2.5.2 The Christ motive

Another theory on Amadeus regards the play and the film as an allegory of the Incarnation and Mozart as a Christ figure who suffers for humanity. This Christological interpretation is advocated by John Fulbright (unpubl. ms.: see Robbins). From his point of view, the title Amadeus, which can mean "love of God" or "beloved by God", would suggest that Mozart is a metaphorical son of God. He would thus be a second Christ, an incarnation of God sent to bring humanity salvation through divine music, which symbolises the love of God for his creation. Salieri, in this context, "symbolizes Jesus' human antagonists, as well as the disciples who desert Christ, but are finally redeemed by their own sufferings" (Fulbright, quoted from Robbins).

However, one should not try to read too much into Shaffer's work. All his dramas deal with profound human issues and touch upon various aspects of spiritual life, but in the end, he is no more a theologian than a historian. The real issue is always a personal tragedy resulting from a conflict between the protagonist and other characters as well as between the protagonist and the rest of the world.