40
U n iv er sity
of
O reg o n M o n t h l y
Nagasaki. Beside her is her beautiful
little child who also stands, with face
pressed against the window.
Throughout this scene the music is
wonderfully expressive of the thought.
At first it is calm and sweet—the expres
sion of trust and hope. The violins
lead in a lovely little theme;—all other
stringed instruments keeping a pleasing
accompaniment and the wind instru
ments agreeing in subdued ipnes;
But as- the night wears on and he
does not come, little Butterfly feels a
great fear. Perhaps he will never come !
So many days of weary waiting have
already passed. Some inner voice which
she cannot still, says, “He will never
come.” The bitterness of it all over
comes her. The violins cry out in a
wail of despair, great crashes of the
kettle drums add to the wild clamor
of complaint of the stringed instruments.
The wind instruments shriek their deep
distress.
Then finally, as if some calming feel
ing had come over Madame Butterfly,—
perhaps' utter weariness, the wa’l les
sens,—the great storm subsides. The
music again becomes subdued, and
throughout the long watch the mourn
ful wail of the violines continues,—un-
mutterably sad,—the expression of the
weariness and hopelessness of a brok
en heart.
—Edna Caufield.
k ABRCW