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3b81286ac30df6d7e033f9ab6d5db9d052474829 | 62,159 | xml | XML | docs/Mono.Android/en/Android.Views/PointerIcon.xml | kenanlv/android-api-docs | 4e107f5aa5e1f0232f0b04e04273519015a1a93d | [
"CC-BY-4.0",
"MIT"
] | 20 | 2019-05-10T03:23:40.000Z | 2022-02-24T04:04:26.000Z | docs/Mono.Android/en/Android.Views/PointerIcon.xml | kenanlv/android-api-docs | 4e107f5aa5e1f0232f0b04e04273519015a1a93d | [
"CC-BY-4.0",
"MIT"
] | 20 | 2019-06-19T23:30:45.000Z | 2022-02-08T16:51:37.000Z | docs/Mono.Android/en/Android.Views/PointerIcon.xml | kenanlv/android-api-docs | 4e107f5aa5e1f0232f0b04e04273519015a1a93d | [
"CC-BY-4.0",
"MIT"
] | 6 | 2019-05-13T01:18:09.000Z | 2021-11-10T14:51:21.000Z | <Type Name="PointerIcon" FullName="Android.Views.PointerIcon">
<TypeSignature Language="C#" Value="public sealed class PointerIcon : Java.Lang.Object, Android.OS.IParcelable, IDisposable" />
<TypeSignature Language="ILAsm" Value=".class public auto ansi sealed beforefieldinit PointerIcon extends Java.Lang.Object implements class Android.OS.IParcelable, class Android.Runtime.IJavaObject, class System.IDisposable" />
<TypeSignature Language="DocId" Value="T:Android.Views.PointerIcon" />
<TypeSignature Language="F#" Value="type PointerIcon = class
 inherit Object
 interface IParcelable
 interface IJavaObject
 interface IDisposable" />
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Base>
<BaseTypeName>Java.Lang.Object</BaseTypeName>
</Base>
<Interfaces>
<Interface>
<InterfaceName>Android.OS.IParcelable</InterfaceName>
</Interface>
<Interface>
<InterfaceName>Android.Runtime.IJavaObject</InterfaceName>
</Interface>
<Interface>
<InterfaceName>System.IDisposable</InterfaceName>
</Interface>
</Interfaces>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("android/view/PointerIcon", ApiSince=24, DoNotGenerateAcw=true)</AttributeName>
</Attribute>
</Attributes>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>
<format type="text/html">
<a href="https://developer.android.com/reference/android/view/PointerIcon" title="Reference documentation">Android platform documentation</a>
</format>
</para>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
<Members>
<Member MemberName="Create">
<MemberSignature Language="C#" Value="public static Android.Views.PointerIcon Create (Android.Graphics.Bitmap bitmap, float hotSpotX, float hotSpotY);" />
<MemberSignature Language="ILAsm" Value=".method public static hidebysig class Android.Views.PointerIcon Create(class Android.Graphics.Bitmap bitmap, float32 hotSpotX, float32 hotSpotY) cil managed" />
<MemberSignature Language="DocId" Value="M:Android.Views.PointerIcon.Create(Android.Graphics.Bitmap,System.Single,System.Single)" />
<MemberSignature Language="F#" Value="static member Create : Android.Graphics.Bitmap * single * single -> Android.Views.PointerIcon" Usage="Android.Views.PointerIcon.Create (bitmap, hotSpotX, hotSpotY)" />
<MemberType>Method</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("create", "(Landroid/graphics/Bitmap;FF)Landroid/view/PointerIcon;", "")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIcon</ReturnType>
</ReturnValue>
<Parameters>
<Parameter Name="bitmap" Type="Android.Graphics.Bitmap" />
<Parameter Name="hotSpotX" Type="System.Single" />
<Parameter Name="hotSpotY" Type="System.Single" />
</Parameters>
<Docs>
<param name="bitmap">To be added.</param>
<param name="hotSpotX">To be added.</param>
<param name="hotSpotY">To be added.</param>
<summary>To be added.</summary>
<returns>To be added.</returns>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="Creator">
<MemberSignature Language="C#" Value="public static Android.OS.IParcelableCreator Creator { get; }" />
<MemberSignature Language="ILAsm" Value=".property class Android.OS.IParcelableCreator Creator" />
<MemberSignature Language="DocId" Value="P:Android.Views.PointerIcon.Creator" />
<MemberSignature Language="F#" Value="member this.Creator : Android.OS.IParcelableCreator" Usage="Android.Views.PointerIcon.Creator" />
<MemberType>Property</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("CREATOR")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.OS.IParcelableCreator</ReturnType>
</ReturnValue>
<Docs>
<summary>To be added.</summary>
<value>To be added.</value>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="DescribeContents">
<MemberSignature Language="C#" Value="public int DescribeContents ();" />
<MemberSignature Language="ILAsm" Value=".method public hidebysig newslot virtual instance int32 DescribeContents() cil managed" />
<MemberSignature Language="DocId" Value="M:Android.Views.PointerIcon.DescribeContents" />
<MemberSignature Language="F#" Value="abstract member DescribeContents : unit -> int
override this.DescribeContents : unit -> int" Usage="pointerIcon.DescribeContents " />
<MemberType>Method</MemberType>
<Implements>
<InterfaceMember>M:Android.OS.IParcelable.DescribeContents</InterfaceMember>
</Implements>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("describeContents", "()I", "")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>System.Int32</ReturnType>
</ReturnValue>
<Parameters />
<Docs>
<summary>To be added.</summary>
<returns>To be added.</returns>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="GetSystemIcon">
<MemberSignature Language="C#" Value="public static Android.Views.PointerIcon GetSystemIcon (Android.Content.Context context, Android.Views.PointerIconType type);" />
<MemberSignature Language="ILAsm" Value=".method public static hidebysig class Android.Views.PointerIcon GetSystemIcon(class Android.Content.Context context, valuetype Android.Views.PointerIconType type) cil managed" />
<MemberSignature Language="DocId" Value="M:Android.Views.PointerIcon.GetSystemIcon(Android.Content.Context,Android.Views.PointerIconType)" />
<MemberSignature Language="F#" Value="static member GetSystemIcon : Android.Content.Context * Android.Views.PointerIconType -> Android.Views.PointerIcon" Usage="Android.Views.PointerIcon.GetSystemIcon (context, type)" />
<MemberType>Method</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("getSystemIcon", "(Landroid/content/Context;I)Landroid/view/PointerIcon;", "")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIcon</ReturnType>
</ReturnValue>
<Parameters>
<Parameter Name="context" Type="Android.Content.Context" />
<Parameter Name="type" Type="Android.Views.PointerIconType">
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.GeneratedEnum</AttributeName>
</Attribute>
</Attributes>
</Parameter>
</Parameters>
<Docs>
<param name="context">To be added.</param>
<param name="type">To be added.</param>
<summary>To be added.</summary>
<returns>To be added.</returns>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="JniPeerMembers">
<MemberSignature Language="C#" Value="public override Java.Interop.JniPeerMembers JniPeerMembers { get; }" />
<MemberSignature Language="ILAsm" Value=".property instance class Java.Interop.JniPeerMembers JniPeerMembers" />
<MemberSignature Language="DocId" Value="P:Android.Views.PointerIcon.JniPeerMembers" />
<MemberSignature Language="F#" Value="member this.JniPeerMembers : Java.Interop.JniPeerMembers" Usage="Android.Views.PointerIcon.JniPeerMembers" />
<MemberType>Property</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<ReturnValue>
<ReturnType>Java.Interop.JniPeerMembers</ReturnType>
</ReturnValue>
<Docs>
<summary>To be added.</summary>
<value>To be added.</value>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="Load">
<MemberSignature Language="C#" Value="public static Android.Views.PointerIcon Load (Android.Content.Res.Resources resources, int resourceId);" />
<MemberSignature Language="ILAsm" Value=".method public static hidebysig class Android.Views.PointerIcon Load(class Android.Content.Res.Resources resources, int32 resourceId) cil managed" />
<MemberSignature Language="DocId" Value="M:Android.Views.PointerIcon.Load(Android.Content.Res.Resources,System.Int32)" />
<MemberSignature Language="F#" Value="static member Load : Android.Content.Res.Resources * int -> Android.Views.PointerIcon" Usage="Android.Views.PointerIcon.Load (resources, resourceId)" />
<MemberType>Method</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("load", "(Landroid/content/res/Resources;I)Landroid/view/PointerIcon;", "")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIcon</ReturnType>
</ReturnValue>
<Parameters>
<Parameter Name="resources" Type="Android.Content.Res.Resources" />
<Parameter Name="resourceId" Type="System.Int32" />
</Parameters>
<Docs>
<param name="resources">To be added.</param>
<param name="resourceId">To be added.</param>
<summary>To be added.</summary>
<returns>To be added.</returns>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="ThresholdClass">
<MemberSignature Language="C#" Value="protected override IntPtr ThresholdClass { get; }" />
<MemberSignature Language="ILAsm" Value=".property instance native int ThresholdClass" />
<MemberSignature Language="DocId" Value="P:Android.Views.PointerIcon.ThresholdClass" />
<MemberSignature Language="F#" Value="member this.ThresholdClass : nativeint" Usage="Android.Views.PointerIcon.ThresholdClass" />
<MemberType>Property</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<ReturnValue>
<ReturnType>System.IntPtr</ReturnType>
</ReturnValue>
<Docs>
<summary>To be added.</summary>
<value>To be added.</value>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="ThresholdType">
<MemberSignature Language="C#" Value="protected override Type ThresholdType { get; }" />
<MemberSignature Language="ILAsm" Value=".property instance class System.Type ThresholdType" />
<MemberSignature Language="DocId" Value="P:Android.Views.PointerIcon.ThresholdType" />
<MemberSignature Language="F#" Value="member this.ThresholdType : Type" Usage="Android.Views.PointerIcon.ThresholdType" />
<MemberType>Property</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<ReturnValue>
<ReturnType>System.Type</ReturnType>
</ReturnValue>
<Docs>
<summary>To be added.</summary>
<value>To be added.</value>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeAlias">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeAlias = 1010;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeAlias = (1010)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeAlias" />
<MemberSignature Language="F#" Value="val mutable TypeAlias : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeAlias" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_ALIAS")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1010</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeAllScroll">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeAllScroll = 1013;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeAllScroll = (1013)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeAllScroll" />
<MemberSignature Language="F#" Value="val mutable TypeAllScroll : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeAllScroll" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_ALL_SCROLL")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1013</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeArrow">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeArrow = 1000;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeArrow = (1000)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeArrow" />
<MemberSignature Language="F#" Value="val mutable TypeArrow : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeArrow" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_ARROW")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1000</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeCell">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeCell = 1006;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeCell = (1006)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeCell" />
<MemberSignature Language="F#" Value="val mutable TypeCell : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeCell" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_CELL")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1006</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeContextMenu">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeContextMenu = 1001;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeContextMenu = (1001)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeContextMenu" />
<MemberSignature Language="F#" Value="val mutable TypeContextMenu : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeContextMenu" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_CONTEXT_MENU")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1001</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeCopy">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeCopy = 1011;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeCopy = (1011)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeCopy" />
<MemberSignature Language="F#" Value="val mutable TypeCopy : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeCopy" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_COPY")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1011</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeCrosshair">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeCrosshair = 1007;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeCrosshair = (1007)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeCrosshair" />
<MemberSignature Language="F#" Value="val mutable TypeCrosshair : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeCrosshair" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_CROSSHAIR")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1007</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeDefault">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeDefault = 1000;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeDefault = (1000)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeDefault" />
<MemberSignature Language="F#" Value="val mutable TypeDefault : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeDefault" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_DEFAULT")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1000</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeGrab">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeGrab = 1020;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeGrab = (1020)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeGrab" />
<MemberSignature Language="F#" Value="val mutable TypeGrab : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeGrab" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_GRAB")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1020</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeGrabbing">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeGrabbing = 1021;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeGrabbing = (1021)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeGrabbing" />
<MemberSignature Language="F#" Value="val mutable TypeGrabbing : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeGrabbing" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_GRABBING")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1021</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeHand">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeHand = 1002;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeHand = (1002)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeHand" />
<MemberSignature Language="F#" Value="val mutable TypeHand : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeHand" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_HAND")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1002</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeHelp">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeHelp = 1003;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeHelp = (1003)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeHelp" />
<MemberSignature Language="F#" Value="val mutable TypeHelp : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeHelp" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_HELP")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1003</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeHorizontalDoubleArrow">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeHorizontalDoubleArrow = 1014;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeHorizontalDoubleArrow = (1014)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeHorizontalDoubleArrow" />
<MemberSignature Language="F#" Value="val mutable TypeHorizontalDoubleArrow : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeHorizontalDoubleArrow" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_HORIZONTAL_DOUBLE_ARROW")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1014</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeNoDrop">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeNoDrop = 1012;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeNoDrop = (1012)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeNoDrop" />
<MemberSignature Language="F#" Value="val mutable TypeNoDrop : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeNoDrop" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_NO_DROP")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1012</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeNull">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeNull = 0;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeNull = (0)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeNull" />
<MemberSignature Language="F#" Value="val mutable TypeNull : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeNull" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_NULL")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>0</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeText">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeText = 1008;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeText = (1008)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeText" />
<MemberSignature Language="F#" Value="val mutable TypeText : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeText" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_TEXT")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1008</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeTopLeftDiagonalDoubleArrow">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeTopLeftDiagonalDoubleArrow = 1017;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeTopLeftDiagonalDoubleArrow = (1017)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeTopLeftDiagonalDoubleArrow" />
<MemberSignature Language="F#" Value="val mutable TypeTopLeftDiagonalDoubleArrow : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeTopLeftDiagonalDoubleArrow" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_TOP_LEFT_DIAGONAL_DOUBLE_ARROW")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1017</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeTopRightDiagonalDoubleArrow">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeTopRightDiagonalDoubleArrow = 1016;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeTopRightDiagonalDoubleArrow = (1016)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeTopRightDiagonalDoubleArrow" />
<MemberSignature Language="F#" Value="val mutable TypeTopRightDiagonalDoubleArrow : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeTopRightDiagonalDoubleArrow" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_TOP_RIGHT_DIAGONAL_DOUBLE_ARROW")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1016</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeVerticalDoubleArrow">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeVerticalDoubleArrow = 1015;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeVerticalDoubleArrow = (1015)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeVerticalDoubleArrow" />
<MemberSignature Language="F#" Value="val mutable TypeVerticalDoubleArrow : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeVerticalDoubleArrow" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_VERTICAL_DOUBLE_ARROW")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1015</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeVerticalText">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeVerticalText = 1009;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeVerticalText = (1009)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeVerticalText" />
<MemberSignature Language="F#" Value="val mutable TypeVerticalText : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeVerticalText" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_VERTICAL_TEXT")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1009</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeWait">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeWait = 1004;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeWait = (1004)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeWait" />
<MemberSignature Language="F#" Value="val mutable TypeWait : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeWait" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_WAIT")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1004</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeZoomIn">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeZoomIn = 1018;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeZoomIn = (1018)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeZoomIn" />
<MemberSignature Language="F#" Value="val mutable TypeZoomIn : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeZoomIn" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_ZOOM_IN")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1018</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="TypeZoomOut">
<MemberSignature Language="C#" Value="public const Android.Views.PointerIconType TypeZoomOut = 1019;" />
<MemberSignature Language="ILAsm" Value=".field public static literal valuetype Android.Views.PointerIconType TypeZoomOut = (1019)" />
<MemberSignature Language="DocId" Value="F:Android.Views.PointerIcon.TypeZoomOut" />
<MemberSignature Language="F#" Value="val mutable TypeZoomOut : Android.Views.PointerIconType" Usage="Android.Views.PointerIcon.TypeZoomOut" />
<MemberType>Field</MemberType>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("TYPE_ZOOM_OUT")</AttributeName>
</Attribute>
<Attribute>
<AttributeName>System.Obsolete("This constant will be removed in the future version. Use Android.Views.PointerIconType enum directly instead of this field.")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>Android.Views.PointerIconType</ReturnType>
</ReturnValue>
<MemberValue>1019</MemberValue>
<Docs>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
<Member MemberName="WriteToParcel">
<MemberSignature Language="C#" Value="public void WriteToParcel (Android.OS.Parcel out, Android.OS.ParcelableWriteFlags flags);" />
<MemberSignature Language="ILAsm" Value=".method public hidebysig newslot virtual instance void WriteToParcel(class Android.OS.Parcel out, valuetype Android.OS.ParcelableWriteFlags flags) cil managed" />
<MemberSignature Language="DocId" Value="M:Android.Views.PointerIcon.WriteToParcel(Android.OS.Parcel,Android.OS.ParcelableWriteFlags)" />
<MemberSignature Language="F#" Value="abstract member WriteToParcel : Android.OS.Parcel * Android.OS.ParcelableWriteFlags -> unit
override this.WriteToParcel : Android.OS.Parcel * Android.OS.ParcelableWriteFlags -> unit" Usage="pointerIcon.WriteToParcel (out, flags)" />
<MemberType>Method</MemberType>
<Implements>
<InterfaceMember>M:Android.OS.IParcelable.WriteToParcel(Android.OS.Parcel,Android.OS.ParcelableWriteFlags)</InterfaceMember>
</Implements>
<AssemblyInfo>
<AssemblyName>Mono.Android</AssemblyName>
<AssemblyVersion>0.0.0.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.Register("writeToParcel", "(Landroid/os/Parcel;I)V", "")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>System.Void</ReturnType>
</ReturnValue>
<Parameters>
<Parameter Name="out" Type="Android.OS.Parcel" />
<Parameter Name="flags" Type="Android.OS.ParcelableWriteFlags">
<Attributes>
<Attribute>
<AttributeName>Android.Runtime.GeneratedEnum</AttributeName>
</Attribute>
</Attributes>
</Parameter>
</Parameters>
<Docs>
<param name="out">To be added.</param>
<param name="flags">To be added.</param>
<summary>To be added.</summary>
<remarks>
<para>Portions of this page are modifications based on work created and shared by the <format type="text/html"><a href="https://developers.google.com/terms/site-policies" title="Android Open Source Project">Android Open Source Project</a></format> and used according to terms described in the <format type="text/html"><a href="https://creativecommons.org/licenses/by/2.5/" title="Creative Commons 2.5 Attribution License">Creative Commons 2.5 Attribution License.</a></format></para>
</remarks>
</Docs>
</Member>
</Members>
</Type>
| 63.883864 | 493 | 0.70133 |
bd4346e095c6d419fd317bb1a3888e765c68c6f3 | 22,640 | xml | XML | www/wordpress/wp-content/plugins/magento2-2.3.5/app/code/Magento/Braintree/etc/adminhtml/system.xml | Fmendoza91/Proyecto-Final | 52ce40ac6af577fad47f1b51db697eca11f15d99 | [
"MIT"
] | null | null | null | www/wordpress/wp-content/plugins/magento2-2.3.5/app/code/Magento/Braintree/etc/adminhtml/system.xml | Fmendoza91/Proyecto-Final | 52ce40ac6af577fad47f1b51db697eca11f15d99 | [
"MIT"
] | null | null | null | www/wordpress/wp-content/plugins/magento2-2.3.5/app/code/Magento/Braintree/etc/adminhtml/system.xml | Fmendoza91/Proyecto-Final | 52ce40ac6af577fad47f1b51db697eca11f15d99 | [
"MIT"
] | null | null | null | <?xml version="1.0"?>
<!--
/**
* Copyright © Magento, Inc. All rights reserved.
* See COPYING.txt for license details.
*/
-->
<config xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:noNamespaceSchemaLocation="urn:magento:module:Magento_Config:etc/system_file.xsd">
<system>
<section id="payment">
<group id="braintree_section" sortOrder="6" showInDefault="0" showInWebsite="0" showInStore="0">
<group id="braintree" translate="label comment" type="text" showInDefault="1" showInWebsite="1" showInStore="1">
<label>Braintree</label>
<comment><![CDATA[Accept credit/debit cards and PayPal in your Magento store.<br/>No setup or monthly fees and your customers never leave your store to complete the purchase.]]></comment>
<fieldset_css>complex braintree-section</fieldset_css>
<frontend_model>Magento\Paypal\Block\Adminhtml\System\Config\Fieldset\Payment</frontend_model>
<attribute type="activity_path">payment/braintree/active</attribute>
<attribute type="displayIn">recommended_solutions</attribute>
<field id="active" translate="label" type="select" sortOrder="10" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Enable this Solution</label>
<source_model>Magento\Config\Model\Config\Source\Yesno</source_model>
<config_path>payment/braintree/active</config_path>
<requires>
<group id="braintree_required"/>
</requires>
</field>
<field id="active_braintree_paypal" translate="label" type="select" sortOrder="11" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Enable PayPal through Braintree</label>
<source_model>Magento\Config\Model\Config\Source\Yesno</source_model>
<config_path>payment/braintree_paypal/active</config_path>
<requires>
<group id="braintree_required"/>
</requires>
</field>
<field id="braintree_cc_vault_active" translate="label" type="select" sortOrder="12" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Vault Enabled</label>
<source_model>Magento\Config\Model\Config\Source\Yesno</source_model>
<config_path>payment/braintree_cc_vault/active</config_path>
<requires>
<group id="braintree_required"/>
</requires>
</field>
<group id="configuration_details" showInDefault="1" showInWebsite="1" showInStore="1" sortOrder="4">
<comment>https://docs.magento.com/m2/ce/user_guide/payment/braintree.html</comment>
<frontend_model>Magento\Paypal\Block\Adminhtml\System\Config\Fieldset\Hint</frontend_model>
</group>
<group id="braintree_required" translate="label" showInDefault="1" showInWebsite="1" showInStore="1" sortOrder="5">
<label>Basic Braintree Settings</label>
<attribute type="expanded">1</attribute>
<frontend_model>Magento\Config\Block\System\Config\Form\Fieldset</frontend_model>
<field id="title" translate="label" type="text" sortOrder="20" showInDefault="1" showInWebsite="1" showInStore="1">
<label>Title</label>
<config_path>payment/braintree/title</config_path>
</field>
<field id="environment" translate="label" type="select" sortOrder="30" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Environment</label>
<source_model>Magento\Braintree\Model\Adminhtml\Source\Environment</source_model>
<config_path>payment/braintree/environment</config_path>
</field>
<field id="payment_action" translate="label" type="select" sortOrder="50" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Payment Action</label>
<source_model>Magento\Braintree\Model\Adminhtml\Source\PaymentAction</source_model>
<config_path>payment/braintree/payment_action</config_path>
</field>
<field id="merchant_id" translate="label" sortOrder="90" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Merchant ID</label>
<config_path>payment/braintree/merchant_id</config_path>
</field>
<field id="public_key" translate="label" type="obscure" sortOrder="100" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Public Key</label>
<config_path>payment/braintree/public_key</config_path>
<backend_model>Magento\Config\Model\Config\Backend\Encrypted</backend_model>
</field>
<field id="private_key" translate="label" type="obscure" sortOrder="110" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Private Key</label>
<config_path>payment/braintree/private_key</config_path>
<backend_model>Magento\Config\Model\Config\Backend\Encrypted</backend_model>
</field>
</group>
<group id="braintree_advanced" translate="label" showInDefault="1" showInWebsite="1" showInStore="0" sortOrder="20">
<label>Advanced Braintree Settings</label>
<frontend_model>Magento\Config\Block\System\Config\Form\Fieldset</frontend_model>
<field id="braintree_cc_vault_title" translate="label" type="text" sortOrder="20" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Vault Title</label>
<config_path>payment/braintree_cc_vault/title</config_path>
</field>
<field id="merchant_account_id" translate="label comment" sortOrder="30" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Merchant Account ID</label>
<comment>If you don't specify the merchant account to use to process a transaction, Braintree will process it using your default merchant account.</comment>
<config_path>payment/braintree/merchant_account_id</config_path>
</field>
<field id="fraudprotection" translate="label comment" type="select" sortOrder="34" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Advanced Fraud Protection</label>
<source_model>Magento\Config\Model\Config\Source\Yesno</source_model>
<comment>Be sure to Enable Advanced Fraud Protection in Your Braintree Account in Settings/Processing Section</comment>
<config_path>payment/braintree/fraudprotection</config_path>
</field>
<field id="debug" translate="label" type="select" sortOrder="40" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Debug</label>
<source_model>Magento\Config\Model\Config\Source\Yesno</source_model>
<config_path>payment/braintree/debug</config_path>
</field>
<field id="useccv" translate="label comment" type="select" sortOrder="150" showInDefault="1" showInWebsite="1" showInStore="0">
<label>CVV Verification</label>
<source_model>Magento\Config\Model\Config\Source\Yesno</source_model>
<comment>Be sure to Enable AVS and/or CVV in Your Braintree Account in Settings/Processing Section.</comment>
<config_path>payment/braintree/useccv</config_path>
</field>
<field id="cctypes" translate="label" type="multiselect" sortOrder="160" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Credit Card Types</label>
<source_model>Magento\Braintree\Model\Adminhtml\Source\CcType</source_model>
<config_path>payment/braintree/cctypes</config_path>
</field>
<field id="sort_order" translate="label" type="text" sortOrder="230" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Sort Order</label>
<frontend_class>validate-number</frontend_class>
<config_path>payment/braintree/sort_order</config_path>
</field>
</group>
<group id="braintree_country_specific" translate="label" showInDefault="1" showInWebsite="1" showInStore="0" sortOrder="30">
<label>Country Specific Settings</label>
<frontend_model>Magento\Config\Block\System\Config\Form\Fieldset</frontend_model>
<field id="allowspecific" translate="label" type="allowspecific" sortOrder="200" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Payment from Applicable Countries</label>
<source_model>Magento\Payment\Model\Config\Source\Allspecificcountries</source_model>
<config_path>payment/braintree/allowspecific</config_path>
</field>
<field id="specificcountry" translate="label" type="multiselect" sortOrder="210" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Payment from Specific Countries</label>
<source_model>Magento\Braintree\Model\Adminhtml\System\Config\Country</source_model>
<can_be_empty>1</can_be_empty>
<config_path>payment/braintree/specificcountry</config_path>
</field>
<field id="countrycreditcard" translate="label" sortOrder="220" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Country Specific Credit Card Types</label>
<frontend_model>Magento\Braintree\Block\Adminhtml\Form\Field\CountryCreditCard</frontend_model>
<backend_model>Magento\Braintree\Model\Adminhtml\System\Config\CountryCreditCard</backend_model>
<config_path>payment/braintree/countrycreditcard</config_path>
</field>
</group>
<group id="braintree_paypal" translate="label" showInDefault="1" showInWebsite="1" showInStore="1" sortOrder="40">
<label>PayPal through Braintree</label>
<frontend_model>Magento\Config\Block\System\Config\Form\Fieldset</frontend_model>
<field id="title" translate="label comment" type="text" sortOrder="20" showInDefault="1" showInWebsite="1" showInStore="1">
<label>Title</label>
<config_path>payment/braintree_paypal/title</config_path>
<comment>It is recommended to set this value to "PayPal" per store views.</comment>
</field>
<field id="braintree_paypal_vault_active" translate="label" type="select" sortOrder="21" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Vault Enabled</label>
<source_model>Magento\Config\Model\Config\Source\Yesno</source_model>
<config_path>payment/braintree_paypal_vault/active</config_path>
<requires>
<group id="braintree_required"/>
</requires>
</field>
<field id="sort_order" translate="label" type="text" sortOrder="30" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Sort Order</label>
<frontend_class>validate-number</frontend_class>
<config_path>payment/braintree_paypal/sort_order</config_path>
</field>
<field id="merchant_name_override" translate="label" type="text" sortOrder="40" showInDefault="1" showInWebsite="1" showInStore="1">
<label>Override Merchant Name</label>
<config_path>payment/braintree_paypal/merchant_name_override</config_path>
</field>
<field id="payment_action" translate="label" type="select" sortOrder="50" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Payment Action</label>
<source_model>Magento\Braintree\Model\Adminhtml\Source\PaymentAction</source_model>
<config_path>payment/braintree_paypal/payment_action</config_path>
</field>
<field id="allowspecific" translate="label" type="allowspecific" sortOrder="70" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Payment from Applicable Countries</label>
<source_model>Magento\Payment\Model\Config\Source\Allspecificcountries</source_model>
<config_path>payment/braintree_paypal/allowspecific</config_path>
</field>
<field id="specificcountry" translate="label" type="multiselect" sortOrder="80" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Payment from Specific Countries</label>
<source_model>Magento\Braintree\Model\Adminhtml\System\Config\Country</source_model>
<can_be_empty>1</can_be_empty>
<config_path>payment/braintree_paypal/specificcountry</config_path>
</field>
<field id="require_billing_address" translate="label comment" type="select" sortOrder="90" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Require Customer's Billing Address</label>
<source_model>Magento\Config\Model\Config\Source\Yesno</source_model>
<config_path>payment/braintree_paypal/require_billing_address</config_path>
<comment>This feature needs be enabled first for the merchant account through PayPal technical support.</comment>
</field>
<field id="allow_shipping_address_override" translate="label" type="select" sortOrder="100" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Allow to Edit Shipping Address Entered During Checkout on PayPal Side</label>
<source_model>Magento\Config\Model\Config\Source\Yesno</source_model>
<config_path>payment/braintree_paypal/allow_shipping_address_override</config_path>
</field>
<field id="debug" translate="label" type="select" sortOrder="110" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Debug</label>
<source_model>Magento\Config\Model\Config\Source\Yesno</source_model>
<config_path>payment/braintree_paypal/debug</config_path>
</field>
<field id="display_on_shopping_cart" translate="label comment" type="select" sortOrder="120" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Display on Shopping Cart</label>
<source_model>Magento\Config\Model\Config\Source\Yesno</source_model>
<config_path>payment/braintree_paypal/display_on_shopping_cart</config_path>
<comment>Also affects mini-shopping cart.</comment>
</field>
<field id="skip_order_review" translate="label" type="select" sortOrder="120" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Skip Order Review</label>
<source_model>Magento\Config\Model\Config\Source\Yesno</source_model>
<config_path>payment/braintree_paypal/skip_order_review</config_path>
</field>
</group>
<group id="braintree_3dsecure" translate="label" showInDefault="1" showInWebsite="1" showInStore="0" sortOrder="41">
<label>3D Secure Verification Settings</label>
<frontend_model>Magento\Config\Block\System\Config\Form\Fieldset</frontend_model>
<field id="verify_3dsecure" translate="label" type="select" sortOrder="150" showInDefault="1" showInWebsite="1" showInStore="0">
<label>3D Secure Verification</label>
<source_model>Magento\Config\Model\Config\Source\Yesno</source_model>
<config_path>payment/braintree/verify_3dsecure</config_path>
</field>
<field id="threshold_amount" translate="label" type="text" sortOrder="151" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Threshold Amount</label>
<config_path>payment/braintree/threshold_amount</config_path>
</field>
<field id="allowspecific" translate="label" type="allowspecific" sortOrder="152" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Verify for Applicable Countries</label>
<source_model>Magento\Payment\Model\Config\Source\Allspecificcountries</source_model>
<config_path>payment/braintree/verify_all_countries</config_path>
</field>
<field id="specificcountry" translate="label" type="multiselect" sortOrder="153" showInDefault="1" showInWebsite="1" showInStore="0">
<label>Verify for Specific Countries</label>
<source_model>Magento\Braintree\Model\Adminhtml\System\Config\Country</source_model>
<can_be_empty>1</can_be_empty>
<config_path>payment/braintree/verify_specific_countries</config_path>
</field>
</group>
<group id="braintree_dynamic_descriptor" translate="label comment" showInDefault="1" showInWebsite="1" showInStore="1" sortOrder="50">
<label>Dynamic Descriptors</label>
<comment><![CDATA[Dynamic descriptors are sent on a per-transaction basis and define what will appear on your customers credit card statements for a specific purchase.
The clearer the description of your product, the less likely customers will issue chargebacks due to confusion or non-recognition.
Dynamic descriptors are not enabled on all accounts by default. If you receive a validation error of 92203 or if your dynamic descriptors are not displaying as expected,
please <a href="mailto:support@getbraintree.com">Braintree Support</a>.]]></comment>
<frontend_model>Magento\Config\Block\System\Config\Form\Fieldset</frontend_model>
<field id="name" translate="label comment" type="text" sortOrder="10" showInDefault="1" showInWebsite="1" showInStore="1">
<label>Name</label>
<config_path>payment/braintree/descriptor_name</config_path>
<comment>
The value in the business name field of a customer's statement. Company name/DBA section must be either 3, 7 or 12 characters
and the product descriptor can be up to 18, 14, or 9 characters respectively (with an * in between for a total descriptor name of 22 characters).
</comment>
</field>
<field id="phone" translate="label comment" type="text" sortOrder="20" showInDefault="1" showInWebsite="1" showInStore="1">
<label>Phone</label>
<config_path>payment/braintree/descriptor_phone</config_path>
<comment>
The value in the phone number field of a customer's statement. Phone must be 10-14 characters and can only contain numbers, dashes, parentheses and periods.
</comment>
</field>
<field id="url" translate="label comment" type="text" sortOrder="30" showInDefault="1" showInWebsite="1" showInStore="1">
<label>URL</label>
<config_path>payment/braintree/descriptor_url</config_path>
<comment>
The value in the URL/web address field of a customer's statement. The URL must be 13 characters or shorter.
</comment>
</field>
</group>
</group>
</group>
</section>
</system>
</config>
| 84.163569 | 207 | 0.566122 |
bdfb89178bdb2725a24d1824f72caf8802843920 | 1,054 | xml | XML | app/views/index.xml | MichelBahl/TiFlexboxSample | b9befa92876efa114383d72399398a62f5e1cd6d | [
"Apache-2.0"
] | null | null | null | app/views/index.xml | MichelBahl/TiFlexboxSample | b9befa92876efa114383d72399398a62f5e1cd6d | [
"Apache-2.0"
] | null | null | null | app/views/index.xml | MichelBahl/TiFlexboxSample | b9befa92876efa114383d72399398a62f5e1cd6d | [
"Apache-2.0"
] | null | null | null | <Alloy>
<TabGroup>
<Tab title="Tab 1" icon="KS_nav_ui.png">
<Window title="Tab 1">
<View layout="vertical">
<View layout="horizontal" height="100">
<View width="100" backgroundColor="#ff0000"></View>
<View backgroundColor="#ffff00"></View> <!--Should expand but respect the view to the right with th given width-->
<View width="100" backgroundColor="#cecece"></View>
</View>
<View layout="horizontal" height="100">
<View width="20" backgroundColor="#ff0000"></View>
<View width="100%" backgroundColor="#cecece"></View>
<View width="40" backgroundColor="#ffff00"></View>
</View>
</View>
</Window>
</Tab>
<Tab title="Tab 2" icon="KS_nav_views.png">
<Window title="Tab 2">
<View layout="vertical">
<View layout="horizontal" height="100">
<View width="100" backgroundColor="#ff0000"></View>
<View width="100" backgroundColor="#cecece"></View>
<View backgroundColor="#ffff00"></View>
</View>
</View>
</Window>
</Tab>
</TabGroup>
</Alloy> | 34 | 120 | 0.612903 |
d0a61129bf6876a446eace538e92a4ce9ac62757 | 3,062 | xml | XML | panels/competition/competition player stats detailed list panel.xml | nyurch/FM22Light | b79acdedd61e659430a47a107c40814d8dda5431 | [
"MIT"
] | null | null | null | panels/competition/competition player stats detailed list panel.xml | nyurch/FM22Light | b79acdedd61e659430a47a107c40814d8dda5431 | [
"MIT"
] | null | null | null | panels/competition/competition player stats detailed list panel.xml | nyurch/FM22Light | b79acdedd61e659430a47a107c40814d8dda5431 | [
"MIT"
] | null | null | null | <panel >
<!-- Version of the competition_player_stats_panel. Displays a the top player statistic in a panel -->
<layout class="fit_children_attachment" alignment="vertical" />
<layout class="stick_to_sides_attachment" alignment="horizontal,top" inset="0" apply_to_children="true" />
<container class="property_list_viewer_xml_panel" id="tops">
<layout class="fit_children_attachment" alignment="vertical" />
<layout class="stick_to_sides_attachment" alignment="horizontal,top" inset="0" apply_to_children="true" />
<!-- Radio button for selecting this stat -->
<widget class="radio_button" id="selc" group="psrb" group_parent_level="radC" click_event="PstS" select_event="rbse" icon_enabled="false" appearance="switches/custom/competition stats/list/button" embed_in_frame="true" show_button_appearance="true">
<layout class="stick_to_sides_attachment" alignment="all" inset="0" embed_in_frame="true" />
</widget>
<!-- Player name and team-->
<container>
<attachment_group class="vertical_arrange_autosize" vertical_offset="0" vertical_gap="0" horizontal_alignment="horizontal" horizontal_inset="0,10,0,0" />
<widget class="label" alignment="left,bottom" colour="text" size="small" auto_size="none" height="20" highlighted_text_colour="faded text">
<record id="object_property" get_property="name" dont_set_object="true" />
</widget>
<!-- Due to the weird structure used here with the radio button behind the other bits we need to propagate events when not over a hotspot so they hit it correctly-->
<container class="container_with_mouse_events" propagate_mouse_events="true" disable_wheel="false">
<layout class="fit_children_attachment" alignment="vertical" offset="0" />
<layout class="stick_to_sides_attachment" alignment="horizontal,top" inset="0" apply_to_children="true" />
<widget class="game_formatted_label" maximum_items="3" auto_size="vertical" colour="text" highlighted_text_colour="faded text" multiline="true">
<list id="format">
<record value="1">
<translation id="format" translation_id="392283" type="use" value="[%person#2], [%team#3-short] - [%string#4][COMMENT: FR 8873; Competition player stats; brief stat info - player, their team and the stat value]" />
</record>
<record default_value="true">
<translation id="format" translation_id="392276" type="use" value="[%number#1] Players - [%string#4][COMMENT: FR 8873; Competition player stats; brief stat info - number of players with identical stat value, then the value]" />
</record>
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<record get_property="Pers" set_property="var2" dont_set_object="true" />
<record get_property="Ttea" set_property="var3" dont_set_object="true" />
<record get_property="csSS" set_property="var4" dont_set_object="true" />
</list>
</record>
</widget>
</container>
</container>
</container>
</panel> | 62.489796 | 251 | 0.724363 |
9af3cd80f0e69cd02177cf153b75fd1c4f8a385a | 4,483 | xml | XML | output/muenster_miami_25d0075b-a408-44c4-a1bf-0c24ef474bf8.xml | opencultureconsulting/noah-muenster-miami | 8e12a20a8568ffe42f81cd173e1db1c7b7e52bb9 | [
"MIT"
] | null | null | null | output/muenster_miami_25d0075b-a408-44c4-a1bf-0c24ef474bf8.xml | opencultureconsulting/noah-muenster-miami | 8e12a20a8568ffe42f81cd173e1db1c7b7e52bb9 | [
"MIT"
] | null | null | null | output/muenster_miami_25d0075b-a408-44c4-a1bf-0c24ef474bf8.xml | opencultureconsulting/noah-muenster-miami | 8e12a20a8568ffe42f81cd173e1db1c7b7e52bb9 | [
"MIT"
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<titleInfo lang="eng">
<title>Hereditary prosopagnosia in self reports</title>
</titleInfo>
<name type="personal" authority="gnd" authorityURI="http://d-nb.info/gnd/" valueURI="http://d-nb.info/gnd/172183421">
<displayForm>Kennerknecht, Ingo</displayForm>
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<name type="personal">
<displayForm>Trostmann, Ulrike</displayForm>
<namePart type="given">Ulrike</namePart>
<namePart type="family">Trostmann</namePart>
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<abstract lang="eng">People who suffer from prosopagnosia, syn. face blindness are unable to recognize others solely by their face. Reports by those affected picture the problematic nature from very different perspectives in every day life. Not only the variety, but most notably the wide resemblance of the symptoms is documented. The generation of numerous compensatory strategies, the many typical anecdotes, and the frequent deficiency of inner images concordantly describe the subjective sensibility of prosopagnosia.</abstract>
<subject lang="eng">
<topic>prosopagnosia</topic>
<topic>face blindness</topic>
<topic>hereditary prosopagnosia</topic>
<topic>congenital prosopagnosia</topic>
<topic>acquired prosopagnosia</topic>
<topic>syndromal prosopagnosia</topic>
</subject>
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<identifier type="urn">urn:nbn:de:hbz:6-05099604403</identifier>
<identifier type="doi">10.17879/05099603420</identifier>
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| 64.042857 | 553 | 0.563908 |
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| 27.190647 | 104 | 0.644662 |
97b70f501c2193c803f341ffd7931c2dc22c3489 | 2,571 | xml | XML | app/src/main/res/layout/activity_maps.xml | AlekseevArtem/Tourist | 487af7f3360ca66534f3c9eaecc9de70d13c156a | [
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</RangeSet>
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<supportedCRSs>
<requestResponseCRSs>EPSG:4326</requestResponseCRSs>
<nativeCRSs>EPSG:4326</nativeCRSs>
</supportedCRSs>
<supportedFormats nativeFormat="geotiff">
<formats>geotiff16</formats>
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<supportedInterpolations default="nearest neighbor">
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</CoverageDescription> | 46.072727 | 333 | 0.653118 |
d2110cdab4f1db8149b524a301563872458ae2a5 | 98,032 | xml | XML | Dual-write/P2C/microsoft.dynamics.xrmsolutions.crmp2c.15.0.0.2/Tests/Microsoft.Xrm.Sdk.Workflow.xml | nielsvdc/Dynamics-365-FastTrack-Implementation-Assets | a438124b376806ba878ba9325ce70091892e7e53 | [
"MIT"
] | 10 | 2018-01-27T20:15:16.000Z | 2019-07-11T22:04:23.000Z | Dual-write/P2C/microsoft.dynamics.xrmsolutions.crmp2c.15.0.0.2/Tests/Microsoft.Xrm.Sdk.Workflow.xml | nielsvdc/Dynamics-365-FastTrack-Implementation-Assets | a438124b376806ba878ba9325ce70091892e7e53 | [
"MIT"
] | 1 | 2018-04-03T17:02:31.000Z | 2018-04-03T17:02:31.000Z | Dual-write/P2C/microsoft.dynamics.xrmsolutions.crmp2c.15.0.0.2/Tests/Microsoft.Xrm.Sdk.Workflow.xml | nielsvdc/Dynamics-365-FastTrack-Implementation-Assets | a438124b376806ba878ba9325ce70091892e7e53 | [
"MIT"
] | 7 | 2018-01-27T12:14:25.000Z | 2020-09-13T14:41:55.000Z | <?xml version="1.0" encoding="utf-8"?>
<doc>
<assembly>
<name>Microsoft.Xrm.Sdk.Workflow</name>
</assembly>
<members>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowDependencyType.ArgumentEntityImage">
<summary>
<para>A dependency on an argument entity image. Value = 9.</para>
</summary>
<remarks>
<para>This type value is obsolete.</para>
</remarks>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowDependencyType.AttributeDefinition">
<summary>
<para>A dependency on an attribute definition. Value = 8.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowDependencyType.CustomEntityDefinition">
<summary>
<para>A dependency on a custom entity definition. Value = 7.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowDependencyType.LocalParameter">
<summary>
<para>A dependency on a local parameter. Value = 2.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowDependencyType.PrimaryEntityImage">
<summary>
<para>A dependency on a primary entity image. Value = 3.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowDependencyType.PrimaryEntityPostImage">
<summary>
<para>A dependency on a primary entity post image. Value = 5.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowDependencyType.PrimaryEntityPreImage">
<summary>
<para>A dependency on a primary entity pre image. Value = 4.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowDependencyType.RelatedEntityImage">
<summary>
<para>A dependency on a related entity image. Value = 6.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowDependencyType.SdkAssociation">
<summary>
<para>A dependency on an SDK association. Value = 1.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowStepActivityStatus.Canceled">
<summary>
<para>Indicates the step has been canceled. Value = 4.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowStepActivityStatus.Failed">
<summary>
<para>The step has failed. Value = 3.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowStepActivityStatus.InProgress">
<summary>
<para>The step is in progress. Value = 1.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowStepActivityStatus.SuccessfullyCompleted">
<summary>
<para>The step has successfully completed. Value = 2.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowStepActivityStatus.Waiting">
<summary>
<para>Indicates the step is waiting. Value = 5.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.Zero">
<summary>
<para>Represents the zero XrmTimeSpan value. This field is read-only.</para>
</summary>
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.ActivityReference.#ctor">
<summary>
<para>Initializes a new instance of the <see langword="ActivityReference" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.AssignEntity.#ctor">
<summary>
<para>Initializes a new instance of the <see langword="AssignEntity" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.CreateEntity.#ctor">
<summary>
<para>Initializes a new instance of the <see langword="CreateEntity" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.GetEntityProperty.#ctor">
<summary>
<para>
Initializes a new instance of the
<see langword="GetEntityProperty" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.GetPrimaryEntity.#ctor">
<summary>
<para>Initializes a new instance of the <see langword="GetPrimaryEntity" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.Postpone.#ctor">
<summary>
<para>Initializes a new instance of the <see langword="Postpone" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.ReferenceLiteral`1.#ctor">
<summary>
<para>
For internal use only.
</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.ReferenceLiteral`1.#ctor(`0)">
<summary>
<para>
For internal use only.
</para>
</summary>
<param name="value">
<para />
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.ReferenceLiteral`1.CanConvertToString(System.Windows.Markup.IValueSerializerContext)">
<summary>
<para>
For internal use only.
</para>
</summary>
<param name="context">
<para />
</param>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.boolean.aspx">Boolean</see></para>
</returns>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.ReferenceLiteral`1.ConvertToString(System.Windows.Markup.IValueSerializerContext)">
<summary>
<para>
For internal use only.
</para>
</summary>
<param name="context">
<para />
</param>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see></para>
</returns>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.ReferenceLiteral`1.ToString">
<summary>
<para>
For internal use only.
</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see></para>
</returns>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.RetrieveEntity.#ctor">
<summary>
<para>Initializes a new instance of the <see langword="RetrieveEntity" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.SendEmail.#ctor">
<summary>
<para>Initializes a new instance of the <see cref="T:Microsoft.Xrm.Sdk.Workflow.Activities.SendEmail" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.SendEmailFromTemplate.#ctor">
<summary>
<para>
Initializes a new instance of the
<see cref="T:Microsoft.Xrm.Sdk.Workflow.Activities.SendEmailFromTemplate" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.SetEntityProperty.#ctor">
<summary>
<para>
Initializes a new instance of the
<see langword="SetEntityProperty" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.SetState.#ctor">
<summary>
<para>Initializes a new instance of the <see langword="SetState" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.StartChildWorkflow.#ctor">
<summary>
<para>Initializes a new instance of the <see cref="T:Microsoft.Xrm.Sdk.Workflow.Activities.StartChildWorkflow" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.UpdateEntity.#ctor">
<summary>
<para>Initializes a new instance of the <see langword="UpdateEntity" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Activities.Workflow.#ctor">
<summary>
<para>Initializes a new instance of the <see langword="Workflow" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.ArgumentDescriptionAttribute.#ctor">
<summary>
<para>Initializes an instance of the <see cref="T:Microsoft.Xrm.Sdk.Workflow.ArgumentDescriptionAttribute" /> class.</para>
</summary>
<remarks>
<para>The <see langword="Value" /> property defaults to an empty string.</para>
</remarks>
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.ArgumentDescriptionAttribute.#ctor(System.String)">
<summary>
<para>Initializes an instance of the <see cref="T:Microsoft.Xrm.Sdk.Workflow.ArgumentDescriptionAttribute" /> class setting the <see langword="Value" /> property.</para>
</summary>
<param name="value">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>. A description of the argument.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.ArgumentDirectionAttribute.#ctor">
<summary>
<para />
</summary>
<remarks>
<para>Initializes an instance of the <see cref="T:Microsoft.Xrm.Sdk.Workflow.ArgumentDirectionAttribute" /> class.</para>
</remarks>
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.ArgumentDirectionAttribute.#ctor(Microsoft.Xrm.Sdk.Workflow.ArgumentDirection)">
<summary>
<para>Initializes an instance of the <see cref="T:Microsoft.Xrm.Sdk.Workflow.ArgumentDirectionAttribute" /> class using an argument direction.</para>
</summary>
<param name="value">
<para>Type: <see cref="T:Microsoft.Xrm.Sdk.Workflow.ArgumentDirection" />. The argument direction.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.ArgumentEntityAttribute.#ctor">
<summary>
<para>Initializes an instance of the <see cref="T:Microsoft.Xrm.Sdk.Workflow.ArgumentEntityAttribute" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.ArgumentEntityAttribute.#ctor(System.String)">
<summary>
<para>Initializes an instance of the <see cref="T:Microsoft.Xrm.Sdk.Workflow.ArgumentEntityAttribute" /> class with the provided serialized entity record value.</para>
</summary>
<param name="value">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>. The serialized entity record.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.ArgumentRequiredAttribute.#ctor">
<summary>
<para>Initializes an instance of the <see cref="T:Microsoft.Xrm.Sdk.Workflow.ArgumentRequiredAttribute" /> class.</para>
</summary>
<remarks>
<para>By default, the argument is not required.</para>
</remarks>
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.ArgumentRequiredAttribute.#ctor(System.Boolean)">
<summary>
<para>Initializes an instance of the <see cref="T:Microsoft.Xrm.Sdk.Workflow.ArgumentRequiredAttribute" /> class with the passed value.</para>
</summary>
<param name="value">
<para>Type: <see href="https://msdn.microsoft.com/library/system.boolean.aspx">Boolean</see>. Set to true if the argument is required; otherwise, false</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.ArgumentTargetAttribute.#ctor">
<summary>
<para>Initializes an instance of the <see cref="T:Microsoft.Xrm.Sdk.Workflow.ArgumentTargetAttribute" /> class.</para>
</summary>
<remarks>
<para>The <see langword="Value" /> property is set to false by default.</para>
</remarks>
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.ArgumentTargetAttribute.#ctor(System.Boolean)">
<summary>
<para>Initializes an instance of the <see cref="T:Microsoft.Xrm.Sdk.Workflow.ArgumentTargetAttribute" /> class setting the <see langword="Value" /> property .</para>
</summary>
<param name="value">
<para>Type: <see href="https://msdn.microsoft.com/library/system.boolean.aspx">Boolean</see>. When true, the argument indicates the primary entity; otherwise, false</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.AttributeDependency.#ctor">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.AttributeDependency.#ctor(System.String,System.String,System.String)">
<summary>
<para>Obsolete.</para>
</summary>
<param name="parameterName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see></para>
</param>
<param name="dependentEntityName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see></para>
</param>
<param name="dependentAttributeName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see></para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.AttributeTargetAttribute.#ctor(System.String,System.String)">
<summary>
<para>Initializes a new instance of the AttributeTargetAttribute class.</para>
</summary>
<param name="entityName">
<para>Specifies a String containing the logical name of the entity. See Remarks.</para>
</param>
<param name="attributeName">
<para>Specifies a String containing the logical name of the attribute.</para>
</param>
<remarks>
<para>The name of an entity is always lowercase, for example, account or new_bankaccount. </para>
</remarks>
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.CustomEntityDependency.#ctor">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.CustomEntityDependency.#ctor(System.String,System.String)">
<summary>
<para>Obsolete.</para>
</summary>
<param name="parameterName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<param name="customEntityName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<remarks>
<para />
</remarks>
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.DefaultAttribute.#ctor(System.String)">
<summary>
<para>Initializes a new instance of the DefaultAttribute class setting the value property.</para>
</summary>
<param name="value">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>. Specifies a String containing the attribute value.</para>
</param>
<remarks>
<para>If the default value is for an attribute of type lookup, a customer or an owner, then you must use the DefaultAttribute Constructor (String, String) constructor and supply the entity name.</para>
</remarks>
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.DefaultAttribute.#ctor(System.String,System.String)">
<summary>
<para>Initializes a new instance of the DefaultAttribute class setting the value and entity name properties.</para>
</summary>
<param name="value">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>. Specifies a String containing the attribute value.</para>
</param>
<param name="entityName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>. Specifies a String containing the name of the entity.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Designers.WorkflowDesigner.#ctor">
<summary>
<para>Initializes a new instance of the <see cref="T:Microsoft.Xrm.Sdk.Workflow.Designers.WorkflowDesigner" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.Designers.WorkflowDesigner.InitializeComponent">
<summary>
<para>
For internal use only.
</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.EntityCreatedByDependency.#ctor">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.EntityCreatedByDependency.#ctor(System.String,System.String)">
<summary>
<para>Obsolete.</para>
</summary>
<param name="parameterName">
<para />
</param>
<param name="entityAttributes">
<para />
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.EntityDependencyBase.#ctor">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.EntityDependencyBase.#ctor(System.String,System.String)">
<summary>
<para>Obsolete.</para>
</summary>
<param name="parameterName">
<para />
</param>
<param name="entityAttributes">
<para />
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.InputAttribute.#ctor(System.String)">
<summary>
<para>Initializes a new instance of the InputAttribute class setting the name property.</para>
</summary>
<param name="name">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>. Specifies a String containing the name of the parameter that will appears in the workflow designer UI.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.IStorageService.RetrieveData(System.Guid)">
<summary>
<para>
For internal use only.
</para>
</summary>
<param name="dataId">
<para>Type: <see href="https://msdn.microsoft.com/library/system.guid.aspx">Guid</see>.</para>
</param>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.object.aspx">Object</see>.</para>
</returns>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.IStorageService.SaveData(System.Guid,System.Object)">
<summary>
<para>
For internal use only.
</para>
</summary>
<param name="dataId">
<para>Type: <see href="https://msdn.microsoft.com/library/system.guid.aspx">Guid</see>.</para>
</param>
<param name="data">
<para>Type: <see href="https://msdn.microsoft.com/library/system.object.aspx">Object</see>.</para>
</param>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.guid.aspx">Guid</see>.</para>
</returns>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.IWaitNotificationService.RegisterListener(System.Guid,System.String,System.Guid,System.String)">
<summary>
<para>
For internal use only.
</para>
</summary>
<param name="queueId">
<para>Type: <see href="https://msdn.microsoft.com/library/system.guid.aspx">Guid</see>.</para>
</param>
<param name="entityName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<param name="entityId">
<para>Type: <see href="https://msdn.microsoft.com/library/system.guid.aspx">Guid</see>.</para>
</param>
<param name="attributeName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.guid.aspx">Guid</see> .</para>
</returns>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.IWaitNotificationService.UnregisterAllListeners">
<summary>
<para>
For internal use only.
</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.IWaitNotificationService.UnregisterListener(System.Guid)">
<summary>
<para>
For internal use only.
</para>
</summary>
<param name="subscriptionId">
<para>Type: <see href="https://msdn.microsoft.com/library/system.guid.aspx">Guid</see>.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.LocalParameterDependency.#ctor(System.String,System.Type)">
<summary>
<para>Obsolete.</para>
</summary>
<param name="parameterName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<param name="parameterType">
<para>Type: <see href="https://msdn.microsoft.com/library/system.type.aspx">Type</see>.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.OutputAttribute.#ctor(System.String)">
<summary>
<para>Initializes a new instance of the <see langword="OutputAttribute" /> class.</para>
</summary>
<param name="name">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>. Specifies a String containing the name of the parameter that will appears in the process designer UI.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.ParameterAttribute.#ctor(System.String)">
<summary>
<para>Initializes a new instance of the <see langword="ParameterAttribute" /> class.</para>
</summary>
<param name="name">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>. The name of the parameter that will appear in the process designer UI.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.ParameterDependencyBase.#ctor">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.ParameterDependencyBase.#ctor(System.String)">
<summary>
<para>Obsolete.</para>
</summary>
<param name="parameterName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.PreImageDependency.#ctor">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.PreImageDependency.#ctor(System.String,System.String)">
<summary>
<para>Obsolete.</para>
</summary>
<param name="parameterName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<param name="entityAttributes">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.PrimaryEntityDependency.#ctor">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.PrimaryEntityDependency.#ctor(System.String,System.String,System.Int32)">
<summary>
<para>Obsolete.</para>
</summary>
<param name="parameterName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<param name="entityAttributes">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<param name="type">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.ReferenceTargetAttribute.#ctor(System.String)">
<summary>
<para>Initializes a new instance of the <see langword="ReferenceTargetAttribute" /> class.</para>
</summary>
<param name="entityName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>. Specifies a String containing the name of the entity.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.RelatedEntityDependency.#ctor">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.RelatedEntityDependency.#ctor(System.String,System.String,System.String,System.String)">
<summary>
<para>Obsolete.</para>
</summary>
<param name="parameterName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<param name="entityAttributes">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<param name="relatedAttributeName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<param name="relatedEntityName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.WaitSubscription.#ctor(System.String,System.Guid,System.String)">
<summary>
<para>
Initializes a new instance of the
<see cref="T:Microsoft.Xrm.Sdk.Workflow.WaitSubscription" /> class.</para>
</summary>
<param name="entityName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<param name="entityId">
<para>Type: <see href="https://msdn.microsoft.com/library/system.guid.aspx">Guid</see>.</para>
</param>
<param name="attributeName">
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.WorkflowArgument.#ctor">
<summary>
<para>Initializes an instance of the <see cref="T:Microsoft.Xrm.Sdk.Workflow.WorkflowArgument" /> class.</para>
</summary>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.#ctor(System.Int32,System.Int32,System.Int32)">
<summary>
<para>Initializes a new instance of the XrmTimeSpan class setting the days, hours and minutes.</para>
</summary>
<param name="days">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the days for the time span.</para>
</param>
<param name="hours">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the hours for the time span.</para>
</param>
<param name="minutes">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the minutes for the time span.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.#ctor(System.Int32,System.Int32,System.Int32,System.Int32,System.Int32)">
<summary>
<para>Initializes a new instance of the XrmTimeSpan class setting the years, months, days, hours and minutes.</para>
</summary>
<param name="years">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the years for the time span.</para>
</param>
<param name="months">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the months for the time span.</para>
</param>
<param name="days">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the days for the time span.</para>
</param>
<param name="hours">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the hours for the time span.</para>
</param>
<param name="minutes">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the minutes for the time span.</para>
</param>
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.#ctor(System.TimeSpan)">
<summary>
<para>Initializes a new instance of the CrmTimeSpan class setting the time span.</para>
</summary>
<param name="value">
<para>Type: <see href="https://msdn.microsoft.com/library/system.timespan.aspx">TimeSpan</see>. Specifies the time span.</para>
</param>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.Add(System.DateTime)">
<summary>
<para>Adds the specified date/time value to this instance.</para>
</summary>
<param name="value">
<para>Type: <see href="https://msdn.microsoft.com/library/system.datetime.aspx">DateTime</see>. A date/time value to add to the current instance value.</para>
</param>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.datetime.aspx">DateTime</see> The resultant date and time value.</para>
</returns>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.CreateXrmTimeSpan(Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan)">
<summary>
<para>Creates an instance of a XrmTimeSpan class setting the time span members.</para>
</summary>
<param name="cts">
<para>Type: <see cref="T:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan" />. Specifies the time span.</para>
</param>
<returns>
<para>Type: <see cref="T:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan" />The instance of a XrmTimeSpan class where the time span members are set.</para>
</returns>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.CreateXrmTimeSpan(System.Int32,System.Int32,System.Int32)">
<summary>
<para>Creates an instance of a XrmTimeSpan class setting the days, hours and minutes.</para>
</summary>
<param name="days">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the days for the time span.</para>
</param>
<param name="hours">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the hours for the time span.</para>
</param>
<param name="minutes">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the minutes for the time span.</para>
</param>
<returns>
<para>Type: <see cref="T:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan" />The instance of a XrmTimeSpan class where the days, hours, and minutes are set.</para>
</returns>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.CreateXrmTimeSpan(System.Int32,System.Int32,System.Int32,System.Int32,System.Int32)">
<summary>
<para>Creates an instance of a XrmTimeSpan class setting the years, months, days, hours and minutes.</para>
</summary>
<param name="years">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the years for the time span.</para>
</param>
<param name="months">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the months for the time span.</para>
</param>
<param name="days">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the days for the time span.</para>
</param>
<param name="hours">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the hours for the time span.</para>
</param>
<param name="minutes">
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. Specifies the minutes for the time span.</para>
</param>
<returns>
<para>Type: <see cref="T:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan" />The instance of a XrmTimeSpan class where the years, months, days, hours, and minutes are set.</para>
</returns>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.Equals(Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan)">
<summary>
<para>Returns a value indicating whether this instance is equal to a specified XrmTimeSpan object.</para>
</summary>
<param name="value">
<para>Type: <see cref="T:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan" />. Specifies the XrmTimeSpan instance to test for equality with the current instance.</para>
</param>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.boolean.aspx">Boolean</see>true if the value represents the same time interval as the current XrmTimeSpan structure; otherwise, false.</para>
</returns>
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.Equals(System.Object)">
<summary>
<para>Returns a value indicating whether this instance is equal to a specified object.</para>
</summary>
<param name="obj">
<para>Type: <see href="https://msdn.microsoft.com/library/system.object.aspx">Object</see>. Specifies the object to test for equality with the current instance.</para>
</param>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.boolean.aspx">Boolean</see>true if value is a XrmTimeSpan object that represents the same time interval as the current XrmTimeSpan structure; otherwise, false.</para>
</returns>
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.GetHashCode">
<summary>
<para>Returns a hash code for this instance.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see> The hash code for this instance.</para>
</returns>
<remarks />
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.op_Equality(Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan,Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan)">
<summary>
<para>Indicates whether two XrmTimeSpan instances are equal.</para>
</summary>
<param name="span1">
<para>Type: <see cref="T:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan" />. Specifies a XrmTimeSpan.</para>
</param>
<param name="span2">
<para>Type: <see cref="T:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan" />. Specifies a XrmTimeSpan.</para>
</param>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.boolean.aspx">Boolean</see>true if the values of span1 and span2 are equal; otherwise, false.</para>
</returns>
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.op_Inequality(Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan,Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan)">
<summary>
<para>Indicates whether two XrmTimeSpan instances are not equal.</para>
</summary>
<param name="span1">
<para>Type: <see cref="T:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan" />. Specifies a XrmTimeSpan.</para>
</param>
<param name="span2">
<para>Type: <see cref="T:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan" />. Specifies a XrmTimeSpan.</para>
</param>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.boolean.aspx">Boolean</see>true if the values of span1 and span2 are not equal; otherwise, false.</para>
</returns>
<remarks>
<para>Returns a Boolean type. true of the values of span1 and span2 are not equal; otherwise false.</para>
</remarks>
</member>
<member name="M:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.Subtract(System.DateTime)">
<summary>
<para>Subtracts the specified XrmTimeSpan from this instance.</para>
</summary>
<param name="value">
<para>Type: <see href="https://msdn.microsoft.com/library/system.datetime.aspx">DateTime</see>. Specifies a date/time value to subtract.</para>
</param>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.datetime.aspx">DateTime</see> The value resulting when the passed value is subtracted from this instance.</para>
</returns>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.ActivityReference.Arguments">
<summary>
<para>
For internal use only.
</para>
</summary>
<returns>
<para>Returns <see href="https://msdn.microsoft.com/library/xfhwa508.aspx">Dictionary</see>.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.ActivityReference.AssemblyQualifiedName">
<summary>
<para>
For internal use only.
</para>
</summary>
<returns>
<para>Returns <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.ActivityReference.Properties">
<summary>
<para>
For internal use only.
</para>
</summary>
<returns>
<para>Returns <see href="https://msdn.microsoft.com/library/xfhwa508.aspx">Dictionary</see>.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.AssignEntity.Entity">
<summary>
<para>Gets the resulting record following the assignment to a new owner.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd485644.aspx">OutArgument</see><<see cref="T:Microsoft.Xrm.Sdk.Entity" />>The resulting record following the assignment to a new owner.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.AssignEntity.EntityId">
<summary>
<para>Sets the ID of the record to assign.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see><<see href="https://msdn.microsoft.com/library/system.guid.aspx">Guid</see>>The ID of the record to assign.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.AssignEntity.EntityName">
<summary>
<para>Set the logical name of the entity specified by the <paramref name="EntityId" /> property.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see><<see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>>The the logical name of the entity.</para>
</returns>
<remarks>
<para>A workflow dependency for this entity will be added.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.AssignEntity.Owner">
<summary>
<para>Sets the new owner for the record.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see><<see cref="T:Microsoft.Xrm.Sdk.EntityReference" />>The ID of the record to assign.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.CreateEntity.Entity">
<summary>
<para>Gets or sets the entity instance (record).</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd502004.aspx">InOutArgument</see><<see cref="T:Microsoft.Xrm.Sdk.Entity" />>The entity instance (record).</para>
</returns>
<remarks>
<para>This is an entity instance of the type specified by the <see langword="EntityName" /> property. On input, the attribute values that have been set will be used to create the record. Only attribute values for attributes that are valid for create and that the user has access to create will be used, all others will be ignored.</para>
<para>On output, this the entity instance that was created.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.CreateEntity.EntityId">
<summary>
<para>Gets the ID of the record that was created.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd485644.aspx">OutArgument</see><<see href="https://msdn.microsoft.com/library/system.guid.aspx">Guid</see>>The ID of the record that was created.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.CreateEntity.EntityName">
<summary>
<para>Sets the logical entity name of the record to create.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see><<see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>>The logical entity name of the record to create.</para>
</returns>
<remarks>
<para>This must be the entity name of the record specified in the <see langword="Entity" /> property.</para>
<para>A workflow dependency for this entity will be added.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.GetEntityProperty.Attribute">
<summary>
<para>Gets or sets the logical name of the attribute.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The logical name of the attribute.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.GetEntityProperty.Entity">
<summary>
<para>Gets or sets the entity record from which to get the attribute value.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The entity record from which to get the attribute value.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.GetEntityProperty.EntityName">
<summary>
<para>Gets or sets the logical name of the entity.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The logical name of the entity.</para>
</returns>
<remarks>
<para>If specified, a workflow dependency for this entity will be added.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.GetEntityProperty.TargetType">
<summary>
<para>Gets or sets the type of the value to be retrieved.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The type of the value to be retrieved.</para>
</returns>
<remarks>
<para>If no type is specified, the value is returned in it’s native type.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.GetEntityProperty.Value">
<summary>
<para>Gets the value of the specified entity attribute.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd485644.aspx">OutArgument</see> The value of the specified entity attribute.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.GetPrimaryEntity.PrimaryEntityReference">
<summary>
<para>Gets the entity reference for the primary entity.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd485644.aspx">OutArgument</see>The entity reference for the primary entity.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.Postpone.BlockExecution">
<summary>
<para>Sets whether the workflow execution should be suspended.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> Indicates whether the workflow execution should be suspended.</para>
</returns>
<remarks>
<para>If <see langword="true" />, workflow execution will be suspended.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.Postpone.BookmarkCallback">
<summary>
<para>Gest the callback method used when workflow execution is resumed.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.activities.bookmarkcallback.aspx">BookmarkCallback</see>The callback method used when workflow execution is resumed.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.Postpone.PostponeUntil">
<summary>
<para>Sets the date and time the workflow execution will resume.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The date and time the workflow execution will resume.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.ReferenceLiteral`1.Value">
<summary>
<para>
For internal use only.
</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see></para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.RetrieveEntity.Attributes">
<summary>
<para>Sets the collection of logical names of the attributes to be retrieved.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The collection of logical names of the attributes to be retrieved.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.RetrieveEntity.Entity">
<summary>
<para>Gets the retrieved entity record.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd485644.aspx">OutArgument</see> The retrieved entity record.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.RetrieveEntity.EntityId">
<summary>
<para>Sets the ID of the entity record to be retrieved.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The ID of the entity record to be retrieved.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.RetrieveEntity.EntityName">
<summary>
<para>Set the logical name of the entity specified by the <paramref name="EntityId" /> property.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The logical name of the entity specified by the <paramref name="EntityId" /> property.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.RetrieveEntity.ThrowIfNotExists">
<summary>
<para>Sets whether the workflow should throw an exception if the entity record does not exist.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> Indicates whether the workflow should throw an exception if the entity record does not exist.</para>
</returns>
<remarks>
<para>If not specified, this property is <see langword="true" /> by default.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SendEmail.Entity">
<summary>
<para>Gets or sets the e-mail record.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd502004.aspx">InOutArgument</see>The e-mail record.</para>
</returns>
<remarks>
<para>On input, this is an <see langword="Email" /> record that will be used to create the e-mail message.</para>
<para>On output, this the email record that was created.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SendEmail.EntityId">
<summary>
<para>Gets or sets the ID of the resulting e-mail record.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd485644.aspx">OutArgument</see>The ID of the resulting e-mail record.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SendEmailFromTemplate.Entity">
<summary>
<para>Gets or sets the e-mail record.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd502004.aspx">InOutArgument</see>The e-mail record.</para>
</returns>
<remarks>
<para>On input, this is an <see langword="Email" /> entity record that will be used to create the e-mail message.</para>
<para>On output, this the email entity instance that was created.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SendEmailFromTemplate.EntityId">
<summary>
<para>Gets or sets the ID of the resulting e-mail.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd485644.aspx">OutArgument</see>The ID of the resulting e-mail.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SendEmailFromTemplate.RegardingId">
<summary>
<para>Gets or sets the ID of the entity record with which the e-mail message is associated.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see>The ID of the entity record with which the e-mail message is associated.</para>
</returns>
<remarks>
<para>The <paramref name="RegardingId" /> property is the ID of an entity record that is valid for the <see langword="Email.RegardingObjectId" /> attribute. The <see langword="RegardingType" /> property must contain the logical name of the entity type for this entity record.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SendEmailFromTemplate.RegardingType">
<summary>
<para>Gets or sets the logical entity name of the entity represented by the <paramref name="RegardingdId" /> property.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see>The logical entity name of the entity represented by the <see langword="RegardingdId" /> property.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SendEmailFromTemplate.TemplateId">
<summary>
<para>Gets or sets the ID of the e-mail template to use.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see>The ID of the e-mail template to use. </para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SetEntityProperty.Attribute">
<summary>
<para>Sets the logical name of the attribute.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The logical name of the attribute.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SetEntityProperty.Entity">
<summary>
<para>Gets or sets the entity record.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd502004.aspx">InOutArgument</see> The entity record.</para>
</returns>
<remarks>
<para>This is a record of the type specified by the <see langword="EntityName" /> property. </para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SetEntityProperty.EntityName">
<summary>
<para>Sets the logical entity name of the record specified in the <see langword="Entity" /> property.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The logical entity name of the record specified in the <see langword="Entity" /> property.</para>
</returns>
<remarks>
<para>If specified, a workflow dependency for this entity will be added.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SetEntityProperty.TargetType">
<summary>
<para>Sets the type for the value to be converted to.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The type for the value to be converted to.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SetEntityProperty.Value">
<summary>
<para>Sets the value for the attribute specified in the <paramref name="Attribute" /> property.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The value for the attribute specified in the <paramref name="Attribute" /> property.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SetState.Entity">
<summary>
<para>Gets the resulting entity record following the update.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd485644.aspx">OutArgument</see> The resulting entity record following the update.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SetState.EntityId">
<summary>
<para>Sets the ID of the entity record to update.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The ID of the entity record to update.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SetState.EntityName">
<summary>
<para>Set the logical name of the entity specified by the <paramref name="EntityId" /> property.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The logical name of the entity specified by the <paramref name="EntityId" /> property.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SetState.State">
<summary>
<para>Sets the new state for the entity record.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The new state for the entity record.</para>
</returns>
<remarks />8597998f-764f-4c73-b63d-9f5e02c78061#bkmk_RecordStateandStatus</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.SetState.Status">
<summary>
<para>Sets the new status that corresponds to the <paramref name="State" /> property.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The new status that corresponds to the <paramref name="State" /> property.</para>
</returns>
<remarks>
<para>Must be a valid status for the specified state.</para>
</remarks>8597998f-764f-4c73-b63d-9f5e02c78061#bkmk_RecordStateandStatus</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.StartChildWorkflow.EntityId">
<summary>
<para>Sets the ID of the primary entity for the child workflow.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The ID of the primary entity for the child workflow.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.StartChildWorkflow.EntityName">
<summary>
<para>Sets the logical name of the entity specified by the <paramref name="EntityId" /> property.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The logical name of the entity specified by the <paramref name="EntityId" /> property.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.StartChildWorkflow.InputParameters">
<summary>
<para>Gets or sets the input parameters.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see>The input parameters.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.StartChildWorkflow.WorkflowId">
<summary>
<para>Sets the ID of the workflow to be started.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The ID of the workflow to be started.</para>
</returns>
<remarks>
<para>The <paramref name="WorfklowId" /> property corresponds to the <see langword="Workflow.WorkflowId" /> attribute which is the primary key for the <see langword="Workflow" /> entity.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.UpdateEntity.Entity">
<summary>
<para>Gets or sets the record.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd502004.aspx">InOutArgument</see> The record to update.</para>
</returns>
<remarks>
<para>This is an entity instance of the type specified by the <see langword="EntityName" /> property. On input, the attribute values that have been set will be used update the record. Only attribute values for attributes that are valid for update and that the user has access to update will be used, all others will be ignored.</para>
<para>On output, this is the record that was updated.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.UpdateEntity.EntityName">
<summary>
<para>Sets the logical entity name of the record to update.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/dd465965.aspx">InArgument</see> The logical entity name of the record to update.</para>
</returns>
<remarks>
<para>This must be the name of the record specified in the <see langword="Entity" /> property.</para>
<para>If specified, it will be added to the workflow dependencies.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.Workflow.Activities">
<summary>
<para>Gets the collection of activities for this workflow.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/ms132397.aspx">Collection</see> The collection of activities for this workflow.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.Workflow.BookmarkCallback">
<summary>
<para>Gets the callback method called when the workflow is resumed.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.activities.bookmarkcallback.aspx">BookmarkCallback</see>The callback method called when the workflow is resumed.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.Workflow.OnChildComplete">
<summary>
<para>Gets the callback method called when a child of this sequence completes execution.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.activities.completioncallback.aspx">CompletionCallback</see>The callback method called when a child of this sequence completes execution.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.Activities.Workflow.Variables">
<summary>
<para>Gets the collection of workflow variables.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/ms132397.aspx">Collection</see> The collection of workflow variables.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.ArgumentDescriptionAttribute.ArgumentValue">
<summary>
<para>Gets the description of the argument.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.object.aspx">Object</see>The description of the argument.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.ArgumentDescriptionAttribute.Value">
<summary>
<para>Gets or sets the argument’s description.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>The argument’s description.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.ArgumentDirectionAttribute.ArgumentValue">
<summary>
<para>Gets the argument’s value.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.object.aspx">Object</see>The argument’s value.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.ArgumentDirectionAttribute.Value">
<summary>
<para>Gets or sets the data direction of a custom attribute for an action.</para>
</summary>
<returns>
<para>Type: <see cref="T:Microsoft.Xrm.Sdk.Workflow.ArgumentDirection" />The data direction of a custom attribute. Value=0 (input), or 1 (output).</para>
</returns>
<remarks />
<seealso cref="T:Microsoft.Xrm.Sdk.Workflow.ArgumentDirection" />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.ArgumentEntityAttribute.ArgumentValue">
<summary>
<para>Gets the entity value.</para>
</summary>
<returns>
<para>Type: <see cref="T:System.Object" />An entity that is passed to the workflow at run-time.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.ArgumentEntityAttribute.Value">
<summary>
<para>Gets or sets the entity.</para>
</summary>
<returns>
<para>Type: <see cref="T:System.String" />The serialized entity record.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.ArgumentRequiredAttribute.ArgumentValue">
<summary>
<para>Gets the argument value.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.object.aspx">Object</see>The argument value.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.ArgumentRequiredAttribute.Value">
<summary>
<para>Gets or sets the argument value.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.boolean.aspx">Boolean</see>True if the argument is required; otherwise, false.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.ArgumentTargetAttribute.ArgumentValue">
<summary>
<para>Gets the primary entity for which the workflow is run.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.object.aspx">Object</see>The primary entity for which the workflow is run.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.ArgumentTargetAttribute.Value">
<summary>
<para>Gets a value indicating the argument is the primary entity for which the workflow is run.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.boolean.aspx">Boolean</see>When true, the argument is the primary entity for the workflow; otherwise, false.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.AttributeDependency.DependentAttributeName">
<summary>
<para>Obsolete.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see></para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.AttributeDependency.DependentEntityName">
<summary>
<para>Obsolete.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see></para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.AttributeDependency.ParameterType">
<summary>
<para>Obsolete.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.type.aspx">Type</see></para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.AttributeTargetAttribute.AttributeName">
<summary>
<para>Gets the logical name of the target attribute.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>The logical name of the target attribute.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.AttributeTargetAttribute.EntityName">
<summary>
<para>Gets the logical name of the entity.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>The logical name of the entity.</para>
</returns>
<remarks>
<para>The name of an entity is always lowercase, for example, account or new_bankaccount. </para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.CustomEntityDependency.CustomEntityName">
<summary>
<para>Obsolete.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see> .</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.CustomEntityDependency.ParameterType">
<summary>
<para>Obsolete.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.type.aspx">Type</see> .</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.DefaultAttribute.EntityName">
<summary>
<para>Gets the entity name for a value of type lookup, a customer or an owner.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see> The entity name for a value of type lookup, a customer or an owner.</para>
</returns>
<remarks>
<para>The name of an entity is always lowercase, for example, account or new_bankaccount.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.DefaultAttribute.Value">
<summary>
<para>Gets the default value.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see> The default value.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.EntityDependencyBase.EntityAttributes">
<summary>
<para>Obsolete.</para>
</summary>
<returns>
<para>Returns <see cref="T:System.String" />.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.EntityDependencyBase.ParameterType">
<summary>
<para>Obsolete.</para>
</summary>
<returns>
<para>Returns <see cref="T:System.Type" />.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.IWaitNotificationService.SubscriptionToRegister">
<summary>
<para>
For internal use only.
</para>
</summary>
<returns>
<para>Type: <see cref="T:Microsoft.Xrm.Sdk.Workflow.WaitSubscription" />.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.IWorkflowArgument.ArgumentValue">
<summary>
<para>Gets the argument’s value.</para>
</summary>
<returns>
<para>Returns <see href="https://msdn.microsoft.com/library/system.object.aspx">Object</see>The arguments value.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.IWorkflowContext.ParentContext">
<summary>
<para>Gets the parent context.</para>
</summary>
<returns>
<para>Type: <see cref="T:Microsoft.Xrm.Sdk.Workflow.IWorkflowContext" />The parent context.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.IWorkflowContext.StageName">
<summary>
<para>Gets the stage information of the process instance.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>The stage information of the process instance.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.IWorkflowContext.WorkflowCategory">
<summary>
<para>Gets the process category information of the process instance: workflow or dialog.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see> The process category information of the process instance: workflow or dialog.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.IWorkflowContext.WorkflowMode">
<summary>
<para>Indicates how the workflow is to be executed.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>Value = 0 (background/asynchronous), 1 (real-time).</para>
</returns>
<remarks>
<para>This property is obsolete.</para>
</remarks>Create real-time workflows</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.LocalParameterDependency.ParameterType">
<summary>
<para>Obsolete.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.type.aspx">Type</see>.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.ParameterAttribute.Name">
<summary>
<para>Gets the name of the parameter that will appear in the process designer UI.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see> The name of the parameter that will appear in the process designer UI.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.ParameterDependencyBase.ParameterName">
<summary>
<para>Obsolete.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see> .</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.ParameterDependencyBase.ParameterType">
<summary>
<para>Obsolete.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.type.aspx">Type</see> .</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.PrimaryEntityDependency.Type">
<summary>
<para>Obsolete.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>. </para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.ReferenceTargetAttribute.EntityName">
<summary>
<para>Gets the name of the entity for the attribute.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see> The name of the entity for the attribute.</para>
</returns>
<remarks>
<para>The name of an entity is always lowercase, for example, account or new_bankaccount. </para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.RelatedEntityDependency.RelatedAttributeName">
<summary>
<para>Obsolete.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see> .</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.RelatedEntityDependency.RelatedEntityName">
<summary>
<para>Obsolete.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see> .</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.WaitSubscription.AttributeName">
<summary>
<para>
For internal use only.
</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.WaitSubscription.EntityId">
<summary>
<para>
For internal use only.
</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.guid.aspx">Guid</see> .</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.WaitSubscription.EntityName">
<summary>
<para>
For internal use only.
</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.WorkflowArgument.ArgumentType">
<summary>
<para>Gets or sets the data type of the workflow argument.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.type.aspx">Type</see>The data type of the workflow argument.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.WorkflowArgument.ContainerType">
<summary>
<para>Gets or sets the collection type that can contain the workflow argument. </para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.type.aspx">Type</see>The collection type that can contain the workflow argument.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.WorkflowArgument.Description">
<summary>
<para>Gets or sets a description of the workflow argument.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>A description of the workflow argument.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.WorkflowArgument.Direction">
<summary>
<para>Gets or sets the data direction of the workflow argument.</para>
</summary>
<returns>
<para>Type: <see cref="T:Microsoft.Xrm.Sdk.Workflow.ArgumentDirection" />Specifies if the argument is input to or output from the workflow.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.WorkflowArgument.EntityName">
<summary>
<para>Gets or sets the logical name of the primary entity that the workflow is executing for. </para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>The logical name of the primary entity.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.WorkflowArgument.Name">
<summary>
<para>Gets or sets a name for the workflow argument.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.string.aspx">String</see>A name for the workflow argument.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.WorkflowArgument.Required">
<summary>
<para>Gets or sets if the workflow argument is required.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.boolean.aspx">Boolean</see>true if the argument is required; otherwise false.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.WorkflowArgument.Target">
<summary>
<para>Gets or sets whether the argument is the primary entity being supplied to the workflow.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.boolean.aspx">Boolean</see>true if the argument is the primary entity; otherwise, false.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.WorkflowArgument.Value">
<summary>
<para>Gets or sets the value of the workflow argument.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.object.aspx">Object</see>The value of the workflow argument.</para>
</returns>
<remarks />
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.Days">
<summary>
<para>Gets the number of whole days represented by the current XrmTimeSpan structure.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see> The number of whole days represented by the current XrmTimeSpan structure.</para>
</returns>
<remarks>
<para>The value of this property is an Int32 type that is the day component of this instance. The return value can be positive or negative.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.Hours">
<summary>
<para>Gets the number of whole hours represented by the current XrmTimeSpan structure.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see>The number of whole hours represented by the current XrmTimeSpan structure.</para>
</returns>
<remarks>
<para>The value of this property is an Int32 type that is the hours component of this instance. The return value ranges from -23 through 23.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.Minutes">
<summary>
<para>Gets the number of whole minutes represented by the current XrmTimeSpan structure.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see> The number of whole minutes represented by the current XrmTimeSpan structure.</para>
</returns>
<remarks>
<para>The value of this property is an Int32 type that is the minutes component of this instance. The return value ranges from -59 through 59.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.Months">
<summary>
<para>Gets the number of whole months represented by the current XrmTimeSpan structure.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see> The number of whole months represented by the current XrmTimeSpan structure.</para>
</returns>
<remarks>
<para>The value of this property is an Int32 type that is the months component of this instance. The return value ranges from -12 through 12.</para>
</remarks>
</member>
<member name="P:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan.Years">
<summary>
<para>Gets the number of whole years represented by the current XrmTimeSpan structure.</para>
</summary>
<returns>
<para>Type: <see href="https://msdn.microsoft.com/library/system.int32.aspx">Int32</see> The number of whole years represented by the current XrmTimeSpan structure.</para>
</returns>
<remarks>
<para>The value of this property is an Int32 type that is the years component of this instance.</para>
</remarks>
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Activities.ActivityReference">
<summary>
<para>
For internal use only.
</para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Activities.AssignEntity">
<summary>
<para>Activity used to assign a record to a new owner or routes it to a queue.</para>
</summary>
<remarks />Custom XAML workflows</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Activities.CreateEntity">
<summary>
<para>Creates an record.</para>
</summary>
<remarks />Custom XAML workflows</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Activities.GetEntityProperty">
<summary>
<para>Retrieves the value of an entity attribute and converts the value to the specified type.</para>
</summary>
<remarks />Custom XAML workflows</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Activities.GetPrimaryEntity">
<summary>
<para>Retrieves an entity reference for the primary entity for the workflow instance.</para>
</summary>
<remarks />Custom XAML workflows</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Activities.Postpone">
<summary>
<para>Suspends the workflow until the specified date and time. </para>
</summary>
<remarks>
<para>Use this activity type instead of the Windows Workflow Foundation<see langword="Delay" /> activity.</para>
</remarks>Custom XAML workflows</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Activities.ReferenceLiteral`1">
<summary>
<para>
For internal use only.
</para>
</summary>
<typeparam name="T">
<para />
</typeparam>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Activities.RetrieveEntity">
<summary>
<para>Retrieves a record.</para>
</summary>
<remarks />Custom XAML workflows</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Activities.SendEmail">
<summary>
<para>Sends an e-mail message.</para>
</summary>
<remarks />Custom XAML workflows</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Activities.SendEmailFromTemplate">
<summary>
<para>Sends an e-mail message to a recipient using an e-mail template.</para>
</summary>
<remarks />Custom XAML workflows</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Activities.SetEntityProperty">
<summary>
<para>Sets a property (attribute) of an entity record.</para>
</summary>
<remarks />Custom XAML workflows</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Activities.SetState">
<summary>
<para>Sets the state and status of a record.</para>
</summary>
<remarks />Custom XAML workflows</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Activities.StartChildWorkflow">
<summary>
<para>Starts a child workflow.</para>
</summary>
<remarks />Custom XAML workflows</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Activities.UpdateEntity">
<summary>
<para>Updates a record.</para>
</summary>
<remarks />Custom XAML workflows</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Activities.Workflow">
<summary>
<para>The base class for all workflows in Microsoft Dynamics 365.</para>
</summary>
<remarks />Custom XAML workflows</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.ArgumentDescriptionAttribute">
<summary>
<para>Specifies a description for the argument.</para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.ArgumentDirection">
<summary>
<para>Contains values for the argument data flow direction.</para>
</summary>
<remarks />Create your own actions</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.ArgumentDirection.Input">
<summary>
<para>Indicates the argument is a property of a message request. </para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.ArgumentDirection.Output">
<summary>
<para>Indicates the argument is a property of a message response. </para>
</summary>
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.ArgumentDirectionAttribute">
<summary>
<para>Specifies the direction, either input or output, for an action argument. </para>
</summary>
<remarks>
<para>An input argument becomes a custom property on the message request of an action. An output argument becomes a custom property on the message response of an action. </para>
</remarks>Create your own actions</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.ArgumentEntityAttribute">
<summary>
<para>Identifies the argument is an entity to be passed to the workflow at run-time.</para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.ArgumentRequiredAttribute">
<summary>
<para>Specifies that the argument is required.</para>
</summary>
<remarks />Create your own actions</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.ArgumentTargetAttribute">
<summary>
<para>Identifies the argument is the primary entity for which the workflow is run.</para>
</summary>
<remarks>
<para>This attribute is automatically generated or added and is optional for global actions.</para>
</remarks>Create your own actions</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.AttributeDependency">
<summary>
<para>Obsolete.</para>
</summary>
<remarks>
<para />
</remarks>Add metadata to a custom workflow activity<seealso cref="N:Microsoft.Xrm.Sdk.Workflow" /></member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.AttributeTargetAttribute">
<summary>
<para>Contains a required attribute of a parameter picklist or status parameter types.</para>
</summary>
<remarks />Process classes, attributes, and types</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.CustomEntityDependency">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.DefaultAttribute">
<summary>
<para>Specifies an optional default value that is assigned to a parameter.</para>
</summary>
<remarks>
<para>This attribute is optional.</para>
</remarks>Process classes, attributes, and types</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.Designers.WorkflowDesigner">
<summary>
<para>
For internal use only.
</para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.EntityCreatedByDependency">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.EntityDependencyBase">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.InputAttribute">
<summary>
<para>Specifies an input parameter.</para>
</summary>
<remarks />Process classes, attributes, and types</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.IStorageService">
<summary>
<para>
For internal use only.
</para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.IWaitNotificationService">
<summary>
<para>
For internal use only.
</para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.IWorkflowArgument">
<summary>
<para>Represents an argument to be supplied to a workflow at run-time. </para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.IWorkflowContext">
<summary>
<para>Provides access to the data associated with the process instance.</para>
</summary>
<remarks />Use the IOrganization web service in a custom workflow activitySample: Azure aware custom workflow activitySample: Create a custom activitySample: Update next birthday using a custom workflow activity</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.LocalParameterDependency">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.OutputAttribute">
<summary>
<para>Specifies an output parameter.</para>
</summary>
<remarks />Process classes, attributes, and types</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.ParameterAttribute">
<summary>
<para>Specifies the abstract base class used for attributes.</para>
</summary>
<remarks />Process classes, attributes, and types</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.ParameterDependencyBase">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.PreImageDependency">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.PrimaryEntityDependency">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />Add metadata to a custom workflow activity</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.ReferenceTargetAttribute">
<summary>
<para>Specifies the required attribute of a parameter for lookup, customer or owner parameter types.</para>
</summary>
<remarks>
<para>Note that only a single instance of this attribute can be added.</para>
</remarks>Process classes, attributes, and types</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.RelatedEntityDependency">
<summary>
<para>Obsolete.</para>
</summary>
<remarks />Add metadata to a custom workflow activity</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.WaitSubscription">
<summary>
<para>
For internal use only.
</para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.WorkflowArgument">
<summary>
<para>An argument to be passed to a workflow at run-time.</para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.WorkflowDependencyType">
<summary>
<para>Contains the integer flags to set the <see langword="WorkflowDependency.Type" /> attribute. </para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.WorkflowPropertyType">
<summary>
<para>Contains values for the property types supported by workflows.</para>
</summary>
<remarks />Sample: Create a process using a templateSample: Run a workflow</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowPropertyType.Boolean">
<summary>
<para>A <see langword="Boolean" /> property. Value = 0.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowPropertyType.DateTime">
<summary>
<para>A <see langword="DateTime" /> property. Value = 1.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowPropertyType.Decimal">
<summary>
<para>A <see langword="Decimal" /> property. Value = 2.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowPropertyType.Float">
<summary>
<para>A <see langword="Float" /> property. Value = 3.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowPropertyType.Integer">
<summary>
<para>An <see langword="Integer" /> property. Value = 4.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowPropertyType.EntityReference">
<summary>
<para>An <see cref="T:Microsoft.Xrm.Sdk.EntityReference" /> property. Value = 5.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowPropertyType.Money">
<summary>
<para>A <see langword="Money" /> property. Value = 6.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowPropertyType.PartyList">
<summary>
<para>A <see cref="F:Microsoft.Xrm.Sdk.Metadata.AttributeTypeCode.PartyList" /> property. Value = 7.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowPropertyType.OptionSetValue">
<summary>
<para>An <see cref="T:Microsoft.Xrm.Sdk.OptionSetValue" /> property. Value = 8.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowPropertyType.Guid">
<summary>
<para>A <see langword="Guid" /> property. Value = 9.</para>
</summary>
</member>
<member name="F:Microsoft.Xrm.Sdk.Workflow.WorkflowPropertyType.String">
<summary>
<para>A <see langword="String" /> property. Value = 10.</para>
</summary>
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.WorkflowStepActivityStatus">
<summary>
<para>Contains values for the workflow step activity status.</para>
</summary>
<remarks />
</member>
<member name="T:Microsoft.Xrm.Sdk.Workflow.XrmTimeSpan">
<summary>
<para>Represents a time interval. </para>
</summary>
<remarks>
<para>This is similar to System.TimeSpan but with added support for month and year.</para>
</remarks>
</member>
</members>
</doc> | 44.479129 | 345 | 0.649431 |
04639efa49bbf17f8640ad9bbf7d8b14295b4cf2 | 1,301 | dita | XML | DITA/data_elements/number_of_colorectal_metastases_in_liver.dita | KunChengNHS/DataDictionaryPublication | 650a36278849ba0ff29add9feb6b4ba0e48e592f | [
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] | 5 | 2020-04-15T08:50:13.000Z | 2021-04-14T15:04:36.000Z | DITA/data_elements/number_of_colorectal_metastases_in_liver.dita | KunChengNHS/DataDictionaryPublication | 650a36278849ba0ff29add9feb6b4ba0e48e592f | [
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<topic id='element_number_of_colorectal_metastases_in_liver'>
<title outputclass='element'>NUMBER OF COLORECTAL METASTASES IN LIVER</title>
<shortdesc>NUMBER OF COLORECTAL METASTASES IN LIVER is the result of the Clinical Investigation which measures the total number of colorectal metastases identified in the resected liver (surgical removal of a portion of the liver) during an Upper Gastrointestinal Cancer Care Spell.</shortdesc>
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<keywords>
<keyword>NUMBER</keyword>
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<keyword>COLORECTAL</keyword>
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<keyword>LIVER</keyword>
</keywords>
<othermeta name='name' content='NUMBER OF COLORECTAL METASTASES IN LIVER' />
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<othermeta name='sourceVersion' content='Fri Oct 23 15:17:50 BST 2020' />
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<activity
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<rect key="frame" x="0.0" y="0.0" width="320" height="138.5"/>
<autoresizingMask key="autoresizingMask"/>
<subviews>
<label opaque="NO" userInteractionEnabled="NO" contentMode="left" horizontalHuggingPriority="251" verticalHuggingPriority="251" text="Label" textAlignment="natural" lineBreakMode="tailTruncation" numberOfLines="0" baselineAdjustment="alignBaselines" adjustsFontSizeToFit="NO" translatesAutoresizingMaskIntoConstraints="NO" id="lPA-ig-H99">
<rect key="frame" x="9" y="15" width="304" height="20.5"/>
<fontDescription key="fontDescription" name="AvenirNext-Medium" family="Avenir Next" pointSize="15"/>
<color key="textColor" white="0.66666666669999997" alpha="1" colorSpace="custom" customColorSpace="genericGamma22GrayColorSpace"/>
<nil key="highlightedColor"/>
</label>
<label opaque="NO" userInteractionEnabled="NO" contentMode="left" horizontalHuggingPriority="251" verticalHuggingPriority="251" text="Label" textAlignment="natural" lineBreakMode="tailTruncation" numberOfLines="0" baselineAdjustment="alignBaselines" adjustsFontSizeToFit="NO" translatesAutoresizingMaskIntoConstraints="NO" id="hyw-he-S3X">
<rect key="frame" x="9" y="43.5" width="304" height="20.5"/>
<fontDescription key="fontDescription" name="AvenirNext-Medium" family="Avenir Next" pointSize="15"/>
<color key="textColor" white="0.66666666666666663" alpha="1" colorSpace="custom" customColorSpace="genericGamma22GrayColorSpace"/>
<nil key="highlightedColor"/>
</label>
<label opaque="NO" userInteractionEnabled="NO" contentMode="left" horizontalHuggingPriority="251" verticalHuggingPriority="251" text="Label" textAlignment="natural" lineBreakMode="tailTruncation" numberOfLines="0" baselineAdjustment="alignBaselines" adjustsFontSizeToFit="NO" translatesAutoresizingMaskIntoConstraints="NO" id="Gj7-AM-5BF">
<rect key="frame" x="9" y="72.5" width="304" height="20.5"/>
<fontDescription key="fontDescription" name="AvenirNext-Medium" family="Avenir Next" pointSize="15"/>
<color key="textColor" white="0.66666666666666663" alpha="1" colorSpace="custom" customColorSpace="genericGamma22GrayColorSpace"/>
<nil key="highlightedColor"/>
</label>
<label opaque="NO" userInteractionEnabled="NO" contentMode="left" horizontalHuggingPriority="251" verticalHuggingPriority="251" text="Label" textAlignment="natural" lineBreakMode="tailTruncation" numberOfLines="0" baselineAdjustment="alignBaselines" adjustsFontSizeToFit="NO" translatesAutoresizingMaskIntoConstraints="NO" id="wgb-jz-UCq">
<rect key="frame" x="9" y="101.5" width="304" height="20.5"/>
<fontDescription key="fontDescription" name="AvenirNext-Medium" family="Avenir Next" pointSize="15"/>
<color key="textColor" white="0.66666666666666663" alpha="1" colorSpace="custom" customColorSpace="genericGamma22GrayColorSpace"/>
<nil key="highlightedColor"/>
</label>
</subviews>
<constraints>
<constraint firstItem="wgb-jz-UCq" firstAttribute="top" secondItem="Gj7-AM-5BF" secondAttribute="bottom" constant="8.5" id="2hV-ib-kQc"/>
<constraint firstItem="hyw-he-S3X" firstAttribute="top" secondItem="lPA-ig-H99" secondAttribute="bottom" constant="8" id="BvJ-xj-WIa"/>
<constraint firstAttribute="trailing" secondItem="lPA-ig-H99" secondAttribute="trailing" constant="7" id="GCN-Iq-CUA"/>
<constraint firstItem="lPA-ig-H99" firstAttribute="top" secondItem="H2p-sc-9uM" secondAttribute="top" constant="15" id="YHQ-7i-qBY"/>
<constraint firstAttribute="trailing" secondItem="hyw-he-S3X" secondAttribute="trailing" constant="7" id="aMC-kz-M7N"/>
<constraint firstItem="Gj7-AM-5BF" firstAttribute="top" secondItem="hyw-he-S3X" secondAttribute="bottom" constant="8.5" id="evG-2t-vln"/>
<constraint firstAttribute="trailing" secondItem="Gj7-AM-5BF" secondAttribute="trailing" constant="7" id="fTv-2e-iXF"/>
<constraint firstItem="Gj7-AM-5BF" firstAttribute="leading" secondItem="H2p-sc-9uM" secondAttribute="leading" constant="9" id="gOb-wQ-E48"/>
<constraint firstItem="hyw-he-S3X" firstAttribute="leading" secondItem="H2p-sc-9uM" secondAttribute="leading" constant="9" id="mkf-qO-VHz"/>
<constraint firstAttribute="trailing" secondItem="wgb-jz-UCq" secondAttribute="trailing" constant="7" id="nct-w3-8Hj"/>
<constraint firstItem="lPA-ig-H99" firstAttribute="leading" secondItem="H2p-sc-9uM" secondAttribute="leading" constant="9" id="vEz-jQ-KMu"/>
<constraint firstItem="wgb-jz-UCq" firstAttribute="leading" secondItem="H2p-sc-9uM" secondAttribute="leading" constant="9" id="vjY-yt-n5w"/>
</constraints>
</tableViewCellContentView>
<viewLayoutGuide key="safeArea" id="njF-e1-oar"/>
<connections>
<outlet property="category" destination="hyw-he-S3X" id="FQT-bN-HU1"/>
<outlet property="createdat" destination="wgb-jz-UCq" id="yFg-m1-vxJ"/>
<outlet property="createdby" destination="Gj7-AM-5BF" id="xc8-P2-sXs"/>
<outlet property="name" destination="lPA-ig-H99" id="ZBg-N6-6PI"/>
</connections>
<point key="canvasLocation" x="-264" y="94.002998500749626"/>
</tableViewCell>
</objects>
</document>
| 102.287671 | 359 | 0.65448 |
03f06652812541b1ffda2a073051c6335fed5c4d | 775 | xml | XML | features/featureRainbow/pkg/src/main/res/navigation/nav_main.xml | Quickits/Mod | 4fcd3a6344ce1a20bce014e22a333fa8f9107077 | [
"Apache-2.0"
] | null | null | null | features/featureRainbow/pkg/src/main/res/navigation/nav_main.xml | Quickits/Mod | 4fcd3a6344ce1a20bce014e22a333fa8f9107077 | [
"Apache-2.0"
] | null | null | null | features/featureRainbow/pkg/src/main/res/navigation/nav_main.xml | Quickits/Mod | 4fcd3a6344ce1a20bce014e22a333fa8f9107077 | [
"Apache-2.0"
] | null | null | null | <?xml version="1.0" encoding="utf-8"?>
<navigation xmlns:android="http://schemas.android.com/apk/res/android"
xmlns:app="http://schemas.android.com/apk/res-auto"
android:id="@+id/nav_main"
app:startDestination="@id/demoFragment">
<fragment
android:id="@+id/demoFragment"
android:name="cn.quickits.mod.feature.rainbow.pkg.DemoFragment"
android:label="DemoFragment">
<action
android:id="@+id/action_demoFragment_to_themeSwitcherFragment"
app:destination="@id/themeSwitcherFragment" />
</fragment>
<fragment
android:id="@+id/themeSwitcherFragment"
android:name="cn.quickits.rainbow.theme.ThemeSwitcherFragment"
android:label="ThemeSwitcherDialogFragment" />
</navigation> | 36.904762 | 74 | 0.68129 |
0c6945f3eca7b5f57b57c3fab3d2c8231e20b036 | 20,402 | xml | XML | OneDrive_Install_All.xml | helmlingp/WS1UEM | d46578a9a78caae506af97bf6f24bdf32d163f53 | [
"MIT"
] | 1 | 2021-07-01T14:29:39.000Z | 2021-07-01T14:29:39.000Z | OneDrive_Install_All.xml | helmlingp/WS1UEM | d46578a9a78caae506af97bf6f24bdf32d163f53 | [
"MIT"
] | null | null | null | OneDrive_Install_All.xml | helmlingp/WS1UEM | d46578a9a78caae506af97bf6f24bdf32d163f53 | [
"MIT"
] | 1 | 2021-07-01T14:29:46.000Z | 2021-07-01T14:29:46.000Z | <Add>
<CmdID>1</CmdID>
<Item>
<Meta>
<Format>chr</Format>
<Type>text/plain</Type>
</Meta>
<Target><LocURI>./Vendor/MSFT/Policy/ConfigOperations/ADMXInstall/OneDriveNGSC/Policy/OneDrive.admx</LocURI>
</Target>
<Data><![CDATA[<policyDefinitions xmlns:xsd="http://www.w3.org/2001/XMLSchema" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" revision="1.0" schemaVersion="1.0" xmlns="http://schemas.microsoft.com/GroupPolicy/2006/07/PolicyDefinitions">
<policyNamespaces>
<target prefix="OneDriveNGSC" namespace="Microsoft.Policies.OneDriveNGSC" />
<using prefix="windows" namespace="Microsoft.Policies.Windows" />
</policyNamespaces>
<resources minRequiredRevision="1.0" />
<categories>
<category name="OneDriveNGSC" displayName="$(string.OneDriveNGSCSettingCategory)"/>
</categories>
<policies>
<policy name="DisablePersonalSync" class="User" displayName="$(string.DisablePersonalSync)" explainText="$(string.DisablePersonalSync_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="DisablePersonalSync">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="GPOSetUpdateRing" class="Machine" displayName="$(string.GPOSetUpdateRing)" explainText="$(string.GPOSetUpdateRing_help)" presentation="$(presentation.GPOSetUpdateRing_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<enum id="GPOSetUpdateRing_Dropdown" valueName="GPOSetUpdateRing">
<item displayName="$(string.Enterprise)">
<value>
<decimal value="0" />
</value>
</item>
<item displayName="$(string.Production)">
<value>
<decimal value="5" />
</value>
</item>
<item displayName="$(string.Insider)">
<value>
<decimal value="4" />
</value>
</item>
</enum>
</elements>
</policy>
<policy name="DefaultRootDir" class="User" displayName="$(string.DefaultRootDir)" explainText="$(string.DefaultRootDir_help)" presentation="$(presentation.DefaultRootDir_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="DefaultRootDir">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<list id="" key="Software\Policies\Microsoft\OneDrive\DefaultRootDir" additive="true" expandable="true" explicitValue="true" />
</elements>
</policy>
<policy name="DisableCustomRoot" class="User" displayName="$(string.DisableCustomRoot)" explainText="$(string.DisableCustomRoot_help)" presentation="$(presentation.DisableCustomRoot_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="DisableCustomRoot">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<list id="DisableCustomRootList" key="Software\Policies\Microsoft\OneDrive\DisableCustomRoot" additive="true" explicitValue="true"/>
</elements>
</policy>
<policy name="EnableAllOcsiClients" class="User" displayName="$(string.EnableAllOcsiClients)" explainText="$(string.EnableAllOcsiClients_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="EnableAllOcsiClients">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="EnableHoldTheFile" class="User" displayName="$(string.EnableHoldTheFile)" explainText="$(string.EnableHoldTheFile_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="EnableHoldTheFile">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="AutomaticUploadBandwidthPercentage" class="Machine" displayName="$(string.AutomaticUploadBandwidthPercentage)" explainText="$(string.AutomaticUploadBandwidthPercentage_help)" presentation="$(presentation.AutomaticUploadBandwidthPercentage_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<decimal id="BandwidthSpinBox" valueName="AutomaticUploadBandwidthPercentage" minValue="10" maxValue="99" />
</elements>
</policy>
<policy name="UploadBandwidthLimit" class="User" displayName="$(string.UploadBandwidthLimit)" explainText="$(string.UploadBandwidthLimit_help)" presentation="$(presentation.UploadBandwidthLimit_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<decimal id="UploadRateValue" valueName="UploadBandwidthLimit" minValue="1" maxValue="100000" />
</elements>
</policy>
<policy name="DownloadBandwidthLimit" class="User" displayName="$(string.DownloadBandwidthLimit)" explainText="$(string.DownloadBandwidthLimit_help)" presentation="$(presentation.DownloadBandwidthLimit_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<decimal id="DownloadRateValue" valueName="DownloadBandwidthLimit" minValue="1" maxValue="100000" />
</elements>
</policy>
<policy name="RemoteAccessGPOEnabled" class="Machine" displayName="$(string.RemoteAccessGPOEnabled)" explainText="$(string.RemoteAccessGPOEnabled_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="GPOEnabled">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="PreventNetworkTrafficPreUserSignIn" class="Machine" displayName="$(string.PreventNetworkTrafficPreUserSignIn)" explainText="$(string.PreventNetworkTrafficPreUserSignIn_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="PreventNetworkTrafficPreUserSignIn">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="SilentAccountConfig" class="Machine" displayName="$(string.SilentAccountConfig)" explainText="$(string.SilentAccountConfig_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="SilentAccountConfig">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="DiskSpaceCheckThresholdMB" class="Machine" displayName="$(string.DiskSpaceCheckThresholdMB)" explainText="$(string.DiskSpaceCheckThresholdMB_help)" presentation="$(presentation.DiskSpaceCheckThresholdMB_Pres)" key="Software\Policies\Microsoft\OneDrive">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<list id="DiskSpaceCheckThresholdMBList" key="Software\Policies\Microsoft\OneDrive\DiskSpaceCheckThresholdMB" additive="true" explicitValue="true"/>
</elements>
</policy>
<policy name="FilesOnDemandEnabled" class="Machine" displayName="$(string.FilesOnDemandEnabled)" explainText="$(string.FilesOnDemandEnabled_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="FilesOnDemandEnabled">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows_10_0_RS3" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="DehydrateSyncedTeamSites" class="Machine" displayName="$(string.DehydrateSyncedTeamSites)" explainText="$(string.DehydrateSyncedTeamSites_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="DehydrateSyncedTeamSites">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows_10_0_RS3" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="AllowTenantList" class="Machine" displayName="$(string.AllowTenantList)" explainText="$(string.AllowTenantList_help)" presentation="$(presentation.AllowTenantList_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<list id="AllowTenantListBox" key="Software\Policies\Microsoft\OneDrive\AllowTenantList" additive="true"/>
</elements>
</policy>
<policy name="BlockTenantList" class="Machine" displayName="$(string.BlockTenantList)" explainText="$(string.BlockTenantList_help)" presentation="$(presentation.BlockTenantList_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<list id="BlockTenantListBox" key="Software\Policies\Microsoft\OneDrive\BlockTenantList" additive="true"/>
</elements>
</policy>
<policy name="SharePointOnPremFrontDoorUrl" class="Machine" displayName="$(string.SharePointOnPremFrontDoorUrl)" explainText="$(string.SharePointOnPremFrontDoorUrl_help)" presentation="$(presentation.SharePointOnPremFrontDoorUrl_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<text id="SharePointOnPremFrontDoorUrlBox" maxLength="2000" required="true" valueName="SharePointOnPremFrontDoorUrl"/>
<text id="SharePointOnPremTenantNameBox" maxLength="2000" required="true" valueName="SharePointOnPremTenantName"/>
</elements>
</policy>
<policy name="SharePointOnPremPrioritization" class="Machine" displayName="$(string.SharePointOnPremPrioritization)" explainText="$(string.SharePointOnPremPrioritization_help)" presentation="$(presentation.SharePointOnPremPrioritization_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<enum id="SharePointOnPremPrioritization_Dropdown" valueName="SharePointOnPremPrioritization">
<item displayName="$(string.PrioritizeSPO)">
<value>
<decimal value="0" />
</value>
</item>
<item displayName="$(string.PrioritizeSharePointOnPrem)">
<value>
<decimal value="1" />
</value>
</item>
</enum>
</elements>
</policy>
<policy name="DisableFRETutorial" class="User" displayName="$(string.DisableFRETutorial)" explainText="$(string.DisableFRETutorial_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="DisableTutorial">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="BlockKnownFolderMove" class="Machine" displayName="$(string.BlockKnownFolderMove)" explainText="$(string.BlockKnownFolderMove_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="KFMBlockOptIn">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="KFMOptInWithWizard" class="Machine" displayName="$(string.KFMOptInWithWizard)" explainText="$(string.KFMOptInWithWizard_help)" presentation="$(presentation.KFMOptInWithWizard_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<text id="KFMOptInWithWizard_TextBox" maxLength="2000" required="true" valueName="KFMOptInWithWizard"/>
</elements>
</policy>
<policy name="KFMOptInNoWizard" class="Machine" displayName="$(string.KFMOptInNoWizard)" explainText="$(string.KFMOptInNoWizard_help)" presentation="$(presentation.KFMOptInNoWizard_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<text id="KFMOptInNoWizard_TextBox" maxLength="2000" required="true" valueName="KFMSilentOptIn"/>
<enum id="KFMOptInNoWizard_Dropdown" valueName="KFMSilentOptInWithNotification">
<item displayName="$(string.KFMOptInNoWizardNoToast)">
<value>
<decimal value="0" />
</value>
</item>
<item displayName="$(string.KFMOptInNoWizardToast)">
<value>
<decimal value="1" />
</value>
</item>
</enum>
</elements>
</policy>
<policy name="KFMBlockOptOut" class="Machine" displayName="$(string.KFMBlockOptOut)" explainText="$(string.KFMBlockOptOut_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="KFMBlockOptOut">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="AutoMountTeamSites" class="Both" displayName="$(string.AutoMountTeamSites)" explainText="$(string.AutoMountTeamSites_help)" presentation="$(presentation.AutoMountTeamSites_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows_10_0_RS3" />
<elements>
<list id="AutoMountTeamSitesListBox" key="Software\Policies\Microsoft\OneDrive\TenantAutoMount" additive="true" expandable="false" explicitValue="true" />
</elements>
</policy>
<policy name="DisablePauseOnBatterySaver" class="User" displayName="$(string.DisablePauseOnBatterySaver)" explainText="$(string.DisablePauseOnBatterySaver_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="DisablePauseOnBatterySaver">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="DisablePauseOnMeteredNetwork" class="User" displayName="$(string.DisablePauseOnMeteredNetwork)" explainText="$(string.DisablePauseOnMeteredNetwork_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="DisablePauseOnMeteredNetwork">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="ForcedLocalMassDeleteDetection" class="Machine" displayName="$(string.ForcedLocalMassDeleteDetection)" explainText="$(string.ForcedLocalMassDeleteDetection_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="ForcedLocalMassDeleteDetection">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="BlockExternalSync" class="Machine" displayName="$(string.BlockExternalSync)" explainText="$(string.BlockExternalSync_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="BlockExternalSync">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="PermitDisablePermissionInheritance" class="Machine" displayName="$(string.PermitDisablePermissionInheritance)" explainText="$(string.PermitDisablePermissionInheritance_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="PermitDisablePermissionInheritance">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="EnableAutomaticUploadBandwidthManagement" class="Machine" displayName="$(string.EnableAutomaticUploadBandwidthManagement)" explainText="$(string.EnableAutomaticUploadBandwidthManagement_help)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="EnableAutomaticUploadBandwidthManagement">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows_10_0_RS3" />
<enabledValue>
<decimal value="1" />
</enabledValue>
<disabledValue>
<decimal value="0" />
</disabledValue>
</policy>
<policy name="MinDiskSpaceLimitInMB" class="Machine" displayName="$(string.MinDiskSpaceLimitInMB)" explainText="$(string.MinDiskSpaceLimitInMB_help)" presentation="$(presentation.MinDiskSpaceLimitInMB_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="MinDiskSpaceLimitInMB">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<decimal id="minDiskSpaceMB" valueName="MinDiskSpaceLimitInMB" minValue="0" maxValue="10240000"/>
</elements>
</policy>
<policy name="WarningMinDiskSpaceLimitInMB" class="Machine" displayName="$(string.WarningMinDiskSpaceLimitInMB)" explainText="$(string.WarningMinDiskSpaceLimitInMB_help)" presentation="$(presentation.WarningMinDiskSpaceLimitInMB_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive" valueName="WarningMinDiskSpaceLimitInMB">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<decimal id="warningMinDiskSpaceMB" valueName="WarningMinDiskSpaceLimitInMB" minValue="0" maxValue="10240000"/>
</elements>
</policy>
<!-- Insert multi-tenant settings here -->
<!-- See http://go.microsoft.com/fwlink/p/?LinkId=797547 for configuration instructions -->
<policy name="LocalMassDeleteFileDeleteThreshold" class="Machine" displayName="$(string.LocalMassDeleteFileDeleteThreshold)" explainText="$(string.LocalMassDeleteFileDeleteThreshold_help)" presentation="$(presentation.LocalMassDeleteFileDeleteThreshold_Pres)" key="SOFTWARE\Policies\Microsoft\OneDrive">
<parentCategory ref="OneDriveNGSC" />
<supportedOn ref="windows:SUPPORTED_Windows7" />
<elements>
<decimal id="LMDFileDeleteThresholdBox" valueName="LocalMassDeleteFileDeleteThreshold" minValue="0" maxValue="100000" />
</elements>
</policy>
</policies>
</policyDefinitions>]]></Data>
</Item>
</Add> | 57.632768 | 325 | 0.692383 |
f2c29d11066237e26e6a2336a5e06162c4c1d779 | 697 | xml | XML | Assets/Firebase/Editor/FunctionsDependencies.xml | PROCW/Firebase_Chatting | 4544b7ebbc148a93fc2dc0b3e85404844a59caab | [
"Apache-2.0"
] | 2 | 2020-10-03T03:26:30.000Z | 2021-06-26T11:43:35.000Z | Assets/Firebase/Editor/FunctionsDependencies.xml | PROCW/Firebase_Chatting | 4544b7ebbc148a93fc2dc0b3e85404844a59caab | [
"Apache-2.0"
] | null | null | null | Assets/Firebase/Editor/FunctionsDependencies.xml | PROCW/Firebase_Chatting | 4544b7ebbc148a93fc2dc0b3e85404844a59caab | [
"Apache-2.0"
] | 1 | 2021-06-27T01:47:26.000Z | 2021-06-27T01:47:26.000Z | <!-- Copyright (C) 2018 Google Inc. All Rights Reserved.
FirebaseFunctions iOS and Android Dependencies.
-->
<dependencies>
<iosPods>
<iosPod name="Firebase/Functions" version="6.24.0" minTargetSdk="8.0">
</iosPod>
</iosPods>
<androidPackages>
<androidPackage spec="com.google.firebase:firebase-functions:19.0.2">
</androidPackage>
<androidPackage spec="com.google.firebase:firebase-analytics:17.4.1">
</androidPackage>
<androidPackage spec="com.google.firebase:firebase-functions-unity:6.15.2">
<repositories>
<repository>Assets/Firebase/m2repository</repository>
</repositories>
</androidPackage>
</androidPackages>
</dependencies>
| 29.041667 | 79 | 0.707317 |
3e7b9bd583c6aeed597eade7db1b5cd6cfb61ecd | 25,587 | xml | XML | docs/HMRC-RTI-2018-v0-1-20160712/FullPaymentSubmission-2018-descriptiveSample-v0-1.xml | hmrc/apprenticeship-levy-stub | ae286b61f5d035015557f25015cd60ef7e52f241 | [
"Apache-2.0"
] | null | null | null | docs/HMRC-RTI-2018-v0-1-20160712/FullPaymentSubmission-2018-descriptiveSample-v0-1.xml | hmrc/apprenticeship-levy-stub | ae286b61f5d035015557f25015cd60ef7e52f241 | [
"Apache-2.0"
] | null | null | null | docs/HMRC-RTI-2018-v0-1-20160712/FullPaymentSubmission-2018-descriptiveSample-v0-1.xml | hmrc/apprenticeship-levy-stub | ae286b61f5d035015557f25015cd60ef7e52f241 | [
"Apache-2.0"
] | 3 | 2017-09-05T15:10:39.000Z | 2022-02-11T14:04:37.000Z | <?xml version="1.0" encoding="UTF-8"?>
<!--
Descriptive XML sample document
Generated by CoreFiling: Tue Jul 12 13:59:02 BST 2016 (generator revision 472318)
-->
<hd:GovTalkMessage xmlns:hd="http://www.govtalk.gov.uk/CM/envelope" xmlns:dsig="http://www.w3.org/2000/09/xmldsig#" xmlns:fps="http://www.govtalk.gov.uk/taxation/PAYE/RTI/FullPaymentSubmission/17-18/1">
<hd:EnvelopeVersion>EnvelopeVersion</hd:EnvelopeVersion>
<hd:Header>
<hd:MessageDetails>
<hd:Class>Identifier to allow gateway to determine target department, queue and validation needed.</hd:Class>
<hd:Qualifier>eGIF Class qualifier</hd:Qualifier>
<hd:Function>Function of message</hd:Function>
<hd:TransactionID>GUID for tracking purposes</hd:TransactionID>
<hd:AuditID>A binary value for audit purposes</hd:AuditID>
<hd:CorrelationID>Globally unique identifier that is used to link a message to its response</hd:CorrelationID>
<hd:ResponseEndPoint PollInterval="The poll interval">The end point of the response.</hd:ResponseEndPoint>
<hd:Transformation>A description of the format of response expected</hd:Transformation>
<hd:GatewayTest>Test indicator</hd:GatewayTest>
<hd:GatewayTimestamp>Timestamp applied by the gateway</hd:GatewayTimestamp>
</hd:MessageDetails>
<hd:SenderDetails>
<hd:IDAuthentication>
<hd:SenderID>Sender's identification</hd:SenderID>
<hd:Authentication>
<hd:Method>The algorithm or method used to create the authentication value</hd:Method>
<hd:Role>Role for the authentication</hd:Role>
<!--the following siblings are subject to a 'choice', please refer to the schema-->
<hd:Value>Base64 encoded signature value</hd:Value>
<dsig:Signature Id="Id">
<dsig:SignedInfo Id="Id">
<dsig:CanonicalizationMethod Algorithm="Algorithm"/>
<dsig:SignatureMethod Algorithm="Algorithm">
<dsig:HMACOutputLength>HMACOutputLength</dsig:HMACOutputLength>
</dsig:SignatureMethod>
<dsig:Reference Id="Id" Type="Type" URI="URI">
<dsig:Transforms>
<dsig:Transform Algorithm="Algorithm">
<!--the following siblings are subject to a 'choice', please refer to the schema-->
<dsig:XPath>XPath</dsig:XPath>
<!--end of 'choice'-->
</dsig:Transform>
</dsig:Transforms>
<dsig:DigestMethod Algorithm="Algorithm"/>
<dsig:DigestValue>DigestValue</dsig:DigestValue>
</dsig:Reference>
</dsig:SignedInfo>
<dsig:SignatureValue Id="Id">SignatureValue</dsig:SignatureValue>
<dsig:KeyInfo Id="Id">
<!--the following siblings are subject to a 'choice', please refer to the schema-->
<dsig:KeyName>KeyName</dsig:KeyName>
<dsig:KeyValue>
<!--the following siblings are subject to a 'choice', please refer to the schema-->
<dsig:DSAKeyValue>
<dsig:P>P</dsig:P>
<dsig:Q>Q</dsig:Q>
<dsig:J>J</dsig:J>
<dsig:G>G</dsig:G>
<dsig:Y>Y</dsig:Y>
<dsig:Seed>Seed</dsig:Seed>
<dsig:PgenCounter>PgenCounter</dsig:PgenCounter>
</dsig:DSAKeyValue>
<dsig:RSAKeyValue>
<dsig:Modulus>Modulus</dsig:Modulus>
<dsig:Exponent>Exponent</dsig:Exponent>
</dsig:RSAKeyValue>
<!--end of 'choice'-->
</dsig:KeyValue>
<dsig:RetrievalMethod Type="Type" URI="URI">
<dsig:Transforms>
<dsig:Transform Algorithm="Algorithm">
<!--the following siblings are subject to a 'choice', please refer to the schema-->
<dsig:XPath>XPath</dsig:XPath>
<!--end of 'choice'-->
</dsig:Transform>
</dsig:Transforms>
</dsig:RetrievalMethod>
<dsig:X509Data>
<!--the following siblings are subject to a 'choice', please refer to the schema-->
<dsig:X509IssuerSerial>
<dsig:X509IssuerName>X509IssuerName</dsig:X509IssuerName>
<dsig:X509SerialNumber>X509SerialNumber</dsig:X509SerialNumber>
</dsig:X509IssuerSerial>
<dsig:X509SKI>X509SKI</dsig:X509SKI>
<dsig:X509SubjectName>X509SubjectName</dsig:X509SubjectName>
<dsig:X509Certificate>X509Certificate</dsig:X509Certificate>
<dsig:X509CRL>X509CRL</dsig:X509CRL>
<!--end of 'choice'-->
</dsig:X509Data>
<dsig:PGPData>
<!--the following siblings are subject to a 'choice', please refer to the schema-->
<dsig:PGPKeyID>PGPKeyID</dsig:PGPKeyID>
<dsig:PGPKeyPacket>PGPKeyPacket</dsig:PGPKeyPacket>
<!--end of 'choice'-->
</dsig:PGPData>
<dsig:SPKIData>
<dsig:SPKISexp>SPKISexp</dsig:SPKISexp>
</dsig:SPKIData>
<dsig:MgmtData>MgmtData</dsig:MgmtData>
<!--end of 'choice'-->
</dsig:KeyInfo>
<dsig:Object Encoding="Encoding" Id="Id" MimeType="MimeType"/>
</dsig:Signature>
<!--end of 'choice'-->
</hd:Authentication>
</hd:IDAuthentication>
<hd:X509Certificate>A digital signature to authenticate the sender</hd:X509Certificate>
<hd:EmailAddress>Sender's email address</hd:EmailAddress>
</hd:SenderDetails>
</hd:Header>
<hd:GovTalkDetails>
<hd:Keys>
<hd:Key Type="Type of Key">Indicates general information that can be attached by the sender</hd:Key>
</hd:Keys>
<hd:TargetDetails>
<hd:Organisation>The organisation or department to which the message is being sent.</hd:Organisation>
</hd:TargetDetails>
<hd:GatewayValidation>
<hd:Processed>Indicates that gateway validation has been completed</hd:Processed>
<hd:Result>Result of gateway validation</hd:Result>
</hd:GatewayValidation>
<hd:ChannelRouting>
<hd:Channel>
<!--the following siblings are subject to a 'choice', please refer to the schema-->
<hd:URI>URI used to identify route to gateway</hd:URI>
<hd:Name>Channel's Name used to identify route to gateway</hd:Name>
<!--end of 'choice'-->
<hd:Product>Software product used for processing</hd:Product>
<hd:Version>Version of product used for processing</hd:Version>
</hd:Channel>
<hd:ID Type="ID type">Message ID to be provided by processing system</hd:ID>
<hd:Timestamp>Processing system's timestamp</hd:Timestamp>
</hd:ChannelRouting>
<hd:GovTalkErrors>
<hd:Error>
<hd:RaisedBy>identifies the system which raised the error</hd:RaisedBy>
<hd:Number>specifies the error number</hd:Number>
<hd:Type>Specifies the class of the error</hd:Type>
<hd:Text>Specifies the error message in text</hd:Text>
<hd:Location>Specifies the location in the XML document that the error has occurred</hd:Location>
</hd:Error>
</hd:GovTalkErrors>
<!--DESCRIPTION of following node: Local additions to the gateway.-->
<hd:GatewayAdditions/>
</hd:GovTalkDetails>
<hd:Body>
<fps:IRenvelope>
<!--DESCRIPTION of following node: Contains generic HMRC items used during message processing-->
<fps:IRheader>
<fps:Keys>
<fps:Key Type="Type">Key</fps:Key>
</fps:Keys>
<fps:PeriodEnd>PeriodEnd</fps:PeriodEnd>
<fps:Principal>
<fps:Contact>
<!--DESCRIPTION of following node: Standard structure for a person's name including title (type 19), 2 fornames (type 16 and 17) and surname (type 15)-->
<fps:Name>
<fps:Ttl>Person's Title of 1 to 4 characters</fps:Ttl>
<fps:Fore>Forename for a person</fps:Fore>
<fps:Sur>Surname for a person</fps:Sur>
</fps:Name>
<fps:Email Preferred="Whether this is the preferred email address" Type="Whether this email is work or home">Standard IR structure for email address</fps:Email>
<!--DESCRIPTION of following node: Standard telephone structure-->
<fps:Telephone Mobile=""yes" or "no"" Preferred=""yes" or "no"" Type=""work" or "home": whether the associated item is at an individual's workplace or home">
<fps:Number>Standard phone number type</fps:Number>
<fps:Extension>Standard phone extension type</fps:Extension>
</fps:Telephone>
<!--DESCRIPTION of following node: Standard telephone structure-->
<fps:Fax Mobile=""yes" or "no"" Preferred=""yes" or "no"" Type=""work" or "home": whether the associated item is at an individual's workplace or home">
<fps:Number>Standard phone number type</fps:Number>
<fps:Extension>Standard phone extension type</fps:Extension>
</fps:Fax>
</fps:Contact>
</fps:Principal>
<fps:Agent>
<fps:AgentID>AgentID</fps:AgentID>
<fps:Company>Company</fps:Company>
<!--DESCRIPTION of following node: Represents an international address-->
<fps:Address>
<fps:Line>A line of the address</fps:Line>
<fps:PostCode>Generic postal or zip code</fps:PostCode>
<fps:Country>Country within address</fps:Country>
</fps:Address>
<fps:Contact>
<!--DESCRIPTION of following node: Standard structure for a person's name including title (type 19), 2 fornames (type 16 and 17) and surname (type 15)-->
<fps:Name>
<fps:Ttl>Person's Title of 1 to 4 characters</fps:Ttl>
<fps:Fore>Forename for a person</fps:Fore>
<fps:Sur>Surname for a person</fps:Sur>
</fps:Name>
<fps:Email Preferred="Whether this is the preferred email address" Type="Whether this email is work or home">Standard IR structure for email address</fps:Email>
<!--DESCRIPTION of following node: Standard telephone structure-->
<fps:Telephone Mobile=""yes" or "no"" Preferred=""yes" or "no"" Type=""work" or "home": whether the associated item is at an individual's workplace or home">
<fps:Number>Standard phone number type</fps:Number>
<fps:Extension>Standard phone extension type</fps:Extension>
</fps:Telephone>
<!--DESCRIPTION of following node: Standard telephone structure-->
<fps:Fax Mobile=""yes" or "no"" Preferred=""yes" or "no"" Type=""work" or "home": whether the associated item is at an individual's workplace or home">
<fps:Number>Standard phone number type</fps:Number>
<fps:Extension>Standard phone extension type</fps:Extension>
</fps:Fax>
</fps:Contact>
</fps:Agent>
<fps:DefaultCurrency>Default currency for amounts where currency is not specified. This is currently restricted to only allow GBP.</fps:DefaultCurrency>
<fps:Manifest>
<fps:Contains>
<fps:Reference>
<fps:Namespace>Namespace</fps:Namespace>
<fps:SchemaVersion>SchemaVersion</fps:SchemaVersion>
<fps:TopElementName>TopElementName</fps:TopElementName>
</fps:Reference>
</fps:Contains>
</fps:Manifest>
<fps:IRmark Type="Type">IRmark</fps:IRmark>
<fps:Sender>Sender</fps:Sender>
</fps:IRheader>
<fps:FullPaymentSubmission>
<!--DESCRIPTION of following node: Employer References-->
<fps:EmpRefs>
<fps:OfficeNo>HMRC Office number</fps:OfficeNo>
<fps:PayeRef>Employer PAYE Ref</fps:PayeRef>
<fps:AORef>Employer Accounts Office reference</fps:AORef>
<!--the following siblings are subject to a 'choice', please refer to the schema-->
<fps:SAUTR>SA UTR</fps:SAUTR>
<fps:COTAXRef>COTAX reference</fps:COTAXRef>
<!--end of 'choice'-->
</fps:EmpRefs>
<fps:RelatedTaxYear>Income Tax Year to which submission relates</fps:RelatedTaxYear>
<!--the following siblings are subject to a 'choice', please refer to the schema-->
<!--DESCRIPTION of following node: Employee-->
<fps:Employee>
<!--DESCRIPTION of following node: Employee details-->
<fps:EmployeeDetails>
<fps:NINO>National Insurance Number</fps:NINO>
<!--DESCRIPTION of following node: Name-->
<fps:Name>
<fps:Ttl>Title</fps:Ttl>
<fps:Fore>Forename or given name</fps:Fore>
<fps:Initials>Initials</fps:Initials>
<fps:Sur>Surname or family name</fps:Sur>
</fps:Name>
<!--DESCRIPTION of following node: Address-->
<fps:Address>
<fps:Line>Address line</fps:Line>
<!--the following siblings are subject to a 'choice', please refer to the schema-->
<fps:UKPostcode>UK postcode</fps:UKPostcode>
<fps:ForeignCountry>Foreign country</fps:ForeignCountry>
<!--end of 'choice'-->
</fps:Address>
<fps:BirthDate>Date of birth</fps:BirthDate>
<fps:Gender>Current gender</fps:Gender>
<fps:PassportNumber>Passport number</fps:PassportNumber>
<!--DESCRIPTION of following node: Partner details-->
<fps:PartnerDetails>
<fps:NINO>Partner's NINO for Shared Parental Pay claim</fps:NINO>
<!--DESCRIPTION of following node: Partner's name for Shared Parental Pay claim-->
<fps:Name>
<fps:Fore>Partner's forename for Shared Parental Pay claim</fps:Fore>
<fps:Initials>Partner's initials for Shared Parental Pay claim</fps:Initials>
<fps:Sur>Partner's surname or family name for Shared Parental Pay claim</fps:Sur>
</fps:Name>
</fps:PartnerDetails>
</fps:EmployeeDetails>
<!--DESCRIPTION of following node: Employment-->
<fps:Employment>
<fps:OccPenInd>OccPen Indicator</fps:OccPenInd>
<fps:DirectorsNIC>Director's NIC and method of calculation</fps:DirectorsNIC>
<fps:TaxWkOfApptOfDirector>Tax Week of Appointment of Director</fps:TaxWkOfApptOfDirector>
<!--DESCRIPTION of following node: Starter information-->
<fps:Starter>
<fps:StartDate>Starting Date</fps:StartDate>
<fps:StartDec>Starting declaration</fps:StartDec>
<fps:StudentLoan>Indicator of Student Loan deduction needed</fps:StudentLoan>
<!--DESCRIPTION of following node: Individual seconded to work in UK-->
<fps:Seconded>
<!--the following siblings are subject to a 'choice', please refer to the schema-->
<fps:Stay183DaysOrMore>Indicator if intention to live in UK for 183 days or more</fps:Stay183DaysOrMore>
<fps:StayLessThan183Days>Indicator if intention to live in UK for less than 183 days</fps:StayLessThan183Days>
<fps:InOutUK>Indicator if individual will be working both in / out of the UK but living abroad</fps:InOutUK>
<!--end of 'choice'-->
<fps:EEACitizen>Indicator of European Economic Area citizen</fps:EEACitizen>
<fps:EPM6>Indicator that this is an EPM 6 (modified) scheme</fps:EPM6>
</fps:Seconded>
<!--DESCRIPTION of following node: Occupational pension-->
<fps:OccPension>
<fps:Bereaved>Indicator that Occupational Pension is being paid because they are a recently bereaved Spouse/Civil Partner</fps:Bereaved>
<fps:Amount>Annual amount of occupational pension</fps:Amount>
</fps:OccPension>
<!--DESCRIPTION of following node: Only to be used for submissions from DWP.-->
<fps:StatePension>
<fps:Bereaved>Only to be used for submissions from DWP: Indicator that State Pension is being paid because they are a recently bereaved Spouse/Civil Partner</fps:Bereaved>
<fps:Amount>Only to be used for submissions from DWP: Annual amount of state pension</fps:Amount>
</fps:StatePension>
</fps:Starter>
<fps:PayId>Payroll ID</fps:PayId>
<!--DESCRIPTION of following node: Payroll id changed-->
<fps:PayIdChgd>
<fps:PayrollIdChangedIndicator>Indicator that Payroll ID for this employment, if present on last submission, has changed this pay period</fps:PayrollIdChangedIndicator>
<fps:OldPayrollId>Old Payroll ID</fps:OldPayrollId>
</fps:PayIdChgd>
<fps:PaymentToANonIndividual>Payment to a non-individual</fps:PaymentToANonIndividual>
<fps:IrrEmp>Irregular Employment Payment Pattern Indicator</fps:IrrEmp>
<fps:LeavingDate>Date employment contract ended or state pension or taxable benefit ended</fps:LeavingDate>
<!--DESCRIPTION of following node: Figures to date-->
<fps:FiguresToDate>
<fps:TaxablePay>Taxable pay to date in this employment including taxable benefits undertaken through payroll</fps:TaxablePay>
<fps:TotalTax>Total tax to date in this employment including this submission</fps:TotalTax>
<fps:StudentLoansTD>Total Student loans repayments recovered in year to date in this employment</fps:StudentLoansTD>
<fps:BenefitsTaxedViaPayrollYTD>Value of benefits taxed via the payroll year to date</fps:BenefitsTaxedViaPayrollYTD>
<fps:EmpeePenContribnsPaidYTD>Value of employee pension contributions paid under 'net pay arrangements' year to date</fps:EmpeePenContribnsPaidYTD>
<fps:EmpeePenContribnsNotPaidYTD>Value of employee pension contributions that are not paid under 'net pay arrangements' year to date</fps:EmpeePenContribnsNotPaidYTD>
</fps:FiguresToDate>
<!--DESCRIPTION of following node: Payment-->
<fps:Payment>
<fps:BacsHashCode>Bacs hash code</fps:BacsHashCode>
<fps:PayFreq>Pay frequency</fps:PayFreq>
<fps:PmtDate>Payment date</fps:PmtDate>
<fps:LateReason>Late PAYE reporting reason</fps:LateReason>
<!--the following siblings are subject to a 'choice', please refer to the schema-->
<fps:WeekNo>Weekly period number</fps:WeekNo>
<fps:MonthNo>Monthly period number</fps:MonthNo>
<!--end of 'choice'-->
<fps:PeriodsCovered>Number of earnings periods covered by payment</fps:PeriodsCovered>
<fps:AggregatedEarnings>Aggregated earnings indicator</fps:AggregatedEarnings>
<fps:PmtAfterLeaving>Indicator that the payment is a payment after date of notification of contract ending</fps:PmtAfterLeaving>
<fps:HoursWorked>Number of normal hours worked</fps:HoursWorked>
<fps:TaxCode BasisNonCumulative="Tax code basis is non-cumulative" TaxRegime="Tax regime">Tax code and basis</fps:TaxCode>
<fps:TaxablePay>Taxable pay in this pay period including payrolled benefits in kind</fps:TaxablePay>
<fps:NonTaxOrNICPmt>Value of payments not subject to tax or NICs</fps:NonTaxOrNICPmt>
<fps:DednsFromNetPay>Value of deductions from net pay in this pay period</fps:DednsFromNetPay>
<fps:PayAfterStatDedns>Pay after Statutory deductions</fps:PayAfterStatDedns>
<fps:BenefitsTaxedViaPayroll>Value of benefits taxed via the payroll in this pay period</fps:BenefitsTaxedViaPayroll>
<!--DESCRIPTION of following node: Payrolled benefits-->
<fps:Benefits>
<!--DESCRIPTION of following node: Car details-->
<fps:Car>
<fps:Make>Make and model of car</fps:Make>
<fps:CO2>CO2 emissions</fps:CO2>
<fps:Fuel>Fuel type</fps:Fuel>
<fps:ID>Car identifier</fps:ID>
<fps:Amendment>Amendment indicator</fps:Amendment>
<fps:Price>Calculated price</fps:Price>
<fps:AvailFrom>Date car was available from</fps:AvailFrom>
<fps:CashEquiv>Cash equivalent of car</fps:CashEquiv>
<fps:AvailTo>Date car was available to</fps:AvailTo>
<!--DESCRIPTION of following node: Free fuel-->
<fps:FreeFuel>
<fps:Provided>Date free fuel provided</fps:Provided>
<fps:CashEquiv>Cash equivalent of fuel</fps:CashEquiv>
<fps:Withdrawn>Date free fuel withdrawn</fps:Withdrawn>
</fps:FreeFuel>
</fps:Car>
</fps:Benefits>
<fps:EmpeePenContribnsPaid>Value of employee pension contributions paid under 'net pay arrangements' in pay period</fps:EmpeePenContribnsPaid>
<fps:ItemsSubjectToClass1NIC>Items subject to Class 1 NIC but not taxed under PAYE regulations excluding pension contributions in pay period</fps:ItemsSubjectToClass1NIC>
<fps:EmpeePenContribnsNotPaid>Value of employee pension contributions that are not paid under 'net pay arrangements' in pay period</fps:EmpeePenContribnsNotPaid>
<fps:StudentLoanRecovered>Value of Student Loan repayment in this pay period</fps:StudentLoanRecovered>
<fps:TaxDeductedOrRefunded>Value of tax deducted or refunded from this payment</fps:TaxDeductedOrRefunded>
<fps:OnStrike>Indicator that an individual has been on strike within the RTI payment period</fps:OnStrike>
<fps:UnpaidAbsence>Indicator that an individual has been on an unpaid absence during the RTI payment period</fps:UnpaidAbsence>
<fps:SMPYTD>Value of Statutory Maternity pay (SMP) year to date</fps:SMPYTD>
<fps:SPPYTD>Value of Statutory Paternity pay (SPP) year to date</fps:SPPYTD>
<fps:SAPYTD>Value of Statutory Adoption pay (SAP) year to date</fps:SAPYTD>
<fps:ShPPYTD>Value of Shared Parental pay (ShPP) year to date</fps:ShPPYTD>
<fps:TrivialCommutationPayment type="Trivial commutation Payment type">Trivial commutation Payment</fps:TrivialCommutationPayment>
<!--DESCRIPTION of following node: Flexible drawdown-->
<fps:FlexibleDrawdown>
<fps:FlexiblyAccessingPensionRights>Flexibly accessing pension rights</fps:FlexiblyAccessingPensionRights>
<fps:PensionDeathBenefit>Pension death benefit indicator</fps:PensionDeathBenefit>
<fps:TaxablePayment>Flexible drawdown taxable payment</fps:TaxablePayment>
<fps:NontaxablePayment>Flexible drawdown non-taxable payment</fps:NontaxablePayment>
</fps:FlexibleDrawdown>
</fps:Payment>
<!--DESCRIPTION of following node: NI letters and values-->
<fps:NIlettersAndValues>
<fps:NIletter>National Insurance Category letter in pay period</fps:NIletter>
<fps:GrossEarningsForNICsInPd>Gross earnings for NICs in this period</fps:GrossEarningsForNICsInPd>
<fps:GrossEarningsForNICsYTD>Gross earnings for NICs year to date</fps:GrossEarningsForNICsYTD>
<fps:AtLELYTD>Value of Earnings at Lower Earnings Limit Year to Date</fps:AtLELYTD>
<fps:LELtoPTYTD>Value of Earnings above Lower Earnings Limit to Primary Threshold Year to Date</fps:LELtoPTYTD>
<fps:PTtoUELYTD>Value of Earnings from the Primary Threshold up to and including the Upper Earnings Limit Year to Date</fps:PTtoUELYTD>
<fps:TotalEmpNICInPd>Total of employer NI Contributions in this period</fps:TotalEmpNICInPd>
<fps:TotalEmpNICYTD>Total of employer NI contributions year to date</fps:TotalEmpNICYTD>
<fps:EmpeeContribnsInPd>Employees contributions due on all earnings in this pay period.</fps:EmpeeContribnsInPd>
<fps:EmpeeContribnsYTD>Employees contributions due on all earnings year to date</fps:EmpeeContribnsYTD>
</fps:NIlettersAndValues>
</fps:Employment>
</fps:Employee>
<fps:CompressedPart Type="The type of compression used">Compressed part</fps:CompressedPart>
<!--end of 'choice'-->
<!--DESCRIPTION of following node: Final submission-->
<fps:FinalSubmission>
<fps:BecauseSchemeCeased>Final Submission because scheme ceased</fps:BecauseSchemeCeased>
<fps:DateSchemeCeased>Date Scheme Ceased</fps:DateSchemeCeased>
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</fps:FinalSubmission>
</fps:FullPaymentSubmission>
</fps:IRenvelope>
</hd:Body>
</hd:GovTalkMessage>
| 63.9675 | 229 | 0.637081 |
b7595f395c52d82865b51329f857bd052e5d42d9 | 1,125 | xml | XML | src/Broadway/Bundle/BroadwayBundle/Resources/config/event_store.xml | MarkRedeman/broadway | 1dc2d08816a9528e10c59482e062a5317ac195d5 | [
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f0eaf48ea7f3e052269120b6007648983e5e1d85 | 405 | xml | XML | .ivy2/cache/javax.media/jai_core/ivy-1.1.3.xml | Omitouwenhuis/SidewalkWebpage | c4490900813f217a0f1c150d143c840cea2cfcfd | [
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"MIT"
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Pic 12 Empire State Building Dec 2006 Post Scriptum
Places We Could Go
nyc_empire_state_buidling_dec_2006
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DQ
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8f5af7ba1fbbcfc287b8c92b84bb3d3050447b90 | 4,539 | wsdl | XML | jaxws-ri/tests/unit/testcases/async/wsdl_hello_lit/server/hello_literal.wsdl | monicadragomir/metro-jax-ws-1 | f37dae6bdfd03bafdad63ed05b27dbfc3c38af1b | [
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Copyright (c) 1997, 2018 Oracle and/or its affiliates. All rights reserved.
This program and the accompanying materials are made available under the
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<soap:body parts="res" use="literal"/>
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| 29.283871 | 85 | 0.614232 |
8f8fbf0550ac500f28309e3105bb137143e278b0 | 2,325 | xml | XML | hrdelay/app/src/main/res/layout/activity_main.xml | HMS-Core/hms-accelerate-PerfGenius-demo | e1afa036330c295cf1f19c441806a8f05163fd93 | [
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android:layout_height="match_parent"
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android:layout_height="wrap_content"
android:text="AccKit Demo"
android:textSize="20sp"
app:layout_constraintBottom_toBottomOf="parent"
app:layout_constraintLeft_toLeftOf="parent"
app:layout_constraintRight_toRightOf="parent"
app:layout_constraintTop_toBottomOf="@+id/example"
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android:layout_width="107dp"
android:layout_height="wrap_content"
android:layout_marginStart="161dp"
android:layout_marginTop="88dp"
android:layout_marginEnd="162dp"
android:text="Run"
app:layout_constraintEnd_toEndOf="parent"
app:layout_constraintHorizontal_bias="0.526"
app:layout_constraintStart_toStartOf="parent"
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android:layout_width="273dp"
android:layout_height="45dp"
android:layout_marginTop="8dp"
android:ems="10"
android:hint="Please input here (less than 5s)"
android:inputType="numberDecimal"
app:layout_constraintEnd_toEndOf="parent"
app:layout_constraintStart_toStartOf="parent"
app:layout_constraintTop_toBottomOf="@+id/sample_text2" />
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android:layout_width="wrap_content"
android:layout_height="wrap_content"
android:layout_marginTop="88dp"
android:text="Delay Time(s):"
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cb6cf0ea8c86b62f6a0ed5db80b59afe4e3d9e74 | 5,419 | csproj | XML | MiControl/MiControl.csproj | ermac0/mi-home | 9df26da3523a6a54eaec792cb3bcabe8854f3218 | [
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Other similar extension points exist, see Microsoft.Common.targets.
<Target Name="BeforeBuild">
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505f61353df2960682c1893d4d192565ba43c052 | 362 | xml | XML | java_pft/addressbook-web-tests/src/test/resources/contacts.xml | SergeyKharkovshchenko/java_pft | 3071c34d3d04b22365924cf70a65bed94a16c574 | [
"Apache-2.0"
] | null | null | null | java_pft/addressbook-web-tests/src/test/resources/contacts.xml | SergeyKharkovshchenko/java_pft | 3071c34d3d04b22365924cf70a65bed94a16c574 | [
"Apache-2.0"
] | 1 | 2016-06-16T10:27:46.000Z | 2016-06-16T10:27:46.000Z | java_pft/addressbook-web-tests/src/test/resources/contacts.xml | SergeyKharkovshchenko/java_pft | 3071c34d3d04b22365924cf70a65bed94a16c574 | [
"Apache-2.0"
] | null | null | null | <list>
<contacts>
<name>test1 0</name>
<lastname>test2 0</lastname>
<group>test 0</group>
<homePhone>222 0</homePhone>
<mobilePhone>111 0</mobilePhone>
<workPhone>333 0</workPhone>
<email1>test1 0</email1>
<email2>test2 0</email2>
<email3>test3 0</email3>
<photo>src\test\resources\stru.png</photo>
</contacts>
</list> | 25.857143 | 46 | 0.640884 |
0a5186b103c58a322135e16d1da722173310f10f | 433 | xml | XML | app/src/main/res/anim/object_animator_pop_enter.xml | kaganozen/VektorMap-160316 | 6626cb1448d7493072f0bf62d276a538c5cb5e6d | [
"MIT"
] | 2 | 2016-03-25T10:58:56.000Z | 2016-10-12T19:13:46.000Z | app/src/main/res/anim/object_animator_pop_enter.xml | kaganozen/VektorMap-160316 | 6626cb1448d7493072f0bf62d276a538c5cb5e6d | [
"MIT"
] | null | null | null | app/src/main/res/anim/object_animator_pop_enter.xml | kaganozen/VektorMap-160316 | 6626cb1448d7493072f0bf62d276a538c5cb5e6d | [
"MIT"
] | null | null | null | <?xml version="1.0" encoding="utf-8"?>
<set xmlns:android="http://schemas.android.com/apk/res/android">
<objectAnimator
xmlns:android="http://schemas.android.com/apk/res/android"
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android:fromXDelta="-100%"
android:propertyName="x"
android:interpolator="@android:anim/decelerate_interpolator"
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b194bcbabdaa5c3f96ee9ca5b2b080263383fd1c | 6,970 | xml | XML | hazelcast-ra/hazelcast-jca/pom.xml | ihsandemir/hazelcast | 29c95daeab6e48291e7fcf5984c1c03a26eff975 | [
"Apache-2.0"
] | 1 | 2015-07-27T11:50:58.000Z | 2015-07-27T11:50:58.000Z | hazelcast-ra/hazelcast-jca/pom.xml | ihsandemir/hazelcast | 29c95daeab6e48291e7fcf5984c1c03a26eff975 | [
"Apache-2.0"
] | 5 | 2020-02-28T01:19:10.000Z | 2021-06-04T01:14:27.000Z | hazelcast-ra/hazelcast-jca/pom.xml | ihsandemir/hazelcast | 29c95daeab6e48291e7fcf5984c1c03a26eff975 | [
"Apache-2.0"
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~ Copyright (c) 2008-2015, Hazelcast, Inc. All Rights Reserved.
~
~ Licensed under the Apache License, Version 2.0 (the "License");
~ you may not use this file except in compliance with the License.
~ You may obtain a copy of the License at
~
~ http://www.apache.org/licenses/LICENSE-2.0
~
~ Unless required by applicable law or agreed to in writing, software
~ distributed under the License is distributed on an "AS IS" BASIS,
~ WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
~ See the License for the specific language governing permissions and
~ limitations under the License.
-->
<project xmlns="http://maven.apache.org/POM/4.0.0"
xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
xsi:schemaLocation="http://maven.apache.org/POM/4.0.0
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<properties>
<!-- needed for checkstyle/findbugs -->
<main.basedir>${project.parent.parent.basedir}</main.basedir>
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<includes>
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<dependencies>
<dependency>
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<version>${h2.version}</version>
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<artifactId>geronimo-j2ee-connector_1.5_spec</artifactId>
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<dependency>
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<artifactId>hazelcast</artifactId>
<version>${project.parent.version}</version>
<scope>provided</scope>
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<artifactId>hazelcast</artifactId>
<scope>test</scope>
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<dependency>
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<dependency>
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<artifactId>hazelcast-client</artifactId>
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<version>${project.parent.version}</version>
</dependency>
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| 38.087432 | 78 | 0.496413 |
6f10d6002139724b0e2a6c97efa63a4e093b7efa | 2,834 | xml | XML | beetle/src/main/res/layout/view_snackbar.xml | keracce/Beetle | 84591931c3b665906dff96595bde45d4be018d7b | [
"Apache-2.0"
] | 47 | 2019-07-18T07:21:26.000Z | 2019-08-01T19:32:52.000Z | beetle/src/main/res/layout/view_snackbar.xml | keracce/Beetle | 84591931c3b665906dff96595bde45d4be018d7b | [
"Apache-2.0"
] | 7 | 2019-07-22T18:58:55.000Z | 2019-08-01T19:37:15.000Z | beetle/src/main/res/layout/view_snackbar.xml | keracce/Beetle | 84591931c3b665906dff96595bde45d4be018d7b | [
"Apache-2.0"
] | 2 | 2019-07-22T15:30:52.000Z | 2019-07-24T01:59:03.000Z | <androidx.constraintlayout.widget.ConstraintLayout
android:layout_width="match_parent"
android:layout_height="@dimen/snackbar_height"
android:background="@drawable/bg_snackbar"
android:elevation="4dp"
xmlns:app="http://schemas.android.com/apk/res-auto"
xmlns:tools="http://schemas.android.com/tools"
xmlns:android="http://schemas.android.com/apk/res/android">
<androidx.constraintlayout.widget.ConstraintLayout
android:layout_width="match_parent"
android:layout_height="match_parent"
app:layout_constraintTop_toTopOf="parent"
app:layout_constraintStart_toStartOf="parent"
app:layout_constraintEnd_toEndOf="parent"
android:padding="12dp">
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android:id="@+id/icon"
android:layout_width="@dimen/feedback_icon_size"
android:layout_height="@dimen/feedback_icon_size"
app:layout_constraintTop_toTopOf="parent"
app:layout_constraintStart_toStartOf="parent"
app:layout_constraintBottom_toBottomOf="parent"
tools:src="@drawable/ic_beetle"
android:background="@drawable/bg_agent_icon" />
<LinearLayout
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android:layout_width="0dp"
android:layout_height="wrap_content"
app:layout_constraintTop_toTopOf="parent"
app:layout_constraintStart_toEndOf="@id/icon"
app:layout_constraintEnd_toEndOf="parent"
app:layout_constraintBottom_toBottomOf="parent"
android:layout_marginStart="16dp"
android:layout_marginEnd="16dp"
android:orientation="vertical">
<androidx.appcompat.widget.AppCompatTextView
android:id="@+id/title"
android:layout_width="wrap_content"
android:layout_height="wrap_content"
android:fontFamily="@font/rubik_regular"
android:textSize="13sp"
android:text="@string/confirmation_title"
android:textColor="@color/gray800"
android:maxLines="1"
android:ellipsize="end"/>
<androidx.appcompat.widget.AppCompatTextView
android:id="@+id/content"
android:layout_width="wrap_content"
android:layout_height="wrap_content"
android:fontFamily="@font/rubik_regular"
android:textSize="12sp"
android:text="@string/confirmation_content"
android:textColor="@color/gray600"
android:maxLines="1"
android:ellipsize="end"/>
</LinearLayout>
</androidx.constraintlayout.widget.ConstraintLayout>
</androidx.constraintlayout.widget.ConstraintLayout> | 41.676471 | 63 | 0.645378 |
6f5e819c637bd5d161c06226a228a1756421b080 | 1,454 | xml | XML | libs/phpdocx/examples/XmlApi/Core/addFormElement/content.xml | Vimal2209/vueBlog | fcdf27654f8f50bcb790bc9fe7d4da2804a6c1cc | [
"MIT"
] | 1 | 2022-02-17T08:11:44.000Z | 2022-02-17T08:11:44.000Z | libs/phpdocx/examples/XmlApi/Core/addFormElement/content.xml | Vimal2209/AgendaTemplate | 454db7c80cb147008f8f89e07fa57721fe2364ad | [
"MIT"
] | null | null | null | libs/phpdocx/examples/XmlApi/Core/addFormElement/content.xml | Vimal2209/AgendaTemplate | 454db7c80cb147008f8f89e07fa57721fe2364ad | [
"MIT"
] | 1 | 2022-03-11T04:54:43.000Z | 2022-03-11T04:54:43.000Z | <?xml version="1.0" encoding="UTF-8"?>
<pdx:document xmlns:pdx="http://www.phpdocx.com/main" >
<pdx:content>
<pdx:addFormElement pdx:formElementType="textfield" pdx:defaultValue="This is a test" >
<pdx:paragraphStyle>
<pdx:color pdx:value="0000CC" />
<pdx:fontSize pdx:value="12" />
<pdx:italic pdx:value="true" />
<pdx:bold pdx:value="true" />
<pdx:font pdx:value="Arial" />
</pdx:paragraphStyle>
</pdx:addFormElement>
<pdx:addFormElement pdx:formElementType="checkbox" pdx:defaultValue="true" >
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<pdx:fontSize pdx:value="12" />
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</pdx:addFormElement>
<pdx:addFormElement pdx:formElementType="select" pdx:defaultValue="true" >
<pdx:options>
<pdx:item>One</pdx:item>
<pdx:item>Two</pdx:item>
<pdx:item>Three</pdx:item>
<pdx:item>Four</pdx:item>
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<pdx:paragraphStyle>
<pdx:color pdx:value="C90000" />
<pdx:fontSize pdx:value="14" />
<pdx:bold pdx:value="true" />
<pdx:font pdx:value="Algerian" />
<pdx:underline pdx:value="double" />
</pdx:paragraphStyle>
</pdx:addFormElement>
</pdx:content>
</pdx:document> | 42.764706 | 95 | 0.526823 |
458b7a7bee019e1dd22cddc1dabd7f29f8b8217f | 114,476 | xml | XML | ELEC4320_project/dvi_test/vgamult_usage.xml | LoginLEE/HKUST-ELEC4320-FPGA-based-Design | e26b82a648cb542985c66a37b39e148a309234e0 | [
"MIT"
] | null | null | null | ELEC4320_project/dvi_test/vgamult_usage.xml | LoginLEE/HKUST-ELEC4320-FPGA-based-Design | e26b82a648cb542985c66a37b39e148a309234e0 | [
"MIT"
] | null | null | null | ELEC4320_project/dvi_test/vgamult_usage.xml | LoginLEE/HKUST-ELEC4320-FPGA-based-Design | e26b82a648cb542985c66a37b39e148a309234e0 | [
"MIT"
] | null | null | null | <?xml version="1.0" encoding="UTF-8"?>
<!-- IMPORTANT: This is an internal file that has been generated
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changes made to this file may result in unpredictable
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<DeviceUsageSummary rev="57">
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<item name="NumNodesOfType_Vcc_HVCCOUT" rev="57">
<attrib name="value" value="42"/></item>
<item name="NumNodesOfType_Vcc_INPUT" rev="57">
<attrib name="value" value="143"/></item>
<item name="NumNodesOfType_Vcc_KVCCOUT" rev="57">
<attrib name="value" value="60"/></item>
<item name="NumNodesOfType_Vcc_PINBOUNCE" rev="57">
<attrib name="value" value="116"/></item>
<item name="NumNodesOfType_Vcc_PINFEED" rev="57">
<attrib name="value" value="227"/></item>
</group>
<group name="SiteStatistics">
<item name="BUFG-BUFGCTRL" rev="57">
<attrib name="value" value="2"/></item>
<item name="IOB-IOBM" rev="57">
<attrib name="value" value="28"/></item>
<item name="IOB-IOBS" rev="57">
<attrib name="value" value="22"/></item>
<item name="RAMB18X2-RAMBFIFO36" rev="57">
<attrib name="value" value="6"/></item>
<item name="RAMB36_EXP-RAMBFIFO36" rev="57">
<attrib name="value" value="21"/></item>
<item name="SLICEL-SLICEM" rev="57">
<attrib name="value" value="31"/></item>
</group>
<group name="MiscellaneousStatistics">
<item name="AGG_BONDED_IO" rev="56">
<attrib name="value" value="50"/></item>
<item name="AGG_IO" rev="56">
<attrib name="value" value="50"/></item>
<item name="AGG_LOCED_IO" rev="56">
<attrib name="value" value="26"/></item>
<item name="AGG_SLICE" rev="56">
<attrib name="value" value="100"/></item>
<item name="NUM_BONDED_IOB" rev="56">
<attrib name="value" value="50"/></item>
<item name="NUM_BSFULL" rev="56">
<attrib name="value" value="136"/></item>
<item name="NUM_BSLUTONLY" rev="56">
<attrib name="value" value="147"/></item>
<item name="NUM_BSREGONLY" rev="56">
<attrib name="value" value="7"/></item>
<item name="NUM_BSUSED" rev="56">
<attrib name="value" value="290"/></item>
<item name="NUM_BUFG" rev="56">
<attrib name="value" value="2"/></item>
<item name="NUM_DCM_ADV" rev="56">
<attrib name="value" value="1"/></item>
<item name="NUM_DSP48E" rev="56">
<attrib name="value" value="3"/></item>
<item name="NUM_LOCED_IOB" rev="56">
<attrib name="value" value="26"/></item>
<item name="NUM_LOGIC_O5ANDO6" rev="56">
<attrib name="value" value="15"/></item>
<item name="NUM_LOGIC_O5ONLY" rev="56">
<attrib name="value" value="43"/></item>
<item name="NUM_LOGIC_O6ONLY" rev="56">
<attrib name="value" value="222"/></item>
<item name="NUM_LUT_RT_EXO6" rev="56">
<attrib name="value" value="3"/></item>
<item name="NUM_LUT_RT_O5" rev="56">
<attrib name="value" value="3"/></item>
<item name="NUM_LUT_RT_O6" rev="56">
<attrib name="value" value="43"/></item>
<item name="NUM_OLOGIC" rev="56">
<attrib name="value" value="1"/></item>
<item name="NUM_RAMB18X2" rev="56">
<attrib name="value" value="6"/></item>
<item name="NUM_RAMB18X2_LOWER" rev="56">
<attrib name="value" value="6"/></item>
<item name="NUM_RAMB18X2_UPPER" rev="56">
<attrib name="value" value="4"/></item>
<item name="NUM_RAMB36_EXP" rev="56">
<attrib name="value" value="21"/></item>
<item name="NUM_SLICEL" rev="56">
<attrib name="value" value="100"/></item>
<item name="NUM_SLICE_CARRY4" rev="56">
<attrib name="value" value="29"/></item>
<item name="NUM_SLICE_CONTROLSET" rev="56">
<attrib name="value" value="9"/></item>
<item name="NUM_SLICE_CYINIT" rev="56">
<attrib name="value" value="350"/></item>
<item name="NUM_SLICE_F7MUX" rev="56">
<attrib name="value" value="2"/></item>
<item name="NUM_SLICE_FF" rev="56">
<attrib name="value" value="143"/></item>
<item name="NUM_SLICE_UNUSEDCTRL" rev="56">
<attrib name="value" value="54"/></item>
<item name="NUM_UNUSABLE_FF_BELS" rev="56">
<attrib name="value" value="9"/></item>
<item name="Xilinx Core blk_mem_gen_v7_3, Xilinx CORE Generator 14.7" rev="56">
<attrib name="value" value="3"/></item>
</group>
</DesignStatistics>
<DeviceUsage TimeStamp="Thu Dec 19 16:06:06 2019"><group name="SiteSummary">
<item name="BUFG" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="2"/></item>
<item name="BUFG_BUFG" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="2"/></item>
<item name="DCM_ADV" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="1"/></item>
<item name="DCM_ADV_DCM_ADV" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="1"/></item>
<item name="DSP48E" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="3"/></item>
<item name="DSP48E_DSP48E" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="3"/></item>
<item name="IOB" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="50"/></item>
<item name="IOB_INBUF" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="6"/></item>
<item name="IOB_OUTBUF" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="44"/></item>
<item name="IOB_PAD" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="50"/></item>
<item name="OLOGIC" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="1"/></item>
<item name="OLOGIC_O1USED" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="1"/></item>
<item name="RAMB18X2" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="6"/></item>
<item name="RAMB18X2_RAMB18X2_LOWER" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="6"/></item>
<item name="RAMB18X2_RAMB18X2_UPPER" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="4"/></item>
<item name="RAMB36_EXP" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="21"/></item>
<item name="RAMB36_EXP_RAMB36_EXP" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="21"/></item>
<item name="SLICEL" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="100"/></item>
<item name="SLICEL_A5LUT" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="14"/></item>
<item name="SLICEL_A6LUT" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="83"/></item>
<item name="SLICEL_AFF" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="29"/></item>
<item name="SLICEL_B5LUT" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="20"/></item>
<item name="SLICEL_B6LUT" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="72"/></item>
<item name="SLICEL_BFF" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="43"/></item>
<item name="SLICEL_C5LUT" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="14"/></item>
<item name="SLICEL_C6LUT" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="65"/></item>
<item name="SLICEL_CARRY4" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="29"/></item>
<item name="SLICEL_CFF" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="31"/></item>
<item name="SLICEL_CYINITGND" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="6"/></item>
<item name="SLICEL_D5LUT" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="13"/></item>
<item name="SLICEL_D6LUT" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="63"/></item>
<item name="SLICEL_DFF" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="40"/></item>
<item name="SLICEL_F7AMUX" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="1"/></item>
<item name="SLICEL_F7BMUX" rev="57">
<attrib name="total" value="1000000"/><attrib name="used" value="1"/></item>
</group>
</DeviceUsage>
<ReportConfigData TimeStamp="Thu Dec 19 16:06:06 2019"><group name="SLICEL_CFF">
<item name="CFFINIT" rev="57">
<attrib name="INIT0" value="27"/><attrib name="INIT1" value="4"/></item>
<item name="CFFSR" rev="57">
<attrib name="SRLOW" value="27"/><attrib name="SRHIGH" value="4"/></item>
<item name="CK" rev="57">
<attrib name="CK" value="31"/><attrib name="CK_INV" value="0"/></item>
<item name="LATCH_OR_FF" rev="57">
<attrib name="FF" value="31"/></item>
<item name="SYNC_ATTR" rev="57">
<attrib name="ASYNC" value="11"/><attrib name="SYNC" value="20"/></item>
</group>
<group name="DCM_ADV_DCM_ADV">
<item name="CLKDV_DIVIDE" rev="57">
<attrib name="4.0" value="1"/></item>
<item name="CLKFX_DIVIDE" rev="57">
<attrib name="1" value="1"/></item>
<item name="CLKFX_MULTIPLY" rev="57">
<attrib name="4" value="1"/></item>
<item name="CLKIN_DIVIDE_BY_2" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="CLKOUT_PHASE_SHIFT" rev="57">
<attrib name="NONE" value="1"/></item>
<item name="CLK_FEEDBACK" rev="57">
<attrib name="1X" value="1"/></item>
<item name="DCM_CLKDV_CLKFX_ALIGNMENT" rev="57">
<attrib name="TRUE" value="1"/></item>
<item name="DCM_CLKFB_IODLY_MUXINSEL" rev="57">
<attrib name="PASS" value="1"/></item>
<item name="DCM_CLKFB_IODLY_MUXOUT_SEL" rev="57">
<attrib name="PASS" value="1"/></item>
<item name="DCM_CLKIN_IODLY_MUXINSEL" rev="57">
<attrib name="PASS" value="1"/></item>
<item name="DCM_CLKIN_IODLY_MUXOUT_SEL" rev="57">
<attrib name="PASS" value="1"/></item>
<item name="DCM_CLKLOST_EN" rev="57">
<attrib name="DISABLE" value="1"/></item>
<item name="DCM_COM_PWC_FB_EN" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DCM_COM_PWC_REF_EN" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DCM_EXT_FB_EN" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DCM_INPUTMUX_EN" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DCM_LOCK_HIGH_B" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DCM_OPTINV_PSEN" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DCM_OPTINV_PSINCDEC" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DCM_OPTINV_RST" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DCM_OPTINV_SKEW_IN" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DCM_OPTINV_SKEW_RST" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DCM_PERFORMANCE_MODE" rev="57">
<attrib name="MAX_SPEED" value="1"/></item>
<item name="DCM_PLL_RST_DCM" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DCM_POWERDOWN_COMMON_EN_B" rev="57">
<attrib name="TRUE" value="1"/></item>
<item name="DCM_REG_PWRD_CFG" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DCM_SCANMODE" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DCM_UNUSED_TAPS_POWERDOWN" rev="57">
<attrib name="TRUE" value="1"/></item>
<item name="DCM_USE_REG_READY" rev="57">
<attrib name="TRUE" value="1"/></item>
<item name="DCM_VREF_SOURCE" rev="57">
<attrib name="VBG_DLL" value="1"/></item>
<item name="DCM_VREG_ENABLE" rev="57">
<attrib name="TRUE" value="1"/></item>
<item name="DCM_WAIT_PLL" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DESKEW_ADJUST" rev="57">
<attrib name="17" value="1"/></item>
<item name="DFS_AVE_FREQ_GAIN" rev="57">
<attrib name="2.0" value="1"/></item>
<item name="DFS_AVE_FREQ_SAMPLE_INTERVAL" rev="57">
<attrib name="2" value="1"/></item>
<item name="DFS_CFG_BYPASS" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DFS_EARLY_LOCK" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DFS_EN" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DFS_EN_RELRST_B" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DFS_FAST_UPDATE" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DFS_FREQUENCY_MODE" rev="57">
<attrib name="LOW" value="1"/></item>
<item name="DFS_MPW_HIGH" rev="57">
<attrib name="TRUE" value="1"/></item>
<item name="DFS_MPW_LOW" rev="57">
<attrib name="TRUE" value="1"/></item>
<item name="DFS_OSCILLATOR_MODE" rev="57">
<attrib name="PHASE_FREQ_LOCK" value="1"/></item>
<item name="DFS_OSC_ON_FX" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DFS_OUTPUT_PSDLY_ON_CONCUR" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DFS_PWRD_CLKIN_STOP_B" rev="57">
<attrib name="TRUE" value="1"/></item>
<item name="DFS_PWRD_CLKIN_STOP_STICKY_B" rev="57">
<attrib name="TRUE" value="1"/></item>
<item name="DFS_PWRD_REPLY_TIMES_OUT_B" rev="57">
<attrib name="TRUE" value="1"/></item>
<item name="DFS_REF_ON_FX" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DFS_SYNC_TO_DLL" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DLL_CLKFB_STOPPED_PWRD_EN_B" rev="57">
<attrib name="TRUE" value="1"/></item>
<item name="DLL_CLKIN_STOPPED_PWRD_EN_B" rev="57">
<attrib name="TRUE" value="1"/></item>
<item name="DLL_DESKEW_LOCK_BY1" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DLL_ETPP_HOLD" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DLL_FDBKLOST_EN" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DLL_FREQUENCY_MODE" rev="57">
<attrib name="LOW" value="1"/></item>
<item name="DLL_PERIOD_LOCK_BY1" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DLL_PHASE_SHIFT_CALIBRATION" rev="57">
<attrib name="AUTO_DPS" value="1"/></item>
<item name="DLL_PHASE_SHIFT_LOCK_BY1" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DLL_PWRD_ON_SCANMODE_B" rev="57">
<attrib name="TRUE" value="1"/></item>
<item name="DLL_PWRD_STICKY_B" rev="57">
<attrib name="TRUE" value="1"/></item>
<item name="DLL_SYNTH_CLOCK_SPEED" rev="57">
<attrib name="HALF" value="1"/></item>
<item name="DLL_ZD1_EN" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DLL_ZD1_JF_OVERFLOW_HOLD" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DLL_ZD1_PWC_EN" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DLL_ZD2_EN" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DLL_ZD2_JF_OVERFLOW_HOLD" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DLL_ZD2_PWC_EN" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="DUTY_CYCLE_CORRECTION" rev="57">
<attrib name="TRUE" value="1"/></item>
<item name="MUX_INV_PLL_CLK" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="MUX_INV_TEST_CLK" rev="57">
<attrib name="FALSE" value="1"/></item>
<item name="PSEN" rev="57">
<attrib name="PSEN_INV" value="0"/><attrib name="PSEN" value="1"/></item>
<item name="PSINCDEC" rev="57">
<attrib name="PSINCDEC" value="1"/><attrib name="PSINCDEC_INV" value="0"/></item>
<item name="RST" rev="57">
<attrib name="RST" value="1"/><attrib name="RST_INV" value="0"/></item>
<item name="STARTUP_WAIT" rev="57">
<attrib name="FALSE" value="1"/></item>
</group>
<group name="SLICEL_DFF">
<item name="CK" rev="57">
<attrib name="CK" value="40"/><attrib name="CK_INV" value="0"/></item>
<item name="DFFINIT" rev="57">
<attrib name="INIT0" value="38"/><attrib name="INIT1" value="2"/></item>
<item name="DFFSR" rev="57">
<attrib name="SRLOW" value="38"/><attrib name="SRHIGH" value="2"/></item>
<item name="LATCH_OR_FF" rev="57">
<attrib name="FF" value="40"/></item>
<item name="SYNC_ATTR" rev="57">
<attrib name="ASYNC" value="9"/><attrib name="SYNC" value="31"/></item>
</group>
<group name="SLICEL">
<item name="CLK" rev="57">
<attrib name="CLK" value="46"/><attrib name="CLK_INV" value="0"/></item>
</group>
<group name="DSP48E">
<item name="ALUMODE0" rev="57">
<attrib name="ALUMODE0" value="3"/><attrib name="ALUMODE0_INV" value="0"/></item>
<item name="ALUMODE1" rev="57">
<attrib name="ALUMODE1" value="3"/><attrib name="ALUMODE1_INV" value="0"/></item>
<item name="ALUMODE2" rev="57">
<attrib name="ALUMODE2" value="3"/><attrib name="ALUMODE2_INV" value="0"/></item>
<item name="ALUMODE3" rev="57">
<attrib name="ALUMODE3" value="3"/><attrib name="ALUMODE3_INV" value="0"/></item>
<item name="CARRYIN" rev="57">
<attrib name="CARRYIN" value="3"/><attrib name="CARRYIN_INV" value="0"/></item>
<item name="CLK" rev="57">
<attrib name="CLK" value="3"/><attrib name="CLK_INV" value="0"/></item>
<item name="OPMODE0" rev="57">
<attrib name="OPMODE0" value="3"/><attrib name="OPMODE0_INV" value="0"/></item>
<item name="OPMODE1" rev="57">
<attrib name="OPMODE1_INV" value="0"/><attrib name="OPMODE1" value="3"/></item>
<item name="OPMODE2" rev="57">
<attrib name="OPMODE2" value="3"/><attrib name="OPMODE2_INV" value="0"/></item>
<item name="OPMODE3" rev="57">
<attrib name="OPMODE3" value="3"/><attrib name="OPMODE3_INV" value="0"/></item>
<item name="OPMODE4" rev="57">
<attrib name="OPMODE4" value="3"/><attrib name="OPMODE4_INV" value="0"/></item>
<item name="OPMODE5" rev="57">
<attrib name="OPMODE5_INV" value="0"/><attrib name="OPMODE5" value="3"/></item>
<item name="OPMODE6" rev="57">
<attrib name="OPMODE6_INV" value="0"/><attrib name="OPMODE6" value="3"/></item>
</group>
<group name="DSP48E_DSP48E">
<item name="ACASCREG" rev="57">
<attrib name="0" value="3"/></item>
<item name="ALUMODE0" rev="57">
<attrib name="ALUMODE0" value="3"/><attrib name="ALUMODE0_INV" value="0"/></item>
<item name="ALUMODE1" rev="57">
<attrib name="ALUMODE1" value="3"/><attrib name="ALUMODE1_INV" value="0"/></item>
<item name="ALUMODE2" rev="57">
<attrib name="ALUMODE2" value="3"/><attrib name="ALUMODE2_INV" value="0"/></item>
<item name="ALUMODE3" rev="57">
<attrib name="ALUMODE3" value="3"/><attrib name="ALUMODE3_INV" value="0"/></item>
<item name="ALUMODEREG" rev="57">
<attrib name="0" value="3"/></item>
<item name="AREG" rev="57">
<attrib name="0" value="3"/></item>
<item name="AUTORESET_OVER_UNDER_FLOW" rev="57">
<attrib name="FALSE" value="3"/></item>
<item name="AUTORESET_PATTERN_DETECT" rev="57">
<attrib name="FALSE" value="3"/></item>
<item name="AUTORESET_PATTERN_DETECT_OPTINV" rev="57">
<attrib name="MATCH" value="3"/></item>
<item name="A_INPUT" rev="57">
<attrib name="DIRECT" value="3"/></item>
<item name="BCASCREG" rev="57">
<attrib name="0" value="3"/></item>
<item name="BREG" rev="57">
<attrib name="0" value="3"/></item>
<item name="B_INPUT" rev="57">
<attrib name="DIRECT" value="3"/></item>
<item name="CARRYIN" rev="57">
<attrib name="CARRYIN" value="3"/><attrib name="CARRYIN_INV" value="0"/></item>
<item name="CARRYINREG" rev="57">
<attrib name="0" value="3"/></item>
<item name="CARRYINSELREG" rev="57">
<attrib name="0" value="3"/></item>
<item name="CLK" rev="57">
<attrib name="CLK" value="3"/><attrib name="CLK_INV" value="0"/></item>
<item name="CLOCK_INVERT_M" rev="57">
<attrib name="SAME_EDGE" value="3"/></item>
<item name="CLOCK_INVERT_P" rev="57">
<attrib name="SAME_EDGE" value="3"/></item>
<item name="CREG" rev="57">
<attrib name="0" value="3"/></item>
<item name="LFSR_EN_SET" rev="57">
<attrib name="SET" value="3"/></item>
<item name="LFSR_EN_SETVAL" rev="57">
<attrib name="0" value="3"/></item>
<item name="MREG" rev="57">
<attrib name="0" value="3"/></item>
<item name="MULTCARRYINREG" rev="57">
<attrib name="0" value="3"/></item>
<item name="OPMODE0" rev="57">
<attrib name="OPMODE0" value="3"/><attrib name="OPMODE0_INV" value="0"/></item>
<item name="OPMODE1" rev="57">
<attrib name="OPMODE1_INV" value="0"/><attrib name="OPMODE1" value="3"/></item>
<item name="OPMODE2" rev="57">
<attrib name="OPMODE2" value="3"/><attrib name="OPMODE2_INV" value="0"/></item>
<item name="OPMODE3" rev="57">
<attrib name="OPMODE3" value="3"/><attrib name="OPMODE3_INV" value="0"/></item>
<item name="OPMODE4" rev="57">
<attrib name="OPMODE4" value="3"/><attrib name="OPMODE4_INV" value="0"/></item>
<item name="OPMODE5" rev="57">
<attrib name="OPMODE5_INV" value="0"/><attrib name="OPMODE5" value="3"/></item>
<item name="OPMODE6" rev="57">
<attrib name="OPMODE6_INV" value="0"/><attrib name="OPMODE6" value="3"/></item>
<item name="OPMODEREG" rev="57">
<attrib name="0" value="3"/></item>
<item name="PREG" rev="57">
<attrib name="0" value="3"/></item>
<item name="ROUNDING_LSB_MASK" rev="57">
<attrib name="0" value="3"/></item>
<item name="SCAN_IN_SETVAL_M" rev="57">
<attrib name="0" value="3"/></item>
<item name="SCAN_IN_SETVAL_P" rev="57">
<attrib name="0" value="3"/></item>
<item name="SCAN_IN_SET_M" rev="57">
<attrib name="SET" value="3"/></item>
<item name="SCAN_IN_SET_P" rev="57">
<attrib name="SET" value="3"/></item>
<item name="SEL_MASK" rev="57">
<attrib name="MASK" value="3"/></item>
<item name="SEL_PATTERN" rev="57">
<attrib name="PATTERN" value="3"/></item>
<item name="SEL_ROUNDING_MASK" rev="57">
<attrib name="SEL_MASK" value="3"/></item>
<item name="TEST_SETVAL_M" rev="57">
<attrib name="0" value="3"/></item>
<item name="TEST_SETVAL_P" rev="57">
<attrib name="0" value="3"/></item>
<item name="TEST_SET_M" rev="57">
<attrib name="SET" value="3"/></item>
<item name="TEST_SET_P" rev="57">
<attrib name="SET" value="3"/></item>
<item name="USE_MULT" rev="57">
<attrib name="MULT" value="3"/></item>
<item name="USE_PATTERN_DETECT" rev="57">
<attrib name="NO_PATDET" value="3"/></item>
<item name="USE_SIMD" rev="57">
<attrib name="ONE48" value="3"/></item>
</group>
<group name="RAMB18X2">
<item name="CLKAL" rev="57">
<attrib name="CLKAL_INV" value="0"/><attrib name="CLKAL" value="6"/></item>
<item name="CLKAU" rev="57">
<attrib name="CLKAU" value="4"/><attrib name="CLKAU_INV" value="0"/></item>
<item name="CLKBL" rev="57">
<attrib name="CLKBL" value="6"/><attrib name="CLKBL_INV" value="0"/></item>
<item name="CLKBU" rev="57">
<attrib name="CLKBU" value="4"/><attrib name="CLKBU_INV" value="0"/></item>
<item name="ENAL" rev="57">
<attrib name="ENAL_INV" value="4"/><attrib name="ENAL" value="2"/></item>
<item name="ENAU" rev="57">
<attrib name="ENAU_INV" value="4"/><attrib name="ENAU" value="0"/></item>
<item name="ENBL" rev="57">
<attrib name="ENBL_INV" value="0"/><attrib name="ENBL" value="6"/></item>
<item name="ENBU" rev="57">
<attrib name="ENBU_INV" value="0"/><attrib name="ENBU" value="4"/></item>
<item name="REGCLKAL" rev="57">
<attrib name="REGCLKAL_INV" value="0"/><attrib name="REGCLKAL" value="6"/></item>
<item name="REGCLKAU" rev="57">
<attrib name="REGCLKAU_INV" value="0"/><attrib name="REGCLKAU" value="4"/></item>
<item name="REGCLKBL" rev="57">
<attrib name="REGCLKBL_INV" value="0"/><attrib name="REGCLKBL" value="6"/></item>
<item name="REGCLKBU" rev="57">
<attrib name="REGCLKBU" value="4"/><attrib name="REGCLKBU_INV" value="0"/></item>
<item name="SSRAL" rev="57">
<attrib name="SSRAL" value="6"/><attrib name="SSRAL_INV" value="0"/></item>
<item name="SSRAU" rev="57">
<attrib name="SSRAU" value="4"/><attrib name="SSRAU_INV" value="0"/></item>
<item name="SSRBL" rev="57">
<attrib name="SSRBL" value="6"/><attrib name="SSRBL_INV" value="0"/></item>
<item name="SSRBU" rev="57">
<attrib name="SSRBU" value="4"/><attrib name="SSRBU_INV" value="0"/></item>
</group>
<group name="OLOGIC_O1USED">
<item name="0" rev="57">
<attrib name="0" value="0"/><attrib name="0_INV" value="1"/></item>
</group>
<group name="RAMB36_EXP_RAMB36_EXP">
<item name="CLKAL" rev="57">
<attrib name="CLKAL_INV" value="0"/><attrib name="CLKAL" value="21"/></item>
<item name="CLKAU" rev="57">
<attrib name="CLKAU" value="21"/><attrib name="CLKAU_INV" value="0"/></item>
<item name="CLKBL" rev="57">
<attrib name="CLKBL" value="21"/><attrib name="CLKBL_INV" value="0"/></item>
<item name="CLKBU" rev="57">
<attrib name="CLKBU" value="21"/><attrib name="CLKBU_INV" value="0"/></item>
<item name="DOA_REG" rev="57">
<attrib name="0" value="21"/></item>
<item name="DOB_REG" rev="57">
<attrib name="0" value="21"/></item>
<item name="ENAL" rev="57">
<attrib name="ENAL_INV" value="4"/><attrib name="ENAL" value="17"/></item>
<item name="ENAU" rev="57">
<attrib name="ENAU_INV" value="4"/><attrib name="ENAU" value="17"/></item>
<item name="ENBL" rev="57">
<attrib name="ENBL_INV" value="0"/><attrib name="ENBL" value="21"/></item>
<item name="ENBU" rev="57">
<attrib name="ENBU_INV" value="0"/><attrib name="ENBU" value="21"/></item>
<item name="RAM_EXTENSION_A" rev="57">
<attrib name="NONE" value="5"/><attrib name="UPPER" value="8"/><attrib name="LOWER" value="8"/></item>
<item name="RAM_EXTENSION_B" rev="57">
<attrib name="NONE" value="5"/><attrib name="UPPER" value="8"/><attrib name="LOWER" value="8"/></item>
<item name="READ_WIDTH_A" rev="57">
<attrib name="1" value="16"/><attrib name="4" value="4"/><attrib name="18" value="1"/></item>
<item name="READ_WIDTH_B" rev="57">
<attrib name="1" value="16"/><attrib name="4" value="4"/><attrib name="18" value="1"/></item>
<item name="REGCLKAL" rev="57">
<attrib name="REGCLKAL_INV" value="21"/><attrib name="REGCLKAL" value="0"/></item>
<item name="REGCLKAU" rev="57">
<attrib name="REGCLKAU_INV" value="21"/><attrib name="REGCLKAU" value="0"/></item>
<item name="REGCLKBL" rev="57">
<attrib name="REGCLKBL_INV" value="21"/><attrib name="REGCLKBL" value="0"/></item>
<item name="REGCLKBU" rev="57">
<attrib name="REGCLKBU" value="0"/><attrib name="REGCLKBU_INV" value="21"/></item>
<item name="SAVEDATA" rev="57">
<attrib name="FALSE" value="21"/></item>
<item name="SSRAL" rev="57">
<attrib name="SSRAL" value="21"/><attrib name="SSRAL_INV" value="0"/></item>
<item name="SSRAU" rev="57">
<attrib name="SSRAU" value="21"/><attrib name="SSRAU_INV" value="0"/></item>
<item name="SSRBL" rev="57">
<attrib name="SSRBL" value="21"/><attrib name="SSRBL_INV" value="0"/></item>
<item name="SSRBU" rev="57">
<attrib name="SSRBU" value="21"/><attrib name="SSRBU_INV" value="0"/></item>
<item name="WRITE_MODE_A" rev="57">
<attrib name="WRITE_FIRST" value="21"/></item>
<item name="WRITE_MODE_B" rev="57">
<attrib name="WRITE_FIRST" value="21"/></item>
<item name="WRITE_WIDTH_A" rev="57">
<attrib name="1" value="16"/><attrib name="4" value="4"/><attrib name="18" value="1"/></item>
<item name="WRITE_WIDTH_B" rev="57">
<attrib name="1" value="16"/><attrib name="4" value="4"/><attrib name="18" value="1"/></item>
</group>
<group name="DCM_ADV">
<item name="PSEN" rev="57">
<attrib name="PSEN_INV" value="0"/><attrib name="PSEN" value="1"/></item>
<item name="PSINCDEC" rev="57">
<attrib name="PSINCDEC" value="1"/><attrib name="PSINCDEC_INV" value="0"/></item>
<item name="RST" rev="57">
<attrib name="RST" value="1"/><attrib name="RST_INV" value="0"/></item>
</group>
<group name="RAMB18X2_RAMB18X2_UPPER">
<item name="CLKAU" rev="57">
<attrib name="CLKAU" value="4"/><attrib name="CLKAU_INV" value="0"/></item>
<item name="CLKBU" rev="57">
<attrib name="CLKBU" value="4"/><attrib name="CLKBU_INV" value="0"/></item>
<item name="DOA_REG_U" rev="57">
<attrib name="0" value="4"/></item>
<item name="DOB_REG_U" rev="57">
<attrib name="0" value="4"/></item>
<item name="ENAU" rev="57">
<attrib name="ENAU_INV" value="4"/><attrib name="ENAU" value="0"/></item>
<item name="ENBU" rev="57">
<attrib name="ENBU_INV" value="0"/><attrib name="ENBU" value="4"/></item>
<item name="READ_WIDTH_A_U" rev="57">
<attrib name="2" value="4"/></item>
<item name="READ_WIDTH_B_U" rev="57">
<attrib name="2" value="4"/></item>
<item name="REGCLKAU" rev="57">
<attrib name="REGCLKAU_INV" value="0"/><attrib name="REGCLKAU" value="4"/></item>
<item name="REGCLKBU" rev="57">
<attrib name="REGCLKBU" value="4"/><attrib name="REGCLKBU_INV" value="0"/></item>
<item name="SAVEDATA_U" rev="57">
<attrib name="FALSE" value="4"/></item>
<item name="SSRAU" rev="57">
<attrib name="SSRAU" value="4"/><attrib name="SSRAU_INV" value="0"/></item>
<item name="SSRBU" rev="57">
<attrib name="SSRBU" value="4"/><attrib name="SSRBU_INV" value="0"/></item>
<item name="WRITE_MODE_A_U" rev="57">
<attrib name="WRITE_FIRST" value="4"/></item>
<item name="WRITE_MODE_B_U" rev="57">
<attrib name="WRITE_FIRST" value="4"/></item>
<item name="WRITE_WIDTH_A_U" rev="57">
<attrib name="2" value="4"/></item>
<item name="WRITE_WIDTH_B_U" rev="57">
<attrib name="2" value="4"/></item>
</group>
<group name="RAMB18X2_RAMB18X2_LOWER">
<item name="CLKAL" rev="57">
<attrib name="CLKAL_INV" value="0"/><attrib name="CLKAL" value="6"/></item>
<item name="CLKBL" rev="57">
<attrib name="CLKBL" value="6"/><attrib name="CLKBL_INV" value="0"/></item>
<item name="DOA_REG_L" rev="57">
<attrib name="0" value="6"/></item>
<item name="DOB_REG_L" rev="57">
<attrib name="0" value="6"/></item>
<item name="ENAL" rev="57">
<attrib name="ENAL_INV" value="4"/><attrib name="ENAL" value="2"/></item>
<item name="ENBL" rev="57">
<attrib name="ENBL_INV" value="0"/><attrib name="ENBL" value="6"/></item>
<item name="READ_WIDTH_A_L" rev="57">
<attrib name="2" value="4"/><attrib name="9" value="2"/></item>
<item name="READ_WIDTH_B_L" rev="57">
<attrib name="2" value="4"/><attrib name="9" value="2"/></item>
<item name="REGCLKAL" rev="57">
<attrib name="REGCLKAL_INV" value="0"/><attrib name="REGCLKAL" value="6"/></item>
<item name="REGCLKBL" rev="57">
<attrib name="REGCLKBL_INV" value="0"/><attrib name="REGCLKBL" value="6"/></item>
<item name="SAVEDATA_L" rev="57">
<attrib name="FALSE" value="6"/></item>
<item name="SSRAL" rev="57">
<attrib name="SSRAL" value="6"/><attrib name="SSRAL_INV" value="0"/></item>
<item name="SSRBL" rev="57">
<attrib name="SSRBL" value="6"/><attrib name="SSRBL_INV" value="0"/></item>
<item name="WRITE_MODE_A_L" rev="57">
<attrib name="WRITE_FIRST" value="6"/></item>
<item name="WRITE_MODE_B_L" rev="57">
<attrib name="WRITE_FIRST" value="6"/></item>
<item name="WRITE_WIDTH_A_L" rev="57">
<attrib name="2" value="4"/><attrib name="9" value="2"/></item>
<item name="WRITE_WIDTH_B_L" rev="57">
<attrib name="2" value="4"/><attrib name="9" value="2"/></item>
</group>
<group name="SLICEL_AFF">
<item name="AFFINIT" rev="57">
<attrib name="INIT0" value="25"/><attrib name="INIT1" value="4"/></item>
<item name="AFFSR" rev="57">
<attrib name="SRLOW" value="25"/><attrib name="SRHIGH" value="4"/></item>
<item name="CK" rev="57">
<attrib name="CK" value="29"/><attrib name="CK_INV" value="0"/></item>
<item name="LATCH_OR_FF" rev="57">
<attrib name="FF" value="29"/></item>
<item name="SYNC_ATTR" rev="57">
<attrib name="ASYNC" value="9"/><attrib name="SYNC" value="20"/></item>
</group>
<group name="OLOGIC">
<item name="D1" rev="57">
<attrib name="D1" value="0"/><attrib name="D1_INV" value="1"/></item>
</group>
<group name="SLICEL_BFF">
<item name="BFFINIT" rev="57">
<attrib name="INIT0" value="38"/><attrib name="INIT1" value="5"/></item>
<item name="BFFSR" rev="57">
<attrib name="SRLOW" value="38"/><attrib name="SRHIGH" value="5"/></item>
<item name="CK" rev="57">
<attrib name="CK" value="43"/><attrib name="CK_INV" value="0"/></item>
<item name="LATCH_OR_FF" rev="57">
<attrib name="FF" value="43"/></item>
<item name="SYNC_ATTR" rev="57">
<attrib name="ASYNC" value="11"/><attrib name="SYNC" value="32"/></item>
</group>
<group name="RAMB36_EXP">
<item name="CLKAL" rev="57">
<attrib name="CLKAL_INV" value="0"/><attrib name="CLKAL" value="21"/></item>
<item name="CLKAU" rev="57">
<attrib name="CLKAU" value="21"/><attrib name="CLKAU_INV" value="0"/></item>
<item name="CLKBL" rev="57">
<attrib name="CLKBL" value="21"/><attrib name="CLKBL_INV" value="0"/></item>
<item name="CLKBU" rev="57">
<attrib name="CLKBU" value="21"/><attrib name="CLKBU_INV" value="0"/></item>
<item name="ENAL" rev="57">
<attrib name="ENAL_INV" value="4"/><attrib name="ENAL" value="17"/></item>
<item name="ENAU" rev="57">
<attrib name="ENAU_INV" value="4"/><attrib name="ENAU" value="17"/></item>
<item name="ENBL" rev="57">
<attrib name="ENBL_INV" value="0"/><attrib name="ENBL" value="21"/></item>
<item name="ENBU" rev="57">
<attrib name="ENBU_INV" value="0"/><attrib name="ENBU" value="21"/></item>
<item name="REGCLKAL" rev="57">
<attrib name="REGCLKAL_INV" value="21"/><attrib name="REGCLKAL" value="0"/></item>
<item name="REGCLKAU" rev="57">
<attrib name="REGCLKAU_INV" value="21"/><attrib name="REGCLKAU" value="0"/></item>
<item name="REGCLKBL" rev="57">
<attrib name="REGCLKBL_INV" value="21"/><attrib name="REGCLKBL" value="0"/></item>
<item name="REGCLKBU" rev="57">
<attrib name="REGCLKBU" value="0"/><attrib name="REGCLKBU_INV" value="21"/></item>
<item name="SSRAL" rev="57">
<attrib name="SSRAL" value="21"/><attrib name="SSRAL_INV" value="0"/></item>
<item name="SSRAU" rev="57">
<attrib name="SSRAU" value="21"/><attrib name="SSRAU_INV" value="0"/></item>
<item name="SSRBL" rev="57">
<attrib name="SSRBL" value="21"/><attrib name="SSRBL_INV" value="0"/></item>
<item name="SSRBU" rev="57">
<attrib name="SSRBU" value="21"/><attrib name="SSRBU_INV" value="0"/></item>
</group>
</ReportConfigData>
<ReportPinData TimeStamp="Thu Dec 19 16:06:06 2019"><group name="SLICEL_CFF">
<item name="CE" rev="57">
<attrib name="value" value="16"/></item>
<item name="CK" rev="57">
<attrib name="value" value="31"/></item>
<item name="D" rev="57">
<attrib name="value" value="31"/></item>
<item name="Q" rev="57">
<attrib name="value" value="31"/></item>
<item name="SR" rev="57">
<attrib name="value" value="25"/></item>
</group>
<group name="SLICEL_B6LUT">
<item name="A1" rev="57">
<attrib name="value" value="13"/></item>
<item name="A2" rev="57">
<attrib name="value" value="32"/></item>
<item name="A3" rev="57">
<attrib name="value" value="36"/></item>
<item name="A4" rev="57">
<attrib name="value" value="54"/></item>
<item name="A5" rev="57">
<attrib name="value" value="61"/></item>
<item name="A6" rev="57">
<attrib name="value" value="72"/></item>
<item name="O6" rev="57">
<attrib name="value" value="72"/></item>
</group>
<group name="SLICEL_CARRY4">
<item name="CIN" rev="57">
<attrib name="value" value="23"/></item>
<item name="CO3" rev="57">
<attrib name="value" value="23"/></item>
<item name="CYINIT" rev="57">
<attrib name="value" value="6"/></item>
<item name="DI0" rev="57">
<attrib name="value" value="28"/></item>
<item name="DI1" rev="57">
<attrib name="value" value="28"/></item>
<item name="DI2" rev="57">
<attrib name="value" value="28"/></item>
<item name="DI3" rev="57">
<attrib name="value" value="23"/></item>
<item name="O0" rev="57">
<attrib name="value" value="25"/></item>
<item name="O1" rev="57">
<attrib name="value" value="24"/></item>
<item name="O2" rev="57">
<attrib name="value" value="24"/></item>
<item name="O3" rev="57">
<attrib name="value" value="24"/></item>
<item name="S0" rev="57">
<attrib name="value" value="29"/></item>
<item name="S1" rev="57">
<attrib name="value" value="28"/></item>
<item name="S2" rev="57">
<attrib name="value" value="28"/></item>
<item name="S3" rev="57">
<attrib name="value" value="28"/></item>
</group>
<group name="DCM_ADV_DCM_ADV">
<item name="CLK0" rev="57">
<attrib name="value" value="1"/></item>
<item name="CLKDV" rev="57">
<attrib name="value" value="1"/></item>
<item name="CLKFB" rev="57">
<attrib name="value" value="1"/></item>
<item name="CLKIN" rev="57">
<attrib name="value" value="1"/></item>
<item name="DADDR0" rev="57">
<attrib name="value" value="1"/></item>
<item name="DADDR1" rev="57">
<attrib name="value" value="1"/></item>
<item name="DADDR2" rev="57">
<attrib name="value" value="1"/></item>
<item name="DADDR3" rev="57">
<attrib name="value" value="1"/></item>
<item name="DADDR4" rev="57">
<attrib name="value" value="1"/></item>
<item name="DADDR5" rev="57">
<attrib name="value" value="1"/></item>
<item name="DADDR6" rev="57">
<attrib name="value" value="1"/></item>
<item name="DCLK" rev="57">
<attrib name="value" value="1"/></item>
<item name="DEN" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI0" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI1" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI10" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI11" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI12" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI13" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI14" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI15" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI2" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI3" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI4" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI5" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI6" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI7" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI8" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI9" rev="57">
<attrib name="value" value="1"/></item>
<item name="DWE" rev="57">
<attrib name="value" value="1"/></item>
<item name="LOCKED" rev="57">
<attrib name="value" value="1"/></item>
<item name="PSCLK" rev="57">
<attrib name="value" value="1"/></item>
<item name="PSEN" rev="57">
<attrib name="value" value="1"/></item>
<item name="PSINCDEC" rev="57">
<attrib name="value" value="1"/></item>
<item name="RST" rev="57">
<attrib name="value" value="1"/></item>
</group>
<group name="SLICEL_DFF">
<item name="CE" rev="57">
<attrib name="value" value="16"/></item>
<item name="CK" rev="57">
<attrib name="value" value="40"/></item>
<item name="D" rev="57">
<attrib name="value" value="40"/></item>
<item name="Q" rev="57">
<attrib name="value" value="40"/></item>
<item name="SR" rev="57">
<attrib name="value" value="36"/></item>
</group>
<group name="SLICEL">
<item name="A" rev="57">
<attrib name="value" value="39"/></item>
<item name="A1" rev="57">
<attrib name="value" value="18"/></item>
<item name="A2" rev="57">
<attrib name="value" value="41"/></item>
<item name="A3" rev="57">
<attrib name="value" value="44"/></item>
<item name="A4" rev="57">
<attrib name="value" value="66"/></item>
<item name="A5" rev="57">
<attrib name="value" value="69"/></item>
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<item name="C31" rev="57">
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<item name="C32" rev="57">
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<item name="C33" rev="57">
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<item name="C34" rev="57">
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<item name="C35" rev="57">
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<item name="C36" rev="57">
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<item name="C37" rev="57">
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<item name="C38" rev="57">
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<item name="C39" rev="57">
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<item name="C4" rev="57">
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<item name="C40" rev="57">
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<item name="C41" rev="57">
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<item name="C42" rev="57">
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<item name="C44" rev="57">
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<item name="C8" rev="57">
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<item name="C9" rev="57">
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<item name="CARRYIN" rev="57">
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<item name="CARRYINSEL0" rev="57">
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<item name="CARRYINSEL1" rev="57">
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<item name="CARRYINSEL2" rev="57">
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<item name="CEA1" rev="57">
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<item name="CEA2" rev="57">
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<item name="CECTRL" rev="57">
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<item name="CEM" rev="57">
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<item name="CEP" rev="57">
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<item name="OPMODE2" rev="57">
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<item name="OPMODE3" rev="57">
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<item name="OPMODE5" rev="57">
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<item name="OPMODE6" rev="57">
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<item name="P1" rev="57">
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<item name="P10" rev="57">
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<item name="P11" rev="57">
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<item name="P12" rev="57">
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<item name="P13" rev="57">
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<item name="P14" rev="57">
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<item name="P15" rev="57">
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<item name="P16" rev="57">
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<item name="P17" rev="57">
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<item name="P18" rev="57">
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<item name="P19" rev="57">
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<item name="P2" rev="57">
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<item name="P20" rev="57">
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<item name="P21" rev="57">
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<item name="P22" rev="57">
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<item name="P23" rev="57">
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<item name="P3" rev="57">
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<item name="P4" rev="57">
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<item name="P6" rev="57">
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<item name="P7" rev="57">
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<item name="P8" rev="57">
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<item name="P9" rev="57">
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<item name="RSTB" rev="57">
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<item name="RSTC" rev="57">
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<item name="RSTCTRL" rev="57">
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<item name="RSTP" rev="57">
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<item name="TRI" rev="57">
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<group name="SLICEL_C6LUT">
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<item name="A3" rev="57">
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<item name="A4" rev="57">
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<item name="A5" rev="57">
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<item name="A6" rev="57">
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<group name="RAMB18X2">
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<item name="ADDRAL13" rev="57">
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<item name="ADDRAL14" rev="57">
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<item name="ADDRAU12" rev="57">
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<item name="ADDRAU13" rev="57">
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<item name="ADDRAU5" rev="57">
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<item name="ADDRAU6" rev="57">
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<item name="ADDRBL12" rev="57">
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<group name="SLICEL_B5LUT">
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<group name="RAMB36_EXP_RAMB36_EXP">
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<item name="ADDRAL5" rev="57">
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<attrib name="value" value="16"/></item>
<item name="ADDRBL10" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBL11" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBL12" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBL13" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBL14" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBL15" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBL2" rev="57">
<attrib name="value" value="20"/></item>
<item name="ADDRBL3" rev="57">
<attrib name="value" value="20"/></item>
<item name="ADDRBL4" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBL5" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBL6" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBL7" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBL8" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBL9" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBU0" rev="57">
<attrib name="value" value="16"/></item>
<item name="ADDRBU1" rev="57">
<attrib name="value" value="16"/></item>
<item name="ADDRBU10" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBU11" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBU12" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBU13" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBU14" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBU2" rev="57">
<attrib name="value" value="20"/></item>
<item name="ADDRBU3" rev="57">
<attrib name="value" value="20"/></item>
<item name="ADDRBU4" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBU5" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBU6" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBU7" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBU8" rev="57">
<attrib name="value" value="21"/></item>
<item name="ADDRBU9" rev="57">
<attrib name="value" value="21"/></item>
<item name="CASCADEINLATA" rev="57">
<attrib name="value" value="8"/></item>
<item name="CASCADEINLATB" rev="57">
<attrib name="value" value="8"/></item>
<item name="CASCADEINREGA" rev="57">
<attrib name="value" value="8"/></item>
<item name="CASCADEINREGB" rev="57">
<attrib name="value" value="8"/></item>
<item name="CASCADEOUTLATA" rev="57">
<attrib name="value" value="8"/></item>
<item name="CASCADEOUTLATB" rev="57">
<attrib name="value" value="8"/></item>
<item name="CASCADEOUTREGA" rev="57">
<attrib name="value" value="8"/></item>
<item name="CASCADEOUTREGB" rev="57">
<attrib name="value" value="8"/></item>
<item name="CLKAL" rev="57">
<attrib name="value" value="21"/></item>
<item name="CLKAU" rev="57">
<attrib name="value" value="21"/></item>
<item name="CLKBL" rev="57">
<attrib name="value" value="21"/></item>
<item name="CLKBU" rev="57">
<attrib name="value" value="21"/></item>
<item name="DIA0" rev="57">
<attrib name="value" value="21"/></item>
<item name="DIA1" rev="57">
<attrib name="value" value="21"/></item>
<item name="DIA10" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIA11" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIA12" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIA13" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIA14" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIA15" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIA2" rev="57">
<attrib name="value" value="5"/></item>
<item name="DIA3" rev="57">
<attrib name="value" value="5"/></item>
<item name="DIA4" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIA5" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIA6" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIA7" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIA8" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIA9" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIB0" rev="57">
<attrib name="value" value="21"/></item>
<item name="DIB1" rev="57">
<attrib name="value" value="21"/></item>
<item name="DIB10" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIB11" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIB12" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIB13" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIB14" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIB15" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIB2" rev="57">
<attrib name="value" value="5"/></item>
<item name="DIB3" rev="57">
<attrib name="value" value="5"/></item>
<item name="DIB4" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIB5" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIB6" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIB7" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIB8" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIB9" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIPA0" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIPA1" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIPB0" rev="57">
<attrib name="value" value="1"/></item>
<item name="DIPB1" rev="57">
<attrib name="value" value="1"/></item>
<item name="DOA0" rev="57">
<attrib name="value" value="13"/></item>
<item name="DOA1" rev="57">
<attrib name="value" value="5"/></item>
<item name="DOA10" rev="57">
<attrib name="value" value="1"/></item>
<item name="DOA11" rev="57">
<attrib name="value" value="1"/></item>
<item name="DOA12" rev="57">
<attrib name="value" value="1"/></item>
<item name="DOA13" rev="57">
<attrib name="value" value="1"/></item>
<item name="DOA14" rev="57">
<attrib name="value" value="1"/></item>
<item name="DOA15" rev="57">
<attrib name="value" value="1"/></item>
<item name="DOA2" rev="57">
<attrib name="value" value="5"/></item>
<item name="DOA3" rev="57">
<attrib name="value" value="5"/></item>
<item name="DOA4" rev="57">
<attrib name="value" value="1"/></item>
<item name="DOA5" rev="57">
<attrib name="value" value="1"/></item>
<item name="DOA6" rev="57">
<attrib name="value" value="1"/></item>
<item name="DOA7" rev="57">
<attrib name="value" value="1"/></item>
<item name="DOA8" rev="57">
<attrib name="value" value="1"/></item>
<item name="DOA9" rev="57">
<attrib name="value" value="1"/></item>
<item name="ENAL" rev="57">
<attrib name="value" value="21"/></item>
<item name="ENAU" rev="57">
<attrib name="value" value="21"/></item>
<item name="ENBL" rev="57">
<attrib name="value" value="21"/></item>
<item name="ENBU" rev="57">
<attrib name="value" value="21"/></item>
<item name="REGCEAL" rev="57">
<attrib name="value" value="21"/></item>
<item name="REGCEAU" rev="57">
<attrib name="value" value="21"/></item>
<item name="REGCEBL" rev="57">
<attrib name="value" value="21"/></item>
<item name="REGCEBU" rev="57">
<attrib name="value" value="21"/></item>
<item name="REGCLKAL" rev="57">
<attrib name="value" value="21"/></item>
<item name="REGCLKAU" rev="57">
<attrib name="value" value="21"/></item>
<item name="REGCLKBL" rev="57">
<attrib name="value" value="21"/></item>
<item name="REGCLKBU" rev="57">
<attrib name="value" value="21"/></item>
<item name="SSRAL" rev="57">
<attrib name="value" value="21"/></item>
<item name="SSRAU" rev="57">
<attrib name="value" value="21"/></item>
<item name="SSRBL" rev="57">
<attrib name="value" value="21"/></item>
<item name="SSRBU" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEAL0" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEAL1" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEAL2" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEAL3" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEAU0" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEAU1" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEAU2" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEAU3" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBL0" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBL1" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBL2" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBL3" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBL4" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBL5" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBL6" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBL7" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBU0" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBU1" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBU2" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBU3" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBU4" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBU5" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBU6" rev="57">
<attrib name="value" value="21"/></item>
<item name="WEBU7" rev="57">
<attrib name="value" value="21"/></item>
</group>
<group name="DCM_ADV">
<item name="CLK0" rev="57">
<attrib name="value" value="1"/></item>
<item name="CLKDV" rev="57">
<attrib name="value" value="1"/></item>
<item name="CLKFB" rev="57">
<attrib name="value" value="1"/></item>
<item name="CLKIN" rev="57">
<attrib name="value" value="1"/></item>
<item name="DADDR0" rev="57">
<attrib name="value" value="1"/></item>
<item name="DADDR1" rev="57">
<attrib name="value" value="1"/></item>
<item name="DADDR2" rev="57">
<attrib name="value" value="1"/></item>
<item name="DADDR3" rev="57">
<attrib name="value" value="1"/></item>
<item name="DADDR4" rev="57">
<attrib name="value" value="1"/></item>
<item name="DADDR5" rev="57">
<attrib name="value" value="1"/></item>
<item name="DADDR6" rev="57">
<attrib name="value" value="1"/></item>
<item name="DCLK" rev="57">
<attrib name="value" value="1"/></item>
<item name="DEN" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI0" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI1" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI10" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI11" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI12" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI13" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI14" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI15" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI2" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI3" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI4" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI5" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI6" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI7" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI8" rev="57">
<attrib name="value" value="1"/></item>
<item name="DI9" rev="57">
<attrib name="value" value="1"/></item>
<item name="DWE" rev="57">
<attrib name="value" value="1"/></item>
<item name="LOCKED" rev="57">
<attrib name="value" value="1"/></item>
<item name="PSCLK" rev="57">
<attrib name="value" value="1"/></item>
<item name="PSEN" rev="57">
<attrib name="value" value="1"/></item>
<item name="PSINCDEC" rev="57">
<attrib name="value" value="1"/></item>
<item name="RST" rev="57">
<attrib name="value" value="1"/></item>
</group>
<group name="SLICEL_D6LUT">
<item name="A1" rev="57">
<attrib name="value" value="6"/></item>
<item name="A2" rev="57">
<attrib name="value" value="26"/></item>
<item name="A3" rev="57">
<attrib name="value" value="30"/></item>
<item name="A4" rev="57">
<attrib name="value" value="49"/></item>
<item name="A5" rev="57">
<attrib name="value" value="51"/></item>
<item name="A6" rev="57">
<attrib name="value" value="61"/></item>
<item name="O6" rev="57">
<attrib name="value" value="63"/></item>
</group>
<group name="RAMB18X2_RAMB18X2_UPPER">
<item name="ADDRAU10" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRAU11" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRAU12" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRAU13" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRAU14" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRAU2" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRAU3" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRAU4" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRAU5" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRAU6" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRAU7" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRAU8" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRAU9" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRBU10" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRBU11" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRBU12" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRBU13" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRBU14" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRBU2" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRBU3" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRBU4" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRBU5" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRBU6" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRBU7" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRBU8" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRBU9" rev="57">
<attrib name="value" value="4"/></item>
<item name="CLKAU" rev="57">
<attrib name="value" value="4"/></item>
<item name="CLKBU" rev="57">
<attrib name="value" value="4"/></item>
<item name="DIAU0" rev="57">
<attrib name="value" value="4"/></item>
<item name="DIAU1" rev="57">
<attrib name="value" value="4"/></item>
<item name="DIBU0" rev="57">
<attrib name="value" value="4"/></item>
<item name="DIBU1" rev="57">
<attrib name="value" value="4"/></item>
<item name="DOAU0" rev="57">
<attrib name="value" value="4"/></item>
<item name="DOAU1" rev="57">
<attrib name="value" value="4"/></item>
<item name="ENAU" rev="57">
<attrib name="value" value="4"/></item>
<item name="ENBU" rev="57">
<attrib name="value" value="4"/></item>
<item name="REGCEAU" rev="57">
<attrib name="value" value="4"/></item>
<item name="REGCEBU" rev="57">
<attrib name="value" value="4"/></item>
<item name="REGCLKAU" rev="57">
<attrib name="value" value="4"/></item>
<item name="REGCLKBU" rev="57">
<attrib name="value" value="4"/></item>
<item name="SSRAU" rev="57">
<attrib name="value" value="4"/></item>
<item name="SSRBU" rev="57">
<attrib name="value" value="4"/></item>
<item name="WEAU0" rev="57">
<attrib name="value" value="4"/></item>
<item name="WEAU1" rev="57">
<attrib name="value" value="4"/></item>
<item name="WEAU2" rev="57">
<attrib name="value" value="4"/></item>
<item name="WEAU3" rev="57">
<attrib name="value" value="4"/></item>
<item name="WEBU0" rev="57">
<attrib name="value" value="4"/></item>
<item name="WEBU1" rev="57">
<attrib name="value" value="4"/></item>
<item name="WEBU2" rev="57">
<attrib name="value" value="4"/></item>
<item name="WEBU3" rev="57">
<attrib name="value" value="4"/></item>
<item name="WEBU4" rev="57">
<attrib name="value" value="4"/></item>
<item name="WEBU5" rev="57">
<attrib name="value" value="4"/></item>
<item name="WEBU6" rev="57">
<attrib name="value" value="4"/></item>
<item name="WEBU7" rev="57">
<attrib name="value" value="4"/></item>
</group>
<group name="SLICEL_C5LUT">
<item name="A2" rev="57">
<attrib name="value" value="1"/></item>
<item name="A3" rev="57">
<attrib name="value" value="2"/></item>
<item name="A4" rev="57">
<attrib name="value" value="1"/></item>
<item name="A5" rev="57">
<attrib name="value" value="1"/></item>
<item name="O5" rev="57">
<attrib name="value" value="14"/></item>
</group>
<group name="SLICEL_F7AMUX">
<item name="0" rev="57">
<attrib name="value" value="1"/></item>
<item name="1" rev="57">
<attrib name="value" value="1"/></item>
<item name="OUT" rev="57">
<attrib name="value" value="1"/></item>
<item name="S0" rev="57">
<attrib name="value" value="1"/></item>
</group>
<group name="RAMB18X2_RAMB18X2_LOWER">
<item name="ADDRAL10" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRAL11" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRAL12" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRAL13" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRAL14" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRAL15" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRAL2" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRAL3" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRAL4" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRAL5" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRAL6" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRAL7" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRAL8" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRAL9" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRBL10" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRBL11" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRBL12" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRBL13" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRBL14" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRBL15" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRBL2" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRBL3" rev="57">
<attrib name="value" value="4"/></item>
<item name="ADDRBL4" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRBL5" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRBL6" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRBL7" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRBL8" rev="57">
<attrib name="value" value="6"/></item>
<item name="ADDRBL9" rev="57">
<attrib name="value" value="6"/></item>
<item name="CLKAL" rev="57">
<attrib name="value" value="6"/></item>
<item name="CLKBL" rev="57">
<attrib name="value" value="6"/></item>
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<BaseTypeName>DocumentFormat.OpenXml.OpenXmlLeafElement</BaseTypeName>
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<Interfaces />
<Attributes>
<Attribute>
<AttributeName>DocumentFormat.OpenXml.OfficeAvailability(DocumentFormat.OpenXml.FileFormatVersions.Office2010)</AttributeName>
</Attribute>
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<summary>Defines the RevealTransition Class.This class is available in Office2010 or above. When the object is serialized out as xml, its qualified name is p14:reveal.</summary>
<remarks>
<format type="text/markdown"><![CDATA[
## Remarks
*2.3.18 reveal*
*Target namespace:* http://schemas.microsoft.com/office/powerpoint/2010/main
A CT_RevealTransition element (section 2.5.7) that specifies a reveal transition. See section 2.2.1 for how this element integrates with [ISO/IEC-29500:2008].
The following is a sample with *thruBlk* equal to *true*, *dir* equal to "l" (left):
*da94dfbe-f720-4450-a9dd-109bd16efd39*
*Figure 20: Sample reveal transition*
The following W3C XML Schema ([XMLSCHEMA1] section 2.1) fragment specifies the contents of this element.
*\<xsd:element name="reveal" type="CT_RevealTransition"/>*
See section 5.1 for the full W3C XML Schema ([XMLSCHEMA1] section 2.1).
*2.5.7 CT_RevealTransition*
*Target namespace:* http://schemas.microsoft.com/office/powerpoint/2010/main
*Referenced by:* reveal
A complex type that specifies the parameters for a reveal transition.
*Attributes:*
*thruBlk:* An *xsd:boolean* attribute ([XMLSCHEMA2] section 3.2.2) that specifies whether the transition fades through black.
*dir:* An ST_TransitionLeftRightDirectionType attribute (section 2.6.6) that specifies the direction presentation slides move during the transition.
The following W3C XML Schema ([XMLSCHEMA1] section 2.1) fragment specifies the contents of this complex type.
*\<xsd:complexType name="CT_RevealTransition">*
*\<xsd:attribute name="thruBlk" type="xsd:boolean" use="optional" default="false"/>*
*\<xsd:attribute name="dir" type="ST_TransitionLeftRightDirectionType" use="optional" default="l"/>*
*\</xsd:complexType>*
See section 5.1 for the full W3C XML Schema ([XMLSCHEMA1] section 2.1).
]]></format>
</remarks>
</Docs>
<Members>
<Member MemberName=".ctor">
<MemberSignature Language="C#" Value="public RevealTransition ();" />
<MemberSignature Language="ILAsm" Value=".method public hidebysig specialname rtspecialname instance void .ctor() cil managed" />
<MemberSignature Language="DocId" Value="M:DocumentFormat.OpenXml.Office2010.PowerPoint.RevealTransition.#ctor" />
<MemberSignature Language="VB.NET" Value="Public Sub New ()" />
<MemberType>Constructor</MemberType>
<AssemblyInfo>
<AssemblyName>DocumentFormat.OpenXml</AssemblyName>
<AssemblyVersion>2.7.2.0</AssemblyVersion>
<AssemblyVersion>2.8.1.0</AssemblyVersion>
</AssemblyInfo>
<Parameters />
<Docs>
<summary>Initializes a new instance of the RevealTransition class.</summary>
<remarks>To be added.</remarks>
</Docs>
</Member>
<Member MemberName="CloneNode">
<MemberSignature Language="C#" Value="public override DocumentFormat.OpenXml.OpenXmlElement CloneNode (bool deep);" />
<MemberSignature Language="ILAsm" Value=".method public hidebysig virtual instance class DocumentFormat.OpenXml.OpenXmlElement CloneNode(bool deep) cil managed" />
<MemberSignature Language="DocId" Value="M:DocumentFormat.OpenXml.Office2010.PowerPoint.RevealTransition.CloneNode(System.Boolean)" />
<MemberSignature Language="VB.NET" Value="Public Overrides Function CloneNode (deep As Boolean) As OpenXmlElement" />
<MemberSignature Language="F#" Value="override this.CloneNode : bool -> DocumentFormat.OpenXml.OpenXmlElement" Usage="revealTransition.CloneNode deep" />
<MemberType>Method</MemberType>
<AssemblyInfo>
<AssemblyName>DocumentFormat.OpenXml</AssemblyName>
<AssemblyVersion>2.7.2.0</AssemblyVersion>
<AssemblyVersion>2.8.1.0</AssemblyVersion>
</AssemblyInfo>
<ReturnValue>
<ReturnType>DocumentFormat.OpenXml.OpenXmlElement</ReturnType>
</ReturnValue>
<Parameters>
<Parameter Name="deep" Type="System.Boolean" />
</Parameters>
<Docs>
<param name="deep">true to recursively clone the subtree under the specified node; false to clone only the node itself.</param>
<summary>Creates a duplicate of this node.</summary>
<returns>Returns the cloned node.</returns>
<remarks>To be added.</remarks>
</Docs>
</Member>
<Member MemberName="Direction">
<MemberSignature Language="C#" Value="public DocumentFormat.OpenXml.EnumValue<DocumentFormat.OpenXml.Office2010.PowerPoint.TransitionLeftRightDirectionTypeValues> Direction { get; set; }" />
<MemberSignature Language="ILAsm" Value=".property instance class DocumentFormat.OpenXml.EnumValue`1<valuetype DocumentFormat.OpenXml.Office2010.PowerPoint.TransitionLeftRightDirectionTypeValues> Direction" />
<MemberSignature Language="DocId" Value="P:DocumentFormat.OpenXml.Office2010.PowerPoint.RevealTransition.Direction" />
<MemberSignature Language="VB.NET" Value="Public Property Direction As EnumValue(Of TransitionLeftRightDirectionTypeValues)" />
<MemberSignature Language="F#" Value="member this.Direction : DocumentFormat.OpenXml.EnumValue<DocumentFormat.OpenXml.Office2010.PowerPoint.TransitionLeftRightDirectionTypeValues> with get, set" Usage="DocumentFormat.OpenXml.Office2010.PowerPoint.RevealTransition.Direction" />
<MemberType>Property</MemberType>
<AssemblyInfo>
<AssemblyName>DocumentFormat.OpenXml</AssemblyName>
<AssemblyVersion>2.7.2.0</AssemblyVersion>
<AssemblyVersion>2.8.1.0</AssemblyVersion>
</AssemblyInfo>
<Attributes>
<Attribute>
<AttributeName>DocumentFormat.OpenXml.SchemaAttr(0, "dir")</AttributeName>
</Attribute>
</Attributes>
<ReturnValue>
<ReturnType>DocumentFormat.OpenXml.EnumValue<DocumentFormat.OpenXml.Office2010.PowerPoint.TransitionLeftRightDirectionTypeValues></ReturnType>
</ReturnValue>
<Docs>
<summary>dir.Represents the following attribute in the schema: dir</summary>
<value>To be added.</value>
<remarks>To be added.</remarks>
</Docs>
</Member>
<Member MemberName="LocalName">
<MemberSignature Language="C#" Value="public override string LocalName { get; }" />
<MemberSignature Language="ILAsm" Value=".property instance string LocalName" />
<MemberSignature Language="DocId" Value="P:DocumentFormat.OpenXml.Office2010.PowerPoint.RevealTransition.LocalName" />
<MemberSignature Language="VB.NET" Value="Public Overrides ReadOnly Property LocalName As String" />
<MemberSignature Language="F#" Value="member this.LocalName : string" Usage="DocumentFormat.OpenXml.Office2010.PowerPoint.RevealTransition.LocalName" />
<MemberType>Property</MemberType>
<AssemblyInfo>
<AssemblyName>DocumentFormat.OpenXml</AssemblyName>
<AssemblyVersion>2.7.2.0</AssemblyVersion>
<AssemblyVersion>2.8.1.0</AssemblyVersion>
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<ReturnValue>
<ReturnType>System.String</ReturnType>
</ReturnValue>
<Docs>
<summary>Gets the local name of the element.</summary>
<value>To be added.</value>
<remarks>To be added.</remarks>
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</Member>
<Member MemberName="ThroughBlack">
<MemberSignature Language="C#" Value="public DocumentFormat.OpenXml.BooleanValue ThroughBlack { get; set; }" />
<MemberSignature Language="ILAsm" Value=".property instance class DocumentFormat.OpenXml.BooleanValue ThroughBlack" />
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<MemberSignature Language="F#" Value="member this.ThroughBlack : DocumentFormat.OpenXml.BooleanValue with get, set" Usage="DocumentFormat.OpenXml.Office2010.PowerPoint.RevealTransition.ThroughBlack" />
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<summary>thruBlk.Represents the following attribute in the schema: thruBlk</summary>
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A woman bicycles down the hill on a dirt trail .
A woman biking downhill .
A woman is riding down a dirt trail on her bike .
Man riding a bike down a dirt hill .
Woman in blue workout attire and helmet rides through dirt path
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<title type="short" as="introduced">Working Parents Flexibility Act of 2017</title>
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<summary date="2017-05-18T04:00:00Z" status="Introduced in House">Working Parents Flexibility Act of 2017
This bill amends the Internal Revenue Code to establish a tax-exempt parental leave savings account for the care of a child, to which an individual taxpayer who has earned income from employment during the past 12 months may make tax deductible cash contributions of up to $6,750 in a taxable year and not more than an aggregate of  $24,000 for all taxable years. Taxpayers whose adjusted gross income exceeds $250,000 in a taxable year are ineligible for such a tax deduction.
The bill excludes from gross income: (1) distributions from a parental leave savings account that are made not later than one year after the birth or adoption of a child of an account holder, and (2) contributions made by an employer to the parental leave savings account of an employee.</summary>
<committee-reports/>
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<string>Danny Streur</string>
<key>description</key>
<string>Search the Stripe docs</string>
<key>disabled</key>
<false/>
<key>name</key>
<string>Stripe Docs</string>
<key>objects</key>
<array>
<dict>
<key>config</key>
<dict>
<key>alfredfiltersresults</key>
<false/>
<key>alfredfiltersresultsmatchmode</key>
<integer>0</integer>
<key>argumenttreatemptyqueryasnil</key>
<true/>
<key>argumenttrimmode</key>
<integer>0</integer>
<key>argumenttype</key>
<integer>0</integer>
<key>escaping</key>
<integer>4</integer>
<key>keyword</key>
<string>stripe</string>
<key>queuedelaycustom</key>
<integer>3</integer>
<key>queuedelayimmediatelyinitially</key>
<true/>
<key>queuedelaymode</key>
<integer>0</integer>
<key>queuemode</key>
<integer>1</integer>
<key>runningsubtext</key>
<string></string>
<key>script</key>
<string>php stripe.php "{query}"</string>
<key>scriptargtype</key>
<integer>0</integer>
<key>scriptfile</key>
<string></string>
<key>subtext</key>
<string></string>
<key>title</key>
<string>Search Stripe</string>
<key>type</key>
<integer>0</integer>
<key>withspace</key>
<true/>
</dict>
<key>type</key>
<string>alfred.workflow.input.scriptfilter</string>
<key>uid</key>
<string>8649342F-0735-48DA-B7D5-A6621CC7D5CF</string>
<key>version</key>
<integer>3</integer>
</dict>
<dict>
<key>config</key>
<dict>
<key>browser</key>
<string></string>
<key>spaces</key>
<string></string>
<key>url</key>
<string>{query}</string>
<key>utf8</key>
<true/>
</dict>
<key>type</key>
<string>alfred.workflow.action.openurl</string>
<key>uid</key>
<string>80F7587C-488F-47A1-8131-38978E3F1AC0</string>
<key>version</key>
<integer>1</integer>
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<key>readme</key>
<string>An ultra-fast Stripe docs search workflow for Alfred.
## Usage
Just type `stripe` followed by your search query.
```
stripe <query>
stripe subscriptions
```
Either press `⌘Y` to Quick Look the result, or press `<enter>` to open it in your web browser.</string>
<key>uidata</key>
<dict>
<key>80F7587C-488F-47A1-8131-38978E3F1AC0</key>
<dict>
<key>xpos</key>
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<key>ypos</key>
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</dict>
<key>8649342F-0735-48DA-B7D5-A6621CC7D5CF</key>
<dict>
<key>xpos</key>
<integer>250</integer>
<key>ypos</key>
<integer>225</integer>
</dict>
</dict>
<key>version</key>
<string>1.0.0</string>
<key>webaddress</key>
<string>https://github.com/DannyStreur/alfred-stripe-docs</string>
</dict>
</plist>
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dateloaded dateloadedtxt datesearch datesort dateupdated dco docsubtype doctype doi eid ewtransactionid fundingbodyid hubeid indexeddate issn issnnorm itemstage itemtransactionid itemweight oauserlicense openaccess openarchive pg pgfirst pglast pii piinorm pubdatestart pubdatetxt pubyr sectiontitle sortorder sponsoredaccesstype srctitle srctitlenorm srctype ssids alllist content oa subj subheadings suppl tomb volfirst volissue volumelist webpdf webpdfpagecount yearnav figure body mmlmath acknowledge affil articletitle auth authfirstini authfull authlast grantnumber grantsponsor grantsponsorid highlightsabst orcid primabst ref specialabst</xocs:articleinfo><xocs:issns><xocs:issn-primary-formatted>0009-2614</xocs:issn-primary-formatted><xocs:issn-primary-unformatted>00092614</xocs:issn-primary-unformatted></xocs:issns><xocs:sponsored-access-type>UNLIMITED</xocs:sponsored-access-type><xocs:funding-body-id>ERC</xocs:funding-body-id><xocs:crossmark 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B.V.</xocs:copyright-line><xocs:normalized-article-title>FREEENERGYBASINHOPPING</xocs:normalized-article-title><xocs:normalized-first-auth-surname>SUTHERLANDCASH</xocs:normalized-first-auth-surname><xocs:normalized-first-auth-initial>K</xocs:normalized-first-auth-initial><xocs:item-toc><xocs:item-toc-entry ref-elem="ce:sections"><xocs:item-toc-label>1</xocs:item-toc-label><xocs:item-toc-section-title>Introduction</xocs:item-toc-section-title></xocs:item-toc-entry><xocs:item-toc-entry ref-elem="ce:sections"><xocs:item-toc-label>2</xocs:item-toc-label><xocs:item-toc-section-title>Applications</xocs:item-toc-section-title></xocs:item-toc-entry><xocs:item-toc-entry ref-elem="ce:sections"><xocs:item-toc-label>3</xocs:item-toc-label><xocs:item-toc-section-title>Conclusions</xocs:item-toc-section-title></xocs:item-toc-entry><xocs:item-toc-entry ref-elem="ce:acknowledgment"><xocs:item-toc-section-title>Acknowledgements</xocs:item-toc-section-title></xocs:item-toc-entry><xocs:item-toc-entry ref-elem="ce:bibliography"><xocs:item-toc-section-title>References</xocs:item-toc-section-title></xocs:item-toc-entry></xocs:item-toc><xocs:references><xocs:ref-info refid="sbref0005"><xocs:ref-normalized-surname>KIRKPATRICK</xocs:ref-normalized-surname><xocs:ref-pub-year>1983</xocs:ref-pub-year><xocs:ref-first-fp>671</xocs:ref-first-fp><xocs:ref-normalized-initial>S</xocs:ref-normalized-initial></xocs:ref-info><xocs:ref-info refid="sbref0010"><xocs:ref-normalized-surname>WALES</xocs:ref-normalized-surname><xocs:ref-pub-year>1999</xocs:ref-pub-year><xocs:ref-first-fp>1368</xocs:ref-first-fp><xocs:ref-normalized-initial>D</xocs:ref-normalized-initial></xocs:ref-info><xocs:ref-info refid="sbref0015"><xocs:ref-normalized-surname>JOHNSTON</xocs:ref-normalized-surname><xocs:ref-pub-year>2003</xocs:ref-pub-year><xocs:ref-first-fp>4193</xocs:ref-first-fp><xocs:ref-normalized-initial>R</xocs:ref-normalized-initial></xocs:ref-info><xocs:ref-info 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is-open-access="1" is-open-archive="0">Full</xocs:oa-article-status><xocs:oa-access-effective-date>2015-04-16T11:17:16Z</xocs:oa-access-effective-date><xocs:oa-sponsor><xocs:oa-sponsor-type>FundingBody</xocs:oa-sponsor-type><xocs:oa-sponsor-name>European Research Council</xocs:oa-sponsor-name></xocs:oa-sponsor><xocs:oa-user-license>http://creativecommons.org/licenses/by/4.0/</xocs:oa-user-license></xocs:open-access></xocs:meta><xocs:serial-item><article version="5.2" xml:lang="en" docsubtype="fla" xmlns:sa="http://www.elsevier.com/xml/common/struct-aff/dtd"><item-info><jid>CPLETT</jid><aid>32808</aid><ce:pii>S0009-2614(15)00097-4</ce:pii><ce:doi>10.1016/j.cplett.2015.02.015</ce:doi><ce:copyright type="full-transfer" year="2015">Elsevier B.V.</ce:copyright></item-info><ce:floats><ce:figure id="fig0005"><ce:label>Figure 1</ce:label><ce:caption id="cap0005"><ce:simple-para id="spar0020" view="all">Free energy of the minima as a function of temperature for the Lennard-Jones cluster LJ<ce:inf loc="post">7</ce:inf> and the Morse cluster M<ce:inf loc="post">7</ce:inf> with range parameter <ce:italic>ρ</ce:italic><ce:hsp sp="0.25"/>=<ce:hsp sp="0.25"/>30. (a) The LJ<ce:inf loc="post">7</ce:inf> cluster has four distinct minima: the pentagonal bipyramid (circle), capped octahedron (square), tricapped tetrahedron (diamond), and skewed structure (triangle). (b) The M<ce:inf loc="post">7</ce:inf> cluster has four low-lying minima with the same number of nearest neighbour contacts: pentagonal bipyramid (circle), capped octahedron (square), tricapped tetrahedron (diamond), and bicapped trigonal bipyramid (triangle). The free energies are presented relative to that of the most stable structure, which is set to zero at all temperatures.</ce:simple-para></ce:caption><ce:link locator="gr1"/></ce:figure><ce:figure id="fig0010"><ce:label>Figure 2</ce:label><ce:caption id="cap0010"><ce:simple-para id="spar0025" view="all">The four minima of the M<ce:inf loc="post">7</ce:inf> cluster: pentagonal bipyramid (a), capped octahedron (b), tricapped tetrahedron (c) and bicapped trigonal bipyramid (d).</ce:simple-para></ce:caption><ce:link locator="gr2"/></ce:figure><ce:figure id="fig0015"><ce:label>Figure 3</ce:label><ce:caption id="cap0015"><ce:simple-para id="spar0030" view="all">Free energy of the minima as a function of temperature for alanine dipeptide and the serine-lysine dipeptide. Lines for the minima that become the global minimum at different temperatures are highlighted in red. (a) Alanine dipeptide has a relatively simple energy spectrum, with only 7 physically relevant local minima and two instances of minima reordering. (b) Minima for serine-lysine dipeptide with energies within 1.0<ce:hsp sp="0.25"/>kcal<ce:hsp sp="0.25"/>mol<ce:sup loc="post">−1</ce:sup> of the global minimum at the corresponding temperature. It can clearly be seen that the minima undergo significant reordering and three different global minima are observed over this temperature range. As before, the free energies are presented relative to the global minimum, which is chosen to have zero energy at all temperatures. (c) The structure of the alanine dipeptide global minimum. (d) The structures of the serine-lysine global minima at increasing temperatures from left to right. (For interpretation of the references to color in this figure legend, the reader is referred to the web version of the article.)</ce:simple-para></ce:caption><ce:link locator="gr3"/></ce:figure></ce:floats><head><ce:title id="tit0005">Free energy basin-hopping</ce:title><ce:author-group id="aug0005"><ce:author id="aut0005" orcid="0000-0002-6277-1551"><ce:given-name>K.H.</ce:given-name><ce:surname>Sutherland-Cash</ce:surname><ce:cross-ref id="crf0005" refid="aff0005"><ce:sup loc="post">a</ce:sup></ce:cross-ref></ce:author><ce:author id="aut0010" orcid="0000-0002-3555-6645"><ce:given-name>D.J.</ce:given-name><ce:surname>Wales</ce:surname><ce:cross-ref id="crf0010" refid="aff0005"><ce:sup loc="post">a</ce:sup></ce:cross-ref><ce:cross-ref id="crf0015" refid="cor0005"><ce:sup loc="post">⁎</ce:sup></ce:cross-ref></ce:author><ce:author id="aut0015"><ce:given-name>D.</ce:given-name><ce:surname>Chakrabarti</ce:surname><ce:cross-ref id="crf0020" refid="aff0010"><ce:sup loc="post">b</ce:sup></ce:cross-ref></ce:author><ce:affiliation id="aff0005"><ce:label>a</ce:label><ce:textfn>University Chemical Laboratories, Lensfield Road, Cambridge CB2 1EW, UK</ce:textfn><sa:affiliation><sa:organization>University Chemical Laboratories</sa:organization><sa:address-line>Lensfield Road</sa:address-line><sa:city>Cambridge</sa:city><sa:postal-code>CB2 1EW</sa:postal-code><sa:country>UK</sa:country></sa:affiliation></ce:affiliation><ce:affiliation id="aff0010"><ce:label>b</ce:label><ce:textfn>School of Chemistry, University of Birmingham, Birmingham B15 2TT, UK</ce:textfn><sa:affiliation><sa:organization>School of Chemistry, University of Birmingham</sa:organization><sa:city>Birmingham</sa:city><sa:postal-code>B15 2TT</sa:postal-code><sa:country>UK</sa:country></sa:affiliation></ce:affiliation><ce:correspondence id="cor0005"><ce:label>⁎</ce:label><ce:text>Corresponding author.</ce:text></ce:correspondence></ce:author-group><ce:date-received day="13" month="12" year="2014"/><ce:date-accepted day="9" month="2" year="2015"/><ce:abstract id="abs0005" class="graphical" view="all"><ce:abstract-sec id="abst0005" view="all"><ce:section-title id="sect0005">Graphical abstract</ce:section-title><ce:simple-para id="spar0005" view="all"><ce:display><ce:figure id="fig0020"><ce:link locator="fx1"/></ce:figure></ce:display></ce:simple-para></ce:abstract-sec></ce:abstract><ce:abstract id="abs0010" class="author-highlights" view="all"><ce:abstract-sec id="abst0010" view="all"><ce:section-title id="sect0010">Highlights</ce:section-title><ce:simple-para id="spar0010" view="all"><ce:list id="list0005"><ce:list-item id="listitem0005"><ce:label>•</ce:label><ce:para id="p0005" view="all">A global optimisation scheme is presented based upon approximate local free energies.</ce:para></ce:list-item><ce:list-item id="listitem0010"><ce:label>•</ce:label><ce:para id="p0010" view="all">The implementation employs basin-hopping with a modified acceptance condition.</ce:para></ce:list-item><ce:list-item id="listitem0015"><ce:label>•</ce:label><ce:para id="p0015" view="all">Example applications are presented for atomic clusters and peptides.</ce:para></ce:list-item><ce:list-item id="listitem0020"><ce:label>•</ce:label><ce:para id="p0020" view="all">Low-lying free energy minima are efficiently identified.</ce:para></ce:list-item></ce:list></ce:simple-para></ce:abstract-sec></ce:abstract><ce:abstract id="abs0015" view="all" class="author"><ce:section-title id="sect0015">Abstract</ce:section-title><ce:abstract-sec id="abst0015" view="all"><ce:simple-para id="spar0015" view="all">A global optimisation scheme is presented using basin-hopping with the acceptance criterion based on approximate free energy for the corresponding local minima of the potential energy. The method is illustrated for atomic and colloidal clusters and peptides to examine how the predicted global free energy minimum changes with temperature. Using estimates for the local free energies based on harmonic vibrational densities of states provides a computationally effective framework for predicting trends in structure at finite temperature. The resulting scheme represents a powerful tool for exploration of energy landscapes throughout molecular science.</ce:simple-para></ce:abstract-sec></ce:abstract></head><body view="all"><ce:sections><ce:section id="sec0005" view="all"><ce:label>1</ce:label><ce:section-title id="sect0020">Introduction</ce:section-title><ce:para id="p0025" view="all">Global optimisation is an important tool for structure prediction throughout molecular science, as well as for soft matter and condensed matter systems. In particular, numerous methods have been described that aim to identify the global minimum on the potential energy surface (PES) <ce:cross-refs id="crfs0005" refid="bib0005 bib0010 bib0015 bib0020">[1–4]</ce:cross-refs>. Although the PES of a many-body system is high dimensional and often complex, searches on the PES can usually be based on accurate evaluation of the potential energy function. In contrast, if the temperature is high enough for entropy to play a role, then further sampling may be necessary. Weak interactions that correlate with low frequency vibrational modes can be important here, suggesting that a systematic approach to investigate such effects could be very useful. However, we do not wish to incur the computational expense of constructing entire free energy landscapes based upon projections onto chosen order parameters, or sample extensively in a more global fashion <ce:cross-refs id="crfs0010" refid="bib0025 bib0030 bib0035 bib0040 bib0045 bib0050 bib0055">[5–11]</ce:cross-refs>. Instead we prefer to focus on the local free energy associated with particular minima on the potential energy surface, and investigate how the competition between alternative structures changes with temperature. We do not propose to compute the free energy for states associated with sets of potential energy minima. Such states would be important for analysis of phase transitions, where the high entropy phase is stabilised by landscape entropy, i.e. the configuration space associated with multiple minima that lie relatively high in potential energy. Rather, we consider the regime where structure is still well defined in terms of competition between configurations associated with distinct potential energy minima. Cross-overs in stability with temperature are then associated with the local well entropies, which will increase more rapidly with temperature for structures that have lower vibrational frequencies. In fact, we could also lump such minima, for example, using a free energy barrier threshold <ce:cross-ref id="crf0025" refid="bib0060">[12]</ce:cross-ref>. This sort of procedure has been used to construct free energy disconnectivity graphs <ce:cross-refs id="crfs0015" refid="bib0050 bib0065">[10,13]</ce:cross-refs>, but it requires additional information to define connectivity.</ce:para><ce:para id="p0030" view="all">In the present contribution we present a methodology that provides an estimate of free energy of the local minima on the PES on the fly as they are visited during global optimisation. To this end, we adapt the basin-hopping (BH) global optimisation method <ce:cross-refs id="crfs0020" refid="bib0010 bib0070 bib0075">[2,14,15]</ce:cross-refs>, which has been used for a wide variety of molecular and soft and condensed matter, to explore the <ce:italic>free</ce:italic> energy landscape, as opposed to the <ce:italic>potential</ce:italic> energy landscape. Our approach relies upon the superposition approach <ce:cross-refs id="crfs0025" refid="bib0080 bib0085 bib0090 bib0095 bib0100 bib0105">[16–21]</ce:cross-refs> to thermodynamics, which expresses the global partition function, <ce:italic>Z</ce:italic>(<ce:italic>T</ce:italic>), in terms of contributions from the catchment basin of each local minimum. In the canonical ensemble, which is the focus of this letter, we have<ce:display><ce:formula id="eq0005"><ce:label>(1)</ce:label><mml:math altimg="si1.gif" overflow="scroll"><mml:mi>Z</mml:mi><mml:mo stretchy="false">(</mml:mo><mml:mi>T</mml:mi><mml:mo stretchy="false">)</mml:mo><mml:mo>=</mml:mo><mml:munder><mml:mo>∑</mml:mo><mml:mi>i</mml:mi></mml:munder><mml:msub><mml:mi>Z</mml:mi><mml:mi>i</mml:mi></mml:msub><mml:mo stretchy="false">(</mml:mo><mml:mi>T</mml:mi><mml:mo stretchy="false">)</mml:mo><mml:mo>,</mml:mo></mml:math></ce:formula></ce:display>where <ce:italic>Z</ce:italic><ce:inf loc="post"><ce:italic>i</ce:italic></ce:inf>(<ce:italic>T</ce:italic>) is the partition function of minimum <ce:italic>i</ce:italic> at temperature <ce:italic>T</ce:italic>. <ce:italic>Z</ce:italic><ce:inf loc="post"><ce:italic>i</ce:italic></ce:inf> thus only draws contributions from the catchment basin <ce:cross-refs id="crfs0030" refid="bib0110 bib0090">[22,18]</ce:cross-refs> for which steepest-descent paths converge to minimum <ce:italic>i</ce:italic>. Here we will employ the harmonic normal mode approximation to obtain the vibrational density of states for each minimum. This harmonic superposition approach has been used successfully for a variety of applications in previous work <ce:cross-refs id="crfs0035" refid="bib0105 bib0115 bib0120 bib0125 bib0130">[21,23–26]</ce:cross-refs>. Various schemes to treat anharmonic corrections have been proposed <ce:cross-refs id="crfs0040" refid="bib0085 bib0100 bib0125 bib0135 bib0140 bib0145 bib0150">[17,20,25,27–30]</ce:cross-refs>, but we anticipate that the FEBH approach will generally be applied using harmonic vibrational densities of states in the first instance. Once such a survey has been conducted, it would certainly be possible to admit vibrational anharmonicity, and the procedure that employs a model anharmonic form used in the basin-sampling approach to thermodynamics <ce:cross-ref id="crf0030" refid="bib0125">[25]</ce:cross-ref> could provide an attractive framework. We will report on such extensions in future work; the harmonic approximation adopted in the present work will probably lead to a systematic underprediction of crossover temperatures, since the softer modes of higher energy minima are expected to be more anharmonic. Corresponding shifts in heat capacity peaks and melting points have been analysed in previous work <ce:cross-refs id="crfs0045" refid="bib0085 bib0135">[17,27]</ce:cross-refs>.</ce:para><ce:para id="p0035" view="all">As each permutation-inversion isomer of a given structure, <ce:italic>Z</ce:italic><ce:inf loc="post"><ce:italic>i</ce:italic></ce:inf>(<ce:italic>T</ce:italic>) is identical, the sum above can be written as the product of the partition function for one of these isomers and a factor <ce:italic>n</ce:italic><ce:inf loc="post"><ce:italic>i</ce:italic></ce:inf>, which accounts for the permutation-inversion degeneracy. For a system containing <ce:italic>N</ce:italic><ce:inf loc="post"><ce:italic>A</ce:italic></ce:inf> atoms of element A, <ce:italic>N</ce:italic><ce:inf loc="post"><ce:italic>B</ce:italic></ce:inf> atoms of element B, etc., <ce:italic>n</ce:italic><ce:inf loc="post"><ce:italic>i</ce:italic></ce:inf><ce:hsp sp="0.25"/>=<ce:hsp sp="0.25"/>2<ce:italic>N</ce:italic><ce:inf loc="post"><ce:italic>A</ce:italic></ce:inf><ce:hsp sp="0.25"/>!<ce:hsp sp="0.25"/><ce:italic>N</ce:italic><ce:inf loc="post"><ce:italic>B</ce:italic></ce:inf><ce:hsp sp="0.25"/>!<ce:hsp sp="0.25"/><ce:italic>N</ce:italic><ce:inf loc="post"><ce:italic>C</ce:italic></ce:inf><ce:hsp sp="0.25"/>!<ce:hsp sp="0.25"/>…/<ce:italic>o</ce:italic><ce:inf loc="post"><ce:italic>i</ce:italic></ce:inf>, where <ce:italic>o</ce:italic><ce:inf loc="post"><ce:italic>i</ce:italic></ce:inf> is the order of the point group of minimum <ce:italic>i</ce:italic> <ce:cross-refs id="crfs0050" refid="bib0090 bib0155 bib0160 bib0165">[18,31–33]</ce:cross-refs>. Ignoring the rotational contribution to the partition function, which does not usually vary significantly between different isomers of the same atomic cluster, and making a harmonic approximation to the vibrational component of the partition function, one can write<ce:display><ce:formula id="eq0010"><ce:label>(2)</ce:label><mml:math altimg="si2.gif" overflow="scroll"><mml:mi>Z</mml:mi><mml:mo stretchy="false">(</mml:mo><mml:mi>T</mml:mi><mml:mo stretchy="false">)</mml:mo><mml:mo>=</mml:mo><mml:munder><mml:mo>∑</mml:mo><mml:mi>i</mml:mi></mml:munder><mml:mfrac><mml:mrow><mml:msub><mml:mi>n</mml:mi><mml:mi>i</mml:mi></mml:msub><mml:mo>exp</mml:mo><mml:mo stretchy="false">[</mml:mo><mml:mo>−</mml:mo><mml:mi>β</mml:mi><mml:msub><mml:mi>V</mml:mi><mml:mi>i</mml:mi></mml:msub><mml:mo stretchy="false">]</mml:mo></mml:mrow><mml:mrow><mml:msup><mml:mrow><mml:mo stretchy="false">(</mml:mo><mml:mi>β</mml:mi><mml:mi>h</mml:mi><mml:msub><mml:mrow><mml:mover accent="true"><mml:mi>ν</mml:mi><mml:mo>¯</mml:mo></mml:mover></mml:mrow><mml:mi>i</mml:mi></mml:msub><mml:mo stretchy="false">)</mml:mo></mml:mrow><mml:mi>κ</mml:mi></mml:msup></mml:mrow></mml:mfrac><mml:mo>,</mml:mo></mml:math></ce:formula></ce:display>where <ce:italic>β</ce:italic><ce:hsp sp="0.25"/>=<ce:hsp sp="0.25"/>1/<ce:italic>k</ce:italic><ce:inf loc="post">B</ce:inf><ce:italic>T</ce:italic>, <ce:italic>k</ce:italic><ce:inf loc="post">B</ce:inf> is the Boltzmann constant, <ce:italic>κ</ce:italic> is the number of non-zero eigenvalues for the Hessian matrix, <mml:math altimg="si3.gif" overflow="scroll"><mml:msub><mml:mrow><mml:mover accent="true"><mml:mi>ν</mml:mi><mml:mo>¯</mml:mo></mml:mover></mml:mrow><mml:mi>i</mml:mi></mml:msub><mml:mo>=</mml:mo><mml:msup><mml:mrow><mml:mo stretchy="false">(</mml:mo><mml:msubsup><mml:mo>∏</mml:mo><mml:mrow><mml:mi>j</mml:mi><mml:mo>=</mml:mo><mml:mn>1</mml:mn></mml:mrow><mml:mi>κ</mml:mi></mml:msubsup><mml:msubsup><mml:mi>ν</mml:mi><mml:mi>i</mml:mi><mml:mi>j</mml:mi></mml:msubsup><mml:mo stretchy="false">)</mml:mo></mml:mrow><mml:mrow><mml:mn>1</mml:mn><mml:mo>/</mml:mo><mml:mi>κ</mml:mi></mml:mrow></mml:msup></mml:math> is the geometric mean vibrational frequency of minimum <ce:italic>i</ce:italic>, with <mml:math altimg="si4.gif" overflow="scroll"><mml:msubsup><mml:mi>ν</mml:mi><mml:mi>i</mml:mi><mml:mi>j</mml:mi></mml:msubsup></mml:math> the normal mode frequency of the <ce:italic>j</ce:italic>-th mode in minimum <ce:italic>i</ce:italic>, and <ce:italic>V</ce:italic><ce:inf loc="post"><ce:italic>i</ce:italic></ce:inf> is the potential energy of the minimum <ce:italic>i</ce:italic>. The approximate free energy of minimum <ce:italic>i</ce:italic> is then given by <ce:italic>F</ce:italic><ce:inf loc="post"><ce:italic>i</ce:italic></ce:inf>(<ce:italic>T</ce:italic>)<ce:hsp sp="0.25"/>=<ce:hsp sp="0.25"/>−<ce:hsp sp="0.25"/><ce:italic>k</ce:italic><ce:inf loc="post">B</ce:inf><ce:italic>T</ce:italic><ce:hsp sp="0.25"/>ln<ce:hsp sp="0.25"/><ce:italic>Z</ce:italic><ce:inf loc="post"><ce:italic>i</ce:italic></ce:inf>(<ce:italic>T</ce:italic>). It is apparent from Eq. <ce:cross-ref id="crf0035" refid="eq0010">(2)</ce:cross-ref> that the effect of temperature will come into play most rapidly for competing structures with different point group symmetries or mean vibrational frequencies. The rotational partition function can easily be included if required, assuming a rigid rotor model for the density of states, but we have checked that it is not important for the examples considered below.</ce:para><ce:para id="p0040" view="all">In the free energy basin-hopping (FEBH) framework introduced here the local free energies of the two minima are used in the accept/reject test for step-taking between local minima. The key formula is<ce:display><ce:formula id="eq0015"><ce:label>(3)</ce:label><mml:math altimg="si5.gif" overflow="scroll"><mml:msub><mml:mi>F</mml:mi><mml:mi mathvariant="normal">new</mml:mi></mml:msub><mml:mo stretchy="false">(</mml:mo><mml:mi>T</mml:mi><mml:mo stretchy="false">)</mml:mo><mml:mo>−</mml:mo><mml:msub><mml:mi>F</mml:mi><mml:mi mathvariant="normal">old</mml:mi></mml:msub><mml:mo stretchy="false">(</mml:mo><mml:mi>T</mml:mi><mml:mo stretchy="false">)</mml:mo><mml:mo>=</mml:mo><mml:msub><mml:mi>V</mml:mi><mml:mi mathvariant="normal">new</mml:mi></mml:msub><mml:mo>−</mml:mo><mml:msub><mml:mi>V</mml:mi><mml:mi mathvariant="normal">old</mml:mi></mml:msub><mml:mo>+</mml:mo><mml:msub><mml:mi>k</mml:mi><mml:mi>B</mml:mi></mml:msub><mml:mi>T</mml:mi><mml:mo>ln</mml:mo><mml:mfrac><mml:mrow><mml:msub><mml:mi>o</mml:mi><mml:mi mathvariant="normal">new</mml:mi></mml:msub><mml:msubsup><mml:mover accent="true"><mml:mi>ν</mml:mi><mml:mo>¯</mml:mo></mml:mover><mml:mi mathvariant="normal">new</mml:mi><mml:mi>κ</mml:mi></mml:msubsup></mml:mrow><mml:mrow><mml:msub><mml:mi>o</mml:mi><mml:mi mathvariant="normal">old</mml:mi></mml:msub><mml:msubsup><mml:mover accent="true"><mml:mi>ν</mml:mi><mml:mo>¯</mml:mo></mml:mover><mml:mi mathvariant="normal">old</mml:mi><mml:mi>κ</mml:mi></mml:msubsup></mml:mrow></mml:mfrac><mml:mo>.</mml:mo></mml:math></ce:formula></ce:display>The product of vibrational normal mode frequencies can be obtained from the product of non-zero eigenvalues of the mass-weighted Hessian.</ce:para><ce:para id="p0045" view="all">The FEBH approach has now been implemented in the <ce:monospace>GMIN</ce:monospace> programme <ce:cross-ref id="crf0040" refid="bib0170">[34]</ce:cross-ref>. To illustrate the utility of this scheme and provide proof of principle we have tested it for various atomic and colloidal clusters, along with some peptides to provide examples for biomolecules. In future work we will report on applications to much larger biomolecules, with particular focus on systems involving ligand binding. In particular, we will optimise the efficiency of the local free energy calculations, which involve the additional expense entailed by a normal mode analysis. Although it is also possible to calculate the local harmonic free energies for a sample of potential energy minima obtained after a conventional basin-hopping run, we find examples where FEBH locates the local free energy global minimum using fewer steps, on average.</ce:para></ce:section><ce:section id="sec0010" view="all"><ce:label>2</ce:label><ce:section-title id="sect0025">Applications</ce:section-title><ce:para id="p0050" view="all">Lennard-Jones (LJ) clusters have been extensively studied for benchmarking global optimisation methods <ce:cross-refs id="crfs0055" refid="bib0075 bib0175">[15,35]</ce:cross-refs>. The Lennard-Jones potential can be written as <ce:italic>V</ce:italic>(<ce:italic>r</ce:italic>)<ce:hsp sp="0.25"/>=<ce:hsp sp="0.25"/>4<ce:italic>ϵ</ce:italic>[(<ce:italic>σ</ce:italic>/<ce:italic>r</ce:italic>)<ce:sup loc="post">12</ce:sup><ce:hsp sp="0.25"/>−<ce:hsp sp="0.25"/>(<ce:italic>σ</ce:italic>/<ce:italic>r</ce:italic>)<ce:sup loc="post">6</ce:sup>], where <ce:italic>ϵ</ce:italic> is the pair well depth and <ce:italic>σ</ce:italic> is the separation <ce:italic>r</ce:italic> for which <ce:italic>V</ce:italic>(<ce:italic>r</ce:italic>) vanishes. <ce:cross-ref id="crf0045" refid="fig0005">Figure 1</ce:cross-ref><ce:float-anchor refid="fig0005"/>a shows the free energy as a function of temperature for the minima of the seven-atom Lennard-Jones cluster, LJ<ce:inf loc="post">7</ce:inf>, for which there are only four distinct structures. The global potential energy minimum corresponds to a pentagonal bipyramidal structure (D<ce:inf loc="post">5<ce:italic>h</ce:italic></ce:inf>), and the other three local minima are the capped octahedron <mml:math altimg="si6.gif" overflow="scroll"><mml:mo stretchy="false">(</mml:mo><mml:mrow><mml:msub><mml:mi mathvariant="normal">C</mml:mi><mml:mrow><mml:mn>3</mml:mn><mml:mi>v</mml:mi></mml:mrow></mml:msub></mml:mrow><mml:mo stretchy="false">)</mml:mo></mml:math>, tricapped tetrahedron <mml:math altimg="si7.gif" overflow="scroll"><mml:mo stretchy="false">(</mml:mo><mml:mrow><mml:msub><mml:mi mathvariant="normal">C</mml:mi><mml:mrow><mml:mn>3</mml:mn><mml:mi>v</mml:mi></mml:mrow></mml:msub></mml:mrow><mml:mo stretchy="false">)</mml:mo></mml:math>, and skew structure (C<ce:inf loc="post">2</ce:inf>) in ascending order of potential energy <ce:cross-refs id="crfs0060" refid="bib0180 bib0185">[36,37]</ce:cross-refs>. The respective orders of the point group are 20, 6, 6, and 2. It is evident that the skew structure, which possesses the lowest symmetry, becomes relatively more stable as temperature increases, and is the second most stable structure after the pentagonal bipyramid at <ce:italic>T</ce:italic><ce:hsp sp="0.25"/>=<ce:hsp sp="0.25"/>0.25 in units of <ce:italic>ϵ</ce:italic>/<ce:italic>k</ce:italic><ce:inf loc="post">B</ce:inf>.</ce:para><ce:para id="p0055" view="all">It is instructive to compare the case of a seven-particle colloidal cluster, bound by a short-ranged Morse potential, M<ce:inf loc="post">7</ce:inf>. The Morse potential is given by <ce:italic>V</ce:italic>(<ce:italic>r</ce:italic>)<ce:hsp sp="0.25"/>=<ce:hsp sp="0.25"/><ce:italic>ϵ</ce:italic>exp<ce:hsp sp="0.25"/>[<ce:italic>ρ</ce:italic>(1<ce:hsp sp="0.25"/>−<ce:hsp sp="0.25"/><ce:italic>r</ce:italic>/<ce:italic>r</ce:italic><ce:inf loc="post"><ce:italic>e</ce:italic></ce:inf>)](exp<ce:hsp sp="0.25"/>[<ce:italic>ρ</ce:italic>(1<ce:hsp sp="0.25"/>−<ce:hsp sp="0.25"/><ce:italic>r</ce:italic>/<ce:italic>r</ce:italic><ce:inf loc="post"><ce:italic>e</ce:italic></ce:inf>)]<ce:hsp sp="0.25"/>−<ce:hsp sp="0.25"/>2), where <ce:italic>ϵ</ce:italic> is the pair well depth, <ce:italic>r</ce:italic><ce:inf loc="post"><ce:italic>e</ce:italic></ce:inf> is the pair equilibrium separation, and <ce:italic>ρ</ce:italic> is a parameter that controls the range of the potential. With the range parameter <ce:italic>ρ</ce:italic><ce:hsp sp="0.25"/>=<ce:hsp sp="0.25"/>30, the Morse potential was found to provide a quantitative description of occupation probability distribution for competing structures of polystyrene microspheres as measured by optical microscopy <ce:cross-refs id="crfs0065" refid="bib0190 bib0195">[38,39]</ce:cross-refs>. For <ce:italic>ρ</ce:italic><ce:hsp sp="0.25"/>=<ce:hsp sp="0.25"/>30, the global minimum on the PES is also the pentagonal bipyramid, as shown in <ce:cross-ref id="crf0050" refid="fig0010">Figure 2</ce:cross-ref><ce:float-anchor refid="fig0010"/>a, whilst three other minima have the same number of nearest neighbour contacts and are of comparable potential energies. Our global optimisation runs confirm that the M<ce:inf loc="post">7</ce:inf> cluster in this case has more minima as compared to the LJ<ce:inf loc="post">7</ce:inf> cluster, which is due to the short-ranged pair interactions for <ce:italic>ρ</ce:italic><ce:hsp sp="0.25"/>=<ce:hsp sp="0.25"/>30. The relative stabilities of these structures are therefore more sensitive to temperature than for LJ<ce:inf loc="post">7</ce:inf>, as reflected in the corresponding free energies (<ce:cross-ref id="crf0055" refid="fig0005">Figure 1</ce:cross-ref>b). At <ce:italic>T</ce:italic><ce:hsp sp="0.25"/>=<ce:hsp sp="0.25"/>0.25 in reduced units, the bicapped trigonal bipyramid becomes the most stable structure. For both the LJ<ce:inf loc="post">7</ce:inf> and M<ce:inf loc="post">7</ce:inf> clusters, the structure with lowest symmetry becomes relatively more stable as the temperature increases because of the larger number of distinct permutation-inversion isomers, and the correspondingly greater landscape entropy <ce:cross-refs id="crfs0070" refid="bib0190 bib0195">[38,39]</ce:cross-refs>.</ce:para><ce:para id="p0060" view="all">For biological systems, two peptides were chosen to evaluate the performance of FEBH, namely alanine dipeptide and the serine-lysine peptide. Alanine dipeptide is an alanine amino acid with two methyl-capped peptide bonds. It has been the subject of many simulation efforts, owing to the fact that it possesses very few degrees of freedom and its free energy landscape is relatively simple. Serine-lysine was chosen because it has the additional potential for hydrogen-bonding and other interactions between its sidechains, whilst still having relatively few degrees of freedom.</ce:para><ce:para id="p0065" view="all">We sampled temperatures in the range from 0<ce:hsp sp="0.25"/>K to 503<ce:hsp sp="0.25"/>K in increments of 50.3<ce:hsp sp="0.25"/>K. This range was chosen because our units of temperature correspond to the energy function, in this case kcal<ce:hsp sp="0.25"/>mol<ce:sup loc="post">−1</ce:sup> (1<ce:hsp sp="0.25"/>kcal<ce:hsp sp="0.25"/>mol<ce:sup loc="post">−1</ce:sup><ce:hsp sp="0.25"/>=<ce:hsp sp="0.25"/>50.3<ce:hsp sp="0.25"/>K). We tuned the BH parameters (maximum Cartesian step size, Metropolis acceptance temperature, and target acceptance ratio) to minimise the mean first encounter time of the global minimum for simulations at 302<ce:hsp sp="0.25"/>K, the value that is most biologically relevant.</ce:para><ce:para id="p0070" view="all">For comparison with earlier results <ce:cross-ref id="crf0060" refid="bib0200">[40]</ce:cross-ref>, we used the AMBER ff03 force field <ce:cross-ref id="crf0065" refid="bib0205">[41]</ce:cross-ref> with the Generalised Born implementation developed by Onufriev et al. <ce:cross-ref id="crf0070" refid="bib0210">[42]</ce:cross-ref> and smoothed cut-offs. This smoothing is implemented in the programme GMIN <ce:cross-ref id="crf0075" refid="bib0170">[34]</ce:cross-ref> and is necessary to remove discontinuities in the potential and first derivatives, which would otherwise hinder convergence to local minima. We also employed a properly symmetrised representation, where the energy is invariant to feasible exchange of atoms of the same element <ce:cross-ref id="crf0080" refid="bib0215">[43]</ce:cross-ref>.</ce:para><ce:para id="p0075" view="all">The criterion used for convergence (i.e. whether we have found a true local minimum) is typically based on root mean square (RMS) force. However, in these simulations, it was important to ensure that minima possessed non-zero eigenvalues that were well separated from the six zero eigenvalues corresponding to overall translation and rotation. This check was achieved by calculating the lowest eigenvalues and reminimising structures with too low a separation (a factor of 10<ce:sup loc="post">3</ce:sup> in units of frequency was chosen) using a tighter RMS convergence condition. This approach has the added advantage of allowing us to identify and remove any transition states or saddles from our results, as they possess one or more negative, non-zero eigenvalues.</ce:para><ce:para id="p0080" view="all">For the two peptides all the local minima exhibit <ce:italic>C</ce:italic><ce:inf loc="post">1</ce:inf> symmetry. Thus, temperature effects on stability arise exclusively from the differences in the normal mode spectra.</ce:para><ce:para id="p0085" view="all">Within the range of temperatures chosen, alanine dipeptide exhibits very simple behaviour. This result is due to the relatively small number of physically relevant minima (seven were characterised using this force field and solvent model) and the larger potential energy spacing between the global minimum and higher energy minima. Indeed, cross-overs in the approximate global free energy minimum for this system (where the free energy of the second-lowest <ce:italic>potential</ce:italic> energy minimum becomes lower than that of the global potential energy minimum) in the harmonic approximation would occur at 1170<ce:hsp sp="0.25"/>K. In general, the harmonic prediction for the crossover temperature between two minima is<ce:display><ce:formula id="eq0020"><ce:label>(4)</ce:label><mml:math altimg="si8.gif" overflow="scroll"><mml:msub><mml:mi>k</mml:mi><mml:mi>B</mml:mi></mml:msub><mml:msub><mml:mi>T</mml:mi><mml:mi mathvariant="normal">xo</mml:mi></mml:msub><mml:mo>=</mml:mo><mml:mfrac><mml:mrow><mml:msub><mml:mi>V</mml:mi><mml:mn>1</mml:mn></mml:msub><mml:mo>−</mml:mo><mml:msub><mml:mi>V</mml:mi><mml:mn>2</mml:mn></mml:msub></mml:mrow><mml:mrow><mml:mo>ln</mml:mo><mml:mo stretchy="false">(</mml:mo><mml:mo stretchy="false">(</mml:mo><mml:mrow><mml:msub><mml:mi>o</mml:mi><mml:mn>2</mml:mn></mml:msub><mml:msubsup><mml:mover accent="true"><mml:mi>ν</mml:mi><mml:mo>¯</mml:mo></mml:mover><mml:mn>2</mml:mn><mml:mi>κ</mml:mi></mml:msubsup></mml:mrow><mml:mo stretchy="false">)</mml:mo><mml:mo>/</mml:mo><mml:mo stretchy="false">(</mml:mo><mml:mrow><mml:msub><mml:mi>o</mml:mi><mml:mn>1</mml:mn></mml:msub><mml:msubsup><mml:mover accent="true"><mml:mi>ν</mml:mi><mml:mo>¯</mml:mo></mml:mover><mml:mn>1</mml:mn><mml:mi>κ</mml:mi></mml:msubsup></mml:mrow><mml:mo stretchy="false">)</mml:mo><mml:mo stretchy="false">)</mml:mo></mml:mrow></mml:mfrac><mml:mo>,</mml:mo></mml:math></ce:formula></ce:display>from Eq. <ce:cross-ref id="crf0085" refid="eq0015">(3)</ce:cross-ref>, which clearly illustrates the balance between potential energy and well entropy.</ce:para><ce:para id="p0090" view="all">In contrast, the greater number of possible interactions and larger number of degrees of freedom mean that the serine-lysine dipeptide has many more minima within a narrower range of energies than alanine dipeptide. This structure results in a complex energy spectrum with frequent reordering of higher energy minima and changes in the global free energy minimum three times within the temperature range explored (<ce:cross-ref id="crf0090" refid="fig0015">Figure 3</ce:cross-ref><ce:float-anchor refid="fig0015"/>). However, this complexity increases the likelihood of overlap between neighbouring harmonic basins, which would result in overestimation of the true density of states from double counting, and a correspondingly lower free energy.</ce:para><ce:para id="p0095" view="all">It is worth noting that whilst harmonic contributions to the free energy are approximately linear with respect to temperature, the <ce:italic>relative</ce:italic> energies of the higher energy minima with respect to the global minimum are non-linear. This effect occurs because the identity of the global minimum changes and with it, the reference zero energy structure.</ce:para></ce:section><ce:section id="sec0015" view="all"><ce:label>3</ce:label><ce:section-title id="sect0030">Conclusions</ce:section-title><ce:para id="p0100" view="all">We have described a free energy basin-hopping (FEBH) global optimisation approach based on a harmonic approximation to the local vibrational partition function of individual potential energy minima. The FEBH scheme allows for the free energy surface to be explored efficiently in terms of structures that correspond to potential energy minima, maintaining all the advantages of basin-hopping, whilst approximating free energy contributions in a computationally affordable manner. For systems where analytical second derivatives of the potential are relatively simple, the FEBH scheme is especially efficient. For example, for the M<ce:inf loc="post">7</ce:inf> cluster and serine-lysine dipeptide, FEBH runs take about 10% more time than the corresponding potential energy based basin-hopping runs. This increased time arises both from the requirement to calculate analytical second derivatives, and from the time required to diagonalise the Hessian matrix. The scaling of the diagonalisation routine (<mml:math altimg="si9.gif" overflow="scroll"><mml:mi mathvariant="script">O</mml:mi><mml:mo stretchy="false">(</mml:mo><mml:msup><mml:mi>N</mml:mi><mml:mn>3</mml:mn></mml:msup><mml:mo stretchy="false">)</mml:mo></mml:math>) could dominate the simulation time for larger, force field based simulations. Of course, the overhead for calculating second derivatives with potential energy functions of greater computational complexity, such as quantum mechanical approaches, could be significant, especially if numerical second derivatives are used. The harmonic approximation will also lead to systematic underestimation of vibrational densities of states for low frequency modes, and hence the predicted crossover temperatures are likely to be overestimates, and should therefore be regarded as likely upper bounds for guiding more accurate calculations of thermodynamic properties. Corresponding shifts in heat capacity peaks and melting points within the harmonic approximation have been characterised in previous work <ce:cross-refs id="crfs0075" refid="bib0085 bib0135">[17,27]</ce:cross-refs>. In fact, for some systems, such as the M<ce:inf loc="post">7</ce:inf> cluster, the free energy surface can differ significantly from the potential energy surface even at relatively low temperatures.</ce:para><ce:para id="p0105" view="all">The results presented here were all obtained from basin-hopping runs at the free energy level. Of course, it is also straightforward to calculate the corresponding local free energies for an existing sample of local potential energy minima, and we have checked all the present results in this way. However, locating the low free energy minima can take longer if we only explore the potential energy landscape and perform the local free energy analysis a posteriori. For example, the global free energy minimum for serine-lysine at 500<ce:hsp sp="0.25"/>K was found after an average of 1478 steps in the corresponding FEBH run. At the lower temperature of 250<ce:hsp sp="0.25"/>K, finding this minimum took an average of 2185 steps and, using only the potential energy, 4011 steps. Clearly there will be a balance between the additional overhead of calculating free energy (dependent on the potential) and efficient landscape exploration.</ce:para><ce:para id="p0110" view="all">We anticipate that free energy basin-hopping will find widespread application in molecular, soft matter, and condensed matter science.</ce:para></ce:section></ce:sections><ce:acknowledgment id="ack0005" view="all"><ce:section-title id="sect0035">Acknowledgements</ce:section-title><ce:para id="p0115" view="all">We are grateful to the <ce:grant-sponsor id="gs0005" sponsor-id="http://dx.doi.org/10.13039/501100000266" xlink:type="simple" xlink:role="http://www.elsevier.com/xml/linking-roles/grant-sponsor">EPSRC</ce:grant-sponsor> and the <ce:grant-sponsor id="gs0010" sponsor-id="http://dx.doi.org/10.13039/100004815" xlink:type="simple" xlink:role="http://www.elsevier.com/xml/linking-roles/grant-sponsor">ERC</ce:grant-sponsor> for financial support under grants <ce:grant-number refid="gs0005">EP/1001352/1</ce:grant-number> and <ce:grant-number refid="gs0010">267369</ce:grant-number>, respectively.</ce:para></ce:acknowledgment></body><tail view="all"><ce:bibliography id="bibl0005" view="all"><ce:section-title id="sect0040">References</ce:section-title><ce:bibliography-sec id="bibs0005" view="all"><ce:bib-reference id="bib0005"><ce:label>[1]</ce:label><sb:reference id="sbref0005"><sb:contribution langtype="en"><sb:authors><sb:author><ce:given-name>S.</ce:given-name><ce:surname>Kirkpatrick</ce:surname></sb:author><sb:author><ce:given-name>J.C.D.</ce:given-name><ce:surname>Gellat</ce:surname></sb:author><sb:author><ce:given-name>M.P.</ce:given-name><ce:surname>Vecchi</ce:surname></sb:author></sb:authors></sb:contribution><sb:host><sb:issue><sb:series><sb:title><sb:maintitle>Science</sb:maintitle></sb:title><sb:volume-nr>220</sb:volume-nr></sb:series><sb:date>1983</sb:date></sb:issue><sb:pages><sb:first-page>671</sb:first-page></sb:pages></sb:host></sb:reference></ce:bib-reference><ce:bib-reference id="bib0010"><ce:label>[2]</ce:label><sb:reference id="sbref0010"><sb:contribution langtype="en"><sb:authors><sb:author><ce:given-name>D.J.</ce:given-name><ce:surname>Wales</ce:surname></sb:author><sb:author><ce:given-name>H.A.</ce:given-name><ce:surname>Scheraga</ce:surname></sb:author></sb:authors></sb:contribution><sb:host><sb:issue><sb:series><sb:title><sb:maintitle>Science</sb:maintitle></sb:title><sb:volume-nr>285</sb:volume-nr></sb:series><sb:date>1999</sb:date></sb:issue><sb:pages><sb:first-page>1368</sb:first-page></sb:pages></sb:host></sb:reference></ce:bib-reference><ce:bib-reference id="bib0015"><ce:label>[3]</ce:label><sb:reference id="sbref0015"><sb:contribution langtype="en"><sb:authors><sb:author><ce:given-name>R.L.</ce:given-name><ce:surname>Johnston</ce:surname></sb:author></sb:authors></sb:contribution><sb:host><sb:issue><sb:series><sb:title><sb:maintitle>Dalton Trans.</sb:maintitle></sb:title></sb:series><sb:date>2003</sb:date></sb:issue><sb:pages><sb:first-page>4193</sb:first-page></sb:pages></sb:host></sb:reference></ce:bib-reference><ce:bib-reference id="bib0020"><ce:label>[4]</ce:label><sb:reference id="sbref0020"><sb:contribution langtype="en"><sb:authors><sb:author><ce:given-name>S.M.</ce:given-name><ce:surname>Woodley</ce:surname></sb:author><sb:author><ce:given-name>R.</ce:given-name><ce:surname>Catlow</ce:surname></sb:author></sb:authors></sb:contribution><sb:host><sb:issue><sb:series><sb:title><sb:maintitle>Nat. 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0d9905fe49e67b4b3e17a3b7436837e3ce97fda7 | 7,648 | xml | XML | Corona-Warn-App/src/main/res/layout/fragment_submission_test_request_save.xml | ici-be/cwa-app-android | 652f37467a375e0857437a0615ecd6e018c9ed78 | [
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] | null | null | null | Corona-Warn-App/src/main/res/layout/fragment_submission_test_request_save.xml | ici-be/cwa-app-android | 652f37467a375e0857437a0615ecd6e018c9ed78 | [
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] | null | null | null | Corona-Warn-App/src/main/res/layout/fragment_submission_test_request_save.xml | ici-be/cwa-app-android | 652f37467a375e0857437a0615ecd6e018c9ed78 | [
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<layout xmlns:android="http://schemas.android.com/apk/res/android"
xmlns:app="http://schemas.android.com/apk/res-auto"
xmlns:tools="http://schemas.android.com/tools">
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</data>
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android:id="@+id/submission_test_request_container"
android:layout_width="match_parent"
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android:contentDescription="@string/submission_test_request_headline">
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android:layout_width="match_parent"
android:layout_height="wrap_content">
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android:id="@+id/submission_test_request_save_header"
layout="@layout/include_header"
android:layout_width="@dimen/match_constraint"
android:layout_height="wrap_content"
app:icon="@{@drawable/ic_close}"
app:layout_constraintEnd_toEndOf="parent"
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app:layout_constraintTop_toTopOf="parent"
app:title="@{@string/submission_test_request_headline}" />
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android:id="@+id/submission_intro_hero_illustration"
android:layout_width="@dimen/match_constraint"
android:layout_height="wrap_content"
android:contentDescription="@string/submission_intro_illustration_description"
android:focusable="true"
android:src="@drawable/ic_illustration_test"
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app:layout_constraintTop_toBottomOf="@id/submission_test_request_save_header" />
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android:id="@+id/submission_test_request_save_date_label"
style="@style/headline5"
android:layout_width="wrap_content"
android:layout_height="wrap_content"
android:layout_marginStart="24dp"
android:layout_marginTop="24dp"
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android:text="@string/submission_test_request_save_date_label"
android:textStyle="bold"
app:layout_constraintEnd_toEndOf="parent"
app:layout_constraintHorizontal_bias="0.0"
app:layout_constraintStart_toStartOf="parent"
app:layout_constraintTop_toBottomOf="@+id/submission_test_request_save_text" />
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android:id="@+id/submission_test_request_save_date"
style="@style/headline5"
android:layout_width="wrap_content"
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app:layout_constraintHorizontal_bias="0.0"
app:layout_constraintStart_toStartOf="parent"
app:layout_constraintTop_toBottomOf="@+id/submission_test_request_save_date_label"
tools:text="Jul 31, 2020" />
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android:id="@+id/submission_test_request_save_code_label"
style="@style/headline5"
android:layout_width="wrap_content"
android:layout_height="wrap_content"
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android:id="@+id/submission_test_request_save_code"
style="@style/headline5"
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app:layout_constraintHorizontal_bias="0.0"
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app:layout_constraintTop_toBottomOf="@+id/submission_test_request_save_code_label"
tools:text="64658-91203-67952-49" />
<TextView
android:id="@+id/submission_test_request_save_text"
style="@style/subtitle"
android:layout_width="@dimen/match_constraint"
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android:focusable="true"
android:text="@string/submission_test_request_save_text"
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app:layout_constraintTop_toBottomOf="@+id/submission_intro_hero_illustration" />
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<Button
android:id="@+id/submission_test_request_save_button_save"
style="@style/buttonPrimary"
android:layout_width="@dimen/match_constraint"
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android:layout_marginStart="24dp"
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android:text="@string/submission_test_request_save_button_save"
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app:layout_constraintBottom_toBottomOf="parent"
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app:layout_constraintTop_toBottomOf="@id/guideline_action" />
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android:id="@+id/guideline_action"
android:layout_width="wrap_content"
android:layout_height="wrap_content"
android:orientation="horizontal"
app:layout_constraintGuide_end="@dimen/guideline_action" />
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</layout> | 50.649007 | 102 | 0.606433 |
5336315edecb7567c5746e9ad9b6d55f90b6fc02 | 8,509 | xml | XML | keyboard/src/main/res/values-tr/strings-talkback-descriptions.xml | WildKey-Dev/ideafast-keyboard | d615904b1763875923df1bac068c10ee9ca75996 | [
"Apache-2.0"
] | 1 | 2021-12-08T14:04:48.000Z | 2021-12-08T14:04:48.000Z | keyboard/src/main/res/values-tr/strings-talkback-descriptions.xml | WildKey-Dev/ideafast-keyboard | d615904b1763875923df1bac068c10ee9ca75996 | [
"Apache-2.0"
] | null | null | null | keyboard/src/main/res/values-tr/strings-talkback-descriptions.xml | WildKey-Dev/ideafast-keyboard | d615904b1763875923df1bac068c10ee9ca75996 | [
"Apache-2.0"
] | null | null | null | <?xml version="1.0" encoding="UTF-8"?>
<!--
/*
**
** Copyright 2015, The Android Open Source Project
**
** Licensed under the Apache License, Version 2.0 (the "License");
** you may not use this file except in compliance with the License.
** You may obtain a copy of the License at
**
** http://www.apache.org/licenses/LICENSE-2.0
**
** Unless required by applicable law or agreed to in writing, software
** distributed under the License is distributed on an "AS IS" BASIS,
** WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
** See the License for the specific language governing permissions and
** limitations under the License.
*/
-->
<resources xmlns:android="http://schemas.android.com/apk/res/android"
xmlns:xliff="urn:oasis:names:tc:xliff:document:1.2">
<string name="spoken_use_headphones" msgid="2455138206280962514">"Şifre tuşlarının sesli okunmasını dinlemek için kulaklık takın."</string>
<string name="spoken_current_text_is" msgid="1642386857389316456">"Mevcut metin: %s"</string>
<string name="spoken_no_text_entered" msgid="3439628354874662101">"Metin girilmedi"</string>
<string name="spoken_auto_correct" msgid="965889269068888859">"<xliff:g id="KEY_NAME">%1$s</xliff:g>, <xliff:g id="ORIGINAL_WORD">%2$s</xliff:g> kelimesini <xliff:g id="CORRECTED_WORD">%3$s</xliff:g> olarak düzeltir"</string>
<string name="spoken_auto_correct_obscured" msgid="7511607899335382699">"<xliff:g id="KEY_NAME">%1$s</xliff:g> otomatik düzeltme yapar"</string>
<string name="spoken_empty_suggestion" msgid="2286069969311700210">"Öneri yok"</string>
<string name="spoken_description_unknown" msgid="1535681682176891657">"Bilinmeyen karakter"</string>
<string name="spoken_description_shift" msgid="5601265304232040160">"Üst karakter"</string>
<string name="spoken_description_symbols_shift" msgid="7021554432250713919">"Diğer simgeler"</string>
<string name="spoken_description_shift_shifted" msgid="8320892168715414194">"Üst karakter"</string>
<string name="spoken_description_symbols_shift_shifted" msgid="2081698143924232950">"Simgeler"</string>
<string name="spoken_description_caps_lock" msgid="506204541224956885">"Üst karakter"</string>
<string name="spoken_description_delete" msgid="4165807821216391895">"Sil"</string>
<string name="spoken_description_to_symbol" msgid="7670803518079013389">"Simgeler"</string>
<string name="spoken_description_to_alpha" msgid="5322272819833640065">"Harfler"</string>
<string name="spoken_description_to_numeric" msgid="3548068682242334441">"Rakamlar"</string>
<string name="spoken_description_settings" msgid="1073932784786491619">"Ayarlar"</string>
<string name="spoken_description_tab" msgid="568279792087139829">"Sekme"</string>
<string name="spoken_description_space" msgid="1250020733893233844">"Boşluk çubuğu"</string>
<string name="spoken_description_mic" msgid="6886663336601712754">"Ses girişi"</string>
<string name="spoken_description_emoji" msgid="6924752370699219433">"Emoji"</string>
<string name="spoken_description_return" msgid="4488063731506261120">"Enter"</string>
<string name="spoken_description_search" msgid="329378364788556198">"Arama"</string>
<string name="spoken_description_dot" msgid="3283345286942874246">"Nokta"</string>
<string name="spoken_description_language_switch" msgid="7746491590433873257">"Dili değiştir"</string>
<string name="spoken_description_action_next" msgid="3138675495787988738">"Sonraki"</string>
<string name="spoken_description_action_previous" msgid="6412781133527225661">"Önceki"</string>
<string name="spoken_description_shiftmode_on" msgid="3024566466254641378">"Üst karakter etkin"</string>
<string name="spoken_description_shiftmode_locked" msgid="6027866984122644787">"Büyük harf etkin"</string>
<string name="spoken_description_mode_symbol" msgid="5625649481044472733">"Sembol modu"</string>
<string name="spoken_description_mode_symbol_shift" msgid="8519474757011127447">"Diğer simgeler modu"</string>
<string name="spoken_description_mode_alpha" msgid="7380668628429082374">"Harf modu"</string>
<string name="spoken_description_mode_phone" msgid="6237003101160059429">"Telefon modu"</string>
<string name="spoken_description_mode_phone_shift" msgid="6466664670028168121">"Telefon sembolleri modu"</string>
<string name="announce_keyboard_hidden" msgid="7187110892005362010">"Klavye gizli"</string>
<string name="announce_keyboard_mode" msgid="5314352981874590170">"<xliff:g id="KEYBOARD_MODE">%s</xliff:g> klavyesi görüntüleniyor"</string>
<string name="keyboard_mode_date" msgid="235656444283809548">"tarih"</string>
<string name="keyboard_mode_date_time" msgid="5617700011756859256">"tarih ve saat"</string>
<string name="keyboard_mode_email" msgid="1465418232632309379">"e-posta"</string>
<string name="keyboard_mode_im" msgid="2687516353432386203">"mesajlaşma"</string>
<string name="keyboard_mode_number" msgid="7750406274704584360">"rakam"</string>
<string name="keyboard_mode_phone" msgid="2103227851574328305">"telefon"</string>
<string name="keyboard_mode_text" msgid="427410634222960176">"metin"</string>
<string name="keyboard_mode_time" msgid="2893895457566815909">"saat"</string>
<string name="keyboard_mode_url" msgid="2177199890959072136">"URL"</string>
<string name="spoken_descrption_emoji_category_recents" msgid="6655576616197579523">"Son Kullanılanlar"</string>
<string name="spoken_descrption_emoji_category_people" msgid="8088976940627745749">"Kişiler"</string>
<string name="spoken_descrption_emoji_category_objects" msgid="4773749700438398447">"Nesneler"</string>
<string name="spoken_descrption_emoji_category_nature" msgid="2697340758574900604">"Doğa"</string>
<string name="spoken_descrption_emoji_category_places" msgid="4447033033270598017">"Yerler"</string>
<string name="spoken_descrption_emoji_category_symbols" msgid="3030366209787208186">"Simgeler"</string>
<string name="spoken_descrption_emoji_category_flags" msgid="3724827204516816974">"Bayraklar"</string>
<string name="spoken_descrption_emoji_category_eight_smiley_people" msgid="516862607940946567">"Smiley ve İnsanlar"</string>
<string name="spoken_descrption_emoji_category_eight_animals_nature" msgid="3130039996801924053">"Hayvanlar ve Doğa"</string>
<string name="spoken_descrption_emoji_category_eight_food_drink" msgid="1478225385249039378">"Yiyecek ve İçecek"</string>
<string name="spoken_descrption_emoji_category_eight_travel_places" msgid="6975340995817905597">"Seyahat ve Yerler"</string>
<string name="spoken_descrption_emoji_category_eight_activity" msgid="2520945361841436225">"Etkinlik"</string>
<string name="spoken_descrption_emoji_category_emoticons" msgid="8240355528013190054">"İfadeler"</string>
<string name="spoken_description_upper_case" msgid="548189286451849550">"Büyük Harf <xliff:g id="LOWER_LETTER">%s</xliff:g>"</string>
<string name="spoken_letter_0049" msgid="6252447769078238049">"Büyük Harf I"</string>
<string name="spoken_letter_0130" msgid="6262138104969416204">"Büyük Harf I, üst noktalı"</string>
<string name="spoken_symbol_unknown" msgid="6860905811823108094">"Bilinmeyen simge"</string>
<string name="spoken_emoji_unknown" msgid="2806409713621989352">"Bilinmeyen emoji"</string>
<string name="spoken_emoticon_3A_2D_21_20" msgid="3779607205210487724">"Sıkılmış yüz"</string>
<string name="spoken_emoticon_3A_2D_24_20" msgid="5145714270941713949">"Utanmış yüz"</string>
<string name="spoken_emoticon_42_2D_29_20" msgid="7723582638756049066">"Güneş gözlüğü takan yüz"</string>
<string name="spoken_emoticon_3A_4F_20" msgid="8892277380170989139">"Şaşırmış yüz"</string>
<string name="spoken_emoticon_3A_2D_2A_20" msgid="1762731513574698628">"Öpen yüz"</string>
<string name="spoken_emoticon_3A_2D_5B_20" msgid="2724383073855048927">"Çatık kaşlı yüz"</string>
<string name="spoken_open_more_keys_keyboard" msgid="6360228862663398420">"Alternatif karakterler kullanılabilir"</string>
<string name="spoken_close_more_keys_keyboard" msgid="3480477836938343527">"Alternatif karakterler yoksayılır"</string>
<string name="spoken_open_more_suggestions" msgid="3086481888103568638">"Alternatif öneriler kullanılabilir"</string>
<string name="spoken_close_more_suggestions" msgid="5065127953274283640">"Alternatif öneriler yoksayılır"</string>
</resources>
| 87.721649 | 229 | 0.783053 |
df34731548918da561c3f1cecb5967a37747940b | 1,115 | nuspec | XML | src/SFA.DAS.EmployerAccounts.Events/SFA.DAS.EmployerAccounts.Events.nuspec | uk-gov-mirror/SkillsFundingAgency.das-employerapprenticeshipsservice | b6778ed20b0438acab7c1a14600288a250db8d23 | [
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] | 8 | 2016-09-14T08:31:59.000Z | 2021-08-19T11:13:59.000Z | src/SFA.DAS.EmployerAccounts.Events/SFA.DAS.EmployerAccounts.Events.nuspec | uk-gov-mirror/SkillsFundingAgency.das-employerapprenticeshipsservice | b6778ed20b0438acab7c1a14600288a250db8d23 | [
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] | 319 | 2016-07-20T07:52:08.000Z | 2022-03-31T18:07:09.000Z | src/SFA.DAS.EmployerAccounts.Events/SFA.DAS.EmployerAccounts.Events.nuspec | uk-gov-mirror/SkillsFundingAgency.das-employerapprenticeshipsservice | b6778ed20b0438acab7c1a14600288a250db8d23 | [
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] | 8 | 2016-11-08T16:30:23.000Z | 2022-03-23T19:45:38.000Z | <?xml version="1.0" encoding="utf-8"?>
<package xmlns="http://schemas.microsoft.com/packaging/2012/06/nuspec.xsd">
<metadata>
<id>SFA.DAS.EmployerAccounts.Events</id>
<version>2.1.3</version>
<authors>DAS</authors>
<owners>DAS</owners>
<licenseUrl>https://github.com/SkillsFundingAgency/das-employerapprenticeshipsservice/blob/master/LICENSE</licenseUrl>
<projectUrl>https://github.com/SkillsFundingAgency/das-employerapprenticeshipsservice</projectUrl>
<requireLicenseAcceptance>false</requireLicenseAcceptance>
<description>A collection of classes that are use in reporting events within the DAS Employer Apprenticeship Service</description>
<summary>Library for DAS Employer Apprenticeship Service events</summary>
<releaseNotes />
<dependencies>
<group targetFramework=".NETFramework4.5">
<dependency id="SFA.DAS.Messaging" version="3.0.0.63765"/>
</group>
</dependencies>
</metadata>
<files>
<file src="bin\Release\SFA.DAS.EmployerAccounts.Events.dll" target="lib\net45\SFA.DAS.EmployerAccounts.Events.dll" />
</files>
</package> | 48.478261 | 134 | 0.736323 |
174a47216ec10b1cdca9472a43c2fabd90b9a055 | 4,618 | xml | XML | Data Set/NER/Criminal-Related Documents NE Annotated/CN/CN016_NEAnn.xml | goncalofcarnaz/Annotated-Corpus-of-Criminal-Related-Portuguese-Documents | 1b54f2abe268fa863e10cb2c2cc1709fdde3b017 | [
"CC-BY-4.0"
] | null | null | null | Data Set/NER/Criminal-Related Documents NE Annotated/CN/CN016_NEAnn.xml | goncalofcarnaz/Annotated-Corpus-of-Criminal-Related-Portuguese-Documents | 1b54f2abe268fa863e10cb2c2cc1709fdde3b017 | [
"CC-BY-4.0"
] | null | null | null | Data Set/NER/Criminal-Related Documents NE Annotated/CN/CN016_NEAnn.xml | goncalofcarnaz/Annotated-Corpus-of-Criminal-Related-Portuguese-Documents | 1b54f2abe268fa863e10cb2c2cc1709fdde3b017 | [
"CC-BY-4.0"
] | null | null | null | <?xml version="1.0" encoding="UTF-8"?><news016>
<docname>news016</docname>
<authors>Noticiasaominuto - Jornal online</authors>
<publicationdate>03 Novembro 2018</publicationdate>
<title>Detido jovem de 16 anos que abusou sexualmente de seis idosas.</title>
<newstext>A polícia espanhola deteve um jovem de 16 anos que terá abusado sexualmente de seis mulheres octogenárias em Olot, Girona.
A vítima mais velha tinha 88 anos.
Entre 7 de agosto e 10 de outubro, o jovem terá agredido sexualmente uma das idosas e abusado de outras cinco.
Segundo a imprensa espanhola, o agressor abordava as mulheres na rua quando escurecia, encurralava-as contra uma parede, batia-lhes e obrigava-as a observá-lo enquanto se masturbava.
Na primeira queixa, uma mulher - que segundo fontes próximas à investigação teria sido prostituta anos antes - denunciou que, a princípio, seria um encontro sexual consensual, mas que a dado momento ela se recusou a continuar e o jovem a forçou.
A unidade de investigação da polícia Mossos d'Esquadra de Olot iniciou a busca do suspeito com os dados fornecidos pela alegada vítima.
A 29 de agosto, outra mulher relatou que um menor se tinha aproximado dela na rua.
Durante o mês de setembro ocorreram três novos casos.
Todas as vítimas, com mais de 60 anos, relataram que um jovem se aproximou delas ao fim da tarde e descreveram os mesmos abusos que as vítimas anteriores.
Os detalhes dados pelas vítimas e as semelhanças nas características do alegado agressor levaram a que as autoridades suspeitassem que se tratava do mesmo indivíduo.
Os elementos da Área de Investigação Criminal (AIC) de Girona assumiram a investigação e detiveram na sexta-feira o suspeito no meio de uma rua em Olot, como alegado autor de seis crimes contra a liberdade sexual, uma agressão sexual e cinco de abuso.
</newstext>
<Sentences num="11">
</Sentences>
<sent1 desc="A polícia espanhola deteve um jovem de 16 anos que terá abusado sexualmente de seis mulheres octogenárias em Olot, Girona.">
<NE>
<Organization>polícia espanhola</Organization>
<Numeric>16</Numeric>
<Location>Olot</Location>
<Location>Girona</Location>
</NE>
</sent1>
<sent2 desc="A vítima mais velha tinha 88 anos. ">
<NE>
<Numeric>88</Numeric>
</NE>
</sent2>
<sent3 desc="Entre 7 de agosto e 10 de outubro, o jovem terá agredido sexualmente uma das idosas e abusado de outras cinco. ">
<NE>
<Time>7 de agosto</Time>
<Time>10 de outubro</Time>
</NE>
</sent3>
<sent4 desc="Segundo a imprensa espanhola, o agressor abordava as mulheres na rua quando escurecia, encurralava-as contra uma parede, batia-lhes e obrigava-as a observá-lo enquanto se masturbava. ">
<NE>
<Organization>imprensa espanhola</Organization>
</NE>
</sent4>
<sent5 desc="Na primeira queixa, uma mulher - que segundo fontes próximas à investigação teria sido prostituta anos antes - denunciou que, a princípio, seria um encontro sexual consensual, mas que a dado momento ela se recusou a continuar e o jovem a forçou. ">
<NE>
</NE>
</sent5>
<sent6 desc="A unidade de investigação da polícia Mossos d'Esquadra de Olot iniciou a busca do suspeito com os dados fornecidos pela alegada vítima. ">
<NE>
<Organization>unidade de investigação da polícia Mossos d'Esquadra de Olot</Organization>
</NE>
</sent6>
<sent7 desc="A 29 de agosto, outra mulher relatou que um menor se tinha aproximado dela na rua.">
<NE>
<Time>29 de agosto</Time>
</NE>
</sent7>
<sent8 desc="Durante o mês de setembro ocorreram três novos casos. ">
<NE>
<Time>setembro</Time>
</NE>
</sent8>
<sent9 desc="Todas as vítimas, com mais de 60 anos, relataram que um jovem se aproximou delas ao fim da tarde e descreveram os mesmos abusos que as vítimas anteriores. ">
<NE>
<Numeric>60</Numeric>
</NE>
</sent9>
<sent10 desc="Os detalhes dados pelas vítimas e as semelhanças nas características do alegado agressor levaram a que as autoridades suspeitassem que se tratava do mesmo indivíduo. ">
<NE>
</NE>
</sent10>
<sent11 desc="Os elementos da Área de Investigação Criminal de Girona assumiram a investigação e detiveram na sexta-feira o suspeito no meio de uma rua em Olot, como alegado autor de seis crimes contra a liberdade sexual, uma agressão sexual e cinco de abuso.">
<NE>
<Organization>Área de Investigação Criminal de Girona</Organization>
<Time>sexta-feira</Time>
<Location>Olot</Location>
</NE>
</sent11>
</news016>
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</label>
<label opaque="NO" userInteractionEnabled="NO" contentMode="left" horizontalHuggingPriority="251" verticalHuggingPriority="251" text="7/1/20" textAlignment="natural" lineBreakMode="tailTruncation" baselineAdjustment="alignBaselines" adjustsFontSizeToFit="NO" translatesAutoresizingMaskIntoConstraints="NO" id="XxA-bT-htt">
<rect key="frame" x="23" y="146" width="48" height="21"/>
<fontDescription key="fontDescription" type="system" pointSize="17"/>
<color key="textColor" systemColor="systemGrayColor" red="0.5568627451" green="0.5568627451" blue="0.57647058819999997" alpha="1" colorSpace="custom" customColorSpace="sRGB"/>
<nil key="highlightedColor"/>
</label>
<label opaque="NO" userInteractionEnabled="NO" contentMode="left" horizontalHuggingPriority="251" verticalHuggingPriority="251" text="Likes" textAlignment="natural" lineBreakMode="tailTruncation" baselineAdjustment="alignBaselines" adjustsFontSizeToFit="NO" translatesAutoresizingMaskIntoConstraints="NO" id="4CB-qw-wxo">
<rect key="frame" x="178" y="176" width="40" height="21"/>
<fontDescription key="fontDescription" type="system" pointSize="17"/>
<color key="textColor" red="0.69917380809999996" green="0.75117927790000005" blue="0.7975128293" alpha="1" colorSpace="custom" customColorSpace="sRGB"/>
<nil key="highlightedColor"/>
</label>
<label opaque="NO" userInteractionEnabled="NO" contentMode="left" horizontalHuggingPriority="251" verticalHuggingPriority="251" text="Retweets" textAlignment="natural" lineBreakMode="tailTruncation" baselineAdjustment="alignBaselines" adjustsFontSizeToFit="NO" translatesAutoresizingMaskIntoConstraints="NO" id="EaG-au-DXX">
<rect key="frame" x="60" y="176" width="71" height="21"/>
<fontDescription key="fontDescription" type="system" pointSize="17"/>
<color key="textColor" red="0.69917380809999996" green="0.75117927790000005" blue="0.7975128293" alpha="1" colorSpace="custom" customColorSpace="sRGB"/>
<nil key="highlightedColor"/>
</label>
<label opaque="NO" userInteractionEnabled="NO" contentMode="left" horizontalHuggingPriority="251" verticalHuggingPriority="251" text="100" textAlignment="natural" lineBreakMode="tailTruncation" baselineAdjustment="alignBaselines" adjustsFontSizeToFit="NO" translatesAutoresizingMaskIntoConstraints="NO" id="Bul-MC-YJu">
<rect key="frame" x="23" y="176" width="29" height="21"/>
<fontDescription key="fontDescription" type="system" pointSize="17"/>
<nil key="textColor"/>
<nil key="highlightedColor"/>
</label>
<label opaque="NO" userInteractionEnabled="NO" contentMode="left" horizontalHuggingPriority="251" verticalHuggingPriority="251" text="1K" textAlignment="natural" lineBreakMode="tailTruncation" baselineAdjustment="alignBaselines" adjustsFontSizeToFit="NO" translatesAutoresizingMaskIntoConstraints="NO" id="7Id-dy-sBG">
<rect key="frame" x="152" y="176" width="19" height="21"/>
<fontDescription key="fontDescription" type="system" pointSize="17"/>
<nil key="textColor"/>
<nil key="highlightedColor"/>
</label>
<button opaque="NO" contentMode="scaleToFill" contentHorizontalAlignment="center" contentVerticalAlignment="center" lineBreakMode="middleTruncation" translatesAutoresizingMaskIntoConstraints="NO" id="Pjw-1S-YeA">
<rect key="frame" x="249" y="208" width="25" height="25"/>
<constraints>
<constraint firstAttribute="width" constant="25" id="GWH-GW-M0c"/>
<constraint firstAttribute="height" constant="25" id="zmA-Au-vvU"/>
</constraints>
<state key="normal" title="favorite" image="favor-icon"/>
<connections>
<action selector="didTapFavorite:" destination="uJS-YM-uGP" eventType="touchUpInside" id="Z1E-cm-1JG"/>
</connections>
</button>
<button opaque="NO" contentMode="scaleToFill" contentHorizontalAlignment="center" contentVerticalAlignment="center" lineBreakMode="middleTruncation" translatesAutoresizingMaskIntoConstraints="NO" id="AMg-Ns-JgT">
<rect key="frame" x="140" y="208" width="25" height="25"/>
<constraints>
<constraint firstAttribute="height" constant="25" id="9WL-Rw-VpE"/>
<constraint firstAttribute="width" constant="25" id="gBj-am-gPo"/>
</constraints>
<state key="normal" title="retweet" image="retweet-icon"/>
<connections>
<action selector="didTapRetweet:" destination="uJS-YM-uGP" eventType="touchUpInside" id="LBr-c4-ip7"/>
</connections>
</button>
</subviews>
<color key="backgroundColor" systemColor="systemBackgroundColor" cocoaTouchSystemColor="whiteColor"/>
<constraints>
<constraint firstItem="3vo-gq-gRi" firstAttribute="leading" secondItem="xDh-yO-GlW" secondAttribute="leading" constant="23" id="4Rc-nW-CwZ"/>
<constraint firstItem="Pjw-1S-YeA" firstAttribute="top" secondItem="4CB-qw-wxo" secondAttribute="bottom" constant="11" id="5dz-Ly-8fr"/>
<constraint firstItem="AMg-Ns-JgT" firstAttribute="leading" secondItem="xDh-yO-GlW" secondAttribute="leading" constant="140" id="Faq-1w-RR5"/>
<constraint firstItem="4CB-qw-wxo" firstAttribute="bottom" secondItem="Bul-MC-YJu" secondAttribute="bottom" id="FgY-Qm-6BR"/>
<constraint firstItem="Bul-MC-YJu" firstAttribute="top" secondItem="XxA-bT-htt" secondAttribute="bottom" constant="9" id="MdP-Yk-HtW"/>
<constraint firstItem="EFn-gj-CYM" firstAttribute="leading" secondItem="3vo-gq-gRi" secondAttribute="trailing" constant="8" id="RJK-1B-7tn"/>
<constraint firstItem="Bul-MC-YJu" firstAttribute="leading" secondItem="xDh-yO-GlW" secondAttribute="leading" constant="23" id="U13-8R-We1"/>
<constraint firstAttribute="trailing" secondItem="9mO-cL-wwG" secondAttribute="trailing" constant="23" id="UKH-sL-3JN"/>
<constraint firstItem="x8i-aI-qPk" firstAttribute="leading" secondItem="3vo-gq-gRi" secondAttribute="trailing" constant="8" id="UaR-ZY-VKr"/>
<constraint firstItem="XxA-bT-htt" firstAttribute="leading" secondItem="xDh-yO-GlW" secondAttribute="leading" constant="23" id="Uc6-bq-Ri9"/>
<constraint firstAttribute="bottom" secondItem="AMg-Ns-JgT" secondAttribute="bottom" constant="8" id="YEs-58-ao9"/>
<constraint firstItem="EaG-au-DXX" firstAttribute="leading" secondItem="Bul-MC-YJu" secondAttribute="trailing" constant="8" id="YYb-Ru-HlQ"/>
<constraint firstItem="4CB-qw-wxo" firstAttribute="leading" secondItem="7Id-dy-sBG" secondAttribute="trailing" constant="7" id="b0D-Q9-To5"/>
<constraint firstItem="EaG-au-DXX" firstAttribute="bottom" secondItem="Bul-MC-YJu" secondAttribute="bottom" id="cSS-1e-N6J"/>
<constraint firstItem="x8i-aI-qPk" firstAttribute="top" secondItem="EFn-gj-CYM" secondAttribute="bottom" constant="8" id="d74-X6-Jyr"/>
<constraint firstItem="7Id-dy-sBG" firstAttribute="bottom" secondItem="Bul-MC-YJu" secondAttribute="bottom" id="e2h-BL-vAe"/>
<constraint firstAttribute="trailing" secondItem="Pjw-1S-YeA" secondAttribute="trailing" constant="140" id="g9j-2d-YRv"/>
<constraint firstItem="7Id-dy-sBG" firstAttribute="leading" secondItem="EaG-au-DXX" secondAttribute="trailing" constant="21" id="ggG-Kb-Bqo"/>
<constraint firstItem="AMg-Ns-JgT" firstAttribute="top" secondItem="4CB-qw-wxo" secondAttribute="bottom" constant="11" id="ljS-yr-bcX"/>
<constraint firstItem="3vo-gq-gRi" firstAttribute="top" secondItem="xDh-yO-GlW" secondAttribute="top" constant="8" id="nK6-f1-650"/>
<constraint firstItem="EFn-gj-CYM" firstAttribute="top" secondItem="xDh-yO-GlW" secondAttribute="top" constant="15" id="o5h-OE-jD0"/>
<constraint firstItem="XxA-bT-htt" firstAttribute="top" secondItem="9mO-cL-wwG" secondAttribute="bottom" constant="25.5" id="oaX-vH-e4X"/>
<constraint firstAttribute="bottom" secondItem="Bul-MC-YJu" secondAttribute="bottom" constant="44" id="sPa-d2-ddJ"/>
<constraint firstItem="9mO-cL-wwG" firstAttribute="top" secondItem="3vo-gq-gRi" secondAttribute="bottom" constant="17" id="vFH-ot-fiZ"/>
<constraint firstAttribute="bottom" secondItem="Pjw-1S-YeA" secondAttribute="bottom" constant="8" id="vLe-gX-b2Y"/>
<constraint firstItem="9mO-cL-wwG" firstAttribute="leading" secondItem="xDh-yO-GlW" secondAttribute="leading" constant="23" id="yXi-xr-Zll"/>
</constraints>
</view>
</subviews>
<color key="backgroundColor" systemColor="systemGray2Color" red="0.68235294120000001" green="0.68235294120000001" blue="0.69803921570000005" alpha="1" colorSpace="custom" customColorSpace="sRGB"/>
<constraints>
<constraint firstItem="xDh-yO-GlW" firstAttribute="trailing" secondItem="94h-Ol-TTy" secondAttribute="trailing" id="4gO-iC-hvd"/>
<constraint firstItem="xDh-yO-GlW" firstAttribute="leading" secondItem="94h-Ol-TTy" secondAttribute="leading" id="D8o-lm-omv"/>
<constraint firstItem="94h-Ol-TTy" firstAttribute="bottom" relation="lessThanOrEqual" secondItem="xDh-yO-GlW" secondAttribute="bottom" constant="511" id="d9e-7N-azh"/>
<constraint firstItem="xDh-yO-GlW" firstAttribute="top" secondItem="94h-Ol-TTy" secondAttribute="top" id="zbg-VW-R8g"/>
</constraints>
<viewLayoutGuide key="safeArea" id="94h-Ol-TTy"/>
</view>
<navigationItem key="navigationItem" id="osL-Ac-6iF"/>
<connections>
<outlet property="dateLabel" destination="XxA-bT-htt" id="WAt-fn-h5s"/>
<outlet property="favoriteButton" destination="Pjw-1S-YeA" id="40n-48-c7Z"/>
<outlet property="favoriteLabel" destination="7Id-dy-sBG" id="okL-4V-o4p"/>
<outlet property="nameLabel" destination="EFn-gj-CYM" id="Us5-ZS-Mvv"/>
<outlet property="profileImage" destination="3vo-gq-gRi" id="gBR-rH-m8m"/>
<outlet property="retweetButton" destination="AMg-Ns-JgT" id="GQd-OK-usd"/>
<outlet property="retweetLabel" destination="Bul-MC-YJu" id="kY9-Ae-IQ1"/>
<outlet property="tweetText" destination="9mO-cL-wwG" id="jtv-DF-0sA"/>
<outlet property="username" destination="x8i-aI-qPk" id="PAd-Xe-r5x"/>
</connections>
</viewController>
<placeholder placeholderIdentifier="IBFirstResponder" id="kn7-IO-Q6h" userLabel="First Responder" customClass="UIResponder" sceneMemberID="firstResponder"/>
</objects>
<point key="canvasLocation" x="1657.9710144927537" y="747.99107142857144"/>
</scene>
<!--Compose View Controller-->
<scene sceneID="uP4-G1-afP">
<objects>
<viewController id="lP2-Sk-VQI" customClass="ComposeViewController" sceneMemberID="viewController">
<view key="view" contentMode="scaleToFill" id="tkG-1o-CT9">
<rect key="frame" x="0.0" y="0.0" width="414" height="842"/>
<autoresizingMask key="autoresizingMask" widthSizable="YES" heightSizable="YES"/>
<subviews>
<textView clipsSubviews="YES" multipleTouchEnabled="YES" contentMode="scaleToFill" fixedFrame="YES" textAlignment="natural" translatesAutoresizingMaskIntoConstraints="NO" id="FKt-pc-1Lg">
<rect key="frame" x="0.0" y="88" width="414" height="272"/>
<autoresizingMask key="autoresizingMask" flexibleMaxX="YES" flexibleMaxY="YES"/>
<color key="backgroundColor" systemColor="systemBackgroundColor" cocoaTouchSystemColor="whiteColor"/>
<color key="textColor" systemColor="labelColor" cocoaTouchSystemColor="darkTextColor"/>
<fontDescription key="fontDescription" type="system" pointSize="14"/>
<textInputTraits key="textInputTraits" autocapitalizationType="sentences"/>
</textView>
</subviews>
<color key="backgroundColor" systemColor="systemBackgroundColor" cocoaTouchSystemColor="whiteColor"/>
<viewLayoutGuide key="safeArea" id="R0m-ki-9pl"/>
</view>
<navigationItem key="navigationItem" id="ZLJ-Gz-Pz9">
<barButtonItem key="leftBarButtonItem" title="X" id="pIF-mF-EF0"/>
<barButtonItem key="rightBarButtonItem" title="Tweet" id="FZh-4M-8CL">
<connections>
<action selector="didTapPost:" destination="lP2-Sk-VQI" id="Mit-jF-gZ0"/>
</connections>
</barButtonItem>
</navigationItem>
<connections>
<outlet property="closeButton" destination="pIF-mF-EF0" id="Txq-0I-X4i"/>
<outlet property="composeText" destination="FKt-pc-1Lg" id="pj3-FF-MaS"/>
<outlet property="tweetButton" destination="FZh-4M-8CL" id="AeD-Bd-bbF"/>
</connections>
</viewController>
<placeholder placeholderIdentifier="IBFirstResponder" id="Mnl-B6-Y6D" userLabel="First Responder" customClass="UIResponder" sceneMemberID="firstResponder"/>
</objects>
<point key="canvasLocation" x="3550.7246376811595" y="35.491071428571423"/>
</scene>
<!--Navigation Controller-->
<scene sceneID="WUT-Ke-VeR">
<objects>
<navigationController storyboardIdentifier="TweetsNavigationController" automaticallyAdjustsScrollViewInsets="NO" id="FTQ-G1-N2b" sceneMemberID="viewController">
<toolbarItems/>
<navigationBar key="navigationBar" contentMode="scaleToFill" id="ytz-Ev-cUB">
<rect key="frame" x="0.0" y="0.0" width="414" height="56"/>
<autoresizingMask key="autoresizingMask"/>
</navigationBar>
<nil name="viewControllers"/>
<connections>
<segue destination="Lbl-k5-U4i" kind="relationship" relationship="rootViewController" id="1DH-bv-mXM"/>
</connections>
</navigationController>
<placeholder placeholderIdentifier="IBFirstResponder" id="JHS-35-jFs" userLabel="First Responder" sceneMemberID="firstResponder"/>
</objects>
<point key="canvasLocation" x="860" y="36.431784107946029"/>
</scene>
<!--Navigation Controller-->
<scene sceneID="OjT-lb-HVW">
<objects>
<navigationController automaticallyAdjustsScrollViewInsets="NO" id="ad4-Ja-Twf" sceneMemberID="viewController">
<toolbarItems/>
<navigationBar key="navigationBar" contentMode="scaleToFill" insetsLayoutMarginsFromSafeArea="NO" id="Fjf-MU-kBB">
<rect key="frame" x="0.0" y="0.0" width="414" height="56"/>
<autoresizingMask key="autoresizingMask"/>
</navigationBar>
<nil name="viewControllers"/>
<connections>
<segue destination="lP2-Sk-VQI" kind="relationship" relationship="rootViewController" id="gVO-Bq-l2g"/>
</connections>
</navigationController>
<placeholder placeholderIdentifier="IBFirstResponder" id="Npp-Ck-d7I" userLabel="First Responder" customClass="UIResponder" sceneMemberID="firstResponder"/>
</objects>
<point key="canvasLocation" x="2640.579710144928" y="35.491071428571423"/>
</scene>
</scenes>
<resources>
<image name="TwitterLogoBlue" width="200" height="200"/>
<image name="edit-icon" width="30" height="27"/>
<image name="favor-icon" width="30" height="30"/>
<image name="retweet-icon" width="30" height="30"/>
</resources>
</document>
| 105.595506 | 419 | 0.535327 |
a8d3cce0a8790c2b0358b895dbc44551e27d227a | 2,475 | xml | XML | xqoo-cloud-annex/src/main/resource/mapper/BannerDetailInfoMapper.xml | xqooCloud/xqoo-cloud-admin | 73e3846cf505c76152bc7f13cfdbb12b53bcc98e | [
"MIT"
] | 1 | 2021-01-12T01:55:08.000Z | 2021-01-12T01:55:08.000Z | xqoo-cloud-annex/src/main/resource/mapper/BannerDetailInfoMapper.xml | xqooCloud/xqoo-cloud-admin | 73e3846cf505c76152bc7f13cfdbb12b53bcc98e | [
"MIT"
] | null | null | null | xqoo-cloud-annex/src/main/resource/mapper/BannerDetailInfoMapper.xml | xqooCloud/xqoo-cloud-admin | 73e3846cf505c76152bc7f13cfdbb12b53bcc98e | [
"MIT"
] | 2 | 2021-02-08T03:42:21.000Z | 2022-02-28T11:31:47.000Z | <?xml version="1.0" encoding="UTF-8"?>
<!DOCTYPE mapper PUBLIC "-//mybatis.org//DTD Mapper 3.0//EN" "http://mybatis.org/dtd/mybatis-3-mapper.dtd">
<mapper namespace="com.xqoo.annex.mapper.BannerDetailInfoMapper">
<!-- 查询条件 -->
<!-- 此处仅生成批量insert方法和当前表所有字段查询条件，其余单条记录插叙和分页查询等使用myBatisPlus -->
<!--
<if test="id != null">
and id = #{id}
</if>
<if test="groupId != null">
and group_id = #{groupId}
</if>
<if test="activeCode != null">
and active_code = #{activeCode}
</if>
<if test="mediaUrl != null and mediaUrl != ''">
and media_url = #{mediaUrl}
</if>
<if test="bannerTips != null and bannerTips != ''">
and banner_tips = #{bannerTips}
</if>
<if test="redirectType != null and redirectType != ''">
and redirect_type = #{redirectType}
</if>
<if test="redirectValue != null and redirectValue != ''">
and redirect_value = #{redirectValue}
</if>
<if test="sortNo != null">
and sort_no = #{sortNo}
</if>
<if test="createDate != null">
and create_date = #{createDate}
</if>
<if test="createBy != null and createBy != ''">
and create_by = #{createBy}
</if>
<if test="updateDate != null">
and update_date = #{updateDate}
</if>
<if test="updateBy != null and updateBy != ''">
and update_by = #{updateBy}
</if>
<if test="remarkTips != null and remarkTips != ''">
and remark_tips = #{remarkTips}
</if>
-->
<insert id="insertList" parameterType="java.util.List">
insert into kxst_system_affiliated.banner_detail_info(
group_id,
active_code,
media_url,
banner_tips,
redirect_type,
redirect_value,
sort_no,
create_date,
create_by,
update_date,
update_by,
remark_tips
)
values
<foreach collection="list" item="item" index="index" separator=",">
(
#{item.groupId},
#{item.activeCode},
#{item.mediaUrl},
#{item.bannerTips},
#{item.redirectType},
#{item.redirectValue},
#{item.sortNo},
#{item.createDate},
#{item.createBy},
#{item.updateDate},
#{item.updateBy},
#{item.remarkTips}
)
</foreach>
</insert>
</mapper>
| 29.464286 | 107 | 0.526061 |
05bf79c3349e3ba3637db6244b5cf6dfcd78aae6 | 10,348 | xml | XML | SSM_JUHE/pom.xml | 2249692487/java_exercise | 2ce0bccdfc53f5f55c0de09a15b97189d6aa994a | [
"Apache-2.0"
] | null | null | null | SSM_JUHE/pom.xml | 2249692487/java_exercise | 2ce0bccdfc53f5f55c0de09a15b97189d6aa994a | [
"Apache-2.0"
] | null | null | null | SSM_JUHE/pom.xml | 2249692487/java_exercise | 2ce0bccdfc53f5f55c0de09a15b97189d6aa994a | [
"Apache-2.0"
] | null | null | null | <?xml version="1.0" encoding="UTF-8"?>
<project xmlns="http://maven.apache.org/POM/4.0.0"
xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
xsi:schemaLocation="http://maven.apache.org/POM/4.0.0 http://maven.apache.org/xsd/maven-4.0.0.xsd">
<modelVersion>4.0.0</modelVersion>
<groupId>com.test</groupId>
<artifactId>SSM_JUHE</artifactId>
<version>1.0-SNAPSHOT</version>
<packaging>pom</packaging>
<modules>
<module>../SSM_POJO_02</module>
<module>../SSM_DAO_02</module>
<module>../SSM_SERVICE_02</module>
</modules>
<!-- 集中定义依赖版本号 -->
<properties>
<junit.version>4.12</junit.version>
<spring.version>5.0.2.RELEASE</spring.version>
<mybatis.version>3.4.1</mybatis.version>
<mybatis.spring.version>1.3.1</mybatis.spring.version>
<mybatis.paginator.version>1.2.15</mybatis.paginator.version>
<mysql.version>5.1.32</mysql.version>
<slf4j.version>1.6.4</slf4j.version>
<jackson.version>2.9.0</jackson.version>
<gson.version>2.8.0</gson.version>
<druid.version>1.0.9</druid.version>
<httpclient.version>4.3.5</httpclient.version>
<jstl.version>1.2</jstl.version>
<servlet-api.version>2.5</servlet-api.version>
<jsp-api.version>2.0</jsp-api.version>
<joda-time.version>2.5</joda-time.version>
<commons-lang3.version>3.3.2</commons-lang3.version>
<commons-io.version>1.3.2</commons-io.version>
<jsoup.version>1.10.2</jsoup.version>
</properties>
<dependencyManagement>
<dependencies>
<!-- 单元测试 -->
<dependency>
<groupId>junit</groupId>
<artifactId>junit</artifactId>
<version>${junit.version}</version>
</dependency>
<!-- Spring -->
<dependency>
<groupId>org.springframework</groupId>
<artifactId>spring-context</artifactId>
<version>${spring.version}</version>
</dependency>
<dependency>
<groupId>org.springframework</groupId>
<artifactId>spring-webmvc</artifactId>
<version>${spring.version}</version>
</dependency>
<dependency>
<groupId>org.springframework</groupId>
<artifactId>spring-jdbc</artifactId>
<version>${spring.version}</version>
</dependency>
<dependency>
<groupId>org.springframework</groupId>
<artifactId>spring-aspects</artifactId>
<version>${spring.version}</version>
</dependency>
<dependency>
<groupId>org.springframework</groupId>
<artifactId>spring-test</artifactId>
<version>${spring.version}</version>
</dependency>
<dependency>
<groupId>org.springframework.security</groupId>
<artifactId>spring-security-web</artifactId>
<version>${spring.version}</version>
</dependency>
<dependency>
<groupId>org.springframework.security</groupId>
<artifactId>spring-security-config</artifactId>
<version>${spring.version}</version>
</dependency>
<!-- Mybatis -->
<dependency>
<groupId>org.mybatis</groupId>
<artifactId>mybatis</artifactId>
<version>${mybatis.version}</version>
</dependency>
<dependency>
<groupId>org.mybatis</groupId>
<artifactId>mybatis-spring</artifactId>
<version>${mybatis.spring.version}</version>
</dependency>
<dependency>
<groupId>com.github.pagehelper</groupId>
<artifactId>pagehelper</artifactId>
<version>5.1.2</version>
</dependency>
<dependency>
<groupId>com.github.jsqlparser</groupId>
<artifactId>jsqlparser</artifactId>
<version>0.9.1</version>
</dependency>
<dependency>
<groupId>com.github.abel533</groupId>
<artifactId>mapper</artifactId>
<version>2.3.4</version>
</dependency>
<!-- 日志 -->
<dependency>
<groupId>org.slf4j</groupId>
<artifactId>slf4j-log4j12</artifactId>
<version>${slf4j.version}</version>
</dependency>
<!-- MySql -->
<dependency>
<groupId>mysql</groupId>
<artifactId>mysql-connector-java</artifactId>
<version>${mysql.version}</version>
</dependency>
<!-- 连接池 -->
<dependency>
<groupId>com.jolbox</groupId>
<artifactId>bonecp-spring</artifactId>
<version>0.8.0.RELEASE</version>
</dependency>
<!-- https://mvnrepository.com/artifact/com.alibaba/druid -->
<dependency>
<groupId>com.alibaba</groupId>
<artifactId>druid</artifactId>
<version>1.1.10</version>
</dependency>
<!-- Json处理工具包 -->
<dependency>
<groupId>com.fasterxml.jackson.core</groupId>
<artifactId>jackson-databind</artifactId>
<version>${jackson.version}</version>
</dependency>
<dependency>
<groupId>com.google.code.gson</groupId>
<artifactId>gson</artifactId>
<version>${gson.version}</version>
</dependency>
<!-- JSP相关 -->
<dependency>
<groupId>jstl</groupId>
<artifactId>jstl</artifactId>
<version>${jstl.version}</version>
</dependency>
<dependency>
<groupId>javax.servlet</groupId>
<artifactId>servlet-api</artifactId>
<version>${servlet-api.version}</version>
<scope>provided</scope>
</dependency>
<dependency>
<groupId>javax.servlet</groupId>
<artifactId>jsp-api</artifactId>
<version>${jsp-api.version}</version>
<scope>provided</scope>
</dependency>
<!-- 时间操作组件 -->
<dependency>
<groupId>joda-time</groupId>
<artifactId>joda-time</artifactId>
<version>${joda-time.version}</version>
</dependency>
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<dependency>
<groupId>org.apache.commons</groupId>
<artifactId>commons-lang3</artifactId>
<version>${commons-lang3.version}</version>
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<dependency>
<groupId>org.apache.commons</groupId>
<artifactId>commons-io</artifactId>
<version>${commons-io.version}</version>
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<dependency>
<groupId>org.apache.httpcomponents</groupId>
<artifactId>httpclient</artifactId>
<version>${httpclient.version}</version>
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<dependency>
<groupId>org.jsoup</groupId>
<artifactId>jsoup</artifactId>
<version>${jsoup.version}</version>
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<!--解析xml文件内容-->
<dependency>
<groupId>dom4j</groupId>
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<dependency>
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<build>
<finalName>${project.artifactId}</finalName>
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<plugin>
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<artifactId>maven-resources-plugin</artifactId>
<version>2.7</version>
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<encoding>UTF-8</encoding>
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<!-- java编译插件 -->
<plugin>
<groupId>org.apache.maven.plugins</groupId>
<artifactId>maven-compiler-plugin</artifactId>
<version>3.2</version>
<configuration>
<source>1.8</source>
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<encoding>UTF-8</encoding>
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<!--将当前项目和依赖的jar包打包到同一个项目-->
<plugin>
<artifactId>maven-assembly-plugin</artifactId>
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<descriptorRef>jar-with-dependencies</descriptorRef>
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<manifest>
<mainClass>com.cetc.di.App</mainClass>
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<executions>
<execution>
<id>make-assembly</id>
<phase>package</phase>
<goals>
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<plugins>
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<plugin>
<groupId>org.apache.tomcat.maven</groupId>
<artifactId>tomcat7-maven-plugin</artifactId>
<version>2.2</version>
</plugin>
</plugins>
</pluginManagement>
</build>
</project> | 36.695035 | 108 | 0.494202 |
6db5c10eb48cf944d05c36d6f041044c00be2fab | 566,405 | xml | XML | docs/data/000148/files/776_14941.xml | TEI-EAJ/auto_aozora_tei | 5535abef680a1e186f8a7dc6efc30a1dcf4efeec | [
"CC0-1.0"
] | 3 | 2019-02-12T13:28:22.000Z | 2021-07-25T20:58:07.000Z | docs/data/000148/files/776_14941.xml | TEI-EAJ/auto_aozora_tei | 5535abef680a1e186f8a7dc6efc30a1dcf4efeec | [
"CC0-1.0"
] | null | null | null | docs/data/000148/files/776_14941.xml | TEI-EAJ/auto_aozora_tei | 5535abef680a1e186f8a7dc6efc30a1dcf4efeec | [
"CC0-1.0"
] | 1 | 2019-02-12T22:04:00.000Z | 2019-02-12T22:04:00.000Z | <TEI xmlns="http://www.tei-c.org/ns/1.0">
<teiHeader>
<fileDesc>
<titleStmt>
<title>草枕</title>
<author>夏目漱石</author>
<respStmt>
<orgName ref="http://www.aozora.gr.jp/">青空文庫</orgName>
<resp when="1999-02-17">作成</resp><resp /><note>
<lb />
底本：「夏目漱石全集3」ちくま文庫、筑摩書房<lb />
1987（昭和62）年12月1日第1刷発行<lb />
底本の親本：「筑摩全集類聚版夏目漱石全集」筑摩書房<lb />
1971（昭和46）年4月〜1972（昭和47）年1月<lb />
初出：「新小説」<lb />
1906（明治39）年9月<lb />
入力：柴田卓治<lb />
校正：伊藤時也<lb />
<date when="1999-02-17">1999年2月17日</date>公開<lb />
<date when="2011-05-21">2011年5月21日</date>修正<lb />
青空文庫作成ファイル：<lb />
このファイルは、インターネットの図書館、青空文庫（http://www.aozora.gr.jp）で作られました。入力、校正、制作にあたったのは、ボランティアの皆さんです。</note></respStmt>
<respStmt><resp>Aozora Transcription</resp><name>柴田卓治</name></respStmt><respStmt><resp>Aozora Proofreading</resp><name>伊藤時也</name></respStmt><respStmt><resp when="2019-01-01">TEI Encoding</resp><name>Input Your Name</name></respStmt></titleStmt>
<publicationStmt>
<distributor>SIG for East Asian/ Japanese, TEI Consortium</distributor>
<availability>
<p>
<ref target="https://creativecommons.org/publicdomain/zero/1.0/">CC0 1.0 Universal (CC0
1.0) Public Domain Dedication</ref></p>
</availability>
</publicationStmt>
<sourceDesc>
<bibl>Input by your self<title>草枕</title><author>夏目漱石</author></bibl>
</sourceDesc>
</fileDesc>
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<body><p><seg rend="main_text" rendition="div"><lb />
<seg rend="jisage_8" rendition="div" style="margin-left: 8em"><seg rend="naka-midashi" rendition="h"><seg rend="midashi_anchor" rendition="a" xml:id="midashi10">一</seg></seg></seg>
<lb />
<seg type="ruby"><seg type="rb">山路</seg><seg type="rp">（</seg><seg type="rt">やまみち</seg><seg type="rp">）</seg></seg>を登りながら、こう考えた。<lb />
<seg type="ruby"><seg type="rb">智</seg><seg type="rp">（</seg><seg type="rt">ち</seg><seg type="rp">）</seg></seg>に働けば<seg type="ruby"><seg type="rb">角</seg><seg type="rp">（</seg><seg type="rt">かど</seg><seg type="rp">）</seg></seg>が立つ。<seg type="ruby"><seg type="rb">情</seg><seg type="rp">（</seg><seg type="rt">じょう</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">棹</seg><seg type="rp">（</seg><seg type="rt">さお</seg><seg type="rp">）</seg></seg>させば流される。意地を<seg type="ruby"><seg type="rb">通</seg><seg type="rp">（</seg><seg type="rt">とお</seg><seg type="rp">）</seg></seg>せば<seg type="ruby"><seg type="rb">窮屈</seg><seg type="rp">（</seg><seg type="rt">きゅうくつ</seg><seg type="rp">）</seg></seg>だ。とかくに人の世は住みにくい。<lb />
住みにくさが<seg type="ruby"><seg type="rb">高</seg><seg type="rp">（</seg><seg type="rt">こう</seg><seg type="rp">）</seg></seg>じると、安い所へ引き越したくなる。どこへ越しても住みにくいと<seg type="ruby"><seg type="rb">悟</seg><seg type="rp">（</seg><seg type="rt">さと</seg><seg type="rp">）</seg></seg>った時、詩が生れて、<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>が出来る。<lb />
<seg rend="sesame_dot" rendition="em">人の世</seg>を作ったものは神でもなければ鬼でもない。やはり向う三軒<seg type="ruby"><seg type="rb">両隣</seg><seg type="rp">（</seg><seg type="rt">りょうどな</seg><seg type="rp">）</seg></seg>りにちらちらするただの人である。ただの人が作った<seg rend="sesame_dot" rendition="em">人の世</seg>が住みにくいからとて、越す国はあるまい。あれば<seg rend="sesame_dot" rendition="em">人でなし</seg>の国へ行くばかりだ。<seg rend="sesame_dot" rendition="em">人でなし</seg>の国は<seg rend="sesame_dot" rendition="em">人の世</seg>よりもなお住みにくかろう。<lb />
越す事のならぬ世が住みにくければ、住みにくい所をどれほどか、<seg type="ruby"><seg type="rb">寛容</seg><seg type="rp">（</seg><seg type="rt">くつろげ</seg><seg type="rp">）</seg></seg>て、<seg type="ruby"><seg type="rb">束</seg><seg type="rp">（</seg><seg type="rt">つか</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>の命を、束の間でも住みよくせねばならぬ。ここに詩人という天職が出来て、ここに画家という使命が<seg type="ruby"><seg type="rb">降</seg><seg type="rp">（</seg><seg type="rt">くだ</seg><seg type="rp">）</seg></seg>る。あらゆる芸術の士は人の世を<seg type="ruby"><seg type="rb">長閑</seg><seg type="rp">（</seg><seg type="rt">のどか</seg><seg type="rp">）</seg></seg>にし、人の心を豊かにするが<seg type="ruby"><seg type="rb">故</seg><seg type="rp">（</seg><seg type="rt">ゆえ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">尊</seg><seg type="rp">（</seg><seg type="rt">たっ</seg><seg type="rp">）</seg></seg>とい。<lb />
住みにくき世から、住みにくき<seg type="ruby"><seg type="rb">煩</seg><seg type="rp">（</seg><seg type="rt">わずら</seg><seg type="rp">）</seg></seg>いを引き抜いて、ありがたい世界をまのあたりに写すのが詩である、<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>である。あるは音楽と彫刻である。こまかに<seg type="ruby"><seg type="rb">云</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>えば写さないでもよい。ただまのあたりに見れば、そこに詩も生き、歌も<seg type="ruby"><seg type="rb">湧</seg><seg type="rp">（</seg><seg type="rt">わ</seg><seg type="rp">）</seg></seg>く。着想を紙に落さぬとも<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-88/1-88-22.png" rend="gaiji" rendition="img" source="※(「王＋膠のつくり」、第3水準1-88-22)" />鏘</seg><seg type="rp">（</seg><seg type="rt">きゅうそう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">音</seg><seg type="rp">（</seg><seg type="rt">おん</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">胸裏</seg><seg type="rp">（</seg><seg type="rt">きょうり</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">起</seg><seg type="rp">（</seg><seg type="rt">おこ</seg><seg type="rp">）</seg></seg>る。<seg type="ruby"><seg type="rb">丹青</seg><seg type="rp">（</seg><seg type="rt">たんせい</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">画架</seg><seg type="rp">（</seg><seg type="rt">がか</seg><seg type="rp">）</seg></seg>に向って<seg type="ruby"><seg type="rb">塗抹</seg><seg type="rp">（</seg><seg type="rt">とまつ</seg><seg type="rp">）</seg></seg>せんでも<seg type="ruby"><seg type="rb">五彩</seg><seg type="rp">（</seg><seg type="rt">ごさい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">絢爛</seg><seg type="rp">（</seg><seg type="rt">けんらん</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">自</seg><seg type="rp">（</seg><seg type="rt">おのず</seg><seg type="rp">）</seg></seg>から<seg type="ruby"><seg type="rb">心眼</seg><seg type="rp">（</seg><seg type="rt">しんがん</seg><seg type="rp">）</seg></seg>に映る。ただおのが住む世を、かく<seg type="ruby"><seg type="rb">観</seg><seg type="rp">（</seg><seg type="rt">かん</seg><seg type="rp">）</seg></seg>じ得て、<seg type="ruby"><seg type="rb">霊台方寸</seg><seg type="rp">（</seg><seg type="rt">れいだいほうすん</seg><seg type="rp">）</seg></seg>のカメラに<seg type="ruby"><seg type="rb">澆季溷濁</seg><seg type="rp">（</seg><seg type="rt">ぎょうきこんだく</seg><seg type="rp">）</seg></seg>の俗界を清くうららかに収め<seg type="ruby"><seg type="rb">得</seg><seg type="rp">（</seg><seg type="rt">う</seg><seg type="rp">）</seg></seg>れば<seg type="ruby"><seg type="rb">足</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>る。この故に<seg type="ruby"><seg type="rb">無声</seg><seg type="rp">（</seg><seg type="rt">むせい</seg><seg type="rp">）</seg></seg>の詩人には一句なく、<seg type="ruby"><seg type="rb">無色</seg><seg type="rp">（</seg><seg type="rt">むしょく</seg><seg type="rp">）</seg></seg>の画家には<seg type="ruby"><seg type="rb">尺<seg facs="../../../gaiji/1-90/1-90-17.png" rend="gaiji" rendition="img" source="※(「糸＋賺のつくり」、第3水準1-90-17)" /></seg><seg type="rp">（</seg><seg type="rt">せっけん</seg><seg type="rp">）</seg></seg>なきも、かく<seg type="ruby"><seg type="rb">人世</seg><seg type="rp">（</seg><seg type="rt">じんせい</seg><seg type="rp">）</seg></seg>を観じ得るの点において、かく<seg type="ruby"><seg type="rb">煩悩</seg><seg type="rp">（</seg><seg type="rt">ぼんのう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">解脱</seg><seg type="rp">（</seg><seg type="rt">げだつ</seg><seg type="rp">）</seg></seg>するの点において、かく<seg type="ruby"><seg type="rb">清浄界</seg><seg type="rp">（</seg><seg type="rt">しょうじょうかい</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">出入</seg><seg type="rp">（</seg><seg type="rt">しゅつにゅう</seg><seg type="rp">）</seg></seg>し得るの点において、またこの<seg type="ruby"><seg type="rb">不同不二</seg><seg type="rp">（</seg><seg type="rt">ふどうふじ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">乾坤</seg><seg type="rp">（</seg><seg type="rt">けんこん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">建立</seg><seg type="rp">（</seg><seg type="rt">こんりゅう</seg><seg type="rp">）</seg></seg>し得るの点において、<seg type="ruby"><seg type="rb">我利私慾</seg><seg type="rp">（</seg><seg type="rt">がりしよく</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">覊絆</seg><seg type="rp">（</seg><seg type="rt">きはん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">掃蕩</seg><seg type="rp">（</seg><seg type="rt">そうとう</seg><seg type="rp">）</seg></seg>するの点において、――<seg type="ruby"><seg type="rb">千金</seg><seg type="rp">（</seg><seg type="rt">せんきん</seg><seg type="rp">）</seg></seg>の子よりも、<seg type="ruby"><seg type="rb">万乗</seg><seg type="rp">（</seg><seg type="rt">ばんじょう</seg><seg type="rp">）</seg></seg>の君よりも、あらゆる俗界の<seg type="ruby"><seg type="rb">寵児</seg><seg type="rp">（</seg><seg type="rt">ちょうじ</seg><seg type="rp">）</seg></seg>よりも幸福である。<lb />
世に住むこと二十年にして、住むに<seg type="ruby"><seg type="rb">甲斐</seg><seg type="rp">（</seg><seg type="rt">かい</seg><seg type="rp">）</seg></seg>ある世と知った。二十五年にして明暗は<seg type="ruby"><seg type="rb">表裏</seg><seg type="rp">（</seg><seg type="rt">ひょうり</seg><seg type="rp">）</seg></seg>のごとく、日のあたる所にはきっと影がさすと悟った。三十の<seg type="ruby"><seg type="rb">今日</seg><seg type="rp">（</seg><seg type="rt">こんにち</seg><seg type="rp">）</seg></seg>はこう思うている。――喜びの深きとき<seg type="ruby"><seg type="rb">憂</seg><seg type="rp">（</seg><seg type="rt">うれい</seg><seg type="rp">）</seg></seg>いよいよ深く、<seg type="ruby"><seg type="rb">楽</seg><seg type="rp">（</seg><seg type="rt">たのし</seg><seg type="rp">）</seg></seg>みの大いなるほど苦しみも大きい。これを切り放そうとすると身が持てぬ。<seg type="ruby"><seg type="rb">片</seg><seg type="rp">（</seg><seg type="rt">かた</seg><seg type="rp">）</seg></seg>づけようとすれば世が立たぬ。金は大事だ、大事なものが<seg type="ruby"><seg type="rb">殖</seg><seg type="rp">（</seg><seg type="rt">ふ</seg><seg type="rp">）</seg></seg>えれば<seg type="ruby"><seg type="rb">寝</seg><seg type="rp">（</seg><seg type="rt">ね</seg><seg type="rp">）</seg></seg>る<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>も心配だろう。恋はうれしい、嬉しい恋が積もれば、恋をせぬ昔がかえって恋しかろ。閣僚の肩は数百万人の足を<seg type="ruby"><seg type="rb">支</seg><seg type="rp">（</seg><seg type="rt">ささ</seg><seg type="rp">）</seg></seg>えている。<seg type="ruby"><seg type="rb">背中</seg><seg type="rp">（</seg><seg type="rt">せなか</seg><seg type="rp">）</seg></seg>には重い天下がおぶさっている。うまい物も食わねば惜しい。少し食えば<seg type="ruby"><seg type="rb">飽</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>き<seg type="ruby"><seg type="rb">足</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>らぬ。存分食えばあとが不愉快だ。……<lb />
<seg type="ruby"><seg type="rb">余</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">考</seg><seg type="rp">（</seg><seg type="rt">かんがえ</seg><seg type="rp">）</seg></seg>がここまで漂流して来た時に、余の<seg type="ruby"><seg type="rb">右足</seg><seg type="rp">（</seg><seg type="rt">うそく</seg><seg type="rp">）</seg></seg>は突然<seg type="ruby"><seg type="rb">坐</seg><seg type="rp">（</seg><seg type="rt">すわ</seg><seg type="rp">）</seg></seg>りのわるい<seg type="ruby"><seg type="rb">角石</seg><seg type="rp">（</seg><seg type="rt">かくいし</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">端</seg><seg type="rp">（</seg><seg type="rt">はし</seg><seg type="rp">）</seg></seg>を踏み<seg type="ruby"><seg type="rb">損</seg><seg type="rp">（</seg><seg type="rt">そ</seg><seg type="rp">）</seg></seg>くなった。<seg type="ruby"><seg type="rb">平衡</seg><seg type="rp">（</seg><seg type="rt">へいこう</seg><seg type="rp">）</seg></seg>を保つために、すわやと前に飛び出した<seg type="ruby"><seg type="rb">左足</seg><seg type="rp">（</seg><seg type="rt">さそく</seg><seg type="rp">）</seg></seg>が、<seg type="ruby"><seg type="rb">仕損</seg><seg type="rp">（</seg><seg type="rt">しそん</seg><seg type="rp">）</seg></seg>じの<seg type="ruby"><seg type="rb">埋</seg><seg type="rp">（</seg><seg type="rt">う</seg><seg type="rp">）</seg></seg>め<seg type="ruby"><seg type="rb">合</seg><seg type="rp">（</seg><seg type="rt">あわ</seg><seg type="rp">）</seg></seg>せをすると共に、余の腰は具合よく<seg type="ruby"><seg type="rb">方</seg><seg type="rp">（</seg><seg type="rt">ほう</seg><seg type="rp">）</seg></seg>三尺ほどな岩の上に<seg type="ruby"><seg type="rb">卸</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>りた。肩にかけた絵の具箱が<seg type="ruby"><seg type="rb">腋</seg><seg type="rp">（</seg><seg type="rt">わき</seg><seg type="rp">）</seg></seg>の下から<seg type="ruby"><seg type="rb">躍</seg><seg type="rp">（</seg><seg type="rt">おど</seg><seg type="rp">）</seg></seg>り出しただけで、幸いと<seg type="ruby"><seg type="rb">何</seg><seg type="rp">（</seg><seg type="rt">なん</seg><seg type="rp">）</seg></seg>の事もなかった。<lb />
立ち上がる時に向うを見ると、<seg type="ruby"><seg type="rb">路</seg><seg type="rp">（</seg><seg type="rt">みち</seg><seg type="rp">）</seg></seg>から左の方にバケツを伏せたような峰が<seg type="ruby"><seg type="rb">聳</seg><seg type="rp">（</seg><seg type="rt">そび</seg><seg type="rp">）</seg></seg>えている。杉か<seg type="ruby"><seg type="rb">檜</seg><seg type="rp">（</seg><seg type="rt">ひのき</seg><seg type="rp">）</seg></seg>か分からないが<seg type="ruby"><seg type="rb">根元</seg><seg type="rp">（</seg><seg type="rt">ねもと</seg><seg type="rp">）</seg></seg>から<seg type="ruby"><seg type="rb">頂</seg><seg type="rp">（</seg><seg type="rt">いただ</seg><seg type="rp">）</seg></seg>きまでことごとく<seg type="ruby"><seg type="rb">蒼黒</seg><seg type="rp">（</seg><seg type="rt">あおぐろ</seg><seg type="rp">）</seg></seg>い中に、山桜が薄赤くだんだらに<seg type="ruby"><seg type="rb">棚引</seg><seg type="rp">（</seg><seg type="rt">たなび</seg><seg type="rp">）</seg></seg>いて、<seg type="ruby"><seg type="rb">続</seg><seg type="rp">（</seg><seg type="rt">つ</seg><seg type="rp">）</seg></seg>ぎ<seg type="ruby"><seg type="rb">目</seg><seg type="rp">（</seg><seg type="rt">め</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">確</seg><seg type="rp">（</seg><seg type="rt">しか</seg><seg type="rp">）</seg></seg>と見えぬくらい<seg type="ruby"><seg type="rb">靄</seg><seg type="rp">（</seg><seg type="rt">もや</seg><seg type="rp">）</seg></seg>が濃い。少し手前に<seg type="ruby"><seg type="rb">禿山</seg><seg type="rp">（</seg><seg type="rt">はげやま</seg><seg type="rp">）</seg></seg>が一つ、<seg type="ruby"><seg type="rb">群</seg><seg type="rp">（</seg><seg type="rt">ぐん</seg><seg type="rp">）</seg></seg>をぬきんでて<seg type="ruby"><seg type="rb">眉</seg><seg type="rp">（</seg><seg type="rt">まゆ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">逼</seg><seg type="rp">（</seg><seg type="rt">せま</seg><seg type="rp">）</seg></seg>る。<seg type="ruby"><seg type="rb">禿</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>げた側面は巨人の<seg type="ruby"><seg type="rb">斧</seg><seg type="rp">（</seg><seg type="rt">おの</seg><seg type="rp">）</seg></seg>で<seg type="ruby"><seg type="rb">削</seg><seg type="rp">（</seg><seg type="rt">けず</seg><seg type="rp">）</seg></seg>り去ったか、鋭どき平面をやけに谷の底に<seg type="ruby"><seg type="rb">埋</seg><seg type="rp">（</seg><seg type="rt">うず</seg><seg type="rp">）</seg></seg>めている。<seg type="ruby"><seg type="rb">天辺</seg><seg type="rp">（</seg><seg type="rt">てっぺん</seg><seg type="rp">）</seg></seg>に一本見えるのは赤松だろう。枝の間の空さえ<seg type="ruby"><seg type="rb">判然</seg><seg type="rp">（</seg><seg type="rt">はっきり</seg><seg type="rp">）</seg></seg>している。行く手は二丁ほどで切れているが、高い所から赤い<seg type="ruby"><seg type="rb">毛布</seg><seg type="rp">（</seg><seg type="rt">けっと</seg><seg type="rp">）</seg></seg>が動いて来るのを見ると、登ればあすこへ出るのだろう。路はすこぶる<seg type="ruby"><seg type="rb">難義</seg><seg type="rp">（</seg><seg type="rt">なんぎ</seg><seg type="rp">）</seg></seg>だ。<lb />
土をならすだけならさほど<seg type="ruby"><seg type="rb">手間</seg><seg type="rp">（</seg><seg type="rt">てま</seg><seg type="rp">）</seg></seg>も<seg type="ruby"><seg type="rb">入</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>るまいが、土の中には大きな石がある。土は<seg type="ruby"><seg type="rb">平</seg><seg type="rp">（</seg><seg type="rt">たい</seg><seg type="rp">）</seg></seg>らにしても石は平らにならぬ。石は切り砕いても、岩は始末がつかぬ。<seg type="ruby"><seg type="rb">掘崩</seg><seg type="rp">（</seg><seg type="rt">ほりくず</seg><seg type="rp">）</seg></seg>した土の上に<seg type="ruby"><seg type="rb">悠然</seg><seg type="rp">（</seg><seg type="rt">ゆうぜん</seg><seg type="rp">）</seg></seg>と<seg type="ruby"><seg type="rb">峙</seg><seg type="rp">（</seg><seg type="rt">そばだ</seg><seg type="rp">）</seg></seg>って、吾らのために道を譲る<seg type="ruby"><seg type="rb">景色</seg><seg type="rp">（</seg><seg type="rt">けしき</seg><seg type="rp">）</seg></seg>はない。向うで聞かぬ上は乗り越すか、廻らなければならん。<seg type="ruby"><seg type="rb">巌</seg><seg type="rp">（</seg><seg type="rt">いわ</seg><seg type="rp">）</seg></seg>のない所でさえ<seg type="ruby"><seg type="rb">歩</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>るきよくはない。左右が高くって、中心が<seg type="ruby"><seg type="rb">窪</seg><seg type="rp">（</seg><seg type="rt">くぼ</seg><seg type="rp">）</seg></seg>んで、まるで一間<seg type="ruby"><seg type="rb">幅</seg><seg type="rp">（</seg><seg type="rt">はば</seg><seg type="rp">）</seg></seg>を三角に<seg type="ruby"><seg type="rb">穿</seg><seg type="rp">（</seg><seg type="rt">く</seg><seg type="rp">）</seg></seg>って、その頂点が<seg type="ruby"><seg type="rb">真中</seg><seg type="rp">（</seg><seg type="rt">まんなか</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">貫</seg><seg type="rp">（</seg><seg type="rt">つらぬ</seg><seg type="rp">）</seg></seg>いていると評してもよい。路を行くと云わんより川底を<seg type="ruby"><seg type="rb">渉</seg><seg type="rp">（</seg><seg type="rt">わた</seg><seg type="rp">）</seg></seg>ると云う方が適当だ。<seg type="ruby"><seg type="rb">固</seg><seg type="rp">（</seg><seg type="rt">もと</seg><seg type="rp">）</seg></seg>より急ぐ旅でないから、ぶらぶらと<seg type="ruby"><seg type="rb">七曲</seg><seg type="rp">（</seg><seg type="rt">ななまが</seg><seg type="rp">）</seg></seg>りへかかる。<lb />
たちまち足の下で<seg type="ruby"><seg type="rb">雲雀</seg><seg type="rp">（</seg><seg type="rt">ひばり</seg><seg type="rp">）</seg></seg>の声がし出した。谷を<seg type="ruby"><seg type="rb">見下</seg><seg type="rp">（</seg><seg type="rt">みおろ</seg><seg type="rp">）</seg></seg>したが、どこで鳴いてるか影も形も見えぬ。ただ声だけが明らかに聞える。せっせと<seg type="ruby"><seg type="rb">忙</seg><seg type="rp">（</seg><seg type="rt">せわ</seg><seg type="rp">）</seg></seg>しく、<seg type="ruby"><seg type="rb">絶間</seg><seg type="rp">（</seg><seg type="rt">たえま</seg><seg type="rp">）</seg></seg>なく鳴いている。<seg type="ruby"><seg type="rb">方幾里</seg><seg type="rp">（</seg><seg type="rt">ほういくり</seg><seg type="rp">）</seg></seg>の空気が一面に<seg type="ruby"><seg type="rb">蚤</seg><seg type="rp">（</seg><seg type="rt">のみ</seg><seg type="rp">）</seg></seg>に刺されていたたまれないような気がする。あの鳥の鳴く<seg type="ruby"><seg type="rb">音</seg><seg type="rp">（</seg><seg type="rt">ね</seg><seg type="rp">）</seg></seg>には瞬時の余裕もない。のどかな春の日を鳴き尽くし、鳴きあかし、また鳴き暮らさなければ気が済まんと見える。その上どこまでも登って行く、いつまでも登って行く。雲雀はきっと雲の中で死ぬに相違ない。登り詰めた<seg type="ruby"><seg type="rb">揚句</seg><seg type="rp">（</seg><seg type="rt">あげく</seg><seg type="rp">）</seg></seg>は、流れて雲に<seg type="ruby"><seg type="rb">入</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>って、<seg type="ruby"><seg type="rb">漂</seg><seg type="rp">（</seg><seg type="rt">ただよ</seg><seg type="rp">）</seg></seg>うているうちに形は消えてなくなって、ただ声だけが空の<seg type="ruby"><seg type="rb">裡</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>に残るのかも知れない。<lb />
<seg type="ruby"><seg type="rb">巌角</seg><seg type="rp">（</seg><seg type="rt">いわかど</seg><seg type="rp">）</seg></seg>を鋭どく廻って、<seg type="ruby"><seg type="rb">按摩</seg><seg type="rp">（</seg><seg type="rt">あんま</seg><seg type="rp">）</seg></seg>なら<seg type="ruby"><seg type="rb">真逆様</seg><seg type="rp">（</seg><seg type="rt">まっさかさま</seg><seg type="rp">）</seg></seg>に落つるところを、<seg type="ruby"><seg type="rb">際</seg><seg type="rp">（</seg><seg type="rt">きわ</seg><seg type="rp">）</seg></seg>どく右へ切れて、横に<seg type="ruby"><seg type="rb">見下</seg><seg type="rp">（</seg><seg type="rt">みおろ</seg><seg type="rp">）</seg></seg>すと、<seg type="ruby"><seg type="rb">菜</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>の花が一面に見える。雲雀はあすこへ落ちるのかと思った。いいや、あの<seg type="ruby"><seg type="rb">黄金</seg><seg type="rp">（</seg><seg type="rt">こがね</seg><seg type="rp">）</seg></seg>の原から飛び上がってくるのかと思った。次には落ちる雲雀と、<seg type="ruby"><seg type="rb">上</seg><seg type="rp">（</seg><seg type="rt">あが</seg><seg type="rp">）</seg></seg>る<seg type="ruby"><seg type="rb">雲雀</seg><seg type="rp">（</seg><seg type="rt">ひばり</seg><seg type="rp">）</seg></seg>が十文字にすれ違うのかと思った。最後に、落ちる時も、上る時も、また十文字に<seg type="ruby"><seg type="rb">擦</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>れ違うときにも元気よく鳴きつづけるだろうと思った。<lb />
春は眠くなる。猫は鼠を<seg type="ruby"><seg type="rb">捕</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>る事を忘れ、人間は借金のある事を忘れる。時には自分の<seg type="ruby"><seg type="rb">魂</seg><seg type="rp">（</seg><seg type="rt">たましい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">居所</seg><seg type="rp">（</seg><seg type="rt">いどころ</seg><seg type="rp">）</seg></seg>さえ忘れて正体なくなる。ただ菜の花を遠く望んだときに眼が<seg type="ruby"><seg type="rb">醒</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>める。雲雀の声を聞いたときに魂のありかが<seg type="ruby"><seg type="rb">判然</seg><seg type="rp">（</seg><seg type="rt">はんぜん</seg><seg type="rp">）</seg></seg>する。雲雀の鳴くのは口で鳴くのではない、魂全体が鳴くのだ。魂の活動が声にあらわれたもののうちで、あれほど元気のあるものはない。ああ愉快だ。こう思って、こう愉快になるのが詩である。<lb />
たちまちシェレーの雲雀の詩を思い出して、口のうちで覚えたところだけ<seg type="ruby"><seg type="rb">暗誦</seg><seg type="rp">（</seg><seg type="rt">あんしょう</seg><seg type="rp">）</seg></seg>して見たが、覚えているところは二三句しかなかった。その二三句のなかにこんなのがある。<lb />
<seg rend="jisage_2" rendition="div" style="margin-left: 2em">
We look before and after<lb />
And pine for what is not:<lb />
Our sincerest laughter<lb />
With some pain is fraught;<lb />
Our sweetest songs are those that tell of saddest thought.<lb />
</seg>
「前をみては、<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">しり</seg><seg type="rp">）</seg></seg>えを見ては、<seg type="ruby"><seg type="rb">物欲</seg><seg type="rp">（</seg><seg type="rt">ものほ</seg><seg type="rp">）</seg></seg>しと、あこがるるかなわれ。腹からの、笑といえど、苦しみの、そこにあるべし。うつくしき、<seg type="ruby"><seg type="rb">極</seg><seg type="rp">（</seg><seg type="rt">きわ</seg><seg type="rp">）</seg></seg>みの歌に、悲しさの、極みの<seg type="ruby"><seg type="rb">想</seg><seg type="rp">（</seg><seg type="rt">おもい</seg><seg type="rp">）</seg></seg>、<seg type="ruby"><seg type="rb">籠</seg><seg type="rp">（</seg><seg type="rt">こも</seg><seg type="rp">）</seg></seg>るとぞ知れ」<lb />
なるほどいくら詩人が幸福でも、あの雲雀のように思い切って、一心不乱に、前後を忘却して、わが喜びを歌う<seg type="ruby"><seg type="rb">訳</seg><seg type="rp">（</seg><seg type="rt">わけ</seg><seg type="rp">）</seg></seg>には行くまい。西洋の詩は無論の事、支那の詩にも、よく<seg type="ruby"><seg type="rb">万斛</seg><seg type="rp">（</seg><seg type="rt">ばんこく</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">愁</seg><seg type="rp">（</seg><seg type="rt">うれい</seg><seg type="rp">）</seg></seg>などと云う字がある。詩人だから万斛で<seg type="ruby"><seg type="rb">素人</seg><seg type="rp">（</seg><seg type="rt">しろうと</seg><seg type="rp">）</seg></seg>なら一<seg type="ruby"><seg type="rb">合</seg><seg type="rp">（</seg><seg type="rt">ごう</seg><seg type="rp">）</seg></seg>で済むかも知れぬ。して見ると詩人は常の人よりも苦労性で、<seg type="ruby"><seg type="rb">凡骨</seg><seg type="rp">（</seg><seg type="rt">ぼんこつ</seg><seg type="rp">）</seg></seg>の倍以上に神経が鋭敏なのかも知れん。超俗の喜びもあろうが、無量の<seg type="ruby"><seg type="rb">悲</seg><seg type="rp">（</seg><seg type="rt">かなしみ</seg><seg type="rp">）</seg></seg>も多かろう。そんならば詩人になるのも考え物だ。<lb />
しばらくは路が<seg type="ruby"><seg type="rb">平</seg><seg type="rp">（</seg><seg type="rt">たいら</seg><seg type="rp">）</seg></seg>で、右は<seg type="ruby"><seg type="rb">雑木山</seg><seg type="rp">（</seg><seg type="rt">ぞうきやま</seg><seg type="rp">）</seg></seg>、左は菜の花の見つづけである。足の下に時々<seg type="ruby"><seg type="rb">蒲公英</seg><seg type="rp">（</seg><seg type="rt">たんぽぽ</seg><seg type="rp">）</seg></seg>を踏みつける。<seg type="ruby"><seg type="rb">鋸</seg><seg type="rp">（</seg><seg type="rt">のこぎり</seg><seg type="rp">）</seg></seg>のような葉が遠慮なく四方へのして真中に黄色な<seg type="ruby"><seg type="rb">珠</seg><seg type="rp">（</seg><seg type="rt">たま</seg><seg type="rp">）</seg></seg>を擁護している。菜の花に気をとられて、踏みつけたあとで、気の毒な事をしたと、振り向いて見ると、黄色な珠は依然として鋸のなかに<seg type="ruby"><seg type="rb">鎮座</seg><seg type="rp">（</seg><seg type="rt">ちんざ</seg><seg type="rp">）</seg></seg>している。<seg type="ruby"><seg type="rb">呑気</seg><seg type="rp">（</seg><seg type="rt">のんき</seg><seg type="rp">）</seg></seg>なものだ。また考えをつづける。<lb />
詩人に<seg type="ruby"><seg type="rb">憂</seg><seg type="rp">（</seg><seg type="rt">うれい</seg><seg type="rp">）</seg></seg>はつきものかも知れないが、あの<seg type="ruby"><seg type="rb">雲雀</seg><seg type="rp">（</seg><seg type="rt">ひばり</seg><seg type="rp">）</seg></seg>を聞く心持になれば<seg type="ruby"><seg type="rb">微塵</seg><seg type="rp">（</seg><seg type="rt">みじん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">苦</seg><seg type="rp">（</seg><seg type="rt">く</seg><seg type="rp">）</seg></seg>もない。菜の花を見ても、ただうれしくて胸が<seg type="ruby"><seg type="rb">躍</seg><seg type="rp">（</seg><seg type="rt">おど</seg><seg type="rp">）</seg></seg>るばかりだ。蒲公英もその通り、桜も――桜はいつか見えなくなった。こう山の中へ来て自然の<seg type="ruby"><seg type="rb">景物</seg><seg type="rp">（</seg><seg type="rt">けいぶつ</seg><seg type="rp">）</seg></seg>に接すれば、見るものも聞くものも面白い。面白いだけで別段の苦しみも起らぬ。起るとすれば足が<seg type="ruby"><seg type="rb">草臥</seg><seg type="rp">（</seg><seg type="rt">くたび</seg><seg type="rp">）</seg></seg>れて、<seg type="ruby"><seg type="rb">旨</seg><seg type="rp">（</seg><seg type="rt">うま</seg><seg type="rp">）</seg></seg>いものが食べられぬくらいの事だろう。<lb />
しかし苦しみのないのはなぜだろう。ただこの景色を一<seg type="ruby"><seg type="rb">幅</seg><seg type="rp">（</seg><seg type="rt">ぷく</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>として<seg type="ruby"><seg type="rb">観</seg><seg type="rp">（</seg><seg type="rt">み</seg><seg type="rp">）</seg></seg>、一<seg type="ruby"><seg type="rb">巻</seg><seg type="rp">（</seg><seg type="rt">かん</seg><seg type="rp">）</seg></seg>の詩として読むからである。<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">が</seg><seg type="rp">）</seg></seg>であり詩である以上は<seg type="ruby"><seg type="rb">地面</seg><seg type="rp">（</seg><seg type="rt">じめん</seg><seg type="rp">）</seg></seg>を貰って、開拓する気にもならねば、鉄道をかけて<seg type="ruby"><seg type="rb">一儲</seg><seg type="rp">（</seg><seg type="rt">ひともう</seg><seg type="rp">）</seg></seg>けする<seg type="ruby"><seg type="rb">了見</seg><seg type="rp">（</seg><seg type="rt">りょうけん</seg><seg type="rp">）</seg></seg>も起らぬ。ただこの景色が――腹の<seg type="ruby"><seg type="rb">足</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>しにもならぬ、月給の補いにもならぬこの景色が景色としてのみ、余が心を楽ませつつあるから苦労も心配も<seg type="ruby"><seg type="rb">伴</seg><seg type="rp">（</seg><seg type="rt">ともな</seg><seg type="rp">）</seg></seg>わぬのだろう。自然の力はここにおいて<seg type="ruby"><seg type="rb">尊</seg><seg type="rp">（</seg><seg type="rt">たっ</seg><seg type="rp">）</seg></seg>とい。吾人の性情を瞬刻に<seg type="ruby"><seg type="rb">陶冶</seg><seg type="rp">（</seg><seg type="rt">とうや</seg><seg type="rp">）</seg></seg>して<seg type="ruby"><seg type="rb">醇乎</seg><seg type="rp">（</seg><seg type="rt">じゅんこ</seg><seg type="rp">）</seg></seg>として醇なる詩境に入らしむるのは自然である。<lb />
恋はうつくしかろ、孝もうつくしかろ、忠君愛国も結構だろう。しかし自身がその<seg type="ruby"><seg type="rb">局</seg><seg type="rp">（</seg><seg type="rt">きょく</seg><seg type="rp">）</seg></seg>に当れば利害の<seg type="ruby"><seg type="rb">旋風</seg><seg type="rp">（</seg><seg type="rt">つむじ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">捲</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>き込まれて、うつくしき事にも、結構な事にも、目は<seg type="ruby"><seg type="rb">眩</seg><seg type="rp">（</seg><seg type="rt">くら</seg><seg type="rp">）</seg></seg>んでしまう。したがってどこに詩があるか自身には<seg type="ruby"><seg type="rb">解</seg><seg type="rp">（</seg><seg type="rt">げ</seg><seg type="rp">）</seg></seg>しかねる。<lb />
これがわかるためには、わかるだけの余裕のある第三者の地位に立たねばならぬ。三者の地位に立てばこそ芝居は<seg type="ruby"><seg type="rb">観</seg><seg type="rp">（</seg><seg type="rt">み</seg><seg type="rp">）</seg></seg>て面白い。小説も見て面白い。芝居を見て面白い人も、小説を読んで面白い人も、自己の利害は<seg type="ruby"><seg type="rb">棚</seg><seg type="rp">（</seg><seg type="rt">たな</seg><seg type="rp">）</seg></seg>へ上げている。見たり読んだりする間だけは詩人である。<lb />
それすら、普通の芝居や小説では人情を<seg type="ruby"><seg type="rb">免</seg><seg type="rp">（</seg><seg type="rt">まぬ</seg><seg type="rp">）</seg></seg>かれぬ。苦しんだり、怒ったり、騒いだり、泣いたりする。見るものもいつかその中に同化して苦しんだり、怒ったり、騒いだり、泣いたりする。<seg type="ruby"><seg type="rb">取柄</seg><seg type="rp">（</seg><seg type="rt">とりえ</seg><seg type="rp">）</seg></seg>は利慾が<seg type="ruby"><seg type="rb">交</seg><seg type="rp">（</seg><seg type="rt">まじ</seg><seg type="rp">）</seg></seg>らぬと云う点に<seg type="ruby"><seg type="rb">存</seg><seg type="rp">（</seg><seg type="rt">そん</seg><seg type="rp">）</seg></seg>するかも知れぬが、交らぬだけにその他の<seg type="ruby"><seg type="rb">情緒</seg><seg type="rp">（</seg><seg type="rt">じょうしょ</seg><seg type="rp">）</seg></seg>は常よりは余計に活動するだろう。それが<seg type="ruby"><seg type="rb">嫌</seg><seg type="rp">（</seg><seg type="rt">いや</seg><seg type="rp">）</seg></seg>だ。<lb />
苦しんだり、怒ったり、騒いだり、泣いたりは人の世につきものだ。余も三十年の間それを<seg type="ruby"><seg type="rb">仕通</seg><seg type="rp">（</seg><seg type="rt">しとお</seg><seg type="rp">）</seg></seg>して、<seg type="ruby"><seg type="rb">飽々</seg><seg type="rp">（</seg><seg type="rt">あきあき</seg><seg type="rp">）</seg></seg>した。<seg type="ruby"><seg type="rb">飽</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>き飽きした上に芝居や小説で同じ刺激を繰り返しては大変だ。余が欲する詩はそんな世間的の人情を<seg type="ruby"><seg type="rb">鼓舞</seg><seg type="rp">（</seg><seg type="rt">こぶ</seg><seg type="rp">）</seg></seg>するようなものではない。俗念を放棄して、しばらくでも<seg type="ruby"><seg type="rb">塵界</seg><seg type="rp">（</seg><seg type="rt">じんかい</seg><seg type="rp">）</seg></seg>を離れた心持ちになれる詩である。いくら傑作でも人情を離れた芝居はない、理非を絶した小説は少かろう。どこまでも世間を出る事が出来ぬのが彼らの特色である。ことに西洋の詩になると、人事が根本になるからいわゆる<seg type="ruby"><seg type="rb">詩歌</seg><seg type="rp">（</seg><seg type="rt">しいか</seg><seg type="rp">）</seg></seg>の純粋なるものもこの<seg type="ruby"><seg type="rb">境</seg><seg type="rp">（</seg><seg type="rt">きょう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">解脱</seg><seg type="rp">（</seg><seg type="rt">げだつ</seg><seg type="rp">）</seg></seg>する事を知らぬ。どこまでも同情だとか、愛だとか、正義だとか、自由だとか、<seg type="ruby"><seg type="rb">浮世</seg><seg type="rp">（</seg><seg type="rt">うきよ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">勧工場</seg><seg type="rp">（</seg><seg type="rt">かんこうば</seg><seg type="rp">）</seg></seg>にあるものだけで用を<seg type="ruby"><seg type="rb">弁</seg><seg type="rp">（</seg><seg type="rt">べん</seg><seg type="rp">）</seg></seg>じている。いくら詩的になっても地面の上を<seg type="ruby"><seg type="rb">馳</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>けてあるいて、<seg type="ruby"><seg type="rb">銭</seg><seg type="rp">（</seg><seg type="rt">ぜに</seg><seg type="rp">）</seg></seg>の勘定を忘れるひまがない。シェレーが<seg type="ruby"><seg type="rb">雲雀</seg><seg type="rp">（</seg><seg type="rt">ひばり</seg><seg type="rp">）</seg></seg>を聞いて嘆息したのも無理はない。<lb />
うれしい事に東洋の<seg type="ruby"><seg type="rb">詩歌</seg><seg type="rp">（</seg><seg type="rt">しいか</seg><seg type="rp">）</seg></seg>はそこを<seg type="ruby"><seg type="rb">解脱</seg><seg type="rp">（</seg><seg type="rt">げだつ</seg><seg type="rp">）</seg></seg>したのがある。<seg type="ruby"><seg type="rb">採菊</seg><seg type="rp">（</seg><seg type="rt">きくをとる</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">東籬下</seg><seg type="rp">（</seg><seg type="rt">とうりのもと</seg><seg type="rp">）</seg></seg>、<seg type="ruby"><seg type="rb">悠然</seg><seg type="rp">（</seg><seg type="rt">ゆうぜんとして</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">見南山</seg><seg type="rp">（</seg><seg type="rt">なんざんをみる</seg><seg type="rp">）</seg></seg>。ただそれぎりの<seg type="ruby"><seg type="rb">裏</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>に暑苦しい世の中をまるで忘れた光景が出てくる。垣の向うに隣りの娘が<seg type="ruby"><seg type="rb">覗</seg><seg type="rp">（</seg><seg type="rt">のぞ</seg><seg type="rp">）</seg></seg>いてる訳でもなければ、<seg type="ruby"><seg type="rb">南山</seg><seg type="rp">（</seg><seg type="rt">なんざん</seg><seg type="rp">）</seg></seg>に親友が奉職している次第でもない。超然と<seg type="ruby"><seg type="rb">出世間的</seg><seg type="rp">（</seg><seg type="rt">しゅっせけんてき</seg><seg type="rp">）</seg></seg>に利害損得の汗を流し去った心持ちになれる。<seg type="ruby"><seg type="rb">独</seg><seg type="rp">（</seg><seg type="rt">ひとり</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">坐幽篁裏</seg><seg type="rp">（</seg><seg type="rt">ゆうこうのうちにざし</seg><seg type="rp">）</seg></seg>、<seg type="ruby"><seg type="rb">弾琴</seg><seg type="rp">（</seg><seg type="rt">きんをだんじて</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">復長嘯</seg><seg type="rp">（</seg><seg type="rt">またちょうしょうす</seg><seg type="rp">）</seg></seg>、<seg type="ruby"><seg type="rb">深林</seg><seg type="rp">（</seg><seg type="rt">しんりん</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">人不知</seg><seg type="rp">（</seg><seg type="rt">ひとしらず</seg><seg type="rp">）</seg></seg>、<seg type="ruby"><seg type="rb">明月来</seg><seg type="rp">（</seg><seg type="rt">めいげつきたりて</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">相照</seg><seg type="rp">（</seg><seg type="rt">あいてらす</seg><seg type="rp">）</seg></seg>。ただ二十字のうちに<seg type="ruby"><seg type="rb">優</seg><seg type="rp">（</seg><seg type="rt">ゆう</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">別乾坤</seg><seg type="rp">（</seg><seg type="rt">べつけんこん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">建立</seg><seg type="rp">（</seg><seg type="rt">こんりゅう</seg><seg type="rp">）</seg></seg>している。この乾坤の<seg type="ruby"><seg type="rb">功徳</seg><seg type="rp">（</seg><seg type="rt">くどく</seg><seg type="rp">）</seg></seg>は「<seg type="ruby"><seg type="rb">不如帰</seg><seg type="rp">（</seg><seg type="rt">ほととぎす</seg><seg type="rp">）</seg></seg>」や「<seg type="ruby"><seg type="rb">金色夜叉</seg><seg type="rp">（</seg><seg type="rt">こんじきやしゃ</seg><seg type="rp">）</seg></seg>」の功徳ではない。汽船、汽車、権利、義務、道徳、礼義で疲れ果てた<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">のち</seg><seg type="rp">）</seg></seg>に、すべてを忘却してぐっすり寝込むような功徳である。<lb />
二十世紀に睡眠が必要ならば、二十世紀にこの出世間的の詩味は大切である。惜しい事に今の詩を作る人も、詩を読む人もみんな、西洋人にかぶれているから、わざわざ<seg type="ruby"><seg type="rb">呑気</seg><seg type="rp">（</seg><seg type="rt">のんき</seg><seg type="rp">）</seg></seg>な<seg type="ruby"><seg type="rb">扁舟</seg><seg type="rp">（</seg><seg type="rt">へんしゅう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">泛</seg><seg type="rp">（</seg><seg type="rt">うか</seg><seg type="rp">）</seg></seg>べてこの<seg type="ruby"><seg type="rb">桃源</seg><seg type="rp">（</seg><seg type="rt">とうげん</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">溯</seg><seg type="rp">（</seg><seg type="rt">さかのぼ</seg><seg type="rp">）</seg></seg>るものはないようだ。余は<seg type="ruby"><seg type="rb">固</seg><seg type="rp">（</seg><seg type="rt">もと</seg><seg type="rp">）</seg></seg>より詩人を職業にしておらんから、<seg type="ruby"><seg type="rb">王維</seg><seg type="rp">（</seg><seg type="rt">おうい</seg><seg type="rp">）</seg></seg>や<seg type="ruby"><seg type="rb">淵明</seg><seg type="rp">（</seg><seg type="rt">えんめい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">境界</seg><seg type="rp">（</seg><seg type="rt">きょうがい</seg><seg type="rp">）</seg></seg>を今の世に<seg type="ruby"><seg type="rb">布教</seg><seg type="rp">（</seg><seg type="rt">ふきょう</seg><seg type="rp">）</seg></seg>して広げようと云う心掛も何もない。ただ自分にはこう云う感興が演芸会よりも舞踏会よりも薬になるように思われる。ファウストよりも、ハムレットよりもありがたく考えられる。こうやって、ただ<seg type="ruby"><seg type="rb">一人</seg><seg type="rp">（</seg><seg type="rt">ひとり</seg><seg type="rp">）</seg></seg>絵の具箱と<seg type="ruby"><seg type="rb">三脚几</seg><seg type="rp">（</seg><seg type="rt">さんきゃくき</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">担</seg><seg type="rp">（</seg><seg type="rt">かつ</seg><seg type="rp">）</seg></seg>いで春の<seg type="ruby"><seg type="rb">山路</seg><seg type="rp">（</seg><seg type="rt">やまじ</seg><seg type="rp">）</seg></seg>をのそのそあるくのも全くこれがためである。淵明、王維の詩境を直接に自然から吸収して、すこしの<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>でも<seg type="ruby"><seg type="rb">非人情</seg><seg type="rp">（</seg><seg type="rt">ひにんじょう</seg><seg type="rp">）</seg></seg>の天地に<seg type="ruby"><seg type="rb">逍遥</seg><seg type="rp">（</seg><seg type="rt">しょうよう</seg><seg type="rp">）</seg></seg>したいからの<seg type="ruby"><seg type="rb">願</seg><seg type="rp">（</seg><seg type="rt">ねがい</seg><seg type="rp">）</seg></seg>。一つの<seg type="ruby"><seg type="rb">酔興</seg><seg type="rp">（</seg><seg type="rt">すいきょう</seg><seg type="rp">）</seg></seg>だ。<lb />
もちろん人間の<seg type="ruby"><seg type="rb">一分子</seg><seg type="rp">（</seg><seg type="rt">いちぶんし</seg><seg type="rp">）</seg></seg>だから、いくら好きでも、非人情はそう長く続く<seg type="ruby"><seg type="rb">訳</seg><seg type="rp">（</seg><seg type="rt">わけ</seg><seg type="rp">）</seg></seg>には行かぬ。淵明だって<seg type="ruby"><seg type="rb">年</seg><seg type="rp">（</seg><seg type="rt">ねん</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">年中</seg><seg type="rp">（</seg><seg type="rt">ねんじゅう</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">南山</seg><seg type="rp">（</seg><seg type="rt">なんざん</seg><seg type="rp">）</seg></seg>を見詰めていたのでもあるまいし、王維も好んで<seg type="ruby"><seg type="rb">竹藪</seg><seg type="rp">（</seg><seg type="rt">たけやぶ</seg><seg type="rp">）</seg></seg>の中に<seg type="ruby"><seg type="rb">蚊帳</seg><seg type="rp">（</seg><seg type="rt">かや</seg><seg type="rp">）</seg></seg>を釣らずに寝た男でもなかろう。やはり余った菊は花屋へ売りこかして、<seg type="ruby"><seg type="rb">生</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>えた<seg type="ruby"><seg type="rb">筍</seg><seg type="rp">（</seg><seg type="rt">たけのこ</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">八百屋</seg><seg type="rp">（</seg><seg type="rt">やおや</seg><seg type="rp">）</seg></seg>へ払い下げたものと思う。こう云う余もその通り。いくら雲雀と菜の花が気に入ったって、山のなかへ野宿するほど非人情が<seg type="ruby"><seg type="rb">募</seg><seg type="rp">（</seg><seg type="rt">つの</seg><seg type="rp">）</seg></seg>ってはおらん。こんな所でも人間に<seg type="ruby"><seg type="rb">逢</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>う。じんじん<seg type="ruby"><seg type="rb">端折</seg><seg type="rp">（</seg><seg type="rt">ばしょ</seg><seg type="rp">）</seg></seg>りの<seg type="ruby"><seg type="rb">頬冠</seg><seg type="rp">（</seg><seg type="rt">ほおかむ</seg><seg type="rp">）</seg></seg>りや、赤い<seg type="ruby"><seg type="rb">腰巻</seg><seg type="rp">（</seg><seg type="rt">こしまき</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">姉</seg><seg type="rp">（</seg><seg type="rt">あね</seg><seg type="rp">）</seg></seg>さんや、時には人間より顔の長い馬にまで逢う。百万本の<seg type="ruby"><seg type="rb">檜</seg><seg type="rp">（</seg><seg type="rt">ひのき</seg><seg type="rp">）</seg></seg>に取り囲まれて、海面を抜く何百尺かの空気を<seg type="ruby"><seg type="rb">呑</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>んだり吐いたりしても、人の<seg type="ruby"><seg type="rb">臭</seg><seg type="rp">（</seg><seg type="rt">にお</seg><seg type="rp">）</seg></seg>いはなかなか取れない。それどころか、山を越えて落ちつく先の、<seg type="ruby"><seg type="rb">今宵</seg><seg type="rp">（</seg><seg type="rt">こよい</seg><seg type="rp">）</seg></seg>の宿は<seg type="ruby"><seg type="rb">那古井</seg><seg type="rp">（</seg><seg type="rt">なこい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">温泉場</seg><seg type="rp">（</seg><seg type="rt">おんせんば</seg><seg type="rp">）</seg></seg>だ。<lb />
ただ、物は<seg type="ruby"><seg type="rb">見様</seg><seg type="rp">（</seg><seg type="rt">みよう</seg><seg type="rp">）</seg></seg>でどうでもなる。レオナルド・ダ・ヴィンチが弟子に告げた<seg type="ruby"><seg type="rb">言</seg><seg type="rp">（</seg><seg type="rt">ことば</seg><seg type="rp">）</seg></seg>に、あの<seg type="ruby"><seg type="rb">鐘</seg><seg type="rp">（</seg><seg type="rt">かね</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">音</seg><seg type="rp">（</seg><seg type="rt">おと</seg><seg type="rp">）</seg></seg>を聞け、鐘は一つだが、音はどうとも聞かれるとある。一人の男、一人の女も<seg type="ruby"><seg type="rb">見様次第</seg><seg type="rp">（</seg><seg type="rt">みようしだい</seg><seg type="rp">）</seg></seg>でいかようとも見立てがつく。どうせ非人情をしに出掛けた旅だから、そのつもりで人間を見たら、<seg type="ruby"><seg type="rb">浮世小路</seg><seg type="rp">（</seg><seg type="rt">うきよこうじ</seg><seg type="rp">）</seg></seg>の何軒目に狭苦しく暮した時とは違うだろう。よし全く人情を離れる事が出来んでも、せめて<seg type="ruby"><seg type="rb">御能拝見</seg><seg type="rp">（</seg><seg type="rt">おのうはいけん</seg><seg type="rp">）</seg></seg>の時くらいは淡い心持ちにはなれそうなものだ。能にも人情はある。<seg type="ruby"><seg type="rb">七騎落</seg><seg type="rp">（</seg><seg type="rt">しちきおち</seg><seg type="rp">）</seg></seg>でも、<seg type="ruby"><seg type="rb">墨田川</seg><seg type="rp">（</seg><seg type="rt">すみだがわ</seg><seg type="rp">）</seg></seg>でも泣かぬとは保証が出来ん。しかしあれは<seg type="ruby"><seg type="rb">情</seg><seg type="rp">（</seg><seg type="rt">じょう</seg><seg type="rp">）</seg></seg>三<seg type="ruby"><seg type="rb">分芸</seg><seg type="rp">（</seg><seg type="rt">ぶげい</seg><seg type="rp">）</seg></seg>七分で見せるわざだ。我らが能から<seg type="ruby"><seg type="rb">享</seg><seg type="rp">（</seg><seg type="rt">う</seg><seg type="rp">）</seg></seg>けるありがた味は下界の人情をよく<seg rend="sesame_dot" rendition="em">そのまま</seg>に写す<seg type="ruby"><seg type="rb">手際</seg><seg type="rp">（</seg><seg type="rt">てぎわ</seg><seg type="rp">）</seg></seg>から出てくるのではない。<seg rend="sesame_dot" rendition="em">そのまま</seg>の上へ芸術という着物を何枚も着せて、世の中にあるまじき<seg type="ruby"><seg type="rb">悠長</seg><seg type="rp">（</seg><seg type="rt">ゆうちょう</seg><seg type="rp">）</seg></seg>な<seg type="ruby"><seg type="rb">振舞</seg><seg type="rp">（</seg><seg type="rt">ふるまい</seg><seg type="rp">）</seg></seg>をするからである。<lb />
しばらくこの<seg type="ruby"><seg type="rb">旅中</seg><seg type="rp">（</seg><seg type="rt">りょちゅう</seg><seg type="rp">）</seg></seg>に起る出来事と、旅中に<seg type="ruby"><seg type="rb">出逢</seg><seg type="rp">（</seg><seg type="rt">であ</seg><seg type="rp">）</seg></seg>う人間を能の<seg type="ruby"><seg type="rb">仕組</seg><seg type="rp">（</seg><seg type="rt">しくみ</seg><seg type="rp">）</seg></seg>と能役者の<seg type="ruby"><seg type="rb">所作</seg><seg type="rp">（</seg><seg type="rt">しょさ</seg><seg type="rp">）</seg></seg>に見立てたらどうだろう。まるで人情を<seg type="ruby"><seg type="rb">棄</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>てる訳には行くまいが、根が詩的に出来た旅だから、非人情のやりついでに、なるべく節倹してそこまでは<seg type="ruby"><seg type="rb">漕</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>ぎつけたいものだ。<seg type="ruby"><seg type="rb">南山</seg><seg type="rp">（</seg><seg type="rt">なんざん</seg><seg type="rp">）</seg></seg>や<seg type="ruby"><seg type="rb">幽篁</seg><seg type="rp">（</seg><seg type="rt">ゆうこう</seg><seg type="rp">）</seg></seg>とは<seg type="ruby"><seg type="rb">性</seg><seg type="rp">（</seg><seg type="rt">たち</seg><seg type="rp">）</seg></seg>の違ったものに相違ないし、また<seg type="ruby"><seg type="rb">雲雀</seg><seg type="rp">（</seg><seg type="rt">ひばり</seg><seg type="rp">）</seg></seg>や菜の花といっしょにする事も出来まいが、なるべくこれに近づけて、近づけ得る限りは同じ観察点から人間を<seg type="ruby"><seg type="rb">視</seg><seg type="rp">（</seg><seg type="rt">み</seg><seg type="rp">）</seg></seg>てみたい。<seg type="ruby"><seg type="rb">芭蕉</seg><seg type="rp">（</seg><seg type="rt">ばしょう</seg><seg type="rp">）</seg></seg>と云う男は<seg type="ruby"><seg type="rb">枕元</seg><seg type="rp">（</seg><seg type="rt">まくらもと</seg><seg type="rp">）</seg></seg>へ馬が<seg type="ruby"><seg type="rb">尿</seg><seg type="rp">（</seg><seg type="rt">いばり</seg><seg type="rp">）</seg></seg>するのをさえ<seg type="ruby"><seg type="rb">雅</seg><seg type="rp">（</seg><seg type="rt">が</seg><seg type="rp">）</seg></seg>な事と見立てて<seg type="ruby"><seg type="rb">発句</seg><seg type="rp">（</seg><seg type="rt">ほっく</seg><seg type="rp">）</seg></seg>にした。余もこれから逢う人物を――百姓も、町人も、村役場の書記も、<seg type="ruby"><seg type="rb">爺</seg><seg type="rp">（</seg><seg type="rt">じい</seg><seg type="rp">）</seg></seg>さんも<seg type="ruby"><seg type="rb">婆</seg><seg type="rp">（</seg><seg type="rt">ばあ</seg><seg type="rp">）</seg></seg>さんも――ことごとく大自然の点景として描き出されたものと仮定して取こなして見よう。もっとも画中の人物と違って、彼らはおのがじし勝手な<seg type="ruby"><seg type="rb">真似</seg><seg type="rp">（</seg><seg type="rt">まね</seg><seg type="rp">）</seg></seg>をするだろう。しかし普通の小説家のようにその勝手な真似の根本を<seg type="ruby"><seg type="rb">探</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>ぐって、心理作用に立ち入ったり、<seg type="ruby"><seg type="rb">人事葛藤</seg><seg type="rp">（</seg><seg type="rt">じんじかっとう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">詮議立</seg><seg type="rp">（</seg><seg type="rt">せんぎだ</seg><seg type="rp">）</seg></seg>てをしては俗になる。動いても構わない。画中の人間が動くと見れば<seg type="ruby"><seg type="rb">差</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>し<seg type="ruby"><seg type="rb">支</seg><seg type="rp">（</seg><seg type="rt">つかえ</seg><seg type="rp">）</seg></seg>ない。画中の人物はどう動いても平面以外に出られるものではない。平面以外に飛び出して、立方的に働くと思えばこそ、こっちと衝突したり、利害の交渉が起ったりして面倒になる。面倒になればなるほど美的に見ている<seg type="ruby"><seg type="rb">訳</seg><seg type="rp">（</seg><seg type="rt">わけ</seg><seg type="rp">）</seg></seg>に行かなくなる。これから逢う人間には超然と遠き上から見物する気で、人情の電気がむやみに双方で起らないようにする。そうすれば相手がいくら働いても、こちらの<seg type="ruby"><seg type="rb">懐</seg><seg type="rp">（</seg><seg type="rt">ふところ</seg><seg type="rp">）</seg></seg>には容易に飛び込めない訳だから、つまりは<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>の前へ立って、画中の人物が画面の<seg type="ruby"><seg type="rb">中</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>をあちらこちらと騒ぎ廻るのを見るのと同じ訳になる。<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">あいだ</seg><seg type="rp">）</seg></seg>三尺も<seg type="ruby"><seg type="rb">隔</seg><seg type="rp">（</seg><seg type="rt">へだ</seg><seg type="rp">）</seg></seg>てていれば落ちついて見られる。あぶな<seg type="ruby"><seg type="rb">気</seg><seg type="rp">（</seg><seg type="rt">げ</seg><seg type="rp">）</seg></seg>なしに見られる。<seg type="ruby"><seg type="rb">言</seg><seg type="rp">（</seg><seg type="rt">ことば</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">換</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>えて云えば、利害に気を奪われないから、全力を<seg type="ruby"><seg type="rb">挙</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>げて彼らの動作を芸術の方面から観察する事が出来る。余念もなく美か美でないかと<seg type="ruby"><seg type="rb">鑒識</seg><seg type="rp">（</seg><seg type="rt">かんしき</seg><seg type="rp">）</seg></seg>する事が出来る。<lb />
ここまで決心をした時、空があやしくなって来た。煮え切れない雲が、頭の上へ<seg type="ruby"><seg type="rb">靠垂</seg><seg type="rp">（</seg><seg type="rt">もた</seg><seg type="rp">）</seg></seg>れ<seg type="ruby"><seg type="rb">懸</seg><seg type="rp">（</seg><seg type="rt">かか</seg><seg type="rp">）</seg></seg>っていたと思ったが、いつのまにか、<seg type="ruby"><seg type="rb">崩</seg><seg type="rp">（</seg><seg type="rt">くず</seg><seg type="rp">）</seg></seg>れ<seg type="ruby"><seg type="rb">出</seg><seg type="rp">（</seg><seg type="rt">だ</seg><seg type="rp">）</seg></seg>して、<seg type="ruby"><seg type="rb">四方</seg><seg type="rp">（</seg><seg type="rt">しほう</seg><seg type="rp">）</seg></seg>はただ雲の海かと怪しまれる中から、しとしとと春の雨が降り出した。菜の花は<seg type="ruby"><seg type="rb">疾</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>くに通り過して、今は山と山の間を行くのだが、雨の糸が<seg type="ruby"><seg type="rb">濃</seg><seg type="rp">（</seg><seg type="rt">こまや</seg><seg type="rp">）</seg></seg>かでほとんど霧を<seg type="ruby"><seg type="rb">欺</seg><seg type="rp">（</seg><seg type="rt">あざむ</seg><seg type="rp">）</seg></seg>くくらいだから、<seg type="ruby"><seg type="rb">隔</seg><seg type="rp">（</seg><seg type="rt">へだ</seg><seg type="rp">）</seg></seg>たりはどれほどかわからぬ。時々風が来て、高い雲を吹き払うとき、薄黒い山の<seg type="ruby"><seg type="rb">背</seg><seg type="rp">（</seg><seg type="rt">せ</seg><seg type="rp">）</seg></seg>が右手に見える事がある。何でも谷一つ隔てて向うが脈の走っている所らしい。左はすぐ山の<seg type="ruby"><seg type="rb">裾</seg><seg type="rp">（</seg><seg type="rt">すそ</seg><seg type="rp">）</seg></seg>と見える。深く<seg type="ruby"><seg type="rb">罩</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>める雨の奥から松らしいものが、ちょくちょく顔を出す。出すかと思うと、隠れる。雨が動くのか、木が動くのか、夢が動くのか、何となく不思議な心持ちだ。<lb />
路は<seg type="ruby"><seg type="rb">存外</seg><seg type="rp">（</seg><seg type="rt">ぞんがい</seg><seg type="rp">）</seg></seg>広くなって、かつ<seg type="ruby"><seg type="rb">平</seg><seg type="rp">（</seg><seg type="rt">たいら</seg><seg type="rp">）</seg></seg>だから、あるくに骨は折れんが、雨具の用意がないので急ぐ。帽子から<seg type="ruby"><seg type="rb">雨垂</seg><seg type="rp">（</seg><seg type="rt">あまだ</seg><seg type="rp">）</seg></seg>れがぽたりぽたりと落つる頃、五六間先きから、鈴の音がして、黒い中から、<seg type="ruby"><seg type="rb">馬子</seg><seg type="rp">（</seg><seg type="rt">まご</seg><seg type="rp">）</seg></seg>がふうとあらわれた。<lb />
「ここらに休む所はないかね」<lb />
「もう十五丁行くと茶屋がありますよ。だいぶ<seg type="ruby"><seg type="rb">濡</seg><seg type="rp">（</seg><seg type="rt">ぬ</seg><seg type="rp">）</seg></seg>れたね」<lb />
まだ十五丁かと、振り向いているうちに、馬子の姿は<seg type="ruby"><seg type="rb">影画</seg><seg type="rp">（</seg><seg type="rt">かげえ</seg><seg type="rp">）</seg></seg>のように雨につつまれて、またふうと消えた。<lb />
<seg type="ruby"><seg type="rb">糠</seg><seg type="rp">（</seg><seg type="rt">ぬか</seg><seg type="rp">）</seg></seg>のように見えた粒は次第に太く長くなって、今は<seg type="ruby"><seg type="rb">一筋</seg><seg type="rp">（</seg><seg type="rt">ひとすじ</seg><seg type="rp">）</seg></seg>ごとに風に<seg type="ruby"><seg type="rb">捲</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>かれる<seg type="ruby"><seg type="rb">様</seg><seg type="rp">（</seg><seg type="rt">さま</seg><seg type="rp">）</seg></seg>までが目に<seg type="ruby"><seg type="rb">入</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>る。羽織はとくに濡れ<seg type="ruby"><seg type="rb">尽</seg><seg type="rp">（</seg><seg type="rt">つく</seg><seg type="rp">）</seg></seg>して肌着に<seg type="ruby"><seg type="rb">浸</seg><seg type="rp">（</seg><seg type="rt">し</seg><seg type="rp">）</seg></seg>み込んだ水が、<seg type="ruby"><seg type="rb">身体</seg><seg type="rp">（</seg><seg type="rt">からだ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">温度</seg><seg type="rp">（</seg><seg type="rt">ぬくもり</seg><seg type="rp">）</seg></seg>で<seg type="ruby"><seg type="rb">生暖</seg><seg type="rp">（</seg><seg type="rt">なまあたたか</seg><seg type="rp">）</seg></seg>く感ぜられる。気持がわるいから、帽を傾けて、すたすた<seg type="ruby"><seg type="rb">歩行</seg><seg type="rp">（</seg><seg type="rt">ある</seg><seg type="rp">）</seg></seg>く。<lb />
<seg type="ruby"><seg type="rb">茫々</seg><seg type="rp">（</seg><seg type="rt">ぼうぼう</seg><seg type="rp">）</seg></seg>たる<seg type="ruby"><seg type="rb">薄墨色</seg><seg type="rp">（</seg><seg type="rt">うすずみいろ</seg><seg type="rp">）</seg></seg>の世界を、<seg type="ruby"><seg type="rb">幾条</seg><seg type="rp">（</seg><seg type="rt">いくじょう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">銀箭</seg><seg type="rp">（</seg><seg type="rt">ぎんせん</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">斜</seg><seg type="rp">（</seg><seg type="rt">なな</seg><seg type="rp">）</seg></seg>めに走るなかを、ひたぶるに濡れて行くわれを、われならぬ人の姿と思えば、詩にもなる、句にも<seg type="ruby"><seg type="rb">咏</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>まれる。<seg type="ruby"><seg type="rb">有体</seg><seg type="rp">（</seg><seg type="rt">ありてい</seg><seg type="rp">）</seg></seg>なる<seg type="ruby"><seg type="rb">己</seg><seg type="rp">（</seg><seg type="rt">おの</seg><seg type="rp">）</seg></seg>れを忘れ<seg type="ruby"><seg type="rb">尽</seg><seg type="rp">（</seg><seg type="rt">つく</seg><seg type="rp">）</seg></seg>して純客観に眼をつくる時、始めてわれは画中の人物として、自然の景物と美しき調和を<seg type="ruby"><seg type="rb">保</seg><seg type="rp">（</seg><seg type="rt">たも</seg><seg type="rp">）</seg></seg>つ。ただ降る雨の心苦しくて、踏む足の疲れたるを気に掛ける瞬間に、われはすでに詩中の人にもあらず、<seg type="ruby"><seg type="rb">画裡</seg><seg type="rp">（</seg><seg type="rt">がり</seg><seg type="rp">）</seg></seg>の人にもあらず。依然として<seg type="ruby"><seg type="rb">市井</seg><seg type="rp">（</seg><seg type="rt">しせい</seg><seg type="rp">）</seg></seg>の一<seg type="ruby"><seg type="rb">豎子</seg><seg type="rp">（</seg><seg type="rt">じゅし</seg><seg type="rp">）</seg></seg>に過ぎぬ。雲煙飛動の<seg type="ruby"><seg type="rb">趣</seg><seg type="rp">（</seg><seg type="rt">おもむき</seg><seg type="rp">）</seg></seg>も眼に<seg type="ruby"><seg type="rb">入</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>らぬ。<seg type="ruby"><seg type="rb">落花啼鳥</seg><seg type="rp">（</seg><seg type="rt">らっかていちょう</seg><seg type="rp">）</seg></seg>の情けも心に浮ばぬ。<seg type="ruby"><seg type="rb">蕭々</seg><seg type="rp">（</seg><seg type="rt">しょうしょう</seg><seg type="rp">）</seg></seg>として<seg type="ruby"><seg type="rb">独</seg><seg type="rp">（</seg><seg type="rt">ひと</seg><seg type="rp">）</seg></seg>り<seg type="ruby"><seg type="rb">春山</seg><seg type="rp">（</seg><seg type="rt">しゅんざん</seg><seg type="rp">）</seg></seg>を行く<seg type="ruby"><seg type="rb">吾</seg><seg type="rp">（</seg><seg type="rt">われ</seg><seg type="rp">）</seg></seg>の、いかに美しきかはなおさらに<seg type="ruby"><seg type="rb">解</seg><seg type="rp">（</seg><seg type="rt">かい</seg><seg type="rp">）</seg></seg>せぬ。初めは帽を傾けて<seg type="ruby"><seg type="rb">歩行</seg><seg type="rp">（</seg><seg type="rt">あるい</seg><seg type="rp">）</seg></seg>た。<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">のち</seg><seg type="rp">）</seg></seg>にはただ足の<seg type="ruby"><seg type="rb">甲</seg><seg type="rp">（</seg><seg type="rt">こう</seg><seg type="rp">）</seg></seg>のみを見詰めてあるいた。終りには肩をすぼめて、恐る恐る歩行た。雨は<seg type="ruby"><seg type="rb">満目</seg><seg type="rp">（</seg><seg type="rt">まんもく</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">樹梢</seg><seg type="rp">（</seg><seg type="rt">じゅしょう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">揺</seg><seg type="rp">（</seg><seg type="rt">うご</seg><seg type="rp">）</seg></seg>かして<seg type="ruby"><seg type="rb">四方</seg><seg type="rp">（</seg><seg type="rt">しほう</seg><seg type="rp">）</seg></seg>より<seg type="ruby"><seg type="rb">孤客</seg><seg type="rp">（</seg><seg type="rt">こかく</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">逼</seg><seg type="rp">（</seg><seg type="rt">せま</seg><seg type="rp">）</seg></seg>る。非人情がちと強過ぎたようだ。<lb />
<lb />
<seg rend="jisage_8" rendition="div" style="margin-left: 8em"><seg rend="naka-midashi" rendition="h"><seg rend="midashi_anchor" rendition="a" xml:id="midashi20">二</seg></seg></seg>
<lb />
「おい」と声を掛けたが返事がない。<lb />
<seg type="ruby"><seg type="rb">軒下</seg><seg type="rp">（</seg><seg type="rt">のきした</seg><seg type="rp">）</seg></seg>から奥を<seg type="ruby"><seg type="rb">覗</seg><seg type="rp">（</seg><seg type="rt">のぞ</seg><seg type="rp">）</seg></seg>くと<seg type="ruby"><seg type="rb">煤</seg><seg type="rp">（</seg><seg type="rt">すす</seg><seg type="rp">）</seg></seg>けた<seg type="ruby"><seg type="rb">障子</seg><seg type="rp">（</seg><seg type="rt">しょうじ</seg><seg type="rp">）</seg></seg>が立て切ってある。向う側は見えない。五六足の<seg type="ruby"><seg type="rb">草鞋</seg><seg type="rp">（</seg><seg type="rt">わらじ</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">淋</seg><seg type="rp">（</seg><seg type="rt">さび</seg><seg type="rp">）</seg></seg>しそうに<seg type="ruby"><seg type="rb">庇</seg><seg type="rp">（</seg><seg type="rt">ひさし</seg><seg type="rp">）</seg></seg>から<seg type="ruby"><seg type="rb">吊</seg><seg type="rp">（</seg><seg type="rt">つる</seg><seg type="rp">）</seg></seg>されて、<seg type="ruby"><seg type="rb">屈托気</seg><seg type="rp">（</seg><seg type="rt">くったくげ</seg><seg type="rp">）</seg></seg>にふらりふらりと揺れる。下に<seg type="ruby"><seg type="rb">駄菓子</seg><seg type="rp">（</seg><seg type="rt">だがし</seg><seg type="rp">）</seg></seg>の箱が三つばかり並んで、そばに五厘銭と<seg type="ruby"><seg type="rb">文久銭</seg><seg type="rp">（</seg><seg type="rt">ぶんきゅうせん</seg><seg type="rp">）</seg></seg>が散らばっている。<lb />
「おい」とまた声をかける。土間の<seg type="ruby"><seg type="rb">隅</seg><seg type="rp">（</seg><seg type="rt">すみ</seg><seg type="rp">）</seg></seg>に片寄せてある<seg type="ruby"><seg type="rb">臼</seg><seg type="rp">（</seg><seg type="rt">うす</seg><seg type="rp">）</seg></seg>の上に、ふくれていた<seg type="ruby"><seg type="rb">鶏</seg><seg type="rp">（</seg><seg type="rt">にわとり</seg><seg type="rp">）</seg></seg>が、驚ろいて眼をさます。ククク、クククと騒ぎ出す。敷居の外に<seg type="ruby"><seg type="rb">土竈</seg><seg type="rp">（</seg><seg type="rt">どべっつい</seg><seg type="rp">）</seg></seg>が、今しがたの雨に濡れて、半分ほど色が変ってる上に、真黒な<seg type="ruby"><seg type="rb">茶釜</seg><seg type="rp">（</seg><seg type="rt">ちゃがま</seg><seg type="rp">）</seg></seg>がかけてあるが、土の茶釜か、銀の茶釜かわからない。幸い下は<seg type="ruby"><seg type="rb">焚</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>きつけてある。<lb />
返事がないから、無断でずっと<seg type="ruby"><seg type="rb">這入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>って、<seg type="ruby"><seg type="rb">床几</seg><seg type="rp">（</seg><seg type="rt">しょうぎ</seg><seg type="rp">）</seg></seg>の上へ腰を<seg type="ruby"><seg type="rb">卸</seg><seg type="rp">（</seg><seg type="rt">おろ</seg><seg type="rp">）</seg></seg>した。<seg type="ruby"><seg type="rb">鶏</seg><seg type="rp">（</seg><seg type="rt">にわとり</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">羽摶</seg><seg type="rp">（</seg><seg type="rt">はばた</seg><seg type="rp">）</seg></seg>きをして<seg type="ruby"><seg type="rb">臼</seg><seg type="rp">（</seg><seg type="rt">うす</seg><seg type="rp">）</seg></seg>から飛び下りる。今度は畳の上へあがった。<seg type="ruby"><seg type="rb">障子</seg><seg type="rp">（</seg><seg type="rt">しょうじ</seg><seg type="rp">）</seg></seg>がしめてなければ奥まで<seg type="ruby"><seg type="rb">馳</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>けぬける気かも知れない。雄が太い声でこけっこっこと云うと、雌が細い声でけけっこっこと云う。まるで余を狐か<seg type="ruby"><seg type="rb">狗</seg><seg type="rp">（</seg><seg type="rt">いぬ</seg><seg type="rp">）</seg></seg>のように考えているらしい。床几の上には<seg type="ruby"><seg type="rb">一升枡</seg><seg type="rp">（</seg><seg type="rt">いっしょうます</seg><seg type="rp">）</seg></seg>ほどな<seg type="ruby"><seg type="rb">煙草盆</seg><seg type="rp">（</seg><seg type="rt">たばこぼん</seg><seg type="rp">）</seg></seg>が閑静に控えて、中にはとぐろを<seg type="ruby"><seg type="rb">捲</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>いた線香が、日の移るのを知らぬ顔で、すこぶる<seg type="ruby"><seg type="rb">悠長</seg><seg type="rp">（</seg><seg type="rt">ゆうちょう</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">燻</seg><seg type="rp">（</seg><seg type="rt">いぶ</seg><seg type="rp">）</seg></seg>っている。雨はしだいに収まる。<lb />
しばらくすると、奥の方から足音がして、<seg type="ruby"><seg type="rb">煤</seg><seg type="rp">（</seg><seg type="rt">すす</seg><seg type="rp">）</seg></seg>けた障子がさらりと<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>く。なかから一人の婆さんが出る。<lb />
どうせ誰か出るだろうとは思っていた。<seg type="ruby"><seg type="rb">竈</seg><seg type="rp">（</seg><seg type="rt">へつい</seg><seg type="rp">）</seg></seg>に火は燃えている。菓子箱の上に銭が散らばっている。線香は<seg type="ruby"><seg type="rb">呑気</seg><seg type="rp">（</seg><seg type="rt">のんき</seg><seg type="rp">）</seg></seg>に燻っている。どうせ出るにはきまっている。しかし自分の<seg type="ruby"><seg type="rb">見世</seg><seg type="rp">（</seg><seg type="rt">みせ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">明</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>け放しても苦にならないと見えるところが、少し都とは違っている。返事がないのに床几に腰をかけて、いつまでも待ってるのも少し二十世紀とは受け取れない。ここらが非人情で面白い。その上出て来た婆さんの顔が気に入った。<lb />
二三年前<seg type="ruby"><seg type="rb">宝生</seg><seg type="rp">（</seg><seg type="rt">ほうしょう</seg><seg type="rp">）</seg></seg>の舞台で<seg type="ruby"><seg type="rb">高砂</seg><seg type="rp">（</seg><seg type="rt">たかさご</seg><seg type="rp">）</seg></seg>を見た事がある。その時これはうつくしい<seg type="ruby"><seg type="rb">活人画</seg><seg type="rp">（</seg><seg type="rt">かつじんが</seg><seg type="rp">）</seg></seg>だと思った。<seg type="ruby"><seg type="rb">箒</seg><seg type="rp">（</seg><seg type="rt">ほうき</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">担</seg><seg type="rp">（</seg><seg type="rt">かつ</seg><seg type="rp">）</seg></seg>いだ爺さんが<seg type="ruby"><seg type="rb">橋懸</seg><seg type="rp">（</seg><seg type="rt">はしがか</seg><seg type="rp">）</seg></seg>りを五六歩来て、そろりと<seg type="ruby"><seg type="rb">後向</seg><seg type="rp">（</seg><seg type="rt">うしろむき</seg><seg type="rp">）</seg></seg>になって、婆さんと向い合う。その向い合うた姿勢が今でも眼につく。余の席からは婆さんの顔がほとんど<seg type="ruby"><seg type="rb">真</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>むきに見えたから、ああうつくしいと思った時に、その表情はぴしゃりと心のカメラへ焼き付いてしまった。茶店の婆さんの顔はこの写真に血を通わしたほど似ている。<lb />
「御婆さん、ここをちょっと借りたよ」<lb />
「はい、これは、いっこう存じませんで」<lb />
「だいぶ降ったね」<lb />
「あいにくな御天気で、さぞ御困りで御座んしょ。おおおおだいぶお<seg type="ruby"><seg type="rb">濡</seg><seg type="rp">（</seg><seg type="rt">ぬ</seg><seg type="rp">）</seg></seg>れなさった。今火を<seg type="ruby"><seg type="rb">焚</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>いて<seg type="ruby"><seg type="rb">乾</seg><seg type="rp">（</seg><seg type="rt">かわ</seg><seg type="rp">）</seg></seg>かして上げましょ」<lb />
「そこをもう少し<seg type="ruby"><seg type="rb">燃</seg><seg type="rp">（</seg><seg type="rt">も</seg><seg type="rp">）</seg></seg>しつけてくれれば、あたりながら乾かすよ。どうも少し休んだら寒くなった」<lb />
「へえ、ただいま焚いて上げます。まあ御茶を一つ」<lb />
と立ち上がりながら、しっしっと<seg type="ruby"><seg type="rb">二声</seg><seg type="rp">（</seg><seg type="rt">ふたこえ</seg><seg type="rp">）</seg></seg>で<seg type="ruby"><seg type="rb">鶏</seg><seg type="rp">（</seg><seg type="rt">にわとり</seg><seg type="rp">）</seg></seg>を追い<seg type="ruby"><seg type="rb">下</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>げる。ここここと<seg type="ruby"><seg type="rb">馳</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>け出した夫婦は、<seg type="ruby"><seg type="rb">焦茶色</seg><seg type="rp">（</seg><seg type="rt">こげちゃいろ</seg><seg type="rp">）</seg></seg>の畳から、駄菓子箱の中を踏みつけて、往来へ飛び出す。雄の方が逃げるとき駄菓子の上へ<seg type="ruby"><seg type="rb">糞</seg><seg type="rp">（</seg><seg type="rt">ふん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">垂</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>れた。<lb />
「まあ一つ」と婆さんはいつの<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>にか<seg type="ruby"><seg type="rb">刳</seg><seg type="rp">（</seg><seg type="rt">く</seg><seg type="rp">）</seg></seg>り抜き盆の上に茶碗をのせて出す。茶の色の黒く<seg type="ruby"><seg type="rb">焦</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>げている底に、<seg type="ruby"><seg type="rb">一筆</seg><seg type="rp">（</seg><seg type="rt">ひとふで</seg><seg type="rp">）</seg></seg>がきの梅の花が三輪<seg type="ruby"><seg type="rb">無雑作</seg><seg type="rp">（</seg><seg type="rt">むぞうさ</seg><seg type="rp">）</seg></seg>に焼き付けられている。<lb />
「御菓子を」と今度は鶏の踏みつけた<seg type="ruby"><seg type="rb">胡麻</seg><seg type="rp">（</seg><seg type="rt">ごま</seg><seg type="rp">）</seg></seg>ねじと<seg type="ruby"><seg type="rb">微塵棒</seg><seg type="rp">（</seg><seg type="rt">みじんぼう</seg><seg type="rp">）</seg></seg>を持ってくる。<seg type="ruby"><seg type="rb">糞</seg><seg type="rp">（</seg><seg type="rt">ふん</seg><seg type="rp">）</seg></seg>はどこぞに着いておらぬかと<seg type="ruby"><seg type="rb">眺</seg><seg type="rp">（</seg><seg type="rt">なが</seg><seg type="rp">）</seg></seg>めて見たが、それは箱のなかに取り残されていた。<lb />
婆さんは<seg type="ruby"><seg type="rb">袖無</seg><seg type="rp">（</seg><seg type="rt">そでな</seg><seg type="rp">）</seg></seg>しの上から、<seg type="ruby"><seg type="rb">襷</seg><seg type="rp">（</seg><seg type="rt">たすき</seg><seg type="rp">）</seg></seg>をかけて、<seg type="ruby"><seg type="rb">竈</seg><seg type="rp">（</seg><seg type="rt">へっつい</seg><seg type="rp">）</seg></seg>の前へうずくまる。余は<seg type="ruby"><seg type="rb">懐</seg><seg type="rp">（</seg><seg type="rt">ふところ</seg><seg type="rp">）</seg></seg>から写生帖を取り出して、婆さんの横顔を写しながら、話しをしかける。<lb />
「閑静でいいね」<lb />
「へえ、御覧の通りの<seg type="ruby"><seg type="rb">山里</seg><seg type="rp">（</seg><seg type="rt">やまざと</seg><seg type="rp">）</seg></seg>で」<lb />
「<seg type="ruby"><seg type="rb">鶯</seg><seg type="rp">（</seg><seg type="rt">うぐいす</seg><seg type="rp">）</seg></seg>は鳴くかね」<lb />
「ええ毎日のように鳴きます。<seg type="ruby"><seg type="rb">此辺</seg><seg type="rp">（</seg><seg type="rt">ここら</seg><seg type="rp">）</seg></seg>は夏も鳴きます」<lb />
「聞きたいな。ちっとも聞えないとなお聞きたい」<lb />
「あいにく<seg type="ruby"><seg type="rb">今日</seg><seg type="rp">（</seg><seg type="rt">きょう</seg><seg type="rp">）</seg></seg>は――<seg type="ruby"><seg type="rb">先刻</seg><seg type="rp">（</seg><seg type="rt">さっき</seg><seg type="rp">）</seg></seg>の雨でどこぞへ逃げました」<lb />
折りから、竈のうちが、ぱちぱちと鳴って、赤い火が<seg type="ruby"><seg type="rb">颯</seg><seg type="rp">（</seg><seg type="rt">さっ</seg><seg type="rp">）</seg></seg>と風を起して一尺あまり吹き出す。<lb />
「さあ、<seg type="ruby"><seg type="rb">御</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>あたり。さぞ御寒かろ」と云う。<seg type="ruby"><seg type="rb">軒端</seg><seg type="rp">（</seg><seg type="rt">のきば</seg><seg type="rp">）</seg></seg>を見ると青い煙りが、突き当って<seg type="ruby"><seg type="rb">崩</seg><seg type="rp">（</seg><seg type="rt">くず</seg><seg type="rp">）</seg></seg>れながらに、<seg type="ruby"><seg type="rb">微</seg><seg type="rp">（</seg><seg type="rt">かす</seg><seg type="rp">）</seg></seg>かな<seg type="ruby"><seg type="rb">痕</seg><seg type="rp">（</seg><seg type="rt">あと</seg><seg type="rp">）</seg></seg>をまだ<seg type="ruby"><seg type="rb">板庇</seg><seg type="rp">（</seg><seg type="rt">いたびさし</seg><seg type="rp">）</seg></seg>にからんでいる。<lb />
「ああ、<seg type="ruby"><seg type="rb">好</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>い心持ちだ、<seg type="ruby"><seg type="rb">御蔭</seg><seg type="rp">（</seg><seg type="rt">おかげ</seg><seg type="rp">）</seg></seg>で生き返った」<lb />
「いい具合に雨も晴れました。そら<seg type="ruby"><seg type="rb">天狗巌</seg><seg type="rp">（</seg><seg type="rt">てんぐいわ</seg><seg type="rp">）</seg></seg>が見え出しました」<lb />
<seg type="ruby"><seg type="rb">逡巡</seg><seg type="rp">（</seg><seg type="rt">しゅんじゅん</seg><seg type="rp">）</seg></seg>として曇り勝ちなる春の空を、もどかしとばかりに吹き払う山嵐の、思い切りよく通り抜けた<seg type="ruby"><seg type="rb">前山</seg><seg type="rp">（</seg><seg type="rt">ぜんざん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">一角</seg><seg type="rp">（</seg><seg type="rt">いっかく</seg><seg type="rp">）</seg></seg>は、未練もなく晴れ尽して、<seg type="ruby"><seg type="rb">老嫗</seg><seg type="rp">（</seg><seg type="rt">ろうう</seg><seg type="rp">）</seg></seg>の指さす<seg type="ruby"><seg type="rb">方</seg><seg type="rp">（</seg><seg type="rt">かた</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/2-08/2-08-72.png" rend="gaiji" rendition="img" source="※(「山／贊」、第4水準2-8-72)" /><seg facs="../../../gaiji/1-47/1-47-69.png" rend="gaiji" rendition="img" source="※(「山＋元」、第3水準1-47-69)" /></seg><seg type="rp">（</seg><seg type="rt">さんがん</seg><seg type="rp">）</seg></seg>と、あら<seg type="ruby"><seg type="rb">削</seg><seg type="rp">（</seg><seg type="rt">けず</seg><seg type="rp">）</seg></seg>りの柱のごとく<seg type="ruby"><seg type="rb">聳</seg><seg type="rp">（</seg><seg type="rt">そび</seg><seg type="rp">）</seg></seg>えるのが天狗岩だそうだ。<lb />
余はまず天狗巌を<seg type="ruby"><seg type="rb">眺</seg><seg type="rp">（</seg><seg type="rt">なが</seg><seg type="rp">）</seg></seg>めて、次に婆さんを眺めて、三度目には<seg type="ruby"><seg type="rb">半々</seg><seg type="rp">（</seg><seg type="rt">はんはん</seg><seg type="rp">）</seg></seg>に両方を<seg type="ruby"><seg type="rb">見比</seg><seg type="rp">（</seg><seg type="rt">みくら</seg><seg type="rp">）</seg></seg>べた。画家として余が頭のなかに存在する婆さんの顔は<seg type="ruby"><seg type="rb">高砂</seg><seg type="rp">（</seg><seg type="rt">たかさご</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">媼</seg><seg type="rp">（</seg><seg type="rt">ばば</seg><seg type="rp">）</seg></seg>と、<seg type="ruby"><seg type="rb">蘆雪</seg><seg type="rp">（</seg><seg type="rt">ろせつ</seg><seg type="rp">）</seg></seg>のかいた<seg type="ruby"><seg type="rb">山姥</seg><seg type="rp">（</seg><seg type="rt">やまうば</seg><seg type="rp">）</seg></seg>のみである。蘆雪の図を見たとき、理想の婆さんは<seg type="ruby"><seg type="rb">物凄</seg><seg type="rp">（</seg><seg type="rt">ものすご</seg><seg type="rp">）</seg></seg>いものだと感じた。<seg type="ruby"><seg type="rb">紅葉</seg><seg type="rp">（</seg><seg type="rt">もみじ</seg><seg type="rp">）</seg></seg>のなかか、寒い月の下に置くべきものと考えた。<seg type="ruby"><seg type="rb">宝生</seg><seg type="rp">（</seg><seg type="rt">ほうしょう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">別会能</seg><seg type="rp">（</seg><seg type="rt">べつかいのう</seg><seg type="rp">）</seg></seg>を観るに及んで、なるほど老女にもこんな優しい表情があり得るものかと驚ろいた。あの<seg type="ruby"><seg type="rb">面</seg><seg type="rp">（</seg><seg type="rt">めん</seg><seg type="rp">）</seg></seg>は定めて名人の刻んだものだろう。惜しい事に作者の名は聞き落したが、老人もこうあらわせば、豊かに、<seg type="ruby"><seg type="rb">穏</seg><seg type="rp">（</seg><seg type="rt">おだ</seg><seg type="rp">）</seg></seg>やかに、あたたかに見える。<seg type="ruby"><seg type="rb">金屏</seg><seg type="rp">（</seg><seg type="rt">きんびょう</seg><seg type="rp">）</seg></seg>にも、<seg type="ruby"><seg type="rb">春風</seg><seg type="rp">（</seg><seg type="rt">はるかぜ</seg><seg type="rp">）</seg></seg>にも、あるは桜にもあしらって<seg type="ruby"><seg type="rb">差</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>し<seg type="ruby"><seg type="rb">支</seg><seg type="rp">（</seg><seg type="rt">つかえ</seg><seg type="rp">）</seg></seg>ない道具である。余は天狗岩よりは、腰をのして、手を<seg type="ruby"><seg type="rb">翳</seg><seg type="rp">（</seg><seg type="rt">かざ</seg><seg type="rp">）</seg></seg>して、遠く向うを<seg type="ruby"><seg type="rb">指</seg><seg type="rp">（</seg><seg type="rt">ゆびさ</seg><seg type="rp">）</seg></seg>している、袖無し姿の婆さんを、春の<seg type="ruby"><seg type="rb">山路</seg><seg type="rp">（</seg><seg type="rt">やまじ</seg><seg type="rp">）</seg></seg>の景物として<seg type="ruby"><seg type="rb">恰好</seg><seg type="rp">（</seg><seg type="rt">かっこう</seg><seg type="rp">）</seg></seg>なものだと考えた。余が写生帖を取り上げて、今しばらくという<seg type="ruby"><seg type="rb">途端</seg><seg type="rp">（</seg><seg type="rt">とたん</seg><seg type="rp">）</seg></seg>に、婆さんの姿勢は崩れた。<lb />
<seg type="ruby"><seg type="rb">手持無沙汰</seg><seg type="rp">（</seg><seg type="rt">てもちぶさた</seg><seg type="rp">）</seg></seg>に写生帖を、火にあてて<seg type="ruby"><seg type="rb">乾</seg><seg type="rp">（</seg><seg type="rt">かわ</seg><seg type="rp">）</seg></seg>かしながら、<lb />
「御婆さん、丈夫そうだね」と<seg type="ruby"><seg type="rb">訊</seg><seg type="rp">（</seg><seg type="rt">たず</seg><seg type="rp">）</seg></seg>ねた。<lb />
「はい。ありがたい事に達者で――針も持ちます、<seg type="ruby"><seg type="rb">苧</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>もうみます、<seg type="ruby"><seg type="rb">御団子</seg><seg type="rp">（</seg><seg type="rt">おだんご</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">粉</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>も<seg type="ruby"><seg type="rb">磨</seg><seg type="rp">（</seg><seg type="rt">ひ</seg><seg type="rp">）</seg></seg>きます」<lb />
この御婆さんに<seg type="ruby"><seg type="rb">石臼</seg><seg type="rp">（</seg><seg type="rt">いしうす</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">挽</seg><seg type="rp">（</seg><seg type="rt">ひ</seg><seg type="rp">）</seg></seg>かして見たくなった。しかしそんな注文も出来ぬから、<lb />
「ここから<seg type="ruby"><seg type="rb">那古井</seg><seg type="rp">（</seg><seg type="rt">なこい</seg><seg type="rp">）</seg></seg>までは一里<seg type="ruby"><seg type="rb">足</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>らずだったね」と別な事を聞いて見る。<lb />
「はい、二十八丁と申します。<seg type="ruby"><seg type="rb">旦那</seg><seg type="rp">（</seg><seg type="rt">だんな</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">湯治</seg><seg type="rp">（</seg><seg type="rt">とうじ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">御越</seg><seg type="rp">（</seg><seg type="rt">おこ</seg><seg type="rp">）</seg></seg>しで……」<lb />
「込み合わなければ、少し<seg type="ruby"><seg type="rb">逗留</seg><seg type="rp">（</seg><seg type="rt">とうりゅう</seg><seg type="rp">）</seg></seg>しようかと思うが、まあ気が向けばさ」<lb />
「いえ、戦争が始まりましてから、<seg type="ruby"><seg type="rb">頓</seg><seg type="rp">（</seg><seg type="rt">とん</seg><seg type="rp">）</seg></seg>と参るものは御座いません。まるで締め切り同様で御座います」<lb />
「妙な事だね。それじゃ<seg type="ruby"><seg type="rb">泊</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>めてくれないかも知れんね」<lb />
「いえ、御頼みになればいつでも<seg type="ruby"><seg type="rb">宿</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>めます」<lb />
「宿屋はたった一軒だったね」<lb />
「へえ、<seg type="ruby"><seg type="rb">志保田</seg><seg type="rp">（</seg><seg type="rt">しほだ</seg><seg type="rp">）</seg></seg>さんと御聞きになればすぐわかります。村のものもちで、湯治場だか、隠居所だかわかりません」<lb />
「じゃ御客がなくても平気な訳だ」<lb />
「旦那は始めてで」<lb />
「いや、久しい以前ちょっと行った事がある」<lb />
会話はちょっと<seg type="ruby"><seg type="rb">途切</seg><seg type="rp">（</seg><seg type="rt">とぎ</seg><seg type="rp">）</seg></seg>れる。帳面をあけて<seg type="ruby"><seg type="rb">先刻</seg><seg type="rp">（</seg><seg type="rt">さっき</seg><seg type="rp">）</seg></seg>の鶏を静かに写生していると、落ちついた耳の底へじゃらんじゃらんと云う馬の鈴が<seg type="ruby"><seg type="rb">聴</seg><seg type="rp">（</seg><seg type="rt">きこ</seg><seg type="rp">）</seg></seg>え出した。この声がおのずと、<seg type="ruby"><seg type="rb">拍子</seg><seg type="rp">（</seg><seg type="rt">ひょうし</seg><seg type="rp">）</seg></seg>をとって頭の中に一種の調子が出来る。眠りながら、夢に隣りの臼の音に誘われるような心持ちである。余は鶏の写生をやめて、同じページの<seg type="ruby"><seg type="rb">端</seg><seg type="rp">（</seg><seg type="rt">はじ</seg><seg type="rp">）</seg></seg>に、<lb />
<seg rend="jisage_2" rendition="div" style="margin-left: 2em">
春風や<seg type="ruby"><seg type="rb">惟然</seg><seg type="rp">（</seg><seg type="rt">いねん</seg><seg type="rp">）</seg></seg>が耳に馬の鈴<lb />
</seg>
と書いて見た。山を登ってから、馬には五六匹逢った。逢った五六匹は皆腹掛をかけて、鈴を鳴らしている。今の世の馬とは思われない。<lb />
やがて<seg type="ruby"><seg type="rb">長閑</seg><seg type="rp">（</seg><seg type="rt">のどか</seg><seg type="rp">）</seg></seg>な<seg type="ruby"><seg type="rb">馬子唄</seg><seg type="rp">（</seg><seg type="rt">まごうた</seg><seg type="rp">）</seg></seg>が、春に<seg type="ruby"><seg type="rb">更</seg><seg type="rp">（</seg><seg type="rt">ふ</seg><seg type="rp">）</seg></seg>けた<seg type="ruby"><seg type="rb">空山一路</seg><seg type="rp">（</seg><seg type="rt">くうざんいちろ</seg><seg type="rp">）</seg></seg>の夢を破る。憐れの底に気楽な響がこもって、どう考えても<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>にかいた声だ。<lb />
<seg rend="jisage_2" rendition="div" style="margin-left: 2em">
<seg type="ruby"><seg type="rb">馬子唄</seg><seg type="rp">（</seg><seg type="rt">まごうた</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">鈴鹿</seg><seg type="rp">（</seg><seg type="rt">すずか</seg><seg type="rp">）</seg></seg>越ゆるや春の雨<lb />
</seg>
と、今度は<seg type="ruby"><seg type="rb">斜</seg><seg type="rp">（</seg><seg type="rt">はす</seg><seg type="rp">）</seg></seg>に書きつけたが、書いて見て、これは自分の句でないと気がついた。<lb />
「また誰ぞ来ました」と婆さんが<seg type="ruby"><seg type="rb">半</seg><seg type="rp">（</seg><seg type="rt">なか</seg><seg type="rp">）</seg></seg>ば<seg type="ruby"><seg type="rb">独</seg><seg type="rp">（</seg><seg type="rt">ひと</seg><seg type="rp">）</seg></seg>り<seg type="ruby"><seg type="rb">言</seg><seg type="rp">（</seg><seg type="rt">ごと</seg><seg type="rp">）</seg></seg>のように云う。<lb />
ただ<seg type="ruby"><seg type="rb">一条</seg><seg type="rp">（</seg><seg type="rt">ひとすじ</seg><seg type="rp">）</seg></seg>の春の路だから、行くも帰るも皆近づきと見える。最前<seg type="ruby"><seg type="rb">逢</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>うた五六匹のじゃらんじゃらんもことごとくこの婆さんの腹の中でまた誰ぞ来たと思われては山を<seg type="ruby"><seg type="rb">下</seg><seg type="rp">（</seg><seg type="rt">くだ</seg><seg type="rp">）</seg></seg>り、思われては山を登ったのだろう。路<seg type="ruby"><seg type="rb">寂寞</seg><seg type="rp">（</seg><seg type="rt">じゃくまく</seg><seg type="rp">）</seg></seg>と<seg type="ruby"><seg type="rb">古今</seg><seg type="rp">（</seg><seg type="rt">ここん</seg><seg type="rp">）</seg></seg>の春を<seg type="ruby"><seg type="rb">貫</seg><seg type="rp">（</seg><seg type="rt">つらぬ</seg><seg type="rp">）</seg></seg>いて、花を<seg type="ruby"><seg type="rb">厭</seg><seg type="rp">（</seg><seg type="rt">いと</seg><seg type="rp">）</seg></seg>えば足を着くるに地なき<seg type="ruby"><seg type="rb">小村</seg><seg type="rp">（</seg><seg type="rt">こむら</seg><seg type="rp">）</seg></seg>に、婆さんは<seg type="ruby"><seg type="rb">幾年</seg><seg type="rp">（</seg><seg type="rt">いくねん</seg><seg type="rp">）</seg></seg>の昔からじゃらん、じゃらんを数え尽くして、<seg type="ruby"><seg type="rb">今日</seg><seg type="rp">（</seg><seg type="rt">こんにち</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">白頭</seg><seg type="rp">（</seg><seg type="rt">はくとう</seg><seg type="rp">）</seg></seg>に至ったのだろう。<lb />
<seg rend="jisage_2" rendition="div" style="margin-left: 2em">
<seg type="ruby"><seg type="rb">馬子</seg><seg type="rp">（</seg><seg type="rt">まご</seg><seg type="rp">）</seg></seg>唄や<seg type="ruby"><seg type="rb">白髪</seg><seg type="rp">（</seg><seg type="rt">しらが</seg><seg type="rp">）</seg></seg>も染めで暮るる春<lb />
</seg>
と次のページへ<seg type="ruby"><seg type="rb">認</seg><seg type="rp">（</seg><seg type="rt">したた</seg><seg type="rp">）</seg></seg>めたが、これでは自分の感じを云い<seg type="ruby"><seg type="rb">終</seg><seg type="rp">（</seg><seg type="rt">おお</seg><seg type="rp">）</seg></seg>せない、もう少し<seg type="ruby"><seg type="rb">工夫</seg><seg type="rp">（</seg><seg type="rt">くふう</seg><seg type="rp">）</seg></seg>のありそうなものだと、鉛筆の先を見詰めながら考えた。何でも<seg rend="sesame_dot" rendition="em">白髪</seg>という字を入れて、<seg rend="sesame_dot" rendition="em">幾代の節</seg>と云う句を入れて、<seg rend="sesame_dot" rendition="em">馬子唄</seg>という題も入れて、春の<seg type="ruby"><seg type="rb">季</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>も加えて、それを十七字に<seg type="ruby"><seg type="rb">纏</seg><seg type="rp">（</seg><seg type="rt">まと</seg><seg type="rp">）</seg></seg>めたいと工夫しているうちに、<lb />
「はい、今日は」と実物の馬子が店先に<seg type="ruby"><seg type="rb">留</seg><seg type="rp">（</seg><seg type="rt">とま</seg><seg type="rp">）</seg></seg>って大きな声をかける。<lb />
「おや源さんか。また城下へ行くかい」<lb />
「何か買物があるなら頼まれて上げよ」<lb />
「そうさ、<seg type="ruby"><seg type="rb">鍛冶町</seg><seg type="rp">（</seg><seg type="rt">かじちょう</seg><seg type="rp">）</seg></seg>を通ったら、娘に<seg type="ruby"><seg type="rb">霊厳寺</seg><seg type="rp">（</seg><seg type="rt">れいがんじ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">御札</seg><seg type="rp">（</seg><seg type="rt">おふだ</seg><seg type="rp">）</seg></seg>を一枚もらってきておくれなさい」<lb />
「はい、貰ってきよ。一枚か。――<seg type="ruby"><seg type="rb">御秋</seg><seg type="rp">（</seg><seg type="rt">おあき</seg><seg type="rp">）</seg></seg>さんは<seg type="ruby"><seg type="rb">善</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>い所へ片づいて仕合せだ。な、<seg type="ruby"><seg type="rb">御叔母</seg><seg type="rp">（</seg><seg type="rt">おば</seg><seg type="rp">）</seg></seg>さん」<lb />
「ありがたい事に<seg type="ruby"><seg type="rb">今日</seg><seg type="rp">（</seg><seg type="rt">こんにち</seg><seg type="rp">）</seg></seg>には困りません。まあ仕合せと云うのだろか」<lb />
「仕合せとも、御前。あの<seg type="ruby"><seg type="rb">那古井</seg><seg type="rp">（</seg><seg type="rt">なこい</seg><seg type="rp">）</seg></seg>の嬢さまと比べて御覧」<lb />
「本当に御気の毒な。あんな器量を持って。近頃はちっとは具合がいいかい」<lb />
「なあに、相変らずさ」<lb />
「困るなあ」と婆さんが大きな息をつく。<lb />
「困るよう」と源さんが馬の鼻を<seg type="ruby"><seg type="rb">撫</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>でる。<lb />
<seg type="ruby"><seg type="rb">枝繁</seg><seg type="rp">（</seg><seg type="rt">えだしげ</seg><seg type="rp">）</seg></seg>き山桜の葉も花も、深い空から落ちたままなる雨の<seg type="ruby"><seg type="rb">塊</seg><seg type="rp">（</seg><seg type="rt">かた</seg><seg type="rp">）</seg></seg>まりを、しっぽりと宿していたが、この時わたる風に足をすくわれて、いたたまれずに、<seg type="ruby"><seg type="rb">仮</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>りの<seg type="ruby"><seg type="rb">住居</seg><seg type="rp">（</seg><seg type="rt">すまい</seg><seg type="rp">）</seg></seg>を、さらさらと<seg type="ruby"><seg type="rb">転</seg><seg type="rp">（</seg><seg type="rt">ころ</seg><seg type="rp">）</seg></seg>げ落ちる。馬は驚ろいて、長い<seg type="ruby"><seg type="rb">鬣</seg><seg type="rp">（</seg><seg type="rt">たてがみ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">上下</seg><seg type="rp">（</seg><seg type="rt">うえした</seg><seg type="rp">）</seg></seg>に振る。<lb />
「コーラッ」と<seg type="ruby"><seg type="rb">叱</seg><seg type="rp">（</seg><seg type="rt">しか</seg><seg type="rp">）</seg></seg>りつける源さんの声が、じゃらん、じゃらんと共に余の<seg type="ruby"><seg type="rb">冥想</seg><seg type="rp">（</seg><seg type="rt">めいそう</seg><seg type="rp">）</seg></seg>を破る。<lb />
御婆さんが云う。「源さん、わたしゃ、お嫁入りのときの姿が、まだ<seg type="ruby"><seg type="rb">眼前</seg><seg type="rp">（</seg><seg type="rt">めさき</seg><seg type="rp">）</seg></seg>に散らついている。<seg type="ruby"><seg type="rb">裾模様</seg><seg type="rp">（</seg><seg type="rt">すそもよう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">振袖</seg><seg type="rp">（</seg><seg type="rt">ふりそで</seg><seg type="rp">）</seg></seg>に、<seg type="ruby"><seg type="rb">高島田</seg><seg type="rp">（</seg><seg type="rt">たかしまだ</seg><seg type="rp">）</seg></seg>で、馬に乗って……」<lb />
「そうさ、船ではなかった。馬であった。やはりここで休んで行ったな、<seg type="ruby"><seg type="rb">御叔母</seg><seg type="rp">（</seg><seg type="rt">おば</seg><seg type="rp">）</seg></seg>さん」<lb />
「あい、その桜の下で嬢様の馬がとまったとき、桜の花がほろほろと落ちて、せっかくの島田に<seg type="ruby"><seg type="rb">斑</seg><seg type="rp">（</seg><seg type="rt">ふ</seg><seg type="rp">）</seg></seg>が出来ました」<lb />
余はまた写生帖をあける。この景色は<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>にもなる、詩にもなる。心のうちに花嫁の姿を浮べて、当時の様を想像して見てしたり顔に、<lb />
<seg rend="jisage_2" rendition="div" style="margin-left: 2em">
花の頃を越えてかしこし馬に嫁<lb />
</seg>
と書きつける。不思議な事には<seg type="ruby"><seg type="rb">衣装</seg><seg type="rp">（</seg><seg type="rt">いしょう</seg><seg type="rp">）</seg></seg>も髪も馬も桜もはっきりと目に映じたが、花嫁の顔だけは、どうしても思いつけなかった。しばらくあの顔か、この顔か、と思案しているうちに、ミレーのかいた、オフェリヤの<seg type="ruby"><seg type="rb">面影</seg><seg type="rp">（</seg><seg type="rt">おもかげ</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">忽然</seg><seg type="rp">（</seg><seg type="rt">こつぜん</seg><seg type="rp">）</seg></seg>と出て来て、高島田の下へすぽりとはまった。これは駄目だと、せっかくの図面を<seg type="ruby"><seg type="rb">早速</seg><seg type="rp">（</seg><seg type="rt">さっそく</seg><seg type="rp">）</seg></seg>取り<seg type="ruby"><seg type="rb">崩</seg><seg type="rp">（</seg><seg type="rt">くず</seg><seg type="rp">）</seg></seg>す。衣装も髪も馬も桜も一瞬間に心の道具立から<seg type="ruby"><seg type="rb">奇麗</seg><seg type="rp">（</seg><seg type="rt">きれい</seg><seg type="rp">）</seg></seg>に立ち<seg type="ruby"><seg type="rb">退</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>いたが、オフェリヤの合掌して水の上を流れて行く姿だけは、<seg type="ruby"><seg type="rb">朦朧</seg><seg type="rp">（</seg><seg type="rt">もうろう</seg><seg type="rp">）</seg></seg>と胸の底に残って、<seg type="ruby"><seg type="rb">棕梠箒</seg><seg type="rp">（</seg><seg type="rt">しゅろぼうき</seg><seg type="rp">）</seg></seg>で煙を払うように、さっぱりしなかった。空に尾を<seg type="ruby"><seg type="rb">曳</seg><seg type="rp">（</seg><seg type="rt">ひ</seg><seg type="rp">）</seg></seg>く<seg type="ruby"><seg type="rb">彗星</seg><seg type="rp">（</seg><seg type="rt">すいせい</seg><seg type="rp">）</seg></seg>の何となく妙な気になる。<lb />
「それじゃ、まあ御免」と源さんが<seg type="ruby"><seg type="rb">挨拶</seg><seg type="rp">（</seg><seg type="rt">あいさつ</seg><seg type="rp">）</seg></seg>する。<lb />
「帰りにまた<seg type="ruby"><seg type="rb">御寄</seg><seg type="rp">（</seg><seg type="rt">およ</seg><seg type="rp">）</seg></seg>り。あいにくの降りで<seg type="ruby"><seg type="rb">七曲</seg><seg type="rp">（</seg><seg type="rt">ななまが</seg><seg type="rp">）</seg></seg>りは難義だろ」<lb />
「はい、少し骨が折れよ」と源さんは<seg type="ruby"><seg type="rb">歩行</seg><seg type="rp">（</seg><seg type="rt">あるき</seg><seg type="rp">）</seg></seg>出す。源さんの馬も歩行出す。じゃらんじゃらん。<lb />
「あれは<seg type="ruby"><seg type="rb">那古井</seg><seg type="rp">（</seg><seg type="rt">なこい</seg><seg type="rp">）</seg></seg>の男かい」<lb />
「はい、那古井の源兵衛で御座んす」<lb />
「あの男がどこぞの嫁さんを馬へ乗せて、<seg type="ruby"><seg type="rb">峠</seg><seg type="rp">（</seg><seg type="rt">とうげ</seg><seg type="rp">）</seg></seg>を越したのかい」<lb />
「志保田の嬢様が城下へ<seg type="ruby"><seg type="rb">御輿入</seg><seg type="rp">（</seg><seg type="rt">おこしいれ</seg><seg type="rp">）</seg></seg>のときに、嬢様を<seg type="ruby"><seg type="rb">青馬</seg><seg type="rp">（</seg><seg type="rt">あお</seg><seg type="rp">）</seg></seg>に乗せて、源兵衛が<seg type="ruby"><seg type="rb">覊絏</seg><seg type="rp">（</seg><seg type="rt">はづな</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">牽</seg><seg type="rp">（</seg><seg type="rt">ひ</seg><seg type="rp">）</seg></seg>いて通りました。――月日の立つのは早いもので、もう今年で五年になります」<lb />
鏡に<seg type="ruby"><seg type="rb">対</seg><seg type="rp">（</seg><seg type="rt">むか</seg><seg type="rp">）</seg></seg>うときのみ、わが頭の白きを<seg type="ruby"><seg type="rb">喞</seg><seg type="rp">（</seg><seg type="rt">かこ</seg><seg type="rp">）</seg></seg>つものは幸の部に属する人である。指を折って始めて、五年の流光に、転輪の<seg type="ruby"><seg type="rb">疾</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>き<seg type="ruby"><seg type="rb">趣</seg><seg type="rp">（</seg><seg type="rt">おもむき</seg><seg type="rp">）</seg></seg>を解し得たる婆さんは、人間としてはむしろ<seg type="ruby"><seg type="rb">仙</seg><seg type="rp">（</seg><seg type="rt">せん</seg><seg type="rp">）</seg></seg>に近づける方だろう。余はこう答えた。<lb />
「さぞ美くしかったろう。見にくればよかった」<lb />
「ハハハ今でも御覧になれます。<seg type="ruby"><seg type="rb">湯治場</seg><seg type="rp">（</seg><seg type="rt">とうじば</seg><seg type="rp">）</seg></seg>へ御越しなされば、きっと出て御挨拶をなされましょう」<lb />
「はあ、今では里にいるのかい。やはり<seg type="ruby"><seg type="rb">裾模様</seg><seg type="rp">（</seg><seg type="rt">すそもよう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">振袖</seg><seg type="rp">（</seg><seg type="rt">ふりそで</seg><seg type="rp">）</seg></seg>を着て、高島田に<seg type="ruby"><seg type="rb">結</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>っていればいいが」<lb />
「たのんで御覧なされ。着て見せましょ」<lb />
余はまさかと思ったが、婆さんの様子は存外<seg type="ruby"><seg type="rb">真面目</seg><seg type="rp">（</seg><seg type="rt">まじめ</seg><seg type="rp">）</seg></seg>である。非人情の旅にはこんなのが出なくては面白くない。婆さんが云う。<lb />
「嬢様と<seg type="ruby"><seg type="rb">長良</seg><seg type="rp">（</seg><seg type="rt">ながら</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">乙女</seg><seg type="rp">（</seg><seg type="rt">おとめ</seg><seg type="rp">）</seg></seg>とはよく似ております」<lb />
「顔がかい」<lb />
「いいえ。身の成り行きがで御座んす」<lb />
「へえ、その長良の乙女と云うのは何者かい」<lb />
「<seg type="ruby"><seg type="rb">昔</seg><seg type="rp">（</seg><seg type="rt">むか</seg><seg type="rp">）</seg></seg>しこの村に長良の乙女と云う、美くしい<seg type="ruby"><seg type="rb">長者</seg><seg type="rp">（</seg><seg type="rt">ちょうじゃ</seg><seg type="rp">）</seg></seg>の娘が御座りましたそうな」<lb />
「へえ」<lb />
「ところがその娘に二人の男が一度に<seg type="ruby"><seg type="rb">懸想</seg><seg type="rp">（</seg><seg type="rt">けそう</seg><seg type="rp">）</seg></seg>して、あなた」<lb />
「なるほど」<lb />
「ささだ男に<seg type="ruby"><seg type="rb">靡</seg><seg type="rp">（</seg><seg type="rt">なび</seg><seg type="rp">）</seg></seg>こうか、ささべ男に靡こうかと、娘はあけくれ思い<seg type="ruby"><seg type="rb">煩</seg><seg type="rp">（</seg><seg type="rt">わずら</seg><seg type="rp">）</seg></seg>ったが、どちらへも靡きかねて、とうとう<lb />
<seg rend="jisage_2" rendition="div" style="margin-left: 2em">
あきづけばをばなが上に置く露の、けぬべくもわは、おもほゆるかも<lb />
</seg>
と云う歌を<seg type="ruby"><seg type="rb">咏</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>んで、<seg type="ruby"><seg type="rb">淵川</seg><seg type="rp">（</seg><seg type="rt">ふちかわ</seg><seg type="rp">）</seg></seg>へ身を投げて<seg type="ruby"><seg type="rb">果</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>てました」<lb />
余はこんな山里へ来て、こんな婆さんから、こんな<seg type="ruby"><seg type="rb">古雅</seg><seg type="rp">（</seg><seg type="rt">こが</seg><seg type="rp">）</seg></seg>な言葉で、こんな古雅な話をきこうとは思いがけなかった。<lb />
「これから五丁東へ<seg type="ruby"><seg type="rb">下</seg><seg type="rp">（</seg><seg type="rt">くだ</seg><seg type="rp">）</seg></seg>ると、<seg type="ruby"><seg type="rb">道端</seg><seg type="rp">（</seg><seg type="rt">みちばた</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">五輪塔</seg><seg type="rp">（</seg><seg type="rt">ごりんのとう</seg><seg type="rp">）</seg></seg>が御座んす。ついでに<seg type="ruby"><seg type="rb">長良</seg><seg type="rp">（</seg><seg type="rt">ながら</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">乙女</seg><seg type="rp">（</seg><seg type="rt">おとめ</seg><seg type="rp">）</seg></seg>の墓を見て御行きなされ」<lb />
余は心のうちに是非見て行こうと決心した。婆さんは、そのあとを語りつづける。<lb />
「那古井の嬢様にも二人の男が<seg type="ruby"><seg type="rb">祟</seg><seg type="rp">（</seg><seg type="rt">たた</seg><seg type="rp">）</seg></seg>りました。一人は嬢様が京都へ修行に出て<seg type="ruby"><seg type="rb">御出</seg><seg type="rp">（</seg><seg type="rt">おい</seg><seg type="rp">）</seg></seg>での頃<seg type="ruby"><seg type="rb">御逢</seg><seg type="rp">（</seg><seg type="rt">おあ</seg><seg type="rp">）</seg></seg>いなさったので、一人はここの城下で随一の物持ちで御座んす」<lb />
「はあ、御嬢さんはどっちへ靡いたかい」<lb />
「御自身は是非京都の方へと御望みなさったのを、そこには色々な<seg type="ruby"><seg type="rb">理由</seg><seg type="rp">（</seg><seg type="rt">わけ</seg><seg type="rp">）</seg></seg>もありましたろが、親ご様が無理にこちらへ取りきめて……」<lb />
「めでたく、<seg type="ruby"><seg type="rb">淵川</seg><seg type="rp">（</seg><seg type="rt">ふちかわ</seg><seg type="rp">）</seg></seg>へ身を投げんでも済んだ訳だね」<lb />
「ところが――<seg type="ruby"><seg type="rb">先方</seg><seg type="rp">（</seg><seg type="rt">さき</seg><seg type="rp">）</seg></seg>でも器量望みで<seg type="ruby"><seg type="rb">御貰</seg><seg type="rp">（</seg><seg type="rt">おもら</seg><seg type="rp">）</seg></seg>いなさったのだから、随分大事にはなさったかも知れませぬが、もともと<seg type="ruby"><seg type="rb">強</seg><seg type="rp">（</seg><seg type="rt">し</seg><seg type="rp">）</seg></seg>いられて御出なさったのだから、どうも<seg type="ruby"><seg type="rb">折合</seg><seg type="rp">（</seg><seg type="rt">おりあい</seg><seg type="rp">）</seg></seg>がわるくて、御親類でもだいぶ御心配の様子で御座んした。ところへ今度の戦争で、旦那様の勤めて御出の銀行がつぶれました。それから嬢様はまた那古井の方へ御帰りになります。世間では嬢様の事を不人情だとか、薄情だとか色々申します。もとは<seg type="ruby"><seg type="rb">極々</seg><seg type="rp">（</seg><seg type="rt">ごくごく</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">内気</seg><seg type="rp">（</seg><seg type="rt">うちき</seg><seg type="rp">）</seg></seg>の優しいかたが、この頃ではだいぶ気が荒くなって、何だか心配だと源兵衛が来るたびに申します。……」<lb />
これからさきを聞くと、せっかくの<seg type="ruby"><seg type="rb">趣向</seg><seg type="rp">（</seg><seg type="rt">しゅこう</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">壊</seg><seg type="rp">（</seg><seg type="rt">こわ</seg><seg type="rp">）</seg></seg>れる。ようやく仙人になりかけたところを、誰か来て<seg type="ruby"><seg type="rb">羽衣</seg><seg type="rp">（</seg><seg type="rt">はごろも</seg><seg type="rp">）</seg></seg>を帰せ帰せと<seg type="ruby"><seg type="rb">催促</seg><seg type="rp">（</seg><seg type="rt">さいそく</seg><seg type="rp">）</seg></seg>するような気がする。<seg type="ruby"><seg type="rb">七曲</seg><seg type="rp">（</seg><seg type="rt">ななまが</seg><seg type="rp">）</seg></seg>りの険を<seg type="ruby"><seg type="rb">冒</seg><seg type="rp">（</seg><seg type="rt">おか</seg><seg type="rp">）</seg></seg>して、やっとの<seg type="ruby"><seg type="rb">思</seg><seg type="rp">（</seg><seg type="rt">おもい</seg><seg type="rp">）</seg></seg>で、ここまで来たものを、そうむやみに俗界に引きずり<seg type="ruby"><seg type="rb">下</seg><seg type="rp">（</seg><seg type="rt">おろ</seg><seg type="rp">）</seg></seg>されては、<seg type="ruby"><seg type="rb">飄然</seg><seg type="rp">（</seg><seg type="rt">ひょうぜん</seg><seg type="rp">）</seg></seg>と家を出た<seg type="ruby"><seg type="rb">甲斐</seg><seg type="rp">（</seg><seg type="rt">かい</seg><seg type="rp">）</seg></seg>がない。世間話しもある程度以上に立ち入ると、浮世の<seg type="ruby"><seg type="rb">臭</seg><seg type="rp">（</seg><seg type="rt">にお</seg><seg type="rp">）</seg></seg>いが<seg type="ruby"><seg type="rb">毛孔</seg><seg type="rp">（</seg><seg type="rt">けあな</seg><seg type="rp">）</seg></seg>から<seg type="ruby"><seg type="rb">染込</seg><seg type="rp">（</seg><seg type="rt">しみこ</seg><seg type="rp">）</seg></seg>んで、<seg type="ruby"><seg type="rb">垢</seg><seg type="rp">（</seg><seg type="rt">あか</seg><seg type="rp">）</seg></seg>で<seg type="ruby"><seg type="rb">身体</seg><seg type="rp">（</seg><seg type="rt">からだ</seg><seg type="rp">）</seg></seg>が重くなる。<lb />
「御婆さん、那古井へは一筋道だね」と十銭銀貨を一枚<seg type="ruby"><seg type="rb">床几</seg><seg type="rp">（</seg><seg type="rt">しょうぎ</seg><seg type="rp">）</seg></seg>の上へかちりと投げ出して立ち上がる。<lb />
「<seg type="ruby"><seg type="rb">長良</seg><seg type="rp">（</seg><seg type="rt">ながら</seg><seg type="rp">）</seg></seg>の五輪塔から右へ<seg type="ruby"><seg type="rb">御下</seg><seg type="rp">（</seg><seg type="rt">おくだ</seg><seg type="rp">）</seg></seg>りなさると、六丁ほどの近道になります。<seg type="ruby"><seg type="rb">路</seg><seg type="rp">（</seg><seg type="rt">みち</seg><seg type="rp">）</seg></seg>はわるいが、御若い方にはその<seg type="ruby"><seg type="rb">方</seg><seg type="rp">（</seg><seg type="rt">ほう</seg><seg type="rp">）</seg></seg>がよろしかろ。――これは多分に御茶代を――気をつけて御越しなされ」<lb />
<lb />
<seg rend="jisage_8" rendition="div" style="margin-left: 8em"><seg rend="naka-midashi" rendition="h"><seg rend="midashi_anchor" rendition="a" xml:id="midashi30">三</seg></seg></seg>
<lb />
<seg type="ruby"><seg type="rb">昨夕</seg><seg type="rp">（</seg><seg type="rt">ゆうべ</seg><seg type="rp">）</seg></seg>は妙な気持ちがした。<lb />
宿へ着いたのは夜の八時頃であったから、家の<seg type="ruby"><seg type="rb">具合</seg><seg type="rp">（</seg><seg type="rt">ぐあい</seg><seg type="rp">）</seg></seg>庭の作り方は無論、東西の区別さえわからなかった。何だか廻廊のような所をしきりに引き廻されて、しまいに六畳ほどの小さな座敷へ入れられた。<seg type="ruby"><seg type="rb">昔</seg><seg type="rp">（</seg><seg type="rt">むか</seg><seg type="rp">）</seg></seg>し来た時とはまるで見当が違う。<seg type="ruby"><seg type="rb">晩餐</seg><seg type="rp">（</seg><seg type="rt">ばんさん</seg><seg type="rp">）</seg></seg>を済まして、湯に<seg type="ruby"><seg type="rb">入</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>って、<seg type="ruby"><seg type="rb">室</seg><seg type="rp">（</seg><seg type="rt">へや</seg><seg type="rp">）</seg></seg>へ帰って茶を飲んでいると、<seg type="ruby"><seg type="rb">小女</seg><seg type="rp">（</seg><seg type="rt">こおんな</seg><seg type="rp">）</seg></seg>が来て<seg type="ruby"><seg type="rb">床</seg><seg type="rp">（</seg><seg type="rt">とこ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">延</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>べよかと<seg type="ruby"><seg type="rb">云</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>う。<lb />
不思議に思ったのは、宿へ着いた時の取次も、<seg type="ruby"><seg type="rb">晩食</seg><seg type="rp">（</seg><seg type="rt">ばんめし</seg><seg type="rp">）</seg></seg>の給仕も、<seg type="ruby"><seg type="rb">湯壺</seg><seg type="rp">（</seg><seg type="rt">ゆつぼ</seg><seg type="rp">）</seg></seg>への案内も、床を敷く面倒も、ことごとくこの小女一人で弁じている。それで口は<seg type="ruby"><seg type="rb">滅多</seg><seg type="rp">（</seg><seg type="rt">めった</seg><seg type="rp">）</seg></seg>にきかぬ。と云うて、<seg type="ruby"><seg type="rb">田舎染</seg><seg type="rp">（</seg><seg type="rt">いなかじ</seg><seg type="rp">）</seg></seg>みてもおらぬ。赤い帯を<seg type="ruby"><seg type="rb">色気</seg><seg type="rp">（</seg><seg type="rt">いろけ</seg><seg type="rp">）</seg></seg>なく結んで、古風な<seg type="ruby"><seg type="rb">紙燭</seg><seg type="rp">（</seg><seg type="rt">しそく</seg><seg type="rp">）</seg></seg>をつけて、廊下のような、<seg type="ruby"><seg type="rb">梯子段</seg><seg type="rp">（</seg><seg type="rt">はしごだん</seg><seg type="rp">）</seg></seg>のような所をぐるぐる廻わらされた時、同じ帯の同じ紙燭で、同じ廊下とも階段ともつかぬ所を、何度も<seg type="ruby"><seg type="rb">降</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>りて、湯壺へ連れて行かれた時は、すでに自分ながら、カンヴァスの中を往来しているような気がした。<lb />
給仕の時には、近頃は客がないので、ほかの座敷は掃除がしてないから、<seg type="ruby"><seg type="rb">普段</seg><seg type="rp">（</seg><seg type="rt">ふだん</seg><seg type="rp">）</seg></seg>使っている部屋で我慢してくれと云った。床を延べる時にはゆるりと御休みと人間らしい、言葉を述べて、出て行ったが、その足音が、例の曲りくねった廊下を、次第に下の方へ<seg type="ruby"><seg type="rb">遠</seg><seg type="rp">（</seg><seg type="rt">とおざ</seg><seg type="rp">）</seg></seg>かった時に、あとがひっそりとして、人の<seg type="ruby"><seg type="rb">気</seg><seg type="rp">（</seg><seg type="rt">け</seg><seg type="rp">）</seg></seg>がしないのが気になった。<lb />
生れてから、こんな経験はただ一度しかない。昔し<seg type="ruby"><seg type="rb">房州</seg><seg type="rp">（</seg><seg type="rt">ぼうしゅう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">館山</seg><seg type="rp">（</seg><seg type="rt">たてやま</seg><seg type="rp">）</seg></seg>から向うへ突き抜けて、<seg type="ruby"><seg type="rb">上総</seg><seg type="rp">（</seg><seg type="rt">かずさ</seg><seg type="rp">）</seg></seg>から<seg type="ruby"><seg type="rb">銚子</seg><seg type="rp">（</seg><seg type="rt">ちょうし</seg><seg type="rp">）</seg></seg>まで浜伝いに<seg type="ruby"><seg type="rb">歩行</seg><seg type="rp">（</seg><seg type="rt">あるい</seg><seg type="rp">）</seg></seg>た事がある。その時ある晩、ある所へ<seg type="ruby"><seg type="rb">宿</seg><seg type="rp">（</seg><seg type="rt">とまっ</seg><seg type="rp">）</seg></seg>た。ある所と云うよりほかに言いようがない。今では土地の名も宿の名も、まるで忘れてしまった。第一宿屋へとまったのかが問題である。<seg type="ruby"><seg type="rb">棟</seg><seg type="rp">（</seg><seg type="rt">むね</seg><seg type="rp">）</seg></seg>の高い大きな家に女がたった二人いた。余がとめるかと聞いたとき、年を取った方がはいと云って、若い方がこちらへと案内をするから、ついて行くと、荒れ果てた、広い<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>をいくつも通り越して一番奥の、<seg type="ruby"><seg type="rb">中二階</seg><seg type="rp">（</seg><seg type="rt">ちゅうにかい</seg><seg type="rp">）</seg></seg>へ案内をした。三段登って廊下から部屋へ<seg type="ruby"><seg type="rb">這入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>ろうとすると、<seg type="ruby"><seg type="rb">板庇</seg><seg type="rp">（</seg><seg type="rt">いたびさし</seg><seg type="rp">）</seg></seg>の下に<seg type="ruby"><seg type="rb">傾</seg><seg type="rp">（</seg><seg type="rt">かたむ</seg><seg type="rp">）</seg></seg>きかけていた<seg type="ruby"><seg type="rb">一叢</seg><seg type="rp">（</seg><seg type="rt">ひとむら</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">修竹</seg><seg type="rp">（</seg><seg type="rt">しゅうちく</seg><seg type="rp">）</seg></seg>が、そよりと夕風を受けて、余の肩から頭を<seg type="ruby"><seg type="rb">撫</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>でたので、すでにひやりとした。<seg type="ruby"><seg type="rb">椽板</seg><seg type="rp">（</seg><seg type="rt">えんいた</seg><seg type="rp">）</seg></seg>はすでに<seg type="ruby"><seg type="rb">朽</seg><seg type="rp">（</seg><seg type="rt">く</seg><seg type="rp">）</seg></seg>ちかかっている。来年は<seg type="ruby"><seg type="rb">筍</seg><seg type="rp">（</seg><seg type="rt">たけのこ</seg><seg type="rp">）</seg></seg>が椽を突き抜いて座敷のなかは竹だらけになろうと云ったら、若い女が何にも云わずににやにやと笑って、出て行った。<lb />
その晩は例の竹が、枕元で<seg type="ruby"><seg type="rb">婆娑</seg><seg type="rp">（</seg><seg type="rt">ばさ</seg><seg type="rp">）</seg></seg>ついて、寝られない。<seg type="ruby"><seg type="rb">障子</seg><seg type="rp">（</seg><seg type="rt">しょうじ</seg><seg type="rp">）</seg></seg>をあけたら、庭は一面の草原で、夏の夜の<seg type="ruby"><seg type="rb">月明</seg><seg type="rp">（</seg><seg type="rt">つきあきら</seg><seg type="rp">）</seg></seg>かなるに、眼を<seg type="ruby"><seg type="rb">走</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>しらせると、垣も<seg type="ruby"><seg type="rb">塀</seg><seg type="rp">（</seg><seg type="rt">へい</seg><seg type="rp">）</seg></seg>もあらばこそ、まともに大きな草山に続いている。草山の向うはすぐ<seg type="ruby"><seg type="rb">大海原</seg><seg type="rp">（</seg><seg type="rt">おおうなばら</seg><seg type="rp">）</seg></seg>でどどんどどんと大きな<seg type="ruby"><seg type="rb">濤</seg><seg type="rp">（</seg><seg type="rt">なみ</seg><seg type="rp">）</seg></seg>が人の世を<seg type="ruby"><seg type="rb">威嚇</seg><seg type="rp">（</seg><seg type="rt">おどか</seg><seg type="rp">）</seg></seg>しに来る。余はとうとう夜の明けるまで一睡もせずに、怪し気な<seg type="ruby"><seg type="rb">蚊帳</seg><seg type="rp">（</seg><seg type="rt">かや</seg><seg type="rp">）</seg></seg>のうちに<seg type="ruby"><seg type="rb">辛防</seg><seg type="rp">（</seg><seg type="rt">しんぼう</seg><seg type="rp">）</seg></seg>しながら、まるで<seg type="ruby"><seg type="rb">草双紙</seg><seg type="rp">（</seg><seg type="rt">くさぞうし</seg><seg type="rp">）</seg></seg>にでもありそうな事だと考えた。<lb />
その<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">ご</seg><seg type="rp">）</seg></seg>旅もいろいろしたが、こんな気持になった事は、今夜この那古井へ宿るまではかつて無かった。<lb />
<seg type="ruby"><seg type="rb">仰向</seg><seg type="rp">（</seg><seg type="rt">あおむけ</seg><seg type="rp">）</seg></seg>に寝ながら、偶然目を<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>けて見ると<seg type="ruby"><seg type="rb">欄間</seg><seg type="rp">（</seg><seg type="rt">らんま</seg><seg type="rp">）</seg></seg>に、<seg type="ruby"><seg type="rb">朱塗</seg><seg type="rp">（</seg><seg type="rt">しゅぬ</seg><seg type="rp">）</seg></seg>りの<seg type="ruby"><seg type="rb">縁</seg><seg type="rp">（</seg><seg type="rt">ふち</seg><seg type="rp">）</seg></seg>をとった<seg type="ruby"><seg type="rb">額</seg><seg type="rp">（</seg><seg type="rt">がく</seg><seg type="rp">）</seg></seg>がかかっている。<seg type="ruby"><seg type="rb">文字</seg><seg type="rp">（</seg><seg type="rt">もじ</seg><seg type="rp">）</seg></seg>は寝ながらも<seg type="ruby"><seg type="rb">竹影</seg><seg type="rp">（</seg><seg type="rt">ちくえい</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">払階</seg><seg type="rp">（</seg><seg type="rt">かいをはらって</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">塵不動</seg><seg type="rp">（</seg><seg type="rt">ちりうごかず</seg><seg type="rp">）</seg></seg>と明らかに読まれる。<seg type="ruby"><seg type="rb">大徹</seg><seg type="rp">（</seg><seg type="rt">だいてつ</seg><seg type="rp">）</seg></seg>という<seg type="ruby"><seg type="rb">落款</seg><seg type="rp">（</seg><seg type="rt">らっかん</seg><seg type="rp">）</seg></seg>もたしかに見える。余は書においては<seg type="ruby"><seg type="rb">皆無鑒識</seg><seg type="rp">（</seg><seg type="rt">かいむかんしき</seg><seg type="rp">）</seg></seg>のない男だが、平生から、<seg type="ruby"><seg type="rb">黄檗</seg><seg type="rp">（</seg><seg type="rt">おうばく</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">高泉和尚</seg><seg type="rp">（</seg><seg type="rt">こうせんおしょう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">筆致</seg><seg type="rp">（</seg><seg type="rt">ひっち</seg><seg type="rp">）</seg></seg>を愛している。<seg type="ruby"><seg type="rb">隠元</seg><seg type="rp">（</seg><seg type="rt">いんげん</seg><seg type="rp">）</seg></seg>も<seg type="ruby"><seg type="rb">即非</seg><seg type="rp">（</seg><seg type="rt">そくひ</seg><seg type="rp">）</seg></seg>も<seg type="ruby"><seg type="rb">木庵</seg><seg type="rp">（</seg><seg type="rt">もくあん</seg><seg type="rp">）</seg></seg>もそれぞれに面白味はあるが、<seg type="ruby"><seg type="rb">高泉</seg><seg type="rp">（</seg><seg type="rt">こうせん</seg><seg type="rp">）</seg></seg>の字が一番<seg type="ruby"><seg type="rb">蒼勁</seg><seg type="rp">（</seg><seg type="rt">そうけい</seg><seg type="rp">）</seg></seg>でしかも<seg type="ruby"><seg type="rb">雅馴</seg><seg type="rp">（</seg><seg type="rt">がじゅん</seg><seg type="rp">）</seg></seg>である。今この七字を見ると、筆のあたりから手の運び具合、どうしても高泉としか思われない。しかし<seg type="ruby"><seg type="rb">現</seg><seg type="rp">（</seg><seg type="rt">げん</seg><seg type="rp">）</seg></seg>に大徹とあるからには別人だろう。ことによると黄檗に大徹という坊主がいたかも知れぬ。それにしては紙の色が非常に新しい。どうしても昨今のものとしか受け取れない。<lb />
横を向く。<seg type="ruby"><seg type="rb">床</seg><seg type="rp">（</seg><seg type="rt">とこ</seg><seg type="rp">）</seg></seg>にかかっている<seg type="ruby"><seg type="rb">若冲</seg><seg type="rp">（</seg><seg type="rt">じゃくちゅう</seg><seg type="rp">）</seg></seg>の鶴の図が目につく。これは<seg type="ruby"><seg type="rb">商売柄</seg><seg type="rp">（</seg><seg type="rt">しょうばいがら</seg><seg type="rp">）</seg></seg>だけに、部屋に<seg type="ruby"><seg type="rb">這入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>った時、すでに<seg type="ruby"><seg type="rb">逸品</seg><seg type="rp">（</seg><seg type="rt">いっぴん</seg><seg type="rp">）</seg></seg>と認めた。若冲の図は大抵<seg type="ruby"><seg type="rb">精緻</seg><seg type="rp">（</seg><seg type="rt">せいち</seg><seg type="rp">）</seg></seg>な彩色ものが多いが、この鶴は世間に<seg type="ruby"><seg type="rb">気兼</seg><seg type="rp">（</seg><seg type="rt">きがね</seg><seg type="rp">）</seg></seg>なしの<seg type="ruby"><seg type="rb">一筆</seg><seg type="rp">（</seg><seg type="rt">ひとふで</seg><seg type="rp">）</seg></seg>がきで、一本足ですらりと立った上に、<seg type="ruby"><seg type="rb">卵形</seg><seg type="rp">（</seg><seg type="rt">たまごなり</seg><seg type="rp">）</seg></seg>の胴がふわっと<seg type="ruby"><seg type="rb">乗</seg><seg type="rp">（</seg><seg type="rt">のっ</seg><seg type="rp">）</seg></seg>かっている様子は、はなはだ<seg type="ruby"><seg type="rb">吾意</seg><seg type="rp">（</seg><seg type="rt">わがい</seg><seg type="rp">）</seg></seg>を得て、<seg type="ruby"><seg type="rb">飄逸</seg><seg type="rp">（</seg><seg type="rt">ひょういつ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">趣</seg><seg type="rp">（</seg><seg type="rt">おもむき</seg><seg type="rp">）</seg></seg>は、長い<seg type="ruby"><seg type="rb">嘴</seg><seg type="rp">（</seg><seg type="rt">はし</seg><seg type="rp">）</seg></seg>のさきまで<seg type="ruby"><seg type="rb">籠</seg><seg type="rp">（</seg><seg type="rt">こも</seg><seg type="rp">）</seg></seg>っている。床の隣りは違い棚を略して、普通の戸棚につづく。戸棚の中には何があるか分らない。<lb />
すやすやと寝入る。夢に。<lb />
<seg type="ruby"><seg type="rb">長良</seg><seg type="rp">（</seg><seg type="rt">ながら</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">乙女</seg><seg type="rp">（</seg><seg type="rt">おとめ</seg><seg type="rp">）</seg></seg>が振袖を着て、<seg type="ruby"><seg type="rb">青馬</seg><seg type="rp">（</seg><seg type="rt">あお</seg><seg type="rp">）</seg></seg>に乗って、峠を越すと、いきなり、ささだ男と、ささべ男が飛び出して両方から引っ張る。女が急にオフェリヤになって、柳の枝へ<seg type="ruby"><seg type="rb">上</seg><seg type="rp">（</seg><seg type="rt">のぼ</seg><seg type="rp">）</seg></seg>って、河の中を流れながら、うつくしい声で歌をうたう。救ってやろうと思って、長い<seg type="ruby"><seg type="rb">竿</seg><seg type="rp">（</seg><seg type="rt">さお</seg><seg type="rp">）</seg></seg>を持って、<seg type="ruby"><seg type="rb">向島</seg><seg type="rp">（</seg><seg type="rt">むこうじま</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">追懸</seg><seg type="rp">（</seg><seg type="rt">おっか</seg><seg type="rp">）</seg></seg>けて行く。女は苦しい様子もなく、笑いながら、うたいながら、<seg type="ruby"><seg type="rb">行末</seg><seg type="rp">（</seg><seg type="rt">ゆくえ</seg><seg type="rp">）</seg></seg>も知らず流れを下る。余は竿をかついで、おおいおおいと呼ぶ。<lb />
そこで眼が<seg type="ruby"><seg type="rb">醒</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>めた。<seg type="ruby"><seg type="rb">腋</seg><seg type="rp">（</seg><seg type="rt">わき</seg><seg type="rp">）</seg></seg>の下から汗が出ている。妙に<seg type="ruby"><seg type="rb">雅俗混淆</seg><seg type="rp">（</seg><seg type="rt">がぞくこんこう</seg><seg type="rp">）</seg></seg>な夢を見たものだと思った。昔し<seg type="ruby"><seg type="rb">宋</seg><seg type="rp">（</seg><seg type="rt">そう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">大慧禅師</seg><seg type="rp">（</seg><seg type="rt">だいえぜんじ</seg><seg type="rp">）</seg></seg>と云う人は、悟道の<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">のち</seg><seg type="rp">）</seg></seg>、何事も意のごとくに出来ん事はないが、ただ夢の中では俗念が出て困ると、長い間これを苦にされたそうだが、なるほどもっともだ。文芸を<seg type="ruby"><seg type="rb">性命</seg><seg type="rp">（</seg><seg type="rt">せいめい</seg><seg type="rp">）</seg></seg>にするものは今少しうつくしい夢を見なければ<seg type="ruby"><seg type="rb">幅</seg><seg type="rp">（</seg><seg type="rt">はば</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">利</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>かない。こんな夢では大部分画にも詩にもならんと思いながら、寝返りを打つと、いつの間にか<seg type="ruby"><seg type="rb">障子</seg><seg type="rp">（</seg><seg type="rt">しょうじ</seg><seg type="rp">）</seg></seg>に月がさして、木の枝が二三本<seg type="ruby"><seg type="rb">斜</seg><seg type="rp">（</seg><seg type="rt">なな</seg><seg type="rp">）</seg></seg>めに影をひたしている。<seg type="ruby"><seg type="rb">冴</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>えるほどの春の<seg type="ruby"><seg type="rb">夜</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>だ。<lb />
気のせいか、誰か小声で歌をうたってるような気がする。夢のなかの歌が、この世へ抜け出したのか、あるいはこの世の声が遠き夢の国へ、うつつながらに<seg type="ruby"><seg type="rb">紛</seg><seg type="rp">（</seg><seg type="rt">まぎ</seg><seg type="rp">）</seg></seg>れ込んだのかと耳を<seg type="ruby"><seg type="rb">峙</seg><seg type="rp">（</seg><seg type="rt">そばだ</seg><seg type="rp">）</seg></seg>てる。たしかに誰かうたっている。細くかつ低い声には相違ないが、眠らんとする春の<seg type="ruby"><seg type="rb">夜</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">一縷</seg><seg type="rp">（</seg><seg type="rt">いちる</seg><seg type="rp">）</seg></seg>の脈をかすかに<seg type="ruby"><seg type="rb">搏</seg><seg type="rp">（</seg><seg type="rt">う</seg><seg type="rp">）</seg></seg>たせつつある。不思議な事に、その調子はとにかく、文句をきくと――枕元でやってるのでないから、文句のわかりようはない。――その聞えぬはずのものが、よく聞える。あきづけば、をばなが上に、おく露の、けぬべくもわは、おもほゆるかもと<seg type="ruby"><seg type="rb">長良</seg><seg type="rp">（</seg><seg type="rt">ながら</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">乙女</seg><seg type="rp">（</seg><seg type="rt">おとめ</seg><seg type="rp">）</seg></seg>の歌を、繰り返し繰り返すように思われる。<lb />
初めのうちは<seg type="ruby"><seg type="rb">椽</seg><seg type="rp">（</seg><seg type="rt">えん</seg><seg type="rp">）</seg></seg>に近く聞えた声が、しだいしだいに細く<seg type="ruby"><seg type="rb">遠退</seg><seg type="rp">（</seg><seg type="rt">とおの</seg><seg type="rp">）</seg></seg>いて行く。突然とやむものには、突然の感はあるが、<seg type="ruby"><seg type="rb">憐</seg><seg type="rp">（</seg><seg type="rt">あわ</seg><seg type="rp">）</seg></seg>れはうすい。ふっつりと思い切ったる声をきく人の心には、やはりふっつりと思い切ったる感じが起る。これと云う句切りもなく<seg type="ruby"><seg type="rb">自然</seg><seg type="rp">（</seg><seg type="rt">じねん</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">細</seg><seg type="rp">（</seg><seg type="rt">ほそ</seg><seg type="rp">）</seg></seg>りて、いつの間にか消えるべき現象には、われもまた<seg type="ruby"><seg type="rb">秒</seg><seg type="rp">（</seg><seg type="rt">びょう</seg><seg type="rp">）</seg></seg>を縮め、<seg type="ruby"><seg type="rb">分</seg><seg type="rp">（</seg><seg type="rt">ふん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">割</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>いて、心細さの細さが細る。死なんとしては、死なんとする<seg type="ruby"><seg type="rb">病夫</seg><seg type="rp">（</seg><seg type="rt">びょうふ</seg><seg type="rp">）</seg></seg>のごとく、消えんとしては、消えんとする<seg type="ruby"><seg type="rb">灯火</seg><seg type="rp">（</seg><seg type="rt">とうか</seg><seg type="rp">）</seg></seg>のごとく、今やむか、やむかとのみ心を乱すこの歌の奥には、天下の春の<seg type="ruby"><seg type="rb">恨</seg><seg type="rp">（</seg><seg type="rt">うら</seg><seg type="rp">）</seg></seg>みをことごとく<seg type="ruby"><seg type="rb">萃</seg><seg type="rp">（</seg><seg type="rt">あつ</seg><seg type="rp">）</seg></seg>めたる調べがある。<lb />
今までは<seg type="ruby"><seg type="rb">床</seg><seg type="rp">（</seg><seg type="rt">とこ</seg><seg type="rp">）</seg></seg>の中に我慢して聞いていたが、聞く声の遠ざかるに連れて、わが耳は、釣り出さるると知りつつも、その声を追いかけたくなる。細くなればなるほど、耳だけになっても、あとを<seg type="ruby"><seg type="rb">慕</seg><seg type="rp">（</seg><seg type="rt">した</seg><seg type="rp">）</seg></seg>って飛んで行きたい気がする。もうどう<seg type="ruby"><seg type="rb">焦慮</seg><seg type="rp">（</seg><seg type="rt">あせっ</seg><seg type="rp">）</seg></seg>ても<seg type="ruby"><seg type="rb">鼓膜</seg><seg type="rp">（</seg><seg type="rt">こまく</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">応</seg><seg type="rp">（</seg><seg type="rt">こた</seg><seg type="rp">）</seg></seg>えはあるまいと思う<seg type="ruby"><seg type="rb">一刹那</seg><seg type="rp">（</seg><seg type="rt">いっせつな</seg><seg type="rp">）</seg></seg>の前、余はたまらなくなって、われ知らず<seg type="ruby"><seg type="rb">布団</seg><seg type="rp">（</seg><seg type="rt">ふとん</seg><seg type="rp">）</seg></seg>をすり抜けると共にさらりと<seg type="ruby"><seg type="rb">障子</seg><seg type="rp">（</seg><seg type="rt">しょうじ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>けた。<seg type="ruby"><seg type="rb">途端</seg><seg type="rp">（</seg><seg type="rt">とたん</seg><seg type="rp">）</seg></seg>に自分の<seg type="ruby"><seg type="rb">膝</seg><seg type="rp">（</seg><seg type="rt">ひざ</seg><seg type="rp">）</seg></seg>から下が<seg type="ruby"><seg type="rb">斜</seg><seg type="rp">（</seg><seg type="rt">なな</seg><seg type="rp">）</seg></seg>めに月の光りを浴びる。<seg type="ruby"><seg type="rb">寝巻</seg><seg type="rp">（</seg><seg type="rt">ねまき</seg><seg type="rp">）</seg></seg>の上にも木の影が揺れながら落ちた。<lb />
障子をあけた時にはそんな事には気がつかなかった。あの声はと、耳の走る見当を見破ると――向うにいた。花ならば<seg type="ruby"><seg type="rb">海棠</seg><seg type="rp">（</seg><seg type="rt">かいどう</seg><seg type="rp">）</seg></seg>かと思わるる幹を<seg type="ruby"><seg type="rb">背</seg><seg type="rp">（</seg><seg type="rt">せ</seg><seg type="rp">）</seg></seg>に、よそよそしくも月の光りを忍んで<seg type="ruby"><seg type="rb">朦朧</seg><seg type="rp">（</seg><seg type="rt">もうろう</seg><seg type="rp">）</seg></seg>たる<seg type="ruby"><seg type="rb">影法師</seg><seg type="rp">（</seg><seg type="rt">かげぼうし</seg><seg type="rp">）</seg></seg>がいた。あれかと思う意識さえ、<seg type="ruby"><seg type="rb">確</seg><seg type="rp">（</seg><seg type="rt">しか</seg><seg type="rp">）</seg></seg>とは心にうつらぬ間に、黒いものは花の影を踏み<seg type="ruby"><seg type="rb">砕</seg><seg type="rp">（</seg><seg type="rt">くだ</seg><seg type="rp">）</seg></seg>いて右へ切れた。わがいる部屋つづきの<seg type="ruby"><seg type="rb">棟</seg><seg type="rp">（</seg><seg type="rt">むね</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">角</seg><seg type="rp">（</seg><seg type="rt">かど</seg><seg type="rp">）</seg></seg>が、すらりと動く、<seg type="ruby"><seg type="rb">背</seg><seg type="rp">（</seg><seg type="rt">せい</seg><seg type="rp">）</seg></seg>の高い女姿を、すぐに<seg type="ruby"><seg type="rb">遮</seg><seg type="rp">（</seg><seg type="rt">さえぎ</seg><seg type="rp">）</seg></seg>ってしまう。<lb />
<seg type="ruby"><seg type="rb">借着</seg><seg type="rp">（</seg><seg type="rt">かりぎ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">浴衣</seg><seg type="rp">（</seg><seg type="rt">ゆかた</seg><seg type="rp">）</seg></seg>一枚で、障子へつらまったまま、しばらく<seg type="ruby"><seg type="rb">茫然</seg><seg type="rp">（</seg><seg type="rt">ぼうぜん</seg><seg type="rp">）</seg></seg>としていたが、やがて我に帰ると、山里の春はなかなか寒いものと悟った。ともかくもと抜け出でた布団の穴に、再び<seg type="ruby"><seg type="rb">帰参</seg><seg type="rp">（</seg><seg type="rt">きさん</seg><seg type="rp">）</seg></seg>して考え出した。<seg type="ruby"><seg type="rb">括</seg><seg type="rp">（</seg><seg type="rt">くく</seg><seg type="rp">）</seg></seg>り<seg type="ruby"><seg type="rb">枕</seg><seg type="rp">（</seg><seg type="rt">まくら</seg><seg type="rp">）</seg></seg>のしたから、<seg type="ruby"><seg type="rb">袂時計</seg><seg type="rp">（</seg><seg type="rt">たもとどけい</seg><seg type="rp">）</seg></seg>を出して見ると、一時十分過ぎである。再び枕の下へ押し込んで考え出した。よもや<seg type="ruby"><seg type="rb">化物</seg><seg type="rp">（</seg><seg type="rt">ばけもの</seg><seg type="rp">）</seg></seg>ではあるまい。化物でなければ人間で、人間とすれば女だ。あるいは<seg type="ruby"><seg type="rb">此家</seg><seg type="rp">（</seg><seg type="rt">ここ</seg><seg type="rp">）</seg></seg>の御嬢さんかも知れない。しかし<seg type="ruby"><seg type="rb">出帰</seg><seg type="rp">（</seg><seg type="rt">でがえ</seg><seg type="rp">）</seg></seg>りの御嬢さんとしては夜なかに山つづきの庭へ出るのがちと<seg type="ruby"><seg type="rb">不穏当</seg><seg type="rp">（</seg><seg type="rt">ふおんとう</seg><seg type="rp">）</seg></seg>だ。何にしてもなかなか寝られない。枕の下にある時計までがちくちく口をきく。今まで懐中時計の音の気になった事はないが、今夜に限って、さあ考えろ、さあ考えろと催促するごとく、寝るな寝るなと忠告するごとく口をきく。<seg type="ruby"><seg type="rb">怪</seg><seg type="rp">（</seg><seg type="rt">け</seg><seg type="rp">）</seg></seg>しからん。<lb />
<seg type="ruby"><seg type="rb">怖</seg><seg type="rp">（</seg><seg type="rt">こわ</seg><seg type="rp">）</seg></seg>いものもただ怖いものそのままの姿と見れば詩になる。<seg type="ruby"><seg type="rb">凄</seg><seg type="rp">（</seg><seg type="rt">すご</seg><seg type="rp">）</seg></seg>い事も、<seg type="ruby"><seg type="rb">己</seg><seg type="rp">（</seg><seg type="rt">おの</seg><seg type="rp">）</seg></seg>れを離れて、ただ単独に凄いのだと思えば<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>になる。失恋が芸術の題目となるのも全くその通りである。失恋の苦しみを忘れて、そのやさしいところやら、同情の<seg type="ruby"><seg type="rb">宿</seg><seg type="rp">（</seg><seg type="rt">やど</seg><seg type="rp">）</seg></seg>るところやら、<seg type="ruby"><seg type="rb">憂</seg><seg type="rp">（</seg><seg type="rt">うれい</seg><seg type="rp">）</seg></seg>のこもるところやら、一歩進めて云えば失恋の苦しみそのものの<seg type="ruby"><seg type="rb">溢</seg><seg type="rp">（</seg><seg type="rt">あふ</seg><seg type="rp">）</seg></seg>るるところやらを、単に客観的に<seg type="ruby"><seg type="rb">眼前</seg><seg type="rp">（</seg><seg type="rt">がんぜん</seg><seg type="rp">）</seg></seg>に思い浮べるから文学美術の材料になる。世には有りもせぬ失恋を製造して、<seg type="ruby"><seg type="rb">自</seg><seg type="rp">（</seg><seg type="rt">みず</seg><seg type="rp">）</seg></seg>から<seg type="ruby"><seg type="rb">強</seg><seg type="rp">（</seg><seg type="rt">し</seg><seg type="rp">）</seg></seg>いて<seg type="ruby"><seg type="rb">煩悶</seg><seg type="rp">（</seg><seg type="rt">はんもん</seg><seg type="rp">）</seg></seg>して、愉快を<seg type="ruby"><seg type="rb">貪</seg><seg type="rp">（</seg><seg type="rt">むさ</seg><seg type="rp">）</seg></seg>ぼるものがある。<seg type="ruby"><seg type="rb">常人</seg><seg type="rp">（</seg><seg type="rt">じょうにん</seg><seg type="rp">）</seg></seg>はこれを評して<seg type="ruby"><seg type="rb">愚</seg><seg type="rp">（</seg><seg type="rt">ぐ</seg><seg type="rp">）</seg></seg>だと云う、気違だと云う。しかし自から不幸の輪廓を<seg type="ruby"><seg type="rb">描</seg><seg type="rp">（</seg><seg type="rt">えが</seg><seg type="rp">）</seg></seg>いて<seg type="ruby"><seg type="rb">好</seg><seg type="rp">（</seg><seg type="rt">この</seg><seg type="rp">）</seg></seg>んでその<seg type="ruby"><seg type="rb">中</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">起臥</seg><seg type="rp">（</seg><seg type="rt">きが</seg><seg type="rp">）</seg></seg>するのは、自から<seg type="ruby"><seg type="rb">烏有</seg><seg type="rp">（</seg><seg type="rt">うゆう</seg><seg type="rp">）</seg></seg>の山水を<seg type="ruby"><seg type="rb">刻画</seg><seg type="rp">（</seg><seg type="rt">こくが</seg><seg type="rp">）</seg></seg>して<seg type="ruby"><seg type="rb">壺中</seg><seg type="rp">（</seg><seg type="rt">こちゅう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">天地</seg><seg type="rp">（</seg><seg type="rt">てんち</seg><seg type="rp">）</seg></seg>に歓喜すると、その芸術的の<seg type="ruby"><seg type="rb">立脚地</seg><seg type="rp">（</seg><seg type="rt">りっきゃくち</seg><seg type="rp">）</seg></seg>を得たる点において全く等しいと云わねばならぬ。この点において世上幾多の芸術家は（日常の人としてはいざ知らず）芸術家として常人よりも愚である、気違である。われわれは<seg type="ruby"><seg type="rb">草鞋旅行</seg><seg type="rp">（</seg><seg type="rt">わらじたび</seg><seg type="rp">）</seg></seg>をする<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">あいだ</seg><seg type="rp">）</seg></seg>、朝から晩まで苦しい、苦しいと不平を鳴らしつづけているが、人に向って<seg type="ruby"><seg type="rb">曾遊</seg><seg type="rp">（</seg><seg type="rt">そうゆう</seg><seg type="rp">）</seg></seg>を説く時分には、不平らしい様子は少しも見せぬ。面白かった事、愉快であった事は無論、昔の不平をさえ得意に<seg type="ruby"><seg type="rb">喋々</seg><seg type="rp">（</seg><seg type="rt">ちょうちょう</seg><seg type="rp">）</seg></seg>して、したり顔である。これはあえて<seg type="ruby"><seg type="rb">自</seg><seg type="rp">（</seg><seg type="rt">みずか</seg><seg type="rp">）</seg></seg>ら<seg type="ruby"><seg type="rb">欺</seg><seg type="rp">（</seg><seg type="rt">あざむ</seg><seg type="rp">）</seg></seg>くの、人を<seg type="ruby"><seg type="rb">偽</seg><seg type="rp">（</seg><seg type="rt">いつ</seg><seg type="rp">）</seg></seg>わるのと云う<seg type="ruby"><seg type="rb">了見</seg><seg type="rp">（</seg><seg type="rt">りょうけん</seg><seg type="rp">）</seg></seg>ではない。旅行をする間は<seg rend="sesame_dot" rendition="em">常人</seg>の心持ちで、曾遊を語るときはすでに<seg rend="sesame_dot" rendition="em">詩人</seg>の態度にあるから、こんな矛盾が起る。して見ると四角な世界から常識と名のつく、<seg type="ruby"><seg type="rb">一角</seg><seg type="rp">（</seg><seg type="rt">いっかく</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">磨滅</seg><seg type="rp">（</seg><seg type="rt">まめつ</seg><seg type="rp">）</seg></seg>して、三角のうちに住むのを芸術家と呼んでもよかろう。<lb />
この<seg type="ruby"><seg type="rb">故</seg><seg type="rp">（</seg><seg type="rt">ゆえ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">天然</seg><seg type="rp">（</seg><seg type="rt">てんねん</seg><seg type="rp">）</seg></seg>にあれ、人事にあれ、<seg type="ruby"><seg type="rb">衆俗</seg><seg type="rp">（</seg><seg type="rt">しゅうぞく</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">辟易</seg><seg type="rp">（</seg><seg type="rt">へきえき</seg><seg type="rp">）</seg></seg>して近づきがたしとなすところにおいて、芸術家は無数の<seg type="ruby"><seg type="rb">琳琅</seg><seg type="rp">（</seg><seg type="rt">りんろう</seg><seg type="rp">）</seg></seg>を見、<seg type="ruby"><seg type="rb">無上</seg><seg type="rp">（</seg><seg type="rt">むじょう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">宝<seg facs="../../../gaiji/1-88/1-88-29.png" rend="gaiji" rendition="img" source="※(「王＋路」、第3水準1-88-29)" /></seg><seg type="rp">（</seg><seg type="rt">ほうろ</seg><seg type="rp">）</seg></seg>を知る。俗にこれを<seg type="ruby"><seg type="rb">名</seg><seg type="rp">（</seg><seg type="rt">なづ</seg><seg type="rp">）</seg></seg>けて<seg type="ruby"><seg type="rb">美化</seg><seg type="rp">（</seg><seg type="rt">びか</seg><seg type="rp">）</seg></seg>と云う。その実は美化でも何でもない。<seg type="ruby"><seg type="rb">燦爛</seg><seg type="rp">（</seg><seg type="rt">さんらん</seg><seg type="rp">）</seg></seg>たる<seg type="ruby"><seg type="rb">彩光</seg><seg type="rp">（</seg><seg type="rt">さいこう</seg><seg type="rp">）</seg></seg>は、<seg type="ruby"><seg type="rb">炳乎</seg><seg type="rp">（</seg><seg type="rt">へいこ</seg><seg type="rp">）</seg></seg>として昔から現象世界に実在している。ただ<seg type="ruby"><seg type="rb">一翳</seg><seg type="rp">（</seg><seg type="rt">いちえい</seg><seg type="rp">）</seg></seg>眼に<seg type="ruby"><seg type="rb">在</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>って<seg type="ruby"><seg type="rb">空花乱墜</seg><seg type="rp">（</seg><seg type="rt">くうげらんつい</seg><seg type="rp">）</seg></seg>するが故に、<seg type="ruby"><seg type="rb">俗累</seg><seg type="rp">（</seg><seg type="rt">ぞくるい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">覊絏牢</seg><seg type="rp">（</seg><seg type="rt">きせつろう</seg><seg type="rp">）</seg></seg>として<seg type="ruby"><seg type="rb">絶</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>ちがたきが故に、<seg type="ruby"><seg type="rb">栄辱得喪</seg><seg type="rp">（</seg><seg type="rt">えいじょくとくそう</seg><seg type="rp">）</seg></seg>のわれに<seg type="ruby"><seg type="rb">逼</seg><seg type="rp">（</seg><seg type="rt">せま</seg><seg type="rp">）</seg></seg>る事、<seg type="ruby"><seg type="rb">念々切</seg><seg type="rp">（</seg><seg type="rt">せつ</seg><seg type="rp">）</seg></seg>なるが故に、ターナーが汽車を写すまでは汽車の美を解せず、<seg type="ruby"><seg type="rb">応挙</seg><seg type="rp">（</seg><seg type="rt">おうきょ</seg><seg type="rp">）</seg></seg>が幽霊を<seg type="ruby"><seg type="rb">描</seg><seg type="rp">（</seg><seg type="rt">えが</seg><seg type="rp">）</seg></seg>くまでは幽霊の美を知らずに打ち過ぎるのである。<lb />
余が今見た影法師も、ただそれきりの現象とすれば、<seg type="ruby"><seg type="rb">誰</seg><seg type="rp">（</seg><seg type="rt">だ</seg><seg type="rp">）</seg></seg>れが見ても、<seg type="ruby"><seg type="rb">誰</seg><seg type="rp">（</seg><seg type="rt">だれ</seg><seg type="rp">）</seg></seg>に聞かしても<seg type="ruby"><seg type="rb">饒</seg><seg type="rp">（</seg><seg type="rt">ゆたか</seg><seg type="rp">）</seg></seg>に詩趣を帯びている。――<seg type="ruby"><seg type="rb">孤村</seg><seg type="rp">（</seg><seg type="rt">こそん</seg><seg type="rp">）</seg></seg>の温泉、――<seg type="ruby"><seg type="rb">春宵</seg><seg type="rp">（</seg><seg type="rt">しゅんしょう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">花影</seg><seg type="rp">（</seg><seg type="rt">かえい</seg><seg type="rp">）</seg></seg>、――<seg type="ruby"><seg type="rb">月前</seg><seg type="rp">（</seg><seg type="rt">げつぜん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">低誦</seg><seg type="rp">（</seg><seg type="rt">ていしょう</seg><seg type="rp">）</seg></seg>、――<seg type="ruby"><seg type="rb">朧夜</seg><seg type="rp">（</seg><seg type="rt">おぼろよ</seg><seg type="rp">）</seg></seg>の姿――どれもこれも芸術家の<seg type="ruby"><seg type="rb">好題目</seg><seg type="rp">（</seg><seg type="rt">こうだいもく</seg><seg type="rp">）</seg></seg>である。この好題目が<seg type="ruby"><seg type="rb">眼前</seg><seg type="rp">（</seg><seg type="rt">がんぜん</seg><seg type="rp">）</seg></seg>にありながら、余は<seg type="ruby"><seg type="rb">入</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>らざる<seg type="ruby"><seg type="rb">詮義立</seg><seg type="rp">（</seg><seg type="rt">せんぎだ</seg><seg type="rp">）</seg></seg>てをして、余計な<seg type="ruby"><seg type="rb">探</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>ぐりを投げ込んでいる。せっかくの雅境に<seg type="ruby"><seg type="rb">理窟</seg><seg type="rp">（</seg><seg type="rt">りくつ</seg><seg type="rp">）</seg></seg>の筋が立って、願ってもない風流を、気味の<seg type="ruby"><seg type="rb">悪</seg><seg type="rp">（</seg><seg type="rt">わ</seg><seg type="rp">）</seg></seg>るさが踏みつけにしてしまった。こんな事なら、非人情も<seg type="ruby"><seg type="rb">標榜</seg><seg type="rp">（</seg><seg type="rt">ひょうぼう</seg><seg type="rp">）</seg></seg>する価値がない。もう少し修行をしなければ詩人とも画家とも人に向って<seg type="ruby"><seg type="rb">吹聴</seg><seg type="rp">（</seg><seg type="rt">ふいちょう</seg><seg type="rp">）</seg></seg>する資格はつかぬ。昔し<seg type="ruby"><seg type="rb">以太利亜</seg><seg type="rp">（</seg><seg type="rt">イタリア</seg><seg type="rp">）</seg></seg>の画家サルヴァトル・ロザは泥棒が研究して見たい一心から、おのれの危険を<seg type="ruby"><seg type="rb">賭</seg><seg type="rp">（</seg><seg type="rt">かけ</seg><seg type="rp">）</seg></seg>にして、山賊の<seg type="ruby"><seg type="rb">群</seg><seg type="rp">（</seg><seg type="rt">むれ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">這入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>り込んだと聞いた事がある。<seg type="ruby"><seg type="rb">飄然</seg><seg type="rp">（</seg><seg type="rt">ひょうぜん</seg><seg type="rp">）</seg></seg>と画帖を<seg type="ruby"><seg type="rb">懐</seg><seg type="rp">（</seg><seg type="rt">ふところ</seg><seg type="rp">）</seg></seg>にして家を<seg type="ruby"><seg type="rb">出</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>でたからには、余にもそのくらいの覚悟がなくては恥ずかしい事だ。<lb />
こんな時にどうすれば詩的な<seg type="ruby"><seg type="rb">立脚地</seg><seg type="rp">（</seg><seg type="rt">りっきゃくち</seg><seg type="rp">）</seg></seg>に帰れるかと云えば、おのれの感じ、そのものを、おのが前に<seg type="ruby"><seg type="rb">据</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>えつけて、その感じから一歩<seg type="ruby"><seg type="rb">退</seg><seg type="rp">（</seg><seg type="rt">しりぞ</seg><seg type="rp">）</seg></seg>いて<seg type="ruby"><seg type="rb">有体</seg><seg type="rp">（</seg><seg type="rt">ありてい</seg><seg type="rp">）</seg></seg>に落ちついて、他人らしくこれを検査する余地さえ作ればいいのである。詩人とは自分の<seg type="ruby"><seg type="rb">屍骸</seg><seg type="rp">（</seg><seg type="rt">しがい</seg><seg type="rp">）</seg></seg>を、自分で解剖して、その病状を天下に発表する義務を有している。その方便は色々あるが一番<seg type="ruby"><seg type="rb">手近</seg><seg type="rp">（</seg><seg type="rt">てぢか</seg><seg type="rp">）</seg></seg>なのは<seg type="ruby"><seg type="rb">何</seg><seg type="rp">（</seg><seg type="rt">なん</seg><seg type="rp">）</seg></seg>でも<seg type="ruby"><seg type="rb">蚊</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>でも手当り次第十七字にまとめて見るのが一番いい。十七字は詩形としてもっとも軽便であるから、顔を洗う時にも、<seg type="ruby"><seg type="rb">厠</seg><seg type="rp">（</seg><seg type="rt">かわや</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">上</seg><seg type="rp">（</seg><seg type="rt">のぼ</seg><seg type="rp">）</seg></seg>った時にも、電車に乗った時にも、容易に出来る。十七字が容易に出来ると云う意味は<seg type="ruby"><seg type="rb">安直</seg><seg type="rp">（</seg><seg type="rt">あんちょく</seg><seg type="rp">）</seg></seg>に詩人になれると云う意味であって、詩人になると云うのは一種の<seg type="ruby"><seg type="rb">悟</seg><seg type="rp">（</seg><seg type="rt">さと</seg><seg type="rp">）</seg></seg>りであるから軽便だと云って<seg type="ruby"><seg type="rb">侮蔑</seg><seg type="rp">（</seg><seg type="rt">ぶべつ</seg><seg type="rp">）</seg></seg>する必要はない。軽便であればあるほど<seg type="ruby"><seg type="rb">功徳</seg><seg type="rp">（</seg><seg type="rt">くどく</seg><seg type="rp">）</seg></seg>になるからかえって尊重すべきものと思う。まあちょっと腹が立つと仮定する。腹が立ったところをすぐ十七字にする。十七字にするときは自分の腹立ちがすでに他人に変じている。腹を立ったり、俳句を作ったり、そう<seg type="ruby"><seg type="rb">一人</seg><seg type="rp">（</seg><seg type="rt">ひとり</seg><seg type="rp">）</seg></seg>が同時に働けるものではない。ちょっと涙をこぼす。この涙を十七字にする。するや<seg type="ruby"><seg type="rb">否</seg><seg type="rp">（</seg><seg type="rt">いな</seg><seg type="rp">）</seg></seg>やうれしくなる。涙を十七字に<seg type="ruby"><seg type="rb">纏</seg><seg type="rp">（</seg><seg type="rt">まと</seg><seg type="rp">）</seg></seg>めた時には、苦しみの涙は自分から<seg type="ruby"><seg type="rb">遊離</seg><seg type="rp">（</seg><seg type="rt">ゆうり</seg><seg type="rp">）</seg></seg>して、おれは泣く事の出来る男だと云う<seg type="ruby"><seg type="rb">嬉</seg><seg type="rp">（</seg><seg type="rt">うれ</seg><seg type="rp">）</seg></seg>しさだけの自分になる。<lb />
これが<seg type="ruby"><seg type="rb">平生</seg><seg type="rp">（</seg><seg type="rt">へいぜい</seg><seg type="rp">）</seg></seg>から余の主張である。今夜も一つこの主張を実行して見ようと、夜具の中で例の事件を色々と句に仕立てる。出来たら書きつけないと<seg type="ruby"><seg type="rb">散漫</seg><seg type="rp">（</seg><seg type="rt">さんまん</seg><seg type="rp">）</seg></seg>になっていかぬと、念入りの修業だから、例の写生帖をあけて枕元へ置く。<lb />
「<seg type="ruby"><seg type="rb">海棠</seg><seg type="rp">（</seg><seg type="rt">かいだう</seg><seg type="rp">）</seg></seg>の露をふるふや<seg type="ruby"><seg type="rb">物狂</seg><seg type="rp">（</seg><seg type="rt">ものぐる</seg><seg type="rp">）</seg></seg>ひ」と<seg type="ruby"><seg type="rb">真先</seg><seg type="rp">（</seg><seg type="rt">まっさき</seg><seg type="rp">）</seg></seg>に書き付けて読んで見ると、別に面白くもないが、さりとて気味のわるい事もない。次に「花の影、女の影の<seg type="ruby"><seg type="rb">朧</seg><seg type="rp">（</seg><seg type="rt">おぼろ</seg><seg type="rp">）</seg></seg>かな」とやったが、これは季が<seg type="ruby"><seg type="rb">重</seg><seg type="rp">（</seg><seg type="rt">かさ</seg><seg type="rp">）</seg></seg>なっている。しかし何でも構わない、気が落ちついて<seg type="ruby"><seg type="rb">呑気</seg><seg type="rp">（</seg><seg type="rt">のんき</seg><seg type="rp">）</seg></seg>になればいい。それから「<seg type="ruby"><seg type="rb">正一位</seg><seg type="rp">（</seg><seg type="rt">しやういちゐ</seg><seg type="rp">）</seg></seg>、女に<seg type="ruby"><seg type="rb">化</seg><seg type="rp">（</seg><seg type="rt">ば</seg><seg type="rp">）</seg></seg>けて<seg type="ruby"><seg type="rb">朧月</seg><seg type="rp">（</seg><seg type="rt">おぼろづき</seg><seg type="rp">）</seg></seg>」と作ったが、狂句めいて、自分ながらおかしくなった。<lb />
この調子なら大丈夫と<seg type="ruby"><seg type="rb">乗気</seg><seg type="rp">（</seg><seg type="rt">のりき</seg><seg type="rp">）</seg></seg>になって出るだけの句をみなかき付ける。<lb />
<seg rend="jisage_2" rendition="div" style="margin-left: 2em">
春の星を落して<seg type="ruby"><seg type="rb">夜半</seg><seg type="rp">（</seg><seg type="rt">よは</seg><seg type="rp">）</seg></seg>のかざしかな<lb />
春の夜の雲に濡らすや洗ひ髪<lb />
春や<seg type="ruby"><seg type="rb">今宵</seg><seg type="rp">（</seg><seg type="rt">こよひ</seg><seg type="rp">）</seg></seg>歌つかまつる御姿<lb />
<seg type="ruby"><seg type="rb">海棠</seg><seg type="rp">（</seg><seg type="rt">かいだう</seg><seg type="rp">）</seg></seg>の精が出てくる月夜かな<lb />
うた折々月下の春ををちこちす<lb />
思ひ切つて更け行く春の独りかな<lb />
</seg>
などと、試みているうち、いつしか、うとうと眠くなる。<lb />
<seg type="ruby"><seg type="rb">恍惚</seg><seg type="rp">（</seg><seg type="rt">こうこつ</seg><seg type="rp">）</seg></seg>と云うのが、こんな場合に用いるべき形容詞かと思う。熟睡のうちには<seg type="ruby"><seg type="rb">何人</seg><seg type="rp">（</seg><seg type="rt">なんびと</seg><seg type="rp">）</seg></seg>も我を認め得ぬ。<seg type="ruby"><seg type="rb">明覚</seg><seg type="rp">（</seg><seg type="rt">めいかく</seg><seg type="rp">）</seg></seg>の際には<seg type="ruby"><seg type="rb">誰</seg><seg type="rp">（</seg><seg type="rt">たれ</seg><seg type="rp">）</seg></seg>あって<seg type="ruby"><seg type="rb">外界</seg><seg type="rp">（</seg><seg type="rt">がいかい</seg><seg type="rp">）</seg></seg>を忘るるものはなかろう。ただ両域の間に<seg type="ruby"><seg type="rb">縷</seg><seg type="rp">（</seg><seg type="rt">る</seg><seg type="rp">）</seg></seg>のごとき幻境が<seg type="ruby"><seg type="rb">横</seg><seg type="rp">（</seg><seg type="rt">よこた</seg><seg type="rp">）</seg></seg>わる。<seg type="ruby"><seg type="rb">醒</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>めたりと云うには余り<seg type="ruby"><seg type="rb">朧</seg><seg type="rp">（</seg><seg type="rt">おぼろ</seg><seg type="rp">）</seg></seg>にて、眠ると評せんには少しく<seg type="ruby"><seg type="rb">生気</seg><seg type="rp">（</seg><seg type="rt">せいき</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">剰</seg><seg type="rp">（</seg><seg type="rt">あま</seg><seg type="rp">）</seg></seg>す。<seg type="ruby"><seg type="rb">起臥</seg><seg type="rp">（</seg><seg type="rt">きが</seg><seg type="rp">）</seg></seg>の二界を<seg type="ruby"><seg type="rb">同瓶裏</seg><seg type="rp">（</seg><seg type="rt">どうへいり</seg><seg type="rp">）</seg></seg>に盛りて、<seg type="ruby"><seg type="rb">詩歌</seg><seg type="rp">（</seg><seg type="rt">しいか</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">彩管</seg><seg type="rp">（</seg><seg type="rt">さいかん</seg><seg type="rp">）</seg></seg>をもって、ひたすらに<seg type="ruby"><seg type="rb">攪</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>き<seg type="ruby"><seg type="rb">雑</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>ぜたるがごとき状態を云うのである。自然の色を夢の<seg type="ruby"><seg type="rb">手前</seg><seg type="rp">（</seg><seg type="rt">てまえ</seg><seg type="rp">）</seg></seg>までぼかして、ありのままの宇宙を一段、<seg type="ruby"><seg type="rb">霞</seg><seg type="rp">（</seg><seg type="rt">かすみ</seg><seg type="rp">）</seg></seg>の国へ押し流す。睡魔の<seg type="ruby"><seg type="rb">妖腕</seg><seg type="rp">（</seg><seg type="rt">ようわん</seg><seg type="rp">）</seg></seg>をかりて、ありとある実相の角度を<seg type="ruby"><seg type="rb">滑</seg><seg type="rp">（</seg><seg type="rt">なめら</seg><seg type="rp">）</seg></seg>かにすると共に、かく<seg type="ruby"><seg type="rb">和</seg><seg type="rp">（</seg><seg type="rt">やわ</seg><seg type="rp">）</seg></seg>らげられたる<seg type="ruby"><seg type="rb">乾坤</seg><seg type="rp">（</seg><seg type="rt">けんこん</seg><seg type="rp">）</seg></seg>に、われからと<seg type="ruby"><seg type="rb">微</seg><seg type="rp">（</seg><seg type="rt">かす</seg><seg type="rp">）</seg></seg>かに<seg type="ruby"><seg type="rb">鈍</seg><seg type="rp">（</seg><seg type="rt">にぶ</seg><seg type="rp">）</seg></seg>き脈を通わせる。地を<seg type="ruby"><seg type="rb">這</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>う煙の飛ばんとして飛び得ざるごとく、わが<seg type="ruby"><seg type="rb">魂</seg><seg type="rp">（</seg><seg type="rt">たましい</seg><seg type="rp">）</seg></seg>の、わが<seg type="ruby"><seg type="rb">殻</seg><seg type="rp">（</seg><seg type="rt">から</seg><seg type="rp">）</seg></seg>を離れんとして離るるに忍びざる<seg type="ruby"><seg type="rb">態</seg><seg type="rp">（</seg><seg type="rt">てい</seg><seg type="rp">）</seg></seg>である。抜け<seg type="ruby"><seg type="rb">出</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>でんとして<seg type="ruby"><seg type="rb">逡巡</seg><seg type="rp">（</seg><seg type="rt">ためら</seg><seg type="rp">）</seg></seg>い、逡巡いては抜け出でんとし、<seg type="ruby"><seg type="rb">果</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>ては魂と云う個体を、もぎどうに<seg type="ruby"><seg type="rb">保</seg><seg type="rp">（</seg><seg type="rt">たも</seg><seg type="rp">）</seg></seg>ちかねて、<seg type="ruby"><seg type="rb">氤<seg facs="../../../gaiji/1-86/1-86-48.png" rend="gaiji" rendition="img" source="※(「气＜慍のつくり」、第3水準1-86-48)" /></seg><seg type="rp">（</seg><seg type="rt">いんうん</seg><seg type="rp">）</seg></seg>たる<seg type="ruby"><seg type="rb">瞑氛</seg><seg type="rp">（</seg><seg type="rt">めいふん</seg><seg type="rp">）</seg></seg>が散るともなしに四肢五体に<seg type="ruby"><seg type="rb">纏綿</seg><seg type="rp">（</seg><seg type="rt">てんめん</seg><seg type="rp">）</seg></seg>して、<seg type="ruby"><seg type="rb">依々</seg><seg type="rp">（</seg><seg type="rt">いい</seg><seg type="rp">）</seg></seg>たり<seg type="ruby"><seg type="rb">恋々</seg><seg type="rp">（</seg><seg type="rt">れんれん</seg><seg type="rp">）</seg></seg>たる心持ちである。<lb />
余が<seg type="ruby"><seg type="rb">寤寐</seg><seg type="rp">（</seg><seg type="rt">ごび</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">境</seg><seg type="rp">（</seg><seg type="rt">さかい</seg><seg type="rp">）</seg></seg>にかく<seg type="ruby"><seg type="rb">逍遥</seg><seg type="rp">（</seg><seg type="rt">しょうよう</seg><seg type="rp">）</seg></seg>していると、入口の<seg type="ruby"><seg type="rb">唐紙</seg><seg type="rp">（</seg><seg type="rt">からかみ</seg><seg type="rp">）</seg></seg>がすうと<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>いた。あいた所へまぼろしのごとく女の影がふうと現われた。余は驚きもせぬ。恐れもせぬ。ただ<seg type="ruby"><seg type="rb">心地</seg><seg type="rp">（</seg><seg type="rt">ここち</seg><seg type="rp">）</seg></seg>よく<seg type="ruby"><seg type="rb">眺</seg><seg type="rp">（</seg><seg type="rt">なが</seg><seg type="rp">）</seg></seg>めている。眺めると云うてはちと言葉が強過ぎる。余が<seg type="ruby"><seg type="rb">閉</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>じている<seg type="ruby"><seg type="rb">瞼</seg><seg type="rp">（</seg><seg type="rt">まぶた</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">裏</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">幻影</seg><seg type="rp">（</seg><seg type="rt">まぼろし</seg><seg type="rp">）</seg></seg>の女が<seg type="ruby"><seg type="rb">断</seg><seg type="rp">（</seg><seg type="rt">ことわ</seg><seg type="rp">）</seg></seg>りもなく<seg type="ruby"><seg type="rb">滑</seg><seg type="rp">（</seg><seg type="rt">すべ</seg><seg type="rp">）</seg></seg>り込んで来たのである。まぼろしはそろりそろりと部屋のなかに<seg type="ruby"><seg type="rb">這入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>る。<seg type="ruby"><seg type="rb">仙女</seg><seg type="rp">（</seg><seg type="rt">せんにょ</seg><seg type="rp">）</seg></seg>の波をわたるがごとく、畳の上には人らしい音も立たぬ。閉ずる<seg type="ruby"><seg type="rb">眼</seg><seg type="rp">（</seg><seg type="rt">まなこ</seg><seg type="rp">）</seg></seg>のなかから見る世の中だから<seg type="ruby"><seg type="rb">確</seg><seg type="rp">（</seg><seg type="rt">しか</seg><seg type="rp">）</seg></seg>とは解らぬが、色の白い、髪の濃い、<seg type="ruby"><seg type="rb">襟足</seg><seg type="rp">（</seg><seg type="rt">えりあし</seg><seg type="rp">）</seg></seg>の長い女である。近頃はやる、ぼかした写真を<seg type="ruby"><seg type="rb">灯影</seg><seg type="rp">（</seg><seg type="rt">ほかげ</seg><seg type="rp">）</seg></seg>にすかすような気がする。<lb />
まぼろしは<seg type="ruby"><seg type="rb">戸棚</seg><seg type="rp">（</seg><seg type="rt">とだな</seg><seg type="rp">）</seg></seg>の前でとまる。戸棚があく。白い腕が<seg type="ruby"><seg type="rb">袖</seg><seg type="rp">（</seg><seg type="rt">そで</seg><seg type="rp">）</seg></seg>をすべって<seg type="ruby"><seg type="rb">暗闇</seg><seg type="rp">（</seg><seg type="rt">くらやみ</seg><seg type="rp">）</seg></seg>のなかにほのめいた。戸棚がまたしまる。畳の波がおのずから幻影を渡し返す。入口の唐紙がひとりでに<seg type="ruby"><seg type="rb">閉</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>たる。余が眠りはしだいに<seg type="ruby"><seg type="rb">濃</seg><seg type="rp">（</seg><seg type="rt">こま</seg><seg type="rp">）</seg></seg>やかになる。人に死して、まだ牛にも馬にも生れ変らない途中はこんなであろう。<lb />
いつまで人と馬の<seg type="ruby"><seg type="rb">相中</seg><seg type="rp">（</seg><seg type="rt">あいなか</seg><seg type="rp">）</seg></seg>に寝ていたかわれは知らぬ。耳元にききっと女の笑い声がしたと思ったら眼がさめた。見れば夜の幕はとくに切り落されて、天下は<seg type="ruby"><seg type="rb">隅</seg><seg type="rp">（</seg><seg type="rt">すみ</seg><seg type="rp">）</seg></seg>から隅まで明るい。うららかな<seg type="ruby"><seg type="rb">春日</seg><seg type="rp">（</seg><seg type="rt">はるび</seg><seg type="rp">）</seg></seg>が丸窓の<seg type="ruby"><seg type="rb">竹格子</seg><seg type="rp">（</seg><seg type="rt">たけごうし</seg><seg type="rp">）</seg></seg>を黒く染め抜いた様子を見ると、世の中に不思議と云うものの<seg type="ruby"><seg type="rb">潜</seg><seg type="rp">（</seg><seg type="rt">ひそ</seg><seg type="rp">）</seg></seg>む余地はなさそうだ。神秘は<seg type="ruby"><seg type="rb">十万億土</seg><seg type="rp">（</seg><seg type="rt">じゅうまんおくど</seg><seg type="rp">）</seg></seg>へ帰って、<seg type="ruby"><seg type="rb">三途</seg><seg type="rp">（</seg><seg type="rt">さんず</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">川</seg><seg type="rp">（</seg><seg type="rt">かわ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">向側</seg><seg type="rp">（</seg><seg type="rt">むこうがわ</seg><seg type="rp">）</seg></seg>へ渡ったのだろう。<lb />
<seg type="ruby"><seg type="rb">浴衣</seg><seg type="rp">（</seg><seg type="rt">ゆかた</seg><seg type="rp">）</seg></seg>のまま、<seg type="ruby"><seg type="rb">風呂場</seg><seg type="rp">（</seg><seg type="rt">ふろば</seg><seg type="rp">）</seg></seg>へ下りて、五分ばかり偶然と<seg type="ruby"><seg type="rb">湯壺</seg><seg type="rp">（</seg><seg type="rt">ゆつぼ</seg><seg type="rp">）</seg></seg>のなかで顔を浮かしていた。洗う気にも、出る気にもならない。第一<seg type="ruby"><seg type="rb">昨夕</seg><seg type="rp">（</seg><seg type="rt">ゆうべ</seg><seg type="rp">）</seg></seg>はどうしてあんな心持ちになったのだろう。昼と夜を<seg type="ruby"><seg type="rb">界</seg><seg type="rp">（</seg><seg type="rt">さかい</seg><seg type="rp">）</seg></seg>にこう天地が、でんぐり返るのは妙だ。<lb />
<seg type="ruby"><seg type="rb">身体</seg><seg type="rp">（</seg><seg type="rt">からだ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">拭</seg><seg type="rp">（</seg><seg type="rt">ふ</seg><seg type="rp">）</seg></seg>くさえ<seg type="ruby"><seg type="rb">退儀</seg><seg type="rp">（</seg><seg type="rt">たいぎ</seg><seg type="rp">）</seg></seg>だから、いい加減にして、<seg type="ruby"><seg type="rb">濡</seg><seg type="rp">（</seg><seg type="rt">ぬ</seg><seg type="rp">）</seg></seg>れたまま<seg type="ruby"><seg type="rb">上</seg><seg type="rp">（</seg><seg type="rt">あが</seg><seg type="rp">）</seg></seg>って、風呂場の戸を内から<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>けると、また驚かされた。<lb />
「御早う。<seg type="ruby"><seg type="rb">昨夕</seg><seg type="rp">（</seg><seg type="rt">ゆうべ</seg><seg type="rp">）</seg></seg>はよく寝られましたか」<lb />
戸を開けるのと、この言葉とはほとんど同時にきた。人のいるさえ予期しておらぬ<seg type="ruby"><seg type="rb">出合頭</seg><seg type="rp">（</seg><seg type="rt">であいがしら</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">挨拶</seg><seg type="rp">（</seg><seg type="rt">あいさつ</seg><seg type="rp">）</seg></seg>だから、さそくの返事も出る<seg type="ruby"><seg type="rb">遑</seg><seg type="rp">（</seg><seg type="rt">いとま</seg><seg type="rp">）</seg></seg>さえないうちに、<lb />
「さ、<seg type="ruby"><seg type="rb">御召</seg><seg type="rp">（</seg><seg type="rt">おめ</seg><seg type="rp">）</seg></seg>しなさい」<lb />
と<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">うし</seg><seg type="rp">）</seg></seg>ろへ廻って、ふわりと余の<seg type="ruby"><seg type="rb">背中</seg><seg type="rp">（</seg><seg type="rt">せなか</seg><seg type="rp">）</seg></seg>へ柔かい着物をかけた。ようやくの事「これはありがとう……」だけ出して、向き直る、<seg type="ruby"><seg type="rb">途端</seg><seg type="rp">（</seg><seg type="rt">とたん</seg><seg type="rp">）</seg></seg>に女は二三歩<seg type="ruby"><seg type="rb">退</seg><seg type="rp">（</seg><seg type="rt">しりぞ</seg><seg type="rp">）</seg></seg>いた。<lb />
昔から小説家は必ず主人公の<seg type="ruby"><seg type="rb">容貌</seg><seg type="rp">（</seg><seg type="rt">ようぼう</seg><seg type="rp">）</seg></seg>を極力描写することに相場がきまってる。古今東西の言語で、<seg type="ruby"><seg type="rb">佳人</seg><seg type="rp">（</seg><seg type="rt">かじん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">品評</seg><seg type="rp">（</seg><seg type="rt">ひんぴょう</seg><seg type="rp">）</seg></seg>に使用せられたるものを列挙したならば、<seg type="ruby"><seg type="rb">大蔵経</seg><seg type="rp">（</seg><seg type="rt">だいぞうきょう</seg><seg type="rp">）</seg></seg>とその量を争うかも知れぬ。この<seg type="ruby"><seg type="rb">辟易</seg><seg type="rp">（</seg><seg type="rt">へきえき</seg><seg type="rp">）</seg></seg>すべき多量の形容詞中から、余と三歩の<seg type="ruby"><seg type="rb">隔</seg><seg type="rp">（</seg><seg type="rt">へだた</seg><seg type="rp">）</seg></seg>りに立つ、<seg type="ruby"><seg type="rb">体</seg><seg type="rp">（</seg><seg type="rt">たい</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">斜</seg><seg type="rp">（</seg><seg type="rt">なな</seg><seg type="rp">）</seg></seg>めに<seg type="ruby"><seg type="rb">捩</seg><seg type="rp">（</seg><seg type="rt">ねじ</seg><seg type="rp">）</seg></seg>って、<seg type="ruby"><seg type="rb">後目</seg><seg type="rp">（</seg><seg type="rt">しりめ</seg><seg type="rp">）</seg></seg>に余が<seg type="ruby"><seg type="rb">驚愕</seg><seg type="rp">（</seg><seg type="rt">きょうがく</seg><seg type="rp">）</seg></seg>と<seg type="ruby"><seg type="rb">狼狽</seg><seg type="rp">（</seg><seg type="rt">ろうばい</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">心地</seg><seg type="rp">（</seg><seg type="rt">ここち</seg><seg type="rp">）</seg></seg>よげに<seg type="ruby"><seg type="rb">眺</seg><seg type="rp">（</seg><seg type="rt">なが</seg><seg type="rp">）</seg></seg>めている女を、もっとも適当に<seg type="ruby"><seg type="rb">叙</seg><seg type="rp">（</seg><seg type="rt">じょ</seg><seg type="rp">）</seg></seg>すべき用語を拾い来ったなら、どれほどの数になるか知れない。しかし生れて三十余年の<seg type="ruby"><seg type="rb">今日</seg><seg type="rp">（</seg><seg type="rt">こんにち</seg><seg type="rp">）</seg></seg>に至るまで<seg type="ruby"><seg type="rb">未</seg><seg type="rp">（</seg><seg type="rt">いま</seg><seg type="rp">）</seg></seg>だかつて、かかる表情を見た事がない。美術家の評によると、<seg type="ruby"><seg type="rb">希臘</seg><seg type="rp">（</seg><seg type="rt">ギリシャ</seg><seg type="rp">）</seg></seg>の彫刻の理想は、<seg type="ruby"><seg type="rb">端粛</seg><seg type="rp">（</seg><seg type="rt">たんしゅく</seg><seg type="rp">）</seg></seg>の二字に<seg type="ruby"><seg type="rb">帰</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>するそうである。端粛とは人間の活力の動かんとして、未だ動かざる姿と思う。動けばどう変化するか、<seg type="ruby"><seg type="rb">風雲</seg><seg type="rp">（</seg><seg type="rt">ふううん</seg><seg type="rp">）</seg></seg>か<seg type="ruby"><seg type="rb">雷霆</seg><seg type="rp">（</seg><seg type="rt">らいてい</seg><seg type="rp">）</seg></seg>か、見わけのつかぬところに<seg type="ruby"><seg type="rb">余韻</seg><seg type="rp">（</seg><seg type="rt">よいん</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">縹緲</seg><seg type="rp">（</seg><seg type="rt">ひょうびょう</seg><seg type="rp">）</seg></seg>と存するから<seg type="ruby"><seg type="rb">含蓄</seg><seg type="rp">（</seg><seg type="rt">がんちく</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">趣</seg><seg type="rp">（</seg><seg type="rt">おもむき</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">百世</seg><seg type="rp">（</seg><seg type="rt">ひゃくせい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">のち</seg><seg type="rp">）</seg></seg>に伝うるのであろう。世上幾多の尊厳と威儀とはこの<seg type="ruby"><seg type="rb">湛然</seg><seg type="rp">（</seg><seg type="rt">たんぜん</seg><seg type="rp">）</seg></seg>たる可能力の裏面に伏在している。動けばあらわれる。あらわるれば一か二か三か必ず始末がつく。一も二も三も必ず特殊の能力には相違なかろうが、すでに一となり、二となり、三となった<seg type="ruby"><seg type="rb">暁</seg><seg type="rp">（</seg><seg type="rt">あかつき</seg><seg type="rp">）</seg></seg>には、<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-84/1-84-74.png" rend="gaiji" rendition="img" source="※(「てへん＋施のつくり」、第3水準1-84-74)" />泥帯水</seg><seg type="rp">（</seg><seg type="rt">たでいたいすい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">陋</seg><seg type="rp">（</seg><seg type="rt">ろう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">遺憾</seg><seg type="rp">（</seg><seg type="rt">いかん</seg><seg type="rp">）</seg></seg>なく示して、<seg type="ruby"><seg type="rb">本来円満</seg><seg type="rp">（</seg><seg type="rt">ほんらいえんまん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">相</seg><seg type="rp">（</seg><seg type="rt">そう</seg><seg type="rp">）</seg></seg>に戻る訳には行かぬ。この<seg type="ruby"><seg type="rb">故</seg><seg type="rp">（</seg><seg type="rt">ゆえ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">動</seg><seg type="rp">（</seg><seg type="rt">どう</seg><seg type="rp">）</seg></seg>と名のつくものは必ず卑しい。<seg type="ruby"><seg type="rb">運慶</seg><seg type="rp">（</seg><seg type="rt">うんけい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">仁王</seg><seg type="rp">（</seg><seg type="rt">におう</seg><seg type="rp">）</seg></seg>も、<seg type="ruby"><seg type="rb">北斎</seg><seg type="rp">（</seg><seg type="rt">ほくさい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">漫画</seg><seg type="rp">（</seg><seg type="rt">まんが</seg><seg type="rp">）</seg></seg>も全くこの動の一字で失敗している。動か静か。これがわれら<seg type="ruby"><seg type="rb">画工</seg><seg type="rp">（</seg><seg type="rt">がこう</seg><seg type="rp">）</seg></seg>の運命を支配する大問題である。古来美人の形容も大抵この二大<seg type="ruby"><seg type="rb">範疇</seg><seg type="rp">（</seg><seg type="rt">はんちゅう</seg><seg type="rp">）</seg></seg>のいずれにか打ち込む事が出来べきはずだ。<lb />
ところがこの女の表情を見ると、余はいずれとも判断に迷った。口は一文字を結んで<seg type="ruby"><seg type="rb">静</seg><seg type="rp">（</seg><seg type="rt">しずか</seg><seg type="rp">）</seg></seg>である。眼は<seg type="ruby"><seg type="rb">五分</seg><seg type="rp">（</seg><seg type="rt">ごぶ</seg><seg type="rp">）</seg></seg>のすきさえ見出すべく動いている。顔は<seg type="ruby"><seg type="rb">下膨</seg><seg type="rp">（</seg><seg type="rt">しもぶくれ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">瓜実形</seg><seg type="rp">（</seg><seg type="rt">うりざねがた</seg><seg type="rp">）</seg></seg>で、豊かに落ちつきを見せているに引き<seg type="ruby"><seg type="rb">易</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>えて、<seg type="ruby"><seg type="rb">額</seg><seg type="rp">（</seg><seg type="rt">ひたい</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">狭苦</seg><seg type="rp">（</seg><seg type="rt">せまくる</seg><seg type="rp">）</seg></seg>しくも、こせついて、いわゆる<seg type="ruby"><seg type="rb">富士額</seg><seg type="rp">（</seg><seg type="rt">ふじびたい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">俗臭</seg><seg type="rp">（</seg><seg type="rt">ぞくしゅう</seg><seg type="rp">）</seg></seg>を帯びている。のみならず<seg type="ruby"><seg type="rb">眉</seg><seg type="rp">（</seg><seg type="rt">まゆ</seg><seg type="rp">）</seg></seg>は両方から<seg type="ruby"><seg type="rb">逼</seg><seg type="rp">（</seg><seg type="rt">せま</seg><seg type="rp">）</seg></seg>って、中間に数滴の<seg type="ruby"><seg type="rb">薄荷</seg><seg type="rp">（</seg><seg type="rt">はっか</seg><seg type="rp">）</seg></seg>を点じたるごとく、ぴくぴく<seg type="ruby"><seg type="rb">焦慮</seg><seg type="rp">（</seg><seg type="rt">じれ</seg><seg type="rp">）</seg></seg>ている。鼻ばかりは軽薄に鋭どくもない、遅鈍に丸くもない。<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>にしたら美しかろう。かように別れ別れの道具が皆<seg type="ruby"><seg type="rb">一癖</seg><seg type="rp">（</seg><seg type="rt">ひとくせ</seg><seg type="rp">）</seg></seg>あって、乱調にどやどやと余の双眼に飛び込んだのだから迷うのも無理はない。<lb />
元来は<seg type="ruby"><seg type="rb">静</seg><seg type="rp">（</seg><seg type="rt">せい</seg><seg type="rp">）</seg></seg>であるべき<seg type="ruby"><seg type="rb">大地</seg><seg type="rp">（</seg><seg type="rt">だいち</seg><seg type="rp">）</seg></seg>の一角に<seg type="ruby"><seg type="rb">陥欠</seg><seg type="rp">（</seg><seg type="rt">かんけつ</seg><seg type="rp">）</seg></seg>が起って、全体が思わず動いたが、動くは本来の性に<seg type="ruby"><seg type="rb">背</seg><seg type="rp">（</seg><seg type="rt">そむ</seg><seg type="rp">）</seg></seg>くと悟って、<seg type="ruby"><seg type="rb">力</seg><seg type="rp">（</seg><seg type="rt">つと</seg><seg type="rp">）</seg></seg>めて<seg type="ruby"><seg type="rb">往昔</seg><seg type="rp">（</seg><seg type="rt">むかし</seg><seg type="rp">）</seg></seg>の姿にもどろうとしたのを、<seg type="ruby"><seg type="rb">平衡</seg><seg type="rp">（</seg><seg type="rt">へいこう</seg><seg type="rp">）</seg></seg>を失った機勢に制せられて、心ならずも動きつづけた<seg type="ruby"><seg type="rb">今日</seg><seg type="rp">（</seg><seg type="rt">こんにち</seg><seg type="rp">）</seg></seg>は、やけだから無理でも動いて見せると云わぬばかりの有様が――そんな有様がもしあるとすればちょうどこの女を形容する事が出来る。<lb />
それだから<seg type="ruby"><seg type="rb">軽侮</seg><seg type="rp">（</seg><seg type="rt">けいぶ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">裏</seg><seg type="rp">（</seg><seg type="rt">うら</seg><seg type="rp">）</seg></seg>に、何となく人に<seg type="ruby"><seg type="rb">縋</seg><seg type="rp">（</seg><seg type="rt">すが</seg><seg type="rp">）</seg></seg>りたい景色が見える。人を馬鹿にした様子の底に<seg type="ruby"><seg type="rb">慎</seg><seg type="rp">（</seg><seg type="rt">つつし</seg><seg type="rp">）</seg></seg>み深い<seg type="ruby"><seg type="rb">分別</seg><seg type="rp">（</seg><seg type="rt">ふんべつ</seg><seg type="rp">）</seg></seg>がほのめいている。才に任せ、気を<seg type="ruby"><seg type="rb">負</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>えば百人の男子を物の数とも思わぬ<seg type="ruby"><seg type="rb">勢</seg><seg type="rp">（</seg><seg type="rt">いきおい</seg><seg type="rp">）</seg></seg>の下から<seg type="ruby"><seg type="rb">温和</seg><seg type="rp">（</seg><seg type="rt">おとな</seg><seg type="rp">）</seg></seg>しい<seg type="ruby"><seg type="rb">情</seg><seg type="rp">（</seg><seg type="rt">なさ</seg><seg type="rp">）</seg></seg>けが吾知らず<seg type="ruby"><seg type="rb">湧</seg><seg type="rp">（</seg><seg type="rt">わ</seg><seg type="rp">）</seg></seg>いて出る。どうしても表情に一致がない。<seg type="ruby"><seg type="rb">悟</seg><seg type="rp">（</seg><seg type="rt">さと</seg><seg type="rp">）</seg></seg>りと<seg type="ruby"><seg type="rb">迷</seg><seg type="rp">（</seg><seg type="rt">まよい</seg><seg type="rp">）</seg></seg>が一軒の<seg type="ruby"><seg type="rb">家</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">喧嘩</seg><seg type="rp">（</seg><seg type="rt">けんか</seg><seg type="rp">）</seg></seg>をしながらも同居している<seg type="ruby"><seg type="rb">体</seg><seg type="rp">（</seg><seg type="rt">てい</seg><seg type="rp">）</seg></seg>だ。この女の顔に統一の感じのないのは、心に統一のない証拠で、心に統一がないのは、この女の世界に統一がなかったのだろう。不幸に<seg type="ruby"><seg type="rb">圧</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>しつけられながら、その不幸に打ち勝とうとしている顔だ。<seg type="ruby"><seg type="rb">不仕合</seg><seg type="rp">（</seg><seg type="rt">ふしあわせ</seg><seg type="rp">）</seg></seg>な女に違ない。<lb />
「ありがとう」と繰り返しながら、ちょっと<seg type="ruby"><seg type="rb">会釈</seg><seg type="rp">（</seg><seg type="rt">えしゃく</seg><seg type="rp">）</seg></seg>した。<lb />
「ほほほほ御部屋は<seg type="ruby"><seg type="rb">掃除</seg><seg type="rp">（</seg><seg type="rt">そうじ</seg><seg type="rp">）</seg></seg>がしてあります。<seg type="ruby"><seg type="rb">往</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>って御覧なさい。いずれ<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">のち</seg><seg type="rp">）</seg></seg>ほど」<lb />
と云うや<seg type="ruby"><seg type="rb">否</seg><seg type="rp">（</seg><seg type="rt">いな</seg><seg type="rp">）</seg></seg>や、ひらりと、腰をひねって、廊下を<seg type="ruby"><seg type="rb">軽気</seg><seg type="rp">（</seg><seg type="rt">かろげ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">馳</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>けて行った。頭は<seg type="ruby"><seg type="rb">銀杏返</seg><seg type="rp">（</seg><seg type="rt">いちょうがえし</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">結</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>っている。白い<seg type="ruby"><seg type="rb">襟</seg><seg type="rp">（</seg><seg type="rt">えり</seg><seg type="rp">）</seg></seg>がたぼの下から見える。帯の<seg type="ruby"><seg type="rb">黒繻子</seg><seg type="rp">（</seg><seg type="rt">くろじゅす</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">片側</seg><seg type="rp">（</seg><seg type="rt">かたかわ</seg><seg type="rp">）</seg></seg>だけだろう。<lb />
<lb />
<seg rend="jisage_8" rendition="div" style="margin-left: 8em"><seg rend="naka-midashi" rendition="h"><seg rend="midashi_anchor" rendition="a" xml:id="midashi40">四</seg></seg></seg>
<lb />
ぽかんと部屋へ帰ると、なるほど<seg type="ruby"><seg type="rb">奇麗</seg><seg type="rp">（</seg><seg type="rt">きれい</seg><seg type="rp">）</seg></seg>に掃除がしてある。ちょっと気がかりだから、念のため戸棚をあけて見る。下には小さな<seg type="ruby"><seg type="rb">用箪笥</seg><seg type="rp">（</seg><seg type="rt">ようだんす</seg><seg type="rp">）</seg></seg>が見える。上から<seg type="ruby"><seg type="rb">友禅</seg><seg type="rp">（</seg><seg type="rt">ゆうぜん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">扱帯</seg><seg type="rp">（</seg><seg type="rt">しごき</seg><seg type="rp">）</seg></seg>が半分<seg type="ruby"><seg type="rb">垂</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>れかかって、いるのは、誰か衣類でも取り出して急いで、出て行ったものと解釈が出来る。扱帯の上部はなまめかしい<seg type="ruby"><seg type="rb">衣裳</seg><seg type="rp">（</seg><seg type="rt">いしょう</seg><seg type="rp">）</seg></seg>の間にかくれて先は見えない。片側には書物が少々詰めてある。一番上に<seg type="ruby"><seg type="rb">白隠和尚</seg><seg type="rp">（</seg><seg type="rt">はくいんおしょう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">遠良天釜</seg><seg type="rp">（</seg><seg type="rt">おらてがま</seg><seg type="rp">）</seg></seg>と、<seg type="ruby"><seg type="rb">伊勢物語</seg><seg type="rp">（</seg><seg type="rt">いせものがたり</seg><seg type="rp">）</seg></seg>の一巻が並んでる。<seg type="ruby"><seg type="rb">昨夕</seg><seg type="rp">（</seg><seg type="rt">ゆうべ</seg><seg type="rp">）</seg></seg>のうつつは事実かも知れないと思った。<lb />
<seg type="ruby"><seg type="rb">何気</seg><seg type="rp">（</seg><seg type="rt">なにげ</seg><seg type="rp">）</seg></seg>なく<seg type="ruby"><seg type="rb">座布団</seg><seg type="rp">（</seg><seg type="rt">ざぶとん</seg><seg type="rp">）</seg></seg>の上へ坐ると、<seg type="ruby"><seg type="rb">唐木</seg><seg type="rp">（</seg><seg type="rt">からき</seg><seg type="rp">）</seg></seg>の机の上に例の写生帖が、鉛筆を<seg type="ruby"><seg type="rb">挟</seg><seg type="rp">（</seg><seg type="rt">はさ</seg><seg type="rp">）</seg></seg>んだまま、大事そうにあけてある。夢中に書き流した句を、朝見たらどんな具合だろうと手に取る。<lb />
「<seg type="ruby"><seg type="rb">海棠</seg><seg type="rp">（</seg><seg type="rt">かいだう</seg><seg type="rp">）</seg></seg>の露をふるふや<seg type="ruby"><seg type="rb">物狂</seg><seg type="rp">（</seg><seg type="rt">ものぐるひ</seg><seg type="rp">）</seg></seg>」の下にだれだか「海棠の露をふるふや<seg type="ruby"><seg type="rb">朝烏</seg><seg type="rp">（</seg><seg type="rt">あさがらす</seg><seg type="rp">）</seg></seg>」とかいたものがある。鉛筆だから、書体はしかと<seg type="ruby"><seg type="rb">解</seg><seg type="rp">（</seg><seg type="rt">わか</seg><seg type="rp">）</seg></seg>らんが、女にしては<seg type="ruby"><seg type="rb">硬過</seg><seg type="rp">（</seg><seg type="rt">かたす</seg><seg type="rp">）</seg></seg>ぎる、男にしては<seg type="ruby"><seg type="rb">柔</seg><seg type="rp">（</seg><seg type="rt">やわら</seg><seg type="rp">）</seg></seg>か過ぎる。おやとまた<seg type="ruby"><seg type="rb">吃驚</seg><seg type="rp">（</seg><seg type="rt">びっくり</seg><seg type="rp">）</seg></seg>する。次を見ると「花の影、女の影の<seg type="ruby"><seg type="rb">朧</seg><seg type="rp">（</seg><seg type="rt">おぼろ</seg><seg type="rp">）</seg></seg>かな」の下に「花の影女の影を<seg type="ruby"><seg type="rb">重</seg><seg type="rp">（</seg><seg type="rt">かさ</seg><seg type="rp">）</seg></seg>ねけり」とつけてある。「<seg type="ruby"><seg type="rb">正一位</seg><seg type="rp">（</seg><seg type="rt">しやういちゐ</seg><seg type="rp">）</seg></seg>女に化けて<seg type="ruby"><seg type="rb">朧月</seg><seg type="rp">（</seg><seg type="rt">おぼろづき</seg><seg type="rp">）</seg></seg>」の下には「<seg type="ruby"><seg type="rb">御曹子</seg><seg type="rp">（</seg><seg type="rt">おんざうし</seg><seg type="rp">）</seg></seg>女に化けて朧月」とある。<seg type="ruby"><seg type="rb">真似</seg><seg type="rp">（</seg><seg type="rt">まね</seg><seg type="rp">）</seg></seg>をしたつもりか、<seg type="ruby"><seg type="rb">添削</seg><seg type="rp">（</seg><seg type="rt">てんさく</seg><seg type="rp">）</seg></seg>した気か、風流の<seg type="ruby"><seg type="rb">交</seg><seg type="rp">（</seg><seg type="rt">まじ</seg><seg type="rp">）</seg></seg>わりか、馬鹿か、馬鹿にしたのか、余は思わず首を<seg type="ruby"><seg type="rb">傾</seg><seg type="rp">（</seg><seg type="rt">かたむ</seg><seg type="rp">）</seg></seg>けた。<lb />
<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">のち</seg><seg type="rp">）</seg></seg>ほどと云ったから、今に<seg type="ruby"><seg type="rb">飯</seg><seg type="rp">（</seg><seg type="rt">めし</seg><seg type="rp">）</seg></seg>の時にでも出て来るかも知れない。出て来たら様子が少しは解るだろう。ときに何時だなと時計を見ると、もう十一時過ぎである。よく寝たものだ。これでは<seg type="ruby"><seg type="rb">午飯</seg><seg type="rp">（</seg><seg type="rt">ひるめし</seg><seg type="rp">）</seg></seg>だけで間に合せる方が胃のためによかろう。<lb />
右側の<seg type="ruby"><seg type="rb">障子</seg><seg type="rp">（</seg><seg type="rt">しょうじ</seg><seg type="rp">）</seg></seg>をあけて、<seg type="ruby"><seg type="rb">昨夜</seg><seg type="rp">（</seg><seg type="rt">ゆうべ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">名残</seg><seg type="rp">（</seg><seg type="rt">なごり</seg><seg type="rp">）</seg></seg>はどの<seg type="ruby"><seg type="rb">辺</seg><seg type="rp">（</seg><seg type="rt">へん</seg><seg type="rp">）</seg></seg>かなと眺める。<seg type="ruby"><seg type="rb">海棠</seg><seg type="rp">（</seg><seg type="rt">かいどう</seg><seg type="rp">）</seg></seg>と鑑定したのははたして、海棠であるが、思ったよりも庭は狭い。五六枚の<seg type="ruby"><seg type="rb">飛石</seg><seg type="rp">（</seg><seg type="rt">とびいし</seg><seg type="rp">）</seg></seg>を一面の<seg type="ruby"><seg type="rb">青苔</seg><seg type="rp">（</seg><seg type="rt">あおごけ</seg><seg type="rp">）</seg></seg>が埋めて、<seg type="ruby"><seg type="rb">素足</seg><seg type="rp">（</seg><seg type="rt">すあし</seg><seg type="rp">）</seg></seg>で踏みつけたら、さも心持ちがよさそうだ。左は山つづきの<seg type="ruby"><seg type="rb">崖</seg><seg type="rp">（</seg><seg type="rt">がけ</seg><seg type="rp">）</seg></seg>に赤松が<seg type="ruby"><seg type="rb">斜</seg><seg type="rp">（</seg><seg type="rt">なな</seg><seg type="rp">）</seg></seg>めに岩の間から庭の上へさし出している。海棠の<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">うし</seg><seg type="rp">）</seg></seg>ろにはちょっとした茂みがあって、奥は<seg type="ruby"><seg type="rb">大竹藪</seg><seg type="rp">（</seg><seg type="rt">おおたけやぶ</seg><seg type="rp">）</seg></seg>が十丈の<seg type="ruby"><seg type="rb">翠</seg><seg type="rp">（</seg><seg type="rt">みど</seg><seg type="rp">）</seg></seg>りを春の日に<seg type="ruby"><seg type="rb">曝</seg><seg type="rp">（</seg><seg type="rt">さら</seg><seg type="rp">）</seg></seg>している。右手は<seg type="ruby"><seg type="rb">屋</seg><seg type="rp">（</seg><seg type="rt">や</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">棟</seg><seg type="rp">（</seg><seg type="rt">むね</seg><seg type="rp">）</seg></seg>で<seg type="ruby"><seg type="rb">遮</seg><seg type="rp">（</seg><seg type="rt">さえ</seg><seg type="rp">）</seg></seg>ぎられて、見えぬけれども、地勢から察すると、だらだら<seg type="ruby"><seg type="rb">下</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>りに風呂場の方へ落ちているに相違ない。<lb />
山が尽きて、岡となり、岡が尽きて、幅三丁ほどの<seg type="ruby"><seg type="rb">平地</seg><seg type="rp">（</seg><seg type="rt">へいち</seg><seg type="rp">）</seg></seg>となり、その平地が尽きて、海の底へもぐり込んで、十七里向うへ行ってまた<seg type="ruby"><seg type="rb">隆然</seg><seg type="rp">（</seg><seg type="rt">りゅうぜん</seg><seg type="rp">）</seg></seg>と起き上って、周囲六里の<seg type="ruby"><seg type="rb">摩耶島</seg><seg type="rp">（</seg><seg type="rt">まやじま</seg><seg type="rp">）</seg></seg>となる。これが<seg type="ruby"><seg type="rb">那古井</seg><seg type="rp">（</seg><seg type="rt">なこい</seg><seg type="rp">）</seg></seg>の地勢である。温泉場は岡の<seg type="ruby"><seg type="rb">麓</seg><seg type="rp">（</seg><seg type="rt">ふもと</seg><seg type="rp">）</seg></seg>を出来るだけ<seg type="ruby"><seg type="rb">崖</seg><seg type="rp">（</seg><seg type="rt">がけ</seg><seg type="rp">）</seg></seg>へさしかけて、<seg type="ruby"><seg type="rb">岨</seg><seg type="rp">（</seg><seg type="rt">そば</seg><seg type="rp">）</seg></seg>の景色を半分庭へ囲い込んだ<seg type="ruby"><seg type="rb">一構</seg><seg type="rp">（</seg><seg type="rt">ひとかまえ</seg><seg type="rp">）</seg></seg>であるから、前面は二階でも、後ろは<seg type="ruby"><seg type="rb">平屋</seg><seg type="rp">（</seg><seg type="rt">ひらや</seg><seg type="rp">）</seg></seg>になる。<seg type="ruby"><seg type="rb">椽</seg><seg type="rp">（</seg><seg type="rt">えん</seg><seg type="rp">）</seg></seg>から足をぶらさげれば、すぐと<seg type="ruby"><seg type="rb">踵</seg><seg type="rp">（</seg><seg type="rt">かかと</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">苔</seg><seg type="rp">（</seg><seg type="rt">こけ</seg><seg type="rp">）</seg></seg>に着く。道理こそ昨夕は<seg type="ruby"><seg type="rb">楷子段</seg><seg type="rp">（</seg><seg type="rt">はしごだん</seg><seg type="rp">）</seg></seg>をむやみに<seg type="ruby"><seg type="rb">上</seg><seg type="rp">（</seg><seg type="rt">のぼ</seg><seg type="rp">）</seg></seg>ったり、<seg type="ruby"><seg type="rb">下</seg><seg type="rp">（</seg><seg type="rt">くだ</seg><seg type="rp">）</seg></seg>ったり、<seg type="ruby"><seg type="rb">異</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>な<seg type="ruby"><seg type="rb">仕掛</seg><seg type="rp">（</seg><seg type="rt">しかけ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">家</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>と思ったはずだ。<lb />
今度は左り側の窓をあける。自然と<seg type="ruby"><seg type="rb">凹</seg><seg type="rp">（</seg><seg type="rt">くぼ</seg><seg type="rp">）</seg></seg>む二畳ばかりの岩のなかに春の水がいつともなく、たまって静かに山桜の影を<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-91/1-91-44.png" rend="gaiji" rendition="img" source="※(「くさかんむり／（酉＋隹）／れんが」、第3水準1-91-44)" /></seg><seg type="rp">（</seg><seg type="rt">ひた</seg><seg type="rp">）</seg></seg>している。<seg type="ruby"><seg type="rb">二株三株</seg><seg type="rp">（</seg><seg type="rt">ふたかぶみかぶ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">熊笹</seg><seg type="rp">（</seg><seg type="rt">くまざさ</seg><seg type="rp">）</seg></seg>が岩の角を<seg type="ruby"><seg type="rb">彩</seg><seg type="rp">（</seg><seg type="rt">いろ</seg><seg type="rp">）</seg></seg>どる、向うに<seg type="ruby"><seg type="rb">枸杞</seg><seg type="rp">（</seg><seg type="rt">くこ</seg><seg type="rp">）</seg></seg>とも見える<seg type="ruby"><seg type="rb">生垣</seg><seg type="rp">（</seg><seg type="rt">いけがき</seg><seg type="rp">）</seg></seg>があって、外は浜から、岡へ上る<seg type="ruby"><seg type="rb">岨道</seg><seg type="rp">（</seg><seg type="rt">そばみち</seg><seg type="rp">）</seg></seg>か時々人声が聞える。往来の向うはだらだらと<seg type="ruby"><seg type="rb">南下</seg><seg type="rp">（</seg><seg type="rt">みなみさ</seg><seg type="rp">）</seg></seg>がりに<seg type="ruby"><seg type="rb">蜜柑</seg><seg type="rp">（</seg><seg type="rt">みかん</seg><seg type="rp">）</seg></seg>を植えて、谷の<seg type="ruby"><seg type="rb">窮</seg><seg type="rp">（</seg><seg type="rt">きわ</seg><seg type="rp">）</seg></seg>まる所にまた大きな竹藪が、白く光る。竹の葉が遠くから見ると、白く光るとはこの時初めて知った。藪から上は、松の多い山で、赤い幹の間から<seg type="ruby"><seg type="rb">石磴</seg><seg type="rp">（</seg><seg type="rt">せきとう</seg><seg type="rp">）</seg></seg>が五六段手にとるように見える。<seg type="ruby"><seg type="rb">大方</seg><seg type="rp">（</seg><seg type="rt">おおかた</seg><seg type="rp">）</seg></seg>御寺だろう。<lb />
入口の<seg type="ruby"><seg type="rb">襖</seg><seg type="rp">（</seg><seg type="rt">ふすま</seg><seg type="rp">）</seg></seg>をあけて<seg type="ruby"><seg type="rb">椽</seg><seg type="rp">（</seg><seg type="rt">えん</seg><seg type="rp">）</seg></seg>へ出ると、<seg type="ruby"><seg type="rb">欄干</seg><seg type="rp">（</seg><seg type="rt">らんかん</seg><seg type="rp">）</seg></seg>が四角に曲って、方角から云えば海の見ゆべきはずの所に、中庭を<seg type="ruby"><seg type="rb">隔</seg><seg type="rp">（</seg><seg type="rt">へだ</seg><seg type="rp">）</seg></seg>てて、表二階の<seg type="ruby"><seg type="rb">一間</seg><seg type="rp">（</seg><seg type="rt">ひとま</seg><seg type="rp">）</seg></seg>がある。わが住む部屋も、欄干に<seg type="ruby"><seg type="rb">倚</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>ればやはり同じ高さの二階なのには興が催おされる。<seg type="ruby"><seg type="rb">湯壺</seg><seg type="rp">（</seg><seg type="rt">ゆつぼ</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">地</seg><seg type="rp">（</seg><seg type="rt">じ</seg><seg type="rp">）</seg></seg>の下にあるのだから、<seg type="ruby"><seg type="rb">入湯</seg><seg type="rp">（</seg><seg type="rt">にゅうとう</seg><seg type="rp">）</seg></seg>と云う点から云えば、余は三層楼上に<seg type="ruby"><seg type="rb">起臥</seg><seg type="rp">（</seg><seg type="rt">きが</seg><seg type="rp">）</seg></seg>する訳になる。<lb />
家は随分広いが、向う二階の一間と、余が欄干に添うて、右へ折れた一間のほかは、<seg type="ruby"><seg type="rb">居室</seg><seg type="rp">（</seg><seg type="rt">いま</seg><seg type="rp">）</seg></seg>台所は知らず、客間と名がつきそうなのは<seg type="ruby"><seg type="rb">大抵</seg><seg type="rp">（</seg><seg type="rt">たいてい</seg><seg type="rp">）</seg></seg>立て切ってある。客は、余をのぞくのほかほとんど<seg type="ruby"><seg type="rb">皆無</seg><seg type="rp">（</seg><seg type="rt">かいむ</seg><seg type="rp">）</seg></seg>なのだろう。<seg type="ruby"><seg type="rb">〆</seg><seg type="rp">（</seg><seg type="rt">しめ</seg><seg type="rp">）</seg></seg>た部屋は昼も<seg type="ruby"><seg type="rb">雨戸</seg><seg type="rp">（</seg><seg type="rt">あまど</seg><seg type="rp">）</seg></seg>をあけず、あけた以上は夜も<seg type="ruby"><seg type="rb">閉</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>てぬらしい。これでは表の戸締りさえ、するかしないか解らん。非人情の旅にはもって来いと云う<seg type="ruby"><seg type="rb">屈強</seg><seg type="rp">（</seg><seg type="rt">くっきょう</seg><seg type="rp">）</seg></seg>な場所だ。<lb />
時計は十二時近くなったが<seg type="ruby"><seg type="rb">飯</seg><seg type="rp">（</seg><seg type="rt">めし</seg><seg type="rp">）</seg></seg>を食わせる景色はさらにない。ようやく空腹を覚えて来たが、<seg type="ruby"><seg type="rb">空山</seg><seg type="rp">（</seg><seg type="rt">くうざん</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">不見人</seg><seg type="rp">（</seg><seg type="rt">ひとをみず</seg><seg type="rp">）</seg></seg>と云う詩中にあると思うと、一とかたげぐらい倹約しても<seg type="ruby"><seg type="rb">遺憾</seg><seg type="rp">（</seg><seg type="rt">いかん</seg><seg type="rp">）</seg></seg>はない。<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>をかくのも面倒だ、俳句は作らんでもすでに<seg type="ruby"><seg type="rb">俳三昧</seg><seg type="rp">（</seg><seg type="rt">はいざんまい</seg><seg type="rp">）</seg></seg>に入っているから、作るだけ<seg type="ruby"><seg type="rb">野暮</seg><seg type="rp">（</seg><seg type="rt">やぼ</seg><seg type="rp">）</seg></seg>だ。読もうと思って<seg type="ruby"><seg type="rb">三脚几</seg><seg type="rp">（</seg><seg type="rt">さんきゃくき</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">括</seg><seg type="rp">（</seg><seg type="rt">くく</seg><seg type="rp">）</seg></seg>りつけて来た二三冊の書籍もほどく気にならん。こうやって、<seg type="ruby"><seg type="rb">煦々</seg><seg type="rp">（</seg><seg type="rt">くく</seg><seg type="rp">）</seg></seg>たる<seg type="ruby"><seg type="rb">春日</seg><seg type="rp">（</seg><seg type="rt">しゅんじつ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">背中</seg><seg type="rp">（</seg><seg type="rt">せなか</seg><seg type="rp">）</seg></seg>をあぶって、<seg type="ruby"><seg type="rb">椽側</seg><seg type="rp">（</seg><seg type="rt">えんがわ</seg><seg type="rp">）</seg></seg>に花の影と共に寝ころんでいるのが、天下の<seg type="ruby"><seg type="rb">至楽</seg><seg type="rp">（</seg><seg type="rt">しらく</seg><seg type="rp">）</seg></seg>である。考えれば<seg type="ruby"><seg type="rb">外道</seg><seg type="rp">（</seg><seg type="rt">げどう</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">堕</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>ちる。動くと危ない。出来るならば鼻から<seg type="ruby"><seg type="rb">呼吸</seg><seg type="rp">（</seg><seg type="rt">いき</seg><seg type="rp">）</seg></seg>もしたくない。畳から根の生えた植物のようにじっとして二週間ばかり暮して見たい。<lb />
やがて、廊下に足音がして、段々下から誰か<seg type="ruby"><seg type="rb">上</seg><seg type="rp">（</seg><seg type="rt">あが</seg><seg type="rp">）</seg></seg>ってくる。近づくのを聞いていると、二人らしい。それが部屋の前でとまったなと思ったら、一人は<seg type="ruby"><seg type="rb">何</seg><seg type="rp">（</seg><seg type="rt">なん</seg><seg type="rp">）</seg></seg>にも云わず、元の方へ引き返す。<seg type="ruby"><seg type="rb">襖</seg><seg type="rp">（</seg><seg type="rt">ふすま</seg><seg type="rp">）</seg></seg>があいたから、今朝の人と思ったら、やはり<seg type="ruby"><seg type="rb">昨夜</seg><seg type="rp">（</seg><seg type="rt">ゆうべ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">小女郎</seg><seg type="rp">（</seg><seg type="rt">こじょろう</seg><seg type="rp">）</seg></seg>である。何だか物足らぬ。<lb />
「遅くなりました」と<seg type="ruby"><seg type="rb">膳</seg><seg type="rp">（</seg><seg type="rt">ぜん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">据</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>える。<seg type="ruby"><seg type="rb">朝食</seg><seg type="rp">（</seg><seg type="rt">あさめし</seg><seg type="rp">）</seg></seg>の言訳も何にも言わぬ。<seg type="ruby"><seg type="rb">焼肴</seg><seg type="rp">（</seg><seg type="rt">やきざかな</seg><seg type="rp">）</seg></seg>に青いものをあしらって、<seg type="ruby"><seg type="rb">椀</seg><seg type="rp">（</seg><seg type="rt">わん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">蓋</seg><seg type="rp">（</seg><seg type="rt">ふた</seg><seg type="rp">）</seg></seg>をとれば<seg type="ruby"><seg type="rb">早蕨</seg><seg type="rp">（</seg><seg type="rt">さわらび</seg><seg type="rp">）</seg></seg>の中に、紅白に染め抜かれた、<seg type="ruby"><seg type="rb">海老</seg><seg type="rp">（</seg><seg type="rt">えび</seg><seg type="rp">）</seg></seg>を沈ませてある。ああ好い色だと思って、椀の中を<seg type="ruby"><seg type="rb">眺</seg><seg type="rp">（</seg><seg type="rt">なが</seg><seg type="rp">）</seg></seg>めていた。<lb />
「<seg type="ruby"><seg type="rb">御嫌</seg><seg type="rp">（</seg><seg type="rt">おきら</seg><seg type="rp">）</seg></seg>いか」と下女が聞く。<lb />
「いいや、今に食う」と云ったが実際食うのは惜しい気がした。ターナーがある<seg type="ruby"><seg type="rb">晩餐</seg><seg type="rp">（</seg><seg type="rt">ばんさん</seg><seg type="rp">）</seg></seg>の席で、皿に<seg type="ruby"><seg type="rb">盛</seg><seg type="rp">（</seg><seg type="rt">も</seg><seg type="rp">）</seg></seg>るサラドを見詰めながら、涼しい色だ、これがわしの用いる色だと<seg type="ruby"><seg type="rb">傍</seg><seg type="rp">（</seg><seg type="rt">かたわら</seg><seg type="rp">）</seg></seg>の人に話したと云う逸事をある書物で読んだ事があるが、この海老と蕨の色をちょっとターナーに見せてやりたい。いったい西洋の食物で色のいいものは一つもない。あればサラドと赤大根ぐらいなものだ。滋養の点から云ったらどうか知らんが、画家から見るとすこぶる発達せん料理である。そこへ行くと日本の<seg type="ruby"><seg type="rb">献立</seg><seg type="rp">（</seg><seg type="rt">こんだて</seg><seg type="rp">）</seg></seg>は、<seg type="ruby"><seg type="rb">吸物</seg><seg type="rp">（</seg><seg type="rt">すいもの</seg><seg type="rp">）</seg></seg>でも、口取でも、<seg type="ruby"><seg type="rb">刺身</seg><seg type="rp">（</seg><seg type="rt">さしみ</seg><seg type="rp">）</seg></seg>でも<seg type="ruby"><seg type="rb">物奇麗</seg><seg type="rp">（</seg><seg type="rt">ものぎれい</seg><seg type="rp">）</seg></seg>に出来る。<seg type="ruby"><seg type="rb">会席膳</seg><seg type="rp">（</seg><seg type="rt">かいせきぜん</seg><seg type="rp">）</seg></seg>を前へ置いて、<seg type="ruby"><seg type="rb">一箸</seg><seg type="rp">（</seg><seg type="rt">ひとはし</seg><seg type="rp">）</seg></seg>も着けずに、眺めたまま帰っても、目の保養から云えば、御茶屋へ上がった<seg type="ruby"><seg type="rb">甲斐</seg><seg type="rp">（</seg><seg type="rt">かい</seg><seg type="rp">）</seg></seg>は充分ある。<lb />
「うちに若い女の人がいるだろう」と椀を置きながら、質問をかけた。<lb />
「へえ」<lb />
「ありゃ何だい」<lb />
「若い奥様でござんす」<lb />
「あのほかにまだ年寄の奥様がいるのかい」<lb />
「去年<seg type="ruby"><seg type="rb">御亡</seg><seg type="rp">（</seg><seg type="rt">おな</seg><seg type="rp">）</seg></seg>くなりました」<lb />
「旦那さんは」<lb />
「おります。旦那さんの娘さんでござんす」<lb />
「あの若い人がかい」<lb />
「へえ」<lb />
「御客はいるかい」<lb />
「おりません」<lb />
「わたし一人かい」<lb />
「へえ」<lb />
「若い奥さんは毎日何をしているかい」<lb />
「針仕事を……」<lb />
「それから」<lb />
「<seg type="ruby"><seg type="rb">三味</seg><seg type="rp">（</seg><seg type="rt">しゃみ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">弾</seg><seg type="rp">（</seg><seg type="rt">ひ</seg><seg type="rp">）</seg></seg>きます」<lb />
これは意外であった。面白いからまた<lb />
「それから」と聞いて見た。<lb />
「御寺へ行きます」と<seg type="ruby"><seg type="rb">小女郎</seg><seg type="rp">（</seg><seg type="rt">こじょろう</seg><seg type="rp">）</seg></seg>が云う。<lb />
これはまた意外である。御寺と三味線は妙だ。<lb />
「御寺<seg type="ruby"><seg type="rb">詣</seg><seg type="rp">（</seg><seg type="rt">まい</seg><seg type="rp">）</seg></seg>りをするのかい」<lb />
「いいえ、<seg type="ruby"><seg type="rb">和尚様</seg><seg type="rp">（</seg><seg type="rt">おしょうさま</seg><seg type="rp">）</seg></seg>の所へ行きます」<lb />
「和尚さんが三味線でも習うのかい」<lb />
「いいえ」<lb />
「じゃ何をしに行くのだい」<lb />
「<seg type="ruby"><seg type="rb">大徹様</seg><seg type="rp">（</seg><seg type="rt">だいてつさま</seg><seg type="rp">）</seg></seg>の所へ行きます」<lb />
なあるほど、大徹と云うのはこの額を書いた男に相違ない。この句から察すると何でも<seg type="ruby"><seg type="rb">禅坊主</seg><seg type="rp">（</seg><seg type="rt">ぜんぼうず</seg><seg type="rp">）</seg></seg>らしい。戸棚に<seg type="ruby"><seg type="rb">遠良天釜</seg><seg type="rp">（</seg><seg type="rt">おらてがま</seg><seg type="rp">）</seg></seg>があったのは、全くあの女の所持品だろう。<lb />
「この部屋は普段誰か<seg type="ruby"><seg type="rb">這入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>っている所かね」<lb />
「普段は奥様がおります」<lb />
「それじゃ、<seg type="ruby"><seg type="rb">昨夕</seg><seg type="rp">（</seg><seg type="rt">ゆうべ</seg><seg type="rp">）</seg></seg>、わたしが来る時までここにいたのだね」<lb />
「へえ」<lb />
「それは御気の毒な事をした。それで大徹さんの所へ何をしに行くのだい」<lb />
「知りません」<lb />
「それから」<lb />
「何でござんす」<lb />
「それから、まだほかに何かするのだろう」<lb />
「それから、いろいろ……」<lb />
「いろいろって、どんな事を」<lb />
「知りません」<lb />
会話はこれで切れる。飯はようやく<seg type="ruby"><seg type="rb">了</seg><seg type="rp">（</seg><seg type="rt">おわ</seg><seg type="rp">）</seg></seg>る。膳を引くとき、小女郎が入口の<seg type="ruby"><seg type="rb">襖</seg><seg type="rp">（</seg><seg type="rt">ふすま</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あけ</seg><seg type="rp">）</seg></seg>たら、中庭の<seg type="ruby"><seg type="rb">栽込</seg><seg type="rp">（</seg><seg type="rt">うえこ</seg><seg type="rp">）</seg></seg>みを<seg type="ruby"><seg type="rb">隔</seg><seg type="rp">（</seg><seg type="rt">へだ</seg><seg type="rp">）</seg></seg>てて、向う二階の<seg type="ruby"><seg type="rb">欄干</seg><seg type="rp">（</seg><seg type="rt">らんかん</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">銀杏返</seg><seg type="rp">（</seg><seg type="rt">いちょうがえ</seg><seg type="rp">）</seg></seg>しが<seg type="ruby"><seg type="rb">頬杖</seg><seg type="rp">（</seg><seg type="rt">ほおづえ</seg><seg type="rp">）</seg></seg>を突いて、開化した<seg type="ruby"><seg type="rb">楊柳観音</seg><seg type="rp">（</seg><seg type="rt">ようりゅうかんのん</seg><seg type="rp">）</seg></seg>のように下を見詰めていた。今朝に引き<seg type="ruby"><seg type="rb">替</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>えて、はなはだ静かな姿である。<seg type="ruby"><seg type="rb">俯向</seg><seg type="rp">（</seg><seg type="rt">うつむ</seg><seg type="rp">）</seg></seg>いて、瞳の働きが、こちらへ通わないから、<seg type="ruby"><seg type="rb">相好</seg><seg type="rp">（</seg><seg type="rt">そうごう</seg><seg type="rp">）</seg></seg>にかほどな変化を来たしたものであろうか。昔の人は人に存するもの<seg type="ruby"><seg type="rb">眸子</seg><seg type="rp">（</seg><seg type="rt">ぼうし</seg><seg type="rp">）</seg></seg>より良きはなしと云ったそうだが、なるほど人<seg type="ruby"><seg type="rb">焉</seg><seg type="rp">（</seg><seg type="rt">いずく</seg><seg type="rp">）</seg></seg>んぞ<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-84/1-84-15.png" rend="gaiji" rendition="img" source="※(「广＋溲のつくり」、第3水準1-84-15)" /></seg><seg type="rp">（</seg><seg type="rt">かく</seg><seg type="rp">）</seg></seg>さんや、人間のうちで眼ほど活きている道具はない。<seg type="ruby"><seg type="rb">寂然</seg><seg type="rp">（</seg><seg type="rt">じゃくねん</seg><seg type="rp">）</seg></seg>と<seg type="ruby"><seg type="rb">倚</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>る<seg type="ruby"><seg type="rb">亜字欄</seg><seg type="rp">（</seg><seg type="rt">あじらん</seg><seg type="rp">）</seg></seg>の下から、<seg type="ruby"><seg type="rb">蝶々</seg><seg type="rp">（</seg><seg type="rt">ちょうちょう</seg><seg type="rp">）</seg></seg>が二羽寄りつ離れつ舞い上がる。<seg type="ruby"><seg type="rb">途端</seg><seg type="rp">（</seg><seg type="rt">とたん</seg><seg type="rp">）</seg></seg>にわが部屋の<seg type="ruby"><seg type="rb">襖</seg><seg type="rp">（</seg><seg type="rt">ふすま</seg><seg type="rp">）</seg></seg>はあいたのである。襖の音に、女は卒然と蝶から眼を余の<seg type="ruby"><seg type="rb">方</seg><seg type="rp">（</seg><seg type="rt">かた</seg><seg type="rp">）</seg></seg>に転じた。視線は毒矢のごとく<seg type="ruby"><seg type="rb">空</seg><seg type="rp">（</seg><seg type="rt">くう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">貫</seg><seg type="rp">（</seg><seg type="rt">つらぬ</seg><seg type="rp">）</seg></seg>いて、<seg type="ruby"><seg type="rb">会釈</seg><seg type="rp">（</seg><seg type="rt">えしゃく</seg><seg type="rp">）</seg></seg>もなく余が<seg type="ruby"><seg type="rb">眉間</seg><seg type="rp">（</seg><seg type="rt">みけん</seg><seg type="rp">）</seg></seg>に落ちる。はっと思う間に、小女郎が、またはたと襖を立て切った。あとは<seg type="ruby"><seg type="rb">至極</seg><seg type="rp">（</seg><seg type="rt">しごく</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">呑気</seg><seg type="rp">（</seg><seg type="rt">のんき</seg><seg type="rp">）</seg></seg>な春となる。<lb />
余はまたごろりと寝ころんだ。たちまち心に浮んだのは、<lb />
<seg rend="jisage_2" rendition="div" style="margin-left: 2em">
Sadder than is the moon's lost light,<lb />
Lost ere the kindling of dawn,<lb />
To travellers journeying on,<lb />
The shutting of thy fair face from my sight.<lb />
</seg>
と云う句であった。もし余があの<seg type="ruby"><seg type="rb">銀杏返</seg><seg type="rp">（</seg><seg type="rt">いちょうがえ</seg><seg type="rp">）</seg></seg>しに<seg type="ruby"><seg type="rb">懸想</seg><seg type="rp">（</seg><seg type="rt">けそう</seg><seg type="rp">）</seg></seg>して、身を<seg type="ruby"><seg type="rb">砕</seg><seg type="rp">（</seg><seg type="rt">くだ</seg><seg type="rp">）</seg></seg>いても逢わんと思う矢先に、今のような<seg type="ruby"><seg type="rb">一瞥</seg><seg type="rp">（</seg><seg type="rt">いちべつ</seg><seg type="rp">）</seg></seg>の別れを、<seg type="ruby"><seg type="rb">魂消</seg><seg type="rp">（</seg><seg type="rt">たまぎ</seg><seg type="rp">）</seg></seg>るまでに、嬉しとも、<seg type="ruby"><seg type="rb">口惜</seg><seg type="rp">（</seg><seg type="rt">くちお</seg><seg type="rp">）</seg></seg>しとも感じたら、余は必ずこんな意味をこんな詩に作るだろう。その上に<lb />
<seg rend="jisage_2" rendition="div" style="margin-left: 2em">
Might I look on thee in death,<lb />
With bliss I would yield my breath.<lb />
</seg>
と云う二句さえ、付け加えたかも知れぬ。幸い、普通ありふれた、恋とか愛とか云う<seg type="ruby"><seg type="rb">境界</seg><seg type="rp">（</seg><seg type="rt">きょうがい</seg><seg type="rp">）</seg></seg>はすでに通り越して、そんな苦しみは感じたくても感じられない。しかし今の<seg type="ruby"><seg type="rb">刹那</seg><seg type="rp">（</seg><seg type="rt">せつな</seg><seg type="rp">）</seg></seg>に起った出来事の詩趣はゆたかにこの五六行にあらわれている。余と銀杏返しの<seg type="ruby"><seg type="rb">間柄</seg><seg type="rp">（</seg><seg type="rt">あいだがら</seg><seg type="rp">）</seg></seg>にこんな<seg type="ruby"><seg type="rb">切</seg><seg type="rp">（</seg><seg type="rt">せつ</seg><seg type="rp">）</seg></seg>ない<seg type="ruby"><seg type="rb">思</seg><seg type="rp">（</seg><seg type="rt">おもい</seg><seg type="rp">）</seg></seg>はないとしても、二人の今の関係を、この詩の<seg type="ruby"><seg type="rb">中</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">適用</seg><seg type="rp">（</seg><seg type="rt">あてはめ</seg><seg type="rp">）</seg></seg>て見るのは面白い。あるいはこの詩の意味をわれらの身の上に引きつけて解釈しても愉快だ。二人の間には、ある<seg type="ruby"><seg type="rb">因果</seg><seg type="rp">（</seg><seg type="rt">いんが</seg><seg type="rp">）</seg></seg>の細い糸で、この詩にあらわれた境遇の一部分が、事実となって、<seg type="ruby"><seg type="rb">括</seg><seg type="rp">（</seg><seg type="rt">くく</seg><seg type="rp">）</seg></seg>りつけられている。因果もこのくらい糸が細いと<seg type="ruby"><seg type="rb">苦</seg><seg type="rp">（</seg><seg type="rt">く</seg><seg type="rp">）</seg></seg>にはならぬ。その上、ただの糸ではない。空を横切る<seg type="ruby"><seg type="rb">虹</seg><seg type="rp">（</seg><seg type="rt">にじ</seg><seg type="rp">）</seg></seg>の糸、<seg type="ruby"><seg type="rb">野辺</seg><seg type="rp">（</seg><seg type="rt">のべ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">棚引</seg><seg type="rp">（</seg><seg type="rt">たなび</seg><seg type="rp">）</seg></seg>く<seg type="ruby"><seg type="rb">霞</seg><seg type="rp">（</seg><seg type="rt">かすみ</seg><seg type="rp">）</seg></seg>の糸、<seg type="ruby"><seg type="rb">露</seg><seg type="rp">（</seg><seg type="rt">つゆ</seg><seg type="rp">）</seg></seg>にかがやく<seg type="ruby"><seg type="rb">蜘蛛</seg><seg type="rp">（</seg><seg type="rt">くも</seg><seg type="rp">）</seg></seg>の糸。切ろうとすれば、すぐ切れて、見ているうちは<seg type="ruby"><seg type="rb">勝</seg><seg type="rp">（</seg><seg type="rt">すぐ</seg><seg type="rp">）</seg></seg>れてうつくしい。万一この糸が見る間に太くなって<seg type="ruby"><seg type="rb">井戸縄</seg><seg type="rp">（</seg><seg type="rt">いどなわ</seg><seg type="rp">）</seg></seg>のようにかたくなったら？ そんな危険はない。余は画工である。先はただの女とは違う。<lb />
突然襖があいた。<seg type="ruby"><seg type="rb">寝返</seg><seg type="rp">（</seg><seg type="rt">ねがえ</seg><seg type="rp">）</seg></seg>りを打って入口を見ると、因果の相手のその銀杏返しが敷居の上に立って<seg type="ruby"><seg type="rb">青磁</seg><seg type="rp">（</seg><seg type="rt">せいじ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">鉢</seg><seg type="rp">（</seg><seg type="rt">はち</seg><seg type="rp">）</seg></seg>を盆に乗せたまま<seg type="ruby"><seg type="rb">佇</seg><seg type="rp">（</seg><seg type="rt">たたず</seg><seg type="rp">）</seg></seg>んでいる。<lb />
「また寝ていらっしゃるか、<seg type="ruby"><seg type="rb">昨夕</seg><seg type="rp">（</seg><seg type="rt">ゆうべ</seg><seg type="rp">）</seg></seg>は御迷惑で御座んしたろう。<seg type="ruby"><seg type="rb">何返</seg><seg type="rp">（</seg><seg type="rt">なんべん</seg><seg type="rp">）</seg></seg>も御邪魔をして、ほほほほ」と笑う。<seg type="ruby"><seg type="rb">臆</seg><seg type="rp">（</seg><seg type="rt">おく</seg><seg type="rp">）</seg></seg>した<seg type="ruby"><seg type="rb">景色</seg><seg type="rp">（</seg><seg type="rt">けしき</seg><seg type="rp">）</seg></seg>も、隠す景色も――恥ずる景色は無論ない。ただこちらが<seg type="ruby"><seg type="rb">先</seg><seg type="rp">（</seg><seg type="rt">せん</seg><seg type="rp">）</seg></seg>を越されたのみである。<lb />
「今朝はありがとう」とまた礼を云った。考えると、<seg type="ruby"><seg type="rb">丹前</seg><seg type="rp">（</seg><seg type="rt">たんぜん</seg><seg type="rp">）</seg></seg>の礼をこれで三<seg type="ruby"><seg type="rb">返</seg><seg type="rp">（</seg><seg type="rt">べん</seg><seg type="rp">）</seg></seg>云った。しかも、三返ながら、ただ<seg rend="sesame_dot" rendition="em">難有う</seg>と云う三字である。<lb />
女は余が起き返ろうとする枕元へ、早くも坐って<lb />
「まあ寝ていらっしゃい。寝ていても話は出来ましょう」と、さも<seg type="ruby"><seg type="rb">気作</seg><seg type="rp">（</seg><seg type="rt">きさく</seg><seg type="rp">）</seg></seg>に云う。余は全くだと考えたから、ひとまず<seg type="ruby"><seg type="rb">腹這</seg><seg type="rp">（</seg><seg type="rt">はらばい</seg><seg type="rp">）</seg></seg>になって、両手で<seg type="ruby"><seg type="rb">顎</seg><seg type="rp">（</seg><seg type="rt">あご</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">支</seg><seg type="rp">（</seg><seg type="rt">ささ</seg><seg type="rp">）</seg></seg>え、しばし畳の上へ<seg type="ruby"><seg type="rb">肘壺</seg><seg type="rp">（</seg><seg type="rt">ひじつぼ</seg><seg type="rp">）</seg></seg>の柱を立てる。<lb />
「御退屈だろうと思って、御茶を入れに来ました」<lb />
「ありがとう」またありがとうが出た。菓子皿のなかを見ると、立派な<seg type="ruby"><seg type="rb">羊羹</seg><seg type="rp">（</seg><seg type="rt">ようかん</seg><seg type="rp">）</seg></seg>が並んでいる。余はすべての菓子のうちでもっとも羊羹が<seg type="ruby"><seg type="rb">好</seg><seg type="rp">（</seg><seg type="rt">すき</seg><seg type="rp">）</seg></seg>だ。別段食いたくはないが、あの<seg type="ruby"><seg type="rb">肌合</seg><seg type="rp">（</seg><seg type="rt">はだあい</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">滑</seg><seg type="rp">（</seg><seg type="rt">なめ</seg><seg type="rp">）</seg></seg>らかに、<seg type="ruby"><seg type="rb">緻密</seg><seg type="rp">（</seg><seg type="rt">ちみつ</seg><seg type="rp">）</seg></seg>に、しかも<seg type="ruby"><seg type="rb">半透明</seg><seg type="rp">（</seg><seg type="rt">はんとうめい</seg><seg type="rp">）</seg></seg>に光線を受ける具合は、どう見ても一個の美術品だ。ことに青味を帯びた<seg type="ruby"><seg type="rb">煉上</seg><seg type="rp">（</seg><seg type="rt">ねりあ</seg><seg type="rp">）</seg></seg>げ方は、<seg type="ruby"><seg type="rb">玉</seg><seg type="rp">（</seg><seg type="rt">ぎょく</seg><seg type="rp">）</seg></seg>と<seg type="ruby"><seg type="rb">蝋石</seg><seg type="rp">（</seg><seg type="rt">ろうせき</seg><seg type="rp">）</seg></seg>の雑種のようで、はなはだ見て心持ちがいい。のみならず青磁の皿に盛られた青い煉羊羹は、青磁のなかから今生れたようにつやつやして、思わず手を出して<seg type="ruby"><seg type="rb">撫</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>でて見たくなる。西洋の菓子で、これほど快感を与えるものは一つもない。クリームの色はちょっと<seg type="ruby"><seg type="rb">柔</seg><seg type="rp">（</seg><seg type="rt">やわら</seg><seg type="rp">）</seg></seg>かだが、少し重苦しい。ジェリは、<seg type="ruby"><seg type="rb">一目</seg><seg type="rp">（</seg><seg type="rt">いちもく</seg><seg type="rp">）</seg></seg>宝石のように見えるが、ぶるぶる<seg type="ruby"><seg type="rb">顫</seg><seg type="rp">（</seg><seg type="rt">ふる</seg><seg type="rp">）</seg></seg>えて、羊羹ほどの重味がない。白砂糖と牛乳で五重の塔を作るに至っては、<seg type="ruby"><seg type="rb">言語道断</seg><seg type="rp">（</seg><seg type="rt">ごんごどうだん</seg><seg type="rp">）</seg></seg>の沙汰である。<lb />
「うん、なかなか<seg type="ruby"><seg type="rb">美事</seg><seg type="rp">（</seg><seg type="rt">みごと</seg><seg type="rp">）</seg></seg>だ」<lb />
「今しがた、源兵衛が買って帰りました。これならあなたに召し上がられるでしょう」<lb />
源兵衛は昨夕<seg type="ruby"><seg type="rb">城下</seg><seg type="rp">（</seg><seg type="rt">じょうか</seg><seg type="rp">）</seg></seg>へ<seg type="ruby"><seg type="rb">留</seg><seg type="rp">（</seg><seg type="rt">とま</seg><seg type="rp">）</seg></seg>ったと見える。余は別段の返事もせず羊羹を見ていた。どこで誰れが買って来ても構う事はない。ただ美くしければ、美くしいと思うだけで充分満足である。<lb />
「この青磁の形は大変いい。色も美事だ。ほとんど羊羹に対して<seg type="ruby"><seg type="rb">遜色</seg><seg type="rp">（</seg><seg type="rt">そんしょく</seg><seg type="rp">）</seg></seg>がない」<lb />
女はふふんと笑った。<seg type="ruby"><seg type="rb">口元</seg><seg type="rp">（</seg><seg type="rt">くちもと</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">侮</seg><seg type="rp">（</seg><seg type="rt">あな</seg><seg type="rp">）</seg></seg>どりの波が<seg type="ruby"><seg type="rb">微</seg><seg type="rp">（</seg><seg type="rt">かす</seg><seg type="rp">）</seg></seg>かに<seg type="ruby"><seg type="rb">揺</seg><seg type="rp">（</seg><seg type="rt">ゆ</seg><seg type="rp">）</seg></seg>れた。余の言葉を<seg type="ruby"><seg type="rb">洒落</seg><seg type="rp">（</seg><seg type="rt">しゃれ</seg><seg type="rp">）</seg></seg>と解したのだろう。なるほど洒落とすれば、<seg type="ruby"><seg type="rb">軽蔑</seg><seg type="rp">（</seg><seg type="rt">けいべつ</seg><seg type="rp">）</seg></seg>される<seg type="ruby"><seg type="rb">価</seg><seg type="rp">（</seg><seg type="rt">あたい</seg><seg type="rp">）</seg></seg>はたしかにある。<seg type="ruby"><seg type="rb">智慧</seg><seg type="rp">（</seg><seg type="rt">ちえ</seg><seg type="rp">）</seg></seg>の足りない男が無理に洒落れた時には、よくこんな事を云うものだ。<lb />
「これは支那ですか」<lb />
「何ですか」と相手はまるで青磁を眼中に置いていない。<lb />
「どうも支那らしい」と皿を上げて底を<seg type="ruby"><seg type="rb">眺</seg><seg type="rp">（</seg><seg type="rt">なが</seg><seg type="rp">）</seg></seg>めて見た。<lb />
「そんなものが、御好きなら、見せましょうか」<lb />
「ええ、見せて下さい」<lb />
「父が<seg type="ruby"><seg type="rb">骨董</seg><seg type="rp">（</seg><seg type="rt">こっとう</seg><seg type="rp">）</seg></seg>が大好きですから、だいぶいろいろなものがあります。父にそう云って、いつか御茶でも上げましょう」<lb />
茶と聞いて少し<seg type="ruby"><seg type="rb">辟易</seg><seg type="rp">（</seg><seg type="rt">へきえき</seg><seg type="rp">）</seg></seg>した。世間に<seg type="ruby"><seg type="rb">茶人</seg><seg type="rp">（</seg><seg type="rt">ちゃじん</seg><seg type="rp">）</seg></seg>ほどもったいぶった風流人はない。広い詩界をわざとらしく窮屈に<seg type="ruby"><seg type="rb">縄張</seg><seg type="rp">（</seg><seg type="rt">なわば</seg><seg type="rp">）</seg></seg>りをして、<seg type="ruby"><seg type="rb">極</seg><seg type="rp">（</seg><seg type="rt">きわ</seg><seg type="rp">）</seg></seg>めて自尊的に、極めてことさらに、極めてせせこましく、必要もないのに<seg type="ruby"><seg type="rb">鞠躬如</seg><seg type="rp">（</seg><seg type="rt">きくきゅうじょ</seg><seg type="rp">）</seg></seg>として、あぶくを飲んで結構がるものはいわゆる茶人である。あんな<seg type="ruby"><seg type="rb">煩瑣</seg><seg type="rp">（</seg><seg type="rt">はんさ</seg><seg type="rp">）</seg></seg>な規則のうちに雅味があるなら、<seg type="ruby"><seg type="rb">麻布</seg><seg type="rp">（</seg><seg type="rt">あざぶ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">聯隊</seg><seg type="rp">（</seg><seg type="rt">れんたい</seg><seg type="rp">）</seg></seg>のなかは雅味で鼻がつかえるだろう。廻れ右、前への連中はことごとく大茶人でなくてはならぬ。あれは商人とか町人とか、まるで趣味の教育のない連中が、どうするのが風流か見当がつかぬところから、器械的に<seg type="ruby"><seg type="rb">利休</seg><seg type="rp">（</seg><seg type="rt">りきゅう</seg><seg type="rp">）</seg></seg>以後の規則を<seg type="ruby"><seg type="rb">鵜呑</seg><seg type="rp">（</seg><seg type="rt">うの</seg><seg type="rp">）</seg></seg>みにして、これでおおかた風流なんだろう、とかえって真の風流人を馬鹿にするための芸である。<lb />
「御茶って、あの流儀のある茶ですかな」<lb />
「いいえ、流儀も何もありゃしません。<seg type="ruby"><seg type="rb">御厭</seg><seg type="rp">（</seg><seg type="rt">おいや</seg><seg type="rp">）</seg></seg>なら飲まなくってもいい御茶です」<lb />
「そんなら、ついでに飲んでもいいですよ」<lb />
「ほほほほ。父は道具を人に見ていただくのが大好きなんですから……」<lb />
「<seg type="ruby"><seg type="rb">褒</seg><seg type="rp">（</seg><seg type="rt">ほ</seg><seg type="rp">）</seg></seg>めなくっちゃあ、いけませんか」<lb />
「年寄りだから、褒めてやれば、嬉しがりますよ」<lb />
「へえ、少しなら褒めて置きましょう」<lb />
「負けて、たくさん御褒めなさい」<lb />
「はははは、時にあなたの言葉は<seg type="ruby"><seg type="rb">田舎</seg><seg type="rp">（</seg><seg type="rt">いなか</seg><seg type="rp">）</seg></seg>じゃない」<lb />
「人間は田舎なんですか」<lb />
「人間は田舎の方がいいのです」<lb />
「それじゃ<seg type="ruby"><seg type="rb">幅</seg><seg type="rp">（</seg><seg type="rt">はば</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">利</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>きます」<lb />
「しかし東京にいた事がありましょう」<lb />
「ええ、いました、京都にもいました。渡りものですから、方々にいました」<lb />
「ここと都と、どっちがいいですか」<lb />
「同じ事ですわ」<lb />
「こう云う静かな所が、かえって気楽でしょう」<lb />
「気楽も、気楽でないも、世の中は気の持ちよう一つでどうでもなります。<seg type="ruby"><seg type="rb">蚤</seg><seg type="rp">（</seg><seg type="rt">のみ</seg><seg type="rp">）</seg></seg>の国が<seg type="ruby"><seg type="rb">厭</seg><seg type="rp">（</seg><seg type="rt">いや</seg><seg type="rp">）</seg></seg>になったって、<seg type="ruby"><seg type="rb">蚊</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>の国へ<seg type="ruby"><seg type="rb">引越</seg><seg type="rp">（</seg><seg type="rt">ひっこ</seg><seg type="rp">）</seg></seg>しちゃ、<seg type="ruby"><seg type="rb">何</seg><seg type="rp">（</seg><seg type="rt">なん</seg><seg type="rp">）</seg></seg>にもなりません」<lb />
「蚤も蚊もいない国へ行ったら、いいでしょう」<lb />
「そんな国があるなら、ここへ出して御覧なさい。さあ出してちょうだい」と女は<seg type="ruby"><seg type="rb">詰</seg><seg type="rp">（</seg><seg type="rt">つ</seg><seg type="rp">）</seg></seg>め寄せる。<lb />
「御望みなら、出して上げましょう」と例の写生帖をとって、女が馬へ乗って、山桜を見ている心持ち――無論とっさの筆使いだから、<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>にはならない。ただ心持ちだけをさらさらと書いて、<lb />
「さあ、この中へ<seg type="ruby"><seg type="rb">御這入</seg><seg type="rp">（</seg><seg type="rt">おはい</seg><seg type="rp">）</seg></seg>りなさい。蚤も蚊もいません」と鼻の<seg type="ruby"><seg type="rb">前</seg><seg type="rp">（</seg><seg type="rt">さき</seg><seg type="rp">）</seg></seg>へ突きつけた。驚くか、恥ずかしがるか、この様子では、よもや、苦しがる事はなかろうと思って、ちょっと<seg type="ruby"><seg type="rb">景色</seg><seg type="rp">（</seg><seg type="rt">けしき</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">伺</seg><seg type="rp">（</seg><seg type="rt">うかが</seg><seg type="rp">）</seg></seg>うと、<lb />
「まあ、<seg type="ruby"><seg type="rb">窮屈</seg><seg type="rp">（</seg><seg type="rt">きゅうくつ</seg><seg type="rp">）</seg></seg>な世界だこと、<seg type="ruby"><seg type="rb">横幅</seg><seg type="rp">（</seg><seg type="rt">よこはば</seg><seg type="rp">）</seg></seg>ばかりじゃありませんか。そんな所が御好きなの、まるで<seg type="ruby"><seg type="rb">蟹</seg><seg type="rp">（</seg><seg type="rt">かに</seg><seg type="rp">）</seg></seg>ね」と云って<seg type="ruby"><seg type="rb">退</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>けた。余は<lb />
「わはははは」と笑う。<seg type="ruby"><seg type="rb">軒端</seg><seg type="rp">（</seg><seg type="rt">のきば</seg><seg type="rp">）</seg></seg>に近く、<seg type="ruby"><seg type="rb">啼</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>きかけた<seg type="ruby"><seg type="rb">鶯</seg><seg type="rp">（</seg><seg type="rt">うぐいす</seg><seg type="rp">）</seg></seg>が、中途で声を<seg type="ruby"><seg type="rb">崩</seg><seg type="rp">（</seg><seg type="rt">くず</seg><seg type="rp">）</seg></seg>して、遠き<seg type="ruby"><seg type="rb">方</seg><seg type="rp">（</seg><seg type="rt">かた</seg><seg type="rp">）</seg></seg>へ枝移りをやる。<seg type="ruby"><seg type="rb">両人</seg><seg type="rp">（</seg><seg type="rt">ふたり</seg><seg type="rp">）</seg></seg>はわざと対話をやめて、しばらく耳を<seg type="ruby"><seg type="rb">峙</seg><seg type="rp">（</seg><seg type="rt">そばだ</seg><seg type="rp">）</seg></seg>てたが、いったん鳴き<seg type="ruby"><seg type="rb">損</seg><seg type="rp">（</seg><seg type="rt">そこ</seg><seg type="rp">）</seg></seg>ねた<seg type="ruby"><seg type="rb">咽喉</seg><seg type="rp">（</seg><seg type="rt">のど</seg><seg type="rp">）</seg></seg>は容易に<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>けぬ。<lb />
「<seg type="ruby"><seg type="rb">昨日</seg><seg type="rp">（</seg><seg type="rt">きのう</seg><seg type="rp">）</seg></seg>は山で源兵衛に<seg type="ruby"><seg type="rb">御逢</seg><seg type="rp">（</seg><seg type="rt">おあ</seg><seg type="rp">）</seg></seg>いでしたろう」<lb />
「ええ」<lb />
「<seg type="ruby"><seg type="rb">長良</seg><seg type="rp">（</seg><seg type="rt">ながら</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">乙女</seg><seg type="rp">（</seg><seg type="rt">おとめ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">五輪塔</seg><seg type="rp">（</seg><seg type="rt">ごりんのとう</seg><seg type="rp">）</seg></seg>を見ていらしったか」<lb />
「ええ」<lb />
「あきづけば、をばなが上に置く露の、けぬべくもわは、おもほゆるかも」と説明もなく、女はすらりと節もつけずに歌だけ述べた。何のためか知らぬ。<lb />
「その歌はね、茶店で聞きましたよ」<lb />
「婆さんが教えましたか。あれはもと私のうちへ奉公したもので、私がまだ嫁に……」と云いかけて、これはと<seg type="ruby"><seg type="rb">余</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>の顔を見たから、余は知らぬ<seg type="ruby"><seg type="rb">風</seg><seg type="rp">（</seg><seg type="rt">ふう</seg><seg type="rp">）</seg></seg>をしていた。<lb />
「私がまだ若い時分でしたが、あれが来るたびに長良の話をして聞かせてやりました。うただけはなかなか覚えなかったのですが、何遍も<seg type="ruby"><seg type="rb">聴</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>くうちに、とうとう何もかも<seg type="ruby"><seg type="rb">諳誦</seg><seg type="rp">（</seg><seg type="rt">あんしょう</seg><seg type="rp">）</seg></seg>してしまいました」<lb />
「どうれで、むずかしい事を知ってると思った。――しかしあの歌は<seg type="ruby"><seg type="rb">憐</seg><seg type="rp">（</seg><seg type="rt">あわ</seg><seg type="rp">）</seg></seg>れな歌ですね」<lb />
「憐れでしょうか。私ならあんな歌は<seg type="ruby"><seg type="rb">咏</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>みませんね。第一、<seg type="ruby"><seg type="rb">淵川</seg><seg type="rp">（</seg><seg type="rt">ふちかわ</seg><seg type="rp">）</seg></seg>へ身を投げるなんて、つまらないじゃありませんか」<lb />
「なるほどつまらないですね。あなたならどうしますか」<lb />
「どうするって、訳ないじゃありませんか。ささだ男もささべ男も、<seg type="ruby"><seg type="rb">男妾</seg><seg type="rp">（</seg><seg type="rt">おとこめかけ</seg><seg type="rp">）</seg></seg>にするばかりですわ」<lb />
「両方ともですか」<lb />
「ええ」<lb />
「えらいな」<lb />
「えらかあない、当り前ですわ」<lb />
「なるほどそれじゃ蚊の国へも、蚤の国へも、飛び込まずに済む訳だ」<lb />
「蟹のような思いをしなくっても、生きていられるでしょう」<lb />
ほーう、ほけきょうと忘れかけた<seg type="ruby"><seg type="rb">鶯</seg><seg type="rp">（</seg><seg type="rt">うぐいす</seg><seg type="rp">）</seg></seg>が、いつ<seg type="ruby"><seg type="rb">勢</seg><seg type="rp">（</seg><seg type="rt">いきおい</seg><seg type="rp">）</seg></seg>を盛り返してか、時ならぬ<seg type="ruby"><seg type="rb">高音</seg><seg type="rp">（</seg><seg type="rt">たかね</seg><seg type="rp">）</seg></seg>を不意に張った。一度立て直すと、あとは自然に出ると見える。身を<seg type="ruby"><seg type="rb">逆</seg><seg type="rp">（</seg><seg type="rt">さかし</seg><seg type="rp">）</seg></seg>まにして、ふくらむ<seg type="ruby"><seg type="rb">咽喉</seg><seg type="rp">（</seg><seg type="rt">のど</seg><seg type="rp">）</seg></seg>の底を<seg type="ruby"><seg type="rb">震</seg><seg type="rp">（</seg><seg type="rt">ふる</seg><seg type="rp">）</seg></seg>わして、小さき口の張り裂くるばかりに、<lb />
ほーう、ほけきょーう。ほーー、ほけっーきょうーと、つづけ<seg type="ruby"><seg type="rb">様</seg><seg type="rp">（</seg><seg type="rt">さま</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">囀</seg><seg type="rp">（</seg><seg type="rt">さえ</seg><seg type="rp">）</seg></seg>ずる。<lb />
「あれが本当の歌です」と女が余に教えた。<lb />
<lb />
<seg rend="jisage_8" rendition="div" style="margin-left: 8em"><seg rend="naka-midashi" rendition="h"><seg rend="midashi_anchor" rendition="a" xml:id="midashi50">五</seg></seg></seg>
<lb />
「失礼ですが<seg type="ruby"><seg type="rb">旦那</seg><seg type="rp">（</seg><seg type="rt">だんな</seg><seg type="rp">）</seg></seg>は、やっぱり東京ですか」<lb />
「東京と見えるかい」<lb />
「見えるかいって、<seg type="ruby"><seg type="rb">一目</seg><seg type="rp">（</seg><seg type="rt">ひとめ</seg><seg type="rp">）</seg></seg>見りゃあ、――<seg type="ruby"><seg type="rb">第一</seg><seg type="rp">（</seg><seg type="rt">だいち</seg><seg type="rp">）</seg></seg>言葉でわかりまさあ」<lb />
「東京はどこだか知れるかい」<lb />
「そうさね。東京は馬鹿に広いからね。――何でも<seg type="ruby"><seg type="rb">下町</seg><seg type="rp">（</seg><seg type="rt">したまち</seg><seg type="rp">）</seg></seg>じゃねえようだ。<seg type="ruby"><seg type="rb">山</seg><seg type="rp">（</seg><seg type="rt">やま</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">手</seg><seg type="rp">（</seg><seg type="rt">て</seg><seg type="rp">）</seg></seg>だね。山の手は<seg type="ruby"><seg type="rb">麹町</seg><seg type="rp">（</seg><seg type="rt">こうじまち</seg><seg type="rp">）</seg></seg>かね。え？ それじゃ、<seg type="ruby"><seg type="rb">小石川</seg><seg type="rp">（</seg><seg type="rt">こいしかわ</seg><seg type="rp">）</seg></seg>？ でなければ<seg type="ruby"><seg type="rb">牛込</seg><seg type="rp">（</seg><seg type="rt">うしごめ</seg><seg type="rp">）</seg></seg>か<seg type="ruby"><seg type="rb">四谷</seg><seg type="rp">（</seg><seg type="rt">よつや</seg><seg type="rp">）</seg></seg>でしょう」<lb />
「まあそんな見当だろう。よく知ってるな」<lb />
「こう<seg type="ruby"><seg type="rb">見</seg><seg type="rp">（</seg><seg type="rt">め</seg><seg type="rp">）</seg></seg>えて、<seg type="ruby"><seg type="rb">私</seg><seg type="rp">（</seg><seg type="rt">わっち</seg><seg type="rp">）</seg></seg>も江戸っ子だからね」<lb />
「<seg type="ruby"><seg type="rb">道理</seg><seg type="rp">（</seg><seg type="rt">どうれ</seg><seg type="rp">）</seg></seg>で<seg type="ruby"><seg type="rb">生粋</seg><seg type="rp">（</seg><seg type="rt">いなせ</seg><seg type="rp">）</seg></seg>だと思ったよ」<lb />
「えへへへへ。からっきし、どうも、人間もこうなっちゃ、みじめですぜ」<lb />
「何でまたこんな<seg type="ruby"><seg type="rb">田舎</seg><seg type="rp">（</seg><seg type="rt">いなか</seg><seg type="rp">）</seg></seg>へ流れ込んで来たのだい」<lb />
「ちげえねえ、旦那のおっしゃる通りだ。全く流れ込んだんだからね。すっかり食い詰めっちまって……」<lb />
「もとから<seg type="ruby"><seg type="rb">髪結床</seg><seg type="rp">（</seg><seg type="rt">かみゆいどこ</seg><seg type="rp">）</seg></seg>の親方かね」<lb />
「親方じゃねえ、職人さ。え？ 所かね。所は<seg type="ruby"><seg type="rb">神田松永町</seg><seg type="rp">（</seg><seg type="rt">かんだまつながちょう</seg><seg type="rp">）</seg></seg>でさあ。なあに猫の<seg type="ruby"><seg type="rb">額</seg><seg type="rp">（</seg><seg type="rt">ひたい</seg><seg type="rp">）</seg></seg>見たような小さな汚ねえ町でさあ。旦那なんか知らねえはずさ。あすこに<seg type="ruby"><seg type="rb">竜閑橋</seg><seg type="rp">（</seg><seg type="rt">りゅうかんばし</seg><seg type="rp">）</seg></seg>てえ橋がありましょう。え？ そいつも知らねえかね。竜閑橋ゃ、<seg type="ruby"><seg type="rb">名代</seg><seg type="rp">（</seg><seg type="rt">なだい</seg><seg type="rp">）</seg></seg>な橋だがね」<lb />
「おい、もう少し、<seg type="ruby"><seg type="rb">石鹸</seg><seg type="rp">（</seg><seg type="rt">しゃぼん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">塗</seg><seg type="rp">（</seg><seg type="rt">つ</seg><seg type="rp">）</seg></seg>けてくれないか、痛くって、いけない」<lb />
「痛うがすかい。<seg type="ruby"><seg type="rb">私</seg><seg type="rp">（</seg><seg type="rt">わっち</seg><seg type="rp">）</seg></seg>ゃ<seg type="ruby"><seg type="rb">癇性</seg><seg type="rp">（</seg><seg type="rt">かんしょう</seg><seg type="rp">）</seg></seg>でね、どうも、こうやって、<seg type="ruby"><seg type="rb">逆剃</seg><seg type="rp">（</seg><seg type="rt">さかずり</seg><seg type="rp">）</seg></seg>をかけて、一本一本<seg type="ruby"><seg type="rb">髭</seg><seg type="rp">（</seg><seg type="rt">ひげ</seg><seg type="rp">）</seg></seg>の穴を掘らなくっちゃ、気が済まねえんだから、――なあに<seg type="ruby"><seg type="rb">今時</seg><seg type="rp">（</seg><seg type="rt">いまどき</seg><seg type="rp">）</seg></seg>の職人なあ、<seg type="ruby"><seg type="rb">剃</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>るんじゃねえ、<seg type="ruby"><seg type="rb">撫</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>でるんだ。もう少しだ我慢おしなせえ」<lb />
「我慢は<seg type="ruby"><seg type="rb">先</seg><seg type="rp">（</seg><seg type="rt">さっき</seg><seg type="rp">）</seg></seg>から、もうだいぶしたよ。御願だから、もう少し湯か石鹸をつけとくれ」<lb />
「我慢しきれねえかね。そんなに痛かあねえはずだが。<seg type="ruby"><seg type="rb">全体</seg><seg type="rp">（</seg><seg type="rt">ぜんてい</seg><seg type="rp">）</seg></seg>、髭があんまり、延び過ぎてるんだ」<lb />
やけに頬の肉をつまみ上げた手を、残念そうに放した親方は、<seg type="ruby"><seg type="rb">棚</seg><seg type="rp">（</seg><seg type="rt">たな</seg><seg type="rp">）</seg></seg>の上から、<seg type="ruby"><seg type="rb">薄</seg><seg type="rp">（</seg><seg type="rt">うす</seg><seg type="rp">）</seg></seg>っ<seg type="ruby"><seg type="rb">片</seg><seg type="rp">（</seg><seg type="rt">ぺら</seg><seg type="rp">）</seg></seg>な赤い石鹸を取り<seg type="ruby"><seg type="rb">卸</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>ろして、水のなかにちょっと<seg type="ruby"><seg type="rb">浸</seg><seg type="rp">（</seg><seg type="rt">ひた</seg><seg type="rp">）</seg></seg>したと思ったら、それなり余の顔をまんべんなく一応撫で廻わした。裸石鹸を顔へ塗りつけられた事はあまりない。しかもそれを<seg type="ruby"><seg type="rb">濡</seg><seg type="rp">（</seg><seg type="rt">ぬ</seg><seg type="rp">）</seg></seg>らした水は、<seg type="ruby"><seg type="rb">幾日前</seg><seg type="rp">（</seg><seg type="rt">いくにちまえ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">汲</seg><seg type="rp">（</seg><seg type="rt">く</seg><seg type="rp">）</seg></seg>んだ、溜め置きかと考えると、余りぞっとしない。<lb />
すでに<seg type="ruby"><seg type="rb">髪結床</seg><seg type="rp">（</seg><seg type="rt">かみゆいどこ</seg><seg type="rp">）</seg></seg>である以上は、御客の権利として、余は鏡に向わなければならん。しかし余はさっきからこの権利を放棄したく考えている。鏡と云う道具は<seg type="ruby"><seg type="rb">平</seg><seg type="rp">（</seg><seg type="rt">たい</seg><seg type="rp">）</seg></seg>らに出来て、なだらかに人の顔を写さなくては義理が立たぬ。もしこの性質が<seg type="ruby"><seg type="rb">具</seg><seg type="rp">（</seg><seg type="rt">そな</seg><seg type="rp">）</seg></seg>わらない鏡を<seg type="ruby"><seg type="rb">懸</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>けて、これに向えと<seg type="ruby"><seg type="rb">強</seg><seg type="rp">（</seg><seg type="rt">し</seg><seg type="rp">）</seg></seg>いるならば、強いるものは<seg type="ruby"><seg type="rb">下手</seg><seg type="rp">（</seg><seg type="rt">へた</seg><seg type="rp">）</seg></seg>な写真師と同じく、向うものの器量を故意に損害したと云わなければならぬ。虚栄心を<seg type="ruby"><seg type="rb">挫</seg><seg type="rp">（</seg><seg type="rt">くじ</seg><seg type="rp">）</seg></seg>くのは修養上一種の方便かも知れぬが、何も<seg type="ruby"><seg type="rb">己</seg><seg type="rp">（</seg><seg type="rt">おの</seg><seg type="rp">）</seg></seg>れの真価以下の顔を見せて、これがあなたですよと、こちらを<seg type="ruby"><seg type="rb">侮辱</seg><seg type="rp">（</seg><seg type="rt">ぶじょく</seg><seg type="rp">）</seg></seg>するには及ぶまい。今余が<seg type="ruby"><seg type="rb">辛抱</seg><seg type="rp">（</seg><seg type="rt">しんぼう</seg><seg type="rp">）</seg></seg>して向き合うべく余儀なくされている鏡はたしかに最前から余を侮辱している。右を向くと顔中鼻になる。左を出すと口が耳元まで裂ける。<seg type="ruby"><seg type="rb">仰向</seg><seg type="rp">（</seg><seg type="rt">あおむ</seg><seg type="rp">）</seg></seg>くと<seg type="ruby"><seg type="rb">蟇蛙</seg><seg type="rp">（</seg><seg type="rt">ひきがえる</seg><seg type="rp">）</seg></seg>を前から見たように<seg type="ruby"><seg type="rb">真平</seg><seg type="rp">（</seg><seg type="rt">まったいら</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">圧</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>し<seg type="ruby"><seg type="rb">潰</seg><seg type="rp">（</seg><seg type="rt">つぶ</seg><seg type="rp">）</seg></seg>され、少しこごむと<seg type="ruby"><seg type="rb">福禄寿</seg><seg type="rp">（</seg><seg type="rt">ふくろくじゅ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">祈誓児</seg><seg type="rp">（</seg><seg type="rt">もうしご</seg><seg type="rp">）</seg></seg>のように頭がせり出してくる。いやしくもこの鏡に対する<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">あいだ</seg><seg type="rp">）</seg></seg>は一人でいろいろな<seg type="ruby"><seg type="rb">化物</seg><seg type="rp">（</seg><seg type="rt">ばけもの</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">兼勤</seg><seg type="rp">（</seg><seg type="rt">けんきん</seg><seg type="rp">）</seg></seg>しなくてはならぬ。写るわが顔の美術的ならぬはまず我慢するとしても、鏡の構造やら、色合や、銀紙の<seg type="ruby"><seg type="rb">剥</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>げ落ちて、光線が通り抜ける模様などを総合して考えると、この道具その物からが醜体を<seg type="ruby"><seg type="rb">極</seg><seg type="rp">（</seg><seg type="rt">きわ</seg><seg type="rp">）</seg></seg>めている。<seg type="ruby"><seg type="rb">小人</seg><seg type="rp">（</seg><seg type="rt">しょうじん</seg><seg type="rp">）</seg></seg>から<seg type="ruby"><seg type="rb">罵詈</seg><seg type="rp">（</seg><seg type="rt">ばり</seg><seg type="rp">）</seg></seg>されるとき、罵詈それ自身は別に<seg type="ruby"><seg type="rb">痛痒</seg><seg type="rp">（</seg><seg type="rt">つうよう</seg><seg type="rp">）</seg></seg>を感ぜぬが、その<seg type="ruby"><seg type="rb">小人</seg><seg type="rp">（</seg><seg type="rt">しょうじん</seg><seg type="rp">）</seg></seg>の面前に<seg type="ruby"><seg type="rb">起臥</seg><seg type="rp">（</seg><seg type="rt">きが</seg><seg type="rp">）</seg></seg>しなければならぬとすれば、誰しも不愉快だろう。<lb />
その上この親方がただの親方ではない。そとから<seg type="ruby"><seg type="rb">覗</seg><seg type="rp">（</seg><seg type="rt">のぞ</seg><seg type="rp">）</seg></seg>いたときは、<seg type="ruby"><seg type="rb">胡坐</seg><seg type="rp">（</seg><seg type="rt">あぐら</seg><seg type="rp">）</seg></seg>をかいて、<seg type="ruby"><seg type="rb">長煙管</seg><seg type="rp">（</seg><seg type="rt">ながぎせる</seg><seg type="rp">）</seg></seg>で、おもちゃの<seg type="ruby"><seg type="rb">日英同盟</seg><seg type="rp">（</seg><seg type="rt">にちえいどうめい</seg><seg type="rp">）</seg></seg>国旗の上へ、しきりに<seg type="ruby"><seg type="rb">煙草</seg><seg type="rp">（</seg><seg type="rt">たばこ</seg><seg type="rp">）</seg></seg>を吹きつけて、さも<seg type="ruby"><seg type="rb">退屈気</seg><seg type="rp">（</seg><seg type="rt">たいくつげ</seg><seg type="rp">）</seg></seg>に見えたが、<seg type="ruby"><seg type="rb">這入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>って、わが首の所置を托する段になって驚ろいた。<seg type="ruby"><seg type="rb">髭</seg><seg type="rp">（</seg><seg type="rt">ひげ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">剃</seg><seg type="rp">（</seg><seg type="rt">そ</seg><seg type="rp">）</seg></seg>る間は首の所有権は全く親方の手にあるのか、はた幾分かは余の上にも存するのか、一人で疑がい出したくらい、<seg type="ruby"><seg type="rb">容赦</seg><seg type="rp">（</seg><seg type="rt">ようしゃ</seg><seg type="rp">）</seg></seg>なく取り扱われる。余の首が肩の上に<seg type="ruby"><seg type="rb">釘付</seg><seg type="rp">（</seg><seg type="rt">くぎづ</seg><seg type="rp">）</seg></seg>けにされているにしてもこれでは永く持たない。<lb />
彼は<seg type="ruby"><seg type="rb">髪剃</seg><seg type="rp">（</seg><seg type="rt">かみそり</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">揮</seg><seg type="rp">（</seg><seg type="rt">ふる</seg><seg type="rp">）</seg></seg>うに当って、<seg type="ruby"><seg type="rb">毫</seg><seg type="rp">（</seg><seg type="rt">ごう</seg><seg type="rp">）</seg></seg>も文明の法則を解しておらん。頬にあたる時はがりりと音がした。<seg type="ruby"><seg type="rb">揉</seg><seg type="rp">（</seg><seg type="rt">も</seg><seg type="rp">）</seg></seg>み<seg type="ruby"><seg type="rb">上</seg><seg type="rp">（</seg><seg type="rt">あげ</seg><seg type="rp">）</seg></seg>の所ではぞきりと動脈が鳴った。<seg type="ruby"><seg type="rb">顋</seg><seg type="rp">（</seg><seg type="rt">あご</seg><seg type="rp">）</seg></seg>のあたりに<seg type="ruby"><seg type="rb">利刃</seg><seg type="rp">（</seg><seg type="rt">りじん</seg><seg type="rp">）</seg></seg>がひらめく時分にはごりごり、ごりごりと<seg type="ruby"><seg type="rb">霜柱</seg><seg type="rp">（</seg><seg type="rt">しもばしら</seg><seg type="rp">）</seg></seg>を踏みつけるような怪しい声が出た。しかも本人は日本一の手腕を有する親方をもって自任している。<lb />
最後に彼は酔っ払っている。旦那えと云うたんびに妙な<seg type="ruby"><seg type="rb">臭</seg><seg type="rp">（</seg><seg type="rt">にお</seg><seg type="rp">）</seg></seg>いがする。時々は<seg type="ruby"><seg type="rb">異</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>な<seg type="ruby"><seg type="rb">瓦斯</seg><seg type="rp">（</seg><seg type="rt">ガス</seg><seg type="rp">）</seg></seg>を余が鼻柱へ吹き掛ける。これではいつ<seg type="ruby"><seg type="rb">何時</seg><seg type="rp">（</seg><seg type="rt">なんどき</seg><seg type="rp">）</seg></seg>、髪剃がどう間違って、どこへ飛んで行くか解らない。使う当人にさえ判然たる計画がない以上は、顔を貸した余に推察のできようはずがない。得心ずくで任せた顔だから、少しの<seg type="ruby"><seg type="rb">怪我</seg><seg type="rp">（</seg><seg type="rt">けが</seg><seg type="rp">）</seg></seg>なら苦情は云わないつもりだが、急に気が変って<seg type="ruby"><seg type="rb">咽喉笛</seg><seg type="rp">（</seg><seg type="rt">のどぶえ</seg><seg type="rp">）</seg></seg>でも<seg type="ruby"><seg type="rb">掻</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>き切られては事だ。<lb />
「<seg type="ruby"><seg type="rb">石鹸</seg><seg type="rp">（</seg><seg type="rt">しゃぼん</seg><seg type="rp">）</seg></seg>なんぞを、つけて、<seg type="ruby"><seg type="rb">剃</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>るなあ、腕が<seg type="ruby"><seg type="rb">生</seg><seg type="rp">（</seg><seg type="rt">なま</seg><seg type="rp">）</seg></seg>なんだが、旦那のは、髭が髭だから仕方があるめえ」と云いながら親方は裸石鹸を、裸のまま棚の上へ<seg type="ruby"><seg type="rb">放</seg><seg type="rp">（</seg><seg type="rt">ほう</seg><seg type="rp">）</seg></seg>り出すと、石鹸は親方の命令に<seg type="ruby"><seg type="rb">背</seg><seg type="rp">（</seg><seg type="rt">そむ</seg><seg type="rp">）</seg></seg>いて地面の上へ<seg type="ruby"><seg type="rb">転</seg><seg type="rp">（</seg><seg type="rt">ころ</seg><seg type="rp">）</seg></seg>がり落ちた。<lb />
「旦那あ、あんまり見受けねえようだが、何ですかい、近頃来なすったのかい」<lb />
「<seg type="ruby"><seg type="rb">二三日</seg><seg type="rp">（</seg><seg type="rt">にさんち</seg><seg type="rp">）</seg></seg>前来たばかりさ」<lb />
「へえ、どこにいるんですい」<lb />
「<seg type="ruby"><seg type="rb">志保田</seg><seg type="rp">（</seg><seg type="rt">しほだ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">逗</seg><seg type="rp">（</seg><seg type="rt">とま</seg><seg type="rp">）</seg></seg>ってるよ」<lb />
「うん、あすこの御客さんですか。おおかたそんな<seg type="ruby"><seg type="rb">事</seg><seg type="rp">（</seg><seg type="rt">こっ</seg><seg type="rp">）</seg></seg>たろうと思ってた。実あ、<seg type="ruby"><seg type="rb">私</seg><seg type="rp">（</seg><seg type="rt">わっし</seg><seg type="rp">）</seg></seg>もあの隠居さんを<seg type="ruby"><seg type="rb">頼</seg><seg type="rp">（</seg><seg type="rt">たよっ</seg><seg type="rp">）</seg></seg>て来たんですよ。――なにね、あの隠居が東京にいた時分、わっしが近所にいて、――それで知ってるのさ。いい人でさあ。ものの解ったね。去年<seg type="ruby"><seg type="rb">御新造</seg><seg type="rp">（</seg><seg type="rt">ごしんぞ</seg><seg type="rp">）</seg></seg>が死んじまって、今じゃ道具ばかり<seg type="ruby"><seg type="rb">捻</seg><seg type="rp">（</seg><seg type="rt">ひね</seg><seg type="rp">）</seg></seg>くってるんだが――何でも素晴らしいものが、有るてえますよ。売ったらよっぽどな<seg type="ruby"><seg type="rb">金目</seg><seg type="rp">（</seg><seg type="rt">かねめ</seg><seg type="rp">）</seg></seg>だろうって話さ」<lb />
「<seg type="ruby"><seg type="rb">奇麗</seg><seg type="rp">（</seg><seg type="rt">きれい</seg><seg type="rp">）</seg></seg>な御嬢さんがいるじゃないか」<lb />
「あぶねえね」<lb />
「何が？」<lb />
「何がって。旦那の<seg type="ruby"><seg type="rb">前</seg><seg type="rp">（</seg><seg type="rt">めえ</seg><seg type="rp">）</seg></seg>だが、あれで<seg type="ruby"><seg type="rb">出返</seg><seg type="rp">（</seg><seg type="rt">でもど</seg><seg type="rp">）</seg></seg>りですぜ」<lb />
「そうかい」<lb />
「そうかいどころの<seg type="ruby"><seg type="rb">騒</seg><seg type="rp">（</seg><seg type="rt">さわぎ</seg><seg type="rp">）</seg></seg>じゃねえんだね。全体なら出て来なくってもいいところをさ。――銀行が<seg type="ruby"><seg type="rb">潰</seg><seg type="rp">（</seg><seg type="rt">つぶ</seg><seg type="rp">）</seg></seg>れて<seg type="ruby"><seg type="rb">贅沢</seg><seg type="rp">（</seg><seg type="rt">ぜいたく</seg><seg type="rp">）</seg></seg>が出来ねえって、出ちまったんだから、義理が<seg type="ruby"><seg type="rb">悪</seg><seg type="rp">（</seg><seg type="rt">わ</seg><seg type="rp">）</seg></seg>るいやね。隠居さんがああしているうちはいいが、もしもの事があった日にゃ、<seg type="ruby"><seg type="rb">法返</seg><seg type="rp">（</seg><seg type="rt">ほうがえ</seg><seg type="rp">）</seg></seg>しがつかねえ<seg type="ruby"><seg type="rb">訳</seg><seg type="rp">（</seg><seg type="rt">わけ</seg><seg type="rp">）</seg></seg>になりまさあ」<lb />
「そうかな」<lb />
「<seg type="ruby"><seg type="rb">当</seg><seg type="rp">（</seg><seg type="rt">あた</seg><seg type="rp">）</seg></seg>り<seg type="ruby"><seg type="rb">前</seg><seg type="rp">（</seg><seg type="rt">めえ</seg><seg type="rp">）</seg></seg>でさあ。本家の<seg type="ruby"><seg type="rb">兄</seg><seg type="rp">（</seg><seg type="rt">あにき</seg><seg type="rp">）</seg></seg>たあ、仲がわるしさ」<lb />
「本家があるのかい」<lb />
「本家は岡の上にありまさあ。遊びに行って御覧なさい。景色のいい所ですよ」<lb />
「おい、もう一遍<seg type="ruby"><seg type="rb">石鹸</seg><seg type="rp">（</seg><seg type="rt">しゃぼん</seg><seg type="rp">）</seg></seg>をつけてくれないか。また痛くなって来た」<lb />
「よく痛くなる<seg type="ruby"><seg type="rb">髭</seg><seg type="rp">（</seg><seg type="rt">ひげ</seg><seg type="rp">）</seg></seg>だね。髭が<seg type="ruby"><seg type="rb">硬過</seg><seg type="rp">（</seg><seg type="rt">こわす</seg><seg type="rp">）</seg></seg>ぎるからだ。旦那の髭じゃ、三日に一度は是非<seg type="ruby"><seg type="rb">剃</seg><seg type="rp">（</seg><seg type="rt">そり</seg><seg type="rp">）</seg></seg>を当てなくっちゃ駄目ですぜ。わっしの剃で痛けりゃ、どこへ行ったって、我慢出来っこねえ」<lb />
「これから、そうしよう。何なら毎日来てもいい」<lb />
「そんなに長く<seg type="ruby"><seg type="rb">逗留</seg><seg type="rp">（</seg><seg type="rt">とうりゅう</seg><seg type="rp">）</seg></seg>する気なんですか。あぶねえ。およしなせえ。益もねえ<seg type="ruby"><seg type="rb">事</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>った。<seg type="ruby"><seg type="rb">碌</seg><seg type="rp">（</seg><seg type="rt">ろく</seg><seg type="rp">）</seg></seg>でもねえものに引っかかって、どんな目に逢うか解りませんぜ」<lb />
「どうして」<lb />
「旦那あの娘は<seg type="ruby"><seg type="rb">面</seg><seg type="rp">（</seg><seg type="rt">めん</seg><seg type="rp">）</seg></seg>はいいようだが、本当は<seg rend="sesame_dot" rendition="em">き</seg><seg type="ruby"><seg type="rb">印</seg><seg type="rp">（</seg><seg type="rt">じる</seg><seg type="rp">）</seg></seg>しですぜ」<lb />
「なぜ」<lb />
「なぜって、旦那。村のものは、みんな<seg type="ruby"><seg type="rb">気狂</seg><seg type="rp">（</seg><seg type="rt">きちげえ</seg><seg type="rp">）</seg></seg>だって云ってるんでさあ」<lb />
「そりゃ何かの間違だろう」<lb />
「だって、<seg type="ruby"><seg type="rb">現</seg><seg type="rp">（</seg><seg type="rt">げん</seg><seg type="rp">）</seg></seg>に証拠があるんだから、御よしなせえ。けんのんだ」<lb />
「おれは大丈夫だが、どんな証拠があるんだい」<lb />
「おかしな話しさね。まあゆっくり、<seg type="ruby"><seg type="rb">煙草</seg><seg type="rp">（</seg><seg type="rt">たばこ</seg><seg type="rp">）</seg></seg>でも<seg type="ruby"><seg type="rb">呑</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>んで<seg type="ruby"><seg type="rb">御出</seg><seg type="rp">（</seg><seg type="rt">おいで</seg><seg type="rp">）</seg></seg>なせえ話すから。――頭あ洗いましょうか」<lb />
「頭はよそう」<lb />
「<seg type="ruby"><seg type="rb">頭垢</seg><seg type="rp">（</seg><seg type="rt">ふけ</seg><seg type="rp">）</seg></seg>だけ落して置くかね」<lb />
親方は<seg type="ruby"><seg type="rb">垢</seg><seg type="rp">（</seg><seg type="rt">あか</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">溜</seg><seg type="rp">（</seg><seg type="rt">たま</seg><seg type="rp">）</seg></seg>った十本の爪を、遠慮なく、余が<seg type="ruby"><seg type="rb">頭蓋骨</seg><seg type="rp">（</seg><seg type="rt">ずがいこつ</seg><seg type="rp">）</seg></seg>の上に並べて、断わりもなく、前後に猛烈なる運動を開始した。この爪が、黒髪の根を一本ごとに押し分けて、不毛の<seg type="ruby"><seg type="rb">境</seg><seg type="rp">（</seg><seg type="rt">きょう</seg><seg type="rp">）</seg></seg>を巨人の<seg type="ruby"><seg type="rb">熊手</seg><seg type="rp">（</seg><seg type="rt">くまで</seg><seg type="rp">）</seg></seg>が疾風の速度で通るごとくに往来する。余が頭に何十万本の髪の毛が<seg type="ruby"><seg type="rb">生</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>えているか知らんが、ありとある毛がことごとく根こぎにされて、残る地面がべた一面に<seg type="ruby"><seg type="rb">蚯蚓腫</seg><seg type="rp">（</seg><seg type="rt">めめずばれ</seg><seg type="rp">）</seg></seg>にふくれ上った上、余勢が<seg type="ruby"><seg type="rb">地磐</seg><seg type="rp">（</seg><seg type="rt">じばん</seg><seg type="rp">）</seg></seg>を通して、骨から<seg type="ruby"><seg type="rb">脳味噌</seg><seg type="rp">（</seg><seg type="rt">のうみそ</seg><seg type="rp">）</seg></seg>まで<seg type="ruby"><seg type="rb">震盪</seg><seg type="rp">（</seg><seg type="rt">しんとう</seg><seg type="rp">）</seg></seg>を感じたくらい<seg type="ruby"><seg type="rb">烈</seg><seg type="rp">（</seg><seg type="rt">はげ</seg><seg type="rp">）</seg></seg>しく、親方は余の頭を掻き廻わした。<lb />
「どうです、好い心持でしょう」<lb />
「非常な<seg type="ruby"><seg type="rb">辣腕</seg><seg type="rp">（</seg><seg type="rt">らつわん</seg><seg type="rp">）</seg></seg>だ」<lb />
「え？ こうやると誰でもさっぱりするからね」<lb />
「首が抜けそうだよ」<lb />
「そんなに<seg type="ruby"><seg type="rb">倦怠</seg><seg type="rp">（</seg><seg type="rt">けったる</seg><seg type="rp">）</seg></seg>うがすかい。全く陽気の加減だね。どうも春てえ<seg type="ruby"><seg type="rb">奴</seg><seg type="rp">（</seg><seg type="rt">やつ</seg><seg type="rp">）</seg></seg>あ、やに<seg type="ruby"><seg type="rb">身体</seg><seg type="rp">（</seg><seg type="rt">からだ</seg><seg type="rp">）</seg></seg>がなまけやがって――まあ一ぷく<seg type="ruby"><seg type="rb">御上</seg><seg type="rp">（</seg><seg type="rt">おあ</seg><seg type="rp">）</seg></seg>がんなさい。一人で志保田にいちゃ、退屈でしょう。ちと話しに<seg type="ruby"><seg type="rb">御出</seg><seg type="rp">（</seg><seg type="rt">おいで</seg><seg type="rp">）</seg></seg>なせえ。どうも江戸っ子は江戸っ子同志でなくっちゃ、話しが合わねえものだから。何ですかい、やっぱりあの御嬢さんが、御愛想に出てきますかい。どうもさっぱし、<seg type="ruby"><seg type="rb">見境</seg><seg type="rp">（</seg><seg type="rt">みさけえ</seg><seg type="rp">）</seg></seg>のねえ女だから困っちまわあ」<lb />
「御嬢さんが、どうとか、したところで頭垢が飛んで、首が抜けそうになったっけ」<lb />
「<seg type="ruby"><seg type="rb">違</seg><seg type="rp">（</seg><seg type="rt">ちげえ</seg><seg type="rp">）</seg></seg>ねえ、がんがらがんだから、からっきし、話に締りがねえったらねえ。――そこでその坊主が<seg type="ruby"><seg type="rb">逆</seg><seg type="rp">（</seg><seg type="rt">のぼ</seg><seg type="rp">）</seg></seg>せちまって……」<lb />
「その坊主たあ、どの坊主だい」<lb />
「<seg type="ruby"><seg type="rb">観海寺</seg><seg type="rp">（</seg><seg type="rt">かんかいじ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">納所坊主</seg><seg type="rp">（</seg><seg type="rt">なっしょぼうず</seg><seg type="rp">）</seg></seg>がさ……」<lb />
「<seg type="ruby"><seg type="rb">納所</seg><seg type="rp">（</seg><seg type="rt">なっしょ</seg><seg type="rp">）</seg></seg>にも<seg type="ruby"><seg type="rb">住持</seg><seg type="rp">（</seg><seg type="rt">じゅうじ</seg><seg type="rp">）</seg></seg>にも、坊主はまだ一人も出て来ないんだ」<lb />
「そうか、<seg type="ruby"><seg type="rb">急勝</seg><seg type="rp">（</seg><seg type="rt">せっかち</seg><seg type="rp">）</seg></seg>だから、いけねえ。<seg type="ruby"><seg type="rb">苦味走</seg><seg type="rp">（</seg><seg type="rt">にがんばし</seg><seg type="rp">）</seg></seg>った、色の出来そうな坊主だったが、そいつが<seg type="ruby"><seg type="rb">御前</seg><seg type="rp">（</seg><seg type="rt">おまえ</seg><seg type="rp">）</seg></seg>さん、レコに参っちまって、とうとう<seg type="ruby"><seg type="rb">文</seg><seg type="rp">（</seg><seg type="rt">ふみ</seg><seg type="rp">）</seg></seg>をつけたんだ。――おや待てよ。<seg type="ruby"><seg type="rb">口説</seg><seg type="rp">（</seg><seg type="rt">くどい</seg><seg type="rp">）</seg></seg>たんだっけかな。いんにゃ文だ。文に<seg type="ruby"><seg type="rb">違</seg><seg type="rp">（</seg><seg type="rt">ちげ</seg><seg type="rp">）</seg></seg>えねえ。すると――こうっと――何だか、<seg type="ruby"><seg type="rb">行</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>きさつが少し変だぜ。うん、そうか、やっぱりそうか。するてえと<seg type="ruby"><seg type="rb">奴</seg><seg type="rp">（</seg><seg type="rt">やっこ</seg><seg type="rp">）</seg></seg>さん、驚ろいちまってからに……」<lb />
「誰が驚ろいたんだい」<lb />
「女がさ」<lb />
「女が文を受け取って驚ろいたんだね」<lb />
「ところが驚ろくような女なら、<seg type="ruby"><seg type="rb">殊勝</seg><seg type="rp">（</seg><seg type="rt">しお</seg><seg type="rp">）</seg></seg>らしいんだが、驚ろくどころじゃねえ」<lb />
「じゃ誰が驚ろいたんだい」<lb />
「口説た方がさ」<lb />
「口説ないのじゃないか」<lb />
「ええ、じれってえ。間違ってらあ。<seg type="ruby"><seg type="rb">文</seg><seg type="rp">（</seg><seg type="rt">ふみ</seg><seg type="rp">）</seg></seg>をもらってさ」<lb />
「それじゃやっぱり女だろう」<lb />
「なあに男がさ」<lb />
「男なら、その坊主だろう」<lb />
「ええ、その坊主がさ」<lb />
「坊主がどうして驚ろいたのかい」<lb />
「どうしてって、本堂で<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>さんと御経を上げてると、<seg type="ruby"><seg type="rb">突然</seg><seg type="rp">（</seg><seg type="rt">いきなり</seg><seg type="rp">）</seg></seg>あの女が飛び込んで来て――ウフフフフ。どうしても<seg type="ruby"><seg type="rb">狂印</seg><seg type="rp">（</seg><seg type="rt">きじるし</seg><seg type="rp">）</seg></seg>だね」<lb />
「どうかしたのかい」<lb />
「そんなに<seg type="ruby"><seg type="rb">可愛</seg><seg type="rp">（</seg><seg type="rt">かわい</seg><seg type="rp">）</seg></seg>いなら、仏様の前で、いっしょに寝ようって、出し抜けに、<seg type="ruby"><seg type="rb">泰安</seg><seg type="rp">（</seg><seg type="rt">たいあん</seg><seg type="rp">）</seg></seg>さんの<seg type="ruby"><seg type="rb">頸</seg><seg type="rp">（</seg><seg type="rt">くび</seg><seg type="rp">）</seg></seg>っ<seg type="ruby"><seg type="rb">玉</seg><seg type="rp">（</seg><seg type="rt">たま</seg><seg type="rp">）</seg></seg>へかじりついたんでさあ」<lb />
「へええ」<lb />
「<seg type="ruby"><seg type="rb">面喰</seg><seg type="rp">（</seg><seg type="rt">めんくら</seg><seg type="rp">）</seg></seg>ったなあ、泰安さ。<seg type="ruby"><seg type="rb">気狂</seg><seg type="rp">（</seg><seg type="rt">きちげえ</seg><seg type="rp">）</seg></seg>に文をつけて、飛んだ恥を<seg type="ruby"><seg type="rb">掻</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>かせられて、とうとう、その晩こっそり姿を隠して死んじまって……」<lb />
「死んだ？」<lb />
「死んだろうと思うのさ。生きちゃいられめえ」<lb />
「何とも云えない」<lb />
「そうさ、相手が気狂じゃ、死んだって<seg type="ruby"><seg type="rb">冴</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>えねえから、ことによると生きてるかも知れねえね」<lb />
「なかなか面白い話だ」<lb />
「面白いの、面白くないのって、村中大笑いでさあ。ところが当人だけは、<seg type="ruby"><seg type="rb">根</seg><seg type="rp">（</seg><seg type="rt">ね</seg><seg type="rp">）</seg></seg>が気が違ってるんだから、<seg type="ruby"><seg type="rb">洒唖洒唖</seg><seg type="rp">（</seg><seg type="rt">しゃあしゃあ</seg><seg type="rp">）</seg></seg>して平気なもんで――なあに旦那のようにしっかりしていりゃ大丈夫ですがね、相手が相手だから、<seg type="ruby"><seg type="rb">滅多</seg><seg type="rp">（</seg><seg type="rt">めった</seg><seg type="rp">）</seg></seg>にからかったり<seg type="ruby"><seg type="rb">何</seg><seg type="rp">（</seg><seg type="rt">なん</seg><seg type="rp">）</seg></seg>かすると、大変な目に逢いますよ」<lb />
「ちっと気をつけるかね。ははははは」<lb />
<seg type="ruby"><seg type="rb">生温</seg><seg type="rp">（</seg><seg type="rt">なまぬる</seg><seg type="rp">）</seg></seg>い<seg type="ruby"><seg type="rb">磯</seg><seg type="rp">（</seg><seg type="rt">いそ</seg><seg type="rp">）</seg></seg>から、塩気のある<seg type="ruby"><seg type="rb">春風</seg><seg type="rp">（</seg><seg type="rt">はるかぜ</seg><seg type="rp">）</seg></seg>がふわりふわりと来て、親方の<seg type="ruby"><seg type="rb">暖簾</seg><seg type="rp">（</seg><seg type="rt">のれん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">眠</seg><seg type="rp">（</seg><seg type="rt">ねむ</seg><seg type="rp">）</seg></seg>たそうに<seg type="ruby"><seg type="rb">煽</seg><seg type="rp">（</seg><seg type="rt">あお</seg><seg type="rp">）</seg></seg>る。身を<seg type="ruby"><seg type="rb">斜</seg><seg type="rp">（</seg><seg type="rt">はす</seg><seg type="rp">）</seg></seg>にしてその下をくぐり抜ける<seg type="ruby"><seg type="rb">燕</seg><seg type="rp">（</seg><seg type="rt">つばめ</seg><seg type="rp">）</seg></seg>の姿が、ひらりと、鏡の<seg type="ruby"><seg type="rb">裡</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>に落ちて行く。向うの<seg type="ruby"><seg type="rb">家</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>では六十ばかりの爺さんが、軒下に<seg type="ruby"><seg type="rb">蹲踞</seg><seg type="rp">（</seg><seg type="rt">うずく</seg><seg type="rp">）</seg></seg>まりながら、だまって貝をむいている。かちゃりと、小刀があたるたびに、赤い<seg type="ruby"><seg type="rb">味</seg><seg type="rp">（</seg><seg type="rt">み</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">笊</seg><seg type="rp">（</seg><seg type="rt">ざる</seg><seg type="rp">）</seg></seg>のなかに隠れる。<seg type="ruby"><seg type="rb">殻</seg><seg type="rp">（</seg><seg type="rt">から</seg><seg type="rp">）</seg></seg>はきらりと光りを放って、二尺あまりの<seg type="ruby"><seg type="rb">陽炎</seg><seg type="rp">（</seg><seg type="rt">かげろう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">向</seg><seg type="rp">（</seg><seg type="rt">むこう</seg><seg type="rp">）</seg></seg>へ横切る。丘のごとくに<seg type="ruby"><seg type="rb">堆</seg><seg type="rp">（</seg><seg type="rt">うずた</seg><seg type="rp">）</seg></seg>かく、積み上げられた、貝殻は<seg type="ruby"><seg type="rb">牡蠣</seg><seg type="rp">（</seg><seg type="rt">かき</seg><seg type="rp">）</seg></seg>か、<seg type="ruby"><seg type="rb">馬鹿</seg><seg type="rp">（</seg><seg type="rt">ばか</seg><seg type="rp">）</seg></seg>か、<seg type="ruby"><seg type="rb">馬刀貝</seg><seg type="rp">（</seg><seg type="rt">まてがい</seg><seg type="rp">）</seg></seg>か。<seg type="ruby"><seg type="rb">崩</seg><seg type="rp">（</seg><seg type="rt">くず</seg><seg type="rp">）</seg></seg>れた、幾分は<seg type="ruby"><seg type="rb">砂川</seg><seg type="rp">（</seg><seg type="rt">すながわ</seg><seg type="rp">）</seg></seg>の底に落ちて、浮世の表から、<seg type="ruby"><seg type="rb">暗</seg><seg type="rp">（</seg><seg type="rt">く</seg><seg type="rp">）</seg></seg>らい国へ葬られる。葬られるあとから、すぐ新しい貝が、柳の下へたまる。爺さんは貝の<seg type="ruby"><seg type="rb">行末</seg><seg type="rp">（</seg><seg type="rt">ゆくえ</seg><seg type="rp">）</seg></seg>を考うる暇さえなく、ただ<seg type="ruby"><seg type="rb">空</seg><seg type="rp">（</seg><seg type="rt">むな</seg><seg type="rp">）</seg></seg>しき殻を<seg type="ruby"><seg type="rb">陽炎</seg><seg type="rp">（</seg><seg type="rt">かげろう</seg><seg type="rp">）</seg></seg>の上へ<seg type="ruby"><seg type="rb">放</seg><seg type="rp">（</seg><seg type="rt">ほう</seg><seg type="rp">）</seg></seg>り出す。<seg type="ruby"><seg type="rb">彼</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>れの<seg type="ruby"><seg type="rb">笊</seg><seg type="rp">（</seg><seg type="rt">ざる</seg><seg type="rp">）</seg></seg>には<seg type="ruby"><seg type="rb">支</seg><seg type="rp">（</seg><seg type="rt">ささ</seg><seg type="rp">）</seg></seg>うべき底なくして、彼れの春の日は無尽蔵に<seg type="ruby"><seg type="rb">長閑</seg><seg type="rp">（</seg><seg type="rt">のど</seg><seg type="rp">）</seg></seg>かと見える。<lb />
砂川は二間に足らぬ小橋の下を流れて、浜の方へ春の水をそそぐ。春の水が春の海と出合うあたりには、<seg type="ruby"><seg type="rb">参差</seg><seg type="rp">（</seg><seg type="rt">しんし</seg><seg type="rp">）</seg></seg>として<seg type="ruby"><seg type="rb">幾尋</seg><seg type="rp">（</seg><seg type="rt">いくひろ</seg><seg type="rp">）</seg></seg>の干網が、網の目を抜けて村へ吹く軟風に、<seg type="ruby"><seg type="rb">腥</seg><seg type="rp">（</seg><seg type="rt">なまぐさ</seg><seg type="rp">）</seg></seg>き<seg type="ruby"><seg type="rb">微温</seg><seg type="rp">（</seg><seg type="rt">ぬくもり</seg><seg type="rp">）</seg></seg>を与えつつあるかと怪しまれる。その間から、<seg type="ruby"><seg type="rb">鈍刀</seg><seg type="rp">（</seg><seg type="rt">どんとう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">溶</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>かして、気長にのたくらせたように見えるのが海の色だ。<lb />
この景色とこの親方とはとうてい調和しない。もしこの親方の人格が強烈で<seg type="ruby"><seg type="rb">四辺</seg><seg type="rp">（</seg><seg type="rt">しへん</seg><seg type="rp">）</seg></seg>の風光と<seg type="ruby"><seg type="rb">拮抗</seg><seg type="rp">（</seg><seg type="rt">きっこう</seg><seg type="rp">）</seg></seg>するほどの影響を余の頭脳に与えたならば、余は両者の間に立ってすこぶる<seg type="ruby"><seg type="rb">円<seg facs="../../../gaiji/1-85/1-85-54.png" rend="gaiji" rendition="img" source="※(「木＋吶のつくり」、第3水準1-85-54)" />方鑿</seg><seg type="rp">（</seg><seg type="rt">えんぜいほうさく</seg><seg type="rp">）</seg></seg>の感に打たれただろう。<seg type="ruby"><seg type="rb">幸</seg><seg type="rp">（</seg><seg type="rt">さいわい</seg><seg type="rp">）</seg></seg>にして親方はさほど偉大な豪傑ではなかった。いくら江戸っ子でも、どれほどたんかを切っても、この<seg type="ruby"><seg type="rb">渾然</seg><seg type="rp">（</seg><seg type="rt">こんぜん</seg><seg type="rp">）</seg></seg>として<seg type="ruby"><seg type="rb">駘蕩</seg><seg type="rp">（</seg><seg type="rt">たいとう</seg><seg type="rp">）</seg></seg>たる天地の大気象には<seg type="ruby"><seg type="rb">叶</seg><seg type="rp">（</seg><seg type="rt">かな</seg><seg type="rp">）</seg></seg>わない。満腹の<seg type="ruby"><seg type="rb">饒舌</seg><seg type="rp">（</seg><seg type="rt">にょうぜつ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">弄</seg><seg type="rp">（</seg><seg type="rt">ろう</seg><seg type="rp">）</seg></seg>して、あくまでこの調子を破ろうとする親方は、早く<seg type="ruby"><seg type="rb">一微塵</seg><seg type="rp">（</seg><seg type="rt">いちみじん</seg><seg type="rp">）</seg></seg>となって、<seg type="ruby"><seg type="rb">怡々</seg><seg type="rp">（</seg><seg type="rt">いい</seg><seg type="rp">）</seg></seg>たる<seg type="ruby"><seg type="rb">春光</seg><seg type="rp">（</seg><seg type="rt">しゅんこう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">裏</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>に浮遊している。矛盾とは、力において、量において、もしくは意気<seg type="ruby"><seg type="rb">体躯</seg><seg type="rp">（</seg><seg type="rt">たいく</seg><seg type="rp">）</seg></seg>において<seg type="ruby"><seg type="rb">氷炭相容</seg><seg type="rp">（</seg><seg type="rt">ひょうたんあいい</seg><seg type="rp">）</seg></seg>るる<seg type="ruby"><seg type="rb">能</seg><seg type="rp">（</seg><seg type="rt">あた</seg><seg type="rp">）</seg></seg>わずして、しかも同程度に位する物もしくは人の間に<seg type="ruby"><seg type="rb">在</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>って始めて、見出し得べき現象である。両者の間隔がはなはだしく懸絶するときは、この矛盾はようやく<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-87/1-87-16.png" rend="gaiji" rendition="img" source="※(「さんずい＋斯」、第3水準1-87-16)" /><seg facs="../../../gaiji/1-89/1-89-17.png" rend="gaiji" rendition="img" source="※(「龍／石」、第3水準1-89-17)" />磨</seg><seg type="rp">（</seg><seg type="rt">しじんろうま</seg><seg type="rp">）</seg></seg>して、かえって大勢力の一部となって活動するに至るかも知れぬ。<seg type="ruby"><seg type="rb">大人</seg><seg type="rp">（</seg><seg type="rt">たいじん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">手足</seg><seg type="rp">（</seg><seg type="rt">しゅそく</seg><seg type="rp">）</seg></seg>となって才子が活動し、才子の<seg type="ruby"><seg type="rb">股肱</seg><seg type="rp">（</seg><seg type="rt">ここう</seg><seg type="rp">）</seg></seg>となって<seg type="ruby"><seg type="rb">昧者</seg><seg type="rp">（</seg><seg type="rt">まいしゃ</seg><seg type="rp">）</seg></seg>が活動し、昧者の<seg type="ruby"><seg type="rb">心腹</seg><seg type="rp">（</seg><seg type="rt">しんぷく</seg><seg type="rp">）</seg></seg>となって牛馬が活動し得るのはこれがためである。今わが親方は限りなき春の景色を背景として、一種の<seg type="ruby"><seg type="rb">滑稽</seg><seg type="rp">（</seg><seg type="rt">こっけい</seg><seg type="rp">）</seg></seg>を演じている。<seg type="ruby"><seg type="rb">長閑</seg><seg type="rp">（</seg><seg type="rt">のどか</seg><seg type="rp">）</seg></seg>な春の感じを<seg type="ruby"><seg type="rb">壊</seg><seg type="rp">（</seg><seg type="rt">こわ</seg><seg type="rp">）</seg></seg>すべきはずの彼は、かえって長閑な春の感じを刻意に添えつつある。余は思わず<seg type="ruby"><seg type="rb">弥生半</seg><seg type="rp">（</seg><seg type="rt">やよいなか</seg><seg type="rp">）</seg></seg>ばに<seg type="ruby"><seg type="rb">呑気</seg><seg type="rp">（</seg><seg type="rt">のんき</seg><seg type="rp">）</seg></seg>な<seg type="ruby"><seg type="rb">弥次</seg><seg type="rp">（</seg><seg type="rt">やじ</seg><seg type="rp">）</seg></seg>と近づきになったような気持ちになった。この<seg type="ruby"><seg type="rb">極</seg><seg type="rp">（</seg><seg type="rt">きわ</seg><seg type="rp">）</seg></seg>めて安価なる<seg type="ruby"><seg type="rb">気<seg facs="../../../gaiji/1-87/1-87-64.png" rend="gaiji" rendition="img" source="※(「陷のつくり＋炎」、第3水準1-87-64)" />家</seg><seg type="rp">（</seg><seg type="rt">きえんか</seg><seg type="rp">）</seg></seg>は、太平の<seg type="ruby"><seg type="rb">象</seg><seg type="rp">（</seg><seg type="rt">しょう</seg><seg type="rp">）</seg></seg>を具したる春の日にもっとも調和せる一彩色である。<lb />
こう考えると、この親方もなかなか<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>にも、詩にもなる男だから、とうに帰るべきところを、わざと<seg type="ruby"><seg type="rb">尻</seg><seg type="rp">（</seg><seg type="rt">しり</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">据</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>えて<seg type="ruby"><seg type="rb">四方八方</seg><seg type="rp">（</seg><seg type="rt">よもやま</seg><seg type="rp">）</seg></seg>の話をしていた。ところへ<seg type="ruby"><seg type="rb">暖簾</seg><seg type="rp">（</seg><seg type="rt">のれん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">滑</seg><seg type="rp">（</seg><seg type="rt">すべ</seg><seg type="rp">）</seg></seg>って小さな坊主頭が<lb />
「御免、一つ<seg type="ruby"><seg type="rb">剃</seg><seg type="rp">（</seg><seg type="rt">そ</seg><seg type="rp">）</seg></seg>って貰おうか」<lb />
と<seg type="ruby"><seg type="rb">這入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>って来る。白木綿の着物に同じ<seg type="ruby"><seg type="rb">丸絎</seg><seg type="rp">（</seg><seg type="rt">まるぐけ</seg><seg type="rp">）</seg></seg>の帯をしめて、上から<seg type="ruby"><seg type="rb">蚊帳</seg><seg type="rp">（</seg><seg type="rt">かや</seg><seg type="rp">）</seg></seg>のように<seg type="ruby"><seg type="rb">粗</seg><seg type="rp">（</seg><seg type="rt">あら</seg><seg type="rp">）</seg></seg>い<seg type="ruby"><seg type="rb">法衣</seg><seg type="rp">（</seg><seg type="rt">ころも</seg><seg type="rp">）</seg></seg>を羽織って、すこぶる気楽に見える小坊主であった。<lb />
「<seg type="ruby"><seg type="rb">了念</seg><seg type="rp">（</seg><seg type="rt">りょうねん</seg><seg type="rp">）</seg></seg>さん。どうだい、こないだあ道草あ、食って、<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>さんに<seg type="ruby"><seg type="rb">叱</seg><seg type="rp">（</seg><seg type="rt">しか</seg><seg type="rp">）</seg></seg>られたろう」<lb />
「いんにゃ、<seg type="ruby"><seg type="rb">褒</seg><seg type="rp">（</seg><seg type="rt">ほ</seg><seg type="rp">）</seg></seg>められた」<lb />
「使に出て、途中で魚なんか、とっていて、了念は感心だって、褒められたのかい」<lb />
「若いに似ず了念は、よく遊んで来て感心じゃ云うて、老師が褒められたのよ」<lb />
「<seg type="ruby"><seg type="rb">道理</seg><seg type="rp">（</seg><seg type="rt">どうれ</seg><seg type="rp">）</seg></seg>で頭に<seg type="ruby"><seg type="rb">瘤</seg><seg type="rp">（</seg><seg type="rt">こぶ</seg><seg type="rp">）</seg></seg>が出来てらあ。そんな不作法な頭あ、<seg type="ruby"><seg type="rb">剃</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>るなあ骨が折れていけねえ。今日は勘弁するから、この次から、<seg type="ruby"><seg type="rb">捏</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>ね直して来ねえ」<lb />
「捏ね直すくらいなら、ますこし上手な床屋へ行きます」<lb />
「はははは頭は<seg type="ruby"><seg type="rb">凹凸</seg><seg type="rp">（</seg><seg type="rt">ぼこでこ</seg><seg type="rp">）</seg></seg>だが、口だけは達者なもんだ」<lb />
「腕は鈍いが、酒だけ強いのは<seg type="ruby"><seg type="rb">御前</seg><seg type="rp">（</seg><seg type="rt">おまえ</seg><seg type="rp">）</seg></seg>だろ」<lb />
「<seg type="ruby"><seg type="rb">箆棒</seg><seg type="rp">（</seg><seg type="rt">べらぼう</seg><seg type="rp">）</seg></seg>め、腕が鈍いって……」<lb />
「わしが云うたのじゃない。老師が云われたのじゃ。そう怒るまい。<seg type="ruby"><seg type="rb">年甲斐</seg><seg type="rp">（</seg><seg type="rt">としがい</seg><seg type="rp">）</seg></seg>もない」<lb />
「ヘン、面白くもねえ。――ねえ、旦那」<lb />
「ええ？」<lb />
「<seg type="ruby"><seg type="rb">全体</seg><seg type="rp">（</seg><seg type="rt">ぜんてえ</seg><seg type="rp">）</seg></seg>坊主なんてえものは、高い石段の上に住んでやがって、<seg type="ruby"><seg type="rb">屈托</seg><seg type="rp">（</seg><seg type="rt">くったく</seg><seg type="rp">）</seg></seg>がねえから、自然に口が達者になる訳ですかね。こんな小坊主までなかなか<seg type="ruby"><seg type="rb">口幅</seg><seg type="rp">（</seg><seg type="rt">くちはば</seg><seg type="rp">）</seg></seg>ってえ事を云いますぜ――おっと、もう少し<seg type="ruby"><seg type="rb">頭</seg><seg type="rp">（</seg><seg type="rt">どたま</seg><seg type="rp">）</seg></seg>を寝かして――寝かすんだてえのに、――言う事を<seg type="ruby"><seg type="rb">聴</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>かなけりゃ、切るよ、いいか、血が出るぜ」<lb />
「痛いがな。そう無茶をしては」<lb />
「このくらいな辛抱が出来なくって坊主になれるもんか」<lb />
「坊主にはもうなっとるがな」<lb />
「まだ<seg type="ruby"><seg type="rb">一人前</seg><seg type="rp">（</seg><seg type="rt">いちにんめえ</seg><seg type="rp">）</seg></seg>じゃねえ。――時にあの泰安さんは、どうして死んだっけな、御小僧さん」<lb />
「泰安さんは死にはせんがな」<lb />
「死なねえ？ はてな。死んだはずだが」<lb />
「泰安さんは、その<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">のち</seg><seg type="rp">）</seg></seg>発憤して、<seg type="ruby"><seg type="rb">陸前</seg><seg type="rp">（</seg><seg type="rt">りくぜん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">大梅寺</seg><seg type="rp">（</seg><seg type="rt">だいばいじ</seg><seg type="rp">）</seg></seg>へ行って、<seg type="ruby"><seg type="rb">修業三昧</seg><seg type="rp">（</seg><seg type="rt">しゅぎょうざんまい</seg><seg type="rp">）</seg></seg>じゃ。今に<seg type="ruby"><seg type="rb">智識</seg><seg type="rp">（</seg><seg type="rt">ちしき</seg><seg type="rp">）</seg></seg>になられよう。結構な事よ」<lb />
「何が結構だい。いくら坊主だって、夜逃をして結構な法はあるめえ。<seg type="ruby"><seg type="rb">御前</seg><seg type="rp">（</seg><seg type="rt">おめえ</seg><seg type="rp">）</seg></seg>なんざ、よく気をつけなくっちゃいけねえぜ。とかく、しくじるなあ女だから――女ってえば、あの<seg type="ruby"><seg type="rb">狂印</seg><seg type="rp">（</seg><seg type="rt">きじるし</seg><seg type="rp">）</seg></seg>はやっぱり<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>さんの所へ行くかい」<lb />
「<seg type="ruby"><seg type="rb">狂印</seg><seg type="rp">（</seg><seg type="rt">きじるし</seg><seg type="rp">）</seg></seg>と云う女は聞いた事がない」<lb />
「通じねえ、<seg type="ruby"><seg type="rb">味噌擂</seg><seg type="rp">（</seg><seg type="rt">みそすり</seg><seg type="rp">）</seg></seg>だ。行くのか、行かねえのか」<lb />
「<seg type="ruby"><seg type="rb">狂印</seg><seg type="rp">（</seg><seg type="rt">きじるし</seg><seg type="rp">）</seg></seg>は来んが、志保田の娘さんなら来る」<lb />
「いくら、和尚さんの<seg type="ruby"><seg type="rb">御祈祷</seg><seg type="rp">（</seg><seg type="rt">ごきとう</seg><seg type="rp">）</seg></seg>でもあればかりゃ、<seg type="ruby"><seg type="rb">癒</seg><seg type="rp">（</seg><seg type="rt">なお</seg><seg type="rp">）</seg></seg>るめえ。全く<seg type="ruby"><seg type="rb">先</seg><seg type="rp">（</seg><seg type="rt">せん</seg><seg type="rp">）</seg></seg>の旦那が<seg type="ruby"><seg type="rb">祟</seg><seg type="rp">（</seg><seg type="rt">たた</seg><seg type="rp">）</seg></seg>ってるんだ」<lb />
「あの娘さんはえらい女だ。老師がよう<seg type="ruby"><seg type="rb">褒</seg><seg type="rp">（</seg><seg type="rt">ほ</seg><seg type="rp">）</seg></seg>めておられる」<lb />
「石段をあがると、何でも<seg type="ruby"><seg type="rb">逆様</seg><seg type="rp">（</seg><seg type="rt">さかさま</seg><seg type="rp">）</seg></seg>だから<seg type="ruby"><seg type="rb">叶</seg><seg type="rp">（</seg><seg type="rt">かな</seg><seg type="rp">）</seg></seg>わねえ。和尚さんが、何て云ったって、<seg type="ruby"><seg type="rb">気狂</seg><seg type="rp">（</seg><seg type="rt">きちげえ</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">気狂</seg><seg type="rp">（</seg><seg type="rt">きちげえ</seg><seg type="rp">）</seg></seg>だろう。――さあ<seg type="ruby"><seg type="rb">剃</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>れたよ。早く行って和尚さんに叱られて来めえ」<lb />
「いやもう少し遊んで行って<seg type="ruby"><seg type="rb">賞</seg><seg type="rp">（</seg><seg type="rt">ほ</seg><seg type="rp">）</seg></seg>められよう」<lb />
「勝手にしろ、口の<seg type="ruby"><seg type="rb">減</seg><seg type="rp">（</seg><seg type="rt">へ</seg><seg type="rp">）</seg></seg>らねえ<seg type="ruby"><seg type="rb">餓鬼</seg><seg type="rp">（</seg><seg type="rt">がき</seg><seg type="rp">）</seg></seg>だ」<lb />
「<seg type="ruby"><seg type="rb">咄</seg><seg type="rp">（</seg><seg type="rt">とつ</seg><seg type="rp">）</seg></seg>この<seg type="ruby"><seg type="rb">乾屎<seg facs="../../../gaiji/1-86/1-86-15.png" rend="gaiji" rendition="img" source="※(「木＋厥」、第3水準1-86-15)" /></seg><seg type="rp">（</seg><seg type="rt">かんしけつ</seg><seg type="rp">）</seg></seg>」<lb />
「何だと？」<lb />
青い頭はすでに<seg type="ruby"><seg type="rb">暖簾</seg><seg type="rp">（</seg><seg type="rt">のれん</seg><seg type="rp">）</seg></seg>をくぐって、<seg type="ruby"><seg type="rb">春風</seg><seg type="rp">（</seg><seg type="rt">しゅんぷう</seg><seg type="rp">）</seg></seg>に吹かれている。<lb />
<lb />
<seg rend="jisage_8" rendition="div" style="margin-left: 8em"><seg rend="naka-midashi" rendition="h"><seg rend="midashi_anchor" rendition="a" xml:id="midashi60">六</seg></seg></seg>
<lb />
夕暮の机に向う。障子も<seg type="ruby"><seg type="rb">襖</seg><seg type="rp">（</seg><seg type="rt">ふすま</seg><seg type="rp">）</seg></seg>も<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>け<seg type="ruby"><seg type="rb">放</seg><seg type="rp">（</seg><seg type="rt">はな</seg><seg type="rp">）</seg></seg>つ。宿の人は多くもあらぬ上に、家は割合に広い。余が住む部屋は、多くもあらぬ人の、人らしく<seg type="ruby"><seg type="rb">振舞</seg><seg type="rp">（</seg><seg type="rt">ふるま</seg><seg type="rp">）</seg></seg>う<seg type="ruby"><seg type="rb">境</seg><seg type="rp">（</seg><seg type="rt">きょう</seg><seg type="rp">）</seg></seg>を、<seg type="ruby"><seg type="rb">幾曲</seg><seg type="rp">（</seg><seg type="rt">いくまがり</seg><seg type="rp">）</seg></seg>の廊下に隔てたれば、物の音さえ思索の<seg type="ruby"><seg type="rb">煩</seg><seg type="rp">（</seg><seg type="rt">わずらい</seg><seg type="rp">）</seg></seg>にはならぬ。今日は<seg type="ruby"><seg type="rb">一層</seg><seg type="rp">（</seg><seg type="rt">ひとしお</seg><seg type="rp">）</seg></seg>静かである。主人も、娘も、下女も下男も、知らぬ<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>に、われを残して、立ち<seg type="ruby"><seg type="rb">退</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>いたかと思われる。立ち退いたとすればただの所へ立ち退きはせぬ。<seg type="ruby"><seg type="rb">霞</seg><seg type="rp">（</seg><seg type="rt">かすみ</seg><seg type="rp">）</seg></seg>の国か、雲の国かであろう。あるいは雲と水が自然に近づいて、<seg type="ruby"><seg type="rb">舵</seg><seg type="rp">（</seg><seg type="rt">かじ</seg><seg type="rp">）</seg></seg>をとるさえ<seg type="ruby"><seg type="rb">懶</seg><seg type="rp">（</seg><seg type="rt">ものう</seg><seg type="rp">）</seg></seg>き海の上を、いつ流れたとも心づかぬ間に、白い帆が雲とも水とも見分け難き<seg type="ruby"><seg type="rb">境</seg><seg type="rp">（</seg><seg type="rt">さかい</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">漂</seg><seg type="rp">（</seg><seg type="rt">ただよ</seg><seg type="rp">）</seg></seg>い来て、<seg type="ruby"><seg type="rb">果</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>ては帆みずからが、いずこに<seg type="ruby"><seg type="rb">己</seg><seg type="rp">（</seg><seg type="rt">おの</seg><seg type="rp">）</seg></seg>れを雲と水より差別すべきかを苦しむあたりへ――そんな<seg type="ruby"><seg type="rb">遥</seg><seg type="rp">（</seg><seg type="rt">はる</seg><seg type="rp">）</seg></seg>かな所へ立ち退いたと思われる。それでなければ卒然と春のなかに消え失せて、これまでの<seg type="ruby"><seg type="rb">四大</seg><seg type="rp">（</seg><seg type="rt">しだい</seg><seg type="rp">）</seg></seg>が、今頃は目に見えぬ<seg type="ruby"><seg type="rb">霊氛</seg><seg type="rp">（</seg><seg type="rt">れいふん</seg><seg type="rp">）</seg></seg>となって、広い天地の間に、<seg type="ruby"><seg type="rb">顕微鏡</seg><seg type="rp">（</seg><seg type="rt">けんびきょう</seg><seg type="rp">）</seg></seg>の力を<seg type="ruby"><seg type="rb">藉</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>るとも、<seg type="ruby"><seg type="rb">些</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">名残</seg><seg type="rp">（</seg><seg type="rt">なごり</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">留</seg><seg type="rp">（</seg><seg type="rt">とど</seg><seg type="rp">）</seg></seg>めぬようになったのであろう。あるいは<seg type="ruby"><seg type="rb">雲雀</seg><seg type="rp">（</seg><seg type="rt">ひばり</seg><seg type="rp">）</seg></seg>に化して、<seg type="ruby"><seg type="rb">菜</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>の花の<seg type="ruby"><seg type="rb">黄</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>を鳴き尽したる<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">のち</seg><seg type="rp">）</seg></seg>、夕暮深き紫のたなびくほとりへ行ったかも知れぬ。または永き日を、かつ永くする<seg type="ruby"><seg type="rb">虻</seg><seg type="rp">（</seg><seg type="rt">あぶ</seg><seg type="rp">）</seg></seg>のつとめを果したる後、<seg type="ruby"><seg type="rb">蕋</seg><seg type="rp">（</seg><seg type="rt">ずい</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">凝</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>る甘き露を吸い<seg type="ruby"><seg type="rb">損</seg><seg type="rp">（</seg><seg type="rt">そこ</seg><seg type="rp">）</seg></seg>ねて、<seg type="ruby"><seg type="rb">落椿</seg><seg type="rp">（</seg><seg type="rt">おちつばき</seg><seg type="rp">）</seg></seg>の下に、伏せられながら、世を<seg type="ruby"><seg type="rb">香</seg><seg type="rp">（</seg><seg type="rt">かん</seg><seg type="rp">）</seg></seg>ばしく眠っているかも知れぬ。とにかく静かなものだ。<lb />
<seg type="ruby"><seg type="rb">空</seg><seg type="rp">（</seg><seg type="rt">むな</seg><seg type="rp">）</seg></seg>しき家を、空しく抜ける<seg type="ruby"><seg type="rb">春風</seg><seg type="rp">（</seg><seg type="rt">はるかぜ</seg><seg type="rp">）</seg></seg>の、抜けて行くは迎える人への義理でもない。<seg type="ruby"><seg type="rb">拒</seg><seg type="rp">（</seg><seg type="rt">こば</seg><seg type="rp">）</seg></seg>むものへの<seg type="ruby"><seg type="rb">面当</seg><seg type="rp">（</seg><seg type="rt">つらあて</seg><seg type="rp">）</seg></seg>でもない。<seg type="ruby"><seg type="rb">自</seg><seg type="rp">（</seg><seg type="rt">おのず</seg><seg type="rp">）</seg></seg>から<seg type="ruby"><seg type="rb">来</seg><seg type="rp">（</seg><seg type="rt">きた</seg><seg type="rp">）</seg></seg>りて、自から去る、公平なる宇宙の<seg type="ruby"><seg type="rb">意</seg><seg type="rp">（</seg><seg type="rt">こころ</seg><seg type="rp">）</seg></seg>である。<seg type="ruby"><seg type="rb">掌</seg><seg type="rp">（</seg><seg type="rt">たなごころ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">顎</seg><seg type="rp">（</seg><seg type="rt">あご</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">支</seg><seg type="rp">（</seg><seg type="rt">ささ</seg><seg type="rp">）</seg></seg>えたる余の心も、わが住む部屋のごとく<seg type="ruby"><seg type="rb">空</seg><seg type="rp">（</seg><seg type="rt">むな</seg><seg type="rp">）</seg></seg>しければ、春風は招かぬに、遠慮もなく行き抜けるであろう。<lb />
踏むは地と思えばこそ、裂けはせぬかとの<seg type="ruby"><seg type="rb">気遣</seg><seg type="rp">（</seg><seg type="rt">きづかい</seg><seg type="rp">）</seg></seg>も<seg type="ruby"><seg type="rb">起</seg><seg type="rp">（</seg><seg type="rt">おこ</seg><seg type="rp">）</seg></seg>る。<seg type="ruby"><seg type="rb">戴</seg><seg type="rp">（</seg><seg type="rt">いただ</seg><seg type="rp">）</seg></seg>くは天と知る故に、<seg type="ruby"><seg type="rb">稲妻</seg><seg type="rp">（</seg><seg type="rt">いなずま</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">米噛</seg><seg type="rp">（</seg><seg type="rt">こめかみ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">震</seg><seg type="rp">（</seg><seg type="rt">ふる</seg><seg type="rp">）</seg></seg>う<seg type="ruby"><seg type="rb">怖</seg><seg type="rp">（</seg><seg type="rt">おそれ</seg><seg type="rp">）</seg></seg>も出来る。人と<seg type="ruby"><seg type="rb">争</seg><seg type="rp">（</seg><seg type="rt">あらそ</seg><seg type="rp">）</seg></seg>わねば<seg type="ruby"><seg type="rb">一分</seg><seg type="rp">（</seg><seg type="rt">いちぶん</seg><seg type="rp">）</seg></seg>が立たぬと浮世が催促するから、<seg type="ruby"><seg type="rb">火宅</seg><seg type="rp">（</seg><seg type="rt">かたく</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">苦</seg><seg type="rp">（</seg><seg type="rt">く</seg><seg type="rp">）</seg></seg>は免かれぬ。東西のある<seg type="ruby"><seg type="rb">乾坤</seg><seg type="rp">（</seg><seg type="rt">けんこん</seg><seg type="rp">）</seg></seg>に住んで、利害の綱を渡らねばならぬ身には、事実の恋は<seg type="ruby"><seg type="rb">讎</seg><seg type="rp">（</seg><seg type="rt">あだ</seg><seg type="rp">）</seg></seg>である。目に見る富は土である。握る名と奪える<seg type="ruby"><seg type="rb">誉</seg><seg type="rp">（</seg><seg type="rt">ほまれ</seg><seg type="rp">）</seg></seg>とは、<seg type="ruby"><seg type="rb">小賢</seg><seg type="rp">（</seg><seg type="rt">こざ</seg><seg type="rp">）</seg></seg>かしき<seg type="ruby"><seg type="rb">蜂</seg><seg type="rp">（</seg><seg type="rt">はち</seg><seg type="rp">）</seg></seg>が甘く<seg type="ruby"><seg type="rb">醸</seg><seg type="rp">（</seg><seg type="rt">かも</seg><seg type="rp">）</seg></seg>すと見せて、針を<seg type="ruby"><seg type="rb">棄</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>て去る蜜のごときものであろう。いわゆる<seg type="ruby"><seg type="rb">楽</seg><seg type="rp">（</seg><seg type="rt">たのしみ</seg><seg type="rp">）</seg></seg>は物に<seg type="ruby"><seg type="rb">着</seg><seg type="rp">（</seg><seg type="rt">ちゃく</seg><seg type="rp">）</seg></seg>するより起るが<seg type="ruby"><seg type="rb">故</seg><seg type="rp">（</seg><seg type="rt">ゆえ</seg><seg type="rp">）</seg></seg>に、あらゆる苦しみを含む。ただ詩人と<seg type="ruby"><seg type="rb">画客</seg><seg type="rp">（</seg><seg type="rt">がかく</seg><seg type="rp">）</seg></seg>なるものあって、<seg type="ruby"><seg type="rb">飽</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>くまでこの<seg type="ruby"><seg type="rb">待対</seg><seg type="rp">（</seg><seg type="rt">たいたい</seg><seg type="rp">）</seg></seg>世界の精華を<seg type="ruby"><seg type="rb">嚼</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>んで、<seg type="ruby"><seg type="rb">徹骨徹髄</seg><seg type="rp">（</seg><seg type="rt">てっこつてつずい</seg><seg type="rp">）</seg></seg>の清きを知る。<seg type="ruby"><seg type="rb">霞</seg><seg type="rp">（</seg><seg type="rt">かすみ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">餐</seg><seg type="rp">（</seg><seg type="rt">さん</seg><seg type="rp">）</seg></seg>し、露を<seg type="ruby"><seg type="rb">嚥</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>み、<seg type="ruby"><seg type="rb">紫</seg><seg type="rp">（</seg><seg type="rt">し</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">品</seg><seg type="rp">（</seg><seg type="rt">ひん</seg><seg type="rp">）</seg></seg>し、<seg type="ruby"><seg type="rb">紅</seg><seg type="rp">（</seg><seg type="rt">こう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">評</seg><seg type="rp">（</seg><seg type="rt">ひょう</seg><seg type="rp">）</seg></seg>して、死に至って悔いぬ。彼らの楽は物に<seg type="ruby"><seg type="rb">着</seg><seg type="rp">（</seg><seg type="rt">ちゃく</seg><seg type="rp">）</seg></seg>するのではない。同化してその物になるのである。その物になり済ました時に、我を樹立すべき余地は<seg type="ruby"><seg type="rb">茫々</seg><seg type="rp">（</seg><seg type="rt">ぼうぼう</seg><seg type="rp">）</seg></seg>たる大地を<seg type="ruby"><seg type="rb">極</seg><seg type="rp">（</seg><seg type="rt">きわ</seg><seg type="rp">）</seg></seg>めても<seg type="ruby"><seg type="rb">見出</seg><seg type="rp">（</seg><seg type="rt">みいだ</seg><seg type="rp">）</seg></seg>し得ぬ。<seg type="ruby"><seg type="rb">自在</seg><seg type="rp">（</seg><seg type="rt">じざい</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">泥団</seg><seg type="rp">（</seg><seg type="rt">でいだん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">放下</seg><seg type="rp">（</seg><seg type="rt">ほうげ</seg><seg type="rp">）</seg></seg>して、<seg type="ruby"><seg type="rb">破笠裏</seg><seg type="rp">（</seg><seg type="rt">はりつり</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">無限</seg><seg type="rp">（</seg><seg type="rt">むげん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">青嵐</seg><seg type="rp">（</seg><seg type="rt">せいらん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">盛</seg><seg type="rp">（</seg><seg type="rt">も</seg><seg type="rp">）</seg></seg>る。いたずらにこの境遇を<seg type="ruby"><seg type="rb">拈出</seg><seg type="rp">（</seg><seg type="rt">ねんしゅつ</seg><seg type="rp">）</seg></seg>するのは、<seg type="ruby"><seg type="rb">敢</seg><seg type="rp">（</seg><seg type="rt">あえ</seg><seg type="rp">）</seg></seg>て<seg type="ruby"><seg type="rb">市井</seg><seg type="rp">（</seg><seg type="rt">しせい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">銅臭児</seg><seg type="rp">（</seg><seg type="rt">どうしゅうじ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">鬼嚇</seg><seg type="rp">（</seg><seg type="rt">きかく</seg><seg type="rp">）</seg></seg>して、好んで高く<seg type="ruby"><seg type="rb">標置</seg><seg type="rp">（</seg><seg type="rt">ひょうち</seg><seg type="rp">）</seg></seg>するがためではない。ただ<seg type="ruby"><seg type="rb">這裏</seg><seg type="rp">（</seg><seg type="rt">しゃり</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">福音</seg><seg type="rp">（</seg><seg type="rt">ふくいん</seg><seg type="rp">）</seg></seg>を述べて、縁ある<seg type="ruby"><seg type="rb">衆生</seg><seg type="rp">（</seg><seg type="rt">しゅじょう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">麾</seg><seg type="rp">（</seg><seg type="rt">さしまね</seg><seg type="rp">）</seg></seg>くのみである。<seg type="ruby"><seg type="rb">有体</seg><seg type="rp">（</seg><seg type="rt">ありてい</seg><seg type="rp">）</seg></seg>に云えば詩境と云い、画界と云うも皆<seg type="ruby"><seg type="rb">人々具足</seg><seg type="rp">（</seg><seg type="rt">にんにんぐそく</seg><seg type="rp">）</seg></seg>の道である。<seg type="ruby"><seg type="rb">春秋</seg><seg type="rp">（</seg><seg type="rt">しゅんじゅう</seg><seg type="rp">）</seg></seg>に指を折り尽して、<seg type="ruby"><seg type="rb">白頭</seg><seg type="rp">（</seg><seg type="rt">はくとう</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">呻吟</seg><seg type="rp">（</seg><seg type="rt">しんぎん</seg><seg type="rp">）</seg></seg>するの<seg type="ruby"><seg type="rb">徒</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>といえども、一生を回顧して、閲歴の波動を順次に点検し来るとき、かつては微光の<seg type="ruby"><seg type="rb">臭骸</seg><seg type="rp">（</seg><seg type="rt">しゅうがい</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">洩</seg><seg type="rp">（</seg><seg type="rt">も</seg><seg type="rp">）</seg></seg>れて、<seg type="ruby"><seg type="rb">吾</seg><seg type="rp">（</seg><seg type="rt">われ</seg><seg type="rp">）</seg></seg>を忘れし、<seg type="ruby"><seg type="rb">拍手</seg><seg type="rp">（</seg><seg type="rt">はくしゅ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">興</seg><seg type="rp">（</seg><seg type="rt">きょう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">喚</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>び起す事が出来よう。出来ぬと云わば<seg type="ruby"><seg type="rb">生甲斐</seg><seg type="rp">（</seg><seg type="rt">いきがい</seg><seg type="rp">）</seg></seg>のない男である。<lb />
されど<seg type="ruby"><seg type="rb">一事</seg><seg type="rp">（</seg><seg type="rt">いちじ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">即</seg><seg type="rp">（</seg><seg type="rt">そく</seg><seg type="rp">）</seg></seg>し、<seg type="ruby"><seg type="rb">一物</seg><seg type="rp">（</seg><seg type="rt">いちぶつ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">化</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>するのみが詩人の感興とは云わぬ。ある時は<seg type="ruby"><seg type="rb">一弁</seg><seg type="rp">（</seg><seg type="rt">いちべん</seg><seg type="rp">）</seg></seg>の花に化し、あるときは<seg type="ruby"><seg type="rb">一双</seg><seg type="rp">（</seg><seg type="rt">いっそう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">蝶</seg><seg type="rp">（</seg><seg type="rt">ちょう</seg><seg type="rp">）</seg></seg>に化し、あるはウォーヅウォースのごとく、一団の水仙に化して、心を<seg type="ruby"><seg type="rb">沢風</seg><seg type="rp">（</seg><seg type="rt">たくふう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">裏</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">撩乱</seg><seg type="rp">（</seg><seg type="rt">りょうらん</seg><seg type="rp">）</seg></seg>せしむる事もあろうが、<seg type="ruby"><seg type="rb">何</seg><seg type="rp">（</seg><seg type="rt">なん</seg><seg type="rp">）</seg></seg>とも知れぬ<seg type="ruby"><seg type="rb">四辺</seg><seg type="rp">（</seg><seg type="rt">しへん</seg><seg type="rp">）</seg></seg>の風光にわが心を奪われて、わが心を奪えるは<seg type="ruby"><seg type="rb">那物</seg><seg type="rp">（</seg><seg type="rt">なにもの</seg><seg type="rp">）</seg></seg>ぞとも<seg type="ruby"><seg type="rb">明瞭</seg><seg type="rp">（</seg><seg type="rt">めいりょう</seg><seg type="rp">）</seg></seg>に意識せぬ場合がある。ある人は天地の<seg type="ruby"><seg type="rb">耿気</seg><seg type="rp">（</seg><seg type="rt">こうき</seg><seg type="rp">）</seg></seg>に触るると云うだろう。ある人は<seg type="ruby"><seg type="rb">無絃</seg><seg type="rp">（</seg><seg type="rt">むげん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">琴</seg><seg type="rp">（</seg><seg type="rt">きん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">霊台</seg><seg type="rp">（</seg><seg type="rt">れいだい</seg><seg type="rp">）</seg></seg>に聴くと云うだろう。またある人は知りがたく、解しがたき故に無限の域に<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-14/1-14-43.png" rend="gaiji" rendition="img" source="※(「にんべん＋亶」、第3水準1-14-43)" /><seg facs="../../../gaiji/1-14/1-14-18.png" rend="gaiji" rendition="img" source="※(「にんべん＋回」、第3水準1-14-18)" /></seg><seg type="rp">（</seg><seg type="rt">せんかい</seg><seg type="rp">）</seg></seg>して、<seg type="ruby"><seg type="rb">縹緲</seg><seg type="rp">（</seg><seg type="rt">ひょうびょう</seg><seg type="rp">）</seg></seg>のちまたに<seg type="ruby"><seg type="rb">彷徨</seg><seg type="rp">（</seg><seg type="rt">ほうこう</seg><seg type="rp">）</seg></seg>すると形容するかも知れぬ。何と云うも皆その人の自由である。わが、<seg type="ruby"><seg type="rb">唐木</seg><seg type="rp">（</seg><seg type="rt">からき</seg><seg type="rp">）</seg></seg>の机に<seg type="ruby"><seg type="rb">憑</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>りてぽかんとした<seg type="ruby"><seg type="rb">心裡</seg><seg type="rp">（</seg><seg type="rt">しんり</seg><seg type="rp">）</seg></seg>の状態は<seg type="ruby"><seg type="rb">正</seg><seg type="rp">（</seg><seg type="rt">まさ</seg><seg type="rp">）</seg></seg>にこれである。<lb />
余は<seg type="ruby"><seg type="rb">明</seg><seg type="rp">（</seg><seg type="rt">あきら</seg><seg type="rp">）</seg></seg>かに何事をも考えておらぬ。またはたしかに何物をも見ておらぬ。わが意識の舞台に著るしき色彩をもって動くものがないから、われはいかなる事物に同化したとも云えぬ。されども吾は動いている。世の中に動いてもおらぬ、世の外にも動いておらぬ。ただ何となく動いている。花に動くにもあらず、鳥に動くにもあらず、人間に対して動くにもあらず、ただ<seg type="ruby"><seg type="rb">恍惚</seg><seg type="rp">（</seg><seg type="rt">こうこつ</seg><seg type="rp">）</seg></seg>と動いている。<lb />
<seg type="ruby"><seg type="rb">強</seg><seg type="rp">（</seg><seg type="rt">し</seg><seg type="rp">）</seg></seg>いて説明せよと云わるるならば、余が心はただ春と共に動いていると云いたい。あらゆる春の色、春の風、春の物、春の声を打って、固めて、<seg type="ruby"><seg type="rb">仙丹</seg><seg type="rp">（</seg><seg type="rt">せんたん</seg><seg type="rp">）</seg></seg>に練り上げて、それを<seg type="ruby"><seg type="rb">蓬莱</seg><seg type="rp">（</seg><seg type="rt">ほうらい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">霊液</seg><seg type="rp">（</seg><seg type="rt">れいえき</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">溶</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>いて、<seg type="ruby"><seg type="rb">桃源</seg><seg type="rp">（</seg><seg type="rt">とうげん</seg><seg type="rp">）</seg></seg>の日で蒸発せしめた精気が、知らぬ<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">毛孔</seg><seg type="rp">（</seg><seg type="rt">けあな</seg><seg type="rp">）</seg></seg>から<seg type="ruby"><seg type="rb">染</seg><seg type="rp">（</seg><seg type="rt">し</seg><seg type="rp">）</seg></seg>み込んで、心が知覚せぬうちに<seg type="ruby"><seg type="rb">飽和</seg><seg type="rp">（</seg><seg type="rt">ほうわ</seg><seg type="rp">）</seg></seg>されてしまったと云いたい。普通の同化には刺激がある。刺激があればこそ、愉快であろう。余の同化には、何と同化したか<seg type="ruby"><seg type="rb">不分明</seg><seg type="rp">（</seg><seg type="rt">ふぶんみょう</seg><seg type="rp">）</seg></seg>であるから、<seg type="ruby"><seg type="rb">毫</seg><seg type="rp">（</seg><seg type="rt">ごう</seg><seg type="rp">）</seg></seg>も刺激がない。刺激がないから、<seg type="ruby"><seg type="rb">窈然</seg><seg type="rp">（</seg><seg type="rt">ようぜん</seg><seg type="rp">）</seg></seg>として名状しがたい<seg type="ruby"><seg type="rb">楽</seg><seg type="rp">（</seg><seg type="rt">たのしみ</seg><seg type="rp">）</seg></seg>がある。風に<seg type="ruby"><seg type="rb">揉</seg><seg type="rp">（</seg><seg type="rt">も</seg><seg type="rp">）</seg></seg>まれて<seg type="ruby"><seg type="rb">上</seg><seg type="rp">（</seg><seg type="rt">うわ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">空</seg><seg type="rp">（</seg><seg type="rt">そら</seg><seg type="rp">）</seg></seg>なる波を起す、軽薄で騒々しい<seg type="ruby"><seg type="rb">趣</seg><seg type="rp">（</seg><seg type="rt">おもむき</seg><seg type="rp">）</seg></seg>とは違う。目に見えぬ<seg type="ruby"><seg type="rb">幾尋</seg><seg type="rp">（</seg><seg type="rt">いくひろ</seg><seg type="rp">）</seg></seg>の底を、大陸から大陸まで動いている<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-87/1-87-13.png" rend="gaiji" rendition="img" source="※(「さんずい＋（廣−广）」、第3水準1-87-13)" />洋</seg><seg type="rp">（</seg><seg type="rt">こうよう</seg><seg type="rp">）</seg></seg>たる<seg type="ruby"><seg type="rb">蒼海</seg><seg type="rp">（</seg><seg type="rt">そうかい</seg><seg type="rp">）</seg></seg>の有様と形容する事が出来る。ただそれほどに活力がないばかりだ。しかしそこにかえって幸福がある。偉大なる活力の発現は、この活力がいつか尽き果てるだろうとの<seg type="ruby"><seg type="rb">懸念</seg><seg type="rp">（</seg><seg type="rt">けねん</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">籠</seg><seg type="rp">（</seg><seg type="rt">こも</seg><seg type="rp">）</seg></seg>る。常の姿にはそう云う心配は伴わぬ。常よりは淡きわが心の、今の状態には、わが<seg type="ruby"><seg type="rb">烈</seg><seg type="rp">（</seg><seg type="rt">はげ</seg><seg type="rp">）</seg></seg>しき力の<seg type="ruby"><seg type="rb">銷磨</seg><seg type="rp">（</seg><seg type="rt">しょうま</seg><seg type="rp">）</seg></seg>しはせぬかとの<seg type="ruby"><seg type="rb">憂</seg><seg type="rp">（</seg><seg type="rt">うれい</seg><seg type="rp">）</seg></seg>を離れたるのみならず、常の心の可もなく不可もなき凡境をも脱却している。淡しとは単に<seg type="ruby"><seg type="rb">捕</seg><seg type="rp">（</seg><seg type="rt">とら</seg><seg type="rp">）</seg></seg>え難しと云う意味で、弱きに過ぎる<seg type="ruby"><seg type="rb">虞</seg><seg type="rp">（</seg><seg type="rt">おそれ</seg><seg type="rp">）</seg></seg>を含んではおらぬ。<seg type="ruby"><seg type="rb">冲融</seg><seg type="rp">（</seg><seg type="rt">ちゅうゆう</seg><seg type="rp">）</seg></seg>とか<seg type="ruby"><seg type="rb">澹蕩</seg><seg type="rp">（</seg><seg type="rt">たんとう</seg><seg type="rp">）</seg></seg>とか云う詩人の語はもっともこの<seg type="ruby"><seg type="rb">境</seg><seg type="rp">（</seg><seg type="rt">きょう</seg><seg type="rp">）</seg></seg>を切実に言い<seg type="ruby"><seg type="rb">了</seg><seg type="rp">（</seg><seg type="rt">おお</seg><seg type="rp">）</seg></seg>せたものだろう。<lb />
この<seg type="ruby"><seg type="rb">境界</seg><seg type="rp">（</seg><seg type="rt">きょうがい</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>にして見たらどうだろうと考えた。しかし普通の画にはならないにきまっている。われらが俗に画と称するものは、ただ<seg type="ruby"><seg type="rb">眼前</seg><seg type="rp">（</seg><seg type="rt">がんぜん</seg><seg type="rp">）</seg></seg>の人事風光をありのままなる姿として、もしくはこれをわが審美眼に<seg type="ruby"><seg type="rb">漉過</seg><seg type="rp">（</seg><seg type="rt">ろくか</seg><seg type="rp">）</seg></seg>して、<seg type="ruby"><seg type="rb">絵絹</seg><seg type="rp">（</seg><seg type="rt">えぎぬ</seg><seg type="rp">）</seg></seg>の上に移したものに過ぎぬ。花が花と見え、水が水と映り、人物が人物として活動すれば、画の<seg type="ruby"><seg type="rb">能事</seg><seg type="rp">（</seg><seg type="rt">のうじ</seg><seg type="rp">）</seg></seg>は終ったものと考えられている。もしこの上に<seg type="ruby"><seg type="rb">一頭地</seg><seg type="rp">（</seg><seg type="rt">いっとうち</seg><seg type="rp">）</seg></seg>を抜けば、わが感じたる物象を、わが感じたるままの<seg type="ruby"><seg type="rb">趣</seg><seg type="rp">（</seg><seg type="rt">おもむき</seg><seg type="rp">）</seg></seg>を添えて、画布の上に<seg type="ruby"><seg type="rb">淋漓</seg><seg type="rp">（</seg><seg type="rt">りんり</seg><seg type="rp">）</seg></seg>として<seg type="ruby"><seg type="rb">生動</seg><seg type="rp">（</seg><seg type="rt">せいどう</seg><seg type="rp">）</seg></seg>させる。ある特別の感興を、<seg type="ruby"><seg type="rb">己</seg><seg type="rp">（</seg><seg type="rt">おの</seg><seg type="rp">）</seg></seg>が捕えたる<seg type="ruby"><seg type="rb">森羅</seg><seg type="rp">（</seg><seg type="rt">しんら</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">裡</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>に寓するのがこの種の技術家の主意であるから、彼らの見たる物象観が<seg type="ruby"><seg type="rb">明瞭</seg><seg type="rp">（</seg><seg type="rt">めいりょう</seg><seg type="rp">）</seg></seg>に筆端に<seg type="ruby"><seg type="rb">迸</seg><seg type="rp">（</seg><seg type="rt">ほとば</seg><seg type="rp">）</seg></seg>しっておらねば、画を製作したとは云わぬ。<seg type="ruby"><seg type="rb">己</seg><seg type="rp">（</seg><seg type="rt">おの</seg><seg type="rp">）</seg></seg>れはしかじかの事を、しかじかに<seg type="ruby"><seg type="rb">観</seg><seg type="rp">（</seg><seg type="rt">み</seg><seg type="rp">）</seg></seg>、しかじかに感じたり、その<seg type="ruby"><seg type="rb">観方</seg><seg type="rp">（</seg><seg type="rt">みかた</seg><seg type="rp">）</seg></seg>も感じ方も、<seg type="ruby"><seg type="rb">前人</seg><seg type="rp">（</seg><seg type="rt">ぜんじん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">籬下</seg><seg type="rp">（</seg><seg type="rt">りか</seg><seg type="rp">）</seg></seg>に立ちて、古来の伝説に支配せられたるにあらず、しかももっとも正しくして、もっとも美くしきものなりとの主張を示す作品にあらざれば、わが作と云うをあえてせぬ。<lb />
この二種の製作家に<seg type="ruby"><seg type="rb">主客</seg><seg type="rp">（</seg><seg type="rt">しゅかく</seg><seg type="rp">）</seg></seg>深浅の区別はあるかも知れぬが、明瞭なる外界の刺激を待って、始めて手を下すのは双方共同一である。されど今、わが描かんとする題目は、さほどに<seg type="ruby"><seg type="rb">分明</seg><seg type="rp">（</seg><seg type="rt">ぶんみょう</seg><seg type="rp">）</seg></seg>なものではない。あらん限りの感覚を<seg type="ruby"><seg type="rb">鼓舞</seg><seg type="rp">（</seg><seg type="rt">こぶ</seg><seg type="rp">）</seg></seg>して、これを心外に物色したところで、方円の形、<seg type="ruby"><seg type="rb">紅緑</seg><seg type="rp">（</seg><seg type="rt">こうろく</seg><seg type="rp">）</seg></seg>の色は無論、濃淡の陰、<seg type="ruby"><seg type="rb">洪繊</seg><seg type="rp">（</seg><seg type="rt">こうせん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">線</seg><seg type="rp">（</seg><seg type="rt">すじ</seg><seg type="rp">）</seg></seg>を見出しかねる。わが感じは外から来たのではない、たとい来たとしても、わが視界に<seg type="ruby"><seg type="rb">横</seg><seg type="rp">（</seg><seg type="rt">よこた</seg><seg type="rp">）</seg></seg>わる、一定の景物でないから、これが<seg type="ruby"><seg type="rb">源因</seg><seg type="rp">（</seg><seg type="rt">げんいん</seg><seg type="rp">）</seg></seg>だと指を<seg type="ruby"><seg type="rb">挙</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>げて明らかに人に示す<seg type="ruby"><seg type="rb">訳</seg><seg type="rp">（</seg><seg type="rt">わけ</seg><seg type="rp">）</seg></seg>に行かぬ。あるものはただ心持ちである。この心持ちを、どうあらわしたら画になるだろう――<seg type="ruby"><seg type="rb">否</seg><seg type="rp">（</seg><seg type="rt">いや</seg><seg type="rp">）</seg></seg>この心持ちをいかなる具体を<seg type="ruby"><seg type="rb">藉</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>りて、人の<seg type="ruby"><seg type="rb">合点</seg><seg type="rp">（</seg><seg type="rt">がてん</seg><seg type="rp">）</seg></seg>するように<seg type="ruby"><seg type="rb">髣髴</seg><seg type="rp">（</seg><seg type="rt">ほうふつ</seg><seg type="rp">）</seg></seg>せしめ得るかが問題である。<lb />
普通の画は感じはなくても物さえあれば出来る。第二の画は物と感じと両立すればできる。第三に至っては存するものはただ心持ちだけであるから、画にするには是非共この心持ちに<seg type="ruby"><seg type="rb">恰好</seg><seg type="rp">（</seg><seg type="rt">かっこう</seg><seg type="rp">）</seg></seg>なる対象を<seg type="ruby"><seg type="rb">択</seg><seg type="rp">（</seg><seg type="rt">えら</seg><seg type="rp">）</seg></seg>ばなければならん。しかるにこの対象は容易に出て来ない。出て来ても容易に<seg type="ruby"><seg type="rb">纏</seg><seg type="rp">（</seg><seg type="rt">まとま</seg><seg type="rp">）</seg></seg>らない。纏っても自然界に存するものとは<seg type="ruby"><seg type="rb">丸</seg><seg type="rp">（</seg><seg type="rt">まる</seg><seg type="rp">）</seg></seg>で<seg type="ruby"><seg type="rb">趣</seg><seg type="rp">（</seg><seg type="rt">おもむき</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">異</seg><seg type="rp">（</seg><seg type="rt">こと</seg><seg type="rp">）</seg></seg>にする場合がある。したがって普通の人から見れば画とは受け取れない。<seg type="ruby"><seg type="rb">描</seg><seg type="rp">（</seg><seg type="rt">えが</seg><seg type="rp">）</seg></seg>いた当人も自然界の局部が再現したものとは認めておらん、ただ感興の<seg type="ruby"><seg type="rb">上</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>した刻下の心持ちを幾分でも伝えて、多少の生命を<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-84/1-84-54.png" rend="gaiji" rendition="img" source="※(「りっしんべん＋淌のつくり」、第3水準1-84-54)" /><seg facs="../../../gaiji/1-84/1-84-45.png" rend="gaiji" rendition="img" source="※(「りっしんべん＋兄」、第3水準1-84-45)" /></seg><seg type="rp">（</seg><seg type="rt">しょうきょう</seg><seg type="rp">）</seg></seg>しがたきムードに与うれば大成功と心得ている。古来からこの難事業に全然の<seg type="ruby"><seg type="rb">績</seg><seg type="rp">（</seg><seg type="rt">いさおし</seg><seg type="rp">）</seg></seg>を収め得たる画工があるかないか知らぬ。ある点までこの<seg type="ruby"><seg type="rb">流派</seg><seg type="rp">（</seg><seg type="rt">りゅうは</seg><seg type="rp">）</seg></seg>に指を染め得たるものを<seg type="ruby"><seg type="rb">挙</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>ぐれば、<seg type="ruby"><seg type="rb">文与可</seg><seg type="rp">（</seg><seg type="rt">ぶんよか</seg><seg type="rp">）</seg></seg>の竹である。<seg type="ruby"><seg type="rb">雲谷</seg><seg type="rp">（</seg><seg type="rt">うんこく</seg><seg type="rp">）</seg></seg>門下の山水である。下って<seg type="ruby"><seg type="rb">大雅堂</seg><seg type="rp">（</seg><seg type="rt">たいがどう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">景色</seg><seg type="rp">（</seg><seg type="rt">けいしょく</seg><seg type="rp">）</seg></seg>である。<seg type="ruby"><seg type="rb">蕪村</seg><seg type="rp">（</seg><seg type="rt">ぶそん</seg><seg type="rp">）</seg></seg>の人物である。<seg type="ruby"><seg type="rb">泰西</seg><seg type="rp">（</seg><seg type="rt">たいせい</seg><seg type="rp">）</seg></seg>の画家に至っては、多く眼を<seg type="ruby"><seg type="rb">具象</seg><seg type="rp">（</seg><seg type="rt">ぐしょう</seg><seg type="rp">）</seg></seg>世界に<seg type="ruby"><seg type="rb">馳</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>せて、<seg type="ruby"><seg type="rb">神往</seg><seg type="rp">（</seg><seg type="rt">しんおう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">気韻</seg><seg type="rp">（</seg><seg type="rt">きいん</seg><seg type="rp">）</seg></seg>に傾倒せぬ者が大多数を占めているから、この種の筆墨に<seg type="ruby"><seg type="rb">物外</seg><seg type="rp">（</seg><seg type="rt">ぶつがい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">神韻</seg><seg type="rp">（</seg><seg type="rt">しんいん</seg><seg type="rp">）</seg></seg>を伝え得るものははたして幾人あるか知らぬ。<lb />
惜しい事に<seg type="ruby"><seg type="rb">雪舟</seg><seg type="rp">（</seg><seg type="rt">せっしゅう</seg><seg type="rp">）</seg></seg>、蕪村らの<seg type="ruby"><seg type="rb">力</seg><seg type="rp">（</seg><seg type="rt">つと</seg><seg type="rp">）</seg></seg>めて<seg type="ruby"><seg type="rb">描出</seg><seg type="rp">（</seg><seg type="rt">びょうしゅつ</seg><seg type="rp">）</seg></seg>した一種の気韻は、あまりに単純でかつあまりに変化に乏しい。筆力の点から云えばとうていこれらの大家に及ぶ訳はないが、今わが<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>にして見ようと思う心持ちはもう少し複雑である。複雑であるだけにどうも一枚のなかへは感じが収まりかねる。<seg type="ruby"><seg type="rb">頬杖</seg><seg type="rp">（</seg><seg type="rt">ほおづえ</seg><seg type="rp">）</seg></seg>をやめて、両腕を机の上に組んで考えたがやはり出て来ない。色、形、調子が出来て、自分の心が、ああここにいたなと、たちまち自己を認識するようにかかなければならない。生き別れをした<seg type="ruby"><seg type="rb">吾子</seg><seg type="rp">（</seg><seg type="rt">わがこ</seg><seg type="rp">）</seg></seg>を尋ね当てるため、六十余州を<seg type="ruby"><seg type="rb">回国</seg><seg type="rp">（</seg><seg type="rt">かいこく</seg><seg type="rp">）</seg></seg>して、<seg type="ruby"><seg type="rb">寝</seg><seg type="rp">（</seg><seg type="rt">ね</seg><seg type="rp">）</seg></seg>ても<seg type="ruby"><seg type="rb">寤</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>めても、忘れる<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>がなかったある日、十字街頭にふと<seg type="ruby"><seg type="rb">邂逅</seg><seg type="rp">（</seg><seg type="rt">かいこう</seg><seg type="rp">）</seg></seg>して、<seg type="ruby"><seg type="rb">稲妻</seg><seg type="rp">（</seg><seg type="rt">いなずま</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">遮</seg><seg type="rp">（</seg><seg type="rt">さえ</seg><seg type="rp">）</seg></seg>ぎるひまもなきうちに、あっ、ここにいた、と思うようにかかなければならない。それがむずかしい。この調子さえ出れば、人が見て何と云っても構わない。画でないと<seg type="ruby"><seg type="rb">罵</seg><seg type="rp">（</seg><seg type="rt">ののし</seg><seg type="rp">）</seg></seg>られても<seg type="ruby"><seg type="rb">恨</seg><seg type="rp">（</seg><seg type="rt">うらみ</seg><seg type="rp">）</seg></seg>はない。いやしくも色の配合がこの心持ちの一部を代表して、線の<seg type="ruby"><seg type="rb">曲直</seg><seg type="rp">（</seg><seg type="rt">きょくちょく</seg><seg type="rp">）</seg></seg>がこの気合の幾分を表現して、全体の配置がこの<seg type="ruby"><seg type="rb">風韻</seg><seg type="rp">（</seg><seg type="rt">ふういん</seg><seg type="rp">）</seg></seg>のどれほどかを伝えるならば、形にあらわれたものは、牛であれ馬であれ、ないしは牛でも馬でも、何でもないものであれ、<seg type="ruby"><seg type="rb">厭</seg><seg type="rp">（</seg><seg type="rt">いと</seg><seg type="rp">）</seg></seg>わない。厭わないがどうも出来ない。写生帖を机の上へ置いて、両眼が<seg type="ruby"><seg type="rb">帖</seg><seg type="rp">（</seg><seg type="rt">じょう</seg><seg type="rp">）</seg></seg>のなかへ落ち込むまで、<seg type="ruby"><seg type="rb">工夫</seg><seg type="rp">（</seg><seg type="rt">くふう</seg><seg type="rp">）</seg></seg>したが、とても物にならん。<lb />
鉛筆を置いて考えた。こんな<seg type="ruby"><seg type="rb">抽象的</seg><seg type="rp">（</seg><seg type="rt">ちゅうしょうてき</seg><seg type="rp">）</seg></seg>な興趣を画にしようとするのが、そもそもの間違である。人間にそう変りはないから、多くの人のうちにはきっと自分と同じ感興に触れたものがあって、この感興を何らの手段かで、永久化せんと試みたに相違ない。試みたとすればその手段は何だろう。<lb />
たちまち<seg rend="sesame_dot" rendition="em">音楽</seg>の二字がぴかりと眼に映った。なるほど音楽はかかる時、かかる必要に<seg type="ruby"><seg type="rb">逼</seg><seg type="rp">（</seg><seg type="rt">せま</seg><seg type="rp">）</seg></seg>られて生まれた自然の声であろう。<seg type="ruby"><seg type="rb">楽</seg><seg type="rp">（</seg><seg type="rt">がく</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">聴</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>くべきもの、習うべきものであると、始めて気がついたが、不幸にして、その辺の消息はまるで不案内である。<lb />
次に詩にはなるまいかと、第三の領分に踏み込んで見る。レッシングと云う男は、時間の経過を条件として起る出来事を、詩の本領であるごとく論じて、詩画は不一にして両様なりとの根本義を立てたように記憶するが、そう詩を見ると、今余の発表しようとあせっている<seg type="ruby"><seg type="rb">境界</seg><seg type="rp">（</seg><seg type="rt">きょうがい</seg><seg type="rp">）</seg></seg>もとうてい物になりそうにない。余が嬉しいと感ずる<seg type="ruby"><seg type="rb">心裏</seg><seg type="rp">（</seg><seg type="rt">しんり</seg><seg type="rp">）</seg></seg>の状況には時間はあるかも知れないが、時間の流れに沿うて、<seg type="ruby"><seg type="rb">逓次</seg><seg type="rp">（</seg><seg type="rt">ていじ</seg><seg type="rp">）</seg></seg>に展開すべき出来事の内容がない。一が去り、二が<seg type="ruby"><seg type="rb">来</seg><seg type="rp">（</seg><seg type="rt">きた</seg><seg type="rp">）</seg></seg>り、二が消えて三が生まるるがために<seg type="ruby"><seg type="rb">嬉</seg><seg type="rp">（</seg><seg type="rt">うれ</seg><seg type="rp">）</seg></seg>しいのではない。初から<seg type="ruby"><seg type="rb">窈然</seg><seg type="rp">（</seg><seg type="rt">ようぜん</seg><seg type="rp">）</seg></seg>として<seg type="ruby"><seg type="rb">同所</seg><seg type="rp">（</seg><seg type="rt">どうしょ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">把住</seg><seg type="rp">（</seg><seg type="rt">はじゅう</seg><seg type="rp">）</seg></seg>する<seg type="ruby"><seg type="rb">趣</seg><seg type="rp">（</seg><seg type="rt">おもむ</seg><seg type="rp">）</seg></seg>きで嬉しいのである。すでに同所に把住する以上は、よしこれを普通の言語に翻訳したところで、必ずしも時間的に材料を<seg type="ruby"><seg type="rb">按排</seg><seg type="rp">（</seg><seg type="rt">あんばい</seg><seg type="rp">）</seg></seg>する必要はあるまい。やはり絵画と同じく空間的に景物を配置したのみで出来るだろう。ただいかなる<seg type="ruby"><seg type="rb">景情</seg><seg type="rp">（</seg><seg type="rt">けいじょう</seg><seg type="rp">）</seg></seg>を詩中に持ち来って、この<seg type="ruby"><seg type="rb">曠然</seg><seg type="rp">（</seg><seg type="rt">こうぜん</seg><seg type="rp">）</seg></seg>として<seg type="ruby"><seg type="rb">倚托</seg><seg type="rp">（</seg><seg type="rt">きたく</seg><seg type="rp">）</seg></seg>なき有様を写すかが問題で、すでにこれを<seg type="ruby"><seg type="rb">捕</seg><seg type="rp">（</seg><seg type="rt">とら</seg><seg type="rp">）</seg></seg>え得た以上はレッシングの説に従わんでも詩として成功する訳だ。ホーマーがどうでも、ヴァージルがどうでも構わない。もし詩が一種のムードをあらわすに適しているとすれば、このムードは時間の制限を受けて、順次に<seg type="ruby"><seg type="rb">進捗</seg><seg type="rp">（</seg><seg type="rt">しんちょく</seg><seg type="rp">）</seg></seg>する出来事の助けを<seg type="ruby"><seg type="rb">藉</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>らずとも、単純に空間的なる絵画上の要件を<seg type="ruby"><seg type="rb">充</seg><seg type="rp">（</seg><seg type="rt">み</seg><seg type="rp">）</seg></seg>たしさえすれば、言語をもって<seg type="ruby"><seg type="rb">描</seg><seg type="rp">（</seg><seg type="rt">えが</seg><seg type="rp">）</seg></seg>き得るものと思う。<lb />
議論はどうでもよい。ラオコーンなどは大概忘れているのだから、よく調べたら、こっちが怪しくなるかも知れない。とにかく、<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>にしそくなったから、一つ詩にして見よう、と写生帖の上へ、鉛筆を押しつけて、前後に身をゆすぶって見た。しばらくは、筆の先の<seg type="ruby"><seg type="rb">尖</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>がった所を、どうにか運動させたいばかりで、<seg type="ruby"><seg type="rb">毫</seg><seg type="rp">（</seg><seg type="rt">ごう</seg><seg type="rp">）</seg></seg>も運動させる<seg type="ruby"><seg type="rb">訳</seg><seg type="rp">（</seg><seg type="rt">わけ</seg><seg type="rp">）</seg></seg>に行かなかった。急に<seg type="ruby"><seg type="rb">朋友</seg><seg type="rp">（</seg><seg type="rt">ほうゆう</seg><seg type="rp">）</seg></seg>の名を失念して、<seg type="ruby"><seg type="rb">咽喉</seg><seg type="rp">（</seg><seg type="rt">のど</seg><seg type="rp">）</seg></seg>まで出かかっているのに、出てくれないような気がする。そこで<seg type="ruby"><seg type="rb">諦</seg><seg type="rp">（</seg><seg type="rt">あきら</seg><seg type="rp">）</seg></seg>めると、<seg type="ruby"><seg type="rb">出損</seg><seg type="rp">（</seg><seg type="rt">でそく</seg><seg type="rp">）</seg></seg>なった名は、ついに腹の底へ収まってしまう。<lb />
<seg type="ruby"><seg type="rb">葛湯</seg><seg type="rp">（</seg><seg type="rt">くずゆ</seg><seg type="rp">）</seg></seg>を練るとき、最初のうちは、さらさらして、<seg type="ruby"><seg type="rb">箸</seg><seg type="rp">（</seg><seg type="rt">はし</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">手応</seg><seg type="rp">（</seg><seg type="rt">てごたえ</seg><seg type="rp">）</seg></seg>がないものだ。そこを<seg type="ruby"><seg type="rb">辛抱</seg><seg type="rp">（</seg><seg type="rt">しんぼう</seg><seg type="rp">）</seg></seg>すると、ようやく<seg type="ruby"><seg type="rb">粘着</seg><seg type="rp">（</seg><seg type="rt">ねばり</seg><seg type="rp">）</seg></seg>が出て、<seg type="ruby"><seg type="rb">攪</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>き<seg type="ruby"><seg type="rb">淆</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>ぜる手が少し重くなる。それでも構わず、箸を休ませずに廻すと、今度は廻し切れなくなる。しまいには<seg type="ruby"><seg type="rb">鍋</seg><seg type="rp">（</seg><seg type="rt">なべ</seg><seg type="rp">）</seg></seg>の中の葛が、求めぬに、先方から、争って箸に附着してくる。詩を作るのはまさにこれだ。<lb />
<seg type="ruby"><seg type="rb">手掛</seg><seg type="rp">（</seg><seg type="rt">てがか</seg><seg type="rp">）</seg></seg>りのない鉛筆が少しずつ動くようになるのに勢を得て、かれこれ二三十分したら、<lb />
<seg rend="jisage_2" rendition="div" style="margin-left: 2em">
青春二三月。愁随芳草長。閑花落空庭。素琴横虚堂。<seg facs="../../../gaiji/2-87/2-87-94.png" rend="gaiji" rendition="img" source="※(「虫＋蕭」、第4水準2-87-94)" />蛸掛不動。篆煙繞竹梁。<lb />
</seg>
と云う六句だけ出来た。読み返して見ると、みな画になりそうな句ばかりである。これなら始めから、画にすればよかったと思う。なぜ画よりも詩の方が作り<seg type="ruby"><seg type="rb">易</seg><seg type="rp">（</seg><seg type="rt">やす</seg><seg type="rp">）</seg></seg>かったかと思う。ここまで出たら、あとは大した苦もなく出そうだ。しかし画に出来ない<seg type="ruby"><seg type="rb">情</seg><seg type="rp">（</seg><seg type="rt">じょう</seg><seg type="rp">）</seg></seg>を、次には<seg type="ruby"><seg type="rb">咏</seg><seg type="rp">（</seg><seg type="rt">うた</seg><seg type="rp">）</seg></seg>って見たい。あれか、これかと思い<seg type="ruby"><seg type="rb">煩</seg><seg type="rp">（</seg><seg type="rt">わずら</seg><seg type="rp">）</seg></seg>った末とうとう、<lb />
<seg rend="jisage_2" rendition="div" style="margin-left: 2em">
独坐無隻語。方寸認微光。人間徒多事。此境孰可忘。会得一日静。正知百年忙。遐懐寄何処。緬<seg facs="../../../gaiji/1-92/1-92-58.png" rend="gaiji" rendition="img" source="※(「二点しんにょう＋貌」、第3水準1-92-58)" />白雲郷。<lb />
</seg>
と出来た。もう<seg type="ruby"><seg type="rb">一返</seg><seg type="rp">（</seg><seg type="rt">いっぺん</seg><seg type="rp">）</seg></seg>最初から読み直して見ると、ちょっと面白く読まれるが、どうも、自分が今しがた<seg type="ruby"><seg type="rb">入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>った神境を写したものとすると、<seg type="ruby"><seg type="rb">索然</seg><seg type="rp">（</seg><seg type="rt">さくぜん</seg><seg type="rp">）</seg></seg>として物足りない。ついでだから、もう一首作って見ようかと、鉛筆を握ったまま、何の気もなしに、入口の方を見ると、<seg type="ruby"><seg type="rb">襖</seg><seg type="rp">（</seg><seg type="rt">ふすま</seg><seg type="rp">）</seg></seg>を引いて、<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>け<seg type="ruby"><seg type="rb">放</seg><seg type="rp">（</seg><seg type="rt">はな</seg><seg type="rp">）</seg></seg>った幅三尺の空間をちらりと、奇麗な影が通った。はてな。<lb />
余が眼を転じて、入口を見たときは、奇麗なものが、すでに引き開けた襖の影に半分かくれかけていた。しかもその姿は余が見ぬ前から、動いていたものらしく、はっと思う間に通り越した。余は詩をすてて入口を見守る。<lb />
一分と立たぬ間に、影は反対の方から、逆にあらわれて来た。<seg type="ruby"><seg type="rb">振袖姿</seg><seg type="rp">（</seg><seg type="rt">ふりそですがた</seg><seg type="rp">）</seg></seg>のすらりとした女が、音もせず、向う二階の<seg type="ruby"><seg type="rb">椽側</seg><seg type="rp">（</seg><seg type="rt">えんがわ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">寂然</seg><seg type="rp">（</seg><seg type="rt">じゃくねん</seg><seg type="rp">）</seg></seg>として<seg type="ruby"><seg type="rb">歩行</seg><seg type="rp">（</seg><seg type="rt">あるい</seg><seg type="rp">）</seg></seg>て行く。余は覚えず鉛筆を落して、鼻から吸いかけた息をぴたりと留めた。<lb />
<seg type="ruby"><seg type="rb">花曇</seg><seg type="rp">（</seg><seg type="rt">はなぐも</seg><seg type="rp">）</seg></seg>りの空が、刻一刻に天から、ずり落ちて、今や降ると待たれたる夕暮の<seg type="ruby"><seg type="rb">欄干</seg><seg type="rp">（</seg><seg type="rt">らんかん</seg><seg type="rp">）</seg></seg>に、しとやかに行き、しとやかに帰る振袖の影は、余が座敷から六<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">けん</seg><seg type="rp">）</seg></seg>の中庭を隔てて、重き空気のなかに<seg type="ruby"><seg type="rb">蕭寥</seg><seg type="rp">（</seg><seg type="rt">しょうりょう</seg><seg type="rp">）</seg></seg>と見えつ、隠れつする。<lb />
女はもとより口も聞かぬ。<seg type="ruby"><seg type="rb">傍目</seg><seg type="rp">（</seg><seg type="rt">わきめ</seg><seg type="rp">）</seg></seg>も<seg type="ruby"><seg type="rb">触</seg><seg type="rp">（</seg><seg type="rt">ふ</seg><seg type="rp">）</seg></seg>らぬ。<seg type="ruby"><seg type="rb">椽</seg><seg type="rp">（</seg><seg type="rt">えん</seg><seg type="rp">）</seg></seg>に引く<seg type="ruby"><seg type="rb">裾</seg><seg type="rp">（</seg><seg type="rt">すそ</seg><seg type="rp">）</seg></seg>の音さえおのが耳に入らぬくらい静かに<seg type="ruby"><seg type="rb">歩行</seg><seg type="rp">（</seg><seg type="rt">ある</seg><seg type="rp">）</seg></seg>いている。腰から下にぱっと色づく、<seg type="ruby"><seg type="rb">裾模様</seg><seg type="rp">（</seg><seg type="rt">すそもよう</seg><seg type="rp">）</seg></seg>は何を染め抜いたものか、遠くて<seg type="ruby"><seg type="rb">解</seg><seg type="rp">（</seg><seg type="rt">わ</seg><seg type="rp">）</seg></seg>からぬ。ただ<seg type="ruby"><seg type="rb">無地</seg><seg type="rp">（</seg><seg type="rt">むじ</seg><seg type="rp">）</seg></seg>と模様のつながる中が、おのずから<seg type="ruby"><seg type="rb">暈</seg><seg type="rp">（</seg><seg type="rt">ぼか</seg><seg type="rp">）</seg></seg>されて、夜と昼との境のごとき<seg type="ruby"><seg type="rb">心地</seg><seg type="rp">（</seg><seg type="rt">ここち</seg><seg type="rp">）</seg></seg>である。女はもとより夜と昼との境をあるいている。<lb />
この長い振袖を着て、長い廊下を何度往き何度戻る気か、余には解からぬ。いつ頃からこの不思議な<seg type="ruby"><seg type="rb">装</seg><seg type="rp">（</seg><seg type="rt">よそおい</seg><seg type="rp">）</seg></seg>をして、この不思議な<seg type="ruby"><seg type="rb">歩行</seg><seg type="rp">（</seg><seg type="rt">あゆみ</seg><seg type="rp">）</seg></seg>をつづけつつあるかも、余には解らぬ。その主意に至ってはもとより解らぬ。もとより解るべきはずならぬ事を、かくまでも端正に、かくまでも静粛に、かくまでも度を重ねて繰り返す人の姿の、入口にあらわれては消え、消えてはあらわるる時の余の感じは一種異様である。<seg type="ruby"><seg type="rb">逝</seg><seg type="rp">（</seg><seg type="rt">ゆ</seg><seg type="rp">）</seg></seg>く春の<seg type="ruby"><seg type="rb">恨</seg><seg type="rp">（</seg><seg type="rt">うらみ</seg><seg type="rp">）</seg></seg>を訴うる<seg type="ruby"><seg type="rb">所作</seg><seg type="rp">（</seg><seg type="rt">しょさ</seg><seg type="rp">）</seg></seg>ならば何が<seg type="ruby"><seg type="rb">故</seg><seg type="rp">（</seg><seg type="rt">ゆえ</seg><seg type="rp">）</seg></seg>にかくは<seg type="ruby"><seg type="rb">無頓着</seg><seg type="rp">（</seg><seg type="rt">むとんじゃく</seg><seg type="rp">）</seg></seg>なる。無頓着なる所作ならば何が故にかくは<seg type="ruby"><seg type="rb">綺羅</seg><seg type="rp">（</seg><seg type="rt">きら</seg><seg type="rp">）</seg></seg>を飾れる。<lb />
暮れんとする春の色の、<seg type="ruby"><seg type="rb">嬋媛</seg><seg type="rp">（</seg><seg type="rt">せんえん</seg><seg type="rp">）</seg></seg>として、しばらくは<seg type="ruby"><seg type="rb">冥<seg facs="../../../gaiji/1-92/1-92-58.png" rend="gaiji" rendition="img" source="※(「二点しんにょう＋貌」、第3水準1-92-58)" /></seg><seg type="rp">（</seg><seg type="rt">めいばく</seg><seg type="rp">）</seg></seg>の戸口をまぼろしに<seg type="ruby"><seg type="rb">彩</seg><seg type="rp">（</seg><seg type="rt">いろ</seg><seg type="rp">）</seg></seg>どる中に、眼も<seg type="ruby"><seg type="rb">醒</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>むるほどの<seg type="ruby"><seg type="rb">帯地</seg><seg type="rp">（</seg><seg type="rt">おびじ</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">金襴</seg><seg type="rp">（</seg><seg type="rt">きんらん</seg><seg type="rp">）</seg></seg>か。あざやかなる織物は往きつ、戻りつ<seg type="ruby"><seg type="rb">蒼然</seg><seg type="rp">（</seg><seg type="rt">そうぜん</seg><seg type="rp">）</seg></seg>たる夕べのなかにつつまれて、<seg type="ruby"><seg type="rb">幽闃</seg><seg type="rp">（</seg><seg type="rt">ゆうげき</seg><seg type="rp">）</seg></seg>のあなた、<seg type="ruby"><seg type="rb">遼遠</seg><seg type="rp">（</seg><seg type="rt">りょうえん</seg><seg type="rp">）</seg></seg>のかしこへ一分ごとに消えて去る。<seg type="ruby"><seg type="rb">燦</seg><seg type="rp">（</seg><seg type="rt">きら</seg><seg type="rp">）</seg></seg>めき渡る春の星の、<seg type="ruby"><seg type="rb">暁</seg><seg type="rp">（</seg><seg type="rt">あかつき</seg><seg type="rp">）</seg></seg>近くに、紫深き空の底に<seg type="ruby"><seg type="rb">陥</seg><seg type="rp">（</seg><seg type="rt">おち</seg><seg type="rp">）</seg></seg>いる<seg type="ruby"><seg type="rb">趣</seg><seg type="rp">（</seg><seg type="rt">おもむき</seg><seg type="rp">）</seg></seg>である。<lb />
<seg type="ruby"><seg type="rb">太玄</seg><seg type="rp">（</seg><seg type="rt">たいげん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-93/1-93-52.png" rend="gaiji" rendition="img" source="※(「門＜昏」、第3水準1-93-52)" /></seg><seg type="rp">（</seg><seg type="rt">もん</seg><seg type="rp">）</seg></seg>おのずから<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">ひら</seg><seg type="rp">）</seg></seg>けて、この<seg type="ruby"><seg type="rb">華</seg><seg type="rp">（</seg><seg type="rt">はな</seg><seg type="rp">）</seg></seg>やかなる姿を、<seg type="ruby"><seg type="rb">幽冥</seg><seg type="rp">（</seg><seg type="rt">ゆうめい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">府</seg><seg type="rp">（</seg><seg type="rt">ふ</seg><seg type="rp">）</seg></seg>に吸い込まんとするとき、余はこう感じた。<seg type="ruby"><seg type="rb">金屏</seg><seg type="rp">（</seg><seg type="rt">きんびょう</seg><seg type="rp">）</seg></seg>を背に、<seg type="ruby"><seg type="rb">銀燭</seg><seg type="rp">（</seg><seg type="rt">ぎんしょく</seg><seg type="rp">）</seg></seg>を前に、春の宵の一刻を千金と、さざめき暮らしてこそしかるべきこの<seg type="ruby"><seg type="rb">装</seg><seg type="rp">（</seg><seg type="rt">よそおい</seg><seg type="rp">）</seg></seg>の、<seg type="ruby"><seg type="rb">厭</seg><seg type="rp">（</seg><seg type="rt">いと</seg><seg type="rp">）</seg></seg>う<seg type="ruby"><seg type="rb">景色</seg><seg type="rp">（</seg><seg type="rt">けしき</seg><seg type="rp">）</seg></seg>もなく、争う様子も見えず、<seg type="ruby"><seg type="rb">色相</seg><seg type="rp">（</seg><seg type="rt">しきそう</seg><seg type="rp">）</seg></seg>世界から薄れて行くのは、ある点において超自然の情景である。刻々と<seg type="ruby"><seg type="rb">逼</seg><seg type="rp">（</seg><seg type="rt">せま</seg><seg type="rp">）</seg></seg>る黒き影を、すかして見ると女は粛然として、<seg type="ruby"><seg type="rb">焦</seg><seg type="rp">（</seg><seg type="rt">せ</seg><seg type="rp">）</seg></seg>きもせず、<seg type="ruby"><seg type="rb">狼狽</seg><seg type="rp">（</seg><seg type="rt">うろたえ</seg><seg type="rp">）</seg></seg>もせず、同じほどの歩調をもって、同じ所を<seg type="ruby"><seg type="rb">徘徊</seg><seg type="rp">（</seg><seg type="rt">はいかい</seg><seg type="rp">）</seg></seg>しているらしい。身に落ちかかる<seg type="ruby"><seg type="rb">災</seg><seg type="rp">（</seg><seg type="rt">わざわい</seg><seg type="rp">）</seg></seg>を知らぬとすれば無邪気の<seg type="ruby"><seg type="rb">極</seg><seg type="rp">（</seg><seg type="rt">きわみ</seg><seg type="rp">）</seg></seg>である。知って、災と思わぬならば<seg type="ruby"><seg type="rb">物凄</seg><seg type="rp">（</seg><seg type="rt">ものすご</seg><seg type="rp">）</seg></seg>い。黒い所が本来の<seg type="ruby"><seg type="rb">住居</seg><seg type="rp">（</seg><seg type="rt">すまい</seg><seg type="rp">）</seg></seg>で、しばらくの<seg type="ruby"><seg type="rb">幻影</seg><seg type="rp">（</seg><seg type="rt">まぼろし</seg><seg type="rp">）</seg></seg>を、<seg type="ruby"><seg type="rb">元</seg><seg type="rp">（</seg><seg type="rt">もと</seg><seg type="rp">）</seg></seg>のままなる<seg type="ruby"><seg type="rb">冥漠</seg><seg type="rp">（</seg><seg type="rt">めいばく</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">裏</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>に収めればこそ、かように<seg type="ruby"><seg type="rb">間<seg facs="../../../gaiji/1-93/1-93-75.png" rend="gaiji" rendition="img" source="※(「靜のへん＋見」、第3水準1-93-75)" /></seg><seg type="rp">（</seg><seg type="rt">かんせい</seg><seg type="rp">）</seg></seg>の態度で、<seg type="ruby"><seg type="rb">有</seg><seg type="rp">（</seg><seg type="rt">う</seg><seg type="rp">）</seg></seg>と<seg type="ruby"><seg type="rb">無</seg><seg type="rp">（</seg><seg type="rt">む</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">あいだ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">逍遥</seg><seg type="rp">（</seg><seg type="rt">しょうよう</seg><seg type="rp">）</seg></seg>しているのだろう。女のつけた振袖に、<seg type="ruby"><seg type="rb">紛</seg><seg type="rp">（</seg><seg type="rt">ふん</seg><seg type="rp">）</seg></seg>たる模様の尽きて、是非もなき<seg type="ruby"><seg type="rb">磨墨</seg><seg type="rp">（</seg><seg type="rt">するすみ</seg><seg type="rp">）</seg></seg>に流れ込むあたりに、おのが身の<seg type="ruby"><seg type="rb">素性</seg><seg type="rp">（</seg><seg type="rt">すじょう</seg><seg type="rp">）</seg></seg>をほのめかしている。<lb />
またこう感じた。うつくしき人が、うつくしき眠りについて、その眠りから、さめる暇もなく、<seg type="ruby"><seg type="rb">幻覚</seg><seg type="rp">（</seg><seg type="rt">うつつ</seg><seg type="rp">）</seg></seg>のままで、この世の<seg type="ruby"><seg type="rb">呼吸</seg><seg type="rp">（</seg><seg type="rt">いき</seg><seg type="rp">）</seg></seg>を引き取るときに、枕元に<seg type="ruby"><seg type="rb">病</seg><seg type="rp">（</seg><seg type="rt">やまい</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">護</seg><seg type="rp">（</seg><seg type="rt">まも</seg><seg type="rp">）</seg></seg>るわれらの心はさぞつらいだろう。四苦八苦を百苦に重ねて死ぬならば、<seg type="ruby"><seg type="rb">生甲斐</seg><seg type="rp">（</seg><seg type="rt">いきがい</seg><seg type="rp">）</seg></seg>のない本人はもとより、<seg type="ruby"><seg type="rb">傍</seg><seg type="rp">（</seg><seg type="rt">はた</seg><seg type="rp">）</seg></seg>に見ている親しい人も殺すが慈悲と<seg type="ruby"><seg type="rb">諦</seg><seg type="rp">（</seg><seg type="rt">あき</seg><seg type="rp">）</seg></seg>らめられるかも知れない。しかしすやすやと寝入る児に死ぬべき何の<seg type="ruby"><seg type="rb">科</seg><seg type="rp">（</seg><seg type="rt">とが</seg><seg type="rp">）</seg></seg>があろう。眠りながら<seg type="ruby"><seg type="rb">冥府</seg><seg type="rp">（</seg><seg type="rt">よみ</seg><seg type="rp">）</seg></seg>に連れて行かれるのは、死ぬ覚悟をせぬうちに、だまし打ちに惜しき一命を<seg type="ruby"><seg type="rb">果</seg><seg type="rp">（</seg><seg type="rt">はた</seg><seg type="rp">）</seg></seg>すと同様である。どうせ殺すものなら、とても<seg type="ruby"><seg type="rb">逃</seg><seg type="rp">（</seg><seg type="rt">のが</seg><seg type="rp">）</seg></seg>れぬ<seg type="ruby"><seg type="rb">定業</seg><seg type="rp">（</seg><seg type="rt">じょうごう</seg><seg type="rp">）</seg></seg>と得心もさせ、断念もして、念仏を<seg type="ruby"><seg type="rb">唱</seg><seg type="rp">（</seg><seg type="rt">とな</seg><seg type="rp">）</seg></seg>えたい。死ぬべき条件が<seg type="ruby"><seg type="rb">具</seg><seg type="rp">（</seg><seg type="rt">そな</seg><seg type="rp">）</seg></seg>わらぬ先に、死ぬる事実のみが、ありありと、確かめらるるときに、<seg type="ruby"><seg type="rb">南無阿弥陀仏</seg><seg type="rp">（</seg><seg type="rt">なむあみだぶつ</seg><seg type="rp">）</seg></seg>と<seg type="ruby"><seg type="rb">回向</seg><seg type="rp">（</seg><seg type="rt">えこう</seg><seg type="rp">）</seg></seg>をする声が出るくらいなら、その声でおういおういと、半ばあの世へ足を踏み込んだものを、無理にも呼び返したくなる。<seg type="ruby"><seg type="rb">仮</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>りの眠りから、いつの<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>とも心づかぬうちに、永い眠りに移る本人には、呼び返される方が、切れかかった<seg type="ruby"><seg type="rb">煩悩</seg><seg type="rp">（</seg><seg type="rt">ぼんのう</seg><seg type="rp">）</seg></seg>の綱をむやみに引かるるようで苦しいかも知れぬ。慈悲だから、呼んでくれるな、<seg type="ruby"><seg type="rb">穏</seg><seg type="rp">（</seg><seg type="rt">おだや</seg><seg type="rp">）</seg></seg>かに寝かしてくれと思うかも知れぬ。それでも、われわれは呼び返したくなる。余は今度女の姿が入口にあらわれたなら、呼びかけて、うつつの<seg type="ruby"><seg type="rb">裡</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>から救ってやろうかと思った。しかし夢のように、三尺の幅を、すうと抜ける影を見るや<seg type="ruby"><seg type="rb">否</seg><seg type="rp">（</seg><seg type="rt">いな</seg><seg type="rp">）</seg></seg>や、何だか口が<seg type="ruby"><seg type="rb">聴</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>けなくなる。今度はと心を定めているうちに、すうと苦もなく通ってしまう。なぜ何とも云えぬかと考うる<seg type="ruby"><seg type="rb">途端</seg><seg type="rp">（</seg><seg type="rt">とたん</seg><seg type="rp">）</seg></seg>に、女はまた通る。こちらに<seg type="ruby"><seg type="rb">窺</seg><seg type="rp">（</seg><seg type="rt">うかが</seg><seg type="rp">）</seg></seg>う人があって、その人が自分のためにどれほどやきもき思うているか、<seg type="ruby"><seg type="rb">微塵</seg><seg type="rp">（</seg><seg type="rt">みじん</seg><seg type="rp">）</seg></seg>も気に掛からぬ有様で通る。面倒にも気の毒にも、<seg type="ruby"><seg type="rb">初手</seg><seg type="rp">（</seg><seg type="rt">しょて</seg><seg type="rp">）</seg></seg>から、余のごときものに、気をかねておらぬ有様で通る。今度は今度はと思うているうちに、こらえかねた、雲の層が、持ち切れぬ雨の糸を、しめやかに落し出して、女の影を、<seg type="ruby"><seg type="rb">蕭々</seg><seg type="rp">（</seg><seg type="rt">しょうしょう</seg><seg type="rp">）</seg></seg>と封じ<seg type="ruby"><seg type="rb">了</seg><seg type="rp">（</seg><seg type="rt">おわ</seg><seg type="rp">）</seg></seg>る。<lb />
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<seg rend="jisage_8" rendition="div" style="margin-left: 8em"><seg rend="naka-midashi" rendition="h"><seg rend="midashi_anchor" rendition="a" xml:id="midashi70">七</seg></seg></seg>
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寒い。<seg type="ruby"><seg type="rb">手拭</seg><seg type="rp">（</seg><seg type="rt">てぬぐい</seg><seg type="rp">）</seg></seg>を下げて、<seg type="ruby"><seg type="rb">湯壺</seg><seg type="rp">（</seg><seg type="rt">ゆつぼ</seg><seg type="rp">）</seg></seg>へ<seg type="ruby"><seg type="rb">下</seg><seg type="rp">（</seg><seg type="rt">くだ</seg><seg type="rp">）</seg></seg>る。<lb />
三畳へ着物を脱いで、段々を、四つ下りると、八畳ほどな風呂場へ出る。石に不自由せぬ国と見えて、下は<seg type="ruby"><seg type="rb">御影</seg><seg type="rp">（</seg><seg type="rt">みかげ</seg><seg type="rp">）</seg></seg>で敷き詰めた、真中を四尺ばかりの深さに掘り抜いて、<seg type="ruby"><seg type="rb">豆腐屋</seg><seg type="rp">（</seg><seg type="rt">とうふや</seg><seg type="rp">）</seg></seg>ほどな<seg type="ruby"><seg type="rb">湯槽</seg><seg type="rp">（</seg><seg type="rt">ゆぶね</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">据</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>える。<seg type="ruby"><seg type="rb">槽</seg><seg type="rp">（</seg><seg type="rt">ふね</seg><seg type="rp">）</seg></seg>とは云うもののやはり石で畳んである。鉱泉と名のつく以上は、色々な成分を含んでいるのだろうが、色が純透明だから、<seg type="ruby"><seg type="rb">入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>り<seg type="ruby"><seg type="rb">心地</seg><seg type="rp">（</seg><seg type="rt">ごこち</seg><seg type="rp">）</seg></seg>がよい。折々は口にさえふくんで見るが別段の味も<seg type="ruby"><seg type="rb">臭</seg><seg type="rp">（</seg><seg type="rt">におい</seg><seg type="rp">）</seg></seg>もない。病気にも<seg type="ruby"><seg type="rb">利</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>くそうだが、聞いて見ぬから、どんな病に利くのか知らぬ。もとより別段の持病もないから、実用上の価値はかつて頭のなかに浮んだ事がない。ただ<seg type="ruby"><seg type="rb">這入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>る度に考え出すのは、<seg type="ruby"><seg type="rb">白楽天</seg><seg type="rp">（</seg><seg type="rt">はくらくてん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">温泉</seg><seg type="rp">（</seg><seg type="rt">おんせん</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">水滑</seg><seg type="rp">（</seg><seg type="rt">みずなめらかにして</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">洗凝脂</seg><seg type="rp">（</seg><seg type="rt">ぎょうしをあらう</seg><seg type="rp">）</seg></seg>と云う句だけである。温泉と云う名を聞けば必ずこの句にあらわれたような愉快な気持になる。またこの気持を出し得ぬ温泉は、温泉として全く価値がないと思ってる。この理想以外に温泉についての注文はまるでない。<lb />
すぽりと<seg type="ruby"><seg type="rb">浸</seg><seg type="rp">（</seg><seg type="rt">つ</seg><seg type="rp">）</seg></seg>かると、乳のあたりまで<seg type="ruby"><seg type="rb">這入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>る。湯はどこから<seg type="ruby"><seg type="rb">湧</seg><seg type="rp">（</seg><seg type="rt">わ</seg><seg type="rp">）</seg></seg>いて出るか知らぬが、常でも<seg type="ruby"><seg type="rb">槽</seg><seg type="rp">（</seg><seg type="rt">ふね</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">縁</seg><seg type="rp">（</seg><seg type="rt">ふち</seg><seg type="rp">）</seg></seg>を奇麗に越している。春の石は<seg type="ruby"><seg type="rb">乾</seg><seg type="rp">（</seg><seg type="rt">かわ</seg><seg type="rp">）</seg></seg>くひまなく<seg type="ruby"><seg type="rb">濡</seg><seg type="rp">（</seg><seg type="rt">ぬ</seg><seg type="rp">）</seg></seg>れて、あたたかに、踏む足の、心は<seg type="ruby"><seg type="rb">穏</seg><seg type="rp">（</seg><seg type="rt">おだ</seg><seg type="rp">）</seg></seg>やかに嬉しい。降る雨は、夜の目を<seg type="ruby"><seg type="rb">掠</seg><seg type="rp">（</seg><seg type="rt">かす</seg><seg type="rp">）</seg></seg>めて、ひそかに春を<seg type="ruby"><seg type="rb">潤</seg><seg type="rp">（</seg><seg type="rt">うる</seg><seg type="rp">）</seg></seg>おすほどのしめやかさであるが、軒のしずくは、ようやく<seg type="ruby"><seg type="rb">繁</seg><seg type="rp">（</seg><seg type="rt">しげ</seg><seg type="rp">）</seg></seg>く、ぽたり、ぽたりと耳に聞える。立て<seg type="ruby"><seg type="rb">籠</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>められた湯気は、<seg type="ruby"><seg type="rb">床</seg><seg type="rp">（</seg><seg type="rt">ゆか</seg><seg type="rp">）</seg></seg>から天井を<seg type="ruby"><seg type="rb">隈</seg><seg type="rp">（</seg><seg type="rt">くま</seg><seg type="rp">）</seg></seg>なく<seg type="ruby"><seg type="rb">埋</seg><seg type="rp">（</seg><seg type="rt">うず</seg><seg type="rp">）</seg></seg>めて、<seg type="ruby"><seg type="rb">隙間</seg><seg type="rp">（</seg><seg type="rt">すきま</seg><seg type="rp">）</seg></seg>さえあれば、<seg type="ruby"><seg type="rb">節穴</seg><seg type="rp">（</seg><seg type="rt">ふしあな</seg><seg type="rp">）</seg></seg>の細きを<seg type="ruby"><seg type="rb">厭</seg><seg type="rp">（</seg><seg type="rt">いと</seg><seg type="rp">）</seg></seg>わず<seg type="ruby"><seg type="rb">洩</seg><seg type="rp">（</seg><seg type="rt">も</seg><seg type="rp">）</seg></seg>れ<seg type="ruby"><seg type="rb">出</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>でんとする<seg type="ruby"><seg type="rb">景色</seg><seg type="rp">（</seg><seg type="rt">けしき</seg><seg type="rp">）</seg></seg>である。<lb />
秋の霧は冷やかに、たなびく<seg type="ruby"><seg type="rb">靄</seg><seg type="rp">（</seg><seg type="rt">もや</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">長閑</seg><seg type="rp">（</seg><seg type="rt">のどか</seg><seg type="rp">）</seg></seg>に、<seg type="ruby"><seg type="rb">夕餉炊</seg><seg type="rp">（</seg><seg type="rt">ゆうげた</seg><seg type="rp">）</seg></seg>く、人の煙は青く立って、大いなる空に、わがはかなき姿を托す。様々の<seg type="ruby"><seg type="rb">憐</seg><seg type="rp">（</seg><seg type="rt">あわ</seg><seg type="rp">）</seg></seg>れはあるが、春の<seg type="ruby"><seg type="rb">夜</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">温泉</seg><seg type="rp">（</seg><seg type="rt">でゆ</seg><seg type="rp">）</seg></seg>の曇りばかりは、<seg type="ruby"><seg type="rb">浴</seg><seg type="rp">（</seg><seg type="rt">ゆあみ</seg><seg type="rp">）</seg></seg>するものの肌を、<seg type="ruby"><seg type="rb">柔</seg><seg type="rp">（</seg><seg type="rt">やわ</seg><seg type="rp">）</seg></seg>らかにつつんで、古き世の男かと、われを疑わしむる。眼に写るものの見えぬほど、濃くまつわりはせぬが、薄絹を<seg type="ruby"><seg type="rb">一重</seg><seg type="rp">（</seg><seg type="rt">ひとえ</seg><seg type="rp">）</seg></seg>破れば、何の苦もなく、下界の人と、<seg type="ruby"><seg type="rb">己</seg><seg type="rp">（</seg><seg type="rt">おの</seg><seg type="rp">）</seg></seg>れを見出すように、浅きものではない。一重破り、二重破り、幾重を破り尽すともこの煙りから出す事はならぬ顔に、四方よりわれ一人を、<seg type="ruby"><seg type="rb">温</seg><seg type="rp">（</seg><seg type="rt">あたた</seg><seg type="rp">）</seg></seg>かき<seg type="ruby"><seg type="rb">虹</seg><seg type="rp">（</seg><seg type="rt">にじ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">中</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">埋</seg><seg type="rp">（</seg><seg type="rt">うず</seg><seg type="rp">）</seg></seg>め去る。酒に酔うと云う言葉はあるが、煙りに酔うと云う語句を耳にした事がない。あるとすれば、霧には無論使えぬ、霞には少し強過ぎる。ただこの靄に、<seg type="ruby"><seg type="rb">春宵</seg><seg type="rp">（</seg><seg type="rt">しゅんしょう</seg><seg type="rp">）</seg></seg>の二字を冠したるとき、始めて妥当なるを覚える。<lb />
余は<seg type="ruby"><seg type="rb">湯槽</seg><seg type="rp">（</seg><seg type="rt">ゆぶね</seg><seg type="rp">）</seg></seg>のふちに<seg type="ruby"><seg type="rb">仰向</seg><seg type="rp">（</seg><seg type="rt">あおむけ</seg><seg type="rp">）</seg></seg>の頭を<seg type="ruby"><seg type="rb">支</seg><seg type="rp">（</seg><seg type="rt">ささ</seg><seg type="rp">）</seg></seg>えて、<seg type="ruby"><seg type="rb">透</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>き<seg type="ruby"><seg type="rb">徹</seg><seg type="rp">（</seg><seg type="rt">とお</seg><seg type="rp">）</seg></seg>る湯のなかの<seg type="ruby"><seg type="rb">軽</seg><seg type="rp">（</seg><seg type="rt">かろ</seg><seg type="rp">）</seg></seg>き<seg type="ruby"><seg type="rb">身体</seg><seg type="rp">（</seg><seg type="rt">からだ</seg><seg type="rp">）</seg></seg>を、出来るだけ抵抗力なきあたりへ<seg type="ruby"><seg type="rb">漂</seg><seg type="rp">（</seg><seg type="rt">ただよ</seg><seg type="rp">）</seg></seg>わして見た。ふわり、ふわりと<seg type="ruby"><seg type="rb">魂</seg><seg type="rp">（</seg><seg type="rt">たましい</seg><seg type="rp">）</seg></seg>がくらげのように浮いている。世の中もこんな気になれば<seg type="ruby"><seg type="rb">楽</seg><seg type="rp">（</seg><seg type="rt">らく</seg><seg type="rp">）</seg></seg>なものだ。<seg type="ruby"><seg type="rb">分別</seg><seg type="rp">（</seg><seg type="rt">ふんべつ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">錠前</seg><seg type="rp">（</seg><seg type="rt">じょうまえ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>けて、<seg type="ruby"><seg type="rb">執着</seg><seg type="rp">（</seg><seg type="rt">しゅうじゃく</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">栓張</seg><seg type="rp">（</seg><seg type="rt">しんばり</seg><seg type="rp">）</seg></seg>をはずす。どうともせよと、<seg type="ruby"><seg type="rb">湯泉</seg><seg type="rp">（</seg><seg type="rt">ゆ</seg><seg type="rp">）</seg></seg>のなかで、<seg type="ruby"><seg type="rb">湯泉</seg><seg type="rp">（</seg><seg type="rt">ゆ</seg><seg type="rp">）</seg></seg>と同化してしまう。流れるものほど生きるに苦は入らぬ。流れるもののなかに、魂まで流していれば、<seg type="ruby"><seg type="rb">基督</seg><seg type="rp">（</seg><seg type="rt">キリスト</seg><seg type="rp">）</seg></seg>の御弟子となったよりありがたい。なるほどこの調子で考えると、<seg type="ruby"><seg type="rb">土左衛門</seg><seg type="rp">（</seg><seg type="rt">どざえもん</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">風流</seg><seg type="rp">（</seg><seg type="rt">ふうりゅう</seg><seg type="rp">）</seg></seg>である。スウィンバーンの何とか云う詩に、女が水の底で往生して嬉しがっている感じを書いてあったと思う。余が平生から苦にしていた、ミレーのオフェリヤも、こう観察するとだいぶ美しくなる。何であんな不愉快な所を<seg type="ruby"><seg type="rb">択</seg><seg type="rp">（</seg><seg type="rt">えら</seg><seg type="rp">）</seg></seg>んだものかと今まで不審に思っていたが、あれはやはり<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>になるのだ。水に浮んだまま、あるいは水に沈んだまま、あるいは沈んだり浮んだりしたまま、ただそのままの姿で苦なしに流れる有様は美的に相違ない。それで両岸にいろいろな草花をあしらって、水の色と流れて行く人の顔の色と、衣服の色に、落ちついた調和をとったなら、きっと画になるに相違ない。しかし流れて行く人の表情が、まるで平和ではほとんど神話か<seg type="ruby"><seg type="rb">比喩</seg><seg type="rp">（</seg><seg type="rt">ひゆ</seg><seg type="rp">）</seg></seg>になってしまう。<seg type="ruby"><seg type="rb">痙攣的</seg><seg type="rp">（</seg><seg type="rt">けいれんてき</seg><seg type="rp">）</seg></seg>な<seg type="ruby"><seg type="rb">苦悶</seg><seg type="rp">（</seg><seg type="rt">くもん</seg><seg type="rp">）</seg></seg>はもとより、全幅の精神をうち<seg type="ruby"><seg type="rb">壊</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>わすが、全然<seg type="ruby"><seg type="rb">色気</seg><seg type="rp">（</seg><seg type="rt">いろけ</seg><seg type="rp">）</seg></seg>のない平気な顔では人情が写らない。どんな顔をかいたら成功するだろう。ミレーのオフェリヤは成功かも知れないが、彼の精神は余と同じところに存するか疑わしい。ミレーはミレー、余は余であるから、余は余の興味を<seg type="ruby"><seg type="rb">以</seg><seg type="rp">（</seg><seg type="rt">もっ</seg><seg type="rp">）</seg></seg>て、一つ風流な<seg type="ruby"><seg type="rb">土左衛門</seg><seg type="rp">（</seg><seg type="rt">どざえもん</seg><seg type="rp">）</seg></seg>をかいて見たい。しかし思うような顔はそうたやすく心に浮んで来そうもない。<lb />
湯のなかに浮いたまま、今度は<seg type="ruby"><seg type="rb">土左衛門</seg><seg type="rp">（</seg><seg type="rt">どざえもん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">賛</seg><seg type="rp">（</seg><seg type="rt">さん</seg><seg type="rp">）</seg></seg>を作って見る。<lb />
<seg rend="jisage_2" rendition="div" style="margin-left: 2em">
雨が降ったら<seg type="ruby"><seg type="rb">濡</seg><seg type="rp">（</seg><seg type="rt">ぬ</seg><seg type="rp">）</seg></seg>れるだろう。<lb />
<seg type="ruby"><seg type="rb">霜</seg><seg type="rp">（</seg><seg type="rt">しも</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">下</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>りたら<seg type="ruby"><seg type="rb">冷</seg><seg type="rp">（</seg><seg type="rt">つめ</seg><seg type="rp">）</seg></seg>たかろ。<lb />
土のしたでは暗かろう。<lb />
浮かば波の上、<lb />
沈まば波の底、<lb />
春の水なら苦はなかろ。<lb />
</seg>
と口のうちで小声に<seg type="ruby"><seg type="rb">誦</seg><seg type="rp">（</seg><seg type="rt">じゅ</seg><seg type="rp">）</seg></seg>しつつ<seg type="ruby"><seg type="rb">漫然</seg><seg type="rp">（</seg><seg type="rt">まんぜん</seg><seg type="rp">）</seg></seg>と浮いていると、どこかで<seg type="ruby"><seg type="rb">弾</seg><seg type="rp">（</seg><seg type="rt">ひ</seg><seg type="rp">）</seg></seg>く三味線の<seg type="ruby"><seg type="rb">音</seg><seg type="rp">（</seg><seg type="rt">ね</seg><seg type="rp">）</seg></seg>が聞える。美術家だのにと云われると恐縮するが、実のところ、余がこの楽器における智識はすこぶる怪しいもので二が上がろうが、三が下がろうが、耳には余り影響を受けた<seg type="ruby"><seg type="rb">試</seg><seg type="rp">（</seg><seg type="rt">ため</seg><seg type="rp">）</seg></seg>しがない。しかし、静かな春の夜に、雨さえ興を添える、山里の<seg type="ruby"><seg type="rb">湯壺</seg><seg type="rp">（</seg><seg type="rt">ゆつぼ</seg><seg type="rp">）</seg></seg>の中で、<seg type="ruby"><seg type="rb">魂</seg><seg type="rp">（</seg><seg type="rt">たましい</seg><seg type="rp">）</seg></seg>まで春の<seg type="ruby"><seg type="rb">温泉</seg><seg type="rp">（</seg><seg type="rt">でゆ</seg><seg type="rp">）</seg></seg>に浮かしながら、遠くの三味を無責任に聞くのははなはだ嬉しい。遠いから何を<seg type="ruby"><seg type="rb">唄</seg><seg type="rp">（</seg><seg type="rt">うた</seg><seg type="rp">）</seg></seg>って、何を弾いているか無論わからない。そこに何だか<seg type="ruby"><seg type="rb">趣</seg><seg type="rp">（</seg><seg type="rt">おもむき</seg><seg type="rp">）</seg></seg>がある。<seg type="ruby"><seg type="rb">音色</seg><seg type="rp">（</seg><seg type="rt">ねいろ</seg><seg type="rp">）</seg></seg>の落ちついているところから察すると、<seg type="ruby"><seg type="rb">上方</seg><seg type="rp">（</seg><seg type="rt">かみがた</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">検校</seg><seg type="rp">（</seg><seg type="rt">けんぎょう</seg><seg type="rp">）</seg></seg>さんの<seg type="ruby"><seg type="rb">地唄</seg><seg type="rp">（</seg><seg type="rt">じうた</seg><seg type="rp">）</seg></seg>にでも聴かれそうな<seg type="ruby"><seg type="rb">太棹</seg><seg type="rp">（</seg><seg type="rt">ふとざお</seg><seg type="rp">）</seg></seg>かとも思う。<lb />
小供の時分、門前に<seg type="ruby"><seg type="rb">万屋</seg><seg type="rp">（</seg><seg type="rt">よろずや</seg><seg type="rp">）</seg></seg>と云う酒屋があって、そこに<seg type="ruby"><seg type="rb">御倉</seg><seg type="rp">（</seg><seg type="rt">おくら</seg><seg type="rp">）</seg></seg>さんと云う娘がいた。この御倉さんが、静かな春の昼過ぎになると、必ず長唄の<seg type="ruby"><seg type="rb">御浚</seg><seg type="rp">（</seg><seg type="rt">おさら</seg><seg type="rp">）</seg></seg>いをする。御浚が始まると、余は庭へ出る。茶畠の十坪余りを前に<seg type="ruby"><seg type="rb">控</seg><seg type="rp">（</seg><seg type="rt">ひか</seg><seg type="rp">）</seg></seg>えて、三本の松が、客間の東側に並んでいる。この松は<seg type="ruby"><seg type="rb">周</seg><seg type="rp">（</seg><seg type="rt">まわ</seg><seg type="rp">）</seg></seg>り一尺もある大きな樹で、面白い事に、三本寄って、始めて趣のある<seg type="ruby"><seg type="rb">恰好</seg><seg type="rp">（</seg><seg type="rt">かっこう</seg><seg type="rp">）</seg></seg>を形つくっていた。小供心にこの松を見ると好い心持になる。松の下に黒くさびた<seg type="ruby"><seg type="rb">鉄灯籠</seg><seg type="rp">（</seg><seg type="rt">かなどうろう</seg><seg type="rp">）</seg></seg>が名の知れぬ赤石の上に、いつ見ても、わからず屋の<seg type="ruby"><seg type="rb">頑固爺</seg><seg type="rp">（</seg><seg type="rt">かたくなじじい</seg><seg type="rp">）</seg></seg>のようにかたく坐っている。余はこの灯籠を見詰めるのが大好きであった。灯籠の前後には、<seg type="ruby"><seg type="rb">苔</seg><seg type="rp">（</seg><seg type="rt">こけ</seg><seg type="rp">）</seg></seg>深き地を<seg type="ruby"><seg type="rb">抽</seg><seg type="rp">（</seg><seg type="rt">ぬ</seg><seg type="rp">）</seg></seg>いて、名も知らぬ春の草が、浮世の風を知らぬ顔に、<seg type="ruby"><seg type="rb">独</seg><seg type="rp">（</seg><seg type="rt">ひと</seg><seg type="rp">）</seg></seg>り匂うて独り楽しんでいる。余はこの草のなかに、わずかに<seg type="ruby"><seg type="rb">膝</seg><seg type="rp">（</seg><seg type="rt">ひざ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">容</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>るるの席を見出して、じっと、しゃがむのがこの時分の癖であった。この三本の松の下に、この灯籠を<seg type="ruby"><seg type="rb">睨</seg><seg type="rp">（</seg><seg type="rt">にら</seg><seg type="rp">）</seg></seg>めて、この草の<seg type="ruby"><seg type="rb">香</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">臭</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>いで、そうして御倉さんの長唄を遠くから聞くのが、当時の日課であった。<lb />
御倉さんはもう赤い<seg type="ruby"><seg type="rb">手絡</seg><seg type="rp">（</seg><seg type="rt">てがら</seg><seg type="rp">）</seg></seg>の時代さえ通り越して、だいぶんと<seg type="ruby"><seg type="rb">世帯</seg><seg type="rp">（</seg><seg type="rt">しょたい</seg><seg type="rp">）</seg></seg>じみた顔を、帳場へ<seg type="ruby"><seg type="rb">曝</seg><seg type="rp">（</seg><seg type="rt">さら</seg><seg type="rp">）</seg></seg>してるだろう。<seg type="ruby"><seg type="rb">聟</seg><seg type="rp">（</seg><seg type="rt">むこ</seg><seg type="rp">）</seg></seg>とは<seg type="ruby"><seg type="rb">折合</seg><seg type="rp">（</seg><seg type="rt">おりあい</seg><seg type="rp">）</seg></seg>がいいか知らん。<seg type="ruby"><seg type="rb">燕</seg><seg type="rp">（</seg><seg type="rt">つばくろ</seg><seg type="rp">）</seg></seg>は年々帰って来て、<seg type="ruby"><seg type="rb">泥</seg><seg type="rp">（</seg><seg type="rt">どろ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">啣</seg><seg type="rp">（</seg><seg type="rt">ふく</seg><seg type="rp">）</seg></seg>んだ<seg type="ruby"><seg type="rb">嘴</seg><seg type="rp">（</seg><seg type="rt">くちばし</seg><seg type="rp">）</seg></seg>を、いそがしげに働かしているか知らん。燕と酒の<seg type="ruby"><seg type="rb">香</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>とはどうしても想像から切り離せない。<lb />
三本の松はいまだに<seg type="ruby"><seg type="rb">好</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>い<seg type="ruby"><seg type="rb">恰好</seg><seg type="rp">（</seg><seg type="rt">かっこう</seg><seg type="rp">）</seg></seg>で残っているかしらん。鉄灯籠はもう壊れたに相違ない。春の草は、<seg type="ruby"><seg type="rb">昔</seg><seg type="rp">（</seg><seg type="rt">むか</seg><seg type="rp">）</seg></seg>し、しゃがんだ人を覚えているだろうか。その時ですら、口もきかずに過ぎたものを、今に見知ろうはずがない。<seg type="ruby"><seg type="rb">御倉</seg><seg type="rp">（</seg><seg type="rt">おくら</seg><seg type="rp">）</seg></seg>さんの<seg rend="sesame_dot" rendition="em">旅の衣は鈴懸の</seg>と云う、<seg type="ruby"><seg type="rb">日</seg><seg type="rp">（</seg><seg type="rt">ひ</seg><seg type="rp">）</seg></seg>ごとの声もよも聞き覚えがあるとは云うまい。<lb />
<seg type="ruby"><seg type="rb">三味</seg><seg type="rp">（</seg><seg type="rt">しゃみ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">音</seg><seg type="rp">（</seg><seg type="rt">ね</seg><seg type="rp">）</seg></seg>が思わぬパノラマを余の<seg type="ruby"><seg type="rb">眼前</seg><seg type="rp">（</seg><seg type="rt">がんぜん</seg><seg type="rp">）</seg></seg>に展開するにつけ、余は<seg type="ruby"><seg type="rb">床</seg><seg type="rp">（</seg><seg type="rt">ゆか</seg><seg type="rp">）</seg></seg>しい過去の<seg type="ruby"><seg type="rb">面</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>のあたりに立って、二十年の昔に住む、<seg type="ruby"><seg type="rb">頑是</seg><seg type="rp">（</seg><seg type="rt">がんぜ</seg><seg type="rp">）</seg></seg>なき小僧と、成り済ましたとき、突然風呂場の戸がさらりと<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>いた。<lb />
誰か来たなと、身を浮かしたまま、視線だけを入口に<seg type="ruby"><seg type="rb">注</seg><seg type="rp">（</seg><seg type="rt">そそ</seg><seg type="rp">）</seg></seg>ぐ。<seg type="ruby"><seg type="rb">湯槽</seg><seg type="rp">（</seg><seg type="rt">ゆぶね</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">縁</seg><seg type="rp">（</seg><seg type="rt">ふち</seg><seg type="rp">）</seg></seg>の最も入口から、<seg type="ruby"><seg type="rb">隔</seg><seg type="rp">（</seg><seg type="rt">へだ</seg><seg type="rp">）</seg></seg>たりたるに頭を乗せているから、<seg type="ruby"><seg type="rb">槽</seg><seg type="rp">（</seg><seg type="rt">ふね</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">下</seg><seg type="rp">（</seg><seg type="rt">くだ</seg><seg type="rp">）</seg></seg>る段々は、<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">あいだ</seg><seg type="rp">）</seg></seg>二丈を隔てて<seg type="ruby"><seg type="rb">斜</seg><seg type="rp">（</seg><seg type="rt">なな</seg><seg type="rp">）</seg></seg>めに余が眼に入る。しかし見上げたる余の瞳にはまだ何物も映らぬ。しばらくは軒を<seg type="ruby"><seg type="rb">遶</seg><seg type="rp">（</seg><seg type="rt">めぐ</seg><seg type="rp">）</seg></seg>る<seg type="ruby"><seg type="rb">雨垂</seg><seg type="rp">（</seg><seg type="rt">あまだれ</seg><seg type="rp">）</seg></seg>の音のみが聞える。三味線はいつの<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>にかやんでいた。<lb />
やがて階段の上に何物かあらわれた。広い風呂場を<seg type="ruby"><seg type="rb">照</seg><seg type="rp">（</seg><seg type="rt">てら</seg><seg type="rp">）</seg></seg>すものは、ただ一つの小さき<seg type="ruby"><seg type="rb">釣</seg><seg type="rp">（</seg><seg type="rt">つ</seg><seg type="rp">）</seg></seg>り<seg type="ruby"><seg type="rb">洋灯</seg><seg type="rp">（</seg><seg type="rt">ランプ</seg><seg type="rp">）</seg></seg>のみであるから、この隔りでは澄切った空気を<seg type="ruby"><seg type="rb">控</seg><seg type="rp">（</seg><seg type="rt">ひか</seg><seg type="rp">）</seg></seg>えてさえ、<seg type="ruby"><seg type="rb">確</seg><seg type="rp">（</seg><seg type="rt">しか</seg><seg type="rp">）</seg></seg>と<seg type="ruby"><seg type="rb">物色</seg><seg type="rp">（</seg><seg type="rt">ぶっしょく</seg><seg type="rp">）</seg></seg>はむずかしい。まして立ち上がる湯気の、<seg type="ruby"><seg type="rb">濃</seg><seg type="rp">（</seg><seg type="rt">こまや</seg><seg type="rp">）</seg></seg>かなる雨に<seg type="ruby"><seg type="rb">抑</seg><seg type="rp">（</seg><seg type="rt">おさ</seg><seg type="rp">）</seg></seg>えられて、<seg type="ruby"><seg type="rb">逃場</seg><seg type="rp">（</seg><seg type="rt">にげば</seg><seg type="rp">）</seg></seg>を失いたる<seg type="ruby"><seg type="rb">今宵</seg><seg type="rp">（</seg><seg type="rt">こよい</seg><seg type="rp">）</seg></seg>の風呂に、立つを誰とはもとより定めにくい。一段を下り、二段を踏んで、まともに、照らす<seg type="ruby"><seg type="rb">灯影</seg><seg type="rp">（</seg><seg type="rt">ほかげ</seg><seg type="rp">）</seg></seg>を浴びたる時でなくては、男とも女とも声は掛けられぬ。<lb />
黒いものが一歩を下へ移した。踏む石は<seg type="ruby"><seg type="rb">天鵞<seg facs="../../../gaiji/2-78/2-78-11.png" rend="gaiji" rendition="img" source="※(「毬」の「求」に代えて「戎」、第4水準2-78-11)" /></seg><seg type="rp">（</seg><seg type="rt">びろうど</seg><seg type="rp">）</seg></seg>のごとく<seg type="ruby"><seg type="rb">柔</seg><seg type="rp">（</seg><seg type="rt">やわら</seg><seg type="rp">）</seg></seg>かと見えて、足音を<seg type="ruby"><seg type="rb">証</seg><seg type="rp">（</seg><seg type="rt">しょう</seg><seg type="rp">）</seg></seg>にこれを<seg type="ruby"><seg type="rb">律</seg><seg type="rp">（</seg><seg type="rt">りっ</seg><seg type="rp">）</seg></seg>すれば、動かぬと評しても<seg type="ruby"><seg type="rb">差支</seg><seg type="rp">（</seg><seg type="rt">さしつかえ</seg><seg type="rp">）</seg></seg>ない。が輪廓は少しく浮き上がる。余は画工だけあって人体の骨格については、<seg type="ruby"><seg type="rb">存外</seg><seg type="rp">（</seg><seg type="rt">ぞんがい</seg><seg type="rp">）</seg></seg>視覚が鋭敏である。何とも知れぬものの一段動いた時、余は女と二人、この風呂場の中に<seg type="ruby"><seg type="rb">在</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>る事を<seg type="ruby"><seg type="rb">覚</seg><seg type="rp">（</seg><seg type="rt">さと</seg><seg type="rp">）</seg></seg>った。<lb />
注意をしたものか、せぬものかと、浮きながら考える間に、女の影は<seg type="ruby"><seg type="rb">遺憾</seg><seg type="rp">（</seg><seg type="rt">いかん</seg><seg type="rp">）</seg></seg>なく、余が前に、早くもあらわれた。<seg type="ruby"><seg type="rb">漲</seg><seg type="rp">（</seg><seg type="rt">みな</seg><seg type="rp">）</seg></seg>ぎり渡る湯煙りの、やわらかな光線を一<seg type="ruby"><seg type="rb">分子</seg><seg type="rp">（</seg><seg type="rt">ぶんし</seg><seg type="rp">）</seg></seg>ごとに含んで、<seg type="ruby"><seg type="rb">薄紅</seg><seg type="rp">（</seg><seg type="rt">うすくれない</seg><seg type="rp">）</seg></seg>の暖かに見える奥に、<seg type="ruby"><seg type="rb">漾</seg><seg type="rp">（</seg><seg type="rt">ただよ</seg><seg type="rp">）</seg></seg>わす黒髪を雲とながして、あらん限りの<seg type="ruby"><seg type="rb">背丈</seg><seg type="rp">（</seg><seg type="rt">せたけ</seg><seg type="rp">）</seg></seg>を、すらりと<seg type="ruby"><seg type="rb">伸</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>した女の姿を見た時は、礼儀の、<seg type="ruby"><seg type="rb">作法</seg><seg type="rp">（</seg><seg type="rt">さほう</seg><seg type="rp">）</seg></seg>の、<seg type="ruby"><seg type="rb">風紀</seg><seg type="rp">（</seg><seg type="rt">ふうき</seg><seg type="rp">）</seg></seg>のと云う感じはことごとく、わが<seg type="ruby"><seg type="rb">脳裏</seg><seg type="rp">（</seg><seg type="rt">のうり</seg><seg type="rp">）</seg></seg>を去って、ただひたすらに、うつくしい画題を見出し得たとのみ思った。<lb />
古代<seg type="ruby"><seg type="rb">希臘</seg><seg type="rp">（</seg><seg type="rt">ギリシャ</seg><seg type="rp">）</seg></seg>の彫刻はいざ知らず、<seg type="ruby"><seg type="rb">今世仏国</seg><seg type="rp">（</seg><seg type="rt">きんせいふっこく</seg><seg type="rp">）</seg></seg>の画家が命と頼む裸体画を見るたびに、あまりに<seg type="ruby"><seg type="rb">露骨</seg><seg type="rp">（</seg><seg type="rt">あからさま</seg><seg type="rp">）</seg></seg>な肉の美を、極端まで描がき尽そうとする<seg type="ruby"><seg type="rb">痕迹</seg><seg type="rp">（</seg><seg type="rt">こんせき</seg><seg type="rp">）</seg></seg>が、ありありと見えるので、どことなく<seg type="ruby"><seg type="rb">気韻</seg><seg type="rp">（</seg><seg type="rt">きいん</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">乏</seg><seg type="rp">（</seg><seg type="rt">とぼ</seg><seg type="rp">）</seg></seg>しい心持が、今までわれを苦しめてならなかった。しかしその折々はただどことなく下品だと評するまでで、なぜ下品であるかが、解らぬ<seg type="ruby"><seg type="rb">故</seg><seg type="rp">（</seg><seg type="rt">ゆえ</seg><seg type="rp">）</seg></seg>、吾知らず、答えを得るに<seg type="ruby"><seg type="rb">煩悶</seg><seg type="rp">（</seg><seg type="rt">はんもん</seg><seg type="rp">）</seg></seg>して<seg type="ruby"><seg type="rb">今日</seg><seg type="rp">（</seg><seg type="rt">こんにち</seg><seg type="rp">）</seg></seg>に至ったのだろう。肉を<seg type="ruby"><seg type="rb">蔽</seg><seg type="rp">（</seg><seg type="rt">おお</seg><seg type="rp">）</seg></seg>えば、うつくしきものが隠れる。かくさねば<seg type="ruby"><seg type="rb">卑</seg><seg type="rp">（</seg><seg type="rt">いや</seg><seg type="rp">）</seg></seg>しくなる。今の世の裸体画と云うはただかくさぬと云う卑しさに、技巧を<seg type="ruby"><seg type="rb">留</seg><seg type="rp">（</seg><seg type="rt">とど</seg><seg type="rp">）</seg></seg>めておらぬ。<seg type="ruby"><seg type="rb">衣</seg><seg type="rp">（</seg><seg type="rt">ころも</seg><seg type="rp">）</seg></seg>を奪いたる姿を、そのままに写すだけにては、物足らぬと見えて、<seg type="ruby"><seg type="rb">飽</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>くまでも<seg type="ruby"><seg type="rb">裸体</seg><seg type="rp">（</seg><seg type="rt">はだか</seg><seg type="rp">）</seg></seg>を、衣冠の世に押し出そうとする。服をつけたるが、人間の常態なるを忘れて、赤裸にすべての権能を附与せんと試みる。<seg type="ruby"><seg type="rb">十分</seg><seg type="rp">（</seg><seg type="rt">じゅうぶん</seg><seg type="rp">）</seg></seg>で事足るべきを、<seg type="ruby"><seg type="rb">十二分</seg><seg type="rp">（</seg><seg type="rt">じゅうにぶん</seg><seg type="rp">）</seg></seg>にも、<seg type="ruby"><seg type="rb">十五分</seg><seg type="rp">（</seg><seg type="rt">じゅうごぶん</seg><seg type="rp">）</seg></seg>にも、どこまでも進んで、ひたすらに、裸体であるぞと云う感じを強く<seg type="ruby"><seg type="rb">描出</seg><seg type="rp">（</seg><seg type="rt">びょうしゅつ</seg><seg type="rp">）</seg></seg>しようとする。技巧がこの極端に達したる時、人はその<seg type="ruby"><seg type="rb">観者</seg><seg type="rp">（</seg><seg type="rt">かんじゃ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">強</seg><seg type="rp">（</seg><seg type="rt">し</seg><seg type="rp">）</seg></seg>うるを<seg type="ruby"><seg type="rb">陋</seg><seg type="rp">（</seg><seg type="rt">ろう</seg><seg type="rp">）</seg></seg>とする。うつくしきものを、いやが上に、うつくしくせんと<seg type="ruby"><seg type="rb">焦</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>せるとき、うつくしきものはかえってその<seg type="ruby"><seg type="rb">度</seg><seg type="rp">（</seg><seg type="rt">ど</seg><seg type="rp">）</seg></seg>を減ずるが例である。人事についても満は損を招くとの<seg type="ruby"><seg type="rb">諺</seg><seg type="rp">（</seg><seg type="rt">ことわざ</seg><seg type="rp">）</seg></seg>はこれがためである。<lb />
<seg type="ruby"><seg type="rb">放心</seg><seg type="rp">（</seg><seg type="rt">ほうしん</seg><seg type="rp">）</seg></seg>と無邪気とは余裕を示す。余裕は<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>において、詩において、もしくは文章において、<seg type="ruby"><seg type="rb">必須</seg><seg type="rp">（</seg><seg type="rt">ひっすう</seg><seg type="rp">）</seg></seg>の条件である。<seg type="ruby"><seg type="rb">今代芸術</seg><seg type="rp">（</seg><seg type="rt">きんだいげいじゅつ</seg><seg type="rp">）</seg></seg>の一大<seg type="ruby"><seg type="rb">弊竇</seg><seg type="rp">（</seg><seg type="rt">へいとう</seg><seg type="rp">）</seg></seg>は、いわゆる文明の潮流が、いたずらに芸術の士を駆って、<seg type="ruby"><seg type="rb">拘々</seg><seg type="rp">（</seg><seg type="rt">くく</seg><seg type="rp">）</seg></seg>として随処に<seg type="ruby"><seg type="rb">齷齪</seg><seg type="rp">（</seg><seg type="rt">あくそく</seg><seg type="rp">）</seg></seg>たらしむるにある。裸体画はその好例であろう。都会に<seg type="ruby"><seg type="rb">芸妓</seg><seg type="rp">（</seg><seg type="rt">げいぎ</seg><seg type="rp">）</seg></seg>と云うものがある。色を売りて、人に<seg type="ruby"><seg type="rb">媚</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>びるを商売にしている。彼らは<seg type="ruby"><seg type="rb">嫖客</seg><seg type="rp">（</seg><seg type="rt">ひょうかく</seg><seg type="rp">）</seg></seg>に対する時、わが容姿のいかに相手の<seg type="ruby"><seg type="rb">瞳子</seg><seg type="rp">（</seg><seg type="rt">ひとみ</seg><seg type="rp">）</seg></seg>に映ずるかを<seg type="ruby"><seg type="rb">顧慮</seg><seg type="rp">（</seg><seg type="rt">こりょ</seg><seg type="rp">）</seg></seg>するのほか、何らの表情をも<seg type="ruby"><seg type="rb">発揮</seg><seg type="rp">（</seg><seg type="rt">はっき</seg><seg type="rp">）</seg></seg>し得ぬ。年々に見るサロンの目録はこの芸妓に似たる裸体美人を以て充満している。彼らは一秒時も、わが裸体なるを忘るる<seg type="ruby"><seg type="rb">能</seg><seg type="rp">（</seg><seg type="rt">あた</seg><seg type="rp">）</seg></seg>わざるのみならず、全身の筋肉をむずつかして、わが裸体なるを観者に示さんと<seg type="ruby"><seg type="rb">力</seg><seg type="rp">（</seg><seg type="rt">つと</seg><seg type="rp">）</seg></seg>めている。<lb />
今余が面前に<seg type="ruby"><seg type="rb">娉<seg facs="../../../gaiji/1-15/1-15-85.png" rend="gaiji" rendition="img" source="※(「女＋亭」、第3水準1-15-85)" /></seg><seg type="rp">（</seg><seg type="rt">ひょうてい</seg><seg type="rp">）</seg></seg>と現われたる姿には、一塵もこの<seg type="ruby"><seg type="rb">俗埃</seg><seg type="rp">（</seg><seg type="rt">ぞくあい</seg><seg type="rp">）</seg></seg>の眼に<seg type="ruby"><seg type="rb">遮</seg><seg type="rp">（</seg><seg type="rt">さえ</seg><seg type="rp">）</seg></seg>ぎるものを帯びておらぬ。常の人の<seg type="ruby"><seg type="rb">纏</seg><seg type="rp">（</seg><seg type="rt">まと</seg><seg type="rp">）</seg></seg>える<seg type="ruby"><seg type="rb">衣装</seg><seg type="rp">（</seg><seg type="rt">いしょう</seg><seg type="rp">）</seg></seg>を脱ぎ捨てたる<seg type="ruby"><seg type="rb">様</seg><seg type="rp">（</seg><seg type="rt">さま</seg><seg type="rp">）</seg></seg>と云えばすでに<seg type="ruby"><seg type="rb">人界</seg><seg type="rp">（</seg><seg type="rt">にんがい</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">堕在</seg><seg type="rp">（</seg><seg type="rt">だざい</seg><seg type="rp">）</seg></seg>する。始めより着るべき服も、振るべき袖も、あるものと知らざる<seg type="ruby"><seg type="rb">神代</seg><seg type="rp">（</seg><seg type="rt">かみよ</seg><seg type="rp">）</seg></seg>の姿を雲のなかに呼び起したるがごとく自然である。<lb />
室を<seg type="ruby"><seg type="rb">埋</seg><seg type="rp">（</seg><seg type="rt">うず</seg><seg type="rp">）</seg></seg>むる湯煙は、埋めつくしたる<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">あと</seg><seg type="rp">）</seg></seg>から、絶えず<seg type="ruby"><seg type="rb">湧</seg><seg type="rp">（</seg><seg type="rt">わ</seg><seg type="rp">）</seg></seg>き上がる。春の<seg type="ruby"><seg type="rb">夜</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">灯</seg><seg type="rp">（</seg><seg type="rt">ひ</seg><seg type="rp">）</seg></seg>を半透明に<seg type="ruby"><seg type="rb">崩</seg><seg type="rp">（</seg><seg type="rt">くず</seg><seg type="rp">）</seg></seg>し拡げて、部屋一面の<seg type="ruby"><seg type="rb">虹霓</seg><seg type="rp">（</seg><seg type="rt">にじ</seg><seg type="rp">）</seg></seg>の世界が<seg type="ruby"><seg type="rb">濃</seg><seg type="rp">（</seg><seg type="rt">こまや</seg><seg type="rp">）</seg></seg>かに揺れるなかに、<seg type="ruby"><seg type="rb">朦朧</seg><seg type="rp">（</seg><seg type="rt">もうろう</seg><seg type="rp">）</seg></seg>と、黒きかとも思わるるほどの髪を<seg type="ruby"><seg type="rb">暈</seg><seg type="rp">（</seg><seg type="rt">ぼか</seg><seg type="rp">）</seg></seg>して、真白な姿が雲の底から次第に浮き上がって来る。その<seg type="ruby"><seg type="rb">輪廓</seg><seg type="rp">（</seg><seg type="rt">りんかく</seg><seg type="rp">）</seg></seg>を見よ。<lb />
<seg type="ruby"><seg type="rb">頸筋</seg><seg type="rp">（</seg><seg type="rt">くびすじ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">軽</seg><seg type="rp">（</seg><seg type="rt">かろ</seg><seg type="rp">）</seg></seg>く内輪に、双方から責めて、苦もなく肩の方へなだれ落ちた線が、豊かに、丸く折れて、流るる末は五本の指と<seg type="ruby"><seg type="rb">分</seg><seg type="rp">（</seg><seg type="rt">わか</seg><seg type="rp">）</seg></seg>れるのであろう。ふっくらと浮く二つの乳の下には、しばし引く波が、また<seg type="ruby"><seg type="rb">滑</seg><seg type="rp">（</seg><seg type="rt">なめ</seg><seg type="rp">）</seg></seg>らかに盛り返して下腹の張りを安らかに見せる。張る<seg type="ruby"><seg type="rb">勢</seg><seg type="rp">（</seg><seg type="rt">いきおい</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">うし</seg><seg type="rp">）</seg></seg>ろへ抜いて、勢の尽くるあたりから、分れた肉が平衡を保つために少しく前に<seg type="ruby"><seg type="rb">傾</seg><seg type="rp">（</seg><seg type="rt">かたむ</seg><seg type="rp">）</seg></seg>く。<seg type="ruby"><seg type="rb">逆</seg><seg type="rp">（</seg><seg type="rt">ぎゃく</seg><seg type="rp">）</seg></seg>に受くる<seg type="ruby"><seg type="rb">膝頭</seg><seg type="rp">（</seg><seg type="rt">ひざがしら</seg><seg type="rp">）</seg></seg>のこのたびは、立て直して、長きうねりの<seg type="ruby"><seg type="rb">踵</seg><seg type="rp">（</seg><seg type="rt">かかと</seg><seg type="rp">）</seg></seg>につく頃、<seg type="ruby"><seg type="rb">平</seg><seg type="rp">（</seg><seg type="rt">ひら</seg><seg type="rp">）</seg></seg>たき足が、すべての<seg type="ruby"><seg type="rb">葛藤</seg><seg type="rp">（</seg><seg type="rt">かっとう</seg><seg type="rp">）</seg></seg>を、二枚の<seg type="ruby"><seg type="rb">蹠</seg><seg type="rp">（</seg><seg type="rt">あしのうら</seg><seg type="rp">）</seg></seg>に安々と始末する。世の中にこれほど<seg type="ruby"><seg type="rb">錯雑</seg><seg type="rp">（</seg><seg type="rt">さくざつ</seg><seg type="rp">）</seg></seg>した配合はない、これほど統一のある配合もない。これほど自然で、これほど<seg type="ruby"><seg type="rb">柔</seg><seg type="rp">（</seg><seg type="rt">やわ</seg><seg type="rp">）</seg></seg>らかで、これほど抵抗の少い、これほど苦にならぬ輪廓は決して見出せぬ。<lb />
しかもこの姿は普通の裸体のごとく露骨に、余が眼の前に突きつけられてはおらぬ。すべてのものを幽玄に化する一種の<seg type="ruby"><seg type="rb">霊氛</seg><seg type="rp">（</seg><seg type="rt">れいふん</seg><seg type="rp">）</seg></seg>のなかに<seg type="ruby"><seg type="rb">髣髴</seg><seg type="rp">（</seg><seg type="rt">ほうふつ</seg><seg type="rp">）</seg></seg>として、<seg type="ruby"><seg type="rb">十分</seg><seg type="rp">（</seg><seg type="rt">じゅうぶん</seg><seg type="rp">）</seg></seg>の美を<seg type="ruby"><seg type="rb">奥床</seg><seg type="rp">（</seg><seg type="rt">おくゆか</seg><seg type="rp">）</seg></seg>しくもほのめかしているに過ぎぬ。<seg type="ruby"><seg type="rb">片鱗</seg><seg type="rp">（</seg><seg type="rt">へんりん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">溌墨淋漓</seg><seg type="rp">（</seg><seg type="rt">はつぼくりんり</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">あいだ</seg><seg type="rp">）</seg></seg>に点じて、<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-91/1-91-50.png" rend="gaiji" rendition="img" source="※(「虫＋礼のつくり」、第3水準1-91-50)" />竜</seg><seg type="rp">（</seg><seg type="rt">きゅうりょう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">怪</seg><seg type="rp">（</seg><seg type="rt">かい</seg><seg type="rp">）</seg></seg>を、<seg type="ruby"><seg type="rb">楮毫</seg><seg type="rp">（</seg><seg type="rt">ちょごう</seg><seg type="rp">）</seg></seg>のほかに想像せしむるがごとく、芸術的に観じて申し分のない、空気と、あたたかみと、<seg type="ruby"><seg type="rb">冥<seg facs="../../../gaiji/1-92/1-92-58.png" rend="gaiji" rendition="img" source="※(「二点しんにょう＋貌」、第3水準1-92-58)" /></seg><seg type="rp">（</seg><seg type="rt">めいばく</seg><seg type="rp">）</seg></seg>なる調子とを<seg type="ruby"><seg type="rb">具</seg><seg type="rp">（</seg><seg type="rt">そな</seg><seg type="rp">）</seg></seg>えている。六々三十六<seg type="ruby"><seg type="rb">鱗</seg><seg type="rp">（</seg><seg type="rt">りん</seg><seg type="rp">）</seg></seg>を丁寧に描きたる<seg type="ruby"><seg type="rb">竜</seg><seg type="rp">（</seg><seg type="rt">りゅう</seg><seg type="rp">）</seg></seg>の、<seg type="ruby"><seg type="rb">滑稽</seg><seg type="rp">（</seg><seg type="rt">こっけい</seg><seg type="rp">）</seg></seg>に落つるが事実ならば、<seg type="ruby"><seg type="rb">赤裸々</seg><seg type="rp">（</seg><seg type="rt">せきらら</seg><seg type="rp">）</seg></seg>の肉を<seg type="ruby"><seg type="rb">浄洒々</seg><seg type="rp">（</seg><seg type="rt">じょうしゃしゃ</seg><seg type="rp">）</seg></seg>に眺めぬうちに神往の<seg type="ruby"><seg type="rb">余韻</seg><seg type="rp">（</seg><seg type="rt">よいん</seg><seg type="rp">）</seg></seg>はある。余はこの輪廓の眼に落ちた時、<seg type="ruby"><seg type="rb">桂</seg><seg type="rp">（</seg><seg type="rt">かつら</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">都</seg><seg type="rp">（</seg><seg type="rt">みやこ</seg><seg type="rp">）</seg></seg>を逃れた<seg type="ruby"><seg type="rb">月界</seg><seg type="rp">（</seg><seg type="rt">げっかい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">嫦娥</seg><seg type="rp">（</seg><seg type="rt">じょうが</seg><seg type="rp">）</seg></seg>が、<seg type="ruby"><seg type="rb">彩虹</seg><seg type="rp">（</seg><seg type="rt">にじ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">追手</seg><seg type="rp">（</seg><seg type="rt">おって</seg><seg type="rp">）</seg></seg>に取り囲まれて、しばらく<seg type="ruby"><seg type="rb">躊躇</seg><seg type="rp">（</seg><seg type="rt">ちゅうちょ</seg><seg type="rp">）</seg></seg>する姿と<seg type="ruby"><seg type="rb">眺</seg><seg type="rp">（</seg><seg type="rt">なが</seg><seg type="rp">）</seg></seg>めた。<lb />
輪廓は次第に白く浮きあがる。今一歩を踏み出せば、せっかくの<seg type="ruby"><seg type="rb">嫦娥</seg><seg type="rp">（</seg><seg type="rt">じょうが</seg><seg type="rp">）</seg></seg>が、あわれ、俗界に堕落するよと思う<seg type="ruby"><seg type="rb">刹那</seg><seg type="rp">（</seg><seg type="rt">せつな</seg><seg type="rp">）</seg></seg>に、緑の髪は、波を切る<seg type="ruby"><seg type="rb">霊亀</seg><seg type="rp">（</seg><seg type="rt">れいき</seg><seg type="rp">）</seg></seg>の尾のごとくに風を起して、<seg type="ruby"><seg type="rb">莽</seg><seg type="rp">（</seg><seg type="rt">ぼう</seg><seg type="rp">）</seg></seg>と<seg type="ruby"><seg type="rb">靡</seg><seg type="rp">（</seg><seg type="rt">なび</seg><seg type="rp">）</seg></seg>いた。<seg type="ruby"><seg type="rb">渦捲</seg><seg type="rp">（</seg><seg type="rt">うずま</seg><seg type="rp">）</seg></seg>く煙りを<seg type="ruby"><seg type="rb">劈</seg><seg type="rp">（</seg><seg type="rt">つんざ</seg><seg type="rp">）</seg></seg>いて、白い姿は階段を飛び上がる。ホホホホと鋭どく笑う女の声が、廊下に響いて、静かなる風呂場を次第に<seg type="ruby"><seg type="rb">向</seg><seg type="rp">（</seg><seg type="rt">むこう</seg><seg type="rp">）</seg></seg>へ<seg type="ruby"><seg type="rb">遠退</seg><seg type="rp">（</seg><seg type="rt">とおの</seg><seg type="rp">）</seg></seg>く。余はがぶりと湯を<seg type="ruby"><seg type="rb">呑</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>んだまま<seg type="ruby"><seg type="rb">槽</seg><seg type="rp">（</seg><seg type="rt">ふね</seg><seg type="rp">）</seg></seg>の中に<seg type="ruby"><seg type="rb">突立</seg><seg type="rp">（</seg><seg type="rt">つった</seg><seg type="rp">）</seg></seg>つ。驚いた波が、胸へあたる。<seg type="ruby"><seg type="rb">縁</seg><seg type="rp">（</seg><seg type="rt">ふち</seg><seg type="rp">）</seg></seg>を越す<seg type="ruby"><seg type="rb">湯泉</seg><seg type="rp">（</seg><seg type="rt">ゆ</seg><seg type="rp">）</seg></seg>の音がさあさあと鳴る。<lb />
<lb />
<seg rend="jisage_8" rendition="div" style="margin-left: 8em"><seg rend="naka-midashi" rendition="h"><seg rend="midashi_anchor" rendition="a" xml:id="midashi80">八</seg></seg></seg>
<lb />
御茶の<seg type="ruby"><seg type="rb">御馳走</seg><seg type="rp">（</seg><seg type="rt">ごちそう</seg><seg type="rp">）</seg></seg>になる。<seg type="ruby"><seg type="rb">相客</seg><seg type="rp">（</seg><seg type="rt">あいきゃく</seg><seg type="rp">）</seg></seg>は僧一人、<seg type="ruby"><seg type="rb">観海寺</seg><seg type="rp">（</seg><seg type="rt">かんかいじ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>で名は<seg type="ruby"><seg type="rb">大徹</seg><seg type="rp">（</seg><seg type="rt">だいてつ</seg><seg type="rp">）</seg></seg>と云うそうだ。<seg type="ruby"><seg type="rb">俗</seg><seg type="rp">（</seg><seg type="rt">ぞく</seg><seg type="rp">）</seg></seg>一人、二十四五の若い男である。<lb />
老人の部屋は、余が<seg type="ruby"><seg type="rb">室</seg><seg type="rp">（</seg><seg type="rt">しつ</seg><seg type="rp">）</seg></seg>の廊下を右へ突き当って、左へ折れた<seg type="ruby"><seg type="rb">行</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>き<seg type="ruby"><seg type="rb">留</seg><seg type="rp">（</seg><seg type="rt">どま</seg><seg type="rp">）</seg></seg>りにある。<seg type="ruby"><seg type="rb">大</seg><seg type="rp">（</seg><seg type="rt">おおき</seg><seg type="rp">）</seg></seg>さは六畳もあろう。大きな<seg type="ruby"><seg type="rb">紫檀</seg><seg type="rp">（</seg><seg type="rt">したん</seg><seg type="rp">）</seg></seg>の机を真中に<seg type="ruby"><seg type="rb">据</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>えてあるから、思ったより狭苦しい。それへと云う席を見ると、<seg type="ruby"><seg type="rb">布団</seg><seg type="rp">（</seg><seg type="rt">ふとん</seg><seg type="rp">）</seg></seg>の代りに<seg type="ruby"><seg type="rb">花毯</seg><seg type="rp">（</seg><seg type="rt">かたん</seg><seg type="rp">）</seg></seg>が敷いてある。無論支那製だろう。真中を六角に<seg type="ruby"><seg type="rb">仕切</seg><seg type="rp">（</seg><seg type="rt">しき</seg><seg type="rp">）</seg></seg>って、妙な家と、妙な柳が織り出してある。<seg type="ruby"><seg type="rb">周囲</seg><seg type="rp">（</seg><seg type="rt">まわり</seg><seg type="rp">）</seg></seg>は鉄色に近い<seg type="ruby"><seg type="rb">藍</seg><seg type="rp">（</seg><seg type="rt">あい</seg><seg type="rp">）</seg></seg>で、<seg type="ruby"><seg type="rb">四隅</seg><seg type="rp">（</seg><seg type="rt">よすみ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">唐草</seg><seg type="rp">（</seg><seg type="rt">からくさ</seg><seg type="rp">）</seg></seg>の模様を飾った茶の<seg type="ruby"><seg type="rb">輪</seg><seg type="rp">（</seg><seg type="rt">わ</seg><seg type="rp">）</seg></seg>を染め抜いてある。支那ではこれを座敷に用いたものか疑わしいが、こうやって布団に代用して見るとすこぶる面白い。<seg type="ruby"><seg type="rb">印度</seg><seg type="rp">（</seg><seg type="rt">インド</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">更紗</seg><seg type="rp">（</seg><seg type="rt">さらさ</seg><seg type="rp">）</seg></seg>とか、ペルシャの<seg type="ruby"><seg type="rb">壁掛</seg><seg type="rp">（</seg><seg type="rt">かべかけ</seg><seg type="rp">）</seg></seg>とか号するものが、ちょっと<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>が抜けているところに価値があるごとく、この花毯もこせつかないところに<seg type="ruby"><seg type="rb">趣</seg><seg type="rp">（</seg><seg type="rt">おもむき</seg><seg type="rp">）</seg></seg>がある。花毯ばかりではない、すべて支那の器具は皆抜けている。どうしても馬鹿で気の長い人種の発明したものとほか取れない。見ているうちに、ぼおっとするところが<seg type="ruby"><seg type="rb">尊</seg><seg type="rp">（</seg><seg type="rt">とう</seg><seg type="rp">）</seg></seg>とい。日本は<seg type="ruby"><seg type="rb">巾着切</seg><seg type="rp">（</seg><seg type="rt">きんちゃくき</seg><seg type="rp">）</seg></seg>りの態度で美術品を作る。西洋は大きくて<seg type="ruby"><seg type="rb">細</seg><seg type="rp">（</seg><seg type="rt">こま</seg><seg type="rp">）</seg></seg>かくて、そうしてどこまでも<seg type="ruby"><seg type="rb">娑婆気</seg><seg type="rp">（</seg><seg type="rt">しゃばっけ</seg><seg type="rp">）</seg></seg>がとれない。まずこう考えながら席に着く。若い男は余とならんで、花毯の<seg type="ruby"><seg type="rb">半</seg><seg type="rp">（</seg><seg type="rt">なかば</seg><seg type="rp">）</seg></seg>を占領した。<lb />
和尚は虎の皮の上へ坐った。虎の皮の尻尾が余の<seg type="ruby"><seg type="rb">膝</seg><seg type="rp">（</seg><seg type="rt">ひざ</seg><seg type="rp">）</seg></seg>の傍を通り越して、頭は老人の<seg type="ruby"><seg type="rb">臀</seg><seg type="rp">（</seg><seg type="rt">しり</seg><seg type="rp">）</seg></seg>の下に敷かれている。老人は頭の毛をことごとく抜いて、頬と<seg type="ruby"><seg type="rb">顎</seg><seg type="rp">（</seg><seg type="rt">あご</seg><seg type="rp">）</seg></seg>へ移植したように、白い<seg type="ruby"><seg type="rb">髯</seg><seg type="rp">（</seg><seg type="rt">ひげ</seg><seg type="rp">）</seg></seg>をむしゃむしゃと<seg type="ruby"><seg type="rb">生</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>やして、<seg type="ruby"><seg type="rb">茶托</seg><seg type="rp">（</seg><seg type="rt">ちゃたく</seg><seg type="rp">）</seg></seg>へ<seg type="ruby"><seg type="rb">載</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>せた茶碗を丁寧に机の上へならべる。<lb />
「<seg type="ruby"><seg type="rb">今日</seg><seg type="rp">（</seg><seg type="rt">きょう</seg><seg type="rp">）</seg></seg>は久し振りで、うちへ御客が見えたから、御茶を上げようと思って、……」と坊さんの方を向くと、<lb />
「いや、<seg type="ruby"><seg type="rb">御使</seg><seg type="rp">（</seg><seg type="rt">おつかい</seg><seg type="rp">）</seg></seg>をありがとう。わしも、だいぶ<seg type="ruby"><seg type="rb">御無沙汰</seg><seg type="rp">（</seg><seg type="rt">ごぶさた</seg><seg type="rp">）</seg></seg>をしたから、今日ぐらい来て見ようかと思っとったところじゃ」と云う。この僧は六十近い、丸顔の、<seg type="ruby"><seg type="rb">達磨</seg><seg type="rp">（</seg><seg type="rt">だるま</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">草書</seg><seg type="rp">（</seg><seg type="rt">そうしょ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">崩</seg><seg type="rp">（</seg><seg type="rt">くず</seg><seg type="rp">）</seg></seg>したような<seg type="ruby"><seg type="rb">容貌</seg><seg type="rp">（</seg><seg type="rt">ようぼう</seg><seg type="rp">）</seg></seg>を有している。老人とは<seg type="ruby"><seg type="rb">平常</seg><seg type="rp">（</seg><seg type="rt">ふだん</seg><seg type="rp">）</seg></seg>からの<seg type="ruby"><seg type="rb">昵懇</seg><seg type="rp">（</seg><seg type="rt">じっこん</seg><seg type="rp">）</seg></seg>と見える。<lb />
「この<seg type="ruby"><seg type="rb">方</seg><seg type="rp">（</seg><seg type="rt">かた</seg><seg type="rp">）</seg></seg>が御客さんかな」<lb />
老人は<seg type="ruby"><seg type="rb">首肯</seg><seg type="rp">（</seg><seg type="rt">うなずき</seg><seg type="rp">）</seg></seg>ながら、<seg type="ruby"><seg type="rb">朱泥</seg><seg type="rp">（</seg><seg type="rt">しゅでい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">急須</seg><seg type="rp">（</seg><seg type="rt">きゅうす</seg><seg type="rp">）</seg></seg>から、緑を含む<seg type="ruby"><seg type="rb">琥珀色</seg><seg type="rp">（</seg><seg type="rt">こはくいろ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">玉液</seg><seg type="rp">（</seg><seg type="rt">ぎょくえき</seg><seg type="rp">）</seg></seg>を、二三滴ずつ、茶碗の底へしたたらす。清い<seg type="ruby"><seg type="rb">香</seg><seg type="rp">（</seg><seg type="rt">かお</seg><seg type="rp">）</seg></seg>りがかすかに鼻を<seg type="ruby"><seg type="rb">襲</seg><seg type="rp">（</seg><seg type="rt">おそ</seg><seg type="rp">）</seg></seg>う気分がした。<lb />
「こんな<seg type="ruby"><seg type="rb">田舎</seg><seg type="rp">（</seg><seg type="rt">いなか</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">一人</seg><seg type="rp">（</seg><seg type="rt">ひとり</seg><seg type="rp">）</seg></seg>では<seg type="ruby"><seg type="rb">御淋</seg><seg type="rp">（</seg><seg type="rt">おさみ</seg><seg type="rp">）</seg></seg>しかろ」と<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>はすぐ余に話しかけた。<lb />
「はああ」となんともかとも要領を得ぬ返事をする。<seg type="ruby"><seg type="rb">淋</seg><seg type="rp">（</seg><seg type="rt">さび</seg><seg type="rp">）</seg></seg>しいと云えば、<seg type="ruby"><seg type="rb">偽</seg><seg type="rp">（</seg><seg type="rt">いつわ</seg><seg type="rp">）</seg></seg>りである。淋しからずと云えば、長い説明が入る。<lb />
「なんの、和尚さん。このかたは<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>を書かれるために来られたのじゃから、<seg type="ruby"><seg type="rb">御忙</seg><seg type="rp">（</seg><seg type="rt">おいそ</seg><seg type="rp">）</seg></seg>がしいくらいじゃ」<lb />
「おお<seg type="ruby"><seg type="rb">左様</seg><seg type="rp">（</seg><seg type="rt">さよう</seg><seg type="rp">）</seg></seg>か、それは結構だ。やはり<seg type="ruby"><seg type="rb">南宗派</seg><seg type="rp">（</seg><seg type="rt">なんそうは</seg><seg type="rp">）</seg></seg>かな」<lb />
「いいえ」と今度は答えた。西洋画だなどと云っても、この和尚にはわかるまい。<lb />
「いや、例の西洋画じゃ」と老人は、主人役に、また半分引き受けてくれる。<lb />
「ははあ、洋画か。すると、あの<seg type="ruby"><seg type="rb">久一</seg><seg type="rp">（</seg><seg type="rt">きゅういち</seg><seg type="rp">）</seg></seg>さんのやられるようなものかな。あれは、わしこの間始めて見たが、随分奇麗にかけたのう」<lb />
「いえ、詰らんものです」と若い男がこの時ようやく口を開いた。<lb />
「御前何ぞ和尚さんに見ていただいたか」と老人が若い男に聞く。言葉から云うても、様子から云うても、どうも親類らしい。<lb />
「なあに、見ていただいたんじゃないですが、<seg type="ruby"><seg type="rb">鏡</seg><seg type="rp">（</seg><seg type="rt">かがみ</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">池</seg><seg type="rp">（</seg><seg type="rt">いけ</seg><seg type="rp">）</seg></seg>で写生しているところを和尚さんに見つかったのです」<lb />
「ふん、そうか――さあ御茶が<seg type="ruby"><seg type="rb">注</seg><seg type="rp">（</seg><seg type="rt">つ</seg><seg type="rp">）</seg></seg>げたから、一杯」と老人は茶碗を<seg type="ruby"><seg type="rb">各自</seg><seg type="rp">（</seg><seg type="rt">めいめい</seg><seg type="rp">）</seg></seg>の前に置く。茶の量は三四滴に過ぎぬが、茶碗はすこぶる大きい。<seg type="ruby"><seg type="rb">生壁色</seg><seg type="rp">（</seg><seg type="rt">なまかべいろ</seg><seg type="rp">）</seg></seg>の地へ、<seg type="ruby"><seg type="rb">焦</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>げた<seg type="ruby"><seg type="rb">丹</seg><seg type="rp">（</seg><seg type="rt">たん</seg><seg type="rp">）</seg></seg>と、薄い<seg type="ruby"><seg type="rb">黄</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>で、絵だか、模様だか、鬼の面の模様になりかかったところか、ちょっと見当のつかないものが、べたに<seg type="ruby"><seg type="rb">描</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>いてある。<lb />
「<seg type="ruby"><seg type="rb">杢兵衛</seg><seg type="rp">（</seg><seg type="rt">もくべえ</seg><seg type="rp">）</seg></seg>です」と老人が簡単に説明した。<lb />
「これは面白い」と余も簡単に<seg type="ruby"><seg type="rb">賞</seg><seg type="rp">（</seg><seg type="rt">ほ</seg><seg type="rp">）</seg></seg>めた。<lb />
「杢兵衛はどうも<seg type="ruby"><seg type="rb">偽物</seg><seg type="rp">（</seg><seg type="rt">にせもの</seg><seg type="rp">）</seg></seg>が多くて、――その<seg type="ruby"><seg type="rb">糸底</seg><seg type="rp">（</seg><seg type="rt">いとぞこ</seg><seg type="rp">）</seg></seg>を見て御覧なさい。<seg type="ruby"><seg type="rb">銘</seg><seg type="rp">（</seg><seg type="rt">めい</seg><seg type="rp">）</seg></seg>があるから」と云う。<lb />
取り上げて、<seg type="ruby"><seg type="rb">障子</seg><seg type="rp">（</seg><seg type="rt">しょうじ</seg><seg type="rp">）</seg></seg>の方へ向けて見る。障子には植木鉢の<seg type="ruby"><seg type="rb">葉蘭</seg><seg type="rp">（</seg><seg type="rt">はらん</seg><seg type="rp">）</seg></seg>の影が暖かそうに写っている。首を<seg type="ruby"><seg type="rb">曲</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>げて、<seg type="ruby"><seg type="rb">覗</seg><seg type="rp">（</seg><seg type="rt">のぞ</seg><seg type="rp">）</seg></seg>き込むと、<seg type="ruby"><seg type="rb">杢</seg><seg type="rp">（</seg><seg type="rt">もく</seg><seg type="rp">）</seg></seg>の字が小さく見える。銘は観賞の上において、さのみ大切のものとは思わないが、<seg type="ruby"><seg type="rb">好事者</seg><seg type="rp">（</seg><seg type="rt">こうずしゃ</seg><seg type="rp">）</seg></seg>はよほどこれが気にかかるそうだ。茶碗を下へ置かないで、そのまま口へつけた。濃く<seg type="ruby"><seg type="rb">甘</seg><seg type="rp">（</seg><seg type="rt">あま</seg><seg type="rp">）</seg></seg>く、<seg type="ruby"><seg type="rb">湯加減</seg><seg type="rp">（</seg><seg type="rt">ゆかげん</seg><seg type="rp">）</seg></seg>に出た、重い露を、舌の先へ一しずくずつ落して<seg type="ruby"><seg type="rb">味</seg><seg type="rp">（</seg><seg type="rt">あじわ</seg><seg type="rp">）</seg></seg>って見るのは<seg type="ruby"><seg type="rb">閑人適意</seg><seg type="rp">（</seg><seg type="rt">かんじんてきい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">韻事</seg><seg type="rp">（</seg><seg type="rt">いんじ</seg><seg type="rp">）</seg></seg>である。普通の人は茶を飲むものと心得ているが、あれは間違だ。<seg type="ruby"><seg type="rb">舌頭</seg><seg type="rp">（</seg><seg type="rt">ぜっとう</seg><seg type="rp">）</seg></seg>へぽたりと<seg type="ruby"><seg type="rb">載</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>せて、清いものが四方へ散れば<seg type="ruby"><seg type="rb">咽喉</seg><seg type="rp">（</seg><seg type="rt">のど</seg><seg type="rp">）</seg></seg>へ<seg type="ruby"><seg type="rb">下</seg><seg type="rp">（</seg><seg type="rt">くだ</seg><seg type="rp">）</seg></seg>るべき液はほとんどない。ただ<seg type="ruby"><seg type="rb">馥郁</seg><seg type="rp">（</seg><seg type="rt">ふくいく</seg><seg type="rp">）</seg></seg>たる<seg type="ruby"><seg type="rb">匂</seg><seg type="rp">（</seg><seg type="rt">におい</seg><seg type="rp">）</seg></seg>が食道から胃のなかへ<seg type="ruby"><seg type="rb">沁</seg><seg type="rp">（</seg><seg type="rt">し</seg><seg type="rp">）</seg></seg>み渡るのみである。歯を用いるは<seg type="ruby"><seg type="rb">卑</seg><seg type="rp">（</seg><seg type="rt">いや</seg><seg type="rp">）</seg></seg>しい。水はあまりに軽い。<seg type="ruby"><seg type="rb">玉露</seg><seg type="rp">（</seg><seg type="rt">ぎょくろ</seg><seg type="rp">）</seg></seg>に至っては<seg type="ruby"><seg type="rb">濃</seg><seg type="rp">（</seg><seg type="rt">こまや</seg><seg type="rp">）</seg></seg>かなる事、<seg type="ruby"><seg type="rb">淡水</seg><seg type="rp">（</seg><seg type="rt">たんすい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">境</seg><seg type="rp">（</seg><seg type="rt">きょう</seg><seg type="rp">）</seg></seg>を脱して、<seg type="ruby"><seg type="rb">顎</seg><seg type="rp">（</seg><seg type="rt">あご</seg><seg type="rp">）</seg></seg>を疲らすほどの<seg type="ruby"><seg type="rb">硬</seg><seg type="rp">（</seg><seg type="rt">かた</seg><seg type="rp">）</seg></seg>さを知らず。結構な飲料である。眠られぬと訴うるものあらば、眠らぬも、茶を用いよと勧めたい。<lb />
老人はいつの間にやら、<seg type="ruby"><seg type="rb">青玉</seg><seg type="rp">（</seg><seg type="rt">せいぎょく</seg><seg type="rp">）</seg></seg>の菓子皿を出した。大きな<seg type="ruby"><seg type="rb">塊</seg><seg type="rp">（</seg><seg type="rt">かたまり</seg><seg type="rp">）</seg></seg>を、かくまで薄く、かくまで規則正しく、<seg type="ruby"><seg type="rb">刳</seg><seg type="rp">（</seg><seg type="rt">く</seg><seg type="rp">）</seg></seg>りぬいた<seg type="ruby"><seg type="rb">匠人</seg><seg type="rp">（</seg><seg type="rt">しょうじん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">手際</seg><seg type="rp">（</seg><seg type="rt">てぎわ</seg><seg type="rp">）</seg></seg>は驚ろくべきものと思う。すかして見ると春の日影は一面に<seg type="ruby"><seg type="rb">射</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>し込んで、射し込んだまま、<seg type="ruby"><seg type="rb">逃</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>がれ<seg type="ruby"><seg type="rb">出</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>ずる<seg type="ruby"><seg type="rb">路</seg><seg type="rp">（</seg><seg type="rt">みち</seg><seg type="rp">）</seg></seg>を失ったような感じである。中には何も盛らぬがいい。<lb />
「御客さんが、<seg type="ruby"><seg type="rb">青磁</seg><seg type="rp">（</seg><seg type="rt">せいじ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">賞</seg><seg type="rp">（</seg><seg type="rt">ほ</seg><seg type="rp">）</seg></seg>められたから、今日はちとばかり見せようと思うて、出して置きました」<lb />
「どの青磁を――うん、あの菓子鉢かな。あれは、わしも<seg type="ruby"><seg type="rb">好</seg><seg type="rp">（</seg><seg type="rt">すき</seg><seg type="rp">）</seg></seg>じゃ。時にあなた、西洋画では<seg type="ruby"><seg type="rb">襖</seg><seg type="rp">（</seg><seg type="rt">ふすま</seg><seg type="rp">）</seg></seg>などはかけんものかな。かけるなら一つ頼みたいがな」<lb />
かいてくれなら、かかぬ事もないが、この<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>の気に<seg type="ruby"><seg type="rb">入</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>るか入らぬかわからない。せっかく骨を折って、西洋画は駄目だなどと云われては、骨の<seg type="ruby"><seg type="rb">折栄</seg><seg type="rp">（</seg><seg type="rt">おりばえ</seg><seg type="rp">）</seg></seg>がない。<lb />
「襖には向かないでしょう」<lb />
「向かんかな。そうさな、この<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">あいだ</seg><seg type="rp">）</seg></seg>の久一さんの<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>のようじゃ、少し<seg type="ruby"><seg type="rb">派手</seg><seg type="rp">（</seg><seg type="rt">はで</seg><seg type="rp">）</seg></seg>過ぎるかも知れん」<lb />
「私のは駄目です。あれはまるでいたずらです」と若い男はしきりに、<seg type="ruby"><seg type="rb">恥</seg><seg type="rp">（</seg><seg type="rt">はず</seg><seg type="rp">）</seg></seg>かしがって<seg type="ruby"><seg type="rb">謙遜</seg><seg type="rp">（</seg><seg type="rt">けんそん</seg><seg type="rp">）</seg></seg>する。<lb />
「その何とか云う池はどこにあるんですか」と余は若い男に念のため尋ねて置く。<lb />
「ちょっと観海寺の裏の谷の所で、<seg type="ruby"><seg type="rb">幽邃</seg><seg type="rp">（</seg><seg type="rt">ゆうすい</seg><seg type="rp">）</seg></seg>な所です。――なあに学校にいる時分、習ったから、退屈まぎれに、やって見ただけです」<lb />
「観海寺と云うと……」<lb />
「観海寺と云うと、わしのいる所じゃ。いい所じゃ、海を<seg type="ruby"><seg type="rb">一目</seg><seg type="rp">（</seg><seg type="rt">ひとめ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">見下</seg><seg type="rp">（</seg><seg type="rt">みおろ</seg><seg type="rp">）</seg></seg>しての――まあ<seg type="ruby"><seg type="rb">逗留</seg><seg type="rp">（</seg><seg type="rt">とうりゅう</seg><seg type="rp">）</seg></seg>中にちょっと来て御覧。なに、ここからはつい五六丁よ。あの廊下から、そら、寺の石段が見えるじゃろうが」<lb />
「いつか御邪魔に<seg type="ruby"><seg type="rb">上</seg><seg type="rp">（</seg><seg type="rt">あが</seg><seg type="rp">）</seg></seg>ってもいいですか」<lb />
「ああいいとも、いつでもいる。ここの御嬢さんも、よう、来られる。――御嬢さんと云えば今日は<seg type="ruby"><seg type="rb">御那美</seg><seg type="rp">（</seg><seg type="rt">おなみ</seg><seg type="rp">）</seg></seg>さんが見えんようだが――どうかされたかな、隠居さん」<lb />
「どこぞへ出ましたかな、<seg type="ruby"><seg type="rb">久一</seg><seg type="rp">（</seg><seg type="rt">きゅういち</seg><seg type="rp">）</seg></seg>、御前の方へ行きはせんかな」<lb />
「いいや、見えません」<lb />
「また<seg type="ruby"><seg type="rb">独</seg><seg type="rp">（</seg><seg type="rt">ひと</seg><seg type="rp">）</seg></seg>り散歩かな、ハハハハ。御那美さんはなかなか足が強い。この<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">あいだ</seg><seg type="rp">）</seg></seg>法用で<seg type="ruby"><seg type="rb">礪並</seg><seg type="rp">（</seg><seg type="rt">となみ</seg><seg type="rp">）</seg></seg>まで行ったら、<seg type="ruby"><seg type="rb">姿見橋</seg><seg type="rp">（</seg><seg type="rt">すがたみばし</seg><seg type="rp">）</seg></seg>の所で――どうも、善く似とると思ったら、御那美さんよ。尻を<seg type="ruby"><seg type="rb">端折</seg><seg type="rp">（</seg><seg type="rt">はしょ</seg><seg type="rp">）</seg></seg>って、<seg type="ruby"><seg type="rb">草履</seg><seg type="rp">（</seg><seg type="rt">ぞうり</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">穿</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>いて、<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>さん、何をぐずぐず、どこへ行きなさると、いきなり、驚ろかされたて、ハハハハ。御前はそんな<seg type="ruby"><seg type="rb">形姿</seg><seg type="rp">（</seg><seg type="rt">なり</seg><seg type="rp">）</seg></seg>で<seg type="ruby"><seg type="rb">地体</seg><seg type="rp">（</seg><seg type="rt">じたい</seg><seg type="rp">）</seg></seg>どこへ、行ったのぞいと聴くと、今<seg type="ruby"><seg type="rb">芹摘</seg><seg type="rp">（</seg><seg type="rt">せりつ</seg><seg type="rp">）</seg></seg>みに行った戻りじゃ、和尚さん少しやろうかと云うて、いきなりわしの<seg type="ruby"><seg type="rb">袂</seg><seg type="rp">（</seg><seg type="rt">たもと</seg><seg type="rp">）</seg></seg>へ<seg type="ruby"><seg type="rb">泥</seg><seg type="rp">（</seg><seg type="rt">どろ</seg><seg type="rp">）</seg></seg>だらけの芹を押し込んで、ハハハハハ」<lb />
「どうも、……」と老人は<seg type="ruby"><seg type="rb">苦笑</seg><seg type="rp">（</seg><seg type="rt">にがわら</seg><seg type="rp">）</seg></seg>いをしたが、急に立って「実はこれを御覧に入れるつもりで」と話をまた道具の方へそらした。<lb />
老人が<seg type="ruby"><seg type="rb">紫檀</seg><seg type="rp">（</seg><seg type="rt">したん</seg><seg type="rp">）</seg></seg>の書架から、<seg type="ruby"><seg type="rb">恭</seg><seg type="rp">（</seg><seg type="rt">うやうや</seg><seg type="rp">）</seg></seg>しく取り<seg type="ruby"><seg type="rb">下</seg><seg type="rp">（</seg><seg type="rt">おろ</seg><seg type="rp">）</seg></seg>した<seg type="ruby"><seg type="rb">紋緞子</seg><seg type="rp">（</seg><seg type="rt">もんどんす</seg><seg type="rp">）</seg></seg>の古い袋は、何だか重そうなものである。<lb />
「和尚さん、あなたには、御目に<seg type="ruby"><seg type="rb">懸</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>けた事があったかな」<lb />
「なんじゃ、一体」<lb />
「<seg type="ruby"><seg type="rb">硯</seg><seg type="rp">（</seg><seg type="rt">すずり</seg><seg type="rp">）</seg></seg>よ」<lb />
「へえ、どんな硯かい」<lb />
「<seg type="ruby"><seg type="rb">山陽</seg><seg type="rp">（</seg><seg type="rt">さんよう</seg><seg type="rp">）</seg></seg>の愛蔵したと云う……」<lb />
「いいえ、そりゃまだ見ん」<lb />
「<seg type="ruby"><seg type="rb">春水</seg><seg type="rp">（</seg><seg type="rt">しゅんすい</seg><seg type="rp">）</seg></seg>の替え<seg type="ruby"><seg type="rb">蓋</seg><seg type="rp">（</seg><seg type="rt">ぶた</seg><seg type="rp">）</seg></seg>がついて……」<lb />
「そりゃ、まだのようだ。どれどれ」<lb />
老人は大事そうに緞子の袋の口を解くと、<seg type="ruby"><seg type="rb">小豆色</seg><seg type="rp">（</seg><seg type="rt">あずきいろ</seg><seg type="rp">）</seg></seg>の四角な石が、ちらりと<seg type="ruby"><seg type="rb">角</seg><seg type="rp">（</seg><seg type="rt">かど</seg><seg type="rp">）</seg></seg>を見せる。<lb />
「いい<seg type="ruby"><seg type="rb">色合</seg><seg type="rp">（</seg><seg type="rt">いろあい</seg><seg type="rp">）</seg></seg>じゃのう。<seg type="ruby"><seg type="rb">端渓</seg><seg type="rp">（</seg><seg type="rt">たんけい</seg><seg type="rp">）</seg></seg>かい」<lb />
「端渓で<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-94/1-94-56.png" rend="gaiji" rendition="img" source="※(「句＋鳥」、第3水準1-94-56)" /><seg facs="../../../gaiji/1-94/1-94-60.png" rend="gaiji" rendition="img" source="※(「谷＋鳥」、第3水準1-94-60)" />眼</seg><seg type="rp">（</seg><seg type="rt">くよくがん</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">九</seg><seg type="rp">（</seg><seg type="rt">ここの</seg><seg type="rp">）</seg></seg>つある」<lb />
「九つ？」と和尚<seg type="ruby"><seg type="rb">大</seg><seg type="rp">（</seg><seg type="rt">おおい</seg><seg type="rp">）</seg></seg>に感じた様子である。<lb />
「これが春水の替え蓋」と老人は<seg type="ruby"><seg type="rb">綸子</seg><seg type="rp">（</seg><seg type="rt">りんず</seg><seg type="rp">）</seg></seg>で張った薄い蓋を見せる。上に春水の字で<seg type="ruby"><seg type="rb">七言絶句</seg><seg type="rp">（</seg><seg type="rt">しちごんぜっく</seg><seg type="rp">）</seg></seg>が書いてある。<lb />
「なるほど。春水はようかく。ようかくが、<seg type="ruby"><seg type="rb">書</seg><seg type="rp">（</seg><seg type="rt">しょ</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">杏坪</seg><seg type="rp">（</seg><seg type="rt">きょうへい</seg><seg type="rp">）</seg></seg>の方が<seg type="ruby"><seg type="rb">上手</seg><seg type="rp">（</seg><seg type="rt">じょうず</seg><seg type="rp">）</seg></seg>じゃて」<lb />
「やはり杏坪の方がいいかな」<lb />
「<seg type="ruby"><seg type="rb">山陽</seg><seg type="rp">（</seg><seg type="rt">さんよう</seg><seg type="rp">）</seg></seg>が一番まずいようだ。どうも<seg type="ruby"><seg type="rb">才子肌</seg><seg type="rp">（</seg><seg type="rt">さいしはだ</seg><seg type="rp">）</seg></seg>で<seg type="ruby"><seg type="rb">俗気</seg><seg type="rp">（</seg><seg type="rt">ぞくき</seg><seg type="rp">）</seg></seg>があって、いっこう面白うない」<lb />
「ハハハハ。<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>さんは、山陽が<seg type="ruby"><seg type="rb">嫌</seg><seg type="rp">（</seg><seg type="rt">きら</seg><seg type="rp">）</seg></seg>いだから、今日は山陽の<seg type="ruby"><seg type="rb">幅</seg><seg type="rp">（</seg><seg type="rt">ふく</seg><seg type="rp">）</seg></seg>を懸け<seg type="ruby"><seg type="rb">替</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>えて置いた」<lb />
「ほんに」と和尚さんは<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">うし</seg><seg type="rp">）</seg></seg>ろを振り向く。<seg type="ruby"><seg type="rb">床</seg><seg type="rp">（</seg><seg type="rt">とこ</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">平床</seg><seg type="rp">（</seg><seg type="rt">ひらどこ</seg><seg type="rp">）</seg></seg>を鏡のようにふき込んで、<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-93/1-93-39.png" rend="gaiji" rendition="img" source="※(「金＋粛」、第3水準1-93-39)" />気</seg><seg type="rp">（</seg><seg type="rt">さびけ</seg><seg type="rp">）</seg></seg>を吹いた<seg type="ruby"><seg type="rb">古銅瓶</seg><seg type="rp">（</seg><seg type="rt">こどうへい</seg><seg type="rp">）</seg></seg>には、<seg type="ruby"><seg type="rb">木蘭</seg><seg type="rp">（</seg><seg type="rt">もくらん</seg><seg type="rp">）</seg></seg>を二尺の高さに、<seg type="ruby"><seg type="rb">活</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>けてある。<seg type="ruby"><seg type="rb">軸</seg><seg type="rp">（</seg><seg type="rt">じく</seg><seg type="rp">）</seg></seg>は底光りのある<seg type="ruby"><seg type="rb">古錦襴</seg><seg type="rp">（</seg><seg type="rt">こきんらん</seg><seg type="rp">）</seg></seg>に、<seg type="ruby"><seg type="rb">装幀</seg><seg type="rp">（</seg><seg type="rt">そうてい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">工夫</seg><seg type="rp">（</seg><seg type="rt">くふう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">籠</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>めた<seg type="ruby"><seg type="rb">物徂徠</seg><seg type="rp">（</seg><seg type="rt">ぶっそらい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">大幅</seg><seg type="rp">（</seg><seg type="rt">たいふく</seg><seg type="rp">）</seg></seg>である。絹地ではないが、多少の時代がついているから、字の巧拙に論なく、紙の色が周囲のきれ地とよく調和して見える。あの錦襴も織りたては、あれほどのゆかしさも無かったろうに、<seg type="ruby"><seg type="rb">彩色</seg><seg type="rp">（</seg><seg type="rt">さいしき</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">褪</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>せて、<seg type="ruby"><seg type="rb">金糸</seg><seg type="rp">（</seg><seg type="rt">きんし</seg><seg type="rp">）</seg></seg>が沈んで、<seg type="ruby"><seg type="rb">華麗</seg><seg type="rp">（</seg><seg type="rt">はで</seg><seg type="rp">）</seg></seg>なところが<seg type="ruby"><seg type="rb">滅</seg><seg type="rp">（</seg><seg type="rt">め</seg><seg type="rp">）</seg></seg>り込んで、渋いところがせり出して、あんないい調子になったのだと思う。<seg type="ruby"><seg type="rb">焦茶</seg><seg type="rp">（</seg><seg type="rt">こげちゃ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">砂壁</seg><seg type="rp">（</seg><seg type="rt">すなかべ</seg><seg type="rp">）</seg></seg>に、白い<seg type="ruby"><seg type="rb">象牙</seg><seg type="rp">（</seg><seg type="rt">ぞうげ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">軸</seg><seg type="rp">（</seg><seg type="rt">じく</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">際立</seg><seg type="rp">（</seg><seg type="rt">きわだ</seg><seg type="rp">）</seg></seg>って、両方に突張っている、手前に例の木蘭がふわりと浮き出されているほかは、<seg type="ruby"><seg type="rb">床</seg><seg type="rp">（</seg><seg type="rt">とこ</seg><seg type="rp">）</seg></seg>全体の<seg type="ruby"><seg type="rb">趣</seg><seg type="rp">（</seg><seg type="rt">おもむき</seg><seg type="rp">）</seg></seg>は落ちつき過ぎてむしろ陰気である。<lb />
「<seg type="ruby"><seg type="rb">徂徠</seg><seg type="rp">（</seg><seg type="rt">そらい</seg><seg type="rp">）</seg></seg>かな」と<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>が、首を向けたまま云う。<lb />
「徂徠もあまり、御好きでないかも知れんが、山陽よりは善かろうと思うて」<lb />
「それは徂徠の方が<seg type="ruby"><seg type="rb">遥</seg><seg type="rp">（</seg><seg type="rt">はる</seg><seg type="rp">）</seg></seg>かにいい。<seg type="ruby"><seg type="rb">享保</seg><seg type="rp">（</seg><seg type="rt">きょうほ</seg><seg type="rp">）</seg></seg>頃の学者の字はまずくても、どこぞに<seg type="ruby"><seg type="rb">品</seg><seg type="rp">（</seg><seg type="rt">ひん</seg><seg type="rp">）</seg></seg>がある」<lb />
「<seg type="ruby"><seg type="rb">広沢</seg><seg type="rp">（</seg><seg type="rt">こうたく</seg><seg type="rp">）</seg></seg>をして日本の<seg type="ruby"><seg type="rb">能書</seg><seg type="rp">（</seg><seg type="rt">のうしょ</seg><seg type="rp">）</seg></seg>ならしめば、われはすなわち漢人の<seg type="ruby"><seg type="rb">拙</seg><seg type="rp">（</seg><seg type="rt">せつ</seg><seg type="rp">）</seg></seg>なるものと云うたのは、徂徠だったかな、和尚さん」<lb />
「わしは知らん。そう<seg type="ruby"><seg type="rb">威張</seg><seg type="rp">（</seg><seg type="rt">いば</seg><seg type="rp">）</seg></seg>るほどの字でもないて、ワハハハハ」<lb />
「時に和尚さんは、誰を習われたのかな」<lb />
「わしか。<seg type="ruby"><seg type="rb">禅坊主</seg><seg type="rp">（</seg><seg type="rt">ぜんぼうず</seg><seg type="rp">）</seg></seg>は本も読まず、<seg type="ruby"><seg type="rb">手習</seg><seg type="rp">（</seg><seg type="rt">てならい</seg><seg type="rp">）</seg></seg>もせんから、のう」<lb />
「しかし、誰ぞ習われたろう」<lb />
「若い時に<seg type="ruby"><seg type="rb">高泉</seg><seg type="rp">（</seg><seg type="rt">こうせん</seg><seg type="rp">）</seg></seg>の字を、少し<seg type="ruby"><seg type="rb">稽古</seg><seg type="rp">（</seg><seg type="rt">けいこ</seg><seg type="rp">）</seg></seg>した事がある。それぎりじゃ。それでも人に頼まれればいつでも、書きます。ワハハハハ。時にその<seg type="ruby"><seg type="rb">端渓</seg><seg type="rp">（</seg><seg type="rt">たんけい</seg><seg type="rp">）</seg></seg>を一つ御見せ」と和尚が催促する。<lb />
とうとう<seg type="ruby"><seg type="rb">緞子</seg><seg type="rp">（</seg><seg type="rt">どんす</seg><seg type="rp">）</seg></seg>の袋を取り<seg type="ruby"><seg type="rb">除</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>ける。一座の視線はことごとく<seg type="ruby"><seg type="rb">硯</seg><seg type="rp">（</seg><seg type="rt">すずり</seg><seg type="rp">）</seg></seg>の上に落ちる。厚さはほとんど二寸に近いから、通例のものの倍はあろう。四寸に六寸の幅も長さもまず<seg type="ruby"><seg type="rb">並</seg><seg type="rp">（</seg><seg type="rt">なみ</seg><seg type="rp">）</seg></seg>と云ってよろしい。<seg type="ruby"><seg type="rb">蓋</seg><seg type="rp">（</seg><seg type="rt">ふた</seg><seg type="rp">）</seg></seg>には、<seg type="ruby"><seg type="rb">鱗</seg><seg type="rp">（</seg><seg type="rt">うろこ</seg><seg type="rp">）</seg></seg>のかたに<seg type="ruby"><seg type="rb">研</seg><seg type="rp">（</seg><seg type="rt">みが</seg><seg type="rp">）</seg></seg>きをかけた松の皮をそのまま用いて、上には<seg type="ruby"><seg type="rb">朱漆</seg><seg type="rp">（</seg><seg type="rt">しゅうるし</seg><seg type="rp">）</seg></seg>で、わからぬ書体が二字ばかり書いてある。<lb />
「この蓋が」と老人が云う。「この蓋が、ただの蓋ではないので、御覧の通り、松の皮には相違ないが……」<lb />
老人の眼は余の方を見ている。しかし松の皮の蓋にいかなる<seg type="ruby"><seg type="rb">因縁</seg><seg type="rp">（</seg><seg type="rt">いんねん</seg><seg type="rp">）</seg></seg>があろうと、画工として余はあまり感服は出来んから、<lb />
「松の蓋は少し俗ですな」<lb />
と云った。老人はまあと云わぬばかりに手を<seg type="ruby"><seg type="rb">挙</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>げて、<lb />
「ただ松の蓋と云うばかりでは、俗でもあるが、これはその何ですよ。<seg type="ruby"><seg type="rb">山陽</seg><seg type="rp">（</seg><seg type="rt">さんよう</seg><seg type="rp">）</seg></seg>が広島におった時に庭に生えていた松の皮を<seg type="ruby"><seg type="rb">剥</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>いで山陽が手ずから製したのですよ」<lb />
なるほど<seg type="ruby"><seg type="rb">山陽</seg><seg type="rp">（</seg><seg type="rt">さんよう</seg><seg type="rp">）</seg></seg>は俗な男だと思ったから、<lb />
「どうせ、自分で作るなら、もっと不器用に作れそうなものですな。わざとこの<seg type="ruby"><seg type="rb">鱗</seg><seg type="rp">（</seg><seg type="rt">うろこ</seg><seg type="rp">）</seg></seg>のかたなどをぴかぴか<seg type="ruby"><seg type="rb">研</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>ぎ出さなくっても、よさそうに思われますが」と遠慮のないところを云って<seg type="ruby"><seg type="rb">退</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>けた。<lb />
「ワハハハハ。そうよ、この<seg type="ruby"><seg type="rb">蓋</seg><seg type="rp">（</seg><seg type="rt">ふた</seg><seg type="rp">）</seg></seg>はあまり安っぽいようだな」と<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>はたちまち余に賛成した。<lb />
若い男は気の毒そうに、老人の顔を見る。老人は少々不機嫌の<seg type="ruby"><seg type="rb">体</seg><seg type="rp">（</seg><seg type="rt">てい</seg><seg type="rp">）</seg></seg>に蓋を払いのけた。下からいよいよ<seg type="ruby"><seg type="rb">硯</seg><seg type="rp">（</seg><seg type="rt">すずり</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">正体</seg><seg type="rp">（</seg><seg type="rt">しょうたい</seg><seg type="rp">）</seg></seg>をあらわす。<lb />
もしこの硯について人の眼を<seg type="ruby"><seg type="rb">峙</seg><seg type="rp">（</seg><seg type="rt">そばだ</seg><seg type="rp">）</seg></seg>つべき特異の点があるとすれば、その表面にあらわれたる<seg type="ruby"><seg type="rb">匠人</seg><seg type="rp">（</seg><seg type="rt">しょうじん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">刻</seg><seg type="rp">（</seg><seg type="rt">こく</seg><seg type="rp">）</seg></seg>である。<seg type="ruby"><seg type="rb">真中</seg><seg type="rp">（</seg><seg type="rt">まんなか</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">袂時計</seg><seg type="rp">（</seg><seg type="rt">たもとどけい</seg><seg type="rp">）</seg></seg>ほどな丸い肉が、<seg type="ruby"><seg type="rb">縁</seg><seg type="rp">（</seg><seg type="rt">ふち</seg><seg type="rp">）</seg></seg>とすれすれの高さに<seg type="ruby"><seg type="rb">彫</seg><seg type="rp">（</seg><seg type="rt">ほ</seg><seg type="rp">）</seg></seg>り残されて、これを<seg type="ruby"><seg type="rb">蜘蛛</seg><seg type="rp">（</seg><seg type="rt">くも</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">背</seg><seg type="rp">（</seg><seg type="rt">せ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">象</seg><seg type="rp">（</seg><seg type="rt">かた</seg><seg type="rp">）</seg></seg>どる。中央から四方に向って、八本の足が<seg type="ruby"><seg type="rb">彎曲</seg><seg type="rp">（</seg><seg type="rt">わんきょく</seg><seg type="rp">）</seg></seg>して走ると見れば、先には<seg type="ruby"><seg type="rb">各</seg><seg type="rp">（</seg><seg type="rt">おのおの</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-94/1-94-56.png" rend="gaiji" rendition="img" source="※(「句＋鳥」、第3水準1-94-56)" /><seg facs="../../../gaiji/1-94/1-94-60.png" rend="gaiji" rendition="img" source="※(「谷＋鳥」、第3水準1-94-60)" />眼</seg><seg type="rp">（</seg><seg type="rt">くよくがん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">抱</seg><seg type="rp">（</seg><seg type="rt">かか</seg><seg type="rp">）</seg></seg>えている。残る一個は背の真中に、<seg type="ruby"><seg type="rb">黄</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>な<seg type="ruby"><seg type="rb">汁</seg><seg type="rp">（</seg><seg type="rt">しる</seg><seg type="rp">）</seg></seg>をしたたらしたごとく<seg type="ruby"><seg type="rb">煮染</seg><seg type="rp">（</seg><seg type="rt">にじ</seg><seg type="rp">）</seg></seg>んで見える。背と足と縁を残して余る部分はほとんど一寸余の深さに掘り下げてある。墨を<seg type="ruby"><seg type="rb">湛</seg><seg type="rp">（</seg><seg type="rt">たた</seg><seg type="rp">）</seg></seg>える所は、よもやこの<seg type="ruby"><seg type="rb">塹壕</seg><seg type="rp">（</seg><seg type="rt">ざんごう</seg><seg type="rp">）</seg></seg>の底ではあるまい。たとい一合の水を注ぐともこの深さを<seg type="ruby"><seg type="rb">充</seg><seg type="rp">（</seg><seg type="rt">み</seg><seg type="rp">）</seg></seg>たすには足らぬ。思うに<seg type="ruby"><seg type="rb">水盂</seg><seg type="rp">（</seg><seg type="rt">すいう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">中</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>から、一滴の水を<seg type="ruby"><seg type="rb">銀杓</seg><seg type="rp">（</seg><seg type="rt">ぎんしゃく</seg><seg type="rp">）</seg></seg>にて、<seg type="ruby"><seg type="rb">蜘蛛</seg><seg type="rp">（</seg><seg type="rt">くも</seg><seg type="rp">）</seg></seg>の背に落したるを、<seg type="ruby"><seg type="rb">貴</seg><seg type="rp">（</seg><seg type="rt">とうと</seg><seg type="rp">）</seg></seg>き墨に<seg type="ruby"><seg type="rb">磨</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>り去るのだろう。それでなければ、名は硯でも、その実は純然たる<seg type="ruby"><seg type="rb">文房用</seg><seg type="rp">（</seg><seg type="rt">ぶんぼうよう</seg><seg type="rp">）</seg></seg>の装飾品に過ぎぬ。<lb />
老人は<seg type="ruby"><seg type="rb">涎</seg><seg type="rp">（</seg><seg type="rt">よだれ</seg><seg type="rp">）</seg></seg>の出そうな口をして云う。<lb />
「この<seg type="ruby"><seg type="rb">肌合</seg><seg type="rp">（</seg><seg type="rt">はだあい</seg><seg type="rp">）</seg></seg>と、この<seg type="ruby"><seg type="rb">眼</seg><seg type="rp">（</seg><seg type="rt">がん</seg><seg type="rp">）</seg></seg>を見て下さい」<lb />
なるほど見れば見るほどいい色だ。寒く<seg type="ruby"><seg type="rb">潤沢</seg><seg type="rp">（</seg><seg type="rt">じゅんたく</seg><seg type="rp">）</seg></seg>を帯びたる肌の上に、はっと、<seg type="ruby"><seg type="rb">一息懸</seg><seg type="rp">（</seg><seg type="rt">ひといきか</seg><seg type="rp">）</seg></seg>けたなら、<seg type="ruby"><seg type="rb">直</seg><seg type="rp">（</seg><seg type="rt">ただ</seg><seg type="rp">）</seg></seg>ちに<seg type="ruby"><seg type="rb">凝</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>って、<seg type="ruby"><seg type="rb">一朶</seg><seg type="rp">（</seg><seg type="rt">いちだ</seg><seg type="rp">）</seg></seg>の雲を起すだろうと思われる。ことに驚くべきは眼の色である。眼の色と云わんより、眼と地の<seg type="ruby"><seg type="rb">相交</seg><seg type="rp">（</seg><seg type="rt">あいまじ</seg><seg type="rp">）</seg></seg>わる所が、次第に色を取り替えて、いつ取り替えたか、ほとんど<seg type="ruby"><seg type="rb">吾眼</seg><seg type="rp">（</seg><seg type="rt">わがめ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">欺</seg><seg type="rp">（</seg><seg type="rt">あざむ</seg><seg type="rp">）</seg></seg>かれたるを見出し得ぬ事である。形容して見ると紫色の<seg type="ruby"><seg type="rb">蒸羊羹</seg><seg type="rp">（</seg><seg type="rt">むしようかん</seg><seg type="rp">）</seg></seg>の奥に、<seg type="ruby"><seg type="rb">隠元豆</seg><seg type="rp">（</seg><seg type="rt">いんげんまめ</seg><seg type="rp">）</seg></seg>を、<seg type="ruby"><seg type="rb">透</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>いて見えるほどの深さに<seg type="ruby"><seg type="rb">嵌</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>め込んだようなものである。眼と云えば一個二個でも大変に珍重される。九個と云ったら、ほとんど<seg type="ruby"><seg type="rb">類</seg><seg type="rp">（</seg><seg type="rt">るい</seg><seg type="rp">）</seg></seg>はあるまい。しかもその九個が整然と同距離に<seg type="ruby"><seg type="rb">按排</seg><seg type="rp">（</seg><seg type="rt">あんばい</seg><seg type="rp">）</seg></seg>されて、あたかも人造のねりものと見違えらるるに至ってはもとより天下の<seg type="ruby"><seg type="rb">逸品</seg><seg type="rp">（</seg><seg type="rt">いっぴん</seg><seg type="rp">）</seg></seg>をもって許さざるを得ない。<lb />
「なるほど結構です。<seg type="ruby"><seg type="rb">観</seg><seg type="rp">（</seg><seg type="rt">み</seg><seg type="rp">）</seg></seg>て心持がいいばかりじゃありません。こうして<seg type="ruby"><seg type="rb">触</seg><seg type="rp">（</seg><seg type="rt">さわ</seg><seg type="rp">）</seg></seg>っても愉快です」と云いながら、余は隣りの若い男に硯を渡した。<lb />
「<seg type="ruby"><seg type="rb">久一</seg><seg type="rp">（</seg><seg type="rt">きゅういち</seg><seg type="rp">）</seg></seg>に、そんなものが解るかい」と老人が笑いながら聞いて見る。久一君は、<seg type="ruby"><seg type="rb">少々自棄</seg><seg type="rp">（</seg><seg type="rt">やけ</seg><seg type="rp">）</seg></seg>の気味で、<lb />
「分りゃしません」と打ち<seg type="ruby"><seg type="rb">遣</seg><seg type="rp">（</seg><seg type="rt">や</seg><seg type="rp">）</seg></seg>ったように云い放ったが、わからん硯を、自分の前へ置いて、<seg type="ruby"><seg type="rb">眺</seg><seg type="rp">（</seg><seg type="rt">なが</seg><seg type="rp">）</seg></seg>めていては、もったいないと気がついたものか、また取り上げて、余に返した。余はもう一<seg type="ruby"><seg type="rb">遍</seg><seg type="rp">（</seg><seg type="rt">ぺん</seg><seg type="rp">）</seg></seg>丁寧に<seg type="ruby"><seg type="rb">撫</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>で廻わした<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">のち</seg><seg type="rp">）</seg></seg>、とうとうこれを<seg type="ruby"><seg type="rb">恭</seg><seg type="rp">（</seg><seg type="rt">うやうや</seg><seg type="rp">）</seg></seg>しく<seg type="ruby"><seg type="rb">禅師</seg><seg type="rp">（</seg><seg type="rt">ぜんじ</seg><seg type="rp">）</seg></seg>に返却した。禅師はとくと<seg type="ruby"><seg type="rb">掌</seg><seg type="rp">（</seg><seg type="rt">て</seg><seg type="rp">）</seg></seg>の上で見済ました末、それでは<seg type="ruby"><seg type="rb">飽</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>き足らぬと考えたと見えて、<seg type="ruby"><seg type="rb">鼠木綿</seg><seg type="rp">（</seg><seg type="rt">ねずみもめん</seg><seg type="rp">）</seg></seg>の着物の<seg type="ruby"><seg type="rb">袖</seg><seg type="rp">（</seg><seg type="rt">そで</seg><seg type="rp">）</seg></seg>を容赦なく<seg type="ruby"><seg type="rb">蜘蛛</seg><seg type="rp">（</seg><seg type="rt">くも</seg><seg type="rp">）</seg></seg>の背へこすりつけて、<seg type="ruby"><seg type="rb">光沢</seg><seg type="rp">（</seg><seg type="rt">つや</seg><seg type="rp">）</seg></seg>の出た所をしきりに<seg type="ruby"><seg type="rb">賞翫</seg><seg type="rp">（</seg><seg type="rt">しょうがん</seg><seg type="rp">）</seg></seg>している。<lb />
「隠居さん、どうもこの色が実に<seg type="ruby"><seg type="rb">善</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>いな。使うた事があるかの」<lb />
「いいや、<seg type="ruby"><seg type="rb">滅多</seg><seg type="rp">（</seg><seg type="rt">めった</seg><seg type="rp">）</seg></seg>には使いとう、ないから、まだ買うたなりじゃ」<lb />
「そうじゃろ。こないなのは<seg type="ruby"><seg type="rb">支那</seg><seg type="rp">（</seg><seg type="rt">しな</seg><seg type="rp">）</seg></seg>でも珍らしかろうな、隠居さん」<lb />
「<seg type="ruby"><seg type="rb">左様</seg><seg type="rp">（</seg><seg type="rt">さよう</seg><seg type="rp">）</seg></seg>」<lb />
「わしも一つ欲しいものじゃ。何なら久一さんに頼もうか。どうかな、買うて来ておくれかな」<lb />
「へへへへ。<seg type="ruby"><seg type="rb">硯</seg><seg type="rp">（</seg><seg type="rt">すずり</seg><seg type="rp">）</seg></seg>を見つけないうちに、死んでしまいそうです」<lb />
「本当に硯どころではないな。時にいつ御立ちか」<lb />
「<seg type="ruby"><seg type="rb">二三日</seg><seg type="rp">（</seg><seg type="rt">にさんち</seg><seg type="rp">）</seg></seg>うちに立ちます」<lb />
「隠居さん。吉田まで送って御やり」<lb />
「普段なら、年は取っとるし、まあ<seg type="ruby"><seg type="rb">見合</seg><seg type="rp">（</seg><seg type="rt">みあわ</seg><seg type="rp">）</seg></seg>すところじゃが、ことによると、もう<seg type="ruby"><seg type="rb">逢</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>えんかも、知れんから、送ってやろうと思うております」<lb />
「<seg type="ruby"><seg type="rb">御伯父</seg><seg type="rp">（</seg><seg type="rt">おじ</seg><seg type="rp">）</seg></seg>さんは送ってくれんでもいいです」<lb />
若い男はこの老人の<seg type="ruby"><seg type="rb">甥</seg><seg type="rp">（</seg><seg type="rt">おい</seg><seg type="rp">）</seg></seg>と見える。なるほどどこか似ている。<lb />
「なあに、送って貰うがいい。<seg type="ruby"><seg type="rb">川船</seg><seg type="rp">（</seg><seg type="rt">かわふね</seg><seg type="rp">）</seg></seg>で行けば訳はない。なあ隠居さん」<lb />
「はい、<seg type="ruby"><seg type="rb">山越</seg><seg type="rp">（</seg><seg type="rt">やまごし</seg><seg type="rp">）</seg></seg>では難義だが、廻り路でも船なら……」<lb />
若い男は今度は別に辞退もしない。ただ黙っている。<lb />
「支那の方へおいでですか」と余はちょっと聞いて見た。<lb />
「ええ」<lb />
ええの二字では少し物足らなかったが、その上掘って聞く必要もないから<seg type="ruby"><seg type="rb">控</seg><seg type="rp">（</seg><seg type="rt">ひか</seg><seg type="rp">）</seg></seg>えた。<seg type="ruby"><seg type="rb">障子</seg><seg type="rp">（</seg><seg type="rt">しょうじ</seg><seg type="rp">）</seg></seg>を見ると、<seg type="ruby"><seg type="rb">蘭</seg><seg type="rp">（</seg><seg type="rt">らん</seg><seg type="rp">）</seg></seg>の影が少し位置を変えている。<lb />
「なあに、あなた。やはり今度の戦争で――これがもと志願兵をやったものだから、それで召集されたので」<lb />
老人は当人に代って、満洲の<seg type="ruby"><seg type="rb">野</seg><seg type="rp">（</seg><seg type="rt">や</seg><seg type="rp">）</seg></seg>に日ならず出征すべきこの青年の運命を余に<seg type="ruby"><seg type="rb">語</seg><seg type="rp">（</seg><seg type="rt">つ</seg><seg type="rp">）</seg></seg>げた。この夢のような詩のような春の里に、<seg type="ruby"><seg type="rb">啼</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>くは鳥、落つるは花、<seg type="ruby"><seg type="rb">湧</seg><seg type="rp">（</seg><seg type="rt">わ</seg><seg type="rp">）</seg></seg>くは<seg type="ruby"><seg type="rb">温泉</seg><seg type="rp">（</seg><seg type="rt">いでゆ</seg><seg type="rp">）</seg></seg>のみと思い<seg type="ruby"><seg type="rb">詰</seg><seg type="rp">（</seg><seg type="rt">つ</seg><seg type="rp">）</seg></seg>めていたのは間違である。現実世界は山を越え、海を越えて、<seg type="ruby"><seg type="rb">平家</seg><seg type="rp">（</seg><seg type="rt">へいけ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">後裔</seg><seg type="rp">（</seg><seg type="rt">こうえい</seg><seg type="rp">）</seg></seg>のみ住み古るしたる孤村にまで<seg type="ruby"><seg type="rb">逼</seg><seg type="rp">（</seg><seg type="rt">せま</seg><seg type="rp">）</seg></seg>る。<seg type="ruby"><seg type="rb">朔北</seg><seg type="rp">（</seg><seg type="rt">さくほく</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">曠野</seg><seg type="rp">（</seg><seg type="rt">こうや</seg><seg type="rp">）</seg></seg>を染むる血潮の何万分の一かは、この青年の動脈から<seg type="ruby"><seg type="rb">迸</seg><seg type="rp">（</seg><seg type="rt">ほとばし</seg><seg type="rp">）</seg></seg>る時が来るかも知れない。この青年の腰に<seg type="ruby"><seg type="rb">吊</seg><seg type="rp">（</seg><seg type="rt">つ</seg><seg type="rp">）</seg></seg>る長き<seg type="ruby"><seg type="rb">剣</seg><seg type="rp">（</seg><seg type="rt">つるぎ</seg><seg type="rp">）</seg></seg>の先から煙りとなって吹くかも知れない。しかしてその青年は、夢みる事よりほかに、何らの価値を、人生に認め得ざる一画工の隣りに坐っている。耳をそばだつれば彼が胸に打つ心臓の鼓動さえ聞き得るほど近くに坐っている。その鼓動のうちには、百里の平野を<seg type="ruby"><seg type="rb">捲</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>く高き<seg type="ruby"><seg type="rb">潮</seg><seg type="rp">（</seg><seg type="rt">うしお</seg><seg type="rp">）</seg></seg>が今すでに響いているかも知れぬ。運命は<seg type="ruby"><seg type="rb">卒然</seg><seg type="rp">（</seg><seg type="rt">そつぜん</seg><seg type="rp">）</seg></seg>としてこの二人を一堂のうちに会したるのみにて、その他には何事をも語らぬ。<lb />
<lb />
<seg rend="jisage_8" rendition="div" style="margin-left: 8em"><seg rend="naka-midashi" rendition="h"><seg rend="midashi_anchor" rendition="a" xml:id="midashi90">九</seg></seg></seg>
<lb />
「御勉強ですか」と女が云う。部屋に帰った余は、<seg type="ruby"><seg type="rb">三脚几</seg><seg type="rp">（</seg><seg type="rt">さんきゃくき</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">縛</seg><seg type="rp">（</seg><seg type="rt">しば</seg><seg type="rp">）</seg></seg>りつけた、書物の一冊を<seg type="ruby"><seg type="rb">抽</seg><seg type="rp">（</seg><seg type="rt">ぬ</seg><seg type="rp">）</seg></seg>いて読んでいた。<lb />
「<seg type="ruby"><seg type="rb">御這入</seg><seg type="rp">（</seg><seg type="rt">おはい</seg><seg type="rp">）</seg></seg>りなさい。ちっとも構いません」<lb />
女は遠慮する<seg type="ruby"><seg type="rb">景色</seg><seg type="rp">（</seg><seg type="rt">けしき</seg><seg type="rp">）</seg></seg>もなく、つかつかと這入る。くすんだ<seg type="ruby"><seg type="rb">半襟</seg><seg type="rp">（</seg><seg type="rt">はんえり</seg><seg type="rp">）</seg></seg>の中から、<seg type="ruby"><seg type="rb">恰好</seg><seg type="rp">（</seg><seg type="rt">かっこう</seg><seg type="rp">）</seg></seg>のいい<seg type="ruby"><seg type="rb">頸</seg><seg type="rp">（</seg><seg type="rt">くび</seg><seg type="rp">）</seg></seg>の色が、あざやかに、<seg type="ruby"><seg type="rb">抽</seg><seg type="rp">（</seg><seg type="rt">ぬ</seg><seg type="rp">）</seg></seg>き出ている。女が余の前に坐った時、この頸とこの半襟の対照が第一番に眼についた。<lb />
「西洋の本ですか、むずかしい事が書いてあるでしょうね」<lb />
「なあに」<lb />
「じゃ何が書いてあるんです」<lb />
「そうですね。実はわたしにも、よく分らないんです」<lb />
「ホホホホ。それで御勉強なの」<lb />
「勉強じゃありません。ただ机の上へ、こう<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>けて、開いた所をいい加減に読んでるんです」<lb />
「それで面白いんですか」<lb />
「それが面白いんです」<lb />
「なぜ？」<lb />
「なぜって、小説なんか、そうして読む方が面白いです」<lb />
「よっぽど変っていらっしゃるのね」<lb />
「ええ、ちっと変ってます」<lb />
「初から読んじゃ、どうして悪るいでしょう」<lb />
「初から読まなけりゃならないとすると、しまいまで読まなけりゃならない訳になりましょう」<lb />
「妙な<seg type="ruby"><seg type="rb">理窟</seg><seg type="rp">（</seg><seg type="rt">りくつ</seg><seg type="rp">）</seg></seg>だ事。しまいまで読んだっていいじゃありませんか」<lb />
「無論わるくは、ありませんよ。筋を読む気なら、わたしだって、そうします」<lb />
「筋を読まなけりゃ何を読むんです。筋のほかに何か読むものがありますか」<lb />
余は、やはり女だなと思った。多少試験してやる気になる。<lb />
「あなたは小説が好きですか」<lb />
「私が？」と句を切った女は、あとから「そうですねえ」と<seg type="ruby"><seg type="rb">判然</seg><seg type="rp">（</seg><seg type="rt">はっきり</seg><seg type="rp">）</seg></seg>しない返事をした。あまり好きでもなさそうだ。<lb />
「好きだか、<seg type="ruby"><seg type="rb">嫌</seg><seg type="rp">（</seg><seg type="rt">きらい</seg><seg type="rp">）</seg></seg>だか自分にも解らないんじゃないですか」<lb />
「小説なんか読んだって、読まなくったって……」<lb />
と眼中にはまるで小説の存在を認めていない。<lb />
「それじゃ、初から読んだって、しまいから読んだって、いい加減な所をいい加減に読んだって、いい訳じゃありませんか。あなたのようにそう不思議がらないでもいいでしょう」<lb />
「だって、あなたと私とは違いますもの」<lb />
「どこが？」と余は女の眼の<seg type="ruby"><seg type="rb">中</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>を見詰めた。試験をするのはここだと思ったが、女の<seg type="ruby"><seg type="rb">眸</seg><seg type="rp">（</seg><seg type="rt">ひとみ</seg><seg type="rp">）</seg></seg>は少しも動かない。<lb />
「ホホホホ解りませんか」<lb />
「しかし若いうちは随分御読みなすったろう」余は一本道で押し合うのをやめにして、ちょっと裏へ廻った。<lb />
「今でも若いつもりですよ。<seg type="ruby"><seg type="rb">可哀想</seg><seg type="rp">（</seg><seg type="rt">かわいそう</seg><seg type="rp">）</seg></seg>に」放した<seg type="ruby"><seg type="rb">鷹</seg><seg type="rp">（</seg><seg type="rt">たか</seg><seg type="rp">）</seg></seg>はまたそれかかる。すこしも油断がならん。<lb />
「そんな事が男の前で云えれば、もう年寄のうちですよ」と、やっと引き戻した。<lb />
「そう云うあなたも随分の御年じゃあ、ありませんか。そんなに年をとっても、やっぱり、<seg type="ruby"><seg type="rb">惚</seg><seg type="rp">（</seg><seg type="rt">ほ</seg><seg type="rp">）</seg></seg>れたの、<seg type="ruby"><seg type="rb">腫</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>れたの、にきびが出来たのってえ事が面白いんですか」<lb />
「ええ、面白いんです、死ぬまで面白いんです」<lb />
「おやそう。それだから<seg type="ruby"><seg type="rb">画工</seg><seg type="rp">（</seg><seg type="rt">えかき</seg><seg type="rp">）</seg></seg>なんぞになれるんですね」<lb />
「全くです。画工だから、小説なんか初からしまいまで読む必要はないんです。けれども、どこを読んでも面白いのです。あなたと話をするのも面白い。ここへ<seg type="ruby"><seg type="rb">逗留</seg><seg type="rp">（</seg><seg type="rt">とうりゅう</seg><seg type="rp">）</seg></seg>しているうちは毎日話をしたいくらいです。何ならあなたに惚れ込んでもいい。そうなるとなお面白い。しかしいくら惚れてもあなたと夫婦になる必要はないんです。惚れて夫婦になる必要があるうちは、小説を初からしまいまで読む必要があるんです」<lb />
「すると<seg type="ruby"><seg type="rb">不人情</seg><seg type="rp">（</seg><seg type="rt">ふにんじょう</seg><seg type="rp">）</seg></seg>な惚れ方をするのが画工なんですね」<lb />
「不人情じゃありません。非人情な惚れ方をするんです。小説も非人情で読むから、筋なんかどうでもいいんです。こうして、<seg type="ruby"><seg type="rb">御籤</seg><seg type="rp">（</seg><seg type="rt">おみくじ</seg><seg type="rp">）</seg></seg>を引くように、ぱっと<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>けて、開いた所を、漫然と読んでるのが面白いんです」<lb />
「なるほど面白そうね。じゃ、今あなたが読んでいらっしゃる所を、少し話してちょうだい。どんな面白い事が出てくるか伺いたいから」<lb />
「話しちゃ駄目です。<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>だって話にしちゃ一文の<seg type="ruby"><seg type="rb">価値</seg><seg type="rp">（</seg><seg type="rt">ねうち</seg><seg type="rp">）</seg></seg>もなくなるじゃありませんか」<lb />
「ホホホそれじゃ読んで下さい」<lb />
「英語でですか」<lb />
「いいえ日本語で」<lb />
「英語を日本語で読むのはつらいな」<lb />
「いいじゃありませんか、非人情で」<lb />
これも<seg type="ruby"><seg type="rb">一興</seg><seg type="rp">（</seg><seg type="rt">いっきょう</seg><seg type="rp">）</seg></seg>だろうと思ったから、余は女の<seg type="ruby"><seg type="rb">乞</seg><seg type="rp">（</seg><seg type="rt">こい</seg><seg type="rp">）</seg></seg>に応じて、例の書物をぽつりぽつりと日本語で読み出した。もし世界に非人情な読み方があるとすればまさにこれである。<seg type="ruby"><seg type="rb">聴</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>く女ももとより非人情で聴いている。<lb />
「<seg type="ruby"><seg type="rb">情</seg><seg type="rp">（</seg><seg type="rt">なさ</seg><seg type="rp">）</seg></seg>けの風が女から吹く。声から、眼から、<seg type="ruby"><seg type="rb">肌</seg><seg type="rp">（</seg><seg type="rt">はだえ</seg><seg type="rp">）</seg></seg>から吹く。男に<seg type="ruby"><seg type="rb">扶</seg><seg type="rp">（</seg><seg type="rt">たす</seg><seg type="rp">）</seg></seg>けられて<seg type="ruby"><seg type="rb">舳</seg><seg type="rp">（</seg><seg type="rt">とも</seg><seg type="rp">）</seg></seg>に行く女は、夕暮のヴェニスを<seg type="ruby"><seg type="rb">眺</seg><seg type="rp">（</seg><seg type="rt">なが</seg><seg type="rp">）</seg></seg>むるためか、扶くる男はわが<seg type="ruby"><seg type="rb">脈</seg><seg type="rp">（</seg><seg type="rt">みゃく</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">稲妻</seg><seg type="rp">（</seg><seg type="rt">いなずま</seg><seg type="rp">）</seg></seg>の血を走らすためか。――非人情だから、いい加減ですよ。ところどころ脱けるかも知れません」<lb />
「よござんすとも。御都合次第で、<seg type="ruby"><seg type="rb">御足</seg><seg type="rp">（</seg><seg type="rt">おた</seg><seg type="rp">）</seg></seg>しなすっても構いません」<lb />
「女は男とならんで<seg type="ruby"><seg type="rb">舷</seg><seg type="rp">（</seg><seg type="rt">ふなばた</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">倚</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>る。二人の<seg type="ruby"><seg type="rb">隔</seg><seg type="rp">（</seg><seg type="rt">へだた</seg><seg type="rp">）</seg></seg>りは、風に吹かるるリボンの幅よりも狭い。女は男と共にヴェニスに去らばと云う。ヴェニスなるドウジの<seg type="ruby"><seg type="rb">殿楼</seg><seg type="rp">（</seg><seg type="rt">でんろう</seg><seg type="rp">）</seg></seg>は今第二の日没のごとく、薄赤く消えて行く。……」<lb />
「ドージとは何です」<lb />
「何だって構やしません。<seg type="ruby"><seg type="rb">昔</seg><seg type="rp">（</seg><seg type="rt">むか</seg><seg type="rp">）</seg></seg>しヴェニスを支配した人間の名ですよ。何代つづいたものですかね。その御殿が今でもヴェニスに残ってるんです」<lb />
「それでその男と女と云うのは誰の事なんでしょう」<lb />
「誰だか、わたしにも分らないんだ。それだから面白いのですよ。今までの関係なんかどうでもいいでさあ。ただあなたとわたしのように、こういっしょにいるところなんで、その場限りで面白味があるでしょう」<lb />
「そんなものですかね。何だか船の中のようですね」<lb />
「船でも岡でも、かいてある通りでいいんです。なぜと聞き出すと<seg type="ruby"><seg type="rb">探偵</seg><seg type="rp">（</seg><seg type="rt">たんてい</seg><seg type="rp">）</seg></seg>になってしまうです」<lb />
「ホホホホじゃ聴きますまい」<lb />
「普通の小説はみんな探偵が発明したものですよ。非人情なところがないから、ちっとも<seg type="ruby"><seg type="rb">趣</seg><seg type="rp">（</seg><seg type="rt">おもむき</seg><seg type="rp">）</seg></seg>がない」<lb />
「じゃ非人情の続きを伺いましょう。それから？」<lb />
「ヴェニスは沈みつつ、沈みつつ、ただ空に引く<seg type="ruby"><seg type="rb">一抹</seg><seg type="rp">（</seg><seg type="rt">いちまつ</seg><seg type="rp">）</seg></seg>の淡き線となる。線は切れる。切れて点となる。<seg type="ruby"><seg type="rb">蛋白石</seg><seg type="rp">（</seg><seg type="rt">とんぼだま</seg><seg type="rp">）</seg></seg>の空のなかに<seg type="ruby"><seg type="rb">円</seg><seg type="rp">（</seg><seg type="rt">まる</seg><seg type="rp">）</seg></seg>き柱が、ここ、かしこと立つ。ついには最も高く<seg type="ruby"><seg type="rb">聳</seg><seg type="rp">（</seg><seg type="rt">そび</seg><seg type="rp">）</seg></seg>えたる<seg type="ruby"><seg type="rb">鐘楼</seg><seg type="rp">（</seg><seg type="rt">しゅろう</seg><seg type="rp">）</seg></seg>が沈む。沈んだと女が云う。ヴェニスを去る女の心は空行く風のごとく自由である。されど隠れたるヴェニスは、再び帰らねばならぬ女の心に<seg type="ruby"><seg type="rb">覊絏</seg><seg type="rp">（</seg><seg type="rt">きせつ</seg><seg type="rp">）</seg></seg>の苦しみを与う。男と女は暗き湾の<seg type="ruby"><seg type="rb">方</seg><seg type="rp">（</seg><seg type="rt">かた</seg><seg type="rp">）</seg></seg>に眼を注ぐ。星は次第に増す。柔らかに<seg type="ruby"><seg type="rb">揺</seg><seg type="rp">（</seg><seg type="rt">ゆら</seg><seg type="rp">）</seg></seg>ぐ海は<seg type="ruby"><seg type="rb">泡</seg><seg type="rp">（</seg><seg type="rt">あわ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">濺</seg><seg type="rp">（</seg><seg type="rt">そそ</seg><seg type="rp">）</seg></seg>がず。男は女の手を<seg type="ruby"><seg type="rb">把</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>る。鳴りやまぬ<seg type="ruby"><seg type="rb">弦</seg><seg type="rp">（</seg><seg type="rt">ゆづる</seg><seg type="rp">）</seg></seg>を握った<seg type="ruby"><seg type="rb">心地</seg><seg type="rp">（</seg><seg type="rt">ここち</seg><seg type="rp">）</seg></seg>である。……」<lb />
「あんまり非人情でもないようですね」<lb />
「なにこれが非人情的に聞けるのですよ。しかし<seg type="ruby"><seg type="rb">厭</seg><seg type="rp">（</seg><seg type="rt">いや</seg><seg type="rp">）</seg></seg>なら少々略しましょうか」<lb />
「なに私は大丈夫ですよ」<lb />
「わたしは、あなたよりなお大丈夫です。――それからと、ええと、少しく<seg type="ruby"><seg type="rb">六</seg><seg type="rp">（</seg><seg type="rt">む</seg><seg type="rp">）</seg></seg>ずかしくなって来たな。どうも訳し――いや読みにくい」<lb />
「読みにくければ、<seg type="ruby"><seg type="rb">御略</seg><seg type="rp">（</seg><seg type="rt">おりゃく</seg><seg type="rp">）</seg></seg>しなさい」<lb />
「ええ、いい加減にやりましょう。――この<seg type="ruby"><seg type="rb">一夜</seg><seg type="rp">（</seg><seg type="rt">ひとよ</seg><seg type="rp">）</seg></seg>と女が云う。一夜？ と男がきく。一と限るはつれなし、<seg type="ruby"><seg type="rb">幾夜</seg><seg type="rp">（</seg><seg type="rt">いくよ</seg><seg type="rp">）</seg></seg>を重ねてこそと云う」<lb />
「女が云うんですか、男が云うんですか」<lb />
「男が云うんですよ。何でも女がヴェニスへ帰りたくないのでしょう。それで男が慰める<seg type="ruby"><seg type="rb">語</seg><seg type="rp">（</seg><seg type="rt">ことば</seg><seg type="rp">）</seg></seg>なんです。――真夜中の<seg type="ruby"><seg type="rb">甲板</seg><seg type="rp">（</seg><seg type="rt">かんぱん</seg><seg type="rp">）</seg></seg>に帆綱を枕にして<seg type="ruby"><seg type="rb">横</seg><seg type="rp">（</seg><seg type="rt">よこた</seg><seg type="rp">）</seg></seg>わりたる、男の記憶には、かの瞬時、熱き一滴の血に似たる瞬時、女の手を<seg type="ruby"><seg type="rb">確</seg><seg type="rp">（</seg><seg type="rt">しか</seg><seg type="rp">）</seg></seg>と<seg type="ruby"><seg type="rb">把</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>りたる瞬時が<seg type="ruby"><seg type="rb">大濤</seg><seg type="rp">（</seg><seg type="rt">おおなみ</seg><seg type="rp">）</seg></seg>のごとくに揺れる。男は黒き夜を見上げながら、<seg type="ruby"><seg type="rb">強</seg><seg type="rp">（</seg><seg type="rt">し</seg><seg type="rp">）</seg></seg>いられたる結婚の<seg type="ruby"><seg type="rb">淵</seg><seg type="rp">（</seg><seg type="rt">ふち</seg><seg type="rp">）</seg></seg>より、是非に女を救い出さんと思い定めた。かく思い定めて男は眼を<seg type="ruby"><seg type="rb">閉</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>ずる。――」<lb />
「女は？」<lb />
「女は路に迷いながら、いずこに迷えるかを知らぬ<seg type="ruby"><seg type="rb">様</seg><seg type="rp">（</seg><seg type="rt">さま</seg><seg type="rp">）</seg></seg>である。<seg type="ruby"><seg type="rb">攫</seg><seg type="rp">（</seg><seg type="rt">さら</seg><seg type="rp">）</seg></seg>われて空行く人のごとく、ただ不可思議の千万無量――あとがちょっと読みにくいですよ。どうも句にならない。――ただ不可思議の千万無量――何か動詞はないでしょうか」<lb />
「動詞なんぞいるものですか、それで沢山です」<lb />
「え？」<lb />
<seg type="ruby"><seg type="rb">轟</seg><seg type="rp">（</seg><seg type="rt">ごう</seg><seg type="rp">）</seg></seg>と音がして山の<seg type="ruby"><seg type="rb">樹</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>がことごとく鳴る。思わず顔を見合わす<seg type="ruby"><seg type="rb">途端</seg><seg type="rp">（</seg><seg type="rt">とたん</seg><seg type="rp">）</seg></seg>に、机の上の<seg type="ruby"><seg type="rb">一輪挿</seg><seg type="rp">（</seg><seg type="rt">いちりんざし</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">活</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>けた、<seg type="ruby"><seg type="rb">椿</seg><seg type="rp">（</seg><seg type="rt">つばき</seg><seg type="rp">）</seg></seg>がふらふらと揺れる。「地震！」と小声で叫んだ女は、<seg type="ruby"><seg type="rb">膝</seg><seg type="rp">（</seg><seg type="rt">ひざ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">崩</seg><seg type="rp">（</seg><seg type="rt">くず</seg><seg type="rp">）</seg></seg>して余の机に<seg type="ruby"><seg type="rb">靠</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>りかかる。<seg type="ruby"><seg type="rb">御互</seg><seg type="rp">（</seg><seg type="rt">おたがい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">身躯</seg><seg type="rp">（</seg><seg type="rt">からだ</seg><seg type="rp">）</seg></seg>がすれすれに動く。キキーと<seg type="ruby"><seg type="rb">鋭</seg><seg type="rp">（</seg><seg type="rt">する</seg><seg type="rp">）</seg></seg>どい<seg type="ruby"><seg type="rb">羽摶</seg><seg type="rp">（</seg><seg type="rt">はばたき</seg><seg type="rp">）</seg></seg>をして一羽の<seg type="ruby"><seg type="rb">雉子</seg><seg type="rp">（</seg><seg type="rt">きじ</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">藪</seg><seg type="rp">（</seg><seg type="rt">やぶ</seg><seg type="rp">）</seg></seg>の中から飛び出す。<lb />
「雉子が」と余は窓の外を見て云う。<lb />
「どこに」と女は崩した、からだを<seg type="ruby"><seg type="rb">擦寄</seg><seg type="rp">（</seg><seg type="rt">すりよ</seg><seg type="rp">）</seg></seg>せる。余の顔と女の顔が触れぬばかりに近づく。細い鼻の穴から出る女の<seg type="ruby"><seg type="rb">呼吸</seg><seg type="rp">（</seg><seg type="rt">いき</seg><seg type="rp">）</seg></seg>が余の<seg type="ruby"><seg type="rb">髭</seg><seg type="rp">（</seg><seg type="rt">ひげ</seg><seg type="rp">）</seg></seg>にさわった。<lb />
「非人情ですよ」と女はたちまち<seg type="ruby"><seg type="rb">坐住居</seg><seg type="rp">（</seg><seg type="rt">いずまい</seg><seg type="rp">）</seg></seg>を正しながら<seg type="ruby"><seg type="rb">屹</seg><seg type="rp">（</seg><seg type="rt">きっ</seg><seg type="rp">）</seg></seg>と云う。<lb />
「無論」と<seg type="ruby"><seg type="rb">言下</seg><seg type="rp">（</seg><seg type="rt">ごんか</seg><seg type="rp">）</seg></seg>に余は答えた。<lb />
岩の<seg type="ruby"><seg type="rb">凹</seg><seg type="rp">（</seg><seg type="rt">くぼ</seg><seg type="rp">）</seg></seg>みに<seg type="ruby"><seg type="rb">湛</seg><seg type="rp">（</seg><seg type="rt">たた</seg><seg type="rp">）</seg></seg>えた春の水が、驚ろいて、のたりのたりと<seg type="ruby"><seg type="rb">鈍</seg><seg type="rp">（</seg><seg type="rt">ぬる</seg><seg type="rp">）</seg></seg>く<seg type="ruby"><seg type="rb">揺</seg><seg type="rp">（</seg><seg type="rt">うご</seg><seg type="rp">）</seg></seg>いている。地盤の響きに、<seg type="ruby"><seg type="rb">満泓</seg><seg type="rp">（</seg><seg type="rt">まんおう</seg><seg type="rp">）</seg></seg>の波が底から動くのだから、表面が不規則に曲線を描くのみで、<seg type="ruby"><seg type="rb">砕</seg><seg type="rp">（</seg><seg type="rt">くだ</seg><seg type="rp">）</seg></seg>けた部分はどこにもない。円満に動くと云う語があるとすれば、こんな場合に用いられるのだろう。落ちついて影を<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-91/1-91-44.png" rend="gaiji" rendition="img" source="※(「くさかんむり／（酉＋隹）／れんが」、第3水準1-91-44)" /></seg><seg type="rp">（</seg><seg type="rt">ひた</seg><seg type="rp">）</seg></seg>していた山桜が、水と共に、延びたり縮んだり、曲がったり、くねったりする。しかしどう変化してもやはり明らかに桜の姿を<seg type="ruby"><seg type="rb">保</seg><seg type="rp">（</seg><seg type="rt">たも</seg><seg type="rp">）</seg></seg>っているところが非常に面白い。<lb />
「こいつは愉快だ。<seg type="ruby"><seg type="rb">奇麗</seg><seg type="rp">（</seg><seg type="rt">きれい</seg><seg type="rp">）</seg></seg>で、変化があって。こう云う風に動かなくっちゃ面白くない」<lb />
「人間もそう云う風にさえ動いていれば、いくら動いても大丈夫ですね」<lb />
「非人情でなくっちゃ、こうは動けませんよ」<lb />
「ホホホホ大変非人情が御好きだこと」<lb />
「あなた、だって<seg type="ruby"><seg type="rb">嫌</seg><seg type="rp">（</seg><seg type="rt">きらい</seg><seg type="rp">）</seg></seg>な方じゃありますまい。<seg type="ruby"><seg type="rb">昨日</seg><seg type="rp">（</seg><seg type="rt">きのう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">振袖</seg><seg type="rp">（</seg><seg type="rt">ふりそで</seg><seg type="rp">）</seg></seg>なんか……」と言いかけると、<lb />
「何か<seg type="ruby"><seg type="rb">御褒美</seg><seg type="rp">（</seg><seg type="rt">ごほうび</seg><seg type="rp">）</seg></seg>をちょうだい」と女は急に<seg type="ruby"><seg type="rb">甘</seg><seg type="rp">（</seg><seg type="rt">あま</seg><seg type="rp">）</seg></seg>えるように云った。<lb />
「なぜです」<lb />
「見たいとおっしゃったから、わざわざ、見せて上げたんじゃありませんか」<lb />
「わたしがですか」<lb />
「<seg type="ruby"><seg type="rb">山越</seg><seg type="rp">（</seg><seg type="rt">やまごえ</seg><seg type="rp">）</seg></seg>をなさった<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>の先生が、茶店の婆さんにわざわざ御頼みになったそうで御座います」<lb />
余は何と答えてよいやらちょっと<seg type="ruby"><seg type="rb">挨拶</seg><seg type="rp">（</seg><seg type="rt">あいさつ</seg><seg type="rp">）</seg></seg>が出なかった。女はすかさず、<lb />
「そんな忘れっぽい人に、いくら<seg type="ruby"><seg type="rb">実</seg><seg type="rp">（</seg><seg type="rt">じつ</seg><seg type="rp">）</seg></seg>をつくしても駄目ですわねえ」と<seg type="ruby"><seg type="rb">嘲</seg><seg type="rp">（</seg><seg type="rt">あざ</seg><seg type="rp">）</seg></seg>けるごとく、<seg type="ruby"><seg type="rb">恨</seg><seg type="rp">（</seg><seg type="rt">うら</seg><seg type="rp">）</seg></seg>むがごとく、また<seg type="ruby"><seg type="rb">真向</seg><seg type="rp">（</seg><seg type="rt">まっこう</seg><seg type="rp">）</seg></seg>から切りつけるがごとく二の矢をついだ。だんだん<seg type="ruby"><seg type="rb">旗色</seg><seg type="rp">（</seg><seg type="rt">はたいろ</seg><seg type="rp">）</seg></seg>がわるくなるが、どこで盛り返したものか、いったん機先を制せられると、なかなか<seg type="ruby"><seg type="rb">隙</seg><seg type="rp">（</seg><seg type="rt">すき</seg><seg type="rp">）</seg></seg>を見出しにくい。<lb />
「じゃ<seg type="ruby"><seg type="rb">昨夕</seg><seg type="rp">（</seg><seg type="rt">ゆうべ</seg><seg type="rp">）</seg></seg>の風呂場も、全く御親切からなんですね」と<seg type="ruby"><seg type="rb">際</seg><seg type="rp">（</seg><seg type="rt">きわ</seg><seg type="rp">）</seg></seg>どいところでようやく立て直す。<lb />
女は黙っている。<lb />
「どうも済みません。御礼に何を上げましょう」と出来るだけ先へ出て置く。いくら出ても何の<seg type="ruby"><seg type="rb">利目</seg><seg type="rp">（</seg><seg type="rt">ききめ</seg><seg type="rp">）</seg></seg>もなかった。女は何喰わぬ顔で<seg type="ruby"><seg type="rb">大徹和尚</seg><seg type="rp">（</seg><seg type="rt">だいてつおしょう</seg><seg type="rp">）</seg></seg>の額を<seg type="ruby"><seg type="rb">眺</seg><seg type="rp">（</seg><seg type="rt">なが</seg><seg type="rp">）</seg></seg>めている。やがて、<lb />
「<seg type="ruby"><seg type="rb">竹影</seg><seg type="rp">（</seg><seg type="rt">ちくえい</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">払階</seg><seg type="rp">（</seg><seg type="rt">かいをはらって</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">塵不動</seg><seg type="rp">（</seg><seg type="rt">ちりうごかず</seg><seg type="rp">）</seg></seg>」<lb />
と口のうちで静かに読み<seg type="ruby"><seg type="rb">了</seg><seg type="rp">（</seg><seg type="rt">おわ</seg><seg type="rp">）</seg></seg>って、また余の方へ向き直ったが、急に思い出したように、<lb />
「何ですって」<lb />
と、わざと大きな声で聞いた。その手は喰わない。<lb />
「その坊主にさっき<seg type="ruby"><seg type="rb">逢</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>いましたよ」と地震に<seg type="ruby"><seg type="rb">揺</seg><seg type="rp">（</seg><seg type="rt">ゆ</seg><seg type="rp">）</seg></seg>れた池の水のように円満な動き方をして見せる。<lb />
「<seg type="ruby"><seg type="rb">観海寺</seg><seg type="rp">（</seg><seg type="rt">かんかいじ</seg><seg type="rp">）</seg></seg>の和尚ですか。<seg type="ruby"><seg type="rb">肥</seg><seg type="rp">（</seg><seg type="rt">ふと</seg><seg type="rp">）</seg></seg>ってるでしょう」<lb />
「西洋画で<seg type="ruby"><seg type="rb">唐紙</seg><seg type="rp">（</seg><seg type="rt">からかみ</seg><seg type="rp">）</seg></seg>をかいてくれって、云いましたよ。禅坊さんなんてものは随分<seg type="ruby"><seg type="rb">訳</seg><seg type="rp">（</seg><seg type="rt">わけ</seg><seg type="rp">）</seg></seg>のわからない事を云いますね」<lb />
「それだから、あんなに肥れるんでしょう」<lb />
「それから、もう一人若い人に逢いましたよ。……」<lb />
「<seg type="ruby"><seg type="rb">久一</seg><seg type="rp">（</seg><seg type="rt">きゅういち</seg><seg type="rp">）</seg></seg>でしょう」<lb />
「ええ久一君です」<lb />
「よく御存じです事」<lb />
「なに久一君だけ知ってるんです。そのほかには何にも知りゃしません。口を聞くのが<seg type="ruby"><seg type="rb">嫌</seg><seg type="rp">（</seg><seg type="rt">きらい</seg><seg type="rp">）</seg></seg>な人ですね」<lb />
「なに、遠慮しているんです。まだ小供ですから……」<lb />
「小供って、あなたと同じくらいじゃありませんか」<lb />
「ホホホホそうですか。あれは<seg type="ruby"><seg type="rb">私</seg><seg type="rp">（</seg><seg type="rt">わたく</seg><seg type="rp">）</seg></seg>しの<seg type="ruby"><seg type="rb">従弟</seg><seg type="rp">（</seg><seg type="rt">いとこ</seg><seg type="rp">）</seg></seg>ですが、今度戦地へ行くので、<seg type="ruby"><seg type="rb">暇乞</seg><seg type="rp">（</seg><seg type="rt">いとまごい</seg><seg type="rp">）</seg></seg>に来たのです」<lb />
「ここに<seg type="ruby"><seg type="rb">留</seg><seg type="rp">（</seg><seg type="rt">とま</seg><seg type="rp">）</seg></seg>って、いるんですか」<lb />
「いいえ、兄の<seg type="ruby"><seg type="rb">家</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>におります」<lb />
「じゃ、わざわざ御茶を飲みに来た訳ですね」<lb />
「御茶より<seg type="ruby"><seg type="rb">御白湯</seg><seg type="rp">（</seg><seg type="rt">おゆ</seg><seg type="rp">）</seg></seg>の方が<seg type="ruby"><seg type="rb">好</seg><seg type="rp">（</seg><seg type="rt">すき</seg><seg type="rp">）</seg></seg>なんですよ。父がよせばいいのに、呼ぶものですから。<seg type="ruby"><seg type="rb">麻痺</seg><seg type="rp">（</seg><seg type="rt">しびれ</seg><seg type="rp">）</seg></seg>が切れて困ったでしょう。私がおれば中途から帰してやったんですが……」<lb />
「あなたはどこへいらしったんです。<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>が聞いていましたぜ、また<seg type="ruby"><seg type="rb">一人</seg><seg type="rp">（</seg><seg type="rt">ひとり</seg><seg type="rp">）</seg></seg>散歩かって」<lb />
「ええ鏡の池の方を廻って来ました」<lb />
「その鏡の池へ、わたしも行きたいんだが……」<lb />
「行って御覧なさい」<lb />
「<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>にかくに好い所ですか」<lb />
「身を投げるに好い所です」<lb />
「身はまだなかなか投げないつもりです」<lb />
「私は<seg type="ruby"><seg type="rb">近々</seg><seg type="rp">（</seg><seg type="rt">きんきん</seg><seg type="rp">）</seg></seg>投げるかも知れません」<lb />
余りに女としては思い切った<seg type="ruby"><seg type="rb">冗談</seg><seg type="rp">（</seg><seg type="rt">じょうだん</seg><seg type="rp">）</seg></seg>だから、余はふと顔を上げた。女は存外たしかである。<lb />
「私が身を投げて浮いているところを――苦しんで浮いてるところじゃないんです――やすやすと往生して浮いているところを――奇麗な画にかいて下さい」<lb />
「え？」<lb />
「驚ろいた、驚ろいた、驚ろいたでしょう」<lb />
女はすらりと立ち上る。三歩にして尽くる部屋の入口を出るとき、<seg type="ruby"><seg type="rb">顧</seg><seg type="rp">（</seg><seg type="rt">かえり</seg><seg type="rp">）</seg></seg>みてにこりと笑った。<seg type="ruby"><seg type="rb">茫然</seg><seg type="rp">（</seg><seg type="rt">ぼうぜん</seg><seg type="rp">）</seg></seg>たる事<seg type="ruby"><seg type="rb">多時</seg><seg type="rp">（</seg><seg type="rt">たじ</seg><seg type="rp">）</seg></seg>。<lb />
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<seg rend="jisage_8" rendition="div" style="margin-left: 8em"><seg rend="naka-midashi" rendition="h"><seg rend="midashi_anchor" rendition="a" xml:id="midashi100">十</seg></seg></seg>
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鏡が池へ来て見る。観海寺の裏道の、杉の間から谷へ降りて、向うの山へ登らぬうちに、路は<seg type="ruby"><seg type="rb">二股</seg><seg type="rp">（</seg><seg type="rt">ふたまた</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">岐</seg><seg type="rp">（</seg><seg type="rt">わか</seg><seg type="rp">）</seg></seg>れて、おのずから鏡が池の周囲となる。池の<seg type="ruby"><seg type="rb">縁</seg><seg type="rp">（</seg><seg type="rt">ふち</seg><seg type="rp">）</seg></seg>には<seg type="ruby"><seg type="rb">熊笹</seg><seg type="rp">（</seg><seg type="rt">くまざさ</seg><seg type="rp">）</seg></seg>が多い。ある所は、左右から<seg type="ruby"><seg type="rb">生</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>い重なって、ほとんど音を立てずには通れない。木の間から見ると、池の水は見えるが、どこで始まって、どこで終るか一応廻った上でないと見当がつかぬ。あるいて見ると存外小さい。三丁ほどよりあるまい。ただ非常に不規則な<seg type="ruby"><seg type="rb">形</seg><seg type="rp">（</seg><seg type="rt">かた</seg><seg type="rp">）</seg></seg>ちで、ところどころに岩が自然のまま<seg type="ruby"><seg type="rb">水際</seg><seg type="rp">（</seg><seg type="rt">みずぎわ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">横</seg><seg type="rp">（</seg><seg type="rt">よこた</seg><seg type="rp">）</seg></seg>わっている。縁の高さも、池の形の名状しがたいように、波を打って、色々な起伏を不規則に<seg type="ruby"><seg type="rb">連</seg><seg type="rp">（</seg><seg type="rt">つら</seg><seg type="rp">）</seg></seg>ねている。<lb />
池をめぐりては<seg type="ruby"><seg type="rb">雑木</seg><seg type="rp">（</seg><seg type="rt">ぞうき</seg><seg type="rp">）</seg></seg>が多い。何百本あるか<seg type="ruby"><seg type="rb">勘定</seg><seg type="rp">（</seg><seg type="rt">かんじょう</seg><seg type="rp">）</seg></seg>がし切れぬ。中には、まだ春の芽を吹いておらんのがある。割合に枝の<seg type="ruby"><seg type="rb">繁</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>まない所は、依然として、うららかな春の日を受けて、<seg type="ruby"><seg type="rb">萌</seg><seg type="rp">（</seg><seg type="rt">も</seg><seg type="rp">）</seg></seg>え出でた<seg type="ruby"><seg type="rb">下草</seg><seg type="rp">（</seg><seg type="rt">したぐさ</seg><seg type="rp">）</seg></seg>さえある。<seg type="ruby"><seg type="rb">壺菫</seg><seg type="rp">（</seg><seg type="rt">つぼすみれ</seg><seg type="rp">）</seg></seg>の淡き影が、ちらりちらりとその間に見える。<lb />
日本の菫は眠っている感じである。「<seg type="ruby"><seg type="rb">天来</seg><seg type="rp">（</seg><seg type="rt">てんらい</seg><seg type="rp">）</seg></seg>の奇想のように」、と形容した<seg type="ruby"><seg type="rb">西人</seg><seg type="rp">（</seg><seg type="rt">せいじん</seg><seg type="rp">）</seg></seg>の句はとうていあてはまるまい。こう思う<seg type="ruby"><seg type="rb">途端</seg><seg type="rp">（</seg><seg type="rt">とたん</seg><seg type="rp">）</seg></seg>に余の足はとまった。足がとまれば、<seg type="ruby"><seg type="rb">厭</seg><seg type="rp">（</seg><seg type="rt">いや</seg><seg type="rp">）</seg></seg>になるまでそこにいる。いられるのは、幸福な人である。東京でそんな事をすれば、すぐ電車に引き殺される。電車が殺さなければ巡査が追い立てる。都会は太平の<seg type="ruby"><seg type="rb">民</seg><seg type="rp">（</seg><seg type="rt">たみ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">乞食</seg><seg type="rp">（</seg><seg type="rt">こじき</seg><seg type="rp">）</seg></seg>と間違えて、<seg type="ruby"><seg type="rb">掏摸</seg><seg type="rp">（</seg><seg type="rt">すり</seg><seg type="rp">）</seg></seg>の親分たる<seg type="ruby"><seg type="rb">探偵</seg><seg type="rp">（</seg><seg type="rt">たんてい</seg><seg type="rp">）</seg></seg>に高い月俸を払う所である。<lb />
余は草を<seg type="ruby"><seg type="rb">茵</seg><seg type="rp">（</seg><seg type="rt">しとね</seg><seg type="rp">）</seg></seg>に太平の尻をそろりと<seg type="ruby"><seg type="rb">卸</seg><seg type="rp">（</seg><seg type="rt">おろ</seg><seg type="rp">）</seg></seg>した。ここならば、五六日こうしたなり動かないでも、誰も苦情を持ち出す<seg type="ruby"><seg type="rb">気遣</seg><seg type="rp">（</seg><seg type="rt">きづかい</seg><seg type="rp">）</seg></seg>はない。自然のありがたいところはここにある。いざとなると<seg type="ruby"><seg type="rb">容赦</seg><seg type="rp">（</seg><seg type="rt">ようしゃ</seg><seg type="rp">）</seg></seg>も<seg type="ruby"><seg type="rb">未練</seg><seg type="rp">（</seg><seg type="rt">みれん</seg><seg type="rp">）</seg></seg>もない代りには、人に<seg type="ruby"><seg type="rb">因</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>って取り扱をかえるような軽薄な態度はすこしも見せない。<seg type="ruby"><seg type="rb">岩崎</seg><seg type="rp">（</seg><seg type="rt">いわさき</seg><seg type="rp">）</seg></seg>や<seg type="ruby"><seg type="rb">三井</seg><seg type="rp">（</seg><seg type="rt">みつい</seg><seg type="rp">）</seg></seg>を眼中に置かぬものは、いくらでもいる。冷然として<seg type="ruby"><seg type="rb">古今</seg><seg type="rp">（</seg><seg type="rt">ここん</seg><seg type="rp">）</seg></seg>帝王の権威を<seg type="ruby"><seg type="rb">風馬牛</seg><seg type="rp">（</seg><seg type="rt">ふうばぎゅう</seg><seg type="rp">）</seg></seg>し得るものは自然のみであろう。自然の徳は高く塵界を超越して、対絶の<seg type="ruby"><seg type="rb">平等観</seg><seg type="rp">（</seg><seg type="rt">びょうどうかん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">無辺際</seg><seg type="rp">（</seg><seg type="rt">むへんさい</seg><seg type="rp">）</seg></seg>に樹立している。天下の<seg type="ruby"><seg type="rb">羣小</seg><seg type="rp">（</seg><seg type="rt">ぐんしょう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">麾</seg><seg type="rp">（</seg><seg type="rt">さしまね</seg><seg type="rp">）</seg></seg>いで、いたずらにタイモンの<seg type="ruby"><seg type="rb">憤</seg><seg type="rp">（</seg><seg type="rt">いきどお</seg><seg type="rp">）</seg></seg>りを招くよりは、<seg type="ruby"><seg type="rb">蘭</seg><seg type="rp">（</seg><seg type="rt">らん</seg><seg type="rp">）</seg></seg>を九<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-88/1-88-43.png" rend="gaiji" rendition="img" source="※(「田＋宛」、第3水準1-88-43)" /></seg><seg type="rp">（</seg><seg type="rt">えん</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">滋</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>き、<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-91/1-91-24.png" rend="gaiji" rendition="img" source="※(「くさかんむり／惠」、第3水準1-91-24)" /></seg><seg type="rp">（</seg><seg type="rt">けい</seg><seg type="rp">）</seg></seg>を百<seg type="ruby"><seg type="rb">畦</seg><seg type="rp">（</seg><seg type="rt">けい</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">樹</seg><seg type="rp">（</seg><seg type="rt">う</seg><seg type="rp">）</seg></seg>えて、<seg type="ruby"><seg type="rb">独</seg><seg type="rp">（</seg><seg type="rt">ひと</seg><seg type="rp">）</seg></seg>りその<seg type="ruby"><seg type="rb">裏</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">起臥</seg><seg type="rp">（</seg><seg type="rt">きが</seg><seg type="rp">）</seg></seg>する方が遥かに得策である。余は公平と云い<seg type="ruby"><seg type="rb">無私</seg><seg type="rp">（</seg><seg type="rt">むし</seg><seg type="rp">）</seg></seg>と云う。さほど<seg type="ruby"><seg type="rb">大事</seg><seg type="rp">（</seg><seg type="rt">だいじ</seg><seg type="rp">）</seg></seg>なものならば、日に千人の<seg type="ruby"><seg type="rb">小賊</seg><seg type="rp">（</seg><seg type="rt">しょうぞく</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">戮</seg><seg type="rp">（</seg><seg type="rt">りく</seg><seg type="rp">）</seg></seg>して、<seg type="ruby"><seg type="rb">満圃</seg><seg type="rp">（</seg><seg type="rt">まんぽ</seg><seg type="rp">）</seg></seg>の草花を彼らの<seg type="ruby"><seg type="rb">屍</seg><seg type="rp">（</seg><seg type="rt">しかばね</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">培養</seg><seg type="rp">（</seg><seg type="rt">つちか</seg><seg type="rp">）</seg></seg>うがよかろう。<lb />
何だか<seg type="ruby"><seg type="rb">考</seg><seg type="rp">（</seg><seg type="rt">かんがえ</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">理</seg><seg type="rp">（</seg><seg type="rt">り</seg><seg type="rp">）</seg></seg>に落ちていっこうつまらなくなった。こんな中学程度の<seg type="ruby"><seg type="rb">観想</seg><seg type="rp">（</seg><seg type="rt">かんそう</seg><seg type="rp">）</seg></seg>を練りにわざわざ、鏡が池まで来はせぬ。<seg type="ruby"><seg type="rb">袂</seg><seg type="rp">（</seg><seg type="rt">たもと</seg><seg type="rp">）</seg></seg>から<seg type="ruby"><seg type="rb">煙草</seg><seg type="rp">（</seg><seg type="rt">たばこ</seg><seg type="rp">）</seg></seg>を出して、<seg type="ruby"><seg type="rb">寸燐</seg><seg type="rp">（</seg><seg type="rt">マッチ</seg><seg type="rp">）</seg></seg>をシュッと<seg type="ruby"><seg type="rb">擦</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>る。<seg type="ruby"><seg type="rb">手応</seg><seg type="rp">（</seg><seg type="rt">てごたえ</seg><seg type="rp">）</seg></seg>はあったが火は見えない。<seg type="ruby"><seg type="rb">敷島</seg><seg type="rp">（</seg><seg type="rt">しきしま</seg><seg type="rp">）</seg></seg>のさきに付けて吸ってみると、鼻から煙が出た。なるほど、吸ったんだなとようやく気がついた。<seg type="ruby"><seg type="rb">寸燐</seg><seg type="rp">（</seg><seg type="rt">マッチ</seg><seg type="rp">）</seg></seg>は短かい草のなかで、しばらく<seg type="ruby"><seg type="rb">雨竜</seg><seg type="rp">（</seg><seg type="rt">あまりょう</seg><seg type="rp">）</seg></seg>のような細い煙りを吐いて、すぐ<seg type="ruby"><seg type="rb">寂滅</seg><seg type="rp">（</seg><seg type="rt">じゃくめつ</seg><seg type="rp">）</seg></seg>した。席をずらせてだんだん<seg type="ruby"><seg type="rb">水際</seg><seg type="rp">（</seg><seg type="rt">みずぎわ</seg><seg type="rp">）</seg></seg>まで出て見る。余が茵は天然に池のなかに、ながれ込んで、足を<seg type="ruby"><seg type="rb">浸</seg><seg type="rp">（</seg><seg type="rt">ひた</seg><seg type="rp">）</seg></seg>せば<seg type="ruby"><seg type="rb">生温</seg><seg type="rp">（</seg><seg type="rt">なまぬる</seg><seg type="rp">）</seg></seg>い水につくかも知れぬと云う<seg type="ruby"><seg type="rb">間際</seg><seg type="rp">（</seg><seg type="rt">まぎわ</seg><seg type="rp">）</seg></seg>で、とまる。水を<seg type="ruby"><seg type="rb">覗</seg><seg type="rp">（</seg><seg type="rt">のぞ</seg><seg type="rp">）</seg></seg>いて見る。<lb />
眼の届く所はさまで深そうにもない。底には細長い<seg type="ruby"><seg type="rb">水草</seg><seg type="rp">（</seg><seg type="rt">みずぐさ</seg><seg type="rp">）</seg></seg>が、<seg type="ruby"><seg type="rb">往生</seg><seg type="rp">（</seg><seg type="rt">おうじょう</seg><seg type="rp">）</seg></seg>して沈んでいる。余は往生と云うよりほかに形容すべき言葉を知らぬ。岡の<seg type="ruby"><seg type="rb">薄</seg><seg type="rp">（</seg><seg type="rt">すすき</seg><seg type="rp">）</seg></seg>なら<seg type="ruby"><seg type="rb">靡</seg><seg type="rp">（</seg><seg type="rt">なび</seg><seg type="rp">）</seg></seg>く事を知っている。<seg type="ruby"><seg type="rb">藻</seg><seg type="rp">（</seg><seg type="rt">も</seg><seg type="rp">）</seg></seg>の草ならば<seg type="ruby"><seg type="rb">誘</seg><seg type="rp">（</seg><seg type="rt">さそ</seg><seg type="rp">）</seg></seg>う波の<seg type="ruby"><seg type="rb">情</seg><seg type="rp">（</seg><seg type="rt">なさ</seg><seg type="rp">）</seg></seg>けを待つ。百年待っても動きそうもない、水の底に沈められたこの水草は、動くべきすべての姿勢を<seg type="ruby"><seg type="rb">調</seg><seg type="rp">（</seg><seg type="rt">ととの</seg><seg type="rp">）</seg></seg>えて、朝な夕なに、<seg type="ruby"><seg type="rb">弄</seg><seg type="rp">（</seg><seg type="rt">なぶ</seg><seg type="rp">）</seg></seg>らるる期を、待ち暮らし、待ち明かし、<seg type="ruby"><seg type="rb">幾代</seg><seg type="rp">（</seg><seg type="rt">いくよ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">思</seg><seg type="rp">（</seg><seg type="rt">おもい</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">茎</seg><seg type="rp">（</seg><seg type="rt">くき</seg><seg type="rp">）</seg></seg>の先に<seg type="ruby"><seg type="rb">籠</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>めながら、今に至るまでついに動き得ずに、また死に切れずに、生きているらしい。<lb />
余は立ち上がって、草の中から、手頃の石を二つ拾って来る。<seg type="ruby"><seg type="rb">功徳</seg><seg type="rp">（</seg><seg type="rt">くどく</seg><seg type="rp">）</seg></seg>になると思ったから、眼の先へ、一つ<seg type="ruby"><seg type="rb">抛</seg><seg type="rp">（</seg><seg type="rt">ほう</seg><seg type="rp">）</seg></seg>り込んでやる。ぶくぶくと<seg type="ruby"><seg type="rb">泡</seg><seg type="rp">（</seg><seg type="rt">あわ</seg><seg type="rp">）</seg></seg>が二つ浮いて、すぐ消えた。すぐ消えた、すぐ消えたと、余は心のうちで繰り返す。すかして見ると、<seg type="ruby"><seg type="rb">三茎</seg><seg type="rp">（</seg><seg type="rt">みくき</seg><seg type="rp">）</seg></seg>ほどの長い髪が、<seg type="ruby"><seg type="rb">慵</seg><seg type="rp">（</seg><seg type="rt">ものうげ</seg><seg type="rp">）</seg></seg>に揺れかかっている。見つかってはと云わぬばかりに、濁った水が底の方から隠しに来る。<seg type="ruby"><seg type="rb">南無阿弥陀仏</seg><seg type="rp">（</seg><seg type="rt">なむあみだぶつ</seg><seg type="rp">）</seg></seg>。<lb />
今度は思い切って、懸命に<seg type="ruby"><seg type="rb">真中</seg><seg type="rp">（</seg><seg type="rt">まんなか</seg><seg type="rp">）</seg></seg>へなげる。ぽかんと<seg type="ruby"><seg type="rb">幽</seg><seg type="rp">（</seg><seg type="rt">かす</seg><seg type="rp">）</seg></seg>かに音がした。静かなるものは決して取り合わない。もう<seg type="ruby"><seg type="rb">抛</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>げる気も無くなった。絵の具箱と帽子を置いたまま右手へ廻る。<lb />
二間余りを<seg type="ruby"><seg type="rb">爪先上</seg><seg type="rp">（</seg><seg type="rt">つまさきあ</seg><seg type="rp">）</seg></seg>がりに登る。頭の上には大きな<seg type="ruby"><seg type="rb">樹</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>がかぶさって、<seg type="ruby"><seg type="rb">身体</seg><seg type="rp">（</seg><seg type="rt">からだ</seg><seg type="rp">）</seg></seg>が急に寒くなる。向う岸の暗い所に<seg type="ruby"><seg type="rb">椿</seg><seg type="rp">（</seg><seg type="rt">つばき</seg><seg type="rp">）</seg></seg>が咲いている。椿の葉は緑が深すぎて、昼見ても、<seg type="ruby"><seg type="rb">日向</seg><seg type="rp">（</seg><seg type="rt">ひなた</seg><seg type="rp">）</seg></seg>で見ても、軽快な感じはない。ことにこの椿は<seg type="ruby"><seg type="rb">岩角</seg><seg type="rp">（</seg><seg type="rt">いわかど</seg><seg type="rp">）</seg></seg>を、奥へ二三間<seg type="ruby"><seg type="rb">遠退</seg><seg type="rp">（</seg><seg type="rt">とおの</seg><seg type="rp">）</seg></seg>いて、花がなければ、何があるか気のつかない所に<seg type="ruby"><seg type="rb">森閑</seg><seg type="rp">（</seg><seg type="rt">しんかん</seg><seg type="rp">）</seg></seg>として、かたまっている。その花が！ 一日<seg type="ruby"><seg type="rb">勘定</seg><seg type="rp">（</seg><seg type="rt">かんじょう</seg><seg type="rp">）</seg></seg>しても無論勘定し切れぬほど多い。しかし眼がつけば是非勘定したくなるほど<seg type="ruby"><seg type="rb">鮮</seg><seg type="rp">（</seg><seg type="rt">あざや</seg><seg type="rp">）</seg></seg>かである。ただ鮮かと云うばかりで、いっこう陽気な感じがない。ぱっと燃え立つようで、思わず、気を<seg type="ruby"><seg type="rb">奪</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>られた、<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">あと</seg><seg type="rp">）</seg></seg>は何だか<seg type="ruby"><seg type="rb">凄</seg><seg type="rp">（</seg><seg type="rt">すご</seg><seg type="rp">）</seg></seg>くなる。あれほど人を<seg type="ruby"><seg type="rb">欺</seg><seg type="rp">（</seg><seg type="rt">だま</seg><seg type="rp">）</seg></seg>す花はない。余は<seg type="ruby"><seg type="rb">深山椿</seg><seg type="rp">（</seg><seg type="rt">みやまつばき</seg><seg type="rp">）</seg></seg>を見るたびにいつでも<seg type="ruby"><seg type="rb">妖女</seg><seg type="rp">（</seg><seg type="rt">ようじょ</seg><seg type="rp">）</seg></seg>の姿を連想する。黒い眼で人を釣り寄せて、しらぬ間に、<seg type="ruby"><seg type="rb">嫣然</seg><seg type="rp">（</seg><seg type="rt">えんぜん</seg><seg type="rp">）</seg></seg>たる毒を血管に吹く。<seg type="ruby"><seg type="rb">欺</seg><seg type="rp">（</seg><seg type="rt">あざむ</seg><seg type="rp">）</seg></seg>かれたと<seg type="ruby"><seg type="rb">悟</seg><seg type="rp">（</seg><seg type="rt">さと</seg><seg type="rp">）</seg></seg>った頃はすでに遅い。向う側の椿が眼に<seg type="ruby"><seg type="rb">入</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>った時、余は、ええ、見なければよかったと思った。あの花の色はただの赤ではない。眼を<seg type="ruby"><seg type="rb">醒</seg><seg type="rp">（</seg><seg type="rt">さま</seg><seg type="rp">）</seg></seg>すほどの<seg type="ruby"><seg type="rb">派出</seg><seg type="rp">（</seg><seg type="rt">はで</seg><seg type="rp">）</seg></seg>やかさの奥に、言うに言われぬ沈んだ調子を持っている。<seg type="ruby"><seg type="rb">悄然</seg><seg type="rp">（</seg><seg type="rt">しょうぜん</seg><seg type="rp">）</seg></seg>として<seg type="ruby"><seg type="rb">萎</seg><seg type="rp">（</seg><seg type="rt">しお</seg><seg type="rp">）</seg></seg>れる<seg type="ruby"><seg type="rb">雨中</seg><seg type="rp">（</seg><seg type="rt">うちゅう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">梨花</seg><seg type="rp">（</seg><seg type="rt">りか</seg><seg type="rp">）</seg></seg>には、ただ憐れな感じがする。冷やかに<seg type="ruby"><seg type="rb">艶</seg><seg type="rp">（</seg><seg type="rt">えん</seg><seg type="rp">）</seg></seg>なる<seg type="ruby"><seg type="rb">月下</seg><seg type="rp">（</seg><seg type="rt">げっか</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">海棠</seg><seg type="rp">（</seg><seg type="rt">かいどう</seg><seg type="rp">）</seg></seg>には、ただ愛らしい気持ちがする。椿の沈んでいるのは全く違う。黒ずんだ、毒気のある、恐ろし<seg type="ruby"><seg type="rb">味</seg><seg type="rp">（</seg><seg type="rt">み</seg><seg type="rp">）</seg></seg>を帯びた調子である。この調子を底に持って、<seg type="ruby"><seg type="rb">上部</seg><seg type="rp">（</seg><seg type="rt">うわべ</seg><seg type="rp">）</seg></seg>はどこまでも派出に<seg type="ruby"><seg type="rb">装</seg><seg type="rp">（</seg><seg type="rt">よそお</seg><seg type="rp">）</seg></seg>っている。しかも人に<seg type="ruby"><seg type="rb">媚</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>ぶる<seg type="ruby"><seg type="rb">態</seg><seg type="rp">（</seg><seg type="rt">さま</seg><seg type="rp">）</seg></seg>もなければ、ことさらに人を招く様子も見えぬ。ぱっと咲き、ぽたりと落ち、ぽたりと落ち、ぱっと咲いて、幾百年の<seg type="ruby"><seg type="rb">星霜</seg><seg type="rp">（</seg><seg type="rt">せいそう</seg><seg type="rp">）</seg></seg>を、人目にかからぬ山陰に落ちつき払って暮らしている。ただ<seg type="ruby"><seg type="rb">一眼</seg><seg type="rp">（</seg><seg type="rt">ひとめ</seg><seg type="rp">）</seg></seg>見たが最後！ 見た人は彼女の魔力から<seg type="ruby"><seg type="rb">金輪際</seg><seg type="rp">（</seg><seg type="rt">こんりんざい</seg><seg type="rp">）</seg></seg>、<seg type="ruby"><seg type="rb">免</seg><seg type="rp">（</seg><seg type="rt">のが</seg><seg type="rp">）</seg></seg>るる事は出来ない。あの色はただの赤ではない。<seg type="ruby"><seg type="rb">屠</seg><seg type="rp">（</seg><seg type="rt">ほふ</seg><seg type="rp">）</seg></seg>られたる<seg type="ruby"><seg type="rb">囚人</seg><seg type="rp">（</seg><seg type="rt">しゅうじん</seg><seg type="rp">）</seg></seg>の血が、<seg type="ruby"><seg type="rb">自</seg><seg type="rp">（</seg><seg type="rt">おの</seg><seg type="rp">）</seg></seg>ずから人の眼を<seg type="ruby"><seg type="rb">惹</seg><seg type="rp">（</seg><seg type="rt">ひ</seg><seg type="rp">）</seg></seg>いて、自から人の心を不快にするごとく一種異様な赤である。<lb />
見ていると、ぽたり赤い奴が水の上に落ちた。静かな春に動いたものはただこの一輪である。しばらくするとまたぽたり落ちた。あの花は決して散らない。<seg type="ruby"><seg type="rb">崩</seg><seg type="rp">（</seg><seg type="rt">くず</seg><seg type="rp">）</seg></seg>れるよりも、かたまったまま枝を離れる。枝を離れるときは一度に離れるから、<seg type="ruby"><seg type="rb">未練</seg><seg type="rp">（</seg><seg type="rt">みれん</seg><seg type="rp">）</seg></seg>のないように見えるが、落ちてもかたまっているところは、何となく毒々しい。またぽたり落ちる。ああやって落ちているうちに、池の水が赤くなるだろうと考えた。花が静かに浮いている<seg type="ruby"><seg type="rb">辺</seg><seg type="rp">（</seg><seg type="rt">あたり</seg><seg type="rp">）</seg></seg>は今でも少々赤いような気がする。また落ちた。地の上へ落ちたのか、水の上へ落ちたのか、区別がつかぬくらい静かに浮く。また落ちる。あれが沈む事があるだろうかと思う。<seg type="ruby"><seg type="rb">年々</seg><seg type="rp">（</seg><seg type="rt">ねんねん</seg><seg type="rp">）</seg></seg>落ち尽す幾万輪の椿は、水につかって、色が<seg type="ruby"><seg type="rb">溶</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>け出して、腐って泥になって、ようやく底に沈むのかしらん。幾千年の後にはこの古池が、人の知らぬ<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>に、落ちた椿のために、<seg type="ruby"><seg type="rb">埋</seg><seg type="rp">（</seg><seg type="rt">うず</seg><seg type="rp">）</seg></seg>もれて、元の<seg type="ruby"><seg type="rb">平地</seg><seg type="rp">（</seg><seg type="rt">ひらち</seg><seg type="rp">）</seg></seg>に戻るかも知れぬ。また一つ大きいのが血を塗った、<seg type="ruby"><seg type="rb">人魂</seg><seg type="rp">（</seg><seg type="rt">ひとだま</seg><seg type="rp">）</seg></seg>のように落ちる。また落ちる。ぽたりぽたりと落ちる。際限なく落ちる。<lb />
こんな所へ美しい女の浮いているところをかいたら、どうだろうと思いながら、元の所へ帰って、また煙草を<seg type="ruby"><seg type="rb">呑</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>んで、ぼんやり考え込む。<seg type="ruby"><seg type="rb">温泉場</seg><seg type="rp">（</seg><seg type="rt">ゆば</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">御那美</seg><seg type="rp">（</seg><seg type="rt">おなみ</seg><seg type="rp">）</seg></seg>さんが<seg type="ruby"><seg type="rb">昨日</seg><seg type="rp">（</seg><seg type="rt">きのう</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">冗談</seg><seg type="rp">（</seg><seg type="rt">じょうだん</seg><seg type="rp">）</seg></seg>に云った言葉が、うねりを打って、記憶のうちに寄せてくる。心は<seg type="ruby"><seg type="rb">大浪</seg><seg type="rp">（</seg><seg type="rt">おおなみ</seg><seg type="rp">）</seg></seg>にのる一枚の<seg type="ruby"><seg type="rb">板子</seg><seg type="rp">（</seg><seg type="rt">いたご</seg><seg type="rp">）</seg></seg>のように揺れる。あの顔を<seg type="ruby"><seg type="rb">種</seg><seg type="rp">（</seg><seg type="rt">たね</seg><seg type="rp">）</seg></seg>にして、あの椿の下に浮かせて、上から椿を幾輪も落とす。椿が<seg type="ruby"><seg type="rb">長</seg><seg type="rp">（</seg><seg type="rt">とこしな</seg><seg type="rp">）</seg></seg>えに落ちて、女が長えに水に浮いている感じをあらわしたいが、それが<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>でかけるだろうか。かのラオコーンには――ラオコーンなどはどうでも構わない。原理に<seg type="ruby"><seg type="rb">背</seg><seg type="rp">（</seg><seg type="rt">そむ</seg><seg type="rp">）</seg></seg>いても、背かなくっても、そう云う心持ちさえ出ればいい。しかし人間を離れないで人間以上の永久と云う感じを出すのは容易な事ではない。第一顔に困る。あの顔を借りるにしても、あの表情では駄目だ。苦痛が勝ってはすべてを<seg type="ruby"><seg type="rb">打</seg><seg type="rp">（</seg><seg type="rt">う</seg><seg type="rp">）</seg></seg>ち<seg type="ruby"><seg type="rb">壊</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>わしてしまう。と云ってむやみに気楽ではなお困る。<seg type="ruby"><seg type="rb">一層</seg><seg type="rp">（</seg><seg type="rt">いっそ</seg><seg type="rp">）</seg></seg>ほかの顔にしては、どうだろう。あれか、これかと指を折って見るが、どうも<seg type="ruby"><seg type="rb">思</seg><seg type="rp">（</seg><seg type="rt">おもわ</seg><seg type="rp">）</seg></seg>しくない。やはり御那美さんの顔が一番似合うようだ。しかし何だか物足らない。物足らないとまでは気がつくが、どこが物足らないかが、<seg type="ruby"><seg type="rb">吾</seg><seg type="rp">（</seg><seg type="rt">われ</seg><seg type="rp">）</seg></seg>ながら不明である。したがって自己の想像でいい加減に作り<seg type="ruby"><seg type="rb">易</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>える訳に行かない。あれに<seg type="ruby"><seg type="rb">嫉<seg facs="../../../gaiji/1-15/1-15-76.png" rend="gaiji" rendition="img" source="※(「女＋戸の旧字」、第3水準1-15-76)" /></seg><seg type="rp">（</seg><seg type="rt">しっと</seg><seg type="rp">）</seg></seg>を加えたら、どうだろう。嫉<seg facs="../../../gaiji/1-15/1-15-76.png" rend="gaiji" rendition="img" source="※(「女＋戸の旧字」、第3水準1-15-76)" />では不安の感が多過ぎる。<seg type="ruby"><seg type="rb">憎悪</seg><seg type="rp">（</seg><seg type="rt">ぞうお</seg><seg type="rp">）</seg></seg>はどうだろう。憎悪は<seg type="ruby"><seg type="rb">烈</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>げし過ぎる。<seg type="ruby"><seg type="rb">怒</seg><seg type="rp">（</seg><seg type="rt">いかり</seg><seg type="rp">）</seg></seg>？ 怒では全然調和を破る。<seg type="ruby"><seg type="rb">恨</seg><seg type="rp">（</seg><seg type="rt">うらみ</seg><seg type="rp">）</seg></seg>？ 恨でも<seg type="ruby"><seg type="rb">春恨</seg><seg type="rp">（</seg><seg type="rt">しゅんこん</seg><seg type="rp">）</seg></seg>とか云う、詩的のものならば格別、ただの恨では余り俗である。いろいろに考えた末、しまいにようやくこれだと気がついた。多くある<seg type="ruby"><seg type="rb">情緒</seg><seg type="rp">（</seg><seg type="rt">じょうしょ</seg><seg type="rp">）</seg></seg>のうちで、<seg type="ruby"><seg type="rb">憐</seg><seg type="rp">（</seg><seg type="rt">あわ</seg><seg type="rp">）</seg></seg>れと云う字のあるのを忘れていた。憐れは神の知らぬ<seg type="ruby"><seg type="rb">情</seg><seg type="rp">（</seg><seg type="rt">じょう</seg><seg type="rp">）</seg></seg>で、しかも神にもっとも近き人間の情である。御那美さんの表情のうちにはこの憐れの念が少しもあらわれておらぬ。そこが物足らぬのである。ある<seg type="ruby"><seg type="rb">咄嗟</seg><seg type="rp">（</seg><seg type="rt">とっさ</seg><seg type="rp">）</seg></seg>の衝動で、この情があの女の<seg type="ruby"><seg type="rb">眉宇</seg><seg type="rp">（</seg><seg type="rt">びう</seg><seg type="rp">）</seg></seg>にひらめいた瞬時に、わが<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">成就</seg><seg type="rp">（</seg><seg type="rt">じょうじゅ</seg><seg type="rp">）</seg></seg>するであろう。しかし――いつそれが見られるか解らない。あの女の顔に普段充満しているものは、人を馬鹿にする<seg type="ruby"><seg type="rb">微笑</seg><seg type="rp">（</seg><seg type="rt">うすわらい</seg><seg type="rp">）</seg></seg>と、勝とう、勝とうと<seg type="ruby"><seg type="rb">焦</seg><seg type="rp">（</seg><seg type="rt">あせ</seg><seg type="rp">）</seg></seg>る八の字のみである。あれだけでは、とても物にならない。<lb />
がさりがさりと足音がする。<seg type="ruby"><seg type="rb">胸裏</seg><seg type="rp">（</seg><seg type="rt">きょうり</seg><seg type="rp">）</seg></seg>の図案は三<seg type="ruby"><seg type="rb">分</seg><seg type="rp">（</seg><seg type="rt">ぶ</seg><seg type="rp">）</seg></seg>二で<seg type="ruby"><seg type="rb">崩</seg><seg type="rp">（</seg><seg type="rt">くず</seg><seg type="rp">）</seg></seg>れた。見ると、<seg type="ruby"><seg type="rb">筒袖</seg><seg type="rp">（</seg><seg type="rt">つつそで</seg><seg type="rp">）</seg></seg>を着た男が、<seg type="ruby"><seg type="rb">背</seg><seg type="rp">（</seg><seg type="rt">せ</seg><seg type="rp">）</seg></seg>へ<seg type="ruby"><seg type="rb">薪</seg><seg type="rp">（</seg><seg type="rt">まき</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">載</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>せて、<seg type="ruby"><seg type="rb">熊笹</seg><seg type="rp">（</seg><seg type="rt">くまざさ</seg><seg type="rp">）</seg></seg>のなかを観海寺の方へわたってくる。隣りの山からおりて来たのだろう。<lb />
「よい御天気で」と<seg type="ruby"><seg type="rb">手拭</seg><seg type="rp">（</seg><seg type="rt">てぬぐい</seg><seg type="rp">）</seg></seg>をとって<seg type="ruby"><seg type="rb">挨拶</seg><seg type="rp">（</seg><seg type="rt">あいさつ</seg><seg type="rp">）</seg></seg>する。腰を<seg type="ruby"><seg type="rb">屈</seg><seg type="rp">（</seg><seg type="rt">かが</seg><seg type="rp">）</seg></seg>める<seg type="ruby"><seg type="rb">途端</seg><seg type="rp">（</seg><seg type="rt">とたん</seg><seg type="rp">）</seg></seg>に、三尺帯に<seg type="ruby"><seg type="rb">落</seg><seg type="rp">（</seg><seg type="rt">おと</seg><seg type="rp">）</seg></seg>した<seg type="ruby"><seg type="rb">鉈</seg><seg type="rp">（</seg><seg type="rt">なた</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">刃</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>がぴかりと光った。四十<seg type="ruby"><seg type="rb">恰好</seg><seg type="rp">（</seg><seg type="rt">がっこう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">逞</seg><seg type="rp">（</seg><seg type="rt">たくま</seg><seg type="rp">）</seg></seg>しい男である。どこかで見たようだ。男は旧知のように<seg type="ruby"><seg type="rb">馴々</seg><seg type="rp">（</seg><seg type="rt">なれなれ</seg><seg type="rp">）</seg></seg>しい。<lb />
「<seg type="ruby"><seg type="rb">旦那</seg><seg type="rp">（</seg><seg type="rt">だんな</seg><seg type="rp">）</seg></seg>も画を<seg type="ruby"><seg type="rb">御描</seg><seg type="rp">（</seg><seg type="rt">おか</seg><seg type="rp">）</seg></seg>きなさるか」余の絵の具箱は<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>けてあった。<lb />
「ああ。この池でも<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>こうと思って来て見たが、<seg type="ruby"><seg type="rb">淋</seg><seg type="rp">（</seg><seg type="rt">さみ</seg><seg type="rp">）</seg></seg>しい所だね。誰も通らない」<lb />
「はあい。まことに山の中で……旦那あ、<seg type="ruby"><seg type="rb">峠</seg><seg type="rp">（</seg><seg type="rt">とうげ</seg><seg type="rp">）</seg></seg>で<seg type="ruby"><seg type="rb">御降</seg><seg type="rp">（</seg><seg type="rt">おふ</seg><seg type="rp">）</seg></seg>られなさって、さぞ御困りでござんしたろ」<lb />
「え？ うん<seg type="ruby"><seg type="rb">御前</seg><seg type="rp">（</seg><seg type="rt">おまえ</seg><seg type="rp">）</seg></seg>はあの時の<seg type="ruby"><seg type="rb">馬子</seg><seg type="rp">（</seg><seg type="rt">まご</seg><seg type="rp">）</seg></seg>さんだね」<lb />
「はあい。こうやって<seg type="ruby"><seg type="rb">薪</seg><seg type="rp">（</seg><seg type="rt">たきぎ</seg><seg type="rp">）</seg></seg>を切っては<seg type="ruby"><seg type="rb">城下</seg><seg type="rp">（</seg><seg type="rt">じょうか</seg><seg type="rp">）</seg></seg>へ持って出ます」と源兵衛は荷を<seg type="ruby"><seg type="rb">卸</seg><seg type="rp">（</seg><seg type="rt">おろ</seg><seg type="rp">）</seg></seg>して、その上へ腰をかける。<seg type="ruby"><seg type="rb">煙草入</seg><seg type="rp">（</seg><seg type="rt">たばこいれ</seg><seg type="rp">）</seg></seg>を出す。古いものだ。紙だか<seg type="ruby"><seg type="rb">革</seg><seg type="rp">（</seg><seg type="rt">かわ</seg><seg type="rp">）</seg></seg>だか分らない。余は<seg type="ruby"><seg type="rb">寸燐</seg><seg type="rp">（</seg><seg type="rt">マッチ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">借</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>してやる。<lb />
「あんな所を毎日越すなあ大変だね」<lb />
「なあに、馴れていますから――それに毎日は越しません。<seg type="ruby"><seg type="rb">三日</seg><seg type="rp">（</seg><seg type="rt">みっか</seg><seg type="rp">）</seg></seg>に一<seg type="ruby"><seg type="rb">返</seg><seg type="rp">（</seg><seg type="rt">ぺん</seg><seg type="rp">）</seg></seg>、ことによると<seg type="ruby"><seg type="rb">四日目</seg><seg type="rp">（</seg><seg type="rt">よっかめ</seg><seg type="rp">）</seg></seg>くらいになります」<lb />
「四日に一<seg type="ruby"><seg type="rb">返</seg><seg type="rp">（</seg><seg type="rt">ぺん</seg><seg type="rp">）</seg></seg>でも御免だ」<lb />
「アハハハハ。馬が<seg type="ruby"><seg type="rb">不憫</seg><seg type="rp">（</seg><seg type="rt">ふびん</seg><seg type="rp">）</seg></seg>ですから四日目くらいにして置きます」<lb />
「そりゃあ、どうも。自分より馬の方が大事なんだね。ハハハハ」<lb />
「それほどでもないんで……」<lb />
「時にこの池はよほど古いもんだね。全体いつ頃からあるんだい」<lb />
「昔からありますよ」<lb />
「昔から？ どのくらい昔から？」<lb />
「なんでもよっぽど古い昔から」<lb />
「よっぽど古い昔しからか。なるほど」<lb />
「なんでも昔し、<seg type="ruby"><seg type="rb">志保田</seg><seg type="rp">（</seg><seg type="rt">しほだ</seg><seg type="rp">）</seg></seg>の嬢様が、身を投げた時分からありますよ」<lb />
「志保田って、あの<seg type="ruby"><seg type="rb">温泉場</seg><seg type="rp">（</seg><seg type="rt">ゆば</seg><seg type="rp">）</seg></seg>のかい」<lb />
「はあい」<lb />
「御嬢さんが身を投げたって、現に達者でいるじゃないか」<lb />
「いんにえ。あの嬢さまじゃない。ずっと昔の嬢様が」<lb />
「ずっと昔の嬢様。いつ頃かね、それは」<lb />
「なんでも、よほど昔しの嬢様で……」<lb />
「その昔の嬢様が、どうしてまた身を投げたんだい」<lb />
「その嬢様は、やはり今の嬢様のように美しい嬢様であったそうながな、旦那様」<lb />
「うん」<lb />
「すると、ある日、<seg type="ruby"><seg type="rb">一人</seg><seg type="rp">（</seg><seg type="rt">ひとり</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">梵論字</seg><seg type="rp">（</seg><seg type="rt">ぼろんじ</seg><seg type="rp">）</seg></seg>が来て……」<lb />
「梵論字と云うと<seg type="ruby"><seg type="rb">虚無僧</seg><seg type="rp">（</seg><seg type="rt">こもそう</seg><seg type="rp">）</seg></seg>の事かい」<lb />
「はあい。あの尺八を吹く梵論字の事でござんす。その梵論字が志保田の<seg type="ruby"><seg type="rb">庄屋</seg><seg type="rp">（</seg><seg type="rt">しょうや</seg><seg type="rp">）</seg></seg>へ<seg type="ruby"><seg type="rb">逗留</seg><seg type="rp">（</seg><seg type="rt">とうりゅう</seg><seg type="rp">）</seg></seg>しているうちに、その美くしい嬢様が、その梵論字を<seg type="ruby"><seg type="rb">見染</seg><seg type="rp">（</seg><seg type="rt">みそ</seg><seg type="rp">）</seg></seg>めて――<seg type="ruby"><seg type="rb">因果</seg><seg type="rp">（</seg><seg type="rt">いんが</seg><seg type="rp">）</seg></seg>と申しますか、どうしてもいっしょになりたいと云うて、泣きました」<lb />
「泣きました。ふうん」<lb />
「ところが庄屋どのが、聞き入れません。梵論字は<seg type="ruby"><seg type="rb">聟</seg><seg type="rp">（</seg><seg type="rt">むこ</seg><seg type="rp">）</seg></seg>にはならんと云うて。とうとう追い出しました」<lb />
「その<seg type="ruby"><seg type="rb">虚無僧</seg><seg type="rp">（</seg><seg type="rt">こもそう</seg><seg type="rp">）</seg></seg><seg rend="notes" rendition="span">［＃ルビの「こもそう」は底本では「こむそう」］</seg>をかい」<lb />
「はあい。そこで嬢様が、梵論字のあとを追うてここまで来て、――あの向うに見える松の所から、身を投げて、――とうとう、えらい騒ぎになりました。その時何でも一枚の鏡を持っていたとか申し伝えておりますよ。それでこの池を今でも鏡が池と申しまする」<lb />
「へええ。じゃ、もう身を投げたものがあるんだね」<lb />
「まことに<seg type="ruby"><seg type="rb">怪</seg><seg type="rp">（</seg><seg type="rt">け</seg><seg type="rp">）</seg></seg>しからん事でござんす」<lb />
「何代くらい前の事かい。それは」<lb />
「なんでもよっぽど昔の事でござんすそうな。それから――これはここ限りの話だが、旦那さん」<lb />
「何だい」<lb />
「あの志保田の家には、<seg type="ruby"><seg type="rb">代々</seg><seg type="rp">（</seg><seg type="rt">だいだい</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">気狂</seg><seg type="rp">（</seg><seg type="rt">きちがい</seg><seg type="rp">）</seg></seg>が出来ます」<lb />
「へええ」<lb />
「全く<seg type="ruby"><seg type="rb">祟</seg><seg type="rp">（</seg><seg type="rt">たた</seg><seg type="rp">）</seg></seg>りでござんす。今の嬢様も、近頃は少し変だ云うて、皆が<seg type="ruby"><seg type="rb">囃</seg><seg type="rp">（</seg><seg type="rt">はや</seg><seg type="rp">）</seg></seg>します」<lb />
「ハハハハそんな事はなかろう」<lb />
「ござんせんかな。しかしあの<seg type="ruby"><seg type="rb">御袋様</seg><seg type="rp">（</seg><seg type="rt">おふくろさま</seg><seg type="rp">）</seg></seg>がやはり少し変でな」<lb />
「うちにいるのかい」<lb />
「いいえ、去年<seg type="ruby"><seg type="rb">亡</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>くなりました」<lb />
「ふん」と余は煙草の<seg type="ruby"><seg type="rb">吸殻</seg><seg type="rp">（</seg><seg type="rt">すいがら</seg><seg type="rp">）</seg></seg>から細い煙の立つのを見て、口を閉じた。源兵衛は<seg type="ruby"><seg type="rb">薪</seg><seg type="rp">（</seg><seg type="rt">まき</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">背</seg><seg type="rp">（</seg><seg type="rt">せ</seg><seg type="rp">）</seg></seg>にして去る。<lb />
<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>をかきに来て、こんな事を考えたり、こんな話しを聴くばかりでは、<seg type="ruby"><seg type="rb">何日</seg><seg type="rp">（</seg><seg type="rt">いくにち</seg><seg type="rp">）</seg></seg>かかっても一枚も出来っこない。せっかく絵の具箱まで持ち出した以上、今日は義理にも<seg type="ruby"><seg type="rb">下絵</seg><seg type="rp">（</seg><seg type="rt">したえ</seg><seg type="rp">）</seg></seg>をとって行こう。<seg type="ruby"><seg type="rb">幸</seg><seg type="rp">（</seg><seg type="rt">さいわい</seg><seg type="rp">）</seg></seg>、向側の景色は、あれなりで<seg type="ruby"><seg type="rb">略纏</seg><seg type="rp">（</seg><seg type="rt">ほぼまと</seg><seg type="rp">）</seg></seg>まっている。あすこでも<seg type="ruby"><seg type="rb">申</seg><seg type="rp">（</seg><seg type="rt">もう</seg><seg type="rp">）</seg></seg>し<seg type="ruby"><seg type="rb">訳</seg><seg type="rp">（</seg><seg type="rt">わけ</seg><seg type="rp">）</seg></seg>にちょっと<seg type="ruby"><seg type="rb">描</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>こう。<lb />
一丈余りの<seg type="ruby"><seg type="rb">蒼黒</seg><seg type="rp">（</seg><seg type="rt">あおぐろ</seg><seg type="rp">）</seg></seg>い岩が、<seg type="ruby"><seg type="rb">真直</seg><seg type="rp">（</seg><seg type="rt">まっすぐ</seg><seg type="rp">）</seg></seg>に池の底から突き出して、<seg type="ruby"><seg type="rb">濃</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>き水の折れ曲る<seg type="ruby"><seg type="rb">角</seg><seg type="rp">（</seg><seg type="rt">かど</seg><seg type="rp">）</seg></seg>に、<seg type="ruby"><seg type="rb">嵯々</seg><seg type="rp">（</seg><seg type="rt">ささ</seg><seg type="rp">）</seg></seg>と構える右側には、例の<seg type="ruby"><seg type="rb">熊笹</seg><seg type="rp">（</seg><seg type="rt">くまざさ</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">断崖</seg><seg type="rp">（</seg><seg type="rt">だんがい</seg><seg type="rp">）</seg></seg>の上から<seg type="ruby"><seg type="rb">水際</seg><seg type="rp">（</seg><seg type="rt">みずぎわ</seg><seg type="rp">）</seg></seg>まで、<seg type="ruby"><seg type="rb">一寸</seg><seg type="rp">（</seg><seg type="rt">いっすん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">隙間</seg><seg type="rp">（</seg><seg type="rt">すきま</seg><seg type="rp">）</seg></seg>なく<seg type="ruby"><seg type="rb">叢生</seg><seg type="rp">（</seg><seg type="rt">そうせい</seg><seg type="rp">）</seg></seg>している。上には<seg type="ruby"><seg type="rb">三抱</seg><seg type="rp">（</seg><seg type="rt">みかかえ</seg><seg type="rp">）</seg></seg>ほどの大きな松が、<seg type="ruby"><seg type="rb">若蔦</seg><seg type="rp">（</seg><seg type="rt">わかづた</seg><seg type="rp">）</seg></seg>にからまれた幹を、<seg type="ruby"><seg type="rb">斜</seg><seg type="rp">（</seg><seg type="rt">なな</seg><seg type="rp">）</seg></seg>めに<seg type="ruby"><seg type="rb">捩</seg><seg type="rp">（</seg><seg type="rt">ねじ</seg><seg type="rp">）</seg></seg>って、半分以上水の<seg type="ruby"><seg type="rb">面</seg><seg type="rp">（</seg><seg type="rt">おもて</seg><seg type="rp">）</seg></seg>へ乗り出している。鏡を<seg type="ruby"><seg type="rb">懐</seg><seg type="rp">（</seg><seg type="rt">ふところ</seg><seg type="rp">）</seg></seg>にした女は、あの岩の上からでも飛んだものだろう。<lb />
<seg type="ruby"><seg type="rb">三脚几</seg><seg type="rp">（</seg><seg type="rt">さんきゃくき</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">尻</seg><seg type="rp">（</seg><seg type="rt">しり</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">据</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>えて、面画に入るべき材料を見渡す。松と、笹と、岩と水であるが、さて水はどこでとめてよいか分らぬ。岩の高さが一丈あれば、影も一丈ある。熊笹は、水際でとまらずに、水の中まで茂り込んでいるかと<seg type="ruby"><seg type="rb">怪</seg><seg type="rp">（</seg><seg type="rt">あやし</seg><seg type="rp">）</seg></seg>まるるくらい、<seg type="ruby"><seg type="rb">鮮</seg><seg type="rp">（</seg><seg type="rt">あざ</seg><seg type="rp">）</seg></seg>やかに水底まで写っている。松に至っては空に<seg type="ruby"><seg type="rb">聳</seg><seg type="rp">（</seg><seg type="rt">そび</seg><seg type="rp">）</seg></seg>ゆる高さが、見上げらるるだけ、影もまたすこぶる細長い。眼に写っただけの寸法ではとうてい<seg type="ruby"><seg type="rb">収</seg><seg type="rp">（</seg><seg type="rt">おさま</seg><seg type="rp">）</seg></seg>りがつかない。<seg type="ruby"><seg type="rb">一層</seg><seg type="rp">（</seg><seg type="rt">いっそ</seg><seg type="rp">）</seg></seg>の事、実物をやめて影だけ描くのも一興だろう。水をかいて、水の中の影をかいて、そうして、これが画だと人に見せたら驚ろくだろう。しかしただ驚ろかせるだけではつまらない。なるほど画になっていると驚かせなければつまらない。どう<seg type="ruby"><seg type="rb">工夫</seg><seg type="rp">（</seg><seg type="rt">くふう</seg><seg type="rp">）</seg></seg>をしたものだろうと、一心に池の<seg type="ruby"><seg type="rb">面</seg><seg type="rp">（</seg><seg type="rt">おも</seg><seg type="rp">）</seg></seg>を見詰める。<lb />
奇体なもので、影だけ<seg type="ruby"><seg type="rb">眺</seg><seg type="rp">（</seg><seg type="rt">なが</seg><seg type="rp">）</seg></seg>めていてはいっこう画にならん。実物と見比べて工夫がして見たくなる。余は水面から<seg type="ruby"><seg type="rb">眸</seg><seg type="rp">（</seg><seg type="rt">ひとみ</seg><seg type="rp">）</seg></seg>を転じて、そろりそろりと上の方へ視線を移して行く。一丈の<seg type="ruby"><seg type="rb">巌</seg><seg type="rp">（</seg><seg type="rt">いわお</seg><seg type="rp">）</seg></seg>を、影の先から、水際の<seg type="ruby"><seg type="rb">継目</seg><seg type="rp">（</seg><seg type="rt">つぎめ</seg><seg type="rp">）</seg></seg>まで眺めて、継目から次第に水の上に出る。<seg type="ruby"><seg type="rb">潤沢</seg><seg type="rp">（</seg><seg type="rt">じゅんたく</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">気合</seg><seg type="rp">（</seg><seg type="rt">けあい</seg><seg type="rp">）</seg></seg>から、<seg type="ruby"><seg type="rb">皴皺</seg><seg type="rp">（</seg><seg type="rt">しゅんしゅ</seg><seg type="rp">）</seg></seg>の模様を<seg type="ruby"><seg type="rb">逐一</seg><seg type="rp">（</seg><seg type="rt">ちくいち</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">吟味</seg><seg type="rp">（</seg><seg type="rt">ぎんみ</seg><seg type="rp">）</seg></seg>してだんだんと登って行く。ようやく登り詰めて、余の<seg type="ruby"><seg type="rb">双眼</seg><seg type="rp">（</seg><seg type="rt">そうがん</seg><seg type="rp">）</seg></seg>が今<seg type="ruby"><seg type="rb">危巌</seg><seg type="rp">（</seg><seg type="rt">きがん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">頂</seg><seg type="rp">（</seg><seg type="rt">いただ</seg><seg type="rp">）</seg></seg>きに達したるとき、余は<seg type="ruby"><seg type="rb">蛇</seg><seg type="rp">（</seg><seg type="rt">へび</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">睨</seg><seg type="rp">（</seg><seg type="rt">にら</seg><seg type="rp">）</seg></seg>まれた<seg type="ruby"><seg type="rb">蟇</seg><seg type="rp">（</seg><seg type="rt">ひき</seg><seg type="rp">）</seg></seg>のごとく、はたりと<seg type="ruby"><seg type="rb">画筆</seg><seg type="rp">（</seg><seg type="rt">えふで</seg><seg type="rp">）</seg></seg>を取り落した。<lb />
<seg type="ruby"><seg type="rb">緑</seg><seg type="rp">（</seg><seg type="rt">みど</seg><seg type="rp">）</seg></seg>りの枝を通す夕日を背に、暮れんとする晩春の蒼黒く巌頭を<seg type="ruby"><seg type="rb">彩</seg><seg type="rp">（</seg><seg type="rt">いろ</seg><seg type="rp">）</seg></seg>どる中に、<seg type="ruby"><seg type="rb">楚然</seg><seg type="rp">（</seg><seg type="rt">そぜん</seg><seg type="rp">）</seg></seg>として織り出されたる女の顔は、――<seg type="ruby"><seg type="rb">花下</seg><seg type="rp">（</seg><seg type="rt">かか</seg><seg type="rp">）</seg></seg>に余を驚かし、まぼろしに余を驚ろかし、<seg type="ruby"><seg type="rb">振袖</seg><seg type="rp">（</seg><seg type="rt">ふりそで</seg><seg type="rp">）</seg></seg>に余を驚かし、風呂場に余を驚かしたる女の顔である。<lb />
余が視線は、<seg type="ruby"><seg type="rb">蒼白</seg><seg type="rp">（</seg><seg type="rt">あおじろ</seg><seg type="rp">）</seg></seg>き女の顔の<seg type="ruby"><seg type="rb">真中</seg><seg type="rp">（</seg><seg type="rt">まんなか</seg><seg type="rp">）</seg></seg>にぐさと<seg type="ruby"><seg type="rb">釘付</seg><seg type="rp">（</seg><seg type="rt">くぎづ</seg><seg type="rp">）</seg></seg>けにされたぎり動かない。女もしなやかなる<seg type="ruby"><seg type="rb">体躯</seg><seg type="rp">（</seg><seg type="rt">たいく</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">伸</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>せるだけ伸して、高い<seg type="ruby"><seg type="rb">巌</seg><seg type="rp">（</seg><seg type="rt">いわお</seg><seg type="rp">）</seg></seg>の上に一指も動かさずに立っている。この<seg type="ruby"><seg type="rb">一刹那</seg><seg type="rp">（</seg><seg type="rt">いっせつな</seg><seg type="rp">）</seg></seg>！<lb />
余は覚えず飛び上った。女はひらりと身をひねる。帯の間に椿の花の如く赤いものが、ちらついたと思ったら、すでに向うへ飛び下りた。夕日は<seg type="ruby"><seg type="rb">樹梢</seg><seg type="rp">（</seg><seg type="rt">じゅしょう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">掠</seg><seg type="rp">（</seg><seg type="rt">かす</seg><seg type="rp">）</seg></seg>めて、<seg type="ruby"><seg type="rb">幽</seg><seg type="rp">（</seg><seg type="rt">かす</seg><seg type="rp">）</seg></seg>かに松の幹を染むる。熊笹はいよいよ青い。<lb />
また驚かされた。<lb />
<lb />
<seg rend="jisage_8" rendition="div" style="margin-left: 8em"><seg rend="naka-midashi" rendition="h"><seg rend="midashi_anchor" rendition="a" xml:id="midashi110">十一</seg></seg></seg>
<lb />
<seg type="ruby"><seg type="rb">山里</seg><seg type="rp">（</seg><seg type="rt">やまざと</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">朧</seg><seg type="rp">（</seg><seg type="rt">おぼろ</seg><seg type="rp">）</seg></seg>に乗じてそぞろ歩く。観海寺の石段を登りながら<seg type="ruby"><seg type="rb">仰数</seg><seg type="rp">（</seg><seg type="rt">あおぎかぞう</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">春星</seg><seg type="rp">（</seg><seg type="rt">しゅんせい</seg><seg type="rp">）</seg></seg>一二三と云う句を得た。余は別に<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>に逢う用事もない。逢うて雑話をする気もない。偶然と宿を<seg type="ruby"><seg type="rb">出</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>でて足の向くところに任せてぶらぶらするうち、ついこの<seg type="ruby"><seg type="rb">石磴</seg><seg type="rp">（</seg><seg type="rt">せきとう</seg><seg type="rp">）</seg></seg>の下に出た。しばらく<seg type="ruby"><seg type="rb">不許葷酒入山門</seg><seg type="rp">（</seg><seg type="rt">くんしゅさんもんにいるをゆるさず</seg><seg type="rp">）</seg></seg>と云う石を<seg type="ruby"><seg type="rb">撫</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>でて立っていたが、急にうれしくなって、登り出したのである。<lb />
トリストラム・シャンデーと云う書物のなかに、この書物ほど神の<seg type="ruby"><seg type="rb">御覚召</seg><seg type="rp">（</seg><seg type="rt">おぼしめし</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">叶</seg><seg type="rp">（</seg><seg type="rt">かの</seg><seg type="rp">）</seg></seg>うた書き方はないとある。最初の一句はともかくも<seg type="ruby"><seg type="rb">自力</seg><seg type="rp">（</seg><seg type="rt">じりき</seg><seg type="rp">）</seg></seg>で<seg type="ruby"><seg type="rb">綴</seg><seg type="rp">（</seg><seg type="rt">つづ</seg><seg type="rp">）</seg></seg>る。あとはひたすらに神を念じて、筆の動くに任せる。何をかくか自分には無論見当がつかぬ。かく者は自己であるが、かく事は神の事である。したがって責任は著者にはないそうだ。余が散歩もまたこの流儀を<seg type="ruby"><seg type="rb">汲</seg><seg type="rp">（</seg><seg type="rt">く</seg><seg type="rp">）</seg></seg>んだ、無責任の散歩である。ただ神を頼まぬだけが一層の無責任である。スターンは自分の責任を<seg type="ruby"><seg type="rb">免</seg><seg type="rp">（</seg><seg type="rt">のが</seg><seg type="rp">）</seg></seg>れると同時にこれを在天の神に<seg type="ruby"><seg type="rb">嫁</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>した。引き受けてくれる神を持たぬ余はついにこれを<seg type="ruby"><seg type="rb">泥溝</seg><seg type="rp">（</seg><seg type="rt">どぶ</seg><seg type="rp">）</seg></seg>の中に<seg type="ruby"><seg type="rb">棄</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>てた。<lb />
石段を登るにも骨を折っては登らない。骨が折れるくらいなら、すぐ引き返す。一段登って<seg type="ruby"><seg type="rb">佇</seg><seg type="rp">（</seg><seg type="rt">たたず</seg><seg type="rp">）</seg></seg>むとき何となく愉快だ。それだから二段登る。二段目に詩が作りたくなる。<seg type="ruby"><seg type="rb">黙然</seg><seg type="rp">（</seg><seg type="rt">もくねん</seg><seg type="rp">）</seg></seg>として、吾影を見る。<seg type="ruby"><seg type="rb">角石</seg><seg type="rp">（</seg><seg type="rt">かくいし</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">遮</seg><seg type="rp">（</seg><seg type="rt">さえぎ</seg><seg type="rp">）</seg></seg>られて三段に切れているのは妙だ。妙だからまた登る。仰いで天を望む。寝ぼけた奥から、小さい星がしきりに<seg type="ruby"><seg type="rb">瞬</seg><seg type="rp">（</seg><seg type="rt">まばた</seg><seg type="rp">）</seg></seg>きをする。句になると思って、また登る。かくして、余はとうとう、上まで登り詰めた。<lb />
石段の上で思い出す。昔し鎌倉へ遊びに行って、いわゆる<seg type="ruby"><seg type="rb">五山</seg><seg type="rp">（</seg><seg type="rt">ごさん</seg><seg type="rp">）</seg></seg>なるものを、ぐるぐる尋ねて廻った時、たしか<seg type="ruby"><seg type="rb">円覚寺</seg><seg type="rp">（</seg><seg type="rt">えんがくじ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">塔頭</seg><seg type="rp">（</seg><seg type="rt">たっちゅう</seg><seg type="rp">）</seg></seg>であったろう、やはりこんな風に石段をのそりのそりと登って行くと、門内から、<seg type="ruby"><seg type="rb">黄</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>な<seg type="ruby"><seg type="rb">法衣</seg><seg type="rp">（</seg><seg type="rt">ころも</seg><seg type="rp">）</seg></seg>を着た、頭の<seg type="ruby"><seg type="rb">鉢</seg><seg type="rp">（</seg><seg type="rt">はち</seg><seg type="rp">）</seg></seg>の開いた坊主が出て来た。余は<seg type="ruby"><seg type="rb">上</seg><seg type="rp">（</seg><seg type="rt">のぼ</seg><seg type="rp">）</seg></seg>る、坊主は<seg type="ruby"><seg type="rb">下</seg><seg type="rp">（</seg><seg type="rt">くだ</seg><seg type="rp">）</seg></seg>る。すれ違った時、坊主が鋭どい声でどこへ<seg type="ruby"><seg type="rb">御出</seg><seg type="rp">（</seg><seg type="rt">おいで</seg><seg type="rp">）</seg></seg>なさると問うた。余はただ<seg type="ruby"><seg type="rb">境内</seg><seg type="rp">（</seg><seg type="rt">けいだい</seg><seg type="rp">）</seg></seg>を拝見にと答えて、同時に足を<seg type="ruby"><seg type="rb">停</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>めたら、坊主は<seg type="ruby"><seg type="rb">直</seg><seg type="rp">（</seg><seg type="rt">ただ</seg><seg type="rp">）</seg></seg>ちに、何もありませんぞと言い捨てて、すたすた下りて行った。あまり<seg type="ruby"><seg type="rb">洒落</seg><seg type="rp">（</seg><seg type="rt">しゃらく</seg><seg type="rp">）</seg></seg>だから、余は少しく<seg type="ruby"><seg type="rb">先</seg><seg type="rp">（</seg><seg type="rt">せん</seg><seg type="rp">）</seg></seg>を越された気味で、段上に立って、坊主を見送ると、坊主は、かの鉢の開いた頭を、振り立て振り立て、ついに姿を杉の木の間に隠した。その<seg type="ruby"><seg type="rb">間</seg><seg type="rp">（</seg><seg type="rt">あいだ</seg><seg type="rp">）</seg></seg>かつて一度も振り返った事はない。なるほど禅僧は面白い。きびきびしているなと、のっそり山門を<seg type="ruby"><seg type="rb">這入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>って、見ると、広い<seg type="ruby"><seg type="rb">庫裏</seg><seg type="rp">（</seg><seg type="rt">くり</seg><seg type="rp">）</seg></seg>も本堂も、がらんとして、人影はまるでない。余はその時に心からうれしく感じた。世の中にこんな<seg type="ruby"><seg type="rb">洒落</seg><seg type="rp">（</seg><seg type="rt">しゃらく</seg><seg type="rp">）</seg></seg>な人があって、こんな洒落に、人を取り扱ってくれたかと思うと、何となく気分が<seg type="ruby"><seg type="rb">晴々</seg><seg type="rp">（</seg><seg type="rt">せいせい</seg><seg type="rp">）</seg></seg>した。<seg type="ruby"><seg type="rb">禅</seg><seg type="rp">（</seg><seg type="rt">ぜん</seg><seg type="rp">）</seg></seg>を心得ていたからと云う訳ではない。禅のぜの字もいまだに知らぬ。ただあの鉢の開いた坊主の<seg type="ruby"><seg type="rb">所作</seg><seg type="rp">（</seg><seg type="rt">しょさ</seg><seg type="rp">）</seg></seg>が気に入ったのである。<lb />
世の中はしつこい、毒々しい、こせこせした、その上ずうずうしい、いやな<seg type="ruby"><seg type="rb">奴</seg><seg type="rp">（</seg><seg type="rt">やつ</seg><seg type="rp">）</seg></seg>で<seg type="ruby"><seg type="rb">埋</seg><seg type="rp">（</seg><seg type="rt">うずま</seg><seg type="rp">）</seg></seg>っている。元来何しに世の中へ<seg type="ruby"><seg type="rb">面</seg><seg type="rp">（</seg><seg type="rt">つら</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">曝</seg><seg type="rp">（</seg><seg type="rt">さら</seg><seg type="rp">）</seg></seg>しているんだか、<seg type="ruby"><seg type="rb">解</seg><seg type="rp">（</seg><seg type="rt">げ</seg><seg type="rp">）</seg></seg>しかねる奴さえいる。しかもそんな面に限って大きいものだ。浮世の風にあたる面積の多いのをもって、さも名誉のごとく心得ている。五年も十年も人の<seg type="ruby"><seg type="rb">臀</seg><seg type="rp">（</seg><seg type="rt">しり</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">探偵</seg><seg type="rp">（</seg><seg type="rt">たんてい</seg><seg type="rp">）</seg></seg>をつけて、人のひる<seg type="ruby"><seg type="rb">屁</seg><seg type="rp">（</seg><seg type="rt">へ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">勘定</seg><seg type="rp">（</seg><seg type="rt">かんじょう</seg><seg type="rp">）</seg></seg>をして、それが人世だと思ってる。そうして人の前へ出て来て、御前は屁をいくつ、ひった、いくつ、ひったと頼みもせぬ事を教える。前へ出て云うなら、それも参考にして、やらんでもないが、<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">うし</seg><seg type="rp">）</seg></seg>ろの方から、御前は屁をいくつ、ひった、いくつ、ひったと云う。うるさいと云えばなおなお云う。よせと云えばますます云う。分ったと云っても、屁をいくつ、ひった、ひったと云う。そうしてそれが処世の方針だと云う。方針は<seg type="ruby"><seg type="rb">人々</seg><seg type="rp">（</seg><seg type="rt">にんにん</seg><seg type="rp">）</seg></seg>勝手である。ただひったひったと云わずに黙って方針を立てるがいい。人の邪魔になる方針は<seg type="ruby"><seg type="rb">差</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>し<seg type="ruby"><seg type="rb">控</seg><seg type="rp">（</seg><seg type="rt">ひか</seg><seg type="rp">）</seg></seg>えるのが礼儀だ。邪魔にならなければ方針が立たぬと云うなら、こっちも屁をひるのをもって、こっちの方針とするばかりだ。そうなったら日本も運の尽きだろう。<lb />
こうやって、美しい春の夜に、何らの方針も立てずに、あるいてるのは実際高尚だ。興<seg type="ruby"><seg type="rb">来</seg><seg type="rp">（</seg><seg type="rt">きた</seg><seg type="rp">）</seg></seg>れば興来るをもって方針とする。興去れば興去るをもって方針とする。句を得れば、得たところに方針が立つ。得なければ、得ないところに方針が立つ。しかも誰の迷惑にもならない。これが真正の方針である。屁を勘定するのは人身攻撃の方針で、屁をひるのは正当<seg type="ruby"><seg type="rb">防禦</seg><seg type="rp">（</seg><seg type="rt">ぼうぎょ</seg><seg type="rp">）</seg></seg>の方針で、こうやって観海寺の石段を登るのは<seg type="ruby"><seg type="rb">随縁放曠</seg><seg type="rp">（</seg><seg type="rt">ずいえんほうこう</seg><seg type="rp">）</seg></seg>の方針である。<lb />
<seg type="ruby"><seg type="rb">仰数</seg><seg type="rp">（</seg><seg type="rt">あおぎかぞう</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">春星</seg><seg type="rp">（</seg><seg type="rt">しゅんせい</seg><seg type="rp">）</seg></seg>一二三の句を得て、<seg type="ruby"><seg type="rb">石磴</seg><seg type="rp">（</seg><seg type="rt">せきとう</seg><seg type="rp">）</seg></seg>を登りつくしたる時、<seg type="ruby"><seg type="rb">朧</seg><seg type="rp">（</seg><seg type="rt">おぼろ</seg><seg type="rp">）</seg></seg>にひかる春の海が帯のごとくに見えた。山門を入る。<seg type="ruby"><seg type="rb">絶句</seg><seg type="rp">（</seg><seg type="rt">ぜっく</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">纏</seg><seg type="rp">（</seg><seg type="rt">まと</seg><seg type="rp">）</seg></seg>める気にならなくなった。即座にやめにする方針を立てる。<lb />
石を<seg type="ruby"><seg type="rb">甃</seg><seg type="rp">（</seg><seg type="rt">たた</seg><seg type="rp">）</seg></seg>んで<seg type="ruby"><seg type="rb">庫裡</seg><seg type="rp">（</seg><seg type="rt">くり</seg><seg type="rp">）</seg></seg>に通ずる一筋道の右側は、岡つつじの<seg type="ruby"><seg type="rb">生垣</seg><seg type="rp">（</seg><seg type="rt">いけがき</seg><seg type="rp">）</seg></seg>で、垣の<seg type="ruby"><seg type="rb">向</seg><seg type="rp">（</seg><seg type="rt">むこう</seg><seg type="rp">）</seg></seg>は墓場であろう。左は本堂だ。<seg type="ruby"><seg type="rb">屋根瓦</seg><seg type="rp">（</seg><seg type="rt">やねがわら</seg><seg type="rp">）</seg></seg>が高い所で、<seg type="ruby"><seg type="rb">幽</seg><seg type="rp">（</seg><seg type="rt">かす</seg><seg type="rp">）</seg></seg>かに光る。数万の<seg type="ruby"><seg type="rb">甍</seg><seg type="rp">（</seg><seg type="rt">いらか</seg><seg type="rp">）</seg></seg>に、数万の月が落ちたようだと<seg type="ruby"><seg type="rb">見上</seg><seg type="rp">（</seg><seg type="rt">みあげ</seg><seg type="rp">）</seg></seg>る。どこやらで鳩の声がしきりにする。<seg type="ruby"><seg type="rb">棟</seg><seg type="rp">（</seg><seg type="rt">むね</seg><seg type="rp">）</seg></seg>の下にでも住んでいるらしい。気のせいか、<seg type="ruby"><seg type="rb">廂</seg><seg type="rp">（</seg><seg type="rt">ひさし</seg><seg type="rp">）</seg></seg>のあたりに白いものが、点々見える。<seg type="ruby"><seg type="rb">糞</seg><seg type="rp">（</seg><seg type="rt">ふん</seg><seg type="rp">）</seg></seg>かも知れぬ。<lb />
<seg type="ruby"><seg type="rb">雨垂</seg><seg type="rp">（</seg><seg type="rt">あまだ</seg><seg type="rp">）</seg></seg>れ落ちの所に、妙な影が一列に並んでいる。木とも見えぬ、草では無論ない。感じから云うと<seg type="ruby"><seg type="rb">岩佐又兵衛</seg><seg type="rp">（</seg><seg type="rt">いわさまたべえ</seg><seg type="rp">）</seg></seg>のかいた、<seg type="ruby"><seg type="rb">鬼</seg><seg type="rp">（</seg><seg type="rt">おに</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">念仏</seg><seg type="rp">（</seg><seg type="rt">ねんぶつ</seg><seg type="rp">）</seg></seg>が、念仏をやめて、踊りを踊っている姿である。本堂の<seg type="ruby"><seg type="rb">端</seg><seg type="rp">（</seg><seg type="rt">はじ</seg><seg type="rp">）</seg></seg>から端まで、一列に行儀よく並んで<seg type="ruby"><seg type="rb">躍</seg><seg type="rp">（</seg><seg type="rt">おど</seg><seg type="rp">）</seg></seg>っている。その影がまた本堂の端から端まで一列に行儀よく並んで躍っている。<seg type="ruby"><seg type="rb">朧夜</seg><seg type="rp">（</seg><seg type="rt">おぼろよ</seg><seg type="rp">）</seg></seg>にそそのかされて、<seg type="ruby"><seg type="rb">鉦</seg><seg type="rp">（</seg><seg type="rt">かね</seg><seg type="rp">）</seg></seg>も<seg type="ruby"><seg type="rb">撞木</seg><seg type="rp">（</seg><seg type="rt">しゅもく</seg><seg type="rp">）</seg></seg>も、<seg type="ruby"><seg type="rb">奉加帳</seg><seg type="rp">（</seg><seg type="rt">ほうがちょう</seg><seg type="rp">）</seg></seg>も打ちすてて、<seg type="ruby"><seg type="rb">誘</seg><seg type="rp">（</seg><seg type="rt">さそ</seg><seg type="rp">）</seg></seg>い<seg type="ruby"><seg type="rb">合</seg><seg type="rp">（</seg><seg type="rt">あわ</seg><seg type="rp">）</seg></seg>せるや否やこの<seg type="ruby"><seg type="rb">山寺</seg><seg type="rp">（</seg><seg type="rt">やまでら</seg><seg type="rp">）</seg></seg>へ踊りに来たのだろう。<lb />
近寄って見ると大きな<seg type="ruby"><seg type="rb">覇王樹</seg><seg type="rp">（</seg><seg type="rt">さぼてん</seg><seg type="rp">）</seg></seg>である。高さは七八尺もあろう、<seg type="ruby"><seg type="rb">糸瓜</seg><seg type="rp">（</seg><seg type="rt">へちま</seg><seg type="rp">）</seg></seg>ほどな青い<seg type="ruby"><seg type="rb">黄瓜</seg><seg type="rp">（</seg><seg type="rt">きゅうり</seg><seg type="rp">）</seg></seg>を、<seg type="ruby"><seg type="rb">杓子</seg><seg type="rp">（</seg><seg type="rt">しゃもじ</seg><seg type="rp">）</seg></seg>のように<seg type="ruby"><seg type="rb">圧</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>しひしゃげて、<seg type="ruby"><seg type="rb">柄</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>の方を下に、上へ上へと<seg type="ruby"><seg type="rb">継</seg><seg type="rp">（</seg><seg type="rt">つ</seg><seg type="rp">）</seg></seg>ぎ<seg type="ruby"><seg type="rb">合</seg><seg type="rp">（</seg><seg type="rt">あわ</seg><seg type="rp">）</seg></seg>せたように見える。あの杓子がいくつ<seg type="ruby"><seg type="rb">継</seg><seg type="rp">（</seg><seg type="rt">つな</seg><seg type="rp">）</seg></seg>がったら、おしまいになるのか分らない。今夜のうちにも<seg type="ruby"><seg type="rb">廂</seg><seg type="rp">（</seg><seg type="rt">ひさし</seg><seg type="rp">）</seg></seg>を突き破って、屋根瓦の上まで出そうだ。あの杓子が出来る時には、何でも不意に、どこからか出て来て、ぴしゃりと飛びつくに違いない。古い杓子が新しい小杓子を生んで、その小杓子が長い年月のうちにだんだん大きくなるようには思われない。杓子と杓子の連続がいかにも<seg type="ruby"><seg type="rb">突飛</seg><seg type="rp">（</seg><seg type="rt">とっぴ</seg><seg type="rp">）</seg></seg>である。こんな<seg type="ruby"><seg type="rb">滑稽</seg><seg type="rp">（</seg><seg type="rt">こっけい</seg><seg type="rp">）</seg></seg>な<seg type="ruby"><seg type="rb">樹</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>はたんとあるまい。しかも澄ましたものだ。いかなるこれ<seg type="ruby"><seg type="rb">仏</seg><seg type="rp">（</seg><seg type="rt">ぶつ</seg><seg type="rp">）</seg></seg>と問われて、<seg type="ruby"><seg type="rb">庭前</seg><seg type="rp">（</seg><seg type="rt">ていぜん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">柏樹子</seg><seg type="rp">（</seg><seg type="rt">はくじゅし</seg><seg type="rp">）</seg></seg>と答えた僧があるよしだが、もし同様の問に接した場合には、余は一も二もなく、<seg type="ruby"><seg type="rb">月下</seg><seg type="rp">（</seg><seg type="rt">げっか</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">覇王樹</seg><seg type="rp">（</seg><seg type="rt">はおうじゅ</seg><seg type="rp">）</seg></seg>と<seg type="ruby"><seg type="rb">応</seg><seg type="rp">（</seg><seg type="rt">こた</seg><seg type="rp">）</seg></seg>えるであろう。<lb />
<seg type="ruby"><seg type="rb">少時</seg><seg type="rp">（</seg><seg type="rt">しょうじ</seg><seg type="rp">）</seg></seg>、<seg type="ruby"><seg type="rb">晁補之</seg><seg type="rp">（</seg><seg type="rt">ちょうほし</seg><seg type="rp">）</seg></seg>と云う人の記行文を読んで、いまだに<seg type="ruby"><seg type="rb">暗誦</seg><seg type="rp">（</seg><seg type="rt">あんしょう</seg><seg type="rp">）</seg></seg>している句がある。「時に九月天高く露清く、山<seg type="ruby"><seg type="rb">空</seg><seg type="rp">（</seg><seg type="rt">むな</seg><seg type="rp">）</seg></seg>しく、月<seg type="ruby"><seg type="rb">明</seg><seg type="rp">（</seg><seg type="rt">あきら</seg><seg type="rp">）</seg></seg>かに、仰いで<seg type="ruby"><seg type="rb">星斗</seg><seg type="rp">（</seg><seg type="rt">せいと</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">視</seg><seg type="rp">（</seg><seg type="rt">み</seg><seg type="rp">）</seg></seg>れば<seg type="ruby"><seg type="rb">皆</seg><seg type="rp">（</seg><seg type="rt">みな</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">光大</seg><seg type="rp">（</seg><seg type="rt">ひかりだい</seg><seg type="rp">）</seg></seg>、たまたま人の上にあるがごとし、<seg type="ruby"><seg type="rb">窓間</seg><seg type="rp">（</seg><seg type="rt">そうかん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">竹</seg><seg type="rp">（</seg><seg type="rt">たけ</seg><seg type="rp">）</seg></seg>数十<seg type="ruby"><seg type="rb">竿</seg><seg type="rp">（</seg><seg type="rt">かん</seg><seg type="rp">）</seg></seg>、相<seg type="ruby"><seg type="rb">摩戞</seg><seg type="rp">（</seg><seg type="rt">まかつ</seg><seg type="rp">）</seg></seg>して声<seg type="ruby"><seg type="rb">切々</seg><seg type="rp">（</seg><seg type="rt">せつせつ</seg><seg type="rp">）</seg></seg>やまず。<seg type="ruby"><seg type="rb">竹間</seg><seg type="rp">（</seg><seg type="rt">ちくかん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">梅棕</seg><seg type="rp">（</seg><seg type="rt">ばいそう</seg><seg type="rp">）</seg></seg><seg type="ruby"><seg type="rb">森然</seg><seg type="rp">（</seg><seg type="rt">しんぜん</seg><seg type="rp">）</seg></seg>として<seg type="ruby"><seg type="rb">鬼魅</seg><seg type="rp">（</seg><seg type="rt">きび</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">離立笑<seg facs="../../../gaiji/2-93/2-93-21.png" rend="gaiji" rendition="img" source="※(「髟／眄のつくり」、第4水準2-93-21)" /></seg><seg type="rp">（</seg><seg type="rt">りりつしょうひん</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">状</seg><seg type="rp">（</seg><seg type="rt">じょう</seg><seg type="rp">）</seg></seg>のごとし。二三子<seg type="ruby"><seg type="rb">相顧</seg><seg type="rp">（</seg><seg type="rt">あいかえり</seg><seg type="rp">）</seg></seg>み、<seg type="ruby"><seg type="rb">魄</seg><seg type="rp">（</seg><seg type="rt">はく</seg><seg type="rp">）</seg></seg>動いて<seg type="ruby"><seg type="rb">寝</seg><seg type="rp">（</seg><seg type="rt">いぬ</seg><seg type="rp">）</seg></seg>るを得ず。<seg type="ruby"><seg type="rb">遅明</seg><seg type="rp">（</seg><seg type="rt">ちめい</seg><seg type="rp">）</seg></seg>皆去る」とまた口の内で繰り返して見て、思わず笑った。この<seg type="ruby"><seg type="rb">覇王樹</seg><seg type="rp">（</seg><seg type="rt">さぼてん</seg><seg type="rp">）</seg></seg>も時と場合によれば、余の<seg type="ruby"><seg type="rb">魄</seg><seg type="rp">（</seg><seg type="rt">はく</seg><seg type="rp">）</seg></seg>を動かして、見るや否や山を追い下げたであろう。<seg type="ruby"><seg type="rb">刺</seg><seg type="rp">（</seg><seg type="rt">とげ</seg><seg type="rp">）</seg></seg>に手を触れて見ると、いらいらと指をさす。<lb />
<seg type="ruby"><seg type="rb">石甃</seg><seg type="rp">（</seg><seg type="rt">いしだたみ</seg><seg type="rp">）</seg></seg>を行き尽くして左へ折れると<seg type="ruby"><seg type="rb">庫裏</seg><seg type="rp">（</seg><seg type="rt">くり</seg><seg type="rp">）</seg></seg>へ出る。庫裏の前に大きな<seg type="ruby"><seg type="rb">木蓮</seg><seg type="rp">（</seg><seg type="rt">もくれん</seg><seg type="rp">）</seg></seg>がある。ほとんど<seg type="ruby"><seg type="rb">一</seg><seg type="rp">（</seg><seg type="rt">ひ</seg><seg type="rp">）</seg></seg>と<seg type="ruby"><seg type="rb">抱</seg><seg type="rp">（</seg><seg type="rt">かかえ</seg><seg type="rp">）</seg></seg>もあろう。高さは庫裏の屋根を抜いている。見上げると頭の上は枝である。枝の上も、また枝である。そうして枝の重なり合った上が月である。普通、枝がああ重なると、下から空は見えぬ。花があればなお見えぬ。木蓮の枝はいくら重なっても、枝と枝の間はほがらかに<seg type="ruby"><seg type="rb">隙</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>いている。木蓮は樹下に立つ人の眼を乱すほどの細い枝をいたずらには張らぬ。花さえ<seg type="ruby"><seg type="rb">明</seg><seg type="rp">（</seg><seg type="rt">あきら</seg><seg type="rp">）</seg></seg>かである。この遥かなる下から見上げても一輪の花は、はっきりと一輪に見える。その一輪がどこまで<seg type="ruby"><seg type="rb">簇</seg><seg type="rp">（</seg><seg type="rt">むら</seg><seg type="rp">）</seg></seg>がって、どこまで咲いているか分らぬ。それにもかかわらず一輪はついに一輪で、一輪と一輪の間から、薄青い空が<seg type="ruby"><seg type="rb">判然</seg><seg type="rp">（</seg><seg type="rt">はんぜん</seg><seg type="rp">）</seg></seg>と望まれる。花の色は無論純白ではない。いたずらに白いのは寒過ぎる。<seg type="ruby"><seg type="rb">専</seg><seg type="rp">（</seg><seg type="rt">もっぱ</seg><seg type="rp">）</seg></seg>らに白いのは、ことさらに人の眼を奪う<seg type="ruby"><seg type="rb">巧</seg><seg type="rp">（</seg><seg type="rt">たく</seg><seg type="rp">）</seg></seg>みが見える。木蓮の色はそれではない。極度の白きをわざと<seg type="ruby"><seg type="rb">避</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>けて、あたたかみのある<seg type="ruby"><seg type="rb">淡黄</seg><seg type="rp">（</seg><seg type="rt">たんこう</seg><seg type="rp">）</seg></seg>に、<seg type="ruby"><seg type="rb">奥床</seg><seg type="rp">（</seg><seg type="rt">おくゆか</seg><seg type="rp">）</seg></seg>しくも<seg type="ruby"><seg type="rb">自</seg><seg type="rp">（</seg><seg type="rt">みずか</seg><seg type="rp">）</seg></seg>らを<seg type="ruby"><seg type="rb">卑下</seg><seg type="rp">（</seg><seg type="rt">ひげ</seg><seg type="rp">）</seg></seg>している。余は<seg type="ruby"><seg type="rb">石甃</seg><seg type="rp">（</seg><seg type="rt">いしだたみ</seg><seg type="rp">）</seg></seg>の上に立って、このおとなしい花が<seg type="ruby"><seg type="rb">累々</seg><seg type="rp">（</seg><seg type="rt">るいるい</seg><seg type="rp">）</seg></seg>とどこまでも<seg type="ruby"><seg type="rb">空裏</seg><seg type="rp">（</seg><seg type="rt">くうり</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">蔓</seg><seg type="rp">（</seg><seg type="rt">はびこ</seg><seg type="rp">）</seg></seg>る<seg type="ruby"><seg type="rb">様</seg><seg type="rp">（</seg><seg type="rt">さま</seg><seg type="rp">）</seg></seg>を見上げて、しばらく<seg type="ruby"><seg type="rb">茫然</seg><seg type="rp">（</seg><seg type="rt">ぼうぜん</seg><seg type="rp">）</seg></seg>としていた。眼に落つるのは花ばかりである。葉は一枚もない。<lb />
<seg rend="jisage_2" rendition="div" style="margin-left: 2em">
木蓮の花ばかりなる空を<seg type="ruby"><seg type="rb">瞻</seg><seg type="rp">（</seg><seg type="rt">み</seg><seg type="rp">）</seg></seg>る<lb />
</seg>
と云う句を得た。どこやらで、鳩がやさしく鳴き合うている。<lb />
庫裏に入る。庫裏は明け放してある。<seg type="ruby"><seg type="rb">盗人</seg><seg type="rp">（</seg><seg type="rt">ぬすびと</seg><seg type="rp">）</seg></seg>はおらぬ国と見える。<seg type="ruby"><seg type="rb">狗</seg><seg type="rp">（</seg><seg type="rt">いぬ</seg><seg type="rp">）</seg></seg>はもとより<seg type="ruby"><seg type="rb">吠</seg><seg type="rp">（</seg><seg type="rt">ほ</seg><seg type="rp">）</seg></seg>えぬ。<lb />
「御免」<lb />
と<seg type="ruby"><seg type="rb">訪問</seg><seg type="rp">（</seg><seg type="rt">おとず</seg><seg type="rp">）</seg></seg>れる。<seg type="ruby"><seg type="rb">森</seg><seg type="rp">（</seg><seg type="rt">しん</seg><seg type="rp">）</seg></seg>として返事がない。<lb />
「頼む」<lb />
と案内を乞う。鳩の声がくううくううと聞える。<lb />
「頼みまああす」と大きな声を出す。<lb />
「おおおおおおお」と遥かの<seg type="ruby"><seg type="rb">向</seg><seg type="rp">（</seg><seg type="rt">むこう</seg><seg type="rp">）</seg></seg>で答えたものがある。人の家を<seg type="ruby"><seg type="rb">訪</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>うて、こんな返事を聞かされた事は決してない。やがて足音が廊下へ響くと、<seg type="ruby"><seg type="rb">紙燭</seg><seg type="rp">（</seg><seg type="rt">しそく</seg><seg type="rp">）</seg></seg>の影が、<seg type="ruby"><seg type="rb">衝立</seg><seg type="rp">（</seg><seg type="rt">ついたて</seg><seg type="rp">）</seg></seg>の向側にさした。小坊主がひょこりとあらわれる。<seg type="ruby"><seg type="rb">了念</seg><seg type="rp">（</seg><seg type="rt">りょうねん</seg><seg type="rp">）</seg></seg>であった。<lb />
「<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>さんはおいでかい」<lb />
「おられる。何しにござった」<lb />
「温泉にいる<seg type="ruby"><seg type="rb">画工</seg><seg type="rp">（</seg><seg type="rt">えかき</seg><seg type="rp">）</seg></seg>が来たと、<seg type="ruby"><seg type="rb">取次</seg><seg type="rp">（</seg><seg type="rt">とりつい</seg><seg type="rp">）</seg></seg>でおくれ」<lb />
「画工さんか。それじゃ<seg type="ruby"><seg type="rb">御上</seg><seg type="rp">（</seg><seg type="rt">おあが</seg><seg type="rp">）</seg></seg>り」<lb />
「断わらないでもいいのかい」<lb />
「よろしかろ」<lb />
余は下駄を脱いで上がる。<lb />
「行儀がわるい画工さんじゃな」<lb />
「なぜ」<lb />
「下駄を、よう<seg type="ruby"><seg type="rb">御揃</seg><seg type="rp">（</seg><seg type="rt">おそろ</seg><seg type="rp">）</seg></seg>えなさい。そらここを御覧」と紙燭を差しつける。黒い柱の真中に、土間から五尺ばかりの高さを<seg type="ruby"><seg type="rb">見計</seg><seg type="rp">（</seg><seg type="rt">みはから</seg><seg type="rp">）</seg></seg>って、半紙を四つ切りにした上へ、何か<seg type="ruby"><seg type="rb">認</seg><seg type="rp">（</seg><seg type="rt">したた</seg><seg type="rp">）</seg></seg>めてある。<lb />
「そおら。読めたろ。<seg type="ruby"><seg type="rb">脚下</seg><seg type="rp">（</seg><seg type="rt">きゃっか</seg><seg type="rp">）</seg></seg>を見よ、と書いてあるが」<lb />
「なるほど」と余は自分の下駄を丁寧に揃える。<lb />
和尚の<seg type="ruby"><seg type="rb">室</seg><seg type="rp">（</seg><seg type="rt">へや</seg><seg type="rp">）</seg></seg>は廊下を<seg type="ruby"><seg type="rb">鍵</seg><seg type="rp">（</seg><seg type="rt">かぎ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">手</seg><seg type="rp">（</seg><seg type="rt">て</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">曲</seg><seg type="rp">（</seg><seg type="rt">まが</seg><seg type="rp">）</seg></seg>って、本堂の横手にある。<seg type="ruby"><seg type="rb">障子</seg><seg type="rp">（</seg><seg type="rt">しょうじ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">恭</seg><seg type="rp">（</seg><seg type="rt">うやうや</seg><seg type="rp">）</seg></seg>しくあけて、恭しく敷居越しにつくばった了念が、<lb />
「あのう、<seg type="ruby"><seg type="rb">志保田</seg><seg type="rp">（</seg><seg type="rt">しほだ</seg><seg type="rp">）</seg></seg>から、画工さんが来られました」と云う。はなはだ恐縮の<seg type="ruby"><seg type="rb">体</seg><seg type="rp">（</seg><seg type="rt">てい</seg><seg type="rp">）</seg></seg>である。余はちょっとおかしくなった。<lb />
「そうか、これへ」<lb />
余は了念と入れ代る。室がすこぶる狭い。中に<seg type="ruby"><seg type="rb">囲炉裏</seg><seg type="rp">（</seg><seg type="rt">いろり</seg><seg type="rp">）</seg></seg>を切って、<seg type="ruby"><seg type="rb">鉄瓶</seg><seg type="rp">（</seg><seg type="rt">てつびん</seg><seg type="rp">）</seg></seg>が鳴る。和尚は向側に<seg type="ruby"><seg type="rb">書見</seg><seg type="rp">（</seg><seg type="rt">しょけん</seg><seg type="rp">）</seg></seg>をしていた。<lb />
「さあこれへ」と<seg type="ruby"><seg type="rb">眼鏡</seg><seg type="rp">（</seg><seg type="rt">めがね</seg><seg type="rp">）</seg></seg>をはずして、書物を<seg type="ruby"><seg type="rb">傍</seg><seg type="rp">（</seg><seg type="rt">かたわら</seg><seg type="rp">）</seg></seg>へおしやる。<lb />
「了念。りょううねええん」<lb />
「ははははい」<lb />
「<seg type="ruby"><seg type="rb">座布団</seg><seg type="rp">（</seg><seg type="rt">ざぶとん</seg><seg type="rp">）</seg></seg>を上げんか」<lb />
「はははははい」と了念は遠くで、長い返事をする。<lb />
「よう、来られた。さぞ退屈だろ」<lb />
「あまり月がいいから、ぶらぶら来ました」<lb />
「いい月じゃな」と障子をあける。飛び石が二つ、松一本のほかには何もない、<seg type="ruby"><seg type="rb">平庭</seg><seg type="rp">（</seg><seg type="rt">ひらにわ</seg><seg type="rp">）</seg></seg>の向うは、すぐ<seg type="ruby"><seg type="rb">懸崖</seg><seg type="rp">（</seg><seg type="rt">けんがい</seg><seg type="rp">）</seg></seg>と見えて、眼の下に<seg type="ruby"><seg type="rb">朧夜</seg><seg type="rp">（</seg><seg type="rt">おぼろよ</seg><seg type="rp">）</seg></seg>の海がたちまちに開ける。急に気が大きくなったような心持である。<seg type="ruby"><seg type="rb">漁火</seg><seg type="rp">（</seg><seg type="rt">いさりび</seg><seg type="rp">）</seg></seg>がここ、かしこに、ちらついて、遥かの末は空に入って、星に<seg type="ruby"><seg type="rb">化</seg><seg type="rp">（</seg><seg type="rt">ば</seg><seg type="rp">）</seg></seg>けるつもりだろう。<lb />
「これはいい景色。<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>さん、障子をしめているのはもったいないじゃありませんか」<lb />
「そうよ。しかし毎晩見ているからな」<lb />
「<seg type="ruby"><seg type="rb">何晩</seg><seg type="rp">（</seg><seg type="rt">いくばん</seg><seg type="rp">）</seg></seg>見てもいいですよ、この景色は。私なら寝ずに見ています」<lb />
「ハハハハ。もっともあなたは<seg type="ruby"><seg type="rb">画工</seg><seg type="rp">（</seg><seg type="rt">えかき</seg><seg type="rp">）</seg></seg>だから、わしとは少し違うて」<lb />
「和尚さんだって、うつくしいと思ってるうちは画工でさあ」<lb />
「なるほどそれもそうじゃろ。わしも<seg type="ruby"><seg type="rb">達磨</seg><seg type="rp">（</seg><seg type="rt">だるま</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>ぐらいはこれで、かくがの。そら、ここに掛けてある、この<seg type="ruby"><seg type="rb">軸</seg><seg type="rp">（</seg><seg type="rt">じく</seg><seg type="rp">）</seg></seg>は先代がかかれたのじゃが、なかなかようかいとる」<lb />
なるほど達磨の画が小さい<seg type="ruby"><seg type="rb">床</seg><seg type="rp">（</seg><seg type="rt">とこ</seg><seg type="rp">）</seg></seg>に掛っている。しかし画としてはすこぶるまずいものだ。ただ<seg type="ruby"><seg type="rb">俗気</seg><seg type="rp">（</seg><seg type="rt">ぞっき</seg><seg type="rp">）</seg></seg>がない。<seg type="ruby"><seg type="rb">拙</seg><seg type="rp">（</seg><seg type="rt">せつ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">蔽</seg><seg type="rp">（</seg><seg type="rt">おお</seg><seg type="rp">）</seg></seg>おうと<seg type="ruby"><seg type="rb">力</seg><seg type="rp">（</seg><seg type="rt">つと</seg><seg type="rp">）</seg></seg>めているところが一つもない。無邪気な画だ。この先代もやはりこの画のような構わない人であったんだろう。<lb />
「無邪気な画ですね」<lb />
「わしらのかく画はそれで沢山じゃ。<seg type="ruby"><seg type="rb">気象</seg><seg type="rp">（</seg><seg type="rt">きしょう</seg><seg type="rp">）</seg></seg>さえあらわれておれば……」<lb />
「上手で俗気があるのより、いいです」<lb />
「ははははまあ、そうでも、<seg type="ruby"><seg type="rb">賞</seg><seg type="rp">（</seg><seg type="rt">ほ</seg><seg type="rp">）</seg></seg>めて置いてもらおう。時に近頃は画工にも博士があるかの」<lb />
「画工の博士はありませんよ」<lb />
「あ、そうか。この間、何でも博士に一人<seg type="ruby"><seg type="rb">逢</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>うた」<lb />
「へええ」<lb />
「博士と云うとえらいものじゃろな」<lb />
「ええ。えらいんでしょう」<lb />
「画工にも博士がありそうなものじゃがな。なぜ無いだろう」<lb />
「そういえば、和尚さんの方にも博士がなけりゃならないでしょう」<lb />
「ハハハハまあ、そんなものかな。――何とか云う人じゃったて、この間逢うた人は――どこぞに名刺があるはずだが……」<lb />
「どこで御逢いです、東京ですか」<lb />
「いやここで、東京へは、も二十年も出ん。近頃は電車とか云うものが出来たそうじゃが、ちょっと乗って見たいような気がする」<lb />
「つまらんものですよ。やかましくって」<lb />
「そうかな。<seg type="ruby"><seg type="rb">蜀犬</seg><seg type="rp">（</seg><seg type="rt">しょっけん</seg><seg type="rp">）</seg></seg>日に<seg type="ruby"><seg type="rb">吠</seg><seg type="rp">（</seg><seg type="rt">ほ</seg><seg type="rp">）</seg></seg>え、<seg type="ruby"><seg type="rb">呉牛</seg><seg type="rp">（</seg><seg type="rt">ごぎゅう</seg><seg type="rp">）</seg></seg>月に<seg type="ruby"><seg type="rb">喘</seg><seg type="rp">（</seg><seg type="rt">あえ</seg><seg type="rp">）</seg></seg>ぐと云うから、わしのような<seg type="ruby"><seg type="rb">田舎者</seg><seg type="rp">（</seg><seg type="rt">いなかもの</seg><seg type="rp">）</seg></seg>は、かえって困るかも知れんてのう」<lb />
「困りゃしませんがね。つまらんですよ」<lb />
「そうかな」<lb />
<seg type="ruby"><seg type="rb">鉄瓶</seg><seg type="rp">（</seg><seg type="rt">てつびん</seg><seg type="rp">）</seg></seg>の口から煙が<seg type="ruby"><seg type="rb">盛</seg><seg type="rp">（</seg><seg type="rt">さかん</seg><seg type="rp">）</seg></seg>に出る。<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">茶箪笥</seg><seg type="rp">（</seg><seg type="rt">ちゃだんす</seg><seg type="rp">）</seg></seg>から茶器を取り出して、茶を<seg type="ruby"><seg type="rb">注</seg><seg type="rp">（</seg><seg type="rt">つ</seg><seg type="rp">）</seg></seg>いでくれる。<lb />
「番茶を一つ<seg type="ruby"><seg type="rb">御上</seg><seg type="rp">（</seg><seg type="rt">おあが</seg><seg type="rp">）</seg></seg>り。志保田の隠居さんのような<seg type="ruby"><seg type="rb">甘</seg><seg type="rp">（</seg><seg type="rt">うま</seg><seg type="rp">）</seg></seg>い茶じゃない」<lb />
「いえ結構です」<lb />
「あなたは、そうやって、方々あるくように見受けるがやはり<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>をかくためかの」<lb />
「ええ。道具だけは持ってあるきますが、画はかかないでも構わないんです」<lb />
「はあ、それじゃ遊び半分かの」<lb />
「そうですね。そう云っても<seg type="ruby"><seg type="rb">善</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>いでしょう。<seg type="ruby"><seg type="rb">屁</seg><seg type="rp">（</seg><seg type="rt">へ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">勘定</seg><seg type="rp">（</seg><seg type="rt">かんじょう</seg><seg type="rp">）</seg></seg>をされるのが、いやですからね」<lb />
さすがの禅僧も、この語だけは<seg type="ruby"><seg type="rb">解</seg><seg type="rp">（</seg><seg type="rt">げ</seg><seg type="rp">）</seg></seg>しかねたと見える。<lb />
「屁の勘定た何かな」<lb />
「東京に永くいると屁の勘定をされますよ」<lb />
「どうして」<lb />
「ハハハハハ勘定だけならいいですが。人の屁を分析して、<seg type="ruby"><seg type="rb">臀</seg><seg type="rp">（</seg><seg type="rt">しり</seg><seg type="rp">）</seg></seg>の穴が三角だの、四角だのって余計な事をやりますよ」<lb />
「はあ、やはり衛生の方かな」<lb />
「衛生じゃありません。<seg type="ruby"><seg type="rb">探偵</seg><seg type="rp">（</seg><seg type="rt">たんてい</seg><seg type="rp">）</seg></seg>の方です」<lb />
「探偵？ なるほど、それじゃ警察じゃの。いったい警察の、巡査のて、何の役に立つかの。なけりゃならんかいの」<lb />
「そうですね、<seg type="ruby"><seg type="rb">画工</seg><seg type="rp">（</seg><seg type="rt">えかき</seg><seg type="rp">）</seg></seg>には<seg type="ruby"><seg type="rb">入</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>りませんね」<lb />
「わしにも入らんがな。わしはまだ巡査の<seg type="ruby"><seg type="rb">厄介</seg><seg type="rp">（</seg><seg type="rt">やっかい</seg><seg type="rp">）</seg></seg>になった事がない」<lb />
「そうでしょう」<lb />
「しかし、いくら警察が屁の勘定をしたてて、構わんがな。<seg type="ruby"><seg type="rb">澄</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>ましていたら。自分にわるい事がなけりゃ、なんぼ警察じゃて、どうもなるまいがな」<lb />
「屁くらいで、どうかされちゃたまりません」<lb />
「わしが小坊主のとき、先代がよう云われた。人間は日本橋の真中に<seg type="ruby"><seg type="rb">臓腑</seg><seg type="rp">（</seg><seg type="rt">ぞうふ</seg><seg type="rp">）</seg></seg>をさらけ出して、恥ずかしくないようにしなければ修業を積んだとは云われんてな。あなたもそれまで修業をしたらよかろ。旅などはせんでも済むようになる」<lb />
「画工になり澄ませば、いつでもそうなれます」<lb />
「それじゃ画工になり澄したらよかろ」<lb />
「屁の勘定をされちゃ、なり切れませんよ」<lb />
「ハハハハ。それ御覧。あの、あなたの<seg type="ruby"><seg type="rb">泊</seg><seg type="rp">（</seg><seg type="rt">とま</seg><seg type="rp">）</seg></seg>っている、志保田の御那美さんも、嫁に<seg type="ruby"><seg type="rb">入</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>って帰ってきてから、どうもいろいろな事が気になってならん、ならんと云うてしまいにとうとう、わしの所へ<seg type="ruby"><seg type="rb">法</seg><seg type="rp">（</seg><seg type="rt">ほう</seg><seg type="rp">）</seg></seg>を問いに来たじゃて。ところが近頃はだいぶ出来てきて、そら、御覧。あのような<seg type="ruby"><seg type="rb">訳</seg><seg type="rp">（</seg><seg type="rt">わけ</seg><seg type="rp">）</seg></seg>のわかった女になったじゃて」<lb />
「へええ、どうもただの女じゃないと思いました」<lb />
「いやなかなか<seg type="ruby"><seg type="rb">機鋒</seg><seg type="rp">（</seg><seg type="rt">きほう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">鋭</seg><seg type="rp">（</seg><seg type="rt">する</seg><seg type="rp">）</seg></seg>どい女で――わしの所へ修業に来ていた<seg type="ruby"><seg type="rb">泰安</seg><seg type="rp">（</seg><seg type="rt">たいあん</seg><seg type="rp">）</seg></seg>と云う<seg type="ruby"><seg type="rb">若僧</seg><seg type="rp">（</seg><seg type="rt">にゃくそう</seg><seg type="rp">）</seg></seg>も、あの女のために、ふとした事から<seg type="ruby"><seg type="rb">大事</seg><seg type="rp">（</seg><seg type="rt">だいじ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">窮明</seg><seg type="rp">（</seg><seg type="rt">きゅうめい</seg><seg type="rp">）</seg></seg>せんならん<seg type="ruby"><seg type="rb">因縁</seg><seg type="rp">（</seg><seg type="rt">いんねん</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">逢着</seg><seg type="rp">（</seg><seg type="rt">ほうちゃく</seg><seg type="rp">）</seg></seg>して――今によい<seg type="ruby"><seg type="rb">智識</seg><seg type="rp">（</seg><seg type="rt">ちしき</seg><seg type="rp">）</seg></seg>になるようじゃ」<lb />
静かな庭に、松の影が落ちる、遠くの海は、空の光りに<seg type="ruby"><seg type="rb">応</seg><seg type="rp">（</seg><seg type="rt">こた</seg><seg type="rp">）</seg></seg>うるがごとく、応えざるがごとく、<seg type="ruby"><seg type="rb">有耶無耶</seg><seg type="rp">（</seg><seg type="rt">うやむや</seg><seg type="rp">）</seg></seg>のうちに<seg type="ruby"><seg type="rb">微</seg><seg type="rp">（</seg><seg type="rt">かす</seg><seg type="rp">）</seg></seg>かなる、<seg type="ruby"><seg type="rb">耀</seg><seg type="rp">（</seg><seg type="rt">かがや</seg><seg type="rp">）</seg></seg>きを放つ。<seg type="ruby"><seg type="rb">漁火</seg><seg type="rp">（</seg><seg type="rt">いさりび</seg><seg type="rp">）</seg></seg>は明滅す。<lb />
「あの松の影を御覧」<lb />
「<seg type="ruby"><seg type="rb">奇麗</seg><seg type="rp">（</seg><seg type="rt">きれい</seg><seg type="rp">）</seg></seg>ですな」<lb />
「ただ奇麗かな」<lb />
「ええ」<lb />
「奇麗な上に、風が吹いても苦にしない」<lb />
茶碗に余った渋茶を飲み干して、<seg type="ruby"><seg type="rb">糸底</seg><seg type="rp">（</seg><seg type="rt">いとぞこ</seg><seg type="rp">）</seg></seg>を上に、<seg type="ruby"><seg type="rb">茶托</seg><seg type="rp">（</seg><seg type="rt">ちゃたく</seg><seg type="rp">）</seg></seg>へ伏せて、立ち上る。<lb />
「門まで送ってあげよう。りょううねええん。御客が<seg type="ruby"><seg type="rb">御帰</seg><seg type="rp">（</seg><seg type="rt">おかえり</seg><seg type="rp">）</seg></seg>だぞよ」<lb />
送られて、<seg type="ruby"><seg type="rb">庫裏</seg><seg type="rp">（</seg><seg type="rt">くり</seg><seg type="rp">）</seg></seg>を出ると、鳩がくううくううと鳴く。<lb />
「鳩ほど可愛いものはない、わしが、手をたたくと、みな飛んでくる。呼んで見よか」<lb />
月はいよいよ明るい。しんしんとして、<seg type="ruby"><seg type="rb">木蓮</seg><seg type="rp">（</seg><seg type="rt">もくれん</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">幾朶</seg><seg type="rp">（</seg><seg type="rt">いくだ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">雲華</seg><seg type="rp">（</seg><seg type="rt">うんげ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">空裏</seg><seg type="rp">（</seg><seg type="rt">くうり</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/1-84/1-84-92.png" rend="gaiji" rendition="img" source="※(「敬／手」、第3水準1-84-92)" /></seg><seg type="rp">（</seg><seg type="rt">ささ</seg><seg type="rp">）</seg></seg>げている。<seg type="ruby"><seg type="rb"><seg facs="../../../gaiji/2-78/2-78-39.png" rend="gaiji" rendition="img" source="※(「さんずい＋鴪のへん」、第4水準2-78-39)" />寥</seg><seg type="rp">（</seg><seg type="rt">けつりょう</seg><seg type="rp">）</seg></seg>たる<seg type="ruby"><seg type="rb">春夜</seg><seg type="rp">（</seg><seg type="rt">しゅんや</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">真中</seg><seg type="rp">（</seg><seg type="rt">まなか</seg><seg type="rp">）</seg></seg>に、和尚ははたと<seg type="ruby"><seg type="rb">掌</seg><seg type="rp">（</seg><seg type="rt">たなごころ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">拍</seg><seg type="rp">（</seg><seg type="rt">う</seg><seg type="rp">）</seg></seg>つ。声は<seg type="ruby"><seg type="rb">風中</seg><seg type="rp">（</seg><seg type="rt">ふうちゅう</seg><seg type="rp">）</seg></seg>に死して一羽の鳩も下りぬ。<lb />
「下りんかいな。下りそうなものじゃが」<lb />
了念は余の顔を見て、ちょっと笑った。和尚は鳩の眼が夜でも見えると思うているらしい。気楽なものだ。<lb />
山門の所で、余は二人に別れる。見返えると、大きな丸い影と、小さな丸い影が、<seg type="ruby"><seg type="rb">石甃</seg><seg type="rp">（</seg><seg type="rt">いしだたみ</seg><seg type="rp">）</seg></seg>の上に落ちて、前後して庫裏の方に消えて行く。<lb />
<lb />
<seg rend="jisage_8" rendition="div" style="margin-left: 8em"><seg rend="naka-midashi" rendition="h"><seg rend="midashi_anchor" rendition="a" xml:id="midashi120">十二</seg></seg></seg>
<lb />
<seg type="ruby"><seg type="rb">基督</seg><seg type="rp">（</seg><seg type="rt">キリスト</seg><seg type="rp">）</seg></seg>は最高度に芸術家の態度を具足したるものなりとは、オスカー・ワイルドの説と記憶している。基督は知らず。観海寺の<seg type="ruby"><seg type="rb">和尚</seg><seg type="rp">（</seg><seg type="rt">おしょう</seg><seg type="rp">）</seg></seg>のごときは、まさしくこの資格を有していると思う。趣味があると云う意味ではない。時勢に通じていると云う訳でもない。彼は<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>と云う名のほとんど<seg type="ruby"><seg type="rb">下</seg><seg type="rp">（</seg><seg type="rt">くだ</seg><seg type="rp">）</seg></seg>すべからざる<seg type="ruby"><seg type="rb">達磨</seg><seg type="rp">（</seg><seg type="rt">だるま</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">幅</seg><seg type="rp">（</seg><seg type="rt">ふく</seg><seg type="rp">）</seg></seg>を掛けて、ようできたなどと得意である。彼は<seg type="ruby"><seg type="rb">画工</seg><seg type="rp">（</seg><seg type="rt">えかき</seg><seg type="rp">）</seg></seg>に博士があるものと心得ている。彼は鳩の眼を夜でも<seg type="ruby"><seg type="rb">利</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>くものと思っている。それにも<seg type="ruby"><seg type="rb">関</seg><seg type="rp">（</seg><seg type="rt">かか</seg><seg type="rp">）</seg></seg>わらず、芸術家の資格があると云う。彼の心は底のない<seg type="ruby"><seg type="rb">嚢</seg><seg type="rp">（</seg><seg type="rt">ふくろ</seg><seg type="rp">）</seg></seg>のように行き抜けである。何にも<seg type="ruby"><seg type="rb">停滞</seg><seg type="rp">（</seg><seg type="rt">ていたい</seg><seg type="rp">）</seg></seg>しておらん。<seg type="ruby"><seg type="rb">随処</seg><seg type="rp">（</seg><seg type="rt">ずいしょ</seg><seg type="rp">）</seg></seg>に動き去り、<seg type="ruby"><seg type="rb">任意</seg><seg type="rp">（</seg><seg type="rt">にんい</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">作</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>し去って、<seg type="ruby"><seg type="rb">些</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">塵滓</seg><seg type="rp">（</seg><seg type="rt">じんし</seg><seg type="rp">）</seg></seg>の腹部に<seg type="ruby"><seg type="rb">沈澱</seg><seg type="rp">（</seg><seg type="rt">ちんでん</seg><seg type="rp">）</seg></seg>する<seg type="ruby"><seg type="rb">景色</seg><seg type="rp">（</seg><seg type="rt">けしき</seg><seg type="rp">）</seg></seg>がない。もし彼の<seg type="ruby"><seg type="rb">脳裏</seg><seg type="rp">（</seg><seg type="rt">のうり</seg><seg type="rp">）</seg></seg>に一点の趣味を<seg type="ruby"><seg type="rb">貼</seg><seg type="rp">（</seg><seg type="rt">ちょう</seg><seg type="rp">）</seg></seg>し得たならば、彼は<seg type="ruby"><seg type="rb">之</seg><seg type="rp">（</seg><seg type="rt">ゆ</seg><seg type="rp">）</seg></seg>く所に同化して、<seg type="ruby"><seg type="rb">行屎走尿</seg><seg type="rp">（</seg><seg type="rt">こうしそうにょう</seg><seg type="rp">）</seg></seg>の際にも、完全たる芸術家として存在し得るだろう。余のごときは、探偵に<seg type="ruby"><seg type="rb">屁</seg><seg type="rp">（</seg><seg type="rt">へ</seg><seg type="rp">）</seg></seg>の数を<seg type="ruby"><seg type="rb">勘定</seg><seg type="rp">（</seg><seg type="rt">かんじょう</seg><seg type="rp">）</seg></seg>される間は、とうてい画家にはなれない。<seg type="ruby"><seg type="rb">画架</seg><seg type="rp">（</seg><seg type="rt">がか</seg><seg type="rp">）</seg></seg>に向う事は出来る。<seg type="ruby"><seg type="rb">小手板</seg><seg type="rp">（</seg><seg type="rt">こていた</seg><seg type="rp">）</seg></seg>を握る事は出来る。しかし画工にはなれない。こうやって、名も知らぬ山里へ来て、暮れんとする<seg type="ruby"><seg type="rb">春色</seg><seg type="rp">（</seg><seg type="rt">しゅんしょく</seg><seg type="rp">）</seg></seg>のなかに五尺の<seg type="ruby"><seg type="rb">痩躯</seg><seg type="rp">（</seg><seg type="rt">そうく</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">埋</seg><seg type="rp">（</seg><seg type="rt">うず</seg><seg type="rp">）</seg></seg>めつくして、始めて、真の芸術家たるべき態度に吾身を置き得るのである。一たびこの<seg type="ruby"><seg type="rb">境界</seg><seg type="rp">（</seg><seg type="rt">きょうがい</seg><seg type="rp">）</seg></seg>に入れば美の天下はわが有に帰する。<seg type="ruby"><seg type="rb">尺素</seg><seg type="rp">（</seg><seg type="rt">せきそ</seg><seg type="rp">）</seg></seg>を染めず、<seg type="ruby"><seg type="rb">寸<seg facs="../../../gaiji/1-90/1-90-17.png" rend="gaiji" rendition="img" source="※(「糸＋賺のつくり」、第3水準1-90-17)" /></seg><seg type="rp">（</seg><seg type="rt">すんけん</seg><seg type="rp">）</seg></seg>を塗らざるも、われは第一流の大画工である。<seg type="ruby"><seg type="rb">技</seg><seg type="rp">（</seg><seg type="rt">ぎ</seg><seg type="rp">）</seg></seg>において、ミケルアンゼロに及ばず、<seg type="ruby"><seg type="rb">巧</seg><seg type="rp">（</seg><seg type="rt">たく</seg><seg type="rp">）</seg></seg>みなる事ラフハエルに譲る事ありとも、芸術家たるの人格において、古今の大家と<seg type="ruby"><seg type="rb">歩武</seg><seg type="rp">（</seg><seg type="rt">ほぶ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">斉</seg><seg type="rp">（</seg><seg type="rt">ひとし</seg><seg type="rp">）</seg></seg>ゅうして、<seg type="ruby"><seg type="rb">毫</seg><seg type="rp">（</seg><seg type="rt">ごう</seg><seg type="rp">）</seg></seg>も<seg type="ruby"><seg type="rb">遜</seg><seg type="rp">（</seg><seg type="rt">ゆず</seg><seg type="rp">）</seg></seg>るところを見出し得ない。余はこの温泉場へ来てから、まだ一枚の<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>もかかない。絵の具箱は<seg type="ruby"><seg type="rb">酔興</seg><seg type="rp">（</seg><seg type="rt">すいきょう</seg><seg type="rp">）</seg></seg>に、<seg type="ruby"><seg type="rb">担</seg><seg type="rp">（</seg><seg type="rt">かつ</seg><seg type="rp">）</seg></seg>いできたかの感さえある。人はあれでも画家かと<seg type="ruby"><seg type="rb">嗤</seg><seg type="rp">（</seg><seg type="rt">わら</seg><seg type="rp">）</seg></seg>うかもしれぬ。いくら嗤われても、今の余は真の画家である。立派な画家である。こう云う<seg type="ruby"><seg type="rb">境</seg><seg type="rp">（</seg><seg type="rt">きょう</seg><seg type="rp">）</seg></seg>を得たものが、名画をかくとは限らん。しかし名画をかき得る人は必ずこの境を知らねばならん。<lb />
<seg type="ruby"><seg type="rb">朝飯</seg><seg type="rp">（</seg><seg type="rt">あさめし</seg><seg type="rp">）</seg></seg>をすまして、一本の<seg type="ruby"><seg type="rb">敷島</seg><seg type="rp">（</seg><seg type="rt">しきしま</seg><seg type="rp">）</seg></seg>をゆたかに吹かしたるときの余の観想は以上のごとくである。日は<seg type="ruby"><seg type="rb">霞</seg><seg type="rp">（</seg><seg type="rt">かすみ</seg><seg type="rp">）</seg></seg>を離れて高く<seg type="ruby"><seg type="rb">上</seg><seg type="rp">（</seg><seg type="rt">のぼ</seg><seg type="rp">）</seg></seg>っている。<seg type="ruby"><seg type="rb">障子</seg><seg type="rp">（</seg><seg type="rt">しょうじ</seg><seg type="rp">）</seg></seg>をあけて、<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">うし</seg><seg type="rp">）</seg></seg>ろの山を<seg type="ruby"><seg type="rb">眺</seg><seg type="rp">（</seg><seg type="rt">なが</seg><seg type="rp">）</seg></seg>めたら、<seg type="ruby"><seg type="rb">蒼</seg><seg type="rp">（</seg><seg type="rt">あお</seg><seg type="rp">）</seg></seg>い<seg type="ruby"><seg type="rb">樹</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>が非常にすき通って、例になく<seg type="ruby"><seg type="rb">鮮</seg><seg type="rp">（</seg><seg type="rt">あざ</seg><seg type="rp">）</seg></seg>やかに見えた。<lb />
余は常に空気と、物象と、彩色の関係を<seg type="ruby"><seg type="rb">宇宙</seg><seg type="rp">（</seg><seg type="rt">よのなか</seg><seg type="rp">）</seg></seg>でもっとも興味ある研究の一と考えている。色を主にして空気を出すか、物を主にして、空気をかくか。または空気を主にしてそのうちに色と物とを織り出すか。画は少しの<seg type="ruby"><seg type="rb">気合</seg><seg type="rp">（</seg><seg type="rt">きあい</seg><seg type="rp">）</seg></seg>一つでいろいろな調子が出る。この調子は画家自身の<seg type="ruby"><seg type="rb">嗜好</seg><seg type="rp">（</seg><seg type="rt">しこう</seg><seg type="rp">）</seg></seg>で異なってくる。それは無論であるが、時と場所とで、<seg type="ruby"><seg type="rb">自</seg><seg type="rp">（</seg><seg type="rt">おの</seg><seg type="rp">）</seg></seg>ずから制限されるのもまた<seg type="ruby"><seg type="rb">当前</seg><seg type="rp">（</seg><seg type="rt">とうぜん</seg><seg type="rp">）</seg></seg>である。英国人のかいた<seg type="ruby"><seg type="rb">山水</seg><seg type="rp">（</seg><seg type="rt">さんすい</seg><seg type="rp">）</seg></seg>に明るいものは一つもない。明るい画が<seg type="ruby"><seg type="rb">嫌</seg><seg type="rp">（</seg><seg type="rt">きらい</seg><seg type="rp">）</seg></seg>なのかも知れぬが、よし好きであっても、あの空気では、どうする事も出来ない。同じ英人でもグーダルなどは色の調子がまるで違う。違うはずである。彼は英人でありながら、かつて英国の<seg type="ruby"><seg type="rb">景色</seg><seg type="rp">（</seg><seg type="rt">けいしょく</seg><seg type="rp">）</seg></seg>をかいた事がない。彼の画題は彼の郷土にはない。彼の本国に比すると、空気の透明の度の非常に<seg type="ruby"><seg type="rb">勝</seg><seg type="rp">（</seg><seg type="rt">まさ</seg><seg type="rp">）</seg></seg>っている、<seg type="ruby"><seg type="rb">埃及</seg><seg type="rp">（</seg><seg type="rt">エジプト</seg><seg type="rp">）</seg></seg>または<seg type="ruby"><seg type="rb">波斯辺</seg><seg type="rp">（</seg><seg type="rt">ペルシャへん</seg><seg type="rp">）</seg></seg>の光景のみを<seg type="ruby"><seg type="rb">択</seg><seg type="rp">（</seg><seg type="rt">えら</seg><seg type="rp">）</seg></seg>んでいる。したがって彼のかいた画を、始めて見ると誰も驚ろく。英人にもこんな明かな色を出すものがあるかと疑うくらい<seg type="ruby"><seg type="rb">判然</seg><seg type="rp">（</seg><seg type="rt">はっきり</seg><seg type="rp">）</seg></seg>出来上っている。<lb />
個人の<seg type="ruby"><seg type="rb">嗜好</seg><seg type="rp">（</seg><seg type="rt">しこう</seg><seg type="rp">）</seg></seg>はどうする事も出来ん。しかし日本の山水を描くのが主意であるならば、<seg type="ruby"><seg type="rb">吾々</seg><seg type="rp">（</seg><seg type="rt">われわれ</seg><seg type="rp">）</seg></seg>もまた日本固有の空気と色を出さなければならん。いくら<seg type="ruby"><seg type="rb">仏蘭西</seg><seg type="rp">（</seg><seg type="rt">フランス</seg><seg type="rp">）</seg></seg>の絵がうまいと云って、その色をそのままに写して、これが日本の<seg type="ruby"><seg type="rb">景色</seg><seg type="rp">（</seg><seg type="rt">けいしょく</seg><seg type="rp">）</seg></seg>だとは云われない。やはり<seg type="ruby"><seg type="rb">面</seg><seg type="rp">（</seg><seg type="rt">ま</seg><seg type="rp">）</seg></seg>のあたり自然に接して、朝な夕なに<seg type="ruby"><seg type="rb">雲容煙態</seg><seg type="rp">（</seg><seg type="rt">うんようえんたい</seg><seg type="rp">）</seg></seg>を研究したあげく、あの色こそと思ったとき、すぐ<seg type="ruby"><seg type="rb">三脚几</seg><seg type="rp">（</seg><seg type="rt">さんきゃくき</seg><seg type="rp">）</seg></seg>を担いで飛び出さなければならん。色は<seg type="ruby"><seg type="rb">刹那</seg><seg type="rp">（</seg><seg type="rt">せつな</seg><seg type="rp">）</seg></seg>に移る。一たび機を<seg type="ruby"><seg type="rb">失</seg><seg type="rp">（</seg><seg type="rt">しっ</seg><seg type="rp">）</seg></seg>すれば、同じ色は容易に眼には落ちぬ。余が今見上げた山の<seg type="ruby"><seg type="rb">端</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>には、<seg type="ruby"><seg type="rb">滅多</seg><seg type="rp">（</seg><seg type="rt">めった</seg><seg type="rp">）</seg></seg>にこの辺で見る事の出来ないほどな<seg type="ruby"><seg type="rb">好</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>い色が<seg type="ruby"><seg type="rb">充</seg><seg type="rp">（</seg><seg type="rt">み</seg><seg type="rp">）</seg></seg>ちている。せっかく来て、あれを<seg type="ruby"><seg type="rb">逃</seg><seg type="rp">（</seg><seg type="rt">にが</seg><seg type="rp">）</seg></seg>すのは惜しいものだ。ちょっと写してきよう。<lb />
<seg type="ruby"><seg type="rb">襖</seg><seg type="rp">（</seg><seg type="rt">ふすま</seg><seg type="rp">）</seg></seg>をあけて、<seg type="ruby"><seg type="rb">椽側</seg><seg type="rp">（</seg><seg type="rt">えんがわ</seg><seg type="rp">）</seg></seg>へ出ると、向う二階の<seg type="ruby"><seg type="rb">障子</seg><seg type="rp">（</seg><seg type="rt">しょうじ</seg><seg type="rp">）</seg></seg>に身を<seg type="ruby"><seg type="rb">倚</seg><seg type="rp">（</seg><seg type="rt">も</seg><seg type="rp">）</seg></seg>たして、那美さんが立っている。<seg type="ruby"><seg type="rb">顋</seg><seg type="rp">（</seg><seg type="rt">あご</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">襟</seg><seg type="rp">（</seg><seg type="rt">えり</seg><seg type="rp">）</seg></seg>のなかへ<seg type="ruby"><seg type="rb">埋</seg><seg type="rp">（</seg><seg type="rt">うず</seg><seg type="rp">）</seg></seg>めて、横顔だけしか見えぬ。余が<seg type="ruby"><seg type="rb">挨拶</seg><seg type="rp">（</seg><seg type="rt">あいさつ</seg><seg type="rp">）</seg></seg>をしようと思う<seg type="ruby"><seg type="rb">途端</seg><seg type="rp">（</seg><seg type="rt">とたん</seg><seg type="rp">）</seg></seg>に、女は、左の手を落としたまま、右の手を風のごとく動かした。<seg type="ruby"><seg type="rb">閃</seg><seg type="rp">（</seg><seg type="rt">ひらめ</seg><seg type="rp">）</seg></seg>くは<seg type="ruby"><seg type="rb">稲妻</seg><seg type="rp">（</seg><seg type="rt">いなずま</seg><seg type="rp">）</seg></seg>か、<seg type="ruby"><seg type="rb">二折</seg><seg type="rp">（</seg><seg type="rt">ふたお</seg><seg type="rp">）</seg></seg>れ<seg type="ruby"><seg type="rb">三折</seg><seg type="rp">（</seg><seg type="rt">みお</seg><seg type="rp">）</seg></seg>れ胸のあたりを、するりと走るや<seg type="ruby"><seg type="rb">否</seg><seg type="rp">（</seg><seg type="rt">いな</seg><seg type="rp">）</seg></seg>や、かちりと音がして、閃めきはすぐ消えた。女の左り手には九<seg type="ruby"><seg type="rb">寸</seg><seg type="rp">（</seg><seg type="rt">すん</seg><seg type="rp">）</seg></seg>五<seg type="ruby"><seg type="rb">分</seg><seg type="rp">（</seg><seg type="rt">ぶ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">白鞘</seg><seg type="rp">（</seg><seg type="rt">しらさや</seg><seg type="rp">）</seg></seg>がある。姿はたちまち障子の影に隠れた。余は朝っぱらから<seg type="ruby"><seg type="rb">歌舞伎座</seg><seg type="rp">（</seg><seg type="rt">かぶきざ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">覗</seg><seg type="rp">（</seg><seg type="rt">のぞ</seg><seg type="rp">）</seg></seg>いた気で宿を出る。<lb />
門を出て、左へ切れると、すぐ<seg type="ruby"><seg type="rb">岨道</seg><seg type="rp">（</seg><seg type="rt">そばみち</seg><seg type="rp">）</seg></seg>つづきの、<seg type="ruby"><seg type="rb">爪上</seg><seg type="rp">（</seg><seg type="rt">つまあが</seg><seg type="rp">）</seg></seg>りになる。<seg type="ruby"><seg type="rb">鶯</seg><seg type="rp">（</seg><seg type="rt">うぐいす</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">所々</seg><seg type="rp">（</seg><seg type="rt">ところどころ</seg><seg type="rp">）</seg></seg>で鳴く。左り手がなだらかな谷へ落ちて、<seg type="ruby"><seg type="rb">蜜柑</seg><seg type="rp">（</seg><seg type="rt">みかん</seg><seg type="rp">）</seg></seg>が一面に植えてある。右には高からぬ岡が二つほど並んで、ここにもあるは蜜柑のみと思われる。何年前か一度この地に来た。指を折るのも面倒だ。何でも寒い<seg type="ruby"><seg type="rb">師走</seg><seg type="rp">（</seg><seg type="rt">しわす</seg><seg type="rp">）</seg></seg>の頃であった。その時蜜柑山に蜜柑がべた<seg type="ruby"><seg type="rb">生</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>りに生る景色を始めて見た。蜜柑取りに一枝売ってくれと云ったら、<seg type="ruby"><seg type="rb">幾顆</seg><seg type="rp">（</seg><seg type="rt">いくつ</seg><seg type="rp">）</seg></seg>でも上げますよ、持っていらっしゃいと答えて、<seg type="ruby"><seg type="rb">樹</seg><seg type="rp">（</seg><seg type="rt">き</seg><seg type="rp">）</seg></seg>の上で妙な<seg type="ruby"><seg type="rb">節</seg><seg type="rp">（</seg><seg type="rt">ふし</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">唄</seg><seg type="rp">（</seg><seg type="rt">うた</seg><seg type="rp">）</seg></seg>をうたい出した。東京では蜜柑の皮でさえ<seg type="ruby"><seg type="rb">薬種屋</seg><seg type="rp">（</seg><seg type="rt">やくしゅや</seg><seg type="rp">）</seg></seg>へ買いに行かねばならぬのにと思った。夜になると、しきりに<seg type="ruby"><seg type="rb">銃</seg><seg type="rp">（</seg><seg type="rt">つつ</seg><seg type="rp">）</seg></seg>の音がする。何だと聞いたら、<seg type="ruby"><seg type="rb">猟師</seg><seg type="rp">（</seg><seg type="rt">りょうし</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">鴨</seg><seg type="rp">（</seg><seg type="rt">かも</seg><seg type="rp">）</seg></seg>をとるんだと教えてくれた。その時は那美さんの、なの字も知らずに済んだ。<lb />
あの女を役者にしたら、立派な<seg type="ruby"><seg type="rb">女形</seg><seg type="rp">（</seg><seg type="rt">おんながた</seg><seg type="rp">）</seg></seg>が出来る。普通の役者は、舞台へ出ると、よそ行きの芸をする。あの女は家のなかで、<seg type="ruby"><seg type="rb">常住</seg><seg type="rp">（</seg><seg type="rt">じょうじゅう</seg><seg type="rp">）</seg></seg>芝居をしている。しかも芝居をしているとは気がつかん。<seg type="ruby"><seg type="rb">自然天然</seg><seg type="rp">（</seg><seg type="rt">しぜんてんねん</seg><seg type="rp">）</seg></seg>に芝居をしている。あんなのを<seg type="ruby"><seg type="rb">美的生活</seg><seg type="rp">（</seg><seg type="rt">びてきせいかつ</seg><seg type="rp">）</seg></seg>とでも云うのだろう。あの女の<seg type="ruby"><seg type="rb">御蔭</seg><seg type="rp">（</seg><seg type="rt">おかげ</seg><seg type="rp">）</seg></seg>で<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>の修業がだいぶ出来た。<lb />
あの女の<seg type="ruby"><seg type="rb">所作</seg><seg type="rp">（</seg><seg type="rt">しょさ</seg><seg type="rp">）</seg></seg>を芝居と見なければ、薄気味がわるくて一日もいたたまれん。義理とか人情とか云う、尋常の<seg type="ruby"><seg type="rb">道具立</seg><seg type="rp">（</seg><seg type="rt">どうぐだて</seg><seg type="rp">）</seg></seg>を背景にして、普通の小説家のような観察点からあの女を研究したら、刺激が強過ぎて、すぐいやになる。現実世界に<seg type="ruby"><seg type="rb">在</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>って、余とあの女の間に<seg type="ruby"><seg type="rb">纏綿</seg><seg type="rp">（</seg><seg type="rt">てんめん</seg><seg type="rp">）</seg></seg>した一種の関係が成り立ったとするならば、余の苦痛は恐らく<seg type="ruby"><seg type="rb">言語</seg><seg type="rp">（</seg><seg type="rt">ごんご</seg><seg type="rp">）</seg></seg>に絶するだろう。余のこのたびの旅行は俗情を離れて、あくまで画工になり切るのが主意であるから、眼に入るものはことごとく画として見なければならん。能、芝居、もしくは詩中の人物としてのみ観察しなければならん。この覚悟の<seg type="ruby"><seg type="rb">眼鏡</seg><seg type="rp">（</seg><seg type="rt">めがね</seg><seg type="rp">）</seg></seg>から、あの女を<seg type="ruby"><seg type="rb">覗</seg><seg type="rp">（</seg><seg type="rt">のぞ</seg><seg type="rp">）</seg></seg>いて見ると、あの女は、今まで見た女のうちでもっともうつくしい所作をする。自分でうつくしい芸をして見せると云う気がないだけに役者の所作よりもなおうつくしい。<lb />
こんな<seg type="ruby"><seg type="rb">考</seg><seg type="rp">（</seg><seg type="rt">かんがえ</seg><seg type="rp">）</seg></seg>をもつ余を、誤解してはならん。社会の公民として不適当だなどと評してはもっとも<seg type="ruby"><seg type="rb">不届</seg><seg type="rp">（</seg><seg type="rt">ふとど</seg><seg type="rp">）</seg></seg>きである。善は行い難い、徳は<seg type="ruby"><seg type="rb">施</seg><seg type="rp">（</seg><seg type="rt">ほど</seg><seg type="rp">）</seg></seg>こしにくい、節操は守り安からぬ、義のために命を捨てるのは惜しい。これらをあえてするのは<seg type="ruby"><seg type="rb">何人</seg><seg type="rp">（</seg><seg type="rt">なんびと</seg><seg type="rp">）</seg></seg>に取っても苦痛である。その苦痛を<seg type="ruby"><seg type="rb">冒</seg><seg type="rp">（</seg><seg type="rt">おか</seg><seg type="rp">）</seg></seg>すためには、苦痛に打ち勝つだけの愉快がどこかに<seg type="ruby"><seg type="rb">潜</seg><seg type="rp">（</seg><seg type="rt">ひそ</seg><seg type="rp">）</seg></seg>んでおらねばならん。画と云うも、詩と云うも、あるは芝居と云うも、この<seg type="ruby"><seg type="rb">悲酸</seg><seg type="rp">（</seg><seg type="rt">ひさん</seg><seg type="rp">）</seg></seg>のうちに<seg type="ruby"><seg type="rb">籠</seg><seg type="rp">（</seg><seg type="rt">こも</seg><seg type="rp">）</seg></seg>る快感の別号に過ぎん。この<seg type="ruby"><seg type="rb">趣</seg><seg type="rp">（</seg><seg type="rt">おもむ</seg><seg type="rp">）</seg></seg>きを解し得て、始めて<seg type="ruby"><seg type="rb">吾人</seg><seg type="rp">（</seg><seg type="rt">ごじん</seg><seg type="rp">）</seg></seg>の所作は壮烈にもなる、閑雅にもなる、すべての困苦に打ち勝って、胸中の一点の無上趣味を満足せしめたくなる。肉体の苦しみを度外に置いて、物質上の不便を物とも思わず、勇猛<seg type="ruby"><seg type="rb">精進</seg><seg type="rp">（</seg><seg type="rt">しょうじん</seg><seg type="rp">）</seg></seg>の心を<seg type="ruby"><seg type="rb">駆</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>って、人道のために、<seg type="ruby"><seg type="rb">鼎<seg facs="../../../gaiji/1-93/1-93-41.png" rend="gaiji" rendition="img" source="※(「金＋護のつくり」、第3水準1-93-41)" /></seg><seg type="rp">（</seg><seg type="rt">ていかく</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">烹</seg><seg type="rp">（</seg><seg type="rt">に</seg><seg type="rp">）</seg></seg>らるるを面白く思う。もし人情なる<seg type="ruby"><seg type="rb">狭</seg><seg type="rp">（</seg><seg type="rt">せま</seg><seg type="rp">）</seg></seg>き立脚地に立って、芸術の定義を下し得るとすれば、芸術は、われら教育ある士人の<seg type="ruby"><seg type="rb">胸裏</seg><seg type="rp">（</seg><seg type="rt">きょうり</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">潜</seg><seg type="rp">（</seg><seg type="rt">ひそ</seg><seg type="rp">）</seg></seg>んで、<seg type="ruby"><seg type="rb">邪</seg><seg type="rp">（</seg><seg type="rt">じゃ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">避</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>け<seg type="ruby"><seg type="rb">正</seg><seg type="rp">（</seg><seg type="rt">せい</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">就</seg><seg type="rp">（</seg><seg type="rt">つ</seg><seg type="rp">）</seg></seg>き、<seg type="ruby"><seg type="rb">曲</seg><seg type="rp">（</seg><seg type="rt">きょく</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">斥</seg><seg type="rp">（</seg><seg type="rt">しりぞ</seg><seg type="rp">）</seg></seg>け<seg type="ruby"><seg type="rb">直</seg><seg type="rp">（</seg><seg type="rt">ちょく</seg><seg type="rp">）</seg></seg>にくみし、<seg type="ruby"><seg type="rb">弱</seg><seg type="rp">（</seg><seg type="rt">じゃく</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">扶</seg><seg type="rp">（</seg><seg type="rt">たす</seg><seg type="rp">）</seg></seg>け<seg type="ruby"><seg type="rb">強</seg><seg type="rp">（</seg><seg type="rt">きょう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">挫</seg><seg type="rp">（</seg><seg type="rt">くじ</seg><seg type="rp">）</seg></seg>かねば、どうしても<seg type="ruby"><seg type="rb">堪</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>えられぬと云う一念の結晶して、<seg type="ruby"><seg type="rb">燦</seg><seg type="rp">（</seg><seg type="rt">さん</seg><seg type="rp">）</seg></seg>として<seg type="ruby"><seg type="rb">白日</seg><seg type="rp">（</seg><seg type="rt">はくじつ</seg><seg type="rp">）</seg></seg>を射返すものである。<lb />
芝居気があると人の行為を笑う事がある。うつくしき趣味を<seg type="ruby"><seg type="rb">貫</seg><seg type="rp">（</seg><seg type="rt">つらぬ</seg><seg type="rp">）</seg></seg>かんがために、不必要なる犠牲をあえてするの人情に遠きを<seg type="ruby"><seg type="rb">嗤</seg><seg type="rp">（</seg><seg type="rt">わら</seg><seg type="rp">）</seg></seg>うのである。自然にうつくしき性格を発揮するの機会を待たずして、無理矢理に自己の趣味観を<seg type="ruby"><seg type="rb">衒</seg><seg type="rp">（</seg><seg type="rt">てら</seg><seg type="rp">）</seg></seg>うの<seg type="ruby"><seg type="rb">愚</seg><seg type="rp">（</seg><seg type="rt">ぐ</seg><seg type="rp">）</seg></seg>を笑うのである。真に<seg type="ruby"><seg type="rb">個中</seg><seg type="rp">（</seg><seg type="rt">こちゅう</seg><seg type="rp">）</seg></seg>の消息を解し得たるものの嗤うはその意を得ている。趣味の何物たるをも心得ぬ<seg type="ruby"><seg type="rb">下司下郎</seg><seg type="rp">（</seg><seg type="rt">げすげろう</seg><seg type="rp">）</seg></seg>の、わが<seg type="ruby"><seg type="rb">卑</seg><seg type="rp">（</seg><seg type="rt">いや</seg><seg type="rp">）</seg></seg>しき心根に比較して<seg type="ruby"><seg type="rb">他</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">賤</seg><seg type="rp">（</seg><seg type="rt">いや</seg><seg type="rp">）</seg></seg>しむに至っては許しがたい。昔し<seg type="ruby"><seg type="rb">巌頭</seg><seg type="rp">（</seg><seg type="rt">がんとう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">吟</seg><seg type="rp">（</seg><seg type="rt">ぎん</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">遺</seg><seg type="rp">（</seg><seg type="rt">のこ</seg><seg type="rp">）</seg></seg>して、五十丈の<seg type="ruby"><seg type="rb">飛瀑</seg><seg type="rp">（</seg><seg type="rt">ひばく</seg><seg type="rp">）</seg></seg>を直下して<seg type="ruby"><seg type="rb">急湍</seg><seg type="rp">（</seg><seg type="rt">きゅうたん</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">赴</seg><seg type="rp">（</seg><seg type="rt">おもむ</seg><seg type="rp">）</seg></seg>いた青年がある。余の<seg type="ruby"><seg type="rb">視</seg><seg type="rp">（</seg><seg type="rt">み</seg><seg type="rp">）</seg></seg>るところにては、彼の青年は美の一字のために、捨つべからざる命を捨てたるものと思う。死そのものは<seg type="ruby"><seg type="rb">洵</seg><seg type="rp">（</seg><seg type="rt">まこと</seg><seg type="rp">）</seg></seg>に壮烈である、ただその死を<seg type="ruby"><seg type="rb">促</seg><seg type="rp">（</seg><seg type="rt">うな</seg><seg type="rp">）</seg></seg>がすの動機に至っては解しがたい。されども死そのものの壮烈をだに体し得ざるものが、いかにして<seg type="ruby"><seg type="rb">藤村子</seg><seg type="rp">（</seg><seg type="rt">ふじむらし</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">所作</seg><seg type="rp">（</seg><seg type="rt">しょさ</seg><seg type="rp">）</seg></seg>を嗤い得べき。彼らは壮烈の最後を<seg type="ruby"><seg type="rb">遂</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>ぐるの情趣を<seg type="ruby"><seg type="rb">味</seg><seg type="rp">（</seg><seg type="rt">あじわ</seg><seg type="rp">）</seg></seg>い得ざるが<seg type="ruby"><seg type="rb">故</seg><seg type="rp">（</seg><seg type="rt">ゆえ</seg><seg type="rp">）</seg></seg>に、たとい正当の事情のもとにも、とうてい壮烈の最後を遂げ得べからざる制限ある点において、藤村子よりは人格として劣等であるから、嗤う権利がないものと余は主張する。<lb />
余は画工である。画工であればこそ趣味専門の男として、たとい人情世界に<seg type="ruby"><seg type="rb">堕在</seg><seg type="rp">（</seg><seg type="rt">だざい</seg><seg type="rp">）</seg></seg>するも、東西両隣りの<seg type="ruby"><seg type="rb">没風流漢</seg><seg type="rp">（</seg><seg type="rt">ぼつふうりゅうかん</seg><seg type="rp">）</seg></seg>よりも高尚である。社会の一員として優に他を教育すべき地位に立っている。詩なきもの、<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>なきもの、芸術のたしなみなきものよりは、美くしき所作が出来る。人情世界にあって、美くしき所作は正である、義である、直である。正と義と直を行為の上において示すものは天下の公民の模範である。<lb />
しばらく人情界を離れたる余は、少なくともこの<seg type="ruby"><seg type="rb">旅中</seg><seg type="rp">（</seg><seg type="rt">りょちゅう</seg><seg type="rp">）</seg></seg>に人情界に帰る必要はない。あってはせっかくの旅が無駄になる。人情世界から、じゃりじゃりする砂をふるって、底にあまる、うつくしい<seg type="ruby"><seg type="rb">金</seg><seg type="rp">（</seg><seg type="rt">きん</seg><seg type="rp">）</seg></seg>のみを眺めて暮さなければならぬ。余<seg type="ruby"><seg type="rb">自</seg><seg type="rp">（</seg><seg type="rt">みずか</seg><seg type="rp">）</seg></seg>らも社会の一員をもって任じてはおらぬ。純粋なる専門画家として、<seg type="ruby"><seg type="rb">己</seg><seg type="rp">（</seg><seg type="rt">おの</seg><seg type="rp">）</seg></seg>れさえ、<seg type="ruby"><seg type="rb">纏綿</seg><seg type="rp">（</seg><seg type="rt">てんめん</seg><seg type="rp">）</seg></seg>たる利害の<seg type="ruby"><seg type="rb">累索</seg><seg type="rp">（</seg><seg type="rt">るいさく</seg><seg type="rp">）</seg></seg>を絶って、<seg type="ruby"><seg type="rb">優</seg><seg type="rp">（</seg><seg type="rt">ゆう</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">画布裏</seg><seg type="rp">（</seg><seg type="rt">がふり</seg><seg type="rp">）</seg></seg>に往来している。いわんや山をや水をや他人をや。那美さんの行為動作といえどもただそのままの姿と見るよりほかに致し方がない。<lb />
三丁ほど<seg type="ruby"><seg type="rb">上</seg><seg type="rp">（</seg><seg type="rt">のぼ</seg><seg type="rp">）</seg></seg>ると、向うに白壁の<seg type="ruby"><seg type="rb">一構</seg><seg type="rp">（</seg><seg type="rt">ひとかまえ</seg><seg type="rp">）</seg></seg>が見える。<seg type="ruby"><seg type="rb">蜜柑</seg><seg type="rp">（</seg><seg type="rt">みかん</seg><seg type="rp">）</seg></seg>のなかの<seg type="ruby"><seg type="rb">住居</seg><seg type="rp">（</seg><seg type="rt">すまい</seg><seg type="rp">）</seg></seg>だなと思う。道は間もなく二筋に切れる。白壁を横に見て左りへ折れる時、振り返ったら、下から赤い<seg type="ruby"><seg type="rb">腰巻</seg><seg type="rp">（</seg><seg type="rt">こしまき</seg><seg type="rp">）</seg></seg>をした娘が<seg type="ruby"><seg type="rb">上</seg><seg type="rp">（</seg><seg type="rt">あが</seg><seg type="rp">）</seg></seg>ってくる。腰巻がしだいに尽きて、下から茶色の<seg type="ruby"><seg type="rb">脛</seg><seg type="rp">（</seg><seg type="rt">はぎ</seg><seg type="rp">）</seg></seg>が出る。脛が<seg type="ruby"><seg type="rb">出切</seg><seg type="rp">（</seg><seg type="rt">でき</seg><seg type="rp">）</seg></seg>ったら、<seg type="ruby"><seg type="rb">藁草履</seg><seg type="rp">（</seg><seg type="rt">わらぞうり</seg><seg type="rp">）</seg></seg>になって、その藁草履がだんだん動いて来る。頭の上に山桜が落ちかかる。背中には光る海を<seg type="ruby"><seg type="rb">負</seg><seg type="rp">（</seg><seg type="rt">しょっ</seg><seg type="rp">）</seg></seg>ている。<lb />
<seg type="ruby"><seg type="rb">岨道</seg><seg type="rp">（</seg><seg type="rt">そばみち</seg><seg type="rp">）</seg></seg>を登り切ると、山の<seg type="ruby"><seg type="rb">出鼻</seg><seg type="rp">（</seg><seg type="rt">でばな</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">平</seg><seg type="rp">（</seg><seg type="rt">たいら</seg><seg type="rp">）</seg></seg>な所へ出た。北側は<seg type="ruby"><seg type="rb">翠</seg><seg type="rp">（</seg><seg type="rt">みど</seg><seg type="rp">）</seg></seg>りを<seg type="ruby"><seg type="rb">畳</seg><seg type="rp">（</seg><seg type="rt">たた</seg><seg type="rp">）</seg></seg>む春の峰で、今朝<seg type="ruby"><seg type="rb">椽</seg><seg type="rp">（</seg><seg type="rt">えん</seg><seg type="rp">）</seg></seg>から仰いだあたりかも知れない。南側には焼野とも云うべき地勢が幅半丁ほど広がって、末は<seg type="ruby"><seg type="rb">崩</seg><seg type="rp">（</seg><seg type="rt">くず</seg><seg type="rp">）</seg></seg>れた<seg type="ruby"><seg type="rb">崖</seg><seg type="rp">（</seg><seg type="rt">がけ</seg><seg type="rp">）</seg></seg>となる。崖の下は今過ぎた蜜柑山で、村を<seg type="ruby"><seg type="rb">跨</seg><seg type="rp">（</seg><seg type="rt">また</seg><seg type="rp">）</seg></seg>いで<seg type="ruby"><seg type="rb">向</seg><seg type="rp">（</seg><seg type="rt">むこう</seg><seg type="rp">）</seg></seg>を見れば、眼に入るものは言わずも知れた<seg type="ruby"><seg type="rb">青海</seg><seg type="rp">（</seg><seg type="rt">あおうみ</seg><seg type="rp">）</seg></seg>である。<lb />
<seg type="ruby"><seg type="rb">路</seg><seg type="rp">（</seg><seg type="rt">みち</seg><seg type="rp">）</seg></seg>は幾筋もあるが、合うては別れ、別れては合うから、どれが本筋とも認められぬ。どれも路である代りに、どれも路でない。草のなかに、黒赤い地が、見えたり隠れたりして、どの筋につながるか<seg type="ruby"><seg type="rb">見分</seg><seg type="rp">（</seg><seg type="rt">みわけ</seg><seg type="rp">）</seg></seg>のつかぬところに変化があって面白い。<lb />
どこへ腰を<seg type="ruby"><seg type="rb">据</seg><seg type="rp">（</seg><seg type="rt">す</seg><seg type="rp">）</seg></seg>えたものかと、草のなかを<seg type="ruby"><seg type="rb">遠近</seg><seg type="rp">（</seg><seg type="rt">おちこち</seg><seg type="rp">）</seg></seg>と<seg type="ruby"><seg type="rb">徘徊</seg><seg type="rp">（</seg><seg type="rt">はいかい</seg><seg type="rp">）</seg></seg>する。<seg type="ruby"><seg type="rb">椽</seg><seg type="rp">（</seg><seg type="rt">えん</seg><seg type="rp">）</seg></seg>から見たときは<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>になると思った景色も、いざとなると存外<seg type="ruby"><seg type="rb">纏</seg><seg type="rp">（</seg><seg type="rt">まと</seg><seg type="rp">）</seg></seg>まらない。色もしだいに変ってくる。草原をのそつくうちに、いつしか<seg type="ruby"><seg type="rb">描</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>く気がなくなった。描かぬとすれば、地位は構わん、どこへでも<seg type="ruby"><seg type="rb">坐</seg><seg type="rp">（</seg><seg type="rt">すわ</seg><seg type="rp">）</seg></seg>った所がわが<seg type="ruby"><seg type="rb">住居</seg><seg type="rp">（</seg><seg type="rt">すまい</seg><seg type="rp">）</seg></seg>である。<seg type="ruby"><seg type="rb">染</seg><seg type="rp">（</seg><seg type="rt">し</seg><seg type="rp">）</seg></seg>み込んだ春の日が、深く草の根に<seg type="ruby"><seg type="rb">籠</seg><seg type="rp">（</seg><seg type="rt">こも</seg><seg type="rp">）</seg></seg>って、どっかと尻を<seg type="ruby"><seg type="rb">卸</seg><seg type="rp">（</seg><seg type="rt">おろ</seg><seg type="rp">）</seg></seg>すと、眼に入らぬ<seg type="ruby"><seg type="rb">陽炎</seg><seg type="rp">（</seg><seg type="rt">かげろう</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">踏</seg><seg type="rp">（</seg><seg type="rt">ふ</seg><seg type="rp">）</seg></seg>み<seg type="ruby"><seg type="rb">潰</seg><seg type="rp">（</seg><seg type="rt">つぶ</seg><seg type="rp">）</seg></seg>したような心持ちがする。<lb />
海は足の下に光る。遮ぎる雲の<seg type="ruby"><seg type="rb">一片</seg><seg type="rp">（</seg><seg type="rt">ひとひら</seg><seg type="rp">）</seg></seg>さえ持たぬ春の日影は、<seg type="ruby"><seg type="rb">普</seg><seg type="rp">（</seg><seg type="rt">あま</seg><seg type="rp">）</seg></seg>ねく水の上を照らして、いつの間にかほとぼりは波の底まで<seg type="ruby"><seg type="rb">浸</seg><seg type="rp">（</seg><seg type="rt">し</seg><seg type="rp">）</seg></seg>み渡ったと思わるるほど暖かに見える。色は<seg type="ruby"><seg type="rb">一刷毛</seg><seg type="rp">（</seg><seg type="rt">ひとはけ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">紺青</seg><seg type="rp">（</seg><seg type="rt">こんじょう</seg><seg type="rp">）</seg></seg>を平らに流したる所々に、しろかねの<seg type="ruby"><seg type="rb">細鱗</seg><seg type="rp">（</seg><seg type="rt">さいりん</seg><seg type="rp">）</seg></seg>を畳んで<seg type="ruby"><seg type="rb">濃</seg><seg type="rp">（</seg><seg type="rt">こま</seg><seg type="rp">）</seg></seg>やかに動いている。春の日は限り無き<seg type="ruby"><seg type="rb">天</seg><seg type="rp">（</seg><seg type="rt">あめ</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">下</seg><seg type="rp">（</seg><seg type="rt">した</seg><seg type="rp">）</seg></seg>を照らして、天が下は限りなき水を<seg type="ruby"><seg type="rb">湛</seg><seg type="rp">（</seg><seg type="rt">たた</seg><seg type="rp">）</seg></seg>えたる間には、白き帆が小指の<seg type="ruby"><seg type="rb">爪</seg><seg type="rp">（</seg><seg type="rt">つめ</seg><seg type="rp">）</seg></seg>ほどに見えるのみである。しかもその帆は全く動かない。<seg type="ruby"><seg type="rb">往昔入貢</seg><seg type="rp">（</seg><seg type="rt">そのかみにゅうこう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">高麗船</seg><seg type="rp">（</seg><seg type="rt">こまぶね</seg><seg type="rp">）</seg></seg>が遠くから渡ってくるときには、あんなに見えたであろう。そのほかは<seg type="ruby"><seg type="rb">大千</seg><seg type="rp">（</seg><seg type="rt">だいせん</seg><seg type="rp">）</seg></seg>世界を<seg type="ruby"><seg type="rb">極</seg><seg type="rp">（</seg><seg type="rt">きわ</seg><seg type="rp">）</seg></seg>めて、照らす日の世、照らさるる海の世のみである。<lb />
ごろりと<seg type="ruby"><seg type="rb">寝</seg><seg type="rp">（</seg><seg type="rt">ね</seg><seg type="rp">）</seg></seg>る。帽子が<seg type="ruby"><seg type="rb">額</seg><seg type="rp">（</seg><seg type="rt">ひたい</seg><seg type="rp">）</seg></seg>をすべって、やけに<seg type="ruby"><seg type="rb">阿弥陀</seg><seg type="rp">（</seg><seg type="rt">あみだ</seg><seg type="rp">）</seg></seg>となる。所々の草を一二尺<seg type="ruby"><seg type="rb">抽</seg><seg type="rp">（</seg><seg type="rt">ぬ</seg><seg type="rp">）</seg></seg>いて、<seg type="ruby"><seg type="rb">木瓜</seg><seg type="rp">（</seg><seg type="rt">ぼけ</seg><seg type="rp">）</seg></seg>の小株が茂っている。余が顔はちょうどその一つの前に落ちた。<seg type="ruby"><seg type="rb">木瓜</seg><seg type="rp">（</seg><seg type="rt">ぼけ</seg><seg type="rp">）</seg></seg>は面白い花である。枝は<seg type="ruby"><seg type="rb">頑固</seg><seg type="rp">（</seg><seg type="rt">がんこ</seg><seg type="rp">）</seg></seg>で、かつて<seg type="ruby"><seg type="rb">曲</seg><seg type="rp">（</seg><seg type="rt">まが</seg><seg type="rp">）</seg></seg>った事がない。そんなら<seg type="ruby"><seg type="rb">真直</seg><seg type="rp">（</seg><seg type="rt">まっすぐ</seg><seg type="rp">）</seg></seg>かと云うと、けっして真直でもない。ただ真直な短かい枝に、真直な短かい枝が、ある角度で衝突して、<seg type="ruby"><seg type="rb">斜</seg><seg type="rp">（</seg><seg type="rt">しゃ</seg><seg type="rp">）</seg></seg>に構えつつ全体が出来上っている。そこへ、<seg type="ruby"><seg type="rb">紅</seg><seg type="rp">（</seg><seg type="rt">べに</seg><seg type="rp">）</seg></seg>だか白だか要領を得ぬ花が<seg type="ruby"><seg type="rb">安閑</seg><seg type="rp">（</seg><seg type="rt">あんかん</seg><seg type="rp">）</seg></seg>と咲く。<seg type="ruby"><seg type="rb">柔</seg><seg type="rp">（</seg><seg type="rt">やわら</seg><seg type="rp">）</seg></seg>かい葉さえちらちら着ける。評して見ると木瓜は花のうちで、<seg type="ruby"><seg type="rb">愚</seg><seg type="rp">（</seg><seg type="rt">おろ</seg><seg type="rp">）</seg></seg>かにして<seg type="ruby"><seg type="rb">悟</seg><seg type="rp">（</seg><seg type="rt">さと</seg><seg type="rp">）</seg></seg>ったものであろう。世間には<seg type="ruby"><seg type="rb">拙</seg><seg type="rp">（</seg><seg type="rt">せつ</seg><seg type="rp">）</seg></seg>を守ると云う人がある。この人が<seg type="ruby"><seg type="rb">来世</seg><seg type="rp">（</seg><seg type="rt">らいせ</seg><seg type="rp">）</seg></seg>に生れ変るときっと木瓜になる。余も木瓜になりたい。<lb />
小供のうち花の咲いた、葉のついた<seg type="ruby"><seg type="rb">木瓜</seg><seg type="rp">（</seg><seg type="rt">ぼけ</seg><seg type="rp">）</seg></seg>を切って、面白く<seg type="ruby"><seg type="rb">枝振</seg><seg type="rp">（</seg><seg type="rt">えだぶり</seg><seg type="rp">）</seg></seg>を作って、<seg type="ruby"><seg type="rb">筆架</seg><seg type="rp">（</seg><seg type="rt">ひつか</seg><seg type="rp">）</seg></seg>をこしらえた事がある。それへ二銭五厘の<seg type="ruby"><seg type="rb">水筆</seg><seg type="rp">（</seg><seg type="rt">すいひつ</seg><seg type="rp">）</seg></seg>を立てかけて、白い穂が花と葉の間から、<seg type="ruby"><seg type="rb">隠見</seg><seg type="rp">（</seg><seg type="rt">いんけん</seg><seg type="rp">）</seg></seg>するのを机へ<seg type="ruby"><seg type="rb">載</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>せて楽んだ。その日は<seg type="ruby"><seg type="rb">木瓜</seg><seg type="rp">（</seg><seg type="rt">ぼけ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">筆架</seg><seg type="rp">（</seg><seg type="rt">ひつか</seg><seg type="rp">）</seg></seg>ばかり気にして寝た。あくる日、眼が<seg type="ruby"><seg type="rb">覚</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>めるや<seg type="ruby"><seg type="rb">否</seg><seg type="rp">（</seg><seg type="rt">いな</seg><seg type="rp">）</seg></seg>や、飛び起きて、机の前へ行って見ると、花は<seg type="ruby"><seg type="rb">萎</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>え葉は枯れて、白い穂だけが元のごとく光っている。あんなに奇麗なものが、どうして、こう一晩のうちに、枯れるだろうと、その時は<seg type="ruby"><seg type="rb">不審</seg><seg type="rp">（</seg><seg type="rt">ふしん</seg><seg type="rp">）</seg></seg>の念に<seg type="ruby"><seg type="rb">堪</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>えなかった。今思うとその時分の方がよほど<seg type="ruby"><seg type="rb">出世間的</seg><seg type="rp">（</seg><seg type="rt">しゅっせけんてき</seg><seg type="rp">）</seg></seg>である。<lb />
<seg type="ruby"><seg type="rb">寝</seg><seg type="rp">（</seg><seg type="rt">ね</seg><seg type="rp">）</seg></seg>るや否や眼についた木瓜は二十年来の旧知己である。見詰めているとしだいに気が遠くなって、いい心持ちになる。また詩興が浮ぶ。<lb />
寝ながら考える。一句を得るごとに写生帖に<seg type="ruby"><seg type="rb">記</seg><seg type="rp">（</seg><seg type="rt">しる</seg><seg type="rp">）</seg></seg>して行く。しばらくして出来上ったようだ。始めから読み直して見る。<lb />
<seg rend="jisage_2" rendition="div" style="margin-left: 2em">
出門多所思。春風吹吾衣。芳草生車轍。廃道入霞微。停<seg facs="../../../gaiji/1-89/1-89-60.png" rend="gaiji" rendition="img" source="※(「筑」の「凡」に代えて「卩」、第3水準1-89-60)" />而矚目。万象帯晴暉。聴黄鳥宛転。観落英紛霏。行尽平蕪遠。題詩古寺扉。孤愁高雲際。大空断鴻帰。寸心何窈窕。縹緲忘是非。三十我欲老。韶光猶依々。逍遥随物化。悠然対芬菲。<lb />
</seg>
ああ出来た、出来た。これで出来た。寝ながら木瓜を<seg type="ruby"><seg type="rb">観</seg><seg type="rp">（</seg><seg type="rt">み</seg><seg type="rp">）</seg></seg>て、世の中を忘れている感じがよく出た。木瓜が出なくっても、海が出なくっても、感じさえ出ればそれで結構である。と<seg type="ruby"><seg type="rb">唸</seg><seg type="rp">（</seg><seg type="rt">うな</seg><seg type="rp">）</seg></seg>りながら、喜んでいると、エヘンと云う人間の<seg type="ruby"><seg type="rb">咳払</seg><seg type="rp">（</seg><seg type="rt">せきばらい</seg><seg type="rp">）</seg></seg>が聞えた。こいつは驚いた。<lb />
<seg type="ruby"><seg type="rb">寝返</seg><seg type="rp">（</seg><seg type="rt">ねがえ</seg><seg type="rp">）</seg></seg>りをして、声の響いた方を見ると、山の出鼻を回って、<seg type="ruby"><seg type="rb">雑木</seg><seg type="rp">（</seg><seg type="rt">ぞうき</seg><seg type="rp">）</seg></seg>の間から、一人の男があらわれた。<lb />
茶の<seg type="ruby"><seg type="rb">中折</seg><seg type="rp">（</seg><seg type="rt">なかお</seg><seg type="rp">）</seg></seg>れを<seg type="ruby"><seg type="rb">被</seg><seg type="rp">（</seg><seg type="rt">かぶ</seg><seg type="rp">）</seg></seg>っている。中折れの形は<seg type="ruby"><seg type="rb">崩</seg><seg type="rp">（</seg><seg type="rt">くず</seg><seg type="rp">）</seg></seg>れて、<seg type="ruby"><seg type="rb">傾</seg><seg type="rp">（</seg><seg type="rt">かたむ</seg><seg type="rp">）</seg></seg>く<seg type="ruby"><seg type="rb">縁</seg><seg type="rp">（</seg><seg type="rt">へり</seg><seg type="rp">）</seg></seg>の下から眼が見える。眼の<seg type="ruby"><seg type="rb">恰好</seg><seg type="rp">（</seg><seg type="rt">かっこう</seg><seg type="rp">）</seg></seg>はわからんが、たしかにきょろきょろときょろつくようだ。<seg type="ruby"><seg type="rb">藍</seg><seg type="rp">（</seg><seg type="rt">あい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">縞物</seg><seg type="rp">（</seg><seg type="rt">しまもの</seg><seg type="rp">）</seg></seg>の尻を<seg type="ruby"><seg type="rb">端折</seg><seg type="rp">（</seg><seg type="rt">はしょ</seg><seg type="rp">）</seg></seg>って、<seg type="ruby"><seg type="rb">素足</seg><seg type="rp">（</seg><seg type="rt">すあし</seg><seg type="rp">）</seg></seg>に下駄がけの<seg type="ruby"><seg type="rb">出</seg><seg type="rp">（</seg><seg type="rt">い</seg><seg type="rp">）</seg></seg>で<seg type="ruby"><seg type="rb">立</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>ちは、何だか鑑定がつかない。<seg type="ruby"><seg type="rb">野生</seg><seg type="rp">（</seg><seg type="rt">やせい</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">髯</seg><seg type="rp">（</seg><seg type="rt">ひげ</seg><seg type="rp">）</seg></seg>だけで判断するとまさに<seg type="ruby"><seg type="rb">野武士</seg><seg type="rp">（</seg><seg type="rt">のぶし</seg><seg type="rp">）</seg></seg>の価値はある。<lb />
男は<seg type="ruby"><seg type="rb">岨道</seg><seg type="rp">（</seg><seg type="rt">そばみち</seg><seg type="rp">）</seg></seg>を下りるかと思いのほか、曲り角からまた引き返した。もと来た路へ姿をかくすかと思うと、そうでもない。またあるき直してくる。この草原を、散歩する人のほかに、こんなに行きつ戻りつするものはないはずだ。しかしあれが散歩の姿であろうか。またあんな男がこの<seg type="ruby"><seg type="rb">近辺</seg><seg type="rp">（</seg><seg type="rt">きんぺん</seg><seg type="rp">）</seg></seg>に住んでいるとも考えられない。男は時々立ち<seg type="ruby"><seg type="rb">留</seg><seg type="rp">（</seg><seg type="rt">どま</seg><seg type="rp">）</seg></seg>る。首を傾ける。または四方を見廻わす。大に考え込むようにもある。人を待ち合せる風にも取られる。何だかわからない。<lb />
余はこの<seg type="ruby"><seg type="rb">物騒</seg><seg type="rp">（</seg><seg type="rt">ぶっそう</seg><seg type="rp">）</seg></seg>な男から、ついに吾眼をはなす事ができなかった。別に恐しいでもない、また<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>にしようと云う気も出ない。ただ眼をはなす事ができなかった。右から左、左りから右と、男に添うて、眼を働かせているうちに、男ははたと留った。留ると共に、またひとりの人物が、余が視界に<seg type="ruby"><seg type="rb">点出</seg><seg type="rp">（</seg><seg type="rt">てんしゅつ</seg><seg type="rp">）</seg></seg>された。<lb />
二人は<seg type="ruby"><seg type="rb">双方</seg><seg type="rp">（</seg><seg type="rt">そうほう</seg><seg type="rp">）</seg></seg>で互に認識したように、しだいに双方から近づいて来る。余が視界はだんだん<seg type="ruby"><seg type="rb">縮</seg><seg type="rp">（</seg><seg type="rt">ちぢ</seg><seg type="rp">）</seg></seg>まって、原の真中で一点の<seg type="ruby"><seg type="rb">狭</seg><seg type="rp">（</seg><seg type="rt">せま</seg><seg type="rp">）</seg></seg>き間に<seg type="ruby"><seg type="rb">畳</seg><seg type="rp">（</seg><seg type="rt">たた</seg><seg type="rp">）</seg></seg>まれてしまう。二人は春の山を<seg type="ruby"><seg type="rb">背</seg><seg type="rp">（</seg><seg type="rt">せ</seg><seg type="rp">）</seg></seg>に、春の海を前に、ぴたりと向き合った。<lb />
男は無論例の<seg type="ruby"><seg type="rb">野武士</seg><seg type="rp">（</seg><seg type="rt">のぶし</seg><seg type="rp">）</seg></seg>である。相手は？ 相手は女である。<seg type="ruby"><seg type="rb">那美</seg><seg type="rp">（</seg><seg type="rt">なみ</seg><seg type="rp">）</seg></seg>さんである。<lb />
余は那美さんの姿を見た時、すぐ今朝の短刀を連想した。もしや<seg type="ruby"><seg type="rb">懐</seg><seg type="rp">（</seg><seg type="rt">ふところ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">呑</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>んでおりはせぬかと思ったら、さすが<seg type="ruby"><seg type="rb">非人情</seg><seg type="rp">（</seg><seg type="rt">ひにんじょう</seg><seg type="rp">）</seg></seg>の余もただ、ひやりとした。<lb />
男女は向き合うたまま、しばらくは、同じ態度で立っている。動く<seg type="ruby"><seg type="rb">景色</seg><seg type="rp">（</seg><seg type="rt">けしき</seg><seg type="rp">）</seg></seg>は見えぬ。口は動かしているかも知れんが、言葉はまるで聞えぬ。男はやがて首を<seg type="ruby"><seg type="rb">垂</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>れた。女は山の方を向く。顔は余の眼に入らぬ。<lb />
山では<seg type="ruby"><seg type="rb">鶯</seg><seg type="rp">（</seg><seg type="rt">うぐいす</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">啼</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>く。女は鶯に耳を借して、いるとも見える。しばらくすると、男は<seg type="ruby"><seg type="rb">屹</seg><seg type="rp">（</seg><seg type="rt">きっ</seg><seg type="rp">）</seg></seg>と、垂れた首を挙げて、<seg type="ruby"><seg type="rb">半</seg><seg type="rp">（</seg><seg type="rt">なか</seg><seg type="rp">）</seg></seg>ば<seg type="ruby"><seg type="rb">踵</seg><seg type="rp">（</seg><seg type="rt">くびす</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">回</seg><seg type="rp">（</seg><seg type="rt">めぐ</seg><seg type="rp">）</seg></seg>らしかける。尋常の<seg type="ruby"><seg type="rb">様</seg><seg type="rp">（</seg><seg type="rt">さま</seg><seg type="rp">）</seg></seg>ではない。女は<seg type="ruby"><seg type="rb">颯</seg><seg type="rp">（</seg><seg type="rt">さっ</seg><seg type="rp">）</seg></seg>と体を開いて、海の方へ向き直る。帯の間から頭を出しているのは<seg type="ruby"><seg type="rb">懐剣</seg><seg type="rp">（</seg><seg type="rt">かいけん</seg><seg type="rp">）</seg></seg>らしい。男は<seg type="ruby"><seg type="rb">昂然</seg><seg type="rp">（</seg><seg type="rt">こうぜん</seg><seg type="rp">）</seg></seg>として、行きかかる。女は<seg type="ruby"><seg type="rb">二歩</seg><seg type="rp">（</seg><seg type="rt">ふたあし</seg><seg type="rp">）</seg></seg>ばかり、男の踵を<seg type="ruby"><seg type="rb">縫</seg><seg type="rp">（</seg><seg type="rt">ぬ</seg><seg type="rp">）</seg></seg>うて進む。女は<seg type="ruby"><seg type="rb">草履</seg><seg type="rp">（</seg><seg type="rt">ぞうり</seg><seg type="rp">）</seg></seg>ばきである。男の<seg type="ruby"><seg type="rb">留</seg><seg type="rp">（</seg><seg type="rt">とま</seg><seg type="rp">）</seg></seg>ったのは、呼び留められたのか。振り向く瞬間に女の<seg type="ruby"><seg type="rb">右手</seg><seg type="rp">（</seg><seg type="rt">めて</seg><seg type="rp">）</seg></seg>は帯の間へ落ちた。あぶない！<lb />
するりと抜け出たのは、九寸五分かと思いのほか、<seg type="ruby"><seg type="rb">財布</seg><seg type="rp">（</seg><seg type="rt">さいふ</seg><seg type="rp">）</seg></seg>のような包み物である。差し出した白い手の下から、長い<seg type="ruby"><seg type="rb">紐</seg><seg type="rp">（</seg><seg type="rt">ひも</seg><seg type="rp">）</seg></seg>がふらふらと<seg type="ruby"><seg type="rb">春風</seg><seg type="rp">（</seg><seg type="rt">しゅんぷう</seg><seg type="rp">）</seg></seg>に揺れる。<lb />
片足を前に、腰から上を少しそらして、差し出した、白い<seg type="ruby"><seg type="rb">手頸</seg><seg type="rp">（</seg><seg type="rt">てくび</seg><seg type="rp">）</seg></seg>に、紫の包。これだけの姿勢で充分<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>にはなろう。<lb />
紫でちょっと切れた図面が、二三寸の間隔をとって、振り返る男の<seg type="ruby"><seg type="rb">体</seg><seg type="rp">（</seg><seg type="rt">たい</seg><seg type="rp">）</seg></seg>のこなし具合で、うまい<seg type="ruby"><seg type="rb">按排</seg><seg type="rp">（</seg><seg type="rt">あんばい</seg><seg type="rp">）</seg></seg>につながれている。<seg type="ruby"><seg type="rb">不即不離</seg><seg type="rp">（</seg><seg type="rt">ふそくふり</seg><seg type="rp">）</seg></seg>とはこの<seg type="ruby"><seg type="rb">刹那</seg><seg type="rp">（</seg><seg type="rt">せつな</seg><seg type="rp">）</seg></seg>の有様を形容すべき言葉と思う。女は前を引く態度で、男は<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">しり</seg><seg type="rp">）</seg></seg>えに引かれた様子だ。しかもそれが実際に引いてもひかれてもおらん。両者の<seg type="ruby"><seg type="rb">縁</seg><seg type="rp">（</seg><seg type="rt">えん</seg><seg type="rp">）</seg></seg>は紫の財布の尽くる所で、ふつりと切れている。<lb />
二人の姿勢がかくのごとく<seg type="ruby"><seg type="rb">美妙</seg><seg type="rp">（</seg><seg type="rt">びみょう</seg><seg type="rp">）</seg></seg>な調和を<seg type="ruby"><seg type="rb">保</seg><seg type="rp">（</seg><seg type="rt">たも</seg><seg type="rp">）</seg></seg>っていると同時に、両者の顔と、衣服にはあくまで、対照が認められるから、画として見ると一層の興味が深い。<lb />
<seg type="ruby"><seg type="rb">背</seg><seg type="rp">（</seg><seg type="rt">せ</seg><seg type="rp">）</seg></seg>のずんぐりした、色黒の、<seg type="ruby"><seg type="rb">髯</seg><seg type="rp">（</seg><seg type="rt">ひげ</seg><seg type="rp">）</seg></seg>づらと、くっきり<seg type="ruby"><seg type="rb">締</seg><seg type="rp">（</seg><seg type="rt">しま</seg><seg type="rp">）</seg></seg>った<seg type="ruby"><seg type="rb">細面</seg><seg type="rp">（</seg><seg type="rt">ほそおもて</seg><seg type="rp">）</seg></seg>に、<seg type="ruby"><seg type="rb">襟</seg><seg type="rp">（</seg><seg type="rt">えり</seg><seg type="rp">）</seg></seg>の長い、<seg type="ruby"><seg type="rb">撫肩</seg><seg type="rp">（</seg><seg type="rt">なでがた</seg><seg type="rp">）</seg></seg>の、<seg type="ruby"><seg type="rb">華奢</seg><seg type="rp">（</seg><seg type="rt">きゃしゃ</seg><seg type="rp">）</seg></seg>姿。ぶっきらぼうに身をひねった下駄がけの野武士と、<seg type="ruby"><seg type="rb">不断着</seg><seg type="rp">（</seg><seg type="rt">ふだんぎ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">銘仙</seg><seg type="rp">（</seg><seg type="rt">めいせん</seg><seg type="rp">）</seg></seg>さえしなやかに着こなした上、腰から上を、おとなしく<seg type="ruby"><seg type="rb">反</seg><seg type="rp">（</seg><seg type="rt">そ</seg><seg type="rp">）</seg></seg>り身に控えたる<seg type="ruby"><seg type="rb">痩形</seg><seg type="rp">（</seg><seg type="rt">やさすがた</seg><seg type="rp">）</seg></seg>。はげた茶の帽子に、<seg type="ruby"><seg type="rb">藍縞</seg><seg type="rp">（</seg><seg type="rt">あいじま</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">尻切</seg><seg type="rp">（</seg><seg type="rt">しりき</seg><seg type="rp">）</seg></seg>り<seg type="ruby"><seg type="rb">出立</seg><seg type="rp">（</seg><seg type="rt">でだ</seg><seg type="rp">）</seg></seg>ちと、<seg type="ruby"><seg type="rb">陽炎</seg><seg type="rp">（</seg><seg type="rt">かげろう</seg><seg type="rp">）</seg></seg>さえ燃やすべき<seg type="ruby"><seg type="rb">櫛目</seg><seg type="rp">（</seg><seg type="rt">くしめ</seg><seg type="rp">）</seg></seg>の通った<seg type="ruby"><seg type="rb">鬢</seg><seg type="rp">（</seg><seg type="rt">びん</seg><seg type="rp">）</seg></seg>の色に、<seg type="ruby"><seg type="rb">黒繻子</seg><seg type="rp">（</seg><seg type="rt">くろじゅす</seg><seg type="rp">）</seg></seg>のひかる奥から、ちらりと見せた<seg type="ruby"><seg type="rb">帯上</seg><seg type="rp">（</seg><seg type="rt">おびあげ</seg><seg type="rp">）</seg></seg>の、なまめかしさ。すべてが<seg type="ruby"><seg type="rb">好画題</seg><seg type="rp">（</seg><seg type="rt">こうがだい</seg><seg type="rp">）</seg></seg>である。<lb />
男は手を出して財布を受け取る。引きつ引かれつ<seg type="ruby"><seg type="rb">巧</seg><seg type="rp">（</seg><seg type="rt">たく</seg><seg type="rp">）</seg></seg>みに平均を保ちつつあった二人の位置はたちまち<seg type="ruby"><seg type="rb">崩</seg><seg type="rp">（</seg><seg type="rt">くず</seg><seg type="rp">）</seg></seg>れる。女はもう引かぬ、男は引かりょうともせぬ。心的状態が絵を構成する上に、かほどの影響を与えようとは、画家ながら、今まで気がつかなかった。<lb />
二人は左右へ分かれる。双方に<seg type="ruby"><seg type="rb">気合</seg><seg type="rp">（</seg><seg type="rt">きあい</seg><seg type="rp">）</seg></seg>がないから、もう画としては、<seg type="ruby"><seg type="rb">支離滅裂</seg><seg type="rp">（</seg><seg type="rt">しりめつれつ</seg><seg type="rp">）</seg></seg>である。<seg type="ruby"><seg type="rb">雑木林</seg><seg type="rp">（</seg><seg type="rt">ぞうきばやし</seg><seg type="rp">）</seg></seg>の入口で男は一度振り返った。女は<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">あと</seg><seg type="rp">）</seg></seg>をも見ぬ。すらすらと、こちらへ<seg type="ruby"><seg type="rb">歩行</seg><seg type="rp">（</seg><seg type="rt">あるい</seg><seg type="rp">）</seg></seg>てくる。やがて余の<seg type="ruby"><seg type="rb">真正面</seg><seg type="rp">（</seg><seg type="rt">ましょうめん</seg><seg type="rp">）</seg></seg>まで来て、<lb />
「先生、先生」<lb />
と<seg type="ruby"><seg type="rb">二声</seg><seg type="rp">（</seg><seg type="rt">ふたこえ</seg><seg type="rp">）</seg></seg>掛けた。これはしたり、いつ<seg type="ruby"><seg type="rb">目付</seg><seg type="rp">（</seg><seg type="rt">めっ</seg><seg type="rp">）</seg></seg>かったろう。<lb />
「何です」<lb />
と余は<seg type="ruby"><seg type="rb">木瓜</seg><seg type="rp">（</seg><seg type="rt">ぼけ</seg><seg type="rp">）</seg></seg>の上へ顔を出す。帽子は草原へ落ちた。<lb />
「何をそんな所でしていらっしゃる」<lb />
「詩を作って<seg type="ruby"><seg type="rb">寝</seg><seg type="rp">（</seg><seg type="rt">ね</seg><seg type="rp">）</seg></seg>ていました」<lb />
「うそをおっしゃい。今のを御覧でしょう」<lb />
「今の？ 今の、あれですか。ええ。少々拝見しました」<lb />
「ホホホホ少々でなくても、たくさん御覧なさればいいのに」<lb />
「実のところはたくさん拝見しました」<lb />
「それ御覧なさい。まあちょっと、こっちへ出ていらっしゃい。木瓜の中から出ていらっしゃい」<lb />
余は<seg type="ruby"><seg type="rb">唯々</seg><seg type="rp">（</seg><seg type="rt">いい</seg><seg type="rp">）</seg></seg>として木瓜の中から出て行く。<lb />
「まだ木瓜の中に御用があるんですか」<lb />
「もう無いんです。帰ろうかとも思うんです」<lb />
「それじゃごいっしょに参りましょうか」<lb />
「ええ」<lb />
余は再び唯々として、木瓜の中に<seg type="ruby"><seg type="rb">退</seg><seg type="rp">（</seg><seg type="rt">しりぞ</seg><seg type="rp">）</seg></seg>いて、帽子を<seg type="ruby"><seg type="rb">被</seg><seg type="rp">（</seg><seg type="rt">かぶ</seg><seg type="rp">）</seg></seg>り、絵の道具を<seg type="ruby"><seg type="rb">纏</seg><seg type="rp">（</seg><seg type="rt">まと</seg><seg type="rp">）</seg></seg>めて、那美さんといっしょにあるき出す。<lb />
「画を御描きになったの」<lb />
「やめました」<lb />
「ここへいらしって、まだ一枚も御描きなさらないじゃありませんか」<lb />
「ええ」<lb />
「でもせっかく画をかきにいらしって、ちっとも御かきなさらなくっちゃ、つまりませんわね」<lb />
「なにつまってるんです」<lb />
「おやそう。なぜ？」<lb />
「なぜでも、ちゃんとつまるんです。画なんぞ<seg type="ruby"><seg type="rb">描</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>いたって、描かなくったって、つまるところは<seg type="ruby"><seg type="rb">同</seg><seg type="rp">（</seg><seg type="rt">おんな</seg><seg type="rp">）</seg></seg>じ事でさあ」<lb />
「そりゃ<seg type="ruby"><seg type="rb">洒落</seg><seg type="rp">（</seg><seg type="rt">しゃれ</seg><seg type="rp">）</seg></seg>なの、ホホホホ随分<seg type="ruby"><seg type="rb">呑気</seg><seg type="rp">（</seg><seg type="rt">のんき</seg><seg type="rp">）</seg></seg>ですねえ」<lb />
「こんな所へくるからには、呑気にでもしなくっちゃ、来た<seg type="ruby"><seg type="rb">甲斐</seg><seg type="rp">（</seg><seg type="rt">かい</seg><seg type="rp">）</seg></seg>がないじゃありませんか」<lb />
「なあにどこにいても、呑気にしなくっちゃ、生きている甲斐はありませんよ。私なんぞは、今のようなところを人に見られても<seg type="ruby"><seg type="rb">恥</seg><seg type="rp">（</seg><seg type="rt">はず</seg><seg type="rp">）</seg></seg>かしくも何とも思いません」<lb />
「思わんでもいいでしょう」<lb />
「そうですかね。あなたは今の男をいったい何だと御思いです」<lb />
「そうさな。どうもあまり、金持ちじゃありませんね」<lb />
「ホホホ<seg type="ruby"><seg type="rb">善</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>くあたりました。あなたは<seg type="ruby"><seg type="rb">占</seg><seg type="rp">（</seg><seg type="rt">うらな</seg><seg type="rp">）</seg></seg>いの名人ですよ。あの男は、貧乏して、日本にいられないからって、私に御金を貰いに来たのです」<lb />
「へえ、どこから来たのです」<lb />
「<seg type="ruby"><seg type="rb">城下</seg><seg type="rp">（</seg><seg type="rt">じょうか</seg><seg type="rp">）</seg></seg>から来ました」<lb />
「随分遠方から来たもんですね。それで、どこへ行くんですか」<lb />
「何でも満洲へ行くそうです」<lb />
「何しに行くんですか」<lb />
「何しに行くんですか。御金を拾いに行くんだか、死にに行くんだか、分りません」<lb />
この時余は眼をあげて、ちょと女の顔を見た。今結んだ口元には、<seg type="ruby"><seg type="rb">微</seg><seg type="rp">（</seg><seg type="rt">かす</seg><seg type="rp">）</seg></seg>かなる笑の影が消えかかりつつある。意味は<seg type="ruby"><seg type="rb">解</seg><seg type="rp">（</seg><seg type="rt">げ</seg><seg type="rp">）</seg></seg>せぬ。<lb />
「あれは、わたくしの亭主です」<lb />
<seg type="ruby"><seg type="rb">迅雷</seg><seg type="rp">（</seg><seg type="rt">じんらい</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">掩</seg><seg type="rp">（</seg><seg type="rt">おお</seg><seg type="rp">）</seg></seg>うに<seg type="ruby"><seg type="rb">遑</seg><seg type="rp">（</seg><seg type="rt">いとま</seg><seg type="rp">）</seg></seg>あらず、女は突然として<seg type="ruby"><seg type="rb">一太刀</seg><seg type="rp">（</seg><seg type="rt">ひとたち</seg><seg type="rp">）</seg></seg>浴びせかけた。余は全く<seg type="ruby"><seg type="rb">不意撃</seg><seg type="rp">（</seg><seg type="rt">ふいうち</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">喰</seg><seg type="rp">（</seg><seg type="rt">く</seg><seg type="rp">）</seg></seg>った。無論そんな事を聞く気はなし、女も、よもや、ここまで<seg type="ruby"><seg type="rb">曝</seg><seg type="rp">（</seg><seg type="rt">さら</seg><seg type="rp">）</seg></seg>け出そうとは考えていなかった。<lb />
「どうです、驚ろいたでしょう」と女が云う。<lb />
「ええ、少々驚ろいた」<lb />
「今の亭主じゃありません、<seg type="ruby"><seg type="rb">離縁</seg><seg type="rp">（</seg><seg type="rt">りえん</seg><seg type="rp">）</seg></seg>された亭主です」<lb />
「なるほど、それで……」<lb />
「それぎりです」<lb />
「そうですか。――あの<seg type="ruby"><seg type="rb">蜜柑山</seg><seg type="rp">（</seg><seg type="rt">みかんやま</seg><seg type="rp">）</seg></seg>に立派な白壁の家がありますね。ありゃ、いい地位にあるが、誰の<seg type="ruby"><seg type="rb">家</seg><seg type="rp">（</seg><seg type="rt">うち</seg><seg type="rp">）</seg></seg>なんですか」<lb />
「あれが兄の家です。帰り路にちょっと寄って、行きましょう」<lb />
「用でもあるんですか」<lb />
「ええちっと頼まれものがあります」<lb />
「いっしょに行きましょう」<lb />
<seg type="ruby"><seg type="rb">岨道</seg><seg type="rp">（</seg><seg type="rt">そばみち</seg><seg type="rp">）</seg></seg>の登り口へ出て、村へ下りずに、すぐ、右に折れて、また一丁ほどを登ると、門がある。門から玄関へかからずに、すぐ庭口へ廻る。女が無遠慮につかつか行くから、余も無遠慮につかつか行く。南向きの庭に、<seg type="ruby"><seg type="rb">棕梠</seg><seg type="rp">（</seg><seg type="rt">しゅろ</seg><seg type="rp">）</seg></seg>が三四本あって、<seg type="ruby"><seg type="rb">土塀</seg><seg type="rp">（</seg><seg type="rt">どべい</seg><seg type="rp">）</seg></seg>の下はすぐ蜜柑畠である。<lb />
女はすぐ、<seg type="ruby"><seg type="rb">椽鼻</seg><seg type="rp">（</seg><seg type="rt">えんばな</seg><seg type="rp">）</seg></seg>へ腰をかけて、云う。<lb />
「いい景色だ。御覧なさい」<lb />
「なるほど、いいですな」<lb />
障子のうちは、静かに人の<seg type="ruby"><seg type="rb">気合</seg><seg type="rp">（</seg><seg type="rt">けあい</seg><seg type="rp">）</seg></seg>もせぬ。女は<seg type="ruby"><seg type="rb">音</seg><seg type="rp">（</seg><seg type="rt">おと</seg><seg type="rp">）</seg></seg>のう景色もない。ただ腰をかけて、蜜柑畠を<seg type="ruby"><seg type="rb">見下</seg><seg type="rp">（</seg><seg type="rt">みおろ</seg><seg type="rp">）</seg></seg>して平気でいる。余は不思議に思った。元来何の用があるのかしら。<lb />
しまいには話もないから、両方共無言のままで蜜柑畠を見下している。<seg type="ruby"><seg type="rb">午</seg><seg type="rp">（</seg><seg type="rt">ご</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">逼</seg><seg type="rp">（</seg><seg type="rt">せま</seg><seg type="rp">）</seg></seg>る太陽は、まともに暖かい光線を、山一面にあびせて、眼に余る蜜柑の葉は、葉裏まで、<seg type="ruby"><seg type="rb">蒸</seg><seg type="rp">（</seg><seg type="rt">む</seg><seg type="rp">）</seg></seg>し<seg type="ruby"><seg type="rb">返</seg><seg type="rp">（</seg><seg type="rt">かえ</seg><seg type="rp">）</seg></seg>されて<seg type="ruby"><seg type="rb">耀</seg><seg type="rp">（</seg><seg type="rt">かが</seg><seg type="rp">）</seg></seg>やいている。やがて、裏の<seg type="ruby"><seg type="rb">納屋</seg><seg type="rp">（</seg><seg type="rt">なや</seg><seg type="rp">）</seg></seg>の方で、鶏が大きな声を出して、こけこっこううと鳴く。<lb />
「おやもう。<seg type="ruby"><seg type="rb">御午</seg><seg type="rp">（</seg><seg type="rt">おひる</seg><seg type="rp">）</seg></seg>ですね。用事を忘れていた。――<seg type="ruby"><seg type="rb">久一</seg><seg type="rp">（</seg><seg type="rt">きゅういち</seg><seg type="rp">）</seg></seg>さん、久一さん」<lb />
女は<seg type="ruby"><seg type="rb">及</seg><seg type="rp">（</seg><seg type="rt">およ</seg><seg type="rp">）</seg></seg>び<seg type="ruby"><seg type="rb">腰</seg><seg type="rp">（</seg><seg type="rt">ごし</seg><seg type="rp">）</seg></seg>になって、立て切った<seg type="ruby"><seg type="rb">障子</seg><seg type="rp">（</seg><seg type="rt">しょうじ</seg><seg type="rp">）</seg></seg>を、からりと<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>ける。内は<seg type="ruby"><seg type="rb">空</seg><seg type="rp">（</seg><seg type="rt">むな</seg><seg type="rp">）</seg></seg>しき十畳敷に、<seg type="ruby"><seg type="rb">狩野派</seg><seg type="rp">（</seg><seg type="rt">かのうは</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">双幅</seg><seg type="rp">（</seg><seg type="rt">そうふく</seg><seg type="rp">）</seg></seg>が空しく春の<seg type="ruby"><seg type="rb">床</seg><seg type="rp">（</seg><seg type="rt">とこ</seg><seg type="rp">）</seg></seg>を飾っている。<lb />
「久一さん」<lb />
<seg type="ruby"><seg type="rb">納屋</seg><seg type="rp">（</seg><seg type="rt">なや</seg><seg type="rp">）</seg></seg>の方でようやく返事がする。足音が<seg type="ruby"><seg type="rb">襖</seg><seg type="rp">（</seg><seg type="rt">ふすま</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">向</seg><seg type="rp">（</seg><seg type="rt">むこう</seg><seg type="rp">）</seg></seg>でとまって、からりと、<seg type="ruby"><seg type="rb">開</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>くが早いか、<seg type="ruby"><seg type="rb">白鞘</seg><seg type="rp">（</seg><seg type="rt">しらさや</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">短刀</seg><seg type="rp">（</seg><seg type="rt">たんとう</seg><seg type="rp">）</seg></seg>が畳の上へ<seg type="ruby"><seg type="rb">転</seg><seg type="rp">（</seg><seg type="rt">ころ</seg><seg type="rp">）</seg></seg>がり出す。<lb />
「そら<seg type="ruby"><seg type="rb">御伯父</seg><seg type="rp">（</seg><seg type="rt">おじ</seg><seg type="rp">）</seg></seg>さんの<seg type="ruby"><seg type="rb">餞別</seg><seg type="rp">（</seg><seg type="rt">せんべつ</seg><seg type="rp">）</seg></seg>だよ」<lb />
帯の間に、いつ手が<seg type="ruby"><seg type="rb">這入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>ったか、余は少しも知らなかった。短刀は二三度とんぼ返りを打って、静かな畳の上を、久一さんの<seg type="ruby"><seg type="rb">足下</seg><seg type="rp">（</seg><seg type="rt">あしもと</seg><seg type="rp">）</seg></seg>へ走る。作りがゆる過ぎたと見えて、ぴかりと、寒いものが一<seg type="ruby"><seg type="rb">寸</seg><seg type="rp">（</seg><seg type="rt">すん</seg><seg type="rp">）</seg></seg>ばかり光った。<lb />
<lb />
<seg rend="jisage_8" rendition="div" style="margin-left: 8em"><seg rend="naka-midashi" rendition="h"><seg rend="midashi_anchor" rendition="a" xml:id="midashi130">十三</seg></seg></seg>
<lb />
<seg type="ruby"><seg type="rb">川舟</seg><seg type="rp">（</seg><seg type="rt">かわふね</seg><seg type="rp">）</seg></seg>で久一さんを吉田の<seg type="ruby"><seg type="rb">停車場</seg><seg type="rp">（</seg><seg type="rt">ステーション</seg><seg type="rp">）</seg></seg>まで見送る。舟のなかに坐ったものは、送られる久一さんと、送る老人と、那美さんと、那美さんの兄さんと、荷物の世話をする源兵衛と、それから余である。余は無論<seg type="ruby"><seg type="rb">御招伴</seg><seg type="rp">（</seg><seg type="rt">おしょうばん</seg><seg type="rp">）</seg></seg>に過ぎん。<lb />
御招伴でも呼ばれれば行く。何の意味だか分らなくても行く。非人情の旅に思慮は入らぬ。舟は<seg type="ruby"><seg type="rb">筏</seg><seg type="rp">（</seg><seg type="rt">いかだ</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">縁</seg><seg type="rp">（</seg><seg type="rt">ふち</seg><seg type="rp">）</seg></seg>をつけたように、底が<seg type="ruby"><seg type="rb">平</seg><seg type="rp">（</seg><seg type="rt">ひら</seg><seg type="rp">）</seg></seg>たい。老人を中に、余と那美さんが<seg type="ruby"><seg type="rb">艫</seg><seg type="rp">（</seg><seg type="rt">とも</seg><seg type="rp">）</seg></seg>、久一さんと、兄さんが、<seg type="ruby"><seg type="rb">舳</seg><seg type="rp">（</seg><seg type="rt">みよし</seg><seg type="rp">）</seg></seg>に座をとった。源兵衛は荷物と共に<seg type="ruby"><seg type="rb">独</seg><seg type="rp">（</seg><seg type="rt">ひと</seg><seg type="rp">）</seg></seg>り離れている。<lb />
「久一さん、<seg type="ruby"><seg type="rb">軍</seg><seg type="rp">（</seg><seg type="rt">いく</seg><seg type="rp">）</seg></seg>さは好きか嫌いかい」と那美さんが聞く。<lb />
「出て見なければ分らんさ。苦しい事もあるだろうが、愉快な事も出て来るんだろう」と戦争を知らぬ久一さんが云う。<lb />
「いくら苦しくっても、国家のためだから」と老人が云う。<lb />
「短刀なんぞ貰うと、ちょっと戦争に出て見たくなりゃしないか」と女がまた妙な事を聞く。久一さんは、<lb />
「そうさね」<lb />
と<seg type="ruby"><seg type="rb">軽</seg><seg type="rp">（</seg><seg type="rt">かろ</seg><seg type="rp">）</seg></seg>く<seg type="ruby"><seg type="rb">首肯</seg><seg type="rp">（</seg><seg type="rt">うけが</seg><seg type="rp">）</seg></seg>う。老人は<seg type="ruby"><seg type="rb">髯</seg><seg type="rp">（</seg><seg type="rt">ひげ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">掀</seg><seg type="rp">（</seg><seg type="rt">かか</seg><seg type="rp">）</seg></seg>げて笑う。兄さんは知らぬ顔をしている。<lb />
「そんな平気な事で、<seg type="ruby"><seg type="rb">軍</seg><seg type="rp">（</seg><seg type="rt">いく</seg><seg type="rp">）</seg></seg>さが出来るかい」と女は、<seg type="ruby"><seg type="rb">委細</seg><seg type="rp">（</seg><seg type="rt">いさい</seg><seg type="rp">）</seg></seg>構わず、白い顔を久一さんの前へ突き出す。久一さんと、兄さんがちょっと眼を見合せた。<lb />
「那美さんが軍人になったらさぞ強かろう」兄さんが妹に話しかけた第一の言葉はこれである。語調から察すると、ただの<seg type="ruby"><seg type="rb">冗談</seg><seg type="rp">（</seg><seg type="rt">じょうだん</seg><seg type="rp">）</seg></seg>とも見えない。<lb />
「わたしが？ わたしが軍人？ わたしが軍人になれりゃとうになっています。今頃は死んでいます。久一さん。御前も死ぬがいい。生きて帰っちゃ<seg type="ruby"><seg type="rb">外聞</seg><seg type="rp">（</seg><seg type="rt">がいぶん</seg><seg type="rp">）</seg></seg>がわるい」<lb />
「そんな乱暴な事を――まあまあ、めでたく<seg type="ruby"><seg type="rb">凱旋</seg><seg type="rp">（</seg><seg type="rt">がいせん</seg><seg type="rp">）</seg></seg>をして帰って来てくれ。死ぬばかりが国家のためではない。わしもまだ二三年は生きるつもりじゃ。まだ<seg type="ruby"><seg type="rb">逢</seg><seg type="rp">（</seg><seg type="rt">あ</seg><seg type="rp">）</seg></seg>える」<lb />
老人の言葉の尾を長く<seg type="ruby"><seg type="rb">手繰</seg><seg type="rp">（</seg><seg type="rt">たぐる</seg><seg type="rp">）</seg></seg>と、尻が細くなって、末は涙の糸になる。ただ男だけにそこまでは<seg rend="sesame_dot" rendition="em">だま</seg>を出さない。久一さんは何も云わずに、横を向いて、岸の方を見た。<lb />
岸には大きな柳がある。下に小さな舟を<seg type="ruby"><seg type="rb">繋</seg><seg type="rp">（</seg><seg type="rt">つな</seg><seg type="rp">）</seg></seg>いで、一人の男がしきりに<seg type="ruby"><seg type="rb">垂綸</seg><seg type="rp">（</seg><seg type="rt">いと</seg><seg type="rp">）</seg></seg>を見詰めている。一行の舟が、ゆるく<seg type="ruby"><seg type="rb">波足</seg><seg type="rp">（</seg><seg type="rt">なみあし</seg><seg type="rp">）</seg></seg>を引いて、その前を通った時、この男はふと顔をあげて、久一さんと眼を見合せた。眼を見合せた<seg type="ruby"><seg type="rb">両人</seg><seg type="rp">（</seg><seg type="rt">ふたり</seg><seg type="rp">）</seg></seg>の間には何らの電気も通わぬ。男は魚の事ばかり考えている。久一さんの頭の中には一尾の<seg type="ruby"><seg type="rb">鮒</seg><seg type="rp">（</seg><seg type="rt">ふな</seg><seg type="rp">）</seg></seg>も<seg type="ruby"><seg type="rb">宿</seg><seg type="rp">（</seg><seg type="rt">やど</seg><seg type="rp">）</seg></seg>る余地がない。一行の舟は静かに<seg type="ruby"><seg type="rb">太公望</seg><seg type="rp">（</seg><seg type="rt">たいこうぼう</seg><seg type="rp">）</seg></seg>の前を通り越す。<lb />
<seg type="ruby"><seg type="rb">日本橋</seg><seg type="rp">（</seg><seg type="rt">にほんばし</seg><seg type="rp">）</seg></seg>を通る人の数は、一<seg type="ruby"><seg type="rb">分</seg><seg type="rp">（</seg><seg type="rt">ぷん</seg><seg type="rp">）</seg></seg>に何百か知らぬ。もし<seg type="ruby"><seg type="rb">橋畔</seg><seg type="rp">（</seg><seg type="rt">きょうはん</seg><seg type="rp">）</seg></seg>に立って、行く人の心に<seg type="ruby"><seg type="rb">蟠</seg><seg type="rp">（</seg><seg type="rt">わだか</seg><seg type="rp">）</seg></seg>まる<seg type="ruby"><seg type="rb">葛藤</seg><seg type="rp">（</seg><seg type="rt">かっとう</seg><seg type="rp">）</seg></seg>を一々に聞き得たならば、<seg type="ruby"><seg type="rb">浮世</seg><seg type="rp">（</seg><seg type="rt">うきよ</seg><seg type="rp">）</seg></seg>は<seg type="ruby"><seg type="rb">目眩</seg><seg type="rp">（</seg><seg type="rt">めまぐる</seg><seg type="rp">）</seg></seg>しくて生きづらかろう。ただ知らぬ人で逢い、知らぬ人でわかれるから<seg type="ruby"><seg type="rb">結句</seg><seg type="rp">（</seg><seg type="rt">けっく</seg><seg type="rp">）</seg></seg>日本橋に立って、電車の旗を振る志願者も出て来る。太公望が、久一さんの泣きそうな顔に、何らの説明をも求めなかったのは<seg type="ruby"><seg type="rb">幸</seg><seg type="rp">（</seg><seg type="rt">さいわい</seg><seg type="rp">）</seg></seg>である。<seg type="ruby"><seg type="rb">顧</seg><seg type="rp">（</seg><seg type="rt">かえ</seg><seg type="rp">）</seg></seg>り見ると、安心して<seg type="ruby"><seg type="rb">浮標</seg><seg type="rp">（</seg><seg type="rt">うき</seg><seg type="rp">）</seg></seg>を見詰めている。おおかた<seg type="ruby"><seg type="rb">日露戦争</seg><seg type="rp">（</seg><seg type="rt">にちろせんそう</seg><seg type="rp">）</seg></seg>が済むまで見詰める気だろう。<lb />
<seg type="ruby"><seg type="rb">川幅</seg><seg type="rp">（</seg><seg type="rt">かわはば</seg><seg type="rp">）</seg></seg>はあまり広くない。底は浅い。流れはゆるやかである。<seg type="ruby"><seg type="rb">舷</seg><seg type="rp">（</seg><seg type="rt">ふなばた</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">倚</seg><seg type="rp">（</seg><seg type="rt">よ</seg><seg type="rp">）</seg></seg>って、水の上を<seg type="ruby"><seg type="rb">滑</seg><seg type="rp">（</seg><seg type="rt">すべ</seg><seg type="rp">）</seg></seg>って、どこまで行くか、春が尽きて、人が騒いで、<seg type="ruby"><seg type="rb">鉢</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>ち合せをしたがるところまで行かねばやまぬ。<seg type="ruby"><seg type="rb">腥</seg><seg type="rp">（</seg><seg type="rt">なまぐさ</seg><seg type="rp">）</seg></seg>き一点の血を<seg type="ruby"><seg type="rb">眉間</seg><seg type="rp">（</seg><seg type="rt">みけん</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">印</seg><seg type="rp">（</seg><seg type="rt">いん</seg><seg type="rp">）</seg></seg>したるこの青年は、余ら一行を<seg type="ruby"><seg type="rb">容赦</seg><seg type="rp">（</seg><seg type="rt">ようしゃ</seg><seg type="rp">）</seg></seg>なく引いて行く。運命の<seg type="ruby"><seg type="rb">縄</seg><seg type="rp">（</seg><seg type="rt">なわ</seg><seg type="rp">）</seg></seg>はこの青年を遠き、暗き、<seg type="ruby"><seg type="rb">物凄</seg><seg type="rp">（</seg><seg type="rt">ものすご</seg><seg type="rp">）</seg></seg>き北の国まで引くが<seg type="ruby"><seg type="rb">故</seg><seg type="rp">（</seg><seg type="rt">ゆえ</seg><seg type="rp">）</seg></seg>に、ある日、ある月、ある年の<seg type="ruby"><seg type="rb">因果</seg><seg type="rp">（</seg><seg type="rt">いんが</seg><seg type="rp">）</seg></seg>に、この青年と<seg type="ruby"><seg type="rb">絡</seg><seg type="rp">（</seg><seg type="rt">から</seg><seg type="rp">）</seg></seg>みつけられたる<seg type="ruby"><seg type="rb">吾</seg><seg type="rp">（</seg><seg type="rt">われ</seg><seg type="rp">）</seg></seg>らは、その因果の尽くるところまでこの青年に引かれて行かねばならぬ。因果の尽くるとき、彼と吾らの間にふっと音がして、彼一人は<seg type="ruby"><seg type="rb">否応</seg><seg type="rp">（</seg><seg type="rt">いやおう</seg><seg type="rp">）</seg></seg>なしに運命の<seg type="ruby"><seg type="rb">手元</seg><seg type="rp">（</seg><seg type="rt">てもと</seg><seg type="rp">）</seg></seg>まで<seg type="ruby"><seg type="rb">手繰</seg><seg type="rp">（</seg><seg type="rt">たぐ</seg><seg type="rp">）</seg></seg>り寄せらるる。残る吾らも<seg type="ruby"><seg type="rb">否応</seg><seg type="rp">（</seg><seg type="rt">いやおう</seg><seg type="rp">）</seg></seg>なしに残らねばならぬ。頼んでも、もがいても、引いていて貰う訳には行かぬ。<lb />
舟は面白いほどやすらかに流れる。左右の岸には<seg type="ruby"><seg type="rb">土筆</seg><seg type="rp">（</seg><seg type="rt">つくし</seg><seg type="rp">）</seg></seg>でも生えておりそうな。<seg type="ruby"><seg type="rb">土堤</seg><seg type="rp">（</seg><seg type="rt">どて</seg><seg type="rp">）</seg></seg>の上には柳が多く見える。まばらに、低い家がその間から<seg type="ruby"><seg type="rb">藁屋根</seg><seg type="rp">（</seg><seg type="rt">わらやね</seg><seg type="rp">）</seg></seg>を出し。<seg type="ruby"><seg type="rb">煤</seg><seg type="rp">（</seg><seg type="rt">すす</seg><seg type="rp">）</seg></seg>けた窓を出し。時によると白い<seg type="ruby"><seg type="rb">家鴨</seg><seg type="rp">（</seg><seg type="rt">あひる</seg><seg type="rp">）</seg></seg>を出す。家鴨はがあがあと鳴いて川の中まで出て来る。<lb />
柳と柳の間に<seg type="ruby"><seg type="rb">的<seg facs="../../../gaiji/1-88/1-88-69.png" rend="gaiji" rendition="img" source="※(「白＋樂」、第3水準1-88-69)" /></seg><seg type="rp">（</seg><seg type="rt">てきれき</seg><seg type="rp">）</seg></seg>と光るのは<seg type="ruby"><seg type="rb">白桃</seg><seg type="rp">（</seg><seg type="rt">しろもも</seg><seg type="rp">）</seg></seg>らしい。とんかたんと<seg type="ruby"><seg type="rb">機</seg><seg type="rp">（</seg><seg type="rt">はた</seg><seg type="rp">）</seg></seg>を織る音が聞える。とんかたんの<seg type="ruby"><seg type="rb">絶間</seg><seg type="rp">（</seg><seg type="rt">たえま</seg><seg type="rp">）</seg></seg>から女の<seg type="ruby"><seg type="rb">唄</seg><seg type="rp">（</seg><seg type="rt">うた</seg><seg type="rp">）</seg></seg>が、はああい、いようう――と水の上まで響く。何を唄うのやらいっこう分らぬ。<lb />
「先生、わたくしの<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>をかいて下さいな」と那美さんが注文する。久一さんは兄さんと、しきりに軍隊の話をしている。老人はいつか居眠りをはじめた。<lb />
「書いてあげましょう」と写生帖を取り出して、<lb />
<seg rend="jisage_2" rendition="div" style="margin-left: 2em">
春風にそら<seg type="ruby"><seg type="rb">解</seg><seg type="rp">（</seg><seg type="rt">ど</seg><seg type="rp">）</seg></seg>け<seg type="ruby"><seg type="rb">繻子</seg><seg type="rp">（</seg><seg type="rt">しゅす</seg><seg type="rp">）</seg></seg>の銘は何<lb />
</seg>
と書いて見せる。女は笑いながら、<lb />
「こんな<seg type="ruby"><seg type="rb">一筆</seg><seg type="rp">（</seg><seg type="rt">ひとふで</seg><seg type="rp">）</seg></seg>がきでは、いけません。もっと私の<seg type="ruby"><seg type="rb">気象</seg><seg type="rp">（</seg><seg type="rt">きしょう</seg><seg type="rp">）</seg></seg>の出るように、丁寧にかいて下さい」<lb />
「わたしもかきたいのだが。どうも、あなたの顔はそれだけじゃ<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>にならない」<lb />
「<seg type="ruby"><seg type="rb">御挨拶</seg><seg type="rp">（</seg><seg type="rt">ごあいさつ</seg><seg type="rp">）</seg></seg>です事。それじゃ、どうすれば画になるんです」<lb />
「なに今でも画に出来ますがね。ただ少し足りないところがある。それが出ないところをかくと、惜しいですよ」<lb />
「足りないたって、持って生れた顔だから仕方がありませんわ」<lb />
「持って生れた顔はいろいろになるものです」<lb />
「自分の勝手にですか」<lb />
「ええ」<lb />
「女だと思って、人をたんと馬鹿になさい」<lb />
「あなたが女だから、そんな馬鹿を云うのですよ」<lb />
「それじゃ、あなたの顔をいろいろにして見せてちょうだい」<lb />
「これほど毎日いろいろになってればたくさんだ」<lb />
女は黙って<seg type="ruby"><seg type="rb">向</seg><seg type="rp">（</seg><seg type="rt">むこう</seg><seg type="rp">）</seg></seg>をむく。<seg type="ruby"><seg type="rb">川縁</seg><seg type="rp">（</seg><seg type="rt">かわべり</seg><seg type="rp">）</seg></seg>はいつか、水とすれすれに低く着いて、見渡す田のもは、<seg type="ruby"><seg type="rb">一面</seg><seg type="rp">（</seg><seg type="rt">いちめん</seg><seg type="rp">）</seg></seg>のげんげんで<seg type="ruby"><seg type="rb">埋</seg><seg type="rp">（</seg><seg type="rt">うずま</seg><seg type="rp">）</seg></seg>っている。<seg type="ruby"><seg type="rb">鮮</seg><seg type="rp">（</seg><seg type="rt">あざ</seg><seg type="rp">）</seg></seg>やかな<seg type="ruby"><seg type="rb">紅</seg><seg type="rp">（</seg><seg type="rt">べに</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">滴々</seg><seg type="rp">（</seg><seg type="rt">てきてき</seg><seg type="rp">）</seg></seg>が、いつの雨に流されてか、半分<seg type="ruby"><seg type="rb">溶</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>けた花の海は<seg type="ruby"><seg type="rb">霞</seg><seg type="rp">（</seg><seg type="rt">かすみ</seg><seg type="rp">）</seg></seg>のなかに<seg type="ruby"><seg type="rb">果</seg><seg type="rp">（</seg><seg type="rt">はて</seg><seg type="rp">）</seg></seg>しなく広がって、見上げる<seg type="ruby"><seg type="rb">半空</seg><seg type="rp">（</seg><seg type="rt">はんくう</seg><seg type="rp">）</seg></seg>には<seg type="ruby"><seg type="rb">崢<seg facs="../../../gaiji/1-47/1-47-92.png" rend="gaiji" rendition="img" source="※(「山＋榮」、第3水準1-47-92)" /></seg><seg type="rp">（</seg><seg type="rt">そうこう</seg><seg type="rp">）</seg></seg>たる一<seg type="ruby"><seg type="rb">峰</seg><seg type="rp">（</seg><seg type="rt">ぽう</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">半腹</seg><seg type="rp">（</seg><seg type="rt">はんぷく</seg><seg type="rp">）</seg></seg>から<seg type="ruby"><seg type="rb">微</seg><seg type="rp">（</seg><seg type="rt">ほの</seg><seg type="rp">）</seg></seg>かに春の雲を吐いている。<lb />
「あの山の向うを、あなたは越していらしった」と女が白い手を<seg type="ruby"><seg type="rb">舷</seg><seg type="rp">（</seg><seg type="rt">ふなばた</seg><seg type="rp">）</seg></seg>から外へ出して、夢のような春の山を<seg type="ruby"><seg type="rb">指</seg><seg type="rp">（</seg><seg type="rt">さ</seg><seg type="rp">）</seg></seg>す。<lb />
「<seg type="ruby"><seg type="rb">天狗岩</seg><seg type="rp">（</seg><seg type="rt">てんぐいわ</seg><seg type="rp">）</seg></seg>はあの辺ですか」<lb />
「あの<seg type="ruby"><seg type="rb">翠</seg><seg type="rp">（</seg><seg type="rt">みどり</seg><seg type="rp">）</seg></seg>の濃い下の、紫に見える所がありましょう」<lb />
「あの日影の所ですか」<lb />
「日影ですかしら。<seg type="ruby"><seg type="rb">禿</seg><seg type="rp">（</seg><seg type="rt">は</seg><seg type="rp">）</seg></seg>げてるんでしょう」<lb />
「なあに<seg type="ruby"><seg type="rb">凹</seg><seg type="rp">（</seg><seg type="rt">くぼ</seg><seg type="rp">）</seg></seg>んでるんですよ。禿げていりゃ、もっと茶に見えます」<lb />
「そうでしょうか。ともかく、あの裏あたりになるそうです」<lb />
「そうすると、<seg type="ruby"><seg type="rb">七曲</seg><seg type="rp">（</seg><seg type="rt">ななまが</seg><seg type="rp">）</seg></seg>りはもう少し左りになりますね」<lb />
「七曲りは、向うへ、ずっと<seg type="ruby"><seg type="rb">外</seg><seg type="rp">（</seg><seg type="rt">そ</seg><seg type="rp">）</seg></seg>れます。あの山のまた一つ先きの山ですよ」<lb />
「なるほどそうだった。しかし見当から云うと、あのうすい雲が<seg type="ruby"><seg type="rb">懸</seg><seg type="rp">（</seg><seg type="rt">かか</seg><seg type="rp">）</seg></seg>ってるあたりでしょう」<lb />
「ええ、方角はあの<seg type="ruby"><seg type="rb">辺</seg><seg type="rp">（</seg><seg type="rt">へん</seg><seg type="rp">）</seg></seg>です」<lb />
居眠をしていた老人は、<seg type="ruby"><seg type="rb">舷</seg><seg type="rp">（</seg><seg type="rt">こべり</seg><seg type="rp">）</seg></seg>から、<seg type="ruby"><seg type="rb">肘</seg><seg type="rp">（</seg><seg type="rt">ひじ</seg><seg type="rp">）</seg></seg>を落して、ほいと眼をさます。<lb />
「まだ着かんかな」<lb />
<seg type="ruby"><seg type="rb">胸膈</seg><seg type="rp">（</seg><seg type="rt">きょうかく</seg><seg type="rp">）</seg></seg>を前へ出して、右の<seg type="ruby"><seg type="rb">肘</seg><seg type="rp">（</seg><seg type="rt">ひじ</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">後</seg><seg type="rp">（</seg><seg type="rt">うし</seg><seg type="rp">）</seg></seg>ろへ張って、左り手を真直に<seg type="ruby"><seg type="rb">伸</seg><seg type="rp">（</seg><seg type="rt">の</seg><seg type="rp">）</seg></seg>して、ううんと<seg type="ruby"><seg type="rb">欠伸</seg><seg type="rp">（</seg><seg type="rt">のび</seg><seg type="rp">）</seg></seg>をするついでに、弓を<seg type="ruby"><seg type="rb">攣</seg><seg type="rp">（</seg><seg type="rt">ひ</seg><seg type="rp">）</seg></seg>く真似をして見せる。女はホホホと笑う。<lb />
「どうもこれが癖で、……」<lb />
「弓が<seg type="ruby"><seg type="rb">御好</seg><seg type="rp">（</seg><seg type="rt">おすき</seg><seg type="rp">）</seg></seg>と見えますね」と余も笑いながら尋ねる。<lb />
「若いうちは七分五厘まで引きました。<seg type="ruby"><seg type="rb">押</seg><seg type="rp">（</seg><seg type="rt">お</seg><seg type="rp">）</seg></seg>しは存外今でもたしかです」と左の肩を<seg type="ruby"><seg type="rb">叩</seg><seg type="rp">（</seg><seg type="rt">たた</seg><seg type="rp">）</seg></seg>いて見せる。<seg type="ruby"><seg type="rb">舳</seg><seg type="rp">（</seg><seg type="rt">へさき</seg><seg type="rp">）</seg></seg>では戦争談が<seg type="ruby"><seg type="rb">酣</seg><seg type="rp">（</seg><seg type="rt">たけなわ</seg><seg type="rp">）</seg></seg>である。<lb />
舟はようやく町らしいなかへ<seg type="ruby"><seg type="rb">這入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>る。腰障子に<seg type="ruby"><seg type="rb">御肴</seg><seg type="rp">（</seg><seg type="rt">おんさかな</seg><seg type="rp">）</seg></seg>と書いた居酒屋が見える。<seg type="ruby"><seg type="rb">古風</seg><seg type="rp">（</seg><seg type="rt">こふう</seg><seg type="rp">）</seg></seg>な<seg type="ruby"><seg type="rb">縄暖簾</seg><seg type="rp">（</seg><seg type="rt">なわのれん</seg><seg type="rp">）</seg></seg>が見える。材木の置場が見える。人力車の音さえ時々聞える。<seg type="ruby"><seg type="rb">乙鳥</seg><seg type="rp">（</seg><seg type="rt">つばくろ</seg><seg type="rp">）</seg></seg>がちちと腹を返して飛ぶ。<seg type="ruby"><seg type="rb">家鴨</seg><seg type="rp">（</seg><seg type="rt">あひる</seg><seg type="rp">）</seg></seg>ががあがあ鳴く。一行は舟を捨てて<seg type="ruby"><seg type="rb">停車場</seg><seg type="rp">（</seg><seg type="rt">ステーション</seg><seg type="rp">）</seg></seg>に向う。<lb />
いよいよ現実世界へ引きずり出された。汽車の見える所を現実世界と云う。汽車ほど二十世紀の文明を代表するものはあるまい。何百と云う人間を同じ箱へ詰めて<seg type="ruby"><seg type="rb">轟</seg><seg type="rp">（</seg><seg type="rt">ごう</seg><seg type="rp">）</seg></seg>と通る。<seg type="ruby"><seg type="rb">情</seg><seg type="rp">（</seg><seg type="rt">なさ</seg><seg type="rp">）</seg></seg>け<seg type="ruby"><seg type="rb">容赦</seg><seg type="rp">（</seg><seg type="rt">ようしゃ</seg><seg type="rp">）</seg></seg>はない。詰め込まれた人間は皆同程度の速力で、同一の停車場へとまってそうして、同様に<seg type="ruby"><seg type="rb">蒸<seg facs="../../../gaiji/2-79/2-79-06.png" rend="gaiji" rendition="img" source="※(「さんずい＋氣」、第4水準2-79-6)" /></seg><seg type="rp">（</seg><seg type="rt">じょうき</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">恩沢</seg><seg type="rp">（</seg><seg type="rt">おんたく</seg><seg type="rp">）</seg></seg>に浴さねばならぬ。人は汽車へ乗ると云う。余は積み込まれると云う。人は汽車で行くと云う。余は運搬されると云う。汽車ほど個性を<seg type="ruby"><seg type="rb">軽蔑</seg><seg type="rp">（</seg><seg type="rt">けいべつ</seg><seg type="rp">）</seg></seg>したものはない。文明はあらゆる限りの手段をつくして、個性を発達せしめたる後、あらゆる限りの方法によってこの個性を踏み付けようとする。<seg type="ruby"><seg type="rb">一人前</seg><seg type="rp">（</seg><seg type="rt">ひとりまえ</seg><seg type="rp">）</seg></seg>何坪何合かの地面を与えて、この地面のうちでは寝るとも起きるとも勝手にせよと云うのが現今の文明である。同時にこの何坪何合の周囲に<seg type="ruby"><seg type="rb">鉄柵</seg><seg type="rp">（</seg><seg type="rt">てっさく</seg><seg type="rp">）</seg></seg>を設けて、これよりさきへは一歩も出てはならぬぞと<seg type="ruby"><seg type="rb">威嚇</seg><seg type="rp">（</seg><seg type="rt">おど</seg><seg type="rp">）</seg></seg>かすのが現今の文明である。何坪何合のうちで自由を<seg type="ruby"><seg type="rb">擅</seg><seg type="rp">（</seg><seg type="rt">ほしいまま</seg><seg type="rp">）</seg></seg>にしたものが、この鉄柵外にも自由を擅にしたくなるのは自然の<seg type="ruby"><seg type="rb">勢</seg><seg type="rp">（</seg><seg type="rt">いきおい</seg><seg type="rp">）</seg></seg>である。<seg type="ruby"><seg type="rb">憐</seg><seg type="rp">（</seg><seg type="rt">あわれ</seg><seg type="rp">）</seg></seg>むべき文明の国民は日夜にこの鉄柵に<seg type="ruby"><seg type="rb">噛</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>みついて<seg type="ruby"><seg type="rb">咆哮</seg><seg type="rp">（</seg><seg type="rt">ほうこう</seg><seg type="rp">）</seg></seg>している。文明は個人に自由を与えて<seg type="ruby"><seg type="rb">虎</seg><seg type="rp">（</seg><seg type="rt">とら</seg><seg type="rp">）</seg></seg>のごとく<seg type="ruby"><seg type="rb">猛</seg><seg type="rp">（</seg><seg type="rt">たけ</seg><seg type="rp">）</seg></seg>からしめたる後、これを<seg type="ruby"><seg type="rb">檻穽</seg><seg type="rp">（</seg><seg type="rt">かんせい</seg><seg type="rp">）</seg></seg>の内に投げ込んで、天下の平和を維持しつつある。この平和は真の平和ではない。動物園の虎が見物人を<seg type="ruby"><seg type="rb">睨</seg><seg type="rp">（</seg><seg type="rt">にら</seg><seg type="rp">）</seg></seg>めて、<seg type="ruby"><seg type="rb">寝転</seg><seg type="rp">（</seg><seg type="rt">ねころ</seg><seg type="rp">）</seg></seg>んでいると同様な平和である。<seg type="ruby"><seg type="rb">檻</seg><seg type="rp">（</seg><seg type="rt">おり</seg><seg type="rp">）</seg></seg>の鉄棒が一本でも抜けたら――世はめちゃめちゃになる。第二の<seg type="ruby"><seg type="rb">仏蘭西革命</seg><seg type="rp">（</seg><seg type="rt">フランスかくめい</seg><seg type="rp">）</seg></seg>はこの時に起るのであろう。個人の革命は今すでに<seg type="ruby"><seg type="rb">日夜</seg><seg type="rp">（</seg><seg type="rt">にちや</seg><seg type="rp">）</seg></seg>に起りつつある。北欧の偉人イブセンはこの革命の起るべき状態についてつぶさにその例証を<seg type="ruby"><seg type="rb">吾人</seg><seg type="rp">（</seg><seg type="rt">ごじん</seg><seg type="rp">）</seg></seg>に与えた。余は汽車の猛烈に、<seg type="ruby"><seg type="rb">見界</seg><seg type="rp">（</seg><seg type="rt">みさかい</seg><seg type="rp">）</seg></seg>なく、すべての人を貨物同様に心得て走る<seg type="ruby"><seg type="rb">様</seg><seg type="rp">（</seg><seg type="rt">さま</seg><seg type="rp">）</seg></seg>を見るたびに、客車のうちに<seg type="ruby"><seg type="rb">閉</seg><seg type="rp">（</seg><seg type="rt">と</seg><seg type="rp">）</seg></seg>じ<seg type="ruby"><seg type="rb">籠</seg><seg type="rp">（</seg><seg type="rt">こ</seg><seg type="rp">）</seg></seg>められたる個人と、個人の個性に<seg type="ruby"><seg type="rb">寸毫</seg><seg type="rp">（</seg><seg type="rt">すんごう</seg><seg type="rp">）</seg></seg>の注意をだに払わざるこの<seg type="ruby"><seg type="rb">鉄車</seg><seg type="rp">（</seg><seg type="rt">てっしゃ</seg><seg type="rp">）</seg></seg>とを比較して、――あぶない、あぶない。気をつけねばあぶないと思う。現代の文明はこのあぶないで鼻を<seg type="ruby"><seg type="rb">衝</seg><seg type="rp">（</seg><seg type="rt">つ</seg><seg type="rp">）</seg></seg>かれるくらい充満している。おさき<seg type="ruby"><seg type="rb">真闇</seg><seg type="rp">（</seg><seg type="rt">まっくら</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">盲動</seg><seg type="rp">（</seg><seg type="rt">もうどう</seg><seg type="rp">）</seg></seg>する汽車はあぶない標本の一つである。<lb />
<seg type="ruby"><seg type="rb">停車場</seg><seg type="rp">（</seg><seg type="rt">ステーション</seg><seg type="rp">）</seg></seg>前の茶店に腰を下ろして、<seg type="ruby"><seg type="rb">蓬餅</seg><seg type="rp">（</seg><seg type="rt">よもぎもち</seg><seg type="rp">）</seg></seg>を<seg type="ruby"><seg type="rb">眺</seg><seg type="rp">（</seg><seg type="rt">なが</seg><seg type="rp">）</seg></seg>めながら汽車論を考えた。これは写生帖へかく訳にも行かず、人に話す必要もないから、だまって、餅を食いながら茶を飲む。<lb />
向うの<seg type="ruby"><seg type="rb">床几</seg><seg type="rp">（</seg><seg type="rt">しょうぎ</seg><seg type="rp">）</seg></seg>には二人かけている。等しく<seg type="ruby"><seg type="rb">草鞋穿</seg><seg type="rp">（</seg><seg type="rt">わらじば</seg><seg type="rp">）</seg></seg>きで、一人は<seg type="ruby"><seg type="rb">赤毛布</seg><seg type="rp">（</seg><seg type="rt">あかげっと</seg><seg type="rp">）</seg></seg>、一人は<seg type="ruby"><seg type="rb">千草色</seg><seg type="rp">（</seg><seg type="rt">ちくさいろ</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">股引</seg><seg type="rp">（</seg><seg type="rt">ももひき</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">膝頭</seg><seg type="rp">（</seg><seg type="rt">ひざがしら</seg><seg type="rp">）</seg></seg>に<seg type="ruby"><seg type="rb">継布</seg><seg type="rp">（</seg><seg type="rt">つぎ</seg><seg type="rp">）</seg></seg>をあてて、継布のあたった所を手で抑えている。<lb />
「やっぱり駄目かね」<lb />
「駄目さあ」<lb />
「牛のように胃袋が二つあると、いいなあ」<lb />
「二つあれば申し分はなえさ、一つが<seg type="ruby"><seg type="rb">悪</seg><seg type="rp">（</seg><seg type="rt">わ</seg><seg type="rp">）</seg></seg>るくなりゃ、切ってしまえば済むから」<lb />
この<seg type="ruby"><seg type="rb">田舎者</seg><seg type="rp">（</seg><seg type="rt">いなかもの</seg><seg type="rp">）</seg></seg>は胃病と見える。彼らは満洲の野に吹く風の<seg type="ruby"><seg type="rb">臭</seg><seg type="rp">（</seg><seg type="rt">にお</seg><seg type="rp">）</seg></seg>いも知らぬ。現代文明の<seg type="ruby"><seg type="rb">弊</seg><seg type="rp">（</seg><seg type="rt">へい</seg><seg type="rp">）</seg></seg>をも<seg type="ruby"><seg type="rb">見認</seg><seg type="rp">（</seg><seg type="rt">みと</seg><seg type="rp">）</seg></seg>めぬ。革命とはいかなるものか、文字さえ聞いた事もあるまい。あるいは自己の胃袋が一つあるか二つあるかそれすら弁じ得んだろう。余は写生帖を出して、二人の姿を<seg type="ruby"><seg type="rb">描</seg><seg type="rp">（</seg><seg type="rt">か</seg><seg type="rp">）</seg></seg>き取った。<lb />
じゃらんじゃらんと<seg type="ruby"><seg type="rb">号鈴</seg><seg type="rp">（</seg><seg type="rt">ベル</seg><seg type="rp">）</seg></seg>が鳴る。<seg type="ruby"><seg type="rb">切符</seg><seg type="rp">（</seg><seg type="rt">きっぷ</seg><seg type="rp">）</seg></seg>はすでに買うてある。<lb />
「さあ、行きましょ」と那美さんが立つ。<lb />
「どうれ」と老人も立つ。一行は<seg type="ruby"><seg type="rb">揃</seg><seg type="rp">（</seg><seg type="rt">そろ</seg><seg type="rp">）</seg></seg>って<seg type="ruby"><seg type="rb">改札場</seg><seg type="rp">（</seg><seg type="rt">かいさつば</seg><seg type="rp">）</seg></seg>を通り抜けて、プラットフォームへ出る。<seg type="ruby"><seg type="rb">号鈴</seg><seg type="rp">（</seg><seg type="rt">ベル</seg><seg type="rp">）</seg></seg>がしきりに鳴る。<lb />
<seg type="ruby"><seg type="rb">轟</seg><seg type="rp">（</seg><seg type="rt">ごう</seg><seg type="rp">）</seg></seg>と音がして、白く光る鉄路の上を、文明の<seg type="ruby"><seg type="rb">長蛇</seg><seg type="rp">（</seg><seg type="rt">ちょうだ</seg><seg type="rp">）</seg></seg>が<seg type="ruby"><seg type="rb">蜿蜒</seg><seg type="rp">（</seg><seg type="rt">のたくっ</seg><seg type="rp">）</seg></seg>て来る。文明の長蛇は口から黒い煙を吐く。<lb />
「いよいよ御別かれか」と老人が云う。<lb />
「それでは<seg type="ruby"><seg type="rb">御機嫌</seg><seg type="rp">（</seg><seg type="rt">ごきげん</seg><seg type="rp">）</seg></seg>よう」と久一さんが頭を下げる。<lb />
「死んで<seg type="ruby"><seg type="rb">御出</seg><seg type="rp">（</seg><seg type="rt">おい</seg><seg type="rp">）</seg></seg>で」と那美さんが再び云う。<lb />
「荷物は来たかい」と兄さんが聞く。<lb />
蛇は<seg type="ruby"><seg type="rb">吾々</seg><seg type="rp">（</seg><seg type="rt">われわれ</seg><seg type="rp">）</seg></seg>の前でとまる。横腹の戸がいくつもあく。人が出たり、<seg type="ruby"><seg type="rb">這入</seg><seg type="rp">（</seg><seg type="rt">はい</seg><seg type="rp">）</seg></seg>ったりする。久一さんは乗った。老人も兄さんも、那美さんも、余もそとに立っている。<lb />
車輪が一つ廻れば久一さんはすでに吾らが世の人ではない。遠い、遠い世界へ行ってしまう。その世界では<seg type="ruby"><seg type="rb">煙硝</seg><seg type="rp">（</seg><seg type="rt">えんしょう</seg><seg type="rp">）</seg></seg>の<seg type="ruby"><seg type="rb">臭</seg><seg type="rp">（</seg><seg type="rt">にお</seg><seg type="rp">）</seg></seg>いの中で、人が働いている。そうして赤いものに<seg type="ruby"><seg type="rb">滑</seg><seg type="rp">（</seg><seg type="rt">すべ</seg><seg type="rp">）</seg></seg>って、むやみに<seg type="ruby"><seg type="rb">転</seg><seg type="rp">（</seg><seg type="rt">ころ</seg><seg type="rp">）</seg></seg>ぶ。空では大きな音がどどんどどんと云う。これからそう云う所へ行く久一さんは車のなかに立って無言のまま、吾々を<seg type="ruby"><seg type="rb">眺</seg><seg type="rp">（</seg><seg type="rt">なが</seg><seg type="rp">）</seg></seg>めている。吾々を山の中から引き出した久一さんと、引き出された吾々の<seg type="ruby"><seg type="rb">因果</seg><seg type="rp">（</seg><seg type="rt">いんが</seg><seg type="rp">）</seg></seg>はここで切れる。もうすでに切れかかっている。車の戸と窓があいているだけで、<seg type="ruby"><seg type="rb">御互</seg><seg type="rp">（</seg><seg type="rt">おたがい</seg><seg type="rp">）</seg></seg>の顔が見えるだけで、行く人と留まる人の間が六尺ばかり<seg type="ruby"><seg type="rb">隔</seg><seg type="rp">（</seg><seg type="rt">へだた</seg><seg type="rp">）</seg></seg>っているだけで、因果はもう切れかかっている。<lb />
車掌が、ぴしゃりぴしゃりと戸を<seg type="ruby"><seg type="rb">閉</seg><seg type="rp">（</seg><seg type="rt">た</seg><seg type="rp">）</seg></seg>てながら、こちらへ走って来る。一つ閉てるごとに、行く人と、送る人の距離はますます遠くなる。やがて久一さんの車室の戸もぴしゃりとしまった。世界はもう二つに<seg type="ruby"><seg type="rb">為</seg><seg type="rp">（</seg><seg type="rt">な</seg><seg type="rp">）</seg></seg>った。老人は思わず<seg type="ruby"><seg type="rb">窓側</seg><seg type="rp">（</seg><seg type="rt">まどぎわ</seg><seg type="rp">）</seg></seg>へ寄る。青年は窓から首を出す。<lb />
「あぶない。出ますよ」と云う声の下から、<seg type="ruby"><seg type="rb">未練</seg><seg type="rp">（</seg><seg type="rt">みれん</seg><seg type="rp">）</seg></seg>のない<seg type="ruby"><seg type="rb">鉄車</seg><seg type="rp">（</seg><seg type="rt">てっしゃ</seg><seg type="rp">）</seg></seg>の音がごっとりごっとりと調子を取って動き出す。窓は一つ一つ、<seg type="ruby"><seg type="rb">余等</seg><seg type="rp">（</seg><seg type="rt">われわれ</seg><seg type="rp">）</seg></seg>の前を通る。久一さんの顔が小さくなって、最後の三等列車が、余の前を通るとき、窓の中から、また一つ顔が出た。<lb />
茶色のはげた中折帽の下から、<seg type="ruby"><seg type="rb">髯</seg><seg type="rp">（</seg><seg type="rt">ひげ</seg><seg type="rp">）</seg></seg>だらけな野武士が<seg type="ruby"><seg type="rb">名残</seg><seg type="rp">（</seg><seg type="rt">なご</seg><seg type="rp">）</seg></seg>り<seg type="ruby"><seg type="rb">惜気</seg><seg type="rp">（</seg><seg type="rt">おしげ</seg><seg type="rp">）</seg></seg>に首を出した。そのとき、那美さんと野武士は思わず顔を<seg type="ruby"><seg type="rb">見合</seg><seg type="rp">（</seg><seg type="rt">みあわ</seg><seg type="rp">）</seg></seg>せた。<seg type="ruby"><seg type="rb">鉄車</seg><seg type="rp">（</seg><seg type="rt">てっしゃ</seg><seg type="rp">）</seg></seg>はごとりごとりと運転する。野武士の顔はすぐ消えた。那美さんは<seg type="ruby"><seg type="rb">茫然</seg><seg type="rp">（</seg><seg type="rt">ぼうぜん</seg><seg type="rp">）</seg></seg>として、行く汽車を見送る。その茫然のうちには不思議にも今までかつて見た事のない「<seg type="ruby"><seg type="rb">憐</seg><seg type="rp">（</seg><seg type="rt">あわ</seg><seg type="rp">）</seg></seg>れ」が一面に浮いている。<lb />
「それだ！ それだ！ それが出れば<seg type="ruby"><seg type="rb">画</seg><seg type="rp">（</seg><seg type="rt">え</seg><seg type="rp">）</seg></seg>になりますよ」と余は那美さんの肩を<seg type="ruby"><seg type="rb">叩</seg><seg type="rp">（</seg><seg type="rt">たた</seg><seg type="rp">）</seg></seg>きながら小声に云った。余が胸中の画面はこの<seg type="ruby"><seg type="rb">咄嗟</seg><seg type="rp">（</seg><seg type="rt">とっさ</seg><seg type="rp">）</seg></seg>の際に<seg type="ruby"><seg type="rb">成就</seg><seg type="rp">（</seg><seg type="rt">じょうじゅ</seg><seg type="rp">）</seg></seg>したのである。<lb />
<lb />
<lb />
<lb />
</seg></p></body>
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<note resp="#BP">Progetto bolognese di una "Prosopografia degli Egiziani ed Alessandrini nel mondo Romano". 108 attestazioni di Egiziani nella documentazione relativa alle province dell'Africa romana, dalle Mauretanie alla Tripolitania. - Pp. 1196-1209: Appendice prosopografica: I. Personaggi di sicura o assai probabile origine egiziana; - II. Personaggi di incerta origine egiziana.</note>
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<title level="m" type="main">L'Africa romana. Atti del XIII Convegno di studio. Djerba, 10-13 dicembre 1998. Volume secondo</title>
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<seg type="original" subtype="index" resp="#BP">215 217 910</seg>
<seg type="original" subtype="titre" resp="#BP">CRISTOFORI Alessandro, Egiziani nelle province romane dell'Africa.</seg>
<seg type="original" subtype="publication" resp="#BP">Mustapha KHANOUSSI, Paola RUGGERI e Cinzia VISMARA (a cura di), L'Africa romana. Atti del XIII Convegno di studio. Djerba, 10-13 dicembre 1998. Volume secondo = Collana del Dipartimento di Storia dell'Università degli Studi di Sassari. Nuova serie. Pubblicazioni del Centro di studi interdisciplinari sulle province romane dell'Università degli Studi di Sassari. 6** (Roma, 2000) pp. 1187-1209.</seg>
<seg type="original" subtype="resume" resp="#BP">Progetto bolognese di una "Prosopografia degli Egiziani ed Alessandrini nel mondo Romano". 108 attestazioni di Egiziani nella documentazione relativa alle province dell'Africa romana, dalle Mauretanie alla Tripolitania. - Pp. 1196-1209: Appendice prosopografica: I. Personaggi di sicura o assai probabile origine egiziana; - II. Personaggi di incerta origine egiziana.</seg>
<seg type="original" subtype="sbSeg" resp="#BP">S.E.G. L, 1092; 1552.</seg>
<seg type="original" subtype="nom" resp="#BP">Cristofori</seg>
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<article xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:mml="http://www.w3.org/1998/Math/MathML" article-type="research-article"><?properties open_access?><?DTDIdentifier.IdentifierValue -//NLM//DTD Journal Archiving and Interchange DTD v3.0 20080202//EN?><?DTDIdentifier.IdentifierType public?><?SourceDTD.DTDName archivearticle3.dtd?><?SourceDTD.Version 3.0?><?ConverterInfo.XSLTName jp2nlmx2.xsl?><?ConverterInfo.Version 1?><front><journal-meta><journal-id journal-id-type="nlm-ta">New Phytol</journal-id><journal-id journal-id-type="iso-abbrev">New Phytol</journal-id><journal-id journal-id-type="doi">10.1111/(ISSN)1469-8137</journal-id><journal-id journal-id-type="publisher-id">NPH</journal-id><journal-title-group><journal-title>The New Phytologist</journal-title></journal-title-group><issn pub-type="ppub">0028-646X</issn><issn pub-type="epub">1469-8137</issn><publisher><publisher-name>John Wiley and Sons Inc.</publisher-name><publisher-loc>Hoboken</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="pmcid">6055815</article-id><article-id pub-id-type="doi">10.1111/nph.15246</article-id><article-id pub-id-type="publisher-id">NPH15246</article-id><article-id pub-id-type="other">2018-26258</article-id><article-categories><subj-group subj-group-type="overline"><subject>Full Paper</subject></subj-group><subj-group subj-group-type="heading"><subject>Research</subject><subj-group subj-group-type="heading"><subject>Full Papers</subject></subj-group></subj-group></article-categories><title-group><article-title>Genomic variations in the 3′‐termini of <italic>Rice stripe virus</italic> in the rotation between vector insect and host plant</article-title></title-group><contrib-group><contrib id="nph15246-cr-0001" contrib-type="author"><name><surname>Zhao</surname><given-names>Wan</given-names></name><xref ref-type="aff" rid="nph15246-aff-0001">
<sup>1</sup>
</xref><xref ref-type="author-notes" rid="nph15246-note-1001">
<sup>†</sup>
</xref></contrib><contrib id="nph15246-cr-0002" contrib-type="author"><name><surname>Xu</surname><given-names>Zhongtian</given-names></name><xref ref-type="aff" rid="nph15246-aff-0002">
<sup>2</sup>
</xref><xref ref-type="aff" rid="nph15246-aff-0003">
<sup>3</sup>
</xref><xref ref-type="author-notes" rid="nph15246-note-1001">
<sup>†</sup>
</xref></contrib><contrib id="nph15246-cr-0003" contrib-type="author"><name><surname>Zhang</surname><given-names>Xiaoming</given-names></name><xref ref-type="aff" rid="nph15246-aff-0001">
<sup>1</sup>
</xref></contrib><contrib id="nph15246-cr-0004" contrib-type="author"><name><surname>Yang</surname><given-names>Meiling</given-names></name><xref ref-type="aff" rid="nph15246-aff-0001">
<sup>1</sup>
</xref></contrib><contrib id="nph15246-cr-0005" contrib-type="author" corresp="yes"><name><surname>Kang</surname><given-names>Le</given-names></name><address><email>lkang@ioz.ac.cn</email></address><xref ref-type="aff" rid="nph15246-aff-0001">
<sup>1</sup>
</xref></contrib><contrib id="nph15246-cr-0006" contrib-type="author" corresp="yes"><name><surname>Liu</surname><given-names>Renyi</given-names></name><address><email>ryliu@fafu.edu.cn</email></address><xref ref-type="aff" rid="nph15246-aff-0004">
<sup>4</sup>
</xref></contrib><contrib id="nph15246-cr-0007" contrib-type="author" corresp="yes"><name><surname>Cui</surname><given-names>Feng</given-names></name><address><email>cuif@ioz.ac.cn</email></address><xref ref-type="aff" rid="nph15246-aff-0001">
<sup>1</sup>
</xref></contrib></contrib-group><aff id="nph15246-aff-0001">
<label><sup>1</sup></label>
<named-content content-type="organisation-division">State Key Laboratory of Integrated Management of Pest Insects and Rodents</named-content>
<named-content content-type="organisation-division">Institute of Zoology</named-content>
<institution>Chinese Academy of Sciences</institution>
<named-content content-type="city">Beijing</named-content>
<named-content content-type="post-code">100101</named-content>
<country country="CN">China</country>
</aff><aff id="nph15246-aff-0002">
<label><sup>2</sup></label>
<named-content content-type="organisation-division">Shanghai Center for Plant Stress Biology</named-content>
<institution>Chinese Academy of Sciences</institution>
<named-content content-type="city">Shanghai</named-content>
<named-content content-type="post-code">201602</named-content>
<country country="CN">China</country>
</aff><aff id="nph15246-aff-0003">
<label><sup>3</sup></label>
<institution>University of Chinese Academy of Sciences</institution>
<named-content content-type="city">Beijing</named-content>
<named-content content-type="post-code">100049</named-content>
<country country="CN">China</country>
</aff><aff id="nph15246-aff-0004">
<label><sup>4</sup></label>
<named-content content-type="organisation-division">Center for Agroforestry Mega Data Science and FAFU‐UCR Joint Center for Horticultural Biology and Metabolomics</named-content>
<named-content content-type="organisation-division">Haixia Institute of Science and Technology</named-content>
<institution>Fujian Agriculture and Forestry University</institution>
<named-content content-type="city">Fuzhou</named-content>
<named-content content-type="post-code">350002</named-content>
<country country="CN">China</country>
</aff><author-notes><corresp id="correspondenceTo"><label>*</label>
Authors for correspondence:<break/><italic>Feng Cui</italic><break/><italic>Tel: +86 10 64807218</italic><break/><italic>Email: </italic><email>cuif@ioz.ac.cn</email><break/><italic>Renyi Liu</italic><break/><italic>Tel: +86 21 57078228</italic><break/><italic>Email: </italic><email>ryliu@fafu.edu.cn</email><break/><italic>Le Kang</italic><break/><italic>Tel: +86 10 64807219</italic><break/><italic>Email: </italic><email>lkang@ioz.ac.cn</email><break/></corresp><fn fn-type="equal" id="nph15246-note-1001"><label>†</label><p>These authors contributed equally to this work.</p></fn></author-notes><pub-date pub-type="epub"><day>08</day><month>6</month><year>2018</year></pub-date><pub-date pub-type="ppub"><month>8</month><year>2018</year></pub-date><volume>219</volume><issue>3</issue><issue-id pub-id-type="doi">10.1111/nph.2018.219.issue-3</issue-id><issue-title content-type="special-issue-title">Featured papers on ‘Drought impacts on tropical forests’</issue-title><fpage>1085</fpage><lpage>1096</lpage><history><date date-type="received"><day>24</day><month>1</month><year>2018</year></date><date date-type="accepted"><day>01</day><month>5</month><year>2018</year></date></history><permissions><!--<copyright-statement content-type="issue-copyright"> Copyright © 2018 New Phytologist Trust <copyright-statement>--><copyright-statement content-type="article-copyright">© 2018 The Authors. <italic>New Phytologist</italic> © 2018 New Phytologist Trust</copyright-statement><license license-type="creativeCommonsBy"><license-p>This is an open access article under the terms of the <ext-link ext-link-type="uri" xlink:href="http://creativecommons.org/licenses/by/4.0/">http://creativecommons.org/licenses/by/4.0/</ext-link> License, which permits use, distribution and reproduction in any medium, provided the original work is properly cited.</license-p></license></permissions><self-uri content-type="pdf" xlink:type="simple" xlink:href="file:NPH-219-1085.pdf"/><abstract id="nph15246-abs-0001"><title>Summary</title><p>
<list list-type="bullet" id="nph15246-list-0001"><list-item><p>A large number of plant <styled-content style="fixed-case">RNA</styled-content> viruses circulate between plants and insects. For <styled-content style="fixed-case">RNA</styled-content> viruses, host alternations may impose a differential selective pressure on viral populations and induce variations in viral genomes. Here, we report the variations in the 3′‐terminal regions of the multiple‐segment <styled-content style="fixed-case">RNA</styled-content> virus <italic>Rice stripe virus</italic> (<styled-content style="fixed-case">RSV</styled-content>) that were discovered through <italic>de novo</italic> assembly of the genome using <styled-content style="fixed-case">RNA</styled-content> sequencing data from infected host plants and vector insects.</p></list-item><list-item><p>The newly assembled <styled-content style="fixed-case">RSV</styled-content> genome contained 16‐ and 15‐nt extensions at the 3′‐termini of two genome segments compared with the published reference <styled-content style="fixed-case">RSV</styled-content> genome. Our study demonstrated that these extensional sequences were consistently observed in two <styled-content style="fixed-case">RSV</styled-content> isolates belonging to distinct genetic subtypes in <styled-content style="fixed-case">RSV</styled-content>‐infected rice, wheat and tobacco. Moreover, the <italic>de novo</italic> assembled genome of <italic>Southern rice black‐streaked dwarf virus</italic> also contained 3′‐terminal extensions in five <styled-content style="fixed-case">RNA</styled-content> segments compared with the reference genome.</p></list-item><list-item><p>Time course experiments confirmed that the 3′‐terminal extensions of <styled-content style="fixed-case">RSV</styled-content> were enriched in the vector insects, were gradually eliminated in the host plant and potentially affected viral replication.</p></list-item><list-item><p>These findings indicate that variations in the 3′‐termini of viral genomes may be different adaptive strategies for plant <styled-content style="fixed-case">RNA</styled-content> viruses in insects and plants.</p></list-item></list>
</p></abstract><kwd-group kwd-group-type="author-generated"><kwd id="nph15246-kwd-0001">genomic variation</kwd><kwd id="nph15246-kwd-0002">host plant</kwd><kwd id="nph15246-kwd-0003"><italic>Rice stripe virus</italic></kwd><kwd id="nph15246-kwd-0004"><styled-content style="fixed-case">RNA</styled-content> virus</kwd><kwd id="nph15246-kwd-0005">vector insect</kwd></kwd-group><funding-group><award-group><funding-source>Major State Basic Research Development Program of China (973 Program)</funding-source><award-id>2014CB13840402</award-id></award-group><award-group><funding-source>Strategic Priority Research Program of the Chinese Academy of Sciences</funding-source><award-id>XDB11040200</award-id></award-group><award-group><funding-source>One Hundred Talent Program from the Chinese Academy of Sciences</funding-source></award-group><award-group><funding-source>grant of State Key Laboratory of Integrated Management of Pest Insects and Rodents</funding-source><award-id>ChineseIPM1801</award-id></award-group></funding-group><counts><fig-count count="5"/><table-count count="0"/><page-count count="12"/><word-count count="8586"/></counts><custom-meta-group><custom-meta><meta-name>source-schema-version-number</meta-name><meta-value>2.0</meta-value></custom-meta><custom-meta><meta-name>component-id</meta-name><meta-value>nph15246</meta-value></custom-meta><custom-meta><meta-name>cover-date</meta-name><meta-value>August 2018</meta-value></custom-meta><custom-meta><meta-name>details-of-publishers-convertor</meta-name><meta-value>Converter:WILEY_ML3GV2_TO_NLMPMC version:version=5.4.3 mode:remove_FC converted:23.07.2018</meta-value></custom-meta></custom-meta-group></article-meta></front><body><sec id="nph15246-sec-0001"><title>Introduction</title><p>Most plant viruses depend on specific plant‐feeding insects as the primary vector for transmission (Bragard <italic>et al</italic>., <xref rid="nph15246-bib-0004" ref-type="ref">2013</xref>). Persistent‐propagative plant viruses have a more complicated interaction with their vector insects than non‐persistent viruses because of their characteristics of replication and systemic invasion of the vector insect tissues before transmission via the salivary glands (Ammar el <italic>et al</italic>., <xref rid="nph15246-bib-0001" ref-type="ref">2009</xref>; Bragard <italic>et al</italic>., <xref rid="nph15246-bib-0004" ref-type="ref">2013</xref>). Vector insects are usually indispensable for the pathogenicity of persistent‐propagative plant viruses, which suggests that alterations in the viral genome may be induced when the viruses are incubated in the vector insects. Therefore, comparisons of the viral genomes in vector insects and host plants may provide important clues to understand the adaptation strategies of a plant virus in the two hosts.</p><p>As a typical persistent‐propagative plant virus, <italic>Rice stripe virus</italic> (RSV) causes rice stripe disease, which is one of the most serious rice diseases in Eastern Asian countries (Falk & Tsai, <xref rid="nph15246-bib-0008" ref-type="ref">1998</xref>; Xiong <italic>et al</italic>., <xref rid="nph15246-bib-0041" ref-type="ref">2008</xref>). In addition to rice, RSV also infects wheat, maize, oat, weeds and even tobacco (<italic>Nicotiana benthamiana</italic>) under experimental conditions (Falk & Tsai, <xref rid="nph15246-bib-0008" ref-type="ref">1998</xref>; Xiong <italic>et al</italic>., <xref rid="nph15246-bib-0041" ref-type="ref">2008</xref>; Sun <italic>et al</italic>., <xref rid="nph15246-bib-0029" ref-type="ref">2011</xref>). RSV is a single‐stranded RNA virus and belongs to the <italic>Tenuivirus</italic> genus. The published reference genome of RSV is 17 144 nucleotides (nt) and contains four RNA segments: RNA1 (8969 nt), RNA2 (3514 nt), RNA3 (2504 nt) and RNA4 (2157 nt) (Takahashi <italic>et al</italic>., <xref rid="nph15246-bib-0030" ref-type="ref">1993</xref>; Toriyama <italic>et al</italic>., <xref rid="nph15246-bib-0034" ref-type="ref">1994</xref>). RNA1 is negative‐sense and encodes RNA‐dependent RNA polymerase (RdRp). The other three segments are ambisense and encode NS2, NSvc2 (a putative membrane glycoprotein), NS3 (a gene silencing suppressor), CP (a nucleocapsid protein), SP (a disease‐specific protein) and NSvc4 (a movement protein) (Cho <italic>et al</italic>., <xref rid="nph15246-bib-0007" ref-type="ref">2013</xref>). The 5′‐ and 3′‐terminal sequences of the four RNA segments were first determined through two‐dimensional mobility shift analysis of the first 18 bases (Takahashi <italic>et al</italic>., <xref rid="nph15246-bib-0031" ref-type="ref">1990</xref>). The 18 or 20 nucleotides at the 3′‐ and 5′‐ends of the four RNA segments are conserved, and each segment may form a panhandle structure because of the complementary terminal sequences, and this structure is a potential recognition landmark for RNA polymerase (Takahashi <italic>et al</italic>., <xref rid="nph15246-bib-0031" ref-type="ref">1990</xref>). Based on the nucleotide sequence of the <italic>CP</italic> gene, RSV isolates from China can be divided into two subtypes: the populations from Eastern China (represented by Jiangsu Province) belong to subtype I, and the populations from Southwest China (represented by Yunnan Province) belong to subtype II (Wei <italic>et al</italic>., <xref rid="nph15246-bib-0040" ref-type="ref">2009</xref>).</p><p>RSV is efficiently transmitted between plants in the field by the small brown planthopper <italic>Laodelphax striatellus</italic> (Falk & Tsai, <xref rid="nph15246-bib-0008" ref-type="ref">1998</xref>). Although RSV can replicate in both vector insects and host plants, different symptoms are induced in the two types of host. Instead of producing severe diseases as it does in host plants, RSV seems to live in harmony with planthoppers without causing intense immune responses or inducing obvious damage (Zhang <italic>et al</italic>., <xref rid="nph15246-bib-0044" ref-type="ref">2010</xref>; Zhao <italic>et al</italic>., <xref rid="nph15246-bib-0046" ref-type="ref">2016a</xref>). Moreover, the RSVs from planthoppers and from rice plants exhibit different pathogenicities. The insect‐derived RSV destroys the chloroplast structure and induces a typical yellow stripe symptom, whereas the plant‐derived RSV only causes chlorosis in rice leaves (Zhao <italic>et al</italic>., <xref rid="nph15246-bib-0047" ref-type="ref">2016b</xref>). Thus, it is highly possible that genomic and/or population diversifications may occur during the spread of RSV between vector insects and host plants because of the distinct living conditions and selective pressures.</p><p>To investigate the genomic variations in the RSV populations that originate from vector insects and host plants, we sequenced the viral genomes in viruliferous planthoppers and RSV‐infected rice, and performed <italic>de novo</italic> genome assembly. Sixteen‐ and 15‐nt extension sequence variations at the 3′‐termini of the RNA1 and RNA2 segments were observed in different RSV isolates and RSV‐infected host plants. The variations in the ratios of the RNA segments with the 3′‐extension sequences were explored during the viral rotation between the vector insects and host plants.</p></sec><sec id="nph15246-sec-0002"><title>Materials and Methods</title><sec id="nph15246-sec-0003"><title>Virus isolates and culture of insects and plants</title><p>The viruliferous and non‐viruliferous small brown planthopper strains used in this study were established from a field population collected in Hai'an, Jiangsu Province, China. The viruliferous strain contained the Jiangsu isolate (JSHA) of RSV. The planthoppers were reared separately on 2–3‐cm seedlings of rice (<italic>Oryza sativa</italic> Huangjinqing) in glass incubators in the laboratory, as described previously (Zhao <italic>et al</italic>., <xref rid="nph15246-bib-0047" ref-type="ref">2016b</xref>). To maintain the RSV‐carrying frequency of the viruliferous strain at no less than 90%, non‐viruliferous individuals were discriminated and eliminated via dot enzyme‐linked immunosorbent assay (dot‐ELISA) using the monoclonal anti‐CP antibody every 3 months (Zhao <italic>et al</italic>., <xref rid="nph15246-bib-0047" ref-type="ref">2016b</xref>). Rice, wheat (<italic>Triticum aestivum</italic> jingdong 22) and tobacco (<italic>Nicotiana benthamiana</italic>) were grown in an insect‐free incubator at 25°C with 16 h of light daily. Another four RSV isolates were collected from RSV‐infected small brown planthoppers and rice plants in Kunming, Chuxiong and Yuxi of Yunnan Province in August 2017, and were stored at −80°C.</p></sec><sec id="nph15246-sec-0004"><title>RNA extraction, RNA‐Seq library construction and sequencing</title><p>Total RNAs were isolated from 20 fifth‐instar viruliferous planthopper nymphs or 20 fourth‐instar planthopper nymphs that had acquired RSV 5 d previously, and from 100 mg of RSV‐infected rice leaves (with the typical stripe symptoms) using TRIzol reagent (Invitrogen, Carlsbad, CA, USA) in accordance with the manufacturer's instructions. The concentrations and qualities of the RNA samples were measured using a NanoDrop spectrophotometer (Thermo Scientific, Waltham, MA, USA) and through gel electrophoresis. Four replicates each were prepared for the viruliferous planthoppers and RSV‐infected rice samples. One replicate was prepared for the planthoppers that had acquired RSV 5 d before sampling. Sequencing was performed in two batches. The first batch included the planthoppers that had acquired RSV 5 d previously, one viruliferous planthopper sample and one RSV‐infected rice sample. The second batch included the remaining three replicates of the viruliferous planthoppers and RSV‐infected rice leaves.</p><p>Five‐microgram samples of total RNA from the planthoppers and rice leaves were treated with a Ribo‐Zero rRNA Removal Kit (human/mouse/rat) or a Ribo‐Zero rRNA Removal Kit (plant leaf) (Epicentre, Madison, WI, USA), respectively, to deplete the rRNA. The retrieved RNA was fragmented by adding First‐Strand Master Mix (Invitrogen). First‐strand cDNA was generated with random hexamers with First‐Strand Master Mix and SuperScript II reverse transcription (Invitrogen). Second‐strand cDNA was generated using Second‐Strand Master Mix (Invitrogen) and dNTPs. The ends of the purified cDNA were repaired using End Repair Mix (Invitrogen). After adding ‘A’ bases or adapters to the 3′‐ends or both ends, the cDNA fragments were purified and then enriched by PCR. cDNA pair‐end libraries were then constructed following standard Illumina protocols and were sequenced with the Illumina HiSeq™ 4000 platform (Illumina, San Diego, CA, USA). Approximately 12 gigabases (Gb) of 101‐bp paired‐end raw data were generated for each library. The sequencing data were deposited in the Short Read Archive of the National Center for Biotechnology Information (NCBI) with the accession number SRP108307.</p></sec><sec id="nph15246-sec-0005"><title>
<italic>De novo</italic> assembly of the RSV and <italic>Southern rice black‐streaked dwarf virus</italic> (SRBSDV) genomes</title><p>The qualities of the raw reads were evaluated with F<sc>ast</sc>QC (<ext-link ext-link-type="uri" xlink:href="http://www.bioinformatics.babraham.ac.uk/projects/fastqc">http://www.bioinformatics.babraham.ac.uk/projects/fastqc</ext-link>). To obtain clean reads, low‐quality regions and adapter sequences were removed using S<sc>olex</sc>QA (v.2.2) and C<sc>utadapt</sc> (v.1.3) (Martin, <xref rid="nph15246-bib-0024" ref-type="ref">2011</xref>), respectively. Reads shorter than 25 bases were discarded.</p><p>Clean reads from the first batches of the planthopper and rice libraries were <italic>de novo</italic> assembled to generate the transcriptome using T<sc>rinity</sc> 2.2.0 (−min_kmer_cov 2 −kmer 25 −min_contig_length 200). To obtain the RSV genome sequences, the assembled transcripts were compared with the reference RSV genome sequences from GenBank (<ext-link ext-link-type="DDBJ/EMBL/GenBank" xlink:href="NC_003755.1">NC_003755.1</ext-link> for RNA1, <ext-link ext-link-type="DDBJ/EMBL/GenBank" xlink:href="NC_003754.1">NC_003754.1</ext-link> for RNA2, <ext-link ext-link-type="DDBJ/EMBL/GenBank" xlink:href="NC_003776.1">NC_003776.1</ext-link> for RNA3 and <ext-link ext-link-type="DDBJ/EMBL/GenBank" xlink:href="NC_003753.1">NC_003753.1</ext-link> for RNA 4) using B<sc>lastn</sc> with an E‐value cutoff of 1e<sup>−20</sup>. Another assembly strategy was utilized to verify the assembly results. Clean reads were first mapped to the reference RSV genome sequences using B<sc>wa</sc> (Li & Durbin, <xref rid="nph15246-bib-0021" ref-type="ref">2009</xref>) to retrieve the virus reads, which were then assembled using Trinity 2.2.0. Both strategies produced similar assembly results. The nucleotide sequences of the newly assembled RSV genome were deposited in NCBI with the accession numbers MF287953–MF287956. Each segment of the newly assembled RSV genome was aligned with that of the reference RSV genome from GenBank using C<sc>lustal</sc>W (Larkin <italic>et al</italic>., <xref rid="nph15246-bib-0020" ref-type="ref">2007</xref>).</p><p>The SRBSDV genome sequencing data were retrieved from the published work of Wang <italic>et al</italic>. (<xref rid="nph15246-bib-0037" ref-type="ref">2016a</xref>). Two versions of the genome were assembled with SRBSDV reads from the viruliferous strains with high viral titres (HVT) and medium viral titres (MVT), and the resulting genome assemblies were compared with the published reference genome from GenBank (from <ext-link ext-link-type="DDBJ/EMBL/GenBank" xlink:href="NC_014708.1">NC_014708.1</ext-link> to <ext-link ext-link-type="DDBJ/EMBL/GenBank" xlink:href="NC_014717.1">NC_014717.1</ext-link>) using the same methods as those used in the RSV genome assembly and comparison.</p></sec><sec id="nph15246-sec-0006"><title>Touchdown reverse transcription‐polymerase chain reaction (RT‐PCR) for determination of the 3′‐terminal sequences</title><p>Two micrograms of total RNA from the planthoppers or plant leaves were prepared for first‐strand cDNA synthesis using a Superscript III First‐Strand Synthesis System (Invitrogen) with random primers for the time course experiment or specific primers that were designed according to the newly assembled RSV genomic sequences RNA1‐3′R, RNA2‐3′R, RNA3‐3′R and RNA4‐3′R. The 3′‐terminal sequences of the four RNA segments were then amplified with touchdown RT‐PCR with the primer pairs RNA1‐3′F and RNA1‐3′R, RNA2‐3′F and RNA2‐3′R, RNA3‐3′F and RNA3‐3′R, and RNA4‐3′F and RNA4‐3′R. The primer sequences are listed in Supporting Information Table <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S1</xref>. The touchdown PCR protocol was as follows: 94°C for 3 min; 10 cycles of 94°C for 30 s, 68°C for 30 s (−1°C each cycle) and 72°C for 1 min; 25 cycles of 94°C for 30 s, 58°C for 30 s and 72°C for 1 min; and, finally, 72°C for 5 min.</p></sec><sec id="nph15246-sec-0007"><title>RT‐PCR</title><p>Two micrograms of total RNA from RSV‐infected planthoppers or plant leaves were prepared for first‐strand cDNA synthesis using a Superscript III First‐Strand Synthesis System (Invitrogen) with random primers. The fragments from the inner regions of RNA1 and RNA2 were amplified to measure the total RNA levels of RNA1 and RNA2 using primers RNA1‐inner‐F and RNA1‐inner‐R and primers RNA2‐inner‐F and RNA2‐inner‐R, respectively. The transcript levels of the <italic>actin</italic> genes of the small brown planthopper (Jiao <italic>et al</italic>., <xref rid="nph15246-bib-0016" ref-type="ref">2017</xref>), rice (<ext-link ext-link-type="DDBJ/EMBL/GenBank" xlink:href="AK100267">AK100267</ext-link>) (Chern <italic>et al</italic>., <xref rid="nph15246-bib-0006" ref-type="ref">2013</xref>), wheat (<ext-link ext-link-type="DDBJ/EMBL/GenBank" xlink:href="TC234027">TC234027</ext-link>) (Tenea <italic>et al</italic>., <xref rid="nph15246-bib-0032" ref-type="ref">2011</xref>) and tobacco (<ext-link ext-link-type="DDBJ/EMBL/GenBank" xlink:href="AY594294">AY594294</ext-link>) (Liu <italic>et al</italic>., <xref rid="nph15246-bib-0022" ref-type="ref">2012</xref>) were quantified with the primers actin‐insect‐F and actin‐insect‐R, actin‐rice‐F and actin‐rice‐R, actin‐wheat‐F and actin‐wheat‐R, and actin‐tobacco‐F and actin‐tobacco‐R, respectively, and were used as internal controls to normalize the levels of the total input RNAs. The primer sequences are listed in Table <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S1</xref>. The PCR protocol was as follows: 94°C for 3 min; 30 cycles of 94°C for 30 s, 55°C for 30 s and 72°C for 30 s; and, finally, 72°C for 5 min.</p></sec><sec id="nph15246-sec-0008"><title>5′‐Rapid amplification of cDNA ends (5′‐RACE) assays</title><p>The RNAs extracted from the viruliferous planthoppers and RSV‐infected rice leaves were employed to analyse the 5′‐ends of the viral RNA segments using the SMARTer<sup>®</sup> RACE 5′/3′ Kit (Takara, Mountain View, CA, USA). The first‐strand cDNA templates from 5′‐RACE were synthesized following the instructions provided in the user manual. Two micrograms of RNA were combined with 2 μM of Random Primer Mix and incubated at 72°C for 3 min. After cooling to 4°C over 2 min, SMARTer II A Oligonucleotide, Master Mix, RNase Inhibitor and SMARTScribe Reverse Transcriptase were added to reach a final volume of 20 μl. The reaction was incubated at 42°C for 90 min and then heated at 70°C for 10 min.</p><p>Two rounds of nested PCR were conducted using an Applied Biosystems<sup>®</sup> ProFlex™ Thermal Cycler (Thermo Fisher Scientific, Bartlesville, OK, USA). The first round of amplification included the 5′‐first‐strand cDNA, PCR Master Mix, 10 × UPM (from the kit) and 10 pmol of 5′‐gene‐specific primer (5′‐GPS) for the 5′‐end of each RNA (i.e. RNA1‐GSP, RNA2‐GSP, RNA3‐GSP or RNA4‐GSP, Table <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S1</xref>). The second round of amplification included 1 μl of a 1 : 50 dilution of the product from the first round of PCR, PCR Master Mix, 10 × UPS (from the kit) and 10 pmol of nested 5′‐GPS (i.e. RNA1‐nested GSP, RNA2‐nested GSP, RNA3‐nested GSP or RNA4‐nested GSP, Table <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S1</xref>). The amplification reaction was conducted under the following conditions: 94°C for 3 min; 10 cycles of 94°C for 30 s and 68°C for 30 s (−1°C each cycle); 72°C for 2 min; 25 cycles of 94°C for 30 s, 58°C for 30 s and 72°C for 2 min; and, finally, 72°C for 5 min. The PCR products were purified and inserted into a pEASY‐Blunt Zero Cloning vector (CB501‐01, Transgen, Beijing, China) for sequencing.</p></sec><sec id="nph15246-sec-0009"><title>Time course analyses of the viral 3′‐terminal extensions containing RNA1 and RNA2 in the planthoppers and plants</title><p>Non‐viruliferous fourth‐instar nymphs were fed on an artificial diet containing the JSHA isolate of RSV crude preparations from the infected rice leaves, as described previously (Zhao <italic>et al</italic>., <xref rid="nph15246-bib-0046" ref-type="ref">2016a</xref>). After feeding on RSV for 8 h, the nymphs were transferred to healthy rice seedlings and then collected after 2, 5, 8, 10, 12, 14 and 22 d. Four replicates and five insects per replicate at each time point were prepared.</p><p>Five viruliferous fifth‐instar nymphs were fed on one healthy rice seedling or wheat seedling for 4 h and then removed. The rice seedlings were collected after 1, 2, 3, 4, 5, 10 or 15 d of culture at 25°C. The wheat seedlings were collected after 1, 3, 5, 10, 15 or 30 d of culture at 25°C. Three replicates and three leaves per replicate were prepared.</p><p>The JSHA isolates of the RSV crude preparations were extracted from 100 viruliferous planthoppers in 40 ml of 0.01 M PBS buffer (pH 7.2), as described previously (Zhao <italic>et al</italic>., <xref rid="nph15246-bib-0047" ref-type="ref">2016b</xref>). After the quantification of RSV in the crude preparations using ELISA at the CP level, moderate amounts of RSV were mechanically inoculated into the leaves of tobacco seedlings at the six‐ to seven‐leaf stage, as described previously (Wei <italic>et al</italic>., <xref rid="nph15246-bib-0040" ref-type="ref">2009</xref>). The inoculated local leaves were collected after 1, 3, 5, 10, 15 or 30 d of culture at 25°C. Three replicates and two leaves per replicate were prepared.</p><p>RNA1 and RNA2 with the extended 3′‐terminal sequences were identified by amplification of the 3′‐non‐translated regions containing the extended terminal sequences using touchdown RT‐PCR. The fragments from the inner regions of RNA1 and RNA2 were amplified to measure the total RNA levels of RNA1 and RNA2, respectively, and were analysed in 1% DNA gel after a five‐fold dilution. The ratios of RNA1 or RNA2 to the extended 3′‐terminal sequences were determined by associating the relative grey values of the extended 3′‐terminal sequences to those of the RNA levels of RNA1 and RNA2 using I<sc>mage</sc>J (National Institutes of Health, Bethesda, MD, USA). The differences were statistically evaluated with one‐way ANOVA for multiple comparisons with S<sc>pss</sc> 17.0 software. The values are represented as the means ± SEs.</p></sec><sec id="nph15246-sec-0010"><title>Quantification of the replication levels of RNA1 and RNA2 from insect‐derived and plant‐derived RSV in rice plants</title><p>Comparable amounts of the JSHA isolates of RSV from the viruliferous planthoppers and the infected rice leaves with obvious stripe symptoms were microinjected into the leaves of healthy 2‐wk‐old rice. The inoculated rice seedlings were cultured at 25°C and collected every day until 5 d. Eight replicates and three leaves in each replicate were prepared.</p><p>The replications of RSV RNA1 and RNA2 were determined by the quantification of the RNA levels of the 5′‐non‐translated region of RNA1 with the primers RNA1‐5′NTR‐F and RNA1‐5′NTR‐R or by comparison of the intergenic region of RNA2 with the primers RNA2‐IR‐F and RNA2‐IR‐R using quantitative real‐time PCR on a Light Cycler 480 II (Roche, Basel, Switzerland). The transcript level of the rice <italic>ubiquitin</italic> (<ext-link ext-link-type="DDBJ/EMBL/GenBank" xlink:href="AK061988">AK061988</ext-link>) was quantified with the primers ubq‐F and ubq‐R as an internal control. The primer sequences are listed in Table <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S1</xref>. The thermal cycling conditions were as follows: 95°C for 10 min; 45 cycles of 95°C for 10 s, 58°C for 20 s and 72°C for 20 s; and, finally, 65°C for 1 min. The RNA level of each RSV segment relative to that of <italic>ubiquitin</italic> is reported as the mean ± SE. A Student's <italic>t</italic>‐test was performed to evaluate the difference between the two means using S<sc>pss</sc> 17.0. The RNA1 and RNA2 with the extended 3′‐terminal sequences were determined using touchdown RT‐PCR as described earlier in the Materials and Methods section.</p></sec><sec id="nph15246-sec-0011"><title>Purification of the RSV ribonucleoprotein particles</title><p>RSV crude preparations were extracted from 10 g of rice leaves infected with JSHA or KMXD isolates of RSV in 40 ml of 0.01 M PBS buffer (pH 7.2) containing a protease inhibitor cocktail (ThermoFisher Scientific, Waltham, MA, USA). After centrifugation at 1344 <italic><bold>g</bold></italic> for 5 min and 8400 <italic><bold>g</bold></italic> for 15 min at 4°C, the supernatant containing RSV was collected and incubated with RNase A Solution (Promega) at room temperature for 30 min to remove the RNAs from host cells and viral mRNAs. To precipitate the RSV particles, the mixtures were adjusted to 8% polyethylene glycol 6000 (Lablead) and 0.1 M NaCl, and then stirred in ice for 1 h. After centrifugation at 12 000 <italic><bold>g</bold></italic> for 1 h at 4°C, the pellets were dissolved in 0.01 M PBS buffer and then purified with Dynabeads<sup>®</sup> Protein G (Novex<sup>®</sup> by Thermo Fisher Scientific) based on immunoaffinity chromatography, as described by Chand <italic>et al</italic>. (<xref rid="nph15246-bib-0005" ref-type="ref">2016</xref>). Fifty microlitres of Protein G beads were prepared with 10 μg anti‐CP monoclonal antibody, which was bound and then incubated with 1000 μl of viral crude preparations at 4°C overnight. The antibody–CP–viral ribonucleoprotein complex was dissociated from the beads with elution buffer (Novex<sup>®</sup>, Thermo Fisher Scientific). The purified ribonucleoprotein particles were then diluted with 0.01 M PBS, mounted on grids and stained with 4% uranyl acetate (Ishikawa <italic>et al</italic>., <xref rid="nph15246-bib-0015" ref-type="ref">1989</xref>). The grids were examined using a JEM‐1400 transmission electron microscope (Jeol, Tokyo, Japan) for virion observation.</p></sec><sec id="nph15246-sec-0012"><title>Phylogenetic analysis of the RSV isolates</title><p>The <italic>CP</italic> gene was amplified with RT‐PCR performed on Jiangsu JSHA isolates and the four isolates from Yunnan using the primers CP‐RT‐F and CP‐RT‐R (Table <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S1</xref>), as described previously (Wei <italic>et al</italic>., <xref rid="nph15246-bib-0040" ref-type="ref">2009</xref>). The <italic>CP</italic> sequences obtained were deposited in NCBI with accession numbers MG680206 (isolate JHSA), MG680207 (isolate KMXD), MG680208 (isolate CXYL), MG680209 (isolate CXYH) and MG680210 (isolate YXLC).</p><p>The PCR products were inserted into pEASY‐Blunt Zero Cloning Vectors (TransGen, Beijing, China) and transformed into <italic>Escherichia coli</italic> T1 (TransGen) for sequencing. The <italic>CP</italic> sequences obtained from the five isolates and from another 75 RSV isolates reported by other laboratories (Kakutani <italic>et al</italic>., <xref rid="nph15246-bib-0019" ref-type="ref">1991</xref>; Zhu <italic>et al</italic>., <xref rid="nph15246-bib-0050" ref-type="ref">1991</xref>; Qu <italic>et al</italic>., <xref rid="nph15246-bib-0026" ref-type="ref">1997</xref>; Wei <italic>et al</italic>., <xref rid="nph15246-bib-0040" ref-type="ref">2009</xref>) were included in the phylogenetic analysis. The RNA3 of <italic>Maize stripe virus</italic> (S40180 in GenBank) was used as an outgroup. Multiple nucleotide sequence alignments were performed using C<sc>lustal</sc>W (Thompson <italic>et al</italic>., <xref rid="nph15246-bib-0033" ref-type="ref">1994</xref>). The phylogenetic tree was constructed using the neighbour‐joining method with the Kimura two‐parameter model implemented in M<sc>ega</sc> 5.0. Gaps were treated as a fifth character state. Evaluations of the statistical confidence in nodes were based on 1000 bootstrap replicates. Branches with < 50% bootstrap values were collapsed.</p></sec></sec><sec id="nph15246-sec-0013"><title>Results</title><sec id="nph15246-sec-0014"><title>
<italic>De novo</italic> assembly of the RSV genome using RNA sequencing data from vector insects and host plants</title><p>To assemble the RSV genome, we performed deep sequencing of the transcriptomes of the small brown planthoppers that had acquired RSV Jiangsu isolate (JSHA) 5 d previously, the viruliferous planthoppers and RSV‐infected rice. Totals of 115 586 652 clean reads from the planthoppers that had acquired RSV 5 d previously, 742 362 522 from viruliferous planthoppers and 779 708 192 from rice were obtained (Table <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S2</xref>). Following mapping to the published RSV reference genome (Hamamatsu <italic>et al</italic>., <xref rid="nph15246-bib-0012" ref-type="ref">1993</xref>; Toriyama <italic>et al</italic>., <xref rid="nph15246-bib-0034" ref-type="ref">1994</xref>), 953 253 clean reads (0.82% of total clean reads) from the planthoppers that had acquired RSV 5 d previously, 1368 886 (0.18% of total clean reads) from viruliferous planthoppers and 1780 260 (0.23% of total clean reads) from rice were retrieved as RSV reads (Table <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S2</xref>). Higher ratios of RSV reads were captured from the first sequencing batch, i.e. the planthoppers that had acquired RSV 5 d previously (In5d, 0.82%), the first replicate of viruliferous planthoppers (InQ‐1, 0.49%) and rice samples (P‐1, 1.39%) than from the other replicates in the second sequencing batch (Fig. <xref rid="nph15246-fig-0001" ref-type="fig">1</xref>; Table <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S2</xref>). These differences were probably a result of the varied viral loads between the samples, or the different rRNA removal efficiencies in the two independent sequencing batches. Thus, the virus reads from the first sequencing batch were <italic>de novo</italic> assembled to generate the genomes of RSV from vector insects and host plants. Because the assembled genome from the host plants was longer than the other two assembled genomes from the vector insect samples, it was used as the new reference to map back RSV reads and for comparison with the published genome. After mapping back the RSV reads, the average coverage depths of the four RNA segments of RSV in the first sequencing batch ranged from 936 to 7552 times for the planthoppers that had acquired RSV 5 d previously, from 377 to 6714 times for the viruliferous planthoppers, and from 2192 to 7627 times for the infected rice (Table <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S3</xref>); all of these coverage depths were sufficient for effective genome assembly.</p><fig fig-type="Figure" xml:lang="en" id="nph15246-fig-0001" orientation="portrait" position="float"><label>Figure 1</label><caption><p>Circular representations of the <italic>Rice stripe virus</italic> (<styled-content style="fixed-case">RSV</styled-content>) read coverages along the viral genome in different samples. The outer scale marks the genomic positions. The first track indicates the genome annotations. The heatmaps on tracks 2–10 represent the viral read coverages in different samples. In5d, the small brown planthoppers (<italic>Laodelphax striatellus</italic>) that had acquired <styled-content style="fixed-case">RSV</styled-content> 5 d previously. InQ, the four replicates of the viruliferous small brown planthoppers. P, the four replicates of the <styled-content style="fixed-case">RSV</styled-content>‐infected rice (<italic>Oryza sativa</italic> Huangjinqing) with obvious stripe symptoms.</p></caption><graphic id="nlm-graphic-1" xlink:href="NPH-219-1085-g001"/></fig></sec><sec id="nph15246-sec-0015"><title>The newly assembled RSV genome contains 16‐ and 15‐nt extensions at the 3′‐termini of two genome segments</title><p>The newly assembled genome of RSV was 17 155 nt, which was larger than the published reference genome (17 144 nt) (Takahashi <italic>et al</italic>., <xref rid="nph15246-bib-0030" ref-type="ref">1993</xref>; Toriyama <italic>et al</italic>., <xref rid="nph15246-bib-0034" ref-type="ref">1994</xref>). The lengths of the four RNA segments from RNA1 to RNA4 in the newly assembled genome were 8985, 3532, 2488 and 2150 nt, respectively. RNA1 and RNA2 were longer than the corresponding sequences in the reference genome, which were 8969 and 3514 nt, respectively. The extended nucleotide sequence at the 3′‐terminus of RNA1 was a 16‐nt (5′‐CATGAACATGCAAGGG‐3′) sequence that was sequenced four times. This sequence was identical to the 8874–8889‐nt fragment in the upstream region of RNA1. The extended nucleotide sequence at the 3′‐terminus of RNA2 was a 15‐nt (5′‐AGCATGTCTCAAAGT‐3′) sequence that was sequenced 11 times. Similarly, the 15‐nt extension sequence was identical to the 3241–3255‐nt fragment in the upstream region of RNA2. The assembled RNA3 and RNA4 were shorter than the corresponding published reference sequences, which were 2504 and 2157 nt, respectively (Zhu <italic>et al</italic>., <xref rid="nph15246-bib-0050" ref-type="ref">1991</xref>, <xref rid="nph15246-bib-0049" ref-type="ref">1992</xref>). The truncated nucleotide sequences occurred in intergenic regions and the 3′‐termini.</p><p>To verify the 3′‐termini of the four RNA segments, touchdown RT‐PCR was performed using terminal sequence‐specific primers. Fragments of 784, 521, 793 and 795 nt were amplified from the 3′‐termini of RNA1 to RNA4, respectively, and sequenced by Sanger sequencing. The existence of the 16‐ and 15‐nt extensions at the 3′‐termini of RNA1 and RNA2 was confirmed (Fig. <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S1</xref>). The 3′‐termini of RNA3 and RNA4 were found to be the same as those of the published reference genome and not shorter than the presented assembled genome (Fig. <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S1</xref>). The 5′‐terminal sequences of the four RNA segments were verified by 5′‐RACE experiments and proven to be the same as those of the published reference genome (Fig. <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S2</xref>).</p><p>To exclude interference from the viral mRNA, the RSV ribonucleoprotein particles were purified using the anti‐CP monoclonal antibody from the JSHA isolate‐infected rice seedlings, and the viral genomic RNA was then extracted from the ribonucleoprotein particles for 3′‐terminal sequence determination. Filamentous ribonucleoprotein particles were clearly observed under transmission electron microscopy (Fig. <xref rid="nph15246-fig-0002" ref-type="fig">2</xref>a). Based on the touchdown RT‐PCR and Sanger sequencing results, the 16‐ and 15‐nt extensions at the 3′‐termini of RNA1 and RNA2, respectively, were detected in the RNA that was associated with the purified ribonucleoprotein particles (Fig. <xref rid="nph15246-fig-0002" ref-type="fig">2</xref>b), which strongly supports the notion that the 16‐ and 15‐nt extensions were present in the viral genomic RNA and not the viral mRNA. A schematic representation of the RSV genome that was obtained from the <italic>de novo</italic> assembly and verified on the terminal sequences is presented in Fig. <xref rid="nph15246-fig-0003" ref-type="fig">3</xref>(a).</p><fig fig-type="Figure" xml:lang="en" id="nph15246-fig-0002" orientation="portrait" position="float"><label>Figure 2</label><caption><p>Determination of the 3′‐terminal extensions of <italic>Rice stripe virus</italic> (<styled-content style="fixed-case">RSV</styled-content>) <styled-content style="fixed-case">RNA</styled-content>1 and <styled-content style="fixed-case">RNA</styled-content>2 from purified viral ribonucleoprotein particles and infected samples. (a) Purified <styled-content style="fixed-case">RSV</styled-content> ribonucleoprotein particles of the <styled-content style="fixed-case">JSHA</styled-content> isolate stained with 4% uranyl acetate and observed under a transmission electron microscope. (b) Amplification of the extended 3′‐terminal sequences of <styled-content style="fixed-case">RNA</styled-content>1 and <styled-content style="fixed-case">RNA</styled-content>2 from the purified ribonucleoprotein particles of <styled-content style="fixed-case">JSHA</styled-content> and <styled-content style="fixed-case">KMXD</styled-content> isolates through touchdown reverse transcription‐polymerase chain reaction (<styled-content style="fixed-case">RT</styled-content>‐<styled-content style="fixed-case">PCR</styled-content>). The total amounts of viral <styled-content style="fixed-case">RNA</styled-content>1 and <styled-content style="fixed-case">RNA</styled-content>2 (amplifying fragments from the inner regions) were amplified as internal controls. (c) Amplification of the extended 3′‐terminal sequences of <styled-content style="fixed-case">RNA</styled-content>1 and <styled-content style="fixed-case">RNA</styled-content>2 from four Yunnan isolates through touchdown <styled-content style="fixed-case">RT</styled-content>‐<styled-content style="fixed-case">PCR</styled-content>.</p></caption><graphic id="nlm-graphic-3" xlink:href="NPH-219-1085-g002"/></fig><fig fig-type="Figure" xml:lang="en" id="nph15246-fig-0003" orientation="portrait" position="float"><label>Figure 3</label><caption><p>Schematic representation of the newly assembled <italic>Rice stripe virus</italic> (<styled-content style="fixed-case">RSV</styled-content>) and <italic>Southern rice black‐streaked dwarf virus</italic> (<styled-content style="fixed-case">SRBSDV</styled-content>) genomes. (a) The <styled-content style="fixed-case">RSV</styled-content> genome that was obtained by <italic>de novo</italic> assembly and verified on the terminal sequences by 3′‐end reverse transcription‐polymerase chain reaction (<styled-content style="fixed-case">RT</styled-content>‐<styled-content style="fixed-case">PCR</styled-content>) amplification, Sanger sequencing and 5′‐rapid amplification of cDNA ends (5′‐<styled-content style="fixed-case">RACE</styled-content>). The extended 3′‐terminal sequences in <styled-content style="fixed-case">RNA</styled-content>1 and <styled-content style="fixed-case">RNA</styled-content>2 are marked in red. (b) The <italic>de novo</italic> assembled sense strands of the <styled-content style="fixed-case">SRBSDV</styled-content> genome. The sequencing data were retrieved from the work of Wang <italic>et al</italic>. (<xref rid="nph15246-bib-0037" ref-type="ref">2016a</xref>). The extended 3′‐terminal sequences in <styled-content style="fixed-case">RNA</styled-content> segments 4–8 are marked in red.</p></caption><graphic id="nlm-graphic-5" xlink:href="NPH-219-1085-g003"/></fig></sec><sec id="nph15246-sec-0016"><title>The 3′‐terminal extensions exist in different RSV isolates</title><p>The genomic 3′‐terminal extensions were observed in the RSV Jiangsu isolate (JSHA), which belongs to subtype I. To determine whether this phenomenon was common in different isolates of RSV, four Yunnan isolates (CXYH, CXYL, YXLC and KMXD) belonging to subtype II were tested (Fig. <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S3</xref>). The 16‐ and 15‐nt extensions at the 3′‐termini of RNA1 and RNA2 were successfully identified in the four Yunnan isolates from infected planthoppers and rice plants (Fig. <xref rid="nph15246-fig-0002" ref-type="fig">2</xref>c). Furthermore, these extension sequences were also verified from the purified RSV ribonucleoprotein of the KMXD isolate (Fig. <xref rid="nph15246-fig-0002" ref-type="fig">2</xref>b). Therefore, we conclude that the 16‐ and 15‐nt extensions at the 3′‐termini of RNA1 and RNA2 broadly exist in different isolates of RSV from different regions.</p></sec><sec id="nph15246-sec-0017"><title>The 3′‐terminal extensions are also found in the genome of SRBSDV</title><p>Next, we explored whether the existence of the 3′‐terminal extensions was a common phenomenon in plant RNA viruses. We searched the public databases and found the transcriptomic data from samples infected by SRBSDV. SRBSDV is a double‐stranded, multiple‐segment RNA virus that infects a variety of plants, such as rice and maize (Zhou <italic>et al</italic>., <xref rid="nph15246-bib-0048" ref-type="ref">2013</xref>). The genome of SRBSDV contains 10 segments that are named S1–S10 (Wang <italic>et al</italic>., <xref rid="nph15246-bib-0037" ref-type="ref">2016a</xref>). We <italic>de novo</italic> assembled the SRBSDV genome using the transcriptomic sequencing data that were generated from cDNA libraries constructed using random primers (<xref rid="nph15246-bib-0037" ref-type="ref">Wang <italic>et al</italic>., 2016a</xref>). Compared with the published reference genome (from <ext-link ext-link-type="DDBJ/EMBL/GenBank" xlink:href="NC_014708.1">NC_014708.1</ext-link> to <ext-link ext-link-type="DDBJ/EMBL/GenBank" xlink:href="NC_014717.1">NC_014717.1</ext-link> in GenBank), the <italic>de novo</italic> assembled SRBSDV genome contained 3′‐terminal extension sequences of 13 to 17 nt in length on RNA segments 4–8, and each extension sequence was identical or nearly identical to a fragment in the upstream region of the same RNA segment (Figs <xref rid="nph15246-fig-0003" ref-type="fig">3</xref>b, <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S4</xref>). These characteristics are similar to those of RSV, which suggests that the existence of the 3′‐terminal extension sequences may be a general feature of RNA viruses.</p></sec><sec id="nph15246-sec-0018"><title>The 3′‐terminal extensions of RSV are enriched in the vector insects and gradually eliminated in the host plants</title><p>To explore the dynamic alterations of the 3′‐terminal extensions in the vector insects and host plants, the amounts of RNA1 and RNA2 with the extended 3′‐terminal sequences were measured using touchdown RT‐PCR at different time points after inoculation with the JSHA isolate of RSV. The ratios of RNA1 and RNA2 with the extended 3′‐terminal sequences were determined by dividing the level of 3′‐non‐translated regions containing the extended terminal sequences by the total RNA level of RNA1 or RNA2. In the planthoppers, both RNA1 and RNA2 with the extended 3′‐terminal sequences were detected in low quantities at 2 d after inoculation (DAI) with plant‐derived RSV (Fig. <xref rid="nph15246-fig-0004" ref-type="fig">4</xref>a), with relative ratios of 6.6% ± 1.2% and 7.3% ± 1.5%, respectively (Fig. <xref rid="nph15246-fig-0004" ref-type="fig">4</xref>e,f). With increased virus incubation time, increasing amounts of RNA1 and RNA2 with the extended 3′‐terminal sequences were produced, and the relative ratios reached 34.9% ± 4.4% for the extended RNA1 and 48.6% ± 9.5% for the extended RNA2 at 22 DAI (Fig. <xref rid="nph15246-fig-0004" ref-type="fig">4</xref>a,e,f).</p><fig fig-type="Figure" xml:lang="en" id="nph15246-fig-0004" orientation="portrait" position="float"><label>Figure 4</label><caption><p>Accumulation of viral extended 3′‐terminal sequences in vector insects and host plants. Accumulations of <styled-content style="fixed-case">RNA</styled-content>1 and <styled-content style="fixed-case">RNA</styled-content>2 with the extended 3′‐terminal sequences in the small brown planthoppers (<italic>Laodelphax striatellus</italic>) (a), rice (<italic>Oryza sativa</italic> Huangjinqing) (b), wheat (<italic>Triticum aestivum</italic> jingdong 22) (c) and tobacco (<italic>Nicotiana benthamiana</italic>) (d) at different days after <styled-content style="fixed-case">RSV</styled-content> infection. (e, f) Charts depicting the changes in the relative ratios of <styled-content style="fixed-case">RNA</styled-content>1 and <styled-content style="fixed-case">RNA</styled-content>2 to the extended 3′‐terminal sequences in planthoppers and rice plants, respectively. The extended 3′‐terminal sequences (3′‐<styled-content style="fixed-case">ETS</styled-content>) were determined by amplifying the 3′‐non‐translated regions containing the extended terminal sequences using touchdown reverse transcription–polymerase chain reaction (<styled-content style="fixed-case">RT</styled-content>‐<styled-content style="fixed-case">PCR</styled-content>). The total amounts of viral <styled-content style="fixed-case">RNA</styled-content>1 and <styled-content style="fixed-case">RNA</styled-content>2 (based on amplification of fragments from the inner regions) and the transcripts of <italic>actin</italic> were used as internal controls. The ratios of <styled-content style="fixed-case">RNA</styled-content>1 and <styled-content style="fixed-case">RNA</styled-content>2 to the extended 3′‐terminal sequences were determined by associating the relative grey value of 3′‐<styled-content style="fixed-case">ETS</styled-content> to that of the <styled-content style="fixed-case">RNA</styled-content> levels of <styled-content style="fixed-case">RNA</styled-content>1 or <styled-content style="fixed-case">RNA</styled-content>2 using I<sc>mage</sc>J based on Fig. <xref rid="nph15246-fig-0004" ref-type="fig">4</xref>a,b. The values are represented as the means ± <styled-content style="fixed-case">SE</styled-content>s. The differences were statistically evaluated by one‐way <styled-content style="fixed-case">ANOVA</styled-content> for multiple comparisons with <sc>spss</sc> 17.0 software. Different lowercase letters indicate significant differences at the <italic>P</italic> < 0.05 level.</p></caption><graphic id="nlm-graphic-7" xlink:href="NPH-219-1085-g004"/></fig><p>However, in the host plants that included rice, wheat and tobacco, the trends of variation in the RNA1 and RNA2 samples with extended 3′‐terminal sequences were different from those in the planthoppers (Fig. <xref rid="nph15246-fig-0004" ref-type="fig">4</xref>b–d). On RSV infection (1 DAI), the relative ratios of RNA1 and RNA2 with the extended 3′‐terminal sequences were > 20% and 30%, respectively, in the three plant species (Figs <xref rid="nph15246-fig-0004" ref-type="fig">4</xref>e,f, <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S5</xref>). These ratios gradually decreased with the time of viral incubation. In the late stage of RSV infection in rice (15 DAI), wheat (30 DAI) and tobacco (30 DAI), <3% of the RNA1 and RNA2 had the 3′‐terminal extensions (Figs <xref rid="nph15246-fig-0004" ref-type="fig">4</xref>e,f, <xref rid="nph15246-sup-0001" ref-type="supplementary-material">S5</xref>). Therefore, the 16‐ and 15‐nt extensions at the 3′‐termini of RNA1 and RNA2 were enriched in vector insects, but gradually reduced in host plants during the infection process.</p></sec><sec id="nph15246-sec-0019"><title>Potential influence of the extended 3′‐terminal sequences on the replication of viral RNA1 and RNA2</title><p>The panhandle structure formed by the 3′‐ and 5′‐terminal regions is thought to play an important role in RNA replication in viruses, such as the Bunyamwera virus, the prototypic arenavirus lymphocytic choriomeningitis virus, influenza virus and flaviviruses (Fodor <italic>et al</italic>., <xref rid="nph15246-bib-0011" ref-type="ref">1994</xref>; Flick & Hobom, <xref rid="nph15246-bib-0010" ref-type="ref">1999</xref>; Perez & de la Torre, <xref rid="nph15246-bib-0025" ref-type="ref">2003</xref>; Barr & Wertz, <xref rid="nph15246-bib-0002" ref-type="ref">2004</xref>). The 3′‐terminal extensions identified in the RSV RNA1 and RNA2 would affect the replication of these two RNAs. To test this hypothesis, the replication levels of RNA1 and RNA2 from insect‐derived or plant‐derived RSVs were quantified and compared in rice plants within 5 d of infection, because the ratios of the 3′‐terminal extensions of insect‐derived RSV declined to < 10% in rice at 5 DAI (Fig. <xref rid="nph15246-fig-0004" ref-type="fig">4</xref>b,e,f). One day after microinjection of either insect‐ or plant‐derived RSV, the level of RNA1 was not detectable in plants. After 2 DAI, the amount of RNA1 increased, but the accumulation of RNA1 was higher when the inoculation was performed with plant‐derived RSV than when it was performed with insect‐derived RSV, and the difference became statistically significant at 5 DAI (Fig. <xref rid="nph15246-fig-0005" ref-type="fig">5</xref>a). Similarly, the level of RNA2 was not detectable within the first 3 d of infection. After 4 DAI, the accumulation of RNA2 was significantly higher when the plants were inoculated with plant‐derived RSV (Fig. <xref rid="nph15246-fig-0005" ref-type="fig">5</xref>a). The accumulated levels of the extended 3′‐terminal sequences of RNA1 and RNA2 from the two types of RSV were also simultaneously measured. The amount of the 3′‐terminal extensions obviously decreased in rice with time. Moreover, fewer 3′‐terminal extensions of RNA1 and RNA2 existed in plant‐derived RSVs than in insect‐derived RSVs (Fig. <xref rid="nph15246-fig-0005" ref-type="fig">5</xref>b). The correlation between the amount of 3′‐terminal extensions and the replication level of the viral RNAs suggests that the 16‐ and 15‐nt extensions at the 3′‐termini may be detrimental to the replication of viral RNA1 and RNA2 in the host plant.</p><fig fig-type="Figure" xml:lang="en" id="nph15246-fig-0005" orientation="portrait" position="float"><label>Figure 5</label><caption><p>Replication levels of <styled-content style="fixed-case">RNA</styled-content>1 and <styled-content style="fixed-case">RNA</styled-content>2 in insect‐derived and plant‐derived <italic>Rice stripe virus</italic> (<styled-content style="fixed-case">RSV</styled-content>) in rice (<italic>Oryza sativa</italic> Huangjinqing). (a) The <styled-content style="fixed-case">RNA</styled-content> levels of viral <styled-content style="fixed-case">RNA</styled-content>1 and <styled-content style="fixed-case">RNA</styled-content>2 relative to that of rice <italic>ubiquitin</italic> in rice leaves within 5 d after inoculation with insect‐derived or plant‐derived <styled-content style="fixed-case">RSV</styled-content> as measured by quantitative real‐time <styled-content style="fixed-case">PCR</styled-content>. The values represent the means ± <styled-content style="fixed-case">SE</styled-content>s from eight replicates. Student's <italic>t</italic>‐tests were performed to evaluate the differences between two means at the same time point. **, <italic>P</italic> < 0.01. (b) Accumulations of <styled-content style="fixed-case">RNA</styled-content>1 and <styled-content style="fixed-case">RNA</styled-content>2 with the extended 3′‐terminal sequences (3′‐<styled-content style="fixed-case">ETS</styled-content>) in rice leaves after inoculation with insect‐ or plant‐derived <styled-content style="fixed-case">RSV</styled-content> as measured with touchdown reverse transcription‐polymerase chain reaction (<styled-content style="fixed-case">RT</styled-content>‐<styled-content style="fixed-case">PCR</styled-content>). The total amounts of viral <styled-content style="fixed-case">RNA</styled-content>1 and <styled-content style="fixed-case">RNA</styled-content>2 and the transcripts of rice <italic>actin</italic> were amplified as internal controls.</p></caption><graphic id="nlm-graphic-9" xlink:href="NPH-219-1085-g005"/></fig></sec></sec><sec id="nph15246-sec-0020"><title>Discussion</title><p>As a result of the error‐prone replication characteristics of RdRp, RNA viruses usually comprise heterogeneous intra‐host populations. Different genetic divergences occur in intra‐host populations of persistent‐propagative plant RNA viruses when they adapt to their vector insects and host plants. Here, we successfully assembled the RSV genome as it exists in its vector insect, i.e. the small brown planthopper, and analysed the genomic variations that occurred during the viral transmission between the vector insect and host plant. Although many plant virus genomes from field isolates have been reported, to the best of our knowledge, this is the first report of the determination of a plant virus genome through <italic>de novo</italic> assembly from its vector insect with a comparison of the vector‐derived virus genome and the host‐derived virus genome.</p><p>The most outstanding finding of the present study is that the rotation between the vector insect and the host plant imposes a selective pressure on the RSV genome at the 3′‐termini. Why have variations in the genomic 3′‐termini not been observed in previous studies of various RSV field isolates from Japan, Korea and China in the past 20 yr (Zhang <italic>et al</italic>., <xref rid="nph15246-bib-0045" ref-type="ref">2007</xref>; Jonson <italic>et al</italic>., <xref rid="nph15246-bib-0017" ref-type="ref">2009a</xref>,<xref rid="nph15246-bib-0018" ref-type="ref">b</xref>; Wei <italic>et al</italic>., <xref rid="nph15246-bib-0040" ref-type="ref">2009</xref>; Huang <italic>et al</italic>., <xref rid="nph15246-bib-0014" ref-type="ref">2013</xref>, <xref rid="nph15246-bib-0013" ref-type="ref">2015</xref>)? The 5′‐ and 3′‐terminal sequences of the four RNA segments were first determined in RSV T isolates from infected maize through two‐dimensional mobility shift analyses of the first 18 bases, followed by the application of chemical modification and enzymatic methods for longer sequences (Takahashi <italic>et al</italic>., <xref rid="nph15246-bib-0031" ref-type="ref">1990</xref>). Different lengths of RNAs have different two‐dimensional mobility shifts. Based on the present study, RNA1 and RNA2 with 3′‐extensions accounted for only 3% of the total RNA segments in the late stage of RSV infection in host plants. Therefore, it is likely that only the predominant types of terminal sequences were measured in these previous studies. Since 1990, two main methods have been used for RSV genome re‐sequencing, i.e. cDNA library construction with specific primers designed according to the highly conserved 3′‐terminal regions of the four viral RNA segments, and RT‐PCR with specific primer pairs that target specific regions in the genome (Zhu <italic>et al</italic>., <xref rid="nph15246-bib-0050" ref-type="ref">1991</xref>, <xref rid="nph15246-bib-0049" ref-type="ref">1992</xref>; Takahashi <italic>et al</italic>., <xref rid="nph15246-bib-0030" ref-type="ref">1993</xref>; Toriyama <italic>et al</italic>., <xref rid="nph15246-bib-0034" ref-type="ref">1994</xref>; Zhang <italic>et al</italic>., <xref rid="nph15246-bib-0045" ref-type="ref">2007</xref>; Jonson <italic>et al</italic>., <xref rid="nph15246-bib-0017" ref-type="ref">2009a</xref>,<xref rid="nph15246-bib-0018" ref-type="ref">b</xref>; Wei <italic>et al</italic>., <xref rid="nph15246-bib-0040" ref-type="ref">2009</xref>; Huang <italic>et al</italic>., <xref rid="nph15246-bib-0013" ref-type="ref">2015</xref>). Consequently, all registered genome sequences of RSV isolates in GenBank, regardless of whether they are from infected maize or rice plants, are identical in their terminal sequences and do not contain the 3′‐terminal sequences that were discovered in this study.</p><p>The extensions at the viral 3′‐termini may affect RSV replication. Without the 16‐ and 15‐nt extensions at the 3′‐termini, the 5′‐ and 3′‐termini of RNA1 and RNA2 are strongly self‐complementary, which enables the formation of a panhandle structure or a so‐called stem‐loop structure. The 3′‐terminal extensions impair the formation of the panhandle structures of RNA1 and RNA2. During the initiation of negative‐ or positive‐strand RNA synthesis, the stem‐loop structures resulting from the 3′‐ and 5′‐terminal regions are thought to play an important role in RNA replication in viruses, such as the Bunyamwera virus, the prototypic arenavirus lymphocytic choriomeningitis virus, influenza virus and flaviviruses (Fodor <italic>et al</italic>., <xref rid="nph15246-bib-0011" ref-type="ref">1994</xref>; Flick & Hobom, <xref rid="nph15246-bib-0010" ref-type="ref">1999</xref>; Perez & de la Torre, <xref rid="nph15246-bib-0025" ref-type="ref">2003</xref>; Barr & Wertz, <xref rid="nph15246-bib-0002" ref-type="ref">2004</xref>). The amount of RSV with the 3′‐terminal extensions increased with time in the vector insect and decreased or was eventually nearly eliminated in the host plant. This pattern is probably one of the reasons, from a structural perspective, for the limited replication of RSV in the vector insect and the uncontrolled replication in the host plant.</p><p>Our findings with regard to how the genome of a plant virus adapts to its vector insect and host plant share some commonalities with the adaptation of arboviruses to their vector insects and humans. Changes in viral RNAs have been thoroughly investigated in mosquito‐borne human pathogens, such as dengue virus and Zika virus, during their alternation between mosquitoes and humans (Liu <italic>et al</italic>., <xref rid="nph15246-bib-0023" ref-type="ref">2013</xref>; Villordo & Gamarnik, <xref rid="nph15246-bib-0036" ref-type="ref">2013</xref>; de Borba <italic>et al</italic>., <xref rid="nph15246-bib-0003" ref-type="ref">2015</xref>; Sessions <italic>et al</italic>., <xref rid="nph15246-bib-0028" ref-type="ref">2015</xref>; <xref rid="nph15246-bib-0038" ref-type="ref">Wang <italic>et al</italic>., 2016b</xref>). The compositions of viral populations in mosquito and mammalian cells are quite different, and the enrichment and function of specific variants are host‐specific. For example, more variants in the 3′‐untranslated region of dengue virus that contains point mutations or deletions have been detected in mosquito cells than in mammalian cells. The mutations in the 3′‐untranslated region are beneficial for viral replication in mosquito cells, whereas they are detrimental in mammalian cells (Villordo <italic>et al</italic>., <xref rid="nph15246-bib-0035" ref-type="ref">2015</xref>). Some specific mutations in the 3′‐untranslated region of dengue virus produce different species of subgenomic flavivirus RNAs that play key roles in immune responses in vertebrate and invertebrate cells after viral infection (Filomatori <italic>et al</italic>., <xref rid="nph15246-bib-0009" ref-type="ref">2017</xref>).</p><p>Taken together, our present work reveals the 3′‐terminal sequences in the genome of a persistent‐propagative plant virus that have been overlooked for a long time, as well as the genomic variations in the virus populations in the rotation between vector insects and host plants. These variations appear to be present in many multiple‐segment RNA plant viruses. Further investigations are needed to understand whether the 3′‐terminal extensions account for different replication strategies of the virus when facing different immune pressures in the vector insect and host plant.</p></sec><sec id="nph15246-sec-0022"><title>Author contributions</title><p>W.Z. performed the experiments. Z.X. performed the genomic analysis. X.Z and M.Y. analysed the data. F.C., R.L. and L.K. designed the experiments. W.Z., Z.X., F.C., R.L. and L.K. wrote the manuscript. W.Z. and Z.X. contributed equally to this work.</p></sec><sec sec-type="supplementary-material"><title>Supporting information</title><supplementary-material content-type="local-data"><p>Please note: Wiley Blackwell are not responsible for the content or functionality of any Supporting Information supplied by the authors. Any queries (other than missing material) should be directed to the <italic>New Phytologist</italic> Central Office.</p></supplementary-material><supplementary-material content-type="local-data" id="nph15246-sup-0001"><caption><p>
<bold>Fig. S1</bold> The 3′‐terminal sequences of <italic>Rice stripe virus</italic> (RSV) RNA1 to RNA4 verified using touchdown RT‐PCR and Sanger sequencing.</p><p>
<bold>Fig. S2</bold> The 5′‐terminal sequences of <italic>Rice stripe virus</italic> (RSV) RNA1 to RNA4 verified using 5′‐rapid amplification of cDNA ends experiments and Sanger sequencing.</p><p>
<bold>Fig. S3</bold> Phylogenetic analysis of the <italic>Rice stripe virus</italic> (RSV) isolates based on the <italic>CP</italic> gene.</p><p>
<bold>Fig. S4</bold> Comparison of the 3′‐terminal 300 nucleotides of RNA segments 4–8 of <italic>Southern rice black‐streaked dwarf virus</italic> (SRBSDV) between the published reference genome and our <italic>de novo</italic> assembled genome.</p><p>
<bold>Fig. S5</bold> The trends in the changes of the relative ratios of RNA1 (a) and RNA2 (b) to the extended 3′‐terminal sequences in wheat (<italic>Triticum aestivum</italic> jingdong 22) and tobacco (<italic>Nicotiana benthamiana</italic>).</p><p>
<bold>Table S1</bold> Primers used in this study</p><p>
<bold>Table S2</bold> Summary statistics of the RNA sequencing data from the <italic>Rice stripe virus</italic> (RSV)‐infected small brown planthoppers (<italic>Laodelphax striatellus</italic>) and rice (<italic>Oryza sativa</italic> Huangjinqing)</p><p>
<bold>Table S3</bold> Coverages and depths of the newly assembled genome by <italic>Rice stripe virus</italic> (RSV) reads from different samples</p></caption><media xlink:href="NPH-219-1085-s001.pdf"><caption><p>Click here for additional data file.</p></caption></media></supplementary-material></sec></body><back><ack id="nph15246-sec-0021"><title>Acknowledgements</title><p>This work was supported by the Major State Basic Research Development Program of China (973 Program; no. 2014CB13840402), the Strategic Priority Research Program of the Chinese Academy of Sciences (no. XDB11040200) to F.C., the One Hundred Talent Program from the Chinese Academy of Sciences and the grant of State Key Laboratory of Integrated Management of Pest Insects and Rodents (no. ChineseIPM1801) to R.L. The funders had no role in the study design, data collection and analysis, decision to publish or preparation of the manuscript.</p></ack><ref-list content-type="cited-references" id="nph15246-bibl-0001"><title>References</title><ref id="nph15246-bib-0001"><mixed-citation publication-type="journal" id="nph15246-cit-0001">
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<rs type="person" ref="#kuzmany-karl" role="sender:gelehrter">Karl Kuzmány</rs>
an <rs type="person" ref="#thun-hohenstein-leo" role="recipient">Leo
Thun</rs>
<lb/>
<rs type="place" subtype="place" ref="#place_95b8315bd8f5c49ffd94d827cc5ece93">Wien</rs>, <date when="1860-07-08">8.
Juli 1860</date>
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Thun</repository>
<idno>A3 XXI D595</idno>
</msIdentifier>
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<p>Der evangelische Theologe Karl Kuzmány informiert Leo Thun, dass er die
Wahl zum Preßburger Superintendenten annehmen wird, sofern einige
Bedingungen erfüllt werden. Zunächst fordert er, dass an den
Bestimmungen des Patents vom 1. September weitgehend festgehalten werde
und dass jene Einrichtungen und Gremien, die seither entgegen den
Vorgaben dieses Patents von einigen Gegnern des Patents eingesetzt
wurden, wieder aufgelöst werden. Außerdem erörtert er seine
Gehaltsvorstellungen. Schließlich stellt er den Antrag, ihn aus seinem
jetzigen Amt eines Universitätsprofessors zu entlassen.</p>
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<date when="1860-07-08">8.
Juli 1860</date>
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<rs type="person" ref="#thun-hohenstein-leo">Leo Thun</rs>
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<index>
<term>Kultus</term>
<term>Protestanten</term>
<term>Personalfragen</term>
<term>Universität Wien</term>
</index>
<p>Euere Excellenz!</p>
<p>Um Euere Excellenz über meine Absichten hinsichtlich meiner geschehenen Wahl zum
Superintendenten der <rs type="place" subtype="place" ref="#place_494eccfffbfff4c93f6e601ab346a3cf">Pressburger</rs>
Superintendenz in den gegebenen Verhältnissen und Zeitumständen auf keine Weise
in irgend einer Unsicherheit zu lassen, finde ich es für nothwendig, mich
hierüber ohne weitere Motivirung des Einzelnen kurz auszusprechen.<lb/>Ich nehme
die Wahl <hi rend="ul">definitiv</hi> an, wenn es <rs type="person" ref="#franz-joseph">Seine Majestät</rs> geradezu befiehlt; oder aber unter folgenden
Bedingungen, wenn <rs type="person" ref="#franz-joseph">Seine Majestät</rs> die
Wahl einfach nur genehmigt:<lb/>1. Wenn <rs type="person" ref="#franz-joseph">Seine
Majestät</rs> über die seit dem 15. Mai gegen allerhöchst Seinen
deutlich ausgesprochenen Befehl vorgefallenen Beirrungen der <rs type="place" subtype="place" ref="#place_494eccfffbfff4c93f6e601ab346a3cf">Pressburger</rs> Superintendenz allerhöchst Seinen
Unwillen öffentlich kund gibt und demgemäß<lb/>2. die in dem Sprengel der
<rs type="place" subtype="place" ref="#place_494eccfffbfff4c93f6e601ab346a3cf">Pressburger</rs> Superintendenz seit dem
15. Mai zur Desorganisirung der coordinirt gewesenen Gemeinden und Seniorate
geschehenen Umtriebe für illegal und strafbar, die durch sie eingesetzten
kirchlichen Behörden und die erfolgten Desorganisationen der Gemeinden und
Seniorate, endlich eben so alle von der, legaler Weise ausgestellten Stimmgabe
zur Wahl der kirchlichen Vorsteher geschehenen Resultate für null und nichtig
erklärt; darum<lb/>3. den weiteren Fortbestand aller usurpatorischer Weise
aufgeworfener kirchlichen Behörden und bestellten kirchlichen Beamten
strengstens verbietet; die im revolutionären Trotz verharrenden aber, nach
geschehener Einklage von Seite der legalen kirchlichen Behörden einer
gesetzlichen Verfolgung zuweist, insbesondere:<lb/>a. den durch den <rs type="place" subtype="place" ref="#place_494eccfffbfff4c93f6e601ab346a3cf">Pressburger</rs> Pfarrer <rs type="person" ref="#stromszky-samuel">Sztromsky</rs> [Stromszky] auf den 12. Juli
einberufenen Convent der gewesenen A.C. Donau-Superintendenz verbietet und
nöthigenfalls selbst durch Gewalt verhindert;<lb/>b. das in
<rs type="place" subtype="place" ref="#place_fc3a4fb327706ca2220500871d60b94b">Pest</rs> unter dem Namen eines Centralcomités
usurpatorischer Weise aufgestellte kirchlich-revolutionäre Institut einfach und
geradezu aufhebt;<lb/>c. gegen den etwa nicht gehorchenden Pfarrer <rs type="person" ref="#stromszky-samuel">Sztromsky</rs> und die eben so etwa nicht
gehorchen wollenden Mitglieder des Centralcomités mit gesetzmäßiger Verfolgung
einschreiten läßt; endlich<lb/>d. den nach <rs type="place" subtype="place" ref="#place_fc3a4fb327706ca2220500871d60b94b">Pest</rs> auf den
17. Juli zusammenberufenen Convent der gewesenen Montan-Superintendenz dahin
bedeutet, daß dessen Beschlüsse nur dann für giltig erachtet werden würden, wenn
der Convent nicht unter dem Rechtstitel der gewesenen Montan-Superintendenz,
sondern unter dem durch das Patent vom 1. Sept. vorigen Jahres bezeichneten der
<rs type="place" subtype="place" ref="#place_fc3a4fb327706ca2220500871d60b94b">Pester</rs> Superintendenz fungirt und in
seinen Beschlüssen die durch das Patent vom 1. Sept. vorigen Jahres begränzte
Superintendenz nicht beirrt. Sollte jedoch der <rs type="place" subtype="place" ref="#place_fc3a4fb327706ca2220500871d60b94b">Pester</rs> erwähnte Convent dies nicht beachten, so würden nach dem
Befehle <rs type="person" ref="#franz-joseph">Seiner Majestät</rs> alle seine
Beschlüsse für null und nichtig erklärt; gegen diejenigen aber, welche sie
dennoch ins Leben zu rufen wagen, sollen die Strafgesetze in aller ihrer Schärfe
in Anwendung kommen.<lb/>Ich nehme die Wahl <hi rend="ul">provisorisch</hi> an,
wenn die hohe Regierung zwar auf das unter 1., 2. und 3. Gesagte gnädigst
eingehet und dasselbe noch vor meinem Amtsantritte öffentlich kundgibt;
dasjenige aber, was ich oben unter a., b., c. und d. gesagt, nicht in der Lage
sein sollte mit ihrer Gewalt zu gewährleisten, sondern nur die Beschlüsse des
<rs type="place" subtype="place" ref="#place_494eccfffbfff4c93f6e601ab346a3cf">Pressburger</rs> am 12. Juli abzuhaltenden
Conventes und die des am 17. letzten Monats zu Pest abzuhaltenden, in so weit
diese Schlußfassungen den Bestand der <rs type="place" subtype="place" ref="#place_494eccfffbfff4c93f6e601ab346a3cf">Pressburger</rs> Superintendenz beirren sollten zum Voraus und noch
vor meinem Amtsantritt für null und nichtig öffentlich erklärt.<lb/>Was meine
persönliche Subsistenz anbelangt, so wage ich gehorsamst folgende Bitten zu
stellen:<lb/>1. Es geruhe das <rs type="org" ref="#org_0005">hohe k.k.
Cultusministerium</rs> mir für die Dauer meiner Führung des
Superintendentialamtes die in der Wiener Zeitung vom 1. März für dieses Amt
stipulirt angegebenen 4.000 fl ÖW zu systemisiren;<lb/>2. Falls meine Stellung –
ob nach definitiver oder provisorischer Übernahme des Amtes – irgendwie
unhaltbar würde oder falls ich, ob durch Krankheit, Unglück oder Alter zur Führung
des Amtes untauglich, werden und aus diesen Ursachen selbstbewogen resigniren
möchte, daß mir eine Pension von 2.000 fl ÖW, im Falle meines Todes eine Pension
für meine Gattin von 600 fl ÖW und sollte auch diese mit Tode abgehen, mein
jüngstes Kind aber noch minderjährig zurückbleiben, für die Zeit dessen
Minderjährigkeit demselben eine Pension von 300 fl ÖW gewährleistet würde. Ich
mache hier zwischen der definitiven und provisorischen Übernahme des Amtes
deshalb keinen Unterschied, weil mein Zurücktreten in mein jetziges Amt auch
einer erlittenen Unhaltbarkeit in der Stellung eines Superintendenten unmöglich
von irgend einem Nutzen für die Facultät würde, vielmehr dieselbe noch um den
Rest aller Popularität bringen müßte, ohne welche dieselbe sich doch nicht
einer Frequenz erfreuen kann.<lb/>3. Daß ich noch vor meinem neuen Amtsantritte
meines jetzigen Amtes entlassen und in einer besonderen Zuschrift über die
Genehmigung der letzten zwei Puncte verständigt werde. Endlich bitte ich noch,
daß mir bis zu der Zeit einer definitiven Regelung der Superintendenz
hinsichtlich ihrer Cassa (Übernahme der Cassa der bestandenen
Donau-Superintendenz und Verabfinden hinsichtlich der Cassa mit der <rs type="place" subtype="place" ref="#place_fc3a4fb327706ca2220500871d60b94b">Pester</rs> Superintendenz) zur Aushaltung eines Secretärs
jährlich 800 fl ÖW in monatlichen Raten zahlbar angewiesen werden.<lb/>Mich der
oft erfahrenen Gnade Euerer Excellenz bestens empfehlend verharre mit
unwandelbarer Hochachtung</p>
<p>Euerer Excellenz</p>
<p>unterthänigster Diener<lb/>Karl Kuzmány<lb/>k.k. Professor</p>
<p>Wien, den 8. Juli 1860</p>
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<p>ab 1829 Lehrer am evang. Gymnasium in Kežmarok, 1830–1832 Pfarrer in Zvolen, 1832–1849 Pfarrer in Banská Bystrica, 1849–1863 Prof. für Praktische Theologie und Kirchenrecht an der evang.-theol. Lehranstalt in Wien, ab 1860 Superintendent in Preßburg</p>
<p>http://d-nb.info/gnd/121675211</p>
<p>k_A</p>
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<p>1848 Gubernialpräsident von Böhmen, 1849–1860 Minister für Kultus und Unterricht, ab 1861 Mitglied des Herrenhauses, Herausgeber der Zeitung "Das Vaterland"</p>
<p>http://d-nb.info/gnd/118757393</p>
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<p>http://d-nb.info/gnd/118535013</p>
<p>k_A</p>
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<placeName type="alt">Haupt- und Residenzstadt</placeName>
<placeName type="alt">Haupt- und Residenzstadt Oesterreichs</placeName>
<placeName type="alt">österreichischen Hauptstadt</placeName>
<placeName type="alt">Hauptstadt Oesterreichs</placeName>
<placeName type="alt">Haupt- und die Residenzstadt</placeName>
<placeName type="alt">Haupt- und Residenzstadt der Monarchie</placeName>
<placeName type="alt">Kaiserstadt</placeName>
<placeName type="alt">kaiserlichen Residenz</placeName>
<placeName type="alt">kaiserlichen Residenz</placeName>
<placeName type="alt">o. O. [Wien]</placeName>
<placeName type="alt">Hauptstadt des Reiches</placeName>
<placeName type="alt">Wiens</placeName>
<placeName type="alt">[Wien]</placeName>
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<placeName type="alt">Preßburg</placeName>
<placeName type="alt">Presburg</placeName>
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<placeName type="alt">Pressburger</placeName>
<placeName type="alt">Pressburg</placeName>
<placeName type="alt">hiesigen</placeName>
<placeName type="alt">Preßburgs</placeName>
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<idno>http://sws.geonames.org/8986283/</idno>
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<placeName type="pref">Pest</placeName>
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<placeName type="alt">Pesther</placeName>
<placeName type="alt">Pester</placeName>
<placeName type="alt">Pest</placeName>
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~ MIT License
~
~ Copyright (c) 2018 Andavin
~
~ Permission is hereby granted, free of charge, to any person obtaining a copy
~ of this software and associated documentation files (the "Software"), to deal
~ in the Software without restriction, including without limitation the rights
~ to use, copy, modify, merge, publish, distribute, sublicense, and/or sell
~ copies of the Software, and to permit persons to whom the Software is
~ furnished to do so, subject to the following conditions:
~
~ The above copyright notice and this permission notice shall be included in all
~ copies or substantial portions of the Software.
~
~ THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
~ IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
~ FITNESS FOR A PARTICULAR PURPOSE AND NONINFINGEMENT. IN NO EVENT SHALL THE
~ AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
~ LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM,
~ OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE
~ SOFTWARE.
-->
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<PropertySetDef><IfcVersion version="2x3 TC1" schema="IfcControlExtension"/><Name>Pset_ValvePHistory</Name><Definition>Definition from IAI: Valve performance history common attributes of a typical 2 port pattern type valve.
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<author key="Mortier, Arnold (1843-1885)">Arnold Mortier</author>
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<p>Pas d’Utilisation Commerciale : dans l’intérêt de la communauté scientifique, toute utilisation commerciale est interdite.</p>
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<idno type="Gallica">http://gallica.bnf.fr/ark:/12148/bpt6k54062223</idno>
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<date when="1883">1883</date>
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<text>
<body>
<div>
<p><pb/></p>
<p>m</p>
<p>LES</p>
<p>SOIRÉES PARISIENNES</p>
<p>DE 1883</p>
<p>rit</p>
<p>2-£</p>
<p>&kmi</p>
<p><pb/></p>
<p>LIBRAIRIE E, DENTU, ÉDITEUR</p>
<p>DU MEME AUTEUR : LES SOIRÉES PARISIENNES DE 1874</p>
<p>Préface par Jacques Offesbach, i volume grand in-iS, 3 fr, jo</p>
<p>LES SOIRÉES PARISIENNES DE 1873</p>
<p>Préface par Théodore Barrière, i volume grand in-i8, 5 fr, 50</p>
<p>LES SOIRÉES PARISIENNES DE 1876</p>
<p>Préface par Alphonse DaCoet</p>
<p>Illustrations de Ed. Yox, Sarah-Bernhardt, Vibert, Rueé & Chaperon-,</p>
<p>Henri Mïiuiac, Grëvik, i volume grand iii-18, $ fr.</p>
<p>LES SOIRÉES PARISIENNES DE 1877</p>
<p>Préface par Edmond Gondinét, i volume grand i:w8, 3 fr. 50</p>
<p>LES SOIRÉES PARISIENNES DE 1878</p>
<p>Préface par Edouard Failleros, i volume grand in-i8, 5 fr. 50</p>
<p>LES SOIRÉES PARISIENNES DE 1879</p>
<p>Préface par Adolphe d'EssERY, 1 volume grand in-iS, 5 fr. 00</p>
<p>LES SOIRÉES PARISIENNES DE 1880</p>
<p>Préface par Emile Zola, i vo'ume grand in-iS, 3 fr. 50</p>
<p>LES SOIRÉES PARISIENNES DE 1881</p>
<p>Préface par Ludovic Haiévï, 1 volume grand jn-18, 3 fr. 50</p>
<p>LES SOIRÉES PARISIENNES DE 1882</p>
<p>Préface par Henri Becclve, i volume grand in-iS, 3 fr. 50</p>
<p>LE MONSTRE</p>
<p>Roman, un volume grand in-i8, 3 fr. Taris, Imprimerie ToLMiR et C'«i
-Succursale & Poitiers</p>
<p><pb/>
------------------------------------------------------------------------
------------------------------------------------------------------------</p>
<p>PRÉFACE</p>
<p>Mon cher Mortier,</p>
<p>Parmi les tendances qui caractérisent le mouvement intellectuel de notre
époque en matière d'art, j'en remarque deux surtout qui méritent, ce me
semble, une attention particulière et qu'il n'est pas inutile de
signaler, vu l'influence dangereuse qu'elles peuvent exercer sur la vie
et sur les oeuvres des artistes. Je</p>
<p><pb/></p>
<p>vi i')ii:r.\r.i:</p>
<p>veux parler de la recherche de Veffet et de Vesprit de système.</p>
<p>Si ces deux formules cachent un sens, je confesse, en toute simplicité,
que ce sens m'échappe absolument. Si, au contraire, loin d'être
l'expression d'une vérité, elles sont, comme je le crois, l'expression
d'une erreur, il est utile de les démasquer et de montrer les dangers et
les mécomptes auxquels on s'expose, soit comme auteur, soit comme
critique, en les tenant pour vraies.</p>
<p>Que peut-on bien vouloir dire par la recherche de l'effet? car je
suppose que, par le mot effet, on désigne quelque chose de distinct, de
précis, de déterminé que l'on a en vue.</p>
<p><pb/></p>
<p>l'KEFACi; VI!</p>
<p>La préoccupation de l'effet n'est pas autre chose* qu'un manque de foi
dans la vérité, une poltronnerie de l'incrédulité.</p>
<p>Quand vous verrez un artiste inquiet de l'effet que fera son oeuvre,
tenez pour certain que ce qu'il aime ce n'est point son art, mais sa
personne : c'est un glorieux.</p>
<p>Ah ! la vérité ne nous suffit pas ; il nous faut le Ptraître, qui est
souvent le charlatanisme et le mensonge; il nous faut un pompon, un
casque /... Que sais-je enfin ? Tout ce dont on peut se faire une idole,
faute de Dieu.</p>
<p>On dira que je répète constamment la même chose, que je suis un vieux
rabâcheur; cela m'est parfaitement égal; je répondrai, avec Molière : «
Je dis tou« jou la même chose, parce que c'est toujou la « même chose,
et si ce n'était pas toujou la même « chose, je ne dirais pas toujou la
même chose. »</p>
<p><pb/></p>
<p>VIII l'KKKACi;</p>
<p><pb/></p>
<p>l'UKFACK</p>
<p>ridicule de grenouille voulant « égaler le boeuf en grosseur. »</p>
<p>Ce que l'on redoute dans les jugements de la critique, c'est bien moins
leur valeur réelle que le nombre d'exemplaires qui en sera tiré, et
grâce auquel ces jugements vont devenir des oracles pour un nombre égal
de badauds. Ce que la critique représente surtout, c'est une fabrique
d'opinion & l'usage des gens incapables de s'en former une par
eux-mêmes, en art comme en politique.</p>
<p>L'artiste ne doit être occupé que de deux choses que ht critique ne
saurait ni lui donner s'il ne les pôsa.</p>
<p>pôsa.</p>
<p><pb/></p>
<p>l'Kl-: FACE</p>
<p>sède pas, ni lui enlever s'il les possède, et sur lesquelles ont
toujours reposé et reposeront toujours les oeuvres maîtresses en fait
d'art : i° obéir fidèlement aux dictées de la sensibilité ; 2°
acquérir,par une étude assidue et patiente,unsavoir technique.Le
sentiment, domaine intime des impressions personnelles et siège de
l'individualité; le savoir technique, possession du langage spécial à
l'aide duquel nous exprimons les impressions ressenties. Le sentiment,
droit personnel; la science technique, devoir commun. La est contenue
toute la loi ; hors de là, il n'y a rien, rien, rien, etla mode et la
critique n'y changeront quoi que ce soit.</p>
<p><pb/></p>
<p>J'UKFACi: XI</p>
<p>Voyons donc un peu cela.</p>
<p><pb/></p>
<p>imu;faci:</p>
<p>Mais hélas! il n'en est point ainsi. Je vois se produire, de nos jours,
une législation nouvelle en matière d'art, législation selon laquelle la
vérité daterait d'aujourd'hui. Qu'on ne vienne plus parler des
chefsd'oeuvre d'hier, cela ne compte plus; nous avons changé tout cela,
et « nous faisons maintenant la médecine d'une méthode toute nouvelle ».
Il n'est plus permis d'être ému spontanément, simplement, naturellement;
il faut être ému systématiquement; on ne doit plus rire ni pleurer sans
l'agrément du système; il iaut vivre, souffrir et mourir, selon les
règles du système, tout comme les malades des médecins de Molière.</p>
<p>Lorsque, par exemple, j'entends, au premier acte de « Don Juan », ce
tout petit bout de trio qui commence au moment où Don Juan vient de
blesser le commandeur et qui se termine par la mort de celui-ci, ce
morceau qui, pourtant, ne compte pas plus de dix-</p>
<p><pb/></p>
<p>l'KKIWOK</p>
<p><pb/></p>
<p>pkkiaci:</p>
<p>Lamennais, Guizot, George Sand, Mérimée, Renan, n'ont rien trouvé à
changer.</p>
<p><pb/></p>
<p>l'UKIACi: XV</p>
<p>Je ne suis, et je crois fermement qu'on ne doit être, en art, non plus
qu'en quoi que ce soit, d'aucun parti, un parti étant mit partie de
vérité et non la vérité complète. Que l'émotion me vienne de Mozart ou
de Rossini, de Meyerbeer ou de Mendelssohn, de Verdi ou de Wagner, je
l'accepte sans la chicaner, tout en conservant ma légitime prédilection
pour</p>
<p><pb/></p>
<p>phkiaci:</p>
<p>ceux de ces maîtres dont le sentiment et la forme répondent davantage
aux besoins de mon coeur et de mon esprit, ce qui est purement aflaire
de sympathie personnelle et ne préjudicie en aucune sorte la question de
valeur réelle chez les autres.</p>
<p>Mais il y a, aujourd'hui, un parti qui se donne la mission de
réglementer l'art et de diriger l'opinion dans un sens exclusif. C'est
contre cette tendance que je m'élève. L'esprit de parti, c'est l'esprit
de partialité, que cette partialité soit, ou non, volontaire et
consciente. Or, la partialité met toujours une idole a la place d'un
Dieu; c'est pourquoi, finalement, un jour vient où, des idoles et de
leurs temples> il ne reste pas pierre sur pierre, et où, sur leurs
décombres, résonnent les cantiques inspirés de quelque nouveau David,
vainqueur éternel des éternels Philistins.</p>
<p>Adolphe Adam me racontait, un jour, qu'ayant porté a Boïeldieu, son
maître, une partition bourrée de toutes les herbes de la Saint-Jean,
Boïeldieu lui dit : « Qu'est-ce que tu m'apportes la ?... remporte» moi
bien vite tout ce fatras, et reviens me voir » quand tu auras a me
montrer une idée en clef de » sol sur une basse en clef de fa. »</p>
<p>L'art compte aujourd'hui trop de soleils pour qu'on nous ramène aux
nébuleuses; elles tiennent plus dîî plage que les soleils, mais elles
donnent tndins de lumière.</p>
<p>Cn. GOUNOD.</p>
<p><pb/></p>
<p>LES</p>
<p>\ SOIRÉES PARISIENNES</p>
<p>DE 1883</p>
<p>JANVIER</p>
<p>ISAUOURATlOy M L'EDHX-THÊATRE</p>
<p>7 Janvier.</p>
<p>1</p>
<p><pb/></p>
<p>lus sojui;i;s J'akisien-nks</p>
<p>succès de la salle a été énorme ce soir, et celui du spectacle plus
grand encore -si c'est possible.</p>
<p>J'arrive tout de suite au spectacle.</p>
<p>11 s'agît du ballet d'action italien : Excclsior !</p>
<p>C'est que les deux genres ne se ressemblent aucunement.</p>
<p><pb/></p>
<p>JANVIER</p>
<p>danse, mais comme manoeuvres, comme mouvements d'ensemble, comme sûreté
d'exécution. Le jour où les danseuses de Mérante, seraient disciplinées
comme celles de Manzotti, on verrait des merveilles. Mais ce jour-là
arrivera-t-il jamais?</p>
<p>Il faut reconnaître d'ailleurs que l'homme qui a inventé, dessiné, réglé
les groupes adorables, lés pas très nouveaux et très trouvés, les
mouvements kàlcidoscopiques que l'on a acclamés ce soir est, dans son
genre, un homme de génie.</p>
<p>Il se nomme Manzotti. C'est un homme détaille moyenne, avec des
moustaches presque rousses et des cheveux de la même couleur, âgé de
quarantecinq ans, très actif, très remuant, très énergique et cependant
très doux, adoré de son personnel qui lui obéit au moindre geste.</p>
<p>En Italie, il est fort populaire. On y dit volontiers : Verdi et
Manzotti. Et vraiment ce Manzotti est un artiste de premier ordre qui
mérite les applaudissements chaleureux et les rappels enthousiastes
qu'on lui a prodigués ce soir.</p>
<p><pb/></p>
<p>4 LES SOIREES PARISIENNES</p>
<p>Il m'est impossible de décrire, les unes après les autres, toutes les
merveilles entassées dans ce specr tacle qui dure une heure et demie.
Cela dépasse, non commedécors - ils sont jolis les décors de Robecchi,
mais nous en avons vu de.beaucoup plus beaux - mais comme mise en scène,
comme costumes, comme mouvements surtout, et comme inventions
ingénieuses, nos plus somptueuses féeries.</p>
<p><pb/></p>
<p>JANVIKU 5</p>
<p><pb/></p>
<p>lus soiuiïks pakisiknnks</p>
<p>signor Pantaleone; les trompettes à'Aïda résonnant magnifiquement :
c'est absolument merveilleux.</p>
<p><pb/></p>
<p>JANVIKK 7</p>
<p><pb/></p>
<p>I.KS SOIRKKS PAUISIKXXKS</p>
<p>porteurs d'énormes médaillons reproduisant les traits de M. de Lesseps.</p>
<p>A ce moment, un rideau de manoeuvre monte des dessous.</p>
<p>Il représente le médaillon de M. de Lesseps entouré de drapeaux français,</p>
<p>Les applaudissements sont si spontanés, si Unanimes, ils ont un
caractère si touchant, que M. de Lesseps est obligé de se lever dans sa
loge et de saluer le public.</p>
<p>Apres quoi l'on arrive au dernier ballabile, le ballet</p>
<p><pb/></p>
<p>JANVIER 9</p>
<p>11 me reste bien peu de place pour parler de la double troupe
chorégraphique de l'Eden. Sans compter les quadrilles et le corps de
ballet, elle se compose de trois premières danseuses, de deux mimes
femmes et de deux mimes hommes qui alterneront. La Cornalba, que nous
avons vue ce soir, est très forte : elle a de l'élévation, de la grâce;
ses pointes sont parfaites. On l'a beaucoup applaudie, surtout dans son
pas de deux qu'elle danse avec un brio inimaginable. Elle est élève de
la classe de Milan.</p>
<p><pb/></p>
<p>10 I.F.S SOIRF.F.S PARISIF.XXF.S</p>
<p>Comme mimes, nous avons vu ce soir la signora Operti, une très jolie
femme, d'une grande expression dramatique, et Ton verra demain la
Saracco, une personne également fort agréable, puis - du côté des hommes
- Montanara, auquel succédera demain il signor Rossi, un baryton doué
d'une voix agréable, qui s'est fait mime pour épouser la Cornalba : le
mime par amour !</p>
<p>Pendant l'cntr'acte, avant et après le spectacle, on a envahi les foyers
où les bars, tenus par des demoiselles en costumes espagnols, italiens,
hollandais, polonais, suisses, tyroliens, etc , avaient un aspect des
plus brillants et des plus gais.</p>
<p>J'ai reconnu, parmi les promeneurs et consommateurs :</p>
<p>Faure, D'Ennery, Sarcey, M. et Mme Judic, Halanzier, Carvalho,
Duquesnel, le général Fleury, Campbell Clarke , d'Osmond, Ohnet, docteur
Fauvel, Carraby, Bérardi, de Najac, Clemenceau, de Cassagnac, Calmann
Lévy, Ileugel, François Coppée, Massenet, Arban, Zulma Bouflar, Blanche
Pierson, Bianca, Fargueil, le prince Galitzin, Bischoffsheim, Alphonse
de Rothschild ,Monselet, de la Rounat, Détaille, Jacquet, Stevcns,
Forain, Clairin très complimenté pour ses magnifiques plafonds,
Logerotte, Salvayre, About, Robida, Vibert, Janvier de la Motte, de
Blowitz, Damala, Maurice Bernhardt, Meilhac, Halévy, de Camondo,
Lafontaine, Léonide Leblanc, Invernizzi, Gailhard, le comte de Béarn,
Sangalli, Rochefort, Ernest Blum, Saintin, Rochard, Mounet-Sully,
Morris, Lebey, Garnier, Audran, Sari, comte de Gouy d'Arsy, Briet,
Dclcroix, Larochelle, Debruyère, Gravière, le baron de Beyens, le duc de
Castries, toute l'ambassade d'Italie, le prince de Sagan, Laurent de</p>
<p><pb/></p>
<p>JANVIER I I</p>
<p>Rillé, Costé, Pagans, Dugué de la Fauconnerie, Narrey, Mathieu Meusnier,
Brébant, le baron et la baronne Legoux, Mgr Bauer, Alfred Naquet,
Hartmann, ? Marie Leroux, Vanghell, Delessart, Dehayes, Kolb, Lemercier,
etc., etc.</p>
<p>On n'entend partout que des éloges enthousiastes.</p>
<p>Et Jules Claretie résume, bien spirituellement, l'impression de la soirée.</p>
<p>- Moi, dit-il, cela m'effraie au point devuepatriotique : des gens qui
manoeuvrent avec une telle précision dans leurs ballets doivent avoir de
rudes soldats.</p>
<p>LES 600 FRAXCS DE M. D'ENNERY</p>
<p>9 janvier,</p>
<p>M. d'Ennery recevait de la Société des auteurs une pension de 6oo
francs. Le jour même où on lui apporta cette somme pour la première
fois,M. d'Ennery en détermina l'emploi une fois pour toutes, de la ma-</p>
<p><pb/></p>
<p>12 I.F.S SOIRKF.S PAKISIF.XNF.S</p>
<p>nicre suivante. Nous transcrivons ici uno note écrite de sa main.</p>
<p>Noie pour régler les dépenses de ma maison :</p>
<p>Pour l'oeuvre des directeurs nécessiteux. Fr. 6 75 Mon concours aux
frais de mise en scène. . 183 30</p>
<p>Bouquets aux dames artistes, les soirs A l'entreprise Talandier, pour la
subvention</p>
<p>(Victor Hugo. LesMisérables,. ch. u.)</p>
<p><pb/></p>
<p>JANVIER 13</p>
<p>LA FÊTE DE MOLlÈMi</p>
<p>ij janvier.</p>
<p>Jamais l'anniversaire de l'auteur du Misanthrope n'aura été célébré avec
autant d'ensemble que ce soir.</p>
<p>Il a dû reste été récompensé de cette attention par un grand succès, qui
permet d'espérer une reprisé très fructueuse.</p>
<p><pb/></p>
<p>14 les som»-:r.s parisiennes</p>
<p>parmi lesquels une magnifique couronne ducale, et un saphir de grosseur
invraisemblable.</p>
<p>Un jour, le directeur de la Gaîté s'était dit tout haut en présence de
son fidèle Debruyère :</p>
<p>- Nous avons relevé la Gaîté; nous avons joué les oeuvres de Victor
Hugo, repris le Courrier Je Lyon, la Tour de Nesle, Monte Cristo et la
Belle Gabrielle, c'est très bien... Mais il faut pousser plus loin
l'initiative et la hardiesse. Si nous faisions quelque chose pour Molière ?</p>
<p>- J'y pensais, déclara Debruyère, ce serait peutêtre le moyen d'avoir
une pièce de lui.</p>
<p>Et les deux associés décidèrent qu'une cérémonie en l'honneur de Molière
aurait lieu sur la scène de leur Gaîté, le 15 janvier 1883,
concurremment avec les petites fêtes similaires des deux théâtres français.</p>
<p>On tomba d'accord pour reconnaître que le mieux serait de couronner le
buste du bienheureux Poquelin sur la scène^ pendant la représentation.</p>
<p>Le tableau de l'entrée du bon roi Henri IV dans sa bonne ville de Paris
était tout indique.</p>
<p><pb/></p>
<p>JANVIER 15</p>
<p>L'effet était assuré d'avance.</p>
<p>Quoi de plus touchant, en effet, que l'arrivée du héros béarnais faisant
cabrer son cheval devant le buste du poète, et adressant lui-même, à
cette terre cuite, quelques vers bien sentis?</p>
<p>Tous deux y apportèrent cependant, par considération pour l'auteur, une
certaine discrétion relative et évitèrent, dans ce travail difficile,
les transformations par trop radicales.</p>
<p><pb/></p>
<p>l6 LES SOIRÉES PARISIENNES</p>
<p>Dans ces conditions, toutes les objections étaient prévues et
l'anniversaire de Molière pouvait être célébré sans inconvénients dans
la pièce dé M. Auguste Maquct.</p>
<p>Les mesures semblaient bien prises.</p>
<p>Comment expliquer alors que la cérémonie publique ait été remplacée par
une toute petite solennité en famille, au foyer des artistes de la Gaîté ></p>
<p>REPRISE DE GIRALDA</p>
<p>21 janvier.</p>
<p>Les oeuvres consacrées par la vogue sont presque autant que celles qu'il
s'agit de lancer, l'objet de sa sollicitude, et nous avons entendu ce
soir la Giralda d'Adolphe Adam, chantée, non par des doublures, comme
cela arrivait jadis trop souvent pour les opéras-comiques du répertoire,
mais par des artistes très appréciés du public.</p>
<p><pb/></p>
<p>J.WVIKK 17</p>
<p>Avouez qu'il eût été dur pour lui de voir reprendre par un autre le rôle
qui décida de sa fortune commï chanteur.</p>
<p>Tel n'a pas été le sort de l'ancien camarade de Grivot, le Don Japhet du
square des Arts-et-Métiers.</p>
<p>Pauvre Christian !</p>
<p>Je le vois encore, abordant, timide et distingué, cette carrière lyrique
qui devait se refermer trop tôt pour lui. Il était grave, sérieux,
guindé, solennel dans son accoutrement de grand d'Espagne et songeait à
l'engagement qu'allait certainement lui offrir un directeur subventionné.</p>
<p>Souvenir de la création.</p>
<p>Sait-on que le rôle de Manoël fut chanté, en 1850, par le ténor Audran,
père du jeune compositeur de la Mascotte ? . .</p>
<p><pb/></p>
<p>|8 l.KS S01UKKS PARISIKNNKS</p>
<p>Cette particularité rétrospective, qui n'avait aucune importance, lors
des représentations de la Gaîté redonnait, ce soir, dans les propos du
foyer, un regain de notoriété au grand-père de Gillette de Narbonne.</p>
<p>Giralda a été remontée spécialement en l'honneur de Mlle Merguillicr, la
plus récente étoile de la maison.</p>
<p>Ce père et cette mère modèles sont, pour la jeune triomphatrice, de
véritables gardes du corps. _</p>
<p>L'expression est d'autant plus exacte que tous deux sont anciens
militaires. 11 était flûtiste; elle était cantinière au même régiment.</p>
<p><pb/></p>
<p>JANVIKK 10</p>
<p>MAifZELLh: NITOUCUE</p>
<p>26 janvier.</p>
<p>A un certain moment de chaque hiver, tout Parisien, habitué des grandes
premières, cesse d'accepter une seule invitation. ^Lorsqu'il s'agit
d'une de ces obligations mondaines auxquelles on ne peut se soustraire,
il ne s'engage qu'avec réserve:</p>
<p>- Oui, si ce n'est pas la pièce de Judic.</p>
<p>Et naturellement, comme toujours, on arrive au théâtre en se demandant:</p>
<p>Quelle surprise nous ménage-t-elle ?</p>
<p>Et, non moins naturellement, on s'est redemandé ce soir encore, après
avoir vu successivement Nitouche en petite pensionnaire de couvent, en
étoile d'opérette et en volontaire d'un an dans la grosse cavalerie:</p>
<p>- Que lui trouvera-t-on pour la prochaine fois? Ce qui me laisse sans
inquiétude pour l'avenir,</p>
<p>étant donné le bonheur avec lequel les auteurs des 'Variétés-ont
toujours su résoudre ce'problème annuel.</p>
<p>Pour arriver àNitouche comme pour arrivera Lili,</p>
<p><pb/></p>
<p>20 LKS SOIKRKS PARISIENNES</p>
<p>Et pourquoi pas... un jour ou l'autre ></p>
<p>M. Dupuis n'est pas de Mam'zelle Nitouche.</p>
<p>Cette raison est bien simple.</p>
<p>M. Dûpuis a refusé de jouer le rôle important que les auteurs avaient
écrit spécialement pour lui avec une sollicitude digne d'un meilleur
accueil.</p>
<p>Rien ne fut ménagé pour vaincre cette résistance.</p>
<p><pb/></p>
<p>JANVIEU 2 1</p>
<p>Toutes les démarches possibles furent faites auprès du partenaire
habituel de Mme Judic.</p>
<p>Efforts inutiles ! Cette séduction même échoua comme le reste devant le
parti-pris, et bien, pris, du pensionnaire de M. Bertrand.</p>
<p>En revanche, M. Baron, qui a recueilli ce rôle après certains
remaniements nécessaires, en a.été enchanté dès le premier jour, ce qui
prouve que ce'qui ne fait pas la joie des uns peut faire parfois le
bonheur des autres.</p>
<p>Ce rôle, qui a fait tant d'histoires, possède aussi la sienne.</p>
<p>Outre les deux chevaux que montent au troisième acte, Judic et Baron,
déguisés en réservistes du 27e dragons, le machiniste Ruben a dû trouver
le moyen</p>
<p><pb/></p>
<p>j.i:s sou<i-:r:s jwkisikxxks</p>
<p>Car la diva en pince.</p>
<p>Et très bien, ma foi !</p>
<p>Mais aussi quel zèle pendant ces études !</p>
<p>La difficulté était de trouver, dans ce théâtre dont tous les coins sont
remplis de portants et d'accessoires, urte place assez grande pour la
harpe, la chaise, l'élève et le professeur.</p>
<p>Un jour, il fallut se réfugier, pour cet exercice, jusque dans la loge
du concierge - qui demanda la permission d'inviter des amis pour les
jours suivants.</p>
<p>L'entrée de Judic dans Nitouche est des plus originales.</p>
<p>Dans la nouvelle pièce des Variétés, Judic entre, au</p>
<p><pb/></p>
<p>JA.WIKU _»}</p>
<p>Premier acte : Robe de pensionnaire au couvent; cachemire mauve sans
aucun relevé, avec pèlerine et revers cachemire bleu ciel. Chapeau et
talma de pensionnaire.</p>
<p>2e acte. - Costume Louis XVI. Jupon de satin rose parsemé de pâquerettes
et coquelicots brodés. Corsage velours rouge avec relevé de satin rose,
style Louis XVI.</p>
<p>Troisième acte. -?? Robe de piqué bleu avec broderie anglaise noire et
cravate de foulard ciel. Grande casaque de drap bleu forme blouse très
ajustée. Pamèla d'Italie avec bouquets de marguerites.</p>
<p>Quatrième acte. - Robe de jeune fille de mousr seline brodée avec noeuds
ruban rose.</p>
<p>Aucun artiste n'aurait joué ces rôles muets avec autant de conviction.
Par exemple, Mme Lenoble, l'habilleuse de Judic, une petite vieille à
l'éternel bonnet</p>
<p><pb/></p>
<p>l.KS SOlHKliS l'AKISUîNNKS</p>
<p>C'est la première fois qu'il lui arrive de. paraître en public, et ce
sera une date dans sa longue carrière théâtrale.</p>
<p>Léonce, seul en scène au lever du rideau, complète ce tableau militaire
par son aspect de vieille baderne.</p>
<p>On n'est pas plus culotte de basane que ce brigadier, renfrogné* ivrogne
et chevronné.</p>
<p>11 faut le voir rudoyer ses « vingt-huit jours. »</p>
<p>Au fond, le spirituel artiste est navré de représenter un personnage
auquel l'habitude du commandement a donné un langage bref et presque
télégraphique.</p>
<p>C'est dur pour lui,quiaa plutôt coutume d'allonger ses rôles.</p>
<p>A l'acte du théâtre, M. Coopcr, le beau lieutenant élégant cl mondain du
z-(° dragons, s'écrie en revenant de la salle:</p>
<p>- Impossible de trouver une place.</p>
<p><pb/></p>
<p>JANVIER 25</p>
<p>- Et la loge du directeur? lui demande un autre officier.</p>
<p>- Elle est pleine : il y a mis ses créanciers.</p>
<p>Le mot est drôle, mais franchement il a pu résonner cruellement aux
oreilles de plus d'un confrère de M.Bertrand.</p>
<p>Tous n'ont pas, comme lui, la bonne fortune de trouver Mam'zelle
Nitouche après tant d'autres succès si fructueux.</p>
<p>LES SOIRÉES EN PARTIE DOUBLE</p>
<p>27, Janvier.</p>
<p>AVANT-PROPOS</p>
<p>Une fois de plus la presse théâtrale se trouve, sans compter les
reprises, en présence de deux premières simultanées :</p>
<p>Aux Nouveautés, c'est le Droit d'aînesse, la seconde création de Mlle
Marguerite Ugalde, la radieuse et mignonne étoile qui porte avec une si
gracieuse crânerie l'un des noms les plus glorieux de l'art lyrique.</p>
<p>2</p>
<p><pb/></p>
<p>20 Li;S SOIIOEKS IWUlSlliXXKS</p>
<p>d'éviter le retour de semblables conflits et de trancher les questions
de priorité par une décision sans appel. Ceci dit, commençons cette
agréable soirée par</p>
<p>LÀ GLU</p>
<p>En arrivant sous le péristyle de l'Ambigu, on s'aperçoit qu'il y a dans
l'air un souffle de bataille.</p>
<p>Les amis compromettants du très sympathique auteur sont rangés (fixe
alignement !) en avant du contrôle. Pâles, résolus, la barbe et les
cheveux généralement bouclés, ils regardent les critiques d'un air
furibond.</p>
<p>On s'étonne que l'un d'eux n'ait pas arboré le fameux gilet rouge de feu
Théophile Gautier.</p>
<p>- Ça sent la poudre ici! s'écrie pompeusement le plus farouche de tous.</p>
<p>La plus grande partie du monde des premières a opté pour l'Ambigu. '</p>
<p>Mais cette animation un peu factice, un peu voulue, disparait bientôt cl
le rideau se lève au niilicu d'un profond silence.</p>
<p><pb/></p>
<p>JANVIER 27</p>
<p>Un bon vieux salon d'antique castel breton, où deux personnages, dont M.
Georges Richard, se livrent aux émotions calmes du noble jeu de jacquet.</p>
<p>- Il me donne envie de lui tirer la langue, dit une voix féminine.</p>
<p>La même question est sur toutes les lèvres :</p>
<p>- Comment Sarah peut-elle passer la soirée si loin d'ici?</p>
<p>Il est .certain que l'infortunée Fédora, maudissant le talent qui la
retient au Vaudeville, a dû avoir bien des distractions en récitant la
prose de M. Sardou, tandis qu'il [se jouait, ailleurs, dans son théâtre,
une partie décisive.</p>
<p>J'apprends du reste que, pour assister au moins aux deux derniers
tableaux de la Glu, Sarah Bernharclt, qui a quelque influence sur M.
Raymond Deslandes, a obtenu qu'on commençât Fèdora une demiheure plus tôt.</p>
<p>Pendant deux ou trois scènes, rien n'indiquerait que l'action se passe
en pleine Bretagne si Ton n'en était prévenu par le dialogue.</p>
<p>La couleur locale fait enfin son apparition dans la personne du vieux
gabier Gillioury, un loup de mer mâtiné de troubadour armoricain, qui
s'exprime en patois de matelot et porte en sautoir une sorte de</p>
<p><pb/></p>
<p>2<S LES SOIRÉES PARISIENNES</p>
<p>guitare allongée, un benjo avec lequel il s'accompagne en chantant les
refrains légendaires de la vieille Bretagne.</p>
<p>Il ne m'appartient pas de juger le comédien, mais je puis dire que tous
ceux qui connaissent l'homme ont été fort heureux de lui voir tomber
cette aubaine.</p>
<p>Disons de suite que tous ses autres costumes sont également inspirés par
ceux que porte la célèbre mère de son jeune directeur.</p>
<p>A mesure que la soirée s'avance, les spectateurs lorgnent de plus en
plus l'avant-scène des premières dfe gauche.</p>
<p>Oh attend Sarah.</p>
<p>- Vient-elle bientôt ></p>
<p>- 11 paraît qu'elle se dépêche.</p>
<p>Onze heures vingt-cinq minutes. Sensation prolongée.</p>
<p><pb/></p>
<p>JANVIER 29</p>
<p>LE DROIT VAINESSE.</p>
<p>M. Francis Chassaigne, le jeune compositeur du Droit d'aînesse, est bien
un peu, lui aussi, le héros de la soirée.</p>
<p>Cependant, M. Chassaigne serait resté peut-être encore longtemps en
dehors de la véritable notoriété parisienne sans M* Brasseur.</p>
<p>Sur une simple audition, le perspicace Brasseur, qui juge d'autant mieux
la musique qu'il n'a pas l'inconvénient d'être musicien, crut deviner en
M. Chassaigne un artiste de grand avenir et se hâta de lui faire signer
un traité afin de s'assurer l'exploitation</p>
<p>2.</p>
<p><pb/></p>
<p>30 i.ks soimVf.s parisiennes</p>
<p>exclusive de ses oeuvres pendant trois années consécutives.</p>
<p>Le Droit d'aînesse se passe en Hongrie. Pays pittoresque, jolis
costumes, et, par conséquent, inévitables prodigalités pour la mise en
scènei</p>
<p>Certains directeurs eussent préféré un milieu moins somptueux, une
région plus économique, la Beauce, l'Auvergne ou Asnières, par exemple.</p>
<p>Mais M. Brasseur, qui a gagné beaucoup d'argent avec MM. Leterrier et
Vanloo, ne demande qu'à" en dépenser le plus possible pour leur faire
plaisir - en se faisant de nouvelles rentes.</p>
<p>11 a donc accepté la Hongrie, avec ses villas pittoresques, ses paysages
grandioses, ses palais admirables, ses fourrures de prix, ses
brandebourgs d'or et d'argent et ses belles bottes de cuir blanc, qui
coûteraient si cher, s'il ne s'agissait de chausser d'aussi petits pieds
que ceux de Mmes Morianne, Ducouret, Lucy Jane, Norette, Varennes et
autres magyars sans importance.</p>
<p>M. Brasseur ne joue pas dans le Droit d'aînesse, mais nous avons assisté
aux débuts de son fils dans l'opérâ-comiqUe.</p>
<p>L'organe du jeune Albert Brasseur n'est pas d'une irréprochable pureté,
mais il faut être indulgent et considérer qu'il vient de vivre Un an de
la vie des camps qui n'est guère faite pour éclaicir la voix.'</p>
<p>Ce qui le chiflbnne, c'est de jouer le rôle d'un grand</p>
<p><pb/></p>
<p>JANVIER 3 t</p>
<p>benêt que l'on habille en demoiselle, et qui se laisse conduire, par le
bout du nez, par une fillette.</p>
<p>Et pourtant qui ne serait heureux d'être mené par cette gentille diva
qui porte si adorablement le maillot, cette culotte d'autrefois)</p>
<p>Celle de ce soir est gris et bleu, et ce n'est point la moins réussie
que j'ai vue.</p>
<p>CIIIUSTIAN &ENXUIE</p>
<p>.30 janvier.</p>
<p><pb/></p>
<p>32 LES SOIRÉES PARISIENNES</p>
<p>Christian s'ennuie.</p>
<p>Meilhac et Millaud, dans leur jolie comédie des Variétés, lui ont
interdit les calembours, les à-peuprès et les coqs-à-1'âne.</p>
<p>Le pauvre comique sent son esprit dépérir faute d'exercice.</p>
<p>A Monsieur Eugène Labiche, de l'Académie française,</p>
<p>Très cher maître,</p>
<p>J'en suis très heureux, votre fils aussi, sans doute* en est heureux,
mais c'est certainement vous qui êtes te Rltis heureux des trois.</p>
<p>J'ai voulu vous féliciter tout de suite» car je ne suis pas Un homme qui
manque le coche» Embrassons-notist Follevîllet</p>
<p><pb/></p>
<p>JANV1KK 33</p>
<p>Vous êtes, votre fils et vous, Deux papas très bien, mais-Doit-on le
dire? - le choix d'une nourrice me parait plus important encore que le
Choix d'un gendre.</p>
<p>Si jamais - je te pince Un pied dans le crime, je te secourai aux'Pe/j/s
oiseaux.</p>
<p>J'ajouterai quelques avis sur l'éducation du jeune homme. -</p>
<p>Vous lui apprcndrezla Gmmmaii'e et j'espère qu'il travaillera assez pour
que vous deveniez le 'Papa du prix d'honneur, ce qui vaut mieux que
celui d' Un premier prix de piano.</p>
<p>Mais l'instruction ne suffit pas, c'est le caractère qui est tout.</p>
<p><pb/></p>
<p>34 m-:s SOIUKKS parisiennes</p>
<p>femme qui perd ses jarretière? et qui m'a trompé avec Un garçon de chez
Véry.</p>
<p>Tous les jours ce sont des dépenses nouvelles.</p>
<p>Tantôt c'est le Chapeau de paille d'Italie, puis le Cachemire; bref,
eût-on les Trente millions de Gladiator... la Cagnotte est bien vite
épuisée.</p>
<p>Christian.</p>
<p>LE MAMAGE AU TIIÉATIiE</p>
<p>31 Janvier.</p>
<p>- C'est peut-être un mari 1</p>
<p>Qu'au foyer de la Danse de l'Opéra, vous adressiez</p>
<p><pb/></p>
<p>J AN Y IKK 35</p>
<p>On ne flirte plus derrière les portants: on y rencontre des rangées de
jeunes personnes, assises et faisant tapisserie, comme dans les salons
du Marais.</p>
<p>Et elle vaut la peine d'être cataloguée* cette collection I '</p>
<p>On y trouve tant d'espèces diverses et toutes intéressantes !</p>
<p>Un inventaire rapide et forcément incomplet m'a permis d'y distinguer î</p>
<p><pb/></p>
<p>36 LES SOIRÉES PARISIENNES</p>
<p><pb/></p>
<p>JANVIER 37</p>
<p>sous les pieds de sa diva, surveille les accessoires* guette les
courants d'air et tient, dans la coulisse, le manteau dont il couvrira
les épaules de sa femme, quand elle sortira de scène. En rentrant chez
lui, dit, en se frottant les mains : « Eh bien, nous avons encore eu un
rude succès ce soir! »</p>
<p>5</p>
<p><pb/></p>
<p>j8 i.ks soikkks iwuisiknni:*</p>
<p><pb/></p>
<p>FÉVRIER</p>
<p>MONSIEUn LE MmSTRK</p>
<p>2 février. Son Excellence</p>
<p><pb/></p>
<p>.JO LES SOIREES PARISIENNES</p>
<p>LE PERSONNEL</p>
<p>Une collection sur-perbe de tètes officielles, de visages impassibles,
de démarches raides ou courbées, de calvities précoces, de lunettes
d'or, de perruques</p>
<p><pb/></p>
<p>IKVIUKR .\\</p>
<p>. Le sous-secrétaire d'Etat est un revenant que l'on croyait retiré des
affaires : l'excellent M. Pradeau qu'on est toujours heureux de revoir
et que nous reverrons souvent, j'espère, maintenant qu'il est rentre en
activité.</p>
<p><pb/></p>
<p>,\2 I.F.S SOIREES PARISIENNES</p>
<p>officiel. M, Achard n'ai presque pas parlé ce soir, mais il était
visiblement content :</p>
<p>i° De porter un si bel habit galonné;</p>
<p>2° De prouver aux journaux qui ont annoncé son départ pour Bruxelles,
qu'ils se sont trompés,</p>
<p>RÉCEPTIONS OFFICIELLES</p>
<p>Pas mal de dames et de demoiselles, jeunes et vieilles, jolies et
laides, gravitent autour de Son Excellence, dans les grandes réceptions
officielles et dans les audiences intimes.-Un joli lot d'intrigantes.</p>
<p>L'intrigante en chef, Mlle Kaiser, la charmeresse pour laquelle M, le
ministre oublie un instant sa femme, n'est autre que celle adorable
parisienne qui a nom Marie Magnicr,</p>
<p>- Ça, c'est du grand art!</p>
<p>C'est une robe de bal. Tout le devant est fait avec des têtes de
lophophore. Chaque tête est rouge, complétée par des broderies de lames
et de perles de couleurs rappelant toutes les nuances du lophophore;
C'est d'un effet énorme. Les lophophores en question sont posées sur du
satin jaune drapé avec une robe de satin bleu dit électrique. Le corsage
est en velours</p>
<p><pb/></p>
<p>îKVimcu 43</p>
<p>pourpre, les traînes sont relevées avec des chardons d'or et des roses
effeuillées jaunes, thé et roses. (Note pour la postérité : rien que
pour faire la broderie de cette robe extraordinaire, il a fallu plus de
trois semaines.)</p>
<p>LE POKTEFKUILLK</p>
<p>Je ne puis en citer que quelques-uns.</p>
<p>Le secrétaire général installe son ami le Ministre.</p>
<p>- Maintenant, lui dit-il, on va te porter sur un plateau la clef du
foyer de la danse... Non, au fait, la danse, ça n'est pas de ton
ressort, ça regarde l'instruction publique !</p>
<p>- Cela net'étonne pas un peu de me voir ministre)</p>
<p>- C'est un accident comme un autre et assez fréquent aujourd'hui.</p>
<p>Réflexion de M. le secrétaire général:</p>
<p>- Il n'y a plus de cour, il n'y a presque plus, de bénitiers... mais il
y a encore de l'eau bénite de cour.</p>
<p>Le ministre parlant de son sous-secrétaire d'Etat :</p>
<p><pb/></p>
<p>.J4 LES SOIREES PARISIENNES</p>
<p>- Un homme qui a changé vingt fois d'opinion, excepte de celle qu'il a
de lui-même.</p>
<p>- Vous n'en êtes pas moins allé a Compiègne }</p>
<p>- C'est encore vrai.., mais j'en suis revenu,</p>
<p>Le même sous-secrétaire raconte que tous ses électeurs font de la
propagande pour un intransigeant.</p>
<p>- Ça m'est égal, ajoute-t-il, je m'accentuerai !</p>
<p>- Où les prendrait-on > Sur le budget des cultes)</p>
<p>Le ministre- Mais on a... ces jours derniers... nommé gardien du Corps
législatif un certain Chacorriac. Il avait donc des titres sérieux,
Chacornac, pour être gardien du Palais-Bourbon ?</p>
<p>Le sous-secrétaire d'Etat. - S'il avait des titres sérieux ! Il l'a déjà
envahi deux fois!</p>
<p>AGENCE HAVAS</p>
<p>Parmi les notabilités de toutes sortes qui sont venues ce soir saluer
Monsieur le Minisire on remarquait :</p>
<p>MM. J-J. Weiss, Hébràrd, HectorPessard, Meissonier, Edmond Âbout, le
docteur Labbé; Bischofïsheim, Robert Mittchell, Camille Doùcét, Henri
Meilhac, Ludovic Halévy, d'Ennery, Albert Delpit, Clairin, Fichel,
Carraby, le général Fleury, le comte Walewski', Louis Murât, le prince
de Sagan, le marquis de Massa, Lippmann,le baron Koenigswarter, Perrin,
Halanzicr, etc., etc.</p>
<p><pb/></p>
<p>FEVRIER 45</p>
<p>Le bruit court que le serrurier Saint-Germain dont la scène épisodique a
eu un si grand succès ce soir, a l'intention d'aller de ministère en
ministère débiter les petites vérités qu'on a si vivement appréciées.</p>
<p>Si cela ne fait pas de bien, cela ne pourra pas faire de mal.</p>
<p>- Allons donc, s'écria M. Koning, tout le monde viendra ici. Le Nonï est
une pièce qui se passe en province!</p>
<p>VOTE DE CONFIANCE</p>
<p>«L'Assemblée du Gymnase, pleine de confiance dans son.président et dans
les nouveaux ministres qu'il vient d'appeler au pouvoir, vote des compli3-</p>
<p>compli3-</p>
<p><pb/></p>
<p>4^ I.KS S0IRKP.S PARISIENNES</p>
<p>LE NOM</p>
<p>3 février.</p>
<p>M Emile Bergerat - on le sait peut-être - a la prétention d'être
critique dramatique. Comme tel il parle, une fois par semaine, avec un
mépris souverain et qu'il suppose écrasant, des productions théâtrales
modernes et anciennes. 11 n'a un peu d'indulgence que pour Shakespeare
et Victor Hugo. En dehors de ces deux géants il n'y a rien, absolument
rien.</p>
<p>C'est ce que j'ignore.</p>
<p>11 est certain qu'il n'a pu se faire aucune illusion sur la valeur de
son oeuvre.</p>
<p>Il devait se tenir ce raisonnement d'une logique irréfutable :</p>
<p>- Tout ce qui n'est pas du Shakespeare ou du Hugo est idiot; je né suis
ni Shakespeare, ni Hugo; donc ma pièce est idiote. Oui, je le sais, je
le sens... elle est d'une stupidité inénarrable!</p>
<p>Mais une force inconnue l'entraînait quand même vers l'Odéon où M. de La
Rounat, ne sachant trop</p>
<p><pb/></p>
<p>FKVRIF.R Al</p>
<p>Le grand acteur est de ceux qui font toujours plaisir, même quand ils se
montrent dans un mauvais rôle.</p>
<p><pb/></p>
<p><}8 I.F.S SOIUKF.S PARISIENNES</p>
<p>- Quellangage parle-t-il donc? se demandait-on, Et quelqu'un répondait :</p>
<p>- C'est du Cauchois, parbleu, du pur Cauchois! On était d'ailleurs en
veine de mots dans les couloirs.</p>
<p>- Mlle Malvau, disait-on, ne jouait-elle pas récemment dans le Voyage à
travers l'impossible?</p>
<p>Ce qui a paru étonner un peu, c'est la fureur de ce pauvre M. Bergerat
contre tout ce qui porte un nom illustre.</p>
<p>Mon premier borde la prairie Où pousse l'herbette fleurie. Et mon second
est un rongeur. Mon tout est un mauvais auteur.</p>
<p>QUE D'OPÉRAS !</p>
<p>8 février.</p>
<p>- Que d'eau ! Que d'eau ! disait, dans le Voyage en CHinë, Saint-Foy
coiftemplant la mer.</p>
<p>L'élan est donné par le projet d'Opéra-Populaire que poursuit M. Ritt,
et de même que l'annonce de</p>
<p><pb/></p>
<p>IKVIUKK 4Q</p>
<p>Le Ménestrel de cette semaine nous apprend que M. Merliez (?) rêve
d'installer un Opéra - aussi populaire que possible - dans l'ancien
Théâtre-Beaur marchais, actuellement Fantaisies-Parisiennes.</p>
<p>Ils fuient les quartiers distingués.</p>
<p>Mais comment baptisera-t-on ces différents établissement lyriques ?</p>
<p>Peut-être M. Merlicz fondera-t-il l'Opéra populacier.</p>
<p>Naturellement les directeurs de l'Opéra populacier et de l'Opéra
crapuleux voudront, aussi bien que celui de l'Opéra populaire, mettre la
main sur le répertoire de l'Opéra et de l'Opéra-Comique.</p>
<p>Ce sera dur. M. Vaucorbeil et M. Carvalho protes-</p>
<p><pb/></p>
<p>50 LES SOIREES PARISIENNES</p>
<p>OPÉRA POPULAIRE</p>
<p>Les Huguenots Les Protestants</p>
<p>Le Prophète Le Prêcheur.</p>
<p>L'Africaine La Négresse..</p>
<p>Guillaume Tell L'Arbalétrier</p>
<p>La Favorite. .... La Bonne amie</p>
<p>Le Trouvère Le Troubadour</p>
<p>La Muette La Silencieuse.</p>
<p>Le Roi de Lahore Le Souverain indien</p>
<p>Robert le Diable Le Roussi,........ f</p>
<p>Le cheval de bxonze Le Dada en \inc</p>
<p>Gustave ou le Bal masqué. Gustave ou la sauterie</p>
<p>La Dame blanche La Femme en blanc</p>
<p>Le Domino noir Le Masque</p>
<p>Les Noces de Jeannette. ... Le Mariage de jeannette</p>
<p>Le Barbier de Séville Lt Coiffeur espagnol.</p>
<p>Le Chalet La Maisonnette</p>
<p>Le Maçon Le Limousin '....</p>
<p>OPERA POPULACIER</p>
<p>Le Prophète. Le Cahtin</p>
<p><pb/></p>
<p>FKVRIEH</p>
<p>L'Africaine La Boule noire</p>
<p>Guillaume Tell ,.,. Le Petit Suisse</p>
<p>La Favorite La Drôksse, ,</p>
<p>Le Trouvère VAriisse</p>
<p>La Muette. Sansclaquetle</p>
<p>Le Roi de Lahore L'Monarque</p>
<p>Robert le Diable Le GosseàSatan</p>
<p>Le Cheval de bronze La Rosse en carton</p>
<p>Gustave ou le Bal Masqué. Gustave ou le chahut</p>
<p>La Dame blanche La Bourgeoise en camisole</p>
<p>Le Domino noir. Double six. ...</p>
<p>Les Noces de Jeannette. ... Le Gueuleton de Jeannette</p>
<p>Le Barbier de Séville Le Raseur andalou.,</p>
<p>Le Chalet Le ChAlel de nécessité</p>
<p>Le M/.çon Le Gâcheur ,</p>
<p>OPÉRA CRAPULEUX '</p>
<p>Les Huguenots Les Victimes des Raiichom</p>
<p>Le Prophète L'Otage</p>
<p>L'Africaine Jus de chique</p>
<p>Guillaume Tell Mince d'adresse!</p>
<p>Le Trouvère Le Racleur de loyaux.</p>
<p>La Muette Gueulé de bois '</p>
<p>Le Roi de Lahore Le Badingue turc</p>
<p>Robert leDiable. Rob le *Dab</p>
<p>Le Cheval de bronze ....... Le Tire fiacre en toc..</p>
<p>Gustave ou le Bal masqué. Gugusse ou là.ruée.</p>
<p>La Dame Blanche ......... La Confesse blanche.</p>
<p>Le Domino noir A Moi la pose !</p>
<p>Le Chalet La Turne àBettly</p>
<p>Le Maçon Le Muf... é</p>
<p><pb/></p>
<p>52 LES SOIREES PARISIENNES</p>
<p>JlEXTIiÉE DE ROSIT A M AU RI</p>
<p>9 Février.</p>
<p>Une vraie fête que cette rentrée de la charmante petite MaUri.</p>
<p>Tous, directeur, artistes, abonnés, auteurs, se réjouissaient d'autant
plus de son retour que sa trop longue absence avait causé une véritable
désolation.</p>
<p>Les camarades du corps de ballet n'étaient ni les moins contentes, ni
les moins empressées, ce qui prouve une fois de plus que dans ce joli
petit monde de la danse, on ne connaît pas les sentiments de
malveillance, de jalousie et de basse rivalité qui distinguent tant
d'autres milieux artistiques.</p>
<p><pb/></p>
<p>IKVRIKH ' 5 3</p>
<p>tata, près de l'orteil droit, la détente complète d'un muscle essentiel.
Le pied restait inerte, insensible, mort.</p>
<p>La plus vive* la plus pétulante des danseuses était condamnée à
l'immobilité.</p>
<p>C'est dans cette épreuve que la petite Mauri put apprécier les
dévouements qu'elle a sugrouperautour d'elle.</p>
<p>Le plus clair de cette orgie de régimes et de médications, c'est qu'au
retour d'un voyage prescrit* la pauvre jeune iillc dut se mettre au lit..</p>
<p>Alors, ses admirateurs, ses amis, ses camarades se succédèrent sans
relâche auprès d'elle. Loin d'être délaissée comme le sont trop souvent
ceux qui souffrent, Rosita Mauri recevait chaque jour d'incessantes
visites dans son petit appartement de la rue de Provence où plus d'un
personnage célèbre s'improvisa garde-malade.</p>
<p>Enfin, les forces revinrent graduellement.</p>
<p>Mauri put bientôt se lever, puis marcher, puis, ma foi ! risquer
quelques pas - ah 1 bien timides - mais c'était toujours ça !</p>
<p>La convalescence amenait chaque jour un nouveau progrès, d'abord
insensible, puis considérable- à</p>
<p><pb/></p>
<p>54 LES SOIREES PARISIENNES</p>
<p>Qu'allait-il arriver ></p>
<p>Etait-elle bien en état de danser ?</p>
<p>LA PMXCKSSE VKS CANAMËS</p>
<p><pb/></p>
<p>IKVRIKR</p>
<p>55</p>
<p>au théâtre du plus grand de ses grands succès, et l'on peut se douter de
la joie avec laquelle il y a été accueilli.</p>
<p>Lecocqa, cette fois, pour collaborateurs MM. Chivot et Duru qui sont
également très aimés aux Folies où ils ont donné Madame Favart et la
Fille du tambour-major.</p>
<p>Liquidons avec non moins de rapidité la question des décors. Ils sont
assez réussis.</p>
<p>Au second, nous sommes dans un château avec une autre échappée sur un
autre paysage encore plus niçois que le premier.</p>
<p>Au troisième acte enfin, on nous transporte au toril, tendu d'étoffes
indigènesreliéespar des bambous; puis dans les arènes elles-mêmes. Sur
la toile sont peints des gradins couverts de personnages qui
applaudissent les toreros avec des gestes frénétiques. Leur enthousiasme
est dépassé par celui d'Edouard Philippe, un fanatique de courses de
taureaux, qui de</p>
<p><pb/></p>
<p>56 I.KS S01KKKS PARISIENNES</p>
<p>son fauteuil s'agite, en poussant des hurlements espagnols.</p>
<p>La pièce se passe aux îles Canaries, qui furent découvertes, il y a cinq
cents ans, par un Français, le sire Jean de Bétancourt, dont la famille
n'est point encore éteinte.</p>
<p>Un de ses descendants habite un modeste appartement aux Batignolles et
il y donne des leçons d'espagnol. .</p>
<p>Les auteurs ne l'ont appris qu'aujourd'hui, et Chivot, qui a une
excellente nature, s'en montrait désolé :</p>
<p>- Si j'avais su cela plus tôt, disait-il, je lui aurais envoyé un
fauteuil pour h première !</p>
<p>La nouvelle pièce des Folies se distingue surtout par sa portée politique.</p>
<p>1 Les événements actuels lui donnent des allures piquantes que les
auteurs étaient certainement loin de prévoir.</p>
<p>11 s'agit en effet, dans la Princesse , d'un complot ayant pour but de
remettre sur le trône des Canaries une princesse dépossédée.</p>
<p>Des conspirateurs se réunissent sous prétexte de fetc dans un château de
province, où se trouvent, comme en Vendée, des armes et des chevaux
cachés. Un général est a leur tète, mais un autre général est chargé de
contrecarrer les plans des partisans de la princesse, de déjouer leurs
projets de restauration» d'expulser les prétendants. Ce général
s'appelle Pataquès. Ne serait-ce pas le véritable nom du général
Thibaudin-Comagny ></p>
<p><pb/></p>
<p>FKVKILK 57</p>
<p>Le rôle est joué par Delannpy.</p>
<p><pb/></p>
<p>58 u:s S01KÉKS pakisii;.\.nes</p>
<p>Comme il la demandait au théâtre :</p>
<p>- Mon Dieu, lui répondit-on, c'estbien dommage, nous en avions une qui
nous servait dans Fan/an la Tulipe, seulement elle sonnait midi celle-là
!...</p>
<p>Lecocq l'a acceptée tout de môme.</p>
<p>LESVOMMESl/OIi</p>
<p>12 février^</p>
<p>Expérience coûteuse, car on a fait relâche pendant près d'un mois et on
a dû dépenser quelque chose comme cinquante mille francs pour les
costumes et les décors.</p>
<p>11 faut croire d'ailleurs que le procédé n'est pas facile, car les
Pommes d'or étaient restées dans mes souvenirs comme une féerie amusante
et bon enfant, tandis que l'opérette...</p>
<p>MM. Chivot> Duru, Blondeau et Monréal ont dû</p>
<p><pb/></p>
<p>n:\ui i;u 59</p>
<p>- Au lieu d'une baleine cela fait cinq harpes î comme l'a fait observer
le spirituel Dailly.</p>
<p>Le seul acteur qui reste de la première interprétation des Pommes c/V,
c'est Dailly, qui a transporté aux Menus-Plaisirs toutes les traditions
baroques et</p>
<p><pb/></p>
<p>ÔO è LES SOIRÉES PARISIENNES</p>
<p>pas toujours comiques qu'il avait imaginées au Ghâteau-d'Eau.</p>
<p>Pour éviter les frais, d'un domestique, il se faic accompagner par son
ministre de la guerre qui porte le panier aux provisions. Quel dommage
que M. le président de la République ne puisse utiliser ainsi M.
Thibaudin-Comagny !</p>
<p>Dailly s'est révélé ce soir comme chanteur. 11 a un grand aîr qu'il
chante avec un style des plus purs. Son rêve serait d'éclipser, comme
baryton, M. Piccaluga, un jeune artiste doué d'une voix charmante,
second prix de chant au Conservatoire, que M. Cantin a enlevé à
l'Opéra-Comique pour remplacer Morlet le jour où celui-ci quittera les
Bouffes.</p>
<p>Quarante-tro'is qualités, ce n'est pas trop pour Mlle Gélabert.</p>
<p>Le chef-machiniste des Menus-Plaisirs a joué de malheur ce soir. Ses
changements ont presque tous raté. On a vu des draperies d'avant-scene
descendre jusqu'au trou du souffleur, des châssis exécuter des plongeons
imprévus, des trucs d'une simplicité enfantine
manquerabsoiumehtlcureffel.il a fallu baisser</p>
<p><pb/></p>
<p>FKVK1EK 6l</p>
<p>le rideau au milieu d'un acte. Tout cela n'était pas fait pour bien
disposer le public. Mais cela pourra s'améliorer aux représentations
suivantes.</p>
<p>Mlle Marquet a réglé avec habileté les deux petits ballets de la pièce.
Le premier est une tarentelle dansée par déjeunes pêcheurs en blouse dé
soie écrue, soutachée de rouge sur un dessous cerise.</p>
<p>Nous sommes dans le Palais des Jeux. Des arceaux de dominos sont
supportés par des bilboquets, ou des quilles, ou bien encore par des
pièces d'échiquier.</p>
<p>Voici le défilé des jeux. Successivement on voit : les petits chevaux,
les grâces, les cerfs-volants, le billard, les dominos, les cartes, le
jacquet, les dames, le trente et quarante, l'échiquier, le jeu d'oie, le
loto.</p>
<p>Draner a habillé tous ces jeux avec une fantaisie charmante.</p>
<p>Dans le corps de ballet, on distingue :</p>
<p>Le Bilboquet, représenté par un quadrille de jeunes seigneurs Henri 111;</p>
<p>Les Grâces, costumes Watteau en soie de nuances changeantes avec flots
de rubans et de dentelles;</p>
<p>Les petits chevaux : jockeys de satin, de couleurs variées;</p>
<p>4</p>
<p><pb/></p>
<p>02 l.KS SOlKEliS l'AKISIKXXKS</p>
<p>la tunique bleue et les bottes vernies sur le maillot noir.</p>
<p>Le dernier acte -qui est de beaucoup le plus heureux des trois - me
permet, en terminant, de formuler ce voeu :</p>
<p>C'est que, pour la direction des Menus-Plaisirs, les Pommes d'or soient
au moins les Pommes d'argent.</p>
<p>LES K DE M. BRASSEUR</p>
<p>i4 fcvrier.</p>
<p>On a lu que la publication de la brochure du Droit d'aînesse subit des
retards parce que l'imprimeur où se compose la pièce dé MM. Leterrîer et
Vanloo manque de h. Il y a beaucoup de h dans .l'opérette des Nouveautés
- Kolback, Falka, Schapoka, etc. - Ce qui explique l'embarras dans
lequel oh se trouve.</p>
<p>11 s'est présenté d'abord au cabinet de M. Vaucorbeîl.</p>
<p>- Hélas I non, a répondu le directeur de l'Acadé-</p>
<p><pb/></p>
<p>KKVKIKK 63</p>
<p>mic de musique, je ne vois que le K de la Korrigane et vous comprenez
que j'y tiens beaucoup. Mauri vient seulement de faire sa rentrée et,
après ses sept mois d'absence, mes abonnés ne voudraient pas s'en
séparer si tôt.</p>
<p>- Et le K de Mme Krauss ></p>
<p>- Mon Dieu, ce serait toujours ça...</p>
<p>- Eh bien, je vous le donne.</p>
<p>- Je crois bien, au mois de mars.</p>
<p>- Cela s'écrit par un AT, mais cela pourrait aussi bien s'écrire par un
C...</p>
<p>- Je n'y verrais pas d'inconvénients. Seulement, il faudra consulter les
auteurs.</p>
<p>M. Cai'valho voulait pourtant faire quelque chose pour son collègue dans
l'embarras et généreusement, il lui donna lé K de Latla Rouhh dont il né
fait rien pour le moment.</p>
<p>Cela ne suffisait pas.</p>
<p><pb/></p>
<p>LES SOIKKKS PARISIENNES</p>
<p>titre : LcsKosaks de VUkraine. On avait même composé des affiches en ce
sens. Qu'étaient devenus tous ces K > Peut-être se trouvaient-ils dans
le matériel de l'Odéôn } Brasseur traversa les ponts et se lit conduire
chez M. de La Rounat</p>
<p>Hélas ! M. de La Rounat, en reprenant le matériel, n'avait pas voulu des
k dont on avait demandé trop cher. M. Duquesnel les avait emportés. On
ne savait pas où ils étaient.</p>
<p>Mais l'attente de Brasseur fut déçue de ce côté.' Il n'y a pas de k du
tout dans le drame de Sardou.</p>
<p>- Je vous donnerais bien la Princesse des Canaries^ dit Gauthier, mais
cela s'écrit par un ç.</p>
<p>- Vous me demandez mon /», répondit Koning, et je vous le céderais
peut-être, mais j'ai des actionnaires qui pourraient faire des
observations».. [Quant au A* de Marianne Kayser.». voyez les recettes de
Monsieur le Ministre et vous n'insisterez pas...</p>
<p>. Brasseur sollicita encore» mais en vain, le K deKara-pa-iùy la chanson
que le couple Bruet et Rivière débite' dans Léonard; la K de Klébet au
Châteaud'Eau ; les K du comte de Kernan et de Naïke de la Glu. Tous ces
K étaient absolument indispensables aux théâtres qui en étaient les
heureux possesseurs. Rentrant chez lui, découragé et brisé de fatigue,
il rencontra Christian devant le théâtre des Variétés.</p>
<p><pb/></p>
<p>FÉVRIER 65</p>
<p>. - Qû'as-tu, mon cher Brasseur, tu parais éreinté) lui demanda le
joyeux comique.</p>
<p>- Oui, je suis sorti depuis ce matin pour chercher des AV..</p>
<p>- J'en.ai, moi, fit Christian, j'en ai des bottes ..et justement je ne
m'en sers pas dans Mam'zelle Nitouche. '."-'".</p>
<p>. - Donne ! Où sont-ils ></p>
<p>- Mais .. ce sont des K... lembours!</p>
<p>Le directeur des Nouveautés poussa un cri rauque et se jeta sous
l'omnibus de la Madeleine qui passa surlui sans lui faire aucun mal.</p>
<p>LE NOUVEAU MONDE</p>
<p>. . ip février.</p>
<p>Cependant, dans un certain monde, qui n'est pas le nouveau monde, mais
qui est un monde intelligent et curieux, on est d'accord sur ce point
que si M. Villiers de rislc-Adam avait voulu travailler, il brillerait,
de4.</p>
<p>de4.</p>
<p><pb/></p>
<p>66 LES SOIRÉES PARISIENNES</p>
<p>puis longtemps déjà, au premier rang parmi les poètes, ou les
romanciers, ou les auteurs dramatiques - on ne sait pas encore au juste.</p>
<p>j double existence, ne sachant pas trop où finit le réel,</p>
<p>ioù commence la fiction.</p>
<p>Une nuit, il n'y a guère que deux ou trois mois, il rencontre un de nos
amis communs, aussi noctambule que lui.</p>
<p>Et il se lançait dans la fantaisie, accumulant les preuves, et finissant
par croire qu'il avait, en effet, chez lui tous les documents
nécessaires pour démontrer la vérité de cequ'il avançait.</p>
<p>Cependant ses amis les plus intimes le présentaient /comme tel
autrefois. Et cela ne le fâchait pas. L'un d'eux racontait, par exemple,
qu'il avait trouvé un cxellent emploi pour ce bon Villicrs : la table,
le logement et cent francs par mois..</p>
<p>- Fichtre 1 s'écriait-on, et où ça ?</p>
<p><pb/></p>
<p>FÉVRIER' 67</p>
<p>- Chez le docteur Blanche. On le montre aux familles comme un fou guéri.
Et les familles s'en vont ravies et consolées en se disant : c'est bien
joli comme résultat. Evidemment, ce pauvre monsieur, il en reste encore
quelque chose... mais enfin sa conversation est, presque raisonnable.</p>
<p>Il s'en fut trouver le comte d'Osmoy, qu'il connaissait, lui exposa
d'une façon touchante les espérances et les déceptions du pauvre auteur
méconnu, et finit par obtenir une subvention d'une dizaine de mille
francs pour monter le drame. Ce n'était' pas grand'- chose» mais cela
représentait une première mise de fonds. On parla ensuite de l'affaire à
l'éditeur Lalouette.</p>
<p>- Le comte d'Osmoy s'y intéresse, lui dit-on.</p>
<p>- Mais moi aussi, s'écria l'éditeur, et je ferai tout ce qu'il faudra.</p>
<p><pb/></p>
<p>68 LES SOIRÉES PARISIENNES</p>
<p>- Même s'il s'agissait de dépenser cinquante ou soixante mille francs?</p>
<p>- Oui, oui, marchez !</p>
<p>" Par exemple, il était important d'aller vite. M. Rambaud chercha des
collaborateurs et c'est ainsi qu'ac-' tuellement, au théâtre des
Nations, il n'y a pas de direction provisoire, mais plutôt un conseil
de'direction: . une république.</p>
<p>Outre les commanditaires, le conseil de direction des Nations se compose
de M. Yveling Rambaud, de M. Pop, artiste dramatique, de M, Jean Marras,
poète encore jeune et très-apprécié de ses amis.</p>
<p>Il va sans dire que ces directeurs novices n'ont pas monté le Nouveau
Monde sans quelques tâtonnements.</p>
<p>- C'est autrement tapé que du Dugué 1</p>
<p>L'auteur du Nouveau Monde n'avait jamais fait de mise en scène. Mais,
s'inspirant sans doute des traditions de Sardou, il voulut néanmoins
remuer des meubles; il en mit tant en scène qu'il ne restait plus de
place pour les artistes qui avaient l'air, au premier acte, de jouer à
cache-ccahe dans un grand magasin du faubourg Saint-Antoine.</p>
<p><pb/></p>
<p>FÉVRIER . 69</p>
<p>Puis, subitement, il reprenait confiance.' Il blaguait les dépenses que
l'on faisait pour les décors et les costumes.</p>
<p>- Pourquoi tout cet argent? disait-il. Je suis bien sûr de ma pièce!</p>
<p>On ne recula devant aucuns frais. Et il faut .reconnaître que les
Directeurs réunis ont fait preuve de beaucoup d'intelligence et de goût.
- Le Nouveau Monde est fort bien monté.</p>
<p>L'orchestre joue un rôle important dans le drame. Les trémolos
ordinaires sont remplacés par d'interminables et obscures symphonies
exécutées par quarante musiciens. Uparait que cette partie
musicaleestl'oeuvre du secrétaire de M. d'Osmoy, un compositeur encore
inconnu. Le Yankee doodle et le Godsavethe King forment le fond de sa
partition.</p>
<p>On a aussi remarqué le Choral de Luther dont Meyerbeer s'était déjà
servi pour les Huguenots.</p>
<p><pb/></p>
<p>I.F.S S0IKI-XS PAHISlKNNliS</p>
<p>Les décors ont été brossés par des maîtres.</p>
<p>Les deux plus beaux sont ceux des deuxième et troisième actes. Une forêt
vierge de Lavastre et Carpezat, avec l'enchevêtrement obligé des lianes,
des palmiers, des aloës, une végétation éclatante et chaude ; puis, une
hutte fortifiée dans la forêt de Rhode-Island, avec des échappées
superbes sur de grandes allées bleues, éclairées par la lune : un très
joli tableau signé Carpezat.</p>
<p>Mlle Rousseil qui, malgré sa valeur incontestable, paraît condamnée à
errer de théâtre en théâtre, sans pouvoir se fixer nulle part, joue le
rôle d'une traîtresse blonde. Les cheveux [clairs ne diminuent en rien
l'énergie de sa physionomie. Et puis, cela nous débarrasse enfin d'une
tradition absurde. Dans presque tous les drames, quand on voyait entrer
une femme blonde, on pouvait se dire :</p>
<p>Tandis que les brunes étaient presque toujours méchantes.</p>
<p><pb/></p>
<p>Mot de sortie.</p>
<p>- Mon Dieu c'est un Nouveau Monde où l'on s'ennuie !</p>
<p>LE GALON AU TUÊATtiE</p>
<p>io février»</p>
<p>L'infortuné Christian est clans le marasme. 11 lui manque de plus en
plus quelque chose. Ce n'est pas précisément la privation de calemboUts</p>
<p><pb/></p>
<p>72 LES SOIREES PARISIENNES</p>
<p>Non. Le fantastique major de Château-Gibus souffre pour une autre cause.</p>
<p>Et pourquoi ></p>
<p>En apparence, tout lui sourit. 11 joue un rôle superbe qui lui va
d'autant mieux qu'il excelle dans l'emploi militaire des « culottes de
peau ». De plus, il porte un beau costume, il est quelqu'un dans la
grosse cavalerie et il protège la diva du théâtre de Pontarcy.</p>
<p>Ah! pas personnellement; pas comme pensionnaire des Variétés; pas même
comme maire de Courtëuil.</p>
<p>C'est en scène qu'il voudrait porter le ruban rouge ; c'est pour son
personnage qu'il le désirerait.</p>
<p>- Eh! quoi! s'écrie-t-îl chaque soir au foyer, je suis comte, je suis
gros major, tous les dragons du théâtre, tous mes camarades tremblent
devantmoi, et je ne suis pas décoré!</p>
<p>A son compte, il devrait être au moins officier de la Légion d'honneur.</p>
<p>Vu le comique du personnage, les auteurs s'empressèrent de le ramener
modestement au grade de chevalier ; puis> deux ou trois jours après et
pour les mêmes raisons de haute convenance, on lui supprima</p>
<p><pb/></p>
<p>FEVRIER 73</p>
<p>Cet amour du ruban, du galon n'est pas, du reste, le monopole de
l'excellent comique.</p>
<p>Les grades ne sont pas moins appréciés.</p>
<p>Au beau temps du boulevard du Crime, les grandes batailles historiques
du Cirque manquaient toujours de simples soldats.</p>
<p>Tous les belligérants étaient bardés des sardines de sergents, de
sergents-majors et de fourriers. On n'y aurait pas découvert quatre
hommes et un caporal. . Alors, on ne manquait pas de sous-officiers.</p>
<p>Les plus grands artistes ne sont pas exempts de ces petites faiblesses.</p>
<p>Certes, on a conté bien des ^anecdotes sur ce petit</p>
<p>S</p>
<p><pb/></p>
<p>7<| LKS SOlltliKS PARISIENNES</p>
<p>travers professionnel. En voici une pourtant qui a le double mérite
d'être assez récente et complètement inconnue.</p>
<p>Un comédien fort remarquable répétait le troisième acte d'une pièce en
trois époques.</p>
<p>Ceux-ci lui en firent la remarque, mais le comédien tint bon.</p>
<p>- C'est ainsi que je vois le rôle! répondait-il. Alors, un des auteurs
eut une inspiration :</p>
<p>Commandeur de la Légion d'honneur!... A ces mots magiques, l'artiste se
redressa comme illuminé, répétant avec joie :</p>
<p>du rôle une toute autre physionomie.</p>
<p>La pièce en profita si bien que lés auteurs, enchantés de leur
interprète, voulurent le récompenser d'une façon royale.</p>
<p><pb/></p>
<p>FEVRIER 75</p>
<p>LA DEUX-CENTIÈME D'HAMLET</p>
<p>21 février.</p>
<p>11 était certainement impossible de mieux fêter la deux-centième
d'JIamlet qu'en obtenant le concours de Mme Fidès Devriès, une des plus
charmantes Ophélies dont nous eussions gardé le souvenir.</p>
<p><pb/></p>
<p>76 LES SOIRÉES PARISIENNES</p>
<p>au théâtre de la Haye, je crois, mais ce fut au bénéfice d'un de ses
frères.</p>
<p>Cette voix a pris une ampleur extraordinaire et une étendue telle, qu'à
l'exemple de sa mère, Fidès Devriès chanterait aussi bien un rôle de
soprano qu'un rôle de contralto. Elle pourrait, être la Fidès du
Prophète comme elle est l'Ophélie d'IIamlel.</p>
<p>Ceux qui prétendent que l'adorable cantatrice s'engagera, donnent pour
cela des raisons d'une nature toute privée, mais qu'on peut raconter
sans crainte de blesser personne.</p>
<p>Mme Devriès adore les bébés et - comme on dit dans les mélodrames - le
diel n'a pas béni sonunion.</p>
<p>Tandis qu'aujourd'hui la jeune femme demanderait volontiers aux
occupations et aux préoccupations artistiques du théâtre de lui faire
oublier ce grand chagrin de sa vie : le vide du foyer, la maison sans
enfants.</p>
<p><pb/></p>
<p>FEVRIER 77</p>
<p>Je n'ai aucune raison pour suspecter la sincérité de ces déclarations.</p>
<p>Lassalle a eu sa large part dans ce triomphe. Les ovations de ce soir
avaient leur signification.</p>
<p>Et a Fidès Devriès : « Revenez ! »</p>
<p>En somme, cette deux-centième d'IIamlet a été une véritable solennité.</p>
<p>- Thomas est un homme si modeste ! disait-on.</p>
<p><pb/></p>
<p>78 LKS SOIRKKS PARISIENNES</p>
<p>- Oui, répondit quelqu'un, mais on aurait pu tout au moins couronner le
-buste d'Heugel !</p>
<p>Ce sera pour la trois-centième représentation.</p>
<p>LA CIGALE A LA RENAISSANCE</p>
<p>22 février.</p>
<p>La première représentation de la Cigale, en octobre 1877, marque une
graride date dans l'histoire du théâtre des Variétés. C'est par le
délicieux petit chef-d'oeuvre, de Meilhac et Halévy que M. Eugène
Bertrand inaugura l'ère du vaudeville aux Variétés où régnait l'opérette.</p>
<p>Voici comment débutait ma Soirée d'il y a six ans.</p>
<p>« Un jour on racontera la légende suivante :</p>
<p>« Bertrand, directeur du théâtre des Variétés et autres lieux, était un
des propagateurs les plus ardents de l'opérette. Il chérissait Offenbach
et mettait des monceaux d'or au\ pieds des divas. Sa troupe d'opérette
était, sans contredit, la meilleure de Paris; son théâtre semblait bâti
tout exprès pour cette sorte de spectacle; il avait des choristes
nombreux et un orchestre de bons musiciens.</p>
<p>«- Bertrand, Bertrand .pourquoi ne montes-tu pas de vaudevilles ?</p>
<p><pb/></p>
<p>FKVRIKU 79</p>
<p>«-J'en monterai, j'en monterai !</p>
<p>C'est avec la Cigale que s'ouvrit la série des grands succès qui ont
fait des Variétés, le théâtre le plus pros^. père de Paris.</p>
<p>Qui sait si la charmante pièce dont la reprise a eu un sicolossal
succès, ce soir, ne va pas avoir la même influence sur les destinées de
la Renaissance?</p>
<p><pb/></p>
<p>MIS S01HKKS P.MUSIHNNF.S</p>
<p>-r- Oui, répondit quelqu'un, mais on aurait pu tout au moins couronner
le-buste d'Heugel ! Ce sera pour la trois-centième représentation.</p>
<p>LA CIGALE A LA RENAISSANCE</p>
<p>22 février.</p>
<p>La première représentation de la Cigale, en octobre 1877, marque une
grarîde date dans l'histoire du théâtre des Variétés. C'est par le
délicieux petit chef-d'oeuvre de Meilhac et Halévy que AI. Eugène
Bertrand inaugura l'ère du vaudeville aux Variétés où régnait l'opérette.</p>
<p>Voici comment débutait ma Soirée d'il y a six ans.</p>
<p>. Un jour on racontera la légende suivante :</p>
<p>t Bertrand, directeur du théâtre des Variétés et autres lieux, était un
des propagateurs les plus ardents de l'opérette. Il chérissait Oflenbach
et mettait des monceaux d'or aux pieds des divas. Sa troupe d'opérette
était, sans contredit, la meilleure de Paris; son théâtre semblait bâti
tout exprès pour cette sorte de spectacle; il avait des choristes
nombreux et un orchestre de bons musiciens.</p>
<p>«- Bertrand, Bertrand, pourquoi ne montes-tu pas de vaudevilles ?</p>
<p><pb/></p>
<p>FKVHlKlt 79</p>
<p>« - J'en monterai, j'en monterai !</p>
<p>C'est avec la Cigale que s'ouvrit la série des grands succès qui ont
fait des Variétés, le théâtre le plus prospère de Paris.</p>
<p>Qui sait si la charmante pièce dont la reprise a eu un sicolossal
succès, ce soir, ne va pas avoir la même influence sur les destinées de
la Renaissance)</p>
<p><pb/></p>
<p>So I-F.S SOIRÉES PARISIENNES</p>
<p>qui est un comédien et un observateur de premier ordre, manquait aux
vrais Parisiens.</p>
<p>Milher et Numa ont été prêtés par le Palais-Royal pour les rôles créés
par Baron et par Germain.</p>
<p>Un vrai pique-nique.</p>
<p>Baron avait copié son costume d'impresario-saltimr banque d'après celui
d'un directeur de troupe foraine</p>
<p><pb/></p>
<p>FÉVRIER Si</p>
<p>Les tableaux des peintres intentionnistes - au dernier acte -ont obtenu
un succès non moins grand, ce soir, qu'il y a sept ans.</p>
<p>Les trains de chemins de fer dont le panache de fumée se prolonge sur le
cadre, les Vénus invraisemblables, les marines cocasses, les charges
peintes par Duez, Jourdain, par le décorateur Robecchi et par d'autres,
n'ont rien perdu de leur actualité.</p>
<p>Manet, qui a le tort de se confondre avec les nullités impressionnistes
qu'il dépasse de cent coudées, disait, en sortant de la première de la
Cigale, aux Variétés :</p>
<p>LE BIS.</p>
<p>(conte)</p>
<p>23 février.</p>
<p>Cela se passait aux temps reculés où, les soirs de premières, il y avait
encore dans les salles de théâtre une coterie assez puissante pour
imposer ses goûts au</p>
<p>5-</p>
<p><pb/></p>
<p>$2 l,ES SOIRÉES PARISIENNES</p>
<p>public. On sait qu'il n'en est plus ainsi de nos jours et que les
spectateurs réunis jugent maintenant les oeuvres nouvelles et leurs
interprètes sans jamais subir aucune influence.</p>
<p>Parmi les chanteuses de l'endroit il en était une, gentille, bien douée,
bonne fille, pleine de charme, mais que, malgré toutes ses qualités, on
n'aimait guère, on n'aimait pas.</p>
<p>Pourquoi ne l'aimait-on guère, pourquoi ne l'aima iton pas)</p>
<p>Pourquoi le public a-t-il des caprices, des préférences que rien ne
justifie et des antipathies que rien n'explique?</p>
<p>Ce qu'il y avait de certain c'est que, depuis un temps immémorial
qu'elle débitait des couplets dans les opérettes, on n'avait jamais pu
lui en bisser un seul.</p>
<p>Ils trouvèrent que cela ne pouvait durer plus longtemps.</p>
<p><pb/></p>
<p>FKVRIKU 83</p>
<p>naissances de leurs connaissances, ils adressèrent, invariablement, la
même requête ;</p>
<p>Ils recueillirent des adhésions nombreuses.</p>
<p>- Comment donc! Certainement! Tout ce que vous voudrez! Pour vous être
agréable!...</p>
<p>Mais on avait promis, on s'exécuta.</p>
<p>Avec beaucoup d'entrain même.</p>
<p>Le morceau fut bissé par acclamation.</p>
<p>La petite Chose, émue, toute rougissante, se courbait comme écrasée par
le poids du succès.</p>
<p>Les auteurs aussi se courbaient dans les coulisses.</p>
<p>Le second acte ne fut pas beaucoup plus chaud que le premier.</p>
<p>- Heureusement qu'il y a eu mon bis ! dit la petite Chose en revenant au
foyer.</p>
<p>- C'est-à-dire, ma chère, que tu as sauvé la pièce, lui déclara le
directeur.</p>
<p>L'éditeur se promena, rayonnant, dans les couloirs.</p>
<p>- La partition ne vaut pas grand'chose, fit-il, mais il y a les couplets
de la petite Chose qui suffisent pour la vente !</p>
<p><pb/></p>
<p>84 U--S SOIUKKS PARISIENNES</p>
<p>Et il en-commanda, revenu chez lui, un tirage spé^ cial de cent mille
exemplaires.</p>
<p>Depuis, tous les soirs, la claque bissa les couplets de la Petite Chose,
au grand étonnement du public qui les trouva mauvais, mais qui se laissa
faire.</p>
<p>HALLUCINATION.</p>
<p>26 février.</p>
<p>Ah ! la politique, la fâcheuse politique.</p>
<p>Elle a fait passer une heure bien pénible au sympathique jeune premier
du Gymnase, de par la grâce de Claretie et la volonté de Koning,
ministre de l'intérieur au boulevard Bonne-Nouvelle.</p>
<p><pb/></p>
<p>FEVRIER 85</p>
<p>Et il composa la liste suivante.</p>
<p>Ministre de l'intérieur, président du Conseil Marais</p>
<p>Affaires étrangères..' MAYER(deLondres)</p>
<p>Instruction publique Christian</p>
<p>Justice Cantin</p>
<p>Finances Sarah Bérniiardt</p>
<p>Commerce. Ballande</p>
<p>Guerre Damala</p>
<p>Marine. (en blanc)</p>
<p>Travaux publics Lé a d'Asco</p>
<p>'Postes et Télégraphes Cochery</p>
<p>Et se figurant plus que jamais qu'il était réellement au pouvoir il se
demanda, une fois son ministère for-</p>
<p><pb/></p>
<p>86 I.F.S SOIRÉES PARISIENNES</p>
<p>mé, quelle était l'injustice qu'il allait bien pouvoir commettre.</p>
<p>Il eut bien vite trouvé.</p>
<p>- Blondel ! qu'on me fasse venir Blondel ! Le régisseur du Gymnase se
présenta.</p>
<p>- Prenez quelques hommes, lui dit-il, et allez*, de ma part, chez M.
Koning.</p>
<p>- Oui, monsieur.</p>
<p>- Appelez-moi Excellence. Vous lui direz, qu'en vertu des lois
existantes, je l'expulse du territoire.</p>
<p>Le régisseur jugea inutile de protester. Il s'éloigna et Marais se remit
devant sa toilette qu'il croyait transformée en table de travail.</p>
<p>Il fit de Coquelin le grand chancelier de la Légion d'honneur.</p>
<p>Il remania complètement notre corps diplomatique.</p>
<p>Et il commençait par envoyer.</p>
<p>Mme Pasca en Russie;</p>
<p>Tholer en Belgique;</p>
<p>Lina Munte en Grèce;</p>
<p>Paola Marié dans les Pays-Bas.</p>
<p>Marie Magnier était nommée ministre plénipotentiaire auprès de la
Principauté de Monaco.</p>
<p><pb/></p>
<p>FEVRIER o?</p>
<p>Je donne la copie textuelle du premier travail de M. Marais.</p>
<p>PRÉFETS ET PRÉFÈTES SOUS-PRÉFETS ET SOUS-PRÉFÈTES</p>
<p>Saint-Germain Seine-et-Oise</p>
<p>Morlet Finistère</p>
<p>Scipion Carcassonne</p>
<p>Bianca Ariège</p>
<p>Rousseil dans VArdèche</p>
<p>Colonne Vendôme</p>
<p>Jeanne Granier Partkenay</p>
<p>Léonide Leblanc Bar-le-Duc</p>
<p>Piccolo Bouches-dn -Rhône</p>
<p>Tuiron ..-....- -Cognac</p>
<p><pb/></p>
<p>S8 LES SOIRÉES PARISIENNES</p>
<p>vit pas un tabouret qui se trouvait près de la porte d'entrée et
trébucha. Le ministère était par terre, Il s'élait même fait une bosse
au front.</p>
<p>Cela réveilla Marais qui est sorti de ce cauchemar, complètement guéri
et pour jamais, de toute espèce d'ambition politique.</p>
<p><pb/></p>
<p>MARS</p>
<p>HEMY Vin</p>
<p>5 mars.</p>
<p><pb/></p>
<p>90 LES SOIREES PARISIENNES</p>
<p>qu'elles excitent. Le public s'y montre très empressé. Jetons un rapide
coup d'oeil sur</p>
<p>I.A SALLE</p>
<p>Je note au hasard de la lorgnette le général et la générale Charette,
l'amiral Coupvent des Bois, le général et la générale de Biré. le baron
de Beyens, la duchesse de Bisaccia, la comtesse Aimery de la
Rochefoucauld, la comtesse Octave de Béhague, lady Standish, la comtesse
Pillet-Will, la comtesse Cornet, la vicomtesse de Greflulhe, le baron et
la baronne Alphonse de Rothschild, Adolphe de Rothschild, Mme Pastré, ia
comtesse de la Haye-Jousselin, la comtesse de Beauvoir, le prince de
Sagan* Ambroise Thomas, Reyer, Massenct, Delibes, Lenepveu, Widor,
Théodore Dubois, Benjamin Godard , D'Ennery, Alexandre Dumas, Meilhac,
Jules Barbier, Ludovic Malévy, Camille Doucet, M. et Mme Jules Simon,
Tirard , Camescasse , Lockroy , Georges Berger, Antonin Proust,
Munkaczy, de Nittis, Clairin, Lepic, les docteurs Fauvel, Piogey et
Beni-Barde, Carraby, le prince d'Hénin, le comte de l'Aigle, le marquis
de Brincourt, le vicomte de Sarcus, deSancy, Ephrussi, dé Camondo,
Coronio, de la Bourdonnaye, Ellissen, Cahen d'Anvers, Cartier, de
Montebello, Abeille, de Magellan, d'Andigné, Sivori, Colonne,Imbert
deSaintAmand, Mlles Lloyd, Fiocre, Marquct, Piron, Righetti, Alice Biot,
Lodi,. Vanghell, Adèle Mérànte, etc.</p>
<p><pb/></p>
<p>.MARS 91</p>
<p>LE COMPOSITEUR</p>
<p>Ge grand artiste est un timide. 11 paraît qu'on lui</p>
<p><pb/></p>
<p>92 LES SOIREES- PARISIENNES</p>
<p>avait proposé de conduire l'orchestre le soir de sa première et il a
refusé, pour un tas de motifs excellents d'ailleurs, mais aussi parce
qu'il ne se sentait pas l'aplomb nécessaire pour une exhibition de cette
nature.</p>
<p>Pendant toute la représentation, M. Saint-Saëns, ainsi que MM. Détroyat
et Silvestre se sont tenus dans la loge de M. Vau:;»rbeil, M.
Saint-Saëns, fort ému et surtout très fatj& : j, ce qui s'explique après
le grand effort qu'il vient de faire.</p>
<p>Après le second acte, on vient beaucoup lui serrer la main et le féliciter.</p>
<p>On me ratonte que, pendant les répétitions d'orchestre, Saint-Saëns, au
lieu de se tenir sur la scène comme le font la plupart des musiciens, se
mettait au fond du parterre, se rendant mieux compte ainsi des effets
qu'il désirait produire. Cela ne l'empêchait pas de s'apercevoir de la
moindre fausse entrée de n'importe quel instrument et de la rectifier à
l'instant.</p>
<p>PREMIER ACTE</p>
<p><pb/></p>
<p>MARS 93</p>
<p>M. Eugène Lacoste a été faire, au compte de l'Opéra, un voyage
d'exploration en Angleterre, où il a parcouru les musées, fouillé les
bibliothèques, entassé les documents. Il en a rapporté beaucoup de
jolies choses. Aussi, tout ce qui est du domaine de lareconstitution
historique m'a paru on ne peut mieux</p>
<p><pb/></p>
<p>94 LES SOIREES PARISIENNES</p>
<p>réussi. Le dessinateur ordinaire des costumes de l'Opéra est un
travailleur intéressant, un chercheur obstiné, un érudit. Il a habillé
les rôles d'Henri VIII d'une façon aussi curieuse que possible.</p>
<p>Le choeur chanté par tous ces gentilshommes semble avoir été écrit pour
donner un démenti formel aux pamphlétaires qui ont prétendu qu'on
s'amusait follement dans les palais royaux. Il est vrai que tous ces
gentilshommes sont anglais, ils ont peut-être Je spleen.</p>
<p>Le petit motif d'orchestre qui souligne l'entrée du Roi n'est pas
beaucoup plus gai. Mais on oublie d'écouter pour admirer le costume de
Lassalle. Pourpoint de cachemire blanc brodé et bordé d'or, pièce de
poitrine rose avec crevés, séparés p&r de gros bijoux eh or et en
pierreries; chemise brodée d'or; ceinture en satin blanc avec poignard
et gland en or; cape de velours cramoisi brodée d'or; manches en peluche
blanche relevées par un diamant serti d'or. Toque de velours noir avec
agrafe et plume blanche.</p>
<p>N'oublions pas, sur le maillot blanc, la jarretière</p>
<p><pb/></p>
<p>MARS 95</p>
<p>bleue avec Y Honni soit qui mal y pense, en lettres de diamants.</p>
<p>La tête est fort belle. M. Lassalle s'est poudré de rouge les cheveux et
la barbe, ce qui jette sur sa physionomie, d'ordinaire si franche et si
sympathique, des reflets fauves, en harmonie parfaite avec le personnage
qu'il représente.</p>
<p>C'est lui le premier qui fait éclater les applaudissements avec son air:</p>
<p>Qui donc commande quand il aime?</p>
<p>Je l'entends murmurer :</p>
<p>- Allons, bon, est-ce qu'il va faire des concessions maintenant ?</p>
<p>Entrée de la Reine. Mme Krauss porte une robe de velours bleu de roi
ouverte en carré, bordée d'or et de diamants, avec des manches de salin
gris-bleu ouvragées en or; la pièce de poitrine en vieil or cuivré avec
des arabesques Renaissance ; le tablier en vieil or cuivré avec des
rinceaux montant jusqu'au corsage.</p>
<p>J'aime beaucoup sa coiffure, très originale et qui, paraît-il, n'a
jamais été portée qu'en Angleterre* C'est une sorte de bonnet ou de
chapeau en velours blep avec une bordure de pierres précieuses, formant
comme un circonflexe sur les cheveux. Je n'oserais pas affirmer que ce
sera la grande mode de cet hiver. mai? enfin c'est joli.</p>
<p>Mme Krauss attache, d'ailleurs, une énorme impor-</p>
<p><pb/></p>
<p><)6 LUS S01KÉES PAKISIEXXES</p>
<p>Présentation d'Anne de Boleyn : Mlle Richard. Joli costume aussi,
inspiré des modes de la cour de France, où la future reine d'Angleterre
a séjourné quelque temps : la robe de soie mauve brodée en plein de
motifs en or, avec manches gonflées aux épaules, ouvertes de crevés
jaune clair. Pièce de poitrine brodée or, perles et rubis. Tablier et
jupe de dessous comme la pièce de poitrine.</p>
<p>SECOND ACTE</p>
<p>Jardins de l'Alcazar...</p>
<p>Le décor de M. Lavaslre jeune, absolument adorable , représente le parc
de Richmond ; mais, étant donné le premier duo où Dereims reproche à
Richard d'être la maîtresse du roi, on pouvait s'y tromper.</p>
<p>Lassalle VIII nous apporte une bonne nouvelle.</p>
<p><pb/></p>
<p>-MARS 97</p>
<p>chante-t-il.</p>
<p>Les abonnés de l'orchestre tressaillent d'aise. Une fête! Ce ne peut
être que le ballet.</p>
<p>Mais ce n'est pas pour tout de suite.</p>
<p>Nous avons, avant, le duo de Lassalle et de Mlle Richard qu'on applaudit
énormément. C'est le triomphe des mélodistes.</p>
<p>- Encore des concessions, murmure le monsieur, près de moi.</p>
<p>Puis on annonce le légat du pape, M. Boudouresque, dans son costume de
cardinal de la Juive.</p>
<p>Madame, en attendant, soyons tout au plaisir I</p>
<p>chante encore Lassalle. Et cette fois, décidément, c'est</p>
<p>LE BALLET</p>
<p>J'aime autant vous dire tout de suite qu'il m'a paru manqué comme
costumes et comme pas.</p>
<p>Pour les pas, M. Mérante n'a pas été aussi heureusement inspiré que de
coutume. Nous avons vu bien des fois, dans les théâtresxch*7^éer^e, la
fête du hou/^--'l.JA 6</p>
<p><pb/></p>
<p>98 LES S01RÉKS PARISIENNES</p>
<p>blon où les danseuses forment des treilles, des allées, des labyrinthes
avec des guirlandes vertes et des branches enrubannées.</p>
<p>Le costume de la Gipsy n'est guère plus heureux que les autres.
Seulement Mlle Hirsch, avec sa charmante laideur et ses longs cheveux
flottants, a bien la tête étrange et séduisante de son rôle. A
l'orchestre on a tout de suite baptisé son écho :</p>
<p>- Le pas de la repasseuse de petits couteaux.</p>
<p>TROISIEME ACTE</p>
<p>Regardez bien lé petit décor du premier tableau de cet acte. Il est,
comme les deux suivants, de MM. Rubé et Chaperon, C'est une merveille de
perspective et la tapisserie qui couvre les mûrs de cette salle de
palais est la chose la plus amusante du monde. On peut l'admirer en
détail. Ce n'est pas la mélodie qui</p>
<p><pb/></p>
<p>/.MARS: . U.:/V- -99</p>
<p>- C'est précisément ce qui fait sa valeur ! disent les waghériehs
intransigeants. ??</p>
<p>Et l'amphithéâtre seretournait également y et lès secondes loges
plongeaient dans les premières, et les troisièmes dans lés secondés»
bref tout un public énervé, s'agitant sans savoir pourquoi, puis se
calmant subitement, sans plus de raison. v--V;'^..;:A,îV " ;T ?.!.-?</p>
<p>Mais le décor change et nous sommes dans la salle du Syriode, Un Aa/i
immërtsè, tout entier eh boiseries sculptées, avec les lords et les
dames de la cour assis un peu partout et les gradins vides pour les
évoques et lés légistes.</p>
<p>À peine a-t-on vu ce décor, qu'on est pris d'une envie immense
d'entendre {'Africaine.</p>
<p>Maië ce n'est pas poUr <ie ëoir.</p>
<p>Des fanfares annoncent l'arrivée du cortège royal.</p>
<p><pb/></p>
<p>100 I.ES SOIREES PARISIENNES</p>
<p>gneurs de sa suite, des pages de la reine, de la xeine etde ses dames
d'honneur, des gentilshommes portant des piliers d'argent, du sergent
d'armes avec la masse du gentilhomme huissier, de deux scribes et des
juges.</p>
<p>C'est un symbole représentant les soutiens de l'État.</p>
<p>Shakespeare dont M. Mayer a suivi scrupuleusement les indications pour
la mise en scène en fait mention et M. Lacoste les a copiés avec soin en
Angleterre, en y ajoutant seulement des armoiries pour leur enlever un
peu de leur aspect bizarre.</p>
<p>En composant ce tableau, Ai. Saint-Saëns s'est rappelé qu'il avait été
organiste et comme le schisme de 'l'Eglise d'Angleterre a été prononcé
le jour de la Trinité, il a fait de l'hymne liturgique de cette fête le
motif de la prière que chante l'archevêque de Can» torbéry et que les
choeurs reprennent avec lui.</p>
<p>QUATRIÈME ACTE</p>
<p>Un ravissant décor dans le style de la Renaissance anglaise. Une toute
petite galerie, au plafond bas donnant sur le parc ensoleillé où des
bergers et des bergères en soie claire répètent un petit divertissement.</p>
<p>Tous les personnages ont changé de costume. Ai. Dereims est en pourpoint
gris rayé de velours noir et niellé noir et or ; Aille Richard a une
robe de velours vert avec des broderies d'or aux épaules; le corsage
brodé d'or est ouvert en losange ; le tablier est gris perle avec grands
motifs brodés de soie grise,</p>
<p><pb/></p>
<p>.MARS IOI</p>
<p>ton sur ton; les manches sont en guipure blanche brodée noir et or.</p>
<p>Quant au dernier tableau, le plus dramatique, le plus empoignant de
tous, il se passe au château de Kimbolt, dans la chambre de la Reine,
une grande chambre, froide et triste, avec les boiseries sculptées qui
sont le fond de tous les décors d'Henry VIII, et une magnifique cheminée
gothique, en pierre blanche, avec quantité de personnages sculptés dans
leurs niches en dentelles. ;</p>
<p>M. Saint-Saëns et ses collaborateurs se sont évidemment tenu ce
raisonnement fort juste :</p>
<p>- Le quatuor de Rigoletto, toutes les fois qu'il est chanté dans un
grand concert quelconque par des artistes aimés, obtient un succès
énorme. La Krauss y est superbe, Lassalle y est excellent et Richard
parfaite. Mais on ne peut plus l'entendre.quedansles concerts, et pas
bien souvent encore.</p>
<p>Alors, ces messieurs ont refait le fameux quatuor en donnant au ténor la
place du baryton et au baryton celle du ténor. 11 va sans dire que M.
Saint-Saëns ne s'est pas servi des mélodies de Verdi, pas plus que MM.
Détroyat et Silvestre n'ont employé les paroles de l'ouvrage italien.</p>
<p>La fin justifie les moyens.</p>
<p><pb/></p>
<p>102 LES SOIRKKS PARISIENNES</p>
<p>PEAU NEUVE</p>
<p>6 mars.</p>
<p>L'auteur du Homard a bien changé depuis les répétitions de Peau Neuve.</p>
<p>Un nouveau Gondinet, très différent de l'ancien, s'est révélé aux
artistes du Palais-Royal.</p>
<p>L'ancien Gondinet était doux, bieriveiliant, conciliant, trop
conciliant, modeste, trop modeste. On lui faisait une observation, et il
s'y soumettait aussitôt; on lui demandait un changement, et il s'y
prêtait avec empressement.</p>
<p>Mais les dernières répétitions de la pièce que l'on a jouée ce soir ont
fait surgir un Gondinet inédit; un Gondinet qui a des exigences et qui
entend qu'on s'y soumette ; un Gondinet qui se révolte quand il a raison
et qu'on veut lui donner tort.</p>
<p>Ce Gondinet est très méchant, Quand on l'attaque, il se défend !</p>
<p>Quand il s'agit de distribuer Peau neuve, on lui proposa pour le rôle de
"la comtesse Sidonie une artiste charmante sans doute, mais qui ne lui
parut pas avoir les qualités nécessaires au personnage qu'elle devait
représenter.</p>
<p>Gondinet déclara qu'il lui fallait Antonine. On commença par élever des
objections; comme il s'entêtait on traîna les choses en longueur
espérant qu'il finirait par se lasser.</p>
<p>Cela se fût passé ainsi avec le Gondinet d'autrefois, mais avec le
méchant Gondinet de maintenant il n'y a -pas eu moyen.</p>
<p><pb/></p>
<p>MARS IOV</p>
<p>Le collaborateur de M. Edmond Gondinet est un jeune, un nouveau, un
débutant. On m'affirme qu'il a horreur de la publicité, et qu'on lui est
on ne peut plus désagréable, toutes les fois qu'on parlede, luidans les
journaux.</p>
<p>« A chacun son métier, écrivait Sarcey, dans ses</p>
<p><pb/></p>
<p>104 LES SOIREES PARISIENNES</p>
<p>Sarcey, qui est fort myope et qui ne voyait de Gondinet que les
moustaches, lui trouva un air féroce.</p>
<p>- Cet officier m'en veut, se dit-il tout en mangeant, parce que j'ai dit
du mal de ses pièces. Prouvons-lui que, comme homme, il ne m'est
nullement antipathique.</p>
<p>Et il engagea la conversation avec son voisin.</p>
<p>Gondinet ne sourcillait pas !</p>
<p>- Oh ! se dit Sarcey, je lui aurai donné un grade inférieur au sien, et
il est fâché.</p>
<p>Aussitôt il reprit :</p>
<p>- Dites-moi, commandant, mangez-vous souvent d'aussi belles asperges à
votre mess?</p>
<p>Gondinet chercha autour de la table le chef d'escadron auquel pouvait
bien s'adresser Sarcey.</p>
<p>- Fichtre! pensa ce dernier, je me suis encore trompé :</p>
<p>Et alors, frappant doucement sur le bras de son voisin :</p>
<p>- Colonel, excusez-moi... croyez que j'ignorais!...</p>
<p>- Ah ça! s'écria Gondinet avec colère, avez-vous bientôt fini? Que vous
éreîniicz mes pièces, c'est votre</p>
<p><pb/></p>
<p>.mars 105</p>
<p>droit, mais en dehors du théâtre, je n'aime pas qu'on me fasse poser,
entendez-vous.</p>
<p>- Mats, général!</p>
<p>- Encore > Je ne suis ni général, ni colonel , ni même simple soldat.</p>
<p>- Comment, vous n'êtes pas dans la cavalerie)</p>
<p>- Je n'y ai jamais été.</p>
<p>- Vraiment. Oh ! alors, dit Sarcey, c'est bien différent. -</p>
<p>Et depuis cette époque il a toujours écrit de Gondinet le bien que tout
le monde en pense.</p>
<p>LES KFFhOX'TÊS</p>
<p>:.'-:v".;-;;"? ; ?;...',?;? 7 mars. :.v.-;>;-.</p>
<p>ÈffràMès. ''^:S'-y\-';-i-':y^</p>
<p>La grande et belle comédie d'Emile Augier est, pour une forte partie des
habitués actuels du Théâtre^Français< une comédie nouvelle et là
représentation de ce soir a tout l'éclat d'une vraie première/</p>
<p>C'était le to janvier 1861.</p>
<p><pb/></p>
<p>io6 m:s soikkks pauisiiînxks</p>
<p>Malgré leur grand succès, les Effrontés soulevèrent</p>
<p><pb/></p>
<p>MARS 107</p>
<p>des protestations énergiques ; dans le public parmi ceux qui avaient cru
se reconnaître, et ensuite dans les journaux.</p>
<p>Le cynisme du gazetier Giboyer indigna quelques journalistes; la crudité
de son langage révolta ceux qui se piquaient de purisme.</p>
<p>Théophile Gautier écrivit dans son feuilleton du lundi</p>
<p>« Quelques traits sont d'un goût un peu hasardé ».</p>
<p>Et Florentino :</p>
<p>Paul de Saint-Victor aussi fit quelques critiques.</p>
<p>0 Souvent les personnages, pour égayer le sujet, parlent l'argot des
coulisses et imitent le cri dés rapins. »</p>
<p>Emile Augier envoya immédiatement deux de ses amis demander des
explications au rédacteur en chef de Y Univers , et comme Louis Veûillot
avait répondu que ses principes religieux ne lui permettaient pas
d'aller sur le terrain; Augier se vengea en faisant de lui un portrait
très vif dans le Fils de Giboyer. Tout le monde reconnut le
publicistésous les traits deDéodat, et lui-même constata la ressemblance
du portrait dans une longue brochure, le Fond de Giboyer, qu'il fit
paraître peu de temps après.</p>
<p>Augier l'avait appelé : « batonniste devant l'Arche », Veûillot riposta
par le trait suivant qui donnera une idée du reste de la brochure :</p>
<p>« Je ne me suis jamais proposé que le rôle du suisse,</p>
<p><pb/></p>
<p>io8 les soirées parisiennes</p>
<p>Peut-être faut-il le regretter, car il eût été piquant de retrouver,
dans cette tirade sur l'aristocratie de l'intelligence, bien des choses
qui se fussent merveilleusement appliquées aux hommes éminents qui nous
gouvernent.</p>
<p>Ainsi que je l'ai dit en commençant, cette soirée a été d'un intérêt
énorme.</p>
<p>Une belle salle. Pas de ministres. Dans la fameuse baignoire où Léon
Gambetta avait l'habitude de se cacher, se trouvent le général Pittié et
des dames de sa famille.</p>
<p><pb/></p>
<p>.MARS 109</p>
<p>sentation et qu'on a dû interrompre le spectacle, que me restera-t-il à
ajouter)</p>
<p>Et quoi encore)</p>
<p>Qu'un des premiers soins de Got, lorsqu'on s'occupa de la reprise des
Effrontè$% fut de rechercher son costume qui avait eu tant de succès en
1861 ;</p>
<p>Qu'il retrouva les habits et même la barbe, mais que la perruque était
dans un état impossible. L'avait-on mise trop près des perruques qui
servent dans la tragédie) Je l'ignore. En tous cas, elle était
complètement mangée aux vers.</p>
<p>Est-ce donc tout) A peu près. A la sortie, Vernouillet - car il y a
encore des Vernouiliel - s'est écrié avec conviction :</p>
<p>- Tout cela était bon il y a vingt ans. Aujourd'hui on n'achète plus la
Conscience publique, on la met en actions!</p>
<p>LE HOI DES GHKCS</p>
<p>8 mars.</p>
<p>Le lloi des Grecs ne nous échappera pas !</p>
<p>7</p>
<p><pb/></p>
<p>HO LLS SOIREES PARISIENNES</p>
<p>Le drame a été tiré par M. Adolphe Belot d'un roman-feuilleton qu'il a
publié dans la République française.</p>
<p>Le Roi des Grecs (roman) ayant un épisode qui se passe en Tunisie, Belot
s'est embarqué pour le pays où fleurit le kroumir. Il en a rapporté les
dessins des deux jolis costumes que porte la charmante Mlle Marcelle
Jullien.</p>
<p>Deux tableaux du drame se déroulent dans la maison centrale deMclun.
Belot a tenu a y passer quelques jours.</p>
<p><pb/></p>
<p>MARS 1 I 1</p>
<p>Celui-ci, qui ne doit pas être fâché de varier un peu ses relations, le
reçut admirablement.</p>
<p>11 fit ainsi quelques connaissances charmantes.</p>
<p>- Je suis depuis cinquante ans en prison, c'est vrai, mais j'ai fait dix
ans de bagne !</p>
<p>Pelot a, chez lui, une planque qu'on lui a donnée làbas. C'est un outil
dont le PM'.nche très adroitement creusé, servait de tabatière ; le jour
où Belot prisera,. il ne prendra pas son tabac dans une autre boîte que
celle-là.</p>
<p>On sonna le tocsin et, quelques secondes après, tous les détenus furent
dans la cour, attelés aux pompes et</p>
<p><pb/></p>
<p>112 LES SOIKEES PARISIENNES</p>
<p>Mais les meilleures choses ont une fin, et Belot se vit forcé de quitter
la maison où l'hospitalité lui était si large.</p>
<p>Un cercle qui a son Waterloo, en langage technique, est un cercle où
l'on prend un grec la main dans le sac.</p>
<p>Belot ne se contenta pas des renseignements ;, il voulut visiter
certains tripots qui lui furent désignés et s'y fit plumer avec une
maestria qui le plongea dans le ravissement.</p>
<p><pb/></p>
<p>MARS ! I }</p>
<p>ce que c'est maintenant que les relançeurs de pleins , les philosophes,
les donneurs de flan, les façonniers, les fîleurs. Merci, Belot, encore
une fois merci !</p>
<p>Mais sapristi comme le cercle de l'avant-dernier tableau est pauvrement
meublé ! Il y a, au-dessus de la table de baccarat, une suspension dont
on ne voudrait pas dans les cafés des boulevards extérieurs, et l'aspect
lamentable du mobilier nous a fait verser des larmes.</p>
<p>Est-ce que les directeurs de la Gaité n'auraient pas confiance dans le
produit de la cagnotte ?</p>
<p>L'INFLUENCE DU CEUCLE SUR LE TUE\THE</p>
<p>12 mars.</p>
<p>Il y a une huitaine de jours, j'étais allé voir la reprise des Jocrisses
de l'amour, au Palais-Royal.</p>
<p>Vous connaissez la pièce de Barrière et de Thiboust. Vous savez qu'il y
a là-dedans plus d'esprit, de gaîlé et d'amusante philosophie, qu'il
n'en faudrait pour assurer le succès de trois comédies nouvelles.</p>
<p><pb/></p>
<p>I J-| l,E8 SOJRKES PARISIENNES</p>
<p>L'interprétation, sans être absolument hors ligne, était satisfaisante
et cependant la salle était si peu remplie, qu'après sept ou huit
représentations la pièce a dû disparaître de l'affiche.</p>
<p>Les trois quarts des jeunes gens aujourd'hui n'ont pourtant pas vu les
Jocrisses de l'amour ; lePalais-Royal leur offrait l'occasion de passer
trois heures charmantes et ils se sont abstenus. Pourquoi)</p>
<p>C'est qu'un changement regrettable est en train de s'opérer dans le
public des théâtres. Les jeunes gens s'y font rares et on se passerait
fort bien de la plupart de ceux qui y viennent.</p>
<p>Il y en a encore, parbleu, qui s'intéressent aux choses de l'esprit,
qu'une belle comédie transporte, qu'un bon vaudeville fait pâmer d'aise,
mais la majorité a la tête ailleurs.</p>
<p><pb/></p>
<p>.MARS 1 l 5</p>
<p>intermittences, et seulement aux endroits que les journaux ont signalés
comme plus réussis que les autres.</p>
<p>Si, au contraire, comme les Jocrisses de Vamour, la pièce n'a pour tout
mérite que d'être un petit chefd'oeuvre qui date de quinze ou vingt ans,
ils n'écoutent presque pas.</p>
<p>Pendant l'entracte ils se réunissent par petits groupes de tjrois ou
quatre, et l'on entend des bribes de phrases comme celles-ci :</p>
<p>- Passe de dix ... main rasoir... rien que des bûches... j'avais fait
cinquante louis achevai... complètement rincé... une vraie culotte!</p>
<p>Si, pendant que l'on bat les cartes, quelqu'un leur demande ou ils ont
passé la soirée :</p>
<p><pb/></p>
<p>Il6 I.KS SOIRKKS 1WUIS1KXXT.S</p>
<p>VAS DE TlOEFLi:.</p>
<p>i) mars.</p>
<p>Directrice ou tragédienne, l'universelle Sarah 13ernardt n'a de parti
pris pour aucun genre. Elle se dit qu'il faut montrer un peu de tout au
public de l'Ambigu et, loin de s'en tenir aux oeuvres héroïques ou
littéraires, elle a voulu que son jeune directeur de fils en revint
cette fois au mélodramme naturaliste qui fit un moment la fortune de la
maison.</p>
<p><pb/></p>
<p>MARS I ! 7</p>
<p>Jamais homme ne poussa si loin Y Art de riche que grand 1 père.</p>
<p>L'As de trèfle devait primitivement s'appeler Y As de pique.</p>
<p>Neuf tableaux. Pas un de plus, pas un de moins. C'est le cas ou jamais
de commencer par le premier :</p>
<p>La .mère et le fils. - Intérieur austère et solennel, vieilles
tapisseries aux murs et sur les sièges ;crédence en chêne sculpté;
console dorée, statuettes, buste en bronze. Au fond,une vue de jardin
représente l'élément gai du décor.</p>
<p>Alais Aille Valatte en a été quitte pour la peur,puisque son rôle a été
maintenu.</p>
<p>7-</p>
<p><pb/></p>
<p>IlS LES SOIRÉES PARISIENNES</p>
<p>jeune médecin qu'il représente, la cravate blanche, les favoris noirs et
la longue redingote d'usage, et porte tout simplement une barbe blonde
et un complet très moderne.</p>
<p>Espérons que le temps n'est pas trop mauvais.</p>
<p>A la fin du tableau, Julia se tire les cartes.</p>
<p>Ce soir, Mlle Mary Jullien, s'est fait une excellente réussite.</p>
<p>Heureux présage pour Y As de trèfle !</p>
<p><pb/></p>
<p>MARS II9</p>
<p>Du reste, Mlle Marie Kolb, qui aborde aujourd'hui les premiers rôles de
drame, pourrait aussi bien tenir l'emploi de diva d'opérette, car elle a
chanté Lili en province avec beaucoup de succès.</p>
<p>Le personnel très curieux, très pittoresque des habitués de
l'Eden-Brasserie se compose dé cochers, de bookmakers, de jockeys, de
palefreniers dont les propos nous édifient étrangement sur certains
tripotages du turf. Belot nous a enseigné l'autre soir comment on triche
au jeu, M. Decourcelle nous explique comment on vole aux courses.</p>
<p>Le meurtre. - Le titre change, mais c'est encore dans le boudoir du
deuxième acte qu'on nous -trans* porte. On ne le revoit du reste que
quelques minutes, juste le temps de faire assassiner Mary Jullien par
Taillade et Bouyer qui est, le propre frère de Mlle Dauberval.</p>
<p><pb/></p>
<p>120 I.F.S SOIRKES PARISIENNES</p>
<p>L'Istruction. - On connaît ce cabinet du juge, avec ses tentures vertes
et ses cartons rouges.</p>
<p>Montigny représente avec une dignité parfaite un magistrat que l'auteur
n'a probablement fait aussi jeune que pour expliquer son inexpérience.</p>
<p>Lacressionnière, qui apparaît pour la première fois, représente, en M.
Robert, un ex-chef de la Sûreté.</p>
<p>C'est un peu le personnage de M. Claude, mais la tète est beaucoup celle
du savant M. Laboulaye. .</p>
<p>Une jolie formule de serment, prononcée par l'agent secret, M. Petit,
auquel on demande s'il est bien sûr de la culpabilité de Marcel Bernier :</p>
<p>- Devant le Christ de M. Bonnat, je le jure !</p>
<p>On m'affirme cependant que cette troisième fois est la dernière.</p>
<p>Li: Tripot. - Plus chic, plus élégant que celui de</p>
<p><pb/></p>
<p>MARS 121</p>
<p>Taillade lui-même, bien qu'il se soit fait une tête d'Américain, peut
passer pour un autre Roi des Grecs.</p>
<p>Pendant l'entr'acte, Sarah Bernhardt arrive dans une avant-scène. Il est
minuit moins un quart. Fédora s'est jouée rondement ce soir.</p>
<p>Les boxxeteuks du Poixt-du-jour. - Reproduction assez fidèle du ce coin
de Paris, avec la population de joueurs de bonneteau et de souteneurs
qui en font le pittoresque ornement.</p>
<p>A l'Ambigu, il faut ça.</p>
<p>La mise en scène de cet amusant tableau est du reste fort pittoresque et
fort curieuse.</p>
<p><pb/></p>
<p>122 LES SOIREES PARISIENNES</p>
<p>perbe dans sa nouvelle création, dans la voie des</p>
<p>aveux. Pour M. Pierre Decourcelle, cet as de trèfle est un</p>
<p>véritable as d'atout.</p>
<p>- G'est comme s'il avait un cent d'as en main !</p>
<p>FOMIOSA</p>
<p>i6 mars.</p>
<p>Une pièce nouvelle de M. Auguste Vacquerie, cela valait le voyage, en
effet.</p>
<p>A une époque où l'on abuse des grands mots, où les essais dramatiques
les plus étranges, les plus maladroits, les plus incorrects sont
pompeusement qualifiés dé tentatives littéraires, il est consolant
d'entendre parfois l'oeuvre d'un véritable écrivain,</p>
<p>On n'accusera pas M. Vacquerie de barrer la route aux jeunes.</p>
<p>Loin d'accaparer les théâtres, il y a vingt ans qu'il n'a rien fait
représenter. Jean Batictry^ qui eut récemment Un si brillant regain de
succès h la Comédie-</p>
<p><pb/></p>
<p>MARS .? 123</p>
<p>: ' " t. . -. : " -</p>
<p>U y a encore quelque temps, la mode - ou le hasard des coïncidences -
était aux pièces russes.</p>
<p>Espérons, pour le bon équilibre européen au théâtre, que chaque nation
aura son tour.</p>
<p>La couleur locale et l'exactitude historique d'OutreManche sont d'une
réalisation assez difficile.</p>
<p><pb/></p>
<p>124 LES SOIREES PARISIENNES</p>
<p>C'est le Saltabadil de la rive gauche.</p>
<p>Plus élégant est M. Chelles dont les deux costumes feraient sensation ce
soir au bal des artistes (section historique).</p>
<p>Il n'y a que les traîtres-pour être si beaux en scène. Bien que M.
Chelles joue le rôle d'un odieux prétendant, ses directeurs ne lui ont
rien refusé.</p>
<p>Ces messieurs n'auraient-ils pas les opinions du Rappel de M. Vacquerie?</p>
<p>Le terrible comte de Warwick, le faiseur de rois, M. PaulMounet, pour
l'appeler par son véritable nom, est revêtu du costume austère, mais
confortable et de</p>
<p><pb/></p>
<p>MARS ' 125</p>
<p>On voit tout de suite que le .terrible \Var\yick ne fut pas au nombre
des gpmmeux dé son temps.</p>
<p>La plus grande prépççupatjpiv de M. Paul Mpùnet, pour éviter autant que
possible l'inévitable ressemblance avec son grand frère de la
Comédie-Française - ressemblance que la presse lui signale... toujours
sans la lui reprocher, autrement -- a été de se vieillir le plus possible.</p>
<p>Très remarquables tous les décors de Foimosa.</p>
<p>En facef le jardin de l'hôtel d'Essex; un grand mur dont la crête est
escaladée par des branches vertes et des ppusses dé lierre qui débordent, j</p>
<p>jolie toile de fond représentant des maisons et une église Se détachant
sur un ciel crépusculaire.</p>
<p><pb/></p>
<p>126 LES SOIRÉES PARISIENNES</p>
<p>Ce décor sert également au quatrième acte.</p>
<p>Le troisième(Rubéet Chaperon) représente une salle chez Formosa, au
palais d'Essex.</p>
<p>Au premier acte de Formosa, l'allumeur de lanternes fredonne ces quatre
vers :</p>
<p>C'est le danger du jour qui baisse,</p>
<p>11 levait vingt ans, Quand il vit que c'était l'abbesso*</p>
<p>Il n'était plus temps.</p>
<p>- Tiens, c'est comme moi, dit un financier qui s*cst ruiné en jouant à
la hausse lors de krach :</p>
<p>Dans l'avant-scène de droite, Victor Hugo avec M. et Mme Lockroy, Jeanne
et Georges Hugo.</p>
<p><pb/></p>
<p>MARS 12:</p>
<p>Ce soir, il a fallu se fâcher pour leur imposer silence. Je demande
qu'on passe un peu de tisane pendant les entr'actes.</p>
<p>MODÈLES DE PIIÊFACES</p>
<p>20 mars.</p>
<p>Une nouvelle mode se dessine. Les auteurs dont les pièces n'ont pas
réussi les publient en les faisant précéder de préfaces dans lesquelles
les critiques dramatiques sont fort malmenés. Ce sont ces misérables
journalistes qui ont éloigné les spectateurs. Aussi les traite-t-on de
malfaiteurs, d'hommes sans foi ni loi, d'eunuques.</p>
<p>PRÉFACE D'UNE TRAGEDIE .</p>
<p><pb/></p>
<p>128'</p>
<p>LES SOIRÉES PARISIENNES</p>
<p>PRÉFACE D'UN OPÉRA</p>
<p><pb/></p>
<p>-MARS 129</p>
<p>PRÉFACE d'uXE PIÈCE SCIENTIFIQUE</p>
<p>Certes ils ne prévoyaient pas ce qui se passerait un jour, ceux qui,
pour exprimer leur pensée, tracèrent des signes sur des feuilles de
palmier, ni ceux qui se servirent d'écorces d'arbres ou de tablettes de
cire, ni ceux qui fabriquèrent le papyrus avec l'écorce du roseau. ?</p>
<p>11 était sans méfiance le roi Philippe de Valois quand, vers 1340, il
encouragea l'installation de la première papeterie.</p>
<p><pb/></p>
<p>I30 LES SOIREES PARISIENNES</p>
<p>cuter l'une des plus nobles conceptions [modernes : la pièce scientifique.</p>
<p>Ah! Gutenberg, Gutenberg, pourquoi as-tu inventé l'imprimerie?</p>
<p>PRÉFACE b'u.NE PIÈCE POPULAIRE</p>
<p>Représentée aux Bouffes du AToni Les journaliss', c'est tous des muflf'.</p>
<p>LE PREMIER BAISER</p>
<p>21 mars.</p>
<p>Depuis qu'il a donné le Droit d'aînesse, dans de si mauvaises
conditions, un soir de double première, et qu'il a vu la majorité de la
presse opter pour un autre théâtre, M. Brasseur n'a plus eu qu'une
préoccupation : celle de ne pas passer le même jour qu'un de ses confrères.</p>
<p>C'était son idée l.ixe, en montant la nouvelle opérette de MM. de Najac,
Toché et Emile Jonas.</p>
<p><pb/></p>
<p>MARS 131</p>
<p>La manifestation des artistes duChâtelet, refusant de jouer la Queue du
Chat ce soir-là, le fit réfléchir.</p>
<p>Mais, par exemple, il a fallu déployer une activité vraiment
extraordinaire pour que tout fût prêj aujourd'hui.</p>
<p>Le difficile, pour le 'Premier 'Baiser, n'était ni de répéter la pièce,
ni d'en établir la mise en scène, mais bien d'en lire la musique aux
artistes.</p>
<p>Ce soin incombe invariablement au compositeur.</p>
<p>Malheureusement, M. Emile Jonas n'est pas l'homme de ses mélodies. Elles
sont presque toujours gaies, pimpantes, d'un rhythme sautillant, tandis
qu'il est triste, songeur et mélancolique.</p>
<p>Quand il interprète une de ses partitions, Yallegrolc plus enlevant se
transforme en miserere et l'auditoire fond en larmes.</p>
<p><pb/></p>
<p>130 LES SOIREES PARISIENNES</p>
<p>cuter l'une des plus nobles conceptions [modernes : la pièce scientifique.</p>
<p>Ah! Gutenberg, Gutenberg, pourquoi as-tu inventé l'imprimerie?</p>
<p>PRÉFACE D'UNE PIÈCE POPULAIRE</p>
<p>Représentée aux Bouffies du Nord Les journaliss', c'est tous des muff'.</p>
<p>LE PREMIER BAISER</p>
<p>21 mars.</p>
<p>Depuis qu'il a donné le Droit d'aînesse, dans de si mauvaises
conditions, un soir de double première, et qu'il a vu la majorité de la
presse opter pour un autre théâtre, M. Brasseur n'a plus eu qu'une
préoccupation : celle de ne pas passer le même jour qu'un de ses confrères.</p>
<p>C'était son idéel'ixe, en montant la nouvelle opérette de MM. de Najac,
Toché et Emile Jonas.</p>
<p><pb/></p>
<p>MARS I3I</p>
<p>La manifestation des artistes duChâtelet, refusant de jouer la Queue du
Chat ce soir-là, le fit réfléchir.</p>
<p>Mais, par exemple, il a fallu déployer une activité vraiment
extraordinaire pour que tout fût prêj aujourd'hui.</p>
<p>Le difficile, pour le 'Premier Baiser, n'était ni de répéter la pièce,
ni d'en établir la mise eh scène, mais bien d'en lire la musique aux
artistes.</p>
<p>Ce soin incombe invariablement au compositeur.</p>
<p>Malheureusement, M. Emile Jonas n'est pas l'homme de ses mélodies. Elles
sont presque toujours gaies, pim-* pantes, d'un rhythme sautillant,
tandis qu'il est triste, songeur et mélancolique.</p>
<p>Quand il interprète une de ses partitions, Yallegrolo plus enlevant se
transforme en miserere et l'auditoire fond en larmes.</p>
<p><pb/></p>
<p>ip LES SOJHKES PARISIENNES</p>
<p>Décor intéressant au premier acte. L'intérieur d'un chalet. Du bois, du
bois et encore du bois : bois partout. Les murs, le plafond, les
accessoires sont en bois tout comme les meubles. Bonnet lui-même a l'air
d'être en bois, ainsi que la voix de Mme Felcourt. Seules, les petites
servantes d'auberge ne sont pas de bois, non plus que les spectateurs
qui les-lorgnent.</p>
<p>Elles sont généralement jolies, toutes ces petites femmes de chez
Brasseur et leur grand chapeau en dentelle noire avec touffe de fleurs
des champs, leur va délicieusement.</p>
<p>Du reste Draner sait jouer en'maître des effets de noir. Voyez plutôt
certains costumes des danseuses de l'Eden.</p>
<p>On ne saurait mieux imaginer pour ravir le spectateur, et l'artiste
auquel l'on doit les maillots noirs d'Excclsior a fait preuve au théâtre
d'une connaissance du coeur humain digne de Dumas fils.</p>
<p>L'amusant Berthelier est revêtu, a premier acte, d'un costume d'une
fantaisie très comique. C'est un luxe de peluche havane et de soie verte
avec des crevés, des plumes et des ornements garnis d'acier : toutes les
couleurs connues. Il a positivement l'air de jouer le roi Perroquet Ier.</p>
<p><pb/></p>
<p>.MARS 1 3 }</p>
<p>- Ça ira bien, j'ai rêvé que je savais mon rôle!</p>
<p>Marguerite Ugalde, elle, a su le sien dès le lendemain de la lecture.</p>
<p>- Si tous étaient comme elle, ça me ferait l'économie du souffleur.</p>
<p>Mise en scène fort originale au finale du premier acte.</p>
<p>Un quatuor, c'est bientôt chanté. Cela dure quelques secondes, mais il
paraît qu'en Suisse, peu après la mort de Guillaume Tell, cela suffisait
pour un premier baiser. .</p>
<p>8</p>
<p><pb/></p>
<p>l^.\ LES SOIREES PARISIENNES</p>
<p>Au second acte, Marguerite Ugalde chante des couplets d'une grivoiserie
fort accentuée.</p>
<p>Elle la chantait bien, mais la disait... sans la dire.</p>
<p>L'embarras .des auteurs n'avait d'égal que relui de Mme Ugalde mère. La
petite leur demandait d'éclairer leur lanterne.</p>
<p>- Elles n'en sont pas dignes, répondait pudiquement celui-ci. »</p>
<p>Alors, se tournant vers Toché, elle s'écriait avec humeur :</p>
<p>- Décidément, je ne comprends rien.</p>
<p>- Et vous ne devez rien comprendre! répondait l'austère Raoul d'une voix
grave.</p>
<p>De questions lasse, la charmante Suzel pria tout simplement ses auteurs
de lui fournir des intonations qu'elle a reproduites de confiance,</p>
<p>tA SOlME THEATRALE</p>
<p>22 mars</p>
<p>Vous avez cru* sans doute, que le Conseil municipal s'inclinait devant
le refus des artistes du Châtelet de jouer la Queue du Chat le
vendredi-saint ?</p>
<p>Pas du tout.</p>
<p>Les excellents citoyens auxquels Paris doit de si</p>
<p><pb/></p>
<p>.MARS</p>
<p>n</p>
<p>Et aucun artiste ne voulant jouer la Queue du Chai, ils ont décide
qu'ils la joueraient eux-mêmes.</p>
<p><pb/></p>
<p>iV></p>
<p>I.P.S S01RKKS PAMSIF.WKS</p>
<p><pb/></p>
<p>mars r^-</p>
<p>u: voxn m sac. -vauticle 47</p>
<p>24 mars.</p>
<p>« Oui, je ne ferai pas de modifications, pas une seule !»</p>
<p>Cependant, malgré cette résolution, il lui arriva d'interrompre la
répétition.</p>
<p>- Il me semble, faisait-il observer. ,que dans cette scène on pourrait
ajouter...</p>
<p>On ne le laissa pas achever. De tous les coins de la scène, sur l'air
immortel des lampions, on criait .</p>
<p>- Pas d'béquets ! pas d'béquets !</p>
<p>Bref, la pièce s'est jouée telle qu'on l'a lue.</p>
<p>Elle devait d'abord s'appeler les Etrennes. Les petits cadeaux qu'on se
distribue au jour de l'an y jouent un grand rôle.</p>
<p><pb/></p>
<p>«3-S LES SOIRÉES PARISIENNES</p>
<p>Il paraît que les cocoltes sont généralement mieux traitées en cette
occasion que les femmes honnêtes.</p>
<p>Et maintenant, mon cher Decourcelle, place aux jeunes !</p>
<p>En même temps, le théâtre des Nations reprenait VArticle 47, un des
grands succès de M. Adolphe Belot, de l'Ambigu, et de Mlle Rousseil.</p>
<p>Voici les notes que je reçois de la place du Châtelet.</p>
<p>Salle. - Médiocre. Nombreux vides. Beaucoup</p>
<p><pb/></p>
<p>MARS I39</p>
<p>d'enfants, dont plusieurs en très bas âge. De temps en temps les enfants
pleurent.</p>
<p>Décors. - Généralement empruntés au matériel, sauf le premier, qui
représente avec assez d'exactitude la belle salle des assises de Rouen.</p>
<p>Juges, huissiers, gendarmes. - Irréprochables.</p>
<p>Costumes. - Il n'y en a pas. Ah ! si, ceux de Mlle Rousseil, d'un
orientalisme très réussi.</p>
<p>Claque. ^- Intempestive. Nuit aux effets.</p>
<p>Particularité. - Bout de dialogue qui a fait beaucoup d'effet :?.-..</p>
<p>- Mais, madame, pourquoi portez-vous ce nom de Girard qui n'est pas le
vôtre ?</p>
<p>Singulière vanité !</p>
<p>Succès. - Assez corsé.</p>
<p><pb/></p>
<p>ijo i.r.s soirki'.s p.\nisiK.\.\r:s</p>
<p>LE SIÈGE CIVIL.</p>
<p>28 mars.</p>
<p>Après des réjouissances militaires cl des discours belliqueux, on a
représenté, devant une salle de gala, ce Siège de Lille qui a eu
beaucoup de succès et est revenu tout droit du département du Nord à
celui de la Seine.</p>
<p>Cela rappellera les Bourgeois de Molinchart,'ou les Bourgeois de
Pontarcy, ! ? .</p>
<p>Pourquoi pas, pendant qu'on y était, les Bons bourgeois de Lille ?</p>
<p>Mais encore ne faut-il pas pousser les choses trop</p>
<p><pb/></p>
<p>MARS I4I</p>
<p>loin et, si ce que l'on me raconte est vrai, MM. Larochelle et Debruyère
auraient fait, d'accord avec l'auteur, bien d'autres modifications. Us
auraient notamment retranché avec soin toutec qui rappelait la guerre,
les soldats, les canonnades, la mitraille.</p>
<p>Le siège de Lille ne serait plus qu'un siège civil.</p>
<p>Quand ils n'ont pu supprimer, ils ont tourné la difficulté par un tas de
subterfuges adroits et les natures les plus nerveuses sont sûres
maintenant de ne plus rien trouver dans le drame qui puisse blesser leur
sensibilité.</p>
<p>C'est ainsi qu'au deuxième acte un personnage s'écrie :</p>
<p>- Nous avons trente mille fusils !</p>
<p>- Oui, réplique vivement Dumaine, des fusils... pour battre le briquet.
C'est avec cela qu'on fait prendre l'amadou et c'est bien commode,
aujourd'hui que les allumettes chimiques ne sont pas encore inventées.</p>
<p>Un instant après on voit passer, au fond du théâtre, une troupe précédée
de tambours qui battent la charge :</p>
<p>- Virginie.' s'écrie le général, relirez vite les oi-</p>
<p><pb/></p>
<p>I4- 1 I-KS SOIREES PARISIENNES</p>
<p>seaux : c'est un orage. J'entends le tonnerre... il va pleuvoir.</p>
<p>Doum ! Un effroyable coup de canon éclate dans la coulisse.</p>
<p>Dans une pièce qui roule sur le siège de Lille, il était bien difficile
cependant de ne point faire paraître le fameux barbier qui rasait ses
pratiques en pleine rue, foisant mousser le savon dans un éclat d'obus.</p>
<p>On verra le barbier ; seulement il trempera son blaireau dans une moitié
de noix de coco.</p>
<p>Après avoir ainsi effacé tout ce qui pouvait 'rappeler la guerre, vous
croyez peut-être que MM. Dartois, La-> rochclle et Debruyère se sont
déclarés contents ?</p>
<p>Eh bien ! non !</p>
<p>M. Larochelle s'est dit que son nom était celui d'un port de guerre, de
deuxième classe, il est vrai, mais enfin d'un port de guerre, et il a
poussé le sacrifice jusqu'au bout.</p>
<p>A partir d'aujourd'hui, il ne s'appelle plus Larochelle : il s'appelle
Iïonfleur.</p>
<p>jsoiSKÂu m phoie.</p>
<p>30 mars.</p>
<p>M. Alexis Martin, l'auteur de YOiseau de proie, est un jeune, si l'on
appelle jeune, quiconque n'a pas encore été joué au théâtre. On n'a
représenté de lui qu'un</p>
<p><pb/></p>
<p>.MARS 1.J3</p>
<p>à-propos en un acte et en vers, la Fête de Molière, qui fut donné à
l'Odéon sous la première direction de M. de La Rounat - c'est-à-dire il
y a pas mal d'années.</p>
<p>D'autres se fussent découragés ; mais les auteurs de Plante laissant là
leur première oeuvre, en écrivirent immédiatement une autre de la même
importance : Charles le Téméraire, qu'ils eurent l'idée assez bizarre
d'aller porter à... Déranger.</p>
<p>Charles le Téméraire s'en alla rejoindre Plante dans le carton aux oublis*</p>
<p>On lui doit aussi deux ou trois petites plaquettes</p>
<p><pb/></p>
<p>l.\\ l.l^S SOIUIUS l'AHISIL.N.NKS</p>
<p>M. Alexis Martin, en dehors de ses travaux littéraires est teneur de
livres chez l'expert Georges Petit,</p>
<p>Néanmoins on a fait des frais, puisque l'on a engagé spécialement Mme
Duguéret pour jouer le rôle principal.</p>
<p>lus BouiiGixm ni; lïlli:.</p>
<p>3i mars.</p>
<p>Cela vaut infiniment mieux. V</p>
<p><pb/></p>
<p>MARS 145</p>
<p>Pour corser le titre légèrement pot au feu des Bourgeois de Lille, MM.
Larochelle et Debruyère ont imprimé en gros chiffres et entre
parenthèses sur leur afliche: (1792).</p>
<p>Cependant, on a conservé Jeanne la Flandre, la fameuse héroïne, la
Jeanne Hachette de Lille.</p>
<p>L'histoire anecdotique raconte, qu'au risque de se faire tuer mille
fois, elle allait sur les remparts, et là, dans des termes qu'il est
difficile de reproduire, criait aux Autrichiens en se montrant :</p>
<p>- Regardez-moi cela, jamais ce ne sera pour vous!</p>
<p>C'est Mlle Moïna Clément qui joue Jeanne la Flandre. Bien entendu cet
épisode aussi héroïque que gaulois ne se trouve pas dans son rôle.</p>
<p>On pouvait se figurer, en voyant le nom de Dumaine sur l'affiché d'une
pièce militaire quoique bourgeoise, qu'il allait encore une fois remplir
un rôle de cape et d'épée. Il n'en est rien. Dumàine aborde sa seconde
manière. Il vient dé débuter dans les comiques. L'excellent artiste
possède du reste une des qualités les</p>
<p><pb/></p>
<p>Ij6 LES SOIRÉES PARISIENNES</p>
<p>- On n'entend plus la canonnade, c'est bon signe ! s'écrie l'un des
personnages quand le rideau se lève après quelque sortie héroïque des
bourgeois de Lille.</p>
<p>M. Cornil a brossé un décor neuf, représentant une place de Lille ;
celle où s'élève aujourd'hui la colonne commémorative du siège.</p>
<p>On y voit, au cinquième tableau, l'enrôlement des volontaires avec
l'accompagnement obligé* mais discret, de la Marseillaise, jouée en
sourdine.</p>
<p>Les figurants, en général, m'ont paru manquer d'enthousiasme. Leurs cris
de: Vive la « République! » sont d'une mollesse qui indignerait M. Jules
Grévy luimême.</p>
<p>Au temps des grandes pièces militaires du Cirque, les figurants ne
voulaientjamais représenter l'ennemi.' Pour les décider, il fallait leur
allouer une haute paie supplémentaire de deux sous par soirée. Celte
fois, au contraire, on s'est presque disputé les rôles d'Autri-</p>
<p><pb/></p>
<p>MARS 147</p>
<p>chiens, et cela tout simplement parce que ceux qui en sont chargés ne
font pas partie de la lin de la pièce et peuvent s'en aller plus tôt que
les autres.</p>
<p>Est-ce que les sentiments patriotiques des masses seraient en train de
s'affaiblir ?</p>
<p><pb/></p>
<p>AVRIL</p>
<p>LK GER VEA U DE VERDI</p>
<p>2 avril.</p>
<p>Elle est tout entière - ici je ne fais que copier - dans le cerveau de
l'illustre maestro.</p>
<p>D'abord cela peut paraître impossible.</p>
<p>Mais il suffira, je le suppose, de lire les renseignements très fidèles
qui suivent pour se rendre compte du fait annoncé par le (Ménestrel.</p>
<p>Le cerveau de Verdi est admirablement organisé pour recevoir les
partitions.</p>
<p><pb/></p>
<p>AVRIL 149</p>
<p>Voici, d'ailleurs, pour plus de clarté, la disposition des cellules ou
casiers supérieurs et leur contenu :</p>
<p>ce qu'il faut pour faire une partition. B - Les titres des morceaux
détachés, les couvertures des partitions imprimées, les affiches. C - Le
répétiteur. D - La copie des rôles. E - La copie dés' parties
d'orchestre. F - Le livret.</p>
<p>L'ouverture, les entr'actes, la musique de scène, les</p>
<p><pb/></p>
<p>150 LES SOIRÉES PARISIENNES</p>
<p>airs de ballet sont réunis dans la valvule de Vieussens, tandis que les
trios et presque tous les morceaux d'ensemble sont logés dans le trigone
cérébral.</p>
<p>Il est probable après cela que si, d'après Parchape, le poids moyen d'un
cerveau quelconque est de 1, 155 grammes environ, celui de^Verdi pèse au
moins 1,800. Et encore faut-il supposer que le maître écrit ses
partitions sur du papier pelure.</p>
<p>LA REPRISE DES BURGRAVES</p>
<p>5 avril.</p>
<p>M. Maxime Lisbonne dirige très intelligemment le théâtre des Boufles du
Nord.</p>
<p>« Citoyen directeur,</p>
<p>» Victor Hugo. »</p>
<p><pb/></p>
<p>AVRIL I 5 I</p>
<p>Le citoyen directeur s'est empresséj de profiter de cette permission et
-en tête de sa nouvelle affiche, il a fait imprimer la lettre que je
viens de reproduire.</p>
<p>Du premier coup, il a 'songé aux Burgraves, donnant ainsi une leçon aux
directeurs, ses confrères, qui laissent trop longtemps dormir ce drame
splendide.</p>
<p>Voici, sur ses projets, quelques indiscrétions qu'on lira certainement
avec intérêt.</p>
<p>Justement les Burgraves commencent par un chant d'orgie que l'on entend
dans la coulisse :</p>
<p><pb/></p>
<p>J52 IFS SOIRKKS PARISIKNNF.S</p>
<p>Le burgrave prospère ;</p>
<p>Tout est dans la terreur.</p>
<p>- Barons, nargue au Saint-Père</p>
<p>Le régisseur, qui est pour les économies, avait fait timidement observer
que cela pouvait très bien se chanter sur l'air : Il p'eut bergère, mais
M. Lisbonne n'a rien voulu entendre et, comme je l'ai dit, il a commande
de la musique inédite. .'</p>
<p>Les choristes, ne connaissant pas le mot narguer, avaient pris
l'habitude de chanter :</p>
<p>- Comme cela, au moins, disaient-ils, cela signifie quelque chose !</p>
<p>. La partie musicale étant réglée, M. Lisbonne s'est occupé de la mise
en scène.</p>
<p>Il rêvait des décors splendides, tout neufs et brossés par les premiers
artistes, mais son régisseur lui a fait observer que la pièce étant très
vieille, et les btirgraves très vieux aussi, on resterait bien plus dans
la couleur locale en se servant de vieux décors.</p>
<p><pb/></p>
<p>AVRIL I53</p>
<p>La Villette a promis, pour le premier acte les fossés de Caylus du Bossu
; Montparnasse pour le second le salon de, Mme Angot; et les Gobelins
pour le troisième le cachot de la Tour de Nesle.</p>
<p>Pour Magnus, qui porte sur le dos une peau de loup dont la gueule
s'ajuste sur la tête, on a heureusement résolu la difficulté.</p>
<p>Le concierge du théâtre a perdu, il y a quelque temps, un magnifique
terre-neuve qu'il aimait énormément. Désireux d'en conserver le
souvenir, il a fait préparer sa peau qui lui sert maintenant de descente
délit.</p>
<p>Restait la grosse question de l'interprétation.</p>
<p>Sans doute, M. À. Méhal qui joue'en ce moment Hernani, Fernand qui joue
don Carlos, Falconnier qui joue don Ruy Gomez, Mme Médéric qui remplace
Sarah Bernhardt dans dona Sol, sont des artistes de mérite, mais M.
Lisbonne, pour une reprise de cette importance, n'a pas voulu employer
ses pensionnaires ordinaires ; il a fait des engagements spéciaux.</p>
<p>M. Gabel était tout désigné pour le rôle de Barberousse, M. Lisbonne lui
a fait un pont d'or» Pour le burgrave centenaire M. Hamburger s'imposait
; il</p>
<p>y*</p>
<p><pb/></p>
<p>«54</p>
<p>LES SOIREES PARISIENNES</p>
<p>jouera donc le vieux duc Job, ce qui a même permis au spirituel artiste
de faire un mot délicieux :</p>
<p>--Quand on joue un rôle pareil on a bien le droit de se monter le Job !</p>
<p>Polir les personnes qui ne\ seraient pas familiarisées ' avec l'argot ,
Se monter le job signifie faire sa Poire.</p>
<p>On a été très embarrassé pouf le rôle de Guanhumara. M. Lisbonne n'avait
trouvé personne quand M. Edouard-Georges, avec un dévouement dont le
public lui tiendra compte, s'est offert. Il sera certainement admirable
dans lé personnage de la vieille femme.</p>
<p>Voici, en regard, les deux distributions, celle de la création et celle
de la reprise :</p>
<p>On voit que le rôle de Hatto n'est pas encore distribué,'mais on espère
avoir M. Prosper (des Nouveautés).</p>
<p><pb/></p>
<p>AVRIL " 155</p>
<p>LA CHAMPENOISE</p>
<p>7 avril.</p>
<p>Rien de plus accidenté, décidément, que le sort d'une pièce avant son
apparition. La Champenoise cri est un nouvel exemple. .</p>
<p>On remit la Champenoise sur le chantier ; la Chanir penoise fut reçue
aux Nouveautés; la lecture annoncée. L'un des décors fut même livré par
Robecchi.</p>
<p>L'opérette survint...</p>
<p>Puis, la pièce revint aux Menus-Plaisirs et fut de nouveau retardée par
ta Rue Bouleau et les Pommes d'or.</p>
<p>Enfin, ces dernières n'ayant pas transformé le théâtre du boulevard de
Strasbourg en jardin des Hespérides, on s'occupa définitivement de
distribuer îe. vaudeville mêlé de chant dont la première vient d'avoir
lieu,</p>
<p><pb/></p>
<p>I56 LES SOIRÉES PARISIENNES</p>
<p>Ce fut assez difficile. Les comédiens manquaient un peu chez MM.
Dormeuil et Bréban.</p>
<p>On put engager M.: Malard et M. Plet, après de longs pourparlers, mais
il fallait une femme pour jouer la Champenoise.</p>
<p>On correspondit par le télégraphe.</p>
<p>Mlle Silly répondit d'abord: « Attendez ma déveine! »</p>
<p>Mais le temps passait : on était pressé et Silly gagnait toujours.</p>
<p>- Si j'étais encore restée huit jours j*a rais peutêtre un million de
plus, dit-elle aux auteurs, mais l'art avant tout.</p>
<p>L'un des auteurs de la Champenoise se trouve dans une situation assez
singulière.</p>
<p>Ne le voyant pas arriver dans ce dernier théâtre, ses amis, un peu
vexés, se sont dit:</p>
<p>-- Tiens 1 il nous a préféré la rive gauche.</p>
<p>r' Malgré l'absence de M. Raymond, le rideau se lève jtr;|9 exactement à
neuf heures et demie, ce qui est bien tàrd^UfUne pièce en' titiatre actes.</p>
<p><pb/></p>
<p>AVRIL I57</p>
<p>Nous sommes en 1865, car l'action commence par un prologue, dans un
café, auprès de la gare de Strasbourg.</p>
<p>M. Plet est en jeune artilleur.</p>
<p>Il n'a pu, malgré ses recherches au Temple, chez les fripiers,
reconstituer complètement le costume de l'artillerie de 1865. Le grand
shako, avec les deux canons croisés et l'aigrette tombante en crins
rouges, est surtout devenu introuvable.</p>
<p>Beaucoup de musique dans le prologue.</p>
<p>Les interprètes essayaient dé se pénétrer de ses leçons.</p>
<p>Maïs sur les Sages remôntfàtwôâ de M. Malafd, qui n'a aucuiie prétention
lyrique, oii a renoncé, au bout</p>
<p><pb/></p>
<p>LES SOIREES PARISIENNES</p>
<p>A Cluny, on le croyait aux Menus-Plaisirs.</p>
<p>Que signifie cette disparition mystérieuse ?</p>
<p>Mlle Silly change fréquemment de costumes : en paysanne au premier acte,
puis en commissionnaire et en tenue de voyage, elle porte au second
acte, un magnifique costume de bouquetière de courses aux couleurs du
cheval français (c'est le jour du Grand-Prix de Paris).</p>
<p>Aux dernières nouvelles, M. Raymond serait retrouvé.</p>
<p>LA MAROTTE</p>
<p>9 avril.</p>
<p>Ceux qui aiment la variété dans le plaisir s< »nt largement servis
lorsqu'il s'agit d'une première représentation au Théâtre-Déjazet»</p>
<p><pb/></p>
<p>AVRIL 159</p>
<p>Comme cela vous change des premières courantes et courues !</p>
<p>Quel délicieux assemblage d'artistes inconnus !</p>
<p>M. Marcel Villars qui dirige actuellement Iç Théâtre</p>
<p><pb/></p>
<p>IÔO LES SOIRÉES PARISIENNES</p>
<p>Ce qu'il faut louer sans réserves, par exemple, ce sont les souliers de
satin pêche que la femme du joaillier ne quitte pas une minute, pas même
en chemin de fer.</p>
<p>y.^n'tef#4&*i*****H*/</p>
<p><pb/></p>
<p>. AYRIL ,l6f</p>
<p>LES PARISIENS EN PROVINCE</p>
<p>"10 avril. v</p>
<p>On s'est demandé avec un peu de surprise pourquoi le directeur de Cluny
n'avait pas remis sa première pour laisser passer les Menus-Plaisirs
seuls. Cela paraissait d'autant plus étonnant que M. Raymond est des
deux pièces. Mais, ce soir, nous avons compris cette manoeuvre.</p>
<p>Il y a deux escaliers dans les Parisiens en prorince, un de plus que
dans Tête de linolle. Des escaliers importants, des escaliers à
sensation, l'un se perdant</p>
<p><pb/></p>
<p>IÔ2 LES SOIRÉES PARISIENNES.</p>
<p>Ces dessous ne sont pas précisément un séjour agréable.</p>
<p>C'est le rendez-vous ordinaire des araignées, des rats, et autres
animaux antipathiques. Aussi la terreur fut-elle grande dans le
personnel féminin de M. Maurice Simon, lorsqu'il s'agît de stationner
dans un endroit aussi mal fréquenté. Mlle Raymonde, principalement,
déclara qu'elle aimerait mieux mourir que de descendre une minute dans
ces dessous abominables</p>
<p>Mais cette considération parut insuffisante. Alors on réunit tout ce que
lé quartier possède de chats, et le directeur organisa lui-même des
battues très sérieuses.</p>
<p>Les chats firent merveille, mais ils ne détruisirent que les souris.</p>
<p>Les rats demeurèrent maîtres des dessous.</p>
<p><pb/></p>
<p>AVRIL 163</p>
<p>Ce fut un carnage épouvantable. En une demi-journée, ils accomplirent
leur tâche sanglante. Par malheur, quand ils eurent fini d'exterminer
les rats, mis en goût par ce sport intéressant, ils étranglèrent aussi
les chats.</p>
<p>LES AUTOGRAPHES DE M. LISBONNE</p>
<p>11 avril.</p>
<p>A mon grand regret, je suis forcé de le dire, je ne suis pas content du
citoyen Lisbonne.</p>
<p>A la suite de cette mystification, j'ai pris des informations qui m'ont
révélé des choses absolument étranges.</p>
<p>Si l'on n'avait pas éventé la mèche, nous en aurions vu bien d'autres :
M. Lisbonne tenait en réserve, toute une collection de lettres d'auteurs
de tous les temps et de tous les pays, auteurs dont il comptait
reprendre successivement les oeuvres les plus célèbres.</p>
<p><pb/></p>
<p>IÔ4 ?I-ESS01RKES-PARIS1KXNES</p>
<p>Voici des échantillons variés de cette collection de faux autographes :</p>
<p>Pour une reprise de VÀuhtlarta, de Plaute :</p>
<p>Roma.</p>
<p>Civis director théatri Boufforum septentrionis.</p>
<p>Vis donnare primam representatîonem Aulularioe, ' comedia
inquinqueactos,quam mihichipavitMolierus quidam, et de quâ fecit Av'arum.</p>
<p>Tibi, cumgaudio, dabo autorisationem. Amo histriones tuos, quorum
talentus est vere magnificus.</p>
<p>Salus, honor et argentum atque bonum appetitum.</p>
<p>Plautus. Pour une reprise des Oiseaux :</p>
<p>O Lisb'on, philtate Lisbon !</p>
<p>Popoï, popoï, pheu, pheu ! Ornithes ourgos Aristophanou tou theatrou
Bouffon Arctou !</p>
<p>Gnôti seauton, ô oia kephalè! kai enképhalon ouk. ekei!</p>
<p>Mnemeion tou.</p>
<p>ArISTOI'IIANOU:</p>
<p>Pour une piècelirée de la Divine comédie: Caro mio,</p>
<p>Voleté per vosti'o thcatro, donare una tragoedia extratta délia Divine
comédia.</p>
<p>Mefianza ! A non troppo rcussito il signor Julio Barbieri, Francesca di
Rimitti !</p>
<p>Ma, con vostri illustrissimi comediantes sono parfaitamentc securo del
triompho.</p>
<p>Dante aU-ighieri.</p>
<p>fP.-S. - Un baccio alla devina Louisa Mie.</p>
<p>D. A.</p>
<p><pb/></p>
<p>avril --? 105</p>
<p>Pour utie reprise de Macbeth : . My dear Manager,</p>
<p>Will you play (Macbeth at the North-Buffoon-Theater? I am consenting
very well and good hope ! Before, if you see* Master Rogez, you shall
pay'to him the Authors droits. To pay or not to pay, that is the question.</p>
<p>Your, William Shakespeare.</p>
<p>Pour une revue dePolyeuçle refait au point de vue anticlérical:</p>
<p>Corneille {le grand).</p>
<p>Pour une pièce extraite de la Luisada :</p>
<p>Senor Caballero, A la disposition de usted el Luisada. Yo que soy
Portugues, soy amigo de Lisbonne, Por la Patrial Los Portugues sono
sempre gayos ! Buena pogniada de manos.</p>
<p>Camokns. Pour un drame extrait du Koràn :</p>
<p>Mamamouchi, Ti volir jouar drame di Koran. loc, ioc ! Ti star</p>
<p><pb/></p>
<p>l66 LES SOIRÉES PARISIENNES</p>
<p>forfanta, non tener turbanta. Ba la chou, ba la ba, ba la da.</p>
<p>Ti pouvir jouar opéra VaucorbeU-eflendi : Mahomet.</p>
<p>Salamaleck,</p>
<p>Mahomet.</p>
<p>Pour une reprise des Cerises : .</p>
<p>Ma va bavonnave vavieillave !</p>
<p>Tavu paveux javouaver savi tavu vaveux tavoutaves navos pàvieçaves.</p>
<p>Çava navous faveravaplavaîsaviravacavausavedave la bavonnave bravaisave.</p>
<p>Vaveux tavu laves Caveravisaves ?</p>
<p>Navous tave saverravohs lava pavinçave.</p>
<p>Vavast-Ravicavouard.</p>
<p><pb/></p>
<p>AVRIL 167</p>
<p>LES DERNIERS JOURS DE L'AMENÉE.</p>
<p>13 avril.</p>
<p>Le trente avril, quand la dernière vibration du dernier coup de minuit
se sera envolée dans la nuit, l'Athénée aura cessé d'exister, il n'y
aura plus d'Athénée.</p>
<p>Nous ne descendrons plus dans cette cave qui a si souvent retenti de nos
rires.</p>
<p>Adieu, cave! .</p>
<p>Nous ne verrons plus ces joyeux comiques, ni ces gentilles actrices qui
remplaçaient généralement leur talent un peu maigre par des maillots on
ne peut mieux remplis.</p>
<p>Adieu , Montrouge I Adieu , sa femme I Adieu , Allard ! Et vous Duhamel,
adieu comme concierge, adieu comme artiste !</p>
<p>Nous étions tous là, personne n'ayant voulu manquer au devoir sacré de
rendre les derniers hommages au théâtre qui va disparaître.</p>
<p>Ils étaient tous là, ceux qui font des comptes-rendus</p>
<p><pb/></p>
<p>l68 LES SOIRÉES PARISIENNES</p>
<p>Ce soir, les spectateurs de la 313e du Cabinet PiperUn sont arrivés
mornes, désespérés. D'aucuns auraient voulu se faire amener par des
voitures de deuil et ceindre leurs chapeaux d'un crêpe ; les femmes
avaient dés robes sombres et des chapeaux sans plumes, sans fleurs ;
rien que du jais. Tout le monde avait du noir dans l'âme !</p>
<p>Et pendant ce temps, posté sur le trottoir d'en face, au coin du bureau
des bals de l'Opéra, un petit homme habillé de rouge comme les bourreaux
d'autrefois rit de notre désespoir.</p>
<p>Cet homme, c'est Raphaël Bischoflsîieim, le propriétaire sans coeur, qui
va détruire l'Athênéé. Auprès de lui se tient M. Picart. 11 ne fallait
rien moins que le démolisseur des Tuileries pour démolir l'Athénée.</p>
<p>O Raphaël, sois maudit! c'est toi qui souffle sur</p>
<p><pb/></p>
<p>AVRIL 169</p>
<p>notre joie; c'est toi qui nous ferme l'Athénée ; c'est toi qui étouffe à
jamais la voix d'or de Montrouge ! Sois maudit, ô Raphaël 1</p>
<p>. LAKMÉ ???':..? f</p>
<p>14 avril.</p>
<p>10</p>
<p><pb/></p>
<p>170 LES SOIREES PARISIENNES</p>
<p>- Pas absolument, répondirent ces messieurs, mais nous sommes bien près
d'en trouver une. Connais-tu le (Mariage de Loti ? . . .</p>
<p>- Non.</p>
<p>- Lis cela. ></p>
<p>- C'est donc cela que vous voulez faire ></p>
<p>- Bien, je lirai.</p>
<p><pb/></p>
<p>AVRIL 171</p>
<p>C'est le Dieu de la jeunesse, C'est le Dieu du printemps !</p>
<p>Et d'autres barques s'approchaient, et l'on entendait sous les tentes
des voix fraîches de femmes qui essayaient de répéter la mélodie
enflammée :</p>
<p>C'est le Dieu de la jeunesse, C'est le Dieu du printemps 1</p>
<p>LA SALLE</p>
<p>La première si attendue du nouvel opéra a naturellement excité une
énorme curiosité.</p>
<p><pb/></p>
<p>I72 LUS SOIREES PARISIENNES</p>
<p>La salle est pleine et fort brillante.</p>
<p>J'y vois:</p>
<p>MM. Ambroise Thomas, Alexandre Dumas et sa famille, Antonin Proust, Mme
Edmond Adam, Emile Perrin, Vaucorbeil, Halanzier, M. ctMmeCamescassc,
Des Chapelles, M. et Mme A. Gouzien, Ernest Rcyer, Calmann Lévy, Mme
Bilbaut-Vauchelct et son mari, de Blowitz, Blaze de Bury, Meilhac,
Ernest Legouvé, Edouard Thierry, Aurclien Scholl, Raymond Deslandes,
Delahante, Charles Garnier, Dalloz, Détroyat, About, Hébrard,
Dcnormandie, la marquise de Béranger,' Jules Béer, Henri Hecht, M. et
MmeFlameng, Régnier, Lockroy, Koempffen, Alphand, le docteur Labbé,
Camile Doucet, M. et Mme Eugène Pouquet, Poulin, Victor Koning,
Paladilhe, le marquis de Càux, iskender Effendi, M. et Mme
Lacave-Laplagne, Bonnat,- Détaille, le colonel Aubry, Ludovic Halévy,
Mlle Nevada, Hector Pessard, le colonel Langlois, Emmanuel Arène, Félix
Granct, Jules Roche, Lina Bell, Mlle Mézeray, Mme Rodrigues, Alfred
Hennequin, deCamondo.de Vogué, Grisart, Gaston Serpette, vicomte de
Janzé, Ernest Guiraud, Mme Gounod, Wormser, Mme de Bcchcvet, Le Myre de
Villers, Jules Barbier, Ollendorlï, Heugel, Hartmann, général de
Galliffet, Cabanel, Durieu, Henri Lacroix, Mayrargues, Duquesnel,
Choudens, Gravière, Taskin, Grivot, etc., etc.</p>
<p><pb/></p>
<p>AVRIL I73</p>
<p>LES INTERPRETES -</p>
<p>Marie Van Zandt. -A partir de ce soir, Marie Van Zandt est sacrée
artiste parisienne - et très grande artiste.</p>
<p>Et comme elle est bien faite pour Lakmé, comme Lakmé est bien faite pour
elle !</p>
<p>Ce qui a décidé du grand succès de Christine Nilsson dans Hqmlet, c'est
qu'aux yeux du public, la poétique Suédoise était Ophélie en personne.
De même, Van Zandt est bien le type étrange, aux grâces enfan-r tines,
charmant et sauvage, qu'ont dû rêver les aur leurs de Lakmé.</p>
<p>Dans ces bois, une troupe d'Indiens était venue camper. Troupe très
nombreuse dont le chef s'appelait Veoscalita. La mignonne chanteuse au
visage pâle avait été aperçue par ces hommes qui la suivirent, char10,</p>
<p>char10,</p>
<p><pb/></p>
<p>174 '<ES SOIRKKS PAUIS1KNNF.S</p>
<p>Ses parents l'emmenèrent en Angleterre où elle a été élevée.</p>
<p>M. Thomas lui a dessiné pour Lakrné deux costumes délicieux.</p>
<p><pb/></p>
<p>AVRIL 175</p>
<p>Le second se compose d'une pièce d'étoffe rbu£e brodée d'or et de soie,
dans laquelle Lakmé s'enveloppe. Une brassière rouge sombre brodée de
riches ornements hindous et, pour coiffure, un petit calot de sole rouge
brodée d'or et d'argent; laissantpendrede longs fils de soie et de
piécettes d'or qui se mêlent aux cheveux. Au cou, aux bras et aux
jambes, dés anneaux et des colliers.</p>
<p>Avant peu la photographie aura popularisé Van Zandt dans ces costumes
typiques, :</p>
<p>Talazac, ^ Si Van; Zandt a été l'héroïne de la soi-' rée, Talazàc en a
été le héros. L'uniforme noir de l'officier des riflemen va fort bien à
l'excellent artiste qui est saris contredit le premier ténor de Paris.</p>
<p>En entendant les bravos enthousiastes qu'on n'a pas cessé de lui
prodiguer, je ne pouvais m'empêcherde me rappeler qu.'en 1875, Talazac
n'était encore qu'un simple commis plâtrier. Le remarquable cha'nteu r à
fait son chemin et sa fortune en bien peu dé temps l</p>
<p>A l'âge de sii ans, il était enfarit dé choeur et possédait une voix de
contralto magnifique.De même Faure, enfant, chantait des soprano</p>
<p><pb/></p>
<p>I76 LES SOIRÉES PARISIENNES</p>
<p>- Mais dis donc, chevalier - le marchand de vin avait l'habitude
d'appeler le jeune Talazac : « chevalier » - tu sais que tu as une belle
voix? Je donne demain une petite soirée de famille ; si tu veux venir
après dîner, cela me fera plaisir.</p>
<p>Talazac, très flatté, accepta l'invitation.</p>
<p>11 chanta avec âme une romance sentimentale :</p>
<p>Ah ! laissez-moi verser une dernière larme!</p>
<p>Et il eut un succès fou.</p>
<p><pb/></p>
<p>AYRIf 177</p>
<p>Les affaires ne vont pas et Barré est un des grands industriels du
dixième arrondissement.</p>
<p>Si ce maudit s'est introduit chez moi !</p>
<p>Cobalet essayait en vain de souligner ce cri de rage par le geste et par
le regard ; il ne se sentait pas la moindre, haine au coeur. Alors M.
Garyàlho eut une idée.</p>
<p><pb/></p>
<p>l'jH UKS SOIRÉES PARISIENNES</p>
<p>d'attaquer cette phrase, choisissez dans la salle une tête antipathique
et étendez le doigt vers elle en la fixant des yeux.</p>
<p>- Mais, répliqua Cobalet, je n'ai jamais trouvé personne qui me fût
antipathique et, pour sûr, je ne trouverai pas.</p>
<p>J'arrive aux rôles du second plan.</p>
<p>Frandin. - Jeune artiste intéressante charmante, tête énergique et
souriante, a débuté aux Folies-Dramatiques dans les Poupées de l'Infante
de Grisart et s'est dépêchée de quitter l'opérette pour l'Opéra-Comique.
Ne se trouve que dans le premier acte de Lakmê, où elle chante, avec Van
Zandt, un duettino qui est un des jolis morceaux de la partition.
Costume trèâ pittoresque : une draperie en coton blanc formant tunique
et par-dessus, enveloppant tout le corps, une pièce d'étoffe rouge ;
bandes satinées. Sur la tête un voile jaune ti§sé d'or.</p>
<p>Mole et Rémy. - Les deux Européennes de la pièce, élégantes, gentilles
au possible dans leurs toilettes sorties de l'atelier d'un grand
couturier quia l'habitude d'habiller les Anglaises des colonies. Au
deuxième acte, Mme Mole porte une robe en crêpe de Chine avec chemisette
en mousseline brodée sur laquelle sont drapés des rubans écossais
formant corsage et pouff. Bandes de mousseline brodée sur le bas de la
robe.</p>
<p><pb/></p>
<p>AVRIL I79</p>
<p>Mlle Rémy a, dans ce même acte, une robe en sici-< lienne
bleu-turquoise, ornée de satin grenat disposé en rayons. Le jupon en
satin bleu d'eau est brochéde fleurs de couleur. Chapeau anglais d'été, .</p>
<p>Pierron.^- Antre Européenne, gouvernante des deux précédentes, jeune
femme qui se laisse traiter avec la meilleure grâce du mondé de «
vénérable mistress Bentson », grande, droite, riiaigre, une vraie
Anglaise. Sa toilette est jolie. Elle est en pékin orange et blanc
brochée de bluets. Manches Marie Stuart. Le haut de la jupe en trousse
Henri III. Paniers genre Louis XVI. Au bas; de la jupe quatre rangs de
coquilles oranges, Chapeau de paille anglaise verte, doublé de velours
vert, avec des rubans et des noeuds en velours orange.</p>
<p>Chennevière.-A su composer un type avec un rôle très court. Il est vrai
que ce rôle contient une tirade fort difficile, accompagnée par
l'orchestre, dont le jeune artiste s'est tiré avec une habileté consommée.</p>
<p>LA MISE EN SCÈNE</p>
<p>Le premier décor, de MM. Rubé et Chaperon, représente le jardin du
brahmane Nilakantha, un jardin éclatant où s'entremêlent toutes les
fleurs et tous</p>
<p><pb/></p>
<p>l8o LES SOIRÉES PARISIENNES</p>
<p>Le second décor, très lumineux, très gai, très pittoresque, nous
transporte sur la place publique d'une ville indienne. Des petites
boutiques, des entrées de bazars, des maisons de repos, une grande
pagode, el au loin la cité, toute blanche, s'étendant vers la mer. Ce
décor comptera parmi les plus jolis de MM. Lavastre aîné et Çarpëzat.</p>
<p>Le manteau d'Arlequin est remplacé par dés plantes ; la scène est fermée
en haut par un vaste plafond en feuillage au travers duquel tamise la
lumière électrique jetant ses ombrés et ses rayons sur un tapis de
gazon. De longs applaudissements ont salué ce décor pour lequel M.
Lavastre jeune a été très vivement et très sincèrement félicité ce soir.</p>
<p>Il n'est que juste de signaler l'habile chef machi-</p>
<p><pb/></p>
<p>AV1UL |8|</p>
<p>LE BALLET</p>
<p>''..'.?'*..? -</p>
<p>-Marii</p>
<p><pb/></p>
<p>l8i I.KS SOIKKES I'AUISII:N.\ES</p>
<p>Antonelli, des classes de Turin, premier prix dans la classe de Mlle
Legrain;</p>
<p>Maggi, des classes de Milan.</p>
<p>Pendant la cérémonie religieuse de la finj les danseuses de Mlle Marquet
reviennent transformées en devadâses, danseuses cons'acrées au culte,
escortant les fakirs porteurs de lanternes et de torches, les brahmanes
et toute une procession, copiée avec beaucoup de soin sur des dessins
rapportés des Indes.</p>
<p>Je vous signale les musiciens qui précèdent les danseuses au premier
ballet. Leurs instruments sont la reproduction exacte d'une collection
envoyée par un rajah indien au musée du Conservatoire. Savezvous comment
on a remercié le rajah de sa gracieuseté ? En lui envoyant les palmes de
l'Académie.</p>
<p><pb/></p>
<p>AVRIL 185</p>
<p>Tu m'as donné le plus beau rêve Qu'on puisse avoir sous notre ciel !</p>
<p>LE PAVÉ DE PAHIS</p>
<p>16 avril.</p>
<p>Généralement délaissée samedi pour l'Opéra-Comique, la
Porte-Saint-Martin se rattrapait un peu ce soir.</p>
<p><pb/></p>
<p>l8.J J.ICS SOIUÉUS l'AKlSIKNNKS</p>
<p>que la mise en scène de ce drame populaire est d'une certaine importance.</p>
<p>On a multiplié les attractions dans les douze tableaux du nouveau drame
de la Porte-Saint-Martin.</p>
<p>On sait que c'est en répétant généralement la descente de cet escalier
que le pauvre Laray s'est blessé si cruellement jeudi soir.</p>
<p>Son remplaçant, M. Montai, ne se risque qu'avec une certaine prudence
sur ces marches suspectes. Je doute qu'avec cette sage lenteur il lui
arrive un accident.</p>
<p><pb/></p>
<p>AVK11. I85</p>
<p>A la fin du tableau on a rappelé la locomotive.</p>
<p>Les petits lignards sont applaudis avec enthousiasme.</p>
<p><pb/></p>
<p>l8o I.KS S01KKKS PARISIENNES</p>
<p>Il faut, pour qu'on les prenne au sérieux qu'ils fassent leurs petites
affaires en plein vent, sur le pavé.</p>
<p>Détail purement administratif :</p>
<p>Pour éviter toutes complications sur les questions de matériel et de
frais généraux, une entente préalable aurait eu lieu.</p>
<p><pb/></p>
<p>AVItll. 187</p>
<p>REPRISE DE BELLE LURETTE</p>
<p>17 avril</p>
<p>- Ah ! si nous avions eu Granier!</p>
<p>Les Parisiens n'ont pas la primeur de cette apparition de Jeanne Granier
dans un rôle de Jane Hading.</p>
<p><pb/></p>
<p>18<S I.KS SOIKÎ.KS PAKISIKNNKS</p>
<p>ment renoncé au chant. La jolie actrice va entrer au Gymnase où M.
Koning compte beaucoup sur elle.</p>
<p>Granier a pu danser en chantant et chanter en dansant, c'était l'essentiel.</p>
<p><pb/></p>
<p>AVRIL t8ç></p>
<p>Au premier acte, elle est en blanchisseuse* une blanchisseuse Louis XV,
beaucoup plus élégante que les petites blanchisseuses contemporaines
chantées par Monselet. Elle porte une robe en vieille cretonne fleurie
relevée sur une jupe de mousseline incrustée dé dentelles bises. Très
coquet* très frais, très gaij ce premier costumé.</p>
<p>Le second n'est pas moins charmant, quoique d'un genre tout autre. La
blanchisseuse est devenue duchesse, et elle porte une robe dé mariée
Louis XV en satin blanc, enguirlandée du bas en haut de fleurs d'oranger
et de muguets.</p>
<p>Mais c'est le troisième costume qui a eu lé plus dé succès. 11 est d'une
composition un peu excentrique, mais c'est précisément ce qu'il fallait
et puis l'ensemble est d'un effet énorme. Impossible de le décrire, par
exemple. C'est un fouillis, un mélange harmonieux de satin corail, de
tulle d'or, de velours rouge* de perles d'ambre, de roses mousses et de
roses jaunes. Une vraie merveille de goût et de couleur.</p>
<p>Lé spectacle de ce troisième acte est d'ailleurs resté amusant et joli.</p>
<p>11.</p>
<p><pb/></p>
<p>IÇO KES SOIREES PARISIENNES</p>
<p>--Je suis déshonoré, murmura M. Gravière, on dira que je né sais pas mon
métier, que je me contente d'à-peu-près, que je n'étais pas digne de
diriger la Renaissance!</p>
<p>- Qu'est-ce que cela serait si Chalmin avait l'accent toulousain I</p>
<p><pb/></p>
<p>AVRIL ICI</p>
<p>RÉOUVERTURE DU CIRQUE D'ÉTÉ</p>
<p>18 avril.</p>
<p><pb/></p>
<p>IÇ2 l.l;S SOIUKKS PAKISIKNNKS</p>
<p>- Vous êtes un fidèle habitué du Cirque d'Été, monsieur?</p>
<p>- En effet.</p>
<p>- Vous ne manquez jamais une représentation?</p>
<p>- Jamais.</p>
<p>- Ah 1 c'est si intéressant les chevaux !</p>
<p>- Je ne trouve pas. Quand le cheval est attelé devant un tramway ou
devant une charrue, je respecte son utilité, mais ici j'avoue que les
exercices ridicules auxquels on le condamne me laissent froid.</p>
<p>- Ah ! ah ! Ce sont donc les gymnastes que vous aimez)</p>
<p><pb/></p>
<p>AVRIL 193</p>
<p>- Très bien. Je vois ce que c'est,... Vous avez un faible pour les clowns)</p>
<p>- Ils m'horripilent. Je dirai plus, ces gens enfarinés qui se livrent à
des contorsions grotesques en poussant des miaulements stupides
m'humilient dans ma dignité d'homme.</p>
<p>- Vraiment... Mais nous avons donc une petite passion ici... parmi les
écuyères></p>
<p>- Je vous demande pardon. Alors vous venez pour les acrobates... pour
les danseurs de corde ?</p>
<p>- Ma foi, non. J'ai vu des singes qui dansaient sur la corde et qui
étaient plus drôles que les hommes.</p>
<p>?- Bon ! j'y suis. Vous aimez les animaux savants ?</p>
<p>-: Dieu m'en préserve ! Je suis membre de la Société protectrice et la
pensée seule des coups de cravache qu'ont dû recevoir ces malheureuses
bêtes me gâterait mon plaisir... si je devais en éprouver un devant de
pareils spectacles.</p>
<p>- Mais alors, monsieur, je ne vois plus guère ce qui peut vous attirer
ici tous les soirs ></p>
<p>- C'est l'orchestre, monsieur, l'orchestede M. Caspers! J'adore la musique!</p>
<p>LE PÈM m MARTIAL.</p>
<p>20 avril.</p>
<p><pb/></p>
<p>194 LES SOIREES PARISIENNES</p>
<p>Depuis deux ans, d'ailleurs, presque tous les succès du Gymnase ont été
la continuation de succès de librairie. 11 n'y a que le Roman Parisien
que l'auteur n'ait pas tiré d'un de ses romans. Le Père de Martial
vient, après Serge Janine et Monsieur le Ministre, compléter la collection.</p>
<p>Albert Delpit est un des romanciers les plus aimés du moment. Ses
oeuvres, très osées, très vivantes, très montées en couleur, donnent à
la vieille Revue des deux Mondes, cette petite pointe de modernité dont
elle a un si pressant besoin. M. Delpit sert des mets pimentés et
réconfortants aux lecteurs de la Revue, grands amateurs de crème fouettée.</p>
<p>Un instant, Delpit avait songé au Vaudeville pour la pièce qu'il en
voulait tirer, mais Fêdora lui barrait le chemin et Koning l'attirait.
Puis, il était chez lui au Gymnase où il avait eu son premier grand
succès de théâtre. On n'a pas oublié le Fils de Coralie, la dernière t
bonne affaire » de la direction Montigny, C'est dans cette pièce
empoignante, admirablement menée et développée, écrite dans une langue
sobre et</p>
<p><pb/></p>
<p>AVRIL '95</p>
<p>Et comment en eut-il pu être autrement ?</p>
<p>Quand il a fixé sur vous ses yeux ardents, pleins de flammes et de
menaces, et que d'un regard presque méchant, en tout cas perçant comme
la pointe d'un fleuret» il vous a dit :</p>
<p>- Vous savez que je suis votre ami !</p>
<p>- Je suis le vôtre !</p>
<p><pb/></p>
<p>I96 LES SOIRÉES PARISIENNES</p>
<p>- Moii Dieu, que mes artistes sont donc charmants!</p>
<p>- Mais non, jamais, votre (Monsieur le (Ministre fait encore des
recettes magnifiques... j'attendrai.</p>
<p>- Je vous en prie...</p>
<p>- Non, non... après vous!</p>
<p>Lé 'Père de (Martial est une de ces pièces simples, intimes, sans décors
et sans costumes, qui font la joie des directeurs et le désespoir- du
chroniqueur théâtral. De quoi parler saris violer l'enclos réservé du
compte-rendu)</p>
<p>Heureusement; il y a un premier acte qui* au point de vue-pittoresque/ne
ressemble pas aux autres:- Ah \</p>
<p><pb/></p>
<p>AVIIIL 10/</p>
<p><pb/></p>
<p>I98 LES SOIRÉES PARISIENNES</p>
<p>La fin du premier acte est-d'une poésie exquise.</p>
<p>On célèbre, selon la coutume basque, les fiançailles de Martial et
d'Espérance. Je né crois pas que cette petite scène naïve et ' touchante
soit la reproduction fidèle des moeurs du pays. L'imagination d'un poète
a passé par là, n'est-ce pas, mon cher Delpit ></p>
<p>Les paysans et les paysannes envahissent le jardin de M. Cambry,
précédés par les violoneux, les joueurs de flûte, les guitaristes et les
tambourinaires. Alors, accompagnés par une douce et charmante musique,
Martial et Espérance récitent le joli duo des fiancés:</p>
<p>MARTIAL</p>
<p>Eh ! qu'as-tu donc, ma gente amie. Pourquoi restes-tu sans chanter ?</p>
<p>ESPÉRANCE</p>
<p>Parce qu'en ne te disant mie, J'ai plus d'aise pour t'écouter.</p>
<p>MARTIAL</p>
<p>Eh 1 qu'as-tu donc, ma gente amie, ' Pourquoi fermes-tu tes beaux yeux ?</p>
<p>ESPÉRANCE</p>
<p>Parce qu'étant bien endormie, Dans mon rêve, je te vois mieux.</p>
<p>MARTIAL</p>
<p>Mon trésor, vous êtes jolie, Je vous le dis, en vérité ! Si l'amour est
une folie Je suis fou pour l'éternité !</p>
<p><pb/></p>
<p>AVRIL 199</p>
<p>ESPÉRANCE</p>
<p>Cette petite cérémonie a eu un succès énorme.</p>
<p>La partie musicale a été réglée et composée par un jeune homme, M. Fock.
C'est lui qui joue du violoncelle dans la coulisse. C'est très réussi
comme musique et comme exécution. Il y avait plusieurs cantatrices
célèbres dans la salle, Mme Fidès Devriès et Mme Salla, mais elles ont
tant pleuré, qu'elles n'ont pas dû prêtera la musique l'attention
qu'elle méritait.</p>
<p>Au dernier acte, pour une simple apparition : robe de taffetas changeant
découpé avec grand paletot incroyable en drap uni.</p>
<p>Les accidents dont Mlle Lemercier est victime toutes les fois qu'elle
est sur le point de créer* un nouveau rôle sont légendaires. Cette fois
encore on a failli la remplacer. Aux dernières répétitions, la gentille ar-</p>
<p><pb/></p>
<p>LES SOIREES PARISIENNES</p>
<p>Souffrante aussi, Mme Pasca, depuis quelques jours.</p>
<p>Ce soir, pendant qu'elle se donnait tout entière, emportée par la
passion, il n'y avait qu'un homme dans la salle qui avait l'air furieux
et qui ne mêlait passes applaudissements aux bravos enthousiastes dit
public.</p>
<p>C'était le médecin de Mme Pasça. '</p>
<p>UNE MODE NOUVELLE</p>
<p>2} avril.</p>
<p><pb/></p>
<p>?AVK1L 20 !</p>
<p>- Je viens de voir la Tragique histoire de Renée, princesse d'Armaillac !</p>
<p>Ou :</p>
<p>- Il paraît que la Tragique histoire de Renée, princesse d'Armaillac est
un succès!</p>
<p>Le Cid deviendra 1' Héroïque histoire de Rodrigue, Jits dî don Diègue et
de Chimène, fille de don Goinès, comte de Got'mas.</p>
<p>Au lieu de Guillaume Tell on affichera : L'influence décisive qu'exerça
le chapeau de Gessler sur l'indépendance de l'Helvétie qui pleurait sa
liberté.</p>
<p>Pour la Dame blanche : L'Aventure curieuse d'un jeune officier rentré
par un bonheur inespéré dans te château de ses pères qu'il a acheté sur
ses économies,</p>
<p><pb/></p>
<p>2u2 LES SOIHKES PARISIENNES</p>
<p>Pour YAs"de trèfle : Le Danger de porter dans sa poche un jeu de cartes
biseautées le jour oit l'on assassine sa soeur.</p>
<p>Au lieu de : 'Père de Martial : L'Embarras d'un Basque qui se trouve en
rivalité d'amour avec un gentilhomme qu'il découvre être son père.</p>
<p>Au lieu de Patrie :Les Atroces cruautés et les persécutions
sanguinaires, les exactions monstrueuses, les attentats abominables, les
crimes inouïs commis, en pays flamand, vers i$jo, par Vimfâme Fernand
Alvarès de Tolède duc d'AIbe, gouverneur des Flandres pour S. M.
catholique Philippe II et l'héroïque et inoubliable preuve de ce que
peuvent supporter pour leur pays des hommes qui mettent leur patrie
au-dessus de la famille et l'honneur du soldat, sachant souffrir et se
taire sans murmurer^ait-dessusdes satisfactions person* nelles.</p>
<p>LOUIS XIV ET SA COUli</p>
<p>25 avril</p>
<p>11 n'est plus permis d'en douter; la nouvelle donnée hier par M Grisier,
de la Patrie, est absolument authentique : M. Jofîrin et quelques
conseillers munict-</p>
<p><pb/></p>
<p>AVK1I. 20}</p>
<p>paux de sa nuance, intiment aux directeurs de la Gaîté la défense de
jouer Henri III et sa Cour,</p>
<p>Alors, pas plus tard que ce matin, le conseiller municipal s'est rendu
auprès de M. Larochelle et, sans autre préparation, tirant un papier de
sa poche, lui a dit :</p>
<p>Louis XIV et sa Cour</p>
<p>Le roi prend le café avec son épouse.</p>
<p><pb/></p>
<p>204 LUS SOlKliKS J'AKISIKN.NKS</p>
<p>- encore un peu de cognac, dit le roi en tendant sa tasse.</p>
<p>- Ah ! tu sais, passe-moi le litre ! Là-dessus entre le cardinal Mazarin.</p>
<p>- Vous prendrez bien un verre avec nous, s'écrie le roi. .</p>
<p>- Non, sire. L'Eglise n'est pas contente. Vous n'allez pas assez à
confesse, et les protestants pullulent.</p>
<p>- C'est comme ça! fait Louis XIV. , Et il appelle la bonne.</p>
<p>- Ernestine! apportez-moi mon arquebuse, et que la Saint-Barthélémy
commence.</p>
<p>Feux de Bengale et de peloton. De sa fenêtre Louis XIV tire sur le peuple.</p>
<p>Acte II</p>
<p>Ce sont toutes les maîtresses du roi. Il y en a une ribambelle. La
Montespan, Diane de Poitiers, la Pompadour, Mme Récamier, le Dubarry, etc.</p>
<p>- Vous savez la nouvelle, chuchotent-elles entre elles ; cette pimbêche
de La Vallière qui s'a ensauvée avec un ouvrier zingueur!</p>
<p>- Vous blaguez, c'est pas possible.</p>
<p>- Je le marque, dit finement la Sévigné.</p>
<p><pb/></p>
<p>AVKIL 205</p>
<p>Le roi paraît très embêté de la fugue de La Vallière. Ce qu'il fume,
c'est rien que de le dire.</p>
<p>Il envoie chercher un fiacre, et du dehors on l'entend crier :</p>
<p>Acte III</p>
<p>Populo, l'ouvrier zingueur, veut embrasser La Vallière, qui lui allonge
des calottes sur la figure.</p>
<p>- Voyons, rien qu'un petit bécot !</p>
<p>- Un bécot!</p>
<p>- Des fraises !</p>
<p>A ce moment la porte vole en éclats et Louis XIV entre avec une
nombreuse suite de gentilshommes et un bataillon de gardes municipaux :</p>
<p>7- Le soleil, ous qu'il est que je le mouche) dit Populo. En même temps
il envoie un coup de chausson à</p>
<p>12</p>
<p><pb/></p>
<p>20Ô LES SOIRÉES J'ARISIENNKS</p>
<p>Louis XIV, qui tombe les quatre fers en l'air, la tête dans la table de
nuit. Il se relève furieux :</p>
<p>- Gardes, qu'on l'entraîne, 11 m'a mouché, je le ferai éternuer dans la
sciure de bois.</p>
<p>Sur cette parole sinistre le rideau tombe.</p>
<p>Acte IV</p>
<p>Un champ de bataille. Le roi est complètement saoul.</p>
<p>- Je m'en tamponne agréablement le coquillart.</p>
<p>- Sire, votre noblesse a fichu le camp salement, mais si le peuple se
levait... .</p>
<p>- Cristi ! qu'il fait soif ici, fait le roi. En ce moment on entend la
Marseillaise.</p>
<p>- Sauvé ! merci, mon Être suprême ! crie le peuple. Et le général
Marceau fait une entrée triomphale,</p>
<p>après avoir vaincu les troupes de Monaco. II a fait quatorze
prisonniers, et le prince s'est enfui avec les dix hommes qui lui
restaient.</p>
<p>-> Cet homme me chiffonne, il est trop populaire, il finirait par
attraper, l'assiette au beurre; qu'on lui colle une muselière.</p>
<p>Et Marceau s'en va pourrir dans les cachots sous le nom de l'homme au
Masque de fer.</p>
<p>Acte V</p>
<p>Le roi est très vieux. Il est sur une chaise longue et on l'entend
murmurer : « Tabac! tabac! »</p>
<p><pb/></p>
<p>AVRIL 207</p>
<p>- Enfin, lui dit le médecin, tu vas payer tous tes crimes, ta débauche,
ta luxure, ton ivrognerie,</p>
<p>- Ah! Chamillart, soupire le roi, je crois en effet que je vais dévisser
mon billard.</p>
<p>Il meurt,</p>
<p>- Citoyens ! crie un larbin par la fenêtre, le roi a tourné de l'oeil.</p>
<p>Le peuple chante :</p>
<p>Tra la la pour le pèr'- Camus Qu'a les jamb* en manch' de veste, Tra la
la pour le pèr* Camus, Il est mort, il n* règn'ra plus.</p>
<p>- Et voilà, conclut le citoyen Joflrin, des pièces comme il y en faut au
peup' !</p>
<p>LES APPLAUDISSEMENTS AUX PREMIERES.</p>
<p>27 avril.</p>
<p>La mort de Jules Sandeau me rappelle une anecdote que l'on me racontait
l'autre soir.</p>
<p><pb/></p>
<p>208 LES SOIRÉES PARISIENNES</p>
<p>- Ils sont gentils, ils me font l'aumône !</p>
<p>Des applaudissements plus nourris, d'un poids plus respectable, qui
donnent du courage au pauvre auteur, tremblant de peur dans la coulisse,
et lui font lever la tête en murmurant :</p>
<p>Au Gendre de M. 'Poirier, pendant une bonne moitié de la soirée, on
n'entendait que des applaudissements maigres. Sandeau regardait avec
désolation Augier fort contrit. On ne vit que de rares amis sur la scène
pendant le premier acte.</p>
<p>- Eh bien, dirent-ils aux auteurs avec des sourires contraints, cela ne
va pas mal du tout.</p>
<p>Toujours est-il que, vers onze heures, Mme Sandeau quittait le Gymnase,
navrée, persuadée que la pièce de son mari venait de sombrer. Comme elle
montait en voiture, elle se trouva en présence de Camille Doucet.</p>
<p>. - Comment, vous partez > lui dit celui-ci, fort étonné. .':'.?.?'.</p>
<p>?'- Oui....que voulez-vous ? Je n'ai pas le courage dé rester davantage.</p>
<p>-. Je ne comprends pas. . -' Mon mari ne se consolera pas d'un pareil
insuccès ! ' . . . -</p>
<p>, - Mais de quel insuccès parlez-vous, chère</p>
<p><pb/></p>
<p>AVItll. 209</p>
<p>madame ? Le Gendre de M. 'Poirier est tout simplement la plus belle
comédie qu'il y ait au théâtre. Tout le monde est d'accord là-decsus
dans les couloirs.</p>
<p>- Alors, vite,., allez consoler Sandeau ! Doucet se précipita dans les
coulisses et ce fut lui</p>
<p>Il rie peut s'épanouir réellement que lorsquéle succès prend des allures
triomphales. Et encore, lorsqu'on se trouve un peu fatigué d'applaudir,
vers la fin, il lui semble que « cela se refroidit; ».</p>
<p>Gondinet analyse les applaudissements avec énormément de flair, lia
l'oreille étonnamment exercée.</p>
<p>A la première de Lakmé, il se tourna radieux vers Gille et Delibes en
leur disant pendant qu'on applaudissait :</p>
<p>- J'entends des petites moins, beaucoup de petites mains, je suis content !</p>
<p><pb/></p>
<p>210 LES SOlIthKS PAK1S1KNNES</p>
<p>Pour un vrai succès il faut que, sur trente spectateurs qui
applaudissent, il y ait vingt hommes et dix femmes. Après cela il y
aurait douze femmes que ce ne serait que meilleur : et s'il n'y en avait
que neuf l'auteur pourrait tout de même se montrer satisfait.</p>
<p>On répétait généralement une opérette. Deux librettistes et un musicien.
Quelques amis dans la salle. La répétition se traînait péniblement. Les
amis étaient de glace. Il n'y a rien de sévère comme les amis aux
répétitions qui ne marchent pas. Il y avait, au second acte, des
couplets avec choeurs sur lesquels on avait énormément compté. Hélas !
les couplets ne portaient pas plus que le reste. Alors, l'acte
terminé/le directeur manda le chef de claque dans son cabinet.</p>
<p>- Vous savez, lui dit-il devant les auteurs, qu'il faudra chauffer ferme
les couplets du second. Si la salle ne rend pas, je compte sur vous. Je
veux un bis!</p>
<p>Alors les auteurs se jetèrent dans les bras de leur musicien qui se jeta
dans ceux du directeur. Gela forma un groupe touchant, d'où sortirent
ces paroles :</p>
<p>- Quel succès et comme nous avions raison de compter sur ces couplets 1</p>
<p><pb/></p>
<p>MAI</p>
<p>LE CONSOLATEUR. - LE POT AU LAIT. - MADAME EST JALOUSE. - LE HUIS CLOS.</p>
<p>Ier mai.</p>
<p>Huit! ni plus ni moins. Cela ne s'était peut-être jamais vu dans aucun
théâtre.</p>
<p><pb/></p>
<p>2|2 LES SOIREES PARISIENNES</p>
<p>Ces huit messieurs ont eu, pendant tout le cours des répétitions, les
relations les plus cordiales; outre qu'ils sont tous très sympathiques,
ils sentaient qu'ils avaient des intérêts communs.</p>
<p>Leurs quatre pièces formant ensemble un spectacle, chacun était
intéressé au succès de tous.</p>
<p>On les voyait se prodiguer les uns aux autres les conseils les plus
sincères, ils encourageaient les artistes qui jouaient ]dans les pièces
dont ils n'étaient pas.</p>
<p>Puis ils parlaient de l'avenir.</p>
<p>Après ces quelques jours qu'ils avaient passés ensemble d'une façon si
charmante, est-ce qu'ils allaient se quitter comme cela, cesser de se
voir tout d'un coup) jamais!</p>
<p>Alors chacun proposait quelque chose;</p>
<p>- C'est cela, disait Busnach, qui est joueur, un petit bac tous les
soirs. *</p>
<p>iMais Prével, qui est un peu gourmand, préférait un dîner hebdomadaire,
tandis que Leterrier, qui adore la campagne ^ proposait d'acheter à
MaisonsLâffitte une villa où l'on vivrait tous ensemble. Quant à
Ferrier, il rêvait une vaste collaboration.</p>
<p>La bonne harmonie a pourtant manqué d'être troublée une fois.</p>
<p>J\IM; Prévél et Erny, dont la pièce est jouée la première, demandaient
que l'on rie commençât pas trop tôt, de peur que tout le monde ne fût
pas encore arrivé, tandis que MM. Leterrier et Vanloo, dont le Huis-Clos
termine le spectacle, suppliaient qu'on levât le rideau de bonne heure,
afin que lés gens qui détestent se coucher tard n'eussent pas la
tentation de partir avant leur.pièce;</p>
<p><pb/></p>
<p>.MAI 213</p>
<p>Ces quatre messieurs étaient trop modestes, le public le leur a prouvé.</p>
<p>Il est venu de bonne heure afin de ne pas manquer un mot du Consolateur,
et il est parti tard afin de ne rien perdre du Huis-Clos.</p>
<p>On a dû faire une répétition spéciale pour régler « les masses. » Tout
comme au Châtelet.</p>
<p>Robecchi.a brossé un décor représentant un couloir du Palais de Justice,
en haut des marches, près de la boutique du costumier. On aperçoit même,
s'il vous plaît, l'entrée de la salle des Pas-Perdus.</p>
<p>U y a longtemps alors !</p>
<p>Un peu avant minuit, les huit auteurs sont descendus dans la rue. Ils
ont allumé huit cigares.</p>
<p>- Voyons ! ont dit quatre d'entre eux, êtes-vous contents ></p>
<p>- Certainement, puisque vous l'êtes.</p>
<p>- Tout va bien alors.</p>
<p>Seize poignées de main ont été échangées, et les huit auteurs se sont
séparés.</p>
<p><pb/></p>
<p>2IJ U;S SOUtÉKS PARISIENNES</p>
<p>NOBMA A V CU A TE A U-b'EA IL .</p>
<p>8 mai,</p>
<p>Ce qu'on appelait autrefois Y Anglomanie fait chez nous des progrès
étonnants.</p>
<p>Jadis, le beau moment des théâtres était en novembre, en décembre, en
janvier ; aujourd'hui, c'est en plein printemps qu'ils font leurs
meilleures recettes et plus d'un directeur réserve ses grandes premières
pour cette époque fortunée.</p>
<p>A Londres, ce qui signale la seasori, ce n'est pas seulement le retour
dans la capitale du monde aristocratique, les grandes courses, la
reprise des réceptions et des fêtes, c'est aussi et surtout la
réouverture de Covent-Garden et Drury-Lane, où en quelques jours
défilent les plus grands chanteurs du monde.</p>
<p>C'est la réouverture du Ghâteau-d'Eau lyrique.</p>
<p><pb/></p>
<p>.MAI 2 I <y</p>
<p>cirques qui courent le monde et dont la tente se monte et se démonte en
une nuit,</p>
<p>Je finis par occuper ma place. La salle est pleine d'artistes. J'y
remarque Maurel, Lassalle, Stéphanne, Lauwers, Mlles Richard, Janvier,
Mlle Hirsch, du corps de ballet, et son ex-camarade Mlle Hesselin. Mon
très aimable voisin d'orchestre, M. Philibert Joslé, m'explique que le
directeur provisoire del'Opéra provisoire duChâteau-d'Eau, M. Georges de
Lagréné, est un sympathique jeune homme de vingt-cinq ans, de 1res bonne
famille, très riche, premier prix de piano du Conservatoire de
Toulouse,qu i a voulu aflirmer ses aptitudes musicales en improvisant
des représentations lyriques dans ce théâtre vacant. Puisse-t-il y
récolter tous les agréments sur lesquelles il semble compter!</p>
<p>En province, la première question que font les habitués du café de la
Comédie, quand ils parlent de la troupe d'opéra, est celle-ci :</p>
<p><pb/></p>
<p>21Ô LES SOIKIÎES l'AlUSlKNNLS</p>
<p>- Et autrement, est-ce qu'ils ont un ténor ></p>
<p>On aurait pu parler de son professeur, des succès qu'il a remportés,
mais au lieu de cela on a raconté partout que M. Vanloo de Warzy était
un ingénieur de beaucoup de talent.</p>
<p>Donnera-t-il Y ut ? Sera-t-il plein de vigueur dans les passages de
force, plein de grâce dans les demiteintes, qu'importe! C'est un
ingénieur 1</p>
<p>Oh ! si la basse était médecin, le baryton architecte et la prima-donna
peintre, quelle troupe, messeigneurs 1</p>
<p>Il a un beau manteau en andrinople, le ténor en question, il fait des
gestes géométriques et regarde !a salle comme s'il levait des plans. On
l'applaudit et on le siflle, on l'acclame et on le blague, absolument
comme en province.</p>
<p>Norma aussi a un manteau en andrinople. On n'a reculé devant aucune
dépense, pour les premiers sujets. Elle est suivie constamment par un
rayon de lumière électrique qui n'éclaire absolument qu'elle. C'est
d'une galanterie indiscutable. Enfin, ce premier acte ne finit pas trop
mal.</p>
<p>Mais entre le premier et le second un fait troublant se passé :</p>
<p><pb/></p>
<p>MM 217</p>
<p>L'orchestre joue l'ouverture de Guillaume- Tell.</p>
<p>A-t-ori changé le spectacle ></p>
<p>Le ténor se croit-il meilleur dans le rôle d'Arnold que dans celui de
Pollion ?</p>
<p>On se regarde, très étonné. Mais l'étonnement se change en joie immense
lorsque la clarinette couronne son fameux solo de l'ouverture par un
couac extraordinaire.</p>
<p>A partir de ce moment, la tentative lyrique de M. de Lagréné cesse
d'être prise au sérieux.</p>
<p>- Piano, rinforzando, crescendo, ce n'est pas le mouvement ! ;</p>
<p>Et l'on résume ainsi l'impression laissée par le ténor :</p>
<p>- Peut-être tracera-t-il des routes, mais il ne fera jamais son chemin I</p>
<p>ET LES AUTRES ?</p>
<p>10 mai.</p>
<p>13</p>
<p><pb/></p>
<p>2l8 LES SOIRÉES PARISIENNES</p>
<p>Mais, l'élan étant donné, où s'arrêtera-t-il ?</p>
<p>On a commencé par les Français ; c'est parfait. On a décoré Got, on
vient de décorer Delaunay; bravo I Oui, mais les autres ?</p>
<p>Puisque, parmi les peintres, on décore ceux qui consacrent leur vie au
service du grand art et ceux qui se font une réputation dans la peinture
cle genre ;</p>
<p><pb/></p>
<p>Mai 219</p>
<p>puisque M. Vibert est honore des faveurs ministérielles au même titre
que M. Puvis de Chavannes, il est permis de demander que l'on décore, en
fait d'acteurs, ceux qui font rire leurs contemporains, aussi bien que
ceux qui les font pleurer.</p>
<p>Evidemment on y songe.</p>
<p>Un de ces jours nous apprendrons, sans surprise , que M. Coquelin vient
d'être fait chevalier.</p>
<p>11 faudra décorer Dupuis des Variétés, l'un des plus fins comiques qui
existent ; Geoffroy, du Palais-Royal, le créateur de Mercadet,
de^Perrichon, de Cèlimare, du Bourgeois de Paris ; son camarade
Lhéritier qui a cinquante ans de service au théâtre; enfin - puisqu'on a
décoré Rosa Bonheur, puisque la croix d'honneur peut s'attacher sur un
corsage de femme, je ne vois vraiment pas pourquoi Mme Judic, la diseuse
la plus accomplie que nous possédions, ne prendrait pas place un jour
parmi les légionnaires!</p>
<p>Aux Français, ce sera toujours le président du con-</p>
<p><pb/></p>
<p>?220 LES SOIREES PARISIENNES</p>
<p>seil, accompagné du général Pittié, qui ira porter la croix aux
sociétaires. .</p>
<p>A l'Odéon, au Vaudeville et au Gymnase, ce sera un simple ministre,
flanqué d'un colonel.</p>
<p>Dans les autres théâtres, ce sera un sous-secrétaire d'état sans la
moindre escorte militaire.</p>
<p>- Petite surprise pour gros bébé de la part de papa beau-père !</p>
<p>Pour les comiques enfin on choisira, autant que possible, des hommes
publics dont le caractère aura un certain rapport avec les rôles dans
lesquels ils se sont illustrés.</p>
<p>Enfin le jour où Dailly, qui a joué dans pas mal de pièces de
Clairville, serait jugé digne de l'étoile des braves, je ne vois qu'un
homme qui pourrait la lut remettre : M argue !</p>
<p><pb/></p>
<p>.MAI 221</p>
<p>LE NOUVEAU RÉGIME</p>
<p>11 mai.</p>
<p>Un public -très parisien mêlé aux spectateurs nombreux venus pour le
Père de Marital. Salle curieuse de boulevardiers et de bourgeois,
d'étrangers et de journalistes.</p>
<p>Pour le Nouveau régime, Meilhac a un collaborateur : notre àmi et
camarade Jules Prével.</p>
<p>Voici comment cette association s'est faite.</p>
<p>Un matin, Prével se trouvant chez M. Koning, lui parla d'une idée d'acte
qui lui paraissait amusante et qui plut beaucoup au directeur du Gymnase.</p>
<p>- Seulement, dit Prével, je voudrais un collaborateur. Lequel? Je n'en
sais rien. Donne-moi ton avis.</p>
<p>A ce moment, un coup de sonnette retentit. Le domestique annonça :</p>
<p>- M. Henri Meilhac !</p>
<p>- Mais c'est très gentil! s'écria Meilhac.</p>
<p>- Ma foi, ça va.</p>
<p>?- C'est que, fit observer Koning, je voudrais bien l'avoir tout de suite.</p>
<p>- Vous êtes pressé ?</p>
<p>- Un peu.</p>
<p><pb/></p>
<p>222 LES SOIREES PARISIENNES</p>
<p>- Nous donnez-vous huit jours ></p>
<p>- Quinze si vous voulez.</p>
<p>- Nous ne vous en demandons que huit. Dix-huit mois après on remit à.M.
Koning un</p>
<p>rouleau soigneusement ficelé :</p>
<p>C'était le manuscrit du Nouveau régime auquel Meilhac venait de mettre
la dernière main.</p>
<p>Il ne s'agit pas de politique dans la nouvelle comédie du Gymnase.</p>
<p>Le régime de MM. Meilhac et Prével n'a rien de gouvernemental et si la
censure s'est un peu mêlée de l'affaire, ce n'est pas que les spirituels
auteurs aient voulu saper les bases de nos glorieuses institutions.</p>
<p>Seulement leur pièce est d'un régime légèrement pimenté. On s'y embrasse
beaucoup, beaucoup, beaucoup. La censure, qui a pour spécialité
d'empêcher les gens de trop s'embrasser au théâtre, aurait voulu
quelques atténuations. Les auteurs ont tenu bon en faisant remarquer que
cela se passait entre gens mariés et qu'il n'y a rien de plus moral, ni
de plus édifiant, que des gens mariés qui s'embrassent; enfin je crois
bien qu'on a fini par jouer la pièce telle qu'elle a été écrite.</p>
<p>Un mot surtout avait alarmé ces messieurs de la commission d'examen.</p>
<p>Ce qui est certain, c'est qu'on n'a pas desé les</p>
<p><pb/></p>
<p>MAI 223</p>
<p>J'ai vu le moment où chacun, gagné par l'exemple, allait embrasser sa
chacune dans la salle du Gymnase.</p>
<p>Ce qui m'a frappé, c'est que Saint - Germain représente un valet affolé
par les nombreux témoignages de tendresse que ses maîtres, des nouveaux
mariés, se donnent devant lui et qui voudrait remplir auprès de la femme
de chambre le rôle que Monsieur joue auprès de Madame. Or, l'excellent
comique du Gymnase est d'une physionomie plutôt un peu froide, tandis
que Mlle Lendel 4, la femme de chambre chargée de lui résister, est au
contraire une belle personne aux yeux ardents et de mine provocante.
Mais le théâtre vit d'illusions, et on ne s'est étonné ce soir ni</p>
<p><pb/></p>
<p>224 I-ES S0IRKF.S PARISIF.NNF.S</p>
<p>dé l'entreprenante gaillardise de Saint-Germain, ni de la vertueuse
résistance de Mlle Lender. -</p>
<p>LES DEMOISELLES DE SAINT-CYII</p>
<p>12 mai.</p>
<p>Les Demoiselles de Saînt-Cyr n'ont guère d'histoire; j'ai relevé
pourtant quelques détails intéressants sur les registres de la Comédie ;
c'est d'abord le nombre des représentations. Il y en a eu 170 en vingt ans.</p>
<p>En voici le détail :</p>
<p>La première représentation eut lieu le 25 juillet 1843, et la pièce fut
jouée en :</p>
<p>1843-44 40 fois.</p>
<p>1845 7 -</p>
<p>1846... 1 -</p>
<p>1849 6 -</p>
<p>1851.. 29 -</p>
<p>1852 12 -</p>
<p>'853 .. '5 -</p>
<p>1854. 4 -</p>
<p>1855 M -</p>
<p>1856 .... 7 -</p>
<p>1857 . ... 7 -</p>
<p>«858 7 -</p>
<p>1859 6 -</p>
<p>1860... n -</p>
<p>1861 >....> 4 -</p>
<p>Total 170 -</p>
<p><pb/></p>
<p>MAI 22:</p>
<p>Les Demoiselles de Sainl-Cyr restèrent donc au répertoire pendant près
de vingt ans sans interruption, puis un silence de vingt-deux ans se
fit. Depuis le 21 juillet. 1861, on n'eut point l'idée de les reprendre.</p>
<p>Au point de vue des différents interprètes qui se sont succédé dans
l'oeuvre de Dumas, voici une énumération qui me paraît également
intéressante.</p>
<p>Les principaux rôles ont été joués comme suit :</p>
<p>1843 1845 1849</p>
<p>1851 1861 1883</p>
<p>Duc d'Anjou. Delaonay..... Metrême Le Bargy</p>
<p>ChârlotteM1»" Madel 8 Brohan Mad. Brohan. Barretta</p>
<p>Enfin, quand j'aurai ajouté que Dumas a eu un collaborateur masqué pour
les Demoiselles de SaintÇyr, qui n'était autre que Brunswick, j'aurai
épuisé tous les détails rétrospectifs concernant cette charmante comédie.</p>
<p>Arrivons au présent.</p>
<p>H y a plusieurs mois que les Demoiselles de SaintCyr devaient cire
jouées, mais pendant- les répétitions</p>
<p><pb/></p>
<p>226 LES SOIRÉES PARISIENNES</p>
<p>Mlle Barretta se maria, et précisément avec M. Worms qui se fait tant
prier pour devenir son époux dans la pièce.</p>
<p>On dut accorder aux nouveaux mariés le petit congé de rigueur, puis on
reprit le travail.</p>
<p>La représentation a commencé un peu après l'heure annoncée, et l'on s'en
est étonné, étant donnée l'exactitude habituelle de la maison.</p>
<p>C'est elle maintenant qui sonne l'heure pour le commencement des
Demoiselles de Saint-Cyi*, seulement il faut l'attendre.</p>
<p>M. Perrin n'a pas eu de grands frais de misé en scène. *</p>
<p><pb/></p>
<p>.MAI</p>
<p>La pièce ne comporte ni décors, ni costumes très coûteux.</p>
<p>Réflexion d'un auteur dramatique :</p>
<p>IÏEPIUSE Ï)E LA PEIiLE DU BIÏÊSIL</p>
<p>17 mai."</p>
<p>On n'a pas engagé Mlle Nevada pour reprendre la Perle du Brésil; on a
repris la Perle du Brésil parce qu'on avait engagé Mlle Nevada et qu'on
ne savait trop dans quel ouvrage faire débuter la cantatrice américaine.</p>
<p><pb/></p>
<p>228 LES SOIRÉES PARISIENNES</p>
<p>Le livret de la Perle du Brésil est de Gabriel et Sylvain Saint-Etienne.</p>
<p>Qui se souvenait encore de ces deux librettistes ? Sylvain Saint-Etienne
a fait parler de lui, il y a un an ou deux, en succombant très
dramatiquement aux suites d'une chute dans une tranchée, rue Lafayette.</p>
<p>*- Tiens, l'amiral aime donc Zoral</p>
<p><pb/></p>
<p>.MAI 229</p>
<p>O douces joies des familles d'il y a trente ans!</p>
<p>Elle n'est pas jolie, jolie, mais la physionomie est intéressante et,
une fois qu'on s'y est habitué, elle ne manque pas de charme.</p>
<p>- Trouvez-vous que je prononce bien ></p>
<p>Et rien ne lui est plus agréable que de recevoir une réponse
affirmative. Elle est généralement accompagnée d'un homme</p>
<p><pb/></p>
<p>2^0 LKS SOIRKF.S PARISIENNES</p>
<p>Florimon lui fit cadeau d'un médaillon contenant des cheveux de Bellini,
sorte de relique artistique dont la jeune chanteuse est très fière; il
lui indiqua aussi les variantes et points d'orgue de la Malibran dans la
Sonnambula. Le vieux bibliothécaire est resté le grand ami et le grand
conseiller de l'artiste. II lui écrit toutes les semaines, et ses
lettres, pleines de sages avis, exerceront certainement une influence
salutaire sur la carrière de Mlle Nevada.</p>
<p>La mise en scène de la Perle du Brésil est assez jolie. Les costumes de
Thomas ont de la couleur et le divertissement des mousses, réglé par
Mlle Marquet, est fort réussi.</p>
<p>M, Lavastre jeune a habilement arrangé le vieux vaisseau d'Haydée, pour
le second acte. 11 y a ajouté des voiles d'un excellent effet.</p>
<p>Quant au troisième acte, de MM. Rubé et Chaperon, ce n'est pas la forêt
de Lakmé, c'est un coin de forêt brésilienne, d'une végétation encore
très suffisamment enchevêtrée et luxuriante.</p>
<p>Et puisque je parle de Lakmé et de son troisième</p>
<p><pb/></p>
<p>.MAI 231</p>
<p>acte, racontons cette anecdote qui date d'il y a quelques jours.</p>
<p>Au concert organisé au Trocadéro pour Mme veuve Membrée, Gounod s'étant
rencontré avec Delibes le félicita très vivement et très chaleureusement
de son grand succès ; cela se passa au foyer des artistes. Delibes
sorti, Gounod continua son panégyrique devant les nombreuses personnes
présentes, et il conclut ainsi :</p>
<p>Elle a commencé, cette soirée, par la première représentation d'un acte
de Cressonnois, paroles de M. Trùffier, intitulé : Saute marquis !</p>
<p><pb/></p>
<p>232 LES SOIREES PARISIENNES</p>
<p>Quoi qu'il en soit on l'a emporté, battu et pas content.</p>
<p>Dix minutes après, autre manifestation mais d'un genre très différent.
Au milieu du silence, on entend deux « Bravo! bravo! » dits très
énergiquement par une voix délicieuse.</p>
<p>Au deuxième acte, M. Mouliérat manque son entrée de deux bonnes minutes,
et la scène reste vide.</p>
<p><pb/></p>
<p>.MA! 233</p>
<p>LA VIE FACILE</p>
<p>12 mai.</p>
<p>Les auteurs ont pris l'habitude d'être joués ainsi aux environs du
Grand-Prix. Dans les premiers temps la chose leur semblait désagréable,
et ils risquaient de timides observations. Ils laissaient entrevoir que
le mois de novembre leur semblait préférable.</p>
<p>- Le mois de novembre ! leur disait-on, y pensezvous > Est-ce au mois de
novembre que l'on a joué le Procès Vauradieux}</p>
<p>- C'est une exception, mais...</p>
<p>- Et le Voyage d'agrément ? Croyez-nous, le bon moment au Vaudeville,
c'est l'été.</p>
<p>Si l'on objectait Fédora, les directeurs répondaient que Fèdora était
une pièce russe et que c'est pour cela seulement qu'on l'avait jouée en
hiver.</p>
<p><pb/></p>
<p>2}4 1-ES SOIREES PARISIENNES</p>
<p>- Il y aura un bien beau décor !</p>
<p>- Oui, ajouta M. Deslandes seul, vous verrez que lorsque nous nous en
mêlons, nous faisons aussi bien que les directeurs les plus renommés
pour le luxe de leurs mises en scène, On parlera du décordes courses de
la Vie facile !</p>
<p>On ne réalise bien que les choses que l'on a vues. Directeurs, auteurs,
régisseurs, décorateurs convinrent qu'il fallait aller au bois de
Boulogne la première fois qu'il y aurait des courses.</p>
<p>Un dimanche donc, deux landaux superbement attelés emmenaient auteurs,
directeurs, régisseurs et décorateurs au champ de courses; on fit un
excellent déjeuner, puis l'on se répandit dans l'enceinte réservée. Pour
mieux observer chacun s'en alla de son côte.</p>
<p>On s'était donné rendez-vous après la troisième course.</p>
<p>- Eh bien ?</p>
<p>- Moi je perds quinze louis!</p>
<p>- Et moi quarante francs. Oh ! les tuyaux.</p>
<p>- Mais notre décor?</p>
<p>- C'est juste, occupons-nous-en, cela vaudra mieux que d'attraper des
culottes.</p>
<p><pb/></p>
<p>MAI 235</p>
<p>On ne s'occupa que très peu des autres décors de la pièce, de simples
intérieurs.</p>
<p>On ne les regardera même pas, se disait-on, le décor des courses
écrasera tout le reste.</p>
<p>Le fait est qu'il était superbe. Le jour où on le posa ce furent des
cris d'admiration.</p>
<p>Par malheur, quand on répéta généralement, on s'aperçut que l'acte des
courses faisait longueur et on le supprima, au grand désespoir des dames
qui avaient" commandé exprès de magnifiques toilettes.</p>
<p>La Vie facile nous procure le plaisir de revoir deux artistes qui
-depuis longtemps n'avaient point paru au Vaudeville, les deux artistes
aimés et choyés de la maison que Fédora avait éloignés de leur théâtre.</p>
<p>Au deuxième acte, Mlle Legault prononce une phrase assez longue en anglais.</p>
<p><pb/></p>
<p>2?6 LES SOIRÉES PARISIENNES</p>
<p>La charmante artiste la prononce si bien, si gentiment, avec un accent
si pur, qu'un imprésario étranger lui a fait une proposition bizarre.</p>
<p>Il lui a offert de payer son dédit au Vaudeville, de lui faire apprendre
l'anglais pendant deux ans, en lui payant ses appointements bien entendu
, après quoi il l'emmènerait en Amérique pour y jouer deux pièces :</p>
<p>Mlle Legault a refusé. Elle veut encore des succès en français et en
France.</p>
<p>Décidément, les directeurs ne nous rendent pas la vie facile !</p>
<p><pb/></p>
<p>.MAI 237</p>
<p>.</p>
<p>LE CONSEIL MUNICIPAL DE VIIiEMOLLET</p>
<p>21 mai.</p>
<p>J'ai reçu, il y a quelques jours, l'invitation suivante :</p>
<p>LES MARIONNETTES de</p>
<p>MAURICE SAND</p>
<p><pb/></p>
<p>238 LES S0IKÉKS PARISIENNES</p>
<p>« Tâchez qu'on vous laisse entrer dans les coulisses. C'est très
difficile. Mais peut-être que pour vous on fera une exception. Enfin...
tâchez... vous serez émerveillé! »</p>
<p><pb/></p>
<p>MAI 23q</p>
<p><pb/></p>
<p>aux articulations mues par des fils, Selon eux, il n'y a qu'une vraie
marionnette, le Guignol, Je burattino, la marionnette sans jambes , que
la main de l'opérant dirige et anime.</p>
<p><pb/></p>
<p>MAI -'.| I</p>
<p>Et qu'ils sont drôles !</p>
<p>Le concours des « pustulentes pour le prix de vertu, » comme disait le
garde-champêtre Bassinet, a transporté l'auditoire. Parmi les paysannes,
il en était une surtout, une nommée Nannette, qu'on trouvait adorable.
C'étaient des cris de ravissement :</p>
<p>- Est-elle gentile ! A-t-elle l'air comme il faut ! Vous</p>
<p><pb/></p>
<p>>.J2 LES SOIREES PARISIENNES</p>
<p>verrez que ce n'est pas elle qui aura le prix!</p>
<p>Et Nannette souriait d'un air modeste, heureuse de son succès, mais sans
manifester de sot orgueil.</p>
<p>Puis est venu le tour du sexe laid. L'entrée du maire de Viremollet et
de son conseil municipal a obtenu un succès énorme. Chaque paysan a son
type, chaque blouse a son cachet particulier. Tous portent le grand
chapeau de feutre, crânement campé sur l'oreille ou paternellement
enfoncé jusqu'au cou; seul, le radical est coiffé d'un chapeau de paille
informe et sale qui vaut une profession de foi. Rien de plus comique que
'cette séance du conseil, avec ses interruptions bêtes, ses réflexions
grotesques qu'on sent vraies pourtant et dont l'exagération voulue
laisse percer une observation des plus fines. Il s'agit de voter sur un
projet de chemin de fer.</p>
<p>Et comme les invités s'en allaient en déclarant que la comédie nouvelle
comptait parmi les meilleures et les mieux jouées du répertoire, un ami
de M. Maurice Sand me fit pénétrer auprès de l'imprésario, dans les
coulisses.</p>
<p><pb/></p>
<p>MAI 243</p>
<p>Le cintre contient un jeu de décors tel que n'en possède aucun théâtre.
A côté de la scène, dans une grande salle, sont réunis les ateliers de
menuiserie, de cordonnerie, de lingerie, de couture, les magasins
d'accessoires et de bijouterie. Enfin, de grandes armoires contiennent
les personnages rangés par ordre; ils ont l'air de me regarder, étonnés,
comme des artistes quand un nouveau venu entre dans leur foyer.</p>
<p><pb/></p>
<p>?44 ,KS S01UKRS PARISIENNES</p>
<p>M. LAROCHELLE ET LA CHALEUR.</p>
<p>24 mai.</p>
<p>Cette lutte de M. Larochelle avec la chaleur promet d'être intéressante.
Je connais le directeur de la Gaité : si réellement il s'est mis dans la
tête de ne pas reprendre Henri III tant qu'il fera chaud, il ne cédera pas.</p>
<p>Est-ce la chaleur qui cédera?</p>
<p>- Insupportable chaleur 1 Oh 1 cette chaleur! Maudite chaleur 1</p>
<p>Moi qui assiste tous les jours aux combats, aux</p>
<p><pb/></p>
<p>-MAI 245</p>
<p>intrigues, au grand steeple-chase de la vie théâtrale, je me demande,
avec une certaine curiosité, quel va être le résultat de ce tournoi
original.</p>
<p>Si la chaleur a seulement quelques légères notions de littérature-, elle
ne voudra pas empêcher la reprise d'une pièce qui passe pour une des
meilleures d'Alexandre Dumas.</p>
<p>Mais ces notions, lesa-t-elle?</p>
<p>Mais, d'autre part, les sytnpathtes que j'at potn'</p>
<p>i4*</p>
<p><pb/></p>
<p>246 LES SOIRÉES PARISIENNES</p>
<p>TOVJOVRS!</p>
<p>25 mai.</p>
<p>Petite soirée, petit public.</p>
<p>Mais l'auteur, M. de Courcy, est un écrivain des plus sympathiques pour
lequel tout le monde forme des voeux et qu'on est très heureux d'applaudir.</p>
<p>Un autre se fût fâché, ou découragé, Mais M. de Courcy remporta
tranquillement son acte et, puisqu'on lui avait demandé des corrections,
il corrigea.</p>
<p>Le principal reproche que MM. les sociétaires firent</p>
<p><pb/></p>
<p>MAI 247</p>
<p>- J'ai bien chaud I</p>
<p>M. Coquelin a refusé le rôle principal de Toujours ! qui avait été écrit
pour lui.</p>
<p>Mais le rôle n'est pas sorti de la famille. C'est le cadet qui en a
hérité, et j'avoue que je n'en suis pas fâché, car les apparitions de
l'excellent comique deviennent de plus en plus rares sur la scène de la
Comédie-Française. M. Coquelin cadet prodigue généreusement son concours
aux représentations charitables, sans quoi nous n'aurions presque jamais
l'occasion de l'applaudir.</p>
<p>Jeanne Samary reparaissait ce soir également dans son joli rôle de la
délicieuse comédie de Paillcron, V Étincelle.</p>
<p><pb/></p>
<p>248 LES SOIRÉES PARISIENNES</p>
<p>Et la sympathique artiste fait précisément sa rentrée dans un rôle dont
les éclats de rire sont devenus célèbres. Jamais personne au théâtre n'a
ri comme Mme Samary.</p>
<p>- Pourtant, disait-elle, j'ai encore bien envie de pleurer!</p>
<p>henm ni et sa cour</p>
<p>26 niai.</p>
<p>Le ciel protège MM. Larochelle et Debruyère ; ils l'ont emporté dans la
grande lutte engagée par eux contre la chaleur.</p>
<p>Va\ vérité nous jouissions d'une fraîcheur relative</p>
<p><pb/></p>
<p>MAI 249</p>
<p>lorsquele rideau s'est levé sur le premier acte d'Henri III.</p>
<p>Mais la direction espérait faire coïncider cette reprise avec
l'inauguration de la statue de la place Malesherbes; on avait même
commandé une poésie de circonstance qui ne sera dite que plus tard, dans
une représentation extraordinaire, le jour où ladite inauguration aura
lieu enfin.</p>
<p>» Je baise vos mains ducales.</p>
<p>» A. Dumas fils. »</p>
<p>Mlle Dica-Petit avait grande envie de jouer Henri IIL Comme elle est
engagée en Russie, il a fallu l'attendre et profiter de son congé. Elle
nous revient d'ailleurs plus jolie que jamais.</p>
<p><pb/></p>
<p>250 LES SOIREES PARISIENNES</p>
<p>lien ne porte point le maillot collant, mais une petite culotte lien ri
III, qui descend jusqu'au genou; on ne voit ainsi que la moitié de ses
jambes.</p>
<p>A ce bilboquet, se rattache une tradition assez curieuse.</p>
<p>Ayant lu dans le Supplément du Figaro que le soir</p>
<p><pb/></p>
<p>MAI. 251</p>
<p>de la première de Henri III, le balcon était complètement, occupé par
des princes, ils firent d'abord des démarches auprès des Princes d'Orléans.</p>
<p>Mais depuis le ministère Thibaudin, on ne les voit plus beaucoup en public.</p>
<p>Le prince de Sagan est tout au Grand International qui se court demain à
Auteuil.</p>
<p>Les demoiselles Prince Irc et Prince II sont retenues par leur service à
l'Opéra.</p>
<p>MM. Larochelle et Debruyère ont dû, en conséquence, s'estimer encore
très heureux d'avoir, comme de coutume, les princes de la critique.</p>
<p>La mise en scène est soignée, et quelques-uns des costumes sont jolis :
mais où diable a-t-on été chercher les courtisans qui entourent le roi?
Ils font si piteuse mine qu'il semble que le vrai titre de la pièce
doive être î</p>
<p>Henri III et sa basse cour.</p>
<p>viiEvm du nimmi</p>
<p>29 niai.</p>
<p>MM. Briet etDelcroîxvont essayer de né pas fermer les portes du
Palais-Royal pendant l'été. Ils profi-</p>
<p><pb/></p>
<p>252; LKS SOIREES PARISIENNES</p>
<p>Ils commencent leur essai loyal par Y Heure du Berger, pièce en trois
actes de M. Maurice Ordonneau, reçue depuis fort longtemps.</p>
<p>11 n'y avait pas de rôle pour Mlle Lavigne, dans Y Heure du Berger.</p>
<p>Mais quoi lui faire jouer?</p>
<p><pb/></p>
<p>-MAI 253</p>
<p>Elle a pour les courses un véritable fanatisme et, malgré la semaine du
Derby, le steeple d'Auteuil et autres attractions sportives, elle n'a
pas manqué une seule répétition. Elle se contentait de se faire envoyer
par télégramme les cotes et les gagnants.</p>
<p>La pièce s'est répétée assez rapidement, sans incidents.</p>
<p>Ah! si pourtant, il y en a eu un : l'incident du cor de chasse.</p>
<p>On en doit jouer dans la coulisse au troisième acte, et non pas le
premier hallali venu : on doit jouer le Miserere du Trovalore.</p>
<p>Quand le chef d'orchestre fut convoqué aux dernières répétitions, il
déclara tout net qu'il était impossible d'exécuter cet air célèbre sur
un instrument aussi récalcitrant que le cor dechasse.</p>
<p>- Prenez un cor d'harmonie.</p>
<p>11 n'y en avait pas dans l'orchestre du Palais-Royal, mais on en (H
chercher un. »</p>
<p>Le cor d'harmonie se présenta*</p>
<p>- Pouvez-vous jouer le Miserere du Trovalore?</p>
<p>- Parbleu.</p>
<p>- Des fausses notes, s'écria le cor d'harmonie, des fausses notes! Le
déshonneur alors! Jamais!</p>
<p>Et il se retira avec dignité,</p>
<p>Le cas devenait embarrassant. Ce furent lés artistes du Palais-Royal qui
trouvèrent la solution. Ils s'essayèrent les uns après les autres sut'
le cor de</p>
<p>15</p>
<p><pb/></p>
<p>254 ' I-liS SOIKEKS PARISIENNES</p>
<p>LES ADIEUX DE L'ATllÈXÈK</p>
<p>30 mai.</p>
<p>Les derniers jours de l'Athénée rappellent ce qui se passe a l'hôtel
Drouot.</p>
<p>- C'est bien vu, messieurs, le beau vase de Sèvres... cinquante
francs... personne ne dit mot... cinquante-deux... Prenez garde, je vais
adjuger... cinquante-cinq... C'est vu, entendu, cinquante-cinq francs le
beau vase de Sèvres... une fois... soixante...</p>
<p>Et ainsi ce suite jusqu'au coup de marteau final.</p>
<p>Chez Montrouge, nous avons eu comme cela la dernière première, puis la
dernière reprise, enfin, voici les adieux définitifs.</p>
<p>- C'est bien vu, messieurs, on va fermer, c'est entendu, on ne reverra
plus Montrouge, une fois, deux fois, trois fois, adjugé !</p>
<p>Aujourd'hui, ça y est bien. A moins qu'une résurrection inattendue...
Mais ce n'est guère probable. Bischoflsheim sera inflexible. Il a promis
qu'il démolirait, et il démolira. Consolons-nous, Parisiens, mes frères !</p>
<p>Cette dernière soirée a été touchante.</p>
<p><pb/></p>
<p>.MAI</p>
<p>>></p>
<p>tous les artistes successivement ont leur ovation, et non pas une
ovation en charge comme on en faisait quelquefois dans cette cave qui
n'est plus : une ovation pour de bon.</p>
<p>Mme Macé-Montrouge profite de cet instant suprême pour se révéler
pianiste-accompagnateur de premier ordre ; elle est couverte de fleurs.</p>
<p>Des habitués venus pour assister aux adieux de la rue Scribe affirment
que les époux Montrouge ne se retirent pas pour toujours du théâtre.</p>
<p>Montrouge, il est"vrai, jure qu'on ne' le verra plus jamais sur aucune
scène, qu'il veut vivre en rentier, paisiblement, joyeusement, mais ceux
qui le connaissent bien prétendent qu'il est incapable de se tenir parole.</p>
<p>Sa belle résolution durera quelques mois, plus peut-être, puis il fera
jouer la comédie aux vassaux qui entourent son castel du bord de la mer,
puis un beau jour il reparaîtra clans une représentation au bénéfice des
pauvres ; enfin on le retrouvera avec un bon engagement dans un théâtre
de genre, et ce sera tant mieux.</p>
<p>Au moment où le dernier, rondeau s'achève, il est une heure moins sept
minutes. L'Athénée a vécu!</p>
<p><pb/></p>
<p>JUIN</p>
<p>LA...</p>
<p>Ier juin.</p>
<p>On a beau dire, M. Lisbonne n'est pas un... ordinaire.</p>
<p>Je trouve même que, comme initiateur, il est...</p>
<p>Ainsi, il a inventé Louise Michel, auteur dramatique, qui lui a donné
sa... Il a eu l'idée du faux autographe de... pour la reprise de... 11 a
compris que pour jouer le Trouvère aux Bouffes du Nord, rien ne valait
une troupe de drame; enfin, il vient de nous offrir une pièce sans
titre, une pièce qui s'appelle simplement La...!</p>
<p>Bien plus malin que cela, M» Lisbonne.</p>
<p>Quel beau drame que La...!</p>
<p>Il s'agit d'une... dont le père a été tué par,..</p>
<p><pb/></p>
<p>JUIN 257</p>
<p>C'est pour venger sa mortqu'elle se fait...</p>
<p>Ce n'est pas une... par conviction, par tempérament, par cupidité. Non.
C'est une... par dévoûment.</p>
<p>Durant toute la.pièce, on veut la... mais elle met la condition que...
Ce qu'il lui faut,'c'est le... que portait son père quand un misérable
l'a...</p>
<p>Un soir enfin, elle donne chez elle une grande...</p>
<p>Elle trouve dans son... un billet.</p>
<p>Allez au bouge du père Choppin, dit le billet, et vous connaîtrez
l'assassin de...</p>
<p>Très... ce bouge. On y voit beaucoup de... Et puis des... Par malheur,
la rousse interrompt la... Et le traître une fois de plus est sauvé !</p>
<p>L'acte suivant se passe dans un...</p>
<p>- Au nom de la loi, je vous... A ces mots, La... s'écrie :</p>
<p>- J'ai retrouvé mon... ! Etla toile baisse. C'est un...</p>
<p>Parlons maintenant de l'auteur dont La... est le début. Il porte un
grand nom. On rappelle L. G. de La... 11 est le neveu d'un... On le dit
très.,. M. Lisbonne, qui tutoie tout le monde, ne lui parle qu'avec le
plu%grand...</p>
<p>On assure que M. G. de La... a clans ses cartons un nombreux choix de
pièces aussi... 11 veut bien m'en communiquer les titres, qui sont tous
fort alléchants.</p>
<p><pb/></p>
<p>258 LfcS SOIKl'iKS PAUISIKNNKS</p>
<p>MPMSE DE LA PARWQXDAIXE LE SAMEDI DU G1LL\DVULK</p>
<p>2 juin</p>
<p>Je m'explique.</p>
<p>Mais en attendant, de quoi vivra-t-on ></p>
<p><pb/></p>
<p>JUIN 259</p>
<p>rituels et modernes confrères pour lui demander de vouloir bien se
charger de cette besogne épilatoirc.</p>
<p>Tout pourtant n'est pas de l'auteur du Chalet.</p>
<p>Il y a un autre Adolphe dans l'affaire : M. Adolphe de Groot, ancien
chef d'orchestre du Vaudeville et du Châtelet.</p>
<p>En modernisant la pièce, notre confrère.a introduit un troisième
compositeur. C'est M. Robert Plan-</p>
<p><pb/></p>
<p>200 LES SOIKÉKS PARISIENNES</p>
<p>On a applaudi le musicien et la chanteuse.</p>
<p>Il me serait difficile de consacrera la Porte-SainlMartin toute cette
soirée où le Cirque d'été doit avoir sa part.</p>
<p>On sait que le samedi du Grand-Prix est la grande soirée de gala de M.
Eranconi. Cela fait partie du chic, du pschutl, du i'/rf/j, du high
'ife, de l&Jashion et de la season.</p>
<p>Ce soir la foule était énorme. Les gentlemen les plus boudinés avaient
envahi jusqu'aux secondes galeries. Les écuries, d'où il est pourtant
impossible de voir la salle, regorgeaient de monde. Et quel monde ! Le
comte Polocki, de Montgommery, de Nervo, de Soubcyraii, A. de
Rothschild, Troubctzkoï, Galitzine, de Massa, Coppens de Eontcnay,
Aguado, de Béthunc,</p>
<p><pb/></p>
<p>JUIN 2ÔI</p>
<p>de Quélen, de Sagan, de Mamauban, de Camondo; des grandes dames et des
petites, et des étrangères charmantes en jolies toilettes claires, et
des Anglais venus pour les courses, et des bookmakers, des sporismeity
des sportszvomen. On bavarde, on rit, on fait des paris sur le
Grand-Prix, on lorgne, on flirte, on regarde même le spectacle. Il vaut,
du reste, le peine d'être regarde, le spectacle. Il contient beaucoup de
numéros nouveaux: un équilibriste - genre Trewey - très fort, très
adroit, très amusant; le quatuor comique - farce des mieux réglées et
qui a énormément amusé ce soir ; d'autres attractions encore que
j'oublie. Assez, en tout cas, pour faire persister la vogue des samedis
- sans compter celle des mercredis - pendant tout l'été, malgré la
terrible concurrence de la villégiature.</p>
<p>COIiXEILLE X'EST PAS PSC1WTT !</p>
<p>6 juin.</p>
<p>Il faut savoir dire la vérité atout le monde, surtout aux grands.</p>
<p>Or, Corneille est Un grand homme, personne ne le niera ; il fait très
bien le vers et sait charpenter un</p>
<p><pb/></p>
<p>2Ô2 I.KS SOIKKKS PAKISIKNXKS</p>
<p>drame aussi bien que le jeune Decourcelle, qui s'appelle Pierre comme
lui ; seulement... voilà, Corneille n'est pas pschuli II</p>
<p>S'il était pschutt ! il saurait comme tout le monde que la vie
parisienne, mondaine, élégante et théâtrale finit avec le Grand-Prix;
qu'après le Grand-Prix, il n'y a plus ni solennité dramatique, ni. fête
boulevardière d'aucun genre ; que tout le monde part, que tout le monde
est parti et que, par conséquent, il ne devrait pas trois jours après la
victoire de Fronlin, nous envoyer une invitation pour fêter son
anniversaire.</p>
<p>Je sais que Corneille n'a jamais posé pour l'élégance. Il raccommodait
ses 'souliers lui-même, s'habillait très simplement de noir et n'avait
pas la prétention de faire la mode. Mais le temps a marché. Les poètes
ne sont plus aujourd'hui les hommes chevelus, mal mis et peu soignés,
que les bourgeois toisaient d'un air de mépris.</p>
<p>Abusant de son autorité, il nous a conviés encore une fois ce soir, à
une représentation au ThéâtreFrançais du Menteur, cVIIorace et d'un
à-propos en vers, Corneille et Richelieu, par un jeune auteur de
beaucoup de talent : M. Emile Moreau.</p>
<p>Je ne sais pas ce que feront les autres, s'ils iront</p>
<p><pb/></p>
<p>JUIN 263</p>
<p>LE CAllXET DE THEO</p>
<p>7 juin.</p>
<p>Dki'AUt. -Je pars du Havre le 14 aoûtj sur le Labrador, un magnifique
paquebot. Tout le monde est très aimable pour moi. C'est la première
grande traversée que je fais. Que va-t-il arriver? Je lutterai.</p>
<p>Je lutte, mais comme cela remue!</p>
<p><pb/></p>
<p>264 I-ES SOIRÉES PARISIENNES ,</p>
<p>J'ai lutté Il est de glorieuses défaites.</p>
<p>Nous approchons du 25 août, jour de ma fête. On m'offre un superbe
bouquet, mais comme il est difficile de se procurer des fleurs en pleine
mer, ce bouquet se compose de navets, de carottes, de pommes de terre,
de poireaux habilement découpés.</p>
<p>- Quel est ce chapeau ?</p>
<p>- Un chapeau Théo !</p>
<p>- Mt l'oiseau qui est dessus?</p>
<p>- Une caille Théo !</p>
<p>- Comment s'appelle ce manteau?</p>
<p>- Un manteau Théo !</p>
<p>Nous descendons. 11 pleut, dans les rues, des prospectus en vers. Des
vers faits en mon honneur. Comme la chaleur est terrible je mets, pour
sortir, une toilette toute blanche.</p>
<p>A la porte de l'hôtel je rencontre un énorme nègre qui s'écrie en
ouvrant de grands yeux :</p>
<p>- Moi, jamais rien vu d'aussi blanc. Moi, je n'avais jamais rien vu
d'aussi noir.</p>
<p>Débuts. - Je débute au théâtre de la cinquième Avenue, par Madame
iArchiduc. On me fait une entrée qui dure dix bonnes minutes et je suis
rappelée cinq fois après le premier acte.</p>
<p>Première Tournée. - Philadelphie, Brooklyn,</p>
<p><pb/></p>
<p>JUIN 265</p>
<p>Le lendemain 28, je pars pour la Havane; sur le bateau on m'offre une
réduction des chutes du Niagara en fleurs.</p>
<p>A la Havane. - Aies cheveux blonds font sensation : c'est une grande
rareté dans le pays.</p>
<p>Je joue pour la première fois, la Fille de Madame Àngol,a\'cc Capoul; on
fait 376,000 francs de recette en trois semaines.</p>
<p><pb/></p>
<p>266 LES SOIRÉES PARISIENNES</p>
<p>Petits cadeaux. - Les Français sont en grand nombre au Mexique; ils
m'accueillent d'une manière charmante; les Mexicains sont encore plus
aimables s'il est possible. On me présente un riche seigneur du pays. La
première fois, il avait les dents.noires; la deuxième, les dents jaunes;
la troisième, les dents blanches. Drôle de moyen de séduction.</p>
<p>Pour mon bénéfice, les loges s'enlèvent mieux que des petits pâtés. Il
suffit que l'on sache que quelqu'un a payé la sienne trois cents francs,
pour qu'un autre donne cinq cents francs. A la fin, quelqu'un remplit un
coffret en cristal de pièces d'or de toutes les formes. il y en a pour
dix-sept mille francs. Glarfiator, l'homme aux trente millions qui donne
dix mille francs au concierge pour un renseignement, est dépassé, je
reçois des bijoux en quantité.</p>
<p>Un soir au théâtre, on me fait dire qu'une dame désire absolument me
parler et me prie de descendre. Comme je m'habille, je lui envoie
Isabelle. On la fait monter clans une voilure qui part au grand galop.
Isabelle, enlevée, explique qui elle est, cl on la ramène avec des excuses.</p>
<p><pb/></p>
<p>JUIN 267</p>
<p>monde qui ne vont jamais voir d'opérettes viennent pourtant en masse à
mes représentations; c'est, parait-il, un grand honneur qu'elles me font.</p>
<p>Ils ont soin de Pistache, un très joli petit chien Chihuahua que l'on
m'a donné avec deux colliers, l'un en or, l'autre en diamants pour les
jours de fête.</p>
<p>Autres cadeaux. - Au New-Casino, déluge de fleurs. Des bouquets si
lourds qu'il faut quatre hommes pour les porter. Pendant les Cloches de
Cornevtlle, on m'envoie trois cloches en fleurs : les battants sont
formés par des bracelets ornés l'un d'un rubis, l'autre d'un diamant, le
troisième d'un saphir. Les couleurs nationales !</p>
<p>Pépart pour la France le 23 mai. Je vais revoir</p>
<p><pb/></p>
<p>2Ô8 LES SOIREES PARISIENNES</p>
<p>Paris. Quel bonheur! Mais on a été bien gentil pour moi en Amérique, j'y
retournerai !</p>
<p>DISTRIBUTION SOLEXXELLE DES PRIX AUX DIRECTEURS DE THÉÂTRE</p>
<p>14 juin.</p>
<p>A deux heures, une foule immense remplit la salle du Trocadéro,</p>
<p>A deux heures trente, MM. Halanzier, Jules Ferry, Antonin Proust,
Auguste Vitu, J.-J. Weiss, François Coppée, Henri de Pêne, Albert Wolff
et de la Pommeraye viennent s'asseoir sur l'estrade.</p>
<p>A ce moment, une fanfare composée des cuivres de de tous les orchestres
de Paris et dirigée par M. Ernest</p>
<p><pb/></p>
<p>JUIN - 269</p>
<p>Reyer attaque un morceau brillant sur l'air, connu :</p>
<p>Les voilà, les voilà, Ah! ah! ah!</p>
<p>Le célèbre critique, revenu tout exprès de Hollande pour la grande
solennité d'aujourd'hui, se prépare un verre d'eau sucrée, tandis que la
fanfare, sous la direction de M. Reyer, le salue par cet air :</p>
<p>Maman, les p'tits bateaux Qui vont sur l'eau...</p>
<p>M. Sarcey se mouche, tousse et prononce le discours suivant ;</p>
<p>« Jeunes directeurs,</p>
<p><pb/></p>
<p>27O I.KS SOIKKUS PARISIENNES</p>
<p>geslooten. Pardon... je vous parle hollandais... c'est une petite
habitude que j'ai prise là-bas en quelques jours. Mais ce n'est pas de
cela qu'il s'agit.</p>
<p>« Mais c'est des théâtres de Paris que je veux parler.</p>
<p>Ce discours est accueilli par de longs applaudissements. Le défilé des
lauréats commence. M. Halanzier les embrasse en leur remettant leurs
prix, tandis que M. Jules Ferry leur pose leurs couronnes sur la tête.</p>
<p>La fanfare, dirigée par M. Reyer, joue :</p>
<p>Il pleut, il pleut bergère !</p>
<p><pb/></p>
<p>JUIN 271</p>
<p>air connu qui paraît faire le plus vif plaisir aux directeurs dont les
théâtres sont encore ouverts. Voici les noms des lauréats :</p>
<p>HARMONIE</p>
<p>Premier Prix : Vaucorbeil, Carvalho {cx-xquo).</p>
<p>FRANÇAIS</p>
<p>Ier Prix : Perrin (Emile). 2e Prix : La Rounat (de).</p>
<p>HISTOIRE</p>
<p>Ier Prix : Larochclle {Henri III et sa cour). Accessit : Deîrruycrc id.</p>
<p>GÉOGRAPHIE</p>
<p>Pas de Premier Prix.</p>
<p>1" Accessit : Clèves (Voyagea travers Vimpossible).</p>
<p>LECTURE</p>
<p>2e Prix : Le Comité du Théâtre-Français.</p>
<p>GREC</p>
<p>ier Prix : Maurice Bernhardt (/Vis de trèfle). 2e Prix : Larochelle (le
Roi des grecs).</p>
<p>ANGLAIS</p>
<p>iïf Prix: Vaucorbeil (Henry Vil7).</p>
<p><pb/></p>
<p>2J2 LES SOIREES PARISIENNES</p>
<p>LANGUE INDOUE</p>
<p>1" Prix : Carvalho (Lakmè),</p>
<p>EXCELLENCE</p>
<p>1" Prix : Koning (Victor) {Monsieur le Ministre).</p>
<p>HISTOIRE NATURELLE</p>
<p>1" Prix : Gautier ('Princesse des Canaries),</p>
<p>ASTRONOMIE</p>
<p>1" Prix ; Raymond Dcslandes (l'étoile Sarah Bcrnhardt ). 2mc prjx .
Emest Bertrand, id.</p>
<p>BONNE CONDUITE</p>
<p>i*r Prix : Gravière (Tancrède).</p>
<p>APPLICATION</p>
<p>1" Prix : Briet, Dclcroix(c.v-o?^»o).</p>
<p>ENCOURAGEMENT</p>
<p>l«r Prix : Maurice Bernhardt.</p>
<p>CALCUL</p>
<p>1" Prix : Cantin (Louis).</p>
<p>AUTOGRAPHE</p>
<p>icr Prix : Lisbonne (Maxime).</p>
<p><pb/></p>
<p>JUIN 273</p>
<p>GYMNASTIQUE</p>
<p>1" Prix : Françoni.</p>
<p>Les directeurs qui n'ont pas obtenu de nominations s'éloignent les yeux
remplis de larmes. A quatre heures, la cérémonie est achevée et la foule
se retire, vivement impressionnée, tandis que la fanfare de M. Ernest
Reyer joue :</p>
<p>Allez vous-en, gens de la noce!</p>
<p>- Au revoir, au premier septembre !</p>
<p><pb/></p>
<p>SEPTEMBRE</p>
<p>COMKILLE CHEZ D'EMEIlY</p>
<p>iCT septembre,</p>
<p>SCÈNE i</p>
<p>D'ENNERY, GALLET., puis UN DOMESTIQUE</p>
<p>d'enwery, interrompant</p>
<p>Très bien. N'oubliez pas le ballet qui doit suivre la première scène du
cinq ; Ballet des (Maures et des Castillans.</p>
<p>GALLET</p>
<p>Je l'amène par une reprise en choeur du petit récitatif de Don Rodrigue
(lisant) :</p>
<p>Paraissez, Navarrais, Maures et fils de Castille,</p>
<p>Coiffez-vous de bérets, Qu'en vos yeux le plaisir brille.</p>
<p><pb/></p>
<p>SEPTEMBRE 275</p>
<p>Par des pas expressifs Accourez tous, en cadence,</p>
<p>Sautillants, fiers et vifs, Et que la fête commence I.</p>
<p>d'ennery</p>
<p>Bravo! Et que la fêle commence est une trouvaille. Vous avez
parfaitement compris mes intentions.</p>
<p>U.V DOMESTIQUE</p>
<p>d'ennery Je n'y suis pour personne... vous le savez bien.</p>
<p>LE DOMESTIQUE</p>
<p>C'est qu'il a beaucoup insisté... Voici sa carte. d'enxery, lisant</p>
<p>Pierre Corneille, auteur dramatique. (Avec un peu de surprise).
Corneille! Que peut-il me vouloir? Enfin! Qu'il enlre! (Le domestique
sort.)</p>
<p>SCÈNE 11</p>
<p>Les mêmes , PIERRE CORNEILLE, en costume du temps, très usé</p>
<p>d'enxery Prends un siège, Corneille !</p>
<p>CORNEILLE</p>
<p>Merci, je ne suis pas fatigué (// s'assied tout de même)*</p>
<p><pb/></p>
<p>276 LES SOIRÉES PARISIENNES</p>
<p>- i .</p>
<p>d'ennery</p>
<p>Je ne reçois jamais quand je travaille, mais j'ai voulu faire une
exception pour vous. A quoi dois-je l'honneur de vous voir?</p>
<p>CORNEILLE</p>
<p>Adolphe, as-tu du coeur ?</p>
<p>d'ennery Pourquoi pas ?</p>
<p>CORNEILLE</p>
<p>Si tu as du coeur, nous allons nous entendre. (Regardant Gallet.)
Puis-je parler devant monsieur?</p>
<p>d'ennery</p>
<p>Vous le pouvez.</p>
<p>corneille</p>
<p>d'ennery</p>
<p>C'est vrai.</p>
<p>corneille</p>
<p>Il me semble équitable que vous me fassiez une part sur les droits. Vous
savez que je suis toujours un peu gêné; je suis donc sûr que ma démande
vous semblera aussi juste que naturelle.</p>
<p>d'ennery Pas tant que cela. Monsieur (1/ montre Gallet) et</p>
<p><pb/></p>
<p>SEPTEMBRE 277 1 .</p>
<p>corneille, un peu étonné</p>
<p>Mes vers?...</p>
<p>d'ennery</p>
<p>Nous ne les gardons pas, n'est-ce pas, Gallet > Ils nous gêneraient
joliment. Es- .-ce que vous croyez que Massenet pourrait les mettre en
musique ? Des vers qui ont douze pieds tout le temps. Et d'ailleurs,
laissezmoi vous dire cela.avec m'a vieille franchise : je n'aime pas les
poètes !</p>
<p>CORNEILLE et GALLET, Vexés</p>
<p>Permettez...</p>
<p>d'ennery</p>
<p>Savez-vous ce qui va arriver?... Je vois cela d'ici.... J'ai des
envieux, vous comprenez. Eh bien, le soir de la première, toutes les
fois qu'il y aura une scène qui marchera bien, les camarades diront : «
Ça, c'est de Corneille ! » et quand ça ne marchera pas, ils diront, bien
entendu, que c'est de moi. Vous voyez que vous serez plutôt gênant.</p>
<p>CORNEILLE</p>
<p>d'ennery</p>
<p>; Je sais bâtir une pièce aussi bien que vous, que diable! je suis un
vieux routier...</p>
<p>16</p>
<p><pb/></p>
<p>2-jH les soirées parisiennes ,</p>
<p>corneille:, avec flatterie</p>
<p>Un jeune auprès de moi. Mais pour les gens qui ont le don du théâtre, le
nombre des années n'est qu'un détail de peu d'importance.</p>
<p>d'ennery</p>
<p>CORNEILLE</p>
<p>d'ennery, avec compassion Non... Du moment que vous cessez d'exiger...</p>
<p>CORNEILLE</p>
<p>Que voulez-vous que je fasse contre trois )</p>
<p>d'ennery</p>
<p>11 ne sera pas dit que je me brouillerai avec un vieux confrère comme
vous, pour une misérable question d'intérêts... {Sonnant. Le domestique
paraît. D'Ennery lui parle bas). Il est incontestable, après tout, que
sans vous je n'aurais peut-être pas eu l'idée d'emprunter ce</p>
<p><pb/></p>
<p>SEPTEMBRE 279</p>
<p>sujet d'opéra aux Espagnols, (Le domestique est revenu, portant un
paquet). Tenez, voici pour vous.</p>
<p>corneille, défaisant le paquet</p>
<p>Quel raseur ! Reprenons vite notre travail.</p>
<p>gallet, lisant</p>
<p>CAVAT1NE</p>
<p>Sois vainqueur,</p>
<p>Cher seigneur,</p>
<p>Que la gloire,</p>
<p>La victoire, Couronnant ta valeur</p>
<p>Te ramène</p>
<p>A Chimène ! Dont ton coeur est épris. Ma main sera ton prix !</p>
<p>KÉR1BAN LE TÊTU</p>
<p>3 septembre.</p>
<p>Le collaborateur heureux et habile avec lequel M. Jules Verne a tiré le
Tour du Monde en quatrevingts jours et Michel Strogoff de ses livres à
succès,</p>
<p><pb/></p>
<p>280 lks sonu;i:s pauisiewks</p>
<p>- D'Ennery eût fait ceci! D'Ennery n'eût pas fait cela !</p>
<p>- Je trouve cela très bien ! Je suis très content!</p>
<p>D'Ennery a dû surtout être content de MM. Larochelle et Debruyère qui,
comme les journaux n'ont pas cessé de nous l'apprendre depuis plusieurs
mois, n'ont reculé devant aucun sacrifice pour monter la pièce de M.
Jules Verne.</p>
<p>Le « Railway du Caucase » a pour mission, il est vrai, d'écraser, en
passant, la guimbarde de Kéraban, mais cet accident n'a ému personne.
Décidément, nos machinistes ne savent pas faire les trucs. Chargez un
machiniste anglais de mettre ce même épisode en scène et je suis sûr
qu'il obtiendra quelque chose de très sai-</p>
<p><pb/></p>
<p>SKPTK.MHKK 281</p>
<p>Le tableau du vaisseau, au deuxième acte, est mieux réussi.</p>
<p>Ce naufrage a été le point culminant de la soirée.</p>
<p>Une grande partie du troisième acte est remplie par le ballet.</p>
<p>16.</p>
<p><pb/></p>
<p>282 l-KS SOIUKKS PAKISIKNNKS</p>
<p>Puis trop de mannequins, trop de personnages peints sur la toile de
fond, trop de clinquant, trop de paillettes. On se demande si l'on est
dans le théâtre où Boulet, Offenbach et Vizentini nous ont montré tant
de.spectacles vraiment merveilleux!</p>
<p>11 y a beaucoup de gens fort gras dans Kéraban le Têtu : Dumaine,
Pradeau, Mlle Tassilly. Au dernier</p>
<p><pb/></p>
<p>snpTEMimi: 283</p>
<p>acte, quand on voit descendre en scène le ballon qui porte Dumaine, on a
généralement trouvé qu'il eût été plus logique de laisser Dumaine porter
le ballon.</p>
<p>Malgré l'heure avancée, la plus grande partie du public a assisté au
dernier acte. On s'est beaucoup entêté.</p>
<p>L'EXIL D'OVIDE. - LE BEL ARMAND</p>
<p>5 septembre.</p>
<p>Je serais resté éloigné de Paris depuis vingt ans, j'aurais opéré ma
rentrée ce soir, au courant de rien, provincial jusqu'au bout des ongles
et vous m'auriez demandé :</p>
<p>- Savez-vous quel est le théâtre qui ouvre ses portes par une pièce
intitulée l'Exil d'Ovide ?</p>
<p>Que j'aurais répondu sans l'ombre d'une hésitation :</p>
<p><pb/></p>
<p>28.} J.KS S01RKKS PAUISIKXXKS</p>
<p>- Ce doit être l'Odéon !</p>
<p>Pendant la fermeture du théâtre, au lieu de décorer la salle, ce qui eût
été une dépense d'ailleurs superflue, le ministre des Beaux-Arts a
décoré l'administration, nommant M. deLaRounat officier de Ja Légion
d'honneur et son aimable secrétaire, M. Bourgeat, officier aussi, mais
seulement d'Académie.</p>
<p>M. de La Rounat a cru qu'il ne pouvait mieux reconnaître la haute faveur
dont il a été l'objet qu'en rouvrant l'Odéon avec deux pièces de deux
jeunes auteurs.</p>
<p>Et M. HonoréBonhomme, celui qui a commis l'Ovide en question, n'a guère
qu'une soixantaine d'années. Il a fait des ouvrages de philologie
transcendante et a eu, parait-il, l'honneur d'être fortement éreinté par
Sainte-Breuve, ce qui l'a posé dans son quartier.</p>
<p><pb/></p>
<p>SKI'TK.MBUi: 28s</p>
<p>Très peu de monde dans la salle. Ovîdeest toujours digne de rimer avec
vide.</p>
<p>Si M. Honoré Bonhomme a soixante ans passés, l'auteur du Bel Armand, la
pièce de résistance, n'en a pas trente. Cela rétablit la moyenne.</p>
<p>M. Victor Jannet est le petit-fils du célèbre Porcher.</p>
<p><pb/></p>
<p>286 LKS SOIKIÎKS J'AKISIEXNKS</p>
<p>La salle s'anime et se remplit pour la grande pièce.</p>
<p>Un élément très jeune et très charmant se mêle aux opectateurs
ordinaires des premières qui du reste sont encore bien loin d'être au
complet.</p>
<p>C'estl clément - Conservatoire.</p>
<p>A côté de lui, Amaury représente un pscliuttcux du dernier v'ian, tout
ce qu'il y a de plus « ah ! » -avec</p>
<p><pb/></p>
<p>SKPTKMHKK >8;</p>
<p>des vestons trop courts et des pantalons trop étroits.</p>
<p>Il n'a pas dû être mécontent des grands applaudissements de ce soir, M.
lecb-directeur. Je lui souhaite dans le courant de la saison, beaucoup
de représentations comme celle qui vient de finir.</p>
<p>Il est vrai que, d'après les bruits des couloirs, on n'avait pas
énormément compté sur ce Bel Armand.</p>
<p>A l'Odéon, en .ce moment, on ne compte que sur Cromzvell.</p>
<p>A la sortie, on affirme que M. de La Rounat vient d'être fait commandeur
de la Légion d'honneur et M. Bourgeat commandeur d'Académie.</p>
<p>Cette nouvelle est mexacte.</p>
<p>LES TAIILKAUX VOYAGEURS.</p>
<p>7 septembre.</p>
<p>Impossible de mettre un nom sur dix visages présents. Peu ou pas de
Parisiens, mats tout un monde hétérogène d'étrangers en complets
multicolores, et de</p>
<p><pb/></p>
<p>288 LES SOIRÉES PARISIENNES</p>
<p>On comprend que, dans ces conditions, les babillages du corps de ballet
manquent d'entrain et d'animation, et qu'il m'a fallu, en pareil cas, un
bonheur sans pareil pour recueillir une petite histoire parisienne aussi
piquante que celle qui suit.</p>
<p>Si vous le voulez bien, je rappellerai Arthur tout simplement : c'est
court, agréable et euphonique.</p>
<p>Arthur est riche, bien entendu, ce qui lui permet d'être suffisamment
généreux.</p>
<p><pb/></p>
<p>SKPTLMMKI-: 2S9</p>
<p>Cependant sa générosité n'exclut pas, il faut bien le dire, une certaine
sagesse dans la pratique de... la charité.</p>
<p>Heureusement pour lui, si Arthur est un homme de coeur, il est, par
contre et quand il le faut, un homme de tête aussi.</p>
<p>- Ah! mon Dieu! mais le délicieux Trouillebert que je t'ai donné, il y a
quelque temps) va s'abîmer... il a besoin d'être verni, je m'en charge ;
tu l'auras dès que je l'aurai fait restaurer comme il faut.</p>
<p>10</p>
<p><pb/></p>
<p>2Ç)0 LES SOIREES PARISIENNES</p>
<p>Naturellement, il arrive qu'au bout de quelque temps, le premier, ou
même le second numéro réclament le tableau ambulant.</p>
<p>C'est une exposition dans un cercle de province.</p>
<p>Quelqu'un qui a vu le Trouillebert tout verni de neuf, l'a demandé pour
cela. L'affaire de deux semaines au plus, impossible de refuser !</p>
<p>-*- Tu sais, ton Trouillebert, je ne l'ai plus 1</p>
<p>- Comment 1</p>
<p>Ses trois numéros possèdent ainsi trois galeries fort bien garnies. Il
pense que ce petit roulement pourra bien durer encore une dizaine
d'années sans conflits.</p>
<p><pb/></p>
<p>SEPTEMBRE 2ÇI</p>
<p>LA MOHT DE CÊUMÈNK</p>
<p>8 septembre.</p>
<p>Sarah Bernhardt aurait trouvé, non sans raison, que le dernier acte, tel
qu'il est joué depuis deux cent dix-huit ans moins quelques jours, n'est
pas assez dramatique pour elle. Après avoir refusé la main d'Alceste qui
lui propose de l'emmener vivre en province, Célimène se retire tout
bonnement. C'est maigre, pour une tragédienne habituée aux effets corsés.</p>
<p><pb/></p>
<p>2Q2 LES SOIREES PARISIENNES</p>
<p>- Pas de delirium irait eus comme Coupeau, lut at-elle dit, pas de
pustules comme Nana, mais pourtant ne reculez pas devant l'horrible. Du
moment que nous prenons sur nous de modifier le texte de Molière, il
faut frapper un coup !</p>
<p>Et William Dusnach s'est mis au travail.</p>
<p>Il m'a été donné d'avoir, sur ce travail, des renseignements précis qui
me permettent de déflorer complètement je nouveau dénouement du
Misanthrope. Il va sans dire que j'abuse, sans scrupule, de la
confiance'qu'on a eue en moi.</p>
<p>Djjuis le Misanthrope, version de Molière, Alceste , apres^être vu
refuser la main de G élimine et d'Eliante s'écrie :</p>
<p>Trahi de toutes parts, accable" d'injustices,</p>
<p>Je vais sortir d'un gouffre où triomphent le* vices,</p>
<p>Et chercher sur la terre un endroit écarté</p>
<p>Où d'être homme d'honneur on ait la liberté.</p>
<p>Allons, madame, allons employer toute chose Pour rompre le dessein que
son coeur se propose.</p>
<p>Après quoi la toile tombe.</p>
<p>Dans la nouvelle version, la toile ne tombe pas.</p>
<p><pb/></p>
<p>sei>tj-:Mbki: 293</p>
<p>La nuit se fait sur le théâtre. L'orchestre joue un trémolo un peu long,
puis - soudain - on entend de grands cris, la porte du fond s'ouvre et
Sarah évanouie entre, portée par Alceste, Philinte et des exempts.</p>
<p>Son visage est ensanglanté, ses cheveux et sa joue gauche sont couverts
de boue.</p>
<p>Tout le monde, anxieux, la regarde sans proférer une parole.</p>
<p>Soudain, elle ouvre les yeux et la bouche.</p>
<p>Alors commence le morceau capital du dénouement:</p>
<p>Le récit de Célimcne.</p>
<p>Peut-être y trouvera-t-on quelques réminiscences, mais cela prouve que
M. Busnach sait,quand il le faut, s'inspirer des bons auteurs.</p>
<p>Voici comment elle raconte ce terrible accident :</p>
<p><pb/></p>
<p>294 l-KS SOIIOEKS PARISIENNES</p>
<p>Après ce récit, Célimène meurt dans d épouvantables convulsions*</p>
<p><pb/></p>
<p>SEPTEMBRE 2Ç5</p>
<p>On ne sait pas encore si M, Busnach signera avec Molière. Jusqu'à
présent, tous les efforts faits pour vaincre sa ^modestie ont été inutiles.</p>
<p>- Je ne me ferai nommer, a-t-H dit, que si la pièce</p>
<p>fait four ! '-:-.-V- -V'.': ? ?'?,</p>
<p>PRÊTE-MOI TA FEMME</p>
<p>10 septembre.</p>
<p>Le Palais-Royal a ouvert ses portes, il y a huit jours, avec une reprise
de YÏIeure du Berger de M. Maurice Ordonneau; il les ouvre de plus en
plus ce soir avec un amusant spectacle coupé dans lequel, entre le Huis
C/os, de Letcrrier et Vanloo, et Y Affaire de la rue de Lourcine> cette
perle de Labiche, ligure une pièce nouvelle en deux actes i 'Prête-moi
ta femme / par M. Maurice Desvallières, un jeune, un nouveau, comme M.
Victor Jannet du Bel Armand. Le commencement de la saison est propice
aux jeunes. Tout le monde s'en réjouit. Celui que nous venons
d'applaudir est introduit dans la carrière dramatique et littéraire par
M. Ernest Legouvé dont il est le petitfils.</p>
<p><pb/></p>
<p>296 LKS SOIRÉES PARISIENNES</p>
<p>Voici ce que leur écrivait Eugène Labiche: « Souvigny, i,r novembre 1881.</p>
<p>« Chers maitres,</p>
<p>» Voici ce dont il s'agit. M. Maurice Desvallières, petil-lîls de M.
Legouvé, vient de terminer une pièce en deux actes intitulée: Prête-moi
ta femme,</p>
<p>» J'y vois de plus un très bon rôle pour Montbars.</p>
<p>» Lisez ce manuscrit avec l'attention qu'il mérite et mûrissez cet axiome :</p>
<p>» Il n'y a que les directeurs vraiment intelligents qui sachent former
des auteurs nouveaux.</p>
<p>» Agréez, chers maitres, l'assurance de mes sentiments bien dévoués.</p>
<p>» Eugène Laluche. »</p>
<p>L'Académie entière a dû se mettre en quatre, je suppose, pour la pièce
que le même M. Desvallières fera représenter, vers la fin du mois» au
ThéâtreFrançais.</p>
<p>Enfin, grâce aux hautes protections dont il était muni, cet heureux
jeune homme n'a attendu que deux ans la première de ce soir. C'est peu.</p>
<p><pb/></p>
<p>SEI'TUMBRK 297</p>
<p>Après le baisser du rideau de Prête-moi ta femme, le caractère de
l'émotion avait changé, par exemple. Les amis entouraient la famille et
les parrains avaient l'air très contents.</p>
<p>Les deux actes de M. Desvallières se jouent sans enlr'acte, dans le même
décor: un vieux salon qui a été témoin de pas mal de succès, un salon
porteveine que tous les auteurs du Palais-Royal devraient exiger dans
leurs pièces.</p>
<p>Les naïfs se disaient que c'était peut-être la rentrée de Al. Damala,
qui s'est appelé Jacques Darall au théâtre.</p>
<p>Da17.</p>
<p><pb/></p>
<p>298 LES SOIRÉES PARISIENNES</p>
<p>mala voulait rentrer sans tapage, dans un travesti pour moins se faire
remarquer.</p>
<p>Il y a eu un peu de désappointement quand on a su que Mlle Darall n'a
rien de commun avec le mari de Sarah Bernhardt.</p>
<p>LE THEATRE A FAIRE</p>
<p>Comédie en une scène.</p>
<p>12 septembre.</p>
<p>PERSONNAGES</p>
<p>SARAH BERNHARDT.</p>
<p>MAURICE, son fils. (Pas encore vingt ans, figure imberbe, air</p>
<p>un peu casseur, tenue très psbult.) DEREMBOURG. (Environ 40 ans. Petit
homme rond, yeux ronds,visage rond, ventre rond, cheveux un peu crépus,
beaucoup de déférence.) SIMON. (i5 ans, mise négligée, beaucoup de
déférence.) LE CAISSIER (Personnage muet).</p>
<p>Un Huissier, chaîne en métal d'Alger au cou. - Madame Sarah
Bernhardt-Damala 1</p>
<p>Sarah, robe de velours argent du seizième siècle)</p>
<p><pb/></p>
<p>SEPTEMBRE 299</p>
<p>Maurice. - Bonjour m'man !</p>
<p>Simon et Derembourg. - Nous sommes tout oreille, madame.</p>
<p>Simon et Derembourg. - Oui, grande artiste !</p>
<p>Sarah. - Tu écoutes, Maurice ?</p>
<p>Maurice, distrait, regardant au dehors. - Oui, m'man,!</p>
<p>Sarah. - Je disais donc que je voulais vous consulter. Il s'agît de
notre salle. Vous vous rappelez tout ce que j'avais promis quand j'ai
pris le théâtre moderne. La salle devait être dorée sur tranche, le
rideau d'avant-scène en satin rose avec des peintures d'Ab-</p>
<p><pb/></p>
<p>300 LES SOIREES PARISIENNES</p>
<p>Simon et Deremrourg. - Grande artiste, c'est une grande idée.</p>
<p>(Le caissier a pâli visiblement. Sa respiration devient difficile et
saccadée.)</p>
<p>Simon. - Pour rien, grande artiste...</p>
<p>Derembourg.-Pour moins que rien... Seulement... il me semble qu'un petit
cuir gauffré...</p>
<p>(Le caissier est sur le point de se trouver mal.)</p>
<p><pb/></p>
<p>SEPTEMBRE 30 !</p>
<p>Simon, - Etourdissant !</p>
<p>Deremuourg. - Épatant ! 11 me semble pourtant qu'un joli cuir gauffré...</p>
<p>Saraii. - Et toi, Maurice, que dis-tu ?</p>
<p>Maurice. - C'est comme tu voudras, m'man.</p>
<p>Saraii. - Donc c'est adopté... Ne nous occupons pas tout de suite de
l'imprévu ; c'est huit millions qu'il nous faut. (Au caissier.) Nous les
avons, n'est-ce pas } (Le caissier bal l'air de ses bras el esquisse les
premiers symptômes d'une violente attaque d'épilepsie.) A moins
cependant... Oui, après tout... Pourquoi pas ?... Voyons, voyons...
(Elle réfléchil pendant une demi-minute.) Messieurs, j'ai une idée !..
Si nous réduisions nos frais? Si nous faisions des dépenses folles...
dans les prix doux ? Si au lieu de satin, nous prenions de l'andrinople ?</p>
<p>Si.mox. - Excellente idée !</p>
<p>Derembourg. - Idée immense ! A moins qu'au lieu d'andrinople... un petit
cuir gauffré..</p>
<p>Saraii. - Qu'en dis-tu, Maurice ?</p>
<p>Maurice. - C'est comme tu voudras, m'man.</p>
<p>Simon..- Un bajayage, un brossage ! C'est admirable i</p>
<p>Dereaiuourg. - C'est un trait de génie.</p>
<p>Simon. - Quelle grande artiste !</p>
<p>Derembourg. - 11 n'y a qu'elle ! (Le caissier est moins pâle et paraît
plus calmei)</p>
<p>Saraii. - Par exemple, nous augmenterons le prix des places. N'est-ce
pas,.Maurice ?</p>
<p>Maurice. - Comme tu voudras, m'man.</p>
<p><pb/></p>
<p>302 LES SOIREES PARISIENNES</p>
<p>Simon {étonne). - L'architecte ?</p>
<p>Saraii. - Oui, Garnier. Il dirigera les travaux. C'est le meilleur marché !</p>
<p>Derembourg. - Bien, grande artiste.</p>
<p>Saraii. - A bientôt, messieurs, et merci de vos précieux conseils.
Viens-tu, Maurice ?</p>
<p>Maurice. - Oui, m'man ! (Voyant que le coupé élégant a cessé de
stationner) Ah ! mon Dieu, elle a filé ! Comme c'est amusant d'être
directeur! (Suivant Sarah qui sort) Vlà, m'man !</p>
<p>LE CARNET DE ROUSSEIL.</p>
<p>Ier septembre.</p>
<p>Le Figaro de ce matin nous apprenait que Mlle Rosalia Rousseil venait de
faire une perte cruelle.</p>
<p>Or, Aille Rousseil a perdu ce carnet.</p>
<p>Et j'en suis fort aise, car, si elle ne l'avait pas perd , je n'aurais
pas pu le trouver. Or, c'est précisément ce que je viens de faire. On
conçoit seulement-qu'avant</p>
<p><pb/></p>
<p>SKPTICMBRK 30}</p>
<p>J'ai mangé ce matin un beafsteack bien saignant.</p>
<p>11 est très douloureux de se chausser trop juste.</p>
<p>Mort ^ieu ! qu'il fait donc bon, au bois, cyeillir la fraise.</p>
<p>Vingt-cinq francs un coupon de mauvais jaconas. J'aurais payé moins cher
au Petit Saint-Thomas !</p>
<p>Egypte ! Egypte ! Egypte ! Egypte ! Egypte ! Egypte !</p>
<p>Jl n'est rien d'ennuyeux, dit-on, comme la pluie, Oui, c'est très juste,
il pleut, Rosalia s'ennuie!</p>
<p>Lorsque le temps est chaud, un bain froid est meilleur.</p>
<p>Je voudrais bien savoir quel était le jeune homme, Qui m'a, dans
l'omnibus, tendrement fait le pied.</p>
<p>Que pleine de déboire est la vie artistique.</p>
<p>Etre belle n'est rien, savoir charmer'est tout.</p>
<p>Je viens de consacrer ma soirée au théâtre ; J'ai vu - c'était touchant
- une foule idolâtre, Fêter Sarah Bernhardt, pleine d'un doux émoi Et
cependant, elle a moins de talent que moi !</p>
<p>J'ai fait un bon dîner, ce soir, chez Marguery...</p>
<p>Rien ne vaut, croyez-moi, la tournée en province ; Quand elle réussit,
le profit n'est pas mince.</p>
<p>Ballande, sois maudit, oh ! sois maudit, Ballande!</p>
<p><pb/></p>
<p>}0.} LES SOIREES PARISIENNES</p>
<p>(Sur l'omnibus)</p>
<p>L'homme cjui nous donna la liclk Iinpfn'a, le Grand Balzac n'a jamais
connu l'impériale.</p>
<p>Je viens de renvoyer ma femme de ménage.</p>
<p>11 mo plairait, dût-on trouver ce souhait vain, Un jour d'être, coulée
en cire chez Grévin.</p>
<p>Pour le bal ;\ la femme il faut mainte toilette, Mais a l'homme il
suffit d'avoir un habit noir.</p>
<p>Par les grandes chaleurs, l'égout sent bien mauvais.</p>
<p>Un huissier"!... A sa' vue, ah ! mon coeur est glacé. Mais quel bonheur,
il passe, il passe, il a passé 1</p>
<p>Et maintenant: chère mademoiselle R^usseil, j'attends la récompense
honnête.</p>
<p>BmAXGEK.</p>
<p>15 septembre.</p>
<p><pb/></p>
<p>SKPTKMHUK 3O5</p>
<p>débutants, et il leur a joué une pièce en plusieurs actes et pas mal de
tableaux.</p>
<p>Béranger est représenté par M. Garhier qui fut, comme on sait, pendant
vingt-quatre heures, directeur de l'Opéra.</p>
<p>Ce Manuel, malgré ses bottes, ne se dessine tout d'abord que comme le
Manuel de la conversation.</p>
<p>Au troisième tableau, on revoit Manuel. 11 n'a plus</p>
<p>Ce tableau est presque tout entier rempli par un</p>
<p><pb/></p>
<p>$QÉ> LES SOIRÉES PARISIENNES</p>
<p>repas au cabaret. Manuel y prend part. C'est le[Manuel du parfait
cuisinier.</p>
<p>Les trémolos ordinaires sont avantageusement remplacés par les chansons
de Béranger qu'on joue, en sourdine, pendant.le dialogue, et,
fortissimo, pendant les entr'actes. M. Ballande a fait une forte dépense
de parties d'orchestre. Peut-être pourrà-t-il les céder avec le reste à
M. Maurel.</p>
<p>Le quatrième tableau, aux bureaux du Drapeau blanc, nous vaut quelques
agréables débuts de chaneurs, qui vont rendre la tâche du futur
Théâtre-Italien bien difficile.</p>
<p>Il signor La Guerche, basso caillante, nous fait entendre le grand air
de la Calutnnia.</p>
<p>La signora Darcy -prima dona assoluta - exécute quelques variations sur
la Sorella di Carita.</p>
<p>II signor Dupont, basso buffa, y ajoute la Canzone del V ici no.</p>
<p>Le député Manuel ne jouit pas précisément des sympathies du.public.</p>
<p>Il est empoigné. C'était fatal.</p>
<p>Sixième tableau : A Sainte-Pélagie, on remarque, non sans compassion,
que Béranger porte encore en 1821 le pantalon de nankin qu'il avait en
1812.</p>
<p><pb/></p>
<p>SKPTEMUHK 307</p>
<p>Mi Garnierse fait applaudir en chantant agréablement la. Bonne Vieille,
On comprend maintenant qu'il ait été directeur de l'Opéra pendant
vingt-quatre heures.</p>
<p>- Va-t-il s'en payer de la Lisette ! s'écrie un spirituel voyou.</p>
<p>Je regretté bien de m'être « Dérangé ».</p>
<p>SKLLEMCK CHEZ TUIBAUDIN</p>
<p>16 septembre.</p>
<p>- C'est vous, Sellenick, c'que vous, voulez)</p>
<p><pb/></p>
<p>308 LKS SOIRKKS PÀKISIKNNKS</p>
<p>- Qu'ça, la Renaissance? Château, meuble, rien d'militaire, c'pas ?</p>
<p>- C'est un théâtre.</p>
<p>- Un théâtre, pour q'fairc, c'r'nom?</p>
<p>- Pour jouer la comédie.</p>
<p>- V's allez jouer la comédie, q'ça signifie? J'entends pas qu'jouiez la
comédie, s'crongnieugnieu. J'vous f... dedans si jouez la comédie.
Entendez, c'pas?</p>
<p>- Mon général, ce n'est pas moi quijoucraila comédie... ce sont les
artistes du théâtre.</p>
<p>- J'sais bien qu'c'est pas vous. Manq'rait qu'ça qu'c'fùtvous ! Mais
qu'est c'que v's'entendez par là, la comédie?</p>
<p>- Des pièces de théâtre.</p>
<p>- Fait'ment, supposa pas qu'c'sont des pièces d'artillerie p't'être. Et
qu'est c'qui les joue... vos pièces d'théâtre ? P'tites femmes, c'pas?</p>
<p>- Sans doute.</p>
<p>- Pourtant...</p>
<p>- Quoi ? N'allez pas m'apprendre c'qu'c'est qu'ne femme,
s'crongnieugnieu ! L'sais p't'étre ? Il y a longtemps qu'l'sais... Et
puis ça v'r'garde pas. Horreur questions indiscrètes. Pour lors avez
fait pièce d'théâtre?</p>
<p>- La musique seulement, mon général, j'ai un collaborateur.</p>
<p>- Qu'c'est qu'ça, un coll'bVateur?</p>
<p>- C'est celui qui vous aide à...</p>
<p>- J'sais bien, l'brosseur, pourquoi qu'vous dites pas tout d'suite, n...
d... d... ! Comment qu's'appelle?</p>
<p>- Erckmann-Chatrian.</p>
<p><pb/></p>
<p>SKPTKMBRK 309</p>
<p>- Mais non, c'est un auteur... Erckmann-Chatrian.</p>
<p>- Général, j'ai fait cette pièce sur la demande du directeur, M. Okolowicz.</p>
<p>- N'Polonais maintenant! F du monde, allez</p>
<p>nous fâcher vecla Russie. Homme qu'a tiré sur l'Czar, s'crongnieugnieu.
Qu'est-c' qu'il veut, vot'Berezowski ?</p>
<p>- Pas Berezowski, général, Okolowicz.</p>
<p>- Entends bien, pas sourd, pas d'coton dans les</p>
<p>oreilles. Mais vous avez eu une f idée de vous coller</p>
<p>avec des Poniatowski...</p>
<p>- Ce n'est pas ça, général.</p>
<p>- Comment, c'pas ça ? Sais mieux qu'vous p't-être. Pas m'apprendrec'qu'
c'est Poniatowski, un militaire,</p>
<p>vous un musicien. Vousf rai au bloc comme rien,</p>
<p>- Excusez-moi.</p>
<p>- Très bien, accepte vos excuses. Mais n'r'commencez pas. Enfin
qu'est-ce qu'vous voulez? N'heure qu'm'embêtez avec vos histoires. Faut
une permission pour aller voir des p'tites femmes avec votre
Markowski... J'vous la donne... N'aime pas qu'on s'f... de moi!</p>
<p><pb/></p>
<p>3IO LES SOIREES PARISIENNES</p>
<p>IlEPRISE DE FliOVFIiOU</p>
<p>17 septembre</p>
<p>J'ai dit que la pièce fut donnée pour la première fois en 1869.</p>
<p>Le rôle avait écrit pour Delaporte et la pièce venait d'être finie,
quand Delaporte tomba malade. Meilhac et Halévy remportèrent leur
manuscrit. On leur proposa Léonide Leblanc, Judith Ferreyra, bien
d'autres qu'ils refusèrent.</p>
<p><pb/></p>
<p>SEPTEMBRE 3II</p>
<p>Froufrou demeura dan'* leurs cartons. Un jour, ils passèrent devant le
Gymnase et en virent sortir Dumas fils tout bouleversé.</p>
<p>- Qu'avez-vous donc, lui demandèrent-ils, vous paraissez ému ></p>
<p>- Eh .bien ?</p>
<p>- Diane est jouée par une femme qui est tout bonnement admirable. ,</p>
<p>- Qui cela ></p>
<p>Un matin, Montigny dit aux auteurs :</p>
<p>- Nous ne devions passer que dans huit jours, mais nous sommes
complètement prêts, si nous affichions pour après-demain ?</p>
<p>- Va pour après-demain.</p>
<p><pb/></p>
<p>312 LES SOIKKKS PAItlSIKXNKS</p>
<p>Les répétitions n'ont été marquées par aucun incident.</p>
<p><pb/></p>
<p>SKPTK.MBRE 3I3</p>
<p>De temps en temps seulement on les interrompait pour échanger quelques
souvenirs.</p>
<p>- Ce n'est rien auprès de Chicago ! ajoutait Mme Joliet, en sortant à
moitié de sa boîte.</p>
<p>Puis on reprenait la grande scène.</p>
<p>Au Gymnase, la mise en scène de Froufrou était assez ordinaire. Desclée,
qui n'était pas bien riche, portait des toilettes d'une grande simplicité.</p>
<p>Toutes les toilettes de Sarah sont vraiment jolies, d'un goût charmant
et bien parisien, qui efface jusqu'au souvenir des maisons
internationales où l'artiste avait pris l'habitude de s'habiller dans
ses tournées.</p>
<p>18</p>
<p><pb/></p>
<p>3I4 LES SOIREES PARISIENNES</p>
<p>Inutile, n'est-ce pas, de parler de celles de M. Marais, bien que'M.
Marais ait été tout naturellement un des héros de la soirée. L'élégance
de l'ex-jeune premier du Gymnase est suffisamment connue.</p>
<p>- Quand on pense qu'ils payent huit mille livres de rente le droit de se
disputer ainsi !</p>
<p><pb/></p>
<p>SEPTEMBRE</p>
<p>315</p>
<p>Une surprise au second acte : Sarah cantatrice.</p>
<p>On a été un peu étonné de voir Lafontaine aborder ce joli rôle de
Brigard, créé par Ravel.</p>
<p>Disons que les auteurs l'avaient écrit pour Lafont.</p>
<p>C'est la destinée de Marais de restituer ainsi deux millions dans les
rôles qu'il joue.</p>
<p><pb/></p>
<p>}l6 LKS SOIRÉES PARISIENNES</p>
<p>un déluge. Les critiques les plus raides disparaissent derrière leurs
mouchoirs. Quand c'est fini, on pleure encore Dans les escaliers, sous
le vestibule, on pleure toujours.</p>
<p>Cependant près demoi,un monsieur qui affirme que Sarah Bernhardt n'a
aucun talent, s'essuie rageusement les yeux en s'écriant :</p>
<p>- Mon Dieu, qu'il fait chaud !</p>
<p>LES BIRMANS AU CIllQUK</p>
<p>19 septembre.</p>
<p>Le gouvernement fort, honnête el habile que nous avons le bonheur de
posséder s'est dit, non sans raison, qu'il avait besoin de se créer
quelques alliances. Ayant l'ambassade birmane bous la main, il a résolu
de l'éblouir par des spectacles sans précédent, de la griser par des
plaisirs aussi variés que raffinés.</p>
<p>11 suffira, pour s'en convaincre, de raconter cette merveilleuse et
étonnante soirée du Cirque.</p>
<p>Au Heu de se contenter des ccuyers et acrobates ordinaires de M.
Franconi, les membres du gouvernement ont voulu payer de leurs personnes.</p>
<p>Et ils ont régalé les Excellences birmanes d'une représentation comme on
n'en voit guère.</p>
<p><pb/></p>
<p>SKPTKMDUK 317</p>
<p>î8.</p>
<p><pb/></p>
<p>3 l8 LES SOIRÉES PARISIENNES</p>
<p>marié, avec un grand bouquet de fleurs d'oranger, puis en distributeur
de bulletins d'abonnement de la Petite France. M. Wilson s'est incarné
dans ces divers types avec une vérité incroyable.</p>
<p>- Auguste! Auguste! Ohé,'Auguste!</p>
<p>- Je le remplacerai !</p>
<p>N'oublions pas M. Duhamel, qui, par amitié pour M, Grévy, a quitté sa
retraite et est venu faire l'hommepoisson dans un magnifique aquarium.</p>
<p><pb/></p>
<p>SEPTEMBRE 31Q</p>
<p>LA NOUVELLE 0PI1ÊLIE</p>
<p>24 septembre.</p>
<p><pb/></p>
<p>320 1-KS SOIÎOEES PARISIENNES</p>
<p>la ressource de faire son portrait, ni de raconter sa biographie, car il
s'agit d'une vieille connaissance dont vingt fois et plus il a entretenu
ses lecteurs.</p>
<p>Qui sait, il y aura peut-être quelque incident imprévu ?</p>
<p>Quelque changement important qu'on pourra raconter plus ou moins
longuement ?</p>
<p>Ophélie sera peut-être brune ce soir?</p>
<p>Si elle avait renoncé aux fleurs des champs sur sa robe ? ' -</p>
<p>Si elle doutait de l'amour d'IIamletaulieudedouter de la lumière, du
soleil et du jour?</p>
<p>Si, suivant leconseil de son fiancé,elleallait s'enfuir clans un cloître?</p>
<p>Si le spectre était chanté par un ténor ?</p>
<p>Si 1 lamlet allait être vêtu de bleu ?</p>
<p><pb/></p>
<p>SKPTli.MBKÉ 321</p>
<p>Si, par une fatale méprise, il s'avisait de tuer sa mère ? : ' ' / ...</p>
<p>Si la pantomime des Comédiens allait être parlée.</p>
<p>Si au lieu d'une reine grasse, telle que Gueymard, Blochi Richard, qui
n'ont jamais eu l'air d'être rongées par les remords, nous allions enfin
avoir une reine maigre ></p>
<p>Ah I;.. on lui a fait une longUe ovation après le 4e acte. Vous voyez
que tout s'est passé selon la tradition.</p>
<p><pb/></p>
<p>322 LES SOIREES PARISIENNES</p>
<p>LE GALA</p>
<p>27 septembre.</p>
<p>M. Grévy. - Ah! j'ai déjeuné copieusement... Maintenant, faisons notre
sieste. {On frappe.') Qui est là?</p>
<p>Voix au dehors. - C'est moi!</p>
<p>M. Grévy. - Ferry 1 Ici! Que peut-il me vouloir ? Entrez ! (Ferry
pénètre dans le cabinet, suivi de (M. Vaucorbeil, directeur de l'Opéra.
Tous deux sont en costume de voyage et couverts de poussière.)</p>
<p>Ferry. - Monsieur le président, je vous présente M. le directeurde
l'Opéra, qui a bien voulu m'accompagner ici afin d'examiner avec vous
une question d'une très haute importance.</p>
<p>M. Grévy. - Vous avez déjeuné au buffet, n'est-ce pas, messieurs?
Donc... je ne vous invite pas. (Ferry et Vaucorbeil s inclinent en signe
de remerciement.) Voyons, de quoi s'agit-il ?</p>
<p>M. Grévy. - Une corvée, oui, enfin je m'y résigne.</p>
<p>M. Grévy. - Un gala ! Diable ! Vous savez, Ferry, que je suis ennemi
d'une dépense exagérée,.. (Après</p>
<p><pb/></p>
<p>SEPTEMBRE 323</p>
<p>Ferry. - Vous consentiriez?</p>
<p>M. Grévy. - Oui.</p>
<p>M. Grévy. - M. le directeur de l'Opéra va développer ses projets je
suppose?</p>
<p>Ferry. - 11 n'est venu que que pour cela.</p>
<p>M. Grévy, interrompant. - J'espère que vous aviez un permis?...</p>
<p>Vaucorbeil. - Non... J'ai dépensé 46 francs 30 centimes de chemin de fer
et quinze sous d'omnibus de Montbarrcy ici...</p>
<p>Ferry. - Nous mettrons cela sur la note des frais généraux...</p>
<p>M. Grévy, avec un soupir. - Continuez.</p>
<p>Vaucorbeil. - Si j'ai fait un voyage aus i long...</p>
<p>M. Grévy. - Aussi coûteux...</p>
<p>Vaucorbeil. - C'est pour vous soumettre, M. le Président, un programme
digne de la France et digne de l'Opéra. Je lie vous parlerai pas de la
décoration intérieure et extérieure du théâtre, Garnief s'en charge et
vous savez qu'il fait bien les choses. Massifs de lleurs rouges et
jaunes - les couleurs espagnoles -- verres de couleurs rouges et jaunes
sur toute la façade, drapeaux espagnols dans la salle et dans les
couloirs...</p>
<p><pb/></p>
<p>324 LES SOIREES PARISIENNES</p>
<p>Vaucoudeil. - Je passe donc sur ces détails pour arriver tout de suite à
la représentation vraiment extraordinaire que je me charge d'organiser.</p>
<p>M. Grévy. - Voyons.</p>
<p>M. Grévy, interrompant. - Bonne idée, les sauvages, pas de costumes,
excellente économie.</p>
<p>Vaucorueil. - Je vous demande pardon, monsieur le Président, les
sauvages seront vêtus de plumes...</p>
<p>M. Grévy. - C'est l'Etat qui paie...</p>
<p>Vaucorheil. - Troisième tableau : la Course de taureaux. L'Espagne
moderne, les toréadors, les piccadors, des chevaux, des taureaux, un
cirque superbe, un public de senoras et de senoritas, le tout terminé
par l'alliance des peuples, simple prétexte pour montrer cinq ou six
cents petites femmes en uniforme des différents régiments français
manoeuvrant ensemble aux sons combinés de l'hymne royale et
àe\aMarseillaise...</p>
<p><pb/></p>
<p>SEPTEMBRE-' 325</p>
<p>Vaucorbeii..- C'est une question d'argent. S'il faut deux mille
costumes, je prendrai deux mille costumières ; cinq cents peintres
décorateurs brosseront les décors en deux jours et une nuit ; bref, je
réponds de tout.</p>
<p>Ferry. - Rappelez-vous que c'est l'État qui paie et que, par conséquent,
il n'est pas permis de lésiner.</p>
<p>M. Grévy. - Eh bien ! soit... allez-y.</p>
<p>M. GréVy.- Oui, je ne vous retiens pas pour dîner..; Mais si vous voulez
un verre d'eau... (Ferry et Vaucorbeii s'inclinent pour remercier et
sortent.) Ce sera cher... très cher... c'est ennuyeux de voir dépenser
tant d'argent, même quand c'est l'Etat... Enfin... (Avec un sursaut.)
Ah! mais... je n'avais pas pensé a cela... (Appelant.) Boboiine. bobônne
I (MâdanieGrévy paraît.) Est-ce que j'ai des gants blancs ?</p>
<p>v:z ^</p>
<p><pb/></p>
<p>326 LL5 S01KLLS I'AlUSIKNNK.s</p>
<p>hêouvertuhk de la iwnaissaxcu</p>
<p>29 septembre.</p>
<p>La nouvelle direction du théâtre de la Renaissance vient enfin de livrer
sa première bataille; j'aurais voulu ajouter: de remporter sa première
victoire.</p>
<p>A neuf heures moins un quart, la place ordinairement réservée au chef
d'orchestre a été occupée par M. Sellenick, le très remarquable chef de
musique de la garde républicaine. M. Sellenick venait conduire le Fou
Chopine, le lever de rideau dont il a composé la musique.</p>
<p><pb/></p>
<p>SKl'TKMUUli 327</p>
<p>une solennité quelconque, je n'y vois pas grand inconvénient, mais pas à
la première ; c'est trop gênant.</p>
<p>Hervé ne conduit pas du tout comme M. Sellenick. 11 a des mouvements
saccadés, automatiques, des ronds de bras nerveux, des allures
militaires. Ceux qui ne le connaissent pas ont pu croire que c'était lui
le chef de musique de la garde républicaine. Il est bon d'ajouter que,
pendant toute cette soirée, il n'a pas trahi la moindre émotion ; il a
dirigé l'orchestre avec autant de calme et de sang-froid que si la
musique avait été de Lecocq.</p>
<p>Il n'y a plus de diva au théâtre où régnait Granier. Tout pour
l'ensemble et par l'ensemble; c'est la devise de la nouvelle direction.</p>
<p>Au, lieu d'un grand rôle de femme, le Vertigo en contient, trois.</p>
<p>La présentation des trois interprètes sera vite faite. Ce ne sont pas
des débutantes.</p>
<p>Mme Thuillier-Leloir vient de l'Opéra^Comique.</p>
<p><pb/></p>
<p>328 LKS SOIUKKS iwuisiicxxks</p>
<p>l'indulgence par un régisseur fort correct, qui, très correctement, nous
a débité un petit discours tourné avec grâce. Ce régisseur répond au nom
classique de Valère.</p>
<p>La mise en scène est aussi opulente que possible.</p>
<p>« Si cette noce ne finit pas gaiement, ce ne sera pas de ma faute! »</p>
<p><pb/></p>
<p>OCTOBRE</p>
<p>l'AFFAlUK DE VinOFLAY</p>
<p>Ier octobre,</p>
<p>« Si l'on nous empêche de produire des levers de rideau, comment
voulez-vous que nous 'apprenions notre métier ! » s'est écrié M, Mendel
un jour.</p>
<p><pb/></p>
<p>330 l-KS SOIRKKS PAR1SIF.XXKS</p>
<p>Par exemple, M.Maurice Simon a, pour celle pièce si difficilement
conquise, fait des dépenses qu'elle ne semblait pas comporter.</p>
<p>Bien d'autres étonnements nous étaient réservés.</p>
<p><pb/></p>
<p>OCTOHRR 33!</p>
<p>mandé, pour compléter le spectacle, un petit acte de lui, (Mon ami
Mommerquin, joué aux Folies-dramatiques.</p>
<p>Quelle leçon pour les auteurs arrivés!</p>
<p>7,.l PAMIME IYAMIKLLES</p>
<p>2 octobre.</p>
<p>- C'est un tribun!</p>
<p><pb/></p>
<p>}}.î i.ks soiukks p.\uisii:nm:s</p>
<p>Les autres :</p>
<p>- C'est un poète! Ceux-ci :</p>
<p>- C'est un fantaisiste !</p>
<p>D'aucuns affirment que M. de La Rounat a appris, un jour, que M.Jean
Marras avait fait partie du gouvernement de la Commune, ce qu'il
ignorait quand il avait reçu la Famille d'Armelles. Mais cela ne peut et
rie doit pas être la raison vraie. M. Marras, d'ailleurs, n'a joué,
pendant la Commune, qu'un rôle effacé. 11 était je ne sais pastropquoi à
l'Hôtel-de-Ville. C'était un convaincu qui croyait que le gouvernement
révolu-</p>
<p><pb/></p>
<p>octodri: 333</p>
<p>A neuf heures et demie on n'a pas commencé encore ;</p>
<p>- Est-ce*que La Rounat serait allé en appel)</p>
<p>Enfin le rideau se lève. Nous sommes en 1830. Les personnages en scène
portent des costumes de l'époque. M. Amaury est en culotte gris perle
avec des bottes molles, M. Lambert est en culotte noire, habit</p>
<p>.. U).</p>
<p><pb/></p>
<p>334 ,,:s soirkks parïsif-nxiïs</p>
<p>11 écoutait le langage étrange dans lequel s'expriment les héros de M.
Marras :</p>
<p>- Ainsi vous n'effeuillerez plus pour moi l'inconstante marguerite qui
fleurit dans votre coeur?</p>
<p>- Le vrai et le juste sont incombustibles !</p>
<p>- J'ai pris pour vous l'attitude échevelée qu'affectent les saules
pleureurs !</p>
<p>Et, légèrement consterné, il s'écria :</p>
<p>- Mais on ne parle pas ainsi !</p>
<p>- Pardon, répliqua l'auteur, c'est de la conversation courante.</p>
<p>Porel ne se laissa pas convaincre.</p>
<p>- Cela, n'est possible qu'avec des costumes d'il y a cinquante ans!
dit-il un beau jour.</p>
<p><pb/></p>
<p>OCTOHKI-: 3};</p>
<p>LES MAUCnOIX</p>
<p>4 octobre.</p>
<p>- Comment t'appelles-tu ></p>
<p>- Victor Séjour... et toi?</p>
<p>- Maman ! maman ! il s'appelle comme moi !</p>
<p>La pauvre femme se contenta d'embrasser son fils en pleurant aussi -
puis l'emmena précipitamment après avoir jeté un regard douloureux sur
l'autre petit resté sur place, interdit.</p>
<p>Cette scène poignante dans son intimité avait eu pour témoin Mme Marie
Laurent qui, le soir même, la raconta dans un dîner auquel assistait
notre collaborateur Albert Delpit.</p>
<p><pb/></p>
<p>3}6 l.F.S soiukfs p.\Risir.N.Ni:s</p>
<p>peu importantes que le comité a prisl'habitude de demander
invariablement - pour le principe - depuis certaines difficultés
soulevées par des jeunes auteurs intransigeants et inaccessibles aux
conseils.</p>
<p>Par exemple, il fallait obtenir, pour la ComédieFrançaise, la primeur
absolue des Maucroix.</p>
<p>Les répétitions heureuses n'ont pas d'histoire.</p>
<p>Delpit, si nerveux d'ordinaire, s'est montré doux cl patient - comme il
convenait avec les plus aimables artistes qui soient au monde. Loin de
se quereller, on a vécu sur le pied d'une amitié d'autant meilleure
qu'on l'entretenait par un échange de petits cadeaux.</p>
<p>Le public, de son côté, n'a pas voulu être en reste de gentillesse et de
douceur. Un courant de sympathie circule dans la salle. La première
jolie salle de la saison. On se croirait au coeur de l'hiver. L'avant-scène</p>
<p><pb/></p>
<p>OCTOBRE 337</p>
<p>de M. Jules Ferry était occupée parle duc de Fernan* Nunez.la marquise
de Guadalmina, M. de Barnabe. Il va sans dire qu'après les incidents
regrettables qui ont eu lieu pendant la présence du Roi Alphonse à
Paris, la présence de l'ambassadeur d'Espagne dans la loge que lui a
offerte le président du conseil a été beaucoup remarquée et commentée.</p>
<p>Un seul décor pour les trois actes, mais par exemple un décor réussi
comme quatre.</p>
<p>L'entrée de Coquelih est une véritable surprise.</p>
<p>Le plus jeûne des sociétairesrle cadet de sàfamille, le fringant
mônolôguiste aux allures d'adolescent s'est encadré de favoris
grisonnants compliqués d'une coiffure poivre et sel.</p>
<p>C'est du reste la note caractéristique de l'interprétation générale :
des rôles vieux tenus par des artistes jeunes. ; . : ; " . _ .'.? .</p>
<p><pb/></p>
<p>33»S i.ks soiuûks i'.\i<!sii:\Ni:s</p>
<p>M. Silvain a des favoris blancs et des cheveux sur lesquels il a
fortement neigé.</p>
<p>Mme Broisat, la mère coupable, a, il est vrai, des cheveux châtains,
mais c'est que probablement elle s'arrache ceux qui blanchissent - à
moins qu'elle n'emploie la teinture.</p>
<p>Les cheveux de MlleDudlay, lafemme abandonnée, la mère pas coupable du
tout, sont aussi blancs que ceux de M. Silvain, mais beaucoup moins
éclatants. C'est d'un blanc plus triste, je dirai presque plus sombre.</p>
<p>11 y a cheveux blancs et blancs cheveux.</p>
<p>- N'y a-t-il aucun remède ? dcmanda-t-elle aussitôt.'</p>
<p>- Ma foi ! répondit en riant le médecin, il n'y en a qu'un... Mais vous
ne consentirez jamais... Il faudrait vous faire arracher les dents et
les replacer autrement !</p>
<p>Après quelque temps d'une hésitation naturelle,</p>
<p><pb/></p>
<p>octourk 339</p>
<p>Mlle Dudlay, ayant appris le succès d'expériences de ce genre, eut
l'affreux et admirable courage de se faire extraire, puis replacer
instantanément et autrement clans leur alvéole sanglante sept ou huit de
ses dents les plus belles.</p>
<p>Le sourire, la grâce, le charme de la pièce forment une adorable trinité
en la seule et même personne de Suzanne Reichemberg.</p>
<p>Fort joli costume d'ailleurs, et bien fait pour elle, que cette robe
blanche, jupe plissée, avec corsage ouvert sur chemise-canotier rayée
blanc et rouge ; raquettes brodées sur la manche gauche - le tout
gaiement et coquettement complété par un chapeau de feutre gris campé
avec une adorable crânerie.</p>
<p>L'incomparable ingénue nous a dévoilé ce soir une nouvelle qualité en
chantant fort gentiment, au premier acte, une naïve romance de fillette
qu'elle accompagne elle-même.</p>
<p>La musique de ce petit intermède a sa légende.</p>
<p>Delpit, qui adore tous les enfants qu'il a vus grandir, se trouvait un
jour chez son ami l'éditeur Durand, de la place de la Madeleine, et
causait avec le fils de la maison, un studieux élève de la classe de
Théodore Dubois, au Conservatoire, un compositeur de dix^-sept ans, pour
lequel il a une amitié des mieux justifiées.</p>
<p><pb/></p>
<p>J.JO I.1-S SOIREES PARISIENNES</p>
<p>Naturellement, le jeune homme parlait de son am^ bition, de ses projets
d'avenir :</p>
<p>- Il se réalisera peut-être bientôt, insinua Delpit avec son meilleur
sourire.</p>
<p>- C'est fait!</p>
<p>A chaque répétition, on s'extasia.</p>
<p>- C'est vraiment joli !</p>
<p>- Que ce Guiraud a du talent !</p>
<p>- C'est moi qui lui ai JQJié son premier opéracomique! ajouta Âl.Perrin.</p>
<p>Cette fois, ce sont les vêpres qu'on entend sonner</p>
<p><pb/></p>
<p>ocroimi: v 341</p>
<p>Rien de plus exactement sonné que ces vêpres-là, ainsi que vous l'allez
voir.</p>
<p>Que mon trop sceptique confrère du Temps et du A7A'C Siècle ne se hâte
pas de sourire, il s'agissait d'obtenir le concours de la charitable
sociétaire pour, une oeuvre de bienfaisance. .</p>
<p>- Les vêpres, répondit Reichemberg.</p>
<p>- Mais, s'écria-t-il, ce n'est pas ça du tout... Où sont-elles, vos
cloches)... Je vais vous montrer, moi, comment on sonne les vêpres.</p>
<p>Et, suivant le chef des accessoires Dorius, qui le fit monter jusqu'au
cintre du théâtre, l'excellent homme donna bruyamment la réplique aux
artistes, en annonçant les vêpres d'une façon plus orthodoxe,.</p>
<p>Puis, une fois redescendu, il prit congé des artistes stupéfaits en leur
disant :</p>
<p>- Ne vous trompez plus, mes enfants... et que Dieu vous bénisse!</p>
<p>A la sortie, on se demande ce que deviendra le marquis de Maucroix :</p>
<p>- Sa maîtresse l'abandonne !</p>
<p>- La marquise ne peut plus l'accueillir !</p>
<p>- Que va-t-il faire sans ses deux femmes?</p>
<p>- En reprendre une troisième.</p>
<p><pb/></p>
<p>342 LES SOIRÉES PARISIENNES</p>
<p>LES DEUX OliPIIELÎNES</p>
<p>S octobre.</p>
<p>- Quelle pièce !</p>
<p>- Quel sujet pathétique !</p>
<p>- J'en ai le frisson.</p>
<p>- Moi je pleure comme un veau.</p>
<p>- Le voilà, le vrai drame, le voilà!</p>
<p>L'effet piteux que produisit la lecture aux artistes est resté
légendaire dans le monde des théâtres.</p>
<p>Puis, ce fuient des rires étouffés. Comédiens et</p>
<p><pb/></p>
<p>OCTOBRE 34}</p>
<p>Enfin, signe bien caractéristique, les journaux du lendemain annoncèrent
un « grand succès de lecture » au lieu de « l'immense succès » toujours
usité en pareille insertion.</p>
<p>Ce que furent les répétitions, on se l'imaginera aisément.</p>
<p>~- Allons!... il le faut!...</p>
<p>A .toute réplique, les quolibets pleuvaient sur les malheureux auteurs.
On se tordait. Et franchement, c'était de très bonne foi : avait-on
jamais imaginé pièce plus enfantine, intrigue plus décousue, situations
plus vieilles, sentiments plus puérils, ficelles plus usées )</p>
<p><pb/></p>
<p>344 L,:s SOIKKKS PARISIKNNKS</p>
<p>Lui écrire, cela semblait un peu sans-façon. . "M* Ritt eut une idée:.</p>
<p>r-> Laquelle? ; -Payez-moi la moitié du voyage.</p>
<p>- Au fait, j'y pense.*, il va mé demander une compensation.</p>
<p>-^Inévitablement»</p>
<p>-" Nous ne pourrons la lui refuser... il faudra reprendre un drame deson
répertoire... lequel? Je n'en vois pas..; ;?....</p>
<p>- Ma foi ! déclara stoïquement Larocheîle» le moment serait mal choisi
pour.une reprise... autant risquer l'aventure... résignons-nous aux Deux
orphelines.</p>
<p><pb/></p>
<p>OCTOUHE 345</p>
<p>- Tant pis pour d'Ennery !</p>
<p>- C'est lui qui l'aura voulu.</p>
<p>C'est ainsi que celte oeuvre consacrée vit le feu de la rampe.</p>
<p>- Vous avez bien tort de plaisanter ainsi... ce n'est généreux ni pour
nous, ni pour ce pauvre d'Ennery.</p>
<p>Encore fallut-il les magnifiques receltes des jours suivants pour les en
convaincre tout a fait.</p>
<p>Les faits édifiants que je viens de vous narrer avec la sobre exactitude
de rhistorien pourront être d'autant moins démentis qu'ils sont restés
dans la mémoire de tous ceux qui y jouèrent un rôle quelconque.</p>
<p>Certes, les témoignages ne me manqueraient pas si j'avais besoin d'en
invoquer.</p>
<p><pb/></p>
<p>3 jô i.i;'s soim'ïiis I'AMSIknnls</p>
<p>cl vous obtiendrez indistinctement la réponse que voici :</p>
<p>LUS AFFOLES.</p>
<p>8 octobre.</p>
<p>Les Affolés ont été inspirés par le krach.</p>
<p>Eh bien 1 non, les Affolés n'ont pas été l'une des nombreuses suites du
krach.</p>
<p>{Monsieur Gogo - tel était le titre primitif- a été conçu, enfanté et
presque complètement écrit bien avant la mémorable débâcle de la Bourse.
13on nombre de répliques, qui semblent dues au seul don d'obser-</p>
<p><pb/></p>
<p>octouki: 347</p>
<p>vation, sont en réalité des présages saisissants, arrivant après coup.</p>
<p>Gondinet l'avait converti. Il le fut de nouveau il y a quelques mois, en
4 1/2; mais cela valut encore mieux que de tout perdre.</p>
<p>Ce soir, et pour la circonstance, tous les artistes du Vaudeville sont
financiers.</p>
<p>Puis, immédiatement après ce turbulent directeur de la Banque
franco-serbe, le sympathique de LérinsBerton, qui, pour augmenter le
luxe dont il entoure la jeune Américaine qu'il a épousée en secondes
noces, laisse exploiter son litre et sa croix par des agioteurs</p>
<p><pb/></p>
<p>34§ l.i:s SOIKLKS PAKtSIliXNliS</p>
<p>en acceptant la présidence du Conseil franco-serbe : c'est le financier
par entraînement.</p>
<p>Viennent ensuite:</p>
<p>Eva-Legault, comtesse de Lérins, Américaine et comédienne de race,
parlant des choses de Bourse avec un petit accent anglais qui se
soutient pendant quatre actes. Dissimule une passion malheureuse sous
les chiffres: financière par dépit;</p>
<p>Ledit fiancé, Volny, brave sous-lieutenant, décoré avant l'âge; forcé de
quitter son épaulette et demie pour se laisser bombarder administrateur
d'une entreprise qu'il ne comprend pas ; ne peut s'expliquer qu'il ait
gagné 21,600 francs sans le savoir et refuse naïvement de les empocher:
financier malgré lui ;</p>
<p>Clarisse (Mlle Lcsage), qui parle de la rente, de9 valeurs cotées ou non
cotées, comme si elle avait été élevée dans le monde de la Bourse:
financière par destination ;</p>
<p><pb/></p>
<p>0CT01JRK 349</p>
<p>M. Belbon-Michel, ancien notaire de Châteauroux, ayant la bêtise
solennelle de l'homme qui n'était pas né pour lés horizons étroits :
financier de province;</p>
<p>Agéiior , mauvais petit jeune homme auquel M. Carré donne l'allure
d'imparfait gommeux du péristyle; ioue par genre : le financier pschutt;</p>
<p>Seul, M. Dupuis reste incorruptible.</p>
<p>Cet artiste - qui joue pourtant si bien - est précisément celui qui,
dans la comédie de MM. Gondinet</p>
<p>entendu.</p>
<p><pb/></p>
<p>350 l.liS SOIKKLS IWKISIEXXKS</p>
<p>Aussi, M. Gondinet en a-t-il fait un général, ancien compagnon d'armes
de M. de Lérins.</p>
<p>La rosette d'officier orne sa boutonnière.</p>
<p>Et, ma foi ! il la porte fort bien, en artiste qui mérite, autant que
n'importe quel autre, d'être membre de la Légion d'honneur.</p>
<p>? > * -</p>
<p>Un petit incident de salle, remarque seulement par une partie de
l'orchestre.</p>
<p>- Mais c'est le Tonkin !</p>
<p>On s'est retourné vers l'interrupteur, qui n'était autre que M. Henri
RocheforL</p>
<p>Mot de couloir.</p>
<p>Au dernier acte, M» de Lérins, président du Conseil d'administration de
la Banque francoserbe, vend toutes ses propriétés pour rembourser ses
actionnaires malheureux.</p>
<p>- Un Président qui vend ses Immeubles, c'est bien invraisemblable! dit
un familier de l'Elysée.</p>
<p>Les actions du Franco-Serbe, en baisse a la fin du troisième acte, sont
en hausse au dénouement,</p>
<p>Espérons que ce dernier cours va se maintenir au Vaudeville.</p>
<p><pb/></p>
<p>OCTOBUIÎ 35I</p>
<p>MA CAMAIiADE</p>
<p>9 octobre.</p>
<p>Une anecdote, en guise de prologue.</p>
<p>Cet été, sur la terrasse de Saint-Germain, Meilhac et Gille, les auteurs
de la pièce nouvelle du PalaisRoyal, se promenaient avec Briet, causant
de Leur Camarade bien entendu, quand, du côté du pavillon 1 lenri IV,
ils virent poindre la petite frimousse souriante de Réjane.</p>
<p>- Je viens voir nies auteurs , s'écria la comédienne, et puisque j'ai le
bonheur de vous trouver ensemble, j'espère bien que vous allez me
raconter Notre camarade ?</p>
<p>Peut-être tout d'abord y eut-il un peu d'hésitation, mais Réjane insista
si gentiment, Briet avait un sourire si encourageant que Gille déclara
qu'il voulait bien et que Méilhac fit une proposition :</p>
<p>Adhésion unanime ; on part.</p>
<p>Il faisait, ce matin-là, une chaleur atroce. Les chevaux souffraient
d'autant plus visiblement qu'une légion de taons les suivait avec
acharnement et les vivisectatt d'une façon abominable.</p>
<p>- A Carrières-sous-^Boîs, chez Mme Strebelin, un bon petit restaurant
champêtre, où personne ne nous</p>
<p><pb/></p>
<p>35^ i.!-:s soiuiciis i»ahisii:nni;s</p>
<p>dérangera. L'endroit est charmant et j'y suis connu pour y être venu
quelquefois en famille !</p>
<p>- Va pour Aimé Strcbclin.</p>
<p>- Nous déjeunons au Champagne ! déclara Gille. Du Champagne ! En plein
jour ! Un homme que</p>
<p>Mme Strebelin avait connu si rangé, si tranquille . Oh ! la corruption
de la capitale 1</p>
<p>Mme Strebelin l*y rejoignit bientôt.</p>
<p>- Ah ! s'écria-t-elle, je comprends que vous ne soyez pas resté avec
eux. Un homme marié, qui a une femme si charmante ! Et le monsieur
respectable qui</p>
<p><pb/></p>
<p>OCTOBRE 353</p>
<p>est là, en face d'eux et qui les regarde en riant ! Tenez, voulez-vous
mon avis, ce sont vos amis, mais ça ne fait rien... je trouve ça honteux !</p>
<p>Je crois que c'est la scène de Mme Strcbelin qui a donné aux auteurs
l'idée du concierge moralisateur du troisième acte de il/a Camarade!</p>
<p>Mais commençons par le commencement.</p>
<p>Premier acte. - On voit tout de suite que cela se passe dans un petit
hôtel du quartier de Villiers. Architecture moderne, grande baie ouverte
sur un grand escalier, grande fenêtre d'atelier au fond, arrangement
très coquet et très élégant.</p>
<p>20.</p>
<p><pb/></p>
<p>354 u's SOIREES PARISIENNES</p>
<p>lèvres et de respirer bruyamment au moment de lancer cette simple
réflexion :</p>
<p>- Sommes-nous canailles, tout de même, d'être canailles comme ça !</p>
<p>Puis des amis, le jeune Numa, vicomte des Platanes, type bien bcbête et
pourtant bien parisien, et des amies, gentilles - oh ! pour gentilles,
elles le sont presque toutes. - Béranger, Leroux, Elven, Declères et une
nouvelle jeune, fort jolie, qui, elle, m'a paru très intelligente, Mlle
Caron, chargée du rôle de la marquise de Château-Ladèche.</p>
<p>Elles sont venues pour causer d'une fête de charité, les petites femmes
en question. Réjane leur offre quelques gâteaux qu'elles croquent avec
gourmandise.</p>
<p>A l'une des premières répétitions, quand il s'agit de régler cette
scène, M. Luguet leur cria :</p>
<p>- Mangez, mais mangez donc S Ce fut une révolte.</p>
<p>- Si vous croyez que c'est facile!</p>
<p>- Pouah 1 des gâteaux en'carton!</p>
<p>- Pas moyen de croire que c'est arrivé !</p>
<p>- Le rôle qu'on m'a donné n'est pas bien long... mais on est nourri !</p>
<p>Deuxième acte. - Chez Mme Eugène, tireuse de cartes, rue Rochechouart,
227. Intérieur cabalistique. Sur les murs, des tableaux mystérieux, à
combinaisons magiques. Un corbeau empaillé sur un guéridon. Des lampes
allumées sur la cheminée, avec abat-jourhiboux.</p>
<p>Quatre personnages nouveaux.</p>
<p><pb/></p>
<p>OCTOBRE.. - ~ ' 355</p>
<p>M. Eugène, le mari de la tireuse de cartes, un type qui ne fait que
passer, mais bien comique et bien nature : M* Gâron;</p>
<p>Enfin, Alice Lavighe, dans un rôle de cocotte cette fois, effarée,
ahurie, drôle quand elle parle, encore plus drôle quand elle écoute,
pleine d'imprévu, étonnanted'allures et cie gestes, bien mise dans une
toilette très simple, presque jolie avec sa perruque blonde ondulée et
n'âyâht} en fait d'excentricité, qu'un cannetôiiétï»ï>aillé sur son
cKapeâùi Mais est-ce de l'excentricité cela) On m'assure que c'est la
mode I La mode est aux empaillés I 1</p>
<p>Grand effet pour tout cet acte.</p>
<p>Dans Une avant-scène, pleine de femmes, on fait pourtant quelques
critiques,</p>
<p>^-Moi, j'aime pas qu'on blague les tireuses decartes!</p>
<p>- C'est Vrai, ça devrait être défendu. .</p>
<p>- Mais parfaitement, c'est comme le spiritisme ! *- Vous y croyez aussi )</p>
<p>^ Parbleu t J'ai eu un oncle qu'a été colonel, n'estce pas) Il est mort.
De temps en temps je l'évoque... dans une table... pouf lui demander des
conseils. Et</p>
<p><pb/></p>
<p>$$6 LES SOIRÉES PARISIENNES</p>
<p>savez-voùs comment elle fait, la table, quand mon oncle s y manifeste >
< - ' ; ;</p>
<p>. -- Npn, 1 -. ': '; /;???.;?;.?'???'.1-'.-'' ;.. ' ->t.' 1 ?.'...:- v
:'-. "t</p>
<p>-- Elle bat auk champs 1</p>
<p>- Je ne suis pas tin viveur, moi, dit-il» je suis un homme riiàrié eh..
qUând je m'amuse;.» je travaille pour mon paysj '?'?';?.'"?<??' ;^:>-</p>
<p>- Je lui ait écrit que je ne peux pas venir ce soir, parce que je dois
présider lé comité conservateur de Bellevillel ''-.,:/;?----V</p>
<p>- Î3ien, je vais lui donner vingt sous.</p>
<p>- Pourquoi ça, vingt sous» ne lui donne rien du tout, , :': ;..?..?..?
?..?."?-'?.? . a .??\\:i:.;-'i.</p>
<p>..:-* Mais il va me les demander)</p>
<p><pb/></p>
<p>OCTOHUE 3)7</p>
<p>- S'il te les demande donne-les lui, mais ne lui en parle pas le premier !</p>
<p>Quatrième acte. - Soirée de cocottes. Intérieur que j'aurais voulu un
peu plus luxueux. Pas assez de (leurs, messieurs Briet et Delcroix.
Mettez-en, cela ne fera pas de mal. Encore des petites femmes : Mlle
Debay, en rousse, Mlle Berthou en cheveux poudrés. Elle a un bon petit
sourire moqueur, quand Pellerinla présente en disant :</p>
<p>- Madame n'est cocotte que depuis quinze jours seulement.</p>
<p>Cinquième acte. - Le boudoir de Réjane - un boudoir rose, une femme
rose, un peignoir rose. Il n'est pas étonnant qu'on voie tout en rose,
avec une pièce comme celle-là.</p>
<p>- J'aboierai donc moi-môme! a-t-il fini par dire avec résignation.</p>
<p>On s'en va absolument enchanté. 11 me semble que j'ai vu plus d'une
femme s'appuyaht tendrement au bras de son mari. Est-ce que la pièce de
Mcilhac et de Gillc ramènera les tendresses dans les ménages attiédis ?
Je ne sais, mais je croîs qu'en sortant du PalaisRoyal, plus d'un époux
va, comme le concierge de Met Camarade^ - travailler pour son pays.</p>
<p><pb/></p>
<p>35& i-i;s soiriî:r.s pauisiknxms</p>
<p>LES DÉFENSEURS DE VAN ZANDT</p>
<p>ii octobre.</p>
<p>Je puis compléter les renseignements fournis par les journaux du matin.</p>
<p>Voici donc comment on procède, après chaque représentation, le n\ardi et
le vendredi.</p>
<p>Dix minutes avant le départ de Van Zandt du théâtre, un homme monte
achevai; il est enveloppé dans un manteau couleur de muraille et porte à
sa ceinture tout un arsenal de poignards, de haches d'abordage, de
casse-têtes prêtés par la Préfecture de police. Cet homme, qui éclaire
la route que la voiture de la diva doit parcourir pour rentrer chez
elle, n'est autre que M. Gaudemar, l'excellent administrateur de
l'Opéra-Comique.</p>
<p>Vient ensuite une voiture bien close dans laquelle se tiennent MM.
Carvalho et Léo Delibes, armés jusqu'aux dents.</p>
<p>Puis le coupé de la cantatrice, coupé cuirassé, cons-</p>
<p><pb/></p>
<p>ocioiJHB $59</p>
<p>Derrière le coupé de Lakmé, fermant la marche, roule une autre voiture
contenant les deux auteurs du livret : Gondinet et Gille.</p>
<p>Aussitôt, ces messieurs sautent sur les fusils remington qui leur ont
été offerts par la colonie américaine de Paris ; la rue est barrée d'un
côté par la voiture de MM. Carvalho et Delibes, de l'autre par celle de
MM. Gondinet et Gille. Légère comme une gazelle, la diva s'élance de son
coupé.</p>
<p>Grosse affaire ! L'escalier peut être scie, ne plus</p>
<p><pb/></p>
<p>360 LES SOIRÉES PARISIENNES</p>
<p>Il existe des poisons si terribles dans la cuisine moderne!</p>
<p><pb/></p>
<p>OCTOBRE 361</p>
<p>Comme on le voit, Mlle Van Zandt est protégée jusqu'au moment où sa
mère, complètement rassurée, peut enfin la conduire dans sa chambre et
veiller ellemême sur son premier sommeil.</p>
<p>Mais la direction de l'Opéra-Comique ne trouve pas encore que tout cela
soit suffisant.</p>
<p>M. Carvalho est en instance auprès de M. Ferry pour faire proclamer
l'état de siège dans le département de la Seine.</p>
<p>DÉBUT A L'OPÉRA RÉOUVERTURE DE DÈJAZET</p>
<p>12 octobre.</p>
<p>21</p>
<p><pb/></p>
<p>362 LES SOIRÉES PARISIENNES</p>
<p>Je n'aurais jamais cru qu'il y avait tant de monde capable de dîner de
bonne heure pour entendre l'ouverture de Guillaume Tell.</p>
<p>La représentation a été fort belle, et le débutant a reçu un accueil des
plus chaleureux.</p>
<p>Beaucoup d'abonnés sur la scène pendant les entr'- actes. M. Vaucorbeil
est fort complimenté. Mlle Isaac et M. Escalaïs, cela fait en quinze
jours deux débutants heureux dont tout le monde se montre enchanté.</p>
<p>Tandis que Al. Escalaïs lançait son premier Suivezmoi, un autre début
avait Heu boulevard du Temple;</p>
<p><pb/></p>
<p>OCTOBRE 363</p>
<p>celui de M. Charpentier dans l'emploi ingrat et difficile de directeur
du théâtre Déjazet.</p>
<p>Il y a longtemps que nous ne comptons plus les réouvertures de ce lieu
de plaisirs. La République ne change pas plus de ministres de la guerre
que l'ancien Troisième-Théâtre-Français ne change d'imprésario.</p>
<p>M. Charpentier aura du moins l'avantage d'opérer dans une salle remise à
neuf par le prédécesseur dont il fut le pensionnaire applaudi, me
dit-on. S'il n'est pas encore certain d'encaisser beaucoup d'argent, il
a du moins la satisfaction de n'en avoir guère dépensé.</p>
<p>L'attraction du spectacle d'ouverture est une folievaudeville mêlée de
chants que Clairville, Grange et Koning firent représenter, il y a dix
ans, aux MenusPlaisirs.</p>
<p>Le héros de cette reprise me parait être l'incomparable Hamburger qui,
par des moyens vocaux différents, s'est taillé un succès de chanteur
tout comme lenouvel Arnold de l'Opéra.</p>
<p><pb/></p>
<p>364 lks soirées parisiennes</p>
<p>M. Charpentier ne s'en tient pas aux reprises des oeuvres de son
confrère du Gymnase. Le fameux « place aux jeunes ! » fait partie de son
programme directorial.</p>
<p>Il donnait, avant la Mariée de Al. Victor Koning, la Partie troublée,
permier essai dramatique et loyal d'un jeune journaliste, Al. Henri
Demesse.</p>
<p>Alais pourquoi faut-il quecepetitacte ait été immolé de si bonne heure ? .</p>
<p>Sans la présence des ouvreuses qui ont bien voulu venir faire nombre
dans la salle, ce pauvre Al.. Demesse eût été joué devant les banquettes.</p>
<p>Ces dames ont demandé le nom de l'auteur, qu'elles ont accueilli par un
petit ban.</p>
<p>IIOLAND A hONCEVAUX</p>
<p>13 octobre.</p>
<p><pb/></p>
<p>OCTOBRE 365</p>
<p>de Paris ; tous les ténors légers soupiraient la romance du pâtre dans
les réunions intimes; la farandole était sur tous les pianos et on
entendait le choeur des preux exécuté par toutes les musiques
militaires. C'était du délire.</p>
<p>Le maître qui venait de débuter si brillamment n'était pourtant plus un
jeune. Il avait cinquantequatre ans bien sonnés. Aussi Roland est-il
resté son unique chef-d'oeuvre. Peut-être la partition serait-elle
encore au répertoire de l'Opéra si, pour la remonter, il ne fallait pas
dépenser deux ou trois cent mille francs. On comprend que
l'administration de notre grande scène lyrique ait reculé devant de tels
frais. Il est même probable que M. Mermet ne comptait plus assister à
une reprise de son oeuvre et qu'il a dû tressaillir de joie lorsque M.
Lagrénée, le directeur du théâtre lyrique du Château-d'Eau, est venu lui
proposer de la remonter.</p>
<p>Ce qu'on a prodigué d'ovations, depuis huit heures</p>
<p><pb/></p>
<p>366 LES SOIRÉES PARISIENNES</p>
<p>L'interprétation nouvelle de Roland offre surtout l'attrait de l'inconnu.</p>
<p>Je ne sais pas s'ils seront heureux, mais ils n'ont pas d'histoire.</p>
<p>Le principal rôle, celui de Roland, est tenu par M. Rouvière, un jeune
ténor d'assez belle prestance qui sort d'un régiment de cuirassiers et
n'a jamais paru en public, me dit-on.</p>
<p><pb/></p>
<p>OCTOBRE 367</p>
<p>un donneur d'uf.de poitrine. Roland est considéré comme Je tombeau des
ténors, et' ceux-ci ont Une telle frayeur de perdre leur organe dans le
vallon de Roncevaux qu'ils introduisent toujours dans leurs engagements
une clause spéciale interdisant aux directeurs çle province de leur
faire chanter la redoutable partition de M. Mermet* Cette exclusion est
tellement consacrée qu'elle est souvent imprimée d'avancé." ?''??';.-.</p>
<p>Mme Bqidin-Puisais, la seule héroïne amoureuse de cette action
militaire, est très appréciée du public des concerts. Mais au théâtre on
né la connaissait pas encore, puisqu'elle ne s'est montrée que dans
Gilles de Bretagne, au moment de la débâcle du théâtre lyrique de la Gaité*</p>
<p>Deux des basses de la création, Belval-Turpin et Casâux-Gâneion sont
morts, ainsi que le ténor Gueymard» ; '"? i</p>
<p><pb/></p>
<p>368 LES SOIRÉES PARISIENNES</p>
<p>Il ne me serait pas diilicile de plaisanter les décors et les costumes.
Au second acte, on a positivement l'air d'être au Hammam, et l'illusion
est d'autant plus grande que toutes les femmes sont revêtues de
peignoirs. Les diverses vues des Pyrénées rappellent surtout les buttes
Chaumont, ce qui a produit un certain effet sur les gens du quartier.
Mais il ne serait pas généreux d'insister. Tout cela sent un peu la
province, mais en somme cela n'est pas ridicule, et un bon orchestre, de
bons choeurs, de bons chanteurs valent mieux, pour cet essai d'Opéra
populaire, que les plus beaux décors et les plus riches costumes du monde.</p>
<p><pb/></p>
<p>OCTOBRE 369</p>
<p>LES INVISIBLES</p>
<p>15 octobre.</p>
<p>Il s'agit, en un mot, de nous montrer les insectes, les microbes, les
parasites que renfermentleS aliments que nous mangeons, les breuvages
que nous absorbons, les cigares que nous fumons, les fleurs que nous
respirons.</p>
<p>21.</p>
<p><pb/></p>
<p>370 I-ES SOIREES PARISIENNES</p>
<p>A priori, le programme n'est pas très engageant pour les gens qui
sortent de table, mais cela n'est pas dénué d'intérêt, ni même de
distraction.</p>
<p>Sa principale attraction vient surtout de la grâce aimable et familière
avec laquelle les numéros sont présentés, expliqués, commentés par un
monsieur en tenue de soirée, très correctement ganté et cravate de blanc.</p>
<p>Ce monsieur distingué, qui doit être bien savant ou posséder une mémoire
exceptionnelle, n'est point un inconnu pour nous. 11 s'appelle
Laguerche, et nous l'avons plus ou moins aperçu au théâtre des Nations
où il a sans doute appris l'art difficile de porter l'habit noir.</p>
<p>Après avoir fait défiler sur son écran les innombrables malpropretés que
peut renfermer une goutte de vin ou de bière, la gigantesque lanterne
magique nous montre ensuite des mouches, des punaises et autres</p>
<p><pb/></p>
<p>OCTOBRE 371</p>
<p>C'est un feu roulant d'allusions fines et délicates.</p>
<p>Grand succès pour cette seconde partie, qui se termine par l'amusante
projection d'un fragment de fromage çn marche qui restera l'un des clous
du programme.</p>
<p>Pour finir, la troisième partie, Excursion au pays des Microbes^ nous
fait successivement apprécier la composition d'un jambon trichine, d'un
fil d'araignée et d'un morceau d'ambre jaune.</p>
<p>L'écran représente bientôt la coupe horizontale et verticale du corail.</p>
<p>Ai-je besoin d ajouter que, sur ce gros effet, on rappelle M. Laguerche
qui, certainement, n'a jamais eu un si joli rôle.</p>
<p>En somme, spectacle instructif et non dépourvu de gaîté, qui est assuré
d'une certaine faveur auprès des</p>
<p><pb/></p>
<p>572 I.ES SOIREES PARISIENNES</p>
<p>collégiens épris des mille et un mystères de l'histoire naturelle.</p>
<p>Ajoutons que l'obscurité presque complète dans laquelle est plongée la
salle pendant les projections pourrait bien être aussi une attraction,
même pour les Parisiens qui ont achevé leurs études.</p>
<p>Qui sait si les Invisibles n'attireront pas, outre les gens qui veulent
voir, ceux qui ne veulent pas être vus?</p>
<p>LA TRAVIATA</p>
<p>17 octobre.</p>
<p>Tandis qu'une véritable salle de première faisait aii microscope-géant
et au voyage dans le monde des invisibles le succès que j'ai prédit
avant-hier, le théâtre lyrique du Chàteau-d'Eau donnait la Traviata.</p>
<p>En donnant, comme lendemain, des oeuvres du répertoire de Verdi, de
Donizetti et de Bellini, le même M. Lagrénée prouve qu'il veuf créer
aussi un Théâtre-Italien populaire dont les représentations alterneront,
comme il convient, avec celles de l'Opéra.</p>
<p>Directeur d'Opéra les jours pairs et directeur des Italiens les jours
impairs, il a forcément deux attitudes</p>
<p><pb/></p>
<p>OCTOBRE 373</p>
<p>bien différentes et reçoit chaque visiteur en demandant d'abord ;</p>
<p>- Pardon!,., est-ce au directeur des Italiens ou au directeur de l'Opéra
que vous voulez parler ></p>
<p>- Au directeur de l'Opéra,</p>
<p>M. Lagrénée passe dans une pièce voisine.</p>
<p>C'est un M. Vaucorbeil, mais un M. Yaucorbeil populaire.</p>
<p>Si c'est au directeur des Italiens populaires que l'on veut parler, on
voit sortir du cabinet mystérieu.\ un imprésario bien découplé, portant
beau et parlant haut.</p>
<p>C'est un,Maure!, mais un Maurel. populaire, qui vous offre sans façons
un plat de macaroni - de macaroni populaire, bien entendu.</p>
<p>C'était, ce soir, le directeur Italien populaire qui nous offrait une
représentation italienne populaire.</p>
<p>Naturellement l'italien populaire diffère un peu de ce que fut l'italien
de la salle Ventadour.</p>
<p>Ainsi, ilse chante en français, parce que le français est plus populaire
que l'italien dans le onzième arrondissement.</p>
<p>La salle est également beaucoup plus populaire. Au lieu d'attendre
patiemment et avec une discrétion froide et de bon goût le lever du
rideau, on fait entendre dés exclamations populaires comme celles-ci :</p>
<p>- La toële? la toële?...</p>
<p>- Hue donc la musique !...</p>
<p>- Raclez donc vos jambonneaux?</p>
<p>Les effets se produisent d'une façon populaire. . Ainsi, au second acte,
lorsque Violetta prouve à</p>
<p><pb/></p>
<p>374 ,ES' SOIREES PARISIENNES</p>
<p>M. D'Orbel que Rodolphe, loin d'écorner son patrimoine avec elle, lui a
laissé le soin de pourvoir aux dépenses ménagères, M. Paravey a
naturellement exprimé une joie intense - selon la tradition italienne -
en apprenant que son fils a été aimé pour lui-même.</p>
<p>La délicatesse exquise de cette mimique a provoqué de chaleureux
applaudissements, surtout dans la partie populaire féminine des
troisièmes amphithéâtres.</p>
<p>Hâtons-nous d'ajouter que M. Paravey a obtenu, en outre, comme chanteur,
les honneurs de la soirée.</p>
<p>Je crois qu'avant peu le nom de ce baryton sera populaire aussi.</p>
<p>AUTOUR DU MAlllAGE</p>
<p>19 octobre.</p>
<p>Bob. - Pourquoi qu'on commence pas, dites,</p>
<p><pb/></p>
<p>OCTOBRE 375</p>
<p>Moi. - Parce que c'est un première, mon enfant.</p>
<p>Bob. - Ah ! bon, j'comprends. C'est des gens qu'ont pas payé leurs
piaces, et alors l'directeur s'dit comme ça : pas besoin de s'gêner !</p>
<p>Bob. - On a ben tort, s'ils savent qu'on les attendra, y s'ront en retard.</p>
<p>Moi. -? C'est bien possible ça.</p>
<p>Un silence. - On frappe les trois coups.</p>
<p>Moi. - Non.</p>
<p>Bob. - Pourquoi, expliquez-moi, qu'y a pas d'musique, pisque la pièce
est jouée par des chanteuses ? On m'a emmené un soir, au théâtre de la
Renaissance, voir la 'Petite Mariée, qu' c'était même rudement chic, et
qu'y avait aussi Jane Hading et Desclauzas... j'm'rappellc très bien...
Vous aimez ça, la Petite Mariée ? C'est peut-être encore ça qu'nous
allons voir... dites ?</p>
<p>Moi. - Je ne crois pas, Hading et Desclauzas ne chantent plus.</p>
<p>Bob. - Elles ont perdu îeur voix ></p>
<p>Moi. - Non, taisez-vous, on lève le rideau.</p>
<p>Bob. - Oh ! ben, vrai, c'est pas comme ça qu'y</p>
<p><pb/></p>
<p>y]6 LES SOIRÉES PARISIENNES</p>
<p>sont les princes que j'connais. Pourquoi qu'on l'appelle de Calabre,
dites ? G'est-y parce qu'il est couleur de réglisse ></p>
<p>Moi. - Evidemment.</p>
<p>Moi. - Monsieur Bob, voulez-vous me permettre d'écouter.</p>
<p>Moi. - Vous allez un peu loin, monsieur Bob.</p>
<p><pb/></p>
<p>OCTOHKK 377</p>
<p>Moi, - Je ne sais pas.</p>
<p>Bon, -J'croyais qu'les journalistes y savaient tout. Enfin, ça n'fait
rien. J'suis heureux que ce soye la fin du premier acte, parce que
moic'qui m'ennuie, au théâtre,, c'est de ne pas pouvoir parler pendant
qu'on joue.</p>
<p>Entr'acte, Bob lorgne la salle. Très jolie, la salle : WaldeckRousseau
dans une baignoire, le général de Galliflct, le duc de Vallombrosa, le
prince de Sagan, le vicomte de Sarcus, le prince Murât, de la Charme, M.
et Mme de Beschêvet, le marquis de Cndish, Cartier, de Modène, le
vicomte Pernetti, le duc de Castries, Gordon Bennett, Bischoffsheim,
Double, le prince Troubetzkoï, Lipmann, de Sancy, Bemadaki, M. et Mme
Ferdinand de Rothschild, Meilhac, d'Ennery, Perrin, Mmes Lia Félix,
Pierson, "Magnier, Bianca, Vrignault, Salla, Zulma Bouffar, Monchanin
-l'élite, quoi, comme dit mon petit voisin d'orchestre.</p>
<p>Bob, très surpris. - Ah! mais v'ià-t-y, pas une bonne!</p>
<p>Moi. - Quoi?</p>
<p>Bob. - J'connais ça!... c'est le salon de M. Félix. J'y vais souvent
avec maman, même que, la dernière fois, y avait une dame qu'essayait et
qu'a dit : « Bob, c'est sans conséquence ! » Alors j'suis resté et on.
lui a mis des petits coussins, sur l'estomac. Tenez ! c'est la dame en
bleu... dans la loge là-bas !</p>
<p>Moi. - Monsieur Bob, gardez vos confidences.</p>
<p>Bob. - Oh ! ben, vous n'êtes pas comme mon oncle. Ça l'amuse lui que
j'iui raconte ces choses-là. Il dit qu'tout ça, c'est des femmes laine
et coton.</p>
<p><pb/></p>
<p>3?8 LES SOIRÉES PARISIENNES</p>
<p>(Entrée de Lagrange, tête copiée sur nature.) Mais le voilà, M, Félix,
il est joliment ressemblant. Pourquoi qu'y l'appellent Lheureux,dites?</p>
<p>Moi, - Comment, Bob, et les études? Lheureux... Félix..,</p>
<p>Moi. - Mlle Hading ?</p>
<p>Moi. - Vraiment, Bob, vous faites des réflexions qui ne.sont pas de
votre âge.</p>
<p>Bob. - Fautp't'étre que j'attende que j'aie soixantedix ans?</p>
<p>Moi. - Monsieur Bob, je vais faire un tour dans les couloirs, vous
permettez?</p>
<p>Bob.-Vous reviendrez?</p>
<p>Moi. - Sans aucun doute.</p>
<p>Bob. - Est-ce qu'elles sont toutes costumées comme ça. les bonnes, en
Suisse?</p>
<p><pb/></p>
<p>OCTOBRE 379</p>
<p>Bob. - Est-ce qu'elles s'appellent toutes Betly?</p>
<p>Moi, - Non, pourquoi?</p>
<p>Bob. - C'est que, dans le Chalet^ qui se passe aussi en Suisse, elle
s'appelle déjàBetly, alors... moi... je croyais... Elle a des cheveux
jaunes, la bonne, j'aime assez ça. C'est pas comme maman ; j'avais une
gouvernante très aimable qu'en avait de pareils, on l'a renvoyée et je
l'ai revue, bien plus tard, un samedi, au Cirque. Elle était, la
gouvernante d'un autre jeune homme, plus grand que moi, un jeune homme
russe... (Silence. La pièce continue,) Oh !...</p>
<p>Moi. - Quoi?</p>
<p>Bob. -- Elle s'est encore déshabillée, Mlle Hading ! Elle s'déshabille
tout le temps alors ? C'est pas que j'men plains. Fichtre, non ! Et vous
voyez qu'elle a les bras nus... c'est pour faire enrager son mari qui
n'aime pas ça, dites? Moi, quand j'aurai une femme... faudra qu'elle
fasse tout c'que je veux.</p>
<p><pb/></p>
<p>}8u LES S0IKÊKS PARISIENNES</p>
<p>l'temps ! C'est ben plus drôle que quand ils parlent. Mais ça n'a pas
l'air d'amuser le mari de faire des bulles de savon pour sa nuit de
noces ? Pourquoi ça l'amuse-t-y pas ?</p>
<p>Moi.-,.,</p>
<p>Bob. - Répondez donc, vous ne répondez rien ! Regardez, y s'étend sur le
canapé quand sa femme chante. C'est pas poli. Et une chanson des
Ambassadeurs encore. Elle la chante gentiment, hein, mais j'en connais
une ben plus raide.</p>
<p>Moi. - Vraiment?</p>
<p>Bob, fredonnant tout bas, pendant qu'on applaudit Hading :</p>
<p>Moi. - Mon petit ami, tu vas troubler le spectacle ! Bob. - Y a pas de
danger !</p>
<p>(Joli effet de décor et de mise en scène au quatrième acte. Un
rendez-vous de chasse. Coin de forêt. Au fond d'une allée, le château
des Épines. Tous les hommes en habit rouge. Le cheval de Mlle Hading,
que le public des premières émeut affreusement, refuse de manoeuvrer ;
mais Desclauzas joue (toute une scène en exécutant la demi-volte et le
galop sur kplace avec une sûreté de main et une légèreté surprenantes.)</p>
<p>Moi.- Eh bien! Bob?</p>
<p><pb/></p>
<p>OCTOBRE 381</p>
<p>du cor... C'est comme dans la Jeunesse de LouisXIV, vous savez
ben...C'te grande machine qu'on a jouée... là-bas... d'I'aut' côte
dTeau. Je verrai-t-y la curée ?</p>
<p>Moi. - Il n'y en a pas.</p>
<p>Bon. - C'est pas la peine alors. Pisqu'ils entrent avec des torches...
et qu'y sonnent encore... Moi, si j'avais été monsieur l'auteur,
j'aurais mis des chiens...</p>
<p>Moi; - Tu n'entends rien aux choses de l'art, mon petit ami.</p>
<p>La pièce est finie. Saint-Germain vient nommer les auteurs.</p>
<p>Bob. - Ils ont donc mal fait, monsieur, qu'on vient dire leurs noms ?</p>
<p>Moi. - Pourquoi?</p>
<p>Bob. - Dame, moi, quand j'ai fait une frasque, monsieur l'abbé a
l'habitude de dire tout haut devant tout le monde : * C'est Bob ! »</p>
<p>Moi. - Ici, c'est différent.</p>
<p>Bob. r- Le théâtre c'est pas la même chose que la vie, hein, monsieur?</p>
<p>Moi. - Oh! non...</p>
<p>Bob. ;-Merci, monsieur, et bonne nuit...</p>
<p>Moi. - Bonne nuit, mon ami Bob!</p>
<p><pb/></p>
<p>382 LES SOIRÉES PARISIENNES</p>
<p>BRELAN DE DÉBUTS</p>
<p>21 octobre.</p>
<p>Parlons, avant tout, de la véritable débutante de la représentation.</p>
<p>Et la mignonne Rosa, toute joyeuse de se trouver</p>
<p><pb/></p>
<p>ocTonui: $8}</p>
<p>avec Sarah, restait bien sage dans un coin, écoutant de toutes ses
oreilles, regardant de tous ses yeux et s'cxtasiant avec un bonheur
enfantin dès que la tragédienne faisait entendre un seul mot.</p>
<p>Pendant ce temps, sa mère, Clémence Bruck, courait aux Menus-Plaisirs où
elle dansait avec Blanche Querette des pas de deux très remarqués dans
les féeries du boulevard de Strasbourg, qu'elle ne quitta plus tard que
pour aller jouer des bouts de rôles aux Variétés et au théâtre Cluny,
dans l'espoir toujours renaissant et jamais réalisé de pouvoir débuter à
l'Odéon.</p>
<p>Au Conservatoire, où elle entra dans la classe de Régnier, Mlle Rosa
Bruck séduisit tout le monde par le charmé de ses manières, l'égalité de
son humeur et sa simplicité.</p>
<p>Grande, jolie et fort bien faite, Mlle Rosa Bruck réalise l'idéal du
beau type juif.</p>
<p><pb/></p>
<p>384 I-ES SOIRÉES PARISIENNES</p>
<p>Si Mlle Bruck est brune, sa camarade Muller est blonde comme les blés.</p>
<p>Elle est assez jolie, cette petite pensionnaire au nom alsacien ! Figure
fine, petite tête de poupée, mais de poupée mignonne et souriante.</p>
<p>Lorsque la nouvelle Marianne de l'Avare fit son entrée au Conservatoire,
elle habitait une modeste petite chambre et était toujours simplement
vêtue; sa mère veillait alors sur elle avec une rigidité extrême.</p>
<p>Ainsi, l'un de ses camarades lui ayant, un jour, tendu la main, cette
mère farouche la tira vivement par le bras en disant :</p>
<p>Cette sévérité étonna un peu, surtout au Conservatoire, où règne
généralement plus de camaraderie.</p>
<p>Les suppositions malveillantes allèrent leur train, et ce fut, je dois
le dire, très injustement.</p>
<p>Cet industriel éclairé regrette d'autant moins d'avoir eu foi dans la
fortune théâtrale de Mlle Muller qu'il a dû lui faire des fournitures
plus importantes depuis qu'elle a débuté.</p>
<p><pb/></p>
<p>OGTOBUi: 385</p>
<p>LE DRAME DE LA VUCE</p>
<p>24 octobre.</p>
<p>C'était une forte puce, alerte et frétillarde, que le directeur
provisoire des Menus-Plaisirs s'était procurée, ce matin même, dans un
bureau de nourrices pour ses expériences microscopiques du soir.</p>
<p>On connaît la scène palpitante du (Monde des Invisibles : l'agonie de la
puce. Une puce piquée Sur une épingle est rôtie toute vivante sous les
yeux du public. Le pauvre insecte se tortille, se démène, dresse en
l'air des pattes désespérées,.grossies un million de fois, et finit par
succomber. C'est un des clous du spectacle.</p>
<p>La lumière imprévue qui venait de l'éclairer la</p>
<p>22</p>
<p><pb/></p>
<p>386 LES SOIRÉES PARISIENNES</p>
<p>plongeait donc dans une grande anxiété. Elle se fit toute petite dans un
coin de la petite boîte. Mais on la laissa tranquille. La main géante
qui l'avait cueillie le matin paraissait bien loin, bien loin. Elle
prêta une oreille attentive sans surprendre le moindre bruit. Alors,
enhardie, elle s'avança doucement vers le rayon. Elle eut un
tressaillement de joie. La prison avait 'été mai fermée; elle s'était
ouverte : rien n'était plus facile qu'une évasion. Aussi la puce
n'hésita pas une seconde. D'un bond elle fut. dehors, sur une table
couverte d'un tapis vert. Elle y avisa une corbeille dans laquelle
gisaient un tas de vieux manuscrits, oeuvres de vaudevillistes inconnus
et méconnus, que les diverses directions de la Comédie-Parisienne et du
Théâtre-des-Arts avaient laissé s'amonceler là. C'était une cachette
commode d'où elle se promit bien de ne sortir qu'au milieu de la nuit.</p>
<p>Or, vers les septheuresdu soir, une porte s'ouvrit, et un homme
s'approcha de la table où se tenait la puce.</p>
<p>Du premier coup d'oeil, il avait vu la petite boîte ouverte, il avait
compris ce qui s'était nasse et, d'une voix terrible, il s'était écrié:</p>
<p>- Ma puce! où est ma puce></p>
<p>Aux cris du directeur, tout le monde était accouru, 1 électricien, le
gazier, le contrôleur en chef, une ouvreuse et M. Albert Dormeuil,
administrateur.</p>
<p>Le directeur rageait toujours.</p>
<p>-? Il faut qu'on me la trouve ! qu'on la cherche partout! qu'on ferme
toutes les issues ! que tout le monde se déshabille I</p>
<p>Et il fit déshabiller l'électricien, le gazier, le contrôleur en chef,
l'ouvreuse et M. Albert Dormeuil, administrateur. 11 se déshabilla
lui-même. La pauvre petite puce, qui n'avait rien pris depuis le matin,
était</p>
<p><pb/></p>
<p>OCTOBRE 387</p>
<p>- Je suis déshonoré, monsieur, criait-il, absolument déshonoré.</p>
<p>- Cependant...</p>
<p>- Pour une fois, vous la supprimerez.</p>
<p>- La supprimer! La supprimer! Mais savez-vous quelles peuvent être les
conséquences de cette suppression) .</p>
<p>- Non.</p>
<p>- Elles peuvent être terribles, monsieur. Oui, terribles, au pomt de vue
de l'art dramatique.</p>
<p>- Comment?</p>
<p>- Oui, c'est affreux!</p>
<p>La puce avait écouté en tremblant, cette conversation où il n'était
question que de sa mort. Au nom de Coquelin, elle avait eu un sursaut.</p>
<p><pb/></p>
<p>388 LES SOIRÉES PARISIENNES</p>
<p>- Eh! quoi, c'était pour lui!...</p>
<p>Son parti fut pris en moins d'une seconde. Mourir pour Coquelin,
pensa-t-elle, c'est un sort que toutes les puces doivent envier. Sautons!</p>
<p>Et d'un bond suprême, elle vint s'abattre sur la main du directeur des
Menus-Plaisirs.</p>
<p>LA PMMÈHK DE L'ODÊON . 25 octobre.</p>
<p><pb/></p>
<p>OCTOBRE 389</p>
<p>Derrière lui, un artiste de la maison se penche en s'écriant : -</p>
<p>- Salle bien disposée... Cela sent le succès ! Puis on frappe les trois
coups et le rideau se lève</p>
<p>lentement, solennellement.</p>
<p>- Quel talent!</p>
<p>- Quelle poigne î</p>
<p>- Et quelle dextérité en même temps ! .</p>
<p>- C'est prodigieux !</p>
<p>- C'est adorable !</p>
<p>- Pas le moins du monde. C'est le vieux Laurencin, le collaborateur de
Bayard, de Vanderburgh, de Varin; il a soixante-seize ans.</p>
<p>- Mais comment ne le joue-t-on.pas plus souvent ></p>
<p>- 11 a fait des chefs-d'oeuvre : (Ma femme et mon</p>
<p>22.</p>
<p><pb/></p>
<p>390 LES SOIRÉES PARISIENNES</p>
<p>parapluie, Mateo ou les deux Florentins, Peau d'âne...</p>
<p>- C'est de lui, Peau d'âne? Ah! vous m'en direz tant !</p>
<p>- Enfin, sans l'Odéon. sans La Rounat, il restait dans les oubliés...</p>
<p>- Quelle honte pour le Théâtre-Français î</p>
<p>- ïl n'est pas possible, lui disent-ils, que vous n'en ayez pas d'autres
dans vos cartons depuis le temps qu'on néglige de vous jouer.</p>
<p>M. Koning offre une prime de vingt mille francs pour être servi lé premier.</p>
<p>C'est M. Perrin.</p>
<p>- Au nom de la Comédie-Française, murmure l'administrateur-général, je
viens réclamer votre première oeuvre.</p>
<p>Et Laurencin répond simplement et modestement :</p>
<p>- Merci.</p>
<p>Enfin le troisième acte se passe au milieu d'ovations sans lin. L'auteur
est entouré par tous ses interprètes, qui l'embrassent et l'étreignent.
On l'appelle</p>
<p><pb/></p>
<p>OCTOBRE 391</p>
<p>sur la scène : il refuse d'y paraître, mais Dumas fils s'est précipité
dans les coulisses.</p>
<p>Et c'est l'auteur du Demi-tMonde qui présente aux spectateurs électrisés
l'auteur d'OtVpeut-on être»jt'e«.v></p>
<p>- yoici,vos journaux, monsieur 1 lui dit la bonne.</p>
<p>Et l'auteur ouvre lé Figaro t croyant y trouver le compte rendu du
triomphe de la veille.</p>
<p>« La pièce est ajournée, affirme M. Prével. On dit même .qu'elle
pourrait bien ne jamais être jouée... »</p>
<p>Ajournée ! Pas jouée 1 Èh quoi ! Est-ce possible ></p>
<p>Oui é,.; c'est yrai... c'estlafroidé et implacable réalité.. Le succès
foudroyant de la. comédie, les acclamations,, rhumbie démarche de M. Pef
rin, Dumas, l'Académie, l'apothéose...</p>
<p>Un rêve!</p>
<p>?LR H01 DECAhHEAU</p>
<p>26 octobre.</p>
<p>Et puis ce titre, le <Roi de Carreau sembîaît fait</p>
<p><pb/></p>
<p>392 LES SOIRÉES PARISIENNES</p>
<p>pour plaire au monde des cercles assez assidu au coquet petit théâtre de
M. Brasseur, si merveilleusement situé au centre du Paris qui s'amuse.</p>
<p>Cependant il est bon de dire tout de suite qu'on ne «cartonne» pas dans
le nouvel ouvrage des auteurs de la délite Mariée. Le liai de Carreau
reste absolument étranger aux nobles jeux du baccara et de l'écarté; ce
n'est pas une bûche.</p>
<p>Qu'ils demandent l'aumône ou qu'ils dégainent la rapière sur le passage
du bourgeois attardé; qu'ils se transforment en aveugles, en boiteux ou
qu'ils se redressent effrontément, les mécréants des Nouveautés forment
l'élément le plus intéressant de ces trois actes.</p>
<p><pb/></p>
<p>OCTOBRK 393</p>
<p>suftisamment déguenillé cet amas grouillant de gueux et de ribaudes..</p>
<p>Les bohémiennes, qui font l'ornement des ripailles du dernier acte, sont
notamment un peu bien coquettes, avec leurs jolis petits chapeaux de
feutre gris bosselés et campés sur l'oreille, et surtout avec l'abondant
paillet qui les fait étinceler comme des châsses.</p>
<p>Malgré celte richesse relative, le costume ne manque pas d'un certain
caractère naturaliste qui ne peut que faire valoir le charme - et les
charmes de celles qui le portent.</p>
<p>L'événement de celte première est la rentrée de Mme Vaillant-Couturier,
comme l'événement de la prochaine sera certainement la rentrée de Mlle
Marguerite Ugalde.</p>
<p><pb/></p>
<p>394 LES SOIREES PARISIENNES</p>
<p>Autre rentrée importante, celle de Brasseur, luimême, qui, au gré de ses
nombreux appréciateurs, ne joue peut-être pas assez souvent dans ce
théâtre dont il est, non seulement le directeur, mais encore - et de
beaucoup - le meilleur comédien, et dans lequel il est aussi difficile,
que jadis au Palais-Royal, de rivaliser de talent avec lui.</p>
<p>Celui des jolis décors de Robecchi.</p>
<p><pb/></p>
<p>OCTOBRE 395</p>
<p>Au second acte, des jardins de l'hôtel de la Cerisaie, on aperçoit la
silhouette de Notre-Dame-deParis vers laquelle le regard se porte
machinalement quand, au finale, Mme Vaillant-Couturier parait en
Êsméralda d'opéra-comique, sans la chèvre.</p>
<p>Quant au décor de la Cour des Miracles, il est surtout saisissant de
couleur et de lumière. Le soleil resplendit de tous ses feux sur ce
pittoresque enchevêtrement de taudis et de masures. Le peintre ne
pouvait faire mieux.</p>
<p>Tous ceux qui connaissent l'excellent homme, le savant harmoniste,
Térudit bibliothécaire musical de l'Opéra, ne s'étonneront pas que M. de
Lajarte, qui a obtenu, en collaboration avec Mlle Laure Fonta, de si
brillants succès de chorégraphie rétrospective, lui ait demandé, pour sa
pièce, un pas de l'époque qu'il fait accompagner par une musique dont il
a recueilli les naïves traditions dans les précieuses archives dont il
dispose.</p>
<p><pb/></p>
<p>3<)() LES SOIRÉES PARISIENNES</p>
<p>A la sortie, sur le boulevard, Théodore de Lajarte est entouré de
compositeurs d'opérettes qui, tous, le félicitent et lui serrent la main.</p>
<p>GALLl-MAlUÊ DANS « CARMEN *</p>
<p>27 octobre.</p>
<p>La vraie, la seule, l'unique Carmen, la Carmen de la création, la
Carmencita de nos rêves, Galli-Marié enfin, vient de faire sa rentrée à
l'Opéra-Comique.</p>
<p>- Quand nous rendra-t-on la vraie Carmen? demandâ-t-on de toutes parts.</p>
<p><pb/></p>
<p>OCTOBRE 397</p>
<p>insuperabile Carmen, To the most wonderful Carmen, Aan de merkvoaardige
Carmen ; mais les fleurs étrangères ne valaient pas pour elle les bravos
parisiens.</p>
<p>Cela, elle ne pouvait le croire. Non, les Parisiens ne resteraient pas
éternellement privés de Carmen. Un jour viendrait où, bon. gré mal gré,
il faudrait bien remonter ce chef-d'oeuvre salle Favart. Et alors, ce
jour-là, pas de Carmen possible sans Galli-Marié.</p>
<p>Puisque Carmen rentrait dans sa bonne ville de Paris, c'est que
Galli-Marié y revenait aussi.</p>
<p>Chacun sait, hélas ! quelle fut sa déception et la nôtre. On reprenait
bien Carmen, mais une Carmen qui n'était pas la sienne, qui n'était pas
celle du public : Carmen sans Carmen.</p>
<p>23</p>
<p><pb/></p>
<p>398 l.KS SOIUKKS IWUISIKNNKS</p>
<p>Non contente de ramener les vraies traditions d'un rôle qu'elle a rendu
célèbre, Galli-Marié va, pendant son trop court passage, ramener la joie
autour d'elle en général et parmi les machinistes en particulier.</p>
<p>Ceci est toute une petite histoire.</p>
<p>Certains soirs, notamment les veilles de fêtes, elle avait soin de se
prendre comme par mégarde le pied dans un fil quelconque en s'écriant
avec une étourderie fort bien jouée:</p>
<p>Ou bien encore, écoutant un camarade qui chantait en scène, elle
laissait échapper cette appréciation :</p>
<p><pb/></p>
<p>OCTOBRE 399</p>
<p>- Ce pauvre Un tel.., comme il tire la ficelle!</p>
<p>C'est bien la Carmen d'autrefois que nous avons revue, impudente,
indomptable, abominable et charmante, avec quelques légères
modifications cependant.</p>
<p>Il est certain que Galli, avant ses tournées en Europe, était très
Espagnole d'intention, mais elle s'est rendue plus Espagnole encore par
l'observation locale.</p>
<p>Elle a eu le courage d'étudier une heure par jour cette danse, pendant
cinq semaines et par 38.degrés de chaleur, pour arrivera exécuter, comme
elle l'a fait ce soir aux applaudissements de toute la salle, la Flor de
Andalucia.</p>
<p>Autre tradition qu'elle nous a rapportée d'Espagne. Sur son costume, du
premier, acte, les roses sont remplacées par des oeillets qui sont,
paraît-il, la fleur favorite des Manolas.</p>
<p><pb/></p>
<p>JOO Mis SOIRKKS 1WKISIKXXKS</p>
<p>Rien de plus attachant que l'existence qu'elle ymène, chassant avec rage
toute la semaine et ne se reposant le dimanche que pour exercer à
l'église les doubles fonctionsgratuites d'organiste et de maître de
chapelle. Cela lui permet de faire exécuter par ses élèves de la
maîtrise le répertoire de musique religieuse de son père, le chanteur
Marié, qui.fut, non seulement un sujet apprécié de l'Opéra et un
compositeur d'un certain talent, mais encore un professeur lyrique des
plus remarquables. On a pu en juger encore une fois ce soir par le
succès de sa plus illustre élève.</p>
<p>Les artistes célèbres sont les plus accessibles au redoutable trac des
premières. .;,..'</p>
<p><pb/></p>
<p>octohuk 401</p>
<p>Ce soir, l'accroche-coeur était aussi, collant que possible : le comble
du triomphe!</p>
<p>Sans compter, bien entendu, le plaisir toujours neuf avec lequel nous
revoyons Carmen.</p>
<p>Du fond d'une baignoire, Meilhac savoure le succès de la soirée.</p>
<p>Il doit être content, l'heureux auteur de Frou/rou, de <Ma camarade, de
Mam'zelle Ni touche et de Carmen.</p>
<p><pb/></p>
<p>.|02 I-KS SOIRKKS l'AKISlENNKS</p>
<p>EXÉCUTION D'UN ABONNÉ</p>
<p>29 octobre.</p>
<p>Notre collaborateur Prével nous a appris, ce matin, qu'un abonné avait
dû être exécuté par la Haute Administration de l'Opéra. .</p>
<p>Ce qu'il y a de plus clair, c'est que la vindicte de l'Académie
nationale de musique réclamait un exemple.</p>
<p><pb/></p>
<p>OCTOBRU 403</p>
<p>Eh bien! elle l'a eu.</p>
<p>Mais n'anticipons pas.</p>
<p>La procédure, l'appareil judiciaire de ce grand acte de justice ont été
dignes de l'Opéra,</p>
<p>Arrêté chez lui, hier matin, par le régisseur de la danse, M. Pluque,
qui, pour la circonstance, avait obtenu l'autorisation de sortir son
beau costume d'homme d'armes du Fandango, le trop coupable X... se
laissa conduire sans résistance dans le corps de garde des soldats de
Faust.</p>
<p>A peiné le malheureux avait-il eu le temps de gémir sur son esclavage
etdé pleurer sa liberté, comme l'IIelvétie dans Guillaume Tell, qu'il
fut interrogé par le farouche Gesslêr, qui décida son renvoi.immédiat
devant le concile de la Juive et le synode de Henry VUly réunis eh haute
cour de justice, sous la présidence de M. Vaucorbèil, superbe de majesté
et de hauteur souveraine dans lé magnifique costumé del'emperéur
Sigismond. .::';:'?/'.:.;,:</p>
<p><pb/></p>
<p>404 LES SOIREES PARISIENNES</p>
<p>Cependant, X... conserve encore cet espoir traditionnel et si souvent
réalisé de tous les malfaiteurs célèbres : il compte sur la clémence du
Président de la République et chante du mieux qu'il peut, en appliquant
sa bouche sur l'appareil téléphonique qui correspond avec l'Elysée,
l'air de Robert le Diable :</p>
<p>Grâce! grâce! Pour moi, pour toi-même!</p>
<p><pb/></p>
<p>OCTOBUK 405</p>
<p>noir dont l'aspect est si lugubre, il entend au loin la marche funèbre
et le chant des fossoyeurs d'Hamlet.</p>
<p>A ce moment, il est dix heures moins sept minutes. Le condamné, soutenu
par le cardinal Brogni, qui lui donne l'absolution, entre sur la scène
d'un pas assez ferme. A peine un léger frémissement en s'apercevant
qu'il est dans le décor où meurt Rachel (quand du Seigneur.</p>
<p>Il est dix heures moins deux.</p>
<p>Dix heures sonnent : la justice de l'Opéra est satisfaite.</p>
<p>REPRISE D'HENRY MU</p>
<p>30 octobre.</p>
<p>Lorsque l'opéra de . Saint-Saëns fut joué pour la première fois, avec le
succès que l'on sait, certaines scènes parurent un peu longues. L'air</p>
<p>*3-</p>
<p><pb/></p>
<p>-J06 LES SOIRÉES PARISIENNES</p>
<p>du légat notamment et plusieurs autres passages de la partition furent
supprimés des la seconde.</p>
<p>Pour commencer, on le vit un beau jour complètement imberbe;</p>
<p>11 avait coupé sa barbe, et s'était même coupé en la coupant ;</p>
<p>Puis bientôt, il ne sortit plus qu'en coupé;</p>
<p>A cette occasion, il s'était procuré un coupefile pour permettre audit
coupé de couper au plus direct ;</p>
<p>Il se montra toujours très crédule et d'humeur conciliante afin de
pouvoir couper dans tous les ponts;</p>
<p>Il cherche son prochain sujet dans le répertoire de Fenimore Cooper, et
destine le rôle du ténor au Gooper des Variétés ;</p>
<p>Son chat poussait la nuit des miaulements entrecou-</p>
<p><pb/></p>
<p>OCTOBRE 407</p>
<p>Il se coupe d'ailleurs constamment lui-même dans la conversation ;</p>
<p>Il fréquente les cercles, non pour jouer, mais pour couper la taille au
baccara ;</p>
<p>Il ne boit que des vins de coupage ?</p>
<p>11 les coupe avec de l'eau dans des coupes de cristal, coupe son pain et
boit son café dans la soucoupe;</p>
<p>Il va dans les salons du noble faubourg, afin de placer ses deux
locutions favorites : « Ça dépend de la coupe des cheveux! » et « Ça te
la coupe, cadet! »</p>
<p>Toutefois, il se contentera peut-être de leur en faire la promesse, afin
qu'il y ait loin de la coupe aux lèvres ;</p>
<p>Il achète des terrains boisés, pour pratiquer dans ses bois des coupes
qui lui donneront des coupons de rente ;</p>
<p>Conséquent avec ses nouveaux principes, il déplore la clémence du
président de la République et trouve qu'il n'y a pas assez de têtes
coupées ;</p>
<p>De même, lorsqu'il parle de fêuGambetta, il déclare</p>
<p><pb/></p>
<p>408 LES SOIRÉES PARISIENNES</p>
<p>que l'ex-dictateur se perdit lui-même en négligeant de couper sa queue ;.</p>
<p>Il admire, en revanche, le fameux Alcibiade qui sut couper celle de son
chien ;</p>
<p>Comment s'étonner qu'après avoir conjugué, sous tous les modes, le verbe
couper, M. Saint-Saëns n'ait plus trouvé le temps de faire la moindre
coupure dans son Henry VIII qui, quoi qu'on en ait dit, a été chanté ce
soir dans les mêmes conditions - et les mêmes proportions - que pendant
la première série de représentations!</p>
<p>La soirée a été excellente ; les effets de la première se sont
reproduits exactement; on a même beaucoup applaudi Mlle Subra et tout le
ballet, qui a été bien mieux dansé ce soir que lors de la création de
l'ouvrage.</p>
<p><pb/></p>
<p>NOVEMBRE</p>
<p>UAT PEU D'HISTOIRE</p>
<p>, 2 novembre.</p>
<p>Le Voltaire, qui est un journal bien informé, vient de faire la
révélation foudroyante que voici :</p>
<p>» Les temps ont marché depuis l'époque où la fausse pudibonderie
impériale faisait tomber sous les sifflets cette oeuvre très intéressante.</p>
<p>» Nul doute que le public d'aujourd'hui ne juge plus sainement et plus
irrpartialement l'ouvrage des deux éminents écrivains. »</p>
<p>Voyez, une fois de plus, comme on écrit l'histoire !</p>
<p><pb/></p>
<p>410 LES SOIREES PARISIENNES</p>
<p>Et cette légende se serait perpétuée de siècle en siècle.</p>
<p>Mais on finit toujours par découvrir le fond des choses.</p>
<p>Et puisque le journal cher au parti opportuniste a révélé une portion de
la vérité, je ne vois pas pourquoi je cacherais le reste.</p>
<p>Aussi bien, il y a assez longtemps que ce secret me pèse !</p>
<p>Oui, c'est l'Empire qui a tout fait, de complicité avec sa police.</p>
<p>Tous les récits qui affirment le contraire sont archifaux.</p>
<p>Elle ne savait pas, la chronique parisienne, que celui qu'elle baptisait
ainsi, faute d'un nom pour le désigner, était M. Eugène Rouher,
admirablement grimé pour la circonsta</p>
<p>Oui; M. Rouher, le principal ministre de l'Empire et le meneur principal
de ce complot anti-artistique.</p>
<p><pb/></p>
<p>NOVEMBRE 4 M</p>
<p>De même, le comte de Laferrière et le marquis de Caux entretenaient avec
soin, dans les loges et au balcon, une agitation de bonne compagnie.</p>
<p>En revanche, les autres perturbateurs avaient quitté l'habit noir et la
cravate blanche pour une tenue beaucoup plus négligée. ^</p>
<p><pb/></p>
<p>412 LES SOIHEKS. PAUISIENNKS</p>
<p>11 se produisit même un incident presque significatif.</p>
<p>Comme le faux Pipe-en Bois, emporté par l'ardeur de son chahut
personnel, venait de s'écrier ;</p>
<p>- A bas Badingue !</p>
<p>L'Inconnu* lui touchant doucement le bras, murmuralchtemcnt d'une voix
quelque peu nasillarde:</p>
<p><pb/></p>
<p>NOVEMBRE 413</p>
<p>- Eugène, vous allez trop loin !</p>
<p>Ce dernier, alors complètement ignoré, n'était autre que M. Jules
Laflitte, futur directeur du Voltaire.</p>
<p>MADEMOISELLE DE BELLE ISLE</p>
<p>3 novembre.</p>
<p>Ce soir, aux Français, après Y Eté de la Saint-Martin, le public a vu
entrer, non sans un certain étonnement, aux fauteuils de balcon, un
monsieur en bronze.</p>
<p>C'était l'Alexandre Dumas de la place Malesherbes, qui, profitantde ce
qu'on ne l'a pas encore inauguré, était descendu de son piédestal pour
venir assistera la reprise de Mademoiselle de Belle-lsle.</p>
<p>F. S. - Mais je ne me trompe pas, vous êtes bien la statue de M!
Alexandre Dumas)</p>
<p>A. D. - Dites donc Dumas tout court !</p>
<p>A. D.- Mon Dieu 1 Vous savez ce qui m'attend</p>
<p><pb/></p>
<p>414 '-ES SOIttLKS PAKIS1KNNKS</p>
<p>A. X). froidement : - Je ne m'amuse pas aux pièces des autres.</p>
<p>F. S. - Du reste, votre pièce est fort jolie aussi.</p>
<p>A. D. - Afademoiselle de Belle-Isie!... Je vous crois: un chef-d'oeuvre !</p>
<p>F. S. - Vous verrez une débutante très intéressante.</p>
<p>F."S. - Ah! ah!</p>
<p>F. S. - Mlle Jeanne Brindeau...</p>
<p>A. D. -Brindeau !..., attendez donc?., je ne connais que ça... la fille
de mon ami Brindeau... son père a joué des pièces de moi.</p>
<p>F. S. - Vous y êtes.</p>
<p>A. D. -Et la petite est jolie?-</p>
<p>F. S. -? Fort seyante... mais elle n'est pas petite... du reste, vous
allez voir.</p>
<p>(v\flle Brindeau entre,, très émue et plus pâle encore que de coutume,
dans son costume noir.)</p>
<p>A. D., admirant la débutante, - Ah! fichtre, oui.,, tu disais vrai,
Mattéo. {Mouvement de F. S.) De beaux yeux pleins de langueur, joli
sourire; taille de princesse, du charme, de la distinction ; un peu
pâle, maisj'ai me cela... tout simplement adorable !... Je m'y connais.</p>
<p>F. S. - Fh ! eh! mon gaillard !</p>
<p><pb/></p>
<p>NOVEMBRE 415</p>
<p>A. D; - Dame! tu sais, je ne suis qu'en bronze : on n'est pas de
b.ois'.'.I,"-:'.----v':-^:' ??.- .;::.;;..i:U;iqvr';'': r,; ^-;.";:?:.;?:>></p>
<p>À. p^--- Tu lais donc des feuilletons» toi! Çârnctonne^ tu'me faisais
l'effet d'un brave homme.</p>
<p>F. S> - Vous n'aimez pas lés'critiques dramatiques)</p>
<p>A. D. - Si... quand ilsdisent du bien de moi.</p>
<p>A.. D.--Alors, ça me raccommode avec toi.</p>
<p>A. t). - J'âimè mieux, ça.v</p>
<p>F". S. '-C'est la sûreté avec laquelle tu sais toujours ramener et
concentrer l'intérêt principal de l'action dans Une Scène maîtressej une
scène que tout le monde attën<di.'--V^^'"'":-V "j.</p>
<p>F» S. horriblement Vèxè>?-Pardon»,, il me semble que, le premier, j'ai
parlé dans lé Temps.»</p>
<p><pb/></p>
<p>4l6 LES SOIRÉES PARISIENNES</p>
<p>?A. D. - Oui, dans le temps, en 1830 ; tu étais encore petit, quand j'ai
trouvé cette formule-là.</p>
<p>A. D. applaudissant. - Bravo ! bravo!... Superbe ! Admirable !...
[Poussant F. S. de son coude de bronze.) Applaudis 'donc, toi. (Sortie
générale. Tous deux arrivent sur le trottoir de la rue de Richelieu.)</p>
<p>F. S. -Tu perches un peu loin, il te faut sans doute une voiture)</p>
<p>Le Cocher. -Chouette !... c'est dans ma direction... (// enlève
vigoureusement son cheval qui part au grand trot.)</p>
<p>F. S. courant après le fiacre. - Alexandre! Alexandre!... Veux-tu une
allumette pour remonter sur ton piédestal)</p>
<p>LA CLAIRON</p>
<p>7 novembre.</p>
<p>Le nouveau musicien, cela devient aussi rare que</p>
<p><pb/></p>
<p>XOYK.MUKE 417</p>
<p>le nouveau ténor. Ce n'est pas que les musiciens manquent, non plus que
les ténors, mais il y a musiciens et musiciens comme il y a ténors et
ténors.</p>
<p>Ce que voulait l'ambitieux Jacobi, c'était une grande pièce, une
partition en trois actes*</p>
<p>Malheureusement, les bons livrets sont rares, étant généralement
destinés par les bons librettistes aux bons musiciens connus.</p>
<p>Aussi, après nombre de déboires dont le récit serait lamentable, le
pauvre chef d'orchestre commençait-il</p>
<p><pb/></p>
<p>418 LES SOIRÉES PARISIENNES</p>
<p>Ainsi, tandis que le musicien de Londres cherchait un manuscrit, trois
hommes de lettres parisiens (Ed. Philippe et deux autres) cherchaient un
musicien pour leur manuscrit. .</p>
<p>Et dire que tous quatre auraient pu ne pas se rencontrer !</p>
<p>A signaler cependant les toilettes cossues que porte Mme
Thuillier-Leloir. M. Jolly aussi est costumé</p>
<p><pb/></p>
<p>XOVKMBRK <|I9</p>
<p>Ce qu'il y a eu de plus original dans la Clairon, c'est la manière dont
M. Jacobï a suivi les études de sa pièce.</p>
<p>Ce qu'un compositeur doit éprouver pendant deux mois de ce roulement, M.
jacobi seul pourra le dire aux générations futures.</p>
<p>On ne recommence pas volontiers des exercices aussi fatigants, et je
croîs bien que le compositeur de la Clairon ne fera plus désormais
d'opérettes que pour les théâtres de Londres. v</p>
<p><pb/></p>
<p>420 LES SOIREES PARISIENNES</p>
<p>FRAXÇ01S LES BAS BLEUS.</p>
<p>8 novembre.</p>
<p>On voit bien des choses au théâtre, mais je doute qu'on y ait jamais
rien vu de plus extraordinaire que ce qui se passe aux
Folies-Dramatiques depuis la mise en répétition de François les bas bleus.</p>
<p>Quatre auteurs, vingt artistes, deux régisseurs, cinquante choristes ou
figurants, un décorateur, deux ou trois costumiers, trente musiciens,
plusieurs pompiers et un souffleur ont distribué, répété, monté trois
actes d'opéra-comique dans un théâtre complètement privé de directeur.
Ils ont préparé toute l'organisation de cette solennité où il ne
manquait rien - que le maître de la maison.</p>
<p>Faisant leurs affaires eux-mêmeSj les auteurs ont décidé que le théâtre
des Folies ne reculerait devant aucun sacrifice pour monter leur oeuvre
commune.</p>
<p><pb/></p>
<p>NOVK.MUHK }>l</p>
<p>Aucune soie ne lui semblait assez belle pour les costumes de Mmes Jeanne
Andrée, d'IIarvilleet Panseron ; aucun costume de gala n'était trop
riche pour M. Dekernel et les autres grands seigneurs du second acte. Il
a prodigué les accessoires coûteux, et l'on citera longtemps une
fontaine de marchand de coco représentant la forteresse de la Bastille
(car nous sommes en pleine période révolutionnaire) comme l'un des plus
purs chefs d'oeuvre du cartonnage d'art moderne. Je ne vois guère, dans
le passé, que la fameuse châsse dorée de la Haine qui ait laissé le
souvenir d'une prodigalité analogue.</p>
<p>- Le peintre Robecchi, lui disait-il, m'a soumis un projet superbe pour
notre vue du Pont-Neuf, seulement ce serait cher!</p>
<p>- Tant mieux! s'écria-Dubreuil, ce sera plus beau..</p>
<p>- S'il s'agissait encore de mes deniers, je n'hésiterais pas. . mais en
somme c'est la direction qui paie. -</p>
<p>- Puisqu'il n'y a pas de direction !</p>
<p>Et le très joli décor du troisième fut commandé, ainsi que beaucoup
d'autres choses.</p>
<p>Disons tout. MM. Humbert et Dubreuil ont su faire preuve de
désintéressement personnel en s'adjoignant</p>
<p>24</p>
<p><pb/></p>
<p>422 LES SOIRKKS PARISIENNES</p>
<p>M. Burani, auquel la fermeture de l'Athénée menaçait de créer des
loisirs forcés.</p>
<p>Quoi de plus involontairement Normand, par exemple, que ce dialogue avec
un ami qui l'interrogeait hier sur le sort de la pièce ?</p>
<p>- Pour une année où il n'y a pas de succès, c'est un succès.</p>
<p>- Mais pour une année où il y a des succès, est-ce un succès ></p>
<p>- Je ne dis point non...</p>
<p>11 est vrai que ce soir, après la représentation, il a été plus
aflirmatif; il a presque dit ; « Oui ».</p>
<p><pb/></p>
<p>NOVEMBRE 423</p>
<p>j'ai eu souvent l'occasion, depuis quelque temps, de constater que les
véritables compositeurs d'opérettes disparaissent. .</p>
<p>Encore faut-il se féliciter que sa partition posthume et inachevée ait
été recueillie, coordonnée, complétée par M. Messager, qui a dû écrire
de nouveaux morceaux (surtout pour M. Bouvet, lebaryton-étoile du
théâtre), et qui s'est acquitté de cette tâche avec un zèle, un talent
et une bnégation qui sont bien le fait d'un artiste de racé.</p>
<p>Sa partition était cependant bien pompeusement annoncée par le directeur
qui l'avait reçue.</p>
<p>Exubérant et convaincu, ce fougeux imprésario allait partout disant à
ses parents, amis ou connaissances :</p>
<p>- Je vais bientôt vous révéler un musicien extraordinaire : un nouveau
Mozart !</p>
<p>Et si l'on semblait incrédule au premier abord, il ne manquait pas
d'ajouter d'un air inspiré :</p>
<p>Cette sinistre prédiction-réclame ne s'est, hélas! que trop tôt réalisée !</p>
<p><pb/></p>
<p>-P4 u:* SOIRKIiS PARISIENNES</p>
<p>REPRISE DE LA PETITE MARQUISE .</p>
<p>9 novembre.</p>
<p>- De toutes les pièces que vous avez faites en col laboration, laquelle
préférez-vous?</p>
<p>Et je parie que, sans hésiter, ils vous répondront</p>
<p>- C'est la Petite Marquise!</p>
<p>Pourtant, cette ravissante comédie, si parisienne, si gaie, si
spirituelle, n'est pas la plus connue des deux charmants auteurs.</p>
<p>Et M. Chavanne se tenait mélancoliquement au contrôle, le soir.,
comptant les spectateurs et se donnant un mal horrible pour placer une
avant-scène.</p>
<p>Ils sont loin, ces mauvais jours !</p>
<p>Si l'on reprenait la Petite Marquise aujourd'hui au théâtre de M.
Bertrand, il est certain qu'elle y ferait le maximum, mais comme on ne
l'y reprenait pas, M. Koning s'en est emparé, et il a joliment bien fait.</p>
<p>En passant auGymnase, interprétée tout autrement par des artistes qui
n'ont absolument rien de commun</p>
<p><pb/></p>
<p>?NOVKMUUE 425</p>
<p>avec Dupuis, Baron et Chaumont, la pièce de Meilhac et Halévy a presque
les attraits d'une pièce nouvelle. Les effets rie sont plus du tout ceux
d'autrefois. Au grand Baron et au grand Dupais succèdent le petit
Saint-Germain et le petit Noblet, tandis que le rôle de la petite
Chaumont est rempli par la grande Magnier.</p>
<p>Aussi Magnier appelle-t-cllc Noblet « petit misé-, rable » et Noblet dit
« la marquise » tout court eh parlant de Magnier.</p>
<p>Vous vous rappelez la scène du second acle,lescleux jolies et robustes
campagnardes que Boisgommeux tient dans ses bras, en s'écriant:</p>
<p>- C'est ça, l'amour!</p>
<p>24»</p>
<p><pb/></p>
<p>.|2Ô LES SOIRÉES PARISIENNES</p>
<p>l'est même trop gentiment, j'aurais préféré une note un peu plus réaliste.</p>
<p>REPRISE DE LA VIE PARISIENNE</p>
<p>10 novembre.</p>
<p><pb/></p>
<p>\o vf. m uni:</p>
<p>vatoire de la farce parisienne et de la musique gaie. .Mais ce théâtre
de mes rêves ne s'ouvrira probablement jamais, et l'amusant répertoire
d'Offenbach n'est plus exploité que par des cafés-concerts lointains et
par quelques directeurs de province.</p>
<p><pb/></p>
<p>42S I.KS S01RÉKS PAK1SIENNKS</p>
<p>car il n'y aura jamais de gantière mieux au courant de toutes les
traditions de ce rôle amusant, un de ses meilleurs.</p>
<p>Meilhac et Malévy l'accueillirent avez défiance.</p>
<p>- Eh bien ! répondit Jacques en solo, ne la faites pas parler, si vous
voulez, je me charge de la faire chanter !</p>
<p>Et, en effet, ce rôle de Gabrielle, un des plus jolis du répertoire
offenbachien, comptée peine huit lignes de texte.</p>
<p>Zulma a inauguré, ce soir, un costume tout neuf et fort joli pour l'acte
de la table d'hôte où elle parait, comme on sait, en veuve de colonel.
C'est une jupe en drap rouge avec une veste de hussard, un vrai képi de
colonel, un ensemble original et gentil.</p>
<p><pb/></p>
<p>NOVKMHUF. pt)</p>
<p>LES OIES DU CIRQUE</p>
<p>4 novembre. .</p>
<p>Elles sont en passe de devenir aussi célèbres que leurs soeurs de
l'antique Rome.</p>
<p>Pensez donc? des oies dressées en liberté, des oies travailleuses, des
oies plus savantes que la moyenne des électeurs! J'avais eu bien raison
de vous prédire, lors de la réouverture du Cirque d'hiver, qu'elles
feraient courir tout Paris chez M. Franconi.</p>
<p>Je voulais voir de près M. Nava , le professeur et le Barnum de toute
cette intéressante volaille. 11 me semblait que l'homme degénie qui a
inventé un numéro de cirque, que l'artiste inspiré qui a su créer un
genre a droit aux honneurs de la publicité - en attendant sa statue au
Jardin des Plantes.</p>
<p>Les grands hommes ne sont pas fiers. M. Nava</p>
<p><pb/></p>
<p>43° l-»:s S0IUKKS i»akisiknm:s</p>
<p>voulut bien me révéler les détails historiques que je lui demandais.</p>
<p>A peine engagé par M. Franconi, sa grande préoccupation fut d'inventer,
en l'honneur du public parisien dont il avait grand'peur, quelque
attraction inconnue jusque-là.</p>
<p>M. Nava prit alors des petits chats en pension. Mais, après deux mois
d'efforts, de luttes, d'égratignures et de coups de martinet, il dut
reconnaître que les résultats obtenus avec les chats ne valaient pas la
peine de les fouetter plus longtemps.</p>
<p>Après avoir lu Bufifon, qui ne lui fournit aucune idée, M. Nava
promenait un jour son découragement dans les environs de Bordeaux,
lorsqu'il fut obligé de se ranger sur la route pour laisser passer un
troupeau d'oies.</p>
<p>Leur façon si comique de marcher, de porter la tête et de sauter les
menus obstacles du chemin, lui fut une révélation.</p>
<p>Mais, les examinant mieux, il se ravisa bientôt.</p>
<p>C'est qu'elles n'avaient pas l'air si bête que ça !... Qui sait s'il n'y
a pas une longue et cruelle injustice dans cette opinion sur les oies?</p>
<p><pb/></p>
<p>NOVEMBRE 431</p>
<p>Dès qu'elles furent livrées, il s'enferma avec elles.</p>
<p>Disons-le, la première entrevue de ces treize personnages fut peu animée.</p>
<p>On pouvait s'entendre.</p>
<p>Dès ce moment, commença le travail le plus acharné, le plus énervant,
voire le plus gigantesque.</p>
<p>Après s'être adressé aux appétits, aux bons sentiments de ses oies, M.
Nava s'occupa enfin de leurs</p>
<p><pb/></p>
<p>I.i:> SOIUKKS i'AUlSIKNNKS</p>
<p>La douceur était encore le meilleur moyen d'action de ce remarquable
dresseur, jamais decoips, de mauvais traitements, de privation de
nourriture.</p>
<p>Un moment, la fatalité sembla peser sur cette noble tentative
d'éducation. Lesoies, surmenées par ce rude labeur pour lequel elles ne
semblaient pas nées, devinrent tristes et maladives. Ce fut ensuite la
mort quis'enmcla, et M. Nava dut en tuer quelques-unes, afin de pouvoir
au moins les servir sur sa table avec des marrons dans l'abdomen. .
Suprême, mais insuffisante consolation !</p>
<p><pb/></p>
<p>NOVJi.MIMK .|}}</p>
<p>lOEPltfSE DES V1UATKS</p>
<p>15 novembre.</p>
<p>L'écuyère en question est, me dit-on, la fille d'un dompteur de serpents
nommé Karoly qu'on a exhibée, au Châtelet, dans je ne sais quelle féerie.</p>
<p>Il est plus que probable qu'elle s'appelle Karoly, comme son père.</p>
<p>- Il nous en faudrait un autre, dit-il le jour où il l'engagea, quelque
chose comme miss Menken. Ah! miss Menken ! miss Menken 1</p>
<p>2;</p>
<p><pb/></p>
<p>-I3J LES SOIRÉES PARIS1EXXES</p>
<p>Et soudain, on entendit :</p>
<p>- Ken ! Ken !</p>
<p>C'était l'écho de la Gaitc qui donnait un conseil au directeur.</p>
<p>Un fois qu'on eut trouvé Ken, on ajouta miss : rien de plus naturel,
n'est-il pas vrai }</p>
<p>Miss Ken sur l'affiche, c'est comme si l'on avait missMenken.</p>
<p>Ils auraient fait jouer :</p>
<p>Le rôle de Jonathan, crée par Perrin, par Ri.\.</p>
<p>Le rôle de Pivoine, créé par Alexandre, par</p>
<p>XANDUE.</p>
<p>Le rôle de Ribeiro, créé par Latouche, par Touche.</p>
<p>Le rôle de Bérard, créé par Devaux, par Vaux.</p>
<p>Le rôle de Morales, créé par Mme Daubrun, par Mme Brun.</p>
<p>Le rôle de Maiiuelita, créé par Mme Chevalier, par Mme Lier.</p>
<p><pb/></p>
<p>NOVE.UliRE -}^5</p>
<p>LA LRÇÔX D'ITALIEN</p>
<p>20 novembre.</p>
<p>A l'Elysée. M. Grévy se promène dans son cabinet de travail. 11 est un
peu agité. Le général Pittié est auprès de lui.</p>
<p>M. Grévy. - Eh bien! décidément, général, j'ai eu tort d'accepter celte
invitation.</p>
<p>M. Grévy. - Je ne dis pas le contraire, général, aussi ai-je accepté.
Mais cela me met dans un grand embarras. En quoi chante-t-on Simon
Boccctnegrct, en italien, n'est-ce pas)</p>
<p>Le Général. - Naturellement.</p>
<p>M. Grévy, un peu humilié. - Eh bien!,., je ne sais pas l'italien... .</p>
<p>Le Général. - Qu'est-ce que cela fait!</p>
<p>M. Grévy. - Cela n'est pas la même chose; A l'Opéra, je ne comprends pas
parce qu'on y chante le français au lieu de le parler, mais aux Italiens
je ne comprendrai pas, parce qu'on chantera en italien.</p>
<p><pb/></p>
<p>|3Ô I.KS SOIRÉES PARISIENNES</p>
<p>Le Général. -Vous ferez comme tout le monde, monsieur le Président, vous
aurez l'air de vous amuser tout de même. Aller aux Italiens, quand on ne
sait pas l'italien, c'est le chic suprême.</p>
<p>AI. Grévy. - Je ne pose pas pour le chic, vous le savez bien, Pittié.
Alais... dites-moi... vous connaissez beaucoup le monde des théâtres...
Est-ce que vous ne pourriez pas obtenir,..</p>
<p>Le Général. - Quoi?-</p>
<p>AI. Grévy. - Alors, vraiment, je suis au désespoir.</p>
<p>(Entre Wilson.)</p>
<p>W.ilson. - Beau-père, je...</p>
<p>Ai. Grévy. - Ah! quelle idée! Laissez-nous, Pittié! (Pilliésort.)
Alongendre... vous qui savez tout... savez-vous l'italien ?</p>
<p>Wilson. r- Certainement, beau-père.</p>
<p>AI. Grévy. - Sauvé! merci, mon Dieu! Eh bien! apprenez-le moi.</p>
<p>Wilson. - Comme cela, tout de suite?</p>
<p>Wilson. - Soit, allons-y. Rien d'ailleurs n'est plus simple! En un clin
d'oeil vous serez fixé. Pour parler italien vous ajoutez tout simplement
no aux mots masculins et net aux mots féminins. Bon, bonno, son, sonno...</p>
<p><pb/></p>
<p>NOVEMBRK 437</p>
<p>Wilson. - A votre disposition, beau-père, je sais encore d'autres
langues... (// va pour sortir.)</p>
<p>M. Gkévy (courant après lui). - Mais dites donc... Pourquoi, puisqu'ils
font tout en italien, annoncentils Simon Boccanegra et non Simono
Boccanegrana ?</p>
<p>Wilson (un moment interdit, puis reprcnanlson sangfroid). - Ah! c'est
parce que le public des petites places ne comprendrait pas!-</p>
<p>SEVERO TORELLI</p>
<p>21 novembre.</p>
<p>C'est que, pour une pièce de François Coppée, ils le feraient comme je
vous le dis,</p>
<p><pb/></p>
<p>}3'S u:s soirées parisiennes</p>
<p>Ce François Coppéc, c'est sacré sur la rive gauche. Son nom est resté
populaire autour du Second-Théâtre-Français depuis l'immense succès du
'Passant, et chaque fois qu'il reparaît sur l'affiche, c'est une
véritable fête pour tous.</p>
<p>Au besoin, si M. Coppée restait par trop longtemps sans revenir au
théâtre de son premier triomphe, le boulevard Saint-Michel, la rue
Racine et la place de la Sorbonne se lèveraient comme un seul homme pour
assiéger sa porte et lui demander une pièce nouvelle pour Al, de La Rounat.</p>
<p>Ce cruel despote a néanmoins grand air avec son</p>
<p><pb/></p>
<p>NOVKMllHi: |}0</p>
<p>pourpoint de clamas rouge en soie et sa cape de velours noir bordée de
petit gris. Et puis je ne sais si je me trompe, mais il me semble
qu'avant peu d'années ce Raphaël Duflos sera un des premiers acteurs de
Paris.</p>
<p>Continuons la série des jeunes.</p>
<p>Un jeune intéressant au possible, c'était, ce soir, M. Albert Lambert
fils, fils de son nouveau camarade Albert Lambert père, et qui débute à
dix-huit ans dans le principal rôle de la pièce, où son père, ému pour
deux, se contente cette fois de jouer un seigneur sans importance.</p>
<p>On sait que ce très sympathique débutant sort du Conservatoire, où il
eut un premier prix au mois de juillet dernier.</p>
<p>Son départ de l'atelier Frantz Jourdain y causa un grand vide et surtout
une déception pour les voisins qui, de leurs fenêtres, s'amusaient à
voir le futur tragédien gesticuler devant une glace en brandissant un T
au-dessus de sa tête, ou en se plongeant « clans le</p>
<p><pb/></p>
<p>4 |D LES SOIREES PARISIENNES</p>
<p>sein » un poignard « homicide \» qui n'était autre qu'une règle plate.</p>
<p>On fait remarquer que M. Lambert fils débute par un rôle écrasant dans
lequel il n'a pas moins de trois pères :</p>
<p>Son faux père : Gian Battista Torclli,</p>
<p>Son vrai père : Barnabo Spinola,</p>
<p>Et son père pour de bon : M. Lambert père.</p>
<p>Mme Tcssandicr joue cette fois encore le rôle d'une mère coupable, mais
coupable par dévouement coniugal-</p>
<p>coniugal-</p>
<p>Gian Battista Torclli, son mari, lui dit ces propres vers:</p>
<p>j'avais plus de trente ans quand ce bonheur m'advint De te voir, de
t'aimer : tu n'en avais pas vingt.</p>
<p>Puis reprenons la série des jeunes.</p>
<p>11 faut citer encore Mlle Malvau qui aborde les travestis par le rôle et
le pourpoint du petit armurier</p>
<p><pb/></p>
<p>NOVEMBRE 44I</p>
<p>Sa beauté a produit, dans ce rôle de courtisane, une vive impression,
que surexcitait encore cette réplique de l'un des conspirateurs parlant
d'elle :</p>
<p>Elle est assez connue, La l'ortia... Vinci l'a peinte toute nue.-</p>
<p>Quelques spectateurs ont demandé avec intérêt si le tableau se trouvait
au musée du Louvre.</p>
<p>Autrefois, aux Variétés, la nouvelle pensionnaire de l'Odéon écrivait
son nom : Barretti au lieu de Baréty. Pourquoi ce changement
d'orthographe ? Estccque Mlle Baréty rougirait de son passé ? Elle
aurait tort. Sarah Bernhardt a débuté au théâtre dans une féerie, et
cela ne Ta pas empêchée d'arriver.</p>
<p>La mise en scène du drame de Coppée est aussi soignée qUc possible.</p>
<p>Les décors sont de Rubé et Chaperon.</p>
<p>Deux sont neufs et par conséquent parfaitement jeunes; quant aux autres,
on les a rajeunis.</p>
<p>iO.</p>
<p><pb/></p>
<p><\.\2 LES SOIREES PARISIENNES</p>
<p>Second acte. - L'intérieur du palais Torelli, qui a un faux air de
ressemblance avec l'appartement de Formosa. C'est peut-être le môme? Le
décor va reparaître d'ailleurs au quatrième acte, et nous le reverrons
toujours avec un nouveau plaisir.</p>
<p>Par exemple, la chapelle du. cinquième acte, une chapelle latérale de la
cathédrale de Pisc, est absolument remarquable.</p>
<p>Les costumes sont de M. Fugène Lacoste, le peintre ordinaire de l'Opéra.
M. Lacoste est un érudit et un chercheur qui n'a pas son pareil au
théâtre quand il s'agit de reconstituer une époque. Tout ce qu'il a fait
pour Severo Torelli est fort joli, d'un grand caractère, et, bien
entendu, d'une non moins grande exactitude, Il est vrai que plusieurs
jeunes seigneurs pisans rappellent un peu le petit chanteur florentin,
du Passant.</p>
<p><pb/></p>
<p>NOVEMBRE</p>
<p>M3</p>
<p>Mais ce costume porte bonheur aux pièces de François Coppée.</p>
<p>S1EDA</p>
<p>22 novembre.</p>
<p>Cela dit, il fauteonvenir que la grande féerie dansée que nous venons
d'applaudir contient encore d'assez jolies combinaisons et est montée
avec Un luxe éblouissant*</p>
<p><pb/></p>
<p>441 '-'-S SOIREES PARISIENNES</p>
<p>Le luxe est même la note dominante du nouveau spectacle.</p>
<p>Il y a de l'or sur toutes les coutures, dans tous les décors, et des
paillettes, et de la lumière électrique, une orgie de couleurs, d'effets
criards et d'apothéoses.</p>
<p>Sieba est, comme Excelsior, l'oeuvre du chorégraphe Manzotti.</p>
<p>Cependant* il convient d'ajouter que ni le professeur ni Télcve n'ont
inventé le genre auquel nous devons Excelsior et Sieba.</p>
<p>Voici, en effet, ce que l'on lit dans le deuxième volume dcMonte-CrislO)
page 233 :</p>
<p><pb/></p>
<p>NOVEMBRE 445</p>
<p>Sieba est une légende Scandinave. L'action se passe dans le royaume de
Thulé, « vers l'an 640, » dit le programme. Cela peut être en 639 ou en
641» Mystère et chorégraphie italienne!</p>
<p>- Ce n'est pas un pont d'or qu'il me faut, répondit-elle, pour traverser
la Méditerranée, un pont de fer me suffirait !</p>
<p><pb/></p>
<p>44^» '-ES SOIRÉES PARISIENNES</p>
<p>plus complète, la plus intéressante, la plus séduisante. Les
connaisseurs l'ont beaucoup, beaucoup applaudie.</p>
<p>Au tableau suivant, la scène est entièrement prise par un gigantesque
portique. Tout est grand, tout tient de la place dans ce décor où deux
tables sont dressées de la rampe au rideau de fond, pour le festin des
guerriers. C'est le salon des trois cents couverts : noces, repas de
corps et réunions électorales.</p>
<p>Bien séduisantes les jolies aventurières qui viennent corser la petite
fête : cheveux noirs tombant épars sur les épaules et parsemés de
sequins; casque bombé</p>
<p><pb/></p>
<p>NOVEMBRE</p>
<p>Le tableau finît par un ballet de bouffons, avec des enfants en fous,
des clowns jongleurs ; un bruit de grelots (ceux de la folie) couvre
incessamment la musique de l'orchestre. C'est un vacarme fou, mais il y
a des gens qui aiment cela.</p>
<p>Jusque-là, les décors ont été de M. Fromont. Quoique témoignant
d'efforts très* louables, ils n'ont pas produit l'excellent effet de
ceux qui vont suivre et qui sont de M. Robecchi.</p>
<p><pb/></p>
<p>44§ LES SOIRÉES PARISIENNES</p>
<p>On n'a pas eu le temps d'admirer le joli camp de M. Robecchi que le
décor change pour nous montrer encore une fois le Paradis Scandinave, où
le dieu Wodan fait une très bonne figure sur le piédestal céleste d'où
il écoute, impassible, la prière de la pauvre Sieba, en rupture de voeu.
Mais on a entouré ce dieu de la mythologie Scandinave de croix et
d'anges en prière. Cela ne s'explique pas bien.</p>
<p>Cette fournaise de Sieba est peuplée de lutins, de démons, de farfadets,
de génies du feu et de diablesses dont plus d'un a la beauté du diable.
Tout est rouge dans les costumes de ce personnel infernal, tout, même
les paillettes et les broderies; l'es manteaux et les capes qui se
déploient comme des ailes pendant la danse sont cependant légèrement
lamés d'or. Dans l'ensemble, se détachent les dislincii ou danseuses de
premier rang, en sombres furies, vêtues exceptionnellement d'un maillot
bleu foncé, avec un costume élincelant de broderies, de paillons feu et
d'acier bleui.</p>
<p>Très curieuses aussi les spirales alternées de gaze rouge et bleue
formant ensemble l'aspect des flammes. On croirait qu'il flambe un punch
là-dessous»</p>
<p>Cette fois, on applaudit pour de bon. Manzotti.sur-</p>
<p><pb/></p>
<p>NOVEMBRE 4 \Ç)</p>
<p>git de derrière un portant. Il parait plus ému et plus étonné que jamais
du succès qu'il remporte.</p>
<p><pb/></p>
<p>45° Ï-ES SOIRI.KS PARISIENNES</p>
<p>BERTRAND ET RATON</p>
<p>.23 novembre</p>
<p>- C'est de Scribe, cette machine-là?</p>
<p>- Oui, mon cher, bien démodé... Scribe!</p>
<p>- Fini, Scribe. Il n'en faut plus !</p>
<p>On me cite ce mot d'un des plus illustres auquel un jeune auteur
dramatique était allé demander conseil ;</p>
<p>- Relisez Scribe, mon jeune ami, lui dit le maître.</p>
<p>- Oh! Scribe, répliqua le débutant, c'est du rococo.</p>
<p>- Cela me suffit, conclut le maître, et puisque vous me demandez
conseil, je vous en donnerai un bon : ne faites pas de théâtre.</p>
<p>Fn effet, on peut fort bien ne pas prendre Scribe pour modèle sans faire
11 de ses immenses qualités de charpentier dramatique etd'inventcur de
situations. M. Perrin, en tout cas, a, pour l'auteur de Bertrand et
Ratons une grande admiration. C'est avec Scribe qu*il a débuté au
théâtre. C'est avec lui qu'il a appris ce difficile métier de metteur en
scène clans lequel il n'a pas de rival aujourd'hui. 11 est persuadé que
le répertoire un peu délaissé du maître aura de nouveau son heure de
vogue. Ft de temps en temps, il vient tâter l'opinion avec quelque
reprise importante.</p>
<p><pb/></p>
<p>NOVE.MBRK ,\$l</p>
<p>Bertrand et Raton n'a pas été joué depuis 1864. On l'avait remonté pour
Samson qui passait tout son répertoire en revue avant de se retirer du
théâtre. On sait que Bertrand comptait parmi ses meilleurs rôles. Mais
Raton n'a pas été créé par Duparai, comme l'annonce]d'ailleurs la
brochure originale.</p>
<p>Raton fut joué le premier soir par Monrose. Mais le succès de Samson
indisposa l'éminent artiste. Au bout de deux ou trois représentations il
rendit son rôle dont Duparai s'empara alors.</p>
<p>Le hasard m'a fourni des renseignements vraiment curieux sur la pièce de
Scribe.</p>
<p>- Le manuscrit original de Bertrand et Raton, cent francs.</p>
<p>J'en offris cinquante.</p>
<p>- Soixante, dit un concurrent.</p>
<p>- Soixante-dix, cent, cent cinquante, deux cents. Je cherchai dans la
foule celui qui poussait ainsi.</p>
<p>C'était Aï* Henry Houssaye, dont l'importante bibliothèque'contient plus
d'une pièce curieuse. Je m'arrêtai aussitôt, ne voulant plus surenchérir.</p>
<p>J'avais complètement oublié cet incident. Henry Houssaye me l'a rappelé
en me communiquant très obligeamment le manuscrit en question.</p>
<p>C'est un in-quarto de cinquante feuillets, écrit tout entier de la main
de Scribe.</p>
<p><pb/></p>
<p>452 LES SOIREES PARISIENNES</p>
<p>Les pages sont couvertes de corrections, de ratures, de variantes et
d'additions.</p>
<p>Un rôle indiqué dans la liste des personnages, celui du ministre de la
marine, est complètement supprimé.</p>
<p>Je puis ajouter que le 14 novembre était précisément le jour de la fête
de Scribe.</p>
<p>La pièce est remontée avec beaucoup de goût.</p>
<p><pb/></p>
<p>NOVEMBRE 45^</p>
<p>voit pas le moyen de s'en servir immédiatement. Le costume de cérémonie
de Thiron et le premier costume de Boucher ont été achetés ainsi pour la
collection de la Comédie, alors qu'il ne fût nullement question de la
reprise de ce soir. Ils sont fort jolis, et les artistes ont pu les
endosser sans qu'il ait été besoin d'en changer un bouton.</p>
<p>Mlle Loyd, aussi, a des costumes superbes, d'une grande richesse et
d'une savante harmonie de couleurs. Impossible d'être plus belle et plus
imposante.</p>
<p>Pour Bartet, cela n'a été qu'un cri :</p>
<p>- Elle est charmante, charmante, charmante !</p>
<p>La poudre lui va on ne peut mieux et, au dernier acte, quand* elle est
entrée dans sa très jolie toilette de bal, il y a eu, clans toute la
salle, un long murmure admiratif.</p>
<p>Mme Pauline Granger représente la bourgeoisie. Elle est rudement bien
représentée la bourgeoisie.</p>
<p>Du haut du ciel, sa demeure dernière,</p>
<p>M. Scribe a dû être content de cette spirituelle bourgeoise.</p>
<p>Un jeune pensionnaire,M. de Féraudy, quisemblaît jusqu'ici voué aux
écrasantes doublures de M. Got, a profité de l'occasion que lut
fournissait la pseudo création d'un petit rôle dé commis pour se faire
applaudir sans l'inconvénient d'une, comparaison gênante.</p>
<p>M. Emile Perrin, toujours désireux de voir l'un de ses jeunes sortir du
rang, était enchanté de cette révélation de M. de Féraudy.</p>
<p>L'éminent administrateur n'a pas dû élie moins</p>
<p><pb/></p>
<p>^5 \ 1-liS SOIRÉES PARVIENNES</p>
<p>? : rf ></p>
<p>».</p>
<p>Tout le monde, femmes, enfants, badauds et insurgés fait irruption par
les portes, les fenêtres, et, en moins de temps qu'il n'en faut pour le
dire, le petit commis, Jean, qui a bondi sur une chaise, se trouve
enlevé comme sur un pavois.</p>
<p>Le soir de la première, Régnier, s'apercevant de l'effet produit par ce
jeu de scène, sauta de la chaise sur- une table, ce qui augmenta encore
l'effet ; puis, avisant un figurant d'une taille colossale, il sauta de
la table sur les épaules dudit figurant, ce qui changea en trépignements
les bravos du public.</p>
<p>« Nous regrettons de ne pas savoir le nom de ce jeune homme. »</p>
<p>Depuis 1833, le reportage théâtral a fait de sérieux progr.es.</p>
<p>11 y a encore, au second acte, au moment où le peuple vient en grande
pompe pour porter Raton en triomphe, une partie musicale qui remplace
avantageusement celle'de la création.</p>
<p>Ce sont de vieux airs danois adoptés avec un goût et une originalité
artistiques par M. Léon, un musicien de grande valeur auquel on ne
saurait reprocher qu'une modestie exagérée.</p>
<p><pb/></p>
<p>NOVEMBRE</p>
<p>15)</p>
<p>- Eh bien, comment cela a-t-il marché?</p>
<p>- Très mal, répond le scribophobe, on s'est amusé tout le temps !</p>
<p>LE GALA ITALIEN</p>
<p>27 novembre.</p>
<p>Si le Simon Boccancgra de Verdi appartenait au genre exploité par le
théâtre d'en face, au lieu d'être un mélodrame lyrique, et que la pièce
se terminât par une apothéose, il serait de toute justice que cette
apothéose fût celle du baryton Victor Maure!.</p>
<p>Alors que les mélomanes les plus distingués avaient fait leur deuil
d'une institution qui eut son demi-siècle de célébrité ; alors que l'on
croyait ce genre de spectacle fini et bien fini avec feu Ventadour, un
seul homme s'était juré de le ressusciter un jour : c'était Victor
Maurel. .</p>
<p>La direction est une vocation innée chez certains êtres prédestinés.</p>
<p><pb/></p>
<p>456 LES SOIRÉES PARISIENNES</p>
<p>- Vous devez être content de votre succès d'hier? Il répondait
invariablement :</p>
<p>- Je ne serai content que quand je serai directeur du Théâtre-Italien.</p>
<p>C'était la plus fixe de toutes ses idées.</p>
<p>M. Maurcl est d'ailleurs entouré d'un personnel actif et bien intentionné.</p>
<p><pb/></p>
<p>NOVEMBRE</p>
<p>1)/</p>
<p>lan, où ils firent créer la nouvelle version de Simon Boccanegra par
leur associé d'aujourd'hui.</p>
<p>En outre, M. Maurel, quiest un baryton du monde, a trouvé, grâce aux
belles relations sociales qu'il possède, l'appui éclairé (j'oserai môme
dire éclairant) d'amis dévoués/de mécène tels que le prince de Sagan,
qui a été l'âme de l'entreprise.</p>
<p>La tâche n'était réellement pas aisée.</p>
<p>Il a fallu, en très peu de temps, recruter un orchestre, ce qui n'a pas
été trop difficile, grâce au puissant concours du maestro Faccio, un
chef d'orchestre d'un rare mérite ; réunir une masse chorale sachant le
répertoire,.ce qu'on n'a pu faire qu'en écrémant le personnel des
principaux théâtres italiens de l'Europe; enfin, trouver des artistes,
négocier des engagements, payer des dédits.</p>
<p>Sans compter la restauration presque complète de la salle.</p>
<p>La décoration, refaite de fond en comble, donne à</p>
<p>20</p>
<p><pb/></p>
<p>.jr8 LES S01HK»:S PARISIENNES</p>
<p>ce lieu jadis grisâtre et sinistre un éclat, une gaieté qui ont surpris
tout le monde.</p>
<p>L'éclairage se trouve considérablement augmente par une rangée de globes
lumineux.</p>
<p>De face, on a construit une série de loges découvertes, qui, d'après la
liste d'abonnement, seront habitées d'une façon très agréable pour les
yeux.</p>
<p>De côté, on a également installé des loges découvertes qu'on a réunies
aux loges qui existaient déjà, lesquelles sont devenues autant de petits
salons délicieusement installés.</p>
<p>Les deux autres étages ont, naturellement, subi des</p>
<p><pb/></p>
<p>NOVEMBRE 459</p>
<p>embellissements analogues. On ne s'est pas contenté d'en augmenter le
prix, on en a aussi augmenté le confortable.</p>
<p>On voit mieux, a dit le sage, quand on voitdehaut.</p>
<p>Seulement, qu'on se hâte d'ajouter quelques portières et doubles portes,
la vie des abonnés en dépend. "</p>
<p>La compo.'iitio -la salle entrait pour une large</p>
<p>part dans les attiï-vitons de la soirée. Il est impossible d'en imaginer
une plus belle.</p>
<p>Voici les personnages dont j'ai réellement constaté la présence :</p>
<p>Dans l'avant-sccne de gauche ; le Président de la République avec le
général Piltié, MmejWilson, Mme Pittié elle commandant Fayet; au-dessous
: Victor Hugo avec Mme Lockroy, ses charmants enfants , et .M. Schoelcher;</p>
<p><pb/></p>
<p>LES SOIREES PARISIENNES</p>
<p><pb/></p>
<p>NOVEMBRE 46I</p>
<p>marquis de Massa, Lcvy Morton, général Fleury, la baronne d'Estrella,
Mme et Mlle Marchesi, Alfred Ilennequin, Mlle Duvivier.MlleBartet,
CarolusDuran, Missack Effendi,Mme Galli-Marié.deMarcère, la comtesse de
Béchevet et une charmante personne blonde qui a fait sensation aux
premiers rangs de l'orchestre: miss Clifford, correspondante parisienne
de plusieurs journaux américains.</p>
<p>Beaucoup de très jolies toilettes naturellement.</p>
<p>Parmi les plus délicieuses et les plus remarquées, il faut citer celle
de Mme Mackay : robe de satin fleurde-pêcher brodée d'anémones de toutes
couleurs et de perles fines;</p>
<p>Mmc Alexandre Dumas en robe de dentelle noire garnie de velours noir";</p>
<p>Mme Bernadaky, plus belle que jamais dans sa superbe toilette, en
velours de Gênes blanc garni de zibeline ;</p>
<p>Mme Sutherland, en velours azur pâle ; au milieu de la jupe deux
panneaux ouverts sur une pointe de jacinthes;</p>
<p>Enfin la très élégante toilette de Jeanne Granier : fourreau de satin
rose tout brodé de perles caméléon, jupe ourlée de résédas, corsage à
pointe avec gerbe de résédas.</p>
<p>Faut-il l'avouer? au milieu des sommités, des illustrations qui
garnissaient la salle, on cherchait lé citoyen Jolïrin.</p>
<p>26.</p>
<p><pb/></p>
<p>J(*2 I.KS SOIREES PARISIENNES</p>
<p>On s'était dit :</p>
<p>Et alors, après s'être dit cela, on s'ajoutait :</p>
<p>- Oui, mais Jofi'rin est un pur, il ne voudra pas mettre la cravate
blanche, non plus que ce qu'il appelle avec mépris le « sifflet d'ébène. »</p>
<p>Puis on se demandait ensuite :</p>
<p>- S'il vient en veston, les contrôleurs le laisserontjls entrer?</p>
<p>- Sans Joffrin, ce' ne sera pas drôle!</p>
<p>Or, Joffrin n'est pas venu - ou du moins s'il est venu, c'es#t
incognito: en tenue décerne et de rigueur, comme un réac.</p>
<p>On en avait pourtant mis partout de ces bons édiles, mais ils étaient
plus spécialement empilés avec leurs « dames » et leurs « demoiselles »
dans une double avant-scène du second étage.</p>
<p>A dire vrai, la troupe du Théâtre-Italien est une</p>
<p><pb/></p>
<p>NOVEMBRE 463</p>
<p>Mme Adler s'est éprise d'une véritable passion pour le rôle de Salomé
àllêiodiadc. Elle le travaille avec</p>
<p><pb/></p>
<p>464 LES SOIRÉES PARISIENNES</p>
<p>Massenet et dit volontiers que ce rôle est un des plus beaux qu'elle
connaisse. Nous l'y verrons et l'y applaudirons très prochainement, car
elle ne doit chanter dans Simon Boccanegra que trois fois seulement.</p>
<p>En attendant, on n'a laissé échapper aucune occasion pour la fêter dès
ce soir. Au premier acte, après le duo avec M. Nouvelli, on a interrompu
la représentation pour la rappeler; après celui avec Maurel on lui a
lancé d'énormes et superbes bouquets sur la scène. Parmi les plus
enthousiastes, parmi ceux qui l'applaudissaient le plus fort, il faut
signaler Victor Hugo.</p>
<p>La description des décors et des costumes peut être brève.</p>
<p>Les uns et les autres se confectionnent en Italie, selon des patrons,
des modèles consacrés, aussi couramment que les petits pâtés chez nous.
Ce n'est plys un art, comme en France, mais une véritable fabrication.</p>
<p>Cependant, la mise en scène qu'on nous a montrée ce soir est infiniment
supérieure aux oripeaux et aux odieux tableaux de la salle Ventadour.</p>
<p>Au premier acte, notamment, lé décor qui repré-</p>
<p><pb/></p>
<p>NOVEMBRE 465</p>
<p>La loge de Mme Devriès est remplie d'une foule d'amis qui viennent la
féliciter et se féliciter de ce qu'elle est rentrée au théâtre. La
cantatrice est très heureuse de l'accueil qu'on lui a fait au premier acte.</p>
<p>Peu d'incidents dans cette intéressante soirée.</p>
<p><pb/></p>
<p>4^6 u-:s SOIRÉES PARISIENNES</p>
<p>Les entractes ont été charmants. Beaucoup de visites dans les loges, des
couloirs encombrés, des conversations politiques au foyer ayant un faux
air de salle des pas perdus, un tas de propos de toutes sortes, le
Tonkin, la Bourse ; on a parlé de tout - même de Simon Boccanegra.</p>
<p>rSCHUTT ET VLAN</p>
<p>51 novembre.</p>
<p>Au mois de septembre, quand mon collaborateur Albert Wollïrevient à
Paris, il est sûr de trouver chez lui une lettre dont il devine le
contenu, rien qu'en regardant l'enveloppe. 11 ne la décachette même pas,
certain qu'il y lirait ces simples mots :</p>
<p>«Je crois qu'il n esl que temps,</p>
<p>««Ernest Blu.m. »</p>
<p><pb/></p>
<p>S'OVK.MUKi: |m;</p>
<p>11 commença d'abord par étudier ses habkucles, ses</p>
<p><pb/></p>
<p>-|68 l.i:S SOIKKKS l'AKISIKXXKS</p>
<p>goûts, ses préférences, en lui tirant, comme on dit, les vers du nez,
chaque fois qu'il le rencontrait, ce qui lui arrivait tous les jours -
comme par hasard.</p>
<p>Une fois fixé sur le principal objet de la prédilection de Dupuis, il
prit ses dispositions en conséquence. Puis un jour qu'il avait amené la
conversation sur le Tonkin -vous allez voir pourquoi - il's'écria:</p>
<p>- Chanzy... il vous plaisait beaucoup, n'est-ce pas?</p>
<p>- Dame!... un vrai général, un bon Français : c'était mon homme.</p>
<p>- Plus que je ne saurais vo.us le dire.</p>
<p>- Vous le recevrez demain.</p>
<p>On comprend qu'après un pareil sacrifice, Wolff pouvait compter sur
l'éminent artiste pour la revue des Variétés.</p>
<p>Les revues des Variétés procèdent d'un art nouveau et ne rappellent en
rien la poétique de celles qui firent jadis les belles soirées des
Délassements du boulevard du Temple.</p>
<p>Alors, Blum et Flan, dans leurs fantaisies si vraiment gaies, confiaient
leurs meilleurs rôles, leurs principaux couplets aux petites femmes à
maillot qui formaient-la principale attraction de la chose... L'étoile
était toujours une Mclanie, une Paurelle, une Rigol-</p>
<p><pb/></p>
<p>NOVEMBRE 4O9</p>
<p>boche quelconque. Les femmes! Les femmes! il n'y avait que ça !</p>
<p>J'ai l'mé rit, rit, rit, rit, rit, Agrioo!, col, col, col, cole !</p>
<p>Ce sont des trépignements d'enthousiasme.</p>
<p>L'examen de la Censure est beaucoup plus scrupuleux quand il s'agit
d'une revue que pour toute autre pièce. Cependant, elle n'a pas été trop
sévère pour celle de ce soir.</p>
<p>Seule, la scène de Dupuis (qui se passe dans la salle et dans laquelle
il était question d'indiscrétions commises sur la pièce par le gendre du
copiste, au profit du théâtre de Tours) a dû subir quelques
modifications. Les auteurs, avec un aplomb digne d'une meil27</p>
<p>meil27</p>
<p><pb/></p>
<p>47«' l-KS SOJKKKS l'AUJSIKXXKS</p>
<p>- Si je laissais passer cela, aurait dit Al. Ferry, j'en serais
responsable : on croirait que je suis de la pièce.</p>
<p>De même, le premier ministre, considérantes lycées de jeunes filles
comme la plus grande pensée de son règne, n'a pas permis la moindre
plaisanterie sur celte joyeuse institution scolaire.</p>
<p>- Al. le président désire que nous n'attaquions pas ses lycées de jeunes
filles, soit. Nous en ferons même faire l'éloge.</p>
<p>Ht en effet, ils en ont fait faire l'éloge... par Christian.</p>
<p>Autre suppression, mais d'un autre genre.</p>
<p>Cela se passait au tableau du casino de Rucil. Un maraîcher ne pouvait
passer le pont, arrêté qu'il était par une force irrésistible qui
l'entraînait au jeu, où il perdait tous ses légumes.</p>
<p>A part ce décor dont la toile de fond reproduit assez</p>
<p><pb/></p>
<p>NOVEMBRE 471</p>
<p>exactement le malheureux casino du département de Seine-et-Oise, Al.
Bertrand n'a pas fait grands frais de mise en scène pour sa Revue.</p>
<p>Peu de spectacle, presque pas de costumes.</p>
<p>Ce sont ceux de Baron qui ont eu le plus de succès - le dernier surtout
- celui dans lequel l'amusant comédien imite l'illustre Frou-Frou de la
Porte-SaintAlartin.</p>
<p>A signaler aussi, parmi les succès de la soirée, les deux types si
réussis de la spirituelle Jane Alay : Bob, du livre de Gyp, et la
gentille Aime Boniface des Bouffes. Avec son grand col de guipure, sa
blouse en drap bleu marine et sa ceinture en cuir jaune, Aime Jane Alay
a positivement l'air d'avoir huit ou dix ans. 11 est vraiment dommage
que nous n'ayions pas plus souvent l'occasion d'applaudir une artiste
aussi intelligente.</p>
<p>Christian, sommé de nommer les deux artistes des Variétés qu'il a
dénoncés comme ayant reçu des pots devin, s'écrie au moment du baisser
du rideau :</p>
<p>- Je les nommerai dans la Revue de l'année prochaine !</p>
<p>Ainsi, j'avais l'intention de terminer le présent article par un mot
très spirituel.</p>
<p>Alais, toute réflexion faite, je le garde pour la Revue de l'année
prochaine.</p>
<p><pb/></p>
<p>DÉCEMBRE</p>
<p>LES JlOlS ES EXIL</p>
<p>iL' 1' décembre.</p>
<p>Aussitôt qu'Alphonse Daudet publie un roman nouveau, il lui arrive des
quatre coins de Paris un tas de lettres dans lesquelles des écrivains
plus ou moins connus sollicitent l'autorisation de transformer son livre
en pièce de théâtre.</p>
<p>L'embarras du choix fait qu'en général le célèbre auteur du Nabab prend
une résolution qu'il croit définitive :</p>
<p>Un jour, il causa avec l'aîné des Coquelin de ses Rois en exil.</p>
<p>- On m'assure qu'il y a un joli drame là-dedans, le crois-tu ?</p>
<p>- Je ne dis pas non.</p>
<p>- Eh bien, fais-le!</p>
<p>- Moi) Non pas. Je me suis bien promis de ne</p>
<p><pb/></p>
<p>I)i:ci:.mmrk |7 ></p>
<p>jamais écrire pour le théâtre; seulement, si tu veux, je le ferai faire
par quelqu'un...</p>
<p>- Par qui}</p>
<p>- Je te le dirai quand ce sera fini.</p>
<p>- Ht tu ne veux toujours pas me nommer l'auteur/</p>
<p>- Non.</p>
<p>La pièce fut envoyée, acte par acte, au maître-romancier.</p>
<p>A peine eut-il lu le premier, que Daudet courut chez Coquelin :</p>
<p>-? Je sais de qui elle est, la pièce !</p>
<p>- Pas possible !</p>
<p>- De Delair.</p>
<p>-? C'est vrai: cependant ni lui, ni moi nous n'en avons jamais parlé à
personne.</p>
<p>- j'ai deviné.</p>
<p>- Comment?</p>
<p>Le collaborateur accidentel de Daudet n'est pas précisément un jeune homme.</p>
<p>M. Delair a uns quarantaine d'années: il est employé aux Beaux-Arts et a
été l'un des organisateurs les plus actifs de l'Exposition triennale. Il
a débuté au</p>
<p><pb/></p>
<p>-}7<1 U-:S SOIUKKS l'AKISlKNNKS</p>
<p>Au fond, de plain-pied, un balcon donnant sur la rue de Rivoli, juste en
face des Tuileries en ruines que l'on aperçoit dès que la reine
Frédèrique fait relever les gands stores formant vélum. Peut-être
pourrait-on reprocher au décorateur de nous avoir montré ces ruines en
trop bon état. A les voir ainsi, on supposerait que l'ancien palais des
rois n'a subi qu'un grand feu de cheminée.</p>
<p>Aujourd'hui, les démolisseurs ont fait place nette.</p>
<p><pb/></p>
<p>i>r.(n:.\ii!Ui:</p>
<p>1/ 5</p>
<p>- Que di presse-papiers pour les abonnés du Figaro !...</p>
<p>Le roi Christian II (Dieudonné) est bien le personnage nonchalant et
distingué que nous annonçait le livre. Il serait dilîicile de le rêver
plus pschutt que l'aimable pensionnaire du Vaudeville. Comme l'a dit
auprès de moi un amateur de féeries qui connaît ses classiques :</p>
<p>- C'est le roi Vlan.</p>
<p><pb/></p>
<p>.)j6 LIJS SOIKÉKS HAHIS1ENNKS</p>
<p>L'entrée de M. Pierre Berton était attendue, d'abord parce que la
situation de cet excellent artiste a encore grandi au théâtre depuis sa
belle création dans Fôdora, aux côtés de Sarah Birnhardt ; puis, parce
que l'on avait annoncé qu'il prêterait au personnage d'Llysée Méraut la
tête d'Alphonse Daudet.</p>
<p><pb/></p>
<p>DKCKMHKL .|77</p>
<p>Il y a bien quelque chose de Daudet dans cette chevelure abondante et
cette barbe incorrecte, mais le Daudet qu'a voulu faire M. Berton, si
Daudet il y a. est un Daudet plus âpre, plus sérieux que nature.</p>
<p>- Allons, tant mieux!... il pourra se payer un complet sur son premier
mois d'appointements.</p>
<p>Si le professeur manque un peu de coquetterie, son petit élève est en
revanche d'une élégance irréprochable.</p>
<p>Sauf son costume de bal qui est vraiment d'une richesse et d'un luxe
majestueux, Mlle Blanche Picrson.</p>
<p>27.</p>
<p><pb/></p>
<p>? \-j8 I.KS SOIliKl-'.S PARISIENNES</p>
<p>en sa qualité de reine d'ordre etd'économie, portedes robes d'une
élégance un peu sévère.</p>
<p>Déjà, au troisième acte, la jeune et gracieuse comédienne nous était
apparue habillée avec un goût exquis. Quoi de plus simple pourtant que
cette robe en cachemire améthyste ouvrant de côté sur un jupon de
velours et dont la jupe tourne, comme pour l'enrouler, en formant
draperie; un peu de crêpe blanc mousseux pour orner le corsage, et c'est
tout - mais c'est charmant comme tenue de bureau.</p>
<p>Car c'est dans un bureau très administratif, un bureau remarquablement
installé pour une agence aussi interlope que celle de Tom Lévis, que
nous apparaît pour la première fois Mlle Legault, installée derrière le
petit grillage de sa caisse, recevant, payant, discutant, ordonnant,
reportant, additionnantet téléphonant avec l'activité fébrile d'une
bonne bourgeoise « très entendue aux affaires, » comme on dit dans le
commerce.</p>
<p>Cette première des Rois en exil, d'abord annoncée pour le 8 décembre
seulement, a pu passer huit jours plus tôt grâce au zèle des artistes
qui ont mis les répétitions doubles.</p>
<p><pb/></p>
<p>DKCR.MllRF. 479</p>
<p>Au cinquième acte!....</p>
<p>Franchement, il était bien tard pour mettre desclous.</p>
<p>L'ETUDIANT</p>
<p>(IMITÉ DE FRAXÇOIS coppée)</p>
<p>3 décembre. I</p>
<p><pb/></p>
<p>4S0 LES SOIRÉES PAK1SIBNNES</p>
<p>Mais sa félicité. Lui laissait néanmoins au coeur la charité.</p>
<p><pb/></p>
<p>DKCK.MUKF. 4$l</p>
<p>Car un soir - laissez-moi vous conter l'anecdote, Vous pleurerez ;iprès!
- il vit couvert de crotte Un petit piémontais assis sur le perron Qui
descend dans la rue en face de Marpon, L'enfant tendait la main.</p>
<p>* Tiens, c'est pour l'Odëon ! »</p>
<p>!Ii</p>
<p>C'était mardi dernier, vers la fin de novembre,</p>
<p>Ainsi que de coutume il sortait de sa chambre</p>
<p>Pour aller au théâtre; ô spectacle inouï !</p>
<p>C'était bien l'Odéon, c'était l'Odéon, oui,</p>
<p>L'Odéon pris d'assaut, entouré de côhue ;</p>
<p>Des marchands de billets s'agitaient dans la rue,</p>
<p>Offrant un bon fauteuil,.bien plus cher qu'aux bureaux:.</p>
<p>Et les cochers jurai.'nt, tapant sur leurs chevaux :</p>
<p>La circulation partout était coupée.</p>
<p>On jouait Seivro, la pièce de Coppée.</p>
<p>Au contrôle ces mots lui furent répondus :</p>
<p>- Les billets de faveur, monsieur, sont suspendus !</p>
<p>Depuis, l'étudiant, chaque soir, l'âme en peine, Va jusqu'au pont des
Arts pour voir couler la Seine.</p>
<p><pb/></p>
<p>482 LES SOIRÉES PARISIENNES</p>
<p>UNE MATINEE DE CONTRAT DÉBUTS DE M. I1EXM SASlARY</p>
<p>- Que voulez-vous, a répondu un de nos confrères, le grand-père de
l'auteur lit si bien !</p>
<p>Au foyer des artistes, on a beaucoup causé de lindisposition de Thiron.</p>
<p><pb/></p>
<p>DÉCEMBRE 483</p>
<p>- Mais je ne vais pas mal du tout. Si l'on veut, je reprendrai mon
service dès aujourd'hui, seulement je ne pourrai jouer que Bridoison.</p>
<p>Le second débutant de cette petite soirée n'est pas moins apparenté que
Ai. Desvallières.</p>
<p>Dès leur plus tendre jeunesse, il surveillait les aptitudes de ses
enfants et les dirigeait les uns vers la musique, les autres vers la
déclamation.</p>
<p>C'est ainsi que Aimes Alarie et Jeanne Samary ont embrassé l'art
dramatique, tandis qu'un de leurs frères apprenait le violon.</p>
<p>- Comme ça /'/ (ou elle) aura toujours un métier entre les mains!</p>
<p>Ainsi Aime Samary-Lagarde, ayant très sérieusement travaillé le chant,
aurait pu être une étoile d'opérette - si elle n'était devenue une des
meilleures et des plus charmantes sociétaires de la maison de Molière.</p>
<p><pb/></p>
<p>4&J LES SOIRÉES PARISIENNES</p>
<p>Pas plus que M. Maurice Desvallières, M. Henri Samary n'est un vrai
débutant.</p>
<p>L'AUDITION</p>
<p>i î décembre.. I</p>
<p>Il s'appelait Ulysse Pompagnac, et il était de Toulouse.</p>
<p>Naturellement, étant de Toulouse, il avait de la voix,</p>
<p>Une voix superbe.</p>
<p>Une voix de ténor.</p>
<p>On lui disait au Café du Capilole:</p>
<p>- Pompagnac, mon cher, lu arriveras, mille Dieux! 'Tu montreras aces
Parisiens ce que c'est qu'un homme de Toulouse qui a de la voix.</p>
<p>A l'Opéra-Comique, toutes les places étaient prises.</p>
<p><pb/></p>
<p>DKCK.MHKK 485</p>
<p>lorsque le Conseil municipal eut volé la subvention de l'Opéra populaire.</p>
<p>Il</p>
<p>- Je suis Pompagnac, fit-il, j'ai une voix de ténor superbe, voulez-vous
m engager?</p>
<p>- Moi, répondit M. de Lagréné. mais cela ne me regarde pas.</p>
<p>- Vous notes donc pas le directeur?</p>
<p>- Si, mais je ne puis rien faire sans les commissions qu'on a nommées
pour m'aider dans mon exploitation. Simple formalité, d'ailleurs.
Voyez-les le plus tôt possible.</p>
<p>- Et où sont-elles, vos commissions?</p>
<p>- On lésa installées aux Magasins-Réunis. Elles y -ont un peu à
l'étroit: mais, comme c'est en face...</p>
<p>111</p>
<p>Ulysse Pompagnac se rendit aux Magasins-Réunis.</p>
<p>En passant devant le télégraphe, il ne put s'empêcher d'envoyer au café
du Capitoïe une dépêche ainsi conçue :</p>
<p>« Mon affaire est dans le sac. »</p>
<p>- La commission de réception des artistes, s'il vous plaît? demanda
Ulysse Pompagnac au concierge des Magasins-Réunis.</p>
<p>- Avez'vous vu la commission pour l'introduction dans l'antichambre de
la commission de réception? lui demanda le fonctionnaire.</p>
<p><pb/></p>
<p>,}S6 I.liS SOIRKKS PAKISIKXXKS</p>
<p>- Non, je la verrai.</p>
<p>Cette'commission étant accablée de besogne, Ulysse Pompagnac attendit
huit mois avant d'y être admis. Encore lui donna-t-on un tour de faveur,
parce qu'il avait une voix de ténor et que les ténors sont rares.</p>
<p>Une fois reçu dans l'antichambre, le Toulousain obtint, .au bout de
quinze jours, une audience d'un huissier de service qui lui promit de
faire passer sa demande au plus tôt et de lui envoyer une réponse
immédiatement. En effet, trois mois après, il reçut l'avis qu'il
pourrait se présenter, dans six mois, devant la commission d'examen des
moyens physiques.</p>
<p>C'était une commission nouvelle chargée d'examiner la prestance du sujet.</p>
<p>Pompagnac plut beaucoup. On l'en informa, il se relira enchanté et
envoya au Café du Capitoleune nouvelle dépêche ainsi conçue: « Mon
affaire est dans le sac. )></p>
<p>La commission d'examen des moyens physiques le renvoya au bout d'un an à
la commission d'escrime, chargée de savoir s'il pourrait jouer
convenablement le troisième acte des Huguenots et en général les rôles
de cape et d'épée.</p>
<p>La commission d'escrime le fit. au bout de quelques mois, admettre
devant la commission de gymnastique, et Pompagnac y prouva
victorieusement qu'il saurait aussi bien qu'un autre tomber de son haut,
en scène, dans les rôles où le ténor doit mourir.</p>
<p>11 passa encore devant la commission d'équitation, devant la commission
d'hygiène, pour prouver qu'il avait les poumons solides, puis devant
d'autres commissions et sous-commissions. Partout il lit la meilleure
impression. Son affaire était bien décidément dans le sac.</p>
<p><pb/></p>
<p>DECEMBRE</p>
<p>IV</p>
<p>Au bout de dix ans, Ulysse Pompagnac put enfin comparaître devant la
commission de réception des artistes.</p>
<p>Mais il n'avait plus de voix, et il n'y avait plus d'Opéra populaire.</p>
<p>LA FARANDOLE</p>
<p>14 décembre.</p>
<p>Comme l'a dit le bon La Fontaine, il ne faut pas juger des genres sur
l'apparence. Le ballet, ce spectacle léger, agréable et peu compliqué
pour le spectateur, est cependant composé d'éléments si variés qu'il
convient d'en parler avec un certain ordre. Nous allons donc procéder
avec méthode en commençant par</p>
<p>le MUSICIEN</p>
<p><pb/></p>
<p>488 LES SOIRÉES PARISIENNES</p>
<p>Ajoutons qu'en allant chercher, pour son nouveau ballet, un ancien Prix
de Rome, connu seulement des musiciens, M. Vaucorbeil a bien mérité des
jeunes compositeurs auxquels on semble vouloir faciliter, un peu plus
que par le passé, l'accès, de l'Opéra.</p>
<p>LE .MAITRE DE DALLE! '</p>
<p>Le collaborateur de Dubois, Gille et Mortier est certainement l'une des
personnalités curieuses et intéressantes de l'Opéra.</p>
<p>Quand les librettistes apportent leur programme, il</p>
<p><pb/></p>
<p>DJÏCKMUKR 489</p>
<p>11 est juste d'ajouter que l'excellent maitre de ballet est fort bien
secondé par Al. Pluque, un précieux iieutenantqui a la prestance d'un
tambour-major.</p>
<p>kOSITA .MAUUI</p>
<p>Le tendre et poétique personnage de Vivette est la seconde création
importante de la dira dansante de l'Opéra.</p>
<p>Mais, mon Dieu, que la ravissante enfant a donc éprouvé de chagrin par
la crainte de ne pas pouvoir la faire, cette création rêvée !</p>
<p><pb/></p>
<p>490 LES SOIREES PARISIENNES</p>
<p>Comme disait S arc e y ce soir, on se croirait, en la voyant danser,
capable d'en faire autant!</p>
<p>EA DANSE</p>
<p>On a beaucoup médit depuis quelque temps du corps de ballet de l'Opéra.
C'est profondément injuste. Ce personnel, est, au contraire, d'une
assiduité,</p>
<p><pb/></p>
<p>bECE.MBUl-1 49[</p>
<p>A la fin de la vahe, Mlle An nette Mérante a failli se tourner le pied
en terminant^sa brillante variation, mais le public en a été quitte pour
une courte frayeur</p>
<p><pb/></p>
<p>49> LES SOIREES PARISIENNES</p>
<p>et s'est empressé d'applaudir la sympathique danseuse.</p>
<p>LA FARANDOLE</p>
<p>Vous ne concevriez pas la Farandole sans une farandole, n'est-ce pas>
Les auteurs non plus.</p>
<p>- Jamais nos farandoleurs n'iront assez vite !</p>
<p>A chaque répétition, on pressait un peu le mouvement, et jamais assez au
gré des auteurs.</p>
<p>Aussi jugez de leur stupeur, lorsqu'au lendemain de la répétition
générale, ils reçurent d'un de leurs amis, qui y avait assisté, une
lettre de félicitations où ne se trouvait que la réstriction suivante :</p>
<p>- Mais on ne danse donc pas la farandole dans la Farandole?</p>
<p>LA -MISE EN SCÈNE</p>
<p>Un machiniste de laonaison, pourtant blasé sur les magnificences de la
mise en scène, disait après la</p>
<p><pb/></p>
<p>DKCK.MBilK 495</p>
<p>répétition générale, en son langage imagé, mais très clair :</p>
<p>- Il parait qu'on y compte ferme sur c'te farandole, Y patron a rien
fait de la dépense ! ></p>
<p>m:s DKCORS</p>
<p>On ne sait plus comment fîliciter les admirables décorateurs de l'Opéra,
qu'ils s'appellent Rubé, Chaperon ou Lavastre.</p>
<p>Rarement manifestation d'un genre de talent qu'on</p>
<p>ïi</p>
<p><pb/></p>
<p>494 LES SOIREES PARISIENNES</p>
<p>n'apprécie jamais assez aura été plus complète qu'en cette occasion. Les
dignes successeurs des Ciceri et des Chéret ont affirmé une fois de plus
l'élévation et la supériorité du goût français - et cela sans réplique
possible.</p>
<p>Le premier décor de la Farandole, représentant une campagne aux environs
d'Arles, est d'une profondeur, d'une perspective inouïes. Au loin, la
vallée du Rhône avec une vue en panorama de la ville d'Arles dont les
innombrables constructions sont dominées par la silhouette grandiose des
arènes. Ce qu'on voit de pays dans ce tableau clair et chaudement
ensoleillé est inimaginable! Ce n'est plus l'image de la Provence, c'est
la Provence même, mais une Provence adorable, une Provence dont les
habitants se contentent de mimer et de danser, une Provence où l'on ne
parle .pas, une Provence sans l'accent provençal. Ce véritable Paradis
terrestre est de MM. Rubé et Chaperon.</p>
<p>Au second tableau, nous sommes dans les Arènes, un amphithéâtre
gigantesque auquel les siècles ont laissé une poésie sauvage que M.
Lavastre jeune a su rendre en grand artiste, et, disons nettement le mot
: en poète. C'est la nuit, une nuit de Provence, argentée, claire,
calme, imposante, et la lune éclaire doucement les délicieux fantômes
qui passent entre les colonnades restées debout ou sur les immenses
gradins de pierre écaillés par le temps.</p>
<p><pb/></p>
<p>DECEMBRE 49)</p>
<p>LES COSTUMES</p>
<p>Les costumes sont de Lacoste et, disons-le tout de* suite, il n'en est
pas un qui ne soit digne de cet artiste distingué. La couleur est le
triomphe du dessinateur de l'Opéra, et les auteurs lui ont donné la
Provence: jugez ce qu'il en a fait !</p>
<p>Avec la Farandole, le provençal fait, pour la première fois, son
apparition sur notre grande scène lyrique, et c'est une couleur locale
bien heureuse qu'a fournie ce beau pays de Provence, si gai, si vivant,
si lumineux, si pittoresque , si intéressant comme moeurs et comme
costumes !</p>
<p>Toutes ses compagnes ont également le joli costume arlésien, mais le
ton, les nuances des robes, des coiffures et des tabliers varient à
l'infini. 11 est</p>
<p><pb/></p>
<p>.\f)<> u:s soir<i':i:s i\\ittsn-:N.\r.s</p>
<p>Au premier acte, l'entrée des tambourinaires a produit beaucoup d'effet,</p>
<p><pb/></p>
<p>w-xn.Mimn. 497</p>
<p>u Ei.KCTRicrn:</p>
<p>Au second acte, quatre-vingts danseuses ont subitement, au-dessus du
front, une étoile lumineuse.</p>
<p>Comment cet effet magnifique s'obtient-il ?</p>
<p>28.</p>
<p><pb/></p>
<p>49§ '-ES SOIRÉES PARISIENNES</p>
<p>étoile en pierreries formant réflecteur, il suffit que l'artiste fasse
une simple pression sur l'accumulateur (il suffirait même qu'un abonné
lui prît la taille) pour faire jaillir au bout de sa chevelure
l'incandescence éblouissante qui a motivé ce soir de si grands
témoignages d'admiration.</p>
<p>- Je crois bien... si ce sont ces demoiselles qui éclairent!...</p>
<p>LA SALLE</p>
<p>Brillante soirée, en effet, car la Farandole a été représentée devant
l'une des plus belles salles qu'on ait vues depuis longtemps, même à
l'Opéra.</p>
<p>Dans la'loge présidentielle : Mme Wilson, le général et Mme Pittié, M.
et Mme Dreyfus.</p>
<p>Puis, un peu partout : MM. le duc d'Aumale, prince dejoinville, duc de
Chartres, Alphonse et Gustave de</p>
<p><pb/></p>
<p>DKCK.MKKK .|99</p>
<p>Rothschild, duc de Castries, duc de Santo Teodoro, Alexandre Dumas,
général dcGallilïet, Ephrussi, Massenet, Léo Delibcs, Widor, Garnier, de
.Modène, baron et baronne de Janzé, jolibois, Charmes, Antonin Proust,
Camescasse, Vandal, d'Espeuillcs, ThirionAlontauban, d'Alsace-d'IIénin,
Pinard, Charles Laurent, Roussel, marquise de Galliflet, princesse de
Sagan, comtesse Cornet, M. et .Mme Edouard André, Buloz, Mme Alitl'ord,
Mme Dumcsnil, Georges Petit, Nissimet Abraham Camondo. Forneret, Borrel,
Durieu, Hecht, Dietz-Alonnin, Arthus, de Montebcllo, deAlontry,
Chabrier, Abeille, Boulay, dePontevès, Béranger, Dr Galezowski, Lepic,
Maurice Richard, de Clercq, Cahen d'Anvers, duc de Morny, Bischofsheim,
Cochery, Tirard, baron Ilélissen, Plummer, Bocher, Dreux, Mme Gouy
d'Arcy, prince Louis Murât,baronne Sainl-Amand, Georges Berger,
GordonBennet, Royer, Chauchard, de Blowitz, Strauss, cou «te Gurowski, I
lallez Claparède, Métra, Muzzio, Lassalle, Mmcs Subra, Alarquet, L.
Fiocre, Lconide Leblanc, Marie Blot, Rachel Gallait, etc.</p>
<p><pb/></p>
<p>^OO IIS SOIRKKS IWRISIK.WKS</p>
<p>On conviendra que les électriciens auteurs de cette étincelante surprise
ont fait preuve d'amabilité... et d'à-propos.</p>
<p>Elle doit être heureuse et Hère de sa soirée, la délicieuse Rosita, car
on lui a fait bisser deux de ses principaux pas, et si le public a
résisté au désir delui redemander tous les autres, c'est qu'il n'a pas
voulu lui infliger une fatigue vraiment excessive et que chacun est
parti en se promettant de la revoir souvent dans la Farandole,</p>
<p>LE MAITRE DE FORGES</p>
<p>i> décembre.</p>
<p>- Mon Dieu, le joli feuilleton! Et dramatique! Et interressant! Et honnête!</p>
<p>Aussi, pendant que l'auteur transformait son roman en drame, M. Koning
était le plus impatient des hommes.</p>
<p>Ohnet travaillait, aux Clos, tout près de Rouen,</p>
<p><pb/></p>
<p>iikokmuke soi</p>
<p>- Où en êtes-vous? Cela avance-t-il ? Quand croyezvous avoir fini)</p>
<p>Le lendemain du jour où le Maître de forges fut terminé, le directeur du
Gymnase reçut une bourriche énorme, jamais Al. Koning ne s'est fait
fricasser une gibelotte avec plus de satisfaction.</p>
<p>On a beaucoup pleuré, au Gymnase, ce soir.</p>
<p><pb/></p>
<p>502 l-ES SOIREES PARISIENNES</p>
<p>Seuls, Mlle Jane llading et M, Damala essayaient de cacher leur émotion.
.Mais ils n'y parvenaient pas.</p>
<p>- Ne pleurez donc pas ainsi ! leur disait-on. Va ils répondaient :</p>
<p>- Nous ne pleurons pas! c'est la rampe qui nous fait mal aux yeux!</p>
<p>Alors, on baissait la rampe. Ce qui ne les empêchait pas, bien entendu,
de verser des larmes très abondantes.</p>
<p>Mlle Jane llading, l'héroïne de la pièce, a aussi été l'héroïne de la
soirée.</p>
<p>La jolie artiste est en train de se faire naturaliser comédienne.</p>
<p>Certes, Mlle Jane llading, véritable enfant de la balle (pas de celle
qui lui traverse l'épaule), a appris tout ce qu'il faut savoir au
théâtre; elle a dû, notamment dans l'opérette, faire preuve d'une foule
d'aptitudes, montrer plus d'un talent de société; mais le jeu de scène
qu'on lui demandait, cette fois, lui était parfaitement inconnu.</p>
<p><pb/></p>
<p>DECEMBRE 503</p>
<p>On ne risque facilement cet effet qu'après avoir perdu la vie clans un
nombre considérable de mélos, et Mlle Jane Ilading n'a jamais abordé le
drame.</p>
<p><pb/></p>
<p>504 l.liS SUJUliliS IWUISIKNNKS</p>
<p>Un peu plus, la direction nous eût enfermés ;i clé pour que l'immobilité
et le recueillement fussent pius grands.</p>
<p>La bonne et fine tête de bourgeois que Saint-Germain s'est faite!</p>
<p>Quelques-uns de ses mots ont été fort applaudis, car enfin on ne pleure
pas tout le temps dans ]c Maître de forges.</p>
<p>Et plus loin:</p>
<p>- je vais fonder un journal.</p>
<p>- Quel titre lui donnerez-vous?</p>
<p>- La France du Jura,</p>
<p>L'excellent Lagrange déclare que la journée de son mariage lui a paru
bien désagréable.</p>
<p>- Merci, lui dit sa femme.</p>
<p>- Oh! fait observer Saint-Germain, monsieur le baron a dit: la journée!</p>
<p>Et l'amateur réplique :</p>
<p>- Comme maître de forges, il a bien... Creuzot... son rôle!</p>
<p>En revanche, il n'est que juste de donner au chapitre des toilettes tout
le développement qu'il mérite.</p>
<p><pb/></p>
<p>ui:t:i:.Miii<i: >'»S</p>
<p>sans y changer un pli, sans en retrancher un noeud ou un pompon.</p>
<p>Au troisième acte, superbe robe de diner. Longue traîne en peluche bleue
unie, tunique en satin bleu très pâle, jetée en écharpe et se relevant
sur une hanche; cette tunique est recouverte de tulle brodé de perles
d'acier bleui; corsage décolleté en coeur devant et derrière en peluche
bleu paon.</p>
<p>Au quatrième acte, toilette de satin noir toute ruisselante de jais;
tunique flottante de tulle criblée de perles.</p>
<p>Encore une fois, il est impossible de mettre plus de goût au service de
plus de vraie élégance.</p>
<p>.Mlle Marthe Devoyod et la charmante Mlle Darlaud sont habillées d'une
façon assez heureuse. Les deux dernières toilettes de Mlle Devoyod
surtout m'ont beaucoup plu. C'est d'abord un gracieux et galant
déshabillé en blonde blanche brodée de chenilles, avec une redingote en
crêpe rose tendre, puis une robe de matin en taffetas gorge de pigeon,
la jupe plissée avec polonaise collante, serréeàla taille par unecorde
passementée.</p>
<p>Propos bienveillants, mais justes: - Ohnet est encore en progrès depuis
Serge Paninc !</p>
<p>29</p>
<p><pb/></p>
<p>jt)6 i.i:s souti':i:s I'AKisilnnks</p>
<p>-? Cela prouve une fois de plus que c'est en forgeant qu'on devient
maître de forges! !</p>
<p>Coïncidence heureuse et significative; M. Ollendorf, l'éditeur du Maître
de forges, annonçait dans les couloirs qu'il a mis en vente, aujourd'hui
même, la centième édition du roman.</p>
<p>Une centième un soir dé première, ce n'est pas commun.</p>
<p>Mais M. Koning aura bien vite rattrapé l'éditeur.</p>
<p>FAXFHM.LTIIK</p>
<p>iti décembre.</p>
<p><pb/></p>
<p>i»i:i:i:.mmki: . 50,</p>
<p>Longue, accidentée et tumultueuse est l'histoire de Ycx-Nuit de
Saint-Germain, devenue la Fanfreluche.</p>
<p>11 faudrait, pour la raconter complètement, la prolixité de feu Henri
Martin. Je préfère m'en tirer en quelques lignes.</p>
<p>Cette Ath»7 de Saint-Germain était par trop obscure. Il était
indispensable d'y mettre un peu de clarté.</p>
<p>Un jour, M. Koning, alors directeur de la Renaissance, s'étant fait
jouer la partition au piano, s'écria :</p>
<p>- Nous la sauverons !</p>
<p>Dès ce moment, commença le sauvetage. Tout le monde s'y mit. Finalement,
c'est Al. Paul IBurani qui ramena le livret sur l'eau.</p>
<p>Il remania la pièce, essaya de la rendre aussi simple que possible et y
intercala quelques couplets grivois.</p>
<p>A ce propos, on m'affirme que la censure a été sévère pour le texte de
Fanfreluche.</p>
<p>Le lendemain, précisément, eut lieu la première de Pot-Bouille.</p>
<p><pb/></p>
<p>i.i:s soiki.ks i*akisii:.nm:s</p>
<p>avait quitte les Bouffes après y avoir joué près de huit cents
(Mascottes consécutives.</p>
<p>Depuis, il a eu le bonheur de travailler le chant sous la direction de
M. Faure.</p>
<p>Grâce aux précieuses leçons du maître, il parait que le nouveau
pensionnaire de la Renaissance n'a pas son pareil pour chanter les Rameaux.</p>
<p>Fanfreluche en a bien aussi profité ce soir.</p>
<p>Mais c'est, naturellement, la rentrée de Granier qui est l'événement de
la soirée.</p>
<p>Mlle a répété l'opéra-comique de Serpette avec un entrain endiablé. Que
dis-je? Mlle a un peu dirigé les répétitions.</p>
<p><pb/></p>
<p>i>i:<:i:miwi: SoO</p>
<p>File a, ce soir, partage son succès avec la femme de goût et de talent
qui l'habille d'ordinaire et qui lui a composé, pour son double rôle de
Fanfreluche et de Brézette, quatre costumes dont trois sont tout
bonnement des petits chefs-d'oeuvre.</p>
<p>Ce sont des costumes Louis XV, exquis de couleur, de distinction et
admirablement combinés au point de vue du choix des étoffes.</p>
<p>Le premier costume de grisette est un vrai bijou.</p>
<p>Le jupon est en poult de soie azur garni d'indéplissable de mousseline,
le casaquin est en étoffe ancienne d'un ton merveilleux. C'est la
grisette de fantaisie la plus coquette, la plus mignonne qu'il soit
possible d'imaginer.</p>
<p>Le costume Pompadour du second ac<e est une merveille que je signale à
l'attention de toutes nos élégantes pour les bals travestis de cet
hiver. On a un peu abusé du Pompadour, au théâtre, mais comme c'est joli
et comme, cette fois, c'est heureusement renouvel i! Figurez-vous une
étoffe brochée d'oiseaux multicolores, une étoffe gaie, chatoyante,
lumineuse, faite tout exprès pour la diva, très heureusement drapée et
très curieusement garnie de soie déchiquetée et de dentelles. C'est
absolument délicieux.</p>
<p>Ensuite nous sommes en pleine fantaisie, avec le costume des femmes
d'Aurillac, dont le chapeau est bien joli, et avec le costume espagnol
en satin et velours jaune et rose, garni de dentelles d'or, de pampilles
de perles, de boules d'or, et de guirlandes de</p>
<p><pb/></p>
<p>l.KS SOIRKKS IWUISIKXNF.S</p>
<p>fleurs naturelles, une joie pour les yeux. Les boules d'or surtout sont
une trouvaille; quand les lumières du lustre s'y arrêtent, on dirait que
chacune d'elles renferme une étoile.</p>
<p>Tout cet ensemble de costumes charmants a été fortement goûté et applaudi.</p>
<p>- Général, j'ai besoin de vous.</p>
<p>- Enchanté!...</p>
<p>- C'est au soldat que je m'adresse...</p>
<p>- Et pourquoi fairei grands dieux?</p>
<p>- Je cherche un bon tailleur militaire.</p>
<p>- Vous prenez du service !</p>
<p>- Oji, dans Fanfrçlitchc. au régiment de la Renaissance !</p>
<p>Et l'illustre général conduisit la diva chez son propre tailleur. Joli
petit tableau de genre, n'est-ce pas?</p>
<p>Au second acte, Jolly danse très lestement une gavotte réglée par
Spinosa; dans ce même acte, Mlle Silly fait de l'escrime avec Granier.</p>
<p>Cette dernière partie du spectacle avait été réglée par Simon, le maître
d'armes de l'Opéra: mais, aux répétitions générales, on en a beaucoup
diminué l'importance.</p>
<p>Le vénérable élève de Jean-Louis se désolait :</p>
<p>C'est au dernier acte de Fanfreluche que se trouve le fameux ehauir des
Estaiiers.</p>
<p><pb/></p>
<p>bi:ei;.\ii5iOE S''</p>
<p>Je dis « fameux », parce que tous les Parisiens l'ont entendu chanter
plus ou moins.</p>
<p>C'est surla musique de ce choeur que Serpette et deux de ses amis ont
improvisé, un soir, la complainte du Crime du r'Peca :</p>
<p>Nous sommes dans la pharmacie, C'est un bien iacheux accident. Ce que
l'on nomme : mal aux dents, Nous l'appelons : odontalgic!</p>
<p>Cette complainte a été une des joies de l'hiver dernier, dans les salons
du monde où l'on s'amuse.</p>
<p>Klle a encore produit un grand effet ce soir. .</p>
<p>Va pourtant on y dit du bien de la police et de la façon dont elle est
faite.</p>
<p>Mais c'est la musique qu'on a applaudie.</p>
<p>Parmi ceux qui applaudissaient le plus fort, il convient de citer .M.
Macé, chef de la police de sûreté.</p>
<p>M MITA</p>
<p>iS décembre.</p>
<p>Les nombreuses premières de la semaine dernière m'ont force de négliger
la reprise de Maria, aux Italiens/</p>
<p>Reprise intéressante, pourtant, et qui a vivement réussi.</p>
<p><pb/></p>
<p>r.Ks smucKS pari ;m-:xxi-:s</p>
<p>Une ass?/ belle salle, dans laquelle la haute colonie étrangère surtout
était brillamment représentée.</p>
<p>J'ai remarqué Mme Campbel, cousine de la reine Victoria, le prince
Jelowiscki, la princesse Poniatowska, Mme Santiago Arcos, la marquise de
Uribaren, Mme Mitford, ainsi que la comtesse de Chambrun, la marquise
dejanzé, la comtesse de Jouvencl; le marquis de Villeneuve, le marquis
de Langle-Beaumanoir.</p>
<p>Cette cantatrice italienne a ceci de particulier qu'elle est Américaine
et que, seul, son mariage avec un Portugais. M. Xaguri, la rapproche un
peu des races</p>
<p><pb/></p>
<p>DKCIi.MBKK 513</p>
<p>latines. Rendons-lui cette justice qu'elle n'a jamais voulu renier sa
nationalité sur l'afliche en italianisant son nom de Harris, dont il lui
eût été si facile de faire Ilarrissi. Le cas est rare et vaut qu'on s'y
arrête.</p>
<p>29.</p>
<p><pb/></p>
<p>5 1-j J-ES SOIRKKS PARIS1KXXKS</p>
<p>deux artistes susnommées. N'a jamais chanté en français, a oublié
jusqu'au marseillais depuis qu'il a troqué son prénom de Louis contre
Luigi et son nom patronymique de Ravel contre Ravelli.</p>
<p>Ravel ou Ravelli, le jeune ténor qui, comme taille, rappelle un peu M.
Escalaïs, est doué d'une voix charmante qu'il manie en virtuose consommé.</p>
<p>Cela explique même pourquoi ce basse bouffe a l'air si terriblement
tragique,</p>
<p><pb/></p>
<p>mxK.ujmi:</p>
<p>En somme, ensemble excellent.</p>
<p>OiYiV/i liKPKTEhU-M</p>
<p>19 decembre.</p>
<p>Si M, Gautier était plus sérieusement chez lui dans le cabinet
directorial des Folies, on pourrait lui ré-</p>
<p><pb/></p>
<p>5 l6 I.KS SOIKKKS l'AUlSII.XNKS</p>
<p>Eh bien! si, il faut que vous le sachiez, malgré tout ce qu'en disent
les autres journaux, malgré les notes rectificatives expédiées en toute
hâte:</p>
<p>On répète, et même très activement, aux FoliesDramatiques; seulement on
n'en veut pas avoir l'air.</p>
<p>Il faut pour cela un tas de moyens ingénieux.</p>
<p>Les administrateurs et les artistes des Folies en ont imaginé plusieurs.</p>
<p>Pas du tout. Ce sont des artistes des Folies-Dramatiques quiîépètent les
Pages du roi. On croit qu'ils causent de choses indifférentes, ils
échangent, en réalité, des répliques, creusent des types, étudient des
personnages, établissent des rôles, font, en un mot,</p>
<p><pb/></p>
<p>DKOK.MliUI-: >I</p>
<p>tout ce qui constitue une répétition, - mais sans en avoir l'air.</p>
<p>Voyez ce monument, c'est la Bourse. Entrez-y. Au milieu, c'est la
corbeille. Ecoutez ces éncrgumènes qui poussent des cris de Peaux-Rouges
au combat, et vous vous direz, croyant reconnaître cet affreux tapage:</p>
<p>Pas du tout. Ce sont des acteurs des Eolies-Dramaliques qui répètent les
Pages du Roi, mais sans en avoir l'air. .</p>
<p>Voyez cette salle demi-circulaire où des hommes généralement mûrs sont
assis en amphithéâtre autour</p>
<p><pb/></p>
<p>5 J S * Î.F.S SOIRÉES PARISIENNES</p>
<p>d'un monsieur qui parle dans une chaire, juste au-dessous d'un grand
fauteuil où un autre monsieur parait s'ennuyer énormément tout en
faisant sa classe.</p>
<p>Vous remarquez que personne n'écoute le monsieur qui parle et que chacun
cause, se dispute avec son voisin ou s'endort.</p>
<p>Aussi, vous écriez-vous :</p>
<p>Pas du tout. Ce sont des acteurs des Folies-Dramatiques qui répètent les
'Pages du Roi-sans en avoir l'air. .</p>
<p>y AXA S Al III!</p>
<p>20 décembre.</p>
<p><pb/></p>
<p>DKCKMBRE 5I9</p>
<p>la révolte des Cipayes, que M. Jean Richepin, le poète un peu farouche,
mais empoignant et intéressant de la Chanson des gueux, conçut l'idée de
faire une pièce envers avec cet important épisode de la guerre
d'indépendance indienne. Un chapitre du journal anglais avait surtout
frappé le poète : celui où Nana Sahib se jette de la plate-forme du fort
de Cawnpoore dans les jungles peuplées de tigres.</p>
<p>J'aime mieux être encore aux tigres qu'aux Anglais!</p>
<p>s'écria .M. Richepin, qui trouva tout de suite ce vers pour son héros.
Pendant cinq ans, ce vers unique fut même tout ce qu'il y eut décrit des
sept tableaux de .Vii/ia Sahib.</p>
<p>Tout en jouant Froitjrou et en répétant son rôle de Djamma, Sarah
Bernhardt s'est occupée elle-même de la mise en scène de Nana Sahib. des
décors, des costumés, des accessoires, du ballet, des moindres détails.
Aidée de son amiClairin, elle a dessiné presque tous lçs costumes; elle
s'est entourée de documents</p>
<p><pb/></p>
<p>520 1-ES SOIUr.KS PAUISIKNXES</p>
<p>En voici la description très fidèle et aussi complète que possible.</p>
<p>PREMIER ET SECOND TAlîl.EAUX</p>
<p><pb/></p>
<p>i> h ci-: m ma:</p>
<p>Si tout.le monde était mort de la même façon, le public aurait fini par
trouver cela monotone.</p>
<p>Mais, Sarah Bernhardt aidatit, on nous a servi des agonies variées.</p>
<p>La mort du vieillard empoisonné est la plus simple.</p>
<p>Sarah lui dit quelques douces paroles de sa voix caressante, ce qui lui
permet d'avaler la pilule sans faire de grimace, Aussitôt il ferme les
yeux comme pour</p>
<p><pb/></p>
<p>322 I.KS SOIKKKS l'AUISlKNXKS</p>
<p>dormir et tombe en arrière, tout raide, d'une seule pièce, entre les
bras de deux figurants.</p>
<p>Très joli, son premier costume: robe en soie rose tendre sur laquelle
est une autre robe en soie marron, brodée d'argent et de fleurs roses;
ceinture en or, cuirasse en acier damasquiné d'or, casque en acier avec
aigrette et turban en or, pantalon et babouches en drap d'or.</p>
<p>Ht les oiseaux venaient couver dans mes cheveux !</p>
<p>Il porte une besace ornée de coquillages et, sur la poitrine, une dent
de sanglier : probablement celle qu'il a contre les Anglais.</p>
<p>La tête est belle et caractéristique, mais - pour un ascète - on a
trouvé M. Laray un peu gras.</p>
<p>- C'est un homme qui s'est surtout privé de maigre! a dit quelqu'un.</p>
<p><pb/></p>
<p>DIXK.MliRK</p>
<p>Quel dommage que l'acteur Scipion n'ait pas l'habitude des vers tragiques !</p>
<p>A la fin du second tableau, un sergent anglais reçoit une balle de
revolver en pleine poitrine.</p>
<p>Le sergent tournoie, puis tombe au milieu de la foule.</p>
<p>.-...Mon tigre favori, De viande de mouton fut trop longtemps nourri,
Qu'on lui donne de l'homme et de la chair anglaise !</p>
<p>s'écrie Nana Sahib.</p>
<p>Ce cadavre ne se doute pas du cercueil qui l'attend.</p>
<p>TR0IS1K.MK TAM.KAU</p>
<p>L'entrée de Sarah a été saluée par un long murmure admiratif.</p>
<p><pb/></p>
<p>i.i:s soim:i:s pahjsiknnks</p>
<p>Rien de plus brillant que son costume de crêpe de Chine rose brode
d'oeillets d'or et drapé sur une jupe en peluche rubis.</p>
<p>Marais, lui, porte une grande robe en étoffe d'or - toujours - avec des
manches vert et or et une ceinture en bijouv. Son turban a été dessiné
d'après une coiffure de Nana Sahib, communiquée par un officielanglais
qui a connu le célèbre rajah.</p>
<p>.M. Volny, pour avoir, en sa qualité de paria, des costumes plus
simples, n'en est pas moins applaudi.</p>
<p>Mais ce soir, M. Perrin, s'il avait été là, aurait pu se dire :</p>
<p>- Vous voyez que je ne m'étais pas trompé.</p>
<p>A la fin du tableau, fusillade de femmes, d'enfants, de vieillards, de
blessés. Toute cette figuration meurt admirablement.</p>
<p>QLAÏRIK.Mi; TAlJl.KAU</p>
<p><pb/></p>
<p>DKCK.MDKK</p>
<p>?)-)</p>
<p>Cette mort héroïque, en haut d'un talus fort élevé, provoque une chute à
sensation : M. Lenormant, qui joue le général, dégringole d'abord deux
marches en arrière, rebondit sur le terre-plein, se relève un instant,
chancelle, roule sur un dernier obstacle et vient enfin mourir aux pieds
de son ennemi.</p>
<p>CINQUIK.V.i; TAHl.KAU</p>
<p>C'est sur la place publique de Cawnpoore que M. Robecchi vient opérer à
son tour : palais alignés</p>
<p><pb/></p>
<p>u:s soiki:i-:s I'.\i<ish:\m:s</p>
<p>Le fond de la scène est occupé par une fontaine dont la riche
architecture hindoue ne rappelle que vaguement le style étriqué de nos
Wallaces.</p>
<p>Comme dans le délicieux opéra de Léo Delibes, il y a, sur cette place
publique des Indes, un défilé de fifres et de tambours en uniformes
rouges, un chant sacré de brahmanes et un ballet de bayadères.</p>
<p><pb/></p>
<p>iii;ci;mi;ki. S-7</p>
<p>damasquinée relient une écharpe de gaze noire toute brodée de Heurs.
C'est vraiment ravissant.</p>
<p>Après les danses, Al. Paul Rcney s'enfonce un poignard dans le coeur,
s'affaisse sur un genou, se relève, puis chancelle de nouveau pour
retomber, face contre terre, ce qui doit être d'autant plus difficile à
Al, Reney qu'il a le nez très long.</p>
<p>sixiK.w: taui.k.u:</p>
<p>Sarah, Yolny et Bouyer traversent ainsi la scène, des combles de droite
aux coulisses de gauche, sur un étroit praticable de huit mètres de
hauteur. Ce praticable s'enlève dans les frises en même temps que le
décor lui-même.</p>
<p>SKl'TIK.MK TAU LIC AU</p>
<p><y£i.3?*^~s-*T- <-rvv*</p>
<p><pb/></p>
<p>5-i8 i.ks soikkks I'.\hisii:.\m:s</p>
<p>S.ihib nous ont montre tantôt l'Inde étinecianlc cl somptueuse, tantôt
l'Inde sauvage ou terrifiante.</p>
<p>Ici, dans cette crypte sacrée où sont enfouies les richesses
mystérieuses du dieu Siva, MM. Rubé et Chaperon ont réuni tous les
effets de terreur et d'émerveillement du pays. La crypte est formée par
des«pilastres énormes que supportent de gigantesques têtes d'éléphants
dont les yeux sont de grosses pierres précieuses.</p>
<p><pb/></p>
<p>Dl.CKAJHKi:</p>
<p>A signaler les portes d'acier poli, fort belles sans doute, mais bien
désagréables pour les intrus, puisqu'on ne peut les ouvrir qu'avec un
secret que M. Volny a emporté dans la tombe vers une heure du matin.</p>
<p>Car l'indomptable Cimrou meurt aussi; il meurt cinq minutes après avoir
tué son associé Tippoo-Raï; il meurt frappé lui-même par Nana Sahib avec
accompagnement de strophes par Djamma, montée sur le dieu Siva pour
mieux suivre les péripéties de ce duel suprême.</p>
<p>On les rappelle longuement et très chaudement : ils reviennent saluer le
public; néanmoins ils sont toujours morts, - morts de fatigue.</p>
<p>MADEMOISELLE MAliSY</p>
<p>22 décembre.</p>
<p>- Mon Dieu, qu'elle est jolie !</p>
<p>- Qui cela ?</p>
<p>- Cette jeune personne... là... dans l'avant-scène... avec une dame un
peu plus âgée, qui me parait très bien aussi.</p>
<p>- Je la vois... charmante, en effet...; savez-vous qui c'est)</p>
<p>Pendant quelque temps, on a pu entendre une conversation de ce genre à
presque toutes les premières importantes.</p>
<p>30</p>
<p><pb/></p>
<p>5 $o i - j : s soiki;i;s i\\i<isu.nm:s</p>
<p>Aujourd'hui, le Tout-Paris sait que la jeune personne si jolie et la
dame un peu plus âgée et également fort agréable qui l'accompagne aux
grandes solennités dramatiques ne sont autres que Mlle Marsy, la
nouvelle Célimène des Français, et sa mère.</p>
<p>Elle a dix-neuf ails, Mlle Marsy, une figure fine et distinguée, des
cheveux blonds, un charmant sourire, des yeux noirs très doux et
pourtant pleins d'éclat : c'est une des personnes les plus accomplies,
au point de vue physique, qui aient paru au théâtre depuis bien des
années. ' ?</p>
<p>Les plaisirs mondains, qui créent une si terrible servitude aux jolies
femmes, n'ont pas empêché la</p>
<p><pb/></p>
<p>i>i:0K.Mitm: 5}i</p>
<p>M. Perrin a voulu nous présenter sa nouvelle pensionnaire dans le rôle
de Célimène dont une scène lui a valu le premier prix de comédie au
dernier concours du Conservatoire. L'attraction était grande et la
curiosité des habitués fort vivement excitée. Généralement, aux
Français, on nous a servi des Célimènes plus mûres. J'ai même entendu
dire, dans les couloirs, que Mlle Marsy était encore bien jeune pour
jouer les coquettes. Comme si la femme n'était pas coquette de naissance !</p>
<p>Molière d'ailleurs a eu soin de fixer l'àgs de son héroïne :</p>
<p>Pour moi, ce qui m'a un peu gâté la nouvelle Célimène, c'est sa
coiffure, la coiffure de l'époque, qui la rend bien moins jolie qu'elle
ne l'est réellement.</p>
<p><pb/></p>
<p>5 p i.i:s soiuki'.s j>akisii:\\i;s</p>
<p>3/, niciwri.y ai.vs nana sahih />KBr*r,u.v/7'.t/J/-;.v.s</p>
<p>26 décembre.</p>
<p>Voici l'événement de la soirée.</p>
<p>A huit heures et quart, les spectateurs de la Porte - Saint-Martin ont
eu la surprise de voir arriver, dans le joli décor indien de M.
Carpezat, un monsieur en habit noir qui n'était autre que M. Talbot.</p>
<p>- Mesdames et Messieurs, M. Marais, sérieusement indisposé, s'est trouvé
dans l'impossibilité de jouer Nana Sahib ce soir. M. Jean Richepin,
l'auteur de la pièce, veut bien essayer de le remplacer.</p>
<p>Aussitôt il y a eu un long murmure - mais de surprise et de curiosité.</p>
<p>La pièce a commencé aussitôt.</p>
<p>On a écouté le premier tableau, où Nana Sahib ne paraît pas, d'une façon
assez distraite; mais quand le rideau s'est levé sur le second et qu'on
a aperçu M. Richepin étendu sur son lit de coussins, il y a eu un vif
mouvement de véritable admiration.</p>
<p><pb/></p>
<p>IjKCKMUUK</p>
<p>535</p>
<p>A partir de ce moment, le succès de l'acteur improvisé était fait. 11 a
grandi de scène en scène.</p>
<p>L'expérience n'est pas concluante.</p>
<p>50:</p>
<p><pb/></p>
<p>534 I-I.S SOIHHKS l'AMSIKN.NT.S</p>
<p>et, s'il n'y prend garde, il ne retrouverait plus, poulies tirades
véhémentes de son drame, les moyens d'exécution qu'on a tant applaudis
ce soir.</p>
<p>La représentation a d'ailleurs été fort brillante. Sarah Bernhardt,
comme les soirs où elle veut absolument gagner la bataille, a été
merveilleuse de passion, extraordinairement tragique. Les scènes d'amour
entre i\l. Richepin et elle ont été acclamées. La nouvelle de ce début à
sensation, si imprévu et si étrange, s'était d'ailleurs répandue dans
quelques bureaux de rédaction, et, vers le milieu de la soirée,
plusieurs chroniqueurs et critiques sont accourus au théâtre.</p>
<p>Qui sait, en effet, si l'exemple donné par M. Jean Richepin ne sera pas
suivi par d'autres? Nous entendrons peut-être Delibes chanter le rôle de
Gérald dans Laknié; nous verrons Delpit jouer successivement les deux
frères des Maucroix, Coppée déclamer les vers de Severo Torelli, et mon
collaborateur Philippe Gille danser la Farandole.</p>
<p>Après ce gros événement, l'apparition d'une nouvelle chanteuse sur la
scène des Italiens perd ce soir beaucoup de son importance. Peut-être
même aurais-je passé l'incident sous silence si la débutante, Mlle Félia
LitvinolT, n'était vraiment fort intéressante. Cette jeune cantatrice -
elle n'a pas'vingt ans - est, comme l'indique son nom qu'elle a eu le
bon sens de ne point italianiser, de nationalité russe. Comme la</p>
<p><pb/></p>
<p>mxEMHR»;</p>
<p>? >:></p>
<p>plupart de.s artistes de ce pays, elle est d'une excellente famille et
compte, parmi ses frères et soeurs, un jeune journaliste et une non
moins jeune peintre de quelque avenir.</p>
<p>A quelque chose la peur est bonne, car Aille Litvinofl, dont la voix
tremblait d'émotion, n'en a que mieux réussi le fameux trille du second
acte qu'on a failli lui redemander.</p>
<p>LA DOHMEVSE ÉVEILLÉE</p>
<p>29 décembre.</p>
<p>Tous ceux qui suivent le théâtre, tous ceux qui en vivent, tous ceux qui
s'y intéressent sont d'accord sur ce point que l'opérette traverse une
crise. Les succès de ce genre, jadis si fréquents, se font de plus en plus</p>
<p><pb/></p>
<p>536 l.i:s SOIKKKS l'AKISlKNNCS</p>
<p>Ce qui prouve que les temps sont changeants, - ainsi que les hommes et
les flots.</p>
<p><pb/></p>
<p>nr.CKMiiui: 5^7</p>
<p>Ce dernier titre fut définitif pendant quinze jours: peut-être eût-on
bien fait de le conserver afin de fixer le public sur la véritable
couleur locale de la Dormeuse éveillée. Autrement, la Picardie ne se
révèle que fort imparfaitement avec certains costumes qui rappellent
plutôt la tenue légendaire et carnavalesque du pêcheur napolitain.</p>
<p>L'histoire de la Dormeuse deslBouffes serait bientôt écrite s'il y avait
lieu de la transmettre aux générations futures.</p>
<p>- N'oubliez pas le 29 !</p>
<p>Ht, au lieu de se disputer, on passait sur l'incident pour pouvoir
passer le jour anniversaire de la Mascolle.</p>
<p>Les décors sont plutôt ordinaires, les costumes sont gentils.</p>
<p>A signaler surtout, au point de vue pittoresque, le premier costume très
rustique de Mme Cnisier-Mon-</p>
<p><pb/></p>
<p>5 3& I.KS SOIKKKS IWRISIKXXKS</p>
<p>bazon dans lequel on s'est efforcé, non sans peine, de ne pas trop
rappeler le fameuxdéshabillé campagnard de la Mascotte; puis les
agréables petites pêcheuses de crevettes, avec de très courts jupons
laissant voir la jambe nue. Les dragons du troisième acte sont d'une
couleur très heureuse.</p>
<p>L'influence dé l'Eden se manifeste encore par une série d'exercices
violents auxquels les pensionnaires lyriques de M. Cantin ont dû
s'entraîner.</p>
<p>- 11 faudrait un escalier clans le décor du premier, dit un jour le
régisseur.</p>
<p>- Un escalier... pourquoi? demanda M. Cantin avec inquiétude.</p>
<p>- Pour qu'Octave et Diane puissent fuir le capitaine Vieuxbec en montant
au grenier.</p>
<p>- Monter au grenier! s'écria Cantin-Boudreau: mais àl'lùlcn, on ne monte
pas, ça se franchit d'un bond.</p>
<p>Le bond n'étant pas prévu dans les engagements de chanteurs, on
transigea, et l'escalier fut remplacé par une échelle raide et périlleuse.</p>
<p>De même, Suzcttc-Monbazon . qui s'évade par</p>
<p><pb/></p>
<p>\>kcy:s\hm: 5 y)</p>
<p>Comme cela l'effrayait un peu d'abord, son directeur l'encouragea en
disant :</p>
<p>Aucun des personnages de la Dormeuse éveillée ne fait son entrée en
musique.</p>
<p>Seul, M. Maugé, - sans doute en sa qualité de comédien. - devait
roucouler quelque chosedi apparaissant. Mais on lui a supprimé cette
formalité sur sa demande.</p>
<p>- Ne me faites pas chanter au premier acte, auraitil demandé aux
auteurs, cela me priverait de mes moyens pour ma scène d'ivresse du deux!</p>
<p>Au troisième acte, Al. Piccaluga, costumé en femme, dénoue la pièce en
se déshabillant pour se remettre en homme.</p>
<p>Sa veste, son gilet ne lui sont restitués par GrisierMonbazon que
moyennant des concessions, des fa-</p>
<p><pb/></p>
<p>3|o . i.i:s soiukks i\\kisii:nm:s</p>
<p>Le dernier vêtement, le plus important, est enfin livré par la
malicieuse Suzette pour une somme de troi's mille écus qui va lui
permettre d'épouser le ténor Lamy.</p>
<p>Ce prix n'a pas paru exorbitant aux rares clubmen qui assistaient à
cette première.</p>
<p>Prendre une culotte de trois mille écus!</p>
<p>Ils en ont pris bien d'autres !</p>
<p>bïVIIE-TOy-KhS</p>
<p>51 decembre.</p>
<p>Cela s'est passé, entre huit heures et quart et onze heures et demie, au
théâtre Beaumarchais.</p>
<p>Car le théâtre Beaumarchais existe toujours.</p>
<p>Ce jeune homme fabrique les revues avec une dextérité étonnante.</p>
<p><pb/></p>
<p>bKCEMBRE 541</p>
<p>Sa nouvelle oeuvre fourmille d'inventions exquises et d'un goût bien
délicat.</p>
<p>Ainsi, la scène où un pauvre poitrinaire auquel son médecin a ordonné le
goudron vient lécher le pavage en bois du boulevard est une trouvaille
en son genre.</p>
<p>Il y en a beaucoup de la même force, et, si je ne les cite pas, c'est
pour pouvoir finir cet article en 18S3.</p>
<p>- Je suis l'ennemie des courses de tonneaux!</p>
<p>Bref, la Revue est hérissée de clous. Le plus gros de tous, un de ces
clous auxquels tout le théâtre Beaumarchais pourrait se pendre au
besoin, c'est l'apothéose d'Alexandre Dumas père.</p>
<p>Tous ces héros, ou du moins tous ces déguisés,</p>
<p><pb/></p>
<p>5.42 f.i:s soikkhs i»AUisii;.\.\LS</p>
<p>groupés avec un art solennel autour de la statue, semblent en proie à
une émotion profonde ; ils portent tous des palmes qu'ils tiennent comme
des cierges et regardent le bronze d'un air inspiré.</p>
<p>On sent que quelque chose de grand se passe là, sur cette scène
excentrique. On ne peut pas dire que ce soit ni mieux ni plus mal que la
vraie cérémonie de la vraie place Malesherbes. Mais c'est autre chose.</p>
<p>Le public est fiévreux, oppressé... On cherche Dumas fils dans la salle
pour lui faire une ovation familiale. Où est-il donc ?</p>
<p>Le pas des mousquetaires de Clignancourt a légèrement dérouté le public.
Ces sortes de fantaisies sont un peu trop fines pour le quartier; elles
ne peuvent être appréciées que des lettrés.</p>
<p>ris.</p>
<p><pb/></p>
<p>TABLE</p>
<p>DES</p>
<p>NOMS CiTKS DANS. LOUYRAGK</p>
<p>A</p>
<p>AbbatUcci (Mlle 1. M'A).</p>
<p>Abbéma. 300. "</p>
<p>Abeille, 90, 490.</p>
<p>About (Edmond), 10, Vi, 172,</p>
<p>412,460. . - . - Achard (Léon), 41, 42. Adam (Mme Edmond), 100,</p>
<p>172. Adam (Adolphe), 10, 2o9,</p>
<p>o36. Adler, 7o, 463. Adolphe, o'i. Adrienne Lecouvrcur, 201,</p>
<p>312. Affaire de la rue de Lourcine</p>
<p>(1'), 203. Affaire de Viroftày (!'), 320 à</p>
<p>Aida, », 200.</p>
<p>Aigle (comte de l'i, 00.</p>
<p>Aîné (V), 387.</p>
<p>Albert (Mlle Marv), 428.</p>
<p>Allard, 167.</p>
<p>Allart, u'il.</p>
<p>Alphand, 135, 172, 460.</p>
<p>Alsace-d'Henin (d'i, 400.</p>
<p>Altès, 408.</p>
<p>Aniagat, 220.</p>
<p>Amants de Vérone (les), o*>.</p>
<p>Amaury, 286, 333.</p>
<p>Ambigu (th. de T), 7, T6, 26.</p>
<p>116, 121, 126. 138, 130.</p>
<p>160,236, 3i2. Ami Erîtz 0'), 236. AmîgUes (Georges), y08. Amoureux, 13o.
Amphytrîon, 382. Ali aïs (Mlle), 225". Andlgné (d'), 00, André-Gérard,
106. André (Edouard). 'j00. i00. André (Mad, Edouard). 100.</p>
<p><pb/></p>
<p>544</p>
<p>TABLE</p>
<p>Angelo (Mlle), 15.</p>
<p>Antigny (Mlle Blanche d'),</p>
<p>303. AntonelH (Mlle), 182. Antonine (Mlle), 102, 103,</p>
<p>137. Asco (Mlle Léa d'), 85. Assommoir (1'), 309. Athénée (th. de 1'),
158, 107,</p>
<p>108, 109, 254, 253. Atjet, 159. Aubry (Col'), 172. Audran, 10, 59, 530,
539. Audran (père), 17. Augier (Emile), 105,100, 107,</p>
<p>108, 207, 208, 209, 220,</p>
<p>309. Aumate (duc d'), 499. Autour du mariage, 374 à381,</p>
<p>502. Avare (1'), 382, 38î. Aventurière (!'), 311.</p>
<p>B</p>
<p>Bade (Mlle), 255.</p>
<p>Biillande, 71, 85, 303, 304,</p>
<p>305, 300, 307, 370, 457,</p>
<p>474. Bambergcr, 400. Banquet des pierrots (le), 255. Barbe-bleue, 80.
Barbier (Jules), 90,172, 229,</p>
<p>400. Brâcouf, 100.</p>
<p>Barnabe (de), 337.</p>
<p>Baron, 21.80, 159,425, 427,</p>
<p>409, 471. Baréty(Mlle), 441. Barré, 170, 177. Barretta (Mlle), 225, 220.
Barrière (Théodore), 113, 110. Bartet (Mlle), 453, 401. Bassuat, 480.
Battu (Mlle Marie,) 100. Baudu, 281. Bauer(Mgr),M. Bauër, 309.' Baumainc
(Mlle Juliette), 270,</p>
<p>409. Beaumarchais (th.), oiO, 541. Bayard, 389. Béam (comte de), 10.
Beauvoir (comtesse de), 90. Bechevet (Mme de), 172. Béer (Jules), 172.
Béhaguc (comtesse Octave de],</p>
<p>90.° K L</p>
<p>295, 480. Bell (Mlle Lîna), 172. Belle Gabrîelle (la), 14, 15,</p>
<p>112, 113, 119, 121, 138,</p>
<p>184, 180. Bclval,307. Beni-Barde(Dr), 90. Béranger, 30 V a 307.
Béranger, 499, Béranger (marquise de), 172. Béranger (Mlle), 35'i.
Berardi, 10, 400. Berger (Georges), 90,199.</p>
<p><pb/></p>
<p>DES NOMS CITES</p>
<p>545</p>
<p>Bergcrat {Emile}. 40, 47, 48. Bergers (les), 188. ' ' Bernadaki, 377.
Bernadaki (Mme), 400,401. Bernay (Mlle), 490. Bernhardt (Maurice), 10, 271,</p>
<p>272, 294, 298, 299, 301.</p>
<p>302,518. Bernhardt (Mme Sarah), 27,</p>
<p>28,29, 83, 110, 118, 121,</p>
<p>153, 159, 200, 201, 258,</p>
<p>272, 291, 293, 298. 299.</p>
<p>300, 301, 302, 303; 311,</p>
<p>312, 313, 314, 315, 310,</p>
<p>382, 441, 459, 470, 519,</p>
<p>520, 521, 523, 525, 527,</p>
<p>534. Bernicat (Firmln), 423, 515. Bertal,197. Berthelier, 132, 133.
Berthou (Mlle). 357. Berton (père), 474. Berton, 347, 350. Bertrand et
Raton, 450 a 455,</p>
<p>470, 477. Bertrand (Eugène), 2, 21, 25,</p>
<p>32, 78, 234, 424, 425, 427,</p>
<p>428, 470. ' Bertrand (Ernest), 272. Ueschevet (M. et Mme de),</p>
<p>377,401. Bétancourt (de), 50. Bétluine (de), 200. Beyens (baron de),
10,90. Bianca (Mlle), 10, 87, 377.</p>
<p>400. Bias, 397.</p>
<p>Biche au bois (la). 259. Bilbaut-Vauchelet(Mme), 172.</p>
<p>40L Billy-Hayden, 191,430. Bîot (Mlle Alice), 90, 497. Biré (général et
g'1-'), 90. Bisaccia (duchesse de), 90.</p>
<p>Bischoffsheim (Raphaël), 10.</p>
<p>44, 108, 254, 377,499. ' Bischoftsheim(Mme), 400. Bizet, 390, 397.
Blanche (Dr). 07. Blanzy (Mlle), 541. Blau,*187. Blaze de Bury, 172.
Block(Mlle), 321. Blondeau, 58. Blondel, 80. Blot (Mlle Marie), 499.
Blowitz (de), 10, 172, 400,</p>
<p>499. Blum (Ernest), 10,20,21,187,</p>
<p>259, 400, 407, 408, 470. Bocage, 250. Boccace, 539. Bocher, 499.
Bodc(Mtle), 59. Boidin-Puisais (Mme). 300,</p>
<p>307. Boisselot, 349,475. Boissetts (les), 191. Boldini, 400. Bollart, 234.</p>
<p>Bonheur (Mlle Rosa), 219. Bonhomme (Honoré}, 284,</p>
<p>285. Bonnat, 120. 172, 197. Bonneseim 307. Bonnet, 132, 133. Bonnet
(Mlle), 355. Bôrrel, 499. Boucher, 453. Boucheron, 155. Boudouresque,
97, 99. Bounar(MlleZulma), 10.377,</p>
<p>427, 428. Boun*es-du-Nord (th. des), 150,</p>
<p>151, 152. Bouffes-Parisiens (th. des), 58,</p>
<p>00. 200, 328. 417. " Bouiilct (Louis), 100.</p>
<p><pb/></p>
<p>>46</p>
<p>tabli;</p>
<p>Boulay, 499. Boulet, 282. Bouquetière des Innocents (la),</p>
<p>230. Bourdonnaye (de la), 90. Bourgeat, 281, 287,480. Bourgeois de Lille
(les1!, 110,</p>
<p>14ÏVl47. Bourgeois (Anicet), 433. Boussigneul (les), 418. Bouvet, 422.
Bouyer, 119,527. Boyêr(Mlle Rachel), 280,320. Bozza (les), 110.
Bralerct, 135. i</p>
<p>Brandès (Mlle), 280. I</p>
<p>Brasseur, 29, 30, 02, 03, 01,</p>
<p>05,87, 130, 131, 132,155,</p>
<p>392,393,394,300,428,523. Brasseur (Albert), 30, 393. Bréban, II, 150.
Briet, 10, 13, 87, 138, 211,</p>
<p>Soi, 252, 272,' 295, 351,</p>
<p>357; 390. Brincourt (marquis d<.'), 90. Brindeau, 225. Brindcau (Mlle
Jeanne), 414,</p>
<p>400. Brohan (Mlle Madeleine), 225. Brohan (Mlle Augustinc), 225.
Broisat(Mme),338. Uruck (Mlle Rosa), 280, 382,</p>
<p>383,381. Brûck (Mme Clémence), 383,</p>
<p>381. * Bruet, 01. Brunswick, 225. BugUct (Henry), 510,511. Huloz, 191,
33a, 499. Burani (Paul), 155, 422, 507,</p>
<p>511. Burgraves (les), 151, 153. Ihisiiach (William\ 212, 292,</p>
<p>293, 295.</p>
<p>C</p>
<p>Cabanel, 172.</p>
<p>Cabinet Piperlin(le), 107,108.</p>
<p>Cagnotte (la), 277,'</p>
<p>Cahen d'Anvers, 90,499.</p>
<p>Callais, 508.</p>
<p>Camescasse, 90,135.172,318,</p>
<p>199,517. Camondo (Isaac de), 10. 90,</p>
<p>171,172.201,400. Camondo (Nissime de), 499. Camondo (Abraham de), 199.
Campbcl (Mme), 512. Campbell-Clarckc, 10,100. Campobasso, 420. Cana
(marquisde). i00. Cantin (Louis), 2. 00, 85,272,</p>
<p>Caron (Mlle), 235, 297, 351. Carpezat, 70,93,180,523,532. Carraby, 10,
41, 90. Carré, 181, 319. Carré (Albert), 470. Cartier, 90, 377.
Cartouche, 7, Carvalho, 10, 10,49, 03,171,</p>
<p>177, 179, 182, 227, 228,</p>
<p>271, 272, 327, 358, 359,</p>
<p>300,301,401. Caryaîho Mme), 228. Caspers, 193,317. Casque enfer, 418.
Cassagiiac (Paul de"), 10. Casse-museau. 120, 118. Castelli (Mme), 303.
Castrics (duc de), 10, 377,</p>
<p>199. Castro (de), 400. Caux (niarq. de), 1723 4 M.</p>
<p><pb/></p>
<p>IjKS no.ms cites</p>
<p>Cazaux,367. .</p>
<p>Cent Vierges (les), 420.</p>
<p>Cerises (les), 100, 106.</p>
<p>Cernesson. 135.</p>
<p>Chabrier, 499.</p>
<p>Chabrillat. 07.</p>
<p>Chaix d'Est-Ange, 411.</p>
<p>Chalet (le), 239, 379.</p>
<p>Chalmin, 191).</p>
<p>Chambrun (comtesse de,) 512.</p>
<p>?161, 1G2. Chapeau de paille d'Italie (le),</p>
<p>297. Chapelles (des), 172. Chaperon, 98, 125, 120, 179,</p>
<p>230, 441, 493, 494, 524,</p>
<p>528. Chardy (Mlle Lina), 59. Charette (ga« et gic de), 90. Charme (de
la), 377. Charmes. 499. Charpentier, 1;>9. Charpentier, 303, 304.
Chartres (duc de), 499. Charvet, 393. Chassaîgne (Francis), 29. Chassang
(Mme), 348. Château-d;Kau (th. du), 58,</p>
<p>;;9, 00. O'i, 120, 144, 214,</p>
<p>215, 210. Châtelet (th. du'), 131, 13î,</p>
<p>213, 258, 259, 433, 434,</p>
<p>457. Chauchard, 499. Chaumont (Mme Céiineî, 79,</p>
<p>87, 425. Chaussée (de la), 420. Chautagne (Marc), 22. Chavanne 424.
Chellcs, 124. Chennevîère. 179. Chéret. 494, Chevalier Gaston (le), 200.</p>
<p>Chivot, 55. 50 58, 530, 539.</p>
<p>Choudens, 172.</p>
<p>Christian, 17, 24. 31. 32, 04, 05. 71. 72, 85. 220, 409, 470. 471.</p>
<p>Ciceri,491.</p>
<p>CinquevaUi (les) 191.</p>
<p>Cirque. 191. 192, 200, 310, 429.431,432.</p>
<p>Clairin, 10, 44, 90. 400, 519.</p>
<p>Clairon (le), 410 a 419.</p>
<p>Clairville. 135. 220.303.</p>
<p>Claretie (Jules), 11, 39,43, 46, 84, 194. 190.</p>
<p>Claude. 120.</p>
<p>Clemenceau, 10, 460.</p>
<p>Clément (Mlle Moïna), 140.</p>
<p>Clercq (de), 499.</p>
<p>Clèves (Paul), 110, 139, 184, 180, 271.</p>
<p>CHflbrd (Miss), 401.</p>
<p>ClochesdeCorneville(les),2G7.</p>
<p>Clunv(th. dex, 150, 158, 161, I0â, 103, 329, 330,383.</p>
<p>Cndish (marquis de), 377.</p>
<p>Cobalet, 177, 178, 232.</p>
<p>Cochery, 85,317, 499,519,</p>
<p>Cogniard, 58, 100.</p>
<p>Cohen (Jules), 400.</p>
<p>Colleuille, 404.</p>
<p>Collin, 280.</p>
<p>Colonne, 87, 90, 400.</p>
<p>Comédie-française, 13, 105, 122, 123, 125, 143, loi, 218, 219, 224, 220,
231, 240, 247, 2'i8, 262, 263, 271, 286, 295, 311, 336. 310, 341, 382,
383, 390, 402, 409, 450, 452; 453, 451, 474, 475, 482' 813,, 521, 530, 532.</p>
<p><pb/></p>
<p>48</p>
<p>TAUI.E</p>
<p>Consolateur (le), 211, 213. Conti, 411.</p>
<p>Cooper, 24, 406,427, 469. Coppée (François), 10,51,268,</p>
<p>437, 438, 441, 443, 460,</p>
<p>479,481,534. Coppelia, 2, 6. Coppens de Fontenay, 260. Coquelin aîné,
86, 159, 218,</p>
<p>225, 247, 387, 388, 472,</p>
<p>473, 474. Coquelin cadet, 247, 337, 460. Cormon, 312, 343. Cornalba
(Mlle), 9, 10. Corneille chez Richelieu, 262. Cornet, 495.</p>
<p>Cornet (comtesse), 90,499. Cornil, 146. Coronio, 90, 460. Corot, 300.
Corti (les frères), 4o'G, 465*,</p>
<p>512. Costé, 11. Coucou, 158. Coupvent des Uois (amiral),</p>
<p>Courbois, 527. Courcy (de), 246, 248. Courrier de Lyon (le), 14.
Crémîeux (Hector), 374, 50'i. Cressonnoîs, 231. Cromwell, 287. Cuccoli,
444. Curieuses (les), 221.</p>
<p>D</p>
<p>Dacheux» 159.</p>
<p>Daîllv, 59, 60,184, 220.</p>
<p>Dallez, 172.</p>
<p>Damala, 10,85,297, 298,502,</p>
<p>504,534. Dame aux camélias, (la), 291»</p>
<p>Dames de la halle (les), 188. Danbé, 172. Darall (Mlle), 297, 298.
Darall (Jacques), 297. Daran, 125. Darccl, 460.</p>
<p>Darcourt (Mlle), 133, 428. Darcv, (Mlle), 306, 507. Darlànd (Mlle), 378,
505. Danois, 140, 142, 145,146. Daubray, 137, 213, 353, 356. Daudet
(Alphonse), 472, 473,</p>
<p>476,477,492. Daudet (Ernest), 460. Dautresme, 135. David (Félicien),
227. David, 363. Davray (Mlle), 138. Dayiies-Grassot (Mme), 349.
Debassini, 400. Debay (Mlle), 357. Debrit, 103. Debruyère, 10, 14,15,
87,109,</p>
<p>141,142,145,146,203,248,</p>
<p>249, 251, 271, 280, 433,</p>
<p>434. Decazes (Mme), 460. Dedères (Mlle), 354. Decourcelle (Pierre),
110,117,</p>
<p>119, 120, 122, 137, 138,</p>
<p>262. Decourcelle (Adrien), 116. Dehaves, 11. Déjnzet (Th.), 158, 159, 101,</p>
<p>363, 364. Dekernel,57, 421. Delahante, 172. Delair, 473, 474;
Delannoy,57L Delaporte(Mlle),3lO. Delaunay, 109,217,218,219,</p>
<p>225, 226, 263, 286, 439. Delcroix, 10, 13,87,138,251,</p>
<p>252, 272, 295, 357.</p>
<p><pb/></p>
<p>DES NOUS C1TKS</p>
<p>549</p>
<p>Delessart, 11. Delessert, 4 GO. Délia (Mlle), 118.
Delibes(Léo),G3,90,151,109, 170, 171, 172, 181, 18!],</p>
<p>188, 201), 228, 231, 340, 358, 359. 300, 400, 499, 513, 520, 534.</p>
<p>Delpit (Albert), 44, 194, 195,</p>
<p>190, 198, 335, 330, 337,</p>
<p>339, 340, 534. Demanne, 159. Demesse (Henri), 304. Demoiselles
dcSaint-Cyr (les),</p>
<p>12, 44, 90, 274 275, 270,</p>
<p>277,278,279,280,342,343,</p>
<p>344,345,377. Dcnormandie, 172. Deodati (comte), 203. Depoix (Mlle), 349,
477. Derber(Mlle), 159. Dereims, 75, 93, 90, 100,</p>
<p>400. Derenbourg (Louis), 258, 200,</p>
<p>298, 299, 300, 301, 302,</p>
<p>ol8. Déroulède, 03. Derval, 45, 80,501. Dervet, 159. Desclaux (Mlle),
280. DesclaUzas(Mlle), 13,375,370,</p>
<p>378, 380. Desclée (Mlle), 311,313,474. Deslandes (Raymond), 27,172,</p>
<p>189, 190, "234, 272, 347, 390.</p>
<p>Desvallières (Mautké), 295, 290,297,482,483,484.</p>
<p>Détaille, 10, 172, 400, 510.</p>
<p>Detroyat (Léonce), 1)1,1)2,101» 172,400.</p>
<p>Deux Orphelines (les), 342 à</p>
<p>340. Devoux (Mlle), 235. Dei-oyod (Mlle Marthe), 425,</p>
<p>505. Devriès (Mme Fidès), 75, 70,</p>
<p>77, 199, 403, 405, 535. Devriès (Mme Rose), 75. Devriès (Maurice), 75.
Devriès (Hermann), 75. Devriès (Mlle Jeanne), 75. Dezoder (Mlle), 235.
Diane de Lys. 311. Dica-Petit (Mlle), 249. Didier, 427. Dietz-Monnin,
499. Dieudonné, 235, 475. Divorçons, 13, 353. Dode (Mlle), 425.
Donizetti, 372. Dorins, 341. Dormeuil (Alfred), 156, 380,</p>
<p>387. Dormeuse éveillée (la), 535 a</p>
<p>540. Doucet (Camille), 44, 90, 172,</p>
<p>208,209, 400. Double, 377.</p>
<p>Draner,4,01, 132,282, 447. Dreux, 499.</p>
<p>Dreyfus (M. et Mme), 498. Droit d'aînesse (le), 02, 130. Droit du
seigneur (le), 25, 29</p>
<p>390,487,488,489,493. Dubreuil, 421, 515. Duchesse (la), 20. Duclos, 443.</p>
<p>Ducouret (Mme), 30, 395. Dudlav (Mlle), 338,339. Duez/81.</p>
<p>Dutlos(Raphaèl), 280,438. Dtigué de ht Fauconnerie, 11.</p>
<p>3i'</p>
<p><pb/></p>
<p>55°</p>
<p>TA! SI. F.</p>
<p>Duguéret (Mme), 144. Duhamel, 167, 318. Duhamel, 363. Dumame, lu, 112,
141. 145,</p>
<p>146, 281), 282, 283, 434,</p>
<p>474,539. Dumas (Alexandre), 203, 225,</p>
<p>226,227, 245,249,413,469,</p>
<p>474,541. Dumas (Mme Alexandre), 460,</p>
<p>461. Dumas(Alex. fils),39,40,132,</p>
<p>172, 203, 249, 311, 313,</p>
<p>329, 369, 391, 474, 499,</p>
<p>542. Dumesnil (Mme), 499. . Duparai, 451. Dupont, 306. Duprez, 157. 362.
460. Dupuis(du Vaudeville), 20,21,</p>
<p>47, 73, 79, 80, 159, 218,</p>
<p>235. Dupuîs (des Variétés], 219,220,</p>
<p>349, 425, 427, -467, '468,</p>
<p>469. Dupuis (des Français), 225. Duquesnel, 10, 63,64,172. Duran
(Carolus), 461. Durand (Mlle), 108, 339, 382. Durieu, 172, 499. Duru,
55, 58,536, 539. Duvivier (Mlle), 461.</p>
<p>E</p>
<p>Hden-Théàtrc, 1,2,4,9,11,49, 132,443,444,445,447,448; 40i; 538, 539.</p>
<p>Edouard-Philippe, 55, 120, 417,418. ' '</p>
<p>Edouard-Georges, 154.</p>
<p>Flltssen, 91),</p>
<p>Elven (Mlle), 354. Engel, 400. Ephrussi, 90, 499. Epreuve (P), 333.
Erckmanii-Chatrian, 308, 309,</p>
<p>326. Emy,212. Escalaïs, 362, 514. Escalier, 460. Escudier, 512, 513.
Espreuilles (d')( 499. Estrella(liar^d'), 461, Eté de la Saint-Martin
(1'), 402,</p>
<p>F</p>
<p>Faccio, 457,465. Falconnier, 153, 337. l'aiguière, 460. Famille
d'Armelles (la), 331 a</p>
<p>534, Fargueil(Mlle* 541. Fâridondaine(la).258â2l)l),327. Fatou (Mlle),
491, 496 Faure, 11), 157J75, 460,508. Faust, 229, 403, FauveI
((docteur), 10, 90. Faux Honshommes (les), 57. Fayet (cotiimd'). 459,
Febvrc(M.etMme), 460. Fédora, 27,64,118,121,194,</p>
<p>233,2.15.291,476.</p>
<p><pb/></p>
<p>uns xo.ms citks 551</p>
<p>Felcourt (Mme), 132, 133.</p>
<p>Félix (Mlle Lia), 377.</p>
<p>Félix, 377, 378.</p>
<p>Femme ;\ papa (la], 19, 420.</p>
<p>Femmes fortes (les), 100.</p>
<p>Féraudy (de). 453.</p>
<p>Fernan-Nutiez (duc de), 337.</p>
<p>Fernand, 153.</p>
<p>Ferreyra (Mlle Judith), 310.</p>
<p>Ferrier(Paul), 212, 233, 234.</p>
<p>Ferry (Jules, 268, 270, 317,</p>
<p>322, 323, 324, 325, 337,</p>
<p>301, 400, 470. Fête de Molière (la), 143. Fichel,44.</p>
<p>Fiche-ton-Kin, 540 ào42. Figuier (Louis), 112. Fille de madame Angot (h).</p>
<p>54,265, 420. Fille du tambour major (la),</p>
<p>FilVd'e Coralie (le), lfll, 335.</p>
<p>FilsdeGibover(le), 106, 107.</p>
<p>Fils naturel (le), 40.</p>
<p>Fiocie (Mlle le), 90,499.</p>
<p>Firmin, 225.</p>
<p>Fitz-James (Mlle). 460.</p>
<p>Flameng (M. et Mme), 172.</p>
<p>Flan, 46$.</p>
<p>Fleury (séné1), 10, 44, 401,</p>
<p>Flindt (Mlle), 9. '</p>
<p>Florimon, 230.</p>
<p>Flotow(de), 515.</p>
<p>Fock, 199.</p>
<p>Folies-Dramatiques (th. des;, 54, 55, 50, 57, 139, 178, 331, 420, 515,
510, 517, 518.</p>
<p>Fonui (Mlle Laurv';) 395,</p>
<p>Forain, 10.</p>
<p>Forneret, 499.</p>
<p>Fou chopine (le), 307, 326.</p>
<p>Fourchambault(les), 46. Francès, 347, 350, 475. François le Champi, 250.
François les bas bleus, 420 à</p>
<p>423, 515, 516. Françoise de Rimini, 52. Franconi, 191, 260, 273, 316,</p>
<p>429,430, 446. Frandin, 178. Frébault(Klie),417. Frederick Lemaître, 106,
474,</p>
<p>401, 459, 518, 519, Fugère, 157. Fusier, 255.</p>
<p>G</p>
<p>Gabel, 153, 154.</p>
<p>Gabriel, 228, 229.</p>
<p>Gaihard 400.</p>
<p>Gaillutrd, 10,34,456.</p>
<p>Gaîté (th. de la), 14, 10, 58,</p>
<p>100,109,110,112,121,138,</p>
<p>140,144,145,140,147 203</p>
<p>244,245,240,248,250,281,</p>
<p>286, 307,433,434. Galezowski (Doc). 499. Galitzin (prince), 10, 260
Gallait (Mme Rachel), 499. Gallet (Louis), 274, 276, 277,</p>
<p>279. Galli-Marié(Mme), 390, 397,</p>
<p>398,399,400,401. Galliflct (G"i de), 172, 197,</p>
<p>377, 499, 510. Galliffet (marquise de), 460,</p>
<p>499. Gallois (Mme de), 460,</p>
<p><pb/></p>
<p>552</p>
<p>TABLE</p>
<p>Ganderax, 460.</p>
<p>Gardoni, 100.</p>
<p>Garibaldi, 303, 458.</p>
<p>Garin, 474.</p>
<p>Gamier, 10, 139, 303, 307.</p>
<p>Garnier (Charles), 102, 172,</p>
<p>300, 302, 323, 389, 460,</p>
<p>499. Garon, 355'.</p>
<p>Gaudemar.358,359,300. Gautier, 55,61,272,420,510,</p>
<p>518. Gëlabert(M!le),60. Gendre de M. Poirier fie), 46,</p>
<p>207, 208, 209. Geoffroy, 219. Germain, 59, 80, 469. Gervex, 460. Gille
(Philippe), 63, 169, 170,</p>
<p>209, 351, 352, 357, 359,</p>
<p>Glu(ia), 25, 20 â 29,61, 510. Godard (Benjamin), 90. Godefroid, 157.
Goncoiirt (de), 460. Concourt (les frères de), 409. Gondinct (Edmond),
63, 102,</p>
<p>103, 104, 103, 169, 170,</p>
<p>209, 329, 310, 347, 319,</p>
<p>350, 359, 360. Gordon Bennctt, 377, 460,</p>
<p>499. Got, 109, 159, 218, 263,453. Gounod (Charles). 90,91,231. Gounod
(iMnic), 172. Go'uy d'Arcy(Cte de),40, 4,99. Gouzîen (Armand). 172, 460.
Graniont 'duchesse de), 460.</p>
<p>Grange, 363. Grain de beauté (le), 116. Grande Duchesse jla), 317, -
Grandville (Mlle , 425. Granet (Félix), 172. Grange (Mlle), 496. Grangcr
(Mme Pauline), 453. Granier (Mlle Jeanne), 13,59,</p>
<p>79, 80, 87, 187, 188, 189,</p>
<p>327, 460, 461, 506, 507,</p>
<p>508^09,510. Granier de Cassagnac, 412. Gravière (Tancrède), 10, 13,</p>
<p>80.172,190, 272,420, 508. Graziani, 106. Grédat (Mlle), 159. Grelïulhe
(vicomtesse de), 90. Grevin, 4, 87, 301, 460. Grévy (Jules), 60, 146, 318,</p>
<p>322; 323, 324, 325, 40i</p>
<p>435, 436, 437, 459, 465,</p>
<p>470, Grillet, 508. Grisart, 172, 178. Grisier (Georges;, 202, 539,
Grisier-Monbazon (Mme),538.</p>
<p>537. 538, 539. Grivot,I7,172. Grivot (Mlle Laurence),ilit Groot {Adolphe
de), 259, Guadalmina (marquise de),</p>
<p>337. Guéronnière (de la), 411. Gueymard, 367. Gueymard (Mme), 321.
Guiflaume Tell, 361,362. Guillemet, 460. Guillemet, 223, Guiraud
^Ernest), 172, 310. Gurowski (comte), 499. Guyon(lils), 363. Guyot
(Yves), 135, Gvmnase(th. du),20, 39,45,</p>
<p>"47,81, 86, 116, 118, 188,</p>
<p><pb/></p>
<p>DES NOMS CITKS</p>
<p>553</p>
<p>193, 194, 195, 197, 200, 207, 208, 220. 221, 222, 223, 285, 280, 211,
313, 314, 313, 304. 374, 424, 423,420, 300,301, 334. Gyp, 471, 304.</p>
<p>H</p>
<p>Hadamard (Mlle), 2315, 400. Ilading (Mlle Jane), 187, 188,</p>
<p>373, 370, 378, 379, 380,</p>
<p>502,503,304. Haine (la),'421. Halanzier, 10, 44, 172, 208,</p>
<p>209, 270, 400. Halévy (Ludovic), 10, 44, 78,</p>
<p>90, 172,291, 310,311,312,</p>
<p>347, 414, 424, 423, 420,</p>
<p>427,428. Hallcz-Claparède, 499. Hamburger, 153, 154, 303, Hamlet, 75 à
78, 173, 229,</p>
<p>319,320,403. Harcourt (Mlle Juliette d'},255. Hartmann, II, 172.
Harville (Mlle d'), 421. Harris-Zaguri (Mme), 512. Hattat, 130. Hattier,
280. Hayc-Joussclin (comtesse de</p>
<p>la), 90. Haydée,230. Hébrard(M.etMme),44, 172,</p>
<p>400. 1 ledit (Henri), 172, 499. Hecquard, 418,500. Heilbuth, 400.
Hélisseii (baron), 499. Henin (prince d'), 90. Henncquin (Alfred), 172,
401. Henri III et sa Cour, 203,</p>
<p>Henriette-Maréchal, 409, 411,</p>
<p>400. Hervé (Mme), 400. Hesselin (Mlle), 215. Heugel (fils), 359, 300.
Heugel, 10,52,78, 172. Heure du berger (!'), 251 a</p>
<p>253, 295. Hilaîre (Mlle), 235. Hirsch (Mlle), 98, 215. Hirsch, 330.
Holmes, 400. Horace, 2G2. Hostein, 07. Hôtel Godclot (1'), 230. Houssaye
(Henry), 451. Hovelacque, 135. Hugo (Victor), 14, 46, 120,</p>
<p>145, 130, 131, 103, 459,</p>
<p>295. Ilumbert, 420, 421,307,515. Hyacinthe, 350,370. Hyrvoix, 412, 400.</p>
<p>I</p>
<p>Iago, 148.</p>
<p>385. Invcmizzi (Mllel, 10, 490. Isaac (Mlle), 3l9, 320, 321,</p>
<p>302, 390.</p>
<p><pb/></p>
<p>Isabelle (Mlle), 266. Iskender Effendi, 172. Italiens (th. des), 106, 304,</p>
<p>305, 372,373,455, 456, 457,</p>
<p>463,511,534.</p>
<p>J</p>
<p>Jacobi, 417, 419. Jacquet, 10. Jane (Mlle Lucy), 30. Jannet (Victor),
285, 295. Janvier (Mlle), 215. janvier de la Motte, 10. Janzé (marquise
de), 512. Janzé (baron et baronne de\</p>
<p>490. Janzé (vicomte de), 172. Japhet, 508. Jarrett, 359, 360. Jean
Baudry, 122. Jean de Nivelle, 169. Jean-Louis, 510. Jeanne-Andrée
(Mlle), 57,</p>
<p>421. Jebowiski (prince), 512. Jeunesse de Louis XIV i'la\</p>
<p>381. .; "</p>
<p>Jocrisses de l'amour (les), 113,</p>
<p>.'.4,115. Joffrin, 135, 136, 202, 203.</p>
<p>207, 462. joinville (prince de), 499. Jolibois, 499. Jolie parfumeuse
(la), 205. Joliet (Mme), 313. Jollivet (Gaston), 188. Jolly,328, 418,
510. Jouas (Emile), 130, 131. Joslé(Philiber-), 215. Jost (Mlle),425.
Jourdain, 81. Jourdain (Frantz), 439.</p>
<p>Jouvenel (comtesse de), 512.</p>
<p>judic, 10.</p>
<p>Judic (Mme), 10, 19, 20, 21,</p>
<p>22, 23, 119, 159, 219, 424,</p>
<p>427. Tullien (Mlle Marcelle), 110,</p>
<p>249, 283. Jullien (Mlle Marv;, 118, 119.</p>
<p>K</p>
<p>Karoly (Mlle), 433.</p>
<p>Kaempfien, 172, 470, 476.</p>
<p>Keller (Mlle), 496.</p>
<p>Ken (Miss), 434.</p>
<p>Kléber, 64, 144.</p>
<p>Klein, 443.</p>
<p>Kcenigswarter (baron'!, 44,</p>
<p>460? { '</p>
<p>Kolb (Mlle Marie), 11,119. Koning (Victor), 39, 41, 45,</p>
<p>64, 84; 86, 172, 188, 193,</p>
<p>194, 221, 222, 223, 272,</p>
<p>363, 364, 390, 424, 426.</p>
<p>500, 501, 503, 500, 507.</p>
<p>534. Korrigane (la), 63. Kowaîski, 460. Krauss (Mme Gabrielle), 63,</p>
<p>95,96, 101, 157,459,513.</p>
<p>L</p>
<p>Labbé (docteur j, 44. 53, 172. Labiche (Eugène), 31, 32.28*.</p>
<p>295, 290, 297! Labouiaye, 120. Lacave-Laplagnc, 172. Lacoste (Eugène),
93, 91, 100,</p>
<p>123, 442, 495. _ Lacressonnière, 27, 120,</p>
<p><pb/></p>
<p>ijks \o.MS citi:s</p>
<p>?.?>?></p>
<p>Lacroix (Henri), 172. Laferrière (comte deï, 411. Laffitte (Jules), 413.
Lafont, 315. Lafontaine, 10, 315. Lagrange, 378. Lagrange, 412. Lagréné
(Georges de), 215,217,</p>
<p>305, 300, 308, '372, 373,</p>
<p>485. La Guerche, 300, 370,371. Laiarte (Théodore de\ 395,</p>
<p>188,209,228,230,231.459,</p>
<p>520, 534. Lalla Roukh, 03. Laloueite, 07. Lambert fils (Alfred), 439,</p>
<p>440. Lambert père (Alfred), 439,</p>
<p>440. Lambert (Eugène), 239. Lambert (Albert), 284. Lambert, 280, 333.
Lamperti, 173. Lamv, 530, 540. Lancfrol, 41, 197, 218, 370,</p>
<p>377. Langle-Ueaumanoir (marquis</p>
<p>de), 5i2. Langlois (colonel), 172. Laray, 185, 522. Laroche, 203.
Larochelle, 10, 14, 15, 87,</p>
<p>109, 141, 142, 145, 140,</p>
<p>203, 244, 245, 240, 248,</p>
<p>249, 250, 251, 271, 280,</p>
<p>342, 343, 344, 3'j5. 433,</p>
<p>434'. '</p>
<p>La Rounat (de), 10, 40, 47,</p>
<p>04,07, 122,123, 124, 143,</p>
<p>271,284,287,332,333,390,</p>
<p>438 480.</p>
<p>Lassalle, 77, 94, 95, 90, 97,</p>
<p>101, 215,400,499. Lassouche, 409. Laure(Mlle Marie), 120. Laurencin,
388, 389, 390,391. Laurent (Charles), 499. Laurent (Mlle Antonia], 118.
Laurent (Mme Marie', 250,</p>
<p>335,400. Lauret, 393. Laus (Mlle), 7. Lauwers, 215. Lauzières
deThcmines, 515. Lavalette (marquis de), 411. Lavastre aîné, 70, 180,
493. Las-astre jeune, 90, 180, 181,</p>
<p>230,491,495. Lavigne (Mlle Alice), 252,</p>
<p>3-55. Le Bargy, 225,227,337. Lcbey,10. Lece'rf (Mlle), 490. Leclère,
100. Lecocq (Charles), 29, 54, 55,</p>
<p>57,58, 327, 418,419, 420. Lefèvre (Maurice). 457. Lefort (Mlle Cécile),
200, 327. Legauh (MlleMaria),235,230,</p>
<p>348, 475,478. Lcgouvé (lîrnest), 172, 295,</p>
<p>290, 29/, 482. Legoux (baron et baronne), 11, . Î00. l</p>
<p>Legrain (Mlle), 182. Legrand (l\uiiy255. Legrand (Mlle Berthc. 330.
Legrand, 359, 300. Legrenay, 154. Lhéritief, 219. Lemairc (Mme Madeleine.</p>
<p>188,400. Lemercier de Neuville, 240. Lemercîer (Mlle), 11,40, 190,</p>
<p>199. 222,</p>
<p><pb/></p>
<p>??</p>
<p>s6</p>
<p>TABLE</p>
<p>Lemerre, 473. Lemoine (Mlle), 235. Lemonti (Mlle), 280. Le Myre de
Villers, 172. Lender (Mlle), 223,224. Lenepveu, 90,400. Lenoble (Mme],
23. Lenormant, 52o. Léon, 454. Léonard, 04. Léonce, 24, 427, 409.
Léonide Leblanc (Mlle), 10,87,</p>
<p>100,310,339,499. Lepic, 90,490. Leroux (Mlle Marie), 11,354. Leroux,
225. Lesage (Mlle), 348, 470. Lesseps (Ferdinand dé), 8,</p>
<p>4G0. Lesseps (Mme de), 400. Leterrier (Eugène), 30, 02,</p>
<p>155, 212, 295, 391, 394. Lévy (Calmann), 10, 172,</p>
<p>400. Lévy (Adolphe), 300. Lhé'rie, 400. Lili, 19,73, 119. Leloir, 247.</p>
<p>Lionnet (les frères), 255. J.ippmann, 44,377. Lippmann, (Mme), 400, 401.
Lisbonne (Maxime), 150, 151,</p>
<p>152,153,154, 103, 104,100,</p>
<p>250, 257, 272. Litvinoflt (Mlle Félia), 534,</p>
<p>Ll'oyd'(Mlle), 90, 247. 453. Lockroy, 90, 120, 172. Lockrov (Mme), 120,
459. Lodi(Mlle),90. Logerotte, 10. Loiseau, 135. Louis, 288. Loyal, 318,
429.</p>
<p>Lubomirski (prince), 251. Lucia di Lammermoor, 100. Lucrèce Borgia, 150,
151. Luguet,354, 357. Luigini (Alexandre), 55.</p>
<p>M</p>
<p>414. Marée, 400, 511. Mackay (Mme), 4G0, 401. Mackensie-Grive?, 4G0.
Madame es*, jalouse, 211. Madame l'Archiduc, 204. Madame le Diable, 59,
131,</p>
<p>188. Madame Favart, 55. Mademoiselle de Belle-Isle,</p>
<p>413 a 410. Macs (Mme), 303. Ma femme et mon parapluie,</p>
<p>389. Magellan (de), 90. Maggi (Mlle), 182. Magnier (Mlle Marie), 42,80,</p>
<p>377, 425. Maître de forges (le), 500 à</p>
<p>32, 05,71,79,401. Manet, 81. Mansour, 515. Mauvcl (Mllc% 235. Manzotti,
2, '3, 4, 443, 444,</p>
<p>440, 448, 449. Maquet (Auguste), 10. Marais, 39, 41), 43,84,85,80,</p>
<p><pb/></p>
<p>DES XO.MS CITKS</p>
<p>??/</p>
<p>87, 88, 197, 198, 291, 314,</p>
<p>315,530,522,524,525,532,</p>
<p>333. Marchesi (Mme), 230, 401,</p>
<p>313. Marcelle (Mlle), 395. Marcère (de), 401. i Marenco, 5. Maret
(Henri), 400. Margue,220, 318. Marguery, 303. Marie Tudor, 150, 151.
Marié depuis midi, 417. Marie, 400.</p>
<p>Marié (Mlle Paola), 80. Mariée de la rue Saint-Denis</p>
<p>(la), 303. Mario (Mlle), 157. Marot (Gaston), 417. Marot, 135.</p>
<p>.182, 230, 499. Marquis de Villemer (lel, 237. Marras (Jean), 08, 331, 332,</p>
<p>333, 334. Marsoulan, 135. Marsy (Mme), 530. Marsy (Mlle), 280, 529, 330,</p>
<p>144. Martin-Feuillée, 318. Mascotte (la), 17, 59,530,537,</p>
<p>538. Massa (marquise de), 44, 200,</p>
<p>401. Massenet, 10, 90, 274, 277,</p>
<p>278, 400, 4M, 'i99, 520. Masset, 117. Matai llet, V.)5.</p>
<p>Mathéo ouïes deux Florentins, 390.</p>
<p>Mathilde (Mlle), 355.</p>
<p>Mathilde (princesse), 410,400.</p>
<p>Matinée de contrat (une), 482 a 483.</p>
<p>Maubant, 87, 203, 280.</p>
<p>Maugé, 339.</p>
<p>Marnas, 401.</p>
<p>Maurel (Victor), 215,300,373, 455, 450, 457, 458, 403, 404, 405.</p>
<p>Mauri (Mlle Rosita),52,53,54, 03, 182, 459, 489, 490, 491, 495, 497,
499, 500.</p>
<p>Mautauban (de), 201.</p>
<p>Maxnère, 154.</p>
<p>May (Mlle Jane), 471.</p>
<p>Mayer,100.</p>
<p>Mayrargues, 172.</p>
<p>Méderic (Mme), 153.</p>
<p>Mehal (A.), 153.</p>
<p>Meilhac (Henri), 10, 20, 21, 22, 44, 78, 90, 172, 221, 222, 291, 310,
311, 312, 329, 347, 351, 352,354, 350, 357, 377, 401, 402, 414, 424,
425, 420, 427, 428.</p>
<p>Meissonier, 44.300, 400.</p>
<p>Melchissédec, 400.</p>
<p>Méline, 318.</p>
<p>Mélingue, 474.</p>
<p>Menibrée (Mme veuve), 231, 232.</p>
<p>Mendèl (Emile), 329, 330,</p>
<p>Mendès (Catulle), 202. Mcnken (Missada), 433, 434. Menteur (le), 202.
Menus-Plaisirs(th. des), 58,59, 00, 02, 155, 150, 138, 101,</p>
<p><pb/></p>
<p>55«</p>
<p>TAiir.i:</p>
<p>162,369,370,383,383,388. Mérante, 2, 34, 97, 278, 488,</p>
<p>489, 496. Mérante (Mlle Adèle), 90, 491,</p>
<p>490. Mères ennemies (les), 117. Merguillier '(Mlle), 18. Merliczj 49.</p>
<p>Mermet, 361, 303, 367. Merveilleuses (les), 306. Messager, 422, 460.
Métra (Olivier), 460, 499. Mcurice (Froment), 300. Meusnier (Mathieu),
11. Meyer (de Londres), 83. Meyer, 493. Mézerav (Mlle), 172. Michel,"
349, 473. Michel (Mlle Louise-, 250. Michel Strogoff, 279. Michelin,
135*. Mignon (Mlle Rose), 311. Mignon, 169, 176. Mi'lani (Mlle), 182.
Millier, 80, 81. Mily-Mevcr(Mlle\ 13.80,189,</p>
<p>190, 39V, 390. ' Millaud (AlberO, 20, 32. Misanthrope (le), 13, 291,292.
Missack-effendi, 401* Mitford (Mme), 499, 812. Mittchell (Robert), V4.
Mocquard, 411. Modène (de), 377, 499. Moisson (Mlle), 235. Mole (Mme), i
78. Moleskine. 331. Molier, 263.</p>
<p>Moltke (comtesse de), 263. Moltke (de). 460. Mon ami .Mommcrquin, 331.
Monbazon (Mme), 227. Monde où Ton s'ennuie (le),</p>
<p>108.</p>
<p>Monchanin (Mlle), 377, 404,</p>
<p>446.</p>
<p>Monréal, 38.</p>
<p>Monrobe, 451.</p>
<p>Monsckt (Charles), 10. 18!).</p>
<p>64, 87, 19ï, 196, 200. Montai, 185. Montanara. 10. Montbars, 139,
296,363. Montebello (de), 90, 499. Monte-Cristo, 14. Montgommery (de),
260. Montigny (directeur' 1, 19ri,</p>
<p>311. Montigny. 120, 285, 476. Montmorency (duc de), 460. Montrouge. 107,
109, 254.</p>
<p>255,422,341. Montrouge (Mme Macé-), 167,</p>
<p>235. Montry (de), 460, 499. Moreaû (l'îniile), 2()2. Moreau (Gustave),
521. Morianne (Mme), 30, Mcrlet, 60, 87,507. Momy (duc de), 460, 499.
Morris, 10.</p>
<p>Mortier (Arnould), 488, Morton (Lévv), 461. Mouliérat, 231, 232.
Mounet-Sullv. 10, 125, 263,</p>
<p>284,438/460. Mounet (Paul), 124, 125. Muller (Mlle), 382, 384. Munkaczy,
90. Munte (Mlle Lyna). 86. Mural prince (Louis\ 44, 377,</p>
<p>460, 499. Mussay, 87. Muzziô, 491».</p>
<p><pb/></p>
<p>ÏJi:S NOMS CITES</p>
<p>559</p>
<p>N</p>
<p>Nabab (le), 472.</p>
<p>Nadine, 153.</p>
<p>Najac (Emile dc\ 10, 130.</p>
<p>534. Naquet (Alfred), 11. Narrey, 11, Nations {th. des). 08, 70,71,</p>
<p>138. 139, 305, 370. Nava, 429, 430, 431, 'i32. Nertann, 475. Nervo (de),
200. Netty(MUe), 197. Nevada (Mlle), 172, 227, 228,</p>
<p>224. Nouveautés (th. des). 25, 29,</p>
<p>34. 02, G5, 131, 132, 133,</p>
<p>154, 155, 391, 392. 394. Nouvelli, 404. Nu ma, 80, 354.</p>
<p>O</p>
<p>Odéon (th. de 1'), 13, 45, 40, 47, fil, 67, 100, 220, 235,</p>
<p>230, 250, 284, 280. 287, 297, 320, 331, 383, 387, 390, 409, 413,' 428,
743, 441, 480, 481.</p>
<p>OEil crevé (Y), 07, 122, 123, 124. 143:</p>
<p>Offenbach. Jacques), 17,58, 78,80, 100, 187, 188,282, 417, 420, 427, 425.</p>
<p>Olmet (Georges), 10,194,500, 501,505,034.</p>
<p>Okolowkz, 151, 152, 309.</p>
<p>Ollcndorfï, 172. 500.</p>
<p>Oncle Million (1'), 106.</p>
<p>On ne badine pas avec l'amour. 2, 312.</p>
<p>Opéra (th. del'), 1, 2,34,54, 75, 77, 89. 93, 123. 287, 319, 320, 321,
322 , 324, 361, 362, 363, 304, 365. 367, 372, 395, 402, 403. 400, 488,
489, 490, 491, 492, 493, 498, 510, 528.</p>
<p>Opéra-Comique (th. de 1'), 17, 60, 63. 106, 157, 172, 173. 174, 178,
179. 181, 183, 227, 229, 231, 232, 327, 358, 359, 3(51, 393, 390,
397,'399,'402, 435, 442, 450, 520.</p>
<p>Opéra populaire (th. de 1'!, 48, 49, 325, 372.</p>
<p>Operti (Mlle), 10.</p>
<p>Ordonneau (Maurice), J5G, 161, 252, 295.</p>
<p>Orphée aux enfers, 58.</p>
<p>Osmond (d'), 10.</p>
<p>Osmoy (Cte d' ), 07, 69.</p>
<p>Othello, 442.</p>
<p>Ottolini ( les soeurs), 497.</p>
<p>Oustrv, 318.</p>
<p><pb/></p>
<p>560</p>
<p>TABLK</p>
<p>P</p>
<p>Pagans, 11.</p>
<p>Pages du roi (les), 515, 51 G,</p>
<p>317, 518. Pailleron (Kdouard), 209. 217,</p>
<p>^88 Païadilhe, 172. ' Paladino (Mlle), 9. Palais-Royal (th. du),80, 102,
'103, 113, 114, 137, 138,</p>
<p>211,213. 219, 251, 252,</p>
<p>253,295, 297, 351, 353,</p>
<p>355,350, 357, 370, 391,</p>
<p>,402, 414, 482, 339. Panseron (Mlle), 121, Pantaleone, 5. Parade, 318.
Paravez, 374. Parisiens en province (les),</p>
<p>150. 158, loi a 103. Partie troublée (la), 301. Pasca (Mme), 80, 190, 197,</p>
<p>200. Passant (le), 438, 442. Pastré (Mme), 90. Patti (MmeAdelina), 313.
Paulus, 512. Pavé de Paris (le), 110, 183 à</p>
<p>I8G. Peau d'âne, 379, 390. Peau neuve, 102 a 105. Pelle, 51,</p>
<p>l'ellegrin (Mme), 141. Pellerin, 357, Pêne (Henri de), 208. l'ère de
Martial (le), 103 à200,</p>
<p>221. Perle du Brésil (la), 109, 227 à</p>
<p>232, Pernetti (vicomte), 377. Perrin (Emile), 44, 123, 151,</p>
<p>172, 220, 271, 291, 330,</p>
<p>337, 310, 377, 382, 383,</p>
<p>390, 450, 452, 453, 4G0,</p>
<p>521, 531. Persigny (de), 411. Pessard (Hector), 44, 172. Petit
(Georges), 144,499. Petit, 28, f20.' Petit (Mlle Elise), 285. Petit Duc
(le), 13. Petite Mariée'(la), 375, 392. Petite Marquise (la), 424 à</p>
<p>425. Phèdre, 291. Philémon et Baucis, 18. Picart, 108.</p>
<p>Piccaluga, 59, 70, 530,339. Piccolo^Mlle), 87. Pied de mouton (le), 2.
Pierron (Mlle), 179. Pierrot assassin, 223. . Pierson (Mlle Blanche), 10,</p>
<p>377, 400, 475, 477. Piélri,4I2.</p>
<p>Pillet-Will (comtesse), 90. Pinard, 499. Piogey (docteur), 90. Pirates
de la Savane (les), 433,</p>
<p>431. Piron, 313.</p>
<p>Piron (Mlle), 90, 491, 495. Pittié Géni), 108, 220, 317,</p>
<p>435, 430, 459, 498. Pittié (Mme), 459, 498. Planquette (Robert), 259.
Plet,15G, 157.</p>
<p>155. Ponchard, 359. Poniatoswka (princessc\ 512, Pontevis(de).>i99.</p>
<p><pb/></p>
<p>ui:s xo.ms ci ri;s</p>
<p>soi</p>
<p>Pop, 08.</p>
<p>Porcher, 285.</p>
<p>Porel, 124, 280, 334.</p>
<p>Portc-Saint-Martin (th. de la), 109, HO, 138, 131), loi, 183, m, 180,
249. 238, 239, 200, 291. 300, 312, 313, 314, 313, 327, 312, 402, 433,
459, 519, 521, 522, 523, 524, 532.</p>
<p>Portes (marquis de), 203.</p>
<p>Pot au lait (le). 211;</p>
<p>Pot-Bouille, 507.</p>
<p>Potocki (comte), 200.</p>
<p>Poulin, 172.</p>
<p>Poupées de l'infante (les), 178.</p>
<p>Pouquet (M. et Mme), 172.</p>
<p>Pradeau, 41,280,282.</p>
<p>Prével (Jules), 200, 212. 221, 222, 302, 391, 402, 515.</p>
<p>Prévost, 210.</p>
<p>Prince (Dlles), 251.</p>
<p>Procès Vauradicux (le), 233.</p>
<p>Prophète (\c\ 75, 70.</p>
<p>Prosper, 15i.</p>
<p>Proust (Antonin), 90, 172, 208,400, 499.</p>
<p>Psehuttct Vlan, 400 a 471.</p>
<p>Ptnis de Chavannes, 218.</p>
<p>O</p>
<p>Quatre-vingt-treize, I '»5.</p>
<p>Quélen(de), 201.</p>
<p>Qucrette (Mlle Blanche), 15'i,</p>
<p>383. Queue du chat (la), 131, 134,</p>
<p>135.</p>
<p>R</p>
<p>Rabagny, 130. Radziwîll (prince), 400. Rahnond, 353, 303. Rambaud
(Yveling), 07, 08,</p>
<p>70. Ranc, 4G0. Rantzau (les), 3'i0. Ravel, 315, 514. Ravelli(Luigi),513,
5h. Raymond (Hippolyte). 155,</p>
<p>150, 158, 101. Raymonde (Mlle), 102. Redorte (de la), 400. Regnault
(Mlle Alice), 400. Régnier, 172, 225, 383, 454,</p>
<p>493. Rcgnoul, 400. Reicheniberg (Mlle Suzanne),</p>
<p>225, 337, 339, 311, 400. Reine des halles (la), 155. Héjane (Mlle), 28,
29, 351,</p>
<p>352, 353. 354, 357. Rémy (Mlle), 178. Renaissance (th. de la), 13,</p>
<p>59, 79, 80, 187, 190, 197,</p>
<p>307, 308, 320, 327, 375,</p>
<p>410, 419, 500, 507, 508,</p>
<p>510. Reney (Paul), 527. Reny (Mlle Louise), 192, Reszké(Edouard de).51
\. Rêver (lîrnest), 90, 172, 209,</p>
<p>270, 273. Rcvillon (Tony), 112. Richard (Maurice), 499. Richard
(Georges), 27, 121, Richard (Mlle), 90, 97, 100,</p>
<p>101,215, 217, 321. Richepin (Jean), 25, 223,</p>
<p>202, 519, 522, 532, 533,</p>
<p>53 ri, 535. Ricouard, 100.</p>
<p><pb/></p>
<p>TABLIi</p>
<p>Highetti (Mlle), 90.</p>
<p>Rillé (Laurent de), 11.</p>
<p>Riom (Tony), 80.</p>
<p>Ristori (Cesare), 514.</p>
<p>Ristori (Mme), 514.</p>
<p>Rîtt, 48, 49, 3'*2, 313, 3*4,</p>
<p>315. Ritter (Théodore), 400. Rivière (Mlle), 04. Robecchi, 4, 81, 133, 213,</p>
<p>394, 421, 447, 448, 523,</p>
<p>527. Robida, 10. Roca (Théodore), 399. Rochard, 10, 420. Roche (Jules),
172. Rochefort (Henri), 10, 121,</p>
<p>288, 350. Rochefoucauld (comtesse Aimery</p>
<p>m.</p>
<p>Roi s'amuse (le), 124, loi, 340.</p>
<p>Romain, 230.283.</p>
<p>Roman parisien (le), 191. 197, 315'.</p>
<p>Roméo et Juliette, 229.</p>
<p>Romieux, 308.</p>
<p>Rose (Mlle), 280.</p>
<p>Rossi, 10.</p>
<p>Rothschild (M._ct Mme Ferdinand de), 377.</p>
<p>Rothschild '(Adolphe de), 90, 200,499.</p>
<p>Rothschild (baron et baronne Gustave de\ 100.199.</p>
<p>Rothschild (Âlph. de), 10,90.</p>
<p>Rouher, 410, 412. Roumier (Mlle,) 497. Rousseil (Mlle Rosalie), 70,87,</p>
<p>138, 139, 302, 301'. Roussel, 499. Roussote (la), 19. Rouviére, 300.
Rubé, 98, 125, 120, 178,230,</p>
<p>441,493, 494, 324, 328. Ruben, 21. Rue Rouleau (la), 133.</p>
<p>S</p>
<p>Sagan (prince de), 10, 44, 90,</p>
<p>251, 201. 377, 437, 400. Sagan (princesse de), 499. Saint-Amand (baron
Imbett</p>
<p>de), 90, 400, 499. Saint-Rtienne (Sylvain), 228. Saint-l-'oy, 48.
Saint-Germain, 45, 87, 223,</p>
<p>224, 241, 233, 313. 370.</p>
<p>381,423,501. Saint-Juirs, 283. Saint-Paul (marquise de-), 400.
Saint-Saëns (Camille), 03, 90,</p>
<p>91, 92,98, 100, 101, mu</p>
<p>400, 408, 400. Saintin, 10.</p>
<p>Salisbury (comte de), 70. Salla(MmeCarolmcU99,377,</p>
<p>400. Salvavrc (Gaston), 10, 171,</p>
<p>400'. Samary (Henri), 482, 483,</p>
<p>48V. Samary (Mlle Marie), 483. Samary (Mme Jeanne), 217.</p>
<p>218, 483. Samson, 451. Sanafé (de), 400. S.incy(dc> 90, 377, 'i!3.</p>
<p><pb/></p>
<p>l)i:S NOMS -CITKS</p>
<p>î6Sand</p>
<p>î6Sand 237, 239. Sand Maurice), 237, 238, 239,</p>
<p>249, 241. Sandeau (Jules), 207, 208,</p>
<p>209. Sandeau (Mme Jules), 208. Sangalli (Mlle), 10. Sanlaville (Mlle),
98, 495. Santiago Arcos (Mme), 511. SantoTeodoro(duc de), 499. Sapho,
403. Saracco (Mlle), 10. Sarcey (Francisque), 10, 103,</p>
<p>104, 105, 128, 131, 269,</p>
<p>285, 313, 389, 490. ' Sarcus (vicomte de), 90, 377. Sardou (Victorien),
27,64, 68,</p>
<p>106, 194, 295, 329,' 369. Sari, 10.</p>
<p>Saute marquis, 131. Scalini (Mlle), 460. Schoelcher, 459. Scholl
(Aurélien), 172. Scipion, 30, 87, 393, 523. Scribe (Eugène), 450, 451,452,</p>
<p>453. Scriwancck (Mlle), 154. Second (Albéric),' 233, 234. Séguier, 119.
Séjour (Victor), 106. Sellenick, 307, 326, 327, 460. Sellier, 34, 93.
Semiramide,513. Serge Panine, 194, 500, 50o. Serpette (Gaston), 119, 131,</p>
<p>172,460,507,508,511, Severo Torelli, 437 à4'i3,48),</p>
<p>534. Sévin, 139. Sieba, 413 A 4'i9. Siège de Lille (le), 140.
Sigismond-Lacroix, .135. Siïly (MUe). 151), 157. 158.</p>
<p>510.</p>
<p>Silvain, 338.</p>
<p>SU vestre (Armand), 91,92,101,</p>
<p>406. Simon (M. et Mme Jules), 90. Simon (Maurice), 162," 298,</p>
<p>299, 300,301,302,330. Simon-Girard (Mme), 57. Simon (Max.), 57, 510.
Simon Boccanegra, 435, 437,</p>
<p>535. Sivori, 90. Skrivanow. 497. Songeou, 135, 136. Soubeyran (de), 260.
Spinosa, 510. Standish (Milady), 90, 460. Stéphanne, 215*. Stevcns, 10.
Strauss, 460, 499. Stichel (Mlle), 496. Strebelin, (Mme), 351, 352,</p>
<p>353. Strogalo(A. D.), 513. Subra (Mlle), 98, 408, 499. Suppé, 539.
Sutherland (Mme), 461.</p>
<p>r</p>
<p>Taillade. 119, 121.236,345. Talazac, 169, 175,' 176, 366. Talbot, 532.
Tallien, 283. Tarbé, (Edmond), 460. Taskin, 172, 460. Tassillv (Mlle),
154, 282, Teissandier (Mlle); 124, 33'i,</p>
<p>440. Tète de Linotte, 161,297. Théâtre-Italien, 106. 304, 305,</p>
<p>372, 373, 455. 456, 'i57,</p>
<p>463.</p>
<p><pb/></p>
<p>TAlJLi:</p>
<p>Théo (Mme), 203,201. Thérésa (Mme), 255. Thibaudin (général, 50, 00,</p>
<p>231,307, "317. ' Thibouts (Lambert), 113. Thierret (Mme), 303. Thierry
(Edouard), 143, 172. Thîrion-Montauban, 400. Thiron. 87, 453, 482.
Tholer (Mlle), 80. Thomas (Ambroise), 52, 77,</p>
<p>00, 172, 487. Thomas, 173, 181, 182, 230. Thuillier-Leloir (Mme), 327,</p>
<p>418. Tillancourt (de), 220. Tirard, 00, 100, 318, 302,</p>
<p>400. Toché (Raoul), 130, 132, 134,</p>
<p>y 13. Trewey, 201.</p>
<p>Tribut deZamora (le), 157. TrogofT (Christian de), 331. Troplong, 411.
Troubetzkoï (prince) 200, 377. Trouillebert, 280, 200, 300,</p>
<p>371. Trouvère (le), 250. Truffier, 13,231. Turquet (Edmond), 400. Tusini
(Mlle), 50, 328.</p>
<p>U</p>
<p>Ugalde (Mlle Marguerite), 25, 31, 133, 134,255,303.</p>
<p>Ugalde (Mme), 134.</p>
<p>Uribaren (marquise de), 512.</p>
<p>V</p>
<p>Vacquerie(Auguste), 122,123, 124.</p>
<p>Vaillant-Couturier (Mme), 303, 305.</p>
<p>Valade, 13,</p>
<p>Valattc (Mlle Diane), 117.</p>
<p>Val-Casteili (Mme),'150.</p>
<p>Valdéjo,400.</p>
<p>Valére, 328.</p>
<p>Vallombrosa (duc de), 377.</p>
<p>Valter (Jean), 143.</p>
<p>Vandal, 400.</p>
<p>Vanderbrugh, 380.</p>
<p>Vanghell(Mlle), 11,00. '</p>
<p>Vanloo de Warzy, 210.</p>
<p>Vanloo, 30. 02, 212, 205, 301.</p>
<p>Van Zandt (Mlle Marie), 157, 100, 170, 173, 174, 175, 178, 228, 232,
320, 358, 350, 300, 301, 450.</p>
<p>Varennes (Mlle), 30.</p>
<p>Variétés (th. des), 10, 20,21, 22, 23, 32, 0V, 72, 78, 70, 81,210, 30S,
307,383, 402, 400, 424, 425, 420, 427, 441, 400, 408, 400, 471, 530.</p>
<p>Varin, 3S0.</p>
<p>Varney, 400.</p>
<p>Vast, "100.</p>
<p>Vaucorbeil, 1, 40, 02, 77,02,</p>
<p>04, 148, 172, 235, 271,</p>
<p>274, 322, 323, 324, 325,</p>
<p>301, 302, 373, 403, 488,</p>
<p>403, 407.</p>
<p>Vaudeville (th. du), 27, 57, 118, 104, 218, 220, 233,
234,235,230,250,280,200,</p>
<p><pb/></p>
<p>DES NOMS CITES</p>
<p>565</p>
<p>316, 317, 350, 473, 475,</p>
<p>470. Vauthier, 133.</p>
<p>Vauthier (Cons. munie.) 135. Verdi, 3, 148, 149, loi), 372,</p>
<p>455,4G3, 465. Verne (Jules), 12, 279, 280,</p>
<p>282, 418. Véron (Pierreh 2G0. 340,</p>
<p>428. Villars(Marcel), 159. Villeneuve (marquis de), 512. Villiers
derisle-Adam,05,00,</p>
<p>07, 08, 09, 70. Vitu (Auguste), 128, 208,</p>
<p>285, 389. Vizentini, 17, 282. Vogué (de), 172. Volny, 348, 524,
527,.592. Voyage d'agrément (le), 233.</p>
<p>Vriçnault (Mlle), 222, 318, 3/7.</p>
<p>W</p>
<p>Waldeck-Rousseau, 377. Walewski (comte), 44. Weiss (J. J.), 41, 128, 208,</p>
<p>Widor' 51, 90, 400, 499. Wilson (Mme), 459, 498. Wilson, 220, 317, 318,
430,</p>
<p>437, 470. Wixom(DoctO,230. WolfT (Albert), 181, 208,</p>
<p>400, 408,470. Worms, 225, 220, 330, 337. Worniser, 172. Wulff, 191.</p>
<p>Z</p>
<p>Zaguri, 512.</p>
<p>Zucchi (Mlle), 443,-447. 118.</p>
<p><pb/></p>
<p>50.|</p>
<p>TABLi:</p>
<p>Théo (Mme), 203,204. Thérésa (Mme), 2.*>">. Thibaudin (général), 50, 00,</p>
<p>251,307,317. Thibouts (Lambert), 113. Thienet (Mme), 303. Thierry
(Edouard), 143, 172, Thirion-Montauban, 499. Tliiron, 87, 453, 482.
Tholer (Mlle), 80. Thomas (Ambroise). 52, 77,</p>
<p>90,172,487. Thomas, 173, 181, 182,230. Thuillier-Leloir (Mme), 1527,</p>
<p>'«18. Tillancourl (de), 220. Tirard, 1)0, 100, 318, 302,</p>
<p>499.</p>
<p>Toché (Raoul), 130, 132, 134,</p>
<p>513. Trewey, 201. Tribut'de Zamora (le), 157. Trogofï (Christian de),
331. Troplong, 411. Troubetzkoïfprince'i 200, 377. Trouillebert; 280,'
200, 300,</p>
<p>371. Trouvère (le), 250. Truffier, 13,231. Turquct (Edmond), 400. Tusini
(Mlle), 59/328.</p>
<p>U</p>
<p>Ugalde (Mlle Marguerite), 25, 31, 133, 134, 255, 303.</p>
<p>Ugalde (Mme), J34.</p>
<p>Uribaren (marquise de), 512.</p>
<p>V</p>
<p>Vacquerie (Auguste), 122,123, 124.</p>
<p>Vaillant-Couturier (Mme), 393, 395.</p>
<p>Valadê, 13,</p>
<p>Valattc (Aille Diane), 117.</p>
<p>Val-CastelIi(Mme),159.</p>
<p>Valdéjo,400.</p>
<p>Valère, 328.</p>
<p>Vallombrosa (duc de), 377.</p>
<p>Valter (Jean), 143.</p>
<p>Vandal,499.</p>
<p>Vanderbrugh, 389.</p>
<p>Vanghell(Mlic), 11,90.</p>
<p>Van'loo de Warzy, 210.</p>
<p>Vanloo, 30. 02, 212, 295, 391.</p>
<p>Van Zandt (Mlle Marie), 157, 109, 170, 173, 174, 175. 178, 228, 232,
320, 358, 359, 300, 301, 459.</p>
<p>Varennes (Mllev>, 30.</p>
<p>Variétés (th. des), 19, 20,21, 22, 23, 32, 04, 72, 78, 79,
81,210,308,307,383,402, 400, 424, 425, 420, 427, 441, 400, 408, 409,
471, 530.</p>
<p>Varin, 389.</p>
<p>Varney, 400.</p>
<p>Vast, 100.</p>
<p>Vaucorbeil, 1,49,02, 77,92,</p>
<p>94, 148, 172, 235, 271,</p>
<p>274, 322, 323, 324, 325,</p>
<p>301, 302, 373, 403, 488,</p>
<p>493, 497.</p>
<p>Vaudeville (th. du), 27, 57, 118, 194, 218, 220, 233,
234,235,230,259,280,299,</p>
<p><pb/></p>
<p>DKS NOMS CITES</p>
<p>565</p>
<p>340, 3i7, m, 473, 475,</p>
<p>470. Vauthier, 133.</p>
<p>Vauthier (Cons. munie) 135. Verdi, 3, 148, 140, 150, 372,</p>
<p>455,403, 405. Verne (Jules), 12, 279, 280,</p>
<p>282,418. V<5ron (Pierre), 2G0. 340,</p>
<p>428. Villars(Marcel), 159. Villeneuve (marquis de), «il2. Villiers
derisle-Âdam,05,00,</p>
<p>07, 08, 09, 70. Vitu (Auguste), 128, 208,</p>
<p>285, 389. Vizentini, 17, 282. Vogue" de), 172. Volny, 348, 524, 527
,.592. Voyage d'agrément (le), 233.</p>
<p>Vrignault (Mlle), 222, 348, 3/7.</p>
<p>W</p>
<p>Waldeck-Rousseau, 377. Walewski (comte), 44. Weiss (J. J.), 44, 128. 208,</p>
<p>389. Widor, 54, 90, 400, 499, Wilson (Mme), 459, 498. Wilson, 220, 317,
318, 430,</p>
<p>437, 470. Wixom(DoctO,230. Wolff (Alberl), 184, 208,</p>
<p>400,408,470. Worms, 225, 220, 330, 337. Wormser, 172. Wulff, 191.</p>
<p>Z</p>
<p>Zaguri, 512.</p>
<p>Zucchi (Mlle), 445,-447, 448.</p>
<p><pb/>
------------------------------------------------------------------------</p>
<p>TABLE DES MATIÈRES</p>
<p>JANVIER</p>
<p>Inauguration de PEden-ThéAtre. , . , . . . . . i</p>
<p>Les 600 francs de M. d'Ennery.......... 11</p>
<p>La fôte de Molière. . . . .... . . . .13</p>
<p>Reprise de GtralJa, ... , , . ... ... 16</p>
<p>Mam\el!e Niioucte . . . .... 19</p>
<p>Les soirées en partie double, ,,...,'...?. 25 - UGltt. ...... . . ., . .
. . . . . 36</p>
<p>le Droit d'aînesse. . . . . , . ? . .... . .29</p>
<p>Christian s'ennuie.. . ?....? . ... . . . . . 5'</p>
<p>Le mariage au théâtre. . . . . . . . . . . . 34 /</p>
<p>FKVRIUR</p>
<p>Monsieur le Minisire, .. . . . . . . ..... 39</p>
<p>Jjt Nom, ... . .. . . ' . . . . , . . , . 46</p>
<p>due d'opéras!. . . . . . ' . . . ... ....... . 48</p>
<p>Rentrée de Rosita Mauri. . . . . . . r . . . 52</p>
<p>La Tr incesse des Canaries . . . . . ..... . 54</p>
<p><pb/></p>
<p>56S TAULE |>ES MATIERES</p>
<p>Les Pommes d'or 5S</p>
<p>Les K de M. Brasseur 62</p>
<p>Le Nouveau Monde,. 65</p>
<p>Le galon au théâtre. ............ 71</p>
<p>La deux-centième d'Hamkt, 75</p>
<p>La Cigale- a la Renaissance. 78</p>
<p>Le Bis 81</p>
<p>Hallucination 84</p>
<p>MARS</p>
<p>Henry VIII 89</p>
<p>Peau veuve 102</p>
<p>Les Effrontés 105</p>
<p>Le Roi des Grecs, 109</p>
<p>L'influence du cercle sur le Théâtre. 113</p>
<p>L'As de trèfle '. 116</p>
<p>Formosa . . 122</p>
<p>Modèles de préfaces 127</p>
<p>Le Premier Baiser . . 130</p>
<p>Le Fond du sac.-L'Article 47 137</p>
<p>Le Siège civil. 140</p>
<p>L'Oiseau de proie 142</p>
<p>Les Bourgeois de Lille 144</p>
<p>AVRIL</p>
<p>Le cerveau de Verdi 14S</p>
<p>La reprise des fiurgraivs 150</p>
<p>La Champenoise 155</p>
<p><pb/></p>
<p>TAIlLH DES MATIÈRES y(if)</p>
<p>La Marotte. 158</p>
<p>Les Parisiens en province 161</p>
<p>Les autographes de M. Lisbonne ........ 163</p>
<p>Les derniers jours de l'Athénée 167</p>
<p>Lcihnè. ........ 169</p>
<p>Le Pavé de Paris 183</p>
<p>Reprise de Belle Lurette 187</p>
<p>Réouverture du Cirque d'l:té 191</p>
<p>Le Père de Martial 193</p>
<p>Une mode nouvelle 200</p>
<p>Louis XIV et sa Cour 202</p>
<p>Les applaudissements aux premières 207</p>
<p>MAI</p>
<p>Le Consolateur. - Le Pot au lait. - Madame est jalouse.</p>
<p>- Le Huis-Clos 211</p>
<p>Norma au Château-d'Eau 214</p>
<p>Et les autres? 217</p>
<p>Le Nouveau régime 221</p>
<p>Les Demoiselles de Saini-Cyr 224</p>
<p>Reprise de la Perle du Brésil. . . .? 227</p>
<p>La Vie facile 233</p>
<p>Le Conseil municipal de Viremollet 237</p>
<p>M. Larochelle et la chaleur 244</p>
<p>Toujours! 246</p>
<p>Henri III et sa Cour 248</p>
<p>L'Heure du Berger . 251</p>
<p>Les adieux de l'Athénée 254</p>
<p>JUIN</p>
<p>La 256</p>
<p>Reprise de la Faridondaine.- Le samedi du Grand Prix. . 258</p>
<p>32.</p>
<p><pb/></p>
<p>5J0 taim.i- i>r.s maïii:ki:s</p>
<p>Corneille n'est pas pschutt 261</p>
<p>Le carnet de Théo 263</p>
<p>Distribution solennelle des pris aus directeurs de théâtre. 2(58</p>
<p>SEPTEMBRE</p>
<p>Corneille chez d'Ennery . . , 274</p>
<p>Kèraban le Têtu 279</p>
<p>L'Exil d'Ovule.- Le Bel Armand 285</p>
<p>Les tableaux voyageurs 287</p>
<p>La mort de Célimene. .... ! 291</p>
<p>Prêle-moi ta femme 295</p>
<p>Le Théâtre A faire 298</p>
<p>Le carnet de Rousseil 502</p>
<p>Bêranger 504</p>
<p>Sellenick chez Thibaudin . 507</p>
<p>Reprise de Froufrou 510</p>
<p>Les Birmans au Cirque 316</p>
<p>La nouvelle Ophélie 319</p>
<p>Le Gala 522</p>
<p>Réouverture de la Renaissance 326</p>
<p>OCTOBRE</p>
<p>L'Affaire lie Virojîay, . 329</p>
<p>La Famille d'ArmeUcs 351</p>
<p>Les Mancroix . 335</p>
<p>Les deux Orphelines 342</p>
<p>L.es Ajfolis 346</p>
<p>Ma Camarade ' 3 51</p>
<p>Les défenseurs de Van Zandt ?'. 358</p>
<p><pb/></p>
<p>tabi.i: i > i : s .m au lui: s 571</p>
<p>Les Invisibles 369</p>
<p>Jm Traviata 372</p>
<p>Autour du Mariage 37.}</p>
<p>Brelan de débuts 582</p>
<p>Le draine de la puce 585</p>
<p>La première de l'Odéon 58S</p>
<p>Le Roi de Carreau 3<;i</p>
<p>Galli-Marié dans Canna: 396</p>
<p>Exécution d'un abonné \oi</p>
<p>Reprise d'Henry VI11 J05</p>
<p>NOVHMH1U-:</p>
<p>Un peu d'histoire J09</p>
<p>Mademoiselle- de Belle Jsle \i 5</p>
<p>La Clairon 416</p>
<p>François les bas bleus 420</p>
<p>Reprise de la Petile Marquise 124</p>
<p>Reprise de la Fie parisienne 426</p>
<p>Les oies du Cirque 429</p>
<p>Reprise des Pirates 135</p>
<p>La leçon d'Italien 15 s</p>
<p>Severo Torelli 137</p>
<p>Sieba 445</p>
<p>Bertrand et Raton 450</p>
<p>Le Gala italien 455</p>
<p>'Pscbtttt et Vlan j66</p>
<p>DÉCEMBRE</p>
<p>Les Rois en exil I72</p>
<p>L'Etudiant .......... ; .... * I79</p>
<p><pb/></p>
<p>572 taule uks .matières' |"</p>
<p>!.</p>
<p>Une Matinée de contrat. - Début de M. Henri Samary. , . 482 i'</p>
<p>' L'audition 484 N</p>
<p>La Farandole 487 ;</p>
<p>Le Maître de jorges 500 :</p>
<p>Fanfreluche 506 |</p>
<p>Marta . . , . 51 m</p>
<p>~ On ne répète rien 515 ï</p>
<p>NanaSahib . . . 518 j;</p>
<p>Mademoiselle Marsy . 529 i</p>
<p>M. Richepin dans Naiia Sabib. - Début aux Italiens. . . 532 ?</p>
<p>La Dormeuse éveillée 535 :</p>
<p>' Fiche-Ton-Kin . .__"_S40 \</p>
<p><pb/></p>
<p>çff^P^WI</p>
<p><pb/></p>
<p>Texte détérioré - reliure défectueuse NFZ 43-120-11</p>
</div>
</body>
</text>
</TEI>
| 49.680417 | 367 | 0.723481 |
8c7cbf2550a130a18a3d20741da01157245572d7 | 1,020 | xml | XML | backend/imager-demo/hof_furni2/country_rbw/country_rbw_assets.xml | TomAlderson/isom3tric | 88df9b57b4dec8a1652633e5705d1f0d0b3a9370 | [
"MIT"
] | 1 | 2020-03-18T17:06:18.000Z | 2020-03-18T17:06:18.000Z | backend/imager-demo/hof_furni2/country_rbw/country_rbw_assets.xml | TomAlderson/isom3tric | 88df9b57b4dec8a1652633e5705d1f0d0b3a9370 | [
"MIT"
] | 5 | 2021-01-05T16:32:00.000Z | 2022-02-10T20:07:30.000Z | backend/imager-demo/hof_furni2/country_rbw/country_rbw_assets.xml | TomAlderson/isom3tric | 88df9b57b4dec8a1652633e5705d1f0d0b3a9370 | [
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a59b0ae46f03d1486788bcf4c218aad5f66331a4 | 3,053 | xml | XML | l2j_datapack/dist/game/data/multisell/688.xml | RollingSoftware/L2J_HighFive_Hardcore | a3c794c82c32b5afca49416119b4aafa8fb9b6d4 | [
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] | null | null | null | l2j_datapack/dist/game/data/multisell/688.xml | RollingSoftware/L2J_HighFive_Hardcore | a3c794c82c32b5afca49416119b4aafa8fb9b6d4 | [
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] | 38 | 2018-02-06T17:11:29.000Z | 2018-06-05T20:47:59.000Z | l2j_datapack/dist/game/data/multisell/688.xml | RollingSoftware/L2J_HighFive_Hardcore | a3c794c82c32b5afca49416119b4aafa8fb9b6d4 | [
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<list xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:noNamespaceSchemaLocation="../xsd/multisell.xsd">
<npcs>
<npc>36483</npc> <!-- Mercenary Captain (Giran) -->
</npcs>
<item>
<!-- Adena -->
<ingredient count="13200" id="57" />
<!-- Transformation Scroll: Giran Human Mercenary -->
<production count="1" id="13593" />
</item>
<item>
<!-- Adena -->
<ingredient count="13200" id="57" />
<!-- Transformation Scroll: Giran Elf Mercenary -->
<production count="1" id="13594" />
</item>
<item>
<!-- Adena -->
<ingredient count="13200" id="57" />
<!-- Transformation Scroll: Giran Dark Elf Mercenary -->
<production count="1" id="13595" />
</item>
<item>
<!-- Adena -->
<ingredient count="13200" id="57" />
<!-- Transformation Scroll: Giran Orc Mercenary -->
<production count="1" id="13596" />
</item>
<item>
<!-- Adena -->
<ingredient count="13200" id="57" />
<!-- Transformation Scroll: Giran Dwarf Mercenary -->
<production count="1" id="13597" />
</item>
<item>
<!-- Adena -->
<ingredient count="13200" id="57" />
<!-- Transformation Scroll: Giran Kamael Mercenary -->
<production count="1" id="13598" />
</item>
<item>
<!-- Adena -->
<ingredient count="70000" id="57" />
<!-- Giran Disguise Scroll -->
<production count="1" id="13679" />
</item>
<item>
<!-- Adena -->
<ingredient count="12200" id="57" />
<!-- Giran Territory Badge -->
<ingredient count="10" id="13759" />
<!-- Red Talisman - Territory Guard -->
<production count="1" id="14812" />
</item>
<item>
<!-- Adena -->
<ingredient count="14500" id="57" />
<!-- Giran Territory Badge -->
<ingredient count="13" id="13759" />
<!-- Blue Talisman - Lord's Divine Protection -->
<production count="1" id="14813" />
</item>
<item>
<!-- Adena -->
<ingredient count="27800" id="57" />
<!-- Giran Territory Badge -->
<ingredient count="5" id="13759" />
<!-- Transformation Scroll: Giran Archer Mercenary -->
<production count="1" id="13600" />
</item>
<item>
<!-- Adena -->
<ingredient count="27800" id="57" />
<!-- Giran Territory Badge -->
<ingredient count="5" id="13759" />
<!-- Transformation Scroll: Giran Wizard Mercenary -->
<production count="1" id="13601" />
</item>
<item>
<!-- Adena -->
<ingredient count="27800" id="57" />
<!-- Giran Territory Badge -->
<ingredient count="5" id="13759" />
<!-- Transformation Scroll: Giran Kamael Captain Mercenary -->
<production count="1" id="13602" />
</item>
<item>
<!-- Adena -->
<ingredient count="55600" id="57" />
<!-- Giran Territory Badge -->
<ingredient count="10" id="13759" />
<!-- Transformation Scroll: Giran Knight Captain Mercenary -->
<production count="1" id="13603" />
</item>
<item>
<!-- Adena -->
<ingredient count="55600" id="57" />
<!-- Giran Territory Badge -->
<ingredient count="10" id="13759" />
<!-- Transformation Scroll: Giran Commander Mercenary -->
<production count="1" id="13604" />
</item>
</list> | 29.355769 | 113 | 0.596462 |
90c98343a2508d4cbe82e0030fad16665ead7004 | 923 | fxml | XML | JavaFX/OlaMundoJavaFX/src/olamundojavafx/FXMLDocument.fxml | VictorEmanuelLima/Projetos-Java | a49d89be18a33a22d959d0fbdd05d2a01b56bc5e | [
"MIT"
] | 1 | 2021-02-16T13:38:44.000Z | 2021-02-16T13:38:44.000Z | JavaFX/OlaMundoJavaFX/src/olamundojavafx/FXMLDocument.fxml | VictorEmanuelLima/Projetos-Java | a49d89be18a33a22d959d0fbdd05d2a01b56bc5e | [
"MIT"
] | null | null | null | JavaFX/OlaMundoJavaFX/src/olamundojavafx/FXMLDocument.fxml | VictorEmanuelLima/Projetos-Java | a49d89be18a33a22d959d0fbdd05d2a01b56bc5e | [
"MIT"
] | null | null | null | <?xml version="1.0" encoding="UTF-8"?>
<?import javafx.scene.text.*?>
<?import java.lang.*?>
<?import java.util.*?>
<?import javafx.scene.*?>
<?import javafx.scene.control.*?>
<?import javafx.scene.layout.*?>
<AnchorPane id="AnchorPane" prefHeight="200" prefWidth="320" xmlns:fx="http://javafx.com/fxml/1" xmlns="http://javafx.com/javafx/8" fx:controller="olamundojavafx.FXMLDocumentController">
<children>
<Button fx:id="btnClick" layoutX="98.0" layoutY="132.0" mnemonicParsing="false" onAction="#clicouBotao" text="Clique em mim!" textAlignment="CENTER" textFill="#2909ed">
<font>
<Font size="15.0" />
</font>
</Button>
<Label fx:id="lblMensagem" layoutX="32.0" layoutY="43.0" text="A menssagem vai aparecer aqui." textAlignment="CENTER" textFill="#f50808">
<font>
<Font size="18.0" />
</font>
</Label>
</children>
</AnchorPane>
| 38.458333 | 186 | 0.633803 |
640e10c452437bd50d5afeef8ee5794122bac211 | 544,715 | xml | XML | etc/camera/rkisp1/imx219_RPi_v21_default.xml | TinkerBoard2-Android/hardware-rockchip-camera | e8f7111b05ffdab015a411b4951163af4f0e9305 | [
"Apache-2.0"
] | null | null | null | etc/camera/rkisp1/imx219_RPi_v21_default.xml | TinkerBoard2-Android/hardware-rockchip-camera | e8f7111b05ffdab015a411b4951163af4f0e9305 | [
"Apache-2.0"
] | null | null | null | etc/camera/rkisp1/imx219_RPi_v21_default.xml | TinkerBoard2-Android/hardware-rockchip-camera | e8f7111b05ffdab015a411b4951163af4f0e9305 | [
"Apache-2.0"
] | null | null | null | <?xml version="1.0" encoding="utf-8"?>
<matfile>
<header type="struct" size="[1 1]">
<code_xml_parse_version index="1" type="char" size="[1 6]">
v1.5.0
</code_xml_parse_version>
<isp_output_type index="1" type="char" size="[1 6]">
color
</isp_output_type>
<creation_date index="1" type="char" size="[1 11]">
06-Aug-2014
</creation_date>
<creator index="1" type="char" size="[1 2]">
oyyf
</creator>
<sensor_name index="1" type="char" size="[1 7]">
IMX219
</sensor_name>
<sample_name index="1" type="char" size="[1 9]">
CMK-CT0116-FV1
</sample_name>
<generator_version index="1" type="char" size="[1 4]">
v0.1.0
</generator_version>
<sdk_IQfile_Verify index="1" type="char" size="[1 4]">
test
</sdk_IQfile_Verify>
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[706729]
</magic_code_version>
<resolution index="1" type="cell" size="[1 2]">
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1920x1080
</name>
<id index="1" type="char" size="[1 10]">
0x00000001
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<width index="1" type="double" size="[1 1]">
[1920]
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[1080]
</height>
<framerate index="1" type="cell" size="[1 3]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
FPS_15
</name>
<fps index="1" type="double" size="[1 1]">
[15]
</fps>
</cell>
</framerate>
</cell>
<cell index="2" type="struct" size="[1 1]">
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3280x2464
</name>
<id index="1" type="char" size="[1 10]">
0x00000002
</id>
<width index="1" type="double" size="[1 1]">
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</width>
<height index="1" type="double" size="[1 1]">
[2464]
</height>
<framerate index="1" type="cell" size="[1 1]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
FPS_08
</name>
<fps index="1" type="double" size="[1 1]">
[7.5]
</fps>
</cell>
</framerate>
</cell>
</resolution>
</header>
<sensor type="struct" size="[1 1]">
<AWB index="1" type="struct" size="[1 1]">
<valid_version_name index="1" type="char" size="[1 18]">
VERSION_10
</valid_version_name>
<version_10_para index="1" type="struct" size="[1 1]">
<globals index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 45]">
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1920x1080
</name>
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<SVDMeanValue index="1" type="double" size="[1 3]">
[0.371579 0.412287 0.216135]
</SVDMeanValue>
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<CenterLine index="1" type="double" size="[1 3]">
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</CenterLine>
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<K_Factor index="1" type="double" size="[1 1]">
[4.5676]
</K_Factor>
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[0.8 1.2 1.4 1.5 1.65 1.8]
</afFade2>
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[132 130 128 125 123 122]
</afCbMinRegionMax>
<afCrMinRegionMax index="1" type="double" size="[1 6]">
[120 124 128 128 129 130]
</afCrMinRegionMax>
<afMaxCSumRegionMax index="1" type="double" size="[1 6]">
[18 16 14 13 13 12]
</afMaxCSumRegionMax>
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[132 130 128 125 123 122]
</afCbMinRegionMin>
<afCrMinRegionMin index="1" type="double" size="[1 6]">
[120 124 128 128 129 130]
</afCrMinRegionMin>
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</afMaxCSumRegionMin>
<afMinCRegionMax index="1" type="double" size="[1 6]">
[18 17 15 15 14 13]
</afMinCRegionMax>
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[230 230 235 235 240 240]
</afMaxYRegionMax>
<afMinYMaxGRegionMax index="1" type="double" size="[1 6]">
[30 30 30 30 30 30]
</afMinYMaxGRegionMax>
<afMinCRegionMin index="1" type="double" size="[1 6]">
[16 14 13 12 12 11]
</afMinCRegionMin>
<afMaxYRegionMin index="1" type="double" size="[1 6]">
[230 230 230 230 230 230]
</afMaxYRegionMin>
<afMinYMaxGRegionMin index="1" type="double" size="[1 6]">
[30 30 30 30 30 30]
</afMinYMaxGRegionMin>
<afRefCb index="1" type="double" size="[1 6]">
[130 130 130 130 130 130]
</afRefCb>
<afRefCr index="1" type="double" size="[1 6]">
[128 128 128 128 128 128]
</afRefCr>
<RegionSize index="1" type="double" size="[1 1]">
[1]
</RegionSize>
<RegionSizeInc index="1" type="double" size="[1 1]">
[0.8]
</RegionSizeInc>
<RegionSizeDec index="1" type="double" size="[1 1]">
[0.05]
</RegionSizeDec>
<fRgProjIndoorMin index="1" type="double" size="[1 1]">
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</fRgProjIndoorMin>
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[1.9407]
</fRgProjMaxSky>
<fRgProjOutdoorMin index="1" type="double" size="[1 1]">
[1.3802]
</fRgProjOutdoorMin>
<fRgProjYellowLimitEnable index="1" type="double" size="[1 1]">
[0]
</fRgProjYellowLimitEnable>
<fRgProjALimit index="1" type="double" size="[1 1]">
[0.92852]
</fRgProjALimit>
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[0.6]
</fRgProjAWeight>
<fRgProjYellowLimit index="1" type="double" size="[1 1]">
[0.92852]
</fRgProjYellowLimit>
<fRgProjIllToCwfEnable index="1" type="double" size="[1 1]">
[0]
</fRgProjIllToCwfEnable>
<fRgProjIllToCwf index="1" type="double" size="[1 1]">
[1]
</fRgProjIllToCwf>
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[0.6]
</fRgProjIllToCwfWeight>
<awb_clip_outdoor index="1" type="char" size="[1 3]">
D65
</awb_clip_outdoor>
<IIR index="1" type="struct" size="[1 9]">
<DampCoefAdd index="1" type="double" size="[1 1]">
[0.05]
</DampCoefAdd>
<DampCoefSub index="1" type="double" size="[1 1]">
[0.05]
</DampCoefSub>
<DampFilterThreshold index="1" type="double" size="[1 1]">
[0.1]
</DampFilterThreshold>
<DampingCoefMin index="1" type="double" size="[1 1]">
[0.6]
</DampingCoefMin>
<DampingCoefMax index="1" type="double" size="[1 1]">
[0.8]
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<DampingCoefInit index="1" type="double" size="[1 1]">
[0.6]
</DampingCoefInit>
<ExpPriorFilterSizeMax index="1" type="double" size="[1 1]">
[50]
</ExpPriorFilterSizeMax>
<ExpPriorFilterSizeMin index="1" type="double" size="[1 1]">
[1]
</ExpPriorFilterSizeMin>
<ExpPriorMiddle index="1" type="double" size="[1 1]">
[0.5]
</ExpPriorMiddle>
</IIR>
</cell>
<cell index="2" type="struct" size="[1 45]">
<name index="1" type="char" size="[1 9]">
3280x2464
</name>
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<SVDMeanValue index="1" type="double" size="[1 3]">
[0.371579 0.412287 0.216135]
</SVDMeanValue>
<PCAMatrix index="1" type="double" size="[2 3]">
[-0.712259 0.01042 0.701839 0.399191 -0.81643 0.417239]
</PCAMatrix>
<CenterLine index="1" type="double" size="[1 3]">
[-0.853311 -0.521402 -2.162819]
</CenterLine>
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[0.925481 0.999256 1.04089 1.10171 1.147263 1.204712 1.258461 1.315191 1.38903 1.447961 1.537817 1.613139 1.674693 1.742401 1.792483 1.840744]
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[0.925481 0.996527 1.066141 1.134322 1.20107 1.266385 1.330268 1.392718 1.453736 1.513321 1.571473 1.628192 1.683479 1.737333 1.789755 1.840744]
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<afGlobalGainDistance1 index="1" type="double" size="[1 16]">
[0.12108 0.14197 0.160594 0.176954 0.191048 0.202878 0.212443 0.219743 0.224778 0.227548 0.228053 0.226294 0.222269 0.21598 0.207425 0.196606]
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<K_Factor index="1" type="double" size="[1 1]">
[4.5676]
</K_Factor>
<afFade2 index="1" type="double" size="[1 6]">
[0.8 1.2 1.4 1.5 1.65 1.8]
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<afCbMinRegionMax index="1" type="double" size="[1 6]">
[132 130 128 125 123 122]
</afCbMinRegionMax>
<afCrMinRegionMax index="1" type="double" size="[1 6]">
[120 124 128 128 129 130]
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[18 16 14 13 13 12]
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[132 130 128 125 123 122]
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[120 124 128 128 129 130]
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[18 17 15 15 14 13]
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[230 230 235 235 240 240]
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[16 14 13 12 12 11]
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[230 230 230 230 230 230]
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<afMinYMaxGRegionMin index="1" type="double" size="[1 6]">
[30 30 30 30 30 30]
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<afRefCb index="1" type="double" size="[1 6]">
[130 130 130 130 130 130]
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<afRefCr index="1" type="double" size="[1 6]">
[128 128 128 128 128 128]
</afRefCr>
<RegionSize index="1" type="double" size="[1 1]">
[1]
</RegionSize>
<RegionSizeInc index="1" type="double" size="[1 1]">
[0.8]
</RegionSizeInc>
<RegionSizeDec index="1" type="double" size="[1 1]">
[0.05]
</RegionSizeDec>
<fRgProjIndoorMin index="1" type="double" size="[1 1]">
[0.92548]
</fRgProjIndoorMin>
<fRgProjMax index="1" type="double" size="[1 1]">
[1.8407]
</fRgProjMax>
<fRgProjMaxSky index="1" type="double" size="[1 1]">
[1.9407]
</fRgProjMaxSky>
<fRgProjOutdoorMin index="1" type="double" size="[1 1]">
[1.3802]
</fRgProjOutdoorMin>
<fRgProjYellowLimitEnable index="1" type="double" size="[1 1]">
[0]
</fRgProjYellowLimitEnable>
<fRgProjALimit index="1" type="double" size="[1 1]">
[0.92852]
</fRgProjALimit>
<fRgProjAWeight index="1" type="double" size="[1 1]">
[0.6]
</fRgProjAWeight>
<fRgProjYellowLimit index="1" type="double" size="[1 1]">
[0.92852]
</fRgProjYellowLimit>
<fRgProjIllToCwfEnable index="1" type="double" size="[1 1]">
[0]
</fRgProjIllToCwfEnable>
<fRgProjIllToCwf index="1" type="double" size="[1 1]">
[1]
</fRgProjIllToCwf>
<fRgProjIllToCwfWeight index="1" type="double" size="[1 1]">
[0.6]
</fRgProjIllToCwfWeight>
<awb_clip_outdoor index="1" type="char" size="[1 3]">
D65
</awb_clip_outdoor>
<IIR index="1" type="struct" size="[1 9]">
<DampCoefAdd index="1" type="double" size="[1 1]">
[0.05]
</DampCoefAdd>
<DampCoefSub index="1" type="double" size="[1 1]">
[0.05]
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<DampFilterThreshold index="1" type="double" size="[1 1]">
[0.1]
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<DampingCoefMin index="1" type="double" size="[1 1]">
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<DampingCoefMax index="1" type="double" size="[1 1]">
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<DampingCoefInit index="1" type="double" size="[1 1]">
[0.6]
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<ExpPriorFilterSizeMax index="1" type="double" size="[1 1]">
[50]
</ExpPriorFilterSizeMax>
<ExpPriorFilterSizeMin index="1" type="double" size="[1 1]">
[1]
</ExpPriorFilterSizeMin>
<ExpPriorMiddle index="1" type="double" size="[1 1]">
[0.5]
</ExpPriorMiddle>
</IIR>
</cell>
</globals>
<illumination index="1" type="cell" size="[1 6]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 1]">
A
</name>
<doorType index="1" type="char" size="[1 6]">
Indoor
</doorType>
<GMM index="1" type="struct" size="[1 1]">
<invCovMatrix index="1" type="double" size="[1 4]">
[3440.412051 3647.530408 3647.530408 5655.817467]
</invCovMatrix>
<GaussianScalingFactor index="1" type="double" size="[1 1]">
[394.815418]
</GaussianScalingFactor>
<tau index="1" type="double" size="[1 2]">
[0.85 0.9]
</tau>
<GaussianMeanValue index="1" type="double" size="[1 2]">
[-0.046203 -0.016882]
</GaussianMeanValue>
</GMM>
<aLSC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 30]">
1920x1080_A_100 1920x1080_A_70
</LSC_PROFILE_LIST>
</cell>
<cell index="2" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 30]">
3280x2464_A_100 3280x2464_A_70
</LSC_PROFILE_LIST>
</cell>
</aLSC>
<manualWB index="1" type="double" size="[1 4]">
[1.04661947889115 1 1 2.43352683362607]
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<manualccMatrix index="1" type="double" size="[3 3]">
[1.65795061374906 0.0694855741699697 -0.727436187919027 -0.630583508962442 2.34036481685709 -0.709781307894647 -0.22959929032443 -1.02591145241468 2.25551074273911]
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<manualccOffsets index="1" type="double" size="[1 3]">
[-20 -20 -20]
</manualccOffsets>
<awbType index="1" type="char" size="[1 4]">
AUTO
</awbType>
<sat_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<sat index="1" type="double" size="[1 4]">
[100 90 85 74]
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<vig_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<vig index="1" type="double" size="[1 4]">
[100 90 80 70]
</vig>
</vig_CT>
<aCC index="1" type="struct" size="[1 1]">
<CC_PROFILE_LIST index="1" type="char" size="[1 10]">
A_100 A_74
</CC_PROFILE_LIST>
</aCC>
</cell>
<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 3]">
D65
</name>
<doorType index="1" type="char" size="[1 7]">
Outdoor
</doorType>
<GMM index="1" type="struct" size="[1 1]">
<invCovMatrix index="1" type="double" size="[1 4]">
[406.302618 183.424033 183.424033 2109.591699]
</invCovMatrix>
<GaussianScalingFactor index="1" type="double" size="[1 1]">
[144.427151]
</GaussianScalingFactor>
<tau index="1" type="double" size="[1 2]">
[1 1]
</tau>
<GaussianMeanValue index="1" type="double" size="[1 2]">
[0.163556 -0.018115]
</GaussianMeanValue>
</GMM>
<aLSC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 34]">
1920x1080_D65_100 1920x1080_D65_70
</LSC_PROFILE_LIST>
</cell>
<cell index="2" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 34]">
3280x2464_D65_100 3280x2464_D65_70
</LSC_PROFILE_LIST>
</cell>
</aLSC>
<manualWB index="1" type="double" size="[1 4]">
[1.72464937236571 1 1 1.33835481986595]
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[2.44502539745887 -0.994550826887722 -0.450474570571146 -0.497804850372478 2.22995612830481 -0.73215127793233 -0.190874833635199 -0.599743981093874 1.79061881472907]
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[-20 -20 -20]
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<awbType index="1" type="char" size="[1 4]">
AUTO
</awbType>
<sat_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<sat index="1" type="double" size="[1 4]">
[100 90 85 74]
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<vig_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
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<vig index="1" type="double" size="[1 4]">
[100 90 80 70]
</vig>
</vig_CT>
<aCC index="1" type="struct" size="[1 1]">
<CC_PROFILE_LIST index="1" type="char" size="[1 14]">
D65_100 D65_74
</CC_PROFILE_LIST>
</aCC>
</cell>
<cell index="3" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
F2_CWF
</name>
<doorType index="1" type="char" size="[1 6]">
Indoor
</doorType>
<GMM index="1" type="struct" size="[1 1]">
<invCovMatrix index="1" type="double" size="[1 4]">
[617.542612 276.075027 276.075027 2172.40901]
</invCovMatrix>
<GaussianScalingFactor index="1" type="double" size="[1 1]">
[179.028992]
</GaussianScalingFactor>
<tau index="1" type="double" size="[1 2]">
[0.87 0.93]
</tau>
<GaussianMeanValue index="1" type="double" size="[1 2]">
[0.057096 -0.054616]
</GaussianMeanValue>
</GMM>
<aLSC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 40]">
1920x1080_F2_CWF_100 1920x1080_F2_CWF_70
</LSC_PROFILE_LIST>
</cell>
<cell index="2" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 40]">
3280x2464_F2_CWF_100 3280x2464_F2_CWF_70
</LSC_PROFILE_LIST>
</cell>
</aLSC>
<manualWB index="1" type="double" size="[1 4]">
[1.41906563549402 1 1 1.99558226550223]
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[2.78676566744933 -1.2938265869009 -0.492939080548426 -0.771470927148462 2.27012133401907 -0.498650406870606 -0.251888319708749 -0.752491249668942 2.00437956937769]
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<manualccOffsets index="1" type="double" size="[1 3]">
[-20 -20 -20]
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<awbType index="1" type="char" size="[1 4]">
AUTO
</awbType>
<sat_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<sat index="1" type="double" size="[1 4]">
[100 90 85 74]
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<vig_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
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<vig index="1" type="double" size="[1 4]">
[100 90 80 70]
</vig>
</vig_CT>
<aCC index="1" type="struct" size="[1 1]">
<CC_PROFILE_LIST index="1" type="char" size="[1 20]">
F2_CWF_100 F2_CWF_74
</CC_PROFILE_LIST>
</aCC>
</cell>
<cell index="4" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 8]">
F11_TL84
</name>
<doorType index="1" type="char" size="[1 6]">
Indoor
</doorType>
<GMM index="1" type="struct" size="[1 1]">
<invCovMatrix index="1" type="double" size="[1 4]">
[590.06017 425.100544 425.100544 1698.403383]
</invCovMatrix>
<GaussianScalingFactor index="1" type="double" size="[1 1]">
[144.248276]
</GaussianScalingFactor>
<tau index="1" type="double" size="[1 2]">
[0.85 0.95]
</tau>
<GaussianMeanValue index="1" type="double" size="[1 2]">
[0.033234 -0.034696]
</GaussianMeanValue>
</GMM>
<aLSC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 44]">
1920x1080_F11_TL84_100 1920x1080_F11_TL84_70
</LSC_PROFILE_LIST>
</cell>
<cell index="2" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 44]">
3280x2464_F11_TL84_100 3280x2464_F11_TL84_70
</LSC_PROFILE_LIST>
</cell>
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<manualWB index="1" type="double" size="[1 4]">
[1.28859003199883 1 1 2.04141767445227]
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<manualccMatrix index="1" type="double" size="[3 3]">
[2.27020800078897 -0.680022460145848 -0.590185540643117 -0.681860588472907 2.24764079033954 -0.56578020186663 -0.211514745655482 -0.93550552904891 2.14702027470439]
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<manualccOffsets index="1" type="double" size="[1 3]">
[-20 -20 -20]
</manualccOffsets>
<awbType index="1" type="char" size="[1 4]">
AUTO
</awbType>
<sat_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<sat index="1" type="double" size="[1 4]">
[100 90 85 74]
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<vig_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
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<vig index="1" type="double" size="[1 4]">
[100 90 80 70]
</vig>
</vig_CT>
<aCC index="1" type="struct" size="[1 1]">
<CC_PROFILE_LIST index="1" type="char" size="[1 24]">
F11_TL84_100 F11_TL84_74
</CC_PROFILE_LIST>
</aCC>
</cell>
<cell index="5" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 3]">
D50
</name>
<doorType index="1" type="char" size="[1 7]">
Outdoor
</doorType>
<GMM index="1" type="struct" size="[1 1]">
<invCovMatrix index="1" type="double" size="[1 4]">
[306.108907881601 59.055933377413 59.055933377413 1130.21882417652]
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<GaussianScalingFactor index="1" type="double" size="[1 1]">
[93.1406555608359]
</GaussianScalingFactor>
<tau index="1" type="double" size="[1 2]">
[1 1]
</tau>
<GaussianMeanValue index="1" type="double" size="[1 2]">
[0.0641388612433444 -0.0473733166978402]
</GaussianMeanValue>
</GMM>
<aLSC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 34]">
1920x1080_D50_100 1920x1080_D50_70
</LSC_PROFILE_LIST>
</cell>
<cell index="2" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 34]">
3280x2464_D50_100 3280x2464_D50_70
</LSC_PROFILE_LIST>
</cell>
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<manualWB index="1" type="double" size="[1 4]">
[1.66686004309311 1 1 1.55107334809545]
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[1.82276223608526 -0.622415852146652 -0.20034638393861 -0.300004837921671 1.61927730227101 -0.319272464349334 -0.0553993764292473 -0.713426478520189 1.76882585494944]
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<manualccOffsets index="1" type="double" size="[1 3]">
[-20 -20 -20]
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<awbType index="1" type="char" size="[1 4]">
AUTO
</awbType>
<sat_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
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[100 90 85 74]
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[1 4 8 12]
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<vig index="1" type="double" size="[1 4]">
[100 90 80 70]
</vig>
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<aCC index="1" type="struct" size="[1 1]">
<CC_PROFILE_LIST index="1" type="char" size="[1 14]">
D50_100 D50_74
</CC_PROFILE_LIST>
</aCC>
</cell>
<cell index="6" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 3]">
D75
</name>
<doorType index="1" type="char" size="[1 7]">
Outdoor
</doorType>
<GMM index="1" type="struct" size="[1 1]">
<invCovMatrix index="1" type="double" size="[1 4]">
[271.146904419408 -79.8136872963803 -79.8136872963803 1177.37146121354]
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[89.0230300200352]
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<tau index="1" type="double" size="[1 2]">
[1 1]
</tau>
<GaussianMeanValue index="1" type="double" size="[1 2]">
[0.145095472050506 -0.0208175427469098]
</GaussianMeanValue>
</GMM>
<aLSC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 34]">
1920x1080_D75_100 1920x1080_D75_70
</LSC_PROFILE_LIST>
</cell>
<cell index="2" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 34]">
3280x2464_D75_100 3280x2464_D75_70
</LSC_PROFILE_LIST>
</cell>
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<manualWB index="1" type="double" size="[1 4]">
[1.94515936756641 1 1 1.24102483601273]
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[-20 -20 -20]
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AUTO
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<sat_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<sat index="1" type="double" size="[1 4]">
[100 90 85 74]
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[1 4 8 12]
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<vig index="1" type="double" size="[1 4]">
[100 90 80 70]
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<aCC index="1" type="struct" size="[1 1]">
<CC_PROFILE_LIST index="1" type="char" size="[1 14]">
D75_100 D75_74
</CC_PROFILE_LIST>
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<cell index="7" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 7]">
Horizon
</name>
<doorType index="1" type="char" size="[1 6]">
Indoor
</doorType>
<GMM index="1" type="struct" size="[1 1]">
<invCovMatrix index="1" type="double" size="[1 4]">
[2451.93 2980.94 2980.94 4990.7962]
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<GaussianScalingFactor index="1" type="double" size="[1 1]">
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<tau index="1" type="double" size="[1 2]">
[1 1]
</tau>
<GaussianMeanValue index="1" type="double" size="[1 2]">
[-0.148761 -0.010346]
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</GMM>
<aLSC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 42]">
1920x1080_Horizon_100 1920x1080_Horizon_70
</LSC_PROFILE_LIST>
</cell>
<cell index="2" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 42]">
3280x2464_Horizon_100 3280x2464_Horizon_70
</LSC_PROFILE_LIST>
</cell>
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[1 1.09343674302119 1.09343674302119 2.7625037771554]
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[-20 -20 -20]
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AUTO
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[1 4 8 12]
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[100 90 85 74]
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[1 4 8 12]
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<vig index="1" type="double" size="[1 4]">
[100 90 80 70]
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<CC_PROFILE_LIST index="1" type="char" size="[1 22]">
Horizon_100 Horizon_74
</CC_PROFILE_LIST>
</aCC>
</cell>
</illumination>
</version_10_para>
<version_11_para index="1" type="struct" size="[1 1]">
<globals index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 45]">
<name index="1" type="char" size="[1 9]">
1920x1080
</name>
<resolution index="1" type="char" size="[1 9]">
1920x1080
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<CenterLine index="1" type="double" size="[1 3]">
[-0.853311 -0.521402 -2.162819]
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[1]
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[0.925481 0.999256 1.04089 1.10171 1.147263 1.204712 1.258461 1.315191 1.38903 1.447961 1.537817 1.613139 1.674693 1.742401 1.792483 1.840744]
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[0.168322 0.157794 0.198038 0.209136 0.239742 0.240255 0.262872 0.283609 0.268144 0.262075 0.229456 0.207408 0.209571 0.198044 0.21528 0.234652]
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[4.5676]
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<afFade2 index="1" type="double" size="[1 6]">
[0.8 1.2 1.4 1.5 1.65 1.8]
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[15 13 12 12 12 10]
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[16 12 9 9 9 9]
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[18 17 15 15 14 13]
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[230 230 235 235 240 240]
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<afMinY_br index="1" type="double" size="[1 6]">
[30 30 30 30 30 30]
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[16 14 13 12 12 11]
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[230 230 230 230 230 230]
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[30 30 30 30 30 30]
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<afRefCb index="1" type="double" size="[1 6]">
[130 130 130 130 130 130]
</afRefCb>
<afRefCr index="1" type="double" size="[1 6]">
[128 128 128 128 128 128]
</afRefCr>
<RegionSize index="1" type="double" size="[1 1]">
[1]
</RegionSize>
<RegionSizeInc index="1" type="double" size="[1 1]">
[0.8]
</RegionSizeInc>
<RegionSizeDec index="1" type="double" size="[1 1]">
[0.05]
</RegionSizeDec>
<fRgProjIndoorMin index="1" type="double" size="[1 1]">
[0.92548]
</fRgProjIndoorMin>
<fRgProjMax index="1" type="double" size="[1 1]">
[1.8407]
</fRgProjMax>
<fRgProjMaxSky index="1" type="double" size="[1 1]">
[1.9407]
</fRgProjMaxSky>
<fRgProjOutdoorMin index="1" type="double" size="[1 1]">
[1.3802]
</fRgProjOutdoorMin>
<fRgProjYellowLimitEnable index="1" type="double" size="[1 1]">
[0]
</fRgProjYellowLimitEnable>
<fRgProjALimit index="1" type="double" size="[1 1]">
[0.92852]
</fRgProjALimit>
<fRgProjAWeight index="1" type="double" size="[1 1]">
[0.6]
</fRgProjAWeight>
<fRgProjYellowLimit index="1" type="double" size="[1 1]">
[0.92852]
</fRgProjYellowLimit>
<fRgProjIllToCwfEnable index="1" type="double" size="[1 1]">
[0]
</fRgProjIllToCwfEnable>
<fRgProjIllToCwf index="1" type="double" size="[1 1]">
[1]
</fRgProjIllToCwf>
<fRgProjIllToCwfWeight index="1" type="double" size="[1 1]">
[0.6]
</fRgProjIllToCwfWeight>
<awb_clip_outdoor index="1" type="char" size="[1 3]">
D65
</awb_clip_outdoor>
<IIR index="1" type="struct" size="[1 9]">
<DampCoefAdd index="1" type="double" size="[1 1]">
[0.05]
</DampCoefAdd>
<DampCoefSub index="1" type="double" size="[1 1]">
[0.05]
</DampCoefSub>
<DampFilterThreshold index="1" type="double" size="[1 1]">
[0.1]
</DampFilterThreshold>
<DampingCoefMin index="1" type="double" size="[1 1]">
[0.6]
</DampingCoefMin>
<DampingCoefMax index="1" type="double" size="[1 1]">
[0.8]
</DampingCoefMax>
<DampingCoefInit index="1" type="double" size="[1 1]">
[0.6]
</DampingCoefInit>
<ExpPriorFilterSizeMax index="1" type="double" size="[1 1]">
[50]
</ExpPriorFilterSizeMax>
<ExpPriorFilterSizeMin index="1" type="double" size="[1 1]">
[1]
</ExpPriorFilterSizeMin>
<ExpPriorMiddle index="1" type="double" size="[1 1]">
[0.5]
</ExpPriorMiddle>
</IIR>
</cell>
<cell index="2" type="struct" size="[1 45]">
<name index="1" type="char" size="[1 9]">
3280x2464
</name>
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<CenterLine index="1" type="double" size="[1 3]">
[-0.853311 -0.521402 -2.162819]
</CenterLine>
<afWBGainClipEnable index="1" type="double" size="[1 1]">
[1]
</afWBGainClipEnable>
<afRg2 index="1" type="double" size="[1 16]">
[0.925481 0.999256 1.04089 1.10171 1.147263 1.204712 1.258461 1.315191 1.38903 1.447961 1.537817 1.613139 1.674693 1.742401 1.792483 1.840744]
</afRg2>
<afMaxDist2 index="1" type="double" size="[1 16]">
[0.168322 0.157794 0.198038 0.209136 0.239742 0.240255 0.262872 0.283609 0.268144 0.262075 0.229456 0.207408 0.209571 0.198044 0.21528 0.234652]
</afMaxDist2>
<afRg1 index="1" type="double" size="[1 16]">
[0.925481 0.996527 1.066141 1.134322 1.20107 1.266385 1.330268 1.392718 1.453736 1.513321 1.571473 1.628192 1.683479 1.737333 1.789755 1.840744]
</afRg1>
<afMaxDist1 index="1" type="double" size="[1 16]">
[0.092168 0.108106 0.122366 0.134946 0.145848 0.155071 0.162615 0.168479 0.172665 0.175172 0.176 0.175149 0.172619 0.16841 0.162522 0.154955]
</afMaxDist1>
<afGlobalFade2 index="1" type="double" size="[1 16]">
[0.875481 0.929445 0.973548 1.03145 1.096767 1.161334 1.231833 1.319097 1.398182 1.473129 1.558536 1.649922 1.741667 1.811791 1.888775 1.940744]
</afGlobalFade2>
<afGlobalGainDistance2 index="1" type="double" size="[1 16]">
[0.221322 0.264033 0.323797 0.381925 0.407137 0.429996 0.426522 0.408246 0.409247 0.386023 0.373154 0.367814 0.352364 0.347714 0.332778 0.364657]
</afGlobalGainDistance2>
<afGlobalFade1 index="1" type="double" size="[1 16]">
[0.875481 0.960027 1.042641 1.123321 1.20207 1.278885 1.353768 1.426718 1.497736 1.566821 1.633973 1.699192 1.762479 1.823833 1.883255 1.940744]
</afGlobalFade1>
<afGlobalGainDistance1 index="1" type="double" size="[1 16]">
[0.12108 0.14197 0.160594 0.176954 0.191048 0.202878 0.212443 0.219743 0.224778 0.227548 0.228053 0.226294 0.222269 0.21598 0.207425 0.196606]
</afGlobalGainDistance1>
<K_Factor index="1" type="double" size="[1 1]">
[4.5676]
</K_Factor>
<afFade2 index="1" type="double" size="[1 6]">
[0.8 1.2 1.4 1.5 1.65 1.8]
</afFade2>
<afmaxCSum_br index="1" type="double" size="[1 6]">
[15 13 12 12 12 10]
</afmaxCSum_br>
<afmaxCSum_sr index="1" type="double" size="[1 6]">
[16 12 9 9 9 9]
</afmaxCSum_sr>
<afminC_br index="1" type="double" size="[1 6]">
[18 17 15 15 14 13]
</afminC_br>
<afMaxY_br index="1" type="double" size="[1 6]">
[230 230 235 235 240 240]
</afMaxY_br>
<afMinY_br index="1" type="double" size="[1 6]">
[30 30 30 30 30 30]
</afMinY_br>
<afminC_sr index="1" type="double" size="[1 6]">
[16 14 13 12 12 11]
</afminC_sr>
<afMaxY_sr index="1" type="double" size="[1 6]">
[230 230 230 230 230 230]
</afMaxY_sr>
<afMinY_sr index="1" type="double" size="[1 6]">
[30 30 30 30 30 30]
</afMinY_sr>
<afRefCb index="1" type="double" size="[1 6]">
[130 130 130 130 130 130]
</afRefCb>
<afRefCr index="1" type="double" size="[1 6]">
[128 128 128 128 128 128]
</afRefCr>
<RegionSize index="1" type="double" size="[1 1]">
[1]
</RegionSize>
<RegionSizeInc index="1" type="double" size="[1 1]">
[0.8]
</RegionSizeInc>
<RegionSizeDec index="1" type="double" size="[1 1]">
[0.05]
</RegionSizeDec>
<fRgProjIndoorMin index="1" type="double" size="[1 1]">
[0.92548]
</fRgProjIndoorMin>
<fRgProjMax index="1" type="double" size="[1 1]">
[1.8407]
</fRgProjMax>
<fRgProjMaxSky index="1" type="double" size="[1 1]">
[1.9407]
</fRgProjMaxSky>
<fRgProjOutdoorMin index="1" type="double" size="[1 1]">
[1.3802]
</fRgProjOutdoorMin>
<fRgProjYellowLimitEnable index="1" type="double" size="[1 1]">
[0]
</fRgProjYellowLimitEnable>
<fRgProjALimit index="1" type="double" size="[1 1]">
[0.92852]
</fRgProjALimit>
<fRgProjAWeight index="1" type="double" size="[1 1]">
[0.6]
</fRgProjAWeight>
<fRgProjYellowLimit index="1" type="double" size="[1 1]">
[0.92852]
</fRgProjYellowLimit>
<fRgProjIllToCwfEnable index="1" type="double" size="[1 1]">
[0]
</fRgProjIllToCwfEnable>
<fRgProjIllToCwf index="1" type="double" size="[1 1]">
[1]
</fRgProjIllToCwf>
<fRgProjIllToCwfWeight index="1" type="double" size="[1 1]">
[0.6]
</fRgProjIllToCwfWeight>
<awb_clip_outdoor index="1" type="char" size="[1 3]">
D65
</awb_clip_outdoor>
<IIR index="1" type="struct" size="[1 9]">
<DampCoefAdd index="1" type="double" size="[1 1]">
[0.05]
</DampCoefAdd>
<DampCoefSub index="1" type="double" size="[1 1]">
[0.05]
</DampCoefSub>
<DampFilterThreshold index="1" type="double" size="[1 1]">
[0.1]
</DampFilterThreshold>
<DampingCoefMin index="1" type="double" size="[1 1]">
[0.6]
</DampingCoefMin>
<DampingCoefMax index="1" type="double" size="[1 1]">
[0.8]
</DampingCoefMax>
<DampingCoefInit index="1" type="double" size="[1 1]">
[0.6]
</DampingCoefInit>
<ExpPriorFilterSizeMax index="1" type="double" size="[1 1]">
[50]
</ExpPriorFilterSizeMax>
<ExpPriorFilterSizeMin index="1" type="double" size="[1 1]">
[1]
</ExpPriorFilterSizeMin>
<ExpPriorMiddle index="1" type="double" size="[1 1]">
[0.5]
</ExpPriorMiddle>
</IIR>
</cell>
</globals>
<illumination index="1" type="cell" size="[1 6]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 1]">
A
</name>
<doorType index="1" type="char" size="[1 6]">
Indoor
</doorType>
<referenceWBgain index="1" type="double" size="[1 4]">
[1.04661947889115 1 1 2.43352683362607]
</referenceWBgain>
<aLSC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 30]">
1920x1080_A_100 1920x1080_A_70
</LSC_PROFILE_LIST>
</cell>
<cell index="2" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 30]">
3280x2464_A_100 3280x2464_A_70
</LSC_PROFILE_LIST>
</cell>
</aLSC>
<manualWB index="1" type="double" size="[1 4]">
[1.04661947889115 1 1 2.43352683362607]
</manualWB>
<manualccMatrix index="1" type="double" size="[3 3]">
[1.65795061374906 0.0694855741699697 -0.727436187919027 -0.630583508962442 2.34036481685709 -0.709781307894647 -0.22959929032443 -1.02591145241468 2.25551074273911]
</manualccMatrix>
<manualccOffsets index="1" type="double" size="[1 3]">
[-20 -20 -20]
</manualccOffsets>
<awbType index="1" type="char" size="[1 4]">
AUTO
</awbType>
<sat_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<sat index="1" type="double" size="[1 4]">
[100 90 85 74]
</sat>
</sat_CT>
<vig_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<vig index="1" type="double" size="[1 4]">
[100 90 80 70]
</vig>
</vig_CT>
<aCC index="1" type="struct" size="[1 1]">
<CC_PROFILE_LIST index="1" type="char" size="[1 10]">
A_100 A_74
</CC_PROFILE_LIST>
</aCC>
</cell>
<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 3]">
D65
</name>
<doorType index="1" type="char" size="[1 7]">
Outdoor
</doorType>
<referenceWBgain index="1" type="double" size="[1 4]">
[1.72464937236571 1 1 1.33835481986595]
</referenceWBgain>
<aLSC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 34]">
1920x1080_D65_100 1920x1080_D65_70
</LSC_PROFILE_LIST>
</cell>
<cell index="2" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 34]">
3280x2464_D65_100 3280x2464_D65_70
</LSC_PROFILE_LIST>
</cell>
</aLSC>
<manualWB index="1" type="double" size="[1 4]">
[1.72464937236571 1 1 1.33835481986595]
</manualWB>
<manualccMatrix index="1" type="double" size="[3 3]">
[2.44502539745887 -0.994550826887722 -0.450474570571146 -0.497804850372478 2.22995612830481 -0.73215127793233 -0.190874833635199 -0.599743981093874 1.79061881472907]
</manualccMatrix>
<manualccOffsets index="1" type="double" size="[1 3]">
[-20 -20 -20]
</manualccOffsets>
<awbType index="1" type="char" size="[1 4]">
AUTO
</awbType>
<sat_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<sat index="1" type="double" size="[1 4]">
[100 90 85 74]
</sat>
</sat_CT>
<vig_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<vig index="1" type="double" size="[1 4]">
[100 90 80 70]
</vig>
</vig_CT>
<aCC index="1" type="struct" size="[1 1]">
<CC_PROFILE_LIST index="1" type="char" size="[1 14]">
D65_100 D65_74
</CC_PROFILE_LIST>
</aCC>
</cell>
<cell index="3" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
F2_CWF
</name>
<doorType index="1" type="char" size="[1 6]">
Indoor
</doorType>
<referenceWBgain index="1" type="double" size="[1 4]">
[1.41906563549402 1 1 1.99558226550223]
</referenceWBgain>
<aLSC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 40]">
1920x1080_F2_CWF_100 1920x1080_F2_CWF_70
</LSC_PROFILE_LIST>
</cell>
<cell index="2" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 40]">
3280x2464_F2_CWF_100 3280x2464_F2_CWF_70
</LSC_PROFILE_LIST>
</cell>
</aLSC>
<manualWB index="1" type="double" size="[1 4]">
[1.41906563549402 1 1 1.99558226550223]
</manualWB>
<manualccMatrix index="1" type="double" size="[3 3]">
[2.78676566744933 -1.2938265869009 -0.492939080548426 -0.771470927148462 2.27012133401907 -0.498650406870606 -0.251888319708749 -0.752491249668942 2.00437956937769]
</manualccMatrix>
<manualccOffsets index="1" type="double" size="[1 3]">
[-20 -20 -20]
</manualccOffsets>
<awbType index="1" type="char" size="[1 4]">
AUTO
</awbType>
<sat_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<sat index="1" type="double" size="[1 4]">
[100 90 85 74]
</sat>
</sat_CT>
<vig_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<vig index="1" type="double" size="[1 4]">
[100 90 80 70]
</vig>
</vig_CT>
<aCC index="1" type="struct" size="[1 1]">
<CC_PROFILE_LIST index="1" type="char" size="[1 20]">
F2_CWF_100 F2_CWF_74
</CC_PROFILE_LIST>
</aCC>
</cell>
<cell index="4" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 8]">
F11_TL84
</name>
<doorType index="1" type="char" size="[1 6]">
Indoor
</doorType>
<referenceWBgain index="1" type="double" size="[1 4]">
[1.28859003199883 1 1 2.04141767445227]
</referenceWBgain>
<aLSC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 44]">
1920x1080_F11_TL84_100 1920x1080_F11_TL84_70
</LSC_PROFILE_LIST>
</cell>
<cell index="2" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 44]">
3280x2464_F11_TL84_100 3280x2464_F11_TL84_70
</LSC_PROFILE_LIST>
</cell>
</aLSC>
<manualWB index="1" type="double" size="[1 4]">
[1.28859003199883 1 1 2.04141767445227]
</manualWB>
<manualccMatrix index="1" type="double" size="[3 3]">
[2.27020800078897 -0.680022460145848 -0.590185540643117 -0.681860588472907 2.24764079033954 -0.56578020186663 -0.211514745655482 -0.93550552904891 2.14702027470439]
</manualccMatrix>
<manualccOffsets index="1" type="double" size="[1 3]">
[-20 -20 -20]
</manualccOffsets>
<awbType index="1" type="char" size="[1 4]">
AUTO
</awbType>
<sat_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<sat index="1" type="double" size="[1 4]">
[100 90 85 74]
</sat>
</sat_CT>
<vig_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<vig index="1" type="double" size="[1 4]">
[100 90 80 70]
</vig>
</vig_CT>
<aCC index="1" type="struct" size="[1 1]">
<CC_PROFILE_LIST index="1" type="char" size="[1 24]">
F11_TL84_100 F11_TL84_74
</CC_PROFILE_LIST>
</aCC>
</cell>
<cell index="5" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 3]">
D50
</name>
<doorType index="1" type="char" size="[1 7]">
Outdoor
</doorType>
<referenceWBgain index="1" type="double" size="[1 4]">
[1.66686004309311 1 1 1.55107334809545]
</referenceWBgain>
<aLSC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 34]">
1920x1080_D50_100 1920x1080_D50_70
</LSC_PROFILE_LIST>
</cell>
<cell index="2" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 34]">
3280x2464_D50_100 3280x2464_D50_70
</LSC_PROFILE_LIST>
</cell>
</aLSC>
<manualWB index="1" type="double" size="[1 4]">
[1.66686004309311 1 1 1.55107334809545]
</manualWB>
<manualccMatrix index="1" type="double" size="[3 3]">
[1.82276223608526 -0.622415852146652 -0.20034638393861 -0.300004837921671 1.61927730227101 -0.319272464349334 -0.0553993764292473 -0.713426478520189 1.76882585494944]
</manualccMatrix>
<manualccOffsets index="1" type="double" size="[1 3]">
[-20 -20 -20]
</manualccOffsets>
<awbType index="1" type="char" size="[1 4]">
AUTO
</awbType>
<sat_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<sat index="1" type="double" size="[1 4]">
[100 90 85 74]
</sat>
</sat_CT>
<vig_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<vig index="1" type="double" size="[1 4]">
[100 90 80 70]
</vig>
</vig_CT>
<aCC index="1" type="struct" size="[1 1]">
<CC_PROFILE_LIST index="1" type="char" size="[1 14]">
D50_100 D50_74
</CC_PROFILE_LIST>
</aCC>
</cell>
<cell index="6" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 3]">
D75
</name>
<doorType index="1" type="char" size="[1 7]">
Outdoor
</doorType>
<referenceWBgain index="1" type="double" size="[1 4]">
[1.94515936756641 1 1 1.24102483601273]
</referenceWBgain>
<aLSC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 34]">
1920x1080_D75_100 1920x1080_D75_70
</LSC_PROFILE_LIST>
</cell>
<cell index="2" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 34]">
3280x2464_D75_100 3280x2464_D75_70
</LSC_PROFILE_LIST>
</cell>
</aLSC>
<manualWB index="1" type="double" size="[1 4]">
[1.94515936756641 1 1 1.24102483601273]
</manualWB>
<manualccMatrix index="1" type="double" size="[3 3]">
[1.85634852657841 -0.614071666488722 -0.24227686008969 -0.250615358668912 1.68285581937397 -0.432240460705059 -0.0355733479736956 -0.58304875608373 1.61862210405743]
</manualccMatrix>
<manualccOffsets index="1" type="double" size="[1 3]">
[-20 -20 -20]
</manualccOffsets>
<awbType index="1" type="char" size="[1 4]">
AUTO
</awbType>
<sat_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<sat index="1" type="double" size="[1 4]">
[100 90 85 74]
</sat>
</sat_CT>
<vig_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<vig index="1" type="double" size="[1 4]">
[100 90 80 70]
</vig>
</vig_CT>
<aCC index="1" type="struct" size="[1 1]">
<CC_PROFILE_LIST index="1" type="char" size="[1 14]">
D75_100 D75_74
</CC_PROFILE_LIST>
</aCC>
</cell>
<cell index="7" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 7]">
Horizon
</name>
<doorType index="1" type="char" size="[1 6]">
Indoor
</doorType>
<referenceWBgain index="1" type="double" size="[1 4]">
[1 1.09343674302119 1.09343674302119 2.7625037771554]
</referenceWBgain>
<aLSC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 42]">
1920x1080_Horizon_100 1920x1080_Horizon_70
</LSC_PROFILE_LIST>
</cell>
<cell index="2" type="struct" size="[1 1]">
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<LSC_PROFILE_LIST index="1" type="char" size="[1 42]">
3280x2464_Horizon_100 3280x2464_Horizon_70
</LSC_PROFILE_LIST>
</cell>
</aLSC>
<manualWB index="1" type="double" size="[1 4]">
[1 1.09343674302119 1.09343674302119 2.7625037771554]
</manualWB>
<manualccMatrix index="1" type="double" size="[3 3]">
[1.73287143461081 0.115615025113687 -0.848486459724493 -0.621058136314087 2.15074798190189 -0.529689845587802 -0.567712734044399 -1.56781740405862 3.13553013810301]
</manualccMatrix>
<manualccOffsets index="1" type="double" size="[1 3]">
[-20 -20 -20]
</manualccOffsets>
<awbType index="1" type="char" size="[1 4]">
AUTO
</awbType>
<sat_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<sat index="1" type="double" size="[1 4]">
[100 90 85 74]
</sat>
</sat_CT>
<vig_CT index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 4]">
[1 4 8 12]
</gains>
<vig index="1" type="double" size="[1 4]">
[100 90 80 70]
</vig>
</vig_CT>
<aCC index="1" type="struct" size="[1 1]">
<CC_PROFILE_LIST index="1" type="char" size="[1 22]">
Horizon_100 Horizon_74
</CC_PROFILE_LIST>
</aCC>
</cell>
</illumination>
</version_11_para>
<flash_para index="1" type="struct" size="[1 1]">
<FlashType index="1" type="double" size="[1 1]">
[0]
</FlashType>
<LvValues index="1" type="double" size="[1 2]">
[0 100]
</LvValues>
<PreFlshWeighs1 index="1" type="double" size="[1 2]">
[1 0]
</PreFlshWeighs1>
<LvFlashTh1 index="1" type="double" size="[1 1]">
[0.5]
</LvFlashTh1>
<LvValRatio index="1" type="double" size="[1 2]">
[1.1 4]
</LvValRatio>
<PreFlshWeighs2 index="1" type="double" size="[1 2]">
[0 1]
</PreFlshWeighs2>
<LvFlashTh2 index="1" type="double" size="[1 1]">
[0.5]
</LvFlashTh2>
<LvValRatio3 index="1" type="double" size="[1 2]">
[1.1 4]
</LvValRatio3>
<MainFlshWeighs index="1" type="double" size="[1 2]">
[0 1]
</MainFlshWeighs>
<LvValueIIRSize index="1" type="double" size="[1 1]">
[3]
</LvValueIIRSize>
<Dampfactor index="1" type="double" size="[1 1]">
[0.2]
</Dampfactor>
<AeConvergeTh index="1" type="double" size="[1 1]">
[81]
</AeConvergeTh>
</flash_para>
</AWB>
<LSC index="1" type="cell" size="[1 36]">
<cell index="1" type="struct" size="[1 14]">
<name index="1" type="char" size="[1 14]">
1920x1080_A_70
</name>
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<illumination index="1" type="char" size="[1 1]">
A
</illumination>
<LSC_sectors index="1" type="double" size="[1 1]">
[16]
</LSC_sectors>
<LSC_No index="1" type="double" size="[1 1]">
[10]
</LSC_No>
<LSC_Xo index="1" type="double" size="[1 1]">
[15]
</LSC_Xo>
<LSC_Yo index="1" type="double" size="[1 1]">
[15]
</LSC_Yo>
<LSC_SECT_SIZE_X index="1" type="double" size="[1 8]">
[120 120 120 120 120 120 120 120]
</LSC_SECT_SIZE_X>
<LSC_SECT_SIZE_Y index="1" type="double" size="[1 8]">
[67 68 67 68 67 68 67 68]
</LSC_SECT_SIZE_Y>
<vignetting index="1" type="double" size="[1 1]">
[70]
</vignetting>
<LSC_SAMPLES_red index="1" type="double" size="[1 289]">
[1480 1422 1356 1276 1216 1171 1132 1119 1111 1121 1144 1185 1241 1310 1393 1469 1547 1491 1417 1335 1267 1205 1152 1118 1099 1096 1104 1122 1168 1228 1290 1381 1462 1550 1473 1415 1332 1254 1185 1138 1097 1074 1073 1084 1108 1151 1209 1279 1366 1446 1545 1478 1412 1315 1238 1173 1119 1089 1073 1058 1071 1098 1129 1183 1262 1354 1447 1543 1486 1400 1310 1221 1160 1107 1070 1057 1051 1057 1082 1118 1177 1253 1337 1438 1541 1474 1396 1298 1215 1153 1099 1058 1047 1038 1049 1066 1112 1167 1246 1328 1428 1537 1470 1382 1287 1207 1140 1089 1054 1040 1029 1036 1064 1103 1156 1232 1320 1425 1532 1479 1378 1282 1201 1135 1086 1049 1029 1027 1039 1064 1099 1158 1231 1308 1421 1527 1482 1392 1288 1203 1141 1082 1053 1033 1024 1040 1060 1101 1153 1230 1320 1424 1520 1470 1386 1282 1206 1135 1082 1047 1031 1026 1039 1060 1099 1156 1225 1317 1417 1517 1466 1389 1294 1202 1142 1084 1052 1036 1033 1040 1064 1105 1154 1241 1323 1425 1518 1469 1396 1294 1215 1148 1099 1058 1038 1034 1051 1072 1112 1175 1246 1328 1424 1522 1486 1396 1303 1221 1162 1107 1074 1051 1045 1053 1082 1116 1180 1256 1341 1446 1525 1483 1417 1318 1241 1175 1122 1087 1069 1064 1069 1098 1133 1196 1268 1354 1451 1543 1488 1424 1332 1260 1190 1141 1102 1088 1079 1091 1113 1161 1212 1282 1377 1464 1550 1491 1426 1346 1264 1211 1155 1122 1108 1098 1115 1130 1168 1234 1300 1385 1467 1555 1502 1422 1360 1279 1216 1180 1137 1128 1118 1123 1157 1196 1244 1307 1389 1469 1541]
</LSC_SAMPLES_red>
<LSC_SAMPLES_greenR index="1" type="double" size="[1 289]">
[1184 1176 1155 1126 1093 1082 1062 1044 1045 1052 1073 1091 1118 1161 1193 1215 1229 1214 1189 1156 1131 1092 1070 1057 1047 1048 1055 1067 1084 1123 1143 1187 1227 1249 1212 1196 1161 1131 1092 1067 1048 1035 1040 1048 1052 1084 1115 1149 1189 1234 1249 1233 1189 1159 1130 1092 1062 1049 1037 1035 1042 1051 1081 1110 1140 1194 1232 1275 1230 1199 1160 1118 1086 1062 1042 1028 1028 1033 1052 1076 1102 1145 1192 1235 1274 1228 1198 1157 1119 1084 1060 1042 1030 1030 1034 1046 1073 1099 1150 1186 1236 1285 1231 1198 1153 1111 1081 1048 1037 1024 1022 1031 1046 1073 1098 1132 1182 1233 1273 1225 1196 1157 1113 1083 1056 1034 1029 1022 1042 1050 1067 1098 1138 1186 1231 1281 1219 1201 1157 1120 1081 1048 1032 1026 1026 1033 1041 1073 1100 1140 1188 1231 1277 1229 1196 1152 1115 1077 1052 1034 1026 1029 1026 1043 1069 1098 1141 1180 1228 1278 1221 1198 1151 1118 1081 1052 1037 1029 1022 1027 1048 1071 1098 1144 1187 1230 1267 1225 1189 1150 1114 1077 1058 1037 1027 1025 1030 1050 1069 1105 1145 1186 1230 1274 1227 1196 1155 1114 1089 1054 1040 1030 1026 1033 1052 1070 1104 1145 1195 1238 1274 1214 1198 1153 1120 1090 1062 1046 1033 1036 1042 1053 1083 1112 1147 1194 1232 1271 1208 1193 1161 1124 1096 1067 1048 1044 1038 1044 1062 1088 1115 1154 1189 1234 1260 1197 1186 1153 1123 1101 1073 1057 1053 1046 1051 1069 1088 1120 1154 1193 1230 1256 1187 1183 1158 1123 1098 1073 1056 1052 1053 1060 1073 1091 1120 1153 1184 1228 1237]
</LSC_SAMPLES_greenR>
<LSC_SAMPLES_greenB index="1" type="double" size="[1 289]">
[1190 1186 1161 1126 1094 1070 1057 1047 1044 1049 1064 1090 1116 1153 1190 1211 1239 1220 1198 1165 1126 1102 1070 1052 1044 1036 1044 1060 1080 1112 1149 1182 1220 1248 1228 1199 1167 1132 1093 1064 1047 1034 1039 1038 1059 1072 1113 1147 1181 1227 1259 1233 1204 1173 1131 1089 1061 1047 1029 1030 1036 1047 1072 1100 1143 1189 1235 1281 1243 1211 1169 1124 1088 1059 1038 1030 1027 1037 1047 1067 1098 1141 1190 1238 1277 1241 1207 1171 1125 1085 1063 1038 1023 1028 1032 1048 1069 1102 1141 1187 1231 1274 1247 1207 1164 1119 1087 1059 1041 1027 1023 1031 1042 1071 1104 1135 1185 1233 1280 1254 1208 1168 1121 1084 1055 1032 1028 1026 1038 1048 1063 1103 1137 1184 1235 1277 1250 1213 1165 1125 1082 1055 1034 1026 1024 1035 1046 1071 1099 1137 1186 1234 1277 1244 1208 1168 1126 1078 1057 1035 1026 1022 1031 1046 1067 1103 1132 1181 1241 1284 1240 1219 1169 1128 1087 1057 1031 1027 1027 1033 1044 1071 1104 1143 1190 1242 1263 1241 1210 1169 1122 1091 1059 1038 1027 1028 1039 1048 1069 1104 1149 1193 1240 1267 1243 1211 1174 1122 1092 1061 1043 1030 1033 1033 1049 1079 1112 1151 1193 1241 1280 1236 1213 1173 1134 1100 1080 1051 1038 1034 1040 1055 1082 1120 1153 1206 1235 1271 1231 1205 1167 1142 1099 1077 1053 1050 1039 1050 1061 1094 1120 1160 1198 1240 1270 1227 1204 1170 1136 1105 1074 1060 1056 1051 1054 1077 1096 1126 1160 1196 1237 1262 1197 1189 1167 1140 1111 1083 1061 1059 1052 1064 1077 1101 1118 1153 1193 1228 1228]
</LSC_SAMPLES_greenB>
<LSC_SAMPLES_blue index="1" type="double" size="[1 289]">
[1147 1152 1135 1106 1074 1065 1051 1040 1044 1045 1067 1088 1103 1139 1178 1199 1223 1177 1167 1142 1107 1088 1058 1049 1039 1043 1044 1049 1079 1111 1133 1170 1205 1235 1187 1168 1151 1105 1075 1057 1039 1045 1039 1040 1054 1078 1103 1135 1172 1205 1245 1190 1172 1149 1122 1092 1053 1041 1028 1031 1047 1051 1074 1097 1134 1183 1224 1248 1205 1171 1156 1111 1078 1061 1039 1031 1030 1026 1044 1071 1094 1141 1176 1223 1262 1206 1180 1133 1115 1087 1065 1039 1026 1025 1035 1048 1070 1097 1144 1178 1217 1246 1203 1164 1144 1114 1081 1050 1039 1026 1025 1026 1053 1065 1102 1137 1182 1228 1267 1210 1178 1144 1114 1076 1051 1036 1032 1027 1032 1054 1071 1103 1137 1169 1228 1258 1197 1180 1146 1111 1078 1048 1033 1025 1024 1025 1047 1068 1100 1134 1178 1223 1260 1202 1178 1144 1114 1076 1051 1031 1019 1027 1037 1040 1066 1097 1137 1176 1221 1258 1195 1185 1150 1108 1086 1050 1030 1031 1021 1035 1039 1070 1097 1131 1182 1214 1259 1199 1180 1139 1109 1076 1050 1034 1026 1025 1040 1043 1075 1108 1126 1191 1224 1246 1197 1178 1143 1106 1078 1056 1044 1026 1034 1036 1059 1071 1111 1141 1182 1230 1262 1190 1172 1149 1116 1086 1069 1051 1032 1036 1037 1061 1079 1115 1147 1183 1224 1248 1194 1175 1138 1117 1086 1068 1044 1040 1043 1055 1059 1084 1115 1142 1179 1221 1245 1185 1167 1149 1120 1099 1068 1054 1055 1053 1055 1075 1085 1117 1152 1177 1221 1235 1155 1152 1142 1125 1091 1071 1061 1056 1054 1045 1061 1094 1109 1139 1186 1207 1223]
</LSC_SAMPLES_blue>
</cell>
<cell index="2" type="struct" size="[1 14]">
<name index="1" type="char" size="[1 15]">
1920x1080_A_100
</name>
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<illumination index="1" type="char" size="[1 1]">
A
</illumination>
<LSC_sectors index="1" type="double" size="[1 1]">
[16]
</LSC_sectors>
<LSC_No index="1" type="double" size="[1 1]">
[10]
</LSC_No>
<LSC_Xo index="1" type="double" size="[1 1]">
[15]
</LSC_Xo>
<LSC_Yo index="1" type="double" size="[1 1]">
[15]
</LSC_Yo>
<LSC_SECT_SIZE_X index="1" type="double" size="[1 8]">
[120 120 120 120 120 120 120 120]
</LSC_SECT_SIZE_X>
<LSC_SECT_SIZE_Y index="1" type="double" size="[1 8]">
[67 68 67 68 67 68 67 68]
</LSC_SECT_SIZE_Y>
<vignetting index="1" type="double" size="[1 1]">
[100]
</vignetting>
<LSC_SAMPLES_red index="1" type="double" size="[1 289]">
[2115 1904 1731 1566 1447 1361 1292 1265 1251 1267 1307 1377 1476 1609 1778 1967 2209 2049 1839 1654 1510 1393 1301 1241 1208 1201 1213 1246 1318 1420 1538 1711 1898 2130 1967 1789 1609 1458 1336 1254 1189 1152 1147 1163 1201 1267 1364 1487 1649 1827 2063 1929 1746 1554 1409 1295 1208 1156 1127 1108 1125 1165 1218 1307 1437 1600 1789 2014 1904 1701 1522 1367 1259 1174 1117 1092 1082 1092 1130 1186 1278 1403 1554 1746 1974 1862 1672 1487 1342 1236 1152 1090 1068 1055 1070 1098 1165 1251 1377 1522 1711 1941 1839 1640 1462 1321 1210 1130 1076 1051 1037 1048 1086 1145 1228 1348 1499 1691 1916 1839 1626 1447 1307 1198 1121 1065 1035 1029 1044 1080 1134 1223 1339 1476 1677 1898 1839 1640 1451 1307 1203 1115 1066 1037 1024 1044 1074 1134 1215 1336 1487 1677 1885 1827 1635 1447 1312 1198 1117 1063 1037 1028 1044 1076 1134 1220 1333 1487 1672 1885 1833 1649 1469 1315 1213 1125 1074 1048 1040 1051 1086 1147 1225 1358 1502 1691 1898 1856 1672 1484 1342 1231 1152 1090 1059 1051 1072 1104 1165 1259 1377 1522 1706 1922 1904 1696 1514 1367 1262 1174 1121 1086 1076 1088 1130 1184 1281 1406 1558 1757 1954 1935 1752 1558 1413 1298 1210 1154 1123 1115 1123 1165 1223 1321 1444 1600 1794 2014 1987 1799 1609 1465 1342 1257 1193 1167 1154 1170 1206 1278 1367 1491 1663 1850 2070 2049 1850 1668 1506 1399 1304 1246 1218 1203 1225 1254 1318 1426 1550 1716 1904 2138 2145 1904 1736 1570 1447 1370 1298 1276 1259 1270 1321 1390 1480 1604 1773 1967 2201]
</LSC_SAMPLES_red>
<LSC_SAMPLES_greenR index="1" type="double" size="[1 289]">
[1692 1575 1474 1382 1301 1257 1213 1180 1178 1189 1226 1268 1330 1425 1523 1627 1756 1668 1543 1432 1348 1262 1209 1173 1150 1148 1159 1185 1223 1298 1363 1471 1592 1716 1618 1512 1402 1315 1231 1175 1135 1110 1112 1124 1139 1194 1257 1336 1435 1559 1668 1609 1471 1369 1287 1206 1146 1114 1089 1083 1095 1116 1166 1226 1298 1411 1523 1663 1575 1456 1348 1252 1180 1126 1087 1062 1059 1068 1097 1142 1196 1281 1385 1500 1631 1551 1435 1327 1236 1162 1110 1074 1051 1047 1055 1078 1124 1178 1270 1360 1482 1623 1539 1422 1309 1216 1148 1087 1059 1035 1029 1042 1068 1114 1166 1239 1342 1463 1592 1523 1411 1306 1211 1144 1089 1049 1035 1024 1047 1066 1101 1159 1239 1339 1453 1592 1512 1415 1304 1216 1139 1080 1046 1029 1026 1036 1055 1106 1159 1239 1339 1449 1584 1527 1411 1301 1213 1137 1085 1049 1031 1031 1031 1059 1104 1159 1241 1333 1449 1588 1527 1422 1306 1223 1148 1091 1059 1040 1029 1038 1070 1112 1166 1252 1348 1460 1584 1547 1425 1318 1231 1155 1108 1068 1047 1042 1051 1082 1120 1185 1265 1360 1474 1609 1571 1453 1342 1246 1182 1118 1085 1064 1057 1068 1097 1135 1199 1281 1388 1504 1631 1584 1482 1363 1276 1204 1146 1110 1085 1085 1095 1118 1168 1228 1306 1411 1523 1659 1614 1508 1402 1306 1236 1175 1135 1120 1110 1120 1150 1199 1257 1342 1435 1559 1682 1645 1539 1428 1339 1273 1211 1173 1157 1146 1155 1187 1228 1295 1376 1478 1596 1726 1696 1584 1478 1379 1306 1246 1206 1189 1187 1199 1226 1268 1333 1415 1512 1645 1767]
</LSC_SAMPLES_greenR>
<LSC_SAMPLES_greenB index="1" type="double" size="[1 289]">
[1700 1588 1482 1383 1302 1242 1207 1184 1177 1186 1215 1266 1328 1415 1519 1622 1771 1676 1555 1443 1343 1274 1207 1167 1147 1134 1147 1177 1220 1285 1370 1464 1584 1715 1640 1516 1409 1316 1232 1172 1134 1109 1111 1113 1147 1181 1255 1334 1426 1551 1681 1609 1489 1386 1288 1203 1145 1111 1081 1079 1089 1111 1156 1215 1302 1405 1527 1672 1592 1471 1358 1258 1181 1124 1083 1064 1058 1072 1093 1132 1193 1277 1383 1504 1635 1567 1446 1343 1242 1163 1113 1070 1044 1045 1053 1079 1120 1181 1261 1361 1475 1609 1559 1432 1322 1225 1154 1099 1062 1038 1031 1042 1064 1111 1172 1242 1346 1464 1600 1559 1426 1319 1220 1145 1089 1047 1033 1028 1044 1064 1097 1165 1237 1337 1457 1588 1551 1429 1313 1222 1141 1087 1047 1029 1024 1038 1060 1103 1158 1235 1337 1453 1584 1547 1426 1319 1225 1139 1091 1051 1031 1024 1036 1062 1101 1165 1232 1334 1464 1596 1551 1446 1328 1235 1154 1097 1053 1038 1035 1044 1066 1111 1172 1250 1352 1475 1579 1567 1450 1340 1240 1170 1109 1070 1047 1045 1060 1079 1120 1184 1269 1367 1486 1600 1592 1471 1364 1255 1186 1126 1089 1064 1064 1068 1095 1145 1207 1288 1386 1508 1640 1613 1500 1386 1291 1215 1165 1115 1091 1083 1093 1120 1167 1237 1313 1426 1527 1658 1644 1523 1409 1328 1240 1186 1141 1126 1111 1126 1150 1205 1263 1349 1446 1567 1695 1686 1563 1450 1355 1277 1212 1177 1161 1152 1158 1195 1237 1302 1383 1482 1605 1735 1710 1592 1489 1399 1322 1258 1212 1198 1186 1203 1230 1280 1331 1415 1523 1644 1755]
</LSC_SAMPLES_greenB>
<LSC_SAMPLES_blue index="1" type="double" size="[1 289]">
[1639 1543 1449 1358 1277 1238 1200 1176 1176 1182 1218 1264 1313 1398 1504 1606 1748 1617 1514 1414 1320 1257 1194 1165 1142 1142 1148 1165 1218 1284 1350 1449 1564 1698 1584 1476 1390 1284 1212 1165 1126 1121 1110 1115 1142 1188 1244 1320 1414 1523 1662 1553 1449 1358 1277 1206 1137 1105 1080 1080 1100 1115 1159 1212 1291 1398 1514 1628 1543 1423 1343 1244 1170 1126 1085 1065 1061 1061 1090 1137 1188 1277 1366 1485 1617 1523 1414 1298 1231 1165 1115 1070 1047 1042 1056 1080 1121 1176 1264 1350 1458 1574 1504 1382 1298 1218 1148 1090 1061 1037 1033 1037 1075 1105 1170 1244 1343 1458 1584 1504 1390 1291 1212 1137 1085 1051 1037 1028 1037 1070 1105 1165 1238 1320 1449 1564 1485 1390 1291 1206 1137 1080 1047 1028 1024 1028 1061 1100 1159 1231 1327 1440 1564 1495 1390 1291 1212 1137 1085 1047 1024 1028 1042 1056 1100 1159 1238 1327 1440 1564 1495 1406 1306 1212 1153 1090 1051 1042 1028 1047 1061 1110 1165 1238 1343 1440 1574 1514 1414 1306 1225 1153 1100 1065 1047 1042 1061 1075 1126 1188 1244 1366 1467 1574 1533 1432 1327 1238 1170 1121 1090 1061 1065 1070 1105 1137 1206 1277 1374 1495 1617 1553 1449 1358 1271 1200 1153 1115 1085 1085 1090 1126 1165 1231 1306 1398 1514 1628 1595 1485 1374 1298 1225 1176 1131 1115 1115 1131 1148 1194 1257 1327 1423 1543 1662 1628 1514 1423 1335 1271 1206 1170 1159 1153 1159 1194 1225 1291 1374 1458 1584 1698 1651 1543 1458 1382 1298 1244 1212 1194 1188 1182 1212 1271 1320 1398 1514 1617 1748]
</LSC_SAMPLES_blue>
</cell>
<cell index="3" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 16]">
1920x1080_D50_70
</name>
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<illumination index="1" type="char" size="[1 3]">
D50
</illumination>
<LSC_sectors index="1" type="double" size="[1 1]">
[16]
</LSC_sectors>
<LSC_No index="1" type="double" size="[1 1]">
[10]
</LSC_No>
<LSC_Xo index="1" type="double" size="[1 1]">
[15]
</LSC_Xo>
<LSC_Yo index="1" type="double" size="[1 1]">
[15]
</LSC_Yo>
<LSC_SECT_SIZE_X index="1" type="double" size="[1 8]">
[120 120 120 120 120 120 120 120]
</LSC_SECT_SIZE_X>
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1920x1080_D50_100
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1920x1080
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D50
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1920x1080_D65_70
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1920x1080
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D65
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[16]
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1920x1080_D65_100
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1920x1080
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<illumination index="1" type="char" size="[1 3]">
D65
</illumination>
<LSC_sectors index="1" type="double" size="[1 1]">
[16]
</LSC_sectors>
<LSC_No index="1" type="double" size="[1 1]">
[10]
</LSC_No>
<LSC_Xo index="1" type="double" size="[1 1]">
[15]
</LSC_Xo>
<LSC_Yo index="1" type="double" size="[1 1]">
[15]
</LSC_Yo>
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[120 120 120 120 120 120 120 120]
</LSC_SECT_SIZE_X>
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[67 68 67 68 67 68 67 68]
</LSC_SECT_SIZE_Y>
<vignetting index="1" type="double" size="[1 1]">
[100]
</vignetting>
<LSC_SAMPLES_red index="1" type="double" size="[1 289]">
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</LSC_SAMPLES_greenB>
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</LSC_SAMPLES_blue>
</cell>
<cell index="7" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 16]">
1920x1080_D75_70
</name>
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<illumination index="1" type="char" size="[1 3]">
D75
</illumination>
<LSC_sectors index="1" type="double" size="[1 1]">
[16]
</LSC_sectors>
<LSC_No index="1" type="double" size="[1 1]">
[10]
</LSC_No>
<LSC_Xo index="1" type="double" size="[1 1]">
[15]
</LSC_Xo>
<LSC_Yo index="1" type="double" size="[1 1]">
[15]
</LSC_Yo>
<LSC_SECT_SIZE_X index="1" type="double" size="[1 8]">
[120 120 120 120 120 120 120 120]
</LSC_SECT_SIZE_X>
<LSC_SECT_SIZE_Y index="1" type="double" size="[1 8]">
[67 68 67 68 67 68 67 68]
</LSC_SECT_SIZE_Y>
<vignetting index="1" type="double" size="[1 1]">
[70]
</vignetting>
<LSC_SAMPLES_red index="1" type="double" size="[17 17]">
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</cell>
<cell index="8" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
1920x1080_D75_100
</name>
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<illumination index="1" type="char" size="[1 3]">
D75
</illumination>
<LSC_sectors index="1" type="double" size="[1 1]">
[16]
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<LSC_No index="1" type="double" size="[1 1]">
[10]
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<LSC_Xo index="1" type="double" size="[1 1]">
[15]
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<LSC_Yo index="1" type="double" size="[1 1]">
[15]
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[120 120 120 120 120 120 120 120]
</LSC_SECT_SIZE_X>
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[67 68 67 68 67 68 67 68]
</LSC_SECT_SIZE_Y>
<vignetting index="1" type="double" size="[1 1]">
[100]
</vignetting>
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1920x1080_F11_TL84_70
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1920x1080
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F11_TL84
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1920x1080_F11_TL84_100
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1920x1080
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F11_TL84
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1920x1080_F2_CWF_70
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1920x1080
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F2_CWF
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<name index="1" type="char" size="[1 20]">
1920x1080_F2_CWF_100
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1920x1080
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F2_CWF
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[16]
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[10]
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<LSC_Xo index="1" type="double" size="[1 1]">
[15]
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[15]
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</LSC_SECT_SIZE_Y>
<vignetting index="1" type="double" size="[1 1]">
[100]
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<name index="1" type="char" size="[1 20]">
1920x1080_Horizon_70
</name>
<resolution index="1" type="char" size="[1 9]">
1920x1080
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Horizon
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<LSC_sectors index="1" type="double" size="[1 1]">
[16]
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<LSC_No index="1" type="double" size="[1 1]">
[10]
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<LSC_Xo index="1" type="double" size="[1 1]">
[15]
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<LSC_Yo index="1" type="double" size="[1 1]">
[15]
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[120 120 120 120 120 120 120 120]
</LSC_SECT_SIZE_X>
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[67 68 67 68 67 68 67 68]
</LSC_SECT_SIZE_Y>
<vignetting index="1" type="double" size="[1 1]">
[70]
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<name index="1" type="char" size="[1 21]">
1920x1080_Horizon_100
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1920x1080
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Horizon
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[16]
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<LSC_No index="1" type="double" size="[1 1]">
[10]
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<LSC_Xo index="1" type="double" size="[1 1]">
[15]
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[15]
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<vignetting index="1" type="double" size="[1 1]">
[100]
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3280x2464_A_70
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3280x2464
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A
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[70]
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3280x2464_A_100
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3280x2464
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A
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[16]
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[10]
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[15]
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[15]
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3280x2464_D50_70
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3280x2464
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D50
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[16]
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[10]
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[15]
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[15]
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[70]
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3280x2464_D50_100
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3280x2464
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D50
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[16]
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[100]
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3280x2464_D65_70
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3280x2464
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D65
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[16]
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[10]
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[15]
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[15]
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[70]
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<name index="1" type="char" size="[1 17]">
3280x2464_D65_100
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3280x2464
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D65
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[16]
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<LSC_No index="1" type="double" size="[1 1]">
[10]
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[15]
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<LSC_Yo index="1" type="double" size="[1 1]">
[15]
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3280x2464_D75_70
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3280x2464
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D75
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3280x2464_D75_100
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3280x2464
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D75
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[16]
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[10]
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3280x2464_F11_TL84_70
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3280x2464
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F11_TL84
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3280x2464_F11_TL84_100
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3280x2464
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F11_TL84
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3280x2464_F2_CWF_70
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3280x2464
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F2_CWF
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[16]
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[10]
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<name index="1" type="char" size="[1 20]">
3280x2464_F2_CWF_100
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3280x2464
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F2_CWF
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[16]
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[10]
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[15]
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[15]
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</LSC_SECT_SIZE_X>
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</LSC_SECT_SIZE_Y>
<vignetting index="1" type="double" size="[1 1]">
[100]
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<name index="1" type="char" size="[1 20]">
3280x2464_Horizon_70
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3280x2464
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Horizon
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<LSC_sectors index="1" type="double" size="[1 1]">
[16]
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<LSC_No index="1" type="double" size="[1 1]">
[10]
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[15]
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[15]
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[205 205 205 205 205 205 205 205]
</LSC_SECT_SIZE_X>
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</LSC_SECT_SIZE_Y>
<vignetting index="1" type="double" size="[1 1]">
[70]
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<name index="1" type="char" size="[1 21]">
3280x2464_Horizon_100
</name>
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3280x2464
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Horizon
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[16]
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<LSC_No index="1" type="double" size="[1 1]">
[10]
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[15]
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[15]
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</LSC_SECT_SIZE_Y>
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[100]
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</LSC_SAMPLES_blue>
</cell>
<cell index="5" type="struct" size="[1 14]">
<name index="1" type="char" size="[1 16]">
1920x1080_BW_70
</name>
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
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BW
</illumination>
<LSC_sectors index="1" type="double" size="[1 1]">
[16]
</LSC_sectors>
<LSC_No index="1" type="double" size="[1 1]">
[10]
</LSC_No>
<LSC_Xo index="1" type="double" size="[1 1]">
[15]
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<LSC_Yo index="1" type="double" size="[1 1]">
[15]
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[120 120 120 120 120 120 120 120]
</LSC_SECT_SIZE_X>
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[67 68 67 68 67 68 67 68]
</LSC_SECT_SIZE_Y>
<vignetting index="1" type="double" size="[1 1]">
[70]
</vignetting>
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</LSC_SAMPLES_blue>
</cell>
<cell index="6" type="struct" size="[1 14]">
<name index="1" type="char" size="[1 17]">
1920x1080_BW_100
</name>
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<illumination index="1" type="char" size="[1 3]">
BW
</illumination>
<LSC_sectors index="1" type="double" size="[1 1]">
[16]
</LSC_sectors>
<LSC_No index="1" type="double" size="[1 1]">
[10]
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<LSC_Xo index="1" type="double" size="[1 1]">
[15]
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<LSC_Yo index="1" type="double" size="[1 1]">
[15]
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[120 120 120 120 120 120 120 120]
</LSC_SECT_SIZE_X>
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[67 68 67 68 67 68 67 68]
</LSC_SECT_SIZE_Y>
<vignetting index="1" type="double" size="[1 1]">
[100]
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[1600 1499 1417 1349 1277 1212 1191 1167 1162 1162 1201 1233 1300 1382 1475 1565 1685 1573 1483 1396 1306 1227 1196 1157 1134 1130 1134 1167 1201 1265 1343 1424 1531 1656 1548 1453 1356 1277 1212 1153 1116 1103 1103 1112 1130 1176 1233 1300 1389 1507 1609 1531 1424 1324 1254 1176 1134 1099 1082 1074 1091 1099 1153 1201 1277 1376 1483 1600 1515 1417 1306 1227 1153 1112 1078 1062 1066 1066 1091 1130 1181 1260 1337 1460 1573 1491 1396 1294 1217 1143 1103 1062 1050 1050 1054 1074 1116 1162 1238 1324 1438 1556 1483 1382 1277 1201 1134 1082 1058 1043 1035 1043 1066 1095 1157 1222 1318 1424 1539 1468 1369 1277 1191 1125 1082 1058 1035 1024 1039 1058 1095 1148 1212 1300 1417 1523 1468 1356 1265 1186 1121 1082 1043 1031 1024 1035 1050 1099 1148 1217 1318 1417 1539 1468 1362 1271 1191 1121 1078 1054 1031 1028 1039 1058 1099 1157 1222 1306 1410 1523 1468 1376 1283 1196 1134 1082 1054 1039 1031 1039 1058 1099 1153 1222 1318 1431 1556 1475 1382 1288 1206 1143 1095 1062 1054 1047 1054 1070 1112 1162 1233 1330 1438 1556 1507 1417 1306 1222 1167 1112 1074 1058 1058 1070 1091 1130 1186 1249 1356 1453 1565 1515 1424 1330 1254 1191 1134 1103 1082 1078 1091 1108 1148 1206 1283 1376 1475 1618 1565 1453 1349 1283 1212 1162 1116 1112 1095 1112 1139 1176 1238 1306 1403 1507 1627 1582 1491 1389 1306 1254 1196 1157 1139 1134 1143 1167 1206 1277 1349 1424 1548 1675 1637 1515 1438 1356 1277 1233 1196 1181 1176 1172 1201 1243 1312 1376 1468 1573 1705]
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<name index="1" type="char" size="[1 16]">
3280x2464_BW_70
</name>
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<illumination index="1" type="char" size="[1 3]">
BW
</illumination>
<LSC_sectors index="1" type="double" size="[1 1]">
[16]
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<LSC_No index="1" type="double" size="[1 1]">
[10]
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<LSC_Xo index="1" type="double" size="[1 1]">
[15]
</LSC_Xo>
<LSC_Yo index="1" type="double" size="[1 1]">
[15]
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[205 205 205 205 205 205 205 205]
</LSC_SECT_SIZE_X>
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</LSC_SECT_SIZE_Y>
<vignetting index="1" type="double" size="[1 1]">
[70]
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3280x2464_BW_100
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3280x2464
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BW
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[16]
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[10]
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[15]
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[15]
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[100]
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<name index="1" type="char" size="[1 16]">
1920x1080_PREFLASH_70
</name>
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1920x1080
</resolution>
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PREFLASH
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<LSC_sectors index="1" type="double" size="[1 1]">
[16]
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<LSC_No index="1" type="double" size="[1 1]">
[10]
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<LSC_Xo index="1" type="double" size="[1 1]">
[15]
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<LSC_Yo index="1" type="double" size="[1 1]">
[15]
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[120 120 120 120 120 120 120 120]
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</LSC_SECT_SIZE_Y>
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[70]
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<name index="1" type="char" size="[1 17]">
1920x1080_PREFLASH_100
</name>
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1920x1080
</resolution>
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PREFLASH
</illumination>
<LSC_sectors index="1" type="double" size="[1 1]">
[16]
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<LSC_No index="1" type="double" size="[1 1]">
[10]
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<LSC_Xo index="1" type="double" size="[1 1]">
[15]
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<LSC_Yo index="1" type="double" size="[1 1]">
[15]
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[120 120 120 120 120 120 120 120]
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<vignetting index="1" type="double" size="[1 1]">
[100]
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3280x2464_PREFLASH_70
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3280x2464
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PREFLASH
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[16]
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[10]
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[15]
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[15]
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[70]
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3280x2464_PREFLASH_100
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3280x2464
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PREFLASH
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[10]
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[15]
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A_74
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[74]
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A_100
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D50_74
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PREFLASH_74
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ADAPTIVE_RANGE
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ADAPTIVE
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ADAPTIVE
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[20]
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[1]
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[1]
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[30]
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[0.02]
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[8]
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[3]
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[200]
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[50]
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[15]
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[30]
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[0]
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[65]
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[65]
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<cell index="1" type="struct" size="[1 1]">
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normal
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[0]
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[0 0.06 0.15 0.5 0.95 1]
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[58 58 55 50 35 35]
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[0.7]
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night
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[0]
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[0 0.06 0.15 0.5 0.9 1]
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[40 40 40 35 35 35]
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[0.7]
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RGB
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Y
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[1 3 4 4 5 4 4 3 1 3 5 7 9 12 9 7 5 3 4 7 14 21 23 21 14 7 4 4 9 21 30 32 30 21 9 4 5 10 23 32 32 32 23 10 5 4 9 21 30 32 30 21 9 4 4 7 14 21 23 21 14 7 4 3 5 7 9 12 9 7 5 3 1 3 4 4 5 4 4 3 1]
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[1 170 256 0 1 256 43663]
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[0 0 1 0.5]
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[10]
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[0.65]
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[0.7]
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[0.7]
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[0.9]
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<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 16]">
1920x1080_FPS_15
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<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 4]">
fast
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[1]
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<SlopeA0 index="1" type="double" size="[1 1]">
[2]
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<name index="1" type="char" size="[1 6]">
normal
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[1]
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<SlopeA0 index="1" type="double" size="[1 1]">
[1]
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slow
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[2]
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[1]
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<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 16]">
3280x2464_FPS_08
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[1]
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[0.9]
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<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
normal
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[3]
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<SlopeA0 index="1" type="double" size="[1 1]">
[0.8]
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slow
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[5]
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<SlopeA0 index="1" type="double" size="[1 1]">
[0.7]
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<aFpsMaxGain index="1" type="double" size="[1 1]">
[8]
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<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
normal
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<TimeDot index="1" type="double" size="[1 6]">
[0 0.03 0.03 0.03 0.03 0.03]
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[0 0.03 0.03 0.03 0.03 0.03]
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[0 0.03 0.03 0.03 0.03 0.03]
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[1 1 5 5 8 16]
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[1 1 5 5 8 16]
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<SGainDot index="1" type="double" size="[1 6]">
[1 1 5 5 8 16]
</SGainDot>
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<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 5]">
night
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[0 0.03 0.03 0.03 0.03 0.03]
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[0 0.03 0.03 0.04 0.04 0.04]
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[0 0.03 0.03 0.04 0.04 0.04]
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[1 1 5 5 8 16]
</GainDot>
<LGainDot index="1" type="double" size="[1 6]">
[1 1 5 5 8 16]
</LGainDot>
<SGainDot index="1" type="double" size="[1 6]">
[1 1 5 5 8 16]
</SGainDot>
</cell>
</ExposureSeparate>
<FpsSetConfig index="1" type="struct" size="[1 1]">
<FpsSet_enable index="1" type="double" size="[1 1]">
[1]
</FpsSet_enable>
<isFpsFix index="1" type="double" size="[1 1]">
[1]
</isFpsFix>
<FpsFix_TimeDot index="1" type="double" size="[1 6]">
[0 1 1 1 1 1]
</FpsFix_TimeDot>
</FpsSetConfig>
<AEC_Interval_Adjust_Strategy index="1" type="struct" size="[1 1]">
<enable index="1" type="double" size="[1 1]">
[0]
</enable>
<dLuma_high_th index="1" type="double" size="[1 1]">
[0.5]
</dLuma_high_th>
<dLuma_low_th index="1" type="double" size="[1 1]">
[0.03]
</dLuma_low_th>
<adjust_trigger_frame index="1" type="double" size="[1 1]">
[100]
</adjust_trigger_frame>
</AEC_Interval_Adjust_Strategy>
<AOE_Enable index="1" type="double" size="[1 1]">
[0]
</AOE_Enable>
<AOE_Max_point index="1" type="double" size="[1 1]">
[70]
</AOE_Max_point>
<AOE_Min_point index="1" type="double" size="[1 1]">
[50]
</AOE_Min_point>
<AOE_Y_Max_th index="1" type="double" size="[1 1]">
[0.2]
</AOE_Y_Max_th>
<AOE_Y_Min_th index="1" type="double" size="[1 1]">
[0.1]
</AOE_Y_Min_th>
<AOE_Step_Inc index="1" type="double" size="[1 1]">
[2]
</AOE_Step_Inc>
<AOE_Step_Dec index="1" type="double" size="[1 1]">
[2]
</AOE_Step_Dec>
<DON index="1" type="struct" size="[1 1]">
<NightTrigger index="1" type="double" size="[1 1]">
[0]
</NightTrigger>
<NightMode index="1" type="double" size="[1 1]">
[1]
</NightMode>
<DON_Day2Night_Fac_th index="1" type="double" size="[1 1]">
[7]
</DON_Day2Night_Fac_th>
<DON_Night2Day_Fac_th index="1" type="double" size="[1 1]">
[15]
</DON_Night2Day_Fac_th>
<DON_Bouncing_th index="1" type="double" size="[1 1]">
[10]
</DON_Bouncing_th>
</DON>
<NLSC_Config index="1" type="struct" size="[1 1]">
<Enable index="1" type="double" size="[1 1]">
[0]
</Enable>
<IR_rg index="1" type="double" size="[1 1]">
[1]
</IR_rg>
<IR_bg index="1" type="double" size="[1 1]">
[1]
</IR_bg>
<Max_Dis index="1" type="double" size="[1 1]">
[0.8]
</Max_Dis>
<Color2Black_count index="1" type="double" size="[1 1]">
[30]
</Color2Black_count>
<Color2Black_thresh index="1" type="double" size="[1 1]">
[40]
</Color2Black_thresh>
<Black2Color_count index="1" type="double" size="[1 1]">
[40]
</Black2Color_count>
<Black2Color_thresh index="1" type="double" size="[1 1]">
[40]
</Black2Color_thresh>
<Black2Color_vb_percent index="1" type="double" size="[1 1]">
[0.14]
</Black2Color_vb_percent>
<Color2Black_stable_fps index="1" type="double" size="[1 1]">
[20]
</Color2Black_stable_fps>
</NLSC_Config>
<BackLight_Config index="1" type="struct" size="[1 1]">
<Enable index="1" type="double" size="[1 1]">
[0]
</Enable>
<Mode index="1" type="char" size="[1 8]">
WEIGHT
</Mode>
<WeightMethod index="1" type="struct" size="[1 1]">
<LumaLowTh index="1" type="double" size="[1 1]">
[100]
</LumaLowTh>
<LumaHighTh index="1" type="double" size="[1 1]">
[180]
</LumaHighTh>
<LvTh index="1" type="double" size="[1 1]">
[0.2]
</LvTh>
<WeightMinTh index="1" type="double" size="[1 1]">
[0.1]
</WeightMinTh>
<WeightMaxTh index="1" type="double" size="[1 1]">
[1]
</WeightMaxTh>
</WeightMethod>
<DarkROIMethod index="1" type="struct" size="[1 7]">
<OEROILowTh index="1" type="double" size="[1 1]">
[120]
</OEROILowTh>
<LvHighTh index="1" type="double" size="[1 1]">
[0.73]
</LvHighTh>
<LvLowTh index="1" type="double" size="[1 1]">
[0.027]
</LvLowTh>
<ExpLevel index="1" type="double" size="[1 6]">
[0 0.02 0.05 0.1 0.5 0.7]
</ExpLevel>
<NonOEPdfHighTh index="1" type="double" size="[1 6]">
[0.35 0.4 0.45 0.5 0.6 0.7]
</NonOEPdfHighTh>
<DarkPdfHighTh index="1" type="double" size="[1 6]">
[0.2 0.2 0.22 0.25 0.3 0.35]
</DarkPdfHighTh>
<DyLocalSetPoint index="1" type="double" size="[1 6]">
[48 48 35 30 25 20]
</DyLocalSetPoint>
</DarkROIMethod>
</BackLight_Config>
<Hist_2_hal index="1" type="struct" size="[1 1]">
<Enable index="1" type="double" size="[1 1]">
[0]
</Enable>
<LowHistBinTh index="1" type="double" size="[1 1]">
[13]
</LowHistBinTh>
</Hist_2_hal>
<LockAE index="1" type="struct" size="[1 1]">
<LockAE_enable index="1" type="double" size="[1 1]">
[0]
</LockAE_enable>
<GainValue index="1" type="double" size="[1 3]">
[9.19 9.69 7.41]
</GainValue>
<TimeValue index="1" type="double" size="[1 3]">
[17 10 8]
</TimeValue>
</LockAE>
<HdrCtrl index="1" type="struct" size="[1 1]">
<Enable index="1" type="double" size="[1 1]">
[0]
</Enable>
<Mode index="1" type="char" size="[1 8]">
DCG
</Mode>
<FrameNum index="1" type="double" size="[1 1]">
[2]
</FrameNum>
<DCGRatio index="1" type="double" size="[1 1]">
[11]
</DCGRatio>
<LframeCtrl index="1" type="struct" size="[1 1]">
<OEROILowTh index="1" type="double" size="[1 1]">
[150]
</OEROILowTh>
<LvHighTh index="1" type="double" size="[1 1]">
[0.106]
</LvHighTh>
<LvLowTh index="1" type="double" size="[1 1]">
[0.02]
</LvLowTh>
<LExpLevel index="1" type="double" size="[1 6]">
[0 0.1 0.3 0.5 0.75 1]
</LExpLevel>
<LSetPoint index="1" type="double" size="[1 6]">
[65 60 55 45 35 30]
</LSetPoint>
<TargetDarkROILuma index="1" type="double" size="[1 6]">
[35 35 30 30 25 15]
</TargetDarkROILuma>
<NonOEPdfTh index="1" type="double" size="[1 6]">
[0.35 0.35 0.45 0.5 0.6 0.7]
</NonOEPdfTh>
<DarkPdfTh index="1" type="double" size="[1 6]">
[0.2 0.2 0.22 0.25 0.3 0.35]
</DarkPdfTh>
<M2S_Ratio index="1" type="double" size="[1 6]">
[25 24 22 20 18 16]
</M2S_Ratio>
<L2M_Ratio index="1" type="double" size="[1 6]">
[25 24 22 20 18 16]
</L2M_Ratio>
</LframeCtrl>
<SframeCtrl index="1" type="struct" size="[1 1]">
<SExpLevel index="1" type="double" size="[1 6]">
[0 0.1 0.3 0.5 0.75 1]
</SExpLevel>
<TargetOELuma index="1" type="double" size="[1 6]">
[130 130 130 130 130 130]
</TargetOELuma>
<SSetPoint index="1" type="double" size="[1 6]">
[60 55 50 45 35 30]
</SSetPoint>
<OETolerance index="1" type="double" size="[1 1]">
[15]
</OETolerance>
<OELumaDistTh index="1" type="double" size="[1 1]">
[20]
</OELumaDistTh>
</SframeCtrl>
</HdrCtrl>
<FlashCtrl index="1" type="struct" size="[1 1]">
<flash_trriger_th index="1" type="double" size="[1 1]">
[100]
</flash_trriger_th>
<preflash_current_pct index="1" type="double" size="[1 1]">
[0.2]
</preflash_current_pct>
<mainflash_current_pct index="1" type="double" size="[1 1]">
[0.2]
</mainflash_current_pct>
<flashlight_ratio index="1" type="double" size="[1 1]">
[1]
</flashlight_ratio>
<preflash_startup_enable index="1" type="double" size="[1 1]">
[0]
</preflash_startup_enable>
<preflash_startup_exp index="1" type="double" size="[1 1]">
[0.09]
</preflash_startup_exp>
<preflash_startup_diffH index="1" type="double" size="[1 1]">
[220]
</preflash_startup_diffH>
<preflash_startup_diffL index="1" type="double" size="[1 1]">
[120]
</preflash_startup_diffL>
<preflash_startup_facH index="1" type="double" size="[1 1]">
[0.5]
</preflash_startup_facH>
<preflash_startup_facL index="1" type="double" size="[1 1]">
[0.1]
</preflash_startup_facL>
<preflash_startup_meanluma_th index="1" type="double" size="[1 1]">
[120]
</preflash_startup_meanluma_th>
<preflash_startup_affect_limit index="1" type="double" size="[1 1]">
[0.5]
</preflash_startup_affect_limit>
<exp_separate_mode index="1" type="char" size="[1 1]">
USE_GAIN_FIRST
</exp_separate_mode>
<preflash_dump_overTgt index="1" type="double" size="[1 1]">
[0.4]
</preflash_dump_overTgt>
<preflash_dump_underTgt index="1" type="double" size="[1 1]">
[0.5]
</preflash_dump_underTgt>
<preflash_dump_overExp index="1" type="double" size="[1 1]">
[0.2]
</preflash_dump_overExp>
<preflash_meanluma_OE_thL index="1" type="double" size="[1 1]">
[150]
</preflash_meanluma_OE_thL>
<preflash_meanluma_OE_thH index="1" type="double" size="[1 1]">
[200]
</preflash_meanluma_OE_thH>
</FlashCtrl>
</AEC>
<BLS index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 9]">
1920x1080
</name>
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<blsData index="1" type="double" size="[1 4]">
[257 257 257 257]
</blsData>
</cell>
<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 9]">
3280x2464
</name>
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<blsData index="1" type="double" size="[1 4]">
[257 257 257 257]
</blsData>
</cell>
</BLS>
<DEGAMMA index="1" type="cell" size="[1 1]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
linear
</name>
<degamma_dx index="1" type="double" size="[1 16]">
[256 512 768 1024 1280 1536 1792 2048 2304 2560 2816 3072 3328 3584 3840 4096]
</degamma_dx>
<degamma_y index="1" type="double" size="[1 17]">
[0 256 512 768 1024 1280 1536 1792 2048 2304 2560 2816 3072 3328 3584 3840 4095]
</degamma_y>
</cell>
</DEGAMMA>
<GOC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
normal
</name>
<enable_mode index="1" type="double" size="[1 1]">
[1]
</enable_mode>
<def_cfg_mode index="1" type="double" size="[1 1]">
[1]
</def_cfg_mode>
<gamma_y index="1" type="double" size="[1 34]">
[0 141 287 416 544 637 729 810 890 1018 1146 1252 1358 1453 1547 1631 1715 1861 2007 2133 2259 2375 2491 2691 2891 3065 3239 3395 3551 3693 3835 3964 4095 0]
</gamma_y>
<wdron_gamma_y index="1" type="double" size="[1 34]">
[0 49 105 157 225 301 393 486 590 738 879 1011 1163 1280 1382 1466 1568 1771 1951 2105 2240 2384 2493 2702 2894 3074 3242 3402 3555 3700 3839 3970 4095 0]
</wdron_gamma_y>
</cell>
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
night
</name>
<enable_mode index="1" type="double" size="[1 1]">
[1]
</enable_mode>
<def_cfg_mode index="1" type="double" size="[1 1]">
[1]
</def_cfg_mode>
<gamma_y index="1" type="double" size="[1 34]">
[0 97 197 279 361 476 592 714 836 1017 1197 1338 1478 1590 1702 1804 1906 2071 2235 2357 2479 2603 2727 2899 3071 3200 3328 3457 3587 3710 3832 3961 4095 0]
</gamma_y>
<wdron_gamma_y index="1" type="double" size="[1 34]">
[0 32 64 96 128 182 236 282 328 434 540 638 736 844 952 1058 1164 1332 1500 1658 1816 1962 2108 2388 2668 2920 3172 3362 3552 3696 3840 3968 4095 0]
</wdron_gamma_y>
</cell>
</GOC>
<WDR index="1" type="cell" size="[1 1]">
<cell index="1" type="struct" size="[1 1]">
<enabled index="1" type="double" size="[1 1]">
[0]
</enabled>
<mode index="1" type="double" size="[1 1]">
[1]
</mode>
<tbd index="1" type="double" size="[1 1]">
[-1]
</tbd>
<curve1 index="1" type="struct" size="[1 1]">
<xval index="1" type="double" size="[1 33]">
[-1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1]
</xval>
<yval index="1" type="double" size="[1 33]">
[-1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1]
</yval>
</curve1>
<curve2 index="1" type="struct" size="[1 1]">
<xval index="1" type="double" size="[1 33]">
[-1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1]
</xval>
<yval index="1" type="double" size="[1 33]">
[-1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1 -1]
</yval>
</curve2>
<local_curve index="1" type="double" size="[1 33]">
[0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0]
</local_curve>
<global_curve index="1" type="double" size="[1 33]">
[0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0]
</global_curve>
<wdr_noiseratio index="1" type="char" size="[1 6]">
0x00ee
</wdr_noiseratio>
<wdr_bestlight index="1" type="char" size="[1 6]">
0x0ccc
</wdr_bestlight>
<wdr_gain_off1 index="1" type="char" size="[1 10]">
0x000000cd
</wdr_gain_off1>
<wdr_pym_cc index="1" type="char" size="[1 3]">
0x3
</wdr_pym_cc>
<wdr_epsilon index="1" type="char" size="[1 3]">
0xc
</wdr_epsilon>
<wdr_lvl_en index="1" type="char" size="[1 3]">
0xf
</wdr_lvl_en>
<wdr_flt_sel index="1" type="char" size="[1 3]">
0x1
</wdr_flt_sel>
<wdr_gain_max_clip_enable index="1" type="char" size="[1 3]">
0x1
</wdr_gain_max_clip_enable>
<wdr_gain_max_value index="1" type="char" size="[1 4]">
0x20
</wdr_gain_max_value>
<wdr_bavg_clip index="1" type="char" size="[1 3]">
0x3
</wdr_bavg_clip>
<wdr_nonl_segm index="1" type="char" size="[1 3]">
0x0
</wdr_nonl_segm>
<wdr_nonl_open index="1" type="char" size="[1 3]">
0x1
</wdr_nonl_open>
<wdr_nonl_mode1 index="1" type="char" size="[1 3]">
0x0
</wdr_nonl_mode1>
<wdr_coe0 index="1" type="char" size="[1 10]">
0x00000036
</wdr_coe0>
<wdr_coe1 index="1" type="char" size="[1 10]">
0x000000b7
</wdr_coe1>
<wdr_coe2 index="1" type="char" size="[1 10]">
0x00000012
</wdr_coe2>
<wdr_coe_off index="1" type="char" size="[1 3]">
0x0
</wdr_coe_off>
<wdr_maxgain_filter index="1" type="struct" size="[1 2]">
<wdr_maxgain_filter_enable index="1" type="double" size="[1 1]">
[1]
</wdr_maxgain_filter_enable>
<wdr_sensor_gain_level index="1" type="double" size="[1 5]">
[1 2 4 6 10]
</wdr_sensor_gain_level>
<wdr_maxgain_level index="1" type="double" size="[1 5]">
[1 1 1 1 1]
</wdr_maxgain_level>
</wdr_maxgain_filter>
</cell>
</WDR>
<CAC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 9]">
1920x1080
</name>
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<x_normshift index="1" type="double" size="[1 1]">
[6]
</x_normshift>
<x_normfactor index="1" type="double" size="[1 1]">
[29]
</x_normfactor>
<y_normshift index="1" type="double" size="[1 1]">
[6]
</y_normshift>
<y_normfactor index="1" type="double" size="[1 1]">
[29]
</y_normfactor>
<x_offset index="1" type="double" size="[1 1]">
[0]
</x_offset>
<y_offset index="1" type="double" size="[1 1]">
[0]
</y_offset>
<red_parameters index="1" type="double" size="[1 3]">
[-1.8125 -0.25 1.375]
</red_parameters>
<blue_parameters index="1" type="double" size="[1 3]">
[-0.1875 -1.25 1.375]
</blue_parameters>
</cell>
<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 9]">
3280x2464
</name>
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<x_normshift index="1" type="double" size="[1 1]">
[6]
</x_normshift>
<x_normfactor index="1" type="double" size="[1 1]">
[16]
</x_normfactor>
<y_normshift index="1" type="double" size="[1 1]">
[6]
</y_normshift>
<y_normfactor index="1" type="double" size="[1 1]">
[16]
</y_normfactor>
<x_offset index="1" type="double" size="[1 1]">
[0]
</x_offset>
<y_offset index="1" type="double" size="[1 1]">
[0]
</y_offset>
<red_parameters index="1" type="double" size="[1 3]">
[1.8125 0.25 1.375]
</red_parameters>
<blue_parameters index="1" type="double" size="[1 3]">
[-0.25 -2.6875 3.75]
</blue_parameters>
</cell>
</CAC>
<DPF index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 12]">
<name index="1" type="char" size="[1 9]">
1920x1080
</name>
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<adpf_enable index="1" type="double" size="[1 1]">
[1]
</adpf_enable>
<NLL_SEGMENTATION index="1" type="double" size="[1 1]">
[1]
</NLL_SEGMENTATION>
<nll_coeff_n index="1" type="double" size="[1 17]">
[1500 1000 800 700 600 500 400 340 280 220 180 150 120 100 80 60 50]
</nll_coeff_n>
<SigmaGreen index="1" type="double" size="[1 1]">
[4]
</SigmaGreen>
<SigmaRedBlue index="1" type="double" size="[1 1]">
[4]
</SigmaRedBlue>
<Gradient index="1" type="double" size="[1 1]">
[0.3]
</Gradient>
<Offset index="1" type="double" size="[1 1]">
[0]
</Offset>
<NlGains index="1" type="double" size="[1 4]">
[1 1 1 1]
</NlGains>
<FilterSetting index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
normal
</name>
<FilterEnable index="1" type="double" size="[1 1]">
[1]
</FilterEnable>
<DeNoiseLevel index="1" type="struct" size="[1 2]">
<gains index="1" type="double" size="[1 6]">
[1 3 6 10 16 20]
</gains>
<dlevel index="1" type="double" size="[1 6]">
[0 1 2 3 3 4]
</dlevel>
</DeNoiseLevel>
<SharpeningLevel index="1" type="struct" size="[1 2]">
<gains index="1" type="double" size="[1 6]">
[1 3 6 10 16 20]
</gains>
<slevel index="1" type="double" size="[1 6]">
[4 3 2 1 1 0]
</slevel>
</SharpeningLevel>
<FilterLevelRegConf index="1" type="struct" size="[1 14]">
<FilterLevelRegConfEnable index="1" type="double" size="[1 1]">
[1]
</FilterLevelRegConfEnable>
<FilterLevel index="1" type="double" size="[1 5]">
[0 1 2 3 4]
</FilterLevel>
<flt_chr_h_mode index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</flt_chr_h_mode>
<flt_chr_v_mode index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</flt_chr_v_mode>
<flt_grn_stage1 index="1" type="double" size="[1 5]">
[7 6 5 4 4]
</flt_grn_stage1>
<flt_thresh_bl0 index="1" type="double" size="[1 5]">
[8 10 12 14 16]
</flt_thresh_bl0>
<flt_thresh_bl1 index="1" type="double" size="[1 5]">
[4 6 8 10 12]
</flt_thresh_bl1>
<flt_fac_bl0 index="1" type="double" size="[1 5]">
[12 14 16 18 20]
</flt_fac_bl0>
<flt_fac_bl1 index="1" type="double" size="[1 5]">
[4 8 10 12 14]
</flt_fac_bl1>
<flt_thresh_sh0 index="1" type="double" size="[1 5]">
[25 28 32 35 40]
</flt_thresh_sh0>
<flt_thresh_sh1 index="1" type="double" size="[1 5]">
[35 40 45 60 70]
</flt_thresh_sh1>
<flt_fac_sh0 index="1" type="double" size="[1 5]">
[22 24 28 30 32]
</flt_fac_sh0>
<flt_fac_sh1 index="1" type="double" size="[1 5]">
[22 24 28 30 32]
</flt_fac_sh1>
<flt_fac_mid index="1" type="double" size="[1 5]">
[20 22 24 24 26]
</flt_fac_mid>
</FilterLevelRegConf>
<Demosaic_th_conf index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 6]">
[1 1.1 6 8 10 12]
</gains>
<demosaic_th_level index="1" type="double" size="[1 6]">
[0 0 0 0 0 0]
</demosaic_th_level>
</Demosaic_th_conf>
<Demosaic_lp_conf index="1" type="struct" size="[1 1]">
<lp_en index="1" type="double" size="[1 1]">
[0]
</lp_en>
<rb_filter_en index="1" type="double" size="[1 1]">
[1]
</rb_filter_en>
<hp_filter_en index="1" type="double" size="[1 1]">
[1]
</hp_filter_en>
<use_old_lp index="1" type="double" size="[1 1]">
[0]
</use_old_lp>
<lu_divided index="1" type="double" size="[1 4]">
[240 200 140 80]
</lu_divided>
<gainsArray index="1" type="double" size="[1 6]">
[1 2 4 6 8 16]
</gainsArray>
<thH_divided0 index="1" type="double" size="[1 6]">
[20 20 28 28 39 45]
</thH_divided0>
<thH_divided1 index="1" type="double" size="[1 6]">
[16 16 22 22 31 31]
</thH_divided1>
<thH_divided2 index="1" type="double" size="[1 6]">
[10 10 14 14 20 25]
</thH_divided2>
<thH_divided3 index="1" type="double" size="[1 6]">
[9 9 11 11 15 22]
</thH_divided3>
<thH_divided4 index="1" type="double" size="[1 6]">
[6 6 7 7 10 15]
</thH_divided4>
<thCSC_divided0 index="1" type="double" size="[1 6]">
[25 25 45 45 48 48]
</thCSC_divided0>
<thCSC_divided1 index="1" type="double" size="[1 6]">
[20 20 30 30 36 36]
</thCSC_divided1>
<thCSC_divided2 index="1" type="double" size="[1 6]">
[18 18 20 20 29 29]
</thCSC_divided2>
<thCSC_divided3 index="1" type="double" size="[1 6]">
[15 15 15 15 14 20]
</thCSC_divided3>
<thCSC_divided4 index="1" type="double" size="[1 6]">
[8 8 8 8 12 15]
</thCSC_divided4>
<diff_divided0 index="1" type="double" size="[1 6]">
[40 40 56 56 78 78]
</diff_divided0>
<diff_divided1 index="1" type="double" size="[1 6]">
[28 28 39 39 55 55]
</diff_divided1>
<diff_divided2 index="1" type="double" size="[1 6]">
[18 18 25 25 35 48]
</diff_divided2>
<diff_divided3 index="1" type="double" size="[1 6]">
[14 14 20 20 28 43]
</diff_divided3>
<diff_divided4 index="1" type="double" size="[1 6]">
[8 8 11 11 15 20]
</diff_divided4>
<varTh_divided0 index="1" type="double" size="[1 6]">
[300 300 300 300 500 700]
</varTh_divided0>
<varTh_divided1 index="1" type="double" size="[1 6]">
[100 100 100 100 200 400]
</varTh_divided1>
<varTh_divided2 index="1" type="double" size="[1 6]">
[80 80 80 80 160 300]
</varTh_divided2>
<varTh_divided3 index="1" type="double" size="[1 6]">
[50 50 70 70 120 250]
</varTh_divided3>
<varTh_divided4 index="1" type="double" size="[1 6]">
[30 30 40 40 70 110]
</varTh_divided4>
<thgrad_r_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thgrad_r_fct>
<thdiff_r_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thdiff_r_fct>
<thvar_r_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thvar_r_fct>
<thgrad_b_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thgrad_b_fct>
<thdiff_b_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thdiff_b_fct>
<thvar_b_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thvar_b_fct>
<similarity_th index="1" type="double" size="[1 6]">
[7 7 6 6 5 5]
</similarity_th>
<th_var_en index="1" type="double" size="[1 1]">
[1]
</th_var_en>
<th_csc_en index="1" type="double" size="[1 1]">
[1]
</th_csc_en>
<th_diff_en index="1" type="double" size="[1 1]">
[1]
</th_diff_en>
<th_grad_en index="1" type="double" size="[1 1]">
[1]
</th_grad_en>
<th_grad index="1" type="double" size="[1 6]">
[13 13 13 13 13 13]
</th_grad>
<th_diff index="1" type="double" size="[1 6]">
[15 15 15 15 15 15]
</th_diff>
<th_csc index="1" type="double" size="[1 6]">
[18 18 18 18 18 18]
</th_csc>
<th_var index="1" type="double" size="[1 6]">
[12 12 12 12 12 12]
</th_var>
<flat_level_sel index="1" type="double" size="[1 6]">
[6 5 5 4 4 3]
</flat_level_sel>
<pattern_level_sel index="1" type="double" size="[1 6]">
[8 7 6 5 4 4]
</pattern_level_sel>
<edge_level_sel index="1" type="double" size="[1 6]">
[8 7 6 6 5 4]
</edge_level_sel>
</Demosaic_lp_conf>
</cell>
<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
night
</name>
<FilterEnable index="1" type="double" size="[1 1]">
[1]
</FilterEnable>
<DeNoiseLevel index="1" type="struct" size="[1 2]">
<gains index="1" type="double" size="[1 6]">
[1 3 6 10 16 20]
</gains>
<dlevel index="1" type="double" size="[1 6]">
[0 1 2 3 3 4]
</dlevel>
</DeNoiseLevel>
<SharpeningLevel index="1" type="struct" size="[1 2]">
<gains index="1" type="double" size="[1 6]">
[1 3 6 10 16 20]
</gains>
<slevel index="1" type="double" size="[1 6]">
[4 3 2 1 1 0]
</slevel>
</SharpeningLevel>
<FilterLevelRegConf index="1" type="struct" size="[1 14]">
<FilterLevelRegConfEnable index="1" type="double" size="[1 1]">
[1]
</FilterLevelRegConfEnable>
<FilterLevel index="1" type="double" size="[1 5]">
[0 1 2 3 4]
</FilterLevel>
<flt_chr_h_mode index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</flt_chr_h_mode>
<flt_chr_v_mode index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</flt_chr_v_mode>
<flt_grn_stage1 index="1" type="double" size="[1 5]">
[7 6 5 4 3]
</flt_grn_stage1>
<flt_thresh_bl0 index="1" type="double" size="[1 5]">
[8 10 12 14 16]
</flt_thresh_bl0>
<flt_thresh_bl1 index="1" type="double" size="[1 5]">
[3 5 6 8 10]
</flt_thresh_bl1>
<flt_fac_bl0 index="1" type="double" size="[1 5]">
[8 10 12 15 18]
</flt_fac_bl0>
<flt_fac_bl1 index="1" type="double" size="[1 5]">
[2 4 8 10 12]
</flt_fac_bl1>
<flt_thresh_sh0 index="1" type="double" size="[1 5]">
[20 25 30 35 40]
</flt_thresh_sh0>
<flt_thresh_sh1 index="1" type="double" size="[1 5]">
[30 35 45 60 70]
</flt_thresh_sh1>
<flt_fac_sh0 index="1" type="double" size="[1 5]">
[20 20 22 24 26]
</flt_fac_sh0>
<flt_fac_sh1 index="1" type="double" size="[1 5]">
[20 20 22 22 26]
</flt_fac_sh1>
<flt_fac_mid index="1" type="double" size="[1 5]">
[18 20 20 22 24]
</flt_fac_mid>
</FilterLevelRegConf>
<Demosaic_th_conf index="1" type="struct" size="[1 1]">
<gains index="1" type="double" size="[1 6]">
[1 1.1 6 8 10 12]
</gains>
<demosaic_th_level index="1" type="double" size="[1 6]">
[0 0 0 0 0 0]
</demosaic_th_level>
</Demosaic_th_conf>
<Demosaic_lp_conf index="1" type="struct" size="[1 1]">
<lp_en index="1" type="double" size="[1 1]">
[0]
</lp_en>
<rb_filter_en index="1" type="double" size="[1 1]">
[1]
</rb_filter_en>
<hp_filter_en index="1" type="double" size="[1 1]">
[1]
</hp_filter_en>
<use_old_lp index="1" type="double" size="[1 1]">
[0]
</use_old_lp>
<lu_divided index="1" type="double" size="[1 4]">
[240 200 140 80]
</lu_divided>
<gainsArray index="1" type="double" size="[1 6]">
[1 2 4 6 8 16]
</gainsArray>
<thH_divided0 index="1" type="double" size="[1 6]">
[20 20 28 28 39 45]
</thH_divided0>
<thH_divided1 index="1" type="double" size="[1 6]">
[16 16 22 22 31 31]
</thH_divided1>
<thH_divided2 index="1" type="double" size="[1 6]">
[10 10 14 14 20 25]
</thH_divided2>
<thH_divided3 index="1" type="double" size="[1 6]">
[9 9 11 11 15 22]
</thH_divided3>
<thH_divided4 index="1" type="double" size="[1 6]">
[6 6 7 7 10 15]
</thH_divided4>
<thCSC_divided0 index="1" type="double" size="[1 6]">
[25 25 45 45 48 48]
</thCSC_divided0>
<thCSC_divided1 index="1" type="double" size="[1 6]">
[20 20 30 30 36 36]
</thCSC_divided1>
<thCSC_divided2 index="1" type="double" size="[1 6]">
[18 18 20 20 29 29]
</thCSC_divided2>
<thCSC_divided3 index="1" type="double" size="[1 6]">
[15 15 15 15 14 20]
</thCSC_divided3>
<thCSC_divided4 index="1" type="double" size="[1 6]">
[8 8 8 8 12 15]
</thCSC_divided4>
<diff_divided0 index="1" type="double" size="[1 6]">
[40 40 56 56 78 78]
</diff_divided0>
<diff_divided1 index="1" type="double" size="[1 6]">
[28 28 39 39 55 55]
</diff_divided1>
<diff_divided2 index="1" type="double" size="[1 6]">
[18 18 25 25 35 48]
</diff_divided2>
<diff_divided3 index="1" type="double" size="[1 6]">
[14 14 20 20 28 43]
</diff_divided3>
<diff_divided4 index="1" type="double" size="[1 6]">
[8 8 11 11 15 20]
</diff_divided4>
<varTh_divided0 index="1" type="double" size="[1 6]">
[300 300 300 300 500 700]
</varTh_divided0>
<varTh_divided1 index="1" type="double" size="[1 6]">
[100 100 100 100 200 400]
</varTh_divided1>
<varTh_divided2 index="1" type="double" size="[1 6]">
[80 80 80 80 160 300]
</varTh_divided2>
<varTh_divided3 index="1" type="double" size="[1 6]">
[50 50 70 70 120 250]
</varTh_divided3>
<varTh_divided4 index="1" type="double" size="[1 6]">
[30 30 40 40 70 110]
</varTh_divided4>
<thgrad_r_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thgrad_r_fct>
<thdiff_r_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thdiff_r_fct>
<thvar_r_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thvar_r_fct>
<thgrad_b_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thgrad_b_fct>
<thdiff_b_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thdiff_b_fct>
<thvar_b_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thvar_b_fct>
<similarity_th index="1" type="double" size="[1 6]">
[7 7 6 6 5 5]
</similarity_th>
<th_var_en index="1" type="double" size="[1 1]">
[1]
</th_var_en>
<th_csc_en index="1" type="double" size="[1 1]">
[1]
</th_csc_en>
<th_diff_en index="1" type="double" size="[1 1]">
[1]
</th_diff_en>
<th_grad_en index="1" type="double" size="[1 1]">
[1]
</th_grad_en>
<th_grad index="1" type="double" size="[1 6]">
[13 13 13 13 13 13]
</th_grad>
<th_diff index="1" type="double" size="[1 6]">
[15 15 15 15 15 15]
</th_diff>
<th_csc index="1" type="double" size="[1 6]">
[18 18 18 18 18 18]
</th_csc>
<th_var index="1" type="double" size="[1 6]">
[12 12 12 12 12 12]
</th_var>
<flat_level_sel index="1" type="double" size="[1 6]">
[6 5 5 4 4 3]
</flat_level_sel>
<pattern_level_sel index="1" type="double" size="[1 6]">
[8 7 6 5 4 4]
</pattern_level_sel>
<edge_level_sel index="1" type="double" size="[1 6]">
[8 7 6 6 5 4]
</edge_level_sel>
</Demosaic_lp_conf>
</cell>
</FilterSetting>
<MFD_Support index="1" type="double" size="[1 1]">
[0]
</MFD_Support>
<MFD_Gain index="1" type="double" size="[1 3]">
[2 4 6]
</MFD_Gain>
<MFD_Frames index="1" type="double" size="[1 3]">
[2 4 6]
</MFD_Frames>
<UVNR_Support index="1" type="double" size="[1 1]">
[0]
</UVNR_Support>
<UVNR_Gain index="1" type="double" size="[1 3]">
[2 4 8]
</UVNR_Gain>
<UVNR_Ratio index="1" type="double" size="[1 3]">
[2 4 6]
</UVNR_Ratio>
<UVNR_Distance index="1" type="double" size="[1 3]">
[2 4 6]
</UVNR_Distance>
<DSP_3DNR_Setting index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
normal
</name>
<Enable index="1" type="double" size="[1 1]">
[0]
</Enable>
<gain_level index="1" type="double" size="[1 5]">
[1 2 4 8 16]
</gain_level>
<noise_coef_numerator index="1" type="double" size="[1 5]">
[1 1 1 1 1]
</noise_coef_numerator>
<noise_coef_denominator index="1" type="double" size="[1 5]">
[1 1 1 1 1]
</noise_coef_denominator>
<Level_Setting index="1" type="struct" size="[1 1]">
<luma_sp_nr_en index="1" type="double" size="[1 1]">
[0]
</luma_sp_nr_en>
<luma_sp_nr_level index="1" type="double" size="[1 5]">
[3 6 9 12 16]
</luma_sp_nr_level>
<luma_te_nr_en index="1" type="double" size="[1 1]">
[0]
</luma_te_nr_en>
<luma_te_nr_level index="1" type="double" size="[1 5]">
[8 8 12 12 16]
</luma_te_nr_level>
<chrm_sp_nr_en index="1" type="double" size="[1 1]">
[0]
</chrm_sp_nr_en>
<chrm_sp_nr_level index="1" type="double" size="[1 5]">
[16 16 16 16 16]
</chrm_sp_nr_level>
<chrm_te_nr_en index="1" type="double" size="[1 1]">
[0]
</chrm_te_nr_en>
<chrm_te_nr_level index="1" type="double" size="[1 5]">
[16 16 16 16 16]
</chrm_te_nr_level>
<shp_en index="1" type="double" size="[1 1]">
[0]
</shp_en>
<shp_level index="1" type="double" size="[1 5]">
[16 16 16 16 16]
</shp_level>
</Level_Setting>
<Luma_Setting index="1" type="struct" size="[1 1]">
<luma_default index="1" type="double" size="[1 1]">
[1]
</luma_default>
<luma_sp_rad index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</luma_sp_rad>
<luma_te_max_bi_num index="1" type="double" size="[1 5]">
[0 0 0 0 0]
</luma_te_max_bi_num>
<luma_w00 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w00>
<luma_w01 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w01>
<luma_w02 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w02>
<luma_w03 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w03>
<luma_w04 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w04>
<luma_w10 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w10>
<luma_w11 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w11>
<luma_w12 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w12>
<luma_w13 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w13>
<luma_w14 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w14>
<luma_w20 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w20>
<luma_w21 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w21>
<luma_w22 index="1" type="double" size="[1 5]">
[96 96 96 96 96]
</luma_w22>
<luma_w23 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w23>
<luma_w24 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w24>
<luma_w30 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w30>
<luma_w31 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w31>
<luma_w32 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w32>
<luma_w33 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w33>
<luma_w34 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w34>
<luma_w40 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w40>
<luma_w41 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w41>
<luma_w42 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w42>
<luma_w43 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w43>
<luma_w44 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w44>
</Luma_Setting>
<Chrm_Setting index="1" type="struct" size="[1 1]">
<chrm_default index="1" type="double" size="[1 1]">
[1]
</chrm_default>
<chrm_sp_rad index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</chrm_sp_rad>
<chrm_te_max_bi_num index="1" type="double" size="[1 5]">
[0 0 0 0 0]
</chrm_te_max_bi_num>
<chrm_w00 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w00>
<chrm_w01 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w01>
<chrm_w02 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w02>
<chrm_w03 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w03>
<chrm_w04 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w04>
<chrm_w10 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w10>
<chrm_w11 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w11>
<chrm_w12 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w12>
<chrm_w13 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w13>
<chrm_w14 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w14>
<chrm_w20 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w20>
<chrm_w21 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w21>
<chrm_w22 index="1" type="double" size="[1 5]">
[80 80 80 80 80]
</chrm_w22>
<chrm_w23 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w23>
<chrm_w24 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w24>
<chrm_w30 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w30>
<chrm_w31 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w31>
<chrm_w32 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w32>
<chrm_w33 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w33>
<chrm_w34 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w34>
<chrm_w40 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w40>
<chrm_w41 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w41>
<chrm_w42 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w42>
<chrm_w43 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w43>
<chrm_w44 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w44>
</Chrm_Setting>
<Shp_Setting index="1" type="struct" size="[1 1]">
<shp_default index="1" type="double" size="[1 1]">
[1]
</shp_default>
<src_shp_thr index="1" type="double" size="[1 5]">
[15 15 15 15 15]
</src_shp_thr>
<src_shp_div index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</src_shp_div>
<src_shp_l index="1" type="double" size="[1 5]">
[1 1 1 1 1]
</src_shp_l>
<src_shp_c index="1" type="double" size="[1 5]">
[0 0 0 0 0]
</src_shp_c>
<src_shp_w00 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w00>
<src_shp_w01 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w01>
<src_shp_w02 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w02>
<src_shp_w03 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w03>
<src_shp_w04 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w04>
<src_shp_w10 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w10>
<src_shp_w11 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w11>
<src_shp_w12 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w12>
<src_shp_w13 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w13>
<src_shp_w14 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w14>
<src_shp_w20 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w20>
<src_shp_w21 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w21>
<src_shp_w22 index="1" type="double" size="[1 5]">
[36 36 36 36 36]
</src_shp_w22>
<src_shp_w23 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w23>
<src_shp_w24 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w24>
<src_shp_w30 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w30>
<src_shp_w31 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w31>
<src_shp_w32 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w32>
<src_shp_w33 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w33>
<src_shp_w34 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w34>
<src_shp_w40 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w40>
<src_shp_w41 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w41>
<src_shp_w42 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w42>
<src_shp_w43 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w43>
<src_shp_w44 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w44>
</Shp_Setting>
</cell>
<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 5]">
night
</name>
<Enable index="1" type="double" size="[1 1]">
[0]
</Enable>
<gain_level index="1" type="double" size="[1 5]">
[1 2 4 8 16]
</gain_level>
<noise_coef_numerator index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</noise_coef_numerator>
<noise_coef_denominator index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</noise_coef_denominator>
<Level_Setting index="1" type="struct" size="[1 1]">
<luma_sp_nr_en index="1" type="double" size="[1 1]">
[0]
</luma_sp_nr_en>
<luma_sp_nr_level index="1" type="double" size="[1 5]">
[4 4 8 12 16]
</luma_sp_nr_level>
<luma_te_nr_en index="1" type="double" size="[1 1]">
[0]
</luma_te_nr_en>
<luma_te_nr_level index="1" type="double" size="[1 5]">
[8 8 12 12 16]
</luma_te_nr_level>
<chrm_sp_nr_en index="1" type="double" size="[1 1]">
[0]
</chrm_sp_nr_en>
<chrm_sp_nr_level index="1" type="double" size="[1 5]">
[16 16 16 16 16]
</chrm_sp_nr_level>
<chrm_te_nr_en index="1" type="double" size="[1 1]">
[0]
</chrm_te_nr_en>
<chrm_te_nr_level index="1" type="double" size="[1 5]">
[16 16 16 16 16]
</chrm_te_nr_level>
<shp_en index="1" type="double" size="[1 1]">
[0]
</shp_en>
<shp_level index="1" type="double" size="[1 5]">
[16 16 16 16 16]
</shp_level>
</Level_Setting>
<Luma_Setting index="1" type="struct" size="[1 1]">
<luma_default index="1" type="double" size="[1 1]">
[1]
</luma_default>
<luma_sp_rad index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</luma_sp_rad>
<luma_te_max_bi_num index="1" type="double" size="[1 5]">
[0 0 0 0 0]
</luma_te_max_bi_num>
<luma_w00 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w00>
<luma_w01 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w01>
<luma_w02 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w02>
<luma_w03 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w03>
<luma_w04 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w04>
<luma_w10 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w10>
<luma_w11 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w11>
<luma_w12 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w12>
<luma_w13 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w13>
<luma_w14 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w14>
<luma_w20 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w20>
<luma_w21 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w21>
<luma_w22 index="1" type="double" size="[1 5]">
[96 96 96 96 96]
</luma_w22>
<luma_w23 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w23>
<luma_w24 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w24>
<luma_w30 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w30>
<luma_w31 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w31>
<luma_w32 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w32>
<luma_w33 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w33>
<luma_w34 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w34>
<luma_w40 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w40>
<luma_w41 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w41>
<luma_w42 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w42>
<luma_w43 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w43>
<luma_w44 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w44>
</Luma_Setting>
<Chrm_Setting index="1" type="struct" size="[1 1]">
<chrm_default index="1" type="double" size="[1 1]">
[1]
</chrm_default>
<chrm_sp_rad index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</chrm_sp_rad>
<chrm_te_max_bi_num index="1" type="double" size="[1 5]">
[0 0 0 0 0]
</chrm_te_max_bi_num>
<chrm_w00 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w00>
<chrm_w01 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w01>
<chrm_w02 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w02>
<chrm_w03 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w03>
<chrm_w04 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w04>
<chrm_w10 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w10>
<chrm_w11 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w11>
<chrm_w12 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w12>
<chrm_w13 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w13>
<chrm_w14 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w14>
<chrm_w20 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w20>
<chrm_w21 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w21>
<chrm_w22 index="1" type="double" size="[1 5]">
[80 80 80 80 80]
</chrm_w22>
<chrm_w23 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w23>
<chrm_w24 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w24>
<chrm_w30 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w30>
<chrm_w31 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w31>
<chrm_w32 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w32>
<chrm_w33 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w33>
<chrm_w34 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w34>
<chrm_w40 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w40>
<chrm_w41 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w41>
<chrm_w42 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w42>
<chrm_w43 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w43>
<chrm_w44 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w44>
</Chrm_Setting>
<Shp_Setting index="1" type="struct" size="[1 1]">
<shp_default index="1" type="double" size="[1 1]">
[1]
</shp_default>
<src_shp_thr index="1" type="double" size="[1 5]">
[15 15 15 15 15]
</src_shp_thr>
<src_shp_div index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</src_shp_div>
<src_shp_l index="1" type="double" size="[1 5]">
[1 1 1 1 1]
</src_shp_l>
<src_shp_c index="1" type="double" size="[1 5]">
[0 0 0 0 0]
</src_shp_c>
<src_shp_w00 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w00>
<src_shp_w01 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w01>
<src_shp_w02 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w02>
<src_shp_w03 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w03>
<src_shp_w04 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w04>
<src_shp_w10 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w10>
<src_shp_w11 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w11>
<src_shp_w12 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w12>
<src_shp_w13 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w13>
<src_shp_w14 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w14>
<src_shp_w20 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w20>
<src_shp_w21 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w21>
<src_shp_w22 index="1" type="double" size="[1 5]">
[36 36 36 36 36]
</src_shp_w22>
<src_shp_w23 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w23>
<src_shp_w24 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w24>
<src_shp_w30 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w30>
<src_shp_w31 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w31>
<src_shp_w32 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w32>
<src_shp_w33 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w33>
<src_shp_w34 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w34>
<src_shp_w40 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w40>
<src_shp_w41 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w41>
<src_shp_w42 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w42>
<src_shp_w43 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w43>
<src_shp_w44 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w44>
</Shp_Setting>
</cell>
</DSP_3DNR_Setting>
<NEW_DSP_3DNR_Setting index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
normal
</name>
<Enable index="1" type="double" size="[1 1]">
[0]
</Enable>
<dpc_enable index="1" type="double" size="[1 1]">
[1]
</dpc_enable>
<gain_level index="1" type="double" size="[1 5]">
[1 2 4 8 16]
</gain_level>
<ynr_Setting index="1" type="struct" size="[1 1]">
<ynr_enable index="1" type="double" size="[1 1]">
[1]
</ynr_enable>
<tnr_enable index="1" type="double" size="[1 1]">
[1]
</tnr_enable>
<iir_enable index="1" type="double" size="[1 1]">
[1]
</iir_enable>
<ynr_time_level index="1" type="double" size="[1 5]">
[1 2 3 4 4]
</ynr_time_level>
<ynr_space_level index="1" type="double" size="[1 5]">
[2 8 16 20 24]
</ynr_space_level>
</ynr_Setting>
<uvnr_Setting index="1" type="struct" size="[1 1]">
<uvnr_enable index="1" type="double" size="[1 1]">
[1]
</uvnr_enable>
<uvnr_level index="1" type="double" size="[1 5]">
[4 6 8 10 12]
</uvnr_level>
</uvnr_Setting>
<sharp_Setting index="1" type="struct" size="[1 1]">
<sharp_enable index="1" type="double" size="[1 1]">
[1]
</sharp_enable>
<sharp_level index="1" type="double" size="[1 5]">
[0 1 2 3 4]
</sharp_level>
</sharp_Setting>
</cell>
<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
night
</name>
<Enable index="1" type="double" size="[1 1]">
[0]
</Enable>
<dpc_enable index="1" type="double" size="[1 1]">
[1]
</dpc_enable>
<gain_level index="1" type="double" size="[1 5]">
[1 2 4 8 16]
</gain_level>
<ynr_Setting index="1" type="struct" size="[1 4]">
<ynr_enable index="1" type="double" size="[1 1]">
[1]
</ynr_enable>
<tnr_enable index="1" type="double" size="[1 1]">
[1]
</tnr_enable>
<iir_enable index="1" type="double" size="[1 1]">
[1]
</iir_enable>
<ynr_time_level index="1" type="double" size="[1 5]">
[1 2 3 4 4]
</ynr_time_level>
<ynr_space_level index="1" type="double" size="[1 5]">
[2 8 16 20 24]
</ynr_space_level>
</ynr_Setting>
<uvnr_Setting index="1" type="struct" size="[1 2]">
<uvnr_enable index="1" type="double" size="[1 1]">
[1]
</uvnr_enable>
<uvnr_level index="1" type="double" size="[1 5]">
[4 6 8 10 12]
</uvnr_level>
</uvnr_Setting>
<sharp_Setting index="1" type="struct" size="[1 2]">
<sharp_enable index="1" type="double" size="[1 1]">
[1]
</sharp_enable>
<sharp_level index="1" type="double" size="[1 5]">
[0 1 2 3 4]
</sharp_level>
</sharp_Setting>
</cell>
</NEW_DSP_3DNR_Setting>
</cell>
<cell index="2" type="struct" size="[1 12]">
<name index="1" type="char" size="[1 9]">
3280x2464
</name>
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<adpf_enable index="1" type="double" size="[1 1]">
[1]
</adpf_enable>
<NLL_SEGMENTATION index="1" type="double" size="[1 1]">
[1]
</NLL_SEGMENTATION>
<nll_coeff_n index="1" type="double" size="[1 17]">
[1500 1000 800 700 600 500 400 340 280 220 180 150 120 100 80 60 50]
</nll_coeff_n>
<SigmaGreen index="1" type="double" size="[1 1]">
[4]
</SigmaGreen>
<SigmaRedBlue index="1" type="double" size="[1 1]">
[4]
</SigmaRedBlue>
<Gradient index="1" type="double" size="[1 1]">
[0.3]
</Gradient>
<Offset index="1" type="double" size="[1 1]">
[0]
</Offset>
<NlGains index="1" type="double" size="[1 4]">
[1 1 1 1]
</NlGains>
<FilterSetting index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
normal
</name>
<FilterEnable index="1" type="double" size="[1 1]">
[1]
</FilterEnable>
<DeNoiseLevel index="1" type="struct" size="[1 2]">
<gains index="1" type="double" size="[1 6]">
[1 3 6 10 16 20]
</gains>
<dlevel index="1" type="double" size="[1 6]">
[0 1 2 3 3 4]
</dlevel>
</DeNoiseLevel>
<SharpeningLevel index="1" type="struct" size="[1 2]">
<gains index="1" type="double" size="[1 6]">
[1 3 6 10 16 20]
</gains>
<slevel index="1" type="double" size="[1 6]">
[4 3 2 2 1 0]
</slevel>
</SharpeningLevel>
<FilterLevelRegConf index="1" type="struct" size="[1 14]">
<FilterLevelRegConfEnable index="1" type="double" size="[1 1]">
[1]
</FilterLevelRegConfEnable>
<FilterLevel index="1" type="double" size="[1 5]">
[0 1 2 3 4]
</FilterLevel>
<flt_chr_h_mode index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</flt_chr_h_mode>
<flt_chr_v_mode index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</flt_chr_v_mode>
<flt_grn_stage1 index="1" type="double" size="[1 5]">
[7 6 5 4 4]
</flt_grn_stage1>
<flt_thresh_bl0 index="1" type="double" size="[1 5]">
[8 10 12 14 16]
</flt_thresh_bl0>
<flt_thresh_bl1 index="1" type="double" size="[1 5]">
[4 6 8 10 12]
</flt_thresh_bl1>
<flt_fac_bl0 index="1" type="double" size="[1 5]">
[12 14 16 18 20]
</flt_fac_bl0>
<flt_fac_bl1 index="1" type="double" size="[1 5]">
[4 8 10 12 14]
</flt_fac_bl1>
<flt_thresh_sh0 index="1" type="double" size="[1 5]">
[25 28 32 35 40]
</flt_thresh_sh0>
<flt_thresh_sh1 index="1" type="double" size="[1 5]">
[35 40 45 60 70]
</flt_thresh_sh1>
<flt_fac_sh0 index="1" type="double" size="[1 5]">
[22 24 28 30 32]
</flt_fac_sh0>
<flt_fac_sh1 index="1" type="double" size="[1 5]">
[22 24 28 30 32]
</flt_fac_sh1>
<flt_fac_mid index="1" type="double" size="[1 5]">
[20 22 24 24 26]
</flt_fac_mid>
</FilterLevelRegConf>
<Demosaic_th_conf index="1" type="struct" size="[1 2]">
<gains index="1" type="double" size="[1 6]">
[1 1.1 6 8 12 16]
</gains>
<demosaic_th_level index="1" type="double" size="[1 6]">
[4 4 4 4 4 4]
</demosaic_th_level>
</Demosaic_th_conf>
<Demosaic_lp_conf index="1" type="struct" size="[1 1]">
<lp_en index="1" type="double" size="[1 1]">
[0]
</lp_en>
<rb_filter_en index="1" type="double" size="[1 1]">
[1]
</rb_filter_en>
<hp_filter_en index="1" type="double" size="[1 1]">
[1]
</hp_filter_en>
<use_old_lp index="1" type="double" size="[1 1]">
[0]
</use_old_lp>
<lu_divided index="1" type="double" size="[1 4]">
[240 200 140 80]
</lu_divided>
<gainsArray index="1" type="double" size="[1 6]">
[1 2 4 6 8 16]
</gainsArray>
<thH_divided0 index="1" type="double" size="[1 6]">
[20 20 28 28 39 45]
</thH_divided0>
<thH_divided1 index="1" type="double" size="[1 6]">
[16 16 22 22 31 31]
</thH_divided1>
<thH_divided2 index="1" type="double" size="[1 6]">
[10 10 14 14 20 25]
</thH_divided2>
<thH_divided3 index="1" type="double" size="[1 6]">
[9 9 11 11 15 22]
</thH_divided3>
<thH_divided4 index="1" type="double" size="[1 6]">
[6 6 7 7 10 15]
</thH_divided4>
<thCSC_divided0 index="1" type="double" size="[1 6]">
[25 25 45 45 48 48]
</thCSC_divided0>
<thCSC_divided1 index="1" type="double" size="[1 6]">
[20 20 30 30 36 36]
</thCSC_divided1>
<thCSC_divided2 index="1" type="double" size="[1 6]">
[18 18 20 20 29 29]
</thCSC_divided2>
<thCSC_divided3 index="1" type="double" size="[1 6]">
[15 15 15 15 14 20]
</thCSC_divided3>
<thCSC_divided4 index="1" type="double" size="[1 6]">
[8 8 8 8 12 15]
</thCSC_divided4>
<diff_divided0 index="1" type="double" size="[1 6]">
[40 40 56 56 78 78]
</diff_divided0>
<diff_divided1 index="1" type="double" size="[1 6]">
[28 28 39 39 55 55]
</diff_divided1>
<diff_divided2 index="1" type="double" size="[1 6]">
[18 18 25 25 35 48]
</diff_divided2>
<diff_divided3 index="1" type="double" size="[1 6]">
[14 14 20 20 28 43]
</diff_divided3>
<diff_divided4 index="1" type="double" size="[1 6]">
[8 8 11 11 15 20]
</diff_divided4>
<varTh_divided0 index="1" type="double" size="[1 6]">
[300 300 300 300 500 700]
</varTh_divided0>
<varTh_divided1 index="1" type="double" size="[1 6]">
[100 100 100 100 200 400]
</varTh_divided1>
<varTh_divided2 index="1" type="double" size="[1 6]">
[80 80 80 80 160 300]
</varTh_divided2>
<varTh_divided3 index="1" type="double" size="[1 6]">
[50 50 70 70 120 250]
</varTh_divided3>
<varTh_divided4 index="1" type="double" size="[1 6]">
[30 30 40 40 70 110]
</varTh_divided4>
<thgrad_r_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thgrad_r_fct>
<thdiff_r_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thdiff_r_fct>
<thvar_r_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thvar_r_fct>
<thgrad_b_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thgrad_b_fct>
<thdiff_b_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thdiff_b_fct>
<thvar_b_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thvar_b_fct>
<similarity_th index="1" type="double" size="[1 6]">
[7 7 6 6 5 5]
</similarity_th>
<th_var_en index="1" type="double" size="[1 1]">
[1]
</th_var_en>
<th_csc_en index="1" type="double" size="[1 1]">
[1]
</th_csc_en>
<th_diff_en index="1" type="double" size="[1 1]">
[1]
</th_diff_en>
<th_grad_en index="1" type="double" size="[1 1]">
[1]
</th_grad_en>
<th_grad index="1" type="double" size="[1 6]">
[13 13 13 13 13 13]
</th_grad>
<th_diff index="1" type="double" size="[1 6]">
[15 15 15 15 15 15]
</th_diff>
<th_csc index="1" type="double" size="[1 6]">
[18 18 18 18 18 18]
</th_csc>
<th_var index="1" type="double" size="[1 6]">
[12 12 12 12 12 12]
</th_var>
<flat_level_sel index="1" type="double" size="[1 6]">
[6 5 5 4 4 3]
</flat_level_sel>
<pattern_level_sel index="1" type="double" size="[1 6]">
[8 7 6 5 4 4]
</pattern_level_sel>
<edge_level_sel index="1" type="double" size="[1 6]">
[8 7 6 6 5 4]
</edge_level_sel>
</Demosaic_lp_conf>
</cell>
<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
night
</name>
<FilterEnable index="1" type="double" size="[1 1]">
[1]
</FilterEnable>
<DeNoiseLevel index="1" type="struct" size="[1 2]">
<gains index="1" type="double" size="[1 6]">
[1 3 6 10 16 20]
</gains>
<dlevel index="1" type="double" size="[1 6]">
[0 1 2 3 3 4]
</dlevel>
</DeNoiseLevel>
<SharpeningLevel index="1" type="struct" size="[1 2]">
<gains index="1" type="double" size="[1 6]">
[1 3 6 10 16 20]
</gains>
<slevel index="1" type="double" size="[1 6]">
[4 3 2 1 1 0]
</slevel>
</SharpeningLevel>
<FilterLevelRegConf index="1" type="struct" size="[1 14]">
<FilterLevelRegConfEnable index="1" type="double" size="[1 1]">
[1]
</FilterLevelRegConfEnable>
<FilterLevel index="1" type="double" size="[1 5]">
[0 1 2 3 4]
</FilterLevel>
<flt_chr_h_mode index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</flt_chr_h_mode>
<flt_chr_v_mode index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</flt_chr_v_mode>
<flt_grn_stage1 index="1" type="double" size="[1 5]">
[7 6 5 4 3]
</flt_grn_stage1>
<flt_thresh_bl0 index="1" type="double" size="[1 5]">
[8 10 12 14 16]
</flt_thresh_bl0>
<flt_thresh_bl1 index="1" type="double" size="[1 5]">
[3 5 6 8 10]
</flt_thresh_bl1>
<flt_fac_bl0 index="1" type="double" size="[1 5]">
[8 10 12 15 18]
</flt_fac_bl0>
<flt_fac_bl1 index="1" type="double" size="[1 5]">
[2 4 8 10 12]
</flt_fac_bl1>
<flt_thresh_sh0 index="1" type="double" size="[1 5]">
[20 25 30 35 40]
</flt_thresh_sh0>
<flt_thresh_sh1 index="1" type="double" size="[1 5]">
[30 35 45 60 70]
</flt_thresh_sh1>
<flt_fac_sh0 index="1" type="double" size="[1 5]">
[20 20 22 24 26]
</flt_fac_sh0>
<flt_fac_sh1 index="1" type="double" size="[1 5]">
[20 20 22 22 26]
</flt_fac_sh1>
<flt_fac_mid index="1" type="double" size="[1 5]">
[18 20 20 22 24]
</flt_fac_mid>
</FilterLevelRegConf>
<Demosaic_th_conf index="1" type="struct" size="[1 2]">
<gains index="1" type="double" size="[1 6]">
[1 1.1 6 8 10 12]
</gains>
<demosaic_th_level index="1" type="double" size="[1 6]">
[0 0 0 0 0 0]
</demosaic_th_level>
</Demosaic_th_conf>
<Demosaic_lp_conf index="1" type="struct" size="[1 1]">
<lp_en index="1" type="double" size="[1 1]">
[0]
</lp_en>
<rb_filter_en index="1" type="double" size="[1 1]">
[1]
</rb_filter_en>
<hp_filter_en index="1" type="double" size="[1 1]">
[1]
</hp_filter_en>
<use_old_lp index="1" type="double" size="[1 1]">
[0]
</use_old_lp>
<lu_divided index="1" type="double" size="[1 4]">
[240 200 140 80]
</lu_divided>
<gainsArray index="1" type="double" size="[1 6]">
[1 2 4 6 8 16]
</gainsArray>
<thH_divided0 index="1" type="double" size="[1 6]">
[20 20 28 28 39 45]
</thH_divided0>
<thH_divided1 index="1" type="double" size="[1 6]">
[16 16 22 22 31 31]
</thH_divided1>
<thH_divided2 index="1" type="double" size="[1 6]">
[10 10 14 14 20 25]
</thH_divided2>
<thH_divided3 index="1" type="double" size="[1 6]">
[9 9 11 11 15 22]
</thH_divided3>
<thH_divided4 index="1" type="double" size="[1 6]">
[6 6 7 7 10 15]
</thH_divided4>
<thCSC_divided0 index="1" type="double" size="[1 6]">
[25 25 45 45 48 48]
</thCSC_divided0>
<thCSC_divided1 index="1" type="double" size="[1 6]">
[20 20 30 30 36 36]
</thCSC_divided1>
<thCSC_divided2 index="1" type="double" size="[1 6]">
[18 18 20 20 29 29]
</thCSC_divided2>
<thCSC_divided3 index="1" type="double" size="[1 6]">
[15 15 15 15 14 20]
</thCSC_divided3>
<thCSC_divided4 index="1" type="double" size="[1 6]">
[8 8 8 8 12 15]
</thCSC_divided4>
<diff_divided0 index="1" type="double" size="[1 6]">
[40 40 56 56 78 78]
</diff_divided0>
<diff_divided1 index="1" type="double" size="[1 6]">
[28 28 39 39 55 55]
</diff_divided1>
<diff_divided2 index="1" type="double" size="[1 6]">
[18 18 25 25 35 48]
</diff_divided2>
<diff_divided3 index="1" type="double" size="[1 6]">
[14 14 20 20 28 43]
</diff_divided3>
<diff_divided4 index="1" type="double" size="[1 6]">
[8 8 11 11 15 20]
</diff_divided4>
<varTh_divided0 index="1" type="double" size="[1 6]">
[300 300 300 300 500 700]
</varTh_divided0>
<varTh_divided1 index="1" type="double" size="[1 6]">
[100 100 100 100 200 400]
</varTh_divided1>
<varTh_divided2 index="1" type="double" size="[1 6]">
[80 80 80 80 160 300]
</varTh_divided2>
<varTh_divided3 index="1" type="double" size="[1 6]">
[50 50 70 70 120 250]
</varTh_divided3>
<varTh_divided4 index="1" type="double" size="[1 6]">
[30 30 40 40 70 110]
</varTh_divided4>
<thgrad_r_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thgrad_r_fct>
<thdiff_r_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thdiff_r_fct>
<thvar_r_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thvar_r_fct>
<thgrad_b_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thgrad_b_fct>
<thdiff_b_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thdiff_b_fct>
<thvar_b_fct index="1" type="double" size="[1 6]">
[24 24 24 24 24 24]
</thvar_b_fct>
<similarity_th index="1" type="double" size="[1 6]">
[7 7 6 6 5 5]
</similarity_th>
<th_var_en index="1" type="double" size="[1 1]">
[1]
</th_var_en>
<th_csc_en index="1" type="double" size="[1 1]">
[1]
</th_csc_en>
<th_diff_en index="1" type="double" size="[1 1]">
[1]
</th_diff_en>
<th_grad_en index="1" type="double" size="[1 1]">
[1]
</th_grad_en>
<th_grad index="1" type="double" size="[1 6]">
[13 13 13 13 13 13]
</th_grad>
<th_diff index="1" type="double" size="[1 6]">
[15 15 15 15 15 15]
</th_diff>
<th_csc index="1" type="double" size="[1 6]">
[18 18 18 18 18 18]
</th_csc>
<th_var index="1" type="double" size="[1 6]">
[12 12 12 12 12 12]
</th_var>
<flat_level_sel index="1" type="double" size="[1 6]">
[6 5 5 4 4 3]
</flat_level_sel>
<pattern_level_sel index="1" type="double" size="[1 6]">
[8 7 6 5 4 4]
</pattern_level_sel>
<edge_level_sel index="1" type="double" size="[1 6]">
[8 7 6 6 5 4]
</edge_level_sel>
</Demosaic_lp_conf>
</cell>
</FilterSetting>
<MFD_Support index="1" type="double" size="[1 1]">
[0]
</MFD_Support>
<MFD_Gain index="1" type="double" size="[1 3]">
[2 4 6]
</MFD_Gain>
<MFD_Frames index="1" type="double" size="[1 3]">
[2 4 6]
</MFD_Frames>
<UVNR_Support index="1" type="double" size="[1 1]">
[0]
</UVNR_Support>
<UVNR_Gain index="1" type="double" size="[1 3]">
[2 4 8]
</UVNR_Gain>
<UVNR_Ratio index="1" type="double" size="[1 3]">
[2 4 6]
</UVNR_Ratio>
<UVNR_Distance index="1" type="double" size="[1 3]">
[2 4 6]
</UVNR_Distance>
<DSP_3DNR_Setting index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
normal
</name>
<Enable index="1" type="double" size="[1 1]">
[0]
</Enable>
<gain_level index="1" type="double" size="[1 5]">
[1 2 4 8 16]
</gain_level>
<noise_coef_numerator index="1" type="double" size="[1 5]">
[1 1 1 1 1]
</noise_coef_numerator>
<noise_coef_denominator index="1" type="double" size="[1 5]">
[1 1 1 1 1]
</noise_coef_denominator>
<Level_Setting index="1" type="struct" size="[1 1]">
<luma_sp_nr_en index="1" type="double" size="[1 1]">
[0]
</luma_sp_nr_en>
<luma_sp_nr_level index="1" type="double" size="[1 5]">
[3 6 9 12 16]
</luma_sp_nr_level>
<luma_te_nr_en index="1" type="double" size="[1 1]">
[0]
</luma_te_nr_en>
<luma_te_nr_level index="1" type="double" size="[1 5]">
[8 8 12 12 16]
</luma_te_nr_level>
<chrm_sp_nr_en index="1" type="double" size="[1 1]">
[0]
</chrm_sp_nr_en>
<chrm_sp_nr_level index="1" type="double" size="[1 5]">
[16 16 16 16 16]
</chrm_sp_nr_level>
<chrm_te_nr_en index="1" type="double" size="[1 1]">
[0]
</chrm_te_nr_en>
<chrm_te_nr_level index="1" type="double" size="[1 5]">
[16 16 16 16 16]
</chrm_te_nr_level>
<shp_en index="1" type="double" size="[1 1]">
[0]
</shp_en>
<shp_level index="1" type="double" size="[1 5]">
[16 16 16 16 16]
</shp_level>
</Level_Setting>
<Luma_Setting index="1" type="struct" size="[1 1]">
<luma_default index="1" type="double" size="[1 1]">
[1]
</luma_default>
<luma_sp_rad index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</luma_sp_rad>
<luma_te_max_bi_num index="1" type="double" size="[1 5]">
[0 0 0 0 0]
</luma_te_max_bi_num>
<luma_w00 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w00>
<luma_w01 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w01>
<luma_w02 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w02>
<luma_w03 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w03>
<luma_w04 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w04>
<luma_w10 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w10>
<luma_w11 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w11>
<luma_w12 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w12>
<luma_w13 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w13>
<luma_w14 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w14>
<luma_w20 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w20>
<luma_w21 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w21>
<luma_w22 index="1" type="double" size="[1 5]">
[96 96 96 96 96]
</luma_w22>
<luma_w23 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w23>
<luma_w24 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w24>
<luma_w30 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w30>
<luma_w31 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w31>
<luma_w32 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w32>
<luma_w33 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w33>
<luma_w34 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w34>
<luma_w40 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w40>
<luma_w41 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w41>
<luma_w42 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w42>
<luma_w43 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w43>
<luma_w44 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w44>
</Luma_Setting>
<Chrm_Setting index="1" type="struct" size="[1 1]">
<chrm_default index="1" type="double" size="[1 1]">
[1]
</chrm_default>
<chrm_sp_rad index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</chrm_sp_rad>
<chrm_te_max_bi_num index="1" type="double" size="[1 5]">
[0 0 0 0 0]
</chrm_te_max_bi_num>
<chrm_w00 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w00>
<chrm_w01 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w01>
<chrm_w02 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w02>
<chrm_w03 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w03>
<chrm_w04 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w04>
<chrm_w10 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w10>
<chrm_w11 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w11>
<chrm_w12 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w12>
<chrm_w13 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w13>
<chrm_w14 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w14>
<chrm_w20 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w20>
<chrm_w21 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w21>
<chrm_w22 index="1" type="double" size="[1 5]">
[80 80 80 80 80]
</chrm_w22>
<chrm_w23 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w23>
<chrm_w24 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w24>
<chrm_w30 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w30>
<chrm_w31 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w31>
<chrm_w32 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w32>
<chrm_w33 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w33>
<chrm_w34 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w34>
<chrm_w40 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w40>
<chrm_w41 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w41>
<chrm_w42 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w42>
<chrm_w43 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w43>
<chrm_w44 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w44>
</Chrm_Setting>
<Shp_Setting index="1" type="struct" size="[1 1]">
<shp_default index="1" type="double" size="[1 1]">
[1]
</shp_default>
<src_shp_thr index="1" type="double" size="[1 5]">
[15 15 15 15 15]
</src_shp_thr>
<src_shp_div index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</src_shp_div>
<src_shp_l index="1" type="double" size="[1 5]">
[1 1 1 1 1]
</src_shp_l>
<src_shp_c index="1" type="double" size="[1 5]">
[0 0 0 0 0]
</src_shp_c>
<src_shp_w00 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w00>
<src_shp_w01 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w01>
<src_shp_w02 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w02>
<src_shp_w03 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w03>
<src_shp_w04 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w04>
<src_shp_w10 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w10>
<src_shp_w11 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w11>
<src_shp_w12 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w12>
<src_shp_w13 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w13>
<src_shp_w14 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w14>
<src_shp_w20 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w20>
<src_shp_w21 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w21>
<src_shp_w22 index="1" type="double" size="[1 5]">
[36 36 36 36 36]
</src_shp_w22>
<src_shp_w23 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w23>
<src_shp_w24 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w24>
<src_shp_w30 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w30>
<src_shp_w31 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w31>
<src_shp_w32 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w32>
<src_shp_w33 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w33>
<src_shp_w34 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w34>
<src_shp_w40 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w40>
<src_shp_w41 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w41>
<src_shp_w42 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w42>
<src_shp_w43 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w43>
<src_shp_w44 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w44>
</Shp_Setting>
</cell>
<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 5]">
night
</name>
<Enable index="1" type="double" size="[1 1]">
[0]
</Enable>
<gain_level index="1" type="double" size="[1 5]">
[1 2 4 8 16]
</gain_level>
<noise_coef_numerator index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</noise_coef_numerator>
<noise_coef_denominator index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</noise_coef_denominator>
<Level_Setting index="1" type="struct" size="[1 1]">
<luma_sp_nr_en index="1" type="double" size="[1 1]">
[0]
</luma_sp_nr_en>
<luma_sp_nr_level index="1" type="double" size="[1 5]">
[4 4 8 12 16]
</luma_sp_nr_level>
<luma_te_nr_en index="1" type="double" size="[1 1]">
[0]
</luma_te_nr_en>
<luma_te_nr_level index="1" type="double" size="[1 5]">
[8 8 12 12 16]
</luma_te_nr_level>
<chrm_sp_nr_en index="1" type="double" size="[1 1]">
[0]
</chrm_sp_nr_en>
<chrm_sp_nr_level index="1" type="double" size="[1 5]">
[16 16 16 16 16]
</chrm_sp_nr_level>
<chrm_te_nr_en index="1" type="double" size="[1 1]">
[0]
</chrm_te_nr_en>
<chrm_te_nr_level index="1" type="double" size="[1 5]">
[16 16 16 16 16]
</chrm_te_nr_level>
<shp_en index="1" type="double" size="[1 1]">
[0]
</shp_en>
<shp_level index="1" type="double" size="[1 5]">
[16 16 16 16 16]
</shp_level>
</Level_Setting>
<Luma_Setting index="1" type="struct" size="[1 1]">
<luma_default index="1" type="double" size="[1 1]">
[1]
</luma_default>
<luma_sp_rad index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</luma_sp_rad>
<luma_te_max_bi_num index="1" type="double" size="[1 5]">
[0 0 0 0 0]
</luma_te_max_bi_num>
<luma_w00 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w00>
<luma_w01 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w01>
<luma_w02 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w02>
<luma_w03 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w03>
<luma_w04 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w04>
<luma_w10 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w10>
<luma_w11 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w11>
<luma_w12 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w12>
<luma_w13 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w13>
<luma_w14 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w14>
<luma_w20 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w20>
<luma_w21 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w21>
<luma_w22 index="1" type="double" size="[1 5]">
[96 96 96 96 96]
</luma_w22>
<luma_w23 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w23>
<luma_w24 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w24>
<luma_w30 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w30>
<luma_w31 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w31>
<luma_w32 index="1" type="double" size="[1 5]">
[48 48 48 48 48]
</luma_w32>
<luma_w33 index="1" type="double" size="[1 5]">
[30 30 30 30 30]
</luma_w33>
<luma_w34 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w34>
<luma_w40 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w40>
<luma_w41 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w41>
<luma_w42 index="1" type="double" size="[1 5]">
[12 12 12 12 12]
</luma_w42>
<luma_w43 index="1" type="double" size="[1 5]">
[6 6 6 6 6]
</luma_w43>
<luma_w44 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</luma_w44>
</Luma_Setting>
<Chrm_Setting index="1" type="struct" size="[1 1]">
<chrm_default index="1" type="double" size="[1 1]">
[1]
</chrm_default>
<chrm_sp_rad index="1" type="double" size="[1 5]">
[3 3 3 3 3]
</chrm_sp_rad>
<chrm_te_max_bi_num index="1" type="double" size="[1 5]">
[0 0 0 0 0]
</chrm_te_max_bi_num>
<chrm_w00 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w00>
<chrm_w01 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w01>
<chrm_w02 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w02>
<chrm_w03 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w03>
<chrm_w04 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w04>
<chrm_w10 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w10>
<chrm_w11 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w11>
<chrm_w12 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w12>
<chrm_w13 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w13>
<chrm_w14 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w14>
<chrm_w20 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w20>
<chrm_w21 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w21>
<chrm_w22 index="1" type="double" size="[1 5]">
[80 80 80 80 80]
</chrm_w22>
<chrm_w23 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w23>
<chrm_w24 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w24>
<chrm_w30 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w30>
<chrm_w31 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w31>
<chrm_w32 index="1" type="double" size="[1 5]">
[25 25 25 25 25]
</chrm_w32>
<chrm_w33 index="1" type="double" size="[1 5]">
[18 18 18 18 18]
</chrm_w33>
<chrm_w34 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w34>
<chrm_w40 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w40>
<chrm_w41 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w41>
<chrm_w42 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w42>
<chrm_w43 index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</chrm_w43>
<chrm_w44 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</chrm_w44>
</Chrm_Setting>
<Shp_Setting index="1" type="struct" size="[1 1]">
<shp_default index="1" type="double" size="[1 1]">
[1]
</shp_default>
<src_shp_thr index="1" type="double" size="[1 5]">
[15 15 15 15 15]
</src_shp_thr>
<src_shp_div index="1" type="double" size="[1 5]">
[5 5 5 5 5]
</src_shp_div>
<src_shp_l index="1" type="double" size="[1 5]">
[1 1 1 1 1]
</src_shp_l>
<src_shp_c index="1" type="double" size="[1 5]">
[0 0 0 0 0]
</src_shp_c>
<src_shp_w00 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w00>
<src_shp_w01 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w01>
<src_shp_w02 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w02>
<src_shp_w03 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w03>
<src_shp_w04 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w04>
<src_shp_w10 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w10>
<src_shp_w11 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w11>
<src_shp_w12 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w12>
<src_shp_w13 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w13>
<src_shp_w14 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w14>
<src_shp_w20 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w20>
<src_shp_w21 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w21>
<src_shp_w22 index="1" type="double" size="[1 5]">
[36 36 36 36 36]
</src_shp_w22>
<src_shp_w23 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w23>
<src_shp_w24 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w24>
<src_shp_w30 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w30>
<src_shp_w31 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w31>
<src_shp_w32 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w32>
<src_shp_w33 index="1" type="double" size="[1 5]">
[2 2 2 2 2]
</src_shp_w33>
<src_shp_w34 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w34>
<src_shp_w40 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w40>
<src_shp_w41 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w41>
<src_shp_w42 index="1" type="double" size="[1 5]">
[-2 -2 -2 -2 -2]
</src_shp_w42>
<src_shp_w43 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w43>
<src_shp_w44 index="1" type="double" size="[1 5]">
[-1 -1 -1 -1 -1]
</src_shp_w44>
</Shp_Setting>
</cell>
</DSP_3DNR_Setting>
<NEW_DSP_3DNR_Setting index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
normal
</name>
<Enable index="1" type="double" size="[1 1]">
[0]
</Enable>
<dpc_enable index="1" type="double" size="[1 1]">
[1]
</dpc_enable>
<gain_level index="1" type="double" size="[1 5]">
[1 2 4 8 16]
</gain_level>
<ynr_Setting index="1" type="struct" size="[1 1]">
<ynr_enable index="1" type="double" size="[1 1]">
[1]
</ynr_enable>
<tnr_enable index="1" type="double" size="[1 1]">
[1]
</tnr_enable>
<iir_enable index="1" type="double" size="[1 1]">
[1]
</iir_enable>
<ynr_time_level index="1" type="double" size="[1 5]">
[1 2 3 4 4]
</ynr_time_level>
<ynr_space_level index="1" type="double" size="[1 5]">
[2 8 16 20 24]
</ynr_space_level>
</ynr_Setting>
<uvnr_Setting index="1" type="struct" size="[1 1]">
<uvnr_enable index="1" type="double" size="[1 1]">
[1]
</uvnr_enable>
<uvnr_level index="1" type="double" size="[1 5]">
[4 6 8 10 12]
</uvnr_level>
</uvnr_Setting>
<sharp_Setting index="1" type="struct" size="[1 1]">
<sharp_enable index="1" type="double" size="[1 1]">
[1]
</sharp_enable>
<sharp_level index="1" type="double" size="[1 5]">
[0 1 2 3 4]
</sharp_level>
</sharp_Setting>
</cell>
<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 6]">
night
</name>
<Enable index="1" type="double" size="[1 1]">
[0]
</Enable>
<dpc_enable index="1" type="double" size="[1 1]">
[1]
</dpc_enable>
<gain_level index="1" type="double" size="[1 5]">
[1 2 4 8 16]
</gain_level>
<ynr_Setting index="1" type="struct" size="[1 4]">
<ynr_enable index="1" type="double" size="[1 1]">
[1]
</ynr_enable>
<tnr_enable index="1" type="double" size="[1 1]">
[1]
</tnr_enable>
<iir_enable index="1" type="double" size="[1 1]">
[1]
</iir_enable>
<ynr_time_level index="1" type="double" size="[1 5]">
[1 2 3 4 4]
</ynr_time_level>
<ynr_space_level index="1" type="double" size="[1 5]">
[2 8 16 20 24]
</ynr_space_level>
</ynr_Setting>
<uvnr_Setting index="1" type="struct" size="[1 2]">
<uvnr_enable index="1" type="double" size="[1 1]">
[1]
</uvnr_enable>
<uvnr_level index="1" type="double" size="[1 5]">
[4 6 8 10 12]
</uvnr_level>
</uvnr_Setting>
<sharp_Setting index="1" type="struct" size="[1 2]">
<sharp_enable index="1" type="double" size="[1 1]">
[1]
</sharp_enable>
<sharp_level index="1" type="double" size="[1 5]">
[0 1 2 3 4]
</sharp_level>
</sharp_Setting>
</cell>
</NEW_DSP_3DNR_Setting>
</cell>
</DPF>
<DPCC index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 9]">
1920x1080
</name>
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<register index="1" type="cell" size="[1 23]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 13]">
ISP_DPCC_MODE
</name>
<value index="1" type="char" size="[1 6]">
0x0004
</value>
</cell>
<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_OUT_MODE
</name>
<value index="1" type="char" size="[1 6]">
0x0003
</value>
</cell>
<cell index="3" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 16]">
ISP_DPCC_SET_USE
</name>
<value index="1" type="char" size="[1 6]">
0x0007
</value>
</cell>
<cell index="4" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 21]">
ISP_DPCC_METHODS_SET1
</name>
<value index="1" type="char" size="[1 6]">
0x1D1D
</value>
</cell>
<cell index="5" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 21]">
ISP_DPCC_METHODS_SET2
</name>
<value index="1" type="char" size="[1 6]">
0x0707
</value>
</cell>
<cell index="6" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 21]">
ISP_DPCC_METHODS_SET3
</name>
<value index="1" type="char" size="[1 6]">
0x1F1F
</value>
</cell>
<cell index="7" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 22]">
ISP_DPCC_LINE_THRESH_1
</name>
<value index="1" type="char" size="[1 6]">
0x0808
</value>
</cell>
<cell index="8" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 23]">
ISP_DPCC_LINE_MAD_FAC_1
</name>
<value index="1" type="char" size="[1 6]">
0x0404
</value>
</cell>
<cell index="9" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_PG_FAC_1
</name>
<value index="1" type="char" size="[1 6]">
0x0403
</value>
</cell>
<cell index="10" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 21]">
ISP_DPCC_RND_THRESH_1
</name>
<value index="1" type="char" size="[1 6]">
0x0A0A
</value>
</cell>
<cell index="11" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_RG_FAC_1
</name>
<value index="1" type="char" size="[1 6]">
0x2020
</value>
</cell>
<cell index="12" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 22]">
ISP_DPCC_LINE_THRESH_2
</name>
<value index="1" type="char" size="[1 6]">
0x100C
</value>
</cell>
<cell index="13" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 23]">
ISP_DPCC_LINE_MAD_FAC_2
</name>
<value index="1" type="char" size="[1 6]">
0x1810
</value>
</cell>
<cell index="14" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_PG_FAC_2
</name>
<value index="1" type="char" size="[1 6]">
0x0403
</value>
</cell>
<cell index="15" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 21]">
ISP_DPCC_RND_THRESH_2
</name>
<value index="1" type="char" size="[1 6]">
0x0808
</value>
</cell>
<cell index="16" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_RG_FAC_2
</name>
<value index="1" type="char" size="[1 6]">
0x0808
</value>
</cell>
<cell index="17" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 22]">
ISP_DPCC_LINE_THRESH_3
</name>
<value index="1" type="char" size="[1 6]">
0x2020
</value>
</cell>
<cell index="18" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 23]">
ISP_DPCC_LINE_MAD_FAC_3
</name>
<value index="1" type="char" size="[1 6]">
0x0404
</value>
</cell>
<cell index="19" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_PG_FAC_3
</name>
<value index="1" type="char" size="[1 6]">
0x0403
</value>
</cell>
<cell index="20" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 21]">
ISP_DPCC_RND_THRESH_3
</name>
<value index="1" type="char" size="[1 6]">
0x0806
</value>
</cell>
<cell index="21" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_RG_FAC_3
</name>
<value index="1" type="char" size="[1 6]">
0x0404
</value>
</cell>
<cell index="22" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 18]">
ISP_DPCC_RO_LIMITS
</name>
<value index="1" type="char" size="[1 6]">
0x0A0A
</value>
</cell>
<cell index="23" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_RND_OFFS
</name>
<value index="1" type="char" size="[1 6]">
0x0FFF
</value>
</cell>
</register>
</cell>
<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 9]">
3280x2464
</name>
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<register index="1" type="cell" size="[1 23]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 13]">
ISP_DPCC_MODE
</name>
<value index="1" type="char" size="[1 6]">
0x0004
</value>
</cell>
<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_OUT_MODE
</name>
<value index="1" type="char" size="[1 6]">
0x0003
</value>
</cell>
<cell index="3" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 16]">
ISP_DPCC_SET_USE
</name>
<value index="1" type="char" size="[1 6]">
0x0007
</value>
</cell>
<cell index="4" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 21]">
ISP_DPCC_METHODS_SET1
</name>
<value index="1" type="char" size="[1 6]">
0x1D1D
</value>
</cell>
<cell index="5" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 21]">
ISP_DPCC_METHODS_SET2
</name>
<value index="1" type="char" size="[1 6]">
0x0707
</value>
</cell>
<cell index="6" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 21]">
ISP_DPCC_METHODS_SET3
</name>
<value index="1" type="char" size="[1 6]">
0x1F1F
</value>
</cell>
<cell index="7" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 22]">
ISP_DPCC_LINE_THRESH_1
</name>
<value index="1" type="char" size="[1 6]">
0x0808
</value>
</cell>
<cell index="8" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 23]">
ISP_DPCC_LINE_MAD_FAC_1
</name>
<value index="1" type="char" size="[1 6]">
0x0404
</value>
</cell>
<cell index="9" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_PG_FAC_1
</name>
<value index="1" type="char" size="[1 6]">
0x0403
</value>
</cell>
<cell index="10" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 21]">
ISP_DPCC_RND_THRESH_1
</name>
<value index="1" type="char" size="[1 6]">
0x0A0A
</value>
</cell>
<cell index="11" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_RG_FAC_1
</name>
<value index="1" type="char" size="[1 6]">
0x2020
</value>
</cell>
<cell index="12" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 22]">
ISP_DPCC_LINE_THRESH_2
</name>
<value index="1" type="char" size="[1 6]">
0x100C
</value>
</cell>
<cell index="13" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 23]">
ISP_DPCC_LINE_MAD_FAC_2
</name>
<value index="1" type="char" size="[1 6]">
0x1810
</value>
</cell>
<cell index="14" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_PG_FAC_2
</name>
<value index="1" type="char" size="[1 6]">
0x0403
</value>
</cell>
<cell index="15" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 21]">
ISP_DPCC_RND_THRESH_2
</name>
<value index="1" type="char" size="[1 6]">
0x0808
</value>
</cell>
<cell index="16" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_RG_FAC_2
</name>
<value index="1" type="char" size="[1 6]">
0x0808
</value>
</cell>
<cell index="17" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 22]">
ISP_DPCC_LINE_THRESH_3
</name>
<value index="1" type="char" size="[1 6]">
0x2020
</value>
</cell>
<cell index="18" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 23]">
ISP_DPCC_LINE_MAD_FAC_3
</name>
<value index="1" type="char" size="[1 6]">
0x0404
</value>
</cell>
<cell index="19" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_PG_FAC_3
</name>
<value index="1" type="char" size="[1 6]">
0x0403
</value>
</cell>
<cell index="20" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 21]">
ISP_DPCC_RND_THRESH_3
</name>
<value index="1" type="char" size="[1 6]">
0x0806
</value>
</cell>
<cell index="21" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_RG_FAC_3
</name>
<value index="1" type="char" size="[1 6]">
0x0404
</value>
</cell>
<cell index="22" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 18]">
ISP_DPCC_RO_LIMITS
</name>
<value index="1" type="char" size="[1 6]">
0x0A0A
</value>
</cell>
<cell index="23" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 17]">
ISP_DPCC_RND_OFFS
</name>
<value index="1" type="char" size="[1 6]">
0x0FFF
</value>
</cell>
</register>
</cell>
</DPCC>
<CPROC index="1" type="cell" size="[1 3]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 7]">
PREVIEW
</name>
<saturation index="1" type="double" size="[1 1]">
[0.93]
</saturation>
<contrast index="1" type="double" size="[1 1]">
[1]
</contrast>
<brightness index="1" type="double" size="[1 1]">
[0]
</brightness>
<hue index="1" type="double" size="[1 1]">
[0]
</hue>
</cell>
<cell index="2" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 8]">
CAPTURE
</name>
<saturation index="1" type="double" size="[1 1]">
[0.93]
</saturation>
<contrast index="1" type="double" size="[1 1]">
[1]
</contrast>
<brightness index="1" type="double" size="[1 1]">
[0]
</brightness>
<hue index="1" type="double" size="[1 1]">
[0]
</hue>
</cell>
<cell index="3" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 5]">
VIDEO
</name>
<saturation index="1" type="double" size="[1 1]">
[0.93]
</saturation>
<contrast index="1" type="double" size="[1 1]">
[1]
</contrast>
<brightness index="1" type="double" size="[1 1]">
[0]
</brightness>
<hue index="1" type="double" size="[1 1]">
[0]
</hue>
</cell>
</CPROC>
<IESHARPEN index="1" type="cell" size="[1 2]">
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 9]">
1920x1080
</name>
<resolution index="1" type="char" size="[1 9]">
1920x1080
</resolution>
<IEsharpenEnable index="1" type="double" size="[1 1]">
[0]
</IEsharpenEnable>
<coring_thr index="1" type="double" size="[1 1]">
[0]
</coring_thr>
<full_range index="1" type="double" size="[1 1]">
[0]
</full_range>
<switch_avg index="1" type="double" size="[1 1]">
[1]
</switch_avg>
<yavg_thr index="1" type="double" size="[1 4]">
[32 64 128 170]
</yavg_thr>
<p_delta1 index="1" type="double" size="[1 5]">
[4 4 5 6 8]
</p_delta1>
<p_delta2 index="1" type="double" size="[1 5]">
[4 4 5 6 8]
</p_delta2>
<pmaxnumber index="1" type="double" size="[1 5]">
[5 5 6 6 6]
</pmaxnumber>
<pminnumber index="1" type="double" size="[1 5]">
[1 1 0 0 0]
</pminnumber>
<gauss_flat_coe index="1" type="double" size="[3 3]">
[24 32 24 32 32 32 24 32 24]
</gauss_flat_coe>
<gauss_noise_coe index="1" type="double" size="[3 3]">
[24 32 24 32 32 32 24 32 24]
</gauss_noise_coe>
<gauss_other_coe index="1" type="double" size="[3 3]">
[8 12 8 12 176 12 8 12 8]
</gauss_other_coe>
<gain_dvide index="1" type="double" size="[1 1]">
[4]
</gain_dvide>
<l_p_grad index="1" type="double" size="[1 4]">
[32 64 128 256]
</l_p_grad>
<l_sharp_factor index="1" type="double" size="[1 5]">
[2 8 16 32 24]
</l_sharp_factor>
<l_line1_filter_coe index="1" type="double" size="[2 3]">
[6 36 6 5 6 5]
</l_line1_filter_coe>
<l_line2_filter_coe index="1" type="double" size="[3 3]">
[3 4 3 4 36 4 3 4 3]
</l_line2_filter_coe>
<l_line3_filter_coe index="1" type="double" size="[2 3]">
[5 6 5 6 36 6]
</l_line3_filter_coe>
<l_lap_mat_coe index="1" type="double" size="[3 3]">
[12 12 12 12 11 12 12 12 12]
</l_lap_mat_coe>
<h_p_grad index="1" type="double" size="[1 4]">
[32 64 128 256]
</h_p_grad>
<h_sharp_factor index="1" type="double" size="[1 5]">
[0 4 8 32 32]
</h_sharp_factor>
<h_line1_filter_coe index="1" type="double" size="[2 3]">
[11 13 11 9 11 9]
</h_line1_filter_coe>
<h_line2_filter_coe index="1" type="double" size="[3 3]">
[5 7 5 7 16 7 5 7 5]
</h_line2_filter_coe>
<h_line3_filter_coe index="1" type="double" size="[2 3]">
[9 11 9 11 13 11]
</h_line3_filter_coe>
<h_lap_mat_coe index="1" type="double" size="[3 3]">
[12 12 12 12 11 12 12 12 12]
</h_lap_mat_coe>
<uv_gauss_flat_coe index="1" type="double" size="[3 5]">
[15 17 19 17 15 15 19 22 19 15 15 17 19 17 15]
</uv_gauss_flat_coe>
<uv_gauss_noise_coe index="1" type="double" size="[3 5]">
[15 17 19 17 15 15 19 22 19 15 15 17 19 17 15]
</uv_gauss_noise_coe>
<uv_gauss_other_coe index="1" type="double" size="[3 5]">
[3 4 5 4 3 3 5 202 5 3 3 4 5 4 3]
</uv_gauss_other_coe>
</cell>
<cell index="1" type="struct" size="[1 1]">
<name index="1" type="char" size="[1 9]">
3280x2464
</name>
<resolution index="1" type="char" size="[1 9]">
3280x2464
</resolution>
<IEsharpenEnable index="1" type="double" size="[1 1]">
[0]
</IEsharpenEnable>
<coring_thr index="1" type="double" size="[1 1]">
[0]
</coring_thr>
<full_range index="1" type="double" size="[1 1]">
[0]
</full_range>
<switch_avg index="1" type="double" size="[1 1]">
[1]
</switch_avg>
<yavg_thr index="1" type="double" size="[1 4]">
[32 64 128 170]
</yavg_thr>
<p_delta1 index="1" type="double" size="[1 5]">
[4 4 5 6 8]
</p_delta1>
<p_delta2 index="1" type="double" size="[1 5]">
[4 4 5 6 8]
</p_delta2>
<pmaxnumber index="1" type="double" size="[1 5]">
[5 5 6 6 6]
</pmaxnumber>
<pminnumber index="1" type="double" size="[1 5]">
[1 1 0 0 0]
</pminnumber>
<gauss_flat_coe index="1" type="double" size="[3 3]">
[24 32 24 32 32 32 24 32 24]
</gauss_flat_coe>
<gauss_noise_coe index="1" type="double" size="[3 3]">
[24 32 24 32 32 32 24 32 24]
</gauss_noise_coe>
<gauss_other_coe index="1" type="double" size="[3 3]">
[8 12 8 12 176 12 8 12 8]
</gauss_other_coe>
<gain_dvide index="1" type="double" size="[1 1]">
[4]
</gain_dvide>
<l_p_grad index="1" type="double" size="[1 4]">
[32 64 128 256]
</l_p_grad>
<l_sharp_factor index="1" type="double" size="[1 5]">
[2 8 16 32 24]
</l_sharp_factor>
<l_line1_filter_coe index="1" type="double" size="[2 3]">
[6 36 6 5 6 5]
</l_line1_filter_coe>
<l_line2_filter_coe index="1" type="double" size="[3 3]">
[3 4 3 4 36 4 3 4 3]
</l_line2_filter_coe>
<l_line3_filter_coe index="1" type="double" size="[2 3]">
[5 6 5 6 36 6]
</l_line3_filter_coe>
<l_lap_mat_coe index="1" type="double" size="[3 3]">
[12 12 12 12 11 12 12 12 12]
</l_lap_mat_coe>
<h_p_grad index="1" type="double" size="[1 4]">
[32 64 128 256]
</h_p_grad>
<h_sharp_factor index="1" type="double" size="[1 5]">
[0 4 8 32 32]
</h_sharp_factor>
<h_line1_filter_coe index="1" type="double" size="[2 3]">
[11 13 11 9 11 9]
</h_line1_filter_coe>
<h_line2_filter_coe index="1" type="double" size="[3 3]">
[5 7 5 7 16 7 5 7 5]
</h_line2_filter_coe>
<h_line3_filter_coe index="1" type="double" size="[2 3]">
[9 11 9 11 13 11]
</h_line3_filter_coe>
<h_lap_mat_coe index="1" type="double" size="[3 3]">
[12 12 12 12 11 12 12 12 12]
</h_lap_mat_coe>
<uv_gauss_flat_coe index="1" type="double" size="[3 5]">
[15 17 19 17 15 15 19 22 19 15 15 17 19 17 15]
</uv_gauss_flat_coe>
<uv_gauss_noise_coe index="1" type="double" size="[3 5]">
[15 17 19 17 15 15 19 22 19 15 15 17 19 17 15]
</uv_gauss_noise_coe>
<uv_gauss_other_coe index="1" type="double" size="[3 5]">
[3 4 5 4 3 3 5 202 5 3 3 4 5 4 3]
</uv_gauss_other_coe>
</cell>
</IESHARPEN>
<OTP index="1" type="struct" size="[1 1]">
<otp_awb_enable index="1" type="double" size="[1 1]">
[0]
</otp_awb_enable>
<awb_golden_r_value index="1" type="double" size="[1 1]">
[0]
</awb_golden_r_value>
<awb_golden_gr_value index="1" type="double" size="[1 1]">
[0]
</awb_golden_gr_value>
<awb_golden_gb_value index="1" type="double" size="[1 1]">
[0]
</awb_golden_gb_value>
<awb_golden_b_value index="1" type="double" size="[1 1]">
[0]
</awb_golden_b_value>
<otp_lsc_enable index="1" type="double" size="[1 1]">
[0]
</otp_lsc_enable>
</OTP>
</sensor>
<system type="struct" size="[1 1]">
<AFPS index="1" type="struct" size="[1 1]">
<aFpsDefault index="1" type="char" size="[1 2]">
on
</aFpsDefault>
</AFPS>
</system>
</matfile>
| 544,715 | 544,715 | 0.55436 |
a8deba1fef2ec145e51e0f29841b069cdb404d9f | 208 | xml | XML | android-applications/todo-application-starter/app/src/main/res/values/colors.xml | kevin2-cyber/ug-short-course | 2d1ac94c9fd691232371d2ea8c0b44675ed590e8 | [
"MIT"
] | 4 | 2019-03-04T17:52:15.000Z | 2020-01-03T13:16:55.000Z | android-applications/todo-application-starter/app/src/main/res/values/colors.xml | kevin2-cyber/ug-short-course | 2d1ac94c9fd691232371d2ea8c0b44675ed590e8 | [
"MIT"
] | 4 | 2020-07-19T10:47:35.000Z | 2021-05-11T02:01:44.000Z | android-applications/todo-application-starter/app/src/main/res/values/colors.xml | kevin2-cyber/ug-short-course | 2d1ac94c9fd691232371d2ea8c0b44675ed590e8 | [
"MIT"
] | 3 | 2019-02-27T14:44:03.000Z | 2020-01-25T11:23:02.000Z | <?xml version="1.0" encoding="utf-8"?>
<resources>
<color name="colorPrimary">#34465A</color>
<color name="colorPrimaryDark">#0D151E</color>
<color name="colorAccent">#9C7AF5</color>
</resources>
| 29.714286 | 50 | 0.677885 |
aaedb061483e94998942d29d136ec281ed704624 | 9,135 | xml | XML | webapps/ROOT/content/xml/epidoc/doc3709.xml | FiscalEstate/Fiscus | 9fa666c702df66aee6d58975357dbc3a5a81aa46 | [
"Apache-2.0"
] | null | null | null | webapps/ROOT/content/xml/epidoc/doc3709.xml | FiscalEstate/Fiscus | 9fa666c702df66aee6d58975357dbc3a5a81aa46 | [
"Apache-2.0"
] | null | null | null | webapps/ROOT/content/xml/epidoc/doc3709.xml | FiscalEstate/Fiscus | 9fa666c702df66aee6d58975357dbc3a5a81aa46 | [
"Apache-2.0"
] | 1 | 2021-12-03T13:57:04.000Z | 2021-12-03T13:57:04.000Z | <?xml version="1.0" encoding="UTF-8"?>
<?xml-model href="http://www.stoa.org/epidoc/schema/latest/tei-epidoc.rng" schematypens="http://relaxng.org/ns/structure/1.0"?>
<TEI xmlns="http://www.tei-c.org/ns/1.0">
<teiHeader xml:lang="en">
<fileDesc>
<titleStmt>
<title>Montecassino, Archivio Abbaziale, aula III, capsa X, n. 31</title>
</titleStmt>
<editionStmt>
<edition>Digital edition encoded for <ref target="http://fiscus.unibo.it">Fiscus Project</ref>
<date when="2022">2022</date>
</edition>
</editionStmt>
<publicationStmt>
<publisher>Fiscus - DiSCi UniBo</publisher>
<idno type="filename">doc3709</idno>
<availability xml:lang="en" status="free">
<licence target="http://creativecommons.org/licenses/by-sa/4.0/">Metadata and
texts are released as Creative Commons, Attribution-ShareAlike 4.0 (CC BY-SA 4.0)</licence>
</availability>
<date when="2022"/>
</publicationStmt>
<sourceDesc>
<msDesc>
<msIdentifier>
<altIdentifier>
<idno type="uri"/>
</altIdentifier>
</msIdentifier>
<msContents>
<summary>
<rs type="text_type" ref="#">--Marquis’/ducal/princely diploma</rs>
<rs type="record_source" ref="#">Edition</rs>
<rs type="document_tradition" ref="#">Original</rs>
<rs type="fiscal_property">Yes</rs>
</summary>
<msItem xml:id="msItem1">
<textLang mainLang="" otherLangs=""/>
</msItem>
</msContents>
<history>
<origin>
<origDate when="1004-02-20">
<note type="displayed_date">1004 February 20</note>
<note type="dating_elements"/>
<note type="topical_date">Capua</note>
<note type="redaction_date"/>
</origDate>
<origPlace></origPlace>
</origin>
<provenance>
<location>
<placeName/>
</location>
</provenance>
</history>
</msDesc>
<listPlace>
<place></place>
</listPlace>
<listPerson>
<person></person>
</listPerson>
</sourceDesc>
</fileDesc>
<profileDesc>
<textClass>
<keywords>
<term/>
</keywords>
</textClass>
</profileDesc>
<revisionDesc>
<listChange>
<change when="2022-01-23" who="gzornetta">creation of record</change>
</listChange>
</revisionDesc>
</teiHeader>
<text>
<body>
<div type="edition">
<div type="textpart">
<ab>+ In nomine domini salvatoris nostri Iesu Christi Dei aeterni. <persName
ref="#people/407" key="#Princeps">Landolfus</persName> divina ordinante
providentia Langovardorum gentis <rs key="#Princeps">princeps</rs>. Cum
principalis excellentia petitione dilecti sui petenti clementer favet,
igitur noverit omnium fidelium nostrorum presentium scilicet ac futurorum
sagacitas, quia <persName ref="#people/2489" key="#Abbesses"
>Sichelgaita</persName> venerabilis <rs key="#Abbesses">abbatissa</rs>
<rs key="#Monasteries">monasterii</rs>
<rs key="#Nuns/sanctimoniales">puellarum</rs> vocabulo <orgName key="#Monasteries #Abbesses
#Nuns/sanctimoniales" ref="#juridical_persons/97">Sanctae Dei
genitricis Mariae</orgName>, quae nominatur ad
<placeName key="#Monasteries" ref="#places/193">Cingla</placeName> nostram obsecravit excellentiam, ut ob
amore omnipotentis Dei concederemus et confirmaremus in predictum
monasterium, in qua nunc illa preest, omni <rs key="#Imperial/royal_diploma
#Marquis’/ducal/princely_diploma"
>precepta</rs> que in eodem monasterium
concess atque firmata sunt, sive ab imperatoribus, seu regibus, vel a
ducibus, vel principibus cum omni continentia quae continunt, et omnes
scriptiones et moniminas eidem monasterii pertinentes et cum omnia quae
contininent, ut quemammodum ibi prelegitur, ita in omnibus nos in prephatum
monasterium confirmaremus. De quibus petiit a nostra excellentia per
<persName
ref="#people/2490" key="#Count #Intercessory">Landolfum</persName> <rs key="#Count">comitem</rs>
dilectum parentem nostrum, ut firmitatis apices prephati
monasterii exinde fieri iuberemus, cui pettitioni libenter assensum
prebentes, hos firmitatis apices prephati monasterii fieri iussimus exinde,
per quos omnino sanctimus et perpetualiter habendum nostris et futuris
temporibus concedimus, atque confirmamus in prephatum monasterium omne
praecepta quae ei ab imperatoribus, vel a ducibus, seu regibus, vel
principatibus concessa, atque firmata sunt, una cum cunctis scriptionibus,
et moniminas prephati monasterii pertinentes, un quemammodum in ipsa
precepta continet, et in ipsis scriptionibus, et monimina scriptum
repperitur, et prelegitur ita in omnibus inviolabiliter maneant in ipsum
prephatum monasterium in isa ratione, quae in ipsis prelegitur concessum
atque firmatum. Ea scilicet ratione omnia prescripta precepta et
scriptionibus et moniminas cum omnia quae in ipsis legitur et cum omni
continentia, que continunt in eodem prephatum monasterium concessimus, atque
confirmavimus ad possessionem prephati monasterii ad habendum et
possidendum, et faciendum pars prephati monasterii legaliter omnia, quae ei
placuerit absque contrarietate comitis, castaldeis, iudicis, vel sculdhais,
aut cuiuscumque persona hominis contradictione, vel inquietudine, set
perpetualiter ipse prephato monasterio firmiter illut habeat nemine ei
exinde in aliquo contraria ingerente. Quod si quispiam hanc nostram
concessionem in quomodocumque violare praesumpserit, sciat se ad partem
prephati monasterii compositurus auri libras centum, et haec nostra
concessio in omnibus quae continet firma permaneat in perpetuum. Ut autem
haec nostra concessio verius observetur manu propria scripsimus et ex anulo
nostro subter iussimus sigillari. Signum domni Landolfi excellentissimi
principis (M). <persName key="#Other_clerics #Professional_writer"><name
ref="Adeodatus">Adeodatus</name></persName>
<rs key="#Other_clerics">clerice</rs> et <rs key="#Professional_writer"
>scriba</rs> ex iussione supradictae gloriosae potestati scripsi. Data
undecimo kalendas mariti, anno quinto principatu domni Landolfi gloriosi
principis, indictione secunda. Actum in <rs key="#Cities">civitate</rs>
<placeName key="#Cities" ref="#places/173">Capuana</placeName>.</ab>
</div>
</div>
<div type="bibliography" subtype="editions">
<p>Gattola 1733: 32; Leccisotti 1965: 45, n. 31; Voigt 1902: 70, n. 210.</p>
</div>
<div type="bibliography" subtype="additional">
<p/>
</div>
<div type="bibliography" subtype="links">
<p/>
</div>
<div type="commentary">
<p/>
</div>
</body>
</text>
</TEI>
| 58.935484 | 129 | 0.520416 |
572d1ca3063ab4853f3f9271d0a8e3d26b17a474 | 1,105 | xml | XML | WIDER_train_annotations/32_Worker_Laborer_Worker_Laborer_32_722.xml | derinozturk/wider-face-pascal-voc-annotations | bc7735cdd38a19511ca7545a99f6ebe7e9a28501 | [
"MIT"
] | 74 | 2018-09-17T16:45:47.000Z | 2022-01-10T10:57:35.000Z | WIDER_train_annotations/32_Worker_Laborer_Worker_Laborer_32_722.xml | derinozturk/wider-face-pascal-voc-annotations | bc7735cdd38a19511ca7545a99f6ebe7e9a28501 | [
"MIT"
] | 7 | 2020-05-07T13:19:01.000Z | 2022-03-11T23:26:23.000Z | WIDER_train_annotations/32_Worker_Laborer_Worker_Laborer_32_722.xml | derinozturk/wider-face-pascal-voc-annotations | bc7735cdd38a19511ca7545a99f6ebe7e9a28501 | [
"MIT"
] | 43 | 2018-10-26T02:57:20.000Z | 2022-02-21T09:06:20.000Z | <annotation><folder>32--Worker_Laborer</folder><filename>32_Worker_Laborer_Worker_Laborer_32_722.jpg</filename><path>./WIDER_train/images/32--Worker_Laborer/32_Worker_Laborer_Worker_Laborer_32_722.jpg</path><source><database>Unknown</database></source><size><width>1024</width><height>682</height><depth>3</depth></size><segmented>0</segmented><object><name>face</name><pose>Unspecified</pose><truncated>0</truncated><difficult>0</difficult><bndbox><xmin>770</xmin><ymin>253</ymin><xmax>789</xmax><ymax>278</ymax></bndbox></object><object><name>face</name><pose>Unspecified</pose><truncated>0</truncated><difficult>0</difficult><bndbox><xmin>838</xmin><ymin>370</ymin><xmax>858</xmax><ymax>389</ymax></bndbox></object><object><name>face</name><pose>Unspecified</pose><truncated>0</truncated><difficult>0</difficult><bndbox><xmin>787</xmin><ymin>414</ymin><xmax>806</xmax><ymax>432</ymax></bndbox></object><object><name>face</name><pose>Unspecified</pose><truncated>0</truncated><difficult>0</difficult><bndbox><xmin>321</xmin><ymin>527</ymin><xmax>343</xmax><ymax>547</ymax></bndbox></object></annotation> | 1,105 | 1,105 | 0.759276 |
1a1fba9d255edc7a740dbc2783c5b90e2566e0d3 | 662 | csproj | XML | src/EfMicroservice.Domain/EfMicroservice.Domain.csproj | Assiance/Microservice-Template | 07542cfdab2495195a1f716bc637d4ddae15bab3 | [
"MIT"
] | null | null | null | src/EfMicroservice.Domain/EfMicroservice.Domain.csproj | Assiance/Microservice-Template | 07542cfdab2495195a1f716bc637d4ddae15bab3 | [
"MIT"
] | null | null | null | src/EfMicroservice.Domain/EfMicroservice.Domain.csproj | Assiance/Microservice-Template | 07542cfdab2495195a1f716bc637d4ddae15bab3 | [
"MIT"
] | null | null | null | <Project Sdk="Microsoft.NET.Sdk">
<PropertyGroup>
<TargetFramework>netcoreapp3.1</TargetFramework>
</PropertyGroup>
<ItemGroup>
<Folder Include="AggregateModels\ProductAggregate\" />
<Folder Include="AggregateModels\OrderAggregate\" />
<Folder Include="Products\Exceptions\" />
<Folder Include="Shared\" />
</ItemGroup>
<ItemGroup>
<PackageReference Include="FluentValidation.AspNetCore" Version="8.6.2" />
<PackageReference Include="Omni.BuildingBlocks" Version="1.7.0" />
</ItemGroup>
<ItemGroup>
<ProjectReference Include="..\EfMicroservice.Common\EfMicroservice.Common.csproj" />
</ItemGroup>
</Project>
| 27.583333 | 88 | 0.708459 |
be08b6f4061b910430f20c48b4ba8a6e56dd4dfb | 648 | tml | XML | src/test/resources/org/got5/tapestry5/jquery/pages/JQueryAccordionOld.tml | hhubris/tapestry5-jquery | 80e5aab5346f69b000117c4d1bada8f285508f0e | [
"Apache-2.0"
] | null | null | null | src/test/resources/org/got5/tapestry5/jquery/pages/JQueryAccordionOld.tml | hhubris/tapestry5-jquery | 80e5aab5346f69b000117c4d1bada8f285508f0e | [
"Apache-2.0"
] | null | null | null | src/test/resources/org/got5/tapestry5/jquery/pages/JQueryAccordionOld.tml | hhubris/tapestry5-jquery | 80e5aab5346f69b000117c4d1bada8f285508f0e | [
"Apache-2.0"
] | null | null | null | <html t:type="layout" xmlns:t="http://tapestry.apache.org/schema/tapestry_5_3.xsd" xmlns:p="tapestry:parameter">
<t:jquery.accordion t:listOfElements="prop:data" t:activeElementId="1"/>
<t:block id="block1">
<h3>Element 1</h3>
<hr/>
content from block 1
</t:block>
<t:block id="block2">
<h3>Element 2</h3>
<hr/>
content from block 2
</t:block>
<t:block id="block3">
<h3>Element 3</h3>
<hr/>
content from block 3
</t:block>
<t:block id="block4">
<h3>Element 4</h3>
<hr/>
content from block 4
<t:form>
<t:datefield value="sysDate"/>
<input type="submit"/>
</t:form>
</t:block>
</html> | 13.787234 | 112 | 0.612654 |
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