of 1848, the police flatly refused to allow the representation of a king on the stage in such situations as those given to Francis I. in the original tragedy.  The composer and the manager of the theatre begged in vain that the libretto should be accepted, but the authorities were obstinate.  At last a way was found out of the difficulty by the chief of police himself, who was a great lover of art.  He suggested to the librettist that the King should be changed to a duke of Mantua, and the title of the work to “Rigoletto,” the name of the buffoon who figures in the place of the original Triboulet.  Verdi accepted the alterations, and had an opera ready in forty days which by nearly all critics is considered his musical masterpiece, notwithstanding the revolting character of the story.

The scene of the opera is laid in Mantua.  Rigoletto, the privileged buffoon of the Duke, who also plays the part of pander in all his licentious schemes, among numerous other misdeeds has assisted his master in the seduction of the wife of Count Ceprano and the daughter of Count Monterone.  The latter appears before the Duke and Rigoletto, and demands reparation for the dishonor put upon his house, only to find himself arrested by order of the Duke, and taunted in the most insolent manner by the buffoon, upon whom he invokes the vengeance of Heaven.  Even the courtiers themselves are enraged at Rigoletto’s taunts, and determine to assist in Monterone’s revenge by stealing Gilda, the jester’s daughter, whom they suppose to be his mistress.  Closely as she had been concealed, she had not escaped the observation of the Duke, who in the guise of a poor student wins her affections and discovers her dwelling-place.  Pretending that it is Count Ceprano’s wife whom they are about to abduct, they even make Rigoletto assist in the plot and help convey his own daughter to the Duke’s apartments.  In his blind fury when he discovers the trick that has been played upon him, he hires Sparafucile, a professional assassin, to kill the Duke.  The bravo allures the Duke to his house, intending to carry out his agreement; but his sister, Magdalena, is so fascinated with the handsome stranger, that she determines to save him.  Sparafucile at first will not listen to her, but finally promises if any one else comes to the house before the time agreed upon for the murder he shall be the victim.  Rigoletto meanwhile disguises his daughter in male attire in order that she may escape to Verona; but before she sets out he takes her to the vicinity of Sparafucile’s house, that she may witness the perfidy of the Duke.  While outside, she overhears the quarrel between Sparafucile and Magdalena, and learns his intention to murder the Duke, who is even then sleeping in the house.  With a woman’s devotion she springs forward to save the Duke’s life, knocks at the door, and demands admittance.  Sparafucile opens it, and as she enters stabs her.  He then thrusts her body into a sack, and delivers