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Title Page

ABSTRACT

Contents

CHAPTER 1. INTRODUCTION 10

CHAPTER 2. BACKGROUND 13

2.1. William Shakespeare (1564-1616) and his works. 13

2.2. Synopsis of Hamlet 15

2.3. Characteristics of Ophelia's character 17

CHAPTER 3. OPHELIA IN GERMAN LIED 20

3.1. Original song texts of Ophelia 20

1) How should I your true love know from another one? 21

2) Tomorrow is Saint Valentine's day. 22

3) They bore him bare-faced on the bier 23

4) For bonny sweet Robin is all my joy 23

5) And will he not come again 24

3.2. German Lied 25

3.3. Drei Lieder der Ophelia by Richard Strauss (1864-1949) 26

1) Wie erkenn ich mein Treulieb vor andern nun? 28

2) Guten Morgen, 's ist Sankt Valentinstag 33

3) Sie trugen ihn auf der Bahre bloss 38

CHAPTER 4. OPEHLIA IN FRENCH OPERA 44

4.1. Ambroise Thomas and Hamlet 44

4.2. Historical Background and French version of Hamlet 45

4.3. Libretto 47

4.4. Mad scene of Ophelia in the opera Hamlet 49

1) Recitative: Andante (À vos jeux mes amis, mm.1-57) 49

2) Aria Part: Valse (Partagezvous mes fleurs, mm. 58-129) 57

3) Aria Part: Ballade - Et maintenant écoutez ma chanson, mm. 130-263. 58

CHAPTER 5. COMPARISON BETWEEN ART SONG AND OPERA ARIA 67

5.1. Accompaniment 67

5.2. Lyric (text) 68

5.3. Form 69

5.4. Performance 71

CHAPTER 6. CONCLUSION 72

BIBLIOGRAPHY 74

APPENDIX 78

I. Drei Lieder der Ophelia Op.67 by Strauss (Translated by Karl Joseph Simrock) 78

1. Wie erkenn ich dein Treulieb vor andern nun? 78

2. Guten Morgen, 's ist Sankt Valentinstag 78

3. Sie trugen ihn auf der Bahre bloβ 79

II. À vos jeux, mes amis from Opera Hamlet by Thomas (Translated by Nico Castel) 80

Example 1. Wie erkenn ich mein Treulieb vor andern nun?, mm. 1-12. 29

Example 2. Wie erkenn ich mein Treulieb vor andern nun?, m. 22, 31, 50. 30

Example 3. Wie erkenn ich mein Treulieb vor andern nun?, mm. 33-51. 31

Example 4. Wie erkenn ich mein Treulieb vor andern nun?, mm. 52-76. 32

Example 5. Guten Morgen, 's ist Sankt Valentinstag, mm. 1-5. 34

Example 6. Guten Morgen, 's ist Sankt Valentinstag, mm. 6-18. 34

Example 7. Guten Morgen, 's ist Sankt Valentinstag, mm. 18-23. 35

Example 8. Guten Morgen, 's ist Sankt Valentinstag, mm. 43-60. 36

Example 9. Guten Morgen, 's ist Sankt Valentinstag, mm. 63-78. 37

Example 10. Sie trugen ihn auf der Bahre bloss, mm. 1-6. 39

Example 11. Sie trugen ihn auf der Bahre bloss, mm. 16-23. 40

Example 12. Sie trugen ihn auf der Bahre bloss, mm. 24-26. 40

Example 13. Sie trugen ihn auf der Bahre bloss, mm. 35-45. 41

Example 14. Sie trugen ihn auf der Bahre bloss, mm. 50-58. 42

Example 15. Recitative: À vos jeux mes amis, mm. 3-6, mm. 13-14. 50

Example 16. Duet: Mon seigneur, mm. 1-7. 51

Example 17. Recitative: À vos jeux mes amis, mm. 8-12, 17-20. 52

Example 18. Recitative: À vos jeux mes amis, mm. 26-29, 31-34. 53

Example 19. Recitative: À vos jeux mes amis, mm. 35-45. 55

Example 20. Recitative: À vos jeux mes amis, mm. 49-52. 56

Example 21. Recitative: À vos jeux mes amis, mm. 55-57. 56

Example 22. Aria: Valse -Partagezvous mes fleurs, mm. 58-65. 57

Example 23. Aria: Valse -Partagezvous mes fleurs, mm. 85-89. 58

Example 24. Aria: Ballade - Et maintenant écoutez ma chanson, mm.130-132, 137-143. 59

Example 25. Aria: Ballade - Et maintenant écoutez ma chanson, mm. 150-155. 60

Example 26. Aria: Ballade - Et maintenant écoutez ma chanson, mm. 157-161, 178-186. 61

Example 27. Aria: Ballade - Et maintenant écoutez ma chanson, mm. 203-204. 62

Example 28. Aria: Ballade - Et maintenant écoutez ma chanson, mm. 229-240, 243-244. 63

Example 29. Aria Part: Ballade - Et maintenant écoutez ma chanson, mm. 251-258. 65

초록보기

Although Ophelia was only a minor role in Hamlet by William Shakespeare, her character became a great muse to the writer, artist, and musician for centuries. In the nineteenth century, people were fascinated by madness with a great interest in human emotion. The Elizabethan era considered feminine insanity due to lost love to be a common situation such that the literature's convention satisfied romantic and early modern composers.

This paper serves as a character study of Ophelia by interpreting her texts and her mad scene. It also includes a background of the author, the play, and history. The reader will attain a better understanding of Ophelia's character and her texts in the play, as well as how composers express feminine madness in their work.

This paper focuses on one art song and one opera scene that portray Ophelia's mad scene: Drei Lieder der Ophelia by Richard Strauss and Ophelia's mad scene in Act IV, scene V from the opera Hamlet by Ambroise Thomas. Learning Ophelia's text, character, and musical analysis of both works will help high sopranos to perform as Ophelia.

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