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第Ⅲ部 第9景 (帰営の太鼓とラッパが鳴っている) ファウストのアリア (マルグリートの部屋、夕暮れ) ファウスト 甘き夕暮れ、良き訪れ、 黄昏の光、あたりを包む。 うるわしい夢、我が前に揺らぐ、 爽やかな朝の口づけのように。 これこそ、焦がれし思い。 あ、憂いは すべて消え去る! ここの静けさ、かぐわしき そよ風! 年若く、うるわしき、 我が理想の乙女! 奇しき定めか、この喜び! 密かに眺める、君が寝床! かぐわしき風! 主よ、主よ、 悩み(別訳:苦しみ)の後に、 幸せ来たるや! 主よ、主よ、 苦しみの後に、 幸せ(別訳:安らぎ)を。 (ファウストはゆっくり歩きまわり、マルグリートの部屋の内部を好奇心いっぱいで検分する) 第10景 メフィストフェレス (慌ててやって来て) 来たぞ! (小声で) この絹のカーテンの陰に 早く。 ファウスト (小声で) 神よ、胸が破れそうです! メフィストフェレス うまくやってくださいよ。 では、落ち着いて、 しっかりと。 (メフィストフェレスはファウストをカーテンの陰に隠す) さて、私らはここで、 あんた達に祝いの歌を歌うとしよう。 (出て行く) ファウスト さ、落ち着くのだ! 第11景 (ランプを手にしてマルグリートが入って来る。ファウストは隠れる) マルグリート 息苦しいわ!何だか怖いわ。 夕べ見た夢が心配だわ… 私の夢に(別訳:素晴らしいお方)…未来の我が恋人。 素晴らしい…あ、あの方は私を、愛していた! 私もあの方を! この世では会え ないのかしら? おかしいわ!… 中世の歌:トゥーレの王の物語 マルグリート (髪を三つ編みにしながら歌う) 昔トゥーレに王ありき、 変わらぬ愛を誓う。 妃はみまかりぬ、 黄金(こがね)の杯残して。 片時も離さず、 宴の酒汲む、 今宵もそれを眺めて 涙に頬を濡らす。 死の日近きを知り、 すべてみな譲れど、 杯のみは 留め置かれて離さず。 今宵の宴に、 騎士らは居並ぶ、 海に臨める城の 王座を巡りて。 飲み干す杯 これぞ命の火ぞ、 杯手に出で立ち 潮(しお)に投げ打つ。 水は泡立ちて、 またもとの静けさ。 老いたる王はそれより、 絶えて飲むことなし。 (肘掛椅子に身を沈める) 昔王あり… 変わらぬ…変わらぬ… (深いため息) あ! (眠りにつく) 第12景 (マルグリートの家の前の通り) メフィストの呪文 メフィストフェレス 揺らめく鬼火の精よ、 出て来い!用があるのだ。 出て来い!早く! 気紛れな鬼火ども、お前の暗い光で 娘に魔法をかけ、ここへ連れて来い。 悪魔の名のもとに、踊れ! さ、もっと拍子を揃え、 うまくやらぬと、消してしまうぞ。 鬼火のメヌエット (鬼火たちはマルグリートの家の周りを飛び回り、奇妙な踊りを披露する) メフィストフェレス (手回しオルガンを演奏する男の動きをしながら) ではここで、 あの娘のために道徳的な歌を、 確かにおちるために。 メフィストのセレナード (鬼火の合唱) メフィストフェレス 好きな男の うちの前で、夜明け前だとゆうのに、 娘さん、 何故こんな早く?お前、何を、してる? 男の部屋 でのお楽しみ、 たとえ行(ゆ)きには、生娘だとて、 帰りにはもう、おぼこじゃない。 好きな男の、等々 鬼火の合唱 してる? (乾いた甲高い笑い声を爆発させて) わっ! メフィストフェレス 腕を広げる、 男の胸に、お前は 身を投げる。 ではこれで、 可愛い娘さん、 ではお休み、ではお休み! 鬼火の合唱 ではお休み! メフィストフェレス、鬼火 まだゆめゆめ 身は許すまい、 約束の指輪、受け取るまでは、 うかつにはその身を、許すまいぞ! メフィストフェレス もし許して しまえば最後、それで捨て られておさらば。 ではこれで、 可愛い娘さん、 ではお休み、ではお休み! 鬼火の合唱 もし許してしまえば、 それが最後だ、 それで捨てられておさらば、 それで終わり、 すぐ捨てられ、 それで終わり、 ではお休み! メフィストフェレス シッ!消えろ! (鬼火が消える) 静かに!さて恋人どもを見にゆこうか。 第13景 (マルグリートの部屋) 終曲:二重唱、三重唱と合唱 マルグリート (ファウストを見て) 神様! あたし、今、何を、見てるのかしら? ファウスト うるわしい君の面影 み使いのように私を捉えた、 愛なればこそ闇打ち払い 今、雲も晴れた、愛の勝利よ。 マルグリート、君を! マルグリート お名前は、前から 存じています! (おずおずと) フォースト!… ファウスト お望みなら、 ほかの名前でも構いませぬ。 マルグリート 夢の中でも、そのお姿。 ファウスト 夢の!…中で? マルグリート そのお声も 覚えています。 ファウスト 私を? マルグリート この…時を。 ファウスト マルグリット、私を! マルグリート もうとうにすべてを あなたに。 ファウスト 愛するマルグリート! マルグリート (ファウストと共に) 気高い、そのお姿は、… ファウスト (マルグリートと共に) あ!うるわしい 君の面影… マルグリート、ファウスト (一緒に) …み使いのように、私を捉えた! 愛なればこそ、闇打ち払い 今、雲も晴れた、愛の勝利よ。 雲は晴れて、我が勝利。 ファウスト (勢い込んで) 優しいマルグリート! マルグリート 心を溶かす… ファウスト 燃えるような陶酔… マルグリート すべてをあなたの手に。 ファウスト …激情に身をゆだねて。 マルグリート、おいで! マルグリート 私をあなたに… ファウスト 愛の喜びに… マルグリート …惹きつけるのは …愛の陶酔。 ファウスト 身をまかせよう。 マルグリート 悩ましいこの胸の思い! ファウスト 幸せはすべてここに、 さあ! マルグリート 涙で… ファウスト さあ! マルグリート 何も… 見えませぬ…もう…死にそうで… もう、だめ… ファウスト さあ!さあ!さあ! さあ!さあ! 第14景 三重唱と村人の合唱 メフィストフェレス (突然現れて) もう、行(ゆ)かねば! マルグリート あの人は? ファウスト 悪魔だ。 メフィストフェレス 友達さ。 マルグリート あの目は 胸に刺さるような。 メフィストフェレス お邪魔しますよ… ファウスト 何しに来た? ファウスト 娘を助けに! 近所の人たち、歌で目を覚まし、 この家の周りに集まり、 嘲り笑い、娘の母を、 呼びに行ったぞ… ファウスト 神様! メフィストフェレス 出掛けよう! ファウスト 忌々しい(別訳:くそくらえ)! メフィストフェレス 明日があるさ、いいことの後には 悪いこともあろう。 マルグリート ではまた明日! 隣りの部屋で 音がするわ。 ファウスト さよなら、お休み なごりは尽きぬが、 愛の宴は終わった さらば愛の誓いよ! メフィストフェレス 行(ゆ)こう、夜明けだ! ファウスト またお目にかかれましょうか、 時の流れの速さよ、 我が幸せは束の間の夢! 我が幸せは束の 間の夢か、我が幸せは! 村人たち (通りで) Holà! おふくろさん、これはどうゆうこった! メフィストフェレス 人が来たぞ。 村人たち 気をつけなければ、 男が夜中に… メフィストフェレス 早く逃げよう! 村人たち …すぐに子供がひとり増えるぞ。 Holà! マルグリート あ! 村人たち Holà! マルグリート あ!あの声は? 見つけられたなら 私は死ぬわ! メフィストフェレス さあ、早く逃げろ! ファウスト だめだ! メフィストフェレス 急いで! マルグリート 急いで、庭から、 早く逃げて。 ファウスト ではまた、明日(あした)! メフィストフェレス 明日(あす)だ、明日だ! (三人一緒に) ファウスト この世の快楽のすべては、 今ぞこの手に、この幸せ、離すまい。 その喜びに胸は高鳴る、 我が心は喜びに満たされ、 その願いは叶えられよう。 この世の快楽のすべては、 今ぞこの手に、この幸せ、離すまい。 その喜びに胸は高鳴る、 喜びに胸は高鳴る、 我が夢、我が夢叶えられる、 我が夢叶えられる。 その喜びに胸は高鳴る、 我が願いは今ぞ。 メフィストフェレス これが生きる喜び、 俺(別訳:わし)に、時は近いぞ、 これでお前は俺のものだ。 満たされぬ思いに、 果てしなき闇路を彷徨う。 恋の闇路をひとり彷徨え。 約束の時、もはや目の前、 俺のものだ、俺のものだ。 生きる力、生きる喜び、 俺に任せておけ、 これでやつは俺のものだ。 時は近いぞ、もう逃げられぬ。 果てしなき闇路を彷徨う。 さあ時は近いぞ、もう逃げられぬ。 時は近いぞ、もう逃げられぬ。 時は近い、逃げられぬぞ、 もう目の前に。 さあ時は来た、その魂は、 俺のものだ。 マルグリート 我がフォースト(別訳:あなた)、愛しいお方、この胸は高鳴る! 我が心は喜びに満たされ、 あなたを失うならば死ぬわ! 愛しいあなた、あなたの命、我がフォースト! 愛しいお方、何もかもすべて あなたなくば、あ!あなたなくば、死ぬわ! 我が命はあなたに捧げる、 あなた、あなたにすべてを、 捧げる、あなたなければ死ぬわ! 村人たち (通りで) 男が夜中に、 すぐに子供がひとり増えるぞ。 Holà! おふくろさん、これはどうしたこと! おい、おかみさん、Holà! マルグリート もしあなたを失うなら、私は 死ぬわ!あ!死ぬわ! 失えば死ぬわ! ファウスト 我が願いは叶えられた、 願いは叶えられた、願いは 願いは叶えられた。 メフィストフェレス 時は近い、時は近い、逃げられぬぞ、 時は近い、時は近い、 お前は、俺のもの。 第Ⅳ部 第15景 (マルグリートの部屋) マルグリートの恋歌(ロマンス) マルグリート (ひとり) 安らぎは消え、 胸は重し。 あ、我が安らぎは 今はいずこ(別訳:とわに返らじ)! 君のいまさずば いずこも墓場、 この世も我には ただ暗闇(別訳:ただ疎まし)。 哀れな心 ただ狂おしく、 千々に乱れて、 あさの如くに。 かの君の歩み、 気高き姿、 君が微笑み、 その目の力、 語るその声、 我を抱(いだ)きしめる、 腕の力強さよ、 その、くちづけ、 安らぎは消え、 胸は重し! あ!我が安らぎは 今はいずこ(別訳:とはに返らじ)! 窓辺に寄りて、 夜も昼も、 その訪れを、 待ち寝もやらず。 その時を思えば 胸は高鳴り、 かの人を我が 胸に抱(いだ)き、 よしやこの身は、 燃え尽きるとも わが思い満たさ れるまで熱き、 愛のくちづけを かの人の愛のくちづけ! (帰営の太鼓とラッパが鳴っている。兵士と学生の合唱が遠くから聞こえてくる) 兵士の合唱 (舞台裏で) ラッパが鳴れば、 兵士たち 敵目指して 突撃だ。 マルグリート すぐに町中が寝静まるでしょう… 兵士たち 手のかかるほど、 手を焼くほど、 戦果もでかい。 マルグリート 夜の太鼓と、楽しい歌声が 聞こえてくるわ、 愛の女神があの方を連れてきた夜のように。 学生の歌 (遠くで) Jam nox stellata velamina pandit… マルグリート あの方は来ないわ… 学生の歌 Per urbem quaerentes puellas eamus! マルグリート あの方は来ないわ、 ああ! 第16景 (森と洞窟) 自然への祈り ファウスト (ひとり) 奥知れぬ、崇高な自然よ、 ただお前のみが(別訳:お前のみが我が倦怠を)慰めてくれる。 私の悩みなど取るにも足らぬ、 もう一度力を、取り戻すのだ。 おお、嵐よ、旋風よ、うなれ、深き森よ! 崩れよ、固き岩よ、降れ、滝のごとき雨よ! 俺の声を雷鳴に合わせよ。 森よ、岩よ、滝よ、俺は好きだ!輝く 世界に、我が欲望は燃え立つ 空し心破れ去りたる 魂の希望。 第17景 レシタティーヴと狩 メフィストフェレス (岩山を登りながら) 大空に煌めく あの星の光が見えますかな? 君は今あの星の力が必要だ、 ここで夢見ている間にあの マルグリートは… ファウスト 黙れ! メフィストフェレス そうかもしれない、 君はもうあの娘を愛してはいない、だが 娘は親殺しの罪で… ファウスト 何! メフィストフェレス 森を通る狩人の足音だ。 ファウスト 話を、続けてくれ。マルグリートが牢屋に? メフィストフェレス (落ちついて) 君たちが愛し合う夜のために、 母親を眠らせようと、君があの子に 渡したあの薬が、 災いのもとさ。夜ごと夜ごと、 君を待って娘は、それを飲ませた。 その分量が多くなり母親は死んだ。 これで分かったか!… ファウスト 何ということだ! メフィストフェレス これが 二人の愛の結末… ファウスト (激しく) あの人を、あの人を、助けて! メフィストフェレス ああ!俺のせいか、 それは人間どもの ばかなせいだ!ま、いいでしょう。 ここはとにかく後始末をしましょう。 だがその代わりに 私には何を? ファウスト 何がほしい? メフィストフェレス さよう、 あなたのサインを この古い羊皮紙に。 明日(あす)は私に仕えると誓って 署名してくれたらすぐに助けましょう。 ファウスト え(別訳:何)!明日(あした)のことか、よろしい羊皮紙を 出せ! (署名する) さ、書いたぞ!さあ、すぐに行(ゆ)こう 飛んで行(ゆ)こう!気が狂いそうだ! マルグリート、行(ゆ)くぞ! メフィストフェレス さ来い、 Vortex! Giaour! 二頭の黒い馬で、思考のように速く、 走れ、走れ、裁きの時は近い。 (二人は発つ) 第18景 (森と洞窟) (地獄への騎行ーファウストとメフィストフェレスは二頭の黒馬で天空を駆ける) ファウスト 我が耳に響く悲痛な叫び… 哀れな娘! 農民たち (十字架の前で祈っている) Sancta Maria, ora pro nobis. Sancta Magdalena, ora pro nobis. ファウスト 道端の、子供や女 に気をつけろ。 メフィストフェレス 構わず進め! 農民たち 聖マルガリータ… (恐怖の叫び) あ‼ (女と子供たちは怯えて散り散りになる) ファウスト あ!化け物が追いかけ来る! メフィストフェレス 幻想だ! ファウスト 大きな黒い鳥が、 不気味な声、翼が触れる! メフィストフェレス (馬を抑えて) 弔いの鐘がもう聞こえる。 怖いか?戻るか? (二人は止まる) ファウスト いや、行(ゆ)く、急げ! (馬は速さを増す) メフィストフェレス (馬を急き立て) Hop! hop! hop! ファウスト 周りを見ろ、長い行列 骸骨が踊る! 笑いながら通り過ぎる! メフィストフェレス Hop! 助けることだけを 考えろ! Hop! hop! ファウスト (ますます怯え息を切らして) 馬は震え、 毛を逆立て、 くつわを切る。 目の前で 大地が揺れ、 足の下で 雷鳴が! メフィストフェレス Hop! hop! ファウスト 血の雨だ!!! メフィストフェレス (声を轟かせ) 地獄の軍勢よ! 勝利のラッパを吹き鳴らせ、 やったぞ! (二人は奈落に落ちて行く) ファウスト あー!あー! メフィストフェレス 俺の勝ち! 第19景 悪魔の巣窟 悪魔と地獄の怪物の合唱 悪魔たち Has! Irimiru Karabrao! Has! Has! Has! 地獄の怪物たち 汝はこの者を 永遠(とわ)に支配するか、メフィスト? メフィストフェレス 永遠(えいえん)の支配だ。 暗黒の王たち 彼はすべてを(別訳:彼はみずから) 承知の上で署名したのか? メフィストフェレス 承知の上だ。 悪魔たち Has! Has! (悪魔たちはメフィストフェレスを胴上げして) Tradioun Marexil fir trudinxé burrudixé! Fory my dinkorlitz. O mérikariu! O mévixé! Méri kariba! O mérikariu! O midara caraibo lakinda, merondor dinkorlitz, merondor Tradioun marexil, Tradioun burrudixé Trudinxé caraibo. Fir omévixé merondor. Mit aysko, merondor, mit aysko! Oh! (悪魔たちはメフィストフェレスを取り囲み踊りながら) Diff! Diff! merondor, merondor aysko! Has! Has! Satan. Has! Has! Belphégor, Has! Has! Méphisto, Has! Has! Kroïx Diff! Diff! Astaroth, Diff! Diff! Belzébuth, Belphégor, Astaroth, Méphisto! Sat, satrayk irkimour. Has! Has! Méphisto! Has! Has! Has! Has! Irimiru Karabrao! 地上のエピローグ 地上にて 数人の声 地獄は静まり、 聞こゆるは炎の海の呟き、 魂をさいなむ悪魔の歯ぎしり、 底知れぬ恐怖の、地獄の神秘は、 今ここに満たされり。 小合唱 恐ろしや! 第20景 天上のフィナーレ 天使の合唱 (セラフィムは神の前で頭を下げて) Laus! Laus! Hosanna! Hosanna! 深く愛せり、主よ! ソプラノ ソロ (天の高みより) マルガリータ! マルグリートへの讃歌 天使の合唱 昇り給え、愛に迷いし 清き魂よ。 そなたの素朴な愛は その罪を清める。 乙女よ、来たれ、 天使の合唱と子供の合唱 乙女よ、来たれ、 神のみ使い等(ら)、 慰め給う この世の悩み忘れさせ、 神を敬い、望みを抱き、 幸せの微笑浮かべ、 さあ、マルガリータ、さあ! ソプラノ ソロ マルガリータ! 天使たちと子供たち さあ、マルガリータ! ソプラノ ソロ マルガリータ! 天使たちと子供たち さあ! ソプラノ ソロ マルガリータ!さあ! 天使たちと子供たち さあ!さあ! さあ! さあ! TROISIÈME PARTIE SCÈNE IX Tambours et trompettes sonnant la retraite Air de Faust Chambre de Marguerite. Le soir FAUST Merci, doux crépuscule! Oh! sois le bienvenu! Éclaire enfin ces lieux, sanctuaire inconnu, Où je sens à mon front glisser comme un beau rêve, Comme le frais baiser d un matin qui se lève. C est de l amour, c est de l amour, j espère. Oh! comme on sent ici S envoler le souci! Que j aime ce silence, et comme je respire Un air pur!… Ô jeune fille! ô ma charmante! Ô ma trop idéale amante! Quel sentiment j éprouve en ce moment fatal! Que j aime à contempler ton chevet virginal! Quel air pur je respire! Seigneur! Seigneur! Après ce long martyre, Que de bonheur! Seigneur! Seigneur! Après ce long martyre, Que de bonheur! Faust, marchant lentement, examine avec une curiosité passionnée l intérieur de la chambre de Marguerite SCÈNE X MÉPHISTOPHÉLÈS accourant Je l entends! à demi-voix Sous ces rideaux de soie Cache-toi. FAUST à demi-voix Dieu! mon cœur se brise dans la joie! MÉPHISTOPHÉLÈS Profite des instants. Adieu, modère-toi, Ou tu la perds. Méphistophélès cache Faust sous les rideaux Bien. Mes follets et moi Nous allons vous chanter un bel épithalame. Il sort FAUST Oh! calme-toi, mon âme! SCÈNE XI Entre Marguerite une lampe à la main. Faust caché MARGUERITE Que l air est étouffant! J ai peur comme une enfant. C est mon rêve d hier qui m a toute troublée… En songe je l ai vu… lui… mon futur amant. Qu il était beau! Dieu! j étais tant aimée! j étais tant aimée! Et combien je l aimais! Nous verrons-nous jamais Dans cette vie?… Folie!… Chanson gothique Le roi de Thulé MARGUERITE elle chante en tressant ses cheveux Autrefois un roi de Thulé, Qui jusqu au tombeau fut fidèle, Reçut, à la mort de sa belle, Une coupe d or ciselé. Comme elle ne le quittait guère, Dans les festins les plus joyeux, Toujours une larme légère À sa vue humectait ses yeux. Ce prince, à la fin de sa vie, Lègue ses villes et son or. Excepté la coupe chérie Qu à la main il conserve encor. Il fait, à sa table royale, Asseoir ses barons et ses pairs, Au milieu de l antique salle D un château que baignaient les mers. Le buveur se lève et s avance Auprès d un vieux balcon doré; Il boit, et soudain sa main lance Dans les flots le vase sacré. Le vase tombe; l eau bouillonne, Puis se calme aussitôt après. Le vieillard pâlit et frissonne Il ne boira plus désormais. Elle se laisse tomber dans le fauteuil Autrefois un roi de Thulé… Qui jusqu au tombeau… fut fidèle… Profond soupir Ah! Elle s endort SCÈNE XII Une rue devant la maison de Marguerite Évocation MÉPHISTOPHÉLÈS Esprits des flammes inconstantes, Accourez! j ai besoin de vous. Accourez! accourez! Follets capricieux, vos lueurs malfaisantes Vont charmer une enfant et l amener à nous. Au nom du Diable, en danse! Et vous, marquez bien la cadence, Ménétriers d enfer, ou je vous éteins tous. Menuet des follets Les follets exécutent des évolutions et des danses bizarres autour de la maison de Marguerite MÉPHISTOPHÉLÈS il fait le mouvement d un homme qui joue de la vielle Maintenant, Chantons à cette belle une chanson morale, Pour la perdre plus sûrement. Sérénade de Méphistophélès avec chœur de follets MÉPHISTOPHÉLÈS Devant la maison De celui qui t adore, De? Celui, de celui qui t adore, Petite Louison, Que fais-tu dès l aurore? Que fais-tu? que fais-tu? que fais-tu? Au signal du plaisir, Dans la chambre du drille, Tu peux bien entrer fille, Tu peux bien entrer fille, Mais non fille en sortir, Mais non fille en sortir. Devant la maison, etc. CHŒUR DE FOLLETS Que fais-tu? avec un éclat de rire sec et strident Ha! MÉPHISTOPHÉLÈS Il te tend les bras Près de lui tu cours vite, tu cours près de lui, Près de lui tu cours vite. Bonne nuit, hélas! Ma petite, bonne nuit, bonne nuit, bonne nuit, bonne nuit, bonne nuit! CHŒUR DE FOLLETS Bonne nuit, bonne nuit! MÉPHISTOPHÉLÈS et FOLLETS Près du moment fatal Fais grande résistance, S il ne t offre d avance, S il ne t offre d avance, S il ne t offre un anneau conjugal, un anneau conjugal! MÉPHISTOPHÉLÈS Il te tend les bras Près de lui tu cours vite, tu cours près de lui, Près de lui tu cours vite. Bonne nuit, hélas! Bonne nuit, ma petite, bonne nuit, bonne nuit, bonne nuit, bonne nuit! FOLLETS Il te tend les bras, Près de lui tu cours. Près de lui tu cours vite, Il te tend les bras, Près de lui tu cours vite, tu cours, tu cours vite, Bonne nuit, hélas! Bonne nuit, ma petite, bonne nuit, bonne nuit! MÉPHISTOPHÉLÈS Chut! disparaissez! Les follets disparaissent Silence! Allons voir roucouler nos tourtereaux. SCÈNE XIII Chambre de Marguerite Final Duo, Trio et Chœur MARGUERITE apercevant Faust Grands Dieux! Que vois-je! est-ce bien lui? dois-je en croire mes yeux?… FAUST Ange adoré dont la céleste image Avant de te connaître illuminait mon cœur, Enfin je t aperçois, et du jaloux nuage Qui te cachait encor mon amour est vainqueur. Marguerite, je t aime! MARGUERITE Tu sais mon nom? Moi-même J ai souvent dit le tien! timidement Faust!… FAUST Ce nom est le mien; Un autre le sera, s il te plaît davantage. MARGUERITE En songe je t ai vu te, que je te revois. FAUST En songe!… tu m as vu? MARGUERITE Je reconnais ta voix Tes traits, ton doux langage… FAUST Et tu m aimais? MARGUERITE Je… t attendais. FAUST Marguerite adorée! MARGUERITE Ma tendresse inspirée Était d avance à toi. FAUST Marguerite est à moi! MARGUERITE avec Faust Mon bien-aimé, ta noble et douce image, … FAUST avec Marguerite Ah! Ange adoré Dont la céleste image … MARGUERITE, FAUST ensemble … Avant de te connaître, illuminait mon cœur! Enfin je t aperçois, et du jaloux nuage Qui te cachait encor ton/mon amour est vainqueur. ton/mon amour est vainqueur, est vainqueur. FAUST avec élan Marguerite, ô tendresse! MARGUERITE Je ne sais quelle ivresse… FAUST Cède à l ardente ivresse… MARGUERITE … Dans ses bras me conduit. FAUST … Qui vers toi, qui vers toi m a conduit. Marguerite, ô tendresse! MARGUERITE Je ne sais quelle ivresse… FAUST Cède à l ardente ivresse… MARGUERITE … Brûlante enchanteresse … Dans ses bras me conduit. FAUST … Qui vers toi m a conduit. MARGUERITE Quelle langueur s empare de mon être! FAUST Au vrai bonheur dans mes bras tu vas naître, Viens! MARGUERITE Dans mes yeux… FAUST Viens! MARGUERITE … Des pleurs… Tout s efface… Je meurs… Tout s efface… Ah! je meurs… FAUST Viens! Viens! Viens! Viens! Viens! SCÈNE XIV Trio et Chœur MÉPHISTOPHÉLÈS entrant brusquement Allons, il est trop tard! MARGUERITE Quel est cet homme? FAUST Un sot. MÉPHISTOPHÉLÈS Un ami. MARGUERITE Son regard Me déchire le cœur. MÉPHISTOPHÉLÈS Sans doute je dérange… FAUST Qui t a permis d entrer? MÉPHISTOPHÉLÈS Il faut sauver cet ange! Déjà tous les voisins, éveillés par nos chants, Accourent, désignant la maison aux passants; En raillant Marguerite, ils appellent sa mère. La vieille va venir… FAUST Que faire? MÉPHISTOPHÉLÈS Il faut partir! FAUST Damnation! MÉPHISTOPHÉLÈS Vous vous verrez demain; la consolation Est bien près de la peine. MARGUERITE Oui, demain, bien-aimé! Dans la chambre prochaîne Déjà j entends du bruit. FAUST Adieu donc, belle nuit À peine commencée! Adieu, festin d amour Que je m étais promis! MÉPHISTOPHÉLÈS Partons, voilà le jour! FAUST Te reverrai-je encor, Heure trop fugitive, Où mon âme au bonheur allait enfin s ouvrir! Où mon âme au bonheur allait enfin, allait enfin s ouvrir, allait enfin s ouvrir! VOISINS dans la rue Holà! mère Oppenheim, vois ce que fait ta fille! MÉPHISTOPHÉLÈS La foule arrive. VOISINS L avis n est pas hors de saison Un galant est dans ta maison… MÉPHISTOPHÉLÈS Hâtons nous de partir! VOISINS … Et tu verras dans peu s accroître ta famille. Holà! MARGUERITE Ciel! VOISINS Holà! MARGUERITE Ciel! entends-tu ces cris? Devant Dieu, je suis morte Si l on te trouve ici! MÉPHISTOPHÉLÈS Viens! on frappe à la porte! FAUST Ô fureur! MÉPHISTOPHÉLÈS Ô sottise! MARGUERITE Adieu, adieu, par le jardin Vous pouvez échapper. FAUST Ô mon ange! à demain! MÉPHISTOPHÉLÈS À demain! à demain! Tous trois ensemble FAUST Je connais donc enfin tout le prix de la vie, Le bonheur m apparaît, il m appelle et je vais, je vais le saisir. L amour s est emparé de mon âme ravie, L amour s est emparé de mon âme ravie, Il comblera bientôt mon dévorant désir. Je connais donc enfin tout le prix de la vie, Le bonheur m apparaît, il m appelle et je vais, je vais le saisir. L amour s est emparé de mon âme ravie, L amour s est emparé de mon âme, Il comblera, il comblera mon dévorant désir. Il comblera mon dévorant désir. L amour s est emparé de mon âme ravie, Il comblera bientôt mon désir. MÉPHISTOPHÉLÈS Je puis donc te traîner dans la vie, Fier esprit! Le moment approche, le moment approche où je vais te saisir. Sans combler ton dévorant désir, L amour en t enivrant doublera ta folie. L amour en t enivrant doublera ta folie. Et le moment approche, Et le moment approche où je vais te saisir, où je vais te saisir. Je puis donc à mon gré te traîner dans la vie, Fier esprit! Le moment approche, le moment approche où je vais te saisir. Le moment approche où je vais te saisir. L amour en t enivrant doublera ta folie. Et le moment approche où je vais te saisir. Oui, le moment approche où je vais te saisir. Oui, le moment approche où je vais te saisir, où je vais te saisir. Oui, le moment approche où je vais te saisir, où je vais te saisir. MARGUERITE Ô mon Faust! Ô mon Faust! Je te donne ma vie! L amour s est emparé de mon âme ravie, Il m entraîne, il m entraîne te perdre, c est mourir! Ô mon Faust bien-aimé! Je te donne ma vie! Ô mon Faust! Ô bien-aimé, je te donne ma vie! Ô mon Faust! Il m entraîne vers toi, Ah! te perdre, te perdre, c est mourir! L amour s est emparé de mon âme ravie, Oui, mon Faust, de mon âme ravie, Il m entraîne vers toi, Te perdre, c est mourir! VOISINS dans la rue Un galant est dans ta maison, Et tu verras dans peu s accroître ta famille. Holà! mère Oppenheim, vois ce que fait ta fille! Holà! mère Oppenheim, Holà! MARGUERITE Te perdre, te perdre, c est mourir, c est mourir, c est mourir! Te perdre, ah, c est mourir! Oui, te perdre, c est mourir! FAUST Il comblera bientôt mon dévorant désir, Oui bientôt mon dévorant désir, oui bientôt Il comblera mon dévorant désir. MÉPHISTOPHÉLÈS Le moment approche où je vais te saisir, où je vais te saisir, Oui, le moment approche où je vais te saisir, Où je vais, je vais te sailà. QUATRIÈME PARTIE SCÈNE XV Chambre de Marguerite Romance MARGUERITE seule D amour l ardente flamme, Consume mes beaux jours. Ah! la paix de mon âme A donc fui pour toujours! Son départ, son absence Sont pour moi le cercueil, Et, loin de sa présence Tout me paraît en deuil. Alors ma pauvre tête Se dérange bientôt, Mon faible cœur s arrête, Puis se glace aussitôt. Sa marche que j admire, Son port si gracieux, Sa bouche au doux sourire, Le charme de ses yeux, Sa voix enchanteresse, Dont il sait m embraser, De sa main la caresse, Hélas! et son baiser, D une amoureuse flamme, Consument mes beaux jours! Ah! le paix de mon âme A donc fui pour toujours! Je suis à ma fenêtre, Ou dehors, tout le jour, C est pour le voir paraître, Ou hâter son retour. Mon cœur bat et se presse Dès qu il le sent venir, Au gré de ma tendresse Puis-je le retenir! Ô caresses de flamme! Que je voudrais un jour Voir s exhaler mon âme Dans ses baisers d amour! Voir s exhaler mon âme Dans ses baisers dans ses baisers d amour! Tambours et trompettes sonnant la retraite. Chœurs de soldats et d étudiants qui se font entendre dans le lointain CHŒUR DE SOLDATS derrière la scène Au son des trompettes, Les braves soldats S élancent aux fêtes Ou bien aux combats. MARGUERITE Bientôt la ville entière au repos va se rendre… SOLDATS Si grande est la peine, Le prix est plus grand, Le prix est plus grand. MARGUERITE Clairons, tambours du soir déjà se font entendre Avec des chants joyeux, Comme au soir où l amour offrit Faust à mes yeux. CHŒUR D ÉTUDIANTS dans le lointain Jam nox stellata velamina pandit… MARGUERITE Il ne vient pas… ÉTUDIANTS Per urbem quaerentes puellas eamus! MARGUERITE Il ne vient pas, Hélas! SCÈNE XVI Forêts et cavernes Invocation à la nature FAUST seul Nature immense, impénétrable et fière, Toi seule donnes trêve à mon ennui sans fin. Sur ton sein tout-puissant je sens moins ma misère, Je retrouve ma force, et je crois vivre enfin. Oui, soufflez, ouragans! Criez, forêts profondes! Croulez, croulez, rochers! Torrents, précipitez vos ondes! À vos bruits souverains ma voix aime à s unir. Forêts, rochers, torrents, je vous adore! Mondes Qui scintillez, vers vous s élance le désir D un cœur trop vaste et d une âme altérée D un bonheur qui la fuit. SCÈNE XVII Récitatif et chasse MÉPHISTOPHÉLÈS gravissant les rochers À la voûte azurée Aperçois-tu, dis-moi, l astre d amour constant? Son influence, ami, serait fort nécessaire, Car tu rêves ici, quand cette pauvre enfant, Marguerite… FAUST Tais-toi! MÉPHISTOPHÉLÈS Sans doute il faut me taire, Tu n aimes plus! Pourtant en un cachot traînée, Et pour un parricide à la mort condamnée… FAUST Quoi! MÉPHISTOPHÉLÈS J entends des chasseurs qui parcourent les bois. FAUST Achève, qu as-tu dit? Marguerite en prison? MÉPHISTOPHÉLÈS posément Certaine liqueur brune, un innocent poison, Qu elle tenait de toi, pour endormir sa mère Pendants vos nocturnes amours, A causé tout le mal. Caressant sa chimère, T attendant chaque soir, elle en usait toujours. Elle en a tant usé que la vieille en est morte. Tu comprends maintenant!… FAUST Feux et tonnerre! MÉPHISTOPHÉLÈS En sorte Que son amour pour toi la conduit… FAUST avec fureur Sauve-la., sauve-la, misérable! MÉPHISTOPHÉLÈS Ah! je suis le coupable! On vous reconnaît là, Ridicules humains! N importe! Je suis le maître encor de t ouvrir cette porte; Mais qu as-tu fais pour moi Depuis que je te sers? FAUST Qu exiges-tu? MÉPHISTOPHÉLÈS De toi? Rien qu une signature Sur ce vieux parchemin. Je sauve Marguerite à l instant, si tu jures Et signes ton serment de me servir demain. FAUST Eh! que me fait demain quand je souffre à cette heure? Donne! Il signe Voilà mon nom! Vers sa sombre demeure Volons donc maintenant! Ô douleur insensée! Marguerite, j accours! MÉPHISTOPHÉLÈS À moi, Vortex! Giaour! Sur ces deux noirs chevaux, prompts comme la pensée, Montons et au galop! La justice est pressée. Ils partent SCÈNE XVIII Plaines, montagnes et vallées La course à l abîme - Faust et Méphistophélès galopant sur deux chevaux noirs FAUST Dans mon cœur retentit sa voix désespérée… Ô pauvre abandonnée! PAYSANS agenouillés devant une croix champêtre Sancta Maria, ora pro nobis. Sancta Magdalena, ora pro nobis. FAUST Prends garde à ces enfants, à ces femmes priant Au pied de cette croix. MÉPHISTOPHÉLÈS Eh! qu importe! en avant! PAYSANS Sancta Margarita… cri d effroi Ah!!! Les femmes et les enfants se dispersent épouvantés FAUST Dieux! un monstre hideux en hurlant nous poursuit! MÉPHISTOPHÉLÈS Tu rêves! FAUST Quel essaim de grands oiseaux de nuit! Quels cris affreux!… ils me frappent de l aile! MÉPHISTOPHÉLÈS retenant son cheval Le glas des trépassés sonne déjà pour elle. As-tu peur? retournons! Ils s arrêtent FAUST Non, je l entends, courons! Les chevaux redoublent de vitesse MÉPHISTOPHÉLÈS excitant son cheval Hop! hop! hop! FAUST Regarde, autour de nous, cette ligne infinie De squelettes dansant! Avec quel rire horrible ils saluent en passant! MÉPHISTOPHÉLÈS Hop! pense à sauver sa vie, Et ris-toi des morts! Hop! hop! FAUST de plus en plus épouvanté et haletant Nos chevaux frémissent, Leurs crins se hérissent, Ils brisent leurs mors! Je vois onduler Devant nous la terre; J entends le tonnerre Sous nos pieds rouler! MÉPHISTOPHÉLÈS Hop! hop! FAUST Il pleut du sang!!! MÉPHISTOPHÉLÈS d une voix tonnante Cohortes infernales! Sonnez, sonnez vos trompes triomphales, Il est à nous! Ils tombent dans un gouffre FAUST Horreur! Ah! MÉPHISTOPHÉLÈS Je suis vainqueur! SCÈNE XIX Pandaemonium Chœur en langue infernale DAMNÉS ET DÉMONS Has! Irimiru Karabrao! Has! Has! Has! LES PRINCES DES TÉNÈBRES De cette âme si fière À jamais es-tu maître et vainqueur, Méphisto? MÉPHISTOPHÉLÈS J en suis maître à jamais. LES PRINCES DES TÉNÈBRES Faust a donc librement Signé l acte fatal qui le livre à nos flammes? MÉPHISTOPHÉLÈS Il signa librement. DAMNÉS ET DÉMONS Has! Has! Les démons portent Méphistophélès en triomphe Tradioun Marexil fir trudinxé burrudixé! Fory my dinkorlitz. O mérikariu! O mévixé! Méri kariba! O mérikariu! O midara caraibo lakinda, merondor dinkorlitz, merondor Tradioun marexil, Tradioun burrudixé Trudinxé caraibo. Fir omévixé merondor. Mit aysko, merondor, mit aysko! Oh! Les démons dansent autour de Méphistophélès Diff! Diff! merondor, merondor aysko! Has! Has! Satan. Has! Has! Belphégor, Has! Has! Méphisto, Has! Has! Kroïx Diff! Diff! Astaroth, Diff! Diff! Belzébuth, Belphégor, Astaroth, Méphisto! Sat, satrayk irkimour. Has! Has! Méphisto! Has! Has! Has! Has! Irimiru Karabrao! EPILOGUE Sur la terre QUELQUES VOIX Alors l enfer se tut. L affreux bouillonnement de ces grands lacs de flammes, Les grincements de dents de ses tourmenteurs d âmes, Se firent seuls entendre; et dans ses profondeurs, Un mystère d horreur s accomplit. PETIT CHŒUR Ô terreurs! Dans le ciel CHŒUR D ESPRITS CÉLESTES Séraphins inclinés devant le Très-Haut Laus! Laus! Hosanna! Hosanna! Elle a beaucoup aimé, Seigneur! SOPRANO SOLO des hauteurs du ciel Margarita! Apothéose de Marguerite CHŒUR D ESPRITS CÉLESTES Remonte au ciel, âme naïve Que l amour égara; Viens revêtir ta beauté primitive Qu une erreur altéra. Viens, les vierges divines, CHŒUR D ESPRITS CÉLESTES et CHŒUR D ENFANTS Viens, les vierges divines, Tes sœurs, les Séraphines, Sauront tarir les pleurs Que t arrachent encor les terrestres douleurs. Conserve l espérance, Conserve l espérance Et souris, et souris au bonheur. Viens, Margarita, viens! SOPRANO SOLO Margarita! ESPRITS CÉLESTES, ENFANTS Viens, Margarita! SOPRANO SOLO Margarita! ESPRITS CÉLESTES, ENFANTS Viens! SOPRANO SOLO Margarita! Viens! ESPRITS CÉLESTES, ENFANTS Viens! Viens! Viens! Viens! All rights reserved © Asahina Takashi Berlioz,Hector/La Damnation de Faust+
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CHAPTER XXVIII UP CHAPTER XXX CHAPTER XXIX An Epoch in Anne s Life 第29章 一生忘れられない思い出(松本訳) Anne was bringing the cows home from the back pasture by way of Lover s Lane. It was a September evening and all the gaps and clearings in the woods were brimmed up with ruby sunset light. Here and there the lane was splashed with it, but for the most part it was already quite shadowy beneath the maples, and the spaces under the firs were filled with a clear violet dusk like airy wine. The winds were out in their tops, and there is no sweeter music on earth than that which the wind makes in the fir trees at evening. The cows swung placidly down the lane, and Anne followed them dreamily, repeating aloud the battle canto from MARMION--which had also been part of their English course the preceding winter and which Miss Stacy had made them learn off by heart--and exulting in its rushing lines and the clash of spears in its imagery. 「MARMION」松本訳注第29章(1) p. 515参照 When she came to the lines The stubborn spearsmen still made good Their dark impenetrable wood, 「The stubborn spearsmen still made good/Their dark impenetrable wood,」 松本訳注第29章(2) p. 515参照 she stopped in ecstasy to shut her eyes that she might the better fancy herself one of that heroic ring. When she opened them again it was to behold Diana coming through the gate that led into the Barry field and looking so important that Anne instantly divined there was news to be told. But betray too eager curiosity she would not. "Isn t this evening just like a purple dream, Diana? It makes me so glad to be alive. In the mornings I always think the mornings are best; but when evening comes I think it s lovelier still." "It s a very fine evening," said Diana, "but oh, I have such news, Anne. Guess. You can have three guesses." 「Guess. You can have three guesses.」 動詞と名詞が同じなので、テンポがいい。話し心地、聞こえ心地もいいような気がします "Charlotte Gillis is going to be married in the church after all and Mrs. Allan wants us to decorate it," cried Anne. 「Charlotte Gillis」 初登場。でもここだけ。後にも先にも話題になっていません。シャーロットタウンに行く話の章なので、シャーロットさんに出てもらったのかしら。 "No. Charlotte s beau won t agree to that, because nobody ever has been married in the church yet, and he thinks it would seem too much like a funeral. 「because nobody ever has been married in the church yet, and he thinks it would seem too much like a funeral.」 松本訳注第29章(3) p. 516参照 It s too mean, because it would be such fun. Guess again." "Jane s mother is going to let her have a birthday party?" Diana shook her head, her black eyes dancing with merriment. "I can t think what it can be," said Anne in despair, "unless it s that Moody Spurgeon MacPherson saw you home from prayer meeting last night. Did he?" "I should think not," exclaimed Diana indignantly. "I wouldn t be likely to boast of it if he did, the horrid creature! I knew you couldn t guess it. Mother had a letter from Aunt Josephine today, and Aunt Josephine wants you and me to go to town next Tuesday and stop with her for the Exhibition. There!" 学校のはじまった9月の平日です。おおらかな時代でいいですよね 「Exhibition」 松本訳注第29章(4) p. 516参照 "Oh, Diana," whispered Anne, finding it necessary to lean up against a maple tree for support, "do you really mean it? But I m afraid Marilla won t let me go. She will say that she can t encourage gadding about. That was what she said last week when Jane invited me to go with them in their double-seated buggy to the American concert at the White Sands Hotel. 「double-seated buggy」二列がけの大型馬車(松本訳)。対面?二列とも前向き?どっちなんでしょう? I wanted to go, but Marilla said I d be better at home learning my lessons and so would Jane. I was bitterly disappointed, Diana. I felt so heartbroken that I wouldn t say my prayers when I went to bed. But I repented of that 「I repented of that」のthatは前の文を指して、お祈りをせずに寝てしまったこと and got up in the middle of the night and said them." 「said them」のthemはprayers。この物語はよい意味で、キリスト教に忠実というか、はずれない、というか "I ll tell you," said Diana, "we ll get Mother to ask Marilla. She ll be more likely to let you go then; and if she does we ll have the time of our lives, Anne. I ve never been to an Exhibition, and it s so aggravating to hear the other girls talking about their trips. Jane and Ruby have been twice, and they re going this year again." "I m not going to think about it at all until I know whether I can go or not," said Anne resolutely. "If I did and then was disappointed, it would be more than I could bear. But in case I do go I m very glad my new coat will be ready by that time. Marilla didn t think I needed a new coat. She said my old one would do very well for another winter and that I ought to be satisfied with having a new dress. The dress is very pretty, Diana--navy blue and made so fashionably. 「fashionably」これは、ほぼpuffed sleevesと同じに違いありません Marilla always makes my dresses fashionably now, because she says she doesn t intend to have Matthew going to Mrs. Lynde to make them. I m so glad. It is ever so much easier to be good if your clothes are fashionable. At least, it is easier for me. I suppose it doesn t make such a difference to naturally good people. But Matthew said I must have a new coat, so Marilla bought a lovely piece of blue broadcloth, 「broadcloth」ブロード生地。英語版のウィキペディア http //en.wikipedia.org/wiki/Broadcloth には、Broadcloth is a dense woolen cloth.とありますので、毛織(ウール)の平織りで、コートにはよさそうです and it s being made by a real dressmaker over at Carmody. 「being made by a real dressmaker」dense woolen clothなら、厚い生地なので、手縫いはかなりつらいかもしれません。ミシンを持っている話はでてきていません。ダイアナの家にはセールスマンが来ることがあるようですが、ミシンがあるのかどうかまでは不明(She s going to give me a picture to put up in my room ...(略)...A sewing-machine agent gave it to her. CHAPTER XII A Solemn Vow and Promise)。デザインや技術もプロなら上手いでしょうけれども、マリラもコートくらいは作ってしまうのかもしれませんが 「over at Carmody」の over は遠い感じを表わす以上の意味はなさそう It s to be done Saturday night, and I m trying not to imagine myself walking up the church aisle on Sunday in my new suit and cap, because I m afraid it isn t right to imagine such things. But it just slips into my mind in spite of me. 「slips into my mind」いけないと思う(it isn t right to imagine such things)のに、すべり込んできてしまう My cap is so pretty. Matthew bought it for me the day we were over at Carmody. It is one of those little blue velvet ones that are all the rage, with gold cord and tassels. 「little blue velvet ones」ドレスはネイビーブルーでパフスリーブ(たぶん)、コートはブルー(生地はウールのブロードクロス)、帽子もブルー(ベルベット)。ドレスは特別な生地ではないでしょうから、あまり厚手ではない平織りか綾織りで光沢はない、濃い青。綾織りなら光沢は多少あるかも。コートも青だけれどもドレスより明るい色。きらきらした光沢はないけれども、ブロードクロスなので、少しきらっとするのではないでしょうか。帽子はビロードなので角度によって色が違って(濃い色と薄めの色と)見える。色白で赤毛のアンが着たら、確かにおしゃれ 「with gold cord and tassels」どこにどんなふうに金色のひもとふさがつくのでしょう?やっぱり縁かしら Your new hat is elegant, Diana, and so becoming. 「hat」なのでダイアナの帽子にはつばがある When I saw you come into church last Sunday my heart swelled with pride to think you were my dearest friend. Do you suppose it s wrong for us to think so much about our clothes? Marilla says it is very sinful. But it is such an interesting subject, isn t it?" Puffin Booksでは「is」が斜字体になって強調されています。女の子がお洋服が気になるのはふつうよ、アン Marilla agreed to let Anne go to town, and it was arranged that Mr. Barry should take the girls in on the following Tuesday. As Charlottetown was thirty miles away and Mr. Barry wished to go and return the same day, it was necessary to make a very early start. But Anne counted it all joy, and was up before sunrise on Tuesday morning. A glance from her window assured her that the day would be fine, for the eastern sky behind the firs of the Haunted Wood was all silvery and cloudless. Through the gap in the trees a light was shining in the western gable of Orchard Slope, a token that Diana was also up. Anne was dressed by the time Matthew had the fire on and had the breakfast ready when Marilla came down, but for her own part was much too excited to eat. After breakfast the jaunty new cap and jacket were donned, 「jacket」は、前にはcoatと言ってたものかと思われます and Anne hastened over the brook and up through the firs to Orchard Slope. Mr. Barry and Diana were waiting for her, and they were soon on the road. It was a long drive, but Anne and Diana enjoyed every minute of it. It was delightful to rattle along over the moist roads in the early red sunlight that was creeping across the shorn harvest fields. 「rattle」は、がたがた走る、という意味だけでなく、ぺらぺらしゃべるという意味もある。下で出てくるようにアンとダイアナはおしゃべりをし続けていたようなので、馬車だけでなく、ふたりのおしゃべりも示しているのかもしれません 「the shorn harvest fields」作物は何でしょう。小麦かしら。プリンス・エドワード島は涼しいので、小麦は春播きのはず。日本のように麦秋ではない The air was fresh and crisp, and little smoke-blue mists curled through the valleys and floated off from the hills. Sometimes the road went through woods where maples were beginning to hang out scarlet banners; sometimes it crossed rivers on bridges that made Anne s flesh cringe with the old, half-delightful fear; CHAPTER II Matthew Cuthbert Is Surprisedに橋を渡るとき目をつぶる話がでてきます 「flesh cringe with the old, half-delightful fear」 松本訳注第29章(5) p. 517参照 sometimes it wound along a harbor shore and passed by a little cluster of weather-gray fishing huts; again it mounted to hills whence a far sweep of curving upland or misty-blue sky could be seen; but wherever it went there was much of interest to discuss. It was almost noon when they reached town and found their way to "Beechwood." It was quite a fine old mansion, set back from the street in a seclusion of green elms and branching beeches. Miss Barry met them at the door with a twinkle in her sharp black eyes. "So you ve come to see me at last, you Anne-girl," she said. "Mercy, child, how you have grown! You re taller than I am, I declare. tallはこの物語の中で重要なもののひとつ。 アンは第4章でグリーン・ゲイブルズではじめて起きた朝、自分が背が高いコーデリアになっていることを I am tall and regal, clad in a gown of trailing white lace, with a pearl cross on my breast and pearls in my hair. と想像しています(11歳 CHAPTER VI Marilla Makes Up Her Mind)。ダイアナに会ったときも、アンのほうが1インチ背が高いことを I m an inch taller than Diana とマリラに話しています(11歳 CHAPTER XII A Solemn Vow and Promise)。しかし、この第29章では、ミス・バリーに You re taller than I am と言われても、アンは、I know I m not so freckled as I used to be ... I really hadn t dared to hope there was any other improvement. と答え、そばかすが減ったのに比べれば、背が伸びたことは、特別いいこととしては意識していません(13歳 CHAPTER XXIX An Epoch in Anne s Life)。15歳の秋には I ve grown two inches this summer, Marilla. とアンはマリラに話します(CHAPTER XXXI Where the Brook and River Meet)。 ステイシー先生のクリスマスの演芸会の後では、マリラが it makes Anne look so tall とマシューに感想を話すのですが(CHAPTER XXV Matthew Insists on Puffed Sleeves)、これは育てているマリラにすれば、大きくなってほしいということだけかもしれません。しかし、第31章ではマリラは、"Why, Anne, how you ve grown!" と自分よりも背が高くなったアンに驚きます(CHAPTER XXXI Where the Brook and River Meet)。そしてクリーン学院に進学するためアンがアヴォンリーから出ていくことになると、マリラにはアンが tall となったことが淋しさになってしまいます(you look so tall and stylish and so--so--different altogether in that dress--as if you didn t belong in Avonlea at all-- CHAPTER XXXIV A Queen s Girl)。卒業式のときにマシュウとマリラが見るアンは、a tall girl in pale green, with faintly flushed cheeks and starry eyes で(CHAPTER XXXVI The Glory and the Dream)、マシューと最後に話をするアンは tall and erect (CHAPTER XXXVI The Glory and the Dream)です。 背の高い人もでてきます。マリラがa tall, thin womanと紹介され(CHAPTER I Mrs. Rachel Lynde is Surprised)、ダイアナのお母さんのバリー夫人も背が高い(a tall black-eyed, black-haired woman CHAPTER XII A Solemn Vow and Promise)。そして、ギルバートははじめから背が高い少年としてアンの目の前に現れます(a tall boy, with curly brown hair, roguish hazel eyes, and a mouth twisted into a teasing smile アン 11歳 CHAPTER XV A Tempest in the School Teapot、the tall, brown-haired boy across the room アン 15歳 CHAPTER XXXIV A Queen s Girl)。マシューが亡くなったあとにマリラはギルバートのことを、"he seemed so tall and manly."といいます(アン 16歳 CHAPTER XXXVII The Reaper Whose Name Is Death)。そして、最後の転機、ギルバート登場の場面では a tall lad と書かれ、アンはすぐにはギルバートとは気づかなかった(または、ためらっている)ように表現されています(CHAPTER XXXVIII The Bend in the road)。 このように、tallはおおむねいいものとして語られています。成長が形に表われるのは背が伸びることであり、アンの成長の物語として tall になるのはいいことなのでしょう。これはモンゴメリが背の高い人だったからかもしれません。尤も、tallはあまりよくない文脈でも使われていますが(a tall, scornful-looking girl in a white-lace dress CHAPTER XXXIII The Hotel Concert)、この1ヶ所だけです。 And you re ever so much better looking than you used to be, too. But I dare say you know that without being told." "Indeed I didn t," said Anne radiantly. "I know I m not so freckled as I used to be, so I ve much to be thankful for, but I really hadn t dared to hope there was any other improvement. I m so glad you think there is, Miss Barry." Miss Barry s house was furnished with "great magnificence," as Anne told Marilla afterward. The two little country girls were rather abashed by the splendor of the parlor where Miss Barry left them when she went to see about dinner. 「The two little country girls」ここではふたりとも little girls。エイゴのa little girlは幅が広いか、ニュアンスが様々あるのでしょうか "Isn t it just like a palace?" whispered Diana. "I never was in Aunt Josephine s house before, and I d no idea it was so grand. I just wish Julia Bell could see this--she puts on such airs about her mother s parlor." "Velvet carpet," sighed Anne luxuriously, "and silk curtains! I ve dreamed of such things, Diana. But do you know I don t believe I feel very comfortable with them after all. There are so many things in this room and all so splendid that there is no scope for imagination. That is one consolation when you are poor--there are so many more things you can imagine about." Their sojourn in town was something that Anne and Diana dated from for years. 「sojourn」同じ滞在を表わすにしてもstayではないのは、重々しさ豪華さを表しているのでしょう From first to last it was crowded with delights. On Wednesday Miss Barry took them to the Exhibition grounds and kept them there all day. "It was splendid," Anne related to Marilla later on. 物語の進行の時間に合わせて、後にあったおしゃべりを挿入するのは技術的にはどういうことなんでしょうか。何度もマリラに話をしていたでしょうから、マリラにとっては後から時間軸がしっかりできて、ということ?単にアンにおしゃべりさせたかっただけ、かもしれません "I never imagined anything so interesting. I don t really know which department was the most interesting. I think I liked the horses and the flowers and the fancywork best. Josie Pye took first prize for knitted lace. I was real glad she did. And I was glad that I felt glad, for it shows I m improving, don t you think, Marilla, when I can rejoice in Josie s success? Mr. Harmon Andrews took second prize for Gravenstein apples 「Gravenstein apples 」 松本訳注第29章(6) p. 517参照 and Mr. Bell took first prize for a pig. Diana said she thought it was ridiculous for a Sunday-school superintendent to take a prize in pigs, but I don t see why. Do you? She said she would always think of it after this when he was praying so solemnly. Clara Louise MacPherson took a prize for painting, 「Clara Louise MacPherson」 初登場。でもここだけ。後にも先にも話題になっていません。 and Mrs. Lynde got first prize for homemade butter and cheese. So Avonlea was pretty well represented, wasn t it? Mrs. Lynde was there that day, and I never knew how much I really liked her until I saw her familiar face among all those strangers. There were thousands of people there, Marilla. It made me feel dreadfully insignificant. And Miss Barry took us up to the grandstand to see the horse races. 「Miss Barry took us up to the grandstand to see the horse races」 松本訳注第29章(7) p. 517参照 Mrs. Lynde wouldn t go; she said horse racing was an abomination and, she being a church member, thought it her bounden duty to set a good example by staying away. But there were so many there I don t believe Mrs. Lynde s absence would ever be noticed. I don t think, though, that I ought to go very often to horse races, because they ARE awfully fascinating. Diana got so excited that she offered to bet me ten cents that the red horse would win. I didn t believe he would, but I refused to bet, because I wanted to tell Mrs. Allan all about everything, and I felt sure it wouldn t do to tell her that. It s always wrong to do anything you can t tell the minister s wife. It s as good as an extra conscience to have a minister s wife for your friend. And I was very glad I didn t bet, because the red horse DID win, and I would have lost ten cents. So you see that virtue was its own reward. 「virtue was its own reward」 松本訳注第29章(8) p. 517参照 We saw a man go up in a balloon. I d love to go up in a balloon, Marilla; it would be simply thrilling; 仮定法過去:したかったけどしなかった and we saw a man selling fortunes. You paid him ten cents and a little bird picked out your fortune for you. Miss Barry gave Diana and me ten cents each to have our fortunes told. Mine was that I would marry a dark-complected man who was very wealthy, and I would go across water to live. 宣教師と結婚して海外に行く? I looked carefully at all the dark men I saw after that, but I didn t care much for any of them, and anyhow I suppose it s too early to be looking out for him yet. Oh, it was a never-to-be-forgotten day, Marilla. I was so tired I couldn t sleep at night. Miss Barry put us in the spare room, according to promise. もちろん、これは "Remember, you Anne-girl, when you come to town you re to visit me and I ll put you in my very sparest spare-room bed to sleep." とミス・バリーがアンに言ったこと(CHAPTER XIX A Concert a Catastrophe and a Confession) It was an elegant room, Marilla, but somehow sleeping in a spare room isn t what I used to think it was. That s the worst of growing up, and I m beginning to realize it. 大きくなりたいと思っていたのに、大きくなったらそれほどいいものではなかった、というのはいつの時代でも(子供だった)大人の感想。ここにアンの成長が見える The things you wanted so much when you were a child don t seem half so wonderful to you when you get them." Thursday the girls had a drive in the park, and in the evening Miss Barry took them to a concert in the Academy of Music, where a noted prima donna was to sing. To Anne the evening was a glittering vision of delight. "Oh, Marilla, it was beyond description. I was so excited I couldn t even talk, アンははじめからそうでした。「並木道 "Avenue"」=「歓びの白い路 White Way of Delight」を通ったあとは、馬車に乗っている時間の半分以上 Its beauty seemed to strike the child dumb. という状態でおしゃべりできなかったのですCHAPTER II Matthew Cuthbert is surprised so you may know what it was like. I just sat in enraptured silence. Madame Selitsky was perfectly beautiful, and wore white satin and diamonds. But when she began to sing I never thought about anything else. Oh, I can t tell you how I felt. But it seemed to me that it could never be hard to be good any more. I felt like I do when I look up to the stars. Tears came into my eyes, but, oh, they were such happy tears. I was so sorry when it was all over, and I told Miss Barry I didn t see how I was ever to return to common life again. ステイシー先生のクリスマスの演芸会のあともそうでした。 Could she go back to the former quiet pleasures of those faraway days before the concert? At first, as she told Diana, she did not really think she could. CHAPTER XXVI The Story Club Is Formed She said she thought if we went over to the restaurant across the street and had an ice cream it might help me. That sounded so prosaic; アイスクリームに騒いでいたころもあったのに……。think of it, Marilla--ICE CREAM! CHAPTER XIII The Delights of Anticipation but to my surprise I found it true. The ice cream was delicious, Marilla, and it was so lovely and dissipated to be sitting there eating it at eleven o clock at night. Diana said she believed she was born for city life. Miss Barry asked me what my opinion was, but I said I would have to think it over very seriously before I could tell her what I really thought. So I thought it over after I went to bed. That is the best time to think things out. And I came to the conclusion, Marilla, that I wasn t born for city life and that I was glad of it. It s nice to be eating ice cream at brilliant restaurants at eleven o clock at night once in a while; 「restaurants」と複数なのは、特定の体験を話しているのではなく、一般化して話をしているから。なので、「It s」と現在形で話している 「at brilliant restaurants at eleven o clock at night」 松本訳注第29章(9) p. 517参照 松本訳ではここは「夜の十一時に、電灯でまぶしいくらい明るいレストランで」となっています。年代についてもご覧ください。 but as a regular thing I d rather be in the east gable at eleven, sound asleep, but kind of knowing even in my sleep that the stars were shining outside and that the wind was blowing in the firs across the brook. I told Miss Barry so at breakfast the next morning and she laughed. Miss Barry generally laughed at anything I said, even when I said the most solemn things. I don t think I liked it, Marilla, because I wasn t trying to be funny. But she is a most hospitable lady and treated us royally." Friday brought going-home time, and Mr. Barry drove in for the girls. "Well, I hope you ve enjoyed yourselves," said Miss Barry, as she bade them good-bye. "Indeed we have," said Diana. "And you, Anne-girl?" "I ve enjoyed every minute of the time," said Anne, throwing her arms impulsively about the old woman s neck and kissing her wrinkled cheek. Diana would never have dared to do such a thing and felt rather aghast at Anne s freedom. But Miss Barry was pleased, and she stood on her veranda and watched the buggy out of sight. Then she went back into her big house with a sigh. It seemed very lonely, lacking those fresh young lives. Miss Barry was a rather selfish old lady, if the truth must be told, and had never cared much for anybody but herself. She valued people only as they were of service to her or amused her. Anne had amused her, and consequently stood high in the old lady s good graces. But Miss Barry found herself thinking less about Anne s quaint speeches than of her fresh enthusiasms, her transparent emotions, her little winning ways, and the sweetness of her eyes and lips. "I thought Marilla Cuthbert was an old fool when I heard she d adopted a girl out of an orphan asylum," she said to herself, "but I guess she didn t make much of a mistake after all. If I d a child like Anne in the house all the time I d be a better and happier woman." 「If I d a child like Anne」は、If I had ... であり、仮定法過去。「I d be a better and happier woman.」は I would ... Anne and Diana found the drive home as pleasant as the drive in--pleasanter, indeed, since there was the delightful consciousness of home waiting at the end of it. It was sunset when they passed through White Sands and turned into the shore road. シャーロットタウン → 丘もあったりする(往きの記述) → ホワイトサンズ → 海岸道路 → アヴォンリー:地理関係や道筋を考えるのにはヒントになる記述。キャベンディッシュからふつうにシャーロットタウンに行く道筋かと思いますが、調べ足りず、少しわからないところありです 2007年6月17日げんざい Beyond, the Avonlea hills came out darkly against the saffron sky. Behind them the moon was rising out of the sea that grew all radiant and transfigured in her light. 9月の金曜が満月なのはいつ?については、年代についてをご覧ください。完全な満月になるのは、1880年代は全くなく(2日前後のずれを認めればもちろんありますが)、1891年9月18日(金)、1894年9月14日(金)、1897年9月10日(金)しかありません。 Every little cove along the curving road was a marvel of dancing ripples. The waves broke with a soft swish on the rocks below them, and the tang of the sea was in the strong, fresh air. "Oh, but it s good to be alive and to be going home," breathed Anne. When she crossed the log bridge over the brook the kitchen light of Green Gables winked her a friendly welcome back, and through the open door shone the hearth fire, sending out its warm red glow athwart the chilly autumn night. Anne ran blithely up the hill and into the kitchen, where a hot supper was waiting on the table. "So you ve got back?" said Marilla, folding up her knitting. "Yes, and oh, it s so good to be back," said Anne joyously. "I could kiss everything, even to the clock. Marilla, a broiled chicken! 「a broiled chicken! 」 松本訳注第29章(10) p. 518参照 You don t mean to say you cooked that for me!" "Yes, I did," said Marilla. "I thought you d be hungry after such a drive and need something real appetizing. Hurry and take off your things, and we ll have supper as soon as Matthew comes in. I m glad you ve got back, I must say. It s been fearful lonesome here without you, and I never put in four longer days." 淋しかったと、こんなにはっきり言われるだなんて……。もちろんアンもそれに応えるというか、帰るときにも家がいいと思い、都会は合わないとミス・バリー に答え、帰ってからも家がいいと思う。これには、アンが孤児院からやってきたときからの思い(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! CHAPTER II Matthew Cuthbert is surprised)があるのを忘れるわけにはいきません After supper Anne sat before the fire between Matthew and Marilla, and gave them a full account of her visit. "I ve had a splendid time," she concluded happily, "and I feel that it marks an epoch in my life. But the best of it all was the coming home." CHAPTER XXVIII UP CHAPTER XXX 17 June 2007 今日 - | 昨日 - | Total - since 17 June 2007 last update 2007-06-17 14 11 37 (Sun)
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Office Automation Charles RayJanet J Palmer? You Are the Voice Ray Charles With CD (You Are the Voice) Brother Ray (Raven S) Ray Charles?David Ritz? Lord Charles Wine Guide Ray Alan? Conspiracy and Tragedy of Charles, Duke of Byron George Chapman?George Ray? Brother Ray Ray Charles?David Ritz? Wild Wives (Vintage Crime/Black Lizaed) Charles Ray Willeford? Drugs, Society, and Human Behavior Charles J Ksir?Carl L Hart?Oakley S Ray? The Legacy of Ancient Egypt Charles Freeman?John D. Ray? X-Ray Interpretation for Mrcp Charles Robert Keith Hind? X-ray Interpretation for Membership of the Royal College of Physicians Charles R K Hind? High Priest of California The Novel and a Play Charles Ray Willeford? Charles Ray Interviews by Lucinda Barnes and Dennis Cooper Charles Ray Unchain My Heart The Ray Charles Story (Newmarket Pictorial Moviebooks (Paperback)) James L. White? Cockfighter Charles Ray Willeford? Zero Tolerance (Choice in Welfare) Ray Mallon?William Bratton?Charles Pollard?John Orr?William Griffiths? Brother Ray Ray Charles Own Story Ray Charles?David Ritz? 1, 2 Timothy, Titus Philemon Goals To Godliness Charles Ray Ray Charles Voice of Soul (Great Achievers Lives of the Physically Callenged) David Ritz? The Merrill Studies in Winesburg, Ohio (Charles E. Merrill Program in American Literature) Ray Lewis White? Ray Charles Musician Handbook of Counselling in Britain Windy Dryden?David Charles-Edwards?Ray Woolfe?British Association for Counselling? Ray Charles Soul Man (Newsmakers) Ruth Turk? Ray Charles with the Voices of Jubilation Choir Ray Charles?Jubilation Choir? Watercolour for All Plusdeo Ray Campbell Smith? Eames House An Appreciation of the Work of Charles Ray Eames James Barkeley? Heavy Duty Drivetrains The System and Component Application (S P (Society of Automotive Engineers)) Charles R. Jones? A Marvelous Ministry Charles Ray Planning the New Garden (Penny Pinchers) Ray Edwards? Narrative and the Legal Discourse (Legal Semiotics Monographs) David Ray Papke? Deliver Me from Dallas Charles Ray Willeford? Choosing and Caring for Garden Shrubs (Penny Pinchers) Ray Edwards? 2000X Tales of the Next Milennia (Fantastic Audio) Ray Bradbury?Kurt Vonnegut?Robert A. Heinlein?Harlan Ellison?Richard Dreyfuss?Charles Durning?Arte Johnson? Charles Ray Bruce W Ferguson? Understudy for Death Charles Ray Willeford? Sea Angling from the Shore Ray Forsberg? 2000X Tales of the Next Millennia (Fantastic Audio Series) Fredric Brown?Octavia E. Butler?Karel Capek?Harlan Ellison?Robert A. Heinlein?Moore. C. L.?A. E. Van Vogt?Kurt Vonnegut?Connie Willis?Ray Bradbury? Die Welt Von Charles Und Ray Eames D Albrecht? Ray Charles. What I say. Der Hohepriester des Soul Ray Charles?David Ritz? Eames Fabric Design Journal (Eames) Charles EamesRay Eames Drugs Society and Human Behavior Oakley S. Ray?Charles Ksir? Eames 2004 Engagement Calendar Charles EamesRay Eames Architectural Graphic Standards 1997 Cumulative Supplement (Supplement to the 9th ed) Harold Reeve Sleeper?Charles George Ramsay?John Ray, Jr Hoke? Architectural Graphic Standards 1998 Cumulative Supplement (Architectural Graphic Standards Cumulative Supplement) John Ray Hoke?Charles George Ramsey?Harold Reeve Sleeper? Advents- Kalender Charles Dickens Weihnachtsmaerchen. Adventskalender mit 24 klitzekleinen Christbaumbuechern Miriam Thielemann?Ray Bartkus? Exploring the X-Ray Universe Philip A. Charles?Frederick D. Seward? Zehn hoch. Dimensionen zwischen Quarks und Galaxien Philip Morrison?Phylis Morrison?Charles EamesRay. Eames? 15 Things Charles and Ray Teach Us Keith Yamashita? The Collected Memoirs of C. Willeford Charles Ray Willeford? Architectural Graphic Standards Charles G. Ramsey?Harold R. Sleeper?John Ray Hoke?Anthony Lewandowdki? Epa Compliance Guide for Hazardous Waste Ray H. Kirk?H. 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Market Insight Globally, the Financial Cloud Market Growth is expected to have significant growth over the forecast period. The growth of the market can be attributed to the increasing digitalization across the globe and growing number of financial institutions that demand advanced IT solutions to gain genuine competitive advantage instead of only building and maintaining an expensive IT infrastructure. The financial cloud solutions enable enterprises to reach their existing as well as potential customers with right advertisement, in the right way, and at the right time, enabling enterprises to build a strong relationship with their customers. Due to these factors, the Financial Cloud Market Growth is expected to grow with significant rate in the upcoming years. However, high initial cost and lack of expertise, particularly among small and medium-sized enterprises (SMEs) in developing economies, are expected to hinder growth of the global Financial Cloud Market Growth. The study on the Financial Cloud Market Growth 2020 by Market Research Future has been conducted keeping the current proceeding within the financial cloud industry. COVID -19 Impact The report further considers the impact of the novel COVID-19 pandemic on the financial cloud market. It offers a clear review of the projected market fluctuations during the forecast period (2020-2027) at a pace of 22.7% CAGR while anticipating a valuation of USD 46.03 billion from USD 16.55 billion in the same period. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/7492 Operational efficiency is one more factor in driving the growth of the finance cloud market. A few years back, Roha Housing Finance wanted to issue loans within two hours instead of three days. After adopting cost-efficient cloud-based technology, it was able to offer end-to-end loan processing within seven days, which was 50% faster than the housing finance industry benchmark. Such instances probed the market for the financial cloud to rise at a substantial level and thus set the future to score toweringly with a host of opportunities. Further, MRFR finds that the financial industry is mostly prone to cyber threats due to the sensitivity of the data. It continues to develop in frequency, as the data generation volume grows. On this approach, Equifax incurred losses of about USD 1.35 billion from a devastating 2017 breach that affected more than half of the American customers as well as millions of the consumers in the United Kingdom. Here, the necessitate of adopting financial cloud came into action, which labelled to be highly successful. This instance also made the market of financial cloud more and more positive by the time, which resulted fruitful in the present time when the whole world is affected by COVID 19, and several industries went down. But the financial industry has less effect on it due to the firm base created for years. Segmental Analysis The global financial cloud market study has incorporated various segments that are component, cloud type, organization size, and sub-industry. Depending on the component segment, the market includes solutions and services. Among these, the solutions segment is further segmented into wealth management, customer management, security, financial forecasting and analytics, and others. The service segment has included professional and managed services. Depending on cloud type segment, the market has included public cloud and private cloud. Depending on organization size segment, the market has included large enterprises and small and medium-sized enterprises. Depending on the sub-industry segment, the market has included banking and financial services and insurance. Regional Framework The global market for global financial cloud is estimated to grow at a significant rate during the forecast period from 2018 to 2023. The geographical analysis of the market is studied for North America, Europe, Asia-Pacific, Middle East Africa, and South America. North America is presumed to have the largest market share in the global financial cloud market. The US, Canada, and Mexico are the leading countries in the region. The growth is attributed to the presence of large number of financial institutions and wealth management firms and a high degree of digitalization in the region. Asia-Pacific is anticipated to be the fastest growing region in the global financial cloud market over the forecast period. Rapidly increasing number of banking and insurance businesses and rising demand for advanced banking solutions in the region are the key driving factors for the growth of financial cloud market in the region. Key Players The prominent players in the financial cloud market are Google LLC (US), Microsoft Corporation (US), Oracle Corporation (US), IBM Corporation (US), Amazon Web Services, Inc. (US), SAP SE (Germany), Capgemini (France), Infosys (India), Fiserv, Inc. (US), FIS (US), and Temenos Headquarters SA (Switzerland). Browse Complete Report @ https //www.marketresearchfuture.com/reports/financial-cloud-market-7492 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. 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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Enriqueta Vasquez And the Chicano Movement Writings from El Grito Del Norte (Hispanic Civil Rights) John Nichols?Enriqueta Vasquez?Lorena Oropeza?Dionne Espinoza? Research in Urban Policy A Research Annual Politics of Policy Innovation in Chicago (Research in Urban Policy) Kenneth K. Wong?Terry Nichols Clark? Against the Beast A Documentary History Of American Opposition to Empire John Nichols? Measuring and Monitoring Biological Diversity Standard Methods for Mammals (Biological Diversity Handbook Series) Don E. Wilson?F. Russell Cole?James D. NicholsRasanayagam Rudran?Mercedes S. Foster? Measuring and Monitoring Biological Diversity Standard Methods for Mammals (Biological Diversity Handbook Series) Don E. Wilson?F. Russell Cole?James D. NicholsRasanayagam Rudran?Mercedes S. Foster? The Archaeology of City-States Cross-Cultural Approaches (Smithsonian Series in Archaeological Inquiry) Deborah L. Nichols?Thomas H. Charlton? New Riders' Guide to Modems/Book and Disk Esther Schindler?Steven Vaughan-Nichols? Inside the World Wide Web (Inside) Steven Vaughan-Nichols?Stevens J. Vaughan-Nichols? Learning Html 4.0 Curt Robbins?Susan Alcorn?Amy Towery?Holly Nichols?Bill Vitucci? PC Learning Labs Teaches 1-2-3 Release 2.3 Logical Operations/Book and Disk (P C Learning Labs) Richard Scott?Robert Nichols Kulik? PC Learning Labs Teaches Cc Mail Logical Operations Robert Nichols Kulik?Gail Sandler?Brendan Fletcher? PC Learning Labs Teaches Wordperfect 6.1 for Windows/Book and Disk (P C Learning Labs) Robert Nichols Kulik?Adam A. Wilcox?Logical Operations Inc.? PC Learning Labs Teaches Microsoft Project 4.0 for Windows Logical Operations/Book and Disk (P C Learning Labs) Adam A. Wilcox?Robert Nichols Kulik? PC Learning Labs Teaches Visual Foxpro 3.0/Book and Disk (P C Learning Labs) Susan L. Reber?Robert Nichols Kulik?Logical Operations Inc.? PC Learning Labs Teaches Word for Windows 95 Robert Nichols Kulik? PC Learning Labs Teaches Microsoft Access for Windows 95 Julie Nichols Kulik? Microsoft Frontpage Quickstart (Quickstart) Bob Conway?Logical Operations?Robert Nichols Kulik?Logical Operations Inc.? Movies And Methods Bill Nichols? Movies and Methods An Anthology Bill Nichols? Movies and Methods An Anthology (Movies Methods) Bill Nichols? Linguistics Johanna Nichols Maya Deren and the American Avant-Garde Bill Nichols?Maya Deren? Maya Deren and the American Avant-Garde Bill Nichols?Maya Deren? The Harlequin Years Music in Paris, 1917-1929 Roger Nichols? The Fire Collected Essays of Robin Blaser Robin Blaser?Miriam Nichols? The Holy Forest Collected Poems of Robin Blaser Robin Blaser?Miriam Nichols? Sound Symbolism Leanne Hinton?Johanna NicholsJohn J. Ohala? Gabriel Faure A Musical Life Jean-Michel Nectoux?Roger Nichols? Claude Debussy, Pelleas Et Melisande (Cambridge Opera Handbooks) Roger Nichols?Richard Langham Smith? Claude Debussy Pelleas Et Melisande (Cambridge Opera Handbooks) Roger Nichols?Richard Langham Smith? Sound Symbolism Johanna NicholsLeanne Hinton?John J. Ohala? The Life of Debussy (Musical Lives, 4) Roger Nichols? The Life of Debussy (Musical Lives) Roger Nichols? Gabriel Faure A Musical Life Jean-Michel Nectoux?Roger Nichols? Financing Elections David Nichols? The Knightsbridge Girl Joke Book Sir Beauchamp Place?Peter Nichols?Harvey Jones? On Yankee Station The Naval Air War over Vietnam John B. Nichols?Tillman Barrett? "Gardeners' World" Flower of the Moment (Gardeners' World) Colette Foster?Alan Titchmarsh?Jonathan Buckley?Jerry Harpur?Clive Nichols A Guide to Hospital Security J.E. Nichols? The Service of Glory The Catechism of the Catholic Church on Worship, Ethics, Spirituality Aidan Nichols? The Word Has Been Abroad A Guide Through Balthasar's Aesthetics (Introduction to Hans Urs Von Balthasar) Aidan Nichols? Christendom Awake On Re-Energising the Church in Culture Aidan Nichols? Say It Is Pentecost Balthasar's Logic A Guide Through Balthasar's Logic (Introduction to Hans Urs Von Balthasar) Aidan Nichols Op? A Grammar of Consent Aidan Nichols? Byzantine Gospel Maximus the Confessor in Modern Scholarship Aidan Nichols? The Shape of Catholic Theology Aidan Nichols? Rome and the Eastern Churches Aidan Nichols? Day in the Death of Joe Egg Peter Nichols? The National Health, or Nurse Norton's Affair (Faber Plays) Peter Nichols? Forget-me-not Lane Peter Nichols? Chez Nous Peter Nichols? The Freeway Peter Nichols? Privates on Parade Peter Nichols? Born in the Gardens Peter Nichols? The Pope's Divisions Peter Nichols? Stagecoach Dudley Nichols? Selected Letters Claude Debussy?Roger Nichols?R. Nichols? Selected Letters of Berlioz Hector Berlioz?Roger Nichols? Ravel Remembered (Composers Remembered Series) Roger Nichols? Debussy Remembered (Composers Remembered Series) Roger Nichols? Debussy Remembered (Composers Remembered Series) Roger Nichols? Conversations With Madeleine Milhaud Roger Nichols? Mendelssohn Remembered Roger Nichols? Mendelssohn Remembered (Nick Ward Plays) Roger Nichols? A Day in the Death of Joe Egg (Acting Edition) Peter Nichols? Chez Nous (Acting Edition) Peter Nichols? Poppy (Acting Edition) Peter Nichols? Born in the Gardens (Acting Edition) Peter Nichols? Privates on Parade Peter Nichols? A Day and the Death of Joe Egg Peter Nichols? Quartet of Poems (Modern Women Writers) Grace Nichols?Maya Angelou?Alice Walker?Lorna Goodison? Modern History (A-Level Study Guide) Hermione Baines?Richard Davies?Andrew Hall?Philip Nichols?Mark Seymour? American Blood (Paladin Books) John Nichols? Brain-Boosting Math Activities - More Than 50 Great Activities That Reinforce Problem-Solving and Essential Math Skills Grade 6 (Professional Book) Professional Books?Jennifer Nichols? Meet the Stars of Dawson's Creek Angie Nichols? Bodyfueling Stop Watching Your Weight, Start Fueling Your Life Kaaren, M.D. Nichols?Robyn Landis? Deargod Mysterious.Ways Richard Nichols? What I Didn't Know Could Fill a Book A Ceo Dad Shares the Life Lessons He Wishes He'd Learned Earlier Carl W. Nichols? Where Words Leave Off Music Begins Janet Nichols Lynch? The Reunion Tim Nichols? ...sheer Drapes on My Windows A Collection of Writings And Poems Joni Nichols? 15 Minutes at a Time A View from Inside the Box Matt Nichols? Sheer Drapes on My Windows... A Collection of Writings and Poems Joni Nichols? CLASSIC AMERICAN CARS RICHARD NICHOLS? Classic Automobiles Richard Nichols? Hamlyn All Colour Barbecues and Summer Food (Hamlyn All Colour Cookbooks) Annie Nichols New Hamlyn Barbecues (Hamlyn New Cookery) Annie Nichols Readings in American Government Mary P. Nichols? Great Containers Making - Decorating - Planting Clare MatthewsClive Nichols How Does Your Garden Grow? Great Gardening For Green-Fingered Kids (Hamlyn Gardening) Clare MatthewsClive Nichols Easy Outdoor Living 40 Great Projects for You And Your Garden Clare MatthewsClive Nichols Doug and the End of the World Dennis Garvey?Tommy Nichols?William Presing?Vinh Truong?Sophie Kittredge? Romantic Natural Histories from Erasmus Darwin to Charles (New Riverside Editions) Ashton Nichols?William Wordsworth?Charles Darwin? Sedimentology and Stratigraphy Gary Nichols? Singing! Basic Vocal Technique Penny Nichols? The Worshiping Life Meditations On The Order Of Worship Lisa Nichols Hickman? Renewing the Vision Daily Readings for Peacemakers Sue Nichols Spencer? Classic Cars (#06811) Richard Nichols? Muscle Cars Richard Nichols? Exotic Cars/09316 Richard Nichols? The House of Thunder Leigh Nichols? Twilight Leigh Nichols? Key to Midnight Leigh Nichols? For the Love of Mike Silhouette Inspirations No. 18 Charlotte Nichols? Turning Forty in the Eighties Personal Crisis, Time for Change Michael P. Nichols? Ernie's War The Best of Ernie Pyle's World War II Dispatches David Nichols? The Power of the Family Mastering the Hidden Dance of Family Relationships Michael P. Nichols? No Place to Hide Facing Shame So We Can Find Self-Respect Michael P. Nichols? No Place to Hide Facing Shame So We Can Find Self-Respect Michael P. Nichols? Breaking Faith Featuring Nason Nichols, P.I Maynard F. Thomson? Family Healing Strategies for Hope and Understanding Salvador Minuchin?Michael P. Nichols? Z-80 Microprocessor Programming and Interfacing Elizabeth A. Nichols? Z-80 Microprocessor Programming and Interfacing Elizabeth A, etc. Nichols? Z-80 Microprocessor Advanced Interfacing with Applications in Data Communications Joseph C, etc. Nichols? Northern Woodland Indians (Ancient and Living Cultures Stencils) Mira Bartok?Linda Foss Nichols? Cut, Color, and Paste Jane Nichols? Human Gene Therapy Eve K. Nichols? Human Gene Therapy Eve K. Nichols? Minor Lives John Nichols? Mobilizing Against AIDS Eve K. Nichols? Mobilizing Against AIDS Eve K. Nichols? Beyond Uhura Star Trek and Other Memories Nichelle Nichols? Ernie's America The Best of Ernie Pyle's 1930's Travel Dispatches David Nichols? Clinical Problems, Injuries and Complications of Gynaecologic Surgery David H Nichols?George W Anderson? Clinical Problems, Injuries and Complications of Gynaecologic Surgery David H. Nichols?George W. Anderson? Clinical Problems, Injuries and Complications of Gynecologic and Obstetric Surgery David H. Nichols?John O. L. Delancey? Textbook of Pediatric Intensive Care Mark C. Rogers?David G. Nichols The Best of Field Stream 100 Years of Great Writing Field & Stream?J. I. Merritt?Margaret G. Nichols? Doing the Gospel Local Congregation in Ministry Roy C. Nichols? Footsteps in the Sea Roy C. Nichols? Casey Wooster's Pet Care Service Janet Nichols? Song of the Pearl Ruth Nichols? The Left-Handed Spirit Ruth Nichols? Out of the Blue Delight Comes into Our Lives Mark Victor Hansen?Barbara Nichols?Patty Hansen? Handyman Linda Nichols?Katherine Borowitz? Treason, Tradition and the Intellectual Julien Benda and Political Discourse Ray L. Nichols? The J.C. Nichols Chronicle The Authorized Story of the Man, His Company, and His Legacy, 1880-1994 Robert Pearson?Brad Pearson? The Skills of Communicating (Management Skills Library) Bill P. Scott? Foliage for Year Round Colour Jane Taylor?Clive Nichols Small Gardens With Style Jill Billington?Clive Nichols Beds and Borders for Year Round Colour (Year Round Colour Series) Jill Cowley?Clive Nichols Foliage for Year Round Colour Jane Taylor?Clive Nichols The Summer Garden Jill Billington?Clive Nichols Small Gardens With Style Jill Billington?Clive Nichols The Summer Garden Jill Billington?Clive Nichols Beds and Borders for Year Round Colour Jill Cowley?Clive Nichols Clearmountain (Rainbow Romance) Jessie Nichols? 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Robinson?Rosemary Dunn Stancil?Lorela Nichols Wilkins? Simply Scrumptious Microwaving M.A.F. Robinson?Rosemary Dunn Stancil?Lorela Nichols Wilkins? The Sociology of Industrial Injury (Employment and Work Relations in Context Series) Theo Nichols Work and Occupation in Modern Turkey (Employment and Work Relations in Context.) Erol KahveciNadir Sugur?Theo Nichols Childbirth Education Practice, Research, and Theory Francine H. Nichols?Sharron Smith Humenick? Maternal-newborn Nursing Francine H., PhD RNC FACCE Nichols?Elaine, RN PhD FACCE Zwelling? Study Guide for Nichols and Zwelling Maternal-Newborn Nursing Theory and Practice Nichols Maternal-Newborn Nursing Theory and Practice Elaine Zwelling?Francine H. Nichols? Maternal-newborn Nursing, Text And Study Guide Package Elaine Zwelling?Francine H. Nichols? Childbirth Education Practice, Research, and Theory Francine H. Nichols?Sharron Smith Humenick? Light from the East A. Nichols? Light from the East Authors and Themes in Orthodox Theology (Stagbooks) Aidan Nichols? Scribe of the Kingdom Aldan Nichols? Dreamweaver Mx Magic (Landmark) Josh Cavalier?Linda Rathgeber?David Nichols?Joyce J. Evans?Donna Casey?Jason Cranford Teague?Van Note Zac?Alwyn Joy?Matthew David?Sean Nicholson? Dance About Anything Marty Sprague?Helene Scheff?Susan McGreevy-Nichols?Mcgreevy-nichols? Building Dances A Guide To Putting Movements Together Susan McGreevy-Nichols?Helene Scheff?Marty Sprague? Experiencing Dance From Student to Dance Artist Helene Scheff?Marty Sprague?Susan McGreevy-Nichols? Sea Change Alone Across the Atlantic in a Wooden Boat Peter Nichols?Barrett Whitener? Five-star Living on a Two-star Budget Margaret Feinberg?Natalie Nichols Gillespie? Hampton, Virginia (Black America) Colita Nichols Fairfax? The Seabees at Port Hueneme (Images of America) Gina Nichols? Richmond Heights 1868-1940 (MO) (Images of America (Arcadia Publishing)) Joellen Gamp Mcdonald?Ruth Nichols Keenoy? Ashland The Henry Clay Estate (Images of America (Arcadia Publishing)) Rhonda Hornback Nichols?Eric Brooks? No Magic Wands Beverly S. Nichols? No Magic Wands Beverly S. Nichols? Sport Climbing (Extreme Sports (Austin, Tex.).) John Nichols? Street Luge (Extreme Sports (Austin, Tex.).) John Nichols? Night Stalker of Vietnam Henry Nichols? God's Prosperity Plan Rod Nichols?Tim Johnson? Shadow Boxer A Billy Nichols Novel (Billy Nichols Crime Novels) Eddie Muller? A Caribbean Dozen John Agard?Grace Nichols?Cathie Felstead? Under the Moon and Over the Sea John Agard?Grace Nichols?Cathie Felstead?Jane Ray?Christopher Corr? A Caribbean Dozen John Agard?Grace Nichols?Cathie Felstead? From Mouth to Mouth John Agard?Grace Nichols?Annabel Wright? Under the Moon and Over the Sea John Agard?Grace Nichols?Cathie Felstead? David Penman Alan Nichols? Grace Nichols (Writers Their Work) Sarah Lawson Welsh? What Dangers Deep Ruth Nichols? What Dangers Deep Ruth Nichols? The Poet Cat Grace Nichols?Bee Willey? The Poet Cat Grace Nichols?Bee Willey? The Staff Development Handbook An Action Guide for Managers and Supervisors (Capital Market Series) Peter R. Sheal? Activities in Self-Instructional Texts (Open and Distance Learning) Fred Lockwood? How to Organize Effective Conferences and Meetings David Seekings? Role Plays A Sourcebook of Activities for Trainers (Training Activities) David Turner? Problem Solving and Decision Making (Fast Track Mba Series) Graham Wilson? Preparing a Business Plan (One Day Workshop) Harbridge Cons. Group? Creating Customer Loyalty (Management Action Guides) Manchester Open Learning? Handling Conflict and Negotiation (Management Action) Manchester Open Learning? Managing People and Employee Relations (Management Action Guides) Manchester Open Learning? Achieving Goals Through Teamwork (Management Action Guides) Manchester Open Learning? Planning and Managing Change (Management Action Guides) Manchester Open Learning? Organisational Behaviour and Design (The Fast Track Mba) Barry Cushway?Derek Lodge? Teach Yourself With Open Learning Derek Rowntree? Accounting for Managers (Fast Track MBA) Graham Mott? Beyond Uhura Nichelle Nichols? Beyond Uhura Nichelle Nichols? Beyond Uhura Nichelle Nichols? The Poacher's Daughter Mary Nichols? The Paladin (Whiteblade Saga) Adam Nichols Intimate Kill Margaret Yorke?Trevor Nichols? KaNgwane Peter Nichols? Henri Dutilleux - Music - Mystery and Memory Conversations With Claude Glayman Henri Dutilleux?Claude Glayman?Roger Nichols? Others and Outcasts in Early Modern Europe Picturing the Social Margins Tom Nichols? Redeeming Beauty (Ashgate Studies in Theolgy, Imagination the Arts) Aidan Nichols? Redeeming Beauty (Ashgate Studies in Theolgy, Imagination the Arts) Aidan Nichols? Chicken Soup for the African American Soul Celebrating and Sharing Our Culture One Story at a Time (Chicken Soup for the Soul) Mark Victor Hansen?Lisa A. Nichols?Tom Joyner?Jack Canfield? Chicken Soup for the African American Woman's Soul Laughter, Love And Memories To Honor The Legacy Of Sisterhood (Chicken Soup for the Soul) Jack Canfield?Mark Victor Hansen?Lisa Nichols? Chicken Soup for the Teenage Soul The Real Deal on Girl Stuff (Chicken Soup for the Teenage Soul the Real Deal) Jack Canfield?Mark Victor Hansen?Lisa Nichols? Chilton's Guide to Fuel Injection and Electronic Engine Controls, 1988-90 The Feathered Shield Huey E. Nichols? Why James W. Nichols? It's the Wind (We Can Read About Nature) Catherine Nichols? Water All Around (We Can Read About Nature) Catherine Nichols? A Dry Place (We Can Read About Nature) Catherine Nichols? In the Rain Forest (We Can Read About Nature) Catherine Nichols? One Big Ocean (We Can Read About Nature) Catherine Nichols? Wetlands (We Can Read About Nature) Catherine Nichols? Grassy Lands (We Can Read About Nature) Catherine Nichols? Four Contemporary Plays by Lee Yun-Taek Translated by Dongwook Kim and Richard Nichols, with Introductions by Richard Nichols Dongwook Kim? Citizen Responsive Government (Research in Urban Policy) Keith Hoggart?Terry Nichols Clark? Community and Ecology Dynamics of Place, Sustainability, and Politics (Research in Urban Policy) Aaron M. McCright?Terry Nichols Clark? Prayers from Mom's Heart (Running Press Miniature Editions (Hardcover)) Fern Nichols? Signpost Guide Loire Valley Your Guide to Great Drives Andrew Sanger?Fiona Nichols?Gillian Thomas?John Harrison? Falconguide Hiking With Kids Taking Those First Steps With Young Hikers (Hiking with Kids) Robin Tawney Nichols? Asana and the Animals A Book of Pet Poems Grace Nichols?Sarah Adams? Under the Moon over the Sea A Collection of Caribbean Poems John Agard?Grace Nichols?Christopher Corr?Cathie Felstead? In Search of Eden Linda Nichols? Not a Sparrow Falls Linda Nichols? If I Gained the World Linda Nichols? At The Scent Of Water Linda Nichols? Not a Sparrow Falls Linda Nichols? Not a Sparrow Falls Linda Nichols? If I Gained the World Linda Nichols? At The Scent Of Water Linda Nichols? At The Scent Of Water Linda Nichols? Head Vases, Etc The Artistry of Betty Lou Nichols (Schiffer Book for Collectors) Maddy Gordon? Linux Database Bible (Bible (Wiley)) Michele Petrovsky?Stephen Wysham?Mojo Nichols? Lau V. Nichols Bilingual Education in Public Schools (Landmark Supreme Court Cases) Stephanie Sammartino McPherson? Esoteric Anthropology (1873) Terence L. Nichols? Business Guide or Safe Methods of Business 1921 James L. Nichols?L. H. Seager? Business Guide An Outline of Business James L. Nichols?Louis Paeth? "Identity" in the Poetry of Grace Nichols and Lorna Goodison (Salzburg Studies in English Literature. Poetic Drama Poetic Theory, 87.) Gudrun Webhofer? Prison Of My Own A True Story Of Redemption Forgiveness Diane Nichols? Clinical Pharmacology and Nursing Management Laurel A. Eisenhauer?Lynn Wemett Nichols?Roberta Todd Spencer?Frances West Bergan? Sandra Nichols Found Dead George V. Higgins? Not A Sparrow Falls Linda Nichols?Marguerite Gavin? Not A Sparrow Falls Linda Nichols?Marguerite Gavin? Handyman (Thorndike Press Large Print Americana Series) Linda Nichols? The Other Malcolm-Shorty Jarvis His Memoir Malcolm L., Jr. Jarvis?Paul D. Nichols?Elizabeth Jarvis?Cornel West? Guerrilla Warfare in Civil War Missouri, 1862 (Guerrilla Warfare in Civil War Missouri) Bruce Nichols? Guerilla Warfare in Civil War Missouri 1863 (Guerrilla Warfare in Civil War Missouri) Bruce Nichols? Voyage to the North Star Peter Nichols? Voyage to the North Star A Novel Peter Nichols? Doug and the End of the World (Disney's Doug Chronicles) Dennis Garvey?Tom Nichols?Jim Jinkins?Erin McCormack?William Presing?Vinh Truong?Sophie Kittredge? Invasion of the Judy Snatchers (Disney's Doug the Funnie Mysteries) Dennis Garvey?Tommy Nichols?Bill Presing? Readings in American Government Mary P. Nichols?David K. Nichols? Transforming Fundraising A Practical Guide to Evaluating and Strengthening Fundraising to Grow With Change (Jossey-Bass Nonprofit and Public Management Series) Judith E. Nichols? Demystifying Grant seeking What You Really Need to Do to Get Grants (Jossey-Bass Nonprofit and Public Management Series) Judith E. Nichols?Larissa Golden Brown?Martin John Brown? The Most Extreme Bugs (Animal Planet Extreme Animals) Discovery Channel?Catherine Nichols? Basic Techniques of Psychodynamic Psychotherapy Michael Nichols?Thomas J. Paolino? Prairie Primer Stan Nichols?Lynn Entine?Evelyn Howell? Christianity and the Stranger Historical Essays (South Florida-Rochester-Saint Louis Studies on Religion and the Social Order, Vol 12) Francis W. Nichols? Family Therapy Around the World A Festschrift for Florence W. Kaslow William C. Nichols?Florence Whiteman Kaslow? Family Therapy Around The World A Festschrift For Florence W. Kaslow William C. Nichols?Florence Whiteman Kaslow? Gardening With Foliage Plants Leaf, Bark, and Berry Ethne Clarke?Clive Nichols Todo nino necesita una mama que ora/Every Child Needs a Praying Mom Fern Nichols? The Last Place On Earth (National Geographic) Michael Nichols? The Year of the Tiger (National Geographic) Michael Nichols?Geoffrey C. Ward? Corvette Richard Nichols? Treasury Securities Making Money With Uncle Sam Donald R. Nichols? The Income Investor Choosing Investments That Pay Cash Today and Tomorrow Donald R. Nichols? The Personal Investor's Complete Book of Bonds Donald R. Nichols?
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男爵 警察、警察! [警部が警備員を二人伴って登場。全員が動いて、彼らの場所を作る。] 警部 [鋭く] 止まれ!誰も動くな!何が起こっているのですか?誰が助けを求めたのですか?誰が騒動を起こしたのですか? ヴァルツァッキ [オクタヴィアンへ] ああ、なんと、どうなるんだ? オクタヴィアン 私に任せておきなさい!成り行きに任せなさい。 ヴァルツァッキ 閣下のお命じのままに。 男爵 [警部へ向かって、貴族らしい自信をもって] 今や万事秩序通り。君にはまったく満足しているよ。ウィーンではすべてがすらすらと運ぶと信じていたよ。 [楽しげに] このごろつきどもを私の前から厄介払いしてくれたまえ。私は静かに晩餐を取りたいのだ。 警部 御仁はどなたですか?御仁はなんの権限をお持ちですか?あなたが主人ですか? [男爵はあんぐりと口を開く] [鋭く] それならばどうぞ静かに黙って、私が呼ぶまでお待ちください。 男爵 [狼狽して少し下がり、自分のかつらを探し始める。かつらは喧騒の間になくなってしまっており、発見できないままである。] 警部 [座る。二人の警備員は警部の後ろに陣取る] 主人は誰ですか? 宿屋の主人 [へりくだって] 私めで。上級警部様にはまことによろしくお願い申し上げます。 警部 このごたごたではお宅の印象はよろしくありませんな。では報告を! 宿屋の主人 警部様! 警部 はじめから! 宿屋の主人 男爵様が… 警部 あそこにいる大男かね?あなたのかつらはどうなさったのですか? 男爵 [この間ずっと探している] それは私が聞きたいよ! 宿屋の主人 あちらはフォン・レルヒェナウ男爵様です。 警部 十分ではないな。 男爵 なに? 警部 誰かそばにあなたの立場を証明する者はいますか? 男爵 すぐ手元に。そこに。私の秘書が。イタリア人です。 ヴァルツァッキ [オクタヴィアンと合意の目配せを交わす] 申し訳ございませんが、ワタクシは何も知りません。こちらのトノは男爵かもしれませんし、そうではないかもしれません。ワタクシはなんにも知りません。 男爵 [我を忘れて] これはなんともひどい。イタリアの悪党め、うそだ! 警部 [男爵へ、鋭く] ご自身のために、慎んだほうがよいですぞ! オクタヴィアン [ここまで静かにじっと立っていたが、ここにきて、あたかも、絶望してあちこちとさまよい、出口を見つけられずに窓を出口の扉と勘違いしたかのように振る舞う。] ああ、神様、土の中に入ってしまいたいわ!マリアターフルの聖母様! 警部 そちらのその若い人は誰ですか? 男爵 彼女?誰でもないよ。彼女は私の保護下にある。 警部 あなたご自身が今現在保護を極めて必要としているのですよ。あの若い子は誰ですか、ここで何をしているのですか? [見回す] あなたが神に呪われた放蕩者で誘惑者であるとは望みたくないですな。そうですと、あなたはかなり悪い立場に置かれますぞ。あなたはこのお嬢さんをどうやって知ったのですか。答えを求めます! オクタヴィアン 水の中に身を投げるわ! [逃げようとする振りをしてアルコーヴへ駆け寄り、カーテンを引き開ける。そのため、ベッドがそこにあり、遮るものなく光があたっているのが見える。] 警部 [立ち上がる] ご主人、これはなんですか?あなたはなんの商売をしているのですか? 宿屋の主人 [途方にくれて] 身分のある方々がお食事やお夕食を取られる時には…… 警部 口を閉じなさい。あなたには後で聞こう。 [男爵へ] 今から三まで数えます。そうしたら、あなたがこの町のお嬢さんとどうやって知り合ったのか、お聞かせ願いましょう。嘘の証言をしようなどとお考えにならないように願います。 [主人とヴァルツァッキが手振りで男爵に状況の危険性とその証言の持つ重要性を示す。] 男爵 [彼らに向かって、自信をもって、自分に任せるように、自分はこういうことに慣れている(新米ではない)ことを合図する。] あなたは礼儀をご存知ないようだね、警部殿、身分ある者が婚約者と夜の九時に晩餐を一緒にとろうとしているところなのだよ。 [周りをちらりと見て、自分の機転の効いた証言のききめを待つ] 警部 あちらがあなたの許嫁なのですか?それではその父親の名前と住居を言ってください。あなたの申告が正しいとわかれば、お嬢さんと一緒に行ってかまいません。 男爵 私はこういうやり方には全く慣れていないんだ… 警部 [鋭く] 証言をしなさい、そうでないならもっと厳しくせざるを得ませんぞ。 男爵 答えは欠かしませんよ。 [急いで] ファニナル嬢です。ゾフィア・アンナ・バルバラ、生まれ高貴なるフォン・ファニナル氏の嫡出女であり、ホーフの自分の館に住んでおります。 [扉の前には宿屋の従業員や、他の客、数人の演奏家が他の部屋から野次馬に集まってきている。フォン・ファニナル氏が、 慌てて興奮した様子で、帽子と外套をつけたまま、 彼らの間を突き進んで来る。] ファニナル 着きました。私に御用とはなんでしょうか? [男爵に近づく] なんというご格好ですか?こんな時間に下賤の酒場に急に呼び出されるとは思ってもいませんでしたよ。 男爵 [ひどく驚き、不愉快になって] 誰があなたをここに呼んだのだ?ちくしょうめ。 ファニナル [抑えた声で彼に] なぜ私にそのような愚かな問いを、婿殿よ?ほとんど扉を突き破らんばかりにして私に知らせを送ったのではないですか。とにかく急いでここに来るようにと、あなたが困った立場におかれていると、身に覚えのないことでそうなってしまったと。 男爵 [頭を抱える] 警部 御仁はどなたですか?この御仁はあなたとどういう関わりがあるのです? 男爵 何も大したことじゃありません。単なる知り合いですよ、ただ偶然この宿屋に泊まっていたのです。 警部 お名前を頂戴しましょう! ファニナル 私は貴族のフォン・ファニナルです。 警部 ということはあなたが父親なのですね。 男爵 [間に立って、オクタヴィアンをファニナルの目から隠す。熱心に] 断じてそうではない。血縁ですよ、兄弟、甥です!本人はもう一回り太ってます。 ファニナル [ひどく驚いて] 何が起きているのです?何を見ているのです?私がもちろん父親です。 男爵 [彼を追い出したがって] 後はまた今度に、すまないね! ファニナル そうはいきませんよ。 男爵 [激高して] 帰りたまえ、ちくしょうめ! ファニナル [次第にいらいらを高めて] 私の名前と体面をこのようなもめごとに巻き込んで、婿殿! 男爵 [何とかして口を閉じさせようとする。警部へ] イデー・フィクス(強迫観念)なんです。私をそう呼ぶのを楽しんでるんですよ。 警部 はい、はい、もうよろしい。 [ファニナルへ] ではこちらの殿方はあなたの婿であると認めますか? ファニナル そのとおりです!なぜ私にわからないはずだと?彼に髪の毛がないからですか? 警部 [男爵へ] そしてあなたも、今となっては、こちらの殿方が、良かれ悪しかれ、あなたの義父であると認めますか? 男爵 [机の上から灯りを取り、ファニナルをしっかりと照らす] ええ、ええ、そうそう!はいはい、確かにそのようです。今日は一晩中、まったくおかしかったんです。今日は自分の目を信じることができなくて。なんとも他に言いようがないのですが、ここには空中になにかいて、そのせいでうっ血を引き起こしてしまうんです。 警部 [ファニナルへ] それに対して、こちらの、彼がはっきりとあなたの娘だと言った女性に対する父子関係は否定されると。 ファニナル [ここで初めてオクタヴィアンに気付く] 私の娘? そこの、その女中が私の娘だと詐称しているのかね? 男爵 [無理矢理に笑って] お遊びですよ!まったくの誤解です!宿屋の主人がそちらの警部殿に私のファニナル家との婚約関係をもっともらしく話したからですよ! 宿屋の主人 [興奮して] 一言も、一言も、警部殿、 ご本人の証言に寄るものです! ファニナル [我を忘れて] その女性を逮捕しろ!さらしものだ!鞭打て!修道院に監禁しろ!私は…私は…私は… 男爵 家にお帰りなさい。明日の朝に!全てをご説明しますから。わかっているでしょう、あなたが私に何を負っているのか。 ファニナル [我を忘れて、激怒して] ご本人の証言に寄るものですと! [数歩後ろに下がって] 私の娘をこちらへ!下で輿に座っているから!駆け足でこちらへ! [再び男爵に向かって突進して] このことは高くつきますぞ!法廷に持ち込みますからな! 男爵 まったくなんにもならないことのために、まったく馬鹿げたことをしていますぞ。カヴァリエがあなたの婿でいるためには馬のような忍耐が必要なのだ、誓って!私は私のかつらがいるのだ! [宿屋の主人を揺さぶる] 私のかつらを持って来い! [かつらを探してあちこち勢いよく動き回るうちに、こどもの一人にぶつかり、その子をわきに押しのける。] 4人の子供 [自動的に] パパ!パパ!パパ!パパ!パパ! ファニナル [のけぞる] あれはいったい何だ? 男爵 [探すうちになんとか帽子だけは見つけ、 帽子で子供たちを打つ] まったくなんでもない!ぺてんだ!このろくでもない連中などまったく知らん!彼女は私と結婚しているというんだ。クレドのなかのポンティウス(ピラト)のように恥をかかせようとしているのだ。 ゾフィー [外套を来て急ぎ足で入ってくる。人々は場所を開ける。扉の前にはそれぞれ輿の持ち手を持ったファニナル家の下僕たちが見える。] [男爵が頭の禿げた部分を帽子でゾフィーから隠そうと試みる一方で、ゾフィーは父親の方へ歩み寄る。] 見物人の合唱 花嫁だ!ああ、なんというスキャンダル! ファニナル [ゾフィーへ] ここを見てごらん。あそこに婿殿がいる。あそこにはその清廉な殿の家族だ。奥方とその子供たちだ!そこの左手にいるご婦人だよ!いや、あれはお前だった、ご本人の証言に寄るとね、お前なのだ!土の中に沈みたいとな?私もだ! ゾフィー [嬉しそうに安堵の息を吐く] とても嬉しいです!彼をそのように見たことは一度もありませんでしたから。 ファニナル 彼をそのように見たことは一度もない。 [どんどん自暴自棄になりながら] 彼をそのように見たことは一度もない。私の素晴らしい名前が!きっとこのどぶからは二度と這い上がれないだろう!もはや誰も私を相手にしないだろう! [ほとんど泣きそうになる] 合唱 [扉の前に立って] スキャンダル!スキャンダル!フォン・ファニナル氏のスキャンダル! ファニナル ウィーンの街中が!黒新聞が! 壁から出た頭や地下からの合唱 [壁や床から現れて、くぐもった声で] スキャンダル、フォン・ファニナル氏のスキャンダル! ファニナル そら!地下から!空から!ウィーンの街中が! [拳を握りしめながら男爵に向かっていく] おお!いかさま師め!具合が悪くなってきた!椅子を! [下僕が飛び出してきて、彼を支える。二人ともこれ以前に持っていた棹を後に立つ人たちに投げ渡している。ゾフィーは不安でいっぱいになりながら彼の世話をしようとする。宿屋の主人も同時に飛び出してくる。彼らは彼を抱えて隣の部屋に連れて行く。数人の給仕が先にたって道を示し、扉を開ける。] [この間に男爵は魔法の手によってどこからともなく現れたかつらを見つけ、そこに突進し、頭の上にかぶせ、鏡の前で正しい位置に整える。この変化によってほぼ元通りの落ち着きを取り戻し、今に至るまで彼にとって得体のしれないアンニナと子供たちに対して背中を向けることで満足する。] [フォン・ファニナル氏とその下僕たちの後ろで左手の扉が閉まる。主人と給仕はすぐに静かに戻ってきて、薬と水の入ったカラフェなどを持って扉の元まで運び、扉の隙間からゾフィーがそれらを受け取る。] 男爵 [いまやかつての自信を取り戻して警部へ向かって] これでますますはっきりしましたな!支払いを、私は出るぞ! [オクタヴィアンへ] あなたは私が家まで送りましょう。 警部 それは違いますな!あなたには今からもう一回尋問を! [警部の合図で二人の警備員は部屋から関係者以外を全て追い出し、アンニナと子供たちだけが左手の壁の前に留まる。] 男爵 もういいではありませんか。お遊びだったのですよ。後でまたこのお嬢さんが誰かはお伝えします。あなたに約束しましょう。私は恐らくこの娘と結婚するでしょう。あっちのごろつきどもも静かになりましたしな。 [オクタヴィアンを連れ去る素振りをする] もうわかったでしょう、私が誰であり、誰でないかを! オクタヴィアン [逃げる] この旦那とは行きません! 男爵 [抑えた声で] 私はあなたと結婚するのだから、あなたは私と行動するのだよ。あなたは男爵夫人にもなるんだし、私のことが大好きでしょう! オクタヴィアン [オクタヴィアンは男爵から腕を引き剥がす。しゃべる] 「警部殿、調書に取ってもらいたいことがありますが、ここにいる男爵様には聞かれたくありません。」 [警部の合図で二人の警備員は男爵を右手前方へ引っ張っていく。オクタヴィアンは警部に何かを伝え、それを聞いた警部はひどく驚く。警部はオクタヴィアンに付き添ってアルコーヴへ行く。オクタヴィアンはカーテンの後ろに消える。] 男爵 [警備員に、親しげに、抑えた声で、アンニナを指し示しながら] あの女性のことは知らないのだ、名誉にかけて。 ちょうど食事をするところだったのだ。 彼女が何を求めているのかまったくわからないのだ。 そうでなければ自分で警察を呼んだりしないだろう… [警部は楽しんでいる様子で、カーテンの隙間に臆することなく近づく。] 男爵 [警部の笑い声に気付く。不可解な展開に突然ひどく興奮して] そこでいったい何をしている?こんなことがあり得るのか?この無作法者!それでも風紀警察か?生娘だぞ!生娘だ。 [押しとどめるのが難しい] 私の保護下にあるのだ。苦情を申し立てる!一言言わせてもらわねばならない! [身をもぎ離し、寝台の方へ行こうとする。彼らは男爵を再び捕まえて押さえる。] [アルコーヴからは一つずつマリアンデルの服が出てくる。警部はそれをまとめる。] 男爵 [興奮を募らせ、二人の警備員から逃れようともみ合う。彼らがなんとか男爵を押さえていると、オクタヴィアンの頭がカーテンの隙間から覗く。] 何が何でも彼女の元へ行かねば! [給仕が入ってきて扉を開ける。] 宿屋の主人 [飛び込んできて] 元帥公爵夫人閣下の御成! [はじめに元帥夫人の家僕の何人かが見え、それから男爵の小姓が見える。並ぶ。] [元帥夫人が入場。黒人の子供が彼女の引き裾を持っている。] 男爵 [警備員から身を引き剥がし、額の汗を拭い、元帥夫人の元へ急ぐ] またとない幸運でございます、このような光栄は身に余ることで。閣下のこちらへのお越しは比べるもののないご友情と存じます。 オクタヴィアン [カーテンの間から頭を突き出して] マリー・テレーズ、なぜここに来たの? 元帥夫人 [動かず、答えず、問うように見回す。] 警部 [公爵夫人の元へ、儀式張った姿勢で] 侯爵夫人閣下、謹んで下級警部主任としてご報告申し上げます… [小姓は、誇らしげに自分に満足した様子で男爵の元へ向かう。男爵は彼に満足しているさまを合図する。] 男爵 おわかりでしょう、警部殿、やんごとなきお方が自らご足労くださったのだ。君も自分がどのような立場かわかっただろう。 元帥夫人 [警部へ] 私をご存知? 私もあなたを知ってるのでは? そんな気がするわ。 警部 もちろんです! 元帥夫人 以前、元帥様の有能な伝令兵ではなかった? 警部 閣下、お言葉のままに。 [オクタヴィアンは再びカーテンの間から頭を突き出す。] 男爵 [オクタヴィアンに隠れるように激しく合図し、同時に元帥夫人が彼に気づかないように不安げに苦心する。と、左手の扉から足音が近づくのが聞こえ、そちらへ急ぎ、扉に背中を押し付けて立ち、愛想の良い身振りをして元帥夫人に向かってまったく気後れのしていない態度を取り繕おうと努力する。] ええい、そこにとどまってなさい! 元帥夫人 [左手に来て、じっと待つような表情で男爵を見つめる。] オクタヴィアン [男爵が背を向けるやいなや、男性の服を着てカーテンの間から出て来る。] 約束と違うじゃない、マリー・テレーズ、驚いたよ! 元帥夫人 [あたかもオクタヴィアンの言うことを聞いていない風に、愛想よく期待するような眼差しをずっと男爵へ向け続ける。男爵は極度の困惑のなか、扉と元帥夫人の双方に注意を振り分けている。] [左手の扉が力づくで開けられ、そのために、それまで無駄な努力で扉に体を強く押し付けていた男爵は突然激しく突き飛ばされる。そしてファニナルの下僕二人がゾフィーを中に入れる。] ゾフィー [男爵の陰に隠れて見えない元帥夫人を見ることなく] 私のお父様よりご伝言があります… 男爵 [ゾフィーの言葉を遮って、抑えた声で] 今はその時ではない、なんてこった!呼ばれるまで待つことはできないのかね?この酒場であなたをお披露目してほしいのかい? オクタヴィアン [静かに歩み出て、元帥夫人へ抑えた声で] あちらがそのお嬢さんです、彼女のために… 元帥夫人 [肩越しにオクタヴィアンへ、抑えた声で] ちょっと急ぎすぎよ、ロフラーノ。私にも彼女が誰かは分かるわ。シャルマン(チャーミング)な子ね。 [オクタヴィアンはカーテンの向こうへするりと戻る。] [元帥夫人は静かに警部と話をする。] ゾフィー [扉に背を付け、思わず男爵が一歩下がるほど鋭い口調で] あなたはこの世の誰に対しても私をお披露目いたしません、あなたと今後関わりを持つことはほとんどないでしょうから。 そしてお父様よりあなたにお伝えします。もしあなたがこれ以上厚かましく振舞い続け、私どもの街の館から百歩以内にあなたの鼻面を見せようものなら、あなたの身に何が起ころうとあなたの責任です。以上が、お父様からあなたへのご伝言です。 男爵 [激高して] コルポディバッコ!いったいなんという無作法な話だ? ゾフィー あなたにふさわしいことです。 男爵 [我を忘れて、彼女を押しのけて扉の向こうへ行こうとする] おい、ファニナル、私は… [二人のファニナルの下僕が前に出てきて、彼を止め、後ろに押し戻す。] ゾフィー そうはさせません! [扉の中に入り、彼女の後ろで扉が閉まる。] 男爵 [扉に向かって吠える] 起こったことは全て許して忘れてやる用意はあるぞ! 元帥夫人 [男爵の背後に歩み寄っていて、その肩を軽く叩く] ただ大人しくして、去りなさい、さあ、いち、に… 男爵 [向きを変え、彼女を見つめる] またなんでです? 元帥夫人 [快活に、優位にたって] ディニテ(威厳)を保って立ち去りなさい! 男爵 [言葉を失う] 私が?なんですと? 元帥夫人 モヴェ・ジュ(下手なプレー)でボンヌ・ミヌ(滑稽な姿)をさらしてしまったのよ。身分ある人として踏みとどまりなさい。 男爵 [言葉を失って彼女を見つめる] ゾフィー [静かに再び入ってくる。彼女の眼差しはオクタヴィアンを探す。] 元帥夫人 [右手後方に警備員とともに立っている警部へ] おわかりでしょう、警部殿、全てがただの笑劇で、それだけのことですの。 警部 よくわかりました。私は謹んで撤収させていただきます。 [退場、二人の警備員も彼に従う] ゾフィー [独白、愕然として] 全てがただの笑劇で、それだけのことですの。 [二人の女性の目が遇う。ゾフィーは元帥夫人に間の悪いお辞儀をする。] BARON Polizei, Polizei! Kommissarius mit zwei Wächtern treten auf. Alles rangiert sich, ihnen Platz zu machen. KOMMISSARIUS scharf Halt! Keiner rührt sich! Was ist los? Wer hat um Hilf’ geschrien? Wer hat Skandal gemacht? VALZACCHI zu Octavian Oh weh, was machen wir? OCTAVIAN Verlaß Er sich auf mich! und laß Er’s gehn, wie’s geht. VALZACCHI Zu Euer Exzellenz Befehl. BARON auf ihn zu, mit der Sicherheit des großen Herrn Is all’s in Ordnung jetzt. Bin mit ihm wohl zufrieden. Hab’ gleich erhofft, daß in Wien all’s wie am Schnürl geht. vergnügt Schaff’ Er das Pack mir vom Hals. Ich will in Ruh’ soupieren. KOMMISSARIUS Wer ist der Herr? Was gibt dem Herrn Befugnis? Ist Er der Wirt? Baron sperrt den Mund auf scharf Dann halt’ Er sich gefällig still und wart’ Er, bis man Ihn vernehmen wird. BARON retiriert sich etwas, perplex, beginnt nach seiner Perücke zu suchen, die in dem Tumult abhanden gekommen ist und unauffindbar bleibt. KOMMISSARIUS setzt sich, die zwei Wächter nehmen hinter dem Kommissar Stellung Wo ist der Wirt? WIRT devot Mich dem Herrn Oberkommissarius schönstens zu rekommandieren. KOMMISSARIUS Die Wirtschaft da rekommandiert Ihn schlecht. Bericht Er jetzt! WIRT Herr Kommissar! KOMMISSARIUS Von Anfang! WIRT Der Herr Baron - KOMMISSARIUS Der große Dicke da? Wo hat Er sein Paruckl? BARON der die ganze Zeit gesucht hat Um das frag’ ich Ihn! WIRT Das ist der Herr Baron von Lerchenau. KOMMISSARIUS Genügt nicht. BARON Was? KOMMISSARIUS Hat Er Personen nahebei, die für Ihn Zeugnis geben? BARON Gleich bei der Hand. Da. Mein Sekretär ein Italiener. VALZACCHI wechelt mit Octavian einen Blick des Einverständnisses Ick excusier mick. Ick weiß nix. Die Herr kann sein Baron, kann sein auch nit. Ick weiß von nix. BARON außer sich Das ist doch stark. Wällisches Luder, falsches! KOMMISSARIUS zum Baron, scharf Fürs erste moderier’ Er sich! OCTAVIAN der bisher ruhig rechts gestanden, tut nun, als ob er in Verzweiflung hin und her irrend, den Ausweg nicht fände und das Fenster für eine Ausgangstür hält Oh mein Gott, in die Erd’n möcht ich sinken! Heilige Mutter vom Maria Tafer’l! KOMMISSARIUS Wer ist dort die junge Person? BARON Die? Niemand. Sie steht unter meiner Protektion. KOMMISSARIUS Er selber wird bald eine Protektion sehr nötig haben. Wer ist das junge Ding, was macht Sie hier? blickt um sich Ich will nicht hoffen, daß Er ein gottverdammter Debauchierer und Verführer ist! Da könnt’s Ihm schlecht ergehn. Wie kommt Er zu dem Mädel? Antwort will ich! OCTAVIAN I geh ins Wasser! rennt gegen den Alkofen, wie um zu flüchten, und reißt den Vorhang auf, sodaß man das Bett friedlich beleuchtet dastehen sieht. KOMMISSARIUS erhebt sich Herr Wirt, was seh ich da? Was für ein Handwerk treibt denn Er? WIRT verlegen Wenn ich Personen von Stand zum Speisen oder Nachtmahl hab’..... KOMMISSARIUS Halt’ Er den Mund. Ihn nehm’ ich später vor. zum Baron Jetzt zähl’ ich noch bis drei, dann will ich wissen, wie Er da zu dem jungen Bürgermädchen kommt! Ich will nicht hoffen, daß Er sich einer falschen Aussag’ wird unterfangen. Wirt und Valzacchi deuten dem Baron durch Geberden die Gefährlichkeit der Situation und die Wichtigkeit seiner Aussage an. BARON winkt ihnen mit Sicherheit, sich auf ihn zu verlassen, er sei kein heuriger Has. Wird wohl kein Anstand sein bei Ihm, Herr Kommissar, wenn eine Standsperson mit seiner ihm verlobten Braut um neune Abends ein Souper einnehmen tut. blickt um sich, die Wirkung seiner schlauen Aussage abzuwarten KOMMISSARIUS Das wäre Seine Braut? Geb’ Er den Namen an vom Vater und’s Logis. Wenn seine Angab’ stimmt mag Er sich mit der Jungfer retirieren! BARON Ich bin wahrhaftig nicht gewohnt, in dieser Weise - KOMMISSARIUS scharf Mach’ Er sein’ Aussag’ oder ich zieh andre Saiten auf. BARON Werd nicht mankieren. schnell Is die Jungfer Faninal, Sophia Anna Barbara, ehliche Tochter des wohlgeborenen Herrn von Faninal, wohnhaft im Hof im eigen Palais. An der Tür haben sich Gasthofpersonal, andere Gäste, auch einige der Musiker aus dem anderen Zimmer neugierig angesammelt. Herr von Faninal drängt sich durch sie durch, eilig aufgeregt in Hut und Mantel. FANINAL Zur Stelle. Was wird von mir gewünscht? auf den Baron zu Wie sieht Er aus? War mir vermutend nicht, zu dieser Stunde in ein gemeines Beisl depeschiert zu werden. BARON sehr erstaunt und unangenehm berührt Wer hat Ihn hierher depeschiert? In drei Teufels Namen. FANINAL halblaut zu ihm Was soll mir die saudumme Frag’, Herr Schwiegersohn? Wo Er mir schier die Tür einrennen läßt mit Botschaft, ich soll sehr schnell herbei und ihn in einer üblen Lage soutenieren, in die Er unverschuld’ter Weise geraten ist. BARON greift sich an den Kopf KOMMISSARIUS Wer ist der Herr? Was schafft der Herr mit Ihm? BARON Nichts von Bedeutung. Is blos ein Bekannter, hält sich per Zufall hier im Gasthaus auf. KOMMISSARIUS Der Herr geb’ seinen Namen an! FANINAL Ich bin der Edle von Faninal. KOMMISSARIUS Somit ist dies der Vater. BARON stellt sich dazwischen, deckt Octavian vor Faninals Blick; eifrig Beileib’ gar nicht die Spur. Ist ein Verwandter, ein Bruder, ein Neveu! Der Wirkliche ist noch einmal so dick. FANINAL sehr erstaunt Was geht hier vor? Wie sieht Er aus? Ich bin der Vater freilich. BARON will ihn forthaben Das Weitre findet sich, verzieh Er sich! FANINAL Ich muß schon bitten. BARON wütend Fahr’ Er heim in Teufels Namen! FANINAL immer ärgerlicher Mein Nam’ und Ehr’ in einem solchen Händel zu melieren Herr Schwiegersohn! BARON versucht, ihm den Mund zu zuhalten. zum Kommissar Ist eine idée fixe. Benennt mich also nur im G’spaß. KOMMISSARIUS Ja, ja, genügt schon. zu Faninal Er erkennt dem nach in diesem Herrn seinen Schwiegersohn? FANINAL Sehr wohl! Wieso sollt ich ihn nicht erkennen? Leicht weil er keine Haar nicht hat? KOMMISSARIUS zum Baron Und Er erkennt nun mehr wohl auch in diesem Herrn wohl oder übel Seinen Schwiegervater? BARON nimmt den Leuchter vom Tisch, beleuchtet sich Faninal genau So, so, la, la! Ja, ja, wird schon der selbe sein. War heut den ganzen Abend gar nicht recht beinand. Kann meinen Augen heut nicht traun. Muß Ihm sagen, liegt hier was in der Luft, man kriegt die Congestion davon. KOMMISSARIUS zu Faninal Dagegen wird von Ihm die Vaterschaft zu dieser ihm verbatim zugeschob’nen Tochter geleugnet. FANINAL bemerkt jetzt erst Octavian Meine Tochter? Da, der Fetzen gibt sich für meine Tochter aus? BARON gezwungen lächelnd Ein G’spaß! Ein purer Mißverstand! Der Wirt hat dem Herrn Kommissarius da was vorerzählt von meiner Brautschaft mit der Faninalschen! WIRT aufgeregt Kein Wort, kein Wort, Herr Kommisarius,laut eigner Aussag! FANINAL außer sich Das Weibsbild arretieren! Kommt am Pranger! Wird ausgepeitscht! Wird eingekastelt in ein Kloster! Ich - ich - ich - BARON Fahr Er nach Haus. Auf morgen in der Früh! Ich klär’ Ihm Alles auf. Er weiß, was Er mir schuldig ist. FANINAL außer sich, vor Wut Laut eignerAussag’! einige Schritte nach rückwärts Meine Tochter soll herauf! Sitzt unten in der Tragchaise! Im Galopp herauf! wieder auf den Baron losstürzend Das zahlt Er teuer! Bring Ihn vor’s Gericht! BARON Jetzt macht Er einen rechten Palawatsch für nichts und wieder nichts. Ein Kavalier braucht ein Roßgeduld, Sein Schwiegersohn zu sein, Parole d’honneur! Ich will mei’ Perrückn! schüttelt den Wirt Mei Perückn will ich sehn! im wilden Herumfahren, um die Perücke zu suchen, faßt er einige der Kinder an und stößt sie zur Seite. VIER KINDER automatisch Papa! Papa! Papa! Papa! Papa! FANINAL fährt zurück Was ist denn das? BARON im Suchen findet er wenigstens seinen Hut, schlägt mit dem Hut nach den Kindern. Gar nix! Ein Schwindel! Kenn nit das Bagagi! Sie sagt, daß sie verheirat war mit mir. Käm zu der Schand’ so wie der Pontius ins credo SOPHIE kommt im Mantel eilig herein, man macht ihr Platz. An der Tür sieht man die Faninalschen Bedienten, jeder eine Tragstange der Sänfte haltend. Baron sucht die Kahlseite seines Kopfes vor Sophie mit dem Hut zu beschatten,indeß Sophie auf ihren Vater zugeht. CHOR DER ZUSCHAUER Die Braut! Oh, was für ein Skandal! FANINAL zu Sophie Da schau dich um. Da hast du den Herrn Bräutigam. Da die Famili von dem saubern Herrn! Die Frau mitsammt die Kinder! Da das Weibsbild g’hört linker Hand dazu! Nein, das bist du, laut eigner Aussag’ Du! Möchtst in die Erd’n sinken, was? Ich auch! SOPHIE freudig aufatmend Bin herzensfroh! Seh ihn mit nichten an dafür. FANINAL Sieht ihn nicht an dafür. immer verzweifelter Sieht ihn nicht an dafür. Mein schöner Nam’! Ich trau mi’ nimmer übern Graben! Kein Hund nimmt mehr ein Stükk’l Brot von mir! er ist dem Weinen nahe CHOR die an der Tür stehenden Der Skandal! Der Skandal! Der Skandal für Herrn von Faninal! FANINAL Die ganze Wiener Stadt! Die schwarze Zeitung! DIE KÖPFE AUS DER WAND UND CHOR UNTER DER ERDE in der Wand und aus dem Fußboden auftauchend; dumpf Der Skandal, der Skandal für Herrn von Faninal! FANINAL Da! Aus dem Keller! Aus der Luft! Die ganze Wiener Stadt! auf den Baron zu, mit geballter Faust Oh! Er Filou! Mir wird nicht gut! Ein Sessel! Bediente springen hinzu, fangen ihn auf. Zwei desgleichen haben vorher ihre Stange einem der Hintenstehenden zugeworfen. Sophie ist angstvoll un ihn bemüht. Wirt springt gleichfalls hinzu. Sie nehmen ihn auf und tragen ihn ins Nebenzimmer. Mehrere Kellner, den Weg weisend, die Tür öffnend, voran. Baron wird in diesem Augenblicke seiner Perücke ansichtig, die wie durch Zauberhand wieder zum Vorschein gekommen ist, stürzt darauf los, stülpt sie sich auf und gibt ihr vor dem Spiegel den richtigen Sitz. Mit dieser Veränderung gewinnt er seine Haltung so ziemlich wieder, begnügt sich aber, Annina und den Kindern, deren Gegenwart ihm trotz allem nicht geheuer ist, den Rücken zu kehren. Hinter Herrn von Faninal und seiner Begleitung hat sich die Türe links geschlossen. Wirt und Kellner kommen bald darauf leise wieder heraus, holen Medikamente, Karaffen mit Wasser und anderes, das in die Tür getragen und von Sophie in der Türspalte übernommen wird. BARON nunmehr mit dem alten Selbstgefühl auf den Kommissarius zu Sind desto eher im Klaren! Ich zahl, ich geh! zu Octavian Ich führ’ Sie jetzt nach Haus. KOMMISSARIUS Da irrt Er sich! Mit Ihm jetzt weiter im Verhör! auf den Wink des Kommissarius entfernen die beide Wächter alle übrigen Personen aus dem Zimmer, nur Annina mit den Kindern bleibt an der linken Wand stehen. BARON Laß Er’s jetzt gut sein. War ein G’spaß. Ich sag Ihm später, wer das Mädel ist. Geb Ihm mein Wort Ich heirat sie wahrscheinlich auch einmal. Da hinten dort, das Klumpret ist schon stad. macht Miene, Octavian abzuführen Da sieht Er, wer ich bin und wer ich nicht bin! OCTAVIAN macht sich los I geh nit mit dem Herrn! BARON halblaut I heirat Sie, verhält Sie sich mit mir. Sie wird noch Frau Baronin, so gut gefallt Sie mir! OCTAVIAN Octavian reißt sich vom Arm des Barons los. gesprochen „Herr Kommissar, ich geb was zu Protokoll, aber der Herr Baron darf nicht zuhör’n dabei.‟ Auf den Wink des Kommissars drängen die beiden Wächter den Baron nach vorne rechts. Octavian scheint dem Kommissar etwas zu melden, was diesen sehr überrascht. Der Kommissarius begleitet Octavian bis an den Alkoven. Octavian verschwindet hinter dem Vorhang. BARON zu den Wächtern, familiär, halblaut, auf Annina deutend Kenn’ nicht das Weibsbild dort, auf Ehr’. War grad beim Essen. Hab’ keine Ahnung, was es will. Hätt’ sonst nicht selber um die Polizei - Der Kommissar scheint sich zu amüsieren und ist den Spalten des Vorhangs ungenierter Weise nahe. BARON bemerkt die Heiterkeit des Kommissars, plötzlich sehr aufgeregt über den unerklärlichen Vorfall Was geschieht denn dort? Ist wohl nicht möglich das? Der Lakkl! Das heißt Ihr Sittenpolizei? Ist eine Jungfer! Eine Jungfer. er ist schwer zu halten Steht unter meiner Protektion. Beschwer’ mich! Hab’ ein Wörtel drein zu reden! Er reißt sich los, will gegen das Bett hin. Sie fangen und halten ihn wieder. Aus dem Alkoven erscheinen Stück für Stück die Kleider der Mariandl. Der Kommissar macht ein Bündel draus. BARON immer aufgeregt, ringt, seine beiden Wächter loszuwerden. Sie halten ihn mühsam, während Octavians Kopf aus einer Spalte des Vorhanges hervorsieht. Muß jetzt partout zu ihr! Kellner herein, reißen die Türe auf. WIRT hereinstürzend Ihre hochfürstliche Gnaden, die Frau Fürstin Feldmarschall! Zuerst werden einige Menschen in der Marschallin Livrée sichtbar, dann der Leiblakai des Barons; sie rangieren sich. Die Marschallin tritt ein, der kleine Neger trägt ihre Schleppe. BARON hat sich von den Wächtern losgerissen, wischt sich den Schweiß von der Stirne, eilt auf die Marschallin zu Bin glücklich über Maßen, hab’ die Gnad’ kaum meritiert. Schätz’ Dero Gegenwart hier als ein Freundstück ohne Gleichen. OCTAVIAN steckt den Kopf zwischen dem Vorhang hervor Marie Theres’, wie kommt Sie her? MARSCHALLIN regungslos, antwortet nicht, sieht sich fragend um. KOMMISSARIUS auf die Fürstin zu, in dienstlicher Haltung Fürstliche Gnaden, melde mich gehorsamst als Vorstands-Unterkommissarius - Leiblakai auf den Baron zu, stolz und selbstzufrieden. Baron gibt ihm als Zeichen seiner Zufriedenheit. BARON Er sieht, Herr Kommissar, die Durchlaucht haben selber sich bemüht. Ich denk’, Er weiß, woran Er ist. MARSCHALLIN zum Kommissar Er kennt mich? Kenn ich Ihn nicht auch? Mir scheint beinah’. KOMMISSARIUS Sehr wohl! MARSCHALLIN Dem Herrn Feldmarschall sein’ brave Ordonanz gewest? KOMMISSARIUS Fürstliche Gnaden, zu Befehl. Octavian steckt abermals den Kopf zwischen den Vorhängen hervor. BARON winkt Octavian heftig, zu verschwinden, ist zugleich ängstlich bemüht, daß die Marschallin nichts merke. Dann hört er, wie sich Schritte der Tür links vorn nähern, stürzt hin, stellt sich mit dem Rücken gegen die Tür, durch verbindliche Gebärden gegen die Marschallin bestrebt, seinem Gebaren den Schein völliger Unbefangenheit zu geben. Bleib’ Sie zum Sakra, hinten dort! MARSCHALLIN kommt gegen links, mit zuwartender Miene den Baron anblickend. OCTAVIAN in Männerkleidung tritt zwischen den Vorhängen hervor, sobald der Baron ihm den Rücken kehrt. War anders abgemacht, Marie Theres’, ich wunder mich! MARSCHALLIN als hörte sie Octavian nicht, hat fortwährend den verbindlich erwartungsvollen Blick auf den Baron gerichtet, der in der äußersten Verlegenheit zwischen der Tür und der Marschallin seine Aufmerksamkeit teilt. Die Türe links wird mit Kraft geöffnet, sodaß der Baron, der vergebens versucht hatte, sich dagegen zu stemmen, wütend zurückzutreten genötigt ist. 2 Faninalsche Diener lassen jetzt Sophie eintreten. SOPHIE ohne die Marschallin zu sehen, die ihr durch den Baron verdeckt ist Hab’ Ihm von mei’m Herrn Vater zu vermelden... BARON Sophie ins Wort fallend, halblaut Ist jetzo nicht die Zeit, Kreuzelement! Kann Sie nicht warten, bis daß man Ihr rufen wird? Meint Sie, daß ich Sie hier im Beisl präsentieren werd’? OCTAVIAN ist leise hervorgetreten, zur Marschallin halblaut Das ist die Fräulein, die, um derentwillen - MARSCHALLIN über die Schulter zu Octavian, halblaut Find Ihn ein bissl empressiert, Rofrano. Kann mir wohl denken, wer sie ist. Find’ sie charmant. Octavian schlüpft zwischen die Vorhänge zurück. Die Marschallin spricht leise mit dem Kommissar. SOPHIE Den Rücken an der Tür, so scharf, daß der Baron unwillkürlich einen Schritt zurückweicht. Er wird mich keinen Menschen auf der Welt nicht präsentieren, dieweilen ich mit Ihm auch nicht so viel zu schaffen hab. Und mein Herr Vater laßt Ihm sagen wenn Er also weit die Frechheit sollte treiben, daß man Seine Nasen nur erblicken tät auf hundert Schritt von unserm Stadtpalais, so hätt Er sich die bösen Folgen selber zuzuschreiben. Das ist’s, was mein Herr Vater Ihm vermelden läßt. BARON zornig Corpo, di bacco! Was ist das für eine ungezogne Sprache? SOPHIE Die Ihm gebührt. BARON außer sich, will an ihr vorbei, zur Tür hinein He Faninal, ich muß - Die zwei Faninalschen Diener treten hervor, halten ihn’ auf, schieben ihn zurück. SOPHIE Er untersteh sich nicht! sie tritt in die Tür, die sich hinter ihr schließt. BARON gegen die Tür brüllend Bin willens, alles Vorgefall’ne vergeben und vergessen sein zu lassen! MARSCHALLIN ist von rückwärts an den Baron herangetreten und klopft ihn auf die Schulter Laß Er nur gut sein und verschwind Er auf eins, zwei - BARON dreht sich um, starrt sie an Wieso denn? MARSCHALLIN munter, überlegen Wahr Er sein Dignité und fahr Er ab! BARON sprachlos Ich? Was? MARSCHALLIN Mach’ Er bonne mine à mauvais jeu so bleibt Er quasi doch noch eine Standsperson. BARON starrt sie stumm an. SOPHIE tritt leise wieder heraus. Ihre Augen suchen Octavian. MARSCHALLIN zum Kommissar, der hinten rechts steht, desgleichen seine Wächter Er sieht, Herr Kommissar Das ganze war halt eine Farce und weiter nichts. KOMMISSARIUS Genügt mir. Retirier mich ganz gehorsamst. tritt ab, die beiden Wächter hinter ihm SOPHIE vor sich, erschrocken Das ganze war halt eine Farce und weiter nichts. Die Blicke der beiden Frauen begegnen sich Sophie macht der Marschallin einen verlegenen Knix. 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。@mmnakai Strauss,Richard/Der Rosenkavalier/III-3+
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