Beware When Tampering with a Man’s Pride

People take their pride very seriously; it is probably the most sensitive component of a person’s being. So we must be consciously sensitive to the feelings of others or suffer the consequences of their response. These may sometimes be dire as in the case of the Rigoletto-Sparafucile duet in the second scene of Act I of Verdi’s opera Rigoletto. On his way home from the Duke’s palace where he had publically ridiculed a nobleman, Rigoletto, the court jester, is preoccupied with the curse hurled at him by the offended nobleman. Rigoletto is suddenly accosted by the assassin Sparafucile. An animated discussion between the two follows during which Sparafucile offers his services to Rigoletto should the need arise. Sparafucile prides himself as a thorough and proficient professional whose word is his bond. The impression he makes is considerable and believable. However, in Act III, Sparafucile reneges on his word and betrays Rigoletto’s trust when he accedes to his sister Maddalena’s entreaties to murder someone other than the Duke, the intended victim. The erstwhile trustworthy assassin betrays his employer. The question is, why? A response that he acquiesced to his sister’s pleas to spare the handsome man or that he would be presenting a corpse in any case and thus fulfill his end of the bargain, just doesn’t ring true. The impression of integrity and honor in Act I is too strong and defies credulity to Sparafucile’s betrayal. Also, Verdi’s marvelous music in Act III wonderfully describes his tremendous struggle to keep his word to Rigoletto. [https://youtu.be/kST-64cjdRY 0:53 – 4:35] Why then, did Sparafucile’s resolve fail him? The duet in Scene II provides the answer [https://youtu.be/A9CIr6vhsq0 3:25-4:08]. Pay attention to the exchange between Sparafucile and Rigoletto; hear the immense pride in the former’s declaration “Sparafucile mi nomino” (Sparafucile is my name). Rigoletto responds with “Straniero” (a foreigner). Sparafucile replies “Borgognione” (Burgundian). And here Verdi makes a subtle musical observation. He gives to Rigoletto’s rejoinder “E dove all’ occasione?” (And where [do I find you] should the need arise?), the very same melody that he used when Sparafucile declaimed his name! This is not coincidental. Rigoletto utters the same melody and thereby mimics/ mocks Sparafucile’s seeming self-importance. That and more. Strangers, particularly in 16th century Italy, were looked upon with suspicion and derision – even disdain. Rigoletto haughtily dismisses Sparafucile “Va, va “ (Begone).No one pays attention to this trivial observation yet it is the only viable and psychologically sound explanation to Sparafucile’s flagrant violation of his contract with Rigoletto.