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Research Analysis The market research report profiles well-balanced information with previous as well as future results with an aim to offer a better understanding of the Mechanical Pulps Market. The market report further offers an in-depth view of the leading factors that are related to increasing the demand growth for Mechanical Pulps Market. Not only this but also in this study the readers can get an in-depth report of the possibilities in combination with the latest trends in the targeted market. It is also a detailed combination of 10 years old qualitative and quantitative analysis of the industry that has been presented in the report with an aim to help the market players to increase maximum profit in the sector. The market research report also provides information on the record of individual sales records that are made with the expected revenue over the forecast period. This research report provides an extensive examination of all the related segments present in the industry. Moreover, it throws light on the recent development as well as the opportunity is that is going on in the Mechanical Pulps Market. Get a Sample PDF File@ https //www.quincemarketinsights.com/request-sample-88261?pu Market Report Features Overview Of The Market Report The market research report offers a detailed quantitative as well as qualitative overview of the market for Mechanical Pulps Market on the basis of area, category, product, competitors, and application. In terms of expanded coverage, the market report is further extended in terms of end-user market analysis and the comprehensive producer profile. Market Segmentation Of Mechanical Pulps Market Market The market segmentation of the Mechanical Pulps Market is done on the basis of technology, product type, application, distribution channel, and end-user. Geographical segmentation is also being done to get valuable insights into the Mechanical Pulps Market. Geographical Analysis Doing the geographical analysis is very important to know about the broad feature of the market. In this section, the readers can get a comprehensive analysis of the Mechanical Pulps Market based on the geographical location. This section throws light on the demand and sales output for the Mechanical Pulps Market at the national and international levels. The study is being done taking into account some of the major geographic regions such as North America, Europe, Asia Pacific, South America, Middle East, and Africa. Make an Enquiry for purchasing this Report @ https //www.quincemarketinsights.com/enquiry-before-buying/enquiry-before-buying-88261?pu Market Key Highlights The market report on the Mechanical Pulps Market is a summary of the current market situation for the Mechanical Pulps Market. Moreover, the analysis provides information regarding the newly launched product and also the products that are to be launched during the forecast period. The study also includes minute details regarding market share, segment, trends, growth and forecast West Fraser, Paper Excellence Canada, METSA FIBRE, Millar Western, Waggeryd Cel, Pan Pac Forest Products, Mayr-Melnhof Karton, Valmet, ANDRITZ Group, Innventia,. Company overview, latest trends, financials. Quince Market Insights Top Trending Research Report* https //qmi189135117.wordpress.com/2022/09/16/cumene-sulfonic-acid-market-size-industry-growth-rate-global-share-upcoming-trends-leading-players-products-and-services-overview-forecast-to-2032/ https //qmi189135117.wordpress.com/2022/09/16/3-hexenyl-salicylate-market-key-findings-growth-prospects-and-size-by-country-top-manufacturer-expansion-plans-and-business-strategy-forecast-to-2032/ https //qmi189135117.wordpress.com/2022/09/16/ethylene-glycol-monostearate-market-trends-growth-size-swot-analysis-opportunity-assessment-by-forecast-to-2021-drivers-and-applications-are-pertinent-for-sustenance-during-the-forecast-period-20/ Details Contained In The Mechanical Pulps Market Report 2021 Market Overview 1.1 Market Introduction 1.2 Market Analysis By Type 1.2.1 Type 1 1.2.2 Type 2 1.3 Market Analysis By Applications 1.3.1 Application 1 1.3.2 Application 2 1.4 Market Analysis by Regions 1.4.1 North America 1.4.2 Europe 1.4.3 Asia Pacific 1.4.4 South America 1.4.5 the Middle East and Africa Market Scope Market Segmentation by type, application, end-users and regions Market Size estimation Market Competition Key Market Leaders Conclusions The market research report offers a detailed study of the Mechanical Pulps Market which include market shares, size and growth opportunities by applications, product types and geographic regions. Not only this but also the report also contains a detailed summary of the leading market players. The experts have also mentioned the market growth, threats, opportunities and risks. About Us QMI has the most comprehensive collection of market research products and services available on the web. We deliver reports from virtually all major publications and refresh our list regularly to provide you with immediate online access to the world’s most extensive and up-to-date archive of professional insights into global markets, companies, goods, and patterns. Contact us Quince Market Insights Phone +1 208 405 2835 Email sales@quincemarketinsights.com Website https //www.quincemarketinsights.com/
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Adn 50 Anos No Es NADA Siglo XXI Ediciones? Alberto Diaz? Diego Golombek? SigloXXIEdiciones? AlbertoDiaz? DiegoGolombek? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General Por Que Ocurrio El Big Bang? Libris? C. C. Radovic? Libris? C.C.Radovic? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General Diez Teorias Que Conmovieron al Mundo de Copernico A Darwin (Claves Para Todos) CI Capital Intelectual? Leonardo Moledo? Esteban Magnani? CICapitalIntelectual? LeonardoMoledo? EstebanMagnani? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General Diez Teorias Que Conmovieron Al Mundo II CI Capital Intelectual? Esteban Magnani? Leonardo Moledo? CICapitalIntelectual? EstebanMagnani? LeonardoMoledo? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General Historia de Las Estrellas CI Capital Intelectual? Mariano Ribas? CICapitalIntelectual? MarianoRibas? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General Historia de Los Terremotos CI Capital Intelectual? Esteban Magnani? CICapitalIntelectual? EstebanMagnani? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General Historia de Las Celulas CI Capital Intelectual? Raul Alzogaray? CICapitalIntelectual? RaulAlzogaray? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General El Cafe de los Cientificos Sobre Dios y Otros Debates (Claves Para Todos) CI Capital Intelectual? Leonardo Moledo? Martin de Ambrosio? CICapitalIntelectual? LeonardoMoledo? MartindeAmbrosio? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General Historia de Los Extraterrestres CI Capital Intelectual? Pablo Capanna? CICapitalIntelectual? PabloCapanna? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General Mi Vision del Mundo TusQuets? Albert Einstein? TusQuets? AlbertEinstein? 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Subjects-Science-General Subjects-Science-Mathematics-PureMathematics-Fractals? Subjects-Science-Mathematics-Geometry&Topology-AnalyticGeometry? Teorias de La Evolucion - Como Progresa La Vida Errepar? Magdalena Porro? Errepar? MagdalenaPorro? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General La Conspiracion Hacker Longseller? Ruben Rios? Longseller? RubenRios? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Nonfiction-CurrentEvents-ConspiracyTheories? Subjects-Science-General Asi Lo veo yo (Clasicos De Siempre) Longseller? Albert Einstein? Longseller? AlbertEinstein? ユーズドブック(洋書)-Religion&Spirituality? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Religion&Spirituality-Spirituality-PersonalTransformation? Subjects-Science-General Percepcion Auditiva Universidad Nacional de Quilmes? Gustavo Basso? UniversidadNacionaldeQuilmes? GustavoBasso? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General 103 Libros En Red? Juan Jose San Martin Mazzucconi? LibrosEnRed? JuanJoseSanMartinMazzucconi? Subjects-Literature&Fiction-ForeignLanguageFiction-Spanish? Subjects-Literature&Fiction-WorldLiterature-Untranslated-Spanish? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Reference? Subjects-Science-General Subjects-Science-Reference-Engineering? Subjects-Science-Technology-General&Reference The Scientific Conquest Of Death Libros En Red? Immortality Institute? LibrosEnRed? ImmortalityInstitute? Subjects-Nonfiction-Philosophy-Science? Subjects-Science-General Subjects-Science-History&Philosophy-General? Como Mojar Una Galleta Debolsillo? Len Fisher? Debolsillo? LenFisher? ユーズドブック(洋書)-Entertainment? Subjects-Entertainment-Humor-General? Subjects-Entertainment-Humor-Science&Scientists? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General Ciberespacio para principiantes Errepar? Joanna Buick? Equipo Editorial? Errepar? JoannaBuick? EquipoEditorial? ユーズドブック(洋書)-Biographies&Memoirs? Subjects-Biographies&Memoirs-Reference&Collections? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General Teoria Cuantica Para Principiantes Errepar? J. P. McEvoy? Oscar Zarate? Richard Appignanesi? Errepar? J.P.McEvoy? OscarZarate? RichardAppignanesi? ユーズドブック(洋書)-Biographies&Memoirs? Subjects-Biographies&Memoirs-General? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General Mente y Cerebro Para Principiantes Longseller? Angus Gellatly? Oscar Zarate? Richard Appignanesi? Longseller? AngusGellatly? OscarZarate? RichardAppignanesi? ユーズドブック(洋書)-Health,Mind&Body? Subjects-Health,Mind&Body-Psychology&Counseling-General? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General Psicoanalsis para principiantes Era Naciente? Ivan Ward? EraNaciente? IvanWard? ユーズドブック(洋書)-Health,Mind&Body? Subjects-Health,Mind&Body-Psychology&Counseling-General? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General Biologia para principiantes Errepar? Wilson McCord? Errepar? WilsonMcCord? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General Subjects-Science-BiologicalSciences-Biology-General? Cronobiologia Humana Universidad Nacional de Quilmes? Diego Golombek? UniversidadNacionaldeQuilmes? DiegoGolombek? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General Semblanzas y Curiosidades Cientificas Argentinas Orientacion Grafica Editora? Jose Andres Carrazzoni? OrientacionGraficaEditora? JoseAndresCarrazzoni? ユーズドブック(洋書)-Biographies&Memoirs? Substores-UnknownASINs-68? Subjects-Biographies&Memoirs-General? Subjects-Biographies&Memoirs-Professionals&Academics-Scientists? Subjects-Biographies&Memoirs-SpecificGroups-Scientists? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? 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Subjects-Science-General Subjects-Science-Physics-General? Que Es ESA Cosa Llamada Ciencia? Siglo XXI Ediciones? Alan Chalmers? SigloXXIEdiciones? AlanChalmers? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Science-General The Future of Oil As a Source of Energy Curzon Pr? Emirates Center for Strategic Studies & Research? CurzonPr? EmiratesCenterforStrategicStudies&Research? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Outdoors&Nature Substores-UnknownASINs-56? Subjects-Business&Investing-Biographies&Primers-PopularEconomics? Subjects-Business&Investing-Economics-NaturalResources Subjects-Business&Investing-Industries&Professions-RealEstate-General? Subjects-Business&Investing-Industries&Professions-Oil&Energy? Subjects-Business&Investing-Management&Leadership-Systems&Planning? Subjects-Engineering-Chemical-General? Subjects-Engineering-Chemical-Petrochemical? Subjects-Engineering-Petroleum,Mining&Geological-Petroleum? Subjects-Nonfiction-Economics-General? 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第２幕 （１８６０年代様式で豪華に飾られた公衆舞踏会ホールの控え室。左右には、円柱と襞付きカーテンのある待合室のような空間がある。舞台中央では、階段がギャラリーにつながっていき、そこから舞踏会の大広間を見下ろせるようになっている。アラベラ、その後に続くアデライーデは、ギャラリーから階段をゆっくりと降りてくる。ヴァルトナーとマンドリカは、下のほう、舞台の脇のほうに立ち、二人とも黒い上着を着ている） MANDRYKA 天から舞い降りた天使のような方だ！ WALDNER ふむ、やっとか！いつも３０分遅刻するな。 MANDRYKA ああ、ヴァルトナーさん、ヴァルトナーさん！ WALDNER そんなに強く手を握られますと、 私は３日間カードが持てなくなってしまいます。 さあ、お出でなさい！ ご紹介いたしましょう！ なぜ尻込みしているのです！ （アデライーデとアラベラは階段を下りきって、少し左寄りに進む。） ADELAIDE （小声でアラベラに） あの方よ。優雅なお方だと思わない？ いろいろ言いすぎたかしら？ ARABELLA （そちらの方を見た様子も見せずに） ママ･･･ 今、本当に決定的な時なのよ！ ADELAIDE ひどく真っ青ね！ねえ、具合でも悪いの？ 座りましょうか？それとも出て行きましょうか？ ARABELLA いいえ、ほっといて、ママ。 ほんのちょっと、 一人にしといて。 （アデライーデは、二人の男達に近づいて行く） WALDNER （アデライーデを迎えながら） どうしたんだ？ ADELAIDE あの子に少し時間をあげて！ WALDNER 何のために？ ADELAIDE 急に不安になったみたい。 あの子の性格を知ってるでしょ。 WALDNER そんな馬鹿なこと言っている場合か！ お前にマンドリカ氏を紹介しよう。 （アデライーデが差し出した手に、マンドリカはキスをする） ARABELLA （皆のもとに来て） ママ･･･来たわよ。 WALDNER （紹介して） 我が娘アラベラです。 （マンドリカは深々とお辞儀をする。アデライーデは、ヴァルトナーを舞台袖に連れて行き、二人は舞台右側へと退場する。マンドリカは何一つ言葉を発することなくアラベラを見つめている） ARABELLA こんな場所に興味のあるお方には 見えませんけれど。 どうして、ここにお出でになったの？ MANDRYKA ウィーンにですか？ ARABELLA この舞踏会にですよ！ MANDRYKA なぜここへ来たかとおっしゃるのですね？ アラベラ伯爵令嬢。 （ドミニク後ろからやって来て、アラベラをダンスに誘おうとする） Dominik ワルツをお相手願えませんでしょうか？ ARABELLA （ドミニクに） また後ほど。 今はこの方とお話ししているのです。 （ドミニクは舞台左手のホールへと退場。その際、やや軽蔑するように、マンドリカをちらりと見やる） MANDRYKA お父様から何も聞いておられないのですか？ ARABELLA （腰を下ろし、扇子で 隣に座るよう合図する） 父からどんな話を聞いていれば良かったのでしょう？ ELEMER （後ろからやって来て、アラベラに） ワルツをお相手願えませんでしょうか？ ARABELLA また後ほど。今はここにいたいのです。 （エレメルは一礼して去っていく） （マンドリカを見つめる） 父からどんな話を聞いていれば良かったのでしょう？ MANDRYKA 私のことを何も聞いておられないのですか？ （アラベラは、知らないと首を振る） 私には妻がおりました。 美しく、天使のように清らかな妻が。 しかし、たった２年間ともに過ごしただけで、 早くも神に召されてしまったのです。 あの頃、私はまだ若く、 天使のようなあの妻に ふさわしい男ではなかったのかも知れません。 （首をうなだれる） ARABELLA お父様が私に伝えたかったというのは、そのことなの？ MANDRYKA （きわめて真面目に、ずっしりとした声で） お許しください。農夫みたいな男なのです。とにかく鈍くって、力が強いだけが取り柄のような男なのです。 （突然、意を決したように） あなたは美しい。アラベラ･･･その美しいお顔を写真で拝見した時、すぐに私の心は燃え上がってしまったのです。 ARABELLA （眉をひそめながら） いったいなぜスラヴォニアで 私の写真なぞ・・・？ MANDRYKA なぜ写真を･･･？どうでもいいことです！ あなたは余りにも美しい！ あなたの表情にひそむ魔力は、まるで蝋に押し付けて型を取ったように、私の心に刻みつけられました！ いつも野や森に取り囲まれている純朴な男には、 あなたの魔力はあまりにも大きすぎるのです。 いまや私は夢見る者･･･何かに取り憑かれた男になってしまい、 心に固く決したのです。 心に固く決めてしまえば、 その通り行動せずにはおれない男なのです。 （マンドリカの抑制しつつも激しい口調にびっくりして、立ち上がる） 伯爵令嬢･･･ 外の世界は、私の世界とは違うことを忘れておりました。 （立ち上がって） ここは、私の領地の森や野原ではありませんでしたな。 不器用な話でダンスの邪魔をしたことをお許しください。 LAMORAL （後ろからアラベラに近付いてきて） お話し中ですが、 ワルツのお相手をお願いできますでしょうか？ ARABELLA いいえ。ラモラルさん、また後ほど。 このお方ともう少しお話ししたいのです。 もし、この方が腰を下ろしてお話しして下さればですけど。 （ラモラルは一礼して去っていく。マンドリカは座る） 父が申しておりましたわ。あなたは私との結婚を望んでおられると・・・。ですが、私たちがどのような者であるか、ご存知なのですか？世間の目に照らせば、もはやそれほどの者ではないのですよ・・・残念ながら、若干うさんくさい家族と言っても良いぐらいなのです！ MANDRYKA （きっぱりとした態度で立ち上がり） アラベラ･･･あなたのお血筋は、 お顔に、きちんと表れています！ 私は領民に指示を下す立場にありますが、 その私に指示を出すぐらいのことで満足できましたら、 私に付き添って領地に帰り、女領主となってください！ あなたはシルクの床の上で、孔雀に餌をあげていればよいのです。あなたより高位の身分だと 思い上がる者など一人もいません。 王様や皇帝や皇妃でもない限り･･･！ 誰もそんなことを思う者はいません！ ARABELLA 私にふさわしい人･･･ 口に出さずつぶやいたその人･･･ その私にふさわしい人が・・・一人ここにいて・・・ 目の前にいきなり立ったなら･･･私そう言ったわね･･･ 私を見つめ、私も見つめ返したら、 もう言い逃れたり問いかけたりはしない・・・ いいえ！太陽の光にきらめく川面を見つめるように、 全てがはっきり見えているの！ MANDRYKA 私の屋敷の脇を明るく静かに流れるドナウ川が、 あなたを私のもとに連れて来てくれたのです！ 類いなく美しい方！ （秘密をささやくかのように） 今晩、眠りにつく時には、もうそうなるのですよ・・・ 君が、ぼくの領地の村娘だとしましょう。 君は、お父さまの家の裏手にある井戸に行って 清らかな水を盃に汲んでこなければなりません。 玄関で、ぼくに盃を渡した瞬間、 君とぼくとは結ばれるのです。神の御前で、人々の面前で・・・ ああ、世界で一番美しい方！ ARABELLA あなたのような方を、私は今まで見たことがないわ。 ご自身の生き方の流儀を常に身にまとっていて、 あなたに属していないものは、 まるでこの場に存在しないかのようね。 MANDRYKA だからこそ素晴らしいものを 崇めることなしには生きていられないのです。 今この瞬間に、私が崇めているのはあなたです。 あなたを私の妻に選んだのです。 私が領主たるところ、あなたは女領主となりますし、 私が支配者たるところ、あなたもまた支配者となるでしょう！ ARABELLA （とても小さな声で、マンドリカと声を合わせて） あなたこそ私を支配する人、 私はあなたに従います。 これからは、あなたの家が私の家。 お墓の中まで付き添ってまいります。 私は全てをあなたに捧げます･･･時が果てるまでずっと。 あなたこそ私を支配する人、 私はあなたに従います。 これからは、あなたの家が私の家。 お墓の中まで付き添ってまいります。 私は全てをあなたに捧げます･･･時が果てるまでずっと。 MANDRYKA 世界で一番美しい人･･･ 君を崇めずにはいられない･･･ あなたを私の妻に選んだのです。 私が領主たるところ、 あなたは女領主となりますし、 私が支配者たるところ、 あなたもまた支配者となるでしょう！ ARABELLA （声音をがらっと変えつつも、真剣に） ですが今は、お先にお帰り下さい。 お願いですわ。 MANDRYKA あなたは？ ARABELLA ここに残ります。 （マンドリカは一礼する） もう少し踊って、 私の娘時代に別れを 告げたいのです。 ほんの１時間ほどよ。 お許しくださいますか？ MANDRYKA あなたが、ここにいるのなら、 私の居場所もここにしかありません。 （アラベラは眉をひそめる） ですが、声をかけるには およびませんので！ （御者たちと舞踏会の客たちが大勢、舞踏会の広間から階段を上って舞台にあふれ出てくる。その中には御者舞踏会の歌姫ミッリのほか、似たような娘たちと３人の伯爵もいる） ARABELLA （マンドリカを見つめながら） 本当にいいの？ MANDRYKA もちろん！さあ！お気に召すまま、するがいい！ （舞台の脇に退き、出てくる人々のために道を空けながら） （とても人目を引く舞踏会用ドレスを着た可愛らしい歌姫ミッリが、手に大きなブーケを持って、舞台中央に出て来ていたアラベラに歩み寄る） DOMINIK （ミッリにくっついて歩きながら） 舞踏会には、女王が必要さ！ ミッリは、御者たちの触れ役。 ぼくたちは、とうに彼女に忠誠を捧げた体！ DIE FIAKERMILLI （アラベラの前で膝を屈めてお辞儀し、ブーケを手渡す。軽々しい、ほとんど厚かましいような調子で） ウィーンの殿方は、天文学に通じていらっしゃるわ・・・ きっと天文台のご出身なんでしょうけど、なんでこうなったのかは皆目ご存知ない！ウィーンの殿方はいとも素早く 新たなスターを探し出して、 その女性を天空の 女王になさるのだわ・・・ さあ、声をそろえて歌いましょう・・・ 「あなた様こそ我らの宴の女王です！」 DIE GRAFEN UND FIAKER さあ、声をそろえて歌いましょう・・・ 「あなた様こそ我らの宴の女王です！」 （歌姫ミッリは、歌い終わると、すぐ厚かましくも大胆なヨーデルを歌い始める。ヨーデルは響き始めたワルツにつながっていく。 ドミニクの手を取り、二人で舞踏会の広間へと降りて行く。すると全員がその後に続く。マンドリカがその様子を見送った後、振り向くと、ちょうどアデライーデが舞台右手から出て来る。同時にマッテオも左手から出てくる。おどおどと彼の後を追いかけてくるズデンカは、少年の服装にもかかわらず、その上に背広のような上着を羽織り、円柱の陰に隠れている） ADELAIDE （マンドリカに） あなた、おひとり？アラベラはどこ？ MANDRYKA 舞踏会の女王という務めを果たしに行きましたよ。 MATTEO （誰もいない空間に向かって） あのひとは、ぼくを忘れてしまったのだ・・・ あの人の美しさに酔っているこのぼくを！ ADELAIDE （マンドリカに） お目々がきらきら輝いているわね。 どういうことかしら？ ZDENKA （マッテオの後ろから、不安そうに） 君のことを思っているよ。ぼくは知っているんだ、マッテオ！ お姉さんは君の瞳しか目に入らないんだ。 MANDRYKA （アデライーデに） ああ、伯爵夫人。あなたご自身もまだお若くて、たいそう魅力的ですよ。あの人のお母様だというのに！いったいいかなる言葉をもってすれば、あなたに感謝の意を伝えられましょう！ （親しさをこめて、彼女の手にキスする） MATTEO （一歩前に進み出て） みんなに花を！ みんなに微笑みを！ みんなに自分自身を！ ぼくには何が残されているんだ？ ADELAIDE （マンドリカに） ああ、予測できましたこと？私に何が起こるかを！ 私の男の子！私のお友達！ 胸がいっぱいで、おすそ分けしなくちゃいけないぐらい！ （夫を示しながら） 夫にも、娘にも！ ZDENKA （切実に、やさしく、マッテオに） すべて君のために取っておいてあるよ。 お姉さんは、君の悲しみを必要としている。 まるで、心のすべてを投げ入れる噴水のようにね・・・。 他の人達の心は浅すぎるんだもの！ ADELAIDE あなたを抱きしめてもらわないと！ だめよ、まだここにいて！あら、あの人だわ！ （舞台右手へ走って退場） MATTEO 残されたことは一つ・・・ガリツィアへ行く。 あの人を忘れるために・・・まだ間に合うならば！ ZDENKA パパ！ママ！ 誰にも見られたくない！ どこに行くの？マッテオ？ （マッテオは舞台後方に行き、暗い顔で舞踏会の広間を見降ろす。アデライーデとヴァルトナーが舞台右側からマンドリカのほうにやって来る。ズデンカは舞台左手に姿を消す） ADELAIDE ああ、テオドール！ ここにお出でですよ。テオドール！ WALDNER （気さくな調子で） どんなご様子ですかな？我が友マンドリカの甥っ子どの。 まあ！どうぞ！抱擁していただけますかな！ （抱擁する） MANDRYKA （レストランの給仕に） テーブルを持ってくるんだ。食事としよう。 （すぐに見習いをしたがえ、メニューを持った給仕係が出てくる。アデライーデに） シャンパンはどうします？ お命じください！ （給仕係はアデライーデにワインリストを手渡す） ADELAIDE モエ・シャンドンね。辛すぎず甘すぎないのを・・・ 私の婚約の時もそうだったわ！ WALDNER （マンドリカに） お呼びいただければ、すぐ参りますので！ （立ち去ろうとするが、アデライーデに引き止められる） 勘弁してくれ！せっかく勝っているんだ！ （退場する） MANDRYKA 瓶で３０本持ってくるんだ！ （ワインリストを指差して） テーブルには６本、 あと３０本！ さらに３０本だ！ ヴェルコ、指示を出せ！ 広間の隅にはアイスクーラーを！ 広間にいると、誰が魔法にかかって 御者の姿に変えられた伯爵なのか、 誰が裏返しに服を着て 伯爵になった御者なのか、まるで分かりゃしない！ 私が楽しむように、あなたもお楽しみください！ （アデライーデに） どんどん注文してください！ ADELAIDE （ロブスター、雉肉、アイスクリームなどの皿を受け取りながら） お花はないかしら？ MANDRYKA （急いで） 気をつけるんだ、デューラ！ 御者を一人、もう一人と雇って、 花屋の扉を開けるんだ。 きれいな花売り娘たちを起こして、 倉庫にある花を片っ端から出させるんだ！ 馬車を花で飾れ。 赤と白の椿で飾るんだ。 あの人に花の上で踊ってもらい、 娘時代に別れを告げてもらおう！ 最後に私がこの手を広げたら、 もうダンスは踊らない。 私の手のひらの上で踊るのさ！ （アデライーデはマンドリカのエスコートを受けながら、後ろの階段を登っていく。舞台右手から出てきたテーブルの上には豪華な冷菜が置かれ、次から次へと置かれていく。） ARABELLA （アラベラはドミニクにエスコートされながら、後方の舞踏会の広間から登場する。二人は向きを変えて舞台左手へと歩いて行く） さあ、これで、さよならね。ドミニクさん。 DOMINIK さよなら？もう帰宅されるのですか？ ARABELLA これが私たちの最後のダンスだったのです。 いずれまたお会いすることもあるかも知れない。 ですが、ただ若い頃の知り合いとしてですわ。 DOMINIK （彼女の腕をつかんで） アラベラ！ ARABELLA だめよ。ドミニク！ （するっと身をかわして） 子供時代は別として、あなたは、私を好きと言ってくれた最初の男の人でしたね。私ほんとうに嬉しかったわ。 でも、私はあなたにふさわしい人ではなく、 残念ながら、あなたも私にふさわしい方ではなかった。 何もおっしゃらないで。ドミニク。 エレメルが来ますわ。 さよなら！ （ドミニクはゆっくりと去っていく。エレメルが来る） ELEMER （勢い込んでアラベラに近寄る） 今日ほど美しいあなたを見たことがない！ （アラベラは考え事をするように後ろに下がる） 何かあったんだね！ ARABELLA （落ち着いて） そうよ。エレメル。あったわ！ ですから、今、私はあなたに手を差し出し、 さよならを告げるの。ありがとう、エレメル・・・ いくつも素敵な時があったわね・・・ ELEMER ベッラ。あったのだし、これからもあるのだよ！ （エレメルはアラベラの手を握ろうとする） ARABELLA 手を握ったままにしないで。 すぐに私の指の力を感じて。 もう二度と会わなくとも、 良いお友達のままでいましょうね！ ELEMER （怒って） あなたは、あのよそ者に恋したのですね。 あのヴァラキア人だか何だかに！ ARABELLA （穏やかに） この最後の時を台無しにしないで！ さあ、ラモラルが来たわ。 私との最後のダンスの時を待っている！ （ラモラルが舞踏会の広間から階段を登って登場する。舞台右手のテーブルクロスは取り払われている） ELEMER （アラベラにぴたっと体を寄せて） ぼくの妻になってください！ いったい誰がぼくの邪魔をできるでしょう！ ARABELLA 残念ですが 私には別の幸せが定められているの。 （エレメルをその場に残し、ラモラルの方へと向かう。エレメルは左手から退場） LAMORAL ああ、アラベラ！舞踏会に、あなたほど美しい方はいません！ ARABELLA そうよ。恋とは甘いもの。 このくっついたり離れたりはね。 でも、それよりも千倍美しいものがあるわ！ いつかあなたもきっとわかるわ。ひょっとしたらね・・・ LAMORAL 私に縁の遠い話などしないでください・・・ ARABELLA （真剣に） あなたにはまだ縁がない話ね。その通りね。 LAMORAL 不安になります。 様子が違いますね、アラベラ！ ぼくからあなたを奪ったのは誰なのです！ ARABELLA 奪った？行ってちょうだい、おばかさんね！ でも、最初で最後のキスをあなたにしてあげるわ。 （ラモラルに身をかがめ、素早く、額に軽くキスする。二人は舞台左手にいて、ややカーテンの陰に隠れている） LAMORAL （顔を輝かせて） この素晴らしいキスは、どなたから？ ARABELLA （すぐラモラルから身を離して） 今日幸せを得た女の子からよ。 この子は、幸せすぎて一人でいなきゃならない。 自分の部屋で一人っきりになり、 幸せのあまり、長い時間、眠れもせず横になっているの！ （口調を変えて） でも、もう一度だけワルツを踊りましょう。そしたら、おいとまするわ…もう二度と会うこともないでしょう！ （ラモラルと舞踏会の広間に降りて行く。マッテオが舞台右手から出て来て、テーブルクロスの脇を通り過ぎる。ズデンカは左手から登場し、不安そうな様子で、人目につかない所からマッテオの様子を眺めている） MATTEO （独り言で） もう終わろう！終わりにし、けりをつけよう！ さもなくば、ぼくは臆病者だ！ ZDENKA ああ！なんて顔だ！ 恐ろしいほどの覚悟！ （ズデンカの手招きに応じて、マッテオがやって来る。マンドリカはギャラリーから階段を下り、テーブルクロスのかかったテーブルへと進む） ZDENKA またこんなになってしまって・・・？ またこんな？ MATTEO 胸の嵐に押しつぶされそうだ！ ZDENKA お姉さんの想いは君にある！ 他の誰でもない！ （マッテオは苦笑いする） ぼくにこの手紙をくれたんだよ！ これさ！ （背広の胸ポケットに手を突っ込む） MATTEO （後じさりして舞台中央に出る） 受け取れない！ それは、ぼくを終わらせてしまう！ そう感じるんだ！ （ズデンカは手紙を手にしたまま、逃げるマッテオを追う。マンドリカはそれに気付く。ヤンケルは、花束の山を運ぶ人々と一緒に、舞台右手から入ってくる。ズデンカはマッテオを舞台中央まで追いかけて行く） MATTEO 持ち去ってくれ！ きっと、ぼくは終わってしまう！ ZDENKA 受け取らねば！世界が変わるはずさ！ それをこそ感じるんだ！ MATTEO （手紙をつかむ） 鍵じゃないか？ ZDENKA 受け取って！受け取ってよ！ MATTEO （手紙の封を引きちぎって） 手紙はない！鍵だけ？ 何かの冗談かい？ ズデンコ、どうなんだ！ ZDENKA （顔を真っ青にして、気を失いそうになりながら） お姉さんの鍵さ！ MATTEO ああ、あの人の鍵だって？ ZDENKA 部屋のさ。気をつけて。しまうんだ。 MATTEO 鍵だって・・・？気が狂いそうだ！ ここは舞踏会かい？君はズデンコか？ 下で踊っているのは、君の姉さんかい？ 鍵とは・・・？ ZDENKA お姉さんの部屋のさ。 (話し言葉で） アラベラの部屋への鍵！ MANDRYKA （体をびくっと震わせ） 俺の聴き違いか！？ （ヤンケルが近づいてくるが、マンドリカは去るように合図し、２人の方へと近づいて行く） ZDENKA 君は家に帰るんだ…お姉さんは１５分もすればやって来るよ。 その鍵はお姉さんの部屋の隣室を開けるんだ。 （赤くなったり青くなったりしながら、気後れを取り払おうとする） 音も立てずに、お姉さんは君のもとにやって来る。マッテオ。 お姉さんが君を不幸せになどするものか。 君が今晩幸せになるためなら、 お姉さんは何でもしてあげるつもりなんだよ！ MATTEO 誓ってくれ、本当だね！ アラベラの部屋の鍵なんだね！ ZDENKA 君の手にあるじゃないか！ まさに、その鍵を、 お姉さんは君に渡し、 君の幸せのためなら、何でもしてあげるつもりなんだ！ もう行かなきゃ！ 人に見られちゃまずい！ （舞台左手へと走って退場） MATTEO （独り言で） 乙女心の神秘･･･何ともきわめがたい！ （急ぎ左手へと退場） MANDRYKA （一種固まった状態から突然目覚めたように） 待て！そこのお前、だれなんだ！ ヴェルコ！走れ！あの男を取り押さえろ！ 俺の前に引きずり出せ！あの鍵と一緒にな！ （ドミニクとアデライーデは舞台左手から前のほうにやって来る。（ヴェルコとデューラは半信半疑で、マンドリカが追いかけるように命じた男の後を追う） WELKO （話し言葉で） 誰をですか？大侯さま？ DJURA (話し言葉で) どの男です？ WELKO （話し言葉で。ドミニクを指差す） こやつですか？ （ドミニクとアデライーデは舞台左手のソファーに腰を下ろしている） MANDRYKA （独り言で） もしや、ここには大勢アラベラという名の女がいるのか・・・ 俺の呪わしい猟師の耳が、馬鹿で頑固な脳みそを欺いたのか・・・ だが、見知らぬ奴の笑い物になってるんじゃあるまいな？ 部屋の鍵を贈るだと？自分自身は、この舞踏会の広間で踊っているというのに？ （時計を見る） 時間はまだ残っているというのか・・・ 俺が、あの人に許した時間は・・・。 だが、それこそ間抜けな阿呆じゃないか？ （三人に） もうよそう！食事の用意を続けるんだ！ （せわしなく行ったり来たりする） 音楽は美しい・・・鍵のことじゃない。 ヴァイオリンが聴こえる・・・呪わしい鍵じゃない。 きっともうすぐ、あの人がここに来る。 私の目の前に。そうしたら、花を撒き散らして、 私の代わりに、花にあの人の足にキスさせるのだ。 ああ！今この瞬間も、あの人は踊り、 少女時代に別れを告げているんだ！ DOMINIK （アデライーデの左わきで） ああ、なんと魅力的な女性でしょう！ 昔は娘さんより美しかったでしょうに！ ぼくのメランコリックな気持ちを癒す術もご存知のはずですよ。 （ドミニクはアデライーデの肩にキスする） ADELAIDE (アデライーデはショールを肩に引き上げる） ドミニク！だめよ！ あとで、二人っきりになったらね。あの子がいなくなってからよ。 (アデライーデとドミニクは小声で話し続ける。多くのカップルが舞踏会のホールから昇ってくる） MANDRYKA （怒りに燃えて眺めながら） なぜ大勢こっちに来るのに、あの人はいないんだ？ なぜ、いまいましい鍵の音ばかりガチャガチャ聞こえるんだ？ DIE FIAKERMILLI （エレメルの腕にもたれて、マンドリカに近づく。それ以外のカップル達も立っている） あなた様、改めて、お願い申し上げますわ。 舞踏会の女王をお返しくださいませ！ MANDRYKA （激怒して、独り言で） この女、何を言うんだ？ 俺に、あの人を返せだと？ 俺が閉じ込めたわけじゃない。 俺は鍵を持っていない。 鍵は封筒の中さ。 （ヴェルコがシャンパンを差し出す。マンドリカは腰を掛け、酩酊しながら） お許しいただきたく存じます・・・ どなたさまもご同様に。お知り合いも見知らぬ方も！ ELEMER だが、この素敵な時間を、アラベラ伯爵令嬢なしで 過ごしたくないものだな！ どこに行けば会えるか、ご存知のくせに。 MANDRYKA （自分の首をつかんで、ネクタイをゆるめる） ご存知のくせにだと？ 鍵だ！デューラ！ヴェルコ！ （ヴェルコとデューラは慌ててやって来る） 広間にお嬢様がいないか探すんだ！ この広いウィーンで見つけたんだ。 こんなダンス小屋で見つけるのは、雑作もなかろう！ （デューラとヴェルコは走り去る。マンドリカは後ろから、太い声で呼びかける） ここに来てもらうよう頼むのだ！ そのお気持がおありになるのなら！ （続いて、エレメルの腕から離れていたミッリに） こんなに甘ったるい口には、 さぞ甘い飲み物が必要でしょう！ （ミッリにシャンパンのグラスを差し出す。ミッリはヨーデルで答える） JANKEL （小さな手紙をトレイにのせて持ってくる） 閣下へのお言伝ての手紙でございます。 MANDRYKA 鍵が中に入っていそうか？ JANKEL はっ？鍵ですと？ MANDRYKA （あわてて手紙をつかむが、なおも開けるのをためらう） おお、神様！なぜ、あの顔は、私の心をこんなにも 激しい力でとらえるようになったのでしょう！ 恐ろしくてならない・・・ （舞台の脇に行って、封を切って中を読む） 「本日は、お休みを申し上げます。 お家に帰ります。 明日から私はあなたのもの」 小文字のａだけ！サインもない！ 名前がないとは！こんなお人よし、 すぐだまされる男には、 そんなものは要らないってのか！ （苦い思いのあまり、わざと陽気に） 少女時代に別れを告げにゃならんのだとよ・・・ それには、あんなに細やかに気を使っていたのに、 サインには、気をつかう時間もないってのか！ （無理して厚かましいぐらい陽気になり、再び人々の所に戻り、手で合図しながら） さあ、花をばらまけ！シャンパンだ！ 左右の方々に注いで回れ。 全員テーブルの下にぶっ倒れるまで・・・ 伯爵だろうが、御者だろうが、御者夫人だろうが、 おかまいなしだ！ 今日は一切合財全部、 この俺の勘定だ！ （給仕たちは散らばっていき、シャンペンを注いで回る） きれいなミッリよ、 俺が何か歌ってやろうか？ （彼女を引き寄せて） 俺も気持ち良くなるってもんだ！ （ミッリは、言葉ではなく、やさしいヨーデルの歌声でそれに答える。マンドリカは自嘲と怒りの涙にまみれて） 森を歩いていたが、どの森かも分からない。 少女と出会ったが、誰の娘か分かったもんじゃない！ その足をふんずけたが、誰の足だかわかったもんじゃない。 大きな声で叫び出したが、なぜなのかも分からんのだ。 恋とはどういうことか気がついた男の姿を見るがいい！ MILLI （ミッリはヨーデルのリフレインを繰り返す） 恋とはどういうことか気がついた男の姿を見るがいい！ MANDRYKA （マンドリカは彼女をソファーに座らせる。アデライーデはドミニクから離れて立ちあがる） あの男にお似合いなのは・・・ワインを樽ごと飲むことよ。 ワインをしこたま飲むがいいわ。でもグラスなど必要ない。 重たい樽から飲めばいいわ！ もっと賢くなるまで、苦しむがいいわ！ MILLI （ミッリはリフレインを繰り返す） あんな奴は、地べたに寝りゃいいのよ。 もっと賢くなるまで、苦しむがいいわ！ MANDRYKA （ミッリを手放すと、やにわに立ちあがる。ミッリはリフレインを繰り返す。マンドリカはますます怒って、独り言で） 今日は家に帰ったのだ。鍵の男のところへ・・・ そして明日からは俺のものだと！ ミッリ、キスしてくれ！ （彼女にキスをする） このウィーンでは、伯爵令嬢の部屋の 鍵の値段はいくらなんだ？ ADELAIDE （いきなりマンドリカの前に現れて） マンドリカさん！娘はどこなの？ MANDRYKA （ミッリを腕に抱いて立ったままで） 知るものですか！ 私には教えて下さいませんでしたから。 もっとモエ・シャンドンをどうです？ さあ！伯爵令嬢の母上にお注ぎするのだ！ ADELAIDE （興奮して舞台右手に駆けて行く） あの人はどこ？ あの人を呼ぶのよ！ （ドミニクはあわてて舞台右手に行き、ヴァルトナーを探しに行く。アデライーデはマンドリカの所に戻り） 本当のことを言って！ アラベラはどこ？ MANDRYKA （粗野に） こちらがお聞きしたいところですよ、伯爵令嬢のお母上！ （ヴァルトナーがドミニクと一緒に舞台右手に現れる。その後ろには、ギャンブル仲間の３人の男達） ADELAIDE ああ、テオドール！ あなたの妻と娘を守って！ WALDNER 何があったんだ？マンドリカ、 何という振舞いだ？ このわしの妻の前で！ MANDRYKA お聴きの通りですよ！ 田舎くさい間抜け男から脱皮して、 ウィーンの伯爵然と 振舞うための修行中です！ ここにおかけなさい。女もいますし、 シャンパンもある。 さあどうぞ、ご自由に！ WALDNER わしの娘はどこだ？ MANDRYKA 残念ですが何も言うべきことはありません！ 伯爵令嬢は、いつも楽しい時に、 どこかに隠れてしまうくせがあるようですな。 WALDNER （怒り狂ってアデライーデに） あの子はどこだ？ どこにいるか教えろ！ ADELAIDE 家ですわ。 WALDNER 知ってたのか？ どういうことだ？ ADELAIDE 思いつきよ！ 急にブルーな気持ちになったのよ！ ただの気まぐれ！ 知ってるでしょ、あの子の性格。 WALDNER 本当に家にいるんだな？ ADELAIDE あなたの大切な妻と娘のことよ！ WALDNER ならいい。わしらも家に行こう。すぐにだ。 お前は部屋をノックして、あの子の具合を教えてくれればいいんだ。そうすれば、全て丸くおさまる。 （怒りながらマンドリカに向かって） あと２つほど、あなたと話したいことがある・・・ ですから、一緒に来ていただけますな。 MANDRYKA それは私としても望むところです。 （一礼し、アデライーデに腕を差し出す） WALDNER （ギャンブル仲間たちに） このつまらん誤解が解けたら、 すぐホテルで、ひと勝負しよう。 MANDRYKA （出口のドアに立ち止まり、後ろに呼び掛ける） お集まりの紳士淑女よ！ 今日は、私のご招待とさせていただきます！ （マンドリカは請求書の束を引っつかむと、それを宙に放り投げる） MILLI やったあ！ご招待ですって！ CHOR DER GÄSTE やったぞ!今夜は我らは招待客！ （客たちはシャンパングラスを高くかかげる。ヴェルコとデューラを先導に、マンドリカとアデライーデは出て行ってしまう。ヴァルトナーとギャンブル仲間たちがその後を追う） ZWEITER AUFZUG (Vorraum zu einem öffentlichen Ballsaal, prunkvoll im Geschmack der 1860er Jahre. Logenartige Räume, aus Säulen und Draperien, links und rechts. In der Mitte Treppe zu einer Estrade, Die in den Ballsaal führt. Arabella und hinter ihr Adelaide steigen herab. Waldner und Mandryka stehen unten, seitwärts beide im Frack.) MANDRYKA Das ist ein Engel, der vom Himmel niedersteigt! WALDNER Na, endlich! immer eine halbe Stunde zu spät! MANDRYKA O Waldner, Waldner! WALDNER Wenn du meine Hand so druckst, werd’ ich drei Tage lang keine Karten halten können. Jetzt komm! Ich stell’ dich vor! Was gehst du denn zurück! (Adelaide und Arabella sind unten angelangt und treten etwas links.) ADELAIDE (leise zu Arabella) Dort steht er. Findest du ihn elegant? Hab ich zuviel gesagt? ARABELLA (ohne daß sie hinzusehen scheint) Mama – das ist jetzt wirklich die Entscheidung! ADELAIDE Du bist sehr blaß! Ist dir nicht wohl, mein Kind? Willst du dich setzen? Willst du fort? ARABELLA Nein, laß, Mama. Nur einen Augenblick laß mich allein. (Adelaide geht auf die beiden Herren zu) WALDNER (irh entgegen) Was ist denn? ADELAIDE Laß ihr einen Augenblick! WALDNER Zu was denn? ADELAIDE Eine plötzliche Beklommenheit. Du kennst ihre Natur. WALDNER Jetzt ist nicht Zeit für solche Faxen! Hier stell’ ich dir vor Herrn von Mandryka. (Adelaide reicht Mandryka die Hand, die er küßt.) ARABELLA (zu ihnen gehend) Mama, da bin ich. WALDNER (vorstellend) Meine Tochter Arabella. (Mandryka verneigt sich tief. Adelaide zieht Waldner beiseite. Sie verschwinden rechts. Mandryka sieht Arabella an, ohne ein Wort herauszubringen.) ARABELLA Sie seh’n nicht aus wie jemand, den das alles da interessiert. Was führt Sie denn hierher? MANDRYKA Nach Wien? ARABELLA Hier auf diesen Ball! MANDRYKA Sie fragen mich, was mich hierherführt, Gräfin Arabel!a? (Dominik kommt von rückwärts zu Arabella) DOMINIK Darf ich vielleicht um einen Walzer bitten? ARABELLA (zu Dominik) Später, jetzt sprech’ ich hier mit diesem Herrn. (Dominik ab in den Ballsaal nach links. Er sieht seitlich Mandryka und mit einigen Verachtung) MANDRYKA So hat Ihr Vater Ihnen nichts gesagt? ARABELLA (setzt sich und winkt ihm mit dem Fächer, sich neben sie zu setzen) Was hätte er mir sagen sollen? ELEMER (kommt von rückwärts zu Arabella) Darf ich vielleicht um diesen Walzer bitten? ARABELLA Später. Jetzt bleib’ ich hier! (Elemer verneigt sich und geht. Sie nähert sich Mandrika) Was hätte mir mein Vater sagen sollen? MANDRYKA Sie wissen nichts von mir? (Arabella schüttelt den Kopf.) Ich habe eine Frau gehabt, sehr schön, sehr engelsgut. Sie ist zwei Jahre nur bei mir geblieben. Dann hat der Herrgott sie zu sich gerufen schnell. Zu jung war ich und noch nicht gut genug für solchen Engel. (Er senht den Kopf) ARABELLA Ist es das, was mein Vater mir erzählen sollte? MANDRYKA (sehr ernst und schwer) Verzeihen Sie, ich bin ein halber Bauer, bei mir geht alles langsam, aber stark. (wie mit plötzlichen Entschluß) Sie sind schön, Arabella – Ihr schönes Gesicht – auch auf dem Bild verbrennt es schon die Seele! ARABELLA (mit einem Stirnrunzeln) Wie kommt man eigentlich da drunten in Slawonien zu einem Bild von mir? MANDRYKA Wie man zu einem Bild – das ist ja gleich! – So schön sind Sie – eine Gewalt ist in Ihren Zügen, sich einzudrücken in die Seele wie weiches Wachs! den einfachen Menschen, den Felder und Wälder umgeben, ist eine solche Gewalt sehr groß, und er wird wie ein Träumer, wie ein Besessener wird er, und er faßt den Entschluß mit der Seele, einen ganzen Entschluß, und wie er entschlossen ist, so muß er handeln! (Annäherung an Arabella und umarmt sie. Arabella erschrickt vor seiner Heftigkeit, steht auf.) Gräfin, ich habe vergessen, wie anderswo die Welt ist. (Steht auf) Hier sind nicht meine Wälder und Felder, Sie müssen verzeihen meine unschicklichen Reden, womit ich Sie hind’re am Tanzen. LAMORAL (kommt von rückwärts zu Arabella) Darf ich jetzt stören und um einen Walzer bitten? ARABELLA Nein – später, Lamoral, ich möcht’ mit dem Herrn da noch ein biss’l reden, wenn er – vielleicht – sich wieder niedersetzen wird. (Lamoral verneigt sich und geht. Mandryka nimmt Sitz) Sie wollen mich heiraten, sagt mein Vater. Ja, haben Sie denn eine Ahnung, wer wir sind? Wir sind nicht grad’ sehr viel nach dem Maß dieser Welt – wir laufen halt so mit als etwas zweifelhafte Existenzen. MANDRYKA (Stark aufsteht) Ihren Stammbaum, Arabella, den tragen Sie in Ihrem Gesicht geschrieben! Und wenn Ihnen genug ist, über einen zu gebieten, der selbst wieder gebietet über viele, so kommen Sie mit mir und seien die Herrin. Sie werden Pfauen weiden auf seid’nem Boden, und das wird nicht geschehen, daß sich jemand dünkt über lhnen, es sei denn der König und Kaiser und seine Kaiserin! – Aber sonst niemand! ARABELLA Der Richtige – so hab’ ich still zu mir gesagt, der Richtige, wenn’s einen gibt für mich, der wird auf einmal da stehen, so hab’ ich gesagt, und wird mich anschaun und ich ihn, und keine Winkelzüge werden sein und keine Fragen, nein, alles heil und offen, wie ein lichter Fluß, auf den die Sonne blitzt! MANDRYKA So fließt die helle stille Donau mir beim Haus vorbei, und hat mir dich gebracht! Du Allerschönste! – (mit einem Ton des Geheimnisses) Und heute abend noch, zur Schlafenszeit, wärst du ein Mädchen aus den Dörfern, einem meinigen, du müßtest mir zum Brunnen gehn hinter deines Vaters Haus und klares Wasser schöpfen einen Becher voll und mir ihn reichen vor der Schwelle, daß ich dein Verlobter bin vor Gott und vor den Menschen, meine Allerschönste! ARABELLA So wie Sie sind, so hab’ ich keinen Menschen je geseh’n! Sie bringen Ihre eigne Lebensluft mit sich, und was nicht Ihnen zugehört, das ist nicht da für Sie. MANDRYKA Darum kann ich erst leben, wenn ich etwas Herrliches erhöhe über mich, und so zu dieser Stunde erhöhe ich dich, und wähle dich zu meiner Frau, und wo ich Herr bin, wirst du Herrin sein und wirst gebieten, wo ich der Gebieter bin! ARABELLA (ihren Ton völlig ändernd) Und du wirst mein Gebieter sein, und ich dir untertan. Dein Haus wird mein Haus sein, in deinem Grab will ich mit dir begraben sein – so gebe ich mich dir auf Zeit und Ewigkeit. Dúo Und du wirst mein Gebieter sein, und ich dir untertan. Dein Haus wird mein Haus sein, in deinem Grab will ich mit dir begraben sein – so gebe ich mich dir auf Zeit und Ewigkeit. MANDRYKA Meine Allerschönste, in dieser Stunde erhöhe ich dich, und wähle dich zu meiner Frau, und wo ich Herr bin, wirst du Herrin sein und wirst gebieten, wo ich der Gebieter bin! ARABELLA (ihren Ton völlig ändernd, aber ernst) Jetzt aber fahren Sie nach Haus. Ich bitte Sie darum. MANDRYKA Und Sie? ARABELLA Ich bleibe noch. (Mandryka verneigt sich.) Ich möchte tanzen noch und Abschied nehmen von der Mädchenzeit, nur eine Stunde lang. Gewähren Sie mir dies? MANDRYKA Wenn Sie hierbleiben, so ist mein Platz nicht anderswo als hier. (Arabella runzelt die Stirn) Sie aber brauchen nicht ein einz’ges Wort an mich zu richten! (Ein Schwarm von Fiakern und Ballgästen, darunter auch die Fiakermilli und einige solche Mädchen und die drei Grafen kommen aus dem Tanzsaal herauf auf die Bühne.) ARABELLA (sieht Mandryka an) Darf ich? MANDRYKA Sie dürfen! Ja! Sie dürfen alles, was Sie wollen! (Indem er zur Seite tritt und den Herankommenden den Weg frei gibt. Die Fiakermilli, eine hübsche Person in einem sehr auffallenden Ballkleid, ein großes Bukett in der Hand, tritt aus dem Schwarm heraus auf Arabella zu, die jetzt in der Mitte steht.) DOMINIK (neben MilIi tretend) Der Ball begehrt nach seiner Königin. Die Milli ist der Herold der Fiaker, wir haben unsre Huldigung ihr in den Mund gelegt! DIE FIAKERMILLI (indem sie mit einem Knicks Arabella das Bukett übermittelt, leichtfertig, fast frech) Die Wiener Herrn verstehn sich auf die Astronomie, die könnten von der Sternwart’ sein und wissen gar nicht wie! Sie finden einen neuen Stern gar schnell heraus, die Wiener Herr’n, den machen sie zur Königin an ihrem Firmament! Zu der dann schallt es im Verein Du sollst unseres Festes Königin sein! DIE GRAFEN UND FIAKER Zu der dann schallt es im Verein Du sollst unseres Festes Königin sein. (Die Fiakermilli geht sogleich aus ihrem Lied in ein freches, übermütiges Jodeln über der Jodler bildet den Übergang zu dem nun einsetzenden Walzer. Arabella nimmt Dominiks Arm und steigt mit ihm in den Ballsaal hinab, von allen gefolgt. Mandryka sieht ihr nach, dann wendet er sich. Adelaide erscheint in diesem Augenblick von rechts. Matteo ist zugleich links herausgetreten, Zdenka schüchtern hinter ihm, in einer Art von schwarzem Frack, sich hinter einer Säule deckend.) ADELAIDE (auf Mandryka zu) Sie sind allein? Wo ist Arabella? MANDRYKA Wo ihre Pflicht sie ruft, als Königin des Balles. MATTEO (in die Luft) Wie sie mich vergißt – im Rausch ihrer Schönheit! ADELAIDE (zu Mandrika) Ihre Augen leuchten. Wie darf ich das deuten? Cuartet ZDENKA (hinter Matteo, ängsttich) Sie denkt an dich, ich weiß es, Matteo! Ihre Blicke nur nimmt sie in acht. MANDRYKA (auf Adelaide zu) O Gräfin, Sie selber so jung noch, so reizend – und Sie ihre Mutter! Mit was für Worten, womit denn auf Erden vermöchte ich Ihnen zu danken! (Er küßt ihr mit Innigkeit die Hand.) MATTEO (Tritt einen Achritt hervor) Die Blumen für alle! Für alle ihr Lächeln! Sie selber für alle! Was bleibt für mich? ADELAIDE (zu Mandryka) O, könnten Sie ahnen, was in mir vorgeht! Mein Sohn! Mein Freund! Zuviel für mein Herz. Ich muß es teilen. (bezieht sich auf ihrem Ehemann) Zu ihr, zu ihm! ZDENKA (innig, aber zart zu Matteo) Für dich bleibt alles; sie braucht deine Trauer, tief wie ein Brunnen, ihre ganze Seele hineinzuwerfen – seicht sind die andern! ADELAIDE Er muß Sie umarmen! Nein, bleiben Sie hier! Ich finde ihn! (stürzt nach rechts ab) MATTEO Eines bleibt fort nach Galizien und sie vergessen – wenn ich noch kann! ZDENKA Der Papa! Die Mama! Daß keiner mich sieht! Wohin gehst du, Matteo? (Matteo geht in den Hintergrund, starrt düster in den Ballsaal hinab Adelaide und Waldner, von rechts auf Mandryka zu, Zdenka verschwindet links.) ADELAIDE O Theodor! Hier ist er, Theodor! WALDNER (jovial) Wie stehst du vor mir, Neveu meines alten Mandryka? Na, Teschek! Umarm mich schon! (Umarmung) MANDRYKA (Restaurant Bestellservice) Hierher einen Tisch. Wir werden soupieren. (Sogleich ein Kellner mit einer Karte und Kellnerjungen. Zu Adelaide) Welchen Champagner? Befehlen Sie selbst! (Kellner präsentiert Adelaide die Weinkarte) ADELAIDE Moët-Chandon, halb herb, halb süß – der war es bei meiner Verlobung! WALDNER (zu Mandryka) Ich stehe sofort zur Verfügung! (Will gehen, Adelaide hält ihn zurück) Laß mich, ich bin im Gewinn! (Ab) MANDRYKA Dreißig Flaschen von diesem! (Er zeigt in die Weinkarte.) Sechs für den Tisch. Und noch einmal dreißig! Und noch einmal dreißig herumservieren. Welko, du ordnest! Eiskübel in jede Ecke! Bis sie alle im Saal da nimmermehr wissen, ob sie sind Grafen, verhext in Fiakerkutscher, oder Fiakerkutscher, umgekrempelt in Grafen! Sie sollen sich freuen, wenn ich mich freue! (Zu Adelaide) Befehlen weiter! ADELAIDE (indessen man ihr Hummer, Fasanen, Eiscrème usw. präsentiert) Haben wir Blumen? MANDRYKA (ruft) Aufpassen, Djura! Nimmst einen Fiaker und noch einen zweiten; aufsperren laß die Gärtnergeschäfte, aufwecken die hübschen Verkäuferinnen. Ausräumen sollen sie ihre Keller! Füllst einen Wagen an mit Rosen, einen mit roten und weißen Kamelien! Walzer soll sie auf Blumen tanzen, Abschied nehmen von Mädchenzeiten! Später breit’ ich meine Hände, sie wird nicht mehr Walzer tanzen, aber tanzen auf meinen Händen! (Adelaide nimmt Mandrykas Arm, und sie gehen rückwärts die Stufen hinauf. Von rechts wird ein Tisch hereingeschoben und für ein kaltes Souper gedeckt.) ARABELLA (an Dominiks Arm kommt rückwärts aus dem Tanzsaal; sie wenden sich nach links.) Und jetzt sag’ ich adieu, mein lieber Dominik. DOMINIK Adieu? Sie fahren schon nach Haus? ARABELLA Das war jetzt unser letzter Tanz für alle Zeit. Kann sein, daß wir uns später einmal wiedersehn, dann sind wir halt Bekannte aus der Jugendzeit! DOMINIK (faßt sie am Arm) Arabella! ARABELLA Nein, Dominik (macht sich schnell los) Sie sind der erste Mann gewesen, Dominik! daß er mich gern hat, und es hat mich recht gefreut. Aber die Richtige für Sie, die war ich nicht, und Sie halt nicht der Richtige für mich. Nicht reden, Dominik. Da kommt schon auch der Elemer. Adieu! (Dominik entfernt sich langsam. Elemar kommt) ELEMER (stürmisch auftretend) So schön wie heut hab’ ich dich nie gesehen! (Arabella gibt nachdenklich zurück) Mit dir ist was passiert! ARABELLA (ruhig) Ja, Elemer, mit mir ist was passiert! Und darum geb ich Ihnen jetzt die Hand und sag’ adieu, ich danke Ihnen, Elemer – es waren viele schöne Augenblicke drunter – ELEMER Es waren, Bella, und es werden sein! (versucht, ihr die Hand zu nehmen) ARABELLA Nicht halten meine Hand, grad schnell den Druck von meinen Fingern spüren und wissen, daß wir gute Freunde sind, wenn wir uns auch nicht wiedersehn! ELEMER (heftig) Sie haben sich verliebt in diesen Fremden, diesen Wallachen, oder was er ist! ARABELLA (sanft) Nicht mir verderben diesen letzten Augenblick, da kommt auch schon der Lamoral und wartet auf seinen letzten Tanz! (Lamoral erscheint an der Stiege, aus dem Tanzsaal herauf rechts wird mit dem Tischdecken fortgefahren.) ELEMER (dicht bei ihr) Werden Sie meine Frau! Wer in der Welt ist, der mich hindern darf! ARABELLA Nein. Nein. Für mich war halt ein andres Glück bestimmt. (Sie läßt ihn stehen und geht auf Lamoral zu Elemer links ab) LAMORAL O Arabe!la, gibt es was Schöneres als Sie auf einem Ball! ARABELLA Ja, süß ist die Verliebtheit, süß dieses Auf und Ab, aber es gibt was Schöneres und Höhres tausendmal! Und einmal wirst du auch verstehn, vielleicht – LAMORAL Nicht reden jetzt von anderem, das weit weg ist – ARABELLA (ernst) Für dich ist’s noch weit weg, da hast du recht. LAMORAL Ich ängstig’ mich. Sie sind so anders, Arabella. Es nimmt Sie mir wer weg! ARABELLA Wegnehmen? Geh, du Bub! Aber da hast du deinen ersten und zugleich deinen letzten Kuß. (Sie beugt sich zu ihm und küßt ihn schnell und leicht auf die Stirn. Sie stehen links einigermaßen gedeckt durch die Draperien.) LAMORAL (strahlend) Von wem hab’ ich diesen wunderbaren Kuß? ARABELLA (sogleich ganz gelöst) Von einem Mädel, das heut glücklich ist, so glücklich, daß sie ganz allein sein muß, ganz mit sich selbst allein in ihrem Zimmer und lang noch liegen ohne Schlaf vor lauter Glück! (mit geändertem Ton) Jetzt aber tanzen wir noch diesen Walzer aus, dann fahr ich fort von euch auf Nimmerwiedersehn! (Ab mit ihm in den Tanzsaal. Geben Sie Kellner und Bedienstete mit Flaschen und Blumen. Matteo kommt von rechts. Zdenka, ängstlich, nicht gesehen zu werden, starrt auf ihn hinüber.) MATTEO (vor sixh) Ein Feigling bin ich. Fort mit mir! Fort und ein Ende! ZDENKA O Gott! Seine Miene! Wie furchtbar entschlossen! (Sie winkt ihm, er geht zu ihr hinüber. Mandryka kommt die Stufen von der Estrade herab, geht zu dem gedeckten Tisch hinübe.) ZDENKA Bist du schon wieder so? Hat’s dich schon wieder? MATTEO Rasend verzehrt’s mich! ZDENNKA Sie denkt an dich! Nichts andres denkt sie! (Matteo lacht bitter.) Sie hat mir einen Brief für dich gegeben! Hier ist er! (Sie greift in die Brusttasche ihres Fracks.) MATTEO (weicht zurück gegen die Mitte) Ich nehm’ ihn nicht! Der bringt das Ende für immer! Ich tüh!’ es! (Zdenka folgt dem Zurückweichenden, den Brief in der Hand. Mandryka wird aufmerksam. Jankel mit Leuten, die Blumen tragen, von rechts. Zdenka ist Matteo bis in die Mitte der Bühne gefolgt.) MATTEO Trag ihn zurück! Ich fühl’, daß es mein Abschied ist! ZDENKA Du mußt ihn nehmen, alles wird anders! So fühl ihn doch! MATTEO (Laßt den Brief) Ein Schlüssel? ZDENKA Nimm ihn! Nimm ihn nur! MATTEO (reißt den Brief auf) Kein Brief, nur ein Schlüssel? Was sind das für Späße? Zdenko, ich frage! ZDENKA (blaß, einer Ohnmacht nahe) Das ist ihr Schlüsse!! MATTEO Ihr Schlüssel? ZDENKA Vom Zimmer, Gib acht. Versteck ihn. MATTEO Das ist der Schlüssel? – Ich bin nicht bei Sinnen! Sind wir auf dem Ball? Bist du der Zdenko? Ist sie deine Schwester? Sie tanzt dort unten? Das ist der Schlüssel? – ZDENKA Zu ihrem Zimmer! (gesprochen) Der Schlüssel zu Arabellas Zimmer! MANDRYKA (zuckt zusammen) Ich hab’ mich verhört! (Jankel will sich ihm nähern. Mandryka winkt ihm ab, tritt den beiden näher.) ZDENKA Du sollst nach Haus – sie kommt in einer Vietelstunde. Der Schlüssel sperrt das Zimmer neben ihrem. (Bald rot, bald blaß, die Scheu überwindend) Lautlos kommt sie zu dir – Matteo, sie will nicht, daß du unglücklich bist! Sie will alles tun, alles, damit du glücklich wirst noch diese Nacht! MATTEO Schwöre mir, daß das wahr ist! Der Schlüssel zu Arabellas Zimmer! ZDENKA Du hast ihn ja, so wahr er sperrt, so wahr will die, die ihn dir gibt, heut alles tun, damit du glücklich wirst! Ich muß jetzt fort! Mich darf man hier nicht sehn. (Läuft links weg.) MATTEO (fur sich) Geheimnis eines Mädchenherzens, unergründliches! (Geht schnell nach links ab) MANDRYKA (aus seiner Starre jäh aufwachend) Halt! Du irgendeiner oder wer du bist! Welko, Djura! Halten dort den Menschen! Her mit ihm vor mich! Den dort mit dem Schlüssel! (Dominik mit Adelaide ist von links vorn aufgetreten. Welko, Djura unschlüssig, auf wen ihr Herr sie hetzen wollte) WELKO (gesprochen) Welchen, Gospodar? DJURA (gesprochen) Und was für einen? WELKO (gesprochen. Auf Dominik deutend) Diesen? (Dominik und Adelaide nehmen links auf einem Kanapee Platz.) MANDRYKA (vor sich) Und wenn hier viele Arabella heißen – meine gottverdammten Jägerohren foppen meinen dummen harten Schädel, daß ich als ein Narr dasteh’ vor einem Fremden? Wird sie denn den Schlüssel schicken von dem Zimmer, während sie selbst tanzt im Ballsaal? (Er sieht nach der Uhr.) Noch ist nicht einmal vorbei die Stunde, die ich grad’ ihr freigegeben habe – Also bin ich schon ein Narr und Esel? (Zu den Dreien) Alles lassen! Weitermachen dort am Eßtisch! (Er geht hastig auf und ab.) Schön ist die Musik, und nichts von Schlüssel, Geigen drin, und nicht verdammte Schlüssel, und in ein paar Minuten wird sie dastehen, da vor mir, und Blumen werd’ ich hinstreu’n, daß statt meiner sie den Fuß ihr küssen. Haj! Wie tanzt sie jetzt und nimmt den Abschied in dieser Stunde von der Mädchenzeit! DOMINIK (links bei Adelaide) O bezaubernde Frau! Viel schöner als jemals die Tochter! Wie Sie die Melancholie mir zu heilen verstünden – (Küßt sie auf die Schulter) ADELAIDE (zieht ihre Mantille über die Schulter hinauf) Dominik! Nicht! Aber später, ich werd’ immer allein sein ohne mein Kind – (Sie plaudern leise weiter. Viele Paare kommen vom Tanzsaal herauf.) MANDRYKA (grimmig hinschauend) Warum kommen viele und nicht sie darunter? Warum scheppern gottverdammte Schlüssel dazwischen? DIE FIAKERMILLI (an Elemers Arm, auf Mandryka zu, andere Paare stellen sich dazu) Mein Herr, schon wieder muß ich kommen und bitten Geben Sie dem Ball die Königin zurück! MANDRYKA (im Zorn vor sich) Was sagt das Frauenzimmer? Ich soll sie zurück ihr geben? Ich hab’ sie nicht eingesperrt. Ich hab’ den Schlüssel nicht. Er ist in dem Kuvert, (Welko bietet Champagner an. Mandryka setzt und lädt) Ich bitte, daß Sie mir die Ehre geben – Sie alle, wie Sie sind, bekannt und unbekannt. ELEMER Doch Gräfin Arabella wollen wir nicht in dem schönen Augenblick vermissen! Sie werden sicher sie zu finden wissen. MANDRYKA (greift sich an den Hals, lockert die Krawatte) Zu finden wissen? Schlüssel! Djura! Welko! (Die beiden springen herbei.) Die gnädige Fräulein suchen in dem Saal! Habt’s ihr gefunden in der großen Wienerstadt, werd’s ihr zu finden wissen in der Tanzhütten dahier! (Djura und Welko eilen ab. Nachrufend, stark) – und bitten sie hierher, wenn sie die Gnade haben will! (Dann zu MilIi, die sich von Elemers Arm gelöst hat.) Ein solcher süßer Schnabel muß auch was Süßes trinken! (Er serviert ihr ein Glas Champagner. Gleichzeitig tritt Jankel zu Mandryka, bringt ihm ein Briefchen auf einem Tablett.) JANKEL (gestrochen) Da wäre ein Billett für Euer Gnaden. MANDRYKA Fühl, ob ein Schlüssel drin ist. JANKEL Wie, ein Schlüssel? MANDRYKA (nimmt hastig das Billett, zögert noch, es zu öffnen) Wer, Herr Gott, hat diesem Gesicht so viel Gewalt gegeben über mich, daß ich mich fürchte jetzt? – (Geht beiseite, reißt das Kuvert auf, liest) Für heute sag’ ich Ihnen gute Nacht, ich fahr’ nach Haus, von morgen an bin ich die Ihrige. Ein kleines A statt einer Unterschrift! Nicht einmal ihren Namen. Steht auch nicht dafür, für einen Gimpel, einen auf den Leim gegangenen! (Wiederholt den Inhalt Grimming.) Sie muß ja Abschied nehmen von der Mädchenzeit, dafür braucht sie die ganze Zärtlichkeit Sie hat jetzt keine Zeit für zärtlichere Unterschrift! (Er zwingt sich zu einer frechen Munterkeit, tritt wieder zu den anderen zurück, winkt.) Wegschmeißen jetzt die Blumen! Schampus her! Servieren links und rechts, bis alle liegen unterm tisch, die Grafen und Fiaker und Fiakerbräute und alle miteinander! Heut geht das Ganze, aber schon das Ganze auf meine Rechnung! (Kellner verteilen sich, servieren allen Schnell Champagner) Soll ich der schönen MilIi vielleicht jetzt was singen? (Er zieht sie an sich.) Ich wäre aufgelegt! (Fiakermilli antwortet zärtlich, ohne Worte, mit eine Jodler. Zwischen Selbstverspottung und zornigen Tränen) Ging durch einen Wald, weiß nicht durch welchen! Fand ein Mädchen, weiß nicht, wessen Tochter! Trat ihr auf den Fuß, weiß nicht auf welchen, fing es an zu schrei’n, weiß nicht warum doch, seht den Wicht, wie der sich denkt die Liebe! MILLI (MilIi wiederholt jodelnd den Refrain.) Seht den Wicht, wie der sich denkt die Liebe! MANDRYKA (Mandryka zieht sie neben sich auf das Kanapee nieder. Adelaide entzieht sich Dominik, steht auf.) Wohl stünd’s an, ihm Kanne Wein zu geben, Wein zu geben, Becher nicht zu geben, mag der Wicht aus schwerer Kanne trinken, mag sich plagen bis zu klügeren Tagen! MILLI (Milli jodelt den Refrain.) Mag der Kerl auf bloßer Erde schlafen, mag sich plagen bis zu klügeren Tagen! MANDRYKA (Er läßt MilIi, steht jäh auf. MilIi wiederholt den Refrain. Immer böser vor sich hin) Für heut fahrt sie nach Haus zu ihrem Schlüsselherrn, von morgen an ist sie die Meinige! Milli, gib mir ein Kußl! (küßt sie) Wieviel kost’t der Schlüssel für Comtessenzimmer hier in Wien? ADELAIDE (plötzlich vor ihm) Herr von Mandryka, wo ist meine Tochter? MANDRYKA (stehend. Milli in Arm) Weiß nicht! Sie hat die Gnade nicht gehabt, mir mitzuteilen. Wünschen noch Moët-Chandon? Hier ist! Servieren der Frau Gräfin Mutter! ADELAIDE (aufgeregt nach rechts eilend) Wo ist mein Mann? Man suche meinen Mann! (Dominik nach rechts, schnell, Waldner zu suchen. Zurück zu Mandryka) Lassen Sie sich beschwören, wo ist Arabella? MANDRYKA (frech) Das frag’ ich selber die Frau Gräfin Mutter! (Waldner erscheint rechts mit Dominik, hinter ihm die drei Herren, mit denen er gespielt hat) ADELAIDE O Theodor! Beschütze deine Frau und deine Tochter! WALDNER Was geht hier vor? Mandryka, wie benimmst du dich in Gegenwart von meiner Frau! MANDRYKA Genau, wie sich’s gehört! Ich streife ab den dummen Kerl aus der Provinz und bin, wie unter wienerischen Grafen sich’s geziemt! Setzt dich zu uns, sind Mädeln da, ist Schampus da! Teschek, bedien dich! WALDNER Wo ist meine Tochter? MANDRYKA Ich kann dir leider keine Auskunft geben. Comtessen, scheint es, ziehen manchmal sich zurück in einem animierten Augenblick. WALDNER (zu Adelaide, wütend) Wo ist das Mädel? Wissen will ich, wo sie ist! ADELAIDE – Zu Haus! WALDNER Du weißt es? Was soll das bedeuten? ADELAIDE Ein Einfall! Ein plötzliche Melancholie! Eine Caprice! Du kennst ihr Naturell! WALDNER Du beschwörst, sie ist zu Hause? ADELAIDE Es handelt sich um deine und meine Tochter! WALDNER Sehr gut, wir fahren auch nach Hause. Augenblicklich. Du klopfst an ihre Tür und gibst uns Nachricht, ob sie ganz wohl ist nur damit wir uns beruhigen. (Zu Mandryka, böse) Dann spreche ich zwei Worte noch mit dir; darum wirst du die Güte haben, uns zu begleiten. MANDRYKA Es wird mir eine ganz besondere Ehre sein. (Verneigt sich und gibt Adelaide den Arm.) WALDNER (zu seinen Mitspielern) Wir spielen augenblicklich weiter im Hotel, sobald das kleine Mißverständnis da beseitigt ist. MANDRYKA (an der Tür stehenbleibend Zurückrufend) Die Herren und Damen sind einstweilen meine Gäste! (Er zieht ein Bündel von Rechnungen und wirft es in die Luft) MILLI Eljen! Wir sind Irhe Gäste! CHOR DER GÄSTE Eljen! Wir sind Irhe Gäste! (Gäste heben die Champagnergläser. Mandryka mit Adelaide ist schon ab, Welko und Djura, vor ihnen Waldner mit den Spielern folgen.) この日本語テキストは、 クリエイティブ・コモンズ・ライセンス の下でライセンスされています。@wagnerianchan Strauss,Richard/Arabella/III
https://w.atwiki.jp/pyopyo0124/pages/24.html
CHAPTER VIII UP CHAPTER X CHAPTER IX Mrs. Rachel Lynde Is Properly Horrified Anne had been a fortnight at Green Gables before Mrs. Lynde arrived to inspect her. Mrs. Rachel, to do her justice, was not to blame for this. A severe and unseasonable attack of grippe had confined that good lady to her house ever since the occasion of her last visit to Green Gables. Mrs. Rachel was not often sick and had a well-defined contempt for people who were; but grippe, she asserted, was like no other illness on earth and could only be interpreted as one of the special visitations of Providence. As soon as her doctor allowed her to put her foot out-of-doors she hurried up to Green Gables, bursting with curiosity to see Matthew and Marilla s orphan, concerning whom all sorts of stories and suppositions had gone abroad in Avonlea. Anne had made good use of every waking moment of that fortnight. Already she was acquainted with every tree and shrub about the place. She had discovered that a lane opened out below the apple orchard and ran up through a belt of woodland; and she had explored it to its furthest end in all its delicious vagaries of brook and bridge, fir coppice and wild cherry arch, corners thick with fern, and branching byways of maple and mountain ash. She had made friends with the spring down in the hollow-- that wonderful deep, clear icy-cold spring; it was set about with smooth red sandstones and rimmed in by great palm-like clumps of water fern; and beyond it was a log bridge over the brook. That bridge led Anne s dancing feet up over a wooded hill beyond, where perpetual twilight reigned under the straight, thick-growing firs and spruces; the only flowers there were myriads of delicate "June bells," those shyest and sweetest of woodland blooms, and a few pale, aerial starflowers, like the spirits of last year s blossoms. Gossamers glimmered like threads of silver among the trees and the fir boughs and tassels seemed to utter friendly speech. All these raptured voyages of exploration were made in the odd half hours which she was allowed for play, and Anne talked Matthew and Marilla half-deaf over her discoveries. Not that Matthew complained, to be sure; he listened to it all with a wordless smile of enjoyment on his face; Marilla permitted the "chatter" until she found herself becoming too interested in it, whereupon she always promptly quenched Anne by a curt command to hold her tongue. Anne was out in the orchard when Mrs. Rachel came, wandering at her own sweet will through the lush, tremu- lous grasses splashed with ruddy evening sunshine; so that good lady had an excellent chance to talk her illness fully over, describing every ache and pulse beat with such evident enjoyment that Marilla thought even grippe must bring its compensations. When details were exhausted Mrs. Rachel introduced the real reason of her call. "I ve been hearing some surprising things about you and Matthew." "I don t suppose you are any more surprised than I am myself," said Marilla. "I m getting over my surprise now." "It was too bad there was such a mistake," said Mrs. Rachel sympathetically. "Couldn t you have sent her back?" "I suppose we could, but we decided not to. Matthew took a fancy to her. And I must say I like her myself-- although I admit she has her faults. The house seems a different place already. She s a real bright little thing." Marilla said more than she had intended to say when she began, for she read disapproval in Mrs. Rachel s expression. "It s a great responsibility you ve taken on yourself," said that lady gloomily, "especially when you ve never had any experience with children. You don t know much about her or her real disposition, I suppose, and there s no guessing how a child like that will turn out. But I don t want to discourage you I m sure, Marilla." "I m not feeling discouraged," was Marilla s dry response. "when I make up my mind to do a thing it stays made up. I suppose you d like to see Anne. I ll call her in." Anne came running in presently, her face sparkling with the delight of her orchard rovings; but, abashed at finding the delight herself in the unexpected presence of a stranger, she halted confusedly inside the door. She certainly was an odd-looking little creature in the short tight wincey dress she had worn from the asylum, below which her thin legs seemed ungracefully long. Her freckles were more numerous and obtrusive than ever; the wind had ruffled her hatless hair into over-brilliant disorder; it had never looked redder than at that moment. "Well, they didn t pick you for your looks, that s sure and certain," was Mrs. Rachel Lynde s emphatic comment. Mrs. Rachel was one of those delightful and popular people who pride themselves on speaking their mind without fear or favor. "She s terrible skinny and homely, Marilla. Come here, child, and let me have a look at you. Lawful heart, did any one ever see such freckles? And hair as red as carrots! Come here, child, I say." Anne "came there," but not exactly as Mrs. Rachel expected. With one bound she crossed the kitchen floor and stood before Mrs. Rachel, her face scarlet with anger, her lips quivering, and her whole slender form trembling from head to foot. "I hate you," she cried in a choked voice, stamping her foot on the floor. "I hate you--I hate you--I hate you--" a louder stamp with each assertion of hatred. "How dare you call me skinny and ugly? How dare you say I m freckled and redheaded? You are a rude, impolite, unfeeling woman!" "Anne!" exclaimed Marilla in consternation. But Anne continued to face Mrs. Rachel undauntedly, head up, eyes blazing, hands clenched, passionate indignation exhaling from her like an atmosphere. "How dare you say such things about me?" she repeated vehemently. "How would you like to have such things said about you? How would you like to be told that you are fat and clumsy and probably hadn t a spark of imagination in you? I don t care if I do hurt your feelings by saying so! I hope I hurt them. You have hurt mine worse than they were ever hurt before even by Mrs. Thomas intoxicated husband. And I ll NEVER forgive you for it, never, never!" Stamp! Stamp! "Did anybody ever see such a temper!" exclaimed the horrified Mrs. Rachel. "Anne go to your room and stay there until I come up," said Marilla, recovering her powers of speech with difficulty. Anne, bursting into tears, rushed to the hall door, slammed it until the tins on the porch wall outside rattled in sympathy, and fled through the hall and up the stairs like a whirlwind. A subdued slam above told that the door of the east gable had been shut with equal vehemence. "Well, I don t envy you your job bringing THAT up, Marilla," said Mrs. Rachel with unspeakable solemnity. Marilla opened her lips to say she knew not what of apology or deprecation. What she did say was a surprise to herself then and ever afterwards. "You shouldn t have twitted her about her looks, Rachel." "Marilla Cuthbert, you don t mean to say that you are upholding her in such a terrible display of temper as we ve just seen?" demanded Mrs. Rachel indignantly. "No," said Marilla slowly, "I m not trying to excuse her. She s been very naughty and I ll have to give her a talking to about it. But we must make allowances for her. She s never been taught what is right. And you WERE too hard on her, Rachel." Marilla could not help tacking on that last sentence, although she was again surprised at herself for doing it. Mrs. Rachel got up with an air of offended dignity. "Well, I see that I ll have to be very careful what I say after this, Marilla, since the fine feelings of orphans, brought from goodness knows where, have to be considered before anything else. Oh, no, I m not vexed--don t worry yourself. I m too sorry for you to leave any room for anger in my mind. You ll have your own troubles with that child. But if you ll take my advice--which I suppose you won t do, although I ve brought up ten children and buried two--you ll do that `talking to you mention with a fair- sized birch switch. I should think THAT would be the most effective language for that kind of a child. Her temper matches her hair I guess. Well, good evening, Marilla. I hope you ll come down to see me often as usual. But you can t expect me to visit here again in a hurry, if I m liable to be flown at and insulted in such a fashion. It s something new in MY experience." Whereat Mrs. Rachel swept out and away--if a fat woman who always waddled COULD be said to sweep away--and Marilla with a very solemn face betook herself to the east gable. On the way upstairs she pondered uneasily as to what she ought to do. She felt no little dismay over the scene that had just been enacted. How unfortunate that Anne should have displayed such temper before Mrs. Rachel Lynde, of all people! Then Marilla suddenly became aware of an uncomfortable and rebuking consciousness that she felt more humiliation over this than sorrow over the discovery of such a serious defect in Anne s disposition. And how was she to punish her? The amiable suggestion of the birch switch--to the efficiency of which all of Mrs. Rachel s own children could have borne smarting testimony-- did not appeal to Marilla. She did not believe she could whip a child. No, some other method of punishment must be found to bring Anne to a proper realization of the enormity of her offense. Marilla found Anne face downward on her bed, crying bitterly, quite oblivious of muddy boots on a clean counterpane. "Anne," she said not ungently. No answer. "Anne," with greater severity, "get off that bed this minute and listen to what I have to say to you." Anne squirmed off the bed and sat rigidly on a chair beside it, her face swollen and tear-stained and her eyes fixed stubbornly on the floor. "This is a nice way for you to behave. Anne! Aren t you ashamed of yourself?" "She hadn t any right to call me ugly and redheaded," retorted Anne, evasive and defiant. "You hadn t any right to fly into such a fury and talk the way you did to her, Anne. I was ashamed of you-- thoroughly ashamed of you. I wanted you to behave nicely to Mrs. Lynde, and instead of that you have disgraced me. I m sure I don t know why you should lose your temper like that just because Mrs. Lynde said you were red-haired and homely. You say it yourself often enough." "Oh, but there s such a difference between saying a thing yourself and hearing other people say it," wailed Anne. "You may know a thing is so, but you can t help hoping other people don t quite think it is. I suppose you think I have an awful temper, but I couldn t help it. When she said those things something just rose right up in me and choked me. I HAD to fly out at her." "Well, you made a fine exhibition of yourself I must say. Mrs. Lynde will have a nice story to tell about you everywhere--and she ll tell it, too. It was a dreadful thing for you to lose your temper like that, Anne." "Just imagine how you would feel if somebody told you to your face that you were skinny and ugly," pleaded Anne tearfully. An old remembrance suddenly rose up before Marilla. She had been a very small child when she had heard one aunt say of her to another, "What a pity she is such a dark, homely little thing." Marilla was every day of fifty before the sting had gone out of that memory. "I don t say that I think Mrs. Lynde was exactly right in saying what she did to you, Anne," she admitted in a softer tone. "Rachel is too outspoken. But that is no excuse for such behavior on your part. She was a stranger and an elderly person and my visitor--all three very good reasons why you should have been respectful to her. You were rude and saucy and"--Marilla had a saving inspiration of punishment--"you must go to her and tell her you are very sorry for your bad temper and ask her to forgive you." "I can never do that," said Anne determinedly and darkly. "You can punish me in any way you like, Marilla. You can shut me up in a dark, damp dungeon inhabited by snakes and toads and feed me only on bread and water and I shall not complain. But I cannot ask Mrs. Lynde to forgive me." "We re not in the habit of shutting people up in dark damp dungeons," said Marilla drily, "especially as they re rather scarce in Avonlea. But apologize to Mrs. Lynde you must and shall and you ll stay here in your room until you can tell me you re willing to do it." "I shall have to stay here forever then," said Anne mournfully, "because I can t tell Mrs. Lynde I m sorry I said those things to her. How can I? I m NOT sorry. I m sorry I ve vexed you; but I m GLAD I told her just what I did. It was a great satisfaction. I can t say I m sorry when I m not, can I? I can t even IMAGINE I m sorry." "Perhaps your imagination will be in better working order by the morning," said Marilla, rising to depart. "You ll have the night to think over your conduct in and come to a better frame of mind. You said you would try to be a very good girl if we kept you at Green Gables, but I must say it hasn t seemed very much like it this evening." Leaving this Parthian shaft to rankle in Anne s stormy bosom, Marilla descended to the kitchen, grievously troubled in mind and vexed in soul. She was as angry with herself as with Anne, because, whenever she recalled Mrs. Rachel s dumbfounded countenance her lips twitched with amusement and she felt a most reprehensible desire to laugh. CHAPTER VIII UP CHAPTER X 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 29 34 (Tue)
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【Tags G Miku Tohma Toma tS Tooma】 Original Music Title 骸骨楽団とリリア Skeleton Orchestra and Lilia (Gaikotsu Gakudan to Riria) Music Lyrics written, Voice edited by トーマ(Toma) Music arranged by トーマ(Toma) Singer 初音ミク (Hatsune Miku) Click here for the Japanese Lyrics English Lyrics (translated by animeyay)： The taciturn God abandoned the sound and waned, while the night sky, being a crybaby, was moved to tears. It's a song, unknown to anyone, sung only to this moonlit night, in a grey theater together with the Orion by the window. No matter how many times, I can hear this lonesome unskillful voice. The rusted instruments were an illusion in the depths of the ocean. Merely gathering those timbres I heard in my dream, I wove them together so that they would eventually bud. The song of interstellar traveling will not reach its destination. See, even though I kept singing, I was still crying alone in the music festival where I danced frantically. Are the sounds reaching your ears? Romeo, Romeo. I fell in an almost magical love with a sound, which I had finally met after years of separation, and I didn't even notice. With their words completely drained, the people of this boring country began to seek out the thing they had lost. The melted antique days completely clogged the mirrors in the ruins on Mars with the Cassiopeia in the sky in broad daylight. No matter how many times, I can hear the sound of a rain of the forlorn words, into which the sketched skeletons seem to be burying their lonely imagination. The distancing, sinking, and blurring sky, clueless about the situation, is taking me with it to that world where there is a heavy downpour. To that faraway country that has been moisturized and then bloomed, I let my thoughts fly, while my eyes are growing dull. Now I make a wish to the stars, Romeo, Romeo. Passing through the gate, and find my way out of the fog, even if everything's taken away from me, I will go meet you. I will rely on the whispering voice. The streets I'm walking on and the winter in a glass bottle look like a movie scene from somewhere. On the narrow and long railroad tracks, they stain me into their colors. In the distant and quiet morning that loses its color as soon as it's touched, I found a fragment of sound. See, even though I kept singing, I was still crying alone in the music festival where I danced frantically. Are the sounds reaching your ears? Romeo, Romeo. I fell in an almost magical love with a sound, which I had finally met after years of separation, before I would fall into a slumber and become cold. When I closed my eyes and felt with my hand, I heard the beats in the depths of my chest. I'm sending this endless melody to the nameless you. Romaji lyrics (transliterated by animeyay)： mukuchi na kamisama ga oto o sutete katamuita nakimushi yozora namidagunda tsukiyo ni kikaseru no dare mo shiranai uta haiiro gekijou madobe no Orion to nando datte kikoeru hitorikiri no tsutanai koe sabitsuita gakki ga unabara de gensou o kanadete'ta yume no naka oboeta neirotachi o tada atsumete mebuku you ni tsumuida hoshimeguri no uta ga todokanai hora utatte'tatte naita hitori ukande matta ongakusai kimi wa kikoeru? Romio Romio nannen tatte aeta oto ni mahou mitai na koi o shitari ki ga tsukanai you ni kotoba o nomihoshita taikutsu na kuni no hito ga nakushita mono o sagashite'ta kagami o fusaide'ta toketa antiiku na hibi kasei no haikyo mahiru no Kashiopea nando datte kikoeru wasurete ita oto no ame ni e ni kaita gaikotsu wa kodoku na souzou o umeru you de tooku natte oborete kasumu sora wa shiranai mama furisosogu sekai e tsurete itte nee urunde saita tooi kuni ni haseru omoi kusunda hitomi hoshi ni negai o Romio Romio mon o kugutte kiri o nukete ubaisattatte ai ni ikou sasayaki o tayori ni aruku machinami garasubin no fuyu dokoka no eiga no you ne hosoku nagai senro no ue de sa watashi ni iro o tsukete furete sugu hagarete shimau hakanaku shizuka na asa ni mitsuketa oto no kakera hora utatte'tatte naita hitori ukande matta ongakusai kimi wa kikoeru? Romio Romio nannen tatte aeta oto ni mahou mitai na koi o shitari nemuru you ni sameru mae ni me o tojite te o atete okusoko no kodou o kiita togirenai senritsu o na mo naki kimi e to
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第２幕 （森の奥深く。舞台後方は、洞窟への入口が一面に広がっている。舞台中央に向かって地面は登り坂になり、中央の小高い平らな丘にまでつながっている。その丘を越えると、坂は下りになり、洞窟にまでつながっている。したがって、観客からは、洞窟の上の方しか見ることはできない。左手には、木々の合い間を通して、裂け目だらけの岩壁が見分けられる。暗い闇夜だが、その闇は舞台後方で最も濃いため、最初のうち観客には洞窟の存在すら見分けることができない） 前奏曲と第１場 （アルベリヒ、ファフナー、さすらい人） ＜アルベリヒ＞ （岩壁に脇をもたれ、陰鬱に考え事をしている） 夜の森で、俺は、嫉妬の洞窟を見張っている。 耳をそば立てながら、目を皿のようにして見張っている。 不安な一日よ・・・もう始まろうというのか？ 早くも闇を追いのけ、明けるというのか？ （その時、舞台右手で、つむじ風が巻き上がり、青みがかった輝きがそこから放たれる） なんだ？あのきらきらした光は？ 明るい光がどんどん近づいてくる。 輝く馬のように、ごうごうとうなりながら、 森を走り抜けて来る。 さては早くも龍退治する者が来たのか？ ファフナーを打ち殺す者が来たのか？ （つむじ風は収まり、輝きも消える） 光が消え、 明かりも消えた。 またも夜だ。 （さすらい人が森から出てきて、アルベリヒに向かい合う） 影の中に光るお前は、何者だ？ ＜さすらい人＞ わしは、夜を突いて、ナイトヘーレに来たのだ。 暗闇の中にいるお前こそ何者だ？ （突然、雲が裂けて月光が射し込み、さすらい人の姿が照らし出される） ＜アルベリヒ＞ （さすらい人の姿を認めると、驚いて後じさりするが、瞬く間に凄まじい怒りを爆発させる） この場所に、お前自身が姿を見せるとは！ 何を始める気だ？ 消えちまえ！ 失せろ！恥知らずな泥棒め！ ＜さすらい人＞ （落ち着き払って） 黒いアルベリヒよ。こんな所をうろついていたのか？ ファフナーの住みかを見張っていたのか？ ＜アルベリヒ＞ どうせまた新たな嫉妬に駆られて来たのだろう？ こんな所で休まずに、とっとと失せろ！ この場所は、もう危険なほど、欺瞞に満ちている。 厚かましいお前だとて、もうこの場所は放っておけ！ ＜さすらい人＞ わしは見るために来たのであって、 行為するために来たのではない。 誰が、さすらい人の行く手を遮ると言うのだ？ ＜アルベリヒ＞ （悪意を込めてカラカラと笑う） お前は、あくどい陰謀の親玉じゃないか！ もし、間抜けな俺が、あの時みたいにバカで、 お前にあっさりと縛り上げられたなら、 そのほうが、きっと好都合だろう。 それならば、今度もまたあっさりと、 俺の指輪を奪い取れるだろうよ！ だがな、気をつけろよ！お前の手口はよく知っている。 それに、お前の弱みだって、 もうこの俺は、お見通しなのだ。 俺の財宝を使って、お前は借金を帳消しにした。 城を建てた巨人達の働きへの報酬として、 俺の指輪を渡したのだから。 あの時、あの強情な巨人族とお前が交わした契約は、 今もなお、ルーネ文字として、 お前の槍の柄に刻まれている。 だからこそ、お前は、かつて対価として支払ったものを、 巨人達から奪い取ることはできないのだ。 そんなことをすれば、お前自らが槍の柄を真っ二つに割り、 手に持っている強力な支配の杖を、 粉々にしてしまうわけだからな！ ＜さすらい人＞ お前のような邪悪な者を捕らえるためには、 槍に刻まれた契約の信義のルーネ文字を使う必要もない。 お前を従わせるには、槍が本来持つ力を使えば十分だ。 だから、わしは戦いに備えて、槍を大事にしているのだ！ ＜アルベリヒ＞ いきがって強そうなふりをしているが、 内心は不安でたまらないんだろう！ 俺のかけた呪いのせいで、 宝の持ち主は、死の運命を背負ってしまう。 「次に、この宝を受け継ぐのは、誰なんだ？ 誰もがうらやむ宝は、 再びニーベルングの手に入るのではないか？」 そんな考えが、お前を永遠の不安に突き落としているのだ！ ひとたび宝が俺の手中に戻ったら、 俺は、あのバカな巨人達とは違うやり方で、 指輪の力を使ってやるぞ。 震えあがるがいい！神聖な勇者の守護者よ！ ヴァルハラの天上世界を、俺は地獄の軍隊で急襲するぞ。 そうして世界を支配するのだ！ ＜さすらい人＞ （落ち着き払って） 言いたいことは良く分かったが、 だからと言って、わしが心配するようなことは何もない。 指輪を手に入れる者が、指輪を持てばいいだけのことだ。 ＜アルベリヒ＞ お前がそんなに曖昧な返事をする理由を、 俺はよく分かっているぞ！ お前は、運命への叛逆心を、勇者たる息子達に預けたのだ。 （嘲るように） お前の血を引く勇者達にな。 お前は、ある若者の面倒を見ているが、 そいつがうまく果実を摘み取れば、 （ますます激しい口調で） お前自身は禁を破らずとも済むわけだものな？ ＜さすらい人＞ 口論なら、わしとではなく、ミーメとするがいい。 お前の弟ミーメこそ、お前を危険に陥れるぞ。 ミーメが連れてくる若者は、 必ずやファフナーを倒すだろう。 わしのことは何も知らないこの若者を、 あのニーベルングは、自分のために利用しているのだ。 それゆえ、お前には、こう言おう。 お前の好きなようにするのだ！ （アルベリヒは、激しい好奇心を示すような仕草を見せる） わしの言うことをよく聞け！注意して聞け！ 若者のほうは指輪のことなど知らない・・・ しかし、ミーメが指輪を見つけてしまうぞ。 ＜アルベリヒ＞ （激しく） お前は、財宝からは手を引いたのか？ ＜さすらい人＞ わしの愛する者を、わしは自分のままにしておいてやりたい。 生きようが死のうが、その者が自分で決めるのだ・・・ わしにとって必要なのは、そのような勇者のみなのだ。 ＜アルベリヒ＞ 俺は、ミーメとだけ、指輪を争えばいいのか？ ＜さすらい人＞ お前以外に黄金を欲しがっているのは、あの男だけだ。 ＜アルベリヒ＞ だが、もし、俺の手に入らなかったら？ ＜さすらい人＞ （さすらい人は悠然と近づいてくる） 一人の勇者が、宝を得ようと、近づいてくる。 二人のニーベルング族が、黄金を欲している。 指輪を見張っているファフナーが斃される時、 うまく指輪をかすめ取れば、指輪はその者の手に入るだろう。 他に何か知りたいことがあるか？ あそこに龍が寝ているぞ・・・ （さすらい人は洞窟の方へ振り向く） お前が、あの龍に、死について警告すれば、 あるいは、つまらぬ宝など、自発的に手放すかも知れん。 わしが、お前に代わって、あの龍を起こしてやろうか。 （さすらい人は、洞窟の前の小高い丘に陣取って、洞窟の中に向かって呼びかける） ファフナー！ファフナー！ 起きるのだ！龍よ！ ＜アルベリヒ＞ （緊張と驚きの中で、独り言を言う） こいつ、何を始める気だ？ 本当に俺に指輪をくれるってのか？ （真っ暗な舞台の奥深くから、大きなメガホンを通したファフナーの声が聞こえてくる） ＜ファフナー＞ 誰だ？俺の眠りを邪魔するのは？ ＜さすらい人＞ （洞窟に向かいながら） お前に、危険を知らせに やって来た者がいるぞ。 お前の命を救いに来た者がいるぞ。 命を救いたくはないか？ その者に、お前の持つ宝を渡すのと引き換えに。 （さすらい人は、洞窟に向けて耳を澄ます） ＜ファフナー＞ その男は、何が欲しいんだ？ ＜アルベリヒ＞ （さすらい人の傍に進んで来ていたアルベリヒも、洞窟の中に呼びかける） 起きろ、ファフナー！起きろ、龍よ！ 強い勇者がやって来て、 お前の大事な体を打ち倒すぞ。 ＜ファフナーの声＞ そいつを、すきっ腹に詰め込んでやるよ。 ＜さすらい人＞ その若者の力は強く、 剣の切れ味は鋭いぞ。 ＜アルベリヒ＞ その若者が欲しいのは、黄金の指輪だけだ。 だから、その指輪を俺にくれれば、 俺がその見返りに、戦いを回避してやろう。 お前はこのまま宝を持ち、 安らかに生き永らえれば良い！ ＜ファフナーの声＞ 俺は、寝たまま、持ち続ける。 （大あくびをする） 眠らせてくれ！ ＜さすらい人＞ （さすらい人は大笑いして、アルベリヒのほうに振り返る） ふむ。アルベリヒ。失敗だったな。 だが、わしを嘘つきと罵るのはやめてくれ！ お前にもう一つ大事なことを教えてやろう・・・ （親しげにアルベリヒのもとに歩み寄りながら） 全ての物事は、それぞれの性質に従っていて、 その性質は寸分たりとも、お前には変えられないのだ。 この場を、わしはお前に譲ろう・・・しっかり陣取れよ！ まず、お前の弟ミーメで、試してみるがいい。 あの男の性質なら、お前のほうが良く予測できるだろう。 （下り坂に向かいながら） 他の事物の性質についても、よく勉強してみることだな！ （さすらい人は森の中に消える。つむじ風が巻き起こり、明るい光がぴかっと光るが、どちらもすぐに消えていく） ＜アルベリヒ＞ （飛び去って行くさすらい人を見やりながら） あいつ、光る馬に乗って、飛んで行きやがった。 俺を不安と嘲りとに包み込んだまま。 だがな・・・笑っていられるのも今のうちだぞ。 軽薄で、遊び好きの、ならず者の神々め！ お前たちが滅びる姿を、この目で見てやるからな！ あの黄金が、光を浴びて輝く限り、 知恵ある俺は、見張り続ける。 反逆の意地が、いずれはお前らを出し抜くのさ！ （アルベリヒは、するりと岩壁の隙間に入り込む。舞台は空っぽになっている。曙光が広がり始める） 第２場 （ミーメ、ジークフリート、ファフナー、森の小鳥） （曙光が射し込む中、ミーメとジークフリートが登場する。ジークフリートは靭皮で作った剣帯に剣を差しこんでいる。ミーメは、じっくりと辺りを見渡す。ついには探るように舞台後方まで行くが、やがて舞台前景の中央にある小高い丘が陽射しに照らされて明るくなると、ミーメの姿は真っ黒な影に隠れてしまう。やがてミーメはジークフリートに合図する） ＜ミーメ＞ 着いたぞ！ここでゆっくりしよう！ ＜ジークフリート＞ （大きな菩提樹の下に腰掛け、周りを見渡す） こんな所で「恐怖」が学べるのかい？ ずいぶん遠くにまで連れてきたなあ。 森の中を一晩中、 二人で歩いてきたのだから。 さあ、ミーメ、もうぼくとは離れてくれ！ ぼくがここで、 学ぶべきものを学べなかったら、 ぼくは一人で、先に行くよ。 そしたらやっと、お前とはおさらばだ！ ＜ミーメ＞ （ミーメはジークフリートに向かい合って座り、その目は相変わらず洞窟へと向けられている） お前や・・・わしの言うことを聞くのじゃ！ 今日ここで「恐怖」を学べなかったら、 別の場所、別の時に、 それを学ぶことは難しかろう。 あの真っ暗な洞窟の裂け目を見たかい？ あの中には、背筋も凍る凶暴な龍が潜んでいるのだ。 その龍は物凄く怒りっぽく、しかも巨大だ。 恐ろしい口をがばっと開けて、 あの邪悪な龍は、お前を一飲みにして、 髪の毛や皮ごと食べてしまうのだ。 ＜ジークフリート＞ （相変わらず菩提樹の下に腰掛けながら） その龍の口をふさいでしまえばいいじゃないか。 そしたら噛まれることもないだろう。 ＜ミーメ＞ あの龍は、毒の泡を口から吐くのじゃ。 獲物に唾液の汁をペッと吐きかけると、 たちまち肉も骨も消え失せてしまうのじゃ。 ＜ジークフリート＞ よだれの毒に溶かされないように、 ぼくは龍の横腹に回り込む。 ＜ミーメ＞ 蛇のように細くて長い尻尾が、巻き上がるぞ。 龍はその尻尾を獲物に巻きつけて、固く締め上げ、 獲物の体をガラスのように粉々にしてしまうのじゃ！ ＜ジークフリート＞ 尻尾の動きにつかまらないよう、 そいつの動きに注意するさ。 だが、一つ教えてくれ・・・ その龍には、心臓がついているのかい？ ＜ミーメ＞ 怒りっぽくて硬い心臓がついている！ ＜ジークフリート＞ やっぱり心臓はあるのか。 その心臓は、人にせよ、獣にせよ、 誰もが持っている所についているのか？ ＜ミーメ＞ そうとも・・・お前・・・龍も心臓を持っている。 さあ、恐怖を感じてこないかい？ ＜ジークフリート＞ （これまで体を伸ばして寝そべっていたジークフリートは、急いで体を起こして座る） ノートゥングを、そいつの心臓に突き刺してやるよ！ こんなものが「恐怖」だって言うのかい？ おい！この老いぼれ！ これがお前の知恵で教えられる限界なのか？ だったら、もうお前の道を行くがいい。 こんな所で「恐怖」など学べるものか。 ＜ミーメ＞ まあ、待て！待て！ わしがお前に言うことは、今は空疎に響くじゃろうが、 百聞は一見にしかず・・・まずはやってみなければ。 間もなく、お前の意識はぶっ飛ぶぞ！ 目がかすみ、 大地が揺らぎ、 心臓が不安げにバクバクと打ち鳴らす時・・・ （きわめて親しげに） その時お前は、ここまで連れて来たわしに感謝するじゃろう。 ミーメがお前をどんなに愛していたか分かるじゃろう。 ＜ジークフリート＞ お前がぼくを愛するはずがあるかい！ 前に言わなかったか？ 目の届かない所に行けと言うんだ！ 一人にしておいてくれ・・・ さもなけりゃ、もうこれ以上耐えられないんだ。 愛なんて言われちゃ余計にな！ お前が気色悪く、うなずいたり、目を瞬かせる様子を、 一体いつになれば、ぼくは見なくて済むんだ？ こんな阿呆と、いつになれば、おさらばできるんだ？ ＜ミーメ＞ もう一人にしてやるよ。 わしは泉のほとりで一休みする。 お前はここに残っていろ。 そして太陽が高く昇ったら、 龍の動きに気をつけろ。 きっと龍は洞窟を転がり出て、 この場所の脇を通り過ぎて、 泉の水を飲みに行くじゃろうから。 ＜ジークフリート＞ （大笑いして） ミーメ。お前が泉のほとりにいるなら、 ぼくは龍を、お前の所に行かせようか。 ノートゥングを龍の臓器に突き刺すのは、 まずお前が龍に飲み込まれてからにしてやろう。 だから、ぼくの言う通りにしろ。 泉のほとりでなんか休むな。 できるだけ遠くに消え失せて、 もう二度とぼくの所には来ないでくれ！ ＜ミーメ＞ 戦勝の暁の気晴らしとして、 わしが来るのは拒まんじゃろう？ （ジークフリートは、ミーメをしっしと追い払う） わしを呼ぶんじゃよ・・・ 何か助言が欲しくなったらな。 （ジークフリートは、ミーメを追い払う仕草を、物凄い勢いで繰り返す） または、「恐怖」がお気に召した場合もな。 （ジークフリートは立ち上がり、怒りに満ちた身振りでミーメを追い払う） ＜ミーメ＞ （退場しながら、独り言で） ファフナーとジークフリート・・・ジークフリートとファフナーか・・・ ああ・・・あいつらが共倒れになってくれりゃいいのになあ！ （ミーメは舞台右手に広がる森の中へと姿を消す） ＜ジークフリート＞ （ジークフリートは、菩提樹の下で、気持ち良さそうに体を軽く伸ばし、去って行くミーメの姿を見ている） あいつがぼくの父さんでなくて、 ほんとうに良かった！ ようやく今、爽やかな森が心地よく思え、 太陽が楽しく微笑みかけてくるようになった！ やっと、あのイヤな奴がいなくなり、 もう二度と会わずに済むんだもの！ （ジークフリートは黙ったまま物思いに沈む） どんな姿だったんだろう？ぼくの父さんは・・・。 決まってるさ！ぼくにそっくりだったんだ！ もしもミーメに息子がいたなら、 そいつはミーメに瓜二つなはずじゃないか？ まさにあんな感じの、暗い顔した陰気な奴で、 背は低く、猫背で、こぶだらけで、足を引きずり、 耳はぶらんと垂れ、ただれた目をして・・・ いいや・・・もう小びとの話なんかよそう！ あんな奴には、もう二度と会いたくないんだから。 （ジークフリートはさらに深く体をもたせ、木のこずえ越しに空を見上げる。深い静寂） （森のささやき） だけど・・・ぼくの母さんこそ、どんな姿だったんだろう？ ぼくには、想像することさえできない！ きっと、お母さんの両眼は、 雌鹿のように、明るくきらきらと輝いて・・・ いや、それよりも、もっと美しかったはず！ 心に不安を抱えながら、ぼくを産み落とした時、 なぜ、お母さんは死んだのだろう？ 人間の母親は、子供を産むと みんな死んでしまうという決まりでもあるんだろうか？ だとすれば・・・悲しすぎる！あんまりだよ！ ああ・・・一目でいいから、お母さんに会いたい！ ぼくの母さん・・・人間の女性！ （ジークフリートは静かにため息をつくと、さらに深く体をもたせて伸びをする。大いなる静寂。森の生き物たちが奏でるささやきが、次第に高まっていく。ジークフリートの関心は、しまいには森の小鳥達の歌声に捉えられる。ますます関心を募らせて、ジークフリートは、頭上の枝に止まっている一羽の小鳥の声に耳を澄ます） 可愛い小鳥さん！君の声を初めて聴いたよ。 君はこの森に棲んでいるのかい？ 君の甘いさえずりが、どんな意味なのか分かればなあ！ もしや、ぼくの愛する母さんのことでも、話しているのかな？ あのやかまし屋の小びとが言ってたっけ。 鳥たちの歌う声は、 その気になれば理解ができるんだと。 でも、どうやったらできるんだろう？ （ジークフリートは考え込む。その時、菩提樹から遠くない場所に生えている葦の茂みが目に入る） よし！いっちょやってみよう。あの鳥の真似をしてみよう。 葦の笛で、あの歌声を真似してみよう！ 言葉が無くても、 節まわしさえ分かれば、 ぼくは鳥の言葉を歌い、 どんな意味なのかも理解できるはずだ。 （ジークフリートは泉に向って行き、一本の葦を剣で切り取り、それを刻んで急いで葦笛に作り直そうとする。そうしながら、ジークフリートはまた耳を澄ます） 向こうも黙りこくって、耳を澄ましているようだ・・・ 今度はぼくがおしゃべりしてやろう！ （ジークフリートは葦笛を吹く。一旦中断すると、また刻み直して手を加える。もう一度吹いてみるが、首を振り、また手を加える。そのうちジークフリートは怒りだし、葦を強く握り締めて、再度試してみる。しかし最後は微笑みながら、きっぱりと諦める）いい音にならない・・・ 楽しい曲を吹くためには、 葦では不向きなのかもなあ。 小鳥さん・・・どうやらぼくは相変わらずバカなままだ。 君から何か学ぶのも、一筋縄ではいかないようだ。 （ジークフリートは小鳥の歌をもう一度聞き、小鳥のほうを見上げる） あのいたずらな小鳥に対して、 ぼくは恥ずかしくてしょうがない。 ぼくの姿を見ているだけで、何にも聞かせてやれないなんて。 そうだ！それなら、ぼくの角笛を聞かせてやろう。 （ジークフリートは葦を振ってから、それを遠くに放り投げる） こんなダメな葦笛には、用はない。 ぼくが得意にしている森の調べ・・・ 陽気な森の調べを、ぜひ聞いておくれよ。 ぼくはこの歌で、愉快な仲間を呼び集めたものさ・・・ まあ、せいぜい狼や熊しか来なかったけどね。 さあ、やってみよう・・・ 今度はどんなのが集まるかな？ 楽しい仲間がやって来るかな？ （ジークフリートが銀色の角笛を取り出して吹き鳴らすと、舞台後方で何かが動く。恐ろしいとかげのような姿をした巨龍ファフナーが、洞窟の中のねぐらから身を起こしたばかりである。ファフナーは、木の茂みをなぎ倒しながら、底のほうから、さらに高い場所にのたくって行き、その上半身はすでに高い場所に届いている。今やファフナーは、あくびをするような野太い息を吐き出す） ＜ジークフリート＞ （振り返り、不思議そうにファフナーを見る） ハハハ！ぼくの歌は、 また愉快なのを呼び出してきたもんだ！ お前だったら、ぼくのいい仲間になれそうだ！ ＜ファフナー＞ （ジークフリートの姿を見て、丘の上で動きを止め、そのままそこから動かない） 何だ？いったい？ ＜ジークフリート＞ おい！お前は獣のくせに、 話はできると言うのだったら、 何かぼくに学ばせてくれるんだろうな？ ここにいるのは、恐怖を知らない男。 お前、恐怖ぐらいは教えられるんだろうな？ ＜ファフナー＞ カラ元気で言っているのか？ ＜ジークフリート＞ 元気も、カラ元気も、知るものかい！ だけど、ぼくはお前の体に斬りかかるぞ。 お前が恐怖を教えてくれないのなら！ ＜ファフナー＞ （笑い声のような息を吐き出す） 何か飲もうと思っていたところだが、 エサにまでありつけるとはな！ （龍は口を開き、歯をむき出しにする） ＜ジークフリート＞ 何ともきれいな口の中を見せてくれるもんだ。 いかにも食いしん坊じみた豊かな歯並びだな！ だが、もう閉じた方がいいぞ。 あんまり大口を開けすぎたようだからな！ ＜ファフナー＞ この口は、無駄口を叩くためにあるんじゃない。 お前を飲み込むためにあるんだ。 （ファフナーは尻尾でジークフリートを威嚇する） ＜ジークフリート＞ こらこら！残忍で怒りっぽい奴だな！ ぼくだって、お前の胃に溶かされては具合が悪い。 やっぱり一番いいのは、 ここですぐにお前を、くたばらせてやることだな。 ＜ファフナー＞ （大きな声で吠える） こいつめ！かかって来い！大ぼら吹きの若造めが！ ＜ジークフリート＞ 気をつけろ！吠える龍め！その大ぼら吹きとやらが相手になってやる！ （ジークフリートは剣を抜き、ファフナーに切りかかったが、まるで挑発するようにその場を動かないでいる。ファフナーは、丘に向けて巨体をのた打たせ、鼻の穴からジークフリートに鼻水を振りかける。ジークフリートは鼻水をかわし、ファフナーの近くに駆け寄り、脇腹の近くに陣取る。ファフナーは尻尾でジークフリートを捉えようとするが、もうすぐ捉えようという時、ジークフリートは一飛びでファフナーの体を飛び越え、尻尾に傷をつける。ファフナーは、大声で吠え、尻尾を勢いよく後ろに引っ込めると、上半身を木のように直立させて、ジークフリートを体ごと押し潰そうとする。だが、そのためにファフナーが胸を見せた瞬間、ジークフリートは即座にファフナーの心臓の在りかを見抜き、剣を柄まで突き立てる。ファフナーは苦痛のあまり、ますます高く棒立ちになり、ジークフリートが剣を離して脇に離脱した直後、傷を下にして崩れ落ちる） ＜ジークフリート＞ そこに寝転んでいるがいい！欲深い奴め！ お前の心臓には、ノートゥングが突き立てられている。 ＜ファフナー＞ （次第に弱まっていく声で） 勇敢な少年よ・・・ わしの心臓を貫いたお前は何者だ？ 誰がお前をそそのかし、 子供のお前に、殺しの所業などさせたのだ？ お前が今やったことが、 お前のような子供の頭に浮かぶはずがない・・・ ＜ジークフリート＞ ぼくも、まだ多くのことは知らない。 このぼくは、ぼく自身が何者かさえ分からないんだ。 だが、今ぼくをそそのかし、 お前と命のやり取りをさせたのは、お前自身じゃないか。 ＜ファフナー＞ 澄んだ目をした少年よ・・・お前自身のことも分からんのだと。では、せめて、お前が殺した相手が誰か教えてやろう。 巨体を誇る巨人族、 ファゾルトとファフナーの兄弟・・・ その兄弟が・・・今、二人とも斃れたのだ。 神々から与えられた呪いの黄金のために争って、 わしはファゾルトを殺した。 だが、龍となって宝を見張っていた 最後の巨人族ファフナーも、 バラ色の肌をした勇者に斃されたのだ。 目を見開いて、ようく見ろ・・・若さに輝く少年よ・・・ 何も分からないお前に、わしの殺害をそそのかした男は、 今は、若いお前の死を企んでいるぞ！（息も絶え絶えになりながら） 覚えておけ・・・最後はどうなるか！このわしのことを忘れるな！ ＜ジークフリート＞ ぼくは何者なのかを、教えてくれないか？ お前は凶暴だったけど、死ぬ間際に賢くなったようだ・・・ ぼくの名前を伝えれば、分かるかい？ ぼくの名前は、ジークフリート。 ＜ファフナー＞ ジークフリート・・・だと！ （ファフナーはため息を吐き、やや体をもたげると、死んでしまう） ＜ジークフリート＞ 死んだら、もう何も教えられないものな。 ならば、生きている剣の導きに、頼るとしよう！ （ファフナーは、死ぬ時にごろんと転がり、脇腹を見せていた。ジークフリートは龍の胸から剣を引き抜く。 すると、その時、返り血がジークフリートの手を濡らし、 彼は激しくその手を振り上げる） 火のように熱い血だ！ （ジークフリートは我知らず指を口に持って行き、指についた血を吸い取ろうとする。そのまま物思いしながら、目の前をじっと見つめると、彼の注意力は徐々に小鳥の歌へと引き寄せられていく） どうやら、あの鳥たちは、 このぼくに何かを語りかけているようだ！ 血をなめたおかげで、そうなったのかな？ ねえ・・・きれいな小鳥さんたち、 いったい何を歌っているんだい？ ＜森の小鳥の声＞ （ジークフリートの頭上の菩提樹のこずえから） わあい！ニーベルングの宝は、ジークフリートのものだ！ ああ！洞穴（ほらあな）にある宝を見つけちゃえばいいのになあ！ 隠れ頭巾を手に入れれば、 きっと楽しい冒険に役立つよ！ でも、指輪まで探り当てちゃったら、 きっと世界を支配できちゃうなあ！ ＜ジークフリート＞ （穏やかに息を吐いて、うっとりしたような顔で、小鳥の歌声を聴いている） 小鳥さん・・・いい助言をありがとう！ 言う通りにしてみるよ！ （ジークフリートは後ろを振り返り、洞窟に向かって降りて行くので、すぐに全身が見えなくなる） 第３場 （アルベリヒ、ミーメ、ジークフリート、森の小鳥） （ミーメが臆病そうにきょろきょろ辺りを見回し、ファフナーが死んだかどうか確かめながら、やって来る。それと同時に、アルベリヒが反対側の岩の裂け目から現れる。アルベリヒは、ミーメの姿をじっと目で追っている。視界にジークフリートが見えなくなったミーメが、恐る恐る背後の洞窟の方に向かって歩き始めた時、アルベリヒはミーメに向かって突進し、ミーメの行く道をふさぐ） ＜アルベリヒ＞ そんなに慌てて、どこへ行こうってんだ？ この悪知恵野郎め。 ＜ミーメ＞ くそいまいましい兄貴め！なぜお前が来る！ どうして来たんだ？ ＜アルベリヒ＞ 俺の黄金が欲しいってのか？悪党め。 俺の持ち物を狙おうってのか？ ＜ミーメ＞ 出てけ！ここはわしのシマだ。 何を探そうってんだ？ ＜アルベリヒ＞ お前が盗みを働く現場を、 俺が黙って見ていられるものか？ ＜ミーメ＞ このわしが、さんざん苦労して手に入れたのだ。 誰がみすみす手放すものか。 ＜アルベリヒ＞ 指輪に使う黄金をライン河から奪ったのは、お前か？ よく効く魔力を指輪に封じ込めたのは、お前か？ ＜ミーメ＞ それを言うなら、 姿を変える隠れ兜を作ったのは誰だ？ 隠れ兜を欲しがった奴は、 それを自分で発明できたか？ ＜アルベリヒ＞ お前は頭が鈍いから、 そんな鈍い話しか出来ないのか？ 魔法の指輪があるからこそ、 お前も、隠れ兜を作れたんじゃないか。 ＜ミーメ＞ だったら、その指輪はどこにある？ 臆病者のお前が、巨人族に奪われたんじゃないか！ お前が失くしてしまったものを、 わしは策略で取り戻すのだ。 ＜アルベリヒ＞ あの若造の行為のおこぼれに、 お前のようなしみったれが、あずかるわけか？ でもな。指輪はお前のものにはならん。 あの陽気な若造が指輪を持っている限りはな！ ＜ミーメ＞ あいつを育てたのは、このわしだぞ。 今こそ養育料を払ってもらうのだ・・・ 数々の苦労と重荷が報われる日を、 わしは首を長くして待っていたんだ！ ＜アルベリヒ＞ けちで卑怯な奴隷のお前が、 子どもを育てた養育料代わりに、 思い上がりも甚だしく、王になろうというわけか？ 指輪がお前の手に入るぐらいなら、 病気の犬にくれたほうがまだマシだ。 お前みたいな無礼な奴に、支配者の指輪が手に入るものか！ ＜ミーメ＞ （頭を掻きながら） そうか、そこまで言うなら、兄貴にやるよ・・・ あのきらめく指輪はな！ 王となるのはあくまで兄貴だ。だが、代わりに、わしを王弟にしてくれ！ そして、わしの作った愉快なおもちゃ、 あの隠れ兜を、指輪の代わりに、わしにくれ。 二人にとっておいしい話だ。獲物を二人に山分けしよう。 （ミーメは、信頼してくれと言わんばかりに、両手をもみしだく） ＜アルベリヒ＞ （ミーメを嘲笑って） 山分けだと？ 隠れ兜だと？ 何てずるい奴だ！ それじゃいつお前の罠にかかるか怖くて、 一睡たりともできねえよ！ ＜ミーメ＞ （我を失って） 交換すらもしないのか？ 山分けもしないのか？ 手ぶらで帰れと言うのか？ 何一つ見返りなしか？ （金切り声で） このわしには、何もよこさないってのか？ ＜アルベリヒ＞ 何一つやらん！ これっぽっちもやるものか！ ＜ミーメ＞ （怒髪天をつく勢いで） 指輪もやらないぞ！隠れ兜もやらないぞ！ 兄貴にゃやらないぞ！ 何一つ分け合わないぞ！ ジークフリートを呼んできて、 あいつの剣を兄貴に食らわせてやる。 気の短いあの勇者に、 兄貴よ！お前を殺させてやるからな！ （舞台後方にジークフリートが現れる） ＜アルベリヒ＞ さあ、引き返せ！ あいつが洞窟から出てきた！ ＜ミーメ＞ （後ろを振り返る） 子どものガラクタを選んできたに違いない。 ＜アルベリヒ＞ 隠れ兜を持っている！ ＜ミーメ＞ 指輪もだ！ ＜アルベリヒ＞ こんちくしょう！・・・指輪もか！ ＜ミーメ＞ （意地悪く笑いながら） その指輪をくださいと、あいつに頼んでみろよ！ わしのものになるのだ・・・もうすぐな。 （ミーメは、最後のセリフを残して、そろそろと森の中へと戻っていく） ＜アルベリヒ＞ だが、それでも、あの指輪は、 元の持ち主であるこの俺の手に返るはずだ！ （アルベリヒは、岩壁のすき間に姿を消す） （先のセリフの間に、隠れ兜と指輪を持つジークフリートは、ゆっくりと物思いしながら、洞窟を出て前方に進み出る。彼は、思案をめぐらしながら戦利品を眺めまわし、舞台中央の丘の上の樹の傍で、また立ち止まる） ＜ジークフリート＞ こんなものが何の役に立つのか、まるで分からないなあ・・・ でも、積み重なった黄金の山の中から、 この２つを選んで来たのは、 さっきの忠告に従ったからさ。 差し当たっては、今日の記念の品と言うところかな。 このおもちゃを持っていれば、 ぼくはファフナーと戦って倒したことを思い出すだろう。 もっとも、今だって「恐怖」が何かは分からずじまいだけど！ （ジークフリートは隠れ兜をベルトの間に差し、指輪を指にはめる。静寂。森の生き物のささやき声が大きくなる。ジークフリートは我知らず小鳥の声に耳を傾け、息をひそめて、その歌声を聴いている） ＜森の小鳥の声＞ わあい！頭巾も指輪も ジークフリートのものだ。 でもね！ウソつきのミーメを信じちゃダメだよ！ あのウソつきの甘い言葉を、ジークフリートが、 しっかり聞き分けられればいいけどなあ！ 彼は、ミーメが心に思った通りに、 ミーメの言葉を聴き取れるはず。 龍の血をなめたおかげだよ。 （ジークフリートの表情と態度は、彼が小鳥の歌の意味するところを十分理解したことを物語る。彼は、ミーメが近づいてくるのを見ながら、剣に体をもたせて身じろぎもせず立ち止まり、続く場面が終わる時まで、丘の上で同じ姿勢のままでいる） ＜ミーメ＞ （ミーメは、するすると忍ぶようにやって来て、舞台前方からジークフリートを見つめる） あいつ、戦利品の品定めをしているんだな。 きっと、この辺には、あの知恵者のさすらい人もいるはずだ。 あいつが、ここらをうろつき回り、ずる賢いルーネの知恵で、 ジークフリートに何か吹き込んだんじゃないのか？ 小びとのわしよ・・・両面に注意をめぐらし、利口に立ち回れ。今こそ、陰謀の罠を張りめぐらし、 優しい素振りで嘘をついて、 あの小癪な若造を騙す時だ。 （ミーメはジークフリートのほうに歩いて行き、媚びるような仕草でジークフリートを歓待する） よくぞ帰ってきた、ジークフリート！ 勇者よ！どうだった？恐怖を学ぶことはできたかい？ ＜ジークフリート＞ 恐怖を教えてくれる者を、ぼくはまだ見つけていない！ ＜ミーメ＞ だが、龍がいただろう？ お前が打ち殺した龍が・・・。 相当すごい奴だったんじゃないのか？ ＜ジークフリート＞ 怒りっぽい陰険な奴だったけど、 あいつの死を思うと、少し泣けてくるぐらいだ。 あいつより、もっとたちの悪い人殺しが、 殺されもせず、のうのうと生きているんだからな！ ぼくがあの龍よりも何倍も嫌いなのは、 龍を殺せとそそのかした奴のほうなんだ！ ＜ミーメ＞ （きわめて親しげな様子で） まあ、落ち着くんじゃ！もう長くはないぞ・・・ お前がわしの姿を見るのもな。 じきに永遠の眠りへと、 お前の眼を閉じてやるからな！ わしにとって必要だった仕事を、 （猫なで声で） お前はもうすっかり成し遂げてしまった。 今となっては、残る仕事は、 お前から獲物を奪い取ることだけ。 きっと、まんまとうまく行くはずじゃ・・・ お前ごときを騙すのは、いとも簡単なのだから！ ＜ジークフリート＞ つまり、ぼくを殺そうというわけだな？ ＜ミーメ＞ （いぶかしんで） わしは今何と言った・・・？ ジークフリート！せがれや・・・よく聞くのじゃ！ お前と、お前の種族を、 わしはずうっと、心から憎んできたのだ・・・ （猫なで声で） わしが厄介者のお前を育てたのは、愛情のゆえではない。 ファフナーが守っている財宝こそ、 あの黄金こそ、わしが苦心して求めてきたものなのだ。 （まるで、素敵なことでも約束するかのように） だから、お前がわしに自ら黄金を差し出さないのなら・・・ （まるでジークフリートのために今にも命を投げ出す決心があるかのように） ジークフリート・・・せがれや・・・ 分かっとるじゃろう・・・ （親しみを込めて楽しげに） お前はわしに命を差し出さねばならんのじゃ！ ＜ジークフリート＞ お前がぼくのことを嫌いと聞いて、ぼくの方も嬉しいよ・・・ だが、それに加えて、命までも差し出せと言うのか？ ＜ミーメ＞ （怒って） そんなことを、わしが言ったか？ お前は、わしの言うことを、すぐに誤解して取る！ （ミーメは瓶を取り出してくる。誰にも分かるほどわざとらしく声音を変えながら） さあ、激しい戦いで疲れているだろう・・・ まだ体がカッカと火照っているだろう。 そんなお前の喉を、冷たい水で癒すのを、 気の利くわしは、忘れていなかったぞ。 お前が剣を熱くたぎらせていた時、 わしはこの汁を温めていた。 お前が、この汁を飲み込めば、 お前の大切な剣が、わしのものになる。 剣だけではない。兜と財宝もじゃ。 （ミーメは、クククッと笑う） ＜ジークフリート＞ つまりお前は、ぼくの剣が目当てなんだな？ ぼくが手に入れた指輪や財宝を、 お前は奪い取るつもりなんだな？ ＜ミーメ＞ （激しく） どうして間違った受け止め方をするんだ！ 舌がもつれてるのかな？しゃべりすぎてしまうんだろうか？ わしは、物凄い苦労をしてるんだぞ・・・ 内心の思いを、偽善の嘘でごまかすためにな。 なのに、バカな小僧のお前と来たら、万事間違った受け止め方をする！ 耳の穴をかっぽじって、正確に聞き取れ・・・ ミーメの言葉を、よく聴くのじゃ！ （またもきわめて親しげに、見え透いたわざとらしさで） さあ、この飲み物を手に取って、お飲み！ これまでも、よく飲ませてあげただろう・・・ お前は無愛想な時も、悪態をついていても、腹を立てていても、わしがあげた物は、いつも受け取っていたじゃないか。 ＜ジークフリート＞ （顔色を変えることなく） いい飲み物なら、喜んで飲むよ・・・ でもこの飲み物は、何を煮込んで作ったんだ？ ＜ミーメ＞ （ミーメは愉快そうにはしゃぐ。まるで、この飲み物には、人を心地よく酔わせる効き目でもあるかのように） さあ！飲んでくれ！わしの腕を信じて！ 飲めばたちまちお前の心は、夜と霧とに包まれる・・・ 正気も意識も失って、 手足がまっすぐ硬直する。 そうして、お前が寝てしまえば、 わしはたやすく、 宝を手に入れ、隠してしまう。 とはいえ、お前が目を覚ませば、 いかに指輪を手に入れても、 お前の追及から身を守れる場所はない。 だから、わしは、 お前が作った切れ味鋭い剣で、 （きわめて楽しそうな身振り手振りで） まずは子供の首をちょん切ってしまおうというわけさ。 そしたら、わしは安心できるし、指輪も手に入るからなあ！ （ミーメはまたクククッと笑う） ＜ジークフリート＞ 寝込みを襲って、ぼくを殺してしまおうというわけだな？ ＜ミーメ＞ （怒り狂って、苛立たしげに） 何を言う？わしがそんなことを言ったか？ （きわめて優しい猫なで声を作ろうと努めながら） わしはただ、その子供の・・・ （きわめて念入りに、はっきりと） 首をちょん切りたいだけなんだ！ （心からジークフリートの健康を案ずるかのような身振りで） なぜなら、これほどわしがお前を憎んでおらず、 これまで受けた嘲りや 恥辱にあふれた心労に、 復讐する必要がなかったとしても・・・ （やさしい声で） わしはお前を始末するのを、 待ってはおれん。 わしがお前を殺さねば、アルベリヒも狙っている財宝を、 どうやって、わしのものにすることができようか？ （ミーメは、飲み物を杯に注ぎ、押し売りするような身振りでジークフリートに手渡す） さあ、ヴェルズングよ！狼の子よ！ 飲め！飲んで死んでしまえ・・・ もう二度と飲むこともなかろうからな！ヒヒヒヒ！ （ジークフリートは剣を振り上げる。彼は、激しい嫌悪感に見舞われたかのように、ミーメに閃光のような一撃を加える。ミーメはすぐさま地面にばったりと倒れる。岩壁の隙間から、アルベリヒの嘲笑が聞こえてくる） ＜ジークフリート＞ 剣の切れ味を知るがいい！気味の悪いおしゃべりめ！ （地に横たわるミーメの姿を見ながら、ジークフリートはゆったりと剣を鞘に収める） ノートゥングは、嫉みに対して仕返しをする。 だからこそ、ぼくはこの剣を鍛えることができたのだ。 （ジークフリートはミーメの遺体を持ち上げて、洞窟の入口近くの小高い丘まで持って行き、そこから遺体を洞窟へと投げ込む）洞窟の宝の上で眠るがいい！ お前は、しつこく策略をめぐらして、あの宝を狙っていたんだろ。これからは好きなだけ、素敵な宝を支配していろ！ 立派な番人もつけてやろう。 お前を泥棒から守るために。 （ジークフリートは全力で龍の死体を洞窟の入口へと転がしていき、入口は完全に龍の死体でふさがれる） 陰気な龍よ！お前もここに眠るのだ！ 獲物を求めて走り回った仇敵と、 きらめく財宝を一緒に守り、 ともに安らかに眠るがいい！ （ジークフリートは、しばし物思いにふけりながら洞窟を見下ろしていたが、やがて疲れ切ったようにゆっくりと舞台前方へと振り向く。正午。ジークフリートは額に片手を当てる） きつい仕事をしたら、体が火照ってしまったな！ 血が、炎のようにはじけながら、体を駆け巡っている。 頭に当てた手が、まるで燃えているようだ。 お日さまが、もうずいぶん高く昇ったようだ。 明るい青空から、ぼくの頭のてっぺんまで、 お日さまの眼差しが、まっすぐ照りつけてくる。 あの菩提樹の木陰で、ゆったり涼むとするか！ （ジークフリートは菩提樹の木陰で体を伸ばすと、再び梢を見上げる） ねえ、可愛い小鳥さん・・・ ずいぶん長い邪魔が入ったけれど、 もう一度、君の歌声を聴いてみたいなあ・・・ 枝に乗って、楽しそうに体を揺する 君の姿が見えるよ。 君の兄弟姉妹が、 楽しく愉快にさえずりながら、 君の周りをぱたぱた飛び回る様子も！ だけどぼくは・・・ぼくはこんなに一人ぼっちだ。 兄弟もいなけりゃ、姉妹もいない。 母親は露と消え、父親は斃れた・・・ もう決して、息子のぼくは、親に会うことはない！ ぼくの唯一の連れは、けちくさい小びとだったが、 いくらあいつが親切にしてくれても、 （温かい声で） ぼくは愛を感じることはできなかった。 あのずるい奴は、ぼくに罠を仕掛けたので、 ぼくはあいつを殺すほかはなかった！ （苦悩に心を揺さぶられるままに、再び梢を見上げる） 親切な小鳥さん・・・君に聞きたいことがあるんだ。 いい仲間を、ぼくに紹介してくれないか？ ぼくにふさわしい仲間を、教えてくれないか？ ぼくも何度も試してみたけど、うまく行かなかったんだ。 でも、小鳥さん・・・君ならば、うまくできるんじゃないか。 さっきも、いい助言をしてくれた君ならば。 さあ、歌って！耳を澄ましているからね。 ＜森の小鳥の声＞ わあい！ジークフリートは悪い小びとを打ち倒しちゃったぞ！ ぼくは、彼にもってこいのきれいな女の子を知っているよ。 その子は岩山の上に眠っていて、 その周りを炎が取り巻いている。 だけど、はじける炎をかいくぐり、 花嫁の目を覚ましたら、 ブリュンヒルデは、彼のものになるよ！ ＜ジークフリート＞ （やにわにその場から勢いよく立ち上がって） ああ、なんて素敵な歌だ！甘い吐息のようだ！ 今の言葉は、まるでぼくの胸を焼き焦がすようだ！ まるで、ぼくの心に激しい火をともすかのようだ！ なんだか急に、胸や心が、ざわざわしてきたぞ？ 続きを教えておくれ、かわいい友よ！ （ジークフリートは耳を澄ます） ＜森の小鳥の声＞ つらい時でも朗らかに、ぼくが歌うは愛の歌・・・ 心をふさぐ嘆きから、ぼくが紡ぐは歓びの歌・・・ ただ憧れる者だけが、歌の心を知るはずさ！ ＜ジークフリート＞ ならば、ぼくは喜んで、そこへ行こう！ この森を出て、その岩山へ！ もう一度だけ教えておくれ、優しい小鳥さん。 ぼくに、その炎が越えられるだろうか？ 花嫁の目を覚ますことができるだろうか？ （ジークフリートはもう一度耳を澄ます） ＜森の小鳥の声＞ 花嫁を手に入れる者・・・ ブリュンヒルデを目覚ます者・・・それは臆病者ではあり得ない。それができるのは、恐怖を知らない者だけさ！ ＜ジークフリート＞ （喜びのあまり大笑いする） 恐怖を知らない、 愚かな若者だって？ 小鳥さん・・・まさにぼくだよ、それは！ 今日も、ファフナーから恐怖を教わろうとして、 一日を無駄に過ごしてしまったばかり・・・ そして今、ブリュンヒルデのことを知りたいという 熱い思いに燃えている！ どうしたら、その岩山への道が分かるんだい？ （小鳥は羽ばたいて飛び上がり、ジークフリートの頭上で旋回すると、ややためらった後、ジークフリートを先導するように飛んで行く） ＜ジークフリート＞ （喜びの声を上げながら） そうやって道を教えてくれるんだね？ どこへでも行くよ！君が飛んで行く所なら！ （小鳥は、しばしジークフリートをからかうように、あちらこちらの方向へ連れ回し、その都度ジークフリートはついて行く。しかし、最後には、小鳥は舞台後方に針路を定めて飛び去っていくので、ジークフリートは小鳥の後を追って行く。幕が下りる） ZWEITER AUFZUG Tiefer Wald. Ganz im Hintergrunde die Öffnung einer Höhle. Der Boden hebt sich bis zur Mitte der Bühne, wo er eine kleine Hochebene bildet; von da senkt er sich nach hinten, der Höhle zu, wieder abwärts, so dass von dieser nur der obere Teil der Öffnung dem Zuschauer sichtbar ist. Links gewahrt man durch Waldbäume eine zerklüftete Felsenwand. Finstere Nacht, am dichtesten über dem Hintergrunde, wo anfänglich der Blick des Zuschauers gar nichts zu unterscheiden vermag VORSPIEL UND ERSTE SZENE Alberich, Fafner, Wanderer ALBERICH an der Felsenwand zur Seite gelagert, düster brütend In Wald und Nacht vor Neidhöhl halt ich Wacht es lauscht mein Ohr, mühvoll lugt mein Aug . Banger Tag, bebst du schon auf? Dämmerst du dort durch das Dunkel her? Aus dem Walde von rechts her erhebt sich ein Sturmwind; ein bläulicher Glanz leuchtet von ebendaher Welcher Glanz glitzert dort auf? Näher schimmert ein heller Schein; es rennt wie ein leuchtendes Ross, bricht durch den Wald brausend daher. Naht schon des Wurmes Würger? Ist s schon, der Fafner fällt? Der Sturmwind legt sich wieder; der Glanz verlischt Das Licht erlischt, der Glanz barg sich dem Blick Nacht ist s wieder. Der Wanderer tritt aus dem Wald und hält Alberich gegenüber an Wer naht dort schimmernd im Schatten? DER WANDERER Zur Neidhöhle fuhr ich bei Nacht wen gewahr ich im Dunkel dort? Wie aus einem plötzlich zerreissenden Gewölk bricht Mondschein herein und beleuchtet des Wanderers Gestalt ALBERICH erkennt den Wanderer, fährt erschrocken zurück, bricht aber sogleich in höchste Wut aus Du selbst lässt dich hier sehn? Was willst du hier? Fort, aus dem Weg! Von dannen, schamloser Dieb! WANDERER ruhig Schwarz-Alberich, schweifst du hier? Hütest du Fafners Haus? ALBERICH Jagst du auf neue Neidtat umher? Weile nicht hier, weiche von hinnen! Genug des Truges tränkte die Stätte mit Not. Drum, du Frecher, lass sie jetzt frei! WANDERER Zu schauen kam ich, nicht zu schaffen wer wehrte mir Wand rers Fahrt? ALBERICH lacht tückisch auf Du Rat wütender Ränke! Wär ich dir zulieb doch noch dumm wie damals, als du mich Blöden bandest, wie leicht geriet es, den Ring mir nochmals zu rauben! Hab acht! Deine Kunst kenne ich wohl; doch wo du schwach bist, blieb mir auch nicht verschwiegen. Mit meinen Schätzen zahltest du Schulden; mein Ring lohnte der Riesen Müh , die deine Burg dir gebaut. Was mit den Trotzigen einst du vertragen, des Runen wahrt noch heut deines Speeres herrischer Schaft. Nicht du darfst, was als Zoll du gezahlt, den Riesen wieder entreissen du selbst zerspelltest deines Speeres Schaft; in deiner Hand der herrische Stab, der starke, zerstiebte wie Spreu! WANDERER Durch Vertrages Treuerunen band er dich Bösen mir nicht dich beugt er mir durch seine Kraft; zum Krieg drum wahr ich ihn wohl! ALBERICH Wie stolz du dräust in trotziger Stärke, und wie dir s im Busen doch bangt! Verfallen dem Tod durch meinen Fluch ist des Hortes Hüter wer wird ihn beerben? Wird der neidliche Hort dem Niblungen wieder gehören? Das sehrt dich mit ew ger Sorge! Denn fass ich ihn wieder einst in der Faust, anders als dumme Riesen üb ich des Ringes Kraft dann zittre der Helden heiliger Hüter! Walhalls Höhen stürm ich mit Hellas Heer der Welt walte dann ich! WANDERER ruhig Deinen Sinn kenn ich wohl; doch sorgt er mich nicht. Des Ringes waltet, wer ihn gewinnt. ALBERICH Wie dunkel sprichst du, was ich deutlich doch weiss! An Heldensöhne hält sich dein Trotz, höhnisch die traut deinem Blute entblüht. Pflegtest du wohl eines Knaben, der klug die Frucht dir pflücke, immer heftiger die du nicht brechen darfst? WANDERER Mit mir nicht, hadre mit Mime dein Bruder bringt dir Gefahr; einen Knaben führt er daher, der Fafner ihm fällen soll. Nichts weiss der von mir; der Niblung nützt ihn für sich. Drum sag ich dir, Gesell tue frei, wie dir s frommt! Alberich macht eine Gebärde heftiger Neugierde Höre mich wohl, sei auf der Hut! Nicht kennt der Knabe den Ring; doch Mime kundet ihn aus. ALBERICH heftig Deine Hand hieltest du vom Hort? WANDERER Wen ich liebe, lass ich für sich gewähren; er steh oder fall , sein Herr ist er Helden nur können mir frommen. ALBERICH Mit Mime räng ich allein um den Ring? WANDERER Ausser dir begehrt er einzig das Gold. ALBERICH Und dennoch gewänn ich ihn nicht? WANDERER ruhig nähertretend Ein Helde naht, den Hort zu befrei n; zwei Niblungen geizen das Gold; Fafner fällt, der den Ring bewacht wer ihn rafft, hat ihn gewonnen. Willst du noch mehr? Dort liegt der Wurm er wendet sich nach der Höhle warnst du ihn vor dem Tod, willig wohl liess er den Tand. Ich selber weck ihn dir auf. Er stellt sich auf die Anhöhe vor der Höhle und ruft hinein Fafner! Fafner! Erwache, Wurm! ALBERICH in gespanntem Erstaunen, für sich Was beginnt der Wilde? Gönnt er mir s wirklich? Aus der finstern Tiefe des Hintergrundes hört man Fafners Stimme durch ein starkes Sprachrohr FAFNER Wer stört mir den Schlaf? WANDERER der Höhle zugewandt Gekommen ist einer, Not dir zu künden er lohnt dir s mit dem Leben, lohnst du das Leben ihm mit dem Horte, den du hütest? Er beugt sein Ohr lauschend der Höhle zu FAFNERS STIMME Was will er? ALBERICH ist dem Wanderer zur Seite getreten und ruft in die Höhle Wache, Fafner! Wache, du Wurm! Ein starker Helde naht, dich heil gen will er bestehn. FAFNERS STIMME Mich hungert sein. WANDERER Kühn ist des Kindes Kraft, scharf schneidet sein Schwert. ALBERICH Den goldnen Reif geizt er allein lass mir den Ring zum Lohn, so wend ich den Streit; du wahrest den Hort, und ruhig lebst du lang ! FAFNERS STIMME Ich lieg und besitz , gähnend lasst mich schlafen! WANDERER lacht auf und wendet sich dann wieder zu Alberich Nun, Alberich, das schlug fehl. Doch schilt mich nicht mehr Schelm! Dies eine, rat ich, achte noch wohl vertraulich zum ihm tretend Alles ist nach seiner Art, an ihr wirst du nichts ändern. Ich lass dir die Stätte, stelle dich fest! Versuch s mit Mime, dem Bruder, der Art ja versiehst du dich besser. zum Abgange gewendet Was anders ist, das lerne nun auch! Er verschwindet im Walde. Sturmwind erhebt sich, heller Glanz bricht aus; dann vergeht beides schnell ALBERICH blickt dem davonjagenden Wanderer nach Da reitet er hin, auf lichtem Ross; mich lässt er in Sorg und Spott. Doch lacht nur zu, ihr leichtsinniges, lustgieriges Göttergelichter! Euch seh ich noch alle vergehn! Solang das Gold am Lichte glänzt, hält ein Wissender Wacht. Trügen wird euch sein Trotz! Er schlüpft zur Seite in das Geklüft. Die Bühne bleibt leer. Morgendämmerung ZWEITE SZENE Mime, Siegfried, Fafner, Waldvogel Bei anbrechendem Tage treten Mime und Siegfried auf. Siegfried trägt das Schwert in einem Gehenke von Bastseil. Mime erspäht genau die Stätte; er forscht endlich dem Hintergrunde zu, welcher - während die Anhöhe im mittleren Vordergrunde später immer heller von der Sonne beleuchtet wird - in finstrem Schatten bleibt; dann bedeutet er Siegfried MIME Wir sind zur Stelle! Bleib hier stehn! SIEGFRIED setzt sich unter einer grossen Linde nieder und schaut sich um Hier soll ich das Fürchten lernen? Fern hast du mich geleitet eine volle Nacht im Walde selbander wanderten wir. Nun sollst du, Mime, mich meiden! Lern ich hier nicht, was ich lernen soll, allein zieh ich dann weiter dich endlich werd ich da los! MIME setzt sich ihm gegenüber, so dass er die Höhle immer noch im Auge behält Glaube, Liebster! Lernst du heut und hier das Fürchten nicht, an andrem Ort, zu andrer Zeit schwerlich erfährst du s je. Siehst du dort den dunklen Höhlenschlund? Darin wohnt ein greulich wilder Wurm unmassen grimmig ist er und gross; ein schrecklicher Rachen reisst sich ihm auf; mit Haut und Haar auf einen Happ verschlingt der Schlimme dich wohl. SIEGFRIED immer unter der Linde sitzend Gut ist s, den Schlund ihm zu schliessen drum biet ich mich nicht dem Gebiss. MIME Giftig giesst sich ein Geifer ihm aus wen mit des Speichels Schweiss er bespeit, dem schwinden wohl Fleisch und Gebein. SIEGFRIED Dass des Geifers Gift mich nicht sehre, weich ich zur Seite dem Wurm. MIME Ein Schlangenschweif schlägt sich ihm auf wen er damit umschlingt und fest umschliesst, dem brechen die Glieder wie Glas! SIEGFRIED Vor des Schweifes Schwang mich zu wahren, halt ich den Argen im Aug . Doch heisse mich das hat der Wurm ein Herz? MIME Ein grimmiges, hartes Herz! SIEGFRIED Das sitzt ihm doch, wo es jedem schlägt, trag es Mann oder Tier? MIME Gewiss, Knabe, da führt s auch der Wurm. Jetzt kommt dir das Fürchten wohl an? SIEGFRIED bisher nachlässig ausgestreckt, erhebt sich rasch zum Sitz Notung stoss ich dem Stolzen ins Herz! Soll das etwa Fürchten heissen? He, du Alter! Ist das alles, was deine List mich lehren kann? Fahr deines Wegs dann weiter; das Fürchten lern ich hier nicht. MIME Wart es nur ab! Was ich dir sage, dünke dich tauber Schall ihn selber musst du hören und sehn, die Sinne vergehn dir dann schon! Wenn dein Blick verschwimmt, der Boden dir schwankt, im Busen bang dein Herz erbebt sehr freundlich dann dankst du mir, der dich führte, gedenkst, wie Mime dich liebt. SIEGFRIED Du sollst mich nicht lieben! Sagt ich dir s nicht? Fort aus den Augen mir! Lass mich allein sonst halt ich s hier länger nicht aus, fängst du von Liebe gar an! Das eklige Nicken und Augenzwicken, wann endlich soll ich s nicht mehr sehn, wann werd ich den Albernen los? MIME Ich lass dich schon. Am Quell dort lagr ich mich; steh du nur hier; steigt dann die Sonne zur Höh , merk auf den Wurm aus der Höhle wälzt er sich her, hier vorbei biegt er dann, am Brunnen sich zu tränken. SIEGFRIED lachend Mime, weilst du am Quell, dahin lass ich den Wurm wohl gehn Notung stoss ich ihm erst in die Nieren, wenn er dich selbst dort mit weggesoffen. Darum, hör meinen Rat, raste nicht dort am Quell; kehre dich weg, so weit du kannst, und komm nie mehr zu mir! MIME Nach freislichem Streit dich zu erfrischen, wirst du mir wohl nicht wehren? Siegfried wehrt ihn hastig ab Rufe mich auch, darbst du des Rates, Siegfried wiederholt die Gebärde mit Ungestüm oder wenn dir das Fürchten gefällt. Siegfried erhebt sich und treibt Mime mit wütender Gebärde zum Fortgehen MIME im Abgehen für sich Fafner und Siegfried - Siegfried und Fafner - O brächten beide sich um! Er verschwindet rechts im Wald SIEGFRIED streckt sich behaglich unter der Linde aus und blickt dem davongehenden Mime nach Dass der mein Vater nicht ist, wie fühl ich mich drob so froh! Nun erst gefällt mir der frische Wald; nun erst lacht mir der lustige Tag, da der Garstige von mir schied und ich gar nicht ihn wiederseh ! Er verfällt in schweigendes Sinnen Wie sah mein Vater wohl aus? - Ha, gewiss wie ich selbst! Denn wär wo von Mime ein Sohn, müsst er nicht ganz Mime gleichen? Grade so garstig, griesig und grau, klein und krumm, höckrig und hinkend, mit hängenden Ohren, triefigen Augen - fort mit dem Alp! Ich mag ihn nicht mehr seh n. Er lehnt sich tiefer zurück und blickt durch die Baumwipfel auf. Tiefe Stille Waldweben Aber - wie sah meine Mutter wohl aus? Das kann ich nun gar nicht mir denken! Der Rehhindin gleich glänzten gewiss ihr hell schimmernde Augen, nur noch viel schöner! Da bang sie mich geboren, warum aber starb sie da? Sterben die Menschenmütter an ihren Söhnen alle dahin? Traurig wäre das, traun! Ach, möcht ich Sohn meine Mutter sehen! Meine Mutter - ein Menschenweib! Er seufzt leise und streckt sich tiefer zurück. Grosse Stille. Wachsendes Waldweben. Siegfrieds Aufmerksamkeit wird endlich durch den Gesang der Waldvögel gefesselt. Er lauscht mit wachsender Teilnahme einem Waldvogel in den Zweigen über ihm Du holdes Vöglein! Dich hört ich noch nie bist du im Wald hier daheim? Verstünd ich sein süsses Stammeln! Gewiss sagt es mir was, vielleicht von der lieben Mutter? Ein zankender Zwerg hat mir erzählt, der Vöglein Stammeln gut zu verstehn, dazu könnte man kommen. Wie das wohl möglich wär ? Er sinnt nach. Sein Blick fällt auf ein Rohrgebüsch unweit der Linde Hei! Ich versuch s; sing ihm nach auf dem Rohr tön ich ihm ähnlich! Entrat ich der Worte, achte der Weise, sing ich so seine Sprache, versteh ich wohl auch, was es spricht. Er eilt an den nahen Quell, schneidet mit dem Schwerte ein Rohr ab und schnitzt sich hastig eine Pfeife daraus. Währenddem lauscht er wieder Es schweigt und lauscht so schwatz ich denn los! Er bläst auf dem Rohr. Er setzt ab, schnitzt wieder und bessert. Er bläst wieder. Er schüttelt mit dem Kopfe und bessert wieder. Er wird ärgerlich, drückt das Rohr mit der Hand und versucht wieder. Er setzt lächelnd ganz ab Das tönt nicht recht; auf dem Rohre taugt die wonnige Weise mir nicht. Vöglein, mich dünkt, ich bleibe dumm von dir lernt sich s nicht leicht! Er hört den Vogel wieder und blickt zu ihm auf Nun schäm ich mich gar vor dem schelmischen Lauscher er lugt und kann nichts erlauschen. Heida! So höre nun auf mein Horn. Er schwingt das Rohr und wirft es weit fort Auf dem dummen Rohre gerät mir nichts. Einer Waldweise, wie ich sie kann, der lustigen sollst du nun lauschen. Nach liebem Gesellen lockt ich mit ihr nichts Bessres kam noch als Wolf und Bär. Nun lass mich sehn, wen jetzt sie mir lockt ob das mir ein lieber Gesell? Er nimmt das silberne Hifthorn und bläst darauf. Im Hintergrunde regt es sich. Fafner, in der Gestalt eines ungeheuren eidechsenartigen Schlangenwurmes, hat sich in der Höhle von seinem Lager erhoben; er bricht durch das Gesträuch und wälzt sich aus der Tiefe nach der höheren Stelle vor, so dass er mit dem Vorderleibe bereits auf ihr angelangt ist, als er jetzt einen starken, gähnenden Laut ausstösst SIEGFRIED sieht sich um und heftet den Blick verwundert auf Fafner Haha! Da hätte mein Lied mir was Liebes erblasen! Du wärst mir ein saub rer Gesell! FAFNER hat beim Anblick Siegfrieds auf der Höhe angehalten und verweilt nun daselbst Was ist da? SIEGFRIED Ei, bist du ein Tier, das zum Sprechen taugt, wohl liess sich von dir was lernen? Hier kennt einer das Fürchten nicht kann er s von dir erfahren? FAFNER Hast du Übermut? SIEGFRIED Mut oder Übermut, was weiss ich! Doch dir fahr ich zu Leibe, lehrst du das Fürchten mich nicht! FAFNER stösst einen lachenden Laut aus Trinken wollt ich nun treff ich auch Frass! Er öffnet seinen Rachen und zeigt die Zähne SIEGFRIED Eine zierliche Fresse zeigst du mir da, lachende Zähne im Leckermaul! Gut wär es, den Schlund dir zu schliessen; dein Rachen reckt sich zu weit! FAFNER Zu tauben Reden taugt er schlecht dich zu verschlingen, frommt der Schlund. Er droht mit dem Schweife SIEGFRIED Hoho! Du grausam grimmiger Kerl! Von dir verdaut sein, dünkt mich übel rätlich und fromm doch scheint s, du verrecktest hier ohne Frist. FAFNER brüllend Pruh! Komm, prahlendes Kind! SIEGFRIED Hab acht, Brüller! Der Prahler naht! Er zieht sein Schwert, springt Fafner an und bleibt herausfordernd stehen. Fafner wälzt sich weiter auf die Höhe herauf und sprüht aus den Nüstern auf Siegfried. Dieser weicht dem Geifer aus, springt näher zu und stellt sich zur Seite. Fafner sucht ihn mit dem Schweife zu erreichen. Siegfried, welchen Fafner fast erreicht hat, springt mit einem Satze über diesen hinweg und verwundet ihn an dem Schweife. Fafner brüllt, zieht den Schweif heftig zurück und bäumt den Vorderleib, um mit dessen voller Wucht sich auf Siegfried zu werfen; so bietet er diesem die Brust dar; Siegfried erspäht schnell die Stelle des Herzens und stösst sein Schwert bis an das Heft hinein. Fafner bäumt sich vor Schmerz noch höher und sinkt, als Siegfried das Schwert losgelassen und zur Seite gesprungen ist, auf die Wunde zusammen SIEGFRIED Da lieg , neidischer Kerl! Notung trägst du im Herzen. FAFNER mit schwächerer Stimme Wer bist du, kühner Knabe, der das Herz mir traf? Wer reizte des Kindes Mut zu der mordlichen Tat? Dein Hirn brütete nicht, was du vollbracht. SIEGFRIED Viel weiss ich noch nicht, noch nicht auch, wer ich bin. Mit dir mordlich zu ringen, reiztest du selbst meinen Mut. FAFNER Du helläugiger Knabe, unkund deiner selbst, wen du gemordet meld ich dir. Der Riesen ragend Geschlecht, Fasolt und Fafner, die Brüder - fielen nun beide. Um verfluchtes Gold, von Göttern vergabt, traf ich Fasolt zu Tod. Der nun als Wurm den Hort bewachte, Fafner, den letzten Riesen, fällte ein rosiger Held. Blicke nun hell, blühender Knabe der dich Blinden reizte zur Tat, berät jetzt des Blühenden Tod! ersterbend Merk , wie s endet! Acht auf mich! SIEGFRIED Woher ich stamme, rate mir noch; weise ja scheinst du, Wilder, im Sterben rat es nach meinem Namen Siegfried bin ich genannt. FAFNER Siegfried...! Er seufzt, hebt sich und stirbt SIEGFRIED Zur Kunde taugt kein Toter. So leite mich denn mein lebendes Schwert! Fafner hat sich im Sterben zur Seite gewälzt. Siegfried zieht ihm jetzt das Schwert aus der Brust dabei wird seine Hand vom Blute benetzt er fährt heftig mit der Hand auf Wie Feuer brennt das Blut! Er führt unwillkürlich die Finger zum Munde, um das Blut von ihnen abzusaugen. Wie er sinnend vor sich hinblickt, wird seine Aufmerksamkeit immer mehr von dem Gesange der Waldvögel angezogen Ist mir doch fast, als sprächen die Vöglein zu mir! Nützte mir das des Blutes Genuss? Das seltne Vöglein hier, horch, was singt es nur? STIMME EINES WALDVOGELS aus den Zweigen der Linde über Siegfried Hei! Siegfried gehört nun der Niblungen Hort! O, fänd in der Höhle den Hort er jetzt! Wollt er den Tarnhelm gewinnen, der taugt ihm zu wonniger Tat doch möcht er den Ring sich erraten, der macht ihn zum Walter der Welt! SIEGFRIED hat mit verhaltenem Atem und verzückter Miene gelauscht Dank, liebes Vöglein, für deinen Rat! Gern folg ich dem Ruf! Er wendet sich nach hinten und steigt in die Höhle hinab, wo er alsbald gänzlich verschwindet DRITTE SZENE Alberich, Mime, Siegfried, Waldvogel Mime schleicht heran, scheu umherblickend, um sich von Fafners Tod zu überzeugen. Gleichzeitig kommt von der anderen Seite Alberich aus dem Geklüft; er beobachtet Mime genau. Als dieser Siegfried nicht mehr gewahrt und vorsichtig sich nach hinten der Höhle zuwendet, stürzt Alberich auf ihn zu und vertritt ihm den Weg ALBERICH Wohin schleichst du eilig und schlau, schlimmer Gesell? MIME Verfluchter Bruder, dich braucht ich hier! Was bringt dich her? ALBERICH Geizt es dich, Schelm, nach meinem Gold? Verlangst du mein Gut? MIME Fort von der Stelle! Die Stätte ist mein was stöberst du hier? ALBERICH Stör ich dich wohl im stillen Geschäft, wenn du hier stiehlst? MIME Was ich erschwang mit schwerer Müh , soll mir nicht schwinden. ALBERICH Hast du dem Rhein das Gold zum Ringe geraubt? Erzeugtest du gar den zähen Zauber im Reif? MIME Wer schuf den Tarnhelm, der die Gestalten tauscht? Der seiner bedurfte, erdachtest du ihn wohl? ALBERICH Was hättest du Stümper je wohl zu stampfen verstanden? Der Zauberring zwang mir den Zwerg erst zur Kunst. MIME Wo hast du den Ring? Dir Zagem entrissen ihn Riesen! Was du verlorst, meine List erlangt es für mich. ALBERICH Mit des Knaben Tat will der Knicker nun knausern? Dir gehört sie gar nicht, der Helle ist selbst ihr Herr! MIME Ich zog ihn auf; für die Zucht zahlt er mir nun für Müh und Last erlauert ich lang meinen Lohn! ALBERICH Für des Knaben Zucht will der knickrige schäbige Knecht keck und kühn wohl gar König nun sein? Dem räudigsten Hund wäre der Ring geratner als dir nimmer erringst du Rüpel den Herrscherreif! MIME kratzt sich den Kopf Behalt ihn denn, und hüt ihn wohl, den hellen Reif! Sei du Herr doch mich heisse auch Bruder! Um meines Tarnhelms lustigen Tand tausch ich ihn dir uns beiden taugt s, teilen die Beute wir so. Er reibt sich zutraulich die Hände ALBERICH mit Hohnlachen Teilen mit dir? Und den Tarnhelm gar? Wie schlau du bist! Sicher schlief ich niemals vor deinen Schlingen! MIME ausser sich Selbst nicht tauschen? Auch nicht teilen? Leer soll ich gehn? Ganz ohne Lohn? kreischend Gar nichts willst du mir lassen? ALBERICH Nichts von allem! Nicht einen Nagel sollst du dir nehmen! MIME in höchster Wut Weder Ring noch Tarnhelm soll dir denn taugen! Nicht teil ich nun mehr! Gegen dich doch ruf ich Siegfried zu Rat und des Recken Schwert; der rasche Held, der richte, Brüderchen, dich! Siegfried erscheint im Hintergrund ALBERICH Kehre dich um! Aus der Höhle kommt er daher! MIME sich umblickend Kindischen Tand erkor er gewiss. ALBERICH Den Tarnhelm hält er! MIME Doch auch den Ring! ALBERICH Verflucht! - Den Ring! MIME hämisch lachend Lass ihn den Ring dir doch geben! Ich will ihn mir schon gewinnen. Er schlüpft mit den letzten Worten in den Wald zurück ALBERICH Und doch seinem Herrn soll er allein noch gehören! Er verschwindet im Geklüfte Siegfried ist mit Tarnhelm und Ring während des letzteren langsam und sinnend aus der Höhle vorgeschritten er betrachtet gedankenvoll seine Beute und hält, nahe dem Baume, auf der Höhe des Mittelgrundes wieder an SIEGFRIED Was ihr mir nützt, weiss ich nicht; doch nahm ich euch aus des Horts gehäuftem Gold, weil guter Rat mir es riet. So taug eure Zier als des Tages Zeuge, es mahne der Tand, dass ich kämpfend Fafner erlegt, doch das Fürchten noch nicht gelernt! Er steckt den Tarnhelm sich in den Gürtel und den Reif an den Finger. Stillschweigen. Wachsendes Waldweben. Siegfried achtet unwillkürlich wieder des Vogels und lauscht ihm mit verhaltenem Atem STIMME DES WALDVOGELS Hei! Siegfried gehört nun der Helm und der Ring! O, traute er Mime, dem treulosen, nicht! Hörte Siegfried nur scharf auf des Schelmen Heuchlergered ! Wie sein Herz es meint, kann er Mime verstehn so nützt ihm des Blutes Genuss. Siegfrieds Miene und Gebärde drücken aus, dass er den Sinn des Vogelgesanges wohl vernommen. Er sieht Mime sich nähern und bleibt, ohne sich zu rühren, auf sein Schwert gestützt, beobachtend und in sich geschlossen, in seiner Stellung auf der Anhöhe bis zum Schlusse des folgenden Auftrittes MIME schleicht heran und beobachtet vom Vordergrunde aus Siegfried Er sinnt und erwägt der Beute Wert. Weilte wohl hier ein weiser Wand rer, schweifte umher, beschwatzte das Kind mit list ger Runen Rat? Zwiefach schlau sei nun der Zwerg; die listigste Schlinge leg ich jetzt aus, dass ich mit traulichem Truggerede betöre das trotzige Kind. er tritt näher an Siegfried heran und bewillkommt diesen mit schmeichelnden Gebärden Willkommen, Siegfried! Sag , du Kühner, hast du das Fürchten gelernt? SIEGFRIED Den Lehrer fand ich noch nicht! MIME Doch den Schlangenwurm, du hast ihn erschlagen? Das war doch ein schlimmer Gesell? SIEGFRIED So grimm und tückisch er war, sein Tod grämt mich doch schier, da viel üblere Schächer unerschlagen noch leben! Der mich ihn morden hiess, den hass ich mehr als den Wurm! MIME sehr freundlich Nur sachte! Nicht lange siehst du mich mehr zum ew gen Schlaf schliess ich dir die Augen bald! Wozu ich dich brauchte, zärtlich hast du vollbracht; jetzt will ich nur noch die Beute dir abgewinnen. Mich dünkt, das soll mir gelingen; zu betören bist du ja leicht! SIEGFRIED So sinnst du auf meinen Schaden? MIME verwundert Wie sagt ich denn das? - Siegfried! Hör doch, mein Söhnchen! Dich und deine Art hasst ich immer von Herzen; zärtlich aus Liebe erzog ich dich Lästigen nicht dem Horte in Fafners Hut, dem Golde galt meine Müh . als verspräche er ihm hübsche Sachen Gibst du mir das gutwillig nun nicht, als wäre er bereit, sein Leben für ihn zu lassen Siegfried, mein Sohn, das siehst du wohl selbst, mit freundlichem Scherze dein Leben musst du mir lassen! SIEGFRIED Dass du mich hassest, hör ich gern doch auch mein Leben muss ich dir lassen? MIME ärgerlich Das sagt ich doch nicht? Du verstehst mich ja falsch! Er sucht sein Fläschchen hervor. Er gibt sich die ersichtlichste Mühe zur Verstellung Sieh , du bist müde von harter Müh ; brünstig wohl brennt dir der Leib dich zu erquicken mit queckem Trank säumt ich Sorgender nicht. Als dein Schwert du dir branntest, braut ich den Sud; trinkst du nun den, gewinn ich dein trautes Schwert, und mit ihm Helm und Hort. er kichert dazu SIEGFRIED So willst du mein Schwert und was ich erschwungen, Ring und Beute, mir rauben? MIME heftig Was du doch falsch mich verstehst! Stamml ich, fasl ich wohl gar? Die grösste Mühe geb ich mir doch, mein heimliches Sinnen heuchelnd zu bergen, und du dummer Bube deutest alles doch falsch! Öffne die Ohren, und vernimm genau Höre, was Mime meint! wieder sehr freundlich, mit ersichtlicher Mühe Hier nimm und trinke die Labung! Mein Trank labte dich oft tat st du wohl unwirsch, stelltest dich arg was ich dir bot, erbost auch, nahmst du s doch immer. SIEGFRIED ohne eine Miene zu verziehen Einen guten Trank hätt ich gern wie hast du diesen gebraut? MIME lustig scherzend, als schildere er ihm einen angenehm berauschten Zustand, den ihm der Saft bereiten soll Hei! So trink nur, trau meiner Kunst! In Nacht und Nebel sinken die Sinne dir bald ohne Wach und Wissen stracks streckst du die Glieder. Liegst du nun da, leicht könnt ich die Beute nehmen und bergen doch erwachtest du je, nirgends wär ich sicher vor dir, hätt ich selbst auch den Ring. Drum mit dem Schwert, das so scharf du schufst, mit einer Gebärde ausgelassener Lustigkeit hau ich dem Kind den Kopf erst ab dann hab ich mir Ruh und auch den Ring! Er kichert wieder SIEGFRIED Im Schlafe willst du mich morden? MIME wütend ärgerlich Was möcht ich? Sagt ich denn das? Er bemüht sich, den zärtlichsten Ton anzunehmen Ich will dem Kind mit sorglichster Deutlichkeit nur den Kopf abhau n! mit dem Ausdruck herzlicher Besorgtheit für Siegfrieds Gesundheit Denn hasste ich dich auch nicht so sehr, und hätt ich des Schimpfs und der schändlichen Mühe auch nicht so viel zu rächen sanft aus dem Wege dich zu räumen, darf ich doch nicht rasten wie käm ich sonst anders zur Beute, da Alberich auch nach ihr lugt? Er giesst den Saft in das Trinkhorn und führt dieses Siegfried mit aufdringlicher Gebärde zu Nun, mein Wälsung! Wolfssohn du! Sauf , und würg dich zu Tod Nie tust du mehr nen Schluck! Hihihihi! Siegfried holt mit dem Schwert aus. Er führt, wie in einer Anwandlung heftigen Ekels einen jähen Streich nach Mime; dieser stürzt sogleich tot zu Boden. Man hört Alberichs höhnisches Gelächter aus dem Geklüfte SIEGFRIED Schmeck du mein Schwert, ekliger Schwätzer! Er henkt, auf den am Boden Liegenden blickend, ruhig sein Schwert wieder ein Neides Zoll zahlt Notung dazu durft ich ihn schmieden. Er rafft Mimes Leichnam auf, trägt ihn auf die Anhöhe vor den Eingang der Höhle und wirft ihn dort hinein In der Höhle hier lieg auf dem Hort! Mit zäher List erzieltest du ihn jetzt magst du des wonnigen walten! Einen guten Wächter geb ich dir auch, dass er vor Dieben dich deckt. Er wälzt mit grosser Anstrengung den Leichnam des Wurmes vor den Eingang der Höhle, so dass er diesen ganz damit verstopft Da lieg auch du, dunkler Wurm! Den gleissenden Hort hüte zugleich mit dem beuterührigen Feind so fandet beide ihr nun Ruh ! Er blickt eine Weile sinnend in die Höhle hinab und wendet sich dann langsam, wie ermüdet, in den Vordergrund. Es ist Mittag. Er führt sich die Hand über die Stirn Heiss ward mir von der harten Last! Brausend jagt mein brünst ges Blut; die Hand brennt mir am Haupt. Hoch steht schon die Sonne aus lichtem Blau blickt ihr Aug auf den Scheitel steil mir herab. Linde Kühlung erkies ich unter der Linde! Er streckt sich unter der Linde aus und blickt wieder die Zweige hinauf Noch einmal, liebes Vöglein, da wir so lang lästig gestört, - lauscht ich gerne deinem Sange auf dem Zweige seh ich wohlig dich wiegen; zwitschernd umschwirren dich Brüder und Schwestern, umschweben dich lustig und lieb! Doch ich - bin so allein, hab nicht Brüder noch Schwestern meine Mutter schwand, mein Vater fiel nie sah sie der Sohn! Mein einz ger Gesell war ein garstiger Zwerg; Güte zwang warm uns nie zu Liebe; listige Schlingen warf mir der Schlaue; nun musst ich ihn gar erschlagen! Er blickt schmerzlich bewegt wieder nach den Zweigen auf Freundliches Vöglein, dich frage ich nun gönntest du mir wohl ein gut Gesell? Willst du mir das Rechte raten? Ich lockte so oft, und erlost es mir nie Du, mein Trauter, träfst es wohl besser, so recht ja rietest du schon. Nun sing ! Ich lausche dem Gesang. STIMME DES WALDVOGELS Hei! Siegfried erschlug nun den schlimmen Zwerg! Jetzt wüsst ich ihm noch das herrlichste Weib auf hohem Felsen sie schläft, Feuer umbrennt ihren Saal durchschritt er die Brunst, weckt er die Braut, Brünnhilde wäre dann sein! SIEGFRIED fährt mit jäher Heftigkeit vom Sitze auf O holder Sang! Süssester Hauch! Wie brennt sein Sinn mir sehrend die Brust! Wie zückt er heftig zündend mein Herz! Was jagt mir so jach durch Herz und Sinne? Sag es mir, süsser Freund! Er lauscht STIMME DES WALDVOGELS Lustig im Leid sing ich von Liebe; wonnig aus Weh web ich mein Lied nur Sehnende kennen den Sinn! SIEGFRIED Fort jagt s mich jauchzend von hinnen, fort aus dem Wald auf den Fels! Noch einmal sage mir, holder Sänger werd ich das Feuer durchbrechen? Kann ich erwecken die Braut? Siegfried lauscht noch mal STIMME DES WALDVOGELS Die Braut gewinnt, Brünnhilde erweckt ein Feiger nie nur wer das Fürchten nicht kennt! SIEGFRIED lacht auf vor Entzücken Der dumme Knab , der das Fürchten nicht kennt, mein Vöglein, der bin ja ich! Noch heute gab ich vergebens mir Müh, das Fürchten von Fafner zu lernen nun brenn ich vor Lust, es von Brünnhilde zu wissen! Wie find ich zum Felsen den Weg? Der Vogel flattert auf, kreist über Siegfried und fliegt ihm zögernd voran SIEGFRIED jauchzend So wird mir der Weg gewiesen wohin du flatterst folg ich dem Flug! Er läuft dem Vogel, welcher ihn neckend einige Zeitlang unstet nach verschiedenen Richtungen hinleitet, nach und folgt ihm endlich, als dieser mit einer bestimmten Wendung nach dem Hintergrunde davonfliegt. Der Vorhang fällt この日本語テキストは、 クリエイティブ・コモンズ・ライセンス の下でライセンスされています。@wagnerianchan Wagner,Richard/Siegfried/III+
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【Tags KurokamiStrong-P Miku tB tT M】 Original Music title 盲目の宇宙飛行士 English music title Blind Astronauts Romaji music title Moumoku no Uchuuhikoushi Music Lyrics written, Voice edited by 黒髪ストロングP(KurokamiStrong-P) Music arranged by 黒髪ストロングP(KurokamiStrong-P) Singer(s) 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics English Lyrics (translated by Slimeball)： A girl who is completely blind didn t know light all her life She always lowers her head alone Saying that she wants see light someday It s just like a fantasy A boy who has no difficulty with his eyes didn t know darkness He always laughs brightly To show light to the girl at once He pulls her hand and runs "There s a special place. Surely it will be even reflected in yours" He points at a hill where darkness escaped into Though the girl can t even see it Even the night sky lights bloom is Just a dream in front of the girl Though they shine so brightly like that, is it impossible to see? The doesn t know For some reason, the light rolls down the cheeks Though she can t even see it The girl who is completely blind doesn t know the world saturated with colors She came to smile shiningly Saying that it s fine with her, even if she cannot see She smiles at him without pretending to be tough A boy who has no difficulty with his eyes didn t know darkness doesn t know the world without colors He lost his smile gradually Saying that he will take her at any cost He makes desperate efforts to make a fantasy come true "If we reach there, surely, surely it will be even reflected in yours" He points at the sky where darkness started to melt Though the girl can t even see it Even the universe that lights bloom is Just a dream in front of the boy Though they shine so brightly, are they impossible to reach? The boy forgot For some reason, the light rolls down the cheeks He even forgot that It was not long before his eyes that dreamed the dream too much lost their lights He found he couldn t see anything His eyes won t even reflect the sky, himself or the girl "You can t understand anything because you don t know light from the beginning" Saying that it s fine with her, even if she cannot see She smiles at him without pretending to be tough The boy was forgetting the true reason He was forgetting the true light The girl says "I ve already found the true light" Even the universe that lights bloom is Just a dream in front of the boy Though they shine so brightly, are they impossible to reach? The boy realized and that was the reason why the light rolls down the cheeks Though he can t even see that Even the night sky lights bloom is Just a dream in front of the two Lights won t shine through their eyes The two realized Even so, a light is near by Two stars shine each other Though it s invisible to the eye Romaji lyrics (transliterated by Slimeball)： zenmou no shoujo umarete kono kata hikari wo shira nai itsumo hitori utsumuiteiru hikari wo itsuka mitemitai to sore wa marude yumemonogatari no youda seigan no shounen umarete kono kata yami wo shira nai itsumo karari waratteiru ima sugu hikari wo miseyou to shoujo no te wo hiki hashiru "totteoki no basho ga arunda kitto kimi nimo utsuru darou" kurayami ga nigekonda oka de kare wa yubi wo sasu shoujo wa sore sura mie nai noni hikari saku yozora mo shoujo no mae de wa tada no yume kon na ni hikatteitemo mie nai no ka shoujo wa shira nai naze daka hikari wa hoo wo tsutau sore sura mie nai noni zenmou no shoujo iro no houwashita sekai wo shira nai itsumo kirari warau youni naru mie nai mama de ii to tsuyogaru demo naku kare ni waraikakeru seigan no shounen iro no nai sekai wo shira nai itsu shika egao mo wasure iji demo tsureteikunda to yumemonogatari ni yakki ni naru "asoko made ikeba kitto kitto kimi nimo utsuru darou" kurayami ga tokedashita sora ni kare wa yubi wo sasu shoujo wa sore sura mie nai noni hikari saku uchuu mo shounen no mae de wa tada no yume an nani hikatteiru noni todoka nai no ka shounen wa wasureta naze daka hikari wa hoo wo tsutau sore sura yume wo misugita kare no me ga hikari wo nakusu made ni sou jikan mo kakaranakatta kizuku to nani mo mienakunatte ita sora mo jibun mo shoujo sae mo utsura nai "hajime kara hikari wo shira nai kimi ni wa nani mo wakara nai sa" shoujo wa mie nai mama de ii to tsuyogaru demo naku kare ni waraikakeru shounen wa hontou no riyuu wo wasureteita hontouno hikari wo wasureteita shoujo wa iu "hikari nara mou mitsuketa no" hikari saku uchuu mo shounen no mae de wa tada no yume an na ni hikatteita noni todoka nai no ka shounen wa shitta sore yue hikari wa hoo wo tsutau sore sura mie nai kedo hikari saku yozora mo futari no mae de wa tada no yume hikari wa futari no hitomi wo toukashi nai futari wa shitta sore demo hikari ga soba ni iru koto wo futatsu no terashiau hoshi me niwa mie nai kedo [KurokamiStrong-P, KurokamiStrongP, Kurokamisutorongu-P, KurokamisutoronguP]