Giuseppe Verdi (1813-1901) - great Italian composer. He worked primarily in the genre of opera. Verdi wrote 32 operas. He created the first of them at the age of 26. The last one - in 80. Most of them are included in the main repertoire of each theater. One of the composer's most famous operas is Aida.
History of creation
In 1869, in honor of the opening of the Suez Canal, the issue of building a Cairo theater was decided. A year earlier, the Egyptian government commissioned Giuseppe Verdi to produce an opera with an Egyptian theme. However, Verdi began composing the opera only in 1870. The author of the short script is the French Egyptologist Mariette. The text of the opera in prose was written by the French librettist C. du Locle, the Italian libretto in verse by the poet A. Ghislanzoni. The composer actively participated in the creation of the plot, while carefully studying the art and history of ancient Egypt. Having familiarized yourself with the summary of Verdi's opera "Aida", you can understand how deeply the composer was imbued with the unusual plot.
The triumphant premiere of the opera “Aida” took place on December 24, 1871 in Cairo, and in Milan on February 8, 1872, where the composer himself directed the production.
Act I
From the summary of the opera “Aida” it becomes obvious that its plot is based on an ancient Egyptian legend. This legend was written down on papyrus. It was deciphered by the Egyptologist Mariette. Costumes and scenery for theatrical productions were made from his drawings.
Memphis, Thebes. The era of the reign of the Egyptian pharaohs. News comes to the pharaoh's palace about an impending attack by the Ethiopians. The Egyptian army needs a military leader. The young chief of the guard, Radames, dreams of being elected to this position. He is in love with Aida, a beautiful captive from Ethiopia. Amneris, the daughter of the pharaoh, secretly loves Radames, although she guesses that he loves a slave. A summary of the opera "Aida" demonstrates the emergence of a classic love triangle. Aida is confused. She loves Radames, but is tormented by fear for the fate of the people of Ethiopia.
To the sound of fanfare, the king appears with his retinue. The messenger brought them the news that the Ethiopian army led by King Amonasro (father of Aida) was approaching Thebes. Pharaoh announces that Radames will lead the Egyptian army. In Aida's soul, love for Radames fights with fear for her father. But she understands that the victory of one means the defeat of the other, and prays to the gods to have mercy on her.
During the solemn rite of passage, the High Priest Ramfis presents Radames with the sacred sword. The priest asks the gods to grant victory to the Egyptian troops.
Act II
The Egyptian army led by Radames defeated the Ethiopians. Amneris is looking forward to Radames. She is dressed and entertained by the singing of a slave, Aida brings a crown. Amneris senses a rival in her, so he reports that Radames has died. So the pharaoh's daughter tries to find out how Aida feels for him. Aida cannot contain her cry of despair. This gives her away. Now Amneris, knowing the truth, announces that Radames is still alive and threatens Aida. The unhappy slave is happy. In response to threats from the pharaoh's daughter, Aida cries and asks to have mercy on her. Amneris orders Aida to follow her to the square to meet the victors.
Folk scene
A summary of the libretto of the opera "Aida" shows a grandiose scene. The people gathered in the square in Thebes are preparing to solemnly welcome the winners. People rejoice when they see Radames entering the square in a chariot. Radames bows with dignity before the pharaoh. Amneris places a crown on the head of the winner. Pharaoh asks Radames what he wants. At Radames's request, the prisoners are taken out.
The king of the Ethiopians, Amonasro, is among them. Aida rushes to him, but her father asks her not to reveal his identity. Amonasro poses as a simple military leader, reporting that the king of the Ethiopians has fallen on the battlefield. He asks the Pharaoh for mercy for the captives. The priests protest. They demand the death of the captives, but the gathered people and Radames beg to spare the unfortunates.
The pharaoh, yielding to the wishes of Radames, is forced to release the captives, but, yielding to the demands of the priest, he leaves Amonasro and Aida hostage. As a reward, the pharaoh gives Radames Amneris as his wife. She, naturally, is very happy. Radames and Aida are in despair. Familiarization with the summary of the opera "Aida" gives an understanding that the tragic outcome is inevitable.
Act III
At night, a boat with the High Priest Ramfis and Princess Amneris moored to the shore. They hurry to the temple of Isis. Amneris will pray to the gods before tomorrow's wedding. After they disappear, Aida appears. She is waiting for Radames. Aida knows that she cannot bear to be separated from him.
But suddenly her father appears. They both miss their homeland. Amonasro makes great plans: the Ethiopian army is ready for battle. He asks Aida to find out from Radames where it is best for him to attack the Egyptians. At first Aida is horrified, but, succumbing to her father’s persuasion, she agrees.
Footsteps are heard. Amonasro is in hiding. This is Radames. Lovers rejoice at their meeting. Radamès hopes that the future battle will delay his wedding. Aida wants to run away with him, but Radames does not want to betray his homeland. The girl bitterly reproaches him. Now she asks to forget her and marry the pharaoh's daughter.
In the summary of the opera "Aida" in Russian, the question arises: what is more important - love or honor. Radames agrees to run away with Aida and gives her all the necessary information. Amonasro emerges from his hiding place and reveals himself to the surprised Radames, offering him every conceivable blessing in Ethiopia. Suddenly Ramfis and Amneris emerge from the temple. Amonasro and Aida are hiding. Radames does not run with them and is now caught in treason. He gives his sword to Ramfis. A summary of the opera "Aida" gives an idea that this is one of the most dramatic moments in the plot.
IV action
Passions are raging in the Pharaoh's palace. Amneris does not want her lover to die. She is in turmoil: jealousy and love, thirst for revenge and despair are tearing her heart apart. Radames languishes in the dungeon of the palace. The girl begs him to repent. She promises him freedom, a throne, wealth if he renounces his love for Aida. Radames is indifferent to her words. He betrayed his homeland for the sake of love, thereby dishonoring himself. The commander is ready to pay for this.
Ramfis pronounces a sentence on Radames: accused of treason, Radames is sentenced to be buried alive. His final refuge is the crypt of the temple, which is located under the altar of the god he desecrated. Amneris cannot save her loved one. In despair, she curses the cruelty of the priests. But their decision is unshakable. Even the summary of the opera "Aida" in Russian is impressive in its tragedy.
Tragic ending
Further, according to Verdi's idea, the action unfolds on two levels. At the top is the temple of the god Ra, where the priests roll a stone to the entrance to the dungeon. In the crypt below, Radames awaits death. He thinks about Hades. Suddenly the unfortunate man sees a figure approaching him in the dark. The girl waited for him here for three days, deciding to share his fate with him. Lovers say goodbye to life. Up in the temple, Amneris prays for Radames. The curtain slowly falls.
The plot of the opera "Aida", a summary of which is described above, gives an idea that this opera is a psychological musical drama, subordinated to a high idea. Verdi wanted to show with his work that all people have the right to be happy. The composer showed in the opera “Aida” how the great power of love, which even death cannot defeat, influences a person’s destiny.
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Characters:
King of Egypt bass
Amneris, his daughter mezzo-soprano
Aida, slave, Ethiopian princess soprano
Radames, Chief of the Palace Guard tenor
Ramfis, High Priest bass
Amonasro, king of Ethiopia, father of Aida baritone
Messenger tenor
Priests, priestesses, ministers, military leaders, soldiers, dignitaries, slaves and captive Ethiopians, Egyptian people.
The action takes place in Memphis and Thebes during the time of the power of the pharaohs.
ACT ONE
Scene one
(A hall in the royal palace in Memphis. To the right and left are colonnades with statues and flowering plants. In the back is a large arch; through it you can see the temples and palaces of Memphis, as well as the pyramids. Radames and Ramfis are talking with each other.)
Ramfis
Yes, rumor has spread that the Ethiopian is arrogant
so bold that the Nile Valley
and Thebes began to be threatened.
I prayed to Isis all day.
Radames
And what did the goddess say to the priest?
Ramfis
She showed us who Egypt is
must be the main commander.
Radames
Happy chosen one!
Ramfis
(looking meaningfully at Radamès)
He is young, but full of valor.
I will convey the decision of the gods to the king.
Radames
Oh, if only I were chosen...
And my prophetic dream would come true!
(enthusiastically)
I would lead the Egyptian regiments into battle against the enemies...
And here is the victory... Memphis applauds in delight!
I will return to you, Aida, wearing a laurel wreath of glory,
I say: “Only for you I achieved victory!”
Dear Aida, the sun shines,
marvelous flower of the Nile Valley.
You are the joy of the heart, you are the hope,
my queen, you are my life!
Soon you will see blue skies,
you will be in your homeland again.
You will return to your native land again,
I will return freedom to you! Oh!
Dear Aida, the sun shines,
Nile Valley lotus alive.
Your image is full of charm,
Your fiery gaze is brighter than a star.
You will soon see your native mountains,
you will see your country again.
You will forget the chains of shame,
I’ll bring back my dear freedom again.
I will return freedom again!
(Amneris enters the hall.)
Amneris
Your gaze lights up with unusual joy,
your eyes, like lightning, sparkle with fire!
I have the right to envy that beautiful maiden,
where you are your dreams and heart
ready to give, obeying love!
Radames
I had a strange dream -
this is the reason for the delight.
Now the goddess will show us that leader,
who will lead the brave Egyptians to glory.
Oh, that I were worthy of this honor!
Amneris
Didn't you have a different dream?
The dream is sweeter, and more tender, and dear to the heart -
Isn’t it in Memphis that all your desires and hopes are?
Radames
(About myself)
How! What do I hear?
He suspects a secret, my love has revealed it!
Amneris
(About myself)
I know... It's a different feeling
owns his soul and heart!
Radames
(About myself)
The secret that I hide
she wants to know.
Amneris
(About myself)
I will take revenge if the secret
he is hiding from me.
There will be no mercy, no forgiveness!
(Aida enters.)
Radames
(seeing Aida)
Gods!
Amneris
(to himself; watching)
He was embarrassed... they looked at each other so strangely.
Aida! Isn't she my rival?
(to Aida)
Oh come to me my friend
The name of the slave does not suit you.
You will become my dear friend,
you will be my sister.
Are you crying? The cause of grief, the cause of sadness
tell me, my friend.
Aida
(lowering his eyes to hide his excitement)
Alas, everything breathes malice:
the war threatens disaster.
I cry for my country,
I’m scared for myself, for you!
Amneris
Tell me the truth.
Is there any other reason for your tears?
(to himself; looking at Aida)
Woe to the criminal slave!
Radames
(to himself; looking at Aida)
The eyes flashed with anger...
Amneris
(About myself)
Oh, woe to the criminal slave!
Radames
(About myself)
She's watching us.
Amneris
(About myself)
I will find out the secret of the heart!
Radames
(About myself)
If she knows love
what are we hiding?
she will take revenge on us,
will take revenge on her.
He's watching us!
Oh woe if ours
she discovered love!
She's ready to take revenge!
The face flashed with anger -
she is ready to take revenge!
Eyes blazing with anger -
she is ready to take revenge!
Amneris
(to Aida)
Why are you shedding tears?
(About myself)
There is no faith in her words.
Slave to criminal grief!
I will take revenge!
I recognize your sadness
and I will take terrible revenge!
Aida
(About myself)
Oh no! The heart suffers not for its native land,
not for the fatherland.
I shed tears, I cry bitterly,
I cry for my love.
I cry, I suffer for my love.
(The King enters, preceded by the guard, accompanied by Ramfis, priests, military leaders and courtiers.)
Tsar
For important matters, Egyptians,
I told you to come here.
From the borders of Ethiopia
a messenger came here to us,
he brought terrible news.
We were attacked...
(to one of the dignitaries)
Let the messenger in here!
(The Messenger enters.)
Messenger
The Egyptians are threatened by the troops of the king of the barbarian Ethiopians.
All our fields are like desert...
The fields are burning.
Proud of his easy victory,
the villains boldly rushed to Thebes.
What audacity!
Messenger
Bloodthirsty, cruel their ruler
Amonasro leads them into battle!
Radames, king, Ramfis, priests, ministers and military leaders
The king himself!
Aida
(About myself)
My father!
Messenger
Thebes rebelled; all citizens with weapons
go towards enemies,
they threaten war, they threaten evildoers with death.
Tsar
For the enemies of the fatherland there is only death and vengeance!
Radames, king, Ramfis, priests, ministers and military leaders
Vengeance! Vengeance! Vengeance on the enemies!
Death, death without mercy!
Tsar
(approaching Radames)
The goddess, sacred Isis, called us,
the one who leads the troops into battle:
Radames.
Aida, Amneris, ministers and military leaders
Radames
Ah, praise be to you, gods!
My dreams have come true!
Amneris
(About myself)
He is chosen! He is chosen!
Aida
(About myself)
I'm shaking all over, I'm shaking all over!
Ministers and military leaders
Radames! Radames!
Tsar
Our commander is brave, in the temple of Isis
accept the sacred sword,
lead your troops to victory!
To the banks of the sacred Nile
the gods will show us the way,
Gods will increase our strength!
Death without mercy, death to all enemies!
Ramfis
The gods send you blessings
the long journey is dangerous.
Send prayers to them,
so that they give you victory.
Ministers and military leaders
The bank of our sacred Nile
we will protect with our breasts,
the gods will increase our strength;
Ramfis
To the gods of prayer, you send prayers,
Send prayers so that victory will be given to you.
Tsar
Yes, to the banks of the sacred Nile
the gods will show us the way,
and they will increase our strength;
death to enemies without mercy!
Aida
(About myself)
Why am I crying bitterly and suffering?
Ah, love has ruined me.
I gave my heart to a stranger and enemy.
Radames
The heart is full of thirst for vengeance:
the groans of the people are heard everywhere,
he calls for victory!
Vengeance, vengeance and death to all enemies!
Amneris
(passing the banner to Radames)
Glory awaits you, chosen one!
Here, accept the holy banner -
let him lead and illuminate
the path to victory over the enemy.
Tsar
To the banks of the sacred Nile
the gods will show us the way.
There will be a cry of victory,
death without mercy and destruction to all enemies.
Ramfis and the priests
The gods send blessings
the long journey is dangerous.
Send prayers to them,
so that they give us victory.
Ministers and military leaders
The bank of our sacred Nile
We will protect with our breasts.
The gods will increase our strength.
Vengeance, vengeance and death to all enemies!
Messenger and Radames
Victory over enemies awaits,
death and destruction, destruction to the enemies!
Amneris
May he lead you to victory over the enemy!
Aida
Oh, why am I crying so bitterly?
Radames, Amneris, king, Ramphis, messenger, priests, ministers and military leaders
Vengeance! Vengeance!
Doom and death to the enemies!
Aida
I gave my heart to a stranger and enemy.
Aida, Amneris, king, Ramfis, messenger, priests, ministers and military leaders
Return to us with victory!
(Everyone leaves except Aida.)
Aida
Return to us with victory!
This word is criminal in my mouth!
Victory over my father!
The father raised his weapon against them,
to return my homeland to me,
my kingdom, proud name,
What am I supposed to hide here?
Radames will destroy his father...
And I will see him on his chariot,
stained with blood.
All Egypt rejoices!
The king himself is behind the chariot,
my father, in iron shackles!
Crazy word, oh gods, forgive me!
You will return your daughter to your father's heart!
O gods, I pray you, scatter
and turn all enemies to dust!
Oh, what did she say, oh gods!
Love forgot... Yes, I forgot love
and I dream of revenge!
Love illuminated my heart like the sun -
It's all bliss!
And I ask for the death of Radames,
loving him madly!
Yes, I love him
and I suffer so terribly for love!
And I don't dare openly, freely
name names dear to me in front of everyone.
Father and darling! I'm trembling for both...
I just have to shed tears and pray to the gods...
But the gods themselves cannot help me -
because I love the enemy of my country.
There is no forgiveness for me and no consolation,
It's easier to die than to suffer like this.
My gods! Have mercy, I pray
my heart is full of torment,
my gods, I pray to you:
I can’t live, send me death!
My gods, I pray to you, I pray,
take pity on my bitter fate:
Send me death, my gods,
I beg you, I beg you!
Scene two
(The interior of the Temple of Vulcan in Memphis. A mysterious light falls from above. A long row of columns adjacent to one another is lost in the darkness. Statues of various deities. In the middle, on a raised platform covered with carpets, is an altar with sacred utensils. Incense smokes on golden tripods. At the foot the altar is filled with priests led by Ramfis, and in the depths of the temple there are priestesses.)
Great Priestess
Almighty, great god,
life-giving spirit of the universe!
Priestesses
Come down to us!
Ramfis and the priests
You created from chaos
earth and heaven,
come down to us!
Great Priestess
Almighty, great god,
life-giving spirit of the universe!
Priestesses
Come down to us!
Ramfis and the priests
You created everything that lives,
you yourself are the creator of everything,
come down to us!
Great Priestess
Unchanging light, eternal light,
the sun is shining on you!
Priestesses
Come down to us!
Ramfis and the priests
God, you are the creator of the world,
spring of eternal love.
Come down to us!
Priestesses
Come down to us!
(The priestesses dance a sacred dance. Radames enters without a weapon and goes to the altar. A silver veil unfurls over his head.)
Almighty God!
Ramfis and the priests
Come down to us!
Ramfis
(to Radames)
God's beloved mortal,
We all hand over to you the fate of Egypt.
And the sacred sword, the weapon of the ancestors,
let it frighten enemies in your hand
the horror of death.
Priests
And the sacred sword, the weapon of the ancestors,
let him terrify his enemies in your hand...
Ramfis and the priests
The horror of death.
Ramfis
Gods, give us victory,
Send death to your enemies!
God, you are our patron,
you will not let your enemies win.
Radames
Gods, give us victory,
Send death to your enemies!
God, you are our patron,
Protect your faithful sons from harm.
Ramfis
Give me victory!
God, you are our patron;
people, our God, do not give it to the enemies.
Priests
Gods, give us victory!
Ramfis and the priests
God, you will be our protection,
save us from our enemies!
Strength to our holy fatherland,
Give me courage in the fight!
Radames
Protect us, give us strength in the fight!
Priestesses
(far away)
Almighty, great god,
instilling life in everyone,
eternal, omnipotent spirit,
great God!
Radames, Ramfis and the priests
Almighty God, you are the life-giving spirit,
you, who created the whole world out of chaos,
who created the earth and the sky,
we call to you!
We pray to you, great God!
ACT TWO
Scene one
(Amneris' chambers.)
Slaves
Who's there with victory to glory
Is it going solemnly?
His eyes are burning with fire,
We don't know who he is.
Come, we will decorate your brow,
and we will sing a song of glory,
and the song of holy love.
Amneris
My dear! Come, my bliss,
Slaves
Enemies, where are your hordes?
Where is the glory of the old days?
Hero of countless troops
dissipated like smoke.
Immortality awaits the hero,
and glory and honor,
and - loyalty is a reward -
the hero's love awaits.
Amneris
Oh dear, warm my heart with love,
Give me affection and dispel my sadness!
(The Moorish slave boys dance. The slave girls continue to dress Amneris.)
Slaves
Come, we will decorate your brow,
We will weave a wreath for you from laurels,
and we will sing a song of glory,
and the song of holy love.
Like a ray of sunshine, the fog was driven away,
the hero scattered them.
Here a reward awaits the brave,
our greetings fly to them,
victory smiled
and gifts of love await.
Amneris
O joy! Come, my bliss,
oh, come, my love, calm my heart!
Oh darling! Come, my bliss,
come, my love, calm my heart!
Slaves
And the song of holy love.
Amneris
Silence! Aida comes here to us -
daughter of the vanquished;
Her sadness is sacred to me.
(At a sign from Amneris, the slaves leave. Aida enters, carrying a crown.)
With her, my doubts involuntarily awoke...
I must reveal a fatal secret!
(to Aida; with feigned participation)
The weapon has betrayed your brothers, poor Aida!
The grief that makes you sad
I share.
You will find a friend in me,
and I want you to know happiness again!
Aida
Can I be happy
in a country where everything is foreign to me,
where I live, not knowing my fate
parents and brothers?
Amneris
I understand everything.
But there is no eternal night -
a bright day will come.
Time will heal the wounded heart;
Better than time, your love will heal him...
Aida
(to herself; very excited)
The gods gave us love for happiness,
the whole soul is full of it alone.
Oh, if only in these hours of sadness
at least love would give me hope!
If only there was hope, if only there was hope
again flashed with unexpected happiness,
If only there was hope left for me!
Amneris
(About myself)
Oh, what poverty...
This is excitement...
Now I know she loves me.
I want to know everything, I want to know everything.
I'm even scared, I'm afraid for myself.
(to Aida)
What else have you become sad about?
dear Aida?
You are sincere before me, as before your sister,
You can say everything with confidence.
Between those who fight,
Is there such an enemy there?
whose image bothers you,
awakening love in your heart?
Aida
(About myself)
What do I hear!
Amneris
Fate sent us many trials:
the fearless, brave leader was slain,
died on the battlefield.
Aida
What did you say? Woe is me!
Amneris
Yes, Radames was killed by your...
Aida
Woe is me!
Amneris
What are you crying about?
Aida
I have to cry all my life...
Amneris
Your god takes revenge on us, Aida.
Aida
Fate punished me cruelly...
Amneris
(flashing with anger)
I know you really love
you like!
Aida
Amneris
Answer me!
(About myself)
Just one more word and I will know everything.
(to Aida)
I was joking... Forgive my deception...
Radames... he's alive.
Aida
(falling to his knees)
Alive! Praise be to you, gods!
Amneris
(in anger)
You want to hide the truth!
Yes, you love...
I love it too! You understood?
Your rival is the daughter of Pharaoh!
Aida
(proudly)
Are you a rival? So be it!
And I... I'm the daughter...
(Recovering, he falls at the feet of Amneris.)
Oh, what am I saying! I'm sorry... forgive me.
Ah, forgive and take pity, there is no strength to hide.
I love him with mad passion.
Fate has given you happiness
Amneris
You will destroy the fatal passion,
or I will order you to be killed.
I alone decide the fate of the slave.
The heart burns with both anger and vengeance.
Aida
Fate has given you happiness
She gave me only one love.
Forgive, forgive and have pity,
there is no strength to hide...
Amneris
You will destroy your passion!
Slaves fate is in my hands,
and my heart burns with anger and vengeance!
People
(far away)
The bank of our sacred Nile
We will bravely defend in battles.
Let the Ethiopians remember -
death without mercy and death to all enemies!
Aida
Oh, I'm sorry, what do I have left!
My life is now broken.
I will soften your terrible anger,
I will accept my bitter fate.
That love that is hidden in the heart,
I’ll take it with me to the ground.
Amneris
No, despicable one, you will find out
how to fight with me,
know this, slave!
Aida
Oh, sorry! That love
I will take it with me to the ground.
I'm sorry!
People
(far away)
Death and destruction to all enemies!
Amneris
Yes, you will find out who your rival is!
People
(far away)
Death and destruction to all enemies!
Aida
My gods, I pray to you,
give me death -
I can't stop loving him.
My gods, I pray to you...
I beg you... I beg you...
Scene two
(One of the exits of the city of Thebes.)
People
Glory to Egypt and the gods!
They are our protection.
To the king of our state
We sing hymns of praise.
Glory to the king! Glorious be!
We sing hymns of glory to the king!
Women
Laurel wreaths
we will decorate the heroes,
we'll lull you to sleep with flowers
glorious victory path.
Let's begin, Egyptian maidens,
our solemn dance,
so it moves around the sun
round dance of golden stars.
Ramfis and the priests
Glory to the heroes,
that gave us victory!
Give them prayers
on this beautiful day.
Women
So it moves around the sun
round dance of golden stars.
Men
Our military strength
we sing a hymn of praise.
Ramfis and the priests
Give your prayers
on this beautiful day.
(Egyptian troops, preceded by trumpeters, pass in front of the king. A group of dancers carries the jewelry of the vanquished. More troops, war chariots, banners, sacred vessels, statues of gods.)
People
The glorious hero has returned to us,
the day of celebration has arrived.
Let's decorate the hero's path,
Let's throw flowers at your feet.
We will sing the anthem -
the glorious hero has returned.
Let's decorate the hero's path
flowers and foliage.
Glory to Egypt, glory!
Priests
Thank the gods!
Glory to Isis! Thank the gods!
Give them praise
on this beautiful day.
Glory, glory to the gods!
(Radames appears.)
Tsar
Savior of the Fatherland, my greetings to you!
Come closer: and let the princess lay her hand
the crown of your victory.
(Radames kneels and Amneris places the crown on him.)
Now demand what you wish;
I will fulfill everything on such a joyful day,
I swear by my royal crown,
I swear to the gods.
Radames
Let me first introduce you to
captured.
(Captured Ethiopians appear, surrounded by guards, after all Amonasro, led by Ethiopian dignitaries.)
Ramfis and the priests
Thank God everyone! Give praise!
Glory to the gods for victory over the enemy!
Praise, praise to all the gods!
Aida
(rushing to Amonasro)
What do I see! You're Lee? My father!
Amneris, Radames, Ramfis, king, people and priests
Amneris
He is in our power!
Aida
(hugging father)
Are you, are you in captivity?
Amonasro
(to Aida; quietly)
Do not betray!
Tsar
(to Amonasro)
Tell me, who are you, tell me?!.
Amonasro
Her father... I fought... We were defeated...
I was looking for death.
(pointing to his clothes)
Do you see these simple clothes:
I am a warrior, I fought for my fatherland,
but fate, alas, changed us,
betrayed us to death and shame.
I will never forget what I saw:
The king lay dead before me.
If loyalty to the fatherland is a crime,
We are waiting for death, we are worth it!
(to the King; begging)
But we believe: your judgment is fair
Today fate has changed for us,
Aida
But we believe: your judgment is fair
will not condemn the unfortunate in vain.
Today fate has changed for us,
but tomorrow may change you too.
Slaves and captives
We are punished strictly by the gods,
give us mercy and have pity on us!
May fate save you from torment,
what we had to experience in battle!
Amonasro
But tomorrow may change you too.
Ramfis and the priests
King, do not listen to their insidious pleas,
there is no mercy for cruel villains!
Aida, slaves and captives
Ramfis and the priests
Our gods want them dead
let their sentence be fulfilled.
Aida, slaves and captives
Sorry! Sorry!
Aida
But king, you are a just king,
by the will of your power you will not condemn the unfortunate...
Have mercy, I pray!
Fate has changed us, but perhaps
tomorrow fate will change you.
But you are a king, and your judgment is fair
will not condemn the unfortunate in vain.
Today fate has changed for us,
but tomorrow may change you too.
Amneris
(About myself)
What kind of looks does he give her?
What kind of looks does Aide give?
what a flame burns in their faces!
I'm the only one so sadly forgotten...
The thirst for revenge burns my blood,
the thirst for revenge burned my heart.
Revenge, I call you!
Ramfis and the priests
Execute them! Execute them!
Don’t listen to their insidious pleas!
Let the gods' verdict be fulfilled!
King, do not listen to their pleas,
there is no forgiveness for the villains! Death to them!
Our gods want them dead
let their terrible sentence be fulfilled!
Destroy, destroy, destroy them!
Our gods want them dead!
May their sentence be fulfilled!
Radames
(to himself; looking at Aida)
The sadness that the face reflects
decorates it even more;
these tears from precious eyes
involuntarily excited me,
these tears from dear eyes
stirred all the love in my soul.
(to the King)
King, you swore an oath to me,
swore by the gods, swore by the crown
fulfill everything I wish...
Tsar
Radames
Here's a request:
I ask all Ethiopian captives
return life and freedom.
Amneris
(About myself)
But is it for everyone?
Priests
Death, destruction to all enemies of our native country!
People
Forgiveness to all the unfortunate!
Ramfis
Listen to me, king!
(to Radames)
You too, brave hero,
listen to the advice of reason.
(points to prisoners)
These people are hostile to us
their hearts burn with vengeance.
Only we will return their freedom,
Everyone will take up arms again.
Radames
The death of Amonasro, their hero,
killed all their hopes.
Ramfis
So let it be a guarantee of peace and tranquility
They will leave Aida with her father.
Tsar
I accept your advice. We will save this
both peace and our security.
Radames! You gave victory to Egypt,
let the hand of Amneris be a reward,
You will rule Egypt when I leave the world.
Amneris
(About myself)
Evil slave like you now
will you steal my love?!
Tsar and people
Glory to Egypt and the gods!
They are our protection.
Hero's brow with laurel
decorate with flowers.
He deserves a crown of glory!
Slaves and captives
Glory to Egypt and the king!
He took off the bondage chains
and returned freedom to us,
and returned freedom to us,
I returned my homeland!
Ramfis and the priests
We offer hymns to the gods,
They are our protection;
we all pray to send them down
help our native country!
Aida
(About myself)
My hopes did not come true!
To him is honor and the kingdom,
and all I have left is melancholy
tormented love.
Radames
(About myself)
Gods disfavor is terrible
I was struck like thunder.
My dear Aida,
She is everything, everything, dearer to me.
Amneris
(About myself)
Ah, happiness smiled at me
I enjoyed the celebration
and dreams of tender passion
excites my heart!
Tsar and people
Glory! Great God! Glory!
Ramfis
We pray to her to give us protection,
help to the native country.
Amonasro
The time will come for us
when for the honor of the fatherland
we will all rise menacingly
and take revenge on our enemies.
Radames
Gods disfavor is terrible!
What, what did I do to deserve it?
Gods disfavor is terrible
I was struck by thunder.
My Aida, joy,
She is everything, everything, dearer to me.
Amneris
My hopes have all come true
the delights of my love!
Happiness smiled at me
I enjoyed the celebration
and dreams of tender passion and delight
excite my heart.
The dream of love excites my heart.
O joy, dream of love!
Tsar and people
Glory to Egypt! Glory to all the gods!
They are our protection!
Weave wreaths of glory,
be proud of them, be proud, hero!
Weave laurels of glory
Decorate the hero's brow!
Amonasro
Be brave! Take heart!
The time will come for us
we are all for the honor of our fatherland
we will rise, mercilessly
We will take revenge on our enemies.
Revenge is near! Let us rise menacingly
and we will take revenge on the enemy for everything!
Ramfis and the priests
We offer hymns to all the gods,
They are our protection.
We pray to the gods to send
help to the native country.
Aida
And I only have tears and sadness,
one sadness.
My hopes didn't come true
to him is honor and the kingdom,
and I have only sadness,
the sadness of tormented love.
Slaves and captives
Glory to Egypt and the king,
he removed the bondage chains
and returned freedom to us,
returned his homeland.
ACT THREE
(Bank of the Nile. Granite cliffs, between which palm trees grow. Above, on the rocks, behind the foliage, the Temple of Isis is half visible. Starry night. The moon is shining.)
Priests and priestesses
(in the temple)
Immortal Mother of the Gods,
you are our holy mother,
you awaken in our hearts
pure impulse of love.
We pray, we pray to you.
We pray, O goddess, mother of holy love,
(A boat lands on the shore, Amneris, Ramfis, several women covered in thick veils, and guards get out of it.)
Ramfis
(to Amneris)
In the Temple of Saint Isis
on the eve of marriage you should
ask for the blessing of the goddess.
Isis knows everything and reads the heart.
All the secrets of the world are revealed to her.
Pray to the goddess.
Amneris
Yes, I will pray that Radames
He gave me his heart in return for love,
that I dedicate to him.
Ramfis
Let's go until dawn
I will stay in the temple with you.
(Everyone enters the temple.)
Priests and priestesses
(in the temple)
We beg, we beg, we beg you,
we pray, O goddess, mother of holy love,
we pray to you, we pray to you.
(Aida appears.)
Aida
Here I'm waiting for Radames...
What will he tell me? I'm scared!
Oh, if here Radames says goodbye to me forever,
then the Nile will be my grave,
he will give me peace...
There I may be
I'll find oblivion.
O my dear land,
I won't see you!
Alas! I can't see you!
The sky is azure and the air is clean,
I see pictures of sweet childhood.
There the eyes are caressed by crystal water waves...
Birds sing all day long in the palm groves!
O my dear land, my dear land,
I won't see you again!
O dear land, dear country,
I won't see you!
Goodbye! My land, goodbye forever!
In the quiet valleys there is a pleasant haven,
everything there caresses my gaze with beauty.
You will disappear, a wonderful and magical dream,
Oh my dear land, I won’t see you!
I can’t see you, my native land!
O dear land, farewell, farewell forever!
(Turning around, he sees Amonasro entering.)
Sky! My father!
Amonasro
I came to you on important business.
I know everything, I see everything:
we love you their leader Radames,
he loves you too.
Your rival is the daughter of Pharaoh.
A despicable, hateful race, it will destroy us!
Aida
And I am in their power!.. I, the daughter of Amonasro!
Amonasro
You are at their mercy!.. No, if you want,
then you will soon destroy your rival.
Fatherland, our throne, love -
everything will come back to us.
We will see our golden temple again.
Aida
(enthusiastically)
We will soon return to our native land,
We will see our golden temple again!
Amonasro
You will be a faithful friend to Radames,
you will know the happiness of fiery love.
Aida
Just one day of such pleasure,
I would like one hour of delight,
then I’m ready even to die!
Amonasro
Remember, remember how the enemy is inexorable
shamelessly mocked your homeland,
blood flowed like an unstoppable stream,
our elders, children and mothers.
Aida
I have not forgotten those fateful days
I remember all the torment that I endured.
Grant us, oh gods, bright days of happiness!
Amonasro
Remember: everything is in your power!
Aida
Happy days to us!
When will the bright ray of dawn shine upon us?
Amonasro
Our people have taken up arms again,
and everything is ready; victory is ours!
All we have to do is find out
which way will the enemies take...
Aida
Who can find out? Tell.
Amonasro
Aida
Amonasro
I know you're waiting for Radames...
They love...
He is the leader of the Egyptians...
It's clear?
Arise, enemies, and attack boldly,
strike, destroy with sword and fire.
Know no mercy, exterminate the people,
The borders are open and the path is familiar to you.
Aida
Have pity, my father!
Amonasro
(pushing her away)
You are no longer my daughter!
Aida
Father, forgive me!
Amonasro
Do you see how the blood of brothers is shed,
Do you see how our land is dying?
You see, their shadows rise there,
they menacingly call for vengeance,
you hear a terrible reproach:
“You ruined your native land”?
Aida
Father, I pray! I'm sorry!
Amonasro
Do you see a menacing ghost?
His hugs are scary
he sends curses to the enemy!
Aida
Oh! Gods! Oh!..
Amonasro
See, he is near you...
I recognize my own mother in him...
Cursed by her!
Aida
(horrified)
Oh no, oh no, father, I pray, father,
please forgive me!
Amonasro
Not my daughter anymore!
You are Pharaoh's despicable slave!..
Aida
Oh, I'm sorry, father, I'm sorry...
Know this! I will no longer be their slave!
Don’t curse your own daughter;
I want to remain worthy of you, dear fatherland
I am ready to bring life as a gift.
Amonasro
Remember that your people are waiting for deliverance,
yes, you are alone, you are alone
you can save our land.
Aida
I'm ready to give my life to you,
my dear land!
But how I suffer!..
Amonasro
(seeing Radames approaching)
Silence... he's close... there... I'll hide.
(Hides behind the palm trees. Radames approaches.)
Radames
Again with you, dear Aida!
Aida
The meeting is in vain... it's all over.
Radames
I strived for you with all my soul!
Aida
Waiting for you there in the temple
another love, husband Amneris!
Radames
What do I hear? You, Aida, are my happiness!
You are the only one who owns my heart!
Aida
Don't sully yourself with lies!
If only I could pity the treacherous hero...
Radames
Don’t you really believe in love, Aida?
Aida
But can you resist the beautiful Amneris,
the order of the king and the desires of the people,
against the priests of resentment?
Radames
Listen, Aida.
In a fit of vengeance with formidable force
all of Ethiopia will rise again.
The enemies have already entered the Nile Valley.
Who will lead the Egyptian army?
We will return to Memphis in victory,
I will stand before Pharaoh and pray.
I will call you mine with joy.
You will be a reward for a glorious victory,
We will find out happiness then with you.
Aida
Amneris frightens me,
and revenge and her anger.
She will defeat us all, defeat us mercilessly;
I will die, my father too.
Oh grief!..
Radames
I am your protector.
Radames
Aida
Radames
Aida
Let's run, let's leave this region, let's leave the banks of the Nile.
Believe me, we will find a new homeland with you, dear.
There, in a dark palm grove,
we will meet the hour of sunset,
there's a sweet aroma
flowers will intoxicate us...
I'll stay forever.
Radames
In a foreign country I must
look for love's shelter,
leave your homeland forever,
forget our gods.
Forget the land where the glory is
for the first time she flashed to me,
where is your heavenly gaze
discovered the happiness of love...
Aida
There, in a dark palm grove,
we will meet the hour of sunset,
there's a sweet aroma
flowers will intoxicate us.
There with you, oh my dear,
I'll stay forever.
Aida
We will leave your Egypt,
let's leave the banks of the Nile,
in my dear homeland
We will find happiness with you.
We will pray there
to my dear gods.
Happiness awaits there!
Radames
In a foreign country I must
look for love's shelter,
leave your homeland forever,
forget your gods?..
(hesitating)
Aida!..
Aida
You don't like... Get away!
Radames
Do not believe...
Aida
Radames
I swear no one can
so passionately, with all my soul
love as I love!
Aida
Away! Away!
Amneris is waiting for you there!
Radames
No, I'm yours!
Aida
I don't believe you.
Do you want to hand over for execution?
me, father, why are you delaying?
Radames
(with passionate determination)
Oh no! We're running!
So that you can be happy,
I’ll go with you to a foreign land!
Love will be our reward,
a guiding star.
We will see a different sky
your country's charm.
Stars diamond shine
our new path will be illuminated.
Aida and Radames
So let's quickly run away from here,
let's leave the edge of our suffering,
because love calls us,
love will lead us on a long journey.
Aida
Tell me where to go
so as not to meet the Egyptian army?
Radames
I have chosen the path for the army,
that is unknown to the enemies.
This path is clear until tomorrow.
Aida
But where is he?
Radames
In the gorges of Napata.
Amonasro
(coming out of hiding)
Ah, Napata Gorge!
Our people will be there tomorrow!
Radames
Who overheard us?
Amonasro
Aida's father, the Ethiopian king.
Radames
(with great excitement, surprise)
You!.. Amonasro!.. You!.. The king himself?
Gods! Is it possible? No, that's a lie...
This is a lie... this is a lie...
No, no, it can't be! No!
(with fear)
What did I do, you madman?..
Aida
Come to your senses and listen
trust my love!
Amonasro
You love Aida
prepares the royal throne.
Radames
I disgraced myself
I changed my fatherland,
loving you, unfortunate one,
I forgot my homeland.
Giuseppe Verdi
AIDA
Why was this particular opera chosen for analysis? Firstly, because of the conflict of duty and passion (eros and power) at its core and, secondly, because of a very tightly developing plot, like a fairy tale; This plot also allows for conventions. Thirdly, although the opera is named after Aida, Aida is not the only protagonist: states in which the hero becomes either a protagonist or a bearer of archetypal projections of other characters alternate very quickly, especially in the third and fourth acts.
There is another difficulty: since this is a theatrical performance, the viewer is also important. he can identify alternately with different characters, and these characters act as symbols of collective influences for him as well.
Opera in four acts
Libretto by A. Ghislanzoni
Characters:
King of Egypt - bass
Amneris, his daughter - mezzo-soprano
Aida, slave, Ethiopian princess - soprano
Radames, Chief of the Palace Guard - tenor
Ramfis, High Priest - bass
Amonasro, king of the Ethiopians, father of Aida - baritone
Messenger - tenor
Priests, priestesses, ministers, military leaders, soldiers, dignitaries, slaves and captive Ethiopians, Egyptian people.
The action takes place in Memphis and Thebes during the time of the power of the pharaohs.
* * *
ACT ONE
PICTURE ONE
(A hall in the royal palace in Memphis. To the right and left are colonnades with statues and flowering plants. In the back is a large arch; through it you can see the temples and palaces of Memphis, as well as the pyramids. Radames and Ramfis are talking with each other.)
THE PROTAGONIST IS RADAMES.
RAMFIS
Yes, rumor has spread that the Ethiopian is arrogant
so bold that the Nile Valley
and Thebes began to be threatened.
I prayed to Isis all day.
RADAMES
And what did the goddess say to the priest?
RAMFIS
She showed us who Egypt is
must be the main commander.
RADAMES
Happy chosen one!
RAMFIS
(looking meaningfully at Radamès)
He is young, but full of valor.
I will convey the decision of the gods to the king.
(Leaves.)
The situation is that it is Ramfis who organizes further events. Since there is a pharaoh, a living symbol of the power of Egypt, and also of the collective consciousness, then in the image of the priest it would be reasonable to assume a more dynamic force - those aspects of the archetype of the Spirit that have already become inert, automatically acting, mysterious and independent. The power of Ramfis, as we will see later, is very great.
RADAMES
Oh, if only I were chosen...
And my prophetic dream would come true!
(enthusiastically)
I would lead the Egyptian regiments into battle against the enemies...
And here is the victory... Memphis applauds in delight!
I will return to you, Aida, wearing a laurel wreath of glory,
I say: “Only for you I achieved victory!”
Dear Aida, the sun shines,
marvelous flower of the Nile Valley.
You are the joy of the heart, you are the hope,
my queen, you are my life!
Soon you will see blue skies,
you will be in your homeland again.
You will return to your native land again,
I will return freedom to you! Oh!
Dear Aida, the sun shines,
Nile Valley lotus alive.
Your image is full of charm,
Your fiery gaze is brighter than a star.
You will soon see your native mountains,
you will see your country again.
You will forget the chains of shame,
I’ll bring back my dear freedom again.
I will return freedom again!
(Amneris enters the hall.)
Ramfis's influence remains hidden; since the motives of Radames do not coincide with the motives of the priest, it can be assumed that in the future Ramfis will be the bearer of the projections of the Animus of Radames. So far this is not happening. In addition to him, Radamès is also influenced by Aida’s position. We are talking about the captive soul of Radames, about the liberation of his Anima. And then it turns out that the image of his Animtsa is split, and he has not yet dealt with the other half of his soul. It seems that Radames has so far ignored the feelings and power of Princess Amneris.
AMNERIS
Your gaze lights up with unusual joy,
your eyes, like lightning, sparkle with fire!
I have the right to envy that beautiful maiden,
where you are your dreams and heart
ready to give, obeying love!
RADAMES
I had a strange dream -
this is the reason for the delight.
Now the goddess will show us that leader,
who will lead the brave Egyptians to glory.
Oh, that I were worthy of this honor!
AMNERIS
Didn't you have a different dream?
The dream is sweeter, and more tender, and dear to the heart -
Isn’t it in Memphis that all your desires and hopes are?
Amneris claims at least illusory power over his feelings, and this greatly alarms Radamès.
RADAMES
(About myself)
How! What do I hear?
He suspects a secret, my love has revealed it!
AMNERIS
(About myself)
I know... It's a different feeling
owns his soul and heart!
Now Amneris is also worried
RADAMES
(About myself)
The secret that I hide
she wants to know.
AMNERIS
(About myself)
I will take revenge if the secret
he is hiding from me.
There will be no mercy, no forgiveness!
(Aida enters.)
For now, we are not talking about love, but about how free Radames is in his feelings. Controlling, Amneris acts as befits a negative Anima in relation to Radames - she manages to frighten him and find out what he thought was safely hidden.
RADAMES
(seeing Aida)
Gods!
AMNERIS
(to himself; watching)
He was embarrassed... they looked at each other so strangely.
Aida! Isn't she my rival?
(to Aida)
Oh come to me my friend
The name of the slave does not suit you.
You will become my dear friend,
you will be my sister.
Are you crying? The cause of grief, the cause of sadness
tell me, my friend.
AIDA
(lowering his eyes to hide his excitement)
Alas, everything breathes malice:
the war threatens disaster.
I cry for my country,
I’m scared for myself, for you!
AMNERIS
Tell me the truth.
Is there any other reason for your tears?
(to himself; looking at Aida)
Woe to the criminal slave!
RADAMES
(to himself; looking at Aida)
The eyes flashed with anger...
He is psychologically frozen, inactive and anxious, or in a quiet panic. This state is similar to the adhesion described by Schwartz-Zalant - it is extremely difficult to remain and it is impossible to break contact. He remained independent from the priest, the bearer of the projections of the Spirit archetype, and the reason for this was his feeling for Aida. And now they influence his feelings. Now that the love triangle is being formed, we do not see any of the heroes acting as the protagonist - this is possible for all three at once and for no one in particular. Everyone is in turmoil, under strong influence, and it is very difficult to separate these influences. If it were not for the conventions of the operatic plot, all the “to the side” remarks would be inarticulate, perseverations. Hence the primitiveness of Amneris’ manipulation; It is because of this strange influence that such a conspicuous stratagem becomes effective. Hence the strange paralysis of Radames. There are no protagonists or subjects here, and feelings develop directly following.
AMNERIS
(About myself)
Oh, woe to the criminal slave!
RADAMES
(About myself)
She's watching us.
AMNERIS
(About myself)
I will find out the secret of the heart!
RADAMES
(About myself)
If she knows love
what are we hiding?
she will take revenge on us,
will take revenge on her.
He's watching us!
Oh woe if ours
she discovered love!
She's ready to take revenge!
The face flashed with anger -
she is ready to take revenge!
Eyes blazing with anger -
she is ready to take revenge!
AMNERIS
(to Aida)
Why are you shedding tears?
(About myself)
There is no faith in her words.
Slave to criminal grief!
I will take revenge!
I recognize your sadness
and I will take terrible revenge!
The heroes' experiences are now practically no different from paranoia. There is the pursued (Radames) and the pursuer (Amnertis). At the same time, Radames is very vulnerable, since he does not separate himself from Aida, he is merged with her. Aida, it seems, speaks as frankly as she can, and she does not share this paranoia: her state is natural, it is horror and grief.
AIDA
(About myself)
Oh no! The heart suffers not for its native land,
not for the fatherland.
I shed tears, I cry bitterly,
I cry for my love.
I cry, I suffer for my love.
(The King enters, preceded by the guard, accompanied by Ramfis, priests, military leaders and courtiers.)
Since Radames's feelings are now known to her, Amneris tries to influence Aida. What she is doing is outright manipulation, feigned sympathy, and we will see further that Aida is poorly able to resist manipulation in general. She understands what is happening, there is no question of naivety here - therefore, Amneris's influence arises from something else. Amneris supposedly offers help, and this has an effect on Aida. The royal daughter acts as a false emotional resource. Since Aida is caught in her manipulation, we can assume that the shadow sides of Aida’s own personality are projected onto Amneris, associated with purely feminine ways of ruling, intriguing. Intrigue is one of the favorite means of influence that is used when a woman is obsessed with the animus. Since Amneris is painfully jealous, cruelly in love with Radames and at the same time claims control over his soul, we can assume the strongest influence of the Animus in the image of Amneris. Right now, when she needs cunning to survive, Aida turns out to be honest and therefore defenseless.
TSAR
For important matters, Egyptians,
I told you to come here.
From the borders of Ethiopia
a messenger came here to us,
he brought terrible news.
We were attacked...
(to one of the dignitaries)
Let the messenger in here!
(The Messenger enters.)
MESSENGER
The Egyptians are threatened by the troops of the king of the barbarian Ethiopians.
All our fields are like a desert...
The fields are burning.
Proud of his easy victory,
the villains boldly rushed to Thebes.
What audacity!
MESSENGER
Bloodthirsty, cruel their ruler
Amonasro leads them into battle!
RADAMES, KING, RAMFIS, PRIESTS, MINISTERS AND MILITARY LEADERS
The king himself!
AIDA
(About myself)
My father!
MESSENGER
Thebes rebelled; all citizens with weapons
go towards enemies,
they threaten war, they threaten evildoers with death.
TSAR
For the enemies of the fatherland there is only death and vengeance!
RADAMES, KING, RAMFIS, PRIESTS, MINISTERS AND MILITARY LEADERS
Vengeance! Vengeance! Vengeance on the enemies!
Death, death without mercy!
TSAR
(approaching Radames)
The goddess, sacred Isis, called us,
the one who leads the troops into battle:
Radames.
AIDA, AMNERIS, MINISTERS AND MILITARY LEADERS
Radames!
RADAMES
Ah, praise be to you, gods!
My dreams have come true!
AMNERIS
(About myself)
He is chosen! He is chosen!
AIDA
(About myself)
I'm shaking all over, I'm shaking all over!
MINISTERS AND MILITARY LEADERS
Radames! Radames!
TSAR
Our commander is brave, in the temple of Isis
accept the sacred sword,
lead your troops to victory!
To the banks of the sacred Nile
the gods will show us the way,
Gods will increase our strength!
Death without mercy, death to all enemies!
RAMFIS
The gods send you blessings
the long journey is dangerous.
Send prayers to them,
so that they give you victory.
MINISTERS AND MILITARY LEADERS
The bank of our sacred Nile
we will protect with our breasts,
the gods will increase our strength;
RAMFIS
To the gods of prayer, you send prayers,
Send prayers so that victory will be given to you.
TSAR
Yes, to the banks of the sacred Nile
the gods will show us the way,
and they will increase our strength;
death to enemies without mercy!
AIDA
(About myself)
Why am I crying bitterly and suffering?
Ah, love has ruined me.
RADAMES
The heart is full of thirst for vengeance:
the groans of the people are heard everywhere,
he calls for victory!
Vengeance, vengeance and death to all enemies!
AMNERIS
(passing the banner to Radames)
Glory awaits you, chosen one!
Here, accept the holy banner -
let him lead and illuminate
the path to victory over the enemy.
TSAR
To the banks of the sacred Nile
the gods will show us the way.
There will be a cry of victory,
death without mercy and destruction to all enemies.
RAMFIS AND THE PRIESTS
The gods send blessings
the long journey is dangerous.
Send prayers to them,
so that they give us victory.
MINISTERS AND MILITARY LEADERS
The bank of our sacred Nile
We will protect with our breasts.
The gods will increase our strength.
Vengeance, vengeance and death to all enemies!
THE MESSENGER AND RADAMES
Victory over enemies awaits,
death and destruction, destruction to the enemies!
AMNERIS
May he lead you to victory over the enemy!
AIDA
Oh, why am I crying so bitterly?
RADAMES, AMNERIS, KING, RAMFIS, MESSENGER, PRIESTS, MINISTERS AND MILITARY LEADERS
Vengeance! Vengeance!
Doom and death to the enemies!
AIDA
I gave my heart to a stranger and enemy.
AIDA, AMNERIS, KING, RAMPHIS, MESSENGER, PRIESTS, MINISTERS AND MILITARY LEADERS
Return to us with victory!
(Everyone leaves except Aida.)
AIDA
Return to us with victory!
This word is criminal in my mouth!
Victory over my father!
The father raised his weapon against them,
to return my homeland to me,
my kingdom, proud name,
What am I supposed to hide here?
Radames will destroy his father...
And I will see him on his chariot,
stained with blood.
All Egypt rejoices!
The king himself is behind the chariot,
my father, in iron shackles!
Crazy word, oh gods, forgive me!
You will return your daughter to your father's heart!
O gods, I pray you, scatter
and turn all enemies to dust!
Oh, what did she say, oh gods!
Love forgot... Yes, I forgot love
and I dream of revenge!
Love illuminated my heart like the sun -
It's all bliss!
And I ask for the death of Radames,
loving him madly!
Yes, I love him
and I suffer so terribly for love!
And I don't dare openly, freely
name names dear to me in front of everyone.
Father and darling! I'm trembling for both...
I just have to shed tears and pray to the gods...
But the gods themselves cannot help me -
because I love the enemy of my country.
There is no forgiveness for me and no consolation,
It's easier to die than to suffer like this.
My gods! Have mercy, I pray
my heart is full of torment,
my gods, I pray to you:
I can’t live, send me death!
My gods, I pray to you, I pray,
take pity on my bitter fate:
Send me death, my gods,
I beg you, I beg you!
This is the first conflict of duty and passion. Here Aida has become the protagonist for now. A powerful mass process is unfolding around her, and she will not be able to participate in this inspiration. It is the enthusiasm of the Egyptians that makes its dichotomy so clear. She is left alone, faced with necessity - and the impossibility of choice. Amneris and Radames are acting together here, collective influences have prevailed over them. Since he becomes the leader of the campaign, he finds himself in the role of a bearer of projections of the collective state of spirit (while leading the troops, he will have to take care of the spirit of the warriors), and Amneris inspires, turns out to be the soul of this mass action. In relation to Aida, both look like carriers of projections of Anima and Animus - but here’s the problem: both the inspiration and feelings of the Egyptians are now extremely alien to her. While Radames plays the role of a symbol of unifying power and success for the court crowd, Amneris controls the feelings of the crowd and becomes an adversary for Aida - because of her appeals, because of her strong and primitive calls for revenge and victory, Aida’s experiences become extremely defined, and the conflict comes to light . As for Amneris, it should be noted how collective her emotional states are, how devoid of depth and subtlety they are. And how quickly and accurately she catches other people’s feelings - both in the crowd and in the relationship between Radames and Aida. One could talk about Amneris as an image of a female Persona? Maybe yes. But since this is a royal daughter, Persona should be second nature to her. It is Aida, after losing her royal status, who can afford herself a special inner world. She seems to be obsessed with her role.
PICTURE TWO
(The interior of the Temple of Vulcan in Memphis. A mysterious light falls from above. A long row of columns adjacent to one another is lost in the darkness. Statues of various deities. In the middle, on a raised platform covered with carpets, is an altar with sacred utensils. Incense smokes on golden tripods. At the foot the altar is filled with priests led by Ramfis, and in the depths of the temple there are priestesses.)
This is an official ceremony. Here the influences of the Anima are replaced by the more strict, calm and confident influences of the rigid, ritualized sides of the Spirit archetype. Ramfis' official authority becomes apparent. The main role in the ritual is played by the great Priestess. She channels correctly those Anima influences that were previously in the calls of Amneris. The priest becomes the second person to the priestess - the one who realizes divine influences for people by performing a certain ritual. Here he does not become the bearer of the projections of the Animus Radames, since he is neither his mentor nor his opponent. Radames himself is now quite officially under the influence of the Spirit archetype.
GREAT PRIESTESS
Almighty, great god,
life-giving spirit of the universe!
PRIESTESSES
Come down to us!
RAMFIS AND THE PRIESTS
You created from chaos
earth and heaven,
come down to us!
GREAT PRIESTESS
Almighty, great god,
life-giving spirit of the universe!
PRIESTESSES
Come down to us!
RAMFIS AND THE PRIESTS
You created everything that lives,
you yourself are the creator of everything,
come down to us!
GREAT PRIESTESS
Unchanging light, eternal light,
the sun is shining on you!
PRIESTESSES
Come down to us!
RAMFIS AND THE PRIESTS
God, you are the creator of the world,
spring of eternal love.
Come down to us!
PRIESTESSES
Come down to us!
(The priestesses dance a sacred dance. Radames enters without a weapon and goes to the altar. A silver veil unfurls over his head.)
Almighty God!
RAMFIS AND THE PRIESTS
Come down to us!
RAMFIS
(to Radames)
God's beloved mortal,
We all hand over to you the fate of Egypt.
let it frighten enemies in your hand
the horror of death.
PRIESTS
And the sacred sword, the weapon of the ancestors,
let him terrify his enemies in your hand...
RAMFIS AND THE PRIESTS
...the horror of death.
RAMFIS
Gods, give us victory,
Send death to your enemies!
God, you are our patron,
you will not let your enemies win.
RADAMES
Gods, give us victory,
Send death to your enemies!
God, you are our patron,
Protect your faithful sons from harm.
RAMFIS
Give me victory!
God, you are our patron;
people, our God, do not give it to the enemies.
PRIESTS
Gods, give us victory!
RAMFIS AND THE PRIESTS
God, you will be our protection,
save us from our enemies!
Strength to our holy fatherland,
Give me courage in the fight!
RADAMES
Protect us, give us strength in the fight!
PRIESTESSES
(far away)
Almighty, great god,
instilling life in everyone,
eternal, omnipotent spirit,
great God!
RADAMES, RAMFIS AND THE PRIESTS
Almighty God, you are the life-giving spirit,
you, who created the whole world out of chaos,
who created the earth and the sky,
we call to you!
We pray to you, great God!
Radames is a very decent and traditional person; he seems to have difficulty withstanding contradictions: let us remember how confused and afraid he was when Aida and Amneris met. Until then, he had strictly separated the intimate and the public in his life, but during the meeting of two women, these layers of his life mixed, and for some time he felt transparent; Amneris was just as transparent to him. Perhaps his calling to a new post gave him relief - because both during the scene in the temple and during the campaign he was under the very definite influence of the warlike spirit of the Egyptian empire, and the contradictions associated with his love temporarily receded. In general, Radamès’s life in the opera is fragmented; the influences of different archetypes appear sequentially. This cannot be said about Aida’s experiences or Amneris’s condition. Aida's state is psychologically more favorable: she experiences and understands more and more clearly and strongly the internal conflict in which she was involved. Now, by the time Radamès leaves, she is in a state of impasse, experiencing the absence of any way out - and since such a state, if realized and experienced, does not last too long, one can wait for an explosion and a possible solution.
Amneris's condition, although it seems more prosperous, is much more serious. Instead of experiencing those contradictions, face to face with which she found herself, the daughter of the pharaoh begins to fall under the influence of Anima, Animus, becomes their conductor and finds herself in a state of inflation, being identified with Anima and possessed by Animus. Her experiences are becoming more and more primitive, no conflicts are yet recognized - although there is one: between the position she occupies and the real state of affairs with Radames's love. Instead of awareness, she remains in an illusory state of omnipotence and begins to control the feelings of both lovers. Therefore, in relation to Aida and Radames, she finds herself in the role of a paranoid, persecuted pursuer (“if this slave took my lover away from me, then I will take revenge on her!”). She also does not see the boundaries between the real Radames and his psychological representation in her head. As for Aida, it is quite natural for the princess to perceive her, a slave, as just an object of Radames’s supposed feelings and future revenge. One can, however, assume that Aida, the defeated princess, becomes for Amneris the bearer of projections of the Shadow, associated with insignificance and controllability. with the fall, with the loss of the Person. This does not change the essence of the conflict, it only makes Amneris’s treatment of Aida more cruel. At the same time, Amneris achieves the opposite result - the relationship between Aida and Radames becomes more defined. She, in fact, binds them even more closely, greatly frightening both of them, and there are no longer any subjective boundaries between them. If the protagonist is Amneris (which is relevant for opera spectators who are experiencing a similar love conflict), then her state is as follows: Radames becomes the bearer of the projections of her Animus; Aida is both the bearer of shadow projections (since she is a captive) and the Anima projection of Radames, and, whether the princess would like it or not, the closest relationships arise between these internal objects. In fact, a sacred marriage is foreseen in her psyche, which she wants to prevent - hence such strong fear and such mercilessness. Perhaps Aida also relates to the completely untapped area of the Anima of Amneris herself, which is associated not with mass moods and manipulations, but with real Eros, building love relationships. This would be obvious if Amneris showed jealousy towards Aida. However, this envy is very well repressed. Essentially, in the image of Amneris we see that in the narcissistic female psyche, love triggers such dangerous experiences that this narcissism intensifies even more.
* * *
ACT TWO
PICTURE ONE
(Amneris' chambers.)
SLAVES
Who's there with victory to glory
Is it going solemnly?
His eyes are burning with fire,
We don't know who he is.
Come, we will decorate your brow,
and we will sing a song of glory,
and the song of holy love.
AMNERIS
My dear! Come, my bliss,
SLAVES
Enemies, where are your hordes?
Where is the glory of the old days?
Hero of countless troops
dissipated like smoke.
Immortality awaits the hero,
and glory and honor,
and - loyalty is a reward -
the hero's love awaits.
AMNERIS
Oh dear, warm my heart with love,
Give me affection and dispel my sadness!
(The Moorish slave boys dance. The slave girls continue to dress Amneris.)
SLAVES
Come, we will decorate your brow,
We will weave a wreath for you from laurels,
and we will sing a song of glory,
and the song of holy love.
Like a ray of sunshine, the fog was driven away,
the hero scattered them.
Here a reward awaits the brave,
our greetings fly to them,
victory smiled
and gifts of love await.
AMNERIS
O joy! Come, my bliss,
oh, come, my love, calm my heart!
Oh darling! Come, my bliss,
come, my love, calm my heart!
SLAVES
And the song of holy love.
The slaves play the role of a narcissistic extension of Amneris. She looks forward to a reunion with Radames and for now remains either in the future or outside of time. If so, then her condition becomes even more unfavorable.
AMNERIS
Silence! Aida comes here to us -
daughter of the vanquished;
Her sadness is sacred to me.
Is it true? Maybe not entirely.
(At a sign from Amneris, the slaves leave. Aida enters, carrying a crown.)
With her, my doubts involuntarily awoke...
I must reveal a fatal secret!
(to Aida; with feigned participation)
The weapon has betrayed your brothers, poor Aida!
The grief that makes you sad
I share.
You will find a friend in me,
and I want you to know happiness again!
Now Amneris is alarmed, and her intentions have become more definite, and her internal conflict has been removed, without having matured - to perform the manipulation.
AIDA
Can I be happy
in a country where everything is foreign to me,
where I live, not knowing my fate
parents and brothers?
Her anxiety is also very great and much more complex than Amneris's - grief gives it depth.
AMNERIS
I understand everything.
But there is no eternal night -
a bright day will come.
Time will heal the wounded heart;
Better than time, your love will heal him...
AIDA
(to herself; very excited)
The gods gave us love for happiness,
the whole soul is full of it alone.
Oh, if only in these hours of sadness
at least love would give me hope!
If only there was hope, if only there was hope
again flashed with unexpected happiness,
If only there was hope left for me!
Is Aida desperate or about to slip towards him? Aida's feelings are revealed more and more deeply. Amneris's condition remains unchanged. Her manipulation is intended not only to find out about the love of Radames and Aida, but also to non-violently bring to the surface the flow of her feelings. What Amneris does is very similar to working with the client's feelings in a not very professional consultation. However, Aida comes to meet her halfway. The anxiety of both women is unbearable, and Aida cannot take into account the state of her opponent; she, unnoticed by herself, succumbs to influence. Which one? Perhaps she refers to Amneris as a “mirror” to her experiences.
Why does Amneris need this? Perhaps to compensate for her rather flat, lacking depth and potentially harmful psychological state. She seems to be fueled by Aida’s feelings - and in order to get rid of anxiety.
It can be assumed that both women serve as carriers of Anima projections for each other (it is not yet entirely clear whose – Radames’?). Aida symbolizes that aspect of it that is associated with strong intimate feelings that are well recognized and developed. Amneris is that poorly realized aspect of herself to which women are very sensitive - seemingly cold cunning, secrecy, manipulation and a tendency to control other people's feelings. Since this state is very similar to possession by a negative animus, the image of Amneris is more complex than the image of Aida and is on the verge of the influences of the female animus and anima.
AMNERIS
(About myself)
Oh, what poverty...
This is excitement...
Now I know she loves me.
I want to know everything, I want to know everything.
I'm even scared, I'm afraid for myself.
(to Aida)
What else have you become sad about?
dear Aida?
You are sincere before me, as before your sister,
You can say everything with confidence.
Between those who fight,
Is there such an enemy there?
whose image bothers you,
awakening love in your heart?
Now Amneris is seeking control, albeit illusory, over Aida’s secret love, but this does not bring her peace, her anxiety is growing.
AIDA
(About myself)
What do I hear!
AMNERIS
Fate sent us many trials:
the fearless, brave leader was slain,
died on the battlefield.
AIDA
What did you say? Woe is me!
AMNERIS
Yes, Radames was killed by your...
AIDA
Woe is me!
AMNERIS
What are you crying about?
AIDA
I have to cry all my life...
AMNERIS
Your god takes revenge on us, Aida.
AIDA
Fate punished me cruelly...
AMNERIS
(flashing with anger)
I know you really love
you like!
AIDA
I?!
AMNERIS
Answer me!
(About myself)
Just one more word and I will know everything.
(to Aida)
I was joking... Forgive my deception...
Radames... he's alive.
AIDA
(falling to his knees)
Alive! Praise be to you, gods!
She goes even further, and the trick with the imaginary death of Radames is not just an “experiment of the cross”, the last resort to find out the secret, but also sadistic revenge, and a test of the degree of one’s own power over Aida. Interestingly, both women have not yet touched Radames's feelings. Firstly, this is very dangerous, both for the life of Aida and for the pride of Amneris. Secondly, what is important now is not the relationship with him, but the relationship between these two women.
AMNERIS
(in anger)
You want to hide the truth!
Yes, you love...
I love it too! You understood?
Your rival is the daughter of Pharaoh!
AIDA
(proudly)
Are you a rival? So be it!
And I... I'm the daughter...
(Recovering, he falls at the feet of Amneris.)
Oh, what am I saying! I'm sorry... forgive me.
Ah, forgive and take pity, there is no strength to hide.
I love him with mad passion.
Now the relationship between the two princesses is determined, but due to her position as a slave, Aida has to retreat. The topic of the status of both royal daughters was never developed.
AMNERIS
You will destroy the fatal passion,
or I will order you to be killed.
I alone decide the fate of the slave.
The heart burns with both anger and vengeance.
And Amneris also goes into a completely different area of experience, without ever coming into contact with rejection, which is extremely painful for her. If she had experienced this, she would have suffered severe narcissistic injury. In addition, she would be in the sphere of influence of the female Anima, which controls very strong and complex feelings. Amneris, on the other hand, prefers to act from a position of power and status - as if she were an independent man, and not the rejected lover of Radames, whose intentions regarding Aida she would have to reckon with. Now she is acting, and her aggression is purely instrumental: since control over the love of Aida and Radames turned out to be an illusion, she is ready to destroy Aida as a hindrance. This is on an interpersonal level, if we take the events of the opera as reality.
If we consider the situation from the point of view of either the spectator or the absent Radamès, on an archetypal level, then we see the manifestation of extremely destructive female aggression, similar to that described in archaic tales of the incestuous sister. The influences of a woman's negative animus come to the fore in Amneris's behavior, oppressing the Anima, whose condition is already under threat in this male world oriented to power relations. Amneris is a combined figure, combining the influences of the Persona, the negative Animus of a woman (at the level of obsession) and partly the Anima of a woman.
A small digression. Perhaps this is exactly what is happening to women now: becoming independent, they seem to appropriate the influences of the Animus, identify with them, and at the same time must learn to be good carriers of Anima projections, both male and female. hence the popularity of so-called women's groups, where women learn femininity. From here, as in the state of Amneris, it is not far to the illusions of omnipotence. As for men, it is becoming increasingly difficult for them to demonstrate traditionally masculine qualities associated with power and aggression in a civilized society; Feminine qualities are not prestigious for men - and it seems that representatives of the stronger sex are gradually finding themselves outside of the collective influences associated with gender identity. Therefore, one of the possible solutions for a man in this situation is regression, playing the role of the Eternal Youth or the child of his own wife, not to mention the danger of developing all kinds of dependencies or rallying into groups aggressive towards strangers, similar to male unions in traditional cultures.
Let us return, however, to the libretto.
AIDA
Fate has given you happiness
She gave me only one love.
Forgive, forgive and have pity,
there is no strength to hide...
AMNERIS
You will destroy your passion!
Slaves fate is in my hands,
and my heart burns with anger and vengeance!
Aida has a good sense of the essence of the conflict involved in the combination of disparate archetypal influences. She, the embodiment of Anima, proposes to distinguish between the influences of Anima (keep love for yourself) and Animus/Persona (reminding Amneris of the status of each of them). Aida is going to reconcile.
But Amneris does not agree to this; she demands that her rival virtually self-destruct. Since power is in the hands of Amneris, it is impossible to extinguish the conflict. The blending of Anima, Animus and Persona influences continues. Unlimited power and instrumental aggression are the properties of the negative animus, so it is its influence that receives a serious advantage.
There is also an overtone of reckless female destructiveness, which even in fairy tales is associated with inappropriate sexual passion and humiliation. According to fairy tales, a woman in this state becomes impulsive, resentful, extremely aggressive and dangerous, while retaining the ability to carry out deadly calculations. Acting with inspiration, as if something were leading her and making it very easy for her to realize her terrible plans, she causes enormous harm. Fairy-tale heroes in such cases flee or resort to cunning. Since Aida either does not know how or cannot be cunning due to severe anxiety and grief, one way out is closed to her; and she has nowhere to run.
PEOPLE
(far away)
The bank of our sacred Nile
We will bravely defend in battles.
Let the Ethiopians remember -
death without mercy and death to all enemies!
AMNERIS
In the celebration coming here,
know, insignificant slave,
before me you will fall to dust,
I will ascend to the throne with the king!
AIDA
Oh, I'm sorry, what do I have left!
My life is now broken.
I will soften your terrible anger,
I will accept my bitter fate.
That love that is hidden in the heart,
I’ll take it with me to the ground.
AMNERIS
No, despicable one, you will find out
how to fight with me,
know this, slave!
AIDA
Oh, sorry! That love
I will take it with me to the ground.
I'm sorry!
PEOPLE
(far away)
Death and destruction to all enemies!
AMNERIS
Yes, you will find out who your rival is!
(Leaves.)
PEOPLE
(far away)
Death and destruction to all enemies!
AIDA
My gods, I pray to you,
give me death -
I can't stop loving him.
My gods, I pray to you...
I beg you... I beg you...
A mass phenomenon intervenes, polarization into insiders and outsiders. At this moment, only Aida with her love, grief and horror remains an individual, everyone else is carried, united or strengthened by the crowd. There is no way out for Aida, and she agrees to psychological self-destruction.
PICTURE TWO
(One of the exits of the city of Thebes.)
PEOPLE
Glory to Egypt and the gods!
They are our protection.
To the king of our state
We sing hymns of praise.
Glory to the king! Glorious be!
We sing hymns of glory to the king!
WOMEN
Laurel wreaths
we will decorate the heroes,
we'll lull you to sleep with flowers
glorious victory path.
Let's begin, Egyptian maidens,
our solemn dance,
so it moves around the sun
round dance of golden stars.
RAMFIS AND THE PRIESTS
Glory to the heroes,
that gave us victory!
Give them prayers
on this beautiful day.
WOMEN
So it moves around the sun
round dance of golden stars.
MEN
Our military strength
we sing a hymn of praise.
RAMFIS AND THE PRIESTS
Give your prayers
on this beautiful day.
(Egyptian troops, preceded by trumpeters, pass in front of the king. A group of dancers carries the jewelry of the vanquished. More troops, war chariots, banners, sacred vessels, statues of gods.)
PEOPLE
The glorious hero has returned to us,
the day of celebration has arrived.
Let's decorate the hero's path,
Let's throw flowers at your feet.
We will sing the anthem -
the glorious hero has returned.
Let's decorate the hero's path
flowers and foliage.
Glory to Egypt, glory!
PRIESTS
Thank the gods!
Glory to Isis! Thank the gods!
Give them praise
on this beautiful day.
Glory, glory to the gods!
(Radames appears.)
TSAR
Savior of the Fatherland, my greetings to you!
Come closer: and let the princess lay her hand
the crown of your victory.
(Radames kneels and Amneris places the crown on him.)
Now demand what you wish;
I will fulfill everything on such a joyful day,
I swear by my royal crown,
I swear to the gods.
RADAMES
Let me first introduce you to
captured.
(Captured Ethiopians appear, surrounded by guards, after all Amonasro, led by Ethiopian dignitaries.)
RAMFIS AND THE PRIESTS
Thank God everyone! Give praise!
Glory to the gods for victory over the enemy!
Praise, praise to all the gods!
There is no protagonist in this crowd scene. Mass influences have also prevailed over Radamès, and he now exists as a purely collective character - both for the operatic Egyptians and for the audience. As an individual, he is threatened, since the pharaoh fulfills not his desire, but what is required for Radames according to his social role.
If we look at the situation from an archetypal point of view, then we are talking about the renewal of the integrating symbol: before it was the pharaoh, a stable symbol of the collective consciousness; now integration must go further, and a change in the form of this symbol is planned - instead of one pharaoh, a couple appears, a daughter and a son-in-law. But in such a couple there is too much from social roles, from the influences of the Person, and therefore one cannot expect depth of feeling and real transformation of the integrating symbol. But still, the Amneris-Radames couple is very strong, successful and powerful, and if it weren’t for Aida, this marriage would have been very successful. Another pairing would give it spiritual depth: the High Priest and the High Priestess. Both couples would be under the influence of the only one, the pharaoh, and the previous symbol would not be transformed, but enriched and turned into a complex stable structure: two couples, spiritual and worldly, and the center, the pharaoh. The soul aspect would be lost. Now, when there is Aida, the soul of the opera, this structure cannot be created, it will fall apart without ever arising.
In the next scene, a living feeling has broken into the correctness of the ritual action, and Aida becomes the protagonist.
AIDA
(rushing to Amonasro)
What do I see! You're Lee? My father!
AMNERIS, RADAMES, RAMFIS, KING, PEOPLE AND PRIESTS
Her father!
AMNERIS
He is in our power!
AIDA
(hugging father)
Are you, are you in captivity?
AMONASRO
(to Aida; quietly)
Do not betray!
Now showing feelings is dangerous, and Aida is left completely alone.
TSAR
(to Amonasro)
Tell me, who are you, tell me?!.
AMONASRO
Her father... I fought... We were defeated...
I was looking for death.
(pointing to his clothes)
Do you see these simple clothes:
I am a warrior, I fought for my fatherland,
but fate, alas, changed us,
betrayed us to death and shame.
I will never forget what I saw:
The king lay dead before me.
If loyalty to the fatherland is a crime,
We are waiting for death, we are worth it!
(to the King; begging)
Today fate has changed for us,
AIDA
But we believe: your judgment is fair
will not condemn the unfortunate in vain.
Today fate has changed for us,
but tomorrow may change you too.
SLAVES AND PRISONERS
We are punished strictly by the gods,
give us mercy and have pity on us!
May fate save you from torment,
what we had to experience in battle!
AMONASRO
But tomorrow may change you too.
Aida's father is trying to get ahead of events and influence the pharaoh, and Aida supports him. It’s hard to say whether Amonasro is sincere or manipulative – that’s how he will continue to act. Aida speaks sincerely.
To simplify the situation, now, to symbolize the integration of collective consciousness, the Shadow has appeared in the person of the cunning king of the Ethiopians and his warriors, who have been turned from an army into a powerless mass. It is about the presence of such a Shadow that Amonasoro warns the pharaoh and prevents him from ascending too much. The Shadow had very strong emotional influences on its side.
RAMFIS AND THE PRIESTS
King, do not listen to their insidious pleas,
there is no mercy for cruel villains!
AIDA, SLAVES AND PRISONERS
O king!
RAMFIS AND THE PRIESTS
Our gods want them dead
let their sentence be fulfilled.
AIDA, SLAVES AND PRISONERS
Sorry! Sorry!
AIDA
But king, you are a just king,
by the will of your power you will not condemn the unfortunate...
Have mercy, I pray!
Fate has changed us, but perhaps
tomorrow fate will change you.
But you are a king, and your judgment is fair
will not condemn the unfortunate in vain.
Today fate has changed for us,
but tomorrow may change you too.
The High Priest, as part of his duty, is supposed to purify and unite the spirit of Egyptian statehood. Now he is doing just that, because thanks to the destruction of enemies, the people will be united. Conservative spirituality operates quite traditionally, demanding the cutting off and destruction of the Shadow. This, as usual, fails. If we recall the metamorphosis that occurred with Amneris in the previous scene, we see a clear bias towards a masculine, cruel and conservative spirit, and all influences associated with the soul appear in the shadow sphere. It is very dangerous. This is where Aida explicitly confronts Ramfis for the first time. And for the first time we can suspect in this cruel priest the influence of the negative Animus, which had such a detrimental effect on the fate of all three main characters of the opera.
Since this is a crowd scene, here Aida acts both as an individual, as a protagonist, and remains faithful to the influences of Anima - she connects the parties to the conflict and insists on humanity. In addition, since Amonasro decided to remain incognito, then Aida has the power to unite the captives - and the shadow region from undifferentiated becomes alive, having a center and permeated with feeling.
And more about Hades. Since the connection with Radames is now lost for her, and he himself is entirely in the sphere of the state spirit of Egypt, represents some danger for her (the decision about the fate of the captives also depends on him), performing a symbolic role, then in that area of her soul that is associated with influences of the positive animus, a deficit arises. And it is immediately filled with paternal influences. Further, it is her father's influences that will lead her to a tragic end.
AMNERIS
(About myself)
What kind of looks does he give her?
What kind of looks does Aide give?
what a flame burns in their faces!
I'm the only one so sadly forgotten...
The thirst for revenge burns my blood,
the thirst for revenge burned my heart.
Revenge, I call you!
Now it’s Amneris’s turn to make a choice and find herself in the position of protagonist. Apparently, under the influence of Aida’s sincerity, for a brief moment she also becomes frank, finally yielding to the influences of Anima. The hypothesis of narcissistic injury is confirmed; these influences are very painful for Amneris. She cannot remain in this state for long, and now her vengeful dreams happily coincide with Ramfis’ desire to take revenge on his enemies; she makes a choice in favor of the influences of a very powerful Animus, whose influences have now become so intensified, and finally loses her freedom. Her subsequent actions will be determined by obsession.
RAMFIS AND THE PRIESTS
Execute them! Execute them!
Don’t listen to their insidious pleas!
Let the gods' verdict be fulfilled!
King, do not listen to their pleas,
there is no forgiveness for the villains! Death to them!
Our gods want them dead
let their terrible sentence be fulfilled!
Destroy, destroy, destroy them!
Our gods want them dead!
May their sentence be fulfilled!
The confrontation between soul and spirit grows to the limit, and both sides find themselves at a dead end. The paranoid pursuit is now the property of the crowd. The personal will of both Amneris and Aida is drowning in the mass process. As for Ramfis, he is not and was not an individual; he is identified to the utmost with his social function. Therefore, it would be reasonable to assume that the influence of the negative Animus here also includes a tendency towards inflation, and it is to this influence, and not just to revenge, that Amneris is so sensitive. Since she is narcissistic, inflation is accepted by her without resistance, with enthusiasm.
RADAMES
(to himself; looking at Aida)
The sadness that the face reflects
decorates it even more;
these tears from precious eyes
involuntarily excited me,
these tears from dear eyes
stirred all the love in my soul.
(to the King)
King, you swore an oath to me,
swore by the gods, swore by the crown
fulfill everything I wish...
TSAR
I swore!
RADAMES
Here's a request:
I ask all Ethiopian captives
return life and freedom.
Both Amneris and Aida are still engaged in a massive confrontation. And now Radames finds himself in the role of protagonist. In the first act, he was sensitive to experiences of paranoia. Now that he has discovered again that his internal connection with Aida, his soul, has not been severed, he resists this paranoia. It is fortunate for him that he has just been in a collective role, and his position as a rallying and inspiring hero is a powerful resource.
AMNERIS
(About myself)
But is it for everyone?
PRIESTS
Death, destruction to all enemies of our native country!
PEOPLE
Forgiveness to all the unfortunate!
RAMFIS
Listen to me, king!
(to Radames)
You too, brave hero,
listen to the advice of reason.
(points to prisoners)
These people are hostile to us
their hearts burn with vengeance.
Only we will return their freedom,
Everyone will take up arms again.
RADAMES
The death of Amonasro, their hero,
killed all their hopes.
RAMFIS
So let it be a guarantee of peace and tranquility
They will leave Aida with her father.
TSAR
I accept your advice. We will save this
both peace and our security.
Radames! You gave victory to Egypt,
let the hand of Amneris be a reward,
You will rule Egypt when I leave the world.
The commander did not take into account the fact that he would be used as a symbol of the consolidation of the Egyptian state. Perhaps this is also the result of inflation associated with Ramfis' activities. Now he confuses his personal capabilities and the capabilities of the role that envelops him and does not foresee that it will be easy for the pharaoh to ignore the inconvenient request. Amneris understands such things very well. In relation to Radames, she now finds herself in the role of an unconscious aspect of Anima, which is responsible for abilities associated with intrigue.
Radames is overconfident, but Ramfis's advice is really reasonable. Radames himself freed himself from the influences associated with the figure of Ramfis. Since he takes a certain position in relation to the demands of Ramfis, now Ramfis is no longer only a bearer of projections associated with inert aspects of spirituality. Since Radames became his ideological opponent, their relationship is the beginning of a collision of the male animus. The real confrontation of ideas here is still oh so far away, because Radames acts this way only under the influence of a positive Anima and believes that he is simply expressing his desire to the pharaoh. Underestimation of the relationship with Ramfis and preoccupation with Aida will lead to disaster. Radamès is still trying to implement each relationship in turn, although he finds himself at the intersection of complex, important and subtle influences. If he had taken both Amneris's feelings and her powers of intrigue and manipulation seriously, without falling into paranoia, this would have been much easier for him. Absorption in only one, good, aspect of Anima and denial of its harmful capabilities will be disastrous.
What does the High Priest want? It is important for him to seize the initiative from Radames. He is not bloodthirsty, he had enough of participating in a punitive campaign, which he treats as a fair war with a probably equal enemy. Ramfis relies on the traditional balance of power between the empire and the state under his rule. Why is the priest so reluctant to free the prisoners? In addition to observing imperial traditions, there is something else. One can fantasize that Ramfis, who was sitting in Memphis, is just as aggressive as any man in power in his circle. Perhaps his ambitions are not satisfied with the post he occupies, and he claims to be the one who really controls both the pharaoh and the state. He lacks the personal power that Radamès, his protégé, currently has. It is unlikely that Ramfis is aware of this vulnerability, because he managed to get the better of the commander and prevent him from realizing his inconvenient desire. However, Radamès’s personal power and freedom irritate him; he has ceased to be the priest’s puppet and may gain significantly more power over time. Perhaps for Ramfis the man, Radames is the bearer of projections of those aspects of the man's animus that are associated with autonomy, freedom, control, youth and masculinity, the ability to grow and rise further and with the unhindered manifestation of intelligent aggression. If this is so, then it will be very painful for the priest identified with his role to feel these limitations and weaknesses. He will find himself in the position of a barren and no longer quite living Old Man in relation to the Divine Youth. In order not to be vulnerable, he will identify even more with the senile pole of this archetypal axis and, accordingly, will prevent the further rise of Radames. What is needed for this? To hold his soul captive, Aida; after all, the priest himself has no soul. His companion, the High Priestess, is the conductor of the impersonal divine will, and their relationship is formal. By encroaching on the Anima of Radames, Ramfis makes Radames his equal and deprives him of new opportunities.
AMNERIS
(About myself)
Evil slave like you now
will you steal my love?!
This decision about Aida’s fate plays into the hands of Amneris, because she is under the influence of a negative animus. However, she still believes that love depends on social status. It seems that it is not a question for her whether Radames loves her. It is enough for her if he becomes her husband. She does not recognize feelings that do not fit into her primitive scheme as real.
THE TSING AND THE PEOPLE
Glory to Egypt and the gods!
They are our protection.
Hero's brow with laurel
decorate with flowers.
He deserves a crown of glory!
SLAVES AND PRISONERS
Glory to Egypt and the king!
He took off the bondage chains
and returned freedom to us,
and returned freedom to us,
I returned my homeland!
RAMFIS AND THE PRIESTS
We offer hymns to the gods,
They are our protection;
we all pray to send them down
help our native country!
AIDA
(About myself)
My hopes did not come true!
To him is honor and the kingdom,
and all I have left is melancholy
tormented love.
RADAMES
(About myself)
Gods disfavor is terrible
I was struck like thunder.
My dear Aida,
She is everything, everything, dearer to me.
AMNERIS
(About myself)
Ah, happiness smiled at me
I enjoyed the celebration
and dreams of tender passion
excites my heart!
And Amneris can now simply love.
THE TSING AND THE PEOPLE
Glory! Great God! Glory!
RAMFIS
We pray to her to give us protection,
help to the native country.
AMONASRO
The time will come for us
when for the honor of the fatherland
we will all rise menacingly
and take revenge on our enemies.
RADAMES
Gods disfavor is terrible!
What, what did I do to deserve it?
Gods disfavor is terrible
I was struck by thunder.
My Aida, joy,
She is everything, everything, dearer to me.
AMNERIS
My hopes have all come true
the delights of my love!
Happiness smiled at me
I enjoyed the celebration
and dreams of tender passion and delight
excite my heart.
The dream of love excites my heart.
O joy, dream of love!
THE TSING AND THE PEOPLE
Glory to Egypt! Glory to all the gods!
They are our protection!
Weave wreaths of glory,
be proud of them, be proud, hero!
Weave laurels of glory
Decorate the hero's brow!
AMONASRO
Be brave! Take heart!
The time will come for us
we are all for the honor of our fatherland
we will rise, mercilessly
We will take revenge on our enemies.
Revenge is near! Let us rise menacingly
and we will take revenge on the enemy for everything!
RAMFIS AND THE PRIESTS
We offer hymns to all the gods,
They are our protection.
We pray to the gods to send
help to the native country.
AIDA
And I only have tears and sadness,
one sadness.
My hopes didn't come true
to him is honor and the kingdom,
and I have only sadness,
the sadness of tormented love.
SLAVES AND PRISONERS
Glory to Egypt and the king,
he removed the bondage chains
and returned freedom to us,
returned his homeland.
The singing of both choirs is a celebration of compromise. The conflict between the official integrating symbol and its Shadow is removed and forgotten - this is how things stand for Egypt. However, the Shadow in the person of Amonsaro becomes more active and stronger. All the more important are the experiences of Aida and Radames, who now become completely individual and free from mass influences. Now their invisible connection is becoming even closer. In addition to love, they also experience another state that unites them - both feel like victims of processes that are stronger than them, and accept this weakness. This is a very human experience that is not possible with inflation.
* * *
ACT THREE
(Bank of the Nile. Granite cliffs, between which palm trees grow. Above, on the rocks, behind the foliage, the Temple of Isis is half visible. Starry night. The moon is shining.)
PRIESTS AND PRIESTESSES
(in the temple)
Immortal Mother of the Gods,
you are our holy mother,
you awaken in our hearts
pure impulse of love.
We pray, we pray to you.
We pray, O goddess, mother of holy love,
(A boat approaches the shore, Amneris, Ramfis, several women covered in thick veils, and guards get out of it)
This is compensation in relation to the brutal masculine spirit of the previous mass scene. Perhaps compensation began with Aida's request. In addition, this call of love is the leitmotif of the entire third act.
RAMFIS
(to Amneris)
In the Temple of Saint Isis
on the eve of marriage you should
ask for the blessing of the goddess.
Isis knows everything and reads the heart.
All the secrets of the world are revealed to her.
Pray to the goddess.
AMNERIS
Yes, I will pray that Radames
He gave me his heart in return for love,
that I dedicate to him.
RAMFIS
Let's go until dawn
I will stay in the temple with you.
(Everyone enters the temple.)
PRIESTS AND PRIESTESSES
(in the temple)
We beg, we beg, we beg you,
we pray, O goddess, mother of holy love,
we pray to you, we pray to you.
(Aida appears.)
Love is immediately given a ritual status. Since Ramfis wishes to influence Amneris and her prayers, it can be said that he is now paired with her.
AIDA
Here I'm waiting for Radames...
What will he tell me? I'm scared!
Oh, if here Radames says goodbye to me forever,
then the Nile will be my grave,
he will give me peace...
There I may be
I'll find oblivion.
O my dear land,
I won't see you!
Alas! I can't see you!
The sky is azure and the air is clean,
I see pictures of sweet childhood.
There the eyes are caressed by crystal water waves...
Birds sing all day long in the palm groves!
O my dear land, my dear land,
I won't see you again!
O dear land, dear country,
I won't see you!
Goodbye! My land, goodbye forever!
In the quiet valleys there is a pleasant haven,
everything there caresses my gaze with beauty.
You will disappear, a wonderful and magical dream,
Oh my dear land, I won’t see you!
I can’t see you, my native land!
O dear land, farewell, farewell forever!
(Turning around, he sees Amonasro entering.)
Sky! My father!
Aida is dreaming. She remembers first of all nature, and we assume that powerful and good maternal influences are now coming to the surface. Her state can be regressive - both to the paradise of childhood and to oblivion without images, which water bestows. Drowning is an image of extremely malignant regression, the actualization of the influences of the Great Mother, not yet clothed in an image. In fact, this is the shadow side of the image of Isis, to whom happy Amneris now prays. This dream is extremely powerful, and its influence will remain important until the end of the opera. Aida is the protagonist again. It is important that the emergence of individuality, the Self in opera begins with the shadow, secret aspects of the psyche, since the influence of the Persona and the conservative aspects of the spirit is extremely strong.
Since there are no maternal characters in the opera, this regression to childhood leads to the actualization of paternal influences, and Amonasoro suddenly appears.
AMONASRO
I came to you on important business.
I know everything, I see everything:
we love you their leader Radames,
he loves you too.
Your rival is the daughter of Pharaoh.
A despicable, hateful race, it will destroy us!
AIDA
And I am in their power!.. I, the daughter of Amonasro!
The father is calculating, and he does not hide his intentions to use Aida for his own good, which is equal to the good of the state. Aida very easily succumbs to this influence and shares it. It is all the easier to fall under him because a little earlier she retreated in a conflict with Amneris, not having time to agree that she was also the king’s daughter.
AMONASRO
You are at their mercy!.. No, if you want,
then you will soon destroy your rival.
Fatherland, our throne, love -
everything will come back to us.
We will see our golden temple again.
AIDA
(enthusiastically)
We will soon return to our native land,
We will see our golden temple again!
Amonasro attacks in two directions - using both the regressive nature of Aida’s dreams, and expanding the scope of the internal conflict in which Aida found herself. The vengeful aggression that was previously associated with Amneris has not gone away. In the mouth of a father, a man and a king, vengeful plans sound much more natural than in a woman’s. But Aida is seized not by vengeful intentions, but by melancholy dreams of her homeland. Since the image of the golden temple (a symbol of the Self) appeared, we can say that they, although dangerous, play an integrating role: reunification with the father (a specific character) and mother in the image of the homeland. She finally had hope. Previously she was connected with Radames, now with her father. Whether due to patriarchy, the distribution of power and authority in favor of the masculine, hope for Aida has masculine connotations. The extent to which she herself is capable of bringing hope into reality will become clear further.
AMONASRO
You will be a faithful friend to Radames,
you will know the happiness of fiery love.
AIDA
Just one day of such pleasure,
I would like one hour of delight,
then I’m ready even to die!
Amonasro has well noted that his vengeful plans are not yet supported, and he is increasing pressure in the direction that his daughter has chosen. He mentions Radames, the embodiment of her former hopes. The father represents Aida’s position in such a way that the conflict between love and duty is, as it were, removed, and she supposedly can get everything at once. Aida began dividing Radames back in conflict with Amneris - and then she was forced to retreat. however, the attitude towards the beloved as an object remains, and Aida does not attach importance to the intentions of Radames himself. It seems that she is making a choice between love and the object of love in favor of passion, in which there will be no boundaries between lovers, just as there will be no real relationship.
AMONASRO
Remember, remember how the enemy is inexorable
shamelessly mocked your homeland,
blood flowed like an unstoppable stream,
our elders, children and mothers.
AIDA
I have not forgotten those fateful days
I remember all the torment that I endured.
Grant us, oh gods, bright days of happiness!
AMONASRO
Remember: everything is in your power!
AIDA
Happy days to us!
When will the bright ray of dawn shine upon us?
Now Amonasro returns again to his goals of revenge and retribution. Aida answers very reservedly. Revenge still doesn't touch her as much as her father would like. Amonasro carefully avoids the topic of revenge and very vaguely makes it clear that future happiness depends on his daughter. After she has wished for a moment of happiness, even at the cost of death, for herself, she sees only a blissful outcome, a golden land, and does not see what not only she will have to pay for it. If we were talking about a modern woman, and not about an opera heroine, then one could decide: instead of a love relationship, she chose obsession, and now, under the influence of a serious conflict, her love has become a love addiction, into which not only she herself will be drawn . As long as passion develops in this way, the contradiction between it and duty is illusory removed, love seems conflict-free.
AMONASRO
Our people have taken up arms again,
and everything is ready; victory is ours!
All we have to do is find out
which way will the enemies take...
AIDA
Who can find out? Tell.
AMONASRO
You yourself!
AIDA
Gods!
After all the previous manipulations, it is easy for Amonasro to imagine the uprising as almost completed and certainly successful. Now he transfers responsibility for the future victory to Aida, and this extremely aggravates the conflict of duty and passion, which, it would seem, has been removed. That’s why Aida’s reaction is so sharp, it’s a shock. Now that her anxiety has increased to the maximum, she will do everything to get rid of it, to return to that conflict-free state, to that illusion where death, love and regression turn into one and lead to oblivion.
AMONASRO
I know you're waiting for Radames...
They love...
He is the leader of the Egyptians...
It's clear?
AIDA
Oh God! What advice do you give!
No, no, father!
Aida still resists, but very weakly. Firstly, Radames for her father is just an object, dangerous and potentially useful, and for her he is the object of her passion, which is more important than both her lover and Aida herself. Secondly, since her love has ceased to be only human, but has become eternal and divine, then the power that her father attributes to her will also go beyond the human and become the illusion of divine power. It is now that the danger of inflation for Aida is greatest.
AMONASRO
Arise, enemies, and attack boldly,
strike, destroy with sword and fire.
Know no mercy, exterminate the people,
The borders are open and the path is familiar to you.
AIDA
Have pity, my father!
This manipulation is very crude; the father appeals to guilt and intimidates. Since Aida’s state, due to anxiety, regression and the onset of inflation, is far from natural, it is precisely the crudeness of this trick that has the effect that Amonasro needs. While Aida cannot accept her own power imposed on her, and it is projected onto Amonasro.
AMONASRO
(pushing her away)
You are no longer my daughter!
AIDA
Father, forgive me!
AMONASRO
Do you see how the blood of brothers is shed,
Do you see how our land is dying?
You see, their shadows rise there,
they menacingly call for vengeance,
you hear a terrible reproach:
“You ruined your native land”?
AIDA
Father, I pray! I'm sorry!
And then, since the manipulation of transferring responsibility does not work, Amonasro puts pressure on feelings of guilt and shame. The guilt intensifies, but the daughter still does not make the necessary decision. Then he skillfully links guilt and the omnipotence that Aida so stubbornly refuses.
AMONASRO
Do you see a menacing ghost?
His hugs are scary
he sends curses to the enemy!
AIDA
Oh! Gods! Oh!..
AMONASRO
See, he is near you...
I recognize my own mother in him...
Cursed by her!
AIDA
(horrified)
Oh no, oh no, father, I pray, father,
please forgive me!
Then he induces a hallucinatory experience, threatening rejection and loss of the maternal, which is so valuable to Aida precisely because of its scarcity.
AMONASRO
Not my daughter anymore!
You are Pharaoh's despicable slave!..
AIDA
Oh, I'm sorry, father, I'm sorry...
Know this! I will no longer be their slave!
Don’t curse your own daughter;
I want to remain worthy of you, dear fatherland
I am ready to bring life as a gift.
This blackmail, this outright rejection, has finally worked! Shame also appeared, she took it upon herself. Amonasro has now achieved his goal, this is clear from Aida’s answer: if before she was ready to sacrifice her life for love, now she is ready to sacrifice for her homeland; maternal and paternal influences have merged with passion and the need for hope and will now be in one stream.
AMONASRO
Remember that your people are waiting for deliverance,
yes, you are alone, you are alone
you can save our land.
The father still continues to insist on her exclusivity and omnipotence. Why? Aida can do without this, make a choice out of fear of rejection. But such are the contents of the paternal imago associated with absolute royal power. In addition, for Aida, these are shadow contents, because she, being a slave, did not have the proper status and power for a very long time. These aspects may have previously been projected onto the image of Amneris. The shadow influences are extremely strong, due to the humiliation that continues, and the fact that Aida is now becoming a passive tool of her father.
AIDA
I'm ready to give my life to you,
my dear land!
But how I suffer!..
AMONASRO
(seeing Radames approaching)
Silence... he's close... there... I'll hide.
(Hides behind the palm trees. Radames approaches.)
Amonasro said nothing completely true and nothing completely false. It was all superb manipulation, that's his style. Under such influence, Aida will no longer be able to openly exercise power, but she will very accurately find Radames’ weak points and influence them. The deepest part of her psyche is now rearranged and filled with fantasies of guilt and omnipotence. On a conscious level, the conflict remains acute, and she is ready to die just to get out of this painful confrontation. The forces involved, both social and unconscious, are of such a magnitude that it is not humanly possible to cope with them - and under the influence of Amonasro's intrigue, she cannot accept powerlessness.
Amonasro hid, literally went into the shadows, now his influence will invisibly affect the entire course of action. He acts by exercising power covertly, through intrigue and manipulation. So his actions approach the style of women, for which he needs to use Aida. In relation to Radames, he will become a hidden shadow character, similar to that evil spirit, at whose orders the princess asks difficult riddles and destroys valiant, but simple-minded and decent princes.
The pair Aida - Amonasro becomes the shadow, living and animate side of the official couple, which is still represented in the temple by Amneris and the priest Ramfis. Both couples are asymmetrical, the woman-daughter serves as a tool for the powerful man; at the same time, the woman becomes an active and subtle instrument of the male plan. Although this is ominous, it is still an integration, where the roles of male and female are mysteriously distributed. The fifth, central member of this fourfold extremely polarized structure will be Radames. He will now become the protagonist.
RADAMES
Again with you, dear Aida!
AIDA
The meeting is in vain... it's all over.
RADAMES
I strived for you with all my soul!
AIDA
Waiting for you there in the temple
another love, husband Amneris!
RADAMES
What do I hear? You, Aida, are my happiness!
You are the only one who owns my heart!
AIDA
Don't sully yourself with lies!
If only I could pity the treacherous hero...
RADAMES
Don’t you really believe in love, Aida?
Aida's style is now almost identical to her father's. Her jealousy and resentment are sincere, but the timing and manner of their presentation is manipulative, calculated for Radames’ reaction. Perhaps it is precisely the resentment, his supposed choice in favor of Amneris and the patriotism awakened thanks to his father that will force Aida to be so cruel to him and actually use him. Radames is straightforward, he came for her sake and wants to act for her sake - he does not even assume that there is an evil spirit behind her.
AIDA
But can you resist the beautiful Amneris,
the order of the king and the desires of the people,
against the priests of resentment?
Aida acts in the spirit of fairy-tale captive princesses; she offers a most difficult task, requiring enormous courage and utmost freedom.
RADAMES
Listen, Aida.
In a fit of vengeance with formidable force
all of Ethiopia will rise again.
The enemies have already entered the Nile Valley.
Who will lead the Egyptian army?
We will return to Memphis in victory,
I will stand before Pharaoh and pray.
I will call you mine with joy.
You will be a reward for a glorious victory,
We will find out happiness then with you.
AIDA
Amneris frightens me,
and revenge and her anger.
She will defeat us all, defeat us mercilessly;
I will die, my father too.
Oh grief!..
Radames still assumes that he is in complete control of the situation. Aida points out that he is ignoring the very important influences of Amneris. Here her grief and fear are sincere, and this affects Radames.
RADAMES
I am your protector.
AIDA
Oh no! You are powerless here.
But... if you love, then I still know the way to salvation...
RADAMES
You know?
Radames accepts the role of protector and savior that he created for himself before. Aida, however, speaks ambiguously, and not only sincerely. Perhaps she is manipulative, obsessed with Amonasro's influence; maybe he really wants Radames to remain the savior. This devilish mixture of true feelings and manipulation makes both unfree. Radames is probably scared, and it is not in his power to influence Amneris. He does not accept powerlessness - on the contrary, he takes the bait of Amonasro and wants to act immediately, relying on Aida, grasping at a still very uncertain hope.
AIDA
Run...
RADAMES
Oh Gods!
AIDA
Let's run, let's leave this region, let's leave the banks of the Nile.
Believe me, we will find a new homeland with you, dear.
we will meet the hour of sunset,
there's a sweet aroma
flowers will intoxicate us...
I'll stay forever.
RADAMES
In a foreign country I must
look for love's shelter,
leave your homeland forever,
forget our gods.
Forget the land where the glory is
for the first time she flashed to me,
where is your heavenly gaze
discovered the happiness of love...
AIDA
There, in a dark palm grove,
we will meet the hour of sunset,
there's a sweet aroma
flowers will intoxicate us.
There with you, oh my dear,
I'll stay forever.
RADAMES
Here is your heavenly gaze to me
discovered the happiness of love.
How to forget everything?
Here is your heavenly gaze
discovered the happiness of love.
Leave your homeland forever,
forget your gods!..
AIDA
We will leave your Egypt,
let's leave the banks of the Nile,
in my dear homeland
We will find happiness with you.
We will pray there
to my dear gods.
Happiness awaits there!
The same motive as in her dreams - an eternal stay in a paradise country. Additionally, there is a motive of intoxication, intoxication with the smell of flowers and oblivion. Now Aida is no longer an individual; regressing and being influenced by inflation, it enchants. Now this is not said by a real woman who is in a severe conflict - Radames’ Anima speaks through her lips.
The themes of death and memory loss that it suggests are not at all obvious to him. Or rather, the good meaning of such oblivion is not obvious. This is a huge loss for him. Perhaps it is a loss of self. The theme of flight and loss is repeated twice, which means that this motive is extremely important.
RADAMES
In a foreign country I must
look for love's shelter,
leave your homeland forever,
forget your gods?..
(hesitating)
Aida!..
AIDA
You don't like... Get away!
He weighs, and determining the price of a dream and the renunciation of debt is a function of the mature Ego, precisely what the Anima vehemently opposes. Partly because of this, but also because of her obsession with her father's influences, she makes an even stronger move. In fact, she repeats her father's manipulation, pointedly rejecting Radames. She imposes on him the same role as Amonasoro herself - the only savior of herself, her father and the state of the Ethiopians.
The theme of intrigue and false choice after this becomes dominant. In the future, none of the protagonists will be able to make a choice freely. There will definitely be intense pressure and demands for impossible concessions.
RADAMES
Do not believe...
AIDA
Away!..
RADAMES
I swear no one can
so passionately, with all my soul
love as I love!
AIDA
Away! Away!
Amneris is waiting for you there!
For Radamès, the choice is between honor and his place in life and love. He makes a choice in favor of love. The fact that at the same time he does not renounce the omnipotence of the savior imposed on him remains invisible to him. For Aida now this is not enough; she repeats the rejection. Either she wants additional guarantees so that she will no longer have any reason for jealousy, and/or she demands additional loss from her lover, so that he chooses only her by refusing the proposed marriage and power in Egypt.
RADAMES
No, I'm yours!
In essence, she says that what she needs now is not love, but action, as if she herself had become love, and Radames is only required to complete a task, but not contribute to a real relationship. She, as M. Tsvetaeva said, will now “love herself.” By accepting this, Radames loses his freedom and becomes possessed. His decision will be made forcedly, under strong influence.
AIDA
I don't believe you.
Do you want to hand over for execution?
me, father, why are you delaying?
RADAMES
(with passionate determination)
Oh no! We're running!
So that you can be happy,
I’ll go with you to a foreign land!
Love will be our reward,
a guiding star.
We will see a different sky
your country's charm.
Stars diamond shine
our new path will be illuminated.
AIDA AND RADAMES
So let's quickly run away from here,
let's leave the edge of our suffering,
because love calls us,
love will lead us on a long journey.
Aida again repeats what Amonasro did to her and begins to manipulate Radames with guilt and powerlessness. His anxiety worsens to the limit, he can no longer bear the powerlessness and clutches at straws, finding himself entirely under the influence of the ambivalent Anima. The duet makes us understand that from now on she has become his soul and that for some time he has lost his will.
AIDA
Tell me where to go
so as not to meet the Egyptian army?
RADAMES
I have chosen the path for the army,
that is unknown to the enemies.
This path is clear until tomorrow.
AIDA
But where is he?
RADAMES
In the gorges of Napata.
The betrayal is complete because the duty is now only to Aida. The fact that the same obligations remain now means nothing to Radamès. He committed treason unnoticed, carried by the stream.
AMONASRO
(coming out of hiding)
Ah, Napata Gorge!
Our people will be there tomorrow!
RADAMES
Who overheard us?
AMONASRO
Aida's father, the Ethiopian king.
RADAMES
(with great excitement, surprise)
You!.. Amonasro!.. You!.. The king himself?
Gods! Is it possible? No, that's a lie...
This is a lie... this is a lie...
No, no, it can't be! No!
(with fear)
What did I do, you madman?..
Now he is completely under the influence of a spirit hostile to him, and now the betrayal can be realized; the real scale of his action is known. Previously, before the appearance of Amonasro, he was in the illusion that Anima gives: that he and Aida are alone, existing separately from everything, not dependent on anyone else; as if they really became a divine couple.
AIDA
Come to your senses and listen
trust my love!
AMONASRO
You love Aida
prepares the royal throne.
RADAMES
I disgraced myself
I changed my fatherland,
loving you, unfortunate one,
I forgot my homeland.
AIDA
Comfort yourself!
AMONASRO
Oh no, you are not guilty, you are not a traitor,
fate, fate itself wanted it!
No, you are not guilty!
AIDA
Oh no, oh no, comfort yourself...
RADAMES
I disgraced myself
I changed my fatherland,
loving you, unfortunate one,
I betrayed my fatherland.
AMONASRO
Faithful servants are waiting for us there,
Let's run to the Nile quickly,
all your heart's wishes will come true,
bliss awaits you there.
Time flies fast...
Both daughter and father are using the most powerful temptations - love, power, oblivion and the fact that Radamès's former identity will not be destroyed, but will simply end up in another place. Amonasro is right that fate itself wanted him to betray him - no one was truly free to make a choice, not even the king of the Ethiopians himself - his vindictiveness was a reaction to humiliation and the threat of losing the independence of the state. We can say that the extreme aggravation of relations between peoples was set by Ramfis, the mouthpiece of the imperial spirit. It was then that Amonasro began to embody the shadow sides of this statehood.
AMNERIS
(leaving the temple)
Oh, traitor!..
AIDA
Everything died!
AMONASRO
She brings us death!
(He rushes at Amneris with a dagger.)
Death to her!..
RADAMES
Come to your senses, you madman!
AMONASRO
Damn it!
RAMFIS
(leaving the temple)
Guards, here!
RADAMES
(to Aida and Amonasro)
Hide!.. Run!..
AMONASRO
(dragging Aida with him)
My daughter, follow me!
RAMFIS
(to the guards)
Follow them!
RADAMES
(to Ramfis)
Great priest, I am your prisoner!
The appearance of Ramfis and Amneris was determined by the entire course of this action. Since Radamès’s attitude changed abruptly and the shadow became his path, the other two of the quartet also showed themselves compensatory: the personification of official cruel spirituality and the Anima possessed by such an animus. These influences appeared unexpectedly and secretly, taking advantage of the Shadow; the new ones disappeared into the shadow area. Now the previous quartet has been dissolved, and Radames no longer has any resources left.
* * *
ACT FOUR
PICTURE ONE
(Hall in the royal palace. Amneris is alone.)
The earlier conflict of duty and passion was never resolved; hostile spiritual influences had once again retreated into the unconscious, and now it was Amneris's turn to be the protagonist in the same conflict.
AMNERIS
The hated rival has disappeared.
The priests are preparing a terrible sentence for Radames for treason...
But is he a traitor or not?
He revealed to her the secret of our campaign,
to run away from here with her.
They are all criminals, so death to them, so death to them!
Oh, what did you say?..
I love him madly, yes, I do.
And that love will remain in me until the grave.
If only he loved me!
I have to save... but how?
While duty is not that important to her, what matters is the utmost ambivalence towards Radamès. The question is whether to destroy it or preserve it. The desire to destroy an unwanted object is a common desire in narcissistic injury. While Amneris’s feelings are conflicting, the contradiction has not yet affected her worldview.
(decisively)
Be brave!
Guards! Bring Radames!
(The guards bring in Radames.)
All the priests have gathered there, they are deciding your fate.
You can acquit yourself, and the judges will acquit you;
you can destroy a serious charge.
And the messenger of freedom,
and I will be the messenger of freedom and life.
With these words, Amneris claims to be the Anima of Radames; makes him depend on her.
RADAMES
Oh no, priests, don't you hear
protection unworthy;
I swear before God and people:
I was not a traitor!
My lips are guilty -
It's a big sin, I know.
But I am not guilty of deeds,
but in fact I am not sinful,
and my honor is with me.
Radames experiences a completely different state, not associated with either obsession or narcissism. He accepted the guilt, and it did not destroy him. His personal identity was not destroyed; only what was associated with his previous social role was damaged. Even this does not destroy him. Further, for him, the conversation will not be about love, but about freedom and maintaining the integrity of the psyche.
AMNERIS
Just justify yourself.
RADAMES
No!
AMNERIS
You will die!
RADAMES
But what do I need in life? Everything died:
my love and glory,
like smoke, everything suddenly disappeared.
One desire is death!
Amneris proposes the restoration of the Persona - doing approximately the same thing as Amonsaro did when he convinced Radames that he was only an instrument of fate and therefore innocent. He does not agree, because his former social identity is lost, and so is Aida. This means that what remains for him to preserve is his personality.
AMNERIS
Unhappy!
No, you must live!
I conjure with love,
because your death will kill my love,
will destroy me.
I love and I suffer so much
I'm crying, I don't know happiness...
(majestically)
Fatherland, and my throne, and kingdom, and life -
I'll give everything for your love,
I'll give it for love!
Now Amneris is in the same state of deepest love as Aida was before. The Pharaoh's daughter now identifies with her lover, and therefore offers him the same sacrifice that he made. She is ready to lose her previous identity - we don’t know how much of this comes from real experience and how much from manipulation. It seems that she is becoming more and more sincere and humane.
RADAMES
Oh no, I’m ready to die for her, for her,
Yes, I will give my life for her, I will give my life!
AMNERIS
Keep quiet about her!
RADAMES
Disgrace awaits me, why should I live?
She deprived me of happiness, separated me from Aida,
death was promised to her...
Do you want to give me life?
Even at the beginning of the first act, the archetypal situation of choosing between a true and a false bride was set. Now she is reaching her climax. The choice in favor of the true beloved has already been made, and Radamès treats Amneris as a mythical false bride, whose influence should be categorically rejected. He acts according to the classic scheme, and it is just as dangerous for him as if he had accepted Amneris’s offer. The trap is such that Radames has no way out.
In addition, for him the problem of the true bride and the false bride replaced the real understanding of the problems associated with Anima. Radames does not see the harm that Aida caused him at the behest of his father; He doesn’t even see the good intentions that motivate Amneris. There is something of revenge in his behavior, but not only. Since he is in a position where there is a threat to his life and the existence of his personality, his thinking becomes primitive, metaphorical - there is an absolutely good Aida and there is an absolutely bad Amneris. This is a typical schizoid-paranoid split, described by M. Klein. The Anima archetype seems to split, looking like it consists of good and bad parts. The archetypal plot of choosing the true bride helpfully arises, but it is in this real situation that whoever Radames chooses will make a most dangerous mistake.
AMNERIS
Oh, it's not my fault!
Know that Aida is alive.
This is a huge sacrifice for Amneris. Now she is driven by love.
RADAMES
Gods!
AMNERIS
But her father fell in the struggle,
when they fled;
I know he died...
What does the death of Amonasro mean? It is possible that now the problems of the Shadow are not reduced to splitting associated with spirit and power. And the fact that now Ramfis’ powers will increase to the limit, for he remains the only one with spiritual power.
RADAMES
What's wrong with her?
AMNERIS
She disappeared, but no one knows where.
This means that the influences of the Anima remain unconscious for now.
RADAMES
Oh gods, you spared and saved Aida.
Give her happiness, give her peace,
and I will die!
AMNERIS
I'll save you
just let me forget the oath.
RADAMES
I can't!
AMNERIS
Forget Aida forever... and you will live!
RADAMES
I can't!
AMNERIS
There is still time, forget Aida!
RADAMES
In vain!
AMNERIS
This is how you die, you madman!
RADAMES
I'm ready to die.
AMNERIS
You will not be saved from death,
you will not escape torment.
I neglected my love
You made me furious.
You have suffered the vengeance of the gods -
they will take revenge on you for everything!
Apparently, the death of Radames is unbearable for Amneris, and not only because he is ready to die for her rival. And since this is unbearable, Amneris retreats and becomes a conductor of the general influences of the negative Animus and Anima. She bargains and claims power over his feeling, which has now become the core of his mental integrity. The same narcissistic rage, the same destructive aggression mixed with resentment, and these experiences of Amneris are much stronger than her humane conscious intentions. Placing responsibility for revenge on the gods, she also falls into illusion, relieving herself of the blame for the death of Radames (using the influences of the conservative spirit) and telling the truth - the forces now operating have far exceeded the capabilities of the Self. These are archetypal influences.
Radames chose Aida, and now the situation of true and false Anima is completed for him. Something else will begin.
RADAMES
There is only bliss in this death!
I die for love
consciousness will give me strength again,
that I'm dying for love.
I wish for death, I am ready to die.
Human anger is no longer scary to me,
but your love is terrible!
AMNERIS
Oh! There is no escape!
You have suffered the vengeance of the gods -
they will take revenge on you for everything!
Vengeance, vengeance, only vengeance!
May fate take revenge on you.
(Amneris covers her face with her hands in despair. The guards take Radames away.)
Alas, I suffer so much! Who will give salvation?
I handed him over to the executioners for torment...
Oh, I curse, I curse jealousy!
She ruined him
who was dearest to the heart.
(Priests pass by and enter the dungeon.)
These are fatal people, without hearts,
bring the news of death...
Oh, like ghosts, they are terrible...
How could I decide to betray my love?
My beloved will die... I myself...
I betrayed him to be tortured myself!..
RAMFIS AND THE PRIESTS
(in the dungeon)
O spirit of the gods, come down to us, merciful one,
and illuminate with the light of truth, O omnipotent one,
You bring justice, reveal everything to us.
AMNERIS
Oh gods, have mercy on my love,
give him salvation, I pray to you!
I suffer, the sorrow of my soul is terrible!
(Radames passes, accompanied by guards, and enters the dungeon.)
What is Radames talking about? Perhaps death is seen as a means of spiritual rebirth or preservation of the psyche, since there is nowhere to retreat, and Amneris’s love is seen as destruction. This is a terrible state that turns our usual values upside down. Perhaps we should turn to D. Kalsched’s idea of a destructive Self, which sacrifices life in order to preserve the core of the psyche in the event of upcoming traumatic changes.
What's happening to Amneris? She feels that events are playing out too high for the human ego and depend on divine influences. Responsibility for what is happening has been transferred to the forces of the collective unconscious, and the illusion of Amneris' omnipotence has become obsolete. And finally, she is ripe for guilt. According to M. Klein, the ability to experience guilt allows you to accept your own duality and the duality of another, guilt removes the previous schizoid-paranoid splitting - remember, because paranoid anxiety in the opera depended on Amneris. Since her lover rejected her, she is now free, and there is no longer any point in identifying with his Anima. By giving up this identification, she is also freed from those influences of the animus associated with Ramfis, which were previously so important to her. Apparently, refusing to use archetypal influences is healing. Just as for Radames the story of choosing a bride is over, so for Amneris the role of the conductor of the influences of the negative Animus and Anima is over. She acquires the limitations and duality of an ordinary person.
RAMFIS AND THE PRIESTS
(in the dungeon)
O God Almighty!
AMNERIS
Who will give salvation?
RAMFIS AND THE PRIESTS
(in the dungeon)
We are calling on you!
AMNERIS
Who will give salvation?
I'm losing my strength, alas, alas,
I'm losing my strength...
Amneris diminishes, as if disappearing - but now the collective influences associated with the spirit of Egypt increase. Now Ramfis is truly in his place - he is again devoid of human individuality.
RAMFIS
(in the dungeon)
Radames!.. Radames!.. Radames!..
You dared to reveal secrets
your homeland to your despicable enemies.
Give us the answer!
PRIESTS
(in the dungeon)
Give us the answer!
RAMFIS
(in the dungeon)
He is silent!
RAMFIS AND THE PRIESTS
(in the dungeon)
Changed!
AMNERIS
Gods, have mercy, give salvation,
I beg you, I beg you!
RAMFIS AND THE PRIESTS
(in the dungeon)
Radames, this is how fate decided:
you are guilty; death to the traitor!
We will close the grave over the living,
We will close the grave over the living,
where is the offended altar of the gods.
The funeral of the living is a well-known archetypal motif that signifies immersion in the unconscious and transformation. Therefore, the echo of the underworld in the name of Aida becomes clear. This will be the next archetypal situation - incubation and the emergence of something new. The priest, however, assumes something else - deprivation of resources, complete loss of Self and oblivion. The tomb has rigid walls and a door that cannot be lifted. The image of Ramfis takes on the features of a Shadow Self, ready to destroy the Ego, delimiting it from the internal and external world. He is also brought closer to the symbol of the Self by the fact that, conceiving destruction, he will contribute to transformation, as we will see later. The self, even the destructive one, is ambivalent.
AMNERIS
How?! Alive to the grave?!
O villains, the thirst for blood is your only law;
the gods will avenge you for him!
(Ramphis and the priests leave the dungeon.)
RAMFIS AND THE PRIESTS
Changed! Changed! Changed!
AMNERIS
(with ferocity, rushing towards the priests)
You have committed a crime, priests,
like tigers, you are all bloodthirsty,
without guilt you cruelly condemned,
you have desecrated the law.
RAMFIS AND THE PRIESTS
He cheated - he will die!
Amneris’s rejection of the influences of the former grandiose negative Animus is complete; this is her last loss, which she does not regret. Something new has appeared - she evaluates the executioners morally; consequently, a new function, a feeling, arises for her. What is also new is that she surrenders revenge to the will of the gods, abandoning her own grandiosity. Although, who knows? In the future, she herself can fulfill this will by dealing with Ramfis.
And the more harshly the priests respond. This means that the spirit has now assumed a purely collective character, and, starting from this, Amneris will become an individual. This spirit is hostile to feeling, and a merciless confrontation begins. Perhaps the spirit will lose, for it has become even more rigid, conservative and short-sighted.
AMNERIS
The hero you kill
was loved by me, and you know it.
May a broken heart be a curse
with the blood of the victims will fall on you!
RAMFIS AND THE PRIESTS
He cheated - he will die!
AMNERIS
Without guilt you cruelly condemned him,
offending the gods the merciful law.
Oh no, I never changed
oh no, he couldn't change
I beg you to forgive him!
RAMFIS AND THE PRIESTS
He will die! He's a traitor! He will die!
He changed! He will die!
(moving away)
Changed! Changed! Changed!
AMNERIS
You executioners, I curse you!
The justice of heaven will reward me!
I curse you!
Amneris is now capable of any feeling, and she does not need to replace experiences with the influences of the collective unconscious.
PICTURE TWO
(At the top is the temple of Vulcan, at the bottom is the dungeon.)
RADAMES
(in the dungeon)
The fatal stone has closed over me,
and here is my grave!
I can no longer see daylight...
I won't see Aida!
Aida, where are you now?
Oh, if only you could live happy
and not find out what happened to me!
I hear a moan... a ghost... or a dream...
No, the creature is alive!
(Aida appears.)
You! Aida!..
AIDA
Oh dear!
RADAMES
(in complete despair)
You!.. In this grave!
AIDA
(sad)
My heart told me your fate:
to this grave that closed you,
I entered secretly...
And here, far from human sight
I want to die with you.
The burial of the royal couple in a common tomb is one of the final stages of the creation of the philosopher's stone (quoted by Jung from “The Psychology of Transference” about the corresponding picture). And it is the Anima who initiates the hermetic wedding - if we take seriously the fact that at first Radames took Aida for some kind of spiritual content, then she now becomes his Anima in this internal process. For the spectator, as for the alchemist, the Anima and Animus are separated from his Self and transformed. For the heroes themselves this is not the case; It is the viewer who changes.
RADAMES
To die in such years!
To die without knowing guilt...
You want to die in the prime of your life,
in full bloom, and life is beautiful!
And the consciousness of death is more terrible to me,
that I am the culprit of all your suffering!
Death should spare you
creation of love!
AIDA
(dreamily)
See, the heavens have opened,
and the stars shone!
Do you hear someone's voices
they are calling us to the bright distance.
The sun shone, the night passed,
the days of sorrow are forgotten.
Do you hear birds singing in the grove?
Love awaits you and me,
bliss awaits us in love,
happiness without boundaries!
For Radames, the situation is completely real, and he is true to himself, trying to save Aida. She dreams and evokes a dream, the same one that she herself experienced on the banks of the Nile. For now it’s more like fantasy, regressive, helpless. This contradiction between fantasy and the power of the archetypal image gives the last scene additional tragic power. She has finally merged with the image of Anima Radames, and the way back to the human Self is fatal for her.
PRIESTS
(in the temple)
Almighty great god,
life-giving spirit of the universe!
PRIESTS AND PRIESTESSES
(in the temple)
A! Come down to us
come down, come down!
AIDA
Can you hear the singing?
RADAMES
This is the sacred dance of the priestesses...
This singing is not accidental. In the same alchemical wedding, the spirit of decomposition from the buried couple rises up, and a new spirit, heavenly, descends to the earth to meet it, and something new is born.
AIDA
They sing us a funeral hymn.
RADAMES
(Tries to move the stone above the entrance to the dungeon.)
My hands are powerless
move this huge stone away...
AIDA
Alas! Soon everything will end for us on earth...
RADAMES
(with sad resignation)
You told the truth...
The dream is over, but the reality is that the heroes are powerless before it. Aida very easily returned from dreams to reality. This means that identification with the Anima of Radames could have been accomplished by her consciously.
AIDA
We will unite our hearts forever.
Forgive me forever!
RADAMES
Farewell to the land where we have suffered for so long.
Now we are no longer afraid of separation,
We will unite our hearts forever.
How far are earthly sorrows from us!
We fly to where happiness has no end.
AIDA
Forgive me forever!
The sky is shining...
There, there...
Let's fly there
where happiness has no end.
PRIESTESSES AND PRIESTS
(in the temple)
Almighty God, come down
We are calling you, come down, come down!
AIDA AND RADAMES
Ah, the sky shines for us!
(Amneris in mourning clothes appears in the temple and prostrates himself over the stone that closes the dungeon.)
Farewell to the land where we have suffered for so long.
Now we are no longer afraid of separation,
We will unite our hearts forever.
How far are earthly sorrows from us!
We fly to where happiness has no end,
We fly to where there is no end to the bright life...
The sacred marriage took place. It is now a conscious decision to be reborn, rather than a defensive fantasy. The merger goes on and on, and we don’t know whether the heavens that Aida and Radames envision are real or hallucinatory. The sinister meaning that Aida, as the bearer of Anima projections, involved Radames in both crime and the archetypal death experience remains the same for the viewer. The priests do not stop talking, calling for someone who is yet to appear.
T. Mann wrote with all ambiguity that this whole scene was a prelude to non-existence (quoted from “The Magic Mountain” about how Hans listens and understands this scene). But is he right? Has non-existence really arrived?
AMNERIS
I pray to you, gods,
send him your forgiveness,
give him peace in heaven!
PRIESTESSES AND PRIESTS
Come down, great god!
(Aida falls into the arms of Radames and dies.)
AMNERIS
I pray to you, gods... I pray to you, gods...
Have pity, have pity, gods!..
PRIESTESSES AND PRIESTS
Great God!
No, the updated god did appear. We don't know what he is like. But we can assume that a new humanity and the ability to forgive have been generated. Amneris, the former bearer of collective influences, has found the Self?
CONCLUSIONS
Those names in “Hades” that begin with P are related to official power, those starting with A are related to secret power, charm and manipulation. Is this a coincidence?
If we are not dealing with a folklore work, but with a literary one, and even more so a theatrical one, then the protagonists become different heroes, depending on the situation. Here collective and individual states are changing at a very fast pace. If the plot is a “magic theater”, an image of the psyche, then this is not an isolated psyche, but one in complex relationships. If, according to Hillman, an individual psyche is a galaxy, a system with several centers, then it is even more difficult to describe the psyche in the process of changing relationships. Therefore, one and the same hero becomes either a bearer of archetypal projections or a protagonist, an image of the Self. If we are dealing in reality with relationships of passion, then the alternation of projections of archetypal influences occurs in the same way.
How do archetypal influences affect relationships? They attach great importance and the property of eternity, this is known. Moreover, archetypal influence arises in unbearable tension, in the dead end of a hopeless conflict. Those solutions offered by the collective psyche are both deceptive and ultimately true: they can be destructive for the character and lead the viewer to catharsis. The contradiction between the archetypal and real meanings of the final scene is necessary; it deeply touches the viewer. This is a contradiction between the reality of the psyche and the reality of the objective world and cannot be removed.
From the actions of Aida, we can notice that the influences of Anima do not become harmful on their own. The functions of Anima are the establishment of intrapsychic, interpersonal and intragroup connections, but this makes it extremely vulnerable. When an archetype of greater strength, masculine, socially more acceptable and at the same time associated with the shadow sides of the psyche manifests itself, the flexible Anima becomes only a conductor of its influences. So Aida acted under the influence of Amonasro. We can interpret M.-L.’s idea in this spirit. von Franz that the influence of Anima affects a man’s creativity in such a way that the intonations of a preacher or prophet appear (quote). Apparently, it is not Anima herself, but the spirit (spirit of the times?) that stands behind her, that introduces these tasteless intonations. Similarly, in fairy tales, behind the back of the wise princess there is a dangerous and formidable spirit, which, in fact, pulls the strings.
Let us remember how two pairs are formed: Amonasro-Aida and Amneris-Ramphis. the pairs look mirrored. but power is distributed differently in them. In the first, the Anima is absorbed by paternal influences (only style remains of the feminine); the power of the masculine is manifested clearly and brutally. Amneris rules secretly, apparently playing on the priest's prejudice towards Radames - and it is not for nothing that this episode remains outside the opera. We only see that Amneris brought the priest at the right time and to the right place. This means that both options, the masculine under the power of the feminine, and the reverse situation are an imbalance, a danger both for the Ego and for the psyche as a whole.
At some point, at some point, the influences of Anima and Animus, soul and spirit, especially conservative and negative ones, become indistinguishable. This is how Amneris behaves here when he forcibly wrests a confession from Aida. The imperious aggressiveness of a woman subject to such influences becomes very dangerous, destructive to the point of meaninglessness. It is so terrible that in the collective consciousness it is associated with the terrible crimes of incest or murder of one's family, as in fairy tales about the incestuous sister who desires one brother and kills all the others. Mershavka interpreted the image of Pannochka in the story “Viy” as a projection of the image of Anima onto a man, since N. Gogol called her a dead man, in the masculine gender (quote). Perhaps it is in the image of Pannochka that the influences of the male Anima and Animus merge and lose both humanity and divinity and become murderous. But Amneris does not cross the last line and remains a woman - she destroys Radames and Aida with the wrong hands and guides the lovers in such a way that they have no other choice but death. Therefore, Amneris is not ugly or terrible, and in the opera she is given a chance to be reborn after experiencing guilt. Unlike the image of Amneris, in the image of Aida the influences of Anima and negative Animus do not merge, they only become closely connected, and the Animus influences the Anima. Therefore, having caused the death of Radames, Aida does not become only destructive; as the embodiment of Anima she only becomes deeper, more ambivalent, her charm blossoms fully.
The least number of projections is associated with the image of Radames. Most often, except for collective temple scenes, he remains I. His feelings are the least stereotyped and are not determined by archetypal influences. Perhaps this opera is still important because we are now living in a situation of profound change in gender stereotypes. The appearance of mentally sensitive men, as well as women who skillfully wield power and fall under influence, is not uncommon now. The world of society and spiritual traditions does not give up and therefore becomes soulless and dangerous. Maybe a new normal is emerging, and the opera predicted it.
Opera in four acts
Libretto by Antonio Ghislanzoni
Characters
King of Egypt (bass)
Amneris, his daughter (mezzo-soprano)
Aida, slave, Ethiopian princess (soprano)
Radames, Chief of the Palace Guard (tenor)
Ramfis, High Priest (bass)
Amonasro, king of the Ethiopians, father of Aida (baritone)
Messenger (tenor)
Priests, priestesses, ministers, military leaders, soldiers, dignitaries, slaves and captive Ethiopians, Egyptian people.
The action takes place in Memphis and Thebes during the time of the power of the pharaohs.
Act one scene one
(A hall in the royal palace in Memphis. To the right and left are colonnades with statues and flowering plants. In the back is a large arch; through it you can see the temples and palaces of Memphis, as well as the pyramids. Radames and Ramfis are talking with each other.)
Yes, rumor has spread that the Ethiopian is arrogant
so bold that the Nile Valley
and Thebes began to be threatened.
I prayed to Isis all day.
And what did the goddess say to the priest?
She showed us who Egypt is
must be the main commander.
Happy chosen one!
(looking meaningfully at Radamès)
He is young, but full of valor.
I will convey the decision of the gods to the king.
(Leaves.)
Oh, if only I were chosen...
And my prophetic dream would come true!
(enthusiastically)
I would lead the Egyptian regiments into battle against the enemies...
And here is the victory... Memphis applauds in delight!
I will return to you, Aida, wearing a laurel wreath of glory,
I say: “Only for you I achieved victory!”
Dear Aida, the sun shines,
marvelous flower of the Nile Valley.
You are the joy of the heart, you are the hope,
my queen, you are my life!
Soon you will see blue skies,
you will be in your homeland again.
You will return to your native land again,
I will return freedom to you! Oh!
Dear Aida, the sun shines,
Nile Valley lotus alive.
Your image is full of charm,
Your fiery gaze is brighter than a star.
You will soon see your native mountains,
you will see your country again.
You will forget the chains of shame,
I’ll bring back my dear freedom again.
I will return freedom again!
(Amneris enters the hall.)
Your gaze lights up with unusual joy,
your eyes, like lightning, sparkle with fire!
I have the right to envy that beautiful maiden,
where you are your dreams and heart
ready to give, obeying love!
I had a strange dream -
this is the reason for the delight.
Now the goddess will show us that leader,
who will lead the brave Egyptians to glory.
Oh, that I were worthy of this honor!
Didn't you have a different dream?
The dream is sweeter, and more tender, and dear to the heart -
Isn’t it in Memphis that all your desires and hopes are?
(About myself)
How! What do I hear?
He suspects a secret, my love has revealed it!
(About myself)
I know... It's a different feeling
owns his soul and heart!
(About myself)
The secret that I hide
she wants to know.
(About myself)
I will take revenge if the secret
he is hiding from me.
There will be no mercy, no forgiveness!
(Aida enters.)
(seeing Aida)
(to himself; watching)
He was embarrassed... they looked at each other so strangely.
Aida! Isn't she my rival?
(to Aida)
Oh come to me my friend
The name of the slave does not suit you.
You will become my dear friend,
you will be my sister.
Are you crying? The cause of grief, the cause of sadness
tell me, my friend.
(lowering his eyes to hide his excitement)
Alas, everything breathes malice:
the war threatens disaster.
I cry for my country,
I’m scared for myself, for you!
Tell me the truth.
Is there any other reason for your tears?
(to himself; looking at Aida)
Woe to the criminal slave!
(to himself; looking at Aida)
The eyes flashed with anger...
(About myself)
Oh, woe to the criminal slave!
(About myself)
She's watching us.
(About myself)
I will find out the secret of the heart!
(About myself)
If she knows love
what are we hiding?
she will take revenge on us,
will take revenge on her.
He's watching us!
Oh woe if ours
she discovered love!
She's ready to take revenge!
The face flashed with anger -
she is ready to take revenge!
Eyes blazing with anger -
she is ready to take revenge!
(to Aida)
Why are you shedding tears?
(About myself)
There is no faith in her words.
Slave to criminal grief!
I will take revenge!
I recognize your sadness
and I will take terrible revenge!
(About myself)
Oh no! The heart suffers not for its native land,
not for the fatherland.
I shed tears, I cry bitterly,
I cry for my love.
I cry, I suffer for my love.
(The King enters, preceded by the guard, accompanied by Ramfis, priests, military leaders and courtiers.)
For important matters, Egyptians,
I told you to come here.
From the borders of Ethiopia
a messenger came here to us,
he brought terrible news.
We were attacked...
(to one of the dignitaries)
Let the messenger in here!
(The Messenger enters.)
The Egyptians are threatened by the troops of the king of the barbarian Ethiopians.
All our fields are like desert...
The fields are burning.
Proud of his easy victory,
the villains boldly rushed to Thebes.
What audacity!
Bloodthirsty, cruel their ruler
Amonasro leads them into battle!
RADAMES, KING, RAMFIS, PRIESTS, MINISTERS AND MILITARY LEADERS
The king himself!
(About myself)
My father!
Thebes rebelled; all citizens with weapons
go towards enemies,
they threaten war, they threaten evildoers with death.
For the enemies of the fatherland there is only death and vengeance!
RADAMES, KING, RAMFIS, PRIESTS, MINISTERS AND MILITARY LEADERS
Vengeance! Vengeance! Vengeance on the enemies!
Death, death without mercy!
(approaching Radames)
The goddess, sacred Isis, called us,
the one who leads the troops into battle:
AIDA, AMNERIS, MINISTERS AND MILITARY LEADERS
Ah, praise be to you, gods!
My dreams have come true!
(About myself)
He is chosen! He is chosen!
(About myself)
I'm shaking all over, I'm shaking all over!
MINISTERS AND MILITARY LEADERS
Radames! Radames!
Our commander is brave, in the temple of Isis
accept the sacred sword,
lead your troops to victory!
To the banks of the sacred Nile
the gods will show us the way,
Gods will increase our strength!
Death without mercy, death to all enemies!
The gods send you blessings
the long journey is dangerous.
Send prayers to them,
so that they give you victory.
MINISTERS AND MILITARY LEADERS
The bank of our sacred Nile
we will protect with our breasts,
the gods will increase our strength;
To the gods of prayer, you send prayers,
Send prayers so that victory will be given to you.
Yes, to the banks of the sacred Nile
the gods will show us the way,
and they will increase our strength;
death to enemies without mercy!
(About myself)
Why am I crying bitterly and suffering?
Ah, love has ruined me.
The heart is full of thirst for vengeance:
the groans of the people are heard everywhere,
he calls for victory!
Vengeance, vengeance and death to all enemies!
(passing the banner to Radames)
Glory awaits you, chosen one!
Here, accept the holy banner -
let him lead and illuminate
the path to victory over the enemy.
To the banks of the sacred Nile
the gods will show us the way.
There will be a cry of victory,
death without mercy and destruction to all enemies.
RAMFIS AND THE PRIESTS
The gods send blessings
the long journey is dangerous.
Send prayers to them,
so that they give us victory.
MINISTERS AND MILITARY LEADERS
The bank of our sacred Nile
We will protect with our breasts.
The gods will increase our strength.
Vengeance, vengeance and death to all enemies!
THE MESSENGER AND RADAMES
Victory over enemies awaits,
death and destruction, destruction to the enemies!
May he lead you to victory over the enemy!
Oh, why am I crying so bitterly?
RADAMES, AMNERIS, KING, RAMFIS, MESSENGER, PRIESTS, MINISTERS AND MILITARY LEADERS
Vengeance! Vengeance!
Doom and death to the enemies!
I gave my heart to a stranger and enemy.
AIDA, AMNERIS, KING, RAMPHIS, MESSENGER, PRIESTS, MINISTERS AND MILITARY LEADERS
Return to us with victory!
(Everyone leaves except Aida.)
Return to us with victory!
This word is criminal in my mouth!
Victory over my father!
The father raised his weapon against them,
to return my homeland to me,
my kingdom, proud name,
What am I supposed to hide here?
Radames will destroy his father...
And I will see him on his chariot,
stained with blood.
All Egypt rejoices!
The king himself is behind the chariot,
my father, in iron shackles!
Crazy word, oh gods, forgive me!
You will return your daughter to your father's heart!
O gods, I pray you, scatter
and turn all enemies to dust!
Oh, what did she say, oh gods!
Love forgot... Yes, I forgot love
and I dream of revenge!
Love illuminated my heart like the sun -
It's all bliss!
And I ask for the death of Radames,
loving him madly!
Yes, I love him
and I suffer so terribly for love!
And I don't dare openly, freely
name names dear to me in front of everyone.
Father and darling! I'm trembling for both...
I just have to shed tears and pray to the gods...
But the gods themselves cannot help me -
because I love the enemy of my country.
There is no forgiveness for me and no consolation,
It's easier to die than to suffer like this.
My gods! Have mercy, I pray
my heart is full of torment,
my gods, I pray to you:
I can’t live, send me death!
My gods, I pray to you, I pray,
take pity on my bitter fate:
Send me death, my gods,
I beg you, I beg you!
The opera Aida was created by Verdi and consists of four acts, based on the Italian libretto by Antonio Ghislanzoni. It was written on the basis of a French prose version created by Camille du Locle, who, in turn, took the plot of Francois Mariette as the basis for his work. The work was enriched with the composer's own inclusions in the form of prose and poetic variations.
For the first time, lovers of classical music and opera could listen to this work in Cairo at the very end of 1871. And it is worth noting that for this musical masterpiece the author of the opera was fully rewarded: he not only received a fee of 30 thousand dollars, which by modern standards is about 200 thousand. Verdi signed a contract with the Egyptian government, which included the need to create the opera in a new Cairo theater. All this was connected with the opening of the Suez Canal. And at that time absolutely nothing had been written for the opera. As a result of the transaction, the author provided the buyers with only a copy of the score, as well as the exclusive right to stage the work in Egypt and only in Cairo. Verdi retained not only the rights to receive royalties for productions, but even for publishing the score and libretto. It is noteworthy that Verdi had to be persuaded in order for him to sit down to write the opera. And with the reward he received, he did the following: he paid the creator of the libretto well, and also transferred a significant amount to those who suffered during the siege of Paris.
Verdi's work was tedious and intense. The plot was based on a 4-page manuscript by Egyptologist Marietta Bee. And on this basis, Verdi and his friend du Locle created a libretto for an opera in 4 acts. Then there was work with the Italian poet Ghislanzoni, who was asked to write a libretto in Italian. Verdi actively worked on the plot, and even wrote poetry. By the way, he wrote the music in just 4 months.
The premiere of the opera was received triumphantly, including by representatives of high society from all over the world. However, Verdi was not present at the premiere in Cairo, which he corrected at the Italian premiere, which took place in Milan a month and a half after the Egyptian triumph. The success of the Italian stage was no less enchanting. Today it is also triumphantly received by any opera company around the world.
Two cities were chosen as the main setting for the brilliant musical masterpiece: Memphis and Thebes.
The summary of the work can easily be revealed in the obvious confrontation between good and evil, love and hatred, passions and hopes, fate and fate. It is the initially conflicting situation that sounds in the orchestral introduction, where the opposition is indicated, the personification of which on the positive side is Aida, and on the evil side she is embodied in the images of the priests.
If we consider the style of the work, then it, like grand French opera, is characterized by such characteristics as scale, entertainment, the participation of ballet troupes and ensembles, mass choral scenes, etc.
Along with the above-mentioned elements, the features of a lyrical-psychological drama can be traced, where a love triangle gives rise to conflicts and aggravates internal contradictions. The ideological content of the work is no less complex than the dramaturgy, which is dominated by emphasized conflict, both between enemies and lovers.
In the first scene of the first act, not only all the central characters of the work are introduced, but the beginning of a love relationship is traced. The first ensemble scene is called the trio of jealousy, where the anxious emotions of Aida and Radames are heard, as well as the anger of Amneris. It is jealousy that becomes the main theme of this picture, and Aida’s monologue is the culmination of the struggle of the most contradictory feelings in her soul: confusion, feelings for her father, love for Radames, sadness, desire for death. The monologue is accompanied by extensive scenes where Egypt is glorified and Radames is dedicated. It is here that the exotic nature of the plot, filled with oriental flavor, becomes obvious.
The plot of the second act reflects an increase in contrast: the antithesis of the rivals, the aggravation of the conflict of the main characters, new faces appear: Amonarso, the Ethiopian captives he represents, and Amneris, as a pharaoh and representative of the Egyptians.
A summary of the third act is inseparable from understanding the radical transition of the dramaturgy of the work into the area of human relationships. Rave reviews of the opera are sure to note two performing duets, in which Amonarso and Radamès are Aida’s partners. Their fundamental differences can be traced in expressive and compositional solutions. However, they are integral components of a single line of gradually increasing dramatic tension. It was this action that became the owner of the plot “explosion”, based on the accidental betrayal of Radames and the unexpected appearance of Amneris, Ramfis and the priests.
The climax is visible in the fourth act. At the beginning, the aria of Amneris and Radamès from the opera Aida is impressive, and at the end, the prayer of the great priestess performing the ritual funeral leaves a special impression. It is worth noting that the fourth act is special, having two climaxes expressed in the court scenes and the farewell duet of Aida and Radames. The duet personifies the “quiet” culmination of the opera, which, in contrast to grandeur, triumph, tension, becomes an affirming finale in which love reigns and the feat performed in its name.
If you want to hear the most famous arias from the opera Aida, written by Verdi, you can hear them for free online on the Orpheus club website. Here you can also find videos of most existing productions.