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Market Analysis The Email Marketing Industry is predicted to grow at a healthy 15.2% CAGR between 2020- 2027, states the recent Market Research Future (MRFR) analysis. Email marketing is more than merely sending mails. It has various features like reporting and analytics, campaign automation, scheduling, email builders, and design tools that allows enterprises in streamlining their marketing efforts. The key benefits of email market solution is in building customer loyalty, increasing the number of leads, and increasing sales. Various factors are fuelling the global email marketing market share. As per the recent MRFR market estimates, such factors include increasing digitalization worldwide, growing number of internet users, increasing trend of digital marketing, surge in the acceptance of smartphones and tablets, growing internet penetration even in remote or distant locations, increasing use during COVID-19 pandemic, launch of 5G network facility, rise in hosted service and email marketing providers, growing acceptance of digital literacy and awareness, and cheapening of tariff rates. On the contrary, budget constraints, lack of awareness among SMEs in developing economies, lack of infrastructure in emerging economies, growing security issues, and stringent regulations related to user data privacy may limit the global email marketing market growth over the forecast period. Get a Free Sample @ https //www.marketresearchfuture.com/sample_request/7426 Market Segmentation The MRFR report throws light on an inclusive segmental analysis of the global email marketing market based on industry vertical, deployment mode, organization size, and component. By component, the global email marketing market is segmented into services and solutions. By deployment mode, the global email marketing market is segmented into on-premises and cloud. By organization size, the global email marketing market is segmented into small enterprises, medium-sized enterprises, and large enterprises. Of these, the small and medium sized enterprises will lead the market over the forecast period. By industry vertical, the global email marketing market is segmented into IT and telecom, BFSI, media and entertainment, transportation and logistics, education, food and beverages, travel and hospitality, retail and consumer goods, and others. Regional Analysis By region, the global email marketing market covers the recent trends and growth opportunity across North America, Europe, the Asia Pacific (APAC), and Rest of the World (RoW). Of these, North America will dominate the market over the forecast period. The presence of large number of enterprises, high degree of digitalization, the increase in the application of convenient marketing, and the growing inclination of start-ups towards email marketing are adding to the global email marketing market growth in the region. In Europe, the global email marketing market is predicted to hold the second-largest share over the forecast period for the rise in the number of startups and the penetration of email marketing in different enterprises in the UK. In the APAC region, the global email marketing market is predicted to grow at a fast pace over the forecast period. Rapidly increasing number of enterprises, growing adoption of digital marketing solutions, presence of largest population of email users, the presence of several reputed companies, rapid globalization, the emergence of new companies, fast growing enterprises, and the increasing adoption of various digital marketing solutions by emerging companies are adding to the global email marketing market growth in the region. In RoW, the global email marketing market is predicted to have sound growth over the forecast period. Key Players The leading players profiled in the email marketing market report include Ontraport (US), Mailjet inc. (France), Constant Contact, Inc. (US), AWeber Communications (US), Pinpointe On-Demand, Inc. (US), Kevy (US), Adobe (US), SendinBlue (France), Salesforce.com, inc. (US), ActiveCampaign, LLC (US), Klaviyo (US), HubSpot, Inc. (US), Campaign Monitor (US), Zoho Campaigns (India), and GetResponse (Poland), among others. The global email marketing market is fragmented and also competitive with the presence of many domestic as well as international industry players. They have incorporated assorted strategies to stay at the forefront and also cater to the surging needs of the customers, including collaborations, partnerships, contracts, geographic expansions, new product launches, joint ventures, and more. Additionally, these players are also making heavy investments in research and development activities for strengthening their portfolios and also creating a hold in the market. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/email-marketing-market-7426 Industry Updates April 2021- Amazon is offering email marketing tool to its sellers. 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 Markets Structure 3 Market Research Methodology 3.1 Research Process 3.2 Secondary Research 3.3 Primary Research 3.4 Forecast Model 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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TERESINA [テレジーナ] TERESINA は SOUTH AMERICA に位置する人口約 2.00 millionの都市。 TERESINA Airportは Class 1 の空港。 “TERESINA IS THIRD OUT OF THE CITIES WITH THE MOST LIGHTING STRIKES IN THE WORLD.” OPEN(coins) 11000coins 宣伝(coins) 21000coins レベル1 レベル2 レベル3 アップグレードコスト(coins) - 22000 33000 LAYOVERS 5 10 15 CLOSE時の払戻(coins) 5500 16500 33000 空港 一覧 AFRICA [アフリカ] AL FASHIR・ALGIERS・BAMAKO・BEIRA・BENGHAZI・CAIRO・CAPE TOWN・CASABLANCA・DAKAR・DJIBOUTI・DURBAN・HARARE・IN SALAH・JOHANNESBURG・JUBA・KADUNA・KAMPALA・KANANGA・KHARTOUM・KINSHASA・KISANGANI・LAGOS・LILONGWE・LIVINGSTONE・LOBITO・MAHAJANGA・MOGADISHU・MOMBASA・MONROVIA・NAIROBI・PORT ELIZABETH・PORT SUDAN・TIMBUKTU・TRIPOLI・WINDHOEK・ZANZIBAR ASIA [アジア] ADEN・AHMEDABAD・ANADYR・BAGHDAD・BANGALORE・BANGKOK・BEIJING・BUTWAL・CEBU・CHENGDU・DELHI・DHAKA・GUANGZHOU・HANOI・HARBIN・HONG KONG・HYDERABAD・ISTANBUL・JAKARTA・JERUSALEM・KABUL・KANDAHAR・KARACHI・KOLKATA・KUCHING・KUWAIT CITY・LHASA・MAGADAN・MANILA・MUMBAI・MUSCAT・NAGASAKI・NANPING・NORILSK・NOVOSIBIRSK・OSAKA・PADANG・PALU・PEVEK・PORT MORESBY・RANGOON・RIYADH・SAPPORO・SENDAI・SEOUL・SHANGHAI・SHENYANG・SINGAPORE・TAIPEI・TEHRAN・TIKSI・TOKYO・ULAN BATOR・URUMQI・VLADIVOSTOK・XI AN・XINING・YAKUTSK・YINCHUAN EUROPE [ヨーロッパ] AMSTERDAM・ATHENS・BARCELONA・BEIRUT・BELFAST・BELGRADE・BERGEN・BERLIN・BERN・BORDEAUX・BRUSSELS・BUCHAREST・COPENHAGEN・CORDOBA(SPAIN)・GLASGOW・HAMMERFEST・HELSINKI・KIEV・LISBON・LONDON・LULEA・LYON・MADRID・MANCHESTER・MINSK・MOSCOW・MUNICH・MURMANSK・NAPLES・OSLO・OULU・PARIS・PERM・PRAGUE・REYKJAVIK・RIGA・ROME・ST.PETERSBURG・STOCKHOLM・TBILISI・TRONDHEIM・VENICE・VIENNA・VOLGOGRAD・WARSAW NORTH AMERICA [北アメリカ] ANCHORAGE・ATLANTA・BARROW・BISMARCK・BOSTON・CALGARY・CANCUN・CHARLESTON・CHICAGO・CHIHUAHUA・CINCINNATI・DALLAS・DENVER・DETROIT・EDMONTON・FAIRBANKS・GOOSE BAY・GUATEMALA・HAVANA・HILO・HONOLULU・HOUSTON・INUVIK・IQALUIT・JUNEAU・KANSAS CITY・KETCHIKAN・LAS VEGAS・LOS ANGELES・MEXICO CITY・MIAMI・MINNEAPOLIS・MONTERREY・MONTREAL・NEW ORLEANS・NEW YORK・NOME・NUUK・OAXACA・ORLANDO・OTTAWA・PANAMA CITY・PHILADELPHIA・PHOENIX・PORTLAND・QUEBEC・SALT LAKE CITY・SAN DIEGO・SAN FRANCISCO・SAN JOSE・SANTO DOMINGO・SASKATOON・SEATTLE・SPOKANE・ST.LOUIS・THUNDER BAY・TORONTO・VANCOUVER・WASHINGTON DC・WHITEHORSE・WINNIPEG・YELLOWKNIFE SOUTH AMERICA [南アメリカ] ARAGUAINA・ASUNCION・BARILOCHE・BELEM・BOGOTA・BRASILIA・BUENOS AIRES・CAMPO GRANDE・CARACAS・CORDOBA(ARGENTINA)・CUIABA・CUZCO・EASTER ISLAND・FORTALEZA・GEORGETOWN・IQUITOS・LA PAZ・LIMA・MANAUS・PORTO VELHO・PUNTA ARENAS・QUITO・RECIFE・RIO DE JANEIRO・SALVADOR・SANTIAGO・SAO PAULO・TERESINA OCEANIA [オセアニア] ADELAIDE・ALICE SPRINGS・AUCKLAND・BRISBANE・BROKEN HILL・BROOME・CAIRNS・CHRISTCHURCH・DARWIN・GERALDTON・HOBART・KALGOORLIE・KATHERINE・MELBOURNE・MOUNT ISA・NEWMAN・PERTH・PORT HEDLAND・ROCKHAMPTON・SYDNEY・WELLINGTON
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Market Scenario The global Digital Payment in Healthcare Market Size will touch USD 9.62 billion at a 22.6% CAGR during the forecast period 2020- 2027, states the latest Market Research Future (MRFR) analysis. Digital payment solutions in healthcare provide an online payment platform which connects payers, providers, and consumers for every healthcare payment transaction. Such solutions are accessible as on the cloud and on-premise. The payee and the payer use electronic modes for sending and receiving money. The payment is done through digital wallets, bank cards, net banking, digital currencies, digital currencies, and contactless and contact payment methods. Various factors are fuelling the global digital payment healthcare market growth. As per the recent MRFR market estimates, such factors include the growing digital transformation in the healthcare vertical, increasing digital payments in the health insurance sector, the rising adoption of smartphones, rapidly increasing internet penetration, the demand for hassle-free and fast transaction services, increasing internet penetration, increasing digitalization in the healthcare vertical, increasing use during COVID-19 pandemic, and most health insurance providers showing preference to digital payments over hard cash payments. On the contrary, concerns regarding security and domination of paper-based billing and the growing number of cyber-attacks may limit the global digital payment healthcare market growth over the forecast period. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/7977 Competitive Outlook The leading players profiled in the global digital payment healthcare market report include Zelis Payments (US), Elavon Inc. (US), Change Healthcare (US), BillingTree (US), InstaMed (US), Fiserv, Inc. (US), Wirecard AG (Germany), Worldpay, LLC (UK), PayPal (US), First Data Corporation (US), Global Payments Direct, Inc. (US), ACI Worldwide, Inc. (US), Stripe (US), Aliant Payments (US), and Aurus Inc. (US), among others. The global digital payment healthcare market is fragmented and also competitive with the presence of many domestic as well as international industry players. They have incorporated assorted strategies to stay at the forefront and also cater to the surging needs of the customers, including collaborations, partnerships, contracts, geographic expansions, new product launches, joint ventures, and more. Additionally, these players are also making heavy investments in research and development activities for strengthening their portfolios and also creating a hold in the market. Segmentation The MRFR report throws light on an inclusive segmental analysis of the global digital payment healthcare market based on vertical, organization size, deployment mode, and component. By component, the global digital payment healthcare market is segmented into services and solutions. Of these, the solutions segment will lead the market over the forecast period. By deployment mode, the global digital payment healthcare market is segmented into cloud and on-premise. Of these, the cloud segment will dominate the market over the forecast period. By organization size, the global digital payment healthcare market is segmented into large enterprises and small and medium-sized enterprises. Of these, the large enterprises will spearhead the market over the forecast period. Regional Analysis By region, the global digital payment healthcare market covers the recent trends and growth opportunity across Europe, the Asia Pacific (APAC), North America, and Rest of the World (RoW). Of these, North America will remain domineer in the market over the forecast period as healthcare providers, HMO (health maintenance organizations), and other organizations in the healthcare vertical are transforming and getting more inclined towards being digitalized. US has the utmost market share for the presence of several leading market players and the growing adoption of digital payment methods in the healthcare industry. In Europe, the global digital payment healthcare market is predicted to have the second-largest share over the forecast period for the establishment of digital methods in healthcare software start-ups and increasing need for hassle-free and fast transaction services. In the APAC region, the global digital payment healthcare market is predicted to have healthy growth over the forecast period. Growing demand in developing countries of China and India, growing internet penetration, and significant rise in the number of smartphones are adding to the global digital payment healthcare market growth in the region. In RoW, the global digital payment healthcare market is predicted to have sound growth over the forecast period. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/digital-payment-healthcare-market-7977 Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure Continued…. Trending Report** Application Management Services Market Open Source Intelligence (OSINT) Market https //www.scutify.com/articles/2022-04-25-b2b-telecommunication-market-research-focused-on-the-core-business-key-vendors-development- https //www.scutify.com/articles/2022-04-25-enterprise-file-synchronization-and-sharing-market-size-focused-on-the-core-business-key-vendors https //blogfreely.net/pranali004/social-media-security-market-companies-focused-on-the-core-business-global About Market Research Future Market Research Future (MRFR) has created a niche in the world of market research. It is counted among the top market research companies that offer well-researched and updated market research reports and insights to businesses of all sizes. What sets us apart is our super-responsive team that offers quality work keeping clients abridged of the prospective challenges and opportunities in various markets. Our team is adept in their space as well as patiently listens to every client. The best part is they know their work inside out and possess the expertise to guide the client in the right direction and achieve results on a tight deadline. We are a one-stop solution for all your data research needs. Our team does not believe in the “one size fits all” approach to creating a report that is detailed and concise. We handle 13 industry verticals including Healthcare, Chemicals and Materials, Information and Communications Technology, Semiconductor and Electronics, Energy and Power, Food, Beverages Nutrition, Automobile, Consumer and Retail, Aerospace and Defense, Industrial Automation and Equipment, Packaging Transport, Construction, and Agriculture. With our unique approach for every market report, we aim to reach the zenith in qualitative business intelligence and syndicated market research. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
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【Tags IA Shizennoteki-P tC C】 Original Music title チルドレンレコード English music title Children Record Romaji music title Chirudoren Rekoodo Music Lyrics written, Voice edited by じん(Jin) / 自然の敵P(Shizen noteki-P) Music arranged by by じん(Jin) / 自然の敵P(Shizen noteki-P) Singer IA Click here for the original Japanese Lyrics English Lyrics (translated by vgboy / vgperson)： With white earphones in my ears, I give the signal with a little grin The moment I knocked on the door, the heat permeating me floods out... "You still don t see?" A staring contest with strained eyes When I faltered then, the chord rang out "Now s the time, take it back!", as if from inside my mind... The world so lovable yet harsh, there were some who loathed it, With their cruelly irrational "system"; If I approve, then the future won t exist... Boys and girls, face forwards, finding hope in even the unbearable heat "Bring it back!" "Bring it back!" The crescent moon rises in red flames... Now, come, write the code in 0 s; Head to the world outside the imaginary, to the overstated warfront of fantasy... "Go on ahead," you stick out your tongue, simple eyes feigning cockiness With their password, "Hey, it s my turn," the awoken, restless child won t stop The night s getting dark; for the "children," they re brightly-burning extra innings Adversity is the cool thing, isn t it? Can t sleep, not yet; come, hurry, hurry!! In-tempo, we meet our gazes, and when the beat resounds with a high touch, Isn t it too late to think about it? Come on, just get with us! With one chord, we meet our gazes, and when you re wrapped in the bouncing groove, You should see it s not a joke, between the gaps of the high-end scenery... So what do you think of this heat, and our values that just so happen to meet? "Not so bad, is it?" When we open our eyes, and clasp our hands... Even these surprisingly cheap words, we dispute them as "passwords." And I face forward just a little... Boys and girls, face forwards, finding hope in only the shimmering heat Recall, and bring to words, your miraculous encounters and farewells... "You know, about that wild world; I laughed it off as being just too harsh..." So ends the signal... Boys and girls, face forwards! Find hope in only the dizzying heat! "Take it in hand!" "Take it in hand!" The blazing sun rises in red flames... Now, come, it s the call. Let s make this the end; the best plan of action has opened your eyes From the overstated warfront of daydream, to beyond a mobius strip of emotion... Romaji lyrics (transliterated by vgboy / vgperson)： Shiroi iyahon o mimi ni ate sukoshi niya tto shite aizu suru Shimikonda kono ondo ga doa o nokku shita shunkan ni afuresou ni naru yo "Mada mienai?" Me o korashite nozomu soudatsusen Ano hi choucho shita nouri kara "Ima da, torimodose" to koodo ga naridashisou Itoshikute, tsurakute, sekai o kiratta hito no Hidoku rifujin na "kousei" Koutei shiteicha mirai wa umidasenai Shounen shoujo mae o muku kureru enten sae kibouron datte "Tsuremodose" "Tsuremodose" Mikadzuki ga akaku moeagaru Saa saa, koodo o zero de kizame Souzouryoku no sotogawa no sekai e oobaa na kuusou sensen e "O-saki ni douzo" tte shita o dasu yoyuu butta mujaki na me "Hora deban da" pasuwaado de me o semashita jajauma wa tomaranai Mou yoru ga fukaku naru "okosama" nara moeru enchousen Gyakkyou guai ga kuuru daro? Nemurenai ne madamada hora hayaku! Hayaku!! In-tenpo de shisen o awasete hai tacchi de biito ga naridaseba Kangaetecha osoi deshou? Hora nokkattekou ze Wan koodo de shisen o awasete buttonda guruuvu ga uzumakeba Joudan janai mieru hazu sono hai-endo no fuukei no sukima ni Saa dou dai, kono atsusa mo surechigaisou datta kachikan mo "Warukunai kana" me o hiraki, te o toriattara Angai chiipu na kotoba mo "aikotoba da" tte iiaeru. Sukoshi dake mae o mukeru Shounen shoujo, mae o muku yureru enten sura kibouron datte Omoidashi, kuchi ni dasu fukashigi na deai to wakare o "Nee nee, toppi na sekai no koto sanzan datte waraitobasetanda" Aizu ga owaru Shounen shoujo, mae o muke kuramu enten sura kibouron datte "Tsukamitore" "Tsukamitore" to taiyou ga akaku moeagaru Saa saa, kooru da. Saigo ni shiyou saizen-saku wa sono me o mihiraita Oobaa na mousou sensen kanjou-sei no mebiusu no saki e [Shizennoteki-P, ShizennotekiP, Shizen-no-teki-P, Jin]
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ATTO SECONDO （Gabinetto che mette alle stanze ov è custodita Anna） SCENA PRIMA （Damigelle di Anna. Guardie alle porte.） Introduzione CORO di Damigelle Oh! dove mai ne andarono Le turbe adulatrici, Che intorno a lei venivano Ne giorni suoi felici! Seymour, Seymour medesima, Da lei si allontanò. Ma noi per sempre, o misera, Sempre con te saremo, O il tuo trionfo apprestisi, O il tuo disastro estremo. Pochi il destin, ma teneri Cori per te lasciò. Eccola… afflitta e pallida, Move a fatica il piede. （Esce Anna; tutte le vanno intorno. Ella siede ecc.） SCENA SECONDA （Anna e dette, indi Hervey con soldati） CORO di Damigelle Regina!… rincoratevi, Nel Ciel ponete fede. Hanno confin le lagrime, Perir virtù non può. ANNA O mie fedeli, o sole A me rimaste nella mia sventura Consolatrici, ogni speranza, è vero, Posta è nel Cielo, in lui soltanto… In terra Non v ha riparo per la mia ruina. （esce Hervey） Che rechi, Hervey? HERVEY Regina!!… Duolmi l amaro incarco a cui m elegge Il Consiglio de Pari. ANNA Ebben? favella. HERVEY Ei queste ancelle appella Al suo cospetto. CORO Noi!! ANNA Nel suo proposto È dunque fermo il Re! Tanta al cor mio Ferita ei recherà?… HERVEY Che dir poss io? ANNA Piegar la fronte è forza Al regale voler, qualunque ei sia. Dell innocenza mia Voi testimoni siate… Tenere amiche… CORO Oh! dì funesta! ANNA （abbracciandole） Andate. （Le ancelle partono con Hervey.） SCENA TERZA （Anna, indi Giovanna Seymour） Scena e Duetto ANNA (partite le ancelle, alza le mani al cielo, si prostra, e dice) Dio, che mi vedi in core, Mi volgo a te… Se meritai quest onta Giudica tu. （siede e piange） GIOVANNA Piange l afflitta… ahi! come Ne sosterrò lo sguardo? ANNA Ah! sì gli affanni Dell infelice aragonese inulti Esser non denno, e a me terribil pena Il tuo rigor destina… Ma terribile è troppo… GIOVANNA （si appressa piangendo; si prostra a suoi piedi, e le bacia la mano） O mia Regina! ANNA Seymour!… a me ritorni!… Non mi obliasti tu?… Sorgi… Che veggo? Impallidisci!… tremi?… A me tu rechi Nuova sventura forse? GIOVANNA Orrenda… estrema!… Gioia poss io recarvi? Ah!… no… m udite. Tali son trame ordite, Che perduta voi siete. Ad ogni costo Vuol franti il Re gli sciagurati nodi Che vi stringono a lui… La vita almeno… Se non il regio nome… La vita almen, deh! voi salvate! ANNA E come? Spiegati. GIOVANNA In dirlo io tremo… Pur dirlo io deggio. Il confessarvi rea, Dal Re vi scioglie e vi sottragge a morte. ANNA Che dici tu? GIOVANNA La sorte Che vi persegue, altro non lascia a voi Mezzo di scampo. ANNA E consigliar mel puoi!!… Tu, mia Seymour!!… GIOVANNA Deh! per pietà… ANNA Ch io compri Coll infamia la vita? GIOVANNA E infamia e morte Volete voi?… oh Ciel! cedete… Ve ne consiglia il Re… ve ne scongiura La sciagurata che l amor d Enrico Ha destinata al trono. ANNA Oh! chi è costei? La conosci? favella. - Ardire ell ebbe Di consigliarmi una viltà?… Viltade Alla Regina sua!!… parla chi è dessa? GIOVANNA （singhiozzando） Un infelice… ANNA E tal facea me stessa. Sul suo capo aggravi un Dio Il suo braccio punitore. GIOVANNA Deh! mi ascolta. ANNA Al par del mio Sia straziato il vil suo cuore. GIOVANNA Ah! perdono! ANNA Sia di spine La corona ambita al crine; （crescendo con furore; Giovanna a poco a poco si smarrisce ecc.） Sul guancial del regio letto Sia la veglia ed il sospetto… Fra lei sorga e il reo suo sposo Il mio spettro minaccioso… E la scure a me concessa, Più crudel, le neghi il Re. GIOVANNA Ria sentenza!… io moro… ah! cessa! Deh! pietà, pietà… di me! （prostrandosi, e abbracciando le ginocchia d Anna） ANNA Tu!!… Che ascolto? GIOVANNA Ah! sì, prostrata E al tuo piè la traditrice. ANNA Mia rivale!! GIOVANNA Ma straziata Dai rimorsi… ed infelice. ANNA Fuggi… fuggi… GIOVANNA Ah! no perdono Dal mio cor punita io sono… （crescendo con passione. Anna a poco a poco s intenerisce） Inesperta… lusingata… Fui sedotta ed abbagliata… Amo Enrico, e ne ho rossore… Mio supplizio è questo amore… Gemo e piango, e dal mio pianto Soffocato amor non è. ANNA Sorgi… ah! sorgi… È reo soltanto Chi tal fiamma accese in te. （l alza e l abbraccia） Va, infelice, e teco reca Il perdono di Bolena; Nel mio duol furente e cieca T imprecai terribil pena… La tua grazia or chiedo a Dio, E concessa a te sarà. Ti rimanga in questo addio L amor mio, la mia pietà. GIOVANNA Ah! peggiore è il tuo perdono Dello sdegno ch io temea. Punitor mi lasci un trono Del delitto ond io son rea. Là mi attende un giusto Iddio Che per me perdon non ha. Ah! primiero è questo addio Dei tormenti che mi dà. （Anna rientra nelle sue stanze. Giovanna parte affittissima.） SCENA QUARTA （Vestibolo che mette alla sala ov è adunato il Consiglio. Le porte sono chiuse, e tutti gl ingressi son custoditi dalle guardie. Coro di Cortigiani, indi Hervey） Coro, Scena e Terzetto CORO I Ebben? dinanzi ai giudici Quale dei rei fu tratto? CORO II Smeton. CORO I Ha forse il giovane Svelato alcun misfatto?… CORO II Ancor l esame ignorasi Chiuso tutt ora egli è. TUTTI Ah! tolga il Ciel che il debole Ed inesperto core Sedur si lasci o vincere Da speme o da timore; Tolga ch ei mai dimentichi Che accusatore è il Re. （si apron le porte esce Hervey） Ecco, ecco Hervey. HERVEY （ai soldati che parlano） Si guidino Anna e Percy. CORO （circondandolo） Che fia? HERVEY Smeton parlò. CORO L improvido Anna accusata avrìa? HERVEY Colpa ei svelò che fremere, Ed arrossir ne fe . Ella è perduta. CORO Ahi! misera! (Accusatore è il Re.) SCENA QUINTA （Enrico, Hervey e coro） HERVEY Scostatevi… il Re giunge… （il Coro si ritiro） E dal Consesso Chi vi allontana? ENRICO Inopportuna or fôra La mia presenza. Il primo colpo è sceso; Chi lo scagliò si asconda. HERVEY Oh! come al laccio Smeton cadea! ENRICO Nel carcer suo ritorni Il giovin cieco, e a creder segua ancora, Finché sospesa è l ora Della vendetta mia, d aver salvata D Anna la vita. - Ella si appressa… HERVEY E quinci Vien condotto Percy fra suoi custodi. ENRICO （per uscire） Si eviti. SCENA SESTA （Anna e Percy da parte opposta in mezzo alle guardie. Enrico ed Hervey） ANNA （da lontano） Arresta, Enrico. （Enrico vuol partire） （Anna avvicinandosi con dignità） Arresta… e m odi. ENRICO Ti udrà il Consiglio. ANNA A piedi tuoi mi prostro; Svenami tu, ma non espormi, o Sire, All onta d un giudizio il regio nome Fa che in me si rispetti. ENRICO Hai rispettato, Il regio grado tu? Moglie d Enrico Ad un Percy scendevi. PERCY （che si era fermato in disparte a queste parole si avanza） E tu di questo Dispregiato Percy non isdegnasti Farti rivale… e a lui l amante hai tolta. ENRICO Fellone! e ardisci?… PERCY Il ver parlarti ascolta. Sarò fra poco innanzi A tribunal più santo e più tremendo Che il tuo non sia. Giuro per quello… io giuro, Ch ella non ti offendea… che me scacciava, Che all audace mia speme ardea di sdegno… ENRICO Dell amor suo più degno Un vil paggio rendeva… Egli il confessa… E cento adduce testimoni… ANNA （con forza） Cessa. A questa iniqua accusa Mia dignità riprendo, ed altamente Di Smeton seduttor te, Sire, io grido. ENRICO Audace donna!!… ANNA lo sfido Tutta la tua potenza. Ella può darmi Morte, ma non infamia. E mio delitto L aver posposto al trono un nobil core Come il cor di Percy, l aver creduta Felicità suprema L esser di un re consorte. PERCY Oh! gioia estrema! No, così turpe affetto Tu non nudrivi… io ne son certo; e lieto Con tal certezza il mio destino attendo… Ma tu vivrai… sì, tu vivrai. ENRICO Che intendo? Ambo morrete, o perfidi Chi può sottrarvi a morte? PERCY Giustizia il può… ANNA Giustizia!!… Muta è d Enrico in Corte. ENRICO Ella a tacersi apprese Quando sul trono inglese Ceder dovette il loco Una regina a te. Ma parlerà fra poco… PERCY E tu l ascolta, o Re. Se d un tradito talamo Dessi vendetta al dritto, Soltanto il mio si vendichi… Esso nel Cielo è scritto. Sposi noi siam. ENRICO Voi sposi!!… ANNA Ah! che di tu? ENRICO Tant osi? PERCY Riprendo i dritti miei Ella sia resa a me. ENRICO E sposa sua tu sei!… ANNA （titubante） Io… PERCY Puoi negarlo?… ANNA (Ahimè!…) PERCY Fin dall età più tenera Tu fosti mia, lo sai; Tu mi lasciasti; io, misero, Anche infedel t amai. Quel che mi t ha rapita Ti toglie onore e vita… Le braccia io t apro, io voglio Renderti vita e onor. ANNA Ah! del tuo cuor magnanimo Qual prova a me tu dai! Perisca il dì che, perfida, Te peI crudel lasciai! M ha della fé tradita Il giusto Ciel punita… Io non trovai nel soglio Altro che affanno e orror. ENRICO (Chiaro è l inganno inutile, Chiara la trama assai… Ma, coppia rea, non credere Ch io ti smentisca mai… Dall arte tua scaltrita Tu rimarrai punita… Più rio ne avrai cordoglio, Strazio ne avrai maggior.) Al Consiglio sien tratti, o custodi. ANNA Anco insisti? PERCY Il Consiglio ne ascolti. ENRICO Va; confessa gli antichi tuoi nodi Non temer ch io li voglia disciolti. ANNA Ciel! Ti spiega… furore represso Più tremendo sul volto ti sta. ENRICO Coppia iniqua! l inganno tuo stesso Sull odiato tuo capo cadrà. Salirà d Inghilterra sul trono Altra donna più degna d affetto; Abborrito, infamato, reietto Il tuo nome, il tuo sangue sarà. ANNA e PERCY Quanto, ahi quanto! è funesto il tuo dono Altra donna giammai non apprenda! L Inghilterra mai più non intenda L empio strazio che d Anna si fa! （Anna e Percy partono fra soldati） SCENA SETTIMA （Enrico, indi Giovanna Seymour） Scena ed Aria ENRICO Sposa a Percy pria che ad Enrico ell era! Sposa a Percy!! Non mai; menzogna è questa Onde sottrarsi alla tremenda legge Che la condanna mia colpevol moglie. E sia pur ver la coglie Legge non men tremenda… e la sua figlia Ravvolge anch essa nella sua ruina. GIOVANNA Sire… ENRICO Vieni, Seymour… tu sei Regina. GIOVANNA Ah! Sire… il mio rimorso Mi guida al vostro piè. （per prostrarsi） ENRICO （la solleva） Rimorso!… GIOVANNA Amaro, Estremo, orrendo. - Anna vid io… l intesi… Il suo pianto ho sul cor, Di lei pietade E in un di me… Del suo morir cagione Esser non vo , né posso… Ultimo addio Abbia il mio Re. ENRICO Più che il tuo Re son io L amante io son, l amante Ch ebbe i tuoi giuri, e che fra poco all ara Altri ne avrà più sacri. GIOVANNA Ah! non gli avessi Mai proferiti que funesti giuri Che mi han perduta! Ad espiarli, o Sire, Ne andrò in remoto asilo ove non giunga Vivente sguardo, ove de miei sospiri Non oda il suono altri che il Ciel… ENRICO Deliri? E donde in te sì strano Proposto, o donna? E speri tu, partendo, Anna far salva? lo più l abborro adesso, L abborro or più che sì ti affligge e turba. Che a spegner giunge il tuo medesmo amore. GIOVANNA Ah! non è spento… Ei mi consuma il core! Per questa fiamma indomita Alla virtù preposta… Per quegli amari spasimi, Pel pianto che mi costa… Odi la mia preghiera… Anna per me non pera… Innanzi al ciclo e agli uomini Rea non mi far di più. ENRICO Stolta! non sai… （si apron le porte delle sale） Ma, frenati Sciolto è il Consiglio. GIOVANNA Ah! m odi… ENRICO （severamente） Frenati. （Seymour rimane afflittissima） SCENA OTTAVA （Hervey con gli Sceriffi che portano la sentenza del Consiglio accorron da tutte le parti i Cortigiani e le Dame, ecc.） HERVEY I Pari unanimi Sciolsero i regi nodi… Anna, infedel consorte, È condannata a morte, E seco ognun che complice E istigator ne fu. CORO A voi, supremo Giudice, Sommessa è la sentenza. Unica speme ai miseri È la real clemenza I Re pietosi immagine Sono del Ciel quaggiù. ENRICO Rifletterò giustizia Prima è dei Re virtù. （prende la sentenza dalle mani degli Sceriffi. Giovanna si avvicina ad Enrico con dignità. Il Coro si arresta in lontananza.） GIOVANNA Ah! pensate che rivolti Terra e Cielo han gli occhi in voi; Che ogni core ha i falli suoi Per dovere altrui mercé. La pietade Enrico ascolti, Se al rigore è spinto il Re. ENRICO Basta uscite, e ancor raccolti Siano i Pari innanzi a me. CORO La pietade Enrico ascolti, Se al rigore è spinto il Re. （partono. Enrico entra nella sala del Consiglio） SCENA NONA （Atrio nelle prigioni della Torre di Londra. Il fondo e le porte sono occupate da soldati. Percy scortato dalle guardie, indi Rochefort） PERCY Tu pur dannato a morte, Tu di niun fallo reo? ROCHEFORT Fallo mi è grave L esser d Anna fratello. PERCY Oh! in qual ti trassi Tremendo abisso! ROCHEFORT lo meritai cadervi, Io che da cieca ambizIon sospinto, Anna sedussi ad aspirare al soglio. PERCY Oh! amico… al mio cordoglio Il tuo s aggiunge. Ah! se sperarti salvo Potessi ancor, men dolorosa e amara La morte mi farìa questa speranza. ROCHEFORT Dividiamci da forti… alcun s avanza. SCENA DECIMA （Hervey, e detti） HERVEY A voi di lieto evento Nunzio son io. Vita concede ad ambi Clemente il Re. PERCY Vita a noi soli! ed Anna?… HERVEY La giusta sua condanna Subir dev ella. PERCY E me sì vile ci tiene Che viver voglia, io reo, quando ella more, Ella innocente! A lui ritorna, e digli Ch io ricusai l obbrobrioso dono. HERVEY Che ascolto? （a Rochefort） Voi? ROCHEFORT Pronto al supplizio io sono. （si getta nelle braccia di Percy） PERCY Vivi tu, te ne scongiuro, Tu men tristo, e men dolente; Cerca un suolo in cui securo Abbia asilo un innocente; Cerca un lido in cui vietato Non ti sia per noi pregar. Ah! qualcuno il nostro fato Resti in terra a lagrimar. ROCHEFORT Oh! Percy! dite men forte, Men costante non son io. HERVEY Risolvete. ROCHEFORT Udisti… PERCY e ROCHEFORT Morte. HERVEY Sian divisi. PERCY e ROCHEFORT Amico!… addio. PERCY Nel veder la tua costanza Il mio cor si rasserena; Non temea che la tua pena, Non soffria che il tuo soffrir. L ultim ora che s avanza Ambidue sfidar possiamo, Ché nessun quaggiù lasciamo Né timore, né desir. （si danno un addio e partono fra soldati） SCENA UNDICESIMA （Escono le Damigelle di Anna dalla prigione ov essa è rinchiusa.） Coro CORO Chi può vederla a ciglio asciutto, In tanto affanno, in tanto lutto, E non sentirsi spezzare il cor? Or muta e immobile qual freddo sasso; Or lungo e rapido studiando il passo; Or trista e pallida com ombra in viso; Or componendosi ad un sorriso In tanti mutasi diversi aspetti, Quanti in lei sorgono pensieri e affetti Nel suo delirio, nel suo dolor. Chi può vederla a ciglio asciutto, In tanto affanno, in tanto lutto, E non sentirsi spezzare il cor? SCENA DODICESIMA （Anna dalla sua prigione. Si presenta in abito negletto, e col capo scoperto; si avanza lentamente, assorta in profondi pensieri. Silenzio universale. Le Damigelle la circondano vivamente commosse. Ella le osserva attentamente; sembra rasserenarsi.） Scena ed Aria Finale ANNA Piangete voi? donde tal pianto?… È questo Giorno di nozze. Il Re mi aspetta… è acceso, Infiorato l altar. - Datemi tosto Il mio candido ammanto; il crin m ornate Del mio serto di rose… Che Percy non lo sappia - il Re l impose. CORO Oh! memoria funesta! ANNA Oh! chi si duole? Chi parlò di Percy?… Ch io non lo vegga; Ch io m asconda a suoi sguardi. - È vano - Ei viene… Ei m accusa… ei mi sgrida. Oh! mi perdona… Infelice son io. Toglimi a questa Miseria estrema… Tu sorridi?… oh gioia!… Non fia, non fia che qui deserta io moia! Al dolce guidami Castel natìo, Ai verdi platani, Al queto rio Che i nostri mormora Sospiri ancor. Colà, dimentico De corsi affanni. Un giorno rendimi De miei prim anni. Un giorno solo Del nostro amor. CORO Chi può vederla a ciglio asciutto, In tanto affanno, in tanto lutto, E non sentirsi spezzare il cor? SCENA TREDICESIMA （Odesi suon di tamburi. Si presentano le guardie. Hervey e Cortigiani. Anna si scuote.） ANNA Qual mesto suon?… che vedo?… Hervey! le guardie?… （le osserva attentamente; rinviene dal suo delirio） HERVEY （alle guardie） Ite, e dal carcer loro Sian tratti i prigionieri. ANNA （atterrita） Oh! in quale istante Del mio delirio mi riscuoti, o Cielo! A che mai mi riscuoti?… SCENA ULTIMA （Escono da varie prigioni Rochefort, Percy, e poi ultimo Smeton） ROCHEFORT e PERCY Anna! ANNA Fratello!… E tu, Percy!… per me, per me morite! SMETON （avanzandosi, si prostra a piedi d Anna） Io solo, io vi perdei… me maledite… ANNA Smeton!… （si ritira come sbigottita e si copre il volto col manto） PERCY Iniquo! SMETON Ah! sì… Io son… ch io scenda Con tal nome fra l ombre. Io mi lasciai Dal Re sedurre - Io v accusai credendo Serbarvi in vita; ed a mentir mi spinse Un insano desire, una speranza Ch io tenni in core un anno intier repressa. Maleditemi voi… ANNA Smeton!… Ti appressa. Sorgi - che fai? Ché l arpa tua non tempri? Chi ne spezzò le corde? （Smeton è sempre in ginocchio; ella lo alza） ROCHEFORT Anna! PERCY Che dici? DONZELLE Ritorna a vaneggiar. ANNA Un suon sommesso Tramandan esse come il gemer tronco Di un cor che more… egli è il mio cor ferito Che l ultima preghiera al Ciel sospira. Udite tutti. ROCHEFORT, PERCY, SMETON Oh! rio martir! CORO Delira. ANNA Cielo, a miei lunghi spasimi Concedi alfin riposo. E questi estremi palpiti Sian di speranza almen. TUTTI L estremo suo delirio Prolunga, o Ciel pietoso. Fa che la sua bell anima Di te si desti in sen. （silenzio odonsi colpi di cannone in lontano e suonar di campane. Anna rinviene a poco a poco） ANNA Chi mi sveglia? ove sono? che sento? Suon festivo? che fia? favellate. CORO Acclamata dal popol contento È Regina… ANNA Tacete… cessate. Manca, ahi! manca a compire il delitto D Anna il sangue, e versato sarà. （si abbandona fra le braccia delle Damigelle） TUTTI Ciel! risparmia al suo core trafitto Questo colpo a cui regger non sa. ANNA Coppia iniqua, l estrema vendetta Non impreco in quest ora tremenda; Nel sepolcro che aperto m aspetta, Col perdono sul labbro si scenda, Ei m acquisti clemenza e favore Al cospetto d un Dio di pietà. （sviene） TUTTI Sventurata!… ella manca… ella more! （Si presentano gli Sceriffi a prendere i prigionieri. Rochefort, Smeton e Percy vanno loro incontro, e, additando Anna, esclamano） TUTTI Immolata una vittima è già! ATTO SECONDO Gabinetto che mette alle stanze ov è custodita Anna SCENA PRIMA Damigelle di Anna. Guardie alle porte. Introduzione CORO di Damigelle Oh! dove mai ne andarono Le turbe adulatrici, Che intorno a lei venivano Ne giorni suoi felici! Seymour, Seymour medesima, Da lei si allontanò. Ma noi per sempre, o misera, Sempre con te saremo, O il tuo trionfo apprestisi, O il tuo disastro estremo. Pochi il destin, ma teneri Cori per te lasciò. Eccola… afflitta e pallida, Move a fatica il piede. Esce Anna; tutte le vanno intorno. Ella siede ecc. SCENA SECONDA Anna e dette, indi Hervey con soldati CORO di Damigelle Regina!… rincoratevi, Nel Ciel ponete fede. Hanno confin le lagrime, Perir virtù non può. ANNA O mie fedeli, o sole A me rimaste nella mia sventura Consolatrici, ogni speranza, è vero, Posta è nel Cielo, in lui soltanto… In terra Non v ha riparo per la mia ruina. esce Hervey Che rechi, Hervey? HERVEY Regina!!… Duolmi l amaro incarco a cui m elegge Il Consiglio de Pari. ANNA Ebben? favella. HERVEY Ei queste ancelle appella Al suo cospetto. CORO Noi!! ANNA Nel suo proposto È dunque fermo il Re! Tanta al cor mio Ferita ei recherà?… HERVEY Che dir poss io? ANNA Piegar la fronte è forza Al regale voler, qualunque ei sia. Dell innocenza mia Voi testimoni siate… Tenere amiche… CORO Oh! dì funesta! ANNA abbracciandole Andate. Le ancelle partono con Hervey. SCENA TERZA Anna, indi Giovanna Seymour Scena e Duetto ANNA (partite le ancelle, alza le mani al cielo, si prostra, e dice) Dio, che mi vedi in core, Mi volgo a te… Se meritai quest onta Giudica tu. siede e piange GIOVANNA Piange l afflitta… ahi! come Ne sosterrò lo sguardo? ANNA Ah! sì gli affanni Dell infelice aragonese inulti Esser non denno, e a me terribil pena Il tuo rigor destina… Ma terribile è troppo… GIOVANNA si appressa piangendo; si prostra a suoi piedi, e le bacia la mano O mia Regina! ANNA Seymour!… a me ritorni!… Non mi obliasti tu?… Sorgi… Che veggo? Impallidisci!… tremi?… A me tu rechi Nuova sventura forse? GIOVANNA Orrenda… estrema!… Gioia poss io recarvi? Ah!… no… m udite. Tali son trame ordite, Che perduta voi siete. Ad ogni costo Vuol franti il Re gli sciagurati nodi Che vi stringono a lui… La vita almeno… Se non il regio nome… La vita almen, deh! voi salvate! ANNA E come? Spiegati. GIOVANNA In dirlo io tremo… Pur dirlo io deggio. Il confessarvi rea, Dal Re vi scioglie e vi sottragge a morte. ANNA Che dici tu? GIOVANNA La sorte Che vi persegue, altro non lascia a voi Mezzo di scampo. ANNA E consigliar mel puoi!!… Tu, mia Seymour!!… GIOVANNA Deh! per pietà… ANNA Ch io compri Coll infamia la vita? GIOVANNA E infamia e morte Volete voi?… oh Ciel! cedete… Ve ne consiglia il Re… ve ne scongiura La sciagurata che l amor d Enrico Ha destinata al trono. ANNA Oh! chi è costei? La conosci? favella. - Ardire ell ebbe Di consigliarmi una viltà?… Viltade Alla Regina sua!!… parla chi è dessa? GIOVANNA singhiozzando Un infelice… ANNA E tal facea me stessa. Sul suo capo aggravi un Dio Il suo braccio punitore. GIOVANNA Deh! mi ascolta. ANNA Al par del mio Sia straziato il vil suo cuore. GIOVANNA Ah! perdono! ANNA Sia di spine La corona ambita al crine; crescendo con furore; Giovanna a poco a poco si smarrisce ecc. Sul guancial del regio letto Sia la veglia ed il sospetto… Fra lei sorga e il reo suo sposo Il mio spettro minaccioso… E la scure a me concessa, Più crudel, le neghi il Re. GIOVANNA Ria sentenza!… io moro… ah! cessa! Deh! pietà, pietà… di me! prostrandosi, e abbracciando le ginocchia d Anna ANNA Tu!!… Che ascolto? GIOVANNA Ah! sì, prostrata E al tuo piè la traditrice. ANNA Mia rivale!! GIOVANNA Ma straziata Dai rimorsi… ed infelice. ANNA Fuggi… fuggi… GIOVANNA Ah! no perdono Dal mio cor punita io sono… crescendo con passione. Anna a poco a poco s intenerisce Inesperta… lusingata… Fui sedotta ed abbagliata… Amo Enrico, e ne ho rossore… Mio supplizio è questo amore… Gemo e piango, e dal mio pianto Soffocato amor non è. ANNA Sorgi… ah! sorgi… È reo soltanto Chi tal fiamma accese in te. l alza e l abbraccia Va, infelice, e teco reca Il perdono di Bolena; Nel mio duol furente e cieca T imprecai terribil pena… La tua grazia or chiedo a Dio, E concessa a te sarà. Ti rimanga in questo addio L amor mio, la mia pietà. GIOVANNA Ah! peggiore è il tuo perdono Dello sdegno ch io temea. Punitor mi lasci un trono Del delitto ond io son rea. Là mi attende un giusto Iddio Che per me perdon non ha. Ah! primiero è questo addio Dei tormenti che mi dà. Anna rientra nelle sue stanze. Giovanna parte affittissima. SCENA QUARTA Vestibolo che mette alla sala ov è adunato il Consiglio. Le porte sono chiuse, e tutti gl ingressi son custoditi dalle guardie. Coro di Cortigiani, indi Hervey Coro, Scena e Terzetto CORO I Ebben? dinanzi ai giudici Quale dei rei fu tratto? CORO II Smeton. CORO I Ha forse il giovane Svelato alcun misfatto?… CORO II Ancor l esame ignorasi Chiuso tutt ora egli è. TUTTI Ah! tolga il Ciel che il debole Ed inesperto core Sedur si lasci o vincere Da speme o da timore; Tolga ch ei mai dimentichi Che accusatore è il Re. si apron le porte esce Hervey Ecco, ecco Hervey. HERVEY ai soldati che parlano Si guidino Anna e Percy. CORO circondandolo Che fia? HERVEY Smeton parlò. CORO L improvido Anna accusata avrìa? HERVEY Colpa ei svelò che fremere, Ed arrossir ne fe . Ella è perduta. CORO Ahi! misera! (Accusatore è il Re.) SCENA QUINTA Enrico, Hervey e coro HERVEY Scostatevi… il Re giunge… il Coro si ritiro E dal Consesso Chi vi allontana? ENRICO Inopportuna or fôra La mia presenza. Il primo colpo è sceso; Chi lo scagliò si asconda. HERVEY Oh! come al laccio Smeton cadea! ENRICO Nel carcer suo ritorni Il giovin cieco, e a creder segua ancora, Finché sospesa è l ora Della vendetta mia, d aver salvata D Anna la vita. - Ella si appressa… HERVEY E quinci Vien condotto Percy fra suoi custodi. ENRICO per uscire Si eviti. SCENA SESTA Anna e Percy da parte opposta in mezzo alle guardie. Enrico ed Hervey ANNA da lontano Arresta, Enrico. Enrico vuol partire Anna avvicinandosi con dignità Arresta… e m odi. ENRICO Ti udrà il Consiglio. ANNA A piedi tuoi mi prostro; Svenami tu, ma non espormi, o Sire, All onta d un giudizio il regio nome Fa che in me si rispetti. ENRICO Hai rispettato, Il regio grado tu? Moglie d Enrico Ad un Percy scendevi. PERCY che si era fermato in disparte a queste parole si avanza E tu di questo Dispregiato Percy non isdegnasti Farti rivale… e a lui l amante hai tolta. ENRICO Fellone! e ardisci?… PERCY Il ver parlarti ascolta. Sarò fra poco innanzi A tribunal più santo e più tremendo Che il tuo non sia. Giuro per quello… io giuro, Ch ella non ti offendea… che me scacciava, Che all audace mia speme ardea di sdegno… ENRICO Dell amor suo più degno Un vil paggio rendeva… Egli il confessa… E cento adduce testimoni… ANNA con forza Cessa. A questa iniqua accusa Mia dignità riprendo, ed altamente Di Smeton seduttor te, Sire, io grido. ENRICO Audace donna!!… ANNA lo sfido Tutta la tua potenza. Ella può darmi Morte, ma non infamia. E mio delitto L aver posposto al trono un nobil core Come il cor di Percy, l aver creduta Felicità suprema L esser di un re consorte. PERCY Oh! gioia estrema! No, così turpe affetto Tu non nudrivi… io ne son certo; e lieto Con tal certezza il mio destino attendo… Ma tu vivrai… sì, tu vivrai. ENRICO Che intendo? Ambo morrete, o perfidi Chi può sottrarvi a morte? PERCY Giustizia il può… ANNA Giustizia!!… Muta è d Enrico in Corte. ENRICO Ella a tacersi apprese Quando sul trono inglese Ceder dovette il loco Una regina a te. Ma parlerà fra poco… PERCY E tu l ascolta, o Re. Se d un tradito talamo Dessi vendetta al dritto, Soltanto il mio si vendichi… Esso nel Cielo è scritto. Sposi noi siam. ENRICO Voi sposi!!… ANNA Ah! che di tu? ENRICO Tant osi? PERCY Riprendo i dritti miei Ella sia resa a me. ENRICO E sposa sua tu sei!… ANNA titubante Io… PERCY Puoi negarlo?… ANNA (Ahimè!…) PERCY Fin dall età più tenera Tu fosti mia, lo sai; Tu mi lasciasti; io, misero, Anche infedel t amai. Quel che mi t ha rapita Ti toglie onore e vita… Le braccia io t apro, io voglio Renderti vita e onor. ANNA Ah! del tuo cuor magnanimo Qual prova a me tu dai! Perisca il dì che, perfida, Te peI crudel lasciai! M ha della fé tradita Il giusto Ciel punita… Io non trovai nel soglio Altro che affanno e orror. ENRICO (Chiaro è l inganno inutile, Chiara la trama assai… Ma, coppia rea, non credere Ch io ti smentisca mai… Dall arte tua scaltrita Tu rimarrai punita… Più rio ne avrai cordoglio, Strazio ne avrai maggior.) Al Consiglio sien tratti, o custodi. ANNA Anco insisti? PERCY Il Consiglio ne ascolti. ENRICO Va; confessa gli antichi tuoi nodi Non temer ch io li voglia disciolti. ANNA Ciel! Ti spiega… furore represso Più tremendo sul volto ti sta. ENRICO Coppia iniqua! l inganno tuo stesso Sull odiato tuo capo cadrà. Salirà d Inghilterra sul trono Altra donna più degna d affetto; Abborrito, infamato, reietto Il tuo nome, il tuo sangue sarà. ANNA e PERCY Quanto, ahi quanto! è funesto il tuo dono Altra donna giammai non apprenda! L Inghilterra mai più non intenda L empio strazio che d Anna si fa! Anna e Percy partono fra soldati SCENA SETTIMA Enrico, indi Giovanna Seymour Scena ed Aria ENRICO Sposa a Percy pria che ad Enrico ell era! Sposa a Percy!! Non mai; menzogna è questa Onde sottrarsi alla tremenda legge Che la condanna mia colpevol moglie. E sia pur ver la coglie Legge non men tremenda… e la sua figlia Ravvolge anch essa nella sua ruina. GIOVANNA Sire… ENRICO Vieni, Seymour… tu sei Regina. GIOVANNA Ah! Sire… il mio rimorso Mi guida al vostro piè. per prostrarsi ENRICO la solleva Rimorso!… GIOVANNA Amaro, Estremo, orrendo. - Anna vid io… l intesi… Il suo pianto ho sul cor, Di lei pietade E in un di me… Del suo morir cagione Esser non vo , né posso… Ultimo addio Abbia il mio Re. ENRICO Più che il tuo Re son io L amante io son, l amante Ch ebbe i tuoi giuri, e che fra poco all ara Altri ne avrà più sacri. GIOVANNA Ah! non gli avessi Mai proferiti que funesti giuri Che mi han perduta! Ad espiarli, o Sire, Ne andrò in remoto asilo ove non giunga Vivente sguardo, ove de miei sospiri Non oda il suono altri che il Ciel… ENRICO Deliri? E donde in te sì strano Proposto, o donna? E speri tu, partendo, Anna far salva? lo più l abborro adesso, L abborro or più che sì ti affligge e turba. Che a spegner giunge il tuo medesmo amore. GIOVANNA Ah! non è spento… Ei mi consuma il core! Per questa fiamma indomita Alla virtù preposta… Per quegli amari spasimi, Pel pianto che mi costa… Odi la mia preghiera… Anna per me non pera… Innanzi al ciclo e agli uomini Rea non mi far di più. ENRICO Stolta! non sai… si apron le porte delle sale Ma, frenati Sciolto è il Consiglio. GIOVANNA Ah! m odi… ENRICO severamente Frenati. Seymour rimane afflittissima SCENA OTTAVA Hervey con gli Sceriffi che portano la sentenza del Consiglio accorron da tutte le parti i Cortigiani e le Dame, ecc. HERVEY I Pari unanimi Sciolsero i regi nodi… Anna, infedel consorte, È condannata a morte, E seco ognun che complice E istigator ne fu. CORO A voi, supremo Giudice, Sommessa è la sentenza. Unica speme ai miseri È la real clemenza I Re pietosi immagine Sono del Ciel quaggiù. ENRICO Rifletterò giustizia Prima è dei Re virtù. {prende la sentenza dalle mani degli Sceriffi. Giovanna si avvicina ad Enrico con dignità. Il Coro si arresta in lontananza.} GIOVANNA Ah! pensate che rivolti Terra e Cielo han gli occhi in voi; Che ogni core ha i falli suoi Per dovere altrui mercé. La pietade Enrico ascolti, Se al rigore è spinto il Re. ENRICO Basta uscite, e ancor raccolti Siano i Pari innanzi a me. CORO La pietade Enrico ascolti, Se al rigore è spinto il Re. partono. Enrico entra nella sala del Consiglio SCENA NONA Atrio nelle prigioni della Torre di Londra. Il fondo e le porte sono occupate da soldati. Percy scortato dalle guardie, indi Rochefort PERCY Tu pur dannato a morte, Tu di niun fallo reo? ROCHEFORT Fallo mi è grave L esser d Anna fratello. PERCY Oh! in qual ti trassi Tremendo abisso! ROCHEFORT lo meritai cadervi, Io che da cieca ambizIon sospinto, Anna sedussi ad aspirare al soglio. PERCY Oh! amico… al mio cordoglio Il tuo s aggiunge. Ah! se sperarti salvo Potessi ancor, men dolorosa e amara La morte mi farìa questa speranza. ROCHEFORT Dividiamci da forti… alcun s avanza. SCENA DECIMA Hervey, e detti HERVEY A voi di lieto evento Nunzio son io. Vita concede ad ambi Clemente il Re. PERCY Vita a noi soli! ed Anna?… HERVEY La giusta sua condanna Subir dev ella. PERCY E me sì vile ci tiene Che viver voglia, io reo, quando ella more, Ella innocente! A lui ritorna, e digli Ch io ricusai l obbrobrioso dono. HERVEY Che ascolto? a Rochefort Voi? ROCHEFORT Pronto al supplizio io sono. si getta nelle braccia di Percy PERCY Vivi tu, te ne scongiuro, Tu men tristo, e men dolente; Cerca un suolo in cui securo Abbia asilo un innocente; Cerca un lido in cui vietato Non ti sia per noi pregar. Ah! qualcuno il nostro fato Resti in terra a lagrimar. ROCHEFORT Oh! Percy! dite men forte, Men costante non son io. HERVEY Risolvete. ROCHEFORT Udisti… PERCY e ROCHEFORT Morte. HERVEY Sian divisi. PERCY e ROCHEFORT Amico!… addio. PERCY Nel veder la tua costanza Il mio cor si rasserena; Non temea che la tua pena, Non soffria che il tuo soffrir. L ultim ora che s avanza Ambidue sfidar possiamo, Ché nessun quaggiù lasciamo Né timore, né desir. si danno un addio e partono fra soldati SCENA UNDICESIMA Escono le Damigelle di Anna dalla prigione ov essa è rinchiusa. Coro CORO Chi può vederla a ciglio asciutto, In tanto affanno, in tanto lutto, E non sentirsi spezzare il cor? Or muta e immobile qual freddo sasso; Or lungo e rapido studiando il passo; Or trista e pallida com ombra in viso; Or componendosi ad un sorriso In tanti mutasi diversi aspetti, Quanti in lei sorgono pensieri e affetti Nel suo delirio, nel suo dolor. Chi può vederla a ciglio asciutto, In tanto affanno, in tanto lutto, E non sentirsi spezzare il cor? SCENA DODICESIMA Anna dalla sua prigione. Si presenta in abito negletto, e col capo scoperto; si avanza lentamente, assorta in profondi pensieri. Silenzio universale. Le Damigelle la circondano vivamente commosse. Ella le osserva attentamente; sembra rasserenarsi. Scena ed Aria Finale ANNA Piangete voi? donde tal pianto?… È questo Giorno di nozze. Il Re mi aspetta… è acceso, Infiorato l altar. - Datemi tosto Il mio candido ammanto; il crin m ornate Del mio serto di rose… Che Percy non lo sappia - il Re l impose. CORO Oh! memoria funesta! ANNA Oh! chi si duole? Chi parlò di Percy?… Ch io non lo vegga; Ch io m asconda a suoi sguardi. - È vano - Ei viene… Ei m accusa… ei mi sgrida. Oh! mi perdona… Infelice son io. Toglimi a questa Miseria estrema… Tu sorridi?… oh gioia!… Non fia, non fia che qui deserta io moia! Al dolce guidami Castel natìo, Ai verdi platani, Al queto rio Che i nostri mormora Sospiri ancor. Colà, dimentico De corsi affanni. Un giorno rendimi De miei prim anni. Un giorno solo Del nostro amor. CORO Chi può vederla a ciglio asciutto, In tanto affanno, in tanto lutto, E non sentirsi spezzare il cor? SCENA TREDICESIMA Odesi suon di tamburi. Si presentano le guardie. Hervey e Cortigiani. Anna si scuote. ANNA Qual mesto suon?… che vedo?… Hervey! le guardie?… le osserva attentamente; rinviene dal suo delirio HERVEY alle guardie Ite, e dal carcer loro Sian tratti i prigionieri. ANNA atterrita Oh! in quale istante Del mio delirio mi riscuoti, o Cielo! A che mai mi riscuoti?… SCENA ULTIMA Escono da varie prigioni Rochefort, Percy, e poi ultimo Smeton ROCHEFORT e PERCY Anna! ANNA Fratello!… E tu, Percy!… per me, per me morite! SMETON avanzandosi, si prostra a piedi d Anna Io solo, io vi perdei… me maledite… ANNA Smeton!… si ritira come sbigottita e si copre il volto col manto PERCY Iniquo! SMETON Ah! sì… Io son… ch io scenda Con tal nome fra l ombre. Io mi lasciai Dal Re sedurre - Io v accusai credendo Serbarvi in vita; ed a mentir mi spinse Un insano desire, una speranza Ch io tenni in core un anno intier repressa. Maleditemi voi… ANNA Smeton!… Ti appressa. Sorgi - che fai? Ché l arpa tua non tempri? Chi ne spezzò le corde? Smeton è sempre in ginocchio; ella lo alza ROCHEFORT Anna! PERCY Che dici? DONZELLE Ritorna a vaneggiar. ANNA Un suon sommesso Tramandan esse come il gemer tronco Di un cor che more… egli è il mio cor ferito Che l ultima preghiera al Ciel sospira. Udite tutti. ROCHEFORT, PERCY, SMETON Oh! rio martir! CORO Delira. ANNA Cielo, a miei lunghi spasimi Concedi alfin riposo. E questi estremi palpiti Sian di speranza almen. TUTTI L estremo suo delirio Prolunga, o Ciel pietoso. Fa che la sua bell anima Di te si desti in sen. {silenzio odonsi colpi di cannone in lontano e suonar di campane. Anna rinviene a poco a poco} ANNA Chi mi sveglia? ove sono? che sento? Suon festivo? che fia? favellate. CORO Acclamata dal popol contento È Regina… ANNA Tacete… cessate. Manca, ahi! manca a compire il delitto D Anna il sangue, e versato sarà. si abbandona fra le braccia delle Damigelle TUTTI Ciel! risparmia al suo core trafitto Questo colpo a cui regger non sa. ANNA Coppia iniqua, l estrema vendetta Non impreco in quest ora tremenda; Nel sepolcro che aperto m aspetta, Col perdono sul labbro si scenda, Ei m acquisti clemenza e favore Al cospetto d un Dio di pietà. sviene TUTTI Sventurata!… ella manca… ella more! Si presentano gli Sceriffi a prendere i prigionieri. Rochefort, Smeton e Percy vanno loro incontro, e, additando Anna, esclamano TUTTI Immolata una vittima è già! Donizetti,Gaetano/Anna Bolena
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Adolf RobinsonAlaine RodinAlexander ReichardtAlwin RuffiniAmanda RoocroftAndrea RostAnita RachvelishviliAnitaAnna Lucia RichterAnna ReynoldsAnneliese RothenbergerAnthony Rolfe JohnsonAntoine RenardAnton RaaffArno RaunigArpiné RahdjianAulikki RautawaaraBasil RuysdaelBerle Sanford RosenbergBernard RichterBrenda RaeCarline RayCarmela RemigioCharlotte de RothschildChen ReissChrista RatzenböckChristian RiegerChristine RiceChristopher RobsonDavinia RodoriguezDerek Lee RaginDesiree RancatoreDiogenes RandesDorothea RöschmannElinor RossElisabeth ReicheltElisabeth RethbergElisabeth RöckelElisabeth Řebíček-LöfflerElsa RespighiEmil RaykovEmile RenanEmmy RossumEsther RéthyEva RandováFelix RienthFrancesco RasiFranz RosnerFranziska RablGabriele Maria RongeGabriele RossmanithGail RobinsonGeorge RaselyGerhild RombergerGertrude RüngerGiacomo RiminiGianna RolandiGianni RaimondiGiorgio RonconiGiovanni Battista RubiniGiovanni Maria RubinelliGirard RhodenGregory ReinhartGünther ReichHans ReinmarHans RokitanskyHans-Joachim RotzschHeiko ReissigHeinrich RehkemperHeinz ReehHeinz RehfussHelge RosvaengeHilde Rössel-MajdanIngeborg ReicheltInken RahardtIsabel ReyIvan RebroffJacques RotterJames RutherfordJan RubesJan-Hendrik RooteringJana RehJane RhodesJean de ReszkeJewgeni Tichonowitsch RaikowJohn ReardonJohn RelyeaJoseph RouleauJudith RaskinJózsef RétiKarl RidderbuschKate RoyalKatia RicciarelliKobie van RensburgKurt ReimannKurt RydlLa Julia RheaLenneke RuitenLeonie RysanekLillian RussellLorenzo RegazzoLorenzo RieseLotte RysanekLou RodgersLéon RothierMado RobinMargherita RinaldiMaria ReiningMarie RappoldMarie RenardMarijana RadevMarina RebekaMark Ossipowitsch ReisenMark ReizenMartin RitzmannMax RaabeMelba RamosNatalia RomNed RomeroNeil RosensheinNell RankinNigel RogersNuria RialOtto von RohrPaolo RumetzPatricia RacettePatricia RozarioPaul ReevesPaul RobesonPeter-Christoph RungeRegina ResnikRegina RichterRhydian RobertsRobert RounsevilleRose RenaudRuggero RaimondiSally du RandtSamuel RameySarah RiceScott RamsaySibylla RubensSigne von RappeSondra RadvanovskyStephan RügamerSusan Rigvava-DumasSusan RobertsTheodor ReußTherese RothauserTitta RuffoTommy RallTresi RudolphUdo ReinemannUlrich ReßValerian RuminskiVenanzio RauzziniVirpi RäisänenWalter RaffeinerWilly Rosenau total 158singers ページ先頭へ
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CHAPTER XXVII UP CHAPTER XXIX CHAPTER XXVIII An Unfortunate Lily Maid 第28章 不運な百合の乙女（松本訳） 「Lily Maid」松本訳注第28章(1) p. 512参照 "OF course you must be Elaine, Anne," said Diana. 「Elaine」松本訳注第28章(2) p. 512参照 "I could never have the courage to float down there." "Nor I," said Ruby Gillis, with a shiver. "I don t mind floating down when there s two or three of us in the flat and we can sit up. It s fun then. But to lie down and pretend I was dead--I just couldn t. I d die really of fright." "Of course it would be romantic," conceded Jane Andrews, "but I know I couldn t keep still. I d be popping up every minute or so to see where I was and if I wasn t drifting too far out. And you know, Anne, that would spoil the effect." "But it s so ridiculous to have a redheaded Elaine," mourned Anne. "I m not afraid to float down and I d love to be Elaine. But it s ridiculous just the same. Ruby ought to be Elaine because she is so fair and has such lovely long golden hair-- Elaine had `all her bright hair streaming down, you know. 「`all her bright hair streaming down 」松本訳注第28章(3) p. 512参照 And Elaine was the lily maid. Now, a red-haired person cannot be a lily maid." "Your complexion is just as fair as Ruby s," said Diana earnestly, "and your hair is ever so much darker than it used to be before you cut it." "Oh, do you really think so?" exclaimed Anne, flushing sensitively with delight. "I ve sometimes thought it was myself--but I never dared to ask anyone for fear she would tell me it wasn t. Do you think it could be called auburn now, Diana?" 「auburn」 金褐色（松本訳）： 第10章（CHAPTER X、CHAPTER X with impression?）で、大人になったら金褐色になるとリンド夫人に言われて喜んだ色。第37章（CHAPTER XXXVII、CHAPTER XXXVII with impression）では、金褐色になったと自分で言っている "Yes, and I think it is real pretty," said Diana, 「pretty」もうすぐギルバートにも同じことを言われる looking admiringly at the short, silky curls that clustered over Anne s head and were held in place by a very jaunty black velvet ribbon and bow. 「short, silky curls」 midsummer（すぐ下）の話なので、髪を緑色に染めたlate April（CHAPTER XXVIICHAPTER XXVII with impression）から３ヶ月くらい経ったところ。１ヶ月に１～２cmくらい伸びるでしょうから（若いともっと伸びる？）、５cmくらい伸びたはず。ほんとに刈り上げてしまったほどの長さだったわけですね They were standing on the bank of the pond, below Orchard Slope, where a little headland fringed with birches ran out from the bank; at its tip was a small wooden platform built out into the water for the convenience of fishermen and duck hunters. Ruby and Jane were spending the midsummer afternoon with Diana, and Anne had come over to play with them. Anne and Diana had spent most of their playtime that summer on and about the pond. Idlewild was a thing of the past, Mr. Bell having ruthlessly cut down the little circle of trees in his back pasture in the spring. Anne had sat among the stumps and wept, not without an eye to the romance of it; but she was speedily consoled, for, after all, as she and Diana said, big girls of thirteen, going on fourteen, アンは3月生まれ、ダイアナは2月生まれなので、春は13歳になったばかりのはずなのに「big girls」で、もうじき14歳になる、と考えるあたりがかわいらしい were too old for such childish amusements as playhouses, and there were more fascinating sports to be found about the pond. It was splendid to fish for trout over the bridge and the two girls learned to row themselves about in the little flat-bottomed dory Mr. Barry kept for duck shooting. 「duck shooting」 プリンスエドワード島は寒いので、日本の本州のように越冬しにカモ類がやってくるのではなく、夏に子育てのためにやってくるはず。なので、この時期はオンシーズン It was Anne s idea that they dramatize Elaine. They had studied Tennyson s poem in school the preceding winter, 「Tennyson s poem」松本訳注第28章(4) p. 513参照 the Superintendent of Education having prescribed it in the English course for the Prince Edward Island schools. They had analyzed and parsed it and torn it to pieces in general until it was a wonder there was any meaning at all left in it for them, 大変批判的なご指摘です 「torn it to pieces」後で、船がtorn offされますが、単語の重なりは気のせいかしら but at least the fair lily maid and Lancelot and Guinevere and King Arthur had become very real people to them, and Anne was devoured by secret regret that she had not been born in Camelot. 「Lancelot」松本訳注第28章(5) p. 513参照 「Guinevere」松本訳注第28章(6) p. 513参照 「King Arthur」松本訳注第28章(7) p. 513参照 「Camelot」松本訳注第28章(8) p. 513参照 Those days, she said, were so much more romantic than the present. 「romantic」この章の最後に呼応している Anne s plan was hailed with enthusiasm. The girls had discovered that if the flat were pushed off from the landing place it would drift down with the current under the bridge and finally strand itself on another headland lower down which ran out at a curve in the pond. They had often gone down like this and nothing could be more convenient for playing Elaine. "Well, I ll be Elaine," said Anne, yielding reluctantly, for, although she would have been delighted to play the principal character, yet her artistic sense demanded fitness for it and this, she felt, her limitations made impossible. "Ruby, you must be King Arthur and Jane will be Guinevere and Diana must be Lancelot. But first you must be the brothers and the father. 「the brothers and the father」松本訳注第28章(9) p. 514参照 We can t have the old dumb servitor because there isn t room for two in the flat when one is lying down. 「the old dumb servitor」松本訳注第28章(10) p. 514参照 We must pall the barge all its length in blackest samite. That old black shawl of your mother s will be just the thing, Diana." 「 the barge all its length in blackest samite」松本訳注第28章(11) p. 514参照 The black shawl having been procured, Anne spread it over the flat and then lay down on the bottom, with closed eyes and hands folded over her breast. "Oh, she does look really dead," whispered Ruby Gillis nervously, watching the still, white little face under the flickering shadows of the birches. "It makes me feel frightened, girls. Do you suppose it s really right to act like this? 悪い予感がすでにある Mrs. Lynde says that all play-acting is abominably wicked." "Ruby, you shouldn t talk about Mrs. Lynde," said Anne severely. "It spoils the effect because this is hundreds of years before Mrs. Lynde was born. Jane, you arrange this. It s silly for Elaine to be talking when she s dead." Jane rose to the occasion. Cloth of gold for coverlet there was none, but an old piano scarf of yellow Japanese crepe was an excellent substitute. 「Japanese crepe」松本訳注第28章(12) p. 514参照 「crepe」Puffin Books版では、斜字体になっていて、ひとつめのeにはアクサンシルコンフレックスがついており（なので《クレープ》と発音）、フランス語からの借りものと主張している。縮緬 「Japanese crepe」松本訳注第28章(12) p. 514参照 A white lily was not obtainable just then, but the effect of a tall blue iris placed in one of Anne s folded hands was all that could be desired. "Now, she s all ready," said Jane. "We must kiss her quiet brows 「We must kiss her quiet brows」松本訳注第28章(13) p. 514参照 and, Diana, you say, `Sister, farewell forever, 「`Sister, farewell forever, 」松本訳注第28章(14) p. 514参照 「farewell」古風な！ のは詩の言葉だから and Ruby, you say, `Farewell, sweet sister, both of you as sorrowfully as you possibly can. 「`Farewell, sweet sister, 」松本訳注第28章(15) p. 514参照 Anne, for goodness sake smile a little. You know Elaine `lay as though she smiled. 「`lay as though she smiled. 」松本訳注第28章(15) p. 514参照 That s better. Now push the flat off." The flat was accordingly pushed off, scraping roughly over an old embedded stake in the process. Diana and Jane and Ruby only waited long enough to see it caught in the current and headed for the bridge before scampering up through the woods, across the road, and down to the lower headland where, as Lancelot and Guinevere and the King, they were to be in readiness to receive the lily maid. For a few minutes Anne, drifting slowly down, enjoyed the romance of her situation to the full. Then something happened not at all romantic. The flat began to leak. In a very few moments it was necessary for Elaine to scramble to her feet, 「Elaine」まだ、ごっこしてる pick up her cloth of gold coverlet and pall of blackest samite and gaze blankly at a big crack in the bottom of her barge through which the water was literally pouring. That sharp stake at the landing had torn off the strip of batting nailed on the flat. 「batting」Webster s Revised Unabridged, 1913 Editionによると（OneLookで検索してみつけた）、Cotton in sheets, prepared for use in making quilts, etc.; as, cotton batting. Yahoo!やGoogleで「strip of batting」を検索するとたくさん出てくるのですが、やはり布。とすると、布切れを船底の隙間を埋めるために釘で打ち付けていたのでしょうか。何かしっくり来ないのですが。もとからボロ船なのかもしれませんけど。 松本訳では「板切れ」。でも、英語で板切れならば「batting」ではなく、「batten」ではないでしょうか。battenは船舶の防水用の当て木という意味があるのでぴったりです。しかし、「strip of batten」はYahoo!やGoogleであまり引っかかりませんでした。Puffin Books版でもbattingなので、ここは謎です Anne did not know this, but it did not take her long to realize that she was in a dangerous plight. 「plight」苦境、（悪い）状態。この普通の意味に加え、[古]で誓約、婚約の意味もあるようです。すぐあとで、ギルバートに助けてもらうことが、dangerous plight＝危険な約束（友達になんかなる気がない）ということを暗示している、もしくは、アンがギルバートに対してどきどきすることを暗示している、と考えてしまうのは、深読みすぎかしら At this rate the flat would fill and sink long before it could drift to the lower headland. Where were the oars? Left behind at the landing! Anne gave one gasping little scream which nobody ever heard; she was white to the lips, but she did not lose her self-possession. There was one chance--just one. "I was horribly frightened," she told Mrs. Allan the next day, "and it seemed like years while the flat was drifting down to the bridge and the water rising in it every moment. I prayed, Mrs. Allan, most earnestly, but I didn t shut my eyes to pray, for I knew the only way God could save me was to let the flat float close enough to one of the bridge piles for me to climb up on it. You know the piles are just old tree trunks and there are lots of knots and old branch stubs on them. It was proper to pray, but I had to do my part by watching out and right well I knew it. I just said, `Dear God, please take the flat close to a pile and I ll do the rest, over and over again. Under such circumstances you don t think much about making a flowery prayer. But mine was answered, for the flat bumped right into a pile for a minute and I flung the scarf and the shawl over my shoulder and scrambled up on a big providential stub. And there I was, Mrs. Allan, clinging to that slippery old pile with no way of getting up or down. It was a very unromantic position, but I didn t think about that at the time. You don t think much about romance when you have just escaped from a watery grave. 「`a watery grave 」松本訳注第28章(17) p. 515参照 I said a grateful prayer at once and then I gave all my attention to holding on tight, for I knew I should probably have to depend on human aid to get back to dry land." 「dry land」：「watery grave」と対比的 The flat drifted under the bridge and then promptly sank in midstream. Ruby, Jane, and Diana, already awaiting it on the lower headland, saw it disappear before their very eyes and had not a doubt but that Anne had gone down with it. For a moment they stood still, white as sheets, frozen with horror at the tragedy; then, shrieking at the tops of their voices, they started on a frantic run up through the woods, never pausing as they crossed the main road to glance the way of the bridge. Anne, clinging desperately to her precarious foothold, saw their flying forms and heard their shrieks. Help would soon come, but meanwhile her position was a very uncomfortable one. The minutes passed by, each seeming an hour to the unfortunate lily maid. Why didn t somebody come? Where had the girls gone? Suppose they had fainted, one and all! 「fainted」 まだ、気絶することにロマンチックなあこがれがあるのでしょうか Suppose nobody ever came! Suppose she grew so tired and cramped that she could hold on no longer! Anne looked at the wicked green depths below her, wavering with long, oily shadows, and shivered. Her imagination began to suggest all manner of gruesome possibilities to her. Then, just as she thought she really could not endure the ache in her arms and wrists another moment, Gilbert Blythe came rowing under the bridge in Harmon Andrews s dory! 「dory」松本訳注第28章(18) p. 515参照 Gilbert glanced up and, much to his amazement, beheld a little white scornful face looking down upon him with big, frightened but also scornful gray eyes. 「behold」 [雅]見る。芝居じみている。ギルバートが、なので、意味あがある、のかも "Anne Shirley! How on earth did you get there?" he exclaimed. Without waiting for an answer he pulled close to the pile and extended his hand. There was no help for it; Anne, clinging to Gilbert Blythe s hand, scrambled down into the dory, where she sat, drabbled and furious, in the stern with her arms full of dripping shawl and wet crepe. It was certainly extremely difficult to be dignified under the circumstances! "What has happened, Anne?" asked Gilbert, taking up his oars. "We were playing Elaine" explained Anne frigidly, without even looking at her rescuer, "and I had to drift down to Camelot in the barge--I mean the flat. The flat began to leak and I climbed out on the pile. The girls went for help. Will you be kind enough to row me to the landing?" Gilbert obligingly rowed to the landing and Anne, 「obligingly」 disdaining assistance, sprang nimbly on shore. "I m very much obliged to you," 「obliged」 上に呼応。「I m very much obliged to you」堅い感謝のコトバ she said haughtily as she turned away. But Gilbert had also sprung from the boat and now laid a detaining hand on her arm. "Anne," he said hurriedly, "look here. Can t we be good friends? I m awfully sorry I made fun of your hair that time. I didn t mean to vex you and I only meant it for a joke. Besides, it s so long ago. I think your hair is awfully pretty now--honest I do. 「awfully pretty」 最大限に褒めてる！ Let s be friends." For a moment Anne hesitated. She had an odd, newly awakened consciousness under all her outraged dignity that the half-shy, half-eager expression in Gilbert s hazel eyes was something that was very good to see. Her heart gave a quick, queer little beat. But the bitterness of her old grievance promptly stiffened up her wavering determination. That scene of two years before flashed back into her recollection as vividly as if it had taken place yesterday. Gilbert had called her "carrots" and had brought about her disgrace before the whole school. Her resentment, which to other and older people might be as laughable as its cause, was in no whit allayed and softened by time seemingly. She hated Gilbert Blythe! She would never forgive him! "No," she said coldly, "I shall never be friends with you, Gilbert Blythe; and I don t want to be!" "All right!" Gilbert sprang into his skiff with an angry color in his cheeks. 「skiff」 さっきはdoryと書いてたのに…… "I ll never ask you to be friends again, Anne Shirley. And I don t care either!" He pulled away with swift defiant strokes, and Anne went up the steep, ferny little path under the maples. She held her head very high, but she was conscious of an odd feeling of regret. She almost wished she had answered Gilbert differently. Of course, he had insulted her terribly, but still--! Altogether, Anne rather thought it would be a relief to sit down and have a good cry. She was really quite unstrung, for the reaction from her fright and cramped clinging was making itself felt. Halfway up the path she met Jane and Diana rushing back to the pond in a state narrowly removed from positive frenzy. They had found nobody at Orchard Slope, both Mr. and Mrs. Barry being away. Here Ruby Gillis had succumbed to hysterics, and was left to recover from them as best she might, while Jane and Diana flew through the Haunted Wood and across the brook to Green Gables. There they had found nobody either, for Marilla had gone to Carmody and Matthew was making hay in the back field. "Oh, Anne," gasped Diana, fairly falling on the former s neck and weeping with relief and delight, "oh, Anne--we thought--you were--drowned--and we felt like murderers--because we had made--you be--Elaine. And Ruby is in hysterics--oh, Anne, how did you escape?" "I climbed up on one of the piles," explained Anne wearily, "and Gilbert Blythe came along in Mr. Andrews s dory and brought me to land." "Oh, Anne, how splendid of him! Why, it s so romantic!" said Jane, 「it s so romantic!」アヴォンリーにもあるのです finding breath enough for utterance at last. "Of course you ll speak to him after this." "Of course I won t," flashed Anne, with a momentary return of her old spirit. "And I don t want ever to hear the word `romantic again, Jane Andrews. I m awfully sorry you were so frightened, girls. It is all my fault. I feel sure I was born under an unlucky star. Everything I do gets me or my dearest friends into a scrape. We ve gone and lost your father s flat, Diana, and I have a presentiment that we ll not be allowed to row on the pond any more." Anne s presentiment proved more trustworthy than presentiments are apt to do. Great was the consternation in the Barry and Cuthbert households when the events of the afternoon became known. "Will you ever have any sense, Anne?" groaned Marilla. "Oh, yes, I think I will, Marilla," returned Anne optimistically. A good cry, indulged in the grateful solitude of the east gable, had soothed her nerves and restored her to her wonted cheerfulness. "I think my prospects of becoming sensible are brighter now than ever." "I don t see how," said Marilla. "Well," explained Anne, "I ve learned a new and valuable lesson today. Ever since I came to Green Gables I ve been making mistakes, and each mistake has helped to cure me of some great shortcoming. The affair of the amethyst brooch cured me of meddling with things that didn t belong to me. The Haunted Wood mistake cured me of letting my imagination run away with me. The liniment cake mistake cured me of carelessness in cooking. Dyeing my hair cured me of vanity. I never think about my hair and nose now--at least, very seldom. And today s mistake is going to cure me of being too romantic. I have come to the conclusion that it is no use trying to be romantic in Avonlea. It was probably easy enough in towered Camelot hundreds of years ago, 「towered Camelot」松本訳注第28章(19) p. 515参照 but romance is not appreciated now. I feel quite sure that you will soon see a great improvement in me in this respect, Marilla." "I m sure I hope so," said Marilla skeptically. But Matthew, who had been sitting mutely in his corner, laid a hand on Anne s shoulder when Marilla had gone out. "Don t give up all your romance, Anne," he whispered shyly, "a little of it is a good thing--not too much, of course--but keep a little of it, Anne, keep a little of it." CHAPTER XXVII UP CHAPTER XXIX 2007年6月14日 2007年6月17日（リンクのミスを修正） 今日 - | 昨日 - | Total - since 14 June 2007 last update 2007-06-17 17 37 34 (Sun)
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オランダにおける特別支援教育(オランダでは特殊教育)のカテゴリーとして用いられる。 Cluster 1 visueel gehandicapte kinderen of meervoudig gehandicapte kinderen met een visuele handicap Cluster 2 dove of slechthorende kinderen, kinderen met ernstige communicatiemoeilijkheden of meervoudig gehandicapte kinderen die één van deze handicaps hebben Cluster 3 lichamelijk gehandicapte kinderen, zeer moeilijk lerende kinderen (ZMLK) en langdurig zieke kinderen met een lichamelijke handicap, of meervoudig gehandicapte kinderen die één van deze handicaps hebben Cluster 4 zeer moeilijk opvoedbare kinderen (ZMOK), kinderen met gedrags- en/of psychiatrische stoornissen, zoals ADHD, PDD-NOS, ODD, CD (Antisociale gedragsstoornis), klassiek autisme, Gilles de la Tourette, hechtingsproblematiek. Indicatie [bewerken] Een leerling die vanwege zijn beperking in aanmerking wil komen voor speciaal onderwijs heeft daarvoor een indicatie nodig. Een indicatie dient aangevraagd te worden door de ouders bij een Commissie voor indicatiestelling (CVI) van de betreffende cluster. Als een indicatie voor speciaal onderwijs is verleend, geldt die indicatie ook als toekenning van een rugzakje. Speciaal onderwijs op reguliere scholen [bewerken] Wanneer de indicatie voor het speciaal onderwijs is verleend, kunnen ouders er toch voor kiezen hun kind op de reguliere basisschool, de school voor speciaal basisonderwijs (SBO) of de reguliere middelbare school te houden. De extra kosten die hiervoor nodig zijn, komen uit het rugzakje. 1rightarrow.png zie verder het artikel ambulante begeleiding. Speciaal Basisonderwijs (SBO) [bewerken] Een aparte categorie in het Nederlands onderwijs vormt het speciaal basisonderwijs. Wettelijk gezien is dit geen speciaal onderwijs maar regulier onderwijs. Tot 1998 stond deze vorm van onderwijs bekend als scholen voor kinderen met leer- en gedragsproblemen, onderverdeeld in Kinderen met leer- en opvoedingsmoeilijkheden (LOM-onderwijs) Moeilijk Lerende Kinderen (MLK-onderwijs) In hun ontwikkeling bedreigde kleuters (IOBK) Tegenwoordig wordt er niet meer gesproken over de bovenstaande indeling. In het algemeen wordt gezegd, dat kinderen met een betrekkelijk laag of laag intelligentieniveau en kinderen die een leerachterstand hebben, naar het speciaal basisonderwijs (sbo) gaan. Deze groepen kinderen vallen hiermee onder de Wet op het Primair Onderwijs (WPO), die de regelgeving voor regulier en speciaal basisonderwijs behandelt. Het speciaal basisonderwijs valt niet onder de wet speciaal onderwijs , maar is in feite een speciale vorm van onderwijs voor kinderen die het op een reguliere basisschool niet redden. Het leerrendement blijft achter en vaak gaat dat gepaard met een sterk verminderd welbevinden. Kinderen op sbo-scholen dienen na het verlaten van deze school dezelfde basiskennis behaald te hebben als kinderen die op een gewone basisschool gezeten hebben, maar ze mogen daar wel langer over doen. Uitlopen kan tot 14 jaar. Voordat een kind met een leerprobleem of leerstoornis op een sbo-school geplaatst wordt, hebben ouders en kind een lang traject te gaan De leerkracht op de basisschool van het kind moet eerst het kind aangemeld hebben bij de interne begeleider (ib er) van de eigen school. Samen stellen ze een handelingsplan op om te zien of het op de eigen basisschool kan blijven. De ouders moeten met dit handelingsplan instemmen. Als blijkt dat het probleem te groot voor de basisschool is, wordt het kind door de ib er aangemeld bij het zorgcentrum van het samenwerkingsverband van basisscholen en sbo-scholen waartoe de school van het kind behoort. Vanuit dit zorgcentrum kan ondersteuning verleend worden aan de leerkracht van het kind. Wanneer ook dit niet afdoende blijkt te zijn, kunnen de ouders bij de Permanente Commissie Leerlingenzorg (PCL) een beschikking aanvragen. Ouders en school leveren gegevens aan (een onderwijskundig rapport, didactische resultaten, capaciteitenonderzoek) op grond waarvan de PCL al of niet een beschikking geeft. Alleen met een beschikking kunnen ouders hun kind aanmelden bij een sbo-school binnen het samenwerkingsverband waartoe de eigen basisschool behoort. De betreffende sbo-school bepaalt of en wanneer geplaatst wordt. Wil een ouder plaatsing realiseren bij een sbo-school van BUITEN het eigen samenwerkingsverband, dan is opnieuw een beschikking van die PCL vereist.
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RAID ON FORT PONTISSE -ポンティーゼ要塞強襲- 目次 ブリーフィング 全体マップ チケット設定 陣地 登場兵器 解説 史実 コメント ブリーフィング Am 12. August 1914 eröffnete das Mörser-Regimet 4 das Feuer auf Fort de Pontisse. Um 6.40 Uhr abends rollte Geschützdonner von seltsamer Wucht aus der Gegend von Mortier über belgisches Land. Die dicke Bertha hatte ihr erstes 16 Zentner schweres Geschoß hochauf zum Himmel geschleudert; aus 4000 m Höhe sauste es mit Geheul und unbeschreiblicher Gewalt auf die Beton-Decke des Forts Pontisse herunter, alles durchschlagend und zermalmend. Weithin zitterte die Erde, die so etwas noch nicht erlebte, wenngleich schon viele Kriege auf ihrem Rücken getobt hatten. 1914年8月12日、第4迫撃砲連隊はポンティーゼ要塞への砲撃を開始した。0640時にはベルギー郊外を抜けてモルティエ地方から侵攻を開始した。ディッケ・ベルタは16ポンドの砲弾を大空に放った。4,000mの高さから、うなり声をあげつつ強大な力で落下した砲弾はポンティーゼ要塞の上部に直撃し全てを粉砕した。これまで同じような経験をしたことのない人々は、度重なる戦争の結果生み出したものだと感じ取り、そして恐怖した。 全体マップ チケット設定 陣営 比率（COOP） 減少速度（COOP） 100% (-%) 10 (-) 120% (-%) 10 (-) 陣地 コンクエストモード 陣地名 初期陣営 価値 白旗時間 確保時間 補足 Old_Oak 中立 30 10 10 Fort_Pontisse_Main_Entrance 30 10 10 Luik_square 30 10 10 German_Base 0 - - ベルギー軍確保不可。 Chapel 中立 30 10 10 Belgian_HQ_Underground 0 - - ドイツ軍確保不可。 Observation_Post 30 10 10 Fort_Pontisse 30 10 10 登場兵器 コンクエストモード 陸上兵器 フォード T型ミネルヴァ装甲車 メルセデス シンプレックスエアハルト E-V/4 固定兵器 Mle1897 75mm野砲Mle1878 120mmカノン砲カノン砲武装トーチカ機関銃武装トーチカオチキス Mle1914砲隊鏡 FK96 n.A. 7.7cm野砲sFH13 15cm榴弾砲42cm榴弾砲 ディッケ・ベルタMG02MG08砲隊鏡maxim_machinegun（※登場せず） ピックアップキット 衛生兵キット 衛生兵キット 解説 未編集 史実 未編集 コメント コメントは最新20件が表示されます。 （過去のコメントを参照） 名前 コメント すべてのコメントを見る
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Homeopathy and the Medical Profession Philip Nichols? Poetry of Ben Jonson J G Nichols? Living with Capitalism Theo NicholsHuw Beynon? Herb Garden Design (The Garden Bookshelf) Ethne Clarke?Clive Nichols Herb Garden Design Ethne Clarke?Clive Nichols The Natural Gardener Val Bourne?Clive Nichols I Do H.J. Eysenck?Betty Nichols Kelly? McDonald's Blood Flow in Arteries Wilmer W. Nichols? Come on into My Tropical Garden Grace Nichols?Caroline Binch? Give Yourself a Hug (Messages) Grace Nichols?Kim Harley? Paint Me a Poem Grace Nichols? Everybody Got a Gift Grace Nichols? Everybody Got a Gift Grace Nichols? Anatomy of Inspiration Rosamond E. M. Harding?Robert B. M. Nichols? Photographing Plants Gardens Clive Nichols Leaf, Bark and Berry Ethne Clarke?Clive Nichols Photographing Plants Gardens Clive Nichols Gardening with Foliage, Form and Texture Ethne Clarke?Clive Nichols Food Drying at Home Naomi Nichols? Disabled Philip Nichols? Simply Scrumptious Microwaving M.A.F. 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? 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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? 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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?