This article is in essence a study of intertextuality in two musico-dramatic genres in Paris of the 1850s: the comédie-vaudeville and straight plays with incidental music. The ‘texts’ that are considered here are interpolated songs in the comédie-vaudeville and purely instrumental interpolations in plays. Their intertextuality depends on the age-old process of contrafactum. Yet a problem arises when the listener cannot recognize the original source of the contrafactum and cannot perceive the intertext. The article traces such an intertextual problem. It illustrates how the attempt to answer what would appear to be a minor question regarding music in a comédie-vaudeville led to consideration of an aspect of Jacques Offenbach's output that has received very little attention and which in turn poses some problems of its own. I begin by discussing how intertextuality and musical memory were exploited in the nineteenth-century Parisian comédie-vaudeville. I then discuss how my inability to identify a ‘text’, in this case a particular tune used in a production in a Parisian theatre was so bothersome that it caused it to stick in my memory, which in turn allowed me to recognize it in a work by Offenbach. This in turn led to consideration of a short story and a play in which intertextual musical memory plays a large role, and to the music that Offenbach composed for the performance of that play which surprisingly led to the solution of the problem, the identification of the tune. I end with further comments.

中文翻译：

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记忆人：雅克·奥芬巴赫、好人杰迪斯和空调的起源

本文本质上是对 1850 年代巴黎两种音乐戏剧类型的互文性研究：杂耍喜剧并直接播放附带的音乐。这里考虑的“文本”是插入的歌曲杂耍喜剧和纯粹的乐器插值在戏剧中。它们的互文性取决于古老的 contrafactum 过程。然而，当听众无法识别出合同的原始来源并且无法感知互文时，就会出现问题。文章追溯了这样一个互文问题。它说明了如何尝试回答一个似乎是关于音乐的小问题杂耍喜剧导致对雅克·奥芬巴赫作品的一个方面的考虑，该方面很少受到关注，而这反过来又带来了一些自身的问题。我首先讨论互文性和音乐记忆在 19 世纪的巴黎人中是如何被利用的喜剧杂耍。然后我讨论了我如何无法识别“文本”，在这种情况下，在巴黎剧院的作品中使用的特定曲调是如此令人烦恼，以至于它让我难以忘怀，这反过来又让我能够在一个奥芬巴赫的作品。这反过来又导致了对一个短篇小说和一个戏剧的考虑，其中互文音乐记忆起着重要作用，以及奥芬巴赫为该戏剧的表演创作的音乐令人惊讶地导致了问题的解决，确定了调。我以进一步的评论结束。