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GLITTER AND BE GAY, by             Poet Analysis     Poet's Biography

Richard Wilbur’s "Glitter and Be Gay," a comedic and ironic aria from “Candide”, showcases his mastery of lyrical wit and dramatic irony. This song, sung by Cunegonde, serves as a character-revealing moment, blending theatricality with biting commentary on the tensions between outward appearances and inner turmoil. Through its sharp contrasts and rich language, the piece captures the absurdity of Cunegonde’s predicament while commenting on themes of virtue, materialism, and societal expectations.

Cunegonde begins with a lament that frames her current state as one of tragic victimhood: "Glitter and be gay, / That’s the part I play." The language suggests that her existence has become a performance, dictated by societal and financial pressures. Forced into a role she finds demeaning, she describes herself as "victimized by bitter, bitter circumstance." This melodramatic phrasing underscores both the gravity of her perceived plight and the heightened theatricality of the situation. Wilbur uses this exaggeration to set the tone for the aria’s blend of genuine pathos and satirical humor.

Her lament continues with reflections on a lost innocence: "Alas for me, had I remained / Beside my lady mother, / My virtue had remained unstained." Here, Cunegonde frames her virtue and social status as commodities, tied to her value in the marriage market. The specificity of "some Grand Duke or other" adds a sardonic touch, mocking the transactional nature of such arrangements while simultaneously mourning her inability to fulfill these expectations.

As the aria progresses, Cunegonde acknowledges the constraints imposed by "harsh necessity," which has confined her to a "gilded cage." The image of a bird, "droop[ing] my wings," conveys a sense of entrapment, though the cage itself—symbolizing her wealth and material possessions—is both luxurious and restrictive. This tension between suffering and privilege sets up the song’s comedic reversal.

In a sudden tonal shift, Cunegonde adopts a brighter, almost giddy demeanor: "And yet, of course, I rather like to revel, ha, ha!" This shift exposes her internal conflict and the irony of her situation. While lamenting her moral fall and the loss of her innocence, she simultaneously delights in the material pleasures afforded by her current role. The playful repetition of "ha, ha!" accentuates her forced gaiety, as she alternates between self-pity and indulgence. Wilbur’s playful language—"My wardrobe is expensive as the devil, ha, ha!"—captures her self-awareness and her complicity in the charade.

The central irony of the piece is encapsulated in the juxtaposition of Cunegonde’s moral lament and her material delight: "If I’m not pure, at least my jewels are!" This line brilliantly encapsulates her rationalization, as she shifts focus from the irretrievable loss of her virtue to the tangible gains of her jewels. Her embrace of material wealth becomes both a coping mechanism and a satire of societal values, where outward appearances and possessions often outweigh inner virtue.

The second half of the aria amplifies this tension, as Cunegonde continues to vacillate between despair and delight. She questions whether material wealth can compensate for her "fallen state": "Can they compensate / For my fallen state, / Purchased as they were at such an awful cost?" The rhetorical questions highlight her awareness of the moral and emotional toll of her circumstances, even as she continues to revel in her riches.

Wilbur’s lyrical genius shines in the imagery of "bracelets...lavalieres" and "the brightest brooch," which are contrasted with the intangible concepts of "honor lost" and "reproach." The sparkling trinkets fail to "dry my tears" or "purify my name," yet Cunegonde embraces them with renewed enthusiasm: "And yet, of course, these trinkets are endearing, ha ha!" The deliberate repetition of this phrase throughout the aria reinforces her vacillation between genuine despair and comedic self-indulgence.

The aria concludes with a flourish, as Cunegonde declares: "Enough, enough! / I’ll take their diamond necklace, / And show my noble stuff / By being gay and reckless!" Her decision to embrace her role, despite its contradictions, reflects both resignation and defiance. The final lines—"Observe how bravely I conceal / The dreadful, dreadful shame I feel"—add a layer of performative vulnerability, underscoring the disconnect between outward appearances and inner emotions.

Structurally, the aria’s alternating shifts between lament and celebration mirror Cunegonde’s internal conflict, while its rhyme and rhythm underscore the theatricality of her performance. Wilbur’s clever wordplay and use of repetition heighten the comedic elements, ensuring that the song retains its satirical edge even as it explores themes of personal and societal hypocrisy.

"Glitter and Be Gay" is a masterful blend of humor, pathos, and social critique. Through Cunegonde’s exaggerated plight and conflicted emotions, Wilbur highlights the absurdity of societal expectations and the human capacity for self-rationalization. The song invites audiences to laugh at Cunegonde’s contradictions while reflecting on the broader themes of materialism, virtue, and the roles we play in life’s grand performance.


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