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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。 ACTE I Ouverture （Les jardins du duc d'Arcos. Au fond une colonnade; à gauche, l'entrée d'une chapelle; à droite, une trône préparé pour la fête. Au lever du rideau, des soldats espagnols, conduits par Selva, traversent la colonnade. Alphonse, choeur du peuple, en dehors） 1. Introduction et Air ▼LE CHOEUR▲ Du prince objet de notre amour, Chantons l'heureuse destinée Les flambeaux d'hyménée Pour lui vont briller en ce jour. ▼ALPHONSE▲ Ah! ces cris d'allégresse Et ces chants d'hyménée Redoublent les tourments qui déchirent mon coeur! Elvire, que j'adore, en vain m'est destinée Le remords malgré moi Vient troubler mon bonheur. O toi, jeune victime Dont j'ai trahi la foi, Je vois avec effroi Le malheur qui t'opprime. Fenella, Fenella, cache-moi Ton courroux légitime; Pour expier mon crime, Je veillerai sur toi. ▼LE CHOEUR▲ （en dehors） Du prince, objet de notre amour, Chantons l'heureuse destinée Les flambeaux d'hyménée Pour lui vont briller en ce jour. （Lorenzo entre.） ▼ALPHONSE▲ Lorenzo, je te vois; Réponds, ami fidèle, De Fenella sais-tu quel est le sort? ▼LORENZO▲ Seigneur, je l'ignore; Et mon zèle Pour découvrir sa trace A fait un vain effort. ▼ALPHONSE▲ De mes coupables feux, O suite trop cruelle! Hélas! son malheur est certain. ▼LORENZO▲ Quand Naples Retentit du bruit de votre hymen, Quand la jeune et charmante Elvire Consent à vous donner sa main, Quel intérêt en ce jour vous inspire La fille d'un pêcheur et son obscur destin? ▼ALPHONSE▲ Quel intérêt?… Le remords qui m'accable, J'ai su m'en faire aimer En lui cachant mon nom; El je suis d'autant plus coupable, Que son destin étrange et misérable Rend plus facile encore ma lâche trahison. ▼LORENZO▲ Qu'entends-je? ▼ALPHONSE▲ La parole à ses lèvres ravie Par un horrible événement, La livrait sans défense A l'infidèle amant Dont l'abandon empoisonna la vie. Aimable fille, alors je t'ai chérie, Dans ces entretiens pleins d'attraits, Où nos coeurs semblaient se confondre, Muette, hélas! tu m'entendais Tes yeux seuls pouvaient me répondre. ▼LORENZO▲ De cet indigne amour vous avez triomphé? ▼ALPHONSE▲ Ce n'est pas ma raison qui l'a seule étouffé J'oubliai ma victime en adorant Elvire Elle prit sur mes sens un souverain empire. Mais ne sois pas surpris qu'en ce jour fortuné, Où l'amour va m'unir à celle que j'adore, Ami, la pitié parle encore Pour celle que j'abandonnai. Depuis un mois elle a fui ma présence, Et sa mort… ▼LORENZO▲ Ecartez un présage odieux; Peut-être votre père a voulu, par prudence, La soustraire à vos yeux. Vous connaissez son humeur inflexible, A ses sujets comme à son fils terrible; Vous la savez, on craint que sa rigueur De ce peuple opprimé ne lasse la douleur 2. Récitatif et Choeur ▼ALPHONSE▲ Mais du cortège qui s'avance J'entends déjà les accents solennels. Cher Lorenzo, de la prudence! Viens rejoindre mon père Et nous suivre aux autels. （Marche et cortège; Elvire paraît entourée des jeunes filles espagnoles ses compagnes et de seigneurs napolitains. Des danses précèdent son arrivée; de jeunes Napolitaines lui présentent des fleurs.） ▼LE CHOEUR▲ Du prince, objet de notre amour, Chantons l'heureuse destinée Les flambeaux d'hyménée Pour lui vont briller en ce jour. Alphonse épouse la plus belle; Et quand le ciel forme leurs noeuds, Que Naples soumise et fidèle Redouble ses chants et ses jeux! Rendons hommage à la plus belle! 3. Arie ▼ELVIRE▲ Plaisir du rang suprême, Eclat de la grandeur, Vous n'êtes rien auprès de mon bonheur. A celui que j'aimais c'est l'hymen qui m'engage Dans mon âme ravie où règne son image, S'il m'aime autant qu'il est aimé? O moment enchanteur! Je sens battre mon coeur! Pour ma fidèle ardeur, Quel jour prospère! Plus de mystère Heureuse et fière, Je puis parler de mon bonheur. （Aux jeunes filles qui l'entourent.） O mes jeunes amies, Mes compagnes jolies, Loin de notre patrie, Vous qui m'avez suivie, Partagez mon bonheur! O moment enchanteur! Je sens battre mon coeur! Pour ma fidèle ardeur, Quel jour prospère! Plus de mystère Heureuse et fière, Je puis parler de mon bonheur. Et vous que sur mes pas L'Espagne vit partir Pour ce lointain rivage, Par vos chants, par vos jeux, Des bords heureux du Tage Rappelez-moi le souvenir. （Elvire s'assied entourée de sa cour.） Ballet (Guarache) 4. Scène et Choeur ▼ELVIRE▲ （se levant） Dans ces jardins quel bruit se fait entendre? ▼UNE DAME D'HONNEUR▲ C'est une jeune fille Elle fuit des soldats, Elle accourt en ce palais Et tend vers vous les bras. （Fenella entre poursuivie par Selva et par des gardes. Fenella entre avec effroi; elle aperçoit la princesse et court se jeter à ses genoux.） ▼ELVIRE▲ Que voulez-vous? parlez. （Fenella fait signe à la princesse qu'elle ne peut parler, mais que rien n'égalera sa reconnaissance; et, par ses gestes suppliants, elle la conjure de la dérober aux poursuites de Selva.） ▼ELVIRE▲ （la relevant） Je saurai te défendre. Quand mon bonheur Est si grand aujourd'hui, Pourrais-je aux malheureux Refuser mon appui? （A Selva） Quelle est donc cette infortunée? ▼SELVA▲ La fille d'un pêcheur. L'ordre du vice-roi Depuis un mois la tient emprisonnée; Mais ce matin, bravant une sévère loi, Elle a brisé ses fers. ▼ELVIRE▲ （à Fenella） Quel peut être ton crime? （Fenella répond qu'elle n'est point coupable; elle en atteste le ciel.） ▼ELVIRE▲ Qui troubla ton repos? （Fenella fait signe que l'amour s'empara de son coeur, et qu'il a causé tous ses maux.） ▼ELVIRE▲ Pauvre victime! Je te comprends L'amour a su toucher ton coeur. Mais de tes maux quel est l'auteur? （Fenella fait signe qu'elle l'ignore; mais il jurait qu'il l'aimait, il la pressait contre son coeur; puis montrant l'écharpe qui l'entoure, elle fait entendre qu'elle l'a reçue de lui） ▼ELVIRE▲ Par cet ingrat tu fus abandonnée. （Fenella soupire et fait signe que oui.） ▼ELVIRE▲ Mais dans ces lieux qui t'a donc entraînée! （Fenella désigne Selva il est venu l'arrêter, malgré ses larmes et ses prières. Faisant le geste de tourner une clef et de fermer des verrous, elle exprime qu'on l'a plongée dans un cachot.） ▼ELVIRE▲ En prison! （Fenella explique que là elle priait, triste, pensive, plongée dans la douleur, quand tout à coup l'idée lui vint de se soustraire à l'esclavage. Montrant la fenêtre, elle fait signe qu'elle a attaché des draps, qu'elle s'est laissée glisser jusqu'à terre, qu'elle a remercié le ciel. Mais elle a entendu le qui-vive de la sentinelle; on l'a mise en joue; elle s'est sauvée à travers le jardin, a aperçu la princesse, et est venue se jeter à ses pieds.） ▼ELVIRE▲ Que ses gestes parlants, Ont de grâce et de charmes! Jeune fille! sèche tes larmes, Je veux te protéger auprès de mon époux; De ta douleur je serai l'interprète. （Fenella lui témoigne sa reconnaissance.） ▼LORENZO▲ （sortant de la chapelle） Voici de votre hymen la pompe qui s'apprête, Princesse, Dans le temple on n'attend plus que vous. （La marche commence; Elvire et tout le cortège entrent dans la chapelle. Selva place différents groupes de soldats qui empêchent le peuple d'avancer, celui-ci se presse à l'entrée du péristyle, et regarde à l'intérieur du temple la cérémonie qu'il croit être commencée）. （Fenella, se lève sur la pointe des pieds, et fait des efforts pour voir, mais la foule l'en empêche.） ▼LE CHOEUR▲ Dieu puissant! Dieu tutélaire! Nous t'implorons à genoux. （Tout le monde se met à genoux.） Daigne exaucer notre prière, Et bénir ces heureux époux! ▼SELVA▲ （regardant） O Dieu! Quel spectacle auguste et solennel! Ce couple heureux s'avance vers l'autel. Dans ces regards quelle tendresse brille! ▼LE CHOEUR▲ （reprise） （Fenella observe que tout le monde est à genoux; sus gestes expriment la surprise et la douleur; elle ne peut en croire ses yeux, et s'élance vers le péristyle.） ▼LE CHOEUR DES SOLDATS▲ Qu'attendez-vous! Retirez-vous! Ou bien, craignez notre courroux. （Fenella supplie de la laisser passer; il y va de son repos, de son bonheur. Elle se désespère de ne pouvoir parler, de ne pouvoir expliquer ce qui l'intéresse si vivement.） ▼SELVA▲ Mais que veut cette jeune fille? Que voulez-vous? Retirez-vous! ▼LE CHOEUR DES SOLDATS▲ N'approchez pas! Loin de ces lieux portez vos pas. ▼LE CHOEUR DU PEUPLE▲ （bas à Fenella） N'approchez pas! Craignez ces farouches soldats. （Fenella redouble ses instances et se tord les mains de désespoir. Il faut absolument qu'elle voie le Prince; c'est elle qui est son épouse; c'est à elle qu'il a donné sa foi. Elle veut pénétrer dans le temple pour interrompre la cérémonie.） ▼LE CHOEUR▲ Daigne exaucer notre prière, Et bénis ces heureux époux! Dieu puissant, tutélaire! Do haut des cieux Entends nos voeux! Daigne exaucer notre prière! 5. Finale ▼LE CHOEUR DU PEUPLE▲ （regardant dans la chapelle） Ils sont unis! （Fenella pousse un cri, et tombe sur un siège, dans le plus grand désespoir. Alphonse entre, donnant la main à Elvire, et entouré de tous les Seigneurs de la Cour.） ▼LE CHOEUR▲ Quel bonheur! Quelle ivresse! Par nos chants d'allégresse Célébrons en ce jour Et l'hymen et l'amour. ▼ELVIRE▲ （à Alphonse） Je veux que cette journée Commence par des bienfaits; Et je vois une infortunée Qui près de vous demande accès. （Allant à Fenella qu'elle prend par la main.） Approchez-vous. （A Alphonse.） Sa main est tremblante et glacée. Par un perfide amant elle fut offensée, Et contre un séducteur et parjure et cruel, Elle vient implorer votre justice. ▼ALPHONSE▲ （la regardant） O ciel! ▼ELVIRE▲ Quel est donc ce mystère? Parlez, répondez-moi. ▼ALPHONSE▲ O funeste mystère! C'est elle que je vois! ▼ELVIRE▲ Dieu! Quel soupçon m'éclaire Et me glace d'effroi. ▼ALPHONSE▲ Pour finir ma misère, O terre, entrouvre-toi! ▼LE CHOEUR▲ Quelle est cette étrangère Qu'en ces lieux j'aperçois? Quel est donc ce mystère Qui les glace d'effroi? ▼ELVIRE▲ （allant à Fenella） Rendez le calme à mon coeur éperdu; Alphonse vous est-il connu? （Fenella répond oui.） ▼ALPHONSE▲ Le regret me déchire et le remords m'accable. ▼ELVIRE▲ Achevez! ▼ALPHONSE▲ Je frémis. （Fenella continue, et dit par ses gestes c'est lui qui m'a trompée, c'est lui qui m'a donné cette écharpe, c'est lui qui m'a trahie） ▼ELVIRE▲ Eh bien! Le coupable? （Fenella montre Alphonse.） ▼ELVIRE▲ C'est lui? Voilà donc ce mystère Qui me glace d'effroi! Plus de bonheur sur terre, Tout est fini pour moi! ▼ALPHONSE▲ Oui, tel est ce mystère; Oui, j'ai trahi ma foi. Pour finir ma misère, O terre, entrouvre-toi! ▼LE CHOEUR, LORENZO▲ C'est pour cette étrangère Qu'il a trahi sa foi. O funeste mystère Qui les glace d'effroi! ▼LE CHOEUR DE SOLDATS▲ （montrant Fenella） Amis, punissons cette audace Punissons de tels attentats! ▼ELVIRE▲ Non, non, n'arrêtez point ses pas. （Fenella, regardant avec égarement Alphonse et Elvire, s'enfuit au milieu du peuple qui lui ouvre un passage. On la voit disparaître à travers la colonnade du fond.） ▼LE CHOEUR DE SOLDATS▲ Partons, courons, suivons ses pas. Amis, punissons cette audace. ▼ELVIRE ET LE PEUPLE▲ Non, non, n'arrêtez point ses pas. ▼ALPHONSE▲ Terre, entrouvre-toi sous mes pas! ACTE I Ouverture Les jardins du duc d'Arcos. Au fond une colonnade; à gauche, l'entrée d'une chapelle; à droite, une trône préparé pour la fête. Au lever du rideau, des soldats espagnols, conduits par Selva, traversent la colonnade. Alphonse, choeur du peuple, en dehors 1. Introduction et Air LE CHOEUR Du prince objet de notre amour, Chantons l'heureuse destinée Les flambeaux d'hyménée Pour lui vont briller en ce jour. ALPHONSE Ah! ces cris d'allégresse Et ces chants d'hyménée Redoublent les tourments qui déchirent mon coeur! Elvire, que j'adore, en vain m'est destinée Le remords malgré moi Vient troubler mon bonheur. O toi, jeune victime Dont j'ai trahi la foi, Je vois avec effroi Le malheur qui t'opprime. Fenella, Fenella, cache-moi Ton courroux légitime; Pour expier mon crime, Je veillerai sur toi. LE CHOEUR en dehors Du prince, objet de notre amour, Chantons l'heureuse destinée Les flambeaux d'hyménée Pour lui vont briller en ce jour. Lorenzo entre. ALPHONSE Lorenzo, je te vois; Réponds, ami fidèle, De Fenella sais-tu quel est le sort? LORENZO Seigneur, je l'ignore; Et mon zèle Pour découvrir sa trace A fait un vain effort. ALPHONSE De mes coupables feux, O suite trop cruelle! Hélas! son malheur est certain. LORENZO Quand Naples Retentit du bruit de votre hymen, Quand la jeune et charmante Elvire Consent à vous donner sa main, Quel intérêt en ce jour vous inspire La fille d'un pêcheur et son obscur destin? ALPHONSE Quel intérêt?… Le remords qui m'accable, J'ai su m'en faire aimer En lui cachant mon nom; El je suis d'autant plus coupable, Que son destin étrange et misérable Rend plus facile encore ma lâche trahison. LORENZO Qu'entends-je? ALPHONSE La parole à ses lèvres ravie Par un horrible événement, La livrait sans défense A l'infidèle amant Dont l'abandon empoisonna la vie. Aimable fille, alors je t'ai chérie, Dans ces entretiens pleins d'attraits, Où nos coeurs semblaient se confondre, Muette, hélas! tu m'entendais Tes yeux seuls pouvaient me répondre. LORENZO De cet indigne amour vous avez triomphé? ALPHONSE Ce n'est pas ma raison qui l'a seule étouffé J'oubliai ma victime en adorant Elvire Elle prit sur mes sens un souverain empire. Mais ne sois pas surpris qu'en ce jour fortuné, Où l'amour va m'unir à celle que j'adore, Ami, la pitié parle encore Pour celle que j'abandonnai. Depuis un mois elle a fui ma présence, Et sa mort… LORENZO Ecartez un présage odieux; Peut-être votre père a voulu, par prudence, La soustraire à vos yeux. Vous connaissez son humeur inflexible, A ses sujets comme à son fils terrible; Vous la savez, on craint que sa rigueur De ce peuple opprimé ne lasse la douleur 2. Récitatif et Choeur ALPHONSE Mais du cortège qui s'avance J'entends déjà les accents solennels. Cher Lorenzo, de la prudence! Viens rejoindre mon père Et nous suivre aux autels. Marche et cortège; Elvire paraît entourée des jeunes filles espagnoles ses compagnes et de seigneurs napolitains. Des danses précèdent son arrivée; de jeunes Napolitaines lui présentent des fleurs. LE CHOEUR Du prince, objet de notre amour, Chantons l'heureuse destinée Les flambeaux d'hyménée Pour lui vont briller en ce jour. Alphonse épouse la plus belle; Et quand le ciel forme leurs noeuds, Que Naples soumise et fidèle Redouble ses chants et ses jeux! Rendons hommage à la plus belle! 3. Arie ELVIRE Plaisir du rang suprême, Eclat de la grandeur, Vous n'êtes rien auprès de mon bonheur. A celui que j'aimais c'est l'hymen qui m'engage Dans mon âme ravie où règne son image, S'il m'aime autant qu'il est aimé? O moment enchanteur! Je sens battre mon coeur! Pour ma fidèle ardeur, Quel jour prospère! Plus de mystère Heureuse et fière, Je puis parler de mon bonheur. Aux jeunes filles qui l'entourent. O mes jeunes amies, Mes compagnes jolies, Loin de notre patrie, Vous qui m'avez suivie, Partagez mon bonheur! O moment enchanteur! Je sens battre mon coeur! Pour ma fidèle ardeur, Quel jour prospère! Plus de mystère Heureuse et fière, Je puis parler de mon bonheur. Et vous que sur mes pas L'Espagne vit partir Pour ce lointain rivage, Par vos chants, par vos jeux, Des bords heureux du Tage Rappelez-moi le souvenir. Elvire s'assied entourée de sa cour. Ballet (Guarache) 4. Scène et Choeur ELVIRE se levant Dans ces jardins quel bruit se fait entendre? UNE DAME D'HONNEUR C'est une jeune fille Elle fuit des soldats, Elle accourt en ce palais Et tend vers vous les bras. Fenella entre poursuivie par Selva et par des gardes. Fenella entre avec effroi; elle aperçoit la princesse et court se jeter à ses genoux. ELVIRE Que voulez-vous? parlez. Fenella fait signe à la princesse qu'elle ne peut parler, mais que rien n'égalera sa reconnaissance; et, par ses gestes suppliants, elle la conjure de la dérober aux poursuites de Selva. ELVIRE la relevant Je saurai te défendre. Quand mon bonheur Est si grand aujourd'hui, Pourrais-je aux malheureux Refuser mon appui? A Selva Quelle est donc cette infortunée? SELVA La fille d'un pêcheur. L'ordre du vice-roi Depuis un mois la tient emprisonnée; Mais ce matin, bravant une sévère loi, Elle a brisé ses fers. ELVIRE à Fenella Quel peut être ton crime? Fenella répond qu'elle n'est point coupable; elle en atteste le ciel. ELVIRE Qui troubla ton repos? Fenella fait signe que l'amour s'empara de son coeur, et qu'il a causé tous ses maux. ELVIRE Pauvre victime! Je te comprends L'amour a su toucher ton coeur. Mais de tes maux quel est l'auteur? Fenella fait signe qu'elle l'ignore; mais il jurait qu'il l'aimait, il la pressait contre son coeur; puis montrant l'écharpe qui l'entoure, elle fait entendre qu'elle l'a reçue de lui ELVIRE Par cet ingrat tu fus abandonnée. Fenella soupire et fait signe que oui. ELVIRE Mais dans ces lieux qui t'a donc entraînée! Fenella désigne Selva il est venu l'arrêter, malgré ses larmes et ses prières. Faisant le geste de tourner une clef et de fermer des verrous, elle exprime qu'on l'a plongée dans un cachot. ELVIRE En prison! Fenella explique que là elle priait, triste, pensive, plongée dans la douleur, quand tout à coup l'idée lui vint de se soustraire à l'esclavage. Montrant la fenêtre, elle fait signe qu'elle a attaché des draps, qu'elle s'est laissée glisser jusqu'à terre, qu'elle a remercié le ciel. Mais elle a entendu le qui-vive de la sentinelle; on l'a mise en joue; elle s'est sauvée à travers le jardin, a aperçu la princesse, et est venue se jeter à ses pieds. ELVIRE Que ses gestes parlants, Ont de grâce et de charmes! Jeune fille! sèche tes larmes, Je veux te protéger auprès de mon époux; De ta douleur je serai l'interprète. Fenella lui témoigne sa reconnaissance. LORENZO sortant de la chapelle Voici de votre hymen la pompe qui s'apprête, Princesse, Dans le temple on n'attend plus que vous. La marche commence; Elvire et tout le cortège entrent dans la chapelle. Selva place différents groupes de soldats qui empêchent le peuple d'avancer, celui-ci se presse à l'entrée du péristyle, et regarde à l'intérieur du temple la cérémonie qu'il croit être commencée Fenella, se lève sur la pointe des pieds, et fait des efforts pour voir, mais la foule l'en empêche. LE CHOEUR Dieu puissant! Dieu tutélaire! Nous t'implorons à genoux. Tout le monde se met à genoux. Daigne exaucer notre prière, Et bénir ces heureux époux! SELVA regardant O Dieu! Quel spectacle auguste et solennel! Ce couple heureux s'avance vers l'autel. Dans ces regards quelle tendresse brille! LE CHOEUR reprise Fenella observe que tout le monde est à genoux; sus gestes expriment la surprise et la douleur; elle ne peut en croire ses yeux, et s'élance vers le péristyle. LE CHOEUR DES SOLDATS Qu'attendez-vous! Retirez-vous! Ou bien, craignez notre courroux. Fenella supplie de la laisser passer; il y va de son repos, de son bonheur. Elle se désespère de ne pouvoir parler, de ne pouvoir expliquer ce qui l'intéresse si vivement. SELVA Mais que veut cette jeune fille? Que voulez-vous? Retirez-vous! LE CHOEUR DES SOLDATS N'approchez pas! Loin de ces lieux portez vos pas. LE CHOEUR DU PEUPLE bas à Fenella N'approchez pas! Craignez ces farouches soldats. Fenella redouble ses instances et se tord les mains de désespoir. Il faut absolument qu'elle voie le Prince; c'est elle qui est son épouse; c'est à elle qu'il a donné sa foi. Elle veut pénétrer dans le temple pour interrompre la cérémonie. LE CHOEUR Daigne exaucer notre prière, Et bénis ces heureux époux! Dieu puissant, tutélaire! Do haut des cieux Entends nos voeux! Daigne exaucer notre prière! 5. Finale LE CHOEUR DU PEUPLE regardant dans la chapelle Ils sont unis! Fenella pousse un cri, et tombe sur un siège, dans le plus grand désespoir. Alphonse entre, donnant la main à Elvire, et entouré de tous les Seigneurs de la Cour. LE CHOEUR Quel bonheur! Quelle ivresse! Par nos chants d'allégresse Célébrons en ce jour Et l'hymen et l'amour. ELVIRE à Alphonse Je veux que cette journée Commence par des bienfaits; Et je vois une infortunée Qui près de vous demande accès. Allant à Fenella qu'elle prend par la main. Approchez-vous. A Alphonse. Sa main est tremblante et glacée. Par un perfide amant elle fut offensée, Et contre un séducteur et parjure et cruel, Elle vient implorer votre justice. ALPHONSE la regardant O ciel! ELVIRE Quel est donc ce mystère? Parlez, répondez-moi. ALPHONSE O funeste mystère! C'est elle que je vois! ELVIRE Dieu! Quel soupçon m'éclaire Et me glace d'effroi. ALPHONSE Pour finir ma misère, O terre, entrouvre-toi! LE CHOEUR Quelle est cette étrangère Qu'en ces lieux j'aperçois? Quel est donc ce mystère Qui les glace d'effroi? ELVIRE allant à Fenella Rendez le calme à mon coeur éperdu; Alphonse vous est-il connu? Fenella répond oui. ALPHONSE Le regret me déchire et le remords m'accable. ELVIRE Achevez! ALPHONSE Je frémis. Fenella continue, et dit par ses gestes c'est lui qui m'a trompée, c'est lui qui m'a donné cette écharpe, c'est lui qui m'a trahie ELVIRE Eh bien! Le coupable? Fenella montre Alphonse. ELVIRE C'est lui? Voilà donc ce mystère Qui me glace d'effroi! Plus de bonheur sur terre, Tout est fini pour moi! ALPHONSE Oui, tel est ce mystère; Oui, j'ai trahi ma foi. Pour finir ma misère, O terre, entrouvre-toi! LE CHOEUR, LORENZO C'est pour cette étrangère Qu'il a trahi sa foi. O funeste mystère Qui les glace d'effroi! LE CHOEUR DE SOLDATS montrant Fenella Amis, punissons cette audace Punissons de tels attentats! ELVIRE Non, non, n'arrêtez point ses pas. Fenella, regardant avec égarement Alphonse et Elvire, s'enfuit au milieu du peuple qui lui ouvre un passage. On la voit disparaître à travers la colonnade du fond. LE CHOEUR DE SOLDATS Partons, courons, suivons ses pas. Amis, punissons cette audace. ELVIRE ET LE PEUPLE Non, non, n'arrêtez point ses pas. ALPHONSE Terre, entrouvre-toi sous mes pas! Auber,François/La Muette de Portici/II
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1Scope The Common Information Model (CIM) (DSP0004) is an object-oriented information model defined by the Distributed Management Task Force (DMTF) that provides a conceptual framework for describing management data. The Common Information Model (CIM) (DSP0004) はDistributed Management Task Force (DMTF) によって定義されたデータ管理のためのオブジェクト指向データモデルです。 The Hypertext Transfer Protocol (HTTP) (RFC 1945, RFC 2068, RFC 2616) is an application-level protocol for distributed, collaborative, hypermedia information systems. This generic stateless protocol can be used for many tasks through extension of its request methods, error codes, and headers. The Hypertext Transfer Protocol (HTTP) (RFC 1945, RFC 2068, RFC 2616) は、ハイパーメディア情報システムを記述したり、コラボレートするためのアプリケーションレベルのプロトコル(規約)です。 この総括的なステートレスプロトコルはリクエストメソッド、エラーコードとヘッダをつかって多くのタスクに使用することが可能です。 The Extensible Markup Language (XML) is a simplified subset of SGML that offers powerful and extensible data modeling capabilities. An XML document is a collection of data represented in XML. An XML schema is a grammar that describes the structure of an XML document. The Extensible Markup Language (XML) Iはパワフルで拡張的なデータモデリングが可能なSGMLの簡素なサブセットです。XMLドキュメントはXMLで表現されたデータの集まりです。XMLスキーマはXMLドキュメントの構造を記述する文法です。 This document defines a mapping of CIM messages onto HTTP that allows implementations of CIM to interoperate in an open, standardized manner. It is based on the CIM XML DTD (DSP0201 and DSP0203) that defines the XML schema for CIM objects and messages. このドキュメントはHTTP上でやり取りされるのCIM実装で許容されたCIMメッセージと オープンで標準化されたマナーとしての相互運用（の規則）へのマッピングを定義します。
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An Eleventh Century Manual of Arabo-Byzantine Astronomy (Corpus Des Astronomes Byzantins, No 3) J C Gieben? Alexander Jones? JCGieben? AlexanderJones? ユーズドブック(洋書)-Science? Substores-UnknownASINs-55? Subjects-Science-General Subjects-Science-Astronomy-Astronomy? Beitrage Zur Wirtschaftsinformatik (Objektorientierte Entwicklung Betrieblicher Informationssyteme, Bd, 14) Springer-Verlag? D. Schreiber? Springer-Verlag? D.Schreiber? Substores-UnknownASINs-49? Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Science-General Toxins and Targets Effects of Natural and Synthetic Poisons on Living Cells and Fragile Ecosystems Harwood Academic Pub? Dianne Watters? Martin Lavin? David Maguire? John Pearn? HarwoodAcademicPub? DianneWatters? MartinLavin? DavidMaguire? JohnPearn? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Medicine? Subjects-Engineering-Civil-Environmental-General Subjects-Medicine-BasicScience-Physiology? Subjects-Medicine-Pharmacology-Toxicology? 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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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NServer Issues with English Client This is an "Unofficial" English supportive website for NServer . ( DISCLAIMER )(El sitio sólo está disponible en inglés / O local só está disponível em inglês) This site or the author here of is in no association with NServer , its Owner(s), Administrator(s), GM(s), or GMS(s). Please read the Server Rules for fun and fair gaming BEFORE start playing. *** NServer Issues with English Client *** You might encounter the following issues with English Client. Check Start-up Guide for more detail and how to get around it. Possible Issues 1. PC / Player Characters Non-English PC names are not displayed. You cannot use /target "name," you have to click the person. Community/Board will not display these players either. 2. NPC / Non-Player Characters Non-English NPC names are not displayed. You cannot use /target "name," you have to click the NPC. Even if you have actually clicked the NPC, some dialogs won t show properly. Some NPCs have English Menu, if not all. However, you can get around it most of the time with this guide. Check Frequently Used NPCs with English Client or NPC list for more info. 3. Items Items are not that much of problems like PC or NPCs as long as they exist in English client. However, if the item has an original name or NPC doesn t let you pass the dialog, you might have some issues. Probably the biggest and the hardest problem is that when you try to exchange your Premium Point for forgotten scrolls. Menus are not shown, item names are not shown, and the Point is not transferable. You can ask others to buy generic items for you, but not these with Premium Point exchange. 4. Chat Non-English fonts are not shown. This means the server announcement won t show properly, including login msg, TvT announcement, and other generic info - the server restart msg will show. JP client will display English characters, so they can see your chat if you need to chat with someone. Check Start-up Guide for more detail and how to get around it. UP HOME ©2009 NServer "Unofficial" English Guide http //www29.atwiki.jp/nserver Edit 申し訳ありませんが、link_ref プラグインは提供を終了し、ご利用いただけません。
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International Conference and Workshop on Modeling and Mitigating the Consequences of Accidental Releases of Hazardous Materials May 20-24, 1991 Fairm Amer Inst of Chemical Engineers? AmerInstofChemicalEngineers? ジャンル別? Subjects-Engineering-Bioengineering-Biochemistry? Subjects-Engineering-Chemical-Materials? Subjects-Engineering-Chemical-Safety? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-Chemical-Materials? Subjects-Professional&Technical-Engineering-Chemical-Safety? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Bioengineering-Biochemistry? Subjects-Professional&Technical-Engineering-General Subjects-Science-Chemistry-Safety? Subjects-Science-General Efficient Government Institution for Water Quality Control University Press of America? Fred L. Harder? UniversityPressofAmerica? FredL.Harder? ジャンル別? 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ATTO II (Ricevimento in casa della principessa Fedora Romazoff a Parigi. Un arcata, sorretta da snelle colonne, divide il Salone propriamente detto dall antisala, che serve da sfogatoio. Nel fondo si scorge l entrata d una serra a cristalli ricca di piante rare. Di là dall arcata, sopra un rialzo un pianoforte a coda intorno molte poltroncine. Quando si alza il sipario, vediamo che il ricevimento è in pieno svolgimento. Fedora dirige il servizio del thé, assistita dal conte Loris Ipanoff) OLGA (presentando Boleslao Lazinski agli invitati. È un bellissimo dammeno dai capelli biondi alla Liszt, ed è ovvio che sta facendo la corte ad Olga per raggiungere i propri fini. Lei è una farfalla madonna, che si prefigge il piacere come unico scopo della vita.) Signori, vi presento Lazinski. Basta il nome nevvero? (a Lazinski) Il dottor Boroff... Il barone Rouvel... ROUVEL (ironico) Felice! BOROFF (scientemente) Lusingato! OLGA Un esule, sapete. ROUVEL, BOROFF Come voi? OLGA Come me. Vedete, la politica é la mia passione. BOROFF (assecondandola) Davvero? OLGA (con entusiasmo) Come é bello il cospirar! ROUVEL (celiando) Vi cercano. OLGA (Infervorandosi) V ascondete. BOROFF (celiando) Vi arrestano. OLGA Fuggite. ROUVEL E vi ripigliano! (Tutti ridono.) FEDORA (tendendo la mano a De Siriex) Oh! II signor de Siriex.. . (a Loris con un sorriso) Vecchi amici di Russia. (a De Siriex) Ed ecco uno recente... Il conte Loris Ipanoff... (a Loris) II signor de Siriex, segretario degli Esteri. (De Siriex esce al sentir nominare Ipanoff, ma si riprende subito mentre Fedora gli offre una tazza di thé.) BOROFF Loris... (conduce Loris alla sinistra in modo che possono parlare in privato) LORIS Che vuoi? DE SIRIEX (a Fedora, con riferimento a Loris) Egli è qui? FEDORA Lo tengo. DE SIRIEX Come faceste? FEDORA Semplicemente. (A questo punto, le due conversazioni cominciano a sovrapposi musicalmente.) So ch è a Parigi; lo cerco, lo spio, lo adesco, l inebrio... BOROFF (a Loris, gravemente) Giurato avevi di non riporre piedi qui dentro. LORIS La cortesia! DE SIRIEX Ed egli? FEDORA E innamorato! Ignoto a tutti. BOROFF Mio Loris, del fulgido sguardo diffida. DE SIRIEX E il suo delitto? FEDORA Ignoto a tutti... (Le due conversazioni distinte - L una tra Fedora e De Siriex, l altra tra Loris e Boroff- procedono in questo brano concertato; tra poco vi si unisce una terza conversazione tra Olga e il Barone Rouvel) DE SIRIEX (a Fedora) Ed ora? LORIS (appassionatamente. A Boroff) L amo.. . FEDORA (A De Siriex) Aspetto... DE SIRIEX (a Fedora) Che mai? FEDORA (A De Siriex) La prova. DE SIRIEX (a Fedora) Come? BOROFF (A Loris) Questa notte io parto... Pensa a tua madre! FEDORA (A De Siriex) Dalla sua bocca. Oh! se lo fosse! Non l odio quanto dovrei... LORIS (A Boroff) L amo, l amo! DE SIRIEX (a Fedora) E se innocente? ROUVEL (ad Olga) Non comprendo... OLGA (spensieratamente. A Rouvel) Lo sono il capriccio leggiero, veloce, che invidia le rondini, e ignora il perché! DE SIRIEX (a Fedora) L amate? FEDORA (A De Siriex) Forse! BOROFF (A Loris) Sei vinto! Ti assista il ciel! DE SIRIEX (a Fedora) Se parla? FEDORA (A De Siriex) Senza pietà! LORIS (a Boroff) Forte io son! ROUVEL (ad Olga) Il vostro cuor. (Fedora e De Siriex risalgono parlando sempre.) OLGA (continuando a civettare con Rouvel) Lo son, io son lo sbadiglio molesto, tenace, che dissipa il bacio, che uccide la gioia, e ignora il perché! ROUVEL Voi siete un bisticcio! (galantemente a Fedora) Principessa, ci fate languir! FEDORA (sorridendo gravosamente) Ognuno porta la sua Croce. (toccandosi quella bizantina che le pende sol petto) Vedete, anch io! ROUVEL É un talismano? FEDORA (facendosi seria subitamente e indicando col dito un piccolo scompartimento nel ciondolo) In quest antica Croce, era una pia reliquia; io vi riposi un farmaco, che sana ogni malor... LORIS (con intenzione) Per voi o per gli amici? FEDORA (Sorridendo) Chi lo sa! LORIS (con un inchino) Grazie. ROUVEL, DE SIRIEX, BOROFF (ridendo) Grazie. OLGA (presentandolo a Fedora) Vi presento Lazinski, il maestro polacco, nipote e successore di Chopin... un poeta del pianoforte, un principe del sentimento, un mago... FEDORA (interrompendo Olga con un saluto a Boleslao) Vi applaudirem stasera? OLGA (con entusiasmo) Naturalmente! FEDORA Bene! (Mentre si allontanano Fedora e Loris, De Siriex e Boleslao offrono entrambi il braccio ad Olga, la quale, dopo alquante moine, si decide per quello di Boleslao) DE SIRIEX (tra l offeso e il galante, ad Olga, che si discosta a braccio di Boleslao) Cosacca! OLGA (attirando l attenzione degli invitati maschi allo scopo di fare una scenata) Miei signori, venite... M hanno offesa! ROUVEL (comicamente) Chi mai? BOROFF (comicamente) Chi mai? CORO Chi mai? OLGA II signor de Siriex. ROUVEL, BOROFF, CORO (con stupore) Lui? DE SIRIEX (piegandosi come un colpevole) lo stesso. OLGA (sempre comicamente) Osò chiamarmi cosacca! Ma perché? ROUVEL, BOROFF, CORO (sempre comicamente, a De Siriex) Risponda il reo! Risponda! DE SIRIEX (con motteggievo le eleganza, canta una canzone russa) La donna russa è femmina due volte, doppiamente adorabile ed ostil.. . Essa é la vera donna, d Eva la figlia vera, con le dolcezze e gl impeti, le audacie e le viltà, l ali e gli artigli, l estasi e le frodi, pronta a immolarsi e facile a tradir. Tutto il suo sesso è in lei, tutto l esser umano un altare, un abisso, un mistero! Angelo e serpe, zingara e regina, sol d oriente e gelo boreal! Ecco la donna russa, con le dolcezze e gl impeti, le audacie e le viltà, pronta a immolarsi e facile a tradir! Ecco la donna russa, (con un inchino galante ad Olga) ed ecco l ideal! BOROFF (a De Siriex) Il ritratto è preciso. ROUVEL (a De Siriex) Benché non troppo gaio... OLGA Evvia! Eccone un altro più somigliante ancor. Il Parigino é come il vino, il vino della vedova, la Vedova Clicquot. Fragrante e perfido, giocondo e gelido, ci fa girar la testa ed i garretti; ma il cuor? Il cuore? Ohibò! Acido e zucchero, vapore e spirito, ribolle, balza, crepita, gorgoglia, freme, e poi? e poi? passò! Farmaco biondo, tossico blando, fa troppo vano strepito, fa troppa spuma... perché? perché? Non so... Svanito il fumo, spenta l ebbrezza, resta il tedio, e l emicrania. Adunque? Dunque? Buon pro! II Parigino é come il vino della Vedova Clicquot! BOROFF Brava, Contessa! DE SIRIEX (inchinandosi) Toccato! ROUVEL (a Olga) Benissimo! OLGA (a Boleslao, investendolo quasi gelosamente) Finalmente! vi colgo... Con chi eravate? Cosa faceste? Rispondete! (Boleslao altro non fa che inchinarsi profondamente.) (Loris e Fedora rientrano dalla sinistra a braccetto. ella freddamente istigante, egli sempre più inebriato, parlando, passeggiano per l anticamera.) FEDORA Ma dunque, é amore? LORIS (con forza) Delirio. FEDORA (ironica) Che sperate? LORIS Tutto. FEDORA (fingendosi offesa) E s io t impedissi? LORIS Con qual dritto? FEDORA (insistendo nel fingere irritazione) Amarvi per forza or dunque dovrò? LORIS Amor ti vieta di non amar. La man tua lieve, che mi respinge, cerca la stretta della mia man; la tua pupilla esprime T amo! " se il labbro dice "Non t amerò!" BOROFF (rientrato dalla dritta, si accosta vivamente a Fedora e Loris, ed inchinandosi a Fedora) Principessa, se aveste ordini per la Russia... FEDORA Partite? BOROFF A mezzanotte. FEDORA Ed io domani. LORIS (con un grido soffocato) voi? BOROFF (a Fedora, inchinandosi) Ci rivedremo allora... FEDORA (porgendogli la destra) A Pietroburgo... BOROFF (dopo aver baciato la mano alla Principessa, a Loris tristemente, con un gesto di saluto) Addio! LORIS Addio! (a Fedora) Doman? FEDORA (con un sospiro subdolo) Lascio Parigi... LORIS Sciagurato! ed io seguirvi la non posso! FEDORA (come per consolarlo) Appena giunta, pregherò per voi perdono... LORIS Vana impresa! FEDORA (fissandolo intensamente) Perchè no? Che faceste? E cosa grave? LORIS (capo) Grave. FEDORA Dunque sei reo? LORIS No. FEDORA (con gioia) Innocente? LORIS D un delitto... (Fedora, ben decisa a carpire a Loris la verità, trovandosi presso il divanetto, con dolce violenza vi fa sedere Loris, e quindi siede al sul banco.) OLGA Principessa, Boleslao può cominciar? FEDORA (facendo con la mano un gesto di indifferenza, e non volendo essere disturbata) Cominci... (Lazinski si siede al pianoforte. Assicuratasi che non ci saranno altre interruzioni, Fedora si concentra sulla preda. Lei e Loris sono parzialmente nascosti olla vista degli altri invitati da un paravento ornamentale e un gruppo di palme in vaso.) FEDORA (sottovoce) Dimmi, dunque... Di ... che fu? LORIS (si guarda intorno per assicurarsi di non essere udito) Fu l accusa d aver teso un tranello a Vladimiro Andrejevich.. . FEDORA (rabbrividendo) E non corri a scolparti? LORIS Da suo padre? Contro tutti? FEDORA Se innocente sei davvero, crederà... (Lazinski comincia a suonare un notturno.) LORIS (tentennando il capo) Egli? (tutta questa scena a mezzavoce) FEDORA E tu qui propormi ardisci l amor tuo contaminato dal terribile sospetto... e il tuo nome... il turpe nome d un assassino! LORIS Innocente! FEDORA (con simulata passione) Prova, dunque, questa tua grande innocenza... e la gitta in taccia al mondo pel tuo onor, per l amor mio! (lo guarda con feroce ansietà affascinando Loris con la persona piegata e palpitante) Tu taci? Rispondi... rispondi! LORIS (con intensità) Fedora, m amate? FEDORA (affascinandolo sempre più) Si, t amo... t amo. Ma parla... parla. . . LORIS (dopo uno sforzo supremo, subito con voce spenta) Ebben... Si... l uccisi... FEDORA (sorgendo in piedi di scatto, inorridita) Eri tu? LORIS Fedora! FEDORA Assassino! (Nel salone tutti applaudiscono Lazinski, che a finito il notturno e é in procinto di iniziare il secondo brano.) LORIS T inganni! Tu ignori... FEDORA (sogghignando) Fu qualche disgrazia? LORIS Castigo! FEDORA Un agguato codardo? LORIS E che ne sai tu? FEDORA (fra sé) Nulla io so! (Loris si alza e manifesta chiaramente la propria intenzione di lasciare la festa.) Mi sfugge! (più forte) Ma dove ten vai? Vuoi, dunque, lasciarmi nel dubbio? LORIS (fermandosi, con grande tristezza) Che giova? Non m ami! T incuto ribrezzo! FEDORA (sforzandosi di sorridere) Rifletti... la prima sorpresa... LORIS (con un gesto disperato) Chiamarmi assassino potesti! FEDORA (accostandosi con mal repressa ripugnanza) Fu il grido del sangue. Ma poi, il cuore risponde chi sa? LORIS (con grande trasporto) Che sii benedetta! FEDORA (procurando di farlo un altra volta sedere) Ma dimmi... Perché l uccidesti? LORIS (resistendo) Parlare, in mezzo a una testa? Vo darti la prova... Domani... qui stesso... FEDORA (fermandolo) Stanotte! Rispondi... Verrai? LORIS Si, verrò... FEDORA (quasi amorosamente) Lo vedi! Non provo ribrezzo. LORIS (baciandole ardentemente la mano) Oh, grazie! Fra un ora? (s allontana rapidamente e scompare a sinistra. Fedora fa l atto di strapparsi rabbiosamente dalla mano l impronta del bacio) FEDORA (trucemente) Infame! Più non mi sfuggi! (Le signore circondano il concertista per complimentarlo) OLGA (con entusiasmo a una dama) Portentoso! ROUVEL (a De Siriex, astutamente) Strepitoso! DE SIRIEX (ridendo a Rouvel) Schiacciante! OLGA (giocondamente a Fedora) Si fanno quattro salti? FEDORA (distratta, e sempre intenta alla vendetta contra Loris) Veramente, è un po tardi. OLGA (chiedendo) Un altro giro? ROUVEL Il ballo è il cognac dell amor. (Olga prende il braccio di Lazinski, un generale offre Il suo a Fedora. Mentre le coppie si muovono verso la pista da ballo, un lacchè reca un dispaccio su d un vassoio a De Siriex, che lo apre in disparte e lo legge con crescente emozione.) DE SIRIEX (accostandosi rapidamente a Fedora) Principessa! Un dispaccio ufficiale. Vi consiglio di sospendere la festa. FEDORA (stupita) Perché? DE SIRIEX Un attentato! FEDORA Contro lo Czar? DE SIRIEX (porgendole il dispaccio) Leggete. FEDORA (leggendo) Quei maledetti! (il dispaccio passa di mano in mano. La costernazione si dipinge su tutti i volti.) DE SIRIEX (a Fedora, con intenzione baciandole la mano) I nichilisti! OLGA (prendendo il braccio di Boleslao, spensieratamente a Fedora) Che peccato! Il mio giro! FEDORA (quasi solennemente) Dio protegga lo Czar! (Gli invitati si congedano da Fedora. Molta confusione nel fondo. La Principessa stringe a tutti la mano. Le due sale si sfollano rapidamente. I servi spengono i lumi dei lampadar e dei doppieri. un cameriere tira un ampia cortina di velluto cupo tra le colonne che dividono l antisala dal gran salone, chiudendo così tutta l arcata. L antisala rimane illuminata da una lampada sola. Fedora ridiscende nell antisala, siede e resta pensosa. Ad un tratio si alza, apre la piccola scrivania Settecento e si mette a scrivere. Dopo essersi occupata per un po in questa maniera, si alza, va verso una porta al lato del salone, e chiama il detective russo.) FEDORA Gretch! (Egli compare sulla porta, e lei lo interroga nervosamente.) I vostri uomini? GRETCH (accennando all uscio donde è entrato) Sono là... FEDORA Bene! (ritorna alla scrivania, e ricomincia a scrivere) GRETCH (rispettosamente) Sempre ho seguito Loris Ipanoff. FEDORA (chiudendo la lettera) Dite! GRETCH (consultando il proprio taccuino) Stasera un uom sospetto, Giunto appena di Russia, gli recava una lettera del fratel Valeriano. FEDORA Il fratello? Anche lui! (riapre la lettera e vi aggiunge alcune parole) Valeriano... Null altro? GRETCH Nulla. FEDORA (chiude la lettera e la suggella) Ho la prova suprema... la confessione sua! GRETCH (meravigliato) Confessa il suo delitto? FEDORA Confessa! GRETCH Finalmente! FEDORA Egli sta per tornare. Voi scendete in giardino. Appena pronti, un segno! Io lo congederò. GRETCH E poscia? FEDORA (alteramente) Fate il vostro mestiere. Non un grido, non un singulto! GRETCH Abbiamo un bavaglio. FEDORA Alle foce della Senna vi attende la nave Elisabetta. È quello suolo russo. GRETCH Obbedirò, signora... O vivo o morto! FEDORA (porgendogli la lettera) Questa per l Ambasciata. Sia spedita all istante a Pietroburgo... GRETCH Forse al generale Jariskin? FEDORA D ogni cosa lo informo. GRETCH Sarà fatto, Eccellenza! FEDORA (in un sussurro improvviso) Silenzio... (va in fondo ad ascoltare) È lui! È lui! (a Gretch) Andate. (Gretch esce per dove è entrato. Come Loris compare all ingresso, Fedora, maestosamente in piedi vicino alla scrivania, gli punta contro un dito accusatore, e gli parla con il tono di chi siede in un tribunale.) FEDORA Loris Ipanoff, oggi lo Czar, nostro signore, venia atrocemente colpito, come un giorno Vladimiro Andrejevich, dai nichilisti... E voi siete di quelli! LORIS (stupito) lo? FEDORA Voi! LORIS È falso! FEDORA Ma perché l uccideste? LORIS (con fredda energia) Per una donna... FEDORA Una donna? LORIS La mia... FEDORA (soffocata dall emozione) La tua LORIS Mia moglie... FEDORA (smarrita) Dimmi tutto... LORIS (sedendo sul divanetto. Guardandolo quasi spaventata Fedora siede essa pure.) Mia madre, la mia vecchia madre, Solinga vive, Come in sogno di pace, Nel suo castel lontan. L ultimo april, vi accolse Una giovin lettrice, Una sirena bionda, Wanda era il nome suo fatal. FEDORA (soffocata) Wanda! LORIS Cedendo alle lusinghe, l amai beato. Ma la mia buona madre L ascosa vampa travide, e lunge volle l incantatrice. lo la raggiungo, l adduco al tempio, mia la proclamo davanti a Dio! M eran padrini due vecchi amici... FEDORA (interrompendolo) Vladimiro? LORIS Vladimiro. Nel segreto nostro asilo tanto assiduo egli si mostra che il sospetto m entra in core. (con crescente emozione) Un vespro, a Natale, partendo pel dolce castello paterno, sovvienmi d un dono promesso a mia madre. Risalgo in slitta, E ratto ritorno. A mezzo la via, Discesa dall uscio del nobile amico. ravviso la fante di Wanda. L inseguo. La donna vacilla, balbetta, confessa. Di Wanda un biglietto reco a Vladimiro, lo salgo egli è uscito. II servo mi lascia un istante. lo corro al tiretto e trovo... FEDORA (interrompendolo) La lettera infame? LORIS (continuando) Che dice "Ti attendo stasera, alle nove!" FEDORA (fissandolo quasi con spavento) lo mi domando ancora se chi mi parla sia l uomo più turpe o più infelice. LORIS (stupito) Come? FEDORA (con la voce piena di odio) Se tu mentissi? LORIS (alzandosi di scatto) Di me dubiti ancora? FEDORA Chi mi da la certezza? LORIS Lui stesso. FEDORA (incredula sempre) Vladimiro? LORIS Ecco la prova. (getta sulla tavola un pacco di lettere) Leggi! FEDORA (riconosce la scrittura di Vladimiro, legg) "Anima mia!" (fra sè, esterrefatta) La sua scrittura. (correndo con l occhio alla firma) "Vladimiro tuo che t adora" (guardando l acclusa fotografia da biglietto da visita) Il suo ritratto! Dunque è vero? LORIS (porgendole un altra lettera) Leggi! Ed era fidanzato! FEDORA (leggendo) Pensa alla mia fortuna" (fra sé) Alla fortuna sua! (prende la lettura) Colei che sposerò non sarà tua rivale la sola donna mia, sei tu, Wanda adorata!" (straccia la lettera) Vile! Vile! FEDORA, LORIS Vile! FEDORA (guardando il ritratto) Essere abbietto! Cuore di fango! (straccia il ritratto e se getta via i pezzi. poi, agitata fin quasi alla frenesia, fissa l attenzione su Loris.) Ed or narra il castigo... LORIS La fante mi svela l immondo ritrovo. All ora fissata vi penetro armato. Deserta è la prima stanzetta. Vi ascolto. Un onda di risa... Un onda di baci! FEDORA Avanti! LORIS II mio nome! Cieco di rabbia! Un urto alla porta e mi slancio. FEDORA (afferrando con le mani il tavolino) Avanti... avanti! LORIS Ella balza. lo l afferro, e l atterro. "Lascia quella donna" grida il vile. Mi rivolgo furibondo al vedermi armato ei s arma. Spara... al fianco mi ferisce... lo rispondo... ma l uccido. FEDORA (come un grido di gioia selvaggia) Ah! anche lei! LORIS (calmo) Ella fuggi... ma inferma cadde... langui... si spense. (fieramente) Ma chi m accusa? Chi dunque mi spia? Conosci tu gl infami? FEDORA (presto) Nulla io so! LORIS Vedi, io piango... ma, se piango, no, non è per la mia vita. A mia madre penso, e piango per il suo gran dolor. Non sarò nella mia casa a implorare il suo perdono, e quei dolci occhi morenti socchiuder non potrò! Vedi, io piango, ma, se piango, no, non è il piango mio viltà! FEDORA (dolcemente, con passione, tentando di consolarlo) Lascia che pianga io sola e pianga di vergogna pianga L infame accusa, pianga il profondo inganno. T avea creduto un vile schiavo dell odio altrui ed eri un forte, un nobile, un santo punitor. LORIS (sconsolatamente) Vana pietà! Vana pietà, se parti! lo patria e tetto e nome e madre più non ho! Vana, vana pietà! FEDORA Loris, non parto più, non parto più! Un altra madre tra le mie braccia avrai! LORIS (alzandosi, risoluto) Addio! (lontano fischio interno) FEDORA (fra sè) Il segnale! LORIS (dirigendosi all uscio di destra) Addio! a domani... FEDORA (sbarrandogli il passo) Dove ten vai? LORIS Rincaso... È tardi. FEDORA No, non partire! LORIS Perché? FEDORA (cercando di prendere tempo) Le spie che ti circondano? LORIS (sfiorandola mentre le passa accanto) lo non le temo! FEDORA (cercando ancora di prendere tempo) Ben io le temo! (tra sè) L uccideranno! LORIS Non vo recarti sventura... Addio... FEDORA (frapponendosi tra lui e l uscio) Ah! rimani! Ho paura. Tu corri a un agguato... Fors anche alla morte. LORIS (cercando di allontanarla) Diranno che sono il tuo amante! FEDORA (fissandolo amorosamente) Che importa? LORIS Se t amo! FEDORA Non m ami! LORIS Io t amo! FEDORA No, tu non m ami, non m ami! LORIS (abbracciandola con passione) Fedora, io t amo, il tuo sguardo m inebria! FEDORA Nè patria, Nè madre Rimpiangi per me? LORIS Più nulla! (Tranquillamente, senza togliere gli occhi da Loris, Fedora si sposta indietro verso la porta del salone, la tira, e la chiude a chiave.) Fedora, ti perdi! FEDORA Ti salvo! Ma ripeti ancor Che m ami... LORIS (avvicinandosi lentamente a lei, le mani tese, fissandola negli occhi) T adoro! FEDORA (con gioia profonda) E dunque, rimani! FEDORA, LORIS (avvicinandosi l uno all altra al centro della stanza, nella felicità più intensa) T amo! (Dopo quest ultima dichiarazione, i due amanti s incontrano in un abbraccio appassionato, mentre cala lentamente il sipario.) ATTO II (Ricevimento in casa della principessa Fedora Romazoff a Parigi. Un arcata, sorretta da snelle colonne, divide il Salone propriamente detto dall antisala, che serve da sfogatoio. Nel fondo si scorge l entrata d una serra a cristalli ricca di piante rare. Di là dall arcata, sopra un rialzo un pianoforte a coda intorno molte poltroncine. Quando si alza il sipario, vediamo che il ricevimento è in pieno svolgimento. Fedora dirige il servizio del thé, assistita dal conte Loris Ipanoff) OLGA (presentando Boleslao Lazinski agli invitati. È un bellissimo dammeno dai capelli biondi alla Liszt, ed è ovvio che sta facendo la corte ad Olga per raggiungere i propri fini. Lei è una farfalla madonna, che si prefigge il piacere come unico scopo della vita.) Signori, vi presento Lazinski. Basta il nome nevvero? (a Lazinski) Il dottor Boroff... Il barone Rouvel... ROUVEL (ironico) Felice! BOROFF (scientemente) Lusingato! OLGA Un esule, sapete. ROUVEL, BOROFF Come voi? OLGA Come me. Vedete, la politica é la mia passione. BOROFF (assecondandola) Davvero? OLGA (con entusiasmo) Come é bello il cospirar! ROUVEL (celiando) Vi cercano. OLGA (Infervorandosi) V ascondete. BOROFF (celiando) Vi arrestano. OLGA Fuggite. ROUVEL E vi ripigliano! (Tutti ridono.) FEDORA (tendendo la mano a De Siriex) Oh! II signor de Siriex.. . (a Loris con un sorriso) Vecchi amici di Russia. (a De Siriex) Ed ecco uno recente... Il conte Loris Ipanoff... (a Loris) II signor de Siriex, segretario degli Esteri. (De Siriex esce al sentir nominare Ipanoff, ma si riprende subito mentre Fedora gli offre una tazza di thé.) BOROFF Loris... (conduce Loris alla sinistra in modo che possono parlare in privato) LORIS Che vuoi? DE SIRIEX (a Fedora, con riferimento a Loris) Egli è qui? FEDORA Lo tengo. DE SIRIEX Come faceste? FEDORA Semplicemente. (A questo punto, le due conversazioni cominciano a sovrapposi musicalmente.) So ch è a Parigi; lo cerco, lo spio, lo adesco, l inebrio... BOROFF (a Loris, gravemente) Giurato avevi di non riporre piedi qui dentro. LORIS La cortesia! DE SIRIEX Ed egli? FEDORA E innamorato! Ignoto a tutti. BOROFF Mio Loris, del fulgido sguardo diffida. DE SIRIEX E il suo delitto? FEDORA Ignoto a tutti... (Le due conversazioni distinte - L una tra Fedora e De Siriex, l altra tra Loris e Boroff- procedono in questo brano concertato; tra poco vi si unisce una terza conversazione tra Olga e il Barone Rouvel) DE SIRIEX (a Fedora) Ed ora? LORIS (appassionatamente. A Boroff) L amo.. . FEDORA (A De Siriex) Aspetto... DE SIRIEX (a Fedora) Che mai? FEDORA (A De Siriex) La prova. DE SIRIEX (a Fedora) Come? BOROFF (A Loris) Questa notte io parto... Pensa a tua madre! FEDORA (A De Siriex) Dalla sua bocca. Oh! se lo fosse! Non l odio quanto dovrei... LORIS (A Boroff) L amo, l amo! DE SIRIEX (a Fedora) E se innocente? ROUVEL (ad Olga) Non comprendo... OLGA (spensieratamente. A Rouvel) Lo sono il capriccio leggiero, veloce, che invidia le rondini, e ignora il perché! DE SIRIEX (a Fedora) L amate? FEDORA (A De Siriex) Forse! BOROFF (A Loris) Sei vinto! Ti assista il ciel! DE SIRIEX (a Fedora) Se parla? FEDORA (A De Siriex) Senza pietà! LORIS (a Boroff) Forte io son! ROUVEL (ad Olga) Il vostro cuor. (Fedora e De Siriex risalgono parlando sempre.) OLGA (continuando a civettare con Rouvel) Lo son, io son lo sbadiglio molesto, tenace, che dissipa il bacio, che uccide la gioia, e ignora il perché! ROUVEL Voi siete un bisticcio! (galantemente a Fedora) Principessa, ci fate languir! FEDORA (sorridendo gravosamente) Ognuno porta la sua Croce. (toccandosi quella bizantina che le pende sol petto) Vedete, anch io! ROUVEL É un talismano? FEDORA (facendosi seria subitamente e indicando col dito un piccolo scompartimento nel ciondolo) In quest antica Croce, era una pia reliquia; io vi riposi un farmaco, che sana ogni malor... LORIS (con intenzione) Per voi o per gli amici? FEDORA (Sorridendo) Chi lo sa! LORIS (con un inchino) Grazie. ROUVEL, DE SIRIEX, BOROFF (ridendo) Grazie. OLGA (presentandolo a Fedora) Vi presento Lazinski, il maestro polacco, nipote e successore di Chopin... un poeta del pianoforte, un principe del sentimento, un mago... FEDORA (interrompendo Olga con un saluto a Boleslao) Vi applaudirem stasera? OLGA (con entusiasmo) Naturalmente! FEDORA Bene! (Mentre si allontanano Fedora e Loris, De Siriex e Boleslao offrono entrambi il braccio ad Olga, la quale, dopo alquante moine, si decide per quello di Boleslao) DE SIRIEX (tra l offeso e il galante, ad Olga, che si discosta a braccio di Boleslao) Cosacca! OLGA (attirando l attenzione degli invitati maschi allo scopo di fare una scenata) Miei signori, venite... M hanno offesa! ROUVEL (comicamente) Chi mai? BOROFF (comicamente) Chi mai? CORO Chi mai? OLGA II signor de Siriex. ROUVEL, BOROFF, CORO (con stupore) Lui? DE SIRIEX (piegandosi come un colpevole) lo stesso. OLGA (sempre comicamente) Osò chiamarmi cosacca! Ma perché? ROUVEL, BOROFF, CORO (sempre comicamente, a De Siriex) Risponda il reo! Risponda! DE SIRIEX (con motteggievo le eleganza, canta una canzone russa) La donna russa è femmina due volte, doppiamente adorabile ed ostil.. . Essa é la vera donna, d Eva la figlia vera, con le dolcezze e gl impeti, le audacie e le viltà, l ali e gli artigli, l estasi e le frodi, pronta a immolarsi e facile a tradir. Tutto il suo sesso è in lei, tutto l esser umano un altare, un abisso, un mistero! Angelo e serpe, zingara e regina, sol d oriente e gelo boreal! Ecco la donna russa, con le dolcezze e gl impeti, le audacie e le viltà, pronta a immolarsi e facile a tradir! Ecco la donna russa, (con un inchino galante ad Olga) ed ecco l ideal! BOROFF (a De Siriex) Il ritratto è preciso. ROUVEL (a De Siriex) Benché non troppo gaio... OLGA Evvia! Eccone un altro più somigliante ancor. Il Parigino é come il vino, il vino della vedova, la Vedova Clicquot. Fragrante e perfido, giocondo e gelido, ci fa girar la testa ed i garretti; ma il cuor? Il cuore? Ohibò! Acido e zucchero, vapore e spirito, ribolle, balza, crepita, gorgoglia, freme, e poi? e poi? passò! Farmaco biondo, tossico blando, fa troppo vano strepito, fa troppa spuma... perché? perché? Non so... Svanito il fumo, spenta l ebbrezza, resta il tedio, e l emicrania. Adunque? Dunque? Buon pro! II Parigino é come il vino della Vedova Clicquot! BOROFF Brava, Contessa! DE SIRIEX (inchinandosi) Toccato! ROUVEL (a Olga) Benissimo! OLGA (a Boleslao, investendolo quasi gelosamente) Finalmente! vi colgo... Con chi eravate? Cosa faceste? Rispondete! (Boleslao altro non fa che inchinarsi profondamente.) (Loris e Fedora rientrano dalla sinistra a braccetto. ella freddamente istigante, egli sempre più inebriato, parlando, passeggiano per l anticamera.) FEDORA Ma dunque, é amore? LORIS (con forza) Delirio. FEDORA (ironica) Che sperate? LORIS Tutto. FEDORA (fingendosi offesa) E s io t impedissi? LORIS Con qual dritto? FEDORA (insistendo nel fingere irritazione) Amarvi per forza or dunque dovrò? LORIS Amor ti vieta di non amar. La man tua lieve, che mi respinge, cerca la stretta della mia man; la tua pupilla esprime T amo! " se il labbro dice "Non t amerò!" BOROFF (rientrato dalla dritta, si accosta vivamente a Fedora e Loris, ed inchinandosi a Fedora) Principessa, se aveste ordini per la Russia... FEDORA Partite? BOROFF A mezzanotte. FEDORA Ed io domani. LORIS (con un grido soffocato) voi? BOROFF (a Fedora, inchinandosi) Ci rivedremo allora... FEDORA (porgendogli la destra) A Pietroburgo... BOROFF (dopo aver baciato la mano alla Principessa, a Loris tristemente, con un gesto di saluto) Addio! LORIS Addio! (a Fedora) Doman? FEDORA (con un sospiro subdolo) Lascio Parigi... LORIS Sciagurato! ed io seguirvi la non posso! FEDORA (come per consolarlo) Appena giunta, pregherò per voi perdono... LORIS Vana impresa! FEDORA (fissandolo intensamente) Perchè no? Che faceste? E cosa grave? LORIS (capo) Grave. FEDORA Dunque sei reo? LORIS No. FEDORA (con gioia) Innocente? LORIS D un delitto... (Fedora, ben decisa a carpire a Loris la verità, trovandosi presso il divanetto, con dolce violenza vi fa sedere Loris, e quindi siede al sul banco.) OLGA Principessa, Boleslao può cominciar? FEDORA (facendo con la mano un gesto di indifferenza, e non volendo essere disturbata) Cominci... (Lazinski si siede al pianoforte. Assicuratasi che non ci saranno altre interruzioni, Fedora si concentra sulla preda. Lei e Loris sono parzialmente nascosti olla vista degli altri invitati da un paravento ornamentale e un gruppo di palme in vaso.) FEDORA (sottovoce) Dimmi, dunque... Di ... che fu? LORIS (si guarda intorno per assicurarsi di non essere udito) Fu l accusa d aver teso un tranello a Vladimiro Andrejevich.. . FEDORA (rabbrividendo) E non corri a scolparti? LORIS Da suo padre? Contro tutti? FEDORA Se innocente sei davvero, crederà... (Lazinski comincia a suonare un notturno.) LORIS (tentennando il capo) Egli? (tutta questa scena a mezzavoce) FEDORA E tu qui propormi ardisci l amor tuo contaminato dal terribile sospetto... e il tuo nome... il turpe nome d un assassino! LORIS Innocente! FEDORA (con simulata passione) Prova, dunque, questa tua grande innocenza... e la gitta in taccia al mondo pel tuo onor, per l amor mio! (lo guarda con feroce ansietà affascinando Loris con la persona piegata e palpitante) Tu taci? Rispondi... rispondi! LORIS (con intensità) Fedora, m amate? FEDORA (affascinandolo sempre più) Si, t amo... t amo. Ma parla... parla. . . LORIS (dopo uno sforzo supremo, subito con voce spenta) Ebben... Si... l uccisi... FEDORA (sorgendo in piedi di scatto, inorridita) Eri tu? LORIS Fedora! FEDORA Assassino! (Nel salone tutti applaudiscono Lazinski, che a finito il notturno e é in procinto di iniziare il secondo brano.) LORIS T inganni! Tu ignori... FEDORA (sogghignando) Fu qualche disgrazia? LORIS Castigo! FEDORA Un agguato codardo? LORIS E che ne sai tu? FEDORA (fra sé) Nulla io so! (Loris si alza e manifesta chiaramente la propria intenzione di lasciare la festa.) Mi sfugge! (più forte) Ma dove ten vai? Vuoi, dunque, lasciarmi nel dubbio? LORIS (fermandosi, con grande tristezza) Che giova? Non m ami! T incuto ribrezzo! FEDORA (sforzandosi di sorridere) Rifletti... la prima sorpresa... LORIS (con un gesto disperato) Chiamarmi assassino potesti! FEDORA (accostandosi con mal repressa ripugnanza) Fu il grido del sangue. Ma poi, il cuore risponde chi sa? LORIS (con grande trasporto) Che sii benedetta! FEDORA (procurando di farlo un altra volta sedere) Ma dimmi... Perché l uccidesti? LORIS (resistendo) Parlare, in mezzo a una testa? Vo darti la prova... Domani... qui stesso... FEDORA (fermandolo) Stanotte! Rispondi... Verrai? LORIS Si, verrò... FEDORA (quasi amorosamente) Lo vedi! Non provo ribrezzo. LORIS (baciandole ardentemente la mano) Oh, grazie! Fra un ora? (s allontana rapidamente e scompare a sinistra. Fedora fa l atto di strapparsi rabbiosamente dalla mano l impronta del bacio) FEDORA (trucemente) Infame! Più non mi sfuggi! (Le signore circondano il concertista per complimentarlo) OLGA (con entusiasmo a una dama) Portentoso! ROUVEL (a De Siriex, astutamente) Strepitoso! DE SIRIEX (ridendo a Rouvel) Schiacciante! OLGA (giocondamente a Fedora) Si fanno quattro salti? FEDORA (distratta, e sempre intenta alla vendetta contra Loris) Veramente, è un po tardi. OLGA (chiedendo) Un altro giro? ROUVEL Il ballo è il cognac dell amor. (Olga prende il braccio di Lazinski, un generale offre Il suo a Fedora. Mentre le coppie si muovono verso la pista da ballo, un lacchè reca un dispaccio su d un vassoio a De Siriex, che lo apre in disparte e lo legge con crescente emozione.) DE SIRIEX (accostandosi rapidamente a Fedora) Principessa! Un dispaccio ufficiale. Vi consiglio di sospendere la festa. FEDORA (stupita) Perché? DE SIRIEX Un attentato! FEDORA Contro lo Czar? DE SIRIEX (porgendole il dispaccio) Leggete. FEDORA (leggendo) Quei maledetti! (il dispaccio passa di mano in mano. La costernazione si dipinge su tutti i volti.) DE SIRIEX (a Fedora, con intenzione baciandole la mano) I nichilisti! OLGA (prendendo il braccio di Boleslao, spensieratamente a Fedora) Che peccato! Il mio giro! FEDORA (quasi solennemente) Dio protegga lo Czar! (Gli invitati si congedano da Fedora. Molta confusione nel fondo. La Principessa stringe a tutti la mano. Le due sale si sfollano rapidamente. I servi spengono i lumi dei lampadar e dei doppieri. un cameriere tira un ampia cortina di velluto cupo tra le colonne che dividono l antisala dal gran salone, chiudendo così tutta l arcata. L antisala rimane illuminata da una lampada sola. Fedora ridiscende nell antisala, siede e resta pensosa. Ad un tratio si alza, apre la piccola scrivania Settecento e si mette a scrivere. Dopo essersi occupata per un po in questa maniera, si alza, va verso una porta al lato del salone, e chiama il detective russo.) FEDORA Gretch! (Egli compare sulla porta, e lei lo interroga nervosamente.) I vostri uomini? GRETCH (accennando all uscio donde è entrato) Sono là... FEDORA Bene! (ritorna alla scrivania, e ricomincia a scrivere) GRETCH (rispettosamente) Sempre ho seguito Loris Ipanoff. FEDORA (chiudendo la lettera) Dite! GRETCH (consultando il proprio taccuino) Stasera un uom sospetto, Giunto appena di Russia, gli recava una lettera del fratel Valeriano. FEDORA Il fratello? Anche lui! (riapre la lettera e vi aggiunge alcune parole) Valeriano... Null altro? GRETCH Nulla. FEDORA (chiude la lettera e la suggella) Ho la prova suprema... la confessione sua! GRETCH (meravigliato) Confessa il suo delitto? FEDORA Confessa! GRETCH Finalmente! FEDORA Egli sta per tornare. Voi scendete in giardino. Appena pronti, un segno! Io lo congederò. GRETCH E poscia? FEDORA (alteramente) Fate il vostro mestiere. Non un grido, non un singulto! GRETCH Abbiamo un bavaglio. FEDORA Alle foce della Senna vi attende la nave Elisabetta. È quello suolo russo. GRETCH Obbedirò, signora... O vivo o morto! FEDORA (porgendogli la lettera) Questa per l Ambasciata. Sia spedita all istante a Pietroburgo... GRETCH Forse al generale Jariskin? FEDORA D ogni cosa lo informo. GRETCH Sarà fatto, Eccellenza! FEDORA (in un sussurro improvviso) Silenzio... (va in fondo ad ascoltare) È lui! È lui! (a Gretch) Andate. (Gretch esce per dove è entrato. Come Loris compare all ingresso, Fedora, maestosamente in piedi vicino alla scrivania, gli punta contro un dito accusatore, e gli parla con il tono di chi siede in un tribunale.) FEDORA Loris Ipanoff, oggi lo Czar, nostro signore, venia atrocemente colpito, come un giorno Vladimiro Andrejevich, dai nichilisti... E voi siete di quelli! LORIS (stupito) lo? FEDORA Voi! LORIS È falso! FEDORA Ma perché l uccideste? LORIS (con fredda energia) Per una donna... FEDORA Una donna? LORIS La mia... FEDORA (soffocata dall emozione) La tua LORIS Mia moglie... FEDORA (smarrita) Dimmi tutto... LORIS (sedendo sul divanetto. Guardandolo quasi spaventata Fedora siede essa pure.) Mia madre, la mia vecchia madre, Solinga vive, Come in sogno di pace, Nel suo castel lontan. L ultimo april, vi accolse Una giovin lettrice, Una sirena bionda, Wanda era il nome suo fatal. FEDORA (soffocata) Wanda! LORIS Cedendo alle lusinghe, l amai beato. Ma la mia buona madre L ascosa vampa travide, e lunge volle l incantatrice. lo la raggiungo, l adduco al tempio, mia la proclamo davanti a Dio! M eran padrini due vecchi amici... FEDORA (interrompendolo) Vladimiro? LORIS Vladimiro. Nel segreto nostro asilo tanto assiduo egli si mostra che il sospetto m entra in core. (con crescente emozione) Un vespro, a Natale, partendo pel dolce castello paterno, sovvienmi d un dono promesso a mia madre. Risalgo in slitta, E ratto ritorno. A mezzo la via, Discesa dall uscio del nobile amico. ravviso la fante di Wanda. L inseguo. La donna vacilla, balbetta, confessa. Di Wanda un biglietto reco a Vladimiro, lo salgo egli è uscito. II servo mi lascia un istante. lo corro al tiretto e trovo... FEDORA (interrompendolo) La lettera infame? LORIS (continuando) Che dice "Ti attendo stasera, alle nove!" FEDORA (fissandolo quasi con spavento) lo mi domando ancora se chi mi parla sia l uomo più turpe o più infelice. LORIS (stupito) Come? FEDORA (con la voce piena di odio) Se tu mentissi? LORIS (alzandosi di scatto) Di me dubiti ancora? FEDORA Chi mi da la certezza? LORIS Lui stesso. FEDORA (incredula sempre) Vladimiro? LORIS Ecco la prova. (getta sulla tavola un pacco di lettere) Leggi! FEDORA (riconosce la scrittura di Vladimiro, legg) "Anima mia!" (fra sè, esterrefatta) La sua scrittura. (correndo con l occhio alla firma) "Vladimiro tuo che t adora" (guardando l acclusa fotografia da biglietto da visita) Il suo ritratto! Dunque è vero? LORIS (porgendole un altra lettera) Leggi! Ed era fidanzato! FEDORA (leggendo) Pensa alla mia fortuna" (fra sé) Alla fortuna sua! (prende la lettura) Colei che sposerò non sarà tua rivale la sola donna mia, sei tu, Wanda adorata!" (straccia la lettera) Vile! Vile! FEDORA, LORIS Vile! FEDORA (guardando il ritratto) Essere abbietto! Cuore di fango! (straccia il ritratto e se getta via i pezzi. poi, agitata fin quasi alla frenesia, fissa l attenzione su Loris.) Ed or narra il castigo... LORIS La fante mi svela l immondo ritrovo. All ora fissata vi penetro armato. Deserta è la prima stanzetta. Vi ascolto. Un onda di risa... Un onda di baci! FEDORA Avanti! LORIS II mio nome! Cieco di rabbia! Un urto alla porta e mi slancio. FEDORA (afferrando con le mani il tavolino) Avanti... avanti! LORIS Ella balza. lo l afferro, e l atterro. "Lascia quella donna" grida il vile. Mi rivolgo furibondo al vedermi armato ei s arma. Spara... al fianco mi ferisce... lo rispondo... ma l uccido. FEDORA (come un grido di gioia selvaggia) Ah! anche lei! LORIS (calmo) Ella fuggi... ma inferma cadde... langui... si spense. (fieramente) Ma chi m accusa? Chi dunque mi spia? Conosci tu gl infami? FEDORA (presto) Nulla io so! LORIS Vedi, io piango... ma, se piango, no, non è per la mia vita. A mia madre penso, e piango per il suo gran dolor. Non sarò nella mia casa a implorare il suo perdono, e quei dolci occhi morenti socchiuder non potrò! Vedi, io piango, ma, se piango, no, non è il piango mio viltà! FEDORA (dolcemente, con passione, tentando di consolarlo) Lascia che pianga io sola e pianga di vergogna pianga L infame accusa, pianga il profondo inganno. T avea creduto un vile schiavo dell odio altrui ed eri un forte, un nobile, un santo punitor. LORIS (sconsolatamente) Vana pietà! Vana pietà, se parti! lo patria e tetto e nome e madre più non ho! Vana, vana pietà! FEDORA Loris, non parto più, non parto più! Un altra madre tra le mie braccia avrai! LORIS (alzandosi, risoluto) Addio! (lontano fischio interno) FEDORA (fra sè) Il segnale! LORIS (dirigendosi all uscio di destra) Addio! a domani... FEDORA (sbarrandogli il passo) Dove ten vai? LORIS Rincaso... È tardi. FEDORA No, non partire! LORIS Perché? FEDORA (cercando di prendere tempo) Le spie che ti circondano? LORIS (sfiorandola mentre le passa accanto) lo non le temo! FEDORA (cercando ancora di prendere tempo) Ben io le temo! (tra sè) L uccideranno! LORIS Non vo recarti sventura... Addio... FEDORA (frapponendosi tra lui e l uscio) Ah! rimani! Ho paura. Tu corri a un agguato... Fors anche alla morte. LORIS (cercando di allontanarla) Diranno che sono il tuo amante! FEDORA (fissandolo amorosamente) Che importa? LORIS Se t amo! FEDORA Non m ami! LORIS Io t amo! FEDORA No, tu non m ami, non m ami! LORIS (abbracciandola con passione) Fedora, io t amo, il tuo sguardo m inebria! FEDORA Nè patria, Nè madre Rimpiangi per me? LORIS Più nulla! (Tranquillamente, senza togliere gli occhi da Loris, Fedora si sposta indietro verso la porta del salone, la tira, e la chiude a chiave.) Fedora, ti perdi! FEDORA Ti salvo! Ma ripeti ancor Che m ami... LORIS (avvicinandosi lentamente a lei, le mani tese, fissandola negli occhi) T adoro! FEDORA (con gioia profonda) E dunque, rimani! FEDORA, LORIS (avvicinandosi l uno all altra al centro della stanza, nella felicità più intensa) T amo! (Dopo quest ultima dichiarazione, i due amanti s incontrano in un abbraccio appassionato, mentre cala lentamente il sipario.) Giordano,Umberto/Fedora/III
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