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CDR 001 - THE ORIGINAL RECORDINGS OF SONGS COVERED BY THE ROLLING STONES IN MARQUEE JAZZ CLUB, JULY 12.1962 1 Kansas City (Wilbert Harrison) 2 Baby What s Wrong (Jimmy Reed) 3 Confenssin The Blues (Little Walter) 4 Brights Lights, Big City (Jimmy Reed) 5 Dust My Dream (Elmore James) 6 Down The Road Apiece (Chuck Berry) 7 I m A Love You (Jimmy Reed) 8 Bad Boy (Eddie Taylor) 9 I Ain t Got You (Jimmy Reed) 10 Hush-Hush (Jimmy Reed) 11 Ride Em On Down (Eddie Taylor) 12 Back In The U.S.A. (Chuck Berry) 13 Kind Of Lonesome (Jimmy Reed) 14 Blues Before Sunrise (Elmore James) 15 Big Boss Man (Jimmy Reed) 16 Don t Stay Out All Night (Billy Boy Arnold) 17 Tell Me That You Love Me (Jimmy Reed) 18 Happy Home (Elmore James) ■KANSAS CITY / WILBERT HARRISON (Relic Records 7035) includes track 1 mono ■JIMMY REED AT CARNEGIE HALL (Collectables COL-CD-7210) includes tracks 2, 4, 7,10,13,15,17 stereo ■ROLLING STONE CLASSICS (Blues Interactions PCD-2005) includes track 3 mono ■"LET S CUT IT" THE VERY BEST OF ELMORE JAMES (Flair Records 86257) includes tracks 5,14,18 mono ■THE CHESS BOX / CHUCK BERRY (MCA Records CHD3-80,001) includes tracks 6,12 mono ■BIG TOWN PLAYBOY / EDDIE TAYLOR (P-Vine Records PCD-5259) includes tracks 8,11 mono ■ROCKIN WITH REED / JIMMY REED (P-Vine Records PCD-5264) includes track 9 mono ■ORIGINAL VJ RECORDINGS, 1955-1957 / BILLY BOY ARNOLD (P-Vine Records PCD-5265) includes track 16 mono Other; Up All Night () CDR 002 - THE ORIGINAL RECORDINGS OF SONGS COVERED BY THE ROLLING STONES IN CRAWDADDY CLUB, MARCH 3.1963 1 Route 66 (Chuck Berry) 2 Little Egypt (The Coasters) 3 Poison Ivy (The Coasters) 4 I Know (Bo Diddley) 5 I m A King Bee (Slim Harpo) 6 You Better Move On (Arthur Alexander) 7 Nedine (Chuck Berry) 8 You Can t Judge A Book By It s Cover (Bo Diddley) 9 Honest I Do (Jimmy Reed) 10 I Want To Be Loved (Muddy Waters) 11 Beautiful Delilah (Chuck Berry) 12 Memphis, Tennessee (Chuck Berry) 13 Walking The Dog (Rufus Thomas) 14 Pretty Thing (Bo Diddley) 15 Craw-Dad (Bo Diddley) ■THE ROOTS OF STONE (Universal UICY-4103) includes tracks 1, 4 mono ■50 COASTIN CLASSICS / THE COASTERS (Rhino R2 71090) includes tracks 2-3 mono ■THE BEST OF SLIM HARPO (ACE CDCHM 410) includes track 5 mono ■STONE ROCK BLUES (MCA MVCM-22037) includes track 6 mono ■THE CHESS BOX / CHUCK BERRY (MCA Records CHD3-80,001) includes tracks 7,11-12 mono ■THE CHESS BOX / BO DIDDLEY (MCA Records CHD2-19502) includes tracks 8,14 mono ■JIMMY REED AT CARNEGIE HALL (Collectables COL-CD-7210) includes track 9 mono ■ROLLING STONE CLASSICS (Blues Interactions PCD-2005) includes track 10 mono ■THE ROOTS TRACKS OF STONE (Jimco Records JICK-89247) includes track 13 mono ■BO DIDDLEY IN THE SPOTLIGHT (BGO Records BGOCD424) includes track 15 stereo CDR 003 - THE ORIGINAL RECORDINGS OF SONGS COVERED BY THE ROLLING STONES IN LIVE 1962 - 1963 1 Dimples (John Lee Hooker) 2 I Got My Brand On You (Muddy Waters) 3 The Moon Is Rising (Jimmy Reed) 4 Crawling King Snake (John Lee Hooker) 5 Bo Diddley (Bo Diddley) 6 Tiger In Your Tank (Muddy Waters) 7 Nursery Rhyme (Bo Diddley) 8 The Sun Is Shining (Jimmy Reed) 9 I m A Hog For You (The Coasters) 10 Johnny B. Goode (Chuck Berry) 11 Smokestack Lightnin (Howlin Wolf) 12 My Babe (Little Walter) 13 Hoochie Coochie Man (Muddy Waters) 14 No Money Down (Chuck Berry) 15 Jaguar Thunderbird (Chuck Berry) 16 Boogie In The Dark (Jimmy Reed) 17 Going To New York (Jimmy Reed) 18 You Got Me Dizzy (Jimmy Reed) 19 Bring It To Jerome (Bo Diddley) 20 Hey Bo Diddley (Bo Diddley) 21 Childhood Sweetheart (Chuck Berry) 22 Buzz Me Babe (Slim Harpo) 23 Honey Bee (Muddy Waters) 24 Brown Eyed Handsome Man (Chuck Berry) 25 I Can Tell (Bo Diddley) ■I M JOHN LEE HOOKER (P-Vine Records PCD-5263) includes tracks 1, 4 mono ■MUDDY WATERS AT NEWPORT 1960 (Universal 088 112 515) includes tracks 2, 6 mono ■ROCKIN WITH REED (P-Vine Records PCD-5264) includes track 3 mono ■THE CHESS BOX / BO DIDDLEY (MCA Records CHD2-19502) includes tracks 5,20,25 mono ■BO DIDDLEY RIDES AGAIN (BGO Records BGOCD424) includes track 7 stereo, track 19 mono ■JIMMY REED AT CARNEGIE HALL (Collectables COL-CD-7210) includes tracks 8,16-18 mono ■50 COASTIN CLASSICS / THE COASTERS (Rhino R2 71090) includes track 9 mono ■THE CHESS BOX / CHUCK BERRY (MCA Records CHD3-80,001) includes tracks 10,14-15,21,24 mono ■MOANIN IN THE MOONLIGHT / HOWLIN WOLF (Universal UICY-3206) includes track 11 mono ■THE BEST OF LITTLE WALTER (MCA MVCM-22008) includes track 12 mono ■THE BEST OF MUDDY WATERS (Universal UICY-93199) includes tracks 13,23 mono ■THE BEST OF SLIM HARPO (ACE CDCHM 410) includes track 22 mono Other; Peepin Hidin (Jimmy Reed), Let Me Love You Baby (Buddy Guy) MORE CDR 004 - THE ORIGINAL RECORDINGS OF SONGS COVERED BY THE ROLLING STONES IN LIVE 1964 - 1989 1 Memphis, Tennessee (Chuck Berry) 2 Roll Over Beethoven (Chuck Berry) 3 Cops Robbers (Bo Diddley) 4 Beautiful Delilah (Chuck Berry) 5 Ain t That Lovin You Baby (Jimmy Reed) 6 I m Moving On (Ray Charles) 7 I Know (Bo Diddley) 8 Craw-Dad (Bo Diddley) 9 I m Yours I m Hers (Johnny Winter) 10 Little Queenie (Chuck Berry) 11 Let It Rock (Chuck Berry) 12 Don t You Lie To Me (Chuck Berry) 13 Mannish Boy (Muddy Waters) 14 Crackin Up (Bo Diddley) 15 Worried Life Blues (Big Maceo) 16 Sweet Little Sixteen (Chuck Berry) 17 Hound Dog (Elvis Presley) 18 Twenty Flight Rock (Eddie Cochran) 19 Going To A Go Go (Smokey Robinson The Miracles) 20 Chantilly Lace (Big Bopper) 21 Boogie Chillun (John Lee Hooker) ■THE CHESS BOX / CHUCK BERRY (MCA Records CHD3-80,001) includes tracks 1-2, 4,11,16 mono ■BO DIDDLEY RIDES AGAIN (BGO Records BGOCD424) includes track 3 mono ■JIMMY REED AT CARNEGIE HALL (Collectables COL-CD-7210) includes track 5 mono ■GEORGIA ON MY MIND / RAY CHARLES (Joker CD 39074) includes track 6 mono ■THE ROOTS OF STONE (Universal UICY-4103) includes tracks 7,10,13,19 mono ■BO DIDDLEY IN THE SPOTLIGHT (BGO Records BGOCD424) includes track 8 stereo ■JOHNNY WINTER (Columbia CK 9826) includes track 9 stereo ■THE ROOTS TRACKS OF STONE (Jimco Records JICK-89247) includes track 12 mono ■THE CHESS BOX / BO DIDDLEY (MCA Records CHD2-19502) includes track 14 mono ■ELVIS GOLDEN RECORDS, VOL. 1 / ELVIS PRESLEY (RCA PCA1-5196) includes track 17 mono ■ROLLING STONE CLASSICS 2 (Blues Interactions PCD-2537) includes tracks 15,18 mono ■THE BEST OF BIG BOPPER (Spectrum 554 906-2) includes track 20 mono ■I M JOHN LEE HOOKER (P-Vine Records PCD-5263) includes track 21 mono CDR 005 - THE ORIGINAL RECORDINGS OF SONGS COVERED BY THE ROLLING STONES IN LIVE 1994 - 2007 1 I Can t Get Next To You (The Temptations) 2 Who Do You Love (Bo Diddley) 3 Still A Fool (Muddy Waters) 4 Down In The Bottom (Howlin Wolf) 5 Like A Rolling Stone (Bob Dylan) 6 Shame Shame Shame (Jimmy Reed) 7 I Can t Turn You Loose (Otis Redding) 8 Love Train (The O Jays) 9 Rock Me Baby (B.B. King) 10 Get Up, Stand Up (Bob Marley The Wailers) 11 Mr. Pitiful (Otis Redding) ■17 GREATEST HITS / THE TEMPTATIONS (Motown R32M-1023) includes track 1 stereo ■THE CHESS BOX / BO DIDDLEY (MCA Records CHD2-19502) includes track 2 mono ■THE BEST OF MUDDY WATERS (Universal UICY-93199) includes track 3 mono ■HOWLIN WOLF (Universal UICY-3206) includes track 4 mono ■HIGHWAY 61 REVISITED / BOB DYLAN (Sony Records SRCS 9074) includes track 5 stereo ■GREATEST HITS / JIMMY REED (Classic Blues CDCD 1040) includes track 6 mono ■THE VERY BEST OF OTIS REDDING (Rhino R2 71147) includes tracks 7,11 mono ■THE O JAYS SUPER HITS (Epic Associated/Legacy ZK 65445) includes track 8 stereo ■ROCK ME BABY / B.B. KING (P-Vine Records PCD-3879) includes track 9 mono ■BURNIN / BOB MARLEY THE WAILERS (Tuff Cong UICY-9542) includes track 10 stereo Other; (You Gotta To Walk ) Don t Look Back (The Temptations), The Nearness Of You (Hoagy Carmichael), Night Time Is The Right Time (Ray Charles),Bob Wills Is Still The King (Waylon Jennings), Learning The Game (Buddy Holly), Champagne Reefer (Muddy Waters), I ll Go Crazy (James Brown) NEXT
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There s no need to Be described as a Crimson Hat Modern society Girl To know Your Hats When one particular will come to think about it, hats are merely head coverings, pure and straightforward. Through the decades, however, hats became countless items to society that one is tempted to think about hats inside a much more subliminal method. Despite the fact that Crimson Hat Society women know their hats, cheap yankees hats it s not necessary to certainly be a member to appreciate features and different designs. Functions of Hats Placed on a hat with your head. Angle it just so it highlights your facial area. Saunter away from the house which has a bounce for your move. Hats have transcended its utilitarian function to be another thing. Hats are worn for realistic motives. Rain, sunshine and snow - you may use an acceptable hat to guard your head from the onslaught of such organic forces which could damage your noggin. You dress in a hat while in the summer months to shield your encounter in the sun s ultraviolet rays but during the rain, you probably wear a hat to avoid ruining your hair and makeup. You are going to also have on a hat for basic safety. Construction workers have tricky hats and motocross riders have helmets, one example is. Hats are worn for symbolic explanations. We could consider clergymen in several religions donning hats on various dimensions, designs and ny yankees hat colors all through spiritual ceremonies, say, the pope together with his cone-shaped tiara. You may also decide on a hat dependant on traits in style or to create a style statement. Fedoras, by way of example, are jaunty hats. Other folks have on hats to denote standing, both to be a civilian or as armed forces staff. Acquire Red Hat Society Girls; they have on a pink hat to signify their membership while in the group and make a perfect case in point of the good-natured vogue statement. Irrespective of your explanations for donning a hat, you are going to acknowledge that it is a staple particular accessory in practically all cultures. In reality, you could even gather hats from everywhere in the planet, in the event you experience like it. Styles of Hats If you do make a decision to collect hats, you might learn that the gathering will fill a whole walk-in closet. You ll be able to even layout your own private hats in order to introduce a breath of clean air to the artwork. The following can be a several samples in the hats from a variety of areas in the world. Akubra - Worn with the Australian cowboys, the akubra is analogous into the American cowboy new york yankees caps hat with its felt substance and extensive brim. Baseball cap - Popular amongst baseball gamers and truckers, this is often gentle cap that gives shade for your eyes and facial area against the solar and rain with its very long peak. Bearskin - Guards for the Buckingham Palace dress in this iconic fur uniform hat originally intended to shield the head against sword cuts. Bonnets - Scots enjoy their bonnets using the ball of yarn at its leading. When worn alongside one another together with the regular Scottish Highland dress, the look is dignified. Beret - made use of by equally civilians and navy gentlemen, the beret has arrive at symbolize jauntiness specially when donned at an angle. Boater - Felt over the brim along with the top, this straw hat was well-liked between seamen but is currently largely donned by gentlemen and girls for backyard get-togethers and summer season regattas. Boonie and bucket hats - Equally are made from comfortable cotton and with broad brims. Effectively, of course, you ll be able to usually design the most outrageous hats it is possible to think about. Feel together the strains of multi-colored feathers, sequins, rhinestones, crystals and just about almost everything that you choose to can paste, tack and stitch on for the simple hat materials. Think of the Kentucky Derby hats worn by girls for inspiration.
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Awakening Wings/ 伊達朱里紗 「 eMAH-JONG 麻雀格闘倶楽部 プロトーナメント 」大会テーマ曲 本機種より既に収録されているBEMANIシリーズは下記の通り DanceDanceRevolution A3 GRAND PRIX、jubeat Ave.、DANCERUSH STARDOM 本機種より後に収録されたBEMANIシリーズは下記の通り pop'n music UniLab、GITADORA FUZZ-UP コナステ(特別企画セレクションパック vol.3)、ノスタルジア Op.3 ノスタルジアのみアレンジ版「Awakening Wings(NOSTALGIA Style)」として収録 作詞・作曲 PON、編曲 Sota Fujimori ジャケット制作者(Illustrator)欄は「-」なので下記の表では省略する Lv CHAIN 譜面属性 BPM TIME Version Genre Effect NOVICE 04 0440 190 1 32 EG47 その他 MAD CHILD ADVANCED 12 0828 EXHAUST 14 1102 MAXIMUM 17 1368 + 難易度投票 NOVICE 選択肢 投票数 投票 詐称 0 強 0 中 0 弱 0 逆詐称 0 ADVANCED 選択肢 投票数 投票 詐称 0 強 1 中 0 弱 0 逆詐称 0 EXHAUST 選択肢 投票数 投票 詐称 0 強 0 中 1 弱 0 逆詐称 0 MAXIMUM 選択肢 投票数 投票 詐称 0 強 0 中 0 弱 0 逆詐称 0 攻略・解説 譜面・楽曲の攻略についてはこちらへどうぞ 見辛さ解消の為に改行や文頭の編集、不適切なコメントを削除することがあります 名前 コメント ※文頭に[ bgcolor(#aaf){NOV}]、[ bgcolor(#ffa){ADV}]、[ bgcolor(#faa){EXH}]、[ bgcolor(#888){MXM}]をコピー ペーストすると見やすくなります コメント 楽曲やイラストなどのコメントについてはこちらへどうぞ 名前 コメント すべてのコメントを見る
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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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A Field Guide to the Atmosphere (Peterson Field Guide Series) Houghton Mifflin (P)? Vincent J. Schaefer? John A. Day? HoughtonMifflin(P)? VincentJ.Schaefer? JohnA.Day? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-SpecialTopics-AppliedAtmosphericSciences? Subjects-Outdoors&Nature-Ecology-Rivers? Subjects-Outdoors&Nature-Environment-Weather? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-SpecialTopics-AppliedAtmosphericSciences? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Meteorology-General? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-EarthSciences-Meteorology-General? Subjects-Science-EarthSciences-Rivers? Subjects-Science-EarthSciences-Weather? 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Subjects-Medicine-Specialties-Pathology-ClinicalChemistry? Subjects-Professional&Technical-Engineering-Bioengineering-Biochemistry? Subjects-Professional&Technical-Medical-Medicine-InternalMedicine-Pathology-ClinicalChemistry? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-Biochemistry? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Analytic? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Physical&Theoretical? Subjects-Science-Chemistry-Analytic? Subjects-Science-Chemistry-Physical&Theoretical-General? Subjects-Science-Chemistry-Biochemistry? Subjects-Science-General Subjects-Science-Physics-Biophysics? Subjects-Science-Medicine-Specialties-Pathology-ClinicalChemistry? Experiments in Basic Circuits Theory and Application Prentice Hall? David M. Buchla? PrenticeHall? DavidM.Buchla? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? Subjects-Engineering-Electrical&Electronics-Circuits? 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Low-Dimensional Molecular Metals (Springer Series in Solid-State Sciences) Springer-Verlag? Naoki Toyota? Michael Lang? Jens Muller? Springer-Verlag? NaokiToyota? MichaelLang? JensMuller? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Engineering-Materials-Metallurgy? Subjects-Engineering-MaterialsScience-Metallurgy? Subjects-Engineering-MaterialsScience-General? Subjects-Engineering-MaterialsScience-MechanicalPropertiesofSolids? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Engineering-MaterialsScience-Metallurgy? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-MaterialsScience-MechanicalPropertiesofSolids? Subjects-Professional&Technical-Engineering-Materials-Metallurgy? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Science-General Subjects-Science-Physics-General? Subjects-Science-Physics-NuclearPhysics-Atomic&NuclearPhysics? Subjects-Science-Physics-Electromagnetism-General? Subjects-Science-Technology-Nanotechnology? Plastics Product Design Engineering Handbook Van Nost. Reinhold? Sidney Levy? J Harry Dubois? VanNost.Reinhold? SidneyLevy? JHarryDubois? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-Chemical-General? Subjects-Professional&Technical-Engineering-Chemical-General? Subjects-Science-Chemistry-ChemicalEngineering? Space Settlements A Design Study Univ Pr of the Pacific? Richard D. Johnson? UnivProfthePacific? RichardD.Johnson? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-General? 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Subjects-Professional&Technical-Architecture-BuildingTypes&Styles-Residential? A Short History of the Printed Word Hartley & Marks? Warren Chappell? Robert Bringhurst? Hartley&Marks? WarrenChappell? RobertBringhurst? ユーズドブック(洋書)-Arts&Photography? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Reference? ユーズドブック(洋書)-Science? Subjects-Arts&Photography-Art-ArtHistory-General? Subjects-Arts&Photography-GraphicDesign-Typography? Subjects-Computers&Internet-GraphicDesign-Printing? Subjects-Computers&Internet-GraphicDesign-DesktopPublishing-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Reference-Publishing&Books-General? Subjects-Reference-General? Subjects-Science-History&Philosophy-HistoryofTechnology? Small Animal MRI Iowa State University Press? Patrick Gavin? Rodney Bagley? 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Subjects-Professional&Technical-Engineering-Civil-Environmental-Mining? Subjects-Science-EarthSciences-Prospecting&Mining? Subjects-Science-General Groundwater Contamination by Solvent Stabilizers Remediation of 1,4 Dioxane Lewis Pub? Thomas Mohr? LewisPub? ThomasMohr? ユーズドブック(洋書)-Children sBooks? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Substores-UnknownASINs-36? Subjects-Children sBooks-Science,Nature&HowItWorks-Environment&Ecology? Subjects-Engineering-Civil-Environmental-General Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Boeing 777 Jetliner for a New Century (Airliners in Color) Zenith Pr? Philip Birtles? ZenithPr? 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Subjects-Nonfiction-Transportation-Reference? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-Engineering-Aerospace-AircraftDesign&Construction? Subjects-Reference-General? Legal Interaction Between Decisions Of International Organizations And European Law Europa Law Pub Netherlands? Nikolaos Lavranos? EuropaLawPubNetherlands? NikolaosLavranos? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Law? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? Subjects-Engineering-Civil-Construction-Contracting? Subjects-Law-InternationalLaw-General? Subjects-Law-InternationalLaw-EuropeanUnion? Subjects-Law-PerspectivesonLaw-ConflictofLaws? Subjects-Nonfiction-SocialSciences-PoliticalScience-InternationalInstitutions? Subjects-Nonfiction-Law-InternationalLaw-General? Subjects-Nonfiction-Law-InternationalLaw-EuropeanUnion? Subjects-Nonfiction-Law-PerspectivesonLaw-ConflictofLaws? Subjects-Professional&Technical-Engineering-Civil-Construction-Contracting? The Backyard Blacksmith Traditional Techniques for the Modern Smith (Back Yard) Quarry Books? Lorelei Sims? QuarryBooks? LoreleiSims? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Home&Garden? ユーズドブック(洋書)-Professional&Technical? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Home&Garden-Crafts&Hobbies-General? Subjects-Home&Garden-Crafts&Hobbies-MetalWork? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Kayakcraft Fine Woodstrip Kayak Construction Wooden Boat Pub? Ted Moores? Jennifer Moores? WoodenBoatPub? TedMoores? JenniferMoores? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-History? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Sports? Subjects-Engineering-SpecialTopics-MilitaryEngineering? Subjects-History-Military-Naval? Subjects-Nonfiction-Transportation-Ships-General? Subjects-Nonfiction-Transportation-Ships-BoatBuilding? Subjects-Outdoors&Nature-OutdoorRecreation-Kayaking-General? Subjects-Professional&Technical-Engineering-SpecialTopics-MilitaryEngineering? Subjects-Sports-WaterSports-Kayaking-General? Subjects-Sports-General? The David Brown Tractor Story Old Pond Publishing? Stuart Gibbard? OldPondPublishing? StuartGibbard? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Substores-UnknownASINs-43? Subjects-Engineering-SpecialTopics-AgriculturalEngineering? Subjects-Professional&Technical-Engineering-SpecialTopics-AgriculturalEngineering? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-AgriculturalSciences? Collectible Costume Jewelry Identification Values Collector Books? Cherri Simonds? CollectorBooks? CherriSimonds? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Home&Garden? ユーズドブック(洋書)-Professional&Technical? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Home&Garden-Antiques&Collectibles-General? Subjects-Home&Garden-Antiques&Collectibles-Jewelry? Subjects-Home&Garden-Antiques&Collectibles-Reference? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Honda CB 750 (Haynes Great Bikes) Haynes Pub Group? Mick Duckworth? HaynesPubGroup? MickDuckworth? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-Automotive? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-Foreign? Subjects-Nonfiction-Automotive-Motorcycles-General? Subjects-Nonfiction-Automotive-Motorcycles-History? Subjects-Professional&Technical-Engineering-Automotive? Subjects-Science-History&Philosophy-HistoryofTechnology? The Economics Of Groundwater Remediation And Protection (Integrative Studies in Water Management and Land Development) Lewis Pub? Paul E. Hardisty? Ece Ozdemiroglu? LewisPub? PaulE.Hardisty? EceOzdemiroglu? ユーズドブック(洋書)-Business&Investing? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Substores-UnknownASINs-64? Subjects-Business&Investing-Economics-NaturalResources Subjects-Engineering-Civil-General? Subjects-Engineering-Civil-Hydrology? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Civil-Environmental-Groundwater? Subjects-Engineering-Civil-Environmental-Pollution-Air? Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-General? Subjects-Professional&Technical-Engineering-Civil-Hydrology? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Civil-Environmental-Groundwater? Subjects-Professional&Technical-Engineering-Civil-Environmental-Pollution-Air? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General In SITU Remediation Engineering Lewis Pub? Suthan S. Suthersan? Fred C. Payne? LewisPub? SuthanS.Suthersan? FredC.Payne? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Substores-UnknownASINs-64? Subjects-Engineering-Chemical-General? Subjects-Engineering-Civil-Environmental-General Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Chemical-General? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-Chemistry-ChemicalEngineering? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Desk Handbook Phase Diagrams for Binary Alloys Asm Intl? H. Okamoto? AsmIntl? H.Okamoto? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-Chemical-Materials? Subjects-Engineering-Civil-Mining? Subjects-Engineering-Civil-Surveying&Photogrammetry? Subjects-Engineering-Materials-Metallurgy? Subjects-Engineering-MaterialsScience-Metallurgy? Subjects-Engineering-MaterialsScience-General? Subjects-Engineering-Reference? Subjects-Professional&Technical-Engineering-Chemical-Materials? Subjects-Professional&Technical-Engineering-Civil-Mining? Subjects-Professional&Technical-Engineering-Civil-Surveying&Photogrammetry? Subjects-Professional&Technical-Engineering-MaterialsScience-Metallurgy? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-Reference? 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【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
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必要条件 Base Level 60 アイテム Green Potion １個, Yellow Gemstone １個 Zeny 1,000 報酬 Base Exp 90,000 日本版タイトル ： 歴史学者 1. Walk near Busy Looking Boy (prontera 248, 212) in Prontera× to trigger a conversation. After picking up the books with him, you will be asked to send them to the Historian, Mr. Karlomoff in Juno×. Note If you lose the books before you deliver them to Karlomoff, you can buy new ones from the Prontera library. 2. Travel to Juno and find the Historian, Karlomoff (yuno 311, 195). After a conversation about a traditional rhyme, you will be requested to deliver a report to a colleague in Morroc×. You will receive a File Folder. 3. Proceed to a building at Morroc 5 o clock (morocc 198, 63) to find the Historian, Rodafrian (morocc_in 45, 126). Tell her the rhyme you previously heard, but you will be asked to find someone in Mjolnir to verify it. 4. Go to Mt. Mjolnir 1, two maps north of Geffen. Find the Historian, Mondo (mjolnir_01 135 168) and tell him the version you heard Note If directly copying/pasting, be careful not to copy any spaces at the beginning or end of the phrase, as it will not work correctly. The great serpent swallowed the sea. The eagle of the rainbow swallowed the serpent. Then the eagle built its nest. A nest upon the swallowed sea. You will then be asked to find a child who sang the rhyme. 5. Find the Absent-Minded Boy (mjolnir_01 313, 269) to hear the rhyme, but you will be interrupted by the Exhausted-Looking Woman (mjolnir_01 316, 268). Talk to the woman again and you will be requested to send herbs to Father Bamph in Prontera Church. 6. Talk to Father Bamph (prt_church 185, 106) to learn about the Jormungand Curse. He will request you to inquire about the rhyme from the woman. 7. After learning about the difference of the rhymes from Bonnie Imbullea (Exhausted-Looking Woman, mjolnir_01 316, 268), return to Father Bamph to inform him about it. 8. You will be asked to investigate the bodies of the dead princes in the mausoleum, through the secret path in the cabinet. 9. Talk to Father Bamph first then examine the bodies from left to right and you find something suspicious. Answer "Poison!" 10. Return to the church and Father Bamph will ask to search for information in the Assassin Guild. 11. Proceed to the Assassin Guild and talk to the Assassin Guildsman (moc_fild16 201, 295). You will be asked to investigate at the Assassin s Secret Inn. 12. Enter the building at Morroc 8 o clock (morocc 43, 108). 13. Find Marjana (que_job01 10, 16) in the room to understand the method of using a Yellow Gemstone and Green Potion to identify poison. (Players will only have 4 minutes to remain in the room). 14. Return to Morroc (you must leave the building normally, using teleport or butterfly wing will cause problems!). You will reflect on what you now know, and have to decide on one of the following A. Go back to Father Bamph first, or B. Inform Rodafrian. (This could violate the priest s edict and cause a quest complete without Exp) Option A Go To Father Bamph First 1A. Go back to Father Bamph. He will ask you to verify if the princes are poisoned or not. 2A. Go to the mausoleum. Check on the 3rd prince. (Must have 1 Green Potion and 1 Yellow Gemstone). 3A. The serpent mark will vanish. Go back to the church office to discuss further. 4A. Father Bamph will ask you not to reveal the results to anyone yet due to the impact of the matter. He will ask you to bring some relief to Bonnie Imbullea. (Gain 90,000 base experience) 5A. Go back to Bonnie Imbullea (mjolnir_01 316, 268). Tell her that the exorcism is not her fault and good news will arrive soon. 6A. Go to Rodafrian. There will be 2 options here, i) Tell her about the curse - She will be grateful and tell you about Western Region and Jormungand. Return to Father Bamph one last time to complete the quest. ii) Not telling her - Rodafrian will be thankful of your help to solve her mystery. (Quest Finished) Option B Go To Historian Rodafrian First (this is a dangerous option, as there is a failure path on this branch) 1B. Go to Rodafrian (morocc_in 45, 126) and tell her the last verse of the rhyme. Choose either tell her about the poisoned princes or not to tell. i) Tell her about the curse - 1Bi. She will be grateful and tell you about the Western Region and Jormungand. 2Bi. Go back to Father Bamph. He will ask you to verify if the princes are poisoned or not. 3Bi. Go to the mausoleum. Check on the 3rd prince. (Must have 1 Green Potion and 1 Yellow Gemstone). 4Bi. The serpent mark will vanish. Go back to the church office to discuss further. 5Bi. Father Bamph will ask you not to reveal the results to anyone yet due to the impact of the matter. 6Bi. Talk to Father Biscuss (prt_church 184, 110) and he will thank you for your trouble. (Quest Finished, you receive EXP, and may now talk to Bonnie) Note If you speak to Bonnie prior to getting the EXP from Biscuss you will FAIL and get no EXP from this quest. This is due to breaking the Priest s edict of not telling anyone two times prior to them giving you clearance to do so. ii) Not telling her - 1Bii. Rodafrian will be thankful for your help. 2Bii. Go back to Father Bamph. He will ask you to verify if the princes are poisoned or not. 3Bii. Go to the mausoleum. Check on the 3rd prince. (Must have 1 Green Potion and 1 Yellow Gemstone). 4Bii. The serpent mark will vanish. Go back to the church office to discuss further. 5Bii. Father Bamph will ask you not to reveal the results to anyone yet due to the impact of the matter. He will ask you to bring some relief to Bonnie Imbullea. 6Bii. Go back to Bonnie Imbullea (mjolnir_01 316, 268). Tell her that the exorcism is not her fault and good news will arrive soon. (Quest Finished) Categories Articles Needing DB Links | Quest Window Quests | Base Experience Reward | Noghalt Quests
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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
https://w.atwiki.jp/myprivilege/pages/16.html
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.