Amadeus is not a traditional biography- or period-centered realist play. Peter Shaffer himself calls his play a fantasy. The narrative frame of Salieri recollecting and relating his mercurial relationship with Mozart as a confession to the audience is an invention by Shaffer that functions to drive the plot. The invention incorporates rumors that have circulated for centuries, as even around 1800 intrigues surrounding Mozart’s death included rumors of a murder plot. Salieri’s jealousy of Mozart was evidently known well enough for people to suspect him of poisoning his rival. The implication of Salieri in Mozart’s death was often popular, as the Russian poet Alexander Pushkin even wrote a dialogue, Motsart i Salyeri (pr., pb. 1832; Mozart and Salieri, 1920), naming Salieri as Mozart’s murderer.
Even though it is only one of the better-known of the composer’s middle names, the very title Amadeus is almost the crux of the play. Amadeus can mean “loved by God,” and this name becomes the springboard that Shaffer develops into obsession: Salieri has loved God from youth onward and has devoted his entire life to serving God, whereas Mozart, who behaves as a crude fool, seems blessed by God with an incomparable gift. Salieri’s obsession with Mozart, then, grows not merely out of simple jealousy but also out of a sense of injustice because Mozart inexplicably seems to have been granted divine talents that Salieri believes should rightfully be his. This perception is heightened as a narrative device since the play unfolds as a series of flashbacks to events that occurred decades earlier, when Mozart was still alive. The interplay between Salieri and Mozart—who changes in Salieri’s eyes from a musical genius worthy of worship to an incorrigible buffoon whom Salieri...
(The entire section is 745 words.)