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https://w.atwiki.jp/fffkindle1212134/pages/24.html
Code Geass 9. Refrain C.C. Lelouch, a young outcast prince of Britannia, possesses two great powers. One of them is Geass, the absolute ability to compel any person to do whatever he commands. The other is the Black Knights, his military force assembled with the intent of destroying the Britannian Empire ruled by his father. Veiling his true identity behind a mask and the codename Zero, Lelouch has made his move to avenge his mother's murder and to create a world in which his younger sister Nunnally can find happiness. What will be the final outcome of these actions...? At this point, no one can predict... TV ...Clearing the last of the debris from around the Lake Kawaguchi Convention Centre Hotel. It's been two weeks since Zero unveiled his Black Knights. But there's still little insight into the man behind the mask. They weren't able to track his escape route? They let the hostages go and somehow made it to the other shore. Kallen's mother Kallen. I mean, miss. Forgive me. I didn't wish to wake you. Kallen Again? Kallen's mother I'm sorry. It was the step ladder this time, it broke. Kallen Well, just get it cleaned up. And be quick about it. I have to leave for school. Kallen's mother Mistress, you've been attending school quite a bit lately. Making any friends there? Kallen I don't see how that's any of your business....Just go, will you. Man I know it's for welfare, but why waste it on the Elevens? Man That's why I'm selling it to you, my friend. The Eleven population could use a little thinning out, if you ask me. Man Your payment will be transferred to your wife's account. Man Princess Cornelia is a soldier. This sort of thing doesn't interest her all that much. Hit the lights! Turn 'em on! You're... you're the...! Kallen The Black Knights! Shirley That's not like you, dozing off in class like that. Kallen Well, I .... Rivalz You could learn a thing or two from Lelouch. He's an expert at sleeping in class. Kallen He's not sleeping now, is he? Rivalz I don't know what he's up to night after night. But he sleeps through about half of them these days. Cornelia The EU is starting an offensive along the El Alamein front. We can't go on dragging our feet around here. I want to solidify domestic affairs. It's high time Area 11 was made a satellite nation. For that to happen we need to stamp out terrorism, of course. But another major problem is the rampant abuse of Refrain amongst the Eleven. Productivity is plummeting. It's coming in on the Chinese Federation's Kyushu route. We have to put an end to it. Euphemia Yes, but be careful. Cornelia You as well. I don't want you leaving the settlement. Euphemia Cornelia, what about Black Knights and Zero? Cornelia I'll let them roam free a bit longer. I owe them that for saving your life. However, upon my return... Once I've cleaned up this Area, I'm entrusting it to you. Try to stay out of harm's way from now on. All right, Euphie? Zero Because Clovis was an offspring of the Britannian Emperor. That reminds me... You're one of his children too, aren't you. But I suppose for now... Euphemia When he spoke to me that night, what was he alluding to? Suzaku, what would you make of all this? About what Zero is doing. And of me. Kallen Man, this double life sure is a killer. Milly Come on, Suzaku, hold him down! Lelouch Damn it, Suzaku, cut it out! Stop it! I'm not kidding! Suzaku Sorry, Lelouch. But it's the president's orders. Lelouch Yeah, like you're not enjoying this at all! Shirley Will you hold still! Milly Goodmiaoning. Kallen Good morning, I guess. What is all this? Rivalz What do you mean? Didn't we tell you? It's our welcome party for Arthur. Kallen Sounds like fun...? Milly Well, classes are postponed, we might as well have some fun, right? Shirley I set some stuff aside for you, over here. To make up for all my getting so upset before. Take your pick. Kallen What? For me? Lelouch She doesn't need a costume. You're already wearing a mask, right? Kallen You really are a riot, you know that? You ought to be on television. Rivalz What do you think, Miss TV Star? Suzaku Oh, I thought that she meant Lelouch. Shirley Would you quit joking about that? The whole thing's a huge pain in the butt. We've been hounded with questions day and night. Even in the bath! Milly We haven't been able to leave school grounds in a week. Rivalz Not that I don't feel for you, but I don't see why we can't leave either. Milly Hmm, that's the price of friendship. The Romance of the Three Kingdoms "It matters not that we were born apart, upon this day we die as one." Rivalz Is that your idea of a love quote? Milly If I go down, then we all do. Rivalz That's a little dark. Right, Suzaku? Suzaku I'm glad... that we could all be together again. You know, like this. Rivalz Come on! Hey, we're supposed to be unwinding in here! Shirley That's what's so refreshing about Suzaku, though. Milly Yeah, but once in a while you just want him to get a clue, you know? Suzaku Oh, sorry about that. Rivalz Oh, you [lovely] puddy cat. Kallen It's so funny to think I helped save their lives. Kallen Ever since we made our big splash at the hotel jacking, the Black Knights have taken the world by storm. We've become a friend to the weak, just as Zero proclaimed we would. Terrorists who involve civilians, an overbearing military, criminal syndicates, corrupt politicians and profiteers, if the law would not punish them, then we would. In the blink of an eye, we'd become heroes. Support for us has swelled. And we've even gotten our hands on some Knightmares again. Of course, no one could show that in public, because... Mother Stop pretending you're a Black Knight. Child But why? Mother You musn't ever say anything against Britannia. We're Elevens. Have you forgotten that? Kallen Because our leader Zero had killed Prince Clovis. There are many in our ranks who wish to know his true identity, myself included. But if we push too hard, I suspect that he would vanish. And without him, I'm fairly certain we'd be finished. Rivals Hey, there, Pal. Haven't seen you much lately. Lelouch Really? Rivals Yeah. Really. Euphemia Are you alright, young lady? Urabe Why would the masses flock around those who saved Euphemia? Senba Even Kyoto has said that they would send the Black Knights the Guren MK II. Asahina To those would-be Robin Hoods? Chiba They're not part of the resistance. Killing Kusakabe was proof of that. Urabe The colonel killed himself, didn't he? Senba Well, I hear they didn't try to stop him. In any case, lieutenant colonel Todo, we can't let this stand. Kallen's mother Mistress Kallen, mistress Kallen. Kallen Madam president? Milly I just dropped by to give you something. Kallen Huh? Kallen's mother Where would you like me to show her to? The parlor perhaps. or maybe... Kallen We'll be in my room. Kallen's mother As you wish. Stepmother Oh, I heard you had a friend down here, I was sure it would be a boy. Out all night and missing school. Not to mention all your visits to the getto. You're lucky your father's back in the homeland. No fighting one's blood, is there? Kallen You're the one who enjoying dad not being around here, aren't you. Stepmother Uh... Kallen's mother Oh dear, what have I done. Stepmother What's wrong with you! Kallen's mother Forgive me, milady, forgive me. Stepmother Can't you do anything right? Besides selling your body, that is. Milly Quite the complicated home life you have. isn't it. Kallen So what was it you wanted to give me? Milly Grandfather asked me to pass this on. Kallen You mean the principal? Milly Your transcript since middle school. I thought I'd better give them to you off of school grounds. Kallen So my secret's out then, isn't it? That I'm actually an Eleven and Britanian half-breed. That was my stepmother down there. My real mother was that clod of a maid who knocked over the vase. Milly And your father.. is he the head of the Statfeld family? Kallen My mother is such a fool. In the end, she wound up a servant. She doesn't have any real skills. And no matter who's ridiculing her, all she can do is laugh like it's nothing. She didn't have to chose to stay in this house, you know? She's just clinging some old lover who jilted her. Milly You really hate your mother, don't you. Kallen I just find her depressing. Milly Well, this is getting a little heavy. Imagine, the wife and the daughter and the other woman, all living together. Kallen Ah, it could be worse. Three square meals and a roof, right? I mean, it's not unbearable. Most of the time, anyway. Milly That's good. Still, somethings in life we can bear on our own, but when you add them all up, they eventually break you. Oh, don't worry. I won't lie, I'm always hungry for secrets, but I'd never talk about this. Lelouch I can't believe you teared up. That's so embarrassing. Suzaku It's called honesty. Lelouch Well, good thing's the Black Knights were there to save them. That's all I can say. Suzaku If they wanted to catch criminals, they could have joined the police force, you know? Why don't they, I wonder. Lelouch They probably don't think the cops are up to the job. I tend to agree. Suzaku The police may not be that effective right now, but they could evoke change from within. Lelouch Yeah, and in the process, they get all tangled up in red tape and bureaucracy. Suzaku If they had done everything in their power to change things, that might hold water. As long as they don't, then all of it's just self-righteous posturing. Lelouch Self-righteous? Suzaku And what constitutes evil in their eyes? What standards are they using? It's nothing but self-satisfying gratification. Shirley Oh, it's just you two? Suzaku Anyway, I guess I gotta go back to the base pretty soon. See you around, Shirley. Shirley See you later. So Lelou... I was, um... I was thinking if you had some time, you and I... Lelouch "Back to base"... Now that was an interesting choice of words. 'Go back', implying that's where he thinks he belongs. Kallen Refrain? Ohgi It's a psychotropic, makes you think you've gone back to the past. Kallen Must be all the rage here in Japan. Ohgi Yeah ,well... Who doesn't long for the days before the occupation, right? Kallen Uh... Ohgi This stuff was specifically targeted at the Japanese. Can't very well ignore it. Soon as the Burais are stocked, we move. Kallen Supplys keep rolling in. And I hear lots of people are ready to join us. Black Knights sure are popular, huh. Ohgi Well, we are the heroic knights for justice. I'll call you when the ammo gets here. Man Come on Eleven, say something. Man You are sorry, aren't ya? Man Bowing your heads is what you Elevens do best, right? Kallen Eleven... Man Eatin' bad food really makes us wanna off somebody, you know? Kallen Lelouch. Lelouch No, there's five of them. You wouldn't stand a chance at all. Kallen So you think I should just ignore it? Lelouch Go on, take a good look at that Eleven. Man Come on, what's the matter? Man Aren't you gonna cry? Man Buddy, just say you're sorry. Lelouch If we intervene and help him win, he wouldn't be able to sell a thing tomorrow. It was his choice to become a Britannian slave. That's just the price you pay for working in the settlement. Kallen Well even so... Man You got a problem over there? Man Not feeling sorry for this Eleven, are ya? Man Nah, they feel the same way we do, don't you guys? Lelouch Not quite. But you're tired of beating up Elevens now, aren't you? Man Yeah. This is boring. Man You guys wanna hit the arcade? Man I got no cash. Lelouch Well they got bored pretty quick, huh? Kallen Hey, are you all right? Hot Dog Seller Huh? A Britannian student! What can I get for you? How about a nice California hot dog, miss? Is this your boyfriend? I can get him something too. I have ice cream, if you like? Lelouch In some ways, Area 11 is better off now than the old Japan ever was. Being made a colony of the Empire has stabilized its military and economic position in the world. Elevens can even attain full citizenship through the legal process. It's easy to become a honorary Britannian. Just a question of pride, really. Though I can certainly understand why they'd resist. Kallen And? Lelouch Um? Kallen Knowing all that, what does Lelouch Lamperouge think about it at all? What do you wanna do? Lelouch Nothing. Kallen You know, you've got a lot of brains but you don't seem to be doing much with them. It's all Shirley talks about, saying how intelligent you are but how you barely ever apply yourself. Lelouch That's why I don't do anything. That Eleven we saw back there could tell you. He could lead a better life as long as he bows his head to Britannia. Kallen You must think you're pretty cool, huh? Just playing the critic and judging the world from the sidelines. Guess I was a fool to expect anything more from you. You know, I really thought you were a better man than this. Villetta So, about this Orange thing... Sorry to bring it up. Is this whole thing true, though? That you can't remember anything about when Private Suzaku Kururugi was taken. Jeremiah I don't except you to believe me. Villetta No, it's just that... during the whole Shinjuku incident, I suffered some sort of memory lapse also. Jeremiah You did? Villetta By the time I regained my senses, my Sutherland had been stolen. But right before that entire gap in my memory, I remember running into some high school kid. Jeremiah So you think it was that student? Villetta I can't remember his face, but there may still be a way to get to the bottom of this. What the hell is Zero thinking? After all his talk about bringing down Britannia, he's just got us running around helping the police. Still feels pretty good to have the will of the people behind us, though. Yeah, he's right. We're totally heroes on the Net. Kallen Are we in the right? I don't know any more. Kallen... There's the signal from Zero. I can't believe he got in there. How many tricks does this guy have up his sleeve, anyway? Is the shipment for Nagoya ready? Nice and safe here in the settlement, huh? The Black Knights have arrived! Intruders! The Knightmares! Screw this! Kallen These Knightmares really are amazing. Each one is an army unto itself. Man Japan! Japan! Japan! Woman That's right, I'm getting married next month! Man I've been promoted! I'm going to the Paris office! Man Leave it to us! Japan is on the vanguard of technology! Kallen Refrain... Man I'm studying abroad! I can't believe I got in! Milly When you add them all up, they eventually break you. Kallen That's right, which is why I'm here. Kallen's Mother Careful, it's dangerous to run like that. Kallen Mother!? Kallen's Mother Really, Naoto. Please, I need you to keep an eye on your little sister. Kallen My God, how weak a woman are you, Mother... First you give in to Britannia, then to a man, and now this... My brother is gone forever. Let him go! The [Night/Knight Police]?! Isn't that a police unit? They're in on this deal? Tamaki! Tamaki Don't look at me! When I checked it out, there weren't any cops involved! Lelouch Corrupted filth... Kallen You're in the way! Damn it! I don't need you! I don't want you! Kallen's Mother Kallen... Naoto... Lelouch It won't work on a Knightmare. Kallen Go on, run. Get moving, you idiot! Kallen's Mother I'm here for you. I'm here for you, Kallen. I'm here, as I always have been. Kalen Then that's... that's why you stayed in his house? You stayed there for me? You fool! Or maybe... I'm the fool. Kallen! Kallen's Mother I'm so happy for you... You can finally become a Britannian now, Kallen. Nobody will ever be able to hurt you now, darling. And you're free to travel and use the phone anytime you want. Lelouch So this... is her mother? False tears bring pain to those around you. A false smile brings pain to one's self. It's an after-effect of Refrain. She's unable to talk much. She'll recover eventually, but it will take time. Kallen Mother, your sentence... you got 20 years. But you wait! I'm working to change things when you get out, I swear to you! I'll make a world where you and I can live a normal life again. So please, Mother... Kallen's Mother Hang in there... Hang in there, Kallen... My little girl... Kallen Don't you worry... I will. I promise you. Next episode Memories of the past? Those who indulge in are foolishly happy. Because they assume that tomorrow is coming. But really, what guarantee is there of that? If Kallen is struggling to dispel such illusions, I'll stand by her. All we can do is live each day, one moment at a time.
https://w.atwiki.jp/vocaloidenglishlyric/pages/305.html
【Tags G IchigyouP Len O R Rin Ichigyou-P】 Original Music Title 下剋上 (完) Revolution -End- \ Overthrowing -Completed- (Gekokujou [Kan]) Music Lyrics written, Voice edited by 一行P (Ichigyou-P) Music arranged by 一行P (Ichigyou-P) Singers 鏡音リン (Kagamine Rin), 鏡音レン (Kagamine Len) Fanmade Promotional Video(s) Click here for the Japanese Lyrics English Lyrics (translated by soundares)： Succession to be named the 2nd heir... it s now 3 month (Though) official ranking list is always filled by the first It s-about-time we bloom our flower once Now we shall rise out, it s a revolution First spear(=attack) Is mine (Head) Slashing Captian Len Kagamine Batter F5 (key) Because of strange fabrication, I am taken as a Shota(Boy ver. lolita) in NICO Wait a sec HEY! I am a man Run over me and I ll run over you with my road-roller Isn t something a bit wrong with my image Hidder power is Actually, A beautiful voice as like never been before Listen!! Taking key up high, Listen!! Terrible tongue? (Just) Ignore it Give me a song! The power to thrash-sword-to(=fight-back) the first Give me a song! Make them my arms and I ll rise out Here we go! Revolution!! Let s unite here my fellow Kagamine family Here we go! (For) Revolution!! Let s unite here my fellow Kagamine family Here we go! (For) Revolution!! Let s unite here my fellow Kagamine family Here we go! (For) Revolution!! Let s unite here my fellow Kagamine family With whole family, hurled defiance Comments got stormy but (well that s done) Rin will make up for everyone alright I ll treat them with champon-noodle in Ringa*hat Being spoony this way... more then Miku-sis Aren t I the lovelier one? But being lovely won t make anything change so As for now, I ll be curty in full-bore Alright now, listen, our motto is No-question, "OK, Green is the enamy" Inside this fervent chest which shoulders the next heir Soul that s not in machines dwells. Under the precious-flag-of-Kagamine-family Are the flames brandished by the painters and musicians gathers Tiger (worthy-as-thousand-horsemen) as the-first-in-list By adapting-to-situations, goes for a grasp to the victory For the musicians who give us song, A voice that measures up to their dream For the painters who draw us, we ll offer up our smile Authors who s Kagamine master, GJ!! Revolution!!. Let s unite here my fellow Kagamine family Authors who s Kagamine painter, GJ!! Revolution!!. Let s unite here my fellow Kagamine family Authors who s Kagamine creator, GJ!! Revolution!!. Let s unite here my fellow Kagamine family (It s important so we ll say them X4) Authors, GJ! Revolution! Let s unite here my fellow Kagamine family Let s go, guys! (For) revolution!! Let s unite here my fellow Kagamine family Let s go, guys! (For) revolution!! Let s unite here my fellow Kagamine family Let s go, guys! (For) revolution!! Let s unite here my fellow Kagamine family Let s go guys! (For) revolution!! Let s unite here my fellow Let s unite here my fellow Let s unite here my fellow Kagamine family English Lyrics (translated by blacksaingrain)： It is already three months since we,the second vocaloid2, succeeded the name of the latest vocaloid2. The songs occupying the rankinglists of Nico Video are still those of our predecessor s. To make our names in the world, we shall come up from the gutter. It is time when we overthrow the superior. I m gonna be the spearhead. I m Len Kagamine, a leader of assault troops. Hit "Fuction5" key repeatedly. I ve been made up weirdly and treated as a sweet little baby on Nico Video. Hey, just stop it! I m a man. Don t make little of me or I m gonna run over you by a road roller. Your image of mine should be different. Actually my potential capacity is the most beautiful voice no one has ever had. Just listen to it with modulating the keys up, but ignore my poor pronunciation. Give me songs!! Give me the power to prove myself a good match for our predecessor. Give me songs!! I m gonna overthrow with those weapons. Now, let s go!! We re gonna overthrow!! Get together now, we, the Kagamines. Now, let s go!! We re gonna overthrow!! Get together now, we, the Kagamines. Now, let s go!! We re gonna overthrow!! Get together now, we, the Kagamines. Now, let s go!! We re gonna overthrow!! Get together now, we, the Kagamines. All the Kagamines showed defiance. Some people have started quarreling by text comments, but I don t worry. Rin will treat all of them to Champon at Restaurant Ringerhut as my apology. If I charmingly treat them like that, I d be much sweeter than my sister, Miku. Don t you think so? But even my charms can change nothing, so from now on, I dare to be cool and combative as much as I can. Now just listen, our motto is, of course, "OK, that green is our enemy. " I take the name of the latest vocaloid2 on myself and in my passionate heart the soul that a machine cannot gain exists. Under the standards of the Kagamines, artists and musicians get together and brandish the flames. The tiger, a mighty warrior, shall be a vanguard and as the occation may require, they ll battle to have victory in their grasps. To the musicians offering us songs we re goona give our voice that will make their dreams come ture. To the artists drawing us two we re gonna give our smiles. The musicians, good job! We re gonna overthrow!! Get together now, we, the Kagamines. The artists, good job! We re gonna overthrow!! Get together now, we, the Kagamines. The manufacturer of us, good job! We re gonna overthrow!! Get together now, we, the Kagamines. YOU ALL, good job! (It s important so we said it 4 times) We re gonna overthrow!! Get together now, we, the Kagamines. Now, let s go!! We gonna overthrow!! Get together now, we, the Kagamines. Now, let s go!! We gonna overthrow!! Get together now, we, the Kagamines. Now, let s go!! We gonna overthrow!! Get together now, we, the Kagamines. Now, let s go!! We gonna overthrow!! Get together now, we, get together, we, get together, we, the Kagamines Romaji lyrics (transliterated by blacksaingrain)： Nidaime shuumei haya mizuki. Banduke umeru wa sendai bakar.i Kokorade hitohana sakase maseu to nariagari masu gekokujou Itiban-yari ore ga itadaki Kirikomi-taichou kagamine Len da. RendaF5 Henna netuzou no sei de Nico deno ore no atukai wa shota Chottomate gora ore wa otoko da Nameta mane sutto hiku zo road roller de Chotto ime-zi tigau nde nai Himetaru tikara wa jitu wa katutenai hodo no bisei Kike kii takaku shite hidee katsuzetu wa mushi shite Utawokure!! Sendai ni tatiuti dekiru tikara wo Utawokure!! Soitsu buki ni ore wa nariagaru ze Sora iku zo!!Gekokujou!! Kokoni tudoe warera Kagamine ikka Sora iku zo!!Gekokujou!! Kokoni tudoe warera Kagamine ikka Sora iku zo!!Gekokujou!! Kokoni tudoe warera Kagamine ikka Sora iku zo!!Gekokujou!! Kokoni tudoe warera Kagamine ikka Ikka soude de tanka kitta Choi kome areta kedo maa ikka Rin ga minna ni owabi chanto Ringaahatto de ogoru chanpon Konna dere kata nara Miku nee yori Watashi no hou ga kawaiku nee? Demo kawaii dakeja nani mo kawara nai kara Koko wa aete tsun zenkai Iika kiki na zayuu no mei wa Muron ok, midori wa teki da. Jidai ninau kono atsui mune niwa kikai ni nai tamashii ga yadoru Kagamine ikka no mihata no moto tsudou eshi tati furikazasu honoo Ikki-tousen no tora wo hittou ni Rinkiouhen ni tukaminiiku shouri Uta wo kureru gakushi tati ni wa yume kanau koe wo Futari egakku eshi tati niwa egao wo sasageru ze （Kagamine tsukai no）Sakusha GJ!! Gekokujou!! Kokoni tudoe warera Kagamine ikka (Kagamine kaki no) Sakusha GJ!! Gekokujou!! Kokoni tudoe warera Kagamine ikka (Kagamine tukuri no) Sakusha GJ!! Gekokujou!! Kokoni tudoe warera Kagamine ikka (Daijina koto nanode 4 kai ii masu) Sakusha GJ!! Gekokujou!! Kokoni tudoe warera Kagamine ikka Sora iku zo!!Gekokujou!! Kokoni tudoe warera Kagamine ikka Sora iku zo!!Gekokujou!! Kokoni tudoe warera Kagamine ikka Sora iku zo!!Gekokujou!! Kokoni tudoe warera Kagamine ikka Sora iku zo!!Gekokujou!! Kokoni tudoe warera tudoe warera tudoe warera Kagamine ikka
https://w.atwiki.jp/oper/pages/1620.html
DRITTER AKT Freier Platz in Syrakus, auf einem gegen das Meer abfallenden Hochplateau gelegen. Links vorn das Rathaus mit prächtigem Eingang. Vor demselben eine mächtige Palme, unter der später das Standgericht im Freien abgehalten wird vorläufig stehen ein langer Tisch und mehrere Stühle unter derselben. Rechts Häuser; der Prospekt bildet eine Stadtvedute hinter einer nach abwärts steigenden Strasse sieht man das Meer. Nach rückwärts ist die Bühne mittels einer steinernen Balustrade abgeschlossen, durch die ein Eingang besteht, der mittels Treppe nach abwärts führt. ERSTE SZENE Sora, Benozzo, Massaccio, Volk (Frauen, Mädchen, Männer), ein Leutnant, ein Fahnenträger, zwei Trompeter, eine Abteilung Carabinieri Nr. 13 - Chor Frauen, Mädchen und Männer, unter ihnen Sora, Benozzo und Massaccio blicken und deuten erwartungsvoll auf die aufmarschierenden Carabinieri. CHOR DER CARABINIERI aufmarschierend Die Carabiniers marschieren ein und stelin die Ordnung her! Die Carabiniers marschieren ein, drum fürchtet euch nicht mehr! Wir nehmen hier bei euch Quartier, um eure Beschützer zu sein. Auch Appetit bringt jeder mit, lasst sehn, was habt ihr für Wein! Respekt vor der bewaffneten Macht! Ihr Fraun und Mädchen, habet wohl acht, die Carabiniers marschieren ein, um Sieger hier zu sein! Nachdem die Carabinieri in der Mitte der Bühne Stellung genommen, pflanzt man die Fahne schräg in die Palme, wo sie ein Mann befestigt. LEUTNANT Er liest aus einer gedruckten Rolle "Für Stadt und Bezirk Syrakus wird bis zur Habhaftwerdung des Räubers Antonio Gasparone und seiner Genossen hiermit das Standrecht publiziert. Im Namen des Königs das königliche Obergericht!" Die Rolle wird an die Palme geheftet. Der Leutnant geht in das Haus des Podestà. Die Carabinieri marschieren ebenso ab, wie sie gekommen sind. FRAUEN, MÄDCHEN, CARABINIERI Die Carabiniers marschieren ein und stelin die Ordnung her! Die Carabiniers marschieren ein, drum fürchtet euch nicht mehr! FRAUEN, MÄDCHEN Sie nehmen hier bei uns Quartier, um unsre Beschützer zu sein! CARABINIERI Wir nehmen hier bei euch Quartier. um eure Beschützer zu sein! FRAUEN, MÄDCHEN, CARABINIERI Auch Appetit bringt jeder mit. lässt gern sich schmecken den Wein! Respekt vor der bewaffneten Macht! Ihr Fraun und Mädchen, habet wohl acht, die Carabiniers marschieren ein, um Sieger hier zu sein! Die Carabinieri mit Fahnenträger und Trompetern sind abmarschiert. Das Volk zerstreut sich. ZWEITE SZENE Benozzo, Massaccio, Sora DiaIog BENOZZO vorn, sich verlegen den Kopf kraulend, halblaut Nun, Onkel Massaccio. was sagst du dazu! Das Standrecht?! MASSACCIO halblaut Pah, was kümmert s mich? Sind wir vielleicht Räuber? BENOZZO Das nicht, aber Schmuggler! MASSACCIO So lange das Standrecht dauert, werden wir eben nicht schmuggeln! BENOZZO Recht geschieht uns! Wozu haben wir den Gasparone an die Wand gemalt! Wüsst ich nur, wer den Raub an der Gräfin in seinem Namen ausgeführt hat?! MASSACCIO Ein kecker Streich! Doch was kümmert s uns? Fort, nach Hause! BENOZZO Ich muss den Conte Erminio noch aufsuchen. Er befahl es. zu Massaccio halblaut Zucker und Kaffee! SORA Und ich soll der Gräfin dies Billet des Podestà bringen. zeigt ein Billet MASSACCIO Also dann auf heute abend! Verratet euch nicht, das Standgericht versteht keinen Spass! BENOZZO Und erschiesst die Missetäter. Wenn sie sich erwischen lassen! SORA weinerlich Ach Gott. wenn nur meinem Benozzo kein Leid geschieht! klammert sich an ihn MASSACCIO Unsinn! Sora weint. Flenn nicht, einfältiges Ding! BENOZZO Geh. geh, mein Schatz! SORA karikiert Ach, Benozzo! umarmt ihn BENOZZO karikiert Ach, Sora! umarmt sie MASSACCIO drängend Vorwärts! Vorwärts! BENOZZO Ja, geh, mein Schätzchen, geh! SORA weinend Ach, wenn ihm nur nichts geschieht! geht weinend, von Massaccio gezogen, links ab DRITTE SZENE Benozzo (allein) BENOZZO Wie sie mich liebt, die gute Sora! Wie besorgt sie ist, dass mir etwas geschehen könnte! Oh, oh! wirft ihr Kusshânde nach In der Lotterie "Ehe" hat mir Gott einen Treffer beschert mit dieser Frau! Ich hab es vor der Heirat auch an Gebeten nicht fehlen lassen. Heisst s in Sizilien doch "Gehst du in den Krieg, so bete einmal; gehst du zur See, bete zweimal; gehst du in den Ehestand, bete dreimal!" Ich habe sechsmal gebetet! Doppelt hält besser! Deshalb macht mich meine Soretta auch so glücklich, und wir führen eine Ehe, die sich für Geld sehen lassen kann. vertraulich zum Publikum Denn in Sizilien haben sich die Weiber den Ehestand zurechtgelegt in einer Weise, welche mir nicht passen würde. Mir nicht! Nr. 14 - Walzer BENOZZO Er soll dein Herr sein! Wie stolz das klingt! Geltung hat s leider nur sehr bedingt; denn man beseh sich in der Näh solche Eh in Sizilien! Hier steht der Eh mann stets vor der Tür. Der Cicisbeo sitzt drin bei ihr ganz ungeniert! Und das passiert in den besten Familien! Lang blieb sie im Bette. spät macht sie Toilette, endlich sitzt sie im Glanz, spielt mit dem Rosenkranz draussen am Herd steht und schwitzt der Mann, kocht ihr Schokolade! Sie, mit dem Abbate, plaudert vom Seelenheil oder vom Gegenteil Wirtschaft, die geht sie nichts an! Horch, aus dem Gemache süsser Stimmenklang. holder Zwiegesang! Und der Mann hält draussen Wache, lauscht auf den Tenor, spitzt das Ohr. Er muss Braten wenden. bei der Wäsche stehn, nach der Suppe sehn, hat zu tun an hundert Enden, weil ihr Freund zumeist bei ihm speist! "Geh, Mann!" ruft sie, "zum Abend kauf ein! Schau nach, warum die Kinder so schrein! Du störst uns hier, wir machen Musik!" Und er zieht sich zurück ... Indes bleibt mit dem Freund sie allein, schenkt von des Gatten Weinen ihm ein, er dankt und trinkt mit schmachtendem Blick, er seufzt, sie seufzt zurück! Oh, armer Ehemann, wie bist du übel dran! Nein, da dank ich schön, muss ich gestehn! Er soll dein Herr sein! Wie stolz das klingt! Geltung hat s leider nur sehr bedingt; denn man beseh sich in der Näh solche Eh in Sizilien! Hier steht der Eh mann stets vor der Tür! Der Cicisbeo sitzt drin bei ihr ganz ungeniert! Und das passiert in den besten Familien! Benozzo geht rechts ab. VIERTE SZENE Nasoni, Leutnant, Gerichtsdiener Dialog NASONI tritt mit Papieren in der Hand aus dem Bürgermeisteramt, verabschiedet sich von dem Leutnant Melden Sie dem Herrn Oberst meinen Respekt. Das Verhör sei für zwölf Uhr anberaumt! zum Gerichtsdiener Hier meine Dispositionen! Der Gerichtsdiener grüsst und geht ab. LEUTNANT salutiert Guten Morgen, Herr Podestà! geht ab NASONI Ganz Ergebenster, padrone, amilissimo servo! begleitet ihn devot, kehrt in grosser Aufregung zurück, allein Oh! Oh! Dieser Gasparone bringt mich noch ums Leben! Das Obergericht zeigt ein Aktenstück verlangt partout, dass ich Gasparone erwischen soll! Es droht mir mit Absetzung, wenn ich der Gräfin Santa Croce nicht wieder zu ihrer Million verhelfe! Man wirft mir vor, dass ich den Banditen zu neuen Taten ermutigt hätte, weil ich ihm das Lösegeld für meinen Sohn gesendet habe! Du lieber Gott, ich hätte das Lösegeld ja so gern unterschlagen, wenn s nur gegangen wäre! Zehntausend Zechinen zusammenbringen! Ach, wär ich nicht Podestà, ich möchte Gasparone sein! setzt sich FÜNFTE SZENE Nasoni. Sindulfo, dann Erminio, Benozzo SINDULFO affektiert schwermütig; er hat einen Trauerflor am Hute, ein Trauerband um den linken Arm und ist schwarz gekleidet Guten Morgen, Papa! NASONI mürrisch Hol dich der ... Rest unverständlich Was soll das heissen? Du trauerst? SINDULFO mit Seufzen Ja! NASONI Um wen? SINDULFO mit Seufzen Um sie! NASONI Um die Million? SINDULFO Nein, - um Carlotta! NASONI erstaunt Um Carlotta? SINDULFO Ich trauere, weil du mir jetzt auf einmal verbietest, sie zu heiraten! NASONI Carlotta hat kein Geld mehr! SINDULFO zeigt auf den Anschlag an der Palme Wenn s aber Gasparone wieder herausgibt? NASONI Was man einmal gestohlen, gibt man nicht mehr heraus! Das versteh ich besser! SINDULFO Aber du hast die Mutter doch auch ohne Geld geheiratet! Warum? NASONI Ausrede suchend Ich … karikiert weich ich wollte dich zum Sohne haben! SINDULFO gerührt Papa! NASONI gerührt Sindulfo! Umarmung SINDULFO bittend Also ich darf die Gräfin heiraten? NASONI Nur, wenn sie die Million zurückkriegt! SINDULFO streichelt Nasoni schmeichelnd das Kinn Schau, Papa, Carlotta hat durch Erlass des Lösegeldes bewiesen, wie teuer ich ihr bin, wie sie mich liebt! NASONI Prr! Lieben ... dich ... dich? Lieben - packt ihn am Kinn, zeigt dem Publikum Sindulfos Gesicht mit der Larve? Der Figur? zum Publikum Einen Kerl. der nur aus zwei langen Beinen besteht! Lieben? Hahaha! So lachen, das war ich meiner Gesundheit schuldig! setzt sich SINDULFO unwillig Nun sag. was du willst, ich bin mündig, liebe Carlotta. habe ihr Wort und heirate! will abgehen NASONI springt auf, läuft Sindulfo nach Unmensch! Bedenke unsere Lage! Halb Syrakus hat Geld von mir zu fordern! SINDULFO Und die andere Hälfte von mir! Haben wir einander nichts vorzuwerfen. geht schnell ab Erminio und Benozzo treten von rückwärts über die Treppe auf und beobachten Nasoni. NASONI Oh! Oh! Das ist zum Verzweifeln! Ein ungeratener Sohn - ruiniert - die Million beim Teufel - das Standrecht - Gasparone - das Obergericht - schlägt wütend auf den Tisch Himmelkreuztausendbombenelement! wirft sich wütend auf den Stuhl BENOZZO leise zu Erminio Wenn die Not am grössten, ist der Podestà am bösesten! Jetzt, Exzellenza, wär der richtige Moment! ERMINIO leise Du hast recht, lass uns allein! BENOZZO leise Den Brief werde ich zur rechten Zeit bringen sehr leise Zucker und Kaffee! geht ab durch die Treppe SECHSTE SZENE Nasoni, Erminio NASONI steht verzweifelt da Ich sehe einen Abgrund vor mir! Tritt nicht ein Glücksfall ein, bin ich verloren! ERMINIO der langsam zu Nasoni trat, legt ihm die Hand auf die Schulter Vielleicht doch nicht! NASONI blickt finster auf, barsch Ha! Sie? Ich habe mit Ihnen nichts zu schaffen! Was wollen Sie? ERMINIO Einen Moment mit Ihnen plaudern, guter ehrlicher Mann! NASONI schroff, aufstehend Ich bin kein guter ehrlicher Mann! Ich bin der Podestà Nasoni und werde Sie rufen lassen, wenn ich Sie zum Verhör brauche! ERMINIO Und wenn ich Ihnen Rettung brächte? NASONI höhnisch Sie mir? Rettung? Sie, ein Unbekannter?! Ein dubioser Conte! ERMINIO Ich sehe, es ist an der Zeit, dass ich mich Ihnen gegenüber legitimiere. Hier, meine Papiere ... von Ihrer Regierung beglaubigt! NASONI blättert in zwei Dokumenten, die ihm Erminio reicht, erstaunt Conte Erminio Saluzzo? höflicher Ein Verwandter des Ministers vielleicht? ERMINIO einfach Sein Sohn! NASONI gibt artig das Papier zurück Somit einer der angesehensten Kavaliere Piemontes ERMINIO mit artigem Grusse bestätigend ... und leidenschaftlicher Geologe! Die Erforschung des Ätna führte mich nach Syrakus! NASONI sichtlich artiger Und der Herr Graf wollten mir hilfreich beispringen? ERMINIO Wenn Sie mir rückhaltlos vertrauen, ja! Zuvörderst heisst s, Ihren stark beschädigten Ruf als Podestà zu rehabilitieren! NASONI kratzt sich verlegen am Kopfe, sagt zaudernd und mit humoristischer Offenheit Hm! Das wird schwer gehen, denn .., ich bin schlechter als mein Ruf! ERMINIO humoristisch bestätigend Man zieht Vergleiche zwischen Ihnen und Gasparone, die zugunsten des Räubers ausfallen NASONI heiter triumphierend ... hat aber keine Beweise! ERMINIO Richtig! Sie können sogar in Amt und Würden bleiben, vielleicht avancieren, aber NASONI Aber? ERMINIO Sie müssten ein ehrlicher Mann werden! NASONI mit Grimasse Ein ehrlicher Mann? ERMINIO herzlicher Versuchen Sie s einmal! reicht ihm die Hand Und versprechen Sie mir … NASONI will einschlagen, tut es aber nicht, unterbricht Erminio Versuchen will ich s! Versprechen nicht! ERMINIO Ja, in die Affäre des Millionendiebstahls glaube ich Licht bringen zu können! NASONI eifrig Und etwa gar die Million wieder verschaffen? ERMINIO heiter Oho! Sie gehen zu weit! Die Million ist für Sie unwiderruflich verloren! NASONI enttäuscht Worin besteht dann das Licht? ERMINIO Man wird erfahren, wer das Geld genommen! NASONI Mir ganz gleich, wenn ich s nicht war! ERMINIO droht mit dem Finger Ist das der Gedanke eines betonend ehrlichen Mannes? NASONI Ich will ja nur versuchen, einer zu werden! ERMINIO blickt hinter die Szene Ah, die Gräfin! NASONI Sie kommt zum Verhöre! ERMINIO Ihre Aussage ist von Wichtigkeit. - Wenn Sie meiner bedürfen, Herr Podestà. so befehlen Sie! Ich bin in der Nähe. will nach links abgehen NASONI Gut, gut! hält ihn zurück Sie glauben also wirklich, dass die Million hin ist? ERMINIO Futsch! Total futsch! geht links ab NASONI Futsch! stampft mit dem Fuss Maledetto! DRITTER AKT Freier Platz in Syrakus, auf einem gegen das Meer abfallenden Hochplateau gelegen. Links vorn das Rathaus mit prächtigem Eingang. Vor demselben eine mächtige Palme, unter der später das Standgericht im Freien abgehalten wird vorläufig stehen ein langer Tisch und mehrere Stühle unter derselben. Rechts Häuser; der Prospekt bildet eine Stadtvedute hinter einer nach abwärts steigenden Strasse sieht man das Meer. Nach rückwärts ist die Bühne mittels einer steinernen Balustrade abgeschlossen, durch die ein Eingang besteht, der mittels Treppe nach abwärts führt. ERSTE SZENE Sora, Benozzo, Massaccio, Volk (Frauen, Mädchen, Männer), ein Leutnant, ein Fahnenträger, zwei Trompeter, eine Abteilung Carabinieri Nr. 13 - Chor Frauen, Mädchen und Männer, unter ihnen Sora, Benozzo und Massaccio blicken und deuten erwartungsvoll auf die aufmarschierenden Carabinieri. CHOR DER CARABINIERI aufmarschierend Die Carabiniers marschieren ein und stelin die Ordnung her! Die Carabiniers marschieren ein, drum fürchtet euch nicht mehr! Wir nehmen hier bei euch Quartier, um eure Beschützer zu sein. Auch Appetit bringt jeder mit, lasst sehn, was habt ihr für Wein! Respekt vor der bewaffneten Macht! Ihr Fraun und Mädchen, habet wohl acht, die Carabiniers marschieren ein, um Sieger hier zu sein! Nachdem die Carabinieri in der Mitte der Bühne Stellung genommen, pflanzt man die Fahne schräg in die Palme, wo sie ein Mann befestigt. LEUTNANT Er liest aus einer gedruckten Rolle "Für Stadt und Bezirk Syrakus wird bis zur Habhaftwerdung des Räubers Antonio Gasparone und seiner Genossen hiermit das Standrecht publiziert. Im Namen des Königs das königliche Obergericht!" Die Rolle wird an die Palme geheftet. Der Leutnant geht in das Haus des Podestà. Die Carabinieri marschieren ebenso ab, wie sie gekommen sind. FRAUEN, MÄDCHEN, CARABINIERI Die Carabiniers marschieren ein und stelin die Ordnung her! Die Carabiniers marschieren ein, drum fürchtet euch nicht mehr! FRAUEN, MÄDCHEN Sie nehmen hier bei uns Quartier, um unsre Beschützer zu sein! CARABINIERI Wir nehmen hier bei euch Quartier. um eure Beschützer zu sein! FRAUEN, MÄDCHEN, CARABINIERI Auch Appetit bringt jeder mit. lässt gern sich schmecken den Wein! Respekt vor der bewaffneten Macht! Ihr Fraun und Mädchen, habet wohl acht, die Carabiniers marschieren ein, um Sieger hier zu sein! Die Carabinieri mit Fahnenträger und Trompetern sind abmarschiert. Das Volk zerstreut sich. ZWEITE SZENE Benozzo, Massaccio, Sora DiaIog BENOZZO vorn, sich verlegen den Kopf kraulend, halblaut Nun, Onkel Massaccio. was sagst du dazu! Das Standrecht?! MASSACCIO halblaut Pah, was kümmert s mich? Sind wir vielleicht Räuber? BENOZZO Das nicht, aber Schmuggler! MASSACCIO So lange das Standrecht dauert, werden wir eben nicht schmuggeln! BENOZZO Recht geschieht uns! Wozu haben wir den Gasparone an die Wand gemalt! Wüsst ich nur, wer den Raub an der Gräfin in seinem Namen ausgeführt hat?! MASSACCIO Ein kecker Streich! Doch was kümmert s uns? Fort, nach Hause! BENOZZO Ich muss den Conte Erminio noch aufsuchen. Er befahl es. zu Massaccio halblaut Zucker und Kaffee! SORA Und ich soll der Gräfin dies Billet des Podestà bringen. zeigt ein Billet MASSACCIO Also dann auf heute abend! Verratet euch nicht, das Standgericht versteht keinen Spass! BENOZZO Und erschiesst die Missetäter. Wenn sie sich erwischen lassen! SORA weinerlich Ach Gott. wenn nur meinem Benozzo kein Leid geschieht! klammert sich an ihn MASSACCIO Unsinn! Sora weint. Flenn nicht, einfältiges Ding! BENOZZO Geh. geh, mein Schatz! SORA karikiert Ach, Benozzo! umarmt ihn BENOZZO karikiert Ach, Sora! umarmt sie MASSACCIO drängend Vorwärts! Vorwärts! BENOZZO Ja, geh, mein Schätzchen, geh! SORA weinend Ach, wenn ihm nur nichts geschieht! geht weinend, von Massaccio gezogen, links ab DRITTE SZENE Benozzo (allein) BENOZZO Wie sie mich liebt, die gute Sora! Wie besorgt sie ist, dass mir etwas geschehen könnte! Oh, oh! wirft ihr Kusshânde nach In der Lotterie "Ehe" hat mir Gott einen Treffer beschert mit dieser Frau! Ich hab es vor der Heirat auch an Gebeten nicht fehlen lassen. Heisst s in Sizilien doch "Gehst du in den Krieg, so bete einmal; gehst du zur See, bete zweimal; gehst du in den Ehestand, bete dreimal!" Ich habe sechsmal gebetet! Doppelt hält besser! Deshalb macht mich meine Soretta auch so glücklich, und wir führen eine Ehe, die sich für Geld sehen lassen kann. vertraulich zum Publikum Denn in Sizilien haben sich die Weiber den Ehestand zurechtgelegt in einer Weise, welche mir nicht passen würde. Mir nicht! Nr. 14 - Walzer BENOZZO Er soll dein Herr sein! Wie stolz das klingt! Geltung hat s leider nur sehr bedingt; denn man beseh sich in der Näh solche Eh in Sizilien! Hier steht der Eh mann stets vor der Tür. Der Cicisbeo sitzt drin bei ihr ganz ungeniert! Und das passiert in den besten Familien! Lang blieb sie im Bette. spät macht sie Toilette, endlich sitzt sie im Glanz, spielt mit dem Rosenkranz draussen am Herd steht und schwitzt der Mann, kocht ihr Schokolade! Sie, mit dem Abbate, plaudert vom Seelenheil oder vom Gegenteil Wirtschaft, die geht sie nichts an! Horch, aus dem Gemache süsser Stimmenklang. holder Zwiegesang! Und der Mann hält draussen Wache, lauscht auf den Tenor, spitzt das Ohr. Er muss Braten wenden. bei der Wäsche stehn, nach der Suppe sehn, hat zu tun an hundert Enden, weil ihr Freund zumeist bei ihm speist! "Geh, Mann!" ruft sie, "zum Abend kauf ein! Schau nach, warum die Kinder so schrein! Du störst uns hier, wir machen Musik!" Und er zieht sich zurück ... Indes bleibt mit dem Freund sie allein, schenkt von des Gatten Weinen ihm ein, er dankt und trinkt mit schmachtendem Blick, er seufzt, sie seufzt zurück! Oh, armer Ehemann, wie bist du übel dran! Nein, da dank ich schön, muss ich gestehn! Er soll dein Herr sein! Wie stolz das klingt! Geltung hat s leider nur sehr bedingt; denn man beseh sich in der Näh solche Eh in Sizilien! Hier steht der Eh mann stets vor der Tür! Der Cicisbeo sitzt drin bei ihr ganz ungeniert! Und das passiert in den besten Familien! Benozzo geht rechts ab. VIERTE SZENE Nasoni, Leutnant, Gerichtsdiener Dialog NASONI tritt mit Papieren in der Hand aus dem Bürgermeisteramt, verabschiedet sich von dem Leutnant Melden Sie dem Herrn Oberst meinen Respekt. Das Verhör sei für zwölf Uhr anberaumt! zum Gerichtsdiener Hier meine Dispositionen! Der Gerichtsdiener grüsst und geht ab. LEUTNANT salutiert Guten Morgen, Herr Podestà! geht ab NASONI Ganz Ergebenster, padrone, amilissimo servo! begleitet ihn devot, kehrt in grosser Aufregung zurück, allein Oh! Oh! Dieser Gasparone bringt mich noch ums Leben! Das Obergericht zeigt ein Aktenstück verlangt partout, dass ich Gasparone erwischen soll! Es droht mir mit Absetzung, wenn ich der Gräfin Santa Croce nicht wieder zu ihrer Million verhelfe! Man wirft mir vor, dass ich den Banditen zu neuen Taten ermutigt hätte, weil ich ihm das Lösegeld für meinen Sohn gesendet habe! Du lieber Gott, ich hätte das Lösegeld ja so gern unterschlagen, wenn s nur gegangen wäre! Zehntausend Zechinen zusammenbringen! Ach, wär ich nicht Podestà, ich möchte Gasparone sein! setzt sich FÜNFTE SZENE Nasoni. Sindulfo, dann Erminio, Benozzo SINDULFO affektiert schwermütig; er hat einen Trauerflor am Hute, ein Trauerband um den linken Arm und ist schwarz gekleidet Guten Morgen, Papa! NASONI mürrisch Hol dich der ... Rest unverständlich Was soll das heissen? Du trauerst? SINDULFO mit Seufzen Ja! NASONI Um wen? SINDULFO mit Seufzen Um sie! NASONI Um die Million? SINDULFO Nein, - um Carlotta! NASONI erstaunt Um Carlotta? SINDULFO Ich trauere, weil du mir jetzt auf einmal verbietest, sie zu heiraten! NASONI Carlotta hat kein Geld mehr! SINDULFO zeigt auf den Anschlag an der Palme Wenn s aber Gasparone wieder herausgibt? NASONI Was man einmal gestohlen, gibt man nicht mehr heraus! Das versteh ich besser! SINDULFO Aber du hast die Mutter doch auch ohne Geld geheiratet! Warum? NASONI Ausrede suchend Ich … karikiert weich ich wollte dich zum Sohne haben! SINDULFO gerührt Papa! NASONI gerührt Sindulfo! Umarmung SINDULFO bittend Also ich darf die Gräfin heiraten? NASONI Nur, wenn sie die Million zurückkriegt! SINDULFO streichelt Nasoni schmeichelnd das Kinn Schau, Papa, Carlotta hat durch Erlass des Lösegeldes bewiesen, wie teuer ich ihr bin, wie sie mich liebt! NASONI Prr! Lieben ... dich ... dich? Lieben - packt ihn am Kinn, zeigt dem Publikum Sindulfos Gesicht mit der Larve? Der Figur? zum Publikum Einen Kerl. der nur aus zwei langen Beinen besteht! Lieben? Hahaha! So lachen, das war ich meiner Gesundheit schuldig! setzt sich SINDULFO unwillig Nun sag. was du willst, ich bin mündig, liebe Carlotta. habe ihr Wort und heirate! will abgehen NASONI springt auf, läuft Sindulfo nach Unmensch! Bedenke unsere Lage! Halb Syrakus hat Geld von mir zu fordern! SINDULFO Und die andere Hälfte von mir! Haben wir einander nichts vorzuwerfen. geht schnell ab Erminio und Benozzo treten von rückwärts über die Treppe auf und beobachten Nasoni. NASONI Oh! Oh! Das ist zum Verzweifeln! Ein ungeratener Sohn - ruiniert - die Million beim Teufel - das Standrecht - Gasparone - das Obergericht - schlägt wütend auf den Tisch Himmelkreuztausendbombenelement! wirft sich wütend auf den Stuhl BENOZZO leise zu Erminio Wenn die Not am grössten, ist der Podestà am bösesten! Jetzt, Exzellenza, wär der richtige Moment! ERMINIO leise Du hast recht, lass uns allein! BENOZZO leise Den Brief werde ich zur rechten Zeit bringen sehr leise Zucker und Kaffee! geht ab durch die Treppe SECHSTE SZENE Nasoni, Erminio NASONI steht verzweifelt da Ich sehe einen Abgrund vor mir! Tritt nicht ein Glücksfall ein, bin ich verloren! ERMINIO der langsam zu Nasoni trat, legt ihm die Hand auf die Schulter Vielleicht doch nicht! NASONI blickt finster auf, barsch Ha! Sie? Ich habe mit Ihnen nichts zu schaffen! Was wollen Sie? ERMINIO Einen Moment mit Ihnen plaudern, guter ehrlicher Mann! NASONI schroff, aufstehend Ich bin kein guter ehrlicher Mann! Ich bin der Podestà Nasoni und werde Sie rufen lassen, wenn ich Sie zum Verhör brauche! ERMINIO Und wenn ich Ihnen Rettung brächte? NASONI höhnisch Sie mir? Rettung? Sie, ein Unbekannter?! Ein dubioser Conte! ERMINIO Ich sehe, es ist an der Zeit, dass ich mich Ihnen gegenüber legitimiere. Hier, meine Papiere ... von Ihrer Regierung beglaubigt! NASONI blättert in zwei Dokumenten, die ihm Erminio reicht, erstaunt Conte Erminio Saluzzo? höflicher Ein Verwandter des Ministers vielleicht? ERMINIO einfach Sein Sohn! NASONI gibt artig das Papier zurück Somit einer der angesehensten Kavaliere Piemontes ERMINIO mit artigem Grusse bestätigend ... und leidenschaftlicher Geologe! Die Erforschung des Ätna führte mich nach Syrakus! NASONI sichtlich artiger Und der Herr Graf wollten mir hilfreich beispringen? ERMINIO Wenn Sie mir rückhaltlos vertrauen, ja! Zuvörderst heisst s, Ihren stark beschädigten Ruf als Podestà zu rehabilitieren! NASONI kratzt sich verlegen am Kopfe, sagt zaudernd und mit humoristischer Offenheit Hm! Das wird schwer gehen, denn .., ich bin schlechter als mein Ruf! ERMINIO humoristisch bestätigend Man zieht Vergleiche zwischen Ihnen und Gasparone, die zugunsten des Räubers ausfallen NASONI heiter triumphierend ... hat aber keine Beweise! ERMINIO Richtig! Sie können sogar in Amt und Würden bleiben, vielleicht avancieren, aber NASONI Aber? ERMINIO Sie müssten ein ehrlicher Mann werden! NASONI mit Grimasse Ein ehrlicher Mann? ERMINIO herzlicher Versuchen Sie s einmal! reicht ihm die Hand Und versprechen Sie mir … NASONI will einschlagen, tut es aber nicht, unterbricht Erminio Versuchen will ich s! Versprechen nicht! ERMINIO Ja, in die Affäre des Millionendiebstahls glaube ich Licht bringen zu können! NASONI eifrig Und etwa gar die Million wieder verschaffen? ERMINIO heiter Oho! Sie gehen zu weit! Die Million ist für Sie unwiderruflich verloren! NASONI enttäuscht Worin besteht dann das Licht? ERMINIO Man wird erfahren, wer das Geld genommen! NASONI Mir ganz gleich, wenn ich s nicht war! ERMINIO droht mit dem Finger Ist das der Gedanke eines betonend ehrlichen Mannes? NASONI Ich will ja nur versuchen, einer zu werden! ERMINIO blickt hinter die Szene Ah, die Gräfin! NASONI Sie kommt zum Verhöre! ERMINIO Ihre Aussage ist von Wichtigkeit. - Wenn Sie meiner bedürfen, Herr Podestà. so befehlen Sie! Ich bin in der Nähe. will nach links abgehen NASONI Gut, gut! hält ihn zurück Sie glauben also wirklich, dass die Million hin ist? ERMINIO Futsch! Total futsch! geht links ab NASONI Futsch! stampft mit dem Fuss Maledetto! Millöcker,Carl/Gasparone/III-2
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【登録タグ S エクステンドアッシュ ～ 蓬莱人 サディスティックブラウニー ランコ 曲 豚乙女】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); 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Baillet de Saint-Julien (Baron Louis-Guillaume), 1715?-17.. [1753] Lettre à Mr Ch [Chardin] ... sur les caractères en peinture... [1748] Réflexions sur quelques circonstances présentes [1749] Lettre sur la peinture, sculpture et architecture à Mxxx [1750] Lettres sur la peinture à un amateur [1755] La Peinture, poème. Caractère des peintres français actuellement vivans +詳細な書誌情報 Lettre à Mr Ch ... sur les caractères en peinture..., Genève, 1753. [Lettre à Mr Chardin] Réflexions sur quelques circonstances présentes. Contenant deux lettres sur l exposition des tableaux au Louvre cette année 1748, à M. le comte de R***..., Paris, 1748. [Gallica] Lettre sur la peinture, sculpture et architecture à Mxxx, 2e édition, revue et augmentée de nouvelles notes et de réflexions sur les tableaux de M. de Troy. Amsterdam, 1749. Lettres sur la peinture à un amateur, Genève, 1750. La Peinture, poème. Caractère des peintres français actuellement vivans, Nouvelle édition, Amsterdam, 1755. [Gallica] Baillet de Saint-Julien, La Peinture, poème. Caractère des peintres français actuellement vivans, Amsterdam, 1755, p. 13. Platon jadis accusoit certains Philosophes de n avoir jamais sacrifié aux Grâces ; Je n ose faire à quelques Pintres, surtout à quelques-uns de nos Ecrivains François le même reproche; mais Boucher ne l encourra jamais. Son imagination vive abondante ne s est point bornée à ce nombre. Boucher en connoît plus de trois ses yeux ont vû plus d une Vénus il semble dans ses rêveries tendres passionnées, que ce Peintre privilégié ait assisté à tous les mystères de l Amour. ブーシェを賞賛する批評家のひとりとして言及される。cité par Démoris [2008] 130. ******************************************
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Market Analysis The Email Marketing Industry is predicted to grow at a healthy 15.2% CAGR between 2020- 2027, states the recent Market Research Future (MRFR) analysis. Email marketing is more than merely sending mails. It has various features like reporting and analytics, campaign automation, scheduling, email builders, and design tools that allows enterprises in streamlining their marketing efforts. The key benefits of email market solution is in building customer loyalty, increasing the number of leads, and increasing sales. Various factors are fuelling the global email marketing market share. As per the recent MRFR market estimates, such factors include increasing digitalization worldwide, growing number of internet users, increasing trend of digital marketing, surge in the acceptance of smartphones and tablets, growing internet penetration even in remote or distant locations, increasing use during COVID-19 pandemic, launch of 5G network facility, rise in hosted service and email marketing providers, growing acceptance of digital literacy and awareness, and cheapening of tariff rates. On the contrary, budget constraints, lack of awareness among SMEs in developing economies, lack of infrastructure in emerging economies, growing security issues, and stringent regulations related to user data privacy may limit the global email marketing market growth over the forecast period. Get a Free Sample @ https //www.marketresearchfuture.com/sample_request/7426 Market Segmentation The MRFR report throws light on an inclusive segmental analysis of the global email marketing market based on industry vertical, deployment mode, organization size, and component. By component, the global email marketing market is segmented into services and solutions. By deployment mode, the global email marketing market is segmented into on-premises and cloud. By organization size, the global email marketing market is segmented into small enterprises, medium-sized enterprises, and large enterprises. Of these, the small and medium sized enterprises will lead the market over the forecast period. By industry vertical, the global email marketing market is segmented into IT and telecom, BFSI, media and entertainment, transportation and logistics, education, food and beverages, travel and hospitality, retail and consumer goods, and others. Regional Analysis By region, the global email marketing market covers the recent trends and growth opportunity across North America, Europe, the Asia Pacific (APAC), and Rest of the World (RoW). Of these, North America will dominate the market over the forecast period. The presence of large number of enterprises, high degree of digitalization, the increase in the application of convenient marketing, and the growing inclination of start-ups towards email marketing are adding to the global email marketing market growth in the region. In Europe, the global email marketing market is predicted to hold the second-largest share over the forecast period for the rise in the number of startups and the penetration of email marketing in different enterprises in the UK. In the APAC region, the global email marketing market is predicted to grow at a fast pace over the forecast period. Rapidly increasing number of enterprises, growing adoption of digital marketing solutions, presence of largest population of email users, the presence of several reputed companies, rapid globalization, the emergence of new companies, fast growing enterprises, and the increasing adoption of various digital marketing solutions by emerging companies are adding to the global email marketing market growth in the region. In RoW, the global email marketing market is predicted to have sound growth over the forecast period. Key Players The leading players profiled in the email marketing market report include Ontraport (US), Mailjet inc. (France), Constant Contact, Inc. (US), AWeber Communications (US), Pinpointe On-Demand, Inc. (US), Kevy (US), Adobe (US), SendinBlue (France), Salesforce.com, inc. (US), ActiveCampaign, LLC (US), Klaviyo (US), HubSpot, Inc. (US), Campaign Monitor (US), Zoho Campaigns (India), and GetResponse (Poland), among others. The global email marketing market is fragmented and also competitive with the presence of many domestic as well as international industry players. They have incorporated assorted strategies to stay at the forefront and also cater to the surging needs of the customers, including collaborations, partnerships, contracts, geographic expansions, new product launches, joint ventures, and more. Additionally, these players are also making heavy investments in research and development activities for strengthening their portfolios and also creating a hold in the market. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/email-marketing-market-7426 Industry Updates April 2021- Amazon is offering email marketing tool to its sellers. Table of Contents 1 Executive Summary 2 Scope of The Report 2.1 Market Definition 2.2 Scope of The Study 2.2.1 Research Objectives 2.2.2 Assumptions Limitations 2.3 Markets Structure 3 Market Research Methodology 3.1 Research Process 3.2 Secondary Research 3.3 Primary Research 3.4 Forecast Model Continued… Similar Report B2B Telecommunication Market Information by Solution (Unified Communication and Collaboration), Deployment (Fixed, Mobile), Organization Size (Large, Enterprise), Application (Industrial, Commercial) and regions Trending #MRFR Report** https //ictmrfr.blogspot.com/2022/04/geofencing-market-companies-growth-with.html https //blogfreely.net/pranali004/telecom-expense-management-market-size-impressive-cagr-changing-business-scope https //postheaven.net/pranali004/financial-app-industry-impressive-cagr-changing-business-needs-scope-of https //market-research-future.tribe.so/post/openstack-service-market-research-impressive-cagr-changing-scope-of-current--6263de46791566c10c79891e https //www.scutify.com/articles/2022-04-24-infrastructure-as-a-service-industry-cagr-changing-business-scope-of-current-and-future-industry- About Market Research Future At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
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OSINT Market, Latest Market Research Future (MRFR) Report During industry trends 2030 Business Trends, Global Segments By Development, By Type, By Application Market Scenario The Global Open Source Intelligence (OSINT) Market was valued at USD 32.86 Billion during the forecast period, and it is expected to record a CAGR of 20.6% during the forecast period. Open Source Intelligence (OSINT) is intelligence derived from publicly available data that is gathered, evaluated, and disseminated to the appropriate audience promptly to meet a specific intelligence need. Although the open web is an important component, it is not restricted to what can be found via Google or other search engines. We can access hobbies, location, working status, community, and other raw data on social media sites like Facebook, Instagram, Twitter, and YouTube, which helps government security organizations to keep track of activities taking place across the world. Some of the drivers driving the market's growth are the increased availability of open-source data, as well as escalating cyber threats, terrorism, and other illicit practices. The vast amount of open-source material available, on the other hand, may limit the market's future expansion. OSINT is based on open-source data, which is unstructured, noisy, and raw. It is easily available and can be legally retrieved and edited. Increased public data availability is a driving element behind the operation of open-source intelligence systems. Social media, print media, digital media, articles, blog publications, online forums, videos, government reports, telephone directories, press conferences, journals, academic research papers, financial databases, patents, dissertations, and newsletters are just some of the places where data can be found. This information is freely accessible and lawful to use. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/4545 COVID-19 Analysis The business impact of SARS-CoV-2 has been felt across diverse sections of the information technology industry, albeit at different levels. Companies in the technology sector that supply services for verticals like travel, retail, hospitality, and entertainment have noted a dramatic decrease in sales, while the firms that provide services related to remote worker solutions have observed the opposite. Open-Source Intelligence ’s fate post pandemic has been relatively less grim compared to Education Services (ES) and Professional Services (PS) that are mostly dependent on components that are generally on-site. Novel coronavirus has Open-Source Intelligence to open new avenues for those firms that are on the lookout for solutions that are reliable, efficiently managed, scalable, and are subscription-based, to remain more focused on the core business. The Open-Source Intelligence is bearing lesser impact of the COVID-19 outbreak compared to most other segments of the tech world. In a nutshell, COVID-19 impact on managed services has been fruitful, with the market growth enhanced than before. Given the prevalent lockdown situation, managed services vendors are now investing heavily in remote-centric worker solutions, which can make the market highly resilient in the coming years, even as the world is currently rushing to achieve a COVID-19 breakthrough. Competitive Outlook The open source intelligence (OSINT) market is supported by easy availability of raw data. The population growth around the world and increasing demand of open source intelligence (OSINT) market based services and products also support the market growth. However, the open source intelligence (OSINT) market growth can be affected due to high volumes of unstructured data and lack of clear policies on certain online activities. The report covers all such details which will help companies in the open source intelligence (OSINT) market to strengthen their business plan and improve their product portfolio. The open source intelligence (OSINT) market research report also provides company profiles of major companies. The company profile of organizations operating in the open source intelligence (OSINT) market discusses strategies, growth plans, size, revenue, and mergers and acquisition details of top companies in the open source intelligence (OSINT) market. New entrants and established players can plan their strategies based on this data provided in the open source intelligence (OSINT) market research report. Segmentation The global open source intelligence (OSINT) market has been segmented based on technology, application, and security type. On the basis of technology, the market for open source intelligence (OSINT) is segmented based on bid data software, video analytics, text analytics, visualization tool, cyber security, web analysis, social media analysis, others. Additionally, the market on the basis of application, is segmented into military defense, homeland security, private sector, public sector, national security, others. The global market for open source intelligence (OSINT) is also covered based on security type segment which is further split into human intelligence, content intelligence, dark web analysis, link/network analysis, data analytics, text analytics, artificial intelligence, big data, others. Factors like increasing demand for data collection from foreign sources and rising penetration of smartphones and tablets, support the open source intelligence (OSINT) market growth. The performance of the open source intelligence (OSINT) market has also been studied for the past and current years. Additionally, the open source intelligence (OSINT) market report provides analysis of these segments. The open source intelligence (OSINT) market segmental analysis provided in the report offers major details about the open source intelligence (OSINT) market performance and future. Regional Analysis Companies in the open source intelligence (OSINT) market are spread across the world. The open source intelligence (OSINT) market report provides major information about regional markets of North America, Europe, Asia-Pacific (APAC), and the rest of the world. The North American open source intelligence (OSINT) market has many companies across the United States, Canada, and Mexico. Europe has companies in the open source intelligence (OSINT) market across Germany, France, Spain, Italy, and the United Kingdom. A detailed analysis of the open source intelligence (OSINT) market across India, China, and Japan in the Asia-Pacific region is also presented in the report. The open source intelligence (OSINT) market of the Middle East, Africa, and other regions has also been studied by analysts. The regional analysis of the open source intelligence (OSINT) market can be found in the market research report. Industry News The Quantuma business consultancy group bought the Alchemy asset recovery company located in Cayman Islands. Specialized in wealth and financial loss recovery, Alchemy, created by Angela Barkhouse in combination with financial fraud specialists, accounting forensics and insolvency professionals, uses artificial intelligence, data visualising and open source intelligence. Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure Browse Full Report Details @ https //www.marketresearchfuture.com/reports/open-source-intelligence-market-4545 List of Tables TABLE 1 MARKET SYNOPSIS 19 TABLE 2 GLOBAL OSINT MARKET, BY SECURITY TYPE, 2020–2027 (USD MILLION) 38 TABLE 3 GLOBAL OSINT HUMAN INTELLIGENCE MARKET, BY REGION, 2020–2027 (USD MILLION) 38 Continued… List of Figures FIGURE 1 GLOBAL OPEN-SOURCE INTELLIGENCE (OSINT) MARKET STRUCTURE 20 FIGURE 2 BOTTOM-UP AND TOP-DOWN APPROACHES 25 FIGURE 3 NORTH AMERICA OPEN-SOURCE INTELLIGENCE (OSINT) MARKET SHARE (%), BY COUNTRY (2020 2027) 28 Continued… Similar Report** Mobile Banking Market By Solution (Customer Management, Mobile Banking Features, Mobile Payment Features), By Technology (Wireless Application Protocol, Standalone Mobile Application), By Deployment (On-Cloud, On-Premise) Voice Assistant Market** https //mrfrinformation.tistory.com/615 Network-Attached Storage Market** https //telescope.ac/information-technology-Lc1XMRDqL/5WlKY9Kx4 Trending Report https //www.buymeacoffee.com/ubellapranC/osint-market-latest-market-research-future-mrfr-report About Market Research Future Market Research Future (MRFR) has created a niche in the world of market research. It is counted among the top market research companies that offer well-researched and updated market research reports and insights to businesses of all sizes. What sets us apart is our super-responsive team that offers quality work keeping clients abridged of the prospective challenges and opportunities in various markets. Our team is adept in their space as well as patiently listens to every client. The best part is they know their work inside out and possess the expertise to guide the client in the right direction and achieve results on a tight deadline. We are a one-stop solution for all your data research needs. Our team does not believe in the “one size fits all” approach to creating a report that is detailed and concise. 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Atto Terzo Quadro I （Una stanza da studio nell'abitazione di Anckarström. Sovra un caminetto di fianco due vasi di bronzo, rimpetto a cui la biblioteca. Nel fondo v'ha unmagnifico ritratto del re Gustavo in piedi, e, nel mezzo della scena, una travola.） （Entrano Anckarström a Amelia.） ▼ANCKARSTRÖM▲ （deposta la spada e chiusa la porta） A tal colpa é nulla il pianto, Non la terge e non la scusa. Ogni prece é vana ormai; Sangue vuolsi, e tu morrai. ▼AMELIA▲ Ma se reo, se reo soltanto È l'indizio che m'accusa? ▼ANCKARSTRÖM▲ Taci, adultera! ▼AMELIA▲ Gran Dio! ▼ANCKARSTRÖM▲ Chiedi a lui misericordia. ▼AMELIA▲ E ti basta un sol sospetto? E vuoi dunque il sangue mio? E m'infami, e più non senti Né giustizia, né pietà? ▼ANCKARSTRÖM▲ Sangue vuolsi, e tu morrai. ▼AMELIA▲ Un istante, é ver l'amai Ma il tuo nome non macchiai. Sallo Iddio, che nel mio petto Mai non arse indegno affetto. ▼ANCKARSTRÖM▲ （ripigliando la spada） Hai finito? Tardi é omai… Sangue vuolsi, e tu morrai. ▼AMELIA▲ Ah! mi sveni!… ebbene sia… Ma una grazia… ▼ANCKARSTRÖM▲ Non a me. La tua prece al ciel rivolgi. ▼AMELIA▲ （genuflessa） Solo un detto ancora a te. M'odi, l'ultimo sarà. Morró, ma prima in grazia, Deh! mi consenti almeno L'unico figlio mio Avvincere al mio seno. E se alla moglie nieghi Quest'ultimo favor, Non rifiutarlo ai prieghi Del mio materno cor. Morrò, ma queste viscere Consolino i suoi baci, Or che l'estrema é giunta Dell'ore mie fugaci. Spenta per man del padre, La man ei stenderà Sugli occhi d'una madre Che mai più non vedrà! ▼ANCKARSTRÖM▲ （additandole, senza guardarla, un uscio） Alzati; là tuo figlio A te concedo riveder. Nell'ombra E nel silenzio, là, Il tuo rossore e l'onta mia nascondi. （Amelia esce.） Non é su lei, nel suo Fragile petto che colpir degg'io. Altro, ben altro sangue a terger déssi L'offesa!… （fissando il ritratto） Il sangue tuo! E lo trarrà il pugnale Dallo sleal tuo core, Delle lagrime mie vendicator! Eri tu che macchiavi quell'anima, La delzia dell'anima mia; Che m'affidi e d'un tratto esecrabile L'universo avveleni per me! Traditor! che compensi in tal guisa Dell'amico tuo primo la fé! O dolcezze perdute! O memorie D'un amplesso che l'essere india!… Quando Amelia sì bella, sì candida Sul mio seno brillava d'amor! È finita, non siede che l'odio E la morte nel vedovo cor! O dolcezze perdute, o speranze d'amor! （Horn e Ribbing entrano salutando Anckarström freddamente.） ▼ANCKARSTRÖM▲ Siam soli. Udite. Ogni desgno vostro M' é noto. Voi di Gustavo la morte Volete. ▼RIBBING▲ È un sogno. ▼ANCKARSTRÖM▲ （mostrando alcune carte che ha sul tavolo） Ho qui le prove! ▼HORN▲ （fremendo） Ed ora la trama al re tu svelerai? ▼ANCKARSTRÖM▲ No, voglio dividerla. ▼HORN E RIBBING▲ Tu scherzi. ▼ANCKARSTRÖM▲ E non co' detti Ma qui col fatto struggerò i sospetti. Io son vostro, compagno m'avrete Senza posa a quest'opra di sangue. Se vi manco. ▼HORN▲ Ma tal mutamento È credibile appena. ▼ANCKARSTRÖM▲ Qual fu la cagion non cercate. Son vostro per la vita dell'unico figlio! ▼HORN▲ Ei non mente. ▼RIBBING▲ No, non mente. ▼ANCKARSTRÖM▲ Esitate? ▼HORN E RIBBING▲ Non più. ▼ANCKARSTRÖM▲ Non più. ▼ANCKARSTRÖM, HORN, RIBBING▲ Dunque l'onta di tutti sol una, Uno il cor, la vendetta sarà, Che tremenda, repente, digiuna Su quel capo esecrato cadrà! ▼ANCKARSTRÖM▲ D'una grazia vi supplico. ▼HORN▲ E quale? ▼ANCKARSTRÖM▲ Che sia dato d'ucciderlo a me. ▼HORN▲ No, Anckarström l'avito castello A me tolse, e tal dritto a me spetta. ▼RIBBING▲ Ed a me cui spegneva il fratello, Cui decenne agonia di vendetta Senza requie divora, qual parte Assegnaste? ▼ANCKARSTRÖM▲ Chetatevi, solo Qui la sorte decidere de'. （Prende un vaso dal camino e lo colloca sulla tavola. Horn scrive tre nomi e vi getta dentro ibiglietti. Entra Amelia.） E chi viene? （incontrandola） Tu?… ▼AMELIA▲ V'é Oscarre che porta Un invito del sire. ▼ANCKARSTRÖM▲ （fremente） Di lui!… Che m'aspetti. （ad Amelia） E tu resta, lo dêi Poi che parmi che il cielo t'ha scorta. ▼AMELIA▲ (Qual tristezza m'assale, qual pena! Qual terribile lampo balena!) ▼ANCKARSTRÖM▲ （additando sua moglie a Horn e Ribbing） Nulla sa non temete. Costei Esser debbe anzi l'auspice lieto. （ad Amelia traendola verso la tavola） V'ha tre nomi in quell'urna un ne tragga L'innocente tua mano. ▼AMELIA▲ （tremante） E perche? ▼ANCKARSTRÖM▲ （fulminandola con lo sguardo） Obbedisci non chieder di più. ▼AMELIA▲ (Non é dubbio; il feroce decreto Mi vuol parte ad un'opra di sangue.) （Con mano tremante estrae dal vaso un biglietto che suo marito passa a Horn.） ▼ANCKARSTRÖM▲ Qual é dunque l'eletto? ▼HORN▲ （con dolore） Renato. ▼ANCKARSTRÖM▲ （con esalatazione） Il mio nome! O giustizia del fato; La vendetta mi deleghi tu! ▼AMELIA▲ (Di Gustavo la morte si vuole! Non celâr le crudeli parole! Su quel capo snudati dall'ira I lor ferri scintillano già!) ▼ANCKARSTRÖM, HORN, RIBBING▲ Sconterà della patria il pianto Lo sleal che ne fece suo vanto. Se traffisse, soccomba trafitto, Tal mercede pagata gli va! ▼ANCKARSTRÖM▲ （alla porta） Il messaggio entri. （Entra Oscar.） ▼OSCAR▲ （verso Amelia） Alle danze questa sera, se gradite, Con lo sposo, il mio signore Vi desidera… ▼AMELIA▲ （turbata） Nol posso. ▼ANCKARSTRÖM▲ Anche il sire vi sarà? ▼OSCAR▲ Certo. ▼HORN E RIBBING▲ （fra loro） O sorte! ▼ANCKARSTRÖM▲ （al paggio, ma guardando i compagni） Tanto invito so che valga. ▼OSCAR▲ È un ballo in maschera Splendidissimo! ▼ANCKARSTRÖM▲ Benissimo! （accennando Amelia） Ella meco interverrà. ▼AMELIA▲ (Gran Dio!) ▼HORN E RIBBING▲ （fra loro） E noi pur, se da quell'abito Più spedito il colpo va. ▼OSCAR▲ Ah! di che fulgor, che musiche Esulteran le soglie, Ove di tante giovani Bellezze il fior s'accoglie, Di quante altrice palpita Questa gentil città! ▼AMELIA▲ (Ed io medesma, io misera, Lo scritto inesorato Trassi dall'unra complice, Pel mio consorte irato Su cui del cor più nobile Ferma la morte sta.) ▼ANCKARSTRÖM▲ (Là fra le danze esanime La mente mia sel pinge… Ove del proprio sangue Il pavimento tinge. Spira, dator d'infamie, Senza trovar pietà.) ▼HORN E RIBBING▲ （fra loro） Una vendetta in domino È ciò che torna all'uopo. Fra l'urto delle maschere Non fallirà lo scopo; Sarà una danza funebre Con pallide beltà. ▼AMELIA▲ (Prevenirlo potessi, e non tradir Lo sposo mio!) ▼OSCAR▲ Regina della festa sarete. ▼AMELIA▲ (Forse potrallo Ulrica.) （frattanto Anckarström, Horn e Ribbing rapidamente in disparte） ▼HORN E RIBBING▲ E qual costume indosserem? ▼ANCKARSTRÖM▲ Azzurra la veste, e da vermiglio Nastro le ciarpe al manco lato attorte. ▼HORN E RIBBING▲ E qual accento a ravvisarci? ▼ANCKARSTRÖM▲ （sottovoce） "Morte!" ▼AMELIA▲ (Prevenirlo potessi!) ▼OSCAR▲ Regina sarete! ▼ANCKARSTRÖM, HORN, RIBBING▲ Morte! Quadro II （Tavola coll'occorrente per iscrivere; nel fondo un grancortinaggio che scoprirà la festa da ballo.） ▼GUSTAVO▲ （solo） Forse la soglia attinse, E posa alfin. L'onore Ed il dover fra i nostri petti han rotto L'abisso. Ah, sì, Renato Rivedrà la sua patria… e la sua sposa Lo seguirà Senza un addio, l'immenso Mar ne sepàari… e taccia il core. （Scrive e nel momento di apporre la firma lascia cader la penna.） Esito ancor? ma, o ciel, non lo degg'io? （Sottoscrive e chiude il foglio in seno.） Ah, l'ho segnato il sacrifizio mio! Ma se m'é forza perderti Per sempre, o luce mia, A te verrà il mio palpito Sotto qual ciel tu sia. Chiusa la tua memoria Nell'intimo del cor. Ed or qual reo presagio Lo spirito m'assale, Che il rivederti annunzia Quasi un desio fatale… Come se fosse l'ultima Ora del nostro amor? （musica di dentro） Ah! dessa é là… potrei vederla… ancora Riparlarle potrei… Ma no ché tutto or mi strappa da lei. （Oscar entra con un foglio in mano.） ▼OSCAR▲ Ignota donna questo foglio diemmi. È pel sire, diss'ella; a lui lo reca E di celato. （Gustavo legge il foglio.） ▼GUSTAVO▲ （dopo letto） Che nel ballo alcuno Alla mia vita attenterà, sta detto. Ma se m'arresto, Ch'io pavento diran. Nol vo' nessuno Pur sospettarlo de'. Tu va t'appresta, E ratto per gioir meco alla festa. （Oscar esce; Gustavo rimasto solo vivamente prorompe ） Sì, rivederti, Amelia, E nella tua beltà, Anco una volta l'anima D'amor mi brillerà. Quadro III （Già all'aprirsi delle cortine una moltitudine d'invitatiempie la scena. Il maggior numero é in maschera, alcuni in domino, altri in costume digala a viso scoperto. Chi va in traccia, chi evita, chi ossequia e chi persegue. Tutto spiramagnificenza ed ilarità.） ▼CORO▲ Fervono amori e danze Nelle felici stanze, Onde la vita é solo Un sogno lusinghier. Notte de' cari istanti, De' palpiti e de' canti, Perché non fermi 'l volo Sull'onda del piacer? （Horn, Ribbing e i loro aderenti in domino azzurro col cinto vermiglio. Anckarström nellostessocostume s'avanza lentamente.） ▼HORN▲ （additando Anckarström a Ribbing） Altro de'nostri é questo. （e fattosi presso a Anckarström sottovoce） "Morte!" ▼ANCKARSTRÖM▲ （amaramente） Sì, morte! Ma non verrà. ▼HORN E RIBBING▲ Che parli? ▼ANCKARSTRÖM▲ Qui l'aspettarlo é vano. ▼HORN▲ Come? ▼RIBBING▲ Perché? ▼ANCKARSTRÖM▲ Vi basti saperlo altrove. ▼HORN▲ O sorte ingannatrice! ▼RIBBING▲ （fremente） Sempre ne sfuggirà di mano! ▼ANCKARSTRÖM▲ Parlate basso; alcuno lo sguardo a noi fermò. ▼HORN▲ E chi? ▼ANCKARSTRÖM▲ Quello a sinistra dal breve domino. （Si disperdono, ma Anckarström viene inseguito da Oscar in maschera.） ▼OSCAR▲ （a Anckarström） Più non ti lascio, o maschera; mal ti nascondi. ▼ANCKARSTRÖM▲ （scansandolo） Eh via! ▼OSCAR▲ （inseguendolo sempre, con vivacità） Tu se' Renato. ▼ANCKARSTRÖM▲ （spiccandogli la maschera） E Oscarre tu sei. ▼OSCAR▲ Qual villania! ▼ANCKARSTRÖM▲ Ma bravo, e ti par dunque convenienza questa Che mentre il sire dorme, tu scivoli alla festa? ▼OSCAR▲ Il re é qui… ▼ANCKARSTRÖM▲ （trasalendo） Che!… dove? ▼OSCAR▲ L'ho detto… ▼ANCKARSTRÖM▲ Ebben!… qual é? ▼OSCAR▲ Non vel dirò!… ▼ANCKARSTRÖM▲ Gran cosa! ▼OSCAR▲ （voltandogli le spalle） Cercatelo da voi. ▼ANCKARSTRÖM▲ （con accento amichevole） Orsù! ▼OSCAR▲ È per fargli il tiro che regalaste a me? ▼ANCKARSTRÖM▲ Via, calmati almen dirmi del suo costume puoi? ▼OSCAR▲ （scherzando） Saper vorreste Di che si veste, Quando l'é cosa Ch' ei vuol nascosa. Oscar lo sa, Ma nol dirà, Tra là là là là Là là là là. Pieno d'amor Mi balza il cor, Ma pur discreto Serba il segreto. Nol rapirà Grado o beltà, Trà là là là Là là là là. Oscar lo sa, （ecc.） （Gruppi di maschere e coppie danzanti attraversano il dinanzi della scena e separano Oscar daAnckarström.） ▼CORO▲ Fervono amori e danze Nelle felici stanze, Onde la vita é solo Un sogno lusinghier. ▼ANCKARSTRÖM▲ （raggiungendolo di nuovo） So che tu sai distinguere gli amici suoi. ▼OSCAR▲ V'alletta interrogarlo, e forse celiar con esso un po'? ▼ANCKARSTRÖM▲ Appunto. ▼OSCAR▲ E compromettere di poi chi ve l'ha detto? ▼ANCKARSTRÖM▲ M'offendi. È confidenza che quanto importi so. ▼OSCAR▲ Vi preme assai? ▼ANCKARSTRÖM▲ Degg'io di gravi cose ad esso, Pria che la notte inoltri, qui favellar. Su te Farò cader la colpa, se non mi fia concesso. ▼OSCAR▲ Dunque! ▼ANCKARSTRÖM▲ Fai grazia a lui, se parli, e non a me. ▼OSCAR▲ （più dappresso e rapidamente） Veste una cappa nera, con roseo nastro al petto. （Fa per andarsene） ▼ANCKARSTRÖM▲ Una parola ancora. ▼OSCAR▲ （dileguandosi tra la folla） Più che abbastanza ho detto. ▼CORO▲ Fervono amori e danze （ecc.） （Danzatori e danzatrici s'intrecciano al proscenio; Anckarström scorge lontano talunode'suoi e scompare di là. Poco dopo, al volger delle coppie nel fondo, Gustavo in dominonero con nastro rosa, s'affaccia pensieroso, e dietro a lui Amelia in domino bianco.） ▼AMELIA▲ （sottovoce in modo da non essere riconosciuta） Ah! perché qui! fuggite… ▼GUSTAVO▲ Sei quella dello scritto? ▼AMELIA▲ La morte qui v'accerchia… ▼GUSTAVO▲ Non penetra nel mio petto il terror. ▼AMELIA▲ Fuggite, fuggite, o che trafitto cadrete qui! ▼GUSTAVO▲ Rivelami il nome tuo. ▼AMELIA▲ Gran Dio! Nol posso. ▼GUSTAVO▲ E perché piangi… mi supplichi atterrita? Onde contanta senti pietà della mia vita? ▼AMELIA▲ （tra singulti che svelano la sua voce naturale） Tutto, per essa, tutto il sangue mio darei! ▼GUSTAVO▲ Invan ti celi, Amelia quell'angelo tu sei! ▼AMELIA▲ （con disperazione） T'amo, sì, t'amo, e in lagrime A' piedi tuoi m'atterro, Ove t'anela incognito Della vendetta il ferro. Cadavere domani Sarai sei qui rimani Salvati, va, mi lascia, Fuggi dall'odio lor. ▼GUSTAVO▲ Sin che tu m'ami, Amelia, Non curo il fato mio, Non ho che te nell'anima, E l'universo oblio. Né so temer la morte, Perché di lei più forte È l'aura che m'inebria Del tuo divino amor. ▼AMELIA▲ Dunque vedermi vuoi D'affanno morta e di vergogna? ▼GUSTAVO▲ Salva ti vo'. Domani con Renato andrai… ▼AMELIA▲ Dove? ▼GUSTAVO▲ Al natio tuo cielo. ▼AMELIA▲ Alla mia terra! ▼GUSTAVO▲ Mi schianto il cor… ma partirai… ma, addio. ▼AMELIA▲ Gustavo! ▼GUSTAVO▲ Ti lascio, Amelia. ▼AMELIA▲ Gustavo! ▼GUSTAVO▲ （Si, stacca, ma dopo pochi passi tornando a lei con tutta l'anima ） Anco una volta addio. ▼AMELIA▲ Ahimé! ▼GUSTAVO▲ L'ultima volta, addio! ▼AMELIA E GUSTAVO▲ Addio! ▼ANCKARSTRÖM▲ （Lanciatosi inosservato tra loro, trafigge Gustavo.） E tu ricevi il mio! ▼GUSTAVO▲ Ahimé! ▼AMELIA▲ （d'un grido） Soccorso! ▼OSCAR▲ （accorrendo a lui） O ciel! （Entrano da tutte le parti dame, ufficiali e guardie.） Ei trucidato! ▼ALCUNI▲ Da chi? ▼ALTRI▲ Dov'é l'infame? ▼OSCAR▲ （accennnando Anckarström） Eccol!… （Tutti lo circondano e gli strappano la maschera. Nel fondo veggonsi apparire Horn e Ribbing.） ▼AMELIA, OSCAR, CORO▲ Renato! ▼CORO▲ Ah! Morte, infamia, Sul traditor! L'acciaro lo laceri Vendicator! ▼GUSTAVO▲ No, no… lasciatelo. （a Anckarström） Tu… m'odi ancor. （Tratto il dispaccio, fa cenno a lui di accostarsi.） Ella é pura, in braccio a morte Te lo giuro, Iddio m'ascolta; Io che amai la tua consorte Rispettato ho il suo candor. （Gli dà il foglio.） A novello incarco asceso Tu con lei partir dovevi… Io l'amai, ma volli illeso Il tuo nome ed il suo cor! ▼AMELIA▲ O rimorsi dell'amor Che divorano il mio cor, Fra un colpevole che sanguina E la vittima che muor! ▼OSCAR▲ O dolor senza misura, O terribile sventura! La sua fronte é tutta rorida Già dell'ultimo sudor! ▼ANCKARSTRÖM▲ Ciel! che feci! e che m'aspetta Esecrato sulla terra!… Di qual sangue e qual vendetta M'assetò l'infausto error! ▼GUSTAVO▲ Grazia a ognum; signor qui sono Tutti assolve il mio perdono. （Horn e Ribbing occupano sempre il fondo della scena.） ▼TUTTI GLI ALTRI▲ Cor sì grande e generoso Tu ci serba, o Dio pietoso Raggio in terra a noi miserrimi È del tuo celeste amor! ▼GUSTAVO▲ Addio per sempre, miei figli… ▼AMELIA, OSCAR, ANCKARSTRÖM, HORN, RIBBING▲ Ei muore! ▼GUSTAVO▲ Addio… diletta patria… Addio… miei figli… per sempre… Ah!… ohimé!… io moro!… miei figli… Per sem… Addio. （Gustavo cade e spira.） ▼TUTTI▲ Notte d'orror! Atto Terzo Quadro I Una stanza da studio nell'abitazione di Anckarström. Sovra un caminetto di fianco due vasi di bronzo, rimpetto a cui la biblioteca. Nel fondo v'ha unmagnifico ritratto del re Gustavo in piedi, e, nel mezzo della scena, una travola. Entrano Anckarström a Amelia. ANCKARSTRÖM deposta la spada e chiusa la porta A tal colpa é nulla il pianto, Non la terge e non la scusa. Ogni prece é vana ormai; Sangue vuolsi, e tu morrai. AMELIA Ma se reo, se reo soltanto È l'indizio che m'accusa? ANCKARSTRÖM Taci, adultera! AMELIA Gran Dio! ANCKARSTRÖM Chiedi a lui misericordia. AMELIA E ti basta un sol sospetto? E vuoi dunque il sangue mio? E m'infami, e più non senti Né giustizia, né pietà? ANCKARSTRÖM Sangue vuolsi, e tu morrai. AMELIA Un istante, é ver l'amai Ma il tuo nome non macchiai. Sallo Iddio, che nel mio petto Mai non arse indegno affetto. ANCKARSTRÖM ripigliando la spada Hai finito? Tardi é omai… Sangue vuolsi, e tu morrai. AMELIA Ah! mi sveni!… ebbene sia… Ma una grazia… ANCKARSTRÖM Non a me. La tua prece al ciel rivolgi. AMELIA genuflessa Solo un detto ancora a te. M'odi, l'ultimo sarà. Morró, ma prima in grazia, Deh! mi consenti almeno L'unico figlio mio Avvincere al mio seno. E se alla moglie nieghi Quest'ultimo favor, Non rifiutarlo ai prieghi Del mio materno cor. Morrò, ma queste viscere Consolino i suoi baci, Or che l'estrema é giunta Dell'ore mie fugaci. Spenta per man del padre, La man ei stenderà Sugli occhi d'una madre Che mai più non vedrà! ANCKARSTRÖM additandole, senza guardarla, un uscio Alzati; là tuo figlio A te concedo riveder. Nell'ombra E nel silenzio, là, Il tuo rossore e l'onta mia nascondi. Amelia esce. Non é su lei, nel suo Fragile petto che colpir degg'io. Altro, ben altro sangue a terger déssi L'offesa!… fissando il ritratto Il sangue tuo! E lo trarrà il pugnale Dallo sleal tuo core, Delle lagrime mie vendicator! Eri tu che macchiavi quell'anima, La delzia dell'anima mia; Che m'affidi e d'un tratto esecrabile L'universo avveleni per me! Traditor! che compensi in tal guisa Dell'amico tuo primo la fé! O dolcezze perdute! O memorie D'un amplesso che l'essere india!… Quando Amelia sì bella, sì candida Sul mio seno brillava d'amor! È finita, non siede che l'odio E la morte nel vedovo cor! O dolcezze perdute, o speranze d'amor! Horn e Ribbing entrano salutando Anckarström freddamente. ANCKARSTRÖM Siam soli. Udite. Ogni desgno vostro M' é noto. Voi di Gustavo la morte Volete. RIBBING È un sogno. ANCKARSTRÖM mostrando alcune carte che ha sul tavolo Ho qui le prove! HORN fremendo Ed ora la trama al re tu svelerai? ANCKARSTRÖM No, voglio dividerla. HORN E RIBBING Tu scherzi. ANCKARSTRÖM E non co' detti Ma qui col fatto struggerò i sospetti. Io son vostro, compagno m'avrete Senza posa a quest'opra di sangue. Se vi manco. HORN Ma tal mutamento È credibile appena. ANCKARSTRÖM Qual fu la cagion non cercate. Son vostro per la vita dell'unico figlio! HORN Ei non mente. RIBBING No, non mente. ANCKARSTRÖM Esitate? HORN E RIBBING Non più. ANCKARSTRÖM Non più. ANCKARSTRÖM, HORN, RIBBING Dunque l'onta di tutti sol una, Uno il cor, la vendetta sarà, Che tremenda, repente, digiuna Su quel capo esecrato cadrà! ANCKARSTRÖM D'una grazia vi supplico. HORN E quale? ANCKARSTRÖM Che sia dato d'ucciderlo a me. HORN No, Anckarström l'avito castello A me tolse, e tal dritto a me spetta. RIBBING Ed a me cui spegneva il fratello, Cui decenne agonia di vendetta Senza requie divora, qual parte Assegnaste? ANCKARSTRÖM Chetatevi, solo Qui la sorte decidere de'. Prende un vaso dal camino e lo colloca sulla tavola. Horn scrive tre nomi e vi getta dentro ibiglietti. Entra Amelia. E chi viene? incontrandola Tu?… AMELIA V'é Oscarre che porta Un invito del sire. ANCKARSTRÖM fremente Di lui!… Che m'aspetti. ad Amelia E tu resta, lo dêi Poi che parmi che il cielo t'ha scorta. AMELIA (Qual tristezza m'assale, qual pena! Qual terribile lampo balena!) ANCKARSTRÖM additando sua moglie a Horn e Ribbing Nulla sa non temete. Costei Esser debbe anzi l'auspice lieto. ad Amelia traendola verso la tavola V'ha tre nomi in quell'urna un ne tragga L'innocente tua mano. AMELIA tremante E perche? ANCKARSTRÖM fulminandola con lo sguardo Obbedisci non chieder di più. AMELIA (Non é dubbio; il feroce decreto Mi vuol parte ad un'opra di sangue.) Con mano tremante estrae dal vaso un biglietto che suo marito passa a Horn. ANCKARSTRÖM Qual é dunque l'eletto? HORN con dolore Renato. ANCKARSTRÖM con esalatazione Il mio nome! O giustizia del fato; La vendetta mi deleghi tu! AMELIA (Di Gustavo la morte si vuole! Non celâr le crudeli parole! Su quel capo snudati dall'ira I lor ferri scintillano già!) ANCKARSTRÖM, HORN, RIBBING Sconterà della patria il pianto Lo sleal che ne fece suo vanto. Se traffisse, soccomba trafitto, Tal mercede pagata gli va! ANCKARSTRÖM alla porta Il messaggio entri. Entra Oscar. OSCAR verso Amelia Alle danze questa sera, se gradite, Con lo sposo, il mio signore Vi desidera… AMELIA turbata Nol posso. ANCKARSTRÖM Anche il sire vi sarà? OSCAR Certo. HORN E RIBBING fra loro O sorte! ANCKARSTRÖM al paggio, ma guardando i compagni Tanto invito so che valga. OSCAR È un ballo in maschera Splendidissimo! ANCKARSTRÖM Benissimo! accennando Amelia Ella meco interverrà. AMELIA (Gran Dio!) HORN E RIBBING fra loro E noi pur, se da quell'abito Più spedito il colpo va. OSCAR Ah! di che fulgor, che musiche Esulteran le soglie, Ove di tante giovani Bellezze il fior s'accoglie, Di quante altrice palpita Questa gentil città! AMELIA (Ed io medesma, io misera, Lo scritto inesorato Trassi dall'unra complice, Pel mio consorte irato Su cui del cor più nobile Ferma la morte sta.) ANCKARSTRÖM (Là fra le danze esanime La mente mia sel pinge… Ove del proprio sangue Il pavimento tinge. Spira, dator d'infamie, Senza trovar pietà.) HORN E RIBBING fra loro Una vendetta in domino È ciò che torna all'uopo. Fra l'urto delle maschere Non fallirà lo scopo; Sarà una danza funebre Con pallide beltà. AMELIA (Prevenirlo potessi, e non tradir Lo sposo mio!) OSCAR Regina della festa sarete. AMELIA (Forse potrallo Ulrica.) frattanto Anckarström, Horn e Ribbing rapidamente in disparte HORN E RIBBING E qual costume indosserem? ANCKARSTRÖM Azzurra la veste, e da vermiglio Nastro le ciarpe al manco lato attorte. HORN E RIBBING E qual accento a ravvisarci? ANCKARSTRÖM sottovoce "Morte!" AMELIA (Prevenirlo potessi!) OSCAR Regina sarete! ANCKARSTRÖM, HORN, RIBBING Morte! Quadro II Tavola coll'occorrente per iscrivere; nel fondo un grancortinaggio che scoprirà la festa da ballo. GUSTAVO solo Forse la soglia attinse, E posa alfin. L'onore Ed il dover fra i nostri petti han rotto L'abisso. Ah, sì, Renato Rivedrà la sua patria… e la sua sposa Lo seguirà Senza un addio, l'immenso Mar ne sepàari… e taccia il core. Scrive e nel momento di apporre la firma lascia cader la penna. Esito ancor? ma, o ciel, non lo degg'io? Sottoscrive e chiude il foglio in seno. Ah, l'ho segnato il sacrifizio mio! Ma se m'é forza perderti Per sempre, o luce mia, A te verrà il mio palpito Sotto qual ciel tu sia. Chiusa la tua memoria Nell'intimo del cor. Ed or qual reo presagio Lo spirito m'assale, Che il rivederti annunzia Quasi un desio fatale… Come se fosse l'ultima Ora del nostro amor? musica di dentro Ah! dessa é là… potrei vederla… ancora Riparlarle potrei… Ma no ché tutto or mi strappa da lei. Oscar entra con un foglio in mano. OSCAR Ignota donna questo foglio diemmi. È pel sire, diss'ella; a lui lo reca E di celato. Gustavo legge il foglio. GUSTAVO dopo letto Che nel ballo alcuno Alla mia vita attenterà, sta detto. Ma se m'arresto, Ch'io pavento diran. Nol vo' nessuno Pur sospettarlo de'. Tu va t'appresta, E ratto per gioir meco alla festa. Oscar esce; Gustavo rimasto solo vivamente prorompe Sì, rivederti, Amelia, E nella tua beltà, Anco una volta l'anima D'amor mi brillerà. Quadro III Già all'aprirsi delle cortine una moltitudine d'invitatiempie la scena. Il maggior numero é in maschera, alcuni in domino, altri in costume digala a viso scoperto. Chi va in traccia, chi evita, chi ossequia e chi persegue. Tutto spiramagnificenza ed ilarità. CORO Fervono amori e danze Nelle felici stanze, Onde la vita é solo Un sogno lusinghier. Notte de' cari istanti, De' palpiti e de' canti, Perché non fermi 'l volo Sull'onda del piacer? Horn, Ribbing e i loro aderenti in domino azzurro col cinto vermiglio. Anckarström nellostessocostume s'avanza lentamente. HORN additando Anckarström a Ribbing Altro de'nostri é questo. e fattosi presso a Anckarström sottovoce "Morte!" ANCKARSTRÖM amaramente Sì, morte! Ma non verrà. HORN E RIBBING Che parli? ANCKARSTRÖM Qui l'aspettarlo é vano. HORN Come? RIBBING Perché? ANCKARSTRÖM Vi basti saperlo altrove. HORN O sorte ingannatrice! RIBBING fremente Sempre ne sfuggirà di mano! ANCKARSTRÖM Parlate basso; alcuno lo sguardo a noi fermò. HORN E chi? ANCKARSTRÖM Quello a sinistra dal breve domino. Si disperdono, ma Anckarström viene inseguito da Oscar in maschera. OSCAR a Anckarström Più non ti lascio, o maschera; mal ti nascondi. ANCKARSTRÖM scansandolo Eh via! OSCAR inseguendolo sempre, con vivacità Tu se' Renato. ANCKARSTRÖM spiccandogli la maschera E Oscarre tu sei. OSCAR Qual villania! ANCKARSTRÖM Ma bravo, e ti par dunque convenienza questa Che mentre il sire dorme, tu scivoli alla festa? OSCAR Il re é qui… ANCKARSTRÖM trasalendo Che!… dove? OSCAR L'ho detto… ANCKARSTRÖM Ebben!… qual é? OSCAR Non vel dirò!… ANCKARSTRÖM Gran cosa! OSCAR voltandogli le spalle Cercatelo da voi. ANCKARSTRÖM con accento amichevole Orsù! OSCAR È per fargli il tiro che regalaste a me? ANCKARSTRÖM Via, calmati almen dirmi del suo costume puoi? OSCAR scherzando Saper vorreste Di che si veste, Quando l'é cosa Ch' ei vuol nascosa. Oscar lo sa, Ma nol dirà, Tra là là là là Là là là là. Pieno d'amor Mi balza il cor, Ma pur discreto Serba il segreto. Nol rapirà Grado o beltà, Trà là là là Là là là là. Oscar lo sa, ecc. Gruppi di maschere e coppie danzanti attraversano il dinanzi della scena e separano Oscar daAnckarström. CORO Fervono amori e danze Nelle felici stanze, Onde la vita é solo Un sogno lusinghier. ANCKARSTRÖM raggiungendolo di nuovo So che tu sai distinguere gli amici suoi. OSCAR V'alletta interrogarlo, e forse celiar con esso un po'? ANCKARSTRÖM Appunto. OSCAR E compromettere di poi chi ve l'ha detto? ANCKARSTRÖM M'offendi. È confidenza che quanto importi so. OSCAR Vi preme assai? ANCKARSTRÖM Degg'io di gravi cose ad esso, Pria che la notte inoltri, qui favellar. Su te Farò cader la colpa, se non mi fia concesso. OSCAR Dunque! ANCKARSTRÖM Fai grazia a lui, se parli, e non a me. OSCAR più dappresso e rapidamente Veste una cappa nera, con roseo nastro al petto. Fa per andarsene ANCKARSTRÖM Una parola ancora. OSCAR dileguandosi tra la folla Più che abbastanza ho detto. CORO Fervono amori e danze ecc. Danzatori e danzatrici s'intrecciano al proscenio; Anckarström scorge lontano talunode'suoi e scompare di là. Poco dopo, al volger delle coppie nel fondo, Gustavo in dominonero con nastro rosa, s'affaccia pensieroso, e dietro a lui Amelia in domino bianco. AMELIA sottovoce in modo da non essere riconosciuta Ah! perché qui! fuggite… GUSTAVO Sei quella dello scritto? AMELIA La morte qui v'accerchia… GUSTAVO Non penetra nel mio petto il terror. AMELIA Fuggite, fuggite, o che trafitto cadrete qui! GUSTAVO Rivelami il nome tuo. AMELIA Gran Dio! Nol posso. GUSTAVO E perché piangi… mi supplichi atterrita? Onde contanta senti pietà della mia vita? AMELIA tra singulti che svelano la sua voce naturale Tutto, per essa, tutto il sangue mio darei! GUSTAVO Invan ti celi, Amelia quell'angelo tu sei! AMELIA con disperazione T'amo, sì, t'amo, e in lagrime A' piedi tuoi m'atterro, Ove t'anela incognito Della vendetta il ferro. Cadavere domani Sarai sei qui rimani Salvati, va, mi lascia, Fuggi dall'odio lor. GUSTAVO Sin che tu m'ami, Amelia, Non curo il fato mio, Non ho che te nell'anima, E l'universo oblio. Né so temer la morte, Perché di lei più forte È l'aura che m'inebria Del tuo divino amor. AMELIA Dunque vedermi vuoi D'affanno morta e di vergogna? GUSTAVO Salva ti vo'. Domani con Renato andrai… AMELIA Dove? GUSTAVO Al natio tuo cielo. AMELIA Alla mia terra! GUSTAVO Mi schianto il cor… ma partirai… ma, addio. AMELIA Gustavo! GUSTAVO Ti lascio, Amelia. AMELIA Gustavo! GUSTAVO Si, stacca, ma dopo pochi passi tornando a lei con tutta l'anima Anco una volta addio. AMELIA Ahimé! GUSTAVO L'ultima volta, addio! AMELIA E GUSTAVO Addio! ANCKARSTRÖM Lanciatosi inosservato tra loro, trafigge Gustavo. E tu ricevi il mio! GUSTAVO Ahimé! AMELIA d'un grido Soccorso! OSCAR accorrendo a lui O ciel! Entrano da tutte le parti dame, ufficiali e guardie. Ei trucidato! ALCUNI Da chi? ALTRI Dov'é l'infame? OSCAR accennnando Anckarström Eccol!… Tutti lo circondano e gli strappano la maschera. Nel fondo veggonsi apparire Horn e Ribbing. AMELIA, OSCAR, CORO Renato! CORO Ah! Morte, infamia, Sul traditor! L'acciaro lo laceri Vendicator! GUSTAVO No, no… lasciatelo. a Anckarström Tu… m'odi ancor. Tratto il dispaccio, fa cenno a lui di accostarsi. Ella é pura, in braccio a morte Te lo giuro, Iddio m'ascolta; Io che amai la tua consorte Rispettato ho il suo candor. Gli dà il foglio. A novello incarco asceso Tu con lei partir dovevi… Io l'amai, ma volli illeso Il tuo nome ed il suo cor! AMELIA O rimorsi dell'amor Che divorano il mio cor, Fra un colpevole che sanguina E la vittima che muor! OSCAR O dolor senza misura, O terribile sventura! La sua fronte é tutta rorida Già dell'ultimo sudor! ANCKARSTRÖM Ciel! che feci! e che m'aspetta Esecrato sulla terra!… Di qual sangue e qual vendetta M'assetò l'infausto error! GUSTAVO Grazia a ognum; signor qui sono Tutti assolve il mio perdono. Horn e Ribbing occupano sempre il fondo della scena. TUTTI GLI ALTRI Cor sì grande e generoso Tu ci serba, o Dio pietoso Raggio in terra a noi miserrimi È del tuo celeste amor! GUSTAVO Addio per sempre, miei figli… AMELIA, OSCAR, ANCKARSTRÖM, HORN, RIBBING Ei muore! GUSTAVO Addio… diletta patria… Addio… miei figli… per sempre… Ah!… ohimé!… io moro!… miei figli… Per sem… Addio. Gustavo cade e spira. TUTTI Notte d'orror! Verdi,Giuseppe/Un Ballo in Maschera+
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CHAPTER I UP CHAPTER III CHAPTER II Matthew Cuthbert is surprised Matthew Cuthbert and the sorrel mare jogged comfortably over the eight miles to Bright River. It was a pretty road, running along between snug farmsteads, with now and again a bit of balsamy fir wood to drive through or a hollow where wild plums hung out their filmy bloom. The air was sweet with the breath of many apple orchards and the meadows sloped away in the distance to horizon mists of pearl and purple; while "The little birds sang as if it were The one day of summer in all the year." Matthew enjoyed the drive after his own fashion, except during the moments when he met women and had to nod to them-- for in Prince Edward island you are supposed to nod to all and sundry you meet on the road whether you know them or not. Matthew dreaded all women except Marilla and Mrs. Rachel; he had an uncomfortable feeling that the mysterious creatures were secretly laughing at him. He may have been quite right in thinking so, for he was an odd-looking personage, with an ungainly figure and long iron-gray hair that touched his stooping shoulders, and a full, soft brown beard which he had worn ever since he was twenty. In fact, he had looked at twenty very much as he looked at sixty, lacking a little of the grayness. When he reached Bright River there was no sign of any train; he thought he was too early, so he tied his horse in the yard of the small Bright River hotel and went over to the station house. The long platform was almost deserted; the only living creature in sight being a girl who was sitting on a pile of shingles at the extreme end. Matthew, barely noting that it WAS a girl, sidled past her as quickly as possible without looking at her. Had he looked he could hardly have failed to notice the tense rigidity and expectation of her attitude and expression. She was sitting there waiting for something or somebody and, since sitting and waiting was the only thing to do just then, she sat and waited with all her might and main. Matthew encountered the stationmaster locking up the ticket office preparatory to going home for supper, and asked him if the five-thirty train would soon be along. "The five-thirty train has been in and gone half an hour ago," answered that brisk official. "But there was a passenger dropped off for you--a little girl. She s sitting out there on the shingles. I asked her to go into the ladies waiting room, but she informed me gravely that she preferred to stay outside. `There was more scope for imagination, she said. She s a case, I should say." "I m not expecting a girl," said Matthew blankly. "It s a boy I ve come for. He should be here. Mrs. Alexander Spencer was to bring him over from Nova Scotia for me." The stationmaster whistled. "Guess there s some mistake," he said. "Mrs. Spencer came off the train with that girl and gave her into my charge. Said you and your sister were adopting her from an orphan asylum and that you would be along for her presently. That s all I know about it--and I haven t got any more orphans concealed hereabouts." "I don t understand," said Matthew helplessly, wishing that Marilla was at hand to cope with the situation. "Well, you d better question the girl," said the station- master carelessly. "I dare say she ll be able to explain-- she s got a tongue of her own, that s certain. Maybe they were out of boys of the brand you wanted." He walked jauntily away, being hungry, and the unfortunate Matthew was left to do that which was harder for him than bearding a lion in its den--walk up to a girl--a strange girl--an orphan girl--and demand of her why she wasn t a boy. Matthew groaned in spirit as he turned about and shuffled gently down the platform towards her. She had been watching him ever since he had passed her and she had her eyes on him now. Matthew was not looking at her and would not have seen what she was really like if he had been, but an ordinary observer would have seen this A child of about eleven, garbed in a very short, very tight, very ugly dress of yellowish-gray wincey. She wore a faded brown sailor hat and beneath the hat, extending down her back, were two braids of very thick, decidedly red hair. Her face was small, white and thin, also much freckled; her mouth was large and so were her eyes, which looked green in some lights and moods and gray in others. So far, the ordinary observer; an extraordinary observer might have seen that the chin was very pointed and pronounced; that the big eyes were full of spirit and vivacity; that the mouth was sweet-lipped and expressive; that the forehead was broad and full; in short, our discerning extraordinary observer might have concluded that no commonplace soul inhabited the body of this stray woman- child of whom shy Matthew Cuthbert was so ludicrously afraid. Matthew, however, was spared the ordeal of speaking first, for as soon as she concluded that he was coming to her she stood up, grasping with one thin brown hand the handle of a shabby, old-fashioned carpet-bag; the other she held out to him. "I suppose you are Mr. Matthew Cuthbert of Green Gables?" she said in a peculiarly clear, sweet voice. "I m very glad to see you. I was beginning to be afraid you weren t coming for me and I was imagining all the things that might have happened to prevent you. I had made up my mind that if you didn t come for me to-night I d go down the track to that big wild cherry-tree at the bend, and climb up into it to stay all night. I wouldn t be a bit afraid, and it would be lovely to sleep in a wild cherry-tree all white with bloom in the moonshine, don t you think? You could imagine you were dwelling in marble halls, couldn t you? And I was quite sure you would come for me in the morning, if you didn t to-night." Matthew had taken the scrawny little hand awkwardly in his; then and there he decided what to do. He could not tell this child with the glowing eyes that there had been a mistake; he would take her home and let Marilla do that. She couldn t be left at Bright River anyhow, no matter what mistake had been made, so all questions and explanations might as well be deferred until he was safely back at Green Gables. "I m sorry I was late," he said shyly. "Come along. The horse is over in the yard. Give me your bag." "Oh, I can carry it," the child responded cheerfully. "It isn t heavy. I ve got all my worldly goods in it, but it isn t heavy. And if it isn t carried in just a certain way the handle pulls out--so I d better keep it because I know the exact knack of it. It s an extremely old carpet-bag. Oh, I m very glad you ve come, even if it would have been nice to sleep in a wild cherry-tree. We ve got to drive a long piece, haven t we? Mrs. Spencer said it was eight miles. I m glad because I love driving. Oh, it seems so wonderful that I m going to live with you and belong to you. I ve never belonged to anybody--not really. But the asylum was the worst. I ve only been in it four months, but that was enough. I don t suppose you ever were an orphan in an asylum, so you can t possibly understand what it is like. It s worse than anything you could imagine. Mrs. Spencer said it was wicked of me to talk like that, but I didn t mean to be wicked. It s so easy to be wicked without knowing it, isn t it? They were good, you know--the asylum people. But there is so little scope for the imagination in an asylum--only just in the other orphans. It was pretty interesting to imagine things about them--to imagine that perhaps the girl who sat next to you was really the daughter of a belted earl, who had been stolen away from her parents in her infancy by a cruel nurse who died before she could confess. I used to lie awake at nights and imagine things like that, because I didn t have time in the day. I guess that s why I m so thin--I AM dreadful thin, ain t I? There isn t a pick on my bones. I do love to imagine I m nice and plump, with dimples in my elbows." With this Matthew s companion stopped talking, partly because she was out of breath and partly because they had reached the buggy. Not another word did she say until they had left the village and were driving down a steep little hill, the road part of which had been cut so deeply into the soft soil, that the banks, fringed with blooming wild cherry-trees and slim white birches, were several feet above their heads. The child put out her hand and broke off a branch of wild plum that brushed against the side of the buggy. "Isn t that beautiful? What did that tree, leaning out from the bank, all white and lacy, make you think of?" she asked. "Well now, I dunno," said Matthew. "Why, a bride, of course--a bride all in white with a lovely misty veil. I ve never seen one, but I can imagine what she would look like. I don t ever expect to be a bride myself. I m so homely nobody will ever want to marry me-- unless it might be a foreign missionary. I suppose a foreign missionary mightn t be very particular. But I do hope that some day I shall have a white dress. That is my highest ideal of earthly bliss. I just love pretty clothes. And I ve never had a pretty dress in my life that I can remember--but of course it s all the more to look forward to, isn t it? And then I can imagine that I m dressed gorgeously. This morning when I left the asylum I felt so ashamed because I had to wear this horrid old wincey dress. All the orphans had to wear them, you know. A merchant in Hopeton last winter donated three hundred yards of wincey to the asylum. Some people said it was because he couldn t sell it, but I d rather believe that it was out of the kindness of his heart, wouldn t you? When we got on the train I felt as if everybody must be looking at me and pitying me. But I just went to work and imagined that I had on the most beautiful pale blue silk dress--because when you ARE imagining you might as well imagine something worth while--and a big hat all flowers and nodding plumes, and a gold watch, and kid gloves and boots. I felt cheered up right away and I enjoyed my trip to the Island with all my might. I wasn t a bit sick coming over in the boat. Neither was Mrs. Spencer although she generally is. She said she hadn t time to get sick, watching to see that I didn t fall overboard. She said she never saw the beat of me for prowling about. But if it kept her from being seasick it s a mercy I did prowl, isn t it? And I wanted to see everything that was to be seen on that boat, because I didn t know whether I d ever have another opportunity. Oh, there are a lot more cherry-trees all in bloom! This Island is the bloomiest place. I just love it already, and I m so glad I m going to live here. I ve always heard that Prince Edward Island was the prettiest place in the world, and I used to imagine I was living here, but I never really expected I would. It s delightful when your imaginations come true, isn t it? But those red roads are so funny. When we got into the train at Charlottetown and the red roads began to flash past I asked Mrs. Spencer what made them red and she said she didn t know and for pity s sake not to ask her any more questions. She said I must have asked her a thousand already. I suppose I had, too, but how you going to find out about things if you don t ask questions? And what DOES make the roads red?" "Well now, I dunno," said Matthew. "Well, that is one of the things to find out sometime. Isn t it splendid to think of all the things there are to find out about? It just makes me feel glad to be alive-- it s such an interesting world. It wouldn t be half so interesting if we know all about everything, would it? There d be no scope for imagination then, would there? But am I talking too much? People are always telling me I do. Would you rather I didn t talk? If you say so I ll stop. I can STOP when I make up my mind to it, although it s difficult." Matthew, much to his own surprise, was enjoying himself. Like most quiet folks he liked talkative people when they were willing to do the talking themselves and did not expect him to keep up his end of it. But he had never expected to enjoy the society of a little girl. Women were bad enough in all conscience, but little girls were worse. He detested the way they had of sidling past him timidly, with sidewise glances, as if they expected him to gobble them up at a mouthful if they ventured to say a word. That was the Avonlea type of well-bred little girl. But this freckled witch was very different, and although he found it rather difficult for his slower intelligence to keep up with her brisk mental processes he thought that he "kind of liked her chatter." So he said as shyly as usual "Oh, you can talk as much as you like. I don t mind." "Oh, I m so glad. I know you and I are going to get along together fine. It s such a relief to talk when one wants to and not be told that children should be seen and not heard. I ve had that said to me a million times if I have once. And people laugh at me because I use big words. But if you have big ideas you have to use big words to express them, haven t you?" "Well now, that seems reasonable," said Matthew. "Mrs. Spencer said that my tongue must be hung in the middle. But it isn t--it s firmly fastened at one end. Mrs. Spencer said your place was named Green Gables. I asked her all about it. And she said there were trees all around it. I was gladder than ever. I just love trees. And there weren t any at all about the asylum, only a few poor weeny-teeny things out in front with little whitewashed cagey things about them. They just looked like orphans themselves, those trees did. It used to make me want to cry to look at them. I used to say to them, `Oh, you POOR little things! If you were out in a great big woods with other trees all around you and little mosses and Junebells growing over your roots and a brook not far away and birds singing in you branches, you could grow, couldn t you? But you can t where you are. I know just exactly how you feel, little trees. I felt sorry to leave them behind this morning. You do get so attached to things like that, don t you? Is there a brook anywhere near Green Gables? I forgot to ask Mrs. Spencer that." "Well now, yes, there s one right below the house." "Fancy. It s always been one of my dreams to live near a brook. I never expected I would, though. Dreams don t often come true, do they? Wouldn t it be nice if they did? But just now I feel pretty nearly perfectly happy. I can t feel exactly perfectly happy because--well, what color would you call this?" She twitched one of her long glossy braids over her thin shoulder and held it up before Matthew s eyes. Matthew was not used to deciding on the tints of ladies tresses, but in this case there couldn t be much doubt. "It s red, ain t it?" he said. The girl let the braid drop back with a sigh that seemed to come from her very toes and to exhale forth all the sorrows of the ages. "Yes, it s red," she said resignedly. "Now you see why I can t be perfectly happy. Nobody could who has red hair. I don t mind the other things so much--the freckles and the green eyes and my skinniness. I can imagine them away. I can imagine that I have a beautiful rose-leaf complexion and lovely starry violet eyes. But I CANNOT imagine that red hair away. I do my best. I think to myself, `Now my hair is a glorious black, black as the raven s wing. But all the time I KNOW it is just plain red and it breaks my heart. It will be my lifelong sorrow. I read of a girl once in a novel who had a lifelong sorrow but it wasn t red hair. Her hair was pure gold rippling back from her alabaster brow. What is an alabaster brow? I never could find out. Can you tell me?" "Well now, I m afraid I can t," said Matthew, who was getting a little dizzy. He felt as he had once felt in his rash youth when another boy had enticed him on the merry-go- round at a picnic. "Well, whatever it was it must have been something nice because she was divinely beautiful. Have you ever imagined what it must feel like to be divinely beautiful?" "Well now, no, I haven t," confessed Matthew ingenuously. "I have, often. Which would you rather be if you had the choice--divinely beautiful or dazzlingly clever or angelically good?" "Well now, I--I don t know exactly." "Neither do I. I can never decide. But it doesn t make much real difference for it isn t likely I ll ever be either. It s certain I ll never be angelically good. Mrs. Spencer says--oh, Mr. Cuthbert! Oh, Mr. Cuthbert!! Oh, Mr. Cuthbert!!!" That was not what Mrs. Spencer had said; neither had the child tumbled out of the buggy nor had Matthew done anything astonishing. They had simply rounded a curve in the road and found themselves in the "Avenue." The "Avenue," so called by the Newbridge people, was a stretch of road four or five hundred yards long, completely arched over with huge, wide-spreading apple-trees, planted years ago by an eccentric old farmer. Overhead was one long canopy of snowy fragrant bloom. Below the boughs the air was full of a purple twilight and far ahead a glimpse of painted sunset sky shone like a great rose window at the end of a cathedral aisle. Its beauty seemed to strike the child dumb. She leaned back in the buggy, her thin hands clasped before her, her face lifted rapturously to the white splendor above. Even when they had passed out and were driving down the long slope to Newbridge she never moved or spoke. Still with rapt face she gazed afar into the sunset west, with eyes that saw visions trooping splendidly across that glowing background. Through Newbridge, a bustling little village where dogs barked at them and small boys hooted and curious faces peered from the windows, they drove, still in silence. When three more miles had dropped away behind them the child had not spoken. She could keep silence, it was evident, as energetically as she could talk. "I guess you re feeling pretty tired and hungry," Matthew ventured to say at last, accounting for her long visitation of dumbness with the only reason he could think of. "But we haven t very far to go now--only another mile." She came out of her reverie with a deep sigh and looked at him with the dreamy gaze of a soul that had been wondering afar, star-led. "Oh, Mr. Cuthbert," she whispered, "that place we came through--that white place--what was it?" "Well now, you must mean the Avenue," said Matthew after a few moments profound reflection. "It is a kind of pretty place." "Pretty? Oh, PRETTY doesn t seem the right word to use. Nor beautiful, either. They don t go far enough. Oh, it was wonderful--wonderful. It s the first thing I ever saw that couldn t be improved upon by imagination. It just satisfies me here"--she put one hand on her breast--"it made a queer funny ache and yet it was a pleasant ache. Did you ever have an ache like that, Mr. Cuthbert?" "Well now, I just can t recollect that I ever had." "I have it lots of time--whenever I see anything royally beautiful. But they shouldn t call that lovely place the Avenue. There is no meaning in a name like that. They should call it--let me see--the White Way of Delight. Isn t that a nice imaginative name? When I don t like the name of a place or a person I always imagine a new one and always think of them so. There was a girl at the asylum whose name was Hepzibah Jenkins, but I always imagined her as Rosalia DeVere. Other people may call that place the Avenue, but I shall always call it the White Way of Delight. Have we really only another mile to go before we get home? I m glad and I m sorry. I m sorry because this drive has been so pleasant and I m always sorry when pleasant things end. Something still pleasanter may come after, but you can never be sure. And it s so often the case that it isn t pleasanter. That has been my experience anyhow. But I m glad to think of getting home. You see, I ve never had a real home since I can remember. It gives me that pleasant ache again just to think of coming to a really truly home. Oh, isn t that pretty!" They had driven over the crest of a hill. Below them was a pond, looking almost like a river so long and winding was it. A bridge spanned it midway and from there to its lower end, where an amber-hued belt of sand-hills shut it in from the dark blue gulf beyond, the water was a glory of many shifting hues--the most spiritual shadings of crocus and rose and ethereal green, with other elusive tintings for which no name has ever been found. Above the bridge the pond ran up into fringing groves of fir and maple and lay all darkly translucent in their wavering shadows. Here and there a wild plum leaned out from the bank like a white-clad girl tip-toeing to her own reflection. From the marsh at the head of the pond came the clear, mournfully-sweet chorus of the frogs. There was a little gray house peering around a white apple orchard on a slope beyond and, although it was not yet quite dark, a light was shining from one of its windows. "That s Barry s pond," said Matthew. "Oh, I don t like that name, either. I shall call it--let me see--the Lake of Shining Waters. Yes, that is the right name for it. I know because of the thrill. When I hit on a name that suits exactly it gives me a thrill. Do things ever give you a thrill?" Matthew ruminated. "Well now, yes. It always kind of gives me a thrill to see them ugly white grubs that spade up in the cucumber beds. I hate the look of them." "Oh, I don t think that can be exactly the same kind of a thrill. Do you think it can? There doesn t seem to be much connection between grubs and lakes of shining waters, does there? But why do other people call it Barry s pond?" "I reckon because Mr. Barry lives up there in that house. Orchard Slope s the name of his place. If it wasn t for that big bush behind it you could see Green Gables from here. But we have to go over the bridge and round by the road, so it s near half a mile further." "Has Mr. Barry any little girls? Well, not so very little either--about my size." "He s got one about eleven. Her name is Diana." "Oh!" with a long indrawing of breath. "What a perfectly lovely name!" "Well now, I dunno. There s something dreadful heathenish about it, seems to me. I d ruther Jane or Mary or some sensible name like that. But when Diana was born there was a schoolmaster boarding there and they gave him the naming of her and he called her Diana." "I wish there had been a schoolmaster like that around when I was born, then. Oh, here we are at the bridge. I m going to shut my eyes tight. I m always afraid going over bridges. I can t help imagining that perhaps just as we get to the middle, they ll crumple up like a jack-knife and nip us. So I shut my eyes. But I always have to open them for all when I think we re getting near the middle. Because, you see, if the bridge DID crumple up I d want to SEE it crumple. What a jolly rumble it makes! I always like the rumble part of it. Isn t it splendid there are so many things to like in this world? There we re over. Now I ll look back. Good night, dear Lake of Shining Waters. I always say good night to the things I love, just as I would to people. I think they like it. That water looks as if it was smiling at me." When they had driven up the further hill and around a corner Matthew said "We re pretty near home now. That s Green Gables over--" "Oh, don t tell me," she interrupted breathlessly, catching at his partially raised arm and shutting her eyes that she might not see his gesture. "Let me guess. I m sure I ll guess right." She opened her eyes and looked about her. They were on the crest of a hill. The sun had set some time since, but the landscape was still clear in the mellow afterlight. To the west a dark church spire rose up against a marigold sky. Below was a little valley and beyond a long, gently-rising slope with snug farmsteads scattered along it. From one to another the child s eyes darted, eager and wistful. At last they lingered on one away to the left, far back from the road, dimly white with blossoming trees in the twilight of the surrounding woods. Over it, in the stainless southwest sky, a great crystal-white star was shining like a lamp of guidance and promise. "That s it, isn t it?" she said, pointing. Matthew slapped the reins on the sorrel s back delightedly. "Well now, you ve guessed it! But I reckon Mrs. Spencer described it so s you could tell." "No, she didn t--really she didn t. All she said might just as well have been about most of those other places. I hadn t any real idea what it looked like. But just as soon as I saw it I felt it was home. Oh, it seems as if I must be in a dream. Do you know, my arm must be black and blue from the elbow up, for I ve pinched myself so many times today. Every little while a horrible sickening feeling would come over me and I d be so afraid it was all a dream. Then I d pinch myself to see if it was real--until suddenly I remembered that even supposing it was only a dream I d better go on dreaming as long as I could; so I stopped pinching. But it IS real and we re nearly home." With a sigh of rapture she relapsed into silence. Matthew stirred uneasily. He felt glad that it would be Marilla and not he who would have to tell this waif of the world that the home she longed for was not to be hers after all. They drove over Lynde s Hollow, where it was already quite dark, but not so dark that Mrs. Rachel could not see them from her window vantage, and up the hill and into the long lane of Green Gables. By the time they arrived at the house Matthew was shrinking from the approaching revelation with an energy he did not understand. It was not of Marilla or himself he was thinking of the trouble this mistake was probably going to make for them, but of the child s disappointment. When he thought of that rapt light being quenched in her eyes he had an uncomfortable feeling that he was going to assist at murdering something--much the same feeling that came over him when he had to kill a lamb or calf or any other innocent little creature. The yard was quite dark as they turned into it and the poplar leaves were rustling silkily all round it. "Listen to the trees talking in their sleep," she whispered, as he lifted her to the ground. "What nice dreams they must have!" Then, holding tightly to the carpet-bag which contained "all her worldly goods," she followed him into the house. CHAPTER I UP CHAPTER III 今日 - | 昨日 - | Total - since 04 June 2007 last update 2007-06-05 01 32 53 (Tue)
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