No opera composer turned to William Shakespeare more often than Giuseppe Verdi, who composed three works, Macbeth, Otello and Falstaff, based on the Bard’s plays. But if it hadn’t been for the persistence of his publisher Ricordi and would-be librettist Arrigo Boito, Verdi might well have stopped at one. He had to be coaxed out of a post-Aida retirement to write Otello, which finally premiered in 1887, sixteen years later.
But Otello was worth waiting for. A masterpiece, a thorough integration of music, words and drama that, astoundingly, manages to illuminate the original work—itself an unequalled masterpiece—on which it is based.
Reading and translating Taiwanese poet Ling Yu reminds me much of American writer, environmentalist, and activist Terry Tempest Williams’s wisdom: There is an art to writing, and it is not always disclosure. The act itself can be beautiful, revelatory, and private.
In my opinion, Ling Yu’s poetry contains the above qualities: perhaps aware of how several poets in her country and language are prone to cultivating celebrity fame and fan culture, or capitalizing on Facebook or Twitter to sustain their poetic careers and publicity, Ling Yu strives to create a Beckettian lyricism and silence—in life and her art. What results is a poetic voice that often does not need to be loud or echoey in order to assert its confidence, passion, and weight. On the contrary, it may be heard and felt through the imagery or ambiance it evokes, hence an overall Impressionist effect that comes across as distinctly moving yet oblique.
In the second part of Don Quixote, before the “Prologue to the Reader”, there is a dedication “To the Count of Lemos”, Don Pedro Fernández de Castro, who was Cervantes’s patron. In this dedication, Cervantes complains about “another Don Quixote”, a false Quixote, whose practices greatly annoy him. What Cervantes refers to is the publication of a forged second part of Don Quixote in 1614 by an author whose true identity still remains unknown today, who capitalized on the fame and popularity of the first part of Cervantes’s original book, published nine years earlier in 1605.