約 6,136,544 件
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001 David Bowie-Low; 1977 002 The Clash-London Calling; 1979 003 Television-Marquee Moon; 1977 004 Sly The Family Stone-There s a Riot Goin On; 1971 005 Bob Dylan-Blood on the Tracks; 1975 006 Kraftwerk-Trans-Europe Express; 1977 007 Led Zeppelin-IV; 1971 008 Gang of Four-Entertainment!; 1979 009 Joy Division-Unknown Pleasures; 1979 010 Brian Eno-Another Green World; 1975 011 Rolling Stones-Exile on Main Street; 1972 012 The Stooges-Funhouse; 1970 013 Nick Drake-Pink Moon; 1972 014 The Velvet Underground-Loaded; 1971 015 The Who-Who s Next; 1971 016 Buzzcocks-Singles Going Steady; 1979 017 Funkadelic-Maggot Brain; 1971 018 Miles Davis-Bitches Brew; 1970 019 Can-Ege Bamyasi; 1972 020 T.Rex-Electric Warrior; 1971 021 Serge Gainsbourg-Histoire de Melody Nelson[Philips; 1971] 022 Wire-Pink Flag[Harvest; 1977] 023 Ramones-Ramones[Sire; 1976] 024 Brian Eno-Here Come the Warm Jets[Island; 1974] 025 Neu!-Neu![Brain; 1972] 026 Stevie Wonder-Innervisions[Tamla/Motown; 1973] 027 Led Zeppelin-III[Atlantic; 1970] 028 The Beatles-Let It Be[Apple; 1970] 029 Can-Tago Mago[United Artists; 1971 030 Miles Davis-On the Corner[Columbia; 1972] 031 Talking Heads-Fear of Music; 1979 032 Pink Floyd-The Wall; 1979 033 Wire-Chairs Missing; 1978 034 Various Artists-Saturday Night Fever; 1978 035 The Pop Group-Y; 1979 036 Pink Floyd-Wish You Were Here; 1975 037 Elvis Costello-My Aim Is True; 1977 038 XTC-Drums and Wires; 1979 039 Suicide-Suicide; 1977 040 The Modern Lovers-The Modern Lovers; 1977 041 Fleetwood Mac-Rumours; 1977 042 The Specials-The Specials; 1979 043 Michael Jackson-Off the Wall; 1979 044 The Clash-The Clash; 1977 045 Talking Heads-More Songs About Buildings and Food; 1978 046 The Congos-Heart of The Congos; 1977 047 Al Green-Call Me; 1973 048 Miles Davis-Live-Evil; 1972 049 Marvin Gaye-What s Going On; 1971 050 Tim Buckley-Starsailor; 1970 051 Sex Pistols-Never Mind the Bollocks; 1977 052 Elvis Costello-This Year s Model; 1978 053 Steve Reich-Music for 18 Musicians; 1978 054 Creedence Clearwater Revival-Cosmo s Factory; 1970 055 Nick Drake-Bryter Layter; 1970 056 Can-Future Days; 1973 057 Paul Simon-Paul Simon; 1972 058 Miles Davis-A Tribute to Jack Johnson; 1971 059 Ramones-Rocket to Russia; 1977 060 John Lennon-Plastic Ono Band; 1970 061 Beach Boys-Surf s Up; 1971 062 The Cars-The Cars; 1978 063 Cluster-Zuckerzeit; 1974 064 Iggy Pop-Lust for Life; 1977 065 Neil Young-On the Beach; 1974 066 Big Star-Third/Sister Lovers; 1978 067 Pink Floyd-Meddle; 1971 068 Herbie Hancock-Head Hunters; 1973 069 Faust-IV; 1973 070 Pink Floyd-Dark Side of the Moon; 1973 071 James Brown-The Payback; 1973 072 King Crimson-Red; 1974 073 Van Halen-Van Halen; 1978 074 Leonard Cohen-Songs of Love and Hate; 1971 075 Led Zeppelin-Houses of the Holy; 1973 076 Blondie-Parallel Lines; 1978 077 David Bowie-Aladdin Sane; 1973 078 Anikulapo Kuti Africa 70-Expensive Shit; 1975 079 Randy Newman-Sail Away; 1972 080 David Bowie-Hunky Dory; 1971 081 David Bowie-Ziggy Stardust; 1972 082 George Harrison-All Things Must Pass; 1970 083 Iggy The Stooges-Raw Power; 1973 084 Nilsson-Nilsson Schmilsson; 1971 085 Wire-154; 1979 086 Joni Mitchell-Blue; 1971 087 Roxy Music-For Your Pleasure; 1973 088 Giorgio Moroder-From Here to Eternity; 1977 089 Devo-Q Are We Not Men? A We are Devo!; 1978 090 Fela Anikulapo Kuti Africa 70-Zombie; 1977 091 Throbbing Gristle-20 Jazz Funk Greats; 1979 092 Kraftwerk-The Man-Machine; 1978 093 Jimi Hendrix-Band of Gypsys; 1970 094 King Crimson-Starless and Bible Black; 1974 095 Led Zeppelin-Physical Graffiti; 1975 096 Iggy Pop-The Idiot; 1977 097 Various Artists-The Harder They Come; 1972 098 Robert Wyatt-Rock Bottom; 1974 099 Neil Young-After the Gold Rush; 1970 100 Brian Eno-Before and After Science; 1977 001 Sonic Youth-Daydream Nation; 1987 002 Talking Heads-Remain in Light; 1980 003 Beastie Boys-Paul s Boutique; 1989 004 Pixies-Doolittle; 1989 005 R.E.M-Murmur; 1983 006 Smiths-Queen is Dead; 1986 007 Pixies-Surfer Rosa; 1988 008 Tom Waits-Rain Dogs; 1985 009 Public Enemy-It Takes a Nation of Millions to Hold Us Back; 1988 010 Joy Division-Closer; 1980 011 Tom Waits-Swordfishtrombones; 1983 012 Prince-Purple Rain; 1984 013 Fall-This Nation s Saving Grace; 1985 014 Sonic Youth-Sister; 1987 015 XTC-Skylarking; 1986 016 Galaxie 500-On Fire; 1989 017 Minutemen-Double Nickels on the Dine; 1984 018 De La Soul-3 Feet High and Rising; 1989 019 P.I.L-Second Edition; 1980 020 This Heat-Deceit; 1981 021 Brian Eno-My Life in the Bush of Ghost; 1981 022 My Bloody Valentine-Isn t Anything; 1988 023 Jesus Mary Chain-Psychocandy; 1985 024 Gang of Four-Solid Gold; 1981 025 Black Flag-Damaged; 1981 026 Elvis Costello-Get Happy; 1980 027 Michael Jackson-Thriller; 1982 028 New Order-Power, Corruption Lies; 1983 029 The Replacements-Let It Be; 1984 030 U2-The Joshua Tree; 1987 031 Sonic Youth-EVOL; 1986 032 Husker Du-Zen Arcade; 1984 033 Fall-Hex Enduction Hour; 1982 034 Talk Talk Spirit of Eden; 1988 035 N.W.A-Straight Outta Compton; 1988 036 Violent Femmes-Violent Femmes; 1983 037 The Replacements-Tim; 1985 038 The Cure-Disintegration; 1989 039 The Stone Roses-The Stone Roses; 1989 040 Dinosaur Jr.-You re Living All Over Me; 1987 041 Beastie Boys-Licensed to Ill; 1986 042 Cowboy Junkies-Trinity Session; 1988 043 Run-DMC-Raising Hell; 1986 044 Kraftwerk-Computer World; 1981 045 Prince-Sign`O The Times; 1987 046 XTC-Englsh Settlement; 1982 047 John Zorn-Naced City; 1989 048 R.E.M.-Document; 1987 049 Mission of Burma-Vs.; 1982 050 Spacemen 3-The Perfect Prescription; 1987 051 Leonard Cohen-I m Your Man; 1988 052 Eric B. Rakim-Paid in Full; 1987 053 Mission of Burma-Signals,Calls Marches; 1981 054 Big Black-Songs about Fucking; 1987 055 Police-Synchronicity; 1983 056 King Crimsn-Discipline; 1981 057 Pixies--Come on Pilgrim; 1987 058 Elvis Costello-Imperial Bedroom; 1982 059 Guns N Roses-Appetite for Destruction; 1987 060 Bruce Springsteen-Nebraska; 1982 061 Nurse with Wound-Homotopy to Marie; 1982 062 R.E.M.-Reckoning; 1984 063 Young Marble Giants-Colossal Youth; 1980 064 Television Personalities-...And Don t the Kids Just Love It; 1981 065 The Soft Boys-Underwater Moonlight; 1980 066 The Dukes of Stratosphear-Psonic Psunspot; 1987 067 The Pogues-Rum, Sodomy The Lash; 1985 068 Talking Heads-Stop Making Sense; 1984 069 The Feelies-Crazy Rhythms; 1980 070 Elvis Costello-Trust; 1981 071 The Replacements-Pleased to Meet Me; 1987 072 Meat Puppets-Up on the Sun; 1985 073 Coil-Horse Rotorvator; 1987 074 Mekons-Fear Whiskey; 1985 075 Boogie Down Productions-Criminal Minded; 1987 076 The dB s-Stands for Decibels; 1981 077 The Smiths-Strangeways, Here We Come; 1987 078 They Might Be Giants-Lincoln; 1989 079 Manuel Gottsching-E2-E4; 1981 080 Husker Du-New Day Rising; 1985 081 Cocteau Twins-Blue Bell Knoll; 1988 082 The Fall-Perverted by Language; 1983 083 Talk Talk-The Colour of Spring; 1986 084 ESG-Come Away with ESG; 1983 085 Paul Simon-Graceland; 1986 086 The Police-Ghost in the Machine; 1981 087 Prince-Dirty Mind; 1980 088 Spacemen 3-Playing with Fire; 1989 089 Boredoms-Soul Discharge; 1989 090 Jane s Addiction-Nothing s Shocking; 1988 091 X-Los Angeles; 1980 092 Kate Bush-Hounds of Love; 1985 093 David Bowie-Scary Monsters; 1980 094 Meat Puppets-II; 1983 095 Duran Duran-Rio; 1982 096 Rites of Spring-Rites of Spring; 1985 097 Mekons-The Mekons Rock N Roll 098 Cocteau Twins-Treasure; 1984 099 Gang of Four-Songs of the Free; 1982 100 Minor Threat-Out of Step; 1984 001 Radiohead-OK Computer; 1997 002 My Bloody Valentine-Loveless; 1991 003 The Flaming Lips-The Soft Bulletin; 1999 004 Neutral Milk Hotel-In the Aeroplane Over the Sea; 1998 005 Pavement-Slanted Enchanted; 1992 006 Nirvana-Nevermind; 1991 007 DJ Shadow-...Endtroducing; 1996 008 Pavement-Crooked Rain, Crooked Rain; 1994 009 Bonnie "Prince" Billy-I See a Darkness; 1999 010 Guided by Voices-Bee Thousand; 1994 011 Talk Talk-Laughing Stock; 1991 012 Slint-Spiderland; 1991 013 Nirvana-In Utero; 1993 014 Belle Sebastian-If You re Feeling Sinister; 1996 015 Radiohead-The Bends; 1995 016 The Dismemberment Plan-Emergency I; 1999 017 Public Enemy-Fear of a Black Planet; 1990 018 Smashing Pumpkins-Siamese Dream; 1993 019 Beck-Odelay; 1996 020 Bjork-Post; 1995 021 Bjork-Homogenic; 1997 022 Built to Spill-Perfect from Now On; 1997 023 The Beta Band-The Three EPs; 1999 024 Built to Spill-There s Nothing Wrong with Love; 1994 025 Yo La Tengo-I Can Hear the Heart Beating as One; 1997 026 Weezer-Weezer; 1994 027 Guided by Voices-Alien Lanes; 1995 028 Pixies-Bossanova; 1990 029 Modest Mouse-The Lonesome Crowded West; 1997 030 Liz Phair-Exile in Guyville; 1993 031 Wilco-Summerteeth; 1999 032 The Notorious B.I.G.-Ready to Die; 1994 033 Nas-Illmatic; 1994 034 Beastie Boys-Check Your Head; 1992 035 Boards of Canada-Music Has the Right to Children; 1998 036 Wu-Tang Clan-Enter the Wu-Tang (36 Chambers); 1993 037 Magnetic Fields-69 Love Songs; 1999 038 The Jesus Lizard-Goat; 1991 039 Olivia Tremor Control-Dusk at Cubist Castle; 1996 040 Aphex Twin-The Richard D. James Album; 1996 041 Yo La Tengo-Painful; 1993 042 Fugazi-Red Medicine; 1995 043 R.E.M.-Automatic for the People; 1992 044 Boredoms-Super Ae; 1998 045 Godspeed You Black Emperor!-F# A# Infinity; 1998 046 Air-Moon Safari; 1998 047 Oval-94diskont; 1995 048 Portishead-Dummy; 1994 049 Tom Waits-Bone Machine; 1992 050 Outkast-Aquemini; 1998 051 Stereolab-Emperor Tomato Ketchup; 1996 052 PJ Harvey-Rid of Me; 1993 053 Weezer-Pinkerton; 1991 054 Blur-Parklife; 1994 055 Spiritualized-Ladies and Gentlemen, We Are Floating in Space; 1997 056 A Tribe Called Quest-The Low-End Theory; 1991 057 Brainiac-Bonsai Superstar; 1994 058 Jesus Lizard-Liar; 1992 059 Elliott Smith-Either/Or; 1997 060 Palace Music-Viva Last Blues; 1995 061 Pulp-Different Class; 1995 062 Aphex Twin-Selected Ambient Works, Vol. II; 1994 063 De La Soul-De La Soul Is Dead; 1991 064 The Breeders-Last Splash; 1993 065 Daft Punk-Homework; 1997 066 Tricky-Maxinquaye; 1995 067 Mouse on Mars-Iaora Tahiti; 1995 068 Elliott Smith-XO; 1998 069 Jeff Buckley-Grace; 1994 070 Jawbox-For Your Own Special Sweetheart; 1994 071 Dr. Octagon-Octagonecologyst; 1996 072 Silver Jews-American Water; 1998 073 Brainiac-Hissing Prigs in Static Couture; 1996 074 Ride-Nowhere; 1990 075 A Tribe Called Quest-Midnight Marauders; 1993 076 Mercury Rev-Deserter s Songs; 1998 077 Primal Scream-Screamadelica; 1991 078 Stereolab-Mars Audiac Quintet; 1994 079 Dr. Dre-The Chronic; 1992 080 The Pharcyde-Bizarre Ride II The Pharcyd; 1992 081 The Breeders-Pod; 1990 082 Sonic Youth-Goo; 1990 083 Pixies-Trompe le Monde; 1991 084 Company Flow-Funcrusher Plus; 1997 085 Massive Attack-Blue Lines; 1991 086 Destroyer-City of Daughters; 1998 087 GZA/Genius-Liquid Swords; 1995 088 Wilco-Being There; 1996 089 Squarepusher-Music Is Rotted One Note; 1999 090 Cocteau Twins-Heaven or Las Vegas; 1990 091 Tortoise-TNT; 1998 092 Scott Walker-Tilt; 1995 093 Bob Dylan-Time Out of Mind; 1997 094 Frank Black-Teenager of the Year; 1994 095 Massive Attack-Mezzanine; 1998 096 Herbert-Around the House; 1998 097 Mogwai-Young Team; 1997 098 KMD-Mr. Hood; 1991 099 Raekwon-Only Built 4 Cuban Linx; 1995 100 The Orb-The Orb s Adventures Beyond the Ultraworld; 1991 200. Jay Reatard- Blood Visions 199. Deerhoof- Apple O 198. Boris- Akuma No Uta 197. Yeasayer- All Hour Cymbals 196. William Basinski- The Disintegration Loops 195. Bonnie "Prince" Billy- The Letting Go 194. Pulp- We Love Life 193. Devendra Benhart- Rejoicing in the Hands 192. Art Brut- Bang Bang Rock Roll 191. Air- Talkie Walkie 190. Elliott Smith- Figure 8 189. Jamie Lidell- Multiply 188. M83- Dead Cities, Red Seas Lost Ghosts 187. Stars of the Lid- The Tired Sounds of Stars of the Lid 186. The Thermals- The Body, The Blood, The Machine 185. Scarface- The Fix 184. Vitalic- OK Cowboy 183. Arctic Monkeys- Whatever People Say I Am, That s What I m Not 182. Max Tundra- Mastered by Guy at the Exchange 181. Andrew Bird- Andrew Bird the Mysterious Production of Eggs 180. Nick Cave the Bad Seeds- Abattoir Blues/Lyre of Orpheus 179. Camera Obscura- Let s Get Out of This Country 178. Lil Wayne- Tha Carter II 177. Broadcast- The Noise Made By People 176. The Mountain Goats- Tallahassee 175. Various Artists- Total 3 174. Okkervil River- Black Sheep Boy 173. Herbert- Bodily Functions 172. Constantines- Shine a Light 171. The Go! Team- Thunder, Lightning, Strike 170. Bright Eyes- Fevers and Mirrors 169. Common- Like Water for Chocolate 168. Califone- Roots and Crowns 167. Annie- Anniemal 166. Jim O Rourke- Insignificance 165. Ricardo Villalobos- Alcachofa 164. Les Savy Fav- Rome (Written Upside Down) EP 163. DJ /rupture- Uproot 162. Wu-Tang Clan- The W 161. Air France- No Way Down 160. Deerhunter- Cryptograms 159. Girl Talk- Night Ripper 158. Destroyer- Destroyer s Rubies 157. Lightning Bolt- Wonderful Rainbow 156. Bloc Party- Silent Alarm 155. Clipse- Lord Willin 154. Ghostface Killah- The Pretty Toney Album 153. Jens Lekman- Night Falls Over Kortedala 152. Cannibal Ox- The Cold Vein 151. The Walkmen- Bows and Arrows 150. The New Pornographers- Twin Cinema 149. Tough Alliance- A New Chance 148. Erlend Øye- DJ Kicks 147. T.I.- King 146. My Morning Jacket- Z 145. Fiery Furnaces- Blueberry Boat 144. Andrew W.K.- I Get Wet 143. The Decemberists- Picaresque 142. Primal Scream- XTRMNTR 141. Neko Case- Blacklisted 140. TV on the Radio- Dear Science 139. Love Is All- Nine Times That Same Song 138. The Libertines- Up the Bracket 137. Iron Wine- The Creek Dr Decemberists- Piank the Cradle 136. No Age- Weirdo Rippers 135. Sigur Ros- () 134. Queens of the Stone Age- Songs for the Deaf 133. Erykah Badu- New Amerykah Part One 4th World War 132. Hercules and the Love Affair- Hercules and the Love Affair 131. The Notwist- Neon Golden 130. Clipse- We Got It 4 Cheap, Vol. 2 129. The Streets- A Grand Don t Come for Free 128. Life Without Buildings- Any Other City 127. Sleater-Kinney- The Woods 126. Mastodon- Leviathan 125. The Books- Thought for Food 124. PJ Harvey- Stories from the City, Stories from the Sea 123. Four Tet- Rounds 122. Ryan Adams- Heartbreaker 121. Broadcast- Haha Sound 120. Ted Leo and the Pharmacists- The Tyranny of Distance 119. Eminem- The Marshall Mathers LP 118. The Beta Band- Hot Shots II 117. Low- Things We Lost in the Fire 116. Michael Mayer- Immer 115. The Shins- Oh, Inverted World 114. Cam ron- Purple Haze 113. LCD Soundsystem- LCD Soundsystem 112. Feist- The Reminder 111. M83- Saturdays = Youth 110. The National- Boxer 109. Band of Horses- Everything All the Time 108. Sonic Youth- Murray Street 107. Justice- † 106. Caribou- Up in Flames 105. Battles- Mirrored 104. The Postal Service- Give Up 103. M.I.A./Diplo- Piracy Funds Terrorism Volume 1 102. The Mountain Goats- The Sunset Tree 101. Franz Ferdinand- Franz Ferdinand 100. ...And You Shall Know Us By the Trail of Dead- Source Tags Codes 99. Lil Wayne- Da Drought 3 98. Cat Power- You Are Free 97. The Dismemberment Plan- Change 96. Spoon- Girls Can Tell 95. Grizzly Bear- Yellow House 94. Mclusky- Mclusky Do Dallas 93. 2 Many DJs- As Heard on Radio Soulwax, Pt. 2 92. Björk- Vespertine 91. The New Pornographers- Mass Romantic 90. Jay Z- The Black Album 89. Wolf Parade- Apologies to the Queen Mary 88. The Wrens- The Meadowlands 87. Kanye West- Graduation 86. Belle and Sebastian- The Life Pursuit 85. Gas- Pop 84. Super Furry Animals- Rings Around the World 83. Joanna Newsom- Ys 82. Beck- Sea Change 81. Hot Chip- The Warning 80. The Clientele- Suburban Light 79. Justin Timberlake- FutureSex/LoveSounds 78. No Age- Nouns 77. Missy Elliott- Miss E... So Addictive 76. Junior Boys- Last Exit 75. Ghostface Killah- Fishscale 74. The White Stripes- Elephant 73. The Microphones- The Glow, Pt. 2 72. Sleater-Kinney- One Beat 71. Portishead- Third 70. Sufjan Stevens- Greetings From Michigan The Great Lakes State 69. Liars- Drum s Not Dead 68. Robyn- Robyn 67. The Flaming Lips- Yoshimi Battles the Pink Robots 66. J Dilla- Donuts 65. Godpseed You Black Emperor!- Lift Your Skinny Fists like Antennas to Heaven 64. The Hold Steady- Boys and Girls in America 63. Of Montreal- Hissing Fauna, Are You the Destroyer? 62. Dizzee Rascal- Boy in Da Corner 61. Cut Copy- In Ghost Colours 60. Exploding Hearts- Guitar Romantic 59. Ted Leo and the Pharmacists- Hearts of Oak 58. The Field- From Here We Go Sublime 57. The Rapture- Echoes 56. Dirty Projectors- Bitte Orca 55. Animal Collective- Feels 54. M.I.A.- Arular 53. Clinic- Internal Wrangler 52. Clipse- Hell Hath No Fury 51. Vampire Weekend- Vampire Weekend 50. Deerhunter- Microcastle 49. Antony and the Johnsons- I Am a Bird Now 48. The Hold Steady- Separation Sunday 47. Joanna Newsom- The Milk-Eyed Mender 46. The Shins- Chutes Too Narrow 45. Fugazi- The Argument 44. D Angelo- Voodoo 43. Luomo- Vocal City 42. Grizzly Bear- Veckatimest 41. Burial- Untrue 40. The National- Alligator 39. Boredoms- Vision Creation Newsun 38. Phoenix- It s Never Been Like That 37. Yo la Tengo- And Then Nothing Turned Itself Inside-Out 36. The Streets- Original Pirate Material 35. Spoon- Ga Ga Ga Ga Ga 34. Radiohead- Amnesiac 33. Basement Jaxx- Rooty 32. Fleet Foxes- Fleet Foxes 31. TV on the Radio- Return to Cookie Mountain 30. Boards of Canada- Geogaddi 29. Bon Iver- For Emma, Forever Ago 28. Kanye West- The College Dropout 27. Animal Collective- Sung Tongs 26. Fennesz- Endless Summer 25. Madvillian- Madvilliany 24. Yeah Yeah Yeahs- Fever to Tell 23. Broken Social Scene- You Forgot It in People 22. M.I.A.- Kala 21. Radiohead- In Rainbows 01. Radiohead, Kid A [Capitol; 2000] 02. Arcade Fire, Funeral [Merge; 2004] 03. Daft Punk, Discovery [Virgin; 2001] 04. Wilco, Yankee Hotel Foxtrot [Nonesuch; 2002] 05. Jay-Z, The Blueprint [Roc-A-Fella; 2001] 06. Modest Mouse, The Moon Antarctica [Epic; 2000] 07. The Strokes, Is This It [RCA; 2001] 08. Sigur Ros, Agaetis Byrjun [Smekkleysa; 2000] 09. Panda Bear, Person Pitch [Paw Tracks; 2007] 10. The Avalanches, Since I Left You [Modular/Interscope; 2000] 11. Ghostface Killah, Supreme Clientele [Sony; 2000] 12. The White Stripes, White Blood Cells [Sympathy for the Record Industry; 2001] 13. OutKast, Stankonia [La Face; 2000] 14. Animal Collective, Merriweather Post Pavillion [Domino; 2009] 15. The Knife, Silent Shout [Mute/Rabid; 2006] 16. Sufjan Stevens, Illinois [Asthmatic Kitty; 2005] 17. LCD Soundsystem, Sound of Silver [EMI/DFA; 2007] 18. Kanye West, Late Registration [Roc-A-Fella; 2005] 19. Spoon, Kill the Moonlight [Merge; 2002] 20. Interpol, Turn on the Bright Lights [Matador; 2002]
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第１幕 序曲 海岸にあるパシャの宮殿の前 第１場 ベルモンテ一人 Nr. 1 - アリア 【ベルモンテ】 ここでようやくあなたに会えるのか コンスタンツェ！あなたに わが幸せよ！ 天よ 願いを叶えたまえ！ 私に安らぎを与えたまえ もう一度！ 私は耐えてきた この苦しみに おお愛よ！もう十分だ！ 私に与えたまえ 今は喜びを 私にもたらしたまえ 今ここに だが どうやって私は宮殿に入ることができるのだろう？ - 彼女にどうやって会おう？ - どうやって話そう？ 第２場 ベルモンテ はしごを抱えたオスミン 彼はそれを宮殿の玄関前に木にもたせ掛け それに登ってイチジクを採っている Nr. 2 - 歌とデュエット 【オスミン】 恋人を見つけた奴は やさしくて誠実な恋人を 報いてやるのさ 千回のキスで その娘の人生を甘いものにするんだぞ その娘の慰め役に 友だちになってやれよ トララレラ トララレラ！ 【ベルモンテ】 たぶんこのじいさんに聞けば何か分かるだろう - おい あんた！ここってパシャ・セリムの別邸じゃないのかい？ 【オスミン】 （同じように歌う 仕事をしながら） だけどその操はしっかり守っておけよ 鍵をかけて恋人はしまっておくんだぞ なぜってこの浮気者ときたら あらゆる蝶々を捕まえようとするし 飲みたがるんだからな 珍しいワインばかり トララレラ トララレラ！ 【ベルモンテ】 おい じいさん ちょっと！あんた聞いてないのか？ - ここはパシャ・セリムの宮殿なのかい？ 【オスミン】 （彼を見て また振り返って前と同じように歌う） 特に月明かりの下では 友よ しっかり見張っておけよ！ しょっちゅう若い王子様とやらがやってきて 言い寄って誘惑するんだ そのバカ女を そしてそうなりゃ 操も おさらばだ！ トララレラ トララレラ！ 【ベルモンテ】 あんたにもその歌にもうんざりなんだ！ もうその歌は聞き飽きたから ちょっと聞いてくれよ 一言だけ！ 【オスミン】 こん畜生め どういうつもりだ そんなに腹を立てて偉そうに？ 何の用だ？早く言え！わしは行かにゃならんのだ 【ベルモンテ】 ここはパシャ・セリムの宮殿なのかい？ 【オスミン】 へっ？ 【ベルモンテ】 ここはパシャ・セリムの宮殿なのかい？ 【オスミン】 ここはパシャ・セリムの宮殿だよ （去って行こうとする） 【ベルモンテ】 ちょっと待った - - 【オスミン】 待ってらんないんだよ 【ベルモンテ】 一言だけ... 【オスミン】 早く言え！急いでるんだ 【ベルモンテ】 あんた ここに勤めてるのかい 友よ？ 【オスミン】 へっ？ 【ベルモンテ】 あんた ここに勤めてるのかい 友よ？ 【オスミン】 俺はここに勤めてるよ 友よ 【ベルモンテ】 どうしたらペドリロという男と話ができるかな ここにお勤めしてるようなんだが？ 【オスミン】 あの悪たれか？首でも括られなきゃならん奴だな？ 自分で探せ 会いたきゃな （去って行こうとする） 【ベルモンテ】 （独白） 何て失礼なジジイだ！ 【オスミン】 （彼を見て 独白） こいつも同じようなクズ野郎だな 【ベルモンテ】 （彼に） 違うぞ あいつは良い奴だ 【オスミン】 良い奴過ぎて串刺しにしたいくらいだぞ 【ベルモンテ】 本当のあいつを良く知らないんだ 【オスミン】 良く知ってるぞ 今日にも火焙りにしてやりたいくらいな 【ベルモンテ】 いいや 確かに良い奴だ！ 【オスミン】 杭で頭をぶちのめしたいくらいにな！ （去って行こうとする） 【ベルモンテ】 おい ちょっと待ってくれ！ 【オスミン】 これ以上何の用がある 【ベルモンテ】 いや もしできることなら... 【オスミン】 （皮肉に冷笑して） わざわざ遠くからやってきて この家のまわりをうろついて そして娘っ子を盗みたいってか？ 消え失せろ お前らのような奴は ここには用はない 【ベルモンテ】 あんた 何かに取りつかれたのか！ 腹を立てて喋るなんて 私にそんなに厚かましく 面と向かって！ 【オスミン】 そんなにムキになるな！ 【ベルモンテ】 そんな言い方ないだろ 【オスミン】 お前の素性は知れてる 【ベルモンテ】 脅かすつもりか 【オスミン】 地獄にでも落ちやがれ - 【ベルモンテ】 こいつぁ間違いない - ＜一緒に＞ 【オスミン】 とっとと消え失せるんだ さもなきゃ 容赦なく 鞭を食らわしてやる まだお前に時間は残してやるが （彼を押しのける） 【ベルモンテ】 あんた 頭が変なんだ！ 何て態度をしてる 人が物を尋ねてるのに！ もっと頭を冷やせよ （去って行く） 第３場 オスミン、その後ペドリロ 【オスミン】 一人で あんな悪党 こっぴどくとっちめてやりたいぞ ペドリロと同じくな あのコソ泥も昼も夜もすることと言えば わしの女どものまわりをコソコソとうろついては嗅ぎ回ることばかりだ 何でもやつのくちばしが突っ込めそうなところに だがわしは仕事中にも奴をしっかり見張っとるから いずれ棍棒の嵐をお見舞いしてやるぞ 奴の胸倉をひっ捕まえてだ！ - もし奴があんなにパシャに取り入ってなかったなら とっくに奴は首を絞められてたことだろうに 【ペドリロ】 おい どうしたオスミン？パシャはまだ戻ってないのかい？ 【オスミン】 知りたきゃ自分で確かめやがれ 【ペドリロ】 またいつもみたく荒れてるな？ - おいらのためにこのイチジクを摘んでくれたのか？ 【オスミン】 くたばりやがれ この呪われた寄生虫め！ 【ペドリロ】 おいらが一体あんたに何をしたってんだよ いつもおいらに喧嘩腰でさあ おい仲良くしようじゃないか 【オスミン】 貴様と仲良くだと？忍び寄って悪さをする狼藉者で、わしをへこませようといつも機会を窺ってる奴とか？わしは貴様を窒息させてやりたいぞ！ - 【ペドリロ】 何でそんなこと言うんだよ？ 何でさ？ 【オスミン】 なんでかって？ - わしはお前に我慢ならんのだ Nr. 3 - アリア 【オスミン】 このどこの馬の骨とも分からん馬鹿野郎は 女のあとばかり追いかけてるが わしは悪魔にかけても気にくわん なぜなら そいつのすることと言えば わしらのすることを窺ってるだけだからな だがわしは騙されんぞ その面相には 貴様の落とし穴は 貴様のたくらみは 貴様のごまかしは 貴様の仕掛けはな みんなわしには筒抜けだ わしを騙すつもりなら もっと早起きするんだな わしはとっくにお見通しだ だからな 預言者様の髭にかけて！ わしは昼も夜も研究を続けて 覚悟しとけよ いつかお前を殺してやる どれほどお前が注意していようともな 【ペドリロ】 何てひどいことを言うんだよ おいら あんたに何もしてないだろ 【オスミン】 お前は兇悪な面をしてやがる それで十分だ まずは首を刎ね それから吊るして それから串刺しだ 焼けた杭で それから焼いて それから縛って 水に浸けて 最後は皮を剥いでやる （屋敷の中に入る） 第４場 ペドリロ、その後ベルモンテ 【ペドリロ】 一人で 行っちまえ 呪われた番犬め 安心するのはまだ早いぞ 誰に分かるってんだ 他人の裏をかこうって奴が誰なのかを そして疑り深くて人を馬鹿にする奴の落とし穴を掘るのはおいらにとっては楽しみなんだからな 【ベルモンテ】 ペドリロ おいペドリロ！ 【ペドリロ】 ああおいらのご主人さま！まさかこんなことが？本当にあなた様なんですか？ブラボー 幸運の女神よ ブラボー！これが約束を守るってことだ！諦めてたんですよ おいらの手紙はひとつも届かなかったんじゃないかって 【ベルモンテ】 教えてくれペドリロ 私のコンスタンツェはまだ生きているのか？ 【ペドリロ】 生きてます そしてまだおいらも希望をもってます あなた様のおかげでね あの恐ろしい日 運命がひどいいたずらをして おいらたちの乗った船が海賊に襲われた日から おいらたちはたくさんの苦難を味わってきました 幸いなことにパシャ・セリムがおいらたち全員を買ってくれたんです：あなたのコンスタンツェさまと おいらのブロンデ それにおいらを 彼はすぐに彼の別邸においらたちを連れてきました そしてコンスタンツェさまは彼の寵愛を受けるようになったんです - 【ベルモンテ】 ああ！何を言っているんだ？ 【ペドリロ】 いや そんな熱くならんでくださいよ！まだ最悪なことにはなってないんですから パシャは背教者でその上とってもデリケートなんです どの愛人にも自分の愛を無理強いすることはないし おいらの知る限りでは 彼はまだ途方もない紳士のままなんです 【ベルモンテ】 そんなことが可能なのか？コンスタンツェはまだ貞節なのだろうか？ 【ペドリロ】 もちろんですとも 旦那！だけどおいらのブロンデについて言やあ 天のみぞ知るですよ！あの可哀そうな子はやつれ果ててる バシャが彼女を与えた老いぼれの不細工野郎のところでね おそらくは - ああ、おいら考えたくもないや！ - 【ベルモンテ】 そりゃたった今家の中に入っていった老いぼれじゃないのか？ 【ペドリロ】 まさにそいつです 【ベルモンテ】 それであいつはバシャのお気に入りなのか？ 【ペドリロ】 お気に入りで 番犬で あらゆる悪人共の見本です おいらをその目で睨み殺そうってんですよ もし可能なら 【ベルモンテ】 おいペドリロ！何を言っているんだ？ 【ペドリロ】 まあ落ち込まんでください！ここだけの話 おいらもパシャには気に入って貰ってましてね おいらのちょっとしたガーデニングの技が彼のお気に召したようなんです それでおいらはかなり自由にさせてもらってます 他の何千って奴らにはできないようなことでもですよ ここでは彼の愛人が庭にいるときはすべての男は場を外さなきゃなんないんですけど でもおいらは残ることができるし話だってできるんです 彼はそれについては何も言いません 老いぼれのオスミンのうめき声ときたら おいらのブロンデが太守の愛人のお供をする時なんかにゃ 【ベルモンテ】 そんなことが可能なのか？お前は彼女と話したのか？ - おお教えてくれ！彼女はまだ私を愛しているだろうか？ 【ペドリロ】 フム！お疑いなのですか！おいらは思ってたんですけどね あなた様はとても良くあの善良なコンスタンツェ様をご存じだし 愛の証は十分にお持ちなはずだと - だけどそんなことでぐずぐずしてちゃいけません 問題は何から始めるべきかってことです ここから逃げ出すために？ 【ベルモンテ】 おお それならもうすべて準備したぞ！船を一隻 ここの港から少し離れたところに用意している 私たちを合図ひとつで乗せてくれるだろう それから - 【ペドリロ】 ああ 落ち着いて 落ち着いて！それにはまず最初に女の子たちを手に入れなきゃいけません 船に行く前に それはそんなにサクサクとは行きませんよ！思ってるほどには 【ベルモンテ】 おお親愛なる善良なペドリロよ 頼む 彼女に会わせてくれ 話をさせてくれ！心臓は脈打っているのだ 不安と喜びで！ - 【ペドリロ】 スマートに事を始めて そしてさっさと片付けるのです そうすればあの老いぼれの番犬を出し抜けるでしょう この辺りに居てください もうすぐパシャが舟遊びから戻ってきます おいらはあなたさまを腕ききの建築家だと彼に紹介しますよ ： 建築と庭造りが彼の道楽なんです だけどご主人さま しばらくこらえてください コンスタンツェ様は彼のそばなのですから - 【ベルモンテ】 コンスタンツェが彼のそばだって？何を言っているんだ？ 私はあの人に会えるのか？ 【ペドリロ】 抑えて 抑えて お願いです！でないとしくじります - ああ あそこにもう彼が近づいて来るのが見えたようだ ちょっと脇へよけていてください おいらは彼を迎えに行きます （出て行く） 第５場 ベルモンテ一人 Nr. 4 -アリア 【ベルモンテ】 コンスタンツェ！ - あなたに再び会えるのだ - おお 何と激しく おお 何と燃えるように 鼓動するのだろう 私の愛に満ちた心は！ そしてこの再会の涙は 別離の不安な痛みを埋め合わせてくれる すでに私は震え よろめいている すでにふらつき 揺らいでいる 膨れ はちきれそうだ この胸は あれは彼女のささやきか？ それは私をとても不安にする あれは彼女の溜息なのか？ それは私の頬を火照らせる 私を欺いているのか この愛は これは夢なのか？ 【ペドリロ】 （大急ぎで歩いて来て） 急いで 急いで 脇に隠れて！ パシャが来ます （ベルモンテ隠れる） 第６場 パシャ・セリムとコンスタンツェは遊覧船に乗って近付いてくる その前に別の船が近衛兵たちの楽隊を乗せて岸についており 兵たちは岸辺に整列してこのようなコーラスを歌い それから去って行く Nr. 5 - 親衛隊のコーラス 【コーラス】 歌え 偉大なるパシャの歌を 響かせよ 燃える歌声を そして岸辺より 明るく響かせよ われらの歌の歓呼を！ 【独唱 または二重唱】 1 彼に向かって吹け 涼しい風よ そしてそなたは静まれ 揺れ動く波よ！ 2 彼に向かって歌え 飛び交う合唱よ 彼に歌いかけよ 愛の 喜びを その心のうちへと！ 【コーラス】 歌え 偉大なるパシャの歌を 響かせよ 燃える歌声を そして岸辺より 明るく響かせよ われらの歌の歓呼を！ （親衛隊は退場） 第７場 セリム、コンスタンツェ 【セリム】 いつまで悲しんでおるのか 愛するコンスタンツェよ？いつまで涙にくれておる？ - 見よ この美しき夕べを この素晴らしき場所を この心奪う音楽を わしの細やかなそなたへの愛を - 言ってくれ 結局何もそなたの心を安らがせることはなく 最後はかき乱してしまうのだな？ - 考えるのだ わしは命令することも 残酷にそなたを扱うことも 無理強いすることもできるのだぞ - （コンスタンツェはため息をつく） 【セリム】 だがそんなことはせぬ コンスタンツェ そなたが自ら進んでその心を捧げてくれることをわしは望んでいるのだ-そなたが自ら- 【コンスタンツェ】 寛大なお方！おおそのように私ができるものでしたら！その御心にお答えすることが - けれど - 【セリム】 さあ コンスタンツェ 言ってくれ 何がそなたをためらわせているのだ？ 【コンスタンツェ】 あなたは私をお嫌いになりますわ 【セリム】 いや わしは誓おう そなたも知っておろう どれほどわしがそなたを愛し どれほど多くの自由をそなたに与えておるのかを 多くの女どもを差し置いて そなたをただ一人の女として大切にしておるのを - 【コンスタンツェ】 おお それならばお許しを！ Nr. 6 - アリア 【コンスタンツェ】 ああ 私は恋をして とても幸せでした 知りませんでした 愛の痛みは！ 貞節を誓いました 愛するお方に 捧げたのです 私のすべての心を： けれど あっという間に私の喜びは消え去り 別れが私の不幸な運命となったのです そして今私の目は涙で濡れて 悲しみが覆っているのです 私の胸を 歌の間 パシャは不機嫌そうにあちこち動き回る 【コンスタンツェ】 ああ 申し上げた通りです あなた様が私をお憎みになると でもお許しを この愛に苦しむ娘をお許しください！ - あなた様は本当に寛大で心優しきお方 － 私は喜んであなた様の奴隷となりましょう この命が果てるまで ただこの心だけはお求めにならないでください これは永遠に約束してしまっているのですから - 【セリム】 ハ、恩知らずめ！何をわざわざ願うかと思えば？ 【コンスタンツェ】 殺してください セリムさま 私を殺して！ただ誓いを破らせないでください － 海賊が私を恋人の腕から引き離したとき 私は誓ったのです - 【セリム】 やめろ！何も言うな！わしの怒りをこれ以上掻き立てるでない そなたはわしの力の内にあることを忘れるな - 【コンスタンツェ】 もちろんです でもあなた様は私に厳しくはなさいません 私は良く分かっています あなた様の寛大で思いやり深い心を そうでなければできたでしょうか あなた様にこのようなことを打ち明けるなど？ - 【セリム】 もてあそぶでない わしの寛大さをそれほどまでに - 【コンスタンツェ】 ただご猶予を私に 殿！ただ時だけを 私の苦しみを忘れるための - 【セリム】 何度もわしはそなたに叶えてやったぞ その願いなら - 【コンスタンツェ】 今一度だけ！ 【セリム】 よかろう！これが最後だぞ！ - 行け コンスタンツェ 行くがよい！よく考えるのだぞ そして明日には - 【コンスタンツェ】 （去って行きながら） 不幸な娘！ おおベルモンテ、ベルモンテ！ 第８場 セリム、ペドリロ、ベルモンテ 【セリム】 あの苦しみに あの涙に あの毅然さにわしの心はますます魅了され わしは彼女の愛だけが欲しくなるのだ ハ！誰があのような心に暴力を振るおうと思うであろう？- いいやコンスタンツェ 違うのだ セリムにも心はある セリムは愛を知っているのだ- 【ペドリロ】 殿！お許しください お邪魔することを お考え事の最中に - 【セリム】 何ぞ用か ペドリロ？ 【ペドリロ】 この若い男はイタリアで熱心に建築の仕事をしておりましたが あなたさまのご権勢やあなたさまの富のことを聞き及びここにやって参ったのだとか 建築士としてあなたさまにお仕えいたしたいと 【ベルモンテ】 殿！もし私にできましたら幸いでございます 私の低いスキルでありましてもあなた様のお眼鏡にかないましたならば 【セリム】 フム！気に入ったぞ 何ができるのか見てみることとしよう - （ペドリロに） こやつの面倒を気にかけてくれ 明日にはお前を呼びにやるぞ （退場） 第９場 ベルモンテ、ペドリロ 【ペドリロ】 ハ！勝利です 勝利ですよ 旦那さま！ 最初のステップを踏み出しました 【ベルモンテ】 ああ 自分を取り戻させてくれ！ - 私は彼女に会ったのだ 善良で誠実で最高の乙女に会ったのだ！ - おおコンスタンツェ、コンスタンツェ！私は何があなたのためにできるのだろう 何が試せるのだろう？ 【ペドリロ】 ハ！ 落ち着いて 落ち着いて 旦那さま！声を少し静めてくださいよ 成りすますことが今おいらたちには一番役に立つことなんですからね ここは自分の国じゃないんです ここじゃあみんな首切りの役人に切る首があるかどうかいつも尋ねてるんですから 首の周りにロープをかけるのもここじゃ朝飯みたいなもんですし 【ベルモンテ】 ああ、ペドリロ！お前にも愛が分かったらなあ - 【ペドリロ】 フム！それじゃおいらたちには関係ないみたいじゃないすか おいらにだって恋する時くらいありますよ 他の人と同じようにね 思いませんか おいらにだって腹が痛くもなることはあると おいらのブロンデちゃんがオスミンみたいな老いぼれの悪党に見張られてるのを見てなくちゃならないってのに？ 【ベルモンテ】 ああ彼女と話すことができれば - 【ペドリロ】 どうしたらいいか考えましょう おいらと一緒に庭に来てください でも万事丁寧に注意深くね ここじゃあちこちに目と耳ありですからね 彼らは宮殿に入って行こうとする オスミンが門のところに反対から来て彼らを引き止める 第１０場 前場の人物 オスミン 【オスミン】 どこへ行く？ 【ペドリロ】 中へだよ 【オスミン】 （ベルモンテに） この顔は何もんだ？ - 帰れ 帰りやがれ！ 【ペドリロ】 ハ 静かにしろい マスター山猿め 静かに！この人はパシャさまにお仕えしてんだぞ 【オスミン】 首切りの家来の方がこいつにゃ向いてるぜ！入るんじゃない！ 【ペドリロ】 だからこの人は入らなきゃなんないんだって！ 【オスミン】 一歩でも足を踏み入れてみろ - 【ベルモンテ】 無礼な！お前は敬意を払わぬのか 私のような身分の者に？ 【オスミン】 おい 貴様の身分が何だってんだ！ - 帰れ 帰れ さもなきゃわしは貴様を追い立ててやるぞ 【ペドリロ】 老いぼれの馬鹿野郎！この人は建築家だ バシャさまがお雇いになったんだ 【オスミン】 わしに言わせりゃ こいつは獄吏だ ：わしにあんまり近寄るなよ わしに分からんはずがあるか 貴様の一味がわしらをはめる陰謀のカードを切ろうとしておることくらい パシャはバターみたいに柔和だから それに付け込んで貴様らのやりたいようにするつもりだろうか わしは敏感な鼻を持っているのだ 一切合財が策略だろう 貴様のようなごろつきが持っておるのはな 貴様ら狡猾な詐欺師どもはずっと長いことつまらん悪だくみを考えておるんだろう だがちょっと待て！ オスミンは眠っておらんぞ わしがパシャなら 貴様らは串刺しだ - ああ！しかめっ面でもしやがれ 笑いやがれ！ 【ペドリロ】 そう興奮すんなよ じいさん 何の役にも立ちゃしない 中をちょっと散歩するだけだ 【オスミン】 ハ！したきゃやってみろ！ （門の前に立ちはだかる） 【ペドリロ】 邪魔せんでくれ - 【ベルモンテ】 道を開けろ 下郎！ Nr. 7 - トリオ 【オスミン】 失せろ！失せろ！失せろ！とっとといなくなっちまえ！ さもなきゃ 鞭を お前らに食らわせてやるぞ 【ベルモンテとペドリロ】 おい おい！全く残念だな そんな扱いをしてくれるとはな 【オスミン】 少しでも近付いてみろ 【ベルモンテとペドリロ】 門から離れろ 【オスミン】 一発食らわせてやるからな 【ベルモンテとペドリロ】 中に入りたいんだ （彼らは門から彼を押しのける） 【オスミン】 失せろ 行け！ 【ベルモンテとペドリロ】 どいてくれ 失せろ！ 【オスミン】 ぶん殴ってやるぞ！ 【ベルモンテとペドリロ】 中に入りたいんだ！ （彼らは彼を押しのけて中に入る） ERSTER AUFZUG Ouvertüre Platz vor dem Palast des Bassa am Ufer des Meers. ERSTER AUFTRITT Belmonte allein. Nr. 1 - Arie BELMONTE Hier soll ich dich dann sehen, Konstanze! dich mein Glück! Lass Himmel es geschehen! Gieb mir die Ruh zurück! Ich duldete der Leiden O Liebe! allzuviel! Schenk mir dafür nun Freuden Und bringe mich ans Ziel. Aber wie soll ich in den Palast kommen? - wie sie sehen? - wie sprechen? ZWEITER AUFTRITT Belmonte, Osmin mit einer Leiter, welche er an einen Baum vor der Thüre des Palasts lehnt, hinauf steigt und Feigen abnimmt. Nr. 2 - Lied und Duett OSMIN Wer ein Liebchen hat gefunden, Die es treu und redlich meynt, Lohn es ihr durch tausend Küsse, Mach ihr all das Leben süsse, Sey ihr Tröster, sey ihr Freund. Trallalera, trallalera! BELMONTE Vielleicht dass ich durch diesen Alten etwas erfahre. - He, Freund! Ist das nicht das Landhaus des Bassa Selim? OSMIN singt wie zuvor, während der Arbeit Doch sie treu sich zu erhalten, Schliess er Liebchen sorglich ein Denn die losen Dinger haschen Jeden Schmetterling, und naschen Gar zu gern von fremdem Wein. Trallalera, trallalera! BELMONTE He, Alter, he! hört ihr nicht? - Ist hier des Bassa Selim Palast? OSMIN sieht ihn an, dreht sich herum, und singt wie zuvor Sonderlich bey m Mondenscheine, Freunde, nehmt sie wohl in Acht! Oft lauscht da ein junges Herrchen, Kirrt und lockt das kleine Närrchen, Und dann, Treue, gute Nacht! Trallalera, trallalera! BELMONTE Verwünscht seyst du samt deinem Liede! Ich bin dein Singen nun schon müde; So hör doch nur ein einzig Wort! OSMIN Was Henker lasst ihr euch gelüsten, Euch zu ereifern, euch zu brüsten? Was wollt ihr? hurtig! ich muss fort. BELMONTE Ist das des Bassa Selims Haus? OSMIN He? BELMONTE Ist das des Bassa Selims Haus? OSMIN Das ist des Bassa Selims Haus. will fort BELMONTE. So wartet doch - - OSMIN. Ich kann nicht weilen. BELMONTE. Ein Wort ... OSMIN. Geschwind! denn ich muss eilen. BELMONTE Seyd ihr in seinen Diensten, Freund? OSMIN He? BELMONTE Seyd ihr in seinen Diensten, Freund? OSMIN Ich bin in seinen Diensten, Freund. BELMONTE Wie kann ich den Pedrill wohl sprechen, Der hier in seinen Diensten steht? OSMIN Den Schurken? der den Hals soll brechen? Seht selber zu; wenns anders geht. will fort BELMONTE für sich Was für ein alter grober Bengel! OSMIN ihn betrachtend, auch für sich Das ist just so ein Galgenschwengel. BELMONTE zu ihm Ihr irrt, es ist ein braver Mann. OSMIN So brav, dass man ihn spiessen kann. BELMONTE Ihr müsst ihn wahrlich nicht recht kennen. OSMIN Recht gut. Ich liess ihn heut verbrennen. BELMONTE Es ist fürwahr ein guter Tropf! OSMIN Auf einen Pfahl gehört sein Kopf! will fort BELMONTE So bleibet doch! OSMIN Was wollt ihr noch. BELMONTE Ich möchte gerne ... OSMIN bitter höhnisch So hübsch von ferne Ums Haus rum schleichen, Und Mädchen stehlen? Fort, eures gleichen Braucht man hier nicht. BELMONTE Ihr seyd besessen! Sprecht voller Galle Mir so vermessen Ins Angesicht! OSMIN Nur nicht in Eifer! BELMONTE Schont euren Geifer. OSMIN Ich kenn euch schon. BELMONTE Lasst euer Drohn. OSMIN Scheert euch zum Teufel - BELMONTE Es bleibt kein Zweifel - zusammen OSMIN Ihr kriegt, ich schwöre Sonst ohne Gnade Die Bastonade Noch habt ihr Zeit. stösst ihn fort BELMONTE Ihr seyd von Sinnen! Welch ein Betragen Auf meine Fragen! Seyd doch gescheid. ab DRITTER AUFTRITT Osmin, hernach Pedrillo. OSMIN allein Könnt ich mir doch noch so einen Schurken auf die Nase setzen, wie den Pedrillo; so einen Gaudieb, der Tag und Nacht nichts thut, als nach meinen Weibern herum zu schleichen, und zu schnobern, ob s nichts für seinen Schnabel setzt. Aber ich laure ihm sicher auf den Dienst, und wohl bekomm dir die Prügelsuppe, wenn ich dich einmal beym Kanthaken kriege! - Hätt er sich nur beym Bassa nicht so eingeschmeichelt, er sollte den Strick längst um den Hals haben. PEDRILLO Nun, wie stehts, Osmin? Ist der Bassa noch nicht zurück? OSMIN Sieh darnach, wenn du s wissen willst. PEDRILLO Schon wieder Sturm im Kalender? - hast du das Gericht Feigen für mich gepflückt? OSMIN Gift für dich, verwünschter Schmarotzer! PEDRILLO Was in aller Welt ich dir nun gethan haben muss, dass du beständig mit mir zankst. Lass uns doch einmal Friede machen. OSMIN Friede mit dir? mit so einem schleichenden spitzbübischen Passauf, der nur spionirt, wie er mir eins versetzen kann? Erdrosseln möcht ich dich! - PEDRILLO Aber sag nur, warum? warum? OSMIN Warum? - weil ich dich nicht leiden kann. Nr. 3 - Arie OSMIN Solche hergelaufne Laffen Die nur nach den Weibern gaffen, Mag ich vor den Teufel nicht. Denn ihr ganzes Thun und Lassen Ist, uns auf den Dienst zu passen, Doch mich trügt kein solch Gesicht. Eure Tücken, eure Ränke, Eure Finten, eure Schwänke, Sind mir ganz bekannt. Mich zu hintergehen, Müsst ihr früh aufstehen, Ich hab auch Verstand. Drum, beym Barte des Propheten! Ich studiere Tag und Nacht, Ruh nicht, bis ich dich sch tödten, Nimm dich, wie du willst, in acht. PEDRILLO Was bist du für ein grausamer Kerl, und ich hab dir nichts gethan. OSMIN Du hast ein Galgengesicht, das ist genug. Erst geköpft, Dann gehangen, Dann gespiesst Auf heisse Stangen, Dann verbrannt, Dann gebunden Und getaucht; Zuletzt geschunden. geht ins Haus VIERTER AUFTRITT Pedrillo, hernach Belmonte. PEDRILLO allein Geh nur, verwünschter Aufpasser; es ist noch nicht aller Tage Abend. Wer weiss, wer den Andern überlistet; und dir misstrauischem gehässigem Menschenfeinde eine Grube zu graben, sollte ein wahres Fest für mich seyn. BELMONTE Pedrillo, guter Pedrillo! PEDRILLO Ach mein bester Herr! Ist s möglich? Sind Sie s wirklich? Bravo, Madam Fortuna, bravo! das heisst doch Wort gehalten! Schon verzweifelte ich, ob einer meiner Briefe Sie getroffen hätte. BELMONTE Sag, guter Pedrillo, lebt meine Konstanze noch? PEDRILLO Lebt, und noch hoff ich für Sie. Seit dem schrecklichen Tage, an welchem das Glück uns einen so hässlichen Streich spielte, und unser Schiff von den Seeräubern erobern liess, haben wir mancherley Drangsal erfahren. Glücklicher Weise traf sichs noch, dass der Bassa Selim uns alle drey kaufte Ihre Konstanze nämlich, meine Blonde, und mich. Er liess uns sogleich hier auf sein Landhaus bringen. Donna Konstanze ward seine auserwählte Geliebte. - BELMONTE Ah! was sagst du? PEDRILLO Nu, nur nicht so hitzig! Sie ist noch nicht in die schlimmsten Hände gefallen. Der Bassa ist ein Renegat, und hat noch so viel Delikatesse, keine seiner Weiber zu seiner Liebe zu zwingen; und so viel ich weis, spielt er noch immer den unerhörten Liebhaber. BELMONTE Wär es möglich? Wär Konstanze noch treu? PEDRILLO Sicher noch, lieber Herr! Aber wie s mit meinem Blondchen steht, weis der Himmel! das arme Ding schmachtet bey einem alten hässlichen Kerl, dem sie der Bassa geschenkt hat; und vielleicht - ach ich darf gar nicht dran denken! - BELMONTE Doch nicht der alte Kerl, der so eben ins Haus gieng? PEDRILLO Eben der. BELMONTE Und diess ist der Liebling des Bassa? PEDRILLO Liebling, Spion, und Ausbund aller Spitzbuben, der mich mit den Augen vergiften möchte, wenns möglich wäre. BELMONTE O guter Pedrillo! was sagst du? PEDRILLO Nur nicht gleich verzagt! Unter uns gesagt ich hab auch einen Stein im Brete beym Bassa. Durch mein bischen Geschick in der Gärtnerey hab ich seine Gunst weggekriegt, und dadurch hab ich so ziemlich Freyheit, die tausend Andere nicht haben würden. Da sonst jede Mannsperson sich entfernen muss, wenn eine seiner Weiber in Garten kommt, kann ich bleiben; sie reden so gar mit mir, und er sagt nichts darüber. Freylich mault der alte Osmin, besonders, wenn mein Blondchen ihrer Gebieterinn folgen muss. BELMONTE Ists möglich? Du hast sie gesprochen? - O sag, sag! Liebt sie mich noch? PEDRILLO Hm! dass Sie daran zweifeln! Ich dächte, Sie kennten die gute Konstanze mehr als zu gut; hätten Proben genug ihrer Liebe. - Doch damit dürfen wir uns gar nicht aufhalten. Hier ist blos die Frage, wie s anzufangen ist, hier weg zu kommen? BELMONTE O da hab ich für alles gesorgt! Ich hab hier ein Schiff in einiger Entfernung vom Hafen, das uns auf den ersten Wink einnimmt, und - PEDRILLO Ah, sachte, sachte! Erst müssen wir die Mädels haben, ehe wir zu Schiffe gehen; und das geht nicht so husch, husch! wie Sie meynen. BELMONTE O lieber guter Pedrillo, mach nur, dass ich sie sehen, dass ich sie sprechen kann! Das Herz schlägt mir vor Angst und Freude! - PEDRILLO Pfiffig müssen wir das Ding anfangen, und rasch müssen wir s ausführen, damit wir den alten Aufpasser übertölpeln. Bleiben Sie hier in der Nähe. Jetzt wird der Bassa bald von einer Lustfahrt auf dem Wasser zurückkommen. Ich will Sie ihm als einen geschickten Baumeister vorstellen denn Bauen und Gärtnerey sind seine Steckenpferde. Aber lieber goldner Herr, halten Sie sich in Schranken; Konstanze ist bey ihm - BELMONTE Konstanze bey ihm? Was sagst du? Ich soll sie sehen? PEDRILLO Gemach, gemach ums Himmels willen, lieber Herr! sonst stolpern wir - Ah ich glaube, dort seh ich sie schon angefahren kommen. Gehn Sie nur auf die Seite, wenn er kommt; ich will ihm entgegen gehen. geht ab FÜNFTER AUFTRITT Belmonte allein. Nr. 4 -Arie BELMONTE Konstanze! dich wieder zu sehen - - O wie ängstlich, o wie feurig Klopft mein liebevolles Herz! Und des Wiedersehens Zähre Lohnt der Trennung bangen Schmerz. Schon zittr ich und wanke, Schon zag ich und schwanke, Es hebt sich die schwellende Brust Ist das ihr Lispeln? Es wird mir so bange; War das ihr Seufzen? Es glüht mir die Wange; Täuscht mich die Liebe, war es ein Traum? PEDRILLO kömmt hurtig gelaufen Geschwind, geschwind auf die Seite und versteckt! Der Bassa kommt. Belmonte versteckt sich SECHSTER AUFTRITT Der Bassa Selim und Konstanze kommen in einem Lustschiffe angefahren, vor welchem ein anderes Schiff mit Janitscharenmusik voraus landet. Die Janitscharen stellen sich am Ufer in Ordnung, stimmen folgenden Chor an, und entfernen sich dann. Nr. 5 - Chor der Janitscharen CHOR Singt dem grossen Bassa Lieder, Töne, feuriger Gesang; Und vom Ufer halle wieder Unsrer Lieder Jubelklang! EINE ODER ZWO STIMMEN 1 Weht ihm entgegen, Kühlende Winde, Ebne dich sanfter, Wallende Fluth! 2 Singt ihm entgegen, Fliegende Chöre, Singt ihm der Liebe Freuden in s Herz! CHOR Singt dem grossen Bassa Lieder, Töne, feuriger Gesang; Und vom Ufer halle wieder Unsrer Lieder Jubelklang! Janitscharen ab SIEBENTER AUFTRITT Selim, Konstanze. SELIM Immer noch traurig, geliebte Konstanze? immer in Thränen? - Sieh, dieser schöne Abend, diese reizende Gegend, diese bezaubernde Musik, meine zärtliche Liebe für dich - Sag , kann nichts von allem dich endlich beruhigen, endlich dein Herz rühren? - Sieh, ich könnte befehlen, könnte grausam mit dir verfahren, dich zwingen - Konstanze seufzt SELIM Aber nein, Konstanze; dir selbst will ich dein Herz zu danken haben - dir selbst - KONSTANZE Grossmüthiger Mann! o dass ich es könnte! dass ichs erwiedern könnte - aber - SELIM Sag, Konstanze, sag, was hält dich zurück? KONSTANZE Du wirst mich hassen. SELIM Nein, ich schwöre dir s. Du weisst, wie sehr ich dich liebe, wie viel Freyheit ich dir vor allen meinen Weibern gestatte; dich wie meine Einzige schätze - KONSTANZE O so verzeih! Nr. 6 - Arie KONSTANZE Ach, ich liebte, War so glücklich, Kannte nicht der Liebe Schmerz! Schwur ihm Treue Dem Geliebten, Gab dahin mein ganzes Herz Doch wie bald schwand meine Freude, Trennung war mein banges Loos; Und nun schwimmt mein Aug in Thränen, Kummer ruht in meinem Schoos. Während des Gesanges geht der Bassa unwillig hin und her. KONSTANZE Ach, ich sagt es wohl, du würdest mich hassen. Aber verzeih, verzeih dem liebekranken Mädchen! - Du bist ja so grossmüthig, so gut - Ich will dir dienen, deine Sklavinn seyn, bis ans Ende meines Lebens nur verlange nicht ein Herz von mir, das auf ewig versagt ist - SELIM Ha, Undankbare! Was wagst du zu bitten? KONSTANZE Tödte mich, Selim, tödte mich! nur zwinge mich nicht, meineidig zu werden - Noch zuletzt, wie mich der Seeräuber aus den Armen meines Geliebten riss, schwur ich aufs feyerlichste - SELIM Halt ein! nicht ein Wort! Reize meinen Zorn nicht noch mehr. Bedenke, dass du in meiner Gewalt bist - KONSTANZE Ich bin es aber du wirst dich ihrer nicht bedienen, ich kenne dein gutes, dein mitleidvolles Herz. Hätte ichs sonst wagen können, dir das meinige zu entdecken? - SELIM Wag es nicht, meine Güte zu missbrauchen - KONSTANZE Nur Aufschub gönne mir, Herr! Nur Zeit, meinen Schmerz zu vergessen - SELIM Wie oft schon gewährt ich dir diese Bitte - KONSTANZE Nur noch diesmal! SELIM Es sey! zum letztenmale! - Geh, Konstanze, geh! Besinne dich eines Bessern, und morgen - KONSTANZE im Abgehn Unglückliches Mädchen! O Belmonte, Belmonte! ACHTER AUFTRITT Selim, Pedrillo, Belmonte. SELIM Ihr Schmerz, ihre Thränen, ihre Standhaftigkeit bezaubern mein Herz immer mehr, machen mir ihre Liebe nur noch wünschenswerther. Ha! wer wollte gegen ein solches Herz Gewalt brauchen? - Nein, Konstanze, nein, auch Selim hat ein Herz; auch Selim kennt Liebe - PEDRILLO Herr! verzeih, dass ich es wage, dich in deinen Betrachtungen zu stören - SELIM Was willst du, Pedrillo? PEDRILLO Dieser junge Mann, der sich in Italien mit vielem Fleiss auf die Baukunst gelegt, hat von deiner Macht, von deinem Reichthum gehört, und kommt her, dir als Baumeister seine Dienste anzubieten. BELMONTE Herr! könnte ich so glücklich seyn, durch meine geringen Fähigkeiten deinen Beyfall zu verdienen. SELIM Hm! Du gefällst mir. Ich will sehen, was du kannst. - zum Pedrillo Sorge für seinen Unterhalt. Morgen werde ich dich wieder rufen lassen. geht ab NEUNTER AUFTRITT Belmonte, Pedrillo. PEDRILLO Ha! Triumph, Triumph, Herr! der erste Schritt war gethan. BELMONTE Ach lass mich zu mir selbst kommen! - Ich habe sie gesehen, hab das gute treue beste Mädchen gesehen! - O Konstanze, Konstanze! Was könnt ich für dich thun, was für dich wagen? PEDRILLO Ha! gemach, gemach, bester Herr! Stimmen Sie den Ton ein bischen herab; Verstellung wird uns weit bessere Dienste leisten. Wir sind nicht in unserm Vaterlande. Hier fragen sie den Henker darnach, ob s einen Kopf mehr oder weniger in der Welt giebt. Bastonade und Strick um Hals sind hier wie ein Morgenbrod. BELMONTE Ach, Pedrillo! wenn du die Liebe kenntest - PEDRILLO Hm! Als wenn s mit unser einem gar nichts wäre. Ich habe so gut meine zärtlichen Stunden als andere Leute. Und denken Sie denn, dass mir s nicht auch im Bauche grimmt, wenn ich mein Blondchen von so einem alten Spitzbuben, wie der Osmin ist, bewacht sehen muss? BELMONTE O wenn es möglich wäre, sie zu sprechen - PEDRILLO Wir wollen sehen, was zu thun ist. Kommen Sie nur mit mir in Garten aber um alles in der Welt, vorsichtig und fein. Denn hier ist alles Aug und Ohr. Sie wollen in den Palast, Osmin kommt ihnen in der Thür entgegen, und hält sie zurück. ZEHNTER AUFTRITT Vorige, Osmin. OSMIN Wohin? PEDRILLO Hinein! OSMIN zu Belmonte Was will das Gesicht? - Zurück mit dir, zurück! PEDRILLO Ha, gemach, Meister Grobian, gemach! er ist in des Bassa Diensten. OSMIN In des Henkers Diensten mag er seyn! Er soll nicht herein! PEDRILLO Er soll aber herein! OSMIN Kommt mir nur einen Schritt über die Schwelle - BELMONTE Unverschämter! Hast du nicht mehr Achtung für einen Mann meines Standes? OSMIN Ey, ihr mögt mir vom Stande seyn! - Fort, fort, oder ich will euch Beine machen. PEDRILLO Alter Dummkopf! Es ist ja der Baumeister, den der Bassa angenommen hat. OSMIN Meinethalben sey er Stockmeister nur komm er mir hier nicht zu nahe. Ich müsste nicht sehen, dass es so ein Kumpan deines Gelichters ist, und dass das so eine abgeredte Karte ist, uns zu überlisten. Der Bassa ist weich wie Butter, mit dem könnt ihr machen, was ihr wollt aber ich habe eine feine Nase. Gaunerey ist s um den ganzen Kram, mit euch fremden Gesindel; und ihr abgefeimten Betrüger habt lange euer Plänchen angelegt, eure Pfiffe auszuführen. aber wart ein bischen! Osmin schläft nicht. Wär ich Bassa, ihr wär t längst gespiesst. - Ja! schneid t nur Gesichter, lacht nur hönisch in Bart hinein! PEDRILLO Ereifere dich nicht so, Alter; es hilft dir doch nichts. Sieh, so eben werden wir hinein spatzieren. OSMIN Ha! das will ich sehen! stellt sich vor die Thüre. PEDRILLO Mach keine Umstände. - BELMONTE Weg, Niederträchtiger! Nr. 7 - Terzett OSMIN Marsch! Marsch! Marsch! trollt euch fort! Sonst soll die Bastonade Euch gleich zu Diensten stehn. BELMONTE UND PEDRILLO Ey, ey! Das wär ja Schade, So mit uns umzugehn. OSMIN Kommt mir nicht näher. BELMONTE UND PEDRILLO Weg von der Thüre. OSMIN Sonst schlag ich drein. BELMONTE UND PEDRILLO Wir gehn hinein. Sie drängen ihn von der Thüre weg. OSMIN Marsch, fort! BELMONTE UND PEDRILLO Platz, fort! OSMIN Ich schlage drein! BELMONTE UND PEDRILLO Wir gehn hinein! Sie stossen ihn weg und gehn hinein. この日本語テキストは、 クリエイティブ・コモンズ・ライセンス の下でライセンスされています。@ 藤井宏行 Mozart,Wolfgang Amadeus/Die Entführung aus dem Serail/II
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Carmen Esteve? Susaeta? CarmenEsteve? ジャンル別? Substores-UnknownASINs-54? Subjects-Engineering-Civil-Environmental-General Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Chemical Sensors in Oceanography (Ocean Science and Technology, V. 1) G & B Pub? Mark S. Varney? G&BPub? MarkS.Varney? ジャンル別? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-General? Subjects-Medicine-General? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-ProfessionalScience-Chemistry-Analytic? Subjects-Science-Chemistry-Analytic? Subjects-Science-EarthSciences-Geology-General? Subjects-Science-General Subjects-Science-Nature&Ecology-Oceans&Seas-Oceanography-General? Subjects-Science-Nature&Ecology-Oceans&Seas-Oceanography-Chemical? Subjects-Science-Medicine-General? Erfassung und Nutzung von Deponiegas Ubooks GbR? Gerhard Rettenberger? Rainer Stegmann? UbooksGbR? GerhardRettenberger? RainerStegmann? ジャンル別? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-General? Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-General Development of Event-based Pathogen Monitoring Strategies for Watersheds Amer Water Works Assn? Paula Rees? Sharon Long? Rebecca Baker? Daniel Bordeau? Routing Pei? AmerWaterWorksAssn? PaulaRees? SharonLong? RebeccaBaker? DanielBordeau? RoutingPei? ジャンル別? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Outdoors&Nature-NaturalResources-WaterSupply&LandUse? Subjects-Outdoors&Nature-Environment-WaterSupply? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Medical-BasicSciences-Bacteriology? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Inorganic? Subjects-Science-Chemistry-Inorganic? Subjects-Science-General Subjects-Science-Nature&Ecology-WaterSupply&LandUse? Subjects-Science-Nature&Ecology-Environment-WaterSupply? Subjects-Science-BiologicalSciences-Bacteriology? Water Residuals to Reduce Soil Phosphorus Awwarf Report 91098f (Awwarf Report) Intl Water Assn? J. Dewolfe? IntlWaterAssn? J.Dewolfe? ジャンル別? Subjects-Engineering-Civil-Environmental-General Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-SoilScience? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-AgriculturalSciences-SoilScience? Focus First on Service The Face and Voice of Your Water Utility Amer Water Works Assn? American Water Works Association? AmerWaterWorksAssn? AmericanWaterWorksAssociation? ジャンル別? Subjects-Business&Investing-Economics-NaturalResources Subjects-Business&Investing-Management&Leadership-Training? Subjects-Engineering-Civil-Environmental-General Subjects-Nonfiction-SocialSciences-Reference? Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-NaturalResources-WaterSupply&LandUse? Subjects-Outdoors&Nature-Environment-WaterSupply? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Training? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Subjects-Science-Nature&Ecology-WaterSupply&LandUse? Subjects-Science-Nature&Ecology-Environment-WaterSupply? Econia - Formacion de Lideres Ambientales Juvenil Asociacion de Mujeres Universitarias? de Lideres Formacion? AsociaciondeMujeresUniversitarias? deLideresFormacion? ジャンル別? Substores-UnknownASINs-56? Subjects-Engineering-Civil-Environmental-General Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Air Pollution WIT Press? J.M. Baldasano? H. Power? P. Zannetti? WITPress? J.M.Baldasano? H.Power? P.Zannetti? ジャンル別? Substores-UnknownASINs-38? Subjects-Computers&Internet? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Civil-Environmental-Pollution-Air? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Civil-Environmental-Pollution-Air? Advanced Processes for Simultaneous Arsenic and Manganese Removal Amer Water Works Assn? Yu-Jung Chang? Bryan Black? David Chang? Dianne Gehling? AmerWaterWorksAssn? Yu-JungChang? BryanBlack? DavidChang? DianneGehling? ジャンル別? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Civil-Environmental-Hydrology? Subjects-Outdoors&Nature-NaturalResources-WaterSupply&LandUse? Subjects-Outdoors&Nature-Environment-WaterSupply? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Civil-Environmental-Hydrology? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-EarthSciences-Geology-Hydrology? Subjects-Science-General Subjects-Science-Nature&Ecology-WaterSupply&LandUse? Subjects-Science-Nature&Ecology-Environment-WaterSupply? Air Pollution WIT Press? J.M. Baldasano? H. Power? P. Zannetti? WITPress? J.M.Baldasano? H.Power? P.Zannetti? ジャンル別? Substores-UnknownASINs-38? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Civil-Environmental-Pollution-Air? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Civil-Environmental-Pollution-Air? Greenhouse Gases in the Metallurgical Industries Policies, Abatement and Treatment Canadian Inst of? CanadianInstof? ジャンル別? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Materials-Metallurgy? Subjects-Engineering-MaterialsScience-Metallurgy? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-MaterialsScience-Metallurgy? Subjects-Professional&Technical-Engineering-Materials-Metallurgy? Subjects-Science-General The Status of Alternative Methods in Toxicology The Royal Society of Chemistry? Diana Anderson? Tanya L. Russell? TheRoyalSocietyofChemistry? DianaAnderson? TanyaL.Russell? ジャンル別? Subjects-Engineering-Civil-Environmental-General Subjects-Medicine-Pharmacology-Toxicology? Subjects-Medicine-Specialties-Pathology-LaboratoryMedicine? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Professional&Technical-Medical-Pharmacology-Toxicology? Subjects-Science-Chemistry-General&Reference? Subjects-Science-Medicine-Pharmacology-Toxicology? Subjects-Science-Medicine-Specialties-Pathology-LaboratoryMedicine? Empresa Y Medio Ambiente (Empresa Y Gestion) Piramide Ediciones Sa? Santos M. Ruesga Benito? Gemma Duran Romero? PiramideEdicionesSa? SantosM.RuesgaBenito? GemmaDuranRomero? ジャンル別? Substores-UnknownASINs-54? Subjects-Engineering-Civil-Environmental-General Subjects-Law-Business-CorporateLaw? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Nonfiction-Law-Business-CorporateLaw? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Analyses of Hazardous Substances in Biological Materials (Analyses of Hazardous Substances in Biological Materials) Vch Verlagsgesellschaft Mbh? Jurgen Angerer? Karl-Heinz Schaller? VchVerlagsgesellschaftMbh? JurgenAngerer? Karl-HeinzSchaller? ジャンル別? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Civil-Environmental-Pollution-Air? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Safety&Health? Subjects-Health,Mind&Body-PersonalHealth-General? Subjects-Health,Mind&Body-General? Subjects-Medicine-Pharmacology-Toxicology? Subjects-Medicine-Specialties-Obstetrics&Gynecology? Subjects-Medicine-Specialties-Occupational&IndustrialMedicine? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Civil-Environmental-Pollution-Air? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Safety&Health? Subjects-Professional&Technical-Medical-Administration&MedicineEconomics-PublicHealth-IndustrialHealth? Subjects-Professional&Technical-Medical-Medicine-InternalMedicine-Occupational? Subjects-Professional&Technical-Medical-Pharmacology-Toxicology? Subjects-Science-General Subjects-Science-Technology-Safety&Health? Subjects-Science-Medicine-Pharmacology-Toxicology? Subjects-Science-Medicine-Specialties-Obstetrics&Gynecology? Subjects-Science-Medicine-Specialties-Occupational&IndustrialMedicine? Control De Calidad En Mamografia (Iaea Tecdoc Series) Intl Atomic Energy Agency? IntlAtomicEnergyAgency? ジャンル別? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Reference? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Reference? Subjects-Science-General Subjects-Science-Reference-Engineering? A Novel Approach to Seawater Desalination Using Dual-staged Nanofiltration (Subject Area High-Quality Water) Amer Water Works Assn? Yann Le Gouellec? David Cornwell? Robert Cheng? Tai Tseng? Diem Vuong? AmerWaterWorksAssn? YannLeGouellec? DavidCornwell? RobertCheng? TaiTseng? DiemVuong? ジャンル別? Subjects-Engineering-Civil-Environmental-General Subjects-Outdoors&Nature-NaturalResources-WaterSupply&LandUse? Subjects-Outdoors&Nature-Environment-WaterSupply? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-Chemistry-Industrial&Technical? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Subjects-Science-Nature&Ecology-WaterSupply&LandUse? Subjects-Science-Nature&Ecology-Environment-WaterSupply? Subjects-Science-Technology-Nanotechnology? International Symposium on Modeling Environmental Flows Amer Society of Mechanical? D.J. Norton? R.A. Bajura? AmerSocietyofMechanical? D.J.Norton? R.A.Bajura? ジャンル別? Substores-UnknownASINs-57? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Mechanical-FluidMechanics? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Mechanical-FluidMechanics? Subjects-Science-General Subjects-Science-Physics-FluidMechanics? Managing Distribution Retention Time to Improve Water Quality Phase Ii Guidance Manual Amer Water Works Assn? Malcolm Brandt? AmerWaterWorksAssn? MalcolmBrandt? ジャンル別? Subjects-Business&Investing-Biographies&Primers-CompanyProfiles? Subjects-Business&Investing-BusinessLife-TimeManagement? Subjects-Business&Investing-Economics-NaturalResources Subjects-Engineering-Civil-Environmental-General Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-NaturalResources-WaterSupply&LandUse? Subjects-Outdoors&Nature-Environment-WaterSupply? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Subjects-Science-Nature&Ecology-WaterSupply&LandUse? Subjects-Science-Nature&Ecology-Environment-WaterSupply? Fundamental Methods for Optimizing Residuals Dewatering Amer Water Works Assn? Steven K. Dentel? Mohammad Abu-Orf? Christopher A. Walker? AmerWaterWorksAssn? StevenK.Dentel? MohammadAbu-Orf? ChristopherA.Walker? ジャンル別? Substores-UnknownASINs-37? Subjects-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-ProfessionalScience-Physics-Acoustics&Sound? Subjects-Science-General Subjects-Science-Physics-Acoustics&Sound? Energy Law and the Environment G & B Science Pub? Patricia Park? G&BSciencePub? PatriciaPark? ジャンル別? Subjects-Business&Investing-Economics-NaturalResources Subjects-Engineering-Civil-Environmental-General Subjects-Law-Environmental&NaturalResourcesLaw? Subjects-Law-General? Subjects-Nonfiction-Economics-NaturalResources Subjects-Nonfiction-Law-Environmental&NaturalResourcesLaw? Subjects-Nonfiction-Law-General? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Law-Environmental&NaturalResourcesLaw? Subjects-Professional&Technical-Law-General? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-ProfessionalScience-Physics-Energy? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-Physics-Energy? Biotechnology for Water Use and Conservation OECD (Organisation for Economic Co-Operation & Dev? Organization for Economic Co-operation and Development? OECD(OrganisationforEconomicCo-Operation&Dev? OrganizationforEconomicCo-operationandDevelopment? ジャンル別? Substores-UnknownASINs-67? Subjects-Engineering-Bioengineering-Biotechnology? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Civil-Environmental-SolidWasteManagement? Subjects-Engineering-General? Subjects-Outdoors&Nature-Environment-Conservation? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Civil-Environmental-SolidWasteManagement? Subjects-Professional&Technical-Engineering-Bioengineering-Biotechnology? Subjects-Professional&Technical-Engineering-General Subjects-Science-Nature&Ecology-Environment-Conservation? Subjects-Professional&Technical-Engineering-Civil-Environmental-General 洋書
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Biology Chapters 1-21/Parts 1-4 Harcourt College Pub? Eldra P. Solomon? HarcourtCollegePub? EldraP.Solomon? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-BiologicalSciences? Technology in America A Brief History Wadsworth Pub Co? Alan I. Marcus? Howard P. Segal? WadsworthPubCo? AlanI.Marcus? HowardP.Segal? ジャンル別? Subjects-Computers&Internet-General? Subjects-History-Americas-UnitedStates-19thCentury-General? Subjects-History-Americas-UnitedStates-20thCentury-General? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Technical Communication Wadsworth Pub Co? Rebecca E. Burnett? WadsworthPubCo? RebeccaE.Burnett? ジャンル別? Substores-UnknownASINs-6? Subjects-Science-General Subjects-Science-Technology-General&Reference Technical Communication A Reader-Centered Approach Heinle & Heinle Pub? Paul V. Anderson? Heinle&HeinlePub? PaulV.Anderson? ジャンル別? Subjects-Children sBooks-Reference&Nonfiction-LanguageArts-Composition&CreativeWriting? Subjects-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Professional&Technical-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Reference-Writing-WritingSkills? Subjects-Reference-Writing-Technical? Subjects-Reference-General? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-TechnicalThinking&Writing? Technical Communication A Reader-Centered Approach Heinle & Heinle Pub? Paul V. Anderson? Heinle&HeinlePub? PaulV.Anderson? ジャンル別? Subjects-Business&Investing-BusinessLife-Communication-General? Subjects-Business&Investing-BusinessLife-Communication-BusinessWriting? Subjects-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Nonfiction-SocialSciences-Linguistics-Applied? Subjects-Nonfiction-Education-Reference-Dictionaries&Thesauri-English(SpecificAspects)? Subjects-Nonfiction-Education-Reference-Words&Language-General? Subjects-Professional&Technical-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Reference-Dictionaries&Thesauruses-English(SpecificAspects)? Subjects-Reference-Words&Language-General? Subjects-Reference-Words&Language-Linguistics? Subjects-Reference-Writing-Technical? Subjects-Reference-General? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-TechnicalThinking&Writing? Computer Troubleshooting and Maintenance Harcourt College Pub? Walter J. McBride? HarcourtCollegePub? WalterJ.McBride? ジャンル別? Substores-UnknownASINs-6? Subjects-Engineering? Subjects-Professional&Technical-Engineering? Subjects-Science-Physics-Applied? Subjects-Science-Technology-General&Reference Contemporary Critical Theory Harcourt College Pub? Dan Latimer? HarcourtCollegePub? DanLatimer? ジャンル別? Subjects-Literature&Fiction-History&Criticism-Criticism&Theory-General? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Handbook of Technical Writing Form and Style Harcourt College Pub? Mary Lee? HarcourtCollegePub? MaryLee? ジャンル別? Subjects-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Nonfiction-Education-Reference-Words&Language-General? Subjects-Nonfiction-Education-General? Subjects-Professional&Technical-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Reference-Words&Language-General? Subjects-Reference-Writing-Technical? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-TechnicalThinking&Writing? Initiation Stories and Short Novels on Three Themes Harcourt College Pub? David Thorburn? HarcourtCollegePub? DavidThorburn? ジャンル別? Subjects-Literature&Fiction-General-Contemporary? Subjects-Literature&Fiction-ShortStories-Anthologies? Subjects-Science-Technology-General&Reference Learning from Data An Introduction to Statistical Reasoning Harcourt College Pub? Arthur M. Glenberg? HarcourtCollegePub? ArthurM.Glenberg? ジャンル別? Subjects-Health,Mind&Body-Psychology&Counseling-General? Subjects-Nonfiction-SocialSciences-Research? Subjects-Nonfiction-SocialSciences-Statistics? Subjects-Reference-General? Subjects-Science-Education-Research? Subjects-Science-Experiments,Instruments&Measurement-Methodology&Statistics? Subjects-Science-Technology-General&Reference The Machine Transcription Specialist A Text Workbook Harcourt College Pub? Edith E. Ennis? Marilyn E. Price? Sheila K. Vedder? HarcourtCollegePub? EdithE.Ennis? MarilynE.Price? SheilaK.Vedder? ジャンル別? Substores-UnknownASINs-6? Subjects-Science-Technology-General&Reference Mastering Ten-Key Calculators Electronic and Mechanical Harcourt? Vera G. Kinzey? Harcourt? VeraG.Kinzey? ジャンル別? Substores-UnknownASINs-6? Subjects-Business&Investing-General? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-Technology-General&Reference Designing Creative Materials Harcourt? Judy Herr? Harcourt? JudyHerr? ジャンル別? Substores-UnknownASINs-6? Subjects-Science-Technology-General&Reference Precision Metal Technology Harcourt College Pub? Mario Rapisarda? HarcourtCollegePub? MarioRapisarda? ジャンル別? Substores-UnknownASINs-61? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Principles of Accounting Harcourt College Pub? A. Douglas Hillman? Richard F. Kochanek? Isaac N. Reynolds? HarcourtCollegePub? A.DouglasHillman? RichardF.Kochanek? IsaacN.Reynolds? ジャンル別? Subjects-Business&Investing-General? Subjects-Business&Investing-Industries&Professions-Accounting? Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-Accounting? Subjects-Science-Technology-General&Reference A Primer of Multivariate Statistics Harcourt College Pub? Richard J. Harris? HarcourtCollegePub? RichardJ.Harris? ジャンル別? Substores-UnknownASINs-6? Subjects-Science-Mathematics-Applied-Probability&Statistics? Subjects-Science-Technology-General&Reference Technology in America Wadsworth? Abraham Marcus? Howard P. Segal? Wadsworth? AbrahamMarcus? HowardP.Segal? ジャンル別? Subjects-History-Americas-UnitedStates-General? Subjects-Science-History&Philosophy-HistoryofScience? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference The Almanac of Science and Technology What's New and What's Known Harcourt? Richard Golob? Eric Brus? Harcourt? RichardGolob? EricBrus? ジャンル別? Substores-UnknownASINs-6? Subjects-Reference? Subjects-Science-General Subjects-Science-Reference-General? Subjects-Science-Technology-General&Reference 1999 Electronic Commerce Assurance Services Harcourt Brace Professional Pub? Karl D., Cpa Nagel? Glen, Ph.D., Cpa Gray? HarcourtBraceProfessionalPub? KarlD.,CpaNagel? Glen,Ph.D.,CpaGray? ジャンル別? Subjects-Business&Investing-Finance-Finance&Investing? Subjects-Business&Investing-General? Subjects-Business&Investing-Industries&Professions-Accounting-General? Subjects-Business&Investing-Industries&Professions-E-commerce-General? Subjects-Business&Investing-Reference-General? Subjects-Computers&Internet-Business&Culture-E-commerce? Subjects-Computers&Internet-Databases-SpecificDatabases-Oracle-General? Subjects-Computers&Internet-Hardware-Peripherals? Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-Accounting-General? Subjects-Professional&Technical-Accounting&Finance-Accounting-General? Subjects-Professional&Technical-Accounting&Finance-Finance-General? Subjects-Professional&Technical-Accounting&Finance-Finance-Finance&Investing? Subjects-Science-Technology-General&Reference 2001 How to Build a Million Dollar Technology Consulting Practice Harcourt Brace Professional Pub? James C. Metzler? HarcourtBraceProfessionalPub? JamesC.Metzler? ジャンル別? Subjects-Business&Investing-Finance-Finance&Investing? Subjects-Business&Investing-General? Subjects-Business&Investing-Industries&Professions-Accounting-General? Subjects-Business&Investing-Industries&Professions-Consulting? Subjects-Business&Investing-Management&Leadership-Management? Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-Accounting-General? Subjects-Professional&Technical-Accounting&Finance-Accounting-General? Subjects-Professional&Technical-Accounting&Finance-Finance-General? Subjects-Professional&Technical-Accounting&Finance-Finance-Finance&Investing? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Management? Subjects-Reference? Subjects-Science-Technology-General&Reference Where No Man Has Gone Before A History of Apollo Lunar Exploration Mission United States Government Printing? William D. Compton? UnitedStatesGovernmentPrinting? WilliamD.Compton? ジャンル別? Substores-UnknownASINs-6? Subjects-Science-General Subjects-Science-Technology-General&Reference Lead in Your Home PT. 2 A Parent's Reference Guide Government Printing Office? GovernmentPrintingOffice? ジャンル別? Substores-UnknownASINs-6? Subjects-Science-Technology-General&Reference Spinoff 2002 (Spinoff) United States Government Printing? UnitedStatesGovernmentPrinting? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Nanotechnology? Subjects-Science-Technology-TechnologyTransfer? Spinoff 2003 (Spinoff) United States Government Printing? UnitedStatesGovernmentPrinting? ジャンル別? Substores-UnknownASINs-61? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Nanotechnology? Subjects-Science-Technology-TechnologyTransfer? Spinoff 2004 (Spinoff) United States Government Printing? UnitedStatesGovernmentPrinting? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Nanotechnology? Subjects-Science-Technology-TechnologyTransfer? Spinoff 2005 (Spinoff) United States Government Printing? UnitedStatesGovernmentPrinting? ジャンル別? Subjects-Professional&Technical-ProfessionalScience-Astronomy-Astrophysics&SpaceScience? Subjects-Reference-Almanacs&Yearbooks-Yearbooks&Annuals? Subjects-Science-General Subjects-Science-Physics-Astrophysics? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Nanotechnology? Subjects-Science-Technology-TechnologyTransfer? Scientific Breakthrough Nelson? Ronald William Clarke? Nelson? RonaldWilliamClarke? ジャンル別? 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このテンプレはポリウト方式で作成されています。 こちらの役名一覧に和訳を記載して管理人までお知らせください。 ATTO PRIMO Scena Prima （Parte del Foro romano con trono imperiale da un lato. Vista di Roma illuminata in tempo di notte, con archi trionfali ed altri apparati festivi, apprestati per celebrare le feste decennali e per onorare il ritorno d’Ezio, vincitore d’Attila） ▼MASSIMO▲ Signor, mai con più fasto La prole di Quirino Non celebrò d’ogni secondo lustro L’ultimo dì. Di tante faci il lume L’applauso popolar turba alla notte L’ombre e i silenzi; e Roma Al secolo vetusto Più non invidia il suo felice Augusto. ▼VALENTINIANO▲ Godo ascoltando i voti Che a mio favor sino alle stelle invia Il popolo fedel le pompe ammiro Attendo il vincitor tutte cagioni Di gioia a me. Ma la più grande è quella, Ch’io possa offrir con la mia destra in dono Ricco di palme alla tua figlia il trono. ▼MASSIMO▲ all’umiltà del padre Apprese Fulvia a non bramare il soglio, E a non sdegnarlo apprese Dall’istessa umiltà. Cesare imponga La figlia eseguirà. ▼VALENTINIANO▲ Fulvia io vorrei Amante più, men rispettosa. ▼MASSIMO▲ È vano Temer ch’ella non ami Que’ pregi in te che l’universo ammira. （fra sè） Il mio rispetto alla vendetta aspira. ▼VARO▲ Ezio s’avanza. Io già le prime insegne Veggo appressarsi. ▼VALENTINIANO▲ Il vincitor s’ascolti E sia Massimo a parte De’ doni che mi fa la sorte amica. （Valentiniano va sul trono, servito da Varo） ▼MASSIMO▲ （fra sè） Io però non oblio l’ingiuria antica. Scena Seconda （Ezio, preceduto da istromenti bellici, schiavi ed insegne de’ vinti, seguìto da’ soldati vincitori e popolo, e detti） ▼EZIO▲ Signor, vincemmo. Ai gelidi trioni Il terror de’ mortali Fuggitivo ritorna. Il primo io sono, Che mirasse fin ora Attila impallidir. Non vide il sole Più numerosa strage. A tante morti Era angusto il terreno. Il sangue corse In torbidi torrenti; Le minacce, i lamenti S’udiam confusi, e fra i timori e l’ire Erravano indistinti I forti, i vili, i vincitori, i vinti. Né gran tempo dubbiosa La vittoria ondeggiò. Teme, dispera, Fugge il tiranno e cede Di tante ingiuste prede, Impacci al suo fuggir, l’acquisto a noi. Se una prova ne vuoi, Mira le vinte schiere Ecco l’armi, le insegne e le bandiere. ▼VALENTINIANO▲ Ezio, tu non trionfi D’Attila sol nel debellarlo, ancora Vincesti i voti miei. Tu rassicuri Su la mia fronte il vacillante alloro Tu il marzial decoro Rendesti al Tebro; e deve Alla tua mente, alla tua destra audace L’Italia tutta e libertade e pace. ▼EZIO▲ L’Italia i suoi riposi Tutta non deve a me; v’è chi Li deve Solo al proprio valore. All’Adria in seno Un popolo d’eroi s’aduna, e cangia In asilo di pace L’instabile elemento. Con cento ponti e cento Le sparse isole unisce; Con le moli impedisce All’Ocean la libertà dell’onde. E intanto su le sponde Stupido resta il pellegrin, che vede, Di marmi adorne e gravi, Sorger le mura ove ondeggiàr le navi ▼VALENTINIANO▲ Chi mai non sa qual sia D’Antenore la prole? È noto a noi Che, più saggia d’ogni altro, Alle prime scintille Dell’incendio crudel ch’Attila accese, Lasciò i campi e le ville, E in grembo al mar la libertà difese. So già quant’aria ingombra La novella cittade; e volgo in mente Qual può sperarsi adulta, Se nascente è così. ▼EZIO▲ Cesare, io veggo I semi in lei delle future imprese Già s’avvezza a regnar. Sudditi i mari Temeranno i suoi cenni. Argine all’ire Sarà de’ regi; e porterà felice, Con mille vele e mille aperte al vento, Ai tiranni dell’Asia alto spavento. ▼VALENTINIANO▲ Gli augùri fortunati secondi il Ciel. （scende dal trono） Fra queste braccia intanto Tu, del cadente impero e mio sostegno, Prendi d’amore un pegno. A te non posso Offrir che i doni tuoi. Serbami, amico, Quei doni istessi; e sappi Che, fra gli acquisti miei, Il più nobile acquisto, Ezio, tu sei. Se tu la reggi al volo Su la tarpea pendice, L’aquila vincitrice Sempre tornar vedrò. Breve sarà per lei Tutto il cammin del sole; E allora i regni miei Col Ciel dividerò. （parte con Varo e pretoriani） Scena Terza （Ezio, Massimo e poi Fulvia con paggi ed alcuni schiavi） ▼MASSIMO▲ Ezio, donasti assai Alla gloria e al dover qualche momento Concedi all’amistà lascia ch’io stringa Quella man vincitrice. （Massimo prende per mano Ezio） ▼EZIO▲ Io godo, amico, Nel rivederti, e caro M’è l’amor tuo de’ miei trionfi al paro. Ma Fulvia ove si cela? Che fa? Dov’è? Quando ciascun s’affretta Su le mie pompe ad appagar le ciglia, La tua figlia non viene? ▼MASSIMO▲ Ecco la figlia. ▼EZIO▲ （a Fulvia, nell’uscire） Cara, di te più degno Torna il tuo sposo, e al volto tuo gran parte Deve de’ suoi trofei. Fra l’armi e l’ire Mi fu sprone egualmente E la gloria e l’amor né vinto avrei, Se premio a’ miei sudori Erano solo i trionfali allori. Ma come! A’ dolci nomi E di sposo e d’amante Ti veggo impallidir! Dopo la nostra Lontananza crudel, così m’accogli? Mi consoli così? ▼FULVIA▲ （fra sè） Che pena! （Ad Ezio） Io vengo… signor… ▼EZIO▲ Tanto rispetto, Fulvia, con me! Perché non dir «mio fido»? Perché «sposo» non dirmi? Ah! tu non sei Per me quella che fosti. ▼FULVIA▲ Oh Dio! son quella; Ma senti… Ah! genitor, per me favella. ▼EZIO▲ Massimo, non tacer. ▼MASSIMO▲ Tacqui fin ora, Perché co’ nostri mali a te non volli Le gioie avvelenar. Si vive, amico, Sotto un giogo crudel. Anche i pensieri Imparano a servir. La tua vittoria, Ezio, ci toglie alle straniere offese Le domestiche accresce. Era il timore In qualche parte almeno A Cesare di freno or che vincesti, I popoli dovranno Più superbo soffrirlo e più tiranno. ▼EZIO▲ Io tal nol credo. Almeno La tirannide sua mi fu nascosa. Che pretende? Che vuol? ▼MASSIMO▲ Vuol la tua sposa. ▼EZIO▲ La sposa mia! Massimo, Fulvia, e voi Consentite a tradirmi? ▼FULVIA▲ Ahimè! ▼MASSIMO▲ Qual arte, Qual consiglio adoprar? Vuoi che l’esponga, Negandola al suo trono, D’un tiranno al piacer? Vuoi che su l’orme Di Virginio io rinnovi, Per serbarla pudica, L’esempio in lei della tragedia antica? Ah! tu solo potresti Frangere i nostri ceppi, Vendicare i tuoi torti. Arbitro sei Del popolo e dell’armi. A Roma oppressa. All’amor tuo tradito Dovresti una vendetta. Al fin tu sai Che non si svena al Cielo Vittima più gradita D’un empio re. ▼EZIO▲ Che dici mai! L’affanno Vince la tua virtù. Giudice ingiusto Delle cose è il dolor. Sono i monarchi Arbitri della terra; Di loro è il Cielo. Ogni altra via si tenti, Ma non l’infedeltade. ▼MASSIMO▲ （abbraccia Ezio） Anima grande, Al par del tuo valore Ammiro la tua fé, che più costante Nelle offese diviene. （fra sè） Cangiar favella e simular conviene. ▼FULVIA▲ Ezio così tranquillo La sua Fulvia abbandona ad altri in braccio? ▼EZIO▲ Tu sei pur d’ogni laccio Disciolta ancora. Io parlerò. Vedrai Tutto cangiar d’aspetto. ▼FULVIA▲ Oh Dio! se parli, Temo per te. ▼EZIO▲ L’imperator fin ora Dunque non sa ch’io t’amo? ▼MASSIMO▲ Il vostro amore Per tema io gli celai. ▼EZIO▲ Questo è l’errore. Cesare non ha colpa. Al nome mio Avria cangiato affetto. Egli conosce Quanto mi deve, e sa ch’opra da saggio L’irritarmi non è. ▼FULVIA▲ Tanto ti fidi? Ezio, mille timori Mi turban l’alma. È troppo amante Augusto Troppo ardente tu sei. Rifletti, oh Dio! Pria di parlar. Qualche funesto evento Mi presagisce il cor. Nacqui infelice, E sperar non mi lice Che la sorte per me giammai si cangi. ▼EZIO▲ Son vincitor, sai che t’adoro, e piangi? Pensa a serbarmi, o cara, I dolci affetti tuoi Amami, e lascia poi Ogni altra cura a me. Tu mi vuoi dir col pianto Che resti in abbandono No, così vil non sono, e meco ingrato tanto No, Cesare non è. （parte） Scena Quarta ▼FULVIA▲ È tempo, o genitore, Che uno sfogo conceda al mio rispetto. Tu pria d’Ezio all’affetto Prometti la mia destra; indi m’imponi Ch’io soffra, ch’io lusinghi Di Cesare l’amore; e m’assicuri Che di lui non sarò. Servo al tuo cenno, Credo alla tua promessa; e, quando spero D’Ezio stringer la mano, Ti sento dir che lo sperarlo è vano. ▼MASSIMO▲ Io d’ingannarti, o figlia, Mai non ebbi il pensier. T’accheta. Al fine, Non è il peggior de’ mali Il talamo d’Augusto. ▼FULVIA▲ E soffrirai Ch’abbia sposa la figlia Chi della tua consorte Insultò l’onestà? Così ti scordi Le offese dell’onor? Così t’abbagli Del trono allo splendor? ▼MASSIMO▲ Vieni al mio seno, Degna parte di me. Quell’odio illustre Merita ch’io ti scopra Ciò che dovrei celar. Sappi che ad arte Dell’onor mio dissimulai le offese. Perde l’odio palese Il luogo alla vendetta. Ora è vicina Eseguirla dobbiam. Sposa al tiranno, Tu puoi svenarlo o almeno Agio puoi darmi a trapassargli il seno. ▼FULVIA▲ Che sento! E con qual fronte Posso a Cesare offrirmi Coll’idea di tradirlo? Il reo disegno Mi leggerebbe in faccia. A’ gran delitti È compagno il timor. L’alma ripiena Tutta della sua colpa Teme se stessa. È qualche volta il reo Felice sì, non mai sicuro. E poi Vindice di sua morte Il popolo saria. ▼MASSIMO▲ L’odia ciascuno Vano è il timor. ▼FULVIA▲ T’inganni il volgo insano Quel tiranno talora, Che vivente aborrisce, estinto adora. ▼MASSIMO▲ Tu l’odio mi rammenti, e poi dimostri Quell’istessa freddezza Che disapprovi in me! ▼FULVIA▲ Signor, perdona Se libera ti parlo. Un tradimento Io non consiglio, allora Che una viltà condanno. ▼MASSIMO▲ Io ti credea, Fulvia, più saggia e men soggetta a questi Di colpa e di virtù lacci servili, Utili all’alme vili, Inutili alle grandi. ▼FULVIA▲ Ah! non son questi Que’ semi di virtù, che in me versasti Da’ miei primi vagiti infino ad ora. M’inganni adesso o m’ingannasti allora? ▼MASSIMO▲ Ogni diversa etade Vuol massime diverse. Altro a’ fanciulli, Altro agli adulti è d’insegnar permesso. Allora io t’ingannai. ▼FULVIA▲ M’inganni adesso. Che l’odio della colpa, Che l’amor di virtù nasce con noi, Che da’ principii suoi L’alma ha l’idea di ciò che nuoce o giova, Mel dicesti; io lo sento; ognun lo prova. E, se vuoi dirmi il ver, tu stesso, o padre, Quando togliermi tenti L’orror d’un tradimento, orror ne senti. Ah! se cara io ti sono, Pensa alla gloria tua, pensa che vai… ▼MASSIMO▲ Taci, importuna. Io t’ho sofferta assai. Non dar consigli, o, consigliar se brami, Le tue pari consiglia. Rammenta ch’io son padre e tu sei figlia. ▼FULVIA▲ Caro padre, a me non dei Rammentar che padre sei Io lo so; ma in questi accenti Non ritrovo il genitor. Non son io chi ti consiglia È il rispetto d’un regnante, È l’affetto d’una figlia, È il rimorso del tuo cor. （parte） Scena Quinta ▼MASSIMO▲ Che sventura è la mia! Così ripiena Di malvagi è la terra; e, quando poi Un malvagio vogl’io, son tutti eroi. Un oltraggiato amore D’Ezio gli sdegni ad irritar non basta. La figlia mi contrasta… Eh, di riguardi Tempo non è. Precipitare omai Il colpo converrà troppo parlai. Pria che sorga l’aurora, Mora Cesare, mora. Emilio il braccio Mi presterà. Che può avvenirne? O cade Valentiniano estinto, e pago io sono; O resta in vita, ed io farò che sembri Ezio il fellon. Facile impresa. Augusto Invido alla sua gloria, Rivale all’amor suo, senz’opra mia Il reo lo crederà. S’altro succede, Io saprò dagli eventi. Prender consiglio. Intanto Il commettersi al caso Nell’estremo periglio È il consiglio miglior d’ogni consiglio. Il nocchier, che si figura Ogni scoglio, ogni tempesta, Non si lagni se poi resta Un mendico pescator. Darsi in braccio ancor conviene Qualche volta alla Fortuna; Ché sovente in ciò che avviene La Fortuna ha parte ancor. （parte） Scena Sesta （Camere imperiali istoriate di pitture） ▼ONORIA▲ Del vincitor ti chiedo, Non delle sue vittorie esse abbastanza Note mi son. Con qual sembiante accolse L’applauso popolar? Serbava in volto La guerriera fierezza? Il suo trionfo Gli accrebbe fasto, o mansueto il rese? Questo narrami, o Varo, e non le imprese. ▼VARO▲ Onoria, a me perdona Se degli acquisti suoi, più che di lui, La germana d’Augusto Curiosa io credei. Sembrano queste Sì minute richieste D’amante più che di sovrana. ▼ONORIA▲ È troppa Questa del nostro sesso Misera servitù. Due volte appena S’ode da’ labbri nostri Un nome replicar, che siamo amanti. Parlano tanti e tanti Del suo valor, delle sue gesta, e vanno D’Ezio incontro al ritorno Onoria sola Nel soggiorno è rimasta, Non v’accorse, nol vide; e pur non basta. ▼VARO▲ Un soverchio ritegno Anche d’amore è segno. ▼ONORIA▲ Alla tua fede, Al tuo lungo servir tollero, o Varo, Di parlarmi così. Ma la distanza, Ch’è dal suo grado al mio, teco dovrebbe Difendermi abbastanza. ▼VARO▲ Ognuno ammira D’Ezio il valor Roma l’adora il mondo Pieno è del nome suo; fino i nemici Ne parlan con rispetto Ingiustizia saria negargli affetto. ▼ONORIA▲ Giacché tanto ti mostri Ad Ezio amico, il suo poter non devi Esagerar così. Cesare è troppo D’indole sospettosa. Vantandolo al germano, uffizio grato All’amico non rendi. Chi sa? Potrebbe un dì… Varo, m’intendi. ▼VARO▲ Io, che son d’Ezio amico, Più cauto parlerò; ma tu, se l’ami, Mostrati, o principessa, Meno ingegnosa in tormentar te stessa. Se un bell’ardire Può innamorarti, Perché arrossire, Perché sdegnarti Di quello strale Che ti piagò? Chi si fe’ chiaro Per tante imprese, Già grande al paro Di te si rese; Già della sorte Si vendicò. （parte） Scena Settima ▼ONORIA▲ Importuna grandezza, Tiranna degli affetti, e perché mai Ci neghi, ci contrasti La libertà d’un ineguale amore, Se a difender non basti il nostro core? Quanto mai felici siete, Innocenti pastorelle, Che in amor non conoscete Altra legge che l’amor! Ancor io sarei felice Se potessi all’idol mio Palesar, come a voi lice, Il desio di questo cor. （parte） Scena Ottava ▼VALENTINIANO▲ （ad una comparsa che, ricevuto l’ordine, parte） Ezio sappia ch’io bramo Seco parlar; che qui l’attendo. （a Massimo） Amico, Comincia ad adombrarmi La gloria di costui. Ciascun mi parla Delle conquiste sue Roma lo chiama Il suo liberatore egli se stesso Troppo conosce. Assicurarmi io deggio Della sua fedeltà. Voglio d’Onoria Al talamo innalzarlo, acciò che sia Suo premio il nodo e sicurezza mia. ▼MASSIMO▲ Veramente per lui giunge all’eccesso L’idolatria del volgo. Omai si scorda Quasi del suo sovrano, E un suo cenno potria… Basta credo che sia Ezio fedele, e il dubitarne è vano Se però tal non fosse, a me parrebbe Mal sicuro riparo Tanto innalzarlo. ▼VALENTINIANO▲ Un sì gran dono ammorza L’ambizion d’un’alma. ▼MASSIMO▲ Anzi l’accende. Quando è vasto l’incendio, è l’onda istessa Alimento alla fiamma. ▼VALENTINIANO▲ E come io spero Sicurezza miglior? Vuoi ch’io m’impegni Su l’orme de’ tiranni, e ch’io divenga All’odio universale oggetto e segno? ▼MASSIMO▲ La prima arte del regno È il soffrir l’odio altrui. Giova al regnante Più l’odio che l’amor. Con chi l’offende Ha più ragion d’esercitar l’impero. ▼VALENTINIANO▲ Massimo, non è vero. Chi fa troppo temersi Teme l’altrui timor. Tutti gli estremi Confinano fra loro. Un dì potrebbe Il volgo contumace Per soverchio timor rendersi audace. ▼MASSIMO▲ Signor, meglio d’ogni altro Sai l’arte di regnare. Hanno i monarchi Un lume ignoto a noi. Parlai fin ora Per zelo sol del tuo riposo, e volli Rammentar che si deve Ad un periglio opporsi infin che è lieve. Se povero il ruscello Mormora lento e basso, Un ramoscello, un sasso Quasi arrestar lo fa. Ma se alle sponde poi Gonfio d’umor sovrasta, Argine oppor non basta, E co’ ripari suoi Torbido al mar sen va. （parte） Scena Nona ▼VALENTINIANO▲ Del Ciel felice dono Sembra il regno a chi sta lunge dal trono; Ma sembra il trono istesso Dono infelice a chi gli sta d’appresso. ▼EZIO▲ Eccomi al cenno tuo. ▼VALENTINIANO▲ Duce, un momento Non posso tollerar d’esserti ingrato. Il Tebro vendicato, La mia grandezza, il mio riposo è tutto Del senno tuo, del tuo valore è frutto. Se prodigo ti sono Anche del soglio mio, rendo e non dono Onde, in tanta ricchezza, allor che bramo Ricompensare un vincitore amico, Trovo (chi ‘l crederia?) ch’io son mendico. ▼EZIO▲ Signor, quando fra l’armi A pro di Roma, a pro di te sudai, Nell’opra istessa io la mercé trovai. Che mi resta a bramar? L’amor d’Augusto Quando ottener poss’io, Basta questo al mio cor. ▼VALENTINIANO▲ Non basta al mio. Vuo’ che il mondo conosca Che, se premiarti appieno Cesare non poté, tentollo almeno. Ezio, il cesareo sangue S’unisca al tuo. D’affetto Darti pegno maggior non posso mai. Sposo d’Onoria al nuovo dì sarai. ▼EZIO▲ （fra sè） Che ascolto! ▼VALENTINIANO▲ Non rispondi? ▼EZIO▲ Onor sì grande Mi sorprende a ragion. D’Onoria il grado Chiede un re, chiede un trono Ed io regni non ho, suddito io sono. ▼VALENTINIANO▲ Ma un suddito tuo pari È maggior d’ogni re. Se non possiedi, Tu doni i regni; e il possederli è caso, Il donarli è virtù. ▼EZIO▲ La tua germana, Signor, deve alla terra Progenie di monarchi; e meco unita Vassalli produrrà. Sai che con questi Ineguali imenei Ella a me scende, io non m’innalzo a lei. ▼VALENTINIANO▲ Il mondo e la germana Nell’illustre imeneo punto non perde E, se perdesse ancor, quando all’imprese D’un eroe corrispondo, Non può lagnarsi e la germana e il mondo. ▼EZIO▲ No, consentir non deggio Che comparisca Augusto, Per esser grato ad uno, a tanti ingiusto. ▼VALENTINIANO▲ Duce, fra noi si parli Con franchezza una volta. Il tuo rispetto È un pretesto al rifiuto. Al fin che brami? Forse è picciolo il dono? o vuoi per sempre Cesare debitor? Superbo al paro Di chi troppo richiede È colui che ricusa ogni mercede. ▼EZIO▲ E ben, la tua franchezza Sia d’esempio alla mia. Signor, tu credi Premiarmi, e mi punisci. ▼VALENTINIANO▲ Io non sapea Che a te fosse castigo Una sposa germana al tuo regnante. ▼EZIO▲ Non è gran premio a chi d’un’altra è amante. ▼VALENTINIANO▲ Dov’è questa beltà che tanto indietro Lascia il merto d’Onoria? È a me soggetta? Onora i regni miei? Stringer vogl’io Queste illustri catene. Spiegami il nome suo. ▼EZIO▲ Fulvia è il mio bene. ▼VALENTINIANO▲ Fulvia! ▼EZIO▲ Appunto. ▼VALENTINIANO▲ （Si turba, fra sè） Oh sorte! （forte） Ed ella, sa l’amor tuo? ▼EZIO▲ Nol credo. （fra sè） Contro lei non s’irriti. ▼VALENTINIANO▲ Il suo consenso Prima ottener procura Vedi se tel contrasta. ▼EZIO▲ Quello sarà mia cura il tuo mi basta. ▼VALENTINIANO▲ Ma potrebbe altro amante Ragione aver sopra gli affetti suoi. ▼EZIO▲ Dubitarne non puoi. Dov’è chi ardisca Involar temerario una mercede Alla man che di Roma il giogo scosse? Costui non veggo. ▼VALENTINIANO▲ E se costui vi fosse? ▼EZIO▲ Vedria ch’Ezio difende Gli affetti suoi, come gl’imperi altrui Temer dovrebbe… ▼VALENTINIANO▲ E se foss’io costui? ▼EZIO▲ Saria più grande il dono, Se costasse uno sforzo al cor d’Augusto. ▼VALENTINIANO▲ Ma non chiede un vassallo al suo sovrano Uno sforzo in mercede. ▼EZIO▲ Ma Cesare è il sovrano Ezio lo chiede. Ezio che fin ad ora Senza premio servì Cesare, a cui È noto il suo dover, che i suoi riposi Sa che gode per me, che al voler mio, Quando il soglio abbandona, Sa che rende e non dona, e che un momento Non prova fortunato Per tema sol di comparirmi ingrato. ▼VALENTINIANO▲ （fra sè） Temerario! （Ad Ezio） Credea, Nel rammentare io stesso i merti tuoi, Di scemartene il peso. ▼EZIO▲ Io li rammento Quando in premio pretendo… ▼VALENTINIANO▲ Non più dicesti assai; tutto comprendo. So chi t’accese Basta per ora. Cesare intese Risolverà Ma tu procura D’esser più saggio. Fra l’armi e l’ire Giova il coraggio Pompa d’ardire Qui non si fa. （parte） Scena Decima ▼EZIO▲ Vedrem se ardisce ancora D’opporsi all’amor mio. ▼FULVIA▲ Ti leggo in volto, Ezio, l’ire del cor. Forse ad Augusto Ragionasti di me? ▼EZIO▲ Sì, ma celai A lui che m’ami; onde temer non dei. ▼FULVIA▲ Che disse alla richiesta e che rispose? ▼EZIO▲ Non cedé, non s’oppose Si turbò; me n’avvidi a qualche segno; Ma non osò di palesar lo sdegno. ▼FULVIA▲ Questo è il peggior presagio. A vendicarsi Cauto le vie disegna Chi ha ragion di sdegnarsi e non si sdegna. ▼EZIO▲ Troppo timida sei. Scena Undicesima ▼ONORIA▲ Ezio, gli obblighi miei Sono immensi con te. Volle il germano Avvilir la mia mano Sino alla tua; ma tu però, più giusto, D’esserne indegno hai persuaso Augusto. ▼EZIO▲ No, l’obbligo d’Onoria Questo non è. L’obbligo grande è quello Ch’io fui cagion, nel conservarle il soglio, Ch’or mi possa parlar con quest’orgoglio. ▼ONORIA▲ È ver, ti deggio assai perciò mi spiace Che ad onta mia mi rendano le stelle Al tuo amore infelice Di funeste novelle apportatrice. （a Fulvia） Fulvia, ti vuol sua sposa Cesare al nuovo dì. ▼FULVIA▲ Come! ▼EZIO▲ Che sento! ▼ONORIA▲ Di recartene il cenno Egli stesso or m’impose. Ezio, dovresti Consolartene al fin veder soggetto Tutto il mondo al suo ben pur è diletto. ▼EZIO▲ Ah, questo è troppo! A troppo gran cimento D’Ezio la fedeltà Cesare espone. Qual dritto, qual ragione Ha su gli affetti miei? Fulvia rapirmi? Disprezzarmi così? Forse pretende Ch’io lo sopporti? o pure Vuol che Roma si faccia Di tragedie per lui scena funesta? ▼ONORIA▲ Ezio minaccia; e la sua fede è questa? ▼EZIO▲ Se fedele mi brama il regnante, Non offenda quest’anima amante Nella parte più viva del cor. Non si lagni se in tanta sventura Un vassallo non serba misura, Se il rispetto diventa furor. （parte） Scena Dodicesima ▼FULVIA▲ A Cesare nascondi, Onoria, i suoi trasporti. Ezio è fedele Parla così da disperato amante. ▼ONORIA▲ Mostri, Fulvia, al sembiante Troppa pietà per lui, troppo timore. Fosse mai la pietà segno d’amore? ▼FULVIA▲ Principessa, m’offendi. Assai conosco A chi deggio l’affetto. ▼ONORIA▲ Non ti sdegnar così questo è un sospetto. ▼FULVIA▲ Se prestar si dovesse Tanta fede ai sospetti, Onoria ancora Dubitar ne faria. Ben da’ tuoi sdegni, Come soffri un rifiuto, anch’io m’avvedo Dovrei crederti amante, e pur nol credo. ▼ONORIA▲ Anch’io, quando m’oltraggi Con un sospetto al fasto mio nemico, Dovrei dirti «arrogante», e pur nol dico. Ancor non premi il soglio, E già nel tuo sembiante Sollecito l’orgoglio Comincia a comparir. Così tu mi rammenti Che i fortunati eventi Son più d’ogni sventura Difficili a soffrir. （parte） Scena Tredicesima ▼FULVIA▲ Via, per mio danno aduna, O barbara Fortuna, Sempre nuovi disastri. Onoria irrita; Rendi Augusto geloso, Ezio infelice; Toglimi il padre ancor toglier giammai L’amor non mi potrai; ché a tuo dispetto Sarà per questo core Trionfo di costanza il tuo rigore. Fin che un zeffiro soave Tien del mar l’ira placata, Ogni nave è fortunata È felice ogni nocchier. È ben prova di coraggio Incontrar l’onde funeste, Navigar fra le tempeste, E non perdere il sentier. ATTO PRIMO Scena Prima Parte del Foro romano con trono imperiale da un lato. Vista di Roma illuminata in tempo di notte, con archi trionfali ed altri apparati festivi, apprestati per celebrare le feste decennali e per onorare il ritorno d’Ezio, vincitore d’Attila MASSIMO Signor, mai con più fasto La prole di Quirino Non celebrò d’ogni secondo lustro L’ultimo dì. Di tante faci il lume L’applauso popolar turba alla notte L’ombre e i silenzi; e Roma Al secolo vetusto Più non invidia il suo felice Augusto. VALENTINIANO Godo ascoltando i voti Che a mio favor sino alle stelle invia Il popolo fedel le pompe ammiro Attendo il vincitor tutte cagioni Di gioia a me. Ma la più grande è quella, Ch’io possa offrir con la mia destra in dono Ricco di palme alla tua figlia il trono. MASSIMO all’umiltà del padre Apprese Fulvia a non bramare il soglio, E a non sdegnarlo apprese Dall’istessa umiltà. Cesare imponga La figlia eseguirà. VALENTINIANO Fulvia io vorrei Amante più, men rispettosa. MASSIMO È vano Temer ch’ella non ami Que’ pregi in te che l’universo ammira. fra sè Il mio rispetto alla vendetta aspira. VARO Ezio s’avanza. Io già le prime insegne Veggo appressarsi. VALENTINIANO Il vincitor s’ascolti E sia Massimo a parte De’ doni che mi fa la sorte amica. Valentiniano va sul trono, servito da Varo MASSIMO fra sè Io però non oblio l’ingiuria antica. Scena Seconda Ezio, preceduto da istromenti bellici, schiavi ed insegne de’ vinti, seguìto da’ soldati vincitori e popolo, e detti EZIO Signor, vincemmo. Ai gelidi trioni Il terror de’ mortali Fuggitivo ritorna. Il primo io sono, Che mirasse fin ora Attila impallidir. Non vide il sole Più numerosa strage. A tante morti Era angusto il terreno. Il sangue corse In torbidi torrenti; Le minacce, i lamenti S’udiam confusi, e fra i timori e l’ire Erravano indistinti I forti, i vili, i vincitori, i vinti. Né gran tempo dubbiosa La vittoria ondeggiò. Teme, dispera, Fugge il tiranno e cede Di tante ingiuste prede, Impacci al suo fuggir, l’acquisto a noi. Se una prova ne vuoi, Mira le vinte schiere Ecco l’armi, le insegne e le bandiere. VALENTINIANO Ezio, tu non trionfi D’Attila sol nel debellarlo, ancora Vincesti i voti miei. Tu rassicuri Su la mia fronte il vacillante alloro Tu il marzial decoro Rendesti al Tebro; e deve Alla tua mente, alla tua destra audace L’Italia tutta e libertade e pace. EZIO L’Italia i suoi riposi Tutta non deve a me; v’è chi Li deve Solo al proprio valore. All’Adria in seno Un popolo d’eroi s’aduna, e cangia In asilo di pace L’instabile elemento. Con cento ponti e cento Le sparse isole unisce; Con le moli impedisce All’Ocean la libertà dell’onde. E intanto su le sponde Stupido resta il pellegrin, che vede, Di marmi adorne e gravi, Sorger le mura ove ondeggiàr le navi VALENTINIANO Chi mai non sa qual sia D’Antenore la prole? È noto a noi Che, più saggia d’ogni altro, Alle prime scintille Dell’incendio crudel ch’Attila accese, Lasciò i campi e le ville, E in grembo al mar la libertà difese. So già quant’aria ingombra La novella cittade; e volgo in mente Qual può sperarsi adulta, Se nascente è così. EZIO Cesare, io veggo I semi in lei delle future imprese Già s’avvezza a regnar. Sudditi i mari Temeranno i suoi cenni. Argine all’ire Sarà de’ regi; e porterà felice, Con mille vele e mille aperte al vento, Ai tiranni dell’Asia alto spavento. VALENTINIANO Gli augùri fortunati secondi il Ciel. scende dal trono Fra queste braccia intanto Tu, del cadente impero e mio sostegno, Prendi d’amore un pegno. A te non posso Offrir che i doni tuoi. Serbami, amico, Quei doni istessi; e sappi Che, fra gli acquisti miei, Il più nobile acquisto, Ezio, tu sei. Se tu la reggi al volo Su la tarpea pendice, L’aquila vincitrice Sempre tornar vedrò. Breve sarà per lei Tutto il cammin del sole; E allora i regni miei Col Ciel dividerò. parte con Varo e pretoriani Scena Terza Ezio, Massimo e poi Fulvia con paggi ed alcuni schiavi MASSIMO Ezio, donasti assai Alla gloria e al dover qualche momento Concedi all’amistà lascia ch’io stringa Quella man vincitrice. Massimo prende per mano Ezio EZIO Io godo, amico, Nel rivederti, e caro M’è l’amor tuo de’ miei trionfi al paro. Ma Fulvia ove si cela? Che fa? Dov’è? Quando ciascun s’affretta Su le mie pompe ad appagar le ciglia, La tua figlia non viene? MASSIMO Ecco la figlia. EZIO a Fulvia, nell’uscire Cara, di te più degno Torna il tuo sposo, e al volto tuo gran parte Deve de’ suoi trofei. Fra l’armi e l’ire Mi fu sprone egualmente E la gloria e l’amor né vinto avrei, Se premio a’ miei sudori Erano solo i trionfali allori. Ma come! A’ dolci nomi E di sposo e d’amante Ti veggo impallidir! Dopo la nostra Lontananza crudel, così m’accogli? Mi consoli così? FULVIA fra sè Che pena! Ad Ezio Io vengo… signor… EZIO Tanto rispetto, Fulvia, con me! Perché non dir «mio fido»? Perché «sposo» non dirmi? Ah! tu non sei Per me quella che fosti. FULVIA Oh Dio! son quella; Ma senti… Ah! genitor, per me favella. EZIO Massimo, non tacer. MASSIMO Tacqui fin ora, Perché co’ nostri mali a te non volli Le gioie avvelenar. Si vive, amico, Sotto un giogo crudel. Anche i pensieri Imparano a servir. La tua vittoria, Ezio, ci toglie alle straniere offese Le domestiche accresce. Era il timore In qualche parte almeno A Cesare di freno or che vincesti, I popoli dovranno Più superbo soffrirlo e più tiranno. EZIO Io tal nol credo. Almeno La tirannide sua mi fu nascosa. Che pretende? Che vuol? MASSIMO Vuol la tua sposa. EZIO La sposa mia! Massimo, Fulvia, e voi Consentite a tradirmi? FULVIA Ahimè! MASSIMO Qual arte, Qual consiglio adoprar? Vuoi che l’esponga, Negandola al suo trono, D’un tiranno al piacer? Vuoi che su l’orme Di Virginio io rinnovi, Per serbarla pudica, L’esempio in lei della tragedia antica? Ah! tu solo potresti Frangere i nostri ceppi, Vendicare i tuoi torti. Arbitro sei Del popolo e dell’armi. A Roma oppressa. All’amor tuo tradito Dovresti una vendetta. Al fin tu sai Che non si svena al Cielo Vittima più gradita D’un empio re. EZIO Che dici mai! L’affanno Vince la tua virtù. Giudice ingiusto Delle cose è il dolor. Sono i monarchi Arbitri della terra; Di loro è il Cielo. Ogni altra via si tenti, Ma non l’infedeltade. MASSIMO abbraccia Ezio Anima grande, Al par del tuo valore Ammiro la tua fé, che più costante Nelle offese diviene. fra sè Cangiar favella e simular conviene. FULVIA Ezio così tranquillo La sua Fulvia abbandona ad altri in braccio? EZIO Tu sei pur d’ogni laccio Disciolta ancora. Io parlerò. Vedrai Tutto cangiar d’aspetto. FULVIA Oh Dio! se parli, Temo per te. EZIO L’imperator fin ora Dunque non sa ch’io t’amo? MASSIMO Il vostro amore Per tema io gli celai. EZIO Questo è l’errore. Cesare non ha colpa. Al nome mio Avria cangiato affetto. Egli conosce Quanto mi deve, e sa ch’opra da saggio L’irritarmi non è. FULVIA Tanto ti fidi? Ezio, mille timori Mi turban l’alma. È troppo amante Augusto Troppo ardente tu sei. Rifletti, oh Dio! Pria di parlar. Qualche funesto evento Mi presagisce il cor. Nacqui infelice, E sperar non mi lice Che la sorte per me giammai si cangi. EZIO Son vincitor, sai che t’adoro, e piangi? Pensa a serbarmi, o cara, I dolci affetti tuoi Amami, e lascia poi Ogni altra cura a me. Tu mi vuoi dir col pianto Che resti in abbandono No, così vil non sono, e meco ingrato tanto No, Cesare non è. parte Scena Quarta FULVIA È tempo, o genitore, Che uno sfogo conceda al mio rispetto. Tu pria d’Ezio all’affetto Prometti la mia destra; indi m’imponi Ch’io soffra, ch’io lusinghi Di Cesare l’amore; e m’assicuri Che di lui non sarò. Servo al tuo cenno, Credo alla tua promessa; e, quando spero D’Ezio stringer la mano, Ti sento dir che lo sperarlo è vano. MASSIMO Io d’ingannarti, o figlia, Mai non ebbi il pensier. T’accheta. Al fine, Non è il peggior de’ mali Il talamo d’Augusto. FULVIA E soffrirai Ch’abbia sposa la figlia Chi della tua consorte Insultò l’onestà? Così ti scordi Le offese dell’onor? Così t’abbagli Del trono allo splendor? MASSIMO Vieni al mio seno, Degna parte di me. Quell’odio illustre Merita ch’io ti scopra Ciò che dovrei celar. Sappi che ad arte Dell’onor mio dissimulai le offese. Perde l’odio palese Il luogo alla vendetta. Ora è vicina Eseguirla dobbiam. Sposa al tiranno, Tu puoi svenarlo o almeno Agio puoi darmi a trapassargli il seno. FULVIA Che sento! E con qual fronte Posso a Cesare offrirmi Coll’idea di tradirlo? Il reo disegno Mi leggerebbe in faccia. A’ gran delitti È compagno il timor. L’alma ripiena Tutta della sua colpa Teme se stessa. È qualche volta il reo Felice sì, non mai sicuro. E poi Vindice di sua morte Il popolo saria. MASSIMO L’odia ciascuno Vano è il timor. FULVIA T’inganni il volgo insano Quel tiranno talora, Che vivente aborrisce, estinto adora. MASSIMO Tu l’odio mi rammenti, e poi dimostri Quell’istessa freddezza Che disapprovi in me! FULVIA Signor, perdona Se libera ti parlo. Un tradimento Io non consiglio, allora Che una viltà condanno. MASSIMO Io ti credea, Fulvia, più saggia e men soggetta a questi Di colpa e di virtù lacci servili, Utili all’alme vili, Inutili alle grandi. FULVIA Ah! non son questi Que’ semi di virtù, che in me versasti Da’ miei primi vagiti infino ad ora. M’inganni adesso o m’ingannasti allora? MASSIMO Ogni diversa etade Vuol massime diverse. Altro a’ fanciulli, Altro agli adulti è d’insegnar permesso. Allora io t’ingannai. FULVIA M’inganni adesso. Che l’odio della colpa, Che l’amor di virtù nasce con noi, Che da’ principii suoi L’alma ha l’idea di ciò che nuoce o giova, Mel dicesti; io lo sento; ognun lo prova. E, se vuoi dirmi il ver, tu stesso, o padre, Quando togliermi tenti L’orror d’un tradimento, orror ne senti. Ah! se cara io ti sono, Pensa alla gloria tua, pensa che vai… MASSIMO Taci, importuna. Io t’ho sofferta assai. Non dar consigli, o, consigliar se brami, Le tue pari consiglia. Rammenta ch’io son padre e tu sei figlia. FULVIA Caro padre, a me non dei Rammentar che padre sei Io lo so; ma in questi accenti Non ritrovo il genitor. Non son io chi ti consiglia È il rispetto d’un regnante, È l’affetto d’una figlia, È il rimorso del tuo cor. parte Scena Quinta MASSIMO Che sventura è la mia! Così ripiena Di malvagi è la terra; e, quando poi Un malvagio vogl’io, son tutti eroi. Un oltraggiato amore D’Ezio gli sdegni ad irritar non basta. La figlia mi contrasta… Eh, di riguardi Tempo non è. Precipitare omai Il colpo converrà troppo parlai. Pria che sorga l’aurora, Mora Cesare, mora. Emilio il braccio Mi presterà. Che può avvenirne? O cade Valentiniano estinto, e pago io sono; O resta in vita, ed io farò che sembri Ezio il fellon. Facile impresa. Augusto Invido alla sua gloria, Rivale all’amor suo, senz’opra mia Il reo lo crederà. S’altro succede, Io saprò dagli eventi. Prender consiglio. Intanto Il commettersi al caso Nell’estremo periglio È il consiglio miglior d’ogni consiglio. Il nocchier, che si figura Ogni scoglio, ogni tempesta, Non si lagni se poi resta Un mendico pescator. Darsi in braccio ancor conviene Qualche volta alla Fortuna; Ché sovente in ciò che avviene La Fortuna ha parte ancor. parte Scena Sesta Camere imperiali istoriate di pitture ONORIA Del vincitor ti chiedo, Non delle sue vittorie esse abbastanza Note mi son. Con qual sembiante accolse L’applauso popolar? Serbava in volto La guerriera fierezza? Il suo trionfo Gli accrebbe fasto, o mansueto il rese? Questo narrami, o Varo, e non le imprese. VARO Onoria, a me perdona Se degli acquisti suoi, più che di lui, La germana d’Augusto Curiosa io credei. Sembrano queste Sì minute richieste D’amante più che di sovrana. ONORIA È troppa Questa del nostro sesso Misera servitù. Due volte appena S’ode da’ labbri nostri Un nome replicar, che siamo amanti. Parlano tanti e tanti Del suo valor, delle sue gesta, e vanno D’Ezio incontro al ritorno Onoria sola Nel soggiorno è rimasta, Non v’accorse, nol vide; e pur non basta. VARO Un soverchio ritegno Anche d’amore è segno. ONORIA Alla tua fede, Al tuo lungo servir tollero, o Varo, Di parlarmi così. Ma la distanza, Ch’è dal suo grado al mio, teco dovrebbe Difendermi abbastanza. VARO Ognuno ammira D’Ezio il valor Roma l’adora il mondo Pieno è del nome suo; fino i nemici Ne parlan con rispetto Ingiustizia saria negargli affetto. ONORIA Giacché tanto ti mostri Ad Ezio amico, il suo poter non devi Esagerar così. Cesare è troppo D’indole sospettosa. Vantandolo al germano, uffizio grato All’amico non rendi. Chi sa? Potrebbe un dì… Varo, m’intendi. VARO Io, che son d’Ezio amico, Più cauto parlerò; ma tu, se l’ami, Mostrati, o principessa, Meno ingegnosa in tormentar te stessa. Se un bell’ardire Può innamorarti, Perché arrossire, Perché sdegnarti Di quello strale Che ti piagò? Chi si fe’ chiaro Per tante imprese, Già grande al paro Di te si rese; Già della sorte Si vendicò. parte Scena Settima ONORIA Importuna grandezza, Tiranna degli affetti, e perché mai Ci neghi, ci contrasti La libertà d’un ineguale amore, Se a difender non basti il nostro core? Quanto mai felici siete, Innocenti pastorelle, Che in amor non conoscete Altra legge che l’amor! Ancor io sarei felice Se potessi all’idol mio Palesar, come a voi lice, Il desio di questo cor. parte Scena Ottava VALENTINIANO ad una comparsa che, ricevuto l’ordine, parte Ezio sappia ch’io bramo Seco parlar; che qui l’attendo. a Massimo Amico, Comincia ad adombrarmi La gloria di costui. Ciascun mi parla Delle conquiste sue Roma lo chiama Il suo liberatore egli se stesso Troppo conosce. Assicurarmi io deggio Della sua fedeltà. Voglio d’Onoria Al talamo innalzarlo, acciò che sia Suo premio il nodo e sicurezza mia. MASSIMO Veramente per lui giunge all’eccesso L’idolatria del volgo. Omai si scorda Quasi del suo sovrano, E un suo cenno potria… Basta credo che sia Ezio fedele, e il dubitarne è vano Se però tal non fosse, a me parrebbe Mal sicuro riparo Tanto innalzarlo. VALENTINIANO Un sì gran dono ammorza L’ambizion d’un’alma. MASSIMO Anzi l’accende. Quando è vasto l’incendio, è l’onda istessa Alimento alla fiamma. VALENTINIANO E come io spero Sicurezza miglior? Vuoi ch’io m’impegni Su l’orme de’ tiranni, e ch’io divenga All’odio universale oggetto e segno? MASSIMO La prima arte del regno È il soffrir l’odio altrui. Giova al regnante Più l’odio che l’amor. Con chi l’offende Ha più ragion d’esercitar l’impero. VALENTINIANO Massimo, non è vero. Chi fa troppo temersi Teme l’altrui timor. Tutti gli estremi Confinano fra loro. Un dì potrebbe Il volgo contumace Per soverchio timor rendersi audace. MASSIMO Signor, meglio d’ogni altro Sai l’arte di regnare. Hanno i monarchi Un lume ignoto a noi. Parlai fin ora Per zelo sol del tuo riposo, e volli Rammentar che si deve Ad un periglio opporsi infin che è lieve. Se povero il ruscello Mormora lento e basso, Un ramoscello, un sasso Quasi arrestar lo fa. Ma se alle sponde poi Gonfio d’umor sovrasta, Argine oppor non basta, E co’ ripari suoi Torbido al mar sen va. parte Scena Nona VALENTINIANO Del Ciel felice dono Sembra il regno a chi sta lunge dal trono; Ma sembra il trono istesso Dono infelice a chi gli sta d’appresso. EZIO Eccomi al cenno tuo. VALENTINIANO Duce, un momento Non posso tollerar d’esserti ingrato. Il Tebro vendicato, La mia grandezza, il mio riposo è tutto Del senno tuo, del tuo valore è frutto. Se prodigo ti sono Anche del soglio mio, rendo e non dono Onde, in tanta ricchezza, allor che bramo Ricompensare un vincitore amico, Trovo (chi ‘l crederia?) ch’io son mendico. EZIO Signor, quando fra l’armi A pro di Roma, a pro di te sudai, Nell’opra istessa io la mercé trovai. Che mi resta a bramar? L’amor d’Augusto Quando ottener poss’io, Basta questo al mio cor. VALENTINIANO Non basta al mio. Vuo’ che il mondo conosca Che, se premiarti appieno Cesare non poté, tentollo almeno. Ezio, il cesareo sangue S’unisca al tuo. D’affetto Darti pegno maggior non posso mai. Sposo d’Onoria al nuovo dì sarai. EZIO fra sè Che ascolto! VALENTINIANO Non rispondi? EZIO Onor sì grande Mi sorprende a ragion. D’Onoria il grado Chiede un re, chiede un trono Ed io regni non ho, suddito io sono. VALENTINIANO Ma un suddito tuo pari È maggior d’ogni re. Se non possiedi, Tu doni i regni; e il possederli è caso, Il donarli è virtù. EZIO La tua germana, Signor, deve alla terra Progenie di monarchi; e meco unita Vassalli produrrà. Sai che con questi Ineguali imenei Ella a me scende, io non m’innalzo a lei. VALENTINIANO Il mondo e la germana Nell’illustre imeneo punto non perde E, se perdesse ancor, quando all’imprese D’un eroe corrispondo, Non può lagnarsi e la germana e il mondo. EZIO No, consentir non deggio Che comparisca Augusto, Per esser grato ad uno, a tanti ingiusto. VALENTINIANO Duce, fra noi si parli Con franchezza una volta. Il tuo rispetto È un pretesto al rifiuto. Al fin che brami? Forse è picciolo il dono? o vuoi per sempre Cesare debitor? Superbo al paro Di chi troppo richiede È colui che ricusa ogni mercede. EZIO E ben, la tua franchezza Sia d’esempio alla mia. Signor, tu credi Premiarmi, e mi punisci. VALENTINIANO Io non sapea Che a te fosse castigo Una sposa germana al tuo regnante. EZIO Non è gran premio a chi d’un’altra è amante. VALENTINIANO Dov’è questa beltà che tanto indietro Lascia il merto d’Onoria? È a me soggetta? Onora i regni miei? Stringer vogl’io Queste illustri catene. Spiegami il nome suo. EZIO Fulvia è il mio bene. VALENTINIANO Fulvia! EZIO Appunto. VALENTINIANO Si turba, fra sè Oh sorte! forte Ed ella, sa l’amor tuo? EZIO Nol credo. fra sè Contro lei non s’irriti. VALENTINIANO Il suo consenso Prima ottener procura Vedi se tel contrasta. EZIO Quello sarà mia cura il tuo mi basta. VALENTINIANO Ma potrebbe altro amante Ragione aver sopra gli affetti suoi. EZIO Dubitarne non puoi. Dov’è chi ardisca Involar temerario una mercede Alla man che di Roma il giogo scosse? Costui non veggo. VALENTINIANO E se costui vi fosse? EZIO Vedria ch’Ezio difende Gli affetti suoi, come gl’imperi altrui Temer dovrebbe… VALENTINIANO E se foss’io costui? EZIO Saria più grande il dono, Se costasse uno sforzo al cor d’Augusto. VALENTINIANO Ma non chiede un vassallo al suo sovrano Uno sforzo in mercede. EZIO Ma Cesare è il sovrano Ezio lo chiede. Ezio che fin ad ora Senza premio servì Cesare, a cui È noto il suo dover, che i suoi riposi Sa che gode per me, che al voler mio, Quando il soglio abbandona, Sa che rende e non dona, e che un momento Non prova fortunato Per tema sol di comparirmi ingrato. VALENTINIANO fra sè Temerario! Ad Ezio Credea, Nel rammentare io stesso i merti tuoi, Di scemartene il peso. EZIO Io li rammento Quando in premio pretendo… VALENTINIANO Non più dicesti assai; tutto comprendo. So chi t’accese Basta per ora. Cesare intese Risolverà Ma tu procura D’esser più saggio. Fra l’armi e l’ire Giova il coraggio Pompa d’ardire Qui non si fa. parte Scena Decima EZIO Vedrem se ardisce ancora D’opporsi all’amor mio. FULVIA Ti leggo in volto, Ezio, l’ire del cor. Forse ad Augusto Ragionasti di me? EZIO Sì, ma celai A lui che m’ami; onde temer non dei. FULVIA Che disse alla richiesta e che rispose? EZIO Non cedé, non s’oppose Si turbò; me n’avvidi a qualche segno; Ma non osò di palesar lo sdegno. FULVIA Questo è il peggior presagio. A vendicarsi Cauto le vie disegna Chi ha ragion di sdegnarsi e non si sdegna. EZIO Troppo timida sei. Scena Undicesima ONORIA Ezio, gli obblighi miei Sono immensi con te. Volle il germano Avvilir la mia mano Sino alla tua; ma tu però, più giusto, D’esserne indegno hai persuaso Augusto. EZIO No, l’obbligo d’Onoria Questo non è. L’obbligo grande è quello Ch’io fui cagion, nel conservarle il soglio, Ch’or mi possa parlar con quest’orgoglio. ONORIA È ver, ti deggio assai perciò mi spiace Che ad onta mia mi rendano le stelle Al tuo amore infelice Di funeste novelle apportatrice. a Fulvia Fulvia, ti vuol sua sposa Cesare al nuovo dì. FULVIA Come! EZIO Che sento! ONORIA Di recartene il cenno Egli stesso or m’impose. Ezio, dovresti Consolartene al fin veder soggetto Tutto il mondo al suo ben pur è diletto. EZIO Ah, questo è troppo! A troppo gran cimento D’Ezio la fedeltà Cesare espone. Qual dritto, qual ragione Ha su gli affetti miei? Fulvia rapirmi? Disprezzarmi così? Forse pretende Ch’io lo sopporti? o pure Vuol che Roma si faccia Di tragedie per lui scena funesta? ONORIA Ezio minaccia; e la sua fede è questa? EZIO Se fedele mi brama il regnante, Non offenda quest’anima amante Nella parte più viva del cor. Non si lagni se in tanta sventura Un vassallo non serba misura, Se il rispetto diventa furor. parte Scena Dodicesima FULVIA A Cesare nascondi, Onoria, i suoi trasporti. Ezio è fedele Parla così da disperato amante. ONORIA Mostri, Fulvia, al sembiante Troppa pietà per lui, troppo timore. Fosse mai la pietà segno d’amore? FULVIA Principessa, m’offendi. Assai conosco A chi deggio l’affetto. ONORIA Non ti sdegnar così questo è un sospetto. FULVIA Se prestar si dovesse Tanta fede ai sospetti, Onoria ancora Dubitar ne faria. Ben da’ tuoi sdegni, Come soffri un rifiuto, anch’io m’avvedo Dovrei crederti amante, e pur nol credo. ONORIA Anch’io, quando m’oltraggi Con un sospetto al fasto mio nemico, Dovrei dirti «arrogante», e pur nol dico. Ancor non premi il soglio, E già nel tuo sembiante Sollecito l’orgoglio Comincia a comparir. Così tu mi rammenti Che i fortunati eventi Son più d’ogni sventura Difficili a soffrir. parte Scena Tredicesima FULVIA Via, per mio danno aduna, O barbara Fortuna, Sempre nuovi disastri. Onoria irrita; Rendi Augusto geloso, Ezio infelice; Toglimi il padre ancor toglier giammai L’amor non mi potrai; ché a tuo dispetto Sarà per questo core Trionfo di costanza il tuo rigore. Fin che un zeffiro soave Tien del mar l’ira placata, Ogni nave è fortunata È felice ogni nocchier. È ben prova di coraggio Incontrar l’onde funeste, Navigar fra le tempeste, E non perdere il sentier. Gluck,Christoph Willibald/Ezio/II
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第２幕 第１場 【コーラス】 ああ あの見知らぬ美女の 思いがけない到着は 稲妻にもまして最悪だ あのニンフたちにとってはな 彼女を眺めては 顔は笑って だが震えているぞ 心の中にはやすりがあって 心を削っているのに 見ろ！もう支配者然としてる 全く愉快だ アハハハハ （含み笑いしながら退場） （ドン・ラミーロの宮殿の部屋 ドン·マニフィコがクロリンダ、ティスベと入ってくる） 【ドン・マニフィコ】 （大げさに怒って） あのろくでなし共め 隠れてわしらを笑っておったようだぞ 新酒の豊潤さに誓って あの騎士ども ぶち殺してやる 【ティスベ】 お父さん そんなに苛立たないで 【ドン・マニフィコ】 （歩き回りながら） わしの頭の中には 千々の考えが渦巻いておる 正体が暴けなかったぞ あの見知らぬ女の 【クロリンダ】 それじゃ信じているの 王子の心をあの女が争えるって？ チェネレントラに似てるんだから論外よ 【ドン・マニフィコ】 あまりに良く似ておって まるで双子のようであったぞ そして食事の時に わしはあの口元を見て確信したぞ わしの目に狂いはない あれはあの娘だと だが ユダヤ人どものところで 高い金を払ってドレスを着てな！そんな勇気があるか わしらのいるところにのこのこと？ そしてあんなに堂々と話せるか？その上 あのように平然と振る舞い そして平手打ちを恐れておらぬのだぞ？ 【ティスベ】 もう ほんとあの継娘 似てる女に至るまで私たちに厄介をかけるんだから 【ドン・マニフィコ】 だがお前たちは分かっておるのか どんな嵐が わしに襲い掛かるかも知れんことを もしも誰かに知られたら わしが使い込んでおることを あの娘の遺産を！ お前たちを着飾らせるために わしはあれをやせ細らせたのだ そしてすっかり 骨と皮ばかりとなったのだ もしこのことが知れたら わしは大変なことになるのだぞ 【クロリンダ】 （謎めいた態度で） 怖いのですか 私たちがそばにいても？ 【ドン・マニフィコ】 自信はあるのか？ 【ティスベ】 ええ！もちろん もちろんよ 絶対の自信があるって言えるわ 【クロリンダ】 もうほとんど、ほとんど 私は元気をあげられるわ 【ティスベ】 そっと 私に囁いてくれたのよ わが魂よって それから大きなため息をついて去って行かれたわ 【クロリンダ】 ため息が何さ？王子様は私を見たときには いつも微笑んで下さるわ 【ドン・マニフィコ】 （考え込んで一人また一人と見て） ああ！こっちではため息 そしてこっちでは微笑みか 【クロリンダ】 ねえ お父さま 優秀な頭をお持ちなのだから 考えを話してよ？ 率直にさあ 【ドン・マニフィコ】 わしはお前たち二人に賭けた そしてどちらかが勝利するだろう お前たち二人からは誰も逃げられぬからな ああどのように ああどのように わが祝福された娘たちよ わしのことを新聞は話題にするであろうな！ これは絶好の機会なのだ わしがまた復活するためのな お前たちも知っておろう わしは借金まみれで 靴の底まで抵当に入っておるのだ だが 潮の満ち引きのように わしは請願書を受け取ることになる！ああこれだけが 父としての望みなのだ お前たちがわしの狙い通りの返事を得られることが 良く分かっておろうな 心の底から わしはお前たちにそうなって欲しいのだ 娘たちのどちらかでも お妃の座を射止めるならば ああ！決して見捨てるでないぞ この偉大な父親を すでにわしには見えるようだぞ あいつやらこいつやらが わしに縋り付いて 片隅で 帽子を脱いで こう言い出すのが：男爵さま あなた様の娘君であるお妃様に 請願書をお持ちいただけませんか？ これはお取りください チョコレートです それから山吹色の金貨をばと じかに内密に手渡しするのだ わしは答える ああそうだな 当たってみよう 重大なことかね？話して置こう 宮殿には話を通して置くぞ わしが振り返ると ちょっと愛嬌のある 香水がぷんぷんで 髪油を塗りたくった女だ わしにその帽子の女はお辞儀して ため息とお世辞交じりに 男爵さま！お忘れなく あのことはと するとすでにわしを知っているようだ 銀貨をやらねば耳の聞こえぬ者と話すようなもの 少し伸ばしたその小さな手に 一ピアストル硬貨を滑り込ます わしはキザっぽく言うのだ：麗しの瞳よ！ ああ！お前たちのために何でもしよう！ お前たちを満足させてやりたいのじゃ！ わしが昼間に目を覚まし ちょうど鈴を鳴らすと わしはベッドの周りに見るのだ 請願者の群れを こいつは寵愛を求め そいつは失敗の帳消しを願っており ある者は仕官の口を探し 別のは聖職者の職を求める アホのくせに アクセサリーの独占販売権を狙う者やら ウナギの漁業権を得たい者 そうこうしておると周りじゅうを 押し合いへし合い取り囲まれるのだ 請願書やら嘆願書 鶏やらチョウザメ 酒瓶に綾錦 キャンドルにマリネ ドーナツにパイ キャンディに砂糖漬け ピアストロ銀貨にドブローネ金貨 バニラとコーヒー。 もう良い もう良い 持ってくるな！ 止めてくれ どっか行け！ ドアを閉めてやる 掛け金で しつこい奴らだ うんざりだぞ 出て行け 出て行け わしから離れて すぐに すぐに ここから消えろ （退場） 【ティスベ】 （自信満々に進み出て） まだ夢見てるの あの王子さまが あんたのことを想ってるって？ 【クロリンダ】 私にそれを聞くの？ 【ティスベ】 お妃さまのしもべでございます 【クロリンダ】 あなた様のご命令を 遠ざかりながら出て行く お互いを嫌味っぽく誉め合いながら 第２場 （ラミーロ その後ダンディーニから逃れたチェネレントラ それからアリドーロが脇に） 【ドン・ラミーロ】 ああ！あの美しき見知らぬ人は あの不幸な娘とそっくりだったな 今朝私の心を打ちのめしたあの娘に 私の胸は掻き立てられる 何か未知の焦燥に…あのダンディーニまでも 恋に落ちたようだぞ 彼らが来たぞ ここに隠れて聞き耳を立てていよう （隠れる） 【ダンディーニ】 逃げるではない 頼むから！もう４回も 私に廊下を行き来させておるではないか 【チェネレントラ】 言い寄るのはお止めください さもなくば帰らせて頂きます 【ダンディーニ】 だが なぜだ？愛を語っても 迷惑にはなるまいに！ 【チェネレントラ】 私は別の方に恋しているのです！ 【ダンディーニ】 私の面前でそれを言うのか？ 【チェネレントラ】 ああ！殿下 お願いです！お怒りにならないでください 私の不躾な唇を 【ダンディーニ】 愛しておるのか？ 【チェネレントラ】 すみません… 【ダンディーニ】 愛しておるのか？ 【チェネレントラ】 あの従者の方を 【ドン・ラミーロ】 （姿を現して） ああ喜びよ！おおわが魂よ！ 【アリドーロ】 （満足そうに現れて 小声で） 見事にはまっているな！ 【ドン・ラミーロ】 だけど 地位や財産は あなたの心を誘惑しないのですか？ 【チェネレントラ】 私には栄華は美徳で 富は愛なのです 【ドン・ラミーロ】 では私のものになってくれるのか？ 【チェネレントラ】 焦らないで その前にお願いが 私を探し 私を知り 私を見てください 私の財産のことも調べなくては 【ドン・ラミーロ】 ではご一緒に 愛する人よ 私は飛んで行きましょう 【チェネレントラ】 待って 私についてこないでください これは私からの命令です 【ドン・ラミーロ】 では一体どうすれば？ 【チェネレントラ】 （腕輪を渡して） これを持って 私を探してください そして私の右腕に 同じものがあるのを見つけてください そしてその時…あなたが私を嫌いでなければ… 私はあなたのものになるでしょう （退場 一瞬の沈黙） 【ドン・ラミーロ】 ダンディーニよ これはどういうことだろうか？ 【ダンディーニ】 ええ！言わば 私は王子から 役目を証人に切り替えることとなったのでしょうな 【ドン・ラミーロ】 そしてその時…あなたが私を嫌いでなければ… 私はあなたのものになるでしょう この謎はどういうことなのだ？ （アリドーロを見つけて） ああ！わが賢明にして りっぱなマスター 私の心は満たされています 不思議な愛に どうずればいいのですか？ 【アリドーロ】 心の求めるがままにせよ 【ドン・ラミーロ】 （ダンディーニに） そなたはもう王子ではない あの大勢のバカ女どもを この宮殿から追い出してくれ （従者たちを呼び寄せ 彼らが現れる） さあ わが忠実な家来たちよ 馬車の準備をしてくれ すぐにだ こんな時には風の翼を持てたらいいのだが そうだ 彼女を見つけ出すと私は誓うぞ 愛が 愛が私を突き動かすのだ もしも彼女がジュピターに抱かれていようと 私は彼女を見つけ出してやる （腕輪をじっと見つめて） しるしよ 憧れと愛の 私をせめて 力づけてくれ ああどれほどこの唇に この胸に お前を押し当ててみたいことか！ 【騎士たち】 ああ！どれほどの高揚があの方の胸のうちに あるのかわれらには分からないぞ 【ドン・ラミーロと騎士たち】 われらは飛び出し 尋ね歩こう 探して そして見つけ出すのだ 甘い希望と 冷たい不安が 私の/殿下の心の中で戦っている 愛が 愛こそが私を/あなた様を導いてくれる （従者たちと一緒に退場） 第３場 および 第４場 （アリドーロ ダンディーニ 後からドン・マニフィコ） 【アリドーロ】 もう夜も近い この暗闇の中で 故意に馬車をひっくり返せば 男爵の家の前で そうすればまさに… わしの目的も達成間近だな （急いで退場 ダンディーニが入ってくる） 【ダンディーニ】 （ウォーキング） それじゃこれで私は用済みか？何でもありから無に 突然陥ってしまったってか？ 全く何てさせられようだ お見事なさらし者に！ 【ドン・マニフィコ】 （急いで入って来て） せかして申し訳ありませぬ… だが あの二人の娘たちが 熱があって寒気がするとか もしできましたら 選択を急いでは頂けませんか 【ダンディーニ】 もう決まっていますよ 君 【ドン・マニフィコ】 （驚いて ひざまずき） もう決まった！ああ！お願いです！お話を 教えてください： もう決まった！すると私の孫子は… この屋敷の中で安楽な暮らしを？ 【ダンディーニ】 （彼を立たせて） いずれ 皆が知ることになりますが 今のところは極秘です 【ドン・マニフィコ】 どちら どちらなので？ クロリンダ それともティスベ？ 【ダンディーニ】 慌てて決めつけてはなりませんよ 【ドン・マニフィコ】 教えてください 父親には 【ダンディーニ】 だが口外無用ですよ 【ドン・マニフィコ】 もちろんです さあ 早く 【ダンディーニ】 （あたりを確かめに行き） 誰も聞いてませんね？ 【ドン・マニフィコ】 宙にハエ一匹おりません 【ダンディーニ】 これは特定秘密です 仰天されることでしょう 【ドン・マニフィコ】 （焦れて） ピンに刺されているみたいですよ 【ダンディーニ】 （うんざりして 椅子を持って来る） まあ 座って 【ドン・マニフィコ】 急いで お願いですから 【ダンディーニ】 あなたは聞くことになるでしょう 非常に奇妙な話を 【ドン・マニフィコ】 （独白） 王子はわしと結婚したいとかじゃなかろうな！ 【ダンディーニ】 まあお聞きください 【ドン・マニフィコ】 （ますます焦って） お願いしますよ 【ダンディーニ】 封印してくださいよ 今私の口から聞くことは 【ドン・マニフィコ】 私はこの体の中に秘書を雇っておりますよ 【ダンディーニ】 重要なとある秘密を 興味深いひとつの秘密を 私はあなたに明かさねばなりません それはあまりに奇想天外 きっと仰天されることでしょう 【ドン・マニフィコ】 まばたきもせず 息をもつかず 耳傾けるように致します ここで石のように固くなり すべての音を聞きもらしませんぞ 【ダンディーニ】 （独白） ああ！何たる混乱！何たる不運！ どこから始めたものか分からんぞ 【ドン・マニフィコ】 （独白） 全く腹の立つ沈着さだ！ とっとと始めて欲しいものだぞ 【ダンディーニ】 賢明にして成熟されたお方は 常に最高のアドバイスを下さるもの もしあなたの娘さんのお一人と結婚した場合 どのように私は扱えば良いのでしょう？ 【ドン・マニフィコ】 （独白） 相談役にはもう指名されたぞ （声を上げて） 何という過分なるご厚意！ それでは 閣下… しまった！..殿下 お聞きください 常に広間には待機しているべきです 三十人の礼装した召使を 百十六頭の馬を 公爵 伯爵 それから元帥といった １ダースに及ぶゲストたち 正餐にはいつもアイスクリームを それから馬車は 流線型 【ダンディーニ】 私は答えましょう 包み隠さず 私共はそのような暮らしからは遠く離れております 私には正餐を開く習慣はありません いつも残り物を頂いております お偉い方々には近づかず いつも召使いたちと一緒です いつも徒歩で外出します 【ドン・マニフィコ】 おからかいになっておられる？ 【ダンディーニ】 いいえ決して 【ドン・マニフィコ】 ということは？ 【ダンディーニ】 ちょっとしたお芝居でしてな 【ドン・マニフィコ】 ということは？ 【ダンディーニ】 ちょっとしたお芝居でしてな 王子というのは冗談です 私は変装してたのですよ だが本物の王子が来られて とうとう変装を剥がされてしまい 私は自分の仕事に戻ることになりました 私はダンディーニ 従者です ベッドをしつらえ 服の塵を払い 髭を剃り 髪を整える役です 【ドン・マニフィコ】 髭を剃り 髪を整えるだと？ この侮辱について この無礼について 本物の王子に わしは説明を求めるぞ 【ダンディーニ】 ああ！それはちょっと具合が 何もせんでください！ お帰りください いますぐに 【ドン・マニフィコ】 わしは帰らんぞ 【ダンディーニ】 お帰りください 【ドン・マニフィコ】 わしは帰らんぞ 【ダンディーニ】 お帰りください 【ドン・マニフィコ】 また会うぞ 【ダンディーニ】 また会いましょう 【ドン・マニフィコ】 そして話してやるぞ 【ダンディーニ】 そして話しましょう 【ドン・マニフィコ】 わしは帰らんぞ 【ダンディーニ】 お帰りください 【ドン・マニフィコ】 わしは男爵だぞ 【ダンディーニ】 お帰りください 杖はこちらです お帰りください 【ドン・マニフィコ】 わしは帰らんぞ 脳みその中に コントラバスがある 低く 低く そいつは唸っておる てっぺんからどん底だぁ 全くなんてことだ！ 何たる転落 何たる落差！ あれが奴だ あれが奴だと 誰もが言うだろう わしは嘲られるのだ 町中で 【ダンディーニ】 哀れな奴だ！ この驚天動地じゃあな！ てっぺんからどん底へ こうして突き落されりゃあな 閣下 落ち着いてください もしも剃刀と 石鹸と櫛とをお望みなら それがしが髪をカールし 髭をお剃り致しますよ ハハ！奴を見てみろよ 全くのド阿呆だ （彼らは退場） （アリドーロひとりで入ってくる） 【アリドーロ】 私に運命が味方している 親切なアモールは私の計画を後押ししてくれているのだ 闇夜で嵐なのも これから起こる事故を自然に見せかける 馬車にはすでに細工がしてあるのだ ダンディーニはどこだ？ 王子は奴と一緒に行くことを望まれておるのに ああ なんと貪欲でせっかちになられたことか！ これぞ愛が王子を捕えた何よりの証拠 第５場 （ドン・マニフィコの屋敷の暖炉のある一階の部屋 チェネレントラはいつもの服を着て火のそばにいる） 【チェネレントラ】 むかし王さまがおりました 一人身でいることに飽き飽きして 探して 探して 見つけました でも三人とも結婚したかったのです 王さまはどうしたでしょう？ 華やかさや美しさを軽蔑し そして最後にご自分で選ばれたのです 素朴で善良な娘を ラ ラ ラ リ リ リ ラ ラ ラ （腕輪を眺めて） 何てお前は愛らしいの！でもお前の もう一方の仲間をお渡しした方は お前よりずっと素敵なのよ あの王子さまの方は 作り笑いなんかしてどういうおつもりだったのかしら？ どうでもいいわ！ 私は綺麗な服には興味がない 愛するのですもの あの素敵なお顔と誠実な心を 王子の従者の人の方がずっといいわ でも姉さまたちときたら… 何て視線をしてたの！ 夢中になってたみたいね！ （激しいノックの音がして 戸が開く） 何て騒音！ えっ？こんなことって！あり得ないわ！ 戻ってくるなんて！ 思ってなかったのに 今日のうちに帰ってくるとは 第６場 （ドン・マニフィコ クロリンダ ティスベと前場の人物） 【クロリンダ】 （入ってきて チェネレントラを指さして） ほら！言った通りじゃないの… 【ドン・マニフィコ】 だが見よ！見てみよ！ 全くそっくり そっくりではないか あっちがオリジナルで これはコピーか 言いつけはみな済ませたか？ 【チェネレントラ】 すべて済ませました どうしてそんな怖いお顔で 私を見るのですか？ 【ドン・マニフィコ】 それは それはだな… ある魔女のせいだ お前に生き写しの… 【クロリンダ】 あんたの背中に 蹴りを入れたくなるくらいよ 【チェネレントラ】 かわいそうな背中 何の関係がありますの？ （稲妻と雷鳴） 【ティスベ】 ああ 天気が悪くなる！ 嵐が近づいているわ 【ドン・マニフィコ】 嵐だけじゃない！ 雷よ沸き起これ あの従僕の奴を灰にしてしまえ 【チェネレントラ】 教えてください 何が起こったのです？ 何か秘めたご心配ごとでも？ 【ドン・マニフィコ】 （カッとなって） 愚か者！あっちへ行け 行って夕食の支度をしろ 【チェネレントラ】 はい 参ります 参ります （独白） ああ何て機嫌が悪いの ああ！でも私には心の中にあの従者さまがいるわ （退場） 第７場 （ドン・マニフィコ ティスベ クロリンダ その後王子ラミーロとダンディーニ） 【ドン・マニフィコ】 辱められたわが一族！ （独白） だが何たる天候だ！大洪水のような雨だぞ！ 【クロリンダ】 黙って…聞こえない？ 【ドン・マニフィコ】 馬車だな （馬車が倒れる音が聞こえる） 【クロリンダ】 なんて轟音！ 【ドン・マニフィコ】 やっちまったな もう起き上がれまい 【ティスベ】 きっと誰か ひっくり返ったのね 【ダンディーニ】 （舞台裏から） 救援を…お助けを… 【ティスベ】 助け起こしに行きましょう 【クロリンダ】 バッカじゃない！ どうでもいいでしょ 誰が首を折ろうと？ （ノックの音） 【ドン・マニフィコ】 悪魔め！誰だ？ （戸を開ける ダンディーニが入ってきて 続いてドン・ラミーロ） 【ダンディーニ】 申し訳ありません 旦那 王子の馬車が 転覆して…えっ これはどういうことだ？ （ドン・マニフィコに気づく） 【ドン・マニフィコ】 （びっくりして） ええっ！貴様か！ だが 王子はどこだ？ 【ダンディーニ】 （ラミーロを指さして） この方はご存じでしょう！ 【ドン・マニフィコ】 （さらに驚いて） あの従者か？ああ！何てことだ 【ドン・ラミーロ】 ご主人 お許しください 思わぬアクシデントで… 【ドン・マニフィコ】 何を仰います！お気になさらず！わが殿下 （娘たちに） おい 理由もなしに殿下がここに来られる筈がなかろう 花嫁は わが娘たちよ お前たちの中から選ばれるのだ （チェネレントラに） おい 急いで チェネレントラ 殿下に椅子をお持ちしろ 【ドン・ラミーロ】 いや いや ほんの数分ですから 別の馬車が すぐに参ります 【ドン・マニフィコ】 まあまあ！よろしいではないですか！ 【クロリンダ】 （舞台裏を見て） 急ぐのよ チェネレントラ 第８場 （チェネレントラは王子だと信じているダンディーニに立派な椅子を持ってくる） 【チェネレントラ】 こちらでございます 【ドン・マニフィコ】 王子さまは 愚か者め こちらのお方だ 【チェネレントラ】 （王子がドン・ラミーロだと知って驚き 顔に手を当てて逃げ出そうとする） この方が！ああ どうしましょ！王子さまだなんて！ 【ドン・ラミーロ】 待ってください 何と！ 腕輪だ！ 彼女だ！何と言うこの喜び！ あなたでしたか？ 【チェネレントラ】 （王子の服装を見て） あなたが王子さま？ 【クロリンダとティスベ】 （驚いて お互いに） 何てびっくり！ 【ダンディーニ】 こりゃ見ものだ！ 【ドン・マニフィコ】 （ラミーロ遮ろうとして） しかし… 【ドン・ラミーロ】 黙れ 【ドン・マニフィコ】 （前と同じように） 頭がおかしくなったか もしかして… 【ドン・ラミーロとダンディーニ】 静かに 【クロリンダ ティスベ チェネレントラ ドン・ラミーロ ダンディーニ ドン・マニフィコ】 なるようになれ！ これはもつれた結び目 これはこんがらがった網 解こうとすればするほどもつれ ほぐそうとするほどこんがらがる そして、その間に私の頭は 飛んで 飛んで それから止まる 暗闇を手探りで進み ついには頭が錯乱してくる 【クロリンダ】 （呆然としているチェネレントラを荒々しく引き離し） 愚かな女！泥にまみれた身で！ どういうつもり？何考えてんの？ 私たち身分の高い者の間で ボーっと立ってるなんて不作法よ 【ドン・マニフィコ】 （同じように 別の方に引っ張って） 厚かましい召使め！誰がお前に言った ここで大勢の偉い方々の中に居て良いと？ 台所に行け 下賤な召使め ここには二度と戻ってくるな 【ドン・ラミーロ】 （衝動的に間に分け入って） 卑劣な奴らめ！そうはさせないぞ 私の愛する人を侮辱するな 卑劣な奴らめ！恐れるがいい 私の雷が落ちるのを 【ダンディーニ】 もう分かってたぞ この喜劇は 第二幕に変わったのだ これから悲劇の開幕だが 私は思い切り楽しませてもらうぞ 【クロリンダとティスベ】 （独白） 凍り付きそうだわ 【ドン・マニフィコ】 （独白） 呆然自失だ 【ダンディーニ】 （独白） 魂が抜けたみたいだな 【クロリンダ ドン・マニフィコ ダンディーニ】 でも召使ですよ… 【ドン・ラミーロ】 ちょっと黙れ 私の怒りをこれ以上掻き立てるな！ 【チェネレントラ】 （ドン・ラミーロにひざまずき 彼に立たされて） ああ！殿下 もしも真実でしたら その御胸に わずかでも私への愛がおありだということが 憐れみとお許しを そうすれば善が勝利致しますでしょう 【ドン・ラミーロとダンディーニ】 （ドン·マニフィコと彼の娘たちに） この涙を見よ 何という素直さ 何という善良さ！ 【クロリンダ ティスベ ドン・マニフィコ】 （軽蔑） ああ！何よあの良い子ぶり！ ほんと腹が立ってくるわ 【ドン・マニフィコ】 ですが 結局のところ 殿下 何をお望みに？ 【ドン・ラミーロ】 止めろ これ以上何も言うな （チェネレントラの手を取って） この人が私の花嫁になるのだ 【クロリンダとティスベ】 アハハ！あんた笑いものにされてるわ 【クロリンダ ティスベ ドン・マニフィコ】 （チェネレントラに） 分からんか お前からかわれてるのが 【ドン・ラミーロ】 誓って言う 本気だ 【ドン・マニフィコ】 しかし 私の娘のうちからと 私は信じておりましたが… 【ドン・ラミーロ】 （軽蔑した様子で） 彼女らは私にはふさわしくない 私は平民の心根で 安っぽく見えるそうだからな 【ダンディーニ】 ついに腕輪へと ボールは返された そしてこの球技の名手は 空に打ち返したのだ 【ドン・ラミーロ】 （チェネレントラに） さあ妃になってくれ そう命ずるぞ 【チェネレントラ】 （ドン·マニフィコの手にキスをし 姉たちを抱擁しようとするが激しく拒否される） せめてこの手に まず この胸に… 【ドン・マニフィコ】 触るな 【クロリンダとティスベ】 近寄んないでよ 【ドン・ラミーロ】 邪悪な狂人どもめ！ 私がお前たちを震えあがらせてやるぞ 【チェネレントラ】 （フラフラと歩き回りながら考え込み 様々な思いに耽りながら） ここはどこ？それは何の魔法かしら？ 私は幸せ！ああ何という出来事！ これは幻よ！ああ！もし目を覚ましたら！ 何て急激な変化でしょう！ 頭の中には嵐が吹き荒れて 息もできないほどよ 【その他の人たち】 こちらは不平と愚痴 あちらは怒って叫ぶ こっちは怒り狂い あっちは泣き叫ぶ 脅す者に 嘆息する者 最後は精神病院へと 引きずって行かれるのだ 【ドン・ラミーロとダンディーニ】 さあ来なさい 愛があなたを導く 王座につき 勝利するのだ （ラミーロはチェネレントラを導き ダンディーニとドン·マニフィコが続く） 【ティスベ】 それじゃ私たち いじられてただけなの？ 【クロリンダ】 腹が立って目がクラクラするわ 【ティスベ】 夢を見てたみたいよ…あのチェネレントラは… 【アリドーロ】 （入ってきて） お妃となるのだ 【クロリンダ】 あんた誰よ？ 【アリドーロ】 （堂々と） 私はそなたたちに施しを求め そなたたちは私を追い払った だがアンジョリーナは 哀れな者に知らぬ顔をせず そなたたちが卑しい召使として扱い 灰とボロ服を纏っていたが 今こそ王座へと上がるのだ そなたらの父は 彼女に莫大な借財があるのだ すっかり使い果たしたからだ 彼女の持参金を それで多分 多分この古い屋敷や ここのあまり立派でない家具も みな競売に付されることだろう 【ティスベ】 私たちはそしたらいったいどうなるの？ 【アリドーロ】 ここが分かれ道だ 不幸の日々に一生を終えるか 王座の足元に身を投げ出して 慈悲を乞い 赦しを乞うかだ 隣の広間に 私は準備したのだ この出来事を予感して 婚礼の宴を 今こそその時だぞ 【クロリンダ】 あの女に頭を下げるの！ 絶望だわ！ （退場） 【アリドーロ】 薬は飲みこみにくいもの だが飲み込まずにはおられまい 他に助かる術はないのだから それではそなたは どうするのだ？ 【ティスベ】 どうするかですって？ 私は運命を受け入れるわ ひざまずいたって死ぬわけじゃないし （退場） 【アリドーロ】 公正なる天よ！感謝しよう！ わが願いに これ以上望むものはない 尊大さは押さえつけられた 幸せになるのだ わが愛弟子は 王座は善良さが勝ち取った 私は満足だ （退場） 第二のフィナーレ 最終場 （幕が上がると花輪で飾られ灯りの点された広間が見える その中央奥に小さな雛壇があり そこに二つの豪華な椅子が置かれて 華やかな服を着たラミーロとチェネレントラが座っている 右脇にダンディーニが立ち 騎士や淑女たちが周りを囲む 片隅にドン・マニフィコ 困惑して地面に目を落としている そこへアリドーロ、クロリンダとティスベ 恥ずかしそうに顔を覆っている） 【騎士たち】 気まぐれな幸運が回し続ける 輪が その頂点に達したとき あなた様のために永遠に止まります 傲慢さは粉々に砕け散り 善が勝利するのです 【ドン・ラミーロ】 （チェネレントラを揺り動かして） 花嫁よ… 【チェネレントラ】 （喜びのあまりボーっとして） 旦那さま お許しを この甘美な不安が まだ私を混乱させているのです ついさっきまで ご存じのように 汚れた灰の中… それが今 王座の上で…花輪に私は囲まれているなんて 【ドン・マニフィコ】 （駆け寄ってひざまずき） お妃さま…あなた様の御前に 【チェネレントラ】 聞くことはできないのですか あなたの娘と呼ばれることを？ 【ドン・ラミーロ】 （姉たちを指して） あの高慢な者たちは… 【チェネレントラ】 ああ王子さま 私はあなたの足元にひざまずきます これまで侮辱されてきたことは 私の記憶からは消え去りました 私は王座に上がりますが 望んでいるのです 王座よりも気高い心でありたいと 私の復讐は みんなを許すことなのです 苦しみと涙のもとに生まれ 心は黙って耐えて参りました けれど甘い魔法のおかげで 花開く 私の年頃に まるですばやい稲妻のように 私の運命は変わったのです （ドン·マニフィコと姉たちに） いいえ いいえ 涙を拭いてください なぜ震えるのですか なぜ？ この胸に飛び込んできてください 娘も 妹も 友も みんな私のうちに見つけられますから （抱きしめる） 【チェネレントラ以外の全員】 私は心なごみ 感動させられる まるで女神さまだ 私の目には あなたさまこそ王座にふさわしい いや 王座などちっぽけなもの あなたさまには 【チェネレントラ】 父…花婿…友人…ああこの瞬間！ もう悲しく 火のそばで 一人ぼっちで歌を口ずさむこともないのね ああ一瞬の閃光 夢 戯れでしたわ 私の長かった苦しみも 【騎士たち】 すべては変わって行く 少しずつ もうため息つくのも終わりです オペラの終わり ATTO SECONDO Scena Prima Coro Ah! Della bella incognita L arrivo inaspettato Peggior assai del fulmine Per certe ninfe è stato. La guardano e tarroccano; Sorridono, ma fremono; Hanno una lima in core Che a consumar le va. Guardate ! Già regnavano. Ci ho gusto. Ah ah ah ah. (partono deridendole) (Gabinetto nel palazzo di Don Ramiro.Don Magnifico, entrando con Clorinda e Tisbe) DON MAGNIFICO (in collera caricata) Mi par che quei birbanti Ridessero di noi sotto cappotto. Corpo del mosto cotto, Fo un cavaliericidio. TISBE Papà, non v inquietate. DON MAGNIFICO (passeggiando) Ho nella testa Quattro mila pensieri. Ci mancava Quella madama anonima. CLORINDA E credete Che del Principe il core ci contrasti? Somiglia Cenerentola e vi basti. DON MAGNIFICO Somiglia tanto e tanto Che son due goccie d acqua, e quando a pranzo Faceva un certo verso con la bocca, Brontolavo fra me per Bacco, è lei. Ma come dagli Ebrei Prender l abito a nolo! aver coraggio Di venire fra noi? E poi parlar coi linci e squinci? e poi Starsene con sì gran disinvoltura, E non temere una schiaffeggiatura? TISBE Già, già questa figliastra Fino in chi la somiglia è a noi funesta. DON MAGNIFICO Ma tu sai che tempesta Mi piomberebbe addosso, Se scuopre alcun come ho dilapidato Il patrimonio suo! Per abbigliarvi, Al verde l ho ridotto. È diventato Un vero sacco d ossa. Ah se si scopre, Avrei trovato il resto del carlino. CLORINDA (con aria di mistero) E paventar potete a noi vicino? DON MAGNIFICO Vi son buone speranze? TISBE Eh! niente, niente. Posso dir ch è certezza. CLORINDA Io quasi, quasi Potrei dar delle cariche. TISBE In segreto Mi ha detto anima mia, Ha fatto un gran sospiro, è andato via. CLORINDA Un sospiro cos è? quando mi vede Subito ride. DON MAGNIFICO (riflettendo e guardando ora l una ora l altra) Ah! dunque qui sospira, e qui ride. CLORINDA Dite, papà Barone Voi che avete un testone Qual è il vostro pensier? ditelo schietto. DON MAGNIFICO Giocato ho un ambo e vincerò l eletto. Da voi due non si scappa; oh come, oh come, Figlie mie benedette, Si parlerà di me nelle gazzette! Questo è il tempo opportuno Per rimettermi in piedi. Lo sapete, io sono indebitato. Fino i stivali a tromba ho ipotecato. Ma che flusso e riflusso Avrò di memoriali! ah questo solo È il paterno desìo. Che facciate il rescritto a modo mio. C intenderem fra noi; Viscere mie, mi raccomando a voi. Sia qualunque delle figlie Che fra poco andrà sul trono Ah! non lasci in abbandono Un magnifico papà. Già mi par che questo e quello, Conficcandomi a un cantone E cavandosi il cappello, Incominci sior Barone; Alla figlia sua reale Porterebbe un memoriale? Prende poi la cioccolata, E una doppia ben coniata Faccia intanto scivolar. Io rispondo eh sì, vedremo. Già è di peso? Parleremo. Da palazzo può passar. Mi rivolto e vezzosetta, Tutta odori e tutta unguenti, Mi s inchina una scuffietta Fra sospiri e complimenti Baroncino! Si ricordi Quell affare, e già m intende; Senza argento parla ai sordi. La manina alquanto stende, Fa una piastra sdrucciolar. Io galante occhietti bei! Ah! per voi che non farei! Io vi voglio contentar! Mi risveglio a mezzo giorno Suono appena il campanello, Che mi vedo al letto intorno Supplichevole drappello Questo cerca protezione; Quello ha torto e vuol ragione; Chi vorrebbe un impieguccio; Chi una cattedra ed è un ciuccio; Chi l appalto delle spille, Chi la pesca dell anguille; Ed intanto in ogni lato Sarà zeppo e contornato Di memorie e petizioni, Di galline, di sturioni, Di bottiglie, di broccati, Di candele e marinati, Di ciambelle e pasticcetti, Di canditi e di confetti, Di piastroni, di dobloni, Di vaniglia e di caffè. Basta, basta, non portate! Terminate, ve n andate! Serro l uscio a catenaccio. Importuni, seccatori, Fuori, fuori, via da me. Presto, presto, via di qua. (parte) TISBE (accostandosi in confidenza) Di sogni ancor che il Principe Vada pensando a te? CLORINDA Me lo domandi? TISBE Serva di Vostr Altezza. CLORINDA A suoi comandi. Partono, scostandosi e complimentandosi ironicamente. Scena Seconda (Ramiro, indi Cenerentola fuggendo da Dandini; poi Alidoro in disparte.) DON RAMIRO Ah! Questa bella incognita Con quella somiglianza all infelice, Che mi colpì stamane Mi va destando in petto Certa ignota premura… Anche Dandini Mi sembra innamorato. Eccoli udirli or qui potrò celato. (si nasconde) DANDINI Ma non fuggir, per Bacco! quattro volte Mi hai fatto misurar la galleria. CENERENTOLA O mutate linguaggio, o vado via. DANDINI Ma che? Il parlar d amore È forse una stoccata! CENERENTOLA Ma io d un altro sono innamorata! DANDINI E me lo dici in faccia? CENERENTOLA Ah! mio signore, Deh! non andate in collera Col mio labbro sincero. DANDINI Ed ami? CENERENTOLA Scusi… DANDINI Ed ami? CENERENTOLA Il suo scudiero. DON RAMIRO (palesandosi) Oh gioia! anima mia! ALIDORO (mostrando il suo contento, piano) Va a meraviglia! DON RAMIRO Ma il grado e la ricchezza Non seduce il tuo core? CENERENTOLA Mio fasto è la virtù, ricchezza è amore. DON RAMIRO Dunque saresti mia? CENERENTOLA Piano, tu devi pria Ricercarmi, conoscermi, vedermi, Esaminar la mia fortuna. DON RAMIRO Io teco, Cara, verrò volando. CENERENTOLA Fermati non seguirmi. Io tel comando. DON RAMIRO E come dunque? CENERENTOLA (gli dà un smaniglio) Tieni. Cercami; e alla mia destra Il compagno vedrai. E allor… Se non ti spiaccio… allor m avrai. (parte. Momento di silenzi). DON RAMIRO Dandini, che ne dici? DANDINI Eh! dico che da Principe Sono passato a far da testimonio. DON RAMIRO E allor… se non ti spiaccio… allor m avrai. Quali enigmi son questi? (scopre Alidoro) Ah ! mio sapiente Venerato Maestro. Il cor m ingombra Misterioso amore. Che far degg io? ALIDORO Quel che consiglia il core DON RAMIRO (a Dandini) Principe non sei più di tante sciocche Si vuoti il mio palazzo. (chiamando i seguaci che entrano) Olà miei fidi Sia pronto il nostro cocchio, e fra momenti. Così potessi aver l ali dei venti. Sì, ritrovarla io giuro. Amore, amor mi muove Se fosse in grembo a Giove, Io la ritroverò. (contempla lo smaniglio) Pegno adorato e caro Che mi lusinghi almeno. Ah come al labbro e al seno, Come ti stringerò! CAVALIERI Oh! qual tumulto ha in seno Comprenderlo non so. DON RAMIRO E CAVALIERI Noi voleremo, domanderemo, Ricercheremo, ritroveremo. Dolce speranza, freddo timore Dentro al mio/suo cuore stanno a pugnar. Amore, amore m hai/l hai da guidar. (parte coi seguaci) Scena Terza e Quarta (Alidoro, Dandini; indi Don Magnifico.) ALIDORO La notte è omai vicina. Col favor delle tenebre, Rovesciandosi ad arte la carrozza Presso la casa del Baron, potrei… Son vicini alla meta i desir miei. (parte frettoloso. Entra Dandini) DANDINI (passeggiando) Ma dunque io sono un ex? dal tutto al niente Precipito in un tratto? Veramente ci ho fatto Una bella figura! DON MAGNIFICO (entra premuroso) Scusi la mia premura… Ma quelle due ragazze Stan con la febbre a freddo. Si potrebbe Sollecitar la scelta. DANDINI E fatta, amico. DON MAGNIFICO (con sorpresa, in ginocchio) È fatta! ah! per pietà! dite, parlate È fatta! e i miei germogli… In queste stanze a vegetar verranno? DANDINI (alzandolo) Tutti poi lo sapranno. Per ora è un gran segreto. DON MAGNIFICO E quale, e quale? Clorindina o Tisbetta? DANDINI Non giudicate in fretta. DON MAGNIFICO Lo dica ad un papà. DANDINI Ma silenzio. DON MAGNIFICO Si sa; via, dica presto. DANDINI (andando ad osservare) Non ci ode alcuno? DON MAGNIFICO In aria non si vede una mosca. DANDINI È un certo arcano Che farà sbalordir. DON MAGNIFICO (smaniando) Sto sulle spine. DANDINI (annoiato, portando una sedia) Poniamoci a sedere. DON MAGNIFICO Presto, per carità. DANDINI Voi sentirete Un caso assai bizzarro. DON MAGNIFICO (Fra sè) Che volesse Maritarsi con me! DANDINI Mi raccomando. DON MAGNIFICO (con smania che cresce) Ma si lasci servir. DANDINI Sia sigillato Quanto ora udrete dalla bocca mia. DON MAGNIFICO Io tengo in corpo una segreteria. DANDINI Un segreto d importanza, Un arcano interessante Io vi devo palesar. È una cosa stravagante, Vi farà strasecolar. DON MAGNIFICO Senza battere le ciglia, Senza manco trarre il fiato Io mi pongo ad ascoltar. Starò qui petrificato Ogni sillaba a contar. DANDINI (Fra sè) Oh! che imbroglio! che disdetta! Non so come cominciar. DON MAGNIFICO (Fra sè) Veh che flemma maledetta! Si sbrigasse a incominciar. DANDINI Uomo saggio e stagionato Sempre meglio ci consiglia. Se sposassi una sua figlia, Come mai l ho da trattar? DON MAGNIFICO (Fra sè) Consiglier son già stampato. (Forte) Ma che eccesso di clemenza! Mi stia dunque Sua Eccellenza… Bestia!.. Altezza, ad ascoltar. Abbia sempre pronti in sala Trenta servi in piena gala, Cento sedici cavalli, Duchi, conti e marescialli A dozzine convitati, Pranzi sempre coi gelati Poi carrozze, poi bombè, DANDINI Vi rispondo senza arcani Che noi siamo assai lontani. Io non uso far de pranzi; Mangio sempre degli avanzi. Non m accosto a gran signori, Tratto sempre servitori. Me ne vado sempre a piè, DON MAGNIFICO Non corbella? DANDINI Gliel prometto. DON MAGNIFICO Questo dunque? DANDINI È un romanzetto. DON MAGNIFICO Questo dunque? DANDINI È un romanzetto. È una burla il principato, Sono un uomo mascherato. Ma venuto è il vero Principe M ha strappata alfin la maschera. Io ritorno al mio mestiere Son Dandini il cameriere. Rifar letti, spazzar abiti Far la barba e pettinar. DON MAGNIFICO Far la barba, e pettinar? Di quest ingiuria di quest affronto il vero principe mi darà conto DANDINI Oh! Non s incomodi non farà niente! Ma parta subito, immantinente. DON MAGNIFICO Non partirò DANDINI Lei partirà. DON MAGNIFICO Non partirò. DANDINI Lei partirà DON MAGNIFICO Ci rivedremo. DANDINI Ci rivedremo DON MAGNIFICO Ci parleremo DANDINI Ci parleremo DON MAGNIFICO Non partirò DANDINI Lei partirà. DON MAGNIFICO Sono un Barone. DANDINI Lei partirà Pronto è il bastone. Lei partirà DON MAGNIFICO Non partirò Tengo nel cerebro Un contrabbasso Che basso, basso Frullando va. Da cima a fondo, Poter del mondo! Che scivolata, Che gran cascata! Eccolo, eccolo Tutti diranno Mi burleranno Per la città. DANDINI Povero diavolo! È un gran sconquasso! Che d alto in basso Piombar lo fa. Vostr Eccellenza Abbia prudenza. Se vuol rasoio, Sapone e pettine Saprò arricciarla, Sbarbificarla. Ah, ah! guardatelo, L allocco è là. (Partono.) (Entra Alidoro solo.) ALIDORO Mi seconda il destino. Amor pietoso favorisce il disegno. Anche la notte procellosa ed oscura Rende più natural quest avventura. La carrozza già è in pronto; ov è Dandini? Seco lo vuol nel suo viaggio. Oh come Indocile s è fatto ed impaziente! Che lo pizzica amor segno evidente. Scena Quinta (Sala terrena con camino in casa di Don Magnifico Cenerentola nel solito abito accanto al fuoco.) CENERENTOLA Una volta c era un Re, Che a star solo s annoiò Cerca, cerca, ritrovò; Ma il volean sposare in tre. Cosa fa? Sprezza il fasto e la beltà. E alla fin sceglie per sé L innocenza e la bontà. La, la, la Li, li, li La, la, la. (guarda lo smaniglio) Quanto sei caro! E quello Cui dato ho il tuo compagno, È più caro di te. Quel signor Principe Che pretendea con quelle smorfie? Oh bella! Io non bado a ricami, ed amo solo bel volto e cor sincero, E do la preferenza al suo scudiero. Le mie sorelle intanto… ma che occhiate! Parean stralunate! (s ode bussare fortemente, ed apre) Qual rumore! Uh? chi vedo! che ceffi! Di ritorno! Non credea che tornasse avanti giorno. Scena Sesta (Don Magnifico, Clorinda, Tisbe e detta.) CLORINDA (entrando, accennando Cenerentola) Ma! ve l avevo detto… DON MAGNIFICO Ma cospetto! cospetto ! Similissime sono affatto affatto. Quella è l original, questa è il ritratto. Hai fatto tutto? CENERENTOLA Tutto . Perché quel ceffo brutto Voi mi fate così? DON MAGNIFICO Perché, perché… Per una certa strega Che rassomiglia a te… CLORINDA Su le tue spalle Quasi mi sfogherei. CENERENTOLA Povere spalle, Cosa ci hanno che far? (Cominciano lampi e tuoni) TISBE Oh fa mal tempo! Minaccia un temporale. DON MAGNIFICO Altro che temporale! Un fulmine vorrei Che incenerisse il camerier… CENERENTOLA Ma dite, Cosa è accaduto? Avete qualche segreta pena? DON MAGNIFICO (con impeto) Sciocca! va là, va a preparar la cena. CENERENTOLA Vado sì, vado. (Fra sè) Ah che cattivo umore. Ah! lo scudiere mio mi sta nel core. (parte) Scena Settima (Don Magnifico, Tisbe, Clorinda, indi Ramiro da Principe e Dandini.) DON MAGNIFICO Svergognata mia prole! (Fra sè) Ma che tempo! Piove a diluvio! CLORINDA Zitto… non sentite? DON MAGNIFICO Una carrozza. (Si sente cadere una carrozza.) CLORINDA Che gran botto! DON MAGNIFICO È fatta. Non si rialza più. TISBE Forse qualcuno Rovesciato sarà. DANDINI (di dentro) Soccorso… aita… TISBE Corriamo a sollevarli. CLORINDA Scioccarella! Che importa a te di chi si rompe il collo? (si sente bussare.) DON MAGNIFICO Diavolo! chi sarà? (apre. Entra Dandini, indi Don Ramiro) DANDINI Scusate, amico . La carrozza del Principe Ribaltò… ma chi vedo? (riconoscendo Don Magnifico) DON MAGNIFICO (Sorpreso) Uh! Siete voi! Ma il Principe dov è? DANDINI (accennando Ramiro) Lo conoscete! DON MAGNIFICO (rimanendo sorpreso) Lo scudiero? Oh! guardate. DON RAMIRO Signore perdonate Se una combinazione… DON MAGNIFICO Che dice! Si figuri! mio padrone. (alle figlie) Eh, non senza perché venuto è qua. La sposa, figlie mie, fra voi sarà. (A Cenerentola) Ehi, presto, Cenerentola, Porta la sedia nobile. DON RAMIRO No, no pochi minuti. Altra carrozza Pronta ritornerà. DON MAGNIFICO Ma che! gli pare! CLORINDA (con premura verso le quinte) Ti sbriga, Cenerentola. Scena Ottava (Cenerentola recando una sedia nobile a Dandini, che crede il Principe.) CENERENTOLA Son qui. DON MAGNIFICO Dalla al Principe, bestia, eccolo lì. CENERENTOLA (sorpresa riconoscendo per Principe Don Ramiro; si pone le mani sul volto e vuol fuggire) Questo! Ah che vedo! Principe! DON RAMIRO T arresta. Che! Lo smaniglio! è lei! che gioia è questa! Siete voi? CENERENTOLA (osservando il vestito del Prence) Voi Prence siete? CLORINDA E TISBE (fra loro, attonite) Qual sorpresa! DANDINI Il caso è bello! DON MAGNIFICO (volendo interrompere Ramiro) Ma… DON RAMIRO Tacete. DON MAGNIFICO (Come sopra) Addio cervello. Se… DON RAMIRO E DANDINI Silenzio. CLORINDA, TISBE, CENERENTOLA, DON RAMIRO, DANDINI E DON MAGNIFICO Che sarà! Questo è un nodo avviluppato, Questo è un gruppo rintrecciato. Chi sviluppa più inviluppa, Chi più sgruppa, più raggruppa; Ed intanto la mia testa Vola, vola e poi s arresta; Vo tenton per l aria oscura, E comincio a delirar. CLORINDA (strappando Cenerentola con violenza dal suo sbalordimento) Donna sciocca! Alma di fango! Cosa cerchi? che pretendi? Fra noi gente d alto rango L arrestarsi è inciviltà. DON MAGNIFICO (come sopra, da un altra parte) Serva audace! E chi t insegna Di star qui fra tanti eroi? Va in cucina, serva indegna, Non tornar mai più di qua. DON RAMIRO (frapponendosi con impeto) Alme vili ! invan tentate Insultar colei che adoro; Alme vili! paventate Il mio fulmine cadrà. DANDINI Già sapea che la commedia Si cangiava al second atto; Ecco aperta la tragedia, Me la godo in verità. CLORINDA E TISBE (fra sè) Son di gelo. DON MAGNIFICO (Fra sè) Son di stucco. DANDINI (Fra sè) Diventato è un mamalucco. CLORINDA, DON MAGNIFICO E DANDINI Ma una serva… DON RAMIRO Olà tacete. L ira mia più fren non ha! CENERENTOLA (in ginocchio a Don Ramiro, che la rialza) Ah! signor, s è ver che in petto Qualche amor per me serbate, Compatite, perdonate, E trionfi la bontà. DON RAMIRO E DANDINI (a Don Magnifico e le figlie) Quelle lagrime mirate Qual candore, qual bontà! CLORINDA, TISBE E DON MAGNIFICO (con disprezzo) Ah! l ipocrita guardate! Oh che bile che mi fa. DON MAGNIFICO Ma in somma delle somme, Altezza, cosa vuole? DON RAMIRO Piano non più parole. (prende per mano Cenerentola) Questa sarà mia sposa. CLORINDA E TISBE Ah! ah! dirà per ridere. CLORINDA, TISBE E DON MAGNIFICO (a Cenerentola) Non vedi che ti burlano? DON RAMIRO Lo giuro mia sarà. DON MAGNIFICO Ma fra i rampolli miei, Mi par che a creder mio… DON RAMIRO (con aria di disprezzo) Per loro non son io. Ho l anima plebea, Ho l aria dozzinale. DANDINI Alfine sul bracciale Ecco il pallon tornò E il giocator maestro In aria il ribalzò. DON RAMIRO (A Cenerentola) Vieni a regnar lo impongo. CENERENTOLA (volendo baciar la mano a Don Magnifico ed abbracciare le sorelle, è rigettata con impeto) Su questa mano almeno, E prima a questo seno… DON MAGNIFICO Ti scosta. CLORINDA E TISBE Ti allontana. DON RAMIRO Perfida gente insana! Io vi farò tremar. CENERENTOLA (passeggiando incerta, e riflettendo ed abbandonandosi a vari sentimenti) Dove son? che incanto è questo? Io felice! oh quale evento! È un inganno! ah! se mi desto! Che improvviso cangiamento! Sta in tempesta il mio cervello, Posso appena respirar. ALTRI Quello brontola e borbotta, Questo strepita e s adira, Quello freme, questo fiotta, Chi minaccia, chi sospira; Va a finir che a Pazzarelli Ci dovranno trascinar. DON RAMIRO E DANDINI Vieni, vieni. Amor ti guida A regnar e a trionfar. (Ramiro trae seco Cenerentola, ed è seguito da Dandini e da Don Magnifico) TISBE Dunque noi siam burlate? CLORINDA Dalla rabbia io non vedo più lume. TISBE Mi pare di sognar… la Cenerentola… ALIDORO (entrando) Principessa sarà. CLORINDA Chi siete? ALIDORO (con alterigia) Io vi cercai la carità. Voi mi scacciaste. E l Angiolina, quella Che non fu sorda ai miseri, Che voi teneste come vile ancella, Fra la cenere e i cenci, Or salirà sul trono. Il padre vostro Gli è debitor d immense somme. Tutta si mangiò la sua dote. E forse, forse questa reliquia di palazzo, questi non troppo ricchi mobili, saranno posti al pubblico incanto. TISBE Che fia di noi, frattanto? ALIDORO Il bivio è questo. O terminar fra la miseria i giorni, O curve a piè del trono Implorar grazia ed impetrar perdono. Nel vicin atrio io stesso, Presago dell evento, La festa nuziale ho preparata Questo, questo è il momento. CLORINDA Abbassarmi con lei! Son disperata! (parte) ALIDORO La pillola è un po dura Ma inghiottirla dovrà; non v è rimedio. E voi, cosa pensate? TISBE Cosa penso? Mi accomodo alla sorte Se mi umilio, alla fin non vado a morte. (parte) ALIDORO Giusto ciel! ti ringrazio! I voti miei Non han più che sperar. L orgoglio è oppresso. Sarà felice il caro alunno. In trono Trionfa la bontà. Contento io sono. (esce) Finale Secondo Scena Ultima (All alzarsi della tenda scorgessi un atrio con festoni di fiori illuminato, e nel cui fondo su piccola base siedono in due ricche sedie Ramiro e Cenerentola in abito ricco; a destra in piedi Dandini, dame e cavalieri intorno. In un angolo don Magnifico, confuso, con gli occhi fitti in terra. Indi Alidoro, Clorinda e Tisbe, mortificate, coprendosi il volto.) CAVALIERI Della fortuna istabile la revolubil ruota Mentre ne giunge al vertice Per te s arresta immota. Cadde l orgoglio in polvere, Trionfa la bontà. DON RAMIRO (scuotendo Cenerentola) Sposa… CENERENTOLA (stupida per la gioia) Signor, perdona La tenera incertezza Che mi confonde ancor. Poc anzi, il sai, Fra la cenere immonda… Ed or sul trono… e un serto mi circonda. DON MAGNIFICO (corre in ginocchio) Altezza… a voi si prostra. CENERENTOLA Né mai m udrò chiamar la figlia vostra? DON RAMIRO (accennando le sorelle) Quelle orgogliose… CENERENTOLA Ah Prence, Io cado ai vostri piè. Le antiche ingiurie Mi svanir dalla mente. Sul trono io salgo, e voglio Starvi maggior del trono. E sarà mia vendetta il lor perdono. Nacqui all affanno, al pianto. Soffrì tacendo il core; Ma per soave incanto, Dell età mia nel fiore, Come un baleno rapido La sorte mia cangiò. (a Don Magnifico e sorelle) No, no; tergete il ciglio; Perché tremar, perché? A questo sen volate; Figlia, sorella, amica Tutto trovate in me. (abbracciandole) TUTTI MENO CENERENTOLA M intenerisce e m agita, È un Nume agli occhi miei. Degna del tron tu sei Ma è poco un trono a te. CENERENTOLA Padre… sposo… amico… oh istante! Non più mesta accanto al fuoco Starò sola a gorgheggiar. Ah fu un lampo, un sogno, un gioco Il mio lungo palpitar. CAVALIERI Tutto cangia a poco a poco Cessa alfin di sospirar. FINE DELL OPERA. この日本語テキストは、 クリエイティブ・コモンズ・ライセンス の下でライセンスされています。@ 藤井宏行 Rossini,Gioachino/La Cenerentola
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E.I.01A. Laws of Chess E.I.01A. Laws of Chess 序文 BASIC RULES OF PLAYArticle 1 The nature and objectives of the game of chess Article 2 The initial position of the pieces on the chessboard Article 3 The moves of the pieces Article 4 The act of moving the pieces Article 5 The completion of the game COMPETITION RULESArticle 6 The chess clock Article 7 Irregularities Article 8 The recording of the moves Article 9 The drawn game Article 10 Quickplay Finish Article 11 Points Article 12 The conduct of the players Article 13 The role of the Arbiter (See Preface) Article 14 FIDE 英語版がチェス規約の正式な物であり、これは２００８年１１月のドレスデンでの第79回FIDE会議において採択され、2009年7月1日より施行された。 この規約における「彼」という表現は「彼女」という意味も含む。 序文 チェス規約は試合中に起こりうる全ての状況を網羅できるわけでも、全ての運営上の問題を規定できるわけでもない。本規約において明確に規定されていない状況の場合、本規約で議論されている類似した状況を学び、正しい決断が導かれるべきである。 本規約はアービター(審判)が必要な能力、正しい判断、絶対的な客観性を持っていると想定している。詳細すぎる規則はアービターから判断の自由を奪い、結果彼から公平性、論理性や特殊な要因に裏付けられた問題の解決策を見つけるのを妨げるかもしれない。 FIDEは全てのチェスプレーヤーと連盟にこの見解を受け入れるよう求める。 FIDEの一員である連盟は、以下の条件を満たすより詳細な規則を設ける事ができる。 a FIDEチェス規約と矛盾しないこと。 b その連盟が関わる地域に限定されたものであること。 c FIDEの試合、選手権あるいは認可を受けたイベント、並びにFIDEタイトル、レーティングトーナメントを規制するものでないこと。 BASIC RULES OF PLAY Article 1 The nature and objectives of the game of chess 1.1 The game of chess is played between two opponents who move their pieces alternately on a square board called a ‘chessboard’. The player with the white pieces commences the game. A player is said to ‘have the move’, when his opponent’s move has been ‘made’. (See Article 6.7) 1.2 The objective of each player is to place the opponent’s king ‘under attack’ in such a way that the opponent has no legal move. The player who achieves this goal is said to have ‘checkmated’ the opponent’s king and to have won the game. Leaving one’s own king under attack, exposing one’s own king to attack and also ’capturing’ the opponent’s king are not allowed. The opponent whose king has been checkmated has lost the game. 1.3 どちらのプレーヤーもチェックメイトに出来ない局面になったとき、ゲームは引き分けとなる。 Article 2 The initial position of the pieces on the chessboard 2.1 The chessboard is composed of an 8 x 8 grid of 64 equal squares alternately light (the ‘white’ squares) and dark (the ‘black’ squares). The chessboard is placed between the players in such a way that the near corner square to the right of the player is white. 2.2 At the beginning of the game one player has 16 light-coloured pieces (the ‘white’ pieces); the other has 16 dark-coloured pieces (the ‘black’ pieces). These pieces are as follows A white king, usually indicated by the symbol A white queen, usually indicated by the symbol Two white rooks, usually indicated by the symbol Two white bishops, usually indicated by the symbol Two white knights, usually indicated by the symbol Eight white pawns, usually indicated by the symbol A black king, usually indicated by the symbol A black queen, usually indicated by the symbol Two black rooks, usually indicated by the symbol Two black bishops, usually indicated by the symbol Two black knights, usually indicated by the symbol Eight black pawns, usually indicated by the symbol 2.3 各駒は以下のような初期配置でチェス盤に並べられる： 2.4 The eight vertical columns of squares are called ‘files’. The eight horizontal rows of squares are called ‘ranks’. A straight line of squares of the same colour, running from one edge of the board to an adjacent edge, is called a ‘diagonal’. Article 3 The moves of the pieces 3.1 It is not permitted to move a piece to a square occupied by a piece of the same colour. If a piece moves to a square occupied by an opponent’s piece the latter is captured and removed from the chessboard as part of the same move. A piece is said to attack an opponent’s piece if the piece could make a capture on that square according to the Articles 3.2 to 3.8. A piece is considered to attack a square, even if such a piece is constrained from moving to that square because it would then leave or place the king of its own colour under attack. 3.2 The bishop may move to any square along a diagonal on which it stands. 3.3 The rook may move to any square along the file or the rank on which it stands. 3.4 The queen may move to any square along the file, the rank or a diagonal on which it stands. 3.5 When making these moves the bishop, rook or queen may not move over any intervening pieces. 3.6 The knight may move to one of the squares nearest to that on which it stands but not on the same rank, file or diagonal. 3.7 a. The pawn may move forward to the unoccupied square immediately in front of it on the same file, or b. on its first move the pawn may move as in 3.7.a or alternatively it may advance two squares along the same file provided both squares are unoccupied, or c. the pawn may move to a square occupied by an opponent’s piece, which is diagonally in front of it on an adjacent file, capturing that piece. d. A pawn attacking a square crossed by an opponent’s pawn which has advanced two squares in one move from its original square may capture this opponent’s pawn as though the latter had been moved only one square. This capture is only legal on the move following this advance and is called an ‘en passant’ capture. e. When a pawn reaches the rank furthest from its starting position it must be exchanged as part of the same move on the same square for a new queen, rook, bishop or knight of the same colour. The player’s choice is not restricted to pieces that have been captured previously. This exchange of a pawn for another piece is called ‘promotion’ and the effect of the new piece is immediate. 3.8 a. There are two different ways of moving the king by moving to any adjoining square not attacked by one or more of the opponent’s pieces or by ‘castling’. This is a move of the king and either rook of the same colour along the player’s first rank, counting as a single move of the king and executed as follows the king is transferred from its original square two squares towards the rook on its original square, then that rook is transferred to the square the king has just crossed. moves_castling.gif b. (1) The right to castle has been lost a. if the king has already moved, or b. with a rook that has already moved. (2) Castling is prevented temporarily a. if the square on which the king stands, or the square which it must cross, or the square which it is to occupy, is attacked by one or more of the opponent s pieces, or b. if there is any piece between the king and the rook with which castling is to be effected. 3.9 The king is said to be in check if it is attacked by one or more of the opponent s pieces, even if such pieces are constrained from moving to that square because they would then leave or place their own king in check. No piece can be moved that will either expose the king of the same colour to check or leave that king in check. Article 4 The act of moving the pieces 4.1 Each move must be made with one hand only. 4.2 Provided that he first expresses his intention (for example by saying „j’adoube“ or “I adjust”), the player having the move may adjust one or more pieces on their squares. 4.3 Except as providedin Article 4.2, if the player having the move deliberately touches on the chessboard a. one or more of his own pieces, he must move the first piece touched which can be moved b. one or more of his opponent’s pieces, he must capture the first piece touched which can be captured c. one piece of each colour, he must capture the opponent’s piece with his piece or, if this is illegal, move or capture the first piece touched which can be moved or captured. If it is unclear, whether the player’s own piece or his opponent’s was touched first, the player’s own piece shall be considered to have been touched before his opponent’s. 4.4 If a player having the move a. deliberately touches his king and rook he must castle on that side if it is legal to do so b. deliberately touches a rook and then his king he is not allowed to castle on that side on that move and the situation shall be governed by Article 4.3.a c. intending to castle, touches the king or king and rook at the same time, but castling on that side is illegal, the player must make another legal move with his king (which may include castling on the other side). If the king has no legal move, the player is free to make any legal move d. promotes a pawn, the choice of the piece is finalised, when the piece has touched the square of promotion. 4.5 If none of the pieces touched can be moved or captured, the player may make any legal move. 4.6 When, as a legal move or part of a legal move, a piece has been released on a square, it cannot be moved to another square on this move. The move is then considered to have been made a. in the case of a capture, when the captured piece has been removed from the chessboard and the player, having placed his own piece on its new square, has released this capturing piece from his hand b. in the case of castling, when the player s hand has released the rook on the square previously crossed by the king. When the player has released the king from his hand, the move is not yet made, but the player no longer has the right to make any move other than castling on that side, if this is legal c. in the case of the promotion of a pawn, when the pawn has been removed from the chessboard and the player s hand has released the new piece after placing it on the promotion square. If the player has released from his hand the pawn that has reached the promotion square, the move is not yet made, but the player no longer has the right to play the pawn to another square. The move is called legal when all the relevant requirements of Article 3 have been fulfilled. If the move is not legal, another move shall be made instead as per Article 4.5. 4.7 A player forfeits his right to a claim against his opponent’s violation of Article 4 once he deliberately touches a piece. Article 5 The completion of the game 5.1 a. The game is won by the player who has checkmated his opponent’s king. This immediately ends the game, provided that the move producing the checkmate position was a legal move. b. The game is won by the player whose opponent declares he resigns. This immediately ends the game. 5.2 a. The game is drawn when the player to move has no legal move and his king is not in check. The game is said to end in ‘stalemate’. This immediately ends the game, provided that the move producing the stalemate position was legal. b. The game is drawn when a position has arisen in which neither player can checkmate the opponent’s king with any series of legal moves. The game is said to end in a ‘dead position’. This immediately ends the game, provided that the move producing the position was legal. (See Article 9.6) c. The game is drawn upon agreement between the two players during the game. This immediately ends the game. (See Article 9.1) d. The game may be drawn if any identical position is about to appear or has appeared on the chessboard at least three times. (See Article 9.2) e. The game may be drawn if each player has made at least the last 50 consecutive moves without the movement of any pawn and without any capture. (See Article 9.3) COMPETITION RULES Article 6 The chess clock 6.1 ‘Chess clock’ means a clock with two time displays, connected to each other in such a way that only one of them can run at one time. ‘Clock’ in the Laws of Chess, means one of the two time displays. Each time display has a ‘flag’. ‘Flag fall’ means the expiration of the allotted time for a player. 6.2 a. When using a chess clock, each player must make a minimum number of moves or all moves in an allotted period of time and/or may be allocated an additional amount of time with each move. All these must be specified in advance. b. The time saved by a player during one period is added to his time available for the next period, except in the ‘time delay’ mode. In the time delay mode both players receive an allotted ‘main thinking time’. Each player also receives a ‘fixed extra time’ with every move. The countdown of the main time only commences after the fixed time has expired. Provided the player stops his clock before the expiration of the fixed time, the main thinking time does not change, irrespective of the proportion of the fixed time used. 6.3 Immediately after a flag falls, the requirements of article 6.2 a. must be checked. 6.4 Before the start of the game the arbiter decides where the chess clock is placed. 6.5 At the time determined for the start of the game the clock of the player who has the white pieces is started. 6.6 a. Any player who arrives at the chessboard after the start of the session shall lose the game. Thus the default time is 0 minutes. The rules of a competition may specify otherwise. b. If the rules of a competition specify a different default time, the following shall apply. If neither player is present initially, the player who has the white pieces shall lose all the time that elapses until he arrives, unless the rules of the competition specify or the arbiter decides otherwise. 6.7 a. During the game each player, having made his move on the chessboard, shall stop his own clock and start his opponent’s clock. A player must always be allowed to stop hisclock. His move is not considered to have been completed until he has done so, unless the move that was made ends the game. (See the Articles 5.1.a, 5.2.a, 5.2.b, 5.2.c and 9.6) The time between making the move on the chessboard and stopping his own clock and starting his opponent‘s clock is regarded as part of the time allotted to the player. b. A player must stop his clock with the same hand as that with which he made his move. It is forbidden for a player to keep his finger on the button or to ‘hover’ over it. c. The players must handle the chess clock properly. It is forbidden to punch it forcibly, to pick it up or to knock it over. Improper clock handling shall be penalised in accordance with Article 13.4. d. If a player is unable to use the clock, an assistant, who must be acceptable to the arbiter, may be provided by the player to perform this operation. His clock shall be adjusted by the arbiter in an equitable way. 6.8 A flag is considered to have fallen when the arbiter observes the fact or when either player has made a valid claim to that effect. 6.9 Except where one of the Articles 5.1.a, 5.1.b, 5.2.a, 5.2.b, 5.2.c applies, if a player does not complete the prescribed number of moves in the allotted time, the game is lost by the player. However, the game is drawn, if the position is such that the opponent cannot checkmate the player’s king by any possible series of legal moves. 6.10 a. Every indication given by the clocks is considered to be conclusive in the absence of any evident defect. A chess clock with an evident defect shall be replaced. The arbiter shall replace the clock and use his best judgment when determining the times to be shown on the replacement chess clocks. b. If during a game it is found that the setting of either or both clocks was incorrect, either player or the arbiter shall stop the clocks immediately. The arbiter shall install the correct setting and adjust the times and move counter. He shall use his best judgement when determining the correct settings. 6.11 If both flags have fallen and it is impossible to establish which flag fell first then a. the game shall continue if it happens in any period of the game except the last period b. the game is drawn if it happens in the period of a game, in which all remaining moves must be completed. 6.12 a. If the game needs to be interrupted, the arbiter shall stop the clocks. b. A player may stop the clocks only in order to seek the arbiter’s assistance, for example when promotion has taken place and the piece required is not available. c. The arbiter shall decide when the game is to be restarted in either case. d. If a player stops the clocks in order to seek the arbiter’s assistance, the arbiter shall determine if the player had any valid reason for doing so. If it is obvious that the player had no valid reason for stopping the clocks, the player shall be penalised according to Article 13.4. 6.13 If an irregularity occurs and/or the pieces have to be restored to a previous position, the arbiter shall use his best judgement to determine the times to be shown on the clocks. He shall also, if necessary, adjust the clock’s move counter. 6.14 Screens, monitors, or demonstration boards showing the current position on the chessboard, the moves and the number of moves made, and clocks which also show the number of moves, are allowed in the playing hall. However, the player may not make a claim relying solely on information shown in this manner. Article 7 Irregularities 7.1 a. If during a game it is found that the initial position of the pieces was incorrect, the game shall be cancelled and a new game played. b. If during a game it is found that the chessboard has been placed contrary to Article 2.1, the game continues but the position reached must be transferred to a correctly placed chessboard. 7.2 If a game has begun with colours reversed then it shall continue, unless the arbiter rules otherwise. 7.3 If a player displaces one or more pieces, he shall re-establish the correct position on his own time. If necessary, either the player or his opponent shall stop the clocks and ask for the arbiter’s assistance. The arbiter may penalise the player who displaced the pieces. 7.4 a. If during a game it is found that an illegal move, including failing to meet the requirements of the promotion of a pawn or capturing the opponent’s king, has been completed, the position immediately before the irregularity shall be reinstated. If the position immediately before the irregularity cannot be determined the game shall continue from the last identifiable position prior to the irregularity. The clocks shall be adjusted according to Article 6.13. The Articles 4.3 and 4.6 apply to the move replacing the illegal move. The game shall then continue from this re-instated position. b. After the action taken under Article 7.4.a, for the first two illegal moves by a player the arbiter shall give two minutes extra time to his opponent in each instance; for a third illegal move by the same player, the arbiter shall declare the game lost by this player. However, the game is drawn if the position is such that the opponent cannot checkmate the player’s king by any possible series of legal moves. 7.5 If during a game it is found that pieces have been displaced from their squares, the position before the irregularity shall be re-instated. If the position immediately before the irregularity cannot be determined, the game shall continue from the last identifiable position prior to the irregularity. The clocks shall be adjusted according to Article 6.13. The game shall then continue from this re-instated position. Article 8 The recording of the moves 8.1 In the course of play each player is required to record his own moves and those of his opponent in the correct manner, move after move, as clearly and legibily as possible, in the algebraic notation (See Appendix C), on the scoresheet prescribed for the competition. It is forbidden to write the moves in advance, unless the player is claiming a draw according to Article 9.2, or 9.3 or adjourning a game according to the Guidelines of Adjourned Games point 1.a. A player may reply to his opponent’s move before recording it, if he so wishes. He must record his previous move before making another. Both players must record the offer of a draw on the scoresheet. (See Appendix C.13) If a player is unable to keep score, an assistant, who must be acceptable to the arbiter, may be provided by the player to write the moves. His clock shall be adjusted by the arbiter in an equitable way. 8.2 The scoresheet shall be visible to the arbiter throughout the game. 8.3 The scoresheets are the property of the organisers of the event. 8.4 If a player has less than five minutes left on his clock at some stage in a period and does not have additional time of 30 seconds or more added with each move, then for the remainder of the period he is not obliged to meet the requirements of Article 8.1. Immediately after one flag has fallen the player must update his scoresheet completely before moving a piece on the chessboard. 8.5 a. If neither player is required to keep score under Article 8.4, the arbiter or an assistant should try to be present and keep score. In this case, immediately after one flag has fallen,the arbiter shall stop the clocks. Then both players shall update their scoresheets, using the arbiter’s or the opponent’s scoresheet. b. If only one player is not required to keep score under Article 8.4, he must, as soon as either flag has fallen, update his scoresheet completely before moving a piece on the chessboard. Provided it is the player’s move, he may use his opponent’s scoresheet, but must return it before making a move. c. If no complete scoresheet is available, the players must reconstruct the game on a second chessboard under the control of the arbiter or an assistant. He shall first record the actual game position, clock times and the number of moves made, if this information is available, before reconstruction takes place. 8.6 If the scoresheets cannot be brought up to date showing that a player has overstepped the allotted time, the next move made shall be considered as the first of the following time period, unless there is evidence that more moves have been made. 8.7 At the conclusion of the game both players shall sign both scoresheets, indicating the result of the game. Even if incorrect, this result shall stand, unless the arbiter decides otherwise. Article 9 The drawn game 9.1 a. The rules of a competition may specify that players cannot agree to a draw, whether in less than a specified number of moves or at all, without the consent of the arbiter. b. If the rules of a competition allow a draw agreement the following apply A player wishing to offer a draw shall do so after having made a move on the chessboard and before stopping his clock and starting the opponent’s clock. An offer at any other time during play is still valid but Article 12.6 must be considered. No conditions can be attached to the offer. In both cases the offer cannot be withdrawn and remains valid until the opponent accepts it, rejects it orally, rejects it by touching a piece with the intention of moving or capturing it, or the game is concluded in some other way. The offer of a draw shall be noted by each player on his scoresheet with a symbol. (See Appendix C.13) A claim of a draw under Article 9.2, 9.3 or 10.2 shall be considered to be an offer of a draw. 9.2 The game is drawn upon a correct claim by the player having the move, when the same position, for at least the third time (not necessarily by a repetition of moves) a. is about to appear, if he first writes his move on his scoresheet and declares to the arbiter his intention to make this move, or b. has just appeared, and the player claiming the draw has the move. Positions as in (a) and (b) areconsidered the same, if the same player has the move, pieces of the same kind and colour occupy the same squares, and the possible moves of all the pieces of both players are the same. Positions are not the same if a pawn that could have been captured en passant can no longer be captured in this manner. When a king or a rook is forced to move, it will lose its castling rights, if any, only after it is moved. 9.3 The game is drawn, upon a correct claim by the player having the move, if a. he writes his move on his scoresheet and declares to the arbiter his intention to make this move, which shall result in thelast50 moves having been made by each player without the movement of any pawn and without any capture, or b. the last 50 consecutive moves have been made by each playerwithout the movement of any pawn and without any capture. 9.4 If the player touches a piece as in Article 4.3 without having claimed the draw he loses the right to claim, as in Article 9.2 or 9.3, on that move. 9.5 If a player claims a draw as in Article 9.2 or 9.3 he may stop both clocks. (See Article 6.12.b) He is not allowed to withdraw his claim. a. If the claim is found to be correct, the game is immediately drawn. b. If the claim is found to be incorrect, the arbiter shall add three minutes to the opponent’s remaining thinking time. Then the game shall continue. If the claim was based on an intended move, this move must be made as according to Article 4. 9.6 The game is drawn when a position is reached from which a checkmate cannot occur by any possible series of legal moves. This immediately ends the game, provided that the move producing this position was legal. Article 10 Quickplay Finish 10.1 A ‘quickplay finish’ is the phase of a game when all the (remaining) moves must be made in a limited time. 10.2 If the player, having the move, has less than two minutes left on his clock, he may claim a draw before his flag falls. He shall summon the arbiter and may stop the clocks. (See Article 6.12.b) a. If the arbiter agrees the opponent is making no effort to win the game by normal means, or that it is not possible to win by normal means, then he shall declare the game drawn. Otherwise he shall postpone his decision or reject the claim. b. If the arbiter postpones his decision, the opponent may be awarded two extra minutes and the game shall continue, if possible in the presence of an arbiter. The arbiter shall declare the final result later in the game or as soon as possible after a flag has fallen. He shall declare the game drawn if he agrees that the final position cannot be won by normal means, or that the opponent was not making sufficient attempts to win by normal means. c. If the arbiter has rejected the claim, the opponent shall be awarded two extra minutes time. d. The decision of the arbiter shall be final relating to (a), (b) and (c). Article 11 Points 11.1 Unless announced otherwise in advance, a player who wins his game, or wins by forfeit, scores one point (1), a player who loses his game, or forfeits scores no points (0) and a player who draws his game scores a half point (½). Article 12 The conduct of the players 12.1 The players shall take no action that will bring the game of chess into disrepute. 12.2 Players are not allowed to leave the ‘playing venue’ without permission from the arbiter. The playing venue is defined as the playing area, rest rooms, refreshment area, area set aside for smoking and other places as designated by the arbiter. The player having the move is not allowed to leave the playing area without permission of the arbiter. 12.3 a. During play the players are forbidden to make use of any notes, sources of information or advice, or analyse on another chessboard b. Without the permission of the arbiter a player is forbidden to have a mobile phone or other electronic means of communication in the playing venue, unless they are completely switched off. If any such device produces a sound, the player shall lose the game. The opponent shall win. However, if the opponent cannot win the game by any series of legal moves, his score shall be a draw. c. Smoking is permitted only in the section of the venue designated by the arbiter 12.4 The scoresheet shall be used only for recording the moves, the times of the clocks, the offers of a draw, and matters relating to a claim and other relevant data. 12.5 Players who have finished their games shall be considered to be spectators. 12.6 It is forbidden to distract or annoy the opponent in any manner whatsoever. This includes unreasonable claims, unreasonable offers of a draw or the introduction of a source of noise into the playing area. 12.7 Infraction of any part of Articles 12.1 to 12.6 shall lead to penalties in accordance with Article 13.4. 12.8 Persistent refusal by a player to comply with the Laws of Chess shall be penalised by loss of the game. The arbiter shall decide the score of the opponent. 12.9 If both players are found guilty according to Article 12.8, the game shall be declared lost by both players. 12.10 In the case of Article 10.2.d or Appendix D a player may not appeal against the decision of the arbiter. Otherwise a player may appeal against any decision of the arbiter, unless the rules of the competition specify otherwise. Article 13 The role of the Arbiter (See Preface) 13.1 The arbiter shall see that the Laws of Chess are strictly observed. 13.2 The arbiter shall act in the best interest of the competition. He should ensure that a good playing environment is maintained and that the players are not disturbed. He shall supervise the progress of the competition. 13.3 The arbiter shall observe the games, especially when the players are short of time, enforce decisions he has made and impose penalties on players where appropriate. 13.4 The arbiter can apply one or more of the following penalties a. warning b. increasing the remaining time of the opponent c. reducing the remaining time of the offending player d. declaring the game to be lost e. reducing the points scored in the game by the offending party f. increasing the points scored in the game by the opponent to the maximum available for that game g. expulsion from the event. 13.5 The arbiter may award either or both players additional time in the event of external disturbance of the game. 13.6 The arbiter must not intervene in a game except in cases described by the Laws of Chess. He shall not indicate the number of moves made, except in applying Article 8.5, when at least one flag has fallen. The arbiter shall refrain from informing a player that his opponent has completed a move or that the player has not pressed his clock. 13.7 a. Spectators and players in other games are not to speak about or otherwise interfere in a game. If necessary, the arbiter may expel offenders from the playing venue. If someone observes an irregularity, he may inform only the arbiter. b. Unless authorised by the arbiter, it is forbidden for anybody to use a mobile phone or any kind of communication device in the playing venue and any contiguous area designated by the arbiter. Article 14 FIDE 14.1 Member federations may ask FIDE to give an official decision about problems relating to the Laws of Chess.
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Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-Applied-General? Subjects-Science-Mathematics-Applied-DifferentialEquations? Subjects-Science-Mathematics-MathematicalPhysics? DNA Arrow? James D. Watson? Arrow? JamesD.Watson? ユーズドブック(洋書)-Science? Substores-UnknownASINs-61? Subjects-Science-Evolution-Genetics? Subjects-Science-General The Fermi Solution Essays on Science Dover Pubns? Hans Christian Von Baeyer? DoverPubns? HansChristianVonBaeyer? ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Nonfiction-Philosophy-Science? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Science-General Subjects-Science-History&Philosophy-General? Subjects-Science-History&Philosophy-HistoryofScience? Subjects-Science-Physics-General? Subjects-Science-Essays&Commentary? Automotive Active Safety Systems Society of Automotive Engineers? Jean J. Botti? SocietyofAutomotiveEngineers? JeanJ.Botti? Subjects-Engineering-Automotive? Subjects-Professional&Technical-Engineering-Automotive? Subjects-Science-General Subjects-Science-General 洋書
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ATTO PRIMO Sinfonia Scena 1 (Gran pianura, in distanza veduta di collina praticabile, sopra la sommità della quale casa pastorale, con porta e finestra; in maggior distanza veduta di villaggio In fondo, alcuni albori.) CORO DI CACCIATORI Salva, salva, o Dea de boschi, lo splendor della Castiglia, salva lei, che a te somiglia in bellezza, ed onestà. Tu la madre al figlio rendi, e ad un Re la sua metà. Scena 2 (La Regina, vestita da cacciatrice con asta insanguinata, con seguito e Corrado.) REGINA Allegri, o miei vassalli; eccovi il fausto segno di mia vittoria; grande il periglio fu, di gran valore al mio braccio fu d uopo; estinta al fine giace l orribil belva, ch empia di strage e di terror la selva. Se di lugubri strida suonar le valli e i monti, or di festose grida si faccian risuonar. CORO DI CACCIATORI Suoni pur di grati evviva ogni riva ed ogni sponda, e risponda da ogni speco facil eco al nostro amor. Viva l astro d Aragona, ch or corona il suo valor. REGINA Andiam, miei fidi, e ristoriamci un poco della lunga fatica; ma dov è il figlio mio? CORRADO Dietro i vestigi vostri il magnanimo Prence spronò il destrier, quando il cinghial feroce da voi vide inseguito. Ma qualcuno s inoltra eccolo! Scena 3 (I suddetti e entra il Principe con fretta.) PRINCIPE Perchè mai nel sen, perchè, cara madre ognor per te palpitarmi il cor dovrà? REGINA Perchè mai nel sen, perchè, caro figlio, ognor per me palpitarti il cor dovrà? CORRADO Perchè mai nel sen, perchè, gran Regina, ognor per te palpitarci il cor dovrà? I TRE Deh, conserva a chi t adora una vita al ciel si cara REGINA Meco godi, amato figlio, e discaccia il tuo timor. PRINCIPE, CORRADO In te vive il figlio ancora, in te vive il genitor. REGINA Su via, mio caro figlio, discacciate l affanno; al gran cimento è ver molto sudai; ma uccisa al fine la formidabil fiera la gloria accrebbe de trionfi miei. (Si vede venir da lontano Lilla, affannata) Ma chi giù di quel luogo a questa volta move rapido il passo? PRINCIPE Una fanciulla a me rassembra, e di gentil sembiante. CORRADO Affannosa ed ansante, real donna, a me par. Scena 4 REGINA Chi cerchi? LILLA La Re gi na REGINA Io son la stessa. (S inginocchia) LILLA Ah, pieta de merce de soccorso! dal timor dal tormen to dal corso son si stanca che il fiato mi manca ed ho lena d appena parlar. REGINA Sorgi, calma l affanno, e quel che brami esponi, o giovin bella, e l otterrai. PRINCIPE (A Corrado) Amico, hai vista mai fanciulla più gentile di costei? CORRADO Non ha beltà la Spagna uguale a lei. LILLA Signora, al regio piede per implorar pietà mi guida amore il più vago pastore delle nostre contrade amato m ama, in sposa ei mi brama, e se uguaglianza di costume, di stato, e di desio può nodo marital render felice, un più fasto imeneo sperar non lice. REGINA E chi potrebbe opporsi ad affetto sì bello? LILLA Un barbaro fratello, che sol per vanità la mia destra promise al Podestà. REGINA Il tuo amante dov è? LILLA Da questo loco allontanato, sia ventura od arte, lasciò spazio frattanto al fratel mio di tentar che per forza io dia la mano a l odiato da me brutto villano! E se da quella stanza ov ei mi chiuse con disperato ardire dal balcone saltando io non fuggìa, del vil bifolco già preda sarei, e il mio caro Lubin perduto avrei. REGINA Calma l affanno, Lilla vezzosa, sarai sua sposa, fidati in me. Bella ti vedo, saggia ti credo; sarà, se l ami, degno di te. Figlio, vo a riposarmi. Or voi, Corrado, voi che siate sua guida al nostro tetto, alla vostra prudenza io la commetto. CORO Suoni pur di grati evviva, ecc. (La Regina parte col suo seguito.) Scena 5 (Corrado, il Principe, e Lilla.) PRINCIPE Amico, mi consolo che sei fatto custode di fanciulle. CORRADO Signor, dell età mia è per me questo un infelice indizio. (Fra sè) è un idolo costei; ci vuol giudizio. PRINCIPE Oh quanto volontieri con te mi cangierei per esser io guardiano di costei. Venite qui, ragazza. LILLA Signor PRINCIPE Avvicinatevi, non abbiate paura. CORRADO (Fra sè) Che modestia, che grazia, che figura! Se mi scappa mio danno. PRINCIPE Il vostro nome? LILLA Lilla, a comandi suoi. PRINCIPE Oh che bel nome! E bello come voi. LILLA Grazie alla sua bontà. PRINCIPE Perchè vi ritirate? Datemi la manina. (Vuol prenderla per mano.) LILLA Oh mi perdoni, sono nubile ancora e son villana, e non la diedi ancora a chi che sia. PRINCIPE Sentite; se io v amassi amereste voi me? CORRADO (Fra sè) L affare si fa serio. LILLA Io no. PRINCIPE Perchè? LILLA Perchè amo il mio Lubin. PRINCIPE E non potreste amarne due? LILLA Fanciulle di contado non han questa virtù. Signore, io vado. (In atto di partire.) PRINCIPE Perchè tal fretta? CORRADO Prence, ella ha ragione. La Regina ci attende al noto loco. PRINCIPE Andate, andate, io pur verrò tra poco. (Corrado e Lilla partono.) Più bianca di giglio, più fresca di rosa, bell occhio, bel ciglio, vivace, graziosa. La mano a un villano la Lilla darà? Almen, crude stelle, non fossi chi sono ma val più d un trono sì rara beltà. (Parte.) Scena 6 (Strada, collinetta da un lato, casa rustica con porta e finestra, che mette nella strada; in fondo alcuni alberi.) (Ghita e Tita entrano disputando) GHITA Un briccone senza core no, non voglio più sposar. TITA Un ingrata senza amore no, non voglio maritar. GHITA Far d occhietto a tutte quante. TITA Far con tutti la galante! GHITA Ir girando tutta notte! TITA Ir con Mengo in quelle grotte! GHITA Dar a Berta il mio cappello! TITA Dir a Cecco ch è più bello! AMBI Son azioni da birboni e non s hanno a sopportar. TITA Non dir più ch io sono Tita se non cavo a te quegli occhi. GHITA Non dir più che io son la Ghita se non graffio a te l orecchio. TITA Villanaccia! GHITA Villanaccio! TITA Taci brutta! GHITA Taci brutto, assassino!. TITA Malandrina. AMBI Esser vuol la mia rovina mi vuol far precipitar. Scena 7 (Il suddetti, entra il Podestà, poi Lubino.) PODESTÀ E così, miei padroni, non volete finir, queste questioni? Un bel esempio inver date alla Lilla, s anco il dì delle nozze, e vostre e mie, fate tali pazzie. TITA Parlate con la Ghita, che fa pensar sì mal de fatti suoi. GHITA Anzi ditelo a Tita, che lo scandalo sol nasce da lui. (Entra Lubino, che non vede gli altri attori che dopo l aria) LUBINO Lilla mia dove sei gita? Lilla bella dove sei? Non t asconder, o mia vita, o bel sol degli occhi miei. Senza te non posso vivere, morirò senza di te. Dove sei, mia cara Lilla? Lilla cara, vieni a me. Siete qui scellerati? alfin vi trovo, alfin v ho nelle mani. Or dite, iniqui, la mia Lilla dov è? PODESTÀ E dove stà? GHITA Guarda che fai Lubin LUBINO Ah perfido, furfante! Mori per le mie mani. (Prende per il collo il Podestà.) PODESTÀ Gente! GHITA Aiuto! TITA Pietà! Misericordia! LUBINO Per voi geme il mio ben! GHITA Eh! Lubino, dico; non conosci la Ghita, l amica tua? Calmati, guarda, ascolta. LUBINO Ah, ditemi una volta, dov è la sposa mia O sollevo il villaggio, o do foco alla casa, o vi spacco la testa! PODESTÀ Che demonio infernal! GHITA Che bestia è questa? TITA (Parla nascondendosi dietro la Ghita) Io, io la sfacciatella rinchiusi in quella stanza, perché ardisce d opporsi al voler mio, e finalmente suo fratel son io. LUBINO Fratello, no, carnefice tu sei! Ah, vanne a terra, indegna porta! invano s opporrebbe l inferno a questa mano! (Ghita giù la porta ed entra in casa) Scena 8 (Tita, il Podestà, e Ghita.) TITA Già per sola tua colpa nascon tutti i malanni. GHITA Io, cosa c entro nelle vostre pazzie? TITA Se non mi trattenevi colle tue frenesie, a quest ora ei la Lilla avria sposata! GHITA Se non ti difendevi dietro le spalle mie, ei ti facea del cranio una frittata! PODESTÀ Non volete, o ragazzi, una volta finir di fare i pazzi? (S ode internamente un grande strepito.) GHITA O cieli! Udite! LUBINO O Lilla, Lilla mia, mia cara Lilla... GHITA Che strepito! che gridi! che fracasso è mai questo? TITA Quel marrano mi smantella la casa! LUBINO Ah, Lilla, Lilla GHITA Partiam, per carità, che s ei qui torna, preveggo un precipizio. PODESTÀ Lasciate pur, gli farem far giudizio. Or se pericolo di star qui trovi, verso quel culmine rapido movi, o tra quegli arbori di dense frondi stattene tacito ovver t ascondi, là dove imboscasi quel picciol speco, e quando sortono se Lilla è seco, stando lontano per un lunghissimo tiro di mano, sempre guardandoli li dèi seguir. (Tita parte) Tu Ghitta vattene franca all albergo, in l uscio serrati poi dietro il tergo, ch io per la ripida strada, ma breve, vo a dar cert ordini, come si deve, e quando avisoti del mio ritorno, col rauco fremito di tromba e corno, dove si trovano volami a dir. Presto, che crescere sento il tumulto! Ah, il temerario per tale insulto in una carcere vo far morir. (Ghita e il Podestà partono.) Scena 9 (Lubino solo dalla finestra, da cui pende un velo.) LUBINO Dov è dunque il mio ben? già son fuggiti Barbari, al tradimento aggiungete lo scherno? Ma raggiunger si provi. (salta giù dalla finestra) Qual uom, qual Dio potrebbe trattener l ire mie? stelle! che miro? Il velo non è questo della mia Lilla bella? Forse la meschinella ne moti della sua disperazione saltò giù dal balcone e il molle viso e le tenere membra ahi chi sa quale soffrirò oltraggio ad ambi due fatale. Non è vano il sospetto, la camera rinchiusa il balcon spalancato... il velo appeso ah se questo adivenne, a tutti io giuro i Numi dell abisso e a quei del Cielo di farne di coloro nuovo, tremendo, temerario scempio; qual fui d amor, sarò d atrocia esempio. Vo da l infami viscere strappar agli empi il cor. Vo farli a brani, a brani, e dar per cibo ai cani l ossa e le carni lor. (S avvolge il velo al braccio.) E tu, su questo braccio, rimani, o infausto segno, e se giammai nell anima langue l usato sdegno, porgi alimento ed esca che accresca il mio furor. (Va per partire, ma vede Tita nascosto dietro un albero in qualche distanza) Scena 10 LUBINO Indarno ti nascondi; il giusto Cielo in mano mi ti manda. (Afferra Tita per i crini) TITA Ohimè! Son morto! LUBINO Su quel capo ribaldo il mio sdegno cadrà; con questo cerro (Svelle un grosso ramo, e si mette in atto di accoppar Tita, la Ghita sopravviene e trattien il colpo.) GHITA Oh Dei! Ferma, Lubino! (Entra il Podestà con seguito di ministri di giustizia.) PODESTÀ Ecco lo sgherro. Animo, assicuratevi LUBINO Traditori TITA Bravissimo, cognato. PODESTÀ Tenetelo e legatelo sì stretto ch egli non muova più piedi, nè mani. LUBINO Tu mi vendica, o ciel, con questi cani. (Parte Lubino tra i Ministri, il Podestà, e Tita, cui la Ghita trattiene.) Scena 11 GHITA Oh, povero Lubino! Tita TITA Lasciami andar. GHITA Tita, m ascolta! Sai che tua suora Lilla è l idol della villa, sai ch ella ama Lubino, ed egli lei, e ostinato ti sei a voler ch ella pigli il Podestà? TITA O crepar, o pigliarlo E di cosa hai paura? GHITA Oggi alla caccia s attende la Regina; se alcuno la previen contra di te, cosa sarà di me? TITA E a te che importa? Non son io più un briccone, un assassino? GHITA No, se il mio bene, il caro mio sposino. Purchè tu m ami, purchè sia mio, sempre vogl io te solo amar. Se un po di rabbia teco mi viene, parlo per bene lo puoi pensar. Ma è poi di paglia tutto il mio foco, e poco, poco mi suol durar. In un momento di mele torno e in questo giorno l hai da provar. Dammi l anello, Tita mio bello, dammelo caro, non indugiar. Allor conoscere potrai la Ghita, che bella vita vogliam passar. (Parte.) Scena 12 (Tita solo) TITA Da ridere mi vien quand odo dire che bisogna star forte quando la donna cede. Io non son così bravo, e allorché vedo la mia Ghita che piange e che vien meco colla buona maniera, se fossi più arrabbiato d un leone cado giù qual babbione, un agnello divento, anzi un coniglio, nè già la Ghita sol, ma ogni altra donna far può meco lo stesso; che grande amico anch io son del bel sesso. In quegli anni in cui solea ir le capre a pascolar, mio bisnonno mi dicea, ch era un uom di grandi affar "Figlio mio, la donna è foco, guarda ben, non t accostar". Io ripien de detti suoi per paura d abbrucciarmi, donne mie lontan da voi procurava di restar. Ma l istinto naturale superò l educazion, e trovai che male, male predicava quel buffon. Qual farfalla, pian pianino, pria cercai girarvi intorno poi mi feci più vicino ed osai toccarvi un giorno, e sentendo che la pelle delle dita tenerelle non abbruccia, ma diletta, volli far per voi vendetta con amarvi e rispettarvi e con darvi questo cor. Non credete?... non credete? Alle prove, o donne care, tutto, tutto io voglio fare per provarvi un vero amor. (Parte) ATTO PRIMO Sinfonia Scena 1 (Gran pianura, in distanza veduta di collina praticabile, sopra la sommità della quale casa pastorale, con porta e finestra; in maggior distanza veduta di villaggio In fondo, alcuni albori.) CORO DI CACCIATORI Salva, salva, o Dea de boschi, lo splendor della Castiglia, salva lei, che a te somiglia in bellezza, ed onestà. Tu la madre al figlio rendi, e ad un Re la sua metà. Scena 2 (La Regina, vestita da cacciatrice con asta insanguinata, con seguito e Corrado.) REGINA Allegri, o miei vassalli; eccovi il fausto segno di mia vittoria; grande il periglio fu, di gran valore al mio braccio fu d uopo; estinta al fine giace l orribil belva, ch empia di strage e di terror la selva. Se di lugubri strida suonar le valli e i monti, or di festose grida si faccian risuonar. CORO DI CACCIATORI Suoni pur di grati evviva ogni riva ed ogni sponda, e risponda da ogni speco facil eco al nostro amor. Viva l astro d Aragona, ch or corona il suo valor. REGINA Andiam, miei fidi, e ristoriamci un poco della lunga fatica; ma dov è il figlio mio? CORRADO Dietro i vestigi vostri il magnanimo Prence spronò il destrier, quando il cinghial feroce da voi vide inseguito. Ma qualcuno s inoltra eccolo! Scena 3 (I suddetti e entra il Principe con fretta.) PRINCIPE Perchè mai nel sen, perchè, cara madre ognor per te palpitarmi il cor dovrà? REGINA Perchè mai nel sen, perchè, caro figlio, ognor per me palpitarti il cor dovrà? CORRADO Perchè mai nel sen, perchè, gran Regina, ognor per te palpitarci il cor dovrà? I TRE Deh, conserva a chi t adora una vita al ciel si cara REGINA Meco godi, amato figlio, e discaccia il tuo timor. PRINCIPE, CORRADO In te vive il figlio ancora, in te vive il genitor. REGINA Su via, mio caro figlio, discacciate l affanno; al gran cimento è ver molto sudai; ma uccisa al fine la formidabil fiera la gloria accrebbe de trionfi miei. (Si vede venir da lontano Lilla, affannata) Ma chi giù di quel luogo a questa volta move rapido il passo? PRINCIPE Una fanciulla a me rassembra, e di gentil sembiante. CORRADO Affannosa ed ansante, real donna, a me par. Scena 4 REGINA Chi cerchi? LILLA La Re gi na REGINA Io son la stessa. (S inginocchia) LILLA Ah, pieta de merce de soccorso! dal timor dal tormen to dal corso son si stanca che il fiato mi manca ed ho lena d appena parlar. REGINA Sorgi, calma l affanno, e quel che brami esponi, o giovin bella, e l otterrai. PRINCIPE (A Corrado) Amico, hai vista mai fanciulla più gentile di costei? CORRADO Non ha beltà la Spagna uguale a lei. LILLA Signora, al regio piede per implorar pietà mi guida amore il più vago pastore delle nostre contrade amato m ama, in sposa ei mi brama, e se uguaglianza di costume, di stato, e di desio può nodo marital render felice, un più fasto imeneo sperar non lice. REGINA E chi potrebbe opporsi ad affetto sì bello? LILLA Un barbaro fratello, che sol per vanità la mia destra promise al Podestà. REGINA Il tuo amante dov è? LILLA Da questo loco allontanato, sia ventura od arte, lasciò spazio frattanto al fratel mio di tentar che per forza io dia la mano a l odiato da me brutto villano! E se da quella stanza ov ei mi chiuse con disperato ardire dal balcone saltando io non fuggìa, del vil bifolco già preda sarei, e il mio caro Lubin perduto avrei. REGINA Calma l affanno, Lilla vezzosa, sarai sua sposa, fidati in me. Bella ti vedo, saggia ti credo; sarà, se l ami, degno di te. Figlio, vo a riposarmi. Or voi, Corrado, voi che siate sua guida al nostro tetto, alla vostra prudenza io la commetto. CORO Suoni pur di grati evviva, ecc. (La Regina parte col suo seguito.) Scena 5 (Corrado, il Principe, e Lilla.) PRINCIPE Amico, mi consolo che sei fatto custode di fanciulle. CORRADO Signor, dell età mia è per me questo un infelice indizio. (Fra sè) è un idolo costei; ci vuol giudizio. PRINCIPE Oh quanto volontieri con te mi cangierei per esser io guardiano di costei. Venite qui, ragazza. LILLA Signor PRINCIPE Avvicinatevi, non abbiate paura. CORRADO (Fra sè) Che modestia, che grazia, che figura! Se mi scappa mio danno. PRINCIPE Il vostro nome? LILLA Lilla, a comandi suoi. PRINCIPE Oh che bel nome! E bello come voi. LILLA Grazie alla sua bontà. PRINCIPE Perchè vi ritirate? Datemi la manina. (Vuol prenderla per mano.) LILLA Oh mi perdoni, sono nubile ancora e son villana, e non la diedi ancora a chi che sia. PRINCIPE Sentite; se io v amassi amereste voi me? CORRADO (Fra sè) L affare si fa serio. LILLA Io no. PRINCIPE Perchè? LILLA Perchè amo il mio Lubin. PRINCIPE E non potreste amarne due? LILLA Fanciulle di contado non han questa virtù. Signore, io vado. (In atto di partire.) PRINCIPE Perchè tal fretta? CORRADO Prence, ella ha ragione. La Regina ci attende al noto loco. PRINCIPE Andate, andate, io pur verrò tra poco. (Corrado e Lilla partono.) Più bianca di giglio, più fresca di rosa, bell occhio, bel ciglio, vivace, graziosa. La mano a un villano la Lilla darà? Almen, crude stelle, non fossi chi sono ma val più d un trono sì rara beltà. (Parte.) Scena 6 (Strada, collinetta da un lato, casa rustica con porta e finestra, che mette nella strada; in fondo alcuni alberi.) (Ghita e Tita entrano disputando) GHITA Un briccone senza core no, non voglio più sposar. TITA Un ingrata senza amore no, non voglio maritar. GHITA Far d occhietto a tutte quante. TITA Far con tutti la galante! GHITA Ir girando tutta notte! TITA Ir con Mengo in quelle grotte! GHITA Dar a Berta il mio cappello! TITA Dir a Cecco ch è più bello! AMBI Son azioni da birboni e non s hanno a sopportar. TITA Non dir più ch io sono Tita se non cavo a te quegli occhi. GHITA Non dir più che io son la Ghita se non graffio a te l orecchio. TITA Villanaccia! GHITA Villanaccio! TITA Taci brutta! GHITA Taci brutto, assassino!. TITA Malandrina. AMBI Esser vuol la mia rovina mi vuol far precipitar. Scena 7 (Il suddetti, entra il Podestà, poi Lubino.) PODESTÀ E così, miei padroni, non volete finir, queste questioni? Un bel esempio inver date alla Lilla, s anco il dì delle nozze, e vostre e mie, fate tali pazzie. TITA Parlate con la Ghita, che fa pensar sì mal de fatti suoi. GHITA Anzi ditelo a Tita, che lo scandalo sol nasce da lui. (Entra Lubino, che non vede gli altri attori che dopo l aria) LUBINO Lilla mia dove sei gita? Lilla bella dove sei? Non t asconder, o mia vita, o bel sol degli occhi miei. Senza te non posso vivere, morirò senza di te. Dove sei, mia cara Lilla? Lilla cara, vieni a me. Siete qui scellerati? alfin vi trovo, alfin v ho nelle mani. Or dite, iniqui, la mia Lilla dov è? PODESTÀ E dove stà? GHITA Guarda che fai Lubin LUBINO Ah perfido, furfante! Mori per le mie mani. (Prende per il collo il Podestà.) PODESTÀ Gente! GHITA Aiuto! TITA Pietà! Misericordia! LUBINO Per voi geme il mio ben! GHITA Eh! Lubino, dico; non conosci la Ghita, l amica tua? Calmati, guarda, ascolta. LUBINO Ah, ditemi una volta, dov è la sposa mia O sollevo il villaggio, o do foco alla casa, o vi spacco la testa! PODESTÀ Che demonio infernal! GHITA Che bestia è questa? TITA (Parla nascondendosi dietro la Ghita) Io, io la sfacciatella rinchiusi in quella stanza, perché ardisce d opporsi al voler mio, e finalmente suo fratel son io. LUBINO Fratello, no, carnefice tu sei! Ah, vanne a terra, indegna porta! invano s opporrebbe l inferno a questa mano! (Ghita giù la porta ed entra in casa) Scena 8 (Tita, il Podestà, e Ghita.) TITA Già per sola tua colpa nascon tutti i malanni. GHITA Io, cosa c entro nelle vostre pazzie? TITA Se non mi trattenevi colle tue frenesie, a quest ora ei la Lilla avria sposata! GHITA Se non ti difendevi dietro le spalle mie, ei ti facea del cranio una frittata! PODESTÀ Non volete, o ragazzi, una volta finir di fare i pazzi? (S ode internamente un grande strepito.) GHITA O cieli! Udite! LUBINO O Lilla, Lilla mia, mia cara Lilla... GHITA Che strepito! che gridi! che fracasso è mai questo? TITA Quel marrano mi smantella la casa! LUBINO Ah, Lilla, Lilla GHITA Partiam, per carità, che s ei qui torna, preveggo un precipizio. PODESTÀ Lasciate pur, gli farem far giudizio. Or se pericolo di star qui trovi, verso quel culmine rapido movi, o tra quegli arbori di dense frondi stattene tacito ovver t ascondi, là dove imboscasi quel picciol speco, e quando sortono se Lilla è seco, stando lontano per un lunghissimo tiro di mano, sempre guardandoli li dèi seguir. (Tita parte) Tu Ghitta vattene franca all albergo, in l uscio serrati poi dietro il tergo, ch io per la ripida strada, ma breve, vo a dar cert ordini, come si deve, e quando avisoti del mio ritorno, col rauco fremito di tromba e corno, dove si trovano volami a dir. Presto, che crescere sento il tumulto! Ah, il temerario per tale insulto in una carcere vo far morir. (Ghita e il Podestà partono.) Scena 9 (Lubino solo dalla finestra, da cui pende un velo.) LUBINO Dov è dunque il mio ben? già son fuggiti Barbari, al tradimento aggiungete lo scherno? Ma raggiunger si provi. (salta giù dalla finestra) Qual uom, qual Dio potrebbe trattener l ire mie? stelle! che miro? Il velo non è questo della mia Lilla bella? Forse la meschinella ne moti della sua disperazione saltò giù dal balcone e il molle viso e le tenere membra ahi chi sa quale soffrirò oltraggio ad ambi due fatale. Non è vano il sospetto, la camera rinchiusa il balcon spalancato... il velo appeso ah se questo adivenne, a tutti io giuro i Numi dell abisso e a quei del Cielo di farne di coloro nuovo, tremendo, temerario scempio; qual fui d amor, sarò d atrocia esempio. Vo da l infami viscere strappar agli empi il cor. Vo farli a brani, a brani, e dar per cibo ai cani l ossa e le carni lor. (S avvolge il velo al braccio.) E tu, su questo braccio, rimani, o infausto segno, e se giammai nell anima langue l usato sdegno, porgi alimento ed esca che accresca il mio furor. (Va per partire, ma vede Tita nascosto dietro un albero in qualche distanza) Scena 10 LUBINO Indarno ti nascondi; il giusto Cielo in mano mi ti manda. (Afferra Tita per i crini) TITA Ohimè! Son morto! LUBINO Su quel capo ribaldo il mio sdegno cadrà; con questo cerro (Svelle un grosso ramo, e si mette in atto di accoppar Tita, la Ghita sopravviene e trattien il colpo.) GHITA Oh Dei! Ferma, Lubino! (Entra il Podestà con seguito di ministri di giustizia.) PODESTÀ Ecco lo sgherro. Animo, assicuratevi LUBINO Traditori TITA Bravissimo, cognato. PODESTÀ Tenetelo e legatelo sì stretto ch egli non muova più piedi, nè mani. LUBINO Tu mi vendica, o ciel, con questi cani. (Parte Lubino tra i Ministri, il Podestà, e Tita, cui la Ghita trattiene.) Scena 11 GHITA Oh, povero Lubino! Tita TITA Lasciami andar. GHITA Tita, m ascolta! Sai che tua suora Lilla è l idol della villa, sai ch ella ama Lubino, ed egli lei, e ostinato ti sei a voler ch ella pigli il Podestà? TITA O crepar, o pigliarlo E di cosa hai paura? GHITA Oggi alla caccia s attende la Regina; se alcuno la previen contra di te, cosa sarà di me? TITA E a te che importa? Non son io più un briccone, un assassino? GHITA No, se il mio bene, il caro mio sposino. Purchè tu m ami, purchè sia mio, sempre vogl io te solo amar. Se un po di rabbia teco mi viene, parlo per bene lo puoi pensar. Ma è poi di paglia tutto il mio foco, e poco, poco mi suol durar. In un momento di mele torno e in questo giorno l hai da provar. Dammi l anello, Tita mio bello, dammelo caro, non indugiar. Allor conoscere potrai la Ghita, che bella vita vogliam passar. (Parte.) Scena 12 (Tita solo) TITA Da ridere mi vien quand odo dire che bisogna star forte quando la donna cede. Io non son così bravo, e allorché vedo la mia Ghita che piange e che vien meco colla buona maniera, se fossi più arrabbiato d un leone cado giù qual babbione, un agnello divento, anzi un coniglio, nè già la Ghita sol, ma ogni altra donna far può meco lo stesso; che grande amico anch io son del bel sesso. In quegli anni in cui solea ir le capre a pascolar, mio bisnonno mi dicea, ch era un uom di grandi affar "Figlio mio, la donna è foco, guarda ben, non t accostar". Io ripien de detti suoi per paura d abbrucciarmi, donne mie lontan da voi procurava di restar. Ma l istinto naturale superò l educazion, e trovai che male, male predicava quel buffon. Qual farfalla, pian pianino, pria cercai girarvi intorno poi mi feci più vicino ed osai toccarvi un giorno, e sentendo che la pelle delle dita tenerelle non abbruccia, ma diletta, volli far per voi vendetta con amarvi e rispettarvi e con darvi questo cor. Non credete?... non credete? Alle prove, o donne care, tutto, tutto io voglio fare per provarvi un vero amor. (Parte) Martin y Soler,Vicente/Una cosa rara/I-2