約 5,337,958 件
https://w.atwiki.jp/oper/pages/3392.html
Le théâtre représente un parc. — À gauche, l’entrée d’une maison de riche apparence. — À droite, un petit pavillon. — Table et chaises de jardin. Scène PREMIÈRE （THÉODORINE, entrant et s’adressant au public.） Est-ce que ça se voit? hein?… Est-ce que ça se voit?… Ma figure est-elle toujours placide? Oui… allons tant mieux, car depuis dix-huit ans je cache dans les profondeurs de mon âme, un secret qui me tue!… Ce secret, — que personne ne connaît… heureusement! car s’il était connu, il est évident que ce ne serait plus un secret, — ce secret, dis-je, c’est surtout à mon mari que je dois le cacher… （s’interrompant et au public.） Eh bien non… Ce n’est pas ça… je n’ai jamais manqué à mes devoirs d’épouse… Jamais! jamais!… （Avec bonhomie.） Parole d’honneur… Du reste ce ne serait rien… rien du tout… C’est bien plus fort que ça!… Et ne pouvoir le dire, ne pouvoir le transvaser dans le sein d’une amie… Oh! les secrets, c’est comme les gros vins du Midi, quand ça a trop de bouteille ça s’aigrit! Le mien a besoin d’être soutiré… je vais toujours me le dire à moi-même pour me soulager. Voilà ce que c’est. Le tambour battait… ▼ROMBOÏDAL▲ （au dehors.） Ma femme!… Où est ma femme?… ▼THÉODORINE▲ Mon mari… Que le ciel le patafiole! il arrive toujours mal à propos. Scène II （ROMBOÏDAL, THÉODORINE.） ▼ROMBOÏDAL▲ （entrant.） Qu’est-ce qu’on me dit… mon cheval fourbu, mes porcelaines cassées, et c’est encore Hermosa!… Bridez votre fille, madame, bridez votre fille… ▼THÉODORINE▲ （doucement.） Mais, mon ami, je fais ce que je peux… ▼ROMBOÏDAL▲ Il est fabuleux que moi, Romboïdal, grand sénéchal du duc Cacatois XXII, souverain de l’île de Tulipatan, — moi, qui suis d’un caractère onctueux et d’un commerce agréable, il est fabuleux, dis-je, que j’aie pour fille une enfant aussi indisciplinée… C’est de votre faute, vous lui laissez faire toutes ses volontés… ▼THÉODORINE▲ （avec sentiment.） Octogène, je n’ai qu’elle!… ▼ROMBOÏDAL▲ （avec hauteur.） Est-ce un reproche que vous m’adressez, madame? ▼THÉODORINE▲ （doucement.） À Dieu ne plaise!… Quand on fait ce qu’on peut, on fait ce qu’on doit… Mais pourquoi récriminer, mon ami? — Hermosa est ainsi faite, nous ne pouvons pas la changer… on peut courber le zinc, mais l’acier, on le brise!… Octogène, vous ne voudriez pas que je la brisasse! ▼ROMBOÏDAL▲ Que vous la brisassiez, non, — que vous la bridassiez, oui… Tenez, madame, voulez-vous que je vous dise, ce n’est pas une fille que nous avons-là… C’est un garçon manqué! ▼THÉODORINE▲ （à part, très-émue.） Ô ciel! ▼ROMBOÏDAL▲ （vivement.） Qu’est-ce que vous dites, Théodorine? ▼THÉODORINE▲ （se remettant.） Rien, Octogène, rien… J’abonde dans votre sens… Une femme honnête doit toujours abonder dans le sens de son mari… （On entend au dehors un coup de fusil.） Quel est ce bruit? ▼ROMBOÏDAL▲ Parbleu! Je parie que c’est encore Hermosa qui fait des siennes… （Voyant entrer Hermosa.） Tenez! qu’est-ce que je disais!… Scène III （Les Mêmes, HERMOSA.） ▼HERMOSA▲ （entrant vivement par le fond, un fusil à la main.） J’aime le tintamarre Ce qui me séduit C’est la bagarre Et le bruit! On dit que je suis une fille Entre nous je trouve pourtant Qu’en silence tirer l’aiguille C’est bien fade et bien embêtant! J’aime le parfum de la poudre J’aime le bruit et le fracas, Laissons les machines à coudre Remmailler chastement les bas. J’aime le tintamarre Ce qui me séduit C’est la bagarre Et le bruit! Bing! bing! Patapouf! ▼HERMOSA▲ Bonjour, maman! Bonjour, papa! ▼ROMBOÏDAL▲ （lui prenant son fusil.） D’où viens-tu?… Qui est-ce qui t’a permis de prendre ce fusil? ▼HERMOSA▲ Personne… Mais j’aime ça, moi, les fusils!… Pif, paf!… ça fait du bruit… J’aime ça. ▼THÉODORINE▲ （doucement.） Si elle aime ça, mon ami… ▼ROMBOÏDAL▲ Voilà comme vous la soutenez toujours! ▼THÉODORINE▲ （avec sentiment.） Je n’ai qu’elle, Octogène ▼ROMBOÏDAL▲ Vous me l’avez déjà dit… Je vous répète, moi, que ces ustensiles sont déplacés dans des mains féminines… On n’a jamais vu ça!… ▼HERMOSA▲ （vivement.） Pardon, papa, pardon… Diane… ▼THÉODORINE▲ Elle a raison… Diane… Diane chasseresse, ne sortait jamais qu’en armes… et en petite tenue, en très-petite tenue… ▼ROMBOÏDAL▲ C’était une déesse… ▼THÉODORINE▲ Vous allez peut-être dire du mal des déesses, maintenant! ▼ROMBOÏDAL▲ Non! mais les déesses peuvent se permettre certaines fantaisies qu’une femme du monde doit s’interdire sévèrement. （À Alexis.） Vous pratiquez le fusil et vous négligez la couture et le piano… ▼HERMOSA▲ Oh! la couture, ça me crispe… Le piano, ça m’agace… J’aimerais bien mieux apprendre le cor de chasse… ▼ROMBOÏDAL▲ Le cor de chasse!… ▼HERMOSA▲ Ça résonne, ça fait du bruit… J’aime ça… ▼ROMBOÏDAL▲ Et moi je vous dis que le piano… ▼THÉODORINE▲ （vivement.） Mon Dieu, mon ami, si elle préfère les instruments à vent… où est le mal?… On dit que ça développe… ▼ROMBOÏDAL▲ Je la trouve suffisamment développée comme ça… d’ailleurs une jeune fille de son âge doit, avant tout, être suave… Eh bien, positivement, elle manque de suavité… ▼THÉODORINE▲ Je ne trouve pas… elle a sa petite suavité à elle. ▼ROMBOÏDAL▲ （avec amertume.） Ah! je ne suis pas un père chançard!… Je vois tout autour de nous des gens qui ont des enfants bien élevés, tandis que moi… Tenez, sans aller bien loin, notre gracieux du Cacatois… il a tous les bonheurs, lui!… D’abord il est veuf, c’est déjà une bonne chose… ▼THÉODORINE▲ Octogène, vous êtes amer… ▼ROMBOÏDAL▲ Pardon… et puis il a un fils, le prince Alexis, un enfant doux, tranquille et soumis… quoiqu’il appartienne au sexe fort… ▼HERMOSA▲ Et pourtant il est si gentil… Il a l’air d’une demoiselle… ▼THÉODORINE▲ （vivement.） Trop même… car son père s’en plaint… ▼HERMOSA▲ Ah! les pères se plaignent toujours… ça n’empêche pas que je le trouve charmant… Ah! papa! qu’il est joli, qu’il est joli, qu’il est joli! ▼ROMBOÏDAL▲ Eh bien! Hermosal qu’est-ce que ça veut dire?… Sapristi, un peu de retenue!… ▼HERMOSA▲ Mais papa!… j’en ai… ▼ROMBOÏDAL▲ Pas assez!… ▼HERMOSA▲ （se révoltant.） Ah! bien! tant pis… je suis dans l’âge où le cœur doit parler… et le mien parlera… il parlera!… il parlera!… ▼ROMBOÏDAL▲ （à Théodorine, avec amertume.） Quand je vous disais de la brider, avais-je raison, madame? ▼THÉODORINE▲ （apercevant un valet qui entre.） Silence devant la domesticité, mon ami! ▼ROMBOÏDAL▲ （au valet.） Qu’est-ce?… （Le valet lui parle bas.） Ah! mon Dieu!… Ah! mon Dieu! ▼THÉODORINE▲ Qu’y a-t-il donc? ▼ROMBOÏDAL▲ Le duc… le duc qui vient chez moi… ▼THÉODORINE▲ Le duc! ▼ROMBOÏDAL▲ （à sa femme.） Ôtez donc vos papillotes… （Théodorine ôte ses papillotes.） ▼THÉODORINE▲ Voilà… voilà… ▼ROMBOÏDAL▲ Attention! voici Son Altesse!… Scène IV （Les Mêmes, CACATOIS XXII, Officiers, Valets, Seigneurs, Dames, puis ALEXIS. ▼CHŒUR▲ Vive le grand Cacatois! Répétons tous à la fois Avec attendrissement, Vive Cacatois le Grand! ▼CACATOIS▲ Prince doux et fort débonnaire, Vous voyez le grand Cacatois. Mes sujets, dont je suis le père, M’aiment tous, du moins je le crois. Si l’on vous dit dans les gazettes Que je ne digère pas bien, Que j’ai payé toutes mes dettes, Mes chers amis, n’en croyez rien! Sur ma parole, C’est un canard! Un bruit frivole, Un traquenard! C’est un canard! Coin! coin! coin! coin! Si parfois un journal affirme En tête de ses faits-divers, Que je ne suis qu’un vieil infirme, Et que j’entends tout de travers! Si l’on dit que je perds la tête Et ma fortune aux dominos, Que je suis quelquefois pompette… Ne croyez pas à ces propos! Sur ma parole C’est un canard, Un bruit frivole, Un traquenard! C’est un canard. Coin! coin! coin! coin! ▼ROMBOÏDAL▲ （s’avançant pour le complimenter.） Ce jour, prince, est un jour… est le plus beau des jours… ▼CACATOIS▲ （l’interrompant.） Bon! bon! cela suffit… abrège ton discours… ▼ROMBOÏDAL▲ Volontiers… mais où donc est le prince Alexis? ▼CACATOIS▲ Sur un banc de ton parc, je crois qu’il est assis, Il y pleure comme une biche Un oiseau, de sa cage envolé ce matin… ▼ROMBOÏDAL▲ （remontant un peu.） Le voici qui paraît à l’angle du jardin… ▼CACATOIS▲ （regardant au fond.） En pleurnichant encor!… ▼HERMOSA▲ （avec élan.） Dam! s’il a du chagrin! ▼CACATOIS▲ （avec colère.） Je n’aime pas à voir un prince qui pleurniche! （Alexis entre par le fond suivi de ses pages.） ▼ALEXIS▲ J’ai perdu mon ami, J’ai l’âme désolée! Mon joli colibri, Il a pris sa volée! Tous les matins j’ornais sa cage Et l’admirais à mon réveil. Ah! que j’aimais son doux ramage Au premier rayon du soleil! J’ai perdu mon ami, Etc., etc. Mais maintenant où peut-il être? Si je le voyais revenir, Ah! je fermerais ma fenêtre Pour l’empêcher de repartir! J’ai perdu mon ami! Mon âme est désolée, Mon joli colibri, Il a pris sa volée! ▼CACATOIS▲ （avec colère, à Alexis.） Quand vous aurez fini de pleurer de la sorte, Vous le direz. （À sa suite.） Que tout le monde sorte! ▼LE CHŒUR▲ （en pleurant.） J’ai perdu mon ami, J’ai l’âme est désolée… ▼CACATOIS▲ （les interrompant.） Non, non, pas cet air-là. — Le refrain précédent Pour un chœur de sortie a bien plus de mordant! ▼LE CHŒUR▲ Sur ma parole, C’est un canard! Un bruit frivole, Un traquenard! C’est un canard! Coin! coin! coin! coin! （Les seigneurs, les dames, les soldats et les pages se retirent.） Scène V （CACATOIS, ROMBOÏDAL, THÉODORINE, HERMOSA, ALEXIS.） ▼CACATOIS▲ A-t-on jamais vu!… se désoler comme ça pour un oiseau!… （À Alexis.） Est-ce que ça va durer longtemps? ▼ALEXIS▲ （baissant les yeux.） Mon père, je… （Il s’arrête.） ▼CACATOIS▲ （l’imitant.） Mon père, je… mon père, je… Ça n’est pas une réponse… nom d’une trompette! De tous temps les Cacatois ont été de rudes lapins… vous, monsieur, vous n’êtes pas un rude lapin… on l’a déjà remarqué… ▼ALEXIS▲ Je ferai mon possible pour changer… ▼HERMOSA▲ （vivement.） Ah! ce serait dommage!… ▼ROMBOÏDAL▲ （sévèrement.） Hermosa!… ▼CACATOIS▲ Je suis fâché de l’avouer devant le monde… mais vous manquez de zinc, Alexis. — vous manquez complétement de zinc! Vous êtes d’une timidité, d’une froideur!… Ah! songez, quelle humiliation ce serait pour moi si j’entendais le peuple s’écrier sur votre passage Orgeat, limonade, bière!… ▼ALEXIS▲ Papa!… ▼CACATOIS▲ （furieux.） Brisons là!… （Tirant sa montre, à Romboïdal.） Quelle heure as-tu? ▼ROMBOÏDAL▲ （tirant sa montre.） Une heure trois quarts… ▼CACATOIS▲ Tu vas bien? ▼ROMBOÏDAL▲ （lui tendant la main.） Pas mal, et vous? ▼CACATOIS▲ （la repoussant avec violence.） Je ne te parle pas de ta santé, ça m’est bien égal. （Changeant de ton et très-gaiement.） Moi, ça va bien… il n’y a que mon lombago qui me tourmente, ▼THÉODORINE▲ Voilà ce qu’on gagne à guerroyer! ▼HERMOSA▲ （vivement.） Oh! la guerre!… la guerre!… Pif! paf!… boum!… ça fait du bruit… J’aime ça!… ▼THÉODORINE▲ （bas.） Hermosa, je t’en prie… Ton père va encore bougonner!… ▼CACATOIS▲ （mettant son lorgnon.） Oh! oh!… c’est ta fille… toujours une gaillarde, à ce que je vois… ▼ROMBOÏDAL▲ Toujours, monseigneur. ▼CACATOIS▲ Il faut la marier, ça la calmera… J’ai aussi quelques idées pour mon fils… Je lui cherche un bon parti.. ▼ROMBOÏDAL▲ （avec effroi.） Eh quoi! vous voudriez!… Il est encore bien jeune… ▼CACATOIS▲ Les Cacatois se marient très-jeunes… ça leur est ordonné… ▼ROMBOÏDAL▲ （à part.） Ah! mon Dieu!… que faire? ▼CACATOIS▲ （tirant sa montre.） Quelle heure as-tu? ▼ROMBOÏDAL▲ （à part.） C’est un nouveau tic… （Tirant sa montre.） Deux heures moins cinq… ▼CACATOIS▲ Tu vas bien? ▼ROMBOÏDAL▲ （troublé et lui tendant la main.） Pas mal… et vous?… ▼CACATOIS▲ （la repoussant avec colère.） Mais, sapristi! je ne te parle pas de ta santé… je t’ai déjà dit que ça m’était bien égal… Si je te demande ça, c’est parce que c’est l’heure de mon déjeuner. ▼THÉODORINE▲ （vivement.） Votre déjeuner! monseigneur daignerait-il nous faire l’honneur… ▼CACATOIS▲ Je vous ferai cet honneur. ▼ROMBOÏDAL▲ Que de bonté! （Bas à sa femme） Encore une dépense, vous aviez bien besoin de l’inviter. ▼THÉODORINE▲ Il se serait invité tout seul… Dites donc, Octogène, vous savez que je n’ai plus d’argent, nous sommes à la fin du mois. ▼ROMBOÏDAL▲ （bas.） Comment la fin du mois… nous sommes le 4. ▼THÉODORINE▲ （étonnée.） Le 4… ça ne m’a pas semblé long. ▼ROMBOÏDAL▲ Il suffit! voici 5 francs ; du moment qu’on fait les choses, il faut les faire convenablement. ▼THÉODORINE▲ （à part.） Quel pingre!… （Haut, à Cacatois.） Monseigneur, je vais donner des ordres （En s’en allant.） et m’ouvrir un œil dans le quartier!… （Elle sort par le fond.） ▼CACATOIS▲ （satisfait.） Un pareil empressement! je reviendrai souvent, très-souvent. （À Romboïdal.） Passons dans ton cabinet de travail, j’ai quatre cent trente-cinq pétitions à lire et deux mille trois cent vingt-sept signatures à donner avant le déjeuner. ▼ROMBOÏDAL▲ Permettez que je vous montre le chemin… ▼CACATOIS▲ （ à son fils.） Attends-moi un instant, Alexis… et du zinc, mon ami, du zinc… Songez quelle humiliation… （S’arrêtant.） Ah! je l’ai déjà dit. （À Romboïdal.） Marche, je te suis!… （Ils sortent à gauche.） Scène VI （ALEXIS, HERMOSA.） ▼HERMOSA▲ Quel bonheur, prince, on nous laisse ensemble… nous voilà en tête-à-tête. ▼ALEXIS▲ （s’éloignant.） C’est vrai, mademoiselle… ▼HERMOSA▲ Vous me fuyez! ▼ALEXIS▲ Non… mais seul avec une jeune fille… j’ai si peu l’habitude… ▼HERMOSA▲ Ne rougissez pas… ça n’en vaut pas la peine… et profitez du moment pour me faire la cour. ▼ALEXIS▲ La cour?… ▼HERMOSA▲ Certainement… ▼ALEXIS▲ （baissant les yeux.） C’est que je n’ose pas. ▼HERMOSA▲ Vous avez tort, il faut être audacieux… D’ailleurs nous sommes faits pour nous entendre ; vous êtes musicien, je suis musicienne, la musique nous mettra d’accord!… De quoi jouez-vous? ▼ALEXIS▲ De l’accordéon, et vous? ▼HERMOSA▲ Moi! de tout ce qui tape, résonne et fait du bruit. AIR J’aime tout ce qui sonne, Ce qui vibre et résonne, Je sens avec plaisir Mon cœur s’épanouir, Aux accords du trombone. （Imitant le trombone.） Cuin, cuin, cuin, cuin. Les instruments de guerre, Sont ceux que je préfère, Pour moi c’est un beau jour, Quand j’entends du tambour Le rafla populaire, （Imitant le tambour.） Rafla, raflafla, raflafla. Pour charmer une belle, À la flûte au basson, Je préfère le son Du violoncelle. （Imitant le violoncelle.） Froum… froum! froum… ENSEMBLE. Ah quel plaisir, quelle douceur, Ces instruments font mon bonheur! ▼HERMOSA▲ Vous voyez que nous nous entendons parfaitement ; allons, faites-moi votre déclaration. ▼ALEXIS▲ （avec effroi.） Ma déclaration?… ▼HERMOSA▲ Certainement, moi je suis une jeune fille… mon rôle est de rougir, de balbutier… Vous, vous devez être hardi et entraînant… vous devez vous mettre à mes genoux. ▼ALEXIS▲ À vos genoux?… ▼HERMOSA▲ （s’animant.） Allons, monsieur, mettez-vous à mes genoux! ▼ALEXIS▲ （troublé.） À vos genoux… ▼HERMOSA▲ （avec dépit.） Ah! si j’étais à votre place, il y a longtemps que ce serait fait… ▼ALEXIS▲ （vivement.） Ne me grondez pas… （se mettant à genoux.） M’y voici… ▼HERMOSA▲ À la bonne heure… je me recule un peu… par pudeur… mais vous, vous avancez vivement en me prenant la main… prenez-moi donc la main. ▼ALEXIS▲ （lui prenant la main.） Ah! comme il faut du courage!… （Hermosa fait un mouvement.） Mais j’en aurai… j’en aurai!… ▼HERMOSA▲ （l’imitant.） J’en aurai… j’en aurai… ayez-en… dites-moi Chère Hermosa, je vous aime… je vais parler à mon père… lui dire que nous voulons qu’on nous marie… demain… aujourd’hui… tout de suite… Mais allez donc… vous ne m’aidez pas du tout. ▼ALEXIS▲ （entraîné.） Si, si, vous avez raison… je parlerai à mon père… et je lui dirai que jamais, non jamais, je n’aurai d’autre femme que vous… （Il se jette aux genoux d’Hermosa.） Scène VII （Les Mêmes, ROMBOÏDAL et THÉODORINE.） ▼ROMBOÏDAL▲ （les apercevant.） Ciel!… que vois-je?… ▼THÉODORINE▲ （les apercevant.） Ah! sapristi! nom d’une bobinette! Voilà ce que je redoutais!… ▼HERMOSA▲ Pincés!… ça ne rate jamais! ▼ROMBOÏDAL▲ Eh quoi, prince… ▼ALEXIS▲ （se relevant.） Pas un mot… conduisez-moi près de mon père, il faut que je lui parle. ▼ROMBOÏDAL▲ Pardon, c’est que j’aurais voulu causer avec ma fille… ▼ALEXIS▲ （avec autorité.） Faites d’abord ce que je vous demande… ▼ROMBOÏDAL▲ Mais… ▼ALEXIS▲ （avec force.） Ce que je vous ordonne alors… obéissez, monsieur!… ▼ROMBOÏDAL▲ （surpris.） Quel changement!… （s’inclinant.） Altesse, je suis votre serviteur… （Avant de s’en aller, regardant Hermosa.） Oh! je reviendrai… je reviendrai… （Il sort avec Alexis par la gauche.） Scène VIII （THÉODORINE, HERMOSA.） ▼THÉODORINE▲ （à part.） Le silence n’est plus possible… allons, allons, il n’y a pas à hésiter… （Haut.） Hermosa, veuillez vous seoir. （D’une voix creuse.） J’ai un secret important à vous confier. ▼HERMOSA▲ Vous m’effrayez, maman… Vous avez l’air tout chose… ▼THÉODORINE▲ Fichtre! on le serait à moins… et tout d’abord je dois te dire que si tu mijotais des projets d’union avec le jeune Alexis il faudrait mettre ces projets dans le sac aux oublis… ▼HERMOSA▲ Impossible, maman… nous venons d’échanger des serments, je lui ai promis ma main… ▼THÉODORINE▲ Il y a mal-donne… et quand il y a mal-donne, la main passe. ▼HERMOSA▲ Ma mère… ma mère… vous êtes ambiguë… je ne vous comprends pas. ▼THÉODORINE▲ Tu me comprendras quand j’aurai déversé dans ton cœur le trop plein du mien. ▼HERMOSA▲ Déversez, alors, déversez!… ▼THÉODORINE▲ Je déverse… Il y avait une fois un grand sénéchal. （Hermosa fait un mouvement.） Ça commence comme un conte, mais rassure-toi, c’est de l’histoire… je reprends Il y avait une fois un grand sénéchal… ce grand sénéchal （nous le nommerons tout à l’heure） était marié avec une femme d’une beauté idéale et d’un esprit cultivé, une femme adorable!… cette femme （nous la nommerons tout à l’heure）, il lui naquit un bébé… ce bébé （nous le nommerons tout à l’heure） était charmant… adorable… comme sa mère dont il était la réduction Collas… par malheur le grand sénéchal était au service d’un duc qui venait de déclarer la guerre à ses voisins… Le tambour battait… la guerre menaçait de se prolonger indéfiniment, la mère trembla pour sa progéniture, et lors de la déclaration à la mairie de son arrondissement, elle eut la faiblesse d’annoncer une fille, au lieu d’un fils, au respectable employé préposé aux naissances. ▼HERMOSA▲ C’est très-intéressant… mais je ne comprends pas encore… ▼THÉODORINE▲ Tu ne comprends pas… alors mettons-y les noms… ce duc c’était Cacatois XXII… cette mère charmante, adorable, c’était moi… et ce bébé… ▼HERMOSA▲ （avec un cri.） C’était moi! ▼THÉODORINE▲ （se cachant la tête dans ses mains.） Tu l’as dit!… Tu l’as dit!… J’ai trompé ton père sur ton état civil… Tu n’appartiens pas au sexe gracieux et faible… Tu fais partie de celui qui a produit les Romulus, les Caracalla et les Pompée! ▼HERMOSA▲ Voilà donc pourquoi je manquais de flou… quelle révélation!… Ah! je suis un homme… morbleu! tête-bleue!… ▼THÉODORINE▲ （effrayée.） Ventre-bleu, silence, malheureux!… Si ton père t’entendait… Certainement il a d’excellentes qualités d’abord c’est un honnête homme… mais je le connais, c’est bien l’être le plus rageur… le plus susceptible… et s’il apprend que je l’ai abusé pendant dix-huit ans il est capable de s’en formaliser. ▼HERMOSA▲ Mais pourtant… ▼THÉODORINE▲ Laisse-moi le temps de le préparer adroitement… je profiterai d’un moment… où il sera bien disposé… il est vrai qu’il ne l’est jamais… enfin… je verrai… je chercherai… on dit que la foudre a des effets très-singuliers… un jour qu’il fera un joli petit orage, je mettrai peut-être ça sur le dos du tonnerre… qu’en dis-tu? ▼HERMOSA▲ Dam! il faudrait savoir si c’est dans les choses possibles. ▼THÉODORINE▲ Sois tranquille, je consulterai le pharmacien. ▼HERMOSA▲ Mais papa croira-t-il? ▼THÉODORINE▲ Parbleu!… je te l’ai déjà dit, ton père est un homme supé rieur, mais il est bête à manger du foin pour ces choses-là… quant au prince Alexis, tu comprends maintenant… qu’il faut y renoncer. ▼HERMOSA▲ （soupirant.） Ah oui… c’est dommage! ▼THÉODORINE▲ （attirant Hermosa dans ses bras.） Ô mon fils!… jusque-là, jure-moi le secret le plus absolu… ▼HERMOSA▲ Je vous le jure, maman… mais vous savez, au premier orage… ▼THÉODORINE▲ C’est convenu… （Voyant entrer Romboïdal.） Silence! voici ton père!… Scène IX （Les Mêmes, ROMBOÏDAL.） ▼ROMBOÏDAL▲ （qui entre vivement.） Ma femme est encore-là… éloignons-la adroitement. （Haut.） Théodorine… ▼THÉODORINE▲ Mon ami… ▼ROMBOÏDAL▲ La bonne demande une nappe et les couteaux à dessert… ▼THÉODORINE▲ J’y vais, Octogène… （À Hermosa.） Tu me l’as juré!… Silence!… （Haut.） J’y vais!… ▼THÉODORINE▲ Je vais chercher les petites cuillers Pour ce festin nous ne lésinons pas, Puis j’atteindrai les couteaux à desserts, Ça fait très-bien à la fin d’un repas. ENSEMBLE. Allez chercher les petites cuillers, etc. etc. Le théâtre représente un parc. — À gauche, l’entrée d’une maison de riche apparence. — À droite, un petit pavillon. — Table et chaises de jardin. Scène PREMIÈRE THÉODORINE, entrant et s’adressant au public. Est-ce que ça se voit? hein?… Est-ce que ça se voit?… Ma figure est-elle toujours placide? Oui… allons tant mieux, car depuis dix-huit ans je cache dans les profondeurs de mon âme, un secret qui me tue!… Ce secret, — que personne ne connaît… heureusement! car s’il était connu, il est évident que ce ne serait plus un secret, — ce secret, dis-je, c’est surtout à mon mari que je dois le cacher… s’interrompant et au public. Eh bien non… Ce n’est pas ça… je n’ai jamais manqué à mes devoirs d’épouse… Jamais! jamais!… Avec bonhomie. Parole d’honneur… Du reste ce ne serait rien… rien du tout… C’est bien plus fort que ça!… Et ne pouvoir le dire, ne pouvoir le transvaser dans le sein d’une amie… Oh! les secrets, c’est comme les gros vins du Midi, quand ça a trop de bouteille ça s’aigrit! Le mien a besoin d’être soutiré… je vais toujours me le dire à moi-même pour me soulager. Voilà ce que c’est. Le tambour battait… ROMBOÏDAL au dehors. Ma femme!… Où est ma femme?… THÉODORINE Mon mari… Que le ciel le patafiole! il arrive toujours mal à propos. Scène II ROMBOÏDAL, THÉODORINE. ROMBOÏDAL entrant. Qu’est-ce qu’on me dit… mon cheval fourbu, mes porcelaines cassées, et c’est encore Hermosa!… Bridez votre fille, madame, bridez votre fille… THÉODORINE doucement. Mais, mon ami, je fais ce que je peux… ROMBOÏDAL Il est fabuleux que moi, Romboïdal, grand sénéchal du duc Cacatois XXII, souverain de l’île de Tulipatan, — moi, qui suis d’un caractère onctueux et d’un commerce agréable, il est fabuleux, dis-je, que j’aie pour fille une enfant aussi indisciplinée… C’est de votre faute, vous lui laissez faire toutes ses volontés… THÉODORINE avec sentiment. Octogène, je n’ai qu’elle!… ROMBOÏDAL avec hauteur. Est-ce un reproche que vous m’adressez, madame? THÉODORINE doucement. À Dieu ne plaise!… Quand on fait ce qu’on peut, on fait ce qu’on doit… Mais pourquoi récriminer, mon ami? — Hermosa est ainsi faite, nous ne pouvons pas la changer… on peut courber le zinc, mais l’acier, on le brise!… Octogène, vous ne voudriez pas que je la brisasse! ROMBOÏDAL Que vous la brisassiez, non, — que vous la bridassiez, oui… Tenez, madame, voulez-vous que je vous dise, ce n’est pas une fille que nous avons-là… C’est un garçon manqué! THÉODORINE à part, très-émue. Ô ciel! ROMBOÏDAL vivement. Qu’est-ce que vous dites, Théodorine? THÉODORINE se remettant. Rien, Octogène, rien… J’abonde dans votre sens… Une femme honnête doit toujours abonder dans le sens de son mari… On entend au dehors un coup de fusil. Quel est ce bruit? ROMBOÏDAL Parbleu! Je parie que c’est encore Hermosa qui fait des siennes… Voyant entrer Hermosa. Tenez! qu’est-ce que je disais!… Scène III Les Mêmes, HERMOSA. HERMOSA entrant vivement par le fond, un fusil à la main. J’aime le tintamarre Ce qui me séduit C’est la bagarre Et le bruit! On dit que je suis une fille Entre nous je trouve pourtant Qu’en silence tirer l’aiguille C’est bien fade et bien embêtant! J’aime le parfum de la poudre J’aime le bruit et le fracas, Laissons les machines à coudre Remmailler chastement les bas. J’aime le tintamarre Ce qui me séduit C’est la bagarre Et le bruit! Bing! bing! Patapouf! HERMOSA Bonjour, maman! Bonjour, papa! ROMBOÏDAL lui prenant son fusil. D’où viens-tu?… Qui est-ce qui t’a permis de prendre ce fusil? HERMOSA Personne… Mais j’aime ça, moi, les fusils!… Pif, paf!… ça fait du bruit… J’aime ça. THÉODORINE doucement. Si elle aime ça, mon ami… ROMBOÏDAL Voilà comme vous la soutenez toujours! THÉODORINE avec sentiment. Je n’ai qu’elle, Octogène ROMBOÏDAL Vous me l’avez déjà dit… Je vous répète, moi, que ces ustensiles sont déplacés dans des mains féminines… On n’a jamais vu ça!… HERMOSA vivement. Pardon, papa, pardon… Diane… THÉODORINE Elle a raison… Diane… Diane chasseresse, ne sortait jamais qu’en armes… et en petite tenue, en très-petite tenue… ROMBOÏDAL C’était une déesse… THÉODORINE Vous allez peut-être dire du mal des déesses, maintenant! ROMBOÏDAL Non! mais les déesses peuvent se permettre certaines fantaisies qu’une femme du monde doit s’interdire sévèrement. À Alexis. Vous pratiquez le fusil et vous négligez la couture et le piano… HERMOSA Oh! la couture, ça me crispe… Le piano, ça m’agace… J’aimerais bien mieux apprendre le cor de chasse… ROMBOÏDAL Le cor de chasse!… HERMOSA Ça résonne, ça fait du bruit… J’aime ça… ROMBOÏDAL Et moi je vous dis que le piano… THÉODORINE vivement. Mon Dieu, mon ami, si elle préfère les instruments à vent… où est le mal?… On dit que ça développe… ROMBOÏDAL Je la trouve suffisamment développée comme ça… d’ailleurs une jeune fille de son âge doit, avant tout, être suave… Eh bien, positivement, elle manque de suavité… THÉODORINE Je ne trouve pas… elle a sa petite suavité à elle. ROMBOÏDAL avec amertume. Ah! je ne suis pas un père chançard!… Je vois tout autour de nous des gens qui ont des enfants bien élevés, tandis que moi… Tenez, sans aller bien loin, notre gracieux du Cacatois… il a tous les bonheurs, lui!… D’abord il est veuf, c’est déjà une bonne chose… THÉODORINE Octogène, vous êtes amer… ROMBOÏDAL Pardon… et puis il a un fils, le prince Alexis, un enfant doux, tranquille et soumis… quoiqu’il appartienne au sexe fort… HERMOSA Et pourtant il est si gentil… Il a l’air d’une demoiselle… THÉODORINE vivement. Trop même… car son père s’en plaint… HERMOSA Ah! les pères se plaignent toujours… ça n’empêche pas que je le trouve charmant… Ah! papa! qu’il est joli, qu’il est joli, qu’il est joli! ROMBOÏDAL Eh bien! Hermosal qu’est-ce que ça veut dire?… Sapristi, un peu de retenue!… HERMOSA Mais papa!… j’en ai… ROMBOÏDAL Pas assez!… HERMOSA se révoltant. Ah! bien! tant pis… je suis dans l’âge où le cœur doit parler… et le mien parlera… il parlera!… il parlera!… ROMBOÏDAL à Théodorine, avec amertume. Quand je vous disais de la brider, avais-je raison, madame? THÉODORINE apercevant un valet qui entre. Silence devant la domesticité, mon ami! ROMBOÏDAL au valet. Qu’est-ce?… Le valet lui parle bas. Ah! mon Dieu!… Ah! mon Dieu! THÉODORINE Qu’y a-t-il donc? ROMBOÏDAL Le duc… le duc qui vient chez moi… THÉODORINE Le duc! ROMBOÏDAL à sa femme. Ôtez donc vos papillotes… Théodorine ôte ses papillotes. THÉODORINE Voilà… voilà… ROMBOÏDAL Attention! voici Son Altesse!… Scène IV {Les Mêmes, CACATOIS XXII, Officiers, Valets, Seigneurs, Dames, puis ALEXIS. CHŒUR Vive le grand Cacatois! Répétons tous à la fois Avec attendrissement, Vive Cacatois le Grand! CACATOIS Prince doux et fort débonnaire, Vous voyez le grand Cacatois. Mes sujets, dont je suis le père, M’aiment tous, du moins je le crois. Si l’on vous dit dans les gazettes Que je ne digère pas bien, Que j’ai payé toutes mes dettes, Mes chers amis, n’en croyez rien! Sur ma parole, C’est un canard! Un bruit frivole, Un traquenard! C’est un canard! Coin! coin! coin! coin! Si parfois un journal affirme En tête de ses faits-divers, Que je ne suis qu’un vieil infirme, Et que j’entends tout de travers! Si l’on dit que je perds la tête Et ma fortune aux dominos, Que je suis quelquefois pompette… Ne croyez pas à ces propos! Sur ma parole C’est un canard, Un bruit frivole, Un traquenard! C’est un canard. Coin! coin! coin! coin! ROMBOÏDAL s’avançant pour le complimenter. Ce jour, prince, est un jour… est le plus beau des jours… CACATOIS l’interrompant. Bon! bon! cela suffit… abrège ton discours… ROMBOÏDAL Volontiers… mais où donc est le prince Alexis? CACATOIS Sur un banc de ton parc, je crois qu’il est assis, Il y pleure comme une biche Un oiseau, de sa cage envolé ce matin… ROMBOÏDAL remontant un peu. Le voici qui paraît à l’angle du jardin… CACATOIS regardant au fond. En pleurnichant encor!… HERMOSA avec élan. Dam! s’il a du chagrin! CACATOIS avec colère. Je n’aime pas à voir un prince qui pleurniche! Alexis entre par le fond suivi de ses pages. ALEXIS J’ai perdu mon ami, J’ai l’âme désolée! Mon joli colibri, Il a pris sa volée! Tous les matins j’ornais sa cage Et l’admirais à mon réveil. Ah! que j’aimais son doux ramage Au premier rayon du soleil! J’ai perdu mon ami, Etc., etc. Mais maintenant où peut-il être? Si je le voyais revenir, Ah! je fermerais ma fenêtre Pour l’empêcher de repartir! J’ai perdu mon ami! Mon âme est désolée, Mon joli colibri, Il a pris sa volée! CACATOIS avec colère, à Alexis. Quand vous aurez fini de pleurer de la sorte, Vous le direz. À sa suite. Que tout le monde sorte! LE CHŒUR en pleurant. J’ai perdu mon ami, J’ai l’âme est désolée… CACATOIS les interrompant. Non, non, pas cet air-là. — Le refrain précédent Pour un chœur de sortie a bien plus de mordant! LE CHŒUR Sur ma parole, C’est un canard! Un bruit frivole, Un traquenard! C’est un canard! Coin! coin! coin! coin! Les seigneurs, les dames, les soldats et les pages se retirent. Scène V CACATOIS, ROMBOÏDAL, THÉODORINE, HERMOSA, ALEXIS. CACATOIS A-t-on jamais vu!… se désoler comme ça pour un oiseau!… À Alexis. Est-ce que ça va durer longtemps? ALEXIS baissant les yeux. Mon père, je… Il s’arrête. CACATOIS l’imitant. Mon père, je… mon père, je… Ça n’est pas une réponse… nom d’une trompette! De tous temps les Cacatois ont été de rudes lapins… vous, monsieur, vous n’êtes pas un rude lapin… on l’a déjà remarqué… ALEXIS Je ferai mon possible pour changer… HERMOSA vivement. Ah! ce serait dommage!… ROMBOÏDAL sévèrement. Hermosa!… CACATOIS Je suis fâché de l’avouer devant le monde… mais vous manquez de zinc, Alexis. — vous manquez complétement de zinc! Vous êtes d’une timidité, d’une froideur!… Ah! songez, quelle humiliation ce serait pour moi si j’entendais le peuple s’écrier sur votre passage Orgeat, limonade, bière!… ALEXIS Papa!… CACATOIS furieux. Brisons là!… Tirant sa montre, à Romboïdal. Quelle heure as-tu? ROMBOÏDAL tirant sa montre. Une heure trois quarts… CACATOIS Tu vas bien? ROMBOÏDAL lui tendant la main. Pas mal, et vous? CACATOIS la repoussant avec violence. Je ne te parle pas de ta santé, ça m’est bien égal. Changeant de ton et très-gaiement. Moi, ça va bien… il n’y a que mon lombago qui me tourmente, THÉODORINE Voilà ce qu’on gagne à guerroyer! HERMOSA vivement. Oh! la guerre!… la guerre!… Pif! paf!… boum!… ça fait du bruit… J’aime ça!… THÉODORINE bas. Hermosa, je t’en prie… Ton père va encore bougonner!… CACATOIS mettant son lorgnon. Oh! oh!… c’est ta fille… toujours une gaillarde, à ce que je vois… ROMBOÏDAL Toujours, monseigneur. CACATOIS Il faut la marier, ça la calmera… J’ai aussi quelques idées pour mon fils… Je lui cherche un bon parti.. ROMBOÏDAL avec effroi. Eh quoi! vous voudriez!… Il est encore bien jeune… CACATOIS Les Cacatois se marient très-jeunes… ça leur est ordonné… ROMBOÏDAL à part. Ah! mon Dieu!… que faire? CACATOIS tirant sa montre. Quelle heure as-tu? ROMBOÏDAL à part. C’est un nouveau tic… Tirant sa montre. Deux heures moins cinq… CACATOIS Tu vas bien? ROMBOÏDAL troublé et lui tendant la main. Pas mal… et vous?… CACATOIS la repoussant avec colère. Mais, sapristi! je ne te parle pas de ta santé… je t’ai déjà dit que ça m’était bien égal… Si je te demande ça, c’est parce que c’est l’heure de mon déjeuner. THÉODORINE vivement. Votre déjeuner! monseigneur daignerait-il nous faire l’honneur… CACATOIS Je vous ferai cet honneur. ROMBOÏDAL Que de bonté! Bas à sa femme Encore une dépense, vous aviez bien besoin de l’inviter. THÉODORINE Il se serait invité tout seul… Dites donc, Octogène, vous savez que je n’ai plus d’argent, nous sommes à la fin du mois. ROMBOÏDAL bas. Comment la fin du mois… nous sommes le 4. THÉODORINE étonnée. Le 4… ça ne m’a pas semblé long. ROMBOÏDAL Il suffit! voici 5 francs ; du moment qu’on fait les choses, il faut les faire convenablement. THÉODORINE à part. Quel pingre!… Haut, à Cacatois. Monseigneur, je vais donner des ordres En s’en allant. et m’ouvrir un œil dans le quartier!… Elle sort par le fond. CACATOIS satisfait. Un pareil empressement! je reviendrai souvent, très-souvent. À Romboïdal. Passons dans ton cabinet de travail, j’ai quatre cent trente-cinq pétitions à lire et deux mille trois cent vingt-sept signatures à donner avant le déjeuner. ROMBOÏDAL Permettez que je vous montre le chemin… CACATOIS à son fils. Attends-moi un instant, Alexis… et du zinc, mon ami, du zinc… Songez quelle humiliation… S’arrêtant. Ah! je l’ai déjà dit. À Romboïdal. Marche, je te suis!… Ils sortent à gauche. Scène VI ALEXIS, HERMOSA. HERMOSA Quel bonheur, prince, on nous laisse ensemble… nous voilà en tête-à-tête. ALEXIS s’éloignant. C’est vrai, mademoiselle… HERMOSA Vous me fuyez! ALEXIS Non… mais seul avec une jeune fille… j’ai si peu l’habitude… HERMOSA Ne rougissez pas… ça n’en vaut pas la peine… et profitez du moment pour me faire la cour. ALEXIS La cour?… HERMOSA Certainement… ALEXIS baissant les yeux. C’est que je n’ose pas. HERMOSA Vous avez tort, il faut être audacieux… D’ailleurs nous sommes faits pour nous entendre ; vous êtes musicien, je suis musicienne, la musique nous mettra d’accord!… De quoi jouez-vous? ALEXIS De l’accordéon, et vous? HERMOSA Moi! de tout ce qui tape, résonne et fait du bruit. AIR J’aime tout ce qui sonne, Ce qui vibre et résonne, Je sens avec plaisir Mon cœur s’épanouir, Aux accords du trombone. Imitant le trombone. Cuin, cuin, cuin, cuin. Les instruments de guerre, Sont ceux que je préfère, Pour moi c’est un beau jour, Quand j’entends du tambour Le rafla populaire, Imitant le tambour. Rafla, raflafla, raflafla. Pour charmer une belle, À la flûte au basson, Je préfère le son Du violoncelle. Imitant le violoncelle. Froum… froum! froum… ENSEMBLE. Ah quel plaisir, quelle douceur, Ces instruments font mon bonheur! HERMOSA Vous voyez que nous nous entendons parfaitement ; allons, faites-moi votre déclaration. ALEXIS avec effroi. Ma déclaration?… HERMOSA Certainement, moi je suis une jeune fille… mon rôle est de rougir, de balbutier… Vous, vous devez être hardi et entraînant… vous devez vous mettre à mes genoux. ALEXIS À vos genoux?… HERMOSA s’animant. Allons, monsieur, mettez-vous à mes genoux! ALEXIS troublé. À vos genoux… HERMOSA avec dépit. Ah! si j’étais à votre place, il y a longtemps que ce serait fait… ALEXIS vivement. Ne me grondez pas… se mettant à genoux. M’y voici… HERMOSA À la bonne heure… je me recule un peu… par pudeur… mais vous, vous avancez vivement en me prenant la main… prenez-moi donc la main. ALEXIS lui prenant la main. Ah! comme il faut du courage!… Hermosa fait un mouvement. Mais j’en aurai… j’en aurai!… HERMOSA l’imitant. J’en aurai… j’en aurai… ayez-en… dites-moi Chère Hermosa, je vous aime… je vais parler à mon père… lui dire que nous voulons qu’on nous marie… demain… aujourd’hui… tout de suite… Mais allez donc… vous ne m’aidez pas du tout. ALEXIS entraîné. Si, si, vous avez raison… je parlerai à mon père… et je lui dirai que jamais, non jamais, je n’aurai d’autre femme que vous… Il se jette aux genoux d’Hermosa. Scène VII Les Mêmes, ROMBOÏDAL et THÉODORINE. ROMBOÏDAL les apercevant. Ciel!… que vois-je?… THÉODORINE les apercevant. Ah! sapristi! nom d’une bobinette! Voilà ce que je redoutais!… HERMOSA Pincés!… ça ne rate jamais! ROMBOÏDAL Eh quoi, prince… ALEXIS se relevant. Pas un mot… conduisez-moi près de mon père, il faut que je lui parle. ROMBOÏDAL Pardon, c’est que j’aurais voulu causer avec ma fille… ALEXIS avec autorité. Faites d’abord ce que je vous demande… ROMBOÏDAL Mais… ALEXIS avec force. Ce que je vous ordonne alors… obéissez, monsieur!… ROMBOÏDAL surpris. Quel changement!… s’inclinant. Altesse, je suis votre serviteur… Avant de s’en aller, regardant Hermosa. Oh! je reviendrai… je reviendrai… Il sort avec Alexis par la gauche. Scène VIII THÉODORINE, HERMOSA. THÉODORINE à part. Le silence n’est plus possible… allons, allons, il n’y a pas à hésiter… Haut. Hermosa, veuillez vous seoir. D’une voix creuse. J’ai un secret important à vous confier. HERMOSA Vous m’effrayez, maman… Vous avez l’air tout chose… THÉODORINE Fichtre! on le serait à moins… et tout d’abord je dois te dire que si tu mijotais des projets d’union avec le jeune Alexis il faudrait mettre ces projets dans le sac aux oublis… HERMOSA Impossible, maman… nous venons d’échanger des serments, je lui ai promis ma main… THÉODORINE Il y a mal-donne… et quand il y a mal-donne, la main passe. HERMOSA Ma mère… ma mère… vous êtes ambiguë… je ne vous comprends pas. THÉODORINE Tu me comprendras quand j’aurai déversé dans ton cœur le trop plein du mien. HERMOSA Déversez, alors, déversez!… THÉODORINE Je déverse… Il y avait une fois un grand sénéchal. Hermosa fait un mouvement. Ça commence comme un conte, mais rassure-toi, c’est de l’histoire… je reprends Il y avait une fois un grand sénéchal… ce grand sénéchal （nous le nommerons tout à l’heure） était marié avec une femme d’une beauté idéale et d’un esprit cultivé, une femme adorable!… cette femme （nous la nommerons tout à l’heure）, il lui naquit un bébé… ce bébé （nous le nommerons tout à l’heure） était charmant… adorable… comme sa mère dont il était la réduction Collas… par malheur le grand sénéchal était au service d’un duc qui venait de déclarer la guerre à ses voisins… Le tambour battait… la guerre menaçait de se prolonger indéfiniment, la mère trembla pour sa progéniture, et lors de la déclaration à la mairie de son arrondissement, elle eut la faiblesse d’annoncer une fille, au lieu d’un fils, au respectable employé préposé aux naissances. HERMOSA C’est très-intéressant… mais je ne comprends pas encore… THÉODORINE Tu ne comprends pas… alors mettons-y les noms… ce duc c’était Cacatois XXII… cette mère charmante, adorable, c’était moi… et ce bébé… HERMOSA avec un cri. C’était moi! THÉODORINE se cachant la tête dans ses mains. Tu l’as dit!… Tu l’as dit!… J’ai trompé ton père sur ton état civil… Tu n’appartiens pas au sexe gracieux et faible… Tu fais partie de celui qui a produit les Romulus, les Caracalla et les Pompée! HERMOSA Voilà donc pourquoi je manquais de flou… quelle révélation!… Ah! je suis un homme… morbleu! tête-bleue!… THÉODORINE effrayée. Ventre-bleu, silence, malheureux!… Si ton père t’entendait… Certainement il a d’excellentes qualités d’abord c’est un honnête homme… mais je le connais, c’est bien l’être le plus rageur… le plus susceptible… et s’il apprend que je l’ai abusé pendant dix-huit ans il est capable de s’en formaliser. HERMOSA Mais pourtant… THÉODORINE Laisse-moi le temps de le préparer adroitement… je profiterai d’un moment… où il sera bien disposé… il est vrai qu’il ne l’est jamais… enfin… je verrai… je chercherai… on dit que la foudre a des effets très-singuliers… un jour qu’il fera un joli petit orage, je mettrai peut-être ça sur le dos du tonnerre… qu’en dis-tu? HERMOSA Dam! il faudrait savoir si c’est dans les choses possibles. THÉODORINE Sois tranquille, je consulterai le pharmacien. HERMOSA Mais papa croira-t-il? THÉODORINE Parbleu!… je te l’ai déjà dit, ton père est un homme supé rieur, mais il est bête à manger du foin pour ces choses-là… quant au prince Alexis, tu comprends maintenant… qu’il faut y renoncer. HERMOSA soupirant. Ah oui… c’est dommage! THÉODORINE attirant Hermosa dans ses bras. Ô mon fils!… jusque-là, jure-moi le secret le plus absolu… HERMOSA Je vous le jure, maman… mais vous savez, au premier orage… THÉODORINE C’est convenu… Voyant entrer Romboïdal. Silence! voici ton père!… Scène IX Les Mêmes, ROMBOÏDAL. ROMBOÏDAL qui entre vivement. Ma femme est encore-là… éloignons-la adroitement. Haut. Théodorine… THÉODORINE Mon ami… ROMBOÏDAL La bonne demande une nappe et les couteaux à dessert… THÉODORINE J’y vais, Octogène… À Hermosa. Tu me l’as juré!… Silence!… Haut. J’y vais!… THÉODORINE Je vais chercher les petites cuillers Pour ce festin nous ne lésinons pas, Puis j’atteindrai les couteaux à desserts, Ça fait très-bien à la fin d’un repas. ENSEMBLE. Allez chercher les petites cuillers, etc. etc. Offenbach,Jacques/L île de Tulipatan/2
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Subjects-Science-General Subjects-Science-Physics-FluidMechanics? Managing Distribution Retention Time to Improve Water Quality Phase Ii Guidance Manual Amer Water Works Assn? Malcolm Brandt? AmerWaterWorksAssn? MalcolmBrandt? ジャンル別? Subjects-Business&Investing-Biographies&Primers-CompanyProfiles? Subjects-Business&Investing-BusinessLife-TimeManagement? Subjects-Business&Investing-Economics-NaturalResources Subjects-Engineering-Civil-Environmental-General Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-NaturalResources-WaterSupply&LandUse? Subjects-Outdoors&Nature-Environment-WaterSupply? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Subjects-Science-Nature&Ecology-WaterSupply&LandUse? Subjects-Science-Nature&Ecology-Environment-WaterSupply? Fundamental Methods for Optimizing Residuals Dewatering Amer Water Works Assn? Steven K. Dentel? Mohammad Abu-Orf? Christopher A. Walker? AmerWaterWorksAssn? StevenK.Dentel? MohammadAbu-Orf? ChristopherA.Walker? ジャンル別? Substores-UnknownASINs-37? Subjects-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-ProfessionalScience-Physics-Acoustics&Sound? Subjects-Science-General Subjects-Science-Physics-Acoustics&Sound? Energy Law and the Environment G & B Science Pub? Patricia Park? G&BSciencePub? PatriciaPark? ジャンル別? Subjects-Business&Investing-Economics-NaturalResources Subjects-Engineering-Civil-Environmental-General Subjects-Law-Environmental&NaturalResourcesLaw? Subjects-Law-General? 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When Things Start to Think Henry Holt & Co? Neil Gershenfeld? HenryHolt&Co? NeilGershenfeld? ジャンル別? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-ComputerMathematics? Subjects-Computers&Internet-Business&Culture-Culture? Subjects-Computers&Internet-General? Subjects-Engineering-Electrical&Electronics-DigitalDesign? Subjects-Nonfiction-SocialSciences-Sociology-SocialTheory? Subjects-Professional&Technical-Engineering-Electrical&Electronics-DigitalDesign? Subjects-Science-General Subjects-Science-Technology-General&Reference Telegram! Modern History As Told Through More Than 400 Witty, Poignant, and Revealingtelegrams Henry Holt & Co? Linda Rosenkrantz? HenryHolt&Co? LindaRosenkrantz? ジャンル別? Subjects-Engineering-Telecommunications-General? Subjects-History-Americas-UnitedStates-19thCentury-General? Subjects-History-Americas-UnitedStates-20thCentury-General? 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Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialTechnology? Subjects-Science-General Subjects-Science-Technology-General&Reference Elem Stat 4e Sup 37631 Benjamin-Cummings Publishing Co.,Subs. of Addison Wesley Longman,US? TRIOLA? Benjamin-CummingsPublishingCo.,Subs.ofAddisonWesleyLongman,US? TRIOLA? ジャンル別? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-Statistics? Subjects-Science-Mathematics-Applied-Probability&Statistics? Subjects-Science-Technology-General&Reference The Student Edition of Micro-Cap IV Benjamin-Cummings Pub Co? Martin S. Roden? Benjamin-CummingsPubCo? MartinS.Roden? ジャンル別? Subjects-Computers&Internet-ComputerScience-Circuitry-CircuitDesign? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Engineering-Electrical&Electronics-Circuits-Design? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Circuits-Design? Quattro Pro A Software Tool for Engineers and Scientists Benjamin-Cummings Pub Co? D. M. Etter? Benjamin-CummingsPubCo? D.M.Etter? ジャンル別? Subjects-Arts&Photography-Architecture-Drawing&Modelling-CAD-ProEngineer? Subjects-Computers&Internet-Software? Subjects-Computers&Internet-Programming-Languages&Tools-General? Subjects-Computers&Internet-GraphicDesign-CAD-ProEngineer? Subjects-Professional&Technical-Architecture-Drawing&Modelling-CAD-ProEngineer? Subjects-Science-Technology-General&Reference Fish Farm A Simulation of Commercial Aquaculture Addison-Wesley? Robert J. Kosinski? Addison-Wesley? RobertJ.Kosinski? ジャンル別? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Outdoors&Nature-NaturalResources-Fisheries&Aquaculture? Subjects-Professional&Technical-Medical-BasicSciences-Biology? Subjects-Science-General Subjects-Science-Nature&Ecology-NaturalResources-Fisheries&Aquaculture? Subjects-Science-Technology-General&Reference Subjects-Science-BiologicalSciences-Biology-General? Computers and Data Processing Special Software Version Student Guide Addison-Wesley? H. L. Capron? Brian K. Williams? Addison-Wesley? H.L.Capron? BrianK.Williams? ジャンル別? Substores-UnknownASINs-21? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference Theory of Fundamental Processes Perseus Books (Sd)? Richard Phillips Feynman? PerseusBooks(Sd)? RichardPhillipsFeynman? ジャンル別? Substores-UnknownASINs-21? Subjects-Science-Technology-General&Reference Statistical Mechanics A Set of Lectures (Frontiers in Physics) Addison-Wesley? Richard Feynman? Addison-Wesley? RichardFeynman? ジャンル別? Substores-UnknownASINs-21? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Mechanical-General? 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Subjects-Computers&Internet-OperatingSystems-General? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference Modern Quantum Mechanics Benjamin-Cummings Publishing Co.,Subs. of Addison Wesley Longman,US? J.J. Sakurai? Benjamin-CummingsPublishingCo.,Subs.ofAddisonWesleyLongman,US? J.J.Sakurai? ジャンル別? Subjects-Professional&Technical-ProfessionalScience-Physics-QuantumTheory? Subjects-Science-Physics-General? Subjects-Science-Physics-QuantumTheory? Subjects-Science-Technology-General&Reference Technical Calculus With Analytic Geometry Benjamin-Cummings Pub Co? Allyn J. Washington? Benjamin-CummingsPubCo? AllynJ.Washington? ジャンル別? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-Calculus? Subjects-Science-General Subjects-Science-Mathematics-PureMathematics-Calculus? Subjects-Science-Technology-General&Reference The U.S. Tire Industry A History (Twayne's Evolution of Modern Business Series) Twayne Pub? Michael J. French? TwaynePub? MichaelJ.French? ジャンル別? Subjects-Business&Investing-General? Subjects-Business&Investing-Industries&Professions-General? Subjects-Business&Investing-Management&Leadership-Production&Operations? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Production&Operations? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Invisible Fuel Manufactured and Natural Gas in America, 1800-2000 (Twayne's Evolution of Modern Business Series) Twayne Pub? Christopher James Castaneda? TwaynePub? ChristopherJamesCastaneda? ジャンル別? Subjects-Business&Investing-General? Subjects-Business&Investing-Industries&Professions-General? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Expertise and Technology Issues in Cognition and Human-Computer Cooperation (Expertise Series) Lawrence Erlbaum Assoc Inc? Pietro Carlo Cacciabue? Jean-Michel Hoc? Erik Hollnagel? LawrenceErlbaumAssocInc? PietroCarloCacciabue? Jean-MichelHoc? ErikHollnagel? ジャンル別? Subjects-Computers&Internet-Networking-Networks,Protocols&APIs-Networks? Subjects-Computers&Internet-Networking-DataintheEnterprise-ExpertSystems? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-ComputerMathematics? Subjects-Computers&Internet-ComputerScience-Human-ComputerInteraction? Subjects-Computers&Internet-General? Subjects-Health,Mind&Body-Psychology&Counseling-Cognitive? Subjects-Professional&Technical-ProfessionalScience-BehavioralSciences-CognitivePsychology? Subjects-Professional&Technical-ProfessionalScience-BehavioralSciences-CognitiveScience? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-BehavioralSciences-CognitivePsychology? Subjects-Science-BehavioralSciences-General? Video-Mediated Communication (Computers, Cognition, and Work) Lawrence Erlbaum Assoc Inc? Kathleen E. Finn? Abigail J. Sellen? Sylvia B. Wilbur? LawrenceErlbaumAssocInc? KathleenE.Finn? AbigailJ.Sellen? SylviaB.Wilbur? ジャンル別? Subjects-Arts&Photography-Photography-General? Subjects-Business&Investing-BusinessLife-Communication-General? Subjects-Business&Investing-General? Subjects-Business&Investing-Management&Leadership-Leadership? Subjects-Computers&Internet-Programming-Graphics&Multimedia-General? Subjects-Health,Mind&Body-Psychology&Counseling-AppliedPsychology? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Nonfiction-Education-Technology&DistanceLearning-General? Subjects-Professional&Technical-Education-Technology&DistanceLearning-General? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Leadership? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-BehavioralSciences-General? Substores-UnknownASINs-jp-unknown1? Engineering Psychophysiology Issues and Applications Lawrence Erlbaum Assoc Inc? Richard W. Backs? Wolfram Boucsein? LawrenceErlbaumAssocInc? RichardW.Backs? WolframBoucsein? ジャンル別? Subjects-Computers&Internet-Business&Culture-ProjectManagement-Ergonomics? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Health,Mind&Body-Psychology&Counseling-AppliedPsychology? Subjects-Health,Mind&Body-Psychology&Counseling-Occupational&Organizational? Subjects-Health,Mind&Body-Psychology&Counseling-IndustrialPsychology? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Science-General Subjects-Science-Technology-General&Reference Engineering Psychophysiology Issues and Applications Lawrence Erlbaum Assoc Inc? Richard W. Backs? Wolfram Boucsein? LawrenceErlbaumAssocInc? RichardW.Backs? WolframBoucsein? ジャンル別? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Health,Mind&Body-Psychology&Counseling-AppliedPsychology? Subjects-Health,Mind&Body-Psychology&Counseling-Occupational&Organizational? Subjects-Health,Mind&Body-Psychology&Counseling-IndustrialPsychology? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Science-General Subjects-Science-Technology-General&Reference The V-Chip Debate Content Filtering from Television to the Internet (Lea's Communication Series) Lawrence Erlbaum Assoc Inc? Monroe E. Price? LawrenceErlbaumAssocInc? MonroeE.Price? ジャンル別? Subjects-Business&Investing-Reference-BusinessLaw? Subjects-Computers&Internet-Business&Culture-DigitalLaw? Subjects-Engineering-Telecommunications-General? Subjects-Entertainment-Television-General? Subjects-Law-PracticalGuides-Business? Subjects-Nonfiction-SocialSciences-Sociology-SocialSituations? Subjects-Nonfiction-SocialSciences-MediaStudies? Subjects-Nonfiction-SocialSciences-Communication? Subjects-Nonfiction-CurrentEvents-MassMedia-MediaStudies? Subjects-Nonfiction-Law-PracticalGuides-Business? Subjects-Professional&Technical-Engineering-Telecommunications-General? Subjects-Science-Technology-General&Reference The V-Chip Debate Content Filtering from Television to the Internet (Lea's Communication Series) Lawrence Erlbaum Assoc Inc? Monroe E. Price? LawrenceErlbaumAssocInc? MonroeE.Price? ジャンル別? Subjects-Business&Investing-Reference-BusinessLaw? Subjects-Computers&Internet-Networking-Networks,Protocols&APIs-General? Subjects-Computers&Internet-Business&Culture-DigitalLaw? Subjects-Engineering-Telecommunications-General? Subjects-Entertainment-Television-General? Subjects-Law-PracticalGuides-Business? Subjects-Nonfiction-SocialSciences-MediaStudies? Subjects-Nonfiction-SocialSciences-Communication? Subjects-Nonfiction-CurrentEvents-MassMedia-MediaStudies? Subjects-Nonfiction-Law-PracticalGuides-Business? Subjects-Professional&Technical-Engineering-Telecommunications-General? Subjects-Science-Technology-General&Reference Computers in Broadcast and Cable Newsrooms Using Technology in Television News Production (Lea's Communication Series) Lawrence Erlbaum Assoc Inc? Phillip O. Keirstead? LawrenceErlbaumAssocInc? PhillipO.Keirstead? ジャンル別? Subjects-Computers&Internet? Subjects-Entertainment-Television-General? Subjects-Entertainment-Television-Direction&Production? Subjects-Reference-Writing-Journalism? Subjects-Science-General Subjects-Science-Technology-General&Reference Computers in Braodcast and Cable Newsrooms Using Technology in Television News Production (Lea's Communication Series) Lawrence Erlbaum Assoc Inc? Phillip O. Keirstead? LawrenceErlbaumAssocInc? PhillipO.Keirstead? ジャンル別? Subjects-Entertainment-Television-General? Subjects-Entertainment-Television-Direction&Production? Subjects-Reference-Writing-Journalism? Subjects-Science-General Subjects-Science-Technology-General&Reference Human Factors in System Design, Development, and Testing (Human Factors) Lawrence Erlbaum Assoc Inc? David Meister? Thomas P. Enderwick? LawrenceErlbaumAssocInc? DavidMeister? ThomasP.Enderwick? ジャンル別? Subjects-Computers&Internet-Software-Design&Development-SoftwareDesign? Subjects-Computers&Internet-ComputerScience-SystemsAnalysis&Design? Subjects-Computers&Internet-Business&Culture-ProjectManagement-Ergonomics? Subjects-Computers&Internet-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? 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CHAPTER XXXII UP CHAPTER XXXIV CHAPTER XXXIII The Hotel Concert "Put on your white organdy, by all means, Anne," advised Diana decidedly. They were together in the east gable chamber; outside it was only twilight--a lovely yellowish-green twilight with a clear-blue cloudless sky. A big round moon, slowly deepening from her pallid luster into burnished silver, hung over the Haunted Wood; the air was full of sweet summer sounds--sleepy birds twittering, freakish breezes, faraway voices and laughter. But in Anne s room the blind was drawn and the lamp lighted, for an important toilet was being made. The east gable was a very different place from what it had been on that night four years before, when Anne had felt its bareness penetrate to the marrow of her spirit with its inhospitable chill. Changes had crept in, Marilla conniving at them resignedly, until it was as sweet and dainty a nest as a young girl could desire. The velvet carpet with the pink roses and the pink silk curtains of Anne s early visions had certainly never materialized; but her dreams had kept pace with her growth, and it is not probable she lamented them. The floor was covered with a pretty matting, and the curtains that softened the high window and fluttered in the vagrant breezes were of pale-green art muslin. The walls, hung not with gold and silver brocade tapestry, but with a dainty apple-blossom paper, were adorned with a few good pictures given Anne by Mrs. Allan. Miss Stacy s photograph occupied the place of honor, and Anne made a sentimental point of keeping fresh flowers on the bracket under it. Tonight a spike of white lilies faintly perfumed the room like the dream of a fragrance. There was no "mahogany furniture," but there was a white-painted bookcase filled with books, a cushioned wicker rocker, a toilet table befrilled with white muslin, a quaint, gilt-framed mirror with chubby pink Cupids and purple grapes painted over its arched top, that used to hang in the spare room, and a low white bed. Anne was dressing for a concert at the White Sands Hotel. The guests had got it up in aid of the Charlottetown hospital, and had hunted out all the available amateur talent in the surrounding districts to help it along. Bertha Sampson and Pearl Clay of the White Sands Baptist choir had been asked to sing a duet; Milton Clark of Newbridge was to give a violin solo; Winnie Adella Blair of Carmody was to sing a Scotch ballad; and Laura Spencer of Spencervale and Anne Shirley of Avonlea were to recite. As Anne would have said at one time, it was "an epoch in her life," and she was deliciously athrill with the excitement of it. Matthew was in the seventh heaven of gratified pride over the honor conferred on his Anne and Marilla was not far behind, although she would have died rather than admit it, and said she didn t think it was very proper for a lot of young folks to be gadding over to the hotel without any responsible person with them. Anne and Diana were to drive over with Jane Andrews and her brother Billy in their double-seated buggy; and several other Avonlea girls and boys were going too. There was a party of visitors expected out from town, and after the concert a supper was to be given to the performers. "Do you really think the organdy will be best?" queried Anne anxiously. "I don t think it s as pretty as my blue-flowered muslin--and it certainly isn t so fashionable." "But it suits you ever so much better," said Diana. "It s so soft and frilly and clinging. The muslin is stiff, and makes you look too dressed up. But the organdy seems as if it grew on you." Anne sighed and yielded. Diana was beginning to have a reputation for notable taste in dressing, and her advice on such subjects was much sought after. She was looking very pretty herself on this particular night in a dress of the lovely wild-rose pink, from which Anne was forever debarred; but she was not to take any part in the concert, so her appearance was of minor importance. All her pains were bestowed upon Anne, who, she vowed, must, for the credit of Avonlea, be dressed and combed and adorned to the Queen s taste. "Pull out that frill a little more--so; here, let me tie your sash; now for your slippers. I m going to braid your hair in two thick braids, and tie them halfway up with big white bows--no, don t pull out a single curl over your forehead--just have the soft part. There is no way you do your hair suits you so well, Anne, and Mrs. Allan says you look like a Madonna when you part it so. I shall fasten this little white house rose just behind your ear. There was just one on my bush, and I saved it for you." "Shall I put my pearl beads on?" asked Anne. "Matthew brought me a string from town last week, and I know he d like to see them on me." Diana pursed up her lips, put her black head on one side critically, and finally pronounced in favor of the beads, which were thereupon tied around Anne s slim milk-white throat. "There s something so stylish about you, Anne," said Diana, with unenvious admiration. "You hold your head with such an air. I suppose it s your figure. I am just a dumpling. I ve always been afraid of it, and now I know it is so. Well, I suppose I shall just have to resign myself to it." "But you have such dimples," said Anne, smiling affectionately into the pretty, vivacious face so near her own. "Lovely dimples, like little dents in cream. I have given up all hope of dimples. My dimple-dream will never come true; but so many of my dreams have that I mustn t complain. Am I all ready now?" "All ready," assured Diana, as Marilla appeared in the doorway, a gaunt figure with grayer hair than of yore and no fewer angles, but with a much softer face. "Come right in and look at our elocutionist, Marilla. Doesn t she look lovely?" Marilla emitted a sound between a sniff and a grunt. "She looks neat and proper. I like that way of fixing her hair. But I expect she ll ruin that dress driving over there in the dust and dew with it, and it looks most too thin for these damp nights. Organdy s the most unserviceable stuff in the world anyhow, and I told Matthew so when he got it. But there is no use in saying anything to Matthew nowadays. Time was when he would take my advice, but now he just buys things for Anne regardless, and the clerks at Carmody know they can palm anything off on him. Just let them tell him a thing is pretty and fashionable, and Matthew plunks his money down for it. Mind you keep your skirt clear of the wheel, Anne, and put your warm jacket on." Then Marilla stalked downstairs, thinking proudly how sweet Anne looked, with that "One moonbeam from the forehead to the crown" and regretting that she could not go to the concert herself to hear her girl recite. "I wonder if it IS too damp for my dress," said Anne anxiously. "Not a bit of it," said Diana, pulling up the window blind. "It s a perfect night, and there won t be any dew. Look at the moonlight." "I m so glad my window looks east into the sunrising," said Anne, going over to Diana. "It s so splendid to see the morning coming up over those long hills and glowing through those sharp fir tops. It s new every morning, and I feel as if I washed my very soul in that bath of earliest sunshine. Oh, Diana, I love this little room so dearly. I don t know how I ll get along without it when I go to town next month." "Don t speak of your going away tonight," begged Diana. "I don t want to think of it, it makes me so miserable, and I do want to have a good time this evening. What are you going to recite, Anne? And are you nervous?" "Not a bit. I ve recited so often in public I don t mind at all now. I ve decided to give `The Maiden s Vow. It s so pathetic. Laura Spencer is going to give a comic recitation, but I d rather make people cry than laugh." "What will you recite if they encore you?" "They won t dream of encoring me," scoffed Anne, who was not without her own secret hopes that they would, and already visioned herself telling Matthew all about it at the next morning s breakfast table. "There are Billy and Jane now-- I hear the wheels. Come on." Billy Andrews insisted that Anne should ride on the front seat with him, so she unwillingly climbed up. She would have much preferred to sit back with the girls, where she could have laughed and chattered to her heart s content. There was not much of either laughter or chatter in Billy. He was a big, fat, stolid youth of twenty, with a round, expressionless face, and a painful lack of conversational gifts. But he admired Anne immensely, and was puffed up with pride over the prospect of driving to White Sands with that slim, upright figure beside him. Anne, by dint of talking over her shoulder to the girls and occasionally passing a sop of civility to Billy--who grinned and chuckled and never could think of any reply until it was too late--contrived to enjoy the drive in spite of all. It was a night for enjoyment. The road was full of buggies, all bound for the hotel, and laughter, silver clear, echoed and reechoed along it. When they reached the hotel it was a blaze of light from top to bottom. They were met by the ladies of the concert committee, one of whom took Anne off to the performers dressing room which was filled with the members of a Charlottetown Symphony Club, among whom Anne felt suddenly shy and frightened and countrified. Her dress, which, in the east gable, had seemed so dainty and pretty, now seemed simple and plain--too simple and plain, she thought, among all the silks and laces that glistened and rustled around her. What were her pearl beads compared to the diamonds of the big, handsome lady near her? And how poor her one wee white rose must look beside all the hothouse flowers the others wore! Anne laid her hat and jacket away, and shrank miserably into a corner. She wished herself back in the white room at Green Gables. It was still worse on the platform of the big concert hall of the hotel, where she presently found herself. The electric lights dazzled her eyes, the perfume and hum bewildered her. She wished she were sitting down in the audience with Diana and Jane, who seemed to be having a splendid time away at the back. She was wedged in between a stout lady in pink silk and a tall, scornful-looking girl in a white-lace dress. The stout lady occasionally turned her head squarely around and surveyed Anne through her eyeglasses until Anne, acutely sensitive of being so scrutinized, felt that she must scream aloud; and the white-lace girl kept talking audibly to her next neighbor about the "country bumpkins" and "rustic belles" in the audience, languidly anticipating "such fun" from the displays of local talent on the program. Anne believed that she would hate that white-lace girl to the end of life. Unfortunately for Anne, a professional elocutionist was staying at the hotel and had consented to recite. She was a lithe, dark-eyed woman in a wonderful gown of shimmering gray stuff like woven moonbeams, with gems on her neck and in her dark hair. She had a marvelously flexible voice and wonderful power of expression; the audience went wild over her selection. Anne, forgetting all about herself and her troubles for the time, listened with rapt and shining eyes; but when the recitation ended she suddenly put her hands over her face. She could never get up and recite after that--never. Had she ever thought she could recite? Oh, if she were only back at Green Gables! At this unpropitious moment her name was called. Somehow Anne--who did not notice the rather guilty little start of surprise the white-lace girl gave, and would not have understood the subtle compliment implied therein if she had--got on her feet, and moved dizzily out to the front. She was so pale that Diana and Jane, down in the audience, clasped each other s hands in nervous sympathy. Anne was the victim of an overwhelming attack of stage fright. Often as she had recited in public, she had never before faced such an audience as this, and the sight of it paralyzed her energies completely. Everything was so strange, so brilliant, so bewildering--the rows of ladies in evening dress, the critical faces, the whole atmosphere of wealth and culture about her. Very different this from the plain benches at the Debating Club, filled with the homely, sympathetic faces of friends and neighbors. These people, she thought, would be merciless critics. Perhaps, like the white-lace girl, they anticipated amusement from her "rustic" efforts. She felt hopelessly, helplessly ashamed and miserable. Her knees trembled, her heart fluttered, a horrible faintness came over her; not a word could she utter, and the next moment she would have fled from the platform despite the humiliation which, she felt, must ever after be her portion if she did so. But suddenly, as her dilated, frightened eyes gazed out over the audience, she saw Gilbert Blythe away at the back of the room, bending forward with a smile on his face--a smile which seemed to Anne at once triumphant and taunting. In reality it was nothing of the kind. Gilbert was merely smiling with appreciation of the whole affair in general and of the effect produced by Anne s slender white form and spiritual face against a background of palms in particular. Josie Pye, whom he had driven over, sat beside him, and her face certainly was both triumphant and taunting. But Anne did not see Josie, and would not have cared if she had. She drew a long breath and flung her head up proudly, courage and determination tingling over her like an electric shock. She WOULD NOT fail before Gilbert Blythe--he should never be able to laugh at her, never, never! Her fright and nervousness vanished; and she began her recitation, her clear, sweet voice reaching to the farthest corner of the room without a tremor or a break. Self-possession was fully restored to her, and in the reaction from that horrible moment of powerlessness she recited as she had never done before. When she finished there were bursts of honest applause. Anne, stepping back to her seat, blushing with shyness and delight, found her hand vigorously clasped and shaken by the stout lady in pink silk. "My dear, you did splendidly," she puffed. "I ve been crying like a baby, actually I have. There, they re encoring you-- they re bound to have you back!" "Oh, I can t go," said Anne confusedly. "But yet--I must, or Matthew will be disappointed. He said they would encore me." "Then don t disappoint Matthew," said the pink lady, laughing. Smiling, blushing, limpid eyed, Anne tripped back and gave a quaint, funny little selection that captivated her audience still further. The rest of the evening was quite a little triumph for her. When the concert was over, the stout, pink lady--who was the wife of an American millionaire--took her under her wing, and introduced her to everybody; and everybody was very nice to her. The professional elocutionist, Mrs. Evans, came and chatted with her, telling her that she had a charming voice and "interpreted" her selections beautifully. Even the white-lace girl paid her a languid little compliment. They had supper in the big, beautifully decorated dining room; Diana and Jane were invited to partake of this, also, since they had come with Anne, but Billy was nowhere to be found, having decamped in mortal fear of some such invitation. He was in waiting for them, with the team, however, when it was all over, and the three girls came merrily out into the calm, white moonshine radiance. Anne breathed deeply, and looked into the clear sky beyond the dark boughs of the firs. Oh, it was good to be out again in the purity and silence of the night! How great and still and wonderful everything was, with the murmur of the sea sounding through it and the darkling cliffs beyond like grim giants guarding enchanted coasts. "Hasn t it been a perfectly splendid time?" sighed Jane, as they drove away. "I just wish I was a rich American and could spend my summer at a hotel and wear jewels and low-necked dresses and have ice cream and chicken salad every blessed day. I m sure it would be ever so much more fun than teaching school. Anne, your recitation was simply great, although I thought at first you were never going to begin. I think it was better than Mrs. Evans s." "Oh, no, don t say things like that, Jane," said Anne quickly, "because it sounds silly. It couldn t be better than Mrs. Evans s, you know, for she is a professional, and I m only a schoolgirl, with a little knack of reciting. I m quite satisfied if the people just liked mine pretty well." "I ve a compliment for you, Anne," said Diana. "At least I think it must be a compliment because of the tone he said it in. Part of it was anyhow. There was an American sitting behind Jane and me--such a romantic-looking man, with coal-black hair and eyes. Josie Pye says he is a distinguished artist, and that her mother s cousin in Boston is married to a man that used to go to school with him. Well, we heard him say--didn t we, Jane?--`Who is that girl on the platform with the splendid Titian hair? She has a face I should like to paint. There now, Anne. But what does Titian hair mean?" "Being interpreted it means plain red, I guess," laughed Anne. "Titian was a very famous artist who liked to paint red-haired women." "DID you see all the diamonds those ladies wore?" sighed Jane. "They were simply dazzling. Wouldn t you just love to be rich, girls?" "We ARE rich," said Anne staunchly. "Why, we have sixteen years to our credit, and we re happy as queens, and we ve all got imaginations, more or less. Look at that sea, girls--all silver and shadow and vision of things not seen. We couldn t enjoy its loveliness any more if we had millions of dollars and ropes of diamonds. You wouldn t change into any of those women if you could. Would you want to be that white-lace girl and wear a sour look all your life, as if you d been born turning up your nose at the world? Or the pink lady, kind and nice as she is, so stout and short that you d really no figure at all? Or even Mrs. Evans, with that sad, sad look in her eyes? She must have been dreadfully unhappy sometime to have such a look. You KNOW you wouldn t, Jane Andrews!" "I DON T know--exactly," said Jane unconvinced. "I think diamonds would comfort a person for a good deal." "Well, I don t want to be anyone but myself, even if I go uncomforted by diamonds all my life," declared Anne. "I m quite content to be Anne of Green Gables, with my string of pearl beads. I know Matthew gave me as much love with them as ever went with Madame the Pink Lady s jewels." CHAPTER XXXII UP CHAPTER XXXIV 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 17 20 (Tue)
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ACTE TROISIÈME Pastorale Mystique （Dans la chapelle de l Abbaye. Bien en vue, la statue de la Vierge. La chapelle est disposée de telle sorte que, d un côté, un puisse voir Jean sans qu il aperçoive lui-même ceux qui l observent. Les Moines achèvent de chanter l hymne et disparaissent lentement dans le cloître. Le Moine Peintre seul devant la statue peinte） ▼LES MOINES▲ （au loin peu à peu） Ave coeleste lilium Ave rosa speciosa, In hac valle lacrymarum, Da robur, fer auxilium. ▼LE MOINE PEINTRE▲ （en pieuse admiration devant la statue） Un regard, le dernier… à mon œuvre, （orgueilleusement） à ma Vierge… ▼LES MOINES▲ （de très loin） Ave coeleste lilium. ▼LE MOINE PEINTRE▲ Le chant s éloigne et meurt… Dans le silence où dort l immobile flamme des cierges, Pour son peintre jaloux Elle est plus belle encor. Mais on entre… c est Jean. Pourquoi tout ce bagage? （Il se dissimule derrière un pilier. Jean, entre encore vêtu de sa robe de moine, portant sa viele et sa besace de jongleur. Il entre à pas de loup, regardant partout avec inquiétude） ▼JEAN▲ （ému） Personne… allons, courage! Nul à cette heure, ne vient plus. （S approchant de l autel et restant devant en fervente et muette contemplation. Avec foi et tendresse） Vierge, mère adorable de Jésus, Blanche souveraine, Me voilà donc seul devant vous… Tremblant… le cœur plein d amour et de peine, Je tombe à vos genoux… écoutez ma prière Hélas, le pauvre Jean n est rien qu un vil jongleur; （timidement） Laissez-le cependant, à son humble manière, Travailler sous vos yeux, ô Vierge, en votre honneur. （Dépouillant sa robe de moine, il apparaît en surcot de jongleur, étend son tapis et, saisissant sa vièle, en tire les même accords qui annonçaient sa venue sur la place） ▼LE MOINE PEINTRE▲ （à part） Il devient fou. Je cours avertir le Prieur. （Il sort vivement） ▼JEAN▲ （à haute voix） Je commence. （d abord, il salue la Vierge, puis, avec force et rapidité, il commence son boniment） Place! Place! Place! Silence! Ecoutez Jean, Roi des Jongleurs! Mais dans ma sébile, d avance ce quelques sols… （s arrêtant confus; à la Vierge） L habitude! Pardon. （reprenant son boniment avec vivacité） Attention! Pour vous plaire, Je chante une chanson de guerre. （chaque syllabe brutalement accentuée） Il fait beau voir ces hommes d armes Quand ils sont montés et bardés; Il fait beau voir luire ces armes Dessous les étendards dorés. Pour gagner gloire et belle terre, Entre nous gentils compagnons, Suivons （presque en hurlant） la guerre! Suivons la guerre! la guerre! （à part） Mais, ce vacarme à la Vierge fait peur. （s adressant à la Vierge, naïvement） Vous préférez peut-être Le Romance d Amour? «Belle Doètte à sa fenêtre…» （la mémoire lui manque） «Belle Doètte…» （honteux） Je ne sais plus… （commençant une autre romance） «Belle Erembourg Sur la plus haute tour… （cherchant à se rappeler la suite） Sur la plus haute tour… Sur la plus haute tour…» Ah! mémoire infidèle! Eh bien, rabâche alors, imbécile histrion, L éternelle Pastourelle de Robin et Marion. （franchement） A l oré du joli bocage, Saderaladon. Chante rossignolet, Saderaladon, Marion, pastoure bien sage, A ses amours Pense toujours Saderaladon! Aé! Aé! Aé! （fièrement） Vient à passer, fier sous l armure, Saderaladon, Chante, rossignolet, Saderaladon. Chevalier de belle figure; （Le Prieur, conduit par le Moine Peintre, arrive avec Boniface. Jean ne peut les apercevoir; ils observent le manège du jongleur） «Je suis le Roi; Sois toute à moi, Saderaladon, Aé! Aé! Aé! ▼LE PRIEUR▲ （scandalisé, il fait mine de se précipiter vers Jean） Sacrilège! ▼JEAN▲ «Non, beau seigneur, je reste sage, Saderaladon, Chante rossignolet, Saderaladon ▼BONIFACE▲ （contenant le Prieur） Attendez… la fin de la chanson Catholiquement Marie La fille avec le garçon. ▼JEAN▲ Avec ma cotte et mon fromage, Toute à Robin. J aime Robin, Saderaladon! Aé! Aé! Aé! （avec volubilité, sur le mode d un rapide boniment） Et maintenant, Voulez-vous tours de jonglerie, Voire de sorcellerie? Voulez vous griffons et diables volants? （Jean s est arrêté, honteux de ce sacrilège, à la Vierge） Pardon… （avec confusion） l habitude! （se rapprochant de la Vierge, et en confidence） Entre nous, j exagère, Mais vous savez qu un boniment n est jamais absolument sincère. （reprenant） Attention! Pour finir la séance, J aurai l honneur de danser devant vous, ▼LE PRIEUR▲ （prêt à s élancer） Ah! je cours! ▼BONIFACE▲ （le retenant） Patience! ▼JEAN▲ （avec humilité） Tout simplement la danse de chez nous. （Le Jongleur se met à danser alors une sorte de bourrée avec des appels de pieds et des exclamations jetées par intervalles. Il danse de plus en plus vite, jusqu au moment où, couvert de sueur, haletant, il tombe aux pieds de la Vierge et s y prosterne dans une longue et profonde adoration. Successivement arrivent tous les Moines y compris le Moine musicien, le Moine poète, le Moine sculpteur ils entourent le Prieur. Jean ne peut savoir qu il est regardé. Il n entend aucune des imprécations de colère qui grandissent à mesure que la danse du jongleur s accentue） ▼LE PRIEUR▲ （à Boniface, désignant Jean, avec dégoût et colère） A son vomissement vois retourner le chien! ▼BONIFACE▲ （au Prieur, à part, comme pour l apaiser） Devant l arche dansa le roi David. （de bonne humeur） Je pense que David! n était pas païen. （Rumeurs de colère peu à peu grandissantes） ▼LES MOINES▲ （entre eux, désignant Jean） Sacrilège! Sacrilège! chassons-le… du Saint lieu! Quelle insulte! （d autre arrivant） Quelle insulte! Chassons-le, chassons-le du Saint lieu! Vengeance! Vengeance! Il se vautre Il se joue dans son impiété… Vengeance! Vengeance! Vengeance! ▼TOUS LES MOINES▲ （réunis） Mort à l impie! Mort! Mort à l impie! Mort! ▼LE PRIEUR▲ Anathème sur lui! ▼BONIFACE▲ （très expressif） Pitié, pitié pour lui! ▼LE PRIEUR▲ Anathème sur lui! ▼BONIFACE▲ Pitié pour lui! ▼LE PRIEUR▲ Anathème! Mort au sacrilège! ▼LE PRIEUR, LES MOINES▲ Mort! ▼BONIFACE▲ Non! （Furieux, les Moines vont se précipiter sur Jean. Mais Boniface, d un geste vers la statue de la Vierge, les arrête） Arrière tous! la Vierge le protège! （avec une terreur religieuse） Voyez-vous… （presque sans voix） le tableau… D une étrange lumière Il commence à briller… Un doux regard se lève au bord de la paupière, Sur la bouche… un sourire est près de s éveiller. ▼LES MOINES▲ （entre eux, désignant la statue） … là! là! ▼LES MOINE PEINTRE▲ … là! voyez-vous? ▼LES MOINES▲ O miracle! Voyez! ▼LES MOINES PEINTRE▲ （radieux d orgueil） O Peinture! ▼BONIFACE▲ Ah!, voyez… la main blanche Vers le Jongleur incline un geste maternel… Le front délicieux avec amour se penche… ▼PRIEUR, LE MOINE PEINTRE, MOINES▲ O miracle! ▼LES ANGES▲ （Voix invisibles au très loin; sopranos, contraltos, enfants） Hosanna! Gloire à Jean. Gloire au plus haut des cieux, Hosanna! Gloire et sérénité. Paix sur la terre Aux hommes de bonne volonté, Hosanna! （les sopranos seulement） Hosanna! ▼BONIFACE▲ （extasié） Ecoutez les musiques du ciel! Adorable mystère. ▼LES MOINES▲ （les Moine Peintre avec les barytons） Adorable mystère. ▼LE PRIEUR▲ Adorable mystère. ▼BONIFACE, PRIEUR, MOINES▲ Miracle! （Le Prieur, suivi des Moines, s approche de Jean toujours aux pieds de la Vierge, abîmé dans sa prière. Jean se relève, et se retourne au bruit, effrayé d être surpris dans son costume de jongleur） ▼JEAN▲ C est le Prieur! ah! pardon! ▼LE PRIEUR▲ （le relevant） Relevez-vous, C est à moi d être à vos genoux… Vous êtes un grand Saint. Priez, priez pour nous. ▼BONIFACE, LES MOINES▲ Priez pour nous. ▼JEAN▲ （croyant qu on le raille） Non! ne me raillez point. Punissez-moi, mon Père. ▼LE PRIEUR▲ Vous railler, vous punir, Vous, l honneur de ce monastère, （désignant la statue） Quand je vois de mes yeux la Vierge vous bénir. ▼JEAN▲ （très simplement） Je ne vois rien. ▼BONIFACE, LES MOINES▲ Etrange merveille! ▼LE PRIEUR▲ Enseignement des cieux et leçon non pareille de candide vertu, de sainte humilité. （s adressant à la Vierge） Mais cependant, ô Vierge souveraine, Mère d amour et de bonté, pour le délasser de sa peine, Aux yeux fermés encor de Votre cher Jongleur, Divine et vivante Pâleur, Révélez-vous! ▼BONIFACE, LES MOINES▲ Miracle! Miracle! （Se détachant des mains de la Vierge, l auréole des bienheureux vient briller sur la tête de Jean） ▼JEAN▲ （extasié） Rayonnement! Ah! bonheur! Délicieusement… je meurs… ▼BONIFACE, LE PRIEUR, MOINES▲ Miracle! Miracle! Miracle! Miracle! （Jean défaille） ▼LES MOINES▲ （tombant à genoux） Kyrie eleison, Christe, exaudi nos, Sancta Maria, Ora pro nobis. ▼JEAN▲ （d un ton naïf et tendre） Enfin… Je comprends le latin… （Il retombe） ▼DEUX ANGES▲ Caressé du vent de nos ailes, Souriant, le jongleur s endort; Voyez devant son humble zèle S ouvrir aux cieux la porte d or. ▼LES ANGES▲ Alléluia! Alléluia! ▼DEUX ANGES▲ Voyez s ouvrir la porte d or, Voyez s ouvrir la porte d or! ▼JEAN▲ （extasié, souriant） Spectacle radieux… Je vois s ouvrir les cieux! Parfums divins… frais palpitèments d ailes… （tendrement, ému） La Vierge de la main me fait signe… Je viens… quel doux sourire… Ah! sa main blanche… sa main… La Gloire du Paradis （La Vierge, au milieu du Paradis, entourée des Anges） ▼BONIFACE▲ （contemplant Jean avec une ardent et radieuse piété） Délivré des terrestres liens… Il s envole… au bonheur… de l Eternel Dimanche… Plus de chagrin… plus de souci… Il entre en la céleste ronde… ▼JEAN▲ （sans voix） Me voici… （Il meurt） ▼LE PRIEUR▲ Heureux les simples car ils verront Dieu. ▼LES ANGES▲ （au très loin） Amen. ▼BONIFACE, LE PRIEUR, LES MOINES▲ Amen. ACTE TROISIÈME Pastorale Mystique (Dans la chapelle de l Abbaye. Bien en vue, la statue de la Vierge. La chapelle est disposée de telle sorte que, d un côté, un puisse voir Jean sans qu il aperçoive lui-même ceux qui l observent. Les Moines achèvent de chanter l hymne et disparaissent lentement dans le cloître. Le Moine Peintre seul devant la statue peinte) LES MOINES (au loin peu à peu) Ave coeleste lilium Ave rosa speciosa, In hac valle lacrymarum, Da robur, fer auxilium. LE MOINE PEINTRE (en pieuse admiration devant la statue) Un regard, le dernier… à mon œuvre, (orgueilleusement) à ma Vierge… LES MOINES (de très loin) Ave coeleste lilium. LE MOINE PEINTRE Le chant s éloigne et meurt… Dans le silence où dort l immobile flamme des cierges, Pour son peintre jaloux Elle est plus belle encor. Mais on entre… c est Jean. Pourquoi tout ce bagage? (Il se dissimule derrière un pilier. Jean, entre encore vêtu de sa robe de moine, portant sa viele et sa besace de jongleur. Il entre à pas de loup, regardant partout avec inquiétude) JEAN (ému) Personne… allons, courage! Nul à cette heure, ne vient plus. (S approchant de l autel et restant devant en fervente et muette contemplation. Avec foi et tendresse) Vierge, mère adorable de Jésus, Blanche souveraine, Me voilà donc seul devant vous… Tremblant… le cœur plein d amour et de peine, Je tombe à vos genoux… écoutez ma prière Hélas, le pauvre Jean n est rien qu un vil jongleur; (timidement) Laissez-le cependant, à son humble manière, Travailler sous vos yeux, ô Vierge, en votre honneur. (Dépouillant sa robe de moine, il apparaît en surcot de jongleur, étend son tapis et, saisissant sa vièle, en tire les même accords qui annonçaient sa venue sur la place) LE MOINE PEINTRE (à part) Il devient fou. Je cours avertir le Prieur. (Il sort vivement) JEAN (à haute voix) Je commence. (d abord, il salue la Vierge, puis, avec force et rapidité, il commence son boniment) Place! Place! Place! Silence! Ecoutez Jean, Roi des Jongleurs! Mais dans ma sébile, d avance ce quelques sols… (s arrêtant confus; à la Vierge) L habitude! Pardon. (reprenant son boniment avec vivacité) Attention! Pour vous plaire, Je chante une chanson de guerre. (chaque syllabe brutalement accentuée) Il fait beau voir ces hommes d armes Quand ils sont montés et bardés; Il fait beau voir luire ces armes Dessous les étendards dorés. Pour gagner gloire et belle terre, Entre nous gentils compagnons, Suivons (presque en hurlant) la guerre! Suivons la guerre! la guerre! (à part) Mais, ce vacarme à la Vierge fait peur. (s adressant à la Vierge, naïvement) Vous préférez peut-être Le Romance d Amour? «Belle Doètte à sa fenêtre…» (la mémoire lui manque) «Belle Doètte…» (honteux) Je ne sais plus… (commençant une autre romance) «Belle Erembourg Sur la plus haute tour… (cherchant à se rappeler la suite) Sur la plus haute tour… Sur la plus haute tour…» Ah! mémoire infidèle! Eh bien, rabâche alors, imbécile histrion, L éternelle Pastourelle de Robin et Marion. (franchement) A l oré du joli bocage, Saderaladon. Chante rossignolet, Saderaladon, Marion, pastoure bien sage, A ses amours Pense toujours Saderaladon! Aé! Aé! Aé! (fièrement) Vient à passer, fier sous l armure, Saderaladon, Chante, rossignolet, Saderaladon. Chevalier de belle figure; (Le Prieur, conduit par le Moine Peintre, arrive avec Boniface. Jean ne peut les apercevoir; ils observent le manège du jongleur) «Je suis le Roi; Sois toute à moi, Saderaladon, Aé! Aé! Aé! LE PRIEUR (scandalisé, il fait mine de se précipiter vers Jean) Sacrilège! JEAN «Non, beau seigneur, je reste sage, Saderaladon, Chante rossignolet, Saderaladon BONIFACE (contenant le Prieur) Attendez… la fin de la chanson Catholiquement Marie La fille avec le garçon. JEAN Avec ma cotte et mon fromage, Toute à Robin. J aime Robin, Saderaladon! Aé! Aé! Aé! (avec volubilité, sur le mode d un rapide boniment) Et maintenant, Voulez-vous tours de jonglerie, Voire de sorcellerie? Voulez vous griffons et diables volants? (Jean s est arrêté, honteux de ce sacrilège, à la Vierge) Pardon… (avec confusion) l habitude! (se rapprochant de la Vierge, et en confidence) Entre nous, j exagère, Mais vous savez qu un boniment n est jamais absolument sincère. (reprenant) Attention! Pour finir la séance, J aurai l honneur de danser devant vous, LE PRIEUR (prêt à s élancer) Ah! je cours! BONIFACE (le retenant) Patience! JEAN (avec humilité) Tout simplement la danse de chez nous. (Le Jongleur se met à danser alors une sorte de bourrée avec des appels de pieds et des exclamations jetées par intervalles. Il danse de plus en plus vite, jusqu au moment où, couvert de sueur, haletant, il tombe aux pieds de la Vierge et s y prosterne dans une longue et profonde adoration. Successivement arrivent tous les Moines y compris le Moine musicien, le Moine poète, le Moine sculpteur ils entourent le Prieur. Jean ne peut savoir qu il est regardé. Il n entend aucune des imprécations de colère qui grandissent à mesure que la danse du jongleur s accentue) LE PRIEUR (à Boniface, désignant Jean, avec dégoût et colère) A son vomissement vois retourner le chien! BONIFACE (au Prieur, à part, comme pour l apaiser) Devant l arche dansa le roi David. (de bonne humeur) Je pense que David! n était pas païen. (Rumeurs de colère peu à peu grandissantes) LES MOINES (entre eux, désignant Jean) Sacrilège! Sacrilège! chassons-le… du Saint lieu! Quelle insulte! (d autre arrivant) Quelle insulte! Chassons-le, chassons-le du Saint lieu! Vengeance! Vengeance! Il se vautre Il se joue dans son impiété… Vengeance! Vengeance! Vengeance! TOUS LES MOINES (réunis) Mort à l impie! Mort! Mort à l impie! Mort! LE PRIEUR Anathème sur lui! BONIFACE (très expressif) Pitié, pitié pour lui! LE PRIEUR Anathème sur lui! BONIFACE Pitié pour lui! LE PRIEUR Anathème! Mort au sacrilège! LE PRIEUR, LES MOINES Mort! BONIFACE Non! (Furieux, les Moines vont se précipiter sur Jean. Mais Boniface, d un geste vers la statue de la Vierge, les arrête) Arrière tous! la Vierge le protège! (avec une terreur religieuse) Voyez-vous… (presque sans voix) le tableau… D une étrange lumière Il commence à briller… Un doux regard se lève au bord de la paupière, Sur la bouche… un sourire est près de s éveiller. LES MOINES (entre eux, désignant la statue) … là! là! LES MOINE PEINTRE … là! voyez-vous? LES MOINES O miracle! Voyez! LES MOINES PEINTRE (radieux d orgueil) O Peinture! BONIFACE Ah!, voyez… la main blanche Vers le Jongleur incline un geste maternel… Le front délicieux avec amour se penche… PRIEUR, LE MOINE PEINTRE, MOINES O miracle! LES ANGES (Voix invisibles au très loin; sopranos, contraltos, enfants) Hosanna! Gloire à Jean. Gloire au plus haut des cieux, Hosanna! Gloire et sérénité. Paix sur la terre Aux hommes de bonne volonté, Hosanna! (les sopranos seulement) Hosanna! BONIFACE (extasié) Ecoutez les musiques du ciel! Adorable mystère. LES MOINES (les Moine Peintre avec les barytons) Adorable mystère. LE PRIEUR Adorable mystère. BONIFACE, PRIEUR, MOINES Miracle! (Le Prieur, suivi des Moines, s approche de Jean toujours aux pieds de la Vierge, abîmé dans sa prière. Jean se relève, et se retourne au bruit, effrayé d être surpris dans son costume de jongleur) JEAN C est le Prieur! ah! pardon! LE PRIEUR (le relevant) Relevez-vous, C est à moi d être à vos genoux… Vous êtes un grand Saint. Priez, priez pour nous. BONIFACE, LES MOINES Priez pour nous. JEAN (croyant qu on le raille) Non! ne me raillez point. Punissez-moi, mon Père. LE PRIEUR Vous railler, vous punir, Vous, l honneur de ce monastère, (désignant la statue) Quand je vois de mes yeux la Vierge vous bénir. JEAN (très simplement) Je ne vois rien. BONIFACE, LES MOINES Etrange merveille! LE PRIEUR Enseignement des cieux et leçon non pareille de candide vertu, de sainte humilité. (s adressant à la Vierge) Mais cependant, ô Vierge souveraine, Mère d amour et de bonté, pour le délasser de sa peine, Aux yeux fermés encor de Votre cher Jongleur, Divine et vivante Pâleur, Révélez-vous! BONIFACE, LES MOINES Miracle! Miracle! (Se détachant des mains de la Vierge, l auréole des bienheureux vient briller sur la tête de Jean) JEAN (extasié) Rayonnement! Ah! bonheur! Délicieusement… je meurs… BONIFACE, LE PRIEUR, MOINES Miracle! Miracle! Miracle! Miracle! (Jean défaille) LES MOINES (tombant à genoux) Kyrie eleison, Christe, exaudi nos, Sancta Maria, Ora pro nobis. JEAN (d un ton naïf et tendre) Enfin… Je comprends le latin… (Il retombe) DEUX ANGES Caressé du vent de nos ailes, Souriant, le jongleur s endort; Voyez devant son humble zèle S ouvrir aux cieux la porte d or. LES ANGES Alléluia! Alléluia! DEUX ANGES Voyez s ouvrir la porte d or, Voyez s ouvrir la porte d or! JEAN (extasié, souriant) Spectacle radieux… Je vois s ouvrir les cieux! Parfums divins… frais palpitèments d ailes… (tendrement, ému) La Vierge de la main me fait signe… Je viens… quel doux sourire… Ah! sa main blanche… sa main… La Gloire du Paradis (La Vierge, au milieu du Paradis, entourée des Anges) BONIFACE (contemplant Jean avec une ardent et radieuse piété) Délivré des terrestres liens… Il s envole… au bonheur… de l Eternel Dimanche… Plus de chagrin… plus de souci… Il entre en la céleste ronde… JEAN (sans voix) Me voici… (Il meurt) LE PRIEUR Heureux les simples car ils verront Dieu. LES ANGES (au très loin) Amen. BONIFACE, LE PRIEUR, LES MOINES Amen. Massenet,Jules/Le Jongleur de Notre-Dame
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1. 目的 2. 構成2.1. 設定概要 2.2. 構成図 2.3. netファイル 2.4. 初期設定 2.5. Apache 設定 2.6. サーバ側 ルーティング設定 3. [準備] Markingの設定3.1. ip precedenceの設定 4. [検証] WFQ4.1. WFQの設定 4.2. テストトラフィックの送信 4.3. showコマンドによる確認 5. [検証] WFQの詳細設定5.1. 設定項目 5.2. 設定例 1. 目的 WFQ(Weighted Fair Queuing)の設定方法について確認します。 2. 構成 2.1. 設定概要 初期設定はIPアドレスのみです。 Host OS側でApacheを起動させます。 Guest OS, R1間は10Mで接続する事で、わざと輻輳を発生させます。 2.2. 構成図 2.3. netファイル model = 3620 [localhost] [[3620]] image = C \Program Files\Dynamips\images\c3620-j1s3-mz.123-18.bin ram = 128 [[ROUTER R1]] f0/0 = NIO_gen_eth \Device\NPF_{8B89D910-5ED3-4A43-9DE9-6A272A3D7592} e1/0 = NIO_gen_eth \Device\NPF_{5933302A-7AAA-475C-A8FE-A6B82B0C0F98} 2.4. 初期設定 R1 ! version 12.3 service timestamps debug datetime msec service timestamps log datetime msec no service password-encryption ! hostname R1 ! boot-start-marker boot-end-marker ! ! no aaa new-model ip subnet-zero ! ! no ip domain lookup ! ip cef ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! interface FastEthernet0/0 ip address 192.168.200.1 255.255.255.0 duplex auto speed auto ! interface Ethernet1/0 ip address 192.168.201.1 255.255.255.0 half-duplex ! interface Ethernet1/1 no ip address shutdown half-duplex ! interface Ethernet1/2 no ip address shutdown half-duplex ! interface Ethernet1/3 no ip address shutdown half-duplex ! ip http server ip classless ! ! no cdp run ! ! ! ! ! ! line con 0 line aux 0 line vty 0 4 ! ! end 2.5. Apache 設定 ホストOSにApacheをインストールし、ポートベースのバーチャルホストを定義します。構築方法はトップページ/手順書 サーバ系/Apache HTTP Server バーチャルホストの設定を参考にして下さい。 この検証例で実際に使用したhttpd.confの要所となる部分を以下に記載します。 Listen 10880 Listen 10881 Listen 10882 NameVirtualHost * 10880 NameVirtualHost * 10881 NameVirtualHost * 10882 VirtualHost * 10880 DocumentRoot "C /Program Files/Apache Software Foundation/Apache2.2/htdocs" /VirtualHost VirtualHost * 10881 DocumentRoot "C /Program Files/Apache Software Foundation/Apache2.2/htdocs10881" /VirtualHost VirtualHost * 10882 DocumentRoot "C /Program Files/Apache Software Foundation/Apache2.2/htdocs10882" /VirtualHost 2.6. サーバ側 ルーティング設定 Host OS route add 192.168.201.0 mask 255.255.255.0 192.168.200.1 Guest OS route add -net 192.168.200.0/24 gw 192.168.201.1 3. [準備] Markingの設定 3.1. ip precedenceの設定 WFQはip precedenceの値を元に優先度を決めるキューです。事前準備として、以下のmarkingをFa0/0のinput方向で行います。 通信 ip precedence SSH 5(critical) tcp10880を使用したHTTP 3(flash) tcp10881を使用したHTTP 1(priority) tcp10882を使用したHTTP 0(routine) 投入するconfigは以下の通りです。 R1(config)#ip access-list extended ACL_SSH R1(config-ext-nacl)#permit tcp any any eq 22 R1(config-ext-nacl)#exit R1(config)# R1(config)#ip access-list extended ACL_10880 R1(config-ext-nacl)#permit tcp any eq 10880 any R1(config-ext-nacl)#exit R1(config)# R1(config)#ip access-list extended ACL_10881 R1(config-ext-nacl)#permit tcp any eq 10881 any R1(config-ext-nacl)#exit R1(config)# R1(config)#ip access-list extended ACL_10882 R1(config-ext-nacl)#permit tcp any eq 10882 any R1(config-ext-nacl)#exit R1(config)# R1(config)# R1(config)#class-map CLASS_SSH R1(config-cmap)#match access-group name ACL_SSH R1(config-cmap)#exit R1(config)# R1(config)#class-map CLASS_10880 R1(config-cmap)#match access-group name ACL_10880 R1(config-cmap)#exit R1(config)# R1(config)#class-map CLASS_10881 R1(config-cmap)#match access-group name ACL_10881 R1(config-cmap)#exit R1(config)# R1(config)#class-map CLASS_10882 R1(config-cmap)#match access-group name ACL_10882 R1(config-cmap)#exit R1(config)# R1(config)# R1(config)#policy-map POLICY_F00_IN R1(config-pmap)#class CLASS_SSH R1(config-pmap-c)#set ip precedence critical R1(config-pmap-c)#exit R1(config-pmap)# R1(config-pmap)#class CLASS_10880 R1(config-pmap-c)#set ip precedence flash R1(config-pmap-c)#exit R1(config-pmap)# R1(config-pmap)#class CLASS_10881 R1(config-pmap-c)#set ip precedence priority R1(config-pmap-c)#exit R1(config-pmap)# R1(config-pmap)#class CLASS_10882 R1(config-pmap-c)#set ip precedence routine R1(config-pmap-c)#exit R1(config-pmap)#exit R1(config)# R1(config)# R1(config)#interface FastEthernet 0/0 R1(config-if)#service-policy in POLICY_F00_IN 4. [検証] WFQ 4.1. WFQの設定 e1/0でWFQを設定します。 R1(config)#interface Ethernet 1/0 R1(config-if)#fair-queue 4.2. テストトラフィックの送信 Host OSからGuest OSへssh接続い、以下要領のwgetコマンドを３つ同時に実行します。 ip precedenceの値が大きいものほど、ダウンロード速度が速い事を確認します。 [root@localhost ~]# wget -O /dev/null http //192.168.200.100 10880/large.html --2010-11-09 15 41 56-- http //192.168.200.100 10880/large.html Connecting to 192.168.200.100 10880... connected. HTTP request sent, awaiting response... 200 OK Length 23016000 (22M) [text/html] Saving to `/dev/null 19% [======== ] 4,447,304 18.5K/s eta 23m 36s [root@localhost ~]# wget -O /dev/null http //192.168.200.100 10881/large.html --2010-11-09 15 42 19-- http //192.168.200.100 10881/large.html Connecting to 192.168.200.100 10881... connected. HTTP request sent, awaiting response... 200 OK Length 23016000 (22M) [text/html] Saving to `/dev/null 14% [====== ] 3,407,872 10.8K/s eta 31m 47s [root@localhost ~]# wget -O /dev/null http //192.168.200.100 10882/large.html --2010-11-09 15 42 41-- http //192.168.200.100 10882/large.html Connecting to 192.168.200.100 10882... connected. HTTP request sent, awaiting response... 200 OK Length 23016000 (22M) [text/html] Saving to `/dev/null 10% [=== ] 2,317,384 4.69K/s eta 47m 28s 4.3. showコマンドによる確認 show queueingコマンドでqueueingの設定を確認する事ができます。 (show queueing fairでWFQのみを表示する事ができます。) R1#show queueing fair Current fair queue configuration Interface Discard Dynamic Reserved Link Priority threshold queues queues queues queues Ethernet1/0 64 256 0 8 1 R1# show queueing interfaceコマンドで各queueを通過したパケット数を確認する事ができます。 R1#show queueing interface Ethernet 1/0 Interface Ethernet1/0 queueing strategy priority Output queue utilization (queue/count) high/1401 medium/34481 normal/8058 low/1208 R1# show queueing interfaceコマンドで各queueの保持しているパケット数やドロップしたパケット数を確認する事ができます。 R1#show queueing interface Ethernet 1/0 Interface Ethernet1/0 queueing strategy fair Input queue 0/75/0/0 (size/max/drops/flushes); Total output drops 0 Queueing strategy weighted fair Output queue 14/1000/64/0 (size/max total/threshold/drops) Conversations 2/5/256 (active/max active/max total) Reserved Conversations 0/0 (allocated/max allocated) Available Bandwidth 7500 kilobits/sec (depth/weight/total drops/no-buffer drops/interleaves) 3/8096/0/0/0 Conversation 219, linktype ip, length 590 source 192.168.200.100, destination 192.168.201.101, id 0x262B, ttl 127, TOS 96 prot 6, source port 10880, destination port 43097 (depth/weight/total drops/no-buffer drops/interleaves) 12/16192/0/0/0 Conversation 246, linktype ip, length 590 source 192.168.200.100, destination 192.168.201.101, id 0x2616, ttl 127, TOS 32 prot 6, source port 10881, destination port 41338 R1# 5. [検証] WFQの詳細設定 5.1. 設定項目 WFQはport番号やip addressを元にパケットをフローに分類します。各フローに対応したキューが作成され、そのキューに対して詳細な設定を行う事ができます。 構文は以下の通りです。 Cisco(config-if)# fair-queue discard-threshold dynamic-queues reserval-queues 項目 値 説明 discard-threshold 1-4096 Congestive Discard Threshold br; 各キューに格納できるパケット数です。 dynamic-queues 16-4096 Number Dynamic Conversation Queues br; 作成できるキューの数です。 reserva-queues 0-1000 Number Reservable Conversation Queues br; RSVPに予約されたキューの数です。 5.2. 設定例 WFQに詳細設定を投入します。設定例は以下の通りです。 R1(config)#interface Ethernet 1/0 R1(config-if)#fair-queue 32 16 0 設定はshow queueingなどで確認する事ができます。 R1#show queueing fair Current fair queue configuration Interface Discard Dynamic Reserved Link Priority threshold queues queues queues queues Ethernet1/0 32 16 0 8 1 R1#
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OSINT Market, Latest Market Research Future (MRFR) Report During industry trends 2030 Business Trends, Global Segments By Development, By Type, By Application Market Scenario The Global Open Source Intelligence (OSINT) Market was valued at USD 32.86 Billion during the forecast period, and it is expected to record a CAGR of 20.6% during the forecast period. Open Source Intelligence (OSINT) is intelligence derived from publicly available data that is gathered, evaluated, and disseminated to the appropriate audience promptly to meet a specific intelligence need. Although the open web is an important component, it is not restricted to what can be found via Google or other search engines. We can access hobbies, location, working status, community, and other raw data on social media sites like Facebook, Instagram, Twitter, and YouTube, which helps government security organizations to keep track of activities taking place across the world. Some of the drivers driving the market's growth are the increased availability of open-source data, as well as escalating cyber threats, terrorism, and other illicit practices. The vast amount of open-source material available, on the other hand, may limit the market's future expansion. OSINT is based on open-source data, which is unstructured, noisy, and raw. It is easily available and can be legally retrieved and edited. Increased public data availability is a driving element behind the operation of open-source intelligence systems. Social media, print media, digital media, articles, blog publications, online forums, videos, government reports, telephone directories, press conferences, journals, academic research papers, financial databases, patents, dissertations, and newsletters are just some of the places where data can be found. This information is freely accessible and lawful to use. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/4545 COVID-19 Analysis The business impact of SARS-CoV-2 has been felt across diverse sections of the information technology industry, albeit at different levels. Companies in the technology sector that supply services for verticals like travel, retail, hospitality, and entertainment have noted a dramatic decrease in sales, while the firms that provide services related to remote worker solutions have observed the opposite. Open-Source Intelligence ’s fate post pandemic has been relatively less grim compared to Education Services (ES) and Professional Services (PS) that are mostly dependent on components that are generally on-site. Novel coronavirus has Open-Source Intelligence to open new avenues for those firms that are on the lookout for solutions that are reliable, efficiently managed, scalable, and are subscription-based, to remain more focused on the core business. The Open-Source Intelligence is bearing lesser impact of the COVID-19 outbreak compared to most other segments of the tech world. In a nutshell, COVID-19 impact on managed services has been fruitful, with the market growth enhanced than before. Given the prevalent lockdown situation, managed services vendors are now investing heavily in remote-centric worker solutions, which can make the market highly resilient in the coming years, even as the world is currently rushing to achieve a COVID-19 breakthrough. Competitive Outlook The open source intelligence (OSINT) market is supported by easy availability of raw data. The population growth around the world and increasing demand of open source intelligence (OSINT) market based services and products also support the market growth. However, the open source intelligence (OSINT) market growth can be affected due to high volumes of unstructured data and lack of clear policies on certain online activities. The report covers all such details which will help companies in the open source intelligence (OSINT) market to strengthen their business plan and improve their product portfolio. The open source intelligence (OSINT) market research report also provides company profiles of major companies. The company profile of organizations operating in the open source intelligence (OSINT) market discusses strategies, growth plans, size, revenue, and mergers and acquisition details of top companies in the open source intelligence (OSINT) market. New entrants and established players can plan their strategies based on this data provided in the open source intelligence (OSINT) market research report. Segmentation The global open source intelligence (OSINT) market has been segmented based on technology, application, and security type. On the basis of technology, the market for open source intelligence (OSINT) is segmented based on bid data software, video analytics, text analytics, visualization tool, cyber security, web analysis, social media analysis, others. Additionally, the market on the basis of application, is segmented into military defense, homeland security, private sector, public sector, national security, others. The global market for open source intelligence (OSINT) is also covered based on security type segment which is further split into human intelligence, content intelligence, dark web analysis, link/network analysis, data analytics, text analytics, artificial intelligence, big data, others. Factors like increasing demand for data collection from foreign sources and rising penetration of smartphones and tablets, support the open source intelligence (OSINT) market growth. The performance of the open source intelligence (OSINT) market has also been studied for the past and current years. Additionally, the open source intelligence (OSINT) market report provides analysis of these segments. The open source intelligence (OSINT) market segmental analysis provided in the report offers major details about the open source intelligence (OSINT) market performance and future. Regional Analysis Companies in the open source intelligence (OSINT) market are spread across the world. The open source intelligence (OSINT) market report provides major information about regional markets of North America, Europe, Asia-Pacific (APAC), and the rest of the world. The North American open source intelligence (OSINT) market has many companies across the United States, Canada, and Mexico. Europe has companies in the open source intelligence (OSINT) market across Germany, France, Spain, Italy, and the United Kingdom. A detailed analysis of the open source intelligence (OSINT) market across India, China, and Japan in the Asia-Pacific region is also presented in the report. The open source intelligence (OSINT) market of the Middle East, Africa, and other regions has also been studied by analysts. The regional analysis of the open source intelligence (OSINT) market can be found in the market research report. Industry News The Quantuma business consultancy group bought the Alchemy asset recovery company located in Cayman Islands. Specialized in wealth and financial loss recovery, Alchemy, created by Angela Barkhouse in combination with financial fraud specialists, accounting forensics and insolvency professionals, uses artificial intelligence, data visualising and open source intelligence. Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure Browse Full Report Details @ https //www.marketresearchfuture.com/reports/open-source-intelligence-market-4545 List of Tables TABLE 1 MARKET SYNOPSIS 19 TABLE 2 GLOBAL OSINT MARKET, BY SECURITY TYPE, 2020–2027 (USD MILLION) 38 TABLE 3 GLOBAL OSINT HUMAN INTELLIGENCE MARKET, BY REGION, 2020–2027 (USD MILLION) 38 Continued… List of Figures FIGURE 1 GLOBAL OPEN-SOURCE INTELLIGENCE (OSINT) MARKET STRUCTURE 20 FIGURE 2 BOTTOM-UP AND TOP-DOWN APPROACHES 25 FIGURE 3 NORTH AMERICA OPEN-SOURCE INTELLIGENCE (OSINT) MARKET SHARE (%), BY COUNTRY (2020 2027) 28 Continued… Similar Report** Mobile Banking Market By Solution (Customer Management, Mobile Banking Features, Mobile Payment Features), By Technology (Wireless Application Protocol, Standalone Mobile Application), By Deployment (On-Cloud, On-Premise) Voice Assistant Market** https //mrfrinformation.tistory.com/615 Network-Attached Storage Market** https //telescope.ac/information-technology-Lc1XMRDqL/5WlKY9Kx4 Trending Report https //www.buymeacoffee.com/ubellapranC/osint-market-latest-market-research-future-mrfr-report About Market Research Future Market Research Future (MRFR) has created a niche in the world of market research. It is counted among the top market research companies that offer well-researched and updated market research reports and insights to businesses of all sizes. What sets us apart is our super-responsive team that offers quality work keeping clients abridged of the prospective challenges and opportunities in various markets. Our team is adept in their space as well as patiently listens to every client. The best part is they know their work inside out and possess the expertise to guide the client in the right direction and achieve results on a tight deadline. We are a one-stop solution for all your data research needs. Our team does not believe in the “one size fits all” approach to creating a report that is detailed and concise. We handle 13 industry verticals including Healthcare, Chemicals and Materials, Information and Communications Technology, Semiconductor and Electronics, Energy and Power, Food, Beverages Nutrition, Automobile, Consumer and Retail, Aerospace and Defense, Industrial Automation and Equipment, Packaging Transport, Construction, and Agriculture. With our unique approach for every market report, we aim to reach the zenith in qualitative business intelligence and syndicated market research. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
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The Third Industrial Revolution Technology, Productivity, and Income Inequality (Aei Studies on Understanding Economic Inequality) Aei Pr? Jeremy Greenwood? AeiPr? JeremyGreenwood? ジャンル別? Subjects-Business&Investing-Economics? Subjects-Business&Investing-General? Subjects-Business&Investing-Management&Leadership-Industrial? Subjects-Nonfiction-Economics? Subjects-Professional&Technical-Accounting&Finance-Economics? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Industrial? Subjects-Science-Technology-General&Reference The International Communication of Technology A Book of Readings (International Business and Trade Series, Vol 1) Taylor & Francis? Richard D. Robinson? Taylor&Francis? RichardD.Robinson? ジャンル別? Subjects-Business&Investing-Economics-Development&Growth? Subjects-Business&Investing-General? Subjects-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Nonfiction-Politics-International-Relations? Subjects-Nonfiction-Economics-Development&Growth? Subjects-Professional&Technical-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Professional&Technical-Accounting&Finance-Economics-Development&Growth? Subjects-Reference-Writing-Technical? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-TechnicalThinking&Writing? Intelligent Instruction by Computer Theory and Practice Crane Russak & Co? Marshall J. Farr? Joseph Psotka? CraneRussak&Co? MarshallJ.Farr? JosephPsotka? ジャンル別? Subjects-Computers&Internet? Subjects-Nonfiction-Education-General? Subjects-Professional&Technical-Education-General? Subjects-Science-Technology-General&Reference Intelligent Instruction by Computer Theory and Practice Crane Russak & Co? Marshall J. Farr? Joseph Psotka? CraneRussak&Co? MarshallJ.Farr? JosephPsotka? ジャンル別? Subjects-Computers&Internet? Subjects-Nonfiction-Education-Technology&DistanceLearning-Computers&Technology? Subjects-Nonfiction-Education-General? Subjects-Professional&Technical-Education-General? Subjects-Professional&Technical-Education-Technology&DistanceLearning-Computers&Technology? Subjects-Science-Technology-General&Reference Technology Transfer in Consortia and Strategic Alliances (International Series on Technical Innovation and Entrepreneurship) Rowman & Littlefield Pub Inc? David V. Gibson? Raymond W. Smilor? Rowman&LittlefieldPubInc? DavidV.Gibson? RaymondW.Smilor? ジャンル別? Subjects-Business&Investing-International-General? Subjects-Business&Investing-Management&Leadership-Industrial? Subjects-Business&Investing-Management&Leadership-Production&Operations? Subjects-Nonfiction-Politics-International-Relations? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Industrial? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Production&Operations? Subjects-Reference-General? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-TechnologyTransfer? University-Business Partnerships An Assessment (Issues in Academic Ethics) Rowman & Littlefield Pub Inc? Norman E. Bowie? Rowman&LittlefieldPubInc? NormanE.Bowie? ジャンル別? Subjects-Business&Investing-BusinessLife-Ethics? Subjects-Business&Investing-SmallBusiness&Entrepreneurship-NewBusinessEnterprises? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-Education-College&University-General? Subjects-Nonfiction-Education-EducationTheory-SchoolManagement? Subjects-Professional&Technical-Education-Administration-SchoolManagement? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-BusinessEthics? Subjects-Reference-General? Subjects-Science-General Subjects-Science-Technology-General&Reference University-Business Partnerships An Assessment (Issues in Academic Ethics) Rowman & Littlefield Pub Inc? Norman E. Bowie? Rowman&LittlefieldPubInc? NormanE.Bowie? ジャンル別? Subjects-Business&Investing-BusinessLife-Ethics? Subjects-Business&Investing-SmallBusiness&Entrepreneurship-NewBusinessEnterprises? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-Education-College&University-General? Subjects-Nonfiction-Education-EducationTheory-SchoolManagement? Subjects-Professional&Technical-Education-Administration-SchoolManagement? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-BusinessEthics? Subjects-Reference-General? Subjects-Science-Technology-General&Reference Commercializing High Technology East and West (International Series on Technical Innovation and Entrepreneurship) Rowman & Littlefield Pub Inc? Judith B. Sedaitis? Rowman&LittlefieldPubInc? JudithB.Sedaitis? ジャンル別? Subjects-Business&Investing-Economics-International? Subjects-Business&Investing-General? Subjects-Business&Investing-Industries&Professions-MIS? Subjects-Business&Investing-Industries&Professions-General? Subjects-Business&Investing-International-General? Subjects-Business&Investing-Management&Leadership-Production&Operations? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-Economics-International? Subjects-Professional&Technical-Accounting&Finance-International-Economics? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Production&Operations? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-InformationManagement? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-TechnologyTransfer? Creatures of Prometheus Gender and the Politics of Technology Rowman & Littlefield Pub Inc? Timothy V. Kaufman-Osborn? Prometheus? Rowman&LittlefieldPubInc? TimothyV.Kaufman-Osborn? Prometheus? ジャンル別? Subjects-Entertainment-PopCulture-General? Subjects-Nonfiction-Politics-General? Subjects-Nonfiction-Politics-History&Theory? Subjects-Nonfiction-SocialSciences-GenderStudies-General? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Nonfiction-SocialSciences-PopularCulture? Subjects-Nonfiction-SocialSciences-PoliticalScience-General? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-PhilosophyofTechnology? Subjects-Science-Technology-Technology&Society? Creatures of Prometheus Gender and the Politics of Technology Rowman & Littlefield Pub Inc? Timothy V. Kaufman-Osborn? Rowman&LittlefieldPubInc? TimothyV.Kaufman-Osborn? ジャンル別? Subjects-Nonfiction-Politics-General? Subjects-Nonfiction-Politics-History&Theory? Subjects-Nonfiction-SocialSciences-GenderStudies-General? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Nonfiction-SocialSciences-PoliticalScience-General? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Technology and Values Rowman & Littlefield Pub Inc? Kristin Shrader-Frechette? Laura Westra? Rowman&LittlefieldPubInc? KristinShrader-Frechette? LauraWestra? ジャンル別? Subjects-Business&Investing-BusinessLife-Communication-General? Subjects-Medicine? Subjects-Nonfiction-Philosophy-Ethics&Morality? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-Philosophy-Modern? Subjects-Nonfiction-SocialSciences-MediaStudies? Subjects-Nonfiction-CurrentEvents-MassMedia-MediaStudies? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-PhilosophyofTechnology? Subjects-Science-Technology-Technology&PublicPolicy? Subjects-Science-Medicine? Theory and Practice of Swirl Atomizers (Combustion (New York, N.Y. 1989).) Hemisphere Pub? Yuriy Khavkin? HemispherePub? YuriyKhavkin? ジャンル別? ユーズドブック(洋書)-Engineering Substores-UnknownASINs-35 Subjects-Engineering-Chemical-General? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Chemical-General? 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接続ファイル ?xml version="1.0" encoding="utf-8" standalone="no"? connects connect enable="false" label 2ch書き込み(初回忍法帳作成用) /label tpl 2ch_write_eat_cookie.tpl.xml /tpl variables !-- 書き込み対象のスレッドのURLです。 -- variable name="ThreadURL" http //XXXXXX.2ch.net/test/read.cgi/XXXXXXX/12345678/ /variable !-- スレッドの投稿先です。 スレッドURLと同じサブドメインを指定してください。 -- variable name="WriteURL" http //XXXXXX.2ch.net/test/bbs.cgi?guid=ON /variable !-- 書き込みの間隔(秒)です。 数字のみ、または"1-5"のように指定も出来ます。 -- variable name="Interval" 10 /variable !-- 投稿メッセージです。HTML特殊文字はエスケープしてください。(例えば " " は " " にする。 -- variable name="VarMESSAGE" 書き込み本文(・∀・) /variable /variables cookieId 2ch-write /cookieId /connect connect label 2ch書き込み /label tpl 2ch_write.tpl.xml /tpl variables !-- 書き込み対象のスレッドのURLです。 -- variable name="ThreadURL" http //XXXXXX.2ch.net/test/read.cgi/XXXXXXX/12345678/ /variable !-- スレッドの投稿先です。 スレッドURLと同じサブドメインを指定してください。 -- variable name="WriteURL" http //XXXXXX.2ch.net/test/bbs.cgi?guid=ON /variable !-- 書き込みの間隔(秒)です。 数字のみ、または"1-5"のように指定も出来ます。 -- variable name="Interval" 10 /variable !-- メール欄 -- variable name="VarMAIL" sage /variable !-- 投稿メッセージです。HTML特殊文字はエスケープしてください。(例えば " " は " " にする。 -- variable name="VarMESSAGE" 書き込み本文(・∀・) /variable /variables cookieId 2ch-write /cookieId /connect /connects リクエストファイル - 2ch_write_eat_cookie.tpl.xml ?xml version="1.0" encoding="utf-8" standalone="no"? requests default encoding="shift-jis" url http //exsample-domain/ /url method GET /method interval 1-3 /interval headers header name="Accept" text/html,application/xhtml+xml,application/xml;q=0.9,*/*;q=0.8 /header header name="Accept-Encoding" gzip, deflate /header header name="Accept-Language" ja,en-us;q=0.7,en;q=0.3e /header header name="Connection" keep-alive /header header name="User-Agent" Mozilla/5.0 (Windows NT 5.1; rv 12.0) Gecko/20100101 Firefox/12.0 /header /headers response charset="shift-jis" /response /default request label スレ /label url {%ThreadURL%} /url method GET /method response getInputValue name="bbs" varName="VarBBS" / getInputValue name="key" varName="VarKEY" / getInputValue name="time" varName="VarTIME" / getInputValue name="submit" varName="VarSUBMIG" / /response /request request label 書き込み確認 /label url {%WriteURL%} /url method POST /method headers header name="Referer" {%ThreadURL%} /header /headers params param name="FROM" /param param name="MESSAGE" {%VarMESSAGE%} /param param name="bbs" {%VarBBS%} /param param name="key" {%VarKEY%} /param param name="mail" {%VarMAIL%} /param param name="submit" {%VarSUBMIG%} /param param name="time" {%VarTIME%} /param /params response getInputValue name="yuki" varName="VarYUKI" / getInputValue name="key" varName="VarKEY" / getInputValue name="time" varName="VarTIME" / getInputValue name="submit" varName="VarSUBMIG" / /response /request request label 書き込み /label url {%WriteURL%} /url method POST /method interval {%Interval%} /interval headers header name="Referer" {%WriteURL%} /header /headers params param name="FROM" /param param name="subject" /param param name="MESSAGE" {%VarMESSAGE%} /param param name="bbs" {%VarBBS%} /param param name="key" {%VarKEY%} /param param name="mail" {%VarMAIL%} /param param name="submit" {%VarSUBMIG%} /param param name="time" {%VarTIME%} /param param name="yuki" {%VarYUKI%} /param /params /request !-- 忍法帖作成完了後 -- request label スレ /label url {%ThreadURL%} /url method GET /method response getInputValue name="bbs" varName="VarBBS" / getInputValue name="key" varName="VarKEY" / getInputValue name="time" varName="VarTIME" / getInputValue name="submit" varName="VarSUBMIG" / /response /request request label 書き込み確認 /label url {%WriteURL%} /url method POST /method headers header name="Referer" {%ThreadURL%} /header /headers params param name="FROM" /param param name="MESSAGE" {%VarMESSAGE%} /param param name="bbs" {%VarBBS%} /param param name="key" {%VarKEY%} /param param name="mail" {%VarMAIL%} /param param name="submit" {%VarSUBMIG%} /param param name="time" {%VarTIME%} /param /params response getInputValue name="yuki" varName="VarYUKI" / getInputValue name="key" varName="VarKEY" / getInputValue name="time" varName="VarTIME" / getInputValue name="submit" varName="VarSUBMIG" / getInputValue name="MESSAGE" varName="VarMESSAGE" / /response /request request label 書き込み /label url {%WriteURL%} /url method POST /method interval {%Interval%} /interval headers header name="Referer" {%WriteURL%} /header /headers params param name="FROM" /param param name="subject" /param param name="MESSAGE" {%VarMESSAGE%} /param param name="bbs" {%VarBBS%} /param param name="key" {%VarKEY%} /param param name="mail" {%VarMAIL%} /param param name="submit" {%VarSUBMIG%} /param param name="time" {%VarTIME%} /param param name="yuki" {%VarYUKI%} /param /params /request /requests リクエストファイル - 2ch_write.tpl.xml ?xml version="1.0" encoding="utf-8" standalone="no"? requests default encoding="shift-jis" url http //exsample-domain/ /url method GET /method interval 1-3 /interval headers header name="Accept" text/html,application/xhtml+xml,application/xml;q=0.9,*/*;q=0.8 /header header name="Accept-Encoding" gzip, deflate /header header name="Accept-Language" ja,en-us;q=0.7,en;q=0.3e /header header name="Connection" keep-alive /header header name="User-Agent" Mozilla/5.0 (Windows NT 5.1; rv 12.0) Gecko/20100101 Firefox/12.0 /header /headers response charset="Shift_JIS" /response /default !-- 1res -- request label スレ /label url {%ThreadURL%} /url method GET /method response charset="shift-jis" getInputValue name="bbs" varName="VarBBS" / getInputValue name="key" varName="VarKEY" / getInputValue name="time" varName="VarTIME" / getInputValue name="submit" varName="VarSUBMIG" / /response /request request label 書き込み /label url {%WriteURL%} /url method POST /method interval {%Interval%} /interval headers header name="Referer" {%WriteURL%} /header /headers params param name="FROM" /param param name="MESSAGE" {%VarMESSAGE%} /param param name="bbs" {%VarBBS%} /param param name="key" {%VarKEY%} /param param name="mail" {%VarMAIL%} /param param name="submit" {%VarSUBMIG%} /param param name="time" {%VarTIME%} /param /params /request /requests *コメント DueuUGQPLQOlQ -- gfvuimlrtni (2014-12-13 11 07 09) 名前 コメント
https://w.atwiki.jp/englishlanguage/pages/164.html
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