Ulrica


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Ulrica

foretells Gustavus’ murder by his friend Anckarstrom. [Ital. Opera: Verdi, Masked Ball, Westerman, 313–315]
References in classic literature ?
``And while the friends of thy father while each true Saxon heart, as it breathed a requiem for his soul, and those of his valiant sons, forgot not in their prayers the murdered Ulrica while all mourned and honoured the dead, thou hast lived to merit our hate and execration lived to unite thyself with the vile tyrant who murdered thy nearest and dearest who shed the blood of infancy, rather than a male of the noble house of Torquil Wolfganger should survive with him hast thou lived to unite thyself, and in the hands of lawless love!''
``Wouldst thou indeed have done this justice to the name of Torquil?'' said Ulrica, for we may now lay aside her assumed name of Urfried; ``thou art then the true Saxon report speaks thee!
``Ask me not of them, Ulrica,'' replied Cedric, in a tone of grief mixed with abhorrence; ``these traces form such a resemblance as arises from the graves of the dead, when a fiend has animated the lifeless corpse.''
``Be it so,'' answered Ulrica; ``yet wore these fiendish features the mask of a spirit of light when they were able to set at variance the elder Front-de-B uf and his son Reginald!
``Priest or layman,'' answered Ulrica, ``thou art the first I have seen for twenty years, by whom God was feared or man regarded; and dost thou bid me despair?''
``Stay yet a moment!'' said Ulrica; ``leave me not now, son of my father's friend, lest the demon who has governed my life should tempt me to avenge myself of thy hard-hearted scorn Thinkest thou, if Front-de-B uf found Cedric the Saxon in his castle, in such a disguise, that thy life would be a long one?
``Be it so,'' said Ulrica, no longer interrupting him; ``go thy way, and forget, in the insolence of thy superority, that the wretch before thee is the daughter of thy father's friend.
``Cedric,'' answered Ulrica, ``thou little knowest the human heart.
``What a true prophet,'' said Ulrica, ``is an evil conscience!
As Ulrica Engdahl explains, the "wrong body" narrative creates a false contrast between a "real" internal sense of gender and a "wrong" external gender, which produces "a reified image of both body and self as static and separate entities and thereby correlat[es] an essentialism of genital materiality that disputes the realness of transgender experience." (202) Moreover, it is simply not nearly as rare to be trans as the court seems to think.
We call this Fate in Les vepres siciliennes and it's a main character in the other two operas, Preziosilla in La forza del destino and the fortune teller Ulrica in Un ballo in maschera.
Pero tambien puede verse el dialogo que establece con estas culturas, entre otros textos, en poemas como" Storni Sturluson" y "A Carlos XII" (El otro, el mismo, 1964), "A Islandia" (El oro de los tigres, 1972), "Brunanburh, 937 A.D." y "Elegia" (La rosa profunda, 1975), como asi tambien en cuentos como "Ulrica" y "El disco" (El libro de arena), en estudios como Literaturas germanicas medievales (en colaboracion con Maria Esther Vasquez en 1965 y en el que revisa y corrige su ensayo sobre Antiguas literaturas germanicas, de 1951, publicado junto a Delia Ingenieros) y, por supuesto, en la edicion de la Breve antologia anglosajona (1978) junto a Maria Kodama.