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CHAPTER IX UP CHAPTER XI CHAPTER X Anne s Apology Marilla said nothing to Matthew about the affair that evening; but when Anne proved still refractory the next morning an explanation had to be made to account for her absence from the breakfast table. Marilla told Matthew the whole story, taking pains to impress him with a due sense of the enormity of Anne s behavior. "It s a good thing Rachel Lynde got a calling down; she s a meddlesome old gossip," was Matthew s consolatory rejoinder. "Matthew Cuthbert, I m astonished at you. You know that Anne s behavior was dreadful, and yet you take her part! I suppose you ll be saying next thing that she oughtn t to be punished at all!" "Well now--no--not exactly," said Matthew uneasily. "I reckon she ought to be punished a little. But don t be too hard on her, Marilla. Recollect she hasn t ever had anyone to teach her right. You re--you re going to give her something to eat, aren t you?" "When did you ever hear of me starving people into good behavior?" demanded Marilla indignantly. "She ll have her meals regular, and I ll carry them up to her myself. But she ll stay up there until she s willing to apologize to Mrs. Lynde, and that s final, Matthew." Breakfast, dinner, and supper were very silent meals--for Anne still remained obdurate. After each meal Marilla carried a well-filled tray to the east gable and brought it down later on not noticeably depleted. Matthew eyed its last descent with a troubled eye. Had Anne eaten anything at all? When Marilla went out that evening to bring the cows from the back pasture, Matthew, who had been hanging about the barns and watching, slipped into the house with the air of a burglar and crept upstairs. As a general thing Matthew gravitated between the kitchen and the little bedroom off the hall where he slept; once in a while he ventured uncomfortably into the parlor or sitting room when the minister came to tea. But he had never been upstairs in his own house since the spring he helped Marilla paper the spare bedroom, and that was four years ago. He tiptoed along the hall and stood for several minutes outside the door of the east gable before he summoned courage to tap on it with his fingers and then open the door to peep in. Anne was sitting on the yellow chair by the window gazing mournfully out into the garden. Very small and unhappy she looked, and Matthew s heart smote him. He softly closed the door and tiptoed over to her. "Anne," he whispered, as if afraid of being overheard, "how are you making it, Anne?" Anne smiled wanly. "Pretty well. I imagine a good deal, and that helps to pass the time. Of course, it s rather lonesome. But then, I may as well get used to that." Anne smiled again, bravely facing the long years of solitary imprisonment before her. Matthew recollected that he must say what he had come to say without loss of time, lest Marilla return prematurely. "Well now, Anne, don t you think you d better do it and have it over with?" he whispered. "It ll have to be done sooner or later, you know, for Marilla s a dreadful deter- mined woman--dreadful determined, Anne. Do it right off, I say, and have it over." "Do you mean apologize to Mrs. Lynde?" "Yes--apologize--that s the very word," said Matthew eagerly. "Just smooth it over so to speak. That s what I was trying to get at." "I suppose I could do it to oblige you," said Anne thoughtfully. "It would be true enough to say I am sorry, because I AM sorry now. I wasn t a bit sorry last night. I was mad clear through, and I stayed mad all night. I know I did because I woke up three times and I was just furious every time. But this morning it was over. I wasn t in a temper anymore--and it left a dreadful sort of goneness, too. I felt so ashamed of myself. But I just couldn t think of going and telling Mrs. Lynde so. It would be so humiliating. I made up my mind I d stay shut up here forever rather than do that. But still--I d do anything for you--if you really want me to--" "Well now, of course I do. It s terrible lonesome downstairs without you. Just go and smooth things over-- that s a good girl." "Very well," said Anne resignedly. "I ll tell Marilla as soon as she comes in I ve repented." "That s right--that s right, Anne. But don t tell Marilla I said anything about it. She might think I was putting my oar in and I promised not to do that." "Wild horses won t drag the secret from me," promised Anne solemnly. "How would wild horses drag a secret from a person anyhow?" But Matthew was gone, scared at his own success. He fled hastily to the remotest corner of the horse pasture lest Marilla should suspect what he had been up to. Marilla herself, upon her return to the house, was agreeably surprised to hear a plaintive voice calling, "Marilla" over the banisters. "Well?" she said, going into the hall. "I m sorry I lost my temper and said rude things, and I m willing to go and tell Mrs. Lynde so." "Very well." Marilla s crispness gave no sign of her relief. She had been wondering what under the canopy she should do if Anne did not give in. "I ll take you down after milking." Accordingly, after milking, behold Marilla and Anne walking down the lane, the former erect and triumphant, the latter drooping and dejected. But halfway down Anne s dejection vanished as if by enchantment. She lifted her head and stepped lightly along, her eyes fixed on the sunset sky and an air of subdued exhilaration about her. Marilla beheld the change disapprovingly. This was no meek penitent such as it behooved her to take into the presence of the offended Mrs. Lynde. "What are you thinking of, Anne?" she asked sharply. "I m imagining out what I must say to Mrs. Lynde," answered Anne dreamily. This was satisfactory--or should have been so. But Marilla could not rid herself of the notion that something in her scheme of punishment was going askew. Anne had no business to look so rapt and radiant. Rapt and radiant Anne continued until they were in the very presence of Mrs. Lynde, who was sitting knitting by her kitchen window. Then the radiance vanished. Mournful penitence appeared on every feature. Before a word was spoken Anne suddenly went down on her knees before the astonished Mrs. Rachel and held out her hands beseechingly. "Oh, Mrs. Lynde, I am so extremely sorry," she said with a quiver in her voice. "I could never express all my sorrow, no, not if I used up a whole dictionary. You must just imagine it. I behaved terribly to you--and I ve disgraced the dear friends, Matthew and Marilla, who have let me stay at Green Gables although I m not a boy. I m a dreadfully wicked and ungrateful girl, and I deserve to be punished and cast out by respectable people forever. It was very wicked of me to fly into a temper because you told me the truth. It WAS the truth; every word you said was true. My hair is red and I m freckled and skinny and ugly. What I said to you was true, too, but I shouldn t have said it. Oh, Mrs. Lynde, please, please, forgive me. If you refuse it will be a lifelong sorrow on a poor little orphan girl, would you, even if she had a dreadful temper? Oh, I am sure you wouldn t. Please say you forgive me, Mrs. Lynde." Anne clasped her hands together, bowed her head, and waited for the word of judgment. There was no mistaking her sincerity--it breathed in every tone of her voice. Both Marilla and Mrs. Lynde recognized its unmistakable ring. But the former under- stood in dismay that Anne was actually enjoying her valley of humiliation--was reveling in the thoroughness of her abasement. Where was the wholesome punishment upon which she, Marilla, had plumed herself? Anne had turned it into a species of positive pleasure. Good Mrs. Lynde, not being overburdened with perception, did not see this. She only perceived that Anne had made a very thorough apology and all resentment vanished from her kindly, if somewhat officious, heart. "There, there, get up, child," she said heartily. "Of course I forgive you. I guess I was a little too hard on you, anyway. But I m such an outspoken person. You just mustn t mind me, that s what. It can t be denied your hair is terrible red; but I knew a girl once--went to school with her, in fact--whose hair was every mite as red as yours when she was young, but when she grew up it darkened to a real handsome auburn. I wouldn t be a mite surprised if yours did, too--not a mite." "Oh, Mrs. Lynde!" Anne drew a long breath as she rose to her feet. "You have given me a hope. I shall always feel that you are a benefactor. Oh, I could endure anything if I only thought my hair would be a handsome auburn when I grew up. It would be so much easier to be good if one s hair was a handsome auburn, don t you think? And now may I go out into your garden and sit on that bench under the apple-trees while you and Marilla are talking? There is so much more scope for imagination out there." "Laws, yes, run along, child. And you can pick a bouquet of them white June lilies over in the corner if you like." As the door closed behind Anne Mrs. Lynde got briskly up to light a lamp. "She s a real odd little thing. Take this chair, Marilla; it s easier than the one you ve got; I just keep that for the hired boy to sit on. Yes, she certainly is an odd child, but there is something kind of taking about her after all. I don t feel so surprised at you and Matthew keeping her as I did--nor so sorry for you, either. She may turn out all right. Of course, she has a queer way of expressing herself-- a little too--well, too kind of forcible, you know; but she ll likely get over that now that she s come to live among civilized folks. And then, her temper s pretty quick, I guess; but there s one comfort, a child that has a quick temper, just blaze up and cool down, ain t never likely to be sly or deceitful. Preserve me from a sly child, that s what. On the whole, Marilla, I kind of like her." When Marilla went home Anne came out of the fragrant twilight of the orchard with a sheaf of white narcissi in her hands. "I apologized pretty well, didn t I?" she said proudly as they went down the lane. "I thought since I had to do it I might as well do it thoroughly." "You did it thoroughly, all right enough," was Marilla s comment. Marilla was dismayed at finding herself inclined to laugh over the recollection. She had also an uneasy feeling that she ought to scold Anne for apologizing so well; but then, that was ridiculous! She compromised with her conscience by saying severely "I hope you won t have occasion to make many more such apologies. I hope you ll try to control your temper now, Anne." "That wouldn t be so hard if people wouldn t twit me about my looks," said Anne with a sigh. "I don t get cross about other things; but I m SO tired of being twitted about my hair and it just makes me boil right over. Do you suppose my hair will really be a handsome auburn when I grow up?" "You shouldn t think so much about your looks, Anne. I m afraid you are a very vain little girl." "How can I be vain when I know I m homely?" protested Anne. "I love pretty things; and I hate to look in the glass and see something that isn t pretty. It makes me feel so sorrowful--just as I feel when I look at any ugly thing. I pity it because it isn t beautiful." "Handsome is as handsome does," quoted Marilla. "I ve had that said to me before, but I have my doubts about it," remarked skeptical Anne, sniffing at her narcissi. "Oh, aren t these flowers sweet! It was lovely of Mrs. Lynde to give them to me. I have no hard feelings against Mrs. Lynde now. It gives you a lovely, comfortable feeling to apologize and be forgiven, doesn t it? Aren t the stars bright tonight? If you could live in a star, which one would you pick? I d like that lovely clear big one away over there above that dark hill." "Anne, do hold your tongue." said Marilla, thoroughly worn out trying to follow the gyrations of Anne s thoughts. Anne said no more until they turned into their own lane. A little gypsy wind came down it to meet them, laden with the spicy perfume of young dew-wet ferns. Far up in the shadows a cheerful light gleamed out through the trees from the kitchen at Green Gables. Anne suddenly came close to Marilla and slipped her hand into the older woman s hard palm. "It s lovely to be going home and know it s home," she said. "I love Green Gables already, and I never loved any place before. No place ever seemed like home. Oh, Marilla, I m so happy. I could pray right now and not find it a bit hard." Something warm and pleasant welled up in Marilla s heart at touch of that thin little hand in her own--a throb of the maternity she had missed, perhaps. Its very unaccustomedness and sweetness disturbed her. She hastened to restore her sensations to their normal calm by inculcating a moral. "If you ll be a good girl you ll always be happy, Anne. And you should never find it hard to say your prayers." "Saying one s prayers isn t exactly the same thing as praying," said Anne meditatively. "But I m going to imagine that I m the wind that is blowing up there in those tree tops. When I get tired of the trees I ll imagine I m gently waving down here in the ferns--and then I ll fly over to Mrs. Lynde s garden and set the flowers dancing--and then I ll go with one great swoop over the clover field--and then I ll blow over the Lake of Shining Waters and ripple it all up into little sparkling waves. Oh, there s so much scope for imagination in a wind! So I ll not talk any more just now, Marilla." "Thanks be to goodness for that," breathed Marilla in devout relief. CHAPTER IX UP CHAPTER XI 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 29 12 (Tue)
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In dem breiten Fenster erscheint Klytämnestra. Ihr fahles, gedunsenes Gesicht, in dem grellen Licht der Fackeln, erscheint noch bleicher über dem scharlachroten Gewand. Sie stützt sich auf eine Vertraute, die dunkelviolett gekleidet ist, und auf einen elfenbeinernen, mit Edelsteinen geschmückten Stab. Eine gelbe Gestalt, mit zurückgekämmtem schwarzem Haar, einer Egypterin ähnlich, mit glattem Gesicht einer aufgerichteten Schlange gleichend, trägt ihr die Schleppe. Die Königin ist über und über bedeckt mit Edelsteinen und Talismanen, die Arme sind voll von Reifen, ihre Finger starren von Ringen. Die Lider ihrer Augen scheinen übermässig gross und es scheint ihr eine furchtbare Anstrengung zu kosten, sie offen zu halten. Elektra richtet sich hoch auf. Klytämnestra öffnet jäh die Augen, zitternd vor Zorn tritt sie ans Fenster und zeigt mit dem Stock auf Elektra KLYTÄMNESTRA Was willst du? Seht doch, dort! so seht doch das! Wie es sich aufbäumt mit geblähtem Hals und nach mir züngelt! und das lass ich frei in meinem Hause laufen! Wenn sie mich mit ihren Blicken töten könnte! O Götter, warum liegt ihr so auf mir? Warum verwüstet ihr mich so? warum muss meine Kraft in mir gelähmt sein, warum bin ich lebendigen Leibes wie ein wüstes Gefild und diese Nessel wächst aus mir heraus, und ich hab nicht die Kraft zu jäten! Warum geschieht mir das, ihr ew gen Götter? ELEKTRA Die Götter! bist doch selber eine Göttin! bist, was sie sind. KLYTÄMNESTRA Habt ihr gehört? habt ihr verstanden, was sie redet? DIE VERTRAUTE Dass auch du vom Stamm der Götter bist. DIE SCHLEPPENTRÄGERIN zischend Sie meint es tückisch. KLYTÄMNESTRA Klytämnestras schwere Augenlider fallen zu Das klingt mir so bekannt. Und nur als hätt ich s vergessen, lang und lang. Sie kennt mich gut. Doch weiss man nie, was sie im Schilde führt. Die Vertraute und die Schleppträgerin flüstern miteinander ELEKTRA nähert sich langsam Klytämnestra Du bist nicht mehr du selber. Das Gewürm hängt immerfort um dich. Was sie ins Ohr dir zischen, trennt dein Denken fort und fort entzwei, so gehst du hin im Taumel, immer bist du als wie im Traum. KLYTÄMNESTRA Ich will hinunter. Lasst, lasst, ich will mit ihr reden. Sie geht vom Fenster weg und erscheint mit ihren Begleiterinnen in der Türe von der Türschwelle aus Sie ist heute nicht widerlich. Sie redet wie ein Arzt. DIE VERTRAUTE Sie redet nicht, wie sie s meint. DIE SCHLEPPENTRÄGERIN Ein jedes Wort ist Falschheit. KLYTÄMNESTRA auffahrend Ich will nichts hören. Was aus euch herauskommt, ist nur der Atem des Aegisth. Und wenn ich nachts euch wekke, redet ihr nicht jede etwas andres? Schreist nicht du, dass meine Augenlider angeschwollen und meine Leber krank ist, und winselst nicht du ins andre Ohr, dass du Dämonen gesehen hast mit langen spitzen Schnäbeln, die mir das Blut aussagen? zeigst du nicht die Spuren mir an meinem Fleisch, und folg ich dir nicht und schlachte, schlachte, schlachte Opfer um Opfer? Zerrt ihr mich mit euren Reden und Gegenreden nicht zu Tod? Ich will nicht mehr hören das ist wahr und das ist Lüge. Was die Wahrheit ist, das bringt kein Mensch heraus. Wenn sie zu mir redet, was mich zu hören freut, so will ich horchen, auf was sie redet. Wenn einer etwas Angenehmes sagt, und wär es meine Tochter, wär es die da, will ich von meiner Seele alle Hüllen abstreifen und das Fächeln sanfter Luft, von wo es kommen mag, einlassen, wie die Kranken tun, wenn sie der kühlen Luft, am Teiche sitzend, abends ihre Beulen und all ihr Eiterndes der kühlen Luft preisgeben abends, und nichts andres denken, als Linderung zu schaffen. Lasst mich allein mit ihr. Ungeduldig weist sie mit dem Stock die Vertraute und die Schleppträgerin ins Haus. Diese verschwinden zögernd in der Tür. Auch die Fackeln verschwinden und nur aus dem Innern des Hauses fällt ein schwacher Schein durch den Flur auf den Hof und streift hie und da die Gestalten der beiden Frauen Klytämnestra kommt herab KLYTÄMNESTRA Ich habe keine guten Nächte. Weisst du kein Mittel gegen Träume? ELEKTRA näher rückend Träumst du, Mutter? KLYTÄMNESTRA Wer älter wird, der träumt. Allein es lässt sich vertreiben. Es gibt Bräuche. Es muss für alles richtige Bräuche geben. Darum bin ich so behängt mit Steinen. Denn es wohnt in jedem ganz sicher eine Kraft. Man muss nur wissen, wie man sie nützen kann. Wenn du nur wolltest, du könntest etwas sagen, das mir nützt. ELEKTRA Ich, Mutter, ich? KLYTÄMNESTRA Ja, du! denn du bist klug. In deinem Kopf ist alles stark. Du könntest vieles sagen, was mir nützt. Wenn auch ein Wort nichts weiter ist! Was ist denn ein Hauch! und doch kriecht zwischen Tag und Nacht, wenn ich mit offnen Augen lieg , ein Etwas hin über mich, es ist kein Wort, es ist kein Schmerz, es drückt mich nicht, es würgt mich nicht, nichts ist es, nicht einmal ein Alp, und dennoch es ist so fürchterlich, dass meine Seele sich wünscht, erhängt zu sein, und jedes Glied in mir schreit nach dem Tod, und dabei leb ich und bin nicht einmal krank; du siehst mich doch seh ich wie eine Kranke? Kann man denn vergehn, lebend, wie ein faules Aas? kann man zerfallen, wenn man garnicht krank ist? zerfallen wachen Sinnes, wie ein Kleid, zerfressen von den Motten? Und dann schlaf ich und träume, träume! dass sich mir das Mark in den Knochen löst, und taumle wieder auf, und nicht der zehnte Teil der Wasseruhr ist abgelaufen, und was unter m Vorhang hereingrinst, ist noch nicht der fahle Morgen, nein, immer noch die Fackel vor der Tür, die grässlich zuckt wie ein Lebendiges und meinen Schlaf belauert. Diese Träume müssen ein Ende haben. Wer sie immer schickt ein jeder Dämon lässt von uns, sobald das rechte Blut geflossen ist. ELEKTRA Ein jeder! KLYTÄMNESTRA Und müsst ich jedes Tier, das kriecht und fliegt, zur Ader lassen und im Dampf des Blutes aufsteh n und schlafen gehn wie die Völker des letzten Thule in blutroten Nebel ich will nicht länger träumen. ELEKTRA Wenn das rechte Blutopfer unter m Beile fällt, dann träumst du nicht länger. KLYTÄMNESTRA Also wüsstest du, mit welchem geweihten Tier -- ELEKTRA Mit einem ungeweihten! KLYTÄMNESTRA Das drin gebunden liegt? ELEKTRA Nein! es läuft frei. KLYTÄMNESTRA Und was für Bräuche? ELEKTRA Wunderbare Bräuche, und sehr genau zu üben. KLYTÄMNESTRA Rede doch! ELEKTRA Kannst du mich nicht erraten? KLYTÄMNESTRA Nein, darum frag ich. Den Namen sag des Opfertiers. ELEKTRA Ein Weib. KLYTÄMNESTRA hastig Von meinen Dienerinnen eine sag! ein Kind? ein jungfäuliches Weib? ein Weib, das schon erkannt vom Manne? ELEKTRA Ja! erkannt! das ist s! KLYTÄMNESTRA Und wie das Opfer? und welche Stunde, und wo? ELEKTRA An jedem Ort, zu jeder Stunde des Tags und der Nacht. KLYTÄMNESTRA Die Bräuche sag! Wie brächt ich s dar? ich selber muss -- ELEKTRA Nein. Diesmal gehst du nicht auf die Jagd mit Netz und mit Beil. KLYTÄMNESTRA Wer denn? wer brächt es dar? ELEKTRA Ein Mann. KLYTÄMNESTRA Aegisth? ELEKTRA lacht Ich sagte doch ein Mann! KLYTÄMNESTRA Wer? gib mir Antwort. Vom Hause jemand? oder muss ein Fremder herbei? ELEKTRA zu Boden stierend, wie abwesend Ja, ja, ein Fremder. Aber freilich ist er vom Haus. KLYTÄMNESTRA Gib mir nicht Rätsel auf. Elektra, hör mich an. Ich freue mich, dass ich dich heut einmal nicht störrisch finde. ELEKTRA Lässt du den Bruder nicht nach Hause, Mutter? KLYTÄMNESTRA Von ihm zu reden hab ich dir verboten. ELEKTRA So hast du Furcht vor ihm? KLYTÄMNESTRA Wer sagt das? ELEKTRA Mutter, du zitterst ja! KLYTÄMNESTRA Wer fürchtet sich vor einem Schwachsinnigen. ELEKTRA Wie? KLYTÄMNESTRA Es heisst, er stammelt, liegt im Hofe bei den Hunden und weiss nicht Mensch und Tier zu unterscheiden. ELEKTRA Das Kind war ganz gesund. KLYTÄMNESTRA Es heisst, sie gaben ihm schlechte Wohnung und Tiere des Hofes zur Gesellschaft. ELEKTRA Ah! KLYTÄMNESTRA mit gesenkten Augenlidern Ich schickte viel Gold und wieder Gold, sie sollten ihn gut halten als ein Königskind. ELEKTRA Du lügst! Du schicktest Gold, damit sie ihn erwürgen. KLYTÄMNESTRA Wer sagt dir das? ELEKTRA Ich seh s an deinen Augen. Allein an deinem Zittern seh ich auch, dass er noch lebt. Dass du bei Tag und Nacht an nichts denkst als an ihn. Dass dir das Herz verdorrt vor Grauen, weil du weisst er kommt. KLYTÄMNESTRA Was kümmert mich, wer ausser Haus ist. Ich lebe hier und bin die Herrin. Diener hab ich genug, die Tore zu bewachen, und wenn ich will, lass ich bei Tag und Nacht vor meiner Kammer drei Bewaffnete mit offenen Augen sitzen. Und aus dir bring ich so oder so das rechte Wort schon an den Tag. Du hast dich schon verraten, dass du das rechte Opfer weisst und auch die Bräuche, die mir nützen. Sagst du s nicht im Freien, wirst du s an der Kette sagen. Sagst du nicht satt, so sagst du s hungernd. Träume sind etwas, das man los wird. Wer dran leidet und nicht das Mittel findet, sich zu heilen, ist nur ein Narr. Ich finde mir heraus, wer bluten muss, damit ich wieder schlafe. ELEKTRA mit einem Sprung aus dem Dunkel auf sie zu, immer näheran ihr, immer furchtbarer anwachsend Was bluten muss? Dein eigenes Genick, wenn dich der Jäger abgefangen hat! Ich hör ihn durch die Zimmer gehn, ich hör ihn den Vorhang von dem Bette heben Wer schlachtet ein Opfertier im Schlaf! Er jagt dich auf, schreiend entfliehst du. Aber er, er ist hinterdrein, er treibt dich durch das Haus! willst du nach rechts, da steht das Bett! nach links, da schäumt das Bad wie Blut! das Dunkel und die Fakkeln werfen schwarzrote Todesnetze über dich -- KLYTÄMNESTRA von sprachlosem Grauen geschüttelt Hinab die Treppen durch Gewölbe hin, Gewölbe und Gewölbe geht die Jagd Und ich, ich, ich, ich, ich, die ihn dir geschickt, ich bin wie ein Hund an deiner Ferse, willst du in eine Höhle, spring ich dich von seitwärts an. So treiben wir dich fort, bis eine Mauer Alles sperrt, und dort -- im tiefsten Dunkel, doch ich seh ihn wohl, ein Schatten, und doch Glieder und das Weisse von einem Auge doch, da sitzt der Vater, er achtet s nicht, und doch muss es geschehn, zu seinen Füssen drücken wir dich hin. Du möchtest schreien, doch die Luft erwürgt den ungebornen Schrei und lässt ihn lautlos zu Boden fallen, wie von Sinnen hälst du den Nacken hin, fühlst schon die Schärfe zukken bis an den Sitz des Lebens, doch er hält den Schlag zurück die Bräuche sind noch nicht erfüllt. alles schweigt, du hörst dein eignes Herz an deinen Rippen schlagen diese Zeit -- sie dehnt sich vor dir wie ein finstrer Schlund von Jahren -- diese Zeit ist dir gegeben zu ahnen, wie es Scheiternden zu Mute ist, wenn ihr vergebliches Geschrei die Schwärze der Wolken und des Tods zerfrisst, diese Zeit ist dir gegeben, alle zu beneiden, die angeschmiedet sind an Kerkermauern, die auf dem Grund von Brunnen nach dem Tod als wie nach Erlösung schrei n -- denn du, du liegst in deinem Selbst so eingekerkert, als wär s der glühnde Bauch von einem Tier von Erz -- und so wie jetzt kannst du nicht schrein! da steh ich vor dir, und nun liest du mit starrem Aug das ungeheure Wort, das mir in mein Gesicht geschrieben ist erhängt ist dir die Seele in der selbst- gedrehten Schlinge, sausend fällt das Beil, und ich steh da und seh dich endlich sterben! Dann träumst du nicht mehr, dann brauche ich nicht mehr zu träumen, und wer dann noch lebt, der jauchzt und kann sich seines Lebens freun! Sie stehn einander, Elektra in wilder Trunkenheit, Klytämnestra grässlich atmend vor Angst, Aug in Aug . In diesen Augenblick erhellt sich die Hausflur. die Vertraute kommt hergelaufen. Sie flüstert Klytämnestra etwas ins Ohr. Diese scheint erst nicht recht zu verstehen. Allmählich kommt sie zu sich. Sie winkt Lichter! Es laufen Dienerinnen mit Fackeln heraus, und stellen sich hinter Klytämnestra. Sie winkt Mehr Lichter! Nun verändern sich ihre Züge allmählich und die Spannung weicht einem bösen Triumph. Es kommen immer mehr Dienerinnen heraus, stelle sich hinter Klytämnestra, so dass der Hof voll von Licht wird undrotgelber Schein um die Mauern flutet. Klytämnestra lässt sich die Botschaft abermals zuflüstern und verliert dabei Elektra keinen Augenblick aus dem Auge. Ganz bis an den Hals sich sättigend mitwilder Freude, streckt Klytämnestra die beiden Hände drohend gegen Elektra. Dann hebt ihr die Vertraute den Stock auf und, auf beide sich stützend, eilig, gierig, an den Stufen ihr Gewand aufraffend, läuft sie ins Haus. Die Dienerinnen mit den Lichtern,wie gejagt, hinter ihr drein ELEKTRA Was sagen sie ihr denn? sie freut sich ja! Mein Kopf! Mir fällt nichts ein. Worüber freut sich das Weib? In dem breiten Fenster erscheint Klytämnestra. Ihr fahles, gedunsenes Gesicht, in dem grellen Licht der Fackeln, erscheint noch bleicher über dem scharlachroten Gewand. Sie stützt sich auf eine Vertraute, die dunkelviolett gekleidet ist, und auf einen elfenbeinernen, mit Edelsteinen geschmückten Stab. Eine gelbe Gestalt, mit zurückgekämmtem schwarzem Haar, einer Egypterin ähnlich, mit glattem Gesicht einer aufgerichteten Schlange gleichend, trägt ihr die Schleppe. Die Königin ist über und über bedeckt mit Edelsteinen und Talismanen, die Arme sind voll von Reifen, ihre Finger starren von Ringen. Die Lider ihrer Augen scheinen übermässig gross und es scheint ihr eine furchtbare Anstrengung zu kosten, sie offen zu halten. Elektra richtet sich hoch auf. Klytämnestra öffnet jäh die Augen, zitternd vor Zorn tritt sie ans Fenster und zeigt mit dem Stock auf Elektra KLYTÄMNESTRA Was willst du? Seht doch, dort! so seht doch das! Wie es sich aufbäumt mit geblähtem Hals und nach mir züngelt! und das lass ich frei in meinem Hause laufen! Wenn sie mich mit ihren Blicken töten könnte! O Götter, warum liegt ihr so auf mir? Warum verwüstet ihr mich so? warum muss meine Kraft in mir gelähmt sein, warum bin ich lebendigen Leibes wie ein wüstes Gefild und diese Nessel wächst aus mir heraus, und ich hab nicht die Kraft zu jäten! Warum geschieht mir das, ihr ew gen Götter? ELEKTRA Die Götter! bist doch selber eine Göttin! bist, was sie sind. KLYTÄMNESTRA Habt ihr gehört? habt ihr verstanden, was sie redet? DIE VERTRAUTE Dass auch du vom Stamm der Götter bist. DIE SCHLEPPENTRÄGERIN zischend Sie meint es tückisch. KLYTÄMNESTRA Klytämnestras schwere Augenlider fallen zu Das klingt mir so bekannt. Und nur als hätt ich s vergessen, lang und lang. Sie kennt mich gut. Doch weiss man nie, was sie im Schilde führt. Die Vertraute und die Schleppträgerin flüstern miteinander ELEKTRA nähert sich langsam Klytämnestra Du bist nicht mehr du selber. Das Gewürm hängt immerfort um dich. Was sie ins Ohr dir zischen, trennt dein Denken fort und fort entzwei, so gehst du hin im Taumel, immer bist du als wie im Traum. KLYTÄMNESTRA Ich will hinunter. Lasst, lasst, ich will mit ihr reden. Sie geht vom Fenster weg und erscheint mit ihren Begleiterinnen in der Türe von der Türschwelle aus Sie ist heute nicht widerlich. Sie redet wie ein Arzt. DIE VERTRAUTE Sie redet nicht, wie sie s meint. DIE SCHLEPPENTRÄGERIN Ein jedes Wort ist Falschheit. KLYTÄMNESTRA auffahrend Ich will nichts hören. Was aus euch herauskommt, ist nur der Atem des Aegisth. Und wenn ich nachts euch wekke, redet ihr nicht jede etwas andres? Schreist nicht du, dass meine Augenlider angeschwollen und meine Leber krank ist, und winselst nicht du ins andre Ohr, dass du Dämonen gesehen hast mit langen spitzen Schnäbeln, die mir das Blut aussagen? zeigst du nicht die Spuren mir an meinem Fleisch, und folg ich dir nicht und schlachte, schlachte, schlachte Opfer um Opfer? Zerrt ihr mich mit euren Reden und Gegenreden nicht zu Tod? Ich will nicht mehr hören das ist wahr und das ist Lüge. Was die Wahrheit ist, das bringt kein Mensch heraus. Wenn sie zu mir redet, was mich zu hören freut, so will ich horchen, auf was sie redet. Wenn einer etwas Angenehmes sagt, und wär es meine Tochter, wär es die da, will ich von meiner Seele alle Hüllen abstreifen und das Fächeln sanfter Luft, von wo es kommen mag, einlassen, wie die Kranken tun, wenn sie der kühlen Luft, am Teiche sitzend, abends ihre Beulen und all ihr Eiterndes der kühlen Luft preisgeben abends, und nichts andres denken, als Linderung zu schaffen. Lasst mich allein mit ihr. Ungeduldig weist sie mit dem Stock die Vertraute und die Schleppträgerin ins Haus. Diese verschwinden zögernd in der Tür. Auch die Fackeln verschwinden und nur aus dem Innern des Hauses fällt ein schwacher Schein durch den Flur auf den Hof und streift hie und da die Gestalten der beiden Frauen Klytämnestra kommt herab KLYTÄMNESTRA Ich habe keine guten Nächte. Weisst du kein Mittel gegen Träume? ELEKTRA näher rückend Träumst du, Mutter? KLYTÄMNESTRA Wer älter wird, der träumt. Allein es lässt sich vertreiben. Es gibt Bräuche. Es muss für alles richtige Bräuche geben. Darum bin ich so behängt mit Steinen. Denn es wohnt in jedem ganz sicher eine Kraft. Man muss nur wissen, wie man sie nützen kann. Wenn du nur wolltest, du könntest etwas sagen, das mir nützt. ELEKTRA Ich, Mutter, ich? KLYTÄMNESTRA Ja, du! denn du bist klug. In deinem Kopf ist alles stark. Du könntest vieles sagen, was mir nützt. Wenn auch ein Wort nichts weiter ist! Was ist denn ein Hauch! und doch kriecht zwischen Tag und Nacht, wenn ich mit offnen Augen lieg , ein Etwas hin über mich, es ist kein Wort, es ist kein Schmerz, es drückt mich nicht, es würgt mich nicht, nichts ist es, nicht einmal ein Alp, und dennoch es ist so fürchterlich, dass meine Seele sich wünscht, erhängt zu sein, und jedes Glied in mir schreit nach dem Tod, und dabei leb ich und bin nicht einmal krank; du siehst mich doch seh ich wie eine Kranke? Kann man denn vergehn, lebend, wie ein faules Aas? kann man zerfallen, wenn man garnicht krank ist? zerfallen wachen Sinnes, wie ein Kleid, zerfressen von den Motten? Und dann schlaf ich und träume, träume! dass sich mir das Mark in den Knochen löst, und taumle wieder auf, und nicht der zehnte Teil der Wasseruhr ist abgelaufen, und was unter m Vorhang hereingrinst, ist noch nicht der fahle Morgen, nein, immer noch die Fackel vor der Tür, die grässlich zuckt wie ein Lebendiges und meinen Schlaf belauert. Diese Träume müssen ein Ende haben. Wer sie immer schickt ein jeder Dämon lässt von uns, sobald das rechte Blut geflossen ist. ELEKTRA Ein jeder! KLYTÄMNESTRA Und müsst ich jedes Tier, das kriecht und fliegt, zur Ader lassen und im Dampf des Blutes aufsteh n und schlafen gehn wie die Völker des letzten Thule in blutroten Nebel ich will nicht länger träumen. ELEKTRA Wenn das rechte Blutopfer unter m Beile fällt, dann träumst du nicht länger. KLYTÄMNESTRA Also wüsstest du, mit welchem geweihten Tier -- ELEKTRA Mit einem ungeweihten! KLYTÄMNESTRA Das drin gebunden liegt? ELEKTRA Nein! es läuft frei. KLYTÄMNESTRA Und was für Bräuche? ELEKTRA Wunderbare Bräuche, und sehr genau zu üben. KLYTÄMNESTRA Rede doch! ELEKTRA Kannst du mich nicht erraten? KLYTÄMNESTRA Nein, darum frag ich. Den Namen sag des Opfertiers. ELEKTRA Ein Weib. KLYTÄMNESTRA hastig Von meinen Dienerinnen eine sag! ein Kind? ein jungfäuliches Weib? ein Weib, das schon erkannt vom Manne? ELEKTRA Ja! erkannt! das ist s! KLYTÄMNESTRA Und wie das Opfer? und welche Stunde, und wo? ELEKTRA An jedem Ort, zu jeder Stunde des Tags und der Nacht. KLYTÄMNESTRA Die Bräuche sag! Wie brächt ich s dar? ich selber muss -- ELEKTRA Nein. Diesmal gehst du nicht auf die Jagd mit Netz und mit Beil. KLYTÄMNESTRA Wer denn? wer brächt es dar? ELEKTRA Ein Mann. KLYTÄMNESTRA Aegisth? ELEKTRA lacht Ich sagte doch ein Mann! KLYTÄMNESTRA Wer? gib mir Antwort. Vom Hause jemand? oder muss ein Fremder herbei? ELEKTRA zu Boden stierend, wie abwesend Ja, ja, ein Fremder. Aber freilich ist er vom Haus. KLYTÄMNESTRA Gib mir nicht Rätsel auf. Elektra, hör mich an. Ich freue mich, dass ich dich heut einmal nicht störrisch finde. ELEKTRA Lässt du den Bruder nicht nach Hause, Mutter? KLYTÄMNESTRA Von ihm zu reden hab ich dir verboten. ELEKTRA So hast du Furcht vor ihm? KLYTÄMNESTRA Wer sagt das? ELEKTRA Mutter, du zitterst ja! KLYTÄMNESTRA Wer fürchtet sich vor einem Schwachsinnigen. ELEKTRA Wie? KLYTÄMNESTRA Es heisst, er stammelt, liegt im Hofe bei den Hunden und weiss nicht Mensch und Tier zu unterscheiden. ELEKTRA Das Kind war ganz gesund. KLYTÄMNESTRA Es heisst, sie gaben ihm schlechte Wohnung und Tiere des Hofes zur Gesellschaft. ELEKTRA Ah! KLYTÄMNESTRA mit gesenkten Augenlidern Ich schickte viel Gold und wieder Gold, sie sollten ihn gut halten als ein Königskind. ELEKTRA Du lügst! Du schicktest Gold, damit sie ihn erwürgen. KLYTÄMNESTRA Wer sagt dir das? ELEKTRA Ich seh s an deinen Augen. Allein an deinem Zittern seh ich auch, dass er noch lebt. Dass du bei Tag und Nacht an nichts denkst als an ihn. Dass dir das Herz verdorrt vor Grauen, weil du weisst er kommt. KLYTÄMNESTRA Was kümmert mich, wer ausser Haus ist. Ich lebe hier und bin die Herrin. Diener hab ich genug, die Tore zu bewachen, und wenn ich will, lass ich bei Tag und Nacht vor meiner Kammer drei Bewaffnete mit offenen Augen sitzen. Und aus dir bring ich so oder so das rechte Wort schon an den Tag. Du hast dich schon verraten, dass du das rechte Opfer weisst und auch die Bräuche, die mir nützen. Sagst du s nicht im Freien, wirst du s an der Kette sagen. Sagst du nicht satt, so sagst du s hungernd. Träume sind etwas, das man los wird. Wer dran leidet und nicht das Mittel findet, sich zu heilen, ist nur ein Narr. Ich finde mir heraus, wer bluten muss, damit ich wieder schlafe. ELEKTRA mit einem Sprung aus dem Dunkel auf sie zu, immer näheran ihr, immer furchtbarer anwachsend Was bluten muss? Dein eigenes Genick, wenn dich der Jäger abgefangen hat! Ich hör ihn durch die Zimmer gehn, ich hör ihn den Vorhang von dem Bette heben Wer schlachtet ein Opfertier im Schlaf! Er jagt dich auf, schreiend entfliehst du. Aber er, er ist hinterdrein, er treibt dich durch das Haus! willst du nach rechts, da steht das Bett! nach links, da schäumt das Bad wie Blut! das Dunkel und die Fakkeln werfen schwarzrote Todesnetze über dich -- KLYTÄMNESTRA von sprachlosem Grauen geschüttelt Hinab die Treppen durch Gewölbe hin, Gewölbe und Gewölbe geht die Jagd Und ich, ich, ich, ich, ich, die ihn dir geschickt, ich bin wie ein Hund an deiner Ferse, willst du in eine Höhle, spring ich dich von seitwärts an. So treiben wir dich fort, bis eine Mauer Alles sperrt, und dort -- im tiefsten Dunkel, doch ich seh ihn wohl, ein Schatten, und doch Glieder und das Weisse von einem Auge doch, da sitzt der Vater, er achtet s nicht, und doch muss es geschehn, zu seinen Füssen drücken wir dich hin. Du möchtest schreien, doch die Luft erwürgt den ungebornen Schrei und lässt ihn lautlos zu Boden fallen, wie von Sinnen hälst du den Nacken hin, fühlst schon die Schärfe zukken bis an den Sitz des Lebens, doch er hält den Schlag zurück die Bräuche sind noch nicht erfüllt. alles schweigt, du hörst dein eignes Herz an deinen Rippen schlagen diese Zeit -- sie dehnt sich vor dir wie ein finstrer Schlund von Jahren -- diese Zeit ist dir gegeben zu ahnen, wie es Scheiternden zu Mute ist, wenn ihr vergebliches Geschrei die Schwärze der Wolken und des Tods zerfrisst, diese Zeit ist dir gegeben, alle zu beneiden, die angeschmiedet sind an Kerkermauern, die auf dem Grund von Brunnen nach dem Tod als wie nach Erlösung schrei n -- denn du, du liegst in deinem Selbst so eingekerkert, als wär s der glühnde Bauch von einem Tier von Erz -- und so wie jetzt kannst du nicht schrein! da steh ich vor dir, und nun liest du mit starrem Aug das ungeheure Wort, das mir in mein Gesicht geschrieben ist erhängt ist dir die Seele in der selbst- gedrehten Schlinge, sausend fällt das Beil, und ich steh da und seh dich endlich sterben! Dann träumst du nicht mehr, dann brauche ich nicht mehr zu träumen, und wer dann noch lebt, der jauchzt und kann sich seines Lebens freun! Sie stehn einander, Elektra in wilder Trunkenheit, Klytämnestra grässlich atmend vor Angst, Aug in Aug . In diesen Augenblick erhellt sich die Hausflur. die Vertraute kommt hergelaufen. Sie flüstert Klytämnestra etwas ins Ohr. Diese scheint erst nicht recht zu verstehen. Allmählich kommt sie zu sich. Sie winkt Lichter! Es laufen Dienerinnen mit Fackeln heraus, und stellen sich hinter Klytämnestra. Sie winkt Mehr Lichter! Nun verändern sich ihre Züge allmählich und die Spannung weicht einem bösen Triumph. Es kommen immer mehr Dienerinnen heraus, stelle sich hinter Klytämnestra, so dass der Hof voll von Licht wird undrotgelber Schein um die Mauern flutet. Klytämnestra lässt sich die Botschaft abermals zuflüstern und verliert dabei Elektra keinen Augenblick aus dem Auge. Ganz bis an den Hals sich sättigend mitwilder Freude, streckt Klytämnestra die beiden Hände drohend gegen Elektra. Dann hebt ihr die Vertraute den Stock auf und, auf beide sich stützend, eilig, gierig, an den Stufen ihr Gewand aufraffend, läuft sie ins Haus. Die Dienerinnen mit den Lichtern,wie gejagt, hinter ihr drein ELEKTRA Was sagen sie ihr denn? sie freut sich ja! Mein Kopf! Mir fällt nichts ein. Worüber freut sich das Weib? Strauss,Richard/Elektra/3
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HenryPetroski? ジャンル別? ユーズドブック(洋書)-Arts&Photography? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-History? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Arts&Photography-GraphicDesign-Commercial-General? Subjects-Engineering-General? Subjects-History? Subjects-Nonfiction-Philosophy-Science? Subjects-Professional&Technical-Engineering-General Subjects-Science-Education-Experiments&Projects? Subjects-Science-General Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Engineers of Dreams Great Bridge Builders and the Spanning of America Vintage Books? Henry Petroski? Edward Kastenmeier? VintageBooks? HenryPetroski? EdwardKastenmeier? ジャンル別? Subjects-Biographies&Memoirs-Arts&Literature-Artists,Architects&Photographers? Subjects-Engineering-Civil-General? Subjects-History? Subjects-Professional&Technical-Engineering-Civil-General? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofScience? 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Subjects-Science-Technology-General&Reference Veterinary Ophthalmology Lippincott Williams & Wilkins? Kirk N. Gelatt? LippincottWilliams&Wilkins? KirkN.Gelatt? ジャンル別? Subjects-Medicine-VeterinaryMedicine-General? Subjects-Medicine-VeterinaryMedicine-Ophthalmology? Subjects-Medicine-VeterinaryMedicine-Surgery? Subjects-Professional&Technical-Medical-VeterinaryMedicine-General? Subjects-Professional&Technical-Medical-VeterinaryMedicine-Ophthalmology? Subjects-Professional&Technical-Medical-VeterinaryMedicine-Surgery? Subjects-Science-Technology-General&Reference Subjects-Science-AgriculturalSciences-AnimalHusbandry? Subjects-Science-Medicine-VeterinaryMedicine-General? Subjects-Science-Medicine-VeterinaryMedicine-Ophthalmology? Subjects-Science-Medicine-VeterinaryMedicine-Surgery? Nutrients in Food (Books) Lippincott Williams & Wilkins? Elizabeth S. Hands? LippincottWilliams&Wilkins? ElizabethS.Hands? ジャンル別? Subjects-Health,Mind&Body-Nutrition-General? 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The Power of Horses and Other Stories Arcade Pub? Elizabeth Cook-Lynn? ArcadePub? ElizabethCook-Lynn? Substores-UnknownASINs-35 Subjects-Literature&Fiction-General-Contemporary? Subjects-Literature&Fiction-ShortStories? Subjects-Literature&Fiction-WorldLiterature-UnitedStates-NativeAmerican-General? From the River's Edge Arcade Pub? Elizabeth Cook-Lynn? ArcadePub? ElizabethCook-Lynn? Substores-UnknownASINs-35 Subjects-Literature&Fiction-General-Contemporary? Subjects-Literature&Fiction-WorldLiterature-UnitedStates-NativeAmerican-General? The Road to the City Two Novellas Arcade Pub? Natalia Ginzburg? ArcadePub? NataliaGinzburg? Substores-UnknownASINs-35 Subjects-Literature&Fiction-General-Contemporary? Subjects-Literature&Fiction-WorldLiterature-Italian? A Unicorn Journal Arcade Pub? Michael Hague? ArcadePub? MichaelHague? ユーズドブック(洋書)-Arts&Photography? Substores-UnknownASINs-35 Subjects-Arts&Photography-Architecture-General? Subjects-Professional&Technical-Architecture-General? 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French Revolution in San Domingo Noontide Pr? Lothrop L. Stoddard? NoontidePr? LothropL.Stoddard? ジャンル別? Substores-UnknownASINs-8 St. James's Place Tax Guide Palgrave Macmillan? W.I. Sinclair? Sir Mark Weinberg? PalgraveMacmillan? W.I.Sinclair? SirMarkWeinberg? ジャンル別? Substores-UnknownASINs-8 Subjects-Business&Investing-Industries&Professions-Accounting-Taxes-TaxLaw? Subjects-Business&Investing-PersonalFinance? Subjects-Law-Business-Taxation? Subjects-Nonfiction-Law-Business-Taxation? Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-Accounting-Taxes-TaxLaw? St.James's Place Tax Guide Palgrave Macmillan? Walter Sinclair? Sir Mark Weinberg? PalgraveMacmillan? WalterSinclair? SirMarkWeinberg? ジャンル別? Substores-UnknownASINs-8 Subjects-Business&Investing-Industries&Professions-Accounting-Taxes-TaxLaw? Subjects-Business&Investing-PersonalFinance? Subjects-Law-Business-Taxation? Subjects-Nonfiction-Law-Business-Taxation? 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The People's Game Football, Finance, and Society Palgrave Macmillan? Stephen Morrow? PalgraveMacmillan? StephenMorrow? ジャンル別? Substores-UnknownASINs-8 Subjects-Business&Investing-Industries&Professions-Sports&Entertainment? Subjects-Business&Investing-International-General? Subjects-Nonfiction-SocialSciences-Sociology? Subjects-Sports-Soccer-General? Subjects-Sports-General? Public Health in Practice Palgrave Macmillan? Andrew Watterson? PalgraveMacmillan? AndrewWatterson? ジャンル別? Substores-UnknownASINs-8 Subjects-Medicine-Administration&Policy-PublicHealth? Subjects-Nonfiction-SocialSciences-PoliticalScience-LevelsofGovernment-FederalGovernment? Subjects-Nonfiction-CurrentEvents-Poverty-SocialServices&Welfare? Subjects-Science-Medicine-Administration&Policy-PublicHealth? Reshaping The British Constitution Essays In Political Interpretation Palgrave Macmillan? Nevil Johnson? PalgraveMacmillan? NevilJohnson? ジャンル別? Substores-UnknownASINs-8 Subjects-History-Europe-England-General? 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Technology-Based Learning Maximizing Human Performance and Corporate Success Crc Pr I Llc? Michael J. Marquardt? Greg Kearsley? American Society for Training and Development? CrcPrILlc? MichaelJ.Marquardt? GregKearsley? AmericanSocietyforTrainingandDevelopment? ジャンル別? Subjects-Business&Investing-General? Subjects-Business&Investing-Industries&Professions-HumanResources&PersonnelManagement? Subjects-Business&Investing-Management&Leadership-Training? Subjects-Nonfiction-Education-General? Subjects-Professional&Technical-Education-General? Subjects-Professional&Technical-BusinessManagement-HumanResources&PersonnelManagement? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Training? Subjects-Science-Technology-General&Reference Information Technology for Manufacturing Reducing Costs and Expanding Capabilities Saint Lucie Pr? John Clemons? Mark Cubine? Bruce Lilly? Kevin Ake? SaintLuciePr? JohnClemons? MarkCubine? BruceLilly? 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Applied Pyrolysis Handbook Saint Lucie Pr? Thomas P. Wampler? SaintLuciePr? ThomasP.Wampler? ジャンル別? Subjects-Engineering-Chemical-General? Subjects-Professional&Technical-Engineering-Chemical-General? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Analytic? Subjects-Science-Chemistry-Analytic? Subjects-Science-Chemistry-Industrial&Technical? Subjects-Science-Chemistry-ChemicalEngineering? Subjects-Science-General Subjects-Science-Technology-General&Reference Chemical Processing Of Ceramics (Materials Engineering) Crc Pr I Llc? Burtrand Insung Lee? Sridhar Komarneni? CrcPrILlc? BurtrandInsungLee? SridharKomarneni? ジャンル別? Subjects-Engineering-Chemical-PolymerChemistry? Subjects-Engineering-Chemical-Materials? Subjects-Engineering-MaterialsScience-Ceramics? Subjects-Engineering-MaterialsScience-General? Subjects-Engineering-MaterialsScience-PolymerScience? Subjects-Professional&Technical-Engineering-Chemical-PolymerChemistry? Subjects-Professional&Technical-Engineering-Chemical-Materials? Subjects-Professional&Technical-Engineering-MaterialsScience-Ceramics? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-MaterialsScience-PolymerScience? Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Science-Chemistry-General&Reference? Subjects-Science-General Subjects-Science-Technology-General&Reference Coatings Technology Handbook Crc Pr I Llc? Arthur A. Tracton? CrcPrILlc? ArthurA.Tracton? ジャンル別? Subjects-Engineering-Chemical-PolymerChemistry? Subjects-Engineering-Chemical-General? Subjects-Engineering-Chemical-Materials? Subjects-Engineering-General? Subjects-Engineering-MaterialsScience-General? Subjects-Engineering-MaterialsScience-PolymerScience? Subjects-Professional&Technical-Engineering-Chemical-PolymerChemistry? Subjects-Professional&Technical-Engineering-Chemical-General? Subjects-Professional&Technical-Engineering-Chemical-Materials? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-MaterialsScience-PolymerScience? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Science-Chemistry-General&Reference? Subjects-Science-Chemistry-ChemicalEngineering? Subjects-Science-General Subjects-Science-Technology-General&Reference Electrical Power Equipment And Maintenance Testing Marcel Dekker Inc? Paul Gill? MarcelDekkerInc? PaulGill? ジャンル別? Subjects-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Paint Technology Handbook Saint Lucie Pr? Rodger Talbert? SaintLuciePr? RodgerTalbert? ジャンル別? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Capillary Electrophoresis And Microchip Technology (Chromatographic Science) Crc Pr I Llc? Norberto A. Guzman? Ernest Kenndler? CrcPrILlc? NorbertoA.Guzman? ErnestKenndler? ジャンル別? Subjects-Medicine-Specialties-Pathology-ClinicalChemistry? Subjects-Professional&Technical-Medical-Medicine-InternalMedicine-Pathology-ClinicalChemistry? Subjects-Science-Chemistry-Industrial&Technical? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-Specialties-Pathology-ClinicalChemistry? Chirotechnology Crc Pr I Llc? Roger A. Sheldon? CrcPrILlc? RogerA.Sheldon? ジャンル別? Subjects-Nonfiction-Philosophy-Science? Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Professional&Technical-Medical-Medicine-Surgery-Orthopedics? Subjects-Reference? Subjects-Science-Chemistry-General&Reference? Subjects-Science-General Subjects-Science-History&Philosophy-General? Subjects-Science-Reference-General? Subjects-Science-Technology-General&Reference Keeping Abreast of Science and Technology Technical Intelligence for Business Battelle Pr? W. Bradford Ashton? Richard A. Klavans? BattellePr? W.BradfordAshton? RichardA.Klavans? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Business&Investing-Economics-NaturalResources Subjects-Business&Investing-Management&Leadership-Leadership? Subjects-Computers&Internet-Business&Culture-Manager sGuidestoComputing? Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Leadership? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Subjects-Science-Technology-General&Reference Technically Speaking A Guide to Communicating Complex Information Battelle Pr? Jan D Arcy? BattellePr? JanD Arcy? ジャンル別? Subjects-Business&Investing-BusinessLife-Communication-Meetings&Presentations? Subjects-Business&Investing-General? Subjects-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Professional&Technical-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Reference-Writing-Technical? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Technology-TechnicalThinking&Writing? Procedure Writing Principles and Practices Battelle Pr? Douglas Wieringa? Christopher Moore? Valerie Barnes? BattellePr? DouglasWieringa? ChristopherMoore? ValerieBarnes? ジャンル別? Subjects-Business&Investing-BusinessLife-Communication-General? Subjects-Business&Investing-BusinessLife-Communication-BusinessWriting? Subjects-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Literature&Fiction-General? Subjects-Nonfiction-Education-Reference-Words&Language-Communication? Subjects-Professional&Technical-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Reference-Words&Language-Communication? Subjects-Reference-Writing-Technical? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Technology-TechnicalThinking&Writing? Risk Communication A Handbook for Communicating Environmental, Safety, and Health Risks Battelle Pr? Regina E. Lundgren? Andrea H. McMakin? BattellePr? ReginaE.Lundgren? AndreaH.McMakin? ジャンル別? Subjects-Business&Investing-BusinessLife-Communication-General? Subjects-Business&Investing-Economics-NaturalResources Subjects-Business&Investing-Management&Leadership? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Safety&Health? Subjects-Nonfiction-SocialSciences-Communication? Subjects-Nonfiction-Economics-NaturalResources Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Safety&Health? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-BusinessManagement-Management&Leadership? Subjects-Reference-Writing-Technical? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Safety&Health? Subjects-Science-Technology-TechnicalThinking&Writing? Living With the Genie Essays on Technology and the Quest for Human Mastery Island Pr? Alan Lightman? Daniel R. Sarewitz? Christina Desser? IslandPr? AlanLightman? DanielR.Sarewitz? ChristinaDesser? ジャンル別? Substores-UnknownASINs-35 Subjects-Nonfiction-Philosophy-Science? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Science-General Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Nanotechnology? Subjects-Science-Technology-Innovations? Subjects-Science-Technology-Technology&Society? Subjects-Science-Essays&Commentary? The Sixth International in Situ and On-Site Bioremediation Symposium San Diego, California, June 4-7, 2001 Battelle Pr? Calif.) International In Situ and On-Site Bioremediation Symposium (6th 2001 San Diego? Paul C. Johnson? Robert E. Hinchee? Lewis Semprini? Victor S. Magar? Brent M. Peyton? Jeffrey L. Means? BattellePr? Calif.)InternationalInSituandOn-SiteBioremediationSymposium(6th 2001 SanDiego? PaulC.Johnson? RobertE.Hinchee? LewisSemprini? VictorS.Magar? BrentM.Peyton? JeffreyL.Means? ジャンル別? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-General Subjects-Science-General Subjects-Science-Technology-General&Reference Substores-UnknownASINs-jp-unknown3? Wetlands and Remediation II Proceedings of the Second International Conference on Wetlands Remediation Burlington, Vermont, September 5-6, 2001 Battelle Pr? Vt.) International Conference on Wetlands and Remediation (2nd 2001 Burlington? Susan E. Brauning? BattellePr? Vt.)InternationalConferenceonWetlandsandRemediation(2nd 2001 Burlington? SusanE.Brauning? ジャンル別? Substores-UnknownASINs-36? Subjects-Business&Investing-Industries&Professions-RealEstate-General? Subjects-Outdoors&Nature-Conservation-General? Subjects-Outdoors&Nature-Ecology-General? Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-RealEstate-General? Subjects-Science-Nature&Ecology-General? Subjects-Science-Technology-General&Reference A Case for Nuclear-Generated Electricity (Or Why I Think Nuclear Power Is Cool and Why It Is Important That You Think So Too) Battelle Pr? Scott W. Heaberlin? BattellePr? ScottW.Heaberlin? ジャンル別? Subjects-Engineering-Nuclear? Subjects-Professional&Technical-Engineering-Nuclear? Subjects-Science-General Subjects-Science-Technology-General&Reference Deadly Valentine (Beeler Large Print Mystery Series) Thomas T Beeler? Carolyn G. Hart? ThomasTBeeler? CarolynG.Hart? ジャンル別? ユーズドブック(洋書)-Mystery&Thrillers? Subjects-Literature&Fiction-Books&Reading-Booksellers&Bookselling? Subjects-Literature&Fiction-WorldLiterature-UnitedStates? Subjects-Literature&Fiction-LargePrint? Subjects-Mystery&Thrillers-General? Subjects-Mystery&Thrillers-PoliceProcedurals? Subjects-Mystery&Thrillers-LargePrint? Subjects-Science-Technology-General&Reference Formats-LargePrint-Literature&Fiction? Formats-LargePrint-Mystery&Thrillers? For Love of the Game Thomas T Beeler? Michael Shaara? ThomasTBeeler? MichaelShaara? ジャンル別? Subjects-Literature&Fiction-ShortStories-General? Subjects-Literature&Fiction-WorldLiterature-UnitedStates? Subjects-Literature&Fiction-LargePrint? Subjects-Science-Technology-General&Reference Formats-LargePrint-Literature&Fiction? Bags and Saddles Thomas T Beeler? Lauran Paine? ThomasTBeeler? LauranPaine? ジャンル別? Substores-UnknownASINs-36? Subjects-Literature&Fiction-WorldLiterature-UnitedStates? Subjects-Science-Technology-General&Reference Water Insoluble Drug Formulation Crc Pr I Llc? Rong Liu? CrcPrILlc? RongLiu? ジャンル別? Substores-UnknownASINs-64? Subjects-Medicine-Pharmacology-General? Subjects-Medicine-Pharmacology-Pharmacy? Subjects-Professional&Technical-Medical-BasicSciences-Pharmacology? Subjects-Professional&Technical-Medical-Pharmacology-Pharmacy? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-BiologicalSciences? Subjects-Science-Medicine-Pharmacology-General? Subjects-Science-Medicine-Pharmacology-Pharmacy? Software Quality Assurance Sops for Healthcare Manufacturers CRC Press? Steven R. Mallory? CRCPress? StevenR.Mallory? ジャンル別? Substores-UnknownASINs-36? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-QualityControl? Subjects-Medicine-General? Subjects-Medicine-Pharmacology-General? Subjects-Medicine-Pharmacology-Pharmacy? Subjects-Medicine-AlliedHealthProfessions-MedicalTechnology? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-QualityControl? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-Medical-BasicSciences-Pharmacology? Subjects-Professional&Technical-Medical-AlliedHealthProfessions-MedicalTechnology? Subjects-Professional&Technical-Medical-Pharmacology-Pharmacy? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-General? Subjects-Science-Medicine-Pharmacology-General? Subjects-Science-Medicine-Pharmacology-Pharmacy? Subjects-Science-Medicine-AlliedHealthProfessions-MedicalTechnology? Great Ideas for Potters II Amer Ceramic Society? Barbara Tipton? AmerCeramicSociety? BarbaraTipton? ジャンル別? ユーズドブック(洋書)-Home&Garden? Subjects-Home&Garden-Crafts&Hobbies-General? Subjects-Home&Garden-Crafts&Hobbies-Pottery&Ceramics? Subjects-Science-Technology-General&Reference Ninth International Conference On Ferrites (ICF 9) Proceedings Of The International Conference On Ferrites (ICF 9) San Francisco, California (2004) Amer Ceramic Society? Ronald F. Soohoo? AmerCeramicSociety? RonaldF.Soohoo? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Advances in Electronic and Electrochemical Ceramics (Ceramic Transactions) Amer Ceramic Society? Fatih Dogan? Prashant N. Kumta? AmerCeramicSociety? FatihDogan? PrashantN.Kumta? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Engineering-MaterialsScience-Ceramics? Subjects-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Engineering-MaterialsScience-Ceramics? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Advances in Modeling the Management of Stormwater Impacts Crc Pr I Llc? William James? CrcPrILlc? WilliamJames? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Business&Investing-Management&Leadership-Management? Subjects-Engineering-Civil-Environmental-General Subjects-Outdoors&Nature-Conservation-Water? Subjects-Outdoors&Nature-NaturalResources-WaterSupply&LandUse? Subjects-Outdoors&Nature-Environment-WaterSupply? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Management? Subjects-Science-Nature&Ecology-WaterSupply&LandUse? Subjects-Science-Nature&Ecology-Environment-WaterSupply? Subjects-Science-Technology-General&Reference Substores-UnknownASINs-jp-unknown3? Technology-Based Learning A Handbook for Teachers and Technology Leaders Skylight Professional Development? Tweed Wallis Ross? Gerald D. Bailey? SkylightProfessionalDevelopment? TweedWallisRoss? GeraldD.Bailey? ジャンル別? Subjects-Nonfiction-Education-Technology&DistanceLearning-Computers&Technology? Subjects-Nonfiction-Education-General? Subjects-Nonfiction-Education-SpecialEducation-General? Subjects-Nonfiction-Education-LessonPlanning? Subjects-Professional&Technical-Education-LessonPlanning? Subjects-Professional&Technical-Education-SpecialEducation-General? Subjects-Professional&Technical-Education-Technology&DistanceLearning-Computers&Technology? Subjects-Science-Technology-General&Reference Handbook of Rotordynamics Krieger Pub Co? Fredric F. Ehrich? KriegerPubCo? FredricF.Ehrich? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Machinery? Subjects-Engineering-Mechanical-General? Subjects-Engineering-Mechanical-Machinery? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Machinery? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Mechanical-Machinery? Subjects-Science-General Subjects-Science-Physics-Dynamics-General? Subjects-Science-Physics-Applied? Subjects-Science-Technology-General&Reference Deep Design Pathways to a Livable Future Island Pr? David Wann? Center for Resource Management? Paul Hawken? IslandPr? DavidWann? CenterforResourceManagement? PaulHawken? ジャンル別? ユーズドブック(洋書)-Business&Investing? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Outdoors&Nature Subjects-Arts&Photography-Architecture-General? Subjects-Arts&Photography-Architecture-Urban&LandUsePlanning? Subjects-Business&Investing-Economics-SustainableDevelopment? Subjects-Business&Investing-Economics-NaturalResources Subjects-Engineering-Civil-Environmental-Planning&Management? Subjects-Nonfiction-UrbanPlanning&Development-EnvironmentalPlanning? Subjects-Nonfiction-Economics-SustainableDevelopment? Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-Environment? Subjects-Professional&Technical-Engineering-Civil-Environmental-Planning&Management? Subjects-Professional&Technical-Architecture-General? Subjects-Professional&Technical-Architecture-Urban&LandUsePlanning? Subjects-Professional&Technical-Accounting&Finance-Economics-SustainableDevelopment? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Science-Nature&Ecology-Environment? Subjects-Science-Technology-General&Reference Sediment Transport Theory and Practice Krieger Pub Co? Chih Ted Yang? KriegerPubCo? ChihTedYang? ジャンル別? ユーズドブック(洋書)-Engineering Substores-UnknownASINs-36? Subjects-Engineering-Civil-Hydrology? Subjects-Engineering-Civil-Environmental-Hydrology? Subjects-Engineering-Civil-Environmental-Hydraulics? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-Civil-Hydrology? Subjects-Professional&Technical-Engineering-Civil-Environmental-Hydrology? Subjects-Professional&Technical-Engineering-Civil-Environmental-Hydraulics? Subjects-Professional&Technical-Engineering-General Subjects-Science-EarthSciences-Geology-General? Subjects-Science-EarthSciences-Geology-Hydrology? Subjects-Science-General Subjects-Science-Technology-General&Reference No Stone Unturned The Story of Necrosearch International Investigators Kensington Pub Corp (T)? Steve Jackson? KensingtonPubCorp(T)? SteveJackson? ジャンル別? Subjects-Nonfiction-TrueAccounts-TrueCrime? Subjects-Nonfiction-Crime&Criminals-Criminology? Subjects-Nonfiction-Crime&Criminals-ForensicScience? Subjects-Science-General Subjects-Science-Technology-General&Reference Horses (Farm Animals) Heinemann Library? Rachael Bell? HeinemannLibrary? RachaelBell? ジャンル別? ユーズドブック(洋書)-Home&Garden? Subjects-Children sBooks-Ages4-8-General? Subjects-Children sBooks-Animals-FarmAnimals-Nonfiction? Subjects-Children sBooks-Animals-Horses-Nonfiction? Subjects-Home&Garden-AnimalCare&Pets-Horses-General? Subjects-Science-Technology-General&Reference Visual Basic 5 Environment Programming Applications Que Education & Training? Alan Eliason? QueEducation&Training? AlanEliason? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-Programming-Languages&Tools-General? Subjects-Science-Technology-General&Reference American Women in Technology An Encyclopedia ABC-Clio Inc? Linda Zierdt-Warshaw? Alan Winkler? Leonard Bernstein? Linda Zierdt Warshaw? ABC-ClioInc? LindaZierdt-Warshaw? AlanWinkler? LeonardBernstein? LindaZierdtWarshaw? ジャンル別? Subjects-Nonfiction-SocialSciences-GenderStudies-Women? Subjects-Nonfiction-SocialSciences-GenderStudies-WomeninHistory? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Nonfiction-Education-Reference-Encyclopedias-General? Subjects-Nonfiction-Education-Reference-Encyclopedias-History? Subjects-Reference-Encyclopedias-General? Subjects-Reference-Encyclopedias-History? Subjects-Science-History&Philosophy-HistoryofScience? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Super Circle Time Spring Monday Morning Books? 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Shaunti Christine Feldhahn? MultnomahPub? ShauntiChristineFeldhahn? ジャンル別? Subjects-Nonfiction-BooksonCassette-General? Subjects-Religion&Spirituality-General? Subjects-Religion&Spirituality-BooksonCassette-General? Subjects-Science-Technology-General&Reference Formats-Audiocassettes-Nonfiction-General? Formats-Audiocassettes-Religion&Spirituality-General? Formats-Audiocassettes-General? Technology and Social Agency Outlining a Practice Framework for Archaeology (Social Archaeology) Blackwell Pub? Marcia-Anne Dobres? BlackwellPub? Marcia-AnneDobres? ジャンル別? Subjects-History-Ancient-General? Subjects-History-HistoricalStudy-SocialHistory? Subjects-Nonfiction-Philosophy-Movements-Existentialism? Subjects-Nonfiction-SocialSciences-Anthropology-General? Subjects-Nonfiction-SocialSciences-Archaeology-General? Subjects-Nonfiction-SocialSciences-Customs&Traditions? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Subjects-Science-BehavioralSciences-Anthropology? Subjects-Science-Archaeology-General? The Science and Techniques of Judging Dogs Alpine Pubns Inc? Robert J. Berndt? AlpinePubnsInc? RobertJ.Berndt? ジャンル別? ユーズドブック(洋書)-Home&Garden? Subjects-Home&Garden-AnimalCare&Pets-Dogs-Breeds? Subjects-Home&Garden-AnimalCare&Pets-Dogs-General? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-AgriculturalSciences-General? Subjects-Science-AgriculturalSciences-AnimalHusbandry? Forward Drive The Race to Build the Car of the Future Sierra Club Books? Jim Motavalli? SierraClubBooks? JimMotavalli? ジャンル別? ユーズドブック(洋書)-Sports? Subjects-Business&Investing-Economics-NaturalResources Subjects-Business&Investing-General? Subjects-Engineering-Automotive-VehicleDesign&Construction? Subjects-Nonfiction-Automotive-Industry? 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Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Transportation&Highway? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-Nature&Ecology-General? Subjects-Science-Nature&Ecology-Environment-Conservation? Subjects-Science-Technology-General&Reference Subjects-Science-BiologicalSciences? Sugarcane Pathology Virus and Phytoplasma Diseases Science Pub Inc? G. P. Rao? SciencePubInc? G.P.Rao? ジャンル別? Substores-UnknownASINs-36? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-BiologicalSciences-Botany-General? Subjects-Science-AgriculturalSciences-CropScience? Sugarcane Pathology Bacterial and Nematode Diseases Science Pub Inc? G. P. Rao? A. Salem Saumtally? Philippe Rott? SciencePubInc? G.P.Rao? A.SalemSaumtally? PhilippeRott? ジャンル別? Subjects-Outdoors&Nature-Flora-General? 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Single Camera Video From Concept to Edited Master Focal Pr? Robert J. Schihl? FocalPr? RobertJ.Schihl? ジャンル別? Substores-UnknownASINs-6? Subjects-Arts&Photography-Photography-General? Subjects-Arts&Photography-PerformingArts? Subjects-Entertainment-Movies-Video-General? Subjects-Entertainment-Radio-GeneralBroadcasting? Subjects-Entertainment-Television-General? Subjects-Science-Technology-General&Reference Panaflex Users' Manual (Media Manual Series) Focal Pr? David W. Samuelson? FocalPr? DavidW.Samuelson? ジャンル別? Substores-UnknownASINs-6? Subjects-Arts&Photography-Photography-General? Subjects-Entertainment-Movies-Cinematography? Subjects-Science-Technology-General&Reference Stereo Microphone Techniques Focal Pr? Bruce Bartlett? FocalPr? BruceBartlett? ジャンル別? Subjects-Engineering-Electrical&Electronics-Electronics-General? Subjects-Engineering-Electrical&Electronics-Electronics-AudioTechnology&Engineering? Subjects-Engineering-Electrical&Electronics-General? 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Subjects-Professional&Technical-Engineering-Electrical&Electronics-Electronics-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Electronic Media Ethics Butterworth-Heinemann? Val E. Limburg? Butterworth-Heinemann? ValE.Limburg? ジャンル別? Subjects-Business&Investing-BusinessLife-Ethics? Subjects-Engineering-Electrical&Electronics-Electronics-General? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-Telecommunications-General? Subjects-Nonfiction-Philosophy-Ethics&Morality? Subjects-Nonfiction-SocialSciences-Communication-MassCommunication? Subjects-Nonfiction-SocialSciences-Linguistics-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Electronics-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-Telecommunications-General? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-BusinessEthics? Subjects-Science-General Subjects-Science-Technology-General&Reference Special Effects Sourcebook Focal Pr? Robert E. McCarthy? FocalPr? RobertE.McCarthy? ジャンル別? Substores-UnknownASINs-61? Subjects-Arts&Photography-Photography-General? Subjects-Arts&Photography-PerformingArts? Subjects-Business&Investing-Industries&Professions-Sports&Entertainment? Subjects-Entertainment-Movies-General? Subjects-Reference-Catalogs&Directories-Directories? Subjects-Science-Technology-General&Reference Working in Commercials A Complete Sourcebook for Adult and Child Actors Focal Pr? Elaine Keller Beardsley? FocalPr? ElaineKellerBeardsley? ジャンル別? Subjects-Arts&Photography-PerformingArts? Subjects-Business&Investing-Careers-General? Subjects-Business&Investing-Marketing&Sales-Advertising? Subjects-Children sBooks-Arts&Music-PerformingArts-Television&Radio? Subjects-Entertainment-Television-General? Subjects-Entertainment-Television-Direction&Production? Subjects-Professional&Technical-BusinessManagement-Marketing&Sales-Advertising? Subjects-Reference-Careers-General? Subjects-Science-Technology-General&Reference Set Lighting Technician's Handbook Film Lightning Equipment, Practice, and Electrical Distribution Focal Pr? Harry C. Box? FocalPr? HarryC.Box? ジャンル別? Subjects-Arts&Photography-Photography-General? Subjects-Arts&Photography-PerformingArts? Subjects-Engineering-Electrical&Electronics-General? Subjects-Entertainment-Movies-Cinematography? Subjects-Entertainment-Movies-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Science-Technology-General&Reference Directing Corporate Video Focal Pr? Raymond Dizazzo? FocalPr? RaymondDizazzo? ジャンル別? Subjects-Arts&Photography-Photography-General? Subjects-Arts&Photography-PerformingArts? Subjects-Entertainment-Movies-Cinematography? Subjects-Entertainment-Movies-General? Subjects-Entertainment-Television-General? Subjects-Entertainment-Television-Direction&Production? Subjects-Science-Technology-General&Reference Essential Camera Skills The Complete Introductory Guide to Slr Photography Focal Pr? Joel Lacey? FocalPr? JoelLacey? ジャンル別? Subjects-Arts&Photography-Photography-General? Subjects-Arts&Photography-Photography-Reference? Subjects-Arts&Photography-Photography-How-to-General? Subjects-Arts&Photography-Photography-Equipment? Subjects-Entertainment-Movies-Direction&Production? Subjects-Science-Technology-General&Reference Communication Technology Update Focal Pr? August E. Grant? FocalPr? AugustE.Grant? ジャンル別? Subjects-Business&Investing-BusinessLife-Communication-General? Subjects-Engineering-Telecommunications-General? Subjects-Health,Mind&Body-Self-Help-General? Subjects-Nonfiction-SocialSciences-MediaStudies? Subjects-Professional&Technical-Engineering-Telecommunications-General? 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Subjects-Nonfiction-CurrentEvents-Poverty-SocialServices&Welfare? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Civil-Environmental-SewageDisposal&Treatment? Subjects-Science-Technology-General&Reference Guide to Managing Industrial Hazardous Waste Technomic Publishing Co? Gary F. Lindgren? TechnomicPublishingCo? GaryF.Lindgren? ジャンル別? Subjects-Engineering-Civil-Environmental-General Subjects-Nonfiction-CurrentEvents-Poverty-SocialServices&Welfare? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Science-Technology-General&Reference The Interaction of Science and Technology Univ of Illinois Pr? W. D. Compton? UnivofIllinoisPr? W.D.Compton? ジャンル別? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Subjects-Science-Technology-General&Reference History and Philosophy of Technology Univ of Illinois Pr? Chica Symposium on the History and Philosophy of Technology? UnivofIllinoisPr? ChicaSymposiumontheHistoryandPhilosophyofTechnology? ジャンル別? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference American Forts University of Illinois Press? Willard B. Robinson? UniversityofIllinoisPress? WillardB.Robinson? ジャンル別? Subjects-Arts&Photography-Architecture-BuildingTypes&Styles-General? Subjects-History-Military-General? Subjects-Professional&Technical-Architecture-BuildingTypes&Styles-General? Subjects-Science-Technology-General&Reference Power and Powerlessness Quiescence and Rebellion in an Appalachian Valley Univ of Illinois Pr? John Gaventa? UnivofIllinoisPr? JohnGaventa? ジャンル別? Substores-UnknownASINs-6? Subjects-History-Americas-UnitedStates-State&Local-South? Subjects-Nonfiction-Politics-PracticalPolitics? Subjects-Nonfiction-SocialSciences-PoliticalScience-General? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Once a Cigar Maker Men, Women, and Work Culture in American Cigar Factories, 1900-1919 (Working Class in American History) Univ of Illinois Pr? Patricia A. Cooper? UnivofIllinoisPr? PatriciaA.Cooper? ジャンル別? Subjects-Business&Investing-Biographies&Primers-BusinessHistory? Subjects-Business&Investing-Careers-General? Subjects-Business&Investing-Careers-JobHunting-Almanacs? Subjects-Business&Investing-Economics-Labor&IndustrialRelations? Subjects-Entertainment-PopCulture-Cigars? Subjects-History-HistoricalStudy-SocialHistory? Subjects-Nonfiction-SocialSciences-GenderStudies-Women? Subjects-Nonfiction-Economics-EconomicHistory? Subjects-Nonfiction-Economics-Labor&IndustrialRelations? Subjects-Professional&Technical-Accounting&Finance-Economics-EconomicHistory? Subjects-Professional&Technical-Accounting&Finance-Economics-Labor&IndustrialRelations? Subjects-Reference-Careers-General? Subjects-Reference-Careers-JobHunting-Almanacs? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Barons of Labor The San Francisco Building Trades and Union Power in the Progressive Era (Working Class in American History) Univ of Illinois Pr? Michael Kazin? UnivofIllinoisPr? MichaelKazin? ジャンル別? Subjects-Business&Investing-Biographies&Primers-LaborPolicy? Subjects-Business&Investing-Economics-Labor&IndustrialRelations? Subjects-History-Americas-UnitedStates-State&Local-California? Subjects-Nonfiction-Politics-LaborUnions? Subjects-Nonfiction-Economics-Labor&IndustrialRelations? Subjects-Professional&Technical-Accounting&Finance-Economics-Labor&IndustrialRelations? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference The Road to Revolution in Spain The Coal Miners of Asturias, 1860-1934 (Working Class in European History) Univ of Illinois Pr? Adrian Shubert? UnivofIllinoisPr? AdrianShubert? ジャンル別? Subjects-Business&Investing-Careers-General? Subjects-Business&Investing-Careers-JobHunting-Almanacs? Subjects-Business&Investing-Economics-Labor&IndustrialRelations? Subjects-History-Europe-General? Subjects-History-Europe-Spain? Subjects-Nonfiction-Politics-LaborUnions? Subjects-Nonfiction-Economics-Labor&IndustrialRelations? Subjects-Professional&Technical-Accounting&Finance-Economics-Labor&IndustrialRelations? Subjects-Reference-Careers-General? Subjects-Reference-Careers-JobHunting-Almanacs? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference The Enchantments Of Technology Univ of Illinois Pr? Lee Worth Bailey? UnivofIllinoisPr? LeeWorthBailey? ジャンル別? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Barons of Labor The San Francisco Building Trades and Union Power in the Progressive Era (Working Class in American History Series) Univ of Illinois Pr? Michael Kazin? UnivofIllinoisPr? MichaelKazin? ジャンル別? Subjects-Business&Investing-Biographies&Primers-LaborPolicy? Subjects-Business&Investing-Economics-Labor&IndustrialRelations? Subjects-History-Americas-UnitedStates-State&Local-California? Subjects-Nonfiction-Politics-LaborUnions? Subjects-Nonfiction-Economics-Labor&IndustrialRelations? Subjects-Professional&Technical-Accounting&Finance-Economics-Labor&IndustrialRelations? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Work and Community in the Jungle Chicago's Packing-House Workers, 1894-1922 (Working Class in American History) Univ of Illinois Pr? James R. Barrett? UnivofIllinoisPr? JamesR.Barrett? ジャンル別? Subjects-Business&Investing-Biographies&Primers-BusinessHistory? 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Subjects-Nonfiction-SocialSciences-Sociology-SocialTheory? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Nonfiction-CurrentEvents-DisasterRelief? Subjects-Outdoors&Nature-Environment-NaturalDisasters? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Geography? Subjects-Science-EarthSciences-Geography-General? Subjects-Science-EarthSciences-NaturalDisasters? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference The Enchantments Of Technology Univ of Illinois Pr? Lee Worth Bailey? UnivofIllinoisPr? LeeWorthBailey? ジャンル別? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Cornbelt Rebellion University of Illinois Press? John L. Shover? UniversityofIllinoisPress? JohnL.Shover? ジャンル別? Subjects-Science-Technology-General&Reference Technology and the Lifeworld From Garden to Earth (Indiana Series in Philosophy of Technology) Indiana Univ Pr? Don Ihde? IndianaUnivPr? DonIhde? ジャンル別? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-Philosophy-Science? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Instrumental Realism Interface Between Philosophy of Science and Philosophy of Technology (The Indiana Series in the Philosophy of Technology) Indiana Univ Pr? Don Ihde? IndianaUnivPr? DonIhde? ジャンル別? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-Philosophy-Science? Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference John Dewey's Pragmatic Technology (The Indiana Series in the Philosophy of Technology) Indiana Univ Pr? Larry A. Hickman? IndianaUnivPr? LarryA.Hickman? ジャンル別? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-Philosophy-Modern? Subjects-Science-Technology-General&Reference The Mande Blacksmiths Knowledge, Power, and Art in West Africa (Traditional Arts of Africa) Indiana Univ Pr? Patrick R. McNaughton? IndianaUnivPr? PatrickR.McNaughton? ジャンル別? Subjects-Arts&Photography-Art-ArtHistory-Regional-NativeAmerican? Subjects-Arts&Photography-Art-ArtHistory-Regional-African? Subjects-Arts&Photography-Art-Sculpture-General? Subjects-Arts&Photography-Art-Instruction&Reference-General? Subjects-Home&Garden-Crafts&Hobbies-Jewelry? Subjects-Home&Garden-Crafts&Hobbies-MetalWork? Subjects-Nonfiction-SocialSciences-Anthropology-Cultural? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Science-Technology-General&Reference Technology and the Politics of Knowledge (Indiana Series in the Philosophy of Technology) Indiana Univ Pr? Andrew Feenberg? Alastair Hannay? IndianaUnivPr? AndrewFeenberg? AlastairHannay? ジャンル別? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-Philosophy-Science? Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Sex/Machine Readings in Culture, Gender, and Technology (Indiana Series in the Philosophy of Technology) Indiana Univ Pr? Patrick D. Hopkins? IndianaUnivPr? PatrickD.Hopkins? ジャンル別? Subjects-Business&Investing-Careers-VolunteerWork? Subjects-Health,Mind&Body-Psychology&Counseling-Sexuality-Human? Subjects-Literature&Fiction-General? Subjects-Literature&Fiction-History&Criticism-Criticism&Theory-General? Subjects-Nonfiction-Philosophy-Ethics&Morality? Subjects-Nonfiction-SocialSciences-Anthropology? Subjects-Nonfiction-SocialSciences-GenderStudies-General? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Reference-Careers-VolunteerWork? Subjects-Science-Technology-General&Reference Philosophical Tools for Technological Culture Putting Pragmatism to Work (Indiana Series in the Philosophy of Technology) Indiana Univ Pr? Larry A. Hickman? IndianaUnivPr? LarryA.Hickman? ジャンル別? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-Philosophy-History,17th&18thCentury? Subjects-Nonfiction-Philosophy-Movements-Pragmatism? Subjects-Nonfiction-Philosophy-Science? Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-General&Reference 洋書
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MASCHERA (マスケラ) ／ 所属：HORI PRODUCTION→ Member Vo. MICHI (MASCHERA→S.Q.F) Gt. TAKUYA (MASCHERA→J*Jenius) Ba. HIRO (MASCHERA→T.O.S.S) Dr. TOMO (MASCHERA→T.O.S.S) History 1992年9月24日 - 結成 1997年12月3日 - シングル『ゆらり』でメジャーデビュー。 00年3月29日 - 解散。 Discography DemoTape ca・tas・tro・phe ca・tas・tro・pheⅡ Single 運命の車輪 ゆらり HYPERDELIC AGE/Still I Love You- [e kou] ラストフォトグラフ to fly high Alice Dragonheads Snaketails Album 悪徳の栄え ca・tas・tro・phe ca・tas・tro・pheⅡ PRETTY NEUROSIS tales iNTERFACE orb BEST Video SCOPE FILE ZERO SCOPE FILE ONE NEUROTIC NEW ROMANTIC V.A. Emergency Express 1996 THE END OF THE CENTURY ROCKERS 1 このバンドの評価を聴かせて 名前 コメント
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The Knowledge of Healing Tibetan Medicine Snow Lion Pubns? Franz Reichle? SnowLionPubns? FranzReichle? Substores-UnknownASINs-35 Subjects-Medicine-BasicScience? Subjects-Medicine-General? Subjects-Nonfiction-Philosophy-Eastern-Buddhism-Tibetan? Subjects-Religion&Spirituality-Buddhism-Tibetan? Subjects-Science-Medicine-BasicScience? Subjects-Science-Medicine-General? Sas/Cpe User's Guide, Version 5 Sas Inst? SasInst? Substores-UnknownASINs-35 Subjects-Computers&Internet? Sas Rterm Users Guide Version 2 Sas Inst? SasInst? undefined undefined Moonbeams of Mahamudra The Direct Meditation on Mind Snow Lion Pubns? Thrangu? Thrangu Rinpoche? SnowLionPubns? Thrangu? ThranguRinpoche? Substores-UnknownASINs-35 Subjects-Nonfiction-Philosophy-Eastern-Buddhism? Subjects-Religion&Spirituality-Buddhism? Subjects-Religion&Spirituality-NewAge? Subjects-Religion&Spirituality-OtherEasternReligions-General? Subjects-Religion&Spirituality-Spirituality-Meditations? Sas Guide to Macro Processing, Version 6 Sas Inst? SasInst? undefined undefined Dzogchen Heart Essence of the Great Perfection Snow Lion Publications? Dalai Lama? SnowLionPublications? DalaiLama? Substores-UnknownASINs-35 Subjects-Nonfiction-Philosophy-Eastern-Buddhism-Tibetan? Subjects-Religion&Spirituality-Buddhism-Tibetan? Subjects-Religion&Spirituality-Authors,A-Z-(D)-Dalai,Lama? War Variations (Sun and Moon Classics) Sun & Moon Pr? Amelia Rosselli? Lucia re Vangelisti? Paul Vangelisti? Sun&MoonPr? AmeliaRosselli? LuciareVangelisti? PaulVangelisti? Substores-UnknownASINs-35 Subjects-Literature&Fiction-Poetry-General? Subjects-Literature&Fiction-Poetry-SingleAuthors-ContinentalEuropean? Subjects-Literature&Fiction-WorldLiterature-Italian? Sas Technical Report P-196, Sas/Graph Software Map Data Sets, Release 6.06 Sas Inst? SasInst? undefined undefined Proceedings of the 15th Annual Sas Users Group International Conference Nashville, Tennessee, April 1-4, 1990 Sugi 15 Sas Inst? SasInst? undefined undefined The Lost Boy Health Communications Audio? David J. Pelzer? HealthCommunicationsAudio? DavidJ.Pelzer? Substores-UnknownASINs-35 Subjects-Biographies&Memoirs-Memoirs? Subjects-Parenting&Families-FamilyRelationships-DysfunctionalRelationships? Dorit in Lesbos (Sun and Moon Classics) Sun & Moon Pr? Toby Olson? Sun&MoonPr? TobyOlson? undefined undefined Three Lives (Sun and Moon Classics) Sun & Moon Pr? Gertrude Stein? Sun&MoonPr? GertrudeStein? undefined undefined Bathers (Sun and Moon Classics) Sun & Moon Pr? Robert Steiner? Sun&MoonPr? RobertSteiner? Substores-UnknownASINs-35 Subjects-Literature&Fiction-General-Contemporary? The Lost Boy Hci? David J. Pelzer? Hci? DavidJ.Pelzer? Substores-UnknownASINs-35 Subjects-Biographies&Memoirs-General? Subjects-Biographies&Memoirs-Memoirs? Subjects-Parenting&Families-FamilyRelationships-DysfunctionalRelationships? Sas/Assist Software Changes and Enhancements Release 6.07 (Sas Technical Report P-233) Sas Inst? SasInst? Substores-UnknownASINs-35 Subjects-Computers&Internet-OperatingSystems-General? Subjects-Computers&Internet-General? Other Losses The Shocking Truth Behind the Mass Deaths of Disarmed German Soldiers and Civilians Under General Eisenhower's Command Prima Pub? James Bacque? PrimaPub? JamesBacque? Substores-UnknownASINs-35 Subjects-History-Americas-UnitedStates-20thCentury-WorldWarII-General? Subjects-History-Europe-Germany-General? Subjects-History-Military-General? Sas Technical Report P-256, Sas/Stat Software The Modeclus Procedure, Release X Sas Inst? SasInst? undefined undefined Sas Companion for the VSE Environment, Version 6 Sas Inst? SasInst? Substores-UnknownASINs-35 Subjects-Computers&Internet? Subjects-Science-Mathematics-Applied-Probability&Statistics? Licorice Chronicles (Sun and Moon Classics) Sun & Moon Pr? Ted Greenwald? Sun&MoonPr? TedGreenwald? Substores-UnknownASINs-35 Subjects-Literature&Fiction-Poetry-General? Art Po Tique (Green Integer Books, 36) Green Integer Books? Olivier Cadiot? GreenIntegerBooks? OlivierCadiot? Substores-UnknownASINs-35 Subjects-Literature&Fiction-Poetry-General? Sas Technical Report P-243, Sas/Stat Software The Genmod Procedure, Release 6.09 Sas Inst? SasInst? Substores-UnknownASINs-35 Subjects-Science-Mathematics-Applied-Probability&Statistics? Sas Technical Report P-251, Changes and Enhancements to the Sas System, Release X, for the Open Vms Environment Sas Inst? SasInst? undefined undefined Puddingstone (New American Fiction Series) Sun & Moon Pr? Mark Mirsky? Sun&MoonPr? MarkMirsky? undefined undefined Aurelia (Sun and Moon Classics) Sun & Moon Pr? Gerard De Nerval? Monique Di Donna? Sun&MoonPr? GerardDeNerval? MoniqueDiDonna? Substores-UnknownASINs-35 Subjects-Literature&Fiction? Chicken Soup for the Laughing Soul 101 Stories to Touch the Heart and Tickle the Funny Bone (Chicken Soup Series) Health Communications Audio? Jack Canfield? Mark Victor Hansen? 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第９場 ペリコール それからドン・アンドレス、その後三人従姉妹 【ラ・ペリコール】 （ひとり） ああ！ ピキーヨ！可哀そうな ピキーヨ！…あんたは何て言うのかしら この手紙を受け取った時？… （彼女は立ち上がり手紙を手にして再びそれを読み始めた） ＜歌＞ 恋する人 あたし誓うわ あんたを愛していると 心の底から だけど 本当に 貧乏は残酷よ そしてあたしたちにはあまりにも災いが多いの あんたも分かってちょうだい こんなこと 続けていられないって その方が良いかもね… （ああ！あんたを愛しているのに！） その方が良いかも お別れした方が！ お互いに優しくしてられると思う 食べるパンもないっていうのに？ どんな喜びが期待できるっていうの 飢えて死にそうな時に愛し合うことで？ あたしは弱いのよ 女だから そして いつの日か あたしが 最後の息をつくときにも 私の愛する魂は、 愛の一押しを信じてる… この言葉が残酷だって あたしも分かってる…でもどうすればいいの？… 大事なことを言うけれど 信じてね あたしの貞節は あんたを愛してるわ！…あたしが夢中なのは あんただけよ！…信じてちょうだい… では署名するわ：ラ・ペリコール あんたを愛してるのに もうこれ以上はダメなの！… ドン・アンドレスが彼の小さな屋敷の戸口のところに現れる 手にピアストル札の財布を持っている 【ドン・アンドレス】 さあ これを ほら！ 【ラ・ペリコール】 何持って来たの？… 【ドン・アンドレス】 ほれ 肖像画が何枚か入っておるぞ （彼は彼女に財布を渡す） 【ラ・ペリコール】 すごいわ…じゃあ今すぐ呼んでね… 誰か来るように 【ドン・アンドレス】 （左に向かって呼びかける） おい！…居るか！… 三人従姉妹！… （３人従姉妹が入ってくる） 【グァダレーナ】 （笑いながら） ここですわ お医者さま ここにおります！ 【ドン・アンドレス】 （ペリコールを指して） 用があるのはこの子の方だ 【ベルギネッラ】 （笑いながら） 分かりましたわ お医者さま 【ドン・アンドレス】 何でそんな風に笑うのだ？ 【マストリッラ】 （笑いながら） いいえ 何でも お医者さま 決して何でもございません！… 【ラ・ペリコール】 （３人従姉妹に向かって） 見て、ここに手紙が… （ドン・アンドレスに） 聞かないで頂いた方があたしは嬉しいんですけど 【ドン・アンドレス】 （熱心に） では離れていよう 愛し子よ…あちらにおるからな… （彼は右手に去って行く） 【ラ・ペリコール】 （手紙をグァダレーナに渡して 三人の従姉妹に） これを この手紙をたった今 私と一緒に歌ったあの大柄でハンサムな少年に渡して…それから…一緒にこれも渡して下さるかしら… （彼女はまた ピアストル札の入った財布も渡す） 【ドン・アンドレス】 （近づいて） さあ 夕食などいかがかね？ 【ラ・ペリコール】 （ピキーヨが去って行った方を見て 独白） ああ！今にでも もし彼が戻ってきたら…だけど戻ってこないのよ…晩ごはんに行きましょ 戻ってこないんだから！… （彼女は機械的にゴザの四隅を折りたたみ 運んでいく支度をする） 【ドン・アンドレス】 さて、そなたはいったいどうするかね？ 【ラ・ペリコール】 ああ！ （彼女はベンチの近くにゴザを放り出し、小さな屋敷にドン・アンドレスと入っていく） 第１０場 マストリッラ、グァダレーナ、ベルギネッラとピキーヨ。 【グァダレーナ】 私たちは手紙を届けるように頼まれて お金の入った財布も託されたわ！…どうすれば良いと思う 従姉妹たち？ 【ベルギネッラ】 でも それってすごく簡単なことじゃないかしら 【マストリッラ】 他にどうしようもないじゃないの…手紙はちゃんと渡してあげなくちゃ… 【グァダレーナ】 それは間違いないわ！ 【ベルギネッラ】 お財布の方はどうするの… 【マストリッラ】 それは預かっておいた方が良いんじゃない 【グァダレーナ】 （右を指して） 来たわよ！ 奥の右手からピキーヨが戻ってくる ヤケッパチの様子で帽子を目深に被って かろうじて聞こえる声で歌をつぶやいている 【ピキーヨ】 ２マラヴェディだぞ …たったの！ ２マラヴェディ！それでも一人はお恵みくれたってことだけど…可哀想なペリコール！…こんなこと本当に起こして伝えても良いんだろうか？…ところで！…彼女はどこにいるんだろう？… 【ベルギネッラ】 （近づいて） イケメンの歌手ね！… 【マストリッラ】 （同じように） あなたへの手紙を預かってるのよ イケメンの歌手さん 【ピキーヨ】 手紙？ 【グァダレーナ】 （手紙を渡す） そう 手紙 ちょうど今ここにいた人があなたに渡すように私たちに頼んだのよ 【ピキーヨ】 （手紙を見て 独白） ああ！神さま！…これは！いなくなった以上の事態では！… （グァダレーナはピキーヨの左に移る） 【マストリッラ】 言ってご覧なさい イケメンの歌手さん…何かを食べたいのなら？… 【ベルギネッラ】 恥ずかしがらないで 【グァダレーナ】 分かってるわ 代金のことは言わないで… 【ピキーヨ】 ご親切ありがとう…だけど本当に 今ぼくは食べる気になれないんです…別の時にできれば もしよければ別の時に！ 三人従姉妹は居酒屋に戻る - オーケストラは次のシーンのために手紙のモチーフを弱音で演奏している 第１１場 【ピキーヨ】 （一人 手紙の一節を読む） あんたを愛してるわ！…あたしが夢中なのは あんただけよ！…信じてちょうだい… では署名するわ：ラ・ペリコール あんたを愛してるのに もうこれ以上はダメなの！… これは驚きだ！…哀れなピキーヨは最後の歌を歌ったということなのか！ （手紙を再び読む） 大事なことを言うけれど 信じてね あたしの貞節は ぼくは君なしではいられないんだ！…君も分かってるだろう どれほど君を愛しているのかを！…ああ！ ペリコール！ ペリコール！… （彼はあたりを見回しペリコールのギターを見つけてその紐を外す） 紐だ…いいところにあるな （彼は居酒屋に行き柱の一つに大きな釘があるのを見つける） 釘だ！これはいい…脚立もあるぞ… （彼は脚立を持ち上げ 釘の下に置く） そこに…ぼくの必要なすべてのものがある… （彼は脚立に登り 紐で輪を作ってそれを首の周りに掛ける） これで脚立をひと蹴りさえすれば…すごく簡単なことだ…だけどちょっと微妙だな だが…やるぞ！… １！ 2！… 3！… （彼は動かない） 確かに これは微妙だ…これはまさに ビリヤードの最後の一打だ…アマチュアはみんな言うんだろうな これが最も困難なところだって…よしやるぞ！… パナテラスが突然居酒屋から出てきてうっかり脚立にぶつかって倒す ピキーヨは吊られるが 紐は非常に弾力があって伸びたため ピキーヨはパナテラスの背面に落ちる パナテラスは叫び声を上げる 第１２場 ピキーヨ パナテラス 三従姉妹 【ピキーヨ】 （呆然としてパナテラスに支えられ） ああ！神さま！ああ！神さま！… 【パナテラス】 おい！誰か！…来てくれ！… （三人従姉妹が駆け寄ってくる ベルギネッラは椅子を取ってその上にピキーヨを座らせる） この男…そこで…首をくくろうとしておったぞ！… 【グァダレーナ】 （あわてて） ああ！それは私たちのせいじゃないです 旦那…私たちが彼に渡したのは… 【パナテラス】 まあ良い！まあ良い！… （ピキーヨに） ちょっといいかね…君は結婚してる？ 【ピキーヨ】 （まだぼんやりして） へっ？… 【パナテラス】 君は結婚してるのかね？ 【ピキーヨ】 してませんよ 【パナテラス】 （三従姉妹に） 彼を連れて行って 正気に戻してやってくれ…飲み物を何か与えてな…我輩は彼と話すことにしよう （ベルギネッラとグァダレーナはピキーヨと助け起こし彼を支える） 【ピキーヨ】 （連れられて というよりはグァダレーナとベルギネッラによって運ばれて行きながら） 脚立を蹴飛ばしたのは誰なんだ？…それはぼくじゃないぞ！…それはぼくじゃないぞ！… 彼は居酒屋の中へグァダレーナ、ベルギネッラと一緒に入る - マストリッラは脚立を元の場所に戻す ドン・アンドレスが小さな屋敷から出て来る 第１３場 マストリッラ パナテラス ドン・アンドレス それからドン・ペドロ その後グァダレーナそして最後にベルギネッラ 【ドン・アンドレス】 （元気よくマストリッラに） マラガ酒だ！…急いで この娘にだ マラガを持ってこい！ 【マストリッラ】 （笑いながら） はい お医者さま （彼女は居酒屋に入っていく） 【ドン・アンドレス】 （パナテラスへ） おい！伯爵 見つけたか？… 【パナテラス】 ええ 多分… 【ドン・アンドレス】 ああ！わが友よ！…あの娘は天使だ！…慎ましく 分別がある…それに食欲もな！…例えば わしは彼女に結婚を申し込んだのだが 彼女はきっぱりと拒否したのだ…しかし マラガの二、三杯も飲ませれば決意も覆えせよう 【パナテラス】 私もぐずぐずしてられません 私も男の方を決意させねばなりませんから 【ドン・アンドレス】 同時にそなたに頼むぞ あの給仕女に急いでマラガ酒を持ってくるようにとな… （パナテラスは居酒屋に入って行く - ドン・ペドロが奥の家から突然出て来る） 【ドン・ペドロ】 （叫ぶ） ポルト酒だ！…すぐに ポルトだ！… 【ドン・アンドレス】 （彼に向かって） こら！市長 公証人はどうしたのだ？… 【ドン・ペドロ】 幸運でした 殿…彼は偶然在宅でした…そして私は見つけたのです 彼が同僚の一人とゲームをしていたのを 【ドン・アンドレス】 何と幸運な偶然だ！ 【ドン・ペドロ】 交渉してみたんです…しかし、彼らは乗り気ではありませんでした…今日はお祝いの日だからと言うのが理由です そんなわけで…ポルト酒をエサに交渉成立させたんです マストリッラがマラガを持って居酒屋から出て来る 【マストリッラ】 マラガのご注文は！… 【ドン・ペドロ】 すまないが 別嬪さん ポルト酒をわしに持ってきてはくれぬか 【マストリッラ】 今すぐに 閣下 （居酒屋のドアに向かって叫ぶ） 市長さまにポルトを！ 【グァダレーナ】 （居酒屋の中で） お待ちを！お待ちを！ 【ドン・アンドレス】 （マストリッラへ） さて 急いで持って来い 彼は舞台を横切ってマラガ酒を持ったマストリッラと一緒に小さな屋敷に戻る - 居酒屋からパナテラス出て来る 【パナテラス】 この店には出せる酒はもう残っておらん！ 【ドン・ペドロ】 誰か見つけられましたか ミゲル？ 【パナテラス】 神様ですらこのようなことを想像することができたろうか！…首を吊ること以外に何も望ななかった男がいたのだ！…私はそいつに結婚するように頼んだ…幸いなことにマデイラ酒の力で…（マストリッラがドン・アンドレアスの屋敷から出て来る） お嬢さん マデイラ酒を持ってきてくれないか… 【マストリッラ】 はい ムッシュー （彼女は居酒屋に入って行く - グァダレーナがポルト酒を持って現れる） 【グァダレーナ】 どちら様です このポルトは？…どちら様？ 【ドン・ペドロ】 ここだ お嬢さん ここだ （彼は奥の屋敷にグァダレーナと一緒に入る） 【パナテラス】 （居酒屋のドアに向かって叫ぶ） 何でも良い マデイラ並みに強いやつだ ないのか？…何でも良い 強いやつを！ （ドン・アンドレスが彼の屋敷から出て来る） 【ドン・アンドレス】 シェリー酒を頼む…わしは気にせんぞ 多少のシェリーの飲み過ぎは… 【パナテラス】 いかがですか 殿？ 【ドン・アンドレス】 （少し興奮して） おお！うまく行っておるぞ 友よ…上出来じゃ！…だが彼女はまだ恥じらいを持っておる…乙女のな…それでもこのシェリー酒に浸したビスキュイを使って… （奥の屋敷からグァダレーナが出て来る） お嬢さん シェリーを頼む… 【グァダレーナ】 すぐに ムッシュー （彼女は居酒屋に入る ドン・アンドレスは右に戻る） 【ドン・アンドレス】 （パナテラスへ） 分かっておろうが もしその男の決心の助けになるのであれば そやつに告げるが良い 結婚すればそなたはマンサナレーズ公爵にしてトバゴ伯爵となれるのだと 【パナテラス】 仰せの通りに 殿 【ドン・アンドレス】 そやつに言ってやれ…もしも爵位が役に立たなくとも 少なくとも害にはならんだろうと 【マストリッラ】 （マデイラを持って居酒屋から出てくる） ここにマデイラが… 【グァダレーナ】 （同様に、シェリー酒を持って） ここにシェリーが！ 【パナテラス】 （マストリッラに向かって） ここだ マデイラは！ 【ドン・アンドレス】 ここだ シェリーは！ （ドン・アンドレスはグァダレーナと彼の小さな屋敷に入り、パナテラスは居酒屋へマストリッラと入る - ドン・ペドロが少々酔って奥の家から出て来る） 【ドン・ペドロ】 アリカンテ酒を すぐにだ！彼の同僚はアリカンテをお好きなようだ… 【ベルギネッラ】 （居酒屋の戸口に現れて） ムッシュー ご注文は？… 【ドン・ペドロ】 アリカンテを 別嬪さん！… 【ベルギネッラ】 すぐに ムッシュー （彼女は戻って行く） 【ドン・ペドロ】 酒が全くあそこには残ってないのだ… （ドン・アンドレスのところを離れて行くグァダレーナに） 考えても見よ 従姉妹よ 全くないのだぞ…彼らは飲みたいものを皆飲んでしまうのだ だが頼みを承諾してもらうためなら…お前も歩いて行ってくれ！ （彼はグァダレーナの腰を触るが 彼女は笑いながら居酒屋の中に入って行く そのときアリカンテの瓶を持ってベルギネッラが現れる） 【ベルギネッラ】 アリカンテです ムッシュー！ 【ドン・ペドロ】 早く すぐに持って来い 彼は奥の家にベルギネッラと一緒に入って行く - ちょうど同時にドン・アンドレスとパナテラスはひとりは右から ひとりは左から かなり酔った状態で現れる 【ドン・アンドレス】 （彼の屋敷から出てきて） どうかね 友よ？ 【パナテラス】 （居酒屋から出てきて） いかがでしたか 殿？ 【ドン・アンドレス】 （喜んで） あの娘は同意したのだ 友よ 同意したのだ！…しかし ずいぶん苦労したぞ！… 【パナテラス】 私も苦労致しました！…ですが後悔はしておりません 見つかったのですから… 【ドン・アンドレス】 夫となる男は決まったのか？ 【パナテラス】 完全に決定です…ですが奴の妙なこだわりを克服するためにかなりしこたま飲ませねばなりませんでした 奴はもう十歩とまともには歩けないはずです 【ドン・アンドレス】 そうであるか？…結婚式はここで行うぞ 【パナテラス】 ここでですか？ 【ドン・アンドレス】 ここでだ （奥の家から出て来たベルギネッラに） そなたたちの友人や知人にアナウンスするのじゃ 居酒屋のマドモワゼルたちよ そして伝えてくれ もしこの婚礼を楽しみに見に来るなら 披露宴はタダじゃ 時間通りに来さえすれば良いと 【ベルギネッラ】 お伝えしますわ お医者さま！ 彼女は奥に行き呼びかけるような仕草をすると それから居酒屋に戻る 奥の屋敷からドン・ペドロが出て来る 前よりも少し酔っている 非常に陽気である 【ドン・アンドレス】 さて で 公証人は？… ドン・ペドロは笑顔で頷き 彼らが最終的に合意に達したことを示す 笑いながら彼はパナテラスに近づくと腹にパンチを食らわす - ドン・アンドレスは彼の屋敷に戻る 【パナテラス】 何をする ムッシュー！… 【ドン・ペドロ】 ミゲル 許してください 私は死にそうだったのです！ 第１４場 ドン・ペドロ パナテラス ペルー人やインディオの群衆が四方から来る 三人従姉妹は居酒屋から出て来る その後二人の公証人 ドン・アンドレスとラ・ペリコール そして最後にピキーヨ フィナーレ 【コーラス】 おっと！そら！… おい！そこだ さあ…押すんじゃない 言われたんだ 楽しめと 二人が結婚するんだから その前途を祝して飲めと 金は払わんでいいから おっと！そこだ みんな来るぞ 二人の健勝を祝して飲もう！ ドン・ペドロが二人の公証人を連れてくる 彼らは奥の家の戸口のところに現れた 彼らの事務官たちが続く 【グァダレーナ】 ここに公証人が！…静かにしましょ！ 二人の公証人が ここに来るわ！ 【ベルギネッラ】 二人の事務官を伴って 【マストリッラ】 （笑いながら） ああ！もうすっかり千鳥足ね！ 【三従姉妹】 （笑いながら） ああ！もうすっかり千鳥足ね！ 【コーラス】 （同じように） ああ！もうすっかり千鳥足！ 二人の公証人がそれぞれドン・ペドロに腕を支えられながら入ってくる - その間人々は歌う：「ああ！もうすっかり千鳥足ね！」などとジグザグの足取りのドン・ペドロに語りかけている 三人従姉妹は左に移動する 【ふたりの公証人】 （ドン・ペドロに） 腕でしっかり支えていてください 揺さぶらないでくださいよ！ 【最初の公証人】 シェリーはかなりの年代ものでしたな 【二人目の公証人】 マラガも良かったですよ 【最初の公証人】 あなたがおっしゃってるのはマデイラでは？ 【二人目の公証人】 渋味のワインですよ わが友よ！ 【最初の公証人】 アリカンテは非常に辛口でしたな 【二人目の公証人】 私はとビスキュイと一緒に頂きましたよ 【最初の公証人】 それにボルトも！何という御馳走！ 【二人目の公証人】 ウィ だがおかげでフラフラですな 【公証人たち】 （ドン・ペドロに） 腕でしっかり支えていてください 揺さぶらないでくださいよ！ 【ドン・ペドロ】 （彼らを放して） さて みなさん 腕を放して 事務官の腕に掴まってくださいよ （事務官たちは彼らの腕を支える） 【三従姉妹】 （公証人たちが事務官に凭れながら舞台に戻ってくるのを見て） ああ！もうすっかり千鳥足ね！ 【コーラス】 ああ！もうすっかり千鳥足！ 【ドン・アンドレス】 （屋敷の外で ドン・ペドロに） さあ 準備は良いか？ 【ドン・ペドロ】 欠けたものはございません 【ドン・アンドレス】 （ペリコールを連れて彼の屋敷から出て来る 彼女はオレンジ色の花の冠と花束と長いベールで覆われている） これが花嫁だ！ 【コーラス】 これが花嫁！ 【ドン・アンドレス】 少しばかり酔っておる だがそれがとても良く似合っておるのじゃ （ペリコールは実際に少し酔っているようである） 【ラ・ペリコール】 I ああ！何てすてきな晩ごはんに あたしありつけたのかしら！ それに何て高級なワイン たくさん飲んじゃったわ…ええ とってもたくさん まちがいなく あたし今 ちょっぴり酔っぱらっちゃってるの… でも シーッ！ 誰にも言わないでね シーッ！ リフレインの間に彼女は少しよろめきながらドン・アンドレスの右側に移る 三人従姉妹は右手に下がり パナテラスはドン・ペドロと一緒になって左に下がる II あたしの舌が ちょっとろれつが回んなくても あたしがジグザグにしか歩けなくても そしてあたしの目がトロンとしてても ちっとも驚くことはないわ だって… ちょっぴり酔っぱらっちゃってるんだもの… でも シーッ！ 誰にも言わないでね シーッ！ 【ドン・アンドレス】 この娘は天使だな 諸君！ 【ラ・ペリコール】 （ドン・アンドレスに） 教えてちょーだい お願い あたし 何をすればいいの？… 【ドン・アンドレス】 嬢ちゃん わしはお前を結婚させるのだ 【ラ・ペリコール】 あたしが！絶対ダメ！ 【ドン・アンドレスとパナテラス】 たった今したいと言ったばかりではないか… 【ラ・ペリコール】 ええ でもそれは空腹だったからよ！ 食事が済んだから セニョール 今は話が別なの 【ドン・アンドレス】 お前 権力者に 逆らうつもりなのだな！ 【ラ・ペリコール】 逆らうわ！… （彼女は右に行く 従姉妹たちが戻ってくる） 【パナテラス】 （小声でドン・アンドレスに） 相手は決まりましたぞ 【ドン・アンドレス】 （パナテラスへ） 花婿を呼べ （彼はペリコールに近づく） 【ドン・ペドロ】 （左を見て） あそこに！やって来ます！ ピキーヨが居酒屋の外に出てくる かなり酔っている ペリコールは彼だと分かったが 彼の方は誰も何も見分けがつかず 何が起こっているか理解することすらできなくなっている 【コーラス】 （小声で） ああ！もうひとりの方もかなり酔ってるぞ だけどこっちも同じくらい酔ってる これ以上酔えないってくらいに酔ってる 他の皆もすっかり酔ってる！ パナテラスはピキーヨの右に移る 【ラ・ペリコール】 （独白） あれは！.… ピキーヨじゃないの！… 【ドン・アンドレス】 何と言った 可愛い娘よ？ 【ラ・ペリコール】 怒らないで…あたし結婚するから 【ピキーヨ】 みなさん ごあいさつしてまず申し上げます… どうしてかわかんない…けど ぼくはかなりハイになってます… よっぱらってるから ぼくは酔ってまーす… でも やるべきことはやりましょう 結婚するんでしたよね たしか だれとだかは知らないけど 何でだかもわかんないけど！ でもぼくの花嫁はどこにいるんです？ 【三従姉妹】 （ペリコールを指して） あそこにいるでしょ 【パナテラス】 （ピキーヨに） 見えんのかね？ （ドン・アンドレスがペリコールの方に進み出る 三人従姉妹は右手に下がる） 【ピキーヨ】 ぼくには全く何も見えないよ （パナテラスはペリコールの方にピキーヨを押しやる） そこにいるのかい？ 【ラ・ペリコール】 （顔の上にベールかぶせて） あたしはここよ 【ピキーヨ】 （ペリコールに） ちょっと言わせてもらっていいですかねえ 特別な話を一言二言？ （彼は舞台の前にペリコールを連れてくる） ぼくはあなたに言っておかなくちゃいけないんです マダム 良き夫として ぼくは別の女性がとても好きで あなたなんか全然好きじゃない！… あなたのことなんか 誓いますけどね この心の中には少しもない ぼくはあなたを騙すでしょう 間違いなく 幸せに！ 【ラ・ペリコール】 あんたがそうするなら あたしもするわ… あんたがあたしを奪うのなら あたしはそれを取り返す 【ピキーヨ】 まちがってるよ あなた！… 【ラ・ペリコール】 あんたも分かるでしょうよ 【一緒に】 まあ まずは始めましょう！ 【ドン・アンドレス】 全く！…何て式だ！… 急いでこいつらを結婚させてしまえ！ 【コーラス】 さあ急ぎましょう 彼らを結婚させるのです！ （双方の聖職者が舞台の真ん中にテーブルを置く） 【ラ・ペリコール】 （ピキーヨに） あたしに手を差し伸べてよ 愛しい旦那さま！ 【ピキーヨ】 （彼の手を差し出して） 差し伸べよう 寛大な心で 【ラ・ペリコール】 あんた 少し酔っているみたいよ 【ピキーヨ】 花嫁よ そうなんだ 【ラ・ペリコールとピキーヨ】 わたしたちふたり めでたく 素敵な家庭を築きましょう 【ドン・アンドレス】 （独白） 彼女は彼のものだ 法律に則って 従って 彼女はわしのものなのだ！ 【パナテラス】 （独白） 彼の情熱をかき立てよう 我輩の地位を守るために 【ドン・ペドロ】 （独白） ああ！この結婚式が 私に昇進をもたらすのだ！ 【公証人たち】 とっとと彼らを結婚させよう その後には きっとまた飲めるだろう 【三従姉妹】 とっとと彼らを結婚させて その後で 私たちはあなた方にそのお飲み物をお約束しますわ 【コーラス】 すばらしい結婚式を われらは見てるのだ ここで！ 楽しい家庭を きっと築くのだろう！ 何と人生は素晴らしいんだ ワインが旨いときには！ 脳みその中に 歌のメロディがガンガン響くぞ！ （リフレインに乗って二人の公証人がテーブルの後ろに立つ ドン・アンドレスがペリコールを パナテラスがピキーヨをそこまで導いて行く これはかなりの困難を伴った この新郎新婦の状態では） 【最初の公証人】 （ピキーヨに） 答えなさい…汝は 夫として… 汝は妻となすか この女を？ 【ピキーヨ】 ウィ ウィ ウィ ウィ！ 【男たちのコーラス】 ウィ ウィ ウィ ウィ！ 【二人目の公証人】 （ペリコールに） 答えなさい 汝も マダム 汝は この男を 夫となすか？ 【ラ・ペリコール】 ウィ ウィ ウィ ウィ！ 【女たちのコーラス】 ウィ ウィ ウィ ウィ！ （聖職者たちがテーブルから離れるのが見える） 【公証人たち】 （非常に喜んで） これで終わったぞ わが愛しの友よ 法に従い 汝らは結ばれた！ 【コーラス】 法に従い 君らは結ばれた！ （公証人は左に去る） 【コーラス】 すばらしい結婚式を われらは見てるのだ ここで！ 楽しい家庭を きっと築くのだろう！ 何と人生は素晴らしいんだ ワインが旨いときには！ 脳みその中に 歌のメロディがガンガン響くぞ！ 【ラ・ペリコール】 （ピキーヨに） あたしに手を差し伸べてよ 愛しい旦那さま 【ピキーヨ】 差し伸べよう 寛大な心で 【ラ・ペリコール】 あんた 少し酔っているみたいよ 【ピキーヨ】 花嫁よ そうなんだ 【コーラス】 めでたい！めでたい！結婚だ！ 万歳 お二人さん！ 【ドン・アンドレス】 （パナテラスと真ん中に立って 小声で） 今だ 別々にして こいつらを宮殿に連れて行け！ 【パナテラス】 （小声で） 別々に？ 【ドン・アンドレス】 （小声で） もちろんだ （ドン・アンドレスはペリコールの左に パナテラスはピキーヨの左側に戻る） 【コーラス】 時間が遅くなってきた 夜は暗いぞ 彼らを家に連れて戻ろう！ さあ お行きなさい…すべて信じる道を あなた方二人が共に幸せになりますように！ そこへやって来たのは 右と左から二つの立派な駕籠 それぞれ4人によって支えられている ドン・アンドレスは左側にペリコールを乗せ ピキーヨは右側にパナテラスによって押しこまれる その後彼らの肩の上に乗って駕籠は去って行く 【ピキーヨ】 （大声でインディオの若者の歌のフレーズを繰り返す） 一年後、二人の愛情の証 パラソルの下で眠っている幼な子が 【ラ・ペリコール】 そしてこの子の両親はうっとりと歌うの： この子は立派に育つでしょう スペイン人なのだから！ 【二人で】 この子は立派に育つでしょう スペイン人なのだから！ 【全体のコーラス】 この子は立派に育つでしょう スペイン人なのだから！ ふたつの駕籠は正反対の方向に去って行く SCÈNE IX La Périchole, puis Don Andrès, et ensuite les Trois Cousines. LA PÉRICHOLE seule Ah! Piquillo! pauvre Piquillo!... que vas-tu dire, quand tu recevras cette lettre?... Elle se lève, sa lettre à la main, et se met à la relire. Morceau «O mon cher amant, je te jure Que je t aime de tout mon coeur; Mais, vrai, la misère est trop dure, Et nous avons trop de malheur! Tu dois le comprendre toi-même, Que cela ne saurait durer, Et qu il vaut mieux... (Dieu! que je t aime!) Et qu il vaut mieux nous séparar! Crois-tu qu on puisse être bien tendre, Alors que l on manque de pain? A quels transports peut-on s attendre, En s aimant quand on meurt de faim? Je suis faible, car je suis femme, Et j aurais rendu, quelque jour, Le dernier soupir, ma chère âme, Croyant en pousser un d amour... Ces paroles-là sont cruelles, Je le sais bien... mais que veux-tu?... Pour les choses essentielles, Tu peux compter sur ma vertu. Je t adore!... Si je suis folle, C est de toi!... compte là-dessus... Et je signe la Périchole, Qui t aime, mais qui n en peut plus!...» Paraît Don Andrès sur le seuil de sa petite maison. Il tient un sac de piastres à la main. DON ANDRÈS Me voilà, moi! LA PÉRICHOLE Avec les?... DON ANDRÈS Oui, avec les petits portraits. Il lui donne le sac. LA PÉRICHOLE C est très bien... Appelez, maintenant... faites venir quelqu un. DON ANDRÈS passant à gauche et appelant Holà!... hé!... les trois cousines!... Entrent les trois cousines. GUADALENA riant Nous voici, monsieur le docteur, nous voici! DON ANDRÈS montrant le Périchole C est à madame qu il faut parler. BERGINELLA riant C est très bien, monsieur le docteur. DON ANDRÈS Qu est-ce que vous avez à rire, à la fin? MASTRILLA riant Mais rien, monsieur le docteur, rien absolument!... LA PÉRICHOLE allant aux trois cousines Tenez, voici une lettre... à Don Andrès Je présume que vous allez me faire plaisir de ne pas écouter. DON ANDRÈS avec empressement Je m éloigne, mon amour... je m éloigne... Il se retire à droite. LA PÉRICHOLE aux trois cousines, en donnant la lettre à Guadalena Tenez, voici une lettre que vous remettrez à ce grand beau garçon qui, tout à l heure, a chanté avec moi... Tenez... vous lui remettrez em même temps... Elle lui donne aussi le sac de piastres. DON ANDRÈS se rapprochant A présent, si nous allions dîner? LA PÉRICHOLE à part, en regardant le côté par lequel Piquillo est sorti Ah! maintenant encore, s il revenait... mais, puis qu il ne revient pas... Allons dîner, puisqu il ne revient pas!... Elle reprend machinalement son tapis par les quatre coins et se dispose à l emporter DON ANDRÈS Eh bien, qu est-ce que vous faites donc? LA PÉRICHOLE Ah! Elle rejette le tapis près du banc et entre avec Don Andrès dans la petite maison. SCÈNE X Mastrilla, Guadalena, Berginella, puis Piquillo. GUADALENA On nous a chargées de remettre une lettre et l on nous a donné un sac d argent!... Comment entendez-vous cela, mes cousines? BERGINELLA Mais il me semble que c est très simple. MASTRILLA Il n y a pas deux façons d entendre la chose... Il faut remettre la lettre très exactement... GUADALENA Sans doute! BERGINELLA Et quant au sac d argent... MASTRILLA Il faut le garder, pour la commission. GUADALENA passant à droite Voilà! Rentre par le fond à droite Piquillo, désespéré, le chapeau enfoncé sur les yeux, murmurant son refrain d une voix qu on entend à peine. PIQUILLO Deux maravédis... en tout! deux maravédis! et encore, il y a un qui a une façon de sonner... Pauvre Périchole!... Est-ce bien la peine de la réveiller, pour lui dire?... Tiens!... où donc est-elle?... BERGINELLA s approchant Beau chanteur!... MASTRILLA de même Nous avons une lettre pour vous, beau chanteur. PIQUILLO Une lettre? GUADALENA lui donnant la lettre Oui, une lettre qu une personne, qui était ici tout à l heure, nous a priées de vous remettre. PIQUILLO après avoir parcouru la lettre, à lui-même Ah! mon Dieu!... Eh bien! il ne manquait plus que cela!... Guadalena passe à gauche de Piquillo. MASTRILLA Dites-nous, beau chanteur... Si vous avez envie de consommer quelque chose?... BERGINELLA Ne vous gênez pas. GUADALENA Et, vous savez, pour le prix, nous n en parlerons pas... PIQUILLO Je vous remercie bien de votre honnêteté... mais là, vrai, pour l instant, je n ai pas le coeur à la consommation... Ce sera pour une autre fois, si vous le voulez bien, ce sera pour une autre fois! Les trois cousines rentrent dans leur cabaret. – L orchestre joue piano le motif de la lettre pendant la scène qui suit. SCÈNE XI PIQUILLO seul, relisant un passage de la lettre «Je t adore!... Si je suis folle, C est de toi!... compte là-dessus... Et je signe la Périchole, Qui t aime, mais qui n en peut plus!...» C est très bien!... et je pense que maintenant le pauvre Piquillo a chanté sa dernière chanson! Relisant la lettre «Pour les choses essentielles, Tu peux compter sur ma vertu.» Mais certainement j y compte!... et tu vas bien voir comme j y compte!... Ah! Périchole! Périchole!... Il regarde autour de lui, aperçoit la guitare de la Périchole et en détache la corde. Une corde... voici qui en tiendra lieu. Il va au cabaret et avise un gros clou à l un des piliers. Un clou! c est très bien... un escabeau, maintenant... Il prend un tabouret et le met sous le clou. Là... j ai tout ce qu il me faut... Il monte sur le tabouret, attache le ruban au clou et se le passe autour du cou. Il n y a plus qu à donner un coup de pied dans l escabeau... ça a l air tout simple... et c est justement la chose délicate... allons!... une! deux!... trois!... Il ne bouge pas. Décidément, c est la chose délicate... C est comme, au billard, le dernier carambolage... tous les amateurs vous diront que c est la plus difficile... allons!... Panatellas sort rapidement du cabaret et heurte par mégarde le tabouret qui tombe; Piquillo se trouve pendu; la corde qui doit être très élastique s allonge et Piquillo tombe sur le dos de Panatellas, qui se met à crier. SCÈNE XII Piquillo, Panatellas, puis les Trois Cousines. PIQUILLO tout étourdi, soutenu par Panatellas Ah! mon Dieu! ah! mon Dieu!... PANATELLAS Holà! quelqu un!.. à moi!... Les trois cousines accourent; Berginella prend un tabouret sur lequel on fait asseoir Piquillo. Cet homme... il était là... en train de se pendre!... GUADALENA vivement Ah! ce n est pas notre faute, seigneur... Nous lui avons offert... PANATELLAS Bien! bien!... A Piquillo Un mot seulement... es-tu marié? PIQUILLO encore étourdi Hé?... PANATELLAS Es-tu marié? PIQUILLO Non. PANATELLAS aux trois cousines Emmenez-le chez vous, alors, et faites-le revenir à lui... donnez-lui à boire... j irai lui parler tout à l heure. Berginella et Guadalena font lever Piquillo et le soutiennent. PIQUILLO emmené, ou, pour mieux dire, emporté par Guadalena et Berginella Qui est-ce qui a donné un coup de pied dans l escabeau?... ça n est pas moi!... ça n est pas moi!... Il entre dans le cabaret avec Guadalena et Berginella. – Mastrilla remet le tabouret à sa place; Don Andrès sort de sa petite maison. Scène XIII Mastrilla, Panatellas, Don Andrès, puis Don Pedro, ensuite Guadalena, et enfin Berginella. DON ANDRÈS vivement à Mastrilla Du malaga!... Vite, la fille, apportez-nous du malaga! MASTRILLA riant Oui, monsieur le docteur. Elle entre dans le cabaret DON ANDRÈS à Panatellas Eh bien! comte, avez vous trouvé?... PANATELLAS Mais, oui, j espère... DON ANDRÈS Ah! mon ami!... cette femme, c est un ange!... Une réserve, une distinction... et un appétit!... Par exemple, quand je lui ai proposé de la marier, elle a refusé tout net... Mais j espère la décider avec deux ou trois verres du malaga. PANATELLAS Je ne perds pas de temps, alors, et je vais, moi, tâcher de décider mon homme. DON ANDRÈS En même temps, je vous en prie, dites donc à cette fille de se dépêcher avec ce malaga... Panatellas entre dans le cabaret. -- Don Pedro sort brusquement de la maison du fond. DON PEDRO criant Du porto!... tout de suite, du porto!... DON ANDRÈS allant à lui Eh bien! monsieur le gouverneur, ce notaire?... DON PEDRO J ai eu du bonheur, Altesse... Celui qui demeure là était chez lui... et je l ai trouvé en train de jouer une petite partie avec un de ses collègues. DON ANDRÈS Quel heureux hasard! DON PEDRO Je leur ai proposé l affaire... mais ils font un tas d objections... Ils disent que c est aujourd hui jour de fête et qu alors... Avec du porto j en viendrai à bout. Mastrilla sort du cabaret avec le malaga. MASTRILLA Le malaga demandé!... DON PEDRO Je vous en prie, la belle, ayez la honté de me faire donner du porto, à moi. MASTRILLA Tout de suite, monsieur. Criant à la porte du cabaret Du porto pour monsieur le gouverneur! GUADALENA dans l intérieur du cabaret Voilà! voilà! DON ANDRÈS à Mastrilla Maintenant, venez vite. Il traverse la scène et entre dans sa petite maison avec Mastrilla portant le malaga. – Panatellas sort du cabaret. PANATELLAS Pas moyen de se faire servir dans cette maison! DON PEDRO A qui en avez-vous, Miguel? PANATELLAS S il est Dieu possible d imaginer des choses pareilles!... Un homme qui ne demandait pas mieux que de se pendre!... je lui propose de se marier, et il fait des façons... Heureusement, avec du madère... Mastrilla sort de la maison de Don Andrès. Mademoiselle, je vous en prie, envoyez-moi du madère... MASTRILLA Oui, monsieur. Elle rentre dans le cabaret. – Guadalena en sort, apportant du porto. GUADALENA Pour où ça, le porto?... pour où ça? DON PEDRO Pour ici, mademoiselle, pour ici. Il entre avec Guadalena dans la maison du fond. PANATELLAS criant, à la porte du cabaret Tout ce que vous avez de plus fort comme madère, n est-ce pas?... tout ce que vous avez de plus fort! Don Andrès sort de sa maison. DON ANDRÈS Du xérès, je vous prie... je ne serais pas fâché d avoir un peu de xérès... PANATELLAS Eh bien, Altesse? DON ANDRÈS un peu ému Eh bien! ça va, mon ami... ça va très bien!... pourtant elle a encore des scrupules... des tout petits... Aussi, avec quelque biscuits trempés dans du xérès... Guadalena sort de la maison du fond. Mademoiselle, je vous en prie, du xérès... GUADALENA Tout de suite, monsieur. Elle rentre dans le cabaret, Don Andrès repasse à droite. DON ANDRÈS à Panatellas Vous savez, si ça peut vous aider à décider votre homme, annoncez-lui qu en se mariant il devient marquis du Mançanarez, comte de Tabago. PANATELLAS Je n y manquerai pas, Altesse. DON ANDRÈS Annoncez-lui ça... Si ça ne fait pas de bien, ça ne peut pas faire de mal. MASTRILLA sortant du cabaret avec le madère Voici le madère... GUADALENA de même, avec le xérès Voici le xérès! PANATELLAS allant à Mastrilla Par ici, le madère! DON ANDRÈS Par ici, le xérès! Don Andrès entre dans sa petite maison avec Guadalena, et Panatellas rentre dans le cabaret avec Mastrilla. – Don Pedro, un peu gris, sort de la maison du fond. DON PEDRO De l alicante, maintenant! il paraît que le collègue aime mieux l alicante... BERGINELLA paraissant sur la porte du cabaret Monsieur veut?... DON PEDRO De l alicante, la belle enfant!... BERGINELLA Tout de suite, monsieur. Elle rentre. DON PEDRO Ça ne va pas du tout, là dedans... A Guadalena qui sort de chez don Andrès Figurez-vous, cousine, que ça ne va pas du tout... Ils boivent tout ce qu on veut, mais, quant à consentir à ce que je leur demande... va te promener! Il prend la taille de Guadalena, qui lui échappe en riant et rentre dans le cabaret au moment où Berginella en sort, tenant une bouteille d alicante. BERGINELLA Alicante, monsieur! DON PEDRO Venez alors, venez vite. Il entre dans la maison du fond avec Berginella. – En même temps, Don Andrès et Panatellas paraissent, l un à droite, l autre à gauche, assez gris tous les deux. DON ANDRÈS sortant de sa maison Eh bien, mon ami? PANATELLAS sortant du cabaret Eh bien, Altesse? DON ANDRÈS avec joie Elle consent, mon ami, elle consent!.. mais j ai eu du mal!... PANATELLAS Moi aussi, j ai eu du mal!... je ne le regrette pas, puisque j ai réussi... DON ANDRÈS Votre homme est décidé? PANATELLAS Tout à fait décidé... Seulement, pour venir à bout des scrupules de ce drôle, il a fallu livrer une si belle bataille que je le déclare incapable de faire dix pas. DON ANDRÈS N est-ce que cela?... Le mariage aura lieu ici. PANATELLAS Ici? DON ANDRÈS Ici même. A Berginella, qui sort de la maison du fond Annoncez cela à vos amis et connaissances, mademoiselle la cabaretière, et dites-leur que, si ça les amuse de voir un mariage, un mariage pour de bon, il n ont qu à venir ici tout à l heure. BERGINELLA Je vais le leur dire, monsieur le docteur! Elle va au fond, fait des signes comme pour appeler, puis rentre au cabaret. Don Pedro sort de la maison du fond, un peu plus gris que précédemment, très gai. DON ANDRÈS Eh bien, ces notaires?... Don Pedro se contente de sourire et d incliner la tête, pour faire comprendre qu ils ont consenti enfin. Tout en souriant, il s approche de Panatellas et lui donne une tape sur le ventre. – Don Andrès est rentré dans sa maison. PANATELLAS Eh bien, monsieur!... DON PEDRO Pardonne-moi Miguel, j en mourais d envie! SCÈNE XIV Don Pedro, Panatellas, Foule de Péruviens et d Indiens arrivant de tous les côtés, les Trois Cousines, sortant de leur cabaret, puis les Deux Notaires, puis Don Andrès, puis La Périchole, et enfin Piquillo. Finale CHŒUR Holà! he!... holà! de là-bas, Venez vite... pressez le pas. On dit que, pour nous amuser, Deux personnes vont s épouser, Et qu à leur santé l on boira, Sans avoir à payer pour ça. Holà! de là-bas, venez tous Boire à la santé des époux! Don Pedro va chercher les deux notaires, qui paraissent à la porte de la maison du fond, suivis de leurs clercs. GUADALENA Voici les notaires!... paix là! Les deux notaires, les voilà! BERGINELLA Accompagnés de leurs deux clercs. MASTRILLA riant Ah! comme ils marchent de travers! LES TROIS COUSINES riant Ah! comme ils marchent de travers! LE CHŒUR de même Ah! comme ils marchent de travers! Les deux notaires sont entrés, donnant chacun le bras à don Pedro. -- Pendant que l on chante «Ah! comme ils marchent de travers, etc.,» ils décrivent et font décrire à don Pedro une marche en zigzag. Les trois cousines passent à gauche. LES DEUX NOTAIRES à Don Pedro Tenez-nous bien par le bras, Et ne nous remuez pas! PREMIER NOTAIRE Le xérès était fort vieux. DEUXIÈME NOTAIRE Le malaga valait mieux. PREMIER NOTAIRE Que dites-vous du madère? DEUXIÈME NOTAIRE Un rude vin, mon confrère! PREMIER NOTAIRE L alicante était fort sec. DEUXIÈME NOTAIRE J ai pris des biscuits avec. PREMIER NOTAIRE Et le porto! quel régal! DEUXIÈME NOTAIRE Oui, mais il me fait du mal. LES NOTAIRES à Don Pedro Tenez-nous bien par le bras, Et ne nous remuez pas! DON PEDRO les lâchant Allons, messieurs, quittez mes bras, Et prenez les bras de vos clercs! Les clercs viennent prendre leur patrons. LES TROIS COUSINES pendant que les notaires, appuyés sur leurs clercs, remontent la scène Ah! comme ils marchent de travers! LE CHŒUR Ah! comme ils marchent de travers! DON ANDRÈS sortant de sa maison, à don Pedro Eh bien, tout est-il prêt? DON PEDRO Il ne manque plus rien. DON ANDRÈS allant prendre la Périchole, qui sort de sa maison, recouverte d un long voile avec couronne et bouquet de fleurs d oranger Voici la fiancée! LE CHŒUR Voici la fiancée! DON ANDRÈS Elle est un peu lancée, Mais ça lui va fort bien. La Périchole paraît, en effet, un peu lancée. LA PÉRICHOLE I Ah! quel diner je viens de faire! Et quel vin extraordinaire! J en ai tant bu... mais tant et tant, Que je crois bien que maintenant Je suis un peu grise... Mais chut! Faut pas qu on le dise! Chut! Pendant la ritournelle, elle chancelle un peu et passe à la droite de Don Andrès; les trois cousines descendent à droite et Panatellas va rejoindre Don Pedro à gauche. II Si ma parole est un peu vague, Si tout en marchant je zigzague, Et si mon oeil est égrillard, Il ne faut s en étonner, car... Je suis un peu grise... Mais chut! Faut pas qu on le dise! Chut! DON ANDRÈS C est un ange, messieurs! LA PÉRICHOLE à Don Andrès Dites-moi, je vous prie, Ce qu il faut que je fasse?... DON ANDRÈS Enfant, je vous marie. LA PÉRICHOLE Moi! jamais de la vie! DON ANDRÈS et PANATELLAS Vous vouliez tout à l heure... LA PÉRICHOLE Oui, lorsque j avais faim! J ai diné, maintenant, seigneur, c est autre chose. DON ANDRÈS A votre souverain Vous osez résister! LA PÉRICHOLE Je l ose!... Elle passe à droite. Les cousines remontent. PANATELLAS bas, à Don Andrès Nous la déciderons. DON ANDRÈS à Panatellas Exhibons le mari. Il s approche de la Périchole DON PEDRO regardant à gauche Le voici! le voici! Paraît Piquillo sortant du cabaret, absolument gris. La Périchole le reconnaît. Lui est hors d état de reconnaître personne et de rien comprendre à ce qui se passe. CHŒUR à demi-voix Ah! les autres étaient bien gris, Mais il l est tant, celui-là gris, Qu à lui tout seul il est plus gris Que tous les autres n étaient gris! Panatellas passe à la droite de Piquillo. LA PÉRICHOLE à part C est lui!... c est Piquillo!... DON ANDRÈS Vous dites, chère enfant? LA PÉRICHOLE Ne soyez plus fâché... je consens maintenant. PIQUILLO Messieurs, je vous salue et d abord je dirai... Je ne sais pas pourquoi... mais je suis assez gai... Pour avoir bien bu, j ai bien bu... Faut maintenant payer mon dû, Faut se marier, et, ma foi, Ne sais à qui, ne sais à quoi! Mais où diable est ma femme? LES TROIS COUSINES montrant la Périchole Elle est là-bas, au bout. PANATELLAS à Piquillo Ne la voyez-vous pas? Don Andrès fait avancer la Périchole. Les trois cousines descendent à droite. PIQUILLO Je ne vois rien du tout. Panatellas pousse Piquillo vers la Périchole. Êtes-vous là? LA PÉRICHOLE ramenant son voile sur sa figure J y suis. PIQUILLO à la Périchole Pourrais-je vous prier D écouter quelques mots dits en particulier? Il amène la Périchole sur le devant de la scène. Je dois vous prévenir, madame, En bon époux, Que j aime fort une autre femme, Pas du tout vous!... N ayant pour vous, soyez-en sûre, Rien dans le coeur, Je vous tromperai, je vous jure, Avec bonheur! LA PÉRICHOLE Comme vous ferez, je ferai... Si vous me trompez, je vous le rendrai. PIQUILLO Me tromper, vous!... LA PÉRICHOLE Vous verrez ça. ENSEMBLE Allon-y qui vivra verra! DON ANDRÈS Mon Dieu!... que de cérémonie!... Qu on se hâte et qu on les marie! CHŒUR Qu on se hâte, et qu on les marie! Les deux clercs placent une table au milieu de la scène. LA PÉRICHOLE à Piquillo Donnez-moi la main, cher seigneur! PIQUILLO lui donnant la main Je vous la donne, et de grand coeur. LA PÉRICHOLE Voue me paraissez un peu gris. PIQUILLO Ma belle, c est que je le suis. LA PÉRICHOLE et PIQUILLO Nous aurons tous deux, sur l honneur, Un adorable intérieur. DON ANDRÈS à part Elle est à lui, de par le loi Par conséquent, elle est à moi! PANATELLAS à part Encourageons sa passion, Pour sauver ma position. DON PEDRO à part Ah! puisse cet événement Me valoir de l avancement! LES NOTAIRES Marions-les vite après ça, Il est probable qu on boira. LES TROIS COUSINES Mariez-les vite après ça, Nous vous promettons qu on boira. CHŒUR Le beau mariage Que nous voyons là! Le joli ménage Que cela fera! Que la vie est belle, Quand le vin est bon! J ai dans la cervelle Des airs de chanson! Sur la ritournelle, les deux notaires se placent derrière la table. Don Andrès y conduit la Périchole, et Panatellas y pousse Piquillo. Cela se fait avec quelque difficulté, vu l état des époux. PREMIER NOTAIRE à Piquillo Répondez-nous... vous, le mari... Vous prenez madame Pour femme? PIQUILLO Oui, oui, oui, oui! CHŒUR d HOMMES Oui, oui, oui, oui! DEUXIÈME NOTAIRE à la Périchole Répondez-nous, aussi, madame Vous prenez monsieur pour mari? LA PÉRICHOLE Oui, oui, oui, oui! CHŒUR de FEMMES Oui, oui, oui, oui! On quitte la table que les clercs enlèvent. LES NOTAIRES avec une grande gaieté C est fini, mes petits amis, Au nom de la loi, vous êtes unis! CHŒUR Au nom de la loi, vous êtes unis! Les notaires descendent à gauche. CHŒUR Le beau mariage Que nous voyons là! Le joli ménage Que cela fera! Que la vie est belle, Quand le vin est bon! J ai dans la cervelle Des airs de chanson! LA PÉRICHOLE à Piquillo Donnez-moi la main, cher seigneur. PIQUILLO Je vous la donne de bon coeur! LA PÉRICHOLE Vous me paraissez un peu gris. PIQUILLO Ma belle, c est que je le suis. CHŒUR Gai! gai! mariez-vous! Vivent les deux époux! DON ANDRÈS venant au milieu avec Panatellas, bas Et maintenant, séparez-les, Et qu on les conduise au palais! PANATELLAS bas Séparément? DON ANDRÈS bas Certainement. Don Andrès retourne à la gauche de la Périchole et Panatellas à la gauche de Piquillo. CHŒUR Il se fait tard, la nuit est noire; Qu on les reconduise chez eux! Allon, partez... Tout porte à croire Que vous serez heureux tous deux! Entrent alors, de droite et de gauche, deux riches palanquins portés chacun par quatre hommes. Don Andrès fait monter la Périchole sur celui de gauche, et Piquillo est poussé par Panatellas sur celui de droite. Puis les porteurs enlèvent les palanquins sur leurs épaules. PIQUILLO reprenant à tue-tête le motif de la Jeune Indienne Un an plus tard, gage de leur tendresse, Un jeune enfant dort sous un parasol. LA PÉRICHOLE Et ses parents chantent avec ivresse «Il grandira, car il est Espagnol!» TOUS LES DEUX «Il grandira, car il est Espagnol!» CHŒUR GÉNÉRAL «Il grandira, car il est Espagnol!» Les deux palanquins prennent des directions absolument contraires. 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。@ 藤井宏行 Offenbach,Jacques/La Périchole/II