ML MHZ N3 CO i h V 3 SMMy Ook limy of Muw * Omm Unooln Hall GomeR University Ithaca. NY 148584101 !&8fr LA NAVARRAISE. ' JHf ATM TICKET OFFICE III B» "OO O O O O. O O O ,o C !**£f OO OOOO0 © • THE ONLY CORRECT AND AUTHORIZED EDITiOH o— WYNKOOP HALIENBECK CRAWFORD CO., PRINTERS, NEW YORK WM. KNABE & CO.'S PIANOS USED EXCLUSIVELY ■ THE KNABE PIANOS. TESTIMONIALS FROM' DISTINGUISHED ARTISTS, COMPOSERS AND MUSICIANS. '. • j '' Thalberg, the great composer and musician, wrote of the Knabe pianos that they, were " distinguished for their evenness and volurhe of tone, and their easy and agreeable touch." ' -.*,:- ; . Gottschalk, whose name is still beloved in this country, said of- them, " I do not hesitate to dectare.them equal, if not superior, to the 'best manufactured, in Europeor this country by the' most celebrated makers." .>. ),'",' - Marmontel,' the celebrated professor of the Conservatory of Music, Paris, said. thV Knabe. pianos are instruments of the first' merit, and regretted that : they were not exhibited at the great. Paris Exposition of 1867, as "the name of Knabe would certainly have added additional honor and success to American industry and skill." Sir Julius Benedict, the renowned English composer and conductor, declared, after personal use of a Knabe piano, that it was "one of the most perfect pianos I ever: met with j their success, whether in a large concert-hall or in a private drawing- room, does not admit of. the slightest doubt, 'and will bdcome as universal as well; . deserved." - '-'/- Teresa Carreno, the eminent pianist; renowned in Europe as, well as America, chose the Knabe Grands for her concert tour because she" had carefully tested all the pTominenl: pianos in America, and had found .in th* - Knabe warerooms tjie piano which / "C; gaye her /satisfaction "in every point, and which could sustain her most efficiently, in the severe task before her." , , , ,.',. ..Fannie Bloomfield Zeisler, the distinguished pianist, and the favorite pupil of ' LeSchetitzkjfy the husband of Madame Essipoff, after " having used the Knabe .pianos ' for several years, both in numerous concerts and at home,'' indorsed them as "most wonderful instruments," and said of them: "They excel in a refined, sympathe^e' tone of surprising singing quality, and of greatest volume and depth, perfection' in/ action and touch, and remarkable durability, a». The bells toll for Zuccaraga's death. Araquil realizes then what she has done. He dies, horrified at her crime. Anita tries to kill herself, rails at the Virgin for not letting her die, then, as she listens to the tolling bell, she asks if it is her wedding-day. The girl from Navarre is mad. Fkedeeio Ltstee. ti La Navarraise." ACTE PREMIER. Petite place pittoresque avec maisons dans un vil- lage pres de Bilbao (Provinces Basques). A gauche une posada servant de quartier general. Table sur le devant. Dans le fond, on aper- coit une barricade formge de dgbris de toutes sortes (voitures sacs st terre, matelas), un canon reste S, l'embrasure, deux soDt dgmontgs; cette barricade effondrge d'un c6tg touche la route donnant sur la vallge qu'elle dpmine ; & l'ho- rizon, les Pyrgnges couvertes de neige. (Plein jour. II est six heures du soir au printemps.) Des soldats noirs de poudre venant de la vallge, passent sans ordre, quelques-uns blessgs sou- tenus parjeurs ramarades, d'autres portgs mou- rants sur des civieres. Un groupe de femmes prie en silence devant une madone. Une veil- leuse brille devant l'image sainte. Des femmes regardent pardessus la barricade. On entend par instants des feux de peloton et des coups de canon dans le lointain. Les femmes ont in- terrompu leurs prieres et gcoutent auxieuse- ment. SCENE PREMIERE. Apres quelques instants, pairait Garrido, en tenue de campagne, les bottes boueuses, le ros novici, suivi de son Etat-Majeur, il roule avec colere autour de ses doigts, la dragonne de son epSe. Garrido. (aux officiers) L'assaut a coutg cher ! Messieurs, notre courage Laisse notre honneur sauf, mais la ville estdebout! Je la tenais . . . Zuccaraga nous l'a reprise ! Cet homme est le demon ! Ah! je voudrais tenir Ce Carliste maudit, coeur S, coeur, face S. face, Et lui donner ma vie, ou l'abattre & mes pieds ! Lui, mort, Bilbao tombe et c'est la paix. Hglas ! Qu'on sauverait de gens avec la mort d'un seul ! [D. fait signe £ ses officiers d'entrer dans la posada de droite, qui sert de quartier general. Deux ou trois officiers restent sur la place.] SCENE II. Anita, Femmes, Officiers,. puis Araquil. Anita (palpitante, haletante parait, apres quelque hesitations, elle va droit li l'un des officiers). Capitaitie, je vois quo vous appartenez " Au rggiment de la Biscaye. j] Ramon. Que voulez-vous, ma pauvre fille? Ani. Ah ! je voudrais savoir si vous y connaissez Un sergent, Araquil. Vous devez l'avoir vu? II revient. N'est-ce pas? [sonnerie de marche gloignge.] Ram. Je ne puis rien vous dire. Si ce n'cst que voici le premier bataillon. Qui rentre, c'est l'arriere garde ! Ani. (avec ivresse.) Ah ! le revoir ! le retrouver ! [Elle s'gloigne d'un pas tremblent, et tirant de son corsage une petite vierge de plomb, elle prie avec ferveur et agitation.] Vierge tres bonne, 6 Marie, Pais qu'il me revienne encore, Le soldat qui sous les balles Combat en pensant a moi. Tres Sainte Vierge, Protege le! protege nous I Vierge purissime! O Marie! t Ramene le ! dis, rends le moi ! [Cette fois, les soldats entrent presque en ordre, des femmes, des paysans se pressent au bord du che min sur lequel vont passer les soldats qui sem- blent venirpar la route qui rampe du fond de hi > vallge. Anita, anxieuse, estparmiles groupes.] II n'est pas lit ! Je tremble. Est-ce lui? Non ! J'ai peine A me tenir debout. Mes genoux tremblent et mon coeur, Mon coeur va se briser. Non ! non ! il n'est pas Id. C'est fini ! le dernier ! [Elle jette un grand cri en apercevant le sergent Araquil qui apparait enfln.poussant devant lui deux ou trois soldats. La foule se disperse peu & peu. Anita vers Araquil.] Toi! Toil Toil [Elle lui prend la tSte dans ses mains et l'embrasse follement.] Bonne Sainte Vierge ! Vierge bfinie, & toi merci ! [Elle baise avec passion sa petite vierge de plomb.] Le voiia ! c'est lui ! Ara. Pauvre amie adoree, Je ne pensais qu'a toi ! Ton regard, le son de ta voix Me revenait comme dans un reve. Je combattais, et tu priais ! Ani. Je t'ai cru mort dans la melee ! Ara. C'est ton amour qui m'a sauvg ! Duo. Ani. Mon souvenir t'a protegg, Et c'Stait mon image aimee Prgsente sans cesse & mes yeux Qui de toi que j'adore Ecartait tout danger. Ara. Ton souvenir m'a protggg, Et ton image bien aimee Prgsente sans cesse & mes yeux Du soldat qui t'adore Ecartait tout danger. Ara. Vous qui restez let-bas, immobiles et blemes. Freres du rggiment que nous ne verrons plus! Nous saurons nous venger ! Mais, Sme que j'adore, Berce nos esprits gperdus ! Sur ton cceur, sur ton coeur gtouffe, Les sanglots que j'ai l&i pour ceux que ne sont plus ! ti La Navarraise." ACT I. Scene. — Small picturesque square, with houses in a village near Bilbao (Basque Provinces). On the left, a Posada, serving as the military head- quarters. Table and benches in front. At the back, a barricade formed of debris of vari- ous kinds (carriages, bags of earth, mattresses), one cannon in an embrasure, two dismounted; the barricade falling in on, one side touches the road which overlooks and commands the valley. In 'the horizon the Pyrenees are visi- ble, covered with snow. Daylight, six o'clock in the evening. Springtime. Soldiers, begrimed with powder, coming from the valley, straggle past, out of line. Some of them wounded are supported by their com- rades, others dying are carried on litters. A froup of women pray in silence before a Ma- onna. A lamp burns before the holy image. Some women are looking over the barricade. From time to time the sound of rifle-shots and heavy artillery is heard in the distance. The women stop praying and listen anxiously. SCENE I. During the symphony Garrido appears, followed by his staff. He twists his sword-knot an- grily in his fingers. Gab. (to his officers) < The fight has cost 'us dearly, gentlemen ; Thanks to our swords our honor is still saved; But the town still stands, as from the day When Zuccaraga took it first from me. Ah, could I meet this cursed Carlist once Breast to breast and face to face, And yield to him my life or bring him to my feet 1 When he is dead, Bilbao falls and peace is won; Ah, that so many lives depend upon the death of one. [Gak. makes a sign to his officers to enter the Po- sada. Two or three officers remain in the square. Among them, Ramon.] scene n. Anita, trembling and out of breath, appears. After some hesitation, she goes up to one of the officers. Aw, Noble Captain — I see that you belong To the Biscayan regiment- RAM. What dost thou want, my poor girl? Am. Ah, sir, I fain would learn if haply Tou know a sergeaut— Araquil. Have you seen him? Has he not yet re- turned? Ram. I fear I cannot tell thee. [trumpets in the distance.] (listening) Can that be The first battalion coming? or the vanguard?' Ani. (with delight) Ah, to see him ! to have him back! [She retires with trembling step, and drawing from her bosom a leaden image of the Virgin prays with fervor and agitation.] O, Mother Mary, look from thy throne above, Bring back my soldier love, Where 'mid the fight be is dreaming of me ; Ah, holy Virgin, Mother of Mercy, Be thou his shield, our comfort be! Mother, be near me ! aid me and hear me ! Bring back my love ! give him to me ! [At this moment the soldiers enter, more or less in order. Women and peasants crowd to the edge of the road along which the soldiers are passing. Am. is anxiously watching among the rest.] (in distress) He is not there ! I tremble ! Is it he? — No ! I scarce can stand, my knees are trembling. My heart is like to break ! No ! no ! he is not there. They all have passed. He is not there ! [Ani. utters a loud cry as she sees the Serg. Ara- quii, who appears at last, pushing before him two or three soldiers. The crowd disperses by degrees.] Ah, my love, at last, at last ! [Ani. takes Ara.'s face in her hands and kisses him wildly.] Ah, holy Virgin, thanks to thee ! [She passionately kisses the leaden Madonna.] He has come ! 'Tis he ! Ara. I thought of thee, my darling, only, Thy face, thy voice came back in dreams to me; In stormy fight, on picket lonely, I knew that tliou did'st pray for me. Ani. Ah, love, I thought thee dead or dying, My spirit longed to be with thee! Aba. And through the fight I felt it flying To be with me, to be with me ; To watch and rescue me from danger, And bring me back to thee. Ani. And bring thee back to me. Aba. (remembering his comrades fallen in battle) And ye who yonder sleep, whom we shall see no more, Brothers! comrades in arms! sleep on, we will avenge you ! But comfort me, beloved, bid all my sorrow rest, And on thy bosom hush the tears I shed For those who are no more. "LA NAVARRAISE." Am. Araquil ! laisse-moi tes yeux ! Je veux les fermer sous ma levre, Donne, je veux sous mes baisers Calmer ton angoisse et ta fleve Duo. Ara. Ah ! chere et douce que j'adore ! Dans un long baiser confondu Nous regardant les yeux perdus, Dis moi : Je t'aime ! encore, encore 1 Ani. Mon Araquil, toi que j'adore, Dans un loDg baiser confondu, Nous regardant les yeux perdus Dis-moi : Je t'aime ! encore, encore ! SCENE nr. Les Memes, Remigio. A ce moment, un vieux. en costume de fermier, marche droit sur Araquil et Anita enlaces. Rem. Araquil ! Ara. Mon pere ! Rem. Mon enfant! [lis s'embrassent.] Dieu soit loug ! C'est toi, te voilS, Sans blessure. > Ah ! que je suis heureux ! [Se retournent vers Anita.] Mais toi, la Navarraise, 8eras-tu done toujours r6dant autour de lui? Ani. Mais si je l'aime, il m'aime ! Rem. Le fils de Remigio, le fermier respects, Ne peut pas Opouser une fille de rien. Ara. Pere ! Rem. Une errante ! une (itrangere! Ara. Mais . . . Rem. D'oti vient ta Navarraise ? Ani. i De Pampelune, ou tous les miens sont morts. Je n'ai plus de parents, je travaille et j'es- pere ! Ara. Depuis deux ans, je l'aime ! Ani. Et c*est a Loyola, Le jour de la Romeria, Un cher lundi de Paques, Que nous nous sommes vus pour la premiere fois! Avec de Navarrais. . . Ani. II jouait 3, la paume. II les avait battus. J'applaudissais, et puis, A la course des Novillos . . Ara. Je ne la quittais pas des yeux ! Ani. Le soir. . . Ara. Elle et moi, nous dansSmes. . . Ani. L'air de cette jota, je l'entendrai toujours ! Ara. Toujours je la revois, avec son beau sourire ! Ani. II n'Stait pas soldat. Ara. Mais lorsque je partis, Devant Dieu, nous jurSmes Ani. Ara. De nous aimer toujours ! Rem. (a" Ani. ) Eh bien ! quand tu m'apporteras, Fille, une dot egale A celle que je donne S mon brave Araquil, A mon fils, nous verrons. Ani. Une dot! Ara. Pauvre fille ! Ani. Une dot ! Et combien ? Rem. Bah! deux milles douros. Ani. (icipetant) Deux milles douros ! Impossible ! C'est me tuer. [suppliante.] Mariez done son cceur avec mon coeur! Car, si jamais, je le voyais Au bras d'une autre femme, Je crois, je l'aime tant, que jela frapperais, Elle — oui, c'est folie, Ou pour rentrer chez eux il leur faudrait passer Sur mon corps. Rem. (avec ironie) Vraiment, c'est une folle ! Ant. (avec egarement) Ne vous moquez pas, car je -tremble De seritir me f uir ma raison. Araquil en aimer une autre! Ensemble. Ara. et Ani. (a Rem.) Mariez done son cceur avec mon coeur. Rem. (ft Ara.) Tai» toi, quand j'ai parl6 ! Ton pere est le seul maltre ! Rem. Dot pour dot! Au revoir. Adieu, plut6t, ma fille! Ara. Mon pere . . . Rem. Plus un mot. J'ai dit. ObGissez. SCENE IV. • Les Memes, Garrido sort de la posada avec quelques officiers, au moment ou Remigio va s'Sloigner. Gar. (a Ara., qu'un officier vient de lui designer) Etes-vous de la compagnie Qui protegera notre retraite? [Anita anxieuse assiste de loin & la scfene.] Ara. (qui a quitte son pere et s'est avancS vers Gar- rido) Oui, ggnSral! Gar. Vos officiers ? Ara. Tous, morts dans la dgroute ! faisant face au danger. Gar. Morts ? Qui done a commands' ? Ara. C'est moi sous la mitraille. . Le dernier en mourant, m'a dit: "Fais ton devoir!" J'fitaisle plus ancien! Gar. Bien ! Prends la lieutenance, Car tu es un vaillant. "LA. NAVARRAISE." Ani. (caressing him) Ah, turn thine eyes, dear eyes to mine, Thus to my bosom let me press thee ; Ah ! let my lips lie warm on thine, And kiss the tears that now distress thee! Aua. There's none beside thee, none above thee, Then look into my eyes once more, And kiss me, kiss me as of yore, And say " I love thee ! " Ani. Then look into mine eyes once more, And kiss me, kiss me, as of yore, And say "I love thee ! " • SCENE III. [Rbmigio appears and advances towards Aba. and Ani.] Rem. (with joy) Araquil ! Ara. My father! Rem. My brave boy ! [they embrace.] Now God be praised, 'tis thou ! Safe, safe returned, unwounded ! Ah, but my heart is blest ! ■ [turning to Ani., roughly.] But thou, thou Navarraise, Why keep'st thou ever hanging thus About my son? Ani. (simply) But if I love him? if he loves me? Rem. (with hauteur) The son of Remigio, whom all respect, Can never plight his troth to such as thou ! Ara. (beseechingly) Father! Rem. A beggar ! a stranger ! Ara. But — Rem. (in a passion) Whence comes thy Navarraise? Ani. (sadly," but proudly) From Pampeluna ! — My parents are no more, And all my friends are dead. But I work — and hope. Ara. Two years I have loved her ! Ani. 'Twas at Loyola, the fgte of the Romeria, One bright, sweet Easter morning, For the first time we met. Ara. With men from Navarre — Ani. In a tennis tourney He played and beat them all. I cried bravo ! and once again At the races of Novillos — Ara. How I gazed at her. Ani. Then in the evening — Ara. She and I danced together ! Ani. Ah, that beautiful Jota — I hear it still for aye. Ara. And I see her for aye, with her sweet smile upon me. Ani. He was not then a soldier. Ara. But when I went away, We swore 'fore God together that we would love for aye ! Rem. (to Ani., roughly) Well, then, girl, when you bring me a dow- ry as large As the'dowry I give to my brave Araquil, We will see, we will see 1 Ani. A dowry ! Ara. (aside) Ah, poor darling ! Ani. (anxiously) A dowry ? How much ? Rem. (carelessly) We'll say two thousand douros ! Ani. (repeating his words, overwhelmed) Two thousand douros I I cannot ! Kill me at once ! Ah, join our hearts for love's short hour, Love has no need of golden dower ! For if I e'er should see his arms around an- other Methinks I love him so that I should strike her dead, Or to their bridal room they'd have to pass O'er my dead body ! Ab, join our hearts for love's short hour! Rem. (shrugging his shoulders) The girl is mad, I vow ! Ani. Ah, do not mock me thus. I should go mad indeed If Araquil should love another ! Ani. & Ara. Ah, join our hearts for love's short hour ! Love has no need of golden dower ! Relent! Relent! Ah,hearourprayer! Rem. Nay, nay ! It shall not be, I swear ! Thou shalt obey thy father's power ! Ani. & Ara. Relent! Relent! Ah, hear our prayer, And join our hearts for love's short hour, Love has no need of golden dower! Rem. (to Ani. , ironically) Dowry for dowry — au revoir ! But no ! we'd better say " good-bye ! " Ara. My father ! Rem. (inflexible) No more, I say ! Ye must obey ! SCENE IV. [Gar. comes from the Posada with some of his officers just as Rem. is about to leave.] Gar. (to Ara., whom one of the officers has point- ed out to him) - Tell me then, wast thou in the company Which covered our retreat ? [Ani. listens anxiously at a distance.] Ara. (leaving his father and advancing to Gar.) Yes, General. Gar. Where are your officers ? Ara. All dead, killed in retreating, With face to the foe ! Gar. Dead ? Who then holds the command ? Ara. I. The last one dying cried to me "Take the command, and do thy duty !" Gar. Good. Thou shalt be lieutenant. 'Twas bravely done ! "LA NAVARRAISE." [Araquil, apres avoir fait le salut militaire, va vers son pere qui lui prend la tete dans ses mains.] Rem . Que je suis fler de toi ! Ani. Tout m'gloignc de lui ! [Araquil la regarde, veut lui envoyer un baiser. Rbmigio s'empare de son flls et l'entraine, r6pon- dant par un geste negatif & la supplication d' Anita.] SCENE V. Garrido, Anita, puis un Officier. La place se vide peu & peu et lentement la nuit va se f aire. Anita suit de ses yeux navres le pere et le flls qui s'Sloignent ; elle disparait un mo- ment pour revenir abattue. Gar. (s'asseyant tres sombre a" une table devant la posada) Morts ! Les vieux compagnons, Les meilleurs, les plus braves ! Morts! Et moi, le vieillard, je survis aux heros ! [La nuit s'est f aite ; des soldats ont apportes des fa- lots, une lanterne est posee sur la table, et Gar- rido deplieune carte qu'il regarde Scettelueur.] Ani. (a" part, avec Sgarement en revenant) Oui, le pere a raison! Qui suis-je! Une fitrangere! Une errante et si pauvre ! Rien ! Gar. (a lui-mfime) La ! la ! de ce cote L'assaut pourrait peut-etre. Ani. (3, part) C'est vrai je ne suis rien. II est maintenant officier! Jamais il ne m'appartiendra! Je n'ai plus qu'st partir. Seule ! desespere ! [Elle va s'eloigner, mais s'arrete Sla vue de Ramon qui parait et s'avance vers le general Garrido.] Ram. General! Gar. Qu'est-ce encore ? Ram. Les Carlistes en nombre Menacent notre camp. Le Majeur Ortega Vient d'Stre tue! Gar. (avec eclat) Ortega! m on ami! II me les prendra tous! Lui ! ce Zuccaraga ! [Ramon rentre dans la posada. Garrido Stendant les bras vers l'horizon.] Misgrable bandit ! II ne mourra done pas! [Anita ecoute, Garrido f rappant du poing sur la table.] Le soldat, qui dans la bataille, Atteindrait ce Zuccaraga ! Je lui donnerais avec joie, Une fortune avec la croix ! [Garrido reprend fievreusement la carte qu'il observe avec plus d'attention encore. II semble travailler, calculer.] Ani. (haletante) Une fortune ! Une fortune ! Le3 deux mille douros. Deux mille, a dit le pere. La dot ! Araquil ! Notre amour. Et j'hesiterais ! Non! Gar. (sous l'obsession de son idee) Qui l'atteindra jamais? Ani. (s'avancant) Moi ! Gar. Qui parle ? [II prend une lanterne, s'avance vers Anita, et porte le falot S.la hauteur du visage. II apercoit Anita, tres pale, les yeux fixes.] Une femme ! Qui done est-tu? Ani. Une maudite ! Qui veut de l'amour et de l'or ! Pour deux mille douros, voulez vous qu'oni vous livre ? Gar. Qui? Ani. Ce Zuccaraga ! Gar. Pour deux mille douros ! Ani. Nul sous le ciel de Dieu ne saura notre pactet Vous seulpourrezparleret j'enfais lesermenfc. Rien! je ne dirai rien! Mais nous aurons tous deux, i Vous l'homme & qui va votre haine , Moi l'homme a qui va mon amour ! Gar. Pour deux mille douros ! Tonnom? Ani. Je n'en ai past Je suis la Navarraise! [Elle se sauve dans la nuit comme une folle. Gar- rido va s'elancer pour l'arrfiter, mais elle l'a devancG.] Gar. Arrete ! Bah ! menaces d'insensee ! SCENE VI. Garrido, Officiers, Soldats, puis ARAQun,, Ramon, un Officier. Des soldats, officiers en t§te dfibouchant sur la place. On forme les faisceaux, on allume les feux. Gar. (aux officiers) Crgnfilons les maisons donnant sur la campagnc, Amenez les canons jusqu'aux barricades. Vous, Rizzo, remplacez le commandant Andres; Vous, lieutenant Fera, inspectez les grand garde. Tenez vous prSts, messieurs. Vive notre pays. Les Officiers et Soldats (repetant avec en- thousiasme) Vive notre pays ! [Garrido les remercie du geste et rentre dans son quartier general. Quelques officiers restent par- lant a lews hommes. La nuit est venue toute a fait claire, pleine d'etoiles. Les soldats se cbauf- fent autour des feux. On fait la soupe.] Araquil entre. II a des galons de lieutenant sur sa capote de soldat. "LA NAVARRAISE." [Ara. salutes, and then turns to his father -who embraces him. ] Rem. (with delight) How proud I am of thee ! Ani. (aside) But it parts me from him ! [Ara. gazes at Am. and would kiss his hand to her— Rem. keeps hold upon his son and hurries him away, answering Ani.'s supplication with a gesture of refusal.] SCENE V. [The square gradually becomes empty, and night comes on. Ani. in despair follows with sad eyes father and son as they go off. She disappears for a moment, but returns crestfallen. Gab. (sitting gloomily at one of the tables in front of the Posada) Dead ! —the comrades of old ! All the best and the bravest dead ! And I, the graybeard, still outlive them all ! [Night comes on. Some soldiers bring lanterns. One is set upon the table, and Gab. unfolds a map which he reads at the light.] Ani. (aside) Yes ! his father was right. Who am I ? Only a stranger ! an outcast ! a beggar ! nothing ! Oar. (to himself as he looks at the map) There— there — upon this side No doubt they will attack us ! Ani. Yes. 'tis true. Nothing am I ? And he is now an officer, And he will ne'er be mine ; What is left me but to go. Alone and brokenhearted 1 [Ani. is going, but she stops on seeing Ram., who at this moment appears and advances to Gen. Gar.] Ram. General ! Gab. More news, then ? Ram. The Carlists in numbers are threatening our camp ; Major Ortega has just been killed ! Gab. Ortega ! my dear friend ! He takes them all from me— this Zucca- raga ? [Ram. goes into the Posada, in agitation. Gab. lifts his arms to the horizon.] Accursed bandit! And will lie ne'er be slain? [Ani. listens. Gar. strikes the table with his fist. J (as if to himself) And is there none who in the battle Can take this Zuccaraga? With all my heart I'd give to him A fortune and the cross of honor ! [Gab. feverishly again seizes the map and scans it with closer attention. He seems to be studying and calculating.] Ani. He'll give a fortune! he said a fortune? my two'thpusand douros! His father said two thousand! My dowry ! — Araquil! — our love! And shall I hesitate?.. No! Gab. (aside, still preoccupied with his plan) But who will ever take him? Ani. (advancing with a hoarse cry) I ! Gar. Who speaks? [He takes the lantern, advances toward Ani. , and holds the light in her face. He sees her pale, and with her eyes fixed.] Why, 'tis a woman? Who art thou? Ani. One that is accursed ! One who is mad For love — and gold ! For two thousand douros wilt thou that he be taken? Gab. Who? Ani. This Zuccaraga ! Gab. For two thousand douros ! Ani. None 'neath the sky of God shall ever know our compact. Say but the Word and I will keep the oath. 1 will not speak. But we shall have our prize, Thou — the man whom thy heart detesteth. And I — the man for whom my heart is wild! Gab. Two thousand douros. What is thy name? Ani. I have no name. I am the Navarraise. [She rushes into ' the . darkness as if mad. Gab. darts after her to stop her, but she escapes him.] Gab. Come back ! (returning) Bah ! mere empty threatenings ! SCENE VI. [Soldiers with officers at their head pass across the square. They ground arms, and light fires.] (to the officers) We must loophole the houses, to cover the country. Bring up the guns cloEe to the barricades. You, Rizzo, take command in Andre's place, You, Lieutenant Fera, inspect the guards ! Be all in readiness, Long live the fatherland ! Sold. Long live the fatherland ! [Gab. thanks them with a sign, and re-enters his quarters. Some of the officers remain talking to their men. The night suddenly becomes bright • with stars. The soldiers warm themselves round the fire, and make their soup.] Ara. enters. He wears the gold lace of a lieu- tenant upon his overcoat. 10 "LA NAVARRAISE." Aea. Que deviens-tu done, mon aim6e '< Je te cherche partout, en vain J'ai couru comme un insense 1 Pour te revoir, te rencontrer ! Et nulle part, ne t'ai trouvge ! Oil done te caches-tu? Pourquoi n'est-tu pas 15 ? Je te veux, je t'appelle O ma pauvre Anita! Ramon, qui a entendu et qui vient d'entrer f umant sa cigarette. Bam. Anita la Navarraise? Ara. Ram. Ara. Ram. Ara. Ram. Ara. Ram. •Ara. Ram. Ara. Ram. Ara. Ram. Ara. Ram. Oui ! Vous la connaissez ? Anita la belle fille Brune comme la nuit. Avec des yeux d'Stoiles, Celle a" qui vous parliez ici, l'assaut flni? Oui. Je m'en dgfie. D'Anita? A l'instant, des blessSs, , Qu'on ramenait au camp, Ont dit qu'ils avaient vu Une femme aux doux yeux S'avancer vers les avant-postes Des soldats de Carlos, . Et dire §, ces soldats : "Vera Zuccaraga qu'on me mSne, Je veux lui parler des ce soir! " C'6tait Ton Anita ! Une espionne? Mensonge ! Une espionne ? Pourquoi ? Zuccaraga Passe pour tres galant ; il est jeune, II est beau ! (avec emportement) Un mot de plus, misere ! (rSprimant le mouvement violent d'ARA.) Du calme, camarade ! OnPaTue? Tout comme je vous vois. Impossible ! Et pourtant ! (Iggerement) Bah ! les f emmes sont les femmes ! Prenez-les comme on preDd les fleurs! [II se dgtourne un peu pour fumer et rire.] Ara. (terrible ft lui-mgme) Espionne ou miserable? Je le saurai ! Je vais Ram. Araquil! Ara. Laissez-moi ! [II sort comme un egarfi.] scene vn. Les Soldats, Bustamente (le Sergent). De suite, rires ties bruyants et prolonged des soldats. Ramon a regards partir Araquil et s'filoigne avec pitie" en rejetant gaiment une bouffSe de sa cigarette. Les soidats, en riant, se disputent les rations de soupa et de vin. Le sergent Bustamente les calme du geste avec une im- portance comique. ■ Divers groupes. Amoi! DuPuchero Versez ! Le matin, la bataille ! Le soir, les garbanzo ! Un pen de vin ! Du cidre ! De l'amantillado? Bust. Le vin des offlciers n'est pas pour toi ! [Un groupe de soldats, riant.] Merci ! [Les soldats sont ranggs en cercle autour de la mar- mite. Le sergent Bustamente, au milieu, prend sa guitare et se met 5 en jouer tout en chantant]. Bust. J'ai trois maisons dans Madrid, Les Soldats (frappant leurs gamelles) Pauvre militaire ! Bust. La prison, le cimetiere, Les Soldats. Avec l'hSpital aussi! Bust. Des csillets. Les Soldats. Des soucis, Bust. Mais j'ai le cceur d'Isabelle ! Tous. Et vivent les chansons* Pour consoler des morts ' Bust. L'ampur du pauvre soldat, Les Soldats. C'est l'amour d'une heure ! Bust. La marche sonne et separe Les Soldats. Adieu, belle sfinora ! Bust. Des oeillets ! Les Soldats. Des soucis ! Bust, Mais on court de belle en belle! Tous. Et vivent les chansons, Pour consoler des morts ! [Bustamente va commencer le troisieme couplet, lorsque les clairons au loin font entendre le signal de l'extinction des feux. Ramon parait.] Ram. (passant) Compagnons, au repos ! Car demain, camarades ! A l'aube encore, il nous faut etre prets. [Les soldats arrangent les couvertures et s'envelop- pent pour le sommeil. Un rideau sombre et transparent descend lentement. Nuit dans la salle.] Nocturne. Le rideau se releve lentement c'est l'aube. Le jour se fait. "LA NAVARRAISE." 11 Aba. O ray beloved, why eom'st thou not to me? I long for thee, I call for thee ! My poor Anita, why eom'st thou not to me? I long for thee! I call thee ! My poor Anita, my love, where hidest thou? Where art thou gone, O my beloved ! Vainly I seek, vainly I wander ! Mad for thy love I run to see thy face, But all in vain! thou art not here, I cannot find thee! My poor Anita ! Anita ! ' [Ram., who has just entered, smoking a cigar- ette, overhears part of the foregoing.] Ram. Anita? The Navarraise? Ara. Yes! — Dost thou know her, too? Ram. (in the same light tone as before) Anita ! The pretty maiden, Dark as the magic night, With eyes like starbeams shining! To whom you spoke just now, after the fight? Ara. Yes. Ram. I do not trust her ! Ajra. Not trust her? Ram. Some wounded men but now brought into camp, Say that they saw a girl (pointedly) with lovely eyes Pass thro' the outer pickets yonder Into the Oarlist line, and heard her say " Who'll take me now ta Zuccaraga? For I must speak with him to-night." Ara. (starting) And she — Ram. Was thy Anita? / Ara. A spy? a lie! Ram. (with a light air of reproach) Aspyl Why so? This Zuecarraga Loves pretty girls, they say. Ara. (in a transport of passion) No more of this, you villain ! Ram. (checking Ara.'s violence) Now calm thee, gentle comrade ! Ara. (fiercely) Have they seen her? Ram. As plain as I see thee ! Ara. (with choking voice) It cannot be — and yet— Ram. (lightly) Bali— a woman is — a woman! Pluck them, as you pluck a flow'r. Ara. (to himself) A spy ? or worse — a guilty one ! I will find out— I'll go — Ram. Araquil ! Ara. Let me pass! [exit.] scene vn. £Ram. watches Ara. go out, and then disappears, with a gesture of sympathy, lightly puffing his cigarette. The soldiers laughingly are quarrel- ling over their rations of soup and wine. Sero. Bustamente calms them with a gesture of comic importance.] Soldier, (disputing and laughing; That's mine! Others. No ! no ! Soldier. It's mine ! Otliers. No! no! Some Puchero this way ! Bust. Hold hard I enough, I say ! All. Fill up! fill up! Fill up my cup ! Though 'tis fighting to-morrow, We've got the Garbanzos to-night! That's the way ! Tenors. Bring me some wine ! Basses. Some cider ! Soldier (Escaping from the rest with a bottle which he proudly shows to the rest.) Amontillado ! Bust. (Recovers the bottle and brings him back by the ear.) Come here ! that will not do ! That's not for you ! All. (laughing) Sir to you! [The soldiers form in a ring round the soup pot. Serg. BbsT. in the centre takes his guitar and, accompanying himself, sings] : Bust. I've three houses in Madrid ! Chorus. Oh, you poor old soldier ! Bust. The gaol, and the place where the dead are hid ! Chorus. And the hospital, too, for the soldier ! Bust. But I've my sweetheart Isabelle! Chorus. He has his sweetheart, you can tell; So, as for sorrow — let it fly! Sing away, boys, let the dead men lie! Bust. The soldier's love is but a flow'r, Chorus. Oh, y Ta poor old soldier ! Bust. The bugle sounds the parting hour, Chorus. " Good-bye " says the poor old sol- dier. Bust. But I've another sweetheart yet ! Chorus. He has another, don't forget ! So as for sorrow, let it fly ! Sing away, boys, let the dead men lie! [Bust, is just commencing the third verse, when bugles in the distance signal "lights out!" Ram. appears.] Ram. Comrades, to rest ! Sleep well till morning ! At break of day we all must ready be ! [The soldiers arrange their coverings and wrap themselves up for sleep. A dull transparent cur- tain slowly descends. Night.] Nocturne. [The Curtain slowly rises. Day breaks.] 12 "LA NAVARRAISE." ACTE DEUXIEME. Tout a coup on entend au loin des coups de feu. Les soldats'dressent la t6te. Quelques-uns se levent vivement. SCENE PREMIERE. SOLDATS. Un Soldat. Alerte! D'autres Soldats. Alerte ! Un Autre. On attaque ! Tods. Aux armes ! [A ce moment, Garrido sort de la posada, inquiet, et au sommet de la route qui dfibouche sur la place, apparait Anita, livide, echevelee, blessfie au bras. Elle apergoit Garkido et marche droit st lui.] SCENE II. Garrido, Soldats, Anita. Grand mouvement au fond. Garrido et Anita restant isolGs. Ant. (terrible, comme une somnambule qui se dresserait la) Mon argent? Gais. Que dis-tu? Ani. Mon argent, mes deiix mille douros! Gar. (effrayg) Les as-tu done gagnSs? Ani. J'ai promis, j'ai frappfs ! L'homme est mort ! Gar. Malheureuse! Tu mens ! Ani. Je ne mens pas ! Le pacte Stait conclu. J'ai demand! le chef. Alors il m'interroge. Face & face ; j'avais mon couteau sous mon chale. . En bondissant voilS je l'ai frappe*! Ainsi ! [Elle fait le geste de frapper en detournant les yeux.] Gar. Frapp6 ! Ani. (avec ivresse) Araquil est a, moi ! J'ai couru dans la nuit, | Parmi les coups de feu ! Et pour me proteger ! J'avais ma vierge sainte. Bonne vierge de plpmb, plus precieuse que l'or ! Et les balles siftlaient ! Gar. BlessGe ! Aei. Eh! que m'importe? Me voici. Me voici. Mes deux mille douros, C'est argent, e'est le prix.- Gar. Quelle horreur ! Zuccaraga ! Ani. Jel'aitug, dis-je. [On entend les cloches au loin, j Ecoutez, c'est le glas ! Qui suivant la vallSe Nous arrive de Bilbao, C'est la voix de la mort! Gar. (avec autoritg, tristement) . Que ton secret, femme, meure avec toi, Je jure Dieu, que seul, a mon heure derniere, Lepr6trele saura ! [De la poche de son grand manteau de general, il tire une lourde bourse de cuir, et la donne & Anita, hypnotisee, joyeuse, puis il rentre dans la posada.] Ani. Le bonheur! Araquil, Le pere l'a voulu ! SCENE III. Anita, Soldats, puis Araquil. Ani. (seule, prend un douro extasiee.) Mon argent ! [Avec une vague epouvante.] L'argent rouge ! [Fievreuse.j Voici ma dot? qu'onme le donne! L'adorg de mon coeur ! Je l'aime ! II est a moi ! [Comme frappfi d'une idee subite. j Mais cet argent beni... Cet argent qui m 'assure Le bonheur et l'amour ! Ou le cacber ? Quelqu'un me le prendrait. Je tremble. [Rumeurs se rapprochant rapidement. Les soldats viennent du cotG du bruit. Araquil apparait le front sanglant. Deux soldats le soutiennent. II les repousse en apercevant Anita qui s'est retoumee au moment ou elle cachait, paureuse, la bourse dans son tablier.] Araquil ! Et blessg ? Ara. (froid, terrible, d'une paleur de cire.) Blesse, mourant, j'esplre ! Car je mourrai par toi ! [it tous.J Compagnons, qu'on me laisse, Je veux lui parler. Seul. [aux soldats.) Allez ! . . . [aux officiers. 1 Je vous en prie... [on s'eloigne. \ • SCENE IV. Anita, Araquil, seul. Quand tous se sont Sloigngs, Anita revient vers Araquil avec un mouvement de sollicitude et d'anxietij. Ani. Mourir ! mourir par moi ! Que viens-tu de me dire? J'ai peur. Ara. Je te cherchais, Anita, Je te croyais encore pres de Zuccaraga 1 Ani. Moi ! Ara. Pour te retrouver, pour t'arrgter, peut-6tre> Sur la route dumal, j'ai couru comme unfou, Et voulant t'empecher de rejoindre un amant t Ani. Un amant! Ara. TJn amant ! pourquoi done, malheureuse. As-tu passe' la nuit parmi nos ennemis ? "LA NAVARRAISE." 13 Act, II. {Suddenly, in the distance, shots are heard. The soldiers rise briskly.] SCENE I. Soldier. Awake, boys, awake ! the foe's upon us ! To arms ! to arms ! [rush to the barricade.] £Gak. comes from the Posada, in anxiety. At this moment, at the top of the road which crosses the square, Ami. appears, deadly pale, her hair dishevelled, and her arm wounded. She sees ■Gab. and goes up to him. They remain alone.], SCENE II. Ani. (as though in her sleep) Where is my gold ? Oar. What say'st thou ? Ani. Where is the gold ? My two thousand dou- ros ? <3ar. But hast thou earned thy wage ? Ani. I have sworn ! I've done the deed ! And he — is dead ! Car. Unhappy woman ! you lie ! Ani. I do not lie. The bargain was complete. They took me to his tent, and then — he asked me — Face to face ! Beneath my shawl I had the dagger. I rose — I leapt upon him — and then I struck him. Thus ! f She makes a movement as if striking, with her eyes averted.] <5ae. You killed him ! Ani. And Araquil is mine, mine now at last ! I ran through the night amid a storm of fire, My "Virgin here I had, to shelter me from danger, . [placing her hands on her bosom.] Ab, little image of lead— more precious than gold ! How the shot whistled round me ! Gar. Wast thou wounded ? Ani. What does that matter ? I am here. Give me the money. It is my price. •Gar. (remorsefully) Oh, God ! Zuccaraga— Ani. He's dead, I tell thee ! [A funeral knell is heard from a distant church.] Hark ! what is that ? It is a knell Which comes to us — along the valley— from Bilbao. It is the voice of death ! Gar. Thy secret, girl, must die with thee. I swear to God that none shall know it, Except the priest when my last hour is come ! [He takes from beneath his cloak a heavy leather purse and gives it to Ani., who receives it, stu- pefied with joy ; then he re> enters the Posada.] Ani. (to herself) O joy ! Araquil — it was his father's word ! SCENE III. Darling gold ! so bright and ruddy ! See, it is here — my golden dowry ! And he I love is mine at last 1 I love him so ! and he is mine ! [as if struck by a sudden thought.] But ah ! — my lovely gold ! That wins me all my joy and love Where shall I hide it ? [Sounds, from a distance, drawing nearer. The soldiers come from the sides at the sound.] I fear, lest some one find — and steal it. [Ara. appears, his forehead bleeding. Two sol- diers support him. He pushes them aside, on seeing Ani. who has concealed the purse in her apron.] Ani. Araquil — wounded ! Ara. (coldly — deadly pale) Wounded ? yes ! and dying^-I hope so. For I shall die through thee ! (to the rest, with failing voice) Comrades all — I pray ye, leave us ! I fain would speak with her — alone ! (to the officers) Bid them leave us. SCENE IV. [They all go off in silence, reverently. When they all are gone, Ani. comes back to Ara., with a gesture of tender solicitude.] Ani. Die through me ! I fear — What art, thou saying ? Ara. (trembling with anger) I sought for Ihee, Anita, I thought to find thee still ! — There— with Zuccaraga ! Ani. (astounded) I ! Ara. To bring thee back— to stop thy feet, may- be, Upon the path of sin. Fool that I was ! I thought to keep thee from thy lover's arms ! Ani. (not comprehending him) My lover's arms ! Ara. Thy lover's arms ! Wherefore then, unhappy girl, Wherefore did'st pass the night among the enemy ? 14 "LA NAVAERAISE." Ani. Tais-toi ! Ne me dis rien ! Ta main, Dieu ! quelle fievre Et ton sang ! ii-bas, aupres de Aba. Pourquoi done fuyais-tu, lui? Mais rgponds, miserable ! Ani. (avec pitie) Ne te fais pas de mal ! Aba. Rgponds ! Rgponds ! Ani. Si tu savais! Pour toi, ce que j'ai fait pour toi! Aka. Eh bien? Ani. Plus tard tu sauras tout, nous allons §tre heu- reux! Je suis riche, et ton peie Ne refusera plus la pauvre Navarraise ! Aba. Riche ? Comment 1 par qui ? Ani. Aba. Ma dot, je l'ai gagnge Au pgril tie ma vie, Au peril de mon ame! Ma dot gtait la-bas ! (hors de lui) D'ou. te vient cet aigent? Ani. (opprgsge) Cet argent ! Ani. (encore plus accentug) Cet argent? - Ani. (haletante) J'ai jurg! par pitig ! Aba. (au comble du desespoir) Je savais bien qu'on t'attendait l&-bas. [avec un accent dgchirant.] Pille infame!...tu t'es vendue ! [II chancelle et s'appuie contre la table.] Ani. (frappg de stupeur) Vendue! Es-tu done fou? Araquil! Moi, vendue ? [Elle reste angantie, comme clouge ft sa place.] SCENE V. Les Memes, au loin, le tocsin sonne aux figlises basques. La foule accourt. Remigo parait et se dirige haletant vers Abaquil expirant; il l'entoure de ses bras. Quelques offlciers, Ramon, l'aumckiieT, le chirurgien, sont aupres d'ABAQUIL. Rem. Mon fils ! Aba. (agonisant) Pere! Pour qui sonnent ces cloches? Est-ce pour Notre amour, ou bien est-ce pour moi! Rem. (avec ardeur.) C'est pour le chef Carliste, il est mort Cette nuit. Ram. (s'approchant) Et mort assassing ! [Akaquil regarde Anita apres que Ramon dit cette phrase en l'entendant, Anita voit le regard d'AHAQUiL dirigg sur ses mains, elle se rend compte qu'elles c.nt peut §tre du sang et elle les- cache, avec un mouvement de terreur; Aeaquil comprenant, lui dit d'un ton effrayant, lui mon- trant l'argent.] Aba. Le prix d>i sang, hbrreur ! [II meurt.} Ani. (elle se precipite- sur Abaquil) Mort! Rem. (la repouse brutalement, il semble dgfendre le cadavre de son fils) Va-t-en! La Navarraise! Ani. (avec explosion) Ah ! je veux mourir avec lui ! ' Comment? all! le couteau! je l'ai laissS la-bas ! [Elle cherche dans ses vgtements, et retrouve sur sa poitrine la petite vierge de plomb.] La vierge bonne. Ah! oui m'a-t-elle protegfie ? L'a-t-elle empgehg de mourir? [Elle dresse la vierge de la main droite et va la prgcipiter & terre, mais elle s'arrete en entendant les cloches dans le lointain. Avec des yeux f ous, elle contemple l'image de plomb, la porte 3, sa levre, la baiseet sourit.j Merci la bonne vierge, elle nous a bfinis, Ecoutez ! Araquil, j'ai la dot, allons, l'Sglise est pleine ! C'est le bonheur! i Gab. (qui est prgsent depuis un instant, regarde Anita 3, part, avec une profonde pitig) La f olie ! La f olie ! [La foule s'gearte avec une superstitieuse terreur d'ANiTA folle, qui riant, pleurant, envoie des baisers 3, Abaquil gtendu a terre. Au mo- ment ou le rideau descend, Anita tombe 3. genoux en riant aux gclats.] Depuis le dgbut de la scene IV. les cloches sonnent au lointain. Elles sonnent jusqu'au baisser du rideau. PIN. "LA NAVARRAISE." 15 Ani. (weeping) Hush ! hush ! Aea. Wherefore then did'st thou fly— (pointing) — out there ? Ani. (thinking only of Ara.'s wound) Thy hand — God ! how 'tis burning 1 Ara. — Into his tent ? Ani. — And thy blood — Ara. Answer — thou wretched woman ! Ani. (bursting into tears, tenderly) Love, do not hurt thyself ! Ara. Answer, tell me why. Ani. (sorrowfully) If thou could'st know, my love, All I have done for thee f Ara. (coldly) What then ? Ani. (agitated) Some day, some day, thou shalt know all, So happy we shall be. Now I am wealthy Thy father will not spurn me more, The poor girl of Navarre ! Ara. Wealthy ! — How so ? — From whom ? Ani. The dowry 1 I've won the dowry At the price of my life, at the price of my soul. Ah — did'st thou but know all I have done for thee ! (holding out the money) And see it is here ! r Ara. Whence has thou got the gold ? Ani. The gold ? Ara. Yes, the gold ! Ani. I cannot tell thee — I have sworn ! Ara. Thou liest ! Ani. Nay ! for pity's v sake ! Ara. Ah yes — I knew thou had'st a lover — there ! Thou shameless one ! and thou hast sold thyself ! [He staggers and supports himself against the ta- ble, choking.] Ani. (stupefied) Sold myself ? Art thou then mad ? — Araquil — I ? Have sold myself ? [She stands, beside herself, as if fixed to the spot.] SCENE V. [In the distance the a!arm is sounded. The church bells reply. Crowd runs up. Rem. appears and rushes panting to Ara., and takes him in his arms. Officers, Ram., Chaplain and Surgeon stand by him.] Rem. (weeping) My son ! Ara. (dying) Father ! Those bells 1 whom are they ringing for ? Is't for our love, or is it but for me ! Rem. 'Tis for the Carlist leader, last night he died I Ram. (approaching Ara.) — By an assassin's hand ! (At these words Ara. looks at Ani. She sees Ara.'s eyes fixed upon her hands. She fancies they are stained with blood, and hides them with a gesture of terror. Aha., understanding, points to the gold.] Ara. (in an awful tone) The price of blood !— Oh God ! [he dies.] Ani. (throwing herself on Ara.) Dead ! Rem. (drives her away roughly from the body) Begone ! you — Navarraise ! Ani. (screaming) No ! — I only want to die with him I But how ? — where is the knife ? — [She searches in her clothes, and finds in her bosom the little leaden Madonna.] Yes — yes — I left it — there ! (with a laugh of bitter irony) Ah — the holy Virgin — what has she done to guard me ? Has she kept me from death ? [She holds up the leaden Madonna and is just go- ing to dash it to the ground when she hears the bells in the distance, and checks herself. With staring eyes, she gazes at the leaden image, raises it to her lips and kisses it and smiles.] Mary — Mother of Love, thou hast heard us, and bless'd us ! Araquil, dost thou hear? 'tis the bells ! How they ring ! See, love, the church is crowded ! — And all so gay ! [In superstitious fear, the crowd makes way for Ani. who, laughing and crying in her madness, blows kisses to Ara. where his body lies stretched on the ground. Gar. who has arrived at the last moment, looks at Ani. with deep pity.] Gar. (aside) Mad ! mad ! poor child ! [Am. falls on her knees with peals of laughter.] curtain. i6 LA NAVARRAISE. LA NAVARRAISE, Allegro, f Sempre legato. |£2g^ te :_ »f_ f- — *- ¥=9-v-^ i^ fcdf^g^: -b- — ' — f- I tho't, I tho't of thee, of thee, my darling on ly! In dreams thy face, thy voice came back to Je ne pen-sals qu'a toi, pauvre a-mie, a - do - r£ el Et-ton re - gard el le son de ta Allegro.^ _ , dim. m w m — r-« = — = % Anita, (avec emotion) mf — -=dl_ p - ^&im._ . ________ . -h — h- ^—± Ah love, I tho't thee dead or dy-ing! Je t'ai cru mort dans la me-le' - e! And thro' the fight my Spir-jt fly M mon i - ma - ge bien ai - mi Js P m fesst==f ing e didst pray tu . for me! pri - ais! LA NAVARRAISE. i7 ^m l=£j53=jg ti=S£ watched o - ver thee t'a pro-U - gil -T- Sf watched o-ver Mon, su-ve- ^^^^ E^EEEg ^+ M * And thro' the tight thy Spir - it fly M ton i - ma - ge bie/i ai - m£ ing and bro't me backfrom dan b du sol - dat qui t'a-do cr4s express. gerand re, i-cdr- S™jS — Pocorall. thee, watched o- - riir t'u pro ver thee, ■ ti - g£! and bro't thee back M on so --ve - nir Fa P >.P -V J —h hi— - to... pro-t£- £ f — f—P- itzzk ^-^=5 s v • \j brought - tail me back from death and dan-ger, bro't me back to thee, tout dan - ger! ton sou -ve- nir m'a pro - if - gi! to thee, to M'apro-te- i8 LA NAVARRAISE. (attendri.) i m ft ^ -*-?- E -Z=9^V- d?pr *=&: »~? (* p* broth- ers! comrades in arms, whom we shall see no more! Sleep fr£ - res duri-gi- merit, que nous ne ver - vans plus, Meno mosso. ( sans lenteur. ) 80 = J ' sleep bas (INN £ IE 11 t=t fc± £t± : iFF& 9 7* expressif. & 7 e J>: i p^-r-i—i^r - ? i r i ?feW ^a Ira s? P=5 : S=E on ! we will Nous scturons a, - venge yet, But vous veu- get:' i com - fort me, be-lov & me que fa-do cresc. ed, and bid re, ber - ce i=£ feife *^ f r^ ^ & s=i w ■w & ** 7?£ks expressif encore. if-!*—* — ._ E^F&FEEFEFE te J=*fe 5 £= JS— N ? ..— =P=*- S £ ^— fr— E V St- all my sor - row to rest and on thy bos - om hush the tears I , shed for those who men es-prils 6 - pur - dus! Sur ton ccew t - touf-fe les san-glots que fai piu. f _^==— p m * s^ * =& M=$fc ?■-?- m S-& St V* I ^fUT* l ¥ *£' * 9— b-t — tJ-t^p &££ a & Anita. ( avec une tendresse itifinie.) \ (tres caressant.) p "' ±2=£ 9— ^FtEFFS hr-^^ are no more, who are no more ! . let pour cen.c qui hi: smit plus!. . . . . ' Ah turn thine eyes, dear, A - ra - quil! lais-se ■ Poco meno mosso. 72. = J put. p LA NAVARRAISE. *? dolee. eyes to mine, Thus to' my bos '- om let mat tes yeux! de vens les fer - mer sous ma li me press vre, don thee, we, ■ m Ks mm ss^ "., ■s&^ r y^z. i & pp dolce. m S efE: m =3= £= '_ .4 tempo into allegro. n fe£ 3t±t let my lips sons me , 12 Meno mo.i.io ancora. lie warm on thine, . we, sous mes bai sers,. . and kiss the tears Je veux cal - mer that ton an & U — J- PPP J}=^ A tempo lmo allegro. 92 = — i — i * m m w I piu. pp ' '*" 4 &Lfj^aE^r- =t=^^-hwmMfi5 r r> __iV -#-#-Jfr-*-<- «-F-F-#-l — l — ' — | — i — l — K ^Hlg r i /t~ e f I^NU -fe *$ s * — hvMJFr* 6i=0. ? P~D" now , dis-tress thee ! goisse et tu fie -vre! i Aeaquil. m, cresc. Look in - to my Dans un long bat trs. ^^ a ^ ^ ^ pF^f R^ ^ ^afe **= *=+-*■ v=* There's none be-side thee, none a - bove All! chere et dou- ce que fa - do thee ! Look in - to my re! Dans . un lung bat ■ 20 is . Nil fs mm m LA" NAVARRAISE. dim. , p, %f^#£ W*~\A^- p ^=sm eyes once more ! se? - con-fon - dus ! And kiss me, kiss me as of yore, And Nous re - oar -. dant les yeux per - dus, Dls ■ ^ "7^ dim. , p , __ — — — , m f- rail. pa tempo. =3e£ say I love moi: je t'ai thee! me ! I I love je t'ai f -^ thee! me ! once Mi more, co - re! once £ :i r=3EE£=tE -t=t? SSsHe -* p.— m. ■*-+-+- *= dim. £§£ PP f- rail. PP lento. 5 t=tt «= dbt 2 more, once more, Say, love, co - re ! en -co -re! Dis-moi: dim. I love thee ! I . love thee ! I love thee ! je t'ai -me! je t'ai - me! je t'ni me! aim. pp r *L pp =!=?= KElElE ^— ^ — aim. -^ PP s rail. lento. m THE KNABE PIANOS. TESTIMONIALS FROM. DISTINGUISHED ARTISTS, COMPOSERS AND MUSICIANS. ■ Henri Vieuxtemps, the renowned' violinist, wrote of his " delight on hearing the, clear and fufl tone of the Knabe .pianos." Pauline Lucca, the world-renowned prima donna, not only expressed her " convic- tion that the Knabe pianos, after a frequent comparison of them/with the pianos of the other jleading makes of America, have ho -rivals, but surpass all. other makes either in this country or in Europe," but gave a practical proof of the sincerity of her conviction by purchasmg a Knabe Grand for her home. - Minnie HaUk, another unrivaled prima donna, for many years so great a favorite with the American public, was also so "convinced of the superiority of the Knabe pianos" that she " determined to purchase the Grand she had used in this country for her London .residence." ..,".-' ^Marianne Brandt, one of the most distinguished and popular mernbers of the renowned Metropolitan Opera House Company, expressed her decided preferpftjje; for the Knabe pianos because " for singer^ professionals as well as amateurs, they offer still further ^advantages by their unrivaled tone quality, giving the greatest aid and support to the human voice." . ; Asger HAkERiK, director of the Peabody Institute at Baltimore, is an enthusiastic admirer of the Knabe pianos. "No terms," he says, ''can praise them tog highly. _ They have a most excellent, sweet and song-like tone, and a delicacy of action quite peculiar to themselves. , They are fully capable of expressing the truest exquisite gradua- tions .of force throughout the whole range, "from the softest « pianissimo ' to the grandest "forte.*" :."'-''■■ Carl Faelten, directorof the celebrated .New England Conservatory of Music, ir. Boston, addressed the following letter to Messrs. Knabe : We desire to express to you our high appreciation of your very excellent pianofortes., During the. many years we have had an opportunity of testing !hV concert and other grands furnished ' this institution for teaching and concert use,' We have invariable folind,them eminently satisfactory in . .-" iyery way. .. -- « ,;.•■.■•..'""-'' Fine quality of tone and perfect action in pianos only being of real merit when coupled with.'great durability, we give special emphasis to this point of excellence in your instruments, as we- have hadan unusual opportunity to make, our observation? in this respect. The tests to which fhey have been sub- jected in our class-rooms, where they have had to bear the continuous treatment of an infinite variety, of players week after week and year after year, have been extremely^severe, and they- have endured this "."'constant use remarkably well— the action, Ivitha little care, keeping to good 6rder throughout the year, and the sonority of the instruments remaining constant. ^ . -\ ' ' - "- So much has been,said in praise of your pianofortes, regarding their excellent qualities as concert Instruments, that we can hardly. dp more than! repeat the :2atements of the many celebratedartists " who have used them,jmd for this reason we are directing our remarks principally to thejr wearing' capacity, N c ■' - ■' ' ■ ■ t ', While we are not prejudiced regarding the nierits of other high-grade pianofortes now inttse, we shall never hesitate to express our unbiased- opinion regarding the very superior instruments you are furnishing. the music-lovers of this country, ami .recommend them most heartily to aU who are in search , ofan instrument of the highest grade. '■'-,.;,''. 4 To these testimonials could be added hundreds of others from artists, musicians, com- > posers, singers, equally distinguished and renowned. > Ml MANUFACTURERS OF S?f GRAND, <§\§> SQUARE AND ©^ UPRIGHT PIANOS EUGEN D'ALBERT : From fullest conviction I declare them to be the bat' Instru- ments of America. DR. HANS VON BULOW: Their sound and touch are more sympathetic to my ears and hands than all others of the country. I declare them the absolutely best in America. i ALFRED GRUNFELD: I consider them the best instruments of our times. P. TSCHAIKOVSKY: Combines with great volume of tone, rare sympathetic and noble tone color and. perfect action. -WAREROOMS" NEW YORK: 148 FIFTH AVENUE. BALTIMORE: 22-24 E. BALTIMORE ST. Washington: 817 Pennsylvania Avenue • i.». •,,.,.♦. .♦M*. l «i^n*.i*li»N»ip»ii*.i*ip»ii»'i»il*i-»ii«i>.''»'i.ll»iP»Pt*lP»ll»ii.i ) »ip*pi^,i,,V 1 |Vp7^p% l ,^iVpV^iT^ .^i.iijiniiMWi ' ' 1 i-y ■ wry Wi %g1 liajflj m