Bibliographie
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BARKER, R. « Not One Thing Exactly’: Gender, Performance and Critical Debates over the Early Modern Boy-Actress. », Literature Compass, 6 (2009): 460-81.
BLOOM, Gina, « Thy voice squeaks: Listening for Masculinity on the Early Modern Stage », in Wendy Wall, Dramas of hybridity: performance and the body, Evanston, Northwestern University Press. 2000.39-72.
BRENNECKE, Ernest. « Nay, That's Not Next! "The Significance of Desdemona's Willow Song" », Shakespeare Quarterly Vol. 4, No. 1, Jan. (1953).
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CALLAGHAN Dympna. Shakespeare without Women : Representing Gender and Race on the Renaissance Stage, London and New-York, Routledge, 2000.
CUTTS, JP. « A Reconsideration of the "Willow Song" », Journal of the American Musicological Society, X, 1957.
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DUCIS, Jean-François. Œuvres, T. 3, Paris, L. de Bure, 1824.
DUFFIN Ross W. Shakespeare's Songbook, New York, W. W. Norton & Company, 2004.
ELLACOMBE, Henry Nicholson. The plant-lore & garden-craft of Shakespeare, W. Satchell and Co., 1884.
FINEMAN Joel. « The Sound of O in Othello: The Real of the Tragedy of Desire » in Critical Essays on Shakespeare's Othello, ed. Anthony Gerard Barthelemy, New York, G. K. Hall & Co., 1994, p.104–23.
GARDNER-MEDWIN, Alisoun. « The 'Willow' Motif in Folksongs in Britain and Appalachia, » Studies in Scottish Literature 26 (1991): 235–45.
GOUWS, John. « Shakespeare, Webster, and the Moriturus Lyric in Renaissance England », Shakespeare in Southern Africa 3 (1989): 45–57.
GURR, Andrew. The Shakespearean Stage, 1574–1642, 3d ed. Cambridge : Cambridge UP, 1992. 177–78.
KING, T.J. Casting Shakespeare's Plays: London Actors and Their Roles, 1590-1642, Cambridge: Cambridge University Press, 1992.
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LEDGER, Phillip (editor). The Oxford Book of English Madrigals, Oxford, Oxford University Press, 1978.
LINDLEY, David. Shakespeare and Music, Arden/ Thomson Learning, 2006.
LOUDON, John Claudius. Arboretum et fruticetum britannicum:or, The trees and shrubs of Britain, London, 1838.
MADELAINE, Richard. « Apprenticeship and the Boy Actors Shakespearean Roles », Lloyd Davis, Shakespeare matters: history, teaching, performance, University of Delaware Press. 2003, pp. 225-238.
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MINCAR, Erin K. « "A verse to this note": Shakespeare's haunted songs », The Free Library, 01 January 2010. <http://www.thefreelibrary.com/"A verse to this note": Shakespeare's haunted songs.-a0252944363>.
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MUSSET, Alfred de. « Théâtre italien : Débuts de Mademoiselle Pauline Garcia », Revue des Deux Mondes, volume 20, 1839.
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PARKER, Patricia. « What’s in a Name: More, » Sederi XI: Revista de la Sociedad Española de Estudios Renacentistas Ingleses. Huelva: Universidad de Huelva Publicaciones, 2002. 101-49.
POTTER, Lois. Othello,Shakespeare in performance. Manchester: Manchester University Press, 2002.
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ROGLIERI, Maria Ann. Dante and Music: Musical Adaptations of the "Commedia" from the Sixteenth Century to the Present. Aldershot: Ashgate, 2001.
ROULON, Natalie. Les femmes et la musique dans l'œuvre de Shakespeare. Paris:Honoré Champion, 2011.
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SHAPIRO, Michael. Gender in Play on the Shakespearean Stage, : Boy Heroines and Female Pages. Ann Arbor: University of Michigan Press, 1994.
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Notes
Orgel, 1996 ; Madelaine, 2003, pp. 225-238; Bloom, 2000, p.39-72.
Sternfeld, 1963, p.8 ; Lindley, 2006, p.149.
A point made both by Lindley (p.149) and Sternfeld (p.34).
A point made in particular by Stephen Orgel in the foreword to Duffin, 2004, p.13.
« Über einige neurotische Mechanismen bei Eifersucht, Paranoia und Homosexualität », first published in Internationale Zeitschrift Psychoanalyse, Bd VIII, 1922. Translated by Jacques Lacan for Revue française de psychanalyse, 1932, tome V, n° 3.pp 391-401. The article quotes that line in a footnote commenting on jealousy as a projection of one’s own temptation to be unfaithful on the Partner, who is judged to be as worthless as the jealous individual.
See a string of early articles on the subject, starting with Brennecke, 1953.
“But truly the celebrated Desdemona, slain in our presence by her husband, although she pleaded her case very effectively throughout, yet moved [us] more after she was dead, when, lying on her bed, she entreated the pity of the spectators by her very countenance.”Corpus Christi Library, Fulman Papers, fol. 83v - 84r. First published by Geoffrey Tillotson in the Times Literary Supplement, 30 July 1933, p. 494. Translation: Riverside Shakespeare p.1978
See Potter, 2002 ; Neill, 2006, p.100.
eg in, in Yachnin, 1996, p.197-208, in Shapiro, 1998, p. 185. The debate is summed up and discussed by Barker, 2009, p.460–481.
Walen, 2007, pp. 487-508.
See Stern, 2004, 30–32. See also Gurr, 1992, p.177–78.
That this process was long and complicated is known if only through the many jokes on the subject that the literature of the period has left. To quote but one example, in Middleton’s A Mad World, my Masters, one characters about to dress up as a woman claims that “thou shalt see a woman quickly made up here”, to which his partner answers “But that’s against kind, Captain, for they are always long a making ready.” (3.3.72-3)
According to the reading in the 1630 Quarto.
A musical example of this trope is provided in the famous madrigal by Orlando Gibbon, The Silver Swan : “The silver swan, who living had no note, / When death approached unlocked her silent throat”. First Set of Madrigals and Motets of 5 parts (1612), see Ledger, 1978, p.310.
“underneath the grove of sycamore / That westward rooteth from the city's side, / So early walking did I see your son.“ Romeo and Juliet, I-i-142-4.
See the lengthy discussion proposed in Parker, 2002, 101-49, esp. 131-5, and the developments made by Wilson, 2008, p. 177-202.
The Three Ravens was first printed by Thomas Ravenscroft in the song book Melismata. Mvsicall Phansies. Fitting the Covrt, Citie, and Covntrey Hvmovrs. To 3, 4, and 5. Voyces. (1611). See Duffin, p.119-121.
By reference to John Dowland’s celebrated lute solo, that he reworked into the song “Flow my Tears” and to which he provided many consort variations, but that was also set and reset by most Renaissance composers, including William Byrd. According to Davitt Moroney, many continental pieces also use the famous “opening motto theme” with its descending melody that parallels the one in the Willow Song. (see notes to the CD The Complete Keyboard Music of William Byrd, Hyperion, 1999, http://www.hyperion-records.co.uk/dw.asp?dc=W7587_GBAJY9855212&vw=dc)
The King James version of Psalm 137 reads: “1 By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion. 2 We hanged our harps upon the willows in the midst thereof.” For the introduction of willows and the usual association of the with sadness and forsaken love, see Loudon,1838, p. 1513 or Ellacombe,1884, part 1, p.321-3.
Desdemona ... the poor soul sat singing, sing willow, willow, willow, Othello, act IV, scene 3 [graphic] / H. Singleton pinx. ; C. Taylor direxit et sculpt., Folger Shakespeare Library ART File S528o1 no.45 copy 1.
to quote Stéphane Mallarmé’s celebrated line “musicienne du silence” in “Sainte”, Mallarmé, 1998-2003, p.53.
The song of poor Barbara, Othello, act 4, scene 3, The poor soul sat sighing ... [graphic] / R. Redgrave ARA, Folger Shakespeare Library ART File S528o1 no.44
Oil on canvas, approximately 18 x 21.5 inches. Leighton House, London, a sketch in oils for Leighton's contribution to Shakespeare's Heroines, an exhibition mounted by the Graphic in 1888.
Rossetti, Dante Gabriel, British, 1828 – 1882, Desdemona's Death-Song, 1875/1880, black chalk over traces of red chalk on two joined sheets of blue-green paper. National Gallery of Art, Washington, New Century Fund and Paul Mellon Fund. This is one of many versions of the picture, on which Rossetti began work as early as 1872, as the Rossetti Archive demonstrates (http://www.rossettiarchive.org/index.html).
Henri Decaisne (1799-1852), Maria Malibran-Garcia (1808-1836), dans le rôle de Desdémone, à l’acte III de l’Otello de Rossini, 1830 - Huile sur toile – Musée Carnavalet, Paris. See Authier.
There are two versions of Colbran as Desdemona, one a portrait by Pelagio Palagi belonging to the Civico Museo Bibliografico Musicale in Bologna, the other by Johann Heinrich Schmidt in Milan, Museo Teatrale della Scala.
See Merchant, 1969, and Verdier, 1964, pp. 37-45.
Vigny, 1858. The translation was actually written in 1821.
Potter, 2002, p.61.
« peut-être cette romance sera[-t-elle] agréable à quelques personnes, et surtout aux femmes tendres et mélancoliques, qui trouveront du plaisir à la chanter dans la solitude. » Ducis, 1824, p.259.
All quotations from the opera are taken from Gioachino Rossini, Otello, Atto Terzo, http://opera. stanford.edu/iu/libretti/rotello3.html.
As for instance in an illustration of Boccace, De mulieribus claris, France, Cognac, XVe-XVIe siècles, BNF Richelieu Manuscrits Français 599, fol. 42.
Desdemona, en parcourant sa chambre à pas précipités, se trouve auprès de sa harpe, qui, dans les grands théâtres d'Italie, reste immobile au côté gauche de la scène. Le lit fatal est au milieu. Desdemona cède à la tentation de s'arrêter près de sa harpe; elle chante la romance de l'esclave africaine sa nourrice […] Il était difficile de mieux amener ce chant, il faut le dire à la gloire de l'auteur du libretto. Stendhal, 1824,p.301.
See Bury, 2005.
“Golden harp of the prophetic seers,/ why dost thou hang mute upon the willow?”
Alfred de Musset, 1839, p.206.
The opera is entirely set in Venice and follows the Italian literary tradition of Metastasio, with its highly conventional language, which had already become obsolete by 1816. But Rossini told Ignaz Moscheles in 1860 that he had imposed the Dantean lines on his librettist: “He told me he had given much time to the study of Italian literature in his day. Dante was the man he owed most to; he had taught him more music than all his music-masters put together; and when he wrote his "Otello" he insisted on introducing the song of the Gondolier. His librettist would have it that gondoliers never sang Dante, but he would not give in. "I know that better than you," he said, "for I have lived in Venice, and you haven't. Dante I must and will have."” Moscheles, 1899, p.120.
Divine Comedy, Inferno, Canto V, l. 121. Stendhal translates the lines as « Il n'est pas de plus grande douleur que de se souvenir des temps heureux au sein de la misère. » and Musset as “'il n'est pire misère/Qu'un souvenir heureux dans les jours de douleur ?” in his poem Souvenir, published in 1841 in Revue des Deux Mondes, 4ème série, tome 25, 1841,p.568
Mincar, 2010. Mincar quotes Roglieri, 2001, p.83. For a similar response, see Ricci, 1991, p.5-7.
In addition to the George Eliot reference mentioned above, Liszt cited and developed the theme into a full section of his Années de Pèlerinage, Venezia e Napoli: Canzone - a sign of how ubiquitous and beloved it was.
« Quant à la partie de Desdemona, madame Pasta la chante et surtout la joue vingt fois mieux que mademoiselle Colbrand », he writes in Vie de Rossini, p.289.
« Jamais ni la Malibran ni la Pasta n’avaient fait entendre des chants si parfaits de sentiments et d’intonation ».
Many of the different prints based on this painting are collected on the Gallica website: http://gallica.bnf.fr/Search?ArianeWireIndex=index&q=malibran+desdemone&lang=FR&n=15&p=1&pageNumber=22
op.cit. (note 24).
« Concert de Mademoiselle Garcia », p.101.
This is discussed at length for instance in Tadié, 2006.
Etude critique publiée dans la Neue Zeitschrift für Musik du 23 mars 1887.
The birds came flying down from the dark branches / Toward that sweet song.
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