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Musical Symbolism in the Operas of Debussy and Bartok$
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Elliot Antokoletz

Print publication date: 2008

Print ISBN-13: 9780195365825

Published to Oxford Scholarship Online: May 2008

DOI: 10.1093/acprof:oso/9780195365825.001.0001

Duke Bluebeard's Castle

Final Transformation and Retreat into Eternal Darkness: Synthesis of Pentatonic/Diatonic and Whole‐Tone Spheres

Chapter:
(p.248) 12 Duke Bluebeard's Castle
Source:
Musical Symbolism in the Operas of Debussy and Bartok
Author(s):

Elliott Antokoletz (Contributor Webpage)

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195365825.003.0012

This chapter looks at Doors VI, lake of tears, and VII, former wives, and begins with the transition from Doors V to VI which reveals Bluebeard's acquisition of Judith's “Fate” (pentatonic/whole-tone) motif. These final Doors suggest the sexual instinct and the death wish. They point to the traditional role of women and the transition to equality. The chapter explores the Symbolic connections of Nietzsche, Bartók, Bluebeard, and Judith.

Keywords:   lake of tears, former wives, sexual instinct, death wish, women, equality, Nietzsche, Bartók, Judith

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