This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org
Title: Zanetto and Cavalleria Rusticana
Author: Giovanni Targioni-Tozzetti, Guido Menasci, and Pietro Mascagni
Release Date: December 16, 2004 [eBook #14370]
Language: Italian and English
Character set encoding: ISO-8859-1
***START OF THE PROJECT GUTENBERG EBOOK ZANETTO AND CAVALLERIA RUSTICANA***
MASCAGNI GRAND OPERA
UNDER THE MANAGEMENT OF MITTENTHAL BROS. AND S.S. KRONBERG
SOUVENIR LIBRETTO
PRICE, 35 CENTS
WEBER PIANOS USED EXCLUSIVELY
| ZANETTO |
| CAVALLERIA RUSTICANA |
| ZANETTO | Mezzo-Soprano | |
| SILVIA | Soprano |
Silvia is the rich and beautiful hostess of a country hotel, who has been besieged by lovers of almost every description, she repulses them all, because although they may be well-to-do and even wealthy and powerful, they have not pleased her fancy or awakened her heart. At last she forswears love entirely, being convinced that her destiny is to remain single.
Still, she remembers a youth she once saw, and believes that he lives near by, in Florence, toward which city she idly looks out in the summer evening from the veranda of her hotel, placed on the side of a steep mountain.
As she looks she hears the voice of a roving minstrel who is approaching. She conceals herself. He comes near, and not venturing to enter the hotel, lies down to sleep on a bench. He is soon asleep; and Silvia comes near to see him. She recognizes in him her ideal; and at once loves him. She wakes him up, and he sees in her the madonna of his dreams.
He is fond of his freedom, and of his own way of living; but thinks it would be nice to have a home, and a sister. This does not suit Silvia; who then conceals her identity; and says that she is a widow, and very poor; and cannot possibly entertain a wandering poet. After several refusals, he tells her that he has heard of Silvia, who is also beautiful, as well as rich, and liberal. He asks his newly-beloved to help him find her. She advises him not to go, that she would do anything to save him from his danger. Although both love each other she is unwilling to let herself be known. He believes in her sincerity; and offers to go in any direction she may point out. She points toward the dawn; he dashes toward it; she watches him till out of sight; then burying her face in her hands exclaims:
Blessed art thou, O Love!
Now can I weep again!
The allegorical sense of the plot is that the sweet minstrel, love, comes once; and if not frankly and honestly received, he goes away; and may never come again. Another is, that true love is willing to sacrifice itself in order that its ideal may achieve its high ambition.
INTRODUCTION—CHORUS WITHOUT WORDS. |
CORO.
|
SCENE I—SILVIA, alone.SILVIA. Against love are my curses; (descending slowly) I am that cruel lady, The soldier, and the merchant (pointing to the city) Now there is Florence, in splendor, lying in the distance, and having, perhaps, a youth who's looking up to this same heaven; he who once I saw, and who in his breast felt heart-beats for me, for me unworthy. Just to cross my pathway, he found it fatal! I've no hope now, but to run away from him. I must not stay here and be disgraced. ZANETTO. (Sings in the distance)
Heart of mine, as a flower,
Heart of mine, why from weeping SILVIA.
Sweet is thy lovely singing. (Goes slowly up the terrace, turning absently toward the direction whence came the voice. Zanetto with a lute on his shoulder, and dragging his cloak up the steep, enters with a happy air, without seeing Silvia).
|
SCENA I—SILVIA sola.SILVIA.
Maladetto l'amore! (lentamente) Son la crudel signora Il soldato, il mercante, (addita la città) Non mi ricorda un fiore qualche affetto gentil. Firenze splende laggiù, lontana, sereno, e tende forse, lo sguardo al cielo un giovanetto che m'ha vista una volta, e sente in petto battere il cor per me, l'indegna. Se a traversa la mia strada fatal si trovi. Oh! non isperi di fuggirsene via, e non sarò la sola disgraziata. ZANETTO. (canta di lontana)
Cuore, come un fiore
Cuore, v'è il dolore SILVIA.
Dolce è la melodia: (Sale lentamente su la terazza, volgendosi distrattamente verso la parte da veniva la voce Zanetto col liuto a tracolla, e trascinando per l'erta il mantello, entra con aria allegra senza veder Silvia)
|
SCENE II—SILVIA and ZANETTO.
ZANETTO.
Sweet nights of summer,
I'm ready—Loves my Florence (He stretches himself out on a bench and wraps his cloak around him). (Silvia comes quickly down from the terrace). SILVIA. O poor little fellow! If I only had such sweet tranquility! Shall I call him, and offer him hospitality? but then—Just sleep down there! (looking at him sleeping) The silence, the perfumed air of the evening, this sleeping boy. Why should they disturb me? Yet a new palpitation is moving my heart! Ah me! He's like my dream, exactly! Up! Wake up! (taking him sweetly by the hand) (Zanetto awakes and looks at Silvia with wonder and admiration). ZANETTO.
The lovely white vision SILVIA.
O darling! ZANETTO. No, no! You were the lovely angel of my dream. SILVIA. I am, if it please you, a hostess; and welcoming a wayfarer. ZANETTO.
Thank you, I've just had my supper— SILVIA (to herself).
(Silvia, be good now! (to Zanetto) But, tell me; can't I know who you are? ZANETTO. I am Zanetto, a wandering musician; SILVIA.
But does it often happen ZANETTO. Sometimes, yes! SILVIA. Are you going to Florence? ZANETTO. Don't know. SILVIA. But have you not dreamed of resting some day in your fantastic and doubtful wandering? And have you not seen a little white house, set 'mid green, waving palms, and where a young girl once gave you a quick "Good morning!" ZANETTO. Yes, sometimes—But I know what I am—I think of fathers, and tutors; and it does not please me to disturb the family peace. SILVIA.
Have you not set your mind firmly on the girl ZANETTO. A kiss! and I go on my travels. SILVIA. A bird in the woods wants no cage ZANETTO.
No! No! Do you know, all love makes me afraid? SILVIA. But you are not happy— ZANETTO. Perhaps— SILVIA. Are you led by some hope? ZANETTO. 'Twas only a dream. SILVIA. Tell it! ZANETTO. Perhaps I may stay here! Know, then, that I have no parents, father or mother. I may be the son of a Marquis, or of a villain—who knows? In the world's course so far I've lived a free and merry life; and have never desired any other. But after having enjoyed your dear voice, beautiful Madonna, I've been dreaming that I might have—a sister! Since you have aroused in me the desire for a sweet little cottage, far from all the noises of the world, set in the midst of flowers, now, yes! I begin to feel lonesome! I accept your wise counsel! Oh! If you were willing to be entertained by this nightingale wanderer, I would stay here with you. I would be always near you; and with my lute and song the long hours of your mornings I would shorten! SILVIA (to herself). (My darling! ZANETTO. Are you willing? SILVIA (to herself). (I willing? Ah! no! never! ZANETTO. Madonna! I ask too much, I know; but will you? SILVIA. You shall know who I am tomorrow. ZANETTO. Again I ask you, will you? SILVIA. I can not. ZANETTO. And why not? SILVIA. A widow am I, and poor, and cannot entertain wandering poets. ZANETTO. Don't you have a servant? SILVIA. No! ZANETTO. A footman? SILVIA. No. ZANETTO. I can dine on fruit! SILVIA. Don't speak of it. ZANETTO. And may I not stand at your feet? SILVIA. 'Tis impossible. Believe me! ZANETTO. Then good-bye forever my beautiful dream! I may have, perhaps tomorrow, better fortune with Silvia! SILVIA (to herself). What says he? ZANETTO.
Then in vain were all my prayers. I would ask SILVIA (to herself). Great Heaven! ZANETTO. Perhaps I may enter her list of knights. But I intend to warble about the beauty of another lady! and the mad fool who would bring her misfortune. I confess to thee, Madonna, that I'm afraid! What shall I do? Give me your advice. Shall I go to Silvia? SILVIA (to herself).
(Well, I advise you not to! ZANETTO.
There is some friendship between us. SILVIA (to herself). ('Tis infamous! But so wills my destiny!) ZANETTO. Well then? SILVIA. (after silence, and with great force) Hear me, my boy. Do not go to seek her. Thy lovely soul does not know its danger! Now hear me. No! Don't go to Silvia. Pay for your bread and your bed with the merry songs which come forth from your beautiful lips,—but you should know what bread and what bed it is. O Zanetto, if you see my emotion, it is because I love you, and wish to save you. Keep on with your songs in the leafy forests; and in the fragrance of another April, if near the threshold of an humble cottage above a labored steep, you see a girl with black eyes and golden hair—then rest. From there do not move! This is the nest of Love! ZANETTO. I will obey you. But if it should happen that you have slandered Silvia— (Silvia makes a gesture of grief).
Surely SILVIA. (with much sadness) What you imagine is not true. Go! Go! (feigning grief) You can't believe ZANETTO. I go. I believe you, and will not go to Silvia, after what you have said. I go away, SILVIA. (eagerly offering him a ring) No, truly; this ring will remind you of me. ZANETTO. (with a gesture of refusal)
Pardon! 'tis too rich for me! SILVIA (to herself).
(I have caught myself.) ZANETTO.
I want no reminder of value SILVIA. I give you the flower ZANETTO.
Most charming Madonna, one word more. SILVIA. (who has ascended some of the steps of the terrace indicates the direction leading away from the city.) Be it so. 'Tis there! ZANETTO.
Heart of mine, why from weeping (Makes some steps toward Silvia, but being stopped by a gesture; after making a gesture of desperation, he moves away quickly). |
SCENA II—SILVIA e ZANETTO
ZANETTO. Le notti estive Son giunto, Ama Fiorenze (Si sdraia sulla panca avvolgendosi nel mantello) (Silvia scende rapidamente dalla terrazza) SILVIA. Oh poveretto, ed io che avevo in uggia questa serenità! Debbo chiamarlo ed ospitalità debbo offrir? Ma che! Dorme di già. (guardando Zanetto addormentato)
Il silenzio, il profumo della sera questo fanciul dormente, mi turban
forse? Un palpito novo m'agita il core. Somiglia al sogno mio! Su! Destati! (prendendolo con dolcezza per la mano) (Zanetto si sveglia e guarda Silvia con adorazione e meraviglia) ZANETTO.
La bianca visione SILVIA.
Bambino! ZANETTO.
No, no, tu sei la bella realtà del mio sogno: SILVIA. Son, se ti piace, un ospite gradita al viandante. ZANETTO.
(guardandola)
Grazie. Ho cenato tardi, SILVIA (da sè).
Silvia sii buona! (a Zanetto) Ma, dimmi, non potrò saper chi sei? ZANETTO.
Sono Zanetto; un nomade suonator; SILVIA. E non saranno rare ZANETTO. Talvolta, sì. SILVIA. Firenze è la tua mèta? ZANETTO. Non so. SILVIA.
Ma non sognasti un giorno di riposo nel correr tuo fantastico e
dubbioso? E non hai mai veduta una casetta bianca tra i verdi pampini,
donde una giovinetta un rapido ZANETTO. Sì, qualche volta. Ma qual io mi sono, penso ai padri ai tutori, e non mi piace delle famiglie disturbar la pace. SILVIA. Nè ti fermasti mai se la fanciulla ZANETTO. Un bacio e seguitavo la mia strada SILVIA.
L'augel di bosco non vuol gabbia! ZANETTO.
No, No! L'amor mi fa paura, sai? SILVIA. Ma, non sarai felice. ZANETTO. Quasi! SILVIA. Ti guida dunque una speranza? ZANETTO. Appeno un sogno. SILVIA. Parla! ZANETTO. Io qui potrei forse restare. Senti: I pari miei, padre e madre non hanno. Son figlio d'un marchese o d'un villano? E chi lo sa? Pel mondo corsi fin'ora libero giocondo, nè mai vita migliore ho sospirato. Ma da quando ho gustato la cara voce tua, Madonna bella ho sognato: D'avere una sorella. Quando m'hai susurrato dell'intima dolcezza del mondo, in mezzo di fiore allora sì, mi non sentito solo! Io cedo ai tuoi consigli. Oh! se volessi trattenerti vicin, quest'usignolo randagio! Io resterci teco sempre d'accanto mi avresti e col mio canto le tue lunghe giornate abbrevierei! SILVIA. Bambino! ZANETTO. Vuoi? SILVIA.
Se voglio? Ah, no, mai! ZANETTO. Madonna, domandi troppo lo so; ma vuoi? SILVIA. Saprà chi son domani! ZANETTO. Anco una volta vuoi! SILVIA. Non posso! ZANETTO. E perchè? SILVIA. Son vedova; son povera; e non posso ospitar poeti erranti. ZANETTO. Uno scudier non hai? SILVIA. No! ZANETTO. Un paggio? SILVIA. No! ZANETTO. Io con un frutto desino! SILVIA. Deh, taci! ZANETTO. Ed io non vo' che starmene ai tuoi piedi! SILVIA. È impossible, credi! ZANETTO.
Dunque per sempre addio, bel sogno mio! SILVIA (fra sè) Che dice? ZANETTO. Poi che vani furono i preghi miei, io chiederti SILVIA (da sè). Mio Dio! ZANETTO. Forse potrei entrar fra i suoi scudieri. Ma intesi mormorare, che la strana bellezza di quell'altiera donna e il pazzo viver suo recan sventura. Ti confesso, Madonna che ho paura! Che debbo far, consigliami. Debbo andare da Silvia? SILVIA (da sè).
Sarebbe ritornato! ZANETTO.
T'ho così poco amica, SILVIA. È infame! Ma così volle il destino! ZANETTO. Ebben? SILVIA. (dopo un silenzio e con grande sforzo) Senti, bambrino. Non cercar di colei. La tua bell'anima non conosce il pericolo! S'io non posso proteggerti, ospitarti, potrò salvarti. Ascoltami. No, non andar da Silvia! Pagare il pane, il letto colla canzon gioconda che ti fiorisce sulle labbra è bello ma bisogna conoscere che pan che letto è quello. O Zanetto, se mi commovo è perchè t'amo come un bambinello che si vuoi salvare. Oh seguita a cantare del bosco fra le chiome. E se poi, quando la soglia d'un umil casetta vedrai sovra il lavoro china, una giovinetta da gli occhi neri e dai capelli d'oro, oh fermati cantore quello è il nido d'amore! ZANETTO. Ti obbedirò. Ma può darsi che Silvia sia calunniata. (Silvia fa un gesto di dolore) Certo SILVIA (con grande tristezza). Immagini una cosa non vera. Va! Va! parti! (dissimulando il dolore) Tu non puoi figurarti, ZANETTO. Partirò. Te n'accerto, non anderò da Silvia, dopo che m'hai detto. Io partirò portando con meco SILVIA. (vivamente offerendogli un anello) No, certo, e quest'anello ti ricordi di me. ZANETTO. (con gesto di rifiuto) Perdona, troppo bello SILVIA (da sè). Ma abbia riconosciuto ZANETTO.
Un ricordo non voglio SILVIA. Eccoti il fior ZANETTO.
O Madonna di grazia, una parola ancora SILVIA. (Che ha già salito alcuni scalini della terrazza, indica a Zanetto la parte opposta alla città).
E sia! Dunque di là! ZANETTO. Cuore! V'è il dolore (Fa qualche passo verso Silvia, ma essa lo ferma col gesto, egli, dopo aver fatto un gesto disperato fugge bruscamente). |
SCENE III—SYLVIA alone.
(She remains a moment on the terrace thinking, and looking toward Zanetto while he is far away. Then she hides her face in her hands and weeps).
Blessed art thou, O Love! |
SCENA III—SILVIA (sola).
(Rimane un istante sulla terrazza pensierosa e guardando Zanetto, che si
allontana. Poi ad un tratto, si nasconde il capo fra le mani,
Sia benedetto Amore, |
| SANTUZZA, a village girl | Soprano | |
| LOLA, wife of Alfio | Mezzo-Soprano | |
| TURIDDU, a young soldier | Tenor | |
| ALFIO, a teamster | Baritone | |
| LUCIA, mother of Turiddu | Contralto | |
| Chorus of peasants and villagers Chorus behind the scenes |
TURIDDU, a young villager, son of LUCIA, was LOLA's lover, when, according to the military laws of Sicily, he was conscripted as a soldier. He left LOLA, vowing eternal affection; but LOLA, growing weary of waiting, in his absence, accepts the addresses of ALFIO, the happy teamster of the village. At the end of his term of military service, TURIDDU returns home, improved in appearance, style and manners by his military training. Finding LOLA married, he wins the affections of SANTUZZA, whom he at length betrays. Meantime the mutual passion between him and LOLA revives, and is indulged in the absence of ALFIO on his frequent trips to the neighboring villages in pursuit of his calling. ALFIO's discovery on Easter morning of his wife's unfaithfulness precipitates the catastrophe. Rejected and cast out by her betrayer, SANTUZZA in a moment of extreme jealousy, exposes the infamy of LOLA and TURIDDU. ALFIO challenges TURIDDU, according to the rustic Sicilian code, in which each party bites the other's right ear. It is understood between the combatants that the severity of the bite in the challenge indicates the degree of animosity to be expected in contest. TURIDDU regrets his evil course; but nevertheless resolves to fight; and is killed.
|
The scene represents a square in a village in Sicily. At the back, on the right, a church with a moveable door. On the left, an inn and the house of Mother Lucia. It is Easter. The curtain is down.
TURIDDU. O Lola! like the snow, pure in thy whiteness! |
La scena rappresenta una piazza in un paese della Sicilia.—Nel fondo, a destra, Chiesa con porta praticabile.—A sinistra l'osteria e la casa di Mamma Lucia.—È il giorno di Pasqua. (A sipario calato.)
TURIDDU.
O Lola c'hai di latti la cammisa |
SCENE FIRST.Chorus.WOMEN (within.) Oranges blossoming, myrtle and jessamine MEN (within.) To the harvest field, 'mid ears bright and golden, (The chorus comes on the stage.) WOMEN. Vain are all earthly employments! |
SCENA PRIMA.Coro.DONNE (di dentro.)
Gli aranci olezzano sui verdi margini, UOMINI (di dentro.)
In mezzo al campo tra le spiche d'oro (Il coro entra in iscena) DONNE.
Cessin le rustiche opre: |
SCENE SECOND.Santuzza and Lucia.SANTUZZA (entering.) Tell me, mother Lucia— LUCIA (surprised.) Is it you? What would you? SANTUZZA. Turiddu is here? LUCIA. And why do you come here SANTUZZA. Only that I may ask you— LUCIA. I know not, I know not; bring me no trouble. SANTUZZA. Mother Lucia! I supplicate you, weeping; LUCIA. He is gone for the wine to Francofonte. SANTUZZA. No! He was seen last night in the village. LUCIA. What say you! Is he then again at home? (Going toward the door of her house.) Enter! SANTUZZA. Into your house I cannot enter! I am condemned! LUCIA. And what of him SANTUZZA. Alas! this thorn in my bosom! |
SCENA II.Santuzza e Lucia.SANTUZZA (entrando.) Dite, mamma Lucia.... LUCIA (sorpresa.) Sei tu?... che vuoi? SANTUZZA. Turiddu ov'è? LUCIA. Fin qui vieni a cercare SANTUZZA. Voglio saper soltanto, LUCIA. Non lo so, non lo so, non voglio brighe! SANTUZZA.
Mamma Lucia, vi supplico piangendo, LUCIA. È andato per il vino a Francofonte. SANTUZZA. No!... l'han visto in paese ad alta notte.... LUCIA. Che dici?... se non è tornato a casa! (avviandosi all'uscio di casa) Entra.... SANTUZZA (disperata.) Non posso entrare in casa vostra.... LUCIA. E che ne sai SANTUZZA. Quale spina ho in core! |
SCENE THIRD.Alfio, Lucia, Santuzza and Chorus.
ALFIO. With my horses bounding, CHORUS. Happy is his calling, ALFIO. Me, Lola is awaiting, CHORUS. Happy is his calling, LUCIA. You are blest, Master Alfio, ALFIO. Mother Lucia, LUCIA. Perhaps; Turiddu has gone away to buy some. ALFIO.
He's always here! I saw him but this morning; LUCIA (surprised.) What! SANTUZZA (quickly.) Be silent! (Those in the church are heard singing Alleluia.) ALFIO. I will not enter. Go ye both into church. (He goes out.) CHORUS (within the church.)
Regina coeli, laetare—Alleluia! CHORUS (in the square.) We rejoice that our Saviour is living! (The chorus goes out slowly.) |
SCENA III.Alfio, Coro e DETTE.
ALFIO.
Il cavallo scalpita, CORO.
O che bel mestiere ALFIO.
M'aspetta a casa Lola CORO.
O che bel mestiere LUCIA.
Beato voi, compar Alfio, che siete ALFIO. Mamma Lucia, LUCIA. Non so; Turiddu è andato a provvederne. ALFIO.
Se è sempre qui!—L'ho visto stamattina LUCIA (sorpresa.) Come? SANTUZZA (rapidamente.) Tacete. (dalla Chiesa odesi intonare l'alleluja) ALFIO. Io me ne vado, ite voi altri in chiesa. (esce) CORO INTERNO (dalla Chiesa.)
Regina coeli, laetare—Alleluja! CORO ESTERNO (sulla piazza.)
Inneggiamo, il Signor non è morto. (il Coro esce lentamente) |
SCENE FOURTH.Lucia and Santuzza.
LUCIA. And why did you thus make the sign of silence? SANTUZZA.
You well know, dearest mother, when he went as a soldier, LUCIA.
Wretched am I that such things should be told me SANTUZZA. I am condemned! LUCIA (going toward the church.) And be thou our helper! Holy Maria! (She goes out.) |
SCENA IV.Lucia e Santuzza.
LUCIA. Perchè m'hai fatto segno di tacere? SANTUZZA.
Voi lo sapete, o mamma, prima d'andar soldato LUCIA.
Miseri noi, che cosa vieni a dirmi SANTUZZA. Io son dannata.... LUCIA (avviandosi alla chiesa.) Ajutatela voi, Santa Maria! (esce) |
SCENE FIFTH.Santuzza and Turiddu.TURIDDU. You here, Santuzza? SANTUZZA. You I was awaiting. TURIDDU. And Easter and church you are neglecting? SANTUZZA. I can not go. TURIDDU. I seek my mother. SANTUZZA. I must speak with you! TURIDDU. Not here! not here! SANTUZZA. Where have you been? TURIDDU. Why do you ask me? SANTUZZA. No! 'Tis not true! TURIDDU. Santuzza, trust in me! SANTUZZA. No! You are lying; TURIDDU. Ah! you were spying! SANTUZZA.
No! I swear to you. To us it has been told TURIDDU. Thus you return the love I gave you? SANTUZZA. Ah! such a fate do not mention. TURIDDU.
Then you must leave me! In vain do you endeavor SANTUZZA. Ah, yes! you love her! TURIDDU. No! SANTUZZA. And beautiful TURIDDU. Silence! I love her not. SANTUZZA. You love her! TURIDDU. Santuzza! SANTUZZA. That most TURIDDU.
Beware, Santuzza! I am no slave SANTUZZA.
Beat me! insult me! I love and pardon; |
SCENA V.Santuzza e Turiddu.TURIDDU. Tu qui, Santuzza? SANTUZZA. Qui t'aspettavo. TURIDDU. È Pasqua, in chiesa non vai? SANTUZZA. Non vo. TURIDDU. Mamma cercavo. SANTUZZA. Debbo parlarti.... TURIDDU. Qui no! Qui no! SANTUZZA. Dove sei stato? TURIDDU. Che vuoi tu dire?... SANTUZZA. No, non è ver! TURIDDU. Santuzza, credimi.... SANTUZZA. No, non mentire; TURIDDU. Ah! m'hai spiato! SANTUZZA.
No, te lo giuro. A noi l'ha raccontato TURIDDU.
Così ricambi l'amor che ti porto? SANTUZZA. Oh! questo non lo dire.... TURIDDU.
Lasciami dunque, invan tenti sopire SANTUZZA. Tu l'ami dunque? TURIDDU. No.... SANTUZZA. Assai più bella TURIDDU. Taci, non l'amo. SANTUZZA. L'ami.... TURIDDU. Santuzza! SANTUZZA. Quella TURIDDU.
Bada, Santuzza, schiavo non sono SANTUZZA.
Battimi, insultami, t'amo e perdono, |
SCENE SIXTH.Lola and THE OTHERS.LOLA (behind the scene.) Dearest yellow flower! TURIDDU. I came LOLA. He is delayed, TURIDDU. Santuzza was just saying— SANTUZZA (sadly.) I was saying LOLA (sarcastically.) Go you not to the altar? SANTUZZA (sadly.) I? No! I dare not go. LOLA. I may thank my dear Saviour, I am His handmaid. SANTUZZA (ironically.) Indeed!—well done!—my Lola! TURIDDU (to Lola.) We'll leave her. LOLA (ironically.) Oh! you may stay here! SANTUZZA. Yes, stay here! LOLA (still ironically.) And with help of the Saviour, I will now go in. (She goes into church.) |
SCENA VI.Lola e DETTI.LOLA (dentro alla scena.)
Fior di giaggiolo, TURIDDU. Son giunto LOLA. Forse è rimasto TURIDDU. Santuzza mi narrava.... SANTUZZA (tetra.) Gli dicevo LOLA (c.s.) Non venite alla messa? SANTUZZA (tetra.) Io no, ci deve LOLA. Io ringrazio il Signore e bacio in terra! SANTUZZA (ironica.) Oh! fate bene, Lola! TURIDDU. Andiamo! andiamo! LOLA (ironica.) Oh! rimanete! SANTUZZA (a Turiddu.)
Si, resta, LOLA. E v'assista il Signore; io me ne vado. (entra in chiesa) |
SCENE SEVENTH.Santuzza and Turiddu.
TURIDDU (irate.) Ah! you see now, what you have spoken! SANTUZZA. What you wished, and it was well! TURIDDU (advancing.) By heaven! SANTUZZA. Stab in my bosom! TURIDDU (drawing back.) No! SANTUZZA (beseechingly.) Turiddu! O hear me! TURIDDU. Go! SANTUZZA. No, no, Turiddu! Come, love me once more! TURIDDU. Why do you follow me? Why to the door SANTUZZA.
I, thy Santuzza, weeping, implore TURIDDU.
Vain is your weeping; in vain you repent SANTUZZA (threatening.) Beware! TURIDDU (with force.) Your anger will not bring me! (He throws her on the ground and rushes into the church.) SANTUZZA (in greatest fury.) On thee come Evil Easter, thou false swearer! |
SCENA VII.Santuzza e Turiddu.
TURIDDU (irato.) Ah! lo vedi, chè hai tu detto...? SANTUZZA. L'hai voluto, e ben ti sta. TURIDDU (le s'avventa.) Ah! perdio! SANTUZZA. Squarciami il petto.... TURIDDU (s'avvia.) No! SANTUZZA (trattenendolo.) Turiddu, ascolta! TURIDDU. Va! SANTUZZA.
No, no, Turiddu—rimani ancora, TURIDDU.
Perchè seguirmi—perchè spiarmi, SANTUZZA.
La tua Santuzza—piange e t'implora; TURIDDU.
Va, ti ripeto—va non tediarmi, SANTUZZA (minacciosa.) Bada!... TURIDDU. Dell'ira tua non mi curo! (la getta a terra e fugge in chiesa) SANTUZZA (nel colmo dell'ira.) A te la mala Pasqua, spergiuro! |
SCENE EIGHTH.Santuzza and Alfio.
SANTUZZA. Oh! the dear Saviour has sent you, Master Alfio! ALFIO. At what point is the service? SANTUZZA. It is now late; ALFIO. What have you spoken? SANTUZZA. That while you were braving ALFIO. Ah! in the name of heaven, Santa! What say you! SANTUZZA.
The truth—Turiddu betrayed me, despoiled me of honor; ALFIO (threatening.) If you are lying, I will tear out your heart. SANTUZZA.
My lips were never used to lying. No, no, no, they are not liars! ALFIO (after a pause.) Dear Mistress Santa, then I to you am grateful. SANTUZZA. 'Twas wicked in me to have spoken thus! ALFIO. No! you are innocent, and I forgiving; (They go out.) |
SCENA VIII.Santuzza e Alfio.
SANTUZZA. Oh! il Signore vi manda, compar Alfio! ALFIO. A che punto è la messa? SANTUZZA. È tardi omai, ALFIO. Che avete detto? SANTUZZA. Che mentre correte ALFIO. Ah! nel nome di Dio, Santa, che dite? SANTUZZA.
Il ver. Turiddu mi tolso l'onore, ALFIO. Se voi mentite, vo' schiantarvi il core! SANTUZZA.
Uso a mentire il labbro mio non è! ALFIO. Comare Santa, allor grato vi sono. SANTUZZA. Infame io son che vi parlai così! ALFIO.
No, giusta siete stata, io vi condono; (escono) |
SCENE NINTH.All come out of church, Lucia crosses the scene and enters her house. Lola, Turiddu and Chorus.
CHORUS OF MEN. Now homeward, companions, where we expect to see (The chorus starts to go away.) TURIDDU (to Lola, who is going.)
Well, Mistress Lola, are you going away LOLA. I'm going home; TURIDDU. O never mind him! He will come here; (To the chorus.)
And, meanwhile, friends, approach! (They all come to the table and take drinking cups.) TURIDDU. See the wine, as foaming whitely CHORUS. See the wine, as foaming whitely. (They repeat the verse.) TURIDDU (to Lola.) To your true lovers! (drinks.) LOLA (to Turiddu.) To your most happy fortune! (drinks.) TURIDDU. We'll drink! CHORUS. Let us keep up the contest! |
SCENA IX.
Tutti escono di chiesa, Lucia traversa la scena ed entra in Lola, Turiddu e Coro.
UOMINI.
A casa, a casa, amici, ove ci aspettano (il Coro si avvia) TURIDDU (a Lola che s'avvia.)
Comare Lola, ve ne andate via LOLA. Vado TURIDDU. Non ci pensate, verrà in piazza. (al Coro)
Intanto
amici, qua, (tutti si avvicinano alla tavola dell'osteria e prendono i bicchieri) TURIDDU.
Viva il vino spumeggiante CORO. Viva il vino spumeggiante, ecc., ecc. (si ripete il brindisi) TURIDDU (a Lola.) Ai vostri amori! (beve) LOLA (a Turiddu.) Alla fortuna vostra! (beve) TURIDDU. Beviam! CORO. Beviam! Rinnovisi la giostra! |
SCENE TENTH.Alfio and THE OTHERS.
ALFIO. To all I give my greeting! CHORUS. Master Alfio, we hail you! TURIDDU. You are welcome! and with us must be drinking! (he fills a glass.) Look now, the cup I fill you! ALFIO (pushing away his arm and the glass.)
Thanks, sir! Your cup of wine is not accepted! TURIDDU (throwing away the wine backward.) Then, at your pleasure! LOLA. Ah me! what will this bring! SOME WOMEN (to Lola.) Dear Mistress Lola! let's go away from here! (All the women go out, taking Lola.) TURIDDU. Have you, sir, something to tell me? ALFIO. I? Nothing. TURIDDU. Well then, sir, ALFIO. This moment? TURIDDU. This moment!
(Alfio and Turiddu embrace. Turiddu bites ALFIO.
Master Turiddu, you have bitten quite firmly, TURIDDU.
Master Alfio, I know that the fault is my own; ALFIO (coldly.)
Well then, sir, do as it may suit your pleasure. (He goes out.) |
SCENA X.Alfio e DETTI.
ALFIO. A voi tutti salute! CORO. Compar Alfio, salute! TURIDDU. Benvenuto! con noi dovete bere: (empie un bicchiere) ecco, pieno è il bicchiere. ALFIO (respingendolo.)
Grazie, ma il vostro vino io non l'accetto, TURIDDU (getta il vino.) A piacer vostro! LOLA. Ahimè! che mai sarà? ALCUNE DONNE (a Lola.) Comare Lola, andiamo via di qua. (tutte le donne escono conducendo Lola) TURIDDU. Avete altro da dirmi? ALFIO. Io nulla! TURIDDU. Allora ALFIO. Or ora! TURIDDU. Or ora! (Alfio e Turiddu si abbracciano.—Turiddu morde l'orecchio destro di Alfio.) ALFIO.
Compar Turiddu, avete morso a buono....
(con intenzione) TURIDDU.
Compar Alfio, lo so che il torto è mio; ALFIO (freddamente.)
Compare, fate come più vi piace; (esce) |
SCENE ELEVENTH.Lucia and THE OTHERS, except Alfio.
TURIDDU.
Mother,... that old wine ... is very heady,... and surely LUCIA. Why speak you thus to me, my loving son? TURIDDU (with indifference.)
O nothing! The wine has it to me suggested! (He embraces her and goes out quickly.) |
SCENA XI.Lucia e DETTI, meno Alfio.
TURIDDU.
Mamma, quel vino è generoso, e certo LUCIA. Perchè parli così, figliuolo mio? TURIDDU.
Oh! nulla!... È il vino che mi ha suggerito! (l'abbraccia ed esce precipitosamente) |
SCENE TWELFTH.Lucia, Santuzza and THE OTHERS.
LUCIA (desperate, rushing toward the back of the stage.) Turiddu! what said you? (Going further back and calling in desperation.) Turiddu! Turiddu! Ah!— (Enter Santuzza.) Santuzza! SANTUZZA. O dearest mother! (A confused murmur is heard in the distance.) (A woman screams.) They have murdered Master Turiddu! (Some of the women enter, and one of them repeats the cry desperately. All come on the stage. SANTUZZA falls senseless. LUCIA swoons, and is surrounded by all the women.)
The curtain falls quickly. |
SCENA XII.Lucia, Santuzza e DETTI.
LUCIA (disperata correndo in fondo.) Oh Turiddu?! che vuoi dire? (Va in fondo alla scena e disperatamente chiama) Turiddu! Turiddu! ah! (entra Santuzza.) Santuzza!... SANTUZZA (getta le braccia al collo di Lucia.) Oh! madre mia!... (si sente un mormorio lontano) DONNE (correndo.) Hanno ammazzato compare Turiddu!... (tutti gettano un grido) (Alcune donne entrano, ed una di esse grida disperatamente. Tutti si precipitano sulla scena. SANTUZZA cade priva di sensi. LUCIA sviene, ed è sorretta dalle donne del Coro.)
(Cala precipitosamente il sipario.) |
| [1] NOTE—A Sicilian form of challenge. |
***END OF THE PROJECT GUTENBERG EBOOK ZANETTO AND CAVALLERIA RUSTICANA***
******* This file should be named 14370-h.txt or 14370-h.zip *******
This and all associated files of various formats will be found in:
https://www.gutenberg.org/1/4/3/7/14370
Updated editions will replace the previous one--the old editions will be renamed.
Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
https://gutenberg.org/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS,' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at https://www.gutenberg.org/fundraising/pglaf.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at https://www.gutenberg.org/about/contact
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf.org
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit https://www.gutenberg.org/fundraising/pglaf
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including including checks, online payments and credit card
donations. To donate, please visit:
https://www.gutenberg.org/fundraising/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart was the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Each eBook is in a subdirectory of the same number as the eBook's
eBook number, often in several formats including plain vanilla ASCII,
compressed (zipped), HTML and others.
Corrected EDITIONS of our eBooks replace the old file and take over
the old filename and etext number. The replaced older file is renamed.
VERSIONS based on separate sources are treated as new eBooks receiving
new filenames and etext numbers.
Most people start at our Web site which has the main PG search facility:
https://www.gutenberg.org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
are filed in directories based on their release date. If you want to
download any of these eBooks directly, rather than using the regular
search system you may utilize the following addresses and just
download by the etext year.
https://www.gutenberg.org/dirs/etext06/
(Or /etext 05, 04, 03, 02, 01, 00, 99,
98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
EBooks posted since November 2003, with etext numbers OVER #10000, are
filed in a different way. The year of a release date is no longer part
of the directory path. The path is based on the etext number (which is
identical to the filename). The path to the file is made up of single
digits corresponding to all but the last digit in the filename. For
example an eBook of filename 10234 would be found at:
https://www.gutenberg.org/dirs/1/0/2/3/10234
or filename 24689 would be found at:
https://www.gutenberg.org/dirs/2/4/6/8/24689
An alternative method of locating eBooks:
https://www.gutenberg.org/dirs/GUTINDEX.ALL
*** END: FULL LICENSE ***