LIGHT OPER^ LIBRETTOS ITALIAN AND ENGLISH TEXT AND MUSIC OF THE PRINCIPAL AIRS CRISPING E LA COMARB (THE COBBLER AND THE FAIRY) BY ^5, THE BROTHERS RICCI UL JIL _CL OUVER DITSON COMPANY BOSTON ^^LV^&HEALY Chicagoi |OH'DITSON&C?1 l... s.---:l|:;..-'--:'^!s itiaOL .JOStA J<«iA^. .^^ ^'E'DlTSON^CSl Philadelphia m m^:-^^.!r.9^\\> jpmrtnMnm'yi: OPERA SCORES All the vocal scores have English text together with the foreign text men- tioned below. Unless otherwise specified, these books are bound in paper. Prices include postage. GRAND OPERAS AIDA „ Giuseppe Veidi 1 .50 In four acts. Italian text BOBEHIAN GIEI, Michael W. Balfe 1.50 In three acts , i CAHIHEW Georges Bizet 2.00 In four acts. French text CAVALLERIA RnSTICANA..Pietro Mascagni 1.50 In one act. Italian text FAUST., Charles Gounod 1.50 In five acts. French text LAEME. .Xeo Delibes 2.00 In three acts MARITANA .William Vincent Wallace 2.00, In three acts MIGNON :.....Ambroise Thomas 2.00 In three acts. Italian text SAMSON AND DELILAH In three acts Camille Salnt-SaSns 2.00 TROVAtORE, XL.... _6iuseppe Verdi 1.00 In four acts. Italian text LIGHT OPERAS BELLS OF CORNfiVILLE; THE; or, THE CHIMES OF NORMANDY In three acts Robert Planquette 1.50 BILLEE TAYLOR ; or, THE REWARD OF VIRTtTE J. .,..^Edward Solomon 1.00 In two acts . ' BOCCACCIO ; or, THE P&INCE OF PALERMO Franz von Suppe 2.00 ' In three acts DOCTOR OF ALCANTARA, THE In two acts Julius Eichberg 1.50 FATINITZA ....Franz von SuppS 2.00 In three acts. German and Italian text "LITTLE DUKE, THE Charles Lecocct 1.00 'In three acts MARTHA Friedrlch von Flotow 1.50 In four acts. German and Italian text ..Edmond Audran 1.00 BplSCOT, THE.. In three acts MUSKETEERS, THE iouis Varney 1.00 In isgo acts OLIVETTE.. ..Edmond Audran 1.00 In three act^ tlNAFORE, H. M. S ; or, THE LASS THAT LOVED A SAILOR Sir Arthur Sullivan 1.00 In two acts SORCERER, THE... Sir Arthur Sullivas 1.00 In two acts STRADELLA ., Friedrlch von Flotow 1.00 In three acts Send for Descriptive Circular P — '■ OTatorios, Cantatas, Operas and Operettas. s< «< OLIVER DITSON COMPANY ® «» THE BROTHERS RICCI'S Crispino E La Comare 3 /'wrestano, altri stan setacciando le droghe ; una bottega da caffe. Di fionie una trattoria con mostra. A sinistra, avanti, la piccola casa di Crispino, piii indietro il portone d' un Palazzo. AW alzar del sipario, Crispino sta at sua panchetto lavorando fuori delta propria casa. — // ContIno e seduto al caffe, leggendo una gazzelta ; alcuni Servmti ne stanno a qualche distanza; i Facchini dello speziale pestano nei mortal; i Servi della trattoria son snlla porta. Coro. Batti, batti, pesta, pesta, Lii teiiaca qui si fa. Piii d' un moibo che molesta Per tal farmaco sen va. SCENA II. — DettI e Don AsTBnEALE, eke dal palaszo va al caffe. I Facchini lasciano di pestiire, e attendo- o ad altre incombenze. Aid. Coro. Aid. Con. Coro. Cm. Ehi bottega? — giovinotti, Presto venga un buon c-aff e ; Venga un pajo di bisfotti, Ma — badate — son per tne. Uh ! 1' avare maladetto, Che non ppssa mai crepar ! Acqna, zuceliero perfetto — Vi saprb poi regolar. Nella Cina s' e trovato [Leggendo da si. Nuovo tempio degli Indii. E servito — [Ad Asdrubale, portandagli il caffi. (Ah, sciagurato! Infelice mi fai tu!) [Accorjjndosi di Asdrubale. A Street in Venice. SCEXE I. — To the right of the spectator is an Apothecary's shop, bearing the sign of ' The Two Apes,' with ap/mrteminca for the manufacture of treacle. Various assistants are discov- ered, pounding with pestles and mortars ; others fire sorting drugs. On the same side is a Cafe. In the centre is an eating-house, with its sign, ^c. — In front is the little house belonging to Crispin, and further on is seen the portico of a palace. At the rising of th'. curtain, Crisi'IN is discoverett, sealed on a bench, at work, in front of his house. — The Count is seated near the Cafe, reading a newspnper ; seveial waiters are standing at a- short distance from him ; the apothecari/'s men are pounding medicines in the pestle and mortar : the serimtita connected with the eating house are standing at the door. Cho.- Thump, thump, pound, pound, 'Tis here we make the draught; More than one troublesome malady Yields to the influence of this remedy. SCENE II. — The preceding, and Don Asdrubal, wno comes from the palace, to the Cafe. The apothecary's assiU- ants leave off pounding, and occupij themselves with other duties. Asd. What ho ! — waiters, quick ! Let me have some excellent coffee, And a couple of biscuits; But mind ye, they 're for me ! Cho. Ah! the accursed miser! Would there were an end of him ! Asd. Water, too, and sugar of the best — I'll settle with ye afterwards. Count, [aside, reading.] In China, another Hindoo temple has recently been found. , Cho. [carrying coffee, ^c, to Asdrubal,\ Your worship U served. Count, [perceiving Asdrubal.'\ Wretch ! Tis ihou who mak'st me thus unhappy ! CEISPINO E LA COMABE. BELLA SICGOME UN A'NGELO.—TROV BEAUTEOUS AS AN ANGEL ART. Eomanza. Contmto. t2-# 0-±-0 — , :?^e; Bel - la siccome Thou beaut&>us as ua an an an ge - lo, gel art, Ti vi - di e t' a - da - ra I saw, and straight a dored- thee. E -vt—i> — I/- '/ — V- r^^. > — :? T E piu fre - quen - to il pal - pi - to, Di questo cor di qnesto cor pro-va - i. For thee this faithful heart now burns,With love ne'er felt, with love ne'er felt be -fore. — ^.— s Ma se 11 destin con-ten - -de - re, vuol la tua ma - no a me. Bat should cru - el fate e'er strive to wrest thee from my hand. -?=-■ Tut - to sa - pr5 io ril ev' - ry per ■ il ce - re, =— g-^qpiiJ^iizir •^•^P Li - Bet - ta mi a Zii - set ■ ta fair, for per te ! Ihee 1 \ Ah!.. Ahl. Bel - la siccome Thou beauteous as un an an - ge - lo, an - gel art. Ti I vi - di e t' a - do saw, and straight a - dared thee, Tut - to sa - pro Glad - ly Fll ev 10 ry i^li^^^^liSg-^^iiii^iij vin per ce - re Li - set - ta il brave, Li - set ta Coro. Asd. Coro. Asd. Coro. Cri. Tutti. Cri. Coro. Asd. Cri. Batti, batti, pesta, pesta, La teriaca qui si fa. Ehi bottega? ancor la cesta. E servito. Presto. Qua. Una volta un ciabattino Diveutato 6 gran siynor. Eh ! sta zitto la, Crispino, Col tuo canto seccator. Perchfe zitto? Sei noioso. Pensa i debiti a pagar. Lo spiantato bisognoso Si confort col cantar. mia Li set - ta mi - a, per te. dear, Li ■ set • ta dear, for thee. Cho. Thump, thump, pound, pound, 'Tis here we make the potion. Asd. What ho, there I more ! Cho. Yonr worship's served. Asd. Be quick ! Cho. We're here I Cri. Once a cobbler, poor and lowly. Quite a mighty lord became. All. Peace, Crispin! Cease thy tedious song. Cri. Why should I cease ? Cho. Thou 'rt a bore. Asd. Think of thy debts, and how to nay them Cri. The luckless wretch Seeks consolation in a song. UNA VOLTA UN CIABATTINO. ONCE A COBBLER, POOR AND LOWLY. Canzone. Cnispnfo. • « — m m m m ^m — m . . . . . .K > -h-^ -^-•- - — .. ailil:^Jl5iifigi3'PSgiiii^M}ligifj U - na Tol - ta un cia - bat - ti - no, gran si gno - re Once a cc^ • bier, poor and low - ly. Quite a might-y chi - no, hand - same. paz - za - men - te in - na - mo - ro. Came the cob - bier's lovn to claim. Then di - ven - to ; U - na fa - ta del mes- lord be-came; For a fai - ry, young and Ciabatte e le sine, for - me e sti~ uxiy his boots and shoes did he CEISPINO E LA COMAKE. i.-f^r g^ilgiBi^^^ilii^ • — ^ — y- va li, panchet - to, Ee - to - le po - t6 get - tar. Al - lo ra splen - di - do cocchie ca- throw. And his bench with awl and last he o - ver-turned, And soon in full splendor lie drove thro' -0- -»- -0- -0- - -*- a^5^^^^^^^p^^^^Z|E§^^^?^^ val - li pran- zi laa - tis si all the town, with prancing hors - es — =;- . mi po - tfe gu - star A - hi, po ve - ro in his coach he rides, But a ■ las, a las, =(• = =s:- Cri • Oris spi - no, fame e se - te son per te. Po -co pa - ne, sen - za vi - no, la for - tu - na sol ti pi - no, this good luck is not for thee. Lit - tie bread, but mighty hunger, sends mis - fortune to m-jf Hammering. _,_ _- _- -_ rf; 0..- — - .,. . — ■ die. Oh ! oh ! bat - ti, bat - ti, oh ! oh ! tira e pes - ta. Bat - ti, bat - ti, tlra e pes - ta, sei dan- door. Oh ! oh I pounding, pounding, oh ! oh ! stitching, pounding, pounding, pounding, stitching, pounding, is the mm^^^^^^mm^^^^^m^ ■rri=. - na • to a la-vo-rar. Ti - ra, ti - ra, batti e pes - ta, e al -men sfo-ga-tiacantar. la ra la la ra mu - sic all the day. Stit<^ing, stitching, pounding, poinding, is the music, all, all the day. la ra la la ra .^- -,- I': -«--•-' « -0- -•- -•- ::^ la, la ra la, la ra la, la ra la, la ra la, la ra la, la ra la, la ra la, la ra la, la ra la. \DaU. interna. Ann. Istorie belle a leggere Da me chi vuol comprar t Cri. (Ogui perchfe mia moglie SoUicita a tomar?) TvMi. Anehe la vendi-storie, Ci viene a tprmentar ! SCENA III. — Detti ed Annetta, con una canestro peno di storielle e canzonette; MieaBOlano, si vedr'a in Farmacia Ann. without.] My pretty tales and songs Who'll buy? Cri. 'aside.i What makes my wife thus To return home to-day ? All. Ah ! here comes the story-book seller, To worry and torment us ! SCENE III.— rAe full of tales and apothecary's shop. and Annetta, with a bnsj ; MiRABOLANO is now seen in i ISTORIE BELLE E LEGGERE. MY PRETTY TALES AND SONGS. Canamet. Annetta. I - sto - rie belle a leg - ge - re da me chi vuol com - prar ? Ho qui di cal - di pal - pi- Mypret-ty tales, and songs, and charms,Oh ! who of me will buy? I've tales of grief, and tales of ti Leg-gen-de la - gui - mo se, Rao con - ti per le nu - bi - li, e - sem - pi, love, That jealous fear -0 es, Some songs for you, 0, la - dies fair, and some, too. ilifelili3is5li3:aili^gii»Si per le spo ■ Jitr your spou ■ se. Ho la si-ca - ra re - go - la per scan-da - ses, Fve charms, beside,which plain - ly show the false heart 6 CKISPINO E LA COMA RE. ,-^-^, • glia-reil co - re, per i - spi - rar nell' a - ni -ma di cfae si vao-lea mo -re. Di- and the true one, And he to whom you give i/our heart,Will sure - ly have Jot yuu cne. The ■ let - wares to insie - me ed a • / sell, the charim • le 10 Ten - go a give,Will guard you -fL di - spen ■ while you Di - let - to in- The wares 1 -^=^fi^^^\^^mmm^iw^^^i eie - me ed n sell, the charms ■ le, lo ven - - . - . • go a di - spen - give, will guard you white you Bar. live. 1- My i^gii^=5sp^3ts:^l?ii2^Pil sto - rie belle a leg - ge - re da me chl vuol comprar ? ' Ah, che il gridare % i - nn - ti - le, non pret-ty tdles, and songs,and charms. Say, who mil come and buyf (Ah, not one pen-ny can I earn, Al- c' h da gaada-gnar. Chi vaol comprar ? chi vnol comprar 1 chi vuol comprar 1 chi vnol ( - though my best I try I) Ah, who urill buy f Ah who wilt buy f Ah, who will buy ■* Ah, who 1 com • prar will buy f Cri. Annetta, ehben ! — [Alzandosi. Ann. Miseria ! Cri. Dimmi quant' hal toccato ? Ann. Niente. Cri. Parola orribile ! lo pur eon disperato. A 2. Vedi che bella coppia 1 Cosa potrem ranngiar 1 Ann. E i figli ? A 2. Oh, che miseria ! Cri. Ritoiiia un po' a girar. Ann. Vano mi fu 11 percorrere Rial to, poi San Polo ; Nemnieno in piazza vendere Potato ho un foglio solo — Prendon le carte, ieggono, Le gettano ridendo ; Certi talor mi parlano Cose che non cotnprendo ; Altri s' azzardan chiedeie Quanto non posso dar. Cri. Ohe la — dico — m'imagino — Ann. Potresii duhitar? A. 2. Ah ! vita tanto misera Fa proprio delirar. Cri. Tenta, se mai volessero — Per caso quei signori — [Toma a sedere. Ann. Qui la pcrfetta regola \Mirabotano che sara sulla porta delta Farmacia. Per leggere nei cori. Mir, Ma non seccarmi, vattene, Ann. ly appassionati amanti [Al Contino. A voi la bella istoria — Con. Togli ti a me davanti. Ann. Quest' h il sicuro metodo \Ad Asdriibale. V accrcBcere i tesor. Cri. Ann. Cri. Ann. Cri. Both. Ann. Both, Cri, Ann. Cri. Ann. Both. Cri. Ann. Mir. Ann, Count. Ann, [rising.] Well, Annetta Sad fortune ! Tell me, how much have you taken 1 Nothing. Ah, word of woe I I now am truly desperate. A pretty pair are we ! What shall we do for food ? And our children ? Oh, wretched fate I Go, try thy luck again ! Vaijsly have I travers'd The Rialtu and San Polo ; Nowhere have I sold A single sheet. They take my songs and read them, Then laughing, throw them back ; Some speak to me of things I cannot understand, While others dare to ask That which I ne'er can grant. Hallo I — ^I say — I begin to fear — What ! could you doubt me ? A life so sad and wretched Ere long will drive us mad. Try now — perhaps these gentlemen Might feel disposed to — [Resumes his seal. [To Mirabolano, who is standing at the door of the apothecary's shop. Here you have a rule infallible For penetrating hearts. Trouble me not — get hence I [to the Count.] Perhaps you would like A tale of ardent lovers — Leave me ! away I [to Asdrubal.] Here you will find a method sure Of adding to your store of treasure. CRISPIXO B LA COMARE. Asd. Cri. Aid. Cri. Aid. Coro. Asd. Ann. Asd. Ann. Asd. Ann. Cri. In venta, ta sei troppo bella, Per an rozzo ciabattino. 01k, signor Asdrubale, Che gioco qui giocliiamo 1 Bada al lavoro, atolido ; lo so quello che bra mo. lo non 1' inrendo — [AUandosi. Pagami Di casa la pigione ; Pagami danque, e subito. Sta bene, egli ha ragione. Paga, o ti scaccio, e i mobili Di oasa asportero ! Pieti, signor Asdrnbale — Che vuol 7— tutto farb. Ascoltarmi ! Non voglio ascoltar. Lo sai — No — No. [Allontanando con/orza Annetta. Signore, questo mobile Mir. Asd. Cnro. Ann. [Stringendose gli intamo. Che tobchisi non vo'. i Pajra i tuoi debiti, 1 \ Biutto gradasso ; J Piigrt, era fe inutile Tanto fracasso; Se non la termini Andrai prigione. Sciocco bestione, Va via di qua. Via, corapatitelo, Se avete un core, Credete, fe inutile Tanto riuore ; Siam troppo miseri, Siam sventurati ; Co' disperati Ci vuol pietk. Con. Via, compatitelo, Se avete un core Credete, fe inutile. Tanto rigore ; Son troppo miseri, Son sventurati : Co' disperati Ci vuol pietk. Cri. (Di qua la moglie Co' suoi clamori, Di W m' inealziino I creditori; Crispino miscro, Non puoi sperare ; Un laccio o il mare T' aiuterk. ' Vugge disperato, Annetta vorrebbe seguirlo, ma i trattenuta dii Don Asdrubale; il Contino s'avvia d" altra parte; Mirabolano entra in Farmacia. [Da It. Asd. Cri. Asd. Cri. Asd. Cho. Asd. Ann. Asd. Ann. Asd. Ann. Cn. In sooth, thou art too pretty For a lowly cobbler's wife. Sigiior Asdrubal, I say, What game is this we're playing 1 Look to your work, you dolt I I know what I'm about I I don't understand this sort of thing. Pay me my rent ! Pay me, I say, And that right quickly ! i Rising. 'Tis well — he's in the right ! i Pay, or I'll drive you forth, And take your furniture ! Have pity, signer Asdrubal — For you, you well know, I'd do anything — Hear me ! Naught will I hear. Thon knowest — No — No ! [Forcibly drawing Annetta away. Signor, this item of my furniture Must not be touched. Pay, then, your debts. You stupid lout ! [Pressing round him. Mir. Asd. ^ Cho. Pay ! Tills fuss is useless ! Beware, or else straightway To prison thou shalt go ! Hence, hence, away ! Ann, Oh, if ye have hearts, ■Tako pity on him, pray ! Such cruel harshness Is, sure, uncalled for. A luckless pair are we ; Such wretchedness as ours Should move your pity. Count. Oh, if ye have hearts, Take pity on him, pray I Such cruel harshness Is, sure, uncalled for, A luckless pair are they ; Such wretchedness as theirs Should move your pity. Cn. [aside.] On one side, a clamoring wife ; On the other, urgent creditors ; Wretched Crispin, There's no hope for thee ! Hanging or drowning Must end thy woes 1 [He rushes off frantically, Annetta attempting to follow him, but she is withheld by Don Asdrubal ; the Count withdraws, in another direction : Miraliolano enters the apothecary's shop. SCENA IV. — Annetta e Don Asdrubale. della spezieria sgombreranno la scena. I Facchini Ann. Aid. Vedi, vedi per te, brutto vecchiaccio, II povero Crispino e andato in bestia. Oil sa che vorrk fare ? lo vo' seguirlo No, no, senti Annetta, Farliam di queila storia — Di co»a vuoi parlar, crudo avaraccio 1 lo solo avrei per te di corda un laccio. [ Carre dietro Crispino. SCENE IV. — Annetta and Don Asdrubal. apothecary's men have meanwhde cleared the stage. The Ann. You now see, you wicked old man, poor Crispin has gone away almost mad, and all through you ! Who knows what he may do ? I'll hasten after him I Asd. No — no ! listen now — let's talk about that story Ann. About what, you cruel old miser I I only wish I liial a rope's end to bestow upon you ! [Rura after Crispin. CRISPING E LA COMARE SCENA V. — Don Asdrobale e il Dottor Fabeizio, ch' esce dal Palazzo. Asd. Ebben, caro dottore, Che notizie mi dai della malata ? Fat, A dir vero, mi par bella e spacciac^. Asd. Soccomba pur, eoccomba, nori importa ; Se Don vao\ esser mia, .^ta meglio morta. Fab. Ma porcbe cio "> Asd. Vorrebbe Cho mentre io 1' amo dibperatamcnte — Fab, (Me ne accorgo !) Asd. La dessi a un disperato, A un tal quale Contin di primo pelo. Che la ricca sua dote Le sciuperia in uii unno. Mil io no — non son maMo — non m' inganno^ Fab. (Ahl ah!) Aid. a' ammali, crepi u sue talento, Icffar non voglio il mio rival contento. [Entra in fjoiazzo. SCENA VI.— Dottor Fabkizio. Dice d' amaria disperatamente! Avarraccio briccone, io ti conosco — La sua vistosa dote ti sta in core : Ed ella intauto morirk d' amore I Io sono un po' filosofo Artento scrutatore ; Al par dell' arte medica Studio alia donna il core. Conosco quanto il fisico Soggt'tto sm al morale ; Di vedove, di giovani Spesso iiidovino il male. In loro mi fan ridere Languori, parossismi, Le convulsioni, i jialpiti, I soliti isterismi ; Per esse iio uno spetifieo becuro, portentoso. Lor dico ; Stutlm recipe Qual pill ti place a sposo. Donnine amabili — gii i' intcndiamo, Troppo vi piacclono — quel detti : Io t' amo. Siate pur vedove, — slate zitulle, E brutte e belle — volete amor. Soiniglianti — siete alle viti Cui abbisognano — olmi marlti. Che poi di pampini incoronati, Fanno beati gli agricoltor. [Entra in farmacia. SCENA VII. — Luogo remoto, con un pozzo nel mtzzo. Ckispino, rabhuffato e Irafdato, giuntie correndo. Cri. Dove vado, ove corro, ove fuggo 1 Insultato, insegulto mi struggo. All, Crispinu, piii rimedio non c' e ! Ora il mondo e finito per te 1 Chi m' insegna una morte dolce dolce, Che plan piano m' uccida '! O volt compagni miei ; Amici, debitori disperatl, Che siete al par di me perseguitati, ConBiglio a vol doraando. Impiccarmi dogg' io 1 deggio aifogarmi f [Gira disperato. SCENE V. — Dox AsDRUBAL and Doctor Fabbizio the latter entering from the Palace. Asd. Well now, my dear Doctor, what news of our patient ? Fab. To speak the truth, I fear the beauteous girl is beyond hope of recovery. Asd. Let her perish ! I care not. If she'll not con-icnt to be mine, she may just as well die ! Fab. How so t Asd. She actually wishes, whilst I love her so devo- tedly Fab. [aside. ] I see you do ! Asd. She actually wishes nie, I say, to bestow her hand on some adventurer — some Count or other, who would squander away her magnificent dowry in one year ! Bui I'm not such a fool — there's no deceiving me ! Fab. [aside. | Ha ! ha ! Asd. Let her be ill, and die, if she thinks proper. I'll never consent to make my own rival happy. [Enters palace. SCENE VI.— Doctor Faerizio. Fab. He says he loves her devotedly ! Avaricious knave, I know yon ! 'Tis her marriage portion Jhat touches thy heart ! She, meanwhile, poor girl, will die of love ! I'm a bit of a philosopher. And a close observer, too ; To the full, as much as medicine, Have I studied woman's lieart : I know the just relationship 'Twixt physical and moral. Of widows and of maids, I oft can guess the ailment : Their languor and their paroxysms, Their convulsions, palpitations. And all such like affections, But make me laugh ! For all those maladies, I have a remedy infallible : I simply say — CJhuose now, for husband, The man whom you love best. Yes, fascinating little ladies.we understand each other Your thoughts are too much occupied With those iiiayic words, ' I love you ! ' Be ye widows — be ye maids — Be ye dark, or be ye fail-. Love is your constant iliought ! Ye are 'like the vine That needs the vigorous elm's support, Until, with clusters crown'd. It glads the tiller's heart. [Erders the dispensary SCENE VII. — A deserted spot, in the midst of which is seen a well. — CRisi'lfT enters, running — he appears exhaustea and out of breath. Cri. Where am I going '! Whither shall I fly ? On all sides I am insulted and pursued. Ah, poor Crispin ! There's no hope for thee ! Thou must straightway bid this world farewell! Who will now suggest to me some agree- able mode of dying, which will dispatch me in a totally imperceptible manner t Oh, my companions, friends, who, like me, are luckless debtors, and who, like me, are remorse, lessly pursued, to you I turn for counsel! Shall I try hanging? or shall I rather choke myself ? [Walks to and fro in despair.[ Aha! what's this I see'? a well? O, ClilSPINO E LA COMARK. 9 Ma, che veggo ! E qui un pozzo ! Oh, a tempo ben trovato ! Porta per me sarai dell' altro mondo I Moglie, mia moglie, addio, Da tanti affanni or m' esco, E vo' a morire, tombolando, in fresco. [CotTT a precipitnrsi a capo in giii nel pozzo; quundo una donia in bruno ammanto ne esee improvmmmente dal pnfnndo, e vi resta immobile. SCENA VIII.— CEI8PINO e la Comare. Com. Ferma li, che cosa fsi 1 Cri. Dcntro il pozzo una signora ? Illustrissima, chi fe mai 1 Com. Di Bpiegarlo non fe 1' ora, A sno tempo lo saprai. Obbedir sol dfei per era. Cn. Ma sei femmina? seidea? Sei ta fata? ihe fai qua ? Com. Non son femmina, nfe dea. \Esce dal pozzo, e si avanza verso il proscenia. Ma resister niun mi sa. Cri. Come dunque t' lio a chiamare. Com. Donna Giusta, tua Comare. Cri, Ah ! un compare disgraziato Presto adunque soccorrete. Quanto sono disperato, Ascoltate e apprenderete. Com. Farla pur, g'A tutto io so. CW. Si 1 — pill franco parlerb. Dapprima, figuratevi. Ho futto il servitore ; Passato poscia guattero Dal cuoco d' un trattore, Mi vollero promovere, Divenni cantiniere; Dovetti presto smettere Pel gusto del hicchiere ; Di caramelli e fosfori Ho fatto il negoziante ! Ho fatto il pescivendolo. Ho f.itto il iiattellante ; M' innamorai qual asino, Mi fecero sposar ; Ma con me sol non conjnga Mia moglie il verbo amar. Com. Mi narri il ver ; ma sbrigati, M' k noia 1' ascoltar. Cri. Ora professo il nobile Mcstier di ciabattino ; Ma sudo invano e tribolo, Son pill di pria meschino. Nuoto in un mar di debiti, Naufrago quasi morto ; I creditor m' in«alzano, Com' onda senza porto. Venni cer cando il termine Di tanti affanni miei. Or che la triste istori Tutta narrar potei, Comare potentissim Io son disperatissimo, A campassion movetevi, [ Cade in ginocchio dmtanti la Comare. Movetevi a piet&. Com. Crispin, sorgi, io vo' giovarti. Cri. Si, davvero 1 [Alzandosi. Com. Lo vedrai. Un gran medico vo' farti. opportune discoveiy ! through thee I'll make mj exit from this nether world ! Wife, dear wife, farewell ! I extricate myself from tlie troubled waves in which I so long have lived, by plunging into still water! He is about to precipitate himself headlong into the well, when a Faikt, enveloped in a dark mantle suddenly rises therefrom, and standi motionless. SCENE VIII.— Crispin and the Faibt. Fairy. Hold ! what would'st thou do ■? Cri. A lady within a well I IllnstriouB dame, who art thou 1 Fairy. This is no time for explanations, — In good time thou shalt know all ; But now, — thou hast only to obey i Cri. Art thou a woman or a goddess ? Art thou a fairy ? Say, what dost thou here ( Fairy. Neither woman nor goddess am 1 1 But none can e'er resist me ! \ Comes down from ihe well, and advances inward* th* front of stage. Cri. By what name am I to call thee 1 Fairy. I am the lady Giusta, thy fairy friend Cri. Ah I my luckless lot, then, Pray quickly aid ; — Listen now, and learn How desperate it is ! Fairy. Speak, if it please thee, Though all I know already I Cri. Indeed ! I'll speak, then, the more freely. In the first plate, — pray observe, A lackey I have been ; I then became a scullion To an eating-house keeper ; as cook I subsequently served ; They then determined to promote me, And straightway I became a butler ! This post I lost full soon. Through fondness for the bottle. In sweetmeats I have been a dealer: Fish, too, I've often sold. As boatman, once I earned ray bread, Until, most stupidly, I fell in love, ' And did consent to wed. But, alas ! I am the only one With whom my wife won't conjugate The verb " to love ! " Fairy. Is this the truth— but pri'thee haste,— I am already tired of hearing thee ! Cri. I now pursue The noble trade of cobbler ! But vainly do I stitch aud toil, — I'm poorer than before. , I'm swimming in a sea of debts ; I'm shipwreck'd — almost spent: My creditors against me dash. Like waves against the rocks. Hither am I come to seek An end to my mishaps. And now, that my sad history To thee I have related. Most potent, mighty lady. Be merciful — have pity, — Have pity on my despair I [Falls on his hnees before llu fmrg. Faiiy. Crispin, rise ! I will assist thee ! Cri. [rising,] Wilt thou really, now ! Fairy. Thou shalt see ! A renowned doctor will I make of thee 1 10 CRISPING E LA COMARE Cri, Siete pazza ! — Come -iiai, Se un fior d' asino io sono 1 Com. Sarai pari a cento a cento. Cri. Com. Cri Com. Cri. Com. Cri. Cam. Cri. Com. Cri. Com. Cri. Com. Cri. Ma, Comare ! — \EsiUmdo. T' abbandono. Se ricusi — No, acconseiito. Ma saper vorrei — Bi tenera Verso me cosa vi fa ? Vo' punir di certi medici La Guperba asinitk. Tempo fe alfiu ! — come farit t Fissa ben quel die diro. Quando un infermo visiti, Se me o il mio capo vedi Vioino a lui, morrk ; Se non ci son, vivri. Che sento ! Con tal metodo, Secnro se procedi Sarai un jxran dottor, Ti pioveran teeor. [Lo saluta d' un gesto e rientra nel pozso, Comare, mia bull' anima, N& a me piil tornerai ? Si, ma a te sol visibile. Comare, ma i miei ^nai, Quei maledetti debiti. Per ora — Pagherai. [ GU getta un sacchetto di moneic Questo h deir oro, prendilo ; Ben pill di questo avrai — II mondo mi fe soggetto, [Solenne. Crispino e il mio protetto. Comare mia ! — cor mio ! — [Corre e ah' race. Tu m' intendesti — Addio ! Ma — senti — Ascolta — Andb ! Piti tegta omai non ho ! [Si sprofnnda. [ Guardando nel fiozw. SCENA IX— Cbispino solo. Ho sognato ? o sono desto ? [i>i slaricia sul sacco, e lofa suoniire. Sogno no — dell' oro fe questo ! Ah, compare avventurato, Qual comare hai ritrovato ! SCENA X. — Cbisi'ino, indi Ansetta. Ann. Crispino, dove sei ? [Di deritro. Crispino ? Cri. Son qua, Annetta. [Andandote incontro. Allegramento sai ? Ann. Ah I ti ritrovo al fine! Sei fuggito cosl tutio arrabbiato, Ed io n' ebbi tal pena, Che dietro ti sou corsa, E ti raggiunsi a stento e domandando. Cri Quello che fe stato fe stato. Ann, Ma di nnovo che c' fe ? — ti se' ubbriacato ! Cri. Altro che piomba ! — meglio, meglio assai ! Ann. Ma che cosa ? — ti spiega ? Cri. Or lo saprai. Vedi, o cara, tal sacchetto ? Ann. E uno scherzo, si scommetto. Cri. Senti, Annetta, questo suono ? Cri. Thou'rt surely mad ! — Suppose, now, I'm a perfect idiot ? Fairy. Thou'dst only resemble a hundred others in the same predicament. "Jri. But — [Hesitating. Fairy. If thou refuaest, I shall at once forsake thee. Cri. No, I consent. But may I inquire what renders t^ ee So benevolent towards me ? Fairy. I wish to punish the profound stupidity Of certain doctors. Cri. 'Tis truly time ! — but what am I to do ■? Fairy. Now ponder well what I've to say. When a patient thou dost visit, Shouldst thou see me by his side, He dies ! But should I not be there, he live! ! Cri. What's this I hear ? Fairy. If thou'lt but attend To these instructions, A famous doctor thou'lt become. And wealth shall shower down on thee. [She makes a farewell gesture, and re-enters the well Cri. Most fair one, my heart's trea.surc. Wilt thou no more return to me 1 Fairy. Yes, but I shall be visible to tliee alono. Cri. But, sorceress, what am I to do in the mean time 1 Think of my woes ! Think of those wretched debts of mine ! Faiiy. Pay them. " [Throws a bag, containing money. This contains money — take it ; Far more than this shalt thou have. For the whole world is at my disposal. And Crispin is now under my protection. Cri. Oh, sweetest I — my heart's idol ! [Endeavors to embrace her. Fairy. Thou understand'st me — farewell ! (Sinks into the well. Looks into the well. My very brain seems turned. SCENE IX.— Crispik alone. Am I dreaming— or am I awake f [ Grasping the money-bag, and jingling its contents. A dream 'tis not — for this is gold I Ah, lucky Crispin, What a protectress hast thou found I SCENE X. — Crispin, and afterwards AyyETTA. Ann. [witho'jt.\ Crispin ! "where are you, Crispin ? Cri. [advancing towards her.] Here I am, Annetta, And in a jovial mood, too ! Ann. At last I've found you I You ran oflf In such a fearful mood, that you quite terrified me. I hastened after you, And with the greatest effort I've now rejoined you. What has occurred ? Cri. [mysteriously.} Thatwl^ich has happened— has happened. Ann. But what is it ? — you are surely intoxicated ! Cri. Quite a different style of thing! — something far better ! Ann. But what, I ask you ? — explain yourself! Cri. Now, then, you shall know. My love, do you perceive this little bag 1 Ann. 'Tis mere joke, I'll wager. Cri. [shaking the iaj.] Annetta, do you recognize this sound 'i CRISPING E LA COMARE. 11 Ann. Quanto h bello ! — si, lo eento ! Cri. Disperato piii non sono. Qui ci Stan oro ed arj;ento. Ann. Propriamente ? Cri. Propriamente. Guarda, guarda^ Ann. Oh ! veramente Ma di chi ? di clii sark ? Cn Miaassolula propriety,. Ann. Che mai sento ! il core in petto Gi^ incomincia a saltallar ! Cri. Bel denaro il solo aspetto Fa le fernitiine esultar! Ann. Dove mai I'liai rltrovato ? Cri. Mi fu adesso legalato. Am. Madaelii? Cii. Nol puoi pensare. Ann. Chi del diede ? On. Una comare. Ann. Levatrice ? Cri. Non ne han tanti. Ann. Cho comaie 1 Cri. Una sigriora — Ann. Che a sacchetti dh i oontanti ' Troppo. so, basta per ora. Se trovasti una comare, 10 trovar saprb un compare; La vedrenio, signer mio. Ingegnarmi saprb anch' io ; Gi^ pill d' un mi fa il galante, Vo' ascoltrarlo a tuo dispetto ; Con un guardo, un sorrisotto, So ben io quel che faro. Va pnr 14,, bruno birbante, Che ben ben t' acconcierb. Cri. Bada, Annetta, cib non dire, O ch' io posso imbestialire. Gii pur troppo. poveretto, Non vo' privo di sospetto. Te lo dico coUe bnone, Non mi far — gik c' intendiamo ; Chfe tra noi, se lo rompiamo. Quel di prima non saro. 11 sorriso col bastone, L' occhiatina ti faro. Ann. Dal velen crepar mi sento— r Cri. Pensa all' oro ed all' argento. Ann. Pace dunque — Cri. Ah, biricehina ! Ann. Eh via, dunque, pace, pace. Cri. E il sorriso ?^-e 1' occhiatina 1 Ann. Via, scherzai, sono incapace — Cri. Ben ben — ti provero— Ann. Chi son io ti mostrero. [ hiquietata. [ Gli itende la mam. [ Rifiutandosi. [Accarezzandolo. [Le da la mano. [Fa lo stesso. Ann. Cri. Ann. Cri. , Ann. Cri. Ann. Cri. Ann. Cri. Ann. Cri. Ann. Cri. Ann. Cri. Ann. Cri. I do, indeed ! — 'tis lovely in the extreme ! , A desperate wretch no mure am I ; Here are both gold and silver I What, in good earnest 1 In good earnest. Behold I 'Tis indeed true, then ! But to whom belongs all this 1 'Tis my undoubted property ! What is't I hear ? My heart already leaps with joy. The mere sight of money Is quite sufficient to make a womari merry ! Where did you find it '; 'Twas just made a present to me. But by whom ? By a beautiful fairy. What do you say ? I've seen a fairy '! What is she like ? A lady ! One who gives money by the sackful ! [Annbtujy. 'Tis well ! I now can understand ! Since you have found a she fairy, I'll quickly seek a male one ! We'll see into this, my gentleman ! I'll prove what I can do ! More than one alone do pay me court, And lo their suit I'll listen, just to spite you f With a look, or killing smile, I well know what can be done ! ■ Go to ! thou ngly knave, — A lesson soon I'll read thee. Beware, Annetta, talk not thus, Or thou wilt rouse my ire, Although, I regret to say, I am not without suspicions. I therefore beg, with all politeness. That there may be no more of this ; For, should we come to actual quarrel, A different sort of thing you'll find it ; — My smiles shall be a good thick stick .'> Ann. Of deadly poison I now feel the pangs. , Cri. Think of the gold and silver ! Ann. Let's make it up then. [Holding ont her hand. Cri. [refusing.] Ah ! little rascal ! ' Ann. Come, now, let's agree ! Cri. But how about the smile, the wink you spoki' of ' Ann. Go to ! I did but jest. | ('otixitiqly, I am incapable of aught so base. Cri. 'Tis well! [Giving her his hand. I'll prove to yon — Ann. [giving him her hand.] I'll show you what I really am. AH! SI, Sr, MARITO itf/0.— AHl YES, MY HUSBAND DEAR. Duet. Criskno and Ansbtta. 1-4 zl^^,-^ CRISPING E LA COMAHE. la CO ma -re, Cbe so - der co - -' si - ■ ne fal la dear CO ma - re, Co - ma - re. Cbe go - der co - Such a pres -Bl- ent he fe=£=;= E{ i^ =CJ;g= g^ ggiEE3EEj ^ii Ad • No dio more sto - ne, Aim - ger. fame ad - di - ol no more cry - ing. la. la la, Sfv. la, ^i.^f^il#|3^^i^ii:i^^i^^|J ra, .. ^l^-~' la, la, la, ra, la, ra, la. la, &c. 't^^^vl^^^'^m^^Ei^Mm^i Cris. Can - ta, sal - ta, Sing - ing, dancing, Ann. ia, &c. Oris. Canta, sal ■ ta, idolo mio, Singing, dancing, dear An - net - la, Sri- -0-,-^-0- l^ilil^i^i^^JiLS^ililf^K'l^ J a ^nn. la, &c. %mmm^^^M^^^^^\ Oris. Sal - ta, can - ta, idolo mi - o. Dancing, singing, dear Annet - ta. is^^i^ -^- -t » [Imitates the motions of a ballet dancer.] Cris. Ad - dio , Fare - well for - - me, tools, and pan ca ad - di - o, Vo' can - ta - re - vo' bal - la re, pen sa a fart - well la - bar, Hence • forth I will ■ danc - ing, singing, thank, for tut - - to la CO • ma re all. my dear Co ma - •■«. Via bal - Ian - do via bal - iando andiam di qnk ! Oai - ly dancing, dancing, dancing we'll a - waf/ 1 CRISPING E LA COMARE. AT TO II. SCEN A I. — Un CampOyCome nella scena primadeU'Atto Piimo, Crispino erf Annetta vengono atlegri ed a braccetto. Cri, ' Eccomo alfine a easa— ecco il panchetto ! ' Al diavolo ora vattene, ' Brutta memoria dello scarpinello ; [Lo rinve-i i rf* un calcio. ' Dottore sccellentissimus or siamo ! ' Hai fittu in capo d' esser un dottore ! ' Se quell' oro non fosse, ' Davver ti crederei solenne pazzo. • Annetta, per istrada ' Tu non vedesti quella gran signora, ' Che pian piano all' orecchio m'ha parlato 1 • lo ?— no ! ' Gii ! lo sapeva : ' lo sol la vedo. ' Ebbene 1 ' Mi die questo cartello [ Trae di saccoccia un gran cartello. ' Da metter suUa porta ; ' PiiS, mi disse cho in casa avrei trovato ' Va vestiario complete da dottore. [Kaccoglie di t rra un chiodo, it martello, e appende sopra ta porta d cartello. ' (Sempre piu si ta granda il mio stupore !) ' Sara mefrlio che vada un po' a dormire. ■ A dormire ? scioccone ! [Tomando a lei. ' Vedrai, vedrai cosa fato a momenti. ' Di dottore a indossar vo'i finimenti. [Entra in casa. SCENA II. — Annetta sola. Ora inver non so piU cosa pensare ; Essere chi mai pub questa Comare ? A legger provero, sono chriosa ; Legger non sa Crispino, io qualche cosa. [Legge a stento compitando. Crispino Tacchetto quondam Cidbbattino, Che medico divenne sopra^no. Sara duiique una fata, Un beneiico genio che il protegge! — Quel sacchetto, quell' oro ne son prova — Oh SI, 6 certo — poi crederlo mi giova. [S' aggiusta e pavoneggia. Ann. Cri. Ann. Cri. Ann. Cri. Ann. Cri. ACT II, 13 Enter SCENE I.— The same as the Urst Scene of Ad I. Crispin and Annetta, joyous/f^, arm in arm. Cri. ' Here I am, at home at last— here's my old binch ! ' Now get thee to tlie devil, ' Thou sorry memento of the cobbler's trade ! [ Overturns it with i< kick. ' A right sapient doctor now am I. Ann ' And so you've taken it into your head that ycu're a ' Were it not for the bag of gold, [doctor ! ' I should believe thee seriously mad ! Cri. • Annetta, saw'st thou not, while on our way ' A lady, who whisper'd something ' Softly in my ear » Ann. ' I ? — no ! Cri. ' I was sure on't : ' 'Tis I alone who see her. Ann. 'WelU Cri. ' She gave me this pliicard ' To fix over my door : [Produces from his pocket a large pliicard'.. Moreover she told me that I should find, at home, ' A complete professional wardrobe ! [Takes, from off the ground, a hammer and nail, andfixetf the placard over the door. Ann. [aside.\ ' My astonishment continues to increase ! |ato«rf.| ' You had better go and sleep awhile. Cri. ' To sleep, thy silly wench ! | Turning to her. ' Thou'lt see what I will do ere long. ' The doctorial garb I now proceed to don. [ Goes into the house, SCENE II. — Annetta, ahne. Now, really, I know not what to think ! Who can this strange lady be ? I am most curious, and will try to read ; Crispin knows not how, but I can spell a little. [Reads, with the utmost difficulty. Crispin Tacchetto, once a Cobbler, But now become a most illustrious Doctor I Sure it is some fairy, Some beneficient genius, who protects him I — That little bag and its contents to prove it. Oh yes, it must be so — besides, I'd rather have it thus ! [ Ostentatiously adjusting hei dress. 10 NON SONO PIU L' ANNETTA.— I NO LONGER AM ANNETTA. Arietta. Avketta. lo non so - no piii 1' An -net - ta, ven • di sto - rie, cia - bat • ti na; dot -to - I no long • er am An - ne^ - ta, bal ■ lad sing - er, cobbler's wife. Tm a res - sa i' piu bel - li Doc • tor's beauteous la na, dv, di me in - ver non ci and now lead a joy sa - ri, ous life, Ah 1 11 pia Ah! the -^ a- -•- ce - re che m'a ■ pleasures that a - ta col pen - sio • to pro - vo gia Ah il pia - ce - re che m' a - ne, I al ■ read ■ y, yes, I taste. Ah ! the plea - - sures that 2 - spet • ta col pen wait me, I in sie - ro... thought al provo gik; ready taste ; Ahl Dotto ■ Ah! I'm a 1-4 CRISPINO E LA COMABE. rMM=^MmMmmm^mf^^w^ res - sae piii bel - li Doc ■ tor'3 beau - teous la na, (li dy, and — a- me iQ - ver now lead non. a — ci joy - ous- - ri, . li/e, Ah! Ahl. no. no, Ahl....... no, no, di me in - ver non cl sa- rk. Ahl BO, Ahl no, no, for me, for me a joy ous life, Ahl.... Ah!. Ahl. Ahl. Ahl Ahl. Ah!.. Gran velluti, cappellini, Piume, guahti sopraffini, Scialli Turchi, scialli Iiiglesi, Rococo, mode Frances!.' Una casa du signora, Un palchetta a ogni teatro ; In campagna un tiro a quattro, La mia gondola in cittk. Seinpre aperta la mia mensa, Sempre piena la dispenisa; A dozzine gli elpganti Mi faraii da spasimanti I Quel chc luce il mondo adora; Senza soldi una Contessa E assai men che dottoressa, E tesori Annetta avra. Ah ! il piacere che m' aspetta Col pensier pregusto giA. [Pusser/gia pomposa. [Entra i SCENA in. — MiEABOLANO, poi DoK Fabrizio datta Farmacia, DoK Asdbubale dalla casa i Giovani delle botteghe e Popolo. — La Comare comparisce a tempo ' Mir. [ Toma a teggere. Fab. A 2. Cosa ha scritto mai quel pazzo Sul porton del suo palazzo ! Ah ! ah ! bella in verity I Ehi, dottor, leggete qua. Crispin Tacchetta quondam Ciabbattino, Che medico divenne soprnffi,no 1 Oh, che pazzo! oh, che buffone! Egii fe proprio da legar. I Giovai.i e Popolo vanno a leggere. Coro 1. Sopraffino! Coro 2. Sopraffino ! Tutti. Per le risa i da crepar I SCENA IV. — Detti, e Ckispino ch' esce dalla sua casa in abito nero. Cri. Alto li, di chi ridete? Tutti. Eh, buffone ! Cri. Non sapete, asinoni, ch' io mi sia 1 Tutti. Ah! ah! ah! ah! ah! ahl Cri. Son dottore. Tutti. E una follia 1 Cri. Dottorissimo ! Tutti. Ah ! ah : Cri. Si, signori, son dottore Che guarisce ogni malore! Se vi piglia un accidente, Febbre fredda o febbre ardente, Un colpetto nella testa, non Bi na - rk. a joy - ous life I [ Walking pompously to and fro Splendid velvets, bonnets handsome ! Shawls from Turkey, shawls from England, Fine cloaks of fashion French ; A house such as becomes a lady ! A box I'll hE*e at each theatre ; A coach and four when in the country : A gondola when here in town. My table shall be free to all; My bounty shall e'en lavish be ; While lisping dandles, by the dozen. Shall pine, and si;:h, and die for me. The world admiies all that shines : A Countess, therefore, without money, Is far beneath a doctor's wife, Bless'd with treasures such as mine. Ah, the pleasures that await me, I in thought already taste I [ Goes into the house. SCENE III. — MinABOLkTso and afterwards Dots Fabrizio yro«i the Dispensary, Don Asdbvbal,, and the shopmen and populace. — The Fairt also appears. Mir. [Heading. Fab. Both. Why, what has the madman written On the door of his residence ? Ha! ha! this is jocose indeed! I say. Doctor, just read this ! [reading. | Crispin Tacchetto, once a Cobbler, But now become a most illustrious Doctor 1 Oh, the madman ! the buffoon ! He really ought to be chained fast. [ Tlie shopmen and others read the inscription. Isl Cho. Most illustrious ! 2nd Cho. Host illustrious ! All. 'Tis enough to kill one with laughter I * SCENE W.—The preceding, and Crispin, who, dreaia ti black, issues from his house. Cri. Hold, I say — at what are ye laughing '' All. Away, buffoon I Cri. Know ye not, idiots, who I am 1 All. Ha! ha! ha! ha! ha! ha! ha I Cri. I'm a doctor ! All. What absurdity 1 Cri. A most learned doctor ! AU. Ha! ha I Cri, Yes, sirs, I am a doctor Who undertakes all ills to cure ; Should an accident befall ye. Should fever, fast or slow, o'ertake ye, Should your heads a blow receive. CRISPING E LA COMAllE 15 TiUti. Cri. Fak. Mir. Asd. Coro. Cri. Com. Cri. ana tisi i molesta, Per mia o ra, si signori, Chi non crepa pub campar. Bel dotlore! i creditori Faria ine^lio di pagar. [Passeggiando alteramente cava di taeca pugni di monete d'oro, e, gettandote in faccia agli astanti, lor dice.] Oro fe questo raonetato, Un inio pari puo pagar. lo dottor son diventato, Sapro tutti soddisfar. (Ah, Comare, in tal Inomento Sio per farme bastonar !) Tanta somina in un murnento [A Crispino. Dove andasti a ritrovar ? Certo fosti in tal momento Qualche cassa a visitar. Un scorn metto eontro cento Ch' ora stato se' a rubar. Arricchito in un momento ! Certo andato se' a rubar. (Ah, Comare, tal momento Sto per fanni bastonar!) 1 Sorqe improvvisamente di terra ajianco di Crisiiino.\ La Comare in tal momento A te sol, Crispino, appar. Non temere — 1' ardimento Puoi securo raddoppiar. Mille grazie, ora mi sento II t'orag^io raddoppiar. [Torna a sprofondarsi. SCENA V. — Delti, il Contino frettoloso, Annetta dalUi casa, poi Bortolo muratore, segui to da molto Popolo. Con. Tutti. Con. Ann. Coro. Cri. Fab. Mir. Cri. Tutti. Cri. Tutti. Cri. Fab. Mir. Cri. Ah, s gnori, signori, accorrete, Se v' e tempo salvarlo potete. Da un altissimo tetto h ceduto Un artiere, e qui il portan svenuto. Dove ? su presto andiam — Egli 6 qua. Poverctto ! morendo gik sta. [Qualtro uomini, seguiti da gran Moltitudine, portano Bortolo, saenuto sopra una sedia, che depongono nel cent o del proscenia. Ah I gli fe Bortolo I egli e muratore. [Stringendosegli altorna. Cinque figli e la moglie, s' ei muore, Non sapranno piii come campar. (N& comare nfe testa qui appar I) [ Guardando per ogni lata. [Mirabolano e Fahrizio sono presso Bortolo esammandolo. Nan c' fe caso, gli 6 perduto. Ma fratture non ci sono — lo sfacelo b succeduto, In extremis egli fe gik. [Sempre osseroando ] ' La Comare non ci sta.' Infelice! ei muore qua. Via di qua tutti, bestioni, Non sapete aifutto niente ; Questo morto qui presente, lo vi dico, non morrSi. Taci, sciocco I Somaroni ! > '< Un salasso almen si provi, [A Mirabolano. Potri, darsi che gli giovi- Factus algidus fe gi&. A ogni costo voglio anch' lo II mio recipe provar. i AU. Cri. Fab. Mir. Asd. Cho. Cri. Fairy Cri. Or should a troublesome cough i-nnoy ye, Through my wondrous skill, sirs, I'll insure That ho, who dies not, — shall survive. Oil, worthy doctor ! 'Twere beiter far tliy creditors to pay. I Stalking majestically across the stage, draws from hit pocket a handful^/ money, and, throwing it among the bystanders, exclaims — The coin I deal in is real gold I A man like me can pay his way. Now, that I ve become a doctor. All your claims I'll soon defray. [aside. (Ah, my Fairy, much I fear, 'I'hat I a thrashing shall forthwith receive !) [To Crisptii.[ So large a sum, in this brief space, Whither hast thou been to find ? Surely, some money-chest Thou must have stripped. Now I'll lay 'gainst one a hundred, That thou hast lately ta'en to thieving. What! grown rich thus of a sudden ? Surely thou must have ta'en to thieving ! (Ah, my Fairy, much I fear That I a thrashing shall forthwith receive !) [Rising suddenly Jrom the earth, at Crispin's side. Know the Fairy, at this moment, To thee alone is visible. Fear not — thy confidence Thou safely raay'st redouble. 1 The Fairy disappears. A thousand thanks — I already feel A fresh supply of courage. SCENE Y.~The preceding; The Count and AnNetta enter in haste from the house. — Afterwards Bortolo, aihxi is carried in, followed by a crowd of people. Count. Ah, gentlemen, gentlemen, quick! make haste ! There yet may be time to save him ! A workman ha$ fallen from a lofty roof, And is now borne hither senseless. All. Where is he ? let us haste to his aid ! Count. See ! he comes ! Ann. Poor fellow, I fear he's dying ! [Four men, followed by a crowd of people, brimi in Bortolo, who is seated, senseless, on a chair, they place him in the centre of the stage. Cho. Ah ! 'tis Bortolo, the mason ! I They all press around him Should ho die, his wife and five children Will be left entirely destitute ! Cri. [anxious.] Neither the Fairy nor her head can I espy ! [Looking around hi n. [Mirabolano and Fabrizio, who are examining Bortc e. Mir. There's no hope ! he's a lost man ! I Fab. But no fracture can I see ! Mir. A concussion has taken place. His life is ebbing fast ! Cri. [aside, still looking around.] The Fairy is not here .' All. Unhappy man ! he's dying, sure ! Cri. Away, ye dolts ! , Ye know nothing of the case. The man, whom ye deem dead already, I beg to inform ye, shall not die ! All. Peace, buffoon 1 Cri. Ye pack of donkeys I Fab. Let us try bleeding ; [To MiraboU o Perchance it may relieve him ! Mir. He is already cold ! Cri. At all events, I am resolved My recipe to try 1 16 CRISPING E LA COMARE. [A Ciispino. Mir. Ciartatanus, va con Dio ; Via, non starci piii a seccar. Fijb. S' fe gii morto, h parer mio Di lasciarlo pur provar. Tiitti. Prova pur, ma bada, il fio, Se la sbagli, liai da pagar. Ann. (Bada ben, marito mio, . Di non fani bastonar.) Cri. (Certo son del fatto mio. La Comaie non appar.) [^1 appressa con motta graviA al malato. Attenti dunqne, uditemi Quanti qui intorno Btate, E quel che chiedo s[il)ito Innanzi a me portate. [Ttttti accennaiio di si, e portano a tempo quanta e domandato. Recipe panum candidum Cum stortibus perfettis, Panem, salamen, ostricas^ E quattro broccolettis. Del vinum poi portamini. Ma debet esser bellus ; Came talora liibunt Dair oste del Cappdlus — Tutto all' infermo or applico, B presto guarirk. Tutti. Oh, come son ridicole Tanto bestiiiliti! [Crispino applica alia testa di Bortolo qwilclie parte degli indicati cibi, qualche parte ne manijia, /loi prende un bicchiere, e,jattosi versare del vino, dice — Cri. II vino fe uno specifico Rallegrator de' cuori ; Col solo odore suscita I morti bevitori — Buono, ma non buonissimo — Proviamone 1' e£fetto. [Soffia net volto a Bortolo. Bortolo, dico, Bortolo, D^stati, Bortoletto. \EgU miwve un braccio. Tutti, Si muove ! — gii resuscita 1 — Cri. Ohe, Bortolino ! — Bor. Oime I Tutti. Parlo! Bor. Ritorno a vivere ! \Apre gli occhi ed alza la testa. Per chi? Cri. Solo per me. Tutti. A stento si pub credere. Si, da impazzir qui c' % J DUET. Cribi'Ino ed Annetxa. Cri, Quanti baci vorrei dare A te, o cara mia Comare ! Comaretta non t' ingannO, Cicisbeo per te saro. I dottori in fumo andranno, lo riccone diverrb ! Comaretta non t' inganno, Cicisbeo per te saro. Ann. Ah, Crispin coUa Comare Hai pur fatto un bello affare ; Tutti agara ti vorranno. Gran riccone tivedrb. I dottori creperanno— Cri. Creperanno— Mir. Charlatan ! now go tiiy ways ; Pri'thee stay not here to bore us. Fab. If he's already dead, I'm of opinion 'Twill do no harm to let him try ! All. Come, try thy skill ; but, shouM'st thou fail. Heavy forfeit thou shalt pay. [To Crispin. Ann. [aside.] Beware, dear husband. Or thou wilt be most soundly beaten. Cri. [aside.] The game I play is certain. Since the Fairy does not appear I [Approaches the patient, with the utmost gravity. Now ! all ye who stand around, Pray list ! And what I ask for. Be sure ye quickly bring. [All signify their assent, and bring tlie various artiiit* in the order indicated. Recipe panum candidum Cum stortibus perfettis, Panem, salamen, ostricas. Of brocoli-spronts four ! Some vinum, pray, now bring ; But first-rate it must he ; Such as mine host of the Cappdlus Reserves for his own consumption. All this to the patient I now apply, And straightway he'll be cured ! AH. What gross absurdities are these I [Crispin applies a portion of the above mentioned ingre- dients to Bortolo's head. Some of them he himself eats ; he then takes a tankard, and having a used wine to be poured tlwrein, he exclaims — Wine is a specific For gladdening men's hearts ; The very fumes thereof Suffice to rouse the lifeless : The wine is good, but might be bi'tttr, — Let's try thii effect thereof. [Drinking, and then breathing on Bortolo's face. Bortolo, I say I Bortolo ! Arouse thee, man I | He moves one arm. All. He moves ! he comes to life again ! Cri. What ho, Bortolo, I say ! Bor. Mercy on me ! All. He speaks ! Bor. I am restored to life ! [Opens his eyes, and raises his head. By whom ? Cri. By me alone ! AU, Scarcely can we believe our senses : 'Tis enough to drive one mad ! DUETT. Cmspin and Anxbtta. Cri. Lots of kisses, oh, thou dear one ! Lots of thanks I'd like to give thee. Would that I some good could do thee, All the gratitude of this heart to show. The doctors all, with one accord, Like smoke shall vanish ; Whilst I myself the great renown'd shall be. Would that I some good could do thee, — All the gratitude of this heart to show. Ann. Husband, sure thy guardian spirit Doth reward thee pust thy merit ; All the world will now employ tliee ! Great, indeed, thou'lt soon become. How the doctors will denounce thee. Cri. They'll denounce me, — CEISPINO E LA COMAIIE .17 ^nn. lo per essi liderb — Cri. lo per essi riderb ! Mir. Chi saprebbe indovinare [Da se. C'ome sia cotesto afFare ! Quanti al mondo grideranno Che un miracolo operb! Al mio credito jrrati danno Da tal caso derivo!) Fab,, Con., Ann. lo non so cosa pensare: K curioso un tale afFare ! Quando i medici supranno Che quest' uorao risano, Quanta frottolc 1 diranno, Ma negarlo non si pub ! Cora Se il voleano abbandonare [Fra loro. E il pote Crispino salvare, L' arte medica e un inganno, Piu stimarla non si pub. Ah, i dottori poco sanno. La indovinano si e no. Cri. [Con gravila agli uomini che portarono Bortolo. Sul mio letto quest' uomo portate, Per un' era dormir lo lasciate, Poi del brodo e del vino beri— Al lavoro doman tornerk. [G/i Uomini, preceduti da Annetta e leguiti dal Cantino, eseguiscono. SCENA IV. — Detti, meno Aknettx, Boktolo, ed il CONTINO. \Critpino passegjia alteramente la scena, poi, Jissando Fabrizio e Mirabdano prorompe — Cri. Asinorum, bestiorum, doctorum, Abbasso tutti, or ci son io; Voi farmocopole, Toi pure, addio, Potete chiudere, a spasso andar. * Ricettorum, novorum, nostrorum, Adesso i recipe han dar trionfar. Fab., Asd., Mir. Come parli 1 Creanza, buffone I Coro. No. signori, egli na bene parlato; Egli Bortolo ha solo salvato — Fab., Asd., Mir. Ma per questo non deve insultar. Coro. Eh, via basta egli ha troppa ragione — Zitci Ik Fab,, Asd., Mir. Ma si dee rispettar. Cri. Oh doctores, andate, partite. Chiaro partant e vos non capite ? Coro. Si, via — questo gli h il solo dottore. Qual si merta facciamugli onore. SCENA VII. — Deiti, Annbtta ed il Contino datia casa. \Qudli del Po/jolo prendono il panchetto da lavoro di Cris/iino, a forz i ve lo fanno »eder topra, e porlandoh ^asi in trionfo, cantano. Coro. Viva il povero Crispino, Diventato gran dottore ! Niva il rozzo ciabattino, Che la morie debellb ! La sua fama giri il mondo, Quant' e largo, quanto e tondo ! E ]irovato il suo valore, II trionfo meritb ! Cri. Grazie ! grazie ! — mille grazie I Grazie, dice, ma badate — \Schermendoti, \Impaurito. Ann. An impostor will pronounce thee j But 'twill only make me laugh. Cri. I shall l.-iinWi I Mir. [aside.] Who can e'er explain How this affair was brought about ? How many now will think, full sure. That he a mnacle has wrought. From an accident so strange. My reputation, sure, will suffer. Fab., Con., Ann. What to think, I do not know ; The affair is wondrous strange. When the doctors come to hear That this man was restored to life, ' Stuff and nonsense ! ' they'll exclaim, But the truth they can't deny. Cho. [to each other.] Since the doctors gave him ovtr. And Crispin yet could save him, The healing art is mere deception. And no more can be respected. Doctors truly little know. But DOW and then they guess aright. Cri. ] Gravely addressing the men who carried Bortolo Place this man upon my bed ; Por an hour let him sleep : Give him then some soup and wine — To-morrow he'll to work return ! [The men obey, and exeunt; preceded by Annetta, and Jbllowed by the Count. SCENE VI. — The preceding, except Annetta, Boktolo, and the Count. [Crispino parades the stage proudly ; he gazes steadinsf^y at Fabrizio and Mirabolono, and exclaims — * Asinorum, bestiorum, dogtorum. Make way, I say, for I am here ! Ye druggists, too, toisuke your trade; Put up your shutters ; go your ways. Ricettorum, novorum, nostrorum, My recipes now carry the day. Fab., Asd., Mir. What say'st thou ! be civil, knave ! Cho. No, good sirs, the man says well — 'Tis he who saved Bortolo. Fab., Asd., Mir. But that's no reason he should be thus insolent ! Cho. Peace, sirs! he's in the right, we say. J-te debello I Anche questa avrem vedato ! Chi r avrebbe preveduto I Alia scienza molto onore Qaeato caso far non puo ! [Mentre continita il irion/o di Crispino cala la tela. FINE DEM.' ATTO SECONDO. [Da ae. ATTO III. SCENA 1. — Campo nella prima scam dell' Alto Prima, colla lokuiifferenza che hi cam di Crispino si vedra grandioamneHti rijabbricatii. — Vi sara un poggiolo practicabile. IJoTTOB Fahrizio ed il Contino. Fab. Vediam se in farmacia ci sono inviti. Con. Ehi dottore ? Fab. Carissimo Contino. Con. G'A in vederini, scommetto, indovinate Qual cosa a voi mi guida — Fab. Vie spiegate. Con. Voi siete an uoin di spirito, E Cranio vo ))arlar. Fab. Come vi piace. Con. lo dell' avaro Asdrubale Perdutamcnte adoro la papilla ; Egli avversa il mio amor, ella i maliita— II suo ilottor voi siete — Faft. Ebben ? Con. Per cio vorrei Palesar del mio cor 1' aiFanno a lei. [Gli preserJa un Mglietto. Fab. Ehi, Contin, come parlate ? Con. Via, dottor, non v' inquietate. Fab. E una buria ? Con No, davvero. Fab, Non vi credo. Con. E veriti. Fab. (Un biirlietto ad un dottore, [Da ae. Perchc il porti a una malatai E d' amore in ambasciata Mo si ardisce di mandar I Oh, gnardate il bel signore, A cui vengono tai fumi I Oh che tempi, oh che costumi ! Oh che modo di trattar!) Con In cor giovane fe 1' amore [Al Dottore. Un tiranno omnipossente, Che lo domina, e sovcnte Ann. Lest fresh evils should befall me ; Bo cautious, now, or down I come. I thank thee all for the ovation, But still I fear for head and limbs ; Have a care, for should you drop me, I shall never cure you more. What irood fortune — my poor Crispin Is now indeed become a doctor I Though once a rude and simple cobbler. He hath fought 'gainst death itself! His fame will soon j^^rvade the world, — How Tast, how great 'twill be ! Ah, dear Fairy, I ne'er will fail In gratitude to thee. Asd., Mir., Fab , Con. The rascal Crispin ! For a great doctor now will pass ; A cobbler — every one will say. On the spot strove 'gainst death itself; We ourselves the affair did witness — Who could the like foresee ; The healing art small credit Will, I fear, from this derive. [ Whilst the triumph of Crispin continues, the curtain falls, END OF THE SECOND ACT. ACT III. SCENE I. — The same as in the First Act, with the exception that Crispin's house has been rebuilt, on a magnificent scale ,• a practicable Wall is seen, DoctOk Fabrizio and the Count. Fob. 'Let us see whether there's any one in the dispensary. Count. I say. Doctor ! Fab, My dear Count ! Count, The very sight of me, I'm sure. Must suggest my motive in seeking you. Fab. Explain yourself. Count, You're a man of sense. So I'll speak out plainly. Fab. As you please. Count, I am madly in love with the ward Of that old miser, Asdrubal ; He opposes my suit, and she herself is ill,— Now you are her doctor — Fab. What then f Count. I wish, through your instrumentality, ' To reveal my heart's anguish to her ! [Presenting a note to him. Fab. Gently, Count, how you talk ! Count. Pshaw, doctor — don't be angry I Fab. 'Tis surely a joke ! (!ount. 'Tis not, indeed. Fab, I'll not believe you ! Count, 'Tis the plain truth. Fab. [aside,\ What! give a lo'ter to a doclor, That he may hand it to his patient ! And, worse than all, to pitch on me For such an amorous errand ! Have & care, good sir, Such practices end ill ! Oh these times, these fashions strange ! Is't thus that pepple now behave ? Count, Ho Fabrizio.] Love, thou know'st, in youthful heart* Kules with ruthless, pitiless sway ; He ofl doth drive men mad — CRISPINO E LA COMARE 19 A sua voglia fa impazzar. Non fu mio dunque 1' errore. Fu d' amor, vedete bene, A un tilosofo convieno Tali colpe peidonar. Fab. Per Galeno ! — cho eloquenza ! Mi sembrate uii Cicerone ! Con. Eloqueiite e la passione Che il mio labbro fa parlar. Or sentite in confideuza, Sono ricco, indipendentc, E al tutore, ee acconsente. Vo' la dote regalar. Fab. Bon, 1' aifare cangia aspetto, Di parlarne vi prometto. Cob. E fia vero ! dal contento Gik rinascere mi seiito ! Fab. Non vi state a lugingare; E una bestia singolare ! Com. Temereste ? Fab. Non lo so. (-'oil. Ma tentate. Foi. Tenterb. Con. Presto presto, ainico, all' opra Pria che notte il cielo I'opia Definite un tale afiFare E felice appien saro. Tocca a vol capacitare Quell' avaro maledctto ; Colle buone o per dispetto La ragazza sposero. Don Fabrizio, a vol m' offido ; Altra speme omai non ho. Fab. Presto presto volo all' opra ; Pria che notte il cielo copra Definito fia 1' affare, E contento vi vedrb. Spero alfin capacitare Quell' ayaro maledetto ; Senza dote, ci scommetto, Men severo il trovero. Di provarvi mi conHdo Che Fabrizio perdono. EntTa in casa di Asdrvbale — il Conte, al taffi. SCENA II. — Interna delta Spesieri aUe due Szimie. MiEABOLANO, solo sta passeggiando. Mir. Dacche questo malnato ciabattino Di medico ^ saiito in tanto grido, Noi dottori davver matricolati, E gli speziali ancora, Siamo li per andar tutti in malora. Bccolo qua che viene. « SCENA III. — Delto e Crispino, che entra con caricata gravita. I For Love will have his way. The error, tliereforo, was not mine, — ' lis Love's, thou see'st clear. A philosopher, like you, it sure becomes Such failing to forgive. Fab. By Galen ! — what eloquence is this ? You really seem a perfect Cicero ! Count. My eloquence springs from my passion, — 'Tis that hath taught my tongue to speak. In all confidence, now hear me : I am rich and independent. And if her guardian will consent, Her dowry he may keep and welcome. Fab. Now the affair assumes another aspect ; I I promise you I'll speak on't to him. Count. Will you, in truth ? Then once again Joy fills my breast ! ' Fab. Be not too sanguine, now, I pray ; The man's a monster strange ! Count. Are you afraid, then ? Fab. I hardly know. Count. But you'll try ? Fab. I'll try, most surely. Count. Quick, then, quick, my friend, to work ; Ere night her mantle dark assumes, Bring the matter to an issue, And my happiness you will insure. It now depends on you This miser to appease ; For, by fair means or by foul, I'm resolved the maid to wed ! Doctor Fabrizio, I tru t gtivamente ponderando.] ' Becipe una botiigtiam D' aqua pulei. — Cio6 putei. Fa lo stesso — [Pensa. Uno scrupulus posca di lichene — Tre guttae A' aquas rosas distillatam — Divide in tres fiaschetti, E manda il tutto al Conte Pandoletti. Pandoletti, — chi e ? Cri. Mir. Cri. Mir. Doctor Mirabolano, thou man of antique stamp. Attend, and write down what I bid thee. [Mirabolano sits dawn and writes. — Crispin walks to and fro, pondering gravely. Recipe a botiigiiam Of aqua putei — 'Putei,' I suppose you mean — 'Tis all one I [After reflecting A sample you may add of lichen — Ditto, three guttat of aqua rosa distillata—- Divide the m^ixture in portions three. And send the whole to Count Pandoletti. Pandoletti ! — who's he f 20 (CRISPING E LA COMAKE. Cri. Quel forestier die eta di I& dall' acqua. Mir. Pandolfetti !— vuoi dir. Cri. Gi«i m' hai capito. Mir, Si, si ho capito che tu se' un briccono. [Ahandosi in/uriato. Cri. Come sarebbe a dire ? Mir. Che rubi li clienti — Cri. Ehi, dico, tiea hi lin<;na dentro ai denti. Mir. Da un anno io 1' ho curato. Cri. Io 1' ho con una visita sanato. Le pillole, i decotti, 1' assfetida, II fobaibe, che tu pria gli ordinasti, Ho fatto gittar tutto nel canale, E una cura adottai piti naturale. Mir. Va pur la, che sei sempre nn gran villano — Cri. Collega mio, Dottor Mirabolano, Cosi la cosa sta, c voi altri tutti, — Vogliate, o non vogliate, Piegar v' h duopo, giovani e provetti, Al Dottore Crispino de Tacchetti. Mir, Ah ! ah ! anche il De ! Cri. Si, per 1' appanto, il De. Mir. Da ridere mi fai. Cri. No, da crepare Per la bile e 1' invidia. Mir. Via, ciarlatano. Cri. Crepa. Mir. Ciabbattino ! Cri. Crepa. Mir. Somaro. Cri. Crepa. Mir. Via, buffonc. SCENA \W.—Dati erf il Dottok Fabrizio. Fab. Ma signori, perchfe tanta questione ? Mir. Di Pandolfetti medico Era da circa un anno ; Ben le mie cure andavano — Cri. Ah no, qui sta 1' inganno — Mir. Quando I' inevitabile Dottore ciabbattino Pres di lui s' insinua, E in modo il piii asinino, ' Bandito ogni mio recipe, Lo getta nel canale. La cura assume e niedica Air uso suo bestiale ; Or d' inquietarmi, ditemi. Ho io ragion si o no 1 Farlatemi pur candido Mio giudice vi fo. (Quel buffone, animalono [Da te. Nieghi il fatto, se lo pu6.) Cri. (Con due sillabe il buffone, [Da se. Or confondere sapro.) Fal (Pill ridicola quentione \Da se. Ritrovare non si puo.) Cri Per un segreto incommodo Giacea da sei mesetti Lungo e disteso lectuh II Conte Pandoletti : Quando gli nacque un dubbio Che qui il signore dottore Fosse, per caso, un asino ; M' invita oggi, a tre ore. Vade, lo vedo, interrogo, La cura disapproyo ; Nuovi rimedii, e semplici, Io d' ordignargli trovo. Vengo a spedirgli il recipe, Sapete egli che fa t Cri. Mir. Cri. Mir. Cri. Mir. Cri. Mir. Cri. Mir. Cri. Mir. Cri. Mir. Cri. Mir. Cri. Mir. Cri. Mir. Cri. That foreigner, who lives near the canal. Pandolfetti, you suielv mean ! It suffices that you uiiduisiand me. [Rising in a furious passion.] Sir, I understand — I understand that you're a knave ! What d'ye mean by that 1 That you rob your patients — Gently, I say, within your head pray keep a civil tongnc I cured the man you speak of in a — I restored him to health in a single visit, The pills, decoctions, assafetida, And all the trash that you prescribed him, I've ordered to be all thrown in the canal, And have decided on uioie rational treatment. Go to, thou'rt nothing but a booby — Doctor Mirabolano, my worthy colleague, The matter simply standeth thus — Will ye, nill ye, you're all compelled. To bow and bend, both young and old. To Doctor Crispin de Tacchetti. Ha I ha I a de, too. Neither more nor less — the de. Thou mak'st me laugh ! Laugh ? — thou'rt on the point of bursting With rage and envy ! Hence, quick ! Burst ! Cobbler ! Go, I say ! Ah! Away, buffoon ! SCENE IV. — The preceding, and Doctor Fabbizio. Fab. Sirs, what means this quarrel ? Mir. I have been Pandolfetti's doctor For nearly a year — My system answer'd well — Cri. No, uo — there lies the mistake — Mir. When this inevitable cobbler doctor Sneaks into his good graces, And in the most unheard-of manner Discards all my prescriptions. And throws them in the canal ! He then undertakes the case. And prescribes after his own stupid fashion. Now, have I reason for being angry 1 Now, speak out candidly — I appeal to you as judge. [aside.] And let the stupid clown Deny it, if he can. Cri. [aside.] Now, with a single word, The dolt I will confound. Fab. A contest more ridiculous. Could nowhere, sure, be founds Cri. Of a malady, most irksome. The Count Pandoletti had lain Full length in bed. Six months or more, When suddenly it came across him, That this worthy doctor Perchance might be an ass I This very day, at three, he summons rno ; I go, I see, I question him — I disapprove the course pursued. New antidotes and remedies I immediately prescribe ; Hither I come to have the recipe madj up ; And what do you think he does ? ciiisFiNO b: la comarf 31 Va in bestia, e qual quadiupede Infiiriii e calci di (Quel buffbne, animalone [Da ae, Che tispondeie non sa.) itir. (Quant' fe ardito quel bestione [iJa se. Niun pensare inai potrk.) Fab, Or m' udite, e colle buone [Siedono. La qaisiion si comporrk, Non fu, lied fe tra i niedici Bandita la creariza ; Abbiam le nostre regole, Seffuir dobbiiim 1' usanza. Quando i mnlati il chiedono, Franchi parlar dobbiamo, E suggerir que' farmachi Che adatti piii crediimo. Non dee per questo in coUera [A Mirabolano. Andar chi curb prima; Non deesi pero togliere [A Crispino. Ad attri mai la stinia. Amici niiei, quietatevi, Dobbiame in pace star. Contj'arii sun tai scandali All arte salutar. Zitti dunque, e in conclusione Non se n'abbia piii a parlar. Ah, voi pure, quel buffone [A Fabrizio. Vi mettete a secondar ! Con quel brutto animalone lo non voylio piii che far. Dunque basii — terniiniamo ; Consnitare or or dobbiamo. ) Consular! con quello ISi? Imposi-ibil mi sark. Qnanto volte ho da ridire ? lo la vogiio qu! finiie. No, giamniai la liiiiro. Sempre un asino il diro. Fuoi tornare al tuo panehetto, Sempre sei Crispin Tacchetto No ! cangiarti non potrai, Qnanti fumi liai per la testa Forse un di svanir vedrb Ancor butti, tira, pesta A cantar ti sentiro. Canta pure di panchetti, Ma io sono il De Tacchetti. Trionfante mi vedrai, E per bile creperal ; Come fosse eterna festa Passeggiare ti vedrt». La tcriaca pesta, pesta, Pill cantar non sentiro. t'ab. (Oh, che pazzi ! ci scommetto Che non v' h 1' ejiual duetto ! Ed io pure perchfe mai Fra costoro capital !) Per pietk, non ho piil testa, La finite si o no ? Or si lasci il tira e pesta, Che torniate amici io vo'. [Entrauo tutti nel Idboratorio. SCENA V. — Sdotto in casadi Crispino. Anketta e vari Parenli ed Amici suoi. I Servi apparecchi- ano un desco con frittole, bottiglie ed altro. Mir Cn Fab. Cri. Mir. Fab. Mir. Cri. Mir. Cri. inn. Oaro. Entrate pure, francamente entrate ; Oggi il Dottore fu chiamato a Padora, E por si deve in barca, Dopo un consulto fatto qui vicino. Quanto guadagna mai questo Crispino ! Fih. Like a brute the man behaves. And kicks out right and left. The thick-headed dolt Has not a word to answer ! The impudence of this knave No one could e'er believe. Now then, hear me, and straightway The question peaceably we'll settle ; — Doctors should ne'er civility discard, — We have our rules, And custom's laws we must obey. When our patients do require it, We should speak out freely. And suggest the remedies Most likely to succeed. The physician first selected Should not fly in a passion, if discarded, Nor should he cease to esteem The rest of his fraternity. Friends, be calm, I pray, — Let peace now be restored. Scandals, such as these, Are foreign to our art. Hush, then ! let's hear no more on't ! I To Fabrizio. Cri. Mir. And is it possible that you Side with this dolt ! Cri. With the ugly knave I'll have no more to do ! Fab. That's sufficient — let's drop the question. A consultation we should hold. Cri. \ A consultation with that knave — Mir. j The thing's impossible. Full. How many more times must I say, 'Tis time all this was ended. Mir. I, for one, will ne'er agree. Cri. Like an ass thou'lt always speak ! Mir. To thy /as* thou'dst best return, — Crispin Tacchetto thou'lt ever be. No ! thou could'st never change. Some day, perchance, the smoke may vanish Which now so terribly obscures thy brain ! And then, ' Stitch, hammer, thump away ! ' I'll hear thee sing once more ! Talk thy fill of lasts and pincers, I'm De Tacchetti none the less I Thou shalt see me triumph, While thou of rage shalt die ; I shall smile, with joy serene. Whene'er I see thee pass along. 'Pound, pound — treacle make!' I shall nevermore hear sung. [osi'c^e.] Oh, what madmen I now I'll wager Such a pair 'twere hard to match ; And I'm just as bad as they. For interfering in the matter. *" Have you finished 7 — yes or no ? Say no more of ' stitch ' or ' pound.' Come ! be friends once more, I say ! [ They all enter the laboratory SCENE V. — An apartment in Crispin's dwelling. Annetta is discovered, surrounded by her friends and reMi- tioiis. The servants are placing cakes, wine, ^c. on the table. Fab. Ann. Clio. Come in, without ceremony ; pray, come in I The Doctor has this day been summoned to Padua. He sailed therefor, immediately After visiting a patient in the neighborhood. What immense sums this Crispin gains 1 32 CKISl'IXO K LA COMARE. Ann. Molto ! — ma cosa serve ? £gli h un miscuglio di contraddizzioni. Coro. Dite davvero ? Ann. 1 Per esem|'io, giaoca, Spreca di fuori, e in casa fa 1' araro. Bisbetico, irascibile, Talvolta allunga ancor troppo le niani Coro. Chi detto mai I' avria 1 Fara per ^eloslii. Ann. No, no, non n' ha ragione — Ma a noi era veniamo ; E, poichfe 1' orso anderi un po' lontano, E siamo in carnovale, Per passar un' oretta in allegria Frittelle ho apparecchiato e malvasia. Coro. Oh, cara quell' Annetta! Ann. Qui, senza cerimonie, or via sediamo. Tutti. E all' innocents gioia il core apriamo. [Siedono, mangiano, versano, poi alzando dicono. Viva r Annetta! \Ridtndo. taiie, Ann. True ! but of what use are they ? He is a mixture of the strangest contradictions ! ' Indeed 1 i , As an instance, while from home,-, He'll gamble, and squander his money lavisfaly; ■■ But, the moment he enters his own house, He's as stingy as a miser! , He's whimsical, irascible, and every now and then He's over ready with his hands ! Who would e'er have thought it ! Perchance 'tis jealousy that thus enrages him ! [laughing.] No, no; he has no cause — But let us drop the subject — The bear is on a distant prowl, So, as 'tis Carnival, I have prepared cakes and malvoisie, ; ■ That we may spend the time right merrily ! Dear Annetta! how very kind ! " < Without ceremony, therefore, let us all be iseated And to joyous mirth our heart we'll open I / [Thev sit down and /east; they pour out wine, and then, raising the cups, exclaim — Long live Annetta 1 Chx,. Ann. Cho. Ann. Cho. Ann. AU. PIERO MIO, GO QUA UNA FBITTOLA. — FlliVRO, DARLING, TlilS CAKE SO TEMPTING. Canzonet. Annetta. {Annetta sings, for their entertainment, one of her old street ballads.) Pie -ro mi - o, go quannafritto - Pietro, darling, this cake so tempt • la, te la vo-gio - ing, I would gladly reg-a-lar, sastu, ca ro, qnanti , gioe to thee, many . youthful swairis do zovea - - ni la vo - le crave it, each desires . - va, sgnocDolar, Ma-re me. oh! go di - to it his should be, *' Dearest felloia," to each I stt - bi - to, Voi sal - an - swer. For my Mmmmwm^w^^mmLimiwmi var - la a ohi voi mi, true love 'tis kept by me. Al mio vechio vogie dar-ghe To my sweetheart I shall yioe.... la, E quel ve it. And that sweet chio ti ze heart, thoU art Varda ben, pri - ma inten-de-rao-se, Stay a-while though, make a - greement. Per a - ver de-sto bo-oon, de-sfo bo-con de ar.i Bre I with my off" - ring part. Say thou wilt beei) ■ ei /TV. w^^^^m^^ - me fe - de • thy heart shall Ion. be. SCENA VI. — Detti e Cbispino, die comparisce tulla porta improvviso, Cri. Xe qua Piero, e quella/rjWa [ Con ira, contraffacendo I' altrui canto. El ve vien a far magnar. Tutti. Ah, Crispino ! \Alzandosi tutti spaventaii e correndo dalla parte opposta. Cri. Bricconi, birbanti. Qui si trinca, si sta allegramcnte ! Cosa sona in mia casa tai canti. Qui raccoltar che fa tanta gente ? [Rovescia tutto apparecchio. SCENE VI. — The preceding, and CEiBPfNO, who unexpec- tedly appears at the door. Cri. Here is Pietro, and your cake ! I Angrily burlesquing the song. I shall now proceed to eat ! AU. Ah, Crispin ! [Rising, and crossing the stage in alarm. Cri. Ye rogues and knaves ! Is it here you come to drink and laugh ? What right have such songs beneath my roof? What means this uproar in my house ? [Upseti refreshments, furniture, fx. CUISPINO K LA COMAllE 33 Ann. Ah, marito ! Coro. Dottore, perdono. Cri: Anco a tempo qui giunto pur soiio. Ann. Via, ti calma. Cri. Non voglio risposte — Fuori tutti, o vi rompo le coste. [Prende una sedia ed inveisce. Tutti. Salvua, salva ! f Corrono a chiudersi nelle varie stunze. Cri. E per prima tu, Aiinetia, Esci fnora — briccona — frasclietta — [Alia porta ov' e entrain foizaiidola. Esci, dico, ti voglio ammaz/.ar — SCENA VII. — Cmbpino, riuscito ad aprire la /)orta, e 'colpito doll' apparicione delta Comake, che git si presenta sulta porta. Cri. Tu ! — Comare ! — non starmi a seccar. Com. Perchfe mai tanto rigore ? Cri. Vanne al diavolo pur tu. Com. Cosi abusi il mio favore ? Cri. lo bisogno non ne ho piii. Com. Vero ingrato ! Cri. Strega ! Via ! — [Minacciandoln. Com. Amel Cri. Si. Non mi secar. Com. N6 paventi 1' ira ma ■? Cri. No, no. Com. No ? L' hai da pagar. [Gli batte sopra una spalla. Crispino cade »« d' un sedia svenuto e si sprofonda, e sedo lui la Comare. SCENA VIII; — Sotterraneo — Avanti sono due grandi colossi di pietra bianca, sopra nere basi; quello a destra dtllo spettatore rappresenta il Tempo colla falce e la clessidra a polvere; quello a sinistra il Giudizio. Nel mezzo i una specchio. La Comare e Crisping, che ia seyue tremante. Com. Eceoci giunti. Cri, Dove ? [ Guardando intorno. Com. Nel mio soggioino. Cri. Non mia piace aiFatto. Com. Giammai ho inteso che ad alcun piacesse. Cri. Vedete se ho ragion ? — Ma qui, a quattr' occhi, Ditemi un poco, sono vivo, raorto, Oppur, resusclato 1 Crnn. ' Perclife vuoi te es^cre niorto ? Cri. ' Per quella brutta tombola ' Clie insieme fatto abbiam, eara Comare. Com. ' Fu una burla, fu scherzo. Cri. • Ah ! scherzo ia chiamate ? — ' Intendiamoci ben — non vo' piii Bcheixi, ' Non voglio confidenze. Cam. ' E a me cosi tu parli ■? Cri. • Che ho da fare f ' Ho da stare ? ho da andare ? * lo non capiscp niente. Com. ' Eimanerti. Cri. 'E per quanto? Com. ' Eternamente, ' Quando il voglia colui oho mi comanda. Cri. ' Misericordia ! — dite, son prigione ? ' Quale paura io provo in tale stanza ! ' I visceri mi fan la contraddanza — ' Quel muso torio chi k che sta guardando ? Com. E il Tempo (he mi guida inesorando. Ann, Cho. Cri. Ann. Cri. All. Cri. My husband I Forgive us, Doctor ! I've just arrived in time, 'twould seem — Pri'thee, now, be calm ! No answer will I have ; Get ye all gone, or I will break your bonti I [Seizing a chair, and assuming a menacing attitude. Help! help! [ They rush out, and lock themselves in dijji-.rrnt rooms And you, especially, Annetta, Away, thou jade ! away, I say. Or I will slay thee ! SCENE VII. — Crispin, wIio has just opened the door, a suidenly struck by the apparition of the Fairy, vho appears ir. the doorway. Cri. Thou, Fairy ! bore me not, I pray I Fairy. What mean you by such harsh address ? Cri. Get thee to the devil, with the rest of them I Fairy. Is't thus you thank me for my kindness 1 Cri. Thy favor I no longer need. Fairy. What base ingratitude ! Cri. [threatening her.\ Sorceress, hence. Fairy. What! this to me ! Cri. To thee ! bother me not, I say ! Fairy. Fearest thou not my wrath ? Cri. Not I! Fairy. Then thou the penalty shalt pay I [iitrikes him on one shoulder. Befalls entranced upon a cheat and the Fairy and he suddenly sink through the stage. SCENE VIII. — A subterranean abode. — In the foreground are seen two colossal figures, of white stone, standing upon black pedestals. — The one on tlif right represents Time, with his scythe and hour-glass ; the one on the left typifies Judgment. In the centre is a mirror. The Fairy and Crispin, who, trembling, follows het Fairy. We have now reached our destination. Cri. Where may that be '! [Looking around. Fairy. This is my dwelling-place.. Cri. X don't like it at all. Fairy. I ne'er met one who did. Cri. A proof, then, that I'm right. But, entre nous, just tell me now — Am I alive or dead. Or have I lately been resuscitated ? Fairy. Why, what can make thee think thou'rt dead ? Cri. Why, the terrific fall Which we've just had tofrether ! Fairy. 'Twas but a joke — a merry jest ! Cri. A jest d'ye call it ? Pray understand me — ^let's have no more such jests ! Fairy. And is it thus thou speak'st to me ? Cri. What am I next to do 1 Am I to stay or go '! I can't make head or tail on't I Fairy. Thou must here remain 1 Cri. How long ? Fairy, Forever, should he, whose slave I am, Desire It ! Cri. Mercy on us ! I'm a prisoner, then ! I feel a chilly dread in this apartment I My very heart now quakes with fear ! W hat ugly-visaged knave is that. Who stares at us so hard ? Fairy. 'Tis ruthless Time ! 'tis he directs my steps ! •^4 CKISPINO E LA COMARE. Cri. Ahim^ che brotto tempo ! — fe an temporals ! — E 1' altro Ik Chi fe ?— Com. 11 Gindizio che vien dopo di me. Cri. Oh, che brutri inquilini, Comare, avete in qaesto appai'tamento ! Com, Gib non fe tutto ancora. Osserva attento : \Si scopre gran guantita di urnette lii cristallo, entro ognuna delte quali arde una fiammella, piu o meno vivace, una stara spegnendosi. Cri. Che cosa fate f — in illuminazione ? Com, Son qnesti i miei registii. Cri. Che razza di scrittura ! Com. In ogni ampolla Arde la face d'nna vita umana. C/j. (E una Strega ! — pignatte ! — pignatelle ! — ) Com. D' nn adulfero 6 quella che si spegne. Cri. Meno mal ch' io fui sempre fedelone. Com, Viene appresso un poeta teatrale. Cri, Smoccoiate ; non fa nfe l)en, nk male. Com. Lo segue un usuraio. , Cri. Ah, maledetto ! Spegnetelo, e con lai tutta la razza. Com. Un cantate che fa pur 1' impressario — Cri, Olio, olio, per lui, cara Comare, E 1' altro 1 Com, E di tua moglie. Cri. Ah, com' e hello ! — e il mio ? Com. E questo. Cri. Ahi, ahi, ahi alii, sta per finire ! Com, Hanno i vizzi affrettato il tuo moiire. Cri, Prendiamo di mia niofiliu nn poco' olio ; Mi par che n' ahbia troppo. [ Va per eseguire. Com. Un empio sei 1 [7 luml srjmpariscono. Cri. Felicissima notte ! — posso andiire — Com. No, di restar t' itnpongo — Cri. Ma, Ciimaic — Com. E non sai tu chi sono ? Che a me non si resisie 1 Cri. Io BO che voglio uscir da queste porte — n. Com. Mi riconosci e tremii — Io son la Morte — I // suo volto a' inscheletrisce. Cri. Misericordia ! — Aiuto I ! [ Cade boccone ni suoi piedi. Com. Alzatevi, compare — \U suo volto riprende la prima Jorma. Cri. Brntta vecciacchia;— via — [Sempe nella stessa posizione. Com, Alzatevi. Cri, Non posso. Ho perduto le gambe. Com. Or io v' aiuto. Cri. No, no, non mi toccatc, indietro, iiidieti-o, [Saltando in piedi e coriendo per la scmafinche s'lncontra afaccia afaccia colla Comare. Ah ! ah ! ah ! siete voi I — e 1' altra ov' 6 ? [Mostrando i denti. Cor Ad altri non badar, sol pensa a te. Per morire tu stai ; questo e il moinento, In cui vo' che qui faccia testamento. Cri, Testamento ! niente meno ! — •' Ma il notaro dove sta 1 Com. Egli c' fe. Cri. Si mostri almeno. Com. II notaro eccolo Id. \La statua abbassera il capo. Cri. II Guidizio ! — ^Padron mio Riverito. Com, Egli fe venuto. Cri, [Da se.] (Buoua notte, son perduto, Poco o nulla ho da sperar I) Com Senti ben quanto vogl' io : De' tesori accumulati D^i lasciar tanti legati. Cri. Time, say'st thou — a hard time 'tis, when Such as he's about I Akid yonder gentleman — Who's he, I pray? Fairy, 'Tis Judgment ! He e'er follows in my wake ! Cri. Fairy, the company in your apartment Is marvellously ill favored ! Fairy. Thou hast not yet seen all ! Now mark ! \A number of crystal vases are now discernible, in each of which a flame is burning, with various degrees of brigh' ness — one is nearly extinguished. Cri. Is this your notion of all illumination ? Fairy, These are my registers. Cri, Kept in a strange hand-writing ! Fairy, In every vase the fiame thou see'st doth represent A human life ! Cri, [asirfe.] She's a witch — the thing is clear ! — Fairy. The flame that's nearly extinct Is that of a faithless husband. Cri. How lucky 'tis ihat I have e'er been faithful ' Fairy. The next is that of a dramatic author ! Cri. Pit only to snuff candles. Such people can do neither good nor haim. Fairy. Next comes a usurer — Cri. Accursed rogue — extinguish hira ! And his whole race with him I Fairy. We now come to an opera-singer. Who also dabbles in management — Cri. More oil for him, I pray thee, good Fairy ! ' And the other? Fairy. 'Tis thy wife's ! Cri. How beautifully it burns ! — but Where's mine t Fairy. 'Tis this one. Cri. O dear, dear, it's nearly out ! Fairy. Thy vices have led thee to a premature end. Cri. Let's take a little oil from my wife's lamp ; Methinks she has too much. |/a about to do *j. Fairy. An impious man art thou ! [The lights are extinguished, Cri. Good night to ye ! — I suppose I — Fairy. Now look on me, and tremble — I am Death ! [Her face changes to a skull. Cri. Mercy I — help ! [Falls prostrate at her feet. Fairy. Rise, fellow — [Her face resumes its original form. Cri. [Still prostrate.] Hideous hag — away — Fairy. Rise ! Cri. I can't — my legs have lost their strength ! Fairy. This time I'll help you — Cri. Touch me not — back, back, I say ! [Rising, and running about the stage, until he accidentally comes face to face with the Fairy. Ua ! ha I ha ! 'tis you again ! Why, Where's the other t [Showing his teeth, in imitation of skeleton Fairy. Ask not of others, think of thyself alone ; Thine end is drawing nigh — The moment now is come to make thy will ! Cri. My will ! — will nothing less suffice ? Why, there's no notary at hand — Fairy. He's here. Cri. Then let him show his face. Fairy. Behold, the notary's yonder ! [ 77ie Statue nods its head. Cri. What ! Judgment ! Worthy sir, to you I bow. Fairy. He's here, you see. Cri. [aside.] Good night, then — with me all's over ; No longer is there rootn for hope ! Fairy. Now, mark well what I require : The treasure, that thou hast amassed. Thou now must leave in certain legacies. CKISPINO E LA COMARE 35 C'n. Com. Com. Cri. Com. Cri. Com. Cn. Cam. Cn. Com. Cri. Com. Cri. Com. Cri. Com. Cri. Com. Cri. Com. Cri. Dite pur quel cho vi piir Cento doppie a dieci vedove — Troveran nuovo marito, Per toinarlo a far crepar. Quand' io voglio non c' 6 replica — Ell, pur tioppo ho gik capito. Seriva pur, signer iiotar. [Al Giudizio, ch' ogni votta «' inchinirh in segno d'adesione. Cento tnila bei florini. Di Venezia ai ciabattini — Ma signori se diventano Le c4abatte poi clii accotnodii ( Taci, ho detto, non parlar — Seriva pur, signer notar. Ad ognun de' tuoi parenti Diirai doppie cento venti — E il milion che avanza poi 1 Alia moglie, al figli tuoi. Ben, di questo son contento. Seriva pur, signor notar. Or compito 6 il testamento. Meno male, potrb andare ; Buona notte, addio, Comare. Voi notaro — Dei restar. Non vi basta ? Vieni meco Nell' immensa eternilk. No, verrb piii tardi teco. Vieni. [La stataa c. s. I La statua c. a. I Va per'partire. No. Pieta. ABIA. Cri. Poco cereo, o mia Comare ; Io non vo' che mezz' o retta, Per vedere la mia Annetta, I miei figli per baciar. Vedi, alfin ti son compare, Mi par giusto quanto cliiedo ; Nfe cattiva si ti credo Da negarmi tal placer. Comarctta, comaretta, Non negarmi tal piacer. Com. Quanto cerchi ti concede, Qaello specchio mostra it ver. [Lo specchio del forido e improvvisaiitetite itiiiminato, e /ler entro vi si vede la famiglia di Crispino che preya in Com. Coro. Nume benetico, Salva Crispino, Sane ridotialo Al nost.ro amor. [F\nito it canto lo specchio nuoiamente si oscura. Cri. Ma la cosa come sta ? Son io qua, oppur son li! Com. Qui tu sei per illusione, II tuo corpo colk muor. Cn. Abbi un po' di compassione, Sii pietosa al tuo protetto. Tornero, te lo prometto, Buen marito e genitor. Com. Lo prometti ? Cri. Si. Com. L' accerda D' ogni bene il donator. SCENA ULTIMA. — Crispino cade svenuto sopra la sedia, e la scena si trasforma in una stanza delta sua casa, dov' e(/l.i si trova attorniato dai fgli, da Annetta, da Fabrizio, MiBABOLANO CoNTiNO, varii amid e parenti. Cri. Say on — it shall bo as you please. t'uiiy. A hundred doubloons among ten widows- Cri. They will then new husbands find, And once more will drive them mad ' Fail!/. When I desire a thing, there's no escape ! Cri. That, alas ! I knew toe well. Signor Notary, write on, I pray. [To the statue of Judgment, which each ti"ie nuts \t» head, in token of assent. Fairy. A hundred glittering florins To the cobblers now in Venice. Cri. But, if cobblers become rich men, Who will there be to mend our shoes 1 Fairy. Silence — I've said it — net another word ! Cii. Signor Notary, pray write it down. [Staiw. iiuds. Fairy. To each of thy relations. One hundred and twenty doubloons bequeatK Cri. What of the other million, then ? Fairy. Bequeath it to thy wife and children. Cri. 'Tis well — I like thp idea ; Signer Notary, write that down. [6lalne nods Fairy. Now the will's complete. Cri. If that's the case, why then I'm off; Good night. Fairy ! — fare thee well ! Signer Notary, your most obedient— | (roinj Fairy. Thou must stay. Cri. Net yet content ? Fairy. Thou now must float with me Through endless space. Cri. No, I — I'll join you bye and bye. Fairy. Come I Cri. Do wait a bit ! Fairy. No ! Cn. Have pity ! AIR. Cri. Little ask I, dearest Fairy, One half hour is all I crave ; Just once more to see Annetta, And my young ones to embrace. Hear me, am I not thy god.son t What I ask is surely prober. Se unkind I'll not believe thee ; This last boon thou'lt not deny. Kind protector, kind protector, This last boon thou'lt not deny. Fairy. What thou ask'st I now will grant thee ; Yonder mirror will shew thee all I [The mirror at back becomes suddenly ittuminatut, atid in U are seen Crispin's wife and children, praying tui/ether. Cho. Beneficient deity. Protect poor Crispin I Restore him in safety To those who love him ! [As the chorus ends, the mirror becomes again objure. Cri. Now what en earth is going on 1 Am I here, or am I there ? Fairy. In illusion thou art here — For yonder now tliy body's dying ! Cri. Ah ! be merciful, I pray ; Some pity for me sho\y ! I promise thee, henceforth, I'll be A husband good — a father kind I Fairy. Wilt promise this ? Cri. I will I Fairy. Concord of every blessing is the giver ! SCENE THE LAST.— Crispin falls senseless on a seat.— The scene changes to a room in Crispin's house, where he finds himself surrounded by his ctiitdren, together with Annbtta, Fabrizio, Mirabolano, the Count, and various friends and relations. ae CRISPING E LA COMAEE. Tiitti, Ah, Crispino, ritoma in te stesso. Cri. Dove son ? Ann. Nelle braccia de' tuoi. Cri. Ho Bognato ! — sto dunque tra voi ? Quanto vido a te poi narrerb. ^ab. Fu di bile sovercliio un accesso, Che ti fece per poco Bvenire. Tutti. Sol coDcordi si pensi a gioire, S' ora il nembo in seren si cangio. [Svegliandosi. [S' ulza. [Ad Annetta. All. Crispin, man ! return to thy senses 1 Cri. [awaking.] Where am I ■! Ann. In the arms of thy family. Cri. [rises.] Have I been dreaming — is't mid ye I am ! Such tilings I've seen — I'll tell ye more anon. Fab. 'Twas a sudden fit of illness, . That thus did rob thee of thy senses. Ml. Once more united, let aW rejoice, For now the cloud hath passed away. NON HA GIOJA IN TAL MOMENTO.—TBE^KS NO JOT. Caballbtta. Annetta. Son ha glo • ja in tal There's no joy that e'er mo - men - to che so - mi - glial mio con - ten hath given me, not no bliss like that I feel,- Quanto pro In my soul va the L.=J5: ^i=i|iii^!t3i:i:i?iii^ifj^^^i!g^Ef I'al rap ma mi - ture all & non puo il per - vad • ing. labbro pa - le - sar, ah I no words can tell, Bi - do Thus re ■ na - stored • to al • fin to thy mi An- — __^_ net I, ta, questo nev - er cor piu non de heart could love thee bet - ter. ben mag - gio - - re Ah I no boon could the ^^m^m^^mmi^^^^^^^ti^sM^i^BMi non sa world be pre ■ stow • 1 on me sul - la lime the ter - ra gift of do lav man - dar,. ing thee,. i~lt. pl^=pilgiliiiil3^liL^i| Ri - do - na - to al fin Now > e • stored to thy m: Au 86 • 1 net - ta, que - sto nev • er -¥~0 ilili=iii§iilEl^^ii^ii^§iii|i cor piu men de - si wife coiled love thee bet ter ben mag - glo Greater bliss re noti sa can pre - 1. hnoi6. Cri. Ti prometto, Annetta mia, In appresso di cangiar. Tutti, Plena gioia intorno sia, T' ha voluto il ciel salvar ! QtTADBO, IS CALA UL TBLA. Cri. I promiie thee, beloved Annetta, Henceforth I will reform ! All. Let joy unmixed now reign around ; Heaven's will bath thee reclaimed ! Tableau. — The Curtain Falls. The Musicians Library CThis notable series has been planned to embrace all the master- pieces of song and piano literature; to gather into superbly made volumes of uniform size and binding the best work of the best com- posers, edited by men of authority. Each volume is independent, complete in itself, and sold by itself. PIANO VOLUMES Edited by BACH PUIfO ALBUM. Vol. I. Shorter Compositions Dr. Ebenezer Prout BACH PIANO ALBUM. Vol. II. Larger Compositions Dr. Ebenezer Prout BEETHOVEN PIANO COMPOSITIONS. Vols. I and Eugen d'Albert BRAHMS , JOHANNES. Selected Piano Compositions Raphael Joseffy CHOPIN, FREDERIC. Forty Piano Compositions James Huneker CHOPIN, FREDERIC. The Greater Chopin James Huneker GRIEG, EDVARD. Larger Piano Compositions Bertha Feirins Tapper GRIEG, EDVARD. Piano Lyrics and Shorter Compositions Bertha Feiring' Tapper HAYDN, FRANZ JOSEF. Twenty Piano Compositions Xavec Scharwenka LISZT, FRANZ. Ten Hungarian Rhapsodies August Spanuth and John Orth LISZT, FRANZ. Twenty Original Piano Compositions August Spanuth LISZT, FRANZ. Twenty Piano Transcriptions August Spanuth MENDELSSOHN, FELIX. Thirty Piano Compositions {■■■ '.v/-^ ^ r^^^^^^J 8°^^"^^%^^ MOZART, WOLFGANG AMADEUS. Twenty Piano Compositions Carl Reinecke SCHUBERT, FRANZ. Selected Piano Compositions August Spanuth SCHUMANN, ROBERT. Fifty Piano Compositions Xayer Scharwenka WAGNER, RICHARD. Selections from the Music Dramas Otto Singer ANTHOLOiJT OF FRENCH PIANO MUSIC. Vol. I. Early Composers ) t=,vi«, t>i,:i:„„ Vol. n. Modem Composers J 1="^°'^ ^l^'iPP ANTHOLOGY OF GERMAN PIANO PIANO MUSIC. Vol. I. Early Composers I M„r,t,M^=,t^w=ti Vol. n. Modem Composers ] "1°"" Moszlcowski EARLY ITALIAN PIANO MUSIC M. Esposito TWENTY-FOUR NEGRO MELODIES Transcribed for Piano by S. Coleridge-Taylor Each volume in heavy paper, cloth back, $1.50: in full cloth, gilt, $2.50. Copies mailed postpaid. Other volumes in preparation. Booklets, giving full particulars, with portraits of Editors and contents of volumes published, FREE on request. Note. — These works will be sent with return privilege to those with accounts in good standing, and to those with no accounts ufion receipt of price, which will be returned, less postage, if not satisfactory. Write for particulars of our Easy Payment Plan. OLIVER DITSON COMPANY, Boston CHAS. H. DITSON & CO., New York LYON & HEALY, Chicago The Musicians Library CThis notable series has been planned to embrace all the master- pieces of song and piano literature; to gather into superbly made volumes of uniform size and binding the best work of the best com- posers, edited by men of authority. Each volume is independent, complete in itself, and sold by itself. SONG VOLUMES Edited by BRAHMS, JOHAiKHES. Forty Songs. Hijh Voice. Low Voice James Huneker FRAHZ, ROBERT. Fifty Songs. High Voice. Low Voice William Foster Aptliorp GRIEG, EDVARD. Fifty Songs. Highi Voice. LowVoice Henry T. Finck HANDEL, GEORGE FRIDERIC. Vol. I. Songs and Airs for High Voice J •prt,aHt,=r TJ,.„„t Vol. n. Songs and Airs for Low Voice J JiOeirezer rrout JENSEN, ADOLF. Forty Songs. High Voice. LowVoice [ William Foster Apthorp LJSZT, FRANZ. Thirty Songs. High Voice. LowVoice Carl Armbiuster SCHUBERT, FRANZ, Fifty Songs. High Voice. LowVoice Henry T. Finck SCHUMANN, ROBERT. Fifty Songs. High Voice. LowVoice W.J.Henderson STRAUSS, RICHARD. Forty Songs. High Voice. LowVoice James Huneker TCHAIKOVSKY, P. I. Forty Songs. High Voice. LowVoice James Huneker WAGNER, RICHARD. Lyrics for Soprano Carl Armbruster WAGNER, RICHARD. Lyrics for Tenor Carl Armbruster WAGNER, RICHARD . Lyrics for Baritone and Bass Carl Armbruster WOLF, HUGO. Fifty Songs. High Voice. LowVoice Ernest Newman FIFTY MASTERSONGS. High Voice. LowVoice Henry T. Finck FIFTY SHAKESPEARE SONGS. High Voice. LowVoice Charles Vincent. Mus. Doc. MODERN FRENCH SONGS. Vol. I. Bemberg to Franck ) Pliilin Hnlp High Voice. Low Voice. Vol. II. Georges to Wider J rmup naie ONE HUNDRED FOLKSONGS OP ALL NATIONS. Medium Voice Granville Bantock ONE HUNDRED SONGS OF ENGLAND. High Voice. LowVoice Granville Bantock SEVENTY SCOTTISH SONGS. High Voice. LowVoice Helen Hopekirk SIXTY FOLKSONGS OF FRANCE. Medium Voice Julien Tiersot SIXTY PATRIOTIC SONGS OF ALL NATIONS. Medium Voice Granville Bantock SONGS BY THIRTY AMERICANS. High Voice. LowVoice Rupert Hughes SONGS FROM THE OPERAS FOR SOPRANO H. E. Krehbiel SONGS FROM THE OPERAS FOR MEZZO-SOPRANO , H. E. Krehbiel SONGS FROM THE OPERAS FOR ALTO H. E. Krehbiel SONGS FROM THE OPERAS FOR TENOR H. E. Krehbiel SONGS FROM THE OPERAS FOR BARITONE AND BASS H. E. Krehbiel Each volume in heavy paper, cloth back, $1.50; in full cloth, gilt, $2.50. Copies mailed postpaid. Other volumes in preparation. Booklets, giving full particulars, with portraits of Editors and contents of volumes published, FREE on request. Note.— These works will be sent with return privilege to those with accounts in good standing, and to those with no account upon receipt of price, which will be returned, less postage, if not satisfactory. Write for particulars of our Easy Payment Plan. OLIVER DITSON COMPANY, Boston CHAS. H. DITSON & CO., New York LYOW& HEALY, Chicago The Music Students Library XimBiml sSi ^ ^ series of Educational Text-books suited to the requirements ^M of the average student and covering every essential branch of musical instruction. Uniformly 'bound iii cloth. HARMONY, COUNTERPOINT, AND MELODY WRITING INTERVALS, CHORDS, AND EAR TRAINING Jean Parkman Brown $1.00 Exercises and examples in rudimentary harmony and ear traininer for use in conjunction witli piano study. A practical "first book," EAR TRAINING FOR TEACHER AND PUPIL C.>A. Alchin 1.00 Designed to teach the pupil to think in tones, ^nd so to sing, name, write, ana play what he hears. A book of exercises in discriminative hearing. HARMONY SIMPLIFIED Francis L. Tork 1.00 A practical text-book presenting in a concise manner the fundamental principles of har- mony, with non-essentials omitted. HARMONY Sir John Stainer, Mus. Doc. .75 New edition of a standard text-book which presents the principles of harmony with con- ciseness and lucidity. HARMONIC ANALYSIS Benjamin Cutter 1.25 Teaches one to analyze the harmonic structure of both classic and modern music. COUNTERPOINT SIMPLIFIED Francis L. York 1.25 A concise text-book of formal counterpoint. (Sequel to Author's Harmony Simplified^ COUNTERPOINT Dr. J. Frederick Bridge .75 This book has freshness and plainness combined with thoroughness. GUIDE TO MUSICAL COMPOSITION Heinrich Wohlfahrt 1.00 On the invention of melodies, their transformation, development and suitable accompani- ment. FORM, INSTRUMENTATION, AND ACOUSTICS LESSONS IN MUSIC FORM Percy Goetsohius, Mus. Doc. 1.25 A manual of analysis of all the structural factors and designs employed in musical com- position. MUSICAL FORMS Ernst Pauer . 75 A compendium of the various forms used in music, INSTRUMENTATION Ebenezer Prout, Mus. Doc. .'o A valuable guide and assistant to students who wish to gain a knowledge of the proper blending of orchestral instruments, their compass, capabilities, etc. SOUND AND ITS RELATION TO MUSIC Clarence G. Hamilton, A.M. l.!s A handbook of acoustics as relating to music. Based on the latest discoveries and experi- ments, and fully illustrated. DEFINITIONS AND HISTORY SOME ESSENTIALS IN MUSICAL DEFINITIONS M. F. MacConneU 1.00 Concise information in notation, form, instruments, and noted names in music. OUTLINES OF MUSIC HISTORY Clarence G. Hamilton, A.M. 1.50 A compact, clear-cut work for class use and the general reader. Fully illustrated. MUSIC CLUB PROGRAMS FROM ALL NATIONS Arthur Elson 1.25 Outlines the various schools from all nations with a rich series of programs, and over one hundred portraits, OLIVER DITSON COMPANY, BOSTON The Music Students Library C. A series of Educational Text-books suited to thu requirements y/ of the average student and covering every essential branch of musical instruction. Uniformly bound in cloth. PIANO HALF HOUR LESSONS IN MUSIC Mrs. Herman Kotzschmar $1.00 BURROWES' PIANO PRIMER Frederic Field Bullard, Editor .50 NATURAL LAWS IN PIANO TECHNIC Mary Wood Chase 1.25 THE INTERPRETATION OF PIANO MUSIC Mary Venable 1.25 PLANO TEACHING: ITS PRINCIPLES AND PROBLEMS Clarence G. Hamilton, A.M. 1.25 VOICE A B C OF MUSIC Augiiste Mathieu Panseron (Ed. by N. Clifford Page) 1.00 TWELVE LESSONS IN THE FUNDAMENTALS OF VOICE PRODUCTION Arthur L. Manchester l.oo TRAINING OF BOYS' VOICES .' Claude Ellsworth Johnson .75 RESONANCE IN SINGING AND SPEAKING Dr. Thomas Flllebrown 1.25 COMMONPLACES OF VOCAL ART Louis Arthur Russell 1.00 ENGLISH DICTION FOR SINGERS AND SPEAKERS Louis Arthur Russell l.OO FRENCH DICTION FOR SINGERS AND SPEAKERS William Harkness Arnold 1.00 VIOLIN HOW TO STUDY KREUTZER Benjamin Cutter .75 HARMONY, COUNTERPOINT, AND MELODY WRITING INTERVALS, CHORDS, AND EAR TRAINING Jean Parkman Brown 1.00 EAR TRAINING FOR TEACHER AND PUPIL C. A. Alchin 1.00 HARMONY SIMPLIFIED Francis L. York 1.00 HARMONY Sir John Stainer, Mus. Doc. .75 HARMONIC ANALYSIS Benjamin Cutter 1.25 COUNTERPOINT SIMPLEFIED Francis L. York 1.25 COUNTERPOINT Dr. J. Frederick Bridge .75 GUIPE TO MUSICAL COMPOSITION Heinrlch Wohlfahrt 1.00 FORM, INSTRUMENTATION, AND ACOUSTICS LESSONS IN MUSIC FORM Percy Goetschius, Mus. Doc. 1.25 MUSICAL FORMS Ernst Pauer .75 INSTRUMENTATION Ebenezer Prout, Mus. Doc. .75 SOUND AND ITS RELATION TO MUSIC Clarence G. Hamilton, A.M. 1.25 DEFINITIONS AND HISTORY SOME ESSENTIALS IN MUSICAL DEFINITIONS M. F. MacConnell 1.00 OUTLINES OF MUSIC HISTORY Clarence G. Hamilton, A.M. 1.50 MUSIC CLUB PROGRAMS FROM ALL NATIONS Arthur Elson 1.25 OLIVER DITSON COMPANY, BOSTON Steuids U •d Op era Libi rettos All librettos have Englisn text. Additional texts are indicated by Italic letters, as follows: /, Italian; G, German; F, French. Those marked with (*) contain no music and are 15 cents a copy. All the others have the music o: ■ the principal airs and are 25 cents each. A- -G Title Text Composer Title Text Composer Africaine, L' /. Giacomo Meyerbeer Don Giovanni /. W. A. Mozart Aida /. Giuseppe Verdi Don Pasquale , /. Gaetano Donizetti *Amico Fritz, L' (Friend ♦Dorothy Alfred Cellier Fritz) /. Pietro Mascagni Elisire d'amore, L' /. Gaetano Donizetti Armide K C. W. von Gluck *Erminie /. Edward Jakobowski Ballo in Haschera, Un Emani /. Giuseppe Verdi (The Masked Ball) I. Giuseppe Verdi Etoile du Word, L' (The Barbe-Bleue (Blue Star of the North) /. Giacomo Meyerbeer Beard) F. Jacques OffenbacJi Fatinitza Franz von Suppd Barbiere di Siviglia, 11 Faust F. Charles Gounod (Barber of Seville) I. Gioacchino A. Rossini An T do. Belle Helena, La F. Jacques Offenbach \XKJ, 1 . Favorita, La /. Gaetano Donizetti Bells of Corneville (Chimes of Normandy) Robert Planquette Fidelio G. L. van Beethoven *Billee Taylor Edward Solomon Figlia del Reggimento, La (Daughter of the ♦Boccaccio Franz von Suppe Regiment) /. Gaetano Donizetti Bohemian Girl, The Michael Wm. Balfe Fille de Madame Angot, do. I. do. La F. Charles Lecocq Carmen F. Georges Bizet Flauto Magico, 11 (The do. I. do. Magic Flute) /. W. A. Mozart Cavalleria Rusticana I. Pietro Mascagni Fledermaus, Die (The Chimes of Normandy Bat) G. Johann Strauss (Bells of Corneville) Robert Planquette Fleur de Thg F. F. Hervi {Ronger) Cinderella I. Gioacchino A. Rossini Flying Dutchman, The Richard Wagner Contes d'Hofimann, Les do. G. do. (Tales of Hoffmann) F. Jacques Offenbach Fra Diavolo /. D. F. E. Auber Crispino e "a Comare Freischiitz, Der G. Carl Maria von Weber \ (The Cobbler and the Fairy) I. Luigi and F. Ricci do. /. do. Crown Diamonds, The F. D. F. E. Auber ♦Gillette (Za Belle Dame Blanche, La F. A. Boieldieu Coquette) Edmond Audran Damnationof Faust, The F. Hector Berlioz Gioconda, La /. Amilcare Ponchielli Dinorah I. Giacomo Meyerbeer Girofle-Girofla F. Charles Lecocq ♦Doctor of Alcantara, The Julius Eichberg GStterdammerung, Die G. Richard Wagner e e OLIVER DITS< DN COMPANY s ® Stands Xl •d Opera Librettos All librettos have Knglish text. Additional texts are indicated by Italic letters, as follows: /, Italian; G, German F, French. Tlyjse marked with (*) contain no music and are 15 cents 1 1 a copy. All, the others have the music of the principal airs and are 25 cents each. G-Z ;-^',' Title Text Composet Title Text Composer , Grand Duchess of ■ Otello /. Giuseppe Verii Gerolstein, The K Jacques Offenbach Pagliacci, I /. R- Leoncavallo *Hamlet Ambroise Thomas Parsifal G. Richard Wagner Jewess, The I. Jacques F, Halivy Pinafore (M.M.S.) Sir* Arthur S. Sullivan K5mgin von Saba Prophfete, Le /. Giacom^ Meyerbeer (Queen of Sheba) ' G. Karl Goldmark Puritani, I /. Vincenzo Bellini I^akme I. Ldo Delibes Eheingold, Das (The Lily of Killamey, The Sir Jules Benedict Rhinegold) G. Richard Wagner 'Linda di Chamounix I. Gaetano Donizetti Rigoletto /. Giuseppe Verdi *Llttle Duke, The Charles Lecocq Robert le Diable /. Giacomo Meyerbeer : Lohengrin G. Richard Wagner SomSo et Julietta F. Charles Gounod do. I. do. Romeo e Giulietta /. ' da. ♦Lovely Galatea, The Franz von Supjid Samson et Dalila F. Camille Saint- Saens Lucia di Lammermoor I. Gaetano Donizetti Semiramide /. Gioacchino A. Rossini Lucrezia Borgia /., do. Siegfried G. Richard Wagner . ♦Madame Favart Jacques Offenbach ♦Sleeping Queen, The Michael Wm. Balfe Uanon F. ' Jules\ Massenet Sonnambula, La /. Vincenzo Bellini Maritana 1 ^Vm. Vincent Wallace ♦Soifcerer, the Sir Arthur S. Sullivan Marriage of Figaro /. W. a) Mozart ♦Spectre Knight, The Alfred Cellier Martha /. Friedrich von Flotoiv ♦Stradella Friedrich von Flotoiv Edmond A udran Tannhiluser G. Richard Wagner Ueistersinger, Die ' (The Mastersingers) G. Richard Wagner Traviata, La /. Giuseppe Verdi . Mefistofele J. Arrigo Boito Tristan und Isolde