23. Die! faithless woman!
He seizes her and forces her to the bed. As he
draws the dagger, Desdemona faints. The
dagger strikes home.
24. I have seen Madame Malibran in Otello. She made me
weep, shudder, in a word, suffer as if I were present at a
real-life scene. This woman is the premiere genius of
Europe, beautiful as one of Raphael's virgins, simple,
energetic, naive, she is the foremost singer and the
foremost tragedienne. I’m crazy about her.
George Sand, 1831
25. … in the last passionate scene, where Malibran screams
and raves almost disagreeably…. Mme. Malibran is a
young woman, beautiful and splendidly made, her hair
en toupet, full of fire and power, very coquettish, setting
off her performance partly with clever embellishments
of her own invention…. She plays beautifully, her
attitudes are good, but it is a pity she should so often
exaggerate and then nearly touch the ridiculous…. I was
almost tired to death, but held out till a quarter to
one, when Malibran was dispatched, panting and
screaming disagreeably.
Felix Mendelssohn to his family
London April 25, 1829
27. In the scene in which Otello seizes Desdemona for the purpose
of stabbing her, Maria perceived that the dagger which her
father held in his hand was a real instrument of death, and not
one of those sham weapons used by actors. Maria immediately
recognized the dagger which her father brandished furiously in
his hand…. Maria beheld the deadly weapon approach her
bosom, and, frantic with terror, she uttered the words, " Papa!
Papa! por Dios no me mates!
Maria de las Mercedes Santa Cruz y Montalvo
(Countess de Merlin), Madame Malibran
(Brussels, 1839), 45.
29. Images associated with Charles Darwin’s The
Expression of the Emotions in Man and
Animals (1872)
30. A cardiographic apparatus or sphygmograph by Claude
Bernard, “Sur la physiologie du coeur et ses rapports avec le
cerveau,” in Leçons sur les propriétés des tissus vivants
31. “The Emotion of Fear,” , “Influence de la vie
émotionnelle sur le coeur, la respiration et la circulation
capillaire,” L'Année psychologique 3 (1896): 77.
33. “The Foyer of the Italian Theater,” L’illustration 3/56
(23 March 1844), 68.
34. Malibran’s wonderful voice has a compass of three
octaves, and she is in her style unique and fascinating….
Signora Malibran gave “Otello;” [Wilhelmine] Schröder-
Devrient, Desdemona. Malibran is a much smaller
woman than the German singer, and people thought,
several times, that Desdemona would strangle Othello.
Frédéric Chopin, Letter to a
friend, 6 December 1831
RF24317Fonds : DessinsTitre : La Malibran dans le rôle de Desdémone de l'OthelloAuteur : Chasseriau Théodore (1819-1856) peintreCrédit photographique : (C) RMN-Grand Palais (musée du Louvre) / Michèle BellotPériode : 19e siècle, période contemporaine de 1789 à 1914Technique/Matière : pierre noire, rehauts de blanc, sanguineHauteur : 0.218 m.Longueur : 0.177 m.Localisation : Paris, musée du Louvre, D.A.G.Théodore Chassériau (1819–1856) Title Français : Le coucher de Desdémone.English: Desdemona Retiring to her BedDescription Français :Desdémone est apprêtée par sa servante lors de son coucher. Reprise de la composition de la huitième estampe gravée par l'artiste en 1844, estampes de la suite d'Othello.Date 1849 Medium oil on canvas Dimensions Height: 0.42 m (0.5 yd). Width: 0.32 m (0.3 yd).
PHILIPS CLASSICS DUO 475 448-2
Contraction of the platysma myoides muscle … muscle of fright. Dr. Duchenne has given another photograph of the same old man, with the platysma contracted, the eyes and mouth opened, and the eyebrows rendered oblique, by means of galvanism.
Cardiographic apparatus or sphygmograph of M. Marey for the direct inscription of heart pulsation. From Claude Bernard, "Sur la physiologie du coeur et ses rapports avec le cerveau," in idem, Leçons sur les propriétés des tissus vivants, coll., ed., and arranged by M. Émile Alglave (Paris: Germer Baillière, 1866), p. 438.
Emotion of fear (on-line monitoring). The effect of fear on the capillary trace: the word "serpent" was suddenly pronounced. From A. Binet and J. Courtier, "Influence de la vie émotionnelle sur le coeur, la respiration et la circulation capillaire," L'Année Psychologique 3 (1896): 77.
1843 in Jules Janin Un hiver à Paris. Paris. The Theatre Italien (italian theater) around 1840. Drawing by Egène Lami, engraving by C. Mottram.
