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And I did, and you will see. The translation of those is from Dec 25 around One last thing, a quotation from the Paracritical Note: The third one is funny. What I originally had was a combination of P. The two were combined in Lobel-Page and Campbell on the basis of the P. Obbink came along, and goodbye quotation 1 here, but quotation 2 was confirmed, and both ended up in Dearest Offspring thanks to P. Yeah those papyri cause quite a lot of havoc in Sapphic texts: So I have a translation for a holey text completed with both quotations, and then I will have a tab two containing the new text with English only.

In any case, these are Sapphic stanzas. Concerning reading uncertainties, I will adopt P. X's critical notation, and copy a couple of Lobel-Page notes here. Upon posting this, I left the P. More precisely, stanza 1 was complete by 9: The meaning is essentially the same. The meter is a single glyconian expanded with 2 dactyls, same as Hector and Andromacha, rendered as —u—uu—uu—uu—u— in Italian and English. Campbell does what I followed in his fr.

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The meter is then the same as the previous fragment. The details of anuscript traditions are left to Bergk-Edmonds-Campbell. So here we go! What peasantly girl your heart doth conquer now, Some peasantly clothing a-wearing? I want [u—x —u—x] sufferin[g th]is [u—x —u—x—u] and I myself This full well know. Original Do this well see.

Cypris, queen, now tell me: Saturday, 23 December I loved you, Atthis… but now you hate me…. But this time in Greek. Yes, we are going back to Sappho after quite some time. Today, I have… how many poems? This is a very good questions. Let's start by saying it's 3 distinct quotations: So that would make two poems. Some, however, for I don't know what reason, decide to split the last quote into two isolated couplets, making 3 poems. I don't see any reason to do so, so I'll make these two poems. Don Giovanni and Leporello enter. Oh look, what handsome young people, and what lovely women! Go on enjoying yourselves, go on playing, my good people.

Is there a wedding? Cara la mia Zerlina! At my service — this is the way a real gentleman talks. And my dear Zerlina! I offer you my protection. Cerca di divertir tutti, mostra loro il giardino, la galleria, le camere; in effetto, fa che resti contento il mio Masetto. Take them at once to my villa. See that they are served chocolate, coffee, wines, and hams.

Try to keep them all amused; show them the garden, the gallery, the rooms. Be sure that my dear Masetto is made happy. Go on; she and I will come later. Tocca la spada in modo eloquente. Fosti ognor la mia ruina! Faccia il nostro cavaliere, cavaliera ancora te! He taps his sword significantly. I bow my head and go away. Since this is the way you want it, I make no objections.

No no, no, no objections. After all you are a cavalier, and I really must not doubt you. I am reassured by the kindness which you want to show me. You always were my ruin! Perhaps this cavalier will make you a lady. Parte con Leporello e i contadini. Che ne dite, mio ben, so far pulito? Non vorrei… You nasty little witch! He goes out, accompanied by Leporello and the peasants. Do you suppose an honourable man, a noble cavalier, as I believe myself to be, could permit such a lovely little face, such sweet beauty to be stolen by a clumsy oaf?

You were not made to be a peasant girl. Another fate is called for by those roguish eyes, those lovely lips, those slender, perfumed fingers, so soft to the touch and smelling of roses. Io so, che rado colle donne voi altri cavalieri siete onesti e sinceri. I know that you cavaliers are only rarely honest and sincere with women. I want to marry you on the spot. That little villa there is mine, and there, my jewel, we will be married. You see, it is not far; Let us leave, my beloved.

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My heart trembles a little. There you will give me your hand. Il ciel mi fece udir le tue perfidie. Io sono a tempo di salvar questa misera innocente dal tuo barbaro artiglio! Heaven willed that I should overhear your lies. I am in time to save this innocent from your dreadful scheming.

Io so, crudel, come tu ti diverti! Da miei tormenti impara a creder a quel cor; e nasca il tuo timor dal mio periglio! Ah, fuggi il traditor! Parte conducendo via Zerlina. I know, cruel one, how you enjoy yourself! His lips are lying ones, his eyes deceiving. Learn from my suffering to trust what I say, and let my misfortune make you afraid. She leaves with Zerlina.

Everything is going badly. Entrano Donna Anna e Don Ottavio. Donna Anna and Don Ottavio enter. My relatives, my parents, this arm, this sword, my possessions, my blood, all I will give to serve you. But, Donna Anna, why do you weep thus? Who was the cruel one who dared to trouble your peace of mind?

Italian poetic meter and its use by Lorenzo Da Ponte in the Mozart Libretti. - Free Online Library

Non ti fidar, o misera, di quel ribaldo cor! Do not believe, unhappy one, in that faithless heart! The villain has already betrayed me! Now he seeks to betray you. Her pallor, her tears fill me with pity! Le tue colpe ed il mio stato voglio a tutti palesar! I passi suoi voglio seguir; non voglio che faccia un precipizio. People are beginning to gather around us. Be a little more prudent, you will become an object of gossip. Your guilt and my situation shall be known to all. Donna Elvira goes off. I must follow her. Excuse me, most beautiful Donna Anna.

If I may be of service to you I await you in my house. The parting words the villain uttered, his whole voice recalled to my heart that worthless creature who, in my apartment…. Is it possible that beneath the sacred cloak of friendship…? But how was it? Tell me about the strange happening. Ma riconobbi poi che un inganno era il mio. At first I mistook him for you, but then I realised that I was mistaken. I tried to free myself but he seized me all the harder.

I screamed, but no one came!

With one hand he tried to quiet me, and with the other he seized me so hard that I already thought myself lost. Vendetta ti chiedo, la chiede il tuo cor. Ah, di scoprire il vero ogni mezzo si cerchi. Quickly I followed him as far as the street in order to catch him, becoming in my turn the pursuer. My father ran out, wanted to learn his identity, and the rascal, who was stronger than the old man, completed his misdeed by murdering him!

I ask you for vengeance. Your heart asks for it, too. Ah, I must get at the truth any way I can. I feel that as a friend and lover my duty is plain: I must either undeceive her or avenge her. Entra Leporello, poi Don Giovanni. Eccolo qui; guardate con qual indifferenza se ne viene. Upon her peace of mind mine also depends; what pleases her is what gives me life, what displeases her is what gives me death. If she sighs, then I, too, must sigh. Her anger becomes my own. Her tears belong to me. And there can be no joy for me if she is not happy. Enter Leporello, then Don Giovanni.

There he is now. Look at the indifference with which he comes. Altri canta, altri scherza, altri seguita a ber. E con lei chi viene? They soon became intoxicated.

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Some sang, some joked, others continued to drink. At the height of it all, guess who dropped in? And who was with her? Se trovi in piazza qualche ragazza, teco ancor quella cerca menar. The affair could not be going better. You began it, I will finish it. These lusty peasant lasses are too much on my mind. I want to amuse them until night comes. So that the wine may set their heads whirling, go and prepare a wonderful party. If on the way you meet some young lady, try also to bring her along. Let the dancing be spontaneous.

They can do the minuet, the gavotte or the waltz, just as you like. And I in the meantime behind the scenes will be flir ting with this one and that one. Ah, to my list tomorrow morning you will have to add at least ten names! Ah, se non fosse lo scandalo, vorrei —. Why should I let a hussy like you touch me? You have the effrontery to make excuses? To remain alone with a man, abandoning me on my wedding day! To shame an honest working man in such a manner! Ah, if it were not for the scandal I would like to — The peasants leave. Non me lo credi? Vien qui, sfogati, ammazzami, fa tutto di me quel che ti piace; ma poi, Masetto mio, ma poi fa pace.

Ah, lo vedo, non hai core! Siamo pure i deboli di testa! If I have been tricked by him? And then, what do you fear? Calm yourself, my love; he did not touch even the tips of my fingers. Do everything you want to me, but afterwards, my Masetto, let us make peace. Aria Beat me, beat me, my Masetto, beat your poor Zerlina. Ah, I see you have no heart! We must be weak in the head! Ah, capisco, capisco, bricconcella!! Why do you grow pale? Ah, I understand, you hussy!

You fear that I will learn how things went between you two. Entrano Don Giovanni con servi, e contadini. Su, coraggio, o buona gente! Vogliam stare allegramente, vogliam rider e scherzar. Where are you going? Do not hide here, oh Masetto! If he finds you, woe is you. Don Giovanni enters, followed by a group of servants. Come, courage, my good people! We want to have a good time, we want to laugh and joke. Alla stanza della danza conducete tutti quanti ed a tutti in abbondanza gran rinfreschi fate dar. Partono servi e contadini. To the ballroom now lead everybody and see to it that refreshments are served in plenty.

The servants and the peasants go out. Zerlina is looking for a place to hide. Come over here for just a moment; I want to make you happy. Don Giovanni prende Zerlina e vedendo Masetto fa un moto di stupore. Don Giovanni pulls Zerlina away but coming face to face with Masetto, stops in amazement. Your beautiful Zerlina cannot, poor girl, stay any longer without you. Now come along with me. Temo pel caro sposo, e per noi temo ancor. Leporello apre la finestra. Banish, my darling, your anguish and fear. I fear for my beloved, and for us all. Leporello opens a window.

He retires from the window. Tornerete a scherzar e ballar. Leporello is chatting to some of the men. You will soon be joking again. Tocca pur che ti cada la testa! Oh, briccona, mi vuoi disperar! Go on and touch her, so I can lop off your head! Come here, my dear Masetto, let us do what the others are doing.

Eh, balla, amico mio! Leporello balla con Masetto. Don Giovanni ballando conduce via Zerlina. Let us do what the others are doing. Leporello dances with Masetto. Don Giovanni, dancing with Zerlina, leads her towards an exit. Don Giovanni and Zerlina go off into another room. Don Giovanni esce colla spada in mano, conducendo per un braccio Leporello. Don Giovanni, sword in hand, re-enters dragging Leporello with him. But I will punish him! Si cavano la maschera. They take off their masks.

Trema, trema, o scellerato! Ma non manca in lui coraggio. Non si perde o si confonde. Se cadesse ancora il mondo, nulla mai temer lo fa. Ma non manca in me coraggio. Non mi perde o mi confondo. Se cadesse ancora il mondo, nulla mai temer mi fa. Now the whole world shall know of the horrible, black crime of your arrogant cruelty! Listen to the sound of vengeance as it thunders all around you! Upon your head this very day its thunderbolt shall fall. A dreadful storm, oh Lord, its thundering over him. But he does not lack for courage. He is not lost or worried.

If the world itself should end, nothing could make him afraid. A dreadful storm, oh Lord, is thundering above me. But I do not lack courage. I am not lost or worried. If the world itself should end, nothing could make me afraid. Leporello fa per partire. You almost killed me. It was only a joke. I want to go. Leporello starts to go.

Vien qui, facciamo pace, prendi! Oh, sentite, per questa volta la cerimonia accetto; ma non vi ci avvezzate; non credete di sedurre i miei pari, come le donne, a forza di danari. Have you the nerve to do what I tell you?

Italian poetic meter and its use by Lorenzo Da Ponte in the Mozart Libretti.

You know that they are more necessary to me than the bread I eat! Than the air I breathe! He who remains faithful to one is being cruel to the others; I, who have an overabundance of sentiment, love them all. Since women cannot think clearly, they call my natural, kindly feelings betrayal. Now then, what is it you want me to do? Si cava il proprio abito. Fanno cambio del mantello e del cappello. Donna Elvira appare alla finestra della locanda.

Non palpitarmi in seno! Now I want to try out my luck with her, and I thought, since it is almost evening, that I would whet her appetite all the more by presenting myself disguised in your clothes. He removes his cloak. Come on, hurry up! They exchange cloaks and hats. Donna Elvira appears at a window of the inn. Do not beat so within my breast! He is a villain, a betrayer, and it is wrong to feel pity.

Si nasconde dietro Leporello e parla per lui, muovendo le braccia del servo opportunamente. I am really penitent.

Idolo mio, vien qua! Donna Elvira parte dalla finestra. My darling, please come here! What a nice little coup this is! Nowhere have I found as fertile a talent as mine! Donna Elvira disappears from the window. Don Giovanni va in disparte. Then skilfully try to lead her away with you.

Don Giovanni hides to one side. That, penitent, my beloved Don Giovanni returns to his duty and to my love? Don Giovanni finge di uccider qualcheduno. Le finestre son queste; ora cantiamo. Prende un mandolino lasciato da Leporello e si accompagna. Deh vieni alla finestra, o mio tesoro, deh vieni a consolar il pianto mio. Non esser, gioia mia, con me crudele! Entra Masetto con contadini.

Don Giovanni springs out of hiding and pretends to be waylaying someone. Fate seems to be on my side! These are the windows. Let us serenade them. He picks up a mandolin left behind by Leporello and begins to accompany himself. Come to the window, my treasure, come to console my lament. If you deny me some relief, I want to die before your eyes! You whose mouth is sweeter than honey, you whose heart cradles sweet desires! Do not, my beloved, be cruel to me! At least let me see you, my loved one! Masetto enters followed by a group of peasants. Non risponde; animo, schioppo al muso!

Il servo son io di Don Giovanni. My heart tells me we must find him. I think someone moves over there. Now then, shoulder arms! I must be careful. E pian pianin lo cerchino, lontan non fia di qua! In testa egli ha un cappello con candidi pennacchi, addosso un gran mantello, e spada al fianco egli ha. Ah, tell me, where we can find him? We are looking for him to kill him! I will join you to put an end to that rascal of a master. But listen a moment to my plan. Some of you go this way, the rest of you go that way!

And quietly, softly look for him, he is not far from here! If a man and a girl you see strolling in the square, if under some window you hear someone making love, fire away, by all means fire, for it will be my master. On his head he wears a hat covered with white plumes, over his shoulders a great cloak and at his side a sword. Andate, fate presto, tu sol verrai con me. Ho pria questo moschetto, e poi questa pistola. Hurry, go and find him, but, you, come with me, Masetto. The peasants go off. I have this musket and then this pistol, too.

He hands the weapons to Don Giovanni for inspection. Eh basta, certo; or prendi, questa per la pistola, questa per il moschetto! Questa per ammazzarlo, questa per farlo in brani! Now this one is for the pistol, this one for the musket! This one is for killing him, this one for wanting to cut him into pieces! Where does it hurt?

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Vedrai, carino, se sei buonino, che bel rimedio ti voglio dar! Saper vorresti dove mi sta? Sentilo battere, toccami qua! Come home with me, and if you promise to be less jealous, I will take care of you, my dear husband. I can give it to you, if you would like to try it. Do you know where I keep it? Feel it beating, touch me here! They go out together. Let us stay hidden here until they go away. Ecco il tempo di fuggir! Alone, in this dark place I feel my heart beating loudly, and such a fear assails me that I feel like dying.

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