奧菲莉亞（Ophelia）是莎士比亞（William Shakespeare, 1564-1616）在《哈姆雷特》（Hamlet, 1599-1602）中原創的角色。在《哈姆雷特》複雜且多重的劇情下，相較於其他角色，莎士比亞對奧菲莉亞著墨不多，奧菲莉亞在莎士比亞作品的女性角色中也不是最出名的，但她卻是十九世紀諸多藝術家的靈感來源，經常出現在文學、美術與音樂作品中。許多作曲家以奧菲莉亞的瘋狂場景與死亡場景作為題材創作藝術歌曲，如布拉姆斯（Johannes Brahms, 1833-1897）的《五首奧菲莉亞歌曲》（Fünf Ophelia Lieder, WoO 22, 1873）、史特勞斯（Richard Strauss, 1864-1949）的《三首出自《哈姆雷特》的奧菲莉亞歌曲》（Drei Lieder der Ophelia aus William Shakespeares “Hamlet”, op. 67, TrV 238, nos. 1-3, 1918）、蕭頌（Ernest Chausson, 1855-1899）的〈奧菲莉亞之歌〉（Chanson d’Ophélie, 1896）、白遼士（Hector Berlioz, 1803-1869）的〈奧菲莉亞之死〉（La mort d’Ophélie, 1844）和聖桑斯（Camille Saint-Saëns, 1835-1921）的〈奧菲莉亞之死〉（La mort d’Ophélie, c. 1857）。也有作曲家為整齣《哈姆雷特》創作歌劇，如法契歐（Franco Faccio, 1840-1891）的義語歌劇《阿姆雷特》（Amleto, 1865）和托馬（Ambroise Thomas, 1811-1896）的法語大歌劇《哈姆雷特》（Hamlet, 1868）。
本論文將分析以奧菲莉亞瘋狂與死亡場景為題的藝術歌曲與歌劇，期望藉此梳理各個作曲家對於奧菲莉亞的呈現和闡述，提供詮釋上更多的選擇。

Ophelia, an original character created by William Shakespeare (1564-1616) in Hamlet (1599-1602), receives relatively less attention from Shakespeare compared to other characters in this complex and multifaceted play. Though Ophelia is not the most famous female character in Shakespeare’s works, she has become a prominent source of inspiration for many artists in the 19th century, frequently appearing in literature, fine arts, and musical works. Composers often use Ophelia’s mad and death scenes as themes for art songs, include Fünf Ophelia Lieder (WoO 22, 1873) by Johannes Brahms (1833-1897), Drei Lieder der Ophelia aus William Shakespeares “Hamlet” (op. 67, TrV. 238, nos. 1-3, 1918) by Richard Strauss (1864-1949), Chanson d’Ophélie (1896) by Ernest Chausson (1855-1899), La mort d’Ophélie (1844) by Hector Berlioz (1803-1869), and La mort d’Ophélie (c. 1857) by Camille Saint-Saëns (1835-1921); or they adapt the entire Hamlet for operas, include Amleto (1865) from Franco Faccio (1840-1891) and Hamlet (1868) from Ambroise Thomas (1811-1896).
This study aims to analyze art songs and operas that focus on Ophelia’s mad scene and death scene, intending to explore how various composers present and interpret Ophelia, thereby providing more choices for interpretation.

一、原始資料
（一）樂譜
“67 Swedish Folk Songs.” Scribd. Accessed April 24, 2022. https://www.scribd.com/document/367469091/67-Swedish-Folk-Songs.
Berlioz, Hector. La mort d’Ophélie, Op. 18 No. 2. In Hector Berlioz Werke, series VI, vol. 14, 75-88. Leipzig: Breitkopf & Härtel, 1903.
Brahms, Johannes. Fünf Ophelia-Lieder für eine Sopranstimme und Klavierbegleitung. Wiesbaden: Breitkopf & Härtel, 1961.
Chausson, Ernest. Chansons de Shakespeare, Op. 28. Paris: Rouart, Lerolle & Cie., 1910.
Faccio, Franco. Amleto. Edizione critica della partitura. Edited by Anthony Barrese. 3 vols. Milan: Ricordi, 2014.
Saint-Saëns, Camille. La mort d’Ophélie. In Vingt mélodies et duos, vol. 1, 59-67. Paris: Durand et Schœnewerk, 1885.
Strauss, Richard. 6 Lieder, Op. 67. London: Boosey & Hawkes, 1964.
Thomas, Ambroise. Hamlet. Paris: Heugel, 1869.
（二）文字
Afzelius, Arvid August. “Näckens Polska / In des Meeres tiefsten Wunderhallen.” German translation by Amalie von Helvig. Lyrics Translate. Accessed April 24, 2022. https://lyricstranslate.com/en/nackens-polska-des-meeres-tiefsten-wunderhallen.html.
Bosio, Elisa. “L’epistolario di Arrigo Boito.” PhD diss., University of Padova, 2010.
Dumas, Alexandre, and Paul Meurice. Hamlet, prince de Danemark: drame en vers en cinq actes et huit parties. 1853. Reprint, Paris: Hachette Livre - BNF, 2013.
Grammaticus, Saxo, and François de Belleforest. The Norse Hamlet. English Translation by Søren Filipski. N.p.: Hythloday Press, 2013.
Schlötterer, Reinhold, ed. Die Texte der Lieder von Richard Strauss. Kritische Ausgabe. Pfaffenhofen: W. Ludwig Verlag, 1988.
Shakespeare, William. Hamlet, Prince of Denmark. Edited by Philip Edwards. Cambridge: Cambridge University Press, 2003.
———. Romeo und Julia, Hamlet, Othello. German translation by August Wilhelm Schlegel and Ludwig Tieck. Zürich: Diogenes Verlag AG, 1979.
莎士比亞。《哈姆雷》。彭鏡禧譯。修訂版。臺北：聯經，2014。
———。《哈姆雷特》。朱生豪譯。臺北：世界書局，1996。
———。《哈姆雷特》。孫大雨譯。臺北：聯經，1999。
———。《哈姆雷特》。梁實秋譯。臺北：遠東圖書，2017。
（三）影音
ChembaLiszt. “A. Thomas: Hamlet [Niquet] - HNK Zagreb, 2011.” Directed by Michiel Dijkema, conducted by Hervé Niquet, Croatian National Theatre in Zagreb, November 19, 2011. YouTube video. Uploaded July 10, 2020. Accessed January 24, 2024. https://www.youtube.com/watch?v=gLfrPd6Y1NU.
Faccio, Franco. Hamlet. Directed by Olivier Tambosi, conducted by Paolo Carignani. Bregenz Festival, July 2016. C Major 740608, 2017. 2 DVDs.
Roberto Job _2. “Franco Faccio AMLETO atti 1 & 2 (1865-71).” Conducted by Anthony Barrese, Opera Southwest, October 26, 2014. YouTube video. Uploaded October 30, 2016. Accessed January 15, 2024. https://www.youtube.com/watch?v=eLo97onFcD0.
———. “Franco Faccio AMLETO atti 3 & 4 (1865-71).” Conducted by Anthony Barrese, Opera Southwest, October 26, 2014. YouTube video. Uploaded October 30, 2016. Accessed January 15, 2024. https://www.youtube.com/watch?v=LeRMeAyQPcw.
Thomas, Ambroise. Hamlet. Conducted by Antonio de Almeida. Recorded March 8-19, 1993. EMI France CDCC 7 54820 2, 1993. 3 CDs.
二、研究資料
“Amleto.” Wikipedia. Accessed March 26, 2023. https://en.wikipedia.org/wiki/Amleto.
Ashbrook, William. “Boito, Arrigo [Enrico].” Grove Music Online. Oxford Music Online. Published online 2001. Accessed January 22, 2023. https://doi.org/10.1093/gmo/9781561
592630.article.03430.
———. “Faccio, Franco [Francesco Antonio].” Grove Music Online. Oxford Music Online. Published online 2001. Accessed March 22, 2023. https://doi.org/10.1093/gmo/97815615
92630.article.09203.
Barbuscia, Giuseppe. “Shakespeare’s Reception in Italy: Two Translations of The Tempest (A Case Study).” Folia Linguistica et Litteraria, no. 24 (2018): 45-65.
Barrese, Anthony. “Amleto Project.” Accessed April 23, 2020. http://anthonybarrese.com/projects/amleto-project/.
———. “Sources.” In Faccio, Amleto, 1:vi-vii.
———. “Critical Notes.” In Faccio, Amleto, 1:viii-xxxv.
———. “Librettos.” In Faccio, Amleto, 3:307-327.
Bradley, Andrew Cecil. Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth. London: Dodo Press, 2009.
Bunt, Bonita Elissa. “Finding the Shakespeare in Ambroise Thomas’ Hamlet: A Comparison of Plot and Character in the Seventeenth-Century English Play and the Nineteenth- Century French Opera.” DMA diss., University of Nevada, Las Vegas, 2017.
Conroy Jr., Peter V. “A French Classical Translation of Shakespeare: Ducis’ Hamlet.” Comparative Literature Studies 18, no. 1 (March 1981): 2-14.
Corbin, John. The Elizabethan Hamlet: A Study of the Sources and of Shakespeare’s Environment, to Show That the Mad Scenes Had a Comic Aspect Now Ignored. London: Elkin Mathews, Vigo Street, W., 1895.
d’Angelo, Emanuele. “Boito e Shakespeare prima di Verdi: Genesi e fonti dell’Amleto del 1865.” Verdiperspektiven 1 (2016): 43-66.
———. “Oggi la musica è tutta al melodramma.” In Arrigo Boito drammaturgo per musica: Idee, visioni, forma e battaglie, 3-16. Venice: Marsilio Editori, 2010.
———. “Tra Hugo fils e Dumas père: Fonti francesi dell’Amleto di Arrigo Boito.” In The Lark and the Nightingale: Shakespeare e l’Opera, edited by Camillo Faverzani, 123-136. Sediziose voci: Studi sul melodrama 5. Lucca: Libreria Musicale Italiana, 2017.
Dahlhaus, Carl. Nineteenth-Century Music. English translation by J. Bradford Robinson. Berkerly: University of California Press, 1989.
De Rensis, Raffaello. Franco Faccio: Arte, Scapigliatura, Patriottismo. Rome: NeoClassica, 2016.
“De Rensis Images: L’Amleto de A. Boito: con lettere inedite di A. Boito.” Opera Southwest. Accessed March 26, 2023. https://www.operasouthwest.org/amleto/de-rensis-images.
Döhring, Sieghart. “Die Wahnsinnsszene.” In Die Couleur locale in der Oper des 19. Jahrhunderts, edited by Heinz Becker, 279-314. Regensburg: Gustav Bosse Verlag, 1976.
Dreher, Diane Elizabeth. Domination & Defiance: Fathers & Daughters in Shakespeare. Lexington, KY: University Press of Kentucky, 1986.
Dusinberre, Juliet. Shakespeare and the Nature of Women. 2nd ed. New York: St. Martin’s Press, 1996.
Elliott, Jr., John R. “The Shakespeare Berlioz Saw.” Music & Letters 57, no. 3 (July 1976): 292-308.
Elwert, W. Theodor. Italienische Metrik. Munich: Max Hueber, 1968.
“Family Tree of Marie Élisa Legouvé.” Geneanet. Accessed July 21, 2020. https://gw.genea
net.org/titeufs6?lang=en&n=legouve&oc=0&p=marie+elisa&type=tree.
Fauser, Annegret. “Ambroise Thomas: Hamlet, Opéra en cinq actes.” In Pipers Enzyklopädie des Musiktheaters: Oper, Operette, Musical, Ballett, edited by Carl Dahlhaus, 6:286-290. Munich: Piper Verlag, 1997.
———. “Ophelie: Shakespeare in Paris.” In booklet of Thomas, Hamlet, 3CDs, 33-41.
Fischer-Dieskau, Martin. Dirigieren im 19. Jahrhundert: Der italienische Sonderweg. Mainz: Schott Music, 2016.
Forbes, Elizabeth. “Hamlet.” In booklet of Thomas, Hamlet, 3 CDs, 20-28.
Geiringer, Karl. Brahms, His Life and Work. 2nd ed. London: George Allen & Unwin, 1963.
———. On Brahms and His Circle: Essays and Documentary Studies. Revised and enlarged by George S. Bozarth. Sterling Heights, MI: Harmonie Park Press, 2006.
Gilbert, David. “Prix de Rome.” Grove Music Online. Oxford Music Online. Published online 2001. Accessed May 9, 2021. https://doi.org/10.1093/gmo/9781561592630.article.40632.
Gossett, Philip. “Faccio, Boito and Verdi.” Opera Southwest. Accessed January 23, 2023. https://www.operasouthwest.org/amleto/faccio-boito-and-verdi.
Greenblatt, Stephen. Will in the World: How Shakespeare Became Shakespeare. New York: W. W. Norton & Company, 2005.
Griffiths, Christian Michael. “Richard Strauss, Drei Lieder der Ophelia Opus 67, 1-3, Interpreted as a Work of German Expressionism.” BA (Hons) thesis, Monash University, 2012.
Guerrieri, Matthew. “Strauss Limned Madness in ‘Ophelia’ Songs.” The Boston Globe, November 10, 2014. Accessed March 24, 2017. https://www.bostonglobe.com/arts/2014/
11/09/fulfilling-contract-strauss-limned-madness-ophelia-songs/F6N8Yu14gBQiiwSRSOtd9O/story.html.
Gurr, Andrew. The Shakespearean Stage 1574-1642. 3rd ed. Cambridge: Cambridge University Press, 1992.
Harris-Warrick, Rebecca, David Charlton, Janet Johnson, Richard Langham Smith, and Charles Pitt. “Paris (opera).” Grove Music Online. Oxford Music Online. Published online 2002. Accessed February 21, 2023. https://doi.org/10.1093/gmo/9781561592630.
article.O005519.
Hart, Jonathan Locke. “The Hugos and the Translation of Shakespeare into French, Texts and Cultural and Historical Contexts.” Concentric: Literary and Cultural Studies 47, no. 2 (September 2021): 57-86.
Hattaway, Michael. Elizabethan Popular Theatre: Plays in Performance. London: Routledge, 1982.
Hepokoski, James A. Review of The Operas of Verdi, Vol. III: From “Don Carlos” to “Falstaff” by Julian Budden. Journal of the American Musicological Society 35, no. 3 (1982): 577-585. Accessed August 5, 2023. https://doi.org/10.2307/830990.
Heylen, Romy. Translation, Poetics, and the Stage: Six French Hamlets. London: Routledge, 1993.
Hilbe. Katrin. “Amleto: An Opera Rediscovered.” European Stages 7 (Fall 2016): article 3. Accessed March 26, 2023. https://europeanstages.org/2016/10/21/amleto-an-opera-redis
covered/.
Hunter, David. Understanding French Verse: A Guide for Singers. New York: Oxford University Press, 2005.
“II/5 Lieder ab Op. 66.” Richard Strauss Werke, Kritische Ausgabe: Online-Plattform. Accessed April 21, 2023. https://www.richard-strauss-ausgabe.de/band/?volume=b38540
&chapter=sungtexts.
Kinzel, Till, and Joachim Draheim. “Shakespeare, William.” MGG Online, edited by Laurenz Lütteken. Published online October 2021. Accessed April 16, 2023. https://www.mgg-on
line.com/mgg/stable/400670.
Kitto, H. D. F. “Hamlet as Religious Drama.” In Shakespeare: Hamlet, edited by John Jump, 108-117. London: Macmillan Education, 1968.
Mack, Maynard. “The World of Hamlet.” In Shakespeare: The Tragedies. A Collection of Critical Essays, edited by Alfred Harbage, 44-60. Englewood Cliffs, NJ: Prentice-Hall, 1964.
Mangan, Michael. A Preface to Shakespeare’s Tragedies. New York: Longman, 1991.
Marshall, Gail, ed. Shakespeare in the Nineteenth Century. Cambridge: Cambridge University Press, 2012.
Stokes, John. “Shakespeare in Europe.” In Marshall ed., Shakespeare in the Nineteenth Century, 296-313.
Burwick, Frederick. “Shakespeare and Germany.” In Marshall ed., Shakespeare in the Nineteenth Century, 314-331.
Morlock, Frank, trans. Shakespeare in France. Morrisville, NC: Lulu Press, 2007.
Palmer, John. “Description of Johannes Brahms’ Songs (5) of Ophelia, for voice & piano, WoO posth. 22.” AllMusic. Accessed March 24, 2017. http://www.allmusic.com/composi
tion/songs-5-of-ophelia-for-voice-amp-piano-woo-posth-22-mc0002371765#description.
Park, Yi-Yeon. “A Study of German, French, and English Vocal Settings of Ophelia from Shakespeare’s Hamlet.” DMA diss., Indiana University, 2013.
Prosser, Eleanor. Hamlet and Revenge. Stanford, CA: Stanford University Press, 1967.
Raby, Peter. Fair Ophelia: A Life of Harriet Smithson Berlioz. Cambridge: Cambridge University Press, 1982.
Schmidgall, Gary. Shakespeare and Opera. New York: Oxford University Press, 1990.
Schüssler, Kerstin. “Noi, più baldi e men devoti / Vogliam l’arte dei nepoti: Arrigo Boitos und Franco Faccios Oper Amleto als Manifest des nuovo melodrama.” In Aspetti musicali: Musikhistorische Dimensionen Italiens 1600 bis 2000. Festschrift für Dietrich Kämper zum 65. Geburtstag, edited by Norbert Bolin, Christoph von Blumröder, and Imke Misch, 175-186. Cologne: Verlag Dohr, 2001.
Schwartz-Gastine, Isabelle. “Hamlet de Talma à Mounet-Sully: ‘une ressemblance immortelle’.” Actes des congrès de la Société française Shakespeare 35 (2017). Accessed June 19, 2021. https://doi.org/10.4000/shakespeare.3906.
Seng, Peter J. The Vocal Songs in the Plays of Shakespeare: A Critical History. Cambridge, MA: Harvard University Press, 1967.
Smith, Richard Langham. “Thomas, (Charles Louis) Ambroise.” Grove Music Online. Oxford Music Online. Published online 2001. Accessed September 7, 2022. https://doi.org/10.10
93/gmo/9781561592630.article.27856.
Tägil, Ingela. “Christina Nilsson (1843-1921): Biography.” English translation by Jill Ann Johnson. Swedish Musical Heritage. Published 2015. Accessed April 22, 2022. https://www.swedishmusicalheritage.com/composers/nilsson-kristina/.
Tayeb, Monir, and Michel Austin. “Ernest Legouvé et Berlioz.” Site Hector Berlioz. Last modified March 1, 2023. Accessed April 7, 2023. http://www.hberlioz.com/others/Legou
vef.htm.
Tchaikovsky, Pyotr Ilyich. “The Italian Opera. Ambroise Thomas’ Opera ‘Hamlet’.” Russian Register, December 16, 1872. English translation by Luis Sundkvist. Quoted in Tchaikovsky Research. Accessed July 20, 2021. http://en.tchaikovsky-research.net/pages/
The_Italian_Opera._Ambroise_Thomas’_Opera_“Hamlet”.
Tipton, Jennifer Leigh. “A Document in Death and Madness: A Cultural and Interdisciplinary Study of Nineteenth-Century Art Song Settings on the Death of Ophelia.” DMA diss., University of Southern Mississippi, 2014.
Wells, Stanley, and Sarah Stanton, eds. The Cambridge Companion to Shakespeare on Stage. Cambridge: Cambridge University Press, 2002.
Wilson, Christopher. Shakespeare and Music. London: “The Stage” Office, 1922.
Wilson, Christopher R., F. W. Sternfeld, and Eric Walter White. “Shakespeare, William.” Grove Music Online. Oxford Music Online. Last modified January 31, 2014. Accessed March 27, 2021. https://doi.org/10.1093/gmo/9781561592630.article.25567.
Youens, Susan. “‘Actually, I Like My Songs Best’: Strauss’s Lieder.” In The Cambridge Companion to Richard Strauss, edited by Charles Youmans, 151-177. Cambridge: Cambridge University Press, 2010.
Young, Alan R. Hamlet and the Visual Arts, 1709-1900. Newark, DE: University of Delaware Press, 2002.
丁于恬。〈理查．史特勞斯《三首奧菲莉亞歌曲》分析與詮釋〉。東海大學碩士論文，2021。
沈雕龍。〈固定樂思：白遼士執念的樂音實踐〉。國立臺灣師範大學碩士論文，2008。
———。〈｢歌劇裡，詩必須是音樂乖順的女兒」：以莫札特三部維也納諧劇為例談義語歌劇的韻文入樂〉。《音樂研究》第23期（2015年11月）：1-32。
施妤青。〈布拉姆斯與史特勞斯《奧菲利亞之歌》比較研究〉。東海大學碩士論文，2017。
張婉禎。〈挑戰符號父親：《哈姆雷特》與《馬克白》中女性角色的瘋狂與主體性〉。國立彰化師範大學碩士論文，2006。
許秀彬。〈從孟德爾頌的《仲夏夜之夢》看劇樂之音樂形塑與戲劇詮釋〉。國立臺灣師範大學碩士論文，2009。
雅各布斯哈根（Arnold Jacobshagen）。〈形式依循功能：析論華格納的《禁止戀愛》〉，陳怡文譯。收錄於《華格納研究：神話、詩文、樂譜、舞台》，羅基敏、梅樂亙主編，2013年臺北華格納國際學術會議論文集，96-126。臺北：華滋出版，2017。
黃柳蕙。〈威爾第歌劇之「梭利塔模式」研究：以《弄臣》、《遊唱詩人》與《茶花女》為例〉。國立臺灣師範大學碩士論文，2006。
楊書昕。〈奧菲利亞的典型人格：論史特勞斯的《三首奧菲利亞歌曲》及傑克．亨吉的《四首給奧菲利亞的歌與十四行詩》〉。國立臺北教育大學碩士論文，2018。
蔡永凱。〈理查．史特勞斯樂團歌曲研究〉。國立臺灣師範大學博士論文，2013。
———。〈理查．史特勞斯的「鋼琴藝術歌曲樂團化」：創作、演出與出版〉。《音樂研究》第22期（2015年5月）：35-65。
羅基敏。〈麥耶貝爾的《非洲女郎》〉。《音樂月刊》第144期（1994年9月）：158-163。
———。〈威爾第的《法斯塔夫》〉。《音樂月刊》第150期（1995年3月）：146-152。
———。〈龐開利的《嬌宮妲》（上）〉。《音樂月刊》第155期（1995年8月）：138-141。
———。〈龐開利的《嬌宮妲》（下）〉。《音樂月刊》第156期（1995年9月）：130-134。
———。〈由《中國女子》到《女人的公敵》：十八世紀義大利歌劇裡的「中國」〉。收錄於《文話／文化音樂：音樂與文學之文化場域》，79-126。臺北：高談文化，1999。
———。〈由中文詩到馬勒的《大地之歌》：譯詩、仿作詩與詩意的轉化〉。收錄於《大地之歌：馬勒的人世心聲》，羅基敏、梅樂亙編著，17-63。臺北：九韵文化，2011。