Lothario is a male given name that came to suggest an unscrupulous seducer of women, based upon a character in The Impertinent Curious Man, a story within a story in Miguel de Cervantes' 1605 novel, Don Quixote.
Don Carlo joins that list of operas that demand that editorial choices be made; Verdi did not leave an autograph score although I gather that the four act version did have his approval. He had nothing to do with the Italian translation. Reprinted New York: E.F. Kalmus, n.d.(1933-70). Verdi’s grand opera Don Carlos is a story of love and devotion conflicting with political and religious upheaval. Lost on a hunting expedition, Elisabeth de Valois runs into the young Prince of Spain, Don Carlos. They immediately fall in love, and are delighted to find out that they are actually betrothed.
The Man Who Was Recklessly Curious[edit]
Don Quixote, Part One contains stories that do not directly involve the two main characters, but which are narrated by some of the picaresque figures encountered by Quixote and Sancho during their travels. The longest and best known story is, El Curioso Impertinente (The Impertinently Curious Man), in Part One, Book Four, chapters 33–35. It is a story-within-a-story that is read to a group of travellers at an inn, about a Florentine nobleman, Anselmo, who becomes obsessed with testing his wife's fidelity and talks his close friend, Lothario, into attempting to seduce her.
In Part Two, the author acknowledges criticism of his digressions in Part One and promises to concentrate the narrative on the central characters. At one point he laments, however, that his narrative muse has been constrained by the change in the writing style.
El Curioso Impertinente summary[edit]
The story within the story relates that for no particular reason, Anselmo decides to test the fidelity of his wife, Camilla, and asks his friend, Lothario, to seduce her. Thinking that to be madness, Lothario reluctantly agrees, and soon reports to Anselmo that Camilla is a faithful wife. Anselmo learns that Lothario has lied and attempted no seduction. He makes Lothario promise to try in earnest and leaves town to make this easier. Lothario tries and Camilla writes letters to her husband telling him of the attempts by Lothario and asking him to return. Anselmo makes no reply and does not return. Lothario then falls in love with Camilla, who eventually reciprocates, an affair between them ensues, but is not disclosed to Anselmo, and their affair continues after Anselmo returns.
One day, Lothario sees a man leaving Camilla's house and jealously presumes she has taken another lover. He tells Anselmo that, at last, he has been successful and arranges a time and place for Anselmo to see the seduction. Before this rendezvous, however, Lothario learns that the man was the lover of Camilla's maid. He and Camilla then contrive to deceive Anselmo further: when Anselmo watches them, she refuses Lothario, protests her love for her husband, and stabs herself lightly in the breast. Anselmo is reassured of her fidelity. The affair restarts with Anselmo none the wiser.
Later, the maid's lover is discovered by Anselmo. Fearing that Anselmo will kill her, the maid says she will tell Anselmo a secret the next day. Anselmo tells Camilla that this is to happen and Camilla expects that her affair is to be revealed. Lothario and Camilla flee that night. The maid flees the next day. Anselmo searches for them in vain before learning from a stranger of his wife's affair. He starts to write the story, but dies of grief before he can finish.
Adaptations[edit]
'Lothario' is also a character in Goethe's novel Wilhelm Meister's Apprenticeship (1795-96) and also in the play, The Fair Penitent (1703), by Nicholas Rowe, based on the earlier seventeenth-century play, The Fatal Dowry (which drew on Cervantes).[1] In Rowe's play, Lothario is a libertine who seduces and betrays 'Calista'; and its success is arguably the source for the proverbial nature of his name in subsequent English culture[2]—as when Anthony Trollope wrote a century later of 'the elegant fluency of a practised Lothario'.[3]
An allusion is made to 'Lothario' in William Faulkner's Absalom, Absalom! when referring to Charles Bon, the proclaimed ladies-man and woman-seducer who is about to marry a woman while already being married.[4]
In The Sims 2, a family from the Pleasantview Neighborhood is named 'Lothario' and a character named 'Don Lothario' is a Don Juan.
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In the opera Mignon by Ambroise Thomas, 'Lothario' is the elderly father of the heroine and in no way a seducer.
The Bart Howard song, famously performed by Frank Sinatra, 'Man in the Looking Glass' contains these lines: 'Where's our young Romeo, the lad who used to sigh? / Who's the middle-aged Lothario with a twinkle in his eye?'; and Lorenz Hart achieves a typically smart yet wistful and poignant triple-rhyme on the name in 'Where's That Rainbow?' The middle eight bars run: 'In each scenario/ You can depend on the end where the lovers agree/ Where's that Lothario?/ Where does he roam with his dome Vaselined as can be?' In the song 'I Guess I'll Have to Change My Plan,' by Howard Dietz and Arthur Schwartz, the singer laments, 'My boiling point is far too low/For me to try to be a fly Lothario.' The song “Who’s That Woman” in Stephen Sondheim’s Follies, contains the lines: “Who’s been riding for a fall?/Whose Lothario let her down?”
Corley is referred to as a 'Lothario' in the short story 'Two Gallants' by James Joyce.
'Lothario' is mentioned in passing in the second chapter of Colson Whitehead's memoir The Noble Hustle.
See also[edit]
Look up lothario in Wiktionary, the free dictionary. |
- Don Juan[5]
- Russell Brand[5]
- Lord Byron[5]
- George Best[5]
Notes[edit]
- ^J. a. G. Ardila, The Cervantean Heritage (2009) p. 6-10
- ^F. Dabhoiwala, The Sexual Revolution (2012) p. 162
- ^R. Gilmour ed., Anthony Trollope, Barchester Towers (2003) p. 286 and 520
- ^Urgo, Joseph R. (2 February 2010). Reading Faulkner: glossary and commentary. Absalom, Absalom!. University Press of Mississippi. ISBN9781604734355.
- ^ abcdThorpe, Vanessa (2013-09-21). 'From Lord Byron to Russell Brand: the timeless appeal of the bad boy'. the Guardian. Retrieved 2018-10-17.
Carlos Prince Of Asturias
Don Carlos Opera Story
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Lothario&oldid=1018192181'
Will Smith
ACT I
The forest of Fontainebleau in France
Don Carlos, son of King Philip of Spain and heir to the throne, is to be married to Elisabeth of Valois, daughter of the King of France. Secretly and against his father's orders, he has joined the party of the ambassador, the Count of Lerma, and gone to France to see his bride.
He has seen her and fallen in love with her and when she loses her way after a hunting party he meets her, gives her his portrait, makes himself known and confesses his love, which is returned.
But their dream of happiness is cut short by the news, brought by the page Thibaut, that it has been decided that Elisabeth should marry Philip. Alhtough she is given an apparently free choice, it is clear that the peace between the two countries depends on her acceptance and she submits.
ACT II
Scene 1: The tomb of the Emperor Charles V at the monastery of San Yuste
Carlos laments the loss of Elisabeth as monks chant the obsequies of the emperor. He thinks he recognises in one of the monks the dead emperor in person.
He is joined by his friend Rodrigo, Marquis of Posa, who exhorts him to help the Flemish people who are suffering under the heavy Spanish yoke. Carlos confides that he loves his stepmother, and the two swear eternal friendship and dedication to the cause of liberty, while Philip and Elisabeth kneel at the tomb.
Scene 2: A garden at the gate of the monastery
The queen's ladies are gathered. The Princess of Eboli, accompanied by the page Thibaut, sings a song. When the queen appears the Marquis of Posa is announced. Along with letters from France he gives her a letter from Carlos. As she reads it he is engaged in polite conversation with Eboli. Posa then begs the queen to intercede with the king for Carlos, who is suffering from his displeasure.
Carlos appears and all withdraw to allow him to be alone with the queen. He begins quietly, asking for her help with the king, but becomes more emotional, lamenting his lost love and collapses at her feet. She is distressed and he recovers and wildly declares that he loves her. She answers indignantly, as becomes the wife of his father, and he rushes from her presence in self-loathing and despair. The king arrives and, angry at finding the queen alone, dismisses the lady who should have been with her and orders her to return to France. Elisabeth takes an affectionate farewell of her and leaves.
The king detains Posa, who is about to go, and asks why he has never sought favor from the king, though he has deserved it. Posa answers that he wants nothing for himself, but begs for peace for the people of Flanders. The king offers peace brought about by the sword, pointing to Spain as an example, but Posa cries out that this is the peace of the grave. Philip pardons his freedom fo speech but warns him against the grand inquisitor. He confides his fears that his wife and son are betraying him and authorises Posa to visit the queen at any time to investigate this suspicion.
ACT III
Scene 1: The queen's garden
Carlos has received a letter giving him an assignation, which he thinks is from the queen; but he finds instead the Princess of Eboli, who is in love with him. Mistaking her at first for the queen, he greets her ecstatically, only to draw back in horror when he realises his mistake. She quickly leaps to the conclusion that it is the queen he loves and threatens exposure.
Posa appears, and after trying unsuccessfully to convince her that Carlos is raving, tries to kill her to stop her from speaking. But he is prevented by Carlos, and she leaves, still threatening vengeance. Posa asks the prince to give him any secret documents he has.
Scene 2: A square in Madrid
An auto-da-fe is in progress and the crowd acclaims the glory of the king, who emerges from church and repeats his vow to have the wicked put to death by fire and the sword. Carlos leads in a group of Flemish deputies who beg for mercy for their country, but the king angrily rejects them as traitors.
Carlos then asks the king to allow him to go to Flanders as his deputy, but the king refuses, claiming that he would then be able to seize the throne. Carlos draws his sword to swear faith with the Flemish people and Philip orders him to be disarmed. Only Posa obeys and demands the sword, which is yielded by the stunned prince. The auto-da-fe continues, but a voice from heaven promises peace to the victims.
ACT IV
Scene 1: The king's study
The king broods that his wife has never loved him. In answer to his summons the grand inquisitor appears and Philip confides his suspicion that the prince is planning rebellion. They agree that he should be handed over to the Inquisition, but then the inquisitor demands that Posa be handed over as a far greater heretic. The king refuses, is denounced by the inquisitor, and then tries to make his peace with him, though resentful that the throne has to always give way to the church.
The queen rushes in demanding justice, as her jewel casket has been stolen. It has in fact been given to Philip, who orders her to open it. The portrait of Don Carlos is revealed and she defends this on the grounds that he had once been promised as her husband. When the king abuses her and accuses her of adultery, she faints and he calls for help. Eboli and Posa appear, the latter reproaching the king for his lack of self-control.
When the two women are left alone, Eboli confesses that it was she who betrayed the queen, jealous because she too loved Carlos, but in vain. The queen pardons her, but when Eboli confesses that she has been the king's mistress, Elisabeth orders her either to a convent or to exile, leaving Eboli to curse the fatal gift of beauty which led to her downfall.
Scene 2: An underground prison
Posa visits Carlos in prison and tells him that the papers he took from Carlos have been found in his possession and have proved him to be the leader of the rebellion. Posa is shot by an officer of the Inquisition and dies happy that he has been able to preserve Carlos to save Flanders. He tells him that Elisabeth will explain everything to him the next day at the emperor's tomb.
Philip, accompanied by grandees, appears and offers Carlos back his sword, but he accuses his father of the murder of Posa, whose death the king also mourns. The people are threatening revolt unless the prince is set free. The king orders the gates to be opened and they surge in, but are subdued when the grand inquisitor orders them to kneel before their king.
ACT V
The tomb of Charles V at San Yuste
Elisabeth kneels in prayer at the tomb. She remembers happier days in France, and prepares to see Carlos for the last time. When he arrives he declares that honor has vanquished love and that he is ready to go to Flanders. They promise to meet in a better world, but their farewell is interrupted by the king, with the grand inquisitor and officers of the Inquisition.
Carlos draws his sword to defend himself but is suddenly drawn into the monastery by the mysterious monk, his disguise thrown off, now revealed as the emperor.
The forest of Fontainebleau in France
Don Carlos, son of King Philip of Spain and heir to the throne, is to be married to Elisabeth of Valois, daughter of the King of France. Secretly and against his father's orders, he has joined the party of the ambassador, the Count of Lerma, and gone to France to see his bride.
He has seen her and fallen in love with her and when she loses her way after a hunting party he meets her, gives her his portrait, makes himself known and confesses his love, which is returned.
But their dream of happiness is cut short by the news, brought by the page Thibaut, that it has been decided that Elisabeth should marry Philip. Alhtough she is given an apparently free choice, it is clear that the peace between the two countries depends on her acceptance and she submits.
ACT II
Scene 1: The tomb of the Emperor Charles V at the monastery of San Yuste
Carlos laments the loss of Elisabeth as monks chant the obsequies of the emperor. He thinks he recognises in one of the monks the dead emperor in person.
He is joined by his friend Rodrigo, Marquis of Posa, who exhorts him to help the Flemish people who are suffering under the heavy Spanish yoke. Carlos confides that he loves his stepmother, and the two swear eternal friendship and dedication to the cause of liberty, while Philip and Elisabeth kneel at the tomb.
Scene 2: A garden at the gate of the monastery
The queen's ladies are gathered. The Princess of Eboli, accompanied by the page Thibaut, sings a song. When the queen appears the Marquis of Posa is announced. Along with letters from France he gives her a letter from Carlos. As she reads it he is engaged in polite conversation with Eboli. Posa then begs the queen to intercede with the king for Carlos, who is suffering from his displeasure.
Carlos appears and all withdraw to allow him to be alone with the queen. He begins quietly, asking for her help with the king, but becomes more emotional, lamenting his lost love and collapses at her feet. She is distressed and he recovers and wildly declares that he loves her. She answers indignantly, as becomes the wife of his father, and he rushes from her presence in self-loathing and despair. The king arrives and, angry at finding the queen alone, dismisses the lady who should have been with her and orders her to return to France. Elisabeth takes an affectionate farewell of her and leaves.
The king detains Posa, who is about to go, and asks why he has never sought favor from the king, though he has deserved it. Posa answers that he wants nothing for himself, but begs for peace for the people of Flanders. The king offers peace brought about by the sword, pointing to Spain as an example, but Posa cries out that this is the peace of the grave. Philip pardons his freedom fo speech but warns him against the grand inquisitor. He confides his fears that his wife and son are betraying him and authorises Posa to visit the queen at any time to investigate this suspicion.
ACT III
Scene 1: The queen's garden
Carlos has received a letter giving him an assignation, which he thinks is from the queen; but he finds instead the Princess of Eboli, who is in love with him. Mistaking her at first for the queen, he greets her ecstatically, only to draw back in horror when he realises his mistake. She quickly leaps to the conclusion that it is the queen he loves and threatens exposure.
Posa appears, and after trying unsuccessfully to convince her that Carlos is raving, tries to kill her to stop her from speaking. But he is prevented by Carlos, and she leaves, still threatening vengeance. Posa asks the prince to give him any secret documents he has.
Scene 2: A square in Madrid
An auto-da-fe is in progress and the crowd acclaims the glory of the king, who emerges from church and repeats his vow to have the wicked put to death by fire and the sword. Carlos leads in a group of Flemish deputies who beg for mercy for their country, but the king angrily rejects them as traitors.
Carlos then asks the king to allow him to go to Flanders as his deputy, but the king refuses, claiming that he would then be able to seize the throne. Carlos draws his sword to swear faith with the Flemish people and Philip orders him to be disarmed. Only Posa obeys and demands the sword, which is yielded by the stunned prince. The auto-da-fe continues, but a voice from heaven promises peace to the victims.
ACT IV
Scene 1: The king's study
The king broods that his wife has never loved him. In answer to his summons the grand inquisitor appears and Philip confides his suspicion that the prince is planning rebellion. They agree that he should be handed over to the Inquisition, but then the inquisitor demands that Posa be handed over as a far greater heretic. The king refuses, is denounced by the inquisitor, and then tries to make his peace with him, though resentful that the throne has to always give way to the church.
The queen rushes in demanding justice, as her jewel casket has been stolen. It has in fact been given to Philip, who orders her to open it. The portrait of Don Carlos is revealed and she defends this on the grounds that he had once been promised as her husband. When the king abuses her and accuses her of adultery, she faints and he calls for help. Eboli and Posa appear, the latter reproaching the king for his lack of self-control.
When the two women are left alone, Eboli confesses that it was she who betrayed the queen, jealous because she too loved Carlos, but in vain. The queen pardons her, but when Eboli confesses that she has been the king's mistress, Elisabeth orders her either to a convent or to exile, leaving Eboli to curse the fatal gift of beauty which led to her downfall.
Scene 2: An underground prison
Posa visits Carlos in prison and tells him that the papers he took from Carlos have been found in his possession and have proved him to be the leader of the rebellion. Posa is shot by an officer of the Inquisition and dies happy that he has been able to preserve Carlos to save Flanders. He tells him that Elisabeth will explain everything to him the next day at the emperor's tomb.
Philip, accompanied by grandees, appears and offers Carlos back his sword, but he accuses his father of the murder of Posa, whose death the king also mourns. The people are threatening revolt unless the prince is set free. The king orders the gates to be opened and they surge in, but are subdued when the grand inquisitor orders them to kneel before their king.
ACT V
The tomb of Charles V at San Yuste
Elisabeth kneels in prayer at the tomb. She remembers happier days in France, and prepares to see Carlos for the last time. When he arrives he declares that honor has vanquished love and that he is ready to go to Flanders. They promise to meet in a better world, but their farewell is interrupted by the king, with the grand inquisitor and officers of the Inquisition.
Carlos draws his sword to defend himself but is suddenly drawn into the monastery by the mysterious monk, his disguise thrown off, now revealed as the emperor.