1439:
418:, being in violent flood, has torn down part of the city wall, leaving no defence against the enemy except the river itself, which must presently recede. A herald arrives and offers Arbaces' terms: Sardanapalus' life if he will surrender. The king refuses these terms, but asks for a truce of one hour. He uses this interval to have a pyre erected under his throne, and bids his last faithful officer save himself by fleeing. Sardanapalus and Myrrha say their last farewells to each other and to the world, then he climbs to the top of the pyre, and she throws a torch into it and joins him.
28:
623:
280:, king of Assyria. The king enters, and Salemenes reproaches him with his lack of ambition for military glory and his unfaithfulness to his queen, Salemenes' sister. He warns him of possible rebellion by treacherous courtiers. Sardanapalus answers by extolling the virtues of mild and merciful rule and condemning bloodshed, but is finally persuaded to give Salemenes his signet so that he can arrest the rebel leaders. Salemenes leaves, and Sardanapalus reflects,
2073:
433:, and is sometimes seen as portraying the Countess and Byron himself in the characters of Myrrha and Sardanapalus. At the beginning of 1821 he turned to this story, which he had known since he was twelve years old, and began researching the details. On 14 January he wrote the first lines, and on 14 February completed the first act. On 31 May he was able to send the completed play to his usual publisher,
658:, completed between November 1827 and January 1828. It depicts the Assyrian king preparing for death surrounded by concubines, rather than in the company of Myrrha alone as Byron would have it. Thereafter the death of Sardanapalus became a favourite subject for composers, especially in France. In 1830 competitors for the
323:
and plots the king's murder with him. Salemenes enters and tries forcibly to arrest both men, but
Sardanapalus arrives unexpectedly and, not wanting to believe that Beleses and Arbaces could be traitors, breaks up the struggle. Salemenes and the king leave, and Arbaces, shamed by the king's clemency,
413:
As Myrrha waits in the palace, conversing with one of the courtiers, a wounded
Salemenes is brought in, a javelin protruding from his side. He draws out the javelin and dies of the consequent blood-loss. Sardanapalus, who has also returned, desponds about his prospects in the unfolding battle. Then
352:
They leave, resolving to defend themselves by rebellion. Sardanapalus and
Salemenes enter, and it becomes clear that Sardanapalus is now persuaded of the plotters' guilt, but still does not repent of sparing them. Myrrha joins the king and urges him to execute Beleses and Arbaces, but he, as ever,
361:
The king is banqueting when news reaches him that the two satraps have refused to leave the city and have led their troops in rebellion. Sardanapalus arms himself and, after admiring his newly martial appearance in a mirror, goes to join
Salemenes and his soldiers, now the only ones loyal to him.
370:
Sardanapalus awakes from a troubled sleep and tells Myrrha that he has had a nightmare of banqueting with his dead ancestors, the kings of
Assyria. Salemenes now brings in his sister, Zarina, Sardanapalus' long-estranged wife, and these two are left alone together. Zarina proposes to take their
371:
children abroad for safety, and makes it clear that she still loves him. As they talk the king gradually becomes reconciled to his wife. She faints at the prospect of parting, and is carried out. Myrrha enters, and the king, initially embarrassed by her presence, falls under her spell again.
362:
Myrrha, left behind, hears reports that a battle is in progress, and is going badly for the king. Sardanapalus and
Salemenes return, closely followed by the rebels, but they beat the attack off and congratulate themselves on a victory. Sardanapalus admits to being slightly wounded.
324:
momentarily abandons his regicidal intentions. A messenger arrives from the king, telling the two satraps to return to their respective provinces without their troops. Beleses believes this to be the prelude to a death sentence. Arbaces agrees:
699:
in an annotated short score, but seems to have abandoned the project during 1852. In 2019, the first critical and performance editions of Liszt's music (110 pages) were published, edited by the
British musicologist David Trippett; a
1068:
329: Why, what other
459:
phrase!) striking passages of history, as they did of history & mythology. You will find all this very unlike
Shakespeare; and so much the better in one sense, for I look upon him to be the
578:, writing that it was "expressly written not for the theatre". His wishes were respected during his own lifetime, but in January 1834 a French translation, or rather imitation, was played in
1492:
502:
of
Diodorus Siculus (a work he had known since he was 12) as the major source of the plot, while exercising his right to alter the facts of history so as to maintain the
824:
870:
693:, and procured an Italian libretto to that purpose, but he did not actually begin writing until 1849. He completed the music for Act 1 of his
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The Greek slave-girl Myrrha, Sardanapalus' favourite, enters; when
Sardanapalus proposes to spend the evening banqueting by the
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679:
1868:
1763:
1034:
434:
2042:
1593:
603:
523:, Bk. 2, lines 99–103. The character of Myrrha does not appear in any historical account of Sardanapalus, but the critic
2107:
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481:. Byron's intended dedication of the play to Goethe was omitted, but it did finally appear in the edition of 1829.
430:
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was released by the Staatskapelle Weimar to critical acclaim. Liszt's original manuscript survives in
2010:
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1342:
1321:
1116:
701:
514:
calls for a mirror to admire his own appearance in armour was, on Byron's own evidence, suggested by
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for the theatre". Setting out his principle that drama should be based on hard fact he commented on
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1970:
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1954:
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606:, with Ellen Tree (by then Mrs. Ellen Kean) again appearing as Myrrha. In 1877 the actor-manager
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1922:
1917:
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to play the role of Myrrha as she had been Byron's lover. Macready was not keen to cast her and
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played Sardanapalus in his own adaptation of the play, and this adaptation was also staged at
503:
936:. Salzburg: Institut für englische Sprache und Literatur, Universität Salzburg. p. 155.
563:, whose tragedies Byron certainly mentions browsing through just before he began work on it.
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was one of the literary sources–others include Diodorus Siculus and the Roman historian
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In a soliloquy Salemenes deplores the life of slothful luxury led by his brother-in-law
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1130:"Liszt's lost opera: 'beautiful' work finally brought to life after 170 years"
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202:
674:, a text based on Byron's play and Delacroix' painting, to set as a cantata.
1222:
415:
301:
748:'s entry is the only one of the 1901 entries to remain in the repertoire.
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Salemenes enters, and the king orders an immediate attack on the rebels.
316:
astrologer Beleses predicts the downfall of Sardanapalus, then meets the
1755:
1036:
Berlioz: A Musical Biography of the Creative Genius of the Romantic Era
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was written while the author was living in Ravenna with his lover,
243:. It has had an extensive influence on European culture, inspiring
1117:
https://www.tandfonline.com/doi/full/10.1080/02690403.2018.1507120
621:
104:
732:. In 1901 the Prix de Rome committee selected Fernand Beissier's
1367:
1363:
1306:. Byron's Letters and Journals, Vol. 8. London: John Murray.
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operas based on Byron's play were completed by the composers
984:
Reading Historical Fiction: The Revenant and Remembered Past
826:
Borderlines: The Shiftings of Gender in British Romanticism
582:. Later in 1834 the original tragedy was performed at the
1039:. Harvard University Press: Cambridge, Mass. p. 63.
964:
962:
960:
829:. Stanford: Stanford University Press. pp. 140–143.
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taking the title role. It was said that Byron had wanted
689:
conceived the idea of writing an Italian opera based on
304:
she persuades him not to go, fearing some danger there.
1207:. Paris: Presses universitaires de France. p. 230.
506:, but it is known that he also used William Mitford's
543:, and claimed that her name was probably inspired by
1148:"Music to the ears: The story of Liszt's lost opera"
798:
The Cambridge History of English Literature, Vol. 12
463:
of models, though the most extraordinary of writers.
2051:
1931:
1902:
1822:
1747:
1567:
1446:
1401:
1227:
Grove's Dictionary of Music and Musicians. Volume 6
801:. Cambridge: Cambridge University Press. p. 49
455:My object has been to dramatize like the Greeks (a
175:
156:
144:
136:
126:
111:
95:
47:
37:
20:
437:, with the comment that it was "expressly written
2043:"The Haunting of Villa Diodati" (2020 TV episode)
1355:"Hegelian Master-Slave Dialectics: Lord Byron's
392:I took the rabble's shouts for love – the breath
1700:(1819–1824; incomplete upon Byron's 1824 death)
1229:(5th ed.). London: Macmillan. p. 807.
1190:Vingt-cinq ans de littérature française, tome 1
343:Whose tombs are on their path! I know not how,
740:, as the text to be set. The prize was won by
708:'s Goethe- und Schiller-Museum. Several other
382:On which the future would turn back and smile,
293:If then they hate me, 'tis because I hate not:
289:Of Nineveh's vast treasures e'er been lavish'd
287:Hath flow'd for me, nor hath the smallest coin
1379:
1177:. London: Williams & Norgate. p. 89.
1080:Journal of the American Musicological Society
555:in 1819. He also suggested that the style of
398:Kiss me. Now let them take my realm and life!
8:
471:on 19 December 1821 in the same volume with
394:Of friends for truth – the lips of woman for
376:I thought to have made mine inoffensive rule
341:In his sire's day for mighty vice-royalties,
291:On objects which could cost her sons a tear:
1009:"Inspiration for the Death of Sardanapalus"
388:I thought to have made my realm a paradise,
378:An era of sweet peace 'midst bloody annals,
295:If they rebel, 'tis because I oppress not.
1386:
1372:
1364:
1192:. Paris: Librairie de France. p. 198.
1111:David Trippett, 'An Uncrossable Rubicon',
396:My only guerdon – so they are, my Myrrha:
235:. Byron wrote the play during his stay in
26:
17:
968:
917:
598:played Myrrha. Almost twenty years later
390:And every moon an epoch of new pleasures.
335:Pardon and poison – favours and a sword –
933:The Closet Drama of the Romantic Revival
905:
893:
856:
384:And cultivate, or sigh when it could not
345:But they all sicken'd by the way, it was
99:Women of the harem, guards, attendants,
1284:The Works of Lord Byron: Poetry, Vol. 5
757:
337:A distant voyage, and an eternal sleep
285:Till now, no drop from an Assyrian vein
1330:Journal of the Royal Music Association
1113:Journal of the Royal Music Association
875:. New York: Haskell House. p. 110
400:They shall have both, but never thee!
1246:. London: Constable. pp. 34–36.
795:; Waller, A. R. Waller, eds. (1915).
728:, and one was projected by the young
380:A green spot amidst desert centuries,
217:. It draws its story mainly from the
7:
339:How many satraps have I seen set out
333:The very policy of orient monarchs –
331:Interpretation should it bear? it is
1221:(1954). "Pizzetti, Ildebrando". In
1586:English Bards and Scotch Reviewers
386:Recall Sardanapalus' golden reign.
14:
1300:Marchand, Leslie A., ed. (1978).
1203:Arnaoutovitch, Alexandre (1927).
1128:Connolly, Kate (17 August 2018).
981:Kate Mitchell (3 December 2012).
2072:
2071:
1437:
1322:An Uncrossable Rubicon: Liszt's
1092:10.1525/jams.1981.34.2.03a00040
353:rejects the shedding of blood.
209:and recounting the fall of the
1869:The Destruction of Sennacherib
869:Goode, Clement Tyson (1964) .
1:
1893:So, we'll go no more a roving
652:' major historical painting
1847:Maid of Athens, ere we part
987:. Springer. pp. 120–.
930:Mathur, Om Prakash (1978).
602:played Sardanapalus at the
422:Composition and publication
2144:
1594:Childe Harold's Pilgrimage
604:Princess's Theatre, London
551:, which Byron had seen in
431:Teresa, Countess Guiccioli
2067:
1948:The Bride of Frankenstein
1454:Anne Isabella, Lady Byron
1435:
1279:Coleridge, Ernest Hartley
1240:Orenstein, Arbie (1991).
1188:Montfort, Eugène (1925).
1033:Holoman, D. Kern (1989).
584:Theatre Royal, Drury Lane
131:Theatre Royal, Drury Lane
25:
1812:The Deformed Transformed
908:, pp. 26, 128, 129.
702:world premiere recording
682:, took the first prize.
525:Ernest Hartley Coleridge
32:First edition title page
1650:The Prisoner of Chillon
1243:Ravel: Man and Musician
782:Act 4, sc. 1, line 511.
764:Act 1, sc. 2, line 408.
574:intended his play as a
527:noted a resemblance to
510:. The passage in which
489:In a prefatory note to
193:(1821) is a historical
115:10 April 1834
1721:The Vision of Judgment
1515:(maternal half-sister)
1429:Timeline of Lord Byron
773:Act 2, sc. 1, line 428
744:on this occasion, but
736:, a pale imitation of
672:La Mort de Sardanapale
655:La Mort de Sardanapale
634:
627:La Mort de Sardanapale
465:
403:
350:
298:
239:, and dedicated it to
1713:The Prophecy of Dante
1539:John William Polidori
1472:John "Mad Jack" Byron
1359:" by Marziyeh Farivar
1287:. London: John Murray
1067:Bloom, Peter (1981).
714:Victorin de Joncières
646:Quintus Curtius Rufus
625:
453:
373:
326:
282:
251:and musical works by
2012:Rowing with the Wind
1634:The Siege of Corinth
1554:Edward John Trelawny
1544:Percy Bysshe Shelley
1332:143 (2018), 361-432.
1205:Henry Becque, tome 2
1115:143 (2018), 361-432
680:attempt on the prize
414:he is told that the
179:The Royal Palace at
2108:Plays by Lord Byron
1911:Fragment of a Novel
1862:She Walks in Beauty
1681:The Lament of Tasso
1610:The Bride of Abydos
1303:Born for Opposition
1160:Trippett (2018) 389
1150:. 18 February 2019.
1013:The Open University
859:, pp. 128–129.
730:Ildebrando Pizzetti
660:Paris Conservatoire
567:Performance history
347:So long and heavy.
1980:Lady Caroline Lamb
1956:The Bad Lord Byron
1559:Michael C. Burgess
1508:Lady Caroline Lamb
1488:Contessa Guiccioli
1320:Trippett, David, "
1175:The Music of Liszt
726:Baronne de Maistre
635:
561:Seneca the Younger
559:was influenced by
499:Historical Library
220:Historical Library
215:supposed last king
2085:
2084:
1729:The Age of Bronze
1578:Hours of Idleness
1498:John Cam Hobhouse
1069:"Berlioz and the
994:978-1-137-29154-7
836:978-0-8047-5297-8
821:Wolfson, Susan J.
718:Alphonse Duvernoy
685:In the mid-1840s
508:History of Greece
496:acknowledged the
467:Murray published
233:History of Greece
213:monarchy and its
205:, set in ancient
186:
185:
137:Original language
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1840:Epitaph to a Dog
1796:Heaven and Earth
1503:Douglas Kinnaird
1478:Claire Clairmont
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650:Eugène Delacroix
592:Charlotte Mardyn
504:dramatic unities
263:, among others.
225:Diodorus Siculus
148:The fall of the
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2128:Sardanapalus
2118:Closet drama
2036:Mary Shelley
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2019:
2011:
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1988:Childe Byron
1987:
1979:
1974:(1972 opera)
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1885:Irish Avatar
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1549:Mary Shelley
1534:Walter Scott
1529:Isaac Nathan
1524:Thomas Moore
1519:Medora Leigh
1460:Ada Lovelace
1414:Byronic hero
1357:Sardanapalus
1356:
1345:Sardanapalus
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1289:. Retrieved
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1257:. Retrieved
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1071:Prix de Rome
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742:André Caplet
738:Sardanapalus
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733:
722:Giulio Alary
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664:Prix de Rome
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642:Sardanapalus
641:
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600:Charles Kean
576:closet piece
570:
557:Sardanapalus
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190:Sardanapalus
189:
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170:closet drama
55:Sardanapalus
21:Sardanapalus
15:
2038:(2017 film)
2030:(1993 play)
2022:(1988 film)
2014:(1988 film)
2006:(1986 film)
1998:(1984 play)
1990:(1977 play)
1982:(1972 film)
1966:(1953 play)
1964:Camino Real
1958:(1949 film)
1950:(1935 film)
1942:(1908 play)
1618:The Corsair
1597:(1812–1818)
1493:Jane Harley
1324:Sardanapalo
793:Ward, A. W.
710:Sardanapale
696:Sardanapalo
687:Franz Liszt
666:were given
547:'s tragedy
435:John Murray
199:blank verse
166:blank verse
160:Historical
2103:1821 plays
2098:1821 books
2092:Categories
1972:Lord Byron
1932:Portrayals
1737:The Island
1666:Prometheus
1602:The Giaour
1468:(daughter)
1462:(daughter)
1419:Early life
1395:Lord Byron
1272:References
1223:Blom, Eric
724:, and the
668:J.-F. Gail
633:, 1827–28)
596:Ellen Tree
541:Artaxerxes
245:a painting
203:Lord Byron
119:1834-04-10
48:Characters
42:Lord Byron
38:Written by
1658:The Dream
1326:Revisited
1259:10 August
1052:10 August
752:Footnotes
631:Delacroix
416:Euphrates
302:Euphrates
249:Delacroix
227:and from
168:tragedy,
103:priests,
67:Salamenes
2077:Category
1895:" (1830)
1880:" (1816)
1849:" (1810)
1842:" (1808)
1835:" (1807)
1697:Don Juan
1676:" (1816)
1674:Darkness
1642:Parisina
1474:(father)
1173:(1954).
1097:9 August
1073:of 1830"
1018:9 August
949:9 August
879:8 August
842:8 August
823:(2006).
805:8 August
588:Macready
580:Brussels
533:Plutarch
314:Chaldean
267:Synopsis
211:Assyrian
152:monarchy
150:Assyrian
101:Chaldean
2123:Assyria
2052:Related
2028:Arcadia
1923:Memoirs
1918:Letters
1857:(1815)
1823:Shorter
1756:Manfred
1705:Mazeppa
1348:at the
1291:17 July
1225:(ed.).
553:Bologna
545:Alfieri
529:Aspasia
520:Satires
516:Juvenal
485:Sources
321:Arbaces
253:Berlioz
237:Ravenna
207:Nineveh
195:tragedy
181:Nineveh
176:Setting
162:tragedy
145:Subject
140:English
117: (
64:Beleses
60:Arbaces
2004:Gothic
1914:(1819)
1888:(1821)
1825:poetry
1815:(1822)
1807:(1822)
1804:Werner
1799:(1821)
1791:(1821)
1783:(1821)
1775:(1821)
1767:(1820)
1759:(1817)
1740:(1823)
1732:(1823)
1724:(1821)
1716:(1819)
1708:(1819)
1692:(1818)
1684:(1817)
1669:(1816)
1661:(1816)
1653:(1816)
1645:(1816)
1637:(1816)
1629:(1814)
1621:(1814)
1613:(1813)
1605:(1813)
1589:(1809)
1581:(1807)
1570:poetry
1568:Longer
1456:(wife)
1447:People
1402:Topics
1310:
1250:
1043:
991:
940:
833:
734:Myrrha
706:Weimar
618:Legacy
457:modest
318:satrap
241:Goethe
88:Myrrha
85:Zarina
70:Altada
1940:Byron
1903:Prose
1748:Plays
1689:Beppo
1076:(PDF)
638:Byron
586:with
572:Byron
549:Mirra
494:Byron
461:worst
451:that
409:Act 5
366:Act 4
357:Act 3
308:Act 2
272:Act 1
261:Ravel
257:Liszt
157:Genre
105:Medes
82:Balea
79:Sfero
76:Zames
73:Pania
1788:Cain
1308:ISBN
1293:2013
1261:2013
1248:ISBN
1099:2013
1054:2013
1041:ISBN
1020:2013
989:ISBN
951:2013
938:ISBN
881:2013
844:2013
831:ISBN
807:2013
648:–of
537:life
478:Cain
475:and
445:and
312:The
259:and
107:etc.
96:Mute
1328:,"
1088:doi
670:'s
662:'s
640:'s
539:of
535:'s
531:in
439:not
247:by
231:'s
223:of
201:by
197:in
2094::
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1084:34
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959:^
720:,
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255:,
164:,
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1672:"
1387:e
1380:t
1373:v
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1295:.
1263:.
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1022:.
997:.
953:.
883:.
846:.
809:.
629:(
121:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
