The Dyers Hand and Other Essays

Santuzza's seduction and pregnancy, Turiddu's brutal re­jection of her, her curse upon him, his final remorse were all added by Verga when he had to build up Santuzza into a big and sympathetic role for Duse. As a subject for a short libretto, it is excellent. The situation is strong, self-contained and im­mediately clear; it provides roles for a convenient number and range of voices; and the emotions involved are both singable emotions and easy to contrast musically. The psychology is straightforward enough for song but not silly: how right it is, for instance, that Turiddu should reproach Santuzza for hav­ing let him seduce her—"Pentirsi e vano do-po I'offesa." Thanks to the swiftness with which music can express a change in feeling, even Turiddu's sudden switch of attitude from contempt to remorse becomes much more plausible in the opera than it seems in the spoken drama. Targioni-Tozzetti and Menasci quite rightly stuck pretty closely to Verga's story, their chief addition being the lines in which Turiddu begs Lucia to accept Santuzza as a daughter. But, having at their disposal as librettists what a dramatist no longer has, a chorus, they took full advantage of it. The choral episodes, the chorus of spring, the mule-driving song, the Easter hymn, the drinking song take up more than a quarter of the score. It might have been expected that, particularly in so short a work, to keep postponing and interrupting the action so much would be fatal; but, in fact, if one asks what was the chief contribution of the librettists towards giving the work the peculiar impact and popularity it has, I think one must say it was precisely these episodes. Thanks to them, the action of the protagonists, their personal tragedy, is seen against an immense background, the recurrent death and rebirth of nature, the liturgical celebration of the once-and-for-all death and resurrection of the redeemer of man,

the age-old social rites of the poor, so that their local history takes on a ritual significance; Turiddu's death is, as it were, a ritual sacrifice in atonement for the sins of the whole community. One of the most moving moments in the opera, for example—and nothing could he less verismo

—occurs when Santuzza, the excom­municated girl who believes that she is damned, is translated out of her situation and starts singing out over the chorus, like Deborah the Prophetess, "Inneggiamo il Signor non e mortol" If the interplay of rite and personal action which is the secret of

Cavalleria Rusticana is not a typical concern of the verismo

school, the libretto interest of Pagliacci is even less naturalistic, for the subject is the psychological conundrum— "Who is the real me? Who is the real you?" This is presented through three contradictions. Firstly, the contradiction be­tween the artist who creates his work out of real joys and sufferings and his audience whom it amuses, who enjoy through its imaginary joys and sufferings which are probably quite different from those of its creator. Secondly, the con­tradiction between the actors who do not feel the emotions they are portraying and the audience who do, at least imag­inatively. And, lastly, the contradiction between the actors as professionals who have to portray imaginary feelings and the actors as men and women who have real feelings of their own. We are all actors; we frequently have to hide our real feelings for others and, alone with ourselves, we are constantly the victims of self-deception. We can never be certain that we know what is going on in the hearts of others, though we usually overestimate our knowledge—both the shock of dis­covering an infidelity and the tortures of jealousy are due to this. On the other hand, we are too certain that nobody else sees the real us.