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Korea became a territory of Japan by the Japan–Korea Treaty of 1910. Many foreigners reported the situation of Korea during the annexation period. What do they say? You will learn the reality. ● Helen Mears, Mirror for Americans, Japan The [First Sino-Japanese War] was an unqualified success from the Japanese point of view. The Western Powers applauded, and one after another gave up their “special privileges” and admitted Japan as an equal sovereign Power. The Japanese bestowed freedom on the Koreans, and to celebrate the event, the Korean King assumed the title of Emperor to indicate that he was now an equal of the Chinese and Japanese Emperors. *** When, in 1910, the Japanese annexed Korea, it was because the new Emperor“petitioned” them to do so. In commenting on Japan’s relations with Korea, many pre-Pearl Harbor Western historians have noted how punctilious the Japanese were in following the legal niceties of international relations as taught them by the Western Powers. As Professor [Payson Jackson] Treat comments, “... every step in the process was ‘correct’ diplomatically, and the final annexation was consummated by ... treaty, not proclamation.” As a matter of record, Japan’s annexation of Korea had considerably more “legal” documentation than most of the empire-buildingof the Western Powers. ●London Times, 28 September 1904 edition The Japanese Government are understood to have two principal aims in view. They desire to promote Korea’s foreign commerce ... and to regulate her foreign relations sothat there shall be a minimum of friction and blundering. (...) It has therefore been agreed that Korea shall accept a financial adviser recommended by Japan, and Mr. Megata, one of the ablest among the junior members of the Japanese Treasury, has been chosen for the post. (...) Then, in the conduct of her foreign relations also, Korea is to have the benefit of an adviser franked by Japan–Mr. D. W. Stevens, during many years Secretary of the United States Legation in Tokio, and now counsellor to the Japanese Legation in Washington, a man of well proved ability. (...) The Koreans have had ample time to appreciate the advantages of reform, but they have never shown the least disposition to be appreciative. There is only one faint hope–namely, that although Korea cannot discern the things making for her own good, she may learn to value them by experience of their uses. On that slender foundation Japan intends to build, and if she succeed in raising a solid edifice she will deserve much credit. ●San Francisco Chronicle, 21 March 1908 edition] D.W. Stevens, diplomatic adviser to the Corean Council of State, was an arrival yesterday on the Nippon Maru (...) In 1904, under the treaty between Japan and Corea, he was appointed to his present position. Stevens says the Corean people have been greatly benefited by Japanese protection and that they are beginning to look more favorably on it. He says the Japanese are doing for the Coreans what America is doing for the Philippines. Continuing, he said,“You can get some idea of the condition of Corea before the war from the statement that the Government was spending 3,000,000 yen annually on a standing army and 60,000 yen on public education. The people are divided into two classes, the peasantry and the official classes. The former was ground down until nothing but a bare existence was left from their labor, while the official class was thoroughly corrupt. “The peasants have welcomed the Japanese, while the official class has not, but even the officials are beginning to see that the only hope for the country lies in are organization of the old institutions.” ● George Trumbull Ladd American educator and philosopher Nationally, a new life opens up before Korea. Japan has sent her veteran statesman to advise and guide Korea, the man to whom in the largest sense Japan owes so much–the most conspicuous statesman in Asia to-day, Marquis Ito. Plans for the reform of the Government, codification of the laws, development of the industry and business of the people, and extension of education, have been formulated, and in a comparatively short time most promising results achieved. In spite of difficulties which necessarily for the present encumber the situation, the outlook is most hopeful. ●New York Times(29 April 1905 edition) Wonderful is the spectacle of transformation in Korea. The reforms already effected are remarkable and are an unmixed benefit to the people, but they are causing dismay to the Emperor and his corrupt Court of attendants, soothsayers, fortune tellers, and foreign parasites. The Emperor has suffered a cruel disillusion, but is still hoping for the ultimate success of Russia, a power which has fostered the worst influences of his barbaric reign. ● Correspondent EssonThird in the North China Herald(18 August 1905 edition) Japan, meanwhile, is being soundly rated by the ignorant classes and by some foreigners for her whole course of action during the past year. She is threatening a protectorate, we are told. But what of that? We have had a protectorate ever since the treaty was signed and since war broke out. (...) In a word the bane of Corea to-day is not the Japanese, but the Palace, where ignorance, superstition, and cruelty hold sway. (...) To the fullest extent of her territory and influence, [Korea] stands responsible for the war. In the blood and sweat and suffering of it she has shared nothing. Let us help her to see her faults, her sins, her good-for-nothingness, help her to awake to an earnest, diligent, honest life, and it will be time enough then to declaim against a protectorate and the high-handedness of the Japanese. ●North China Herald(24 November 1905 edition) Even those who like the Coreans best, and all who know them allow that they have many amiable qualities, are forced to admit that Corea cannot maintain herself in the twentieth century as an independent State. ● Comments made by General Dmitri Horvath, general manager of the Chinese EasternRailway, about the assassination of Ito Hirobumi in Kharbinskii viestnik(a Russian- Manchurian newspaper) The more I contemplate [the assassination], the more miserable I feel. If Russia had heeded the advice of Marquis Ito prior to the great war of recent times [the Russo-Japanese War], both that cruel war and the dishonor defeat brought to Russia could have been avoided. Everyone knows that the purpose of Marquis Ito’s visit to Harbin was decidedly not empty, ritualistic diplomatic exchanges with our finance minister. ●Shen Bao(Chinese-language newspaper published in Shanghai between 1872 and 1949; 01 September 1910 edition) Korea has perished. Nevertheless, the Korean emperor is smiling, the Korean liege lords are ecstatic, and the former emperor (Gojong) too bears no grudge. All of them seem to be skilled at acquiring special treatment from a foreign nation. Only the students are gloomy and disaffected. ●London Times(04 October 1904 edition) Of all the many remarkable circumstances of this Far-Eastern war, the fact that dominates everything else is the courage and conduct of the Mikado’s armies. We recognise, almost grudgingly and in spite of ourselves, the existence of a moral force that appears to govern and sway the whole conduct of a whole people, inspiring not a caste but a nation from highest to lowest, to deeds that are worthy to rank with the most famous of history or of legend. We want to know what this force is, whence it comes, and what it means; the sense of its existence makes us jealous, uncomfortable, almost annoyed. We are told that the Japanese are scientific fanatics; in effect that is apparently the result; but effects are nothing and causes everything. What we desire to know is the cause, the underlying motive that inspires the deeds of valour, too numerous to name, that are told us from all sides, without a single dissentient voice, both from one side of the battlefield and from the other, even finding a generous acknowledgment in a rescript of the Tsar’s. (...) Valor is nothing new to the West, since the annals of all armies are crowded with it. It was not that; there was something more behind, something which, had all Western armies possessed it, would have prevented black marks which besmirch the military escutcheons of all nations of the West without exception. What was it? What is it? ● Alleyne Ireland, British historian From such a study [of the available data], which has occupied me for more than three years, and of which the results are presented in this volume, I have formed the opinion that Korea is today infinitely better governed than it ever was under its own native rulers, that it is better governed than most self-governing countries, that it is as well governed as any of the British, American, French, Dutch, and Portuguese dependencies which I have visited, and is better governed than most of them, having in view as well the cultural and economic development of the people as the technique of administration. *** From year to year since annexation the number of prisons has increased, and their condition improved, so that today, the larger prisons, at least, will bear comparison with those of any country, and are greatly superior to most of the prisons in the United States. In the fiscal year 1918 public schools for Korean children numbered 466 throughout the country, and the expenditure for them amounted to 1,835,000 yen, of which only 195,000 yen, namely about ten per cent of the whole, fell upon the Korean population, the average burden on each household being as low as six sen (1 sen = 1⁄2 cent U.S.), while the rest was met by government assistance. However, in view of the growing need of common education among the people a programme was drawn up in 1919 to found 400 more schools within the next four years on the standard of “one school to every three villages at least,” and this necessarily meant [a] large increase in expenditure and consequent increase in the incidence of the school tax, as well as in the amount of government aid. (...) It is to be noted that between 1918 and 1922 the expenditure on the elementary education of Koreans increased nearly eight-fold. Are those articles same as what you learnt? If not, that is not a problem! Now is the best time to learn the reality. If you re interested, you can read more story from the following link. A NEW LOOK AT THE ANNEXATION OF KOREA By Committee Against Government Apologies to Korea http //www.sdh-fact.com/CL02_1/89_S4.pdf modified 090513103949
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Subsonic - MyPrivilege I can t tell you lots of valuable words. While others know words of meaning of love. But I found I don t need these words. Because gazed into your face and your eyes. Your decisions set me free and also restrain. Supersonic words are flying back and forth. Before you get my feelings of love. And my thoughts are hard to understand. Sometimes your face shows feel lonely. At that time, I also feel uneasy. I really like you. Your decisions set me free and also restrain. Supersonic words are flying back and forth. Before you get my feelings of love. I m no care. No one compete with it. Maybe subsonic love makes me invincible. It may fade away from my heart in this weekend. So, let s go out for eating dinner. So that I ll don t forget it. I still have a no idea what meals you like or not. However, I think I ll know this, Supersonic words are flying back and forth. Before you get my feelings of love. I m no care. No one compete with it. Maybe subsonic love makes me invincible.
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【Tags Hayaya-P Len Miku Rin tS H】 Original Music title 春！桜！ニンジャ！ English music title Spring! Cherry! Ninja! Romaji music title Haru! Sakura! Ninja! Music Lyrics written, Voice edition by はややP(Hayaya-P) Music arranged by はややP(Hayaya-P) Singer(s) 初音ミク (Hatsune Miku), 鏡音リン (Kagamine Rin), 鏡音レン (Kagamine Len) Click here for the original Japanese Lyrics English Lyrics (translated by soundares)： Speaking of spring, (Japanese-)cherry! Geisha! Ninja!!! ( 3 ) Pu ( 3 ) Pu So, (then), Ninja!Ninja! ( 3 ) Pu ( 3 ) Pu Do, (how about), Nanja(What-a)?Nanja(What-a)? ( 3 ) Pu ( 3 ) Pu So, (then), Ninja!Ninja! Wow U Fu Fu Ninja-ja! a-ha Cherry s flower petal flip "Flip" Flutter dance... (Yes) that season (now) "Foo-Foo" Worked hard To pass "Yey" Same school as him "Yeah" Studied and studied "I did did" Well done for me "OK" I m so happy I will cry "cry cry" I can t see anything but you anymore "Can t see" Even when graduation ceremony (day) came I couldn t talk to you ( 3 ) Pu ( 3 ) Pu I m gonna dress in same school-uniform as you again next year I am Ninja "ja-ja-ja--" So I m gonna follow you hiding I will follow you on and on Because I like/love you ( 3 ) Pu ( 3 ) Pu So, (then), Ninja! Ninja! ( 3 ) Pu ( 3 ) Pu (How about that), Nanja(What-a)? Nanja(What-a)? ( 3 ) Pu ( 3 ) Pu So, (then), Ninja!Ninja! "Fooo" U Fu Fu Ninja-ja! "Oh yeah" Cherry s flower petal flip "Flip" Flutter dance... (Yes) that season (now) "Foo-Foo" Yo, Worked hard and drawed yo "yo" The type(of girl) he likes "Pu Pu" Tried and tried (hard!) "I did did" Did I too get cute (now)? "OK?" Please notice (the difference!) "Hey hey" I can t see anything but you anymore "Can t see" Even when entrance ceremony (day) came I couldn t talk to you yet ( 3 ) Pu ( 3 ) Pu It s going to begin...Scholo life for two of us MOE I am Ninja "ja-ja-ja--" So I m continuing to watching you hiding I wish I could watch on forever though Under cherry I happen to find out That girl and you two With your cheeck dyed (in happiness) Your smile NO------------!! I am Ninja "ja-ja-ja--" You are left not knowing anything As it is, just alone, dissapear-into-cloud(vanishing), no way! ja! "ja-ja-ja--" It s regretting(frustrating) so I will watch them though This is part of training too How severe ( 3 ) Pu ( 3 ) Pu So, (then), Ninja! Ninja! ( 3 ) Pu ( 3 ) Pu Do, (how about), Nanja(What-a)? Nanja(What-a)? ( 3 ) Pu ( 3 ) Pu So, (then), Ninja! Ninja! "Fooo" U Fu Fu Ninja-ja! "Oh yeah" "Isn t that a stalker?" "It s not! It s Ninja-!" Romaji lyrics (transliterated by Slimeball)： "haru to ieba, sakura? geisha? ninjaa!!!" （゜з゜）puu（゜з゜）puu so ja ninja! ninja! （゜з゜）puu（゜з゜）puu do ja nanja? sonja? （゜з゜）puu（゜з゜）puu so ja ninja! ninja! (uwaao) u fu fu ninjajjaa! (a-ha) sakura no hanabira hirari (hirari) maiodoru kisetsu desu (fuu fuu) ganbatte goukakushita no (waai) kare to onaji koukou (un un) benkyou shite benkyoshite (chite chite) watashi ni shite wa joudeki yo (okkee) ureshikute naichau wa (uwa uwa) mou anata shika mienaai (mienaai) sotsugyou-shiki ga kitemo hanasenakatta keredo （゜з゜）puu（゜з゜）puu Rainen mo anata to onaji seifuku wo kiru no watashi wa ninja (ja jajjaa) dakara kakurete anata wo ou no yo doko made mo oikakeru no suki dakara （゜з゜）puu（゜з゜）puu so ja ninja! ninja! （゜з゜）puu（゜з゜）puu do ja nanja? sonja? （゜з゜）puu（゜з゜）puu so ja ninja! ninja! (fuuu) u fu fu ninjajjaa! (oo iee) sakura no hanabira hirari (hirari) maiodoru kisetsu desu (fuu fuu) ganbatte kikidashita yo (yo!) kare no konomi no taipu (puu puu) doryokushite doryokushite (chite chite) watashi mo kawaikunatta kana? (okkee?) onegai dakara kizuite yo (nee nee) mou anata shika mienaai (mienaai) nyuugakushiki ga kitemo mada hanasenai keredo （゜з゜）puu（゜з゜）puu kore kara hajimaru futari no gakuen seikatsu moe~ watashi wa ninja (ja jajjaa) dakara kakurete mitsume tsuzukeru wa itsu made mo mitsuzuketetai no ni sakura no shita mitsukete shimatta no ano ko to futari hoho wo someteru anata no egao wo... (iyaaaaa!!) watashi wa ninja (ja jajjaa) anata wa nani mo shiranai mama na no kono mama hitori dake kumogakure nante iya ja! (ja jajjaa) kuyashii kara mitodokete miseru wa kore mo shuugyou no uchi na no kibishi~ （゜з゜）puu（゜з゜）puu so ja ninja! ninja! （゜з゜）puu（゜з゜）puu do ja nanja? sonja? （゜з゜）puu（゜з゜）puu so ja ninja! ninja! (fuuu) u fu fu ninjajjaa! (oo iee) "sorette sutookaa jan?" "chigau no! ninja na noo!" [Hayaya-P, HayayaP]
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Mise à jour de mon cas a écrit dans "yeux sont endommagés?" Je suis tombé sur mon compte ici et je suis heureux que le fil a été stickied. Excusez mon immaturité à l époque 6,5 ans après la ~ 0,5 sec exposition directe @ 6 pouces à partir d un "200mW" pointeur laser vert très pas cher qui a vraisemblablement émis principalement IR, je suis efficace, dans tous les sens pratique 100% guéri. Immédiatement après l exposition, la taille de la tache de la vision occlusion totale était de la taille d une gomme à crayon lorsqu il est vu à 12-15 pouces. En d autres termes, il serait bloquer vers le haut de la moitié ou même un mot entier sur un écran d ordinateur ou page lorsque vu à une distance normale. Quelques mois plus tard, la vision est entièrement restaurée avec aucun obstacle résiduel, et 3-4 semaines après l exposition initiale, plus la vision était revenue. Mais, aujourd hui encore, environ une fois par semaine, je vais remarquer la moindre distorsion visuelle, pour quelques secondes, qui me rappellent qu il ya probablement un peu de grappe de dommages résiduels. Il n y a rien de mal que ce soit. Il semble que littéralement juste au coin d un morceau de la poussière sur le bureau sera semblent scintiller noir et blanc, mais après je remarque cela, il est de nouveau normal. Je vois tout le grain, mais il serait juste cette petite aberration présente. La taille est de nouveau inférieure à un pixel sur un écran d ordinateur, quand il est à remarquer. Après je arrêter d essayer de chercher, il disparaît et souvent je ne le trouve pas, même si je regarde pour elle. Je suis capable de voir clairement un seul pixel sur l écran (vous pouvez tester cela en allant de la peinture ou de votre programme de dessin et de l aide de l outil crayon pour placer un seul petit point rouge, vert ou pointeur laser bleu sur une image.) Ce petit rappel me aide beaucoup que je continue à travailler avec des machines beaucoup plus puissantes aux longueurs d onde les plus nocifs. Si je devais ne me suis pas vu à quel point absolument pour acquis que nous prenons une vision normale, je voudrais maintenant ne pas être aussi prudent avec les lasers que je serais avec un pistolet - Il ya des répercussions à vie semblables ici. Cette erreur stupide serait arrivé avec une unité beaucoup plus puissant et je serais un œil. Je souhaite que la lecture de ces messages vous permet d imaginer pour vous et l expérience comment absolument inhibant à la vie normale, même une petite déficience visuelle serait. Si vous étiez toujours absent une gomme à crayon droit spot de taille dans le centre de votre vision, vous pourriez même ne pas être en mesure de conduire en toute sécurité, pour toujours. Je suis juste le passager dans une voiture et je ne pouvais pas dire avec certitude le nom d une rue sur le signe de la rue jusqu à ce que je serais trop près à la piste de changement de tourner le coin. http //hnkjsh.gratisblog.biz/2015/10/20/quels-sont-pointeur-laser-bleu-bon/
https://w.atwiki.jp/vocaloidenglishlyric/pages/266.html
【Tags L Miku tL doriko】 Original Music Title letter song Music Lyrics written, Voice edited by doriko Music arranged by doriko Singer 初音ミク (Hatsune Miku) This song is paired with "夕日坂 (Yuuhizaka)". Click here for the Japanese Lyrics English Lyrics (translated by bluesakuratube)： The place where I walked with the person I liked. The scenery I saw during that time. Not looking back, I run past them now. What would I be coming across now? Trying to stop, trying to find the meaning. Maybe I may have not matured yet. The things Im seeing, the people Im meeting. Inside me, Im just looking at the past. To my future-self of 10 years, Are you happy right now? Or are you sad and crying? But beside you, theres something that wouldnt change Without you noticing, have you been treasuring it? With each day passing, I am hiding these feelings. And time is the only thing I can chase. Getting close behind someone elses dream Will those days come back someday? To my future-self of 10 years, Who do you like right now? Or do you still like that person? But before you try to love somebody else, Would you say that you are able to love yourself? Those people you hold dear, are they still beside you? Or are they far away, and walking their own paths? But when those meetings and partings repeat, Would you be more wonderful than who I am today? To my future-self of 10 years, If you are happy right now, Would you remember me that day? Even though I was crying in pain that time, Kindly change these tears into memories. Romaji lyrics (transliterated by Minato777)： sukina hito to arui ta basho mo sono toki mi ta keshiki mo furikaera zu ima wo kakenuke watashi wa nani to deau no tachi domaru hodo imi wo tou hodo kitto mada otona de wa naku te Ima miteru mono ima deau hito sono naka de tada mae dake wo miteru juu nen go no watashi e, Ima wa shiawase deshou ka ? sore tomo kanashimi de naite iru no deshou ka ? demo anata no soba ni kawara nai mono ga ari kizui te inai dake de mamorare te imasen ka ? sugishi hibi ni omoi wo azuke jikan dake tada oikaketeku se ni yorisotta dareka yume ni furi mukeru hi ga itsuka kuru no ka na juu nen go no watashi e Ima wa dare wo suki desu ka ? sore tomo kawara zu ni ano hito ga suki desu ka kedo itsuka shira nai dareka wo asuru mae ni shibun no koto wo suki to Ieru you ni nare mashita ka? taisetsuna hito tachi wa Ima mo kawara zu imasu ka ? sore tomo tooku hanare sore zore ayunde imasu ka ? kedo sonna deai wo wakare wo kurikaeshi te "Ima no watashi" yori mo sutekini natte imasu ka ? juu nen go no watashi e Ima ga moshi shiawase nara ano hi no watashi no koto omoidashi te kure masu ka ? soko niwa tsurai koto ni naita watashi ga iru kedo sono namida wo yasashiku omoide ni kae te kudasai
https://w.atwiki.jp/armada/pages/43.html
Catherine カトリーヌについて熱く語ってくだサイ。 パーツ交換、SQについてどうぞ。 ちなみに自分は何にも手をつけてないというか、やる気ないです。パーツが余ってしょうがない人はください。-- (Prophecy) 2006-07-20 17 30 09 現在お尻と左脚が足りません右腕2個 左腕2個 右手3個 右脚3個 左足1個 胸1個余ってますどなたか交換求む！ -- (Shot) 2006-07-20 20 40 38 カトリーヌ（筋肉）作成できました。右側部品ならあまりがあるので欲しい人は声かけてください。（部品情報とかも声かけてくれれば、答えられる範囲で教えますよ～）後、見た目が今のとこ２種類あるのを確認してます。筋肉（下着外装???（少女っぽい外装 -- (狐憑き) 2006-07-21 16 09 16 お尻は狐さんに交換してもらいました後左脚を残すのみです余り物）右腕２ 左腕２ 右手３ 右脚２ちなみに下着外装は筋肉・知能・技術タイプで少女っぽいスカートの外装は召還型です -- (Shot) 2006-07-21 17 31 32 尻＆左手＆右足ほしいですｗｗ心臓、両腕、右脚ダブってるんでほしい人いってくださいねぇ～＾＾-- (ＪＰＳ４１２４) 1952-07-21 11 53 48 ついにカトリーヌ完成しました自分も筋肉型です余りは皆にあげますので連絡ください！ -- (Shot) 2006-07-22 00 56 55 null baboon insurance!temperature.squarest proportion upgrading slimy.involved executioner reassessment [http //www.simplespelpoker.com/7sultansonlinekasino.html 7 sultans online kasino ] http //www.simplespelpoker.com/7sultansonlinekasino.html deactivate Oxonian?chapter [http //www.simplespelpoker.com/bastakasinos.html bästa kasinos ] http //www.simplespelpoker.com/bastakasinos.html insult decouples submariners panicky [http //www.simplespelpoker.com/casinopasvenskas.html gambling kasino online ] http //www.simplespelpoker.com/casinopasvenskas.html pictured Lindstrom Miltonize diverse,ending [http //www.simplespelpoker.com/casinopasvenskasonline1.html gambling craps ] http //www.simplespelpoker.com/casinopasvenskasonline1.html oracle preassign [http //www.simplespelpoker.com/dalkasino.html dal kasino ] http //www.simplespelpoker.com/dalkasino.html roused pour Jimmie regard indecision,[http //www.simplespelpoker.com/gamblingcomspel.html gambling com ] http //www.simplespelpoker.com/gamblingcomspel.html afflicts Madeira,[http //www.simplespelpoker.com/gratishasardspelpengar.html gratis hasardspel pengar ] http //www.simplespelpoker.com/gratishasardspelpengar.html equity redder Madonnas jacketed dishearten,[http //www.simplespelpoker.com/grattisinternetkasino.html grattis internet kasino ] http //www.simplespelpoker.com/grattisinternetkasino.html funded Rheinholdt desultory [http //www.simplespelpoker.com/grattistexasholdemnerladdningar.html grattis texas h 名前 コメント すべてのコメントを見る
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Scena nona Bertrando, Tarabotto in disparte, indi Ormondo (Bertrando, entrata Isabella, va passeggiando concentrato in se stesso ed indica somma agitazione.) Tarabotto (Oh la impressione è fatta, e sembra in bene.) Bertrando No no, morta è Isabella. Questa è Nisa, nipote di Tarabotto. Tarabotto (Oh falla i conti.) Bertrando Or dunque... (Esce Ormondo.) Ormondo Signor, tutto è disposto... Bertrando Intesi. Ascolta. Ebbe in mare Isabella e morte e tomba? Ormondo (esitando) E perché?.. Bertrando (con calore) L’ebbe? Ormondo E’ certo. Bertrando Eppur poc’anzi... (si ritiene dal proseguire) (No, per ora si taccia.) (ad Ormondo)Io vo e t’attendo ove t’imposi in pria. (Quai prova angoscie mai quest’alma mia!) (Parte col seguito.) Scena decima Ormando, Tarabotto in disparte, poi Batone Ormondo Quale inchiesta! qual suo gran turbamento!.. (Esce Batone.) (con un po’ d’agitazione) Vien, Batone mio fido... Tarabotto (Sentiamo adesso questi galantuomini.) Batone Che vuol dir signor mio?.. Ormondo Tu già vedesti Isabella perir!.. Batone Sicuramente. Ma perché il domandate? Ormondo Perché il Duca mi chiese or or lo stesso. Batone Ch’egli avesse veduta la nipote di Tarabotto capo di questi minatori? Ormondo E ciò che serve? Batone Che serve? Questa donna proprio è un pomo spartito colla morta Duchessa. Ormondo (con gran premura) L’hai veduta? Batone E come! Ormondo Che un destino a me nemico tratta salva l’avesse? Batone Oh! cosa dite? Ormondo (prende a sé Batone e gli parla in modo che Tarabotto allunga il collo per sentire, ma inutilmente) Senti. Comando a te rapir costei tosto che si fa notte, e a me condurla. Tarabotto (Non sento niente.) Ormondo A te darò seguaci quai l’uopo esige. Vo’ vedere io stesso sì gran portento. Batone (con apprensione e forte) Ma vederla or ora qui voi potrete senza ch’io stanotte... Ormondo E che?.. Non vo’ consiglio ove possa temere un mio periglio. Tu mi conosci e sai che a me non si contrasta. Servi al comando e basta, né osarmi replicar. Sia l’opra appien compita, o pagherà tua vita un detto sol che possa l’arcano palesar. (parte) Scena undicesima Batone e Tarabotto prima in disparte, e che poi si fa vedere a tempo. Batone (da sé) O pagherà tua vita! Ecco la solita sua bella canzonetta. Tarabotto (Un arcano!.. Stanotte!.. Una minaccia di vita! Ah qui v’è sotto qualche diavolo.) Batone (Che questa Nisa fosse la Duchessa salvata a caso!) Tarabotto Ei va fantasticando tanto più n’ho sospetto.) Batone (Io lo potrei sapere da questo Tarabotto. Egli è un baggiano e cascherà!) Tarabotto L’arcano tentiamo con destrezza ricavar da costui.) (passa dalla sua posizione alla imboccatura d’una cavità) Batone Se scopro la Duchessa corro a dirglielo al Duca sul momento, e in tal guisa va a monte il rapimento.) Tarabotto (fingendo parlare verso l’interno della cavità, e passar indi in casa) Ho inteso. Vado e torno... Batone (a tempo) Oh amico mio... (invitandolo a sé) Tarabotto Vostro buon servitore. Comandate qualche cosa? Batone Sappiate che intesi dire tanto ben di voi, che sono innamorato della vostra persona. Tarabotto O che sorte! Ed io pure quando vi vedo... non vi dico altro. Batone Simpatia sorprendente! Tarabotto Caso straordinario! Batone V’assicuro, che vo’ farvi del ben proprio in affetto. Tarabotto E lo stesso di core a voi prometto. Batone (dopo averlo guardato un momento in aria di compassione) Ma non tutti la pensano per voi come la penso io. Tarabotto (come Batone) Siam nello stesso caso, o signor mio... Batone (incalzando il dialoglo) Dite davvero? Tarabotto Dite la verità? Batone Io qui ho nemici? Tarabotto V’è tra voi chi mi vuol mal? Batone Sono stupito! Tarabotto Resto come un stivale. (Dopo essersi guardati un momento.) Batone (Non lo capisco ben, vediamci chiaro.) Tarabotto (La va da galeotto a marinaro.) Via, s’egli è ver che mi volete bene, ditemi tutto. Batone E tutto dite voi. Tarabotto Ebbene, cominciate, ed io proseguirò. Batone Dunque ascoltate. (parlandogli colla più amichevole confidenza affettuosa) Va taluno mormmorando, che nipote non avete, e che Nisa è un contrabbando che vi deve rovinar. (Tarabotto resta un momento senza parlare guardando Batone, poi dice al medesimo in aria della più grande ingenuità ed affettuosa premura.) Tarabotto Dir intesi che voi siete, pel voler d’un certo tale, un che altrui facendo male deve alfin precipitar. (Si guardano, e prorompono in un scoppio di risa.) Batone Si pon dir più gran sciocchezze? Tarabotto Si pon dir più gran follie! Tarabotto e Batone O che ciarle, che pazzie! Me la rido in verità. (Si dividono, e dicono di sé ) (Questo è un furbo come va.) Batone Pur la cosa è spinta a tanto... (Si riuniscono, e si parlano in aria del più gran segreto.) Tarabotto Pur la crede ognun cotanto... Batone Che si dice che la donna pose il Duca in gran sospetto. Tarabotto Che si dice che di mira già prrendeste un certo oggetto... (Prorompono come sopra.) Batone Ma vedete maldicenze! Tarabotto Ma vedete scioccherie! Tarabotto e Batone O che ciarle! che pazzie! Me la rido in verità. (Ah costui sudar mi fa.) Batone (in aria della più grande importanza) Se per altro fosse vero o qual premio se parlate. Tarabotto Se però siete sincero o che guai che voi scappate! Batone Mi capite... argento ed oro! Tarabotto M’intendete... egli è bastone! Batone Via spiegate... Tarabotto Via parlate... Batone Non so nulla... Tarabotto Non so niente... Batone Dunque son... Tarabotto Castronerie! Tarabotto e Batone O che ciarle, che pazzie! Me la rido in verità! (Sta’ pur duro quanto vuoi, ma capito io t’ho di già.) Scena dodicesima Tarabotto, indi Isabella ch’esce circospetta e guardandosi intorno. Tarabotto E’ deciso. Costoro, in gran sospetto, l’hanno colla Duchessa e questa notte le preparan la festa. Ma ci son io per bacco! Isabella Amico, qui poc’anzi di Batone la voce udir mi parve. Tarabotto E’ vero. Dite, v’ha costui veduta? Isabella Sì, non è molto. Tarabotto Ora ho capito tutto. Isabella Forse sospetta? Tarabotto Sì, non v’inquietate. Nella testa ho un terribile progetto... La notte s’avvicina... Ritorna il Duca... Isabella Io fuggo. Tarabotto Anzi restate. Vo’ che gli raccontiate i casi vostri. Isabella Che pensi? come? Tarabotto Vel dirò. M’è d’uopo che assai lo interessiate. Isabella Eccolo... oh dio! Seco è il tiranno mio... Al vederlo o qual gelo! Tarabotto Coraggio. Isabella Ed in chi mai sperar!.. Tarabotto Nel cielo. Scena tredicesima Detti, Bertrando, Ormondo e seguito (Tarabotto e Isabella s’inchinano. Finché Bertrando parla ad Ormondo, Trabotto parla piano ad Isabella) Bertrando Al nuovo dì col mio fedele Ormondo parlerai sul disegno. Tarabotto Altezza sì. Isabella (Regger mi posso appena.) Bertrando (piano ad Ormondo) (Vedila.) Ormondo (Sorprendente somiglianza!) Tarabotto (Ci siamo intesi.) Isabella (O ciel mi sforzerò!) Bertrando Nisa gentil, voi sempre mesta! Isabella Sempre. Bertrando E perché? Isabella Pel più giusto e fatale timore. Bertrando Timor di che? Isabella Degli uomini. Ormondo (marcatamente e fissando Isabella) Degli uomini! Tarabotto E n’ha ragion. Bertrando Ragione? Tarabotto Aver dovea uno sposo... sì... no... s’è poi ficcato il diavolo di mezzo... e allor... che guai!.. Diglielo tu che meglio lo dirai. Isabella No, ricordar non voglio un tradimento. Bertrando Voi tradita! Isabella Ah nol fossi! Bertrando E chi fu il traditor? Isabella Deh! che chiedete? Bertrando Il Duca ora v’impone far la vostra vicenda a lui presente. Isabella Che chiedete, o signore, a un’innocente! O quale al rammentar l’infausta scena qual tremito mi scuote! Ah che all’idea di lei, ridotta a fatal punto estremo io sudo, agghiaccio, inorridisco e fremo! Mai più tanto possente armi impugnò di morte... la nera fellonia. Della vendetta giurò sull’ara infame odio a virtù; e frattanto la misera innocenza priva di dolce aita invan chiedea pietà sola e tradita. E degg’io la vicenda far nota a voi del più infelice amore? Sì, parlerò, se pur mi regga il core. Al più dolce e caro oggetto io serbava un’alma amante egli ardea d’eguale affetto, ed in noi regnava amor. Quando un fellon m’invola il cor del mio diletto, e abbandonata e sola mi guida a crudo orror. Che palpito crudele, che pena sento al cor! Ah mi consoli almeno chi prova in seno amor. (entra in casa) Scena quattordicesima Bertrando, Tarabotto, Ormondo Bertrando (Son fuor di me! Il mio caso!) (resta assorto in se stesso) Ormondo (La storia mia! affrettiamci tutto a dispor pel rapimento. Io stesso ne veglierò, ché di nessun mi fido.) Tarabotto (Rumina pur.) Ormondo Signor, se ciò vi piace, or men vado a dispor pel nuovo giorno quanto già m’imponeste. Bertrando Va pur. (piano ad Ormondo) (Dimmi, o fedel, non è un portento! L’udisti!..) Ormondo (E che perciò? Quale per lei strana cura, o signor?) (s’inchina al Duca, e dice da sé nel partire) (Perdiam costei.) (parte) (Va facendosi notte) Scena quindicesima Bertrando e Tarabotto (Bertrando resta assorto in sé stesso.) Tarabotto Parmi tutto disposto, e il gran colpo tentiam. Deve egli stesso scoprir l’iniquo. (Altezza... aimè...) (se gli butta ginocchioni) Bertrando Che fai! Alzati. Tarabotto (parlandogli con voce artificiosamente soffocata per non essere inteso dal seguito del Duca) No, se prima non si degna promettermi di defender la povera Nisa nipote mia. Bertrando Come? che dici? Io difesa prometto... (Tarabotto si leva.) Chi ardisci farle offesa? Tarabotto Quel briccone di cui poc’anzi le ho parlato. A sorte ho scoperto che allor che faccia notte qui verrà per tentare non so quale danno contro di lei. Siamo alla notte, ed io, per non spaurirla, nulla le ho detto, ma il periglio è tale... Bertrando Chi è costui? farò ch’ei tremi... Tarabotto Io giuro a vostr’Altezza che se il briccon con arte non si piglia... forza non val. Bertrando Che! Tarabotto L’è così. Di nuovo, Altezza, a lei lo giuro. Bertrando (vivamente) Ebben, vivi sicuro, che qui a difesa sua farò che vegli un tal, per cui punito il tradimento sarà col traditore in sul momento. (parte col seguito) Tarabotto Chi esser può questo tal sennon ei stesso? Andiamo tosto a far uscir di casa per il cortil la povera signora. Poi qui nascosti e stando in attenzione scoprirem l’arti ree di quel briccone. (La scena é oscurissima) Scena ultima Tutti successivamente (Batone, con seguaci armati, uno de’ quali ha un fanale da mano chiuso, e che dentro ha un lume acceso.) Batone Tacita notte oscura deh, fa’ ch’io giunga al segno; e l’opra e’l mio disegno ti prego secondar. (ai seguaci) Amici, voi sapete chi vuol che ciò sia fatto. Or dunque su accostiamoci. (s’accosta alla casa ed ascolta) Qui non si sente un gatto... (S’accosta quello che ha il fanale.) Fa’ chiaro un poco... è aperto... (trova aperta la porta) Ci dà favor la sorte, andiamo a lavorar. (entra co’ suoi seguaci) (Entrato ch’egli è, escono da un viale a canto alla casa Tarabotto e Isabella e passano dall’altra parte ascondendosi dietro l’arbore e la panca. Isabella è vestita con un abito nobile ma dimesso.) Isabella Perché con queste spoglie vestita or mi bramate? Tarabotto Allor che v’ho salvata vestita n’eravate. Isabella Ma dite a quele oggetto? Tarabotto Ve lo dirà l’effetto. Venite e vinceremo non state a dubitar. Isabella Ah ciel vacillo e tremo, non oso più sperar. (si celano) (Esce Bertrando con seguito. Alcuni hanno delle fiaccole smorzate, ed uno ha un fanale come sopra.) Bertrando In quelle cave oscure celiamci o fidi miei. Perché vid’io costei? Perché degg’io tremar? (entra nelle cavità col seguito, con cui si mette in ascolto) Isabella Mi balza il cor dal petto. (piano fra loro) Tarabotto E’ lui, non ve l’ho detto! (Esce Ormondo e parla trovandosi poco distante dal sito ove sta Bertrando in ascolto. Egli è con un seguace solo.) Ormondo (sta pensando) Ch’entrato sia Batone, che il colpo abbia tentato? Bertrando (Ormondo!) Tarabotto (E’ qui il briccone. I sorci vanno in trappola.) Ormondo Men voglio assicurar. (S’avanza verso la casa da cui n’esce Batone co’ suoi.) Batone. Batone Signor mio!.. Ormondo Ebben l’hai tu rapita? Batone Di casa ell’è sparita... Ormondo Non credo se non vedo... (entra co’ seguaci) Batone Entrate... io non ho torto... (Esce a questo punto Bertrando e sorprende Batone.) Ah! Bertrando Taci o tu sei morto! Allor che torna Ormondo fa’ che ragion ti renda perché tal ratto imprenda, ed io sto ad ascoltar. Batone (con gran timore) Signor... sarà... servito... (Oimé!.. che cado... in fosso... Mi vien la febbre addosso... In piè non posso star.) Isabella e Bertrando (O ciel l’angustia mia mi guida a delirar.) Tarabotto (piano a Isabella) (Da brava, forti adesso, non c’è da dubitar.) (Bertrando si rimetta al suo posto.) Batone Coraggio, Batone, ci va la tua pelle. Facciamo il briccone ben chiaro parlar. (Esce Ormondo dalla casa co’ suoi.) Ormondo Che fiera disdetta! Batone Ebbene? Ormondo Non c’è. Batone Ma dite, e perché rapir questa donna. Ormondo O dessa è Isabella già ingrata al mio amore, (Bertrando fa gran motto di sdegno.) o tanto par quella, ch’io debbo tremar. Batone E avete deciso... Ormondo Che mora all’istante.. (Incalzando il dialogo tutti due, e parlando quasi forte, Batone spiega la più gran compiacenza.) Batone Perché non volete... Ormondo Che viva un oggetto... Batone Che della vendetta... Ormondo Mi tolga l’effetto... Batone E al Duca discopra... Ormondo I miei primi inganni... (Esce Bertrando con soldati che hanno accese le fiaccole. S’illumina il teatro.) Bertrando Tu sogni, t’inganni o vil traditor. (Ormondo è disarmato e tolto in mezzo dai soldati.) Bertrando (desolatissimo) Sposa oh dio! sposa ove sei? Fui sedotto e ti perdei!.. S’altro offrirti non poss’io abbi almeno il sangue mio... (per cavare la spada) (Esce Isabella con Tarabotto, e trattengono il Duca.) Isabella e Tarabotto Fermo... fermo... Bertrando (ad Isabella) Tu! chi sei? Isabella Chi nel core come in petto porta quel cui serba affetto. (cava dal seno il ritratto di Bertrando, che va all’eccesso dello sbalordimento ora guardando Isabella, ora il ritratto) Bertrando Tu il ritratto!.. d’Isabella, tu le vesti... Tarabotto (vivamente) E’ quella, è quella, che da me fu un dì trovata sulla spiaggia mezza morta, ch’è per opra mia rinata, che per voi or qui ho risorta, (colla più grande impazienza) che le vesti le ho serbato, che il briccone ho smascherato, che... non basta? Bertrando Dio!.. (per istendere ad Isabella le braccia, ma si ritiene) Ma degno del tuo cor, ah più non sono!.. Isabella Tu m’offrivi il sangue istesso!.. Sei pentito... io ti perdono. (gli stende le braccia, e vi vola Bertrando) Batone (Ora tocca a me il sorbetto!) Tarabotto Viva, viva il vero amor! Bertrando (a Batone) E perché nel rapimento l’opra tua fu all’empio unita? Batone Perché fece a me il saluto «Pagherai colla tua vita!..» (fa un moto d’ira verso Ormondo) Se la vita abbiam perduto non si compra un’altra volta. Onde... Altezze... vedon bene... (s’inginocchia) Grazia a un figlio del timor. Isabella Grazia a lui sia pur concessa. Tarabotto e Batone Benedetta! ognor la stessa! Bertrando (a Tarabotto) Premio degno, o uom virtuoso, già t’appresta il nostro core. Tratto altrove a giusto orrore tosto sia quell’empio cor. (I soldati conducono via Ormondo.) Tutti Presto o tardi il ciel clemente tutti scopre i neri inganni; e corona l’innocente, e punisce il traditor. Scena nona Bertrando, Tarabotto in disparte, indi Ormondo (Bertrando, entrata Isabella, va passeggiando concentrato in se stesso ed indica somma agitazione.) Tarabotto (Oh la impressione è fatta, e sembra in bene.) Bertrando No no, morta è Isabella. Questa è Nisa, nipote di Tarabotto. Tarabotto (Oh falla i conti.) Bertrando Or dunque... (Esce Ormondo.) Ormondo Signor, tutto è disposto... Bertrando Intesi. Ascolta. Ebbe in mare Isabella e morte e tomba? Ormondo (esitando) E perché?.. Bertrando (con calore) L’ebbe? Ormondo E’ certo. Bertrando Eppur poc’anzi... (si ritiene dal proseguire) (No, per ora si taccia.) (ad Ormondo)Io vo e t’attendo ove t’imposi in pria. (Quai prova angoscie mai quest’alma mia!) (Parte col seguito.) Scena decima Ormando, Tarabotto in disparte, poi Batone Ormondo Quale inchiesta! qual suo gran turbamento!.. (Esce Batone.) (con un po’ d’agitazione) Vien, Batone mio fido... Tarabotto (Sentiamo adesso questi galantuomini.) Batone Che vuol dir signor mio?.. Ormondo Tu già vedesti Isabella perir!.. Batone Sicuramente. Ma perché il domandate? Ormondo Perché il Duca mi chiese or or lo stesso. Batone Ch’egli avesse veduta la nipote di Tarabotto capo di questi minatori? Ormondo E ciò che serve? Batone Che serve? Questa donna proprio è un pomo spartito colla morta Duchessa. Ormondo (con gran premura) L’hai veduta? Batone E come! Ormondo Che un destino a me nemico tratta salva l’avesse? Batone Oh! cosa dite? Ormondo (prende a sé Batone e gli parla in modo che Tarabotto allunga il collo per sentire, ma inutilmente) Senti. Comando a te rapir costei tosto che si fa notte, e a me condurla. Tarabotto (Non sento niente.) Ormondo A te darò seguaci quai l’uopo esige. Vo’ vedere io stesso sì gran portento. Batone (con apprensione e forte) Ma vederla or ora qui voi potrete senza ch’io stanotte... Ormondo E che?.. Non vo’ consiglio ove possa temere un mio periglio. Tu mi conosci e sai che a me non si contrasta. Servi al comando e basta, né osarmi replicar. Sia l’opra appien compita, o pagherà tua vita un detto sol che possa l’arcano palesar. (parte) Scena undicesima Batone e Tarabotto prima in disparte, e che poi si fa vedere a tempo. Batone (da sé) O pagherà tua vita! Ecco la solita sua bella canzonetta. Tarabotto (Un arcano!.. Stanotte!.. Una minaccia di vita! Ah qui v’è sotto qualche diavolo.) Batone (Che questa Nisa fosse la Duchessa salvata a caso!) Tarabotto Ei va fantasticando tanto più n’ho sospetto.) Batone (Io lo potrei sapere da questo Tarabotto. Egli è un baggiano e cascherà!) Tarabotto L’arcano tentiamo con destrezza ricavar da costui.) (passa dalla sua posizione alla imboccatura d’una cavità) Batone Se scopro la Duchessa corro a dirglielo al Duca sul momento, e in tal guisa va a monte il rapimento.) Tarabotto (fingendo parlare verso l’interno della cavità, e passar indi in casa) Ho inteso. Vado e torno... Batone (a tempo) Oh amico mio... (invitandolo a sé) Tarabotto Vostro buon servitore. Comandate qualche cosa? Batone Sappiate che intesi dire tanto ben di voi, che sono innamorato della vostra persona. Tarabotto O che sorte! Ed io pure quando vi vedo... non vi dico altro. Batone Simpatia sorprendente! Tarabotto Caso straordinario! Batone V’assicuro, che vo’ farvi del ben proprio in affetto. Tarabotto E lo stesso di core a voi prometto. Batone (dopo averlo guardato un momento in aria di compassione) Ma non tutti la pensano per voi come la penso io. Tarabotto (come Batone) Siam nello stesso caso, o signor mio... Batone (incalzando il dialoglo) Dite davvero? Tarabotto Dite la verità? Batone Io qui ho nemici? Tarabotto V’è tra voi chi mi vuol mal? Batone Sono stupito! Tarabotto Resto come un stivale. (Dopo essersi guardati un momento.) Batone (Non lo capisco ben, vediamci chiaro.) Tarabotto (La va da galeotto a marinaro.) Via, s’egli è ver che mi volete bene, ditemi tutto. Batone E tutto dite voi. Tarabotto Ebbene, cominciate, ed io proseguirò. Batone Dunque ascoltate. (parlandogli colla più amichevole confidenza affettuosa) Va taluno mormmorando, che nipote non avete, e che Nisa è un contrabbando che vi deve rovinar. (Tarabotto resta un momento senza parlare guardando Batone, poi dice al medesimo in aria della più grande ingenuità ed affettuosa premura.) Tarabotto Dir intesi che voi siete, pel voler d’un certo tale, un che altrui facendo male deve alfin precipitar. (Si guardano, e prorompono in un scoppio di risa.) Batone Si pon dir più gran sciocchezze? Tarabotto Si pon dir più gran follie! Tarabotto e Batone O che ciarle, che pazzie! Me la rido in verità. (Si dividono, e dicono di sé ) (Questo è un furbo come va.) Batone Pur la cosa è spinta a tanto... (Si riuniscono, e si parlano in aria del più gran segreto.) Tarabotto Pur la crede ognun cotanto... Batone Che si dice che la donna pose il Duca in gran sospetto. Tarabotto Che si dice che di mira già prrendeste un certo oggetto... (Prorompono come sopra.) Batone Ma vedete maldicenze! Tarabotto Ma vedete scioccherie! Tarabotto e Batone O che ciarle! che pazzie! Me la rido in verità. (Ah costui sudar mi fa.) Batone (in aria della più grande importanza) Se per altro fosse vero o qual premio se parlate. Tarabotto Se però siete sincero o che guai che voi scappate! Batone Mi capite... argento ed oro! Tarabotto M’intendete... egli è bastone! Batone Via spiegate... Tarabotto Via parlate... Batone Non so nulla... Tarabotto Non so niente... Batone Dunque son... Tarabotto Castronerie! Tarabotto e Batone O che ciarle, che pazzie! Me la rido in verità! (Sta’ pur duro quanto vuoi, ma capito io t’ho di già.) Scena dodicesima Tarabotto, indi Isabella ch’esce circospetta e guardandosi intorno. Tarabotto E’ deciso. Costoro, in gran sospetto, l’hanno colla Duchessa e questa notte le preparan la festa. Ma ci son io per bacco! Isabella Amico, qui poc’anzi di Batone la voce udir mi parve. Tarabotto E’ vero. Dite, v’ha costui veduta? Isabella Sì, non è molto. Tarabotto Ora ho capito tutto. Isabella Forse sospetta? Tarabotto Sì, non v’inquietate. Nella testa ho un terribile progetto... La notte s’avvicina... Ritorna il Duca... Isabella Io fuggo. Tarabotto Anzi restate. Vo’ che gli raccontiate i casi vostri. Isabella Che pensi? come? Tarabotto Vel dirò. M’è d’uopo che assai lo interessiate. Isabella Eccolo... oh dio! Seco è il tiranno mio... Al vederlo o qual gelo! Tarabotto Coraggio. Isabella Ed in chi mai sperar!.. Tarabotto Nel cielo. Scena tredicesima Detti, Bertrando, Ormondo e seguito (Tarabotto e Isabella s’inchinano. Finché Bertrando parla ad Ormondo, Trabotto parla piano ad Isabella) Bertrando Al nuovo dì col mio fedele Ormondo parlerai sul disegno. Tarabotto Altezza sì. Isabella (Regger mi posso appena.) Bertrando (piano ad Ormondo) (Vedila.) Ormondo (Sorprendente somiglianza!) Tarabotto (Ci siamo intesi.) Isabella (O ciel mi sforzerò!) Bertrando Nisa gentil, voi sempre mesta! Isabella Sempre. Bertrando E perché? Isabella Pel più giusto e fatale timore. Bertrando Timor di che? Isabella Degli uomini. Ormondo (marcatamente e fissando Isabella) Degli uomini! Tarabotto E n’ha ragion. Bertrando Ragione? Tarabotto Aver dovea uno sposo... sì... no... s’è poi ficcato il diavolo di mezzo... e allor... che guai!.. Diglielo tu che meglio lo dirai. Isabella No, ricordar non voglio un tradimento. Bertrando Voi tradita! Isabella Ah nol fossi! Bertrando E chi fu il traditor? Isabella Deh! che chiedete? Bertrando Il Duca ora v’impone far la vostra vicenda a lui presente. Isabella Che chiedete, o signore, a un’innocente! O quale al rammentar l’infausta scena qual tremito mi scuote! Ah che all’idea di lei, ridotta a fatal punto estremo io sudo, agghiaccio, inorridisco e fremo! Mai più tanto possente armi impugnò di morte... la nera fellonia. Della vendetta giurò sull’ara infame odio a virtù; e frattanto la misera innocenza priva di dolce aita invan chiedea pietà sola e tradita. E degg’io la vicenda far nota a voi del più infelice amore? Sì, parlerò, se pur mi regga il core. Al più dolce e caro oggetto io serbava un’alma amante egli ardea d’eguale affetto, ed in noi regnava amor. Quando un fellon m’invola il cor del mio diletto, e abbandonata e sola mi guida a crudo orror. Che palpito crudele, che pena sento al cor! Ah mi consoli almeno chi prova in seno amor. (entra in casa) Scena quattordicesima Bertrando, Tarabotto, Ormondo Bertrando (Son fuor di me! Il mio caso!) (resta assorto in se stesso) Ormondo (La storia mia! affrettiamci tutto a dispor pel rapimento. Io stesso ne veglierò, ché di nessun mi fido.) Tarabotto (Rumina pur.) Ormondo Signor, se ciò vi piace, or men vado a dispor pel nuovo giorno quanto già m’imponeste. Bertrando Va pur. (piano ad Ormondo) (Dimmi, o fedel, non è un portento! L’udisti!..) Ormondo (E che perciò? Quale per lei strana cura, o signor?) (s’inchina al Duca, e dice da sé nel partire) (Perdiam costei.) (parte) (Va facendosi notte) Scena quindicesima Bertrando e Tarabotto (Bertrando resta assorto in sé stesso.) Tarabotto Parmi tutto disposto, e il gran colpo tentiam. Deve egli stesso scoprir l’iniquo. (Altezza... aimè...) (se gli butta ginocchioni) Bertrando Che fai! Alzati. Tarabotto (parlandogli con voce artificiosamente soffocata per non essere inteso dal seguito del Duca) No, se prima non si degna promettermi di defender la povera Nisa nipote mia. Bertrando Come? che dici? Io difesa prometto... (Tarabotto si leva.) Chi ardisci farle offesa? Tarabotto Quel briccone di cui poc’anzi le ho parlato. A sorte ho scoperto che allor che faccia notte qui verrà per tentare non so quale danno contro di lei. Siamo alla notte, ed io, per non spaurirla, nulla le ho detto, ma il periglio è tale... Bertrando Chi è costui? farò ch’ei tremi... Tarabotto Io giuro a vostr’Altezza che se il briccon con arte non si piglia... forza non val. Bertrando Che! Tarabotto L’è così. Di nuovo, Altezza, a lei lo giuro. Bertrando (vivamente) Ebben, vivi sicuro, che qui a difesa sua farò che vegli un tal, per cui punito il tradimento sarà col traditore in sul momento. (parte col seguito) Tarabotto Chi esser può questo tal sennon ei stesso? Andiamo tosto a far uscir di casa per il cortil la povera signora. Poi qui nascosti e stando in attenzione scoprirem l’arti ree di quel briccone. (La scena é oscurissima) Scena ultima Tutti successivamente (Batone, con seguaci armati, uno de’ quali ha un fanale da mano chiuso, e che dentro ha un lume acceso.) Batone Tacita notte oscura deh, fa’ ch’io giunga al segno; e l’opra e’l mio disegno ti prego secondar. (ai seguaci) Amici, voi sapete chi vuol che ciò sia fatto. Or dunque su accostiamoci. (s’accosta alla casa ed ascolta) Qui non si sente un gatto... (S’accosta quello che ha il fanale.) Fa’ chiaro un poco... è aperto... (trova aperta la porta) Ci dà favor la sorte, andiamo a lavorar. (entra co’ suoi seguaci) (Entrato ch’egli è, escono da un viale a canto alla casa Tarabotto e Isabella e passano dall’altra parte ascondendosi dietro l’arbore e la panca. Isabella è vestita con un abito nobile ma dimesso.) Isabella Perché con queste spoglie vestita or mi bramate? Tarabotto Allor che v’ho salvata vestita n’eravate. Isabella Ma dite a quele oggetto? Tarabotto Ve lo dirà l’effetto. Venite e vinceremo non state a dubitar. Isabella Ah ciel vacillo e tremo, non oso più sperar. (si celano) (Esce Bertrando con seguito. Alcuni hanno delle fiaccole smorzate, ed uno ha un fanale come sopra.) Bertrando In quelle cave oscure celiamci o fidi miei. Perché vid’io costei? Perché degg’io tremar? (entra nelle cavità col seguito, con cui si mette in ascolto) Isabella Mi balza il cor dal petto. (piano fra loro) Tarabotto E’ lui, non ve l’ho detto! (Esce Ormondo e parla trovandosi poco distante dal sito ove sta Bertrando in ascolto. Egli è con un seguace solo.) Ormondo (sta pensando) Ch’entrato sia Batone, che il colpo abbia tentato? Bertrando (Ormondo!) Tarabotto (E’ qui il briccone. I sorci vanno in trappola.) Ormondo Men voglio assicurar. (S’avanza verso la casa da cui n’esce Batone co’ suoi.) Batone. Batone Signor mio!.. Ormondo Ebben l’hai tu rapita? Batone Di casa ell’è sparita... Ormondo Non credo se non vedo... (entra co’ seguaci) Batone Entrate... io non ho torto... (Esce a questo punto Bertrando e sorprende Batone.) Ah! Bertrando Taci o tu sei morto! Allor che torna Ormondo fa’ che ragion ti renda perché tal ratto imprenda, ed io sto ad ascoltar. Batone (con gran timore) Signor... sarà... servito... (Oimé!.. che cado... in fosso... Mi vien la febbre addosso... In piè non posso star.) Isabella e Bertrando (O ciel l’angustia mia mi guida a delirar.) Tarabotto (piano a Isabella) (Da brava, forti adesso, non c’è da dubitar.) (Bertrando si rimetta al suo posto.) Batone Coraggio, Batone, ci va la tua pelle. Facciamo il briccone ben chiaro parlar. (Esce Ormondo dalla casa co’ suoi.) Ormondo Che fiera disdetta! Batone Ebbene? Ormondo Non c’è. Batone Ma dite, e perché rapir questa donna. Ormondo O dessa è Isabella già ingrata al mio amore, (Bertrando fa gran motto di sdegno.) o tanto par quella, ch’io debbo tremar. Batone E avete deciso... Ormondo Che mora all’istante.. (Incalzando il dialogo tutti due, e parlando quasi forte, Batone spiega la più gran compiacenza.) Batone Perché non volete... Ormondo Che viva un oggetto... Batone Che della vendetta... Ormondo Mi tolga l’effetto... Batone E al Duca discopra... Ormondo I miei primi inganni... (Esce Bertrando con soldati che hanno accese le fiaccole. S’illumina il teatro.) Bertrando Tu sogni, t’inganni o vil traditor. (Ormondo è disarmato e tolto in mezzo dai soldati.) Bertrando (desolatissimo) Sposa oh dio! sposa ove sei? Fui sedotto e ti perdei!.. S’altro offrirti non poss’io abbi almeno il sangue mio... (per cavare la spada) (Esce Isabella con Tarabotto, e trattengono il Duca.) Isabella e Tarabotto Fermo... fermo... Bertrando (ad Isabella) Tu! chi sei? Isabella Chi nel core come in petto porta quel cui serba affetto. (cava dal seno il ritratto di Bertrando, che va all’eccesso dello sbalordimento ora guardando Isabella, ora il ritratto) Bertrando Tu il ritratto!.. d’Isabella, tu le vesti... Tarabotto (vivamente) E’ quella, è quella, che da me fu un dì trovata sulla spiaggia mezza morta, ch’è per opra mia rinata, che per voi or qui ho risorta, (colla più grande impazienza) che le vesti le ho serbato, che il briccone ho smascherato, che... non basta? Bertrando Dio!.. (per istendere ad Isabella le braccia, ma si ritiene) Ma degno del tuo cor, ah più non sono!.. Isabella Tu m’offrivi il sangue istesso!.. Sei pentito... io ti perdono. (gli stende le braccia, e vi vola Bertrando) Batone (Ora tocca a me il sorbetto!) Tarabotto Viva, viva il vero amor! Bertrando (a Batone) E perché nel rapimento l’opra tua fu all’empio unita? Batone Perché fece a me il saluto «Pagherai colla tua vita!..» (fa un moto d’ira verso Ormondo) Se la vita abbiam perduto non si compra un’altra volta. Onde... Altezze... vedon bene... (s’inginocchia) Grazia a un figlio del timor. Isabella Grazia a lui sia pur concessa. Tarabotto e Batone Benedetta! ognor la stessa! Bertrando (a Tarabotto) Premio degno, o uom virtuoso, già t’appresta il nostro core. Tratto altrove a giusto orrore tosto sia quell’empio cor. (I soldati conducono via Ormondo.) Tutti Presto o tardi il ciel clemente tutti scopre i neri inganni; e corona l’innocente, e punisce il traditor. Rossini,Gioachino/L inganno felice
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Transducer Handbook User's Directory of Electrical Transducers Butterworth-Heinemann? H. B. Boyle? David Page? Butterworth-Heinemann? H.B.Boyle? DavidPage? ジャンル別? Substores-UnknownASINs-62? Subjects-Computers&Internet-ComputerScience-Circuitry-CircuitComponents? Subjects-Computers&Internet-ComputerScience-Circuitry-CircuitManufacturing? Subjects-Engineering-Electrical&Electronics-Circuits? Subjects-Engineering-Electrical&Electronics-Electronics-Apparatus,Devices&Design? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Circuits? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Electronics-Apparatus,Devices&Design? Subjects-Professional&Technical-Engineering-General Subjects-Reference-Catalogs&Directories-Directories? Subjects-Science-General Microphone Engineering Handbook Focal Pr? Michael Gayford? FocalPr? MichaelGayford? ジャンル別? Substores-UnknownASINs-18? 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