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【Tags Kashiwamochi-P Miku tM M】 Original Music title みくみくちぇっく♪ English music title Miku Miku Check ♪ Romaji music title Miku Miku Chekku♪ Music Lyrics written, Voice edited by 柏餅P(Kashiwamochi-P) Music arranged by 柏餅P(Kashiwamochi-P) Singer(s) 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics English Lyrics (translated by blacksaingrain)： Today I'll search the hidden secrets again With a power of science I'll break open even the place only you know Now I'll start MikuMiku Check !! With forced casualness I'm waiting for opportunity Actually I'm mischievous I wanna dig up the secrets of yours. Cause this place has already been under my control. In the world behind the door sealed tight There're irreplaceable treasures of yours I'm sure you're hiding secrets I don't know So I wanna see them I can't resist the temptation Once I found a forbidden small box With a power of science I need nothing even the key only you know I can peek, MikuMiku Check !! At the moment I opened it my heart went pit-a-pat I found a lot of pictures of myself I have mixed feelings cause there're Rin chan's too I can't allow this so I'll delete them!! Delete☆ Even how much you show off and look cool Actually I know everything Even I show an innocence smile, you shouldn’t be off your guard You've already been under my observation I can't count up how many secrets I've uncovered in the turning seasons I'm sure you can't show them to anyone I can go and find your favourite small box Try to squirrel it away if you can Don't take me for pushover More and more I wanna see your world With a power of science I'll sneak a look at even that uncharted closed territory What a fun! MikuMiku Check !! Suspicious boxes make me excited What's that? I'm interested in this too I'll open them all. Just be prepared I wanna uncover all the secrets of yours!! Click☆ I'll peek the secret world that no one knows Today I'll search the hidden secrets again With a power of science I'll break open even the place only you know Now I'll start MikuMiku Check !! Once I found a forbidden small box With a power of science I need nothing even the key only you know I can peek, MikuMiku Check !! At the moment I opened it my heart went pit-a-pat I found a lot of pictures of myself I have mixed feelings cause there're Rin chan's too I can't allow this so I'll delete them!! Delete☆ Even how much I delete, your secrets won't decrease The viruses boundlessly increase Thank me, I'll collect And show them to everyone! MikuMiku Check !! The foul passion got a hard hit, Panic! Panic!! You got into a flurry and I cast a sidelong glance You realized that but all too late My master's taste is like this!! Upload☆ Romaji lyrics (transliterated by blacksaingrain)： kyou mo sagasu yo kakusareta himitsu anata dake shika shiranai basho mo kojiakeru no yo kagaku no chikara de saa hajimeyou MikuMiku Check!! nanigenai furi shite chansu neratteru honto wa watashi itazurazuki nano yo anata no himitsu wo saguriatetai no koko wa mou watashi no shihaika dakara kataku tozasu tobira no mukou no sekai niwa kakegae no nai anata no takaramono kitto watashi no shiranai himitsu kakushiteru dakara mitai kono kimochi osaerarenai no yo itsuka mitsuketa akazu no kobako anata dake shika shiranai kagi mo nani mo iranai kagaku no chikara de nozokechau no yo MikuMiku Check!! aketa shunkan dokidokishichatta watashi no shashin takusan mitsuketa fukuzatsu dakedo rin-chan mo aru yo keshikaran no de sakujoshimasu!! Delete ☆ donnani kidotte ku-runi kimetetemo honto wa watashi minna wakatteru no sumashita egao ni yudan wa taiteki anata mou watashi no kanshika nano yo mawaru kisetsu abaita himitsu kazu shirenai sore wa kitto dare nimo miserarenai okini入iri no kobako hsagashi ni ikeru yo kakushitooshite gorannasai watashi wo amaku minaide ne madamada mitai anata no sekai tozasareta ano michi no ryouiki mo nusumi miru no yo kagaku no chikara de nante tanoshii MikuMiku Check!! ayashii kobako ni wakuwakushichau no are wa nani kana？kocchi mo kininaru zenbu akechau kakugoshitete yo ne anata no himitsu minna abakitai!! Click ☆ dare mo shiranai himitsu no sekai nozokou kyou mo sagasu yo kakusareta himitsu anata dake shika shiranai basho mo kojiakeru no yo kagaku no chikara de saa hajimeyou MikuMiku Check!! itsuka mitsuketa akazu no kobako anata dake shika shiranai kagi mo nani mo iranai kagaku no chikara de nozokechau no yo MikuMiku Check!! aketa shunkan dokidokishichatta watashi no shashin takusan mitsuketa fukuzatsu dakedo rin-chan mo aru yo keshikaran node sakujoshimasu!! Delete ☆ keshitemo heranai anata no himitsu mugenni fueru wirusu tachi wa kanshashinasai watashi ga atsumete sarashiteageru! MikuMiku Check!! bonnou chokugeki panikku!panikku!! awateru shigusa yokome de nagameru kizuita koro wa toki sude ni osoi [Kashiwamochi-P, KashiwamochiP]
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https://w.atwiki.jp/mrfrtech/pages/113.html
OSINT Market, Latest Market Research Future (MRFR) Report During industry trends 2030 Business Trends, Global Segments By Development, By Type, By Application Market Scenario The Global Open Source Intelligence (OSINT) Market was valued at USD 32.86 Billion during the forecast period, and it is expected to record a CAGR of 20.6% during the forecast period. Open Source Intelligence (OSINT) is intelligence derived from publicly available data that is gathered, evaluated, and disseminated to the appropriate audience promptly to meet a specific intelligence need. Although the open web is an important component, it is not restricted to what can be found via Google or other search engines. We can access hobbies, location, working status, community, and other raw data on social media sites like Facebook, Instagram, Twitter, and YouTube, which helps government security organizations to keep track of activities taking place across the world. Some of the drivers driving the market's growth are the increased availability of open-source data, as well as escalating cyber threats, terrorism, and other illicit practices. The vast amount of open-source material available, on the other hand, may limit the market's future expansion. OSINT is based on open-source data, which is unstructured, noisy, and raw. It is easily available and can be legally retrieved and edited. Increased public data availability is a driving element behind the operation of open-source intelligence systems. Social media, print media, digital media, articles, blog publications, online forums, videos, government reports, telephone directories, press conferences, journals, academic research papers, financial databases, patents, dissertations, and newsletters are just some of the places where data can be found. This information is freely accessible and lawful to use. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/4545 COVID-19 Analysis The business impact of SARS-CoV-2 has been felt across diverse sections of the information technology industry, albeit at different levels. Companies in the technology sector that supply services for verticals like travel, retail, hospitality, and entertainment have noted a dramatic decrease in sales, while the firms that provide services related to remote worker solutions have observed the opposite. Open-Source Intelligence ’s fate post pandemic has been relatively less grim compared to Education Services (ES) and Professional Services (PS) that are mostly dependent on components that are generally on-site. Novel coronavirus has Open-Source Intelligence to open new avenues for those firms that are on the lookout for solutions that are reliable, efficiently managed, scalable, and are subscription-based, to remain more focused on the core business. The Open-Source Intelligence is bearing lesser impact of the COVID-19 outbreak compared to most other segments of the tech world. In a nutshell, COVID-19 impact on managed services has been fruitful, with the market growth enhanced than before. Given the prevalent lockdown situation, managed services vendors are now investing heavily in remote-centric worker solutions, which can make the market highly resilient in the coming years, even as the world is currently rushing to achieve a COVID-19 breakthrough. Competitive Outlook The open source intelligence (OSINT) market is supported by easy availability of raw data. The population growth around the world and increasing demand of open source intelligence (OSINT) market based services and products also support the market growth. However, the open source intelligence (OSINT) market growth can be affected due to high volumes of unstructured data and lack of clear policies on certain online activities. The report covers all such details which will help companies in the open source intelligence (OSINT) market to strengthen their business plan and improve their product portfolio. The open source intelligence (OSINT) market research report also provides company profiles of major companies. The company profile of organizations operating in the open source intelligence (OSINT) market discusses strategies, growth plans, size, revenue, and mergers and acquisition details of top companies in the open source intelligence (OSINT) market. New entrants and established players can plan their strategies based on this data provided in the open source intelligence (OSINT) market research report. Segmentation The global open source intelligence (OSINT) market has been segmented based on technology, application, and security type. On the basis of technology, the market for open source intelligence (OSINT) is segmented based on bid data software, video analytics, text analytics, visualization tool, cyber security, web analysis, social media analysis, others. Additionally, the market on the basis of application, is segmented into military defense, homeland security, private sector, public sector, national security, others. The global market for open source intelligence (OSINT) is also covered based on security type segment which is further split into human intelligence, content intelligence, dark web analysis, link/network analysis, data analytics, text analytics, artificial intelligence, big data, others. Factors like increasing demand for data collection from foreign sources and rising penetration of smartphones and tablets, support the open source intelligence (OSINT) market growth. The performance of the open source intelligence (OSINT) market has also been studied for the past and current years. Additionally, the open source intelligence (OSINT) market report provides analysis of these segments. The open source intelligence (OSINT) market segmental analysis provided in the report offers major details about the open source intelligence (OSINT) market performance and future. Regional Analysis Companies in the open source intelligence (OSINT) market are spread across the world. The open source intelligence (OSINT) market report provides major information about regional markets of North America, Europe, Asia-Pacific (APAC), and the rest of the world. The North American open source intelligence (OSINT) market has many companies across the United States, Canada, and Mexico. Europe has companies in the open source intelligence (OSINT) market across Germany, France, Spain, Italy, and the United Kingdom. A detailed analysis of the open source intelligence (OSINT) market across India, China, and Japan in the Asia-Pacific region is also presented in the report. The open source intelligence (OSINT) market of the Middle East, Africa, and other regions has also been studied by analysts. The regional analysis of the open source intelligence (OSINT) market can be found in the market research report. Industry News The Quantuma business consultancy group bought the Alchemy asset recovery company located in Cayman Islands. Specialized in wealth and financial loss recovery, Alchemy, created by Angela Barkhouse in combination with financial fraud specialists, accounting forensics and insolvency professionals, uses artificial intelligence, data visualising and open source intelligence. Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure Browse Full Report Details @ https //www.marketresearchfuture.com/reports/open-source-intelligence-market-4545 List of Tables TABLE 1 MARKET SYNOPSIS 19 TABLE 2 GLOBAL OSINT MARKET, BY SECURITY TYPE, 2020–2027 (USD MILLION) 38 TABLE 3 GLOBAL OSINT HUMAN INTELLIGENCE MARKET, BY REGION, 2020–2027 (USD MILLION) 38 Continued… List of Figures FIGURE 1 GLOBAL OPEN-SOURCE INTELLIGENCE (OSINT) MARKET STRUCTURE 20 FIGURE 2 BOTTOM-UP AND TOP-DOWN APPROACHES 25 FIGURE 3 NORTH AMERICA OPEN-SOURCE INTELLIGENCE (OSINT) MARKET SHARE (%), BY COUNTRY (2020 2027) 28 Continued… Similar Report** Mobile Banking Market By Solution (Customer Management, Mobile Banking Features, Mobile Payment Features), By Technology (Wireless Application Protocol, Standalone Mobile Application), By Deployment (On-Cloud, On-Premise) Voice Assistant Market** https //mrfrinformation.tistory.com/615 Network-Attached Storage Market** https //telescope.ac/information-technology-Lc1XMRDqL/5WlKY9Kx4 Trending Report https //www.buymeacoffee.com/ubellapranC/osint-market-latest-market-research-future-mrfr-report About Market Research Future Market Research Future (MRFR) has created a niche in the world of market research. It is counted among the top market research companies that offer well-researched and updated market research reports and insights to businesses of all sizes. What sets us apart is our super-responsive team that offers quality work keeping clients abridged of the prospective challenges and opportunities in various markets. Our team is adept in their space as well as patiently listens to every client. The best part is they know their work inside out and possess the expertise to guide the client in the right direction and achieve results on a tight deadline. We are a one-stop solution for all your data research needs. Our team does not believe in the “one size fits all” approach to creating a report that is detailed and concise. We handle 13 industry verticals including Healthcare, Chemicals and Materials, Information and Communications Technology, Semiconductor and Electronics, Energy and Power, Food, Beverages Nutrition, Automobile, Consumer and Retail, Aerospace and Defense, Industrial Automation and Equipment, Packaging Transport, Construction, and Agriculture. With our unique approach for every market report, we aim to reach the zenith in qualitative business intelligence and syndicated market research. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
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Baillet de Saint-Julien (Baron Louis-Guillaume), 1715?-17.. [1753] Lettre à Mr Ch [Chardin] ... sur les caractères en peinture... [1748] Réflexions sur quelques circonstances présentes [1749] Lettre sur la peinture, sculpture et architecture à Mxxx [1750] Lettres sur la peinture à un amateur [1755] La Peinture, poème. Caractère des peintres français actuellement vivans +詳細な書誌情報 Lettre à Mr Ch ... sur les caractères en peinture..., Genève, 1753. [Lettre à Mr Chardin] Réflexions sur quelques circonstances présentes. Contenant deux lettres sur l exposition des tableaux au Louvre cette année 1748, à M. le comte de R***..., Paris, 1748. [Gallica] Lettre sur la peinture, sculpture et architecture à Mxxx, 2e édition, revue et augmentée de nouvelles notes et de réflexions sur les tableaux de M. de Troy. Amsterdam, 1749. Lettres sur la peinture à un amateur, Genève, 1750. La Peinture, poème. Caractère des peintres français actuellement vivans, Nouvelle édition, Amsterdam, 1755. [Gallica] Baillet de Saint-Julien, La Peinture, poème. Caractère des peintres français actuellement vivans, Amsterdam, 1755, p. 13. Platon jadis accusoit certains Philosophes de n avoir jamais sacrifié aux Grâces ; Je n ose faire à quelques Pintres, surtout à quelques-uns de nos Ecrivains François le même reproche; mais Boucher ne l encourra jamais. Son imagination vive abondante ne s est point bornée à ce nombre. Boucher en connoît plus de trois ses yeux ont vû plus d une Vénus il semble dans ses rêveries tendres passionnées, que ce Peintre privilégié ait assisté à tous les mystères de l Amour. ブーシェを賞賛する批評家のひとりとして言及される。cité par Démoris [2008] 130. ******************************************
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CHAPTER I UP CHAPTER III CHAPTER II Matthew Cuthbert is surprised Matthew Cuthbert and the sorrel mare jogged comfortably over the eight miles to Bright River. It was a pretty road, running along between snug farmsteads, with now and again a bit of balsamy fir wood to drive through or a hollow where wild plums hung out their filmy bloom. The air was sweet with the breath of many apple orchards and the meadows sloped away in the distance to horizon mists of pearl and purple; while "The little birds sang as if it were The one day of summer in all the year." Matthew enjoyed the drive after his own fashion, except during the moments when he met women and had to nod to them-- for in Prince Edward island you are supposed to nod to all and sundry you meet on the road whether you know them or not. Matthew dreaded all women except Marilla and Mrs. Rachel; he had an uncomfortable feeling that the mysterious creatures were secretly laughing at him. He may have been quite right in thinking so, for he was an odd-looking personage, with an ungainly figure and long iron-gray hair that touched his stooping shoulders, and a full, soft brown beard which he had worn ever since he was twenty. In fact, he had looked at twenty very much as he looked at sixty, lacking a little of the grayness. When he reached Bright River there was no sign of any train; he thought he was too early, so he tied his horse in the yard of the small Bright River hotel and went over to the station house. The long platform was almost deserted; the only living creature in sight being a girl who was sitting on a pile of shingles at the extreme end. Matthew, barely noting that it WAS a girl, sidled past her as quickly as possible without looking at her. Had he looked he could hardly have failed to notice the tense rigidity and expectation of her attitude and expression. She was sitting there waiting for something or somebody and, since sitting and waiting was the only thing to do just then, she sat and waited with all her might and main. Matthew encountered the stationmaster locking up the ticket office preparatory to going home for supper, and asked him if the five-thirty train would soon be along. "The five-thirty train has been in and gone half an hour ago," answered that brisk official. "But there was a passenger dropped off for you--a little girl. She s sitting out there on the shingles. I asked her to go into the ladies waiting room, but she informed me gravely that she preferred to stay outside. `There was more scope for imagination, she said. She s a case, I should say." "I m not expecting a girl," said Matthew blankly. "It s a boy I ve come for. He should be here. Mrs. Alexander Spencer was to bring him over from Nova Scotia for me." The stationmaster whistled. "Guess there s some mistake," he said. "Mrs. Spencer came off the train with that girl and gave her into my charge. Said you and your sister were adopting her from an orphan asylum and that you would be along for her presently. That s all I know about it--and I haven t got any more orphans concealed hereabouts." "I don t understand," said Matthew helplessly, wishing that Marilla was at hand to cope with the situation. "Well, you d better question the girl," said the station- master carelessly. "I dare say she ll be able to explain-- she s got a tongue of her own, that s certain. Maybe they were out of boys of the brand you wanted." He walked jauntily away, being hungry, and the unfortunate Matthew was left to do that which was harder for him than bearding a lion in its den--walk up to a girl--a strange girl--an orphan girl--and demand of her why she wasn t a boy. Matthew groaned in spirit as he turned about and shuffled gently down the platform towards her. She had been watching him ever since he had passed her and she had her eyes on him now. Matthew was not looking at her and would not have seen what she was really like if he had been, but an ordinary observer would have seen this A child of about eleven, garbed in a very short, very tight, very ugly dress of yellowish-gray wincey. She wore a faded brown sailor hat and beneath the hat, extending down her back, were two braids of very thick, decidedly red hair. Her face was small, white and thin, also much freckled; her mouth was large and so were her eyes, which looked green in some lights and moods and gray in others. So far, the ordinary observer; an extraordinary observer might have seen that the chin was very pointed and pronounced; that the big eyes were full of spirit and vivacity; that the mouth was sweet-lipped and expressive; that the forehead was broad and full; in short, our discerning extraordinary observer might have concluded that no commonplace soul inhabited the body of this stray woman- child of whom shy Matthew Cuthbert was so ludicrously afraid. Matthew, however, was spared the ordeal of speaking first, for as soon as she concluded that he was coming to her she stood up, grasping with one thin brown hand the handle of a shabby, old-fashioned carpet-bag; the other she held out to him. "I suppose you are Mr. Matthew Cuthbert of Green Gables?" she said in a peculiarly clear, sweet voice. "I m very glad to see you. I was beginning to be afraid you weren t coming for me and I was imagining all the things that might have happened to prevent you. I had made up my mind that if you didn t come for me to-night I d go down the track to that big wild cherry-tree at the bend, and climb up into it to stay all night. I wouldn t be a bit afraid, and it would be lovely to sleep in a wild cherry-tree all white with bloom in the moonshine, don t you think? You could imagine you were dwelling in marble halls, couldn t you? And I was quite sure you would come for me in the morning, if you didn t to-night." Matthew had taken the scrawny little hand awkwardly in his; then and there he decided what to do. He could not tell this child with the glowing eyes that there had been a mistake; he would take her home and let Marilla do that. She couldn t be left at Bright River anyhow, no matter what mistake had been made, so all questions and explanations might as well be deferred until he was safely back at Green Gables. "I m sorry I was late," he said shyly. "Come along. The horse is over in the yard. Give me your bag." "Oh, I can carry it," the child responded cheerfully. "It isn t heavy. I ve got all my worldly goods in it, but it isn t heavy. And if it isn t carried in just a certain way the handle pulls out--so I d better keep it because I know the exact knack of it. It s an extremely old carpet-bag. Oh, I m very glad you ve come, even if it would have been nice to sleep in a wild cherry-tree. We ve got to drive a long piece, haven t we? Mrs. Spencer said it was eight miles. I m glad because I love driving. Oh, it seems so wonderful that I m going to live with you and belong to you. I ve never belonged to anybody--not really. But the asylum was the worst. I ve only been in it four months, but that was enough. I don t suppose you ever were an orphan in an asylum, so you can t possibly understand what it is like. It s worse than anything you could imagine. Mrs. Spencer said it was wicked of me to talk like that, but I didn t mean to be wicked. It s so easy to be wicked without knowing it, isn t it? They were good, you know--the asylum people. But there is so little scope for the imagination in an asylum--only just in the other orphans. It was pretty interesting to imagine things about them--to imagine that perhaps the girl who sat next to you was really the daughter of a belted earl, who had been stolen away from her parents in her infancy by a cruel nurse who died before she could confess. I used to lie awake at nights and imagine things like that, because I didn t have time in the day. I guess that s why I m so thin--I AM dreadful thin, ain t I? There isn t a pick on my bones. I do love to imagine I m nice and plump, with dimples in my elbows." With this Matthew s companion stopped talking, partly because she was out of breath and partly because they had reached the buggy. Not another word did she say until they had left the village and were driving down a steep little hill, the road part of which had been cut so deeply into the soft soil, that the banks, fringed with blooming wild cherry-trees and slim white birches, were several feet above their heads. The child put out her hand and broke off a branch of wild plum that brushed against the side of the buggy. "Isn t that beautiful? What did that tree, leaning out from the bank, all white and lacy, make you think of?" she asked. "Well now, I dunno," said Matthew. "Why, a bride, of course--a bride all in white with a lovely misty veil. I ve never seen one, but I can imagine what she would look like. I don t ever expect to be a bride myself. I m so homely nobody will ever want to marry me-- unless it might be a foreign missionary. I suppose a foreign missionary mightn t be very particular. But I do hope that some day I shall have a white dress. That is my highest ideal of earthly bliss. I just love pretty clothes. And I ve never had a pretty dress in my life that I can remember--but of course it s all the more to look forward to, isn t it? And then I can imagine that I m dressed gorgeously. This morning when I left the asylum I felt so ashamed because I had to wear this horrid old wincey dress. All the orphans had to wear them, you know. A merchant in Hopeton last winter donated three hundred yards of wincey to the asylum. Some people said it was because he couldn t sell it, but I d rather believe that it was out of the kindness of his heart, wouldn t you? When we got on the train I felt as if everybody must be looking at me and pitying me. But I just went to work and imagined that I had on the most beautiful pale blue silk dress--because when you ARE imagining you might as well imagine something worth while--and a big hat all flowers and nodding plumes, and a gold watch, and kid gloves and boots. I felt cheered up right away and I enjoyed my trip to the Island with all my might. I wasn t a bit sick coming over in the boat. Neither was Mrs. Spencer although she generally is. She said she hadn t time to get sick, watching to see that I didn t fall overboard. She said she never saw the beat of me for prowling about. But if it kept her from being seasick it s a mercy I did prowl, isn t it? And I wanted to see everything that was to be seen on that boat, because I didn t know whether I d ever have another opportunity. Oh, there are a lot more cherry-trees all in bloom! This Island is the bloomiest place. I just love it already, and I m so glad I m going to live here. I ve always heard that Prince Edward Island was the prettiest place in the world, and I used to imagine I was living here, but I never really expected I would. It s delightful when your imaginations come true, isn t it? But those red roads are so funny. When we got into the train at Charlottetown and the red roads began to flash past I asked Mrs. Spencer what made them red and she said she didn t know and for pity s sake not to ask her any more questions. She said I must have asked her a thousand already. I suppose I had, too, but how you going to find out about things if you don t ask questions? And what DOES make the roads red?" "Well now, I dunno," said Matthew. "Well, that is one of the things to find out sometime. Isn t it splendid to think of all the things there are to find out about? It just makes me feel glad to be alive-- it s such an interesting world. It wouldn t be half so interesting if we know all about everything, would it? There d be no scope for imagination then, would there? But am I talking too much? People are always telling me I do. Would you rather I didn t talk? If you say so I ll stop. I can STOP when I make up my mind to it, although it s difficult." Matthew, much to his own surprise, was enjoying himself. Like most quiet folks he liked talkative people when they were willing to do the talking themselves and did not expect him to keep up his end of it. But he had never expected to enjoy the society of a little girl. Women were bad enough in all conscience, but little girls were worse. He detested the way they had of sidling past him timidly, with sidewise glances, as if they expected him to gobble them up at a mouthful if they ventured to say a word. That was the Avonlea type of well-bred little girl. But this freckled witch was very different, and although he found it rather difficult for his slower intelligence to keep up with her brisk mental processes he thought that he "kind of liked her chatter." So he said as shyly as usual "Oh, you can talk as much as you like. I don t mind." "Oh, I m so glad. I know you and I are going to get along together fine. It s such a relief to talk when one wants to and not be told that children should be seen and not heard. I ve had that said to me a million times if I have once. And people laugh at me because I use big words. But if you have big ideas you have to use big words to express them, haven t you?" "Well now, that seems reasonable," said Matthew. "Mrs. Spencer said that my tongue must be hung in the middle. But it isn t--it s firmly fastened at one end. Mrs. Spencer said your place was named Green Gables. I asked her all about it. And she said there were trees all around it. I was gladder than ever. I just love trees. And there weren t any at all about the asylum, only a few poor weeny-teeny things out in front with little whitewashed cagey things about them. They just looked like orphans themselves, those trees did. It used to make me want to cry to look at them. I used to say to them, `Oh, you POOR little things! If you were out in a great big woods with other trees all around you and little mosses and Junebells growing over your roots and a brook not far away and birds singing in you branches, you could grow, couldn t you? But you can t where you are. I know just exactly how you feel, little trees. I felt sorry to leave them behind this morning. You do get so attached to things like that, don t you? Is there a brook anywhere near Green Gables? I forgot to ask Mrs. Spencer that." "Well now, yes, there s one right below the house." "Fancy. It s always been one of my dreams to live near a brook. I never expected I would, though. Dreams don t often come true, do they? Wouldn t it be nice if they did? But just now I feel pretty nearly perfectly happy. I can t feel exactly perfectly happy because--well, what color would you call this?" She twitched one of her long glossy braids over her thin shoulder and held it up before Matthew s eyes. Matthew was not used to deciding on the tints of ladies tresses, but in this case there couldn t be much doubt. "It s red, ain t it?" he said. The girl let the braid drop back with a sigh that seemed to come from her very toes and to exhale forth all the sorrows of the ages. "Yes, it s red," she said resignedly. "Now you see why I can t be perfectly happy. Nobody could who has red hair. I don t mind the other things so much--the freckles and the green eyes and my skinniness. I can imagine them away. I can imagine that I have a beautiful rose-leaf complexion and lovely starry violet eyes. But I CANNOT imagine that red hair away. I do my best. I think to myself, `Now my hair is a glorious black, black as the raven s wing. But all the time I KNOW it is just plain red and it breaks my heart. It will be my lifelong sorrow. I read of a girl once in a novel who had a lifelong sorrow but it wasn t red hair. Her hair was pure gold rippling back from her alabaster brow. What is an alabaster brow? I never could find out. Can you tell me?" "Well now, I m afraid I can t," said Matthew, who was getting a little dizzy. He felt as he had once felt in his rash youth when another boy had enticed him on the merry-go- round at a picnic. "Well, whatever it was it must have been something nice because she was divinely beautiful. Have you ever imagined what it must feel like to be divinely beautiful?" "Well now, no, I haven t," confessed Matthew ingenuously. "I have, often. Which would you rather be if you had the choice--divinely beautiful or dazzlingly clever or angelically good?" "Well now, I--I don t know exactly." "Neither do I. I can never decide. But it doesn t make much real difference for it isn t likely I ll ever be either. It s certain I ll never be angelically good. Mrs. Spencer says--oh, Mr. Cuthbert! Oh, Mr. Cuthbert!! Oh, Mr. Cuthbert!!!" That was not what Mrs. Spencer had said; neither had the child tumbled out of the buggy nor had Matthew done anything astonishing. They had simply rounded a curve in the road and found themselves in the "Avenue." The "Avenue," so called by the Newbridge people, was a stretch of road four or five hundred yards long, completely arched over with huge, wide-spreading apple-trees, planted years ago by an eccentric old farmer. Overhead was one long canopy of snowy fragrant bloom. Below the boughs the air was full of a purple twilight and far ahead a glimpse of painted sunset sky shone like a great rose window at the end of a cathedral aisle. Its beauty seemed to strike the child dumb. She leaned back in the buggy, her thin hands clasped before her, her face lifted rapturously to the white splendor above. Even when they had passed out and were driving down the long slope to Newbridge she never moved or spoke. Still with rapt face she gazed afar into the sunset west, with eyes that saw visions trooping splendidly across that glowing background. Through Newbridge, a bustling little village where dogs barked at them and small boys hooted and curious faces peered from the windows, they drove, still in silence. When three more miles had dropped away behind them the child had not spoken. She could keep silence, it was evident, as energetically as she could talk. "I guess you re feeling pretty tired and hungry," Matthew ventured to say at last, accounting for her long visitation of dumbness with the only reason he could think of. "But we haven t very far to go now--only another mile." She came out of her reverie with a deep sigh and looked at him with the dreamy gaze of a soul that had been wondering afar, star-led. "Oh, Mr. Cuthbert," she whispered, "that place we came through--that white place--what was it?" "Well now, you must mean the Avenue," said Matthew after a few moments profound reflection. "It is a kind of pretty place." "Pretty? Oh, PRETTY doesn t seem the right word to use. Nor beautiful, either. They don t go far enough. Oh, it was wonderful--wonderful. It s the first thing I ever saw that couldn t be improved upon by imagination. It just satisfies me here"--she put one hand on her breast--"it made a queer funny ache and yet it was a pleasant ache. Did you ever have an ache like that, Mr. Cuthbert?" "Well now, I just can t recollect that I ever had." "I have it lots of time--whenever I see anything royally beautiful. But they shouldn t call that lovely place the Avenue. There is no meaning in a name like that. They should call it--let me see--the White Way of Delight. Isn t that a nice imaginative name? When I don t like the name of a place or a person I always imagine a new one and always think of them so. There was a girl at the asylum whose name was Hepzibah Jenkins, but I always imagined her as Rosalia DeVere. Other people may call that place the Avenue, but I shall always call it the White Way of Delight. Have we really only another mile to go before we get home? I m glad and I m sorry. I m sorry because this drive has been so pleasant and I m always sorry when pleasant things end. Something still pleasanter may come after, but you can never be sure. And it s so often the case that it isn t pleasanter. That has been my experience anyhow. But I m glad to think of getting home. You see, I ve never had a real home since I can remember. It gives me that pleasant ache again just to think of coming to a really truly home. Oh, isn t that pretty!" They had driven over the crest of a hill. Below them was a pond, looking almost like a river so long and winding was it. A bridge spanned it midway and from there to its lower end, where an amber-hued belt of sand-hills shut it in from the dark blue gulf beyond, the water was a glory of many shifting hues--the most spiritual shadings of crocus and rose and ethereal green, with other elusive tintings for which no name has ever been found. Above the bridge the pond ran up into fringing groves of fir and maple and lay all darkly translucent in their wavering shadows. Here and there a wild plum leaned out from the bank like a white-clad girl tip-toeing to her own reflection. From the marsh at the head of the pond came the clear, mournfully-sweet chorus of the frogs. There was a little gray house peering around a white apple orchard on a slope beyond and, although it was not yet quite dark, a light was shining from one of its windows. "That s Barry s pond," said Matthew. "Oh, I don t like that name, either. I shall call it--let me see--the Lake of Shining Waters. Yes, that is the right name for it. I know because of the thrill. When I hit on a name that suits exactly it gives me a thrill. Do things ever give you a thrill?" Matthew ruminated. "Well now, yes. It always kind of gives me a thrill to see them ugly white grubs that spade up in the cucumber beds. I hate the look of them." "Oh, I don t think that can be exactly the same kind of a thrill. Do you think it can? There doesn t seem to be much connection between grubs and lakes of shining waters, does there? But why do other people call it Barry s pond?" "I reckon because Mr. Barry lives up there in that house. Orchard Slope s the name of his place. If it wasn t for that big bush behind it you could see Green Gables from here. But we have to go over the bridge and round by the road, so it s near half a mile further." "Has Mr. Barry any little girls? Well, not so very little either--about my size." "He s got one about eleven. Her name is Diana." "Oh!" with a long indrawing of breath. "What a perfectly lovely name!" "Well now, I dunno. There s something dreadful heathenish about it, seems to me. I d ruther Jane or Mary or some sensible name like that. But when Diana was born there was a schoolmaster boarding there and they gave him the naming of her and he called her Diana." "I wish there had been a schoolmaster like that around when I was born, then. Oh, here we are at the bridge. I m going to shut my eyes tight. I m always afraid going over bridges. I can t help imagining that perhaps just as we get to the middle, they ll crumple up like a jack-knife and nip us. So I shut my eyes. But I always have to open them for all when I think we re getting near the middle. Because, you see, if the bridge DID crumple up I d want to SEE it crumple. What a jolly rumble it makes! I always like the rumble part of it. Isn t it splendid there are so many things to like in this world? There we re over. Now I ll look back. Good night, dear Lake of Shining Waters. I always say good night to the things I love, just as I would to people. I think they like it. That water looks as if it was smiling at me." When they had driven up the further hill and around a corner Matthew said "We re pretty near home now. That s Green Gables over--" "Oh, don t tell me," she interrupted breathlessly, catching at his partially raised arm and shutting her eyes that she might not see his gesture. "Let me guess. I m sure I ll guess right." She opened her eyes and looked about her. They were on the crest of a hill. The sun had set some time since, but the landscape was still clear in the mellow afterlight. To the west a dark church spire rose up against a marigold sky. Below was a little valley and beyond a long, gently-rising slope with snug farmsteads scattered along it. From one to another the child s eyes darted, eager and wistful. At last they lingered on one away to the left, far back from the road, dimly white with blossoming trees in the twilight of the surrounding woods. Over it, in the stainless southwest sky, a great crystal-white star was shining like a lamp of guidance and promise. "That s it, isn t it?" she said, pointing. Matthew slapped the reins on the sorrel s back delightedly. "Well now, you ve guessed it! But I reckon Mrs. Spencer described it so s you could tell." "No, she didn t--really she didn t. All she said might just as well have been about most of those other places. I hadn t any real idea what it looked like. But just as soon as I saw it I felt it was home. Oh, it seems as if I must be in a dream. Do you know, my arm must be black and blue from the elbow up, for I ve pinched myself so many times today. Every little while a horrible sickening feeling would come over me and I d be so afraid it was all a dream. Then I d pinch myself to see if it was real--until suddenly I remembered that even supposing it was only a dream I d better go on dreaming as long as I could; so I stopped pinching. But it IS real and we re nearly home." With a sigh of rapture she relapsed into silence. Matthew stirred uneasily. He felt glad that it would be Marilla and not he who would have to tell this waif of the world that the home she longed for was not to be hers after all. They drove over Lynde s Hollow, where it was already quite dark, but not so dark that Mrs. Rachel could not see them from her window vantage, and up the hill and into the long lane of Green Gables. By the time they arrived at the house Matthew was shrinking from the approaching revelation with an energy he did not understand. It was not of Marilla or himself he was thinking of the trouble this mistake was probably going to make for them, but of the child s disappointment. When he thought of that rapt light being quenched in her eyes he had an uncomfortable feeling that he was going to assist at murdering something--much the same feeling that came over him when he had to kill a lamb or calf or any other innocent little creature. The yard was quite dark as they turned into it and the poplar leaves were rustling silkily all round it. "Listen to the trees talking in their sleep," she whispered, as he lifted her to the ground. "What nice dreams they must have!" Then, holding tightly to the carpet-bag which contained "all her worldly goods," she followed him into the house. CHAPTER I UP CHAPTER III 今日 - | 昨日 - | Total - since 04 June 2007 last update 2007-06-05 01 32 53 (Tue)
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序曲 第１場～第６場 省略 第７場 フランク、ブッフ ヘルツ夫妻 【ヘルツ】 ここで私は妻を紹介できる喜びを感じております 彼女は少しばかりアリアをあなたに声のサンプルとしてお聞かせする準備ができております 【フランク】 あなたは私の限りない喜びとなるでしょう。 Nr. 1 - アリエッタ 【マダム・ヘルツ】 別れの時の鐘が鳴る 残酷に私たちを引き離す どうして私は生きて行きましょう おおダモン！ あなたなしで！ 私は、あなたと一緒に行きたい 霊魂となってあなたのおそばに あなたの周りを漂いながら あなたは！ - - おそらく永遠に あなたは私を忘れてしまうのよ！ いいえ 違うわ どうして私はそんなこと考えるの！ あなたが不実だなんて 決してあり得ない ひとつの心が 別れに苦しんでいるのに それが浮気など知るはずがないわ どこへ運命がそれを連れて行こうと 決して切れないのよ この固く結ばれた絆は 【フランク】 神だ！これは比類ない！私はあなたのものです 限りない喜びに結び付けられて マダム！ （マダム・ヘルツの手にキスする） 【ヘルツ】 （妻の手を彼から引き離して） 失礼 ミスター・フランク あなたは大変なご賞賛を頂いてますね！このように申し上げるのも何ですが 私の妻の才能にご満足ですか？ 【フランク】 誰が否定できましょうか？ 【ヘルツ】 さて それではあなたは我々のキャラも高くはないですな 私の妻に週１６ターラーでも なぜなら私はすでに１４ターラー頂けることになっているのですからな 【フランク】 まあいいじゃないですか 【ブッフ】 それで行きましょう 第８場 前場の人物 マドモワゼル・ジルバークランク 【マドモワゼル・ジルバークランク】 こんにちはフランクさん 聞くところによるとドイツのオペラを上演されるとか？私はその女性歌手として参加したくて参りましたのよ 私はマドモアゼル・ジルバークランクと申します お見知りおきを 評判はご存じかも知れませんわね - でも評判って時々見かけ倒しのことがありますから 私はロンドを歌ってみることにしますわ それであなたも耳でご判断頂けますでしょうから Nr. 2 - ロンド 【マドモワゼル・ジルバークランク】 すてきな若者よ！喜んで 私はあなたの愛をお受けしましょう あなたのやさしい眼差しの中に 私は自分の幸せを見つけることができるのだから 何も私には貴重なものはないわ あなたの心とあなたの手以上には 清らかな愛の炎に満たされて 私はこの心を証としてあなたにあげましょう だけど ああ！つらい苦しみが 私たちの愛に付きまとうなら あなたは友人を愛して返済する？ お若い方 それを良く考えてね！ 【フランク】 ブラボー！ブラボー！こんなすばらしい歌手は私の一座に特別の価値をきっともたらすでしょう １６ターラで留まって頂けますかな - - 【マドモワゼル・ジルバークランク】 すぐに頂けるのでしたら - 考えてみなくもありませんわよ 【ブッフ】 （そっとフランクに） でも毎週同じ額を払わなくちゃいけなくなるんですよ 第９場 前場の人物 フォーゲルザンク夫妻 【マダム・フォーゲルザンク】 あらフランクさん 私はとても光栄ですわ 私の夫をリストに加えて頂いて 【フランク】 ようこそ 歓迎します オペラ団の方も作りますから 仲良くお願いしますよ みなさん 【マドモワゼル・ジルバークランク】 私についてはトップレディですから文句は言いませんわ お望みなら何でもしますから でも教えて下さいますか いかほどマダムは貰われているのかを （マダム・ヘルツを指さして） ギャラを？ 【フランク】 あなたと同じくらいですよ 【マドモワゼル・ジルバークランク】 それは私が知っておく必要がありますわ 【マダム・ヘルツ】 まさか私より多いなんてことはありませんわよね？ 【ブッフ】 おお 仲良く！ 【マドモワゼル・ジルバークランク】 （フランクに） じゃあプリマドンナには少なくとも私を選んで頂く必要がありまずわ 【マダム・ヘルツ】 それには異議ありです Nr. 3 - 三重唱 【マドモワゼル・ジルバークランク】 あたしがプリマドンナよ 【マダム・ヘルツ】 （嘲って） 私もそう思うわ あなたがそう考えてるなら 【マドモワゼル・ジルバークランク】 あなたはそれを否定することはできないわ！ 【マダム・ヘルツ】 （嘲って） 私はそれを否定したりしません 【ムッシュー・フォーゲルザンク】 ねえ ちょっと言わせてくれよ！ 【マドモワゼル・ジルバークランク】 あたしには誰も敵わないって 誰もが認めてるわよ 【マダム・ヘルツ】 （嘲って） 確かにね あなたに匹敵するようなのは 聞いたことも 見たこともないわ 【ムッシュー・フォーゲルザンク】 何をしたいんだ お互いを憤慨させて 自分の才能を誇ることで？ それぞれに特別な美質があるのに 【マドモワゼル・ジルバークランク マダム・ヘルツ】 私を賞賛するわ 私を聞いた人は誰でも 【マダム・ヘルツ】 アダージョ！アダージョ！ 【マドモワゼル・ジルバークランク】 アレグロ アレグリッシモ！ 【ムッシュー・フォーゲルザンク】 ピアノ！ピアニッシモ！ アーティストは他人を非難してはいけません それは芸術を侮辱する行為です 【マダム・ヘルツ】 いいわ！じゃあ芸術に敬意を表して 私は自分の主張を取り下げるわ 【マドモワゼル・ジルバークランク】 そのとおりね！芸術に敬意を表して 私もそうすることにしましょう 【ブッフ】 （皮肉っぽく） 万歳 団結よ！ 最終場 前場の人物 マダム・ファイルとマダム・クローネ 【マダム・ファイル】 どういうことですか フランクさん 他の人には16ターラーを払って私だけ12ターラー？そんなの許せませんわ 私が最も高い給料を頂く必要があります だって私はすべての演目で必要とされるんですから 【アイラー】 （そっとフランクに） 彼女とだけ相談してくださいよ みんなに同額支払うことになる 【フランク】 （そっとマダム・ファイルに） まあ落ち着いてくださいよ 皆それぞれ独立した契約を結ばなくちゃならないんで 【マダム・ファイル】 だから私にも適用してちょうだいよ 【マダム・クローネとマダム・フォーゲルザンク】 これはどういうこと？ 【マダム・ヘルツとマドモワゼル・ジルバークランク】 これは何なの？ 【フランク】 私は劇団なんか作らんぞ こんなに厄介事が続くんじゃ 短い沈黙の後で 【マダム・クローネ】 フランクさん 私は芸術のために犠牲になりましょう 【マダム・フォーゲルザンク】 私は賞賛を控え目なものにしますわ 【マダム・ヘルツ】 わたしもそうします 【マドモワゼル・ジルバークランク】 私もそれで不足はありませんことよ 【ブッフ】 さてそれでは仲直りと致しましょう （傍白） また決裂するまでね フランクさん 幸運を祈りますよ この集団の中で 私は何も恐れちゃいません - 一流の俳優と一流の歌手が手に入ったんだから Nr. 4 - 終わりの歌 【マドモワゼル・ジルバークランク】 どんなアーティストも名誉を追い求め オンリーワンを目指すもの もしもその意気込みがなかったら すべての芸術は小さなものになる 【全員】 アーティストは努力しなければならない 常に優れたものであり続けることを けれど自分の優位性ばかり主張して 他人よりも優れたものと考えることは そのアーティストをつまらない者にする 【ムッシュー・フォーゲルザンク】 協調性こそ私が讃えるもの 他のいかなる美徳よりも なぜなら全体が好まれねばならぬのだから ただ単なる個人だけではなく 【全員】 アーティストは努力しなければならない… 【マダム・ヘルツ】 各々が自分の才能を発揮して 芸と 天分をバランスさせましょう その上で 聴衆に示して頂きましょう 誰が最大の賞賛に値するかを 【全員】 アーティストは努力しなければならない… 【ブッフ】 私はこれらの歌手の中では 明らかに第一ブッフォ歌手だ 私の名はブッフ - たったひとつの O を 私の名前に付け加えれば良い そうすれば議論の余地なく：ブッフォになる そして 私のようには 誰も歌えない 皆さんよくお分かりかね？ 【全員】 アーティストは努力しなければならない… Ouvertüre SIEBENTER AUFTRITT Frank, Buff, Herr und Madame Herz. HERZ Hier hab ich das Vergnügen Ihnen meine Frau vorzustellen. Sie ist bereit Ihnen mit einer kleinen Arie eine Probe von Ihrer Stimme zu geben. FRANK Sie werden mir ein auserordentliches Vergnügen machen. Nr. 1 - Ariette MADAME HERZ Da schlägt des Abschieds Stunde Um grausam uns zu trennen; Wie werd ich leben können O Damon! ohne dich! Ich will dich begleiten Im Geist dir zur Seiten Schweben um dich! Und du! - - vielleicht auf ewig Vergisst dafür auf mich! Doch nein, wie fällt mir so was ein! Du kannst gewiss nicht treulos seyn. Ein Herz das so der Abschied kränket, Dem ist kein Wankelmuth bekannt Wohin es auch das Schicksal lenket! Nichts trennt das festgeknüpfte Band. FRANK Göttlich! unvergleichlich! ich bin Ihnen für das Vergnügen unendlich verbunden, Madame! er küsst Madame Herz die Hand HERZ der ihm seiner Frauen Hand wegnimmt Um Vergebung Herr Frank, Sie bewundern zu lebhaft! Ich mag das nicht gern leiden. Sie sind also mit dem Talent meiner Frau zufrieden? FRANK Wer würde das nicht seyn? HERZ Nun denn, so werden Sie auch unsre Foderung nicht zu hoch finden. Sie geben meiner Frau sechzehn Thaler die Woche, und mir, weil ichs schon eingegangen bin, vierzehn. FRANK Recht gerne. BUFF Wir steigen. ACHTER AUFTRITT Die Vorigen, Mademoiselle Silberklang. MADEMOISELLE SILBERKLANG Ihre Dienerinn Herr Frank. Sie errichten, wie ich höre, eine deutsche Oper? Ich will mich also bey Ihnen als Sängerinn melden. Ich bin Mademoiselle Silberklang, Sie müssen mich ohne Zweifel per ronommée kennen - Weil der Ruf aber oft betrüglich ist, so will ich Ihnen ein kleines Rondeau singen, damit Sie selbst urtheilen können. Nr. 2 - Rondo MADEMOISELLE SILBERKLANG Bester Jüngling! mit Entzücken Nehm ich deine Liebe an; Da in deinen holden Blicken Ich mein Glück entdecken kann. Nichts ist mir so werth und theuer Als dein Herz und deine Hand; Voll vom reinsten Liebes-Feuer Geb ich dir mein Herz zum Pfand. Aber, ach! wenn düstres Leiden Unsrer Liebe folgen soll, Lohnen diess der Liebe Freuden? Jüngling das bedenke wohl! FRANK Bravo! Bravo! Zwey so vortrefliche Sängerinnen müssen meiner Gesellschaft einen besondern Werth geben. Wenn Sie um Sechzehn Thaler bey mir bleiben wollen - - MADEMOISELLE SILBERKLANG Da haben sie meine Hand - Ich mache nicht viel Umstände. BUFF heimlich zu Frank Accordiren Sie zugleich, wie oft sie in einer Woche den Karthar haben will. NEUNTER AUFTRITT Vorige, Madame und Herr Vogelsang. MADAME VOGELSANG Hier Herr Frank hab ich die Ehre Ihnen meinen Mann aufzuführen. FRANK Willkommen, willkommen. O nun hab ich ja schon eine Oper beysammen. Nur Einigkeit bitt ich, meine Kinder. MADEMOISELLE SILBERKLANG Ueber mich werden Sie deshalb nicht klagen können, ich bin das beste Mädchen, ich thue alles, was man will. Sagen Sie mir, wie viel hat Madame auf Madame Herz zeigend Gage? FRANK So viel wie Sie. MADEMOISELLE SILBERKLANG Das hätt ich wissen sollen. MADAME HERZ Sie glauben doch wohl nicht mehr zu verdienen als ich? BUFF O Einigkeit! MADEMOISELLE SILBERKLANG zu Frank So müssen Sie wenigstens mich als erste Sängerinn annehmen. MADAME HERZ Dagegen protestir ich. Nr. 3 - Terzett MADEMOISELLE SILBERKLANG Ich bin die erste Sängerin. MADAME HERZ spöttisch Das glaub ich, ja nach Ihrem Sinn. MADEMOISELLE SILBERKLANG Das sollen Sie mir nicht bestreiten. MADAME HERZ spöttisch Ich will es ihnen nicht bestreiten. MONSIEUR VOGELSANG Ey! lassen Sie sich doch bedeuten. MADEMOISELLE SILBERKLANG Ich bin von keiner zu erreichen Das wird mir jeder eingestehn. MADAME HERZ spöttisch Gewiss ich habe ihres gleichen Noch nie gehört und nie gesehn. MONSIEUR VOGELSANG Was wollen Sie sich erst entrüsten, Mit einem leeren Vorzug brüsten, Ein jedes hat besondern Werth MADEMOISELLE SILBERKLANG, MADAME HERZ Mich lobt ein jeder der mich hört. MADAME HERZ Adagio! adagio! MADEMOISELLE SILBERKLANG Allegro! allegrissimo; MONSIEUR VOGELSANG Piano! Pianissimo! Kein Künstler muss den andern tadeln Es setzt die Kunst zu sehr her ab. MADAME HERZ Wohlan! nichts kann die Kunst mehr adeln Ich steh von meiner Fodrung ab. MADEMOISELLE SILBERKLANG Ganz recht! nichts kann die Kunst mehr adeln Ich stehe ebenfalls nun ab. BUFF ironisch Es lebe die Einigkeit! LETZTER AUFTRITT Die Vorigen, Eiler, Madame Pfeil und Madame Krone. MADAME PFEIL Was hab ich gehört, Herr Frank, Sie geben andern sechzehn Thaler, und mir nur zwölfe? da wird nichts draus. Ich muss die höchste Gagehaben; denn ich bin in allen Fächern zu brauchen. EILER heimlich zu Frank Gestehn Sie ihrs nur ein. Ich zahle ja so alles. FRANK heimlich zu Madame Pfeil Beruhigen Sie sich nur; Sie sollen einen Separat-Kontrakt haben. MADAME PFEIL So lass ichs gelten. MADAME KRONE UND MADAME VOGELSANG Was ist das? MADAME HERZ UND MADEMOISELLE SILBERKLANG Was ist das? FRANK Dass ich gar keine Gesellschaft errichten will; wenn ich gleich anfangs so viel Hinderdernisse finde. Nach einer kleinen Pause. MADAME KRONE Herr Frank, ich will der Kunst mein Intresse aufopfern. MADAME VOGELSANG Ich will mich am Beyfall schadlos halten. MADAME HERZ Ich auch. MADEMOISELLE SILBERKLANG Daran wird mirs auch nicht fehlen. BUFF Nun so wäre alles wieder in Ruhe. bey Seite Bis es wieder ausbricht. Herr Frank, ich wünsche Ihnen Glück zu ihrer Gesellschaft. Ich fürchte nichts - als dass sie lauter erste Aktrisen und erste Sängerinnen haben. Nr. 4 - Schlussgesang MADEMOISELLE SILBERKLANG Jeder Künstler strebt nach Ehre, Wünscht der einzige zu seyn; Und wenn dieser Trieb nicht wäre, Bliebe jede Kunst nur klein. ALLE Künstler müssen freylich streben Stets des Vorzugs werth zu seyn; Doch sich selbst den Vorzug geben, Ueber andre sich erheben, Macht den grössten Künstler klein. MONSIEUR VOGELSANG Einigkeit rühm ich vor allen Andern Tugenden uns an; Denn das Ganze muss gefallen Und nicht bloss ein einzler Mann. ALLE Künstler müssen freylich streben etc. MADAME HERZ Jedes leiste was ihm eigen, Halte Kunst, Natur, gleich werth; Lasst das Publikum dann zeigen Wem das grösste Lob gehört. ALLE Künstler müssen freylich streben etc. BUFF Ich bin hier unter diesen Sängern Der erste Buffo das ist klar; Ich heisse Buff - nur um ein O Brauch ich den Namen zu verlängern, So heiss ich ohne Streit Buffo. Und dass, wie ich, keins singen kann, Sieht man den Herren doch wohl an? ALLE Künstler müssen freylich streben. etc. 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 Mozart,Wolfgang Amadeus/Der Schauspieldirektor
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Market Synopsis The analysis conducted by the data experts of Market Research Future Reports informs that the Marketing Attribution Software Market Analysis is speculated to display a promising CAGR of 15.3% during the assessment period. The increasing demand for optimizing the marketing expenditure of organizations is the most significant factor influencing the global marketing attribution software market 2020. Besides, the increasing adoption of developed technologies like AI is estimated to be a substantial element driving the global market. Moreover, the need for tracking customer behaviour for targeted marketing initiatives is another significant factor leading to market growth. In addition, the software also provides insights to review ROI and gives details with respect to the lead generation. Therefore, demand is estimated to increase swiftly during the review period. However, the security threats related to sensitive data of the organizations is estimated to be a major hindrance in market growth. Also, the expansion of the global marketing attribution software market is projected to be affected significantly due to the outbreak of COVID-19. The daily operations in various regions were put to a halt which immensely affected the manufacturing cycle of the product. Market Segmentation The worldwide marketing attribution software market can be classified on the basis of attribution, component, type, organization size, deployment mode, vertical, and region. Based on attribution type, the global marketing attribution software market can be classified into single-source attribution, multi-source attribution, and probabilistic or algorithmic attribution Based on component, the global marketing attribution software market can be classified into software and services. Based on organization size, the global marketing attribution software market can be classified into large enterprises and small and medium-sized enterprises. Based on deployment mode, the global marketing attribution software market can be classified into the cloud and on-premise. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/7475 Based on vertical, the global marketing attribution software market can be classified into retail, FMCG and consumer packaged goods, consumer electronics, IT telecom, BFSI, healthcare, travel and hospitality, media and entertainment, and others. Based on the region, the global marketing attribution software market can be classified into North America, Europe, Asia-Pacific, Middle East Africa, and South America. Regional Analysis Thorough research has been carried out for North America, Europe, Asia-Pacific, Middle East Africa, and South America. As per the evaluation, the market is projected to expand significantly during the assessment period. Among all regions, the global market is speculated to be dominated by North America. Among all nations in North America, the US and Canada are likely to make the most significant participation during the assessment period. Besides, it also consists of the nations that are technically well-equipped and adopt innovative digital technologies fast. The growing demand for tracking consumer behaviour and preference has resulted in the enlargement of regional market size. Besides, most of the established manufacturers are based out of the US and has a strong customer base. On the other hand, the European market is speculated to expand at the maximum CAGR during the assessment period from 2018 to 2023. The APAC region is speculated to augment substantially during the assessment period due to the presence of various startups which are acting as a market catalyst. Key Players The distinguished market competitors of the worldwide marketing attribution software market are Adobe Inc. (US), Google (US), Visual IQ – A Nielsen Company (US), SAP SE (Germany), Oracle Corporation (US), Analytic Partners, Inc. (US), Calibermind (US), Attribution LLC (US), Engagio (US), Singular (US), Wizaly (France), Rockerbox, Inc. (the US), Neustar, Inc. (the US), OptiMine (US), and Merkle Group Inc. (US), and a few others. Browse Complete Report @ https //www.marketresearchfuture.com/reports/marketing-attribution-software-market-7475 Table of Contents 1 Executive Summary 2 Scope of The Report 2.1 Market Definition 2.2 Scope of The Study 2.2.1 Research Objectives 2.2.2 Assumptions Limitations 2.3 Market Structure Continued… Similar Report B2B Telecommunication Market Information by Solution (Unified Communication and Collaboration), Deployment (Fixed, Mobile), Organization Size (Large, Enterprise), Application (Industrial, Commercial) and regions Trending #MRFR Report** https //ictmrfr.blogspot.com/2022/04/geofencing-market-companies-growth-with.html https //blogfreely.net/pranali004/telecom-expense-management-market-size-impressive-cagr-changing-business-scope https //postheaven.net/pranali004/financial-app-industry-impressive-cagr-changing-business-needs-scope-of https //market-research-future.tribe.so/post/openstack-service-market-research-impressive-cagr-changing-scope-of-current--6263de46791566c10c79891e https //www.scutify.com/articles/2022-04-24-infrastructure-as-a-service-industry-cagr-changing-business-scope-of-current-and-future-industry- About Market Research Future At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. 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1.HTML5とは 簡単に言うと、動画とか音楽にも対応した新しいhtml。 現在、ホームページ記述の主流となっている「HTML 4.01」の新バージョンとして開発された言語。HTML4とは上位互換であり、HTML5対応のブラウザからは見ることができる。逆に、HTML5専用ページを対応していないブラウザで見ようとしても、表示することが出来ない（基本的に何も表示されないが、ページによっては対応していませんという旨のメッセージが表示される） ⇨Flashだとここまでできる! HTML5とFlashの機能比較 ⇨http //clockmaker.jp/blog/2010/02/flash-vs-html5/ 2.今までと何が違うのか 2.1 プラグインなしに動画が再生できる。 現在のhtml4では、FlashやSilverlightといったプラグインが仲介することで動画の再生が実現されている。html5では、 video タグにより動画再生を可能にする。これにより、flashが対応していないiphoneで動画が再生できるなど、身近な部分でも期待することができる。 2.1.1 動画再生の問題点 動画再生の問題点に、コーデックの問題がある。現在のデファクトスタンダードとなっているflashでは、プラグイン自体に複数の動画コーデックをサポートしているため問題ないが、html5では、表示するブラウザごとにサポートの必要がある。 特に、大きな問題となっているのは、「H.264」をプッシュするAppleやMicrosoftと、オープンビデオにはオープンコーデックがふさわしいとしているMozilla（firefox）やOperaとの対立である。 「H.264」はライセンス料が必要であるため、営利団体でないMozillaなどは特に難色を示す。逆にオープンソースの「Ogg Theora」では、品質（圧縮効率）が劣るとして、両者の足並みは揃わない。 ⇨「Google、H.264サポート中止」の背景を探る／ascii.jp ⇨http //ascii.jp/elem/000/000/581/581646/ ⇨Flashだとここまでできる! HTML5とFlashの機能比較 ⇨http //clockmaker.jp/blog/2010/02/flash-vs-html5/
https://w.atwiki.jp/clojurian/pages/13.html
Changes to Clojure in Version 1.1 = CONTENTS = 1 Deprecated and Removed Features 1.1 add-watcher, remove-watcher 1.2 add-classpath 1.3 ^ reader macro 1.4 clojure.parallel 1.5 clojure.lang.Repl, clojure.lang.Script 2 New Features in clojure.core 2.1 Primitive Array Generators 2.2 Casting to Primitive Arrays 2.3 Chunked Sequences 2.4 Futures 2.5 Promises 2.6 Futures vs. Promises 2.7 Transients 2.8 User-controlled Thread Bindings 2.9 Ref History 2.10 Function pre- and postconditions 2.11 Miscellaneous 3 New Namespaces 3.1 clojure.test 3.2 clojure.test.junit 3.3 clojure.stacktrace 3.4 clojure.walk 3.5 clojure.template 4 Closed Tickets = 1 Deprecated and Removed Features = == 1.1 add-watcher, remove-watcher == The functions add-watcher and remove-watcher are gone, but they can be implemented in terms of add-watch and remove-watch. add-watcherとremove-watcherは廃止されました、ただし、 これらはadd-watchとremove-watchを使って実装できます。 The difference is that a "watcher" was only activated when the watched reference changed to a *different* state, whereas a "watch" is activated whenever the reference *might* have changed state. 違いは、watcher系は観察対象の参照が「別の」状態に変更された時だけ、 アクティブになることです。 watch系は参照が変更「された」時にはいつでもアクティブになります。 Watches are still considered an experimental feature. watch系はまだ試験的な機能としての扱いです。 == 1.2 add-classpath == This function can not be made to work in many environments. Always use Java s built-in mechanisms to control the classpath. この機能はいろいろな環境で動作するようになっていません。 クラスパスを制御するにはJavaにビルトインされたメカニズムを 使ってください。 == 1.3 ^ reader macro == The ^ reader macro has been deprecated as a shortcut for meta in the hopes that it can eventually replace the #^ reader macro. ^リーダマクロは非推奨になりました。 最終的には#^リーダマクロによって置き換えることが望ましいです。 == 1.4 clojure.parallel == The clojure.parallel namespace has been deprecated. Eventually it will be replaced with a faster and more idiomatic alternative based on the JDK7 ForkJoin library. A preview of this work is already available in the par branch of Clojure. clojure.parallel名前空間は非推奨になりました。 最終的には、JDK7のForkJoinライブラリをベースにした、 より高速で正確なものに置き換わります。 この作業のプレビュー版は既にClojureのparブランチにあります。 == 1.5 clojure.lang.Repl, clojure.lang.Script == The launch classes clojure.lang.Repl and clojure.lang.Script are both deprecated in favor of clojure.main. Run clojure.main with the -h argument for the new command-line syntax. 起動用クラスであるclojure.lang.Replとclojure.lang.Script はどちらも非推奨とし、clojure.mainを優先します。 新しいコマンドライン引数を確認するには、-h引数を付けて clojure.mainを実行します。 = 2 New Features in clojure.core = == 2.1 Primitive Array Generators == (just like int-array, double-array) * boolean-array New * byte-array New * char-array New * short-array New == 2.2 Casting To Primitive Arrays == (just like ints, doubles) * booleans New * bytes New * chars New * shorts New == 2.3 Chunked Seqs == Some Clojure data structures now yield chunked seqs, which, in addition to satisfying the normal item-at-a-time seq interface, also support processing data sequentially by small blocks called chunks . This can provide greater efficiency by leveraging the structure of the data and amortizing the overhead of sequential access. Some of the sequence processing functions (like map and filter) are now chunk-aware and leverage this efficiency. Clojureのデータ構造のいくつかはチャンク化されたシーケンスを扱う ようになりました。 つまり、通常の一カ所1項目の順次インタフェースを満足した上で、 さらにデータを「チャンク」と呼ばれる小さなブロックに分け、 順次データを処理できるようになります。 データの構造を活用し、 順次アクセスのオーバーヘッドを解消することで、 大幅な効率向上ができます。 いくつかの順次処理関数(mapやfilterなど)はチャンク対応となり、 この効果を活用できます。 Consumption of chunked-seqs as normal seqs should be completely transparent. However, note that some sequence processing will occur up to 32 elements at a time. This could matter to you if you are relying on full laziness to preclude the generation of any non-consumed results. An interface to force single-item consumption of chunked seqs is still being designed. Please share any use cases where chunked processing has resulted in behavioral differences that matter to you on the Clojure Google group. 通常のシーケンスとしてチャンク化シーケンスを使用することは、 完全に透過的であるべきです。 しかし、いくつかの順次処理は同時に最大32要素までしか扱えません。 非消費型の結果を生成しない、完全遅延処理を期待している 場合は注意してください。 チャンク化インタフェースで、1項目消費を強制するインタフェース は現在設計中です。 チャンク化処理が別の振る舞いをする利用例を、Clojure Google グループで 共有しましょう 。 The following fns should be considered implementation details subject to change, but can be used for experimentation with building your own chunked-seq functions from scratch. See map and filter as examples. 以下のfnは変更の可能性がある、実装詳細として扱われるべきです。 ただし、あなた自身のチャンク化シーケンスを最初から作るときに 試験的に使用することができます。 mapやfilterを例としてみてください。 * chunk New * chunk-buffer New * chunk-append New * chunk-first New * chunk-rest New * chunk-next New * chunk-cons New * chunked-seq? New == 2.4 Futures == Futures represent asynchronous computations. They are a way to get code to run in another thread, and obtain the result. futureは非同期の計算を表現します。 これらは別のスレッドへのコードの受け渡しや結果の取得の方法となります。 * future New * future? New * future-done? New * future-cancel New * future-cancelled? New == 2.5 Promises == A promise is a synchronization construct that can be used to deliver a value from one thread to another. Until the value has been delivered, any attempt to dereference the promise will block. It thus enables dataflow-style programming. promiseは、あるスレッドから別のスレッドへ値を渡すときに使うことの出来る、 同期処理の構成要素です。 値が渡されるまで、promiseでのデリファレンスの試みはブロックされます。 これによりデータフロー型のプログラミングが可能になります。 * promise New * deliver New == 2.6 Futures vs. Promises == A future is associated with a computation, whereas a promise is just a handoff reference. futureは計算と関連しています。 promiseは参照のハンドオフでしかありません。 == 2.7 Transients == See http //clojure.org/transients * transient New * persistent! New * conj! New * assoc! New * dissoc! New * pop! New * disj! New == 2.8 User-Controlled Thread Bindings == * push-thread-bindings New * pop-thread-bindings New * get-thread-bindings New * with-bindings* New * with-bindings New * bound-fn* New * bound-fn New == 2.9 Ref History == * ref Updated * ref-history-count New * ref-min-history New * ref-max-history New == 2.10 Function pre- and postconditions == Functions support specifying runtime pre- and postconditions. 関数は実行時の事前条件、事後条件の指定をサポートします。 See http //clojure.org/special_forms == 2.11 Miscellaneous == * juxt New * import Now a macro form * assert Now with *assert* binding * slurp Now with encoding parameter * with-loading-context New = 3 New Namespaces = Complete documentation for all namespaces is in the source and API docs http //richhickey.github.com/clojure/ == 3.1 clojure.test == The test framework formerly known as clojure.contrib.test-is. == 3.2 clojure.test.junit == An extension to clojure.test for JUnit-style XML output. This enables using JUnit reporting tools with clojure.test. == 3.3 clojure.stacktrace == A few utility functions for printing Java stacktraces in a format that distinguishes between Clojure function calls and Java method calls. == 3.4 clojure.walk == A simple tree walker for transforming data structures. Similar in intent to clojure.zip, but less flexible. Useful when you want to call a function on every value in a complex, nested data structure. Includes some examples such as stringify-keys, which replaces all keywords in a map with strings, and macroexpand-all, a quick-and-dirty macroexpansion tester. Note macroexpand-all is NOT 100% correct, it just recursively tries to macroexpand a form; it does not correctly interpret special forms such as let. == 3.5 clojure.template == Macros that apply a "template expression" to a list of forms. Used to implement the "are" macro in clojure.test. = 4 Closed Tickets = http //www.assembla.com/spaces/clojure/tickets?milestone_id=93750 tickets_report_id=5
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Atto Terzo Quadro I （Una stanza da studio nell'abitazione di Anckarström. Sovra un caminetto di fianco due vasi di bronzo, rimpetto a cui la biblioteca. Nel fondo v'ha unmagnifico ritratto del re Gustavo in piedi, e, nel mezzo della scena, una travola.） （Entrano Anckarström a Amelia.） ▼ANCKARSTRÖM▲ （deposta la spada e chiusa la porta） A tal colpa é nulla il pianto, Non la terge e non la scusa. Ogni prece é vana ormai; Sangue vuolsi, e tu morrai. ▼AMELIA▲ Ma se reo, se reo soltanto È l'indizio che m'accusa? ▼ANCKARSTRÖM▲ Taci, adultera! ▼AMELIA▲ Gran Dio! ▼ANCKARSTRÖM▲ Chiedi a lui misericordia. ▼AMELIA▲ E ti basta un sol sospetto? E vuoi dunque il sangue mio? E m'infami, e più non senti Né giustizia, né pietà? ▼ANCKARSTRÖM▲ Sangue vuolsi, e tu morrai. ▼AMELIA▲ Un istante, é ver l'amai Ma il tuo nome non macchiai. Sallo Iddio, che nel mio petto Mai non arse indegno affetto. ▼ANCKARSTRÖM▲ （ripigliando la spada） Hai finito? Tardi é omai… Sangue vuolsi, e tu morrai. ▼AMELIA▲ Ah! mi sveni!… ebbene sia… Ma una grazia… ▼ANCKARSTRÖM▲ Non a me. La tua prece al ciel rivolgi. ▼AMELIA▲ （genuflessa） Solo un detto ancora a te. M'odi, l'ultimo sarà. Morró, ma prima in grazia, Deh! mi consenti almeno L'unico figlio mio Avvincere al mio seno. E se alla moglie nieghi Quest'ultimo favor, Non rifiutarlo ai prieghi Del mio materno cor. Morrò, ma queste viscere Consolino i suoi baci, Or che l'estrema é giunta Dell'ore mie fugaci. Spenta per man del padre, La man ei stenderà Sugli occhi d'una madre Che mai più non vedrà! ▼ANCKARSTRÖM▲ （additandole, senza guardarla, un uscio） Alzati; là tuo figlio A te concedo riveder. Nell'ombra E nel silenzio, là, Il tuo rossore e l'onta mia nascondi. （Amelia esce.） Non é su lei, nel suo Fragile petto che colpir degg'io. Altro, ben altro sangue a terger déssi L'offesa!… （fissando il ritratto） Il sangue tuo! E lo trarrà il pugnale Dallo sleal tuo core, Delle lagrime mie vendicator! Eri tu che macchiavi quell'anima, La delzia dell'anima mia; Che m'affidi e d'un tratto esecrabile L'universo avveleni per me! Traditor! che compensi in tal guisa Dell'amico tuo primo la fé! O dolcezze perdute! O memorie D'un amplesso che l'essere india!… Quando Amelia sì bella, sì candida Sul mio seno brillava d'amor! È finita, non siede che l'odio E la morte nel vedovo cor! O dolcezze perdute, o speranze d'amor! （Horn e Ribbing entrano salutando Anckarström freddamente.） ▼ANCKARSTRÖM▲ Siam soli. Udite. Ogni desgno vostro M' é noto. Voi di Gustavo la morte Volete. ▼RIBBING▲ È un sogno. ▼ANCKARSTRÖM▲ （mostrando alcune carte che ha sul tavolo） Ho qui le prove! ▼HORN▲ （fremendo） Ed ora la trama al re tu svelerai? ▼ANCKARSTRÖM▲ No, voglio dividerla. ▼HORN E RIBBING▲ Tu scherzi. ▼ANCKARSTRÖM▲ E non co' detti Ma qui col fatto struggerò i sospetti. Io son vostro, compagno m'avrete Senza posa a quest'opra di sangue. Se vi manco. ▼HORN▲ Ma tal mutamento È credibile appena. ▼ANCKARSTRÖM▲ Qual fu la cagion non cercate. Son vostro per la vita dell'unico figlio! ▼HORN▲ Ei non mente. ▼RIBBING▲ No, non mente. ▼ANCKARSTRÖM▲ Esitate? ▼HORN E RIBBING▲ Non più. ▼ANCKARSTRÖM▲ Non più. ▼ANCKARSTRÖM, HORN, RIBBING▲ Dunque l'onta di tutti sol una, Uno il cor, la vendetta sarà, Che tremenda, repente, digiuna Su quel capo esecrato cadrà! ▼ANCKARSTRÖM▲ D'una grazia vi supplico. ▼HORN▲ E quale? ▼ANCKARSTRÖM▲ Che sia dato d'ucciderlo a me. ▼HORN▲ No, Anckarström l'avito castello A me tolse, e tal dritto a me spetta. ▼RIBBING▲ Ed a me cui spegneva il fratello, Cui decenne agonia di vendetta Senza requie divora, qual parte Assegnaste? ▼ANCKARSTRÖM▲ Chetatevi, solo Qui la sorte decidere de'. （Prende un vaso dal camino e lo colloca sulla tavola. Horn scrive tre nomi e vi getta dentro ibiglietti. Entra Amelia.） E chi viene? （incontrandola） Tu?… ▼AMELIA▲ V'é Oscarre che porta Un invito del sire. ▼ANCKARSTRÖM▲ （fremente） Di lui!… Che m'aspetti. （ad Amelia） E tu resta, lo dêi Poi che parmi che il cielo t'ha scorta. ▼AMELIA▲ (Qual tristezza m'assale, qual pena! Qual terribile lampo balena!) ▼ANCKARSTRÖM▲ （additando sua moglie a Horn e Ribbing） Nulla sa non temete. Costei Esser debbe anzi l'auspice lieto. （ad Amelia traendola verso la tavola） V'ha tre nomi in quell'urna un ne tragga L'innocente tua mano. ▼AMELIA▲ （tremante） E perche? ▼ANCKARSTRÖM▲ （fulminandola con lo sguardo） Obbedisci non chieder di più. ▼AMELIA▲ (Non é dubbio; il feroce decreto Mi vuol parte ad un'opra di sangue.) （Con mano tremante estrae dal vaso un biglietto che suo marito passa a Horn.） ▼ANCKARSTRÖM▲ Qual é dunque l'eletto? ▼HORN▲ （con dolore） Renato. ▼ANCKARSTRÖM▲ （con esalatazione） Il mio nome! O giustizia del fato; La vendetta mi deleghi tu! ▼AMELIA▲ (Di Gustavo la morte si vuole! Non celâr le crudeli parole! Su quel capo snudati dall'ira I lor ferri scintillano già!) ▼ANCKARSTRÖM, HORN, RIBBING▲ Sconterà della patria il pianto Lo sleal che ne fece suo vanto. Se traffisse, soccomba trafitto, Tal mercede pagata gli va! ▼ANCKARSTRÖM▲ （alla porta） Il messaggio entri. （Entra Oscar.） ▼OSCAR▲ （verso Amelia） Alle danze questa sera, se gradite, Con lo sposo, il mio signore Vi desidera… ▼AMELIA▲ （turbata） Nol posso. ▼ANCKARSTRÖM▲ Anche il sire vi sarà? ▼OSCAR▲ Certo. ▼HORN E RIBBING▲ （fra loro） O sorte! ▼ANCKARSTRÖM▲ （al paggio, ma guardando i compagni） Tanto invito so che valga. ▼OSCAR▲ È un ballo in maschera Splendidissimo! ▼ANCKARSTRÖM▲ Benissimo! （accennando Amelia） Ella meco interverrà. ▼AMELIA▲ (Gran Dio!) ▼HORN E RIBBING▲ （fra loro） E noi pur, se da quell'abito Più spedito il colpo va. ▼OSCAR▲ Ah! di che fulgor, che musiche Esulteran le soglie, Ove di tante giovani Bellezze il fior s'accoglie, Di quante altrice palpita Questa gentil città! ▼AMELIA▲ (Ed io medesma, io misera, Lo scritto inesorato Trassi dall'unra complice, Pel mio consorte irato Su cui del cor più nobile Ferma la morte sta.) ▼ANCKARSTRÖM▲ (Là fra le danze esanime La mente mia sel pinge… Ove del proprio sangue Il pavimento tinge. Spira, dator d'infamie, Senza trovar pietà.) ▼HORN E RIBBING▲ （fra loro） Una vendetta in domino È ciò che torna all'uopo. Fra l'urto delle maschere Non fallirà lo scopo; Sarà una danza funebre Con pallide beltà. ▼AMELIA▲ (Prevenirlo potessi, e non tradir Lo sposo mio!) ▼OSCAR▲ Regina della festa sarete. ▼AMELIA▲ (Forse potrallo Ulrica.) （frattanto Anckarström, Horn e Ribbing rapidamente in disparte） ▼HORN E RIBBING▲ E qual costume indosserem? ▼ANCKARSTRÖM▲ Azzurra la veste, e da vermiglio Nastro le ciarpe al manco lato attorte. ▼HORN E RIBBING▲ E qual accento a ravvisarci? ▼ANCKARSTRÖM▲ （sottovoce） "Morte!" ▼AMELIA▲ (Prevenirlo potessi!) ▼OSCAR▲ Regina sarete! ▼ANCKARSTRÖM, HORN, RIBBING▲ Morte! Quadro II （Tavola coll'occorrente per iscrivere; nel fondo un grancortinaggio che scoprirà la festa da ballo.） ▼GUSTAVO▲ （solo） Forse la soglia attinse, E posa alfin. L'onore Ed il dover fra i nostri petti han rotto L'abisso. Ah, sì, Renato Rivedrà la sua patria… e la sua sposa Lo seguirà Senza un addio, l'immenso Mar ne sepàari… e taccia il core. （Scrive e nel momento di apporre la firma lascia cader la penna.） Esito ancor? ma, o ciel, non lo degg'io? （Sottoscrive e chiude il foglio in seno.） Ah, l'ho segnato il sacrifizio mio! Ma se m'é forza perderti Per sempre, o luce mia, A te verrà il mio palpito Sotto qual ciel tu sia. Chiusa la tua memoria Nell'intimo del cor. Ed or qual reo presagio Lo spirito m'assale, Che il rivederti annunzia Quasi un desio fatale… Come se fosse l'ultima Ora del nostro amor? （musica di dentro） Ah! dessa é là… potrei vederla… ancora Riparlarle potrei… Ma no ché tutto or mi strappa da lei. （Oscar entra con un foglio in mano.） ▼OSCAR▲ Ignota donna questo foglio diemmi. È pel sire, diss'ella; a lui lo reca E di celato. （Gustavo legge il foglio.） ▼GUSTAVO▲ （dopo letto） Che nel ballo alcuno Alla mia vita attenterà, sta detto. Ma se m'arresto, Ch'io pavento diran. Nol vo' nessuno Pur sospettarlo de'. Tu va t'appresta, E ratto per gioir meco alla festa. （Oscar esce; Gustavo rimasto solo vivamente prorompe ） Sì, rivederti, Amelia, E nella tua beltà, Anco una volta l'anima D'amor mi brillerà. Quadro III （Già all'aprirsi delle cortine una moltitudine d'invitatiempie la scena. Il maggior numero é in maschera, alcuni in domino, altri in costume digala a viso scoperto. Chi va in traccia, chi evita, chi ossequia e chi persegue. Tutto spiramagnificenza ed ilarità.） ▼CORO▲ Fervono amori e danze Nelle felici stanze, Onde la vita é solo Un sogno lusinghier. Notte de' cari istanti, De' palpiti e de' canti, Perché non fermi 'l volo Sull'onda del piacer? （Horn, Ribbing e i loro aderenti in domino azzurro col cinto vermiglio. Anckarström nellostessocostume s'avanza lentamente.） ▼HORN▲ （additando Anckarström a Ribbing） Altro de'nostri é questo. （e fattosi presso a Anckarström sottovoce） "Morte!" ▼ANCKARSTRÖM▲ （amaramente） Sì, morte! Ma non verrà. ▼HORN E RIBBING▲ Che parli? ▼ANCKARSTRÖM▲ Qui l'aspettarlo é vano. ▼HORN▲ Come? ▼RIBBING▲ Perché? ▼ANCKARSTRÖM▲ Vi basti saperlo altrove. ▼HORN▲ O sorte ingannatrice! ▼RIBBING▲ （fremente） Sempre ne sfuggirà di mano! ▼ANCKARSTRÖM▲ Parlate basso; alcuno lo sguardo a noi fermò. ▼HORN▲ E chi? ▼ANCKARSTRÖM▲ Quello a sinistra dal breve domino. （Si disperdono, ma Anckarström viene inseguito da Oscar in maschera.） ▼OSCAR▲ （a Anckarström） Più non ti lascio, o maschera; mal ti nascondi. ▼ANCKARSTRÖM▲ （scansandolo） Eh via! ▼OSCAR▲ （inseguendolo sempre, con vivacità） Tu se' Renato. ▼ANCKARSTRÖM▲ （spiccandogli la maschera） E Oscarre tu sei. ▼OSCAR▲ Qual villania! ▼ANCKARSTRÖM▲ Ma bravo, e ti par dunque convenienza questa Che mentre il sire dorme, tu scivoli alla festa? ▼OSCAR▲ Il re é qui… ▼ANCKARSTRÖM▲ （trasalendo） Che!… dove? ▼OSCAR▲ L'ho detto… ▼ANCKARSTRÖM▲ Ebben!… qual é? ▼OSCAR▲ Non vel dirò!… ▼ANCKARSTRÖM▲ Gran cosa! ▼OSCAR▲ （voltandogli le spalle） Cercatelo da voi. ▼ANCKARSTRÖM▲ （con accento amichevole） Orsù! ▼OSCAR▲ È per fargli il tiro che regalaste a me? ▼ANCKARSTRÖM▲ Via, calmati almen dirmi del suo costume puoi? ▼OSCAR▲ （scherzando） Saper vorreste Di che si veste, Quando l'é cosa Ch' ei vuol nascosa. Oscar lo sa, Ma nol dirà, Tra là là là là Là là là là. Pieno d'amor Mi balza il cor, Ma pur discreto Serba il segreto. Nol rapirà Grado o beltà, Trà là là là Là là là là. Oscar lo sa, （ecc.） （Gruppi di maschere e coppie danzanti attraversano il dinanzi della scena e separano Oscar daAnckarström.） ▼CORO▲ Fervono amori e danze Nelle felici stanze, Onde la vita é solo Un sogno lusinghier. ▼ANCKARSTRÖM▲ （raggiungendolo di nuovo） So che tu sai distinguere gli amici suoi. ▼OSCAR▲ V'alletta interrogarlo, e forse celiar con esso un po'? ▼ANCKARSTRÖM▲ Appunto. ▼OSCAR▲ E compromettere di poi chi ve l'ha detto? ▼ANCKARSTRÖM▲ M'offendi. È confidenza che quanto importi so. ▼OSCAR▲ Vi preme assai? ▼ANCKARSTRÖM▲ Degg'io di gravi cose ad esso, Pria che la notte inoltri, qui favellar. Su te Farò cader la colpa, se non mi fia concesso. ▼OSCAR▲ Dunque! ▼ANCKARSTRÖM▲ Fai grazia a lui, se parli, e non a me. ▼OSCAR▲ （più dappresso e rapidamente） Veste una cappa nera, con roseo nastro al petto. （Fa per andarsene） ▼ANCKARSTRÖM▲ Una parola ancora. ▼OSCAR▲ （dileguandosi tra la folla） Più che abbastanza ho detto. ▼CORO▲ Fervono amori e danze （ecc.） （Danzatori e danzatrici s'intrecciano al proscenio; Anckarström scorge lontano talunode'suoi e scompare di là. Poco dopo, al volger delle coppie nel fondo, Gustavo in dominonero con nastro rosa, s'affaccia pensieroso, e dietro a lui Amelia in domino bianco.） ▼AMELIA▲ （sottovoce in modo da non essere riconosciuta） Ah! perché qui! fuggite… ▼GUSTAVO▲ Sei quella dello scritto? ▼AMELIA▲ La morte qui v'accerchia… ▼GUSTAVO▲ Non penetra nel mio petto il terror. ▼AMELIA▲ Fuggite, fuggite, o che trafitto cadrete qui! ▼GUSTAVO▲ Rivelami il nome tuo. ▼AMELIA▲ Gran Dio! Nol posso. ▼GUSTAVO▲ E perché piangi… mi supplichi atterrita? Onde contanta senti pietà della mia vita? ▼AMELIA▲ （tra singulti che svelano la sua voce naturale） Tutto, per essa, tutto il sangue mio darei! ▼GUSTAVO▲ Invan ti celi, Amelia quell'angelo tu sei! ▼AMELIA▲ （con disperazione） T'amo, sì, t'amo, e in lagrime A' piedi tuoi m'atterro, Ove t'anela incognito Della vendetta il ferro. Cadavere domani Sarai sei qui rimani Salvati, va, mi lascia, Fuggi dall'odio lor. ▼GUSTAVO▲ Sin che tu m'ami, Amelia, Non curo il fato mio, Non ho che te nell'anima, E l'universo oblio. Né so temer la morte, Perché di lei più forte È l'aura che m'inebria Del tuo divino amor. ▼AMELIA▲ Dunque vedermi vuoi D'affanno morta e di vergogna? ▼GUSTAVO▲ Salva ti vo'. Domani con Renato andrai… ▼AMELIA▲ Dove? ▼GUSTAVO▲ Al natio tuo cielo. ▼AMELIA▲ Alla mia terra! ▼GUSTAVO▲ Mi schianto il cor… ma partirai… ma, addio. ▼AMELIA▲ Gustavo! ▼GUSTAVO▲ Ti lascio, Amelia. ▼AMELIA▲ Gustavo! ▼GUSTAVO▲ （Si, stacca, ma dopo pochi passi tornando a lei con tutta l'anima ） Anco una volta addio. ▼AMELIA▲ Ahimé! ▼GUSTAVO▲ L'ultima volta, addio! ▼AMELIA E GUSTAVO▲ Addio! ▼ANCKARSTRÖM▲ （Lanciatosi inosservato tra loro, trafigge Gustavo.） E tu ricevi il mio! ▼GUSTAVO▲ Ahimé! ▼AMELIA▲ （d'un grido） Soccorso! ▼OSCAR▲ （accorrendo a lui） O ciel! （Entrano da tutte le parti dame, ufficiali e guardie.） Ei trucidato! ▼ALCUNI▲ Da chi? ▼ALTRI▲ Dov'é l'infame? ▼OSCAR▲ （accennnando Anckarström） Eccol!… （Tutti lo circondano e gli strappano la maschera. Nel fondo veggonsi apparire Horn e Ribbing.） ▼AMELIA, OSCAR, CORO▲ Renato! ▼CORO▲ Ah! Morte, infamia, Sul traditor! L'acciaro lo laceri Vendicator! ▼GUSTAVO▲ No, no… lasciatelo. （a Anckarström） Tu… m'odi ancor. （Tratto il dispaccio, fa cenno a lui di accostarsi.） Ella é pura, in braccio a morte Te lo giuro, Iddio m'ascolta; Io che amai la tua consorte Rispettato ho il suo candor. （Gli dà il foglio.） A novello incarco asceso Tu con lei partir dovevi… Io l'amai, ma volli illeso Il tuo nome ed il suo cor! ▼AMELIA▲ O rimorsi dell'amor Che divorano il mio cor, Fra un colpevole che sanguina E la vittima che muor! ▼OSCAR▲ O dolor senza misura, O terribile sventura! La sua fronte é tutta rorida Già dell'ultimo sudor! ▼ANCKARSTRÖM▲ Ciel! che feci! e che m'aspetta Esecrato sulla terra!… Di qual sangue e qual vendetta M'assetò l'infausto error! ▼GUSTAVO▲ Grazia a ognum; signor qui sono Tutti assolve il mio perdono. （Horn e Ribbing occupano sempre il fondo della scena.） ▼TUTTI GLI ALTRI▲ Cor sì grande e generoso Tu ci serba, o Dio pietoso Raggio in terra a noi miserrimi È del tuo celeste amor! ▼GUSTAVO▲ Addio per sempre, miei figli… ▼AMELIA, OSCAR, ANCKARSTRÖM, HORN, RIBBING▲ Ei muore! ▼GUSTAVO▲ Addio… diletta patria… Addio… miei figli… per sempre… Ah!… ohimé!… io moro!… miei figli… Per sem… Addio. （Gustavo cade e spira.） ▼TUTTI▲ Notte d'orror! Atto Terzo Quadro I Una stanza da studio nell'abitazione di Anckarström. Sovra un caminetto di fianco due vasi di bronzo, rimpetto a cui la biblioteca. Nel fondo v'ha unmagnifico ritratto del re Gustavo in piedi, e, nel mezzo della scena, una travola. Entrano Anckarström a Amelia. ANCKARSTRÖM deposta la spada e chiusa la porta A tal colpa é nulla il pianto, Non la terge e non la scusa. Ogni prece é vana ormai; Sangue vuolsi, e tu morrai. AMELIA Ma se reo, se reo soltanto È l'indizio che m'accusa? ANCKARSTRÖM Taci, adultera! AMELIA Gran Dio! ANCKARSTRÖM Chiedi a lui misericordia. AMELIA E ti basta un sol sospetto? E vuoi dunque il sangue mio? E m'infami, e più non senti Né giustizia, né pietà? ANCKARSTRÖM Sangue vuolsi, e tu morrai. AMELIA Un istante, é ver l'amai Ma il tuo nome non macchiai. Sallo Iddio, che nel mio petto Mai non arse indegno affetto. ANCKARSTRÖM ripigliando la spada Hai finito? Tardi é omai… Sangue vuolsi, e tu morrai. AMELIA Ah! mi sveni!… ebbene sia… Ma una grazia… ANCKARSTRÖM Non a me. La tua prece al ciel rivolgi. AMELIA genuflessa Solo un detto ancora a te. M'odi, l'ultimo sarà. Morró, ma prima in grazia, Deh! mi consenti almeno L'unico figlio mio Avvincere al mio seno. E se alla moglie nieghi Quest'ultimo favor, Non rifiutarlo ai prieghi Del mio materno cor. Morrò, ma queste viscere Consolino i suoi baci, Or che l'estrema é giunta Dell'ore mie fugaci. Spenta per man del padre, La man ei stenderà Sugli occhi d'una madre Che mai più non vedrà! ANCKARSTRÖM additandole, senza guardarla, un uscio Alzati; là tuo figlio A te concedo riveder. Nell'ombra E nel silenzio, là, Il tuo rossore e l'onta mia nascondi. Amelia esce. Non é su lei, nel suo Fragile petto che colpir degg'io. Altro, ben altro sangue a terger déssi L'offesa!… fissando il ritratto Il sangue tuo! E lo trarrà il pugnale Dallo sleal tuo core, Delle lagrime mie vendicator! Eri tu che macchiavi quell'anima, La delzia dell'anima mia; Che m'affidi e d'un tratto esecrabile L'universo avveleni per me! Traditor! che compensi in tal guisa Dell'amico tuo primo la fé! O dolcezze perdute! O memorie D'un amplesso che l'essere india!… Quando Amelia sì bella, sì candida Sul mio seno brillava d'amor! È finita, non siede che l'odio E la morte nel vedovo cor! O dolcezze perdute, o speranze d'amor! Horn e Ribbing entrano salutando Anckarström freddamente. ANCKARSTRÖM Siam soli. Udite. Ogni desgno vostro M' é noto. Voi di Gustavo la morte Volete. RIBBING È un sogno. ANCKARSTRÖM mostrando alcune carte che ha sul tavolo Ho qui le prove! HORN fremendo Ed ora la trama al re tu svelerai? ANCKARSTRÖM No, voglio dividerla. HORN E RIBBING Tu scherzi. ANCKARSTRÖM E non co' detti Ma qui col fatto struggerò i sospetti. Io son vostro, compagno m'avrete Senza posa a quest'opra di sangue. Se vi manco. HORN Ma tal mutamento È credibile appena. ANCKARSTRÖM Qual fu la cagion non cercate. Son vostro per la vita dell'unico figlio! HORN Ei non mente. RIBBING No, non mente. ANCKARSTRÖM Esitate? HORN E RIBBING Non più. ANCKARSTRÖM Non più. ANCKARSTRÖM, HORN, RIBBING Dunque l'onta di tutti sol una, Uno il cor, la vendetta sarà, Che tremenda, repente, digiuna Su quel capo esecrato cadrà! ANCKARSTRÖM D'una grazia vi supplico. HORN E quale? ANCKARSTRÖM Che sia dato d'ucciderlo a me. HORN No, Anckarström l'avito castello A me tolse, e tal dritto a me spetta. RIBBING Ed a me cui spegneva il fratello, Cui decenne agonia di vendetta Senza requie divora, qual parte Assegnaste? ANCKARSTRÖM Chetatevi, solo Qui la sorte decidere de'. Prende un vaso dal camino e lo colloca sulla tavola. Horn scrive tre nomi e vi getta dentro ibiglietti. Entra Amelia. E chi viene? incontrandola Tu?… AMELIA V'é Oscarre che porta Un invito del sire. ANCKARSTRÖM fremente Di lui!… Che m'aspetti. ad Amelia E tu resta, lo dêi Poi che parmi che il cielo t'ha scorta. AMELIA (Qual tristezza m'assale, qual pena! Qual terribile lampo balena!) ANCKARSTRÖM additando sua moglie a Horn e Ribbing Nulla sa non temete. Costei Esser debbe anzi l'auspice lieto. ad Amelia traendola verso la tavola V'ha tre nomi in quell'urna un ne tragga L'innocente tua mano. AMELIA tremante E perche? ANCKARSTRÖM fulminandola con lo sguardo Obbedisci non chieder di più. AMELIA (Non é dubbio; il feroce decreto Mi vuol parte ad un'opra di sangue.) Con mano tremante estrae dal vaso un biglietto che suo marito passa a Horn. ANCKARSTRÖM Qual é dunque l'eletto? HORN con dolore Renato. ANCKARSTRÖM con esalatazione Il mio nome! O giustizia del fato; La vendetta mi deleghi tu! AMELIA (Di Gustavo la morte si vuole! Non celâr le crudeli parole! Su quel capo snudati dall'ira I lor ferri scintillano già!) ANCKARSTRÖM, HORN, RIBBING Sconterà della patria il pianto Lo sleal che ne fece suo vanto. Se traffisse, soccomba trafitto, Tal mercede pagata gli va! ANCKARSTRÖM alla porta Il messaggio entri. Entra Oscar. OSCAR verso Amelia Alle danze questa sera, se gradite, Con lo sposo, il mio signore Vi desidera… AMELIA turbata Nol posso. ANCKARSTRÖM Anche il sire vi sarà? OSCAR Certo. HORN E RIBBING fra loro O sorte! ANCKARSTRÖM al paggio, ma guardando i compagni Tanto invito so che valga. OSCAR È un ballo in maschera Splendidissimo! ANCKARSTRÖM Benissimo! accennando Amelia Ella meco interverrà. AMELIA (Gran Dio!) HORN E RIBBING fra loro E noi pur, se da quell'abito Più spedito il colpo va. OSCAR Ah! di che fulgor, che musiche Esulteran le soglie, Ove di tante giovani Bellezze il fior s'accoglie, Di quante altrice palpita Questa gentil città! AMELIA (Ed io medesma, io misera, Lo scritto inesorato Trassi dall'unra complice, Pel mio consorte irato Su cui del cor più nobile Ferma la morte sta.) ANCKARSTRÖM (Là fra le danze esanime La mente mia sel pinge… Ove del proprio sangue Il pavimento tinge. Spira, dator d'infamie, Senza trovar pietà.) HORN E RIBBING fra loro Una vendetta in domino È ciò che torna all'uopo. Fra l'urto delle maschere Non fallirà lo scopo; Sarà una danza funebre Con pallide beltà. AMELIA (Prevenirlo potessi, e non tradir Lo sposo mio!) OSCAR Regina della festa sarete. AMELIA (Forse potrallo Ulrica.) frattanto Anckarström, Horn e Ribbing rapidamente in disparte HORN E RIBBING E qual costume indosserem? ANCKARSTRÖM Azzurra la veste, e da vermiglio Nastro le ciarpe al manco lato attorte. HORN E RIBBING E qual accento a ravvisarci? ANCKARSTRÖM sottovoce "Morte!" AMELIA (Prevenirlo potessi!) OSCAR Regina sarete! ANCKARSTRÖM, HORN, RIBBING Morte! Quadro II Tavola coll'occorrente per iscrivere; nel fondo un grancortinaggio che scoprirà la festa da ballo. GUSTAVO solo Forse la soglia attinse, E posa alfin. L'onore Ed il dover fra i nostri petti han rotto L'abisso. Ah, sì, Renato Rivedrà la sua patria… e la sua sposa Lo seguirà Senza un addio, l'immenso Mar ne sepàari… e taccia il core. Scrive e nel momento di apporre la firma lascia cader la penna. Esito ancor? ma, o ciel, non lo degg'io? Sottoscrive e chiude il foglio in seno. Ah, l'ho segnato il sacrifizio mio! Ma se m'é forza perderti Per sempre, o luce mia, A te verrà il mio palpito Sotto qual ciel tu sia. Chiusa la tua memoria Nell'intimo del cor. Ed or qual reo presagio Lo spirito m'assale, Che il rivederti annunzia Quasi un desio fatale… Come se fosse l'ultima Ora del nostro amor? musica di dentro Ah! dessa é là… potrei vederla… ancora Riparlarle potrei… Ma no ché tutto or mi strappa da lei. Oscar entra con un foglio in mano. OSCAR Ignota donna questo foglio diemmi. È pel sire, diss'ella; a lui lo reca E di celato. Gustavo legge il foglio. GUSTAVO dopo letto Che nel ballo alcuno Alla mia vita attenterà, sta detto. Ma se m'arresto, Ch'io pavento diran. Nol vo' nessuno Pur sospettarlo de'. Tu va t'appresta, E ratto per gioir meco alla festa. Oscar esce; Gustavo rimasto solo vivamente prorompe Sì, rivederti, Amelia, E nella tua beltà, Anco una volta l'anima D'amor mi brillerà. Quadro III Già all'aprirsi delle cortine una moltitudine d'invitatiempie la scena. Il maggior numero é in maschera, alcuni in domino, altri in costume digala a viso scoperto. Chi va in traccia, chi evita, chi ossequia e chi persegue. Tutto spiramagnificenza ed ilarità. CORO Fervono amori e danze Nelle felici stanze, Onde la vita é solo Un sogno lusinghier. Notte de' cari istanti, De' palpiti e de' canti, Perché non fermi 'l volo Sull'onda del piacer? Horn, Ribbing e i loro aderenti in domino azzurro col cinto vermiglio. Anckarström nellostessocostume s'avanza lentamente. HORN additando Anckarström a Ribbing Altro de'nostri é questo. e fattosi presso a Anckarström sottovoce "Morte!" ANCKARSTRÖM amaramente Sì, morte! Ma non verrà. HORN E RIBBING Che parli? ANCKARSTRÖM Qui l'aspettarlo é vano. HORN Come? RIBBING Perché? ANCKARSTRÖM Vi basti saperlo altrove. HORN O sorte ingannatrice! RIBBING fremente Sempre ne sfuggirà di mano! ANCKARSTRÖM Parlate basso; alcuno lo sguardo a noi fermò. HORN E chi? ANCKARSTRÖM Quello a sinistra dal breve domino. Si disperdono, ma Anckarström viene inseguito da Oscar in maschera. OSCAR a Anckarström Più non ti lascio, o maschera; mal ti nascondi. ANCKARSTRÖM scansandolo Eh via! OSCAR inseguendolo sempre, con vivacità Tu se' Renato. ANCKARSTRÖM spiccandogli la maschera E Oscarre tu sei. OSCAR Qual villania! ANCKARSTRÖM Ma bravo, e ti par dunque convenienza questa Che mentre il sire dorme, tu scivoli alla festa? OSCAR Il re é qui… ANCKARSTRÖM trasalendo Che!… dove? OSCAR L'ho detto… ANCKARSTRÖM Ebben!… qual é? OSCAR Non vel dirò!… ANCKARSTRÖM Gran cosa! OSCAR voltandogli le spalle Cercatelo da voi. ANCKARSTRÖM con accento amichevole Orsù! OSCAR È per fargli il tiro che regalaste a me? ANCKARSTRÖM Via, calmati almen dirmi del suo costume puoi? OSCAR scherzando Saper vorreste Di che si veste, Quando l'é cosa Ch' ei vuol nascosa. Oscar lo sa, Ma nol dirà, Tra là là là là Là là là là. Pieno d'amor Mi balza il cor, Ma pur discreto Serba il segreto. Nol rapirà Grado o beltà, Trà là là là Là là là là. Oscar lo sa, ecc. Gruppi di maschere e coppie danzanti attraversano il dinanzi della scena e separano Oscar daAnckarström. CORO Fervono amori e danze Nelle felici stanze, Onde la vita é solo Un sogno lusinghier. ANCKARSTRÖM raggiungendolo di nuovo So che tu sai distinguere gli amici suoi. OSCAR V'alletta interrogarlo, e forse celiar con esso un po'? ANCKARSTRÖM Appunto. OSCAR E compromettere di poi chi ve l'ha detto? ANCKARSTRÖM M'offendi. È confidenza che quanto importi so. OSCAR Vi preme assai? ANCKARSTRÖM Degg'io di gravi cose ad esso, Pria che la notte inoltri, qui favellar. Su te Farò cader la colpa, se non mi fia concesso. OSCAR Dunque! ANCKARSTRÖM Fai grazia a lui, se parli, e non a me. OSCAR più dappresso e rapidamente Veste una cappa nera, con roseo nastro al petto. Fa per andarsene ANCKARSTRÖM Una parola ancora. OSCAR dileguandosi tra la folla Più che abbastanza ho detto. CORO Fervono amori e danze ecc. Danzatori e danzatrici s'intrecciano al proscenio; Anckarström scorge lontano talunode'suoi e scompare di là. Poco dopo, al volger delle coppie nel fondo, Gustavo in dominonero con nastro rosa, s'affaccia pensieroso, e dietro a lui Amelia in domino bianco. AMELIA sottovoce in modo da non essere riconosciuta Ah! perché qui! fuggite… GUSTAVO Sei quella dello scritto? AMELIA La morte qui v'accerchia… GUSTAVO Non penetra nel mio petto il terror. AMELIA Fuggite, fuggite, o che trafitto cadrete qui! GUSTAVO Rivelami il nome tuo. AMELIA Gran Dio! Nol posso. GUSTAVO E perché piangi… mi supplichi atterrita? Onde contanta senti pietà della mia vita? AMELIA tra singulti che svelano la sua voce naturale Tutto, per essa, tutto il sangue mio darei! GUSTAVO Invan ti celi, Amelia quell'angelo tu sei! AMELIA con disperazione T'amo, sì, t'amo, e in lagrime A' piedi tuoi m'atterro, Ove t'anela incognito Della vendetta il ferro. Cadavere domani Sarai sei qui rimani Salvati, va, mi lascia, Fuggi dall'odio lor. GUSTAVO Sin che tu m'ami, Amelia, Non curo il fato mio, Non ho che te nell'anima, E l'universo oblio. Né so temer la morte, Perché di lei più forte È l'aura che m'inebria Del tuo divino amor. AMELIA Dunque vedermi vuoi D'affanno morta e di vergogna? GUSTAVO Salva ti vo'. Domani con Renato andrai… AMELIA Dove? GUSTAVO Al natio tuo cielo. AMELIA Alla mia terra! GUSTAVO Mi schianto il cor… ma partirai… ma, addio. AMELIA Gustavo! GUSTAVO Ti lascio, Amelia. AMELIA Gustavo! GUSTAVO Si, stacca, ma dopo pochi passi tornando a lei con tutta l'anima Anco una volta addio. AMELIA Ahimé! GUSTAVO L'ultima volta, addio! AMELIA E GUSTAVO Addio! ANCKARSTRÖM Lanciatosi inosservato tra loro, trafigge Gustavo. E tu ricevi il mio! GUSTAVO Ahimé! AMELIA d'un grido Soccorso! OSCAR accorrendo a lui O ciel! Entrano da tutte le parti dame, ufficiali e guardie. Ei trucidato! ALCUNI Da chi? ALTRI Dov'é l'infame? OSCAR accennnando Anckarström Eccol!… Tutti lo circondano e gli strappano la maschera. Nel fondo veggonsi apparire Horn e Ribbing. AMELIA, OSCAR, CORO Renato! CORO Ah! Morte, infamia, Sul traditor! L'acciaro lo laceri Vendicator! GUSTAVO No, no… lasciatelo. a Anckarström Tu… m'odi ancor. Tratto il dispaccio, fa cenno a lui di accostarsi. Ella é pura, in braccio a morte Te lo giuro, Iddio m'ascolta; Io che amai la tua consorte Rispettato ho il suo candor. Gli dà il foglio. A novello incarco asceso Tu con lei partir dovevi… Io l'amai, ma volli illeso Il tuo nome ed il suo cor! AMELIA O rimorsi dell'amor Che divorano il mio cor, Fra un colpevole che sanguina E la vittima che muor! OSCAR O dolor senza misura, O terribile sventura! La sua fronte é tutta rorida Già dell'ultimo sudor! ANCKARSTRÖM Ciel! che feci! e che m'aspetta Esecrato sulla terra!… Di qual sangue e qual vendetta M'assetò l'infausto error! GUSTAVO Grazia a ognum; signor qui sono Tutti assolve il mio perdono. Horn e Ribbing occupano sempre il fondo della scena. TUTTI GLI ALTRI Cor sì grande e generoso Tu ci serba, o Dio pietoso Raggio in terra a noi miserrimi È del tuo celeste amor! GUSTAVO Addio per sempre, miei figli… AMELIA, OSCAR, ANCKARSTRÖM, HORN, RIBBING Ei muore! GUSTAVO Addio… diletta patria… Addio… miei figli… per sempre… Ah!… ohimé!… io moro!… miei figli… Per sem… Addio. Gustavo cade e spira. TUTTI Notte d'orror! Verdi,Giuseppe/Un Ballo in Maschera+