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https://w.atwiki.jp/oper/pages/2700.html
序曲 第1場~第6場 省略 第7場 フランク、ブッフ ヘルツ夫妻 【ヘルツ】 ここで私は妻を紹介できる喜びを感じております 彼女は少しばかりアリアをあなたに声のサンプルとしてお聞かせする準備ができております 【フランク】 あなたは私の限りない喜びとなるでしょう。 Nr. 1 - アリエッタ 【マダム・ヘルツ】 別れの時の鐘が鳴る 残酷に私たちを引き離す どうして私は生きて行きましょう おおダモン! あなたなしで! 私は、あなたと一緒に行きたい 霊魂となってあなたのおそばに あなたの周りを漂いながら あなたは! - - おそらく永遠に あなたは私を忘れてしまうのよ! いいえ 違うわ どうして私はそんなこと考えるの! あなたが不実だなんて 決してあり得ない ひとつの心が 別れに苦しんでいるのに それが浮気など知るはずがないわ どこへ運命がそれを連れて行こうと 決して切れないのよ この固く結ばれた絆は 【フランク】 神だ!これは比類ない!私はあなたのものです 限りない喜びに結び付けられて マダム! (マダム・ヘルツの手にキスする) 【ヘルツ】 (妻の手を彼から引き離して) 失礼 ミスター・フランク あなたは大変なご賞賛を頂いてますね!このように申し上げるのも何ですが 私の妻の才能にご満足ですか? 【フランク】 誰が否定できましょうか? 【ヘルツ】 さて それではあなたは我々のキャラも高くはないですな 私の妻に週16ターラーでも なぜなら私はすでに14ターラー頂けることになっているのですからな 【フランク】 まあいいじゃないですか 【ブッフ】 それで行きましょう 第8場 前場の人物 マドモワゼル・ジルバークランク 【マドモワゼル・ジルバークランク】 こんにちはフランクさん 聞くところによるとドイツのオペラを上演されるとか?私はその女性歌手として参加したくて参りましたのよ 私はマドモアゼル・ジルバークランクと申します お見知りおきを 評判はご存じかも知れませんわね - でも評判って時々見かけ倒しのことがありますから 私はロンドを歌ってみることにしますわ それであなたも耳でご判断頂けますでしょうから Nr. 2 - ロンド 【マドモワゼル・ジルバークランク】 すてきな若者よ!喜んで 私はあなたの愛をお受けしましょう あなたのやさしい眼差しの中に 私は自分の幸せを見つけることができるのだから 何も私には貴重なものはないわ あなたの心とあなたの手以上には 清らかな愛の炎に満たされて 私はこの心を証としてあなたにあげましょう だけど ああ!つらい苦しみが 私たちの愛に付きまとうなら あなたは友人を愛して返済する? お若い方 それを良く考えてね! 【フランク】 ブラボー!ブラボー!こんなすばらしい歌手は私の一座に特別の価値をきっともたらすでしょう 16ターラで留まって頂けますかな - - 【マドモワゼル・ジルバークランク】 すぐに頂けるのでしたら - 考えてみなくもありませんわよ 【ブッフ】 (そっとフランクに) でも毎週同じ額を払わなくちゃいけなくなるんですよ 第9場 前場の人物 フォーゲルザンク夫妻 【マダム・フォーゲルザンク】 あらフランクさん 私はとても光栄ですわ 私の夫をリストに加えて頂いて 【フランク】 ようこそ 歓迎します オペラ団の方も作りますから 仲良くお願いしますよ みなさん 【マドモワゼル・ジルバークランク】 私についてはトップレディですから文句は言いませんわ お望みなら何でもしますから でも教えて下さいますか いかほどマダムは貰われているのかを (マダム・ヘルツを指さして) ギャラを? 【フランク】 あなたと同じくらいですよ 【マドモワゼル・ジルバークランク】 それは私が知っておく必要がありますわ 【マダム・ヘルツ】 まさか私より多いなんてことはありませんわよね? 【ブッフ】 おお 仲良く! 【マドモワゼル・ジルバークランク】 (フランクに) じゃあプリマドンナには少なくとも私を選んで頂く必要がありまずわ 【マダム・ヘルツ】 それには異議ありです Nr. 3 - 三重唱 【マドモワゼル・ジルバークランク】 あたしがプリマドンナよ 【マダム・ヘルツ】 (嘲って) 私もそう思うわ あなたがそう考えてるなら 【マドモワゼル・ジルバークランク】 あなたはそれを否定することはできないわ! 【マダム・ヘルツ】 (嘲って) 私はそれを否定したりしません 【ムッシュー・フォーゲルザンク】 ねえ ちょっと言わせてくれよ! 【マドモワゼル・ジルバークランク】 あたしには誰も敵わないって 誰もが認めてるわよ 【マダム・ヘルツ】 (嘲って) 確かにね あなたに匹敵するようなのは 聞いたことも 見たこともないわ 【ムッシュー・フォーゲルザンク】 何をしたいんだ お互いを憤慨させて 自分の才能を誇ることで? それぞれに特別な美質があるのに 【マドモワゼル・ジルバークランク マダム・ヘルツ】 私を賞賛するわ 私を聞いた人は誰でも 【マダム・ヘルツ】 アダージョ!アダージョ! 【マドモワゼル・ジルバークランク】 アレグロ アレグリッシモ! 【ムッシュー・フォーゲルザンク】 ピアノ!ピアニッシモ! アーティストは他人を非難してはいけません それは芸術を侮辱する行為です 【マダム・ヘルツ】 いいわ!じゃあ芸術に敬意を表して 私は自分の主張を取り下げるわ 【マドモワゼル・ジルバークランク】 そのとおりね!芸術に敬意を表して 私もそうすることにしましょう 【ブッフ】 (皮肉っぽく) 万歳 団結よ! 最終場 前場の人物 マダム・ファイルとマダム・クローネ 【マダム・ファイル】 どういうことですか フランクさん 他の人には16ターラーを払って私だけ12ターラー?そんなの許せませんわ 私が最も高い給料を頂く必要があります だって私はすべての演目で必要とされるんですから 【アイラー】 (そっとフランクに) 彼女とだけ相談してくださいよ みんなに同額支払うことになる 【フランク】 (そっとマダム・ファイルに) まあ落ち着いてくださいよ 皆それぞれ独立した契約を結ばなくちゃならないんで 【マダム・ファイル】 だから私にも適用してちょうだいよ 【マダム・クローネとマダム・フォーゲルザンク】 これはどういうこと? 【マダム・ヘルツとマドモワゼル・ジルバークランク】 これは何なの? 【フランク】 私は劇団なんか作らんぞ こんなに厄介事が続くんじゃ 短い沈黙の後で 【マダム・クローネ】 フランクさん 私は芸術のために犠牲になりましょう 【マダム・フォーゲルザンク】 私は賞賛を控え目なものにしますわ 【マダム・ヘルツ】 わたしもそうします 【マドモワゼル・ジルバークランク】 私もそれで不足はありませんことよ 【ブッフ】 さてそれでは仲直りと致しましょう (傍白) また決裂するまでね フランクさん 幸運を祈りますよ この集団の中で 私は何も恐れちゃいません - 一流の俳優と一流の歌手が手に入ったんだから Nr. 4 - 終わりの歌 【マドモワゼル・ジルバークランク】 どんなアーティストも名誉を追い求め オンリーワンを目指すもの もしもその意気込みがなかったら すべての芸術は小さなものになる 【全員】 アーティストは努力しなければならない 常に優れたものであり続けることを けれど自分の優位性ばかり主張して 他人よりも優れたものと考えることは そのアーティストをつまらない者にする 【ムッシュー・フォーゲルザンク】 協調性こそ私が讃えるもの 他のいかなる美徳よりも なぜなら全体が好まれねばならぬのだから ただ単なる個人だけではなく 【全員】 アーティストは努力しなければならない… 【マダム・ヘルツ】 各々が自分の才能を発揮して 芸と 天分をバランスさせましょう その上で 聴衆に示して頂きましょう 誰が最大の賞賛に値するかを 【全員】 アーティストは努力しなければならない… 【ブッフ】 私はこれらの歌手の中では 明らかに第一ブッフォ歌手だ 私の名はブッフ - たったひとつの O を 私の名前に付け加えれば良い そうすれば議論の余地なく:ブッフォになる そして 私のようには 誰も歌えない 皆さんよくお分かりかね? 【全員】 アーティストは努力しなければならない… Ouvertüre SIEBENTER AUFTRITT Frank, Buff, Herr und Madame Herz. HERZ Hier hab ich das Vergnügen Ihnen meine Frau vorzustellen. Sie ist bereit Ihnen mit einer kleinen Arie eine Probe von Ihrer Stimme zu geben. FRANK Sie werden mir ein auserordentliches Vergnügen machen. Nr. 1 - Ariette MADAME HERZ Da schlägt des Abschieds Stunde Um grausam uns zu trennen; Wie werd ich leben können O Damon! ohne dich! Ich will dich begleiten Im Geist dir zur Seiten Schweben um dich! Und du! - - vielleicht auf ewig Vergisst dafür auf mich! Doch nein, wie fällt mir so was ein! Du kannst gewiss nicht treulos seyn. Ein Herz das so der Abschied kränket, Dem ist kein Wankelmuth bekannt Wohin es auch das Schicksal lenket! Nichts trennt das festgeknüpfte Band. FRANK Göttlich! unvergleichlich! ich bin Ihnen für das Vergnügen unendlich verbunden, Madame! er küsst Madame Herz die Hand HERZ der ihm seiner Frauen Hand wegnimmt Um Vergebung Herr Frank, Sie bewundern zu lebhaft! Ich mag das nicht gern leiden. Sie sind also mit dem Talent meiner Frau zufrieden? FRANK Wer würde das nicht seyn? HERZ Nun denn, so werden Sie auch unsre Foderung nicht zu hoch finden. Sie geben meiner Frau sechzehn Thaler die Woche, und mir, weil ichs schon eingegangen bin, vierzehn. FRANK Recht gerne. BUFF Wir steigen. ACHTER AUFTRITT Die Vorigen, Mademoiselle Silberklang. MADEMOISELLE SILBERKLANG Ihre Dienerinn Herr Frank. Sie errichten, wie ich höre, eine deutsche Oper? Ich will mich also bey Ihnen als Sängerinn melden. Ich bin Mademoiselle Silberklang, Sie müssen mich ohne Zweifel per ronommée kennen - Weil der Ruf aber oft betrüglich ist, so will ich Ihnen ein kleines Rondeau singen, damit Sie selbst urtheilen können. Nr. 2 - Rondo MADEMOISELLE SILBERKLANG Bester Jüngling! mit Entzücken Nehm ich deine Liebe an; Da in deinen holden Blicken Ich mein Glück entdecken kann. Nichts ist mir so werth und theuer Als dein Herz und deine Hand; Voll vom reinsten Liebes-Feuer Geb ich dir mein Herz zum Pfand. Aber, ach! wenn düstres Leiden Unsrer Liebe folgen soll, Lohnen diess der Liebe Freuden? Jüngling das bedenke wohl! FRANK Bravo! Bravo! Zwey so vortrefliche Sängerinnen müssen meiner Gesellschaft einen besondern Werth geben. Wenn Sie um Sechzehn Thaler bey mir bleiben wollen - - MADEMOISELLE SILBERKLANG Da haben sie meine Hand - Ich mache nicht viel Umstände. BUFF heimlich zu Frank Accordiren Sie zugleich, wie oft sie in einer Woche den Karthar haben will. NEUNTER AUFTRITT Vorige, Madame und Herr Vogelsang. MADAME VOGELSANG Hier Herr Frank hab ich die Ehre Ihnen meinen Mann aufzuführen. FRANK Willkommen, willkommen. O nun hab ich ja schon eine Oper beysammen. Nur Einigkeit bitt ich, meine Kinder. MADEMOISELLE SILBERKLANG Ueber mich werden Sie deshalb nicht klagen können, ich bin das beste Mädchen, ich thue alles, was man will. Sagen Sie mir, wie viel hat Madame auf Madame Herz zeigend Gage? FRANK So viel wie Sie. MADEMOISELLE SILBERKLANG Das hätt ich wissen sollen. MADAME HERZ Sie glauben doch wohl nicht mehr zu verdienen als ich? BUFF O Einigkeit! MADEMOISELLE SILBERKLANG zu Frank So müssen Sie wenigstens mich als erste Sängerinn annehmen. MADAME HERZ Dagegen protestir ich. Nr. 3 - Terzett MADEMOISELLE SILBERKLANG Ich bin die erste Sängerin. MADAME HERZ spöttisch Das glaub ich, ja nach Ihrem Sinn. MADEMOISELLE SILBERKLANG Das sollen Sie mir nicht bestreiten. MADAME HERZ spöttisch Ich will es ihnen nicht bestreiten. MONSIEUR VOGELSANG Ey! lassen Sie sich doch bedeuten. MADEMOISELLE SILBERKLANG Ich bin von keiner zu erreichen Das wird mir jeder eingestehn. MADAME HERZ spöttisch Gewiss ich habe ihres gleichen Noch nie gehört und nie gesehn. MONSIEUR VOGELSANG Was wollen Sie sich erst entrüsten, Mit einem leeren Vorzug brüsten, Ein jedes hat besondern Werth MADEMOISELLE SILBERKLANG, MADAME HERZ Mich lobt ein jeder der mich hört. MADAME HERZ Adagio! adagio! MADEMOISELLE SILBERKLANG Allegro! allegrissimo; MONSIEUR VOGELSANG Piano! Pianissimo! Kein Künstler muss den andern tadeln Es setzt die Kunst zu sehr her ab. MADAME HERZ Wohlan! nichts kann die Kunst mehr adeln Ich steh von meiner Fodrung ab. MADEMOISELLE SILBERKLANG Ganz recht! nichts kann die Kunst mehr adeln Ich stehe ebenfalls nun ab. BUFF ironisch Es lebe die Einigkeit! LETZTER AUFTRITT Die Vorigen, Eiler, Madame Pfeil und Madame Krone. MADAME PFEIL Was hab ich gehört, Herr Frank, Sie geben andern sechzehn Thaler, und mir nur zwölfe? da wird nichts draus. Ich muss die höchste Gagehaben; denn ich bin in allen Fächern zu brauchen. EILER heimlich zu Frank Gestehn Sie ihrs nur ein. Ich zahle ja so alles. FRANK heimlich zu Madame Pfeil Beruhigen Sie sich nur; Sie sollen einen Separat-Kontrakt haben. MADAME PFEIL So lass ichs gelten. MADAME KRONE UND MADAME VOGELSANG Was ist das? MADAME HERZ UND MADEMOISELLE SILBERKLANG Was ist das? FRANK Dass ich gar keine Gesellschaft errichten will; wenn ich gleich anfangs so viel Hinderdernisse finde. Nach einer kleinen Pause. MADAME KRONE Herr Frank, ich will der Kunst mein Intresse aufopfern. MADAME VOGELSANG Ich will mich am Beyfall schadlos halten. MADAME HERZ Ich auch. MADEMOISELLE SILBERKLANG Daran wird mirs auch nicht fehlen. BUFF Nun so wäre alles wieder in Ruhe. bey Seite Bis es wieder ausbricht. Herr Frank, ich wünsche Ihnen Glück zu ihrer Gesellschaft. Ich fürchte nichts - als dass sie lauter erste Aktrisen und erste Sängerinnen haben. Nr. 4 - Schlussgesang MADEMOISELLE SILBERKLANG Jeder Künstler strebt nach Ehre, Wünscht der einzige zu seyn; Und wenn dieser Trieb nicht wäre, Bliebe jede Kunst nur klein. ALLE Künstler müssen freylich streben Stets des Vorzugs werth zu seyn; Doch sich selbst den Vorzug geben, Ueber andre sich erheben, Macht den grössten Künstler klein. MONSIEUR VOGELSANG Einigkeit rühm ich vor allen Andern Tugenden uns an; Denn das Ganze muss gefallen Und nicht bloss ein einzler Mann. ALLE Künstler müssen freylich streben etc. MADAME HERZ Jedes leiste was ihm eigen, Halte Kunst, Natur, gleich werth; Lasst das Publikum dann zeigen Wem das grösste Lob gehört. ALLE Künstler müssen freylich streben etc. BUFF Ich bin hier unter diesen Sängern Der erste Buffo das ist klar; Ich heisse Buff - nur um ein O Brauch ich den Namen zu verlängern, So heiss ich ohne Streit Buffo. Und dass, wie ich, keins singen kann, Sieht man den Herren doch wohl an? ALLE Künstler müssen freylich streben. etc. この日本語テキストは、 クリエイティブ・コモンズ・ライセンス の下でライセンスされています。@ 藤井宏行 Mozart,Wolfgang Amadeus/Der Schauspieldirektor
https://w.atwiki.jp/elvis/pages/1963.html
How Are You Peeling? Foods with Moods (Scholastic Bookshelf) Scholastic Trade?Saxton FreymannJoost Elffers Food For Thought The Complete book of concepts for growing minds Arthur a Levine?Saxton FreymannJoost Elffers Food Play Chronicle BooksJoost ElffersSaxton Freymann The 48 Laws of Power Penguin USA (P)?Robert Greene?Joost Elffers Dog Food Arthur a Levine?Joost ElffersSaxton Freymann Baby Food Arthur a Levine?Joost ElffersSaxton Freymann Tangram 1,600 Ancient Chinese Puzzles (Evergreen Series) Taschen America Llc?Joost ElffersMark Gabor? Fast Food Arthur a Levine?Saxton FreymannJoost Elffers How Are You Peeling? 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Dr. Pompo's Nose Arthur a Levine?Saxton FreymannJoost Elffers Textile Designs Two Hundred Years of European and American Patterns for Printed Fabrics Organized by Motif, Style, Color, Layout, and Period 1,82 Harry N Abrams?Susan Meller?Joost ElffersTed Croner? Gus and Button Arthur a Levine?Saxton FreymannJoost Elffers Textile Designs Thames & Hudson Ltd?Susan Meller?Joost ElffersTed Croner? Baby Food Arthur a Levine?Saxton FreymannJoost Elffers Dog Food (New York Times Best Illustrated Books (Awards)) Arthur a Levine?Saxton FreymannJoost Elffers Play With Your Food Postcard Book Stewart Tabori & Chang?Joost ElffersSaxton Freymann The Art of Seduction Profile Books Ltd?Robert Greene?Joost Elffers Geschenkpapiere von Kuenstlern William Morris DuMont Reise Vlg., Koeln?William Morris?Joost Elffers Geschenkpapiere von Kuenstlern. Quilts. Die schoensten Motive amerikanischer Volkskunst DuMont Reise Vlg., Koeln?Joost. Elffers? Geschenkpapiere von Kuenstlern. M. C. Escher (1898 - 1972) DuMont Reise Vlg., Koeln?Maurits Cornelis Escher?Joost Elffers Geschenkpapiere von Kuenstlern der Wiener Werkstaette. ( Gegruendet 1903) DuMont Reise Vlg., Koeln?Joost Elffers Geschenkpapiere von Kuenstlern Japanische Ornamente von Kimonos aus dem 18. und 19. Jahrhundert DuMont Reise Vlg., Koeln?Joost. Elffers? DuMonts neues TANGRAM DuMont Reise Vlg., Koeln?Joost ElffersMike. Schuyt? DuMonts phantasievoller Ratgeber fuer vergnuegte Koeche. 'Die Radieschen- Maus im Kaeseloch' DuMont Reise Vlg., Koeln?Michael Schuyt?Joost ElffersSally Foy? Das Hexenspiel. Finger- Fadenspiele neu entdeckt DuMont Reise Vlg., Koeln?Joost ElffersMichael Schuyt?Hein Broos?Mirja Vries?Bab Westerveld? Textile Designs. Englischsprachige Originalausgabe DuMont Reise Vlg., Koeln?Susan Meller?Joost Elffers Geschenkpapiere von Kuenstlern. Jugendstil. Pflanzen- und Tiermotive DuMont Reise Vlg., Koeln?Johannes Marcus?Joost Elffers Die geheime Sprache der Beziehungen. 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CHAPTER XXV? UP CHAPTER XXVII CHAPTER XXVI The Story Club Is Formed 第26章 物語クラブの結成(松本訳) Junior Avonlea found it hard to settle down to humdrum existence again. アヴォンリーの学校の子供を「Junior Avonlea」と表現している To Anne in particular things seemed fearfully flat, stale, and unprofitable 「fearfully flat, stale, and unprofitable」松本訳注第26章(1) p. 507参照 after the goblet of excitement she had been sipping for weeks. 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. "I m positively certain, Diana, that life can never be quite the same again as it was in those olden days," she said mournfully, as if referring to a period of at least fifty years back. 「fifty years back」このころの50年前は、どんなだったろう。カナダは独立していないのはわかるのだけど "Perhaps after a while I ll get used to it, but I m afraid concerts spoil people for everyday life. I suppose that is why Marilla disapproves of them. Marilla is such a sensible woman. It must be a great deal better to be sensible; but still, I don t believe I d really want to be a sensible person, because they are so unromantic. Mrs. Lynde says there is no danger of my ever being one, but you can never tell. I feel just now that I may grow up to be sensible yet. But perhaps that is only because I m tired. I simply couldn t sleep last night for ever so long. I just lay awake and imagined the concert over and over again. That s one splendid thing about such affairs--it s so lovely to look back to them." Eventually, however, Avonlea school slipped back into its old groove and took up its old interests. 「slipped back into its old groove」grooveは、軌道(松本訳)、わだち、溝など。または、常道、きまり、慣習。slipを使うことで、溝に滑り落ちるように元に戻っている様子を表現しているのでしょうか。また、「slipped back」、「took up」と、落ちて上がる、のがコトバの上でも気持ちいいのかもしれません To be sure, the concert left traces. 「the concert left traces」、grooveに滑り落ちるように戻ったけれども、trace=跡は残した。土手を滑り落ちるときに残る滑り跡、を連想させる Ruby Gillis and Emma White, who had quarreled over a point of precedence in their platform seats, no longer sat at the same desk, and a promising friendship of three years was broken up. Josie Pye and Julia Bell did not "speak" for three months, because Josie Pye had told Bessie Wright that Julia Bell s bow 「bow」は、おじぎ。《バウ》のような発音。《ボウ》のような発音の蝶結びではない when she got up to recite made her think of a chicken jerking its head, and Bessie told Julia. 「bow」を蝶結びと勘違いして読んでいたら、ニワトリのトサカの話と思ってしまいました (^^; 。もしかしたら、ジュリア・ベルは頭にリボンを付けていて(前章に記述はありませんが)、それと引っかけているのかも、と自分を慰めたりして…… None of the Sloanes would have any dealings with the Bells, because the Bells had declared that the Sloanes had too much to do in the program, and the Sloanes had retorted that the Bells were not capable of doing the little they had to do properly. Finally, Charlie Sloane fought Moody Spurgeon MacPherson, because Moody Spurgeon had said that Anne Shirley put on airs about her recitations, and Moody Spurgeon was "licked"; consequently Moody Spurgeon s sister, Ella May, would not "speak" to Anne Shirley all the rest of the winter. エラ・メイはムーディー・スパージョンのsisiterとしかないけれども、こういう子供っぽいことをするのだから、また、アンの同級生グループにもいないことから、妹だとわかる With the exception of these trifling frictions, work in Miss Stacy s little kingdom went on with regularity and smoothness. 「Miss Stacy s little kingdom」アンの青春にも似た表現があったと思う「アンの小さな王国」(村岡訳ではこうだったような) The winter weeks slipped by. ここにも「slipped」。今度は雪を連想させる It was an unusually mild winter, with so little snow that Anne and Diana could go to school nearly every day by way of the Birch Path. On Anne s birthday they were tripping lightly down it, keeping eyes and ears alert amid all their chatter, for Miss Stacy had told them that they must soon write a composition on "A Winter s Walk in the Woods," and it behooved them to be observant. "Just think, Diana, I m thirteen years old today," remarked Anne in an awed voice. 「awed」畏敬の、って地の文でもbig word。アンの言葉に対する形容だけど "I can scarcely realize that I m in my teens. 「teens」松本訳注第26章(2) p. 508参照 When I woke this morning it seemed to me that everything must be different. You ve been thirteen for a month, so I suppose it doesn t seem such a novelty to you as it does to me. It makes life seem so much more interesting. In two more years I ll be really grown up. It s a great comfort to think that I ll be able to use big words then without being laughed at." 第31章で、マリラにあまりおしゃべりしなくなった、おおげさな言葉を使わなくなった "You don t chatter half as much as you used to, Anne, nor use half as many big words. What has come over you?" と言われるものの伏線になっている。CHAPTER XXXI、CHAPTER XXXI with impressionも参照 "Ruby Gillis says she means to have a beau as soon as she s fifteen," said Diana. "Ruby Gillis thinks of nothing but beaus," said Anne disdainfully. beauが複数になっているところが、アンのdisdainfully(軽蔑して)を表わしているのかも。「beaus」は、puffin books版では「beaux」となっている。beauxは、beauのフランス語の複数形。Gutenberg版はアメリカ英語化されているものを使っているためではないでしょうか。beauxは《ボ》と発音は単数形のbeauと同じになっちゃうのだけれど、aの有無で話し言葉でもわかるはず "She s actually delighted when anyone writes her name up in a take-notice for all she pretends to be so mad. But I m afraid that is an uncharitable speech. Mrs. Allan says we should never make uncharitable speeches; 「uncharitable」演芸会のタブローでアンが演じたのはHope(希望:松本訳)であって、Charity(愛 松本訳、または、慈愛)ではない(CHAPTER XXIV、CHAPTER XXIV with impression?)。英語で読んでくるとここで気付く but they do slip out so often before you think, don t they? ここにも「slip」。この章はslipがキーワードのひとつかも (^^) I simply can t talk about Josie Pye without making an uncharitable speech, so I never mention her at all. You may have noticed that. I m trying to be as much like Mrs. Allan as I possibly can, for I think she s perfect. Mr. Allan thinks so too. Mrs. Lynde says he just worships the ground she treads on and she doesn t really think it right for a minister to set his affections so much on a mortal being. But then, Diana, even ministers are human and have their besetting sins just like everybody else. 「besetting sins」松本訳注第26章(3) p. 508参照。 sinは原罪 I had such an interesting talk with Mrs. Allan about besetting sins last Sunday afternoon. There are just a few things it s proper to talk about on Sundays and that is one of them. My besetting sin is imagining too much and forgetting my duties. I m striving very hard to overcome it and now that I m really thirteen perhaps I ll get on better." "In four more years we ll be able to put our hair up," said Diana. "Alice Bell is only sixteen and she is wearing hers up, but I think that s ridiculous. I shall wait until I m seventeen." "If I had Alice Bell s crooked nose," said Anne decidedly, 「crooked」には、曲った、の意味のほかに、不正直な、という意味もある。アリス・ベルが髪を大人のように結い上げることが、年齢に対して不正直であるとのことからこのコトバが連想され、コトバがコトバを紡ぎ出していく会話になっている "I wouldn t--but there! I won t say what I was going to because it was extremely uncharitable. Besides, I was comparing it with my own nose and that s vanity. I m afraid I think too much about my nose ever since I heard that compliment about it long ago. It really is a great comfort to me. Oh, Diana, look, there s a rabbit. That s something to remember for our woods composition. I really think the woods are just as lovely in winter as in summer. They re so white and still, as if they were asleep and dreaming pretty dreams." "I won t mind writing that composition when its time comes," sighed Diana. "I can manage to write about the woods, but the one we re to hand in Monday is terrible. The idea of Miss Stacy telling us to write a story out of our own heads!" "Why, it s as easy as wink," said Anne. "It s easy for you because you have an imagination," retorted Diana, "but what would you do if you had been born without one? I suppose you have your composition all done?" Anne nodded, trying hard not to look virtuously complacent and failing miserably. "I wrote it last Monday evening. It s called `The Jealous Rival; or In Death Not Divided. I read it to Marilla and she said it was stuff and nonsense. Then I read it to Matthew and he said it was fine. That is the kind of critic I like. It s a sad, sweet story. I just cried like a child while I was writing it. 「I just cried like a child」13歳になったご利益はなかったのかも。childのニュアンスがよくわからない。松本訳では「わんわん泣いちゃったわ」 It s about two beautiful maidens called Cordelia Montmorency and Geraldine Seymour who lived in the same village and were devotedly attached to each other. 「Cordelia Montmorency」松本訳注第26章(4) p. 508参照。 「Geraldine Seymour」松本訳注第26章(5) p. 508参照 Cordelia was a regal brunette with a coronet of midnight hair and duskly flashing eyes. 「coronet」松本訳注第26章(6) p. 509参照 Geraldine was a queenly blonde with hair like spun gold and velvety purple eyes." [「purple eyes」紫色の目。アンは自分の緑色の目の代りに、想像のうえでは violet の目を持っていると考え(てい)たことがある(CHAPTER II with impression Matthew Cuthbert is surprised) 19 August 2007 追記 "I never saw anybody with purple eyes," said Diana dubiously. "Neither did I. I just imagined them. I wanted something out of the common. Geraldine had an alabaster brow too. I ve found out what an alabaster brow is. 「I ve found out what an alabaster brow is. 」松本訳注第26章(7) p. 509参照。 CHAPTER II、CHAPTER II with impressionも参照 That is one of the advantages of being thirteen. You know so much more than you did when you were only twelve." "Well, what became of Cordelia and Geraldine?" asked Diana, who was beginning to feel rather interested in their fate. "They grew in beauty side by side until they were sixteen. Then Bertram DeVere came to their native village 「Bertram DeVere」松本訳注第26章(8) p. 509参照 and fell in love with the fair Geraldine. 「fair」は金髪の、金髪で色白の。公正な、の意味も含めているのかもしれない He saved her life when her horse ran away with her in a carriage, and she fainted in his arms and he carried her home three miles; because, you understand, the carriage was all smashed up. I found it rather hard to imagine the proposal because I had no experience to go by. I asked Ruby Gillis if she knew anything about how men proposed because I thought she d likely be an authority on the subject, having so many sisters married. Ruby told me she was hid in the hall pantry when Malcolm Andres proposed to her sister Susan. She said Malcolm told Susan that his dad had given him the farm in his own name and then said, `What do you say, darling pet, if we get hitched this fall? 「pet」お気に入りの物、人。動物のペット以外の意味もある And Susan said, `Yes--no--I don t know--let me see --and there they were, engaged as quick as that. But I didn t think that sort of a proposal was a very romantic one, so in the end I had to imagine it out as well as I could. I made it very flowery and poetical and Bertram went on his knees, although Ruby Gillis says it isn t done nowadays. Geraldine accepted him in a speech a page long. 「a speech a page long」アンのおしゃべりは、more than a page longで、改行なしで1ページ以上あるのを読者は知っているから、ここでも笑ってしまう I can tell you I took a lot of trouble with that speech. I rewrote it five times and I look upon it as my masterpiece. Bertram gave her a diamond ring and a ruby necklace 「ruby necklace」ちょっと前にルビー・ギリスが出てきたから、ルビーの首飾りなのかどうかは不明 and told her they would go to Europe for a wedding tour, for he was immensely wealthy. But then, alas, shadows began to darken over their path. Cordelia was secretly in love with Bertram herself and when Geraldine told her about the engagement she was simply furious, especially when she saw the necklace and the diamond ring. All her affection for Geraldine turned to bitter hate and she vowed that she should never marry Bertram. But she pretended to be Geraldine s friend the same as ever. One evening they were standing on the bridge over a rushing turbulent stream and Cordelia, thinking they were alone, pushed Geraldine over the brink with a wild, mocking, `Ha, ha, ha. But Bertram saw it all and he at once plunged into the current, exclaiming, `I will save thee, my peerless Geraldine. 文語調で叫んでいる。松本訳も文語調 But alas, he had forgotten he couldn t swim, and they were both drowned, clasped in each other s arms. Their bodies were washed ashore soon afterwards. They were buried in the one grave and their funeral was most imposing, Diana. It s so much more romantic to end a story up with a funeral than a wedding. As for Cordelia, she went insane with remorse and was shut up in a lunatic asylum. I thought that was a poetical retribution for her crime." 「retribution」は悪行に対する報い。または、天罰 "How perfectly lovely!" sighed Diana, who belonged to Matthew s school of critics. 「school」は学派や派、と訳すことが多いのでしょうけども、日本語の学派から連想されるほど堅いコトバではないはず。とはいえ漢字の「派」を使わざるをえないところで、すでに堅い感じを漂わせてしまうのは仕方がないのかもしれません "I don t see how you can make up such thrilling things out of your own head, Anne. I wish my imagination was as good as yours." "It would be if you d only cultivate it," said Anne cheeringly. "I ve just thought of a plan, Diana. Let you and me have a story club all our own and write stories for practice. I ll help you along until you can do them by yourself. You ought to cultivate your imagination, you know. Miss Stacy says so. Only we must take the right way. I told her about the Haunted Wood, but she said we went the wrong way about it in that." This was how the story club came into existence. It was limited to Diana and Anne at first, but soon it was extended to include Jane Andrews and Ruby Gillis and one or two others who felt that their imaginations needed cultivating. No boys were allowed in it--although Ruby Gillis opined that their admission would make it more exciting--and each member had to produce one story a week. "It s extremely interesting," Anne told Marilla. "Each girl has to read her story out loud and then we talk it over. We are going to keep them all sacredly and have them to read to our descendants. We each write under a nom-de-plume. 「sacredly」「nom-de-plume」とか、big wordsで笑えるところ Mine is Rosamond Montmorency. All the girls do pretty well. Ruby Gillis is rather sentimental. She puts too much lovemaking into her stories and you know too much is worse than too little. Jane never puts any because she says it makes her feel so silly when she had to read it out loud. Jane s stories are extremely sensible. Then Diana puts too many murders into hers. She says most of the time she doesn t know what to do with the people so she kills them off to get rid of them. I mostly always have to tell them what to write about, but that isn t hard for I ve millions of ideas." "I think this story-writing business is the foolishest yet," scoffed Marilla. "You ll get a pack of nonsense into your heads and waste time that should be put on your lessons. Reading stories is bad enough but writing them is worse." 「Reading stories is bad enough but writing them is worse.」松本訳注第26章(9) p. 509参照 日本でも、漢詩が格上で、物語は格下。和歌は物語よりも上だけれども、漢詩より格下。平安時代から江戸時代にかけては "But we re so careful to put a moral into them all, Marilla," explained Anne. "I insist upon that. All the good people are rewarded and all the bad ones are suitably punished. 「reward」は善いことに対する報い。先にコーデリアの受けた報い「retribution」とは違う I m sure that must have a wholesome effect. The moral is the great thing. Mr. Allan says so. 「Mr. Allan says so.」松本訳では「アラン夫人」となっていますが(p.305)、「アラン牧師」の誤植だと思います。MrとMrsの誤植ではないと思われる理由は、次の文が「to him and Mrs. Allan」で、先に男の人であるMr Allanが述べられていることが明らかだからです I read one of my stories to him and Mrs. Allan and they both agreed that the moral was excellent. Only they laughed in the wrong places. I like it better when people cry. Jane and Ruby almost always cry when I come to the pathetic parts. Diana wrote her Aunt Josephine about our club and her Aunt Josephine wrote back that we were to send her some of our stories. So we copied out four of our very best and sent them. Miss Josephine Barry wrote back that she had never read anything so amusing in her life. That kind of puzzled us because the stories were all very pathetic and almost everybody died. But I m glad Miss Barry liked them. It shows our club is doing some good in the world. Mrs. Allan says that ought to be our object in everything. I do really try to make it my object but I forget so often when I m having fun. I hope I shall be a little like Mrs. Allan when I grow up. Do you think there is any prospect of it, Marilla?" "I shouldn t say there was a great deal" was Marilla s encouraging answer. "I m sure Mrs. Allan was never such a silly, forgetful little girl as you are." "No; but she wasn t always so good as she is now either," said Anne seriously. "She told me so herself--that is, she said she was a dreadful mischief when she was a girl and was always getting into scrapes. I felt so encouraged when I heard that. Is it very wicked of me, Marilla, to feel encouraged when I hear that other people have been bad and mischievous? Mrs. Lynde says it is. Mrs. Lynde says she always feels shocked when she hears of anyone ever having been naughty, no matter how small they were. Mrs. Lynde says she once heard a minister confess that when he was a boy he stole a strawberry tart out of his aunt s pantry 「he stole a strawberry tart」松本訳注第26章(10) p. 510参照 and she never had any respect for that minister again. Now, I wouldn t have felt that way. I d have thought that it was real noble of him to confess it, and I d have thought what an encouraging thing it would be for small boys nowadays who do naughty things and are sorry for them to know that perhaps they may grow up to be ministers in spite of it. That s how I d feel, Marilla." "The way I feel at present, Anne," said Marilla, "is that it s high time you had those dishes washed. You ve taken half an hour longer than you should with all your chattering. Learn to work first and talk afterwards." CHAPTER XXV? UP CHAPTER XXVII 2007年6月10日 2007年8月19日 追記 今日 - | 昨日 - | Total - since 10 June 2007 last update 2007-08-19 21 24 47 (Sun)
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このテンプレはポリウト方式で作成されています。 こちらの役名一覧に和訳を記載して管理人までお知らせください。 ATTO PRIMO 1. Ouverture Scena Prima (Il teatro rappresenta il Tempio di Minerva. S’apre la scena al suono d’una sinfonia bellicosa; tra l’armonia della quale si ode uno strepito di armi tra la scena, di gente che si battono Entra Agilea con seguito di damigelle) 2. Recitativo ▼AGILEA▲ Sia qual vuole il mio fato, io qui l’attendo. Pallade a te ricorro Tu quella Diva sei, che prender deve cura di nostra sorte. Scena Seconda 3. Recitativo ▼AGILEA▲ Clizia, son gli Ateniesi O’ pur la parte avversa, ch’alla vittoria inclina? M’affiligge il tuo silenzio ▼CLIZIA▲ Dhe’ perdona Agilea, Perdona al mio timore, che in possesso del core rende muta la lingua. Temevan gli occhi miei Rimirar tante stragi; Onde dirti non posso Altro ch’il tutelare Nume di mia Salvezza, Teseo sol fu, che mi diè campo di qui salvarmi. ▼AGILEA▲ Fra le strida, e le stragi Anch’ei m’ha qui condotta; e il suo coraggio, al piede il passo aperse, fra due schiere di morti, e di feriti. Ogn’un l’ha ben veduto Con qual ardor guerriero Corse al periglio, ed a morir s’espose Facile, è a’ un vago Eroe, di polve e sangue carco, un magnanimo cor prender al varco. 3b. Aria de Agilea E’ pur bello in’ nobil core Di racchiudere un’amore, ch’ ha principio dal valor; Tal appunto, è quell’affetto, che ritengo nel mio petto, E ch’eterno avrò nel cor. E’ pur bello, (bis) Scena Terza (Entra Arcane) 4. Recitativo ▼AGILEA▲ Ora svelaci Arcane, Qual è il fato di Atene? ▼ARCANE▲ Ostinata è la pugna Orrida e sanguinosa Ma la sorte dubbiosa Di Comando Real quivi men venni Per aggiornarlo poi se d’uopo fosse Ad arrecarti soccorso Ed in tanto scompiglio altro timor non ha che il tuo periglio. ▼AGILEA▲ E Teseo è con il Re? ▼ARCANE▲ Di più forti nemici Rompe ognor lo stuolo E tutte intrise di sangue Son le vie di dove scorre Un nembo ancor di strage non lo copre Ma nol ritiene ▼AGILEA▲ Oh Dei! Ah ch’il timor disvela i sensi miei. Io parto o Clizia tu procura intanto Ch’al capo Arcan’ si porte Di Teseo a risaper qual sia la sorte 5. Aria de Agilea Deh serbate o giusti Dei Quella vita per cui vivo O pria fatemi morir; che più viver non saprei se di vita fosse privo chi può sol farmi gioir. Deh serbate, (bis) Scena Quarta (Clizia ed Arcane) 6. Recitativo ▼CLIZIA▲ Parte Agilea per venerar la Dea Or da te bramo, Arcane, saper quanto per me tu senta amore; ▼ARCANE▲ Puoi dubitar, d’un così fido core? 7. Aria Clizia ▼CLIZIA▲ Ti credo sì ben mio Ma temo d’ingannarmi, Fidandomi di te; Tu puoi cangiar desio Per altra abbandonarmi, e allor, che fia di me? Ti credo, etc. 8. Recitativo ▼ARCANE▲ Comanda dunque o bella Un amante Fedele, e allor vedrai Quanto t’adori ed ami ▼CLIZIA▲ Se tua al fin mi brami In questo istante vanne La dove fulmina Teseo il brando; E fin ch’egli non sia O Vincitore, o estinto a me non riedi. ▼ARCANE▲ E perché a suo favor, tanto mi chiedi? ▼CLIZIA▲ Vanne, non più se l’amor mio tu vuoi ▼ARCANE▲ Gelosia mi tormenta. 9. Aria Arcane Ah cruda Gelosia Martoro porti al sen. Già vedo ch’il tuo amore Spento è per me nel core, Ne splende più seren. Ah Cruda, etc. 10. Recitativo ▼CLIZIA▲ Dunque all’affetto mio, fede non presti? ▼ARCANE▲ Sì, ma convien ch’io resti Vuole il Re di te prenda ogni Cura. ▼CLIZIA▲ D’Atene, non lungi dalle Mura, Il nemico trascorre Ognuno all’armi corre; tu sol qui neghittoso resterai? ▼ARCANE▲ (a parte) Sospetto assai mi dà tanta premura ▼CLIZIA▲ Amo il Valor, la Gelosia disdegno S’amante tua mi vuoi, ciò ne sia il pegno. ▼ARCANE▲ Per non spiacerti al fin bell’idol mio Pronto a far quanto brami, io sono, addio. 11. Duetto Arcane e Clizia ▼CLIZIA▲ Addio, mio caro bene ▼ARCANE▲ Addio, dolce mia vita Io parto ▼CLIZIA▲ Or vanne ▼ARCANE E CLIZIA▲ Addio ▼ARCANE▲ Parto ma parto in pene Che teco resta ognor Questo mio cor. ▼CLIZIA▲ Breve sia la partita poi farò pago allor Il tuo desio. Addio, etc. Scena Quinta (Egeo, ed Agilea, e seguito d’ambedue) 12. Aria Egeo ▼EGEO▲ Serenatevi o Luci belle Ch’ora è tempo di gioir Già fugarono amiche stelle Ogni Nube di Martir Serenatevi… etc. 12 b. Recitativo Egeo Vinti sono i rubelli Svenati i seduttori E le vane speranze, in tutto estinte Piante ha il Cielo in noi, grazie distinte. 13. Recitativo ▼EGEO▲ Or ch’affermato ho il soglio Con la forza dell’armi Teco a parte lo voglio E coi sponsali tuoi, desio bearmi. ▼AGILEA▲ Con me signor? ▼EGEO▲ Sì, con te Tu sarai la mia Regina, ed io il tuo Re. ▼AGILEA▲ Sire, Dà si ch’invidia Parca Tolsemi il genitore Ospite vostra fui; ora è dovere Per non essere ingrata Che quel glorioso crin cinto d’allori, Non come sposa, ma qual figlia onori. ▼EGEO▲ E’ importuno il rispetto Quando amor si richiede. ▼AGILEA▲ Ma signore, a Medea Voi già deste la fede! ▼EGEO▲ Lo so, che chi ha la sdegna Fulmina de suoi incanti L’ira vendicatrice, La sdegnata Medea; Con questi può armar i venti, Confonder la Natura, e gli Elementi; Manca lungi in Trizene Ascoso agli occhi altrui Feci nudrir di me porto ben degno, Sposo farà di lui, io fuor d’impegno. ▼AGILEA▲ Ma s’ambiziosa poi, il suo cordoglio Aquetare non potesse altro che il soglio? ▼EGEO▲ Troppo guardigna sei. S’armin pur contro di me le furie ultrici; S’armi Medea, S’armi l’Inferno; e s’armi Cerbero, Il Ciel, L’Abisso, i Venti e Pluto Se a magnanimo cor, dà forza amore, Morte non teme, ed incantati accenti; Ne cosa trovar sa che lo spaventi. (s’odono gridi di gioia dai Popoli di dentro la scena) ▼AGILEA▲ Sire, è tempo omai, che là ti porti Ove il popolo devoto in un’ raccolto Impaziente t’attende; Acciò ch’il guidi, a venerar nel Tempio La Dea, che dei nemici, ha fatto scempio. ▼EGEO▲ Men vado, o Core, e in tanto Pensa ch’Egeo per te si strugge in pianto 14. Aria Egeo Ricordati o bella, Che tu sol sei quella Per cui pena il cor; Se quanto vezzosa Tu fossi pietosa Saria Dolce Amor. Ricordati.. etc. Scena Sesta (Agilea sola) 15. Recitativo Agilea ▼AGILEA▲ Ah che sol per Teseo arde quest’alma; Del Talamo Real, non cura il petto, E non sente altro ardore, ch’il primo che fu acceso entro del core. Scaccerò dal mio seno, ogn’altro affetto; Ed avrà del mio amor solo la palma Teseo, l’amato bene; E dolci anche per lui saran le pene. 16. Aria Agilea M’adora l’idol mio Gode il mio core Fedel gli sono anch’io; Vivo contenta. Né vuò che de miei danni E dei sofferti affanni Il cor si penta. M’Adora l’idol… etc. ATTO PRIMO 1. Ouverture Scena Prima (Il teatro rappresenta il Tempio di Minerva. S’apre la scena al suono d’una sinfonia bellicosa; tra l’armonia della quale si ode uno strepito di armi tra la scena, di gente che si battono Entra Agilea con seguito di damigelle) 2. Recitativo AGILEA Sia qual vuole il mio fato, io qui l’attendo. Pallade a te ricorro Tu quella Diva sei, che prender deve cura di nostra sorte. Scena Seconda 3. Recitativo AGILEA Clizia, son gli Ateniesi O’ pur la parte avversa, ch’alla vittoria inclina? M’affiligge il tuo silenzio CLIZIA Dhe’ perdona Agilea, Perdona al mio timore, che in possesso del core rende muta la lingua. Temevan gli occhi miei Rimirar tante stragi; Onde dirti non posso Altro ch’il tutelare Nume di mia Salvezza, Teseo sol fu, che mi diè campo di qui salvarmi. AGILEA Fra le strida, e le stragi Anch’ei m’ha qui condotta; e il suo coraggio, al piede il passo aperse, fra due schiere di morti, e di feriti. Ogn’un l’ha ben veduto Con qual ardor guerriero Corse al periglio, ed a morir s’espose Facile, è a’ un vago Eroe, di polve e sangue carco, un magnanimo cor prender al varco. 3b. Aria de Agilea E’ pur bello in’ nobil core Di racchiudere un’amore, ch’ ha principio dal valor; Tal appunto, è quell’affetto, che ritengo nel mio petto, E ch’eterno avrò nel cor. E’ pur bello, (bis) Scena Terza (Entra Arcane) 4. Recitativo AGILEA Ora svelaci Arcane, Qual è il fato di Atene? ARCANE Ostinata è la pugna Orrida e sanguinosa Ma la sorte dubbiosa Di Comando Real quivi men venni Per aggiornarlo poi se d’uopo fosse Ad arrecarti soccorso Ed in tanto scompiglio altro timor non ha che il tuo periglio. AGILEA E Teseo è con il Re? ARCANE Di più forti nemici Rompe ognor lo stuolo E tutte intrise di sangue Son le vie di dove scorre Un nembo ancor di strage non lo copre Ma nol ritiene AGILEA Oh Dei! Ah ch’il timor disvela i sensi miei. Io parto o Clizia tu procura intanto Ch’al capo Arcan’ si porte Di Teseo a risaper qual sia la sorte 5. Aria de Agilea Deh serbate o giusti Dei Quella vita per cui vivo O pria fatemi morir; che più viver non saprei se di vita fosse privo chi può sol farmi gioir. Deh serbate, (bis) Scena Quarta (Clizia ed Arcane) 6. Recitativo CLIZIA Parte Agilea per venerar la Dea Or da te bramo, Arcane, saper quanto per me tu senta amore; ARCANE Puoi dubitar, d’un così fido core? 7. Aria Clizia CLIZIA Ti credo sì ben mio Ma temo d’ingannarmi, Fidandomi di te; Tu puoi cangiar desio Per altra abbandonarmi, e allor, che fia di me? Ti credo, etc. 8. Recitativo ARCANE Comanda dunque o bella Un amante Fedele, e allor vedrai Quanto t’adori ed ami CLIZIA Se tua al fin mi brami In questo istante vanne La dove fulmina Teseo il brando; E fin ch’egli non sia O Vincitore, o estinto a me non riedi. ARCANE E perché a suo favor, tanto mi chiedi? CLIZIA Vanne, non più se l’amor mio tu vuoi ARCANE Gelosia mi tormenta. 9. Aria Arcane Ah cruda Gelosia Martoro porti al sen. Già vedo ch’il tuo amore Spento è per me nel core, Ne splende più seren. Ah Cruda, etc. 10. Recitativo CLIZIA Dunque all’affetto mio, fede non presti? ARCANE Sì, ma convien ch’io resti Vuole il Re di te prenda ogni Cura. CLIZIA D’Atene, non lungi dalle Mura, Il nemico trascorre Ognuno all’armi corre; tu sol qui neghittoso resterai? ARCANE (a parte) Sospetto assai mi dà tanta premura CLIZIA Amo il Valor, la Gelosia disdegno S’amante tua mi vuoi, ciò ne sia il pegno. ARCANE Per non spiacerti al fin bell’idol mio Pronto a far quanto brami, io sono, addio. 11. Duetto Arcane e Clizia CLIZIA Addio, mio caro bene ARCANE Addio, dolce mia vita Io parto CLIZIA Or vanne ARCANE E CLIZIA Addio ARCANE Parto ma parto in pene Che teco resta ognor Questo mio cor. CLIZIA Breve sia la partita poi farò pago allor Il tuo desio. Addio, etc. Scena Quinta (Egeo, ed Agilea, e seguito d’ambedue) 12. Aria Egeo EGEO Serenatevi o Luci belle Ch’ora è tempo di gioir Già fugarono amiche stelle Ogni Nube di Martir Serenatevi… etc. 12 b. Recitativo Egeo Vinti sono i rubelli Svenati i seduttori E le vane speranze, in tutto estinte Piante ha il Cielo in noi, grazie distinte. 13. Recitativo EGEO Or ch’affermato ho il soglio Con la forza dell’armi Teco a parte lo voglio E coi sponsali tuoi, desio bearmi. AGILEA Con me signor? EGEO Sì, con te Tu sarai la mia Regina, ed io il tuo Re. AGILEA Sire, Dà si ch’invidia Parca Tolsemi il genitore Ospite vostra fui; ora è dovere Per non essere ingrata Che quel glorioso crin cinto d’allori, Non come sposa, ma qual figlia onori. EGEO E’ importuno il rispetto Quando amor si richiede. AGILEA Ma signore, a Medea Voi già deste la fede! EGEO Lo so, che chi ha la sdegna Fulmina de suoi incanti L’ira vendicatrice, La sdegnata Medea; Con questi può armar i venti, Confonder la Natura, e gli Elementi; Manca lungi in Trizene Ascoso agli occhi altrui Feci nudrir di me porto ben degno, Sposo farà di lui, io fuor d’impegno. AGILEA Ma s’ambiziosa poi, il suo cordoglio Aquetare non potesse altro che il soglio? EGEO Troppo guardigna sei. S’armin pur contro di me le furie ultrici; S’armi Medea, S’armi l’Inferno; e s’armi Cerbero, Il Ciel, L’Abisso, i Venti e Pluto Se a magnanimo cor, dà forza amore, Morte non teme, ed incantati accenti; Ne cosa trovar sa che lo spaventi. (s’odono gridi di gioia dai Popoli di dentro la scena) AGILEA Sire, è tempo omai, che là ti porti Ove il popolo devoto in un’ raccolto Impaziente t’attende; Acciò ch’il guidi, a venerar nel Tempio La Dea, che dei nemici, ha fatto scempio. EGEO Men vado, o Core, e in tanto Pensa ch’Egeo per te si strugge in pianto 14. Aria Egeo Ricordati o bella, Che tu sol sei quella Per cui pena il cor; Se quanto vezzosa Tu fossi pietosa Saria Dolce Amor. Ricordati.. etc. Scena Sesta (Agilea sola) 15. Recitativo Agilea AGILEA Ah che sol per Teseo arde quest’alma; Del Talamo Real, non cura il petto, E non sente altro ardore, ch’il primo che fu acceso entro del core. Scaccerò dal mio seno, ogn’altro affetto; Ed avrà del mio amor solo la palma Teseo, l’amato bene; E dolci anche per lui saran le pene. 16. Aria Agilea M’adora l’idol mio Gode il mio core Fedel gli sono anch’io; Vivo contenta. Né vuò che de miei danni E dei sofferti affanni Il cor si penta. M’Adora l’idol… etc. Handel,George Frideric/Teseo/II
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このテンプレはポリウト方式で作成されています。 こちらの役名一覧に和訳を記載して管理人までお知らせください。 ATTO PRIMO QUADRO 1 (Deliziosa fuori della città di Pavia) Scena I (Berengario con seguito, e poi Idelberto) No.1 - Aria ▼BERENGARIO▲ Grave è 'l fasto di regnar, la speranza alza l'orgoglio, il timor mostra lo scoglio, ambo il cor sanno agitar. (entra Idelberto) ▼IDELBERTO▲ Signor, vuole il mio fato ch'io amante sia misero e disprezzato. ▼BERENGARIO▲ Sdegna dunque e rifiuta la superba Adelaide i tuoi sponsali? ▼IDELBERTO▲ Adelaide, o Signore, nacque reina, e dell'Italia erede. Tu gran parte del regno a lei togliesti, e per te il suo consorte preda restò 'intempestiva morte. ▼BERENGARIO▲ Se nemico ti vuol, nemico t'abbia. Vanne, o mio figlio io voglio che tu stesso t'avanzi ad assalir della città le mura. ▼IDELBERTO▲ In Adelaide, oh Dio! sai che vive il cor mio… ▼BERENGARIO▲ Non più, resisti invano. Scena II (Clodomiro e detti) ▼CLODOMIRO▲ Alto Signor, dall'Alpi scese della Germania il re guerriero, e d'armi inonda omai l'italo impero. ▼BERENGARIO▲ Lotario? e chi lo muove? e che pretende? ▼IDELBERTO▲ Forse il periglio d'Adelaide, e il grido delle vittorie tue geloso il rende. ▼BERENGARIO▲ (a Clodomiro) Ad osservar le mosse del gran nemico esploratori invia. Indi con Idelberto prontamente disponi il numeroso esercito all'assalto. Pria che Lotario s'avanzi, vuò che Pavia si renda. (parte Clodomiro) Scena III (Matilde, Berengario, Idelberto) ▼MATILDE▲ Sposo. ▼BERENGARIO▲ Regina. ▼MATILDE▲ Intendi. La superba Pavia fra pochi istanti t'aprirà le porte. ▼BERENGARIO▲ E come? ▼MATILDE▲ Tra i silenzi della prossima notte ogni tua schiera nelle mura nemiche avrà l'ingresso coi promessi tesori il sospirato assenso ottenni al tradimento. ▼BERENGARIO▲ Or s'armi la Germania; io non pavento. ▼IDELBERTO▲ E vuoi con tali inganni, mia real genitrice, Adelaide spogliar d'ogni suo bene? Ah padre, ecco al tuo piede… (s'inginocchia) ▼BERENGARIO▲ Ergiti; a tuo favore usar voglio clemenza. Vada un araldo, ed esponendo ei dica, che se sposa Idelberto, e pace, e regno a lei come mia nuora oggi si rende. Ma se ricusa, attenda eterno ed implacabile il mio sdegno. No.2 - Aria Non pensi quell'altera di vincermi d'orgoglio voglio che t'ami, o voglio oppresso il suo rigor. Aspetti dal mio sdegno dure catene al piede, se al mio voler non cede, sprezza ardita e fiera i lacci del tuo amor. (parte) Scena IV (Matilde ed Idelberto) ▼IDELBERTO▲ Madre, e Reina! In breve l'infelice Adelaide sarà tua prigioniera. Ah! la misera perde in un sol giorno, e regno, e libertade. ▼MATILDE▲ E con donarle un figlio non le rendo in un tempo, e sposo, e regno? ▼IDELBERTO▲ A quell'alma gentile sembrano l'uno vile, e l'altro odioso. ▼MATILDE▲ Idelberto, ti accheta; perchè sul nostro capo l'ampio diadema Italico riposi e forza, o ch'ella pera, o che ti sposi. No.3 - Aria Vanne a colei che adori, seco d'amor favella dille ch'è vaga e bella, e che sa innamorar. Poi dille che tu l'ami e al trono la richiami; che lasci i suoi rigori se brama di regnar (sale) ▼IDELBERTO▲ Finch'io non chiuda a questo giorno i rai, no, no, bell'idol mio, tu non morrai. No.4. Aria Per salvarti, idolo mio, so ben io che far dovrò morirò, mio ben, per te, per salvarti; che togliendoti il mio fato quella legge ch'hai d'amarmi fia un trionfo di mia fé. (parte) QUADRO 2 (Camera con trono per l'udienza) Scena V (Adelaide, e suoi seguito) No.5 - Accompagnato ▼ADELAIDE▲ Soglio, degli avi miei retaggio illustre, quanto del tuo splendore t'involò nel mio sposo un traditore. Ah! vendicarti io ben vorrei. (alle guardie) Attenta ogni mio cenno osservi la real guardia. Entri il guerrier che chiede solo a me favellar, e dopo venga di Berengario il messaggier. (parte una guardia) Chi mai sarà? Sulle vicine soglie il comando eseguite. (partono le guardie) Scena VI (Adelaide e Lotario) ▼LOTARIO▲ Bella Reina! Il cielo che t'elesse a regnar, vuol che tu regni. Quindi a punir l'ingiusto oppressor del tuo sposo, e del tuo trono stimolò la mia spada. ▼ADELAIDE▲ Signor, dimmi, chi sei? ▼LOTARIO▲ Non è lieve il soccorso che dall'Istro a te reco. Lotario, il re della Germania, e teco. ▼ADELAIDE▲ Come, o gran Re, la tua generosa pietà?… ▼LOTARIO▲ Chetati, o bella; non mi svelar che siam dell'esser mio consapevoli solo amore, ed io. ▼ADELAIDE▲ Amor? e per chi mai? ▼LOTARIO▲ Per la vaga Adelaide io già ti vidi, donzelletta fastosa, nella reggia paterna, e ben pensai a chiederti in consorte mi prevenne il tuo sposo. Or qui mi trasse il tuo vedovo letto la tua corona in prima difenderò, ma in guiderdon dell'opra, voglio, che ancor la mia aggiunga alla tua fronte il suo splendore. ▼ADELAIDE▲ Signor, sei re, sei valoroso, e sei degno d'amor. Deh vanne, e dona pace a una regina sventurata, e poi spera graditi i regi affetti tuoi. No.6 - Aria ▼LOTARIO▲ Rammentati, cor mio, ciò che prometti a me, che sono amante e re e che so trionfar. Per te combatterò; ma quando tornerò ricordati, mio bene, che ti conviene amar. (parte) ▼ADELAIDE▲ Or venga il messaggiero. (va sul trono) Scena VII (Adelaide con guardie, e Clodomiro con corteggio) ▼CLODOMIRO▲ Regina, anche fra l'armi serba la sua clemenza il mio signore. T'offre di nuovo il suo Idelberto. Eleggi o del figlio l'amore, o del padre il rigore. ▼ADELAIDE▲ Ed è tant'orgoglioso di Berengario il core? Vanne, torna e rispondi che Adelaide non pensa a talamo secondo; che per desio di vendicar il primo, che può aver in consorte un legittimo re, senza che astretta sia con vergogna e danno la stirpe a propagar d'un suo tiranno. ▼CLODOMIRO▲ Io non vedo, o Regina, qual tirannia nel mio signor; si scorga, se i tiranni son questi… ▼ADELAIDE▲ Abbastanza parlai; già m'intendesti. (scende dal trono) No.7 - Aria ▼CLODOMIRO▲ Se il mar promette calma ed il nocchier la sprezza, poi l'onda il vento spezza, ed in periglio è allor d'esser assorto. Così, se afflitta è un alma perché fu avverso il fato, se il vede poi placato non deve più irritar chi è suo conforto. (parte col seguito) Scena VIII (Adelaide e Lotario) ▼ADELAIDE▲ Nel ciel si speri, e poi… ▼LOTARIO▲ Mia Regina - oh sciagura! ribellata Pavia al tuo fiero nemico aprì le porte. ▼ADELAIDE▲ Ribellata Pavia? Or son perduta. Parti. ▼LOTARIO▲ E vuoi ch'io t'abbandoni nell'estremo de' mali? ▼ADELAIDE▲ Un'altra volta io te ne priego parti. ▼LOTARIO▲ No, no, sieguo il mio fato, sieguo il mio amor, voglio morirti a lato. ▼ADELAIDE▲ Deh, s'egli è ver che m'ami, non tradir quest'amore. Sì, sì, vanne e ritorna, vincitor glorioso, e assicura vincendo il mio riposo. No.8 - Aria Quel cor che mi donasti ripigliati, mio ben; e con due cori in sen combatti e spera. Se il mio che m'involasti di spirto mancherà, dal tuo riceverà virtù guerriera. (parte) ▼LOTARIO▲ O del mio caro ben voci gradite, quanta forza e vigore accrescete al mio core. Già men volo al cimento, venga il fiero nemico, con quanto ha mai d'ardir; nulla pavento. No.9 - Aria Già mi sembra al carro avvinto trar l'audace, il traditor. E veder già parmi il vinto gir coi lumi fissi al suolo pien di duolo e di rossor. (parte) QUADRO 3 (Piazza di Pavia con arco trionfale) Scena IX (Berengario, Matilde, Idelberto, capitani e soldati) No.10 ▼CORO▲ Viva e regni fortunato dell'Italia il re guerriero. ▼BERENGARIO▲ Popoli generosi, il vostro amor la vostra fede avanza a voi tenuto sono, se quel serto che cingo è vostro dono. ▼MATILDE▲ Adelaide superba ancor non si presenta al vincitore? ▼BERENGARIO▲ Di quel rigido core convien domar con la clemenza il fasto. ▼MATILDE▲ Eccola appunto; vedi con che volto orgoglioso intrepida sostien la sua sciagura. Scena X (Adelaide e detti e poi Clodomiro) ▼ADELAIDE▲ Dell'altrui fellonia più che del tuo valor illustre spoglia, eccomi, Berengario. Alza a tua voglia sopra le mie rovine i tuoi trofei. Io già per la tua mano, e sposo, e regno e libertà perdei. ▼BERENGARIO▲ E sposo, e regno e libertà, se vuoi, or io ti rendo, e pongo tutta la mia vittoria a piedi tuoi. ▼ADELAIDE▲ La corona è già mia, l'amante e 'l figlio perché son doni tuoi son miei rifiuti. (viene Clodomiro) ▼BERENGARIO▲ Clodomiro, che porti? ▼CLODOMIRO▲ Alte novelle, o Sire. (Berengario e Clodomiro si ritirano a parlare in disparte) ▼MATILDE▲ (ad Idelberto) Vinta ancora e depressa serba cotanto ardir? ▼IDELBERTO▲ Nelle sventure non perde una regina il suo coraggio. ▼BERENGARIO▲ Giunto Lotario al Ticino? L'illustre prigioniera, Regina, a te consegno altrove mi richiama alta cura di regno. ▼IDELBERTO▲ E che fia mai? ▼BERENGARIO▲ Altro non ricercar, sieguimi, o figlio. ▼IDELBERTO▲ Mi presagisce il cor grave periglio. (partono Berengario, Idelberto e Clodomiro) ▼MATILDE▲ Adelaide, al passato volgi uno sguardo, indi al presente. Osserva qual fosti e qual or sei, non ha molto regina, or vinta, e serva. ▼ADELAIDE▲ Mostrano agli occhi miei lo stesso aspetto le grandezze passate e il mal presente. ▼MATILDE▲ Volea la mia clemenza stringerti al seno anziché in ceppi. ▼ADELAIDE▲ Ed io, mi reco a maggior pena questa clemenza tua, che la catena. ▼MATILDE▲ Troppo fiero è il tuo orgoglio; sdegni ascendere un soglio, ove t'inalza la clemenza mia. Vedrò, se forte sia e ostinato il tuo core, quando sarà dura servil catena della superbia tua gastigo, e pena. No.11 - Aria Orgogliosetto va l'augelletto quando si trova in libertà. Se poi tra lacci invan si scuote in dolci note chiede pietà. (parte) ▼ADELAIDE▲ Quanto più fien tenaci le catene onde avvinto dell'altrui crudeltà sarà il mio piede, viepiù care saranno all'alma mia, e il carcere più grato ancor mi fia. No.12 - Aria Scherza in mar la navicella mentre ride aura seconda ma se poi fiera procella turba il ciel, sconvolge l'onda, va perduta a naufragar. Non così questo mio core cederà d'un empia sorte allo sdegno ed al furore, che per anco in faccia a morte sa da grande trionfar. ATTO PRIMO QUADRO 1 Deliziosa fuori della città di Pavia Scena I Berengario con seguito, e poi Idelberto No.1 - Aria BERENGARIO Grave è 'l fasto di regnar, la speranza alza l'orgoglio, il timor mostra lo scoglio, ambo il cor sanno agitar. entra Idelberto IDELBERTO Signor, vuole il mio fato ch'io amante sia misero e disprezzato. BERENGARIO Sdegna dunque e rifiuta la superba Adelaide i tuoi sponsali? IDELBERTO Adelaide, o Signore, nacque reina, e dell'Italia erede. Tu gran parte del regno a lei togliesti, e per te il suo consorte preda restò 'intempestiva morte. BERENGARIO Se nemico ti vuol, nemico t'abbia. Vanne, o mio figlio io voglio che tu stesso t'avanzi ad assalir della città le mura. IDELBERTO In Adelaide, oh Dio! sai che vive il cor mio… BERENGARIO Non più, resisti invano. Scena II Clodomiro e detti CLODOMIRO Alto Signor, dall'Alpi scese della Germania il re guerriero, e d'armi inonda omai l'italo impero. BERENGARIO Lotario? e chi lo muove? e che pretende? IDELBERTO Forse il periglio d'Adelaide, e il grido delle vittorie tue geloso il rende. BERENGARIO a Clodomiro Ad osservar le mosse del gran nemico esploratori invia. Indi con Idelberto prontamente disponi il numeroso esercito all'assalto. Pria che Lotario s'avanzi, vuò che Pavia si renda. parte Clodomiro Scena III Matilde, Berengario, Idelberto MATILDE Sposo. BERENGARIO Regina. MATILDE Intendi. La superba Pavia fra pochi istanti t'aprirà le porte. BERENGARIO E come? MATILDE Tra i silenzi della prossima notte ogni tua schiera nelle mura nemiche avrà l'ingresso coi promessi tesori il sospirato assenso ottenni al tradimento. BERENGARIO Or s'armi la Germania; io non pavento. IDELBERTO E vuoi con tali inganni, mia real genitrice, Adelaide spogliar d'ogni suo bene? Ah padre, ecco al tuo piede… s'inginocchia BERENGARIO Ergiti; a tuo favore usar voglio clemenza. Vada un araldo, ed esponendo ei dica, che se sposa Idelberto, e pace, e regno a lei come mia nuora oggi si rende. Ma se ricusa, attenda eterno ed implacabile il mio sdegno. No.2 - Aria Non pensi quell'altera di vincermi d'orgoglio voglio che t'ami, o voglio oppresso il suo rigor. Aspetti dal mio sdegno dure catene al piede, se al mio voler non cede, sprezza ardita e fiera i lacci del tuo amor. parte Scena IV Matilde ed Idelberto IDELBERTO Madre, e Reina! In breve l'infelice Adelaide sarà tua prigioniera. Ah! la misera perde in un sol giorno, e regno, e libertade. MATILDE E con donarle un figlio non le rendo in un tempo, e sposo, e regno? IDELBERTO A quell'alma gentile sembrano l'uno vile, e l'altro odioso. MATILDE Idelberto, ti accheta; perchè sul nostro capo l'ampio diadema Italico riposi e forza, o ch'ella pera, o che ti sposi. No.3 - Aria Vanne a colei che adori, seco d'amor favella dille ch'è vaga e bella, e che sa innamorar. Poi dille che tu l'ami e al trono la richiami; che lasci i suoi rigori se brama di regnar sale IDELBERTO Finch'io non chiuda a questo giorno i rai, no, no, bell'idol mio, tu non morrai. No.4. Aria Per salvarti, idolo mio, so ben io che far dovrò morirò, mio ben, per te, per salvarti; che togliendoti il mio fato quella legge ch'hai d'amarmi fia un trionfo di mia fé. parte QUADRO 2 Camera con trono per l'udienza Scena V Adelaide, e suoi seguito No.5 - Accompagnato ADELAIDE Soglio, degli avi miei retaggio illustre, quanto del tuo splendore t'involò nel mio sposo un traditore. Ah! vendicarti io ben vorrei. alle guardie Attenta ogni mio cenno osservi la real guardia. Entri il guerrier che chiede solo a me favellar, e dopo venga di Berengario il messaggier. parte una guardia Chi mai sarà? Sulle vicine soglie il comando eseguite. partono le guardie Scena VI Adelaide e Lotario LOTARIO Bella Reina! Il cielo che t'elesse a regnar, vuol che tu regni. Quindi a punir l'ingiusto oppressor del tuo sposo, e del tuo trono stimolò la mia spada. ADELAIDE Signor, dimmi, chi sei? LOTARIO Non è lieve il soccorso che dall'Istro a te reco. Lotario, il re della Germania, e teco. ADELAIDE Come, o gran Re, la tua generosa pietà?… LOTARIO Chetati, o bella; non mi svelar che siam dell'esser mio consapevoli solo amore, ed io. ADELAIDE Amor? e per chi mai? LOTARIO Per la vaga Adelaide io già ti vidi, donzelletta fastosa, nella reggia paterna, e ben pensai a chiederti in consorte mi prevenne il tuo sposo. Or qui mi trasse il tuo vedovo letto la tua corona in prima difenderò, ma in guiderdon dell'opra, voglio, che ancor la mia aggiunga alla tua fronte il suo splendore. ADELAIDE Signor, sei re, sei valoroso, e sei degno d'amor. Deh vanne, e dona pace a una regina sventurata, e poi spera graditi i regi affetti tuoi. No.6 - Aria LOTARIO Rammentati, cor mio, ciò che prometti a me, che sono amante e re e che so trionfar. Per te combatterò; ma quando tornerò ricordati, mio bene, che ti conviene amar. parte ADELAIDE Or venga il messaggiero. va sul trono Scena VII Adelaide con guardie, e Clodomiro con corteggio CLODOMIRO Regina, anche fra l'armi serba la sua clemenza il mio signore. T'offre di nuovo il suo Idelberto. Eleggi o del figlio l'amore, o del padre il rigore. ADELAIDE Ed è tant'orgoglioso di Berengario il core? Vanne, torna e rispondi che Adelaide non pensa a talamo secondo; che per desio di vendicar il primo, che può aver in consorte un legittimo re, senza che astretta sia con vergogna e danno la stirpe a propagar d'un suo tiranno. CLODOMIRO Io non vedo, o Regina, qual tirannia nel mio signor; si scorga, se i tiranni son questi… ADELAIDE Abbastanza parlai; già m'intendesti. scende dal trono No.7 - Aria CLODOMIRO Se il mar promette calma ed il nocchier la sprezza, poi l'onda il vento spezza, ed in periglio è allor d'esser assorto. Così, se afflitta è un alma perché fu avverso il fato, se il vede poi placato non deve più irritar chi è suo conforto. parte col seguito Scena VIII Adelaide e Lotario ADELAIDE Nel ciel si speri, e poi… LOTARIO Mia Regina - oh sciagura! ribellata Pavia al tuo fiero nemico aprì le porte. ADELAIDE Ribellata Pavia? Or son perduta. Parti. LOTARIO E vuoi ch'io t'abbandoni nell'estremo de' mali? ADELAIDE Un'altra volta io te ne priego parti. LOTARIO No, no, sieguo il mio fato, sieguo il mio amor, voglio morirti a lato. ADELAIDE Deh, s'egli è ver che m'ami, non tradir quest'amore. Sì, sì, vanne e ritorna, vincitor glorioso, e assicura vincendo il mio riposo. No.8 - Aria Quel cor che mi donasti ripigliati, mio ben; e con due cori in sen combatti e spera. Se il mio che m'involasti di spirto mancherà, dal tuo riceverà virtù guerriera. parte LOTARIO O del mio caro ben voci gradite, quanta forza e vigore accrescete al mio core. Già men volo al cimento, venga il fiero nemico, con quanto ha mai d'ardir; nulla pavento. No.9 - Aria Già mi sembra al carro avvinto trar l'audace, il traditor. E veder già parmi il vinto gir coi lumi fissi al suolo pien di duolo e di rossor. parte QUADRO 3 Piazza di Pavia con arco trionfale Scena IX Berengario, Matilde, Idelberto, capitani e soldati No.10 CORO Viva e regni fortunato dell'Italia il re guerriero. BERENGARIO Popoli generosi, il vostro amor la vostra fede avanza a voi tenuto sono, se quel serto che cingo è vostro dono. MATILDE Adelaide superba ancor non si presenta al vincitore? BERENGARIO Di quel rigido core convien domar con la clemenza il fasto. MATILDE Eccola appunto; vedi con che volto orgoglioso intrepida sostien la sua sciagura. Scena X Adelaide e detti e poi Clodomiro ADELAIDE Dell'altrui fellonia più che del tuo valor illustre spoglia, eccomi, Berengario. Alza a tua voglia sopra le mie rovine i tuoi trofei. Io già per la tua mano, e sposo, e regno e libertà perdei. BERENGARIO E sposo, e regno e libertà, se vuoi, or io ti rendo, e pongo tutta la mia vittoria a piedi tuoi. ADELAIDE La corona è già mia, l'amante e 'l figlio perché son doni tuoi son miei rifiuti. viene Clodomiro BERENGARIO Clodomiro, che porti? CLODOMIRO Alte novelle, o Sire. Berengario e Clodomiro si ritirano a parlare in disparte MATILDE ad Idelberto Vinta ancora e depressa serba cotanto ardir? IDELBERTO Nelle sventure non perde una regina il suo coraggio. BERENGARIO Giunto Lotario al Ticino? L'illustre prigioniera, Regina, a te consegno altrove mi richiama alta cura di regno. IDELBERTO E che fia mai? BERENGARIO Altro non ricercar, sieguimi, o figlio. IDELBERTO Mi presagisce il cor grave periglio. partono Berengario, Idelberto e Clodomiro MATILDE Adelaide, al passato volgi uno sguardo, indi al presente. Osserva qual fosti e qual or sei, non ha molto regina, or vinta, e serva. ADELAIDE Mostrano agli occhi miei lo stesso aspetto le grandezze passate e il mal presente. MATILDE Volea la mia clemenza stringerti al seno anziché in ceppi. ADELAIDE Ed io, mi reco a maggior pena questa clemenza tua, che la catena. MATILDE Troppo fiero è il tuo orgoglio; sdegni ascendere un soglio, ove t'inalza la clemenza mia. Vedrò, se forte sia e ostinato il tuo core, quando sarà dura servil catena della superbia tua gastigo, e pena. No.11 - Aria Orgogliosetto va l'augelletto quando si trova in libertà. Se poi tra lacci invan si scuote in dolci note chiede pietà. parte ADELAIDE Quanto più fien tenaci le catene onde avvinto dell'altrui crudeltà sarà il mio piede, viepiù care saranno all'alma mia, e il carcere più grato ancor mi fia. No.12 - Aria Scherza in mar la navicella mentre ride aura seconda ma se poi fiera procella turba il ciel, sconvolge l'onda, va perduta a naufragar. Non così questo mio core cederà d'un empia sorte allo sdegno ed al furore, che per anco in faccia a morte sa da grande trionfar. Handel,George Frideric/Lotario/II
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CHAPTER VIII UP CHAPTER X CHAPTER IX Mrs. Rachel Lynde Is Properly Horrified Anne had been a fortnight at Green Gables before Mrs. Lynde arrived to inspect her. Mrs. Rachel, to do her justice, was not to blame for this. A severe and unseasonable attack of grippe had confined that good lady to her house ever since the occasion of her last visit to Green Gables. Mrs. Rachel was not often sick and had a well-defined contempt for people who were; but grippe, she asserted, was like no other illness on earth and could only be interpreted as one of the special visitations of Providence. As soon as her doctor allowed her to put her foot out-of-doors she hurried up to Green Gables, bursting with curiosity to see Matthew and Marilla s orphan, concerning whom all sorts of stories and suppositions had gone abroad in Avonlea. Anne had made good use of every waking moment of that fortnight. Already she was acquainted with every tree and shrub about the place. She had discovered that a lane opened out below the apple orchard and ran up through a belt of woodland; and she had explored it to its furthest end in all its delicious vagaries of brook and bridge, fir coppice and wild cherry arch, corners thick with fern, and branching byways of maple and mountain ash. She had made friends with the spring down in the hollow-- that wonderful deep, clear icy-cold spring; it was set about with smooth red sandstones and rimmed in by great palm-like clumps of water fern; and beyond it was a log bridge over the brook. That bridge led Anne s dancing feet up over a wooded hill beyond, where perpetual twilight reigned under the straight, thick-growing firs and spruces; the only flowers there were myriads of delicate "June bells," those shyest and sweetest of woodland blooms, and a few pale, aerial starflowers, like the spirits of last year s blossoms. Gossamers glimmered like threads of silver among the trees and the fir boughs and tassels seemed to utter friendly speech. All these raptured voyages of exploration were made in the odd half hours which she was allowed for play, and Anne talked Matthew and Marilla half-deaf over her discoveries. Not that Matthew complained, to be sure; he listened to it all with a wordless smile of enjoyment on his face; Marilla permitted the "chatter" until she found herself becoming too interested in it, whereupon she always promptly quenched Anne by a curt command to hold her tongue. Anne was out in the orchard when Mrs. Rachel came, wandering at her own sweet will through the lush, tremu- lous grasses splashed with ruddy evening sunshine; so that good lady had an excellent chance to talk her illness fully over, describing every ache and pulse beat with such evident enjoyment that Marilla thought even grippe must bring its compensations. When details were exhausted Mrs. Rachel introduced the real reason of her call. "I ve been hearing some surprising things about you and Matthew." "I don t suppose you are any more surprised than I am myself," said Marilla. "I m getting over my surprise now." "It was too bad there was such a mistake," said Mrs. Rachel sympathetically. "Couldn t you have sent her back?" "I suppose we could, but we decided not to. Matthew took a fancy to her. And I must say I like her myself-- although I admit she has her faults. The house seems a different place already. She s a real bright little thing." Marilla said more than she had intended to say when she began, for she read disapproval in Mrs. Rachel s expression. "It s a great responsibility you ve taken on yourself," said that lady gloomily, "especially when you ve never had any experience with children. You don t know much about her or her real disposition, I suppose, and there s no guessing how a child like that will turn out. But I don t want to discourage you I m sure, Marilla." "I m not feeling discouraged," was Marilla s dry response. "when I make up my mind to do a thing it stays made up. I suppose you d like to see Anne. I ll call her in." Anne came running in presently, her face sparkling with the delight of her orchard rovings; but, abashed at finding the delight herself in the unexpected presence of a stranger, she halted confusedly inside the door. She certainly was an odd-looking little creature in the short tight wincey dress she had worn from the asylum, below which her thin legs seemed ungracefully long. Her freckles were more numerous and obtrusive than ever; the wind had ruffled her hatless hair into over-brilliant disorder; it had never looked redder than at that moment. "Well, they didn t pick you for your looks, that s sure and certain," was Mrs. Rachel Lynde s emphatic comment. Mrs. Rachel was one of those delightful and popular people who pride themselves on speaking their mind without fear or favor. "She s terrible skinny and homely, Marilla. Come here, child, and let me have a look at you. Lawful heart, did any one ever see such freckles? And hair as red as carrots! Come here, child, I say." Anne "came there," but not exactly as Mrs. Rachel expected. With one bound she crossed the kitchen floor and stood before Mrs. Rachel, her face scarlet with anger, her lips quivering, and her whole slender form trembling from head to foot. "I hate you," she cried in a choked voice, stamping her foot on the floor. "I hate you--I hate you--I hate you--" a louder stamp with each assertion of hatred. "How dare you call me skinny and ugly? How dare you say I m freckled and redheaded? You are a rude, impolite, unfeeling woman!" "Anne!" exclaimed Marilla in consternation. But Anne continued to face Mrs. Rachel undauntedly, head up, eyes blazing, hands clenched, passionate indignation exhaling from her like an atmosphere. "How dare you say such things about me?" she repeated vehemently. "How would you like to have such things said about you? How would you like to be told that you are fat and clumsy and probably hadn t a spark of imagination in you? I don t care if I do hurt your feelings by saying so! I hope I hurt them. You have hurt mine worse than they were ever hurt before even by Mrs. Thomas intoxicated husband. And I ll NEVER forgive you for it, never, never!" Stamp! Stamp! "Did anybody ever see such a temper!" exclaimed the horrified Mrs. Rachel. "Anne go to your room and stay there until I come up," said Marilla, recovering her powers of speech with difficulty. Anne, bursting into tears, rushed to the hall door, slammed it until the tins on the porch wall outside rattled in sympathy, and fled through the hall and up the stairs like a whirlwind. A subdued slam above told that the door of the east gable had been shut with equal vehemence. "Well, I don t envy you your job bringing THAT up, Marilla," said Mrs. Rachel with unspeakable solemnity. Marilla opened her lips to say she knew not what of apology or deprecation. What she did say was a surprise to herself then and ever afterwards. "You shouldn t have twitted her about her looks, Rachel." "Marilla Cuthbert, you don t mean to say that you are upholding her in such a terrible display of temper as we ve just seen?" demanded Mrs. Rachel indignantly. "No," said Marilla slowly, "I m not trying to excuse her. She s been very naughty and I ll have to give her a talking to about it. But we must make allowances for her. She s never been taught what is right. And you WERE too hard on her, Rachel." Marilla could not help tacking on that last sentence, although she was again surprised at herself for doing it. Mrs. Rachel got up with an air of offended dignity. "Well, I see that I ll have to be very careful what I say after this, Marilla, since the fine feelings of orphans, brought from goodness knows where, have to be considered before anything else. Oh, no, I m not vexed--don t worry yourself. I m too sorry for you to leave any room for anger in my mind. You ll have your own troubles with that child. But if you ll take my advice--which I suppose you won t do, although I ve brought up ten children and buried two--you ll do that `talking to you mention with a fair- sized birch switch. I should think THAT would be the most effective language for that kind of a child. Her temper matches her hair I guess. Well, good evening, Marilla. I hope you ll come down to see me often as usual. But you can t expect me to visit here again in a hurry, if I m liable to be flown at and insulted in such a fashion. It s something new in MY experience." Whereat Mrs. Rachel swept out and away--if a fat woman who always waddled COULD be said to sweep away--and Marilla with a very solemn face betook herself to the east gable. On the way upstairs she pondered uneasily as to what she ought to do. She felt no little dismay over the scene that had just been enacted. How unfortunate that Anne should have displayed such temper before Mrs. Rachel Lynde, of all people! Then Marilla suddenly became aware of an uncomfortable and rebuking consciousness that she felt more humiliation over this than sorrow over the discovery of such a serious defect in Anne s disposition. And how was she to punish her? The amiable suggestion of the birch switch--to the efficiency of which all of Mrs. Rachel s own children could have borne smarting testimony-- did not appeal to Marilla. She did not believe she could whip a child. No, some other method of punishment must be found to bring Anne to a proper realization of the enormity of her offense. Marilla found Anne face downward on her bed, crying bitterly, quite oblivious of muddy boots on a clean counterpane. "Anne," she said not ungently. No answer. "Anne," with greater severity, "get off that bed this minute and listen to what I have to say to you." Anne squirmed off the bed and sat rigidly on a chair beside it, her face swollen and tear-stained and her eyes fixed stubbornly on the floor. "This is a nice way for you to behave. Anne! Aren t you ashamed of yourself?" "She hadn t any right to call me ugly and redheaded," retorted Anne, evasive and defiant. "You hadn t any right to fly into such a fury and talk the way you did to her, Anne. I was ashamed of you-- thoroughly ashamed of you. I wanted you to behave nicely to Mrs. Lynde, and instead of that you have disgraced me. I m sure I don t know why you should lose your temper like that just because Mrs. Lynde said you were red-haired and homely. You say it yourself often enough." "Oh, but there s such a difference between saying a thing yourself and hearing other people say it," wailed Anne. "You may know a thing is so, but you can t help hoping other people don t quite think it is. I suppose you think I have an awful temper, but I couldn t help it. When she said those things something just rose right up in me and choked me. I HAD to fly out at her." "Well, you made a fine exhibition of yourself I must say. Mrs. Lynde will have a nice story to tell about you everywhere--and she ll tell it, too. It was a dreadful thing for you to lose your temper like that, Anne." "Just imagine how you would feel if somebody told you to your face that you were skinny and ugly," pleaded Anne tearfully. An old remembrance suddenly rose up before Marilla. She had been a very small child when she had heard one aunt say of her to another, "What a pity she is such a dark, homely little thing." Marilla was every day of fifty before the sting had gone out of that memory. "I don t say that I think Mrs. Lynde was exactly right in saying what she did to you, Anne," she admitted in a softer tone. "Rachel is too outspoken. But that is no excuse for such behavior on your part. She was a stranger and an elderly person and my visitor--all three very good reasons why you should have been respectful to her. You were rude and saucy and"--Marilla had a saving inspiration of punishment--"you must go to her and tell her you are very sorry for your bad temper and ask her to forgive you." "I can never do that," said Anne determinedly and darkly. "You can punish me in any way you like, Marilla. You can shut me up in a dark, damp dungeon inhabited by snakes and toads and feed me only on bread and water and I shall not complain. But I cannot ask Mrs. Lynde to forgive me." "We re not in the habit of shutting people up in dark damp dungeons," said Marilla drily, "especially as they re rather scarce in Avonlea. But apologize to Mrs. Lynde you must and shall and you ll stay here in your room until you can tell me you re willing to do it." "I shall have to stay here forever then," said Anne mournfully, "because I can t tell Mrs. Lynde I m sorry I said those things to her. How can I? I m NOT sorry. I m sorry I ve vexed you; but I m GLAD I told her just what I did. It was a great satisfaction. I can t say I m sorry when I m not, can I? I can t even IMAGINE I m sorry." "Perhaps your imagination will be in better working order by the morning," said Marilla, rising to depart. "You ll have the night to think over your conduct in and come to a better frame of mind. You said you would try to be a very good girl if we kept you at Green Gables, but I must say it hasn t seemed very much like it this evening." Leaving this Parthian shaft to rankle in Anne s stormy bosom, Marilla descended to the kitchen, grievously troubled in mind and vexed in soul. She was as angry with herself as with Anne, because, whenever she recalled Mrs. Rachel s dumbfounded countenance her lips twitched with amusement and she felt a most reprehensible desire to laugh. CHAPTER VIII UP CHAPTER X 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 29 34 (Tue)
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QUATRIEME ACTE Les Enfers (À gauche le Styx. Au lever du rideau tous les dieux de l Olympe et d Enfers sont réunis en un immense festin. Ils sont couronnés de fleurs et boivent. Au fond, les trois juges d Enfers pêchent à la ligne dans le Styx) N 26 Entracte et Choeur Infernal LE CHOEUR Vive le vin! Vive Pluton! Et naigue du qu en dira-t-on! La divine cohorte que ce vieux vin transporte chante le Dieu qui porte la couronne de fer! Sa demeure chérie sera notre patrie, si l on comprend la vie amis, c est en enfer! Vive le vin, etc. CUPIDON Allons, ma belle bacchante, mortelle émule de Vénus chante-nous, de ta voix charmante chante-nous ton hymne à Bacchus! LE CHOEUR Chante, belle bacchante Chante-nous ton hymne à Bacchus! N 27 Hymne a Bacchus EURYDICE J ai vu le Dieu Bacchus sur sa roche fertile donnant à ses sujets ses joyeuses leçons, le Faune au Pied de chèvre et la Nymphe docile répétaient ses chansons! DIANE, CUPIDON, LES DEESSES Répétaient ses chansons! Évoé! Évoé! Bacchus m inspire! "Evoé! je sens en moi, évoé! son saint délire, évoé, Bacchus est roi! EURYDICE Laissez, leur disait-il, les tristesses moroses, laissez les noirs soucis aux profanes humains, et vous, couronnez-vous de pampres et de roses qui tombent de mes mains! CUPIDON, DIANE, LES DEESSES Qui tombent de mm mains! Évoé ! etc. PLUTON C est la loge infernale. (Musique à l orchestre.) Voila mon corps de ballet! N 28. Menuet et Galop Infernal JUPITER Maintenant, je veux, moi qui suis mince et fluet, comme au temps du grand roi danser un menuet. DIANE Ah! TOUS Ah! La la la la la! Le menuet n est vraiment si charmant que lorsque Jupin le danse. Comme il tend d un air coquet le jarret comme il s élance en cadence! Le menuet, etc. Terpsichore dans ses pas n a pas plus d appas! Le menuet, etc. JUPITER (à part) Ce nuis de Pluton n a pas reconnu Eurydice après la danse, nous lèverons le pied!... PLUTON (à part) Cet idiot de Jupiter croit que je n ai pas reconnu la bacchante… mais j ai l œil sur eux! (Le Menuet est dansé par Jupiter, Pluton et deux bacchantes. Le Galop infernal par tous les dieux.) TOUS Ce bal est original d un galop infernal donnons tous le signal! Vive le galop infernal! donnons le signal d un galop infernal! Amis, vive le bal! La, la, la, la, la! EURYDICE (à Jupiter) Et maintenant, fuyons, Jupiter... JUPITER Oui, profitons de ce qui nous reste de souffle…fuyons… PLUTON (se dressant devant eux) Où donc? EURYDICE Aie! JUPITER Que veut cet audacieux? PLUTON Ah! plus de dignité, n est-ce pas? Crois-tu que l ignore rien de ce qui se passe ici depuis deux heures? Crois-tu que sous ce costume de bacchante je n ai pas reconnu la femme… JUPITER Que tu n avais pas enlevée, disais-tu? PLUTON Eh bien, oui, je l avais enlevée! Mais je m en repens bien! EURYDICE Que dit il? PLUTON Je dis que tu t es conduite avec moi comme avec ton mari ! Que tu m as flanqué mon envers à l Enfer-mon Enfer à l envers, et que... JUPITER (riant) Il sait tout! PLUTON Riez, allez! Rira bien qui rira le dernier! La farce est bonne, mais vous ne la porterez pas ensemble en Paradis. JUPITER Et qui donc m empêcherait, si je voulais... PLUTON Qui! Mais toi-même! JUPITER Que veut-il dire! PLUTON Et le mari qui va venir, le petit mari! EURYDICE Mon mari! Je l avais complètement oublié! JUPITER Moi aussi! PLUTON Ah, je vais être vengé! Ce n est pas à moi que tu rendras Eurydice, c est à lui, au petit trovatore... JUPITER Miserere! Qu ai-je promis? (bas à Cupidon) Cupidon, comment me tirer de la? CUPIDON (bas) Ecoute, j ai une idée bizarre qui pourrait bien gêner Orphée. (Il lui parle bas. On entend au loin un chant de violon.) N 29. Mélodrame JUPITER (riant avec Cupidon) Elle est assez bonne! PLUTON La position se tend! JUPITER Elle est tendue! PLUTON Je vais élever le dialogue avec la situation! Je ne parle plus qu en vers! Méfiez-vous! (Le chant se rapproche, peu à peu) Femme, reconnais-tu ce chant de violon? EURYDICE Ce chant qu il trouve large et que je trouve long c est celui de l époux que j ai... PLUTON Tu l as dit, femme, c est ton époux qui vient pour racheter ton âme! Ton époux te réclame, on te rend à la terre c est un joli cadeau que nous allons lui faire! EURYDICE (supplante) Jupin! JUPITER Rassure-toi, pauvre ange, j ai mon plan! Et tu n es pas encore au bras de ton tyran! (Au fond paraît une banque dans lequelle se trouvent l Opinion Publique et Orphée.) ORPHÉE Oui, tu m as convaincu, malgré ses injustices c est ma femme, et je veux ignorer ses caprices. Puissant roi des... JUPITER Assez, grâce u boniment. Je connais ta demande, allons-y donc gaiement! Fidèle à ma promesse, à tes désirs propices, d accord avec Pluton, je te rends Eurydice. Va! ORPHÉE (avec philosophe) Jupiter me comble et Pluton est trop bon. JUPITER Mais j y mets, cependant, une condition, condition expresse autant qu inexplicable... (s animant) que tu n as pas besoin de comprendre, que diable! Vers le Styx, gravement, tu vas t acheminer en précédant ta femme et sans te retourner si trop presse de voir ton aimable Eurydice tu désobéissais à ce petit caprice, elle t échapperait pour toujours, cette fois... PLUTON (furieux) Mais ce n est pas du jeu! (Murmure général.) JUPITER (terrible, agitant sa foudre) L on élève la voix?... (Le murmure s apaise.) Allons, derrière toi va marcher Eurydice; ne te retourne pas! J ai dit!... (Il éternue.) TOUS Dieu vous bénisse! N 30. Final (Marche à l orchestre. Eurydice paraît, cachée sous un voite. C est John Styx qui la conduit par la main.) L OPINION PUBLIQUE Ne regarde pas en arrière! A quinze pas fixe les yeux! Ami, pense à la terre, elle nous attend tous les deux. (La marche recommence, l Opinion est en tête. Orphée vient ensuite puis Eurydice, conduit par John Styx.) TOUS Pour un époux, quel embarras! Il se retournera, se retournera pas! JUPITER Sur sa curiosité, Aurais-je donc en vain compté? L OPINION PUBLIQUE Nous triomphons! Ah! quelle joie! JUPITER Il ne se tourne pas! Tant pis! Je le foudroie! (Jupiter administre dans le vide et dans la direction d Orphée un vigoureux coup de pied électrique qui traverse la scène sous la forme d une étincelle Coup de tam tam. Orphée se retourne brusquement comme si le coup l avait atteint. Eurydice disparaît à ses yeux.) LES DIEUX Ah! L OPINION PUBLIQUE Malheureux, que viens tu de faire? ORPHÉE Un mouvement involontaire! PLUTON Tu l as perdue, et pour jamais! Elle me reste donc? JUPITER Pas plus qu à moi! PLUTON Comment? JUPITER Non, car j en fais une bacchante. TOUS Une bacchante! EURYDICE Ah! Ah! Bacchus mon âme légère qui n a pu se faire au bonheur sur terre, aspire à toi, divin Bacchus! Reçois la prêtresse, dont la voix sans cesse veut chanter l ivresse à tes élus! TOUS La la la la la! QUATRIEME ACTE Les Enfers (À gauche le Styx. Au lever du rideau tous les dieux de l Olympe et d Enfers sont réunis en un immense festin. Ils sont couronnés de fleurs et boivent. Au fond, les trois juges d Enfers pêchent à la ligne dans le Styx) N 26 Entracte et Choeur Infernal LE CHOEUR Vive le vin! Vive Pluton! Et naigue du qu en dira-t-on! La divine cohorte que ce vieux vin transporte chante le Dieu qui porte la couronne de fer! Sa demeure chérie sera notre patrie, si l on comprend la vie amis, c est en enfer! Vive le vin, etc. CUPIDON Allons, ma belle bacchante, mortelle émule de Vénus chante-nous, de ta voix charmante chante-nous ton hymne à Bacchus! LE CHOEUR Chante, belle bacchante Chante-nous ton hymne à Bacchus! N 27 Hymne a Bacchus EURYDICE J ai vu le Dieu Bacchus sur sa roche fertile donnant à ses sujets ses joyeuses leçons, le Faune au Pied de chèvre et la Nymphe docile répétaient ses chansons! DIANE, CUPIDON, LES DEESSES Répétaient ses chansons! Évoé! Évoé! Bacchus m inspire! "Evoé! je sens en moi, évoé! son saint délire, évoé, Bacchus est roi! EURYDICE Laissez, leur disait-il, les tristesses moroses, laissez les noirs soucis aux profanes humains, et vous, couronnez-vous de pampres et de roses qui tombent de mes mains! CUPIDON, DIANE, LES DEESSES Qui tombent de mm mains! Évoé ! etc. PLUTON C est la loge infernale. (Musique à l orchestre.) Voila mon corps de ballet! N 28. Menuet et Galop Infernal JUPITER Maintenant, je veux, moi qui suis mince et fluet, comme au temps du grand roi danser un menuet. DIANE Ah! TOUS Ah! La la la la la! Le menuet n est vraiment si charmant que lorsque Jupin le danse. Comme il tend d un air coquet le jarret comme il s élance en cadence! Le menuet, etc. Terpsichore dans ses pas n a pas plus d appas! Le menuet, etc. JUPITER (à part) Ce nuis de Pluton n a pas reconnu Eurydice après la danse, nous lèverons le pied!... PLUTON (à part) Cet idiot de Jupiter croit que je n ai pas reconnu la bacchante… mais j ai l œil sur eux! (Le Menuet est dansé par Jupiter, Pluton et deux bacchantes. Le Galop infernal par tous les dieux.) TOUS Ce bal est original d un galop infernal donnons tous le signal! Vive le galop infernal! donnons le signal d un galop infernal! Amis, vive le bal! La, la, la, la, la! EURYDICE (à Jupiter) Et maintenant, fuyons, Jupiter... JUPITER Oui, profitons de ce qui nous reste de souffle…fuyons… PLUTON (se dressant devant eux) Où donc? EURYDICE Aie! JUPITER Que veut cet audacieux? PLUTON Ah! plus de dignité, n est-ce pas? Crois-tu que l ignore rien de ce qui se passe ici depuis deux heures? Crois-tu que sous ce costume de bacchante je n ai pas reconnu la femme… JUPITER Que tu n avais pas enlevée, disais-tu? PLUTON Eh bien, oui, je l avais enlevée! Mais je m en repens bien! EURYDICE Que dit il? PLUTON Je dis que tu t es conduite avec moi comme avec ton mari ! Que tu m as flanqué mon envers à l Enfer-mon Enfer à l envers, et que... JUPITER (riant) Il sait tout! PLUTON Riez, allez! Rira bien qui rira le dernier! La farce est bonne, mais vous ne la porterez pas ensemble en Paradis. JUPITER Et qui donc m empêcherait, si je voulais... PLUTON Qui! Mais toi-même! JUPITER Que veut-il dire! PLUTON Et le mari qui va venir, le petit mari! EURYDICE Mon mari! Je l avais complètement oublié! JUPITER Moi aussi! PLUTON Ah, je vais être vengé! Ce n est pas à moi que tu rendras Eurydice, c est à lui, au petit trovatore... JUPITER Miserere! Qu ai-je promis? (bas à Cupidon) Cupidon, comment me tirer de la? CUPIDON (bas) Ecoute, j ai une idée bizarre qui pourrait bien gêner Orphée. (Il lui parle bas. On entend au loin un chant de violon.) N 29. Mélodrame JUPITER (riant avec Cupidon) Elle est assez bonne! PLUTON La position se tend! JUPITER Elle est tendue! PLUTON Je vais élever le dialogue avec la situation! Je ne parle plus qu en vers! Méfiez-vous! (Le chant se rapproche, peu à peu) Femme, reconnais-tu ce chant de violon? EURYDICE Ce chant qu il trouve large et que je trouve long c est celui de l époux que j ai... PLUTON Tu l as dit, femme, c est ton époux qui vient pour racheter ton âme! Ton époux te réclame, on te rend à la terre c est un joli cadeau que nous allons lui faire! EURYDICE (supplante) Jupin! JUPITER Rassure-toi, pauvre ange, j ai mon plan! Et tu n es pas encore au bras de ton tyran! (Au fond paraît une banque dans lequelle se trouvent l Opinion Publique et Orphée.) ORPHÉE Oui, tu m as convaincu, malgré ses injustices c est ma femme, et je veux ignorer ses caprices. Puissant roi des... JUPITER Assez, grâce u boniment. Je connais ta demande, allons-y donc gaiement! Fidèle à ma promesse, à tes désirs propices, d accord avec Pluton, je te rends Eurydice. Va! ORPHÉE (avec philosophe) Jupiter me comble et Pluton est trop bon. JUPITER Mais j y mets, cependant, une condition, condition expresse autant qu inexplicable... (s animant) que tu n as pas besoin de comprendre, que diable! Vers le Styx, gravement, tu vas t acheminer en précédant ta femme et sans te retourner si trop presse de voir ton aimable Eurydice tu désobéissais à ce petit caprice, elle t échapperait pour toujours, cette fois... PLUTON (furieux) Mais ce n est pas du jeu! (Murmure général.) JUPITER (terrible, agitant sa foudre) L on élève la voix?... (Le murmure s apaise.) Allons, derrière toi va marcher Eurydice; ne te retourne pas! J ai dit!... (Il éternue.) TOUS Dieu vous bénisse! N 30. Final (Marche à l orchestre. Eurydice paraît, cachée sous un voite. C est John Styx qui la conduit par la main.) L OPINION PUBLIQUE Ne regarde pas en arrière! A quinze pas fixe les yeux! Ami, pense à la terre, elle nous attend tous les deux. (La marche recommence, l Opinion est en tête. Orphée vient ensuite puis Eurydice, conduit par John Styx.) TOUS Pour un époux, quel embarras! Il se retournera, se retournera pas! JUPITER Sur sa curiosité, Aurais-je donc en vain compté? L OPINION PUBLIQUE Nous triomphons! Ah! quelle joie! JUPITER Il ne se tourne pas! Tant pis! Je le foudroie! (Jupiter administre dans le vide et dans la direction d Orphée un vigoureux coup de pied électrique qui traverse la scène sous la forme d une étincelle Coup de tam tam. Orphée se retourne brusquement comme si le coup l avait atteint. Eurydice disparaît à ses yeux.) LES DIEUX Ah! L OPINION PUBLIQUE Malheureux, que viens tu de faire? ORPHÉE Un mouvement involontaire! PLUTON Tu l as perdue, et pour jamais! Elle me reste donc? JUPITER Pas plus qu à moi! PLUTON Comment? JUPITER Non, car j en fais une bacchante. TOUS Une bacchante! EURYDICE Ah! Ah! Bacchus mon âme légère qui n a pu se faire au bonheur sur terre, aspire à toi, divin Bacchus! Reçois la prêtresse, dont la voix sans cesse veut chanter l ivresse à tes élus! TOUS La la la la la! Offenbach,Jacques/Orpheé aux Enfers
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Subjects-Science-Technology-General&Reference Membrane Treatment of Secondary Effluent for Subsequent Use Phase 2- Pilot Plant Comparisons of Tests of Mf and Uf for Pretreatment of High-pressure Membranes Werf Report Wastewater Treatment and Reuse 01-cts-6a (Werf Report) Intl Water Assn? Roderick Reardon? IntlWaterAssn? RoderickReardon? ジャンル別? Subjects-Engineering-Civil-Environmental-General Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Subjects-Science-Technology-General&Reference Auditoria de Sistemas de Gestion Medioambiental McGraw-Hill Companies? Gayle Woodside? McGraw-HillCompanies? GayleWoodside? ジャンル別? Substores-UnknownASINs-54? Subjects-Engineering-Civil-Environmental-General Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? 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