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RhoB null mice have retarded vascular development in the retina. SOS1-/- mice impair placental development. The interaction between DOC and CSW is needed for normal eye development. Gab1 and Gab2 are phosphorylated by EPO signal. Overexpression of Gab1 in kidney epithelial cells of a mouce results in constitutive and ligand-independent cell scattering and branching morphogenesis. RhoB null mice have retarded vascular development in the retina. 1 Genes Dev. 2003 Nov 1;17(21) 2721-32. RhoB controls Akt trafficking and stage-specific survival of endothelial cells during vascular development. Adini I, Rabinovitz I, Sun JF, Prendergast GC, Benjamin LE. Beth Israel Deaconess Medical Center, Harvard Medical School, Boston, Massachusetts 02215, USA. Blood vessel formation is a complex morphological process that is only beginning to be understood at the molecular level. In this study, we demonstrate a novel and critical role for the small GTPase, RhoB, in vascular development. RhoB null mice have retarded vascular development in the retina characterized by altered sprout morphology. Moreover, pharmaceutical means to deplete RhoB in neonatal rats is associated with apoptosis in the sprouting endothelial cells of newly forming vessels. Similarly, acute depletion of RhoB by antisense or dominant-negative strategies in primary endothelial cell culture models led to apoptosis and failures in tube formation. We identified a novel link between RhoB and the Akt survival signaling pathway to explain these changes. Confocal microscopy revealed that RhoB is highly localized to the nuclear margin with a small percentage found inside the nucleus. Similarly, total Akt is throughout the cell but has increased accumulation at the nuclear margin, and active phosphorylated Akt is found primarily inside the nucleoplasm, where it partially colocalizes with the RhoB therein. We show that this colocalization is functionally relevant, because when RhoB was depleted, Akt was excluded from the nucleus and total cellular Akt protein was decreased in a proteosome-dependent manner. Because the function of RhoB in vivo appears to only be rate limiting for endothelial cell sprouting, we propose that RhoB has a novel stage-specific function to regulate endothelial cell survival during vascular development. RhoB may offer a therapeutic target in diseases such as cancer, diabetic retinopathy, and macular degeneration, where the disruption of sprouting angiogenesis would be desirable. Publication Types Research Support, Non-U.S. Gov t Research Support, U.S. Gov t, P.H.S. PMID 14597666 [PubMed - indexed for MEDLINE] SOS1-/- mice impair placental development. 1 EMBO J. 2000 Feb 15;19(4) 642-54. The Sos1 and Sos2 Ras-specific exchange factors differences in placental expression and signaling properties. Qian X, Esteban L, Vass WC, Upadhyaya C, Papageorge AG, Yienger K, Ward JM, Lowy DR, Santos E. Laboratory of, National Cancer Institute, Bethesda, MD 20892, USA. Targeted disruption of both alleles of mouse sos1, which encodes a Ras-specific exchange factor, conferred mid-gestational embryonic lethality that was secondary to impaired placental development and was associated with very low placental ERK activity. The trophoblastic layers of sos1(-/-) embryos were poorly developed, correlating with high sos1 expression in wild-type trophoblasts. A sos1(-/-) cell line, which expressed readily detectable levels of the closely related Sos2 protein, formed complexes between Sos2, epidermal growth factor receptor (EGFR) and Shc efficiently, gave normal Ras.GTP and ERK responses when treated with EGF for or =10 min and was transformed readily by activated Ras. However, the sos1(-/-) cells were resistant to transformation by v-Src or by overexpressed EGFR and continuous EGF treatment, unlike sos1(+/-) or wild-type cells. This correlated with Sos2 binding less efficiently than Sos1 to EGFR and Shc in cells treated with EGF for or =90 min or to v-Src and Shc in v-Src-expressing cells, and with less ERK activity. We conclude that Sos1 participates in both short- and long-term signaling, while Sos2-dependent signals are predominantly short-term. PMID 10675333 [PubMed - indexed for MEDLINE] The interaction between DOC and CSW is needed for normal eye development. 1 EMBO J. 1999 Dec 15;18(24) 6950-61. Recruitment of the protein tyrosine phosphatase CSW by DOS is an essential step during signaling by the sevenless receptor tyrosine kinase. Herbst R, Zhang X, Qin J, Simon MA. Department of Biological Sciences, Stanford University, Stanford, CA 94305-5020, USA. The pleckstrin homology (PH) domain-containing protein Daughter of Sevenless (DOS) is an essential component of the Sevenless receptor tyrosine kinase (SEV) signaling cascade, which specifies R7 photoreceptor development in the Drosophila eye. Previous results have suggested that DOS becomes tyrosine phosphorylated during SEV signaling and collaborates with the protein tyrosine phosphatase CSW. We have investigated this possibility by identifying tyrosine residues 801 and 854 of DOS as the phosphorylated binding sites for the CSW SH2 domains. We show that these sites become phosphorylated in response to SEV activation and that phosphorylation of both sites is required to allow CSW to bind DOS. Mutant DOS proteins in which either Y801 or Y854 of DOS has been changed to phenylalanine are unable to function during signaling by SEV and other receptor tyrosine kinases. In contrast, we find that a mutant DOS protein in which all tyrosine phosphorylation sites except Y801 and Y854 have been removed is able effectively to provide DOS function during SEV signaling and to rescue the lethality associated with dos loss-of-function mutations. These results indicate that a primary role for DOS during signaling by SEV and other receptor tyrosine kinases is to become phosphorylated at Y801 and Y854 and then recruit CSW. PMID 10601017 [PubMed - indexed for MEDLINE] Gab1 and Gab2 are phosphorylated by EPO signal. 1 Blood. 2004 Jun 15;103(12) 4457-65. Epub 2004 Feb 24. Tyrosine kinase receptor RON functions downstream of the erythropoietin receptor to induce expansion of erythroid progenitors. van den Akker E, van Dijk T, Parren-van Amelsvoort M, Grossmann KS, Schaeper U, Toney-Earley K, Waltz SE, Lowenberg B, von Lindern M. Department of Hematology, Erasmus MC, PO Box 1738, 3000 DR Rotterdam, the Netherlands. Erythropoietin (EPO) is required for cell survival during differentiation and for progenitor expansion during stress erythropoiesis. Although signaling pathways may couple directly to docking sites on the EPO receptor (EpoR), additional docking molecules expand the signaling platform of the receptor. We studied the roles of the docking molecules Grb2-associated binder-1 (Gab1) and Gab2 in EPO-induced signal transduction and erythropoiesis. Inhibitors of phosphatidylinositide 3-kinase and Src kinases suppressed EPO-dependent phosphorylation of Gab2. In contrast, Gab1 activation depends on recruitment and phosphorylation by the tyrosine kinase receptor RON, with which it is constitutively associated. RON activation induces the phosphorylation of Gab1, mitogen-activated protein kinase (MAPK), and protein kinase B (PKB) but not of signal transducer and activator of transcription 5 (Stat5). RON activation was sufficient to replace EPO in progenitor expansion but not in differentiation. In conclusion, we elucidated a novel mechanism specifically involved in the expansion of erythroblasts involving RON as a downstream target of the EpoR. PMID 14982882 [PubMed - indexed for MEDLINE] Overexpression of Gab1 in kidney epithelial cells of a mouce results in constitutive and ligand-independent cell scattering and branching morphogenesis. 1 Nature. 1996 Nov 14;384(6605) 173-6. Interaction between Gab1 and the c-Met receptor tyrosine kinase is responsible for epithelial morphogenesis. Weidner KM, Di Cesare S, Sachs M, Brinkmann V, Behrens J, Birchmeier W. Max Delbruck Center for Molecular Medicine, Berlin, Germany. The proteins Gab1 and the related DOS (for daughter of sevenless ) each bind to substrates of tyrosine kinases like Grb2 or Corkscrew, and act in signalling pathways downstream of tyrosine kinase receptors. Here we show that Gab1 interacts directly with the c-met-encoded receptor tyrosine kinase but not with a number of other tyrosine kinases from different subfamilies. A newly identified proline-rich domain of Gab1 is responsible for the binding of this protein to the tyrosine-phosphorylated bidentate docking site in c-Met. Expression of Gab1 in epithelial cells is sufficient to induce the c-Met-specific activities, including branching morphogenesis. Thus we have discovered a new phosphotyrosine interaction domain in Gab1 and shown that Gab1 is the substrate of the c-Met receptor tyrosine kinase that mediates epithelial morphogenesis. PMID 8906793 [PubMed - indexed for MEDLINE]
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Subjects-Computers&Internet-GraphicDesign-DesktopPublishing-General? Subjects-Computers&Internet-GraphicDesign-CAD-AutoCAD? Subjects-Computers&Internet-GraphicDesign-CAD-CAD&CAM? Subjects-Engineering-ComputerTechnology-CAD&CAM? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-ComputerTechnology-CAD&CAM? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-Architecture-Drawing&Modelling-CAD-AutoCAD? Subjects-Professional&Technical-Architecture-Drawing&Modelling-CAD-CAD&CAM? Subjects-Professional&Technical-Engineering-General 洋書
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L argomento della pipeline e del settore sanitario l anno scorso è stato il prodotto di punta senza rubinetto. Hahn "piombo superato" e "esavalente cromo superato" rumore prodotto dall industria, che non solo consente a molti consumatori di avere dubbi sulla qualità della linea, ma ha anche causato onestà e torture per l intera persona. Idraulica e industrie idrauliche. https //www.homelody-it.com Il metallo supera il "killer" standard del rubinetto o acquista un assicurazione sanitaria. Quando è la qualità della tempesta, quando sono interessati i consumatori? Nel luglio 2013, alcune società nazionali gestite da Supor hanno sofferto di "standard eccessivi". Per un po "la gente ha parlato di cambiare colore". Sebbene durante questo periodo non siano mancate le speculazioni artificiali, i test sui becher campione di varie società hanno dimostrato che il cromo esavalente del rubinetti da cucina ha superato lo standard, il che ha portato i consumatori a tornare alla qualità del prodotto. Panico. https //www.homelody-it.com/collections/rubinetto-cucina Innanzitutto, il nuovo standard nazionale per i rubinetti verrà introdotto a breve e il caso in cui il metallo del rubinetto superi lo standard verrà ridotto, ma la tempesta inaspettata riprenderà. Nel gennaio 2014, l Amministrazione Shanghai per l industria e il commercio ha emesso il "Monitoraggio della qualità dell acqua nel settore circolare". Il tasso di fallimento è superiore al 60%. Moen, gli standard americani, Kohler e altri marchi internazionali di prima linea sono diventati protagonisti di liste nere di alta qualità. Il numero di rubinetti che supera lo standard di uso quotidiano è diventato un killer della salute invisibile in casa. Nello stesso periodo, la Cina ha pubblicato il suo primo rapporto di ricerca sui consumatori sui prodotti per il trattamento delle acque. Secondo il rapporto dell indagine sulle famiglie nelle città di prima classe, solo il 25% degli utenti è soddisfatto dell acqua del rubinetto nell appartamento e il 49,6% è scettico sull acqua del rubinetto nell appartamento. A questo proposito, potrebbe non essere possibile detenere la responsabilità unilaterale della qualità del rubinetto vasca, ma il problema del rubinetto nel mercato è un fatto innegabile. Questi prodotti influenzano in modo invisibile la salute delle persone e la fiducia dei consumatori nell azienda. https //www.homelody-it.com/collections/rubinetto-vasca Perché il rubinetto è spesso confuso? Non vi è alcuna mancanza di responsabilità normativa nel settore, ma anche lo sviluppo della redditività aziendale. La domanda di prodotti è in aumento, le aziende devono controllare rigorosamente la qualità. Data l integrità del prodotto, offre anche una serie di opportunità di autocertificazione di prodotti di qualità per marchi di qualità che aprono maggiori opportunità di sviluppo per queste aziende. Negli ultimi anni, con l accelerazione del processo di urbanizzazione del Paese, è aumentata anche la domanda di rubinetti bianchi. Secondo gli analisti del settore, la dimensione del mercato dei rubinetto bidet dovrebbe raddoppiare nei prossimi cinque anni. https //www.homelody-it.com/collections/rubinetto-bidet Da questo punto di vista, lo sviluppo e la redditività delle aziende leader sono significativi. Nella forte concorrenza sul mercato, questi prodotti di alta qualità e i loro produttori guadagnano la fiducia dei consumatori con una qualità superiore, perché la buona qualità è sempre un criterio importante per conquistare la fiducia dei consumatori. Con l introduzione della nuova norma nazionale GB18145, il rubinetto bagno e persino l intero sviluppo del settore sanitario sono soggetti alla giurisdizione. È stato riferito che il nuovo standard nazionale aumenterà la categoria di rilevamento del principale contenuto di metallo a 17 categorie. Oltre al piombo, anche i metalli pesanti come il cromo e il nichel saranno obiettivi importanti. Inoltre, la contaminazione da metalli è limitata e testata secondo le norme statunitensi. https //www.homelody-it.com/collections/rubinetto-bagno Dopo l introduzione del nuovo standard, resta da vedere se l industria del rubinetti da muro sarà completamente abolita, ma è certo che con un contenuto di metallo limitato nell ugello, l indice di protezione della salute e dell ambiente associato al prodotto migliorerà in modo significativo . La salute offre anche ai consumatori un assicurazione sanitaria reale. https //www.homelody-it.com/collections/rubinetto-a-muro
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【曲名】 Love Festival 【アーティスト】 テニプリオールスターズ 【歌詞】 http //www.uta-net.com/song/118410/ 【作詞】 許斐剛 【作曲】 許斐剛 【編曲】 LOVE LOVE BROS. 【作品】 テニスの王子様 【メディア】 TVアニメ 【テーマ】 キャラクターソング 【初出】 2010年 【備考】 『テニプリフェスタ2011 in 武道館』の公式応援ソング。原作者の許斐剛先生が作詞作曲だけでなくラップまでこなすという離れ技を見せつけてくださる至高の1曲。ライブでは出演者全員がステージにあがるテニプリの新しいアンセム。 テニプリオールスターズ 越前リョーマ、跡部景吾、佐伯虎次郎、幸村精市、亜久津仁、不二裕太、白石蔵ノ介、木手永四郎、神尾アキラ (CV 皆川純子、諏訪部順一、織田優成、永井幸子、佐々木望、冨田真、細谷佳正、新垣樽助、鈴木千尋) パート分け http //www.nicovideo.jp/watch/sm13269378 LIVE 5 00～必見!!
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Classic Car Restorer's Handbook Restoration Tips and Techniques for Owners and Restorers of Classic and Collectible Automobiles Hp Books? Jim Richardson? HpBooks? JimRichardson? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-General? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-Customize? Subjects-Nonfiction-Automotive-ClassicCars? Subjects-Nonfiction-Automotive-Repair-General? Subjects-Professional&Technical-Engineering-General Subjects-Reference-General? 1001 High Performance Tech Tips Hp Books? Wayne Scraba? HpBooks? WayneScraba? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-General? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-Customize? Subjects-Nonfiction-Automotive-Repair? Subjects-Nonfiction-Automotive-Mechanics-General? Subjects-Professional&Technical-Engineering-General Understanding Automotive Emissions Control Theory, Troubleshooting, Maintenance, Testing, Tuning, Repair Hp Books? Larry Carley? Bob Freudenberger? HpBooks? LarryCarley? BobFreudenberger? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-General? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-Repair? Subjects-Nonfiction-Automotive-Mechanics-EmissionsControl? Subjects-Professional&Technical-Engineering-General Subjects-Reference-General? Big-Block Chevy Performance Modifications and Parts Combinations for High Performance Street, Racing, Marine and Off-Road Use Hp Books? Dave Emanuel? HpBooks? DaveEmanuel? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-General? Subjects-Literature&Fiction-General-Contemporary? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-Customize? Subjects-Nonfiction-Automotive-Parts? Subjects-Professional&Technical-Engineering-General Subjects-Reference-General? Corvette Weekend Projects Maintenance and Repair How-Tos for 1968-1982 Corvettes Hp Books? John Pfanstiehl? Paul Zazarine? HpBooks? JohnPfanstiehl? PaulZazarine? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-General? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-Trucks&Vans? Subjects-Nonfiction-Automotive-Repair-General? Subjects-Professional&Technical-Engineering-General Mustang Weekend Projects Maintenance and Repair How-Tos for 1964-1/2 to 1967 Mustangs Hp Books? Jerry Heasley? HpBooks? JerryHeasley? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Reference-General? Subjects-Nonfiction-Automotive-Repair-General? Advances in Coastal and Ocean Engineering (Advances in Coastal and Ocean Engineering) World Scientific Pub Co Inc? Philip L. F. Liu? WorldScientificPubCoInc? PhilipL.F.Liu? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-SpecialTopics-Ocean&CoastalEngineering? Subjects-Engineering-Civil-General? Subjects-Engineering-Civil-Hydrology? Subjects-Engineering-Civil-Environmental-Hydraulics? Subjects-Engineering-General? Subjects-Engineering-Petroleum,Mining&Geological-OffshoreDrilling? Subjects-Professional&Technical-Engineering-Civil-General? Subjects-Professional&Technical-Engineering-Civil-Hydrology? Subjects-Professional&Technical-Engineering-Civil-Environmental-Hydraulics? Subjects-Professional&Technical-Engineering-Petroleum,Mining&Geological-OffshoreDrilling? Subjects-Professional&Technical-Engineering-SpecialTopics-Ocean&CoastalEngineering? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Fiberglass Composite Materials An Enthusiast's Guide to High Performance Non-Metallic Materials for Automotive Racing and Marine Use Hp Books? Forbes Aird? HpBooks? 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Subjects-Science-General Engine Builder's Handbook Inspection Machine Reconditioning Valvetrain Assembly Blueprinting Degreeing Cams Tools Engine Assembly Hp Books? Tom Monroe? HpBooks? TomMonroe? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-Automotive? Subjects-Engineering-General? Subjects-Engineering-Mechanical-General? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-Mechanics-Engine? Subjects-Nonfiction-Automotive-Repair-General? Subjects-Professional&Technical-Engineering-Automotive? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-General Subjects-Reference-General? Small-Block Chevy Performance Modifications and Dyno-Tested Combinations for High Performance Street and Racing Use Hp Books? Dave Emanuel? HpBooks? DaveEmanuel? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-General? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-Parts? Subjects-Nonfiction-Automotive-Repair-Body&Fenders? Subjects-Professional&Technical-Engineering-General Mustang Weekend Projects 2 Maintenance and Repair How-Tos for 1968 to 1970 Mustangs Hp Books? Jerry Heasley? HpBooks? JerryHeasley? ジャンル別? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Home&Garden? Subjects-Engineering-General? Subjects-Home&Garden-Antiques&Collectibles-General? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-ClassicCars? Subjects-Nonfiction-Automotive-Repair? Subjects-Professional&Technical-Engineering-General Auto Upholstery Interiors A Do-It-Yourself, Basic Guide to Repairing, Replacing or Customizing Automotive Interiors Hp Books? Bruce Caldwell? HpBooks? BruceCaldwell? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-General? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-Customize? Subjects-Nonfiction-Automotive-Repair? Subjects-Professional&Technical-Engineering-General Aerodynamics for Racing and Performance Cars Hp Books? Forbes Aird? HpBooks? ForbesAird? ジャンル別? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Sports? Subjects-Engineering-Automotive-General? Subjects-Engineering-General? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Transportation-Reference? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-Racing? Subjects-Professional&Technical-Engineering-Automotive-General? Subjects-Professional&Technical-Engineering-General Subjects-Reference-General? Subjects-Sports-Miscellaneous-MotorSports? Mustang 5.0 Projects Performance and Upgrade How-To's for 1979-1995 5.0 Mustangs Hp Books? Mark Houlahan? HpBooks? MarkHoulahan? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-General? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-Customize? Subjects-Nonfiction-Automotive-History? 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ATTO PRIMO Sinfonia Scena 1 (Gran pianura, in distanza veduta di collina praticabile, sopra la sommità della quale casa pastorale, con porta e finestra; in maggior distanza veduta di villaggio In fondo, alcuni albori.) CORO DI CACCIATORI Salva, salva, o Dea de boschi, lo splendor della Castiglia, salva lei, che a te somiglia in bellezza, ed onestà. Tu la madre al figlio rendi, e ad un Re la sua metà. Scena 2 (La Regina, vestita da cacciatrice con asta insanguinata, con seguito e Corrado.) REGINA Allegri, o miei vassalli; eccovi il fausto segno di mia vittoria; grande il periglio fu, di gran valore al mio braccio fu d uopo; estinta al fine giace l orribil belva, ch empia di strage e di terror la selva. Se di lugubri strida suonar le valli e i monti, or di festose grida si faccian risuonar. CORO DI CACCIATORI Suoni pur di grati evviva ogni riva ed ogni sponda, e risponda da ogni speco facil eco al nostro amor. Viva l astro d Aragona, ch or corona il suo valor. REGINA Andiam, miei fidi, e ristoriamci un poco della lunga fatica; ma dov è il figlio mio? CORRADO Dietro i vestigi vostri il magnanimo Prence spronò il destrier, quando il cinghial feroce da voi vide inseguito. Ma qualcuno s inoltra eccolo! Scena 3 (I suddetti e entra il Principe con fretta.) PRINCIPE Perchè mai nel sen, perchè, cara madre ognor per te palpitarmi il cor dovrà? REGINA Perchè mai nel sen, perchè, caro figlio, ognor per me palpitarti il cor dovrà? CORRADO Perchè mai nel sen, perchè, gran Regina, ognor per te palpitarci il cor dovrà? I TRE Deh, conserva a chi t adora una vita al ciel si cara REGINA Meco godi, amato figlio, e discaccia il tuo timor. PRINCIPE, CORRADO In te vive il figlio ancora, in te vive il genitor. REGINA Su via, mio caro figlio, discacciate l affanno; al gran cimento è ver molto sudai; ma uccisa al fine la formidabil fiera la gloria accrebbe de trionfi miei. (Si vede venir da lontano Lilla, affannata) Ma chi giù di quel luogo a questa volta move rapido il passo? PRINCIPE Una fanciulla a me rassembra, e di gentil sembiante. CORRADO Affannosa ed ansante, real donna, a me par. Scena 4 REGINA Chi cerchi? LILLA La Re gi na REGINA Io son la stessa. (S inginocchia) LILLA Ah, pieta de merce de soccorso! dal timor dal tormen to dal corso son si stanca che il fiato mi manca ed ho lena d appena parlar. REGINA Sorgi, calma l affanno, e quel che brami esponi, o giovin bella, e l otterrai. PRINCIPE (A Corrado) Amico, hai vista mai fanciulla più gentile di costei? CORRADO Non ha beltà la Spagna uguale a lei. LILLA Signora, al regio piede per implorar pietà mi guida amore il più vago pastore delle nostre contrade amato m ama, in sposa ei mi brama, e se uguaglianza di costume, di stato, e di desio può nodo marital render felice, un più fasto imeneo sperar non lice. REGINA E chi potrebbe opporsi ad affetto sì bello? LILLA Un barbaro fratello, che sol per vanità la mia destra promise al Podestà. REGINA Il tuo amante dov è? LILLA Da questo loco allontanato, sia ventura od arte, lasciò spazio frattanto al fratel mio di tentar che per forza io dia la mano a l odiato da me brutto villano! E se da quella stanza ov ei mi chiuse con disperato ardire dal balcone saltando io non fuggìa, del vil bifolco già preda sarei, e il mio caro Lubin perduto avrei. REGINA Calma l affanno, Lilla vezzosa, sarai sua sposa, fidati in me. Bella ti vedo, saggia ti credo; sarà, se l ami, degno di te. Figlio, vo a riposarmi. Or voi, Corrado, voi che siate sua guida al nostro tetto, alla vostra prudenza io la commetto. CORO Suoni pur di grati evviva, ecc. (La Regina parte col suo seguito.) Scena 5 (Corrado, il Principe, e Lilla.) PRINCIPE Amico, mi consolo che sei fatto custode di fanciulle. CORRADO Signor, dell età mia è per me questo un infelice indizio. (Fra sè) è un idolo costei; ci vuol giudizio. PRINCIPE Oh quanto volontieri con te mi cangierei per esser io guardiano di costei. Venite qui, ragazza. LILLA Signor PRINCIPE Avvicinatevi, non abbiate paura. CORRADO (Fra sè) Che modestia, che grazia, che figura! Se mi scappa mio danno. PRINCIPE Il vostro nome? LILLA Lilla, a comandi suoi. PRINCIPE Oh che bel nome! E bello come voi. LILLA Grazie alla sua bontà. PRINCIPE Perchè vi ritirate? Datemi la manina. (Vuol prenderla per mano.) LILLA Oh mi perdoni, sono nubile ancora e son villana, e non la diedi ancora a chi che sia. PRINCIPE Sentite; se io v amassi amereste voi me? CORRADO (Fra sè) L affare si fa serio. LILLA Io no. PRINCIPE Perchè? LILLA Perchè amo il mio Lubin. PRINCIPE E non potreste amarne due? LILLA Fanciulle di contado non han questa virtù. Signore, io vado. (In atto di partire.) PRINCIPE Perchè tal fretta? CORRADO Prence, ella ha ragione. La Regina ci attende al noto loco. PRINCIPE Andate, andate, io pur verrò tra poco. (Corrado e Lilla partono.) Più bianca di giglio, più fresca di rosa, bell occhio, bel ciglio, vivace, graziosa. La mano a un villano la Lilla darà? Almen, crude stelle, non fossi chi sono ma val più d un trono sì rara beltà. (Parte.) Scena 6 (Strada, collinetta da un lato, casa rustica con porta e finestra, che mette nella strada; in fondo alcuni alberi.) (Ghita e Tita entrano disputando) GHITA Un briccone senza core no, non voglio più sposar. TITA Un ingrata senza amore no, non voglio maritar. GHITA Far d occhietto a tutte quante. TITA Far con tutti la galante! GHITA Ir girando tutta notte! TITA Ir con Mengo in quelle grotte! GHITA Dar a Berta il mio cappello! TITA Dir a Cecco ch è più bello! AMBI Son azioni da birboni e non s hanno a sopportar. TITA Non dir più ch io sono Tita se non cavo a te quegli occhi. GHITA Non dir più che io son la Ghita se non graffio a te l orecchio. TITA Villanaccia! GHITA Villanaccio! TITA Taci brutta! GHITA Taci brutto, assassino!. TITA Malandrina. AMBI Esser vuol la mia rovina mi vuol far precipitar. Scena 7 (Il suddetti, entra il Podestà, poi Lubino.) PODESTÀ E così, miei padroni, non volete finir, queste questioni? Un bel esempio inver date alla Lilla, s anco il dì delle nozze, e vostre e mie, fate tali pazzie. TITA Parlate con la Ghita, che fa pensar sì mal de fatti suoi. GHITA Anzi ditelo a Tita, che lo scandalo sol nasce da lui. (Entra Lubino, che non vede gli altri attori che dopo l aria) LUBINO Lilla mia dove sei gita? Lilla bella dove sei? Non t asconder, o mia vita, o bel sol degli occhi miei. Senza te non posso vivere, morirò senza di te. Dove sei, mia cara Lilla? Lilla cara, vieni a me. Siete qui scellerati? alfin vi trovo, alfin v ho nelle mani. Or dite, iniqui, la mia Lilla dov è? PODESTÀ E dove stà? GHITA Guarda che fai Lubin LUBINO Ah perfido, furfante! Mori per le mie mani. (Prende per il collo il Podestà.) PODESTÀ Gente! GHITA Aiuto! TITA Pietà! Misericordia! LUBINO Per voi geme il mio ben! GHITA Eh! Lubino, dico; non conosci la Ghita, l amica tua? Calmati, guarda, ascolta. LUBINO Ah, ditemi una volta, dov è la sposa mia O sollevo il villaggio, o do foco alla casa, o vi spacco la testa! PODESTÀ Che demonio infernal! GHITA Che bestia è questa? TITA (Parla nascondendosi dietro la Ghita) Io, io la sfacciatella rinchiusi in quella stanza, perché ardisce d opporsi al voler mio, e finalmente suo fratel son io. LUBINO Fratello, no, carnefice tu sei! Ah, vanne a terra, indegna porta! invano s opporrebbe l inferno a questa mano! (Ghita giù la porta ed entra in casa) Scena 8 (Tita, il Podestà, e Ghita.) TITA Già per sola tua colpa nascon tutti i malanni. GHITA Io, cosa c entro nelle vostre pazzie? TITA Se non mi trattenevi colle tue frenesie, a quest ora ei la Lilla avria sposata! GHITA Se non ti difendevi dietro le spalle mie, ei ti facea del cranio una frittata! PODESTÀ Non volete, o ragazzi, una volta finir di fare i pazzi? (S ode internamente un grande strepito.) GHITA O cieli! Udite! LUBINO O Lilla, Lilla mia, mia cara Lilla... GHITA Che strepito! che gridi! che fracasso è mai questo? TITA Quel marrano mi smantella la casa! LUBINO Ah, Lilla, Lilla GHITA Partiam, per carità, che s ei qui torna, preveggo un precipizio. PODESTÀ Lasciate pur, gli farem far giudizio. Or se pericolo di star qui trovi, verso quel culmine rapido movi, o tra quegli arbori di dense frondi stattene tacito ovver t ascondi, là dove imboscasi quel picciol speco, e quando sortono se Lilla è seco, stando lontano per un lunghissimo tiro di mano, sempre guardandoli li dèi seguir. (Tita parte) Tu Ghitta vattene franca all albergo, in l uscio serrati poi dietro il tergo, ch io per la ripida strada, ma breve, vo a dar cert ordini, come si deve, e quando avisoti del mio ritorno, col rauco fremito di tromba e corno, dove si trovano volami a dir. Presto, che crescere sento il tumulto! Ah, il temerario per tale insulto in una carcere vo far morir. (Ghita e il Podestà partono.) Scena 9 (Lubino solo dalla finestra, da cui pende un velo.) LUBINO Dov è dunque il mio ben? già son fuggiti Barbari, al tradimento aggiungete lo scherno? Ma raggiunger si provi. (salta giù dalla finestra) Qual uom, qual Dio potrebbe trattener l ire mie? stelle! che miro? Il velo non è questo della mia Lilla bella? Forse la meschinella ne moti della sua disperazione saltò giù dal balcone e il molle viso e le tenere membra ahi chi sa quale soffrirò oltraggio ad ambi due fatale. Non è vano il sospetto, la camera rinchiusa il balcon spalancato... il velo appeso ah se questo adivenne, a tutti io giuro i Numi dell abisso e a quei del Cielo di farne di coloro nuovo, tremendo, temerario scempio; qual fui d amor, sarò d atrocia esempio. Vo da l infami viscere strappar agli empi il cor. Vo farli a brani, a brani, e dar per cibo ai cani l ossa e le carni lor. (S avvolge il velo al braccio.) E tu, su questo braccio, rimani, o infausto segno, e se giammai nell anima langue l usato sdegno, porgi alimento ed esca che accresca il mio furor. (Va per partire, ma vede Tita nascosto dietro un albero in qualche distanza) Scena 10 LUBINO Indarno ti nascondi; il giusto Cielo in mano mi ti manda. (Afferra Tita per i crini) TITA Ohimè! Son morto! LUBINO Su quel capo ribaldo il mio sdegno cadrà; con questo cerro (Svelle un grosso ramo, e si mette in atto di accoppar Tita, la Ghita sopravviene e trattien il colpo.) GHITA Oh Dei! Ferma, Lubino! (Entra il Podestà con seguito di ministri di giustizia.) PODESTÀ Ecco lo sgherro. Animo, assicuratevi LUBINO Traditori TITA Bravissimo, cognato. PODESTÀ Tenetelo e legatelo sì stretto ch egli non muova più piedi, nè mani. LUBINO Tu mi vendica, o ciel, con questi cani. (Parte Lubino tra i Ministri, il Podestà, e Tita, cui la Ghita trattiene.) Scena 11 GHITA Oh, povero Lubino! Tita TITA Lasciami andar. GHITA Tita, m ascolta! Sai che tua suora Lilla è l idol della villa, sai ch ella ama Lubino, ed egli lei, e ostinato ti sei a voler ch ella pigli il Podestà? TITA O crepar, o pigliarlo E di cosa hai paura? GHITA Oggi alla caccia s attende la Regina; se alcuno la previen contra di te, cosa sarà di me? TITA E a te che importa? Non son io più un briccone, un assassino? GHITA No, se il mio bene, il caro mio sposino. Purchè tu m ami, purchè sia mio, sempre vogl io te solo amar. Se un po di rabbia teco mi viene, parlo per bene lo puoi pensar. Ma è poi di paglia tutto il mio foco, e poco, poco mi suol durar. In un momento di mele torno e in questo giorno l hai da provar. Dammi l anello, Tita mio bello, dammelo caro, non indugiar. Allor conoscere potrai la Ghita, che bella vita vogliam passar. (Parte.) Scena 12 (Tita solo) TITA Da ridere mi vien quand odo dire che bisogna star forte quando la donna cede. Io non son così bravo, e allorché vedo la mia Ghita che piange e che vien meco colla buona maniera, se fossi più arrabbiato d un leone cado giù qual babbione, un agnello divento, anzi un coniglio, nè già la Ghita sol, ma ogni altra donna far può meco lo stesso; che grande amico anch io son del bel sesso. In quegli anni in cui solea ir le capre a pascolar, mio bisnonno mi dicea, ch era un uom di grandi affar "Figlio mio, la donna è foco, guarda ben, non t accostar". Io ripien de detti suoi per paura d abbrucciarmi, donne mie lontan da voi procurava di restar. Ma l istinto naturale superò l educazion, e trovai che male, male predicava quel buffon. Qual farfalla, pian pianino, pria cercai girarvi intorno poi mi feci più vicino ed osai toccarvi un giorno, e sentendo che la pelle delle dita tenerelle non abbruccia, ma diletta, volli far per voi vendetta con amarvi e rispettarvi e con darvi questo cor. Non credete?... non credete? Alle prove, o donne care, tutto, tutto io voglio fare per provarvi un vero amor. (Parte) ATTO PRIMO Sinfonia Scena 1 (Gran pianura, in distanza veduta di collina praticabile, sopra la sommità della quale casa pastorale, con porta e finestra; in maggior distanza veduta di villaggio In fondo, alcuni albori.) CORO DI CACCIATORI Salva, salva, o Dea de boschi, lo splendor della Castiglia, salva lei, che a te somiglia in bellezza, ed onestà. Tu la madre al figlio rendi, e ad un Re la sua metà. Scena 2 (La Regina, vestita da cacciatrice con asta insanguinata, con seguito e Corrado.) REGINA Allegri, o miei vassalli; eccovi il fausto segno di mia vittoria; grande il periglio fu, di gran valore al mio braccio fu d uopo; estinta al fine giace l orribil belva, ch empia di strage e di terror la selva. Se di lugubri strida suonar le valli e i monti, or di festose grida si faccian risuonar. CORO DI CACCIATORI Suoni pur di grati evviva ogni riva ed ogni sponda, e risponda da ogni speco facil eco al nostro amor. Viva l astro d Aragona, ch or corona il suo valor. REGINA Andiam, miei fidi, e ristoriamci un poco della lunga fatica; ma dov è il figlio mio? CORRADO Dietro i vestigi vostri il magnanimo Prence spronò il destrier, quando il cinghial feroce da voi vide inseguito. Ma qualcuno s inoltra eccolo! Scena 3 (I suddetti e entra il Principe con fretta.) PRINCIPE Perchè mai nel sen, perchè, cara madre ognor per te palpitarmi il cor dovrà? REGINA Perchè mai nel sen, perchè, caro figlio, ognor per me palpitarti il cor dovrà? CORRADO Perchè mai nel sen, perchè, gran Regina, ognor per te palpitarci il cor dovrà? I TRE Deh, conserva a chi t adora una vita al ciel si cara REGINA Meco godi, amato figlio, e discaccia il tuo timor. PRINCIPE, CORRADO In te vive il figlio ancora, in te vive il genitor. REGINA Su via, mio caro figlio, discacciate l affanno; al gran cimento è ver molto sudai; ma uccisa al fine la formidabil fiera la gloria accrebbe de trionfi miei. (Si vede venir da lontano Lilla, affannata) Ma chi giù di quel luogo a questa volta move rapido il passo? PRINCIPE Una fanciulla a me rassembra, e di gentil sembiante. CORRADO Affannosa ed ansante, real donna, a me par. Scena 4 REGINA Chi cerchi? LILLA La Re gi na REGINA Io son la stessa. (S inginocchia) LILLA Ah, pieta de merce de soccorso! dal timor dal tormen to dal corso son si stanca che il fiato mi manca ed ho lena d appena parlar. REGINA Sorgi, calma l affanno, e quel che brami esponi, o giovin bella, e l otterrai. PRINCIPE (A Corrado) Amico, hai vista mai fanciulla più gentile di costei? CORRADO Non ha beltà la Spagna uguale a lei. LILLA Signora, al regio piede per implorar pietà mi guida amore il più vago pastore delle nostre contrade amato m ama, in sposa ei mi brama, e se uguaglianza di costume, di stato, e di desio può nodo marital render felice, un più fasto imeneo sperar non lice. REGINA E chi potrebbe opporsi ad affetto sì bello? LILLA Un barbaro fratello, che sol per vanità la mia destra promise al Podestà. REGINA Il tuo amante dov è? LILLA Da questo loco allontanato, sia ventura od arte, lasciò spazio frattanto al fratel mio di tentar che per forza io dia la mano a l odiato da me brutto villano! E se da quella stanza ov ei mi chiuse con disperato ardire dal balcone saltando io non fuggìa, del vil bifolco già preda sarei, e il mio caro Lubin perduto avrei. REGINA Calma l affanno, Lilla vezzosa, sarai sua sposa, fidati in me. Bella ti vedo, saggia ti credo; sarà, se l ami, degno di te. Figlio, vo a riposarmi. Or voi, Corrado, voi che siate sua guida al nostro tetto, alla vostra prudenza io la commetto. CORO Suoni pur di grati evviva, ecc. (La Regina parte col suo seguito.) Scena 5 (Corrado, il Principe, e Lilla.) PRINCIPE Amico, mi consolo che sei fatto custode di fanciulle. CORRADO Signor, dell età mia è per me questo un infelice indizio. (Fra sè) è un idolo costei; ci vuol giudizio. PRINCIPE Oh quanto volontieri con te mi cangierei per esser io guardiano di costei. Venite qui, ragazza. LILLA Signor PRINCIPE Avvicinatevi, non abbiate paura. CORRADO (Fra sè) Che modestia, che grazia, che figura! Se mi scappa mio danno. PRINCIPE Il vostro nome? LILLA Lilla, a comandi suoi. PRINCIPE Oh che bel nome! E bello come voi. LILLA Grazie alla sua bontà. PRINCIPE Perchè vi ritirate? Datemi la manina. (Vuol prenderla per mano.) LILLA Oh mi perdoni, sono nubile ancora e son villana, e non la diedi ancora a chi che sia. PRINCIPE Sentite; se io v amassi amereste voi me? CORRADO (Fra sè) L affare si fa serio. LILLA Io no. PRINCIPE Perchè? LILLA Perchè amo il mio Lubin. PRINCIPE E non potreste amarne due? LILLA Fanciulle di contado non han questa virtù. Signore, io vado. (In atto di partire.) PRINCIPE Perchè tal fretta? CORRADO Prence, ella ha ragione. La Regina ci attende al noto loco. PRINCIPE Andate, andate, io pur verrò tra poco. (Corrado e Lilla partono.) Più bianca di giglio, più fresca di rosa, bell occhio, bel ciglio, vivace, graziosa. La mano a un villano la Lilla darà? Almen, crude stelle, non fossi chi sono ma val più d un trono sì rara beltà. (Parte.) Scena 6 (Strada, collinetta da un lato, casa rustica con porta e finestra, che mette nella strada; in fondo alcuni alberi.) (Ghita e Tita entrano disputando) GHITA Un briccone senza core no, non voglio più sposar. TITA Un ingrata senza amore no, non voglio maritar. GHITA Far d occhietto a tutte quante. TITA Far con tutti la galante! GHITA Ir girando tutta notte! TITA Ir con Mengo in quelle grotte! GHITA Dar a Berta il mio cappello! TITA Dir a Cecco ch è più bello! AMBI Son azioni da birboni e non s hanno a sopportar. TITA Non dir più ch io sono Tita se non cavo a te quegli occhi. GHITA Non dir più che io son la Ghita se non graffio a te l orecchio. TITA Villanaccia! GHITA Villanaccio! TITA Taci brutta! GHITA Taci brutto, assassino!. TITA Malandrina. AMBI Esser vuol la mia rovina mi vuol far precipitar. Scena 7 (Il suddetti, entra il Podestà, poi Lubino.) PODESTÀ E così, miei padroni, non volete finir, queste questioni? Un bel esempio inver date alla Lilla, s anco il dì delle nozze, e vostre e mie, fate tali pazzie. TITA Parlate con la Ghita, che fa pensar sì mal de fatti suoi. GHITA Anzi ditelo a Tita, che lo scandalo sol nasce da lui. (Entra Lubino, che non vede gli altri attori che dopo l aria) LUBINO Lilla mia dove sei gita? Lilla bella dove sei? Non t asconder, o mia vita, o bel sol degli occhi miei. Senza te non posso vivere, morirò senza di te. Dove sei, mia cara Lilla? Lilla cara, vieni a me. Siete qui scellerati? alfin vi trovo, alfin v ho nelle mani. Or dite, iniqui, la mia Lilla dov è? PODESTÀ E dove stà? GHITA Guarda che fai Lubin LUBINO Ah perfido, furfante! Mori per le mie mani. (Prende per il collo il Podestà.) PODESTÀ Gente! GHITA Aiuto! TITA Pietà! Misericordia! LUBINO Per voi geme il mio ben! GHITA Eh! Lubino, dico; non conosci la Ghita, l amica tua? Calmati, guarda, ascolta. LUBINO Ah, ditemi una volta, dov è la sposa mia O sollevo il villaggio, o do foco alla casa, o vi spacco la testa! PODESTÀ Che demonio infernal! GHITA Che bestia è questa? TITA (Parla nascondendosi dietro la Ghita) Io, io la sfacciatella rinchiusi in quella stanza, perché ardisce d opporsi al voler mio, e finalmente suo fratel son io. LUBINO Fratello, no, carnefice tu sei! Ah, vanne a terra, indegna porta! invano s opporrebbe l inferno a questa mano! (Ghita giù la porta ed entra in casa) Scena 8 (Tita, il Podestà, e Ghita.) TITA Già per sola tua colpa nascon tutti i malanni. GHITA Io, cosa c entro nelle vostre pazzie? TITA Se non mi trattenevi colle tue frenesie, a quest ora ei la Lilla avria sposata! GHITA Se non ti difendevi dietro le spalle mie, ei ti facea del cranio una frittata! PODESTÀ Non volete, o ragazzi, una volta finir di fare i pazzi? (S ode internamente un grande strepito.) GHITA O cieli! Udite! LUBINO O Lilla, Lilla mia, mia cara Lilla... GHITA Che strepito! che gridi! che fracasso è mai questo? TITA Quel marrano mi smantella la casa! LUBINO Ah, Lilla, Lilla GHITA Partiam, per carità, che s ei qui torna, preveggo un precipizio. PODESTÀ Lasciate pur, gli farem far giudizio. Or se pericolo di star qui trovi, verso quel culmine rapido movi, o tra quegli arbori di dense frondi stattene tacito ovver t ascondi, là dove imboscasi quel picciol speco, e quando sortono se Lilla è seco, stando lontano per un lunghissimo tiro di mano, sempre guardandoli li dèi seguir. (Tita parte) Tu Ghitta vattene franca all albergo, in l uscio serrati poi dietro il tergo, ch io per la ripida strada, ma breve, vo a dar cert ordini, come si deve, e quando avisoti del mio ritorno, col rauco fremito di tromba e corno, dove si trovano volami a dir. Presto, che crescere sento il tumulto! Ah, il temerario per tale insulto in una carcere vo far morir. (Ghita e il Podestà partono.) Scena 9 (Lubino solo dalla finestra, da cui pende un velo.) LUBINO Dov è dunque il mio ben? già son fuggiti Barbari, al tradimento aggiungete lo scherno? Ma raggiunger si provi. (salta giù dalla finestra) Qual uom, qual Dio potrebbe trattener l ire mie? stelle! che miro? Il velo non è questo della mia Lilla bella? Forse la meschinella ne moti della sua disperazione saltò giù dal balcone e il molle viso e le tenere membra ahi chi sa quale soffrirò oltraggio ad ambi due fatale. Non è vano il sospetto, la camera rinchiusa il balcon spalancato... il velo appeso ah se questo adivenne, a tutti io giuro i Numi dell abisso e a quei del Cielo di farne di coloro nuovo, tremendo, temerario scempio; qual fui d amor, sarò d atrocia esempio. Vo da l infami viscere strappar agli empi il cor. Vo farli a brani, a brani, e dar per cibo ai cani l ossa e le carni lor. (S avvolge il velo al braccio.) E tu, su questo braccio, rimani, o infausto segno, e se giammai nell anima langue l usato sdegno, porgi alimento ed esca che accresca il mio furor. (Va per partire, ma vede Tita nascosto dietro un albero in qualche distanza) Scena 10 LUBINO Indarno ti nascondi; il giusto Cielo in mano mi ti manda. (Afferra Tita per i crini) TITA Ohimè! Son morto! LUBINO Su quel capo ribaldo il mio sdegno cadrà; con questo cerro (Svelle un grosso ramo, e si mette in atto di accoppar Tita, la Ghita sopravviene e trattien il colpo.) GHITA Oh Dei! Ferma, Lubino! (Entra il Podestà con seguito di ministri di giustizia.) PODESTÀ Ecco lo sgherro. Animo, assicuratevi LUBINO Traditori TITA Bravissimo, cognato. PODESTÀ Tenetelo e legatelo sì stretto ch egli non muova più piedi, nè mani. LUBINO Tu mi vendica, o ciel, con questi cani. (Parte Lubino tra i Ministri, il Podestà, e Tita, cui la Ghita trattiene.) Scena 11 GHITA Oh, povero Lubino! Tita TITA Lasciami andar. GHITA Tita, m ascolta! Sai che tua suora Lilla è l idol della villa, sai ch ella ama Lubino, ed egli lei, e ostinato ti sei a voler ch ella pigli il Podestà? TITA O crepar, o pigliarlo E di cosa hai paura? GHITA Oggi alla caccia s attende la Regina; se alcuno la previen contra di te, cosa sarà di me? TITA E a te che importa? Non son io più un briccone, un assassino? GHITA No, se il mio bene, il caro mio sposino. Purchè tu m ami, purchè sia mio, sempre vogl io te solo amar. Se un po di rabbia teco mi viene, parlo per bene lo puoi pensar. Ma è poi di paglia tutto il mio foco, e poco, poco mi suol durar. In un momento di mele torno e in questo giorno l hai da provar. Dammi l anello, Tita mio bello, dammelo caro, non indugiar. Allor conoscere potrai la Ghita, che bella vita vogliam passar. (Parte.) Scena 12 (Tita solo) TITA Da ridere mi vien quand odo dire che bisogna star forte quando la donna cede. Io non son così bravo, e allorché vedo la mia Ghita che piange e che vien meco colla buona maniera, se fossi più arrabbiato d un leone cado giù qual babbione, un agnello divento, anzi un coniglio, nè già la Ghita sol, ma ogni altra donna far può meco lo stesso; che grande amico anch io son del bel sesso. In quegli anni in cui solea ir le capre a pascolar, mio bisnonno mi dicea, ch era un uom di grandi affar "Figlio mio, la donna è foco, guarda ben, non t accostar". Io ripien de detti suoi per paura d abbrucciarmi, donne mie lontan da voi procurava di restar. Ma l istinto naturale superò l educazion, e trovai che male, male predicava quel buffon. Qual farfalla, pian pianino, pria cercai girarvi intorno poi mi feci più vicino ed osai toccarvi un giorno, e sentendo che la pelle delle dita tenerelle non abbruccia, ma diletta, volli far per voi vendetta con amarvi e rispettarvi e con darvi questo cor. Non credete?... non credete? Alle prove, o donne care, tutto, tutto io voglio fare per provarvi un vero amor. (Parte) Martin y Soler,Vicente/Una cosa rara/I-2
https://w.atwiki.jp/wicky/pages/212.html
HTTPメッセージ HTTPは単純なテキストベースのプロトコルである。現在広く使用されているHTTPプロトコルはHTTP/1.1である。ただし古いブラウザなどではHTTP/1.0が使用されるが、Apacheを含むたいていのWebサーバではその両方に対応している。 Webサーバとクライアントの間では、複数行からなるHTTPメッセージがやり取りされる。WebクライアントがWebサーバへ送るメッセージを「リクエストメッセージ」、その応答としてWebサーバが返すメッセージを「レスポンスメッセージ」という。なお、HTTPメッセージにおける１行とは行末が「CRLF」（キャリッジリターン・ラインフィード）のテキストデータである。 リクエストメッセージ 次にリクエストメッセージのフォーマットの概略を示す。 先頭行のリクエストラインでは、次のような書式でサーバに送る「メソッド」（コマンド）を指定する。 メソッド URI HTTPバージョン ※「URI」（Universal Resource identifiers）とは、リソースの位置を示すための表記法である。実際にはURLはURIの一形式である。ここでは、WebサーバでDocumentRootとして設定されているディレクトリを起点とする絶対パスと考えてかまわない。 HTMLファイルやイメージファイルの取得には「GET」メソッドが使用される。たとえば、WebサーバのDocumentRootとして設定されているディレクトリから、HTTP/1.1プロトコルを使用し、HTMLファイル「index.html」を取得するリクエストラインは次のようになる。 GET /index.html HTTP/1.1 ２行目以降のリクエストヘッダはリクエストに関する付加的な情報である。各行のフォーマットは次のようになる。 フィールド名：値 たとえば「host」フィールドはサーバのホスト名を指定する。なお、「バーチャルホストの設定?」で説明する、バーチャルホストに対応するため、HTTP/1.1以降ではリクエストヘッダに少なくともhostフィールドが必須になっている。次にhostフィールドの例を示す。 host www.peachpress.co.jp リクエストメッセージのヘッダ以降の部分であるメッセージボディが、クライアントからサーバに送る実際のデータである。コンテンツを取得するGETメソッドなどでは不要だが、たとえば、CGIプログラムなどにデータを送るPOSTメソッドでは、メッセージボディにデータを格納する。 主なメソッド 次に、一般的に使用されているHTTP/1.1のメソッドの例を示す。 ■HTTP/1.1の主なメソッド メソッド 説明 GET 指定したリソースを取得 HEAD 指定したリソースのレスポンスヘッダのみを取得 OPTIONS 使用できるメソッドやオプションの一覧を取得 POST サーバにリソースを送信 TRACE サーバの診断に利用 レスポンスメッセージ 次にリクエストメッセージを受け取ったWebサーバが返すレスポンスメッセージのフォーマットを示す。 先頭のステータスラインは要求されたリクエストの結果を示している。 HTTPバージョン ステータスコード 理由フレーズ 「ステータスコード」は結果を示す３桁の数値で、「理由フレーズ」はその簡単な説明である。たとえば要求されたファイルが見つからない場合には、次のようなステータスラインが返される。 ●ステータスコード HTTP/1.1 404 Not Found 次に主なステータスコードと理由フレーズを示す。 ■主なステータスコードと理由フレーズ ステータスコード 理由フレーズ 説明 200 OK リクエストが正しく処理された 400 Bad Request リクエストが不正なものであった 403 Forbidden アクセスが拒否された 404 Not Found ファイルが見つからない 405 Method Not Allowed 指定したメソッドがサポートされていない 415 Unsupporeted Media Type 指定したメディアタイプがサポートされていない 500 Internal Server Error サーバ内部のエラーが発生した 505 HTTP Version Not Supported リクエストしたバージョンはサポートされていない 「レスポンスヘッダ」はメッセージに関する付加情報である。各行の書式は「フィールド：値」となる。次に例を示す。 ●レスポンスヘッダ Date Wed, 08 Nov 2006 05 22 35 GMT ←日付 Server Apache/2.2.3 (Fedora) ←サーバ名 Last-Modified Fri, 29 Sep 2006 14 57 49 GMT ←最終更新日 ETag "1979a1-127-3d29b840" ←コンテンツに割り当てられる固有の値 Accept-Ranges bytes Content-Length 295 ←ファイルのサイズ Conection close Content-Type text/html; charset=UTF-8 ←①ファイルのタイプ ①の「Content-Type」がファイルのMIMIタイプである。HTMLファイルの場合には「text/html」になる。そのあとの「charset」で文字コードを指定することもある。 最後の「メッセージボディ」は実際にクライアントに送信するファイルである。つまり、HTMLファイルが要求された場合にはそのHTMLファイルの中身がメッセージボディになる。 ●メッセージボディ !DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http //www.w3.org/TR/html4/loose.dtd" " html head title Sample /title meta http-equiv="Content-type" content="text/html; charset=UTF-8" /head body bgcolor="#FFFFFF" h1 Hello /h1 /body /html