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Update： March 11th 2013. 1 03 am (Japan time) Posted by Mika Iwamuro Visitors total： - today： - yesterday： - (Mon) March 11th 2013, the white dog Lee-chan is still missing. The real owner Mr. Okubo is still looking for his white dog (named Lee-chan) desperately. The real owner of Japan Two Loyal Tsunami Dogs, Mr. Okubo described how he felt [1](2) http //youtu.be/llqfGPkKlPg June 30th 2012 Ms. Akiko Fujimura’s talk show, at Yokohama Japan. Akiko is Nippon SPCA founder (Japanese animal protection group). (Translation and filming, by Mika Iwamuro.) I still don t work on subtitles on this move, but I finished just translation below. [Ms. Kaori Hayakawa] Today everyone, I want you to buy this book, which was written by Ms. Fujimura wrote "Victim Pets Rescue". The dog on a cover, Is there anyone who watched this dog? Ah, there is. Before this work, Aftermath of the Earthquake, on the broadcast, I knew this one. The dog became very famous in various ways. The owner of the dog, Mr. Okubo, please come. Everybody, please greet him with applause. Ms. Fujimura, could you introduce him to everyone simply? [Ms. Akiko Fujimura] Yes well.. Today he came here from far away, thanks Mr. Okubo. His house was washed away by the tsunami, so he lives in other place now. This dog was televised, and now the dog, over 100,000 video views on youtube. Not just in Japan, but also overseas, CNN, ABC, actually these two dogs were televised. He is the owner of these dogs. In fact, this dog, brown one named Mei-chan was found, and another white dog named Lee-chan is still missing. I hope that white dog will be found, so I wrote the book. I appreciate, he came here from far away, while he is busy. I think I would like to hear from him, I hope everyone listen to the end. [Ms. Kaori Hayakawa] All right, there is only one mike, so first of all, I would like to hear various things from Mr. Okubo. Thank you for coming. [Mr. Okubo] Ah. [Ms. Kaori Hayakawa] The disaster area still... I have seen Yokohama-city, it seems that we have gotten back to our ordinary days. But still... How is it the status in disaster area now? [Mr. Okubo] The situation is still unchanged... I m anxious about the future. [Ms. Kaori Hayakawa] I agree.. When you suffered from the earthquake, what the situation was you in? Your dogs and your family, suffered in different locations? [Mr. Okubo] Yes. [Ms. Kaori Hayakawa] How was it in the aftermath of the disaster? [Mr. Okubo] The first, my family flashed into my mind. [Ms. Kaori Hayakawa] You and your family suffered in different locations. Could you tell me the details in that situation? How could you meet your family again? [Mr. Okubo] Then I returned my home by car.. and I rescued my dogs. Ah.. first, I looked for my family, and I rescued my dogs.. [Ms. Kaori Hayakawa] Then your dogs were in your house? [Mr. Okubo] Yes, no human was in my house, when my parent went to work, so there were only my dogs. [Ms. Kaori Hayakawa] Arahama-district is the area had huge damage by the tsunami. When you rescued your dogs, before the tsunami came? [Mr. Okubo] Yes, before it came. [Ms. Kaori Hayakawa] You rescued your dogs by your quick wit. [Mr. Okubo] Yes..I wanted to save my dogs anyway. After rescued, my dog showed me her very joy, and she seemed concerned about me, she licked my face. In a car, she had licked my face scores of times, so when I thought that I may can t drive a car. [Ms. Kaori Hayakawa] Your dog felt so relieved. These dogs were rescued once by Mr. Okubo. But after that why were they in the situation on TV? Everyone wonder when what happened? You rescued your dogs once, after that.... [Mr. Okubo] I rescued them..and I took refuge in the elementary school with my dogs. I kept my dogs on a lead in the elementary school. However, I couldn t take my dogs, when I took refuge by helicopter. (A Self-Defense Forces Personnel told him that helicopter does not take the dogs. In Japan, in an emergency, people take priority over animals. Even if Self-Defense Forces have enough space for some dogs in helicopter, then they abandon dogs, It s the "rule" in Japan. I am ashamed it as a Japanese, I think that Japan has no right to sell any animals.) [Mr. Okubo] So...I left my dogs in the elementary school. [Ms. Kaori Hayakawa] You could take refuge with your dogs once, but after that, you had to take in helicopter to refuge other place, then you couldn t take them in helicopter. [Mr. Okubo] Yes, I couldn t stay there until the end. [Ms. Kaori Hayakawa] Ah....and after that, dogs got lost? [Mr. Okubo] When I took in helicopter, I kept my dogs on a leash. But I returned there a few days later, it seems that someone went of the leash on my dogs, one dog (white dog) was not there..... (A man told Mr. Okubo "There is some dog food for a week-10 days in Elementary School.", so he left his two dogs in Elementary School, and he went to the work of the Volunteer fire department to help other people.) [Ms. Kaori Hayakawa] Even though you rescued your dogs once, and kept them on a leash, but after that someone unleash for some reason... And the dog got lost.. [Mr. Okubo] Yes... [Ms. Kaori Hayakawa] How many people, is there anyone who has seen this video? There are the people raise hands.. I watched this video, too. Aftermath the earthquake, it became the talk of the whole huge people. So many people said "What happened afterwards?" on many blog. For example Ms. Aya Sugimoto s blog, on her comment field, "What happened on the dogs afterwards?" "Does anyone know of the dogs safe?", so many people all over Japan were worried about these dogs. (Ms. Aya Sugimoto is a Japanese famous TV talent. She has been working on animal welfare.) After that many rumors have appeared "I heard these dogs were rescued" "It seems that the dogs were rescued", and I had believed in that false reports, too. And when I read Ms. Fujimura s book, I noticed the white dog has been missing, even now she is still missing. Have you known a false rescued report? [Mr. Okubo] .......Yes... I have known. [Ms. Kaori Hayakawa] What did you think of when you hear that? [Mr. Okubo] I thought that "where is my dog?" "if my dog is truly somewhere, we want her to come back to us." my family said, too. [Ms. Kaori Hayakawa] Not only Mr. Okubo, but also many people have been looking for their pets, have you tried something to find your dog? [Mr. Okubo] We have been to the seaside over and over, I have thought my dog may be somewhere. (and also Mr. Okubo visited animal control center in Miyagi-prefecture, in May to July 2011. ) [Ms. Kaori Hayakawa] I see, now, there is the photo of the dogs, on the left side, rare dog breeds Brittany Spaniel, Mei-chan, she already was rescued and she has been together with Okubo family. [Mr. Okubo] Yes. [Ms. Kaori Hayakawa] Mei-chan was found. [Mr. Okubo] Yes, when I got back the school, Mei came close to me. (March 18th 2011) Mei had a sad expression on her face, so I felt Lee got lost... [Ms. Kaori Hayakawa] Then another dog, Lee-chan was not there. And Mr. Okubo has tried to hardly to search for Lee-chan, but Lee-chan is still missing. [Mr. Okubo] Yes... Details and Timeline (Fri) March 11th, 2011 Mr. Hisato Okubo is a very courageous and tender and loyal person. On March 11th, 2011, when the tsunami came, the moment Mr. Hisato Okubo heard the tsunami warning, he returned his home, and he took his two dogs (Mei-chan and Lee-chan) and took refuge to the fives floor in Elementary School. Soon after that, his house was washed away by the tsunami. If Mr. Okubo did not return his home, maybe Mei-chan is no more... Mei-chan (brown tan dog) was rescued by Mr. Okubo who is her real owner, on March 18th 2011. (Sat)March 12, 2011 Mr. Okubo joined the volunteer of fire department. A man told him "There is some dog foods for a week-10 days in Elementary School.", so he left two dogs in Elementary School, and he went to the work of the Volunteer fire department to help other people. Until March 12, 2011, two dogs were chained in Elementary School, but it seems that someone lost the chaine... (Sun) March 13th, 2011 and in the evening on (Sun) March 13th, 2011, two dogs were filmed by Japanese Fuji Television crew. (Mon) March 14, 2011, about 7 am (Japan time) The photo of Lee-chan was taken by Takuya Imai who is a cameraman of Japan Nikkei news paper, at near by Madoka-Ann, on March 14th, 2011. about 7 am Madoka-Ann was the place where the dogs filmed by Fuji TV 津波で倒壊した家に残る犬（14日午前、仙台市若林区）＝写真 今井拓也 A dog stay with a house which was collapsed by tsunami (March 14th, 2011. Morning, Arahama) = The picture by Takuya Imai When these dogs filmed by Fuji TV on March 13th 2011, 4-5 pm, white dog (Lee-chan) laid herself down on the ground, but next morning Lee-chan stood up by herself in Nikkei photo. Their real owner Mr. Okubo and his family said “This dog of the photo is Lee!” (Mon) March 14th 2011, about 9 40 pm (Japan time) The two stay together tsunami dogs were aired on Japanese Fuji TV. http //www.youtube.com/watch?v=uct9Kzjw9XY sns=em (Thu) March 17th, 2011. about5 30 pm (Japan time) Japanese Fuji Television reported false rescue story "both dogs were rescued by an animal protection group". http //www.youtube.com/watch?v=5awVBo7WSaw sns=em (Fri) March 18th, 2011. CNN reported false rescue story "both dogs were rescued by bikers". http //www.youtube.com/watch?v=2B0YuxmtlOA sns=em The rescue reports on CNN/FujiTV/more are based on the rumor on Facebook page and were not checked out. On March 18, 2011, Mr. Okubo found Mei-chan in Arahama elementary school in Sendai-city Japan. But Lee-chan was not there. Thereafter, Mr. Okubo and his family have been looking for Lee-chan desperately. At that time, Mr. Okubo and his family were still not knowing that their dogs were aired on the TV around the world, because their home was washed away by the tsunami, and they lost TV and internetwork environment, many other victims, too. So they have been looking for Lee-chan intently, since March 18th 2011. About late of July, 2011. Fuji TV reporter Mr. Yamashina visited Okubo s house. Mr. Yamashina saw Mei-chan and made sure that Mei-chan is the same dog aired on Fuji TV. Mr. Yamashina told Mr. Okubo "There is a rumor that a dog was rescued by a man who live in Chiba prefecture." Mr. Okubo and his family said "If that man has Lee, we want him to return Lee to us." But as everyone know, that man has not rescued the two dogs. September 8th, 2011, I could contact with Mr. Okubo for the first time, thanks to everyone s efforts, thank you 2 channel users, thank you Global Animal and GA readers! Thank you Mr. Harigaya! If it were not for GA reports and GA reader s comments, and 2 channel user s posts, and Mr. Harigaya s advice, I could not contact Mr. Okubo. GA reports and GA readers comments encouraged me very much many time. NipponSPCA in Disaster area nipponspca2011/11/05 http //www.youtube.com/watch?v=BmMSUzflbZc sns=em Akiko Fujimura who is the Nippon SPCA founder, met the dog owner Mr. Okubo on September 14th 2011 for the first time, when she actually saw brown tan dog named Mei. March - April 2012, Mei eat food, this movie was taken by Mika, on Aplil 1st 2012. http //www.youtube.com/watch?v=Mjn6O4Lf_yE sns=em I phoned the owner of two tsunami dogs Mr. Okubo on September 8th 2011, for the first time. And I met the owner in March - April 2012, for the first time. When I actually saw brown tan dog named Mei-chan. Mei-chan is very cute very fine. (Sat) June 30th, 2012 I went Akiko Fujimura s talk event on, at Yokohama Kanagawa Japan. Ms. Akiko Fujimura (left), Mika Iwamuro (middle), Mr. Okubo (right) Ms. Akiko is so cute, but my face was oily and shining , right man is Mr. Okubo who is the owner of Lee-chan Akiko s blog. (All in Japanese) 震災ペットを救う！トークイベント3カ所全て満員御礼☆ 2012/07/01 12 36 http //ameblo.jp/73akiko/entry-11291415235.html ■Several Major Medias reported a false rescue story "both dogs were rescued" around the world update February 7th, 2013. (Japan time) http //www18.atwiki.jp/2dogs/pages/34.html Two years ago, after the Japan Big Earthquake Tsunami, in March 2011, Fuji TV(Japan), CNN, NPR, TYT, CBS(America), UK telegraph, ITN(England), Apple Daily(Hong Kong), Russian TV, more, Several major media reported false rescue story “Two loyal tsunami dogs were rescued by an animal rescue. Happy ending!” . But in fact, white dog (female setter) is still missing since (Mon) March 14th 2011. Major media still have NOT corrected their wrong reports. There were NO film/picture of after dogs were rescued, on major medias rescue report. There were only stray dogs, on their rescue report. The rescue reports on CNN/FujiTV/more are based on the rumor on Facebook page and were not checked out. And March 11th 2013, even now, Fuji TV has never corrected their wrong report "both dogs were rescued". Many Japanese (including me and Mr. Okubo) have asked Fuji TV to correct their wrong report many time, again and again. If Fuji TV reported the truth, Lee-chan would be found. But Fuji TV always says “The person in charge is currently not present” and ignore our voice. Maybe, if Fuji TV reports the truth (Lee-chan is still missing), then Fuji TV lose their popularity and Fuji lose the benefit. So Japanese media has not report the truth. Till now, I also sent some message to CNN, NPR, UK telegraph, ABC, but I have no reply. And I asked some Japanese media to report the truth, but they said We cannot air that story because that story is sad, and we may cannot get audience measurement. If white dog will be found, may we air that story ." “We don’t have the authority to correct the Fuji TV false report.” March 10th 2013, even now, his White Setter has been missing since March 14 2011. Even now, Mr. Okubo is still looking for this white dog desperately for two years. Brown tan dog named Mei-chan was rescued by their real owner Mr. Okubo on March 18th 2011, and brown tan dog has been together with Mr. Okubo. It was wrong report that both two dogs were rescued by bikers. We already asked Kahoku news paper (Japanese Tohoku region local news paper) to report an article of missing Lee-chan, this article will be reported on March 11th (tomoeeow) on Kahoku news paper morning edition. This morning edition is delivered to 44 thousand houses in 6 prefectures of Tohoku region (mainly Miyagi-prefecture) every day. (Arahama Sendai-city is in Miyagi-prefecture Japan) But it is not a free service. I and some Japanese spent our money to it, we expect that effect. But if Lee-chan was adopted to far away from Miyagi-prefecture in Japan, when it is hard for us to find Lee-chan, so I asked many Japanese to share spread to help find missing Lee-chan, all over Japan. And I want to request many overseas people to share spread the truth of missing Lee-chan on internet Email. I hope the truth will win the false rescue rumors and false major media. We want as many people as possible to know that Lee-chan is still missing and their real owner Mr. Okubo is still looking for Lee-chan desperately. I can no longer be expected major media report the truth. So please your help. Please share spread this fact on Facebook, Twitter, blog, other SNS, and Email. I think that if many people spread the truth on Internet Email all over the world, then many people know the truth, and Lee-chan will surely be found! Even now, many people believe that Lee-chan (white dog) was already rescued. So even now, fake rescue rumors are hindering us from searching for the missing white dog (Lee-chan). In fact, Mei-chan (brown tan dog) was rescued by her real owner Mr. Okubo, I think this is Real Brave Story. A man said "Major media make money by publishing stories people want to know. It is not about the truth. Two dogs were rescued was a good story, even if it s a lie." Everyone! Do you want FAKE good story? I say “NO”. There are several possible. I want to try all means possible to find Lee-chan. I thought there is possibility that Lee-chan is dead. But at the same time there is possibility that Lee –chan is alive! Maybe Lee chan was rescued by foreign people, and carried somewhere. Maybe Lee chan was rescued neighbor and she is alive, and neighbor does not have Internet, so neighbor does not know that the owner is looking for Lee chan. There are many possible. I want to try all means possible to find Lee-chan. Do you know someone who had been in Sendai around March to April 2011? Actually, PETA Asia, Kinship Circle, HIS, and more foreign animal rescuers and foreign cameraman and foreign human rescues had been in Sendai Japan just after the earthquake in March 2011. So it s some possible that Lee-chan was rescued by overseas people. But I don’t know other foreign animal rescue team and other people. If you know, please tell them this information, and tell me (Mika Iamuro email twodogs_tottorimiyagi_mii3328@yahoo.co.jp). I have asked AFN, Heart Tokushima, PETA Asia, HSI, kinship circle, ASPCA, and Yoshiko Wada. AFN, Heart Tokushima, PETA Asia, HSI, Yoshiko said that they have not had the information of dog who like Lee-chan. Kinship Circle, ASPCA, Ashley Fruno, have not replied me. I was able to contact dog s owner on September 8th 2011, for the first time. I didn t know about white dog has been missing, until I heard it from dog s owner. I have been looking for Lee (white dog) since September 2011. During that time, some people have told me "There are not only these two famous dogs, there are many other animals who need rescue." I knew. Everyone knew that. Needless to say, there are a lot of animals need rescue around the world. If there are many other animals need rescue, then should we abandon two dogs? You don t care if two dogs dies? Why don t you think try to help both animals(2 dogs and many other animals)? Many people are saying "Don t forget Fukushima animals! I want to help many animals." What is the difference between Lee-chan (white setter) and Fukushima animals? I think that there is NO difference Lee-chan and Fukushima animals. Both animals should be rescued. I don t want you to forget about Lee-chan (one of two loyal tsunami dogs who filmed by Fuji TV.). (Mon) March 11th 2013, Lee-chan is still missing, even now, her owner is still looking for Lee-chan desperately since March 2011. Lee-chan is her owner s treasure, family. Lee-chan already helped many victim animals, Lee-chan and Mei-chan attracted the people s attention to many victim animals, all over the world. Let s repay their loyal. Please help us find Lee-chan. Let’s reunite Lee-chan with her real owner Mr. Okubo and Mei-chan ! Their real owner Mr. Okubo and his family said "If a person who saved Lee hope that he/she keep Lee, it wouldn t be a problem. I would like to thank you so much for saving Lee." "I want to make clear dead or alive." "I still will not give up about Lee." "I want to meet Lee again." I really hope Lee-chan will be found this year and reunite her owner Mei-chan. March 11th 2013, the white dog is still missing. The White Setter named Lee has been missing since March 14 2011. Even now, their real owner Mr. Okubo has been looking for Lee desperately. Feature of the missing dog Name Lee (Lee-chan, ‘chan’ is Japanese honorific.) English setter Female Large dog Totally white on her body Her ears are right brown She has gray spotted around her nose Then she had silver chains around her neck Then 8 years old (Now 10 years old) Then not spay Then not microchipped Gentle Friendly When Last Seen Monday March 14th 2011 about 7 am, a photo of Lee-chan was taken by Takuya Imai who is a cameraman of Nikkei newspaper, near the place dogs filmed by Fuji TV. And March 13th 2011 about 4-5 pm, Lee-chan was filmed by Fuji TV crew. Where Last Seen Nearby 円庵(まどか庵 Madoka-Ann which was light meal shop.), near the Sendai Municipal Arahama Elementary School, in Arahama, Wakabayashi-ku, Sendai-shi, Miyagi-ken, Japan. Nearby Miyagi Prefectural Road137, Arahama-Haranomachi Line in Japan. More details (Please click read) http //www48.atwiki.jp/2dogsdemosoft/pages/20.html Thank you so much for many help. We need your help and eyewitness in Sendai. If anyone had info on the missing Lee-chan (white female setter), whoever please tell me (Mika Iwamuro) via facebook or Email twodogs_tottorimiyagi_mii3328@yahoo.co.jp And if you have any questions on this page, please feel free to contact admin (Mika Iwamuro) at any time. 2dogs BBS http //www1.rocketbbs.com/110/NagisaK.html Please feel free to post your message. Editor ;s name Mika Iwamuro (Handle tottorimiyagi, mii, 2dogs) Facebook｜Mika Iwamuro http //www.facebook.com/photo.php?fbid=420833198002550 set=a.371098812975989.90415.100002276214962 type=3 theater (Please share!) Youtube｜mii169686 (Mika Iwamuro) http //www.youtube.com/user/mii169686 I m @tottorimiyagi on Twitter http //twtr.jp/user/tottorimiyagi (Please RT) リーちゃんを探すページ：http //www18.atwiki.jp/2dogs/pages/35.html (日本語ページ) If you access this page from your cell phone, then often 403 error occur. In that case, would you please access this page again after a short interval, and you can watch this page. アクセス集中時、携帯からウィキが403エラーで閲覧できなくなる場合がありますが、時間を置いてアクセスしていただけば、また見れるようになります。
https://w.atwiki.jp/mainichi-matome/pages/205.html
The story below is originally published on Mainichi Daily News by Mainichi Shinbun (http //mdn.mainichi.jp). They admitted inventing its kinky features, or rather deliberately mistranslating them from the original gossip magazine. In fact, this is far from the general Japanese behavior or sense of worth. このページは、毎日新聞事件の検証のための配信記事対訳ページです。直接ジャンプして来られた方は、必ずFAQをお読みください。 ※ この和訳はあくまでもボランティアの方々による一例であり、翻訳の正確さについては各自判断してください。もし誤訳（の疑い）を発見した場合には、直接ページを編集して訂正するか翻訳者連絡掲示板に報告してください。 Cross-dressing festival lives up to its queer billing服装倒錯祭りはゲイの宣伝になる 拡散状況 関連ページ Cross-dressing festival lives up to its queer billing 服装倒錯祭りはゲイの宣伝になる 0 Cross-dressing festival lives up to its queer billing Cyzo (August) By Ryann Connell 服装倒錯祭りはゲイの宣伝になる 2007,07,26 サイゾー(8月) ライアン・コネル記 1 Yokohama is home to an obscure festival where older women hand out bills to worshippers, but the twist in the story is that the biddies aren t quite what they seem, according to Cyzo (August). 横浜は、年をとった女たちが参拝者にお札を配る不可解な祭りが行われるところだが、サイゾー(8月号)の記事の予想外の展開は、このばあさんたちは見かけとまったく違うということだ。 2 There s something decidedly queer about the port city s Yasaka Jinja on the afternoon of the festival. 祭りの日の午後、この港湾都市の八坂神社のあたりに、明らかにオカマっぽいことが起こる。 3 All the middle-aged women decked out in traditional garb are also caked thick in white face make-up adorned with lashings of eye-liner, lipstick and mascara and many top off the look with a wig mimicking the coiffures of the feudal era. 伝統の服装に着飾った中年女性たち全員はまた、たくさんのアイライナーと口紅、マスカラで飾った化粧を白い顔に厚くぬり固めて、多くのものは封建時代のヘアスタイルをまねたカツラかぶって外見を仕上げる。 4 Cyzo describes the average middle-aged woman at the festival as closely resembling typical performers at countryside strip joints who probably should have retired decades earlier. サイゾーは、その祭りの平均的な中年女性が、数十年前に引退したほうがよさそうな田舎のストリップ小屋の典型的な出演者にとても似ていると記述している。 5 There s a reason the dozens of women look a little untoward - they re actually all men dressed up as members of the opposite sex. これら数ダースの女性がちょっと醜く見えるのにはわけがある - 彼女たちは実際には、全員、正反対の性の構成員のようにめかし込んだ男たちなのだ。 6 Once the festival starts, the cross-dressing men form a large circle and begin dancing, which actually means simply thrusting their hips back and forth. Their jig is accompanied by ribald songs with lurid lyrics such as how women have suddenly discovered hair on their bodies that wasn t there before, or a little boy playing in temple grounds who is stung on his family jewels by a bee. いざ祭りが始まると、女装した男たちは大きな輪になって踊りをはじめる。踊りは、実は、ただ彼らの腰を前後に突き出すだけのものだ。 彼らの急テンポの踊りは、たとえば、いかにして女性が以前は生えていなかった毛が体に生えているのを突然みつけたかや、寺の境内で遊んでいて蜂に金玉をさされた小さな少年などの、どぎつい歌詞の卑猥な歌がつきものである。 7 Following the songs, the "women" begin handing out bills to festival-goers. The rush to get the bills is incredible as they are said to promise good health to those who receive them. その歌に続いて、この「女性たち」は祭りの参加者にお札 を配り始める。 お札を得ようとする人々の殺到は、それを受け取った人には健康が約束されているといわれているため、途方もないものになる。 8 Though it s probably not the classiest of Japan s festivals, Yasaka Shrine s Ofuda-maki festival maintains a deep and rich respect for cross-dressers throughout this country s history. おそらく日本の祭りのうちでもっともしゃれたものではないとはいえ、八坂神社のお札まき祭りは、この国の歴史を通していつも存在した衣装倒錯者にたいする深く豊かな敬意を、保守している。 9 Cyzo points out that transvestism and homosexuality have long been regarded as acceptable to Japanese society, dating back to the Edo Period (1603-1868) when it was regarded as perfectly natural for samurai warriors to sodomize little boys, for kabuki s onnagata show (male actors performing as females) and even through to today when cross-dressers like Kenichi Mikawa, Ikko and Yakkun Sakurazuka make daily appearances on TV. (By Ryann Connell) サイゾーは、服装倒錯と同性愛が、さかのぼること武士が稚児を相手に男色を行うことや歌舞伎の女形の出し物(女性を演じる男優)が完全に自然なものとみなされた江戸時代(1603-1868)から、美川憲一やIKKO、桜塚やっくんのような衣装倒錯者が日々テレビに出演する今日(こんにち)にいたるまで、日本社会に長い間受けいれられ続けたことを指摘する。 10 （Mainichi Japan） July 26, 2007 （毎日 日本） 2007年7月26日 拡散状況 Asian Sex Gazzete http //www.asiansexgazette.com/asg/japan/japan06news85.htm The Black Ship http //www.theblackship.com/forum/japan-tabloid-news/1341-cross-dressing-festival-lives-up-its-queer-billing.html Nigihara http //www.nigihana.com/forum/showthread.php?t=2525 関連ページ Nigihara The Black Ship 元記事一覧 毎日新聞英語版から配信された記事2007年(7月 - 12月)
https://w.atwiki.jp/vocaloidenglishlyric/pages/452.html
【Tags Hachi Miku tT T】 Original Music title THE WORLD END UMBRELLA Romaji music title THE WORLD END UMBRELLA Music Lyrics written, Voice edition by ハチ(Hachi) Music arranged by ハチ(Hachi) Singer(s) 初音ミク (Hatsune Miku) "WORLD S END UMBRELLA http //www4.atwiki.jp/vocaloidenglishlyric/pages/565.html" is the retaken version of the song. Click here for the original Japanese Lyrics English Lyrics (translated by vgboy / vgperson)： The great umbrella covering the earth. A tower is built in the center, a mass of machinery that props it up. As one would expect, the villages below get no sun, and are tormented by leaks called "rain." But the people do not question. For it is commonplace. It means nothing. It is simply "law." The umbrella blocks the rubbish rain from the crying sky The town is blind; no one questions, like clowns Again, you spit at the umbrella I didn t look, but your voice sunk to a drone We didn t hear anyone, but he felt the rain He took my hand, and toward the tower... We ran "Someday, that picture-book-sky will come..." You promised me, in a soft voice In that moment, the rain went away, And our sadnesses, too, were forgotten With rain falling on them, the two arrived at the umbrella tower. The shut double doors would hardly budge, but the couple would not be rejected. Not everyone can enter. With or without a key, it seems it would be the same. On the other side of that door, Crumbling, heading somewhere up a spiral staircase Stained with black as the dripping rain echoes I was almost crying, and to softly comfort me You laughed, grabbed my hand again, and ran Chasing a white shadow, it runs past a row of cages There s no time to look for reason... Nor any desire My hand trembles, but I hear your voice So instead, I just watch your back In the dark, the gears laugh Look, a gentle breeze brushes your cheek "The wind is blowing..." The girl said. The boy quietly acknowledged her. Nothing could stop their feet. In such a faraway place, they didn t know how long they had been running. The two were hopelessly small. No one found any trace of them. No one found any trace of them. No one found any trace of them. No one found any trace of them. No one found any trace of them. The white shadow went far ahead, and sadly disappeared It smelled of rust and we were stained all black, but soon the colors began to brighten We heard a voice from somewhere, in a tone we had forgotten At the end of the spiral staircase was a very small door Dusty from waiting "Open it..." "Okay..." There... we saw perhaps everything Flowers blooming in every color, and a deep blue sky If you saw me, I was crying... I don t need anything more And the most precious, picture-book-sky So that returning it to its rightful place would not be forgotten, You gave me a quickly-made bouquet, And as we laughed, I leant on your shoulder At the end of the world, the umbrella is raised* And as long as there s such a world as this, it will be fine It won t be sad, not when I m by your side... (On top of the umbrella where flowers bloomed, with faces filled with joy, a pair sleeps softly together...) Singable English Lyrics (translated by vgboy / vgperson)： The great umbrella covering the earth. A tower is built in the center, a mass of machinery that props it up. As one would expect, the villages below get no sun, and are tormented by leaks called "rain." But the people do not question. For it is commonplace. It means nothing. It is simply "law." The crying sky, hidden by the umbrella blocking all the rubbish rain And yet the town is so blind; they pay it no mind, as if carefree clowns And you, again, faced it then, and with disgust, toward the umbrella you spat Though nothing seemed to be shown, I realized your voice had reduced to a drone In that moment, I know no one spoke; he felt the rain, and as if provoked, He held onto my hand, and toward the tower... We ran away "Someday, we ll have for ourselves a bright and deep blue sky" Though it was but something out of a picture book, you promised, tenderly Bound together as we were, you promised, next to me, "There is a sky, that we ve found but in stories, it s time that we went to see" --! In that moment, the rain shortly seemed to go away And so did our prior sadnesses, forgotten just the same With rain falling on them, the two arrived at the umbrella tower. The shut double doors would hardly budge, but the couple would not be rejected. Not everyone can enter. With or without a key, it seems it would be the same. On the other side of that door, It s crumbling, and we re climbing up to wherever this spiral staircase leads Our journey stains us with black, and still the unpleasant rain echoes I stand by, about to cry, yet, you see, and attempt to comfort me You could still show me a smile, and holding my hand, we could run for a while As we chased a shadow colored white, countless rows of cages passed by to our right Yet we could spare no time to search for reason... Nor d we want to My hands were starting to shake, but with your gentle voice, There was nothing I could fear, so instead, protecting you was my best choice Wandering through pitch darkness, gears laughing, all so bleak, Yet, come, don t you feel the gentle wind brushing against your cheek? "The wind is blowing..." The girl said. The boy quietly acknowledged her. Nothing could stop their feet. In such a faraway place, they didn t know how long they had been running. The two were hopelessly small. No one found any trace of them. No one found any trace of them. No one found any trace of them. No one found any trace of them. No one found any trace of them. The white shadow we had chased, alas, could be chased no more, and though it seemed sad, his time came to disappear Our surroundings smelled like rust and we were colored wholly black, but at last, the colors became clear From somewhere, it seemed as if we could hear the faintest voice, maybe just imagined, but as if heard before Waiting past the final step of the spiraling staircase, there was but a very, very tiny door Covered with dust, waiting here ignored "Open it..." "Okay..." And beyond it, we saw perhaps everything laid out before our eyes, Flowers blooming in a rainbow of colors, and a bright and deep blue sky And if you were watching me, you would have seen me cry All that I could need was right here, right by The so-called picture-book sky which you d promised we d see, Now in our sight, we should not forget to take it to the place it should be So, quickly you made a bouquet, and yes, it was clumsy, but for me And together we laughed; softly, on your shoulder I leaned Waiting for us at world s end, the umbrella is raised, And I know that as long as such a world is here, all will be right Ever it will not be sad, not when I m by your side... (Lying on the umbrella where flowers bloom in plenty, their faces seeming filled with such happiness, a couple slept away, softly, together...) Romaji lyrics (transliterated by vgboy / vgperson)： Chi o oou ooki na kasa. Chuuou ni tou ga ippon kenchi, sore ga kikai no katamari o sasaeteiru. Touzen mashita ni aru shuuraku ni wa hi ga atarazu, kikai no sukima kara moreru "ame" ni sainamareteiru. Hitobito wa utawanai. Sore ga atarimae datta kara. Nante koto wa nai. Tada no "okite" nano dakara. Ano kasa wa naita sora o damashi kuzu no ame Machi wa moumoku daremo utagawanu douke de Kimi wa mata tsuba o sono kasa ni mukete haita Atashi wa minai duroon ni nosete nagashita Dare no koe mo kikazu ni kare wa ame o tsukami Atashi no te o tori ano tou e Hashiru no "Itsuka miteita ehon no sora o" Yakusoku ni shite tojikonda chiisa na koe wa Setsuna ame sae mo hikisaite Mou kanashimu koto mo wasureta mama Furishikiri ame to tomo ni, futari wa kasa no tou e to tadori tsuita. Tozasareteita ryoubiraki no tobira wa, oseba akkenai hiraki, futari o kobamu wa shinai. Daremo hairou to wa shinai no da. Kagi nado atte mo nakute mo onnaji darou. Sono tobira no mukou no, Kuzuredashi doko e iku ransenkaidan no saki wa Kuroku susukete shitataru ame no zankyou Nakisou na atashi o sotto nagusameru you ni Kimi wa waratte mata te o tsunagi hashiru no Shiroi kage ni owarete nigeta saki ni ori no mure Riyuu o sagasu itoma mo naku Ki mo naku Furueta te ni wa kimi no koe ga Atashi wa sonna senaka o tada mimamoru no Yami ni toketa haguruma wa warau Hora kasuka ni kaze ga hoho o naderu "Kaze ga, nagareteru wa" Onna no ko wa itta. Otoko no ko wa chisaku aidzuchi o utta. Ashi o tomeru koto wa nakatta. Totemo tooku made kita you na, arui wa mada hashiri hajimete ma mo nai you na. Zetsubouteki ni chisa na futari o, dare ga mitsukeru koto mo nakatta. Dare ga mitsukeru koto mo nakatta. Dare ga mitsukeru koto mo nakatta. Dare ga mitsukeru koto mo nakatta. Dare ga mitsukeru koto mo nakatta. Shiroi kage wa mou otte konakute totemo kanashisou ni kieta Sabita nioi mo susuketa kuro sae mo yagate iro o awaku kae Doko kara koe ga kikoeta you na ki ga shita you na wasureta you na Rasenkaidan no tsukiatari ni wa totemo chiisa na tobira ga Hokori o matoi matteita "Akeru yo" "Un" Soko ni wa nanimokamo ga aru you ni mieta Iro toridori ni saita hana fukai aozora Kidzukeba atashi wa naiteita Mou nanimo iranai wa Taisetsu na kono ehon no sora o Aru beki basho ni kaeshita wasurenai you ni Kimi ga kureta tsutanai hanataba o Warainagara sotto kata o yoseta Sekai no saigo ni kasa o sasu Zutto konna sekai naraba yokatta no ni Kanashikunai wa kimi no soba de... (Hana no saita sono kasa no ue ni wa Totemo shiawasesou na kao de Chisaku neru futari ga ita)
https://w.atwiki.jp/pyopyo0124/pages/68.html
UP CHAPTER II CHAPTER I Mrs. Rachel Lynde is Surprised 第1章 レイチェル・リンド夫人の驚き（松本訳） Mrs. Rachel Lynde lived just where the Avonlea main road dipped down into a little hollow, fringed with alders and ladies eardrops 「Rachel Lynde」松本訳注第1章(1) p. 449参照 「Avonlea」松本訳注第1章(2) p. 450参照 「alder」ハンノキ Alnus 写真はウィキペディアをどうぞ 「ladies eardrops」フクシア Fuchsia 写真はウィキペディアをどうぞ 「ladies eardrops」は、モードの手書き原稿では、「jewelweed」となっているそうです。薄荷さんの「完訳・赤毛のアン」フクシアの謎にありました。この完訳は松本訳のこと。プリンスエドワード島では野生のフクシアはない（野外では育たない）のではないか、ということのようです。jewelweed Impatiens capensis は東北大学のPlant Evolutionary Biology（植物進化生物学と訳せましょう）の研究室のウェブページにあるそうです（ちゃんとありました）。東北大学の英語版公式ページでPlant Evolutionary Biologyを標榜するのは牧研究室のようです and traversed by a brook that had its source away back in the woods of the old Cuthbert place; it was reputed to be an intricate, headlong brook in its earlier course through those woods, with dark secrets of pool and cascade; but by the time it reached Lynde s Hollow it was a quiet, well-conducted little stream, for not even a brook could run past Mrs. Rachel Lynde s door without due regard for decency and decorum; 「decency and decorum」どちらも、礼儀正しい、上品の意味。似た意味の言葉、しかも発音が似ている言葉を繰り返して、強調している。しつこくならないように和訳するのは難しいかも it probably was conscious that Mrs. Rachel was sitting at her window, keeping a sharp eye on everything that passed, from brooks and children up, and that if she noticed anything odd or out of place she would never rest until she had ferreted out the whys and wherefores thereof. 「ferret」捜し（探り）出す／（白イタチを使って）狩りをする。名詞の ferret は白イタチ。白イタチ（ferret）から連想する何かがあるのでしょうか。それともこういうときは、これが普通なのかしら 「the whys and wherefores」いろいろな理由／原因。これも似た意味の言葉、しかも発音が似ている言葉を繰り返し。ですが、常套句のようです There are plenty of people in Avonlea and out of it, who can attend closely to their neighbor s business by dint of neglecting their own; but Mrs. Rachel Lynde was one of those capable creatures who can manage their own concerns and those of other folks into the bargain. She was a notable housewife; her work was always done and well done; she "ran" the Sewing Circle, helped run the Sunday-school, and was the strongest prop of the Church Aid Society and Foreign Missions Auxiliary. Yet with all this Mrs. Rachel found abundant time to sit for hours at her kitchen window, 「Mrs. Rachel」First name だけに Mrs を付けるのは、学校では習わなかった気がしますが、『アン』にはたくさんでてきます knitting "cotton warp" quilts-- 「knitting "cotton warp" quilts」松本訳注第1章(3) p. 450参照 she had knitted sixteen of them, as Avonlea housekeepers were wont to tell in awed voices--and keeping a sharp eye on the main road that crossed the hollow and wound up the steep red hill beyond. Since Avonlea occupied a little triangular peninsula jutting out into the Gulf of St. Lawrence with water on two sides of it, 「the Gulf of St. Lawrence」松本訳注第1章(4) p. 450参照 anybody who went out of it or into it had to pass over that hill road and so run the unseen gauntlet of Mrs. Rachel s all-seeing eye. She was sitting there one afternoon in early June. The sun was coming in at the window warm and bright; the orchard on the slope below the house was in a bridal flush of pinky- white bloom, hummed over by a myriad of bees. Thomas Lynde-- a meek little man whom Avonlea people called "Rachel Lynde s husband"--was sowing his late turnip seed on the hill field beyond the barn; 「turnip」カブ Brassica rapa 写真はウィキペディア（英語版）にあります。たぶん今日本で栽培しているものよりも小さい and Matthew Cuthbert ought to have been sowing his on the big red brook field away over by Green Gables. 「Matthew Cuthbert」松本訳注第1章(5) p. 451参照 「Green Gables」松本訳注第1章(6) p. 451参照 Mrs. Rachel knew that he ought 「he ought」to have been sowing ... が省略されている because she had heard him tell Peter Morrison the evening before in William J. Blair s store over at Carmody that he meant to sow his turnip seed the next afternoon. Peter had asked him, of course, for Matthew Cuthbert had never been known to volunteer information about anything in his whole life. And yet here was Matthew Cuthbert, at half-past three on the afternoon of a busy day, placidly driving over the hollow and up the hill; moreover, he wore a white collar and his best suit of clothes, 「a white collar and his best suit of clothes」まさに一張羅。カラーを付けるというよりは、カラーのある服を着ているということではないかと思いますが……、どうなんでしょう、このころの男性ファッションは。カラーがセパレートなのはよっぽど大きなカラーということになろうかと思いますが。とすると、「白襟のシャツと最上の上着を着こみ」といったところでしょうか which was plain proof that he was going out of Avonlea; and he had the buggy 「buggy」二人乗りの馬車 and the sorrel mare, which betokened that he was going a considerable distance. Now, where was Matthew Cuthbert going and why was he going there? Had it been any other man in Avonlea, 「Had it been ...」仮定法 Mrs. Rachel, deftly putting this and that together, might have given a pretty good guess as to both questions. But Matthew so rarely went from home that it must be something pressing and unusual which was taking him; he was the shyest man alive and hated to have to go among strangers or to any place where he might have to talk. Matthew, dressed up with a white collar and driving in a buggy, was something that didn t happen often. Mrs. Rachel, ponder as she might, could make nothing of it and her afternoon s enjoyment was spoiled. "I ll just step over to Green Gables after tea 「after tea」ということは夕方。 and find out from Marilla where he s gone and why," 「Marilla」松本訳注第1章(7) p. 451参照 the worthy woman finally concluded. "He doesn t generally go to town this time of year and he NEVER visits; if he d run out of turnip seed he wouldn t dress up and take the buggy to go for more; he wasn t driving fast enough to be going for a doctor. Yet something must have happened since last night to start him off. I m clean puzzled, that s what, and I won t know a minute s peace of mind or conscience until I know what has taken Matthew Cuthbert out of Avonlea today." Accordingly after tea Mrs. Rachel set out; she had not far to go; the big, rambling, orchard-embowered house where the Cuthberts lived was a scant quarter of a mile up the road from Lynde s Hollow. To be sure, the long lane made it a good deal further. Matthew Cuthbert s father, as shy and silent as his son after him, had got as far away as he possibly could from his fellow men without actually retreating into the woods when he founded his homestead. 「when he founded his homestead」マシューのお父さんが開墾したようですね Green Gables was built at the furthest edge of his cleared land and there it was to this day, barely visible from the main road along which all the other Avonlea houses were so sociably situated. Mrs. Rachel Lynde did not call living in such a place LIVING at all. "It s just STAYING, that s what," she said as she stepped along the deep-rutted, grassy lane bordered with wild rose bushes. 「deep-rutted、grassy lane」深い轍のある、ということは、草の生えた小径とはいえ、普段馬車か荷車が通れるだけの幅がある。同じ lane でも Lover s Lane（恋人たちの小径（CHAPTER XV with impression? A Tempest in the School Teapot））は、普段は牛の歩くところなので、深い轍はなく狭い 「rose」Rosa sp. バラはややこしくてよくわかりません。ただ、俗称として wild rose というなら、花弁が八重ではないものでしょう。なので、例えば、こんな感じ "It s no wonder Matthew and Marilla are both a little odd, living away back here by themselves. Trees aren t much company, though dear knows if they were there d be enough of them. 「dear knows」= God knows 誰も知らない I d ruther look at people. To be sure, they seem contented enough; but then, I suppose, they re used to it. A body can get used to anything, even to being hanged, as the Irishman said." 「as the Irishman said」松本訳注第1章(8) p. 451参照 With this Mrs. Rachel stepped out of the lane into the backyard of Green Gables. Very green and neat and precise was that yard, set about on one side with great patriarchal willows 「willows」ヤナギ。Salix sp. ヤナギ属には大きなものから草丈ほどの小さなもの（極寒の種類らしい）もあるそうです。しかしここでは、家の主のような大きな木。写真はウィキペディア（英）、やウィキペディア（日）をどうぞ and the other with prim Lombardies. 「Lombardies」= Lombardy poplars セイヨウハコヤナギ。いわゆるポプラ。Populus nigra var. italica。 北海道大学のポプラ並木と同じ種類のようです。写真はウィキペディアにあります。ポプラもヤナギ科だとは知りませんでした。このイタリア原産の背の高いポプラのことをわざわざ Lombardies（複数なのは１本じゃないだけ）とするのは、ちょっと気取っているような気がしますが、気のせい？ Not a stray stick nor stone was to be seen, for Mrs. Rachel would have seen it if there had been. Privately she was of the opinion that Marilla Cuthbert swept that yard over as often as she swept her house. One could have eaten a meal off the ground without overbrimming the proverbial peck of dirt. 「the proverbial peck of dirt」松本訳注第1章(9) p. 452参照 Mrs. Rachel rapped smartly at the kitchen door and stepped in when bidden to do so. The kitchen at Green Gables was a cheerful apartment-- 「apartment」部屋 or would have been cheerful 「would have been cheerfu」仮定法 if it had not been so painfully clean as to give it something of the appearance of an unused parlor. Its windows looked east and west; through the west one, looking out on the back yard, came a flood of mellow June sunlight; but the east one, whence you got a glimpse of the bloom white cherry-trees in the left orchard 「white cherry-trees in the left orchard 」果樹園にある桜の木ということはサクランボの木。ですので、sour cherry Prunus cerasus ではないでしょうか。実の写真はウィキペディア（英）にあります。サクラ全般についてはウィキペディア（英）もどうぞ and nodding, slender birches down in the hollow by the brook, 「birch」カバ。ここでは幹の白いカバかと思います。このあと、何度も white birch が出てくるので。とすると、幹の白いカバは、Betula papyrifera。写真はウィキペディア（英）にあります。この白いカバの分布はeFloras.org（英）をどうぞ。日本のシラカバ（Betula platyphylla var. japonica）とは別種らしい（ウィキペディア（日）にはそうある。こちらにも写真はありますが、見た目はよくわかりません） was greened over by a tangle of vines. 「vine」つた、か何か、のツル植物。この記述だけではよくわかりません（やはりキャベンディッシュに行かないとわからないことがある……） Here sat Marilla Cuthbert, when she sat at all, always slightly distrustful of sunshine, which seemed to her too dancing and irresponsible a thing for a world which was meant to be taken seriously; and here she sat now, knitting, and the table behind her was laid for supper. 「supper」夕食。『赤毛のアン』では食事を表わす表現がいくつも出てきて、難しい。dinner、tea、supper、lunch。同じことをふたつで指すこともあって。朝食は breakfast だけですが Mrs. Rachel, before she had fairly closed the door, had taken a mental note of everything that was on that table. There were three plates laid, so that Marilla must be expecting some one home with Matthew to tea; 「tea」これは上で出てきた、supper を指す but the dishes were everyday dishes and there was only crab-apple preserves and one kind of cake, 「only crab-apple preserves」松本訳注第1章(10) p. 452参照 「crab-apple」野生のりんご。Malus sp. crabappleと呼ぶのはいろいろな種があるようですが、いずれも実の小さい野生りんご。写真はウィキペディア（英）にあります（わかりづらいかもしれません） so that the expected company could not be any particular company. Yet what of Matthew s white collar and the sorrel mare? Mrs. Rachel was getting fairly dizzy with this unusual mystery about quiet, unmysterious Green Gables. "Good evening, Rachel," Marilla said briskly. 「briskly」マリラがきびきびと答えを返しているので、このあとリンド夫人が体を心配しているというのが、ずれている感じを強調する "This is a real fine evening, isn t it? Won t you sit down? How are all your folks?" Something that for lack of any other name might be called friendship existed and always had existed between Marilla Cuthbert and Mrs. Rachel, in spite of--or perhaps because of--their dissimilarity. Marilla was a tall, thin woman, with angles and without curves; her dark hair showed some gray streaks and was always twisted up in a hard little knot behind with two wire hairpins stuck aggressively through it. She looked like a woman of narrow experience and rigid conscience, which she was; but there was a saving something about her mouth which, if it had been ever so slightly developed, might have been considered indicative of a sense of humor. このマリラの描写は、CHAPTER XXXIII with impression The Hotel Concert で比較される "We re all pretty well," said Mrs. Rachel. "I was kind of afraid YOU weren t, though, when I saw Matthew starting off today. I thought maybe he was going to the doctor s." Marilla s lips twitched understandingly. She had expected Mrs. Rachel up; she had known that the sight of Matthew jaunting off so unaccountably would be too much for her neighbor s curiosity. "Oh, no, I m quite well although I had a bad headache yesterday," she said. "Matthew went to Bright River. 「only crab-apple preserves」松本訳注第1章(11) p. 452参照 We re getting a little boy from an orphan asylum in Nova Scotia 「Nova Scotia」ノヴァスコシア（松本訳）。アルファベット表記を見ると、New Scotland のこととわかる（たぶんラテン語化している） and he s coming on the train tonight." If Marilla had said that Matthew had gone to Bright River to meet a kangaroo from Australia 「a kangaroo from Australia」オーストラリアからやって来たカンガルー。大英帝国の一員のオーストラリアには親しみがあるのでしょうね Mrs. Rachel could not have been more astonished. She was actually stricken dumb for five seconds. 「actually stricken dumb for five seconds」ここで、actually striken としているのは、口も聞けないほど唖然としてという例えとして dumb を使うことがあるのですが、ここでは、本当に５秒間も口を聞かなかった、と強調している。しかし……、この表現は面白いのでしょうか？？？ It was unsupposable that Marilla was making fun of her, but Mrs. Rachel was almost forced to suppose it. "Are you in earnest, Marilla?" she demanded when voice returned to her. 「voice returned to her」本当に口が聞けなくなったので、声が出せるようになって、という話の流れ "Yes, of course," said Marilla, as if getting boys from orphan asylums in Nova Scotia were part of the usual spring work on any well-regulated Avonlea farm instead of being an unheard of innovation. Mrs. Rachel felt that she had received a severe mental jolt. She thought in exclamation points. A boy! Marilla and Matthew Cuthbert of all people adopting a boy! From an orphan asylum! Well, the world was certainly turning upside down! She would be surprised at nothing after this! Nothing! "What on earth put such a notion into your head?" she demanded disapprovingly. This had been done without her advice being asked, and must perforce be disapproved. "Well, we ve been thinking about it for some time-- 「it」孤児をもらうこと。どれを指すのかは……よくわかりませんが「We are getting ... tonight」でしょうか all winter in fact," returned Marilla. "Mrs. Alexander Spencer was up here one day before Christmas 「Mrs. Alexander Spencer」夫人の名前（first name）を出さない表現。アレクザンダー・スペンサーの夫人。Mrs. Rachel とはいちばん離れた表現。あまり親しくないか、リンド夫人はよく知らないだろうことを考えてか and she said she was going to get a little girl from the asylum over in Hopeton in the spring. Her cousin lives there and Mrs. Spencer has visited here and knows all about it. 「Mrs. Spencer has visited here」スペンサー夫人がやってきて。ここは、Puffin Books版では「Mrs. Spencer has visited her」スペンサー夫人がその従姉妹のところを訪れて。となっていて全然意味が違っている。文脈からすれば、これは、her（従姉妹）を訪れることにならないと通じない。「従姉妹は lives で住んでいる（事実）、スペンサー夫人は has visited で訪れたことがある（経験）、だから、スペンサー夫人は知っている（knows：結果としての事実）となるのでしょうから So Matthew and I have talked it over off and on ever since. 「it」これも前と同じ、孤児をもらうこと We thought we d get a boy. Matthew is getting up in years, you know--he s sixty-- and he isn t so spry as he once was. His heart troubles him a good deal. And you know how desperate hard it s got to be to get hired help. 「how desperate hard」hard は desperate を修飾する副詞 There s never anybody to be had but those stupid, half-grown little French boys; 「half-grown little French boys」松本訳注第1章(12) p. 452参照 and as soon as you do get one broke into your ways 「broke into」break into ～の状態になる and taught something he s up and off to the lobster canneries or the States. 「the lobster canneries」松本訳注第1章(13) p. 453参照 At first Matthew suggested getting a Home boy. But I said `no flat to that. `They may be all right--I m not saying they re not--but no London street Arabs for me, I said. 「street Arabs」浮浪児。Puffin Books版では、street arabs と a が小文字。たぶん、今なら、arab の単語は使わないでしょうね。PC の時代ですから（politically correct） `Give me a native born at least. There ll be a risk, no matter who we get. But I ll feel easier in my mind and sleep sounder at nights if we get a born Canadian. So in the end we decided to ask Mrs. Spencer to pick us out one when she went over to get her little girl. We heard last week she was going, so we sent her word by Richard Spencer s folks at Carmody to bring us a smart, likely boy of about ten or eleven. We decided that would be the best age--old enough to be of some use in doing chores right off 「chore」（家・農場の）雑用 and young enough to be trained up proper. We mean to give him a good home and schooling. 「a good home and schooling」これは、アンが来てからしばらくの間、マシューとマリラの間で話し合われたこともない（物語の上では記述がない）ので、アンが女の子であるからといって、ふたりの気持ちは大きな変化はなかったに違いありません。明確に話が出るのは、クイーン学院に行かせようかどうかというところくらいでしょうか（CHAPTER XXV with impression]] Matthew Insists on Puffed Sleeves） We had a telegram from Mrs. Alexander Spencer today--the mail-man brought it from the station-- 「We had a telegram from Mrs. Alexander Spencer today--the mail-man brought it from the station--」電報の場合は駅から直接配ってくれたようですね。カナダの電信の歴史はよくわかりませんが、鉄道を敷くと、線路に沿って電信線を伸ばしたのかもしれませんが……。そこまで電化が進んでいないでしょうねぇ。とすると、これはそうじゃなくて、シャーロットタウンに電信を受けるところがあって（郵便局かもしれません）、そこから郵便とともに電報も列車で運ばれ、郵便局の人は電報を配ってくれたのでしょうか saying they were coming on the five-thirty train tonight. So Matthew went to Bright River to meet him. Mrs. Spencer will drop him off there. Of course she goes on to White Sands station herself." 「White Sands」松本訳注第1章(14) p. 453参照 Mrs. Rachel prided herself on always speaking her mind; she proceeded to speak it now, having adjusted her mental attitude to this amazing piece of news. "Well, Marilla, I ll just tell you plain that I think you re doing a mighty foolish thing--a risky thing, that s what. You don t know what you re getting. You re bringing a strange child into your house and home 「your house and home」建物／敷地としての house と 家族の中に入り込む家庭としての home の概念を区別。日本語では上手く書き分けるのは難しいところ and you don t know a single thing about him nor what his disposition is like nor what sort of parents he had nor how he s likely to turn out. Why, it was only last week I read in the paper how a man and his wife up west of the Island took a boy out of an orphan asylum and he set fire to the house at night--set it ON PURPOSE, Marilla--and nearly burnt them to a crisp in their beds. And I know another case where an adopted boy used to suck the eggs--they couldn t break him of it. If you had asked my advice in the matter--which you didn t do, Marilla--I d have said for mercy s sake not to think of such a thing, that s what." This Job s comforting seemed neither to offend nor to alarm Marilla. 「Job s comforting」松本訳注第1章(15) p. 453参照 She knitted steadily on. 「She knitted steadily on.」気持ちをその人の行動で表現する。驚くなり動揺したなら編み物を止めるはず、という前提がある（しつこい？ だったらごめんななさい） "I don t deny there s something in what you say, Rachel. I ve had some qualms myself. But Matthew was terrible set on it. I could see that, so I gave in. It s so seldom Matthew sets his mind on anything that when he does I always feel it s my duty to give in. And as for the risk, there s risks in pretty near everything a body does in this world. There s risks in people s having children of their own if it comes to that--they don t always turn out well. And then Nova Scotia is right close to the Island. It isn t as if we were getting him from England or the States. He can t be much different from ourselves." "Well, I hope it will turn out all right," said Mrs. Rachel in a tone that plainly indicated her painful doubts. "Only don t say I didn t warn you if he burns Green Gables down or puts strychnine in the well--I heard of a case over in New Brunswick where an orphan asylum child did that and the whole family died in fearful agonies. Only, it was a girl in that instance." "Well, we re not getting a girl," said Marilla, as if poisoning wells were a purely feminine accomplishment and not to be dreaded in the case of a boy. "I d never dream of taking a girl to bring up. 「I d never dream of taking a girl to bring up.」女の子を育てようとはしていない、と強調。さらに次の文でも。アンが来たときの状況の伏線となる。アンが来ることは、読者にとってはほとんど自明なので（本の題名からしても、そして、きっと本の紹介でもアンが来ることは書かれるでしょうから）、来てどうなるかの伏線と考えなければなるまい、と思うのです I wonder at Mrs. Alexander Spencer for doing it. But there, SHE wouldn t shrink from adopting a whole orphan asylum if she took it into her head." Mrs. Rachel would have liked to stay until Matthew came home with his imported orphan. But reflecting that it would be a good two hours at least before his arrival she concluded to go up the road to Robert Bell s and tell the news. It would certainly make a sensation second to none, and Mrs. Rachel dearly loved to make a sensation. So she took herself away, somewhat to Marilla s relief, for the latter felt her doubts and fears reviving under the influence of Mrs. Rachel s pessimism. "Well, of all things that ever were or will be!" ejaculated Mrs. Rachel when she was safely out in the lane. "It does really seem as if I must be dreaming. Well, I m sorry for that poor young one and no mistake. Matthew and Marilla don t know anything about children and they ll expect him to be wiser and steadier that his own grandfather, if so be s he ever had a grandfather, 「if so be s he ever had a grandfather」be s がよくわからない。be は be動詞で、仮定法で原型になっているのでしょうけれども、 sが何なのかが…… そこで「"if so be s"」をキーワードにして、検索をしてみたら、面白いページ発見（ここ）。日本人がわからないと質問し、ネイティブ英語話者があーかも、こーかも、と書いています。日本人がわからなくても、ここは、おっけいなのです！議論を読み解くのは何か混乱してしまうのですが、be s は、be as の略と考えればよさそうです。この議論（というか質疑というか）から受け取れるメッセージは、１．古い英語なので現代英語と違うところがある、２．この英語表現はアナタは使ってはいけない、３．『赤毛のアン』は多少難しいところもあるけれも面白いからがんばって読んでね、です。これから英語で読もうとしている方にははげみになるでしょう！ジツはこの第１章の印象を書くのは全部読んだ後なので、ワタシへの励ましには時すでに遅し、でしたが（印象は第26章から書きはじめ、最後まで書いたので第１章に戻ってきたのです） which is doubtful. It seems uncanny to think of a child at Green Gables somehow; there s never been one there, for Matthew and Marilla were grown up when the new house was built-- 「the new house was built」今のグリーンゲイブルズができたときには、マシューもマリラも大きくなっていた。その前はどうだったのでしょう……。建て替え、かしら if they ever WERE children, which is hard to believe when one looks at them. I wouldn t be in that orphan s shoes for anything. My, but I pity him, that s what." So said Mrs. Rachel to the wild rose bushes out of the fulness of her heart; but if she could have seen the child who was waiting patiently at the Bright River station at that very moment her pity would have been still deeper and more profound. UP CHAPTER II 19 August 2007 8 October 2007 一番上のリンクのミスを訂正 今日 - | 昨日 - | Total - since 19 August 2007 last update 2007-10-08 17 02 35 (Mon)
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The story below is originally published on Mainichi Daily News by Mainichi Shinbun (http //mdn.mainichi.jp). They admitted inventing its kinky features, or rather deliberately mistranslating them from the original gossip magazine. In fact, this is far from the general Japanese behavior or sense of worth. このページは、毎日新聞事件の検証のための配信記事対訳ページです。直接ジャンプして来られた方は、必ずFAQをお読みください。 ※ この和訳はあくまでもボランティアの方々による一例であり、翻訳の正確さについては各自判断してください。もし誤訳（の疑い）を発見した場合には、直接ページを編集して訂正するか翻訳者連絡掲示板に報告してください。 Teeny-bopper deri-heru hanky-panky -- the best little jail bait in Saitamaティーン売女のデリヘルのいかがわしい行為 -- 埼玉の監獄送りのベストな釣り餌 参考資料 拡散状況 関連ページ Teeny-bopper deri-heru hanky-panky -- the best little jail bait in Saitama ティーン売女のデリヘルのいかがわしい行為 -- 埼玉の監獄送りのベストな釣り餌 元記事（削除済み)： http //mdn.mainichi.jp/culture/waiwai/news/20080315p2g00m0dm002000c.html 0 Teeny-bopper deri-heru hanky-panky -- the best little jail bait in Saitama 2008,03,15 Shukan Taishu 3/24 By Masuo Kamiyama ティーン売女のデリヘルのいかがわしい行為 -- 埼玉の監獄送りのベストな釣り餌 2008,03,15 週刊大衆 3/24 カミヤママスオ記 1 There s nothing particularly new about the problem of "enjo-kosai" -- or "compensated dating," as teen prostitution has been euphemistically referred to by its practitioners since first observed around 1990. But even Shukan Taishu (3/24) was aghast over the events that took place in Kuki City, Saitama Prefecture, last month. 「援助交際」――もしくは「報酬をともなったデート」のこと――にまつわることで特に目新しいものは何もない。というのもティーンエイジャーの売春は、1990年頃に初めて観察されて以来、売春の実践者自身によって婉曲的に言及されてきたからである。 とはいうものの週刊大衆(3/24)すら、先月埼玉県の久喜市で起こった出来事について愕然とした。 2 On Feb. 21, the city s juvenile police section pounced on -- sorry, let s make that "apprehended" -- a 17-year-old girl we ll call "Eiko," on suspicion of violating the several statutes related to abetting prostitution by minors. 2月21日に久喜市の警察の少年課は未成年の売春教唆にまつわるいくつかの規則に違反した容疑で、17歳の少女――「エイコ」と呼ぶことにする――に跳びかかった――おっと失礼、「捕らえた」と言い直そう。 3 Police allege that over a period of two months, Eiko and several male cohorts operated a ring that peddled three girls, all runaways, to an estimated 70 johns, who paid approximately 1.6 million yen for sex. 警察のいうところによると、二ヶ月にわたってエイコと数人の男たちは徒党を組んで、三人の家出少女の体を、推定七十人の男たちに売った。買春した男はセックスのために約一万六千円を払った。 4 The system was set up as a "deri-heru" (delivery health, i.e. outcall sex), with Eiko s male confederates driving the teen hookers to hotels for assignations with waiting johns. The men also served as the girls bodyguards. そのシステムは「デリヘル(デリバリーヘルスすなわち訪問セックス)」のようになっていて、エイコの共犯の男がティーンの売春婦を車に乗せてホテルまで運転し待っていた買春男と密会させる。 共犯の男は少女のボディーガードの役割も果たす。 5 "The johns paid 30,000 to 50,000 yen a session," said the police source. "The girl s share of the take ranged from 5,000 to 10,000 yen." Peanuts, considering the nature of the work involved. 「買春男は一回につき三万円から五万円を払いました」と警察筋はいう。 「少女の取り分の範囲は五千円から一万円でした」彼女たちがやったことを考えれば、スズメの涙でしかない。 6 Eiko s profitable arrangement had operators of professional "delivery health" services shaking their heads in astonishment. エイコの儲かる収益システムは、プロの「デリバリーヘルス」サービスの経営者をして驚きでかれらの頭を揺さぶらしめた。 7 According to Shukan Taishu, Eiko -- a runaway and hooker herself -- started as a rank-and-file floozy,achieved some upward mobility and moved up to managing madame. Using a cell phone to oversee operations, she worked out of the home of a 22-year-old construction worker with whom she cohabited, and who was also arrested. 週刊大衆によると、エイコ――彼女自身家出人で売春婦である――は最初は一般の売春婦で、上昇志向を抱くようになり、そして売春システムの女性経営者となった。 経営を監督するために携帯電話を使いながら、彼女は22歳の建設労働者の家で仕事をした。彼女は彼と同棲し、彼も逮捕された。 8 "All together she recruited three runaway girls via her cell phone, ages 13, 14 and 15," says the police source. 「全部であわせて三人の家出娘をエイコは携帯電話を使ってリクルートしました。年齢は13歳と14歳、15歳です」と警察筋はいう。 9 Reiji Toono, author of romantic novels read by teenage girls, including one titled "Another Love -- The Enko Life of a Middle-school Hooker," tells Shukan Taishu that such a case, of a teenage madame running teen hookers, is so rare that even he was astonished. 十代の少女向けのロマンス小説作家で「アナザーラブ ―― 中学生売春婦の『援交』人生」というタイトルの小説も書いた遠野零二は、ティーン売春婦たちを采配するティーンの女性売春運営者のようなケースは大変まれで、彼でさえも驚いたという。 10 "It s not unusual to see a man living with a young woman force her into prostitution and rake off a portion of her earnings," says Toono. "But it s quite remarkable for a 17-year old girl to be so astute and wind up running the operation." 「若い女性と同棲して彼女に売春を強いて稼ぎから分け前をピンハネする男は珍しくもありません」と遠野はいう。 「しかし17歳の少女がこんなに抜け目なくてうまいこと経営を切り盛りするのは非常に驚くべきことです」 11 "That type of self-operated teenage hooker operation is probably just the tip of a huge iceberg," says the operator of an Internet site. "New regulations have forced the most obvious offenders, like the encounter sites, to shut down or monitor activities to avoid penalties, but the compliance is merely what s visible on the surface." 「このようなタイプのティーンエイジ売春婦の自営業はおそらく巨大な氷山の一角にすぎないでしょう」とあるインターネットサイトの運営者はいう。 「新しい規制は『出会い系』サイトのような規則違反が明らかなものを閉鎖させたり、活動が罰則にふれないよう監視したりします。しかし法令遵守の対象となるのは表面的に見えるものにすぎません。 12 The operator goes on to explain that the action has shifted to password-protected sites or blogs where the participants can exchange information. "Even on what appears to be ordinary electronic bulletin boards, people with sex for sale will drop in special code words. Parents and teachers who review the sites for harmful contents don t really have any idea of what they re reading -- the naughty stuff is there, it s all over the place." この経営者は説明を続ける。違反行為はパスワードで保護されたサイトや参加者が情報を交換できるブログに移ってきた、と。 「普通の電子掲示板に見えるものにおいてすら、セックスを売る人々は特別な婉曲表現をつかって書きこみをします。有害コンテンツを見つけようとサイトを調べる親や教師にはこれっぽっちも自分たちが読んでいるものが何かわかりません――いやらしいことが書いてあるのに。そこら中に書いてあります」 13 There is, moreover, ample evidence that girls have started selling sex from an increasingly earlier age. "Of police busts of juvenile prostitution, the ratio is about 50-50 between middle school girls and high school girls, but for some years the middle schoolers slightly outnumber their elders," says a reporter for a nationally circulated daily. そのうえ、少女が性を売り始める年齢がどんどん低年齢化しているという証拠がたっぷりある。 「児童買春による警察の検挙のうち、中学生女子と高校生女子の比率は約50対50ですが、この数年間、中学生が高校生をわずかに上回ってます」とある全国紙の朝刊の記者はいう。 14 The current law banning sex with females under age 18 provides for imprisonment of up to two years and/or a fine of up to 1 million yen for offenders. These penalties, however, do not seem to be much of a deterrent. 18歳未満の女性とのセックスを禁じる現行法は、違反者に対して二年以下の禁固そして/または100万円以下の罰金を課す。 しかしながらこれらの罰則は、たいして抑止効果を持っていないようだ。 15 "When, as an experiment, staff at a certain social research organization went into two encounter sites posing as a teenage girl, they attracted 138 private messages from men in the first hour," says the aforementioned site operator. "Of these, 64 were blatant invitations to engage in enjo kosai." 「ある社会調査機関のスタッフが実験としてティーンエイジの少女のフリをして二つの出会い系サイトに訪れたとき、最初の一時間で男たちからプライベートメッセージを138件受け取りました」と、前述のサイト運営者はいう。 「それらのうち64件は援助交際をしようと持ちかけるほど悪どいものでした」 16 But lust for budding young bodies has another downside for the men, as it is also making them increasingly vulnerable to entrapment and extortion by teen gangs, as well as physical assaults. しかしそういった男たちの若い肉体を求める肉欲には他にもマイナス面欠陥がある。というのも、肉欲は男たちをどんどん、ティーンの群れによる罠とゆすりの被害に、同様に肉体的攻撃に、遭いやすくしているのだ。 17 Girls in these "enko circles" tie up with boyfriends and scheme to set up commuters by tantalizing them into groping a girl on a crowded train. 『援交サークル』の少女たちは男友達と結託して、満員電車の中で男をじらしてからうことによって少女を痴漢させるよう罠にはめる計画を立てる。 18 "For example, a girl wearing a school uniform will intentionally rub up against some man and encourage him to grope her," explains Toono. "Then afterwards a team of several youths will tail the man to a park or somewhere and put the squeeze on him. It s a new kind of badger game." 「例えば、学校の制服を着た少女がわざと男に体をこすりつけて、相手に自分を痴漢させようとします」と遠野は説明する。 「そして後で、数人の若者の一団がその男のあとを付けて公園などに行き、男を恐喝するのです。これは新しい種類の美人局です」 19 Since the man did, in fact, actually grope the girl on the train, the chances his being successfully extorted are even greater, since a payout of 50,000 yen is still getting off cheaper than fighting criminal charges and time in jail. そして実際にその男は電車内で少女を痴漢したのだから、うまいこと彼がふんだくられてしまう可能性はずっと大きくなる。なぜなら五万円を払うことになっても、刑事告訴されて争ったり牢獄で時間を過ごすより、まだずっと安くつくからだ。 20 So watch out, Shukan Taishu warns its male readers. These new teen shakedown operations -- running in packs, at ever-younger ages, and with increasingly vicious extortion methods -- portend nothing but trouble. というわけで注意したまえ、と週刊大衆は男性読者に警告する。こういったティーンによる新手の金品ゆすり――群れをなして行われ、 低年齢化し、そのゆすりの手段はどんどん凶悪化している――はトラブルの前兆以外の何者でもないのだ。 21 (By Masuo Kamiyama, contributing writer) （Mainichi Japan） March 15, 2008 (寄稿作家カミヤママスオ記) (毎日 日本) 2008年5月15日 参考資料 遠野零二 http //www.amazon.co.jp/dp/4862520332 拡散状況 CRNジャパン(日本の子供の人権ネットワーク) http //www.crnjapan.com/abuse/aarticles/2008/en/20080315-enjo_kosai_saitama.html Новости из Японии（ロシア語：日本からのニュース） ｈｔｔｐ //news.leit.ru/archives/1352(*1) ｈｔｔｐ //news.leit.ru/archives/1352/2(*2) Nigihara http //www.nigihana.com/forum/showthread.php?t=8099 海外ブログ 部分転載：http //ronin.animeblogger.net/2008/03/15/an-underage-as-the-mama-san/ 英語サイト http //forums.hardwarezone.com.sg/showthread.php?t=2109590 page=3 http //sgfrag.net/2008/03/25/teeny-bopper-deri-heru-hanky-panky-the-best-little-jail-bait-in-saitama/ 関連ページ CRNジャパン(日本の子供の人権ネットワーク) Nigihara WaiWaiの記事を転載した英語サイト：H WaiWaiの記事を転載した英語サイト：S Новости из Японии（ロシア語：日本からのニュース） 優先的に翻訳すべき記事リスト 毎日新聞英語版から配信された記事2008年 海外ブログに記事が及ぼした影響
https://w.atwiki.jp/220yearsafterlove/pages/46.html
ていうかそろそろ俺もネタ抜きに本気で彼女欲しいから『出会い系サイト』使うわ。そういや俺昔『出会い系サイトのサクラ』やってたなあー・・・。 http //20yearsafterlove.blog111.fc2.com/blog-entry-299.html
https://w.atwiki.jp/touhoukashi/pages/1778.html
【登録タグ し めらみぽっぷ 凋叶棕 喩 曲 風神少女】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); 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https://w.atwiki.jp/oper/pages/3122.html
ATTO UNICO (Sala che dà adito a varie camere a destra ed a sinistra. Una tavola in fondo a destra.) Scena Prima MADDALENA (al coro) Presto, presto… su, coraggio! Tante statue mi sembrate; oggi è il giorno del gran viaggio, non convien farsi aspettar. CORO Tutto è pronto; ma non basta, a voi piace di gridar. MADDALENA Qual ardire! che insolenza! Guai se scappa la pazienza… CORO (ridendo) La pazienza! ah! ah! ah!… MADDALENA (severa) Che vuol dire? CORO (ironicamente) Oh! niente, niente. MADDALENA Di rispetto mi mancate. CORO V ingannate in verità. MADDALENA (accostandosi alla tavola, sulla quale vi stanno le colazioni) Queste mele prelibate come son disposte male! CORO L attenzion con lei non vale, ha un gran gusto a brontolar. MADDALENA (fremendo) Insolenti! CORO Flemma! Il sangue al cervello può montar. MADDALENA Oh! con me non si canzona, e so farmi rispettar. CORO (da loro) Vuol far sempre da padrona, e si fa poi corbellar. Scena Seconda (Don Prudenzio, indi varie donne che servono ne bagni ed Antonio) DON PRUDENZIO Benché, grazie al mio talento, stian già tutti meglio assai, di partir, in tal momento, la licenza non darei; ma tenerli io non potrei, ed è meglio d abbondar. (alle donne) Ve l ho detto, e vel ripeto, oggi il bagno non si prende; son sospese le faccende, non si pensa che a viaggiar. CORO Oh! che gusto! almen potremo oggi andare a passeggiar. (Le inservienti de bagni partono.) DON PRUDENZIO Ma vediam, le colazioni se a miei ordin son conformi. ANTONIO Ah! si esamini, s informi, tutto in regola vedrà. DON PRUDENZIO Si dispongono a partire; ma non cal, quest oggi ancora, qui costretto a garantire son la loro sanità. GLI ALTRI (fra lei) Oh! con questo gran dottore stanno freschi in verità. (Il dottore esamina le colazioni, ch Antonio gli va indicando.) Scena Terza (I detti, Madama Cortese) MADAMA CORTESE Di vaghi raggi adorno, in ciel risplende il sole; sarà un sì ameno giorno propizio ai viaggiator. Alla felice sponda seguirli io pur vorrei; ma il fato non seconda i voti del mio cor. Dottore, Maddalena Antonio, a me badate; (al coro) Voi pure m ascoltate, e destri poi cercate il pian di secondar. (Tutti s accostano.) I forestieri presto sen vanno, se a prender bagni qui torneranno, nessun per ora può assicurar; ma della casa, nella lor mente, buona memoria convien lasciar. CORO Bene, bene… più diligente oggi saprassi ognun mostrar. MADAMA CORTESE La contessina non ha pazienza, rapido il fatto succeda al dir. CORO Rapido il fatto succeda al dir. MADAMA CORTESE Allo Spagnolo, la riverenza sì nell entrare che nell uscir. CORO Inchini entrando e nell uscir. MADAMA CORTESE Coll antiquario, di cartapecore, di belle femine, col cavalier. Con Melibea, d idee fantastiche, col Moscovita, del vasto imper, del Campidoglio, colla Romana, coll Alemanno, del contrappunto, con foco ed arte, cogliendo il punto, più dell usato si parlerà. Di cartapecore. di belle femine, d idee fantastiche, di contrappunto, più dell usato, cogliendo il punto, non dubitate, si parlerà. Ingegno ed arte così adoprando, l innato genio destri allettando, dolce impressione si desterà e pari a un rapido gonfio torrente, che tutto allaga, che tutto inonda, del Giglio d Oro per ogni sponda, la nobil fama si spanderà. CORO Del Giglio d Oro per ogni sponda, la nobil fama si spanderà. (Tutti partono, eccetto Madama Cortese.) Scena Quarta MADAMA CORTESE Partire io pur vorrei; ma il mio consorte è assente e non mi lice lasciar così… Ah! quando, veder potrò un Sovrano, sì giusto, sì leal, sì grande e umano? CONTESSA DI FOLLEVILLE (di dentro) Modestina? Modestina? Ove sei?… MADAMA CORTESE La Parigina! Peccato! Ella è gentil, vezzosa e cara; lo spirito e la grazia ognun ne ammira; ma per le mode notte e dì delira. CONTESSA DI FOLLEVILLE (entrando in fretta) Modestina?… Ove sta? MADAMA CORTESE Volo a cercarla. (parte) CONTESSA DI FOLLEVILLE Trovarsi a una gran festa e non avere le cose più alla moda, e più fresche e più belle!… Qual disonore, oh stelle! Ah! più non reggo… L incertezza m uccide… e il cavalier Belfiore, che, in sì critico istante, a me dovria porger conforto, qui non è… L ingrato forse sta vagheggiando qualche bella… Chi sì volubil mai l avria creduto? Ah! il far per compiacenza ritratti in miniatura certo è un pretesto… E se per or sto zitta, pur medito vendetta, e tal sarà che tutti i farfallin tremar farà. MODESTINA (entra, marcando lentamente) Signora, che comanda? CONTESSA DI FOLLEVILLE (impazientendosi) Un po più adagio. MODESTINA Ho la micrania. CONTESSA DI FOLLEVILLE Ognora voi mi fate morire d impazienza. La risposta è venuta? MODESTINA Non ancora. CONTESSA DI FOLLEVILLE A chi desti la lettera? MODESTINA Al vostro bel cugino, che disse aver un occasion sicura. CONTESSA DI FOLLEVILLE Corri… qual disappunto! Digli che qui l aspetto… MODESTINA Ei giunge appunto. (parte lentamente) Scena Quinta (entra don Luigino) DON LUIGINO Amabil Contessina, v armate di coraggio… CONTESSA DI FOLLEVILLE E perché mai? DON LUIGINO Fatal caso impensato… CONTESSA DI FOLLEVILLE E qual? DON LUIGINO La diligenza ha ribaltato. CONTESSA DI FOLLEVILLE Ahimè!… DON LUIGINO Gli effetti fragili… Le cassette… Le scatole… CONTESSA DI FOLLEVILLE Ah tacete! Tutto comprendo… O ciel! Io manco… io moro… (si sviene) DON LUIGINO Si sviene!… (verso le quinte) Olà! accorrete! Presto, presto… Soccorso a lei porgete. Scena Sesta (I detti, il Barone di Trombonok, Maddalena, Antonio, con serv, indi Don Prudenzio) MADDALENA Che accadde? BARONE DI TROMBONOK (dopo averla guardata) Oh! come è bianca! Morta ognun la dirai… Di macchinetta sì genti, che mai ha potuto sconvolger l armonia? DON LUIGINO (al Barone) Si è svenuta… BARONE DI TROMBONOK (cavando di tasca una boccetta) Spruzzatele il bel volto; è questa un acqua pura, genuina, ch in persona io comprai dal gran Farina. Fregatele la tempia. (Maddalena prende la boccetta e s accosta alla Contessa.) DON PRUDENZIO (accorrendo) Olà! che fate? Tocca a me sol; profani, vi scostate! (Tutti si scostano; il medico guarda la Contessa, le tasta il polso, indi esclama) Ahimè! sta in gran pericolo… (Don Luigino parla all orecchio del Barone.) Volate dal speziale, sal volatil chiedete, ed un cordiale. (Parte un servo.) BARONE DI TROMBONOK (ai servi) Aceto ed acqua fresca. (Parte un altro servo.) DON PRUDENZIO Son sospese le funzioni vitali… DON LUIGINO Non sapete quello che dite… DON PRUDENZIO Come!… La sistole… la diastole… DON LUIGINO Andate al diavolo. DON PRUDENZIO Il polso ascende già… BARONE DI TROMBONOK Vediam… (tasta il polso alla Contessa) (fra sé) Che bestia insigne! DON PRUDENZIO Morirà! CONTESSA DI FOLLEVILLE (alzandosi rapidamente) Che sento!… Dove son?… Sogno o son desta? BARONE DI TROMBONOK (al medico burlandolo) Morirà!… DON PRUDENZIO Fu una sincope… BARONE DI TROMBONOK (ridendo) La sincope, sì, sì, fa molto effetto Mozart, Haydn, Beethoven, Bach ne trassero un gran partito. (Don Prudenzio si accosta di nuovo per tastar il polso alla Contessa) DON PRUDENZIO Vediamo adesso il polso… CONTESSA DI FOLLEVILLE Non toccate, augel di mal augurio, vi scostate. (Don Prudenzio si ritira.) DON LUIGINO (alla Contessa) Deh! calmatevi, o cara. BARONE DI TROMBONOK (alla medesima) Cos avete? CONTESSA DI FOLLEVILLE Il mio male capir voi non potete. Partir, o ciel! desio, e più partir non lice, lo vieta l onor mio, la patria il vieta ancor. Come spiegare, oh Dio! il duol ch io sento in cor? Donne, voi sol comprendere potete il mio dolor più fieri amari spasimi non ho provato ancor. TUTTI GLI ALTRI Signora, vi calmate! Deh! cessi il rio martor. Scena Settima (I detti, modestina, che arriva con uno scatolone, in cui v è un bel cappellino alla moda giunto da Parigi) CONTESSA DI FOLLEVILLE (dopo aver guardato) Che miro! ah qual sorpresa! Agli occhi io credo appena; (contemplando il cappellino) Caro! dal reo naufragio tu ti salvasti almen, e freni in parte i palpiti dell affannoso sen. Grazie vi rendo, o Dei! che udiste i voti miei; a tal favor quest anima ben grata ognor sarà. GLI ALTRI La barbara sua pena calmando omai si va. E comica la scena, e ridere ci fa. (Tutti partono, eccetto il Barone.) Scena Ottava BARONE DI TROMBONOK (ad Antonio, trattenendolo) Eh! senti, mastro Antonio… ANTONIO Che comanda? BARONE DI TROMBONOK Sai che partiam sta sera per Reims; tua cura sia di far porre sul ciel delle carrozze vestiti e biancheria se ci vuol qualche spesa, falla ed io, ch eletto a pieni voti per cassiere fui dall illustre amabil compagnia, pagherò l occorrente; intendi? ANTONIO Sì signor, non pensi a niete. (parte) BARONE DI TROMBONOK Quando rifletto a quello svenimento, mi vien proprio da ridere… La cagion delle smanie indovinar chi mai potuto avria? Ma ognuno al mondo ha un ramo di pazzia. Sì, di matti una gran gabbia ben si può chiamar il mondo; forse appunto, perché tondo, testa quadra non vi sta. Scena Nona DON PROFONDO (arrivando) La mia quota a voi consegno, perdonate, se ho tardato; (dà del danaro al Barone, che lo mette in una gran borsa) A vedere io sono andato una rara antichità. DON ALVARO (entrando con Melibea) Questa vaga e amabil dama, miei signori, io vi presento; far il viaggio con noi brama, e ognun pago ne sarà. MELIBEA Con sì dotta e nobil gente, di fanal che serve al mondo, il viaggiar mi fia giocondo, e gran bene mi farà. Scena Decima (I detti, il Conte di Libenskof) CONTE DI LIBENSKOF (indietro, da sé, dopo aver sentito l ultime parole di Melibea. Fra sé) Donna ingrata, a stento in petto freno il giusto mio furore; per lei fido avvampa il core e il mio ardor sprezzando va. DON ALVARO (vedendo Libenskof, e da sé) Il rival! MELIBEA (da sé) Negli occhi ha il foco. CONTE DI LIBENSKOF (avanzandosi) Non si parte? BARONE DI TROMBONOK Sì, fra poco; i cavalli sol si attendono; (vedendo Madama Cortese) Se il corriere è ritornato, da Madama or si saprà. Scena Undicesima (I detti e Madama Cortese) MADAMA CORTESE Naturale è l impazienza, il ritardo non comprendo; vado, torno, salgo e scendo, e tranquillo il cor non è. (il Conte di Libenskof parla con vivacità a Melibea, mostrando gelosia.) CONTE DI LIBENSKOF Mi tradite… MELIBEA Qual favella? CONTE DI LIBENSKOF (con rabbia concentrata) Don Alvar… MELIBEA Che dir volete? CONTE DI LIBENSKOF Donna infida, invan fingete; il rival cadrà al mio piè. MELIBEA Cieco ardor v abbaglia il ciglio… CONTE DI LIBENSKOF (accostandosi a don Alvaro, e con fierezza) Don Alvar… DON ALVARO (fiero) Che pretendete? CONTE DI LIBENSKOF Mi seguite… MELIBEA (trattenendoli) Ah! non partite… Troppo ingiusto è un tal furore. MADAMA CORTESE Qual dispetto! qual furore! MELIBEA D ira avvampa il fero ciglio… Un sì barbaro periglio mi fa l alma palpitar. CONTE DI LIBENSKOF, DON ALVARO Non pavento alcun periglio… D ira avvampa in seno il core; e il tremendo mio furore no, non posso più frenar. BARONE DI TROMBONOK, DON PROFONDO (fra sé) Bella cosa è in ver l amore! Ci fa perdere il cervello, l uom più savio un bambinello suole a un tratto diventar. (S ode un preludio d arpa nella camera di Corinna, tutti restano immobili ad ascoltare. Dopo il preludio, la suddetta canta le seguenti strofe) CORINNA Arpa gentil, che fida compagna ognor mi sei, unisci ai canti miei il suon di gioia e amor. Nell infiammata mente si affollano le idee; delle castalie dee il foco io sento in cor. Arpa, deh! unisci al canto il suon di gioia e amor. GLI ALTRI Qual delizioso incanto si spande nel mio cor! Un più soave canto no, non s udì finor. CORINNA Svanirò i nembi; intorno regna la dolce calma; di lieti giorni l alma prevede il bel fulgor. Che un dì rinasca, io spero, dell aurea età l albore; che degli umani in core regni fraterno amor. GLI ALTRI Sempre agli umani in core regni fraterno amor. CORINNA Contro i fedeli ancora lotta falcata luna, ma al sacro ardir fortuna propizia ognor sarà. Come sul Tebro e a Solima, foriera di vittoria, simbol di pace e gloria la Croce splenderà. GLI ALTRI Simbol di pace e gloria la Croce splenderà. A tali accenti, in seno riede la dolce calma; d idee ridenti, l alma pascendo or sol si va. Gli opachi nembi intorno pietoso il ciel disgombra, del sacro ulivo all ombra, felice ognun sarà. (Tutti partono, eccetto Madama Cortese.) Scena Dodicesima MADAMA CORTESE Zefirin non ritorna… del ritardo qual fia mai la cagion? - Milord s appressa. Che original! Corinna adora, e a lei spiegar non sa l ardore, che da gran tempo gli divampa in core. Ella pur l ama, accorta me ne sono noi donne, in tal materia, ben chiaro ci vediamo, nato appena l amor, scoprir sappiamo. (parte, entra Lord Sidney) LORD SIDNEY Ah! perché la conobbi? Perché appena lo stral ferimmi il petto, non fuggir, non lasciarla? Incauto, ahi! lasso! La fiamma alimentai ch ognor più viva or mi divampa in sen; non trovo pace, e, in preda al mio deliro, la notte e il dì, d amor gemo e sospiro. Invan strappar dal core l acuto dardo io tento; più vivo ognor l ardore nel sen crescendo va. Dell anima fedele timido i voti ascondo; affanno più crudele del mio no non si dà. (Entrano varie contadine con de vasi di fiori e cantano il seguente coro.) CORO Come dal cielo, - sul primo albor, dolce rugiada - scende sui fior, e al verde stelo - serba il vigor; sull alma donna, dal nobil cor, così ridente - si spanda ognor del Dio clemente - il bel favor. LORD SIDNEY Soavi e teneri - eletti fior, siate gli interpreti - d un puro amor. CORO Donna più amabile - chi vide ancor? Accoppia al merito - grazia e pudor. LORD SIDNEY Dell alma diva - al primo aspetto, chi ha il cor capace - d un puro affetto, rapido sente - nascer l ardor. Fida e dolente, - quest alma ognora per lei d amore - palpiterà. CORO Donna più amabile - chi vide ancora? Accoppia al merito - grazia e beltà. (Il coro parte.) Scena Tredicesima (entra don Profondo) DON PROFONDO (a Lord Sidney, trattenendolo) Milord, una parola… LORD SIDNEY (serio) Che bramate? DON PROFONDO Britannico signor è sol capace d appagar i miei voti… LORD SIDNEY Che v occorre? DON PROFONDO Ho bisogno d aver certe notizie… LORD SIDNEY Non sono un gazzettier… DON PROFONDO Mi spiego… LORD SIDNEY (come sopra) Presto… DON PROFONDO Vorrei che m indicaste ove trovar potrei il brando di Fingallo, la corazza d Artur, l arpa d Alfred… LORD SIDNEY (partendo, fra sé) E matto! DON PROFONDO (seguendolo) Ebbene? Voi non mi rispondete? LORD SIDNEY Ne musei cercar convien; di più dir non saprei. (parte) DON PROFONDO Non è troppo gentil; ma il compatisco; è innamorato della poetessa, e perduta ha la speme… Ella s appressa; a lei appunto io deggio comunicar la lettera di Roma. Scena Quattordicesima (Il detto, Corinna, Delia) DON PROFONDO Buon giorno, illustre amica! CORINNA (salutandolo) Quai notizie? DON PROFONDO Leggete questa lettera. (Mentre Corinna legge la lettera, Don Profondo dice a Delia) Consolatevi, o Delia; le cose vanno bene… DELIA Davver? DON PROFONDO Ve l assicuro. CORINNA (rende la lettera a Don Profondo) Vi ringrazio. Quando si parte? DON PROFONDO Presto; vo a vedere, e l ora poi io vi farò sapere. (parte) CORINNA (a Delia) Son felici le nuove, e presto, io spero del sacro Legno all ombra protettrice, la vostra patria alfin sarà felice. DELIA Il ciel lo voglia! CORINNA In ordine mettete quel che occorre, ed a Reims meco verrete. (Delia parte. Esaminando i fiori) Che vaghi ameni fior! son di Milord il giornaliero don, pegno d amore, ch egli timido ognor preme nel core. (Corinna stacca un fiore, e lo pone in petto.) Scena Quindicesima (Corinna, il Cavaliere) CAVALIER BELFIORE (In fondo alla scena e da sé) Sola ritrovo alfin la bella Dea, che invincibil si crede, e a cui più volte ho già fatto l occhietto… Ce n andiemo… L ocasion può mancar, ed or fa d uopo darle l ultimo assalto; al par dell altre, cadrà ne lacci miei, senza rischio scommetter lo potrei. (accostandosi con aria gentile e modesta) O voi, d Apollo prediletta figlia, perdonate, se ardisco il bel coro turbare de sublimi pensieri… CORINNA (attonita) Qual favella! CAVALIER BELFIORE Una grazia implorar da voi vorrei… CORINNA (come sopra) Una grazia! Da me!… CAVALIER BELFIORE Sì, a voi, che siete savia al pari che bella, fidar posso l arcano del mio core. CORINNA (con maggior sorpresa) Un arcan! Ma perché?… CAVALIER BELFIORE (con intenzione marcata) Ascoso e vivo ardore mi divampa nel seno, e al vago oggetto timido ascondo il mio fervido affetto. CORINNA (come sopra) Scusate… Io non comprendo… Perché meco… CAVALIER BELFIORE Mi spiego… Sotto il velo de sacri carmi, io voglio il segreto svelar ma sì novizio son nel linguaggio degli Dei, che a voi consiglio e aita io chiedo. Ah! sì, sentite, ed il vostro parer franca mi dite. Nel suo divin sembiante tanta beltà risplende, che in seno a un tratto accende il più vivace ardor. CORINNA Ah! Dove mai s asconde sì raro e bel portento? Vinta nel gran cimento, avria la Dea d amor. CAVALIER BELFIORE (con intenzione marcata) Ma un nume sol saria degno d un tal tesoro… E disperato io moro d affanno e di dolor. (Cade a un tratto in ginocchio davanti a Corinna. Nello stesso tempo, Don Profondo entra dal mezzo in fondo e vede la scena; ma si ritira sorridendo, ed osserva d intanto intanto.) CORINNA Che fate? Ah! qual deliro! CAVALIER BELFIORE Regger non posso oh Dio! Voi siete l idol mio… Per voi smanio e sospiro, e se pietà negate, io qui voglio morir. CORINNA Così insultarmi osate? Qual insensato ardir? (Il Cavalier s alza.) CAVALIER BELFIORE Un tal eccesso è pegno del più vivace amor. CORINNA Un tal eccesso è indegno d un cavalier d onor. CAVALIER BELFIORE Dunque non v è speranza? CORINNA Partite, o chiamo gente… CAVALIER BELFIORE Martire di costanza, io l alma esalerò. CORINNA Partite, o la arroganza punire io ben saprò. Oh! quanto ingannasi - chi così crede trovar la via - del nostro cor! Il vivo affetto, - la pura fede da noi sol meritano - stima ed amor. Sprezzo e dispetto - destano in petto questi galanti - insidiator. Oh! quanto ingannasi - chi così crede trovar la via - del nostro cor! CAVALIER BELFIORE (fra sé) Finto è il rigore, - lo so per prova; così far sogliono - le belle ognor. Tal resistenza - no, non è nuova, l uso la chiede, - ed il decor. Oggi combattono, - dimani cedono, e salvar credono - il loro onor. Finto è il rigore, - lo so per prova; così far sogliono - le belle ognor. (partono) Scena Quindicesima (bis) DON PROFONDO (ch entra ridendo) Bravo il Signor Ganimede! Se la Contessa il sa, gli cava gli occhi. Ma tempo non perdiamo; del Barone or qui deggio eseguir la commissione. Degli effetti facciam presto la lista, onde tutto sia all ordine ed in vista. (siede davanti alla suddetta tavola, parlante) Io! Medaglie incomparabili, cammei rari, impagabili, figli di tenebrosa, sublime antichità. In aurea carta pecora dell accademia i titoli, onde son membro nobile di prima qualità. Il gran trattato inedito sull infallibil metodo di saper ben distinguere, a prima vista ognor l antico del moderno, di fuori e nell interno, ne maschi, nelle femine, e in altri oggetti ancor. Lo spagnolo! Gran piante genealogiche degli avoli e bisavoli, colle notizie storiche di quel che ognuno fu. Diplomi, stemmi e croci, nastri, collane ed ordini, e, grosse come noci sei perle del Perù. La polacca! L opere più squisite d autori prelibati, che vanto sono e gloria della moderna età. Disegni colorati dell alto Pic terribile d Harold, Malcolm e Ipsiboe il bel profil qui sta. La francese! Scatole e scatoline, con scrigni e cassettine, che i bei tesor nascondono sacri alla Dea d amor. «Badate è roba fragile!» qui chiuso, già indovino, sta il nuovo cappellino, con penne, merli e fior. Il tedesco! Dissertazione classica sui nuovi effetti armonici, onde i portenti anfionici ridesteran stupor. De primi Orfei teutonici le rare produzioni, di corni e di tromboni modelli ignoti ancor. L inglese! Viaggi d intorno al globo, trattati di marina; oriundo della China sottil perlato thè. Oppio e pistole a vento, cambiali con molt oro i bill, ch il parlamento tre volte legger fe . Il francese! Varie del Franco Orazio, litografie squisite, pennelli con matite, conchiglie coi color. «Son cose sacre.» Ah! intendo… Ritratti e bigliettini, con molti ricordini de suoi felici amor. Il russo! Notizia tipografica di tutta la Siberia, con carta geografica dell Ottomano imper. Di zibellini e martore preziosa collezione, con penne di cappone pe caschi, e pe cimier. (si alza) Sta tutto all ordine, - non v è che dire; né più a partire - si può tardar. Or l inviato - certo è tornato; de snelli e rapidi - destrier frementi già parmi udire - lo scalpitar. Sferze e cornette - percoton l aere, le bestie struggonsi - di galoppar. Il gran momento - è omai vicino; più bel destino - no non si dà, e il cor dal giubilo - balzando va. ATTO UNICO (Sala che dà adito a varie camere a destra ed a sinistra. Una tavola in fondo a destra.) Scena Prima MADDALENA (al coro) Presto, presto… su, coraggio! Tante statue mi sembrate; oggi è il giorno del gran viaggio, non convien farsi aspettar. CORO Tutto è pronto; ma non basta, a voi piace di gridar. MADDALENA Qual ardire! che insolenza! Guai se scappa la pazienza… CORO (ridendo) La pazienza! ah! ah! ah!… MADDALENA (severa) Che vuol dire? CORO (ironicamente) Oh! niente, niente. MADDALENA Di rispetto mi mancate. CORO V ingannate in verità. MADDALENA (accostandosi alla tavola, sulla quale vi stanno le colazioni) Queste mele prelibate come son disposte male! CORO L attenzion con lei non vale, ha un gran gusto a brontolar. MADDALENA (fremendo) Insolenti! CORO Flemma! Il sangue al cervello può montar. MADDALENA Oh! con me non si canzona, e so farmi rispettar. CORO (da loro) Vuol far sempre da padrona, e si fa poi corbellar. Scena Seconda (Don Prudenzio, indi varie donne che servono ne bagni ed Antonio) DON PRUDENZIO Benché, grazie al mio talento, stian già tutti meglio assai, di partir, in tal momento, la licenza non darei; ma tenerli io non potrei, ed è meglio d abbondar. (alle donne) Ve l ho detto, e vel ripeto, oggi il bagno non si prende; son sospese le faccende, non si pensa che a viaggiar. CORO Oh! che gusto! almen potremo oggi andare a passeggiar. (Le inservienti de bagni partono.) DON PRUDENZIO Ma vediam, le colazioni se a miei ordin son conformi. ANTONIO Ah! si esamini, s informi, tutto in regola vedrà. DON PRUDENZIO Si dispongono a partire; ma non cal, quest oggi ancora, qui costretto a garantire son la loro sanità. GLI ALTRI (fra lei) Oh! con questo gran dottore stanno freschi in verità. (Il dottore esamina le colazioni, ch Antonio gli va indicando.) Scena Terza (I detti, Madama Cortese) MADAMA CORTESE Di vaghi raggi adorno, in ciel risplende il sole; sarà un sì ameno giorno propizio ai viaggiator. Alla felice sponda seguirli io pur vorrei; ma il fato non seconda i voti del mio cor. Dottore, Maddalena Antonio, a me badate; (al coro) Voi pure m ascoltate, e destri poi cercate il pian di secondar. (Tutti s accostano.) I forestieri presto sen vanno, se a prender bagni qui torneranno, nessun per ora può assicurar; ma della casa, nella lor mente, buona memoria convien lasciar. CORO Bene, bene… più diligente oggi saprassi ognun mostrar. MADAMA CORTESE La contessina non ha pazienza, rapido il fatto succeda al dir. CORO Rapido il fatto succeda al dir. MADAMA CORTESE Allo Spagnolo, la riverenza sì nell entrare che nell uscir. CORO Inchini entrando e nell uscir. MADAMA CORTESE Coll antiquario, di cartapecore, di belle femine, col cavalier. Con Melibea, d idee fantastiche, col Moscovita, del vasto imper, del Campidoglio, colla Romana, coll Alemanno, del contrappunto, con foco ed arte, cogliendo il punto, più dell usato si parlerà. Di cartapecore. di belle femine, d idee fantastiche, di contrappunto, più dell usato, cogliendo il punto, non dubitate, si parlerà. Ingegno ed arte così adoprando, l innato genio destri allettando, dolce impressione si desterà e pari a un rapido gonfio torrente, che tutto allaga, che tutto inonda, del Giglio d Oro per ogni sponda, la nobil fama si spanderà. CORO Del Giglio d Oro per ogni sponda, la nobil fama si spanderà. (Tutti partono, eccetto Madama Cortese.) Scena Quarta MADAMA CORTESE Partire io pur vorrei; ma il mio consorte è assente e non mi lice lasciar così… Ah! quando, veder potrò un Sovrano, sì giusto, sì leal, sì grande e umano? CONTESSA DI FOLLEVILLE (di dentro) Modestina? Modestina? Ove sei?… MADAMA CORTESE La Parigina! Peccato! Ella è gentil, vezzosa e cara; lo spirito e la grazia ognun ne ammira; ma per le mode notte e dì delira. CONTESSA DI FOLLEVILLE (entrando in fretta) Modestina?… Ove sta? MADAMA CORTESE Volo a cercarla. (parte) CONTESSA DI FOLLEVILLE Trovarsi a una gran festa e non avere le cose più alla moda, e più fresche e più belle!… Qual disonore, oh stelle! Ah! più non reggo… L incertezza m uccide… e il cavalier Belfiore, che, in sì critico istante, a me dovria porger conforto, qui non è… L ingrato forse sta vagheggiando qualche bella… Chi sì volubil mai l avria creduto? Ah! il far per compiacenza ritratti in miniatura certo è un pretesto… E se per or sto zitta, pur medito vendetta, e tal sarà che tutti i farfallin tremar farà. MODESTINA (entra, marcando lentamente) Signora, che comanda? CONTESSA DI FOLLEVILLE (impazientendosi) Un po più adagio. MODESTINA Ho la micrania. CONTESSA DI FOLLEVILLE Ognora voi mi fate morire d impazienza. La risposta è venuta? MODESTINA Non ancora. CONTESSA DI FOLLEVILLE A chi desti la lettera? MODESTINA Al vostro bel cugino, che disse aver un occasion sicura. CONTESSA DI FOLLEVILLE Corri… qual disappunto! Digli che qui l aspetto… MODESTINA Ei giunge appunto. (parte lentamente) Scena Quinta (entra don Luigino) DON LUIGINO Amabil Contessina, v armate di coraggio… CONTESSA DI FOLLEVILLE E perché mai? DON LUIGINO Fatal caso impensato… CONTESSA DI FOLLEVILLE E qual? DON LUIGINO La diligenza ha ribaltato. CONTESSA DI FOLLEVILLE Ahimè!… DON LUIGINO Gli effetti fragili… Le cassette… Le scatole… CONTESSA DI FOLLEVILLE Ah tacete! Tutto comprendo… O ciel! Io manco… io moro… (si sviene) DON LUIGINO Si sviene!… (verso le quinte) Olà! accorrete! Presto, presto… Soccorso a lei porgete. Scena Sesta (I detti, il Barone di Trombonok, Maddalena, Antonio, con serv, indi Don Prudenzio) MADDALENA Che accadde? BARONE DI TROMBONOK (dopo averla guardata) Oh! come è bianca! Morta ognun la dirai… Di macchinetta sì genti, che mai ha potuto sconvolger l armonia? DON LUIGINO (al Barone) Si è svenuta… BARONE DI TROMBONOK (cavando di tasca una boccetta) Spruzzatele il bel volto; è questa un acqua pura, genuina, ch in persona io comprai dal gran Farina. Fregatele la tempia. (Maddalena prende la boccetta e s accosta alla Contessa.) DON PRUDENZIO (accorrendo) Olà! che fate? Tocca a me sol; profani, vi scostate! (Tutti si scostano; il medico guarda la Contessa, le tasta il polso, indi esclama) Ahimè! sta in gran pericolo… (Don Luigino parla all orecchio del Barone.) Volate dal speziale, sal volatil chiedete, ed un cordiale. (Parte un servo.) BARONE DI TROMBONOK (ai servi) Aceto ed acqua fresca. (Parte un altro servo.) DON PRUDENZIO Son sospese le funzioni vitali… DON LUIGINO Non sapete quello che dite… DON PRUDENZIO Come!… La sistole… la diastole… DON LUIGINO Andate al diavolo. DON PRUDENZIO Il polso ascende già… BARONE DI TROMBONOK Vediam… (tasta il polso alla Contessa) (fra sé) Che bestia insigne! DON PRUDENZIO Morirà! CONTESSA DI FOLLEVILLE (alzandosi rapidamente) Che sento!… Dove son?… Sogno o son desta? BARONE DI TROMBONOK (al medico burlandolo) Morirà!… DON PRUDENZIO Fu una sincope… BARONE DI TROMBONOK (ridendo) La sincope, sì, sì, fa molto effetto Mozart, Haydn, Beethoven, Bach ne trassero un gran partito. (Don Prudenzio si accosta di nuovo per tastar il polso alla Contessa) DON PRUDENZIO Vediamo adesso il polso… CONTESSA DI FOLLEVILLE Non toccate, augel di mal augurio, vi scostate. (Don Prudenzio si ritira.) DON LUIGINO (alla Contessa) Deh! calmatevi, o cara. BARONE DI TROMBONOK (alla medesima) Cos avete? CONTESSA DI FOLLEVILLE Il mio male capir voi non potete. Partir, o ciel! desio, e più partir non lice, lo vieta l onor mio, la patria il vieta ancor. Come spiegare, oh Dio! il duol ch io sento in cor? Donne, voi sol comprendere potete il mio dolor più fieri amari spasimi non ho provato ancor. TUTTI GLI ALTRI Signora, vi calmate! Deh! cessi il rio martor. Scena Settima (I detti, modestina, che arriva con uno scatolone, in cui v è un bel cappellino alla moda giunto da Parigi) CONTESSA DI FOLLEVILLE (dopo aver guardato) Che miro! ah qual sorpresa! Agli occhi io credo appena; (contemplando il cappellino) Caro! dal reo naufragio tu ti salvasti almen, e freni in parte i palpiti dell affannoso sen. Grazie vi rendo, o Dei! che udiste i voti miei; a tal favor quest anima ben grata ognor sarà. GLI ALTRI La barbara sua pena calmando omai si va. E comica la scena, e ridere ci fa. (Tutti partono, eccetto il Barone.) Scena Ottava BARONE DI TROMBONOK (ad Antonio, trattenendolo) Eh! senti, mastro Antonio… ANTONIO Che comanda? BARONE DI TROMBONOK Sai che partiam sta sera per Reims; tua cura sia di far porre sul ciel delle carrozze vestiti e biancheria se ci vuol qualche spesa, falla ed io, ch eletto a pieni voti per cassiere fui dall illustre amabil compagnia, pagherò l occorrente; intendi? ANTONIO Sì signor, non pensi a niete. (parte) BARONE DI TROMBONOK Quando rifletto a quello svenimento, mi vien proprio da ridere… La cagion delle smanie indovinar chi mai potuto avria? Ma ognuno al mondo ha un ramo di pazzia. Sì, di matti una gran gabbia ben si può chiamar il mondo; forse appunto, perché tondo, testa quadra non vi sta. Scena Nona DON PROFONDO (arrivando) La mia quota a voi consegno, perdonate, se ho tardato; (dà del danaro al Barone, che lo mette in una gran borsa) A vedere io sono andato una rara antichità. DON ALVARO (entrando con Melibea) Questa vaga e amabil dama, miei signori, io vi presento; far il viaggio con noi brama, e ognun pago ne sarà. MELIBEA Con sì dotta e nobil gente, di fanal che serve al mondo, il viaggiar mi fia giocondo, e gran bene mi farà. Scena Decima (I detti, il Conte di Libenskof) CONTE DI LIBENSKOF (indietro, da sé, dopo aver sentito l ultime parole di Melibea. Fra sé) Donna ingrata, a stento in petto freno il giusto mio furore; per lei fido avvampa il core e il mio ardor sprezzando va. DON ALVARO (vedendo Libenskof, e da sé) Il rival! MELIBEA (da sé) Negli occhi ha il foco. CONTE DI LIBENSKOF (avanzandosi) Non si parte? BARONE DI TROMBONOK Sì, fra poco; i cavalli sol si attendono; (vedendo Madama Cortese) Se il corriere è ritornato, da Madama or si saprà. Scena Undicesima (I detti e Madama Cortese) MADAMA CORTESE Naturale è l impazienza, il ritardo non comprendo; vado, torno, salgo e scendo, e tranquillo il cor non è. (il Conte di Libenskof parla con vivacità a Melibea, mostrando gelosia.) CONTE DI LIBENSKOF Mi tradite… MELIBEA Qual favella? CONTE DI LIBENSKOF (con rabbia concentrata) Don Alvar… MELIBEA Che dir volete? CONTE DI LIBENSKOF Donna infida, invan fingete; il rival cadrà al mio piè. MELIBEA Cieco ardor v abbaglia il ciglio… CONTE DI LIBENSKOF (accostandosi a don Alvaro, e con fierezza) Don Alvar… DON ALVARO (fiero) Che pretendete? CONTE DI LIBENSKOF Mi seguite… MELIBEA (trattenendoli) Ah! non partite… Troppo ingiusto è un tal furore. MADAMA CORTESE Qual dispetto! qual furore! MELIBEA D ira avvampa il fero ciglio… Un sì barbaro periglio mi fa l alma palpitar. CONTE DI LIBENSKOF, DON ALVARO Non pavento alcun periglio… D ira avvampa in seno il core; e il tremendo mio furore no, non posso più frenar. BARONE DI TROMBONOK, DON PROFONDO (fra sé) Bella cosa è in ver l amore! Ci fa perdere il cervello, l uom più savio un bambinello suole a un tratto diventar. (S ode un preludio d arpa nella camera di Corinna, tutti restano immobili ad ascoltare. Dopo il preludio, la suddetta canta le seguenti strofe) CORINNA Arpa gentil, che fida compagna ognor mi sei, unisci ai canti miei il suon di gioia e amor. Nell infiammata mente si affollano le idee; delle castalie dee il foco io sento in cor. Arpa, deh! unisci al canto il suon di gioia e amor. GLI ALTRI Qual delizioso incanto si spande nel mio cor! Un più soave canto no, non s udì finor. CORINNA Svanirò i nembi; intorno regna la dolce calma; di lieti giorni l alma prevede il bel fulgor. Che un dì rinasca, io spero, dell aurea età l albore; che degli umani in core regni fraterno amor. GLI ALTRI Sempre agli umani in core regni fraterno amor. CORINNA Contro i fedeli ancora lotta falcata luna, ma al sacro ardir fortuna propizia ognor sarà. Come sul Tebro e a Solima, foriera di vittoria, simbol di pace e gloria la Croce splenderà. GLI ALTRI Simbol di pace e gloria la Croce splenderà. A tali accenti, in seno riede la dolce calma; d idee ridenti, l alma pascendo or sol si va. Gli opachi nembi intorno pietoso il ciel disgombra, del sacro ulivo all ombra, felice ognun sarà. (Tutti partono, eccetto Madama Cortese.) Scena Dodicesima MADAMA CORTESE Zefirin non ritorna… del ritardo qual fia mai la cagion? - Milord s appressa. Che original! Corinna adora, e a lei spiegar non sa l ardore, che da gran tempo gli divampa in core. Ella pur l ama, accorta me ne sono noi donne, in tal materia, ben chiaro ci vediamo, nato appena l amor, scoprir sappiamo. (parte, entra Lord Sidney) LORD SIDNEY Ah! perché la conobbi? Perché appena lo stral ferimmi il petto, non fuggir, non lasciarla? Incauto, ahi! lasso! La fiamma alimentai ch ognor più viva or mi divampa in sen; non trovo pace, e, in preda al mio deliro, la notte e il dì, d amor gemo e sospiro. Invan strappar dal core l acuto dardo io tento; più vivo ognor l ardore nel sen crescendo va. Dell anima fedele timido i voti ascondo; affanno più crudele del mio no non si dà. (Entrano varie contadine con de vasi di fiori e cantano il seguente coro.) CORO Come dal cielo, - sul primo albor, dolce rugiada - scende sui fior, e al verde stelo - serba il vigor; sull alma donna, dal nobil cor, così ridente - si spanda ognor del Dio clemente - il bel favor. LORD SIDNEY Soavi e teneri - eletti fior, siate gli interpreti - d un puro amor. CORO Donna più amabile - chi vide ancor? Accoppia al merito - grazia e pudor. LORD SIDNEY Dell alma diva - al primo aspetto, chi ha il cor capace - d un puro affetto, rapido sente - nascer l ardor. Fida e dolente, - quest alma ognora per lei d amore - palpiterà. CORO Donna più amabile - chi vide ancora? Accoppia al merito - grazia e beltà. (Il coro parte.) Scena Tredicesima (entra don Profondo) DON PROFONDO (a Lord Sidney, trattenendolo) Milord, una parola… LORD SIDNEY (serio) Che bramate? DON PROFONDO Britannico signor è sol capace d appagar i miei voti… LORD SIDNEY Che v occorre? DON PROFONDO Ho bisogno d aver certe notizie… LORD SIDNEY Non sono un gazzettier… DON PROFONDO Mi spiego… LORD SIDNEY (come sopra) Presto… DON PROFONDO Vorrei che m indicaste ove trovar potrei il brando di Fingallo, la corazza d Artur, l arpa d Alfred… LORD SIDNEY (partendo, fra sé) E matto! DON PROFONDO (seguendolo) Ebbene? Voi non mi rispondete? LORD SIDNEY Ne musei cercar convien; di più dir non saprei. (parte) DON PROFONDO Non è troppo gentil; ma il compatisco; è innamorato della poetessa, e perduta ha la speme… Ella s appressa; a lei appunto io deggio comunicar la lettera di Roma. Scena Quattordicesima (Il detto, Corinna, Delia) DON PROFONDO Buon giorno, illustre amica! CORINNA (salutandolo) Quai notizie? DON PROFONDO Leggete questa lettera. (Mentre Corinna legge la lettera, Don Profondo dice a Delia) Consolatevi, o Delia; le cose vanno bene… DELIA Davver? DON PROFONDO Ve l assicuro. CORINNA (rende la lettera a Don Profondo) Vi ringrazio. Quando si parte? DON PROFONDO Presto; vo a vedere, e l ora poi io vi farò sapere. (parte) CORINNA (a Delia) Son felici le nuove, e presto, io spero del sacro Legno all ombra protettrice, la vostra patria alfin sarà felice. DELIA Il ciel lo voglia! CORINNA In ordine mettete quel che occorre, ed a Reims meco verrete. (Delia parte. Esaminando i fiori) Che vaghi ameni fior! son di Milord il giornaliero don, pegno d amore, ch egli timido ognor preme nel core. (Corinna stacca un fiore, e lo pone in petto.) Scena Quindicesima (Corinna, il Cavaliere) CAVALIER BELFIORE (In fondo alla scena e da sé) Sola ritrovo alfin la bella Dea, che invincibil si crede, e a cui più volte ho già fatto l occhietto… Ce n andiemo… L ocasion può mancar, ed or fa d uopo darle l ultimo assalto; al par dell altre, cadrà ne lacci miei, senza rischio scommetter lo potrei. (accostandosi con aria gentile e modesta) O voi, d Apollo prediletta figlia, perdonate, se ardisco il bel coro turbare de sublimi pensieri… CORINNA (attonita) Qual favella! CAVALIER BELFIORE Una grazia implorar da voi vorrei… CORINNA (come sopra) Una grazia! Da me!… CAVALIER BELFIORE Sì, a voi, che siete savia al pari che bella, fidar posso l arcano del mio core. CORINNA (con maggior sorpresa) Un arcan! Ma perché?… CAVALIER BELFIORE (con intenzione marcata) Ascoso e vivo ardore mi divampa nel seno, e al vago oggetto timido ascondo il mio fervido affetto. CORINNA (come sopra) Scusate… Io non comprendo… Perché meco… CAVALIER BELFIORE Mi spiego… Sotto il velo de sacri carmi, io voglio il segreto svelar ma sì novizio son nel linguaggio degli Dei, che a voi consiglio e aita io chiedo. Ah! sì, sentite, ed il vostro parer franca mi dite. Nel suo divin sembiante tanta beltà risplende, che in seno a un tratto accende il più vivace ardor. CORINNA Ah! Dove mai s asconde sì raro e bel portento? Vinta nel gran cimento, avria la Dea d amor. CAVALIER BELFIORE (con intenzione marcata) Ma un nume sol saria degno d un tal tesoro… E disperato io moro d affanno e di dolor. (Cade a un tratto in ginocchio davanti a Corinna. Nello stesso tempo, Don Profondo entra dal mezzo in fondo e vede la scena; ma si ritira sorridendo, ed osserva d intanto intanto.) CORINNA Che fate? Ah! qual deliro! CAVALIER BELFIORE Regger non posso oh Dio! Voi siete l idol mio… Per voi smanio e sospiro, e se pietà negate, io qui voglio morir. CORINNA Così insultarmi osate? Qual insensato ardir? (Il Cavalier s alza.) CAVALIER BELFIORE Un tal eccesso è pegno del più vivace amor. CORINNA Un tal eccesso è indegno d un cavalier d onor. CAVALIER BELFIORE Dunque non v è speranza? CORINNA Partite, o chiamo gente… CAVALIER BELFIORE Martire di costanza, io l alma esalerò. CORINNA Partite, o la arroganza punire io ben saprò. Oh! quanto ingannasi - chi così crede trovar la via - del nostro cor! Il vivo affetto, - la pura fede da noi sol meritano - stima ed amor. Sprezzo e dispetto - destano in petto questi galanti - insidiator. Oh! quanto ingannasi - chi così crede trovar la via - del nostro cor! CAVALIER BELFIORE (fra sé) Finto è il rigore, - lo so per prova; così far sogliono - le belle ognor. Tal resistenza - no, non è nuova, l uso la chiede, - ed il decor. Oggi combattono, - dimani cedono, e salvar credono - il loro onor. Finto è il rigore, - lo so per prova; così far sogliono - le belle ognor. (partono) Scena Quindicesima (bis) DON PROFONDO (ch entra ridendo) Bravo il Signor Ganimede! Se la Contessa il sa, gli cava gli occhi. Ma tempo non perdiamo; del Barone or qui deggio eseguir la commissione. Degli effetti facciam presto la lista, onde tutto sia all ordine ed in vista. (siede davanti alla suddetta tavola, parlante) Io! Medaglie incomparabili, cammei rari, impagabili, figli di tenebrosa, sublime antichità. In aurea carta pecora dell accademia i titoli, onde son membro nobile di prima qualità. Il gran trattato inedito sull infallibil metodo di saper ben distinguere, a prima vista ognor l antico del moderno, di fuori e nell interno, ne maschi, nelle femine, e in altri oggetti ancor. Lo spagnolo! Gran piante genealogiche degli avoli e bisavoli, colle notizie storiche di quel che ognuno fu. Diplomi, stemmi e croci, nastri, collane ed ordini, e, grosse come noci sei perle del Perù. La polacca! L opere più squisite d autori prelibati, che vanto sono e gloria della moderna età. Disegni colorati dell alto Pic terribile d Harold, Malcolm e Ipsiboe il bel profil qui sta. La francese! Scatole e scatoline, con scrigni e cassettine, che i bei tesor nascondono sacri alla Dea d amor. «Badate è roba fragile!» qui chiuso, già indovino, sta il nuovo cappellino, con penne, merli e fior. Il tedesco! Dissertazione classica sui nuovi effetti armonici, onde i portenti anfionici ridesteran stupor. De primi Orfei teutonici le rare produzioni, di corni e di tromboni modelli ignoti ancor. L inglese! Viaggi d intorno al globo, trattati di marina; oriundo della China sottil perlato thè. Oppio e pistole a vento, cambiali con molt oro i bill, ch il parlamento tre volte legger fe . Il francese! Varie del Franco Orazio, litografie squisite, pennelli con matite, conchiglie coi color. «Son cose sacre.» Ah! intendo… Ritratti e bigliettini, con molti ricordini de suoi felici amor. Il russo! Notizia tipografica di tutta la Siberia, con carta geografica dell Ottomano imper. Di zibellini e martore preziosa collezione, con penne di cappone pe caschi, e pe cimier. (si alza) Sta tutto all ordine, - non v è che dire; né più a partire - si può tardar. Or l inviato - certo è tornato; de snelli e rapidi - destrier frementi già parmi udire - lo scalpitar. Sferze e cornette - percoton l aere, le bestie struggonsi - di galoppar. Il gran momento - è omai vicino; più bel destino - no non si dà, e il cor dal giubilo - balzando va. Rossini,Gioachino/Il viaggio a Reims/I-2
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