@article{oai:kanagawa-u.repo.nii.ac.jp:00005929,
 author = {鳥越, 輝昭},
 issue = {44},
 journal = {人文学研究所報, Bulletin of the Institute for Humanities Research},
 month = {Dec},
 note = {I have taken up three Marino Faliero plays―Marino Faliero, Doge of Venice（1821）, a verse drama by George Gordon Byron, Marino Faliero（1829）, another verse drama by Casimir Delavigne, and Marino Faliero（1835）, an opera by Gaetano Donizetti & Emanule Bidera―and compared them with Eine Nacht in Venedig（1883）, an operetta by Johann Strauss and F. Zell & Richard Genée. My purpose has been to show the internal relationship among these four works. While their titles indicate the obvious connection among the first three works, the connection is not so apparent with regard to the Strauss operetta.　The internal connection of the four plays derives ultimately from the fact that they all depict the old Venice that had been under aristocratic rule, after the fall of the republic（1797）, from a critical viewpoint. The element that directly unites these works concerns the fact that all of them deal with a relationship among an old aristocrat, his young wife, and the aristocrat’s nephew.　The historical Doge Faliero, enraged at the lightness of the punishment given to a nobleman who scribbled about a suspected adultery committed by his young wife, united with some Venetian citizens who shared his hate of the city’s aristocrats, planned the extermination of the noblemen, but was detected and executed. In taking this incidence as the theme, Byron emphasized the innocence of the dogaressa regarding the relationship with the doge’s nephew, and thus wrote a play that denounced the Venetian aristocrats whose degeneracy produced the scribbler and let him escape without due punishment.　While using the same Marino Faliero incident, Delavigne and Donizetti=Bidera put it into the background, and focused instead on the development involving the illicit love between the dogaressa and the doge’s nephew, the nephew’s death in a duel, the dogaressa’s confession and remorse of her adultery, and the final pardon given to the dogaressa by her husband. They produced a melodrama radically different from Byron’s earlier work.　Donizetti=Bidera’s Marino Faliero, which is presented with masterly music, easily prevents the audience from noticing its possibility of becoming a comedy. The Marino Faliero story as presented by Delavigne and Donizetti=Bidera has, in fact, a great danger of transforming itself into a comedy, because an old potentate whose young wife is cuckolded by his young relative is a situation typically staged in a comedy. There are other elements that can make a comedy out of this opera. The doge’s rage, which is caused by the unsatisfactory punishment imposed on the nobleman who publicly scribbled about the dogaressa’s adultery and which incites him to the aborted massacre of the noblemen, is actually ungrounded and very much risible, since the derisive nobleman wrote nothing but the truth. The doge also keeps trusting his nephew until the adultery is revealed by his wife.　Whereas Strauss=Zell & Genée, of course, did not write an operetta on the theme of the Marino Faliero incident, they did write in Eine Nacht in Venedig about an old Venetian potentate whose young wife is cuckolded by his young nephew. Strauss=Zell & Genée, in a sense, produced a real comedy out of the comical situation lying dangerously hidden in the Marino Faliero plays presented by Delavigne and Donizetti=Bidera. In addition, the three senators in the Strauss operetta, one of whom is made a cuckold, can be taken as representing the entire Venetian noblemen, and they are all dishonorable fools enthusiastic about silly state politics.　Seen from the viewpoint of the effectiveness of criticism on the old aristocratic regime of Venice, the oblique attack made in Eine Nacht in Venedig can be more damaging in totally ridiculing the Venetian noblemen than the direct attack attempted by Byron.　Byron’s Marino Faliero and Strauss=Zell & Genée Eine Nacht were both written after the crumbling of the proud aristocratic state, the Serenissima Republic of Venice, which disappeared without exhibiting any will to resist Napoleon who demanded the dissolution of the aristocratic regime. It was evident that there had been something wrong with the old Venetian system of government. Both Byron and Strauss=Zell & Genée detected degeneracy in the Venetian noblemen who monopolized the state government; the difference was in the way they criticized it, the one frontal and the other sideways, Departmental Bulletin Paper},
 pages = {1--18},
 title = {『マリーノ・ファリエーロ』と『ヴェネツィアの一夜』のなかのヴェネツィア貴族政不信},
 year = {2010}
}