Els sistemes de gestió de la cadena de subministrament

One of the most striking features in the libretto is the repetition of words/word units at a more local level, and across the libretto as a whole. As one of the key literary techniques of the opera, repetition does not escape a single character. Various types of repetition are used to put the emphasis on certain elements in the libretto. The simplest example of the repetition is its use in order to highlight the relationships between the characters: tatič_{ku (daddy), dít}ĕ _{(child), tetko (auntie) sest}ř_ič_{ko (little sister)}

and strýč_{ku (uncle).}159 _{These nouns are all in the vocative case, referring to a person being addressed.}

The simple repetition is enriched, either with interjections or by adding more information that creates a feeling of disbelief: in Act I, Vodník says ‘Dítě _dítĕ_{, z noci do noci tvoje sestry budou pro t}ě _plakat!’ (‘Child, child, night after night your sisters will cry for you!’). Another way to emphasise incredulity could be found in the opening scene of Act II. With repetition, the Gamekeeper and the Turnspit show their disbelief about the situation in the castle: ‘to by byla, to by byla, to by byla č_{istá žena!’ (‘she} would be, she would be, she would be a perfect woman’). To intensify characters’ wishes, intentions or feelings, Kvapil uses the repetition of entire sentences or clauses. Rusalka’s aria ‘Sem č_asto př_{ichází’ is a perfect example of this kind of repetition, since she emphasises her wish to be intimate} with the Prince.

The other noticeable use of repetition is in the form of the imperative: ‘Mě_síč_{ku, nezasni,} nezhasni!’ (‘Oh moon, do not fade, do not fade!’), ‘Pomoz mi pomoz, zázrač_{ná ženo!’ (‘help me, help}

159 _{Stich, ‘Kvapilova Rusalky, 28}

me, oh wondrous woman!’), ‘Spas mne, spas’ (‘Save me, save me’).160 _{The imperatives end the story}

of Rusalka and her Prince, as he asks her to kiss him (libej me) therefore kill him and she tells him that she must destroy him (‘musím tě_{, musím zahubit’).}

2.5.1 Rusalka, Vocatives and Imperatives

The repetition of vocative nouns and the imperatives emphasises one important feature of the libretto: that is, as Stich points out, the characters’ need for contact that cannot be found.161 _{Therefore, when}

Stich mentions the use of vocatives and imperatives in order to emphasise the need for contact, we can assume he means Rusalka’s urge for contact specifically. The libretto affirms this idea, as Rusalka is never able to connect with the Prince the way she wanted. Rusalka’s use of imperatives and vocatives creates an interesting effect on us as the readers. As we read the story, we see that repetition is futile. This futility makes us connect with Rusalka, as we desire to react upon her imperatives and vocatives ourselves and communicate with her.

Both the vocative case and the imperative are used for direct address. Even though all the characters repeat vocatives and imperatives, their use differs from Rusalka’s, as their use is always directly or indirectly related to Rusalka and her situation. For example, Vodník’s vocative ‘ubohá Rusalko bledá’, which is directed at Rusalka, echoes throughout the opera and affects the reader’s reception of the protagonist. Some of the repeated vocatives and also the repetition in succession, especially in the case of the Gamekeeper and the Turnspit sound like everyday speech. Most of the Prince’s vocatives and imperatives are directed at Rusalka - his final one, libej me (kiss me) is fulfilled by her. Additionally, since the entire story is told from Rusalka’s perspective, in a way, all of the directives come from her subjectivity.

160 _{Ibid, 28}

2.6 Conclusion

In the analysis of the narrative, I have placed Rusalka within Freud’s model of the psyche in order to depict her inner conflict in Act I and II. The inner conflict remains unresolved, as she ends in an aporetic state, stuck between the two worlds, natural/human or unconscious/conscious. I have also pointed to the importance of repetition, mainly the use of vocative nouns and imperatives, for the libretto’s literary structure. This repetition, evident in Rusalka’s vocabulary in Act I, leads to a state of silence and in Act III to the Prince’s death. But repetition itself is also revealed is futile, as it leads her to sacrifice, and to turn the Prince into her first victim. With repetition, Kvapil emphasises the protagonist’s pain and the inevitable tragic finale to the maximum. With her final transformation into a will-o-the-wisp, she constantly wanders and repeats the same task of luring men into their death.

In the chapter on the music that ensues, we will see that the idea of repetition, which I posit as so essential to Rusalka/Rusalka, continues to be of central importance. However, the nature of the repetition in music differs in essential ways from way repetition in the text functions. After laying out the way the musical repetition functions, I will connect the musical repetition with psychological concepts of desire and the death drive, as explained by Žižek and Salecl. By connecting these concepts with the repetition in music, I will discuss how together they reveal another facet of Rusalka’s nature. An analysis of repetition in music will demonstrate ways in which Rusalka expresses her subjectivity and an impact it has on us as the listeners.

Chapter Three: The Music