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ジャミンジュング語 |Australian languages| 言語類型 現用言語 使用文字 type living language writing system ISO 639-3 【djd】 言語名別称 alternate names Jaminjung 方言名 dialect names Ngaliwuru (Ngaliwerra) 参考文献 references WEB ISO 639-3 Registration Authority - SIL International the LINGUIST List Ethnologue
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Fantastic Cup 2019 Round.01 スペインGP(均一) アブダビGP(リアル) 結果 Rd.01 合 計 Race1(ESP25%) Race2(ABU50%) 予選 決勝(均一) ポイント 予選 決勝(リアル) マシン pt 順位 ポイント R2 計 chamako803 PP 3rd 15 - DNS - - - 0 15 KOBASI918 2nd 2nd 18 - Williams 10 12(DNF) 0 10 28 nomoken_ex01 3rd 1st 25 - Williams 10 4th 12 22 47 m-peggy 4th 7th 6 - Renault 6 2nd 18 24 30 FASTEST-ICEMAN 5th 4th+FL 13 - Alfa Romeo 6 13(DNF) 0 6 19 TSUBASTIAN 6th 5th 10 - Toro Rosso 6 3rd 15 21 31 ygdm520112 7th 11 0 - Red Bull 1 11(DNF) 0 1 1 umiwatal24 8th 6th 8 - Toro Rosso 6 10th 1 7 15 amakaraisi 9th 8th 4 - Racing Point 3 7th 6 9 13 CC_Johnson_ 10th 9th 2 - Hass 3 5th 10 13 15 bun594416 11 13 0 - Red Bull 1 6th 8 9 9 bakabons72100max 12 12 0 - Ferrari 1 9th 2 3 3 Tapioka_DK 13 14 0 - Mercedes 1 8th 4 5 5 smie_slime_25 DSQ 10th 1 - McLaren 3 1st+FL 26 29 30 slime_Knight_b PP 2nd 18 - Williams 10 8th 4 14 32 soccer666666864 2nd 1st 25 - Williams 10 9th 2 12 37 Bushido-Spirit 3rd 4th 12 - Alfa Romeo 6 3rd 15 21 33 gt65341 4th 8th 4 - Renault 6 2nd 18 24 28 HONDA_FAN99 5th 5th 10 - Toro Rosso 6 15 0 6 16 Takujin_Brees 6th 7th 6 - Renault 6 5th 10 16 22 kamikaze1869 7th 9th 2 - Racing Point 3 4th+FL 13 16 18 R3hub-1996 8th 6th 8 - Toro Rosso 6 7th 6 12 20 TAMOTU-JJJ 9th 10th 1 - McLaren 3 11 0 3 4 akira_sousui 10th 13 0 - Red Bull 1 10th 1 2 2 makky-1969 11 15 0 - Ferrari 1 13 0 1 1 teru-R33 12 12 0 - Red Bull 1 6th 8 9 9 kyuandmimi-love 13 11 0 - Hass 3 16 0 3 3 putisabotv 14 14 0 - Ferrari 1 12 0 1 1 WK_ZEPHRY 15 16 0 - Mercedes 1 17 0 1 1 cheese-gyudon-3 16 17 0 - Mercedes 1 14 0 1 1 mirai1222 17 3rd+FL 16 - Alfa Romeo 6 1st 25 31 47
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The story below is originally published on Mainichi Daily News by Mainichi Shinbun (http //mdn.mainichi.jp). They admitted inventing its kinky features, or rather deliberately mistranslating them from the original gossip magazine. In fact, this is far from the general Japanese behavior or sense of worth. このページは、毎日新聞事件の検証のための配信記事対訳ページです。直接ジャンプして来られた方は、必ずFAQをお読みください。 ※ この和訳はあくまでもボランティアの方々による一例であり、翻訳の正確さについては各自判断してください。もし誤訳(の疑い)を発見した場合には、直接ページを編集して訂正するか翻訳者連絡掲示板に報告してください。 "Lusty Lady Takes Quartet Of Boy Toys For A Spin"「色欲にまみれた女性がスピンのために4体の男のオモチャを使う」 拡散状況 関連ページ "Lusty Lady Takes Quartet Of Boy Toys For A Spin" 「色欲にまみれた女性がスピンのために4体の男のオモチャを使う」 元記事(削除済み):http //mdn.mainichi-msn.co.jp/waiwai/news/20060506p2g00m0dm025000c.html 転載:http //www.mpiii.com/news-1327.html (2006年5月7日配信) Japan-It is a well known fact that "Dutch Wives"-- the Japanese term for silicone females used as sex substitutes -- sell by the thousands in Japan. Some deluxe models even go for several hundred thousand yen. 日本ーダッチワイフ(日本でセックスの代用品として使われるシリコンで出来た女性を示す)は周知の事実である--は日本国内で何千体単位で売れている。いくつかの豪華なモデルは数十万円もの額で売られている。 What is less known, reports Uramono Japan (June), is that a counterparts of these dolls, equipped with male appendages, are available for women. And the magazine is eager to become the first to break the news about the existence of these toy boys, in an article entitled "Josei-yo dattchi dooru wa watashi wo mitashite kurureru kashira" (I wonder if a female-use Dutch doll can satisfy me). あまり知られていないが、裏モノJAPAN(6月)のレポートによると、これらの人形と対をなす、男性の付属物の付いたものが女性も入手出来るという。そしてその雑誌は「女性用ダッチドールは私を満たしてくれる(※原文はkurureru=くるれる)かしら」というタイトルの記事で、これらトイボーイの存在を最初に報じたくて仕方ないようだ。 The story is reported by Chifumi Konno, a 22-year-old woman employed by a "delivery health" (outcall sex service) company. Being experienced in matters sexual, Ms. Konno is certainly no blushing violet when it comes to telling Uramono Japan s readers about her encounters with these new inflatable goodies. その話は「デリバリーヘルス」(出張セックスサービス)の会社で働く22歳の女性、コンノ チフミによる報道だ。性的事項の経験があるためか、コンノさんは、裏モノJAPANの読者に、彼女のこれら新しい空気注入型の楽しいものとの出会いを話すことに何のためらいもない。 The first of konno s four "boyfriends" is named "masaki." Although youthful, the expression painted on his rubber face, Konno writes, didn t look happy at all -- but more like he s about to start sobbing any second. When blown up, Masaki s procreative member points to noon. And, the reviewer notes, he s equipped with an anal aperture on his reverse portal, but that s more likely to be provided for gays than gals. コンノの4人の「彼氏」のうちの一人目は「マサキ」と名付けられている。若いけれども、彼のゴムの顔に書いてある表情は、コンノが言うには、全く幸せに見えない。それどころかむしろ今にもしくしくと泣き出しそうだ。膨張したとき、マサキの生殖器の一部は正午を示す。そして、その評論家は、彼は裏側の入り口に肛門の穴が備えられているので、女の子向けというより、ゲイの人達向けに提供されている、と記述している。 Although bathing together in a love hotel s spacious tub is generally a prerequisite for cavorting atop the bed, Ms.Konno found to her frustration that no amount of force could immerse the inflatable "Masaki" below the water s surface. ラブホテルの広いお風呂に一緒に入ることは、一般的にベッドの上で遊び戯れるための必須条件だが、いくら努力をしても、空気注入型の「マサキ」は水面より下には沈まないことに、コンノさんは不満を持っている。 And once in bed, his foreplay technique proved nonexistent. そしてベッドに入れば、彼の前戯テクニックは存在しないことが分かった。 Then, assuming the missionary position, the moment of truth arrived. "I coated his pecker with lotion and used a hand to slip him into me," she relates. "He was...big. but on top of me nothing happened." そして、正常位の体勢をとったとき、正念場がやってきた。「彼のペニスにローションをつけて、彼のを私の中に入れるとき、手を使ったの」、と彼女は話す。「彼は、、、大きかった。でも、私の上半身には何も起こらなかった。」 Based on the way his limbs bent, Masaki seemed to be better configured for sex in the seated position. "But when his dick got all the way in, it hurt. And no amount of rubbing him was able to get me aroused," Konno grimaces. 彼の曲がった手足に基づくと、「マサキ」は座位でのセックスの方がいいように作られているように見られた。「でも彼のペニスが全て入った時、痛かった。それにいくら彼のとこすり合っても、(性的に)興奮しなかった」コンノは顔をしかめる。 Next u to bat was "Yuji." Blessed with a moustache, heavy eyebrows and a scowling visage that resembles the face of writer Chuzo Wada, he was produced by the same company as Masaki and sold for the same price (not mentioned in the article). But as masculine and vigorous as he appears, Yuji just lies there. So once again Konno was forced to take the initiative. 次の打者に立つのは、「ユウジ」だ。口ひげを持ち合わせていて、眉が濃く、、そしてしかめ面した顔立ちはマサキと同じ会社から作られた同じ値段の(その記事には述べられてないが)作家ワダ チュウゾウの顔のようである。男っぽく力強く見えるにも関わらず、ユウジはただそこに横たわるだけた。なのでコンノは再び主導権を取らざるを得なかった。 Then she tries to do it "doggy style," but finds being mounted from behind to be consummately awkward. And wiggling her backside to encourage a friendly thrust or two gets no response. With Yuji, it seems, she can t get no satisfaction either. そして彼女は「後背位(ドギースタイル)」をしようと試すのだが、後ろからのしかかられるということがこの上なく不格好であるということに気づく。さらに、いい感じの突きを一つか二つ促すために尻を小刻みに(くねくね)動かしたが、何の反応も得られない。ユウジとでは、彼女は満足感を全くもって得ることが出来ないようだ。 Next on the list was "John," a Western import featuring three-dimensional facial features (i.e., a big nose), hairy cheast and bushy moustache. And John s, er, equipment was also proportionally larger than his Japanese rivals. Indeed, during her stint as a sex industry worker, Ms. Konno had never encountered such a huge tallywhacker, and wasn g the least bit interested in being impaled upon it. So that was that. 次のリストに載っていたのは「ジョン」、欧米からの輸入物で、3次元的な顔つき(つまり大きな鼻)や、毛深い胸やもじゃもじゃした髭が特徴だ。ジョンの、その、男性器もまた日本のライバルに比べると大きかった。実際に、彼女のセックス産業従事者としての期間中、コンノさんはそのようなでかいモノ(tallywhacker=ペニス)に出くわしたことはなかったし、それで突き刺されたいとは微塵も思わなかった。(wasn g=wasn t?)それでそれはそれだった。 Last but not least was "Ken Ijuin," a high-tech "Dutch husband" made of semi-solid material. And so realistic, writes Konno, "He was like a corpse. Gave me the creeps at first." 最後だが決して侮れないのが、「ケン イジュウイン」、半固体状の素材で出来たハイテクの「ダッチハズバンド」だった。とてもリアルなので「彼は死体みたいだった。最初は気持ち悪かった」とコンノは書いている。 Ken s male root was bigger than John s, but the angle of his dangle was lower -- "about what you d expect from a 60-year-old man," Konno sniffs -- and his rubbery, chemical body odor, which a bath did nothing to alleviate, was a big turnoff. ケンの男根はジョンのよりも大きく、しかしペニスの角度は低かったー「60歳の男性に期待されるくらい」、とコンノは鼻で笑う。それに、お風呂では全く軽減されなかった彼のゴムのようなケミカルな体の匂いはひどく興ざめだった。 Ms. Konno was able to accommodate about half of ken s shaft without undue discomfort, and said it was actually starting to feel like the real thing; but compared with a human partner the difference was still "undei no za" (as different as the clouds and mud), as they say in Japanese. コンノさんは過度の不快感無しにケンの竿を半分まで入れることが出来、実際に本物のように感じ始めたが、しかし、人間のパートナーと比べると、その違いはまだ日本語でいうところの「雲泥の差」(雲と泥のように違うということ)だと言った。 "About all he (Ken) might be good for is one of those full-body pillows to sleep with," Konno pronounces. 「彼(ケン)のせいぜいいいところはと言えば、一緒に寝るのに全身が枕みたいなところかな」とコンノは述べる。 To cap the story, Konno accompanies the four to a public park where cherry blossoms are in full bloom, and arranges them around a picnic table to pose for a commemorative photo. その話の最後に、コンノは桜が満開の公共の公園にその4人を連れて行き、ピクニックテーブルの周りに彼らを配置し、記念写真のためにポーズをとらせている。 "The girls who saw them said they thought John was the cutest," she winks. "Well that just goes to show, until you ve actually made it with one, you never can tell who s the best." (By Masuo Kamiyama, contributing writer) May7, 2006 「彼らを見た女の子は、『ジョンが一番かっこいい』って思うって言ってた」、と彼女はウインクする。「まぁ、それはただの見た目だから、あなたが実際に誰かとするまでは、誰が一番かなんて言えないよね。」 (寄稿作家 カミヤマ マスオ) 2006年5月7日 拡散状況 Barely 18 Movies http //www.barely18movies.com/blog/?p=229 Japan Stippy http //www.stippy.com/japan-waiwai-archives/lusty-lady-takes-quartet-of-toy-boys-for-a-spin/ Orient Expat http //www.orientexpat.com/forum/index.php?showtopic=4103 st=20 英語サイト 部分転載:http //www.asiangirlsfree.com/asian/japan-sex-lady.html 部分転載:http //blog.cuntspace.com/live-sex-shows/8830/ass-site-myspacecom-free-live-sex 部分転載:http //www.japanfortheuninvited.com/articles/sex-dolls.html http //www.mpiii.com/news-1327.html 部分転載:http //brettwayn.typepad.com/parisblog/2006/05/if_you_are_wond.html http //www.toyssex.org/free-porn-news32.html Blogger 部分転載:http //attu.blogspot.com/2006/05/dutch-wives-for-japanese-women.html 関連ページ Barely 18 Movies Blogger Japan Stippy Orient Expat WaiWaiの記事を転載した英語サイト:A WaiWaiの記事を転載した英語サイト:J WaiWaiの記事を転載した英語サイト:M WaiWaiの記事を転載した英語サイト:P 元記事一覧 毎日新聞英語版から配信された記事2006年
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https://w.atwiki.jp/vocaloidenglishlyric/pages/126.html
【Tags A Len Owata-P Rin tA】 Original Music Title アンチクロロベンゼン English music title Antichlorobenzene Romaji music title Anchikurorobenzen Music Lyrics written, Voice edited by オワタP (Owata-P) Music arranged by オワタP (Owata-P) Main Singer 鏡音リン (Kagamine Rin), Chorus 鏡音レン (Kagamine Len) This song is included in "Benzene" series. Click here for the original Japanese Lyrics English Lyrics (translated by animeyay): It s difficult, it s sad, it s regrettable, that I want to stop, and yet I m not even allowed to do that, but only keep on losing more and more. It s too painful, it s too detestable, it s futile, that I want to erase all, abandon anything and everything, fly off, and make an clamorous outcry. Without understanding anything, you run through the town at night. Without saying anything to you, I merely keep on watching. Some cheap words have been lined up, but just where is the goal? The rules are not over there, but are weakly decaying. And then I start to talk "I will correct everything in this world." And I try to deceive the cat "I will be able to correct everything." Brandishing an impossible promise, I indulge in self-satisfaction. Everybody knows and understands, so today, too... You will be exposed, be shattered, become rusty, and rot away, and even the absurd gossips will be washed away and become truths. Lies are fine, I don t care, because we are the correct ones here, and therefore we will completely crush your deeply sinful immoralities. Does this song have a meaning? This verse has no meaning. Is this song sinful? This verse is not sinful. And then I come to a realization, that I should not create anything after all. What is the value of your life?-- Just a stray cat, whom I ve thrust into a pond. To some empty meaningless words, I dance and wave about, until I lose them. What is "good"? What is "evil"? I don t know anything anymore. Now, let s go mad together! For what do I sing? Paradichlorobenzene. I just sing without understanding why. Paradichlorobenzene. We crush evil, and brandish justice. Paradichlorobenzene. As we stop wandering we don t realize our foolish deeds. It s not possible, it s not forgivable, and it won t stop, this feeling of mine. This pain and this detest strike right through my heart. It s difficult, it s sad, it s futile, that I want to erase all, and yet I m not even allowed to do that, because only renunciation will save me now. Lies are fine, I don t care, let s forgive, let s give acceptance. We re so mad that it seems like we can embrace even laughter and jealousy. Be it "good" or "evil", let s [kill] everything, and then fall into a slumber. I ve had enough; I m really tired now. Will we be salvaged? Romaji lyrics (transliterated by animeyay): boku wa nan no tame ni utau? PARAJIKUROROBENZEN tada imi no rikai sezu ni utau PARAJIKUROROBENZEN sou kotaemotome hashiridashita PARAJIKUROROBENZEN sono saki ni tadoritsuite nanimo nai to shitta kedo saa utaimashou odorimashou PARAJIKUROROBENZEN saa wamekimashou sakebimashou PARAJIKUROROBENZEN inu mo neko mo ushi mo buta mo mina PARAJIKUROROBENZEN saa kuruimashou nemurimashou kuchihateru made saa RUURU ga boku wa iya de tada shibararetaku nakute dakara boku wa nigedashite atosaki no koto wa wasure sashizu sareru no ga iya de sukoshi aku ni naritakute shin ya ie wo nukedashite yoru no machi wo hashirinuke nan no tame ni ikiru noka boku wa noraneko ni hanashikaketa neko wa nanimo kotaezu ni tada mikudashita hitomi de boku wo mita nome mo shinai koohii nomihoshite kumorisora wo miagetanda ima no boku ni nani ga dekiru? soresura wakaranai dakara boku wa utaisakebunda PARAJIKUROROBENZEN sono imi no rikai sezu ni wameku PARAJIKUROROBENZEN kore de kimi wa manzoku dekiru no? PARAJIKUROROBENZEN okite kisoku yabuttara kimi wa nanika kawaru no? sou dare demo ii buchimaketai PARAJIKUROROBENZEN aku wo tataku seigi furikazasu PARAJIKUROROBENZEN seigi tate ni SUTORESU kaishou PARAJIKUROROBENZEN mawaritomeru bokura kizukanai orokana koui kono uta ni imi wa aru no? kono uta ni imi wa nai yo kono uta ni tsumi wa aru no? kono uta ni tsumi wa nai yo [BENZEN]...ni imi wa aru no? [BENZEN]...ni imi wa nai yo [BENZEN]...ni tsumi wa aru no? kono uta no imi wa... [BENZEN] boku wa soshite kizuku shosen wa subete gizen nanda to boku no ikiru kachi wa nani? noraneko wa mizu ni oboreshinda kara ni natta koohii nagesutete yami ni owareta sora wo mita ima no boku wa nani wo shiteru? soresura wakaranai mou nannimo wakaranai soshite kimi wa boku wo waraunda [PARAJIKUROROBENZEN] soshite boku wa kimi wo tsukitobasu [PARAJIKUROROBENZEN] boku ga tadashiku kimi wa chigau [PARAJIKUROROBENZEN] kyomu ni kurumarete wa kieru boku ga kiesaru made saa utaimashou odorimashou PARAJIKUROROBENZEN saa waraimashou netamimashou PARAJIKUROROBENZEN boku mo kimi mo nanimokamo zenbu PARAJIKUROROBENZEN saa kuruimashou nemurimashou kuchihateru made saa [Owata-P, OwataP, Garuna]
https://w.atwiki.jp/6850/pages/16.html
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ATTO PRIMO (Galleria nel Palagio di Westminster) (Cavalieri e Dame che riedono dal Torneo dato in onore dall Inviato di Francia, e si dispongono ingruppi ad incontrar la Regina) Preludio SCENA I No. 1 - Coro DAME, CAVALIERI Qui si attenda, eIl è vicina dalle giostre a far ritorno. De Brettoni la Regina è la gioia d ogni cor. Quanto lieto fia tal giorno se la stringe ad alto amor. CORTIGIANI La Regina! (Entra Elisabetta) DAME, CAVALIERI Si, per noi sarà più bella d Aiblon la pura stella quando unita la vedremo della Francia allo splendor. Festeggianti ammireremo la possanza dell amor. SCENA Il No. 2 - Recitativo e Cavatina ELISABETTA Si, vuoi di Francia il Rege col mio core l Anglo trono. Dubbiosa ancor io sono d accoglier l alto invito, ma se il bene de fidi miei Brittanni fa che d Imene all ara io m incammini, reggerà questa destra della Francia e dell Anglia ambo i destini. (da sé) Ah! quando all ara scorgemi un casto amor del cielo, quando m invita a prendere d Imene il roseo velo, un altro core involami la casa libertà! E mentre vedo sorgere fra noi fatal barriera, ad altro amor sorridere quest anima non sa. TALBOT In tal giorno di contento di Stuarda il sot lamento la Brettagna turberà? Sì, la Brettagna turberà? CORTIGIANI Grazia, grazia alla Stuarda. ELISABETTA Olà! Di questo giorno il giubila turbato io non credea. Perché forzarmi a piangere sul capo della rea, sul tristo suo destin? CECIL Ah, dona alla scure quel capo che desta fatali timori, discordia funesta finanche fra ceppi, col foco d amor. CORO Grazia! ELISABETTA Tacete! Non posso risolvermi ancor. Ah! dal ciel discenda un raggio che rischiari il mio intelletto; forse allora in questo petto la clemenza, la clemenza parlerà. Ma se l empia m ha rapita ogni speme al cor gradita giorno atroce di vendetta tardo a sorger non sarà. CORO Segua i moti di pietà. CECIL Ti rammenta, Elisabetta, ch è dannosa ogni pietà. No. 3 - Scena ELISABETTA Fra noi perché non veggio Leicester? Egli solo resta lontano dalla gioia comune? CECIL Eccolo! SCENA III (Entra Leicester che bacia la mano ad Elisabetta) ELISABETTA Conte! Or io dite chiedea. LEICESTER Deh! mi perdona se ai tuoi cenniindugiai! Che imponi? ELISABETTA (si toglie un anello e lo consegna a Leicester) Prendi, reca l anello mio di Francia all inviato; ai Prence suo rieda messaggio a dir, che già d Imene l invito accetto. (E non si cangia in viso!) (a Leicester) Ma che il serto che mi offre ricusar ancor posso, che libera son io. Prendilo. (Ingrato!) LEICESTER (con indifferenza) Obbedisco! ELISABETTA Addio. (Gli dà la mano a baciare, e s allontana seguita dalle dame, da grandi, da Lord Cecil; Talbot va per seguirla, Leicester lo prende per la mano, seco lui s avanza sulla scena, per gli parlare di segreto) SCENA IV LEICESTER Hai nelle giostre, o Talbo, chiesto di me? TALBOT Io si. LEICESTER Che brami dunque? TALBOT Favellarti. Ti fia tremenda e cara ogni parola mia. In Forteringa io fui… LEICESTER Che ascolto! TALBOT Vidi l infelice Stuarda! LEICESTER Ah! più sommesso favella in queste mura! E qual ti parve? TALBOT Un angelo d amor, bella qual era, e magnanima sempre. LEICESTER Oh! troppo indegna di rio destino. E a te che disse? Ah, parla! TALBOT Posso in pria ben securo affidarmi al tuo cor? LEICESTER Parla; tel giuro. No. 4 - Cavatina TALBOT (gli dà un foglio ed un ritratto) Questa imago, questo foglio la Stuarda a te l invia. Di sua man io gli ebbi, e pria del suo pianto li bagnò. LEICESTER Oh piacer! TALBOT Con quale affetto il tuo nome pronunziò! LEICESTER Oh piacere! Ah! rimiro il bel sembiante adorato, vagheggiato, ei mi appare sfavillante come il dì che mi piagò. Parmj ancora che su quel viso spunti languido un sorriso ch altra volta a me sì caro la mia sorte incatenò. TALBOT Al tramonto è la sua vita, ed alta a te cercò. LEICESTER Oh memorie! Oh cara imago! Di morir per lei son pago! TALBOT Al tramonto è la sua vita, ecc. LEICESTER Ah! rimiro il bel sembiante, ecc. TALBOT Che risolvi? LEICESTER Liberarla! O con lei spirar saprò! TALBOT Di Babington il periglio non ancor ti spaventò? LEICESTER Ogni tema, ogni periglio io per lei sfidar saprò! Vuò liberarla, vuò liberarla! Se fida tanto colei mi amò da gli occhi il pianto le tergerò e se pur vittima cader degg io, del fato mio superbo andrò. TALBOT Non far che gema se all ora estrema se sfuggir, no, no, sfuggir non può. (Talbot Parte; Leicester si avvia alla parte opposta, e s incontra con la Regina. Si scorgono nel di lui volto segni di agitazione) SCENA V No. 5 - Scena e Duetto ELISABETTA Sei tu confuso? LEICESTER Io no. (Che incontro!) ELISABETTA Talbo teco un colloquio tenne? LEICESTER E ver. (Che fia?) ELISABETTA Sospetto ei mi divenne - tutti colei seduce! Ah! forse, o Conte, messaggio di Stuarda a te, a te giungea? LEICESTER Sospetti invano! Ormai di Talbo è nota la fedeltà. ELISABETTA Pure il tuo cor conosco; svelami il ver - l impongo. LEICESTER (Oh dei!) Regina… ELISABETTA Ancor me l celi? Intendo. (Vuol partire) LEICESTER Ah! non partir, m ascolta! Deh! ti arresta! Un foglio… ELISABETTA Il foglio a me. LEICESTER (Sorte funesta!) (Egli s inginocchia e porge il foglio) Eccolo, al regio piede, io lo depongo. Ella per me ti chiede di un colloquio il favor. ELISABETTA Sorgete, o Conte. Troppo fate per lei. Crede l altera di sedurmi così; ma invan lo spera. (Apre il foglio, legge rapidamente e il suo furore si cangia in stupore) Quali sensi! LEICESTER (Ell è commossa!) ELISABETTA Ch io discenda alla prigione. LEICESTER Sì, Regina. ELISABETTA Ov è la possa, chi ti ambia le tre corone? LEICESTER Come lampo in notte bruna, abbagliò, fuggì, spari! ELISABETTA Al ruotar della fortuna tant orgoglio impallidì. LEICESTER Ah, pietade! Per lei l implora il mio core. ELISABETTA Ch ella possiede - non è ver? LEICESTER (Quel dir m accora!) ELISABETTA Nella Corte ognuno il crede. LEICESTER E s inganna. ELISABETTA (Mentitore!) LEICESTER Sol pietade a lei m unì. ELISABETTA (Egli l ama! Egli l ama! Oh mio furor! Oh mio furor!) E leggiadra? Parla! LEICESTER Si! ELISABETTA Si? Si? Si? LEICESTER Si! Era d amor l immagine, degli anni sull aurora; sembianza avea d un angelo che appare, ed innamora; era celeste l alma soave il suo respir; bella ne dì del giubilo, bella nel suo martir. ELISABETTA A te lo credo, è un angelo se tu le dai tal vanto; se allo squallore di un carcere è d ogni cor l incanto… Lo so che alletta ogni anima lusinga ogni desir… (Se tu l adori, o perfido, paventa il mio soffrir.) LEICESTER Ma… non… Regina credo.., io… Bella ne dì del giubilo bella nel suo martir. Vieni. ELISABETTA (Lo chiede il barbaro.) LEICESTER Appaga, il mio desir. ELISABETTA Dove? Quando? LEICESTER In questo giorno al suo carcere d intorno per la caccia che si appresta, scenderai nella foresta. ELISABETTA Conte, il vuoi? LEICESTER Ten prego. ELISABETTA Intendo. (Alma incauta!) A te mi arrendo. (Sul crin la rivale la man mi stendea, il serto reale strapparmi volea; ma vinta l altera divenne più fiera, d un core diletto privarmi tentò. Ah! troppo mi offende, punirla saprò.) LEICESTER Deh! vieni, o Regina, ti mostra clemente, vedrai la divina beltade innocente; sorella le sei, pietade per lei, chè l odio nel petto assai ti parlò. ELISABETTA Taci, taci, taci! Dov è? La possa dov è? Di tre corone l orgoglio dov è? LEICESTER La calma le rendi, e pago sarò. Regina, deh! vieni, la calma le rendi, e pago sarò, e pago sarò. ELISABETTA (Sul crin la rivale, (ecc.) LEICESTER Regina, ten prego. Ah! la pace le rendi, (ecc.) ELISABETTA Ah! troppo mi offende, (ecc.) ATTO PRIMO Galleria nel Palagio di Westminster Cavalieri e Dame che riedono dal Torneo dato in onore dall Inviato di Francia, e si dispongono ingruppi ad incontrar la Regina Preludio SCENA I No. 1 - Coro DAME, CAVALIERI Qui si attenda, eIl è vicina dalle giostre a far ritorno. De Brettoni la Regina è la gioia d ogni cor. Quanto lieto fia tal giorno se la stringe ad alto amor. CORTIGIANI La Regina! Entra Elisabetta DAME, CAVALIERI Si, per noi sarà più bella d Aiblon la pura stella quando unita la vedremo della Francia allo splendor. Festeggianti ammireremo la possanza dell amor. SCENA Il No. 2 - Recitativo e Cavatina ELISABETTA Si, vuoi di Francia il Rege col mio core l Anglo trono. Dubbiosa ancor io sono d accoglier l alto invito, ma se il bene de fidi miei Brittanni fa che d Imene all ara io m incammini, reggerà questa destra della Francia e dell Anglia ambo i destini. da sé Ah! quando all ara scorgemi un casto amor del cielo, quando m invita a prendere d Imene il roseo velo, un altro core involami la casa libertà! E mentre vedo sorgere fra noi fatal barriera, ad altro amor sorridere quest anima non sa. TALBOT In tal giorno di contento di Stuarda il sot lamento la Brettagna turberà? Sì, la Brettagna turberà? CORTIGIANI Grazia, grazia alla Stuarda. ELISABETTA Olà! Di questo giorno il giubila turbato io non credea. Perché forzarmi a piangere sul capo della rea, sul tristo suo destin? CECIL Ah, dona alla scure quel capo che desta fatali timori, discordia funesta finanche fra ceppi, col foco d amor. CORO Grazia! ELISABETTA Tacete! Non posso risolvermi ancor. Ah! dal ciel discenda un raggio che rischiari il mio intelletto; forse allora in questo petto la clemenza, la clemenza parlerà. Ma se l empia m ha rapita ogni speme al cor gradita giorno atroce di vendetta tardo a sorger non sarà. CORO Segua i moti di pietà. CECIL Ti rammenta, Elisabetta, ch è dannosa ogni pietà. No. 3 - Scena ELISABETTA Fra noi perché non veggio Leicester? Egli solo resta lontano dalla gioia comune? CECIL Eccolo! SCENA III Entra Leicester che bacia la mano ad Elisabetta ELISABETTA Conte! Or io dite chiedea. LEICESTER Deh! mi perdona se ai tuoi cenniindugiai! Che imponi? ELISABETTA si toglie un anello e lo consegna a Leicester Prendi, reca l anello mio di Francia all inviato; ai Prence suo rieda messaggio a dir, che già d Imene l invito accetto. (E non si cangia in viso!) a Leicester Ma che il serto che mi offre ricusar ancor posso, che libera son io. Prendilo. (Ingrato!) LEICESTER con indifferenza Obbedisco! ELISABETTA Addio. Gli dà la mano a baciare, e s allontana seguita dalle dame, da grandi, da Lord Cecil; Talbot va per seguirla, Leicester lo prende per la mano, seco lui s avanza sulla scena, per gli parlare di segreto SCENA IV LEICESTER Hai nelle giostre, o Talbo, chiesto di me? TALBOT Io si. LEICESTER Che brami dunque? TALBOT Favellarti. Ti fia tremenda e cara ogni parola mia. In Forteringa io fui… LEICESTER Che ascolto! TALBOT Vidi l infelice Stuarda! LEICESTER Ah! più sommesso favella in queste mura! E qual ti parve? TALBOT Un angelo d amor, bella qual era, e magnanima sempre. LEICESTER Oh! troppo indegna di rio destino. E a te che disse? Ah, parla! TALBOT Posso in pria ben securo affidarmi al tuo cor? LEICESTER Parla; tel giuro. No. 4 - Cavatina TALBOT gli dà un foglio ed un ritratto Questa imago, questo foglio la Stuarda a te l invia. Di sua man io gli ebbi, e pria del suo pianto li bagnò. LEICESTER Oh piacer! TALBOT Con quale affetto il tuo nome pronunziò! LEICESTER Oh piacere! Ah! rimiro il bel sembiante adorato, vagheggiato, ei mi appare sfavillante come il dì che mi piagò. Parmj ancora che su quel viso spunti languido un sorriso ch altra volta a me sì caro la mia sorte incatenò. TALBOT Al tramonto è la sua vita, ed alta a te cercò. LEICESTER Oh memorie! Oh cara imago! Di morir per lei son pago! TALBOT Al tramonto è la sua vita, ecc. LEICESTER Ah! rimiro il bel sembiante, ecc. TALBOT Che risolvi? LEICESTER Liberarla! O con lei spirar saprò! TALBOT Di Babington il periglio non ancor ti spaventò? LEICESTER Ogni tema, ogni periglio io per lei sfidar saprò! Vuò liberarla, vuò liberarla! Se fida tanto colei mi amò da gli occhi il pianto le tergerò e se pur vittima cader degg io, del fato mio superbo andrò. TALBOT Non far che gema se all ora estrema se sfuggir, no, no, sfuggir non può. Talbot Parte; Leicester si avvia alla parte opposta, e s incontra con la Regina. Si scorgono nel di lui volto segni di agitazione SCENA V No. 5 - Scena e Duetto ELISABETTA Sei tu confuso? LEICESTER Io no. (Che incontro!) ELISABETTA Talbo teco un colloquio tenne? LEICESTER E ver. (Che fia?) ELISABETTA Sospetto ei mi divenne - tutti colei seduce! Ah! forse, o Conte, messaggio di Stuarda a te, a te giungea? LEICESTER Sospetti invano! Ormai di Talbo è nota la fedeltà. ELISABETTA Pure il tuo cor conosco; svelami il ver - l impongo. LEICESTER (Oh dei!) Regina… ELISABETTA Ancor me l celi? Intendo. Vuol partire LEICESTER Ah! non partir, m ascolta! Deh! ti arresta! Un foglio… ELISABETTA Il foglio a me. LEICESTER (Sorte funesta!) Egli s inginocchia e porge il foglio Eccolo, al regio piede, io lo depongo. Ella per me ti chiede di un colloquio il favor. ELISABETTA Sorgete, o Conte. Troppo fate per lei. Crede l altera di sedurmi così; ma invan lo spera. Apre il foglio, legge rapidamente e il suo furore si cangia in stupore Quali sensi! LEICESTER (Ell è commossa!) ELISABETTA Ch io discenda alla prigione. LEICESTER Sì, Regina. ELISABETTA Ov è la possa, chi ti ambia le tre corone? LEICESTER Come lampo in notte bruna, abbagliò, fuggì, spari! ELISABETTA Al ruotar della fortuna tant orgoglio impallidì. LEICESTER Ah, pietade! Per lei l implora il mio core. ELISABETTA Ch ella possiede - non è ver? LEICESTER (Quel dir m accora!) ELISABETTA Nella Corte ognuno il crede. LEICESTER E s inganna. ELISABETTA (Mentitore!) LEICESTER Sol pietade a lei m unì. ELISABETTA (Egli l ama! Egli l ama! Oh mio furor! Oh mio furor!) E leggiadra? Parla! LEICESTER Si! ELISABETTA Si? Si? Si? LEICESTER Si! Era d amor l immagine, degli anni sull aurora; sembianza avea d un angelo che appare, ed innamora; era celeste l alma soave il suo respir; bella ne dì del giubilo, bella nel suo martir. ELISABETTA A te lo credo, è un angelo se tu le dai tal vanto; se allo squallore di un carcere è d ogni cor l incanto… Lo so che alletta ogni anima lusinga ogni desir… (Se tu l adori, o perfido, paventa il mio soffrir.) LEICESTER Ma… non… Regina credo.., io… Bella ne dì del giubilo bella nel suo martir. Vieni. ELISABETTA (Lo chiede il barbaro.) LEICESTER Appaga, il mio desir. ELISABETTA Dove? Quando? LEICESTER In questo giorno al suo carcere d intorno per la caccia che si appresta, scenderai nella foresta. ELISABETTA Conte, il vuoi? LEICESTER Ten prego. ELISABETTA Intendo. (Alma incauta!) A te mi arrendo. (Sul crin la rivale la man mi stendea, il serto reale strapparmi volea; ma vinta l altera divenne più fiera, d un core diletto privarmi tentò. Ah! troppo mi offende, punirla saprò.) LEICESTER Deh! vieni, o Regina, ti mostra clemente, vedrai la divina beltade innocente; sorella le sei, pietade per lei, chè l odio nel petto assai ti parlò. ELISABETTA Taci, taci, taci! Dov è? La possa dov è? Di tre corone l orgoglio dov è? LEICESTER La calma le rendi, e pago sarò. Regina, deh! vieni, la calma le rendi, e pago sarò, e pago sarò. ELISABETTA (Sul crin la rivale, ecc. LEICESTER Regina, ten prego. Ah! la pace le rendi, ecc. ELISABETTA Ah! troppo mi offende, ecc. Donizetti,Gaetano/Maria Stuarda/II