Audiobook: New version of Les contes d'Hoffmann (The tales of Hoffman) by Offenbach, Jacques

The Project Gutenberg EBook of The Tales of Hoffmann Book By Jules Barbier; Music By J. Offenbach

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Title: The Tales of Hoffmann Les contes d'Hoffmann

Author: Book By Jules Barbier; Music By J. Offenbach

Translator: Charles Alfred Byrne

Release Date: May 28, 2005 [EBook #15915]

Language: French and English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK THE TALES OF HOFFMANN ***

Produced by Juliet Sutherland, Ben Beasley and the Online Distributed Proofreading Team.

[Transcriber's note: This file contains both the English and French versions of this edition of Les Contes d'Hoffman. Both the English and the French texts are known to have a significant number of errors, misprints, and inconsistencies. They are here presented without correction. In this text, the "[oe]" marking represents the oe ligature.]

NEW VERSION OF

Les Contes d'Hoffmann (THE TALES OF HOFFMAN)

OPERA IN FOUR ACTS

With an original and novel first Act and other important changes

Book by JULES BARBIER

MUSIC BY J. OFFENBACH

New English version by CHARLES ALFRED BYRNE

As performed, for the first time in America at the MANHATTAN OPERA HOUSE, UNDER THE DIRECTION OF OSCAR HAMMERSTEIN.

ENGLISH VERSION, 1907, BY STEINWAY & SONS.

CHARLES E. BURDEN, PUBLISHER, STEINWAY HALL 107-109 EAST 14TH STREET NEW YORK.

DRAMATIS PERSON�.

HOFFMANN COUNSELOR LINDORF COPPELIUS DAPERTUTTO DOCTOR MIRACLE SPALANZANI CRESPEL ANDRES COCHENILLE FRANTZ LUTHER NATHANAEL HERMANN STELLA GIULIETTA OLYMPIA ANTONIA NICKLAUSSE THE MUSE A GHOST

ARGUMENT

ACT I.

In the first act, which is really a prologue, Hoffmann, a young poet, enters the tavern of Luther to meet his companions, and drinks to drown his sorrows. They think he is in love, but he answers, all that is past, and tells the story of his three loves.

ACT II. OLYMPIA.

A physician's drawing room. Spalanzani has invited a large company to witness the accomplishments of his daughter, Olympia. She sings to general applause, and Hoffmann falls desperately in love with her. As the guests go to supper, Hoffmann tells her of his passion and thinks he finds a responsive echo in her. There is dancing, and she waltzes him off his feet. A Dr. Coppelius comes in to say he has been swindled by Spalanzani. He slips into Olympia's room, from which a noise of breaking is heard. Coppelius, out of revenge, has smashed Olympia. She was only an automaton. Hoffmann is astonished.

ACT III. GIULIETTA.

At Venice, in the house of Giulietta, beloved of Schlemil, who takes the arrival of Hoffmann very ungraciously. Hoffmann cares nothing for Giulietta, but she is bribed by Dapertutto to make Hoffmann love her, and she succeeds by making him believe, that he is her ideal. But as a proof of his love she wants Hoffmann to get the key of her room away from Schlemil. Hoffmann demands the key; Schlemil tells him to come and take it, and they fight. Schlemil is killed. Hoffmann takes the key and rushes to Giulietta's room, and finding nobody, comes back, only to see her riding off in her gondola, laughing at him, and with her arms around another man's neck. Hoffmann is disgusted.

ACT IV. ANTONIA.

Antonia has been told by her father, Crespel, to sing no more. When Hoffmann, who has long loved her, comes, he wonders why, but he soon learns by overhearing a conversation between Crespel and an evil person called Doctor Miracle that Antonia is afflicted with consumption. He then begs her also not to sing, and she promises him. When Hoffmann goes, Miracle comes in and tells her it is all nonsense, to sing as much as she likes; but she will not break her promise to Hoffmann. Miracle then causes the ghost of Antonia's mother to appear, and to her prayers the girl yields. Miracle urges her on and on, until she is utterly exhausted. She falls dying, and her father receives her last breath. Hoffmann is heartbroken.

EPILOGUE.

A return to the scene of the first act. Hoffmann has told his stories. His companions leave him. The Muse appears and tells him that she is the only mistress to follow, the only one who will remain true to him. His spirit flickers a moment with gratitude. Then his head sinks on the table, and he sleeps.

The Tales of Hoffmann

(The Tavern of Martin Luther. The interior of a German inn. Tables and benches.)

CHORUS of Students.

Drig, drig, drig, master Luther, Spark of hades, Drig, drig, drig, for us more beer, For us thy wine, Until morning, Fill my glass, Until morning, Fill our pewter Mugs!

NATHANAEL.

Luther is a brave man, Tire, lan, laire, T'is to-morrow that we brain him, Tire, lan, la!

CHORUS.

Tire, lon, la!

LUTHER (going from table to table).

Here, gentlemen, here.

HERMANN.

His cellar is a goodly spot, Tire lon, laire, 'Tis tomorrow we devast it, Tire lon la!

Tire lon la!

(Knocking of glasses.)

LUTHER.

WILHELM.

His wife is a daughter of Eve, Tire lan laire, 'Tis to-morrow we abduct her, Tire lon la.

Drig, drig, drig, master Luther, etc., etc.

(The students sit drinking and smoking.)

And Luther, my goodly vat, What have you done with our Hoffman.

T'is your wine poisoned him, You've killed him faith of Herrmann, Give us back Hoffmann.

ALL.

Give us Hoffmann.

LINDORF (aside).

To the devil, Hoffmann.

Let them bring him to us Or your last day has dawned.

Gentlemen, he comes.

(He opens the door, and Nicklausse is with him.)

Hurrah, 'tis he.

Let's watch him.

HOFFMANN (entering with sombre voice).

Good day, friends.

NICKLAUSSE.

Good-day.

HOFFMANN.

A chair, a glass, A pipe...

NICKLAUSSE (mocking).

Pardon, my lord, without displeasing, I drink, smoke and sit like you... place for two.

He's right... place for both of them.

(Hoffmann and Nicklausse sit down, Hoffmann has head in his hands.)

NICKLAUSSE (humming).

Notte a giorno mal dormire...

HOFFMANN (brusquely).

Shut up, in devil's name.

NICKLAUSSE (quietly).

Yes, master.

HERMANN (to Hoffmann).

Oh, oh, whence comes this ill temper?

NATHANAEL (to Hoffmann).

It's as if one did not know you.

On what thorn have you trod?

Alas, on a dead herb With the iced breath of the north.

And there by this door, On a drunkard who sleeps.

'Tis true... that rascal, by Jove, I envy him. A drink. Like him, let's sleep in the gutter.

Without pillow.

The flags.

Without curtains.

The sky.

The rain.

Have you a nightmare, Hoffmann?

No, but to-night, A while since, at the play...

Well?

I thought to see again... The deuce... why reopen old wounds? Life is short. Enjoy it while we can. We must drink, sing, laugh, as we may, Left to weep to-morrow!

Then sing the first without asking, We'll do chorus.

Agreed!

Something gay.

The song of the Rat!

No, for me, I'm tired of it. What we want is the legend Of Klein-Zach...

'Tis the legand of Klein-Zach.

Here goes for Klein-Zach!... Once at the court of Eysenach A little dwarf called Klein-Zach, Was covered o'er with a colbac, And his legs they went clic, clac! Clic, clac. There's Klein-Zach.

Crick, crack, There's Klein-Zach.

He had a hump in place of stomach, His webbed feet seemed to burst a sack, His nose was with tobacco black. And his head it went crick crack, Crick, crack. There's Klein-Zach.

Crick, crack, There's Klein-Zach.

As for the features on his face.

(He becomes absorbed.)

HOFFMANN (very slowly).

As for the features...

(He rises.)

Oh, her face was charming... I see it, Fine as the day, running after her, I, like a fool, left the house paternal, And fled there'on to woods and vales Her hair, in sombre rolls, On her neck threw warm shades, Her eyes of enveloping azure, Cast about glances fresh and pure. And as our car without shock or tremor Carried our loves and hearts, her vibrant voice and sweet, To the heav'ns that listened, threw the conq'ring cry, And the eternal echo resounded in my heart.

Oh strangest brain! Who are you painting! Klein-Zach?

I speak of her...

Who?

Nobody... nothing, my spirit is dullish. Nothing. Klein-Zach is better, malformed as he is!

Flick, flack, There's Klein-Zach.

HOFFMANN (throwing away his glass).

Peuh!... this beer is detestable, Let's light up the punch and drink; And may the light-headed Roll under the table.

And may the light headed Roll under the table.

(The lights go out, Luther fires an immense punch bowl.)

Luther is a brave man, Tire la laire, Tire lan la. 'Tis to-morrow that we poison him, Tire lan laire, Tire lan la. His cellar is a goodly spot, Tire lan laire. 'Tis to-morrow we will make it hot, Tire lan laire, Tire lan la.

Very good, indeed. At least we are pruned With reason and practical sense! Away with languorous hearts.

Let's wager that Hoffmann's in love.

What then?

You need not blush, I imagine Our friend Wilhelm who's there, Burns for Leonor and finds her divine. Hermann loves Gretchen and I am near ruined For the Fausta.

HOFFMANN (to Wilhelm).

Yes, Leonor, thy virtuose.

(To Hermann.)

Yes, Gretchen, thy doll inert, of icy heart.

(to Nathanael.)

And thy Fausta, poor insensate, The courtezan with front of brass.

Morose spirit, Many thanks for Fausta, Gretchen and Leonore!...

Pish. They are all alike.

Then your mistress is such a treasure That you despise so much our own?

My mistress, no, no, say rather three Charming trio of enchantresses. Who are dividing my days. Would you like the story of my crazy loves?...

Yes, yes!

What are you saying of three mistresses?

Smoke!... Before this dead pipe is relighted You will have comprehended, You who in this play where my heart was consumed In good sense took the first prize!

(All the students go to their places.)

Listen. It is nice to drink, To the telling of a crazy tale, While following the fragrant cloud, That a pipe throws in the air.

HOFFMANN (sitting on corner of table).

I begin.

Silence.

The name of the first was Olympia...

(The curtain falls as Hoffmann is speaking.)

ACT II.

(A physicians room, richly furnished.)

HOFFMAN (alone).

Come! Courage and confidence; I become a well of science. I must turn with the wind that blows, To deserve the one I love. I shall know how to find in myself The stuff of a learned man. She is there... if I dared.

(He softly lifts the portiere.)

'Tis she! She sleeps... how beautiful! Ah! together live... both in the same hope, The same remembrance Divide our happiness and our sorrow, And share the future. Let, let my flame Pour in thee the light, Let your soul but open To the rays of Love. Divine hearth! Sun whose ardor penetrates And comes to kiss us. Ineffable desire where one's whole being Melts in a single kiss. Let, let my flame, etc., etc.

(Nicklausse appears.)

By Jove, I felt sure you'd be here.

HOFFMAN (letting portiere fall).

Chut.

Why? 'tis there that breathes The dove who's now your amorous care, The beautiful Olympia? Go, my child, admire!

HOFFMAN.

Yes, I adore her!

Want to know her better.

The soul one loves is easy to know.

What? by a look... through a window?

A look is enough to embrace the heavens.

What warmth!... At least she knows that you love her.

No.

Write her.

I don't dare.

Poor lamb! Speak to her.

The dangers are the same.

Then sing, to get out of the scrape.

Monsieur Spalanzani doesn't like music.

NICKLAUSSE (laughing).

Yes, I know, all for physics! A doll with china eyes Played cleverly with a fan, Nearby a little cock in brass; Both sang in unison In a marvelous way, Danced, gossiped, seemed to live.

Beg your pardon. Why this song?

The little cock shining and smart, With a very knowing air, Three times on himself turned; By some ingenious wheels, The doll in rolling its eyes Sighed and said: "I love you."

CHORUS OF THE INVITED GUESTS.

No, no host, really, Receives more richly Through good taste his house shines; Everything here matches. No, no host really Receives more richly.

SPALANZANI.

You will be satisfied, gentlemen, in a moment.

(He makes sign to Cochenille to follow him and exits with him.)

NICKLAUSSE (to Hoffman).

At last we shall more nearly see this marvel Without equal!

Silence... she is here!

(Enter Spalanzani conducting Olympia.)

Ladies and gentlemen, I present to you My daughter Olympia.

THE CHORUS.

Charming. She has beautiful eyes! Her shape is very good! See how well apparelled! Nothing is wanting! She does very well!

Ah, how adorable she is!

Charming, incomparable!

SPALANZANI (to Olympia).

What a success is thine!

NICKLAUSSE (taking her all in).

Really she does very well.

She has beautiful eyes, Her shape is very good, See how well apparelled, Nothing is really wanting; She does very well.

Ladies and gentlemen, proud of your applause, And above all anxious To conquer more, My daughter obedient to your least caprice Will, if you please...

NICKLAUSSE (aside).

Pass to other exercises.

Sing to a grand air, following with the voice, Rare talent The clavichord, the guitar, Or the harp, at your choice!

COCHENILLE (at the rear).

The harp!

BASS VOICE (in the wings).

Very good, Cochenille! Go quickly and bring my daughter's harp!

(Cochenille exits).

HOFFMAN (aside).

I shall hear her... oh joy!

Oh, crazy passion!

Master your emotion, my child!

OLYMPIA.

Yes.

COCHENILLE (bringing the harp).

There!

SPALANZANI (sitting beside Olympia).

Gentlemen, attention!

COCHENILLE.

Attention!

OLYMPIA (accompanied by Spalanzani).

The birds in the bushes. In the heavens the orb of day, All speaks to the young girl Of love, of love! There! The pretty song, There! The song of Olympia, Ha!

'Tis the song of Olympia!

All that sings and resounds Has its sighs in turn, Moves its heart that trembles With love. There. The little song, There, there, The song of Olympia, Ha!

'Tis the song of Olympia.

HOFFMAN (to Nicklausse).

Ah, my friend, what an accent.

What runs!

(Cochenille has taken the harp and all surround Olympia. A servant speaks to Spalanzani).

Come gentlemen! your arm to the ladies. Supper awaits you!

Supper! That's good...

Unless you would prefer To dance first.

THE CHORUS (with energy).

No! no! the supper... good thing... After we'll dance.

As you please...

HOFFMAN (approaching Olympia).

Might I dare...

SPALANZANI (interrupting).

She is a bit tired, Wait for the ball.

(He touches Olympia's shoulder.)

You see. Until then Will you do me the favor To keep company with my Olympia?

Oh happiness!

SPALANZANI (aside, laughing).

We'll see what kind a story he'll give her.

NICKLAUSSE (to Spalanzani).

Won't she take supper?

Poetic soul!

(Spalanzani goes behind Olympia. Noise of a spring is heard. Nicklausse turns around.)

What did you say?

Nothing, physics! ah, monsieur, physics!

(He conducts Olympia to a chair. Goes out with guests).

The supper awaits you.

Supper, supper, supper awaits us! No, really, no host Receives more richly!

(They go out.)

They are at last gone. Ah, I breathe! Alone, alone, the two of us (approaching Olympia); I have so many things to say, Oh my Olympia! Let me admire you! With your charming looks let me intoxicate myself.

(He touches her shoulder).

Is it not a dream born of fever? I thought I heard a sigh escape your lips!

(He again touches her shoulder).

Sweet avowal, pledge of our love, You are mine, our hearts are united forever! Ah! understand you, tell me, this eternal joy Of silent hearts. Living, with but one soul and with same stroke of wing, Rush up to heaven! Let, let, my flame Show you the light of day! Let your soul open To the rays of love.

(He presses Olympia's hand. She rises and walks up and down, then exits.)

You escape me?... What have I done. You do not answer?... Speak! Have I wounded you? Ah! I'll follow your steps!

(As Hoffmann is about to rush out Nicklausse appears.)

Here, by Jove, moderate your zeal! Do you want us to drink without you?...

HOFFMAN (half crazy).

Nicklausse, I am beloved by her. Loved! By all the gods.

By my faith If you knew what they are saying of your beauty!

What can they say? What?

That she is dead.

Great Heavens!

Or is not of this life.

HOFFMAN (exalted).

Nicklausse! I am beloved by her! Loved! By all the gods.

COPP�LIUS (entering, furious).

Thief! brigand! what a tumble! Elias is bankrupt! But I shall find the opportunity To revenge myself... Robbed!... Me! I'll kill somebody.

(Coppelius slips into Olympia's room.)

(Everybody enters.)

Here come the waltzers.

Here comes the round dance.

'Tis the waltz that calls us.

Take the hand of the gentleman, my child.

(Touching her shoulder.)

Come.

(Hoffman takes Olympia and they waltz. They disappear on left.)

She dances! In cadence. 'Tis marvelous, Prodigious, Room, room, She passes Through the air Like lightning.

THE VOICE OF HOFFMAN (outside).

Olympia!

Stop them!

Who of us will do it?

She will break his head.

(Hoffman and Olympia re-appear. Nicklausse rushes to stop them.)

A thousand devils!

(He is violently struck and falls in an arm chair.)

Patatra!...

SPALANZANI (jumping in).

Halt!

(He touches Olympia on the shoulder. She stops suddenly. Hoffman, exhausted, falls on a sofa).

(To Olympia) Enough, enough, my child.

No more waltzing.

SPALANZANI (to Cochenille).

You, Cochenille, Take her back.

(He touches Olympia.)

COCHENILLE (pushing Olympia).

Go on, Go!

(Going out, slowly, pushed by Cochenille.)

Ha, ha, ha, ha, ha, ha, ha!

What can we possibly say? 'Tis an exquisite girl, She wants in nothing, She does very well!

NICKLAUSSE (dolorous voice, pointing to Hoffman).

Is he dead?

SPALANZANI (examining Hoffman).

No! in fact His eye glass is broken. He is reviving.

Poor young man!

COCHENILLE (outside).

Ah!

(He enters, very agitated.)

What?

The man with the glasses... there!

Mercy! Olympia!...

Olympia!...

(Sound of breaking springs with much noise).

Ah, heaven and earth, she is broken!

Broken!

COPP�LIUS (entering).

Ha, ha, ha, ha, yes. Smashed!

(Hoffman rushes out. Spalanzani and Copp�lius go at each other, fighting.)

Rascal!

COPP�LIUS.

Robber!

Brigand!

Pagan!

Bandit!

Pirate!

HOFFMAN (pale and terror stricken).

An automaton, an automaton.

(He falls into an armchair. General laughter.)

Ha, ha, ha, the bomb has burst, He loved an automaton.

SPALANZANI (despairingly).

My automaton.

An automaton, Ha, ha, ha, ha!

ACT III.

(In Venice. A gallery, in festival attire, in a palace on the Grand Canal.)

(The guests of GIULIETTA are grouped about on cushions.)

Barcarole.

GIULIETTA AND NICKLAUSSE (in the wings).

Oh soft night, oh night of love, Smile on our bliss serene, All the stars that shine above Surround the heaven's queen! Time it flies without return, Forgetting our tenderness! Far from thee I'll ever burn, In lonely strait and stress. Passioned zephyrs Waft your caresses, Passioned zephyrs Soft are your kisses. O soft night, oh night of love, Smile on our bliss serene; All the stars that shine above Surround the heaven's queen.

(Giulietta and Nicklausse enter.)

For me, by Jove, that is not what's enchanting! At the feet of the beauty who gives us joy Does pleasure sigh? No, with laughing mouth no sorrows 'ere descanting.

BACCHIC SONG.

Friends... love tender with terror, Error! Love in noise and wine! Divine That a burning desire Your heart enflames In the fevers of pleasure Consume your soul! Transports of love, Last a day To the devil he who weeps For two soft eyes, To us the better bliss Of joyous cries! Let's live a day In heaven.

To the devil whoever weeps For two soft eyes! To us the better bliss Of joyous song We'll live a day In Heaven!

The sky lends you its brightness, Beauty, But you hide in hearts of steel, Hell! Bliss of paradise Where love meets, Oaths, cursed spirits, Dreams of life! Oh chastity, Oh purity, Lies!

To the devil those who weep, etc., etc.

SCHLEMIL (entering).

I see all is joy. Congratulations, madame.

GUILIETTA.

What! Why, I've wept for you three whole days.

PITICHINACCIO.

Good.

SCHLEMIL (to Pitichinaccio).

Microbe!

Hola!

GIULIETTA.

Calm yourselves! We have a strange poet among us.

(Presenting) Hoffman!

SCHLEMIL (with bad grace).

Monsieur!

GIULIETTA (to Schlemil).

Smile on us, I beg, And come take your place At pharaoh!

Bravo! To pharaoh!

(Giulietta after having invited all to follow her, goes toward door. Hoffman offers his hand to Giulietta. Schlemil comes between.)

SCHLEMIL (taking Giulietta's hand).

By heavens!

GIULETTA.

To the game, gentlemen, to the game!

To the game, the game!

(All go out except Hoffman and Nicklausse.)

One word! I have two horses saddled. At the first dream That Hoffman permits himself, I carry him off.

And what dream ever could be born By such realities? Does one love a courtezan?

Yet this Schlemil...

HOFFMAN. I am not Schlemil.

Take care, the devil is clever.

DAPERTUTTO (appears at back).

Were it so, If he makes me love her, may he damn me, Come!

Let us go.

DAPERTUTTO (alone).

Yes!... to fight you. The eyes of Giulietta are a sure weapon, It needed that Schlemil fail, Faith of captain and soldier, You'll do like him. I will that Giulietta shall use sorcery on you.

(Drawing from his finger a ring with a big sparkling diamond.)

Turn, turn, mirror, where the lark is caught, Sparkle diamond, fascinate, draw her... The lark or the woman To this conquering bait Comes with wing or with heart; One leaves her life, the other her soul. Turn, turn, mirror where the lark is caught. Sparkle, diamond, fascinate, attract her.

(Giulietta appears and advances fascinated toward the diamond that Dapertutto holds towards her.)

DAPERTUTTO (placing the ring on Giuliettas finger).

What do you await from your servant?

DAPERTUTTO.

Good, you have divined At seducing hearts above all others wise, You have given me The shade of Schlemil! I vary My pleasures and I pray you To get for me to-day The reflection of Hoffman!

What! his reflection.

Yes. His reflection! You doubt The power of your eyes?

Who knows. Your Hoffman dreams, perhaps better. (Severely) Yes, I was there, a while back, listening. (With irony) He defies you...

Hoffman? 'tis well!... From this day I'll make him my plaything.

(Hoffman enters.)

'Tis he!

(Dapertutto goes out. Hoffman intends to do the same.)

GIULIETTA (to Hoffman).

You leave me.

HOFFMAN (mockingly).

I have lost everything.

What? you too... Ah, you do me wrong. Without pity, without mercy, Go!... Go!...

Your tears betrayed you. Ah! I love you... even at the price of my life.

Ah, unfortunate, but you do not know That an hour, a moment, may prove fatal? That my love will cost your life if you remain? That Schlemil, this night, may strike you in my arms? Listen to my prayer; My life is wholly yours. Everywhere I promise to accompany your steps.

Ye gods with what bliss ye fire my heart? Like a concert divine your voice does move me; With a fire soft yet burning my being is devoured; Your glances in mine have spent their flame, Like radiant stars And I feel, my well beloved, Pass your perfumed breath On my lips and on my eyes.

Yet, to-day, strengthen my courage By leaving me something of you!

What do you mean?

GIULIETTA. Listen and don't laugh at me.

(She takes Hoffman in her arms and finds a mirror.)

What I want is your faithful image, To reproduce your features, your look, your visage, The reflection that I see above me bend.

HOFFMAN. My reflection? What folly!

No! for it can detach itself From the polished glass And come quite whole in my heart to hide.

In your heart?

In my heart. 'Tis I who beg thee, Hoffman, give me my wish.

My reflection?

Your reflection. Yes, wisdom or folly, I await, I demand.

(Ensemble.)

Ecstasy, unappeased bliss, Strange and soft terror, My reflection, my soul, my life To you, always to you!

If your presence I lose, I would keep of you Your reflection, your soul, your life; Dear one, give them me.

GIULIETTA (suddenly).

Schlemil!

(Schlemil enters followed by Nicklausse, Dapertutto, Pittichinaccio and others.)

SCHLEMIL.

I was sure of it! Together! Come, gentlemen, come, 'Tis for Hoffman, it seems to me That we are abandoned.

(Ironic laughter.)

Silence!

(Aside) I love you, he has my key.

PITICHINACCIO (to Schlemil).

Let us kill him.

Patience!

DAPERTUTTO (to Hoffman).

How pale you are!

Me!

DAPERTUTTO (showing him a mirror).

See rather.

HOFFMAN (amazed).

Heavens!

Listen, gentlemen, Here come the gondolas, The hour of barcaroles And of farewells!

(Schlemil conducts the guests out. Giulietta goes away throwing a look at Hoffman. Dapertutto remains. Nicklausse goes toward Hoffman.)

Are you coming?

Not yet.

Why? Very well. I understand, Good-by.

(Aside). But I'll watch over him.

(He goes out.)

What do you wait for?

That you give me a certain key I've sworn to have.

You shall have this key, sir, only with my life.

Then I shall have one and the other.

That remains to be seen. On guard!

You have no sword (presenting his own). Take mine!

Thank you.

CHORUS (in the wings).

Sweet night, oh night of love, Smile on our bliss serene When the stars that shine above Greet the heaven'ly Queen.

(Hoffman and Schlemil fight. Schlemil falls mortally wounded. Hoffman bends and takes the key from around his neck. He rushes to Giulietta's room. Giulietta appears in a gondola.)

HOFFMAN (coming back).

No one.

GIULIETTA (laughing).

Ha, ha, ha!

(Hoffmann is in a stupor looking at Giulietta.)

DAPERTUTTO (to Giulietta).

What will you do with him now?

I'll turn him over to you.

PITICHINACCIO (entering the gondola)

Dear angel.

(Giulietta takes him in her arms.)

HOFFMAN (comprehending the infamy of Giulietta).

Vile wretch!

Hoffman! Hoffman--the police!

(Nicklausse drags Hoffmann away. Giulietta and Pitichinaccia laugh.)

ACT IV.

(At Munich at CRESPEL'S. A room furnished in a bizarre fashion.)

ANTONIA (alone. She is seated at the clavichord).

She has fled, the dove She has fled far from thee!

(She stops and rises.)

Ah memory too sweet, image too cruel! Alas at my knees I hear, I see him! She has fled, the dove. She has fled far from thee; She is faithful ever, And she keeps her troth. Beloved, my voice calls thee, All my heart is thine.

(She approaches the clavichord again.)

Dear flower but now open, In pity answer me, Thou that knowest if still he loves me, If he keeps his troth. Beloved my voice implores thee. May thy heart come to me.

(She falls in a chair.)

CRESPEL (entering suddenly).

Unhappy child, beloved daughter, You promised to no longer sing.

ANTONIA.

My mother in me lived again; My heart while singing thought it heard her.

CRESPEL.

There is my torment. Thy loved mother Left thee her voice. Vain regrets! Through thee I hear her. No, no, I beg...

ANTONIA (sadly).

Your Antonia will sing no more!

(She goes out slowly.)

CRESPEL (alone).

Despair! A little while again I saw those spots of fire Mark her face. God! Must I lose her I adore? Ah, that Hoffman... 'tis he Who put in her heart this craze. I fled Far as Munich...

(Enter Frantz.)

You, Frantz, open to nobody.

FRANTZ (false exit).

You think so...

Where are you going?

FRANTZ.

I'm going to see if anybody rang. As you said...

I said, Open to nobody. (Shouting) To nobody! This time do you hear?

Good Heavens! we're not all of us deaf?

All right! The devil take you!

Yes, sir, the key is in the door.

Idiot! donkey!

Its agreed then.

Morbleu!

(He exits quickly.)

FRANTZ (alone).

Well! What! angry always! Strange, peevish, exacting! One would think that one pleased him For his money... Day and night I'm on all fours, At the least sign I'm silent; It is just as if I sang! But no, if I sang, His contempt he'd have to modify. I sing alone sometimes, But singing isn't easy! Tra la, la, tra, la la! Still it isn't voice that I lack, I think, Tra la la, tra la la, No, 'tis the method. Of course one can't have everything. I sing pretty badly, But dance agreeably, And I do not flatter myself; Dancing shows off my advantages. 'Tis my one great attraction, But dancing isn't easy. Tra la la, tra la la.

(He dances and stops.)

With women the shape of my leg Would do me no harm, Tra la la, tra la la!

(He falls.)

No, 'tis the method.

(Hoffman enters followed by Nicklausse.)

Frantz! This is it. (touches Frantz on shoulder.)

Up, my friend.

Hey, who's there? (rises, surprised.)

Monsieur Hoffman!

Myself. Well, Antonia?

He's gone out, sir.

HOFFMAN (laughing).

Ha, ha, deafer yet Than last year...

Monsieur honors me, I am very well, thanks to heaven.

Antonia! I must see her.

Very well! what a joy For monsieur Crespel! (He goes out.)

HOFFMAN (sitting before the clavichord).

'Tis a song of love That flies away, Sad or gay; It takes its turn...

ANTONIA (entering suddenly).

Hoffman!...

HOFFMAN (receiving her in his arms).

Antonia!

I am one too many, good night.

(He exits.)

Ah, I well knew that you loved me still.

My heart told me that I was regretted, But why were we separated?

I do not know.

I have happiness in my heart; To-morrow you'll be my wife Happy couple. The future shall be ours! To love let's be faithful, That her eternal chains, Keep our hearts Conquerors even against time!

I have joy in my heart! To-morrow I'll be your wife, Happy couple, The future is ours! Each day new songs, Your genius opens its wings, My conquering song Is the echo of your heart.

HOFFMAN (smiling).

Still, oh my affianced, Shall I speak my thought? That, spite of myself, troubles me, Music inspires a little jealousy, You love it too much!

ANTONIA (smiling).

See the strange fantasy! Did I love you for it, or it for you? For you are not going to forbid me To sing, as did my father.

What say you?

Yes, my father at present imposes the virtue Of silence.

'Tis strange... can it be?...

ANTONIA (drawing him to the clavichord).

Come here as before; Listen, and you'll see if I've lost my voice.

How your eye lights up, your hand trembles.

ANTONIA (making him sit down).

Here, the soft song of love we sang together.

(She sings.)

'Tis a song of love That flies off Sad or joyful, Turn by turn, 'Tis a song of love, The new rose Smiles on the Spring. Ah! how long will it be That it lives?

TOGETHER.

'Tis a song of love That flies off, etc., etc.

A ray of flame Matches thy beauty. Will you see the summer? Flower of the soul.

'Tis a song of love, etc., etc.

(Antonia puts her hand to her heart.)

Why, what is the matter?

ANTONIA (doing same again).

Nothing.

HOFFMAN (listening).

Heavens, my father! Come, come...

(She goes out.)

No! I must know the last word of this mystery.

(He hides. Crespel appears.)

CRESPEL (looking about him).

No, nothing. I thought Hoffman was here. May he go to the devil!

Many thanks!

FRANTZ (entering).

Sir.

Doctor Miracle.

Infamous scoundrel, Quickly close the door.

Yes, sir, the doctor...

He, doctor? No, on my soul, A grave digger, an assassin! Who would kill my daughter after my wife. I hear the jingle of his golden vials, From me let him be chased.

(Miracle suddenly appears. Frantz runs away.)

MIRACLE.

Ha, ha, ha, ha!

Well, here I am! 'tis me. This good monsieur Crespel, I like him, But where is he?

CRESPEL (stopping him).

Ha, ha, ha, ha! I sought for your Antonia. Well, this trouble she inherited From her mother? Still progressing, dear girl. We'll cure her. Take me to her.

To assassinate her... If you make one step I'll throw you out of the window.

There now softly, I do not wish to Displease you.

(He advances a chair.)

What do you, traitor?

To minimize the danger, One must know it. Let me question her.

CRESPEL AND HOFFMAN.

Terror penetrates me.

(Miracle, his hand extended toward Antonia's room.)

To my conquering power, Give way with good grace. Near me without terror Come take your place.

With fright and with horror All my being is cold; A strange terror Chains me to this place. I'm afraid.

CRESPEL (seating himself).

Come, speak and be brief.

(Miracle continues his magnetic passes. The door of Antonia's room opens slowly. Miracle indicates that he takes Antonia's hand and leads her to a chair.)

Please sit there.

I am seated.

MIRACLE (paying no attention).

How old are you, please?

Who, me?

I am speaking to your child.

Antonia.

What age (he listens). Twenty!

The Spring of life.

(He appears to feel the pulse.)

Let me see your hand!...

The hand.

MIRACLE (pulling out his watch).

Chut! let me count.

God! am I the plaything of a dream? Is it a ghost?

The pulse is unequal and fast, bad symptom. Sing.

CRESPEL (rising).

No, no, don't speak... don't have her sing.

(The voice of Antonia is heard.)

See her face brightens, her eyes are on fire; She carries her hand to her beating heart.

(He follows Antonia with his gestures. The door of her room closes quickly.)

What is he saying?

MIRACLE (rising).

It would be a pity truly To leave to death so fine a prey!

Shut up!

If you will accept my help, If you would save her days, I have there certain vials I keep in reserve.

(He takes vials from pocket which he makes sound like castanets.)

Of which you should.

Shut up! Heaven preserve me From listening to your advice, miserable assassin.

Of which you should, each morning...

Why, yes, I hear you. A while ago, an instant These vials, poor father, You will be then, I hope, Satisfied.

Be off, be off, be off! Out of this house, Satan, Beware of the anger And the sorrow of a father. Be off!

From the death that awaits thee I shall know, poor child, How tear thee away, I hope! Laugh in vain at a father, Satan!

MIRACLE (continuing with same coolness).

Of which you should...

Be off!

Each morning...

(He pushes Miracle out and closes the door.)

Ah, he's outside and my door is closed! We are at last alone, My beloved girl!

MIRACLE (walking through the wall).

Of which you should each morning...

Ah, wretch, Come, come, may the waves engulf thee! We'll see if the devil Will get thee out.

Be off, be off, be off! etc., etc.

From the death that awaits thee, etc., etc.

Get out!

(They disappear together.)

HOFFMAN (coming down).

To sing no more! How obtain from her Such a sacrifice?

ANTONIA (appearing).

Well? What did my father say?

Ask me nothing; Later you'll know all; a new road Opens for us, my Antonia!... To follow my steps dismiss from your memory These dreams of future success and glory That your heart to mine confided.

But yourself!

Love calls to both of us, All that is not you is nothing in my life.

Very well! Here is my hand!

Ah dear Antonia, shall I appreciate What you do for me? (He kisses her hands.)

Your father will perhaps return. I leave you... until to-morrow.

Until to-morrow.

(Hoffman goes out.)

ANTONIA (opening one of the doors).

Of my father easily he has become the accomplice, But come, regrets are superfluous, I promised him. I shall sing no more.

MIRACLE (appearing suddenly behind her.)

You will sing no more. Do you know what a sacrifice? He imposes on your youth, and have you measured it? Grace, beauty, talent, sacred gift; All these blessings that heaven gave for your share, Must they be hid in the shadow of a household? Have you not heard, in a proud dream, Like unto a forest by the wind moving, Like a soft shiver of the pressing crowd That murmurs your name and follows you with its eyes? There is the ardent joy and the eternal festival, That the flower of your years is about to abandon, For the middle class pleasures where they would enchain you, And the squalling children who will give you less beauty!

ANTONIA (without turning round).

Ah, what is this voice that troubles my spirit? Is it Hell that speaks or Heaven that warns me? No! happiness is not there, oh cursed voice, And against my pride my love has armed me; Glory is not worth the happy shade whence invites me The house of my beloved.

What loves can now be yours, Hoffman sacrifices you to his brutality, He only loves in you your beauty, And for him as for the others. Soon will come the time of infidelity.

(He disappears.)

ANTONIA (rising).

No, do not tempt me! go away, Demon! I will no longer listen. I have sworn to be his, my beloved awaits me, I'm no longer my own and I can't take myself back; And a few moments since, on his heart adored What eternal love did he not pledge me; Who will save me from the demon, from myself? My mother, my mother, I love her.

(She falls weeping on the clavichord.)

MIRACLE (re-appears behind Antonia)

Your mother? Dare you invoke her? Your mother? But is it not she? Who speaks by my voice ingrate, and recalls to you The splendor of the name that you would abdicate?

(The portrait lights up and becomes animated.)

Listen!

THE VOICE.

Heavens!... my mother, my mother!

THE GHOST.

Dear child whom I call, As I used to do, 'Tis your mother, 'tis she, Listen to her voice.

Mother!

Yes, yes, 'tis her voice, do you hear? Her voice, best counselor, Who leaves you a talent the world has lost!

Listen! She seems to live aagin, And the distant public by its bravos fills her bliss.

GHOST.

Join with her.

Yes, her soul calls me As before; 'Tis my mother, 'tis she I hear her voice.

Dear child whom I call As I used to do; 'Tis your mother, 'tis she; List to her voice.

No, enough, I cannot!

Again.

I will sing no more.

What ardor draws and devours me?

Again! Why stop?

ANTONIA (out of breath).

I give way to a transport that maddens, What flame is it dazzles my eyes A single moment to live, And my soul flies to Heaven.

Dear child whom I call, etc., etc.

'Tis my mother, 'tis she, etc., etc.

(She falls dying on the sofa. Miracle sinks in the earth uttering a peal of laughter.)

CRESPEL (running in).

My child... my daughter... Antonia!.

ANTONIA (expiring).

My father! Listen, 'tis my mother Who calls me. And he... has returned... 'Tis a song of love, Flies away, Sad or joyful...

(She dies.)

No... a single word... just one... my child... speak! Come, speak! Execrable death! No! pity, mercy... go away!

HOFFMAN (coming hurriedly).

Why these cries?

Hoffman!... ah wretch! 'Tis you who killed her!...

HOFFMAN (rushing to Antonia).

CRESPEL (beside himself).

Blood to color her cheek. A weapon. A knife!...

(He seizes a knife and attacks Hoffman.)

NICKLAUSSE (entering and stopping Crespel).

Unhappy man!

Quick! give the alarm; A doctor... a doctor!...

MIRACLE (appearing).

Present!

(He feels Antonia's pulse.)

Dead!

CRESPEL (crazy).

Ah, God, my child, my daughter!

HOFFMAN (despairingly).

(Same scene as First Act. The various personages are in the same positions they were in at the end of First Act.)

There is the story Of my loves, And the memory In my heart will always remain.

Bravo, bravo, Hoffmann.

Ah, I am mad. For us the craze divine, The spirits of alcohol, of beer and of wine, For us intoxication, Chaos where we forget.

Ah, I understand, three dramas in a drama, Olympia...

Smashed!

Antonia...

Giulietta...

Oh, for her, the last verse of the song of Klein-Zach. When he drank too much gin or rack, You ought to have seen the two tails at his back, Like lilies in a lac, The monster made a sound of flick flack, Flic, flac, There's Klein-Zach.

Flick flack, There's Klein-Zach.

Light up the punch, drunk we'll get; And may the weakest Roll under the table; Luther was a goodly man, Tire lan laire, tire lan la, etc., etc.

(The students tumultuously go in the next room. Hoffmann remains as if in a stupor.)

THE MUSE (appearing in an aureole of light).

And I? I, the faithful friend, Whose hand wiped thy tears? By whom thy latent sorrow Exhales in heavenly dreams? Am I nothing? May the tempest Of passion pass away in thee! The man is no more; the poet revives I love thee Hoffmann! be mine! Let the ashes of thy heart fire thy genius, Whose serenity smiles on thy sorrows. The Muse will soften thy blessed sufferings. One is great by love but greater by tears.

(She disappears.)

HOFFMANN (alone).

Oh God! what ecstasy embraces my soul, Like a concert divine Thy voice hath moved me, With soft and burning fire my being is devoured, Thy glances in mine have suffused their flame, Like radiant stars. And I feel, beloved Muse, Thy perfumed breath flutter On my lips and on my eyes!

(He falls face on table.)

STELLA (approaching slowly).

Hoffmann? asleep...

No, dead drunk. Too late, madame.

LINDORF.

Corbleu!

Oh, here is the counselor, Lindorf, who awaits you.

(Stella keeps her eyes on Hoffmann and throws a flower at his feet as she goes out with Lindorf.)

THE END.

Les Contes d'Hoffmann

PREMIER ACTE.

LA TAVERNE DE MAITRE LUTHER

CHOEUR DES ETUDIANTS.

Drig! drig! drig! ma�tre Luther, Tison d'enfer, Drig! drig! drig! � nous ta bi�re, A nous ton vin, Jusqu'au matin Remplis mon verre, Jusqu'au matin Remplis les pots d'�tain!

Luther est un brave homme; Tire lan laire! C'est demain qu'on l'assomme; Tire lan la!

LE CHOEUR.

Tire lan la!

LUTHER (allant de table en table).

Voil�, messieurs, voil�!

Sa cave est d'un bon drille; Tire lan laire! C'est demain qu'on la pille Tire lan la!

(Bruit de gobelets.)

Sa femme est fille d' Eve; Tire lan laire: C'est demain qu'on l'enl�ve; Tire lan la!

Drig! drig! drig! ma�tre Luther etc., etc.

(Les �tudiants s'assoient, boivent et fument dans tous les coins.)

Vive Dieu! mes amis, la belle cr�ature! Comme au chef-d' [oe]uvre de Mozart Elle pr�te l'accent d'une voix ferme et s�re! C'est la gr�ce de la nature, Et c'est le triomphe de l'art! Que mon premier toast soit pour elle! Je bois � la Stella!

TOUS.

Vivat! � la Stella!

NATHANIEL.

Comment Hoffmann n'est-il pas l� Eh! Luther!... ma grosse tonne! Qu'as-tu fait de notre Hoffmann

C'est ton vin qui l'empoisonne! Tu l'as tu�, foi d'Hermann!

Rends-nous Hoffmann!

LINDORF (� part).

Au diable Hoffmann!

Morbleu! qu'on nous l'apporte Ou ton dernier jour a lui!

Messieurs, il ouvre la porte, Et Niklausse est avec lui!

Vivat! c'est lui!

Veillons sur lui.

HOFFMANN (entrant d'un air sombre).

Bonjour, amis!

Bonjour!

Un tabouret! un verre! Une pipe!...

NICKLAUSSE (railleur).

Pardon, seigneur!...sans vous d�plaire, Je bois, fume et m'assieds comme vous!... part � deux!

C'est juste!... Place � tous les deux!

(Hoffmann et Nicklausse s'assoient; Hoffmann se prend la t�te entre les mains.)

NICKLAUSSE (fredonnant).

Notte a giorno mad dormire...

HOFFMANN (brusquement).

Tais-toi, par le diable!...

NICKLAUSSE (tranquillement).

Oui, mon ma�tre.

HERMANN (� Hoffmann).

Oh! oh! d'o� vient cet air f�ch�?

NATHANAEL (� Hoffmann).

C'est � ne pas te reconna�tre.

Sur quelle herbe as-tu donc march�?

H�las! sur une herbe morte Au souffle glac� du nord!...

Et l�, pr�s de cette porte, Sur un ivrogne qui dort!

C'est vrai!... Ce coquin-l�, pardieu! m'a fait envie! A boire!... et, comme lui, couchons dans le ruisseau.

Sans oreiller?

La pierre!

Et sans rideau?

Le ciel!

Sans couvre-pied?

La pluie!

As-tu le cauchemar, Hoffmann?

Non, mais ce soir, Tout � l'heure, au th��tre...

Eh bien?

J'ai cru revoir... Baste!... � quoi bon rouvrir une vieille blessure? La vie est courte!... Il faut l'�gayer en chemin. Il faut boire, chanter et rire � l'aventure, Sauf � pleurer demain!

Chante donc le premier, sans qu'on te le demande; Nous ferons chorus.

Soit!

Quelque chose de gai!

HERMANN

La chanson du Rat!

Non! moi, j'en suis fatigu�. Ce qu'il nous faut, c'est la l�gende De Klein-Zach?...

C'est la l�gende de Klein-Zach!

Va pour Klein-Zach! Il �tait une fois � la cour d'Eysenach Un petit avorton qui se nommait Klein-Zach! Il �tait coiff� d'un colbac, Et ses jambes faisaient clic, clac! Clic, clac! Voil� Klein-Zach!

LE CHOEUR

Clic, clac!... Voil� Klein-Zach!

Il avait une bosse en guise d'estomac; Ses pieds ramifi�s semblaient sortir d'un sac, Son nez �tait noir de tabac, Et sa t�te faisait cric, crac, Cric, crac, Voil� Klein-Zach.

Cric, crac, Voil� Klein-Zach!

Quant aux traits de sa figure...

(Il semble s'absorber peu � peu dans son r�ve).

Quant aux traits de sa figure?...

HOFFMANN (tr�s lentement).

Quant aux traits de sa figure..

(Il se l�ve.)

Ah! sa figure �tait charmante!... Je la vois, Belle comme le jour o�, courant apr�s elle, Je quittai comme un fou la maison paternelle Et m'enfuis � travers les vallons et les bois! Ses cheveux en torsades sombres Sur son col �l�gant jetaient leurs chaudes ombres. Ses yeux, envelopp�s d'azur, Promenaient autour d'elle un regard frais et pur Et, comme notre char emportait sans secousse Nos coeurs et nos amours, sa voix vibrante et douce Aux cieux qui l'�coutaient jetait ce chant vainqueur Dont l'�ternel �cho r�sonne dans mon coeur!

O bizarre cervelle! Qui diable peins-tu l�! Klein-Zach?...

Je parle d'elle.

Qui?

HOFFMANN (sortant de son r�ve).

Non! personne!... rien! mon esprit se troublait! Rien... Et Klein-Zach vaut mieux, tout difforme qu'il est!...

Flic, flac! Voil� Klein-Zach!

HOFFMANN (jetant son verre).

Peuh!... cette bi�re est d�testable! Allumons le punch! grisons-nous! Et que les plus fous Roulent sous la table.

Et que les plus fous Roulent sous la table!

(On �teint les lumi�res. Luther allume un immense bol de punch.)

Luther est un brave homme, Tire lan laire, Tire lan la, C'est demain qu'on l'assomme, Tire lan laire, Tire lan la, Sa cave est d'un bon drille. Tire lan laire Tire lan la, C'est demain qu'on la pille, Tire lan laire, Tire lan la.

A la bonne heure, au moins! voil� que l'on se pique De raison et de sens pratique! Peste soit des coeurs langoureux!

Gageons qu'Hoffmann est amoureux!

Apr�s?...

Il ne faut pas en rougir, j'imagine. Notre ami Wilhelm que voil� Br�le pour L�onor et la trouve divine; Hermann aime Gretchen; et moi je me ruine Pour la Fausta!

HOFFMANN (� Wilhelm).

Oui, L�onor, ta virtuose!...

(A Hermann.)

Oui, Gretchen, ta poup�e inerte, au coeur glac�!

(A Nathanael.)

Et ta Fausta, pauvre insens�!... La courtisane au front d'airain!

Esprit morose, Grand merci pour Fausta, Gretchen et L�onor!... Baste! autant celles-l� que d'autres!

Ta ma�tresse est donc un tr�sor Que tu m�prises tant les n�tres?

(Haut.)

Ma ma�tresse?...Non pas! dites mieux, trois ma�tresses, Trio charmant d'enchanteresses Que se partag�rent mes jours! Voulez-vous le r�cit de ces folles amours?...

Oui, oui!

Que parles-tu de trois ma�tresses?

Fume!... Avant que cette pipe �teinte se rallume Tu m'auras sans doute compris, O toi qui dans ce drame o� mon coeur se consume Du bon sens emportas le prix!

(Tous les �tudiants vont reprendre leurs places.)

Ecoutons! il est doux de boire Au r�cit d'une folle histoire, En suivant le nuage clair Que la pipe jette dans l'air!

HOFFMANN (s'asseyant sur le coin d'une table).

Je commence.

Le nom de la premi�re �tait Olympia!

(Le rideau tombe, pendant qu'Hoffmann parle � tous les �tudiants attentifs.)

ACTE II

(Un riche cabinet de physician.)

HOFFMAN (seul).

Allons courage et confiance Je deviens un puit de science Il faut tourner selon le vent Pour m�riter celle que j'aime. Je saurai trouver en moi-m�me L'�toffe d'un savant Elle est l�, si j'osais.

(Il soul�ve la porti�re.)

C'est elle! Elle sommeille! Qu'elle est belle! Ah! vivre deux! N'avoir qu'une m�me esp�rance Un m�me souvenir! Partager le bonheur, partager la souffrance, Partager l'avenir! Laisse, laisse ma flamme Verser en toi le jour! Laisse �clore ton �me Aux rayons de l'amour! Foyer divin! Soleil dont l'ardeur nous pen�tre Et nous vient embraser! Ineffable d�sir ou l'on sent tout son �tre Se fondre en un baiser. Laisse, laisse ma flamme Verser en toi le jour! Laisse �clore ton �me Aux rayons de l'amour! Foyer divin! Soleil dont l'ardeur nous p�n�tre, Et nous vient embraser! Ineffable d�sir o� l'on sent tout son �tre Se fondre en un baiser. Laisse laisse ma flamme Verser en toi le jour! Laisse �clore ton �me Aux rayons de l'amour!

(Nicklausse parait.)

Pardieu... j'�tais bien sur de te trouver ici!

HOFFMAN (laissant retomber la porti�re).

Chut!

Pourquoi?... c'est l� que respire La colombe qui fait ton amoureux souci. La belle Olympia... Va, mon enfant! admire!

Oui, je l'adore!

Attends � la conna�tre mieux.

L'�me qu'on aime est ais� a conna�tre!

Quoi d'un regard?... par la fen�tre?

Il suffit d'un regard pour embrasser les cieux!

Qu'elle chaleur! Au moins sait--elle que tu l'aimes?

Non!

Ecris lui!

Je n'ose pas.

Pauvre agneau! Parle-lui.

Les dangers sont les m�mes.

Alors chante morbleu! pour sortir d'un tel pas!

Monsieur Spalanzani n'aime pas la musique.

NICKLAUSSE (riant).

Oui, je sais, tout pour le physique! Une poup�e aux yeux d'email Jouait au mieux de l'eventail Aupres d'un petit coq en cuire; Tous deux chantaient � l'unison D'une merveilleuse facon, Dansaient, caquetaient, semblaient vivre.

Plait-il? Pourquoi cette chanson?

Le petit coq luisant et vif, Avec un air r�barbatif, Tournait par trois sur lui-m�me; Par un rouage ingenieux, La poup�e, en roulant les yeux Soupirait et disait: "Je t'aime"!

LE CHOEUR DES INVITES.

Non, aucun h�te, vraiment, Ne recoit plus richement! Par le gout, sa maison brille! Tout s'y trouve r�uni.

Vous serez satisfaits, messieurs.

(Il fait signe a Cochenille et sort.)

NICKLAUSSE (a Hoffman).

Enfin nous allons voir de pr�s cette merveille. Sans pareille!

Silence! la voici.

(Entr�e de Spalanzani conduisant Olympia.)

Mesdames et messieurs je vous pr�sente Ma fille Olypmia.

Charmante! Elle � de tr�s beaux yeux! Sa taille est fort bien prise! Voyez comme elle est mise! Il ne lui manque rien! Elle est tr�s bien!

Ah qu'elle est adorable!

Charmante, incomparable!

SPALANZANI (a Olympia).

Quel succ�s est le tien.

Vraiment elle est tr�s bien.

Elle � de beaux yeux Sa taille est fort bien prise Voyez comme elle est mise Il ne lui manque rien Vraiment elle est tr�s bien.

Mesdames et messieurs, fi�re de vos bravos. Et surtout impatiente D'en conquerir de nouveaux Ma fille, ob�issant � vos moindres caprices, Va, s'il vous plait...

NICKLAUSSE (� part).

Passer a d'autres exercices.

Vous chanter un grand air, en suivant de la voix, Talent rare Le clavecin, la guitare, Qu la harpe, � votre choix!

COCHENNILLE (au fond du th��tre).

La harpe!

UNE VOIX DE BASSE.

(Dans la coulisse.)

Fort bien. Cochenille! Va vite nous chercher la harpe de ma fille!

(Cochenille sort.)

HOFFMAN (a part).

Je vais l'entendre... oh joie!

NICKLAUSSE (a part).

O folle passion!

Maitrise ton �motion, mon enfant!

Oui.

COCHENILLE (avec la harpe).

Voila!

SPALANZANI (s'asseyant aupr�s d'Olympia).

Messieurs, attention!

OLYMPIA (accompagn� par Spalanzani).

Les oiseaux dans la charmille, Dans les cieux l'astre du jour, Tout parle a la jeune fille D'amour, d'amour, Voil�! La chanson gentille Voil�! La chanson d'Olympia, Ha!

C'est la chanson d'Olympia!

Tout ce qui chante et r�sonne Et soupire tour � tour, Emeut son coeur qui frissonne D'amour! Voil�! La chanson mignonne Voil� voil� La chanson d'Olympia. Ha!

C'est la chanson d'Olympia.

HOFFMAN (a Nicklausse).

Ah! mon ami, quel accent.

Quelles gammes!...

(Tout le monde s'empresse autour d'Olympia. Un laquais s'addresse a Spalanzani).

Allons, messieurs! la main aux dames... Le souper nous attend.

Le souper! bon cela...

A moins qu'on ne pr�f�re. Danser d'abord!...

LE CHOEUR (avec energie).

Non, non, le souper! bonne affaire ensuite on dansera.

Comme il vous plaira!

HOFFMAN (s'approchant d'Olympia).

Oserai-je?

SPALANZANI (intervenant).

Elle est un peu lasse; attendez le bal.

(Il touche l'�paule d'Olympia.)

Vous voyez, jusque l� Voulez vous me faire la gr�ce De tenir compagnie � mon Olympia?

O bonheur!

SPALANZANI (� part, riant).

Nous verrons ce qu'il lui chantera.

NICKLAUSSE (a Spalanzani).

Elle ne soupe pas.

Ame poetique!

(Spalanzani passe derri�re Olympia. On entend le bruit d'un ressort.)

Pla�t-il?

Rien! la physique! ah monsieur, la physique!

(Il conduit Olympia � un fauteuil et sort avec les invites.)

Le souper vous attend.

LE CHOEUR (avec enthousiasm).

Le souper, le souper, le souper nous attend! Non, aucun h�te vraiment, Ne re�oit plus richement!

Ils se sout �loignes enfin! Ah je respire! Seuls, seuls, tous deux!

(S'approchant d'Olympia.)

Oue j'ai de choses � te dire, O mon Olympia! Laisse moi t'admirer! De ton regard charmant laisse moi m'enivrer.

(Il touche l�g�rement l'�paule d'Olympia.)

N'est--ce pas un r�ve enfant� par la fi�vre? J'ai cru voir un soupir s'�chapper de ta l�vre!

(Il touche de nouveau l'�paule d'Olympia.)

Doux aveu, gage de nos amours, Tu m'appartieus, nos coeurs sont unis pour toujours! Ah comprends-tu, dis moi, cette joie �ternelle Des coeurs silencieux? Vivants, n'�tre qu'une �me, et du m�me coup d'aile Nous �lancer aux cieux! Laisse, laisse ma flamme Verser en toi le jour! Laisse �clore ton �me Aux rayons de l'amour!

(Il presse la main d'Olympia. Celle ci se l�ve, parcourt la sc�ne et sort.)

Tu me fuis? qu'ai je fait? Tu ne me r�ponds pas. Parle! t'ai-je irritee? ah je suivrai tes pas!

(Hoffman s'�lance, Nicklausse parait.)

Eh morbleu, mod�re ton z�le! Veux-tu qu'on se grise sans toi?...

HOFFMAN (avec ivresse).

Nicklausse! Je suis aim� d'elle! Aimi�!... Dieu puissant.

Par ma foi Si tu savais ce qu'on dit de ta belle!

Qu'en peut on dire? Quoi?

Qu'elle est morte.

Juste ciel!

Ou ne fut pas en vie.

Nicklausse! je suis aim� d'elle Aim�! Dieu puissant.

(Il sort. Nicklausse le suit.)

COPPELIUS (entrant, furieaux).

Voleur! brigand! quelle d�route! Elias � fait banqueroute! Va, je saurai trouver le moment opportun Pour me venger... Vol�! moi!... Je tuerai quelqu'un.

(Copp�lius se glisse dans la chambre d'Olympia.)

(Entre tout-le-monde.)

Voici les valseurs.

Voici la ritournelle.

C'est la valse qui nous appelle.

SPALANZANI (� Olympia).

Prends la main de monsieur, mon enfant.

(Lui touchant l'�paule.)

Allons!

(Hoffman enlace la taille d'Olympia et ils disparaissent a gauche.)

Elle danse! En cadence! C'est merveilleux! Prodigieux! Place, place! Elle passe Elle fend l'air Comme un �clair.

LA VOIX D'HOFFMAN (dans la coulisse).

Qu'on les arr�te!

Qui de nous les arr�tera?

Elle va lui casser la t�te!...

(Hoffman et Olympia reparaissent et redescendent.)

(Nicklausse s'elance pour les arr�t�r.)

Eh, mille diables!...

(Il est violemment bauscul� et tombe sur un fauteuil.)

Patatra!

SPALANZANI (s'�lancant).

Halte l�!

(Il touche Olympia � l'�paule. Elle s'arr�te subitement. Hoffman �tourdi tombe sur un canap�.)

Voil�!

(� Olympia.)

Assez, assez, ma fille.

Il ne faut plus valser.

SPALANZANI (a Cochenille).

Toi Cochenille, Reconduis-la.

(Il touche Olympia.)

COCHENILLE (poussant Olympia).

Va donc. Va!

(En sortant, pouss� par Cochenille.)

Ha, ha, ha, ha, ha, ha, ha, ha!

Que voulez vous qu'on dise? C'est une fille exquise, Il ne lui manque rien, Elle est tr�s bien!

NICKLAUSSE (d'une voix dolente, en montrant Hoffman.)

Est-il mort?

SPALANZANI (examinant Hoffman).

Non, en somme, Son lorgnon seul est en d�bris Il reprend ses esprits.

Pauvre jeune homme!

COCHENILLE (dans la coulisse)

(Il entre, la figure boulevers�e.)

Quoi?

L'homme aux lunettes ... l�.

Mis�ricorde! Olympia!

(On entend un bruit de r�ssorts qui se brisent avec fracas.)

Ah! terre et cieux! Elle est cass�e!

Cass�e!

COPPELIUS (entrant).

Ha, ha, ha, ha, oui, Fracasse�.

(Hoffman s'�lance et dispara�t. Spalanzani et Copp�lius se jettent l'un sur l'autre.)

Gredin!

Voleur!

Pa�en.

Bandit.

COPPELIUS.

HOFFMAN (pale et �pouvant�).

Un automate! Un automate!

(Il tombe sur un fauteuil. Eclat de rire g�n�ral.)

Ha, ha, ha, la bombe �clate Il aimait un automate!

SPALANZANI (avec d�sespoir).

Mon automate!

Un automate! Ha, ha ha, ha!

TROISIEME ACTE.

(A Venise. Galerie en f�te dans un palais donnant sur le grand canal. Les h�tes de Giuletta sont group�s sur des coussins.)

Barcarole

GIULETTA ET NICKLAUSSE (dans la coulisse.)

Belle nuit, o nuit d'amour, Souris a nos ivresses, Nuit plus douce que le jour, O belle nuit d'amour! Le temps fuit et sans retour Emporte nos tendresses! Loin de cet heureux sejour, Le temps fuit sans retour Zephyrs embras�s Versez nous vos caresses; Zephyrs embras�s Donnez nous vos baisers. Belle nuit, o nuit d'amour, Souris � nos ivresses Nuit plus douce que le jour, O belle nuit d'amour.

(Giuletta et Nicklausse entrent en sc�ne.)

Et moi, ce n'est pas l�, pardieu, ce qui m'enchante! Aux pieds de la beaut� qui nous vient enivrer Le plaisir doit il soupirer? Non! Le rire � la bouche �coutez comme il chante!

CHANT BACCHIQUE.

Amis! l'amour tendre et r�veur, Erreur! L'amour dans le bruit et le vin! Divin! Que d'un br�lant d�sir Votre coeur s'enflamme Aux fi�vres du plaisir Consumez votre �me Transports d'amour, Durez un jour! Au diable celui qui pleure Pour deux beaux yeux A nous l'ivresse meilleure Des chants joyeux! Vivons une heure Dans les cieux!

Au diable celui qui pleure, Pour deux beaux yeux! A nous l'ivresse meilleure Des chants joyeaux Vivons une heure Dans les cieux!

Le ciel te pr�te sa clart�, Beaut�. Mais vous chachez � coeurs de fer, L'enfer! Bonheur du paradis O� l'amour convie, Serments, espoirs maudits, R�ves de la vie! O chastet�s, O puret�s, Mentez!

Au diable celui qui pleure, etc., etc.

SCHLEMIL (entrant en sc�ne).

Je vois qu'en est en f�te. A merveille, madame.

Comment! Mais je vous ai pleur� trois grands jours.

Dame.

SCHLEMIL (a Pitichinaccio).

Avorton!

Calmez vous! Nous avous un po�t� �tranger parmi Nous.

(Pr�sentant Hoffman.)

Hoffman!

SCHLEMIL (de mauvaise grace.)

HOFFMAN (ironique).

GIULIETTA (a Schlemil).

Souriez nous, de gr�ce, Et venez prendre place Au pharaon!

Vivat! au pharaon!

(Giulietta apr�s avoir invit� tout le monde a la suivre se dirige vers la porte. Hoffman offre sa main � Giulietta. Schlemil intervient vivement.)

SCHLEMIL (prenant la main de Giulietta).

Au jeu, messieurs, au jeu.

Au jeu, au jeu.

(Tout le monde sort moins Nicklausse et Hoffman.)

Un mot! J'ai deux chevaux sell�s; au premier r�ve Dont se laisse affoler mon Hoffman, je l'enl�ve.

Et quelles r�ves, jamais, pourraient �tre enfant�s Par de telles realit�s? Aime-t-on une courtisane?

Ce Schlemil, cependant...

Je ne suis pas Schlemil.

Prends y garde, le diable est malin.

(Dapertutto parait au fond.)

Le fut-il, S'il me la fait aimer, je consens qu'il me damne Allons!

(Ils sortent.)

DAPERTUTTO (seul).

Allez... pour te livrer combat Les yeux de Giulietta sont une arme certaine. Il a fallu que Schlemil succombat! Foi de diable et de capitaine! Tu feras comme lui. Je veux que Giulietta t'ensorcelle au jourd'hui.

(Tirant de son doigt une bague ou brille un gros diamant.)

Tourne, tourne, miroir o� se prend l'alouette, Scintille, diamant, fascine, attire la... L'alouette ou la femme A cet app�t vainqueur Vont de l'aile ou du coeur; L'une y laisse sa vie l'autre y perd son �me, Tourne tourne miroir ou se prend l'alouette. Scintille diamant, fascine, attire-la.

(Giulietta parait et s'avance, fascin�e vers le diamant que Dapertutto tend vers elle.)

DAPERTUTTO (passant la bagne au doit Giulietta.)

Cher ange.

Q'attendez-vous de votre servante?

Bien, tu m'as devin�, A s�duire les coeurs entre toutes savante, Tu m'as d�j� donn� L'ombre de Schlemil! Je varie Mes plaisirs et te prie De m'avoir aujourd hui Le reflet d'Hoffman!

Quoi! son reflet!

Oui! Son reflet... tu doutes De la puissance de tes yeux?

Non.

Qui sait? Ton Hoffman r�ve peut �tre mieux.

(avec duret�).

Oui, j'�tais la, tout a l'heure, aux �coutes, Il te d�fie...

Hoffman?... c'est bien!... d�s aujourd'hui J'en ferai mon jouet.

(Hoffman entre.)

C'est lui!

(Dapertutto sort. Hoffman fait mine de s'eloigner.)

GIULIETTA (� Hoffman).

Vous me quittez?

HOFFMAN (railleur).

J'ai tout perdu.

Quoi... vous aussi!... Ah! vous me faites injure Sans piti�, ni merci Partez... partez!...

Tes larmes t'ont trahie. Ah je t'aime... fut-ce au prix de ma vie.

Ah malheureux, mais tu ne sais donc pas Qu'une heure, qu'un moment, peuvent t'�tre funestes? Que mon amour te perd a jamais si tu restes? Ne repousse pas ma pri�re Ma vie est � toi toute enti�re. Partont je te promets d'accompagner tes pas.

O Dieu de quelle ivresses embrases tu mon �me? Comme un concert divin ta voix me p�n�tre; D'un feu doux et brulant mon �tre est d�vor�; Tes regards dans les miens ont �panch� leur flamme Comme des astres radieux Et je seus, � mon bien aim�e, Passer ton haleine embaum�e Sur mes l�vres et sur mes yeux.

Aujourd'hui cependant affermis mon courage. En me laissant quelque chose de toi!

Que veux tu dire?

Ecoute et ne ris pas de moi.

(Elle enlace Hoffman et prend un miroir.)

Ce que je veux c'est ta fid�le image Qui reproduit tes traits ton regard ton visage, Le reflet que tu vois sur le mien se pencher.

Quoi! mon reflet? quelle folie!

Non! car il peut se d�tacher, Le la glace polie. Pour venir tout entier dans mon coeur se cacher.

Dans ton coeur?

Dans mon coeur. C'est moi qui t'en supplies, Hoffman, comble mes voeux!

Mon reflet?

Ton reflet. Oui sagesse on folie, Je l'attends, je le veux!

Extase, ivresse, inassouvie, Mon reflet, mon �me et ma vie � toi, toujours � toi!

Si ta pr�sence m'est ravie, Je veux garder de toi Ton reflet, ton �me et ta vie Ami, donne les moi!

GIULIETTA (vivement).

(Schlemil entre suivi de Nicklausse. Dappertutto, Pittichinaccio et autres.)

J'en �tais s�r! Ensemble! Venez, messieurs, venez, C'est pour Hoffman � ce qu'il semble, Que nous sommes abandonn�s.

(Rires ironiques.)

HOFFMAN (presque parl�).

(bas) Je t'aime, il a ma clef.

PITTICHINACCIO (a Schlemil).

Tuons le.

DAPPERTUTTO (� Hoffman).

Comme vous �tes p�le.

Moi!

DAPERTUTTO (lui pr�sentant le miroir.)

Voyez plut�t!

HOFFMAN (stup�fait, se regardant).

Ciel!

Ecoutez, messieurs, Voici les gondoles, L'heure des barcarolles Et celle des adieux!

(Schlemil reconduit les invit�s. Giulietta sort, jetant un regard � Hoffman. Dapertutto reste au fond de la sc�ne. Nicklausse revient � Hoffman.)

Viens tu?

Pas encore.

Pourquoi? Bien, je comprends, adieu!

(a part.) Mais je veille sur toi.

(Il sort.)

Qu'attendez vous, monsieur?

Que vous me donniez certaine clef que j'ai jur� d'avoir.

Vous n'aurez cette clef monsieur qu'avec ma vie.

J'aurai donc l'une ou l'autre.

C'est ce qu'il faut voir! En garde!

Vous n'avez pas d'�p�e (lui pr�sentant le sien).

Prenez la mienne!

Merci!

CHOEUR (dans la coulisse).

Belle nuit, o nuit d'amour! Souris a nos ivresses Nuit plus douce que le jour, O belle nuit d'amour!

(Hoffman et Schlemil se battent. Schlemil est bless� � mort et tombe. Hoffman se penche et lui prend la clef pendue � son cou et s'�lance dans l'appartment de Giulietta qui parait dans une gondole.)

Personne!

GIULIETTA (riant).

(Hoffman regarde Giulietta avec stupeur.)

DAPERTUTTO (a Giulietta).

Qu'en fais tu maintenant?

Je te l'abandonne.

PITICHINACCIO (entre dans la gondole).

(Giulietta le prend lans ses bras.)

HOFFMAN (comprenant l'infamie de Giulietta).

Mis�rable!

Hoffman! Hoffman! les sbires!

(Nicklausse entraine Hoffman. Giulietta et Dapertutto rient.)

ACTE IV.

(A Munich chez Crespel. Une chambre bizarrement meublee.)

ANTONIA (seule. Elle est devant le clavecin et chante).

Elle � fui, la tourterelle, Elle � fui loin de toi!

(Elle s'arr�te et se l�ve.)

Ah souvenir trop doux! image trop cruelle! H�las � mes genoux, je l'entends, je le vois, Elle � fui, la tourterelle, Elle � fui loin de toi! Mais elle est toujours fid�le Et te garde sa foi. Bien aime, ma voix t'appelle, Tout mon coeur est � toi.

(Elle se rapproche du clavecin.)

Ch�re fleur qui vient d'eclore Par piti� reponds moi, Toi qui sais s'il m'aime encore, S'il me garde sa foi!... Bien aime ma voix t'implore, Que ton coeur vienne � moi!

(Elle se laisse tomber sur une chaise.)

CRESPEL (entrant brusquement).

Malheureuse enfant, fille bien aim�e Tu m'avis promis de ne plus chanter.

Ma m�re s'�tait en moi ranim�e; Mon coeur en chantant croyait l'�couter.

C'est la mon tourment. Ta m�re ch�rie T'a l�gu� sa voix, regrets superflus! Par toi je l'entends. Non...non...je t'en prie.

ANTONIA (tristement).

Votre Antonia ne chantera plus!

(Elle sort lentement.)

CRESPEL (seul).

D�sespoir! Tout a l'heure encore Je voyais ces taches de feu Colorer son visage, Dieu! Perdrai-je l'enfant que j'adore? Ah, c'est Hoffman, c'est lui Qui jeta dans son coeur ces ivresses... J'ai fui. Jusqu'� Munich...

(Entre Frantz.)

Toi Frantz n'ouvre a personne.

Vous croyez...

O� vas tu?

Je vais voir si l'on sonne Comme vous avez dit...

J'ai dit n'ouvre a personne!

(criant.) A personne! entends tu, cette fois?

Eh, mon Dieu, je ne suis pas sourd!

Bien! que le diable t'emporte!...

Oui monsieur, la clef est sur la porte.

B�litre! Ane b�t�!

C'est convenu.

(Il sort. Frantz descend.)

FRANTZ (seul).

Eh bien! Quoi, toujours en col�re! Bizarre, quinteux, exigeant! Ah, l'on a du mal a lui plaire Pour son argent... Jour et nuit je me mets en quatre, Au moindre signe je me tais C'est tout comme si je chantais!... Encore non, si je chantais, De ses m�pris il lui faudrait rabattre. Je chante seul quelque fois; Mais chanter n'est pas commode! Tra la la! tra la la! Ce n'est pourtant pas la voix, Qui me fait d�faut, je crois... Tra la la! Tra la la! Non c'est la m�thode. Dame! on a pas tout en partage. Je chante pitoyablement; Mais je danse agr�ablement, Je me le dis sans compliment, Corbleu la danse est � mon avantage, C'est l� mon plus grand attrait, Et danser n'est pas commode. Tra la la! Tra la la!

(Il danse. Il s'arr�te.)

Pr�s des femmes le jarret N'est pas ce qui me nuirait, Tra la la! Tra la la!

(Hoffman entre suivi de Nicklausse.)

Frantz! C'est lui...

(Touchant l'�paule de Frantz.)

Debout l'ami.

Hein qui va la (il se rel�ve) Monsieur Hoffman!

Moi-m�me! Eh bien, Antonia?

Il est sorti, monsieur.

HOFFMAN (riant).

Ha, ha, plus sourd encore que l'au passe?

Monsieur m'honore. Je me porte bien, gr�ce au ciel.

Antonia! Va, fais que je la voie!

Tr�s bien... Quel joie Pour Monsieur Crespel (Il sort.)

HOFFMAN (s'asseyant devant le clavecin).

C'est une chanson d'amour Qui s'envole, Triste ou folle Tour � tour!...

ANTONIA (entrant pr�cipitamment).

HOFFMAN (recevant Antonia dans ses bras).

Je suis de trop; bonsoir.

Ah! Je savais bien que tu m'aimais encore.

Mon coeur m'avait bien dit que j'�tais regrett� Mais pour quoi nous a-t-on s�par�s?

Je l'ignore.

Ah j'ai le bonheur dans l'�me! Demain tu seras ma femme. Heureux epoux L'avenir est � nous! A l'amour soyons fid�les Que ses chaines �ternelles Gardent nos coeurs, Du temps m�me vainqueurs!

Ah j'ai le bonheur dans l'�me! Demain je serai ta femme. Heureux �poux, L'avenir est a nous! Chaque jour, chansons nouvelles! Ton g�nie ouvre ses ailes! Mon chant vainqueur Est l'echo de ton coeur!

HOFFMAN (souriant).

Pourtant, � ma fianc�e, Te dirai-je une pens�e Qui me trouble malgre moi? La musique m'inspire un peu de jalousie, Tu l'aimes trop!

ANTONIA (souriant).

Voyez l'�trange fantaisie! T'aim�-je donc pour elle, ou elle pour toi? Car toi, tu ne vas pas sans doute me d�fendre De chanter, comme a fait mon p�re?

Que dis tu?

Qui, mon p�re � pr�sent, m'impose la vertu Du silence (vivement) Veux tu m'entendre?

C'est �trange!... Est-ce que...

ANTONIA (l'entrainant).

Viens l� comme autrefois. Ecoute, et tu verras si j'ai perdu ma voix.

Comme ton [oe]il s'anime et comme ta main tremble.

ANTONIA (le faisant s'asseoir devant le clavecin).

Tiens ce doux chant d'amour que nous chantions ensemble.

(Elle Chante.)

C'est une chanson d'amour Qui s'envole Triste ou folle Tour a tour; C'est une chanson d'amour. La rose nouvelle, Sourit au printemps. Las! combien de temps Vivra-t-elle?

ENSEMBLE.

C'est une chanson d'amour, Qui s'envole, Triste ou folle, Tour a tour, C'est une chanson d'amour.

Un rayon de flamme Pare ta beaut�, Verras tu l'�t�, Fleur de l'�me?

C'est une chanson d'amour, etc.

(Antonia, porte la main � son coeur et semble d�faillir.)

Qu'as tu donc?

Rien.

HOFFMAN (�coutant).

Ciel mon p�re, Viens, viens!

(Elle sort.)

Non, je saurai le mot de ce myst�re.

(Il se cache. Crespel parait.)

CRESPEL (regardant autour de lui).

Non, rien. J'ai cru qu'Hoffman �tait ici. Puisse-t-il �tre au diable!

Grand merci!

FRANTZ (entrant, a Crespel).

Le docteur Miracle.

Dr�le inf�me, ferme vite la porte.

Oui, Monsieur, medicin.

Lui, medicin? Non, sur mon �me, Un fossoyeur, un assassin! Qui me tuerait ma fille apr�s ma femme, J'entends le cliquetis de ses flacons dans l'air. Loin de moi qu'on le chasse.

(Miracle parait subitement. Frantz se sauve.)

Enfin!

Eh bien, me voil�, c'est moi-m�me. Ce bon monsieur Crespel, je l'aime! Ou donc est-il?

CRESPEL (l'arr�tant).

Ha, ha, ha, ha! Je cherchais votre Antonia! Eh bien! ce mal qu'elle h�rita, De sa m�re toujours en progr�s? ch�re belle, Nous la gu�rirons. Menez moi chez elle.

Pour l'assassiner? Si tu fais un pas, Je te jette par la fenetre.

Eh la! tout doux. Je ne veux pas Vous desplaire.

(Il avance un fauteuil.)

Que fais tu, traitre?

Pour conjurer le danger, Il faut le conna�tre, Laissez moi l'interroger.

CRESPEL et HOFFMAN.

L'effroi me p�n�tre.

(Miracle la main tendue vers la chambre d'Antonia.)

A mon pouvoir vainqueur. C�de de bonne gr�ce!... Pr�s de moi sans terreur, Viens ici prendre place, Viens.

D'epouvante et d'horreur Tout mon �tre se glace, Une �trange terreur M'encha�ne � cete place. J'ai peur.

CRESPEL (s'asseyant).

Allons, parle et sois bref.

(Miracle continue ses gestes magn�tiques. La porte de la chambre d'Antonia s'ouvre lentement. Miracle indique qu'il prend la main d'Antonia invisible, et qu'il la fait asseoir.)

MIRACLE (s'asseyant).

Voulez vous vous asseoir l�.

Je suis assis.

MIRACLE (sans r�pondre).

Quel age avez vous, je vous prie?

Qui, moi?

Je parle � votre enfant.

Antonia?

Quel �ge?... (il �coute) Vingt ans.

Hein?

Le printemps de la vie.

(Il fait le geste de t�ter le pouls.)

Voyons la main!...

La main.

MIRACLE (tirant sa montre).

Chut, laissez moi compter.

HOFFMAN (� part).

Dieu! suis-je jouet d'un r�ve? Est-ce un fant�me?

Le pouls est in�gal et vif, mauvais sympt�me. Chantez!...

CRESPEL (se levant).

Non, non, tais-toi!... ne la fais pas chanter!

(La voix d'Antonia se fait entendre.)

Voyez, son front s'anime, et son regard flamboie, Elle porte la main � son coeur agit�.

(Il semble suivre Antonia du geste. La porte de la chambre se referme brusquement.)

Que dit il?

MIRACLE (se levant).

Il serait dommage en v�rit�, De laisser � la mort si belle proie!

Tais-toi!

Si vous voulez accepter mon secours, Si vous voulez sauver ses jours, J'ai la certains flacons que je tiens en r�serve.

(Il tire plusieurs flacons de sa poche et les fait sonner comme des castagnettes.)

Tais toi!

Dont il faudrait...

Tais-toi! Dieu me pr�serve D'�couter tes conseils mis�rable assassin!...

Dont il faudrait chaque matin... Eh! oui, je vous entends, Tout a l'heure, a l'instant! Des flacons, pauvre p�re, Vous en serez, j'esp�re. Content!

Va-t-en, va-t-en, va-t-en! Hors de chez moi, Satan! Redoute la col�re, Et la douleur d'un p�re, Va-t-en!

A la mort qui t'attend, Je saurai, pauvre enfant, T'arracher, je l'esp�re! Tu ris en vain d'un p�re, Satan!

MIRACLE (avec le m�me flegme.)

Va-t-en!

Chaque matin...

(Il pousse Miracle dehors et la reforme la porte sur lui.)

Ah! le voil� dehors et ma porte est ferm�e! Nous sommes seuls enfin, Ma fille bien aim�e!

MIRACLE (rentrant par la muraille).

Dont il faudrait chaque matin...

Ah mis�rable, Viens, viens!... les flots puissent--ils t'engloutir. Nous verrons si le diable. T'en fera sortir!...

Va-t-en, va-t-en, va-t-en! Hors de, etc, etc.

A la mort qui t'attend, Je saurai, etc., etc.

Va-t-en!...

Va-t'en.

(Ils disparaissent ensemble.)

Ne plus chanter! h�las. Comment obtenir d'elle Un pareil sacrifice?

ANTONIA (parait).

Eh bien, mon p�re qu'a-t-il dit?

Ne me demand rien, Plus tard tu sauras tout; une route nouvelle S'auvre � nous, mon Antonia!... Pour y suivre mes pas, chasse de ta m�moire, C'est r�ves d'avenir, de succ�s et de gloire, Que ton coeur au mien confia.

Mais toi m�me?

L'amour tous les deux nous convie, Tout ce qui n'est pas toi n'est plus rien dans ma vie.

Tiens donc! voici ma main!

Ah, ch�re Antonia! Pourrai-je reconna�tre? Ce que tu fais pour moi?

(Il lui baise les mains.)

Ton p�re va peut-�tre Revenir, je te quitte... � demain!

A demain!

(Hoffman sort.)

ANTONIA (allant ouvrir une porte.)

De mon p�re ais�ment il s'est fait le complice! Allons, les pleurs sont superflus, Je l'ai promis, je ne chanterai plus.

(Elle se laisse tomber sur un fauteuil.)

MIRACLE (surgissant derri�re elle.)

Tu ne chanteras plus. Sais tu quel sacrifice, S'impose ta jeunesse et l'as tu mesur�? La gr�ce, le talent, don sacr�, Tous ces biens que le ciel t'a livr�s en partage, Faut il les enfouir dans l'ombre d'un m�nage N'as tu pas entendu, dans un r�ve orgueilleux, Ainsi qu'une for�t par le vent balanc�e, Ce doux fremissement de la foule press�e Qui murmure ton nom et te suit des yeux? Voil� l'ardente joie et la f�te �ternelle Que tes vingt ans en fleur sont pr�s d'abandonner, Pour les plaisirs bourgeois ou l'ou veut t'enchainer Et des marmots d'enfants qui te rendront moins belle!

ANTONIA (sans se retourner).

Ah, qu'elle est cette voix qui me trouble l'esprit? Est-ce l'enfer qui parle ou Dieu qui m'avertit? Non non ce n'est pas l� le bonheur, voix mandite, Et contre mon orgeuil, mon amour s'est arm�, La gloire ne vaut pas l'ombre heureuse ou m'invite La maison de mon bien aim�.

Quels amours sont donc les v�tres? Hoffman te sacrifie a sa brutalit�; Il n'aime en toi que ta beaut�, Et pour lui, comme pour les autres Viendra bient�t le temps de l'infid�lit�.

(Il disparait.)

ANTONIA (se levant).

Non, ne me tente plus! Va-t-en, D�mon! Je ne veux plus t'entendre. J'ai jur� d'�tre � lui, mon bien aim� m'attend, Je ne m'appartiens plus et ne puis me reprendre. Et tout � l'houre encor, sur son coeur ador�, Quel amour eternal ne m'a-t-il pas jur�... Ah qui me sauvera du d�mon, de moi-m�me?... Ma m�re! � ma m�re, je l'aime!...

MIRACLE (reparait).

Ta m�re! oses tu l'invoquer?... Ta m�re? Mais n'est-ce pas elle Qui parle par ma voix, ingrate, et te rappelle, La splendeur de son nom que tu veux abdiquer?

(Le portrait s'�claire et semble s'animer. C'est le fant�me de la m�re.)

Ecoute!

LA VOIX.

Dieu, ma m�re, ma m�re!

LE FANTOME.

Cher enfant, que j'appelle Comme autrefois, C'est ta m�re c'est elle, Entends sa voix!

C'est elle.

Oui, c'est sa voix, l'entends tu? Sa voix, meilleure conseill�re, Qui te l�gue un talent que le monde a perdu!

Ecoute elle semble revivre Et le public lointain de ses bravos l'enivre!

Ma m�re!

Reprends donc avec elle!...

(Il saisit un violon et accompagne avec fureur.)

Oui, son �me m'appelle Comme autrefois! C'est ma m�re c'est elle J'entends sa voix!

Cher enfant, que j'appelle Comme autrefois! C'est ta m�re c'est elle! Entends sa voix!

Non! assez... je succombe!

Encore!

Je ne veux plus chanter.

Qu'elle ardeur m'entraine et me d�vore?

Encore! Pourquoi t'arr�ter?

ANTONIA (haletante).

Je c�de au transport qui m'enivre! Quelle flamme �blouit mes yeux!... Un seul moment encore a vivre, Et mon �me s'envole aux cieux!

Cher enfant que j'appelle, etc.

C'est ma m�re c'est elle, etc.

(Elle vient, tomber mourante sur le canap�. Miracle s'engloutit dans la terre, en poussant un �clat de rire. Le Fant�me disparait.)

CRESPEL (accourant).

Mon enfant!... ma fille!... Antonia!

ANTONIA (expirante).

Mon p�re Ecoutez c'est ma m�re, Qui m'appelle! Et lui... de retour... C'est une chanson d'amour... Qui s'envole Triste ou folle...

(Elle meurt.)

Non! un seul mot! un seul! ma fille, parle moi. Mais parle donc! Mort ex�crable! Non! piti�! gr�ce! Eloigne toi!...

HOFFMAN (entrant pr�cipitamment).

Pourquoi ces cris?

Hoffman! ah, miserable! C'est toi qui l'as tu�e!...

HOFFMAN (courant � Antonia).

Antonia!...

CRESPEL (avec �garement).

Du sang Pour colorer sa joue!... Une arme, un couteau!

(Il saisit un coutean et s'�lance sur Hoffman.)

NICKLAUSSE (entrant et arr�tant Crespel).

Malheureux!

Vite donne l'alarme, un m�decin, un m�decin!

MIRACLE (paraissant).

Pr�sent! Il tate le pouls d'Antonia. Morte!

CRESPEL (�perdu).

Ah, mon Dieu, mon enfant ma fille!

HOFFMAN (avec desespoir).

(M�me d�coration qu'au premier acte.)

(On retrouve tous les personnages dans la situation o� on les a laiss�s � la fin du premier acte.)

Voil� quelle fut l'histoire Des mes amours Dont la m�moire En mon coeur restera toujours.

Ah, je suis fou!... A nous le vertige divin Des esprits de l'alcool, de la bi�rre et du vin A nous l'ivresse et la folie Le n�ant par qui l'on oublie.

Ah! je comprends! trois drames dans un drame Olympia?

Fracass�e!

Ah pour elle le dernier couplet de la chanson de Klein-Zach! Quand il avait but de geni�vre et de rack If fallait voir flotter les pans de son frac Comme des herbes dans un lac Le monstre faisait flic flac Flic flac, Voil� Klein-Zach.

Flic flac, Voil� Klein-Zach.

Allumons le punch!... grisons-nous! Et que les plus fous Roulent sous la table. Luther est un brave homme, Tire lan laire, tire lan la! etc., etc.

(Les �tudiants entrent en tumulte dans la salle voisine. Hoffmann reste comme frapp� de stupeur.)

LA MUSE (paraissant).

Et moi? Moi, la fid�le amie Dont la main essuya tes yeux? Par qui la douleur endormie S'exhale en r�ve dans les cieux? Ne suis-je rien? Que la temp�te Des passions s'apaise en toi! L'homme n'est plus; renais po�te! Je t'aime, Hoffmann! appartiens-moi! Des cendres de ton coeur r�chauffe ton g�nie. Dans la s�r�nit� souris � tes douleurs, La Muse adoucira ta souffrance b�nie, On est grand par l'amour et plus grand par les pleurs!

(Elle dispara�t.)

HOFFMANN (seul).

O Dieu! de quelle ivresse embrases-tu mon �me, Comme un concert divin ta voix m'a p�n�tr�, D'un feu doux et br�lant mon �tre est d�vor�, Tes regards dans les miens ont �panch� leur flamme, Comme des astres radieux. Et je sens, � Muse aim�e, Passer ton baleine embaum�e Sur mes l�vres et sur mes yeux!

(Il tombe, le visage sur une table.)

(HOFFMANN, STELLA, LINDORF, NICKLAUSSE, Les Etudiants.)

STELLA (allant vers Hoffmann.)

Hoffmann endormi!...

Non!... ivre-mort!... Trop tard, madame!

Tenez, voil� le conseiller Lindorf qui vous attend.

(Stella s'appuie sur le bras de Lindorf, s'arr�te pour regarder Hoffmann, d�tache une fleur de son bouquet et la jette � ses pieds.)

FIN

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