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Analytical Graphite Furnace Atomic Absorption Spectrometry A Laboratory Guide Birkhauser? Gerhard Schlemmer? Bernard Radziuk? Birkhauser? GerhardSchlemmer? BernardRadziuk? ユーズドブック(洋書)-Medicine? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Medicine-Specialties-Pathology-ClinicalChemistry? Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Professional&Technical-Medical-Medicine-InternalMedicine-Pathology-ClinicalChemistry? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Analytic? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Inorganic? Subjects-Science-Chemistry-Analytic? Subjects-Science-Chemistry-Crystallography? Subjects-Science-Chemistry-General&Reference? Subjects-Science-Chemistry-Inorganic? Subjects-Science-Chemistry-Spectroscopy-General? Subjects-Science-General Subjects-Science-Medicine-Specialties-Pathology-ClinicalChemistry? Projektmanagement 5A Vch Verlagsgesellschaft Mbh? Irene Burghardt? 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Subjects-Science-Medicine-Pharmacology-General? Dezentralisieren Mit Profibus-Dp - Aufbau, Projektion Und Einsatz Des Profibus-Dp Mit Simatic S7 Vch Verlagsgesellschaft Mbh? J Weigmann? VchVerlagsgesellschaftMbh? JWeigmann? ユーズドブック(洋書)-Engineering Subjects-Engineering-Telecommunications? Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Professional&Technical-Engineering-Telecommunications? Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Science-Chemistry-General&Reference? Subjects-Science-General The Bochner Technique in Differential Geometry (Mathematical Reports, Vol 3, Pt 2) Harwood Academic Pub? Hung-Hsi Wu? HarwoodAcademicPub? Hung-HsiWu? Substores-UnknownASINs-48? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Geometry&Topology-DifferentialGeometry? Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-Geometry&Topology-GeneralGeometry? 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Subjects-Professional&Technical-Medical-BasicSciences-Pathophysiology? Subjects-Professional&Technical-Medical-Medicine-InternalMedicine-Geriatrics? Subjects-Science-General Subjects-Science-BiologicalSciences-Biology-General? Subjects-Science-BiologicalSciences-Anatomy? Subjects-Science-Medicine-BasicScience-Pathophysiology? Subjects-Science-Medicine-BasicScience-Physiology? Subjects-Science-Medicine-Reproductive&Sexual-Reproduction? Subjects-Science-Medicine-Specialties-Geriatrics? Automatisieren Mit Simatic S7 Integriertes Automatisieren Mit Simatic S7-300/400 Vch Verlagsgesellschaft Mbh? Hans Berger? VchVerlagsgesellschaftMbh? HansBerger? ユーズドブック(洋書)-Engineering Subjects-Engineering-Electrical&Electronics-Electronics-General? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-Telecommunications? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Electronics-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-Telecommunications? Subjects-Science-General Robert of Chester's Redaction of Euclid's "Elements", the So Called Adelard II Version (Science Networks Historical Studies) Birkhauser Verlag AG? Robert of Chester? BirkhauserVerlagAG? RobertofChester? ユーズドブック(洋書)-Science? Substores-UnknownASINs-48? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofScience? Subjects-Science-Mathematics-Geometry&Topology? The Causes of Aging CRC Press? Andrew P. Wickens? CRCPress? AndrewP.Wickens? ユーズドブック(洋書)-Medicine? Subjects-Medicine-BasicScience-Biochemistry? Subjects-Medicine-BasicScience-Pathophysiology? Subjects-Medicine-Reproductive&Sexual-Reproduction? Subjects-Medicine-Specialties-Geriatrics? Subjects-Professional&Technical-Medical-BasicSciences-Biochemistry? Subjects-Professional&Technical-Medical-BasicSciences-Pathophysiology? Subjects-Professional&Technical-Medical-Medicine-InternalMedicine-Geriatrics? Subjects-Science-General Subjects-Science-BiologicalSciences-Biology-General? Subjects-Science-BiologicalSciences-Anatomy? Subjects-Science-Medicine-BasicScience-Biochemistry? Subjects-Science-Medicine-BasicScience-Pathophysiology? Subjects-Science-Medicine-Reproductive&Sexual-Reproduction? Subjects-Science-Medicine-Specialties-Geriatrics? Conformation of Carbohydrates Harwood Academic Pub? Pradman K. Qasba? Petety V. Balaji? Rengaswami Chandrasekaran? V. S. P. Rao? HarwoodAcademicPub? PradmanK.Qasba? PetetyV.Balaji? RengaswamiChandrasekaran? V.S.P.Rao? ユーズドブック(洋書)-Medicine? Subjects-Medicine-BasicScience-Physiology? Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-Biochemistry? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Organic? Subjects-Science-Chemistry-General&Reference? Subjects-Science-Chemistry-Organic-General? Subjects-Science-Chemistry-Biochemistry? Subjects-Science-General Subjects-Science-Medicine-BasicScience-Physiology? Supplement to Theoretical Method of Ligand Field Theory the V-Coupling Coefficients from So(3)to the Points Group Science Pr? Sunchia-Chung? Li Xue Kui? Zhao Jing Yu? SciencePr? Sunchia-Chung? LiXueKui? ZhaoJingYu? Substores-UnknownASINs-53? Subjects-Science-General Subjects-Science-Technology-General&Reference Physics of Solids, Nuclei And Particles Narosa Pub House? R. Sahu? NarosaPubHouse? R.Sahu? ユーズドブック(洋書)-Science? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Science-General Subjects-Science-Physics-General? Subjects-Science-Physics-NuclearPhysics-General? Subjects-Science-Physics-NuclearPhysics-ParticlePhysics? Conformation of Carbohydrates Harwood Academic Pub? V. S. P. Rao? Pradman K. Qasba? Petety V. Balaji? Rengaswami Chandrasekaran? HarwoodAcademicPub? V.S.P.Rao? PradmanK.Qasba? PetetyV.Balaji? RengaswamiChandrasekaran? ユーズドブック(洋書)-Medicine? Subjects-Medicine-BasicScience-Biochemistry? Subjects-Medicine-Specialties-Pathology-ClinicalChemistry? Subjects-Professional&Technical-Medical-BasicSciences-Biochemistry? Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Professional&Technical-Medical-Medicine-InternalMedicine-Pathology-ClinicalChemistry? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Organic? Subjects-Science-Chemistry-General&Reference? Subjects-Science-Chemistry-Organic-General? Subjects-Science-General Subjects-Science-Medicine-BasicScience-Biochemistry? Subjects-Science-Medicine-Specialties-Pathology-ClinicalChemistry? Automating With Simatic Integrated Automation With Simatic S7-300/400 Controllers, Software, Programming, Data Communication, Operator Control and Process Monitoring Vch Verlagsgesellschaft Mbh? Hans Berger? VchVerlagsgesellschaftMbh? HansBerger? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Engineering Subjects-Computers&Internet-Hardware-Microprocessors&SystemDesign-General? Subjects-Engineering-Aerospace-AdvancedMechanics? Subjects-Engineering-Civil-Mechanics? Subjects-Engineering-ComputerTechnology-Robotics&Automation? Subjects-Engineering-Electrical&Electronics-DigitalDesign? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-QualityControl? Subjects-Engineering-Mechanical-Automation? Subjects-Engineering-Mechanical-General? Subjects-Engineering-Mechanical-ControlEngineering-Controllers? Subjects-Professional&Technical-Engineering-Civil-Mechanics? Subjects-Professional&Technical-Engineering-ComputerTechnology-Robotics&Automation? Subjects-Professional&Technical-Engineering-Electrical&Electronics-DigitalDesign? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-QualityControl? Subjects-Professional&Technical-Engineering-Aerospace-AdvancedMechanics? Subjects-Professional&Technical-Engineering-Mechanical-Automation? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Mechanical-ControlEngineering-Controllers? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Plastic Optical Fibers Principles, Components, Installation Vch Verlagsgesellschaft Mbh? Andreas Weinert? VchVerlagsgesellschaftMbh? AndreasWeinert? ユーズドブック(洋書)-Engineering Subjects-Engineering-Electrical&Electronics-Optics-General? Subjects-Engineering-Electrical&Electronics-Optics-FiberOptics? Subjects-Engineering-MaterialsScience-General? Subjects-Engineering-MaterialsScience-PolymerScience? Subjects-Engineering-MaterialsScience-Thermodynamics? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Optics-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Optics-FiberOptics? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-MaterialsScience-PolymerScience? Subjects-Professional&Technical-Engineering-MaterialsScience-Thermodynamics? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Science-General Subjects-Science-Physics-Dynamics-Thermodynamics? Subjects-Science-Physics-Applied? Microsystem Technology A Powerful Tool for Biomolecular Studies (Biomethods) Birkhauser (Architectural)? J. M. Kohler? T. Mejevaia? H. P. Saluz? Birkhauser(Architectural)? J.M.Kohler? T.Mejevaia? H.P.Saluz? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Medicine? ユーズドブック(洋書)-Science? Subjects-Engineering-Bioengineering-Biotechnology? Subjects-Engineering-Chemical-General? Subjects-Medicine-BasicScience-Biochemistry? 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Dictionary of Electrical Engineering, Power Engineering and Automation/FachwÖRterbuch Industrielle Elektrotechnik Energie Und Cdrom Deutsch English/Englishgerman Vch Verlagsgesellschaft Mbh? Heinrich Bezner? VchVerlagsgesellschaftMbh? HeinrichBezner? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Reference? Subjects-Engineering-Electrical&Electronics-Electronics-General? Subjects-Engineering-Electrical&Electronics-General? Subjects-Nonfiction-Education-Reference-Dictionaries&Thesauri-English(All)? Subjects-Nonfiction-Education-Reference-Dictionaries&Thesauri-Science? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Electronics-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Reference-Dictionaries&Thesauruses-English(All)? Subjects-Reference-Dictionaries&Thesauruses-Science? Subjects-Science-General Therapeutic Uses of Cannabis Harwood Academic Pub? C. H. Ashton? British Medical Association? David R. Morgan? HarwoodAcademicPub? C.H.Ashton? BritishMedicalAssociation? DavidR.Morgan? ユーズドブック(洋書)-Medicine? Subjects-Health,Mind&Body-Psychology&Counseling-Psychopharmacology? Subjects-Health,Mind&Body-Disorders&Diseases-General? Subjects-Medicine-Pharmacology-General? Subjects-Medicine-Pharmacology-PainMedicine? Subjects-Professional&Technical-Medical-BasicSciences-Pharmacology? Subjects-Professional&Technical-Medical-Pharmacology-PainMedicine? Subjects-Science-General Subjects-Science-Medicine-Pharmacology-General? Subjects-Science-Medicine-Pharmacology-PainMedicine? Therapeutic Uses of Cannabis Harwood Academic Pub? British Medical Association? HarwoodAcademicPub? BritishMedicalAssociation? ユーズドブック(洋書)-Medicine? Substores-UnknownASINs-67? Subjects-Health,Mind&Body-Disorders&Diseases-General? Subjects-Medicine-Pharmacology-General? Subjects-Medicine-Pharmacology-PainMedicine? Subjects-Medicine-Specialties-Family&GeneralPractice? Subjects-Professional&Technical-Medical-BasicSciences-Pharmacology? 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Neue Musik Contemporary Music Stuttgart in Germany Samstag, 7.Oktober 2006, 19 30 Samstag, 21.Oktober 2006, 19 30 Hommage à Paul Celan "...gen Unverklungen...II" Bewegungsperformance mit Neuer Musik von Erhard Karkoschka, Peter Ruzicka, Wolfgang Rihm, Shigeru Kan-no u.a. http //www.bewegungschiffren.de Beteiligung bei der Langen Ostnacht, in Stuttgarter Osten Samstag, 29.Juli 2006, 18 Uhr, 19 Uhr, 20 Uhr, Auffuhrungen im Studio, Einblicke in das Repertoire "Bis an alle Sterne..." Bewegungsperformance mit Lyrik von Rilke und Musik und Neuer Musik von Juan Maria Solare Hommage A Paul Celan "...gen Unverklungen...II" Bewegungsperformance mit Neuer Musik von Erhard Karkoschka, Peter Ruzicka, Wolfgang Rihm, Shigeru Kan-no u.a. "Alles Lalula" Bewegungsperformance mit der Ursonate von Kurt Schwitters und andere Dada-Lyrik und Neuer Musik von Erhard Karkoschka u.a. Hommage an Klaus Kinski / Ich-Gegensatz, Bewegungsperformance mit Lyrik von Klaus Kinski und Musik Freier Eintritt Studio fur BewegungsChiffren Stuttgart/Germany Diana-Maria Sagvosdkina Schwarenbergstr.85 D-70188 Stuttgart Tel. 0049-(0)711-282338 Fax 0049-(0)711--2841719 Mobil 0175-5017409 info@bewegungschiffren.de http //www.bewegungschiffren.de Urauffuehrung am Sonntag 08.10.06, 20.00 Uhr WVE-235. Bassettklarinettekonzert von Shigeru Kan-no (30.3.06/Hilgenroth) 2002-2000-66442, ca.25 min. 1.Preis von Salzkammergut Mozartfestival Kompositionswettbewerb 2006 in Oberoesterreich zwischen Linz und Salzburg in Festsaal bei Bad Goisern, EuR 16,- Soloklarinette Ferdinand Steiner Dirigent Peter WesenAuer Orchester Sinfonietta da Camera Salzburg http //www.mozartfestival.org 2006 Herbst WVE-169. "Menagerie V" for Blass orchestra von Shigeru Kan-no(22.10.1999/Stuttgart) ca. 5 min.206003Sx-23312Eup-Pk.Sch. Deutschbrasorchester Vereinigung 2005 http //www.verlag433.de
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前奏曲 第１幕 （聖杯の領地。うす暗く厳粛な雰囲気ではあるが、陰気ではない森の中。舞台中央には木の生えていない空き地が広がっている。舞台左手に向けては上り坂になっているが、この道は聖杯城につながるように思われる。舞台後方の中央部に向けては、森の窪みの湖につながる下り斜面となっている。夜明けである。グルネマンツ（高齢だが頑健な老人）と２人の小姓（こちらは華奢な青年達）は、木の下に横たわって眠っている。舞台左手から、まるで聖杯城からのように、荘重な朝の目ざましラッパが響いてくる） GURNEMANZ （起き上がって少年達を揺り動かしながら） おい！こら！そち達は森番のくせに・・・ 眠りの番までしておるのか・・・ いい加減に朝ぐらい起きたらどうじゃ。 （小姓達は二人ともはね起きる） あの音が聞こえるか？神に感謝するのじゃ。 選ばれしそち達にはこの音が聞こえるのじゃから。 （彼は小姓達と共にひざまずき、彼らと一緒になって無言のまま朝の祈りを捧げる。ラッパが鳴りやむと、彼らはゆっくりと身を起こす） さあさあ、若造ども！水浴び場を見に行くのじゃ。 そこで王をお出迎えする時間じゃぞ。 （舞台左手を眺めつつ） あの方を運ぶ担架は来ないのに、 もう使いの者達が、我らのもとにやって来るぞ。 （２人の騎士達が、城の方から登場する） 御機嫌よう！アンフォルタス王のお加減はいかがかな？ ひどく早い時間に、水浴をご所望のようじゃが・・・ ガーヴァンが、知謀と胆力をめぐらし、 手に入れて来た薬草が、 王の苦痛を和らげたのでもあろうか？ 【第２の騎士】 何事もお見通しのあなた様が、そんな思い違いを？ ますます激しく傷つけるような苦痛が、 すぐにぶり返してきたのです・・・ 王は激しい痛みで一睡もできなかったので、 急いで我らに水浴をお命じになったのです。 GURNEMANZ （悲しげにうつむいて） 痛みが和らぐことを期待するとは、何と愚かな我らじゃ・・・ 痛みを和らげるためには、ただ一つの処方しかないのに！ いかなる薬草や飲物を求め、 世界中を飛び回ったとしても、 あの方のお役に立つものはただ一つ・・・ いや・・・ただ一人！ 【第２の騎士】 では、その方のお名前を！ GURNEMANZ （はぐらかして） 水浴の支度をするのじゃ！ （舞台後方を向いていた二人の小姓は、右のほうに目をやる） 【第２の小姓】 あそこに、野生の馬に乗った女が！ 【第１の小姓】 おお！ 悪魔の痩せ馬のたてがみが翻っている！ 【第２の騎士】 ああ！あれはクンドリーか？ 【第１の騎士】 大事な知らせを持って来たのか？ 【第２の小姓】 痩せ馬は、よろよろだぞ。 【第１の騎士】 空を飛んできたのか？ 【第２の小姓】 だが今は地べたをはっている。 【第１の騎士】 たてがみが地面の苔まで掃うようだ。 （全ての者が活気づいて、右側に目をやっている） 【第２の騎士】 飛び下りたぞ！獣のような女が！ （クンドリーが、よろめき倒れそうになりながらも勢いよく飛び込んで来る。彼女の身なりは、いかにも野生のままであり、裾を高くからげ、蛇を剥いで作った皮帯が腰から長く垂れ下っている。黒い髪は、無造作に結えられたお下げとなって、ぶらんと垂れ、顔色はひどく赤茶けている。人を射抜くような黒い眼は、時には野獣のような光を放つが、普段は死人のように凍りついたまま動かない。・・・彼女はまっしぐらにグルネマンツに駆け寄り、水晶製の小さな容器を彼に押しつける） KUNDRY ここかい？受け取りな・・・！癒しの薬を・・・ GURNEMANZ お前、どこからこれを？ KUNDRY 遠いとこさ、あんたの考えなど及ばない程・・・ この薬が効かないんなら、 もうアラビアには あの男を治せる薬は無いよ・・・ もう訊かないで・・・！疲れたの。 （彼女は地面に身を投げ出す。すると、小姓達と騎士達の行列が、アンフォルタスが仰向けに横たわっている輿を担ぎながら、左側から舞台に登場する。グルネマンツはクンドリーから目を離し、登場した者達のほうを向いて） GURNEMANZ あの方がお出でになる・・・皆に担がれながら・・・ ああ悲しい！この悲しい気持ちを何としたものか！ 誇り高き男盛りにもかかわらず、 無敵の一門のご主人が 大病に組み伏せられているのを見るなどとは！ （小姓たちに向かって） 慎重にな！ほら、王が呻いておられるぞ・・・ （小姓たちは立ち止まり、寝床を下に置く） AMFORTAS （少し身をもたげて） それで良い！礼を言うぞ！少し休ませてくれ。 激しい苦痛の夜の後に、 明け方の森は、なんと綺麗なのだ！ きっと、この聖なる湖では、 打ち寄せるさざ波も私を癒すのだろう。 我が嘆きは、今や堰き止められて、 苦痛の夜が明けていく。 ガーヴァンよ！ 【第２の騎士】 殿！ガーヴァンはもはや居りませぬぞ。 手に入れた薬草の効力が、 散々苦労したにもかかわらず、 あなた様のご期待を裏切ったことを知り、 新たな探求の旅へと駆けて行ったのです。 AMFORTAS 許しも得ないでか！ 聖杯の掟を粗略に扱った報いを どこかで帳消しにしてほしいものだ！ ああ恐ろしい･･･この反抗的な勇士ガーヴァンですら、 クリングゾルの罠に落ちぬとも限らない！ さあ、私の心の平安を破らないでくれ！ 私に贈られるはずのものを待とう・・・ 『共に苦しみ、悟りを得る・・・』 こうだったかな・・・？ GURNEMANZ あなた様がそう言われたのですぞ。 AMFORTAS 『清らかな愚か者・・・』 私はこの者を見い出したような気がする・・・ その者を「死」と名付けて良いのなら・・・！ GURNEMANZ （アンフォルタスにクンドリーの薬瓶を手渡しながら） その前に・・・この薬をお試しなさいませ！ AMFORTAS このような不思議な器をどこから？ GURNEMANZ アラビアから取り寄せて参りました。 AMFORTAS どの者が手に入れたのだ？ GURNEMANZ そこに横たわる、野の女です。 起きよ、クンドリー！来い！ （クンドリーは拒み、地べたに貼りついたままである） AMFORTAS クンドリー、お前か・・・？ またも礼を言わねばならぬのか？ 休むことを知らない内気な侍女のお前に。 それでは、 この癒し薬を試してみようか・・・ お前の忠誠に礼を言おう。 KUNDRY （落ち着かずに、激しく、地べたで体を動かしながら） 礼なんぞ！ハハハ！何の役に立つのよ！ 礼なんぞ！行った、行った！・・・水浴び場へ！ （アンフォルタスが出発の合図をすると、行列は、舞台のはるか奥に向かって遠ざかっていく。その姿を陰鬱な眼差しで見送るグルネマンツと、相変わらず地べたに寝そべっているクンドリーとが取り残される。・・・小姓たちは、その場を行ったり来たりする） 【第３の小姓】 おい！お前！ 何だって、野獣のようにそこに寝ているんだ？ KUNDRY ここでは獣だって神聖な生き物じゃないの？ 【第３の小姓】 そうさ・・・！だが、お前が神聖かどうかは、 我々にはまだ分からないぞ。 【第４の小姓】 案ずるに、魔法の飲み物で 殿をすっかりダメにしてしまうつもりだろう。 GURNEMANZ 何を言う！？この女がお前達に害を加えたことが あったか？誰もが途方に暮れて、 遠方の地で戦っている兄弟達に どうやって便りを届ければ良いかわからず、 送り先さえ分からない時、 お前達が思案するよりも早く、 がむしゃらに飛んで行き、運にも見放されず 忠実に使者の務めを果たしたのは誰だった？ お前たちはこの女に食事一つ与えない・・・女も近寄らない。 お前たちとの係わり合いはないのだ。 だがな、危機が迫り、助けが必要になると、 それこそ空中を飛ぶように熱心に駆けつけて、 お前達に礼一つ求めようとしない。 それがこの女のもたらす害だというのなら、 害どころか幸運じゃろう。 【第３の小姓】 ですが、この女、我々を憎んでおりますぞ。 御覧あれ、何と悪意を込めた目で我々を見ていることか！ 【第４の小姓】 異教を奉ずる魔法使いの女です。 GURNEMANZ そう・・・呪われた女かも知れぬ。 この女は今日ここにいるが、 あるいは、過去から転生してきて、 前世で赦しを得られなかった 数々の罪を償おうとしているのかも知れぬ。 この女が、わしら騎士団に幸をもたらし、 贖罪を果たすとともに、 善行と正義を為すならば、女は、 わしらに奉仕し、自分自身をも救っているのだ。 【第３の小姓】 ですが、我々に多くの苦難をもたらしたのも、 また、この女の罪ではないのですか？ GURNEMANZ （物思いに沈みながら） そう、この女が長いこと我々のもとを留守にすると、 必ず不幸なことが降りかかってきたものだ。 古い昔から、わしはこの女を知っているが、 ティトゥレル王は、わしよりもっと古い頃からじゃ。 あの城を建てられた時、王は、 この森の灌木の茂みの中で死んだように凍りついて、 血の気もなく眠るこの女を見付けられた。 同じ様子を最近わし自身も見かけたが、 それは、あの災厄が起きたばかりのことじゃった。 そう、あの山の向こうに住む悪人が、 恥知らずにも、わしらにもたらした災厄・・・。 （クンドリーに向かって） おい！おぬし！よく聞いて答えるのじゃ！ わしらの主君が、槍を失くした時、おぬしは 一体どこをさまよい歩いていたのだ？ （クンドリーは陰気に押し黙っている） なぜ、あの日、わしらを助けなかった？ KUNDRY あたし・・・助けたりなんかしないよ。 【第４の小姓】 こいつ自分で言ってますぞ。 【第３の小姓】 この女が忠実で、勇敢に戦うというのなら、 失くした槍を彼女に探させては、いかがですか！ GURNEMANZ （陰鬱に） それは、また別のこと・・・ 皆に許されていることではないのじゃ・・・ （大いなる感動とともに） ああ、傷の奇跡に満ちた 聖なる槍！ お前が、とてつもなく邪悪な者によって 振るわれるのを、わしは見た！ （回想にふけりながら） 最も勇猛な男アンフォルタスが あの槍で武装したからには、あの妖術使いを成敗することを いったい誰が止めることができただろうか？ ところが、城の間近に迫った時、勇者の心が奪われた。 ぞっとするほどの美女に魅惑され、 酔いつぶれたように、その女の腕に沈んだあの方は、 あの槍を・・・取り落してしまった。 死の絶叫！わしは一目散に駆け付けたが、 クリングゾルは笑い声を立てて逃げてしまい、 あの聖なる槍を奪い取ってしまった。 わしは戦って、王の退却を護衛した・・・ だが、あの方の脇腹で燃え盛るように痛む傷は、 決して閉じようとはしないのだ。 （第１と第２の小姓が湖から帰ってくる） 【第３の小姓】 （グルネマンツに） あなた様は、クリングゾルもご存じなのですか？ GURNEMANZ （戻って来た２人の小姓に向かって） 王のご様子は？ 【第１の小姓】 水浴により元気を取り戻されました。 【第２の小姓】 あの癒しの薬が痛みを和らげたようです。 GURNEMANZ （独りごちて） 決して閉じることのない、あの傷・・・！ （第３と第４の小姓はすでにグルネマンツの足もとに腰を下ろしていたが、今や別の二人も彼らの間に加わり、同様に大樹の木陰に腰を下ろす） 【第３の小姓】 ですが、親父どの、詳しくお教えくださいませ。 クリングゾルをご存知とは・・・どういうことですか？ GURNEMANZ ティトゥレル、あの敬虔な勇者こそ あの者をよくご存知であった。 何となれば、野蛮な敵どもの策謀と力とが 汚れなき信仰の王国を脅かした時、 あの聖なる厳粛さに満ちた夜に、 救世主の御使い達が、あの方の上に降臨したのだ。 最後の愛の晩餐の際、主がお使いになられ、 そしてまた十字架に付けられた神の血が そこに流れ込んだ神聖にして高貴な盃・・・ それに加えて、その血を流した長槍・・・ こうした数々の証拠の品、最上の奇蹟の品を 御使い達は、わしらの王の保護に委ねたのじゃ。 王はこれらの神器のために聖所をお造りになった。 お前たちのように聖杯ににお仕えする者達は、 罪びとには見つけられない道を通ってやってくる。 知っておるじゃろう・・・騎士団の一員となる恩寵は、 清らかな者にしか与えられない。 騎士団達の役目は、聖杯の奇蹟の力を、 至高の救済を果たすまでに強めることなのだから・・・。 ゆえに、今お前たちが尋ねているクリングゾルは、 どんなに苦労を重ねても、その道を見い出せなかったのだ。 遠方の谷の中に、あの者は隠遁してしまった。 その谷向こうに広がるのは、花咲き乱れる異教の地。 あの男がどんな罪を犯したのか、わしには分からない。 しかし、罪を償い・・・それどころか聖者になろうとしたのは確かじゃ。だが、自らのうちの罪を押し殺すことができないので、汚れきった手で、自分自身に手を下し、 聖杯を仰ぐ一方で、 軽蔑もあらわに、その守護者を拒絶したのだ。 さて、怒りのあまり、クリングゾルは思いついた。 まるで、恥ずべき犠牲の行為が、 黒魔術へのヒントを与えたかのように、 この男は、その方策を思いついたのだ。 つまり、荒野を歓楽の庭園に変え、 悪魔のように可愛らしい女達を育て、 そこで聖杯の騎士達を待ち受け、 邪悪な快楽と地獄の恐怖に落ちるよう仕向けたのだ。 誘惑された騎士達は、皆この男の手中に落ち、 われらの仲間は大勢、堕落させられてしまった・・・ ティトゥレル王は、ご高齢の苦労が重なり、 ご子息に王位を譲られたため、 今やアンフォルタス王は、ためらわずに 魔術の災厄を阻止すべく乗り出された。 だが、何が起こったかは、知っての通りじゃ。 槍は、今クリングゾルの手中にあり、 その槍で聖者達を傷つけることができるので、もはや我らから 聖杯を奪ったも同然と、あやつは自惚れておるじゃろう！ （クンドリーは、グルネマンツが話している間、怒り狂うように落ち着きなく、何度も激しく振り返る） 【第４の小姓】 何はさておいても、我らは槍を奪い返さねば！ 【第３の小姓】 ああ！槍を持ち帰る者は、どんな名声と幸福を得られることでしょう？ GURNEMANZ （しばしの沈黙の後に） 片割れが失くなった聖所の前で、 熱烈に祈りながら、アンフォルタスは 救いのしるしの到来を切に請い願った・・・ すると、かすかな輝きが聖杯からこぼれ出し、 聖なる夢の姿となって 今やはっきりと語りかけ、 明らかな文字のしるしとして読み取られたのだ。 『共に苦しみ、悟りを得る 清らかな愚か者、 待つがいい・・・ その者を私は選んだ！』 【４人の小姓たち】 『共に苦しみ、悟りを得る 清らかな愚か者・・・』 （湖から、騎士達と小姓達の叫んだり呼んだりする声が聞こえる。グルネマンツと４人の小姓達は飛び上がり、驚いて振り向く） 【騎士たち・小姓たち】 ああ！あわれ！・・・なんてことだ！ いざ！下手人はどこだ？ GURNEMANZ 何なのだ？ （野生の白鳥が、湖の方角から力なくバタバタと飛んでくる。小姓達と騎士達は白鳥を追いかけて、舞台上に出て来る） 【第４の小姓】 あそこだ！ 【第３の小姓】 ここだ！ 【第２の小姓】 白鳥だ！ 【第４の小姓】 野生の白鳥だ！ 【全ての騎士と小姓】 傷ついている。 ああ、あわれ！あわれ！ GURNEMANZ 白鳥を射たのは何者だ？ （白鳥は、疲れ切って飛べなくなり、力なく地面に落ちる。第２の騎士が胸から矢を引き抜く） 【第１の騎士】 王は、吉兆だと手を振っておられたのです、 この白鳥が湖上の空に輪を描いたとき。 ところが、そこに、矢が飛んできて・・・ 【騎士たち・小姓たち】 （パルジファルを中に連れて来て） こいつです！矢を射たのは！ （パルジファルの弓を指差しながら） ここに、その弓が！ 【第２の騎士】 （矢を指差しながら） この矢は・・・白鳥のものと同じです。 GURNEMANZ お前か、この白鳥を射て殺したのは？ PARSIFAL そうさ！飛ぶものなら、飛んでいても当てるぞ！ GURNEMANZ お前がしたのだな？この行いに胸が痛まぬのか？ 【騎士たち・小姓たち】 下手人を罰するのです！ GURNEMANZ 聞いたこともない所業だ・・・！ よくも殺せたものだな？・・・この神聖な森で、 静かな安らぎがお前を包んでいたのに。 神の森の獣達は人懐っこくお前に近づいて来なかったか？ お前に善良で親しげな挨拶を送らなかったか？ 枝の合い間から小鳥達が歌わなかったか？ この忠実な白鳥が何をしたと言うのだ？ 連れ合いの雌を追って飛び上がり、 雌と一緒に、湖上に輪を描き、湖を清めて、 水浴にふさわしい素晴らしい光景にしたのだ。 お前は驚嘆の念を抱かなかったか？子供っぽい 弓矢ごっこに誘われただけだったというのか？ わしらの愛らしい白鳥・・・お前はどう感じたのだ？ 見るがいい・・・ここをお前は射抜いたのだ。 まだ血がべったりとこびりつき、両の翼はだらんと垂れている。雪のような羽毛が、どす黒く、しみになっているぞ？ 眼の色は濁り・・・お前まともに見られるか？ （パルジファルはグルネマンツの言葉に耳を傾けるうちに、 次第に心を揺り動かされてきていたが、今や弓を叩き割り、 矢を遠くに放り投げる） 罪深い所業にやっと気がついたのか？ （パルジファルは、目の上に手をかざす） なあ、若造よ、お前の罪の重さに気づいたか？ どうしてこんなことができたのだ？ PARSIFAL おいら、わからなかったんだ。 GURNEMANZ お前、どこから来たんじゃ？ PARSIFAL おいら、わからない。 GURNEMANZ お父さんは誰じゃ？ PARSIFAL おいら、わからない。 GURNEMANZ 誰が、この道へと導いたのだ？ PARSIFAL おいらにゃ、わからないよ。 GURNEMANZ じゃあ、お前の名前は？ PARSIFAL いっぱいあったけど、 おいら、もう一つもわからないよ。 GURNEMANZ 何ひとつ、わからないと言うのか？ （独りごちて） こんな愚かな奴は クンドリーぐらいしか見たことがない！ （次々と大勢集まってくる小姓達に向かって） さあ、行くのじゃ！水浴中の王を おろそかにしてはいかん！お世話をせよ！ （小姓達は、死んだ白鳥を、若枝で作った担架にうやうやしく持ち上げると、それを持って湖の方へ遠ざかって行く。最後には、グルネマンツとパルジファル、舞台脇にはクンドリーだけが取り残される） GURNEMANZ （再びパルジファルの方を向いて） さあ、わしが尋ねたことはまるで分からなくとも、 知っていることを教えておくれ。 何か知っていることはあるじゃろうから。 PARSIFAL おいらには母さんがいる。名はヘルツェライデ。 森と荒れ野が、おいら達の住処だったのさ。 GURNEMANZ 弓は誰がくれた？ PARSIFAL おいらが自分で作った。 林から荒鷲を追っぱらうためにね。 GURNEMANZ だがお前こそ、鷲の如く高貴な生まれに見えるのだが・・・。 なにゆえ、お前のお母さんは、 もっと良い武器をお前に伝えなかったんじゃろう？ （パルジファルは黙っている） KUNDRY （グルネマンツがアンフォルタスの運命を物語る間、落ち着きなく荒れ狂いながら何度も激しく振り返っていたクンドリーは、相変わらず森の隅のほうに横たわりながら、鋭い視線をパルジファルに向けていたが、今やパルジファルが黙ってしまったので、乱暴な声で叫ぶ） お母さんは、父の無い子を産んだのさ・・・ 夫のガムレットが戦で討死した時に。 若き身空の名誉の戦死・・・ 息子が同じ目に遭うのを防ごうと、お母さんは武器を持たせず 人里離れ、バカな息子を育てあげた・・・ バカな女さ！ （笑う） PARSIFAL （いきなり興味を持ったように耳を傾けながら） そうさ！いつだか、森のはじっこを 立派な獣にまたがって、 きらびやかな男たちが通り過ぎた。 おいら、あんな風になりたいなあって言ったんだ。 だけど男たちは、笑ったまま駆け去った。 おいら、すぐ追いかけたけど、まるで追い付けなかった。 野を過ぎ、山越え、谷を越え、 何度も夜が来て、昼が来た。 何と言ってもこの弓は役立った、 獣や大男から身を守るためにさ・・・ KUNDRY （身を起こし、男たちの方に進み寄っていたが、熱を込めて） そうさ！盗賊も巨漢たちも力でやっつけたんだ。 みんな、この素敵な若者にびくついているのさ。 PARSIFAL （いぶかしげに） 誰がびくついっているって？ねえ！ KUNDRY 悪い奴らだよ。 PARSIFAL おいらを脅した奴らは、ワルだったのかい？ （グルネマンツは笑う） じゃあ、誰が、イイのさ？ GURNEMANZ （真顔に戻って） お前の母さんだ・・・お前、家出して来たんだろう。 お母さん、深く心を痛め、苦しんでいるぞ。 KUNDRY そんな苦しみももう終わり…こいつの母さんは死んだのさ。 PARSIFAL （おそろしくびっくりして） 死んだ？おいらの母さんが？誰がそう言ったんだ？ KUNDRY お母さんが死ぬのを見たのは、馬で通りかかったあたしさ。 バカなあんたによろしく伝えてくれとさ。 （パルジファルは憤怒のあまりクンドリーに跳びかかって喉首をつかむ。グルネマンツは彼を引き離す） GURNEMANZ 若造、狂ったか！またも暴力とは？ （グルネマンツがクンドリーを自由の身にすると、パルジファルは長い間、凍ったように立ち尽くす） この女がお前に何をした？ほんとうのことを言ったまでだ。 クンドリーは嘘はつかぬ…それだけ多くのことを見たのだ。 PARSIFAL （激しく震え出して） おいら、焦がれ死にそうだ・・・！ （クンドリーはパルジファルの状態に気付くと、すぐに泉の湧き出る場所に飛んでいき、角でできた盃に水を汲み入れて持ってくる。それをまずパルジファルに振りかけた後、差し出して彼に飲ませる） GURNEMANZ まことに結構！聖杯の恩寵にかなう作法だ。 善もて悪に報ゆる者、すなわち悪を祓うなり。 KUNDRY （陰鬱に） 善なんて行うものですか・・・ （クンドリーは悲しげに顔を背ける。グルネマンツが父親のようにパルジファルの面倒を見ている間に、彼女はこの二人に気づかれることなく、灌木の茂みに向かって、とぼとぼと歩いて行く。） 安らぎが欲しいだけだわ、 ああ、疲れ切ったこの女に、安らぎだけでも。 眠りたい！・・・ああ、誰も起こさないで！ （おびえるように飛びあがって） だめ！眠っちゃだめ！ぞっとするようなおののき！ （激しくわななき始めるが、やがて両腕をだらんと下げて） でも、いやがっても無駄！その時が来たのよ。 眠らずには・・・いられない・・・あたし、もう・・・！ （クンドリーは灌木の茂みの後ろで倒れてしまい、以後、姿は見えなくなる。・・・湖のほうで人の気配がし始めると、舞台の奥のほうに、騎士たちと輿を担ぐ小姓の帰城の行列が見えてくる） GURNEMANZ 王が水浴から戻ってこられる。 陽は高々と中天にある。 さらば、そちを案内いたそう、聖餐に。 そちさえ清らであるならば、 聖杯が、そちに飲食をつかわそう。 （グルネマンツはパルジファルの腕を取って、自らのうなじ周りに柔らかに置き、自らの腕はパルジファルの体に巻きつける。ゆっくりと歩きながら、彼はパルジファルを導くが、この時すでに舞台転換は気づかぬながらも始まっている） PARSIFAL 聖杯って誰だい？ GURNEMANZ それは、いわく言い難い・・・ ただ、そちがまことに選ばれた者ならば、 このまま知らされずにいるはずがあろうか。 さあ、見るのじゃ！ 思うに、わしの眼力は定かじゃった・・・ この地には、どんな道もつかないし、 どんな者も足を踏み入れることはできぬのだ。 聖杯ご自身に導かれる者でなくしては。 PARSIFAL おいら、ほとんど歩いてないのに、 もう、えらく遠くに来た気がするぞ。 GURNEMANZ わかるのか、せがれよ、 ここでは時が、空間になってしまうのじゃ。 （グルネマンツとパルジファルが前に進むように見えている間、舞台は徐々にだが、どんどん変わってきている。やがて森が消え、岩壁の中に城へと通じる城門の道が開かれると、二人は今やその道を進んでいる） GURNEMANZ さあ、五感を研ぎ澄ませ。わしに確かめさせてくれ、 まことに愚かで清らであるか。 他にいかなる知恵が、そちに授けられていようとも・・・。 （壁に囲まれた道を登りゆくうちに、舞台の様子はすっかり変わってしまう。グルネマンツとパルジファルは聖杯城の壮大な広間に足を踏み入れる。舞台は、丸天井の付いた柱廊式大広間で、その丸天井の下には昼餐室がある。舞台後方で左右の扉が開かれると、その右手からは聖杯の騎士たちが入って来て、各食卓の周りを取り巻くように進む） 【聖杯の騎士たち】 最後の愛の聖餐に臨もうと、 来る日も来る日も準備をしてきた。 （より早い歩調の小姓たちの行列が、舞台を後方に向けて横切って行く） これが最後の聖餐になろうとも、 今日のこの昼餐こそ、王に力を与えるはず。(*1) （第二の小姓たちの行列が大広間を横切って行く） 喜びと善をなす者は、 ふたたび聖餐を受けるのだ・・ 聖餐のめぐみを受け、 高貴なる贈り物を受けるのだ。 （集まって来た騎士達が食卓につくと、青年達の声が丸天井の中ぐらいの高さの所から聞こえてくる） 罪にまみれた全世界を 無数の苦痛であがなって、 あの日あのお方が血を流した如く、 救済をもたらす勇者には 晴れやかな心もて 我が血潮の注がれんことを。 我らの罪を償うために差し出されたお体よ・・・ あの方の死によって、我らの中に生き続けよ。 【少年たちの声】 （丸天井のきわめて高い所から） 信仰は生きています、 鳩が舞っています、 救世主の聖なる使いである鳩が・・・。 あなた方のために流された血である このワインを飲むのです。 命のパンを取るのです！ （歌が歌われている間、反対側の扉を通って、輿に乗ったアンフォルタスが小姓達と助修士達に運ばれてくる。行列を先導して進んできた４人の小姓達は、覆いを掛けられた聖杯の厨子を捧げ持っている。この行列が、一段高い所に寝椅子が置かれている舞台後方の中央に差し掛かると、アンフォルタスは輿から下ろされて、寝椅子の上に寝かせられる。その前には、細長い石テーブルが置かれており、少年達は覆われた聖杯の厨子をその上に置く。 かくて、皆の者が席に着き、辺り一帯が静まり返った時、きわめて奥深い背後の方から、アンフォルタスの寝椅子の後ろにあるアーチのようになった壁龕（へきがん）から、年老いたティトゥレル王の声が、まるで墓の中からのように、こちらに迫って来る） TITUREL 我が息子アンフォルタス、務めを果たしておるか？ （長い沈黙） 今日、私は聖杯を目にして余命をつなぐ定めなのか？ （長い沈黙） それとも死なねばならぬのか？救い主に伴われずに。 AMFORTAS （苦悩に満ちあふれ、絶望を爆発させて、上半身をもたげる） 悲しい！我が苦悩の悲しさ！ 父上よ！ああ、もう一度だけ あなたがこの務めを執り行ってください！ 生きて下さい、生きて・・・私のほうを死なせて下さい。 TITUREL 救世主の恩寵により、私は墓の中で生きている。 お仕えするには、私はあまりに弱り切っている。 お前が奉仕して罪を償うのだ！ 聖杯の覆いを取れ！ AMFORTAS （少年たちに向かって身を起こしながら） やめろ！覆いを取ってはならん！・・・ああ！ 誰にも分かってもらえぬとは！皆の者に喜びを もたらす光景は、私には苦悩を呼び覚ますのだ！ この傷、この猛威を振るう痛みすら、何であろう！ この務めを果たせと強いられる苦しみ、 この地獄の責め苦に比べれば！ 私が受け継いだ悲しい務め・・・それは、 皆のうちにあってただ一人の罪びとである私が、 至高の祭儀を司り、 清らかな者達のために、恩寵を請い願うこと！ ああ、罰を！最高の罰を！ ああ、辱めを受けし恩寵の主・・・！ あのお方を、あのお方の聖なるまなざしを 私は憧れ求めずにはいられない。 魂の奥底から、救いを求めて悔い改め、 あの方にたどりつこうとせずにはいられない。 その時が近づく・・・ 一条の光が、神器の上に落ちる・・・ 覆いが取られる。 （凍りついたように虚空をじっと見つめながら） 聖なる器の神々しい神体が 激しい光とともに赤々と輝きはじめると、 我が体は、至福の悦楽の痛みに貫かれ、 心には至聖の血潮が 注ぎ込まれるのを感じる・・・ だがその時、私自身の罪深き血のざわめきが 狂気のように逃げ惑いながら 私に向かって逆流し始め、 罪を求めてやまない世界に向けて、 怖気を振るいつつも荒々しく流れ込んでいく。 そして、その門を新たに突き破ると、 そこから奔流のように流れ出て、 あの方と同じこの傷口を通り抜けていく。 そう、あの槍の一撃によって付けられた傷・・・ 同じ槍が、救世主をも傷つけたのだ。 しかし、あの神の人は、その傷を負いながらも、 血の涙を流し、共に苦しむことをあこがれ、 人類の恥辱のゆえに泣き給うた。 ところが、同じ聖なる傷口なのに、私はどうだ・・・ 最高の神器を所有し、 救済の秘薬を守護する私の傷からは、 熱く罪深い血がドクドクと湧き出して、 あこがれの泉から永遠に甦り、 いくら懺悔しても、ああ！・・・決して静められない！ あわれみを！あわれみを！ 全世界を憐まれる方！ああ、憐みを！ 私が受け継いだ務めを取り去り、 この傷を閉じてください。 私が安らかに死に、 清らかな身となって御前で癒されるように！ （気を失ったように後ろに崩れ落ちる） 【少年たちと青年たち】 （見えない高い所から） 『共に苦しみ、悟りを得る 清らかな愚か者、 待つがいい・・・ その者を私は選んだ！』 【騎士たち】 （静かに） これがあなた様へのお約束・・・ 慰めとともに待つのです。 今日は務めを果たされよ！ TITUREL 聖杯の覆いを取れ！ （アンフォルタスは憔悴しきったまま、ゆっくり身を起こす。少年たちは金色の厨子の覆いを取り、古風な水晶の盃を取り出すと、そこにかかっていたヴェールをも取り去り、アンフォルタスの前に置く。） 【高みからの重唱】 受け取りなさい、私の体を。 受け取りなさい、私の血を。 私たちが愛し合うために！ （アンフォルタスが敬虔の念に満たされつつ、無言の祈りを捧げながら聖杯の上に身をかがめると、大広間には次第に黄昏の色が濃くなっていく。そして、ついには完全な真っ暗闇となる。） 【高みから少年たち】 受け取りなさい、私の体を。 受け取りなさい、私の血を。 あなたがたが私を忘れないように。 （まばゆい一条の光が、上方から水晶の盃へと降りて来ると、盃は輝かしい紫色を放ちながら、次第にその色を濃くしていき、全てを柔らかに照らし出す。アンフォルタスは、浄化された面持ちで、『グラール』（聖杯）を高く持ち上げ、ゆったりと四方に振る。そうすることで、彼はパンとワインに祝福を与えているのである。一同は皆ひざまずく。） TITUREL おお、聖なる歓び。今日この日、 何と晴れやかな主のご挨拶だろう！ （アンフォルタスが「グラール」を再び下におろすと、濃い黄昏が退いていくのにあわせて、「グラール」はどんどん輝きを失っていく。続いて、少年たちは器を再び厨子の中にしまい込み、前と同じように覆いを掛ける。かつての昼の明るさが戻ってくる。４人の少年たちは、続く歌が歌われている間、それぞれ２つある壺と籠の中からワインとパンを取り分ける。） 【少年たちの声】 （高みから） 最後の食卓のワインとパン・・・ それを、かつて聖杯の主は、 共に苦しむ愛の力をもって ご自身の流された血に変え、 ご自身が差し出す体に変えたのです。 （厨子を閉じた４人の少年は、アンフォルタスが聖杯「グラール」を振りながら祝福を与えた２個のワイン壺と２個のパン籠を祭壇のテーブルから持ち運ぶ。彼らは、パンを騎士たちに分け与え、ワインを彼らの前の杯に注いでいく。 騎士たちは食事のために腰をおろし、グルネマンツも同様にする。彼は隣の席を空けたままにしておき、食膳に連なるようパルジファルを差し招くが、パルジファルは押し黙ったまま微動だにせず、茫然自失して脇の方に突っ立ったままである。） 【青年たち】 （丸天井の中ぐらいの高さの所から） 聖なる贈り物である血と体を、 あなた方への恵みとして与えんと、 至福の慰めをもたらす愛の聖霊が、 いま注がれたワインに変え、 口にするパンに変えるのです。 【騎士たち】 （最初の半数） パンを取ろう！ そして勇敢に 肉体の力と強さに変えるのだ。 死に至るまで忠実に、 あらゆる苦難に挫けずに、 救世主の御業（みわざ）を果たすのだ！ （残りの半数） ワインを取ろう！ そして新しく 命を燃やす血に変えるのだ。 肩を組みつつ快活に、 兄弟たちには忠誠に、 幸多き勇気に満ちて戦うのだ！ 【全ての騎士たち】 信ずる者は幸いなるかな！ 愛する者は幸いなるかな！ （騎士たちは立ち上がると、双方向から互いに歩み寄り、次の歌が歌われる間、うやうやしく抱きしめ合う） 【青年たち】 （丸天井の中ぐらいの高さの所から） 愛する者は幸いなるかな！ 【少年たちの声】 （丸天井の最も高い所から） 信ずる者は幸いなるかな！ （アンフォルタスは聖餐には加わらなかったものの、その間感激に満ちて立ち上がっていた。しかし再びゆっくりとくずおれていくと、首をうなだれて、手を傷の上に置く。少年たちが近づくが、その仕草からは、アンフォルタスの傷口から新たな出血が始まったことが分かる。彼らはアンフォルタスを介抱し、再び輿に乗せる。人々が出発の支度をすると、少年たちも来た時と同様の隊列を組み、アンフォルタスと聖なる厨子を運び去って行く。騎士たちも同様に荘重に隊列を整えて、ゆっくりと大広間を去っていく。弱い昼明りが射し込んでくる。小姓たちがやや早目の歩調で大広間を横切って行く。最後の騎士と小姓たちが大広間を去ると、扉はすべて閉じられてしまう。パルジファルは、先ほどのアンフォルタスの激しい嘆き声を聞いた時、激しい仕草で心臓に手をやり、しばらくの間痙攣するかのように、その部分をつかんだままだった。今も凍りついたかのように、その場に身動き一つせずに立ち尽くしている。グルネマンツは不機嫌そうにパルジファルに近づき、彼の腕をつかんで揺さぶる） GURNEMANZ お前、どうしてまだそこにいるんだ？ 何を見たのか、わかるのか？ （パルジファルは痙攣するように心臓の上をつかむ・・・そして少しだけ首を横に振る） GURNEMANZ （非常に腹を立てて） お前、やはりただのバカだな！ （狭い脇扉を開けて） 出て行け！お前の道を行くがいい！ グルネマンツは、こう忠告するぞ・・・ 以降ここでは、白鳥の群れは放っておけ！ お前ごときオス鵞鳥はメス鵞鳥でも追っかけてろ！ （グルネマンツはパルジファルを外へと突き飛ばし、気難しい顔をしたまま勢いよく扉をバタンと閉じる。グルネマンツが騎士たちの後を追う間、フェルマータの付いた最後の小節で幕が閉じる） 【一人のアルトの声】 （高みから） 『共に苦しみ、悟りを得る 清らかな愚か者・・・』 【中ぐらいの高み】 信ずる者は幸いなるかな！ 【最も高い所から】 信ずる者は幸いなるかな！ Vorspiel ERSTER AUFZUG Im Gebiet des Grales. – Wald, schattig und ernst, doch nicht düster. Eine Lichtung in der Mitte. Links aufsteigend wird der Weg zur Gralsburg angenommen. Der Mitte des Hintergrundes zu senkt sich der Boden zu einem tiefer gelegenen Waldsee hinab. – Tagesanbruch. – Gurnemanz (rüstig greisenhaft) und zwei Knappen (von zartem Jünglingsalter) sind schlafend unter einem Baume gelagert. – Von der linken Seite, wie von der Gralsburg her, ertönt der feierliche Morgenweckruf der Posaunen GURNEMANZ erwachend und die Knaben rüttelnd He! Ho! Waldhüter ihr, – Schlafhüter mitsammen, – so wacht doch mindest am Morgen. Die beiden Knappen springen auf Hört ihr den Ruf? Nun danket Gott, dass ihr berufen, ihn zu hören! Er senkt sich mit den Knappen auf die Knie und verrichtet mit ihnen gemeinschaftlich stumm das Morgengebet; sobald die Posaunen schweigen, erheben sie sich langsam Jetzt auf, ihr Knaben! Seht nach dem Bad. Zeit ist's, des Königs dort zu harren. Er blickt nach links in die Szene Dem Siechbett, das ihn trägt, voraus seh ich die Boten schon uns nahn. Zwei Ritter treten, von der Burg her, auf Heil euch! – Wie geht's Amfortas heut? Wohl früh verlangt er nach dem Bade das Heilkraut, das Gawan mit List und Kühnheit ihm gewann, ich wähne, dass das Lind'rung schuf? ZWEITER RITTER Das wähnest du, der doch Alles weiss? Ihm kehrten sehrender nur die Schmerzen bald zurück – schlaflos von starken Bresten, befahl er eifrig uns das Bad. GURNEMANZ das Haupt traurig senkend Toren wir, auf Lind'rung da zu hoffen, wo einzig Heilung lindert! – Nach allen Kräutern, allen Tränken forscht und jagt weit durch die Welt – ihm hilft nur Eines, – nur der Eine! ZWEITER RITTER So nenn uns den! GURNEMANZ ausweichend Sorgt für das Bad! Die beiden Knappen haben sich dem Hintergrunde zugewendet und blicken nach rechts ZWEITER KNAPPE Seht dort die wilde Reiterin! ERSTER KNAPPE Hei! Wie fliegen der Teufelsmähre die Mähnen! ZWEITER RITTER Ha! Kundry dort? ERSTER RITTER Die bringt wohl wicht'ge Kunde? ZWEITER KNAPPE Die Mähre taumelt. ERSTER KNAPPE Flog sie durch die Luft? ZWEITER KNAPPE Jetzt kriecht sie am Boden hin. ERSTER KNAPPE Mit den Mähnen fegt sie das Moos. Alle blicken lebhaft nach der rechten Seite. ZWEITER RITTER Da schwingt sich die Wilde herab! Kundry stürzt hastig, fast taumelnd, herein. Wilde Kleidung, hoch geschürzt; Gürtel von Schlangenhäuten lang herabhängend schwarzes, in losen Zöpfen flatterndes Haar; tief braunrötliche Gesichtsfarbe; stechende schwarze Augen, zuweilen wild aufblitzend, öfters wie todesstarr und unbeweglich. – Sie eilt auf Gurnemanz zu und dringt ihm ein kleines Kristallgefäss auf KUNDRY Hier? Nimm du! – Balsam … GURNEMANZ Woher brachtest du dies? KUNDRY Von weiter her, als du denken kannst hilft der Balsam nicht, Arabia birgt dann nichts mehr zu seinem Heil. – Frag nicht weiter! – Ich bin müde. Sie wirft sich an den Boden. Ein Zug von Knappen und Rittern, die Sänfte tragend und geleitend, in welcher Amfortas ausgestreckt liegt, gelangt – von links her – auf die Bühne. – Gurnemanz hat sich, von Kundry ab, sogleich den Ankommenden zugewendet GURNEMANZ Er naht – sie bringen ihn getragen. – O weh! Wie trag ich's im Gemüte, in seiner Mannheit stolzer Blüte des siegreichsten Geschlechtes Herrn als seines Siechtums Knecht zu sehn! zu den Knappen Behutsam! Hört, der König stöhnt. Die Knappen halten an und stellen das Siechbett nieder AMFORTAS der sich ein wenig erhoben Recht so! Habt Dank! – Ein wenig Rast. Nach wilder Schmerzensnacht – nun Waldes Morgenpracht! Im heil'gen See wohl labt mich auch die Welle es staunt das Weh, die Schmerzensnacht wird helle. Gawan! ZWEITER RITTER Herr! Gawan weilte nicht; da seines Heilkrauts Kraft, wie schwer er's auch errungen, doch deine Hoffnung trog, hat er auf neue Sucht sich fortgeschwungen. AMFORTAS Ohn Urlaub! – Möge das er sühnen, dass schlecht er Grals-Gebote hält! O wehe ihm, dem trotzig Kühnen, wenn er in Klingsors Schlingen fällt! – So breche Keiner mir den Frieden! Ich harre des, der mir beschieden »durch Mitleid wissend« – war's nicht so? – GURNEMANZ Uns sagtest du es so. AMFORTAS – »der reine Tor –« Mich dünkt ihn zu erkennen dürft ich den Tod ihn nennen! GURNEMANZ indem er Amfortas das Fläschchen Kundrys überreicht Doch zuvor – versuch es noch mit diesem! AMFORTAS Woher dies heimliche Gefäss? GURNEMANZ Dir ward es aus Arabia hergeführt. AMFORTAS Und wer gewann es? GURNEMANZ Dort liegt's, das wilde Weib. Auf, Kundry! Komm! Kundry weigert sich und bleibt am Boden AMFORTAS Du – Kundry? Muss ich dir nochmals danken, du rastlos scheue Magd? Wohlan, den Balsam nun versuch ich noch es sei aus Dank für deine Treue. KUNDRY unruhig und heftig am Boden sich bewegend Nicht Dank! – Ha ha! – was wird er helfen! Nicht Dank! Fort, fort – in's Bad! Amfortas gibt das Zeichen zum Aufbruch; der Zug entfernt sich nach dem tieferen Hintergrunde zu. – Gurnemanz, schwermütig nachblickend, und Kundry, fortwährend auf dem Boden gelagert, sind zurückgeblieben. – Knappen gehen ab und zu DRITTER KNAPPE He! Du da! Was liegst du dort wie ein wildes Tier? KUNDRY Sind die Tiere hier nicht heilig? DRITTER KNAPPE Ja –! Doch ob heilig du, das wissen wir grad noch nicht. VIERTER KNAPPE Mit ihrem Zaubersaft – wähn ich – wird sie den Meister vollends verderben. GURNEMANZ Hm! Schuf sie euch Schaden je? – Wann Alles ratlos steht, wie kämpfenden Brüdern in fernste Länder Kunde sei zu entsenden, und kaum ihr nur wisst wohin, – wer, ehe ihr euch nur besinnt, stürmt und fliegt dahin und zurück, der Botschaft pflegend mit Treu und Glück? Ihr nährt sie nicht, – sie naht euch nie, nichts hat sie mit euch gemein doch, wann's in Gefahr der Hilfe gilt, der Eifer führt sie schier durch die Luft, die nie euch dann zum Danke ruft. Ich wähne, ist dies Schaden, so tät er euch gut geraten. DRITTER KNAPPE Doch hasst sie uns; sieh nur, wie hämisch dort nach uns sie blickt! VIERTER KNAPPE Eine Heidin ist's, ein Zauberweib. GURNEMANZ Ja, eine Verwünschte mag sie sein. Hier lebt sie heut, vielleicht erneut, zu büssen Schuld aus früh'rem Leben, die dorten ihr noch nicht vergeben. Übt sie nun Buss in solchen Taten, die uns Ritterschaft zum Heil geraten, gut tut sie dann und recht sicherlich, dienet uns – und hilft auch sich. DRITTER KNAPPE So ist's wohl auch jen' ihre Schuld, die uns so manche Not gebracht? GURNEMANZ sich besinnend Ja, – wann oft lange sie uns ferne blieb, dann brach ein Unglück wohl herein. Und lang schon kenn ich sie; doch Titurel kennt sie noch länger. Der fand, als er die Burg dort baute, sie schlafend hier im Waldgestrüpp – erstarrt, leblos, wie tot. So fand ich selbst sie letztlich wieder, als uns das Unheil kaum geschehn, das jener Böse über den Bergen so schmählich über uns gebracht. zu Kundry He! Du! Hör mich und sag wo schweiftest damals du umher, als unser Herr den Speer verlor? Kundry schweigt düster Warum halfst du uns damals nicht? KUNDRY Ich helfe nie. VIERTER KNAPPE Sie sagt's da selbst. DRITTER KNAPPE Ist sie so treu, so kühn in Wehr, so sende sie nach dem verlor'nen Speer! GURNEMANZ düster Das ist ein And'res, jedem ist's verwehrt. – mit grosser Ergriffenheit Oh, wundenwundervoller, heiliger Speer! Dich sah ich schwingen von unheiligster Hand! in Erinnerung sich verlierend Mit ihm bewehrt, Amfortas, Allzukühner, wer mochte dir es wehren den Zaub'rer zu beheeren? Schon nah dem Schloss – wird uns der Held entrückt ein furchtbar schönes Weib hat ihn entzückt; in seinen Armen liegt er trunken, der Speer – ist ihm entsunken. Ein Todesschrei! – Ich stürm herbei von dannen Klingsor lachend schwand den heil'gen Speer hat' er entwandt. Des Königs Flucht gab kämpfend ich Geleite; doch – eine Wunde brannt ihm in der Seite, die Wunde ist's, die nie sich schliessen will. – Der erste und zweite Knappe kommen vom See her zurück DRITTER KNAPPE zu Gurnemanz So kanntest du Klingsor? GURNEMANZ zu den zurückkommenden beiden Knappen Wie geht's dem König? ERSTER KNAPPE Ihn frischt das Bad. ZWEITER KNAPPE Dem Balsam wich das Weh. GURNEMANZ für sich Die Wunde ist's, die nie sich schliessen will! – Der dritte und der vierte Knappe hatten sich zuletzt schon zu Gurnemanz' Füssen niedergesetzt; die beiden anderen gesellen sich jetzt in gleicher Weise zu ihnen unter dem grossen Baum DRITTER KNAPPE Doch, Väterchen, sag und lehr uns fein du kanntest Klingsor, – wie mag das sein? GURNEMANZ Titurel, der fromme Held, der kannt ihn wohl. Denn ihm, da wilder Feinde List und Macht des reinen Glaubens Reich bedrohten, ihm neigten sich, in heilig ernster Nacht, dereinst des Heilands selige Boten daraus er trank beim letzten Liebesmahle, das Weihgefäss, die heilig edle Schale, darein am Kreuz sein göttlich Blut auch floss, dazu den Lanzenspeer, der dies vergoss, – der Zeugengüter höchstes Wundergut, das gaben sie in unsres Königs Hut. Dem Heiltum baute er das Heiligtum. Die seinem Dienst ihr zugesindet auf Pfaden, die kein Sünder findet, – ihr wisst, dass nur dem Reinen vergönnt ist sich zu einen den Brüdern, die zu höchsten Rettungswerken des Grales Wunderkräfte stärken. – Drum blieb es dem, nach dem ihr fragt, verwehrt, Klingsorn – wie hart ihn Müh auch drob beschwert. Jenseits im Tale war er eingesiedelt; darüber hin liegt üpp'ges Heidenland – unkund blieb mir, was dorten er gesündigt; doch wollt er büssen nun, ja – heilig werden. Ohnmächtig, in sich selbst die Sünde zu ertöten, an sich legt er die Frevlerhand, die nun, dem Grale zugewandt, verachtungsvoll des Hüter von sich stiess. Darob die Wut nun Klingsorn unterwies, wie seines schmähl'chen Opfers Tat ihm gäb zu bösem Zauber Rat – den fand er nun. Die Wüste schuf er sich zum Wonnegarten; drin wachsen teuflisch holde Frauen, dort will des Grales Ritter er erwarten zu böser Lust und Höllengrauen wen er verlockt, hat er erworben, schon Viele hat er uns verdorben. – Da Titurel, in hohen Alters Mühen, dem Sohn die Herrschaft hier verliehen, Amfortas liess es da nicht ruhn der Zauberplag' Einhalt zu tun. Das wisst ihr, wie es da sich fand der Speer ist nun in Klingsors Hand; kann er selbst Heilige mit ihm verwunden, den Gral auch wähnt er fest schon uns entwunden! Kundry hat sich, in wütender Unruhe, oft heftig umgewendet VIERTER KNAPPE Vor Allem nun, der Speer kehr uns zurück! DRITTER KNAPPE Ha! wer ihn brächt, ihm wär's zu Ruhm und Glück? GURNEMANZ nach einem Schweigen Vor dem verwaisten Heiligtum in brünst'gem Beten lag Amfortas, ein Rettungszeichen bang erflehend – ein sel'ger Schimmer da entfloss dem Grale; ein heilig Traumgesicht nun deutlich zu ihm spricht durch hell erschauter Wortezeichen Male »durch Mitleid wissend, der reine Tor, harre sein, den ich erkor!« DIE VIER KNAPPEN »Durch Mitleid wissend, der reine Tor –« Vom See her vernimmt man Geschrei und das Rufen der Ritter und Knappen. – Gurnemanz und die vier Knappen fahren auf und wenden sich erschreckt um RITTER UND KNAPPEN Weh! Weh! – Hoho! Auf! – Wer ist der Frevler? GURNEMANZ Was gibt's? Ein wilder Schwan flattert matten Fluges vom See daher die Knappen und Ritter folgen ihm nach auf die Szene VIERTER KNAPPE Dort! DRITTER KNAPPE Hier! ZWEITER KNAPPE Ein Schwan! VIERTER KNAPPE Ein wilder Schwan! ALLE RITTER UND KNAPPEN Er ist verwundet. Ha, wehe! Weh! GURNEMANZ Wer schoss den Schwan? Der Schwan sinkt, nach mühsamem Fluge, matt zu Boden; der zweite Ritter zieht ihm den Pfeil aus der Brust ERSTER RITTER Der König grüsste ihn als gutes Zeichen, als überm See kreiste der Schwan da flog ein Pfeil … KNAPPEN UND RITTER Parsifal hereinführend Der war's! Der schoss! auf Parsifals Bogen weisend Dies der Bogen! ZWEITER RITTER den Pfeil aufweisend Hier der Pfeil, dem seinen gleich. GURNEMANZ Bist du's, der diesen Schwan erlegte? PARSIFAL Gewiss! Im Fluge treff ich, was fliegt! GURNEMANZ Du tatest das? Und bangt es dich nicht vor der Tat? DIE KNAPPEN UND RITTER Strafe den Frevler! GURNEMANZ Unerhörtes Werk! – Du konntest morden, – hier, im heil'gen Walde, des stiller Frieden dich umfing? Des Haines Tiere nahten dir nicht zahm? Grüssten dich freundlich und fromm? Aus den Zweigen was sangen die Vöglein dir? Was tat dir der treue Schwan? Sein Weibchen zu suchen flog der auf, mit ihm zu kreisen über dem See, den so er herrlich weihte zum Bad. – Dem stauntest du nicht? … Dich lockt es nur zu wild kindischem Bogengeschoss? Er war uns hold was ist er nun dir? Hier, – schau her! – hier trafst du ihn; – da starrt noch das Blut, matt hängen die Flügel; – das Schneegefieder dunkel befleckt? Gebrochen das Aug' – siehst du den Blick? Parsifal hat Gurnemanz mit wachsender Ergriffenheit zugehört jetzt zerbricht er seinen Bogen und schleudert die Pfeile von sich Wirst deiner Sündentat du inne? Parsifal führt die Hand über die Augen Sag, Knab' – erkennst du deine grosse Schuld? Wie konntest du sie begehn? PARSIFAL Ich wusste sie nicht. GURNEMANZ Wo bist du her? PARSIFAL Das weiss ich nicht. GURNEMANZ Wer ist dein Vater? PARSIFAL Das weiss ich nicht. GURNEMANZ Wer sandte dich dieses Weges? PARSIFAL Das weiss ich nicht. GURNEMANZ Dein Name denn? PARSIFAL Ich hatte viele, doch weiss ich ihrer keinen mehr. GURNEMANZ Das weisst du Alles nicht? für sich So dumm wie den erfand bisher ich Kundry nur! zu den Knappen, deren sich immer mehre versammelt haben Jetzt geht! Versäumt den König im Bade nicht! – Helft! – Die Knappen heben den toten Schwan ehrerbietig auf eine Bahre von frischen Zweigen, und entfernen sich mit ihm dann nach dem See zu. – Schliesslich bleiben Gurnemanz, Parsifal und – abseits – Kundry allein zurück GURNEMANZ wendet sich wieder zu Parsifal Nun sag nichts weisst du, was ich dich frage; jetzt meld, was du weisst; denn etwas musst du doch wissen. PARSIFAL Ich hab eine Mutter; Herzeleide sie heisst. Im Wald und auf wilder Aue waren wir heim. GURNEMANZ Wer gab dir den Bogen? PARSIFAL Den schuf ich mir selbst vom Forst die wilden Adler zu verscheuchen. GURNEMANZ Doch adelig scheinst du selbst und hochgeboren warum nicht liess deine Mutter bessere Waffen dich lehren? Parsifal schweigt KUNDRY welche während der Erzählung des Gurnemanz von Amfortas' Schicksal oft in wütender Unruhe heftig sich umgewendet hatte, nun aber, immer in der Waldecke gelagert, den Blick scharf auf Parsifal gerichtet hat, ruft jetzt, da Parsifal schweigt, mit rauher Stimme daher Den Vaterlosen gebar die Mutter, als im Kampf erschlagen Gamuret; vor gleichem frühem Heldentod den Sohn zu wahren, waffenfremd in Öden erzog sie ihn zum Toren – die Törin! Sie lacht PARSIFAL der mit jäher Aufmerksamkeit zugehört Ja! Und einst am Waldessaume vorbei, auf schönen Tieren sitzend, kamen glänzende Männer; ihnen wollt ich gleichen sie lachten und jagten davon. Nun lief ich nach, doch konnte sie nicht erreichen. – Durch Wildnisse kam ich, bergauf, talab; oft ward es Nacht, dann wieder Tag mein Bogen musste mir frommen gegen Wild und grosse Männer … KUNDRY hat sich erhoben und ist zu den Männern getreten; eifrig Ja! Schächer und Riesen traf seine Kraft; den freislichen Knaben fürchten sie Alle. PARSIFAL verwundert Wer fürchtet mich? Sag! KUNDRY Die Bösen. PARSIFAL Die mich bedrohten, waren sie bös? Gurnemanz lacht Wer ist gut? GURNEMANZ wieder ernst Deine Mutter, – der du entlaufen, und die um dich sich nun härmt und grämt. KUNDRY Zu End ihr Gram seine Mutter ist tot. PARSIFAL in furchtbarem Schrecken Tot? Meine Mutter? – Wer sagt's? KUNDRY Ich ritt vorbei, und sah sie sterben – dich Toren hiess sie mich grüssen. Parsifal springt wütend auf Kundry zu und fasst sie bei der Kehle. – Gurnemanz hält ihn zurück GURNEMANZ Verrückter Knabe! Wieder Gewalt? Nachdem Gurnemanz Kundry befreit, steht Parsifal lange wie erstarrt Was tat dir das Weib? Es sagte wahr, denn nie lügt Kundry – doch sah sie viel. PARSIFAL gerät in ein heftiges Zittern Ich verschmachte! … Kundry ist sogleich, als sie Parsifals Zustand gewahrte, nach einem Waldquell geeilt, bringt jetzt Wasser in einem Horne, besprengt damit zunächst Parsifal, und reicht ihm dann zu trinken GURNEMANZ So recht! So nach des Grales Gnade das Böse bannt, wer's mit Gutem vergilt. KUNDRY düster Nie tu ich Gutes – Sie wendet sich traurig ab, und während Gurnemanz sich väterlich um Parsifal bemüht, schleppt sie sich, von Beiden unbeachtet, einem Waldgebüsche zu nur Ruhe will ich, nur Ruhe – ach! – der Müden. Schlafen! – Oh, dass mich keiner wecke! scheu auffahrend Nein! – Nicht schlafen! – Grausen fasst mich! Sie verfällt in heftiges Zittern; dann lässt sie die Arme matt sinken Machtlose Wehr! Die Zeit ist da. Schlafen – schlafen – ich muss! – Sie sinkt hinter dem Gebüsch zusammen und bleibt von jetzt an unbemerkt. – Vom See her gewahrt man Bewegung und endlich den im Hintergrunde sich heimwendenden Zug der Ritter und Knappen mit der Sänfte GURNEMANZ Vom Bade kehrt der König heim; hoch steht die Sonne nun lass zum frommen Mahle mich dich geleiten; denn bist du rein, wird nun der Gral dich tränken und speisen. Gurnemanz hat Parsifals Arm sich sanft um den Nacken gelegt, und dessen Leib mit seinem eigenen Arme umschlungen; so geleitet er ihn bei sehr allmählichem Schreiten. – Hier hat die unmerkliche Verwandelung der Bühne bereits begonnen PARSIFAL Wer ist der Gral? GURNEMANZ Das sagt sich nicht; doch, bist du selbst zu ihm erkoren, bleibt dir die Kunde unverloren. Und sieh! – Mich dünkt, dass ich dich recht erkannt kein Weg führt zu ihm durch das Land, und Niemand könnte ihn beschreiten, den er nicht selber möcht geleiten. PARSIFAL Ich schreite kaum, doch wähn ich mich schon weit. GURNEMANZ Du siehst, mein Sohn, zum Raum wird hier die Zeit. Allmählich, während Gurnemanz und Parsifal zu schreiten scheinen, hat sich die Szene bereits immer merklicher verwandelt; es verschwindet so der Wald, und in Felsenwänden öffnet sich ein Torweg, welcher die Beiden jetzt einschliesst GURNEMANZ Jetzt achte wohl, und lass mich sehn bist du ein Tor und rein, welch Wissen dir auch mag beschieden sein. – Durch aufsteigende gemauerte Gänge führend, hat die Szene sich vollständig verwandelt Gurnemanz und Parsifal treten jetzt in den mächtigen Saal der Gralsburg ein. – Szene Säulenhalle mit Kuppelgewölbe, den Speiseraum überdeckend. Auf beiden Seiten des Hintergrundes werden die Türen geöffnet von rechts schreiten die Ritter des Grales herein und reihen sich um die Speisetafeln DIE GRALSRITTER Zum letzten Liebesmahle. gerüstet Tag für Tag, Ein Zug von Knappen durchschreitet schnelleren Schrittes die Szene nach hinten zu gleich ob zum letzten Male es heut ihn letzen mag.(*2) Ein zweiter Zug von Knappen durchschreitet die Halle Wer guter Tat sich freut ihm wird das Mahl erneut der Labung darf er nahn, die hehrste Gab empfahn. Die versammelten Ritter stellen sich an den Speisetafeln auf Stimmen der Jünglinge aus der mittleren Höhe der Kuppel vernehmbar Den sündigen Welten mit tausend Schmerzen wie einst sein Blut geflossen, dem Erlösungs-Helden sei nun mit freudigem Herzen mein Blut vergossen. Der Leib, den er zur Sühn uns bot, er leb in uns durch seinen Tod. KNABENSTIMMEN aus der äussersten Höhe der Kuppel Der Glaube lebt; die Taube schwebt, des Heilands holder Bote. Der für euch fliesst, des Weins geniesst, und nehmt vom Lebensbrote! Während des Gesanges wird von Knappen und dienenden Brüdern durch die entgegengesetzte Türe Amfortas auf einer Sänfte hereingetragen vor ihm schreiten die vier Knappen, welche den verhängten Schrein des Grales tragen. Dieser Zug begibt sich nach der Mitte des Hintergrundes, wo ein erhöhtes Ruhebett aufgerichtet steht, auf welches Amfortas von der Sänfte herab niedergelassen wird; hiervor steht ein länglicher Steintisch, auf welchen die Knaben den verhängten Gralsschrein hinstellen. – Nachdem alle ihre Stelle eingenommen und ein allgemeiner Stillstand eingetreten war, vernimmt man, vom tiefsten Hintergrunde her, aus einer gewölbten Nische hinter dem Ruhebette des Amfortas, die Stimme des alten Titurel wie aus einem Grabe heraufdringen TITUREL Mein Sohn Amfortas, bist du am Amt? langes Schweigen Soll ich den Gral heut noch erschaun und leben? langes Schweigen Muss ich sterben, vom Retter ungeleitet? AMFORTAS im Ausbruche qualvoller Verzweiflung sich halb aufrichtend Wehe! Wehe mir der Qual! Mein Vater, oh! noch einmal verrichte du das Amt! Lebe, leb – und lass mich sterben. TITUREL Im Grabe leb ich durch des Heilands Huld zu schwach doch bin ich, ihm zu dienen. Du büss im Dienste deine Schuld! Enthüllet den Gral! AMFORTAS gegen die Knaben sich erhebend Nein! Lasst ihn unenthüllt! – Oh! dass keiner, keiner diese Qual ermisst, die mir der Anblick weckt, der euch entzückt! Was ist die Wunde, ihrer Schmerzen Wut, gegen die Not, die Höllenpein, zu diesem Amt – verdammt zu sein! Wehvolles Erbe, dem ich verfallen, ich – einz'ger Sünder unter Allen – des höchsten Heiligtums zu pflegen, auf Reine herabzuflehen seinen Segen! – Oh, Strafe! Strafe ohne Gleichen des, ach! – gekränkten Gnadenreichen! – Nach ihm, nach seinem Weihegrusse muss sehnlich mich's verlangen; aus tiefster Seele Heilesbusse zu ihm muss ich gelangen. Die Stunde naht – ein Lichtstrahl senkt sich auf das heilige Werk – die Hülle fällt. vor sich hinstarrend Des Weihgefässes göttlicher Gehalt erglüht mit leuchtender Gewalt; durchzückt von seligsten Genusses Schmerz, des heiligsten Blutes Quell fühl ich sich giessen in mein Herz des eig'nen sündigen Blutes Gewell in wahnsinniger Flucht muss mir zurück dann fliessen, in die Welt der Sündensucht mit wilder Scheu sich ergiessen; von neuem sprengt es das Tor, daraus es nun strömt hervor, hier durch die Wunde, der Seinen gleich, geschlagen von desselben Speeres Streich, der dort dem Erlöser die Wunde stach, aus der, mit blutigen Tränen, der Göttliche weint ob der Menschheit Schmach in Mitleids heiligem Sehnen, und aus der nun mir, an heiligster Stelle, dem Pfleger göttlichster Güter, des Erlösungs-Balsams Hüter – das heisse Sündenblut entquillt, ewig erneut aus des Sehnens Quelle, das – ach! – keine Büssung je mir stillt! – Erbarmen! Erbarmen! Du Allerbarmer! Ach, Erbarmen! Nimm mir mein Erbe. schliesse die Wunde, dass heilig ich sterbe, rein dir gesunde! Er sinkt wie bewusstlos zurück KNABEN UND JÜNGLINGE aus der Höhe, unsichtbar »Durch Mitleid wissend, der reine Tor, harre sein, den ich erkor!« DIE RITTER leise So ward es dir verhiessen harre getrost, des Amtes walte heut! TITUREL Enthüllet den Gral! Amfortas erhebt sich langsam und mühevoll. Die Knaben nehmen die Decke vom goldenen Schreine, entnehmen ihm eine antike Kristallschale, von welcher sie ebenfalls eine Verhüllung hinwegnehmen, und setzen diese vor Amfortas hin STIMMEN AUS DER HÖHE Nehmet hin meinen Leib, nehmet hin mein Blut um unsrer Liebe Willen! Während Amfortas andachtvoll in stummem Gebete zu dem Kelche sich neigt, verbreitet sich eine immer dichtere Dämmerung über die Halle. – Eintritt vollster Dunkelheit KNABEN AUS DER HÖHE Nehmet hin mein Blut, nehmet hin meinen Leib, auf dass ihr mein gedenkt. Ein blendender Lichtstrahl dringt von oben auf die Kristallschale herab; diese erglüht sodann immer stärker in leuchtender Purpurfarbe, alles sanft bestrahlend. Amfortas, mit verklärter Miene, erhebt den »Gral« hoch und schwenkt ihn sanft nach allen Seiten, worauf er damit Brot und Wein segnet. Alles ist auf den Knien TITUREL Oh, heilige Wonne, wie hell grüsst uns heute der Herr! Amfortas setzt den »Gral« wieder nieder, welcher nun, während die tiefe Dämmerung wieder entweicht, immer mehr erblasst hierauf schliessen die Knaben das Gefäss wieder in den Schrein und bedecken diesen wie zuvor. – Die frühere Tageshelle tritt wieder ein. Die vier Knaben verteilen während des Folgenden aus den zwei Krügen und Körben Wein und Brot KNABENSTIMMEN aus der Höhe Wein und Brot des letzten Mahles wandelt' einst der Herr des Grales durch des Mitleids Liebesmacht in das Blut, das er vergoss in den Leib, den dar er bracht. – Die vier Knaben, nachdem sie den Schrein verschlossen, nehmen nun die zwei Weinkrüge sowie die zwei Brodkörbe, welche Amfortas zuvor, durch das Schwenken des Grals-Kelches über sie, gesegnet hatte, von dem Altartische, verteilen das Brod an die Ritter und füllen die vor ihnen stehenden Becher mit Wein. Die Ritter lassen sich zum Mahle nieder, so auch Gurnemanz, welcher einen Platz neben sich leer hält und Parsifal durch ein Zeichen zur Teilnehmung am Mahle einlädt Parsifal bleibt aber starr und stumm, wie gänzlich entrückt, zur Seite stehen JÜNGLINGE aus der mittleren Höhe der Kuppel Blut und Leib der heil'gen Gabe wandelt heut zu eurer Labe sel'ger Tröstung Liebesgeist in den Wein, der euch nun floss, in das Brot, das heut ihr speist. DIE RITTER erste Hälfte Nehmet vom Brod, wandelt es kühn in Leibes Kraft und Stärke, treu bis zum Tod, fest jedem Müh'n, zu wirken des Heilands Werke! zweite Hälfte Nehmet vom Wein, wandelt ihn neu zu Lebens feurigem Blute, froh im Verein, Brudergetreu zu kämpfen mit seligem Mute! ALLE RITTER Selig im Glauben! Selig in Liebe! Die Ritter haben sich erhoben und schreiten von beiden Seiten auf sich zu, um während des Folgenden sich feierlich zu umarmen JÜNGLINGE mittlere Höhe der Kuppel Selig in Liebe! KNABEN volle Höhe der Kuppel Selig im Glauben! Während des Mahles, an welchem er nicht teilnahm, ist Amfortas aus seiner begeisterungsvollen Erhebung allmählich wieder herabgesunken er neigt das Haupt und hält die Hand auf die Wunde. Die Knaben nähern sich ihm; ihre Bewegungen deuten auf das erneute Bluten der Wunde sie pflegen Amfortas, geleiten ihn wieder auf die Sänfte, und, während alle sich zum Aufbruch rüsten, tragen sie, in der Ordnung wie sie kamen, Amfortas und den heiligen Schrein wieder von dannen. Die Ritter ordnen sich ebenfalls wieder zum feierlichen Zuge und verlassen langsam den Saal. – Verminderte Tageshelle tritt ein. – Knappen ziehen wieder in schnellerem Schritte durch die Halle. – Die letzten Ritter und Knappen haben den Saal verlassen die Türen werden geschlossen. – Parsifal hatte bei dem vorangehenden stärksten Klagerufe des Amfortas eine heftige Bewegung nach dem Herzen gemacht, welches er krampfhaft eine Zeitlang gefasst hielt; jetzt steht er noch, wie erstarrt, regungslos da. – Gurnemanz tritt missmutig an Parsifal heran und rüttelt ihn am Arme GURNEMANZ Was stehst du noch da? Weisst du, was du sahst? Parsifal fasst sich krampfhaft am Herzen – und schüttelt dann ein wenig mit dem Haupte GURNEMANZ sehr ärgerlich Du bist doch eben nur ein Tor! Er öffnet eine schmale Seitentüre Dort hinaus, deinem Wege zu! Doch rät dir Gurnemanz lass du hier künftig die Schwäne in Ruh, und suche dir Gänser die Gans! Er stösst Parsifal hinaus und schlägt, mürrisch, hinter ihm die Türe stark zu. Während er dann de Rittern folgt, schliesst sich, auf dem letzten Takte mit der Fermate, der Vorhang EINE ALTSTIMME aus der Höhe »Durch Mitleid wissend, der reine Tor …« MITTLERE HÖHE Selig im Glauben! AUS DER HÖCHSTEN HÖHE Selig im Glauben! この日本語テキストは、 クリエイティブ・コモンズ・ライセンス の下でライセンスされています。@wagnerianchan Wagner,Richard/Parsifal/II
https://w.atwiki.jp/oper/pages/615.html
管理人より こちらに掲載している原語リブレットはどうやらホーフマンスタールの生台本だったようで、シュトラウスが音楽を付けてない部分や追加した詩句があるようです。生台本は話のつながりがスムーズな点もあるということで、wagnerianchanさまはそのまま訳出してくれました。管理人がシュトラウスがカットした原語部分をグレーにする処理を行っています。通常のリブレット日本語対訳はこちらをご覧ください。 → メモ@広報室 第１幕 （ウィーン旧市街のホテルのサロン。中央に観音開きの扉がある。舞台右手前方には窓があり、そのずっと奥のほうにはドアがある。舞台左手にも同じようなドアがある。サロンは１８６０年代様式の豪華な新品の調度品で飾られている） （アデライーデはトランプ占いの女と一緒に舞台左手のテーブルに向かって腰かけている。少年の服を着たズデンカは、舞台右手の別のテーブルで、書類の整理をしている） KARTENAUFSCHLÄGERIN＜トランプ占いの女 先ほどよりも、いいカードですわ。 ADELAIDE ああ、ありがたい！ （ノックの音） いい所なのに、邪魔しないでよ！ ZDENKA （中央の扉に駆けて行き、渡されたものを受け取る） 父は外出中ですし、母は頭痛で出られません！ 後ほどお越しを・・・。また請求書か！ ADELAIDE （拒否するように手を振りながら） 今は無理よ！どっかに置いといて！ ZDENKA 請求書がこんなにたまってしまったよ。 ADELAIDE しいっ、静かにして！・・・カード占いの結果は？ 心配でたまらないわ！ KARTENAUFSCHLÄGERIN （カードの上に身をかがめて） ご安心のほどを。遺産が近づいてきていますよ・・・ ゆっくりと！ ADELAIDE （心配そうに手をよじりながら） それじゃだめよ！もう待てないわ！ もはや残された希望は一つ。 アラベラがすぐに結婚すること！ その件について、カードは何と？ KARTENAUFSCHLÄGERIN カードは、すべてを鏡のように映し出します。 父親・・・これはあなたのご主人ですわね。 ああ、ご主人は心労に取り巻かれて、お先真っ暗。 それでも一戦を、勝負を・・・ああ、またも 大金を失ってしまいました。 ADELAIDE マリア様、お助けを！ 可愛いあの娘が、私を救ってくれますように！ お願いでございます。あの娘の婚約は・・・ 成立しないの？ あたし達の信用は、がた落ちなのよ。あなた！ KARTENAUFSCHLÄGERIN （長い間、カードを見つめて） 士官の登場です。 ADELAIDE 士官ですって？あら、いやだ！ ZDENKA （独り言で） それは、マッテオだ！ KARTENAUFSCHLÄGERIN ちがう！本命は、この男ではない！ ADELAIDE そうでなくちゃ！ KARTENAUFSCHLÄGERIN 彼方から登場する見知らぬ紳士・・・それが花婿。 ADELAIDE エメラルド・ブローチを、あなたにあげるわ。 もしも、今の予言が、 今週中に実現すれば！ KARTENAUFSCHLAGERIN （まるで預言の書を解読するように、ゆっくりと） その紳士は遠方より現れます。手紙に呼ばれて来るのです。 ADELAIDE 遠くから？ ならば、それはエレメル伯爵だわ。間違いない！ KARTENAUFSCHLÄGERIN 大きな森・・・そこからやって来るのです。 ADELAIDE やはりそう！エレメルよ！ああ、お話のとおりよ！ 素晴らしいわ！・・・ でも、なぜ、あの方、グズグズしているのかしら？ KARTENAUFSCHLÄGERIN いいえ、グズグズしているのは、女のほう。 ADELAIDE （歓声をあげて） ガラスみたいに人の心が見えるのね！ あの子は、言いようもないほどプライドが高いからねえ。 ああ、神様、 少しプライドを捨てさせるようにしてください！ 美しいのと同じぐらい、プライドが高いんだから。 （ノックの音。ズデンカは扉に駆けて行く） ZDENKA だめです！今はとても！ （また請求書を受け取り、テーブルの上に投げ出す） ADELAIDE どうしたのよ？そんなに眉をひそめて？ KARTENAUFSCHLÄGERIN （カードを見て考えこむ） 美しいお嬢さんと、 その裕福な紳士の間に割り込もうとしている者がいる！ ADELAIDE ああ、マリア様、そんなことがございませんように！ KARTENAUFSCHLÄGERIN （カードの上に身をかがめ） あらっ？ 奥様には、もう一人娘さんがいらっしゃるのですか？ 存じ上げませんでした。ああ、これは本当に危険な状況！ ADELAIDE （小声で） お静かに！ 我が家の秘密にかかわることなのですから！ （ズデンカは舞台右手で聞き耳を立てている） KARTENAUFSCHLÄGERIN どうして、いきなり下の娘さんなど現れるのでしょう？ この子が、お姉さんに不幸をもたらすのです！ ADELAIDE お願いだから、声を静かに！ KARTENAUFSCHLÄGERIN （カードを見ながら） この姉妹は、引き離さねばなりません！ さもないと、全てが水の泡ですよ！ ADELAIDE （占い女に顔を寄せて） 何が見えているのです？ KARTENAUFSCHLÄGERIN 大げんかの勃発。仲違い。 花婿が去って行きます！ 何てひどい言葉！それも赤の他人にまで！ ADELAIDE ああ、神様、何とかして！ KARTENAUFSCHLÄGERIN こんな災厄が起こるのは、すべて あの金髪の小娘と、士官のせいですわ。 ADELAIDE （テーブルの脇にくずれ落ちて） 天にまします天使たち！ 心労の絶えぬ母親の嘆きを 聞いて下さいまし！ ZDENKA （こわごわと） ママ！ ADELAIDE ズデンカ！静かにしてて！ こんなことなど気にしないで！ （体を起こし、ズデンカを指差しながら小声で） しいっ！実は、娘とはあの子なのです！ KARTENAUFSCHLÄGERIN あの若い殿方が？ ADELAIDE 娘なのですが、 男みたいにやんちゃなので、 ずっと男の子として育ててきたのです。 この街で二人の娘を身分相応に育てるほど 私達は金持ちでもありませんしね。 ですが、あの子は、姉をとても愛しています。 姉のためにならないことをするはずはないのですが？ KARTENAUFSCHLÄGERIN カードは嘘をつきませんわ。 こちらには士官。あちらにはブロンド娘。 鞘からサーベルが抜かれれば、 花婿のほうは引き下がります。 このカードの結果に、ご留意くださいませ！ ADELAIDE （立ち上がる） あなたは、私を救う天使！ さあ、私の部屋へ！もう一度、運だめしを！ KARTENAUFSCHLÄGERIN カードの結果は取り消せませんよ。 ADELAIDE さあさあ、早く！お願いよ。 （舞台右手の隣室へと退場） ZDENKA （積み重なって山となった請求書を手にして、 文面を読む） みんなお金の催促ね！裁判するぞと脅かしている！ ええっ？私が全然知らないことまで書いてある。 私達がこの街を離れようとしているなんて！ ああ！そうなったら何もかも終わりだわ！ あの人の姿ももう見られない！ （不安に駆られて舞台左手のドアへ駆け寄り、耳を澄ます） あの占い女の声がする･･･ アラベラに何かが迫っているって。 きっと、士官のことだわ。 ママの声がする･･･ あの男を出入り禁止にする、ですって？ ずいぶん面目を潰されたからね。 でも、出入り禁止なんて？大変だ。そうなったら・・・あの人自殺しちゃうわ・・・しかも、みんなが、お姉さんのせいだと知るんだわ・・・それにしても、お姉さん・・・ 自分がどんなに愛されているか分かっているくせに！ （ドアを通って外に出て行く） ああ、神様。私達が旅立つ羽目になどならないようにして下さい！パパが賭けに勝ちますように！ゲルツのおばさんが亡くなってくれれば！ベッラがマッテオのことを一番愛してくれれば･･･。 マッテオは幸せになり、私達も惨めな思いをしなくて良くなるのに！ そうなってくれるなら、 私なんか犠牲になってもいい・・・ 一生、男の服を着て、何もかも諦めたっていいわ！ （ノックの音。ズデンカが中央の扉に向かって行く。ドアが外から丁寧に開けられると、マッテオが入って来る。猟兵部隊の制服を着て、手に帽子を持っているが、サーベルは持っていない） ZDENKA （驚いて顔を青くして） マッテオ！ MATTEO ズデンコ！君か！一人かい？ ZDENKA （小声で、不安そうに） 母さんが部屋にいる。 MATTEO で、アラべラは？ ZDENKA 取り巻き連中と、リング通りを散歩中さ。 MATTEO （一歩前に出て） ぼくあてには何も届いてないかい？ 伝言とか、手紙とかは？ （ズデンカは悲しそうに首を振る） じゃあ、昨日の晩は？ ZDENKA 姉さんは、母さんと一緒に オペラに行ったよ。 MATTEO （嫉妬にかられて） お母さんとだけかい？ ZDENKA （ためらいつつ） ママと、３人の伯爵と一緒だったと思うよ。 MATTEO 今日の午後は？ ZDENKA （ためらいつつ、不安そうに） 伯爵たちが、そりに乗って迎えに来るはずさ。 ぼくも行かなきゃ・・・きっと付き人が必要だろうから。 MATTEO （ひどくショックを受けて） あの人とぼくとの仲は、もう終わったんだ！ 君がいなければ、彼女が何をしているのかすら 分かりゃしない！ あの人はぼくに、時々、気の無い、 うつろな眼差しを投げるだけだ！ ZDENKA でも、お姉さんは君を愛しているよ！ ぼくを信じて！ぼくには分かるよ！ MATTEO （顔を輝かせて） ズデンコ、ぼくの友達は君だけだ！分かるって？お姉さんが君にそう打ち明けたのかい？ ZDENKA 知っての通り、お姉さんは本心を出さない人だから 言葉でなんか言わないさ。 でも、ぼくには分かるのさ・・・ ３日前だって君に手紙を書いて、 君はとても幸せだったじゃないか？ MATTEO ああ、３回目だった・・・ 天から来た手紙のようだった！ それなのに、また、よそよそしい態度で冷たくするなんて！ どう理解すればいいんだ？どう我慢しろと？なあ、ズデンコ。 ZDENKA （小声だが、重々しく） それが女心というものさ。女の人は、より多くのものを与えたいと思うけど・・・決してそれを外に表したりはしない。姉さんは、ひどく恥ずかしがり屋さんだからね。 MATTEO ねえ、君！それがわかるぐらいなら、 きっと、ぼくの気持ちだって、分かるだろ・・・ （ズデンカの腕をつかむが、ズデンカはあわてて身をもぎ離す） どんな時間なのか分かるかい・・・ ぼくが、どんなことを考えると思うんだい・・・ あの人が、ぼくをまるで空気のように見るだけで、 ぼくが再現を願い、そのためだけに生きている あの愛のしるしを全く見せてくれない時間に！ ZDENKA （あわてて） 分かったよ。また手紙を持って行くさ、 今日か明日のうちには！ MATTEO （迫るように） 今日中だよ！君のほかに友はいないんだ！ 男の約束だ・・・ 信じているぞ！ でも、君すら、もはや信じられなくなったら、 きっと別の結末になる！ ZDENKA （不安に満ちて） 何だって？どうなるのさ？マッテオ。 MATTEO （とても暗い声で） 明日、隊に行って、 ガリチアへの転属を願い出るんだ。 それも何の役にも立たず、 そこでもアラベラを忘れられないようなら、 解決策は一つ・・・このリボルバー拳銃さ。 ZDENKA ああ、何てことを！ MATTEO 忘れないでほしい。ぼくを救うのは君だ！ （駆け去って行く） ZDENKA （危険と困難に取り巻かれ、興奮と不安で気を失いそうになりながら） あの人を助けねば・・・ああ、でも！私は･･･私のことは誰が助けてくれるのよ！そんな手紙ならいくらでも書けるほど、言葉は次々見つけ出せるし、夢の中でも思い付いたりしてしまう・・・。だけど、私がお姉さんに成り代わって、甘い愛の言葉を書いたって、そんな手紙が何の役に立つのよ！ むしろ考えないといけないのは、お姉さんの心に響いて、この人こそ私が愛するにふさわしい人だと、お姉さんに思わせる言葉なのに。 そちらは余りに難しくて、私にはうまくできない。・・・なんでこうもうまくいかないのかしら。 ARABELLA （舞台の右側から現れる。帽子とヴェールをかぶり、毛皮のジャケットを羽織っている。その後ろには付き添いの少女） ありがとう、お嬢さん。 明日また同じ時間に迎えに来てね。 今日はもう結構よ。さようなら。 （付き添いの少女は退場） ARABELLA （帽子とジャケットを脱ぐ。 ふと円卓上のバラの花束に気がつく） きれいなバラね！軽騎兵が持ってきたんじゃない？ （バラを手に取る） ZDENKA 何だって？軽騎兵？ ARABELLA 外国旅行者のボディーガードの軽騎兵よ！ ZDENKA 違うわ。マッテオからよ。 （それを聞くと、アラベラはすぐにバラを放り投げる・・・ズデンカは、花瓶に活けなおす） ZDENKA （穏やかな声で） あの男の花は、いつもこうされてしまう！ それなのに、あの男は、毎日新しいのを持って来る。 ARABELLA （そっけなく） ああ･･･よして！あそこにもブーケがあるけど？ ZDENKA あれはエレメルからさ。 あそこの香水はドミニクから。 あのシガレットホルダーはラモラルからさ。 ARABELLA （さげすむように） あの３人！みんなして無駄遣いして、同じ女に夢中だなんて・・・。 いっそ３人そろって私と婚約すればいいんだわ！ ZDENKA あいつらにそんな価値はないよ・・・多少なりとも価値がある男は一人だけ・・・それは、この人さ！ （マッテオからの花束を、アラベラに差し出す） ARABELLA ああ、よしてよ！まだしも、あの３人のほうが楽しくって中身のある人達だわ。 ZDENKA （非難する口調で） よくもそんなことを！マッテオより中身があるなんて！ あの男は、お姉さんを心底愛しているのに・・・ あんなに心を込めて・・・。 ARABELLA （さげすむように） そのうえ全力でね！ でも、残念ながら力不足よ！ ZDENKA （激しい口調で） そんな罪なことを！好きだったこともあったじゃないか！ ARABELLA そうかもね！「だった」のよ！ そんな時は過ぎた・・・まさに、あなたの言う通り。 ZDENKA 気をつけて！お姉さんのそんな言葉を聞いたら、 あの男は、きっと死んでしまうよ。 ARABELLA （軽い調子で） 男なんて、そんなにすぐに死ぬものですか！ ZDENKA （ますます激しい口調で） 本当に死ぬかも！あんなに想い焦がれているんだから！ ARABELLA （ズデンカの様子を見ながら） ズデンカくん？まるで、ママみたいにヒステリックな言い方ね！立場をわきまえたほうが良くないかしら！ ZDENKA あの男の苦しみを見たら、胸が痛んだんだ！ ARABELLA （ズデンカのほうを見ないで） あの人のことが好きなんじゃないの？ ZDENKA （地団太を踏んで） あの男は、友達だよ！ この世でただ一人の友達なんだ！ ARABELLA （あらためて、ズデンカの様子をしげしげと見る） ズデンカくんは、この頃少しあぶない感じね。 どうやら、世間にも女であることを宣言して、 この仮面舞踏会を終わらせる時が来たんじゃないかしら。 ZDENKA 死ぬまで男のままでいるよ。女になんかなりたくない・・・ お姉さんみたいな女には。 プライドは高いし、コケットで、その上冷たい女になんか！ ARABELLA おやおや！やっぱり、もう潮時ね！ ZDENKA （激しい口調で） お姉さんが、あなたにふさわしいたった一人の男の心を踏みにじらなくなったら、女に戻るよ！ ARABELLA （とても真剣になって） あの男は、私にふさわしい人じゃない！ そんな男じゃないわ。 だから、怖れることもない。 私にふさわしい人は、 あたしに愛想を尽かされるような人じゃない！ ZDENKA お姉さんの言い草ったら、まるで魔女みたいだよ！ ARABELLA （椅子に腰掛けて） まじめよ！ あなたに本当のことを打ち明けているの！ 私がこういう女であることに、 私は何の責任もないわ。 男の人って、私の頭の中で急にふくれあがったかと思うと、 またすぐに何でもない存在になってしまうの！ まるで脳裏をかすめただけのように、すぐ・・・ でも、なぜなのかはわからない！ 問いかけてはみるけれど、 その問いへの答えを、私は朝から晩まで考えても見つけられない。まるで私の意志とは関係ないみたいに、 心が急旋回して、 その人から離れて行くの。 でも、あたしに何の責任があるというの・・・ 私にふさわしい人が・・・ この世に一人いるならば・・・ 目の前にそんな人がいきなり現れて、 私を見つめ、私も見つめ返したら、 もう疑ったり問いかけたりはしないわ。 私は幸せになり、 その方に、子供のように素直に従います。 ZDENKA （少し間を置いたあと、愛情を込めてアラベラを見つめながら）私には、お姉さんが分からない。 言っていることが正しいのかどうかも・・・。 理解するにはお姉さんを愛しすぎてしまっている！ 私の望みは、お姉さんが幸せになることだけ・・・ お姉さんにふさわしい人と幸せになる！ そのお手伝いをしたいの。 （心を込め、アラベラと声を合わせるが、まるで独り言のように） あのトランプ占い師は、お見通しだったんだわ・・・ お姉さんは光に包まれるけど、 私は暗闇の中へと落ちていく。 美しくて優しいお姉さん・・・私は去ります。 去りながら清めます･･･お姉さんの行く道を。 ARABELLA 私にふさわしい人が・・・ この世に一人いるならば・・・ 目の前にそんな人がいきなり現れて、 私を見つめ、私も見つめ返したら、 もう疑ったり問いかけたりはしないわ。 私は幸せになり、 その方に、子供のように素直に従います。 ERSTER AUFZUG Salon in einem Wiener Stadthotel. Flügeltür in der Mitte. Rechts vorne ein Fenster, weiter rückwärts eine Tür. Links gleichfalls eine Tür. Der Salon ist reich und neu möbliert im Geschmack der 1860er Jahre. Adelaide mit der Kartenaufschlägerin an einem Tisch links. Zdenka in Knabenkleidern, rechts, beschäftigt auf einem andern Tischchen Papiere zu ordnen KARTENAUFSCHLÄGERIN Die Karten fallen besser als das letzte Mal. ADELAIDE Das gebe Gott! Es klopft Nur keine Störung jetzt! ZDENKA läuft an die Mitteltür. Man gibt ihr von draussen etwas herein Mein Vater ist nicht hier, die Mutter hat Migräne! Kommen Sie später. - Es ist wieder eine Rechnung! ADELAIDE abwinkend Jetzt nicht! leg sie dorthin! ZDENKA Es liegen schon so viele da. ADELAIDE Still, still! - Wie liegen unsre Karten? Die Sorge und die Ungeduld verzehren mich! KARTENAUFSCHLÄGERIN über die Karten gebeugt Beruhigen Sie sich. Die Erbschaft rückt schon näher - nur langsam! ADELAIDE mit gerungenen Händen Nein, wir können nicht mehr warten! Es - gibt nur eine Hoffnung die baldige Vermählung meiner Arabella! Was sagen Ihre Karten, liebste Frau! KARTENAUFSCHLÄGERIN Sie zeigen alles wie in einem Spiegel Den Vater seh ich, Ihren Herrn Gemahl - o weh, die Sorge steht ihm nah -ganz finster ist's um ihn. Er kämpft, er spielt - o weh, und er verspielt schon wieder die grosse Summe. ADELAIDE Heilige Mutter Gottes! Komm mir zu Hilfe durch mein schönes Kind! Um Gottes Willen, die Verlobung - ist sie nah? Unser Credit ist sehr im Wanken, liebste Frau! KARTENAUFSCHLÄGERIN betrachtet lange die Karten Da steht der Officier. ADELAIDE Ein Officier? o weh! ZDENKA vor sich Matteo! KARTENAUFSCHLÄGERIN Nein! der ist der Eigentliche nicht! ADELAIDE Das will ich hoffen! KARTENAUFSCHLÄGERIN Von dort herüber kommt der fremde Herr, der Bräutigam. ADELAIDE Die Brosche mit Smaragden ist Ihr Eigentum wenn Ihre Prophezeiung Wahrheit wird, in dieser Woche! KARTENAUFSCHLAGERIN langsam, wie das Schicksalsbuch entziffernd Er kommt von weiter her. Ein Brief hat ihn gerufen. ADELAIDE Von weiter her? Es ist Graf Elerner, kein Zweifel! KARTENAUFSCHLÄGERIN Ich sehe einen grossen Wald dort kommt er her. ADELAIDE Das ist er! Elemer! o wie Sie ihn beschreiben! Herrlich! - Doch warum zögert er? KARTENAUFSCHLÄGERIN Die Zögerung kommt von ihr. ADELAIDE jubelnd Sie sehen durch die Menschen wie durch Glas! Das ist ihr namenloser Stolz. O Gott, erweiche ihren Stolz! Er ist so gross wie ihre Schönheit. Es klopft. Zdenka eilt an die Tür ZDENKA Nein, jetzt ist es ganz unmöglich! Sie empfängt wieder eine Rechnung, die sie hinlegt ADELAIDE Was meinen Sie? was runzeln Sie die Stirn? KARTENAUFSCHLÄGERIN über die Karten sinnend Es drängt sich wer hinein zwischen die schöne Tochter und den reichen Herrn! ADELAIDE Heilige Mutter Gottes, lass es nicht geschehen! KARTENAUFSCHLÄGERIN über die Karten gebeugt Wie? haben Euer Gnaden eine zweite Tochter? Das war mir nicht bekannt. Oh, das wird eine ernstliche Gefahr! ADELAIDE leise Leise! Sie rühren hier an ein Familiengeheimnis! Zdenka rechts, horcht herüber KARTENAUFSCHLÄGERIN Wo kommt das zweite Mädchen da auf einmal her? Sie bringt das Unheil über ihre Schwester! ADELAIDE Um Himmelswillen, leise! KARTENAUFSCHLÄGERIN über den Karten Halten Sie die Schwestern auseinander! Sonst geht noch alles fehl! ADELAIDE dicht bei ihr Was ist es, das Sie sehen? KARTENAUFSCHLÄGERIN Ich sehe einen grossen Streit - Entzweiung Der Bräutigam will fort! Es fallen fürchterliche Worte! fremde Leute hören zu! ADELAIDE Du grosser Gott im Himmel! KARTENAUFSCHLÄGERIN Alles Übel kommt von der kleinen Blonden und dem Officier. ADELAIDE kniet neben dem Tisch nieder Ihr Engelscharen droben, hört das Flehen einer Mutter in ihrer Herzensangst! ZDENKA ängstlich Mama! ADELAIDE Zdenka! bleib still und kümmre dich um nichts was hier geschieht! Auf, leise; auf Zdenka deutend Leise! sie ist es! KARTENAUFSCHLÄGERIN Dort der junge Herr? ADELAIDE Sie ist ein Mädchen. Weil sie wild war wie ein Bub hat man sie weiterhin als Buben laufen lassen. Wir sind nicht reich genug, in dieser Stadt zwei Mädchen standeswürdig auszuführen. - Allein sie liebt die ältre Schwester über alle Massen wie könnte sie ihr Böses tun? KARTENAUFSCHLÄGERIN Die Karten lügen nicht. Da steht der Officier. Da steht das blonde Mädchen. Gezogne Säbel seh ich, und der Bräutigam zieht sich zurück. Die Karten warnen Sie! ADELAIDE steht auf Sie sind mein guter Engel! Hier in mein Zimmer! Sie versuchen es noch einmal! KARTENAUFSCHLÄGERIN Die Karten nehmen nichts zurück. ADELAIDE Schnell, schnell! Ich fleh Sie an. Zieht sie ins Nebenzimmer rechts ZDENKA nimmt die Rechnungen zur Hand, die sich angehäuft haben, sieht hinein Sie wollen alle Geld! Sie drohn mit den Gerichten! Was? davon weiss ja ich gar nichts sie schreiben sie haben schon gehört dass wir verreisen wollen! Oh! dann ist alles aus! Dann seh ich ihn nie mehr! Sie läuft in ihrer Angst an die Tür links und horcht Sie sagt der Arabella droht etwas - von einem Officier. Er darf nicht mehr ins Haus, sagt die Mama, sie wird compromittiert von ihm. Nicht mehr ins Haus? O Gott - dann bringt er sich ja um - und alle wissen drum es ist wegen ihr - und sie - dann endlich weiss sie, wie er sie geliebt hat !! Geht weg von der Tür Mein Gott, lass das nicht zu, dass wir verreisen müssen! Lass den Papa gewinnen! Lass in Goerz die Tante sterben! Mach dass die Bella den Matteo über alles liebt und dass er glücklich wird, und dass wir nicht mehr arm sind! Aufopfern will ich mich dafür - mein Leben lang in Bubenkleidern laufen und Verzicht auf alles tun! Es klopft. Sie geht an die Mitteltür. Indem wird die Tür von aussen vorsichtig aufgemacht und Matteo tritt ein, in Jägeruniform, die Kappe in der Hand, aber ohne Säbel ZDENKA erblasst Matteo! MATTEO Zdenko! du! Bist du allein? ZDENKA leise, ängstlich Da drin ist die Mama. MATTEO Und Arabella? ZDENKA Sie ist spazieren auf dem Ring mit der Begleiterin. MATTEO einen Schritt näher Und nichts für mich? Kein Wort? kein Brief? Zdenka schüttelt traurig den Kopf Und gestern abend? ZDENKA War sie in der Oper mit der Mama. MATTEO eifersüchtig Mit der Mama allein? ZDENKA zögernd Ich glaub mit der Mama und den drei Grafen. MATTEO Und nachmittag? ZDENKA zögernd, ängstlich Sie kommen mit Schlitten und holen sie ab - ich soll auch mit ein Chaperon muss doch dabei sein. MATTEO tief getroffen Dahin ist es gekommen zwischen mir und ihr! Hätt ich nicht dich, ich wüsste nicht einmal mehr was sie tut! Sie hat nichts mehr für mich als hie und da einen halb finstern halb zerstreuten Blick! ZDENKA Und doch hat sie dich lieb! Glaub mir! Ich weiss es, ich! MATTEO aufleuchtend Zdenko, mein einziger Freund! du weisst's? Sie hat es dir gestanden? ZDENKA Du weisst sie ist verschlossen wie das Grab, mit Worten sagt sie's nicht. Ich weiss es halt - und hat sie dir nicht vor drei Tagen den Brief geschrieben, über den du selig warst? MATTEO O dreimal selig - wie vom Himmel war der Brief! Dann aber geht sie wieder kalt und fremd an mir vorbei!Wie soll ich das begreifen - und ertragen, Zdenko - wie? ZDENKA leise, wichtig So ist ein Mädel. Geben will ein Mädel mehr und mehr - nur zeigen will sie nichts. Sie schämt sich halt so furchtbar. MATTEO Wie du das weisst, du lieber Bub! So weisst du auch - er fasst Zdenka am Arm, sie macht sich sogleich los - was das für Stunden sind und was da für Gedanken Herrschaft haben über mich wenn sie so durch mich durchschaut wie durch leere Luft - und du mir nicht ein Zeichen bringst von dem ich wieder hoffen kann und leben! ZDENKA hastig Gewiss. Ich bring dir wieder einen solchen Brief heut oder morgen! MATTEO drängend Heute noch! Du bist mein einziger Freund! Gib mir dein Manneswort - auf dich verlass ich mich! Und wenn ich mich auf dich nicht mehr verlassen könnte, dann käme etwas andres! ZDENKA angstvoll Was? was käme dann, Matteo? MATTEO sehr finster Dann stünd ich morgen beim Rapport und bäte um Versetzung nach Galizien. Und wenn mir das nichts hilft und ich auch dort die Arabella nicht vergessen kann - dann gibts halt einen Ausweg den Revolver. ZDENKA Mein Gott im Himmel! MATTEO Denk daran, wie du mir hilfst! Er eilt weg ZDENKA fast sinnlos vor Aufregung und Angst zwischen so vielen Gefahren und Schwierigkeiten Ihm helfen - o mein Gott! Und mir, wer hilft denn mir! Die Wörter hätt ich wohl in mir für hundert solche Briefe - und auch die Schrift die treff' ich ja im Schlaf - was aber hilft ihm denn der Brief, wenn ich für sie die zärtlichen verliebten Wörter schreibe! Die Wörter muss ich finden die ins Herz ihr gehn dass sie erkennt den Einzigen der es verdient von ihr geliebt zu sein - Das ist das Schwerere und wenn 's mir nicht gelingt - hab ich verspielt. ARABELLA ist von rechts eingetreten, in Hut, Schleier und Pelzjacke, hinter ihr die Begleiterin Ich danke, Fräulein. Holen Sie mich morgen um die gleiche Zeit, für heute brauch ich sie nicht mehr. Adieu. Begleiterin geht ab ARABELLA legt den Hut und die Jacke ab. Sie sieht die Rosen, die auf einem Guéridon stehen Die schönen Rosen! Hat die ein Husar gebracht? Sie nimmt die Rosen ZDENKA Wie? ein Husar? ARABELLA Der Leibhusar von einem fremden Reisenden! ZDENKA Nein. Sie sind von Matteo. Arabella legt die Rosen schnell weg - Zdenka tut sie wieder in die Vase ZDENKA sanft So gehst du mit seinen Blumen um! Und trotzdem bringt er neue jeden Tag. ARABELLA kurz Ah, lass ! - Und dort das andere Bukett? ZDENKA Vom Elemer. Und da Parfum vom Dominik, und Spitzen vom Lamoral. ARABELLA spöttisch Die drei! Verlumpen Geld zu dritt, verlieben sich zu dritt ins gleiche Mädel - am End verloben sie sich auch noch alle drei mit mir! ZDENKA Nichts wert sind sie - und etwas wert ist nur der eine - d e r! Sie hält ihr Matteos Rosen entgegen ARABELLA Ah, lass! Die drei sind lustiger und haben mehr in sich. ZDENKA vorwurfsvoll Kannst du das sagen! Mehr in sich als der Matteo! Er liebt dich doch aus seiner ganzen Seele, aus seinem ganzen Herzen - ARABELLA spöttisch und aus allen seinen Kräften! Nur sind die Kräfte halt nicht gross! ZDENKA heftig Versündig dich nur nicht! Du hast ihn lieb gehabt! ARABELLA Vielleicht ! Gehabt! So ists vorbei du sagst es selbst. ZDENKA Gib acht dass er dich das aussprechen hört! Es wär sein Tod. ARABELLA leichthin Mannsbilder sterben nicht so schnell! ZDENKA heftiger Es wär sein Tod! anbeten tut er dich! ARABELLA sieht sie an Zdenkerl, du hast schon ganz den exaltierten Ton von der Mama! Pass auf auf dich! ZDENKA Weils mir das Herz umdreht, wie ich ihn leiden seh! ARABELLA ohne sie anzusehen Bist du verliebt in ihn? ZDENKA stampft auf Sein Freund bin ich! Sein einziger Freund auf dieser Welt! ARABELLA sieht sie wieder aufmerksam an Zdenkerl, in dir steckt was Gefährliches seit letzter Zeit. Mir scheint, Zeit wärs, dass du ein Mädel wirst vor aller Welt und dass die Maskerad ein End hat. ZDENKA Ich bleib ein Bub bis an mein End. Ich will nicht eine Frau sein - so eine wie du bist. Stolz und coquett, und kalt dabei! ARABELLA Du, du! Mir scheint es ist sogar die höchste Zeit! ZDENKA heftig Zeit wärs dass du das einzige Herz, das deiner wert ist, nicht unter deine Füsse trittst! ARABELLA sehr ernst Er ist der Richtige nicht für mich! Er ist kein ganzer Mann. Ich könnt mich halt vor ihm nicht fürchten. Wer das nicht ist, der hat bei mir verspielt! ZDENKA Wie eine Hexe redest du! ARABELLA sie hat sich gesetzt Ich red im Ernst, ich red die Wahrheit jetzt zu dir! Ich kann ja nicht dafür, dass ich so bin. Ein Mann wird mir gar schnell recht viel und wieder schnell ist er schon gar nichts mehr für mich! Da drin im Kopf geschiehts, und schnell, ich weiss nicht wie! Es fängt zu fragen an, und auf die Fragen find ich die Antwort nicht, bei Tag und nicht bei Nacht. Ganz ohne meinen Willen dreht sich dann mein Herz und dreht sich los von ihm. Ich kann ja nichts dafür - aber der Richtige - wenn's einen gibt für mich auf dieser Welt - der wird auf einmal dastehen, da vor mir und wird mich anschaun und ich ihn und keine Zweifel werden sein und keine Fragen und selig werd ich sein und ihm gehorsam wie ein Kind. ZDENKA nach einer kleinen Pause, sie liebevoll ansehend Ich weiss nicht wie du bist, ich weiss nicht ob du Recht hast - dazu hab ich dich viel zu lieb! Ich will nur dass du glücklich wirst - mit einem der's verdient! und helfen will ich dir dazu. Noch inniger, mehr für sich, und zugleich mit Arabella So hat ja die Prophetin es gesehn sie ganz im Licht und ich hinab ins Dunkel. Sie ist so schön und lieb, - ich werde gehn und noch im Gehn werd ich dich segnen, meine Schwester. ARABELLA aber der Richtige - wenn's einen gibt für mich auf dieser Welt - der wird auf einmal dastehen, da vor mir und der wird mich anschaun und ich ihn und keine Zweifel werden sein und keine Fragen und selig werd ich sein und ihm gehorsam wie ein Kind. この日本語テキストは、 クリエイティブ・コモンズ・ライセンス の下でライセンスされています。@wagnerianchan Strauss,Richard/Arabella/I-2
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A First Course in Mathematical Analysis Cambridge Univ Pr (Txp)? D. A. Brannan? CambridgeUnivPr(Txp)? D.A.Brannan? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Geometry&Topology-GeneralGeometry? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-Calculus? Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-PureMathematics-Calculus? Subjects-Science-Mathematics-Geometry&Topology-GeneralGeometry? Moment Functions in Image Analysis Theory and Applications World Scientific Pub Co Inc? R. Mukundan? K. R. Ramakrishan? WorldScientificPubCoInc? R.Mukundan? K.R.Ramakrishan? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Computers&Internet-ComputerScience-Circuitry-Communication&SignalProcessing? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-MachineVision? 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Lajos Hanzo? T. H. Liew? B. L. Yeap? Ieee? LajosHanzo? T.H.Liew? B.L.Yeap? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-Automotive? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-Telecommunications-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-Automotive? Subjects-Professional&Technical-Engineering-Telecommunications-General? Subjects-Science-General Fuel Cell Systems Explained John Wiley & Sons Inc? James Larminie? Andrew Dicks? JohnWiley&SonsInc? JamesLarminie? AndrewDicks? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Computers&Internet-General? Subjects-Engineering-Electrical&Electronics-ElectricityPrinciples? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-Telecommunications? 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Subjects-Science-General Subjects-ScienceFiction&Fantasy-ScienceFiction-History&Criticism? The Presence of the Past Morphic Resonance the Habits of Nature Park Street Pr? Rupert Sheldrake? ParkStreetPr? RupertSheldrake? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Religion&Spirituality? ユーズドブック(洋書)-Science? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-Philosophy-Science? Subjects-Outdoors&Nature-Ecology-General? Subjects-Religion&Spirituality-General? Subjects-Religion&Spirituality-NewAge-General? Subjects-Religion&Spirituality-NewAge-NewThought? Subjects-Science-General Subjects-Science-History&Philosophy-General? Subjects-Science-Nature&Ecology-General? Life Science Mcdougal Littell/Houghton Mifflin? James Trefil? Rita Ann Calvo? Kenneth Cutler? McdougalLittell/HoughtonMifflin? JamesTrefil? RitaAnnCalvo? KennethCutler? ユーズドブック(洋書)-Children sBooks? ユーズドブック(洋書)-Science? ユーズドブック(洋書)-Teens? Subjects-Children sBooks-Science,Nature&HowItWorks-General? 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Subjects-Science-General The Effects of Uv Radiation in the Marine Environment (Cambridge Environmental Chemistry, 10) Cambridge Univ Pr (Sd)? Stephen De Mora? Serge Demers? Maria Vernet? CambridgeUnivPr(Sd)? StephenDeMora? SergeDemers? MariaVernet? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-SpecialTopics-AppliedAtmosphericSciences? Subjects-Engineering-Civil-Environmental-General Subjects-Outdoors&Nature-Environment-Weather? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-SpecialTopics-AppliedAtmosphericSciences? Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Biology-MarineBiology? Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Ecology? 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Subjects-Professional&Technical-ProfessionalScience-Astronomy-Cosmology? Subjects-Science-General Subjects-Science-Nature&Ecology-StarGazing? Subjects-Science-Physics-Cosmology? Subjects-Science-Physics-Astrophysics? Subjects-Science-Astronomy-Astronomy? Subjects-Science-Astronomy-Cosmology? Subjects-Science-Astronomy-Universe? Spacecraft Attitude Dynamics (Dover Books on Engineering) Dover Pubns? Peter C. Hughes? DoverPubns? PeterC.Hughes? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-ProfessionalScience-Astronomy-Astrophysics&SpaceScience? Subjects-Science-General Subjects-Science-Physics-Astrophysics? Subjects-Science-Astronomy-Aeronautics&Astronautics? Precalculus With Limits A Graphing Approach D C Heath & Co? Ron Larson? Robert P. Hostetler? Bruce H. Edwards? David E. Heyd? DCHeath&Co? RonLarson? RobertP.Hostetler? BruceH.Edwards? DavidE.Heyd? ユーズドブック(洋書)-Science? Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-Popular&Elementary-Pre-Calculus? Substores-UnknownASINs-jp-unknown1? Experiments in Dc/Ac Circuits With Concepts Delmar Pub? Tim Baker? DelmarPub? TimBaker? ユーズドブック(洋書)-Business&Investing? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Reference? ユーズドブック(洋書)-Science? Subjects-Business&Investing-Careers-VocationalGuidance? Subjects-Computers&Internet-ComputerScience-Circuitry-CircuitComponents? Subjects-Engineering-Electrical&Electronics-Circuits? Subjects-Engineering-Electrical&Electronics-General? Subjects-Nonfiction-Education-Counseling-VocationalGuidance? 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Computer Methods And Experimental Measurements For Surface Effects And Contact Mechanics (Transactions on Engineering Sciences) Wit Pr/Computational Mechanics? C. A. Brebbia? S-I Nishida? J. T. M. De Hosson? WitPr/ComputationalMechanics? C.A.Brebbia? S-INishida? J.T.M.DeHosson? ジャンル別? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Engineering Subjects-Computers&Internet-General? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-Technology-Nanotechnology? River Basin Management III (Progress in Water Resources) Wit Pr/Computational Mechanics? C. A. Brebbia? J. S. Antunes de Carmo? WitPr/ComputationalMechanics? C.A.Brebbia? J.S.AntunesdeCarmo? ジャンル別? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Outdoors&Nature Subjects-Engineering-General? Subjects-Outdoors&Nature-NaturalResources-General? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-Irrigation? 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需要什么东西 你们不在日本学习日语，看日本的电视剧，电影。 你们要什么东西啊？ 比如说你们看过「蝉（せみ）」吗？ 在这里，请你们写要什么东西m(_ _)m ひさしぶりですね、かわいいももです。 -- かわいいもも (2006-05-16 11 32 36) ひとつ、お聞きしたいんですが、中国語での[八分袖、九分裤 -- かわいいもも (2006-05-16 11 34 32) ひとつ、お聞きしたいんですが、中国語での「八分袖、九分裤」は日本語で、どういいますか。「八分袖、九分裤」は袖の長さは 普通の袖の八分ぐらい、「九分裤」はズボンの足の長さは普通の九分ぐらいで、今の春や、秋の季節の体を涼しくするための服です。その服は中国でははやっている。言い方を教えてください！ -- かわいいもも (2006-05-16 11 39 08) 自分のコメントをもう一度編集できないようですね。 -- かわいいもも (2006-05-16 11 41 54) 八分袖は日本語でも八分袖（はちぶそで）といいます。また、九分裤は九部丈（きゅうぶたけ、くぶたけ）といいます。 -- 信太郎 (2006-05-18 22 22 07) 助かりました。どうもありがとうございました。：） -- かわいいもも (2006-05-19 10 01 41) 信太郎好，我想要一份标准的五十音，我的小册子上的有好几处错误 -- 长谷川拓海 (2006-05-30 19 28 26) 嗯，好的。我教你！ -- 信太郎 (2006-05-31 16 36 24) 在日本刷盘子的一月能赚上7000～8000RMB，我不信，看了一个网友说的资料，在日本刷盘子，一小时给650～700日元。折合RMB45～50.信太郎能告诉我具体情况吗 -- 长谷川拓海 (2006-06-01 18 01 35) 次ぎの言葉はどこが変なものがないですか。「再び～さんと出会うチャンスをいただいたのは縁というかなと思って、今度は．．．（注：女性語）ありがとうございます。」 -- かわいいもも (2006-06-02 13 58 21) つまり、中国語では、よく「 真是缘分阿」と言います。にほんごでは、どういいますか。また、「～かなと思います。」の「～かな」の後ろに「～と思う」が続くと自然ですか。最後に、「かな」は女性が使えますか。以上。ほんとにどうもありがとうございます。 -- かわいいもも (2006-06-02 14 02 39) 在日本打工一个小时1000日元左右吧~这是东京那里的物价~ -- 信太郎 (2006-06-04 18 34 22) 「～かな」は女性も使えますよ☆真是缘分阿は「縁（えん）」もしくは「運命（うんめい）」って言います！「～かなと思います」は自然ですよ☆ -- 信太郎 (2006-06-04 18 37 24) 信太郎真是好人。谢谢。 好人好梦哦。 -- かわいいもも (2006-06-05 16 54 19) 我不是好人啊~我是坏人 p -- 信太郎 (2006-06-06 16 23 52) また、お邪魔しますが、「しばらくですね」はよく言いますか？私の印象的に中国語の「好久不見」は「ご無沙汰しました」或いは「お久しぶりですね」の方がもっと普通なのですが、いったい、どっちのほうがよく使われてるのでしょうか。 -- かわいいもも (2006-06-13 22 15 15) 「しばらくですね」よりも「久しぶり」の方が使いますよ☆ -- 信太郎 (2006-06-16 13 43 58) ありがとうございます。 -- かわいいもも (2006-06-21 22 25 40) お久しぶりですね、お元気ですか。夏が来たね、虫も多くなってきたね。じゃ、虫にかまれた場合は、赤くなって腫れ、かゆくなるところは日本語でなんといいますか中国語では「被虫子咬了一个包」の「一个包」と言いますけど。 -- かわいいもも (2006-07-18 00 02 52) 元気です☆かゆくなるところ・・・。「虫刺され」って言います。虫にかまれた所とかｗ他には特別な言い方はないですよ☆ -- 信太郎 (2006-07-20 21 03 34) 虫刺されのほかに、つまり、虫指されたら、「こぶができた」とも言えるでしょうね？ -- かわいいもも (2006-07-22 22 30 44) こぶは、打たれてできたものだよ～ -- 信太郎 (2006-07-25 10 26 59) あっ、そうか、やっぱり、中国語の”包”は虫とか、蚊とか指されて残ったものにしても、人に打たれてできたものにしても、使えます。おもしろいですね。わかりました。ありがとうございました。 -- かわいいもも (2006-07-25 18 47 12) バイクは英語の意味のBIKEでないね、モーターバイクはバイクの省略ですか。自転車にエンジンがついているものは何と言いますか。 -- また、新しい質問 (2006-07-31 23 33 36) 自転車にエンジンがついてるもの・・・バイク☆だと思います！ -- 信太郎 (2006-08-05 12 20 43) Hi, my friend! 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SET LIST from Hungary (English ver) English page Japanese 10 songs , Hungarian 10 songs , Taiwanese 10 songs 日本語ページ 日本の10曲リスト , ハンガリーの10曲リスト , 台湾の10曲リスト V Moto-Rock - Varj mig fel kel majd a nap (5 00) Varga Miklos - Europe (4 57) Omega - Petroleumlampa (3 13) LGT - Ugye mi jo baratok vagyunk (3 18) Máté Péter - There are the friends, because... (3 42) Cserhati Zsuzsa - Akad amit nem gyógyít meg az idõ sem (3 56) Edda - A kőr (A Ring) (4 54) KFT - Balatoni nyar (Summer of Balatoni Lake) (4 33) Republic - Kek es narancssarga (Blue Orange) (6 04) Piramis - Ajandek (Gift) (3 01) 1. V Moto-Rock - Varj mig fel kel majd a nap (5 00) hanocha4870.jpg V-Moto-Rock was founded in 1977. and the band existed till 1989. Their first album was not very succesful, but later they became really popular, due to the unique voice of the lead singer, and the perfect instrumental skills of the members. Maybe this was their greatest hit. The singer made a respectful solo career after the band had broke up. Várj míg felkel majd a Nap (Wait til the Sun rises up) The message of the song is, that if you are lonely or you are confused, you should trust in a happy future, and go on, because like the sun rises up after every dark night, your next day could be better, and you should not lose hope. 2. Varga Miklos - Europe（Európa） (4 57) hanocha4840.jpg Varga Miklós was borned in 1956 and started to sing in 1975, and he made a great career. He sang in several bands, and performed on stage in many rock-operas during the 80s, 90s and in the new century. He is an excellent componist, too, he scored five movies, four of them is about hungarian history. He is very patriotic, and takes part in history-related peformances. Európa (Europe) In the song, the artist sings about Europe, like "she s the mother of all european people". He sings about his love and patriotism for the old continent, "who" cares about the children, even if they fight bloody wars, and kill each-other. 3. Omega - Petroleumlampa (3 13) hanocha4841.jpg Omega is one of the most known and beloved groups in Hungary. The group was founded in 1962., but they were on the top in the 70s. First they played famous songs from forein artists, but later they could perform their own style, which made them one of the best beat-hardrock group in hungary. Omega was well known in Europe, and they are together in the recent days, and sometimes make live performances nowadays, too. Their songs are usually romantic and very mystical as well as surrealistic. Petróleumlámpa (Paraffine lamp) A simple, old lamp can be a witness of the history of a hundred years, and can stand proudly and bright among lies, just like a noble man. 4. LGT - Ugye mi jo baratok vagyunk (3 18) hanocha4842.jpg LGT was founded in 1971. by well known artists. They made a great affection on hungarian rock music, and earn a popularity in many countries across the world (they have even performed in Tokio, two times). They have concerts in the recent years, too. Ugye mi jóbarátok vagyunk (We are good friends, aren t we?) The song is about the devotion and treachery in a friendship. If someone gives everything, even if she/he doesn t get back anything, that s the real friendship. 5. Máté Péter - There are the friends, because... （Azért vannak a jóbarátok） (3 42) hanocha4843.jpg Máté Péter was a very popular and famous singer in the 60s 70s and 80s. He was a talented musician either, so he wrote his own songs, and they made him a well known artist in foreign countries across Europe. Besides many albums, he composed music to drama and orchestrated a musical. He was died in 1984. He was only 37 years old. In (maybe his best song, which became a hit in the whole world) Elmegyek (I m fading), he foretold his own death, which is a mistery since then.Most hungarian people agree in the fact, that he was the best hungarian singer ever. Azért vannak a jóbarátok (There are the friends, because...) This song is about the importance of friends. The refrain says, that the friends, who make you remember to the happy days of your youth, when you live your old years. You cannot change your mistakes, or stop the flow of the time, but you don t have to worry, if you have friends, who make you happy. 6. Cserhati Zsuzsa - Akad amit nem gyógyít meg az idõ sem (3 56) hanocha4844.jpg Cserháti ZSuzsa was famous and beloved from the early 70s till 2003., when she s gone. She made more than a dozen of albums, and had many-many performances, in Hungary and abroad, too. She was the lead singer of the hungarian Moulin Rogue. Akad amit nem gyógyít meg az idõ sem (Even the time won t heal everything) When good things pass by, and you become lonely, and sad, maybe time can t heal your sadness. But it s treating every day, and you ll be fine, maybe sooner than you d think. 7. Edda - A kőr (A Ring) (4 54) hanocha4845.jpg The hard-rock music group Edda started to play in the 70s, and they were very popular in the next two decades. Nowadays the singer of the group sings as solo in a different music style. A kör (The ring) Despite the title, it is not scary. It s about one s friends and enemies, who stand around him. The refrain says that if he left the ring, as the enemies wanted, they would miss him like the friends. So don t give up even if a lot of people wants you to stop what you re doing and wants you to leave. 8. KFT - Balatoni nyar (Summer of Balatoni Lake) (4 33) hanocha4846.jpg KFT was founded in 1981., they were the most determining new-wave group in the 80s and the 90s, and they are on stage in the recent days, too. Their songs are mostly happy and humorous, and sometimes a little crazy. They commonly use theatre-like features or new technologies in their concerts, for example vocal feature through the internet. Their music was broadcasted into the space with some messages to aliens. Balatoni nyár (Summer at Lake Balaton 1986.) The song is about a summer at lake Balaton in Hungary. It s about a typical case, when a girl and a boy meet during a holyday, and have fun, and the boy doesn t tell that he has someone else. But the days with the girl will be an eternal reminescense for him. 9. Republic - Kek es narancssarga (Blue Orange) (6 04) hanocha4848.jpg The band Republic was founded in 1990, after the new state of government had been declared in 1989. It was Republic,too. Their music is a mixture of punk, hard-rock and beat, and sometimes a little bit of folk sounds. Kék és narancssárga (Blue and orange) There s a point in every life, when everything becomes unimportant, when noone can hurt you anymore, when you can lose everything you love. Maybe...it is...death? 10. Piramis - Ajandek (Gift) (3 01) hanocha4849.jpg Piramis was founded in 1975 for the inspiration of Black Sabbath, and until the break-up in the early 80s, it was one of the most popular hard-rock bands. They made a comeback in 1992, and held an almost a week long live performance. Ajándék (Gift) In the late 70s, when this song was borned, it was sung by a nation s rebellious youngs, who wanted only to live free, and can say anything freely, without restrictions. It was a hymn of peace and freedom.
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