Verdi's opera "Aida" is one of the most famous and popular works of musical theatrical art. It has an interesting history of creation and an entertaining plot. Although the summary of the opera Aida presented in this article does not convey all the details of what happens on stage during its productions, it will help to better understand this performance for those who are going to see it for the first time.

History of creation

In 1868, the Egyptian government decided to commission an opera by Giuseppe Verdi. Its premiere on the stage of the newly built Opera House in Cairo was supposed to be part of the celebrations on the occasion of the opening of the Suez Canal. Because of his busyness, the composer delayed the answer for a long time, and only two years later he began writing Aida.

The short script that Verdi offered as the basis for this work was written by the French Egyptologist Mariette, who at that time lived in Cairo. He decided to use a legend he had read after deciphering an ancient papyrus found in one of the tombs.

She talked about the struggle of the pharaohs against Nubia (Ethiopia), which lasted several decades. In addition, Mariotte painted several drawings based on the frescoes he found. They were later used to make sets and costumes for the premiere and subsequent productions. On the basis of the script by Mariotte C. du Locle wrote a prose summary of the plot of the play "Aida" (opera). The libretto, a summary of which is presented below, needed to be improved, since the arias had to be written in verse.

Antonio Ghislanzoni

Everyone knows that one of the most remarkable works of Giuseppe Verdi is the opera Aida. At the same time, the name of Antonio Ghislanzoni, who created her libretto, is known only to specialists. It is interesting that this man, being the owner of a pleasant baritone voice and an undoubted literary talent, for a long time could not find something to his liking. Having changed many professions, only by the age of 30 he became an employee of the Milanese music publication Italia musicale, which he later headed. Along with this, he wrote several novels devoted mainly to the theater. Being a great admirer of opera art, Antonio Ghislanzoni became interested in writing the libretto. His most famous work was the opera "Aida" (it can be briefly retold in a couple of minutes). In addition, he is the author of another 80 librettos.

A few words about Verdi

Although the topic of this article is "Aida" (opera): summary "- a few words should be said about the great composer who created this musical masterpiece.

Giuseppe Verdi is the author of many works that are popular all over the world. By all accounts, his work can be considered the greatest achievement in the world of opera, as well as the culmination of the Italian opera of the 19th century. The best works of the composer are Un ballo in maschera, Il trovatore, Rigoletto and La traviata. However, according to critics and connoisseurs, the pinnacle of Verdi's work is his latest operas, Othello, Aida and Falstaff. It is known that the composer was very picky about the choice of the plot of the libretto and took into work only those scripts that allowed him to show his talent to the maximum.

"Aida" (opera), a summary of which will be presented later, was written by him only after he had read the outline in Locle's prose. The composer was interested in the plot inspired by an ancient legend written on papyrus hidden in the tomb. He set to work and created an immortal piece of music, which still has many fans today.

Summary of the opera "Aida": first act

The high priest of the god Fta and the head of the guard, Radames, are talking about the attack of the barbarians on the border regions of the country. The young military leader is overwhelmed with the desire to become the head and lead the campaign against the Ethiopians who invaded the country. In case of victory, not only glory and honors await him, but also the opportunity to ask his master for freedom for the slave Aida, with whom he has long been in love.

Radames' dreams are interrupted by the pharaoh's daughter Amneris. She dreams of winning the heart of the head of the palace guard and suffers because of his coldness. Aida enters. She exchanges passionate glances with Radames, which does not escape the attention of Amneris. The princess, tormented by jealous doubts, plots to punish her slave rival.

The pharaoh and his retinue appear on the square in front of the palace. A messenger approaches him, who tells that the lands in the south-east of the country have been devastated by an army of barbarians led by the Ethiopian king Amonasro. Aida is horrified when she hears her father's name.

The pharaoh announces to the people the will of the goddess Isis, according to which the troops sent against the invaders should lead Radames into battle. Aida understands that soon her lover and father will meet on the battlefield as opponents and, possibly, will die at the hands of each other.

The girl prays to the gods for death, because she does not want to witness the death of either one or the other.

In the temple of Fta, the priests perform the rite of human sacrifice and hand Radames a sword, which was stained with the blood of an Ethiopian.

The plot of the opera "Aida": a summary of the second act (first picture)

Amneris looks forward to the return of Radames. Young Egyptian aristocrats gathered in the princess's chambers. To satisfy their anger, they kill a captive black Ethiopian. Aida enters. Seeing her, the princess again experiences the pangs of jealousy. To confirm his suspicions, Amneris informs Aida that Radames is dead. The girl does not hide her grief, and the angry daughter of the pharaoh threatens her with terrible punishment.

Scene two (1st act)

On the square in Thebes, the people enthusiastically meet the Egyptian troops. A march from the opera "Aida" sounds. The captives pass before the king and his retinue. Among the Ethiopian slaves, Aida recognizes her father, Amonasro. He asks his daughter to pretend that she does not know him, and informs the pharaoh that he is allegedly one of the soldiers of the Ethiopian leader who died on the battlefield. Amonsaro, along with other captives, beg for mercy and mercy. Seeing the tears of his beloved, Radames asks the pharaoh to release the Ethiopian captives. The ruler of Egypt decides to leave only Aida and Amonsaro as hostages and announces his decision to give his daughter as a wife to Radames. Amneris triumphs, and the warlord and his lover realize that they will never be together.

Act Three

The princess is preparing to marry Radames. She, along with the servants and the head priest, goes to the temple. There she prays to the gods that the groom will love her as much as she loves him.

At this time, on the banks of the Nile, Hades awaits Radames. She decides to throw herself into the river if her lover says that they need to part. The girl longingly recalls her homeland, where she is unlikely to ever be able to get.

Instead of Radames, Amonasro appears. He says that he learned about his daughter's love for his sworn enemy and demands that Aida find out from Radames the route of the Egyptian army heading to punish the Ethiopians.

Aida refuses in horror, and the enraged Amonasro curses her, calling her a slave of the pharaohs who betrayed her homeland, blood and people. Tormented by her father's reproaches, the girl promises to help him.

Radames appears, he hopes to return once again with a victory and ask for Aida as a reward. He could not fulfill this intention after the first campaign, since he had to beg mercy from the pharaoh for Amonasro and the captured Ethiopians.

All his hopes are dashed when Aida says that she can only be happy if he agrees to run away with her to Ethiopia. She learns from Radames the road along which the Egyptian army must pass. Amonasro overhears their conversation. He comes out of hiding and informs Radames that he is Aida's father. The Egyptian commander is horrified, as he realizes that he has become a traitor. The Ethiopian persuades him to run away with him and his daughter. At that moment, Amneris, the high priest, and servants enter. Amonasro flees, dragging Aida with him. Radames is arrested, as he does not deny that he revealed military secrets to the enemy.

After that, he, the priests, Amneris and other characters of the play "Aida" (opera), a summary of the first three acts of which you know, go to Memphis.

act four

In the dungeon, Amneris comes to the former groom, begging him to admit his guilt. She promises to spare his life if he refuses Aida. However, Radmes replies that love is dearer to him than honor and life. Amneris threatens Radames with vengeance, and at the same time prays to the gods for his salvation.

The High Priest pronounces judgment. According to his decision, the traitor will be buried alive under the altar of the god Fta.

Hearing that Radames must die a painful death, Amneris curses the priests.

Before his death, Radamès indulges in dreams of Hades. Aida suddenly appears, having infiltrated the dungeon to die with Radames.

The priests are singing. Slaves block the entrance to the dungeon. In the last picture, which ends "Aida" (opera), above the stone that closes the entrance to the dungeon, Amneris prays to the gods for peace and tranquility.

Music (1-2 acts)

The main feature of works of operatic art is that melodies are used as a tool for conveying emotions, creating the right atmosphere, etc. actor. In addition, many arias, romances and marches are performed today as separate concert numbers. Among them:

• An orchestral introduction in which the composer succinctly outlined the main conflict of the drama. For this purpose, the fragile melody of the violins is used, creating the image of a loving, feminine Aida, and a formidable melody chosen for the priests. It captures the whole orchestra, but in the end gives way to the theme of love.
• Romance by Radamès "Sweet Aida", which is accompanied by gentle solos and expresses the feelings of the young commander for the unfortunate slave.
• Tercet of Radames, Amneris and Aida, conveying the anxious moods and confusion of all three heroes.
• Solemn march "To the banks of the sacred Nile", expressing the power of Egypt.
• Aida's solo part "Come back with victory to us", which conveys the spiritual struggle of the heroine and ends with the prayer "My Gods".
• Chorus of priests, which begins with the words "Gods, give us victory." He always makes a big impression on the audience. This number is not at all like the transparent chorus of the Pharaoh's daughter's servants that follows it, which is interrupted by Amneris's passionate remarks. To emphasize the atmosphere of the female half of the royal palace, the audience is shown a dance of Moorish slaves.
• The expanded duet of Aida and Amneris is a dramatic clash of these heroines. In it, the imperious, proud melodies performed by the daughter of the pharaoh are contrasted with the mournful remarks of the Ethiopian slave. The central section of the duet, in which the unfortunate woman prays for forgiveness, expresses the loneliness and despair of the heroine.
• The Memphis choir march, the hymn of the priests, and the dance with the jewels are used to represent the popular jubilation.
• Aria Amonasro characterizes the king of the Ethiopians, who passionately expresses his love for life.

Music (3-4 acts)

Orchestral introduction through transparent, quivering melodies recreates the atmosphere of the Egyptian night. Aida's romance "The sky is azure and the air is clear" sounds, in which the voice part is intertwined with the tune of the oboe. This is followed by a duet between Aida and her father. In the course of this number, the initial soulful melody is replaced by a warlike, stormy melody of the curse of an Ethiopian commander.

The duet of Aida and Radames is a fusion of strong-willed, heroic moods of the warrior-hero and the calls of his sad lover, which are accompanied by the melancholy melody of the oboe.

In the first picture of the 4th act, Amneris belongs to the central place. In 2 large scenes, the spiritual world of the princess of Egypt is revealed, engulfed in love, jealousy and a thirst for revenge. Further, Amneris and Radames perform a gloomy and tragic duet.

The denouement of the plot of the opera comes in the scene of the trial of Radames. Verdi combined the harsh theme of the priests and the impassive chorus, muffled from the dungeon. They are opposed by the mournful remarks of Aida, praying "Gods, have mercy" and the menacing sounds of the sentence.

The most beautiful and memorable musical number of the opera is the farewell duet of Aida and Radames, which is full of enlightened and airy melodies.

Now you know how Verdi's opera Aida was created. You also know the summary of the libretto, and you can not only enjoy the performance of the parts of this work by stars of the first magnitude, but also understand what they sing about and what emotions they seek to convey to the audience.

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 the very rigidly developing plot, like a fairy tale; This plot allows for conventions. Thirdly, although the opera is named after Aida, Aida is not the only protagonist: the states in which the hero becomes either the protagonist or the 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 be identified 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 Ethiopia, father of Aida - baritone
messenger - tenor
Priests, priestesses, ministers, military leaders, soldiers, dignitaries, slaves and captive Ethiopians, the Egyptian people.
The action takes place in Memphis and Thebes during the time of the power of the pharaohs.
* * *
STEP 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 depths there is a large arch; through it the temples and palaces of Memphis, as well as the pyramids are visible. Radames and Ramfis are talking to each other.)
THE PROTAGONIST IS RADAMES.
RAMFIS
Yes, the rumor got around that the Ethiopian is arrogant
so daring that the Nile valley
and Thebes began to threaten.
I prayed to Isis all day long.
RADAMES
And what did the goddess say to the priest?
RAMFIS
She showed us who Egypt
should be the chief commander.
RADAMES
Happy chosen one!
RAMFIS
(looking meaningfully at Radames)
He is young, but full of valor.
Gods decision I will convey to the king.
(Exits.)
The situation is such 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 Spirit archetype that have already become inert, automatically acting, mysterious and independent. The power of Ramfis, as we shall see later, is very great.
RADAMES
Ah, if only I were chosen...
And my prophetic dream would come true!
(with enthusiasm)
I would lead the regiments of the Egyptians against the enemies ...
And here is the victory ... Memphis applauds in delight!
I will return to you, Aida, in a wreath of laurel glory,
I say: “Only for you I have achieved victory!”
Dear Aida, the radiance of the sun,
Nile valley marvelous flower.
You are the joy of the heart, you are the hope,
my queen, you are my life!
Soon you'll see blue skies
in your homeland you will be again.
You will return to your native land again,
I will return your freedom! Oh!
Dear Aida, the radiance of the sun,
Nile valley lotus alive.
Your image is full of charm,
brighter than the stars is your gaze of fire.
You will soon see native mountains,
see your country again.
You will forget the chains of shame
I will return my freedom again, dear.
I will return freedom again!
(Amneris enters the hall.)
Ramfis' 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 Animus Radames. Until this happens. In addition to him, Radames is also affected by the position of Aida. We are talking about the captive soul of Radames, about the release 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
Unusual joy burns your eyes,
your eyes, like lightning, sparkle with fire!
I have the right to envy that beautiful maiden,
which you are your dreams and heart
ready to give, obeying love!
RADAMES
I had a strange dream -
that's the reason for the excitement.
Now the goddess will show us that leader,
who will lead the brave Egyptians to the glory.
Oh, if I were worthy of this honor!
AMNERIS
Have you had another dream?
The dream is sweeter, and more tender, and dear to the heart -
Is it not in Memphis that all desires and hopes are?
Amneris claims at least an illusory power over his feelings, and this greatly alarmed Radames.
RADAMES
(inwardly)
How! What do I hear?
Suspects a secret, discovered my love!

AMNERIS
(inwardly)
I know... Another feeling
owns his soul and heart!

Amneris is now alarmed too

RADAMES
(inwardly)
The secret that I hide
she wants to know.

AMNERIS
(inwardly)
I will take revenge if the secret
he hides from me.
Mercy, no forgiveness!
(Aida enters.)
It is not yet about love, but about how free Radames is in his feeling. Controlling, Amneris acts as befits a negative Anima in relation to Radames - she manages to frighten him and find out what he seemed to be securely 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? Cause of sorrow, cause of sorrow
tell me my friend.

AIDA
(lowering his eyes to hide his excitement)
Alas, everything breathes malice:
war threatens disaster.
I cry for my country
for myself, for you I'm scared!

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)
Eyes flashed with anger...

He is psychologically frozen, inactive and anxious, or is in a quiet panic. This state is similar to the adhesion described by Schwartz-Zalant - and it is extremely difficult to remain, and it is impossible to break contact. From the priest, the bearer of the projections of the archetype of the Spirit, he remained independent, and the reason for this is his feeling for Aida. And now they affect his feelings. Now, when a love triangle is being formed, we do not see any of the characters acting as a 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 distinguish these influences. If it were not for the conventions of the operatic plot, all remarks "aside" would be inarticulate, perseverations. Hence the primitiveness of Amneris's manipulation; it is through this strange influence that such a conspicuous ruse becomes effective. Hence the strange paralysis of Radames. There are no protagonists, subjects here, and feelings develop in a straight line.

AMNERIS
(inwardly)
Oh, woe to the criminal slave!

RADAMES
(inwardly)
She is watching us.

AMNERIS
(inwardly)
I know the secret of the heart!

RADAMES
(inwardly)
If she knows love
what we hide
she will take revenge on us,
take revenge on her.
Follows us!
Woe, if our
she discovered love!
She is ready to take revenge!
Face flashed with anger
she is ready to take revenge!
Eyes glowing with anger
she is ready to take revenge!

AMNERIS
(to Aida)
Why are you shedding tears?
(inwardly)
There is no faith in her words.
Slave of criminal grief!
I will take revenge!
I recognize your sadness
and terribly revenge!

The experiences of the heroes are now practically no different from paranoia. There is the persecuted (Radames) and the persecutor (Amnertis). At the same time, Radames is very vulnerable, since he does not separate himself from Aida, he is merged with her. Aida seems to speak as frankly as she can, and she does not share this paranoia: her state is natural, it is horror and grief.

AIDA
(inwardly)
Oh no! The heart suffers not for the native land,
not for the homeland.
I shed tears, I cry bitterly,
I cry for my love.
I cry, I suffer for my love.
(The King enters, preceded by the guards, accompanied by Ramfis, priests, commanders and courtiers.)
Since Radames' feelings are now known to her, Amneris tries to influence Aida. What she does is outright manipulation, feigned sympathy, and we will see further that Aida is not very good at resisting manipulation in general. She understands what is happening, there is no question of naivety here - therefore, Amneris's influence arises from something else. Amneris allegedly offers help, and this worked on Aida. The royal daughter acts as a false emotional resource. Since Aida is caught in her manipulation, we can assume that Amneris is projected onto the shadow sides of Aida's personality, associated with purely feminine ways of ruling, intriguing. Intrigue is one of the favorite means of influence that is used when a woman is possessed by an Animus. Since Amneris is morbidly 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 form 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 to us here,
he brought terrible news.
We were attacked...
(to one of the dignitaries)
Let the messenger in here!
(Messenger enters.)
MESSENGER
The troops of the king of the barbarian Ethiopians threaten the Egyptians.
All our fields are like a desert...
The fields are on fire.
Proud of my easy victory,
villains boldly rushed to Thebes.

What audacity!
MESSENGER
Bloodthirsty, cruel their ruler
Amonasro leads them into battle!
RADAMES, KING, RAMPHIS, PRIESTS, MINISTERS AND MILITARY LEADERS
The king himself!
AIDA
(inwardly)
My father!

MESSENGER
Thebes revolted; all citizens with weapons
go towards the enemy
they threaten war, they threaten the villains with death.
TSAR
Enemies of the fatherland only death and revenge!
RADAMES, KING, RAMPHIS, PRIESTS, MINISTERS AND MILITARY LEADERS
Revenge! Revenge! Revenge on enemies!
Death, death without mercy!
TSAR
(approaching Radames)
We were called by the goddess, sacred Isis,
the one who will lead the troops to battle:
Radames.

AIDA, AMNERIS, MINISTERS AND MILITARY LEADERS
Radames!
RADAMES
Ah, thank you, gods!
My dreams have come true!

AMNERIS
(inwardly)
He is chosen! He is chosen!

AIDA
(inwardly)
I'm trembling, I'm trembling!

MINISTERS AND COMMANDERS
Radames! Radames!
TSAR
Our commander is brave, in the temple of Isis
take the holy sword
lead the troops to victory!
To the banks of the sacred Nile
the gods show us the way
the gods will multiply our strength!
Death without mercy, death to all enemies!
RAMFIS
Gods bless you
dangerous long way.
Send prayers to them
to give you victory.
MINISTERS AND COMMANDERS
Our holy bank of the Nile
we will protect our chest,
the gods will multiply our strength;

RAMFIS
To the gods of prayer, you send prayers,
send prayers so that they give you victory.
TSAR
Yes, to the banks of the sacred Nile
the gods show us the way
and they will multiply our strength for us;
without mercy death to enemies!
AIDA
(inwardly)
Why do I weep bitterly and suffer?
Ah, love has ruined me.

RADAMES
The heart is full of a thirst for revenge:
everywhere you hear the groan of the people,
he calls for victory!
Revenge, revenge and death to all enemies!
AMNERIS
(passing the banner to Radames)
Glory awaits you, chosen one!
Here, take the holy banner -
let it lead and illuminate
way to defeat 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 death to all enemies.
RAMPHIS AND THE PRIESTS
Gods send blessings
dangerous long way.
Send prayers to them
to give us victory.
MINISTERS AND COMMANDERS
Our holy bank of the Nile
we will protect our breasts.
The gods will give us strength.
Revenge, revenge and death to all enemies!
MESSENGER AND RADAMES
Awaiting victory over enemies
death and death, death to the enemies!
AMNERIS
Let him lead to victory over the enemy!
AIDA
Oh, why do I cry so bitterly?

RADAMES, AMNERIS, KING, RAMPHIS, MESSENGER, PRIESTS, MINISTERS AND MILITARY LEADERS
Revenge! Revenge!
Doom and death to the enemies!
AIDA
I gave my heart to a stranger and an enemy.
AIDA, AMNERIS, KING, RAMPHIS, MESSENGER, PRIESTS, MINISTERS AND MILITARY LEADERS
Come back with a victory to us!
(Everyone leaves except Aida.)
AIDA
Come back with a victory to us!
In my mouth this word is criminal!
Victory over my father!
Father raised a weapon against them,
to return my homeland,
my kingdom, proud name,
What am I supposed to hide here?
Radames will destroy his father...
And I will see him in a chariot
stained with blood.
All Egypt rejoices!
Behind the chariot is the king himself,
my father, in iron shackles!
Crazy word, oh gods, forgive me!
You will return the daughter to the father's heart!
Oh gods, I beg you, scatter
and turn all enemies to dust!
Oh, what did you say, oh gods!
Love forgot... Yes, I forgot love
and dream of revenge!
Love lit 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 for love I suffer so terribly!
And I don't dare openly, freely
names, dear to me, to name in front of everyone.
Father and dear! Trembling for both...
I only shed tears, pray to the gods ...
But the gods themselves can not help me -
because I love the enemy of my country.
I have no forgiveness and no consolation,
It's easier to die than to suffer like this.
My gods! Have pity, please
my heart is full of pain,
my gods, I beg you:
I can't live, send me death!
My gods, I beg you, I beg you
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 so far. A powerful mass process is unfolding around her, and she will not be able to participate in this enthusiasm. It is the enthusiasm of the Egyptians that makes its duality so clear. She remains alone, confronted with necessity - and the impossibility of choice. Amneris and Radames act together here, collective influences prevail over them. Since he becomes the leader of the campaign, he finds himself in the role of a carrier of projections of the collective state of mind (when leading the troops, he will have to take care of the spirit of the soldiers), 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 the trouble is: both the enthusiasm and the feelings of the Egyptians are now extremely alien to her. While Radames plays the role of a symbol of rallying power and success for the court crowd, Amneris controls the feelings of the crowd and becomes an opponent for Aida - because of her calls, because of her strong and primitive appeals for revenge and victory, Aida's experiences become extremely definite, and the conflict is revealed . 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 correctly she catches other people's feelings - both in the crowd and in the relationship between Radames and Aida. Could one speak of Amneris as an image of a female Person? Maybe yes. But, since this is the king's daughter, Persona must be second nature to her. This Aida, after losing her royal status, can afford a special inner world. She seems to be obsessed with her role herself.

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, an altar with sacred utensils. Incense is smoking on golden tripods. At the foot the altar priests led by Ramfis, in the depths of the temple - priestesses.)
This is an official ceremony. Here the influences of the Anima are replaced by more strict, calm and confident influences of the hard, ritualized sides of the Spirit archetype. The official power of Ramfis becomes clear. The main role in the rite is played by the great Priestess. She directs correctly those influences of the Anima that were previously in the invocations of Amneris. The priest becomes the second person under the priestess - the one who realizes divine influences for people by performing a certain rite. 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
You come down to us!
RAMPHIS AND THE PRIESTS
You created from chaos
earth and heaven,
you come down to us!
GREAT PRIESTESS
Almighty, great god,
life-giving spirit of the universe!
PRIESTESSES
You come down to us!
RAMPHIS AND THE PRIESTS
You created everything that lives
you are the creator of everything
you come down to us!
GREAT PRIESTESS
Light unchanging, eternal light,
the sun is on you!
PRIESTESSES
You come down to us!
RAMPHIS 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 are dancing a sacred dance. Radames enters without weapons and goes to the altar. A silver veil unfolds over his head.)
Almighty God!
RAMPHIS AND THE PRIESTS
Come down to us!
RAMFIS
(to Radames)
Gods beloved mortal,
to you we all entrust 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 in your hand frighten his enemies...
RAMPHIS AND THE PRIESTS
...the horror of death.
RAMFIS
Gods, give us victory
send death to the enemies!
God, you are our protector
you will not let your enemies win.
RADAMES
Gods, give us victory
send death to the enemies!
God, you are our protector
protect faithful sons from troubles.
RAMFIS
Give victory!
God, you are our patron;
people, our god, do not give to enemies.
PRIESTS
Gods, give us victory!
RAMPHIS AND THE PRIESTS
God, you will protect us
Save us from our enemies!
Our holy homeland of strength,
give courage in the fight!
RADAMES
Protect us, give us strength in the fight!
PRIESTESSES
(away)
Almighty, great god,
instilling life in all,
eternal, all-powerful spirit,
great God!

RADAMES, RAMPHIS AND THE PRIESTS
Almighty God, you are a life-giving spirit,
you who created the whole world out of chaos,
who created earth and sky,
we call on you!
We beseech you, great god!
Radames is a very decent and traditional person; he seems to have a hard time with contradictions: 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 up, and for some time he felt transparent; Amneris was just as transparent to him. Perhaps his call to a new post gave him relief - because both during the scene in the temple and during the campaign he was under the quite definite influence of the warlike spirit of the empire of Egypt, and the contradictions associated with his love temporarily receded. In general, the life of Radames in the opera is fragmented, the influences of different archetypes so far appear sequentially. This cannot be said about the experiences of Aida, nor about the state of Amneris. Aida's condition is psychologically more favorable: she is more and more clearly and strongly experiencing and aware of the internal conflict in which she was involved. Now, by the time Radames leaves, she is in a state of impasse, experiencing the absence of any way out - and since such a state, if it is realized and experienced, does not last too long, one can expect an explosion and a possible solution.
Amneris's condition, although it seems to be more prosperous, is much more difficult. Instead of experiencing the contradictions with which she found herself face to face, the daughter of the pharaoh begins to fall under the influence of the Anima, the Animus, becomes their conductor and finds herself in a state of inflation, being identified with the Anima and possessed by the Animus. Her experiences are becoming more and more primitive, no conflicts are yet realized - although there is one: between what position she occupies, and the real state of affairs with the love of Radames. Instead of being aware, she is 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 persecutor (“if this slave took my lover from me, then I will take revenge on her!”). She 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 the alleged feelings of Radames and future revenge. True, it can be assumed that Aida, the defeated princess, becomes for Amneris the bearer of the projections of the Shadow, associated with insignificance, controllability. with the fall, with the loss of Persona. This does not change the essence of the conflict, only makes Amneris' treatment of Aida more cruel. At the same time, Amneris achieves the opposite result - the relationship between Aida and Radames becomes more definite. She, in fact, connects them even more closely, greatly frightening both, and there are no longer any subjective boundaries between them. If the protagonist is Amneris (which is relevant for opera viewers who experience such a love collision), then her state is as follows: Radames becomes the bearer of the projections of her Animus; Aida is both the bearer of shadow projections (because she is a prisoner) and the projections of the Anima of Radames, and, whether the princess likes it or not, the closest relations arise between these internal objects. In fact, a sacred marriage is foreseen in her psyche, which she wants to prevent - hence such a strong fear and such ruthlessness. Maybe Aida is also related to the completely unexplored area of ​​​​Anima 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. In fact, 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' quarters.)
SLAVES
Who's there from victory to glory
marching solemnly?
His eyes are on fire
we don't know who he is.
Come, we will adorn the forehead,

and we will sing a song of glory,
and the song of love is holy.
AMNERIS
My dear! Come my bliss

SLAVES
Enemies, where are your hordes?
Where is the glory of the old days?
Hero armies innumerable
scattered like smoke.
Hero awaits immortality
and glory and honor
and - fidelity reward -
the love of a hero awaits.
AMNERIS
Oh dear, warm my heart with love,
give me a caress and dispel my sadness!
(Moorish slave boys dance. Slaves continue to dress Amneris.)
SLAVES
Come, we will adorn the forehead,
we will weave a wreath of laurels for you,
and we will sing a song of glory,
and the song of love is holy.
Like a ray of sunshine, the fog drove away,
the hero scattered them.
Here the brave are rewarded
our greetings fly to them,
victory smiled,
and waiting for the gifts of love.
AMNERIS
O joy! Come my bliss
Oh, come, my love, calm my heart!
Oh dear! Come my bliss
Come, my love, calm my heart!
SLAVES
And the song of love is holy.
The slaves play the role of a narcissistic extension of Amneris. She is looking forward to reuniting with Radames and so far is either in the future or out of time. If so, her condition becomes even more unfavorable.
AMNERIS
Silence! Aida comes to us here -
daughter of the vanquished;
her sadness is sacred to me.
Is it true? Maybe not really.
(At a sign from Amneris, the slaves leave. Aida enters, carrying a crown.)
With her, my doubts involuntarily awakened ...
I must reveal the fatal secret!
(to Aida; with feigned participation)
Your brothers have been betrayed by weapons, poor Aida!
The grief that saddens you
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 is removed, not ripe - to do the manipulation.
AIDA
Can I be happy
in a country where everything is alien to me,
where I live, not knowing fate
parent and brothers?
Her anxiety is also very great and much more complex than Amneris' anxiety - grief gives it depth.
AMNERIS
I understand everything.
But there is no eternal night -
bright day will come.
Time will heal a wounded heart;
better than time, your love will heal it...
AIDA
(to herself; very excited)
The gods gave us love for happiness,
her whole soul is full of it.
Ah, if in these hours of sadness
even if love gave me hope!
If only there was hope, if only there was hope
again flashed with unexpected happiness,
If only there was hope for me!
Is Aida in despair, or is she about to slip towards him? Aida's feelings are revealed more and more deeply. The state of Amneris remains unchanged. Her manipulation is intended not only to find out about the love of Radames and Aida, but also to, as it were, non-violently bring to the surface the flow of her feelings. What Amneris does is very similar to dealing with a client's feelings in a not-so-professional consultation. However, Aida goes to meet her. The anxiety of both women is unbearable, and Aida cannot take into account the state of her opponent, she is imperceptibly influenced. Which one? Perhaps she refers to Amneris as a "mirror" of her experiences.
Why does Amneris need this? Maybe to compensate for her rather flat, lacking depth and potentially harmful psychological state. It seems to be fueled by the feelings of Aida - 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 her that is associated with strong intimate feelings that are well understood and developed. Amneris, on the other hand, is that aspect that is poorly realized in itself, to which women are very sensitive - cold-looking deceit, secrecy, manipulation and a tendency to control other people's feelings. Since such a state is very similar to the possession of a negative Animus, the image of Amneris is more complex than the image of Aida and turns out to be on the verge of influences of the female Animus and Anima.

AMNERIS
(inwardly)
Oh what poverty...
This excitement...
Now I know she loves.
I want to know everything, I want to know everything.
I'm even scared, I'm afraid for myself.
(to Aida)
What else did you become sad about,
dear Aida?
You are sincerely before me, as before my sister,
you can safely say anything.
Between those who fight
is there no such enemy
whose image disturbs you,
awakening love in the heart?

Now Amneris is seeking control, albeit an illusory one, over Aida's secret love, but this does not bring her peace, the anxiety is growing.

AIDA
(inwardly)
What do I hear!

AMNERIS
Fate has sent us many trials:
the fearless, brave leader is slain,
died on the battlefield.
AIDA
What did you say? Woe is me!
AMNERIS
Yes, Radames is 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 severely...
AMNERIS
(flashing with anger)
I know you really love
you love!

AIDA
I?!
AMNERIS
Answer me!
(inwardly)
One more word and I'll know everything.
(to Aida)
I was joking... Forgive my deceit...
Radames... he is alive.

AIDA
(falling to my knees)
Alive! Thank 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 a sadistic revenge, and a test of the degree of her own power over Aida. It is interesting that both women do not yet touch the feelings of Radames. Firstly, it is very dangerous, both for the life of Aida and for the pride of Amneris. Secondly, what matters 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 Pharaoh's daughter!

AIDA
(proudly)
Are you a rival? So be her!
And I... I am the daughter...
(Recovering himself, he falls at the feet of Amneris.)
Ah, what am I saying! I'm sorry... I'm sorry.
Oh, forgive me and have pity, I have no strength to hide.
I love him with an insane passion.


Now the relationship of 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'll have you killed.
The fate of the slave alone I decide.
The heart burns with anger and revenge.
And Amneris also goes into a completely different area of ​​\u200b\u200bexperiences, without coming into contact with an extremely painful rejection for her. If she began to experience this, she would receive a severe narcissistic trauma. In addition, she would be in the sphere of influence of the female anima, which is in charge of very strong and complex feelings. Amneris, on the other hand, prefers to act from positions of power and status - as if she were an independent man, and not the rejected beloved of Radames, whose intentions regarding Aida she would have to reckon with. Now she is acting, and her aggression is purely instrumental: since the 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 viewer or the absent Radames, at the archetypal level, then we see the manifestation of extremely destructive female aggression, similar to that described in archaic tales about the incestuous sister. The influences of the negative Animus of the woman in Amneris' behavior come to the fore, oppressing the Anima, whose condition is already threatened in this masculine world, oriented towards relations of power. Amneris is a combined figure that combines the influences of the Persona, the negative Animus of the woman (at the level of possession) and partly the Anima of the woman.
A small digression. Perhaps this is exactly what is happening with women now: becoming independent, they seem to appropriate the influences of the Animus, identify with them, and at the same time they must also learn to be good carriers of the projections of the Anima, both male and female. hence the popularity of so-called women's groups, where women are trained in femininity. From here, as in the state of Amneris, not far from the illusions of omnipotence. As for men, it becomes more and more difficult for them to show traditionally masculine qualities associated with power and aggression in a civilized society; feminine qualities for men are not prestigious - and it seems that the representatives of the stronger sex are gradually being excluded from the collective influences associated with gender identity. Therefore, one of the possible exits for a man in this position 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 addictions or uniting into groups aggressive towards strangers, similar to male unions in traditional cultures.
Let us return, however, to the libretto.
AIDA
Fate gave you happiness
She gave me only one love.
Forgive, forgive and have pity
there is no way to hide...
AMNERIS
You will destroy your passion!
Slaves fate in my hands
and the heart burns with anger and revenge!
Aida well feels the essence of the conflict, implicated in the combination of heterogeneous archetypal influences. She, the incarnation of the Anima, suggests a distinction between the influences of Anima (keep love for yourself) and Animus/Persona (reminding Amneris of the status of each). Aida is going to reconcile.
But Amneris does not agree to this, she demands that her rival actually self-destruct. Since the power is in the hands of Amneris, it is not possible to extinguish the conflict. The mixing of Anima, Animus and Persona influences continues. Unlimited power and instrumental aggression are the properties of the negative Animus, so it is his influences that get a serious preponderance.
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 make deadly calculations. Acting with inspiration, as if something is leading her and making it very easy to realize terrible plans, she brings great harm. Fairy-tale heroes in such cases flee or go to the trick. Since Aida does not know how to cunning or cannot because of the strongest anxiety and grief, one way out is closed to her; and she has nowhere to run.
PEOPLE
(away)
Our holy bank of the Nile
we will defend in battles boldly.
Let the Ethiopians remember -
death without mercy and death to all enemies!

AMNERIS
In the celebration here to come,
know, little slave,
before me you fall to dust,
I'll ascend the throne with the king!
AIDA
Oh sorry, what am I left with!
My life is now broken.
I will soften your terrible anger,
I will resign myself to a bitter fate.
The love that is hidden in the heart
I'll take it to the ground with me.
AMNERIS
No, despicable, you know
how to fight with me
you know, slave!
AIDA
Oh sorry! That love
I'll take it to the ground with me.
Forgive me!
PEOPLE
(away)
Death and destruction to all enemies!

AMNERIS
Yes, you will know who your rival is!
(Exits.)
PEOPLE
(away)
Death and destruction to all enemies!

AIDA
My gods, I beg you
give me death -
I can't stop loving him.
My gods, I beg you...
I beg you... I beg you...
A mass phenomenon intervenes, polarization into friends and foes. At this moment, only Aida with her love, grief and horror remains an individual, everyone else is carried, rallied 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.
King of our power
we sing hymns of praise.
Glory to the king! Be glorious!
We sing hymns of glory to the king!
WOMEN
Laurel wreaths
we will decorate the heroes,
we will cover with flowers
glorious victory.
Let's start, Egyptian virgins,
our solemn dance,
so it moves around the sun
golden round dance stars.
RAMPHIS 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
golden round dance stars.
MEN
Our military strength
we sing a hymn of praise.
RAMPHIS AND THE PRIESTS
Prayers you give
on this beautiful day.
(Egyptian troops, preceded by trumpeters, pass before the king. A group of dancers carry the jewels of the vanquished. More troops, war chariots, banners, sacred vessels, statues of the gods.)
PEOPLE
The glorious hero has returned to us,
the day of celebration has arrived.
Let's decorate the path of the hero,
Let's throw flowers at our feet.
We will sing a hymn
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
Deliverer of the fatherland, my greetings to you!
Draw near: and let the hand of the princess lay
the crown of your victory.
(Radames kneels, Amneris places a crown on him.)
Now demand what you want;
I will do everything on such a joyful day,
I swear that by my royal crown,
I swear to the gods.
RADAMES
Let me introduce you first
taken prisoner.
(Captured Ethiopians appear, surrounded by guards, after all Amonasro, who is led by Ethiopian dignitaries.)
RAMPHIS AND THE PRIESTS
Thank the gods everyone! Give praise!
Praise the gods for the victory over the enemy!
Praise, praise be to all the gods!
There is no protagonist in this mass scene. Mass influences also prevailed over Radamès, he now exists as a purely collective character - both for operatic Egyptians and for the audience. As an individual, he is under threat, since the pharaoh does not fulfill his desire, but what is required for Radames according to his social role.
If you 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 should go further, and a change in the form of this symbol is planned - instead of one pharaoh, a couple, a daughter and a son-in-law appear. But in such a pair there is too much from social roles, from the influences of the Person, and therefore the depth of feeling and the real transformation of the integrating symbol cannot be expected. But still, the couple Amneris - Radames is very strong, successful and domineering, and if it were not for Aida, this marriage would have been very successful. Another couple would give her spiritual depth: the High Priest and the High Priestess. Both couples would be under the influence of the one, the pharaoh, and the former symbol would not be transformed, but enriched and turned into a complex stable structure: two couples, spiritual and temporal, 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, never having arisen.
In the next scene, a living feeling cracked the correctness of the ritual action, and Aida becomes the protagonist.
AIDA
(rushing towards Amonasro)
What do I see! You're Lee? My father!

AMNERIS, RADAMES, RAMPHIS, 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 the demonstration of 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 her clothes)
You see these clothes are simple:
I am a warrior, I fought for my homeland,
but fate has changed us, alas,
betrayed us to death and shame.
I will never forget what I saw
before me lay the slain king.
If loyalty to the motherland is a crime,
We are waiting for death, we are worth it!
(to the King; pleading)


Fate has changed us today

AIDA
But we believe: your judgment is fair
will not condemn the unfortunate in vain.
Fate has changed us today
but tomorrow may change you.

SLAVES AND PRISONERS
We are punished severely 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 can change you too.
Aida's father tries to get ahead of the curve and influence the pharaoh, and Aida supports him. It is difficult to say whether Amonasro is sincere or manipulating - this is how he will continue to act. Aida speaks sincerely.
To simplify the situation, now for the symbol of the integration of the collective consciousness, the Shadow appeared in the person of the cunning king of the Ethiopians and his warriors, who were turned from an army into a powerless mass. It is precisely about the presence of such a Shadow that Amonasoro warns the pharaoh, does not allow him to ascend too much. There were very strong emotional influences on the side of the Shadow.
RAMPHIS AND THE PRIESTS
King, do not listen to their insidious pleas,
no mercy for the cruel villains!
AIDA, SLAVES AND CAPTIVES
O king!
RAMPHIS AND THE PRIESTS
Our gods want them dead
May their judgment be fulfilled.
AIDA, SLAVES AND CAPTIVES
Sorry! Sorry!
AIDA
But the king, you are a just king,
You will not condemn the unfortunate with your mighty will...
Have mercy, I beg!
Fate has changed us, but perhaps
tomorrow fate will change you.
But you are the king and your judgment is just
will not condemn the unfortunate in vain.
Fate has changed us today
but tomorrow may change you.
The High Priest, on duty, is supposed to purify and unite the spirit of the statehood of Egypt. Now he is doing just that, because thanks to the destruction of enemies, the people will be united. Conservative spirituality acts quite traditionally, demanding cutting off and destruction of the Shadow. This, as usual, fails. If we recall the metamorphosis that happened to Amneris in the previous scene, then we see a clear bias towards a masculine, cruel and conservative spirit, and all influences associated with the soul are in the shadow realm. It is very dangerous. Here Aida 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 mass scene, here Aida acts both as an individual, as a protagonist, and remains faithful to the influences of Anima - she binds the parties to the conflict and insists on humanity. In addition, since Amonasro decided to remain incognito, then Aida has the power to rally the captives - and the shadow area from undifferentiated becomes alive, having a center and permeated with feeling.
And more about Aida. Since the connection with Radames is now lost for her, and he himself is entirely in the sphere of the state spirit of Egypt, he poses some danger to her (the decision on the fate of the captives depends on him), playing a symbolic role, then in that area of ​​\u200b\u200bher soul that is associated with positive animus influences, there is a deficit. And he is immediately filled with paternal influences. Further, it is paternal influences that will lead her to a tragic end.
AMNERIS
(inwardly)
What kind of looks she throws,

What kind of looks Aide throws,
what a flame 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' turn to make a choice and find herself in the position of the protagonist. Apparently, under the influence of Aida's sincerity for a brief moment, she becomes frank, finally yielding to the influences of Anima. The hypothesis of narcissistic trauma is confirmed, these influences are very painful for Amneris. She cannot stay in this state for a long time, and now her vengeful dreams happily coincide with the desire of Ramfis to take revenge on her enemies; she makes a choice in favor of the influences of a very powerful Animus, whose influences are now so intensified, and finally loses her freedom. Her subsequent actions will be determined by the obsession.

RAMPHIS AND THE PRIESTS
Execute them! Execute them!
Do not listen to their insidious prayers!
May the judgment of the gods be carried out!
King, do not listen to their prayers,
no forgiveness to the villains! Death to them!
Our gods want them dead
May their terrible judgment be fulfilled!
Destroy, destroy, destroy them!
Our gods want them dead!
May their judgment be fulfilled!
The confrontation between the soul and the spirit grows to the limit, and both sides find themselves in a dead end. Paranoid persecution 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 limit with his social function. Therefore, it would be reasonable to assume that here the influence of the negative Animus also includes a tendency to inflation, and it is to this influence, and not only to revenge, that Amneris is so sensitive. Since she is narcissistic, she accepts inflation 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 the eyes of dear
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
do whatever i want...

TSAR
I swore!
RADAMES
Here is the request:
I ask all Ethiopian captives
return life and freedom.
Both Amneris and Aida are still engulfed in mass confrontation. And now Radames is in the role of the protagonist. In the first act, he proved to be sensitive to experiences of paranoia. Now that he has rediscovered for himself that his inner connection with Aida, his soul, has not been severed, he confronts this paranoia. He is also fortunate that he has just been in a collective role, and his position as a rallying and inspiring hero is a powerful resource.

AMNERIS
(inwardly)
But is it for everyone?

PRIESTS
Death, death to all enemies of the 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.
Let's give them back their freedom
everyone will take up arms again.

RADAMES
Death of Amonasro, their hero,
killed all their hopes.
RAMFIS
So let the pledge of both peace and tranquility
leave Aida with her father.
TSAR
I accept your advice. We will keep it
and peace and our security.
Radames! Egypt you gave victory
let the hand of Amneris be your reward,
you will rule Egypt when you 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 the activities of Ramfis. 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 an uncomfortable request. Amneris understands such things very well. In relation to Radames, she now finds herself in the role of an unconscious aspect of the Anima, which is responsible for the abilities associated with intrigues.
Radames is too self-confident, and Ramfis' 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 requirements of Ramfis, now Ramfis is no longer only the bearer of projections associated with the inert aspects of spirituality. Since Radames became his ideological opponent, their relationship is the beginning of the collision of the male Animus. It is still oh so far from a real confrontation of ideas, because Radames acts in this way only under the influence of a positive Anima and believes that he is simply expressing his desire to the pharaoh. Underestimating the relationship with Ramfis and preoccupation with Aida will lead to disaster. Radamès is still trying to realize each of the relationships in turn, although he has found himself at the intersection of complex, important and subtle influences. If he could take both Amneris's feelings and her ability to intrigue and manipulate seriously without falling into paranoia, it would be much easier for him. Preoccupation with only one, beneficent, aspect of the Anima and the denial of its malefic possibilities will be fatal.
What does the High Priest want? It is important for him to seize the initiative from Radames. He is not bloodthirsty, he had enough participation in the punitive campaign, which he treats as an honest war with, probably, an equal opponent. Ramfis, on the other hand, relies on the traditional balance of power between the empire and the state under his rule. Why is the priest so resistant to the release of the captives? 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 his circle invested with power. 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 Radames, 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 an uncomfortable desire. However, the personal power and freedom of Radames annoy him, he has ceased to be a puppet of the priest and can gain much more power over time. Perhaps, for Ramfis-man, Radames is the bearer of projections of those aspects of the Animus of a man 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 of his. He will find himself in the position of a barren and no longer quite alive Elder 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. And what is needed for this? To hold captive his soul, Aida; because the priest himself has no soul. His partner, the High Priestess, is the conduit of the impersonal divine will, and their relationship is formal. Encroaching on the Anima of Radames, Ramfis makes Radames equal to himself, deprives him of new opportunities.
AMNERIS
(inwardly)
Evil slave, how are you now
will you steal my love?
Such a decision about the fate of Aida plays into the hands of Amneris, because she is under the influence of the negative Animus. However, she still believes that love depends on social status. It doesn't seem to matter to her whether Radamès loves her. It is enough for her if he becomes her husband. Feelings that do not fit into her primitive scheme, she does not recognize as real.

KING AND PEOPLE
Glory to Egypt and the gods!
They are our protection.
Hero's brow with laurel
decorate with flowers.
He deserves the crown of glory!
SLAVES AND PRISONERS
Glory to Egypt and the king!
He took off his bondage chains
and returned freedom to us,
and returned freedom to us,
returned home!
RAMPHIS AND THE PRIESTS
We sing hymns to the gods
they are our protection;
we all pray to send them down
help to the native country!
AIDA
(inwardly)
My hopes did not come true!
To him honor and the kingdom,
and I'm left with only sadness
tormented love.

RADAMES
(inwardly)
Gods disgrace formidable
hit me like thunder.
My dear Aida
She is everything, everything is dearer to me.
AMNERIS
(inwardly)
Ah, happiness smiled at me
I got the celebration
and dreams of tender passion
excite my heart!
And Amneris can just love now.

KING AND PEOPLE
Glory! Great God! Glory!
RAMFIS
We ask 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
The gods' disfavor is formidable!
What did I do to deserve it?
Gods disgrace formidable
thunder struck me.
My Aida, joy,
She is everything, everything is dearer to me.
AMNERIS
All my hopes have come true
delights of my love!
Happiness smiled at me
I got the celebration
and dreams of tender passion, and delight
excite my heart.
The dream of love excites my heart.
Oh joy, dream of love!
KING AND PEOPLE
Glory to Egypt! Glory to all gods!
They are our protection!
Weave wreaths of glory,
Be proud of them, be proud, hero!
Weave laurels of glory
decorate the hero's forehead!
AMONASRO
Be brave! Take heart!
The time will come for us
we are all for the honor of the motherland
rise up, mercilessly
We will take revenge on our enemies.
Revenge is near! Let's rise menacingly
and avenge everything on the enemy!
RAMPHIS AND THE PRIESTS
We offer hymns to all the gods,
they are our protection.
Gods we pray to send down
help to the native country.
AIDA
And I'm only tears and sadness,
one sadness.
My hopes didn't come true
honor and kingdom to him,
and I have only sadness
sadness of tormented love.
SLAVES AND PRISONERS
Glory to Egypt and the king,
he took off his bondage chains
and returned freedom to us,
returned home.
The singing of both choirs is a celebration of compromise. The conflict of the official integrating symbol and its Shadow is removed and forgotten - this is how things are for Egypt. However, the Shadow in the face 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 bond is getting 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 impossible 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)
Mother of the immortal gods
you are our holy mother,
you wake up in our hearts
pure rush of love.
We beg, we beg you.
We pray, O goddess, mother of holy love,

(A boat comes to the shore, Amneris, Ramfis, several women covered with thick veils, and guards come out of it)
This is a compensation for the violent masculine spirit of the previous crowd scene. Perhaps the 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
before marriage you should
ask for the blessings of the goddess.
Isis knows everything and reads in her heart.
All the secrets of the world are revealed to her.
Pray to the goddess.

AMNERIS
Yes, I will pray that Radames
I gave my heart in return for love,
that I dedicate to him.
RAMFIS
Let's go until dawn
I will stay in the temple with you.
(All enter the temple.)
PRIESTS AND PRIESTESSES
(in the temple)
We pray, we pray, we pray for you
we pray, O goddess, mother of holy love,
we beg you, we beg 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 am 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 burn and find oblivion.
O my dear land,
I can't see you!
Alas! I can't see you!
The sky is blue and the air is clean
I see pictures of my dear childhood.
There, the eyes are caressed by crystal water waves ...
In the palm groves the birds sing all day long!
O native land, my dear land,
I won't see you again!
O dear land, dear country,
I can't see you!
Goodbye! My land, goodbye forever!
In quiet valleys there is a comforting shelter,
there everything caresses my eyes with beauty.
You will disappear, a wonderful and magical dream,
O native land, I can't see you!
I can't see you, my native land!
O native land, farewell, farewell forever!
(Turning around, sees Amonasro entering.)
Sky! My father!
Aida is dreaming. She remembers first of all about nature, and we assume that powerful and beneficent maternal influences are now coming to the surface. Her condition can be regressive - both to the paradise of childhood, and to oblivion without images, which the water bestows. Drowning is an image of an 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, which the happy Amneris is now praying. This dream is extremely powerful, and its influence will remain important until the end of the opera. Aida is again the protagonist. It is important that the emergence of individuality, I in the opera begins with the shadow, secret aspects of the psyche, since the influence of the Person 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 have come to you on an important matter.
I know everything, I see everything:
we love you their leader Radames,
he loves you too.
Your rival is Pharaoh's daughter.
A despicable, hateful race, it will destroy us!
AIDA
And I am in their power!.. I am the daughter of Amonasro!
The father is prudent, and he does not hide his intention to use Aida for his own good, which is equated with the good of the state. Aida very easily succumbs to this influence, 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 finish saying that she was also the king's daughter.
AMONASRO
You are in their power! .. No, if you want,
then you will soon destroy your rival.
Fatherland, our throne, love -
everything will come back to us.

we will see again our golden temple.
AIDA
(enthusiastically)
We will soon return to our native land,
we will see again our golden temple!
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 finds herself. The vengeful aggression that was previously associated with Amneris has not gone away. In the mouths of a father, a man and a king, vengeful plans sound much more natural than in women's. But Aida picks up not a vengeful intention, but dreary dreams of her homeland. Since the image of the golden temple (the symbol of the Self) has appeared, we can say that, although dangerous, they play an integrating role: reunions with the father (a specific character) and mother in the image of the homeland. She finally had hope. Before she was connected with Radames, now with her father. Whether due to patriarchy, the distribution of power and power in favor of the masculine, but hope for Aida has masculine connotations. As far as she herself is able to bring hope to life, it will be clear later.
AMONASRO
Radames will be a faithful friend,
you will know the happiness of fiery love.
AIDA
Just one day of such pleasure
one hour of delight to me,
then ready to die!
Amonasro is well aware 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 the situation of Aida in such a way that the conflict of love and duty is, as it were, removed, and she supposedly can get everything at once. Aida began to share Radames even in a 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 makes 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 relentless
shamelessly mocked at 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 pain that I endured.
Send down, oh gods, bright days to us happiness!
AMONASRO
Remember: everything is in your power!
AIDA
Bright days to us happiness!
When will the bright ray of dawn shine upon us?
Now Amonasro is returning to his goals of revenge and retribution. Aida replies very reservedly. Revenge still touches her not as much as her father would like. Amonasro carefully steers away from 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 to 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 we could decide: instead of a love relationship, she chose obsession, and now, under the influence of a difficult 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 again took up arms,
and everything is ready; victory is ours!
We just need to know
Which path will the enemy take?
AIDA
Find out who it is? Tell.
AMONASRO
You yourself!
AIDA
Gods!
Amonasro, after all the previous manipulations, it is easy to imagine the uprising as almost complete and certainly successful. Now he transfers to Aida the responsibility for the future victory, and this extremely exacerbates the conflict of duty and passion, which, it would seem, has been removed. Therefore, the reaction of Aida is so sharp, it is a shock. Now, when her anxiety has increased to the utmost, she will do everything to get rid of it, in order 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...
Understandably?
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 already ceased to be only human, but has become eternal and divine, then the power that her father ascribes to her will also go beyond human limits and become an illusion of divine power. It is now that the danger of inflation for Aida is greatest.
AMONASRO
Get up, enemies, and boldly attack,
strike, destroy with sword and fire.
Know no mercy, exterminate the people,
the borders are open and the way is familiar to you.
AIDA
Have pity, my father!
This manipulation is very crude; the father appeals to feelings of guilt and intimidates. Since the state of Aida, due to anxiety, regression and the onset of inflation, is far from natural, it is the rudeness of this trick that works the way 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
You see how the blood of brothers is shed,
Do you see how our land is dying?
You see, their shadows rise there,
menacingly calling for revenge,
you hear a terrible reproach:
"You ruined your native land"?
AIDA
Father, please! Forgive me!
And then, since the manipulation of the transfer of 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 that omnipotence, which Aida so stubbornly refuses.
AMONASRO
Do you see the terrible ghost?
His hugs are terrible
he sends curses to the enemy!
AIDA
Oh! Gods! Oh!..
AMONASRO
You see, he is near you...
I recognize my mother in him...
Cursed by her!
AIDA
(horrified)
Oh no, oh no, father, please father,
please forgive me!
Then he induces a hallucinatory experience, threatening rejection and loss of the mother, which, precisely because of poverty, is so valuable to Aida.

AMONASRO
Not my daughter anymore!
You are a despicable servant of Pharaoh!
AIDA
Oh, I'm sorry father, I'm sorry...
Know! I will no longer work for them!
Do not curse your own daughter;
I want to stay worthy of you, dear homeland
I am ready to give life as a gift.
This blackmail, outright rejection, finally worked! Shame also appeared, she took it upon herself. Amonasro reached his goal right now, 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, paternal influences have merged with passion and with the need for hope and will now be in the same stream.
AMONASRO
Remember that your people are waiting for deliverance,
yes, you are alone, you are alone
you can save our land.
Father still continues to insist on her exclusivity and omnipotence. Why? Aida can do without it, 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, which is due to the humiliation that continues, and the fact that Aida is now becoming a passive instrument of her father.
AIDA
I am ready to give my life to you
my native land!
But how I suffer!
AMONASRO
(seeing Radames approaching)
Silence ... he is close ... there ... I will hide.
(Hides behind the palm trees. Radames approaches.)
Amonasro said nothing wholly true and nothing wholly false. It was all excellent manipulation, that's his style. Under such influence, Aida will no longer be able to openly exercise power, but will very accurately find the weak points of Radames and influence them. The deepest region of her psyche is now rebuilt and filled with fantasies of guilt and omnipotence. On a conscious level, the conflict is still acute, and she is ready for death, if only to get out of this painful confrontation. Forces are involved, both social and unconscious, of such a magnitude that it is not in human power to cope with them - and under the influence of Amonasro's intrigue, she cannot accept impotence either.
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 are approaching 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 behest the princess asks difficult riddles and destroys valiant, but unsophisticated and decent princes.
The couple Aida - Amonasro becomes the shadow, living and animated side of the official couple, which is still represented in the temple by Amneris and the priest Ramfis. Both pairs are asymmetrical, the woman-daughter serves as a tool for an imperious man; at the same time, the woman becomes an active and subtle instrument of the male plan. It is, though sinister, but still integration, where the roles of male and female are mysteriously distributed. The fifth, central member of this quaternary extremely polarized structure will be Radames. Now he will become the protagonist.
RADAMES
Again with you, dear Aida!
AIDA
In vain meeting ... all over.
RADAMES
I longed for you with all my heart!
AIDA
Waiting for you there in the temple
another love, husband Amneris!
RADAMES
What do I hear? In you, Aida, my happiness!
You alone own my heart!
AIDA
Don't stain yourself with lies!
If the hero were a treacherous pity to me ...
RADAMES
Don't you believe in love, Aida?
Aida's style is now almost identical to her father's. Her jealousy and resentment are sincere, but the time and method of their presentation is manipulative, calculated on the reaction of Radames. Perhaps it is the resentment, his alleged choice in favor of Amneris, and the patriotism awakened thanks to his father that will make Aida 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 an evil spirit standing behind her back.
AIDA
But can you stand against the beautiful Amneris,
the order of the king and the desire of the people,
against the priests of indignation?
Aida acts in the spirit of fairy-tale captive princesses, she offers the most difficult task that requires great courage and ultimate freedom.
RADAMES
Listen, Aida.
In a fit of vengeance with formidable force
all of Ethiopia will rise again.
Enemies have already entered the Nile Valley.
Who will lead the Egyptian army?
We will return to Memphis with victory,
I will stand before Pharaoh and pray.

I will call you mine with joy.
You will be a glorious victory as a reward,
then we will know happiness with you.
AIDA
Amneris frightens me,
and revenge, and her wrath.
She will strike us all, strike mercilessly;
I will die, my father too.
Oh grief!..
Radamès still assumes that he is in complete control of the situation. Aida indicates that he ignores 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. Maybe she is manipulative, obsessed with Amonasro's influence; maybe the truth wants Radames to remain a savior. This diabolical mixture of true feelings and manipulation makes both unfree. Radames is probably scared, and not in his power to influence Amneris. He does not accept impotence - on the contrary, he catches the bait of Amonasro and wants to act immediately, relying on Aida, clutching at a still very uncertain hope.
AIDA
Run...
RADAMES
Oh Gods!
AIDA
Let's run, let's leave this land, let's leave the bank of the Nile.
Believe, we will find a new homeland with you, dear.

we will meet the hour of sunset,
there's a sweet scent
flowers will intoxicate us...
I will stay forever.
RADAMES
In a foreign country I must
look for love shelter,
forever abandon the fatherland,
our forget the gods.
Forget the land where the glory
flashed me for the first time
where is your sky
the happiness of love opened...
AIDA
There, in the dark palm grove,
we will meet the hour of sunset,
there's a sweet scent
flowers will intoxicate us.
With you there, oh my dear,
I will stay forever.
RADAMES
Here is your heavenly gaze to me
the happiness of love opened.
How to forget everything?
Here is your heavenly gaze
the happiness of love opened.
Forever leave the homeland,
forget your gods!
AIDA
We will leave your Egypt
leave the banks of the Nile,
in my homeland dear
find happiness with you.
We will pray there
my dear gods.
Happiness is there!
The same motive as in her dreams - an eternal stay in a paradise country. Additionally, there is a motif 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 it is not a real woman who is in the most severe conflict speaking - Anima Radames speaks through her mouth.
The themes of death and loss of memory that it suggests are by no means obvious to him. Rather, the good meaning of such oblivion is not obvious. For him, this is a huge loss. Perhaps it is the loss of oneself. 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 shelter,
forever abandon the fatherland,
forget your gods?
(hesitating)
Aida!

AIDA
You don't love... Get out!
He weighs, and setting the price for dreaming and forgoing debt is a function of the mature ego, exactly 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 essence, she repeats her father's manipulation by defiantly rejecting Radamès. She imposes on him the same role as on her Amonasoro herself - the only savior of herself, her father and the state of the Ethiopians.
The theme of intrigue and false choice then 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 trust...
AIDA
Away!..
RADAMES
I swear no one can
so passionately, with all my heart
love as I love!
AIDA
Away! Away!
Amneris is waiting for you there!
For Radames, the choice is between honor and his place in life and love. He makes a choice in favor of love. That at the same time he does not renounce the omnipotence of the savior, which is 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 does not have a reason for jealousy, and / or she demands an 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 fact, she says that what she needs now is not love, but action, as if she herself had become love, and Radames is required only to complete the task, but not to contribute to a real relationship. She, as M. Tsvetaeva said, will now "love herself." Accepting this, Radamès is deprived of his freedom and becomes possessed. His decision will be made by force, under the strongest influence.
AIDA
I don't believe you.
Do you want to be executed
me, my father, - why are you delaying?
RADAMES
(with passionate determination)
Oh no! We run!
So that you can be happy
I will go to a foreign land with you!
We will be rewarded with love
guiding star.
We will see another sky
the country of your charm.
Stars diamond radiance
our new path will illuminate.

AIDA AND RADAMES
So let's 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 repeats again what Amonasro did to her and begins to manipulate Radames' guilt and powerlessness. His anxiety escalates to the limit, he can no longer endure impotence and grasps at straws, finding himself completely 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 lost his will.
AIDA
Tell me where to go
so as not to meet the army of the Egyptians?
RADAMES
I chose the path for the army,
that is unknown to the enemy.
This path is free until tomorrow.
AIDA
But where is he?
RADAMES
In the gorges of Napata.
The betrayal is committed, because now the duty is only to Aida. The fact that the former obligations remain now means nothing to Radames. He committed treason imperceptibly to himself, carried by the stream.
AMONASRO
(coming out of hiding)
Ah, Napata Gorge!
Ours will be there tomorrow!

RADAMES
Who overheard us?
AMONASRO
Aida's father, Ethiopian king.
RADAMES
(with great excitement, surprise)
You!.. Amonasro!.. You!.. The king himself?
Gods! Is it possible? No, that's a lie...
It's a lie... it's a lie...
No, no, it can't be! Not!
(with horror)
What have I done, fool?
Now he is completely under the influence of a spirit hostile to him, and now betrayal can be realized; known the true scale of his act. Before, before the appearance of Amonasro, he was in the illusion that the Anima bestows: that he and Aida are one, exist separately from everything, do not depend 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 dishonored myself
I changed my fatherland
loving you, unfortunate,
I forgot my homeland.
AIDA
Take comfort!
AMONASRO
Oh no, you're not guilty, you're not a traitor
fate, fate itself wanted it!
No, you are not guilty!
AIDA
Oh no, oh no, comfort yourself...
RADAMES
I dishonored myself
I changed my fatherland
loving you, unfortunate,
I betrayed my homeland.
AMONASRO
Faithful servants are waiting for us there,
we run to the Nile soon,
hearts will fulfill all desires,
bliss awaits you there.
Time is running fast...
Both, the daughter and the father, use the most powerful temptations - love, power, oblivion and the fact that the former identity of Radames will not be destroyed, but will simply end up in another place. Amonasro is right that fate itself wanted him to betray - no one was truly free to make a choice, not even the king of the Ethiopians himself - his revenge was a reaction to humiliation and the threat to lose the independence of the state. It can be said that the ultimate 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
It brings death to us!
(He charges at Amneris with a dagger.)
Death to her!
RADAMES
Remember, fool!
AMONASRO
Damn!
RAMFIS
(leaving the temple)
Guard, over here!

RADAMES
(to Aida and Amonasro)
Hide!.. Run!..

AMONASRO
(pulling Aida with her)
My daughter, follow me!

RAMFIS
(to guard)
Follow them!

RADAMES
(to Ramfis)
Great priest, I am your prisoner!
The appearance of Ramfis and Amneris was predetermined by the whole course of this action. Since the attitude of Radames abruptly changed and the shadow became his path, the other two of the quaternary also showed themselves compensatory: the personification of the official cruel spirituality and the Anima possessed by such an Animus. These influences manifested unexpectedly and secretly, taking advantage of the Shadow; the new ones disappeared into the shadow area. Now the old quarter has been dissolved, and Radames no longer has any resources left.
* * *
ACT FOUR
PICTURE ONE
(A hall in the royal palace. Amneris is alone.)
The former conflict of duty and passion was never resolved; the hostile spiritual influences had receded 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 with her.
All of them are criminals, so death to them, so death to them!
Ah, 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 must save ... but how?
While duty is not so important to her, the utmost ambivalence regarding Radames matters. The question is whether to destroy it or save it. The desire to destroy an unwanted object is a common desire in narcissistic trauma. So far, Amneris' feeling is conflicted, and the contradiction has not yet affected her worldview.
(resolutely)
Bolder!
Guard! Bring Radames!
(Guards enter Radames.)
All the priests have gathered there, your fate is decided.
You can justify yourself, and the judges will justify;
you can destroy a grave accusation.
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 dependent on her.
RADAMES
Oh no, priests, do not hear you
unworthy protection;
I swear before God and people:
I was not a traitor!
My lips are guilty
that's a big sin, I know.
But in deed I am not sinful,
but in deed I am not sinful,
and my honor is with me.
Radames is experiencing a completely different state, not associated with either obsession or narcissism. He accepted the blame, and it did not destroy him. His personal identity was not destroyed, only that which was connected with his former social role suffered. Even that doesn't destroy him. Further, it will be for him not about love, but about freedom and maintaining the integrity of the psyche.
AMNERIS
Justify yourself.
RADAMES
Not!
AMNERIS
You will die!
RADAMES
But what about my life? Everything is dead:
my love and glory
like smoke, everything suddenly disappeared.
One wish - death!
Amneris proposes the restoration of Persona - doing about the same thing as Amonsaro 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. So, what remains for him to save is personality.
AMNERIS
Unhappy!
No, you must live!
I conjure love
because your death will kill my love,
will ruin me.
I love and suffer so
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 will give for love!
Now Amneris is in the same state of deepest love as Aida was before. The pharaoh's daughter is now identified with her lover, so she offers him the same sacrifice that he made. She is ready for the loss of her former identity - we do not know how much is from a real experience, and how much is from manipulation. It seems that she is becoming more sincere and humane.

RADAMES
Oh no, I'm for her, I'm ready to die for her,
yes, for her I will give my life, my life!
AMNERIS
Shut up about her!
RADAMES
Disgrace awaits me, why should I live?
Deprived me of happiness, separated from Aida,
death promised 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 it is reaching its climax. The choice in favor of a true lover has already been made, and Radames refers to Amneris as a mythical false bride, whose influence should be categorically rejected. He follows the classic pattern, and it is as dangerous for him as if he accepted Amneris' 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 the anima. Radames does not see the harm that Aida caused him at the behest of his father; does not see those good intentions that drive 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 absolutely good Aida and there is absolutely bad Amneris. This is a typical schizoid-paranoid split, described by M. Klein. The Anima archetype seems to split, it looks like it consists of bad and good parts. Helpfully, an archetypal plot arises about the choice of a true bride, but in this real situation, whoever Radames chooses, he will make a dangerous mistake.
AMNERIS
Oh, it's not my fault!
Know that Aida is alive.
For Amneris, this is a huge sacrifice. 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 the spirit and power. And the fact that now the forces of Ramfis will increase to the limit, for he was the only one left with spiritual power.
RADAMES
What's wrong with her?
AMNERIS
She disappeared, but no one knows where.
This means that the anima influences remain unconscious for the time being.
RADAMES
Oh gods, you spared, saved Aida.
Give her happiness, give her peace,
and I will die!
AMNERIS
I will save you
just make an oath to forget it.
RADAMES
Unable!
AMNERIS
Forget Aida forever... and you will live!
RADAMES
Unable!
AMNERIS
There's still time, forget Aida!

RADAMES
In vain!
AMNERIS
That's how you die, fool!
RADAMES
I'm ready to die.
AMNERIS
You won't be saved from death
you will not escape torment.
Neglected my love
you made me angry.
You were subjected to the vengeance of the gods -
they will avenge 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 conduit for the common 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. All the same narcissistic rage, all the same destructive aggression mixed with resentment, and these experiences of Amneris are much stronger than her humane conscious intentions. Laying the responsibility for revenge on the gods, she also falls into an illusion, removing the blame for the death of Radames (using the influences of a conservative spirit) and tells the truth - the forces now acting have far exceeded the capabilities of I. These are archetypal influences.
Radames chose Hades, and now the situation of true and false anima is completed for him. Something else will start.
RADAMES
In this death there is only bliss!
For love I die
consciousness will give me strength again,
that I die for love.
I want death, I'm ready for death.
I am not afraid of human anger,
but your love is terrible!
AMNERIS
Oh! There is no salvation!
You were subjected to the vengeance of the gods -
they will avenge you for everything!
Revenge, revenge, only revenge!
May fate take revenge on you.
(Amneris covers her face in despair with her hands. The guards lead Radames away.)
Alas, I suffer so much! Who will give salvation?
I betrayed him to the executioners for torment ...
Oh, I curse, I curse jealousy!
She ruined the one
who was dearest to the heart.
(Priests pass by and enter the dungeon.)
Here are fatal people, without a heart,
bring news of death...
Oh, like ghosts, they are terrible...
How could I dare to betray my love?
Will die ... beloved ... I myself ...
I betrayed him to torment myself! ..

RAMPHIS AND THE PRIESTS
(in the dungeon)
O spirit of the gods, come down to us, merciful one,
and shine with the light of truth, omnipotent,
you bring justice, reveal everything to us.

AMNERIS
Oh gods, have pity on my love
give him salvation, I beg you!
I suffer, terrible is the sorrow of my soul!
(Radames passes, followed by guards, and enters the dungeon.)
What is Radames talking about? Perhaps death is seen as a means of spiritual rebirth or the preservation of the psyche, since there is nowhere to retreat, and the love of Amneris is like destruction. This is a terrible state that turns our usual values ​​upside down. Perhaps one should turn to the idea of ​​D. Kalsched about the destructive Self, which, in order to preserve the core of the psyche, sacrifices its life in the event of upcoming traumatic changes.
What's going on with Amneris? She feels that events are already playing out too high for the human ego, dependent on divine influences. Responsibility for what is happening is transferred to the forces of the collective unconscious, and the illusion of Amneris's omnipotence has become obsolete. And finally, she was ripe for guilt. According to M. Klein, the ability to experience guilt allows one to accept one's own duality and the duality of another, guilt removes the former schizoid-paranoid splitting - remember, paranoid anxiety depended on Amneris in the opera. Since her lover has rejected her, she is now free and there is no longer any point in identifying with his anima. By relinquishing this identification, she is also freed from those animus influences associated with Ramfis that were previously so important to her. Apparently, the refusal to use archetypal influences is healing. As for Radames the story of choosing a bride is completed, so for Amneris the role of a conductor of the negative influences of Animus and Anima is over. She acquires the limitations and duality of an ordinary person.
RAMPHIS AND THE PRIESTS
(in the dungeon)
O almighty God!

AMNERIS
Who will give salvation?
RAMPHIS AND THE PRIESTS
(in the dungeon)
We call on you!

AMNERIS
Who will give salvation?
I lose my strength, alas, alas,
I lose my strength...
Amneris is diminishing, as if disappearing - but now the collective influences associated with the spirit of Egypt are increasing. Now Ramfis is truly in his place - he is again deprived of human individuality.
RAMFIS
(in the dungeon)
Radames!.. Radames!.. Radames!..
You dared to reveal the secrets
your homeland to despicable enemies.
Give us an answer!

PRIESTS
(in the dungeon)
Give us an answer!

RAMFIS
(in the dungeon)
He is silent!

RAMPHIS AND THE PRIESTS
(in the dungeon)
Changed!

AMNERIS
Gods, have mercy, give salvation,
I beg you, I beg you!
RAMPHIS AND THE PRIESTS
(in the dungeon)
Radames, this is how fate decided:
you are guilty; traitor death!
We will close the grave over the living,
over the living we will close the grave,
where the offended altar of the gods.
The funeral of the living is a well-known archetypal motif, meaning 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 the new. The priest, however, assumes something else - deprivation of resources, complete loss of the Self and oblivion. The tomb has rigid walls and a heavy door. The image of Ramfis takes on the features of the Shadow Self, ready to destroy the Ego, delimiting it from the inner and outer world. It is also brought closer to the symbol of the Self by the fact that, contemplating destruction, it will promote transformation, as we shall see later. The self, even the destructive one, is ambivalent.

AMNERIS
How?! Alive to the grave?!
O villains, bloodlust is your one law;
the gods will avenge you!
(Ramphis and the priests exit the dungeon.)
RAMPHIS AND THE PRIESTS
Changed! Changed! Changed!
AMNERIS
(with bitterness, rushing to the priests)
Crime, priests, you have committed,
like tigers, you are all bloodthirsty,
without guilt you severely condemned,
you rightly violated the law.

RAMPHIS AND THE PRIESTS
He changed - he will die!
Amneris' renunciation of the influences of the former grandiose negative Animus is complete, this is her last loss, which she does not regret. A new thing has appeared - she morally evaluates the executioners; consequently, a new function arises for it, a feeling. It is also new that she gives revenge to the will of the gods, refusing her own grandiosity. Although, who knows? In the future, she herself can fulfill this will, having dealt with Ramfis.
And the priests answer the harder. This means that the spirit has now taken on 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, because it has become even more rigid, conservative and short-sighted.
AMNERIS
The hero you kill
was loved by me and you know it.
Let the broken heart curse
with the blood of sacrifice will fall on you!
RAMPHIS AND THE PRIESTS
He changed - he will die!
AMNERIS
Without guilt, you severely condemned him,
offending the gods merciful law.
Oh no, never changed
oh no, he couldn't change
I beg you to forgive him!
RAMPHIS AND THE PRIESTS
Will die! He is a traitor! Will die!
He changed! Will die!
(moving away)
Changed! Changed! Changed!

AMNERIS
You executioners, I curse you!
The justice of heaven will repay 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
(Upstairs is the temple of Vulcan, below is the dungeon.)
RADAMES
(in the dungeon)
The fatal stone closed over me,
and here is my grave!
I can't see the daylight...
I can't see Aida!
Aida, where are you now?
Oh if you could live happy
and not know what happened to me!
I hear a groan... a ghost... or a dream...
No, the creature is alive!
(Aida appears.)
You! Aida!
AIDA
Oh honey!
RADAMES
(in total despair)
You! .. In this grave!

AIDA
(sad)
Your fate my heart suggested:
to this grave that closed you,
I sneaked in...
And here, far from the human eye
I want to die with you.
The burial of the royal couple in a common tomb is one of the final stages in the creation of the philosopher's stone (Jung's quote from The Psychology of Transference on the corresponding picture). And it is the Anima that initiates the hermetic wedding - if we take seriously the fact that at first Radames took Hades for some 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 are transformed. For the heroes themselves, this is not so; it is the viewer who changes.
RADAMES
To die in such years!
Die knowing no guilt...
You want to die in the color of years,
in the color of strength, and life is beautiful!
And the torment of death is more terrible to me consciousness,
that I am the cause of all your suffering!
Death should have mercy on you
love creation!
AIDA
(dreamily)
You see the heavens open
and the stars shone!
Do you hear someone's voices
call us to the bright distance.
The sun shone, the night passed,
forgotten days of sorrow.
Can you hear the birds singing in the grove?
We are waiting for you with love
we are waiting for love bliss,
happiness without limits!

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 that she herself experienced on the banks of the Nile. So far it is more like fantasizing, regressive, helpless. This contradiction between fantasy and the power of the archetypal image gives the last scene an additional tragic force. She 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)
BUT! You come down to us
come down, come down!

AIDA
Do you hear the singing?
RADAMES
This is the sacred dance of the priestesses...
This singing is no accident. In the same alchemical wedding, the spirit of decay rises from the buried couple, and a new spirit, heavenly, descends to meet it on earth, and something new is born.
AIDA
We sing a funeral hymn.
RADAMES
(Tries to move the stone over the entrance to the dungeon.)
My hands are powerless
push this huge stone away...
AIDA
Alas! Soon everything will be over for us on earth...
RADAMES
(with bitter 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 the identification with the Anima of Radames could be made by her consciously.
AIDA


Let's unite our hearts forever.


Forever forgive you!
RADAMES
Farewell, land where we have suffered for so long.
Now separation is no longer terrible for us,
Let's unite our hearts forever.
How far earthly sorrows are from us!
We fly to where happiness has no end.
AIDA
Forever forgive you!
Shining sky...
There, there...
Let's fly there
where happiness has no end.
PRIESTESSES AND PRIESTS
(in the temple)
Almighty God, come down
we call you, come down, come down!

AIDA AND RADAMES
Ah, the sky shines for us!
(Amneris, in mourning clothes, appears in the temple and prostrates herself over the stone that closes the dungeon.)
Farewell, land where we have suffered for so long.
Now separation is no longer terrible for us,
Let's unite our hearts forever.
How far earthly sorrows are from us!
We fly to where happiness has no end,
we fly to where the bright life has no end ...
The sacred marriage took place. It is now a conscious decision to be reborn, not a defensive fantasy. The fusion goes on and on, and we do not know whether the heavens that appeared to Aida and Radames are real or hallucinatory. The ominous meaning that Hades, as the bearer of the projections of the Anima, involved Radames in both the crime and the archetypal death experience remains the same for the viewer. The priests do not stop, calling for the one who is yet to appear.
T. Mann wrote with all the ambiguity that this whole scene was a prelude to non-existence (quoted from The Magic Mountain about how Hans listens to and understands this scene). But is he right? Has nonexistence really come?
AMNERIS
I beg 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 beg you gods... I beg you gods...
Have pity, have pity, gods!
PRIESTESSES AND PRIESTS
Great God!
No, the updated god did appear. We don't know what it is. But we can assume that a new humanity and the ability to forgive have been born. Amneris, the former bearer of collective influences, has I gained?
CONCLUSIONS
Those names in "Aida" that begin with P are related to official power, those beginning with A - to the power of secret, charm and manipulation. Is it by chance?
If we are not dealing with a folklore work, but with a literary and even more theatrical work, then different characters become protagonists, depending on the situation. Here collective and individual states change at a very rapid pace. If the plot is a "magic theatre", an image of the psyche, then this is not an isolated psyche, but one in complex relationships. If, according to Hillman, a separate 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 carrier of archetypal projections, or a protagonist, an image of the Self. If we are dealing in reality with relations of passion, then the alternation of projections of archetypal influences occurs in the same way.
How do archetypal influences affect relationships? They give them great importance and the property of eternity, this is known. In addition, the archetypal influence arises in unbearable tension, in the impasse of a hopeless conflict. Those decisions that are offered by the collective psyche are both deceptive and extremely true: they can be disastrous for the character and lead the viewer to catharsis. The contradiction between the archetypal and real meanings of the final scene is necessary; this touches the viewer in the strongest way. 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 see that the influences of the Anima do not become harmful by themselves. Anima's functions are to induce intrapsychic, interpersonal and intragroup connections, but this makes her extremely vulnerable. When an archetype of greater strength emerges, masculine, more socially acceptable and at the same time connected to the shadow side of the psyche, the flexible anima becomes only a conduit for its influences. So Aida acted under the influence of Amonasro. We can interpret in this spirit the idea of ​​M.-L. von Franz that the influence of the Anima affects the work of a man in such a way that the intonations of a preacher or prophet appear (quote). Apparently, it is not the Anima itself, but the spirit (zeitgeist?) that stands behind it, which brings these tasteless intonations. Similarly, in fairy tales, behind the back of the wise princess is a dangerous and formidable spirit, which, in fact, pulls the strings.
Let us recall how two pairs are formed: Amonasro-Aida and Amneris-Ramfis. couples look mirrored. but the power in them is distributed differently. In the first, the anima is absorbed by paternal influences (only style remains of the feminine); the power of the masculine is manifested explicitly and brutally. Amneris rules secretly, apparently playing on the priest's prejudice towards Radames - and it is not for nothing that this episode remains out of the opera. All we see is that Amneris brought the priest at the right time and place. This means that both options, both the masculine under the rule of the feminine, and the reverse situation are an imbalance, a danger both to the ego and to 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 she 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 the murder of one's family, as in fairy tales about the incestuous sister who wants 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, become murderous. But Amneris does not cross the last line and remains a woman - she destroys Radames and Aida with the wrong hands and directs the lovers in such a way that they have no choice but death. Therefore, Amneris is not ugly or terrible, and in the opera she is given a chance to be reborn through guilt. Unlike the image of Amneris, in the image of Aida, the influences of the Anima and the negative Animus do not merge, they only become closely connected, and the Animus influences the Anima. Therefore, having become the cause of the death of Radames, Aida does not become only destructive; as an incarnation of the Anima, she only becomes deeper, more ambivalent, her charms blossom to the fullest.
Least of all projections are associated with the image of Radames. Most often, except for the collective temple scenes, he remains the Self. His feelings are the least stereotyped and are not set by archetypal influences. Maybe this opera is still important because now we live in a situation of profound change in gender stereotypes. The appearance of mentally thin men, as well as women who masterfully manage power and fall under the influence, is now not uncommon. The world of society, spiritual traditions does not give up and therefore becomes soulless and dangerous. Maybe a new normal is being formed, and the opera predicted it.

Giuseppe Verdi

Libretto based on the script by O. Marietta written by A. Ghislanzoni. The first performance took place on December 24, 1871 G. in Cairo.

Action one.

Picture one. Throne room in the pharaoh's palace in Memphis. Powerful columns going up, giant statues, magnificent decoration - everything here affirms strength, might, and power. However, the high priest Ramfis, having met the head of the palace guard Radames in the hall, reports alarming news: the king of Ethiopia with his soldiers again crossed the border of Egypt. We must immediately send troops to meet him, otherwise he will besiege the capital. Ramfis goes to the temple of Isis - to ask the goddess who will have the honor of leading the Egyptian campaign. Dreaming of glory, Radames sighs: the chosen one is happy! They will be important and young,” Ramfis predicts meaningfully, making it clear that the supreme servant of Isis is aware of her decisions in advance.
Inspired by a hint, Radames, having escorted the priest to the threshold, comes to the arch in the back of the hall. Through the arch, rich city blocks and gardens are visible. Oh, Goddess choose him - he will not shame his native city. Campaign... Victory... Memphis applauds, offers any reward... Radames, instead of all the treasures, will ask for the only pearl - young Aida, the slave of the pharaoh's daughter Amneris.
What is he dreaming about? asks Amneris, appearing accompanied by Aida. She looks inquisitively at Radames. True, the rumor about the invasion of enemies also reached the female half of the palace. But for now, this is a rumor. And is it worth seriously thinking about the impudent Ethiopians? The Egyptians always defeated them, living proof of this is the captive Aida. So it is not the fate of the motherland that worries the proud daughter of the pharaoh now. She is oppressed by something else. Passionately in love with the handsome chief of the palace guard, she often intercepts his tender glances fixed on Aida. Did Radames prefer a slave to her?

The pharaoh enters the hall, surrounded by priests, guards, and a crowd of courtiers. He gathered everyone here to listen to reports from the border. Call the messenger!
Prostrated at the throne, the messenger confirms the disturbing news: the king of Ethiopia, Amonasro, has invaded Egypt with his hordes. Captured Thebes, threatens Memphis!
A murmur of indignation sweeps through the hall, turning into a joyful rumble when the pharaoh proclaims: “To battle! Death to the enemies! And after the announcement of the will of Isis by the high priest - the goddess chose Radames as commander - everyone enthusiastically welcomes the chosen one.
Only Aida, turning pale, cannot utter a word. Fate sent her a terrible test! No one in the palace knows that she is the daughter of the king of the Ethiopians Amonasro. If the father wins, Radames, whom she selflessly loved, will die. If the gods grant good luck to Radames, her father and brothers will be defeated... Woe to her! She doesn't even know who to pray for!
Picture two. Temple of Ra in Memphis. The mysterious light streaming from the dome gently envelops the rows of columns, the figures of priests, the altar, at the foot of which Radames bowed. A silver veil unfurled over the commander's head. Ramfis gives the sword, a worthy weapon of the ancestors. Almighty Ra will help Radames to smash his enemies. The priests pray for the grant of victory, the priestesses bend in a sacred dance... At dawn, Radames will lead the troops into battle.

Action two.

Picture one. One of the rooms in Amneris' quarters. Slaves adorn the pharaoh's daughter for the upcoming celebration, the triumphal meeting of Radames.
The defeat of the enemy, the success of the one whom she so stubbornly waited for, a close date pleases Amneris, awakens in her dreams of the future. Yet a slight cloud of unease casts a shadow over her happiness. Aida ... Is it only the fate of the utterly defeated Ethiopians that makes the slave shed tears? Or does she keep hoping for the impossible? It's best to try it out now, while the slave does not know about the return of the commander.
Having sent away the slaves, Amneris calls Aida. Is the poor thing still grieving? Nothing, the day comes after the night... Then, counting on the sudden news to snatch a confession as soon as possible, she announces the "death" of Radames: the hero died in the last battle.
Screaming, Aida covers her face with her hands. However, Amneris continues the game. “I was joking,” she says, smiling. “Radames is not dead...” And what follows this infuriates the haughty daughter of the pharaoh. Tears flow down Aida's cheeks, but her eyes ... They shine with such delight that there is no doubt: the slave loves. Not only loves - hopes! How dare she, despicable!
"Are you a rival? So be her!” - Aida exclaims in self-forgetfulness. Tormented by grief, she almost confesses: she is also the king's daughter! But, recollecting herself in time, Amneris falls at the feet: the lady will forgive! The lot of the lady is happiness, the lot of the slave is sorrow.
Prayers are useless. Amneris orders: the slave will forget Radames. Or die! And for daring to compete, she will be subjected to such humiliation, which once and for all will teach impudent humility.
Picture two. A huge square in the liberated Thebes is filled with people. On the throne erected opposite the temple, the pharaoh rises with his daughter. Around are placed priests, retinue, palace guards. At a distance, but so as to be at hand, slaves. Among them is Aida.
The celebration begins with a parade procession. To the sounds of a solemn march, the troops of the Egyptians pass by the throne. Dancers, sliding in a dance, show the crowd the jewels of the vanquished. Carry banners, statues of gods, trophies. Chariots ride, war horses lead. And finally, the one who is so impatiently awaited appears. "Glory to the hero! Glory!" - rushes over the area. The priestesses cover the path of Radames with flowers, the most beautiful girls sing of his valor. The pharaoh himself embraces the winner: “Demand whatever you wish!” Amneris, having crowned the chosen one with a laurel wreath, shows him a place next to her. At the same time, she cannot help but look at Aida. What is a rival?
Aida is desperate. Humiliated, lost among the slaves, she is convinced that she is forgotten by Radames. Could there be anything worse?
A long line of prisoners is led past the throne. Amonasro closes the sad procession. And Aida, forgetting about herself, throws herself on his neck. Father in chains! “Don't give out,” Amonasro whispers to her. Then, calling himself one of the commanders, he claims that the king of the Ethiopians was killed. He himself was a witness. This allows the vanquished to hope for mercy. Have mercy, great pharaoh!
Mercy! - calls the people. Mercy! Aida cries. Mercy! - the vanquished fall prostrate. However, Ramfis, and behind him the rest of the priests, demand execution. Their will is the will of the gods. But Radames, who is promised whatever he wants, asks to release those taken prisoner. And the high priest is forced to yield. The only thing he manages to achieve is to leave, just in case, Aida and her father as hostages. At the conclusion of the festival, the pharaoh proclaims: he gives the hand of his daughter to the liberator of Egypt. Glory to Radames!
The country applauds. Radames reached the highest power. However, he feels pain and confusion. One tear of Aida is dearer to him than all the diamonds of Amneris!

Act Three

The steep bank of the Nile. The moon brightly illuminates the surface of the water, palm trees, the temple of Isis on a high ledge. A boat is moored among the stones. The high priest, Amneris, several women come out of it. One after another, they climb the path to the temple to ask the goddess for the consent of the marriage of the pharaoh's daughter.
Hidden behind a cliff, Aida looks after them in fear. She is waiting here for Radames. What will he say? If this is their last date, Neil will be her grave. Everything here is alien to her - both nature and people. With longing, Aida recalls her native land - the azure sky, clear air, crystal streams. No, she, a hostage, is not destined to return to her native mountains and groves!
The coastal sand crunched. A shadow glides among the palms. "Radames," Aida calls softly.
She was wrong. This is Amonasro. He followed his daughter and knows everything. About her love, her suffering. That she must meet here with Radames. Child™ Doesn't she want to be free again? Treat your homeland? Defeat Amneris™ Does she love Radames? Well, the princess, as an equal, will extend her HAND to him -
Holding her breath, Aida looks at her father. For the day of bliss that he promises, she will sacrifice her life. But who can give her such happiness? "You yourself!" - answers Amonas ro. The Ethiopians have risen again. To break them, Radames will lead the troops. The daughter must ask him which way the Egyptians will go. Amonasro will attack by surprise.
Aida recoils. Impossible! Father persuades. Requests. Reminds of the motherland, mothers, brothers. Curses. Threatens. Finally, with a mockery, he throws in her face: "Contemptible slave!" Hearing this, Aida tosses her head No, not a slave! She agrees... Overjoyed Amonasro hides behind the trunk of a palm tree - from there he will hear everything.
Silence. Expectation. And here is Radames. Embracing Aida, he swears: he loves her alone. Military duty calls him to lead the campaign for the second time. But when he returns, he will beg the pharaoh to cancel the engagement with Amneris. Aida objects. The pharaoh's daughter will not give in, death awaits them... There is another way out - flight. The homeland of Aida, the king's daughter, will give them shelter.
Radames is amazed. Change the fatherland?! Never! But Aida prays, and he hesitates. Then, yielding to love, he agrees. We must run ahead of the troops. The army will pass through the Napata gorge, - he gives out, forgetting, a military secret. And he sees a man in the shadow of a palm tree. Who is it?! “Who overheard us?..” “Aida's father. Ethiopian king,” Amo-nasro appears.
But not only Amonasro overheard. "Traitor!" Amneris screams from above. Leaving the temple, the daughter of the pharaoh noticed the betrothed with a slave. In anger, she calls Ramfis. The priest calls the guard. "Run!" - Radames Amonasro says, detaining the guard. Aida and her father disappear into the crevices. And now... "I am your prisoner, great priest," Radames approaches Ramfis.

Action four.

Picture one. Hall in the pharaoh's palace. Behind the columns is a large door leading to a dungeon where especially important criminals are tried.
At the door is the motionless Amneris. In the power of conflicting feelings - hatred and love passion - she does not know what to do. Finally, he orders the guards to bring the prisoner.
Radames enters. At the sight of him, Amneris decides: save! But save for yourself. Having removed the guard, she promises Radames freedom, wealth, and a throne. Your caresses. All the blessings of the world if he forgets Aida. What is life to him without love and honor? Radames pushes her away. "So you die, madman!" - and Amneris calls the guards.
Then she watches with horror as the priests descend into the judgment seat. Leaning against the heavy door, he greedily catches snippets of wafting phrases. "Changed!" the judges decide. Fear-stricken, Amneris rushes towards them. She loves! They must forgive Radames. But the priests are not affected by either prayers or curses. The traitor will be buried alive in the rock.
Picture two. A gloomy, narrow dungeon under the temple of the god Ra in Memphis. Imprisoned in this stone bag, Radames hears how the last block is being laid over it. It's over. He died!
As if in response to his thoughts, a groan is heard in the darkness. Who can be here?
Aida hugs Radames. After the death of her father, she returned to Memphis. Having learned about the fate of her beloved, she decided to share it. Infiltrated here ... Now no one will separate them!
Kissing Aida, catching her breath, Radames understands: tortured, wounded during her flight, she dies. He will soon follow her. But, doomed, they are happy for the first time: they are together.
And above their heads, collapsed in a hopeless prayer on the stone slabs of the temple, Amneris lies in mourning clothes, stricken with grief.

Giuseppe Verdi (1813-1901) - great Italian composer. He worked mainly in the genre of opera. Verdi wrote 32 operas. He created the first of them at the age of 26. The last - 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 had commissioned Giuseppe Verdi for an Egyptian-themed opera. However, Verdi took up 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 was written 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. After reviewing the summary of Verdi's opera "Aida", one can understand how deeply the composer was imbued with an unusual plot.

The triumphal 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.

I action

From the summary of the opera "Aida" it becomes obvious that its plot is based on an ancient Egyptian legend. This legend was written on papyrus. It was deciphered by the Egyptologist Mariette. According to his drawings, costumes and scenery for theatrical performances were made.

Memphis, Thebes. The reign of the Egyptian pharaohs. News comes to the pharaoh's palace about the impending attack of the Ethiopians. The Egyptian army needs a commander. The young head 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 suspects that he loves a slave. The 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 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 the soul of Aida, love for Radames fights with fear for her father. But she understands that the victory of one means the defeat of the other, and she prays to the gods to take pity on her.

During the solemn ceremony of initiation, the high priest Ramfis hands Radames the sacred sword. The priest asks the gods to grant victory to the Egyptian troops.

II act

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 the crown. Amneris senses a rival in her, so he reports that Radames is dead. So the daughter of the pharaoh tries to find out how Aida feels for him. Aida can't help but cry out in despair. It 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 the pharaoh's daughter's threats, Aida cries and asks for pity on her. Amneris orders Aida to follow her to the square to meet the winners.

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 victor. Pharaoh asks Radames about what he wants. At the request of Radames, the prisoners are taken out.

The Ethiopian king Amonasro is among them. Aida rushes to him, but her father asks her not to betray his identity. Amonasro pretends to be a simple military leader, reporting that the king of the Ethiopians fell on the battlefield. He asks the pharaoh for mercy for the prisoners. The priests are protesting. They demand the death of the captives, but the assembled people and Radames beg for mercy on the unfortunate.

The pharaoh, yielding to the desire of Radames, is forced to release the captives, but, yielding to the demands of the priest, leaves Amonasro and Aida hostage. As a reward, the pharaoh gives Radames to his wife Amneris. She, of course, is very happy. Radames and Aida are in despair. Acquaintance with the summary of the opera "Aida" gives an understanding that the tragic denouement is inevitable.

III act

At night, a boat with High Priest Ramfis and Princess Amneris comes ashore. They rush 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 are both homesick. 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.

Steps are heard. Amonasro is in hiding. This is Radames. The lovers rejoice at the meeting. Radamès hopes that a future battle will delay his wedding. Aida wants to run away with him, but Radames does not want to betray her homeland. The girl bitterly reproaches him. Now she asks to forget her and marry the daughter of the pharaoh.

In the summary of the opera "Aida" in Russian, the question is brewing: what is more important - love or honor. Radames agrees to run away with Aida, gives her all the necessary information. Amonasro emerges from his hiding place and reveals himself to a surprised Radames, offering him every conceivable boon in Ethiopia. Suddenly, Ramfis and Amneris come out of the temple. Amonasro and Aida go into hiding. Radames does not run with them and is now convicted of treason. He gives his sword to Ramfis. The summary of the opera "Aida" gives an idea that this is one of the most dramatic moments in the plot.

IV act

Passions are raging in the pharaoh's palace. Amneris does not want the death of her lover. She is in turmoil: jealousy and love, a thirst for revenge and despair break her heart. Radames languishes in the dungeon of the palace. The girl begs him to repent. She promises him freedom, a throne, wealth, if he refuses to love Aida. Radames is indifferent to her words. He betrayed his homeland for the sake of love, which dishonored himself. The commander is ready to pay for it.

Ramfis pronounces judgment on Radames: Accused of betraying the motherland, Radames is sentenced to be buried alive. His last resting place is the crypt of the temple, which is located under the altar of the god he defiled. Amneris cannot save her beloved. She curses the cruelty of the priests in despair. But their decision is unshakable. Even the summary of the opera "Aida" in Russian impresses with its tragedy.

tragic denouement

Further, according to Verdi's idea, the action unfolds on two levels. Above 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 of Aida. Suddenly, the unfortunate man sees a figure approaching him in the darkness. 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 is slowly lowering.

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 lofty idea. Verdi wanted to show with his work that all people have the right to be happy. The composer showed in the opera "Aida" what influence the great power of love has on the fate of a person, which even death cannot defeat.