitted from the opera are Act II, Scene 2; Act III,
Scenes 1 and 2; and Act V, Scene 1 Of the play. These scenes include
the Herald's Short proclamation Of the feast, the Clown and Musician's
brief comic episode and Emilia's talk with Cassio, the four-Speech
scene in which Othello goes to inspect the fortifications, and the scene
in which Roderigo wounds Cassio and Iago kills Roderigo. Of these plot

materials only the last bears any real Significance in the overall

65

direction Of the action. The deletion Of Iago's killing Of Roderigo
(and also his later murder Of Emilia) helps to create the picture Of
a villain whose evil actions are merely vocal and not physical in na—
ture. In the opera Iago talks a good murder, but he does not commit
even as cowardly a one as Iago's murder of Roderigo in the play.

All the remaining scenes in Acts II, III, IV, and V Of the play
suffer varying amounts Of deletion. The one Scene in which there is a
major amount Of deletion is Scene A Of Act III. Deleted here iS the
Opening comic relief episode, Desdemona and Emilia's discussion Of the
whereabouts of the handkerchief, Cassio's second appeal to Desdemona,
Desdemona and Emilia's discussion Of jealousy, and Cassio's giving Of
the handkerchief to Bianca. Eliminated from Act II, Scene 1 is that
portion in which Iago composes verses for Desdemona. From Scene 3 Of
the same act Iago's soliloqdy and short episode with Roderigo are de-
leted. Omitted from Act III, Scene 3 are Iago's comments on the value
Of a good name.

The three scenes in Act IV Of the play each suffer Some small
deletion. From Scene 1 Iago's account of Cassio's alleged boast of
having slept with Desdemona which brings about Othello's trance in the
play is deleted. (The trance is motivated in the Opera by the inter-
polation Of several plot elements.) Othello's questioning of Emilia
about Desdemona's conduct and the later discussion between Iago, Emilia,
and Desdemona about Othello's recent behavior are omitted from Scene
2. The Opening Of Scene 3, prefatory to the "Willow" song, is also
deleted.

The final scene Of the play (Act V, Scene 2) evidences the

deletion of Othello's Opening soliloquy, the death of Emilia, the

66
discovery of the letters in Roderigo's pocket, the wounding of Iago,
Othello's long speech before his suicide, and the final speech Of

Lodovico.
d. Compression

The major characteristic Of the compression in Otello is the
elimination Of some Of the several Shakespearean soliloquies and the
reduction Of others. Such reduction, for instance, Occurs in Othello's
soliloquy in Act III, Scene 3 Of the play. Comprising twenty lines in
Shakespeare, it becomes a part Of the quartet in Act II, Scene A Of the
Opera, and is rendered as follows:

OTH: Happily because I lack
Soft parts of conversation,
Or that I am declined
Into the valley of years,
Happily because my visage
IS dyed Of deepest black,
Her life is ruined, a by-word
Am I, my heart is broken,

And in the dust is Scattered
My golden dream of love.1

In addition, Iago's soliloquies, for the most part, are con-
densed into his "Credo." Further compression takes much the same form

as that found in Macbeth: a reduction Of the duration of expression.
2. Results Of Changes

The changes in the Opera create several differences between
versions in the initial incident, turning point, climax and denouement.
The location of the initial incident-—Cassio's demotion (and subsequent

appeal to Desdemona which Iago can cause Othello to misinterpret) is

 

1Boito, p. 20.

67

is altered. It occurs in Scene 2 of the Opera, while in the play, it
is found much later in the action (Act II, Scene 3). This may be ex-
plained by the fact that Shakespeare's Iago does not devise his plot to
pique Othello's jealousy until after his unsuccessful attempt in Act I
to ruin Othello's marriage, a rather poor substitute for driving a man
to insanity, murder, and suicide. Therefore, the action Of Act I Of
the play, which serves more to solidify than to disrupt Othello's
marital status, bears little relationship to the evil plot to which
Iago refers in his final speech in Act I and which unfolds in Act II.
The incident in the play is stronger, coming as it does after Act I,
in which Iago has had ample Opportunities to display his evil turn Of
mind not only in words, as in the Opera, but in actions. The Opera, on
the other hand, demonstrates an emotional immediacy in that the story
moves swiftly from Iago's statement Of intent to direct action, without
the intervention Of the act intermission, the extraneous comic relief
episode, and the other distractions provided by Shakespeare.

The turning point in the opera is more definite than in the play.
After Othello's resolve to kill Desdemona there is no hesitation on
his part. This effect is achieved through the interpolation Of all
the material which builds Othello's jealousy to a position before the
turning point. After Act III, Scene 7 in the Opera Othello does not
question Desdemona again; he is convinced. In the play the feeling
that possibly Othello could still be persuaded Of his wife's innocence
if someone were to speak the right word persists. When he hesitates
before killing her it appears to be an extension Of that ambivalence

which has pervaded his character throughout.

68

Othello's suicide at the climax Of the Opera, through compres-
sion and the deletion Of intervening materials, comes much closer after
the murder Of Desdemona. It is accomplished with a much shorter pref-
atory speech, and the tension created by the murder carries over almost
directly to the suicide. Finally, the opera ends with the emotional
peak at the climax and thereby lacks the tension—relieving denouement
Of the play.

The results of the changes in the main steps in plot development
are the speeding up Of the action, especially in the building of Othello's
jealousy, and the creation Of a more emotional approach to the story.
The changes in characterization in the Opera further enhance this emo-
tionality.

In the Opera Othello is less complex, He is provided with the
motivation of Iago's insinuations of an affair between Desdemona and
Cassio, supported only by the lie about Cassio's dream, Iago's warped
explanations Of Cassio's meeting with Desdemona, and the circumstances
surrounding the handkerchief. He is denied Brabantio's warning that
Desdemona may deceive him just as she had deceived her father, and Iago's
tale Of Cassio's boast. When, through interpolation and the deletion
of not directly related intervening material, he is presented with a
more rapid sequence Of events in the building Of his jealousy, he be-
comes more emotionally decisive. And when he kills Desdemona, he does
so in anger and without the soul-searching Of Shakespeare's Othello.

The emotionality is further enhanced by the lessened complexity
Of the character Iago, whose hatred of Othello is motivated only by
his anger at not having been promoted to lieutenant. There is no sug-

gestion in the Opera that he suspects intrigues between his wife and

69
Othello or Cassio. In his "Credo" he proclaims himself a villain for
the sake Of villainy. He is ruled by passion.

The character Of Desdemona also adds to the emotionality. Her
more tender relationship with Othello makes her death that much more
lamentable. Similarly, the greater awareness on the part Of Emilia Of
her husband's treachery not only further delineates Iago's evil char-
acter, but creates a more emotionally human character for his wife.

The deletion or reduction Of several of the minor characters
places more emphasis upon the conflict in the story. The most notable
Of these eliminations are the two comic relief episodes. Just as in
Verdi's Macbeth the emotional tenor Of the Opera is not interrupted by
extraneous comedy. However, the Porter's episode in Macbeth does serve
to increase the horror Of the discovery Of the body, while the two
episodes in Othello are placed SO as to be much less significant. The
deletion of Bianca also reduced the occasions for levity in the Opera,
for in her coarseness in the play she does contrast with the more tragic
tone Of the story. Even the plight Of Desdemona, who achieves a cer-
tain growth in personality early in the Opera, is minimized later in
the story SO as not tO overshadow the major plot issues as well as the
character of Iago (after whom Verdi had originally intended to title
the opera).

The majority Of the deletions Of plot elements serve to simpli-
fy the characters Of Othello and Iago. The reduction and/Or elimination
Of several Of Shakespeare's soliloquies especially decrease the intel-
lectual approach to these characters and their motivations. Also, by
deletion, Iago is deprived Of all physical action. The remainder of

the plot deletions consist, for the most part, of recapitulatory

7O

conversations which do not directly further the plot development. There
is one notable exception. The deletion Of Cassio's alleged boast,
which is a strong motivating factor in the play, does appear to be a
minor plot loss. I

Finally, the additions in the Opera all tend to increase its
emotionality. Othello's second trance, for instance, cannot be con-
strued to have any other purpose. In addition, the three strongest Of
these additions appear at the very ends Of Acts I , II, and III, and
thereby provide dramatic peaks just before the act curtains. The
love-duet, the duet between Iago and Othello (in which each expresses
his own particular desire for vengeance), and the derogatory "See here
the lion" all provide not only memorable act curtains but Opportunities
to make the conflicts in the Opera that more strongly emotional.

Therefore, a more rapid build—up Of Othello's jealousy, less
complex characterizations of Iago and Othello, and a more emotional
portrayal of Desdemona and Emilia create an Opera which minimizes the
intellectual issuesto stress the emotional impact of the story. Though
the Opera follows the major Shakespearean plot outline, it is more to
be felt that to be pondered, and the actions of the characters are more
to be lamented than to be understood. The result is something strongly

melodramatic.

CHAPTER III

COMPARISON OF FALSTAFF (GIUSEPPE VERDI) AND THE MERRY
WIVES OF WINDSOR (WILLIAM SHAKESPEARE)

 

A. Plot Of the Play

Shakespeare's The Merry Wives Of Windsor consists of five acts

 

Of four, three, five, six, and five scenes respectively. The opening
situation is as follows: Sir John Falstaff, a rotund, thoroughly un-
principled Old man whose thievery and deception have allowed him to
drink to excess for years at the Garter Inn in Windsor has recently
beaten the servants, killed the deer, and broken into the house Of
Justice Shallow. In addition, Falstaff's henchmen--Bardolph, Pistol,
and Nym-—have recently drunk with and Subsequently picked the pocket

of Slender, the cousin of Shallow. Also residing in Windsor is Anne
Page, a pretty young thing who has attracted the amorous attentions Of
Fenton, a young gentleman, and Dr. Caius, a French physician. Mistress
Quickly, housekeeper to Dr. Caius, has been acting as gO-between with
Anne for the two aspirants, both Of whom She has been giving encourage-
ment.

The play contains a major plot: the mercenary love-makings of
Falstaff, and a sub—plot: the wooing and.winning Of Anne Page. The
action begins with a discussion between country Justice Shallow and
Sir Hugh Evans, a Welsh clergyman, concerning the desirability Of

Slender, Shallow's cousin, marrying Anne Page. The initial incident

71

72
in the sub-plot consists of Shallow and Evans' urging Of Slender to
court Anne. Still in the first Scene Of the play, the three men pro-
ceed to the Page house and there find Sir John Falstaff whom Shallow
accuses of entering his house, beating his servants, and stealing his
deer. Slender charges that Bardolph, Pistol and Nym got him drunk and
picked his pocket. Falstaff laughingly admits his guilt and his con-
federates deny theirs. In neither case do Shallow and Slender gain
any satisfaction, and Shallow's threats to gO to the Council Of State
go unheeded. The scene closes with an episode between Slender and
Anne in which Slender, who just previous to this admits that he does
not love the girl, attempts to engage Anne in conversation. However,
he only succeeds in mentioning his proficiency at bear-bating.

Evans then sends Slender's servant, Simple, to Mistress Quickly,
Dr. Caius' housekeeper. Mistress Quickly, "a 'Oman, that altogether's
acquaintance with Mistress Anne Page,"1 will be able to assist Slender
in his.courtship.

The scene now shifts to the Garter Inn where Falstaff, having
first bound Bardolph over to the employ Of the Host, reveals to Pistol
and Nym his plans to woo both Mistress Ford and Mistress Page for their
money. He produces letters which he has written to each of the ladies,
but Pistol and Nym refuse to deliver them. The dispatching Of the let-
ters by a page is the initial incident in the major plot development.
The scene closes with Pistol and Nym discussion how they will reveal

the plot to Ford and Page.

 

1WilliamShakespeare, The Merry Wives Of Windsor, ed. Sir
Arthur Quiller-Couch and John Dover Wilson (London: Cambridge University

Press, 195A), p. 12.

 

73

Scene A marks the arrival of Simple at Dr. Caius' house for his
meeting with Mistress Quickly. She assures him that she will assist
Slender. With the arrival of Dr. Caius, Simple hides in the closet,
and, upon his discovery there, explains his presence. This SO enrages
Dr. Caius, who also desires Anne, that he sends a letter to Sir Hugh
Evans challenging him to a duel. Mistress Quickly then assures Dr.
Caius that she will intercede for him with Anne, and when Fenton arrives
at the close of the scene, She makes him the same promise.

When Mistresses Ford and Page compare their identical love
letters from Falstaff, they determine to punish him. They send Mistress
Quickly to arrange a meeting. Pistol and Nym, as they had vowed, tell
the husbands Of Falstaff's plans and Ford arranges to visit Falstaff
disguised as "Brook." Mistress Quickly arranges for Falstaff tO meet
Mistress Ford and explains that Page is home SO much Of the time that
if Falstaff wishes to contact Mistress Page he should send his page to
her. "Brook" appears and hires Falstaff to test Mistress Ford's honesty,
using the pretext that he loves her and wishes to see if she can be
persuaded to be unfaithful to her husband. When Falstaff informs him
that a meeting has already been arranged, Ford calls Page a fool for
trusting his wife. Act II closes with a raging Dr. Caius waiting in
a field for Evans to arrive for their duel. After a few moments the
Host persuades Dr. Caius to go with him, supposedly to see Anne.

The opening of Act III finds Evans, the other, more nervous
prospective duelist, waiting near Frogmore. With the arrival Of Dr.
Caius and the Host, the latter's plot to keep the two men apart is
exposed and the argument is resolved without swordplay. At this point

it is learned from conversation that Page favors Slender and Mistress

7A

Page prefers Dr. Caius as a suitor for Anne. Fenton cannot be consid-
ered because he lacks money.

Then follows the buck-basket incident. Falstaff arrives for
his meeting with Mistress Ford. He embraces her, expressing his love
for her and his wish for her husband's death. With the entrance of
Mistress Page, Falstaff hides behind the arras. At Mistress Page's
announcement that Ford is approaching, Falstaff hides in the buck-
basket, covering himself with dirty laundry. At a prearranged signal
the servants transport the basket from the house and dump it in the
river. Ford searches the house, and the "merry wives" plot another
indignity for Falstaff. They send Mistress Quickly to arrange another
meeting.

Scene A Of Act III begins with a conversation between Anne and
Fenton, for whom she shows a preference. However, Page Sends the boy
away. This temporary thwarting Of the lovers is turning point in the
sub—plot. Nevertheless, there is that quality of joviality inherent in
the play which discourages the belief that Anne and Fenton could be
separated permanently. In fact, later in this same scene, Mistress
Page, being thoroughly opposed to Slender and seeing her daughter's
rejection of Dr. Caius, does console the lovers. The scene ends as
Fenton gives Mistress Quickly a ring to be delivered to Anne.

In the final Scene Of Act III Falstaff bemoans his dunking in
the river, but when Mistress Quickly suggests another meeting with
Mistress Ford, he consents. "Brook" returns to learn Of the latest
development.

In Act IV Falstaff returns to the Ford House, and this time

he escapes dnguised as the witch Of Brainford; but not before he is

75

beaten by Ford who has forbidden the woman to enter the house. The
women plot still another torture for Falstaff and agree tO inform their
husbands.

The plan is to lure Falstaff to Windsor Park at midnight. He
is to wear a deer head, and the wOmen, Anne, and other children will
impersonate fairies and "pinch . . . and burn him."1 Elaborate plans
are also made by Page and Slender, Mistress Page and Dr. Caius, and
the Host and Fenton for each suitor to elope with Anne at the height
Of the festivities. Mistress Quickly goes again to Falstaff, and once
again he falls into the trap. All goes as planned except that Slender
and Dr. Caius discover that they have been duped when Fenton and Anne
arrive on the scene married. "Brook" reveals himself, Falstaff finally
reasons that "I do begin to perceive that I am made an ass,"2 and the
story ends happily.

There is no turning point in the major plot development Of the
play. Throughout the action Falstaff persists in his original intention,
despite his dunking and his beating. He evidences no firm desire to
abandon his plan until the climax, which is, Of course, his realization
that he has been the butt of all the jokes. The climax of the sub—plot
is the marriage Of Anne and Fenton.

The denouement consists Of the unmasking, the discovery Of who
isn't married to whom, the identification Of "Brook," the realization
that several people have been duped, and the general sportsmanlike gOOd

will at the end Of the play.

 

11bid., p. 75.

2Ibid., p. 88.

76

B. Comparison of the Plot Of the Opera
1. Sequence Of Events

Verdi' Falstaff contains three acts Of two scenes each. The
Opening Situation is substantially the same as that of the play. The
same miscreant Falstaff has still been up to no good; however, his
most recent Offenses, as well as those of his two (in the Opera) hench-
men, Bardolph and Pistol, have been against Dr. Caius. Anne (Nannetta
Ford in the Opera) is still being pursued by Dr. Caius and Fenton, with
the latter probably being the more successful, even without the aid Of
Mistress Quickly.

In discussing the Opening Situation Of either the play or the
Opera it Should be remembered that anyone familiar with Shakespeare's

King Henpy IV, Parts I and II, in which four Of these same characters

 

appear, would have additional background information in mind. To
facilitate a more equal comparison, this study will assume no such
foreknowledge of the characters' earlier exploits.

AS the libretto is characterized by a great amount Of deletion
Of the ShakeSpeare, the reader may wish to refer to Table 3 in the Ap-

pendix to better Observe these changes.
Act I, Scene 1

The action Of the first scene Of the Opera is drawn from Act I,
Scenes 1 and 3 in the play. The story Opens with Dr. Caius accusing
Falstaff Of beating his servants, riding his favorite hackney to death,
and breaking into his house. Dr. Caius further charges that Bardolph

and Pistol picked his pocket while he was drunk. Falstaff pleads guilty

77

to the charges against him but laughs at Dr. Caius' suggestion that he
will appeal to the Council of State. Dr. Caius also receives no satis-
faction from Bardolph and Pistol, and, in fact, they escort him out.

The action Of the major portion Of Shakespeare's Act I, Scene 1
and the entire short Scene 2 are deleted from the opera. This includes
the reference tO Falstaff's stealing deer, which is interpreted by many
Shakespearean scholars as a jibe at Sir Thomas Lucy, with whom the Bard
had a similar experience in his youth. In fact, most of thetopical
allusions, including the spoof of Ben Jonson and his "humours" as
stressed so Obviously in the speech Of Nym, and the incident of the
post—horses (to be discussed later) are missing from the Opera. In
addition, the Opera iS not concerned with the preponderance Of Shake-
spearean punning and quibbling. Also deleted are the discussion in
Scene 1 concerning Slender's marrying Anne and Slender's brief talk
with the girl. These deletions in turn make it unnecessary to enlist
the aid Of Mistress Quickly in Scene 2.

Shakespeare's Act I, Scene 3 is the basis for the remainder Of
Act I, Scene 1 Of the play. Deleted only is the transfer Of Bardolph
from the service Of Falstaff to the employ Of the Host. Falstaff's
plans to wOO the two women and Bardolph and Pistol's refusal to de-
liver the letters remain basically the same. Bardolph's gives as his
reason for refusing: "My honour!"1 This prompts Falstaff to a harangue
upon the subject Of honor which is borrowed from Act V, Scene 1 Of

Kinngenry IV, Part I. At the close of this speech he dismisses Bar-

 

dolph and Pistol from his service. Bardolph and Pistol do not, as in

 

1Arrigo Boito, Falstaff (libretto), English version by W.
Beatty Kingston (New York: G. Ricordi and Company, 1893), unpaginated.

78
the play, voice their resolve to go to Ford and Page, however, they do
subsequently reveal Falstaff's plot to Ford in the opera.

Just as in the play, the initial incident in the major plot
issue—-Falstaff's misadventures with Mistresses Ford and Page--occurs
with the sending Of the letters to the two ladies.

Act I, Scene A Of the play is also deleted in its entirety from
the Opera. Included in this elimination are the promises Of Mistress
Quickly (who is not identified as Dr. Caius' housekeeper in the Opera)
to aid each Of the three aspirants to the hand Of Anne, the discovery
Of Simple in the closet, and the dispatching of the letter Of challenge

to Sir Hugh Evans.
Scene 2

This scene is taken entirely from.Shakespeare's Act II, Scene 1
with certain additions concerning Anne and Fenton. The scene Opens
with Mistresses Ford and Page (joined by Mistress Quickly and Anne in
the Opera) discussing the receipt Of identical letters from Falstaff.
They agree that he should be punished and begin to devise a plan.
Fenton, Dr. Caius, Bardolph, and Pistol then beseige Ford with their
various complaints against Falstaff. Bardolph and Pistol go on tO
relate the story of the sending Of the two letters and Ford resolves
to guard his wife carefully. This men's ensemble is a compilation Of
the separate episodes in Shakespeare containing this material. Fenton's
presence here is an addition in the Opera.

A teasing love scene between Anne and Fenton follows. This
episode and those that follow in the Opera between Anne and Fenton

demonstrates an informal atmOSphere between the lovers which is entirely

79

foreign to the Shakespearean version. In this episode Fenton chases
Anne intent upon kissing her. At the climax Of the action the lovers
sing:

FENTON: Kissing is fraught with an exquisite pleasure!
ANNE: Bliss never palling, and sweet beyond measure!1

A brief interlude between the women in which Mistress Quickly is desig-
nated to go to Falstaff and arrange a meeting between him and Mistress
Ford interrupts the lovers. When they are alone again, Fenton succeeds
in kissing a lock Of Anne's hair and they repeat the refrain about kiss-
ing.

This duet is the initial incident in the sub—plot Of the Opera,
which, like in the play, is the wooing and winning Of Anne.

Ford then arranges with Bardolph and Pistol to present him to
Falstaff in the disguise Of "Brook," and the scene closes with some
Operatic recapitulation--an ensemble including all the principals.

Deleted from Act II, Scene 1 Of the play are Page's expression
Of confidence in his wife and the announcement of the duel between Dr.

Caius and Evans.
Act II, Scene 1

In a brief introductory passage Bardolph and Pistol plead for
reinstatement. They remain to hear Mistress Quickly arrange the meet-
ing between Falstaff and Mistress Ford and to tell Falstaff that Mis—
tress Page regrets that her husband is usually at home (without the

suggestion in the play that Falstaff send his page to her).

 

1Ibid.

 

8O

Continuing thus to parallel Shakespeare's Act II, Scene 2 the
Opera includes the visit Of "Brook" to Falstaff and their agreement
that Falstaff will test Mistress Ford's honesty. Following is Ford's
long speech promising revenge, altered from Shakespeare in that he
calls himself foolish for having been duped by his wife rather than
speaking Of Page's being too trusting. The scene then closes with a
short episode Of forced comedy in which Ford and Falstaff, each with
an effected gesture Of chivalry, bid each other to go out the door
first. This bit Of nonsense could have been suggested by the very end
of Act I, Scene 1 Of the play at which time Anne and Slender enact a
Similar "Alphonse-Gaston" sequence.

TO this point three scenes in Shakespeare have been deleted.
Scene 3 in which Dr. Caius waits for the arrival of his adversary, Sir
Hugh Evans and the Host persuades him to leave is not found in the Opera.
Scene 1 Of Act III in which the other prospective duelist waits near
Frogmore, and with the arrival Of Dr. Caius and the Host the plot of
the latter to prevent the duel is revealed is likewise deleted. Final-
ly, the action Of Act III, Scene 2 is eliminated. This comprises
Ford's encounter with Mistress Page and Falstaff's page who are going

to see Mistress Ford, and who arouse Ford's suspicions.

Scene 2

Of the opening Of Scene 2 only the readying Of the basket has
any direct basis in Shakespeare. Mistress Quickly's description of her
visit to Falstaff and Mistress Ford's assurance to Anne that she will
not have to marry Dr. Caius despite her father's instructions are addi-

tions to the opera. From this point, though, the action follows much

81
the same course as Act III, Scene 3 Of the play. There is the entrance
Of Falstaff, altered in that he pursues Mistress Ford. Also added
is Falstaff's "When I was page . . ."1 speech based on Act II, Scene A

of King Henry IV, Part I. With the entrance Of Mistress Page, Falstaff

 

hides behind the curtain. Ford enters and looks in the buck-basket.
This action is interpolated from the witch of Brainford scene, Act IV,
Scene 2 Of the play. Ford then searches the house. When Falstaff
vacates the area behind the curtain in favor of hiding in the basket,
Anne and Fenton take his place. In a strictly non—Shakespearean epi-
sode they are later discovered kissing. In the meantime, the ensemble
presents some additional recapitulation, assisted by the first Of two
appearances Of the Chorus, here composed of neighbors and servants.
After the discovery Of Anne and Fenton behind the curtain (where Ford
was sure Falstaff and Mistress Ford were kissing), the servants, unlike
in the play, take the basket only as far as the window and there deposit
Falstaff into the river. Mistress Ford, in taking her husband over to
the window, signifies that she will reveal the entire plot to him.

The discovery Of Fenton in the house and Ford's anger with him
could be considered a turning point in the sub-plot Of the Opera. How-
ever, just as in the play, this is a tenuous distinction to make.

Act III, Scene A of the play is deleted in the Opera. This in—
cludes the episode between Anne and Fenton, Slender's poor attempt at

wooing Anne, and Fenton's giving of a ring to Mistress Quickly for Anne.

Act III, Scene 1

Falstaff's long passage Opening this scene has its basis in two

sections Of Shakespeare's Henry IV. The beginning of the passage can

82

be traced to the "A plague Of all cowards . . ."1 material in Act II,

Scene A Of King Henry IV, Part I; while the remainder has its source

 

in Falstaff's praise Of sack in King Henry IV, Part II, Act IV, Scene 3.

 

Mistress Quickly's delivery of the letter inviting Falstaff to
Windsor Park at midnight closely approximates the same material in

Act III, Scene 5 Of The Merry Wives Of Windsor. The final episode in

 

the scene in which Mistresses Ford, Page, and Quickly, together with
Ford, Anne, and Fenton discuss the plans for the Fairy Scene is freely
altered from Act IV, Scene 5. Mistress Ford's plans for Fenton to
marry Anne are, Of course, an alteration in the opera.

Except for Falstaff's bemoaning his dunking (as noted), the
remainder Of Act II, Scene 5 in the play, including the second visit
of "Brook," and Mistress Quickly's arrangement Of the second meeting
between Falstaff and Mistress Ford, is deleted.

The action of almost the entire Fourth Act Of the play does not
find its way into the opera. The most notable deletions are the post-
horse incident and the entire Scene 2 in which Falstaff escapes from
Ford's house dressed as the witch of Brainford.

The curious affair Of the post-horses which is introduced in the
Short Scene 3 and comprises the latter half of Scene 5 is a sketchy
topical allusion. That it refers to a visit by a German count to Wind-
sor in 1592; a man who, as a guest Of the queen, expected to have horses

at his disposal without charge, is suggested by Sir Arthur Quiller-Couch.2

 

1William Shakespeare, King Henry IV, Part I, ed. Ebenezer
Charlton Black (Boston: Ginn and Company, 1922), p. 58.

 

2Shakespeare, The Merry Wives of Windsor, p. xix.

 

83

It has also been hinted by some scholars that the "three Germans" who
stole the Host's horses were in reality Dr. Caius, Sir Hugh Evans, and/
or their accomplices revenging themselves on the Host for having fooled
them in the dueling episode. With the deletion Of the Shakespearean
topical allusions, and the elimination Of the dueling sequence, the
entire puzzling affair is dispensed with in the Opera.

Further deleted are the Latin lesson in Scene 1, the episode
at the beginning Of Scene 5 between Simple and Falstaff, and Scene 6
which reveals the Host and Fenton plotting to foil theeflopement plans
Of both Mistress Ford and Ford. This latter material, together with
the plotting of the entire Fairy Scene is found in compressed and

altered form in Act II, Scene 2 of the Opera.
Scene 2

Fenton's love song at the Opening Of Scene 2 has no literal
basis in Shakespeare. It is, rather, a continuation Of that relation-
ship which has been created between Anne and Fenton throughout the opera.

Though compressed, the majority of the Fairy episode (Act V,
Scenes 1 through 5 in the play) is carried over into the Opera. However,
several plot alterations should be noted. In the play the plans in-
clude elopement on the part of the three suitors. Page is assisting
Slender, Mistress Page is assisting Dr. Caius, and the Host is in
league with Fenton in separate plots to steal Anne away. In the opera,
apart from the fact that Anne is Ford's daughter, the elopement plans
are reduced to two: Mistress Ford will help Fenton, while Ford will aid
Dr. Caius. Therefore, when the time comes for unmasking, it is Dr.

Caius alone who is surprised; and it is he and Falstaff who have been

8A
duped. At the end the Maskers (Chorus) and all the principals join in
the happy finale.

As in the play, there is no turning point in the major plot
action; Falstaff never alters his course Of action until the climax.
Similarly, the climax in the Opera is the same as in the play--Fal—
staff's final realization Of his folly. The climax of the sub-plot
is also the same—-the marriage Of Anne and Fenton. The denouement,
discounting the minor plot differences noted above, is relatively the

same in both versions.

2. Conflict

All Of the conflicts in both the play and the opera are of a
relatively superficial, man against man nature. When Falstaff decides
to improve his financial situation by feigning love for Mistresses
Ford and Page, he does SO with no apparent forethought. Likewise
the two ladies desire only to punish him for his audacity. When these
forces meet there is no discussion of principles Of interest in motiva—
tions. There are simply fake protestations and physical action. Intel—
lectual and emotional considerations give way to comic machinations.

Although there is, in the sub-plot, an emotional involvement--
implied in the play and manifested in the Opera--between Anne and Fen—
ton, the only Obstacle to their happiness is the presence of other
.persons who would impose their wills.

Similarly, the grievances over Falstaff's errant conduct are
dismissed before they can be exposed to any subjective reasoning.
Falstaff's love of drink and Ford's unjustified jealousy do not come

in for any close scrutiny. In general, it may be said that both the

85
play and the Opera consist of actions of people, motivated by the
actions Of others or by some inner desire which, in the end, does not

seem to have been important.

C. Comparison Of Characters

The characters from The Merry Wives of Windsor found in the

 

opera are: Sir John Falstaff, Fenton, Ford, Dr. Caius, Bardolph, Pis—
tol, Robin, Mistress Ford, Anne Ford, Mistress Page, Mistress Quickly,
Ford's servants (not named), the Host, and the Chorus.

Shakespeare's characters deleted are: Shallow, Slender, Page,
Sir Hugh Evans, Nym, John Rugby, Simple and William Page. In addition,
the Host, Robin (also changed to Ford's page), and Ford's servants be-
come non-speaking roles. Finally, Anne Page becomes Nannetta Ford in

the Opera.

As noted in the previous discussion of the Opening situation,
a truly equitable comparison, in this case, Of the characters of Fal-
staff, Bardolph, Pistol, and Mistress Quickly, can only be achieved if
any insights into their characters gained through a familiarity with

the other works Of Shakespeare in which they appear are disregarded.
l. Falstaff

It is especially dangerous to attempt to project the character
Of Falstaff as found in the earlier Shakespearean works into the person-

nage found in The Merry Wives Of Windsor. As H. B. Charlton says:

 

. .the Falstaff Of The Merry Wives has nothing in common with
our [earlier] Falstaff except his name, a trick or two of inspired
Speech, and . . . the "comic" character to be found all the way
down the ages of theatrical history.

The masquerading figure in The Merry Wives is an Old fat fellow
whom all can gull tO make a private Sport.. . . Gone is his Old

 

 

86

art Of creeping into a halfpenny purse, into a pepper box, or slip-
ping through a key—hole. . . . Worse still, his wit is SO dulled
that he does not even see his difficulties. . . . In the end, two
simple bourgeois and their wives, colleagued with a foolish doc-
tor, a comic Welsh parson, and an innkeeper, can trample the once
mighty Falstaff in.Windsor's mud.l

Yet, the only character in either version to evidence any de-
gree Of complexity is Falstaff. This is especially true Of the Opera.
Because Of the inclusion Of the material borrowed from Henry IV, the
fat man Of the Opera voices Opinions on subjects outside the realm Of
the plot. In addition, he presents some description of his past exper—
iences, exaggerated though it may be. His basic motivation, however,
is purely financial in both versions; and his methods are disreputable.
TO infer that his mind dwells on any deeper subject defeats the purpose
for which he has dramatic existence—-to be the much-deserving target Of
physical and verbal abuse.

He dominates the action Of the Opera. In the play, with its
more highly developed sub-plot, he must frequently become the conver-
sational subject of other characters in order that he be kept in mind
from episode to episode. Shakespeare even prefaces his first appear-
ance with the comments Of Shallow, Slender, and Sir Hugh Evans concern-
ing his dishonest character. In the Opera almost the same effect is
accomplished by Falstaff's intentional deafness to Dr. Caius' agitated
calling Of his name.

There is no character growth in Falstaff (or, for that matter,

any character in the play or opera). What he is, he remains. Even

after his unpleasant experiences at the hands Of the "merry wives" there

 

1H. B. Charlton, Shakespearian Comedy (New York: The MacMillan
Company, 1938), pp. 193-95.

 

87

is little reason to expect that he will discontinue his errant ways.
2. Ford

Generally unaltered in concept from the play, Ford presents the
picture of the comic jealous husband. That he takes himself seriously

makes him all the more humorous. In this latter respect he much re-

sembles Falstaff, only without the outlandish Obesity and affected

pomposity.
He assumes his avenging role from his very first appearance in
Act I, Scene 2 Of the Opera. In the play the same is true. However,

when he does appear in Act II, Scene 1, his acceptance Of the truth Of
his wife's unfaithfulness is not quite as ludicrously rapid as in the
Opera. The following selected passages from the two versions demon—
strate this difference:

Falstaff

FORD: And the tales these rogues are shattering,
Drive me mad with .grim suspicion .

I'm abused!

My wife I'll keep my eye on;
her gallant I'll look after;

I'll have no courtier fine

Lay hand on what is mine!

I shall know nor peace nor pleasure
Till I've scotched this bloated snake.1

The Merry Wives of Windsor

FORD: I will be patient
I will find out. this.

I will seek. out. Falstaff.

 

I do not miSdOubt. my wife . .

but I would be loath to turn them together

. . . a man may be tOO confident . . . I would have
nothing lie on my head . . . I cannot be thus satisfied.2

 

lBoito, Falstaff.

ZShakespeare, The Merry Wives of Windsor, pp. 25-27.

 

88

3. Fenton and Anne

Fenton and Anne in the Opera are more playful than anything
else. It would be difficult to imagine that these youngsters were
capable Of any mature feeling of love. In the play Anne Page makes
her entrance in Act I, Scene 1 after Sir Hugh Evans has already noted
that she is young and pretty. Although this is a fair estimate, it
is also discovered through the course of the play that she is little
else.

The change in the Opera which makes her Ford's daughter in no
way alters her personality. However, from her Opening duet (after her
insignificant part in the discussion Of the letters in the Opera) her
more affectionate relationship with Fenton becomes apparent.

Fenton, from his entrance in the play in Act I, Scene A, is seen

to be a "young gentleman" as the Dramatis Personae describes him. Fen-

 

ton is inserted into the men's ensemble in Act I, Scene 2 Of the Opera
for what appears to be a purely musical reason: a fourth singer is
needed to form a quartet. He is not revealed as the impulsive boy

until his duet with Anne.

A. Mistress Ford and Others

The motiwasof the remainder Of the characters in the Opera are
less intense and more difficult to identify. Mistresses Ford and Page,
from the time they are first seen discussing their identical letters in
each version, evidence only a penchant for practical joking which is
never aroused by any genuine emotional feeling. Other characters suffer

from rather severe reduction Of the size of their roles with the possible

89

exception Of Bardolph who appears less but is provided with some rather
lengthy musical passages. Mistress Quickly, for instance, loses any
identification She may have had in the play as a delightful deceiver
and purveyor Of services Of questionable worth. In the Opera She be-
comes merely an agent for delivering letters and messages to Falstaff.
From her entrance in the letter reading episode she is not identified,
and later it can only be assumed that she is a servant Of some sort to
some one.

Dr. Caius is reduced to the "other man", and, being stripped
Of his dueling spirit, adds very little to the Opera. After his Open-
ing vindictiveness (which quickly abates) he stays in the background
until he discovers that he has married Bardolph.

Bardolph does actually gain personality in the Opera, if the
references to his large, colorful nose which are borrowed from Kipg

Henry IV, Part I, can be construed as a valuable addition. Apart from

 

that, he and Pistol evidence an ambivalence in the Opera. They seem—
ingly cannot decide whose side they are on. As a result, they merely
have a good time for themselves. In the play Bardolph and Pistol dis-
play a certain anger with Falstaff. Even this emotion is absent from

the Opera.
The character who suffers the greatest reduction in the Opera

(Short Of deletion) is the Host. The plotter and peace-maker of the
play becomes a supernumerary in the Opera. Likewise reduced to a person-
pe muta is Robin, notwithstanding the fact that he becomes Ford's rather

than Falstaff's page. iFord's servants also lose their few speeches.
Finally, the Chorus is used sparingly. Much more stress is
placed upon various ensembles Of the principals. The only time the

Chorus comes into its own is when they portray the Maskers.

9O.

D. Conclusions

1. Changes in the Opera

a. Additions

There are eleven additions in the Opera of materials not found
in Shakespeare's The Merry Wives of Windsor. Five of the most signifi-

cant Of these borrowings are from King Henry IV, Parts I and II. Four

 

Of these additions serve to better delineate the character Of Falstaff
and are found in Act I, Scene 1; Act II, Scene 2; and on two occasions
in Act III, Scene 1 Of the Opera. The fifth Of these additions des-
cribes Bardolph's nose in Act I, Scene 1.

Three important additions concern Anne and Fenton. Their play-
ful, forthright display Of affection in Act I, Scene 2; their kiss
behind the curtain and subsequent discovery there in Act II, Scene 2;
and Fenton's love song in Act III, Scene 2 all help to create the dif-
ferent, more affectionate relationship between the lovers.

The final three additions occur in Act II, Scene 2 and include
Mistress Quickly's description Of her meeting with Falstaff, Mistress
Ford's promise to Anne that She need not marry Dr. Caius, and the
throwing Of the basket containing Falstaff out Of the window (rather
than transporting it out Of the house as in the play).'

In addition there are two notable occasions Of operatic recapit-
ulation occurring in Act I, Scene 2 (the octet), and Act II, Scene 2.
Finally, the characters Of Falstaff, Anne, and Fenton achieve a certain

(however slight) added complexity from that which they evidence in the

play.

91

b. Interpolations

There is only one definite interpolation in the Opera. When
Ford searches the basket in the buck-basket Scene (Act II, Scene 2)
this a borrowing from ShakeSpeare'S Act IV, Scene 2 (the witch Of Brain-
ford Scene) which is otherwise deleted. One other episode which sug-
gests interpolation is that in Act II, Scene 1 in which Ford and Fal-
staff enact their chivalrous discussion of which Of them shall go out
the door first. This is suggested by a similar short episode between

Slender and Anne in Act I, Scene 1 Of the play.
c. Deletions

The greatest number of changes to be noted between the Opera
and the play come as a result Of deletion. Of the twenty-three scene
structure Of the play, eleven scenes are deleted in their entirety.
These scenes are: Act I, Scenes 2 and A--the sending Of Simple to Mis-
tress Quickly and their meeting; Act II, Scene 3 and Act III, Scene 1
--the dueling sequence; Act III, Scene 2--Ford's meeting with Mistress
Page and Falstaff's page; and Act III, Scene A-—Anne and Fenton's
meeting and Page's dismissal Of Fenton (SO altered in the Opera as tO
be considered a deletion). Also, the majority Of Act IV of the play
is deleted: Scene l--the Latin lesson; Scene 2--the witch Of Brainford
scene (except the one interpolation noted); Scenes 3 and 5--the post-
horse incident; and Scene 6--the Host and Fenton's plans for the latter
tO marry Anne.

Eight scenes Of the play come in for partial deletion and/Or

alteration. Act I, Scene 1 loses its Opening discussion Of Slender's

92

marrying Anne and the closing meeting between the two. Also, Dr. Caius
replaces Shallow and Slender as the complainant in the charges against
Falstaff. Deleted from Act I, Scene 3 is Nym and Bardolph's resolve to
Speak to Ford and Page. "Brook's" second meeting with Falstaff is
deleted from.Act III, Scene 5. Finally the five scenes in Act V Of
the play are variously altered and partially deleted to accommodate
the new arrangement Of suitors of Anne and their assistants.

It can be noted that of the vast amount of plot elements Of

The Merrprives Of Windsor deleted from the Opera only one portion,

 

the witch Of Brainford scene, has any direct bearing upon the develop-
ment of the major plot issue. Rather, the majority of the deletions
affect the sub—plot, which, in the Opera, is portrayed in the more‘
romantic tradition.

The only time in the three works under consideration that a
character is created by the consolidation of two Shakespearean charac—
ters is here in Falstaff. The character Of Nym is eliminated, and a
few Of his more important statements are given to the character of
Bardolph. This consolidation, however, does not Significantly alter
the overall direction of the action.

The other characters reduced in scope or deleted are, for the
most part, either associated with the foreshortening of the sub-plot
(Shallow, Slender, Sir Hugh Evans, and the Host), or are servants
(Simple, John Rugby, Robin, and Ford's servants) and not highly signi-
ficant to the story. The deletion Of Page does not alter the plot
action, and the deletion Of his young son, William, only eliminates one
short nonsense scene in which Mistress Quickly contrives to misinterpret

some Of the words in his Latin lesson.

93

Finally, the Shakespearean topical allusions and punning and

quibbling are deleted.
d. Compression

The libretto, having been constructed from selected and separ-
ated passages Of the longer play and having a substantial amount Of
non—Shakespearean and other-Shakespearean material added, does not
evidence any great amount Of compression. Those portions utilized are,
for the most part, rendered in much the same manner as in the play.

To say that there is no compression of the play would certainly be an
oversimplification. However, with the scarcity Of ShakeSpearean events

used, it is safe to assert that they have not been significantly reduced.
2. Results of Changes

The result Of the numerous deletions is the reduction in Size
Of the sub-plot Of the opera. There are approximately one-half as
many events leading up to the climax Of the sub-plot in the Opera as
in the play. The major plot development, conversely, having suffered
only one Significant deletion (the witch Of Brainford scene), increases
in scope through the several additions to the opera. The sub-plot,
though lessened in size, does, however, gain new dimension through its
altered character portrayals.

The major plot development in both versions begins with the
same initial incident, the dispatching of the letters to Mistresses
Ford and Page. There is no turning point in either version; Falstaff
persists in his original plan to the end. The climax, Falstaff's real—

ization of his folly, is identical in each version. And so with the

9A
denouement. Therefore, the difference between the Opera and the play
centers around the attempt to create a more fully rounded (psychologi-
cally) Falstaff than the fat fOOl Of the play.

NO doubt a good deal Of the humor of the original production
of the play lay in its topical allusions, which had long Since gone
stale in 1887. These allusions are not found in the Opera. In com-
pensation there is the attempt to elevate the comic concept Of the Opera
through the revival of the dulled senses of Shakespeare's Falstaff. TO
this end, he is provided with some of his earlier bombast from Hepry
‘IV. However, the question still remains: do Falstaff's comments on
honor and sack actually redeem a man who, just as in the play, does not
"begin to perceive . . . that I've made a great ass Of my self"1 until
the very end Of the story? Even though he is subjected to one less
indignity in the Opera, it appears that Falstaff must still have his
folly spelled out for him.

The more concise and romantically pleasing sub-plot Of the Opera
is created by the deletion Of a good deal Of Shakespearean confusion.
The tenor Of the sub-plot is set in Anne and Fenton's initial love-
making in Act I, Scene 2. Although the initial incident in the play
comes earlier with Slender's being urged to court Anne, it is not known
whom Anne actually prefers until as late as Act III, Scene A. Although
the tenuous turning point and the climax Of the sub—plot are relatively
the same in both versions, the deletion Of such extraneous material as
the abortive duel, and the inclusion Of the increased emotionality Of

the lovers create a more clear-cut and uncluttered sub-plot.

 

1Boito.

95

In general, the scope but not the motivations Of Falstaff are
increased. The major plot of the Opera is expanded at the expense Of
the size Of the sub-plot. In compensation, the sub—plot is made more
emotional by the extension Of the roles Of Anne and Fenton in that
direction. The opera is more concise, less confusing, and generally
apprOpriate in its handling. In addition, it does attain a certain
comic effect. It is not, however, more subtle nor more amusing than
the play. Just as the play, it continues to focus upon situations
rather than characters. While the play was probably as tOpically en-
tertaining to the Shakespearean audience as it was farcically laugh-
able, the Opera only retains the more physical or "slapstick" nature

Of the humor.

CHAPTER IV

CONCLUSIONS

The three Verdi Opera adaptations Of the plays Of Shakespeare
are achieved through numerous changes in the original. The following
table enumerates the most Obvious Of these alterations:

Table A. Enumeration Of the changes in the Verdi Opera adaptations of
Shakespeare

 

 

 

 

Macbeth Otello Falstaff
A. Additions (total) 2 9 11
1. Non Shakespearean 2 9 6
2. Other ShakeSpearean O O 5
B. Interpolations (total) A 13 2
1. Within the play 3 l3 (3 from 1
Act I)
2. Suggested only 1 O l

C. Deletions
1. Characters

a. Complete 15 6 8
b. Reduced to non-Speaking 2 O A
c. Groups 0 A 0
d. Consolidated O O l

2. Plot
a. Full scenes 9 A 11
b. Partial scenes 2 8 8
c. Substance used 3 O 0
(d. Total scenes in the play)(28) (l2-without (23)

Act I)
D. Four major characters
1. More complex 1 2 3
2. Less complex 2 2 O

 

96

97
It can be seen from this enumeration that each Of the Operas
contains an amount of addition of plot elements, deletion Of plot
elements and characters, interpolation Of plot elements, and alteration
Of characterizations. TO this listing should be added compression,

most evident in Macbeth and Otello. In each Opera, however, these

 

alterations are slightly different. Macbeth is characterized by the
large number of minor characters deleted and the deletion Of part or

all of one—half Of the Shakespearean scenes. Qtellp is marked by sever-
al non—Shakespearean additions, a great number of interpolations, and
the complete or partial deletion of all the scenes Of the play. Fin-
ally, Falstaff evidences the addition Of other—Shakespearean material,

a large amount Of scenic deletion, and the deletion of some characters
integral to the action Of the play.

These changes between versions and their results in the Operas
comprise nine definite trends which characterize the Verdi opera adapt-
ations Of Shakespeare. Placed in the form Of conclusions, they follow.

The first conslusion is that the opera adaptations Of Shake-
Speare evidence a large amount Of deletion Of the plot elements Of the
original. These deletions are, for the most part, of the more extran-
eous and repetitive materials which do not directly further the major
plot action. In Macbeth, however, it is implied through deletion that
Macbeth and Lady Macbeth discussed the details Of the plan to murder
Duncan before the Opera began, and thus Macbeth's inner conflict is
lessened and he is less complex. Also, plot deletions in Macbeth
Simplify the character of Banquo and reduce Duncan to an indescribable
figurehead. The major results of the deletion in Otello are the les—

sening Of the complexity of the character of Othello and Iago who are

98
each driven by only one motivating factor in the Opera. Significant is
the elimination Of all physical action on the part Of Iago. Also
deleted is the Short denouement Of the play, and, as in Macbeth as well,
all comic relief episodes. In Falstaff the deletion Of plot elements
greatly reduces the Size Of the sub-plot and thereby increases the
emphasis placed upon the major plot action. In all three Operas the
plot deletions also speed up the major plot action by eliminating inter-
vening episodes between the main steps in plot development.

The second conclusion is that several characters have been
deleted in each Opera. In addition, minor characters have been reduced
in scope so that only three main characters remain in each Opera, with
a fourth character usually being an interesting but not highly signi-
ficant personnage. The minor characters are never complex, and those
which cannot serve some utilitarian purpose are deleted. In Macbeth
and Otello the characters deleted are most definitely subordinate to
the major plot action. The elimination Of the Porter and Young Siward
in Macbeth does represent, in the former instance, loss of a respite
from emotional tension; and in the latter, the elimination of the proof
tO Macbeth that he is invincible. And in Otello the elimination Of
Bianca and her possession Of the handkerchief is a minor plot loss.

But in all, these cannot even be considered vital plot elements. In
Falstaff, however, some Of the deleted characters are an integral part
of the sub—plot Of the play. Nevertheless, in none of the Operas does
the absence of deleted characters impair the major plot development.
In fact, elimination Of minor characters focuses the attention more

upon the three major characters in each Opera.

99

The third conclusion is that there are several plot elements
and materials which serve to delineate character added to the Operas.
The additions to characterization, on many occasions, also increase
the emotionality Of the Operas. The two additions to Macbeth (Lady
Macbeth's drinking song and Macbeth's dying aria), for instance, are
appeals to the emotions primarily and have in them very little food
for thought. Similarly, the two duets, Iago's "Credo," the quartet,
and Iago's comment over Othello's prostrate body all serve this same
emotional function. In Falstaff there are five examples Of borrowing
from other Shakespeare plays, the only occasions in the three Operas
when the added material is not completely original and new. These
additions serve mainly to delineate the characters of Falstaff and
Bardolph. Three other additions, however, concern not only the new
characterizations provided for Fenton and Anne but in so doing make
their relationship one Of romantic and emotional affection.

The fourth conclusion is that most Of the main characters Of
the Operas either gain some psychological complexity or, in losing some
Of their motivations, become more emotionally guided and/Or more melo—
dramatic. Gaining in complexity are Lady Macbeth, Desdemona, Emilia,
Falstaff, Anne and Fenton. Becoming less complex are Macbeth, Banquo,
Iago, and Othello. Remaining relatively static are the Witches and
Ford only. It is curious to note that Of those six of the twelve
major characters in the Operas who have increased in complexity, four
are women, the only important women in the Operas. These strengthenings
provide more life-like women who become equal to their men in the com-
plexity of their motivations and emotional expression. However, the

extension Of Lady Macbeth to a completely villainous person does

lOO
slightly stretch the limit Of psychological credibility and faith in

womankind.

That interpolation is used on several occasions is the fifth
conclusion. Although the device appears in the other two Operas, its
use is far more pronounced and frequent in Qtellp. In Macbeth and Fal-
Etaff no definite pattern nor conclusive result can be attributed to
the few interpolations used. 19.929112: however, most Of the numerous
interpolations (together with some plot deletions) speed up the build-
ing of Othello's jealousy. This build—up can be associated with a
more emotionally decisive Othello who arrives at a more certain con-
clusion more quickly than his counterpart in the play.

There is throughout the Operas evidence Of varying amounts Of
compression. This is the sixth conclusion. As a general rule the
length Of utterance in the plays has been reduced in almost all cases
in the Operas. There are few instances in which the dialogue of the
play has been transferred to the opera intact. In fact, Lady Macbeth's

(
sleep-walking scene is the only notable example Of such a direct carry-
over. For the most part, the dialogue has been altered, not SO much in
meaning but in number Of lines and words spoken. In addition, the com-
pression in Qtellp Often takes the form Of severely reduced (or deleted)
soliloquies. These reductions result in a de-emphasis Of the intellect-
ual issues Of the story and thereby they tend to further the emotionality
Of the Operas. Although the compression in Falstaff is less extensive
than in the other two Operas, it is nonetheless clearly in evidence.

The major result Of compression upon all the Operas is the Speeding up
of the action. Compression tends to move major plot elements closer

together by eliminating bodies Of less essential conversation.

101

The first major result Of the additions, deletions, interpola—
tions, and compression in the Operas becomes the seventh conclusion:
the major plot action of each Opera is more speeded up than that Of its
ShakeSpearean counterpart. The Operas contain fewer acts and scenes,
and primarily through compression, also have fewer lines and words.
The elimination or reduction of intervening material places the major
plot events in closer proximity and thereby makes the Opera plots more
concise and speedy renditions Of the story.

The eighth conclusion and the second major result Of the changes
in the Operas is that certain emotionality has been added to each Of
the Operas. This more emotional approach is created at the expense Of
some Of the more intellectual considerations of the plays. The Operas
achieve this effect primarily through the following several methods:
Speeding up Of the plot action; in Macbeth and Otello, the deletion Of
the comic relief episodes; the reduction and/Or deletion Of soliloquies;
the placing Of more emotional elements at the ends Of acts (primarily
in Macbeth and Otello); including new materials which serve little
purpose other than to inject emotionality; the decreasing Of the com-
plexity Of such characters as Iago, Othello, and Macbeth; and the
creation Of major female characters with more human traits. These final

two seemingly Opposite, means further the emotionality of the Operas

)
primarily by creating new relationships between the major characters.
The Macbeth-Lady Macbeth combination is altered in that they become
equal partners in crime. Othello and Desdemona and Anne and Fenton
have a certain tenderness and affection added to their relationships.

There is even a certain rapport between Iago and Emilia in the Opera.

These more emotional relationships effect the major plots Of Macbeth

lO2

and Othello and the sub—plot of Falstaff, making the former two more
melodramatic and the latter, with its deletion Of Shakespearean topical
allusions, more farcical.

As a ninth and final conclusion it may be said that although
the plays have been altered in the several ways mentioned, the re—
sultant Operas remain generally faithful to the major plot development
Of each. In addition, the conflicts in the plays have been altered in
the operas only insofar as they have been increased or sharpened to a
more emotional peak. The changes in the Operas seldom seriously alter
the major plot action Of the plays. There are no shockingly inappro-
priate additions. There are nO deletions which seem anything but neces-
sary and prudent. In general, in the areas of plot development and
character the Operas keep good faith with William Shakespeare, the man
whom Verdi reputedly regarded as the greatest authority on the heart

Of man.

Taflel.

APPENDIX

Utilization Of the plot elements of Shakespeare's Macbeth
in Verdi's Macbeth.

 

 

 

Portion Of Shake- Amount Of
Scene and Episode Speare Utilized Revision
Act Scene
Act I, Scene 1
l. The Witches discuss I 3 None sig-
their recent exploits. nificant
2. The Witches make
predictions for Mac-
beth and Banquo (Mac-
beth is to be Thane
Of Cawdor and then
King; Banquo's kin None sig—
will reign). I 3 nificant
3. Messengers tell
Macbeth he has been
named Thane Of Cawdor. I 3 Slight
A. The Witches discuss
their next meeting. I 1 Great
(Interpolation)
(Deleted: I, 2-—the
bloody Sergeant's
account Of the war;
Duncan's appointment
of Macbeth as Thane
of Cawdor.)
(Deleted: I, A-—Mal—
colm named prince;
Duncan invites him-
self tO Inverness.)
Act I, Scene 2
1. Lady Macbeth reads
letter from Macbeth;
seeks strength tO
urge him to murder. I 5 Slight
2. Duncan arrives
(pantomime). None
3. Lady Macbeth and
Macbeth discuss kill- I 5 and Slight
ing, possible failure. I 7 None Sig-
(Interpolation) nificant

lO3

10A

Table l. (Cont.)

 

 

Portion of Shake- Amount of
Scene and Episode Speare Utilized Revision
Act Scene

 

(Deleted: I, 6--Wel-
coming Of Duncan to
Inverness.)
(Deleted: I, 7--Lady
Macbeth goads Mac—
beth; they discuss
details of murder.)
A. Macbeth sees a None sig-
vision of a dagger. II 1 nificant
(Deleted: II, l--Ban-
quO and Macbeth's
conversation, talk
of another discussion
Of the Witches.)
5. Macbeth murders
Duncan; Lady Macbeth
smears blood on the
grooms; there is a
knock at the door;
Macbeth and Lady Mac-
beth retire to wash None sig-
their hands. II 2 nificant
(Deleted: II, 3--Por-
ter's episode.)
6. Discovery of the
body Of Duncan. II 3 Slight
(Deleted: II, 3--Mac-
beth's killing Of
the grooms; Lady Mac-
beth's faint; the
flight Of Malcolm
and Donalbain.)
(Deleted: II, A-—ROSS
and the Old Man's
discussion Of the
recent weird happen-
ings; Macbeth is to
be coronated.)
(Deleted: III, l--Ban-
quo goes riding;
Macbeth plots with
the Murderers.)
Act II, Scene 1
l. Macbeth decides to
kill Banquo and Fleance. III 2 Great
2. Lady Macbeth urges
Macbeth. III 2 Great

Table 1. (Cont.)

105

 

 

 

Scene and Episode Portion Of Shake- Amount Of
speare Utilized Revision
Act Scene
Act II, Scene 2
Two (groups Of) Mur-
derers attack and
kill Banquo; Fleance None sig-
escapes. III 3 nificant
Act II, Scene 3
1. Lady Macbeth's
drinking song. None
2. A Murderer tells
Macbeth about death
Of Banquo, escape Of None sig-
Fleance. III A nificant
3. Banquo's Ghost ap- None sig-
pears to Macbeth. III A nificant
A. Second verse of
the drinking Song. None
5. Ghost appears None sig-
again. III A nificant
6. Ensemble. None
(Deleted: III, 5--
Hecate angry at not
being included in the
plans for Macbeth.)
(Deleted: III, 6--Len-
nox and a Lord diS-
cuss the situation.)
Act III
1. The Witches concoct None Sig-
their brew. IV 1 nificant
2. Ballet. None
3. The Witches make
their second predic-
tions through the
Apparitions and the None sig-
eight Kings. IV 1 nificant
A. Macbeth plans to
murder Macduff's fam—
ily. IV 1 Great

(Deleted: IV, 2--Lady
Macduff's conversation
with her son; the mur-
der of both.)

Table 1. (Cont.)

106

 

 

 

Portion Of Shake- Amount of
Scene and Episode Speare Utilized Revision
Act Scene
(Deleted: IV, 3--Mal-
colm and Macduff in
England ready with
troops; Macduff learns
Of the deaths Of his
family; English Doctor
appraises the health
Of his King.)
Act IV, Scene 1
l. Refugees' Chorus,
Macduff's aria. III 1 and 6
and
IV 3
(Substance interpolated)
2. Malcolm instructs
soldiers to carry None sig-
branches before them. V A nificant
(Interpolation)
Act IV, Scene 2
Lady Macbeth's None Sig-
sleepwalking scene. V l nificant
Act IV, Scene 3
l. Macbeth expresses
confidence. V 3 Great
(Deleted: V, 2--the
Thanes defect to
Malcolm.)
2. The death Of Lady None sig—
Macbeth is announced. V 5 nificant
3. The wood moves. V 5 None Sig-
nificant
A. The attack. V 6 Slight
(Deleted: V, 7-—Macbeth
kills Young Siward.)
5. Macbeth is killed
by Macduff. V 8 Slight
6. Macbeth's dying
aria. None
7. Hail to Malcolm. V 8 Slight

 

T e
in Verdi's Otello.

lO7

Utilization Of the plot elements of Shakespeare's Othello

 

 

 

Portion Of Shake- Amount Of
Scene and Episode speare Utilized Revision
Act Scene
(Deleted: I, l—3——see
text.)
Act I, Scene 1
l. Othello arrives
through the storm. II 1 Slight
2. Roderigo Speaks
Of drowning. I 3 Great
(Interpolation)
3. Iago urges Rod-
erigo tO be patient. I 3 Slight
(Interpolation)
A. Iago derides CassiO. I l Slight
(Interpolation)
(Deleted: II, l--Iago
composes verses for
Desdemona.)
(Deleted: II, 2--Her-
ald's proclamation.)
5. Cassio and Rod—
erigo fight. II 3 Slight
Act I, Scene 2
Othello stops the
fight; demotes Cassio; None sig-
Desdemona enters. II 3 nificant
Act I, Scene 3
Othello and Desdemona II 2 and Slight
love duet. I 3 Slight
(Interpolations)
Act II, Scene 1
Iago suggests to Cas-
siO that he ask Des-
demona tO intercede. II 3 Slight

Act II, Scene 2
l. Iago's "Credo."

(Deleted: II, 3—-IagO
soliloqdy and conver-
sation with Roderigo.)

None
(Deleted: III, l--the
Clown and Musicians
comic relief; Emilia
and Cassio converse.)

108

Table 2. (Cont.)

 

 

Portion Of Shake- Amount Of
Scene and Episode speare Utilized Revision
Act Scene

 

(Deleted: III, 2--
Othello goes to in—
spect the fortifi-
cations.)
2. Cassio and Desde-
mona are seen talking. III 3 Slight

Act II, Scene 3
l. Iago calls atten-
tion of Othello to

Cassio's hurried de- None sig-
parture. III 3 nificant
2. Iago warns Othello
a. beware jealousy. III 3 None sig-
(Interpolated from nificant
later episode.)
b. watch Desdemona. III 3 None Sig—
(Interpolated from nificant

later episode.)

3. Chorus and Desde-

mona Sing Of love;

Chorus bring flowers

and jewels. None

A. Othello expresses

renewed faith. III 3 Slight
(Interpolated from
earlier episode.)

Act II, Scene A
l. Desdemona Speaks
to Othello about Cas-

810. III 3 None sig-
(Interpolated from nificant
earlier episode.)

2. Othello casts aside None sig-

the handkerchief. III 3 nificant

3. Quartet

a. Desdemona sings

Of love, Obedience. None
b. Othello sings Of

his lost love. None

c. Iago wrenches the

handkerchief from

Emilia. III 3 Great
d. Emilia is suspici-

ous Of some plot. None

Table 2. (Cont.)

109

 

 

 

Portion of Shake- Amount of
Scene and Episode speare Utilized Revision
Act Scene
Act II, Scene 5
Iago gives "proof" None Sig-
Of Desdemona's guilt. III 3 nificant
(Deleted III, 3--
Iago's comments on
a good name, jeal-
ousy, and his re-
minder Of Brabantio's
curse.)
Act III, Scene 1
l. Herald announces
Lodovico. None
2. Iago tells Othello
to overhear his con- .
versation with Cassio. IV .1 Slight
(Interpolatlon)
Act III, Scene 2
l. Othello questions
Desdemona about the None sig-
handkerchief. III A nificant
(Deleted: III, A--
comedy about "lies;"
Desdemona-Emilia dis-
cussion of the hand—
kerchief; Cassio's
second appeal to Des-
demona; Desdemona-
Emilia discussion Of
jealousy; Cassio
gives handkerchief
to Bianca.)
2. Othello calls Desdemona None sig-
a strumpet. IV 2 nificant
(Interpolation)
Act III, Scene 3
Othello bemoans the
sorrows that have None sig-
befallen him. IV' 2 nificant
(Interpolated from
earlier episode.)
Act III, Scene A
Othello lapses into
his first trance. IV 1 Slight
Act III, Scene 5
l. Othello listens
as Iago and Cassio None sig-
discuss Bianca. IV 1 nificant

Table 2. (Cont.)

llO

 

 

Scene and Episode

Portion of Shake- Amount Of
Speare Utilized Revision
Act Scene

 

2. Cassio produces
the handkerchief.

Act III, Scene 6
l. Othello and Iago
discuss Cassio's
having the handker-
chief; Othello de-
cides tO kill Des—
demona.
2. Othello makes
Iago his lieutenant.

Act III, Scene 7
l. Othello welcomes
Lodovico.
2. Lodovico deters
Othello from strik-
ing Desdemona.
3. Othello calls
for Cassio.

Act III, Scene 8
l. Cassio enters.
2. Othello announces
contents Of the let—
ter.

3. Recapitulation
(Desdemona, Cassio,
Roderigo, Emilia,
Lodovico and Chorus).
A. Iago Offers to
kill Cassio.

5. Iago instructs
Roderigo to kill
Cassio.

6. Othello curses
Desdemona.

IV 1 Slight

IV 1 Slight

III 3 None sig-
(Interpolation) nificant

None sig-
IV 1 nificant
IV 1 Slight

None

None

None Sig-
IV 1 nificant
(Deleted: IV, l--the
story of Cassio's
alleged boast.)

None
III 3 Slight
(Interpolation)
IV 2 Slight

(Deleted: IV, 2-—
Othello questions
Emilia; with Desde-
mona discuss Othello's
attitude.)

None

Table 2. (Cont.)

lll

 

 

 

Portion Of Shake- Amount Of
Scene and Episode speare Utilized Revision
Act Scene
Act III, Scene 9
l. Othello falls in-
tO his second trance. None
2. Iago says, "See
here the lion." None
Act IV, Scene 1
Desdemona's "Willow"
song. IV' 3 Slight

Act IV, Scene 2
Desdemona's "Ave
Maria."

Act IV, Scene 3
l. Othello enters;
kisses Desdemona
tweetMBs
2. Othello smothers
Desdemona.
3. Emilia interrupts.

A. Desdemona absolves
Othello; Emilia cries
out.

Act IV, Scene A
l. Iago's plotting
revealed.
2. Iago runs.
3. Othello commits
suicide.

(Deleted: IV, 3-—de—

parture Of Lodovico;
Othello's command to
dismiss Emilia.)

None
(Deleted: V, l--the
killing of Roderigo
and the wounding Of

Cassio.)

V 2 Slight
None sig-
V 2 nificant
V 2 None sig-
nificant
V 2 None Sig-
nificant

V 2 Slight

None

None Sig—
V 2 nificant

(Deleted: V, 2——
Othello's Opening
soliloqdy; death of
Emilia; wounding Of
Iago; Othello's long
suicidespeech; Lod-
ovico's speech.)

 

112

Table 3. Utilization Of the plot elements Of Shakespeare's The Merry
Wives Of Windsor in Verdi's Falstaff.

 

 

 

Portion of Shake- Amount of
Scene and Episode Speare Utilized Revision
Act Scene

 

Act I, Scene 1
1. Dr. Caius accuses
Falstaff Of beating
his servants, riding
his hackney to death.
He also accuses Bar-
dolph and Pistol Of
picking his pocket.
He is ejected. I l Slight
(Deleted: I, l--Evans
and Shallow discuss
Slender's marrying
Anne; conversation
between Slender and
Anne.)
(Deleted: I, 2--EvanS
sends Simple to Mis-
tress Quickly.)
2. Falstaff reveals
plans tO woo Mis-
tresses Ford and Page None Sig—
for their money. I 3 nificant
3. Bardolph and Pis-
tol refuse to deliver
letters tO the two
women and Falstaff
dismisses them. He
sends the letters by

a page. I 3 Slight
A. Falstaff Speaks
about honor. V 1 Of Slight

King Henry IV, Part I

(Deleted: I, 3-—Nym
and Pistol resolve
to speak to Ford
and Page.)

(Deleted: I, A--Sim-
ple meets with Mis-
tress Quickly; he is
discovered in the
closet; Dr. Caius
sends letter Of
challenge to Evans.)

113

Table 3. (Cont.)

 

 

Portion Of Shake- Amount Of
Scene and Episode Speare Utilized Revision
Act Scene -

 

Act I, Scene 2

l. Mistresses Ford,

Page, Quickly, and

Anne discuss identi-

cal letters; agree

Falstaff should be

punished. II 1 Slight

2. Bardolph, Pistol,

Dr. Caius, and Fenton

describe Falstaff's

plans tO Ford; ex-

press their dislike

for Falstaff. II 1 Great

3. Ford becomes

jealous. II 1 Slight

A. Fenton playfully

chases Anne. None

5. Mistress Ford

sends Mistress Quickly None sig-
tO bring Falstaff. II 1 nificant
6. Fenton catches

Anne who teases. None

7. Ford arranges to

see Falstaff dis- None Sig-
guised as "Brook." II 1 nificant
8. Octet—~Recapitu—

lation. None

Act II, Scene 1
l. Bardolph and Pis—
tol repent. II 2 Slight
2. Mistress Quickly
arranges with Fal-
staff tO meet Mis- None Sig-
tress Ford. II 2 nificant
3. "Brook" hires Fal-
staff to test his

wife's honesty. II 2 Slight

A. Ford bemoans his

plight; will punish None Sig-
Falstaff. II 2 nificant
5. Ford-Falstaff

chivalry at the door. I 1

(Suggested by)
(Deleted: II, 3--Dr.
Caius awaits his
dueling Opponent.)

Table 3. (Cont.)

llA

 

 

 

 

Portion Of Shake- Amount Of
Scene and Episode speare Utilized Revision
Act Scene
(Deleted: III, l--
Evans awaits Dr.
Caius.)
(Deleted: III, 2--
Ford meets Mistress
Page and Falstaff's
page in the street.)
Act II, Scene 2
l. Mistress Quickly
describes her meet-
ing with Falstaff. None
2. The basket is None sig-
prepared. III 3 nificant
3. Mistress Ford says
Anne need not marry
Dr. Caius. None
A. Falstaff enters,
pursues Mistress Ford. III 3 Slight
5. Falstaff tells of
when he was a page. II A Of
King Henry IV, Part I Slight
6. Mistress Page en-
ters; Falstaff hides None Sig—
behind the curtain. III 3 nificant
7. Ford enters, searches
basket. III 3 and Slight
IV 2 None sig-
(Interpolation) nificant
8. Falstaff hides in None sig-
the basket. III 3 nificant
9. Anne and Fenton
kiss behind the cur-
tain. None
10. Ensemble-~Recap-
itulation. None
11. Anne and Fenton re-
vealed. None
12. Falstaff thrown
out the window. III 3 Slight
13. Mistress Ford takes
Ford to the window. None

(Deleted: III, A--
Anne and Fenton's
meeting.)

115

Table 3. (Cont.)

 

 

Portion Of Shake- Amount Of
Scene and Episode speare Utilized Revision
Act Scene

 

Act III, Scene 1
1. Falstaff bemoans
his dunking. II A Of Slight
King Henry IV, Part I

 

2. Falstaff praises
sack. IV 3 Of Slight ,
King Henry IV, Part II

 

3. Mistress Quickly
arranges next meeting None sig-
(letter). III 5 nificant
(Deleted: III, 5--
"Brook's" second
meeting with Fal-

staff.)
A. Discuss plots
for Fenton, Dr. Caius IV A and
to elOpe with Anne. V l-A Great

(Deleted: IV, l--the
Latin lesson.)
(Deleted: IV, 2r-the
Witch Of Brainford
scene.)
(Deleted: IV, 3 and
5--the post—horse
incident.)
(Deleted: IV, 6--the
Host's plans for
Fenton and Anne.)
Act III, Scene 2
l. Fenton's love
song. None
2. Fairy scene. V 5 Slight
3. Anne and Fenton
married; "Brook"
reveals himself. V 5 Slight
A. Finale. V 5 Slight
(Deleted V, l-5-—
different arrange—
ment of elopers and
helpers changes cli-
max and denouement
slightly.)

 

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