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https://w.atwiki.jp/witcher/pages/18.html
クエスト一覧 ABC順 Chapter 2 A A Ghost Story A Gravedigger s Gratitude A Long Way from Home A Lost Lamb A Most Uncommon Wine A Mysterious Tower A Pilgrimage A Restless Ghost B Bloodthirsty Vegetation Berengar’s Secret C Clay Pits D Decision Checklist Dice Poker The Novice Dice Poker The Professional F Finders Keepers Fistfight Flowers and Gold Force Recon H Hot Potato M Memory of a Blade O Old Friend of Mine P Prison Break S Safe Haven Spoiler Checklist 2 Storyline Suspect Kalkstein Suspect Leuvaarden Suspect Ramsmeat Suspect Thaler Suspect Vincent Meis Suspect Vivaldi Swamp T The Alghoul Contract The Beast of the Sewers The Cannibal The Crown Witness The Dogcatcher of Vizima The Drowned Dead Contract The Echinops Contract The Rat The Sentry The Wolf Contract V Vizima Cemetery Vizima Confidential Vizima Dike Vizima Sewers Vizima Temple Quarter W Wanted What Lies Beneath Working Girls Worth its Weight in Gold
https://w.atwiki.jp/oper/pages/1617.html
Nr.10 - Duett SORA s ist gar nicht schön, mit solchen Fragen auf mich zu dringen ein! BENOZZO Dem Gatten muss man alles sagen, dein Richter will ich sein! SORA Es ist nichts Böses ja geschehn! BENOZZO Nichts Böses? Nun, wir wollen sehn! SORA Du wirst schon sehn! BENOZZO Wir wollen sehn! SORA Stockfinster war die Nacht, kein Mond, kein Sternlein wacht! In solchem Dunkel kann nicht deutlich sehen man! BENOZZO Das fängt ja ziemlich dunkel an! Jedoch, lass sehn, was dann? SORA Stockfinster war die Nacht, kein Mond, kein Sternlein wacht! In solchem Dunkel kann nicht deutlich sehen man! BENOZZO Doch ich sehe leider klar, wie die Affaire war! SORA Nun, wohlan! Sag an! BENOZZO Erst nahm er zärtlich deine Hand, SORA unterbrechend O nein, o nein! So war es nicht! BENOZZO ... er drückte sie so recht galant, SORA O nein, o nein! Das tat er nicht! BENOZZO er hielt sie fest dann ziemlich lang! SORA O nein, o nein! Das ist nicht wahr! BENOZZO spöttisch Und dir, und dir war gar nicht bang! SORA O nein, du weisst nicht, wie es war! Ha, stockfinster war die Nacht, kein Mond, kein Sternlein wacht! in solchem Dunkel kann nicht deutlich sehen man! BENOZZO Und dann? SORA stockend Und dann nichts weiter mehr! BENOZZO fest Nun, einen Kuss verlangte er?! Und du? SORA einfallend Ich wies ihn fest zurück! BENOZZO Da stahl ihn dir der Galgenstrick! Und du, du hast s geduldet? SORA weinerlich Ich habe nichts verschuldet! Er stahl ihn trotz dem Widerstand, weil er im Stehlen sehr gewandt! weinend Huhuhuhu! Es war ja finstre Nacht! BENOZZO sie kopierend Kein Mond, kein Sternlein wacht! zornig Ich kenne sie, die Melodie! Und mir ist alles offenbar, mit Nachdruck denn wisse, dass ich selbst der Räuber war! SORA Wie, du? BENOZZO Ja, ich! Ja, ich! SORA erstaunt Warum nicht gar? BENOZZO Ja, ja, s ist wahr! SORA Ha, nun wird mir sonnenklar, was bisher noch dunkel war bei dieser Finsternis! Ist auch Übles nicht geschehn, konnt es leicht doch schlimmer gehn, das ist nur zu gewiss! Obzwar die Nacht stockfinster war, seh ich doch jetzt ganz klar! BENOZZO Ha, nun sieht sie sonnenklar, was bisher noch dunkel war bei dieser Finsternis! Ist auch Übles nicht geschehn, konnt es leicht doch schlimmer gehn, das ist nur zu gewiss! Obzwar die Nacht stockfinster wai, seh ich doch jetzt ganz klar! SORA Nun siehst du, wie du dich blamiert, wohin die Eifersucht dich führt! BENOZZO Und kannst du denn noch wagen. die Augen aufzuschlagen? SORA Oh! An mir ist s jetzt, zu fragen! Du wirst sogleich mir sagen, was du in schwarzer Nacht dort eigentlich gemacht? BENOZZO verdutzt Wieso? SORA Gestehe, sprich, was triebst du, wie? BENOZZO für sich Am besten ist s, ich mach s wie sie! laut Stockfinster war die Nacht, kein Mond, kein Sternlein wacht! In solchem Dunkel kann nicht deutlich sehen man! SORA ärgerlich Fang selbst dir deine Lieder an! Was tatst du dort, sag an! BENOZZO Stockfinster war die Nacht, kein Mond, kein Sternlein wacht! In solchem Dunkel kann nicht deutlich sehen man! SORA heftig Doch mir ist s leider klar, wie die Affaire war! BENOZZO Nun, sag an, sag an! SORA Du hattest dort ein Stelldichein, BENOZZO O nein, o nein, so war es nicht! SORA …du ludest dir ein Liebchen ein! BENOZZO O nein, o nein, so war es nicht! SORA Gesteh. gesteh! Sonst werd ich wild! BENOZZO Ich hab ja gar nichts zu gestehn! SOFIA Du warst im Mantel dicht verhüllt! BENOZZO Das konntest du ja gar nicht sehn, denn stockfinster war die Nacht, kein Mond, kein Sternlein wacht! In solchem Dunkel kann nicht deutlich sehen man! SORA Lass jetzt die Possen, Element! Sonst sind auf ewig wir getrennt! Gib Antwort meinen Fragen! BENOZZO Nun gut, so lass dir sagen was ist denn Schlimmes dran am End ? leiser Ich führte mit Massaccio dort ganz heimlich Schmugglerwaren fort! SORA laut, sehr überrascht Ein Schwärzer! Du? BENOZZO hält ihr den Mund zu Nur still! SORA leise und erfreut Ist s wahr? Ich hielt für treulos dich, ich will s gestehn! BENOZZO Was fällt dir ein? Den Schwärzer hast du allzu schwarz gesehn! Mich lockt ganz anderer Gewinn; auch heute muss ich wieder hin! SORA Was kümmert mich die Schmuggelei! BENOZZO Sie bringt mir Gold! SORA Wenn du mir nur als Gatte treu, BENOZZO Mehr als ich sollt ! SOFIA ... magst weiter schmuggeln du! Dass dabei nichts störe deine Ruh, wünsch ich recht schwarze Nacht dazu! BENOZZO Hahahaha! SORA Stockfinster sei die Nacht, kein Mond, kein Sternlein wacht! Denn in solchem Dunkel kann nicht deutlich sehen man! Dass eure Schmuggelei sicher vor Spähern sei, wünsch ich dir gute, das heisst eine kohlschwarze Nacht! BENOZZO Sie wünscht mir schwarze Nacht, kohlrabenschwarze Nacht, damit in dem Dunkel dann niemand mich sehen kann! Wahrlich, das brave Weib kümmert nicht, was ich treib ! Sie wünscht mir gute, das heisst eine kohlschwarze Nacht! Es wird nach und nach dunkel. Benozzo und Sora gehen rückwärts rechts ab. ZEHNTE SZENE Marietta (allein), dann Carlotta Dialog Im selben Augenblick, wo Sora und Benozzo abgehen, tritt Marietta von links rückwärts auf. MARIETTA Ei, ei, ei! Da drüben im Ballsaal scheint etwas vorgefallen zu sein! Der interessante Conte Erminio ist plötzlich verschwunden! Die Gräfin, bis dahin heiter und tanzlustig, ist verstimmt, echauffiert, will sich etwas zurückziehen, hat sich ein Glas Limonade bestellt! Das ist immer ein Zeichen übler Laune bei ihr! will links abgehen; es donnert CARLOTTA tritt von links hinten auf Marietta! MARIETTA Frau Gräfin? CARLOTTA Rasch ein Tuch! Mich fröstelt! MARIETTA Gleich! für sich Vorhin war ihr warm, jetzt fröstelt sie s wieder! eilt links ab CARLOTTA geht aufgeregt ans Fenster, stösst es auf, gleichzeitig hört man Donner Es jagt ein Gewitter übers aufgeregte Meer daher, das passt so recht zu meiner Stimmung! MARIETTA mit einem Tuch und einer Platte, auf welcher ein Glas Wasser steht und ein Kaffeelöffel liegt Hier, Frau Gräfin! Limonade zum Abkühlen und leicht spöttisch ein Tuch zum Wärmen! stellt die Platte auf einen Tisch; gibt Carlotta das Tuch um, in das sich diese rasch hüllt CARLOTTA trinkt Ich muss einen Moment ruhen! Lass mich allein! setzt sich MARIETTA Zu Befehl! fährt bei einem starken Blitz, dem ein heftiger Donner folgt, sich bekreuzigend, zurück Alle guten Geister! War das ein Blitz! verstopft sich die Ohren Puh, und der Donner! CARLOTTA ärgerlich Ja, ja, schon gut! Mach endlich, dass du fortkommst! MARIETTA Mein Gott, ich gehe ja schon, ich gehe ja schon! Man wird sich doch noch fürchten dürfen! geht kopfschüttelnd nach hinten ab Hat die Frau heute eine Gewitterlaune! Ich gehe, damit s nicht einschlägt! Es wird ziemlich dunkel, flammende Blitze erhellen zeitweise durchs rechte Fenster den Salon; der Donner grollt fort. Nr.10 - Duett SORA s ist gar nicht schön, mit solchen Fragen auf mich zu dringen ein! BENOZZO Dem Gatten muss man alles sagen, dein Richter will ich sein! SORA Es ist nichts Böses ja geschehn! BENOZZO Nichts Böses? Nun, wir wollen sehn! SORA Du wirst schon sehn! BENOZZO Wir wollen sehn! SORA Stockfinster war die Nacht, kein Mond, kein Sternlein wacht! In solchem Dunkel kann nicht deutlich sehen man! BENOZZO Das fängt ja ziemlich dunkel an! Jedoch, lass sehn, was dann? SORA Stockfinster war die Nacht, kein Mond, kein Sternlein wacht! In solchem Dunkel kann nicht deutlich sehen man! BENOZZO Doch ich sehe leider klar, wie die Affaire war! SORA Nun, wohlan! Sag an! BENOZZO Erst nahm er zärtlich deine Hand, SORA unterbrechend O nein, o nein! So war es nicht! BENOZZO ... er drückte sie so recht galant, SORA O nein, o nein! Das tat er nicht! BENOZZO er hielt sie fest dann ziemlich lang! SORA O nein, o nein! Das ist nicht wahr! BENOZZO spöttisch Und dir, und dir war gar nicht bang! SORA O nein, du weisst nicht, wie es war! Ha, stockfinster war die Nacht, kein Mond, kein Sternlein wacht! in solchem Dunkel kann nicht deutlich sehen man! BENOZZO Und dann? SORA stockend Und dann nichts weiter mehr! BENOZZO fest Nun, einen Kuss verlangte er?! Und du? SORA einfallend Ich wies ihn fest zurück! BENOZZO Da stahl ihn dir der Galgenstrick! Und du, du hast s geduldet? SORA weinerlich Ich habe nichts verschuldet! Er stahl ihn trotz dem Widerstand, weil er im Stehlen sehr gewandt! weinend Huhuhuhu! Es war ja finstre Nacht! BENOZZO sie kopierend Kein Mond, kein Sternlein wacht! zornig Ich kenne sie, die Melodie! Und mir ist alles offenbar, mit Nachdruck denn wisse, dass ich selbst der Räuber war! SORA Wie, du? BENOZZO Ja, ich! Ja, ich! SORA erstaunt Warum nicht gar? BENOZZO Ja, ja, s ist wahr! SORA Ha, nun wird mir sonnenklar, was bisher noch dunkel war bei dieser Finsternis! Ist auch Übles nicht geschehn, konnt es leicht doch schlimmer gehn, das ist nur zu gewiss! Obzwar die Nacht stockfinster war, seh ich doch jetzt ganz klar! BENOZZO Ha, nun sieht sie sonnenklar, was bisher noch dunkel war bei dieser Finsternis! Ist auch Übles nicht geschehn, konnt es leicht doch schlimmer gehn, das ist nur zu gewiss! Obzwar die Nacht stockfinster wai, seh ich doch jetzt ganz klar! SORA Nun siehst du, wie du dich blamiert, wohin die Eifersucht dich führt! BENOZZO Und kannst du denn noch wagen. die Augen aufzuschlagen? SORA Oh! An mir ist s jetzt, zu fragen! Du wirst sogleich mir sagen, was du in schwarzer Nacht dort eigentlich gemacht? BENOZZO verdutzt Wieso? SORA Gestehe, sprich, was triebst du, wie? BENOZZO für sich Am besten ist s, ich mach s wie sie! laut Stockfinster war die Nacht, kein Mond, kein Sternlein wacht! In solchem Dunkel kann nicht deutlich sehen man! SORA ärgerlich Fang selbst dir deine Lieder an! Was tatst du dort, sag an! BENOZZO Stockfinster war die Nacht, kein Mond, kein Sternlein wacht! In solchem Dunkel kann nicht deutlich sehen man! SORA heftig Doch mir ist s leider klar, wie die Affaire war! BENOZZO Nun, sag an, sag an! SORA Du hattest dort ein Stelldichein, BENOZZO O nein, o nein, so war es nicht! SORA …du ludest dir ein Liebchen ein! BENOZZO O nein, o nein, so war es nicht! SORA Gesteh. gesteh! Sonst werd ich wild! BENOZZO Ich hab ja gar nichts zu gestehn! SOFIA Du warst im Mantel dicht verhüllt! BENOZZO Das konntest du ja gar nicht sehn, denn stockfinster war die Nacht, kein Mond, kein Sternlein wacht! In solchem Dunkel kann nicht deutlich sehen man! SORA Lass jetzt die Possen, Element! Sonst sind auf ewig wir getrennt! Gib Antwort meinen Fragen! BENOZZO Nun gut, so lass dir sagen was ist denn Schlimmes dran am End ? leiser Ich führte mit Massaccio dort ganz heimlich Schmugglerwaren fort! SORA laut, sehr überrascht Ein Schwärzer! Du? BENOZZO hält ihr den Mund zu Nur still! SORA leise und erfreut Ist s wahr? Ich hielt für treulos dich, ich will s gestehn! BENOZZO Was fällt dir ein? Den Schwärzer hast du allzu schwarz gesehn! Mich lockt ganz anderer Gewinn; auch heute muss ich wieder hin! SORA Was kümmert mich die Schmuggelei! BENOZZO Sie bringt mir Gold! SORA Wenn du mir nur als Gatte treu, BENOZZO Mehr als ich sollt ! SOFIA ... magst weiter schmuggeln du! Dass dabei nichts störe deine Ruh, wünsch ich recht schwarze Nacht dazu! BENOZZO Hahahaha! SORA Stockfinster sei die Nacht, kein Mond, kein Sternlein wacht! Denn in solchem Dunkel kann nicht deutlich sehen man! Dass eure Schmuggelei sicher vor Spähern sei, wünsch ich dir gute, das heisst eine kohlschwarze Nacht! BENOZZO Sie wünscht mir schwarze Nacht, kohlrabenschwarze Nacht, damit in dem Dunkel dann niemand mich sehen kann! Wahrlich, das brave Weib kümmert nicht, was ich treib ! Sie wünscht mir gute, das heisst eine kohlschwarze Nacht! Es wird nach und nach dunkel. Benozzo und Sora gehen rückwärts rechts ab. ZEHNTE SZENE Marietta (allein), dann Carlotta Dialog Im selben Augenblick, wo Sora und Benozzo abgehen, tritt Marietta von links rückwärts auf. MARIETTA Ei, ei, ei! Da drüben im Ballsaal scheint etwas vorgefallen zu sein! Der interessante Conte Erminio ist plötzlich verschwunden! Die Gräfin, bis dahin heiter und tanzlustig, ist verstimmt, echauffiert, will sich etwas zurückziehen, hat sich ein Glas Limonade bestellt! Das ist immer ein Zeichen übler Laune bei ihr! will links abgehen; es donnert CARLOTTA tritt von links hinten auf Marietta! MARIETTA Frau Gräfin? CARLOTTA Rasch ein Tuch! Mich fröstelt! MARIETTA Gleich! für sich Vorhin war ihr warm, jetzt fröstelt sie s wieder! eilt links ab CARLOTTA geht aufgeregt ans Fenster, stösst es auf, gleichzeitig hört man Donner Es jagt ein Gewitter übers aufgeregte Meer daher, das passt so recht zu meiner Stimmung! MARIETTA mit einem Tuch und einer Platte, auf welcher ein Glas Wasser steht und ein Kaffeelöffel liegt Hier, Frau Gräfin! Limonade zum Abkühlen und leicht spöttisch ein Tuch zum Wärmen! stellt die Platte auf einen Tisch; gibt Carlotta das Tuch um, in das sich diese rasch hüllt CARLOTTA trinkt Ich muss einen Moment ruhen! Lass mich allein! setzt sich MARIETTA Zu Befehl! fährt bei einem starken Blitz, dem ein heftiger Donner folgt, sich bekreuzigend, zurück Alle guten Geister! War das ein Blitz! verstopft sich die Ohren Puh, und der Donner! CARLOTTA ärgerlich Ja, ja, schon gut! Mach endlich, dass du fortkommst! MARIETTA Mein Gott, ich gehe ja schon, ich gehe ja schon! Man wird sich doch noch fürchten dürfen! geht kopfschüttelnd nach hinten ab Hat die Frau heute eine Gewitterlaune! Ich gehe, damit s nicht einschlägt! Es wird ziemlich dunkel, flammende Blitze erhellen zeitweise durchs rechte Fenster den Salon; der Donner grollt fort. Millöcker,Carl/Gasparone/II-4
https://w.atwiki.jp/oper/pages/2213.html
Finale ADAM Wir spielen bei Hof gar heut , Ach, wie uns das nur freut. Uns passiert diese Ehr Wohl nimmermehr. Aber wir sind desweg n Nit verschreckt, nit verleg n. Wir sind auch heut voll Schneid, Wie allezeit. TIROLER Wir spiel n heut bei Hof gar heut usw. Ju hoho, ju! Duljäh! HOFLEUTE Dieses Volk spielt heut? Ob man s nicht bereut! Ja, wir fürchten sehr s wär recht vulgär. Aber Durchlaucht will, Darum horchet still, Wie s auch gehen will - Nur applaudiert! KURFÜRSTIN Fort ist endlich alles Bangen Atmen kann ich froh und frei, Sind alle Sorgen doch vergangen Denn mein Gemahl-ist mir treu. Ja, mein Gemahl, er ist mir treu! HOFLEUTE Aha, ihre Launen sind vergangen Und das Gewitter zog vorbei. TIROLER Gebt s acht - jetzt wird gleich angefangen, Also Courage, nur fest dabei! KURFÜRSTIN Nun denn, ihr Leute, was werden wir hören? TIROLER Adam! Ein Lied! ALLE Ja, ja, ein Lied! ADAM Ich fang lieber gar nicht an! CHOR Nur nicht geziert! ADAM Weil ich ja eh nichts kann! CHOR Nur nicht geniert! ADAM Es fallt mir auch kein Liedl ein. CHOR Nur zu, probiert. ADAM Höchstens grad ein s könnt sein. CHOR Gleich produziert. ADAM Das vom Ahndl, das fällt mir just ein. KURFÜRSTIN Lasst hören. ADAM Wie mein Ahndl zwanzig Jahr , Und a g sunder Wildschütz war, Hat im Mondschein er voll Lust ,s erste Mal sein Reserl busst. Wie er s küsst, singt grad im Tal Wunderschön ein Nachtigall. Seit der Zeit haben Tag und Nacht Die zwei sich oft gedacht Noch einmal, noch einmal, noch einmal Sing mir, sing, Nachtigall! Noch einmal, noch einmal, noch einmal, Wie du g sungen hast im Tal! CHOR Noch einmal, usw. ADAM Wie mein Ahndl siebzig Jahr Und ein alter Kraut rer war. Schaut er einmal, so am Bach, D längste Zeit ein Dirndl nach, Hat dann g seufzt Oh mein, oh mein! Wo mag jetzt wohl s Reserl sein? Hat dann g juchzet wie als Bua Und g sungen still dazu Noch einmal, noch einmal, noch einmal, usw. CHOR Noch einmal, usw. ADAM Huhu! Was Lustig s jetzt heute. Sonst halt ich s nicht aus! KURFÜRSTIN Ja, Freude durchströme das festliche Haus! CHOR Ja, Freude durchströme usw. ADAM Also fangt s an, Gottesnam ! Landsleut , jetzt nehmt s Euch z samm! Uns passiert diese Ehr Wohl nimmermehr. Aber wir sind desweg n Nit verschreckt, nit verleg n. Wir sind auch heut voll Schneid Wie allezeit. HOFLEUTE Wenn man s nur nicht bereut! KURFÜRSTIN Was Ihr spielt ist einerlei; Nur Effekt sei dabei! ADAM Ein Effekt? Der ist dabei! Gebt nur acht, wenn d Zither klingt, Wenn die Saite hell sich schwingt. Wenn dann laut ein Glöcklein schlägt, Dann -ja dann kommt der Effekt! CHOR Gebet acht, gebet acht, wenn s klingt. Der Effekt, ja dann kommt der Effekt! ADAM Auf nun zum Toaste die Römer geschwungen. ALLE Ein Toast! ADAM Wem bring ich den Pokal Mit Gunst zum erstenmal? Wohl schöne Fräul n wär n hier, Die sehr gut g fallen mir - Doch ihr, der schönsten Frau, Wie ich sie nimmer schau , Der Fürstin hold am Rhein Soll das erste Glas getrunken sein! Kommt heran! ALLE Kommt alle heran! ADAM Stosset an! CHOR Stosset alle an! Hoch der Fürstin am Rhein! KURFÜRSTIN Noch immer nicht die Glocke schlägt Und kein Verräter noch entdeckt. CHOR Oh horcht, ob keine Glocke schlägt, Wo bleibt denn der Effekt? ADAM Nur still! Gebt nur acht, wenn d Zither klingt, Wenn die Saite hell sich schwingt. CHOR Aber keine Glocke schlägt. Ja, wo bleibt der Effekt? ADAM Der Sakra - er wird nicht entdeckt! WEPS Gestatten Durchlaucht gnädigst mir, Dass ich ein Brautpaar präsentier . ADAM Ein Brautpaar? CHOR Ein Brautpaar? Wer kann das sein? KURFÜRSTIN Lasst sie herein - Adelaide? CHOR Graf Stanislaus? Wie komisch sehen sie aus! KURFÜRSTIN Wie froh ist die Kunde erklungen! Drum aufs neue die Römer geschwungen, Treu der Sitte am Rhein! Schenket ein! Schenket ein! Wem bring ich den Pokal Mit Gunst zum andern Mal? Den Damen nicht und Herren Die heut mein Fest beehren? Oh nein, nur diesem Paar, So fein und wunderbar, Dem schönsten Paar am Rhein, Soll das zweite Glas getrunken sein! Nur heran! CHOR Kommt beide heran! KURFÜRSTIN Stosset an! CHOR Stosset fröhlich an! Das schönste Paar - Hoch! Horch! Ein Glöcklein leise schlägt. KURFÜRSTIN, ADAM Der Verräter ist entdeckt. CHOR Das ist wohl der Effekt? ADAM Ja, ja, das ist von der Glocke der Effekt. ADELAIDE Dieses Mädchen, dieses Läuten, Stanislaus, was soll s bedeuten? CHOR Dieses Mädchen, dieses Läuten, Was soll es bedeuten? KURFÜRSTIN Der Frevler ward entdeckt. WEPS Also ihm galt s Bimbim! CHRISTEL Jetzt geht s dem Herrn da schlimm. Meine Unschuld ist klar! Ich beschwöre, dass er s war. KURFÜRSTIN Dem Grafen geht es schlimm. Er war s, nun ist es klar! Bestrafen will ich ihn fürwahr. ADELAIDE Ach, mir wird s so schlimm. Mir ist nun alles klar; Ich bin vor Schrecken starr - ADAM Jetzt geht s dem Sakra schlimm! Kein Zweifel, dass er s war. Und er lacht dazu sogar! WEPS, STANISLAUS Was kümmert uns ihr Bimbim? Eine Million Mitgift bar - Wir verlachen die Gefahr. CHOR Um den Grafen steht es schlimm, Uns ist die Sache dunkel zwar, Aber ein Skandal, das ist klar! KURFÜRSTIN Um deine Ehre bracht er dich, Drum auch du sein Urteil sprich! ADAM Ich? KURFÜRSTIN Ja, du! ADAM Der kann sich freu n! CHOR Was soll das sein? ADAM Kann ich? - Soll ich und darf ich? - KURFÜRSTIN Gewiss! ADAM Stell s zurück die alte Braut - Junge wird mit dir getraut! Brauchst dich ja zu fürchten nit, Hast eh mehr Freud! damit. So macht man s. im Tirol; Wirst mich versteh n gar wohl? Führ s gleich zum Pfarrer nein, s wird s Beste sein. STANISLAUS Der Bursch ist toll! WEPS Zu dumm! ADAM So macht man s in Tirol. STANISLAUS Nein, nein! Mit leichtem Mute will ich leiden, Die Schmach als Kavalier; Doch schimpflich von der Fahne scheiden, Das kann ich nicht als Offizier. - Drum bitte ich galant Das Fräulein um die Hand! - Mein Fräulein, Ihre Hand! CHOR Oho! CHRISTEL Haltet ein! - Noch einmal, noch einmal Frag ich dich Willst du mich? Noch einmal, noch einmal - - Nun wohlan, so bin ich Braut, Werd als Gräfin bald getraut. Ich verschaff mir schon Respekt, Mach als Gräfin auch Effekt. KURFÜRSTIN Nun wohlan, Sie ist jetzt Braut, Wird als Gräfin bald getraut, Die macht Effekt! STANISLAUS Nun wohlan, Sie ist jetzt Braut, Wird als Gräfin bald getraut, Die macht Effekt. ADAM Ha, s gelang! Nun ist sie Braut, Wird dem Sakra angetraut - Frau Gräfin, mein Respekt! CHOR Wunderbar, sie ist jetzt Braut. Wird als Gräfin gar getraut - Die macht Effekt! Finale ADAM Wir spielen bei Hof gar heut , Ach, wie uns das nur freut. Uns passiert diese Ehr Wohl nimmermehr. Aber wir sind desweg n Nit verschreckt, nit verleg n. Wir sind auch heut voll Schneid, Wie allezeit. TIROLER Wir spiel n heut bei Hof gar heut usw. Ju hoho, ju! Duljäh! HOFLEUTE Dieses Volk spielt heut? Ob man s nicht bereut! Ja, wir fürchten sehr s wär recht vulgär. Aber Durchlaucht will, Darum horchet still, Wie s auch gehen will - Nur applaudiert! KURFÜRSTIN Fort ist endlich alles Bangen Atmen kann ich froh und frei, Sind alle Sorgen doch vergangen Denn mein Gemahl-ist mir treu. Ja, mein Gemahl, er ist mir treu! HOFLEUTE Aha, ihre Launen sind vergangen Und das Gewitter zog vorbei. TIROLER Gebt s acht - jetzt wird gleich angefangen, Also Courage, nur fest dabei! KURFÜRSTIN Nun denn, ihr Leute, was werden wir hören? TIROLER Adam! Ein Lied! ALLE Ja, ja, ein Lied! ADAM Ich fang lieber gar nicht an! CHOR Nur nicht geziert! ADAM Weil ich ja eh nichts kann! CHOR Nur nicht geniert! ADAM Es fallt mir auch kein Liedl ein. CHOR Nur zu, probiert. ADAM Höchstens grad ein s könnt sein. CHOR Gleich produziert. ADAM Das vom Ahndl, das fällt mir just ein. KURFÜRSTIN Lasst hören. ADAM Wie mein Ahndl zwanzig Jahr , Und a g sunder Wildschütz war, Hat im Mondschein er voll Lust ,s erste Mal sein Reserl busst. Wie er s küsst, singt grad im Tal Wunderschön ein Nachtigall. Seit der Zeit haben Tag und Nacht Die zwei sich oft gedacht Noch einmal, noch einmal, noch einmal Sing mir, sing, Nachtigall! Noch einmal, noch einmal, noch einmal, Wie du g sungen hast im Tal! CHOR Noch einmal, usw. ADAM Wie mein Ahndl siebzig Jahr Und ein alter Kraut rer war. Schaut er einmal, so am Bach, D längste Zeit ein Dirndl nach, Hat dann g seufzt Oh mein, oh mein! Wo mag jetzt wohl s Reserl sein? Hat dann g juchzet wie als Bua Und g sungen still dazu Noch einmal, noch einmal, noch einmal, usw. CHOR Noch einmal, usw. ADAM Huhu! Was Lustig s jetzt heute. Sonst halt ich s nicht aus! KURFÜRSTIN Ja, Freude durchströme das festliche Haus! CHOR Ja, Freude durchströme usw. ADAM Also fangt s an, Gottesnam ! Landsleut , jetzt nehmt s Euch z samm! Uns passiert diese Ehr Wohl nimmermehr. Aber wir sind desweg n Nit verschreckt, nit verleg n. Wir sind auch heut voll Schneid Wie allezeit. HOFLEUTE Wenn man s nur nicht bereut! KURFÜRSTIN Was Ihr spielt ist einerlei; Nur Effekt sei dabei! ADAM Ein Effekt? Der ist dabei! Gebt nur acht, wenn d Zither klingt, Wenn die Saite hell sich schwingt. Wenn dann laut ein Glöcklein schlägt, Dann -ja dann kommt der Effekt! CHOR Gebet acht, gebet acht, wenn s klingt. Der Effekt, ja dann kommt der Effekt! ADAM Auf nun zum Toaste die Römer geschwungen. ALLE Ein Toast! ADAM Wem bring ich den Pokal Mit Gunst zum erstenmal? Wohl schöne Fräul n wär n hier, Die sehr gut g fallen mir - Doch ihr, der schönsten Frau, Wie ich sie nimmer schau , Der Fürstin hold am Rhein Soll das erste Glas getrunken sein! Kommt heran! ALLE Kommt alle heran! ADAM Stosset an! CHOR Stosset alle an! Hoch der Fürstin am Rhein! KURFÜRSTIN Noch immer nicht die Glocke schlägt Und kein Verräter noch entdeckt. CHOR Oh horcht, ob keine Glocke schlägt, Wo bleibt denn der Effekt? ADAM Nur still! Gebt nur acht, wenn d Zither klingt, Wenn die Saite hell sich schwingt. CHOR Aber keine Glocke schlägt. Ja, wo bleibt der Effekt? ADAM Der Sakra - er wird nicht entdeckt! WEPS Gestatten Durchlaucht gnädigst mir, Dass ich ein Brautpaar präsentier . ADAM Ein Brautpaar? CHOR Ein Brautpaar? Wer kann das sein? KURFÜRSTIN Lasst sie herein - Adelaide? CHOR Graf Stanislaus? Wie komisch sehen sie aus! KURFÜRSTIN Wie froh ist die Kunde erklungen! Drum aufs neue die Römer geschwungen, Treu der Sitte am Rhein! Schenket ein! Schenket ein! Wem bring ich den Pokal Mit Gunst zum andern Mal? Den Damen nicht und Herren Die heut mein Fest beehren? Oh nein, nur diesem Paar, So fein und wunderbar, Dem schönsten Paar am Rhein, Soll das zweite Glas getrunken sein! Nur heran! CHOR Kommt beide heran! KURFÜRSTIN Stosset an! CHOR Stosset fröhlich an! Das schönste Paar - Hoch! Horch! Ein Glöcklein leise schlägt. KURFÜRSTIN, ADAM Der Verräter ist entdeckt. CHOR Das ist wohl der Effekt? ADAM Ja, ja, das ist von der Glocke der Effekt. ADELAIDE Dieses Mädchen, dieses Läuten, Stanislaus, was soll s bedeuten? CHOR Dieses Mädchen, dieses Läuten, Was soll es bedeuten? KURFÜRSTIN Der Frevler ward entdeckt. WEPS Also ihm galt s Bimbim! CHRISTEL Jetzt geht s dem Herrn da schlimm. Meine Unschuld ist klar! Ich beschwöre, dass er s war. KURFÜRSTIN Dem Grafen geht es schlimm. Er war s, nun ist es klar! Bestrafen will ich ihn fürwahr. ADELAIDE Ach, mir wird s so schlimm. Mir ist nun alles klar; Ich bin vor Schrecken starr - ADAM Jetzt geht s dem Sakra schlimm! Kein Zweifel, dass er s war. Und er lacht dazu sogar! WEPS, STANISLAUS Was kümmert uns ihr Bimbim? Eine Million Mitgift bar - Wir verlachen die Gefahr. CHOR Um den Grafen steht es schlimm, Uns ist die Sache dunkel zwar, Aber ein Skandal, das ist klar! KURFÜRSTIN Um deine Ehre bracht er dich, Drum auch du sein Urteil sprich! ADAM Ich? KURFÜRSTIN Ja, du! ADAM Der kann sich freu n! CHOR Was soll das sein? ADAM Kann ich? - Soll ich und darf ich? - KURFÜRSTIN Gewiss! ADAM Stell s zurück die alte Braut - Junge wird mit dir getraut! Brauchst dich ja zu fürchten nit, Hast eh mehr Freud! damit. So macht man s. im Tirol; Wirst mich versteh n gar wohl? Führ s gleich zum Pfarrer nein, s wird s Beste sein. STANISLAUS Der Bursch ist toll! WEPS Zu dumm! ADAM So macht man s in Tirol. STANISLAUS Nein, nein! Mit leichtem Mute will ich leiden, Die Schmach als Kavalier; Doch schimpflich von der Fahne scheiden, Das kann ich nicht als Offizier. - Drum bitte ich galant Das Fräulein um die Hand! - Mein Fräulein, Ihre Hand! CHOR Oho! CHRISTEL Haltet ein! - Noch einmal, noch einmal Frag ich dich Willst du mich? Noch einmal, noch einmal - - Nun wohlan, so bin ich Braut, Werd als Gräfin bald getraut. Ich verschaff mir schon Respekt, Mach als Gräfin auch Effekt. KURFÜRSTIN Nun wohlan, Sie ist jetzt Braut, Wird als Gräfin bald getraut, Die macht Effekt! STANISLAUS Nun wohlan, Sie ist jetzt Braut, Wird als Gräfin bald getraut, Die macht Effekt. ADAM Ha, s gelang! Nun ist sie Braut, Wird dem Sakra angetraut - Frau Gräfin, mein Respekt! CHOR Wunderbar, sie ist jetzt Braut. Wird als Gräfin gar getraut - Die macht Effekt! Zeller,Carl/Der Vogelhändler/III
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ATTO III Scena Prima (Interno d una rocca nel campo inglese. Una scala conduce ad una torre, dalla quale si dominano i campi. Giovanna, cinta di grosse catene, è abbandonata sopra un sedile; vicino a lei s innalza un rogo. Tranne l elmo e la spada, ella è vestita come precedentemente) SENTINELLE (Interne) I I Franchi! II I Franchi! III I Franchi! (Alle grida succede il rimbombo del cannone) GIOVANNA (rinvenendo) Oh qual mi scuote Rumor di guerra? - di catene cinta Nell aborrito io sto campo nemico! - E che mi attende?... Un rogo! - Cresce il rumor... Chi dell orrendo luogo Mi dischiude le porte? Deh ch io voli sui campi! - Ahi dura sorte! Scena Seconda (Giovanna trovatasi rinchiusa si arresta immobile; a poco a poco animasi all inspirazione. Giacomo entra, e fermasi non visto a contemplarla) GIOVANNA Ecco!... Ardite ed ululando Già si avanzan le legioni. - Si scontrar - brando con brando - Su!... coraggio, o miei campioni! GIACOMO Sciagurata!... e ancor delira! GIOVANNA Come turbo il re si aggira. Là che avvenne?... Ahimè! l ardito Dagl inglesi è circuito! GIACOMO A lui pensa! GIOVANNA O Dio clemente M abbandoni or tu così?... GIACOMO Ciel!... Che intendo?... GIOVANNA A te fidente Apro il cor siccome un dì! Amai, ma un solo istante, Ma pura ancor son io. Ancor nel tuo sembiante Acqueto ogni desio; Pensier non ho, non palpito Che non sia volto a te. GIACOMO Ella innocente e pura! Ella plorante a Dio!... Ahi da qual notte oscura Si leva il guardo mio!... In quale istante, ahi misera, Schiari la mente a me! GIOVANNA (alzandosi infiammata dalla fede) Tu che all eletto Sàulo Hai le catene infranto, Spezza or le mie... GIACOMO (Accorrendo a lei e sciogliendola) Sei libera!... Perdona a un padre in pianto. GIOVANNA (Gettandosi nelle di lui braccia) Fia ver?... Sei tu?... dimentico Già d ogni duolo è il cor. O padre, benedicimi! GIACOMO (imponendo le mani sul di lei capo) T arrida il cielo ognor. GIOVANNA Or dal padre benedetta, Appurata dai dolori, Sono ancor d Iddio l eletta, Torno ai bellici sentier . Niuno, ah! niun degli invasori Rivedrà la sua contrada!... La tua spada!... la tua spada! Ch io rivoli a miei guerrier . GIACOMO Va! l ardire omai ripiglia, Ti ricingi di tua gloria; Alla patria che periglia Va, ritorna il suo guerrier! Sovra l ale di vittoria Riconduci il tuo stendardo... Deh non fia che invano e tardo A miei sguardi ardesse il ver! (Giovanna, sguainata la spada del padre, esce precipitosamente. Giacomo salito alla torre getta gli sguardi meravigliando sui campi) Scena Terza GIACOMO Ecco! - Ella vola. - Qual ventura!... Un bianco Salì destriero. - Oh meraviglia!... In cento Lochi ad un tempo appar. - Già dalla mischia Ha tratto il re - Le turbe de nemici S arretrano sconvolte. - Ahi! tutto involve Un nuvolo di polve. (Egli scende dalla ringhiera) Scena Quarta (Soldati ed Ufficiali Francesi, Carlo e detto) CORO Presa è la rocca! CARLO Di novel prodigio Il ciel ne arrise - La seconda volta Salvo per lei son io, per lei che a cieco Di popolo furore abbandonai!... GIACOMO (presentandosi) Me, me punisci! CARLO (ravvisandolo) O vecchio, Io ti perdono. - In mia salute accorsa, Va, mi gridò la diva, Entra la rocca, e il padre mio difendi. Scena Quinta (entra Delil) CARLO Ebben? - Che rechi?... Ancora L Anglo pugnar si attenta?... DELIL Rotto è il nemico, ma Giovanna è spenta! (Silenzio generale. Giacomo ha nascosto il canuto capo fra le mani. Il re guarda mestamente i suoi, si avanza lentamente, e dice col più profondo dolore) CARLO Quale più fido amico Me col pugnal ferisce?... Supplice a voi lo dico... Il trono a chi l ardisce! Crudeli, orribil vita Dunque lasciate al re?... Oh fosse inaridita Nell anima la fè! CORO Un suon funereo - d intorno spandessi. CARLO (verso la scena) Ahi vista! GIACOMO Oh figlia! Scena Ultima (Soldati Francesi cogli stendardi, che precedono Giovanna, adagiata sulla bara. Popolo, uomini e donne. Detti) CORO Non sembra un angelo - che a sonno placido Chini le ciglia? Lucente un aura - sul viso candido Dal cielo piove; Dal fral virgineo - di puro effluvio Un onda move! GIACOMO Gran Dio!... Silenzio - represso gemito Mandò l estinta. CARLO Le luci s aprono! - sorge!... oh miracolo! Morte fu vinta. (Giovanna levasi dritta, e si muove come investita da forza soprannaturale) GIOVANNA Che mai fu? - Dove son? - CARLO Fra tuoi guerrieri. GIACOMO E presso il vecchio padre... GIOVANNA Oh! non son io un empia incantatrice! CARLO Un angelo tu sei! GIACOMO Ma in nebbia folta Chiusi eran gli occhi. GIOVANNA Oh padre!... Oh re!... Miei prodi!... Ben vi ravviso! Ecco le franche insegne... La mia dov è?... ch io la riporti al cielo, Fidata messaggiera. CARLO (Le presenta l insegna) Prendi... ma non lasciarne! GIOVANNA (rapita in estasi) Oh mia bandiera! S apre il cielo... Discende la Pia Che parlar mi solea dalla balza... Mi sorride... mi addita una via... Pare accenni che seco mi vuol. Ecco!... nube dorata m innalza... Oh!... l usbergo tramutasi in ale!... Addio, terra!... Addio, gloria mortale... Alto io volo... già brillo nel Sol! - CARLO Non lasciarne!... Deh vivi, deh vivi Alla Francia, al tuo padre, al tuo re! Non lasciarne, o fra i cori giulivi Fa ch io possa volare con te. GIACOMO La tua mano sul crine mio bianco Posa, o figlia, e ne lava il fallir... Io non piango... nell animo stanco È la speme di tosto morir. CORO Oh prodigio!... D insolito raggio Si diffonde improvviso chiaror... CARLO Vale, o diva!... Qual patrio retaggio Tu vivrai d ogni Franco nel cor. CORO DI SPIRITI ELETTI Torna, torna, esulante sorella, Sopra i vanni dell angelo al ciel! È il Signore, il Signor che ti appella, E ti cinge inconsutile vel. CORO DI SPIRITI MALVAGI Più del fuoco che n arde e ne scuoia, Più che il buio di notte crudel, N è tormento d un alma la gioia, N è supplizio il trionfo del ciel!... (Giovanna cade; una siderea luce spandessi improvvisamente pel cielo. I soldati abbassano gli stendardi, tutti si prostrano innanzi al glorioso cadavere). ATTO III Scena Prima (Interno d una rocca nel campo inglese. Una scala conduce ad una torre, dalla quale si dominano i campi. Giovanna, cinta di grosse catene, è abbandonata sopra un sedile; vicino a lei s innalza un rogo. Tranne l elmo e la spada, ella è vestita come precedentemente) SENTINELLE (Interne) I I Franchi! II I Franchi! III I Franchi! (Alle grida succede il rimbombo del cannone) GIOVANNA (rinvenendo) Oh qual mi scuote Rumor di guerra? - di catene cinta Nell aborrito io sto campo nemico! - E che mi attende?... Un rogo! - Cresce il rumor... Chi dell orrendo luogo Mi dischiude le porte? Deh ch io voli sui campi! - Ahi dura sorte! Scena Seconda (Giovanna trovatasi rinchiusa si arresta immobile; a poco a poco animasi all inspirazione. Giacomo entra, e fermasi non visto a contemplarla) GIOVANNA Ecco!... Ardite ed ululando Già si avanzan le legioni. - Si scontrar - brando con brando - Su!... coraggio, o miei campioni! GIACOMO Sciagurata!... e ancor delira! GIOVANNA Come turbo il re si aggira. Là che avvenne?... Ahimè! l ardito Dagl inglesi è circuito! GIACOMO A lui pensa! GIOVANNA O Dio clemente M abbandoni or tu così?... GIACOMO Ciel!... Che intendo?... GIOVANNA A te fidente Apro il cor siccome un dì! Amai, ma un solo istante, Ma pura ancor son io. Ancor nel tuo sembiante Acqueto ogni desio; Pensier non ho, non palpito Che non sia volto a te. GIACOMO Ella innocente e pura! Ella plorante a Dio!... Ahi da qual notte oscura Si leva il guardo mio!... In quale istante, ahi misera, Schiari la mente a me! GIOVANNA (alzandosi infiammata dalla fede) Tu che all eletto Sàulo Hai le catene infranto, Spezza or le mie... GIACOMO (Accorrendo a lei e sciogliendola) Sei libera!... Perdona a un padre in pianto. GIOVANNA (Gettandosi nelle di lui braccia) Fia ver?... Sei tu?... dimentico Già d ogni duolo è il cor. O padre, benedicimi! GIACOMO (imponendo le mani sul di lei capo) T arrida il cielo ognor. GIOVANNA Or dal padre benedetta, Appurata dai dolori, Sono ancor d Iddio l eletta, Torno ai bellici sentier . Niuno, ah! niun degli invasori Rivedrà la sua contrada!... La tua spada!... la tua spada! Ch io rivoli a miei guerrier . GIACOMO Va! l ardire omai ripiglia, Ti ricingi di tua gloria; Alla patria che periglia Va, ritorna il suo guerrier! Sovra l ale di vittoria Riconduci il tuo stendardo... Deh non fia che invano e tardo A miei sguardi ardesse il ver! (Giovanna, sguainata la spada del padre, esce precipitosamente. Giacomo salito alla torre getta gli sguardi meravigliando sui campi) Scena Terza GIACOMO Ecco! - Ella vola. - Qual ventura!... Un bianco Salì destriero. - Oh meraviglia!... In cento Lochi ad un tempo appar. - Già dalla mischia Ha tratto il re - Le turbe de nemici S arretrano sconvolte. - Ahi! tutto involve Un nuvolo di polve. (Egli scende dalla ringhiera) Scena Quarta (Soldati ed Ufficiali Francesi, Carlo e detto) CORO Presa è la rocca! CARLO Di novel prodigio Il ciel ne arrise - La seconda volta Salvo per lei son io, per lei che a cieco Di popolo furore abbandonai!... GIACOMO (presentandosi) Me, me punisci! CARLO (ravvisandolo) O vecchio, Io ti perdono. - In mia salute accorsa, Va, mi gridò la diva, Entra la rocca, e il padre mio difendi. Scena Quinta (entra Delil) CARLO Ebben? - Che rechi?... Ancora L Anglo pugnar si attenta?... DELIL Rotto è il nemico, ma Giovanna è spenta! (Silenzio generale. Giacomo ha nascosto il canuto capo fra le mani. Il re guarda mestamente i suoi, si avanza lentamente, e dice col più profondo dolore) CARLO Quale più fido amico Me col pugnal ferisce?... Supplice a voi lo dico... Il trono a chi l ardisce! Crudeli, orribil vita Dunque lasciate al re?... Oh fosse inaridita Nell anima la fè! CORO Un suon funereo - d intorno spandessi. CARLO (verso la scena) Ahi vista! GIACOMO Oh figlia! Scena Ultima (Soldati Francesi cogli stendardi, che precedono Giovanna, adagiata sulla bara. Popolo, uomini e donne. Detti) CORO Non sembra un angelo - che a sonno placido Chini le ciglia? Lucente un aura - sul viso candido Dal cielo piove; Dal fral virgineo - di puro effluvio Un onda move! GIACOMO Gran Dio!... Silenzio - represso gemito Mandò l estinta. CARLO Le luci s aprono! - sorge!... oh miracolo! Morte fu vinta. (Giovanna levasi dritta, e si muove come investita da forza soprannaturale) GIOVANNA Che mai fu? - Dove son? - CARLO Fra tuoi guerrieri. GIACOMO E presso il vecchio padre... GIOVANNA Oh! non son io un empia incantatrice! CARLO Un angelo tu sei! GIACOMO Ma in nebbia folta Chiusi eran gli occhi. GIOVANNA Oh padre!... Oh re!... Miei prodi!... Ben vi ravviso! Ecco le franche insegne... La mia dov è?... ch io la riporti al cielo, Fidata messaggiera. CARLO (Le presenta l insegna) Prendi... ma non lasciarne! GIOVANNA (rapita in estasi) Oh mia bandiera! S apre il cielo... Discende la Pia Che parlar mi solea dalla balza... Mi sorride... mi addita una via... Pare accenni che seco mi vuol. Ecco!... nube dorata m innalza... Oh!... l usbergo tramutasi in ale!... Addio, terra!... Addio, gloria mortale... Alto io volo... già brillo nel Sol! - CARLO Non lasciarne!... Deh vivi, deh vivi Alla Francia, al tuo padre, al tuo re! Non lasciarne, o fra i cori giulivi Fa ch io possa volare con te. GIACOMO La tua mano sul crine mio bianco Posa, o figlia, e ne lava il fallir... Io non piango... nell animo stanco È la speme di tosto morir. CORO Oh prodigio!... D insolito raggio Si diffonde improvviso chiaror... CARLO Vale, o diva!... Qual patrio retaggio Tu vivrai d ogni Franco nel cor. CORO DI SPIRITI ELETTI Torna, torna, esulante sorella, Sopra i vanni dell angelo al ciel! È il Signore, il Signor che ti appella, E ti cinge inconsutile vel. CORO DI SPIRITI MALVAGI Più del fuoco che n arde e ne scuoia, Più che il buio di notte crudel, N è tormento d un alma la gioia, N è supplizio il trionfo del ciel!... (Giovanna cade; una siderea luce spandessi improvvisamente pel cielo. I soldati abbassano gli stendardi, tutti si prostrano innanzi al glorioso cadavere). Verdi,Giuseppe/Giovanna d Arco
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Water (BBC Fact Finders) BBC Pubns?Chris Ellis?Linda Moore?Paul Richardson? Cultivating a Thoughtful Faith Abingdon Pr?George G., III Hunter?Maxie D. Dunnam?Steve G. W. Moore?Steve Harper?Howard A. Snyder?Ben, III Witherington?Paul Wesley Chilcote? Paul Elmer Moore Princeton Univ Pr?A. H. Dakin? The Gorilla Game An Investor's Guide to Picking Winners in High Technology Harper Audio?Geoffrey A. Moore?Tom Kippola?Paul Johnson? Webster, the Critical Heritage (Critical Heritage Series) Routledge Kegan & Paul?Don D. Moore? The Social Impact of Oil The Case of Peterhead Routledge Kegan & Paul?Robert Samuel Moore? Philosophy of Education (International Library of Philosophy of Education) Routledge Kegan & Paul?Thomas W. Moore? Voices of the People The Social Life of 'LA Sociale' at the End of the Second Empire (History Workshop Series) Routledge Kegan & Paul?Adrian Rifkin?Roger Thomas?John Moore? 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Social Policy and Welfare Nelson Thornes?Mark Walsh?Paul Stephens?Stephen Moore? The Photographic Atlas of the Stars Inst of Physics Pub Inc?H. J. P. Arnold?Paul Doherty?Patrick Moore? The Starry Sky (Starry Sky) Copper Beech Books?Patrick Moore?Paul Doherty? To Live Is Chist The Life And Ministry of Paul Lifeway Christian Resources?Beth Moore? Atlas of the Planets Mcgraw-Hill?Paul Doherty?Patrick Moore? Rectification ('Justification') in Paul, in Historical Perspective, and in the English Bible God's Gift of Right Relationship Paul's Doctrine of Rectification (Studies in the Bible and Early Christianity) Edwin Mellen Pr?Richard Kingsley Moore? Reader's Digest Presents Christmas Stories For the Entire Family Dove Entertainment Inc?Reader s Digest?Dudley Moore?Jack Lemmon?Robby Benson?Paul Scofield?Bruce Heighley?Harry Nilsson? Amos A Commentary on the Book of Amos (Hermeneia a Critical and Historical Commentary on the Bible) Fortress Pr?Shalom M. Paul?Frank Moore Cross? Paul Living for the Call of Christ (Men of Character) Broadman & Holman Pub?Jim Moore?Gene A. Getz? A Man of Letters in the Nineteenth-Century South Selected Letters of Paul Hamilton Hayne (Southern Literary Studies) Louisiana State Univ Pr?Paul Hamilton Hayne?Rayburn S. Moore? Matthew Kenney's Mediterranean Cooking Dishes from Tangiers to Toulon for the American Kitchen Chronicle BooksMatthew Kenney?Sam Gugino?Paul Franz-Moore? The Farallon Cookbook The Very Best of San Francisco Cuisine Chronicle BooksJeremiah Tower?Pat Kuleto?Mark Franz?Lisa Weiss?Farallon (Restaurant)?Paul Moore Firehouse Food Cooking With San Francisco's Firefighters Chronicle BooksGeorge Dolese?Stephen Siegelman?Paul Moore Lyrics of Sunshine and Shadow The Tragic Courtship and Marriage of Paul Laurence Dunbar and Alice Ruth Moore New York Univ Pr?Eleanor Alexander? The Juan Pardo Expeditions Exploration Of The Carolinas And Tennessee, 1566-1568 (Classics in Southeastern Archaeology) Univ of Alabama Pr (Tx)?David G. Moore?Robin A., Jr. Beck?Christopher B. Rodning?Charles M. Hudson?Paul E. Hoffman? To Live Is Christ Embracing the Passion of Paul Broadman & Holman Pub?Beth Moore?Dale McCleskey? Clear to Win S Paul?Ann Moore?Ann Martin? Organic Voice Disorders (Foundations of Speech Pathology) Prentice Hall?George Paul Moore? Roger Moore WH Allen?Paul Donovan? Moore Weidenfeld & N?Paul Levy? The New Penguin Guide to the Law Penguin Books Ltd?Stuart Baker?Paul Butt?John Cahill?Paul Elmhirst?Murray Fairclough?Phillipa Grant?Ashley Holmes?Helen Howard?Peter Madge?John Moore? Moore (Oxford Paperbacks) Oxford Paperbacks?Paul Levy? 100 Boggle Puzzles (Improve Your Game) Andre Deutsch Ltd?Paul Lamford?John Moore?Joyce Cansfield? His Brother's Blood Speeches and Writings, 1838-64 Univ of Illinois Pr?Paul Simon?Owen Lovejoy?William F. Moore?Jane Ann Moore? Introductory Statistics for Environmentalists (Environmental Management, Science Technology) Prentice Hall?Paul MooreJohn Cobby? A Capital Collection Houghton Hall and the Hermitage (Paul Mellon Centre for Studies) Paul Mellon Centre for Studies in British Art?Larissa Dukelskaya?Andrew Moore John Paul II A Personal Portrait of the Pope and the Man St Martins Pr?Raymond L. Flynn?Robin Moore?Jim Vrabel? Poetry in the Museums of Modernism Yeats, Pound, Moore, Stein Univ of Michigan Pr?Catherine Paul? John Paul II A Personal Portrait of the Pope and the Man St Martins Pr?Raymond L. Flynn?Robin Moore?Jim Vrabel? Animal Sonar Processes and Performance (Nato a S I Series Series a, Life Sciences) Plenum Pub Corp?Paul E. Nachtigall?Patrick W. B. Moore? Lyrics of Sunshine and Shadow The Courtship and Marriage of Paul Laurence Dunbar and Alice Ruth Moore Plume?Eleanor Alexander? Trial Advocacy Inferences, Arguments and Techniques (American Casebook Series) West Group?Albert J. 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Rectification ('Justification') in Paul, in Historical Perspective and in the English Bible God's Gift of Right Relationship Paul's Doctrine of Rectification in Its Historical Development (Studies in the Bible and Early Christianity) Edwin Mellen Pr?Richard Kingsley Moore? AMARC Touchdown?Peter Charles Moore?Paul Nigel Coppin? Ancient Israelite Religion Essays in Honor of Frank Moore Cross Fortress Pr?Patrick D. Miller?Paul D. Hanson?S. Dean McBride? Temple Moore Paul Watkins?Geoffrey Brandwood? Presences A Bishop's Life in the City Cowley Pubns?Paul Moore Contemplating an Iceberg University of Hertfordshire Press?Sanna Moore?Suzanne O Shea?Paul Muldoon? CD-ROM Library Information Technology Centre?Angela A. Gunn?Caroline Moore?Paul F. Burton? Arte Misol Eros Press?Diane M. Moore?Maurice Boots?Paul John Kilshaw? Thecla Merlo St.Paul Multimedia Productions?Domenico Agasso?John Moore? Soccer the Modern Way S Paul?Bobby Moore? Strange Bliss Stanley Paul & Co Ltd?Peter Moore Smith? Fighting For America Black Soldiers--the Unsung Heroes Of World War II One World?Christopher Paul Moore? Book of Soccer S Paul?Bobby Moore? Environmental Design Research Directions Process and Prospects Praeger Pub?Gary T. Moore?D. Paul Tuttle?Sandra C. Howell? Gesellschaftstanz Alex Moore?Paul. Krebs? Kritik der reinen Toleranz. Suhrkamp Verlag KG?Robert Paul Wolff?Barrington Moore?Herbert Marcuse? Spss Guide for Introduction to the Practice of Statistics Version 11 W H Freeman & Co (Sd)?Paul Stephenson?Neal Rogness?Patricia Stephenson?David S. Moore? Disguised Word Bks.?Pat Moore?Charles Paul Conn? Nondestructive Testing Handbook Special Nondestructive Testing Methods (Nondestructive Testing Handbook, V.9) Amer Society for Nondestructive?Roderick K. Stanley?Patrick O. Moore?Paul McIntire? Italian Herb Cooking Richboro Pr?Lolita D. Moore?Paul Deigendesch?Yvonne Reday? The Night Before Christmas Collins?Clement C. Moore?Paul Johnson? Silent Arrows Paul Tremaine Graphics & Pub?Earl F. 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ATTO SECONDO Scena Prima （Le cime del monte Liceo） ▼ENDIMIONE▲ Erme, e solinghe cime, ch al cerchio m accostate delle luci adorate, in voi di novo imprime, contemplator segreto Endimione l orme. Le variate forme della stella d argento lusingando, e baciando, di chiare notti tra i sereni orrori, sulla terra, e sui sassi i suoi splendori. Lucidissima face di Tessaglia le note non sturbino i tuoi giri, e la tua pace. Dagl atlantici monti traboccando le rote, Febo, del carro ardente, omai tramonti. Il mio lume nascente illuminando il cielo più bello a me si mostri, e risplendente. Astro mio vago, e caro a tuoi raggi di gelo, nel petto amante a nutrir fiamme imparo. Qual sopor repentino a dolce oblio m invita su quest erta romita? Sonno cortese, sonno s alle lusinghe tue pronto mi rendo. Deh fa tu, che dormendo amorosi fantasmi mi felicitin l anima svegliata. Baciatrice baciata mandan in sen la diva mia crudele, e stringendo i tuoi lacci, in dolci inganni fa che morto in tal guisa io viva gl anni. （Endimion dorme） Scena Seconda ▼DIANA▲ Candidi corridori, cervi veloci, al vostro moto, al corso sul vertice Liceo si ponga il morso. Ascender qui ved io il pastorello mio, e qui solinga in solitario loco per arder al mio foco, non per scoprirmi amante mi son condotta. Oh Cinzia fortunata, il gemino Levante, del tuo sole, che cerchi, ecco che dorme. Ammirabili forme, ignota adoratrice vi potrò pur, felice vagheggiar, contemplarvi, senza rossor baciarvi. Ma che parli de baci o casta Delia? Ah taci. Ohimè, che mi procura amareggiare il soave pensiero? Io vo baciare. Oh aliti odorati, spiran d Arabia i fiati queste labbra di rose, e aure preziose m invia, più, che m accosto il cinnamomo, il costo. ▼ENDIMIONE▲ Bella quanto crudele non fuggirai più no dal tuo fedele. ▼DIANA▲ Sogna, e mi stringe al petto; deh mai non si svegliasse, e il mio divin restasse incatenato sempre al suo diletto. ▼ENDIMIONE▲ Viso eterno ti bacio, e godo, e sento nel baciarti, mia dèa, dolce il tormento. ▼DIANA▲ Non posso distaccarmi, temo ch egli si desti. ▼ENDIMIONE▲ Che prodigi son questi? ▼DIANA▲ Ohimè, ch ei s è svegliato. ▼ENDIMIONE▲ Oh dio, che dormo ancora? Del sonno supplicato l illusioni amabili anco abbraccio? Tormentoso mio laccio chi mi ti rende amorosetto, e pio? Sacrilego son io che le menti del cielo, e stringo e tocco, ma di goder cotanta gloria parmi, che prima di lasciarle io vo dannarmi. ▼DIANA▲ Rallenta questi nodi mio conforto. ▼ENDIMIONE▲ Mio che? ▼DIANA▲ Ardor, mio foco. ▼ENDIMIONE▲ Ohimè m uccide la dolcezza. ▼DIANA▲ Lasciami mia bellezza, e già, che amor sagace nel tuo seno mi pose paleso la mia face, ti confesso la piaga. ▼ENDIMIONE▲ Ah diva Artemia, e vaga, formano le tue fiamme il rogo alla mia vita, moro alla tua ferita. ▼DIANA▲ Vivi, vivi, a nostri amori. Rasserena la tua pena raddoppiando i nati ardori. Vivi, vivi a nostri amori. ▼ENDIMIONE▲ Moribondo, eccomi sano. Tristo duolo ratto a volo da me fugge, e va lontano. Moribondo eccomi sano. ▼DIANA▲ Partir devo. Addio rimanti. ▼ENDIMIONE▲ Tu mi lasci? Io riedo a pianti ▼DIANA▲ Così chiede il mio decoro. ▼ENDIMIONE▲ Torna indietro, o mio martoro. ▼DIANA▲ Breve la lontananza sarà, rasciuga gl occhi o mia speranza. ▼ENDIMIONE▲ Quando più ti rivedrò? ▼DIANA▲ Presto, presto mio ben lieto rimanti, io vo . ▼ENDIMIONE▲ Teco l anima vien. ▼DIANA▲ Mio sole. ▼ENDIMIONE▲ Cor mio. ▼DIANA, ENDIMIONE▲ Addio. Scena Terza ▼IL SATIRINO▲ Alfin la tanto rigida, quella, che delle vergini imperatrice, e satrapa è come l altre femmine soggette al senso fragile; e che sempre s appigliano al male, al peggio, al pessimo. Pane, ch è un dio sì nobile costei ripudia, e gettasi nelle braccia d un rustico. Se gl occhi lo spettacolo veduto non avessero mai non avrei credutolo. Voglio avvisar il languido, ei vi porrà rimedio. Chi crede a femmina nell acque semina; e prima svellere potrà man tenera antica rovere, che mai commuovere suo cor, che genera fede mutabile. Chi crede a femmina mai sempre instabile nell acque semina. Scena Quarta （La pianura dell Erimanto） ▼GIUNONE▲ Dalle gelose mie cure incessanti lacera, stimolata, a questo suolo de miei pomposi augelli io piombo il volo, fatti del mio furor compagni erranti. Stupri novelli a sussurrare intesi. Abbandonata la celeste corte, ignoto qui dimora il mio consorte, chiuso in stranieri, e indecenti arnesi. Sempre per ingannar fanciulle belle, novo Proteo, si cangia in forme nove, aspetto un dì, che questo mio gran Giove mi conduca le drude in sulle stelle. Scena Quinta ▼CALISTO▲ Sgorgate anco sgorgate fontane dolorose, luci mie lagrimose quell umor, che dal cor ascendendo a voi se n vien. M è sparito in un balen il conforto, restò morto quel piacer, che già gustò da dèa pia l alma mia, sin, che vivo io piangerò. ▼GIUNONE▲ Che lagrime son queste o bella faretrata? ▼CALISTO▲ Piango mia sorte ingrata. ▼GIUNONE▲ Le tue noie funesti a me scopri, che posso, moglie del gran motore, sanarti ogni dolore. ▼CALISTO▲ Oh reina del cielo scusa l irriverente io non conobbi la tua divinità nel terreo velo, Cinzia, che seguo, e onoro mi scaccia dal suo coro. ▼GIUNONE▲ La cagion? ▼CALISTO▲ Mi condusse in antro dilettoso, e mi baciò più fiate come se stato fosse il vago, il sposo. Le mie labbra baciate le sue baciavo a gara, stretta dalle sue braccia. Or ella nega il bacio, e me discaccia. ▼GIUNONE▲ Tocca la terra appena, temo d aver trovata dell adultero mio la nova amata. Altro, che baci, di , v intervenne, vi fu tra la tua Delia, e te? ▼CALISTO▲ Un certo dolce che, che dir non te l saprei. ▼GIUNONE▲ Non più, non più. Le forme della figlia, uso alla frode, prese il mio buon consorte per appagar il perfido appetito, grazioso marito. ▼CALISTO▲ Deh se mai non discenda il tuo Giove del ciel per ingannare le vergini innocenti, raddolcite, e clementi di Diana alterata rendimi l ire, e fa ch omai placata giri ver me le luci sue serene. Ecco appunto, che viene. ▼GIUNONE▲ Certa son dell inganno, in quelle forme è Giove. A Mercurio il conosco, al scaltro suo messaggio, al ladro accorto, che fabbro del mio torto ha per me sempre nella bocca il tosco. Scena Sesta ▼GIOVE▲ （in Diana, a Mercurio） Esprimerti non posso il goduto piacere. Tal lassù nelle sfere, e nelle glorie mie no l finisco, no l provo. Io, che regalo, e meno i cerchi erranti, e che sostengo il mondo, con diletto giocondo, ben che nell operar sempre indefesso, con le fatture mie ricreo me stesso. ▼MERCURIO▲ Tu non dovevi o facitor sovrano, già, che sì ti diletti de generati aspetti indipendente far l arbitrio umano. Se fosse a te soggetto chi vive in libertade, senza tante mutanze, e tanti inganni, di sembianze, e di panni, godresti ogni beltade. ▼GIUNONE▲ Oh consiglio prudente, esser non può costui più miscredente. ▼CALISTO▲ （A Giunone） Alta regina, io voglio pria, che per me la tua bontà s impieghi in suppliche, ed in preghi provar s è la mia diva anco di scoglio. ▼GIUNONE▲ Troverai placidetta, va pur, la tua diletta. ▼GIOVE▲ （in Diana） Calisto anima mia? ▼GIUNONE▲ O sferze, o gelosia. ▼CALISTO▲ Mio conforto, mia vita! ▼GIOVE▲ （in Diana） Mia dolcezza infinita! ▼CALISTO▲ Mio ristoro. ▼GIOVE▲ （in Diana） Mio martoro. ▼CALISTO▲ Mio sospiro. ▼GIOVE▲ （in Diana） Mio respiro. ▼CALISTO▲ Mio desio. ▼GIOVE▲ （in Diana） Onde vieni? ▼CALISTO▲ A te ben mio. ▼MERCURIO▲ Di dolci parolette lasciva melodia. ▼GIUNONE▲ O sferze, o gelosia. ▼GIOVE▲ （in Diana） Dove dall urna sua scaturisce il Ladone i suoi cristalli vanne, vanne mia cara, e di novo prepara la bocca a guerreggiar co miei coralli, io tosto là verrò. ▼CALISTO▲ Rapida me ne vo. Ma chi è costui, che ti risiede appresso? ▼GIOVE▲ （in Diana） Del mio buon padre il messo. ▼CALISTO▲ Volea, poch è, facondo farmi preda di Giove, ma resa sorda a lusinghieri inviti furo lasciati ambo da me scherniti. Eccelsa imperatrice, la cagion non le chiesi del procelloso nembo, e del tranquillo, li sdegni ha la mia dèa placidi resi; tutta fasto, in contento il cor distillo. ▼GIUNONE▲ Vo , che tu cangi presto quel tuo lieto in funesto. Scena Settima ▼GIOVE▲ （in Diana） Trar da quelle vaghezze bramo Cillenio mio dolcezze nove. ▼MERCURIO▲ Giunon, Giunone, o Giove. ▼GIUNONE▲ Mercurio? Ove lasciasti, teco quaggiù disceso a consolar la terra, il mio marito? ▼MERCURIO▲ Il ristoro adempito dell egra madre accesa, ritorno dell Olimpo agl alti nidi. ▼GIUNONE▲ Di là vengo, né l vidi. Forse, ch ei t ha ingannato, e deviando da già presi voli, tra le selve celato, amator fraudolente deve, deve ingannar ninfa innocente. ▼GIOVE▲ （in Diana） Qualche notizia ha certo della mia dolce sorte la gelosa consorte. ▼MERCURIO▲ Sempre maligno, e gelido sospetto ti tiranneggia il petto. ▼GIUNONE▲ Porge poca credenza l esperienza mia al dio della bugia. Ma voi celeste, o vergine matrona, che fate qui con ladri, e con mezzani? Accoppiamenti strani, l onestade vid io con la lascivia. E che volete trivia che si dica di voi? Che lingua dotta, con retorica rea v abbia corrotta? Lo discacci di qua la vostra castità. ▼GIOVE▲ （in Diana） Non può macchia, o sozzura render nera mia fama, e farla impura. Senza oscurarmi l onorato grido poss io conversar l ore con Venere, e d amore. ▼GIUNONE▲ E baciar le donzelle. ▼MERCURIO▲ （fra sè） È scoperta la frode, e della frode il fabbro. ▼GIOVE▲ （in Diana） Non è negato il bacio a casto labbro, bocca pura, e pudica può baciar senza biasmo, la verginella amica. ▼GIUNONE▲ Sì, ma negl antri lecito non gl è condur le semplicette, e farle poi un certo dolce che, come fatto gustare gl avete voi. ▼MERCURIO▲ （fra sè） Lo diss io. ▼GIOVE▲ （in Diana） Giuno, Giuno ove trascorre la lingua disonesta? Esprimi più modesta concetti degni dell udito mio, o la selva abbandona, ove solo le voci casti il eco risuona. ▼GIUNONE▲ Non v alterate no, triforme lascivetta i vostri vezzi io so; e crederei, che Giove sotto quelle sembianze, scordato il firmamento, errasse per le selve a lussi intento. Ma fatto continente più non segue, od apprezza la caduca bellezza; e poi d averlo visto afferma, attesta quel suo buon messaggero, volar al trono del sublime impero. Orsù voglio lasciarvi, né importunarvi più. Dentro li spechi nettare più soave amor v arrechi. Scena Ottava ▼GIOVE▲ （in Diana） Chi condusse costei dal cielo a investigare i gusti miei? ▼MERCURIO▲ La gelosia, che vede con cento lumi, e cento ch agile come il vento penetra il chiuso, e il tutto osserva, e crede. ▼GIOVE▲ （in Diana） Ululi, frema, e strida, qual belva inferocita, a gl amorosi torti la moglie ingelosita, non farà mai, che lasci i miei conforti. ▼MERCURIO, GIOVE▲ È spedito quel marito, che regolar le voglie si lascia dalla moglie. Con quello, che piace si smorzi la face del nostro appetito. E poscia il rigore accheti il rumore. È spedito quel marito, che regolar le voglie si lascia dalla moglie. Scena Nona ▼ENDIMIONE▲ Cor mio, che vuoi tu? Che speri, che brami, che chiedi di più? Più lieto di te, ch il cielo baciasti in terra non è. Cor mio, più lieto di te, ch il cielo baciasti in terra non è. ▼GIOVE▲ （in Diana） Mercurio, che disfoga in amorosi carmi il chiuso ardore? ▼MERCURIO▲ Delle pelasge selve l ornamento, l onore. Pastor, che non di belve vago, o di pascolar gregge, ed armenti, con lodevoli studi vuol che l ingegno sudi in specolar del ciel gl astri lucenti. ▼ENDIMIONE▲ O splendida mia dèa, felicità dell alma, mia fortuna, mia calma. Dal mio Liceo felice, ove, mercede tua, lasciai la pena ti trovo, sceso appena? Il core amor ringrazia, e benedice. Ma chi è colui, ch è teco? Ohimè fiero tormento nato da gelosia nel petto io sento. ▼GIOVE▲ （in Diana） Cinzia fa poi la casta, e pur anch ella ha di segreti amanti. ▼MERCURIO▲ Questi falsi sembianti, con gl arnesi mentiti signor deponi, che di vaghe invece troverai di mariti. Scena Decima ▼IL SATIRINO▲ Se tu no l credi, vedila di novo unita all emulo, quell agreste, ch accennoti il drudo è di Trigemina. ▼PANE▲ Scellerato, dai vincoli stretto di questi muscoli non fuggirai le Eumenide del doglioso rammarico, ch in sen per te mi pullula. ▼ENDIMIONE▲ Lasciami, chi t offese? Ch ingiuria t ho fatt io o semicapro dio? ▼GIOVE▲ （in Diana） Qual furia agita Pane? ▼PANE▲ Ecco il tuo vago o perfida, incatenato, e fattomi prigion da fato prospero sugl occhi tuoi, ch aborrono la figurata, e mistica mia mostruosa immagine. Quei livori, che vedonsi nelle tue guance candide sono pur le memorie de baci soavissimi, ch i labbri tuoi mi dierono. Or perché sprezzi, e fuggimi incostante, e contraria? Ahi, che nota è l origine dell amor tuo volubile. Costui ch in pianto stillasi è del mio mal la causa; ma far di lui spettacolo funesto e miserabile voglio a quei rai, che, fulmini fatti per me, m uccidono. ▼MERCURIO▲ Da questi intrichi usciamo, partiam, Giove partiamo. ▼GIOVE▲ （in Diana） Satiro dispettoso uccidi pur, carnefice, a tua voglia, non avrai mai salute all aspra doglia. ▼ENDIMIONE▲ Dove vai diva? Aita. Parti? Perdo la vita. Scena Undicesima ▼PANE, SILVANO▲ Fermati o mobile. A par del turbine, così tu l anima lasci all arbitrio di cor, ch infuria? D acerba ingiuria feroci vendici quel duol, ch’annidassi nel petto lacero si estirpi, e uccidasi, con l altrui strazio, di vendetta il desio se n resti sazio. ▼ENDIMIONE▲ Oh dio così abbandoni sul margo del sepolcro il tuo fedele? Oh dio così crudele mi lasci agonizzante? Mira almen la mia morte, amata amante. ▼PANE, SILVANO, IL SATIRINO▲ Miserabile, che credevi a donna instabile? Variabile è la tua fede, e detestabile. Miserabile, che credevi a donna instabile? ▼ENDIMIONE▲ Amor, se non m ascolta la dispietata mia, qui drizza l ali, difendami i tuoi strali. ▼PANE, SILVANO, IL SATIRINO▲ Miserabile, dunque speri in dio mutabile? Egl è inabile, né ti sente, arcier vagabile. Miserabile, dunque speri in dio mutabile? ▼ENDIMIONE▲ Uccidetemi dunque dalle speranze mie povero derelitto; tolga il martir la morte ad un afflitto. ▼PANE▲ Poiché morir desideri vo , che tu formi gl aliti per eternarti il flebile privo di libertà. ▼ENDIMIONE▲ O dèi, che crudeltà. ▼PANE, SILVANO, ENDIMIONE▲ Pazzi quei, ch in Amor credono. Son baleni che spariscono. Le dolcezze e in fiel forniscono suoi piaceri, o mai si vedono. Pazzi quei, ch in amor credono. ATTO SECONDO Scena Prima (Le cime del monte Liceo) ENDIMIONE Erme, e solinghe cime, ch al cerchio m accostate delle luci adorate, in voi di novo imprime, contemplator segreto Endimione l orme. Le variate forme della stella d argento lusingando, e baciando, di chiare notti tra i sereni orrori, sulla terra, e sui sassi i suoi splendori. Lucidissima face di Tessaglia le note non sturbino i tuoi giri, e la tua pace. Dagl atlantici monti traboccando le rote, Febo, del carro ardente, omai tramonti. Il mio lume nascente illuminando il cielo più bello a me si mostri, e risplendente. Astro mio vago, e caro a tuoi raggi di gelo, nel petto amante a nutrir fiamme imparo. Qual sopor repentino a dolce oblio m invita su quest erta romita? Sonno cortese, sonno s alle lusinghe tue pronto mi rendo. Deh fa tu, che dormendo amorosi fantasmi mi felicitin l anima svegliata. Baciatrice baciata mandan in sen la diva mia crudele, e stringendo i tuoi lacci, in dolci inganni fa che morto in tal guisa io viva gl anni. (Endimion dorme) Scena Seconda DIANA Candidi corridori, cervi veloci, al vostro moto, al corso sul vertice Liceo si ponga il morso. Ascender qui ved io il pastorello mio, e qui solinga in solitario loco per arder al mio foco, non per scoprirmi amante mi son condotta. Oh Cinzia fortunata, il gemino Levante, del tuo sole, che cerchi, ecco che dorme. Ammirabili forme, ignota adoratrice vi potrò pur, felice vagheggiar, contemplarvi, senza rossor baciarvi. Ma che parli de baci o casta Delia? Ah taci. Ohimè, che mi procura amareggiare il soave pensiero? Io vo baciare. Oh aliti odorati, spiran d Arabia i fiati queste labbra di rose, e aure preziose m invia, più, che m accosto il cinnamomo, il costo. ENDIMIONE Bella quanto crudele non fuggirai più no dal tuo fedele. DIANA Sogna, e mi stringe al petto; deh mai non si svegliasse, e il mio divin restasse incatenato sempre al suo diletto. ENDIMIONE Viso eterno ti bacio, e godo, e sento nel baciarti, mia dèa, dolce il tormento. DIANA Non posso distaccarmi, temo ch egli si desti. ENDIMIONE Che prodigi son questi? DIANA Ohimè, ch ei s è svegliato. ENDIMIONE Oh dio, che dormo ancora? Del sonno supplicato l illusioni amabili anco abbraccio? Tormentoso mio laccio chi mi ti rende amorosetto, e pio? Sacrilego son io che le menti del cielo, e stringo e tocco, ma di goder cotanta gloria parmi, che prima di lasciarle io vo dannarmi. DIANA Rallenta questi nodi mio conforto. ENDIMIONE Mio che? DIANA Ardor, mio foco. ENDIMIONE Ohimè m uccide la dolcezza. DIANA Lasciami mia bellezza, e già, che amor sagace nel tuo seno mi pose paleso la mia face, ti confesso la piaga. ENDIMIONE Ah diva Artemia, e vaga, formano le tue fiamme il rogo alla mia vita, moro alla tua ferita. DIANA Vivi, vivi, a nostri amori. Rasserena la tua pena raddoppiando i nati ardori. Vivi, vivi a nostri amori. ENDIMIONE Moribondo, eccomi sano. Tristo duolo ratto a volo da me fugge, e va lontano. Moribondo eccomi sano. DIANA Partir devo. Addio rimanti. ENDIMIONE Tu mi lasci? Io riedo a pianti DIANA Così chiede il mio decoro. ENDIMIONE Torna indietro, o mio martoro. DIANA Breve la lontananza sarà, rasciuga gl occhi o mia speranza. ENDIMIONE Quando più ti rivedrò? DIANA Presto, presto mio ben lieto rimanti, io vo . ENDIMIONE Teco l anima vien. DIANA Mio sole. ENDIMIONE Cor mio. DIANA, ENDIMIONE Addio. Scena Terza IL SATIRINO Alfin la tanto rigida, quella, che delle vergini imperatrice, e satrapa è come l altre femmine soggette al senso fragile; e che sempre s appigliano al male, al peggio, al pessimo. Pane, ch è un dio sì nobile costei ripudia, e gettasi nelle braccia d un rustico. Se gl occhi lo spettacolo veduto non avessero mai non avrei credutolo. Voglio avvisar il languido, ei vi porrà rimedio. Chi crede a femmina nell acque semina; e prima svellere potrà man tenera antica rovere, che mai commuovere suo cor, che genera fede mutabile. Chi crede a femmina mai sempre instabile nell acque semina. Scena Quarta (La pianura dell Erimanto) GIUNONE Dalle gelose mie cure incessanti lacera, stimolata, a questo suolo de miei pomposi augelli io piombo il volo, fatti del mio furor compagni erranti. Stupri novelli a sussurrare intesi. Abbandonata la celeste corte, ignoto qui dimora il mio consorte, chiuso in stranieri, e indecenti arnesi. Sempre per ingannar fanciulle belle, novo Proteo, si cangia in forme nove, aspetto un dì, che questo mio gran Giove mi conduca le drude in sulle stelle. Scena Quinta CALISTO Sgorgate anco sgorgate fontane dolorose, luci mie lagrimose quell umor, che dal cor ascendendo a voi se n vien. M è sparito in un balen il conforto, restò morto quel piacer, che già gustò da dèa pia l alma mia, sin, che vivo io piangerò. GIUNONE Che lagrime son queste o bella faretrata? CALISTO Piango mia sorte ingrata. GIUNONE Le tue noie funesti a me scopri, che posso, moglie del gran motore, sanarti ogni dolore. CALISTO Oh reina del cielo scusa l irriverente io non conobbi la tua divinità nel terreo velo, Cinzia, che seguo, e onoro mi scaccia dal suo coro. GIUNONE La cagion? CALISTO Mi condusse in antro dilettoso, e mi baciò più fiate come se stato fosse il vago, il sposo. Le mie labbra baciate le sue baciavo a gara, stretta dalle sue braccia. Or ella nega il bacio, e me discaccia. GIUNONE Tocca la terra appena, temo d aver trovata dell adultero mio la nova amata. Altro, che baci, di , v intervenne, vi fu tra la tua Delia, e te? CALISTO Un certo dolce che, che dir non te l saprei. GIUNONE Non più, non più. Le forme della figlia, uso alla frode, prese il mio buon consorte per appagar il perfido appetito, grazioso marito. CALISTO Deh se mai non discenda il tuo Giove del ciel per ingannare le vergini innocenti, raddolcite, e clementi di Diana alterata rendimi l ire, e fa ch omai placata giri ver me le luci sue serene. Ecco appunto, che viene. GIUNONE Certa son dell inganno, in quelle forme è Giove. A Mercurio il conosco, al scaltro suo messaggio, al ladro accorto, che fabbro del mio torto ha per me sempre nella bocca il tosco. Scena Sesta GIOVE (in Diana, a Mercurio) Esprimerti non posso il goduto piacere. Tal lassù nelle sfere, e nelle glorie mie no l finisco, no l provo. Io, che regalo, e meno i cerchi erranti, e che sostengo il mondo, con diletto giocondo, ben che nell operar sempre indefesso, con le fatture mie ricreo me stesso. MERCURIO Tu non dovevi o facitor sovrano, già, che sì ti diletti de generati aspetti indipendente far l arbitrio umano. Se fosse a te soggetto chi vive in libertade, senza tante mutanze, e tanti inganni, di sembianze, e di panni, godresti ogni beltade. GIUNONE Oh consiglio prudente, esser non può costui più miscredente. CALISTO (A Giunone) Alta regina, io voglio pria, che per me la tua bontà s impieghi in suppliche, ed in preghi provar s è la mia diva anco di scoglio. GIUNONE Troverai placidetta, va pur, la tua diletta. GIOVE (in Diana) Calisto anima mia? GIUNONE O sferze, o gelosia. CALISTO Mio conforto, mia vita! GIOVE (in Diana) Mia dolcezza infinita! CALISTO Mio ristoro. GIOVE (in Diana) Mio martoro. CALISTO Mio sospiro. GIOVE (in Diana) Mio respiro. CALISTO Mio desio. GIOVE (in Diana) Onde vieni? CALISTO A te ben mio. MERCURIO Di dolci parolette lasciva melodia. GIUNONE O sferze, o gelosia. GIOVE (in Diana) Dove dall urna sua scaturisce il Ladone i suoi cristalli vanne, vanne mia cara, e di novo prepara la bocca a guerreggiar co miei coralli, io tosto là verrò. CALISTO Rapida me ne vo. Ma chi è costui, che ti risiede appresso? GIOVE (in Diana) Del mio buon padre il messo. CALISTO Volea, poch è, facondo farmi preda di Giove, ma resa sorda a lusinghieri inviti furo lasciati ambo da me scherniti. Eccelsa imperatrice, la cagion non le chiesi del procelloso nembo, e del tranquillo, li sdegni ha la mia dèa placidi resi; tutta fasto, in contento il cor distillo. GIUNONE Vo , che tu cangi presto quel tuo lieto in funesto. Scena Settima GIOVE (in Diana) Trar da quelle vaghezze bramo Cillenio mio dolcezze nove. MERCURIO Giunon, Giunone, o Giove. GIUNONE Mercurio? Ove lasciasti, teco quaggiù disceso a consolar la terra, il mio marito? MERCURIO Il ristoro adempito dell egra madre accesa, ritorno dell Olimpo agl alti nidi. GIUNONE Di là vengo, né l vidi. Forse, ch ei t ha ingannato, e deviando da già presi voli, tra le selve celato, amator fraudolente deve, deve ingannar ninfa innocente. GIOVE (in Diana) Qualche notizia ha certo della mia dolce sorte la gelosa consorte. MERCURIO Sempre maligno, e gelido sospetto ti tiranneggia il petto. GIUNONE Porge poca credenza l esperienza mia al dio della bugia. Ma voi celeste, o vergine matrona, che fate qui con ladri, e con mezzani? Accoppiamenti strani, l onestade vid io con la lascivia. E che volete trivia che si dica di voi? Che lingua dotta, con retorica rea v abbia corrotta? Lo discacci di qua la vostra castità. GIOVE (in Diana) Non può macchia, o sozzura render nera mia fama, e farla impura. Senza oscurarmi l onorato grido poss io conversar l ore con Venere, e d amore. GIUNONE E baciar le donzelle. MERCURIO (fra sè) È scoperta la frode, e della frode il fabbro. GIOVE (in Diana) Non è negato il bacio a casto labbro, bocca pura, e pudica può baciar senza biasmo, la verginella amica. GIUNONE Sì, ma negl antri lecito non gl è condur le semplicette, e farle poi un certo dolce che, come fatto gustare gl avete voi. MERCURIO (fra sè) Lo diss io. GIOVE (in Diana) Giuno, Giuno ove trascorre la lingua disonesta? Esprimi più modesta concetti degni dell udito mio, o la selva abbandona, ove solo le voci casti il eco risuona. GIUNONE Non v alterate no, triforme lascivetta i vostri vezzi io so; e crederei, che Giove sotto quelle sembianze, scordato il firmamento, errasse per le selve a lussi intento. Ma fatto continente più non segue, od apprezza la caduca bellezza; e poi d averlo visto afferma, attesta quel suo buon messaggero, volar al trono del sublime impero. Orsù voglio lasciarvi, né importunarvi più. Dentro li spechi nettare più soave amor v arrechi. Scena Ottava GIOVE (in Diana) Chi condusse costei dal cielo a investigare i gusti miei? MERCURIO La gelosia, che vede con cento lumi, e cento ch agile come il vento penetra il chiuso, e il tutto osserva, e crede. GIOVE (in Diana) Ululi, frema, e strida, qual belva inferocita, a gl amorosi torti la moglie ingelosita, non farà mai, che lasci i miei conforti. MERCURIO, GIOVE È spedito quel marito, che regolar le voglie si lascia dalla moglie. Con quello, che piace si smorzi la face del nostro appetito. E poscia il rigore accheti il rumore. È spedito quel marito, che regolar le voglie si lascia dalla moglie. Scena Nona ENDIMIONE Cor mio, che vuoi tu? Che speri, che brami, che chiedi di più? Più lieto di te, ch il cielo baciasti in terra non è. Cor mio, più lieto di te, ch il cielo baciasti in terra non è. GIOVE (in Diana) Mercurio, che disfoga in amorosi carmi il chiuso ardore? MERCURIO Delle pelasge selve l ornamento, l onore. Pastor, che non di belve vago, o di pascolar gregge, ed armenti, con lodevoli studi vuol che l ingegno sudi in specolar del ciel gl astri lucenti. ENDIMIONE O splendida mia dèa, felicità dell alma, mia fortuna, mia calma. Dal mio Liceo felice, ove, mercede tua, lasciai la pena ti trovo, sceso appena? Il core amor ringrazia, e benedice. Ma chi è colui, ch è teco? Ohimè fiero tormento nato da gelosia nel petto io sento. GIOVE (in Diana) Cinzia fa poi la casta, e pur anch ella ha di segreti amanti. MERCURIO Questi falsi sembianti, con gl arnesi mentiti signor deponi, che di vaghe invece troverai di mariti. Scena Decima IL SATIRINO Se tu no l credi, vedila di novo unita all emulo, quell agreste, ch accennoti il drudo è di Trigemina. PANE Scellerato, dai vincoli stretto di questi muscoli non fuggirai le Eumenide del doglioso rammarico, ch in sen per te mi pullula. ENDIMIONE Lasciami, chi t offese? Ch ingiuria t ho fatt io o semicapro dio? GIOVE (in Diana) Qual furia agita Pane? PANE Ecco il tuo vago o perfida, incatenato, e fattomi prigion da fato prospero sugl occhi tuoi, ch aborrono la figurata, e mistica mia mostruosa immagine. Quei livori, che vedonsi nelle tue guance candide sono pur le memorie de baci soavissimi, ch i labbri tuoi mi dierono. Or perché sprezzi, e fuggimi incostante, e contraria? Ahi, che nota è l origine dell amor tuo volubile. Costui ch in pianto stillasi è del mio mal la causa; ma far di lui spettacolo funesto e miserabile voglio a quei rai, che, fulmini fatti per me, m uccidono. MERCURIO Da questi intrichi usciamo, partiam, Giove partiamo. GIOVE (in Diana) Satiro dispettoso uccidi pur, carnefice, a tua voglia, non avrai mai salute all aspra doglia. ENDIMIONE Dove vai diva? Aita. Parti? Perdo la vita. Scena Undicesima PANE, SILVANO Fermati o mobile. A par del turbine, così tu l anima lasci all arbitrio di cor, ch infuria? D acerba ingiuria feroci vendici quel duol, ch’annidassi nel petto lacero si estirpi, e uccidasi, con l altrui strazio, di vendetta il desio se n resti sazio. ENDIMIONE Oh dio così abbandoni sul margo del sepolcro il tuo fedele? Oh dio così crudele mi lasci agonizzante? Mira almen la mia morte, amata amante. PANE, SILVANO, IL SATIRINO Miserabile, che credevi a donna instabile? Variabile è la tua fede, e detestabile. Miserabile, che credevi a donna instabile? ENDIMIONE Amor, se non m ascolta la dispietata mia, qui drizza l ali, difendami i tuoi strali. PANE, SILVANO, IL SATIRINO Miserabile, dunque speri in dio mutabile? Egl è inabile, né ti sente, arcier vagabile. Miserabile, dunque speri in dio mutabile? ENDIMIONE Uccidetemi dunque dalle speranze mie povero derelitto; tolga il martir la morte ad un afflitto. PANE Poiché morir desideri vo , che tu formi gl aliti per eternarti il flebile privo di libertà. ENDIMIONE O dèi, che crudeltà. PANE, SILVANO, ENDIMIONE Pazzi quei, ch in Amor credono. Son baleni che spariscono. Le dolcezze e in fiel forniscono suoi piaceri, o mai si vedono. Pazzi quei, ch in amor credono. Cavalli,Francesco/La Calisto/III
https://w.atwiki.jp/clojurian/pages/13.html
Changes to Clojure in Version 1.1 = CONTENTS = 1 Deprecated and Removed Features 1.1 add-watcher, remove-watcher 1.2 add-classpath 1.3 ^ reader macro 1.4 clojure.parallel 1.5 clojure.lang.Repl, clojure.lang.Script 2 New Features in clojure.core 2.1 Primitive Array Generators 2.2 Casting to Primitive Arrays 2.3 Chunked Sequences 2.4 Futures 2.5 Promises 2.6 Futures vs. Promises 2.7 Transients 2.8 User-controlled Thread Bindings 2.9 Ref History 2.10 Function pre- and postconditions 2.11 Miscellaneous 3 New Namespaces 3.1 clojure.test 3.2 clojure.test.junit 3.3 clojure.stacktrace 3.4 clojure.walk 3.5 clojure.template 4 Closed Tickets = 1 Deprecated and Removed Features = == 1.1 add-watcher, remove-watcher == The functions add-watcher and remove-watcher are gone, but they can be implemented in terms of add-watch and remove-watch. add-watcherとremove-watcherは廃止されました、ただし、 これらはadd-watchとremove-watchを使って実装できます。 The difference is that a "watcher" was only activated when the watched reference changed to a *different* state, whereas a "watch" is activated whenever the reference *might* have changed state. 違いは、watcher系は観察対象の参照が「別の」状態に変更された時だけ、 アクティブになることです。 watch系は参照が変更「された」時にはいつでもアクティブになります。 Watches are still considered an experimental feature. watch系はまだ試験的な機能としての扱いです。 == 1.2 add-classpath == This function can not be made to work in many environments. Always use Java s built-in mechanisms to control the classpath. この機能はいろいろな環境で動作するようになっていません。 クラスパスを制御するにはJavaにビルトインされたメカニズムを 使ってください。 == 1.3 ^ reader macro == The ^ reader macro has been deprecated as a shortcut for meta in the hopes that it can eventually replace the #^ reader macro. ^リーダマクロは非推奨になりました。 最終的には#^リーダマクロによって置き換えることが望ましいです。 == 1.4 clojure.parallel == The clojure.parallel namespace has been deprecated. Eventually it will be replaced with a faster and more idiomatic alternative based on the JDK7 ForkJoin library. A preview of this work is already available in the par branch of Clojure. clojure.parallel名前空間は非推奨になりました。 最終的には、JDK7のForkJoinライブラリをベースにした、 より高速で正確なものに置き換わります。 この作業のプレビュー版は既にClojureのparブランチにあります。 == 1.5 clojure.lang.Repl, clojure.lang.Script == The launch classes clojure.lang.Repl and clojure.lang.Script are both deprecated in favor of clojure.main. Run clojure.main with the -h argument for the new command-line syntax. 起動用クラスであるclojure.lang.Replとclojure.lang.Script はどちらも非推奨とし、clojure.mainを優先します。 新しいコマンドライン引数を確認するには、-h引数を付けて clojure.mainを実行します。 = 2 New Features in clojure.core = == 2.1 Primitive Array Generators == (just like int-array, double-array) * boolean-array New * byte-array New * char-array New * short-array New == 2.2 Casting To Primitive Arrays == (just like ints, doubles) * booleans New * bytes New * chars New * shorts New == 2.3 Chunked Seqs == Some Clojure data structures now yield chunked seqs, which, in addition to satisfying the normal item-at-a-time seq interface, also support processing data sequentially by small blocks called chunks . This can provide greater efficiency by leveraging the structure of the data and amortizing the overhead of sequential access. Some of the sequence processing functions (like map and filter) are now chunk-aware and leverage this efficiency. Clojureのデータ構造のいくつかはチャンク化されたシーケンスを扱う ようになりました。 つまり、通常の一カ所1項目の順次インタフェースを満足した上で、 さらにデータを「チャンク」と呼ばれる小さなブロックに分け、 順次データを処理できるようになります。 データの構造を活用し、 順次アクセスのオーバーヘッドを解消することで、 大幅な効率向上ができます。 いくつかの順次処理関数(mapやfilterなど)はチャンク対応となり、 この効果を活用できます。 Consumption of chunked-seqs as normal seqs should be completely transparent. However, note that some sequence processing will occur up to 32 elements at a time. This could matter to you if you are relying on full laziness to preclude the generation of any non-consumed results. An interface to force single-item consumption of chunked seqs is still being designed. Please share any use cases where chunked processing has resulted in behavioral differences that matter to you on the Clojure Google group. 通常のシーケンスとしてチャンク化シーケンスを使用することは、 完全に透過的であるべきです。 しかし、いくつかの順次処理は同時に最大32要素までしか扱えません。 非消費型の結果を生成しない、完全遅延処理を期待している 場合は注意してください。 チャンク化インタフェースで、1項目消費を強制するインタフェース は現在設計中です。 チャンク化処理が別の振る舞いをする利用例を、Clojure Google グループで 共有しましょう 。 The following fns should be considered implementation details subject to change, but can be used for experimentation with building your own chunked-seq functions from scratch. See map and filter as examples. 以下のfnは変更の可能性がある、実装詳細として扱われるべきです。 ただし、あなた自身のチャンク化シーケンスを最初から作るときに 試験的に使用することができます。 mapやfilterを例としてみてください。 * chunk New * chunk-buffer New * chunk-append New * chunk-first New * chunk-rest New * chunk-next New * chunk-cons New * chunked-seq? New == 2.4 Futures == Futures represent asynchronous computations. They are a way to get code to run in another thread, and obtain the result. futureは非同期の計算を表現します。 これらは別のスレッドへのコードの受け渡しや結果の取得の方法となります。 * future New * future? New * future-done? New * future-cancel New * future-cancelled? New == 2.5 Promises == A promise is a synchronization construct that can be used to deliver a value from one thread to another. Until the value has been delivered, any attempt to dereference the promise will block. It thus enables dataflow-style programming. promiseは、あるスレッドから別のスレッドへ値を渡すときに使うことの出来る、 同期処理の構成要素です。 値が渡されるまで、promiseでのデリファレンスの試みはブロックされます。 これによりデータフロー型のプログラミングが可能になります。 * promise New * deliver New == 2.6 Futures vs. Promises == A future is associated with a computation, whereas a promise is just a handoff reference. futureは計算と関連しています。 promiseは参照のハンドオフでしかありません。 == 2.7 Transients == See http //clojure.org/transients * transient New * persistent! New * conj! New * assoc! New * dissoc! New * pop! New * disj! New == 2.8 User-Controlled Thread Bindings == * push-thread-bindings New * pop-thread-bindings New * get-thread-bindings New * with-bindings* New * with-bindings New * bound-fn* New * bound-fn New == 2.9 Ref History == * ref Updated * ref-history-count New * ref-min-history New * ref-max-history New == 2.10 Function pre- and postconditions == Functions support specifying runtime pre- and postconditions. 関数は実行時の事前条件、事後条件の指定をサポートします。 See http //clojure.org/special_forms == 2.11 Miscellaneous == * juxt New * import Now a macro form * assert Now with *assert* binding * slurp Now with encoding parameter * with-loading-context New = 3 New Namespaces = Complete documentation for all namespaces is in the source and API docs http //richhickey.github.com/clojure/ == 3.1 clojure.test == The test framework formerly known as clojure.contrib.test-is. == 3.2 clojure.test.junit == An extension to clojure.test for JUnit-style XML output. This enables using JUnit reporting tools with clojure.test. == 3.3 clojure.stacktrace == A few utility functions for printing Java stacktraces in a format that distinguishes between Clojure function calls and Java method calls. == 3.4 clojure.walk == A simple tree walker for transforming data structures. Similar in intent to clojure.zip, but less flexible. Useful when you want to call a function on every value in a complex, nested data structure. Includes some examples such as stringify-keys, which replaces all keywords in a map with strings, and macroexpand-all, a quick-and-dirty macroexpansion tester. Note macroexpand-all is NOT 100% correct, it just recursively tries to macroexpand a form; it does not correctly interpret special forms such as let. == 3.5 clojure.template == Macros that apply a "template expression" to a list of forms. Used to implement the "are" macro in clojure.test. = 4 Closed Tickets = http //www.assembla.com/spaces/clojure/tickets?milestone_id=93750 tickets_report_id=5
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Kinderopvang Kinderopvang is een verzamelterm voor verschillende mogelijkheden om kinderen op te vangen, op het moment dat deze bijvoorbeeld niet naar school gaan en hun ouders niet thuis zijn. kinderopvang は、子どもを保育するための様々な可能性をもった集合概念である。たとえば、学校に行かないが親が家にいないときなど。 Met kinderopvang worden in het spraakgebruik met name de formele vormen van opvang aangeduid, opvang waarvoor betaald moet worden. De informele vormen (gratis opvang door opa/oma/buurvrouw) vallen er meestal buiten. Voorbeelden van kinderopvang zijn een gastouder, een kinderdagverblijf (of "crèche") of na- en buitenschoolse opvang. Kinderopvang (Nederland) Kinderopvang is een verzamelterm voor verschillende mogelijkheden om kinderen in een georganiseerd verband een ontwikkelingsgericht aanbod te bieden op het moment dat ouders werken, studeren of als kinderen een taal- of ontwikkelingsachterstand hebben. Met kinderopvang worden de formele vormen van kinderopvangmogelijkheden aangeduid waarop de Kinderopvangtoeslag van kracht is. De informele vormen (gratis opvang door opa, oma of buurvrouw) vallen er buiten. Voorbeelden van formele kinderopvang zijn een gastouder, een kinderdagverblijf (of crèche) of voor-, na- en buitenschoolse opvang. In de Wet kinderopvang worden formele definities voor de verschillende vormen gegeven. [bewerken] Vormen van kinderopvang [bewerken] Kinderdagverblijf Een kinderdagverblijf verzorgt kinderopvang voor kinderen in de leeftijd van 0 tot 4 jaar. De kinderen worden verdeeld over groepen van maximaal 16 kinderen, afhankelijk van de leeftijd. De groepen kunnen horizontaal zijn (een groep per leeftijdscategorie, vaak een groep voor 0 tot 1½ en een groep voor 1½ tot 4) of verticaal (kinderen van alle leeftijden in een groep). Per groep zijn er minimaal twee pedagogische medewerkers. Er zijn ook kinderdagverblijven waar de grens tussen babygroep en peutergroep op 2 jaar ligt. [bewerken] Peuterspeelzaal Een peuterspeelzaal is een veel lossere vorm van kinderopvang. Eigenlijk valt ze buiten de regelingen van de kinderopvang (in Nederland). De financiering gebeurt niet volgens de Wet kinderopvang maar volgens de Wet maatschappelijke ondersteuning, die door de gemeente wordt uitgevoerd. De peuterspeelzaal is er voor 1 tot 4 dagdelen per week, en heeft minder het doel om in een groep de kinderen op te voeden en meer tot doel kinderen met elkaar te laten spelen. Vooruitlopend op de harmonisatiewet worden er al op enkele plaatsen in het land peuterspeelzalen omgevormd tot peuteropvang onder de Wet kinderopvang. De peuters worden dan langer opgevangen waardoor hun ouders de gelegenheid krijgen om betaald werk te vinden waardoor ze vervolgens recht hebben op de kinderopvangtoeslag. Hierdoor wordt peuteropvang in veel gevallen veel goedkoper dan de huidige peuterspeelzaal. Er komen kinderen tussen de 2 en 4 jaar. [bewerken] Gastouder Een gastouder is een ouder die kinderen van andere ouders opvangt tegen een vergoeding voor het dragen van de verantwoording voor de kinderen (het is dus geen loon). Gastouderbureaus kunnen verbonden zijn aan kinderopvangorganisaties, maar kunnen ook zelfstandig zijn. Ook gastouders moeten voldoen aan de Wet Kinderopvang. Voor het recht op kinderopvangtoeslag dient de gastouder en het gastouderbureau in het Landelijk Register Kinderopvang en Peuteropvang (LRKP) geregistreerd staan. In dit register staan de gastouders en gastouderbureaus die voldoen aan de wettelijke eisen. [bewerken] Naschoolse opvang De Naschoolse opvang (NSO), soms ook buitenschoolse opvang genoemd, is de opvang van kinderen na afloop van de school. De kinderen worden bij de school afgehaald en krijgen daarna een programma van activiteiten aangeboden, meestal tot ongeveer 6 uur, wanneer de ouders de kinderen op moeten halen. Naschoolse opvang is er voor de kinderen in de leeftijd van het basisonderwijs, van 4 tot 12 jaar, maar kinderen van 4 tot 9 voelen zich er meestal meer door aangesproken dan kinderen van 10 tot 12. Oudere kinderen vinden het aanbod te saai en willen zelf hun tijd indelen. [bewerken] Buitenschoolse opvang Buitenschoolse opvang (BSO), soms ook naschoolse opvang genoemd, is een verzamelnaam van alle professionele kinderopvang, geregeld voor schoolgaande kinderen buiten de schooltijden. Voor zowel de naschoolse opvang als de buitenschoolse opvang geldt dat deze een direct contact met de school dient te hebben. Er moet overleg plaatsvinden, zodat bijvoorbeeld ook opvang geboden kan worden op de studiedagen van het personeel in het basisonderwijs. De in het najaar van 2005 ingediende motie van Aartsen-Bos in het Nederlandse parlement wil de scholen verplichten om voor voldoende buitenschoolse/naschoolse opvang zorg te dragen. [bewerken] Voorschoolse opvang Voorschoolse opvang (VSO) is de opvang van kinderen voordat school begint. Vooral ouders die vroeg op de dag gaan werken maken gebruik van deze vorm van opvang. 早朝保育 早朝保育(VSO)は、学校が始まる前の子どもの保育である。早朝にはたらきにいく親は、この形の保育を利用する。 [bewerken] Tussenschoolse opvang Tussenschoolse opvang (TSO) is de opvang van kinderen tussen de middag. ランチタイム保育 ランチタイム保育(TSO) は昼間の間の保育である。 (学校は午前と午後と明確に分かれているので、その間の保育) [bewerken] Ouderparticipatiecrèche Een ouderparticipatiecrèche (crèche, kresj) wordt gevormd door een vereniging van ouders. In plaats van gediplomeerde pedagogische medewerkers leiden ouders de crèche. Er zijn als gevolg geen betaalde krachten waardoor de maandelijkse ouderbijdrage laag ligt. Per dagdeel draaien 2 ouders een dienst en maandelijks komen ze bij elkaar om te vergaderen en te klussen. Veel ouderparticipatiecrèches zijn officieel erkende kinderopvangcentra, waardoor ouders in aanmerking komen voor toeslagen[1] . [bewerken] Ouderparticipatie BSO De ouderparticipatie BSO is een vorm van buitenschoolse opvang en werkt volgens de principes van de ouderparticipatiecrèche, echter gaat het hier om kinderen van 4 tot 12 jaar en gaat het vaak om naschoolse opvang, dus niet om opvang voor de gehele dag of opvang in de vorm van een peuterspeelzaal. 親参加BSO 親参加BSOは、BSOの一種であり、親参加託児所の理念に従って活動している。4歳から12歳までの子どもがいき、放課後保育を行なう。それせ故、peuterspeelzaalの形での全日の保育は行なわない。 [bewerken] 24-uurs kinderopvang 24-uurs kinderopvang, wordt over het algemeen geboden in de leeftijd van tot en met 12. De opvang vindt 24 uur per dag plaats, hetgeen niet wil zeggen dat kinderen er 24 uur per dag blijven. De opvang wordt vooral gebruikt door ouders die in dienstverlenende beroepen werken, maar ook door ouders in andere onregelmatige beroepen. [bewerken] Pedagogisch beleid Kindercentra dienen hun pedagogisch beleid vast te leggen in de vorm van een beleidsplan. [bewerken] Financiering [bewerken] Kinderopvangtoeslag In Nederland kunnen ouders een toeslag krijgen voor de kosten van kinderopvang.[1] Werkgevers betalen met ingang van 1 januari 2007 collectief mee aan de kinderopvang en de belastingdienst keert vanaf die datum ook het werkgeversdeel uit. Het Rijk hanteert een maximum uurprijs. Op de website van het rijksoverheid staat de meest recente informatie over de regelgeving en het aanvragen van kinderopvangtoeslag. Ouders moeten de kinderopvangtoeslag van de overheid aanvragen bij de belastingdienst, deze kinderopvangtoeslag wordt maandelijks vooraf door de Belastingdienst betaald aan de ouders of naar keuze aan het kindercentrum. Ouders kunnen alleen in aanmerking komen voor kinderopvangtoeslag als ze gebruik maken van een kinderopvangvoorziening die in het Landelijk Register Kinderopvang en Peuterspeelzalen (LRKP) staat. [bewerken] Bijdragen voor ouders zonder werkgever Ouders die geen werkgever hebben, maar wel bezig zijn met een opleiding, een traject naar werk of inburgering, kunnen een bijdrage in de kosten voor kinderopvang krijgen van de gemeente. Het gaat om 1.Ouders in een re-integratietraject met een uitkering op grond van de Wet werk en bijstand (Wwb); Wet inkomensvoorziening Kunstenaars (Wik); Algemene nabestaandenwet (Anw); Wet inkomensvoorziening ouderen en gedeeltelijk arbeidsongeschikte werkloze werknemers (IOAW); Wet inkomensvoorziening oudere en gedeeltelijk arbeidsongeschikte gewezen zelfstandigen (IOAZ). 2.Ouders die geen uitkering hebben, maar wel als werkzoekende geregistreerd staan bij het UWV WERKbedrijf en een traject naar werk volgen; 3.Nieuwkomers die een inburgeringstraject volgen (WIN); 4.Ouders jonger dan 18 jaar die een opleiding/studie volgen; 5.Studenten. [bewerken] Ouders met een sociaal-medische indicatie voor kinderopvang Ouders met een sociaal-medische indicatie voor kinderopvang zijn als doelgroep opgenomen in de wet. In sommige gezinssituaties en voor sommige kinderen is het voor de persoonlijke ontwikkeling van het kind goed om een aantal dagdelen gebruik te maken van kinderopvang. Deze indicatie geeft ouders recht op een tegemoetkoming in de kosten van kinderopvang. [bewerken] Kwaliteit van de kinderopvang De kwaliteit van kinderopvang is geregeld in de Wet kinderopvang die per januari 2005 is ingegaan. In deze wet staan geen gedetailleerde eisen voor de kwaliteit meer. De werkgevers in de kinderopvang hebben samen met de belangenvereniging van ouders (Boink) normen voor de kwaliteit afgesproken in een convenant. De minister heeft de kwaliteitseisen uit het convenant allemaal overgenomen in de beleidsregels kwaliteit, die als aanvulling op de Wet kinderopvang de kwaliteit regelen. Voor de kwaliteit en de controle daar op is de lokale overheid verantwoordelijk. Hiertoe zijn de GGD s aangewezen, die moeten de controle op de kwaliteit van de kinderopvang uitvoeren. Zij controleren onder meer op de betrokkenheid en inspraak van ouders, de opleiding en deskundigheid van het personeel, de veiligheid en gezondheid, de accommodatie en inrichting en de groepsgrootte en het aantal kinderen per beroepskracht (beroepskracht-kindratio). Op de website van het Landelijk Register Kinderopvang en Peuterspeelzalen zijn de GGD-rapportages van alle kindercentra, gastouderbureaus en gastouders in te zien. Kinderopvangorganisaties dienen de rapportages ook via hun websites toegankelijk te maken. Daarnaast is er een certificatie-traject, in het kader van de ISO-9000 normen, waaraan de kinderopvangorganisaties zich kunnen laten toetsen en certificeren. [bewerken] HKZ De stichting Harmonisatie Kwaliteitsbeoordeling in de Zorgsector (HKZ) beoordeelt de kwaliteit van organisaties in de kinderopvang. Eenmaal verleende certificaten worden via audits volgens strenge regels gecontroleerd. [bewerken] VVE VVE staat voor Voor- en Vroegschoolse Educatie. De doelstelling van VVE is om de ontwikkeling van kinderen al op jonge leeftijd zo te stimuleren dat hun kansen op een goede schoolloopbaan worden vergroot. Piramide is het meest gebruikte VVE-programma en is ontwikkeld door Cito. De methode voldoet aan de kwaliteitskenmerken voor programma’s voor jonge kinderen. Zowel Nederlandse als buitenlandse onderzoeken tonen de positieve effecten ervan aan op de ontwikkeling van kinderen