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Chapter V comprises a comparison of Mariette's scenario and the modifications made to it by Verdi and Du Locle.

Verdi's prose libretto, which is based on the Mariette scenario and the modifications as well as new material written by Verdi himself, is studied in Chapter VI. Of particular interest is the fact that in his prose libretto Verdi created a musical masterplan for the entire opera: throughout the new text, the composer imposed his musical requirements by prescribing the layout of the recitative and lyrical sections when such treatment was not easily discernable in the prose dialogue. Chapter VII explains the lack of order in the manuscript containing Ghislanzoni's first draft and revisions of the versified Aida libretto.

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In the final chapter, the Ghislanzoni manuscript is studied in the light of Verdi's extensive role in the versification process. Four pertinent facts are made clear: Verdi provided Ghislanzoni with the complete prose libretto, which served as the basis of the versification; Verdi continued to create new prose models for scenes he perceived to be perplexed by serious faults once he had studied Ghislanzoni's poetry or had attempted to set it to music; the composer insisted that the poet retain all items of dialogue and stage directions given in Verdi's model libretto; by a continuous interchange of letters with Ghislanzoni, Verdi exposed a whole series of interrelated problems in Ghislanzoni's drafts, and proposed possible solutions for each.

Clearly, Verdi was principal librettist of this opera.

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The seven appendices contain texts from the autograph manuscripts given in microfilm 56 in the Archive, American Institute for Verdi Studies, New York, translations of Italian-language librettos contained therein, and an overview of Italian prosody. Vancouver : University of British Columbia Library. For non-commercial purposes only, such as research, private study and education. Doctor of Philosophy - PhD.

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