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Markov Chain Monte Carlo Stochastic Simulation for Bayesian Inference (Texts in Statistical Science Series) Chapman & Hall? Dani Gamerman? Hedibert Freitas Lopes? Chapman&Hall? DaniGamerman? HedibertFreitasLopes? 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-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-Applied-Probability&Statistics? Rf Design Guide Systems, Circuits, and Equations (Artech House Antennas and Propagation Library) Artech House? Peter Vizmuller? ArtechHouse? PeterVizmuller? 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)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Computers&Internet-ComputerScience-Circuitry-CircuitComponents? Subjects-Engineering-Electrical&Electronics-Circuits? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-Telecommunications-General? 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第１幕 序曲 海岸にあるパシャの宮殿の前 第１場 ベルモンテ一人 Nr. 1 - アリア 【ベルモンテ】 ここでようやくあなたに会えるのか コンスタンツェ！あなたに わが幸せよ！ 天よ 願いを叶えたまえ！ 私に安らぎを与えたまえ もう一度！ 私は耐えてきた この苦しみに おお愛よ！もう十分だ！ 私に与えたまえ 今は喜びを 私にもたらしたまえ 今ここに だが どうやって私は宮殿に入ることができるのだろう？ - 彼女にどうやって会おう？ - どうやって話そう？ 第２場 ベルモンテ はしごを抱えたオスミン 彼はそれを宮殿の玄関前に木にもたせ掛け それに登ってイチジクを採っている Nr. 2 - 歌とデュエット 【オスミン】 恋人を見つけた奴は やさしくて誠実な恋人を 報いてやるのさ 千回のキスで その娘の人生を甘いものにするんだぞ その娘の慰め役に 友だちになってやれよ トララレラ トララレラ！ 【ベルモンテ】 たぶんこのじいさんに聞けば何か分かるだろう - おい あんた！ここってパシャ・セリムの別邸じゃないのかい？ 【オスミン】 （同じように歌う 仕事をしながら） だけどその操はしっかり守っておけよ 鍵をかけて恋人はしまっておくんだぞ なぜってこの浮気者ときたら あらゆる蝶々を捕まえようとするし 飲みたがるんだからな 珍しいワインばかり トララレラ トララレラ！ 【ベルモンテ】 おい じいさん ちょっと！あんた聞いてないのか？ - ここはパシャ・セリムの宮殿なのかい？ 【オスミン】 （彼を見て また振り返って前と同じように歌う） 特に月明かりの下では 友よ しっかり見張っておけよ！ しょっちゅう若い王子様とやらがやってきて 言い寄って誘惑するんだ そのバカ女を そしてそうなりゃ 操も おさらばだ！ トララレラ トララレラ！ 【ベルモンテ】 あんたにもその歌にもうんざりなんだ！ もうその歌は聞き飽きたから ちょっと聞いてくれよ 一言だけ！ 【オスミン】 こん畜生め どういうつもりだ そんなに腹を立てて偉そうに？ 何の用だ？早く言え！わしは行かにゃならんのだ 【ベルモンテ】 ここはパシャ・セリムの宮殿なのかい？ 【オスミン】 へっ？ 【ベルモンテ】 ここはパシャ・セリムの宮殿なのかい？ 【オスミン】 ここはパシャ・セリムの宮殿だよ （去って行こうとする） 【ベルモンテ】 ちょっと待った - - 【オスミン】 待ってらんないんだよ 【ベルモンテ】 一言だけ... 【オスミン】 早く言え！急いでるんだ 【ベルモンテ】 あんた ここに勤めてるのかい 友よ？ 【オスミン】 へっ？ 【ベルモンテ】 あんた ここに勤めてるのかい 友よ？ 【オスミン】 俺はここに勤めてるよ 友よ 【ベルモンテ】 どうしたらペドリロという男と話ができるかな ここにお勤めしてるようなんだが？ 【オスミン】 あの悪たれか？首でも括られなきゃならん奴だな？ 自分で探せ 会いたきゃな （去って行こうとする） 【ベルモンテ】 （独白） 何て失礼なジジイだ！ 【オスミン】 （彼を見て 独白） こいつも同じようなクズ野郎だな 【ベルモンテ】 （彼に） 違うぞ あいつは良い奴だ 【オスミン】 良い奴過ぎて串刺しにしたいくらいだぞ 【ベルモンテ】 本当のあいつを良く知らないんだ 【オスミン】 良く知ってるぞ 今日にも火焙りにしてやりたいくらいな 【ベルモンテ】 いいや 確かに良い奴だ！ 【オスミン】 杭で頭をぶちのめしたいくらいにな！ （去って行こうとする） 【ベルモンテ】 おい ちょっと待ってくれ！ 【オスミン】 これ以上何の用がある 【ベルモンテ】 いや もしできることなら... 【オスミン】 （皮肉に冷笑して） わざわざ遠くからやってきて この家のまわりをうろついて そして娘っ子を盗みたいってか？ 消え失せろ お前らのような奴は ここには用はない 【ベルモンテ】 あんた 何かに取りつかれたのか！ 腹を立てて喋るなんて 私にそんなに厚かましく 面と向かって！ 【オスミン】 そんなにムキになるな！ 【ベルモンテ】 そんな言い方ないだろ 【オスミン】 お前の素性は知れてる 【ベルモンテ】 脅かすつもりか 【オスミン】 地獄にでも落ちやがれ - 【ベルモンテ】 こいつぁ間違いない - ＜一緒に＞ 【オスミン】 とっとと消え失せるんだ さもなきゃ 容赦なく 鞭を食らわしてやる まだお前に時間は残してやるが （彼を押しのける） 【ベルモンテ】 あんた 頭が変なんだ！ 何て態度をしてる 人が物を尋ねてるのに！ もっと頭を冷やせよ （去って行く） 第３場 オスミン、その後ペドリロ 【オスミン】 一人で あんな悪党 こっぴどくとっちめてやりたいぞ ペドリロと同じくな あのコソ泥も昼も夜もすることと言えば わしの女どものまわりをコソコソとうろついては嗅ぎ回ることばかりだ 何でもやつのくちばしが突っ込めそうなところに だがわしは仕事中にも奴をしっかり見張っとるから いずれ棍棒の嵐をお見舞いしてやるぞ 奴の胸倉をひっ捕まえてだ！ - もし奴があんなにパシャに取り入ってなかったなら とっくに奴は首を絞められてたことだろうに 【ペドリロ】 おい どうしたオスミン？パシャはまだ戻ってないのかい？ 【オスミン】 知りたきゃ自分で確かめやがれ 【ペドリロ】 またいつもみたく荒れてるな？ - おいらのためにこのイチジクを摘んでくれたのか？ 【オスミン】 くたばりやがれ この呪われた寄生虫め！ 【ペドリロ】 おいらが一体あんたに何をしたってんだよ いつもおいらに喧嘩腰でさあ おい仲良くしようじゃないか 【オスミン】 貴様と仲良くだと？忍び寄って悪さをする狼藉者で、わしをへこませようといつも機会を窺ってる奴とか？わしは貴様を窒息させてやりたいぞ！ - 【ペドリロ】 何でそんなこと言うんだよ？ 何でさ？ 【オスミン】 なんでかって？ - わしはお前に我慢ならんのだ Nr. 3 - アリア 【オスミン】 このどこの馬の骨とも分からん馬鹿野郎は 女のあとばかり追いかけてるが わしは悪魔にかけても気にくわん なぜなら そいつのすることと言えば わしらのすることを窺ってるだけだからな だがわしは騙されんぞ その面相には 貴様の落とし穴は 貴様のたくらみは 貴様のごまかしは 貴様の仕掛けはな みんなわしには筒抜けだ わしを騙すつもりなら もっと早起きするんだな わしはとっくにお見通しだ だからな 預言者様の髭にかけて！ わしは昼も夜も研究を続けて 覚悟しとけよ いつかお前を殺してやる どれほどお前が注意していようともな 【ペドリロ】 何てひどいことを言うんだよ おいら あんたに何もしてないだろ 【オスミン】 お前は兇悪な面をしてやがる それで十分だ まずは首を刎ね それから吊るして それから串刺しだ 焼けた杭で それから焼いて それから縛って 水に浸けて 最後は皮を剥いでやる （屋敷の中に入る） 第４場 ペドリロ、その後ベルモンテ 【ペドリロ】 一人で 行っちまえ 呪われた番犬め 安心するのはまだ早いぞ 誰に分かるってんだ 他人の裏をかこうって奴が誰なのかを そして疑り深くて人を馬鹿にする奴の落とし穴を掘るのはおいらにとっては楽しみなんだからな 【ベルモンテ】 ペドリロ おいペドリロ！ 【ペドリロ】 ああおいらのご主人さま！まさかこんなことが？本当にあなた様なんですか？ブラボー 幸運の女神よ ブラボー！これが約束を守るってことだ！諦めてたんですよ おいらの手紙はひとつも届かなかったんじゃないかって 【ベルモンテ】 教えてくれペドリロ 私のコンスタンツェはまだ生きているのか？ 【ペドリロ】 生きてます そしてまだおいらも希望をもってます あなた様のおかげでね あの恐ろしい日 運命がひどいいたずらをして おいらたちの乗った船が海賊に襲われた日から おいらたちはたくさんの苦難を味わってきました 幸いなことにパシャ・セリムがおいらたち全員を買ってくれたんです：あなたのコンスタンツェさまと おいらのブロンデ それにおいらを 彼はすぐに彼の別邸においらたちを連れてきました そしてコンスタンツェさまは彼の寵愛を受けるようになったんです - 【ベルモンテ】 ああ！何を言っているんだ？ 【ペドリロ】 いや そんな熱くならんでくださいよ！まだ最悪なことにはなってないんですから パシャは背教者でその上とってもデリケートなんです どの愛人にも自分の愛を無理強いすることはないし おいらの知る限りでは 彼はまだ途方もない紳士のままなんです 【ベルモンテ】 そんなことが可能なのか？コンスタンツェはまだ貞節なのだろうか？ 【ペドリロ】 もちろんですとも 旦那！だけどおいらのブロンデについて言やあ 天のみぞ知るですよ！あの可哀そうな子はやつれ果ててる バシャが彼女を与えた老いぼれの不細工野郎のところでね おそらくは - ああ、おいら考えたくもないや！ - 【ベルモンテ】 そりゃたった今家の中に入っていった老いぼれじゃないのか？ 【ペドリロ】 まさにそいつです 【ベルモンテ】 それであいつはバシャのお気に入りなのか？ 【ペドリロ】 お気に入りで 番犬で あらゆる悪人共の見本です おいらをその目で睨み殺そうってんですよ もし可能なら 【ベルモンテ】 おいペドリロ！何を言っているんだ？ 【ペドリロ】 まあ落ち込まんでください！ここだけの話 おいらもパシャには気に入って貰ってましてね おいらのちょっとしたガーデニングの技が彼のお気に召したようなんです それでおいらはかなり自由にさせてもらってます 他の何千って奴らにはできないようなことでもですよ ここでは彼の愛人が庭にいるときはすべての男は場を外さなきゃなんないんですけど でもおいらは残ることができるし話だってできるんです 彼はそれについては何も言いません 老いぼれのオスミンのうめき声ときたら おいらのブロンデが太守の愛人のお供をする時なんかにゃ 【ベルモンテ】 そんなことが可能なのか？お前は彼女と話したのか？ - おお教えてくれ！彼女はまだ私を愛しているだろうか？ 【ペドリロ】 フム！お疑いなのですか！おいらは思ってたんですけどね あなた様はとても良くあの善良なコンスタンツェ様をご存じだし 愛の証は十分にお持ちなはずだと - だけどそんなことでぐずぐずしてちゃいけません 問題は何から始めるべきかってことです ここから逃げ出すために？ 【ベルモンテ】 おお それならもうすべて準備したぞ！船を一隻 ここの港から少し離れたところに用意している 私たちを合図ひとつで乗せてくれるだろう それから - 【ペドリロ】 ああ 落ち着いて 落ち着いて！それにはまず最初に女の子たちを手に入れなきゃいけません 船に行く前に それはそんなにサクサクとは行きませんよ！思ってるほどには 【ベルモンテ】 おお親愛なる善良なペドリロよ 頼む 彼女に会わせてくれ 話をさせてくれ！心臓は脈打っているのだ 不安と喜びで！ - 【ペドリロ】 スマートに事を始めて そしてさっさと片付けるのです そうすればあの老いぼれの番犬を出し抜けるでしょう この辺りに居てください もうすぐパシャが舟遊びから戻ってきます おいらはあなたさまを腕ききの建築家だと彼に紹介しますよ ： 建築と庭造りが彼の道楽なんです だけどご主人さま しばらくこらえてください コンスタンツェ様は彼のそばなのですから - 【ベルモンテ】 コンスタンツェが彼のそばだって？何を言っているんだ？ 私はあの人に会えるのか？ 【ペドリロ】 抑えて 抑えて お願いです！でないとしくじります - ああ あそこにもう彼が近づいて来るのが見えたようだ ちょっと脇へよけていてください おいらは彼を迎えに行きます （出て行く） 第５場 ベルモンテ一人 Nr. 4 -アリア 【ベルモンテ】 コンスタンツェ！ - あなたに再び会えるのだ - おお 何と激しく おお 何と燃えるように 鼓動するのだろう 私の愛に満ちた心は！ そしてこの再会の涙は 別離の不安な痛みを埋め合わせてくれる すでに私は震え よろめいている すでにふらつき 揺らいでいる 膨れ はちきれそうだ この胸は あれは彼女のささやきか？ それは私をとても不安にする あれは彼女の溜息なのか？ それは私の頬を火照らせる 私を欺いているのか この愛は これは夢なのか？ 【ペドリロ】 （大急ぎで歩いて来て） 急いで 急いで 脇に隠れて！ パシャが来ます （ベルモンテ隠れる） 第６場 パシャ・セリムとコンスタンツェは遊覧船に乗って近付いてくる その前に別の船が近衛兵たちの楽隊を乗せて岸についており 兵たちは岸辺に整列してこのようなコーラスを歌い それから去って行く Nr. 5 - 親衛隊のコーラス 【コーラス】 歌え 偉大なるパシャの歌を 響かせよ 燃える歌声を そして岸辺より 明るく響かせよ われらの歌の歓呼を！ 【独唱 または二重唱】 1 彼に向かって吹け 涼しい風よ そしてそなたは静まれ 揺れ動く波よ！ 2 彼に向かって歌え 飛び交う合唱よ 彼に歌いかけよ 愛の 喜びを その心のうちへと！ 【コーラス】 歌え 偉大なるパシャの歌を 響かせよ 燃える歌声を そして岸辺より 明るく響かせよ われらの歌の歓呼を！ （親衛隊は退場） 第７場 セリム、コンスタンツェ 【セリム】 いつまで悲しんでおるのか 愛するコンスタンツェよ？いつまで涙にくれておる？ - 見よ この美しき夕べを この素晴らしき場所を この心奪う音楽を わしの細やかなそなたへの愛を - 言ってくれ 結局何もそなたの心を安らがせることはなく 最後はかき乱してしまうのだな？ - 考えるのだ わしは命令することも 残酷にそなたを扱うことも 無理強いすることもできるのだぞ - （コンスタンツェはため息をつく） 【セリム】 だがそんなことはせぬ コンスタンツェ そなたが自ら進んでその心を捧げてくれることをわしは望んでいるのだ-そなたが自ら- 【コンスタンツェ】 寛大なお方！おおそのように私ができるものでしたら！その御心にお答えすることが - けれど - 【セリム】 さあ コンスタンツェ 言ってくれ 何がそなたをためらわせているのだ？ 【コンスタンツェ】 あなたは私をお嫌いになりますわ 【セリム】 いや わしは誓おう そなたも知っておろう どれほどわしがそなたを愛し どれほど多くの自由をそなたに与えておるのかを 多くの女どもを差し置いて そなたをただ一人の女として大切にしておるのを - 【コンスタンツェ】 おお それならばお許しを！ Nr. 6 - アリア 【コンスタンツェ】 ああ 私は恋をして とても幸せでした 知りませんでした 愛の痛みは！ 貞節を誓いました 愛するお方に 捧げたのです 私のすべての心を： けれど あっという間に私の喜びは消え去り 別れが私の不幸な運命となったのです そして今私の目は涙で濡れて 悲しみが覆っているのです 私の胸を 歌の間 パシャは不機嫌そうにあちこち動き回る 【コンスタンツェ】 ああ 申し上げた通りです あなた様が私をお憎みになると でもお許しを この愛に苦しむ娘をお許しください！ - あなた様は本当に寛大で心優しきお方 － 私は喜んであなた様の奴隷となりましょう この命が果てるまで ただこの心だけはお求めにならないでください これは永遠に約束してしまっているのですから - 【セリム】 ハ、恩知らずめ！何をわざわざ願うかと思えば？ 【コンスタンツェ】 殺してください セリムさま 私を殺して！ただ誓いを破らせないでください － 海賊が私を恋人の腕から引き離したとき 私は誓ったのです - 【セリム】 やめろ！何も言うな！わしの怒りをこれ以上掻き立てるでない そなたはわしの力の内にあることを忘れるな - 【コンスタンツェ】 もちろんです でもあなた様は私に厳しくはなさいません 私は良く分かっています あなた様の寛大で思いやり深い心を そうでなければできたでしょうか あなた様にこのようなことを打ち明けるなど？ - 【セリム】 もてあそぶでない わしの寛大さをそれほどまでに - 【コンスタンツェ】 ただご猶予を私に 殿！ただ時だけを 私の苦しみを忘れるための - 【セリム】 何度もわしはそなたに叶えてやったぞ その願いなら - 【コンスタンツェ】 今一度だけ！ 【セリム】 よかろう！これが最後だぞ！ - 行け コンスタンツェ 行くがよい！よく考えるのだぞ そして明日には - 【コンスタンツェ】 （去って行きながら） 不幸な娘！ おおベルモンテ、ベルモンテ！ 第８場 セリム、ペドリロ、ベルモンテ 【セリム】 あの苦しみに あの涙に あの毅然さにわしの心はますます魅了され わしは彼女の愛だけが欲しくなるのだ ハ！誰があのような心に暴力を振るおうと思うであろう？- いいやコンスタンツェ 違うのだ セリムにも心はある セリムは愛を知っているのだ- 【ペドリロ】 殿！お許しください お邪魔することを お考え事の最中に - 【セリム】 何ぞ用か ペドリロ？ 【ペドリロ】 この若い男はイタリアで熱心に建築の仕事をしておりましたが あなたさまのご権勢やあなたさまの富のことを聞き及びここにやって参ったのだとか 建築士としてあなたさまにお仕えいたしたいと 【ベルモンテ】 殿！もし私にできましたら幸いでございます 私の低いスキルでありましてもあなた様のお眼鏡にかないましたならば 【セリム】 フム！気に入ったぞ 何ができるのか見てみることとしよう - （ペドリロに） こやつの面倒を気にかけてくれ 明日にはお前を呼びにやるぞ （退場） 第９場 ベルモンテ、ペドリロ 【ペドリロ】 ハ！勝利です 勝利ですよ 旦那さま！ 最初のステップを踏み出しました 【ベルモンテ】 ああ 自分を取り戻させてくれ！ - 私は彼女に会ったのだ 善良で誠実で最高の乙女に会ったのだ！ - おおコンスタンツェ、コンスタンツェ！私は何があなたのためにできるのだろう 何が試せるのだろう？ 【ペドリロ】 ハ！ 落ち着いて 落ち着いて 旦那さま！声を少し静めてくださいよ 成りすますことが今おいらたちには一番役に立つことなんですからね ここは自分の国じゃないんです ここじゃあみんな首切りの役人に切る首があるかどうかいつも尋ねてるんですから 首の周りにロープをかけるのもここじゃ朝飯みたいなもんですし 【ベルモンテ】 ああ、ペドリロ！お前にも愛が分かったらなあ - 【ペドリロ】 フム！それじゃおいらたちには関係ないみたいじゃないすか おいらにだって恋する時くらいありますよ 他の人と同じようにね 思いませんか おいらにだって腹が痛くもなることはあると おいらのブロンデちゃんがオスミンみたいな老いぼれの悪党に見張られてるのを見てなくちゃならないってのに？ 【ベルモンテ】 ああ彼女と話すことができれば - 【ペドリロ】 どうしたらいいか考えましょう おいらと一緒に庭に来てください でも万事丁寧に注意深くね ここじゃあちこちに目と耳ありですからね 彼らは宮殿に入って行こうとする オスミンが門のところに反対から来て彼らを引き止める 第１０場 前場の人物 オスミン 【オスミン】 どこへ行く？ 【ペドリロ】 中へだよ 【オスミン】 （ベルモンテに） この顔は何もんだ？ - 帰れ 帰りやがれ！ 【ペドリロ】 ハ 静かにしろい マスター山猿め 静かに！この人はパシャさまにお仕えしてんだぞ 【オスミン】 首切りの家来の方がこいつにゃ向いてるぜ！入るんじゃない！ 【ペドリロ】 だからこの人は入らなきゃなんないんだって！ 【オスミン】 一歩でも足を踏み入れてみろ - 【ベルモンテ】 無礼な！お前は敬意を払わぬのか 私のような身分の者に？ 【オスミン】 おい 貴様の身分が何だってんだ！ - 帰れ 帰れ さもなきゃわしは貴様を追い立ててやるぞ 【ペドリロ】 老いぼれの馬鹿野郎！この人は建築家だ バシャさまがお雇いになったんだ 【オスミン】 わしに言わせりゃ こいつは獄吏だ ：わしにあんまり近寄るなよ わしに分からんはずがあるか 貴様の一味がわしらをはめる陰謀のカードを切ろうとしておることくらい パシャはバターみたいに柔和だから それに付け込んで貴様らのやりたいようにするつもりだろうか わしは敏感な鼻を持っているのだ 一切合財が策略だろう 貴様のようなごろつきが持っておるのはな 貴様ら狡猾な詐欺師どもはずっと長いことつまらん悪だくみを考えておるんだろう だがちょっと待て！ オスミンは眠っておらんぞ わしがパシャなら 貴様らは串刺しだ - ああ！しかめっ面でもしやがれ 笑いやがれ！ 【ペドリロ】 そう興奮すんなよ じいさん 何の役にも立ちゃしない 中をちょっと散歩するだけだ 【オスミン】 ハ！したきゃやってみろ！ （門の前に立ちはだかる） 【ペドリロ】 邪魔せんでくれ - 【ベルモンテ】 道を開けろ 下郎！ Nr. 7 - トリオ 【オスミン】 失せろ！失せろ！失せろ！とっとといなくなっちまえ！ さもなきゃ 鞭を お前らに食らわせてやるぞ 【ベルモンテとペドリロ】 おい おい！全く残念だな そんな扱いをしてくれるとはな 【オスミン】 少しでも近付いてみろ 【ベルモンテとペドリロ】 門から離れろ 【オスミン】 一発食らわせてやるからな 【ベルモンテとペドリロ】 中に入りたいんだ （彼らは門から彼を押しのける） 【オスミン】 失せろ 行け！ 【ベルモンテとペドリロ】 どいてくれ 失せろ！ 【オスミン】 ぶん殴ってやるぞ！ 【ベルモンテとペドリロ】 中に入りたいんだ！ （彼らは彼を押しのけて中に入る） ERSTER AUFZUG Ouvertüre Platz vor dem Palast des Bassa am Ufer des Meers. ERSTER AUFTRITT Belmonte allein. Nr. 1 - Arie BELMONTE Hier soll ich dich dann sehen, Konstanze! dich mein Glück! Lass Himmel es geschehen! Gieb mir die Ruh zurück! Ich duldete der Leiden O Liebe! allzuviel! Schenk mir dafür nun Freuden Und bringe mich ans Ziel. Aber wie soll ich in den Palast kommen? - wie sie sehen? - wie sprechen? ZWEITER AUFTRITT Belmonte, Osmin mit einer Leiter, welche er an einen Baum vor der Thüre des Palasts lehnt, hinauf steigt und Feigen abnimmt. Nr. 2 - Lied und Duett OSMIN Wer ein Liebchen hat gefunden, Die es treu und redlich meynt, Lohn es ihr durch tausend Küsse, Mach ihr all das Leben süsse, Sey ihr Tröster, sey ihr Freund. Trallalera, trallalera! BELMONTE Vielleicht dass ich durch diesen Alten etwas erfahre. - He, Freund! Ist das nicht das Landhaus des Bassa Selim? OSMIN singt wie zuvor, während der Arbeit Doch sie treu sich zu erhalten, Schliess er Liebchen sorglich ein Denn die losen Dinger haschen Jeden Schmetterling, und naschen Gar zu gern von fremdem Wein. Trallalera, trallalera! BELMONTE He, Alter, he! hört ihr nicht? - Ist hier des Bassa Selim Palast? OSMIN sieht ihn an, dreht sich herum, und singt wie zuvor Sonderlich bey m Mondenscheine, Freunde, nehmt sie wohl in Acht! Oft lauscht da ein junges Herrchen, Kirrt und lockt das kleine Närrchen, Und dann, Treue, gute Nacht! Trallalera, trallalera! BELMONTE Verwünscht seyst du samt deinem Liede! Ich bin dein Singen nun schon müde; So hör doch nur ein einzig Wort! OSMIN Was Henker lasst ihr euch gelüsten, Euch zu ereifern, euch zu brüsten? Was wollt ihr? hurtig! ich muss fort. BELMONTE Ist das des Bassa Selims Haus? OSMIN He? BELMONTE Ist das des Bassa Selims Haus? OSMIN Das ist des Bassa Selims Haus. will fort BELMONTE. So wartet doch - - OSMIN. Ich kann nicht weilen. BELMONTE. Ein Wort ... OSMIN. Geschwind! denn ich muss eilen. BELMONTE Seyd ihr in seinen Diensten, Freund? OSMIN He? BELMONTE Seyd ihr in seinen Diensten, Freund? OSMIN Ich bin in seinen Diensten, Freund. BELMONTE Wie kann ich den Pedrill wohl sprechen, Der hier in seinen Diensten steht? OSMIN Den Schurken? der den Hals soll brechen? Seht selber zu; wenns anders geht. will fort BELMONTE für sich Was für ein alter grober Bengel! OSMIN ihn betrachtend, auch für sich Das ist just so ein Galgenschwengel. BELMONTE zu ihm Ihr irrt, es ist ein braver Mann. OSMIN So brav, dass man ihn spiessen kann. BELMONTE Ihr müsst ihn wahrlich nicht recht kennen. OSMIN Recht gut. Ich liess ihn heut verbrennen. BELMONTE Es ist fürwahr ein guter Tropf! OSMIN Auf einen Pfahl gehört sein Kopf! will fort BELMONTE So bleibet doch! OSMIN Was wollt ihr noch. BELMONTE Ich möchte gerne ... OSMIN bitter höhnisch So hübsch von ferne Ums Haus rum schleichen, Und Mädchen stehlen? Fort, eures gleichen Braucht man hier nicht. BELMONTE Ihr seyd besessen! Sprecht voller Galle Mir so vermessen Ins Angesicht! OSMIN Nur nicht in Eifer! BELMONTE Schont euren Geifer. OSMIN Ich kenn euch schon. BELMONTE Lasst euer Drohn. OSMIN Scheert euch zum Teufel - BELMONTE Es bleibt kein Zweifel - zusammen OSMIN Ihr kriegt, ich schwöre Sonst ohne Gnade Die Bastonade Noch habt ihr Zeit. stösst ihn fort BELMONTE Ihr seyd von Sinnen! Welch ein Betragen Auf meine Fragen! Seyd doch gescheid. ab DRITTER AUFTRITT Osmin, hernach Pedrillo. OSMIN allein Könnt ich mir doch noch so einen Schurken auf die Nase setzen, wie den Pedrillo; so einen Gaudieb, der Tag und Nacht nichts thut, als nach meinen Weibern herum zu schleichen, und zu schnobern, ob s nichts für seinen Schnabel setzt. Aber ich laure ihm sicher auf den Dienst, und wohl bekomm dir die Prügelsuppe, wenn ich dich einmal beym Kanthaken kriege! - Hätt er sich nur beym Bassa nicht so eingeschmeichelt, er sollte den Strick längst um den Hals haben. PEDRILLO Nun, wie stehts, Osmin? Ist der Bassa noch nicht zurück? OSMIN Sieh darnach, wenn du s wissen willst. PEDRILLO Schon wieder Sturm im Kalender? - hast du das Gericht Feigen für mich gepflückt? OSMIN Gift für dich, verwünschter Schmarotzer! PEDRILLO Was in aller Welt ich dir nun gethan haben muss, dass du beständig mit mir zankst. Lass uns doch einmal Friede machen. OSMIN Friede mit dir? mit so einem schleichenden spitzbübischen Passauf, der nur spionirt, wie er mir eins versetzen kann? Erdrosseln möcht ich dich! - PEDRILLO Aber sag nur, warum? warum? OSMIN Warum? - weil ich dich nicht leiden kann. Nr. 3 - Arie OSMIN Solche hergelaufne Laffen Die nur nach den Weibern gaffen, Mag ich vor den Teufel nicht. Denn ihr ganzes Thun und Lassen Ist, uns auf den Dienst zu passen, Doch mich trügt kein solch Gesicht. Eure Tücken, eure Ränke, Eure Finten, eure Schwänke, Sind mir ganz bekannt. Mich zu hintergehen, Müsst ihr früh aufstehen, Ich hab auch Verstand. Drum, beym Barte des Propheten! Ich studiere Tag und Nacht, Ruh nicht, bis ich dich sch tödten, Nimm dich, wie du willst, in acht. PEDRILLO Was bist du für ein grausamer Kerl, und ich hab dir nichts gethan. OSMIN Du hast ein Galgengesicht, das ist genug. Erst geköpft, Dann gehangen, Dann gespiesst Auf heisse Stangen, Dann verbrannt, Dann gebunden Und getaucht; Zuletzt geschunden. geht ins Haus VIERTER AUFTRITT Pedrillo, hernach Belmonte. PEDRILLO allein Geh nur, verwünschter Aufpasser; es ist noch nicht aller Tage Abend. Wer weiss, wer den Andern überlistet; und dir misstrauischem gehässigem Menschenfeinde eine Grube zu graben, sollte ein wahres Fest für mich seyn. BELMONTE Pedrillo, guter Pedrillo! PEDRILLO Ach mein bester Herr! Ist s möglich? Sind Sie s wirklich? Bravo, Madam Fortuna, bravo! das heisst doch Wort gehalten! Schon verzweifelte ich, ob einer meiner Briefe Sie getroffen hätte. BELMONTE Sag, guter Pedrillo, lebt meine Konstanze noch? PEDRILLO Lebt, und noch hoff ich für Sie. Seit dem schrecklichen Tage, an welchem das Glück uns einen so hässlichen Streich spielte, und unser Schiff von den Seeräubern erobern liess, haben wir mancherley Drangsal erfahren. Glücklicher Weise traf sichs noch, dass der Bassa Selim uns alle drey kaufte Ihre Konstanze nämlich, meine Blonde, und mich. Er liess uns sogleich hier auf sein Landhaus bringen. Donna Konstanze ward seine auserwählte Geliebte. - BELMONTE Ah! was sagst du? PEDRILLO Nu, nur nicht so hitzig! Sie ist noch nicht in die schlimmsten Hände gefallen. Der Bassa ist ein Renegat, und hat noch so viel Delikatesse, keine seiner Weiber zu seiner Liebe zu zwingen; und so viel ich weis, spielt er noch immer den unerhörten Liebhaber. BELMONTE Wär es möglich? Wär Konstanze noch treu? PEDRILLO Sicher noch, lieber Herr! Aber wie s mit meinem Blondchen steht, weis der Himmel! das arme Ding schmachtet bey einem alten hässlichen Kerl, dem sie der Bassa geschenkt hat; und vielleicht - ach ich darf gar nicht dran denken! - BELMONTE Doch nicht der alte Kerl, der so eben ins Haus gieng? PEDRILLO Eben der. BELMONTE Und diess ist der Liebling des Bassa? PEDRILLO Liebling, Spion, und Ausbund aller Spitzbuben, der mich mit den Augen vergiften möchte, wenns möglich wäre. BELMONTE O guter Pedrillo! was sagst du? PEDRILLO Nur nicht gleich verzagt! Unter uns gesagt ich hab auch einen Stein im Brete beym Bassa. Durch mein bischen Geschick in der Gärtnerey hab ich seine Gunst weggekriegt, und dadurch hab ich so ziemlich Freyheit, die tausend Andere nicht haben würden. Da sonst jede Mannsperson sich entfernen muss, wenn eine seiner Weiber in Garten kommt, kann ich bleiben; sie reden so gar mit mir, und er sagt nichts darüber. Freylich mault der alte Osmin, besonders, wenn mein Blondchen ihrer Gebieterinn folgen muss. BELMONTE Ists möglich? Du hast sie gesprochen? - O sag, sag! Liebt sie mich noch? PEDRILLO Hm! dass Sie daran zweifeln! Ich dächte, Sie kennten die gute Konstanze mehr als zu gut; hätten Proben genug ihrer Liebe. - Doch damit dürfen wir uns gar nicht aufhalten. Hier ist blos die Frage, wie s anzufangen ist, hier weg zu kommen? BELMONTE O da hab ich für alles gesorgt! Ich hab hier ein Schiff in einiger Entfernung vom Hafen, das uns auf den ersten Wink einnimmt, und - PEDRILLO Ah, sachte, sachte! Erst müssen wir die Mädels haben, ehe wir zu Schiffe gehen; und das geht nicht so husch, husch! wie Sie meynen. BELMONTE O lieber guter Pedrillo, mach nur, dass ich sie sehen, dass ich sie sprechen kann! Das Herz schlägt mir vor Angst und Freude! - PEDRILLO Pfiffig müssen wir das Ding anfangen, und rasch müssen wir s ausführen, damit wir den alten Aufpasser übertölpeln. Bleiben Sie hier in der Nähe. Jetzt wird der Bassa bald von einer Lustfahrt auf dem Wasser zurückkommen. Ich will Sie ihm als einen geschickten Baumeister vorstellen denn Bauen und Gärtnerey sind seine Steckenpferde. Aber lieber goldner Herr, halten Sie sich in Schranken; Konstanze ist bey ihm - BELMONTE Konstanze bey ihm? Was sagst du? Ich soll sie sehen? PEDRILLO Gemach, gemach ums Himmels willen, lieber Herr! sonst stolpern wir - Ah ich glaube, dort seh ich sie schon angefahren kommen. Gehn Sie nur auf die Seite, wenn er kommt; ich will ihm entgegen gehen. geht ab FÜNFTER AUFTRITT Belmonte allein. Nr. 4 -Arie BELMONTE Konstanze! dich wieder zu sehen - - O wie ängstlich, o wie feurig Klopft mein liebevolles Herz! Und des Wiedersehens Zähre Lohnt der Trennung bangen Schmerz. Schon zittr ich und wanke, Schon zag ich und schwanke, Es hebt sich die schwellende Brust Ist das ihr Lispeln? Es wird mir so bange; War das ihr Seufzen? Es glüht mir die Wange; Täuscht mich die Liebe, war es ein Traum? PEDRILLO kömmt hurtig gelaufen Geschwind, geschwind auf die Seite und versteckt! Der Bassa kommt. Belmonte versteckt sich SECHSTER AUFTRITT Der Bassa Selim und Konstanze kommen in einem Lustschiffe angefahren, vor welchem ein anderes Schiff mit Janitscharenmusik voraus landet. Die Janitscharen stellen sich am Ufer in Ordnung, stimmen folgenden Chor an, und entfernen sich dann. Nr. 5 - Chor der Janitscharen CHOR Singt dem grossen Bassa Lieder, Töne, feuriger Gesang; Und vom Ufer halle wieder Unsrer Lieder Jubelklang! EINE ODER ZWO STIMMEN 1 Weht ihm entgegen, Kühlende Winde, Ebne dich sanfter, Wallende Fluth! 2 Singt ihm entgegen, Fliegende Chöre, Singt ihm der Liebe Freuden in s Herz! CHOR Singt dem grossen Bassa Lieder, Töne, feuriger Gesang; Und vom Ufer halle wieder Unsrer Lieder Jubelklang! Janitscharen ab SIEBENTER AUFTRITT Selim, Konstanze. SELIM Immer noch traurig, geliebte Konstanze? immer in Thränen? - Sieh, dieser schöne Abend, diese reizende Gegend, diese bezaubernde Musik, meine zärtliche Liebe für dich - Sag , kann nichts von allem dich endlich beruhigen, endlich dein Herz rühren? - Sieh, ich könnte befehlen, könnte grausam mit dir verfahren, dich zwingen - Konstanze seufzt SELIM Aber nein, Konstanze; dir selbst will ich dein Herz zu danken haben - dir selbst - KONSTANZE Grossmüthiger Mann! o dass ich es könnte! dass ichs erwiedern könnte - aber - SELIM Sag, Konstanze, sag, was hält dich zurück? KONSTANZE Du wirst mich hassen. SELIM Nein, ich schwöre dir s. Du weisst, wie sehr ich dich liebe, wie viel Freyheit ich dir vor allen meinen Weibern gestatte; dich wie meine Einzige schätze - KONSTANZE O so verzeih! Nr. 6 - Arie KONSTANZE Ach, ich liebte, War so glücklich, Kannte nicht der Liebe Schmerz! Schwur ihm Treue Dem Geliebten, Gab dahin mein ganzes Herz Doch wie bald schwand meine Freude, Trennung war mein banges Loos; Und nun schwimmt mein Aug in Thränen, Kummer ruht in meinem Schoos. Während des Gesanges geht der Bassa unwillig hin und her. KONSTANZE Ach, ich sagt es wohl, du würdest mich hassen. Aber verzeih, verzeih dem liebekranken Mädchen! - Du bist ja so grossmüthig, so gut - Ich will dir dienen, deine Sklavinn seyn, bis ans Ende meines Lebens nur verlange nicht ein Herz von mir, das auf ewig versagt ist - SELIM Ha, Undankbare! Was wagst du zu bitten? KONSTANZE Tödte mich, Selim, tödte mich! nur zwinge mich nicht, meineidig zu werden - Noch zuletzt, wie mich der Seeräuber aus den Armen meines Geliebten riss, schwur ich aufs feyerlichste - SELIM Halt ein! nicht ein Wort! Reize meinen Zorn nicht noch mehr. Bedenke, dass du in meiner Gewalt bist - KONSTANZE Ich bin es aber du wirst dich ihrer nicht bedienen, ich kenne dein gutes, dein mitleidvolles Herz. Hätte ichs sonst wagen können, dir das meinige zu entdecken? - SELIM Wag es nicht, meine Güte zu missbrauchen - KONSTANZE Nur Aufschub gönne mir, Herr! Nur Zeit, meinen Schmerz zu vergessen - SELIM Wie oft schon gewährt ich dir diese Bitte - KONSTANZE Nur noch diesmal! SELIM Es sey! zum letztenmale! - Geh, Konstanze, geh! Besinne dich eines Bessern, und morgen - KONSTANZE im Abgehn Unglückliches Mädchen! O Belmonte, Belmonte! ACHTER AUFTRITT Selim, Pedrillo, Belmonte. SELIM Ihr Schmerz, ihre Thränen, ihre Standhaftigkeit bezaubern mein Herz immer mehr, machen mir ihre Liebe nur noch wünschenswerther. Ha! wer wollte gegen ein solches Herz Gewalt brauchen? - Nein, Konstanze, nein, auch Selim hat ein Herz; auch Selim kennt Liebe - PEDRILLO Herr! verzeih, dass ich es wage, dich in deinen Betrachtungen zu stören - SELIM Was willst du, Pedrillo? PEDRILLO Dieser junge Mann, der sich in Italien mit vielem Fleiss auf die Baukunst gelegt, hat von deiner Macht, von deinem Reichthum gehört, und kommt her, dir als Baumeister seine Dienste anzubieten. BELMONTE Herr! könnte ich so glücklich seyn, durch meine geringen Fähigkeiten deinen Beyfall zu verdienen. SELIM Hm! Du gefällst mir. Ich will sehen, was du kannst. - zum Pedrillo Sorge für seinen Unterhalt. Morgen werde ich dich wieder rufen lassen. geht ab NEUNTER AUFTRITT Belmonte, Pedrillo. PEDRILLO Ha! Triumph, Triumph, Herr! der erste Schritt war gethan. BELMONTE Ach lass mich zu mir selbst kommen! - Ich habe sie gesehen, hab das gute treue beste Mädchen gesehen! - O Konstanze, Konstanze! Was könnt ich für dich thun, was für dich wagen? PEDRILLO Ha! gemach, gemach, bester Herr! Stimmen Sie den Ton ein bischen herab; Verstellung wird uns weit bessere Dienste leisten. Wir sind nicht in unserm Vaterlande. Hier fragen sie den Henker darnach, ob s einen Kopf mehr oder weniger in der Welt giebt. Bastonade und Strick um Hals sind hier wie ein Morgenbrod. BELMONTE Ach, Pedrillo! wenn du die Liebe kenntest - PEDRILLO Hm! Als wenn s mit unser einem gar nichts wäre. Ich habe so gut meine zärtlichen Stunden als andere Leute. Und denken Sie denn, dass mir s nicht auch im Bauche grimmt, wenn ich mein Blondchen von so einem alten Spitzbuben, wie der Osmin ist, bewacht sehen muss? BELMONTE O wenn es möglich wäre, sie zu sprechen - PEDRILLO Wir wollen sehen, was zu thun ist. Kommen Sie nur mit mir in Garten aber um alles in der Welt, vorsichtig und fein. Denn hier ist alles Aug und Ohr. Sie wollen in den Palast, Osmin kommt ihnen in der Thür entgegen, und hält sie zurück. ZEHNTER AUFTRITT Vorige, Osmin. OSMIN Wohin? PEDRILLO Hinein! OSMIN zu Belmonte Was will das Gesicht? - Zurück mit dir, zurück! PEDRILLO Ha, gemach, Meister Grobian, gemach! er ist in des Bassa Diensten. OSMIN In des Henkers Diensten mag er seyn! Er soll nicht herein! PEDRILLO Er soll aber herein! OSMIN Kommt mir nur einen Schritt über die Schwelle - BELMONTE Unverschämter! Hast du nicht mehr Achtung für einen Mann meines Standes? OSMIN Ey, ihr mögt mir vom Stande seyn! - Fort, fort, oder ich will euch Beine machen. PEDRILLO Alter Dummkopf! Es ist ja der Baumeister, den der Bassa angenommen hat. OSMIN Meinethalben sey er Stockmeister nur komm er mir hier nicht zu nahe. Ich müsste nicht sehen, dass es so ein Kumpan deines Gelichters ist, und dass das so eine abgeredte Karte ist, uns zu überlisten. Der Bassa ist weich wie Butter, mit dem könnt ihr machen, was ihr wollt aber ich habe eine feine Nase. Gaunerey ist s um den ganzen Kram, mit euch fremden Gesindel; und ihr abgefeimten Betrüger habt lange euer Plänchen angelegt, eure Pfiffe auszuführen. aber wart ein bischen! Osmin schläft nicht. Wär ich Bassa, ihr wär t längst gespiesst. - Ja! schneid t nur Gesichter, lacht nur hönisch in Bart hinein! PEDRILLO Ereifere dich nicht so, Alter; es hilft dir doch nichts. Sieh, so eben werden wir hinein spatzieren. OSMIN Ha! das will ich sehen! stellt sich vor die Thüre. PEDRILLO Mach keine Umstände. - BELMONTE Weg, Niederträchtiger! Nr. 7 - Terzett OSMIN Marsch! Marsch! Marsch! trollt euch fort! Sonst soll die Bastonade Euch gleich zu Diensten stehn. BELMONTE UND PEDRILLO Ey, ey! Das wär ja Schade, So mit uns umzugehn. OSMIN Kommt mir nicht näher. BELMONTE UND PEDRILLO Weg von der Thüre. OSMIN Sonst schlag ich drein. BELMONTE UND PEDRILLO Wir gehn hinein. Sie drängen ihn von der Thüre weg. OSMIN Marsch, fort! BELMONTE UND PEDRILLO Platz, fort! OSMIN Ich schlage drein! BELMONTE UND PEDRILLO Wir gehn hinein! Sie stossen ihn weg und gehn hinein. 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/II
https://w.atwiki.jp/pontack/pages/17.html
#norelated Apacheのこと 基本的に備忘録として使います。 ほとんど更新はありませんのでご了承ください。 ソースからインストール（のメモ） apacheのサイトからソースを頂きます。 今回頂いたのは、httpd-2.2.8.tar.gz です。 インストール先を/opt/apacheとする前提でコンパイルします。 展開 # tar zxvf httpd-2.2.8.tar.gz aprのコンパイル＆インストール # cd httpd-2.2.8/srclib/apr # ./configure --prefix=/opt/apache/apr-httpd/ # make make install apr-utilのコンパイル＆インストール # cd httpd-2.2.8/srclib/apr-util # ./configure --prefix=/opt/apache/apr-util-httpd/ --with-apr=/opt/apache/apr-httpd/ # make make install 本体のコンパイル＆インストール ありとあらゆるものインストールしています。 # cd httpd-2.2.8 # ./configure --prefix=/opt/apache --enable-rule=SHARED_CORE --enable-module=so \ # --enable-module=most --enable-access=shared --enable-auth=shared --enable-auth_anon=shared \ # --enable-auth_dbm=shared --enable-auth_digest=shared --enable-include=shared \ # --enable-log_config=shared --enable-env=shared --enable-mime_magic=shared \ # --enable-cern_meta=shared --enable-expires=shared --enable-deflate=shared \ # --enable-headers=shared --enable-usertrack=shared --enable-setenvif=shared \ # --enable-mime=shared --enable-dav=shared --enable-status=shared \ # --enable-autoindex=shared --enable-asis=shared --enable-info=shared \ # --enable-dav_fs=shared --enable-vhost_alias=shared --enable-negotiation=shared \ # --enable-dir=shared --enable-imap=shared --enable-actions=shared \ # --enable-speling=shared --enable-userdir=shared --enable-alias=shared \ # --enable-rewrite=shared --enable-proxy=shared --enable-proxy_ftp=shared \ # --enable-proxy_http=shared --enable-proxy_connect=shared --enable-cache=shared \ # --enable-suexec=shared --enable-disk_cache=shared --enable-file_cache=shared \ # --enable-mem_cache=shared --enable-cgi=shared --enable-proxy_balancer=shared \ # --enable-proxy_ajp=shared --enable-ssl=shared --enable-shared=max \ # --with-apr=/opt/apache/apr-httpd --with-apr-util=/opt/apache/apr-util-httpd # make make install 権限変更 # chown -R apache apache /opt/apache サービス起動 OS起動時にApacheが自動起動するように設定します。 /etc/init.d/httpd #!/bin/bash # # httpd Startup script for the Apache HTTP Server # # chkconfig - 85 15 # description Apache is a World Wide Web server. It is used to serve \ # HTML files and CGI. # processname httpd # config /opt/apache/conf/httpd.conf # pidfile /opt/apache/logs/httpd.pid # Source function library. . /etc/rc.d/init.d/functions # Start httpd in the C locale by default. HTTPD_LANG=${HTTPD_LANG-"C"} # This will prevent initlog from swallowing up a pass-phrase prompt if # mod_ssl needs a pass-phrase from the user. INITLOG_ARGS="" # Set HTTPD=/usr/sbin/httpd.worker in /etc/sysconfig/httpd to use a server # with the thread-based "worker" MPM; BE WARNED that some modules may not # work correctly with a thread-based MPM; notably PHP will refuse to start. # Path to the apachectl script, server binary, and short-form for messages. apachectl=/opt/apache/bin/apachectl httpd=${HTTPD-/opt/apache/bin/httpd} prog=httpd pidfile=${PIDFILE-/opt/apache/logs/httpd.pid} lockfile=${LOCKFILE-/opt/apache/logs/httpd.lock} RETVAL=0 # check for 1.3 configuration check13 () { CONFFILE=/opt/apache/conf/httpd.conf GONE="(ServerType|BindAddress|Port|AddModule|ClearModuleList|" GONE="${GONE}AgentLog|RefererLog|RefererIgnore|FancyIndexing|" GONE="${GONE}AccessConfig|ResourceConfig)" if LANG=C grep -Eiq "^[[ space ]]*($GONE)" $CONFFILE; then echo echo 1 2 " Apache 1.3 configuration directives found" echo 1 2 " please read /usr/share/doc/httpd-2.0.52/migration.html" failure "Apache 1.3 config directives test" echo exit 1 fi } # The semantics of these two functions differ from the way apachectl does # things -- attempting to start while running is a failure, and shutdown # when not running is also a failure. So we just do it the way init scripts # are expected to behave here. start() { check13 || exit 1 #LANG=$HTTPD_LANG daemon $apachectl start $apachectl start RETVAL=$? [ $RETVAL = 0 ] touch ${lockfile} return $RETVAL } stop() { $apachectl stop RETVAL=$? [ $RETVAL = 0 ] rm -f ${lockfile} ${pidfile} } # See how we were called. case "$1" in start) start ;; stop) stop ;; *) echo $"Usage $prog {start|stop|configtest}" exit 1 esac exit $RETVAL 権限変更 # chmode 755 /etc/init.d/httpd サービス登録 # chkconfig --add httpd # chkconfig httpd on # chkconfig --list httpd 起動停止確認 # service httpd start # service httpd start SSL通信させる（のメモ） OpenSSLの日本語サイトからソースを頂きます。 今回頂いたのは、openssl-0.9.6c.tar.gz です。 インストール先を/opt/opensslとする前提でインストールします。 展開とインストール（認証局をつくるサーバで実施します。） # tar zxvf openssl-0.9.6c.tar.gz # cd openssl-0.9.6c # ./config --prefix=/opt/openssl --openssldir=/opt/openssl/ssl # make # make install 設定ファイルの変更 # vi /opt/openssl/ssl/openssl.cnf #dir = ./demoCA # Where everything is kept ↓基本のディレクトリを変更します。 dir = /opt/openssl/ssl # Where everything is kept #default_days = 365 # how long to certify for ↓認証の有効期間を変更します。（発行した証明書は10年有効） default_days = 3650 # how long to certify for 認証局の準備 # touch /opt/openssl/ssl/index.txt # echo 01 /opt/openssl/ssl/serial # mkdir /opt/openssl/ssl/{server,newcerts} 認証局作成 # cd /opt/openssl/ssl/ # /opt/openssl/bin/openssl req -new -x509 -keyout private/cakey.pem -out cacert.pem -days 7300 証明書の中身確認 # /opt/openssl/bin/openssl x509 -in cacert.pem -text サーバ署名要求書を作る（ここはサーバでやる） サーバ用秘密鍵の作成 # cd /opt/apache/conf/cert # openssl genrsa -out server.key 1024 サーバ用公開鍵の作成 # openssl req -new -key server.key -out server.csr 秘密鍵からパスフレーズを削除 # mv server.key server.key_tmp # openssl rsa -in server.key_tmp -out server.key サーバ証明書を作る（ここは認証局でやる) 上記で作成されたサーバ署名要求書（server.csr）を認証局のサーバに配置する。 下記を実施してサーバ証明書を作成する。 # cd /opt/openssl/ssl/server # /opt/openssl/bin/openssl ca -policy policy_anything -out server.crt -infiles server.csr サーバssl通信確認（ここはサーバでやる）上記で出力した server.crt をサーバの所定の位置に格納する。apacheの設定を行い再起動して確認する。 認証局の証明書をクライアントへインポート作成した認証局の証明書（/opt/openssl/ssl/cacert.pem）をクライアントへインポートする。(cacert.pem → cacert.crt とかに変えて配布する)クライアントは上記のcacert.crtをダブルクリックしてインストールする。 アクセスして問題がないことを確認する。 アクセスログを分ける イメージへのアクセスを分けてみる SetEnvIfNoCase Request_URI "\.(gif)|(jpg)|(png)|(css)$" object-is-image CustomLog "logs/access_log" common CustomLog "logs/access_noimg_log" common env=!object-is-image CustomLog "logs/access_img_log" common env=object-is-image 携帯とPCのアクセス先を変えてみる http //○○/にアクセスしてきたときに 携帯の場合は、/mobile/ へ PCの場合（携帯以外）の場合は、/pc/ へダイレクトする。 また、携帯サイトへは、PCからアクセスさせないようにする。 httpd.conf Include conf/extra/httpd-mobile.conf RewriteEngine on RewriteLog "/opt/apache/logs/rewrite.log" RewriteLogLevel 3 # ← 必要に応じて換える。デフォルトは0 RewriteCond %{HTTP_USER_AGENT} ^KDDI [NC,OR] RewriteCond %{HTTP_USER_AGENT} ^Up.Browser [NC,OR] RewriteCond %{HTTP_USER_AGENT} ^J-PHONE [NC,OR] RewriteCond %{HTTP_USER_AGENT} ^vodafone [NC,OR] RewriteCond %{HTTP_USER_AGENT} ^SoftBank [NC,OR] RewriteCond %{HTTP_USER_AGENT} ^DoCoMo [NC] RewriteRule ^/$ mobile/ [R,L] RewriteEngine on RewriteLog "/opt/apache/logs/rewrite.log" RewriteLogLevel 3 # ← 必要に応じて換える。デフォルトは0 RewriteRule ^/$ pc/ [R] httpd-mobile.conf Location /mobile Options Indexes FollowSymLinks Order deny,allow deny from all #For DoCoMo allow from 210.153.84.0/24 allow from 210.136.161.0/24 ・ ・ ・ここに許可する携帯のゲートウェイを書きまくる。 ・ ・ allow from 61.204.93.0/24 allow from 61.204.94.0/24 allow from 61.204.95.0/24 /Location
https://w.atwiki.jp/oper/pages/2213.html
Finale ADAM Wir spielen bei Hof gar heut , Ach, wie uns das nur freut. Uns passiert diese Ehr Wohl nimmermehr. Aber wir sind desweg n Nit verschreckt, nit verleg n. Wir sind auch heut voll Schneid, Wie allezeit. TIROLER Wir spiel n heut bei Hof gar heut usw. Ju hoho, ju! Duljäh! HOFLEUTE Dieses Volk spielt heut? Ob man s nicht bereut! Ja, wir fürchten sehr s wär recht vulgär. Aber Durchlaucht will, Darum horchet still, Wie s auch gehen will - Nur applaudiert! KURFÜRSTIN Fort ist endlich alles Bangen Atmen kann ich froh und frei, Sind alle Sorgen doch vergangen Denn mein Gemahl-ist mir treu. Ja, mein Gemahl, er ist mir treu! HOFLEUTE Aha, ihre Launen sind vergangen Und das Gewitter zog vorbei. TIROLER Gebt s acht - jetzt wird gleich angefangen, Also Courage, nur fest dabei! KURFÜRSTIN Nun denn, ihr Leute, was werden wir hören? TIROLER Adam! Ein Lied! ALLE Ja, ja, ein Lied! ADAM Ich fang lieber gar nicht an! CHOR Nur nicht geziert! ADAM Weil ich ja eh nichts kann! CHOR Nur nicht geniert! ADAM Es fallt mir auch kein Liedl ein. CHOR Nur zu, probiert. ADAM Höchstens grad ein s könnt sein. CHOR Gleich produziert. ADAM Das vom Ahndl, das fällt mir just ein. KURFÜRSTIN Lasst hören. ADAM Wie mein Ahndl zwanzig Jahr , Und a g sunder Wildschütz war, Hat im Mondschein er voll Lust ,s erste Mal sein Reserl busst. Wie er s küsst, singt grad im Tal Wunderschön ein Nachtigall. Seit der Zeit haben Tag und Nacht Die zwei sich oft gedacht Noch einmal, noch einmal, noch einmal Sing mir, sing, Nachtigall! Noch einmal, noch einmal, noch einmal, Wie du g sungen hast im Tal! CHOR Noch einmal, usw. ADAM Wie mein Ahndl siebzig Jahr Und ein alter Kraut rer war. Schaut er einmal, so am Bach, D längste Zeit ein Dirndl nach, Hat dann g seufzt Oh mein, oh mein! Wo mag jetzt wohl s Reserl sein? Hat dann g juchzet wie als Bua Und g sungen still dazu Noch einmal, noch einmal, noch einmal, usw. CHOR Noch einmal, usw. ADAM Huhu! Was Lustig s jetzt heute. Sonst halt ich s nicht aus! KURFÜRSTIN Ja, Freude durchströme das festliche Haus! CHOR Ja, Freude durchströme usw. ADAM Also fangt s an, Gottesnam ! Landsleut , jetzt nehmt s Euch z samm! Uns passiert diese Ehr Wohl nimmermehr. Aber wir sind desweg n Nit verschreckt, nit verleg n. Wir sind auch heut voll Schneid Wie allezeit. HOFLEUTE Wenn man s nur nicht bereut! KURFÜRSTIN Was Ihr spielt ist einerlei; Nur Effekt sei dabei! ADAM Ein Effekt? Der ist dabei! Gebt nur acht, wenn d Zither klingt, Wenn die Saite hell sich schwingt. Wenn dann laut ein Glöcklein schlägt, Dann -ja dann kommt der Effekt! CHOR Gebet acht, gebet acht, wenn s klingt. Der Effekt, ja dann kommt der Effekt! ADAM Auf nun zum Toaste die Römer geschwungen. ALLE Ein Toast! ADAM Wem bring ich den Pokal Mit Gunst zum erstenmal? Wohl schöne Fräul n wär n hier, Die sehr gut g fallen mir - Doch ihr, der schönsten Frau, Wie ich sie nimmer schau , Der Fürstin hold am Rhein Soll das erste Glas getrunken sein! Kommt heran! ALLE Kommt alle heran! ADAM Stosset an! CHOR Stosset alle an! Hoch der Fürstin am Rhein! KURFÜRSTIN Noch immer nicht die Glocke schlägt Und kein Verräter noch entdeckt. CHOR Oh horcht, ob keine Glocke schlägt, Wo bleibt denn der Effekt? ADAM Nur still! Gebt nur acht, wenn d Zither klingt, Wenn die Saite hell sich schwingt. CHOR Aber keine Glocke schlägt. Ja, wo bleibt der Effekt? ADAM Der Sakra - er wird nicht entdeckt! WEPS Gestatten Durchlaucht gnädigst mir, Dass ich ein Brautpaar präsentier . ADAM Ein Brautpaar? CHOR Ein Brautpaar? Wer kann das sein? KURFÜRSTIN Lasst sie herein - Adelaide? CHOR Graf Stanislaus? Wie komisch sehen sie aus! KURFÜRSTIN Wie froh ist die Kunde erklungen! Drum aufs neue die Römer geschwungen, Treu der Sitte am Rhein! Schenket ein! Schenket ein! Wem bring ich den Pokal Mit Gunst zum andern Mal? Den Damen nicht und Herren Die heut mein Fest beehren? Oh nein, nur diesem Paar, So fein und wunderbar, Dem schönsten Paar am Rhein, Soll das zweite Glas getrunken sein! Nur heran! CHOR Kommt beide heran! KURFÜRSTIN Stosset an! CHOR Stosset fröhlich an! Das schönste Paar - Hoch! Horch! Ein Glöcklein leise schlägt. KURFÜRSTIN, ADAM Der Verräter ist entdeckt. CHOR Das ist wohl der Effekt? ADAM Ja, ja, das ist von der Glocke der Effekt. ADELAIDE Dieses Mädchen, dieses Läuten, Stanislaus, was soll s bedeuten? CHOR Dieses Mädchen, dieses Läuten, Was soll es bedeuten? KURFÜRSTIN Der Frevler ward entdeckt. WEPS Also ihm galt s Bimbim! CHRISTEL Jetzt geht s dem Herrn da schlimm. Meine Unschuld ist klar! Ich beschwöre, dass er s war. KURFÜRSTIN Dem Grafen geht es schlimm. Er war s, nun ist es klar! Bestrafen will ich ihn fürwahr. ADELAIDE Ach, mir wird s so schlimm. Mir ist nun alles klar; Ich bin vor Schrecken starr - ADAM Jetzt geht s dem Sakra schlimm! Kein Zweifel, dass er s war. Und er lacht dazu sogar! WEPS, STANISLAUS Was kümmert uns ihr Bimbim? Eine Million Mitgift bar - Wir verlachen die Gefahr. CHOR Um den Grafen steht es schlimm, Uns ist die Sache dunkel zwar, Aber ein Skandal, das ist klar! KURFÜRSTIN Um deine Ehre bracht er dich, Drum auch du sein Urteil sprich! ADAM Ich? KURFÜRSTIN Ja, du! ADAM Der kann sich freu n! CHOR Was soll das sein? ADAM Kann ich? - Soll ich und darf ich? - KURFÜRSTIN Gewiss! ADAM Stell s zurück die alte Braut - Junge wird mit dir getraut! Brauchst dich ja zu fürchten nit, Hast eh mehr Freud! damit. So macht man s. im Tirol; Wirst mich versteh n gar wohl? Führ s gleich zum Pfarrer nein, s wird s Beste sein. STANISLAUS Der Bursch ist toll! WEPS Zu dumm! ADAM So macht man s in Tirol. STANISLAUS Nein, nein! Mit leichtem Mute will ich leiden, Die Schmach als Kavalier; Doch schimpflich von der Fahne scheiden, Das kann ich nicht als Offizier. - Drum bitte ich galant Das Fräulein um die Hand! - Mein Fräulein, Ihre Hand! CHOR Oho! CHRISTEL Haltet ein! - Noch einmal, noch einmal Frag ich dich Willst du mich? Noch einmal, noch einmal - - Nun wohlan, so bin ich Braut, Werd als Gräfin bald getraut. Ich verschaff mir schon Respekt, Mach als Gräfin auch Effekt. KURFÜRSTIN Nun wohlan, Sie ist jetzt Braut, Wird als Gräfin bald getraut, Die macht Effekt! STANISLAUS Nun wohlan, Sie ist jetzt Braut, Wird als Gräfin bald getraut, Die macht Effekt. ADAM Ha, s gelang! Nun ist sie Braut, Wird dem Sakra angetraut - Frau Gräfin, mein Respekt! CHOR Wunderbar, sie ist jetzt Braut. Wird als Gräfin gar getraut - Die macht Effekt! Finale ADAM Wir spielen bei Hof gar heut , Ach, wie uns das nur freut. Uns passiert diese Ehr Wohl nimmermehr. Aber wir sind desweg n Nit verschreckt, nit verleg n. Wir sind auch heut voll Schneid, Wie allezeit. TIROLER Wir spiel n heut bei Hof gar heut usw. Ju hoho, ju! Duljäh! HOFLEUTE Dieses Volk spielt heut? Ob man s nicht bereut! Ja, wir fürchten sehr s wär recht vulgär. Aber Durchlaucht will, Darum horchet still, Wie s auch gehen will - Nur applaudiert! KURFÜRSTIN Fort ist endlich alles Bangen Atmen kann ich froh und frei, Sind alle Sorgen doch vergangen Denn mein Gemahl-ist mir treu. Ja, mein Gemahl, er ist mir treu! HOFLEUTE Aha, ihre Launen sind vergangen Und das Gewitter zog vorbei. TIROLER Gebt s acht - jetzt wird gleich angefangen, Also Courage, nur fest dabei! KURFÜRSTIN Nun denn, ihr Leute, was werden wir hören? TIROLER Adam! Ein Lied! ALLE Ja, ja, ein Lied! ADAM Ich fang lieber gar nicht an! CHOR Nur nicht geziert! ADAM Weil ich ja eh nichts kann! CHOR Nur nicht geniert! ADAM Es fallt mir auch kein Liedl ein. CHOR Nur zu, probiert. ADAM Höchstens grad ein s könnt sein. CHOR Gleich produziert. ADAM Das vom Ahndl, das fällt mir just ein. KURFÜRSTIN Lasst hören. ADAM Wie mein Ahndl zwanzig Jahr , Und a g sunder Wildschütz war, Hat im Mondschein er voll Lust ,s erste Mal sein Reserl busst. Wie er s küsst, singt grad im Tal Wunderschön ein Nachtigall. Seit der Zeit haben Tag und Nacht Die zwei sich oft gedacht Noch einmal, noch einmal, noch einmal Sing mir, sing, Nachtigall! Noch einmal, noch einmal, noch einmal, Wie du g sungen hast im Tal! CHOR Noch einmal, usw. ADAM Wie mein Ahndl siebzig Jahr Und ein alter Kraut rer war. Schaut er einmal, so am Bach, D längste Zeit ein Dirndl nach, Hat dann g seufzt Oh mein, oh mein! Wo mag jetzt wohl s Reserl sein? Hat dann g juchzet wie als Bua Und g sungen still dazu Noch einmal, noch einmal, noch einmal, usw. CHOR Noch einmal, usw. ADAM Huhu! Was Lustig s jetzt heute. Sonst halt ich s nicht aus! KURFÜRSTIN Ja, Freude durchströme das festliche Haus! CHOR Ja, Freude durchströme usw. ADAM Also fangt s an, Gottesnam ! Landsleut , jetzt nehmt s Euch z samm! Uns passiert diese Ehr Wohl nimmermehr. Aber wir sind desweg n Nit verschreckt, nit verleg n. Wir sind auch heut voll Schneid Wie allezeit. HOFLEUTE Wenn man s nur nicht bereut! KURFÜRSTIN Was Ihr spielt ist einerlei; Nur Effekt sei dabei! ADAM Ein Effekt? Der ist dabei! Gebt nur acht, wenn d Zither klingt, Wenn die Saite hell sich schwingt. Wenn dann laut ein Glöcklein schlägt, Dann -ja dann kommt der Effekt! CHOR Gebet acht, gebet acht, wenn s klingt. Der Effekt, ja dann kommt der Effekt! ADAM Auf nun zum Toaste die Römer geschwungen. ALLE Ein Toast! ADAM Wem bring ich den Pokal Mit Gunst zum erstenmal? Wohl schöne Fräul n wär n hier, Die sehr gut g fallen mir - Doch ihr, der schönsten Frau, Wie ich sie nimmer schau , Der Fürstin hold am Rhein Soll das erste Glas getrunken sein! Kommt heran! ALLE Kommt alle heran! ADAM Stosset an! CHOR Stosset alle an! Hoch der Fürstin am Rhein! KURFÜRSTIN Noch immer nicht die Glocke schlägt Und kein Verräter noch entdeckt. CHOR Oh horcht, ob keine Glocke schlägt, Wo bleibt denn der Effekt? ADAM Nur still! Gebt nur acht, wenn d Zither klingt, Wenn die Saite hell sich schwingt. CHOR Aber keine Glocke schlägt. Ja, wo bleibt der Effekt? ADAM Der Sakra - er wird nicht entdeckt! WEPS Gestatten Durchlaucht gnädigst mir, Dass ich ein Brautpaar präsentier . ADAM Ein Brautpaar? CHOR Ein Brautpaar? Wer kann das sein? KURFÜRSTIN Lasst sie herein - Adelaide? CHOR Graf Stanislaus? Wie komisch sehen sie aus! KURFÜRSTIN Wie froh ist die Kunde erklungen! Drum aufs neue die Römer geschwungen, Treu der Sitte am Rhein! Schenket ein! Schenket ein! Wem bring ich den Pokal Mit Gunst zum andern Mal? Den Damen nicht und Herren Die heut mein Fest beehren? Oh nein, nur diesem Paar, So fein und wunderbar, Dem schönsten Paar am Rhein, Soll das zweite Glas getrunken sein! Nur heran! CHOR Kommt beide heran! KURFÜRSTIN Stosset an! CHOR Stosset fröhlich an! Das schönste Paar - Hoch! Horch! Ein Glöcklein leise schlägt. KURFÜRSTIN, ADAM Der Verräter ist entdeckt. CHOR Das ist wohl der Effekt? ADAM Ja, ja, das ist von der Glocke der Effekt. ADELAIDE Dieses Mädchen, dieses Läuten, Stanislaus, was soll s bedeuten? CHOR Dieses Mädchen, dieses Läuten, Was soll es bedeuten? KURFÜRSTIN Der Frevler ward entdeckt. WEPS Also ihm galt s Bimbim! CHRISTEL Jetzt geht s dem Herrn da schlimm. Meine Unschuld ist klar! Ich beschwöre, dass er s war. KURFÜRSTIN Dem Grafen geht es schlimm. Er war s, nun ist es klar! Bestrafen will ich ihn fürwahr. ADELAIDE Ach, mir wird s so schlimm. Mir ist nun alles klar; Ich bin vor Schrecken starr - ADAM Jetzt geht s dem Sakra schlimm! Kein Zweifel, dass er s war. Und er lacht dazu sogar! WEPS, STANISLAUS Was kümmert uns ihr Bimbim? Eine Million Mitgift bar - Wir verlachen die Gefahr. CHOR Um den Grafen steht es schlimm, Uns ist die Sache dunkel zwar, Aber ein Skandal, das ist klar! KURFÜRSTIN Um deine Ehre bracht er dich, Drum auch du sein Urteil sprich! ADAM Ich? KURFÜRSTIN Ja, du! ADAM Der kann sich freu n! CHOR Was soll das sein? ADAM Kann ich? - Soll ich und darf ich? - KURFÜRSTIN Gewiss! ADAM Stell s zurück die alte Braut - Junge wird mit dir getraut! Brauchst dich ja zu fürchten nit, Hast eh mehr Freud! damit. So macht man s. im Tirol; Wirst mich versteh n gar wohl? Führ s gleich zum Pfarrer nein, s wird s Beste sein. STANISLAUS Der Bursch ist toll! WEPS Zu dumm! ADAM So macht man s in Tirol. STANISLAUS Nein, nein! Mit leichtem Mute will ich leiden, Die Schmach als Kavalier; Doch schimpflich von der Fahne scheiden, Das kann ich nicht als Offizier. - Drum bitte ich galant Das Fräulein um die Hand! - Mein Fräulein, Ihre Hand! CHOR Oho! CHRISTEL Haltet ein! - Noch einmal, noch einmal Frag ich dich Willst du mich? Noch einmal, noch einmal - - Nun wohlan, so bin ich Braut, Werd als Gräfin bald getraut. Ich verschaff mir schon Respekt, Mach als Gräfin auch Effekt. KURFÜRSTIN Nun wohlan, Sie ist jetzt Braut, Wird als Gräfin bald getraut, Die macht Effekt! STANISLAUS Nun wohlan, Sie ist jetzt Braut, Wird als Gräfin bald getraut, Die macht Effekt. ADAM Ha, s gelang! Nun ist sie Braut, Wird dem Sakra angetraut - Frau Gräfin, mein Respekt! CHOR Wunderbar, sie ist jetzt Braut. Wird als Gräfin gar getraut - Die macht Effekt! Zeller,Carl/Der Vogelhändler/III
https://w.atwiki.jp/koshin_e/pages/19.html
Qu’est-ce que Koshin-ko. Koshin-ko est une coutume folklorique au Japon. Selon le taoïsme établi en Chine, nous avons trois insectes dans notre corps ; le premier dans notre tête, le deuxième dans nos entrailles et le troisième dans la partie inférieure du corps. Ces insectes sont appelés les 3(san)-shi. On croit que les 3(san)-shi causent des maux de tête, des maux de ventre et autres etc... Mais surtout, ils sortent de notre corps tous les 60 jours dans la nuit appelée « nuit de Koshin », afin de faire part de nos mauvais actes au dieu Tentei. Tentei, le dieu présidant à la vie humaine, juge la durée de notre vie en fonction de ce dont il est informé par les 3(san)-shi. Nous passons une nuit blanche pour empêcher les 3(san)-shi de sortir de notre corps, de peur qu’ils ne fassent connaître nos actes au dieu Tentei. On appelle cette coutume « Koshin-ko ». Ce Koshin-ko est venu de la Chine vers le 8e siècle (l’époque de Nara) et était pratiqué par les nobles jusqu’au 12e siècle (l’époque de Heian). Du 17e au 19 siècle (l’époque d’Edo), il s’unit avec le bouddhisme et le Shito et se répand parmi le public. Aujourd’hui il reste partout au Japon des tumulus de Koshin et des tourelles de Koshin, autour desquels l’on se rassemblait, et qui témoignent de cette tradition à cette époque-là. Tokyo Koshindo est un groupe qui a pour but de faire renaître le Koshin-ko. TOKYO KOSHINDO Adresse Mukoujima 3-7-4 Sumida-ku, Tokyo Site Web www.koshindo.com
https://w.atwiki.jp/oper/pages/3536.html
ATTO SECONDO Scena Prima （Le cime del monte Liceo） ▼ENDIMIONE▲ Erme, e solinghe cime, ch al cerchio m accostate delle luci adorate, in voi di novo imprime, contemplator segreto Endimione l orme. Le variate forme della stella d argento lusingando, e baciando, di chiare notti tra i sereni orrori, sulla terra, e sui sassi i suoi splendori. Lucidissima face di Tessaglia le note non sturbino i tuoi giri, e la tua pace. Dagl atlantici monti traboccando le rote, Febo, del carro ardente, omai tramonti. Il mio lume nascente illuminando il cielo più bello a me si mostri, e risplendente. Astro mio vago, e caro a tuoi raggi di gelo, nel petto amante a nutrir fiamme imparo. Qual sopor repentino a dolce oblio m invita su quest erta romita? Sonno cortese, sonno s alle lusinghe tue pronto mi rendo. Deh fa tu, che dormendo amorosi fantasmi mi felicitin l anima svegliata. Baciatrice baciata mandan in sen la diva mia crudele, e stringendo i tuoi lacci, in dolci inganni fa che morto in tal guisa io viva gl anni. （Endimion dorme） Scena Seconda ▼DIANA▲ Candidi corridori, cervi veloci, al vostro moto, al corso sul vertice Liceo si ponga il morso. Ascender qui ved io il pastorello mio, e qui solinga in solitario loco per arder al mio foco, non per scoprirmi amante mi son condotta. Oh Cinzia fortunata, il gemino Levante, del tuo sole, che cerchi, ecco che dorme. Ammirabili forme, ignota adoratrice vi potrò pur, felice vagheggiar, contemplarvi, senza rossor baciarvi. Ma che parli de baci o casta Delia? Ah taci. Ohimè, che mi procura amareggiare il soave pensiero? Io vo baciare. Oh aliti odorati, spiran d Arabia i fiati queste labbra di rose, e aure preziose m invia, più, che m accosto il cinnamomo, il costo. ▼ENDIMIONE▲ Bella quanto crudele non fuggirai più no dal tuo fedele. ▼DIANA▲ Sogna, e mi stringe al petto; deh mai non si svegliasse, e il mio divin restasse incatenato sempre al suo diletto. ▼ENDIMIONE▲ Viso eterno ti bacio, e godo, e sento nel baciarti, mia dèa, dolce il tormento. ▼DIANA▲ Non posso distaccarmi, temo ch egli si desti. ▼ENDIMIONE▲ Che prodigi son questi? ▼DIANA▲ Ohimè, ch ei s è svegliato. ▼ENDIMIONE▲ Oh dio, che dormo ancora? Del sonno supplicato l illusioni amabili anco abbraccio? Tormentoso mio laccio chi mi ti rende amorosetto, e pio? Sacrilego son io che le menti del cielo, e stringo e tocco, ma di goder cotanta gloria parmi, che prima di lasciarle io vo dannarmi. ▼DIANA▲ Rallenta questi nodi mio conforto. ▼ENDIMIONE▲ Mio che? ▼DIANA▲ Ardor, mio foco. ▼ENDIMIONE▲ Ohimè m uccide la dolcezza. ▼DIANA▲ Lasciami mia bellezza, e già, che amor sagace nel tuo seno mi pose paleso la mia face, ti confesso la piaga. ▼ENDIMIONE▲ Ah diva Artemia, e vaga, formano le tue fiamme il rogo alla mia vita, moro alla tua ferita. ▼DIANA▲ Vivi, vivi, a nostri amori. Rasserena la tua pena raddoppiando i nati ardori. Vivi, vivi a nostri amori. ▼ENDIMIONE▲ Moribondo, eccomi sano. Tristo duolo ratto a volo da me fugge, e va lontano. Moribondo eccomi sano. ▼DIANA▲ Partir devo. Addio rimanti. ▼ENDIMIONE▲ Tu mi lasci? Io riedo a pianti ▼DIANA▲ Così chiede il mio decoro. ▼ENDIMIONE▲ Torna indietro, o mio martoro. ▼DIANA▲ Breve la lontananza sarà, rasciuga gl occhi o mia speranza. ▼ENDIMIONE▲ Quando più ti rivedrò? ▼DIANA▲ Presto, presto mio ben lieto rimanti, io vo . ▼ENDIMIONE▲ Teco l anima vien. ▼DIANA▲ Mio sole. ▼ENDIMIONE▲ Cor mio. ▼DIANA, ENDIMIONE▲ Addio. Scena Terza ▼IL SATIRINO▲ Alfin la tanto rigida, quella, che delle vergini imperatrice, e satrapa è come l altre femmine soggette al senso fragile; e che sempre s appigliano al male, al peggio, al pessimo. Pane, ch è un dio sì nobile costei ripudia, e gettasi nelle braccia d un rustico. Se gl occhi lo spettacolo veduto non avessero mai non avrei credutolo. Voglio avvisar il languido, ei vi porrà rimedio. Chi crede a femmina nell acque semina; e prima svellere potrà man tenera antica rovere, che mai commuovere suo cor, che genera fede mutabile. Chi crede a femmina mai sempre instabile nell acque semina. Scena Quarta （La pianura dell Erimanto） ▼GIUNONE▲ Dalle gelose mie cure incessanti lacera, stimolata, a questo suolo de miei pomposi augelli io piombo il volo, fatti del mio furor compagni erranti. Stupri novelli a sussurrare intesi. Abbandonata la celeste corte, ignoto qui dimora il mio consorte, chiuso in stranieri, e indecenti arnesi. Sempre per ingannar fanciulle belle, novo Proteo, si cangia in forme nove, aspetto un dì, che questo mio gran Giove mi conduca le drude in sulle stelle. Scena Quinta ▼CALISTO▲ Sgorgate anco sgorgate fontane dolorose, luci mie lagrimose quell umor, che dal cor ascendendo a voi se n vien. M è sparito in un balen il conforto, restò morto quel piacer, che già gustò da dèa pia l alma mia, sin, che vivo io piangerò. ▼GIUNONE▲ Che lagrime son queste o bella faretrata? ▼CALISTO▲ Piango mia sorte ingrata. ▼GIUNONE▲ Le tue noie funesti a me scopri, che posso, moglie del gran motore, sanarti ogni dolore. ▼CALISTO▲ Oh reina del cielo scusa l irriverente io non conobbi la tua divinità nel terreo velo, Cinzia, che seguo, e onoro mi scaccia dal suo coro. ▼GIUNONE▲ La cagion? ▼CALISTO▲ Mi condusse in antro dilettoso, e mi baciò più fiate come se stato fosse il vago, il sposo. Le mie labbra baciate le sue baciavo a gara, stretta dalle sue braccia. Or ella nega il bacio, e me discaccia. ▼GIUNONE▲ Tocca la terra appena, temo d aver trovata dell adultero mio la nova amata. Altro, che baci, di , v intervenne, vi fu tra la tua Delia, e te? ▼CALISTO▲ Un certo dolce che, che dir non te l saprei. ▼GIUNONE▲ Non più, non più. Le forme della figlia, uso alla frode, prese il mio buon consorte per appagar il perfido appetito, grazioso marito. ▼CALISTO▲ Deh se mai non discenda il tuo Giove del ciel per ingannare le vergini innocenti, raddolcite, e clementi di Diana alterata rendimi l ire, e fa ch omai placata giri ver me le luci sue serene. Ecco appunto, che viene. ▼GIUNONE▲ Certa son dell inganno, in quelle forme è Giove. A Mercurio il conosco, al scaltro suo messaggio, al ladro accorto, che fabbro del mio torto ha per me sempre nella bocca il tosco. Scena Sesta ▼GIOVE▲ （in Diana, a Mercurio） Esprimerti non posso il goduto piacere. Tal lassù nelle sfere, e nelle glorie mie no l finisco, no l provo. Io, che regalo, e meno i cerchi erranti, e che sostengo il mondo, con diletto giocondo, ben che nell operar sempre indefesso, con le fatture mie ricreo me stesso. ▼MERCURIO▲ Tu non dovevi o facitor sovrano, già, che sì ti diletti de generati aspetti indipendente far l arbitrio umano. Se fosse a te soggetto chi vive in libertade, senza tante mutanze, e tanti inganni, di sembianze, e di panni, godresti ogni beltade. ▼GIUNONE▲ Oh consiglio prudente, esser non può costui più miscredente. ▼CALISTO▲ （A Giunone） Alta regina, io voglio pria, che per me la tua bontà s impieghi in suppliche, ed in preghi provar s è la mia diva anco di scoglio. ▼GIUNONE▲ Troverai placidetta, va pur, la tua diletta. ▼GIOVE▲ （in Diana） Calisto anima mia? ▼GIUNONE▲ O sferze, o gelosia. ▼CALISTO▲ Mio conforto, mia vita! ▼GIOVE▲ （in Diana） Mia dolcezza infinita! ▼CALISTO▲ Mio ristoro. ▼GIOVE▲ （in Diana） Mio martoro. ▼CALISTO▲ Mio sospiro. ▼GIOVE▲ （in Diana） Mio respiro. ▼CALISTO▲ Mio desio. ▼GIOVE▲ （in Diana） Onde vieni? ▼CALISTO▲ A te ben mio. ▼MERCURIO▲ Di dolci parolette lasciva melodia. ▼GIUNONE▲ O sferze, o gelosia. ▼GIOVE▲ （in Diana） Dove dall urna sua scaturisce il Ladone i suoi cristalli vanne, vanne mia cara, e di novo prepara la bocca a guerreggiar co miei coralli, io tosto là verrò. ▼CALISTO▲ Rapida me ne vo. Ma chi è costui, che ti risiede appresso? ▼GIOVE▲ （in Diana） Del mio buon padre il messo. ▼CALISTO▲ Volea, poch è, facondo farmi preda di Giove, ma resa sorda a lusinghieri inviti furo lasciati ambo da me scherniti. Eccelsa imperatrice, la cagion non le chiesi del procelloso nembo, e del tranquillo, li sdegni ha la mia dèa placidi resi; tutta fasto, in contento il cor distillo. ▼GIUNONE▲ Vo , che tu cangi presto quel tuo lieto in funesto. Scena Settima ▼GIOVE▲ （in Diana） Trar da quelle vaghezze bramo Cillenio mio dolcezze nove. ▼MERCURIO▲ Giunon, Giunone, o Giove. ▼GIUNONE▲ Mercurio? Ove lasciasti, teco quaggiù disceso a consolar la terra, il mio marito? ▼MERCURIO▲ Il ristoro adempito dell egra madre accesa, ritorno dell Olimpo agl alti nidi. ▼GIUNONE▲ Di là vengo, né l vidi. Forse, ch ei t ha ingannato, e deviando da già presi voli, tra le selve celato, amator fraudolente deve, deve ingannar ninfa innocente. ▼GIOVE▲ （in Diana） Qualche notizia ha certo della mia dolce sorte la gelosa consorte. ▼MERCURIO▲ Sempre maligno, e gelido sospetto ti tiranneggia il petto. ▼GIUNONE▲ Porge poca credenza l esperienza mia al dio della bugia. Ma voi celeste, o vergine matrona, che fate qui con ladri, e con mezzani? Accoppiamenti strani, l onestade vid io con la lascivia. E che volete trivia che si dica di voi? Che lingua dotta, con retorica rea v abbia corrotta? Lo discacci di qua la vostra castità. ▼GIOVE▲ （in Diana） Non può macchia, o sozzura render nera mia fama, e farla impura. Senza oscurarmi l onorato grido poss io conversar l ore con Venere, e d amore. ▼GIUNONE▲ E baciar le donzelle. ▼MERCURIO▲ （fra sè） È scoperta la frode, e della frode il fabbro. ▼GIOVE▲ （in Diana） Non è negato il bacio a casto labbro, bocca pura, e pudica può baciar senza biasmo, la verginella amica. ▼GIUNONE▲ Sì, ma negl antri lecito non gl è condur le semplicette, e farle poi un certo dolce che, come fatto gustare gl avete voi. ▼MERCURIO▲ （fra sè） Lo diss io. ▼GIOVE▲ （in Diana） Giuno, Giuno ove trascorre la lingua disonesta? Esprimi più modesta concetti degni dell udito mio, o la selva abbandona, ove solo le voci casti il eco risuona. ▼GIUNONE▲ Non v alterate no, triforme lascivetta i vostri vezzi io so; e crederei, che Giove sotto quelle sembianze, scordato il firmamento, errasse per le selve a lussi intento. Ma fatto continente più non segue, od apprezza la caduca bellezza; e poi d averlo visto afferma, attesta quel suo buon messaggero, volar al trono del sublime impero. Orsù voglio lasciarvi, né importunarvi più. Dentro li spechi nettare più soave amor v arrechi. Scena Ottava ▼GIOVE▲ （in Diana） Chi condusse costei dal cielo a investigare i gusti miei? ▼MERCURIO▲ La gelosia, che vede con cento lumi, e cento ch agile come il vento penetra il chiuso, e il tutto osserva, e crede. ▼GIOVE▲ （in Diana） Ululi, frema, e strida, qual belva inferocita, a gl amorosi torti la moglie ingelosita, non farà mai, che lasci i miei conforti. ▼MERCURIO, GIOVE▲ È spedito quel marito, che regolar le voglie si lascia dalla moglie. Con quello, che piace si smorzi la face del nostro appetito. E poscia il rigore accheti il rumore. È spedito quel marito, che regolar le voglie si lascia dalla moglie. Scena Nona ▼ENDIMIONE▲ Cor mio, che vuoi tu? Che speri, che brami, che chiedi di più? Più lieto di te, ch il cielo baciasti in terra non è. Cor mio, più lieto di te, ch il cielo baciasti in terra non è. ▼GIOVE▲ （in Diana） Mercurio, che disfoga in amorosi carmi il chiuso ardore? ▼MERCURIO▲ Delle pelasge selve l ornamento, l onore. Pastor, che non di belve vago, o di pascolar gregge, ed armenti, con lodevoli studi vuol che l ingegno sudi in specolar del ciel gl astri lucenti. ▼ENDIMIONE▲ O splendida mia dèa, felicità dell alma, mia fortuna, mia calma. Dal mio Liceo felice, ove, mercede tua, lasciai la pena ti trovo, sceso appena? Il core amor ringrazia, e benedice. Ma chi è colui, ch è teco? Ohimè fiero tormento nato da gelosia nel petto io sento. ▼GIOVE▲ （in Diana） Cinzia fa poi la casta, e pur anch ella ha di segreti amanti. ▼MERCURIO▲ Questi falsi sembianti, con gl arnesi mentiti signor deponi, che di vaghe invece troverai di mariti. Scena Decima ▼IL SATIRINO▲ Se tu no l credi, vedila di novo unita all emulo, quell agreste, ch accennoti il drudo è di Trigemina. ▼PANE▲ Scellerato, dai vincoli stretto di questi muscoli non fuggirai le Eumenide del doglioso rammarico, ch in sen per te mi pullula. ▼ENDIMIONE▲ Lasciami, chi t offese? Ch ingiuria t ho fatt io o semicapro dio? ▼GIOVE▲ （in Diana） Qual furia agita Pane? ▼PANE▲ Ecco il tuo vago o perfida, incatenato, e fattomi prigion da fato prospero sugl occhi tuoi, ch aborrono la figurata, e mistica mia mostruosa immagine. Quei livori, che vedonsi nelle tue guance candide sono pur le memorie de baci soavissimi, ch i labbri tuoi mi dierono. Or perché sprezzi, e fuggimi incostante, e contraria? Ahi, che nota è l origine dell amor tuo volubile. Costui ch in pianto stillasi è del mio mal la causa; ma far di lui spettacolo funesto e miserabile voglio a quei rai, che, fulmini fatti per me, m uccidono. ▼MERCURIO▲ Da questi intrichi usciamo, partiam, Giove partiamo. ▼GIOVE▲ （in Diana） Satiro dispettoso uccidi pur, carnefice, a tua voglia, non avrai mai salute all aspra doglia. ▼ENDIMIONE▲ Dove vai diva? Aita. Parti? Perdo la vita. Scena Undicesima ▼PANE, SILVANO▲ Fermati o mobile. A par del turbine, così tu l anima lasci all arbitrio di cor, ch infuria? D acerba ingiuria feroci vendici quel duol, ch’annidassi nel petto lacero si estirpi, e uccidasi, con l altrui strazio, di vendetta il desio se n resti sazio. ▼ENDIMIONE▲ Oh dio così abbandoni sul margo del sepolcro il tuo fedele? Oh dio così crudele mi lasci agonizzante? Mira almen la mia morte, amata amante. ▼PANE, SILVANO, IL SATIRINO▲ Miserabile, che credevi a donna instabile? Variabile è la tua fede, e detestabile. Miserabile, che credevi a donna instabile? ▼ENDIMIONE▲ Amor, se non m ascolta la dispietata mia, qui drizza l ali, difendami i tuoi strali. ▼PANE, SILVANO, IL SATIRINO▲ Miserabile, dunque speri in dio mutabile? Egl è inabile, né ti sente, arcier vagabile. Miserabile, dunque speri in dio mutabile? ▼ENDIMIONE▲ Uccidetemi dunque dalle speranze mie povero derelitto; tolga il martir la morte ad un afflitto. ▼PANE▲ Poiché morir desideri vo , che tu formi gl aliti per eternarti il flebile privo di libertà. ▼ENDIMIONE▲ O dèi, che crudeltà. ▼PANE, SILVANO, ENDIMIONE▲ Pazzi quei, ch in Amor credono. Son baleni che spariscono. Le dolcezze e in fiel forniscono suoi piaceri, o mai si vedono. Pazzi quei, ch in amor credono. ATTO SECONDO Scena Prima (Le cime del monte Liceo) ENDIMIONE Erme, e solinghe cime, ch al cerchio m accostate delle luci adorate, in voi di novo imprime, contemplator segreto Endimione l orme. Le variate forme della stella d argento lusingando, e baciando, di chiare notti tra i sereni orrori, sulla terra, e sui sassi i suoi splendori. Lucidissima face di Tessaglia le note non sturbino i tuoi giri, e la tua pace. Dagl atlantici monti traboccando le rote, Febo, del carro ardente, omai tramonti. Il mio lume nascente illuminando il cielo più bello a me si mostri, e risplendente. Astro mio vago, e caro a tuoi raggi di gelo, nel petto amante a nutrir fiamme imparo. Qual sopor repentino a dolce oblio m invita su quest erta romita? Sonno cortese, sonno s alle lusinghe tue pronto mi rendo. Deh fa tu, che dormendo amorosi fantasmi mi felicitin l anima svegliata. Baciatrice baciata mandan in sen la diva mia crudele, e stringendo i tuoi lacci, in dolci inganni fa che morto in tal guisa io viva gl anni. (Endimion dorme) Scena Seconda DIANA Candidi corridori, cervi veloci, al vostro moto, al corso sul vertice Liceo si ponga il morso. Ascender qui ved io il pastorello mio, e qui solinga in solitario loco per arder al mio foco, non per scoprirmi amante mi son condotta. Oh Cinzia fortunata, il gemino Levante, del tuo sole, che cerchi, ecco che dorme. Ammirabili forme, ignota adoratrice vi potrò pur, felice vagheggiar, contemplarvi, senza rossor baciarvi. Ma che parli de baci o casta Delia? Ah taci. Ohimè, che mi procura amareggiare il soave pensiero? Io vo baciare. Oh aliti odorati, spiran d Arabia i fiati queste labbra di rose, e aure preziose m invia, più, che m accosto il cinnamomo, il costo. ENDIMIONE Bella quanto crudele non fuggirai più no dal tuo fedele. DIANA Sogna, e mi stringe al petto; deh mai non si svegliasse, e il mio divin restasse incatenato sempre al suo diletto. ENDIMIONE Viso eterno ti bacio, e godo, e sento nel baciarti, mia dèa, dolce il tormento. DIANA Non posso distaccarmi, temo ch egli si desti. ENDIMIONE Che prodigi son questi? DIANA Ohimè, ch ei s è svegliato. ENDIMIONE Oh dio, che dormo ancora? Del sonno supplicato l illusioni amabili anco abbraccio? Tormentoso mio laccio chi mi ti rende amorosetto, e pio? Sacrilego son io che le menti del cielo, e stringo e tocco, ma di goder cotanta gloria parmi, che prima di lasciarle io vo dannarmi. DIANA Rallenta questi nodi mio conforto. ENDIMIONE Mio che? DIANA Ardor, mio foco. ENDIMIONE Ohimè m uccide la dolcezza. DIANA Lasciami mia bellezza, e già, che amor sagace nel tuo seno mi pose paleso la mia face, ti confesso la piaga. ENDIMIONE Ah diva Artemia, e vaga, formano le tue fiamme il rogo alla mia vita, moro alla tua ferita. DIANA Vivi, vivi, a nostri amori. Rasserena la tua pena raddoppiando i nati ardori. Vivi, vivi a nostri amori. ENDIMIONE Moribondo, eccomi sano. Tristo duolo ratto a volo da me fugge, e va lontano. Moribondo eccomi sano. DIANA Partir devo. Addio rimanti. ENDIMIONE Tu mi lasci? Io riedo a pianti DIANA Così chiede il mio decoro. ENDIMIONE Torna indietro, o mio martoro. DIANA Breve la lontananza sarà, rasciuga gl occhi o mia speranza. ENDIMIONE Quando più ti rivedrò? DIANA Presto, presto mio ben lieto rimanti, io vo . ENDIMIONE Teco l anima vien. DIANA Mio sole. ENDIMIONE Cor mio. DIANA, ENDIMIONE Addio. Scena Terza IL SATIRINO Alfin la tanto rigida, quella, che delle vergini imperatrice, e satrapa è come l altre femmine soggette al senso fragile; e che sempre s appigliano al male, al peggio, al pessimo. Pane, ch è un dio sì nobile costei ripudia, e gettasi nelle braccia d un rustico. Se gl occhi lo spettacolo veduto non avessero mai non avrei credutolo. Voglio avvisar il languido, ei vi porrà rimedio. Chi crede a femmina nell acque semina; e prima svellere potrà man tenera antica rovere, che mai commuovere suo cor, che genera fede mutabile. Chi crede a femmina mai sempre instabile nell acque semina. Scena Quarta (La pianura dell Erimanto) GIUNONE Dalle gelose mie cure incessanti lacera, stimolata, a questo suolo de miei pomposi augelli io piombo il volo, fatti del mio furor compagni erranti. Stupri novelli a sussurrare intesi. Abbandonata la celeste corte, ignoto qui dimora il mio consorte, chiuso in stranieri, e indecenti arnesi. Sempre per ingannar fanciulle belle, novo Proteo, si cangia in forme nove, aspetto un dì, che questo mio gran Giove mi conduca le drude in sulle stelle. Scena Quinta CALISTO Sgorgate anco sgorgate fontane dolorose, luci mie lagrimose quell umor, che dal cor ascendendo a voi se n vien. M è sparito in un balen il conforto, restò morto quel piacer, che già gustò da dèa pia l alma mia, sin, che vivo io piangerò. GIUNONE Che lagrime son queste o bella faretrata? CALISTO Piango mia sorte ingrata. GIUNONE Le tue noie funesti a me scopri, che posso, moglie del gran motore, sanarti ogni dolore. CALISTO Oh reina del cielo scusa l irriverente io non conobbi la tua divinità nel terreo velo, Cinzia, che seguo, e onoro mi scaccia dal suo coro. GIUNONE La cagion? CALISTO Mi condusse in antro dilettoso, e mi baciò più fiate come se stato fosse il vago, il sposo. Le mie labbra baciate le sue baciavo a gara, stretta dalle sue braccia. Or ella nega il bacio, e me discaccia. GIUNONE Tocca la terra appena, temo d aver trovata dell adultero mio la nova amata. Altro, che baci, di , v intervenne, vi fu tra la tua Delia, e te? CALISTO Un certo dolce che, che dir non te l saprei. GIUNONE Non più, non più. Le forme della figlia, uso alla frode, prese il mio buon consorte per appagar il perfido appetito, grazioso marito. CALISTO Deh se mai non discenda il tuo Giove del ciel per ingannare le vergini innocenti, raddolcite, e clementi di Diana alterata rendimi l ire, e fa ch omai placata giri ver me le luci sue serene. Ecco appunto, che viene. GIUNONE Certa son dell inganno, in quelle forme è Giove. A Mercurio il conosco, al scaltro suo messaggio, al ladro accorto, che fabbro del mio torto ha per me sempre nella bocca il tosco. Scena Sesta GIOVE (in Diana, a Mercurio) Esprimerti non posso il goduto piacere. Tal lassù nelle sfere, e nelle glorie mie no l finisco, no l provo. Io, che regalo, e meno i cerchi erranti, e che sostengo il mondo, con diletto giocondo, ben che nell operar sempre indefesso, con le fatture mie ricreo me stesso. MERCURIO Tu non dovevi o facitor sovrano, già, che sì ti diletti de generati aspetti indipendente far l arbitrio umano. Se fosse a te soggetto chi vive in libertade, senza tante mutanze, e tanti inganni, di sembianze, e di panni, godresti ogni beltade. GIUNONE Oh consiglio prudente, esser non può costui più miscredente. CALISTO (A Giunone) Alta regina, io voglio pria, che per me la tua bontà s impieghi in suppliche, ed in preghi provar s è la mia diva anco di scoglio. GIUNONE Troverai placidetta, va pur, la tua diletta. GIOVE (in Diana) Calisto anima mia? GIUNONE O sferze, o gelosia. CALISTO Mio conforto, mia vita! GIOVE (in Diana) Mia dolcezza infinita! CALISTO Mio ristoro. GIOVE (in Diana) Mio martoro. CALISTO Mio sospiro. GIOVE (in Diana) Mio respiro. CALISTO Mio desio. GIOVE (in Diana) Onde vieni? CALISTO A te ben mio. MERCURIO Di dolci parolette lasciva melodia. GIUNONE O sferze, o gelosia. GIOVE (in Diana) Dove dall urna sua scaturisce il Ladone i suoi cristalli vanne, vanne mia cara, e di novo prepara la bocca a guerreggiar co miei coralli, io tosto là verrò. CALISTO Rapida me ne vo. Ma chi è costui, che ti risiede appresso? GIOVE (in Diana) Del mio buon padre il messo. CALISTO Volea, poch è, facondo farmi preda di Giove, ma resa sorda a lusinghieri inviti furo lasciati ambo da me scherniti. Eccelsa imperatrice, la cagion non le chiesi del procelloso nembo, e del tranquillo, li sdegni ha la mia dèa placidi resi; tutta fasto, in contento il cor distillo. GIUNONE Vo , che tu cangi presto quel tuo lieto in funesto. Scena Settima GIOVE (in Diana) Trar da quelle vaghezze bramo Cillenio mio dolcezze nove. MERCURIO Giunon, Giunone, o Giove. GIUNONE Mercurio? Ove lasciasti, teco quaggiù disceso a consolar la terra, il mio marito? MERCURIO Il ristoro adempito dell egra madre accesa, ritorno dell Olimpo agl alti nidi. GIUNONE Di là vengo, né l vidi. Forse, ch ei t ha ingannato, e deviando da già presi voli, tra le selve celato, amator fraudolente deve, deve ingannar ninfa innocente. GIOVE (in Diana) Qualche notizia ha certo della mia dolce sorte la gelosa consorte. MERCURIO Sempre maligno, e gelido sospetto ti tiranneggia il petto. GIUNONE Porge poca credenza l esperienza mia al dio della bugia. Ma voi celeste, o vergine matrona, che fate qui con ladri, e con mezzani? Accoppiamenti strani, l onestade vid io con la lascivia. E che volete trivia che si dica di voi? Che lingua dotta, con retorica rea v abbia corrotta? Lo discacci di qua la vostra castità. GIOVE (in Diana) Non può macchia, o sozzura render nera mia fama, e farla impura. Senza oscurarmi l onorato grido poss io conversar l ore con Venere, e d amore. GIUNONE E baciar le donzelle. MERCURIO (fra sè) È scoperta la frode, e della frode il fabbro. GIOVE (in Diana) Non è negato il bacio a casto labbro, bocca pura, e pudica può baciar senza biasmo, la verginella amica. GIUNONE Sì, ma negl antri lecito non gl è condur le semplicette, e farle poi un certo dolce che, come fatto gustare gl avete voi. MERCURIO (fra sè) Lo diss io. GIOVE (in Diana) Giuno, Giuno ove trascorre la lingua disonesta? Esprimi più modesta concetti degni dell udito mio, o la selva abbandona, ove solo le voci casti il eco risuona. GIUNONE Non v alterate no, triforme lascivetta i vostri vezzi io so; e crederei, che Giove sotto quelle sembianze, scordato il firmamento, errasse per le selve a lussi intento. Ma fatto continente più non segue, od apprezza la caduca bellezza; e poi d averlo visto afferma, attesta quel suo buon messaggero, volar al trono del sublime impero. Orsù voglio lasciarvi, né importunarvi più. Dentro li spechi nettare più soave amor v arrechi. Scena Ottava GIOVE (in Diana) Chi condusse costei dal cielo a investigare i gusti miei? MERCURIO La gelosia, che vede con cento lumi, e cento ch agile come il vento penetra il chiuso, e il tutto osserva, e crede. GIOVE (in Diana) Ululi, frema, e strida, qual belva inferocita, a gl amorosi torti la moglie ingelosita, non farà mai, che lasci i miei conforti. MERCURIO, GIOVE È spedito quel marito, che regolar le voglie si lascia dalla moglie. Con quello, che piace si smorzi la face del nostro appetito. E poscia il rigore accheti il rumore. È spedito quel marito, che regolar le voglie si lascia dalla moglie. Scena Nona ENDIMIONE Cor mio, che vuoi tu? Che speri, che brami, che chiedi di più? Più lieto di te, ch il cielo baciasti in terra non è. Cor mio, più lieto di te, ch il cielo baciasti in terra non è. GIOVE (in Diana) Mercurio, che disfoga in amorosi carmi il chiuso ardore? MERCURIO Delle pelasge selve l ornamento, l onore. Pastor, che non di belve vago, o di pascolar gregge, ed armenti, con lodevoli studi vuol che l ingegno sudi in specolar del ciel gl astri lucenti. ENDIMIONE O splendida mia dèa, felicità dell alma, mia fortuna, mia calma. Dal mio Liceo felice, ove, mercede tua, lasciai la pena ti trovo, sceso appena? Il core amor ringrazia, e benedice. Ma chi è colui, ch è teco? Ohimè fiero tormento nato da gelosia nel petto io sento. GIOVE (in Diana) Cinzia fa poi la casta, e pur anch ella ha di segreti amanti. MERCURIO Questi falsi sembianti, con gl arnesi mentiti signor deponi, che di vaghe invece troverai di mariti. Scena Decima IL SATIRINO Se tu no l credi, vedila di novo unita all emulo, quell agreste, ch accennoti il drudo è di Trigemina. PANE Scellerato, dai vincoli stretto di questi muscoli non fuggirai le Eumenide del doglioso rammarico, ch in sen per te mi pullula. ENDIMIONE Lasciami, chi t offese? Ch ingiuria t ho fatt io o semicapro dio? GIOVE (in Diana) Qual furia agita Pane? PANE Ecco il tuo vago o perfida, incatenato, e fattomi prigion da fato prospero sugl occhi tuoi, ch aborrono la figurata, e mistica mia mostruosa immagine. Quei livori, che vedonsi nelle tue guance candide sono pur le memorie de baci soavissimi, ch i labbri tuoi mi dierono. Or perché sprezzi, e fuggimi incostante, e contraria? Ahi, che nota è l origine dell amor tuo volubile. Costui ch in pianto stillasi è del mio mal la causa; ma far di lui spettacolo funesto e miserabile voglio a quei rai, che, fulmini fatti per me, m uccidono. MERCURIO Da questi intrichi usciamo, partiam, Giove partiamo. GIOVE (in Diana) Satiro dispettoso uccidi pur, carnefice, a tua voglia, non avrai mai salute all aspra doglia. ENDIMIONE Dove vai diva? Aita. Parti? Perdo la vita. Scena Undicesima PANE, SILVANO Fermati o mobile. A par del turbine, così tu l anima lasci all arbitrio di cor, ch infuria? D acerba ingiuria feroci vendici quel duol, ch’annidassi nel petto lacero si estirpi, e uccidasi, con l altrui strazio, di vendetta il desio se n resti sazio. ENDIMIONE Oh dio così abbandoni sul margo del sepolcro il tuo fedele? Oh dio così crudele mi lasci agonizzante? Mira almen la mia morte, amata amante. PANE, SILVANO, IL SATIRINO Miserabile, che credevi a donna instabile? Variabile è la tua fede, e detestabile. Miserabile, che credevi a donna instabile? ENDIMIONE Amor, se non m ascolta la dispietata mia, qui drizza l ali, difendami i tuoi strali. PANE, SILVANO, IL SATIRINO Miserabile, dunque speri in dio mutabile? Egl è inabile, né ti sente, arcier vagabile. Miserabile, dunque speri in dio mutabile? ENDIMIONE Uccidetemi dunque dalle speranze mie povero derelitto; tolga il martir la morte ad un afflitto. PANE Poiché morir desideri vo , che tu formi gl aliti per eternarti il flebile privo di libertà. ENDIMIONE O dèi, che crudeltà. PANE, SILVANO, ENDIMIONE Pazzi quei, ch in Amor credono. Son baleni che spariscono. Le dolcezze e in fiel forniscono suoi piaceri, o mai si vedono. Pazzi quei, ch in amor credono. Cavalli,Francesco/La Calisto/III
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CHAPTER XIX UP CHAPTER XXI CHAPTER XX A Good Imagination Gone Wrong Spring had come once more to Green Gables--the beautiful capricious, reluctant Canadian spring, lingering along through April and May in a succession of sweet, fresh, chilly days, with pink sunsets and miracles of resurrection and growth. The maples in Lover s Lane were red budded and little curly ferns pushed up around the Dryad s Bubble. Away up in the barrens, behind Mr. Silas Sloane s place, the Mayflowers blossomed out, pink and white stars of sweetness under their brown leaves. All the school girls and boys had one golden afternoon gathering them, coming home in the clear, echoing twilight with arms and baskets full of flowery spoil. "I m so sorry for people who live in lands where there are no Mayflowers," said Anne. "Diana says perhaps they have something better, but there couldn t be anything better than Mayflowers, could there, Marilla? And Diana says if they don t know what they are like they don t miss them. But I think that is the saddest thing of all. I think it would be TRAGIC, Marilla, not to know what Mayflowers are like and NOT to miss them. Do you know what I think Mayflowers are, Marilla? I think they must be the souls of the flowers that died last summer and this is their heaven. But we had a splendid time today, Marilla. We had our lunch down in a big mossy hollow by an old well--such a ROMANTIC spot. Charlie Sloane dared Arty Gillis to jump over it, and Arty did because he wouldn t take a dare. Nobody would in school. It is very FASHIONABLE to dare. Mr. Phillips gave all the Mayflowers he found to Prissy Andrews and I heard him to say `sweets to the sweet. He got that out of a book, I know; but it shows he has some imagination. I was offered some Mayflowers too, but I rejected them with scorn. I can t tell you the person s name because I have vowed never to let it cross my lips. We made wreaths of the Mayflowers and put them on our hats; and when the time came to go home we marched in procession down the road, two by two, with our bouquets and wreaths, singing `My Home on the Hill. Oh, it was so thrilling, Marilla. All Mr. Silas Sloane s folks rushed out to see us and everybody we met on the road stopped and stared after us. We made a real sensation." "Not much wonder! Such silly doings!" was Marilla s response. After the Mayflowers came the violets, and Violet Vale was empurpled with them. Anne walked through it on her way to school with reverent steps and worshiping eyes, as if she trod on holy ground. "Somehow," she told Diana, "when I m going through here I don t really care whether Gil--whether anybody gets ahead of me in class or not. But when I m up in school it s all different and I care as much as ever. There s such a lot of different Annes in me. I sometimes think that is why I m such a troublesome person. If I was just the one Anne it would be ever so much more comfortable, but then it wouldn t be half so interesting." One June evening, when the orchards were pink blossomed again, when the frogs were singing silverly sweet in the marshes about the head of the Lake of Shining Waters, and the air was full of the savor of clover fields and balsamic fir woods, Anne was sitting by her gable window. She had been studying her lessons, but it had grown too dark to see the book, so she had fallen into wide-eyed reverie, looking out past the boughs of the Snow Queen, once more bestarred with its tufts of blossom. In all essential respects the little gable chamber was unchanged. The walls were as white, the pincushion as hard, the chairs as stiffly and yellowly upright as ever. Yet the whole character of the room was altered. It was full of a new vital, pulsing personality that seemed to pervade it and to be quite independent of schoolgirl books and dresses and ribbons, and even of the cracked blue jug full of apple blossoms on the table. It was as if all the dreams, sleeping and waking, of its vivid occupant had taken a visible although unmaterial form and had tapestried the bare room with splendid filmy tissues of rainbow and moonshine. Presently Marilla came briskly in with some of Anne s freshly ironed school aprons. She hung them over a chair and sat down with a short sigh. She had had one of her headaches that afternoon, and although the pain had gone she felt weak and "tuckered out," as she expressed it. Anne looked at her with eyes limpid with sympathy. "I do truly wish I could have had the headache in your place, Marilla. I would have endured it joyfully for your sake." "I guess you did your part in attending to the work and letting me rest," said Marilla. "You seem to have got on fairly well and made fewer mistakes than usual. Of course it wasn t exactly necessary to starch Matthew s handkerchiefs! And most people when they put a pie in the oven to warm up for dinner take it out and eat it when it gets hot instead of leaving it to be burned to a crisp. But that doesn t seem to be your way evidently." Headaches always left Marilla somewhat sarcastic. "Oh, I m so sorry," said Anne penitently. "I never thought about that pie from the moment I put it in the oven till now, although I felt INSTINCTIVELY that there was something missing on the dinner table. I was firmly resolved, when you left me in charge this morning, not to imagine anything, but keep my thoughts on facts. I did pretty well until I put the pie in, and then an irresistible temptation came to me to imagine I was an enchanted princess shut up in a lonely tower with a handsome knight riding to my rescue on a coal-black steed. So that is how I came to forget the pie. I didn t know I starched the handkerchiefs. All the time I was ironing I was trying to think of a name for a new island Diana and I have discovered up the brook. It s the most ravishing spot, Marilla. There are two maple trees on it and the brook flows right around it. At last it struck me that it would be splendid to call it Victoria Island because we found it on the Queen s birthday. Both Diana and I are very loyal. But I m sorry about that pie and the handkerchiefs. I wanted to be extra good today because it s an anniversary. Do you remember what happened this day last year, Marilla?" "No, I can t think of anything special." "Oh, Marilla, it was the day I came to Green Gables. I shall never forget it. It was the turning point in my life. Of course it wouldn t seem so important to you. I ve been here for a year and I ve been so happy. Of course, I ve had my troubles, but one can live down troubles. Are you sorry you kept me, Marilla?" "No, I can t say I m sorry," said Marilla, who sometimes wondered how she could have lived before Anne came to Green Gables, "no, not exactly sorry. If you ve finished your lessons, Anne, I want you to run over and ask Mrs. Barry if she ll lend me Diana s apron pattern." "Oh--it s--it s too dark," cried Anne. "Too dark? Why, it s only twilight. And goodness knows you ve gone over often enough after dark." "I ll go over early in the morning," said Anne eagerly. "I ll get up at sunrise and go over, Marilla." "What has got into your head now, Anne Shirley? I want that pattern to cut out your new apron this evening. Go at once and be smart too." "I ll have to go around by the road, then," said Anne, taking up her hat reluctantly. "Go by the road and waste half an hour! I d like to catch you!" "I can t go through the Haunted Wood, Marilla," cried Anne desperately. Marilla stared. "The Haunted Wood! Are you crazy? What under the canopy is the Haunted Wood?" "The spruce wood over the brook," said Anne in a whisper. "Fiddlesticks! There is no such thing as a haunted wood anywhere. Who has been telling you such stuff?" "Nobody," confessed Anne. "Diana and I just imagined the wood was haunted. All the places around here are so--so--COMMONPLACE. We just got this up for our own amusement. We began it in April. A haunted wood is so very romantic, Marilla. We chose the spruce grove because it s so gloomy. Oh, we have imagined the most harrowing things. There s a white lady walks along the brook just about this time of the night and wrings her hands and utters wailing cries. She appears when there is to be a death in the family. And the ghost of a little murdered child haunts the corner up by Idlewild; it creeps up behind you and lays its cold fingers on your hand--so. Oh, Marilla, it gives me a shudder to think of it. And there s a headless man stalks up and down the path and skeletons glower at you between the boughs. Oh, Marilla, I wouldn t go through the Haunted Wood after dark now for anything. I d be sure that white things would reach out from behind the trees and grab me." "Did ever anyone hear the like!" ejaculated Marilla, who had listened in dumb amazement. "Anne Shirley, do you mean to tell me you believe all that wicked nonsense of your own imagination?" "Not believe EXACTLY," faltered Anne. "At least, I don t believe it in daylight. But after dark, Marilla, it s different. That is when ghosts walk." "There are no such things as ghosts, Anne." "Oh, but there are, Marilla," cried Anne eagerly. "I know people who have seen them. And they are respectable people. Charlie Sloane says that his grandmother saw his grandfather driving home the cows one night after he d been buried for a year. You know Charlie Sloane s grandmother wouldn t tell a story for anything. She s a very religious woman. And Mrs. Thomas s father was pursued home one night by a lamb of fire with its head cut off hanging by a strip of skin. He said he knew it was the spirit of his brother and that it was a warning he would die within nine days. He didn t, but he died two years after, so you see it was really true. And Ruby Gillis says--" "Anne Shirley," interrupted Marilla firmly, "I never want to hear you talking in this fashion again. I ve had my doubts about that imagination of yours right along, and if this is going to be the outcome of it, I won t countenance any such doings. You ll go right over to Barry s, and you ll go through that spruce grove, just for a lesson and a warning to you. And never let me hear a word out of your head about haunted woods again." Anne might plead and cry as she liked--and did, for her terror was very real. Her imagination had run away with her and she held the spruce grove in mortal dread after nightfall. But Marilla was inexorable. She marched the shrinking ghost-seer down to the spring and ordered her to proceed straightaway over the bridge and into the dusky retreats of wailing ladies and headless specters beyond. "Oh, Marilla, how can you be so cruel?" sobbed Anne. "What would you feel like if a white thing did snatch me up and carry me off?" "I ll risk it," said Marilla unfeelingly. "You know I always mean what I say. I ll cure you of imagining ghosts into places. March, now." Anne marched. That is, she stumbled over the bridge and went shuddering up the horrible dim path beyond. Anne never forgot that walk. Bitterly did she repent the license she had given to her imagination. The goblins of her fancy lurked in every shadow about her, reaching out their cold, fleshless hands to grasp the terrified small girl who had called them into being. A white strip of birch bark blowing up from the hollow over the brown floor of the grove made her heart stand still. The long-drawn wail of two old boughs rubbing against each other brought out the perspiration in beads on her forehead. The swoop of bats in the darkness over her was as the wings of unearthly creatures. When she reached Mr. William Bell s field she fled across it as if pursued by an army of white things, and arrived at the Barry kitchen door so out of breath that she could hardly gasp out her request for the apron pattern. Diana was away so that she had no excuse to linger. The dreadful return journey had to be faced. Anne went back over it with shut eyes, preferring to take the risk of dashing her brains out among the boughs to that of seeing a white thing. When she finally stumbled over the log bridge she drew one long shivering breath of relief. "Well, so nothing caught you?" said Marilla unsympathetically. "Oh, Mar--Marilla," chattered Anne, "I ll b-b-be contt-tented with c-c-commonplace places after this." CHAPTER XIX UP CHAPTER XXI 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 22 34 (Tue)