Treemonisha

After finally reading the libretto for Scott Joplin's opera, Treemonisha, one can see the limitations of Joplin's attempt to create an opera entirely on his own. Joplin wrote the libretto and score, and while the music is fantastic, the actual story is quite thin. In short, one year after the US Civil War, an infant Treemonisha is found under a tree at a plantation managed by Ned and Monisha, who adopt the child as their own. Fast forward several years later, and Treemonisha is the only educated person in her isolated, all-black community (she is also the only one who does not speak in "dialect"). Conjure men, who prey on the ignorance and superstition of the community, peddle their magic wares and, after Treemonisha stands up to them, kidnap her. 

She is saved by Remus, a man she taught, who dons a scarecrow costume to frighten the conjurers just as they're about to throw Treemonisha into a wasp's nest in the forest. The rest of the men in Treemonisha's community capture the conjurers, and just as their about to punish them, Treemonisha persuades them to not beat or kill them. She forgives Zodzetrick and his cohort, and the community nominates her as a leader. This is basically all that happens, with the exception of some musical scenes featuring a ring shout, Parson Alltalk (just talking, an ineffective figure in the community), corn huskers, cotton pickers, and miscellaneous additional scenes. Some of these appear to have no relevance to the plot, but they provide opportunities for songs and dances associated with black folk culture in the South.

Alexander Berlin's biography of Joplin suggests the character of Treemonisha or at least her surroundings were inspired by one of his wives, Freddie. Berlin and Rick Benjamin contextualize the opera in the context of Joplin's exposure to classical music, black musical ambitions of the era, and the political message of Treemonisha. Intriguingly, the opera is critical of organized religion as represented by Parson Alltalk, although Treemonisha is a deist of sorts. Obviously critical of the conjure men, who are inexplicably frightened of a man dressed as a scarecrow, Joplin seems to reject African-derived religious or folk traditions and the organized black church while suggesting rational, assimilation of Western education would lead the black community onward in progress. 

Yet, Joplin seems to enjoy drawing on black folk music and ragtime, incorporated into the opera. The Negro, it would seem, should embrace the best of Western knowledge but retain traditions into the future, creating a distinctly black art aesthetic that can stand beside Wagner, Dvorak, or Verdi. To reach that lofty goal, however, required leadership by the educated of the race, including women, like Treemonisha. As a "Black Athena" of her community, she will become the spark for general education and uplift of their Arkansas plantation. Of course, Treemonisha's mysterious appearance suggests mystical, supernatural conditions of the "insider-outsider" who can lead her community out of darkness and isolation. It would be interesting to compare this opera with Freeman's Voodoo.