This article analyzes Giuseppe Verdi's 1851 opera, Rigoletto, from the perspective of JB Thompson's model of media analysis; focusing on two particular scenes, as seen in the 1977 production directed by Kirk Browning. The two scenes chosen are Poor Rigoletto, from Act 2 and Bella Daughter of Love, from Act 3. First, each scene will be described contextually, followed by a structural analysis that will attempt to ascertain the artist's intention. Act 2, scene 2, the courtiers of the Duke of Mantua kidnap Rigoletto's daughter, assuming that she is Rigoletto's companion. They then proceed to imprison her in the palace, where the Duke is alleged to have raped her. This fact is never openly stated in the play, however the Duke quickly makes it clear that he intends to involve her in his sexual conquest. Verdi, taking up the story of Victor Hugo's Le roi s'amuse, already knew of the difficulties Hugo had encountered due to the strict censorship laws in Europe, yet he chose to risk charges of treason in writing Rigoletto. “Symbolic forms are always inserted into specific historical-social contexts and processes within which, and through which, they are produced, transmitted and received”. (Thompson 1990, p. 145) In this context, negative representation of the government was prohibited and censored, so it would seem that Verdi had a rebellious intention, or a sense of injustice that he wanted to express in his opera. It is known that Verdi had experienced extreme pain over the loss of his son, daughter and wife, so it is very likely that he felt strongly connected to the story of Rigoletto, equally helpless in defending the life and honor of his family. . Under the dictatorship of the monarchy and... middle of paper... something." While it is clear that this is true of every symbolic form by definition, it is a statement that particularly compliments this scene. It refers to a wide range of human emotions, while maintaining a cohesive bond between them, through carefully constructed harmony. In conclusion, it dissolves the core of human nature in the four characters on the stage and combines them to describe the chaotic nature of emotions a significant cultural object, containing many symbolic forms in its physical production and use of musical conventions to convey meaning. The story concerns topics of broad ideologies consistent with a diverse audience and, in its time, the work challenged popular belief Today it is rather an icon of the tragic exploitation of the lower classes and the injustices that every person faces.