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Measurement of Ion Transport and Metabolic Rate in Insects (Springer Series in Experimental Entomology) Springer-Verlag? Timothy J. Bradley? Thomas A. Miller? Springer-Verlag? TimothyJ.Bradley? ThomasA.Miller? ユーズドブック(洋書)-Medicine? ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Substores-UnknownASINs-10? Subjects-Medicine-InternalMedicine-Endocrinology&Metabolism? Subjects-Outdoors&Nature-Fauna-Insects&Spiders? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-Biochemistry? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-Entomology? Subjects-Science-Chemistry-Biochemistry? Subjects-Science-General Subjects-Science-Nature&Ecology-Animals-Insects&Spiders? Subjects-Science-BiologicalSciences-Zoology-Invertebrates? Subjects-Science-BiologicalSciences-Biology-Entomology? Subjects-Science-Medicine-InternalMedicine-Endocrinology&Metabolism? Patterns And Interfaces in Dissipative Dynamics (Springer Series in Synergetics) Springer-Verlag? Len M. Pismen? Y. (FWD) Pomeau? Springer-Verlag? LenM.Pismen? Y.(FWD)Pomeau? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-General? Subjects-Professional&Technical-ProfessionalScience-Physics-Dynamics? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Science-Chemistry-General&Reference? Subjects-Science-General Subjects-Science-Mathematics-Applied-General? Subjects-Science-Physics-Dynamics-General? Subjects-Science-Physics-General? Subjects-Science-Physics-Mechanics? Multivariate Statistics for the Environmental Sciences (Mathematics) Edward Arnold? Peter J. A. Shaw? EdwardArnold? PeterJ.A.Shaw? ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Substores-UnknownASINs-9? 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Teens.Library Developing Internet Services for Young Adults Amer Library Assn? Linda W. Braun? AmerLibraryAssn? LindaW.Braun? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Health,Mind&Body? ユーズドブック(洋書)-Literature&Fiction? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? ユーズドブック(洋書)-Teens? Subjects-Computers&Internet-Home&Office-Internet? Subjects-Engineering-Electrical&Electronics-DigitalDesign? Subjects-Health,Mind&Body-General? Subjects-Literature&Fiction-Books&Reading-OnlineBooks? Subjects-Nonfiction-SocialSciences-Library&InformationScience-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-DigitalDesign? Subjects-Science-General Subjects-Teens-SocialIssues-General? Subjects-Teens-Science&Technology-General? Subjects-Teens-Science&Technology-Mathematics? Aquatic Ecosystems Interactivity of Dissolved Organic Matter (Aquatic Ecology) Academic Pr? Stuart E. G. Findlay? Robert L. Sinsabaugh? AcademicPr? 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Subjects-Science-General Subjects-Science-BehavioralSciences-CognitivePsychology? Subjects-Science-BehavioralSciences-General? The Ecology of Sandy Shores Academic Pr? A. McLachlan? A. C. Brown? AcademicPr? A.McLachlan? A.C.Brown? ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Outdoors&Nature-Flora-Trees-General? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-General? Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Biology-MarineBiology? Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Ecology? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-EarthSciences-Ecology-General? Subjects-Science-General Subjects-Science-Nature&Ecology-Oceans&Seas-MarineBiology-General? Subjects-Science-Nature&Ecology-Plants-Trees-General? Subjects-Science-AgriculturalSciences-General? Nonstandard Methods And Applications in Mathematics (Lecture Notes in Logic) A K Peters Ltd? Nigel J. Cutland? Mauro Di Nasso? David A. Ross? AKPetersLtd? NigelJ.Cutland? MauroDiNasso? DavidA.Ross? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Professional&Technical-ProfessionalScience-Mathematics-MathematicalAnalysis? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-Calculus? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-Logic? Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-MathematicalAnalysis? Subjects-Science-Mathematics-PureMathematics-Logic? Subjects-Science-Mathematics-PureMathematics-Calculus? Wood Handbook Wood As an Engineering Material Univ Pr of the Pacific? Forest Products Laboratory? UnivProfthePacific? 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Subjects-Science-Mathematics-Applied-General? Subjects-Science-Mathematics-Applied-DifferentialEquations? Subjects-Science-Physics? Inequalities Theory of Majorization And Its Applications (Springer Series in Statistics) Springer-Verlag? Albert W. Marshall? Springer-Verlag? AlbertW.Marshall? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-Statistics? Subjects-Science-General Subjects-Science-Mathematics-Applied-General? Subjects-Science-Mathematics-Applied-Probability&Statistics? Elementary Excitations in Solids Lectures on Protons, Electrons, and Plasmons (Advanced Book Classics) Perseus Books (Sd)? David Pines? PerseusBooks(Sd)? DavidPines? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-MaterialsScience-MechanicalPropertiesofSolids? Subjects-Professional&Technical-Engineering-MaterialsScience-MechanicalPropertiesofSolids? Subjects-Professional&Technical-ProfessionalScience-Physics-SolidStatePhysics? Subjects-Science-General Subjects-Science-Physics-General? Subjects-Science-Physics-QuantumTheory? Subjects-Science-Physics-Solid-StatePhysics-General? Subjects-Science-Physics-Solid-StatePhysics-CondensedMatter? Matrices for Statistics Oxford Univ Pr? M. J. R. Healy? OxfordUnivPr? M.J.R.Healy? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-Statistics? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-Algebra-Linear? Subjects-Science-General Subjects-Science-Mathematics-Matrices? Subjects-Science-Mathematics-PureMathematics-Algebra-Linear? Subjects-Science-Mathematics-Applied-Probability&Statistics? Modern Theory of Critical Phenomena (Advanced Book Classics) Perseus Books (Sd)? Shang-Keng Ma? 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Subjects-Science-Mathematics-PureMathematics-Calculus? Subjects-Science-Mathematics-Applied-Probability&Statistics? Noise Reduction in Speech Applications (Electrical Engineering and Applied Signal Processing Series) Crc Pr I Llc? Gillian M. Davis? CrcPrILlc? GillianM.Davis? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Reference? ユーズドブック(洋書)-Science? Subjects-Computers&Internet-Software-Business-SpeechProcessing? Subjects-Engineering-SpecialTopics-Acoustics? Subjects-Engineering-Civil-General? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-Telecommunications-General? Subjects-Nonfiction-Education-Reference-Words&Language-Speech? Subjects-Professional&Technical-Engineering-Civil-General? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-SpecialTopics-Acoustics? Subjects-Professional&Technical-Engineering-Telecommunications-General? Subjects-Professional&Technical-ProfessionalScience-Physics-Acoustics&Sound? Subjects-Reference-Words&Language-Speech? Subjects-Science-General Subjects-Science-Physics-Acoustics&Sound? An Introduction to Kolmogorov Complexity and Its Applications (Graduate Texts in Computer Science (Springer-Verlag New York)) Springer? Ming Li? P. M. B. Vitanyi? Springer? MingLi? P.M.B.Vitanyi? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Computers&Internet-Networking-Networks,Protocols&APIs-Networks? Subjects-Computers&Internet-Networking-DataintheEnterprise-StatisticalComputing? Subjects-Computers&Internet-Software-Design&Development-SoftwareDesign? 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Murray Schafer? DestinyBooks? R.MurraySchafer? ユーズドブック(洋書)-Entertainment? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Religion&Spirituality? ユーズドブック(洋書)-Science? Subjects-Entertainment-Music-Theory,Composition&Performance-Theory? Subjects-Professional&Technical-ProfessionalScience-Physics-Acoustics&Sound? Subjects-Religion&Spirituality-General? Subjects-Science-General Subjects-Science-Physics-Acoustics&Sound? Pelagic Nutrient Cycles Herbivores As Sources and Sinks (Ecological Studies) Springer? Tom Andersen? Springer? TomAndersen? ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Outdoors&Nature-Ecology-General? Subjects-Outdoors&Nature-NaturalResources-Fisheries&Aquaculture? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Medical-BasicSciences-Biology? Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Ecology? 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Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Electronics-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Reference? Subjects-Science-General Subjects-Science-Physics-General? Introduction to Time Series and Forecasting (Springer Texts in Statistics) Springer-Verlag? Peter J. Brockwell? Richard A. Davis? Springer-Verlag? PeterJ.Brockwell? RichardA.Davis? ユーズドブック(洋書)-Business&Investing? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Business&Investing-Economics-Econometrics? Subjects-Business&Investing-Economics-Statistics? Subjects-Computers&Internet-Networking-DataintheEnterprise-StatisticalComputing? Subjects-Nonfiction-Economics-Econometrics? Subjects-Nonfiction-Economics-Statistics? 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Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Genetics? Subjects-Science-Chemistry-Biochemistry? Subjects-Science-Evolution-Genetics? Subjects-Science-General The Extravagant Universe Exploding Stars, Dark Energy, and the Accelerating Cosmos (Princeton Science Library) Princeton Univ Pr? Robert P. Kirshner? PrincetonUnivPr? RobertP.Kirshner? ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Substores-UnknownASINs-62? Subjects-Outdoors&Nature-Ecology-StarGazing? Subjects-Professional&Technical-ProfessionalScience-Astronomy-Astronomy? Subjects-Professional&Technical-ProfessionalScience-Astronomy-Astrophysics&SpaceScience? Subjects-Science-General Subjects-Science-Nature&Ecology-StarGazing? Subjects-Science-Physics-Astrophysics? Subjects-Science-Astronomy-Astronomy? Subjects-Science-Astronomy-Cosmology? The Plague Race Picador? Edward Marriott? Picador? 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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
https://w.atwiki.jp/oper/pages/760.html
第２幕 パシャ・セリムの宮殿の庭園 オスミンの小屋の側 第１場 オスミン ブロンデ 【ブロンデ】 もう 言い争いも命令も不平もキリがないじゃないの！いい加減にしてよね いけ好かないわねえ！あんた考えてんでしょ 不平屋のじいさん あんたの命令にぶるぶる震えてるトルコの奴隷の娘を前にしてるんだと？ あんたは間違ってるわ！ヨーロッパの女の子に対してはね そんなに突っかかったりはしないの 全然違う接し方をするものよ Nr. 8 - アリア 【ブロンデ】 優しくて おだて上手で 親切で 面白い人は 心を掴めるのよ かわいい女の子の心を たやすくね だけど 気難しく命令したり ギャーギャー言ったり口喧嘩したり意地悪したりする人は 数日もしないうちに 愛も誠もサヨナラだわ 【オスミン】 おい 見せて貰いたいもんだな 娘っ子が指図できるもんかどうか！優しくしろだあ！褒めろだあ！ - わしに優しく接して欲しいだあ！ - どこの悪魔がお前の頭ん中にそんなことを吹き込んだ？ - ここはトルコだ やり方が違うんだ わしはお前のご主人さまで お前はわしの奴隷の娘だ わしが命令し お前は従わにゃならんのだ！ 【ブロンデ】 あんたの奴隷だって？あたしがあんたの！ - ハァ！奴隷の娘 奴隷女だって！もう一度言ってみなさいよ！ 【オスミン】 （独白） わしは気が変になりそうだぞ 何てこの娘は強情なんだ （声を上げて） お前は忘れてるようだな お前をバシャさまがわしに奴隷として与えて下さったことを？ 【ブロンデ】 こっちでパシャ あっちでパシャって！女の子は配ったりする商品じゃないのよ！あたしはイギリスの女 自由に生まれついてるの それでもあたしを力ずくで従わせようっての！ 【オスミン】 （傍白） 呪われちまえ この娘っ子め！ - マホメット様にかけて！こいつはわしを怒らせる - だがわしはこいつが好きなんだ こんなとんでもない頭の中身でも！ （声を上げて） わしは命令するぞ 直ちにわしを愛せよと 【ブロンデ】 ははは！ほんの少しでもあたしに近づいてごらんなさいよ あたしはあんたにはっきりした証拠をくれてやるわよ 【オスミン】 困ったもんだ！お前はわしのものだというのを分かっとるのか そんなことしたらお前を罰することもできるのだぞ？ 【ブロンデ】 あたしに触れやしないわよ もしあんたの目が大事ならね 【オスミン】 何だって？やってみろよ - 【ブロンデ】 何をやってみろって？あんたは傲慢であまりにも多くの自由を奪ってるわ こんな老いぼれの醜い顔が あたしみたいに若くてキレイでキャピキャピの女の子に 召使みたいに命令しようっていうの！いい加減にしてよね！あたしたちに支配権があんの あんたたちは奴隷で 幸せになれるのはお利口さんにしてて あんたたちの鎖を軽くして貰える時だけなんだからね 【オスミン】 わしの髭にかけて こいつは狂っとる！ここはトルコだぞ？ 【ブロンデ】 ここがトルコ あそこがトルコって！女は女よ 場所なんて関係ないわ！あんたたちの奥さんがそんなに馬鹿であんたたちの奴隷になるだけだったら それはとてもお気の毒なことね ヨーロッパでは女はもっとしたたかよ あたしがここに足を踏み入れてしっかり教育してやれば 彼女たちもすぐに違ってくるでしょ 【オスミン】 アッラーにかけて！そうやってわしらの女房どもに反乱を起こさせようってか - だがな - 【ブロンデ】 しっかりお願いしなきゃ駄目なのよ あんたがあたしたちから何か貰おうとするならね とりわけチョイ悪を気取るつもりだったら 【オスミン】 まったくだ もしわしがペドリロで 奴のように操り人形だったら多分気に入られたんだろう お前の表情はずっと前から硬いままだしな 【ブロンデ】 分かるでしょ ジジイ 分かるでしょ！ ちょっとオツムを使えば あたしがかわいいペドリロの方をずっと好きなことくらい あんたのふくれっ面なんかよりね まあもうちょっとあんたが賢かったらだけど - 【オスミン】 わしがお前にそんな自由を与えるべきだと お前の望む通りにすべきだと言うのか？ へっ？ 【ブロンデ】 ずっといいよ そうした方が：だってあんたはいつも騙されるんだからね 【オスミン】 こん畜生！我慢ならんぞ！今すぐ家の中に入れ！ もし逆らえば - 【ブロンデ】 笑わせないでよ 【オスミン】 家の中に入れ 命令だ！ 【ブロンデ】 テコでも動かないわ！ 【オスミン】 力づくじゃあやりたくないがな 【ブロンデ】 力づくでも追い出したらいいわ あたしのご主人さまから庭に行くようにとあたしは命じられたのよ あの方はパシャのご寵愛を受けた何よりも大切なお方よ あたしが一言でもこのことを言ったらあんたは足の裏に五十回の鞭打ちよ だから消えてちょうだい - 【オスミン】 （独白） こいつぁサタンだ わしは退散しよう ムスリムとして さもなきゃお前の脅迫はほんとに実現しちまう Nr. 9 - デュエット 【オスミン】 わしは出かけるが 命じておくぞ あのろくでなしのペドリロには近づくな 【ブロンデ】 とっとと消えてよ あたしに命令しないで あんたも分かってるでしょ あたしこんなの我慢できないって 【オスミン】 約束するんだ - - 【ブロンデ】 何考えてんのよ！ 【オスミン】 畜生め - - 【ブロンデ】 消えて ほっといてよ 【オスミン】 ここから一歩も動かんぞ 言うことを聞くと誓うまでは 【ブロンデ】 無駄よ 哀れなろくでなしさん たとえあんたがムガール皇帝でも無理だわ ＜それぞれに独白＞ 【オスミン】 おおイギリス人め！貴様ら何てバカなんだ 女をこんなにのさばらせるなんて どんなに悩まされ 苦しめられることか こんな生き物をあてがわれては！ 【ブロンデ】 この心は 自由のうちに生まれついてるのよ 奴隷の扱いなんか受けないわ たとえ自由を奪われても 誇りを持って 世界を笑ってやるわ 【ブロンデ】 さあ 消えてよ 【オスミン】 そんな言い方をわしにするのか？ 【ブロンデ】 他にないじゃない 【オスミン】 じゃあわしもここから動かん 【ブロンデ】 （彼を突き飛ばして） 別の機会にね 今はとっとと行って 【オスミン】 これほど傲慢な女は見たことないぞ！ ＜一緒に＞ 【ブロンデ】 （彼の目を引っ掻くポーズをして） その目がどうなっても知らないわよ これ以上ここに居たら 【オスミン】 （怖気づいて引き下がり） 静かにしてくれ わしは行くから お前の一撃を食らう前にな （出て行く） 第２場 ブロンデ、コンスタンツェ 【ブロンデ】 なんと悲しげにお嬢さまはこちらに来られるのでしょう！本当におつらいことでしょうね 恋人を失って自分は奴隷にされてしまったんですもの あたしだってそれほどうまく行ってるわけじゃないけど あたしのペドリロと時々会える楽しみがあるし もちろんそれは手短にこっそりと行わなきゃいけないんだけどね でもこの流れに逆らうなんて誰にできるというのかしら！ 【コンスタンツェ】 （ブロンデに気付かず） Nr. 10 - レチタティーヴォとアリア 何と変わってしまったの 私の魂は あの日 私たちを運命が引き裂いた時から！ おおベルモンテ！どこへ行ったの あの喜びは 私があなたの側にいたときには知っていたのに！ 不安な憧れの苦しみが 今は住みついているのよ この締めつけられた胸の中に 悲しむことが 私の運命となったのね 私はお前に苦しめられどおしよ まるで虫に食い荒らされたバラのように まるで冬の沼地の草のように しおれて行くのね 私の不安に満ちた命は そよ風にさえ 私は言うことができないの 私の魂の苦い痛みのことを だって 風だってそれを運ぶのは嫌なのだから それで私の嘆きを全部吹き込むの もう一度 私の哀れな心の中に 【ブロンデ】 あたしの大事なお嬢さま！まだ悲しんでおられるのですか？ 【コンスタンツェ】 どうして聞けるの あなたは私の悲しみを知ってるのに？- また夕暮れが来て そして知らせはなく希望もないのよ！- そしてまた明日が - ああ神さま！私はこんなことを考えてはいられないわ 【ブロンデ】 ほんの少しでも気持ちを明るくお持ちくださいな ご覧ください 何てきれいな夕暮れ あらゆるものが花咲くようにあたしたちにほほ笑みかけていますわ 何て楽しそうにあたしたちを鳥たちは歌って誘ってくれるのでしょう ！憂鬱の虫を追い出して 勇気をお持ちください！ 【コンスタンツェ】 何てあなたは幸せなの こんな運命のもとでも平然としてられるなんて！ おお そんな風に私もなれたらいいのに！ 【ブロンデ】 幸運はあなた様の側に立ってますわ 希望をお持ちくださいな - 【コンスタンツェ】 希望のわずかなかけらすら見つけられないというのに？ 【ブロンデ】 お聞きください：私は人生の間じゅう絶望はしません たとえどんなに物事が悪く見えてもです 誰でも最悪の事態を想像する人は本当に最悪なことになってしまうんですもの 【コンスタンツェ】 でもずっと自分を偽って希望を持ち続けていても それが最後に騙されていたと分かったら あとは絶望しか残らないわ 【ブロンデ】 皆それぞれにやり方があります あたしは自分のが一番合ってますわ もうすぐあなたのベルモンテ様が身代金を持って現れるか あたしたちを見事なやり方で救い出して下さるんじゃないですか？あたしたちトルコの好色から逃げ出せた最初の女性になれますわ？ - あそこに パシャ様が見えます 【コンスタンツェ】 見つからないようにしなければ 【ブロンデ】 遅すぎます 彼はすでに見つけてしまいました でもあたしは間違いなく出て行けますわ いずれにしてもあたしは追い出されるんですから （去って行きながら） 元気を出してください！あたしたち きっとまた故郷に帰れますよ 第３場 コンスタンツェ、セリム 【セリム】 さあコンスタンツェよ そなたはわしの願いを考えてくれておるか？一日はすぐに過ぎゆく 明日にはそなたはわしを愛さねばならぬ さもなくば - 【コンスタンツェ】 そうせねばなりませんの？何と愚かな願い！まるで人を殴るかのように愛をお命じになられますのね！ - - なるほど確かにあなた方トルコの人が仕事をする時は命じられてするのですものね - けれどそれは本当に悲しいことですわ あなた様方は欲望のために相手を閉じ込めて 情欲を満たすことで満足されている 【セリム】 ではそなたは考えておるのか わが国の女たちがそなたの国の女よりも幸せではないと？ 【コンスタンツェ】 これ以上のことは何も存じません！ 【セリム】 こんなことでは望みはなさそうであるな そなたが考え直すことの 【コンスタンツェ】 太守様！正直に申し上げます - - - なぜならこれ以上このままではいられないからです そのような空しい希望を抱き続けていることが あなた様がいつか私の願いに心を和らげて下さるのではないかという - - 私はずっと変わらず思っているのです あなたを尊敬しております でも - - 愛する？それは決してできません 【セリム】 ではそなたはわしがそなたの上に持っておる力の前に震えぬのか？ 【コンスタンツェ】 いいえ少しも 死ぬことだけが私が望むすべてです そしてそれが早ければ早いほど私には好ましいのです 【セリム】 哀れな！だめだ！死ぬことはならぬ だがあらゆる種類の拷問を --- 【コンスタンツェ】 耐えましょう 私を恐れさせることはできません 覚悟はできています Nr. 11 - アリア 【コンスタンツェ】 あらゆる種類の拷問が 私を待っているというのですね 私は笑ってやりましょう 痛みも苦しみも 何も私を恐れさせはしません ただひとつ 私が恐ろしいのは 貞節を失うことだけです あなた様の恩寵をもって 私をお許しください！ 天の祝福がきっと あなた様にありましょう！ けれど あなた様は心を決めておられる ならば喜んで ひるまずに 私はお受けします どんな痛みや苦しみも 命令し 言いつけてください ののしり どなり 怒ってください 最後に私を救い出してくれるでしょう きっと死が （出て行く） 第４場 セリム一人 【セリム】 これは夢か？いったいどこにあのような勇気を持っておるのだ わしに対してあのように振る舞えるほどの？ もしかしてわしから逃げ出そうという希望を持っておるのか？ハ！そんなことはさせぬぞ！（出て行こうとする） だがそうではなかろう もしそうならわしを油断させるように振る舞うはずだ - - - そうか！絶望しておるのだな！ならば厳しく当たっても埒はあかぬ － 嘆願しても駄目だろう －－ 脅迫でも嘆願でもうまく行かぬなら 策略できっと成し遂げられようぞ （出て行く） 第５場 ブロンデ一人 【ブロンデ】 パシャもいない コンスタンツェさまもいないの？二人は一緒になっちゃったの？ - - ありえない あの良い子ちゃんはあまりにベルモンテさまに惹かれすぎてるんだからね！ あたしはあの方が心の底から気の毒だと思うわ 実際ご自分の境遇にあまりにも敏感でいらっしゃるのよ でもあたしだってそばにペドリロがいなかったらどうなったことやら！それでもあの方ほどに悲しむことはないんでしょうけどね 男のひとたちは考えもしないんでしょうけど 彼女のために死ぬほど悲しもうなんてね - - たぶんあたしだってムスリムと同じように考えそうな気がするわ 第６場 ブロンデ、ペドリロ 【ペドリロ】 ねえ ねえ！ブロンデちゃん！入ってもいいかい？ 【ブロンデ】 さあ 入ってちょうだい！パシャが帰ってきたわ そしてあたしんとこのジジイの頭をちょっと冷やしてやったわ あんたは何をしてたの？ 【ペドリロ】 おおニュースだよ ニュース お前を喜ばせる 【ブロンデ】 何よ？早く教えてよ！ 【ペドリロ】 まずは愛しい心のブロンデちゃん どんなことより先にすてきな 心からのキスをさせてくれよ お前も知ってるだろ こっそり盗んだものがどんなにおいしいかは 【ブロンデ】 あら あら！あんたのニュースってそのことなの - 【ペドリロ】 バカだなあ 音を立てないでよ：老いぼれのしつこいオスミンが隠れてて おいらたちをきっと見張ってるんだから 【ブロンデ】 で？ニュースって？ - 【ペドリロ】 それはね おいらたちの奴隷暮らしがもうすぐ終わるってことさ （彼は注意深く周りを見る） ベルモンテ様 あのコンスタンツェ様の恋人が来たんだ それでおいらは宮殿に建築家ってことで連れて来てるんだ 【ブロンデ】 まあ 何て言ったの？ベルモンテ様がここに？ 【ペドリロ】 正真正銘のご本人さ！ 【ブロンデ】 ああ！コンスタンツェさまにお知らせしなきゃ！ （出て行こうとする） 【ペドリロ】 聞いてよ ねえブロンデ まず聞いてくれよ あの方は船を一隻この近くに準備されてて おいらたちはお前さんたちを夜中に連れ出すことになってんだ 【ブロンデ】 まあうれしい うれしいわ！かわいいペドリロ！キスしてあげるわ 急がなきゃ 急がなきゃ コンスタンツェさまのとこへ！ 【ペドリロ】 ちょっと待って 待ってよ お前だけにまず話させてよ 真夜中にベルモンテ様ははしごを持ってコンスタンツェ様の窓のところにいらっしゃる おいらはお前のとこだ そのあとそこからスタコラ逃げるんだ！ 【ブロンデ】 まあ ステキだわ！だけどオスミンは？ 【ペドリロ】 ここに眠り薬があるよ あの老いぼれ狐の これをうまいこと飲み物に混ぜるんだ、分かるだろ？おいらはこれを小瓶にも詰めてる こっちがダメでも そっちがうまく行くさ 【ブロンデ】 あたしのことは心配いらないわ！ - だけどコンスタンツェ様は恋する方とお話できないのかしら？ 【ペドリロ】 すっかり暗くなったら あの方はこの庭に来られるよ さあ行ってコンスタンツェ様に準備するように伝えておくれよ おいらはここでベルモンテ様をお待ちするんだ さよなら かわいこちゃん さよなら！ 【ブロンデ】 じゃあね ペドリロ！ あああたしこの喜びに何をしたらいいのかしら！ Nr. 12 - アリア 【ブロンデ】 何て幸せが 何て喜びが 満ち溢れるんでしょう あたしの胸の中には！ ぐずぐずせずに すっ飛んで お嬢さまにメッセージをお伝えしましょう 笑顔で 冗談混じりにね あの方の弱った 臆病な心に 幸せと歓喜を差し上げましょう （出て行く） 第７場 ペドリロ一人 【ペドリロ】 ああ これがもう過ぎ去ったことだったらなあ！おいらたちがもう海の上で 女の子たちを腕に抱いて この呪われた土地をあとにしてたら！だけど思い切ってやんなきゃ 今やるか永久にやらないか ためらったら負けだぞ！ Nr. 13 - アリア 【ペドリロ】 さあ戦いだ！ さあ武器を取れ！ 臆病な腰抜けだけがひるむんだ 震えてなんかいられるか？ 落ち込んでなんかいられるか？ おいらの命を 勇敢に賭けられないってか？ いや いや やってやるぞ！ さあ戦いだ！ さあ武器を取れ 臆病な腰抜けだけがひるむんだ 第８場 ペドリロ、オスミン 【オスミン】 ハ！嬉しそうじゃないか？貴様きっとうまいことやっとるんだろう 【ペドリロ】 ああ 誰がうなだれてなんかいられるかよ 首切り役人の他には誰も近くにいないってのに！ペドリロさまのとこじゃ昔から一家あげてそうしたもんさ 陽気さとワインがこの最悪な奴隷暮らしを楽しくしてくれるのさ 実際こりゃあんたたち哀れな連中にはすげえ楽しいことだって分からんのだろうけどね 一杯のうめえ年代物の景気づけの飲み物を頂くってのはな まったく あんたたちのマホメットの親父がワインを飲むのを禁じるなんてとんでもないヘマをしたもんだからさ もしもその禁令さえなけりゃ あんたもおいらと一緒に飲めたのにな あんた好きなんだろう 違うかい （独白）たぶんこいつ食いついてくるぞ ： 飲みたくてしょうがないんだろうからな 【オスミン】 ワインを貴様とだあ？どうせ毒だろう - 【ペドリロ】 いつでも毒に短剣 短剣に毒だぜ！昔の恨みはほっといて 理性的になろうぜ これを見ろよ 二本のボトルさ キプロスワインの！ - ああ - （彼は二本のボトルを見せる 片方はもう一方よりも大きい） おいらには旨そうに思えるんだけどな！ 【オスミン】 （独白） 信用してもいいものか？ 【ペドリロ】 こりゃワインだ ワインだぜ！ （彼は地面の上にトルコのスタイルで座って、小さなボトルから飲む） 【オスミン】 ちょっと飲んでみろ その大きなボトルからも 【ペドリロ】 きっと思ってんだろ おいらがこれに毒を入れたって？ハ！あんた白髪が増えるぜ 努力のかいがあるってもんだ あんたのお陰で地獄に行けるんならな さあ見てくれよ おいらが飲むかどうか （彼は少しだけ大きいボトルから飲む） おい まだ疑ってんのかい？信用してない？ ふぅー オスミン！恥ずかしいぞ - さあ取れよ！ （彼に大きなボトルを差し出して） それとも小さな方がいいかい？ 【オスミン】 いいや こっちでいい こっちで！だが もしわしを裏切ったら... （注意深くあたりを見回す） 【ペドリロ】 まるでもうお互いが必要ないみたいじゃないか しっかりしろよ！マホメットはずっと前に耳を下にして寝ちまってそっちの方が大事なのさ あんたのボトルのワインなんかを気にかけるよりもずっとね Nr. 14 - デュエット 【ペドリロ】 ビバ バッカス！ バッカス万歳！ バッカスはいい男だった！ 【オスミン】 試してみるか？ 飲んでみるか？ よもやアッラーの神はご覧になってはおるまいな？ 【ペドリロ】 何ためらってるんだ？ 行け 行け！ いつまでも いつまでも考えてるなよ！ 【オスミン】 さあ やってやったぜ さあ 飲み干したぞ 言わせて貰うぞ 良くやったと！ 【二人】 万歳 娘っ子よ ブロンドでも ブルネットでも みんな万歳だ！ 【ペドリロ】 これは絶妙な味だ！ 【オスミン】 これも旨いぞ！ 【二人】 ああ！これは神さまの召し上がりものだ！ ビバ バッカス バッカス万歳 ワインを発明したバッカスに！ 【ペドリロ】 実際 白状すれば何もないんだ ワインに勝るものは ワインがおいらにゃ金や女の子よりも好物なのさ おいらが憂鬱だったり 不機嫌だったり 腹が立ったりしてたら 急いでおいらは酒瓶に逃避するのさ 一本カラにすると嫌なことはみんな忘れちまう！ - おいらのボトルは機嫌が悪いときの女の子みたいにしかめっ面しないし 好きなようにすてきなことをつぶやいてくれるんだ 恋とか結婚とかのことを：舌の上のワインほどいいものはないぜ！ オスミンはワインと眠り薬の影響を感じ始め この場面の終わりまでずっと眠そうで不活発になる だが俳優はそれをやりすぎないようにして ただ半分夢見心地で常に眠そうにしていなければならない 【オスミン】 まったくだ - ワインは - ワインは - すばらしい飲み物だ わしらの偉大な - 預言者さまも わしをお叱りにはならんだろうよ－こん畜生め！ワインってのはいいなあ - 違うかい - - ペドリロよ？ 【ペドリロ】 その通りさ オスミンの兄貴 ほんとだよ！ 【オスミン】 まったく同じく - たのしく - （彼は時折頭を揺らす） とても幸せで - とてもゴキゲンで - - もうないのかよ なあ兄弟よ？ （彼は滑稽な動作でペドリロが彼に差し出す二本目のボトルに手を伸ばそうとする） 【ペドリロ】 聞けよ じいさん ：あんまり飲み過ぎんなよ これは頭にくるからな 【オスミン】 一本も持ってないのか - 考えろよ わしはこんなに - こんなに - 素面だぞ - だがこりゃほんとに - （彼は地面の上で前後によろめき始める） うめえぞ - - サイコーだ！ 【ペドリロ】 （独白） 効いてきた じじいめ 効いてきたぞ！ 【オスミン】 だが裏切るんじゃないぞ 貴様 - 兄弟よ - 裏切るなよ - つまり－マホメットがだ --ちがう ちがう - パシャが知ったら---貴様会ってるだろ---かわいいブロンデちゃんに---イエスかノーか！ - - 【ペドリロ】 （独白） さあ時間だ こいつを運び出そう！ （声を上げて） さあ来いよ じいさん 来いよ 眠りに行こうじゃないか！ （彼を持ち上げようとする） 【オスミン】 眠るだと？ - 恥ずかしくないのか？ - - べらぼうめ！誰がそんな眠いってんだ もう朝だぞ - 【ペドリロ】 おいおい 太陽はとっくに沈んでるぞ！ - 来いよ パシャに見つかんないように！ 【オスミン】 （連れて行かれながら） そうだ そうだ - - ボトルを - いいぞ - パシャは - 絶対だ - - すべてにおいて！ - おやすみ - - 兄弟 - おやすみ - ペドリロは彼を中に連れて行くがすぐに戻ってくる。 第９場 ペドリロ、その後ベルモンテ、コンスタンツェ、ブロンデ 【ペドリロ】 （オスミンの真似をして） おやすみ - 兄弟 - おやすみ！ははは 老いぼれの無鉄砲め！貴様はこうやって捕まるってか？間抜けめ！ - 目一杯飲みやがったぜ！唯一の気掛かりはあまりにも早く明日になっちまうことか 真夜中にはまだ三時間もある そのときあいつめ もうすっかり眠り終えてしまってるかも知れん - - ああ！いらっしゃいましたね 旦那さま！おいらたちのアーガスはもう目が見えませんよ おいらが完全に潰しました 【ベルモンテ】 おおそれは良かった！ - だけど コンスタンツェはまだここにはいないのかい？ 【ペドリロ】 すぐにこちらに来られますよ すべてをお話になってください でも手短かにね 裏切り者はいつまでも寝てはいないませんから ベルモンテがコンスタンツェと話している間 ペドリロはブロンデと話している 彼はオスミンとの一件をパントマイムで見せ モノマネをする それから最後に教える 彼は彼女を連れ去るために真夜中に窓の下にはしごを持ってやってくるつもりだということを 【コンスタンツェ】 おお私のベルモンテ！ お互いに腕で抱き合う 【ベルモンテ】 おおコンスタンツェ！ 【コンスタンツェ】 こんなことが可能なの？ - こんなにもたくさんの不安の日々のあとで たくさんの耐え抜いた苦しみのあとで あなたが私の腕の中だなんて - 【ベルモンテ】 おお この瞬間がすべての悲しみを甘いものとし 私にすべての苦しみを忘れさせてくれる - 【コンスタンツェ】 あなたの胸にもたれて泣きたいのです！ - ああ、今私は感じています - 喜びにも自分の涙があるのですね！ Nr. 15 - アリア 【ベルモンテ】 喜びの涙が流れる時 愛はほほ笑むのだ 恋するものの上に優しく 涙が彼女の頬にキスするのは 愛の最も美しい 素晴らしい報酬なのだ ああコンスタンツェ！あなたに会えて あなたを喜びと陶酔にあふれて この誠実な胸に抱きしめられるのは クロイソスの栄光にも劣ることはない幸せだ！ もし私たちが二度と会えなかったのなら！ こうして感じることもなかったのだろう どれほどつらかったのかを 別れの苦しみが 私はここに船を一隻準備している 誰もが眠っている真夜中に 私はあなたの窓辺に行くよ その時こそ愛が私たちの守護天使になってくれますように！ 【コンスタンツェ】 とても嬉しいですわ！あなたと一緒なら できないことなどあるでしょうか？お待ちしています - 【ペドリロ】 だからさ いとしのブロンデ 用心しておいてくれよ 聞いてるかい？ 【ブロンデ】 あたしなら心配いらないわ これって初めての冒険みたいね 女の子を一晩中眠らせないようにする 【ペドリロ】 もう分かってるだろうけど おいらがいつもしてるような歌声が聞こえたときにはしっかり気を配ってくれよ そしたら船に飛び乗るんだ！ - 可愛い勇気だけを持ってひるんだりするんじゃない すべてを失うはずの人は すべてをやってみるもんさ！ 【コンスタンツェ】 それが幸せに終わってくれたなら！ 【ベルモンテ】 そう望みたいものだね 愛は私たちのお供をしてくれるだろう Nr. 16 - 四重唱 【コンスタンツェ】 ああベルモンテ！ああ私の命のお方！ 【ベルモンテ】 ああコンスタンツェ！ああ私の命よ！ 【コンスタンツェ】 これは現実なの？何という喜び！ あなたをこの胸に抱きしめられるなんて たくさんの苦しみ日の後で 【ベルモンテ】 何という幸せだ あなたを見つけられるなんて！ 今 すべての悲しみは消え去ってしまう おお！私の心はどれほど嬉しいことか！ 【コンスタンツェ】 ご覧ください 喜びの涙が流れていますわ 【ベルモンテ】 いとしい人よ！涙をキスで消してしまおう！ 【コンスタンツェ】 この涙を最後にしましょう！ 【ベルモンテ】 そう 今日あなたは自由になるのだ 【ペドリロ】 これでブロンデ 分かっただろ？ 逃げ出す準備はすっかりできてる 12時の鐘が鳴れば おいらたちはここに来るよ 【ブロンデ】 心配しないで！抜かりはないわ 一分一分数えているから 早くその時がくればいいのに！ 【四人全員】 最後に輝くのだ 希望の太陽が 明るく 曇り空を突き抜けて！ 喜びと歓喜と幸せに満ちて 見届けよう われらの苦しみが終わるのを！ 【ベルモンテ】 けれど ああ！この喜びの中でも 私の胸は感じるのだ なおも多くのひそかな心配を！ 【コンスタンツェ】 それは何です いとしい人 おっしゃって さあ早く 話してみてください 私には何も隠したりしないで欲しいの！ 【ベルモンテ】 皆が言うには あなたは－－－ 【コンスタンツェ】 何ですの？ ベルモンテとコンスタンツェは静かに黙って心配そうにお互い見つめ合う 【ペドリロ】 （絞首刑にされるような仕草で） だけどブロンデ ああ！はしごで！ お前を助け出す値打ちはあるのかい？ 【ブロンデ】 ばか！頭が変になったの？ した方がいいんじゃないの その質問を逆に 【ペドリロ】 だけど オスミンが - - 【ブロンデ】 聞かせて貰おうじゃない！ 【コンスタンツェ】 ご自分で説明できないのですか？ 【ベルモンテ】 あなたは－－－ 【ペドリロ】 だけど オスミンが - - 【コンスタンツェ】 何ですの？ 【ブロンデ】 聞かせて貰おうじゃない！ ＜二組同時に＞ 【ベルモンテ】 そうしよう だけど 怒らないでおくれ 私は聞いたのだ 噂で だから私は、あえて聞くんだ あなたに震えながら 震えながら聞くんだ あなたはパシャとできちゃったのかどうか？ 【コンスタンツェ】 （泣く） おお！何てあなたは私を悲しませるのでしょう！ 【ペドリロ】 オスミンがもしかしてしなかったかと これは十分考えられることだけど 主人としての権利を行使することを そしてお前とやっちゃったんじゃないか？ だったらそりゃ 悪い買い物だなあ 【ブロンデ】 （彼を平手打ちして） ほら これが答えよ 【ペドリロ】 （頬を手で押さえて） 今 おいらはとても良く分かったよ 【ベルモンテ】 （ひざまずいて） コンスタンツェ！ああ許して！ 【ブロンデ】 （ペドリロから怒って離れて） あんたなんかあたしにふさわしくないわ 【コンスタンツェ】 （ため息つきながらベルモンテに向かって） 私はあなたに貞節でいたかどうかですって！ ＜最初は一人で その後四人全員で＞ 【ブロンデ】 （コンスタンツェに） この無法者 知りたいんですってよ あたしが自分に貞淑かどうかを？ 【コンスタンツェ】 （ブロンデに） ベルモンテは言われたんですって 私がパシャを愛してるって 【ペドリロ】 （頬を押さえたままで） ブロンデが貞淑だってことは おいら 悪魔にだって誓うよ 【ベルモンテ】 （ペドリロに） コンスタンツェは私に忠実だ それは疑うことはできない ＜同時に＞ 【ブロンデとコンスタンツェ】 もしも私たちの名誉に関して 男どもが疑念を抱いて 疑い深く私たちを見るようなことがあれば そんなこと決して我慢できません 【ベルモンテとペドリロ】 こんなにすぐに女たちを怒らせたのなら 我々が浮気を疑うことで そんなとき 彼女たちは本当に貞節で すべての非難から自由なのだ ＜同時に＞ 【ペドリロ】 大好きなブロンデ！ああ！許しとくれよ さあ おいらはお前の貞節を信じるよ 自分の頭なんかよりもずっと！ 【ブロンデ】 いやよ 許してなんかやんないわ あんな奴と何かあったと疑うなんて あんな老いぼれの馬鹿野郎と！ 【ベルモンテ】 ああコンスタンツェ！ああ私の人生よ あなたは私を許してくださいますか あんな質問をしてしまった？ 【コンスタンツェ】 ベルモンテ！どうしてあなたは思えるの 他の人にこの心が奪えるなんて？ あなたのためだけに鼓動してるのに！ 【ペドリロとベルモンテ】 ああ許しておくれ！ 後悔してるから！ 【コンスタンツェとブロンデ】 許してあげましょう 後悔してるようだから！ 【四人全員】 さて この件はこのくらいにしておこう！ 讃えよう 愛を！ ただ愛だけにわれらは忠実でいよう 扇動する者には目を向けないようにしよう 嫉妬なんかを （全員退場） ZWEITER AUFZUG Garten am Palast des Bassa Selim; an der Seite Osmins Wohnung. ERSTER AUFTRITT Osmin, Blonde. BLONDE O des Zankens, Befehlens und Murrens wird auch kein Ende! Einmal für allemal das steht mir nicht an! Denkst du alter Murrkopf etwa eine türkische Sklavinn vor dir zu haben, die bey deinen Befehlen zittert? o da irrst du dich sehr! Mit europäischen Mädchen springt man nicht so herum; denen begegnet man ganz anders. Nr. 8 - Arie BLONDE Durch Zärtlichkeit und Schmeicheln, Gefälligkeit und Scherzen, Erobert man die Herzen Der guten Mädchen leicht Doch mürrisches Befehlen Und Poltern, Zanken, Plagen Macht, dass in wenig Tagen So Lieb als Treu entweicht. OSMIN Ey seht doch mal, was das Mädchen vorschreiben kann! Zärtlichkeit! Schmeicheln! - Es ist mir wie pure Zärtlichkeit! - Wer Teufel hat dir das Zeug in Kopf gesetzt? - Hier sind wir in der Türkey, und da gehts aus einem andern Tone. Ich dein Herr; du meine Sklavinn; ich befehle, du musst gehorchen! BLONDE Deine Sklavinn? ich deine Sklavinn! - Ha! ein Mädchen eine Sklavinn! Noch einmal sag mir das, noch einmal! OSMIN für sich Ich möchte toll werden, was das Mädchen für ein starrköpfiges Ding ist. laut Du hast doch wohl nicht vergessen, dass dich der Bassa mir zur Sklavinn geschenkt hat? BLONDE Bassa hin, Bassa her! Mädchen sind keine Waare zum Verschenken! Ich bin eine Engländerinn, zur Freyheit gebohren; und trotz jedem, der mich zu etwas zwingen will! OSMIN bey Seite Gift und Dolch über das Mädchen! - Beym Mahomet! sie macht mich rasend. - Und doch lieb ich die Spitzbübinn, trotz ihres tollen Kopfes! laut Ich befehle dir augenblicklich, mich zu lieben. BLONDE Hahaha! Komm mir nur ein wenig näher, ich will dir fühlbare Beweise davon geben. OSMIN Tolles Ding! Weisst du, dass du mein bist, und ich dich dafür züchtigen kann? BLONDE Wag s nicht, mich anzurühren, wenn dir deine Augen lieb sind. OSMIN Wie? du unterstehst dich - BLONDE Da ist was zu unterstehen? Du bist der Unverschämte, der sich zu viel Freyheit heraus nimmt. So ein altes hässliches Gesicht untersteht sich, einem Mädchen wie ich, jung, schön, zur Freude geboren, wie einer Magd zu befehlen! Wahrhaftig, das stünde mir an! uns gehört das Regiment; ihr seyd unsre Sklaven, und glücklich, wenn ihr Verstand genug habt, euch die Ketten zu erleichtern. OSMIN Bey meinem Bart, sie ist toll! Hier hier in der Türkey? BLONDE Türkey hin, Türkey her! Weib ist Weib, sie sey wo sie wolle! Sind eure Weiber solche Närrinnen, sich von euch unterjochen zu lassen, desto schlimmer für sie; in Europa verstehen sie das Ding besser. Lass mich nur einmal Fuss hier gefasst haben, sie sollen bald anders werden. OSMIN Beym Alla! die wär im Stande uns allen die Weiber rebellisch zu machen - Aber - BLONDE Aufs Bitten müsst ihr euch legen, wenn ihr etwas von uns erhalten wollt; besonders Liebhaber deines Gelichters. OSMIN Freylich, wenn ich Pedrillo wär , so ein Drathpüppchen wie er, da wär ich vermuthlich willkommen; denn euer Mienenspiel hab ich lange weg. BLONDE Errathen, guter Alter, errathen! das kannst du dir wohl einbilden, dass mir der niedliche Pedrillo lieber ist, wie dein Blasbalggesicht. Also wenn du klug wärst - OSMIN Sollt ich dir die Freyheit geben, zu thun und zu machen, was du wolltest? He? BLONDE Besser würdest du immer dabey fahren denn so wirst du sicher betrogen. OSMIN Gift und Dolch! Nun reisst mir die Gedult! den Augenblick hinein ins Haus! Und wo du s wagst - BLONDE Mach mich nicht zu lachen. OSMIN Ins Haus, sag ich! BLONDE Nicht von der Stelle! OSMIN Mach nicht, dass ich Gewalt brauche. BLONDE Gewalt werd ich mit Gewalt vertreiben. Meine Gebietherinn hat mich hier in Garten bestellt; sie ist die Geliebte des Bassa, sein Augapfel, sein Alles; und es kostet mir ein Wort, so hast du funfzig auf die Fusssohlen. Also geh - OSMIN für sich Das ist ein Satan. Ich muss nachgeben, so wahr ich ein Muselmann bin; sonst könnte ihre Drohung eintreffen. Nr. 9 - Duett OSMIN Ich gehe, doch rathe ich dir Den Schurken Pedrillo zu meiden. BLONDE O pack dich, befiehl nicht mit mir, Du weist ja, ich kann es nicht leiden. OSMIN Versprich mir - - BLONDE Was fällt dir da ein! OSMIN Zum Henker - - BLONDE Fort, lass mich allein. OSMIN Wahrhaftig kein n Schritt von der Stelle, Bis du zu gehorchen mir schwörst. BLONDE Nicht so viel, du armer Geselle, Und wenn du der Grossmogul wärst. zusammen jedes für sich OSMIN O Engländer! seyd ihr nicht Thoren, Ihr lasst euren Weibern den Willen, Wie ist man geplagt und geschoren, Wenn solch eine Zucht man erhält! BLONDE Ein Herz, so in Freyheit geboren, Lässt niemals sich sklavisch behandeln; Bleibt, wenn schon die Freyheit verloren, Noch stolz auf sie, lachet der Welt. BLONDE Nun troll dich. OSMIN So sprichst du mit mir? BLONDE Nicht anders. OSMIN Nun bleib ich erst hier. BLONDE stösst ihn fort Ein andermal, itzt musst du gehen. OSMIN Wer hat solche Frechheit gesehen! zusammen BLONDE stellt sich als wollte sie ihm die Augen auskratzen Es ist um die Augen geschehen, Wofern du noch länger verweilst. OSMIN furchtsam zurückweichend Nur ruhig, ich will ja gern gehen, Bevor du gar Schläge ertheilst. geht ab ZWEITER AUFTRITT Blonde, Konstanze. BLONDE Wie traurig das gute Mädchen daher kommt! Freylich thut s weh, den Geliebten zu verlieren und Sklavinn zu seyn. Es geht mir wohl auch nicht viel besser; aber ich habe doch noch das Vergnügen, meinen Pedrillo manchmal zu sehen, obs gleich auch mager und verstohlen genug geschehen muss doch wer kann wider den Strom schwimmen! KONSTANZE ohne Blonden zu bemerken. Nr. 10 - Rezitativ und Arie Welcher Wechsel herrscht in meiner Seele Seit dem Tag, da uns das Schicksal trannte! O Belmont! hin sind die Freuden, Die ich sonst an deiner Seite kannte! Banger Sehnsuchts Leiden Wohnen nun dafür in der beklemmten Brust. Traurigkeit ward mir zum Loose, Weil ich dir entrissen bin. Gleich der wurmzernagten Rose, Gleich dem Gras im Wintermoose, Welkt mein banges Leben hin. Selbst der Luft darf ich nicht sagen Meiner Seele bittern Schmerz; Denn, unwillig ihn zu tragen, Haucht sie alle meine Klagen Wieder in mein armes Herz. BLONDE Ach mein bestes Fräulein! noch immer so traurig? KONSTANZE Kannst du fragen, der du meinen Kummer weisst? - Wieder ein Abend, und noch keine Nachricht, noch keine Hofnung! - Und morgen - ach Gott! ich darf nicht daran denken. BLONDE Heitern Sie sich wenigstens ein bischen auf. Sehn Sie, wie schön der Abend ist, wie blühend uns alles entgegen lacht, wie freudig uns die Vögel zu ihrem Gesang einladen! Verbannen Sie die Grillen, und fassen Sie Muth! KONSTANZE Wie glücklich bist du, Mädchen, bey deinem Schicksal so gelassen zu seyn! O dass ich es auch könnte! BLONDE Das steht nur bey Ihnen, hoffen Sie - KONSTANZE Wo nicht der mindeste Schein von Hoffnung mehr zu erblicken ist? BLONDE Hören Sie nur ich verzage mein Lebtage nicht, es mag auch eine Sache noch so schlimm aussehen. Denn wer sich immer das schlimmste vorstellt, ist auch wahrhaftig am schlimmsten dran. KONSTANZE Und wer sich immer mit Hoffnung schmeichelt, und zuletzt betrogen sieht, hat alsdenn nichts mehr übrig als die Verzweiflung. BLONDE Jedes nach seiner Weise. Ich glaube bey der meinigen am besten zu fahren. Wie bald kann ihr Belmont mit Lösegeld erscheinen, oder uns listiger Weise entführen? Wären wir die ersten Frauenzimmer, die den türkischen Vielfrassen entkämen? - Dort seh ich den Bassa. KONSTANZE Lass uns ihm aus den Augen gehn. BLONDE Zu spät. Er hat sie schon gesehen. Ich darf aber getrost aus dem Wege trollen, er schafte mich ohnehin fort. Im Weggehen. Kourage! wir kommen gewiss noch in unsre Heimath. DRITTER AUFTRITT Konstanze, Selim. SELIM Nun Konstanze, denkst du meinem Begehren nach? Der Tag ist bald verstrichen, Morgen musst du mich lieben, oder - KONSTANZE Muss? welch albernes Begehren! als ob man die Liebe anbefehlen könnte, wie eine Tracht Schläge! - - Aber freylich wie ihr Türken zu Werke geht, lässt sichs auch allenfalls befehlen - Aber ihr seyd würklich zu beklagen. Ihr kerkert die Gegenstände eurer Begierden ein und seyd zufrieden eure Lüste zu büssen. SELIM Und glaubst du etwan, unsre Weiber wären weniger glücklich, als ihr in euren Ländern? KONSTANZE Die nichts bessers kennen! SELIM Auf diese Art wäre wohl keine Hofnung, dass du je anders denken wirst. KONSTANZE Herr! Ich muss dir frey gestehn - - - denn was soll ich dich länger hinhalten, mich mit leerer Hofnung schmeicheln, dass du dich durch mein Bitten erweichen liessest - - Ich werde stets so denken wie itzt; dich verehren, aber - - lieben? Nie. SELIM Und du zitterst nicht vor der Gewalt, die ich über dich habe? KONSTANZE Nicht im geringsten. Sterben ist alles, was ich zu erwarten habe, und je eher dies geschieht, je lieber wird es mir seyn. SELIM Elende! Nein! Nicht sterben, aber Martern von allen Arten - - - KONSTANZE Auch die will ich ertragen; du schreckst mich nicht, ich erwarte alles. Nr. 11 - Arie KONSTANZE Martern aller Arten Mögen meiner warten, Ich verlache Qual und Pein. Nichts soll mich erschüttern, Nur dann würd ich zittern, Wenn ich untreu könnte seyn. Lass dich bewegen, Verschone mich! Des Himmels Segen Belohne dich! Doch du bist entschlossen. Willig, unverdrossen Wähl ich jede Pein und Noth. Ordne nur, gebiethe, Lärme, tobe, wüthe, Zuletzt befreyt mich doch der Tod. geht ab VIERTER AUFTRITT Selim, allein. SELIM Ist das ein Traum? Wo hat sie auf einmal den Muth her, sich so gegen mich zu betragen? Hat sie vielleicht Hofnung, mir zu entkommen? Ha! das will ich verwehren! Will fort. Doch das ist s nicht, dann würde sie sich eher verstellen, mich einzuschläfern suchen - - - Ja! es ist Verzweiflung! mit Härte richt ich nichts aus - mit Bitten auch nicht - - also, was Drohen und Bitten nicht vermögen, soll die List zuwege bringen. geht ab FÜNFTER AUFTRITT Blonde, allein. BLONDE Kein Bassa, keine Konstanze mehr da? Sind sie mit einander eins worden? - - Schwerlich, das gute Kind hängt zu sehr an ihrem Belmont! ich bedaure sie von Grund meines Herzens. Sie ist zu empfindsam für ihre Lage. Freylich, hätt ich meinen Pedrillo nicht an der Seite, wer weiss, wie mir s gienge! doch würd ich nicht so zärteln wie sie. Die Männer verdienen s warlich nicht, dass man ihrenthalben sich zu todte grämt. - - Vielleicht würd ich muselmännisch denken. SECHSTER AUFTRITT Blonde, Pedrillo. PEDRILLO Bst, Bst! Blondchen! Ist der Weg rein? BLONDE Komm nur, komm! Der Bassa ist wieder zurück. Und meinem Alten habe ich eben den Kopf ein bischen gewaschen. Was hast du denn? PEDRILLO O Neuigkeiten, Neuigkeiten, die dich entzücken werden. BLONDE Nun? hurtig heraus damit! PEDRILLO Erst, liebes Herzensblondchen, lass dir vor allen Dingen einen recht herzlichen Kuss geben du weisst ja, wie gestohlnes Gut schmeckt. BLONDE Pfuy, pfuy! Wenn das deine Neuigkeiten alle sind - PEDRILLO Närrchen, mach darum keinen Lärm der alte spitzbübische Osmin lauert uns sicher auf den Dienst. BLONDE Nun? und die Neuigkeiten? - PEDRILLO Sind, dass das Ende unsrer Sklaverey vor der Thüre ist. er sieht sich sorgfältig um Belmonte, Konstanzens Geliebter, ist angekommen; und ich hab ihn unter dem Namen eines Baumeisters hier im Palast eingeführt. BLONDE Ah was sagst du? Belmonte da? PEDRILLO Mit Leib und Seele! BLONDE Ha! das muss Konstanze wissen! will fort PEDRILLO Hör nur, Blondchen, hör nur erst Er hat ein Schif hier in der Nähe in Bereitschaft, und wir haben beschlossen, euch diese Nacht zu entführen. BLONDE O allerliebst, allerliebst! Herzens-Pedrillo! das verdient einen Kuss. Geschwind, geschwind zu Konstanzen! PEDRILLO Halt nur, halt, und lass erst mit dir reden. Um Mitternacht kommt Belmonte mit einer Leiter zu Konstanzens Fenster, und ich zu dem deinigen; und dann gehts heidi davon! BLONDE O vortreflich! Aber Osmin? PEDRILLO Hier ist ein Schlaftrunk für den alten Schlaukopf, den misch ihm fein manierlich ins Getränke; verstehst du? Ich habe dort auch schon ein Fläschchen angefüllt. Geht s hier nicht, wird s dort wohl gehen. BLONDE Sorg nicht für mich! - Aber kann Konstanze ihren Geliebten nicht sprechen? PEDRILLO Sobald es vollends finster ist, kommt er hier in Garten. Nun geh und bereite Konstanzen vor; ich will hier Belmonten erwarten. Leb wohl, Herzchen; leb wohl! BLONDE Leb wohl, guter Pedrillo! Ach, was werd ich für Freude anrichten! Nr. 12 - Arie BLONDE Welche Wonne, welche Lust Herrscht nunmehr in meiner Brust! Ohne Aufschub will ich springen Und ihr gleich die Nachricht bringen; Und mit Lachen und mit Scherzen Ihrem schwachen, feigen Herzen Freud and Jubel prophezeihn. geht fort SIEBENTER AUFTRITT Pedrillo, allein. PEDRILLO Ah, dass es schon vorbey wäre! dass wir schon auf offner See wären, unsre Mädels im Arm, und diess verwünschte Land im Rücken hätten! Doch sey s gewagt; entweder itzt oder niemals. Wer zagt, verliert! Nr. 13 - Arie PEDRILLO Frisch zum Kampfe! Frisch zum Streite! Nur ein feiger Tropf verzagt. Sollt ich zittern? Sollt ich zagen? Nicht mein Leben Muthig wagen? Nein, ach nein, es sey gewagt! Frisch zum Kampfe! Frisch zum Streite! Nur ein feiger Tropf verzagt. ACHTER AUFTRITT Pedrillo, Osmin. OSMIN Ha! Geht s hier so lustig zu? Es muss dir verteufelt wohl gehen. PEDRILLO Ey, wer wird so ein Kopfhänger seyn; es kommt beym Henker da nichts bey heraus! das haben die Pedrillos von jeher in ihrer Familie gehabt. Fröhlichkeit und Wein versüsst die härteste Sklaverey. Freylich könnt ihr armen Schlucker das nicht begreifen, dass es so ein herrlich Ding um ein Gläschen guten alten Lustigmacher ist. Wahrhaftig, da hat euer Vater Mahomet einen verzweifelten Bock geschossen, dass er euch den Wein verboten hat. Wenn das verwünschte Gesetz nicht wäre, du müsstest ein Gläschen mit mir trinken, du möchtest wollen oder nicht. für sich Vielleicht beisst er an er trinkt ihn gar zu gerne. OSMIN Wein mit dir? Ja Gift - PEDRILLO Immer Gift und Dolch, und Dolch und Gift! Lass doch den alten Groll einmal fahren und sey vernünftig. Sieh einmal, ein Paar Flaschen Cyperwein! - Ah - er zeigt ihm zwo Flaschen, wovon die eine grösser als die andere ist die sollen mir treflich schmecken! OSMIN für sich Wenn ich trauen dürfte? PEDRILLO Das ist ein Wein, das ist ein Wein! er setzt sich nach türkischer Art auf die Erde, und trinkt aus der kleinen Flasche OSMIN Kost einmal die grosse Flasche auch. PEDRILLO Denkst wohl gar, ich habe Gift hinein gethan? Ha! lass dir keine grauen Haare wachsen. Es verlohnte sich der Mühe, dass ich deinetwegen zum Teufel führe. Da sieh, ob ich trinke. er trinkt aus der grossen Flasche ein wenig Nun hast du noch Bedenken? traust mir noch nicht? Pfuy, Osmin! sollt st dich schämen - Da nimm! er giebt ihm die grosse Flasche Oder willst du die kleine? OSMIN Nein, lass nur, lass nur! Aber wenn du mich verräthst… sieht sich sorgfältig um. PEDRILLO Als wenn wir einander nicht weiter brauchten. Immer frisch! Mahomet liegt längst aufm Ohr, und hat nöthiger zu thun, als sich um deine Flasche Wein zu bekümmern. Nr. 14 - Duett PEDRILLO Vivat, Bachus! Bachus lebe! Bachus war ein braver Mann! OSMIN Ob ichs wage? Ob ich trinke? Ob s wohl Alla sehen kann? PEDRILLO Was hilft das Zaudern? Hinunter, hinunter! Nicht lange, nicht lange gefragt! OSMIN Nun war s geschehen, Nun war s hinunter Das heiss ich, das heiss ich gewagt! BEYDE Es leben die Mädchen, Die Blonden, die Braunen, Sie leben hoch! PEDRILLO Das schmeckt treflich! OSMIN Das schmeckt herrlich! BEYDE Ah! das heiss ich Göttertrank! Vivat Bachus, Bachus lebe, Bachus, der den Wein erfand! PEDRILLO Wahrhaftig, das muss ich gestehen, es geht doch nichts über den Wein. Wein ist mir lieber, als Geld und Mädchen. Bin ich verdrüsslich, mürrisch, launisch hurtig nehm ich meine Zuflucht zur Flasche; und kaum seh ich den ersten Boden weg ist all mein Verdruss! - Meine Flasche macht mir kein schiefes Gesicht, wie mein Mädchen, wenn ihr der Kopf nicht auf dem rechten Flecke steht. Und schwatzt mir von Süssigkeit der Liebe und des Ehestands, was ihr wollt Wein auf der Zunge geht über alles! Osmin fängt bereits an die Wirkung des Weins und des Schlaftrunks zu spüren, und wird bis zu Ende des Auftritts immer schläfriger und träger, doch darf s der Schauspieler nicht übertreiben, und muss nur immer halb träumend und schlaftrunken bleiben. OSMIN Das ist wahr - Wein - Wein - ist ein schönes Getränke; und unser grosser - Prophet mag mirs nicht übel nehmen - Gift und Dolch! es ist doch eine hübsche Sache um den Wein! - Nicht - - Bruder Pedrillo? PEDRILLO Richtig, Bruder Osmin, richtig! OSMIN Man wird gleich so - munter - er nickt zuweilen so vergnügt - so aufgeräumt - - Hast du nichts mehr, Bruder? er langt auf eine lächerliche Art nach einer zwoten Flasche, die Pedrillo ihm reicht. PEDRILLO Hör du, Alter trink mir nicht zu viel; es kommt einem in Kopf. OSMIN Trag doch keine - Sorge, ich bin so - so - nüchtern wie möglich - Aber das ist wahr - er fängt an, auf die Erde hin und her zu wanken es schmeckt - - vortreflich! PEDRILLO für sich Es wirkt, Alter; es wirkt! OSMIN Aber verrathen musst du mich nicht - Brüderchen - verrathen - denn - wenns Mahomet - - nein, nein - der Bassa wüsste - - denn siehst du - - - liebes Blondchen - - ja oder nein! - - PEDRILLO für sich Nun wirds Zeit, ihn fortzuschaffen! laut Nun komm, Alter, komm, wir wollen schlafen gehn! er hebt ihn auf. OSMIN Schlafen? - Schämst du dich nicht? - - Gift und Dolch! Wer wird denn so schläfrig seyn - es ist ja kaum Morgen - PEDRILLO Ho ho, die Sonne ist schon hinunter! - Komm, komm, dass uns der Bassa nicht überrascht! OSMIN im Abführen Ja, ja, - - eine Flasche - guter - Bassa - geht über - - alles! - gute Nacht - - Brüderchen - gute Nacht. - Pedrillo führt ihn hinein, kommt aber gleich wieder zurück. NEUNTER AUFTRITT Pedrillo, hernach Belmonte, Konstanze, Blonde. PEDRILLO machts Osmin nach Gute Nacht - Brüderchen - gute Nacht! Hahahaha, alter Eisenfresser! erwischt man dich so? Gift und Dolch! - Du hast deine Ladung! Nur fürcht ich, ists noch zu zeitig am Tage; bis Mitternacht sind noch drey Stunden, und da könnt er leicht wieder ausgeschlafen haben. - - Ach! kommen Sie, kommen Sie, liebster Herr! Unser Argus ist blind; ich hab ihn tüchtig zugedeckt. BELMONTE O dass wir glücklich wären! - Aber sag ist Konstanze noch nicht hier? PEDRILLO Eben kommt sie da den Gang herauf. Reden Sie alles mit ihr ab aber fassen Sie sich kurz; denn der Verräther schläft nicht immer. Während der Unterredung des Belmonte mit Konstanzen unterhält sich Pedrillo mit Blonden, der er durch Pantomime den ganzen Auftritt mit dem Osmin vormacht, und jenen nachahmt; zuletzt unterrichtet er sie ebenfalls, dass er um Mitternacht mit einer Leiter unter ihr Fenster kommen wolle, um sie zu entführen. KONSTANZE O mein Belmonte! einander im Arme BELMONTE O Konstanze! KONSTANZE Ists möglich? - Nach so viel Tagen der Angst, nach so viel ausgestandnen Leiden, dich wieder in meinen Armen - BELMONTE O, dieser Augenblick versüsst allen Kummer, macht mich all meinen Schmerz vergessen - KONSTANZE Hier will ich an deinem Busen liegen und weinen! - Ach, jetzt fühl ich s - die Freude hat auch ihre Thränen! Nr. 15 - Arie BELMONTE Wenn der Freude Thränen fliessen, Lächelt Liebe dem Geliebten hold! Von den Wangen sie zu küssen, Ist der Liebe schönster, grösster Sold. Ach Konstanze! dich zu sehen, Dich voll Wonne, voll Entzücken An mein treues Herz zu drücken, Lohnt fürwahr nicht Krösus Pracht! Dass wir uns niemals wiederfinden! So dürfen wir nicht erst empfinden Welchen Schmerz die Trennung macht. Ich hab hier ein Schiff in Bereitschaft; um Mitternacht, wenn alles schläft, komm ich an dein Fenster; und dann sey die Liebe unser Schutzengel! KONSTANZE Mit tausend Freuden! was wollt ich nicht mit dir wagen? Ich erwarte dich - PEDRILLO Also, liebes Blondchen, pass ja hübsch auf, hörst du s? BLONDE Sorge für mich nicht. Das wär das erste Abentheuer, das ein Mädchen verschlafen hätte. PEDRILLO Du wirft s schon merken, wenn du so was Gesungenes hörst, wie s so meine Art des Abends immer ist; dann pass auf, und dann mit einem Sprung ins Schiff! - Nur hübsch Muth gefasst, und nicht verzagt Wer alles zu verlieren hat, muss alles wagen! KONSTANZE Wenn es aber nur glücklich abläuft! BELMONTE Wir wollen s hoffen; die Liebe wird unsre Geleiterinn seyn. Nr. 16 - Quartett KONSTANZE Ach Belmonte! ach mein Leben! BELMONTE Ach Konstanze! ach mein Leben! KONSTANZE Ist es möglich? welch Entzücken! Dich an meine Brust zu drücken Nach so vieler Tage Leid. BELMONTE Welche Wonne, dich zu finden! Nun muss aller Kummer schwinden, O! wie ist mein Herz erfreut! KONSTANZE Sieh die Freudenthräne fliessen. BELMONTE Holde! lass hinweg sie küssen! KONSTANZE Dass es doch die letzte sey! BELMONTE Ja, noch heute wirst du frey. PEDRILLO Also Blondchen hast s verstanden? Alles ist zur Flucht vorhanden, Um Schlag zwölfe sind wir da. BLONDE Unbesorgt! es wird nichts fehlen, Die Minuten werd ich zählen, Wär der Augenblick schon da! ALLE VIER Endlich scheint die Hoffnungssonne Hell durchs trübe Firmament! Voll Entzücken, Freud und Wonne, Sehn wir unsrer Leiden End! BELMONTE Doch, ach! bey aller Lust Empfindet meine Brust Noch manch geheime Sorgen! KONSTANZE Was ist es, Liebster, sprich, Geschwind erkläre dich, O halt mir nichts verborgen! BELMONTE Man sagt du seyst - - - KONSTANZE Nun weiter? Belmonte und Konstanze sehn einander still schweigend und furchtsam an. PEDRILLO er zeigt, dass er wage gehenkt zu werden Doch Blondchen, ach! die Leiter! Bist du wohl so viel werth? BLONDE Hanns Narr! sch nappt s bey dir über? Ey hättest du nur lieber Die Frage umgekehrt. PEDRILLO Doch Herr Osmin - - BLONDE Lass hören! KONSTANZE. Willst du dich nicht erklären? BELMONTE Du seyst - - - PEDRILLO Doch Herr Osmin - - KONSTANZE Nun weiter? BLONDE Lass hören! zugleich BELMONTE Ich will. Doch zürne nicht, Wenn ich nach dem Gerücht, So ich gehört, es wage, Dich zitternd, bebend frage, Ob du den Bassa liebst? KONSTANZE sie weint O! wie du mich betrübst! PEDRILLO Hat nicht Osmin etwan, Wie man fast glauben kan, Sein Recht als Herr probiret Und bey dir exerciret? Dann wär s ein schlechter Kauf. BLONDE giebt ihm eine Ohrfeige Da, nimm die Antwort drauf. PEDRILLO hält sich die Wange Nun bin ich aufgeklärt. BELMONTE kniet nieder Konstanze! ach vergieb! BLONDE geht zornig von Pedrillo Du bist mich gar nicht werth. KONSTANZE seufzend sich von Belmonte wegwendend Ob ich dir treu verblieb! anfangs allein, dann alle Viere. BLONDE zu Konstanze Der Schlingel fragt sich an Ob ich ihm treu geblieben? KONSTANZE zu Blonde Dem Belmont sagte man, Ich soll den Bassa lieben. PEDRILLO hält sich die Backe Dass Blonde ehrlich sey, Schwör ich bey allen Teufeln. BELMONTE zu Pedrillo Konstanze ist mir treu, Daran ist nicht zu zweifeln. zugleich BLONDE UND KONSTANZE Wenn unsrer Ehre wegen Die Männer Argwohn hegen, Verdächtig auf uns sehn, Das ist nicht auszustehn. BELMONTE UND PEDRILLO So bald sich Weiber kränken, Dass wir sie untreu denken, Dann sind sie wahrhaft treu, Von allem Vorwurf frey. zugleich PEDRILLO Liebstes Blondchen! ach! verzeihe, Sieh, ich bau auf deine Treue Mehr itzt als auf meinen Kopf! BLONDE Nein, das kann ich dir nicht schenken, Mich mit so was zu verdenken, Mit dem alten dummen Tropf! BELMONTE Ach Konstanze! ach mein Leben, Könntest du mir doch vergeben, Dass ich diese Frage that? KONSTANZE Belmont! wie du konntest glauben, Dass man dir das Herz könnt rauben? Das nur dir geschlagen hat! PEDRILLO UND BELMONTE Ach verzeihe! Ich bereue! KONSTANZE UND BLONDE Ich verzeihe Deiner Reue! ALLE VIERE Wohl, es sey nun abgethan! Es lebe die Liebe! Nur sie sey uns theuer, Nichts fache das Feuer Der Eifersucht an. Alle ab 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/Die Entführung aus dem Serail/III
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Subjects-Science-Technology-General&Reference From the American System to Mass Production, 1800-1932 Development of Manufacturing Technology in the United States (St in Industry Technology 4) Johns Hopkins Univ Pr? David Hounshell? JohnsHopkinsUnivPr? DavidHounshell? ジャンル別? ユーズドブック(洋書)-Business&Investing? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Business&Investing-Biographies&Primers-BusinessHistory? Subjects-Business&Investing-Biographies&Primers-PopularEconomics? Subjects-Business&Investing-General? Subjects-Business&Investing-Industries&Professions-General? Subjects-Nonfiction-Economics-EconomicHistory? Subjects-Nonfiction-Economics-General? Subjects-Professional&Technical-Accounting&Finance-Economics-EconomicHistory? Subjects-Professional&Technical-Accounting&Finance-Economics-General? Subjects-Science-History&Philosophy-HistoryofScience? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Guide to the Industrial Archaeology of Europe Adams & D? Kenneth Hudson? Adams&D? KennethHudson? ジャンル別? Subjects-Science-Technology-General&Reference Modern Compiler Design (Worldwide Series in Computer Science) John Wiley & Sons Inc? H. E. Bal? Ceriel J. H. Jacobs? Koen G. Langendoen? Dick Grune? JohnWiley&SonsInc? H.E.Bal? CerielJ.H.Jacobs? KoenG.Langendoen? DickGrune? ジャンル別? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Science? Subjects-Computers&Internet-Software-Design&Development-Object-OrientedDesign? Subjects-Computers&Internet-Software-Design&Development-SoftwareDevelopment? Subjects-Computers&Internet-Programming-General? Subjects-Computers&Internet-Programming-Languages&Tools-CompilerDesign? Subjects-Computers&Internet-Programming-Languages&Tools-Compilers? Subjects-Computers&Internet-Programming-Languages&Tools-General? Subjects-Computers&Internet-OperatingSystems-General? Subjects-Science-Technology-General&Reference Vogel's Textbook of Practical Organic Chemistry Longman Group United Kingdom? Arthur Israel Vogel? LongmanGroupUnitedKingdom? ArthurIsraelVogel? ジャンル別? ユーズドブック(洋書)-Medicine? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Medicine-Specialties-Pathology-ClinicalChemistry? Subjects-Professional&Technical-Medical-Medicine-InternalMedicine-Pathology-ClinicalChemistry? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Organic? Subjects-Science-Chemistry-Organic-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-Specialties-Pathology-ClinicalChemistry? Hydrogen Economy Opportunities, Costs, Barriers, and R D Needs Natl Academy Pr? NatlAcademyPr? ジャンル別? ユーズドブック(洋書)-Business&Investing? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Business&Investing-Economics-NaturalResources Subjects-Business&Investing-Industries&Professions-Oil&Energy? Subjects-Engineering-Bioengineering-Biochemistry? Subjects-Engineering-Chemical-General? Subjects-Engineering-Energy-General? Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-Ecology-LivingontheLand? Subjects-Professional&Technical-Engineering-Chemical-General? Subjects-Professional&Technical-Engineering-Bioengineering-Biochemistry? Subjects-Professional&Technical-Engineering-Energy-General? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Professional&Technical-ProfessionalScience-Physics-Energy? Subjects-Science-Chemistry-ChemicalEngineering? Subjects-Science-General Subjects-Science-Physics-Energy? Subjects-Science-Technology-General&Reference Fluid Mixing and Gas Dispersion in Agitated Tanks Gary Tatterson? Gary B. Tatterson? GaryTatterson? GaryB.Tatterson? ジャンル別? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Substores-UnknownASINs-34? Subjects-Engineering-Chemical-General? Subjects-Professional&Technical-Engineering-Chemical-General? Subjects-Science-Chemistry-ChemicalEngineering? Subjects-Science-Technology-General&Reference Technology, Growth, and Development An Induced Innovation Perspective Oxford Univ Pr on Demand? Vernon W. Ruttan? OxfordUnivPronDemand? VernonW.Ruttan? ジャンル別? ユーズドブック(洋書)-Business&Investing? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Business&Investing-Biographies&Primers-Policy&CurrentEvents? Subjects-Business&Investing-Economics-Development&Growth? Subjects-Business&Investing-Economics-Theory? Subjects-Business&Investing-Economics-EconomicPolicy&Development? Subjects-Business&Investing-General? Subjects-Business&Investing-Industries&Professions-General? Subjects-Business&Investing-Management&Leadership-Industrial? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Nonfiction-Economics-Development&Growth? Subjects-Nonfiction-Economics-Theory? Subjects-Nonfiction-Economics-EconomicPolicy&Development? Subjects-Professional&Technical-Accounting&Finance-Economics-Development&Growth? Subjects-Professional&Technical-Accounting&Finance-Economics-Theory? Subjects-Professional&Technical-Accounting&Finance-Economics-EconomicPolicy&Development? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Industrial? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Innovations? Pharmaceutical Preformulation CRC Press? Jens Thuro Carstensen? CRCPress? JensThuroCarstensen? ジャンル別? ユーズドブック(洋書)-Medicine? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Medicine-Pharmacology-General? Subjects-Medicine-Pharmacology-Pharmacy? Subjects-Professional&Technical-Medical-BasicSciences-Pharmacology? Subjects-Professional&Technical-Medical-Pharmacology-Pharmacy? Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-Pharmacology-General? Subjects-Science-Medicine-Pharmacology-Pharmacy? Numerical Heat Transfer and Fluid Flow (Hemisphere Series on Computational Methods in Mechanics and Thermal Science) Hemisphere Pub? S. V. Patankar? HemispherePub? S.V.Patankar? ジャンル別? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-Aerospace-AdvancedMechanics? Subjects-Engineering-Civil-Mechanics? Subjects-Engineering-Mechanical-General? Subjects-Engineering-Mechanical-FluidMechanics? Subjects-Professional&Technical-Engineering-Civil-Mechanics? Subjects-Professional&Technical-Engineering-Aerospace-AdvancedMechanics? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Mechanical-FluidMechanics? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Science-General Subjects-Science-Physics-Dynamics-Thermodynamics? Subjects-Science-Physics-General? Subjects-Science-Physics-FluidMechanics? Subjects-Science-Technology-General&Reference Substores-UnknownASINs-jp-unknown2? Encyclopedia of Ethics in Science and Technology (Facts on File Science Library) Facts on File? Nigel Barber? FactsonFile? NigelBarber? ジャンル別? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Reference? ユーズドブック(洋書)-Science? Subjects-Nonfiction-Philosophy-Ethics&Morality? Subjects-Nonfiction-Philosophy-Science? Subjects-Reference? Subjects-Science-General Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Theory and Practice of Histotechnology Battelle Pr? Dezna C. Sheehan? Barbara B. Hrapchak? BattellePr? DeznaC.Sheehan? BarbaraB.Hrapchak? ジャンル別? ユーズドブック(洋書)-History? ユーズドブック(洋書)-Medicine? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-History? Subjects-Medicine-BasicScience-Histology? Subjects-Medicine-Specialties-Pathology-General? Subjects-Professional&Technical-Medical-BasicSciences-Histology? Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Biology-MolecularBiology? Subjects-Science-Evolution-MolecularBiology? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-BasicScience-Histology? Subjects-Science-Medicine-Specialties-Pathology-General? Shaping Technology/Building Society Studies in Socio-Technical Change (Inside Technology) Mit Pr? Wiebe E. Bijker? John Law? MitPr? WiebeE.Bijker? JohnLaw? ジャンル別? ユーズドブック(洋書)-History? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Science? Subjects-History-HistoricalStudy-HistoryofIdeas? Subjects-Nonfiction-Philosophy-Science? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Science-General Subjects-Science-History&Philosophy-General? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Defining an Identity The Evolution of Science Education As a Field of Research (Science and Technology Education Library) Kluwer Academic Pub? Peter J. Fensham? KluwerAcademicPub? PeterJ.Fensham? ジャンル別? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Nonfiction-Philosophy-Science? Subjects-Nonfiction-Education-Policy? Subjects-Nonfiction-Education-EducationTheory-Research? Subjects-Nonfiction-Education-General? Subjects-Professional&Technical-Education-Theory-EducationalReform-Policy&Reform? Subjects-Professional&Technical-Education-Theory-Research? Subjects-Professional&Technical-Education-General? Subjects-Professional&Technical-Education-SpecificSkills-Science&Technology? Subjects-Science-Education-Research? Subjects-Science-Experiments,Instruments&Measurement-Methodology&Statistics? Subjects-Science-General Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Technology Today and Tomorrow Glencoe/Mcgraw-Hill? Sharon A. Brusic? James Fales? Vincent F. Kuetemeyer? Glencoe/Mcgraw-Hill? SharonA.Brusic? JamesFales? VincentF.Kuetemeyer? ジャンル別? ユーズドブック(洋書)-Children sBooks? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? ユーズドブック(洋書)-Teens? Subjects-Children sBooks-Science,Nature&HowItWorks-General? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Science-Technology-General&Reference Subjects-Teens-Science&Technology-General? Synchronizing Science And Technology With Human Behaviour Earthscan Pubns Ltd? Ralf Brand? EarthscanPubnsLtd? RalfBrand? ジャンル別? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Science? Subjects-Nonfiction-Politics-RegionalPlanning? Subjects-Nonfiction-SocialSciences-Sociology-Urban? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Technology-RenewableEnergy? Soils and Environment (Routledge Physical Environment Series) Routledge? Steve Ellis? A. Mellor? Routledge? SteveEllis? A.Mellor? ジャンル別? ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-General? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-SoilScience? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Geography? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-EarthSciences-Geography-General? Subjects-Science-EarthSciences-Geology-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-AgriculturalSciences-SoilScience? Subjects-Science-AgriculturalSciences-General? Subjects-Science-AgriculturalSciences-Agronomy? Innovation and Growth in the Global Economy (M I T Press Readings in Economics) Mit Pr? Gene M. Grossman? Elhanan Helpman? MitPr? GeneM.Grossman? ElhananHelpman? ジャンル別? ユーズドブック(洋書)-Business&Investing? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Business&Investing-Biographies&Primers-PopularEconomics? Subjects-Business&Investing-Economics-Theory? Subjects-Business&Investing-Economics-Labor&IndustrialRelations? Subjects-Business&Investing-General? Subjects-Nonfiction-Economics-General? Subjects-Nonfiction-Economics-Theory? Subjects-Nonfiction-Economics-Labor&IndustrialRelations? Subjects-Professional&Technical-Accounting&Finance-Economics-General? Subjects-Professional&Technical-Accounting&Finance-Economics-Theory? Subjects-Professional&Technical-Accounting&Finance-Economics-Labor&IndustrialRelations? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference How to Make Your Car Handle Hp Books? Fred Puhn? HpBooks? FredPuhn? ジャンル別? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-General? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-Repair? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Subjects-Science-Technology-General&Reference Network Security Principles and Practices (CCIE Professional Development) Cisco Systems? Saadat Malik? CiscoSystems? SaadatMalik? ジャンル別? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Science? Subjects-Computers&Internet-WebDevelopment-InternetCommerce-Security? Subjects-Computers&Internet-WebDevelopment-Security&Encryption-NetworkSecurity? Subjects-Computers&Internet-Networking-Networks,Protocols&APIs-Networks? Subjects-Computers&Internet-Networking-Networks,Protocols&APIs-General? Subjects-Computers&Internet-CertificationCentral-Exams-CCIE? Subjects-Computers&Internet-CertificationCentral-Publisher-Cisco? Subjects-Computers&Internet-CertificationCentral-Subjects-Networking? Subjects-Computers&Internet-CertificationCentral-General? Subjects-Computers&Internet-Business&Culture-Privacy? Subjects-Computers&Internet-Hardware-SystemArchitecture-ComputerDesign? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference Introduction to Biomedical Equipment Technology Prentice Hall College Div? Joseph J. Carr? John M. Brown? PrenticeHallCollegeDiv? JosephJ.Carr? JohnM.Brown? ジャンル別? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Medicine? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-Bioengineering-BiomedicalEngineering? Subjects-Engineering-Bioengineering-Biotechnology? Subjects-Medicine-General? Subjects-Medicine-Reference-Instruments&Supplies? Subjects-Medicine-SpecialTopics-Biotechnology? Subjects-Medicine-AlliedHealthProfessions-MedicalTechnology? Subjects-Professional&Technical-Engineering-Bioengineering-BiomedicalEngineering? Subjects-Professional&Technical-Engineering-Bioengineering-Biotechnology? Subjects-Professional&Technical-Medical-BasicSciences-Biotechnology? Subjects-Professional&Technical-Medical-AlliedHealthProfessions-MedicalTechnology? Subjects-Professional&Technical-Medical-Medicine-Reference-Instruments&Supplies? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-General? Subjects-Science-Medicine-Reference-Instruments&Supplies? Subjects-Science-Medicine-SpecialTopics-Biotechnology? Subjects-Science-Medicine-AlliedHealthProfessions-MedicalTechnology? Warren Buffett Speaks Wit and Wisdom from the World's Greatest Investor John Wiley & Sons Inc? Warren Buffett? Janet Lowe? JohnWiley&SonsInc? WarrenBuffett? JanetLowe? ジャンル別? ユーズドブック(洋書)-Biographies&Memoirs? ユーズドブック(洋書)-Business&Investing? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Biographies&Memoirs-People,A-Z-(B)-Buffett,Warren? Subjects-Business&Investing-Biographies&Primers-Inspiration? Subjects-Business&Investing-Economics-PublicFinance? Subjects-Business&Investing-General? Subjects-Business&Investing-Investing-General? Subjects-Nonfiction-Economics-PublicFinance? Subjects-Professional&Technical-Accounting&Finance-Economics-PublicFinance? Subjects-Science-Technology-General&Reference A User's Guide to Vacuum Technology Wiley-Interscience? John F. O Hanlon? Wiley-Interscience? JohnF.O Hanlon? ジャンル別? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-Aerospace-AdvancedMechanics? Subjects-Engineering-Civil-Mechanics? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Civil-Mechanics? Subjects-Professional&Technical-Engineering-Aerospace-AdvancedMechanics? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Science-General Subjects-Science-Physics-General? Subjects-Science-Technology-General&Reference Nanotechnology A Gentle Introduction to the Next Big Idea Pearson P T R? Mark A. Ratner? Daniel Ratner? PearsonPTR? MarkA.Ratner? DanielRatner? ジャンル別? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Medicine? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-Bioengineering-Biotechnology? Subjects-Engineering-General? Subjects-Medicine-SpecialTopics-Biotechnology? Subjects-Professional&Technical-Engineering-Bioengineering-Biotechnology? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-Medical-BasicSciences-Biotechnology? Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Biotechnology? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Nanotechnology? Subjects-Science-Technology-Innovations? Subjects-Science-BiologicalSciences-Biotechnology? Subjects-Science-Medicine-SpecialTopics-Biotechnology? Primitive Technology II Ancestral Skills from the Society of Primitive Technology Gibbs Smith? Society of Primitive Technology? David Wescott? GibbsSmith? SocietyofPrimitiveTechnology? DavidWescott? ジャンル別? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Science? Subjects-Nonfiction-SocialSciences-Archaeology-General? Subjects-Outdoors&Nature-Ecology-General? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Nature&Ecology-General? Subjects-Science-Technology-General&Reference Subjects-Science-Archaeology-General? Chemical Engineering (Chemical Engineering Monographs) Pergamon? J.M. Coulson? J.F. Richardson? Pergamon? J.M.Coulson? J.F.Richardson? ジャンル別? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-Chemical-General? Subjects-Professional&Technical-Engineering-Chemical-General? Subjects-Science-Chemistry-ChemicalEngineering? Subjects-Science-Technology-General&Reference Extracellular Polymeric Substances The Construction Material of Biofilms (Water Science Technology) Intl Water Assn? H. C. Flemming? A. Leis? IntlWaterAssn? H.C.Flemming? A.Leis? ジャンル別? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Substores-UnknownASINs-42? Subjects-Engineering-Civil-Environmental-General Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-Biochemistry? Subjects-Science-Chemistry-Biochemistry? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Subjects-Science-Technology-General&Reference Writing for Science and Engineering Papers, Presentations and Reports Butterworth-Heinemann? Heather, Ph.D. Silyn-Roberts? Butterworth-Heinemann? Heather,Ph.D.Silyn-Roberts? ジャンル別? ユーズドブック(洋書)-Business&Investing? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Reference? ユーズドブック(洋書)-Science? Subjects-Business&Investing-Management&Leadership-Industrial? Subjects-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Engineering-General? Subjects-Nonfiction-Philosophy-Science? Subjects-Professional&Technical-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Industrial? Subjects-Reference-Writing-WritingSkills? Subjects-Reference-Writing-Technical? Subjects-Science-General Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-TechnicalThinking&Writing? Cognitive Technology Essays On The Transformation Of Thought And Society Mcfarland & Co Inc Pub? W. Richard Walker? Douglas J. Herrmann? Mcfarland&CoIncPub? W.RichardWalker? DouglasJ.Herrmann? ジャンル別? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Health,Mind&Body? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-Business&Culture-Culture? Subjects-Health,Mind&Body-Psychology&Counseling-General? Subjects-Health,Mind&Body-Psychology&Counseling-Cognitive? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Professional&Technical-ProfessionalScience-BehavioralSciences-CognitivePsychology? Subjects-Professional&Technical-ProfessionalScience-BehavioralSciences-CognitiveScience? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Technology&Society? Subjects-Science-BehavioralSciences-CognitivePsychology? Subjects-Science-BehavioralSciences-General? The Great Exhibition of 1851 A Nation on Display Yale Univ Pr? Jeffrey Auerbach? YaleUnivPr? JeffreyAuerbach? ジャンル別? ユーズドブック(洋書)-History? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Science? Subjects-History-Europe-England-General? Subjects-History-Europe-England-19thCentury? Subjects-History-Europe-England-London? Subjects-History-HistoricalStudy-SocialHistory? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference From the Fryer to the Fuel Tank The Complete Guide to Using Vegetable Oil As an Alternative Fuel Greenteach Pub? Joshua Tickell? Kaia Tickell? Kaia Roman? GreenteachPub? JoshuaTickell? KaiaTickell? KaiaRoman? ジャンル別? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-Chemical-Petrochemical? Subjects-Engineering-Petroleum,Mining&Geological-Petroleum? Subjects-Nonfiction-Automotive-General? Subjects-Professional&Technical-Engineering-Chemical-Petrochemical? Subjects-Professional&Technical-Engineering-Petroleum,Mining&Geological-Petroleum? Subjects-Science-General Subjects-Science-Technology-General&Reference The Electromagnetics Problem Solver (Rea's Problem Solvers) Research & Education Assn? Research and Education Association? M. Fogiel? Research&EducationAssn? ResearchandEducationAssociation? M.Fogiel? ジャンル別? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Reference? ユーズドブック(洋書)-Science? Subjects-Engineering-Electrical&Electronics-ElectromagneticTheory? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-Telecommunications-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-ElectromagneticTheory? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-Telecommunications-General? Subjects-Reference-Education-General? Subjects-Reference-TestPrepCentral-General? Subjects-Science-Physics-General? Subjects-Science-Physics-Electromagnetism-General? Subjects-Science-Physics-Electromagnetism-Electricity? Subjects-Science-Technology-General&Reference Explosives And Blasting Procedures Univ Pr of the Pacific? U. S. Bureau of Mines? Richard A. Dick? Larry R. Fletcher? UnivProfthePacific? U.S.BureauofMines? RichardA.Dick? LarryR.Fletcher? ジャンル別? ユーズドブック(洋書)-Science? Subjects-Science-General Subjects-Science-Technology-General&Reference Innovation and Technology in Korea Challenges of a Newly Advanced Economy Springer-Verlag? Jorg Mahlich? Springer-Verlag? JorgMahlich? ジャンル別? Subjects-Business&Investing-Biographies&Primers-Policy&CurrentEvents? Subjects-Business&Investing-Biographies&Primers-PopularEconomics? Subjects-Business&Investing-Economics-Development&Growth? Subjects-Business&Investing-Economics-EconomicPolicy&Development? Subjects-Business&Investing-General? Subjects-Business&Investing-Management&Leadership-ManagementScience? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Nonfiction-SocialSciences-PoliticalScience-LevelsofGovernment-FederalGovernment? Subjects-Nonfiction-Economics-Development&Growth? Subjects-Nonfiction-Economics-General? Subjects-Nonfiction-Economics-EconomicPolicy&Development? Subjects-Professional&Technical-Accounting&Finance-Economics-Development&Growth? Subjects-Professional&Technical-Accounting&Finance-Economics-General? Subjects-Professional&Technical-Accounting&Finance-Economics-EconomicPolicy&Development? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-ManagementScience? Subjects-Science-Technology-General&Reference Theory of Sound (Dover Classics of Science Mathematics) Dover Pubns? Strutt Rayleigh? DoverPubns? StruttRayleigh? ジャンル別? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Professional&Technical-ProfessionalScience-Physics-Acoustics&Sound? Subjects-Science-Physics-Acoustics&Sound? Subjects-Science-Technology-General&Reference A Study of a Prototype Floating Community Univ Pr of the Pacific? Triton Foundation? Buckminster R. Fuller? UnivProfthePacific? TritonFoundation? BuckminsterR.Fuller? ジャンル別? ユーズドブック(洋書)-Science? Subjects-Science-General Subjects-Science-Technology-General&Reference Scheduling Computer and Manufacturing Processes Springer? Jacek Bazewicz? Klaus H. Ecker? Erwin Pesch? Gunter Schmidt? Jan Weglarz? Springer? JacekBazewicz? KlausH.Ecker? ErwinPesch? GunterSchmidt? 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ATTO TERZO （Appare una camera adorna, vagamente scompartita da formelle che portano istoriette del romanzo di Tristano, tra uccelli fiori frutti imprese. Ricorre sotto il palco, intorno alle pareti, un fregio a guisa di festone dove sono scritte alcune parole d una canzonetta amorosa "Meglio m è dormire gaudendo C’avere penzieri veghiando." A destra, nell angolo, è un letto nascosto da cortine ricchissime; a sinistra, un uscio coverto da una portiera grave; in fondo, una finestra che guarda il Mare Adriatico. Dalla parte dell uscio è, sollevato da terra due braccia, un coretto per i musici con compartimenti ornati di gentili trafori. Presso la finestra è un leggio con suvvi aperto il libro della Historia di Lancillotto del Lago, composto di grandi membrane alluminate che costringe la legatura forte di due assicelle vestite di velluto vermiglio. Accanto v è un lettuccio, una sorta di ciscranna senza spalliera e bracciuoli, con molti cuscini di sciamito, posto quasi a paro del davanzale, onde chi vi s adagi scopre tutta la marina di Rimini. Su un deschetto è uno specchio d argento, a mano, tra ori, canne, coppette, borse, cinture e altri arredi. Grandi candelieri di ferro s alzano presso il corretto. Scannelli e predelle sono sparsi all intorno; e dal mezzo del pavimento sporge il maniglio di una cateratta, per la quale di questa camera si può scendere in un altra） Scena Prima （Si vede Francesca dinanzi al libro, in atto di leggere. Le donne sedute sulle predelle in fondo trapungono gli orli di un sopralletto, ascoltando l istoria; e ciascuna porta appeso alla cintura un alberello di vetro pieno di perle minute e di stricche d oro. Il sole del nascente marzo batte su lo zendado chermisino e ne trae un bagliore diffuso che accende i volti chinati all opra dell ago. La schiava è presso al davanzale ed esplora attentamente il cielo） ▼FRANCESCA▲ （leggendo） E Galeotto dice "Dama, abbiatene Pietà." "Ne avrò" dice ella "tal pietà, Come vorrete; ma non richiede Di niente… " （Le donne ridono. Francesca si getta su i cuscini di sciamito, torbida e molle） ▼GARSENDA▲ Madonna, Come mai era tanto vergognoso Il cavaliere Lancillotto? ▼BIANCOFIORE▲ Mentre la povera reina si struggeva Di dargli quello ch ei non dimandava! ▼DONELLA▲ Dirgli doveva "O cavalier valente, Vostra malinconia non val niente." ▼FRANCESCA▲ Donella, taci! Stanca Sono di trastullarmi con le vostre Ciance. Smaragdi, lo sparviero torna? ▼LA SCHIAVA▲ Dama, non torna s è sviato. （Francesca si sporge dalla finestra e spia） ▼DONELLA▲ Si perderà, Madonna. Male faceste a togliergli la lunga. ▼FRANCESCA▲ Corri, Donella, Dallo strozziere e digli l avvenuto, Che lo cerchi per tutto. （Donella lascia l ago e s invola） ▼BIANCOFIORE▲ （come intonando una canzone a ballo） "Nova in calen di marzo O rondine, che vieni Dai reami sereni d oltremare"… ▼FRANCESCA▲ Oh, sì, sì, Biancofiore, La musica, la musica! （La donne si levano leste a ripiegare lo zendado） Cerca di Simonetto, Biancofiore. ▼BIANCOFIORE▲ Sì, Madonna. ▼FRANCESCA▲ E voglio una ghirlanda di violette. Oggi è calen di marzo. ▼BIANCOFIORE▲ Voi l avrete, Madonna, e leggiadra. ▼FRANCESCA▲ Andatevi con Dio. （Scono tutte） Scena Seconda （Francesca si volge alla schiava che spia ancora il cielo per la finestra） ▼FRANCESCA▲ O Smaragdi, non torna? ▼LA SCHIAVA▲ Dama, non torna. Non ti rammaricare. ▼FRANCESCA▲ Ah, Smaragdi, che vino mi recasti Quella sera, alla Torre Mastra, quando La città era ed arme? Affatturato? ▼LA SCHIAVA▲ Dama, che dici? ▼FRANCESCA▲ Come se tu recato avessi un beveraggio Perfido, i! mal s apprese Alle vene di quelli che ne bevvero, E la mia sorte si rincrudeli. ▼LA SCHIAVA▲ Calpestami! Calpestami! Tra due Pietre schiacciami il capo. ▼FRANCESCA▲ Su, levati! Non hai colpa, mia colpa. Ah ragione mia, reggi E non dare la volta! Chi mi possiede? Un demone mi tiene. Non so pregare, non so più pregare. ▼LA SCHIAVA▲ Vuoi che lo chiami? ▼FRANCESCA▲ Chi? L hai tu veduto montare a cavallo, Messer Giovanni? ▼LA SCHIAVA▲ Sì, dama, col vecchio E con Messer Malatestino. ▼FRANCESCA▲ Io n ho paura. Guardami da lui! ▼LA SCHIAVA▲ Di chi paura hai tu, dama? ▼FRANCESCA▲ Paura ho di Malatestino. ▼LA SCHIAVA▲ Ti spaventa forse quell occhio suo cieco? ▼FRANCESCA▲ No, l altro, quello che vede. È terribile. ▼LA SCHIAVA▲ Dama, non disperare! Ascolta, ascolta. Io getterò una sorte su chi ti fa paura. Conosco il beveraggio che allontana E dismemora. Tu glie l offrirai… T insegnerò l incanto… （Irrompono nella stanza le donne, seguite dai musici. Donella porta quattro ghirlandette di narcisi bianchi, sospese a un filo d oro che insieme le lega） Scena Terza ▼DONELLA▲ Abbiamo i sonatori Per la canzone e ballo, Con cennamella piffero liuto Ribecco e monacordo. （Eretta fra le cortine, Francesca guarda come trasognata e non sorride nè parla） ▼BIANCOFIORE▲ Et ecco la ghirlanda di violette. （Le offre la ghirlanda, con un atto di grazia） Possa malinconia con ciò passare! （Francesca la prende, mentre Altichiara toglie dal deschetto lo specchio e lo fien levato dinanzi al viso di lei che s inghirlanda. La schiava lentamente scompare dall uscio） ▼GARSENDA▲ Oggi è calen di marzo! Il canto vuol Ballo, e il ballo, vuol canto. Su, Simonetto, intona! （I musici sulla tribuna cominciano un preludio. Donella scioglie il filo d oro e distribuisce le ghirlande di narcisi alle compagne, che s inghirlandano e tiene per sè l una che porta due alette di rondine, segno d officio singolare. Biancofiore trae da una reticella quattro rondini di legno dipinto che hanno sotto il petto una specie di manico breve, e ne dà una a ciascuna compagna la quale, atteggiandosi alla danza, la tiene impugnata e sollevata nella sinistra mano） ▼BIANCOFIORE, GARSENDA▲ Marzo è giunto e febbraio Gito se n è col ghiado. Or lasceremo il vaio Per veste di zendado. E andrem passando a guado Acque di rii novelli Tra chinati arboscelli verzicanti, Con stromenti e con canti in compagnia Di pesti drudi, o nella prateria Iscegliendo viole Ove redole più l erba, de nudi Piedi che al sole v ebbe Primavera. ▼ALTICHIARA, DONELLA▲ Deh creatura allegra, Conduci, questa danza In veste bianca e negra Com è tua costumanza. Poi fa qui dimoranza Nella camera adorna Ch è chiara, quando aggiorna e quando annotta Per l Istoria d Isotta fior d Irlanda, Che vi si vede; e sieti una ghirlanda Nido, nè ti rincresca, Poichè la fresca donna che qui siede Non è Francesca ma sì… （Le danzatrici con rapido giro si volgono tutte a Francesca disponendosi in una fila a tenendo l una mano, che tiene la rondine, e l altra verso di lei; e cantano insieme l ultima parola della stanza） ▼TUTTE▲ Primavera! （Al principiare della volta riappare su l uscio la schiava. Mentre i musici fanno la chiusa, ella si avvicina lestamente alla dama e le sussurra qualcosa che subito la turba ed agita） ▼FRANCESCA▲ Andate in allegrezza per la corte, Fino a vespro. Conducili, Donella. Felice primavera! （I musici discendono dal coretto sonando ed escono. Le donne inchiano la dama e van dietro ai suoni, con sussurri, con risa. La schiava rimane. Francesca s abbandona alla sua ansietà. Dà qualche passo per la stanza, smarritamente. Con un molto subitaneo, va a chiudere le cortine dell alcova, che sono disgiunte e lasciano intravedere il letto. Poi si accosta al leggio, getta uno sguardo al libro aperto; ma nel volgersi, con un lembo del suo vestimento ella smuove il liuto che cade e geme a terra. Trasale, sgomentata） No, Smaragdi, no! Va, va corri e digli Che non venga! （S odono i suoni lontanare. La schiava va verso la porta. Francesca fa un gesto verso di lei come per trattenerla） Smaragdi! （La schiava esce. Dopo alcuni attimi, una mano solleva la portiera; e appare Paolo Malatesta. L uscio dietro di lui si chiude） Scena Quarta （I due cognati si guardano, nel primo istante, senza trovar parola, entrambi scolorando. Ancora s odono i suoni lontanare per il palagio. Dalla finestra la camera s inaura del giorno che declina） ▼FRANCESCA▲ Benvenuto, signore mio cognato. ▼PAOLO▲ Ecco, sono venuto, avendo udito I suoni, per portavi il mio saluto, Il saluto del mio ritorno. ▼FRANCESCA▲ Assai presto siete tornato con la prima Rondine. Le mie donne Eran qui che cantavan la ballata Per Salutare il marzo. ▼PAOLO▲ Di voi, Francesca, Novelle mai non m ebbi Laggiù. Nulla più seppi Di voi, da quella sera perigliosa Che m offriste una coppa di vino E mi diceste addio Con la buona ventura. ▼FRANCESCA▲ Non m è nella memoria Questo, signore. Io ho molto pregato. ▼PAOLO▲ Non vi sovviene? ▼FRANCESCA▲ Io ho molto pregato. ▼PAOLO▲ Io ho molto sofferto. ▼FRANCESCA▲ Paolo, datemi pace! E dolce cosa vivere obliando, Almeno un ora, fuor della tempesta Che ci affatica. Non richiamate, prego, L ombra del tempo in questa fresca luce Che alfine mi disseta. Pace in questo mare Che tanto era selvaggio Ieri, et oggi è come la perla. Datemi, Datemi pace! ▼PAOLO▲ Inghirlandata Di violette m appariste ieri A una sosta, in un prato Dove mi ritrovai Io solo, dilungandomi gran tratto Dalla scorta. Appariste Con le viole; e vi tornò sul labbro Una parola che da voi fu detta Perdonato ti sia con grande amore! ▼FRANCESCA▲ Tal parola fu detta, E la gioia perfetta se n attende… Ora sedete qui alla finestra. Sedete qui. Parlatemi di voi. Come avete vissuto? ▼PAOLO▲ Perchè volete voi Ch io rinnovi nel cuore la miseria Mi fu a noia e spiacque Tutto ch altrui piaceva. Nemica ebbi la luce. Amica ebbi la notte. Nata e dal fondo dell eterna doglia, Simile alla sorgente che disserta E simile alla fiamma che riarde, Freschezza e incendio, lenimento e piaga, Or torbida ruggente come fiaccola, Or mite come lampada, Una visitatrice Si chinava su me, quasi a nudrirsi Dell assidua mia veglia; E, quando si partiva Al tremar delle stelle, Non più fuoco nè fonte Era, ma il vostro viso… ▼FRANCESCA▲ Ah, Paolo, Paolo! ▼PAOLO▲ Il vostro viso Mostrava ella nudato al mio dolore. ▼FRANCESCA▲ Paolo, se perdonato Vi fu, perchè vi rilampeggia ancora Sotto i cigli la colpa? Ahi, che già sento all arido Fiato sfiorir la primavera nostra! （Ella si toglie dal capo la ghirlanda e la pone sul libro aperto ch è da presso） ▼PAOLO▲ Ora perchè vi togliete dal capo La ghirlanda? ▼FRANCESCA▲ Ho sentito che già non è più fresca! （Paolo s accosta al leggio e si china sul libro） ▼PAOLO▲ Ah la parola che i miei occhi incontrano! E Galeotto dice "Dama, abbiatene Pietà" "Ne avrò" dice ella "tal pietà, Come vorrete; ma non mi richiede Di niente… " Volete seguitare? ▼FRANCESCA▲ Guardate il mare come si fa bianco! ▼PAOLO▲ Leggiamo qualche pagina, Francesca! （leggendo） "Certamente, dama" dice Allor Galeotto, "ei non si ardisce, nè vi domanderà mai cosa alcuna per amore, perchè teme." Et essa dice… （Paolo trae leggermente Francesca per la mano） Ora leggete voi Quel ch essa dice. Siate voi Ginevra. （Le loro fronti si avvicinano chinandosi sul libro） "Certamente"… ▼FRANCESCA▲ （leggendo） "Certamente, dice essa, io gli prometto; Ma che egli sia mio et io tutta sua, E che emendate sien tutte le cose Mal fatte… " Basta, Paolo. ▼PAOLO▲ No! No! Leggete ancora. Continuate! （I loro volti pallidi sono chini sul libro, così che le guance quasi si sfiorano） ▼FRANCESCA▲ （seguitando soffocatamente） "E la reina vede il cavaliere Che non ardisce di fare di più. Tra le braccia lo serra e lungamente Lo bacia in bocca…" （Egli fa quell atto istesso verso la cognata, e la bacia. Quando le bocche si disgiungono, Francesca vacilla e s abbandona sui guanciali） ▼TUTTE▲ （lontanissime） Ah! Primavera! ▼PAOLO▲ Francesca! ▼FRANCESCA▲ （con la voce spenta） No, Paolo! ATTO TERZO (Appare una camera adorna, vagamente scompartita da formelle che portano istoriette del romanzo di Tristano, tra uccelli fiori frutti imprese. Ricorre sotto il palco, intorno alle pareti, un fregio a guisa di festone dove sono scritte alcune parole d una canzonetta amorosa "Meglio m è dormire gaudendo C’avere penzieri veghiando." A destra, nell angolo, è un letto nascosto da cortine ricchissime; a sinistra, un uscio coverto da una portiera grave; in fondo, una finestra che guarda il Mare Adriatico. Dalla parte dell uscio è, sollevato da terra due braccia, un coretto per i musici con compartimenti ornati di gentili trafori. Presso la finestra è un leggio con suvvi aperto il libro della Historia di Lancillotto del Lago, composto di grandi membrane alluminate che costringe la legatura forte di due assicelle vestite di velluto vermiglio. Accanto v è un lettuccio, una sorta di ciscranna senza spalliera e bracciuoli, con molti cuscini di sciamito, posto quasi a paro del davanzale, onde chi vi s adagi scopre tutta la marina di Rimini. Su un deschetto è uno specchio d argento, a mano, tra ori, canne, coppette, borse, cinture e altri arredi. Grandi candelieri di ferro s alzano presso il corretto. Scannelli e predelle sono sparsi all intorno; e dal mezzo del pavimento sporge il maniglio di una cateratta, per la quale di questa camera si può scendere in un altra) Scena Prima (Si vede Francesca dinanzi al libro, in atto di leggere. Le donne sedute sulle predelle in fondo trapungono gli orli di un sopralletto, ascoltando l istoria; e ciascuna porta appeso alla cintura un alberello di vetro pieno di perle minute e di stricche d oro. Il sole del nascente marzo batte su lo zendado chermisino e ne trae un bagliore diffuso che accende i volti chinati all opra dell ago. La schiava è presso al davanzale ed esplora attentamente il cielo) FRANCESCA (leggendo) E Galeotto dice "Dama, abbiatene Pietà." "Ne avrò" dice ella "tal pietà, Come vorrete; ma non richiede Di niente… " (Le donne ridono. Francesca si getta su i cuscini di sciamito, torbida e molle) GARSENDA Madonna, Come mai era tanto vergognoso Il cavaliere Lancillotto? BIANCOFIORE Mentre la povera reina si struggeva Di dargli quello ch ei non dimandava! DONELLA Dirgli doveva "O cavalier valente, Vostra malinconia non val niente." FRANCESCA Donella, taci! Stanca Sono di trastullarmi con le vostre Ciance. Smaragdi, lo sparviero torna? LA SCHIAVA Dama, non torna s è sviato. (Francesca si sporge dalla finestra e spia) DONELLA Si perderà, Madonna. Male faceste a togliergli la lunga. FRANCESCA Corri, Donella, Dallo strozziere e digli l avvenuto, Che lo cerchi per tutto. (Donella lascia l ago e s invola) BIANCOFIORE (come intonando una canzone a ballo) "Nova in calen di marzo O rondine, che vieni Dai reami sereni d oltremare"… FRANCESCA Oh, sì, sì, Biancofiore, La musica, la musica! (La donne si levano leste a ripiegare lo zendado) Cerca di Simonetto, Biancofiore. BIANCOFIORE Sì, Madonna. FRANCESCA E voglio una ghirlanda di violette. Oggi è calen di marzo. BIANCOFIORE Voi l avrete, Madonna, e leggiadra. FRANCESCA Andatevi con Dio. (Scono tutte) Scena Seconda (Francesca si volge alla schiava che spia ancora il cielo per la finestra) FRANCESCA O Smaragdi, non torna? LA SCHIAVA Dama, non torna. Non ti rammaricare. FRANCESCA Ah, Smaragdi, che vino mi recasti Quella sera, alla Torre Mastra, quando La città era ed arme? Affatturato? LA SCHIAVA Dama, che dici? FRANCESCA Come se tu recato avessi un beveraggio Perfido, i! mal s apprese Alle vene di quelli che ne bevvero, E la mia sorte si rincrudeli. LA SCHIAVA Calpestami! Calpestami! Tra due Pietre schiacciami il capo. FRANCESCA Su, levati! Non hai colpa, mia colpa. Ah ragione mia, reggi E non dare la volta! Chi mi possiede? Un demone mi tiene. Non so pregare, non so più pregare. LA SCHIAVA Vuoi che lo chiami? FRANCESCA Chi? L hai tu veduto montare a cavallo, Messer Giovanni? LA SCHIAVA Sì, dama, col vecchio E con Messer Malatestino. FRANCESCA Io n ho paura. Guardami da lui! LA SCHIAVA Di chi paura hai tu, dama? FRANCESCA Paura ho di Malatestino. LA SCHIAVA Ti spaventa forse quell occhio suo cieco? FRANCESCA No, l altro, quello che vede. È terribile. LA SCHIAVA Dama, non disperare! Ascolta, ascolta. Io getterò una sorte su chi ti fa paura. Conosco il beveraggio che allontana E dismemora. Tu glie l offrirai… T insegnerò l incanto… (Irrompono nella stanza le donne, seguite dai musici. Donella porta quattro ghirlandette di narcisi bianchi, sospese a un filo d oro che insieme le lega) Scena Terza DONELLA Abbiamo i sonatori Per la canzone e ballo, Con cennamella piffero liuto Ribecco e monacordo. (Eretta fra le cortine, Francesca guarda come trasognata e non sorride nè parla) BIANCOFIORE Et ecco la ghirlanda di violette. (Le offre la ghirlanda, con un atto di grazia) Possa malinconia con ciò passare! (Francesca la prende, mentre Altichiara toglie dal deschetto lo specchio e lo fien levato dinanzi al viso di lei che s inghirlanda. La schiava lentamente scompare dall uscio) GARSENDA Oggi è calen di marzo! Il canto vuol Ballo, e il ballo, vuol canto. Su, Simonetto, intona! (I musici sulla tribuna cominciano un preludio. Donella scioglie il filo d oro e distribuisce le ghirlande di narcisi alle compagne, che s inghirlandano e tiene per sè l una che porta due alette di rondine, segno d officio singolare. Biancofiore trae da una reticella quattro rondini di legno dipinto che hanno sotto il petto una specie di manico breve, e ne dà una a ciascuna compagna la quale, atteggiandosi alla danza, la tiene impugnata e sollevata nella sinistra mano) BIANCOFIORE, GARSENDA Marzo è giunto e febbraio Gito se n è col ghiado. Or lasceremo il vaio Per veste di zendado. E andrem passando a guado Acque di rii novelli Tra chinati arboscelli verzicanti, Con stromenti e con canti in compagnia Di pesti drudi, o nella prateria Iscegliendo viole Ove redole più l erba, de nudi Piedi che al sole v ebbe Primavera. ALTICHIARA, DONELLA Deh creatura allegra, Conduci, questa danza In veste bianca e negra Com è tua costumanza. Poi fa qui dimoranza Nella camera adorna Ch è chiara, quando aggiorna e quando annotta Per l Istoria d Isotta fior d Irlanda, Che vi si vede; e sieti una ghirlanda Nido, nè ti rincresca, Poichè la fresca donna che qui siede Non è Francesca ma sì… (Le danzatrici con rapido giro si volgono tutte a Francesca disponendosi in una fila a tenendo l una mano, che tiene la rondine, e l altra verso di lei; e cantano insieme l ultima parola della stanza) TUTTE Primavera! (Al principiare della volta riappare su l uscio la schiava. Mentre i musici fanno la chiusa, ella si avvicina lestamente alla dama e le sussurra qualcosa che subito la turba ed agita) FRANCESCA Andate in allegrezza per la corte, Fino a vespro. Conducili, Donella. Felice primavera! (I musici discendono dal coretto sonando ed escono. Le donne inchiano la dama e van dietro ai suoni, con sussurri, con risa. La schiava rimane. Francesca s abbandona alla sua ansietà. Dà qualche passo per la stanza, smarritamente. Con un molto subitaneo, va a chiudere le cortine dell alcova, che sono disgiunte e lasciano intravedere il letto. Poi si accosta al leggio, getta uno sguardo al libro aperto; ma nel volgersi, con un lembo del suo vestimento ella smuove il liuto che cade e geme a terra. Trasale, sgomentata) No, Smaragdi, no! Va, va corri e digli Che non venga! (S odono i suoni lontanare. La schiava va verso la porta. Francesca fa un gesto verso di lei come per trattenerla) Smaragdi! (La schiava esce. Dopo alcuni attimi, una mano solleva la portiera; e appare Paolo Malatesta. L uscio dietro di lui si chiude) Scena Quarta (I due cognati si guardano, nel primo istante, senza trovar parola, entrambi scolorando. Ancora s odono i suoni lontanare per il palagio. Dalla finestra la camera s inaura del giorno che declina) FRANCESCA Benvenuto, signore mio cognato. PAOLO Ecco, sono venuto, avendo udito I suoni, per portavi il mio saluto, Il saluto del mio ritorno. FRANCESCA Assai presto siete tornato con la prima Rondine. Le mie donne Eran qui che cantavan la ballata Per Salutare il marzo. PAOLO Di voi, Francesca, Novelle mai non m ebbi Laggiù. Nulla più seppi Di voi, da quella sera perigliosa Che m offriste una coppa di vino E mi diceste addio Con la buona ventura. FRANCESCA Non m è nella memoria Questo, signore. Io ho molto pregato. PAOLO Non vi sovviene? FRANCESCA Io ho molto pregato. PAOLO Io ho molto sofferto. FRANCESCA Paolo, datemi pace! E dolce cosa vivere obliando, Almeno un ora, fuor della tempesta Che ci affatica. Non richiamate, prego, L ombra del tempo in questa fresca luce Che alfine mi disseta. Pace in questo mare Che tanto era selvaggio Ieri, et oggi è come la perla. Datemi, Datemi pace! PAOLO Inghirlandata Di violette m appariste ieri A una sosta, in un prato Dove mi ritrovai Io solo, dilungandomi gran tratto Dalla scorta. Appariste Con le viole; e vi tornò sul labbro Una parola che da voi fu detta Perdonato ti sia con grande amore! FRANCESCA Tal parola fu detta, E la gioia perfetta se n attende… Ora sedete qui alla finestra. Sedete qui. Parlatemi di voi. Come avete vissuto? PAOLO Perchè volete voi Ch io rinnovi nel cuore la miseria Mi fu a noia e spiacque Tutto ch altrui piaceva. Nemica ebbi la luce. Amica ebbi la notte. Nata e dal fondo dell eterna doglia, Simile alla sorgente che disserta E simile alla fiamma che riarde, Freschezza e incendio, lenimento e piaga, Or torbida ruggente come fiaccola, Or mite come lampada, Una visitatrice Si chinava su me, quasi a nudrirsi Dell assidua mia veglia; E, quando si partiva Al tremar delle stelle, Non più fuoco nè fonte Era, ma il vostro viso… FRANCESCA Ah, Paolo, Paolo! PAOLO Il vostro viso Mostrava ella nudato al mio dolore. FRANCESCA Paolo, se perdonato Vi fu, perchè vi rilampeggia ancora Sotto i cigli la colpa? Ahi, che già sento all arido Fiato sfiorir la primavera nostra! (Ella si toglie dal capo la ghirlanda e la pone sul libro aperto ch è da presso) PAOLO Ora perchè vi togliete dal capo La ghirlanda? FRANCESCA Ho sentito che già non è più fresca! (Paolo s accosta al leggio e si china sul libro) PAOLO Ah la parola che i miei occhi incontrano! E Galeotto dice "Dama, abbiatene Pietà" "Ne avrò" dice ella "tal pietà, Come vorrete; ma non mi richiede Di niente… " Volete seguitare? FRANCESCA Guardate il mare come si fa bianco! PAOLO Leggiamo qualche pagina, Francesca! (leggendo) "Certamente, dama" dice Allor Galeotto, "ei non si ardisce, nè vi domanderà mai cosa alcuna per amore, perchè teme." Et essa dice… (Paolo trae leggermente Francesca per la mano) Ora leggete voi Quel ch essa dice. Siate voi Ginevra. (Le loro fronti si avvicinano chinandosi sul libro) "Certamente"… FRANCESCA (leggendo) "Certamente, dice essa, io gli prometto; Ma che egli sia mio et io tutta sua, E che emendate sien tutte le cose Mal fatte… " Basta, Paolo. PAOLO No! No! Leggete ancora. Continuate! (I loro volti pallidi sono chini sul libro, così che le guance quasi si sfiorano) FRANCESCA (seguitando soffocatamente) "E la reina vede il cavaliere Che non ardisce di fare di più. Tra le braccia lo serra e lungamente Lo bacia in bocca…" (Egli fa quell atto istesso verso la cognata, e la bacia. Quando le bocche si disgiungono, Francesca vacilla e s abbandona sui guanciali) TUTTE (lontanissime) Ah! Primavera! PAOLO Francesca! FRANCESCA (con la voce spenta) No, Paolo! Zandonai,Riccardo/Francesca Da Rimini/IV
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完成版対訳はこちら ATTO TERZO SCENA I La gran sala del Castello. A destra un vasto peristilio a colonne. Questo peristilio è annesso ad una sala di minori proporzioni; nel fondo della sala un verone. Otello, Jago, l Araldo. ARALDO dal peristilio, a Otello che sarà con Jago nella sala La vedetta del porto ha segnalato la veneta galea che a Cipro adduce gli ambasciatori. Otello fa cenno all Araldo di allontanarsi OTELLO a Jago Bene sta. Continua. JAGO Qui trarrò Cassio e con astute inchieste lo adescherò a ciarlar. indicando il vano del verone Voi là nascosto scrutate i modi suoi, le sue parole, i lazzi, i gesti. Paziente siate o la prova vi sfugge. Ecco Desdemona. Finger conviene… io vado. dicendo io vado, s allontana come per escire, poi s arresta e si riavvinca ad Otello per dirgli l ultima parola Il fazzoletto… OTELLO Va! volentieri obliato l avrei. Jago esce SCENA II Otello, Desdemona DESDEMONA dalla porta di sinistra, ancora presso alla soglia Dio ti giocondi, o sposo dell alma mia sovrano. OTELLO andando incontro a Desdemona Grazie, madonna, datemi la vostra eburnea mano. le prende la mano Caldo mador ne irrora la morbida beltà. DESDEMONA Essa ancor l orme ignora del duolo e dell età. OTELLO con eleganza Eppur qui annida il demone gentil del mal consiglio, che il vago avorio allumina del piccioletto artiglio. Mollemente alla prece s atteggiae al pio fervore. DESDEMONA Eppur con questa mano io v ho donato il core… Ma riparlar vi debbo di Cassio. OTELLO Ancor l ambascia del mio morbo m assale; tu la fronte mi fascia. DESDEMONA sciogliendo un fazzoletto A te. OTELLO No; il fazzoletto voglio ch io ti donai. DESDEMONA Non l ho meco. OTELLO Desdemona, guai se lo perdi! guai! Una possente maga ne ordia lo stame arcano. Ivi è riposta l alta malia d un talismano. Bada! smarrirlo, oppur donarlo, è ria sventura! DESDEMONA Il vero parli? OTELLO Il vero parlo. DESDEMONA Mi fai paura! OTELLO Che? l hai perduto forse? DESDEMONA No. OTELLO Lo cerca. DESDEMONA Fra poco…lo cercherò… OTELLO No, tosto! DESDEMONA con eleganza Tu di me ti fai gioco. Storni cosi l inchiesta di Cassio; astuzia è questa del tuo pensier. OTELLO Pel cielo! l anima mia si desta! Il fazzoletto… DESDEMONA È Cassio l amico tuo diletto. OTELLO più marcato Il fazzoletto! DESDEMONA A Cassio, a Cassio perdona … OTELLO terribile Il fazzoletto! DESDEMONA Gran Dio! nella tua voce v è un grido di minaccia! OTELLO Alza quegli occhi! DESDEMONA Atroce idea! OTELLO prendendola a forza sotto il mento e per le spalle e obbligandola a guardarlo Guardami in faccia! Dimmi chi sei! DESDEMONA La sposa fedel d Otello OTELLO Giura! Giura e ti danna … DESDEMONA Otello fedel mi crede. OTELLO Impura ti credo. DESDEMONA Iddio m aiuta! OTELLO Corri alla tua condanna, di che sei casta. DESDEMONA fissandolo Casta … Io son … OTELLO Giura e ti danna! DESDEMONA Esterrefatta fisso lo sguardo tuo tremendo, in te parla una Furia, la sento e non l intendo. Mi guarda! il volto e l anima ti svelo; il core infranto mi scruta…io prego il cielo per te con questo pianto, per te con queste stille cocenti aspergo il suol. Guarda le prime lagrime, che da me spreme il duol. OTELLO S or ti scorge il tuo demone, un angelo ti crede e non t afferra. DESDEMONA con energia Vede l Eterno la mia fede! OTELLO No! la vede l inferno. DESDEMONA La tua giustizia impetro, sposo mio! OTELLO Ah! Desdemona! Indietro! indietro! indietro! DESDEMONA Tu pur piangi?…e gemendo freni del cor lo schianto! E son io l innocente cagion di tanto pianto! Qual è il mio fallo? OTELLO E il chiedi?…Il più nero delitto sovra il candido giglio della tua fronte è scritto. DESDEMONA Ahimé! OTELLO Che? non sei forse una vil cortigiana? DESDEMONA Ciel! No…no…pel battesmo della fede cristiana! OTELLO Che? DESDEMONA Ah!…non son ciò che esprime quella parola orrenda. Otello mutando d un tratto l ira nella più terribile calma dell ironia, prende Desdemona per mano e la conduce alla porta d onde entrò OTELLO Datemi ancor l eburnea mano, vo fare ammenda. marcato, a voce spiegata Vi credea a voce bassa parlando (perdonate se il mio pensiero è fello) a voce spiegata quella vil cortigana cupo e terribile che è la sposa d Otello. Otello sforza con un inflessione del braccio, ma senza scomporsi, Desdemona ad escire. Poi ritorna verso il contro della scena nel massimo grado dell abbattimento. SCENA III Otello OTELLO Dio! mi potevi scagliar tutti i mali della miseria, della vergogna, far de miei baldi trofei trionfali una maceria, una menzogna… E avrei portàto la croce crudel d angoscie e d onte con calma fronte e rassegnato al volere del ciel. Ma, o pianto, o duol! m han rapito il mirraggio dov io, giulivo, l anima acqueto. Spento è quel sol, quel sorriso, quel raggio che mi fa vivo, che mi fa lieto! Tu alfin, Clemenza, pio genio immortal dal roseo riso, copri il tuo viso santo coll orrida larva infernal! SCENA IV Otello, poi Jago OTELLO Ah! Dannazione! Pria confessi il delitto e poscia muoia! Confession! Confession! La prova! entra Jago JAGO indicando l ingresso Cassio è là! OTELLO Là? Cielo! Oh, gioia! con raccapriccio Orror! Supplizi immondi! JAGO Ti frena! Ti nascondi! conduce rapidamente Otello nel fondo a sinistra dove c è il vano del verone.; corre verso il fondo del peristilio dove incontra Cassio che esita ad entrare SCENA V Otello nascosto, Jago e Cassio JAGO a Cassio Vieni, l aula è deserta. T inoltra, o Capitano. CASSIO Questo nome d onor suona ancor vano per me. JAGO Fa cor, la tua causa è in tal mano che la vittoria è certa. CASSIO Io qui credea di ritrovar Desdemona. OTELLO nascosto Ei la nomò! CASSIO Vorrei parlarle ancora, per saper se la mia grazia è profferta. JAGO gaiamente L attendi… conducendo Cassio accanto alla prima colonna del peristilio E intanto, giacchè non si stanca mai la tua lingua nelle fole gaie, narrami un po di lei che t innamora. CASSIO Di chi? JAGO sottovoce assai Di Bianca OTELLO (Sorride!) CASSIO Baie! JAGO Essa t avvince coi vaghi rai. CASSIO Rider mi fai. JAGO Ride chi vince. CASSIO ridendo In tal disfide, per verità, vince chi ride - Ah! Ah! JAGO ridendo Ah! Ah! OTELLO dal verone (L empio trionfa, il suo scherno m uccide. Dio frena l ansia che in core mi sta!) CASSIO Nel segno hai côlto. Sì, lo confesso. M odi… JAGO assai sottovoce Sommesso parla. T ascolto. Jago conduce Cassio in posto più lontano da Otello CASSIO molto sottovoce) Jago, t è nota la mia dimora … le parole si perdono OTELLO avvicinandosi un poco e cautamente per udir le parole (Or gli racconta il modo, il luogo e l ora. . ) CASSIO sempre sottovoce … da mano ignota … le parole si perdono ancora OTELLO (Le parole non odo… Lasso! e udir le vorrei! Dove son giunto!) CASSIO … un vel trapunto … JAGO come sopra è strano! è strano! OTELLO (D avvicinarmi Jago mi fa cenno) passa con cautela e si nasconde dietro le colonne JAGO sottovoce Da ignota mano? molto forte Baie! fa cenno a Cassio di parlare ancora sottovoce CASSIO Da senno. Quanto mi tarda saper chi sia… JAGO guardando rapidamente dalla parte d Otello - fra sè (Otello spia) a Cassio ad alta voce L hai teco? CASSIO estrae dal giustacuore il fazzoletto di Desdemona Guarda. JAGO prendendo il fazzoletto Qual meraviglia! a parte (Otello origlia. Ei s avvicina con mosse accorte) a Cassio scherzando Bel cavaliere, mettendo le mani dietro la schiena perchè Otello possa osservare il fazzoletto nel vostro ostello perdono gli angeli l aureola e il vel. OTELLO avvicinandosi assai al fazzoletto, dietro le spalle di Jago e nascosta dalla prima colonna (è quello! è quello!) Ruina e morte! JAGO (Origlia Otello) OTELLO a parte sottovoce (Tutto è spento! Amore e duol. L alma mia nessun più smuova) JAGO a Cassio indicando il fazzoletto Questa è una ragna dove il tuo cuor casca, si lagna, s impiglia e muor. Troppo l ammiri, troppo la guardi; bada ai deliri vani e bugiardi. Questa è una ragna, etc… CASSIO guardando il fazzoletto che avrà ritolto a Jago Miracolo vago dell aspo e dell ago che in raggi tramuta le fila d un vel, più bianco, più leve che fiocco di neve, che nube tessuta dall aure del ciel. JAGO Questa è una ragna dove il tuo cuor… JAGO … casca, si lagna, s impiglia e muor. Troppo l ammiri, troppo la guardi; bada ai deliri vani e bugiardi. Ah bada, questa è una ragna dove il tuo cuor casca, si lagna, s impiglia e muor. CASSIO Miracolo vago… Più bianco, più leve che fiocco di neve, che nube tessuta dalla aure del ciel. Miracol, miracolo vago! OTELLO nascosto dietro la colonna e guardando di tratto in tratto il fazzoletto nelle mani di Cassio (Tradimento, tradimento, tradimento, la tua prova, la tua prova spaventosa mostri al Sol) CASSIO Miracolo vago! OTELLO (Tradimento!) JAGO a Cassio Troppo l ammiri. OTELLO (Tradimento!) JAGO Bada! Bada! Trombe interne in Do; ben lontano. Rispondono dal Castello Quest è il segnale che annuncia l approdo della trireme veneziana. Trombe da altra parte Ascolta. Tutto il castel co suoi squilli risponde. Se qui non vuoi con Otello scontrarti, fuggi. CASSIO Addio. JAGO Va. Cassio esce velocemente dal fondo ATTO TERZO SCENA I La gran sala del Castello. A destra un vasto peristilio a colonne. Questo peristilio è annesso ad una sala di minori proporzioni; nel fondo della sala un verone. Otello, Jago, l Araldo. ARALDO dal peristilio, a Otello che sarà con Jago nella sala La vedetta del porto ha segnalato la veneta galea che a Cipro adduce gli ambasciatori. Otello fa cenno all Araldo di allontanarsi OTELLO a Jago Bene sta. Continua. JAGO Qui trarrò Cassio e con astute inchieste lo adescherò a ciarlar. indicando il vano del verone Voi là nascosto scrutate i modi suoi, le sue parole, i lazzi, i gesti. Paziente siate o la prova vi sfugge. Ecco Desdemona. Finger conviene… io vado. dicendo io vado, s allontana come per escire, poi s arresta e si riavvinca ad Otello per dirgli l ultima parola Il fazzoletto… OTELLO Va! volentieri obliato l avrei. Jago esce SCENA II Otello, Desdemona DESDEMONA dalla porta di sinistra, ancora presso alla soglia Dio ti giocondi, o sposo dell alma mia sovrano. OTELLO andando incontro a Desdemona Grazie, madonna, datemi la vostra eburnea mano. le prende la mano Caldo mador ne irrora la morbida beltà. DESDEMONA Essa ancor l orme ignora del duolo e dell età. OTELLO con eleganza Eppur qui annida il demone gentil del mal consiglio, che il vago avorio allumina del piccioletto artiglio. Mollemente alla prece s atteggiae al pio fervore. DESDEMONA Eppur con questa mano io v ho donato il core… Ma riparlar vi debbo di Cassio. OTELLO Ancor l ambascia del mio morbo m assale; tu la fronte mi fascia. DESDEMONA sciogliendo un fazzoletto A te. OTELLO No; il fazzoletto voglio ch io ti donai. DESDEMONA Non l ho meco. OTELLO Desdemona, guai se lo perdi! guai! Una possente maga ne ordia lo stame arcano. Ivi è riposta l alta malia d un talismano. Bada! smarrirlo, oppur donarlo, è ria sventura! DESDEMONA Il vero parli? OTELLO Il vero parlo. DESDEMONA Mi fai paura! OTELLO Che? l hai perduto forse? DESDEMONA No. OTELLO Lo cerca. DESDEMONA Fra poco…lo cercherò… OTELLO No, tosto! DESDEMONA con eleganza Tu di me ti fai gioco. Storni cosi l inchiesta di Cassio; astuzia è questa del tuo pensier. OTELLO Pel cielo! l anima mia si desta! Il fazzoletto… DESDEMONA È Cassio l amico tuo diletto. OTELLO più marcato Il fazzoletto! DESDEMONA A Cassio, a Cassio perdona … OTELLO terribile Il fazzoletto! DESDEMONA Gran Dio! nella tua voce v è un grido di minaccia! OTELLO Alza quegli occhi! DESDEMONA Atroce idea! OTELLO prendendola a forza sotto il mento e per le spalle e obbligandola a guardarlo Guardami in faccia! Dimmi chi sei! DESDEMONA La sposa fedel d Otello OTELLO Giura! Giura e ti danna … DESDEMONA Otello fedel mi crede. OTELLO Impura ti credo. DESDEMONA Iddio m aiuta! OTELLO Corri alla tua condanna, di che sei casta. DESDEMONA fissandolo Casta … Io son … OTELLO Giura e ti danna! DESDEMONA Esterrefatta fisso lo sguardo tuo tremendo, in te parla una Furia, la sento e non l intendo. Mi guarda! il volto e l anima ti svelo; il core infranto mi scruta…io prego il cielo per te con questo pianto, per te con queste stille cocenti aspergo il suol. Guarda le prime lagrime, che da me spreme il duol. OTELLO S or ti scorge il tuo demone, un angelo ti crede e non t afferra. DESDEMONA con energia Vede l Eterno la mia fede! OTELLO No! la vede l inferno. DESDEMONA La tua giustizia impetro, sposo mio! OTELLO Ah! Desdemona! Indietro! indietro! indietro! DESDEMONA Tu pur piangi?…e gemendo freni del cor lo schianto! E son io l innocente cagion di tanto pianto! Qual è il mio fallo? OTELLO E il chiedi?…Il più nero delitto sovra il candido giglio della tua fronte è scritto. DESDEMONA Ahimé! OTELLO Che? non sei forse una vil cortigiana? DESDEMONA Ciel! No…no…pel battesmo della fede cristiana! OTELLO Che? DESDEMONA Ah!…non son ciò che esprime quella parola orrenda. Otello mutando d un tratto l ira nella più terribile calma dell ironia, prende Desdemona per mano e la conduce alla porta d onde entrò OTELLO Datemi ancor l eburnea mano, vo fare ammenda. marcato, a voce spiegata Vi credea a voce bassa parlando (perdonate se il mio pensiero è fello) a voce spiegata quella vil cortigana cupo e terribile che è la sposa d Otello. Otello sforza con un inflessione del braccio, ma senza scomporsi, Desdemona ad escire. Poi ritorna verso il contro della scena nel massimo grado dell abbattimento. SCENA III Otello OTELLO Dio! mi potevi scagliar tutti i mali della miseria, della vergogna, far de miei baldi trofei trionfali una maceria, una menzogna… E avrei portàto la croce crudel d angoscie e d onte con calma fronte e rassegnato al volere del ciel. Ma, o pianto, o duol! m han rapito il mirraggio dov io, giulivo, l anima acqueto. Spento è quel sol, quel sorriso, quel raggio che mi fa vivo, che mi fa lieto! Tu alfin, Clemenza, pio genio immortal dal roseo riso, copri il tuo viso santo coll orrida larva infernal! SCENA IV Otello, poi Jago OTELLO Ah! Dannazione! Pria confessi il delitto e poscia muoia! Confession! Confession! La prova! entra Jago JAGO indicando l ingresso Cassio è là! OTELLO Là? Cielo! Oh, gioia! con raccapriccio Orror! Supplizi immondi! JAGO Ti frena! Ti nascondi! conduce rapidamente Otello nel fondo a sinistra dove c è il vano del verone.; corre verso il fondo del peristilio dove incontra Cassio che esita ad entrare SCENA V Otello nascosto, Jago e Cassio JAGO a Cassio Vieni, l aula è deserta. T inoltra, o Capitano. CASSIO Questo nome d onor suona ancor vano per me. JAGO Fa cor, la tua causa è in tal mano che la vittoria è certa. CASSIO Io qui credea di ritrovar Desdemona. OTELLO nascosto Ei la nomò! CASSIO Vorrei parlarle ancora, per saper se la mia grazia è profferta. JAGO gaiamente L attendi… conducendo Cassio accanto alla prima colonna del peristilio E intanto, giacchè non si stanca mai la tua lingua nelle fole gaie, narrami un po di lei che t innamora. CASSIO Di chi? JAGO sottovoce assai Di Bianca OTELLO (Sorride!) CASSIO Baie! JAGO Essa t avvince coi vaghi rai. CASSIO Rider mi fai. JAGO Ride chi vince. CASSIO ridendo In tal disfide, per verità, vince chi ride - Ah! Ah! JAGO ridendo Ah! Ah! OTELLO dal verone (L empio trionfa, il suo scherno m uccide. Dio frena l ansia che in core mi sta!) CASSIO Nel segno hai côlto. Sì, lo confesso. M odi… JAGO assai sottovoce Sommesso parla. T ascolto. Jago conduce Cassio in posto più lontano da Otello CASSIO molto sottovoce) Jago, t è nota la mia dimora … le parole si perdono OTELLO avvicinandosi un poco e cautamente per udir le parole (Or gli racconta il modo, il luogo e l ora. . ) CASSIO sempre sottovoce … da mano ignota … le parole si perdono ancora OTELLO (Le parole non odo… Lasso! e udir le vorrei! Dove son giunto!) CASSIO … un vel trapunto … JAGO come sopra è strano! è strano! OTELLO (D avvicinarmi Jago mi fa cenno) passa con cautela e si nasconde dietro le colonne JAGO sottovoce Da ignota mano? molto forte Baie! fa cenno a Cassio di parlare ancora sottovoce CASSIO Da senno. Quanto mi tarda saper chi sia… JAGO guardando rapidamente dalla parte d Otello - fra sè (Otello spia) a Cassio ad alta voce L hai teco? CASSIO estrae dal giustacuore il fazzoletto di Desdemona Guarda. JAGO prendendo il fazzoletto Qual meraviglia! a parte (Otello origlia. Ei s avvicina con mosse accorte) a Cassio scherzando Bel cavaliere, mettendo le mani dietro la schiena perchè Otello possa osservare il fazzoletto nel vostro ostello perdono gli angeli l aureola e il vel. OTELLO avvicinandosi assai al fazzoletto, dietro le spalle di Jago e nascosta dalla prima colonna (è quello! è quello!) Ruina e morte! JAGO (Origlia Otello) OTELLO a parte sottovoce (Tutto è spento! Amore e duol. L alma mia nessun più smuova) JAGO a Cassio indicando il fazzoletto Questa è una ragna dove il tuo cuor casca, si lagna, s impiglia e muor. Troppo l ammiri, troppo la guardi; bada ai deliri vani e bugiardi. Questa è una ragna, etc… CASSIO guardando il fazzoletto che avrà ritolto a Jago Miracolo vago dell aspo e dell ago che in raggi tramuta le fila d un vel, più bianco, più leve che fiocco di neve, che nube tessuta dall aure del ciel. JAGO Questa è una ragna dove il tuo cuor… JAGO … casca, si lagna, s impiglia e muor. Troppo l ammiri, troppo la guardi; bada ai deliri vani e bugiardi. Ah bada, questa è una ragna dove il tuo cuor casca, si lagna, s impiglia e muor. CASSIO Miracolo vago… Più bianco, più leve che fiocco di neve, che nube tessuta dalla aure del ciel. Miracol, miracolo vago! OTELLO nascosto dietro la colonna e guardando di tratto in tratto il fazzoletto nelle mani di Cassio (Tradimento, tradimento, tradimento, la tua prova, la tua prova spaventosa mostri al Sol) CASSIO Miracolo vago! OTELLO (Tradimento!) JAGO a Cassio Troppo l ammiri. OTELLO (Tradimento!) JAGO Bada! Bada! Trombe interne in Do; ben lontano. Rispondono dal Castello Quest è il segnale che annuncia l approdo della trireme veneziana. Trombe da altra parte Ascolta. Tutto il castel co suoi squilli risponde. Se qui non vuoi con Otello scontrarti, fuggi. CASSIO Addio. JAGO Va. Cassio esce velocemente dal fondo Verdi,Giuseppe/Otello/ActⅢ-2