Bergson: „In all our moments we include – knowingly or not – our whole past , what is more, the whole past of our ancestors too.”
/Babits: Hungarian Proust, Nyugat 1937, I. 247.o./ (in: Réz Pál: Proust, Gondolat, Bp. 1961. 123.old.)
Antal Szerb Antal – Emma Ritoók :
Letter to Proust on a planned childrens’ book on History
So we should imagine,
That we will live forever.
Of course if scientists will make this possible
They must have a Filter : who will be eligible.
Some are saying that we will need new Planets
Because the Earth will die in a last great Match.
And some claim and clearly see
We will have to elect a Messie.
All the Jewish sects have different candidates.
Then they decided several at once but no dates
And an election must decide among them.
One among them was Muslim
Another one Black, and one Asian.
One was mixed: belonging to all three.
And there was a Jew too, as in prophecies.
The One among them who gives the best therapy
To the Resurrected People – will get the Rank.
Because the Eternal Life
Will last till Millions of Years.
So it is best not to feel bad, as death does not exist.
So the Three Messiahs get three distant Planets
And they will compete. People watch it ont he net.
Of course it is a question who should be the First Ones
Who get Resurrected: as the First Ones
Will welcome those coming after.
Hence influencing their future
Some scientists claim that in each Hundred Years
There are Two Agrarian Price-Curves
Minimal and Maximal Prices each 44 years.
From those years we must choose
A King, a Prince or other Decision-makers.
Next to each one we shall put a Miracle Rabbi.
A good test will be to see how they may get along.
And they must stay int he Purgatory
Until they accept that the Jews are not the Enemy.
For those who get alive again it will be quite some task
To realize that he will never die again.
So he cannot kill. He o she will need some tools
To live life without anger.
If they do elect a few Eternal Ones
They will have to be given some Therapies.
There will be Sci-Fi Clubs, where they get some costumes
And they will get roles too in some ancient „Movies”
Between the years 2100-2500.
The reconstructed One will get an Avatar
In a Skafander he or she may walk around.
And in these psychodramas it can be seen
How they get along – without killing anyone.
In every Religion there are some repetitive Melodies
And everyone gets calmes whoever listens to it.
In each week the Melodies slightly change
So in this List we use for each song a historic stress.
Assassination, cannon’s noise, civil war whatever
Int he neighbouring vilages some women are singing
Or children or monks or Jewish Rabbis
The Wheelof Time goes on – Diamond mixed with Rubbish.
The songs are about Krishna in Asia
In North Africa about Mohamed
Among the whites we read the Bible.
So the Resurrected Ones may choose among the songs.
At forst they fill in a test. And then it will be decided
Which Planet they will live before starting:
Hell, Purgatory or Heaven itself.
On each Planet the Therapist is one of the Three Messiahs
And those who never heal will stay ont he Planet Hell.
Some were spend some years in Purgatory.
They will have several Tools in the healing process.
First is the Music. It can calm even in great Tragedies.
Another tool: reading wise books. Some are helped by them.
And the third one:the Touch. Holding Tight. It is powerful.
So into the first group by chance they have elected
Jeanne d”Arc, who killed somany English soldiers.
And Henry the Eighth, who killed a few women.
In the same group we find Frederick the Great
From Prussia, and Queen of Sweden, Christina.
Of course they belonmg to different Planets
Because Jeanne belongs to a Father-Year,Heaven
Prussian Frederick stems from the Mother Planet.
Christina goes to Sister Planet,and Henry belongs to Brother Decade.
/Each Decade has a different Function int he Cycle.
That is whí the are called after FamilyMember Names./
Of course at once they find themselves in
Relationships. Joan and Frederick are always together.
But Frederick is more interested in Henry
While Christina stays cold, and aloof from all three.
Jagello-ancestors bind each of them together
And Austrian Habsburgs with the French Bourbons
Holland and English Orange-House descendants
Who all have Jagello ancestors: and Zapolyas from Hungary
The Noble Families are all inter-related
But their Decisions have quite a huge effect
On the lifes of simple burghers and peasants too.
And the common stresses are inherited hormonally.
If we are looking to many Kingly Ancestors
We see lots of Murderers. But we call them Heroes.
And they have killed each other only because they each
Had a different Fantasy concerning the Messiahof the Last Days.
Still, from generation to generation, agression diminishes.
We do not know how and why. But in ancient times
People were more cruel. They peeled victimes alive
And cooked and burned alive. Later they used a shotgun
Which killed more quickly, hence each descendant was less cruel
Than their ancestors… No one knows why this change has happened?
But the most prabable answer is, due to Music.
Because we do know that Music diminishes the agressive Hormones.
And int he last Five Hundred Years the Song has not changed
Wich they use when reading the Torah
It was sung always whetever has happened.
It was sung the same way on millions of lips.
So it must have had an effect
On our Ancestors while they fought and killed.
But even if it would not have effected
Them int he Past, it may help for Eternity.
These melodies have a calming effect
And it may be useful in the Eternal Life
Because if we Ressurect a Medieval Ancestor
His murdering Instinct comes with him, no question.
He is not able to live harmoniuously
On the inner-peade level of a later Age
That is why he will need these old songs
To jump higher with his Hormones.
So they have to try on the bodies of Avatars
Protheses, Masks as Cyborg Robots
They must go on: only their minds was saved.
On a Nano-Computer They are surely awed.
They must read the Rules on „ Psychic Recovery”
It is a Condition:if they can’t do it, they will not get Life Again.
Or they must spend some time In Hello r in Purgatory
And they must share in Group Meeting. It is mandatory.
There they will have tolearn in Therapy
To find Discharge by Pillow-Pounding and not in any
Drug or alcohol or not in sexual joy.
And not in anger. They must read some Freud.
Screens will show them the Three Different Levels.
Decades are named after family Members
Sister belongs to the Planet of Hell:
There you must still behave like a Tryant
And you get blocked by Music, if you simply rant.
Mother is the Name of the Intellect-Planet
There you learn the Crying in Pillow
This is Purgatory, the Leader is a Black One
To teach them how to Deal with Hatred.
And the Third Planet is called „Father Decade”
And there we are all able to be Calm.
Serenity, Balance ,Success in Therapy
Is predominant here: People are not snappy.
Jeanne was quite upset hearing that she is given orders
In English. And that she cannot meet Fredrick the Great
When she was alive,the Yes-shower appeared to her
And gave her a Sword. And now the Messie asks her to stop fighting?
Saying even that in Heaven we must not be egocentric?
Frederick is also upset as he is not allowed
To stay together with Henry and Jeanne. He files a Complaint.
A Machine answers him, that this Request will be
Considered,he must stay Patient.
The Voice explains his own name,
Boto El-Hamsin. And his Ancestor was Mohamed
But he stems also from the Davidic House
From Emir Hussein. So he will decide here. Not King Frederick.
But,he goes on,the King may be transferred
To another Messie, on another Planet.That Blond Guy there
He points him out, is called Xantopoulos.
He is the Guardian of the Planet Purgatory.
And the Third One is called Kone Ziu Mato
Stems from a Maori Tribe, he is also a Soul-Seer,
He is Buddhist, but also has Davidic Ancestors
Otherwise he would not assume his present Role.
He would pull out his Sword, the Absolute King
But then he understands that it’s not a Good Thing
Maybe the Messie is after all Right
There is no more Death so he stops the Fight.
So he follows the Rules as Dictated by Boto:
Just talk about your Life, how were your Fights
What were your deepest Wounds
And you have to Cry. Only that will count.
In Eternal Life you may only stay
Who loves life and is able to say
That he will accept even the pains
If there is no Death we must lose our chains.
We just have to begin with some people.
When we have some who got Therapy
They may help a few others.
Int he Group of Joan of Naples
We see Martin Luther and the Quaker Fox
And Walpole,they are all int he Sister Box.
This Planet is called „Hell”, here they may be angry
Here we see Casimir the Fourth of the Jagellos
Who has invited the Jews to the Poles
And whose sons and daughters were to marry
Into the great other Kingly Houses.
Brandenburg and Orange and Bourbon and Habsbourgs.
First Casimir begins it with Hungarian Zapolyas.
So they will become the Ancestors of all others.
In this group we see Cousin Matthias of Corvinus
And his opponents, like Janus Pannonius.
Later Prince of Albe will fight against Reformates
Andi n this group will belong Louis the Fourteenth
And also in this Decade we see a Stressful Event
With a Central Role for Louis the Sixteenth.
What binds together aspecial Decade?
The Minimalprices give this decade a Tome
Because when there is no credit, everyone is Stricter
And this makes in every half Century Four Phases.
It begins with the „Brother Years” the Strictest
Then comes the Increase int he Fathering Years
We arrive to the Top, so even Sharing is Possible
That is why we call it the „Mother”
and Sister Years again: Decrease.
Int he Sharing mother Decade decisions are Leftwing
Poor People are cared for. But this stops
Int he next Decade and „Law and Order” will prevail.
These two basic trends are like a steady balance
They are switching always in every decade.
That is why we may look at the Protagonists
Of each Decade as having Typical Conflicts.
So they come together in a Planet Grouping
Ont he „Mother” Planet next to Frederick
We will find Sigismond, the emperor himself
And we also will see the Poet Villon.
Later there we find the Brother Martinuzzi
Who defended Isabella Jagello,the wife of King Zapolya.
And then the Lst One’s descendant,Sigismond Bathory
Who exchanged letters with Essex before his beheading.
Int he very same group we see Charles the First
And Jacob the Second his grandson
And next to them Franklin and Jefferson.
With George the Fifth of England.
And the Russian Tzar Alexeander the Second.
And if they will Heal their Souls
All the Simple People who are bound to them
By the smae Stress-Caused Wounds
Will be able to find Eternal Life too.
The Father’s Decade consists of Jeanne d’Arc
And then Pope Innocent whom she trusted back then.
Then comes Leonardo and King of Swedes, Gustavus Adolfus
And we see next to him the English Kings named George.
And the Fourth Group is not a Planet
But a Spaceship Really,where the three others can be seen
On Screens. Those who are in this „Brother Decades”
Are those who have had Penitence even during their Life.
Those who will come here will be the Electors
Of the Final Messie. Here the Twelve Half Centuries
Are all a Distinct level of Empathy.
Int he Age of Jeanne d’Arc people still ate others
In a bigger Battle, when there was nothing to eat
And even a Century later, they peeled their victims
Alive or burnt and baked them claiming they are witches.
An even later Century:they just chopoff the Ears
And the Nose or the Lips: he should live with fears
These were the Fourteenth and Fifteenth
And Sisteenth Century when Empathy just started.
So they felt Penitence, although Killing goes on
But they invent new Tools, not Sword but Pistolets
Killing gets more swift , that is great Step.
So we have Twelve Levels in the Brother-Spaceship
And on the Screens of it we see the Three Planets
And on each Decade we see the Therapy Clients
How they are slowly Healed using their Great talents.
So we do have Forty-Eight Constellations
At the Treshold of this Eternal Life
If we select Decades according the Stress Level
And we must find Melodies that Match them.
Interestingly we have Forty Eight Weekly Parts
When reading the Bible, all differing Songs
Varying the same Twelve Main Melodies
Because it depends with which Tone it begins.
So the Power of Love will slowly Prevail
From the Therapy Songs the AncestralWounds Heal.
On each of the Three Planets in each Twelve Levels
Slowly the Ancestral Hearts will become Pure jewels.
So the Scene is given: a Space Ship and its Screens.
Women and Men in Space Costumes
And some of them singing from the Bible.
To diminish the Ancestral Stress,to diminish Bile.
When some of our Ancestors will be Resurrected
They Must use the Bible Songs if they are too excited.
They will diminish their Anger through the Hormones.
The Weekly Melodies Help. Like many sects.Mormons,
And others who tried new Systems.
So they will create a Psychodrama Group.
Ancestral Sould will play-act in a few Opera Plots
“Boccaccio,” or the “Prince of Palermo,” a comic opera in three acts with music by Franz von Suppé and text by Zell and Genée, was first produced at the Carl Theatre, Vienna, Feb. 1, 1879.
Boccaccio, a novelist and poet. Leonetto, his student friend. Pietro, Prince of Palermo. Lotteringhi, a cooper. Lambertucci, a grocer. Scalza, a barber. Fiammetta, Lambertucci adopted daughter. Beatrice, Scalzi’s daughter. Isabella, Lotteringhi’s wife. Peronella, Lambertucci sister. Checco, a beggar. Fratelli, a bookseller. Fresco, the cooper’s apprentice. The unknown. Florentine students, journeymen, girls, beggars, servants.
Troilus and Cressida is the first of the two operas by William Walton. The libretto was by Christopher Hassall, his own first opera libretto, based on Geoffrey Chaucer‘s poem Troilus and Criseyde. Walton dedicated the score to his wife, Susana. Covent Garden, 1954. Karmester Sir AMlcolm Sargent.R:George Devine.
Cressida, Trojan priestess, daughter of Calkas
Troilus, Prince of Troy, son of King Priam
Calkas, high priest of Pallas Athene, father to Cressida
Antenor, Trojan captain
Evadne, servant to Cressida
Pandarus, brother to Calkas
Horaste, friend to Pandaras
Diomede, Greek prince of Argos
Description by Donato Mancini [-]
Ezra Pound threw himself into the composition of his first opera, Le Testament de Villon, with the gusto only a wildly self-assured amateur could have. The wonderful results transcend its uncertain beginnings. Anyone with a developed taste for the absurd is bound to adore Le Testament. The libretto is mostly made up of poems and fragments by François Villon, a fifteenth century French poet exiled from Paris on suspicion of murder. The rest is in a fake ghetto dialect Pound invented: “Wot the hell are you doin’ Frankie?/Ah, Geez! I’m makin’ my will!” Inappropriate as the contrast of languages seems, it illustrates one of the main themes of the opera: the isolation of the great. When François/Frankie speaks in dialect, he’s lowering himself in order to be understood. Yet the truth is, Villon spent countless hours in the seediest parts of renaissance Paris. The plot of Le Testament appropriately takes place mostly in a tavern neighboring a brothel and the cathedral of St-Julien-le-Pauvre. Drinking and carousing surround a sober Villon while he scratches away at his will (“testament”) among figures such La Hëaulmiere (an aged ex-prostitute), his mom, Bozo the brothel keeper, anonymous drunks, and a lusty priest. It ends with the whole gang swinging on the gallows singing a chordal, farewell motet. If, as Virgil Thomson said, it’s “not quite musician’s music,” Le Testament is all the better for it. Highlights include the harsh lament for lost youth by La Hëaulmiere and the choral drinking song “Pere Noé,” celebrating Noah and other biblical drunks. Throughout the one-hour opera, the vocal lines are hard-edged declamations with occasional (accidental?) melodious passages. They are unpredictable, long-winded, and full of jolting, freakish rhythmic emphases, one section pouring into the next without any repetition. The instrumentation is for 17 instruments, but recordings have included up to 30 instruments, or only two — cello, nose flute, and percussion are among the constants. Usually only one or two instruments at a time will accompany the singer, or choir, but sometimes there is a homorhythmic chord-block of instruments making the atmosphere otherworldly and dark, such as in his mom’s aria “Dame du ciel.” The infamous rhythmic complexities of Le Testament are more from George Antheil‘s self-serving transcription than from Pound‘s mind, but Antheil‘s faux polyrhythms and constant metrical changes between time signatures such as 17/32 and 27/16 help carry Le Testament toward the Dada Olympus where it resides.
Gaetano Donizetti Anna Bolena
Opera seria in two acts.
Libretto by Felice Romani, based on Ippolito Pindemonte’s Enrico VIII (a translation of a play of the same name by Marie-Joseph de Chénier) and Alessandro Pepoli’s Anna Bolena.
First performed in the Teatro Carcano, Milan, on 26 December 1830
In a hall in Windsor Castle, courtiers gossip about the possible reason why the king, Henry VIII, is delaying visiting his queen, Anne Boleyn. Jane Seymour, one of Anne’s ladies-in-waiting, arrives and expresses her concern at having been responsible for Henry’s lack of interest in Anne, since he now loves her instead. Anne herself enters with her retinue and asks Smeaton, a favourite musician who is himself in love with Anne, to entertain them with one of his songs. Smeaton sings about the queen’s pale appearance, and about his guess that she is remembering some former love. Anne interrupts the song and reflects on how empty her glamorous life has become – she calls for Jane and tells her to beware of the illusion of happiness that the throne offers. Anne leaves to go to her own rooms and the others disperse, leaving Jane alone. She is concerned that Anne might have found out about Henry and herself, and when Henry arrives, her obvious discomfort at his presence annoys him. His suspicions deepen when Jane tells him that this might be their final meeting, and he responds by telling her that soon she will not have a rival at all. Jane insists that it is her own sense of honour that is driving her to end their relationship, and Henry accuses her of being in love with the throne rather than with him, adding a hint that this was precisely the problem with Anne. Jane insists that she does not want to be the cause of Anne’s unhappiness and despite Henry’s reassurances, Jane still has misgivings.
In the royal park at Windsor, Anne’s brother, Lord Rochefort encounters Lord Richard Percy, who was in love with Anne but had gone into exile in order not to aggravate her marriage to the king. Percy has returned from exile in order to petition Henry to reinstate him at court. He asks Rochefort if the rumours that Henry has lost interest in Anne are true, and Rochefort confirms that this is indeed the case. The royal hunting party approaches and the prospect of seeing Anne again makes Percy realise that he is still in love with her. The king and his huntsmen enter and he expresses his surprise at seeing Anne out and about; she replies that she has only come in order to see him, and he responds that she has been much on his mind. Percy tries to kiss the king’s hand, but Henry refuses to let him, remembering that Percy’s death sentence was only commuted to exile because of Anne’s pleading. Anne privately recalls Percy’s tears of gratitude on her hand, and Henry orders a courtier, Hervey, to keep a close watch on both Anne and Percy. Percy tells Rochefort how much the thought of Anne has comforted him in his exile, but Rochefort warns him to take care. Henry insists that Percy must be in close attendance on him at court, and everyone but Henry sings about an auspicious day which has begun with such an act of forgiveness.
In the castle, Smeaton enters the queen’s apartments unobserved to return a portrait of her which he had taken: he pours out his love for her, comparing the freedom with which he can declare it to the portrait with the silence he must maintain to keep his love a secret from Anne. He hears someone coming and hides behind a curtain. Anne comes in, with her brother; Rochefort asks her to meet with Percy and Anne agrees, but only if Rochefort stands guard outside the room. Percy enters and Anne confesses to him that the crown she so coveted has turned out to be a crown of thorns and that she had been wrong to reject his love. Percy declares that he still loves her and when she tells him that the king has come to hate her, this inflames Percy’s love, but Anne advises him never to speak openly of his feelings towards her, and she even tells him to get out of England while he can – and although Percy insists on staying, Anne too is adamant. Percy draws his sword with the intention of killing himself and Smeaton, alarmed for Anne’s life, leaps from his hiding place with his own sword drawn. Anne faints and her brother rushes in to warn her that the king is coming. Henry arrives, sees Percy and Smeaton with their swords drawn, and calls the guards. Anne has revived, and Henry is presented with the sight of his wife alone with her former lover, one of her closest retinue and her brother: Smeaton realises how it must look and decides to sacrifice himself in an attempt to save Anne. He rips open his doublet in order to bare his chest for execution, but Anne’s portrait falls to the ground and Henry regards this as confirming his suspicions about Anne’s infidelity. He orders her to leave and as Rochefort, Percy and Smeaton all sing of their regrets about the situation they have put her in, Henry orders that they should each be put in a separate prison. Anne asks Henry to listen to her, but Henry tells her abruptly that she must save her explanation for the judge: Anne realises that she cannot survive.
Palestrina is an opera by the German composer Hans Pfitzner, first performed in 1917. The composer referred to it as a Musikalische Legende (musical legend), and wrote the libretto himself, based on a legend about the Renaissance musician Giovanni Pierluigi da Palestrina, who saves the art of contrapuntal music (polyphony) for the Church in the sixteenth century, through his composition of the Missa Papae Marcelli. The wider context is that of the European Reformation and the role of music in relation to it. The character of Cardinal Borromeo is depicted, and a General Congress of the Council of Trent is the centrepiece of Act II.
The conductor of the premiere was Bruno Walter.
Monteverdi Orfeo 1607
Orfeo returns with the main chorus, and sings with them of the beauties of nature. Orfeo then muses on his former unhappiness, but proclaims: “After grief one is more content, after pain one is happier”. The mood of contentment is abruptly ended when La messaggera enters, bringing the news that, while gathering flowers, Euridice has received a fatal snakebite. The chorus expresses its anguish: “Ah, bitter happening, ah, impious and cruel fate!”, while the Messaggera castigates herself as the bearing of bad tidings (“For ever I will flee, and in a lonely cavern lead a life in keeping with my sorrow”). Orfeo, after venting his grief and incredulity (“Thou art dead, my life, and I am breathing?”), declares his intention to descend into the Underworld and persuade its ruler to allow Euridice to return to life. Otherwise, he says, “I shall remain with thee in the company of death”. He departs, and the chorus resumes its lament.
Henry Purcell: Dido and Aeneas
The opera opens with Dido in her court with her attendants. Belinda is trying to cheer up Dido, but Dido is full of sorrow, saying ‘Peace and I are strangers grown’. Belinda believes the source of this grief to be the Trojan Aeneas, and suggests that Carthage’s troubles could be resolved by a marriage between the two. Dido and Belinda talk for a time—Dido fears that her love will make her a weak monarch, but Belinda and the Second Woman reassure her that “The hero loves as well.” Aeneas enters the court, and is at first received coldly by Dido, but she eventually accepts his proposal of marriage.
Admeto, King of Thessaly, is mortally ill. His brother Trasimede is reported to be sighing over the portrait of a woman (Antigona). When Admeto’s wife Alceste prays to Apollo for his recovery, she is answered by a voice from the statue of the god: Admeto can only be saved if someone consents to die in his place. Alceste prepares to sacrifice herself for her husband.
Antigona, a Trojan princess, who was once betrothed to Admeto (sight unseen) and her companion Meraspe prepare to go to the palace, disguised as a shepherdess and shepherd.
Alceste kills herself and her husband recovers his health to find his wife dead. He begs Ercole (Hercules) to rescue her from Hades. Meanwhile Antigona, who has heard the news and hopes to marry Admeto, meets Trasimede, who recognises her, but she insists she is only a shepherdess. He engages her and Meraspe as gardeners.
Two years prior to the opening scene, the nobleman Florestan has exposed or attempted to expose certain crimes of the nobleman Pizarro. In revenge, Pizarro has secretly imprisoned Florestan in the prison over which Pizarro is governor.
The jailer of the prison, Rocco, has a daughter, Marzelline, and a servant (or assistant), Jaquino. Florestan’s wife, Leonore, came to Rocco’s door dressed as a boy seeking employment, and Rocco hired her.
On orders, Rocco has been giving Florestan diminishing rations until he is nearly starved to death.
The bandits demand the reason for Ernani’s gloom (Chorus: Evviva! Beviam! Beviam! / “To you we drink”; Ernani pensoso! / “Ernani, so gloomy? Why, oh strong one, does care sit on your brow?”). Ernani replies that he loves Elvira (Recitative: “Thanks, dear friends”; Cavatina: Come rugiada al cespite / “As the flower turns to the sun”), who is about to be married against her will to old Gomez de Silva (O tu che l’alma adora). He asks the bandits to abduct her.
Iago proposes a toast to Otello and his wife, while Cassio praises Desdemona (Iago, Cassio, Chorus, Roderigo: Roderigo, beviam! / “Roderigo, let’s drink!”). Iago offers Cassio more wine, but Cassio says he has had enough. Iago pressures him and offers a toast to Otello and Desdemona. Cassio gives in. Iago sings a drinking song and continues to pour Cassio wine (Iago, Cassio, Roderigo, chorus: Inaffia l’ugola! / “Wet your throat”).
Montano enters and calls for Cassio to begin his watch; he is surprised to find Cassio drunk and barely able to stand upright. Iago lies to Montano, telling him that this is how Cassio spends every evening. Roderigo laughs at Cassio’s drunkenness and Cassio attacks him. Montano tells Cassio to calm down, but Cassio draws his sword and threatens to crack open Montano’s head. (Montano, Cassio, Iago, Roderigo, chorus: Capitano, v’attende la fazione ai baluardi / “Captain, the guard awaits you on the ramparts”.) Cassio and Montano begin to duel, and Iago sends Roderigo to call the alarm. Montano is wounded and the fight is stopped only by the appearance of Otello.
Scene 1: In Lulu’s luxurious house in Paris
A grand party is taking place at Lulu’s house in Paris. The magnificent performance of Jungfrau Railway shares, in which most of the guests at the party have put all their money, is the main topic of discussion. Lulu is being blackmailed by the Marquis who wants to sell her to a Cairo brothel. She is still wanted for Dr. Schön’s murder in Germany and the Marquis threatens to turn her in if she does not meet his demands. The Acrobat is also blackmailing her. When Schigolch arrives, asking for money, Lulu collapses in despair. They agree to lure the Acrobat to a hotel where Schigolch will murder him. Lulu then convinces the Countess to lure the Acrobat there. Lulu goes off to prepare her escape, as the police are on the way. News arrives that the railway shares have crashed. Everyone is ruined. The party quickly breaks up. Lulu has changed clothes with a young waiter and leaves, dragging Alwa behind her. The police arrive to recapture her and mistake the waiter for Lulu, giving her time to escape.