Act II. Part I. Three years have elapsed. It is a long time since

_Pinkerton_ has left _Butterfly_ with the promise to return to her "when the robins nest." When the curtain rises, after an introduction, in which another Japanese theme is employed, _Suzuki_, although convinced that _Pinkerton_ has deserted her mistress, is praying for his return. _Butterfly_ is full of faith and trust. In chiding her devoted maid for doubting that _Pinkerton_ will return, she draws in language and song a vivid picture of his home-coming and of their mutual joy therein:--"Un bel dì vedremo" (Some day he'll come).

[Music]

In point of fact, _Pinkerton_ really is returning to Nagasaki, but with no idea of resuming relations with his Japanese wife. Indeed, before leaving America he has written to _Sharpless_ asking him to let _Butterfly_ know that he is married to an American wife, who will join him in Nagasaki. _Sharpless_ calls upon _Butterfly_, and attempts to deliver his message, but is unable to do so because of the emotions aroused in _Butterfly_ by the very sight of a letter from _Pinkerton_. It throws her into a transport of joy because, unable immediately to grasp its contents, she believes that in writing he has remembered her, and must be returning to her. _Sharpless_ endeavours to make the true situation clear to her, but is interrupted by a visit from _Yamadori_, a wealthy Japanese suitor, whom _Goro_ urges _Butterfly_ to marry. For the money left by Pinkerton with his little Japanese wife has dwindled almost to nothing, and poverty stares her in the face. But she will not hear of an alliance with _Yamadori_. She protests that she is already married to _Pinkerton_, and will await his return.

When _Yamadori_ has gone, _Sharpless_ makes one more effort to open her eyes to the truth. They have a duet, "Ora a noi" (Now at last), in which he again produces the letter, and attempts to persuade her that Pinkerton has been faithless to her and has forgotten her. Her only reply is to fetch in her baby boy, born since _Pinkerton's_ departure. Her argument is, that when the boy's father hears what a fine son is waiting for him in Japan, he will hasten back. She sings to _Trouble_, as the little boy is called:--"Sai cos'ebbe cuore" (Do you hear, my sweet one, what that bad man is saying). _Sharpless_ makes a final effort to disillusion her, but in vain. If _Pinkerton_ does not come back, there are two things, she says, she can do--return to her old life and sing for people, or die. She sings a touching little lullaby to her baby boy, _Suzuki_ twice interrupting her with the pathetically voiced exclamation, "Poor Madam Butterfly!"

A salute of cannon from the harbour announces the arrival of a man-of-war. Looking through the telescope, _Butterfly_ and _Suzuki_ discover that it is _Pinkerton's_ ship, the "Abraham Lincoln." Now _Butterfly_ is convinced that _Sharpless_ is wrong. Her faith is about to be rewarded. The man she loves is returning to her. The home must be decorated and made cheerful and attractive to greet him. She and _Suzuki_ distribute cherry blossoms wherever their effect will be most charming. The music accompanying this is the enchanting duet of the flowers, "Scuoti quella fronda di ciliegio" (Shake that cherry tree till every flower). Most effective is the phrase, "Gettiamo a mani piene mammole e tuberose" (In handfuls let us scatter violets and white roses.)

[Music]

_Butterfly_ adorns herself and the baby boy. Then with her fingers she pierces three holes in the paper wall of the dwelling. She, _Suzuki_, and the baby peer through these, watching for _Pinkerton's_ arrival. Night falls. _Suzuki_ and the boy drop off to sleep. _Butterfly_ rigid, motionless, waits and watches, her faith still unshaken, for the return of the man who has forsaken her. The pathos of the scene is profound; the music, with the hum of voices, borne upon the night from the distant harbour, exquisite.