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https://w.atwiki.jp/nozick/pages/15.html
エディタ HTML5概説 HTML5 JavaScript概説 テキストボックスとボタンをJavaScriptで提供する エディタ 単純なテキストエディタならmiが使いやすい。 →タブで複数テキストを保持出来て、HTML・JavaScriptが打ちやすい。 →Windows版ではCSSモードが存在しない為、標準モード（通常のテキスト）で記述する。 もしくはEclipseにプラグインでJSDTを導入する。 HTML5概説 HTMLとはウェブ上の文書を記述するためのマークアップ言語である。 HTMLでマークアップされたドキュメントは他のドキュメントへのハイパーリンクを設定できる（名に付くように）ハイパーテキストであり、画像・リスト・表などの高度な表現力を持つ。 HTML5とは第５回目となる大幅な改訂版となる。 なお、現在も策定中であり、完全版ではない。 ルールが確定していない機能は取り入れないInternetExplorerでもIE9に大部分を取り入れている。 HTML5 JavaScript概説 オブジェクト指向のスクリプト言語。 主にウェブブラウザに実装され、動的なウェブサイト構築や、リッチインターネットアプリケーションなど高度なユーザインタフェースの開発に用いられる。 テキストボックスとボタンをJavaScriptで提供する HTMLファイル内の記述 +... !DOCTYPE html html lang="ja" head meta charset="SHIFT-JIS"/ title お名前をどうぞ！ /title /head body form name="js" 苗字： input type="text" name="Num1" value="" br 名前： input type="text" name="Num2" value="" br input type="button" value="表示" onclick="tboxPlus()" br input type="button" value="消去" onclick="clr()" br /form script // テキストボックスの文字を取得するfunction tboxPlus(){ var str1 = document.js.Num1.value + document.js.Num2.value; alert(str1);} // テキストボックスの文字を操作するfunction clr(){ document.js.Num1.value=""; document.js.Num2.value="";} /script /body /html JavaScript部分を表示 +...
https://w.atwiki.jp/oper/pages/2125.html
ATTO TERZO Scena Prima （Atrio delle carceri con cancelli di ferro in prospetto, che conducono a diverse prigioni. Guardie a vista su la porta de’ detti cancelli） ▼ONORIA▲ （alle guardie） Ezio qui venga. È questa gemma il segno （fra sè） Del cesareo volere. Il suo periglio Mi fa più amante; e la pietà, ch’io sento Nel vederlo infelice, Tal fomento è all’amor, ch’io non so come Si forma nel mio petto Di due diversi affetti un solo affetto. Eccolo. Oh, come altero, Come lieto s’avanza! O quell’alma è innocente, o non è vero Che immagine dell’alma è la sembianza. （esce Ezio da uno de’ cancelli, presso de’ quali restano le guardie） ▼EZIO▲ Questi del tuo germano Son, principessa, i doni. Avresti mai Potuto immaginarlo? In pochi istanti Tutto cangiò per me. Cinto d’allori Del giorno al tramontar tu mi vedesti; E poi co’ lacci intorno Tu mi rivedi all’apparir del giorno. ▼ONORIA▲ Ezio, qualunque nasce alle vicende Della sorte è soggetto. Il primo esempio Dell’incostanza sua, duce, non sei. L’ingiustizia di lei Tu potresti emendar. Per mia richiesta Cesare l’ira sua tutta abbandona T’ama, ti vuole amico, e ti perdona. ▼EZIO▲ E il crederò? ▼ONORIA▲ Sì. Né domanda Augusto Altra emenda da te che il suo riposo. Del tentativo ascoso Scopri la trama, e appieno Libero sei. Può domandar di meno? ▼EZIO▲ Non è poca richiesta. Ei vuol ch’io stesso M’accusi per timore. Ei vuole a prezzo Dell’innocenza mia Generoso apparir. Sa la mia fede, Prova rossor nell’oltraggiarmi a torto; Perciò mi vuole o delinquente o morto. ▼ONORIA▲ Dunque con tanto fasto Lo sdegno tuo giustificar non dei; E, se innocente sei, placide, umìli Sian le tue scuse. A lui favella in modo Che non possa incolparti, Che non abbia coraggio a condannarti. ▼EZIO▲ Onoria, per salvarmi Ad esser vile io non appresi ancora. ▼ONORIA▲ Ma sai che corri a morte? ▼EZIO▲ E ben, si mora! Non è il peggior de’ mali Al fin questo morir; ci toglie almeno Dal commercio de’ rei. ▼ONORIA▲ Pensar dovresti Che per la patria tua poco vivesti. ▼EZIO▲ Il viver si misura Dall’opre e non dai giorni. Onoria, i vili, Inutili a ciascuno, a sé mal noti, Cui non scaldò di bella gloria il foco, Vivendo lunga età vissero poco. Ma coloro che vanno Per l’orme ch’io segnai, Vivendo pochi dì, vissero assai. ▼ONORIA▲ Se di te non hai cura, Abbila almen di me. ▼EZIO▲ Che dici? ▼ONORIA▲ Io t’amo Più tacerlo nol so. Quando mi veggo A perderti vicina, i torti oblio; Ed è poca difesa Alla mia debolezza il fasto mio. ▼EZIO▲ Onoria, e tu sei quella Che umiltà mi consigli? In questa guisa Insuperbir mi fai. Potessi almeno, Come i tuoi pregi ammiro, amarti ancora! D eh, consenti ch’io mora. Ezio piagato Per altro stral ti viverebbe ingrato. ▼ONORIA▲ Viva ingrato, mi renda D’ogni speranza priva, Mi sprezzi pur, mi sia crudel; ma viva. E se pur la tua vita Aborrisci così, perché m’è cara, Cerca almeno una morte Che sia degna di te. Coll’armi in pugno Mori vincendo; onde t’invidi il mondo, Non ti compianga. ▼EZIO▲ O in carcere o fra l’armi, Ad altri insegnerò come si mora. Farò invidiarmi in questo stato ancora. Guarda pria se in questa fronte Trovi scritto alcun delitto, E dirai che la mia sorte Desta invidia e non pietà. Bella prova è d’alma forte L’esser placida e serena, Nel soffrir l’ingiusta pena D’una colpa che non ha. （rientra nelle carceri, accompagnato dalle guardie） Scena Seconda ▼ONORIA▲ Oh Dio, chi ‘l crederebbe! Al fato estremo Egli lieto s’appressa; io gelo e tremo. ▼VALENTINIANO▲ E ben, da quel superbo Che ottenesti, o germana? ▼ONORIA▲ Io nulla ottenni. ▼VALENTINIANO▲ Già lo predissi. Eh si punisca. Omai È viltade il riguardo. ▼ONORIA▲ E pur non posso Crederlo reo. D’alma innocente è segno Quella sua sicurezza. ▼VALENTINIANO▲ Anzi è una prova Del suo delitto. Il traditor si fida Nell’aura popolar. Vuo’ che s’uccida. ▼ONORIA▲ Meglio ci pensa. Ezio è peggior nemico Forse estinto che vivo. ▼VALENTINIANO▲ E che far deggio? ▼ONORIA▲ Cerca vie di placarlo il suo segreto Sveller da lui senza rigor procura. ▼VALENTINIANO▲ E qual via non tentai? ▼ONORIA▲ La più sicura. Ezio, per quel ch’io vedo È debole in amor per questa parte Assalirlo conviene. Ei Fulvia adora Offrila all’amor suo; cedila ancora. ▼VALENTINIANO▲ Quanto è facile, Onoria, A consigliare altrui fuor del periglio! ▼ONORIA▲ Signor, nel mio consiglio io ti propongo Un esempio a seguir. Sappi che amante Io sono al par di te, né perdo meno Fulvia è la fiamma tua, per Ezio io peno. ▼VALENTINIANO▲ E l’ami? ▼ONORIA▲ Sì. Nel consigliarti or vedi Se facile son io, come tu credi. ▼VALENTINIANO▲ Ma troppo ad eseguir duro consiglio Mi proponi, o germana. ▼ONORIA▲ Il tuo coraggio, la tua virtù faccia arrossir la sorte. Una donna t’insegna ad esser forte. ▼VALENTINIANO▲ Oh Dio! ▼ONORIA▲ Vinci te stesso. I tuoi vassalli Apprendano qual sia D’Augusto il cor… ▼VALENTINIANO▲ Non più Fulvia m’invia Facciasi questo ancor. Se tu sapessi Che sforzo è il mio, quanto il cimento è duro… ▼ONORIA▲ Dalla mia pena il tuo dolor misuro Ma soffrilo. Nel duolo Pur è qualche piacer non esser solo. Peni tu per un’ingrata, Un ingrato adoro anch’io È il tuo fato eguale al mio; È nemico ad ambi Amor. Ma, s’io nacqui sventurata Se per te non v’è speranza, Sia compagna la costanza, Come è simile il dolor. （parte） Scena Terza ▼VALENTINIANO▲ Olà! Varo si chiami. （una comparsa esce, e parte per eseguire il comando） A questo eccesso Della clemenza mia se il reo non cede, Un momento di vita Più lasciargli non vuo’. ▼VARO▲ Cesare. ▼VALENTINIANO▲ Ascolta. Disponi i tuoi più fidi Di questo loco in su l’oscuro ingresso; E se al mio fianco appresso Ezio non è, s’io non gli son di guida, Quando uscir lo vedrai, fa che s’uccida. ▼VARO▲ Ubbidirò. Ma sai Qual tumulto destò d’Ezio l’arresto? ▼VALENTINIANO▲ Tutto m’è noto. A questo Già Massimo provvede. ▼VARO▲ È ver, ma temo… ▼VALENTINIANO▲ Eh! taci adempi il cenno, e fa che il colpo Cautamente succeda. Udisti? ▼VARO▲ Intesi. （parte） ▼VALENTINIANO▲ （alle guardie de’ cancelli） Il prigionier qui rieda. （per se stesso） Tacete, o sdegni miei l’odio sepolto resti nel cor, non comparisca in volto. Con le procelle in seno Sembri tranquillo il mar; E un zeffiro sereno Col placido spirar Finga la calma. Ma, se quel cor superbo L’istesso ancor sarà, Vi lascio in libertà, Sdegni dell’alma. Scena Quarta ▼MASSIMO▲ Signor, tutto sedai. D’Ezio la morte A tuo piacere affretta Roma t’applaude; ogni fedel l’aspetta. ▼VALENTINIANO▲ Ma che vuoi? Mi si dice Che un barbaro, che un empio, Che un incauto son io. Gli esempi altrui Seguitar mi conviene. ▼MASSIMO▲ Come! Perché? ▼VALENTINIANO▲ T’accheta Ezio già viene. Scena Quinta （Ezio incatenato esce dai cancelli, e detti） ▼MASSIMO▲ （fra sè） Chi mai lo consigliò! ▼EZIO▲ Dal carcer mio Richiamato, io credei D’incamminarmi ad un supplizio ingiusto Ma ne incontro un peggior; rivedo Augusto. ▼VALENTINIANO▲ （fra sè） Che audace! （Ad Ezio） Ezio, fra noi Più d’odio non si parli. Io vengo amico Il mio rigor detesto; E voglio… ▼EZIO▲ Io so che vuoi m’è noto il resto. Onoria ti prevenne; il tutto intesi. S’altro a dirmi non hai, Torno alla mia prigion; seco parlai. ▼VALENTINIANO▲ Non potea dirti Onoria Quanto offrirti vogl’io. ▼EZIO▲ Lo so; mel disse Che la mia libertà, che il primo affetto, Che l’amistà d’Augusto i doni sono. ▼VALENTINIANO▲ Ma non disse il maggior. Scena Sesta ▼VALENTINIANO▲ （accennando Fulvia） Vedi qual dono. ▼EZIO▲ Fulvia! ▼MASSIMO▲ （fra sè） Che mai sarà! L’alma s’agghiaccia. ▼FULVIA▲ Da Fulvia che si vuol? ▼VALENTINIANO▲ Che ascolti e taccia. （ad Ezio） Ti sorprende l’offerta. Ella è sì grande, Che crederla non sai, ma temi in vano La promisi l’affermo; ecco la mano. ▼EZIO▲ A qual prezzo però mi si concede D’esserne possessor? ▼VALENTINIANO▲ Poco si chiede. Tu sei reo per amor chi visse amante Facilmente ti scusa. Altro non bramo che un ingenuo parlar. Tutto il disegno svelami, te ne priego, acciò non viva Cesare più co’ suoi timori intorno. ▼EZIO▲ （a Fulvia） Addio, mia vita alla prigione io torno. ▼VALENTINIANO▲ （fra sè） E il soffro? ▼FULVIA▲ （fra sè） Ahimè! ▼VALENTINIANO▲ （ad Ezio） Senti. E lasciar tu vuoi, stinato a tacer, Fulvia, che tanto Fedel ti corrisponde? Parla. （fra sè） Né meno il traditor risponde. ▼MASSIMO▲ （fra sè） Quanti perigli! ▼VALENTINIANO▲ Ezio, m’ascolti? Intendi Che parlo a te? Son tali i detti miei, Che un reo, come tu sei, debba sprezzarli? ▼EZIO▲ Quando parli così, meco non parli. ▼VALENTINIANO▲ Eh! si risolva. （forte） Olà, custodi! ▼FULVIA▲ （a Valentiniano） Ah! prima Lo sdegno tuo contro di me si volga. ▼VALENTINIANO▲ （a Fulvia） Né puoi tacere? （a le guardie） Il prigionier si sciolga. （si tolgono le catene ad Ezio） ▼EZIO▲ Come! ▼FULVIA▲ （fra sè） Che veggio! ▼MASSIMO▲ （fra sè） Oh stelle! ▼VALENTINIANO▲ Al fin conosco che innocente tu sei. Tanta costanza Nel ricusar la sospirata sposa, No, che un reo non avrebbe. Ezio, mi pento Del mio rigore emenderanno i doni Le ingiuste offese de’ sospetti miei. Vanne; Fulvia è già tua; libero sei. ▼FULVIA▲ （fra sè） Felice me! ▼EZIO▲ La prima volta è questa Ch’io mi confondo, e con ragion. Chi mai Un monarca rivale a questo segno Generoso sperò! La tua diletta Mi cedi, e non rammenti!… ▼VALENTINIANO▲ Omai t’affretta. Impaziente attende Roma di rivederti. A lei ti mostra Dilegua il suo timor. Tempo non manca A’ reciprochi segni D’affetto, d’amistà. ▼EZIO▲ Del fasto mio Or, Cesare, arrossisco; e tanto dono… ▼VALENTINIANO▲ Ezio, va pur conoscerai qual sono. ▼EZIO▲ Se la mia vita Dono è d’Augusto, Il freddo Scita, L’Etiope adusto Al piè di Cesare Piegar farò. Perché germoglino Per te gli allori, Mi vedrai spargere Nuovi sudori; Saprò combattere, Morir saprò. （parte） Scena Settima ▼VALENTINIANO▲ （fra sè） Va pur, te n’avvedrai. ▼MASSIMO▲ （fra sè） Perdo ogni speme. ▼FULVIA▲ Generoso monarca, il Ciel ti renda Quella felicità che rendi a noi. I benefìci tuoi Sempre rammenterò. Lascia che intanto Su quell’augusta mano un bacio imprima. ▼VALENTINIANO▲ No, Fulvia attendi prima Che sia compìto il dono ancor non sai Quanto ogni voto avanza, Quanto il dono è maggior di tua speranza. ▼MASSIMO▲ Cesare, che facesti? Ah, questa volta T’ingannò la pietade. ▼VALENTINIANO▲ E pur vedrai Che giova la pietà, ch’io non errai. Ogni cura, ogni tema Terminata sarà. ▼MASSIMO▲ Qual pace acquisti, Se torna in libertà? Scena Ottava ▼VALENTINIANO▲ Varo, eseguisti? ▼VARO▲ Eseguito è il tuo cenno Ezio morì. ▼FULVIA▲ Come! che dici? ▼VARO▲ （a Valentiniano） Al varco L’attesero i miei fidi ei venne; e prima Che potesse temerne, il sen trafitto Si vide; sospirò, cadde fra loro. ▼MASSIMO▲ （fra sè） Oh sorte inaspettata! ▼FULVIA▲ Oh Dio! mi moro. （si appoggia ad una scena, coprendosi il volto） ▼VALENTINIANO▲ （a Varo） Corri; l’esangue spoglia Nascondi ad ogni sguardo ignota resti D’Ezio la morte ad ogni suo seguace. ▼VARO▲ Sarà legge il tuo cenno. （parte） ▼VALENTINIANO▲ E Fulvia tace? Or è tempo che parli. E perché mai «Generoso monarca» or non mi dice? ▼FULVIA▲ （come sopra） Ah, tiranno! Io vorrei… Sposo infelice! ▼MASSIMO▲ Un primo sfogo al suo dolore ingiusto Lascia, o signor. Scena Nona ▼ONORIA▲ Liete novelle, Augusto. ▼VALENTINIANO▲ Che reca Onoria? Il volto suo ridente Felicità promette. ▼ONORIA▲ Ezio è innocente. ▼VALENTINIANO▲ Come? ▼ONORIA▲ Emilio parlò. L’empio ministro Nelle mie stanze io ritrovai celato, Già vicino a morir. ▼MASSIMO▲ （fra sè） Son disperato. ▼VALENTINIANO▲ Nelle tue stanze? ▼ONORIA▲ Sì. Da te ferito, La scorsa notte ivi s’ascose. Intesi Dal labbro suo ch’Ezio è innocente. Augusto, Non mentisce chi more. ▼VALENTINIANO▲ E l’alma rea, Che gli commise il colpo, Almen ti palesò? ▼ONORIA▲ Mi disse ‘È quella Che a Cesare è più cara, e che da lui Fu oltraggiata in amor.’ ▼VALENTINIANO▲ Ma il nome? ▼ONORIA▲ Emilio A dirlo si accingea, tutta su i labbri L’anima fuggitiva egli raccolse; Ma l’estremo sospiro il nome involse. ▼VALENTINIANO▲ Oh sventura! ▼MASSIMO▲ （fra sè） Oh periglio! ▼FULVIA▲ （a Valentiniano） Or di’, tiranno, S’era infido il mio sposo, Se fu giusto il punirlo. Or che mi giova Che tu il pianga innocente? Or chi la vita, Empio! gli renderà? ▼ONORIA▲ Fulvia, che dici? Ezio morì? ▼FULVIA▲ Sì, principessa. Ah! Fuggi dal barbaro germano egli è una fiera che si pasce di sangue, E di sangue innocente. Ognun si guardi; Egli ha vinto i rimorsi; orror non sente Della sua crudeltà, gloria non cura Pur la tua vita, Onoria, è mal sicura. ▼ONORIA▲ Ah, inumano! E potesti… ▼VALENTINIANO▲ Onoria, oh Dio! Non insultarmi io lo conosco, errai; Ma di pietà son degno Più che d’accuse. Il mio timor consiglia. Son questi i miei più cari in qual di loro Cercherò il traditor, s’io non gli offesi? ▼ONORIA▲ Chi mai non offendesti? Il tuo pensiero Il passato raccolga, e non si scordi Di Massimo la sposa, i folli amori, L’insidiata onestà. ▼MASSIMO▲ （fra sè） Come salvarmi! ▼VALENTINIANO▲ E dovrò figurarmi Che i benefìci miei meno ei rammenti Che un giovanil trasporto? ▼ONORIA▲ E ancor non sai Che l’offensore oblia, Ma non l’offeso, i ricevuti oltraggi? ▼FULVIA▲ （fra sè） Ecco il padre in periglio. ▼VALENTINIANO▲ Ah! che pur troppo Tu dici il ver; ma che farò? ▼ONORIA▲ Consigli or pretendi da me? Se fosti solo A fabbricarti il danno, Solo al riparo tuo pensa, o tiranno. （parte） Scena Decima ▼MASSIMO▲ Cesare, alla mia fede Troppo ingrato sei tu, se ne sospetti. ▼VALENTINIANO▲ Ah! che d’Onoria ai detti Dal mio sonno io mi desto Massimo, di scolparti il tempo è questo. Fin che il reo non si trova, Il reo ti crederò. ▼MASSIMO▲ Perché? Qual fallo? Sol perché Onoria il dice? Che ingiustizia è la tua! ▼FULVIA▲ （fra sè） Padre infelice! ▼VALENTINIANO▲ Giusto è il timor. Disse morendo Emilio Che il traditor m’è caro, Ch’io l’offesi in amor tutto conviene, Massimo, a te. Se tu innocente sei, Pensa a provarlo assicurarmi intanto Di te vogl’io. ▼FULVIA▲ （fra sè） M’assista il Ciel! ▼VALENTINIANO▲ Qual altro insidiar mi potea? Olà! ▼FULVIA▲ Barbaro, ascolta io son la rea. Io commisi ad Emilio La morte tua. Quella son io, che tanto Cara ti fui per mia fatal sventura. Io, perfido! son quella Che oltraggiasti in amor, quando ad Onoria Offristi il mio consorte. Ah! se nemici Non eran gli astri a’ desiderii miei, Vendicata sarei, Regnerebbe il mio sposo; il mondo e Roma Non gemerebbe oppressa Da un cor tiranno e da una destra imbelle. Oh sognate speranze! oh avverse stelle! ▼MASSIMO▲ （fra sè） Ingegnosa pietade! ▼VALENTINIANO▲ Io mi confondo. ▼FULVIA▲ （fra sè） Il genitor si salvi, e pera il mondo. ▼VALENTINIANO▲ Tradimento sì reo pensar potesti? Eseguirlo, vantarlo? ▼FULVIA▲ Ezio innocente Morì per colpa mia non vuo’ che mora Innocente, per Fulvia, il padre ancora. ▼VALENTINIANO▲ Massimo è fido almeno. ▼MASSIMO▲ Adesso, Augusto, Colpevole son io. Se quell’indegna Tanto obliar la fedeltà poteo, Nell’error della figlia il padre è reo. Puniscimi, assicura I giorni tuoi col mio morir. Potrebbe Il naturale affetto, Che per la prole in ogni petto eccede, Del padre un dì contaminar la fede. ▼VALENTINIANO▲ A suo piacer la sorte Di me disponga io m’abbandono a lei. Son stanco di temer. Se tanto affanno La vita ha da costar, no, non la curo. Nelle dubbiezze estreme Per mancanza di speme io m’assicuro. Per tutto il timore Perigli m’addita. Si perda la vita, Finisca il martire; È meglio morire Che viver così. La vita mi spiace, Se il fato nemico La speme, la pace, L’amante, l’amico Mi toglie in un dì. （parte） Scena Undicesima ▼MASSIMO▲ Partì una volta. Io per te vivo, o figlia Io respiro per te. Con quanta forza Celai fin or la tenerezza! Ah, lascia, Mia speme, mio sostegno, Cara difesa mia, che al fin t’abbracci. （vuole abbracciar Fulvia） ▼FULVIA▲ Vanne, padre crudel. ▼MASSIMO▲ Perché mi scacci? ▼FULVIA▲ Tutte le mie sventure Io riconosco in te. Basta ch’io seppi, Per salvarti, accusarmi. Vanne; non rammentarmi Quanto per te perdei, Qual son io per tua colpa, e qual tu sei. ▼MASSIMO▲ E contrastar pretendi al grato genitor questo d’affetto testimonio verace? Vieni… （vuole abbracciarla） ▼FULVIA▲ Ma per pietà lasciami in pace. Se grato esser mi vuoi, stringi quel ferro Svenami, o genitor. Questa mercede Col pianto in su le ciglia Al padre, che salvò, chiede una figlia. ▼MASSIMO▲ Tergi le ingiuste lagrime; Dilegua il tuo martirio, Ché, s’io per te respiro, Tu regnerai per me. Di raddolcirti io spero Questo penoso affanno Col dono d’un impero, Col sangue d’un tiranno, Che delle nostre ingiurie Punito ancor non è. （parte） Scena Dodicesima ▼FULVIA▲ Misera, dove son! L’aure del Tebro Son queste ch’io respiro? Per le strade m’aggiro Di Tebe e d’Argo; o dalle greche sponde Di tragedie feconde, Vennero a questi lidi Le domestiche Furie Della prole di Cadmo e degli Atridi? Là d’un monarca ingiusto L’ingrata crudeltà m’empie d’orrore D’un padre traditore Qua la colpa m’agghiaccia; E lo sposo innocente ho sempre in faccia. Oh immagini funeste! Oh memorie! oh martirio! Ed io parlo, infelice, ed io respiro? Ah! non son io che parlo, È il barbaro dolore, Che mi divide il core, Che delirar mi fa. Non cura il ciel tiranno L’affanno in cui mi vedo Un fulmine gli chiedo, E un fulmine non ha. （parte） Scena Tredicesima （Campidoglio antico, con popolo） ▼MASSIMO▲ Inorridisci, o Roma D’Attila lo spavento, il duce invitto, Il tuo liberator cadde trafitto. E chi l’uccise? Ah! l’omicida ingiusto fu l’invidia d’Augusto. Ecco in qual guisa premia un tiranno. Or che farà di noi Chi tanto merto opprime? Ah! vendicate, Romani, il vostro eroe. La gloria antica Rammentatevi omai da un giogo indegno Liberate la patria, e difendete Dai vicini perigli L’onor, la vita, le consorti e i figli. （in atto di partire） ▼VARO▲ Massimo, ferma e qual desio ribelle, Qual furor ti consiglia? ▼MASSIMO▲ Varo, t’accheta, o al mio pensier t’appiglia. Chi vuol salva la patria Stringa il ferro e mi segua. （tutti snudan la spada accennando il Campidoglio） Ecco il sentiero, Onde avrà libertà Roma e l’impero. （parte, seguìto da tutti, verso il Campidoglio） ▼VARO▲ Che indegno! Egli la morte D’un innocente affretta, E poi Roma solleva alla vendetta. Va pur forse il disegno A chi lo meditò sarà funesto Va, traditor… Ma qual tumulto è questo? （s’ode brevissimo strepito di trombe e timpani） Già risonar d’intorno a Campidoglio io sento Di cento voci e cento Lo strepito guerrier. Che fo? Si vada, e sia Stimolo all’alma mia Il debito d’amico, Di suddito il dover. （parte） Scena Quattordicesima （Si vedono scendere dal Campidoglio, combattendo, le guardie imperiali coi sollevati. Siegue zuffa, la quale terminata, esce Valentiniano senza manto, con spada rotta, difendendosi da due congiurati; e poi Massimo colla spada alla mano, indi Fulvia） ▼VALENTINIANO▲ （a Massimo） Ah, traditori! Amico, Soccorri il tuo signor. ▼MASSIMO▲ Fermate! Io voglio il tiranno svenar. ▼FULVIA▲ （si frappone） Padre, che fai? ▼MASSIMO▲ Punisco un empio. ▼VALENTINIANO▲ È questa di Massimo la fede? ▼MASSIMO▲ Assai fin ora Finsi con te. Se il mio comando Emilio Mal eseguì, per questa man cadrai. ▼VALENTINIANO▲ Ah, iniquo! ▼FULVIA▲ Al sen d’Augusto Non passerà quel ferro, Se me di vita il genitor non priva. ▼MASSIMO▲ Cesare morirà. Scena Ultima （Ezio e Varo con spade nude, popolo e soldati; indi Onoria e detti） ▼EZIO, VARO▲ Cesare viva. ▼FULVIA▲ Ezio! ▼VALENTINIANO▲ Che veggo! ▼MASSIMO▲ Oh sorte! （getta la spada） ▼ONORIA▲ È salvo Augusto? ▼VALENTINIANO▲ （accenna Ezio） Vedi chi mi salvò! ▼ONORIA▲ （ad Ezio） Duce, qual nume Ebbe cura di te? ▼EZIO▲ Di Varo amico il zelo e la pietà. ▼VALENTINIANO▲ Come? ▼VARO▲ Eseguita Finsi di lui la morte io t’ingannai; Ma in Ezio il tuo liberator serbai. ▼FULVIA▲ Provvida infedeltà! ▼EZIO▲ Permette il Cielo Che tu debba i tuoi giorni, Cesare, a questa mano, Che credesti infedel. Vivi io non curo Maggior trionfo; e, se ti resta ancora Per me qualche dubbiezza in mente accolta, Eccomi prigioniero un’altra volta. ▼VALENTINIANO▲ Anima grande, eguale Solamente a te stessa! In questo seno Della mia tenerezza, Del pentimento mio ricevi un pegno （accenna Fulvia） Eccoti la tua sposa. Onoria al nodo d’Attila si prepari io so che lieta la tua man generosa a Fulvia cede. ▼ONORIA▲ È poco il sacrificio a tanta fede. ▼EZIO▲ Oh contento! ▼FULVIA▲ Oh piacer! ▼EZIO▲ Concedi, Augusto, la salvezza di Varo, Di Massimo la vita ai nostri prieghi. ▼VALENTINIANO▲ A tanto intercessor nulla si nieghi. ▼CORO▲ Della vita nel dubbio cammino Si smarrisce l’umano pensier. L’innocenza è quell’astro divino, Che rischiara fra l’ombre il sentier. ATTO TERZO Scena Prima Atrio delle carceri con cancelli di ferro in prospetto, che conducono a diverse prigioni. Guardie a vista su la porta de’ detti cancelli ONORIA alle guardie Ezio qui venga. È questa gemma il segno fra sè Del cesareo volere. Il suo periglio Mi fa più amante; e la pietà, ch’io sento Nel vederlo infelice, Tal fomento è all’amor, ch’io non so come Si forma nel mio petto Di due diversi affetti un solo affetto. Eccolo. Oh, come altero, Come lieto s’avanza! O quell’alma è innocente, o non è vero Che immagine dell’alma è la sembianza. esce Ezio da uno de’ cancelli, presso de’ quali restano le guardie EZIO Questi del tuo germano Son, principessa, i doni. Avresti mai Potuto immaginarlo? In pochi istanti Tutto cangiò per me. Cinto d’allori Del giorno al tramontar tu mi vedesti; E poi co’ lacci intorno Tu mi rivedi all’apparir del giorno. ONORIA Ezio, qualunque nasce alle vicende Della sorte è soggetto. Il primo esempio Dell’incostanza sua, duce, non sei. L’ingiustizia di lei Tu potresti emendar. Per mia richiesta Cesare l’ira sua tutta abbandona T’ama, ti vuole amico, e ti perdona. EZIO E il crederò? ONORIA Sì. Né domanda Augusto Altra emenda da te che il suo riposo. Del tentativo ascoso Scopri la trama, e appieno Libero sei. Può domandar di meno? EZIO Non è poca richiesta. Ei vuol ch’io stesso M’accusi per timore. Ei vuole a prezzo Dell’innocenza mia Generoso apparir. Sa la mia fede, Prova rossor nell’oltraggiarmi a torto; Perciò mi vuole o delinquente o morto. ONORIA Dunque con tanto fasto Lo sdegno tuo giustificar non dei; E, se innocente sei, placide, umìli Sian le tue scuse. A lui favella in modo Che non possa incolparti, Che non abbia coraggio a condannarti. EZIO Onoria, per salvarmi Ad esser vile io non appresi ancora. ONORIA Ma sai che corri a morte? EZIO E ben, si mora! Non è il peggior de’ mali Al fin questo morir; ci toglie almeno Dal commercio de’ rei. ONORIA Pensar dovresti Che per la patria tua poco vivesti. EZIO Il viver si misura Dall’opre e non dai giorni. Onoria, i vili, Inutili a ciascuno, a sé mal noti, Cui non scaldò di bella gloria il foco, Vivendo lunga età vissero poco. Ma coloro che vanno Per l’orme ch’io segnai, Vivendo pochi dì, vissero assai. ONORIA Se di te non hai cura, Abbila almen di me. EZIO Che dici? ONORIA Io t’amo Più tacerlo nol so. Quando mi veggo A perderti vicina, i torti oblio; Ed è poca difesa Alla mia debolezza il fasto mio. EZIO Onoria, e tu sei quella Che umiltà mi consigli? In questa guisa Insuperbir mi fai. Potessi almeno, Come i tuoi pregi ammiro, amarti ancora! D eh, consenti ch’io mora. Ezio piagato Per altro stral ti viverebbe ingrato. ONORIA Viva ingrato, mi renda D’ogni speranza priva, Mi sprezzi pur, mi sia crudel; ma viva. E se pur la tua vita Aborrisci così, perché m’è cara, Cerca almeno una morte Che sia degna di te. Coll’armi in pugno Mori vincendo; onde t’invidi il mondo, Non ti compianga. EZIO O in carcere o fra l’armi, Ad altri insegnerò come si mora. Farò invidiarmi in questo stato ancora. Guarda pria se in questa fronte Trovi scritto alcun delitto, E dirai che la mia sorte Desta invidia e non pietà. Bella prova è d’alma forte L’esser placida e serena, Nel soffrir l’ingiusta pena D’una colpa che non ha. rientra nelle carceri, accompagnato dalle guardie Scena Seconda ONORIA Oh Dio, chi ‘l crederebbe! Al fato estremo Egli lieto s’appressa; io gelo e tremo. VALENTINIANO E ben, da quel superbo Che ottenesti, o germana? ONORIA Io nulla ottenni. VALENTINIANO Già lo predissi. Eh si punisca. Omai È viltade il riguardo. ONORIA E pur non posso Crederlo reo. D’alma innocente è segno Quella sua sicurezza. VALENTINIANO Anzi è una prova Del suo delitto. Il traditor si fida Nell’aura popolar. Vuo’ che s’uccida. ONORIA Meglio ci pensa. Ezio è peggior nemico Forse estinto che vivo. VALENTINIANO E che far deggio? ONORIA Cerca vie di placarlo il suo segreto Sveller da lui senza rigor procura. VALENTINIANO E qual via non tentai? ONORIA La più sicura. Ezio, per quel ch’io vedo È debole in amor per questa parte Assalirlo conviene. Ei Fulvia adora Offrila all’amor suo; cedila ancora. VALENTINIANO Quanto è facile, Onoria, A consigliare altrui fuor del periglio! ONORIA Signor, nel mio consiglio io ti propongo Un esempio a seguir. Sappi che amante Io sono al par di te, né perdo meno Fulvia è la fiamma tua, per Ezio io peno. VALENTINIANO E l’ami? ONORIA Sì. Nel consigliarti or vedi Se facile son io, come tu credi. VALENTINIANO Ma troppo ad eseguir duro consiglio Mi proponi, o germana. ONORIA Il tuo coraggio, la tua virtù faccia arrossir la sorte. Una donna t’insegna ad esser forte. VALENTINIANO Oh Dio! ONORIA Vinci te stesso. I tuoi vassalli Apprendano qual sia D’Augusto il cor… VALENTINIANO Non più Fulvia m’invia Facciasi questo ancor. Se tu sapessi Che sforzo è il mio, quanto il cimento è duro… ONORIA Dalla mia pena il tuo dolor misuro Ma soffrilo. Nel duolo Pur è qualche piacer non esser solo. Peni tu per un’ingrata, Un ingrato adoro anch’io È il tuo fato eguale al mio; È nemico ad ambi Amor. Ma, s’io nacqui sventurata Se per te non v’è speranza, Sia compagna la costanza, Come è simile il dolor. parte Scena Terza VALENTINIANO Olà! Varo si chiami. una comparsa esce, e parte per eseguire il comando A questo eccesso Della clemenza mia se il reo non cede, Un momento di vita Più lasciargli non vuo’. VARO Cesare. VALENTINIANO Ascolta. Disponi i tuoi più fidi Di questo loco in su l’oscuro ingresso; E se al mio fianco appresso Ezio non è, s’io non gli son di guida, Quando uscir lo vedrai, fa che s’uccida. VARO Ubbidirò. Ma sai Qual tumulto destò d’Ezio l’arresto? VALENTINIANO Tutto m’è noto. A questo Già Massimo provvede. VARO È ver, ma temo… VALENTINIANO Eh! taci adempi il cenno, e fa che il colpo Cautamente succeda. Udisti? VARO Intesi. parte VALENTINIANO alle guardie de’ cancelli Il prigionier qui rieda. per se stesso Tacete, o sdegni miei l’odio sepolto resti nel cor, non comparisca in volto. Con le procelle in seno Sembri tranquillo il mar; E un zeffiro sereno Col placido spirar Finga la calma. Ma, se quel cor superbo L’istesso ancor sarà, Vi lascio in libertà, Sdegni dell’alma. Scena Quarta MASSIMO Signor, tutto sedai. D’Ezio la morte A tuo piacere affretta Roma t’applaude; ogni fedel l’aspetta. VALENTINIANO Ma che vuoi? Mi si dice Che un barbaro, che un empio, Che un incauto son io. Gli esempi altrui Seguitar mi conviene. MASSIMO Come! Perché? VALENTINIANO T’accheta Ezio già viene. Scena Quinta Ezio incatenato esce dai cancelli, e detti MASSIMO fra sè Chi mai lo consigliò! EZIO Dal carcer mio Richiamato, io credei D’incamminarmi ad un supplizio ingiusto Ma ne incontro un peggior; rivedo Augusto. VALENTINIANO fra sè Che audace! Ad Ezio Ezio, fra noi Più d’odio non si parli. Io vengo amico Il mio rigor detesto; E voglio… EZIO Io so che vuoi m’è noto il resto. Onoria ti prevenne; il tutto intesi. S’altro a dirmi non hai, Torno alla mia prigion; seco parlai. VALENTINIANO Non potea dirti Onoria Quanto offrirti vogl’io. EZIO Lo so; mel disse Che la mia libertà, che il primo affetto, Che l’amistà d’Augusto i doni sono. VALENTINIANO Ma non disse il maggior. Scena Sesta VALENTINIANO accennando Fulvia Vedi qual dono. EZIO Fulvia! MASSIMO fra sè Che mai sarà! L’alma s’agghiaccia. FULVIA Da Fulvia che si vuol? VALENTINIANO Che ascolti e taccia. ad Ezio Ti sorprende l’offerta. Ella è sì grande, Che crederla non sai, ma temi in vano La promisi l’affermo; ecco la mano. EZIO A qual prezzo però mi si concede D’esserne possessor? VALENTINIANO Poco si chiede. Tu sei reo per amor chi visse amante Facilmente ti scusa. Altro non bramo che un ingenuo parlar. Tutto il disegno svelami, te ne priego, acciò non viva Cesare più co’ suoi timori intorno. EZIO a Fulvia Addio, mia vita alla prigione io torno. VALENTINIANO fra sè E il soffro? FULVIA fra sè Ahimè! VALENTINIANO ad Ezio Senti. E lasciar tu vuoi, stinato a tacer, Fulvia, che tanto Fedel ti corrisponde? Parla. fra sè Né meno il traditor risponde. MASSIMO fra sè Quanti perigli! VALENTINIANO Ezio, m’ascolti? Intendi Che parlo a te? Son tali i detti miei, Che un reo, come tu sei, debba sprezzarli? EZIO Quando parli così, meco non parli. VALENTINIANO Eh! si risolva. forte Olà, custodi! FULVIA a Valentiniano Ah! prima Lo sdegno tuo contro di me si volga. VALENTINIANO a Fulvia Né puoi tacere? a le guardie Il prigionier si sciolga. si tolgono le catene ad Ezio EZIO Come! FULVIA fra sè Che veggio! MASSIMO fra sè Oh stelle! VALENTINIANO Al fin conosco che innocente tu sei. Tanta costanza Nel ricusar la sospirata sposa, No, che un reo non avrebbe. Ezio, mi pento Del mio rigore emenderanno i doni Le ingiuste offese de’ sospetti miei. Vanne; Fulvia è già tua; libero sei. FULVIA fra sè Felice me! EZIO La prima volta è questa Ch’io mi confondo, e con ragion. Chi mai Un monarca rivale a questo segno Generoso sperò! La tua diletta Mi cedi, e non rammenti!… VALENTINIANO Omai t’affretta. Impaziente attende Roma di rivederti. A lei ti mostra Dilegua il suo timor. Tempo non manca A’ reciprochi segni D’affetto, d’amistà. EZIO Del fasto mio Or, Cesare, arrossisco; e tanto dono… VALENTINIANO Ezio, va pur conoscerai qual sono. EZIO Se la mia vita Dono è d’Augusto, Il freddo Scita, L’Etiope adusto Al piè di Cesare Piegar farò. Perché germoglino Per te gli allori, Mi vedrai spargere Nuovi sudori; Saprò combattere, Morir saprò. parte Scena Settima VALENTINIANO fra sè Va pur, te n’avvedrai. MASSIMO fra sè Perdo ogni speme. FULVIA Generoso monarca, il Ciel ti renda Quella felicità che rendi a noi. I benefìci tuoi Sempre rammenterò. Lascia che intanto Su quell’augusta mano un bacio imprima. VALENTINIANO No, Fulvia attendi prima Che sia compìto il dono ancor non sai Quanto ogni voto avanza, Quanto il dono è maggior di tua speranza. MASSIMO Cesare, che facesti? Ah, questa volta T’ingannò la pietade. VALENTINIANO E pur vedrai Che giova la pietà, ch’io non errai. Ogni cura, ogni tema Terminata sarà. MASSIMO Qual pace acquisti, Se torna in libertà? Scena Ottava VALENTINIANO Varo, eseguisti? VARO Eseguito è il tuo cenno Ezio morì. FULVIA Come! che dici? VARO a Valentiniano Al varco L’attesero i miei fidi ei venne; e prima Che potesse temerne, il sen trafitto Si vide; sospirò, cadde fra loro. MASSIMO fra sè Oh sorte inaspettata! FULVIA Oh Dio! mi moro. si appoggia ad una scena, coprendosi il volto VALENTINIANO a Varo Corri; l’esangue spoglia Nascondi ad ogni sguardo ignota resti D’Ezio la morte ad ogni suo seguace. VARO Sarà legge il tuo cenno. parte VALENTINIANO E Fulvia tace? Or è tempo che parli. E perché mai «Generoso monarca» or non mi dice? FULVIA come sopra Ah, tiranno! Io vorrei… Sposo infelice! MASSIMO Un primo sfogo al suo dolore ingiusto Lascia, o signor. Scena Nona ONORIA Liete novelle, Augusto. VALENTINIANO Che reca Onoria? Il volto suo ridente Felicità promette. ONORIA Ezio è innocente. VALENTINIANO Come? ONORIA Emilio parlò. L’empio ministro Nelle mie stanze io ritrovai celato, Già vicino a morir. MASSIMO fra sè Son disperato. VALENTINIANO Nelle tue stanze? ONORIA Sì. Da te ferito, La scorsa notte ivi s’ascose. Intesi Dal labbro suo ch’Ezio è innocente. Augusto, Non mentisce chi more. VALENTINIANO E l’alma rea, Che gli commise il colpo, Almen ti palesò? ONORIA Mi disse ‘È quella Che a Cesare è più cara, e che da lui Fu oltraggiata in amor.’ VALENTINIANO Ma il nome? ONORIA Emilio A dirlo si accingea, tutta su i labbri L’anima fuggitiva egli raccolse; Ma l’estremo sospiro il nome involse. VALENTINIANO Oh sventura! MASSIMO fra sè Oh periglio! FULVIA a Valentiniano Or di’, tiranno, S’era infido il mio sposo, Se fu giusto il punirlo. Or che mi giova Che tu il pianga innocente? Or chi la vita, Empio! gli renderà? ONORIA Fulvia, che dici? Ezio morì? FULVIA Sì, principessa. Ah! Fuggi dal barbaro germano egli è una fiera che si pasce di sangue, E di sangue innocente. Ognun si guardi; Egli ha vinto i rimorsi; orror non sente Della sua crudeltà, gloria non cura Pur la tua vita, Onoria, è mal sicura. ONORIA Ah, inumano! E potesti… VALENTINIANO Onoria, oh Dio! Non insultarmi io lo conosco, errai; Ma di pietà son degno Più che d’accuse. Il mio timor consiglia. Son questi i miei più cari in qual di loro Cercherò il traditor, s’io non gli offesi? ONORIA Chi mai non offendesti? Il tuo pensiero Il passato raccolga, e non si scordi Di Massimo la sposa, i folli amori, L’insidiata onestà. MASSIMO fra sè Come salvarmi! VALENTINIANO E dovrò figurarmi Che i benefìci miei meno ei rammenti Che un giovanil trasporto? ONORIA E ancor non sai Che l’offensore oblia, Ma non l’offeso, i ricevuti oltraggi? FULVIA fra sè Ecco il padre in periglio. VALENTINIANO Ah! che pur troppo Tu dici il ver; ma che farò? ONORIA Consigli or pretendi da me? Se fosti solo A fabbricarti il danno, Solo al riparo tuo pensa, o tiranno. parte Scena Decima MASSIMO Cesare, alla mia fede Troppo ingrato sei tu, se ne sospetti. VALENTINIANO Ah! che d’Onoria ai detti Dal mio sonno io mi desto Massimo, di scolparti il tempo è questo. Fin che il reo non si trova, Il reo ti crederò. MASSIMO Perché? Qual fallo? Sol perché Onoria il dice? Che ingiustizia è la tua! FULVIA fra sè Padre infelice! VALENTINIANO Giusto è il timor. Disse morendo Emilio Che il traditor m’è caro, Ch’io l’offesi in amor tutto conviene, Massimo, a te. Se tu innocente sei, Pensa a provarlo assicurarmi intanto Di te vogl’io. FULVIA fra sè M’assista il Ciel! VALENTINIANO Qual altro insidiar mi potea? Olà! FULVIA Barbaro, ascolta io son la rea. Io commisi ad Emilio La morte tua. Quella son io, che tanto Cara ti fui per mia fatal sventura. Io, perfido! son quella Che oltraggiasti in amor, quando ad Onoria Offristi il mio consorte. Ah! se nemici Non eran gli astri a’ desiderii miei, Vendicata sarei, Regnerebbe il mio sposo; il mondo e Roma Non gemerebbe oppressa Da un cor tiranno e da una destra imbelle. Oh sognate speranze! oh avverse stelle! MASSIMO fra sè Ingegnosa pietade! VALENTINIANO Io mi confondo. FULVIA fra sè Il genitor si salvi, e pera il mondo. VALENTINIANO Tradimento sì reo pensar potesti? Eseguirlo, vantarlo? FULVIA Ezio innocente Morì per colpa mia non vuo’ che mora Innocente, per Fulvia, il padre ancora. VALENTINIANO Massimo è fido almeno. MASSIMO Adesso, Augusto, Colpevole son io. Se quell’indegna Tanto obliar la fedeltà poteo, Nell’error della figlia il padre è reo. Puniscimi, assicura I giorni tuoi col mio morir. Potrebbe Il naturale affetto, Che per la prole in ogni petto eccede, Del padre un dì contaminar la fede. VALENTINIANO A suo piacer la sorte Di me disponga io m’abbandono a lei. Son stanco di temer. Se tanto affanno La vita ha da costar, no, non la curo. Nelle dubbiezze estreme Per mancanza di speme io m’assicuro. Per tutto il timore Perigli m’addita. Si perda la vita, Finisca il martire; È meglio morire Che viver così. La vita mi spiace, Se il fato nemico La speme, la pace, L’amante, l’amico Mi toglie in un dì. parte Scena Undicesima MASSIMO Partì una volta. Io per te vivo, o figlia Io respiro per te. Con quanta forza Celai fin or la tenerezza! Ah, lascia, Mia speme, mio sostegno, Cara difesa mia, che al fin t’abbracci. vuole abbracciar Fulvia FULVIA Vanne, padre crudel. MASSIMO Perché mi scacci? FULVIA Tutte le mie sventure Io riconosco in te. Basta ch’io seppi, Per salvarti, accusarmi. Vanne; non rammentarmi Quanto per te perdei, Qual son io per tua colpa, e qual tu sei. MASSIMO E contrastar pretendi al grato genitor questo d’affetto testimonio verace? Vieni… vuole abbracciarla FULVIA Ma per pietà lasciami in pace. Se grato esser mi vuoi, stringi quel ferro Svenami, o genitor. Questa mercede Col pianto in su le ciglia Al padre, che salvò, chiede una figlia. MASSIMO Tergi le ingiuste lagrime; Dilegua il tuo martirio, Ché, s’io per te respiro, Tu regnerai per me. Di raddolcirti io spero Questo penoso affanno Col dono d’un impero, Col sangue d’un tiranno, Che delle nostre ingiurie Punito ancor non è. parte Scena Dodicesima FULVIA Misera, dove son! L’aure del Tebro Son queste ch’io respiro? Per le strade m’aggiro Di Tebe e d’Argo; o dalle greche sponde Di tragedie feconde, Vennero a questi lidi Le domestiche Furie Della prole di Cadmo e degli Atridi? Là d’un monarca ingiusto L’ingrata crudeltà m’empie d’orrore D’un padre traditore Qua la colpa m’agghiaccia; E lo sposo innocente ho sempre in faccia. Oh immagini funeste! Oh memorie! oh martirio! Ed io parlo, infelice, ed io respiro? Ah! non son io che parlo, È il barbaro dolore, Che mi divide il core, Che delirar mi fa. Non cura il ciel tiranno L’affanno in cui mi vedo Un fulmine gli chiedo, E un fulmine non ha. parte Scena Tredicesima Campidoglio antico, con popolo MASSIMO Inorridisci, o Roma D’Attila lo spavento, il duce invitto, Il tuo liberator cadde trafitto. E chi l’uccise? Ah! l’omicida ingiusto fu l’invidia d’Augusto. Ecco in qual guisa premia un tiranno. Or che farà di noi Chi tanto merto opprime? Ah! vendicate, Romani, il vostro eroe. La gloria antica Rammentatevi omai da un giogo indegno Liberate la patria, e difendete Dai vicini perigli L’onor, la vita, le consorti e i figli. in atto di partire VARO Massimo, ferma e qual desio ribelle, Qual furor ti consiglia? MASSIMO Varo, t’accheta, o al mio pensier t’appiglia. Chi vuol salva la patria Stringa il ferro e mi segua. tutti snudan la spada accennando il Campidoglio Ecco il sentiero, Onde avrà libertà Roma e l’impero. parte, seguìto da tutti, verso il Campidoglio VARO Che indegno! Egli la morte D’un innocente affretta, E poi Roma solleva alla vendetta. Va pur forse il disegno A chi lo meditò sarà funesto Va, traditor… Ma qual tumulto è questo? s’ode brevissimo strepito di trombe e timpani Già risonar d’intorno a Campidoglio io sento Di cento voci e cento Lo strepito guerrier. Che fo? Si vada, e sia Stimolo all’alma mia Il debito d’amico, Di suddito il dover. parte Scena Quattordicesima Si vedono scendere dal Campidoglio, combattendo, le guardie imperiali coi sollevati. Siegue zuffa, la quale terminata, esce Valentiniano senza manto, con spada rotta, difendendosi da due congiurati; e poi Massimo colla spada alla mano, indi Fulvia VALENTINIANO a Massimo Ah, traditori! Amico, Soccorri il tuo signor. MASSIMO Fermate! Io voglio il tiranno svenar. FULVIA si frappone Padre, che fai? MASSIMO Punisco un empio. VALENTINIANO È questa di Massimo la fede? MASSIMO Assai fin ora Finsi con te. Se il mio comando Emilio Mal eseguì, per questa man cadrai. VALENTINIANO Ah, iniquo! FULVIA Al sen d’Augusto Non passerà quel ferro, Se me di vita il genitor non priva. MASSIMO Cesare morirà. Scena Ultima Ezio e Varo con spade nude, popolo e soldati; indi Onoria e detti EZIO, VARO Cesare viva. FULVIA Ezio! VALENTINIANO Che veggo! MASSIMO Oh sorte! getta la spada ONORIA È salvo Augusto? VALENTINIANO accenna Ezio Vedi chi mi salvò! ONORIA ad Ezio Duce, qual nume Ebbe cura di te? EZIO Di Varo amico il zelo e la pietà. VALENTINIANO Come? VARO Eseguita Finsi di lui la morte io t’ingannai; Ma in Ezio il tuo liberator serbai. FULVIA Provvida infedeltà! EZIO Permette il Cielo Che tu debba i tuoi giorni, Cesare, a questa mano, Che credesti infedel. Vivi io non curo Maggior trionfo; e, se ti resta ancora Per me qualche dubbiezza in mente accolta, Eccomi prigioniero un’altra volta. VALENTINIANO Anima grande, eguale Solamente a te stessa! In questo seno Della mia tenerezza, Del pentimento mio ricevi un pegno accenna Fulvia Eccoti la tua sposa. Onoria al nodo d’Attila si prepari io so che lieta la tua man generosa a Fulvia cede. ONORIA È poco il sacrificio a tanta fede. EZIO Oh contento! FULVIA Oh piacer! EZIO Concedi, Augusto, la salvezza di Varo, Di Massimo la vita ai nostri prieghi. VALENTINIANO A tanto intercessor nulla si nieghi. CORO Della vita nel dubbio cammino Si smarrisce l’umano pensier. L’innocenza è quell’astro divino, Che rischiara fra l’ombre il sentier. Handel,George Frideric/Ezio
https://w.atwiki.jp/zeitvertreib/pages/65.html
ルーマン関連テキスト http //mgterp.freeyellow.com/academic/luh-obit_rc51.html NIKLAS LUHMANN 1927-1998 Obituary Written for the ISA by Dr. Bernd R. Hornung, University of Marburg - President - ISA Research Committee 51 on Sociocybernetics Introduction The death of Niklas Luhmann on November 6, 1998 was a great loss. He was a most important contemporary intellectual leader and representative of systems science in sociology. Indeed, his influence extended far beyond sociology. We owe a great debt to Niklas Luhmann for numerous important findings, breakthroughs, and intellectual challenges. Again and again he opened surprising views and new perspectives to sociology, systems science, and numerous other disciplines. He was one of the very few contemporary sociologists who indeed changed paradigms from structural-functionalism to functional-structural and problem-functionalist theory, from the society of action to the society of communication and semantics, from the social "machine" to autopoiesis. Some of these changes may seem only to be playing with words, and yet this shifting of terms changed worlds. He was a sharp observer of minute differences. No wonder he embraced the theory of the organization of the living of Maturana and Varela, in which the concept of the observer plays a key role. Combined with his precise and complex reasoning trained in legal science he further developed this theory and transferred it to sociology, where it became soon a cornerstone of his own monumental construction of theory. Theory was his passion. But beyond being a great theorist, he was a great person. He had a lot of patience, towards his topics of study as well as towards his students and friends. Many friends and colleagues appreciated and enjoyed his sense of humor and his contagious smile. Scientific dispute and conflict he could keep separate from personal relations, as demonstrated brilliantly in the controversy with Habermas. A considerable part of his life work consists in applying his abstract, complex frame of theoretical reference to virtually all areas of society, from the internal workings of administration to global ecological problems, from politics and economy to arts, love, and religion. Aiming at a universal theory of society no sector of society was left out in his attempt to apply, test, and further develop his theory. He used his incredible encyclopedic knowledge, accumulated from the tremendous amount of reading he did. Luhmann spent most of his life in the plains of Northern Germany, not on the coast, but at Lüneburg, Hannover, Münster, and Bielefeld, where the sea is beyond the horizon, sending the winds to sweep up the skies, blue and grey. Horizons, after all, become one of the key concepts in his theory. It seems they were a key concept in his life too, as again and again he moved towards new challenges. Early Years Niklas Luhmann was born on December 8, 1927, in Lüneburg, Germany, as the son of the owner of a brewery. His mother was of Swiss origin, and the family kept their distance from politics during those difficult times. In 1944 seventeen year old Niklas Luhmann had to join the German armed forces. This experience, along with a short time of being a prisoner of war, convinced him to turn to the study of law at Freiburg afterwards (1946-49). He felt this was a way of creating some order in the chaos of life he had experienced so far and to counteract the lawlessness he had seen. This kind of study made him familiar with the handling of legal-theoretical constructions and the analysis of results of different possible options, a theme he would take up later in sociology, just like he would profit later from his passion for reading, which he had developed already as a pre-school child, and from his interest in history. The Practitioner of Law and Public Administration Nevertheless, there was no straight line to becoming a famous professor of sociology. The material hardships of post-war Germany urged him to study rapidly and to return to Lüneburg. There, traineeship for becoming a lawyer showed him that this profession would imply only formal independence while in fact making him dependent on a variety of constraints. With his peculiar and often surprising logic, with which he later on would work out the issues of functional equivalence and differentiation, he decided to go into public administration. This promised more liberty to follow his own ideas. First at the Court of Administration at Lüneburg (1954), then at the State Ministry of Culture and Education in Hannover he was doing practical work on legal affairs of public administration, without neglecting private intellectual interests. At that time his ideas were not yet very clearly focussed, although directed towards theoretical aspects of law and philosophy (1955-62). In this period he got married (1960) and soon had a family with three children. During this time, however, it became also clear that his curriculum and interests would not fit an ordinary administrative career, and that he was not willing to give up his independence by joining a political party in order to succeed. Although he liked his work, it gradually became routine. Aware of the difficulties of progressing in his career, Niklas Luhmann gladly accepted the opportunity to take a sabbatical leave to go to Harvard for a year (1960-61). There he studied with Talcott Parsons and collected materials for a future publication. Beginnings of a Scientific Career Upon his return to Germany, another opportunity opened up for Niklas Luhmann to continue his scientific work without abandoning his status as a state government official. He managed to get transferred to a research institute at the School of Public Administration at Speyer (1962-65). There he enjoyed great independence in his work and could follow his own scientific interests. At Speyer he published his first book on "Functions and Consequences of Formal Organizations" (1964). His career as a sociologist started in 1966, when Niklas Luhmann was at the age of 39 already. At that time Helmut Schelsky was involved in the foundation of a new "Reform University", which after all turned out to be at Bielefeld. He had convinced Niklas Luhmann to come to Dortmund to work with him in 1965. In 1966 Niklas Luhmann managed to get his Ph.D. as well as his Habilitation at the University of Münster, working with Helmut Schelsky and Dieter Claessens. At Münster, Niklas Luhmann gave his inaugural lecture on "Sociological Enlightenment", setting up a program of sociological research inspired by the Age of Enlightenment and with high ambitions for sociology. The Professor at Bielefeld In 1968, Niklas Luhmann was the first professor formally appointed at the newly founded Reform University of Bielefeld. There, as a member of the Faculty of Sociology, he could finally devote his full energy to a theory of modern society. For Niklas Luhmann this was first to be a description of society. His efforts to develop such a description as a theory without a normative basis were primarily inspired by systems theory and cybernetics and to some extent by Husserl s phenomenology. The basic rationale for this approach was that a description and analysis is required before any recipes can be given. A theory, in Luhmann s opinion, first of all should provide a better and more complex understanding of the world. One important attempt to investigate the range of his theoretical approach and to expand it in confrontation with another important theory was the so-called Habermas-Luhmann controversy (1971). Methodology Being trained in law, Niklas Luhmann developed precise and complicated argumentations, i.e. "techniques of theory". However, he did not do empirical work in the sense of research projects involving empirical data collection and statistical processing or participant observation in the ethnological style. Instead, he worked empirically in terms of library research and case studies, corresponding to the style of legal science. Perhaps this conformed more closely to his topic than the collection of empirical raw data. After all, his topic was society as a whole and his passion was theory. Student of Parsons and Researcher on Complexity In a way, Niklas Luhmann, a student of Parsons at Harvard, can be considered a worthy successor to Talcott Parsons and the earlier classic figures in sociology. It was Parsons and after him Luhmann, who aimed at working out a universal encompassing sociological theory - grand theory! In another way, he was not a follower of Parsons, although his whole work is based on functionalism. Niklas Luhmann very clearly perceived the problems in Parsons approach and dynamized and generalized very radically the original structural-functionalist approach by a strategic shift of paradigm to problem-functionalism and by assigning a central theoretical place to the concept of functional equivalence. These were, in a way, "theory-technical" pre-conditions for giving a central place to complexity and making this highly abstract concept not only a "world formula", as some would say, but also making it highly productive for sociological analysis. Much of Luhmann s work can be considered an analysis of complexity under different conditions and in different sectors of society. Complexity, however, leaned toward remaining an empty formula. In Luhmann´s theoretical framework it becomes more tangible and obtains an increased capacity for guiding theory when it is combined with autopoiesis. To arrive at a general theory of society, Luhmann incorporated and adapted to his own work the theory of autopoietic systems, developed originally by Maturana and Varela for living systems. Considered as communication systems, social systems are non-living systems in Niklas Luhmann´s view. With this, his theory of society is about as far from Maturana and Varela as from Parsons "Structure of Social Action", AGIL system, and pattern variables. This move in a way also leads to a thinning of sociology from action to mere communication, from a colorful multi-level system consisting of a number of emergent levels of reality, as described e.g. by Walter Buckley, to the apparently isolated level of pure communication. For this level, according to Luhmann, everything else, including human beings as persons and psychic systems, is "environment". A central category in this set-up of theory is not the actor anymore, but the observer. The Observer Luhmann insisted on being an observer. Not necessarily because he would object to action, but definitely because he objected to premature action. After all, observation is the first step. For this he had a predestination, being a specialist of law trained in observing situations, fitting them to legal frameworks and regulations, and arguing with the tools provided by legal theory. This, along with his longstanding interest in history and his study of Husserl and phenomenology, sets him apart from the style of natural sciences, i.e. empirical measurement, data collection, and statistical hypothesis testing as a way to construct theory. The Sociologist Although there are reproaches that Luhmann was "too philosophical", close reading of his works, and especially his late work, shows that he was indeed a sociologist, usually, however, a very abstract one. He clearly pinpoints and takes into account philosophical problems. But more than anything else he was interested in their social basis and social consequences. In this way it is hardly justified to call him a philosopher. Instead, what he was doing intensively was a sociology of knowledge and in many instances even a sociology of philosophy. Conclusion Niklas Luhmann carried the analysis of social systems as communication systems to its last stage. What this means for sociology as a contemporary discipline is by no means clear yet. But where a genius has brought about a new paradigm, for the army of "regular scientists", in the sense of Thomas S. Kuhn, there remains a lot to be done. His restriction to "observation" is clearly against the tides of the time. Yet if many of us, sociologists and systems scientists, think we cannot afford the luxury of non-intervention in our problem-ridden times, or if we are in fact under daily pressure in our jobs to "produce" both scientific results and students to the precise profiles requested by the economy and the "market", we should take a moment to consider whether such a great personality like Niklas Luhmann does not have a series of lessons to teach us. Complexity can be handled only by complexity, variety is required to allow answers to new surprises and problems. Time, temporalization, and different speeds in different societal subsystems are crucial elements of current life. The firm structures of our world are dissolving into processes and events enabling precarious autopoiesis. BUT Reflection and learning comes only after the event, reaction to a set of problems produces effects only once the situation has changed already again. Even those who may not fully share Niklas Luhmann s opinion that sociology should not try to improve the world, should take very seriously his insistence on careful observation and theory building, on ethics depending on theory (not determining it) and on the functional differentiation between science, including sociology, and politics. Niklas Luhmann s death is an obligation for us to preserve his legacy and to continue in his interdisciplinary and inquiring spirit to explore the frontiers of sociological systems science. His credo of "Sociological Enlightenment" certainly deserves to be adopted by all of us as a major orientation to our work. Dr. Bernd R. Hornung, University of Marburg - President - ISA Research Committee 51 on Sociocybernetics
https://w.atwiki.jp/2dogslink/pages/4.html
Translation two dogs of Arahama Sendai-city TOP page http //www18.atwiki.jp/2dogs/pages/1.html f： - ｜T： - ｜Y： - 時間の流れ日本語版はこちら http //www18.atwiki.jp/2dogs/pages/29.html Detail Truth of two loyal tsunami dogs Sendai Japan Update on (Sun) February 10th 2013. Posted by Mika (2dogs, tottorimiyagi, mii) March 11, 2011. When the tsunami came, the moment the real dog owner Mr. O heard the tsunami warning, he turned his home, and he took his two dogs (Mei and Lee) and took refuge to the fives floor in Elementary School. Soon after that, his house and his cell phone were washed away by the tsunami. http //www.youtube.com/watch?v=VQhJBpoA1Eo sns=em March 12, 2011. Dogs owner joined the volunteer fire department, he was told "There is some dog food for a week-10 days in Elementary School.", so he left two dogs in Elementary School, and he went to the work of the Volunteer fire department to help other people. Until March 12, 2011, two dogs were chained in Elementary School, but it seems that someone lost the chaine... March 13, 2011, 4-5 pm Two dogs were filmed by Fuji TV crew. And Fuji TV reporter Mr. Yamashina and other Fuji TV crew did not rescue two dogs. And they left two dogs behind. Mr. Yamashina and other TV crew have NOT called a vet or other rescue. (I heard this information from Mr. Yamashina on the phone, in early October 2011. Mr. Yamashina is a reporter of Fuji TV.) (Mon) March 14, 2011, about 7 00 am. A picture of white dog was taken By Takuya Imai, he is a cameraman of Nikkei news paper, near the place where dogs filmed by Fuji TV. http //www18.atwiki.jp/2dogs/pages/61.html Certainly Lee (white dog) was still alive until March 14th, 2011, 7 11 am. (Mon) March 14, 2011, about 9 40 pm. Two dogs were aired on Fuji TV. http //www.youtube.com/watch?v=eRMawJtJ6cU sns=em And these two loyal tsunami dogs became famous all over the world. So many people were concerned about these two dogs, and posted "help these dogs! Why did not Fuji TV crew rescue these dogs?" everywhere. (Tue) March 15, 2011, about 1 33 pm. Kenn Sakurai posted a lie "We already have rescued two dogs" on his facebook page. with Fuji TV movie. But, there were NO photo of after two dogs were rescued, on his Facebook page. http //www18.atwiki.jp/2dogs/pages/75.html (Tue) March 15, 2011, about 10 32 pm. Sakurai started collect money, Sakurai was only using two dogs video on Facebook to collect money via PayPal. http //www18.atwiki.jp/2dogs/pages/2.html Kenn Sakurai has never rescued two dogs and any other dogs, Kenn Sakurai is obviously a scam. Kenn Sakurai has not shown any proof that he did in deed rescue any dogs, only talk. Kenn Sakurai is the president of Butch Japan. (Wed) March 16, 2011. Many Japanese/overseas blogger posted on their blog "two dogs were rescued by off road bikers! Thank you Mr. Sakurai!" without confirmation of fact. The rumour spread like wildfire. (Thu) March 17, 2011. Fuji TV(Japanese major media) reported false information “Two tsunami dogs were rescued by an animal protection group. White injured dog is receiving a drip infusion treatment.” without confirmation of facts. There were NO rescued dogs, and were only stray dogs, on Fuji s rescue report. http //www.youtube.com/watch?v=5awVBo7WSaw sns=em As of March 17th 2011, Fuji TV crew NO ONE has seen these two dogs were rescued, they have only heard a talk from Kenn Sakurai. http //www18.atwiki.jp/2dogs/pages/6.html In fact white setter named Lee has been missing since March 14th 2011. (Fri) March 18, 2011. Dogs owner found Mei(brown tan dog) in elementary school where near the place where dogs filmed by Fuji TV. But Lee(white dog) was not there. There after, dogs owner have been looking for Lee frantically. http //www18.atwiki.jp/2dogs/pages/35.html At that time, dogs owner was not knowing that his dogs were aired on the TV around the world and Sakurai s lies yet. Intently, Dogs owner has been looking for Lee frantically. (Fri) March 18, 2011, 12 14 am Global Animal posted an article. "Tsunami Dogs Safety Unconfirmed" http //www.globalanimal.org/2011/03/19/update-loyal-tsunami-dogs-safe-at-veterinarians/32822/ "Global Animal cannot recommend that donations be made to Kenn Sakurai on his Facebook page." Many people requested on Sakurai s Facebook page to provide some sort of proof of dogs were safe, but Sakurai deleted their posts, and Sakurai quickly blocked them from Sakurai s page. March, 2011. Major media reported false information "both dogs were rescued" around the world. http //www18.atwiki.jp/2dogs/pages/34.html Fuji TV(Japan), CNN, NPR, TYT, CBS, ABC(America), UK telegraph, ITN(England), Apple Daily(Hong Kong), Russian TV, more, major media reported “Two loyal tsunami dogs were rescued. Happy ending!” without confirmation of facts. But in fact, white setter has been missing since March 14th 2011. Of course, there were NO film/pictures of after dogs were rescued, on their report. There were only stray dogs, on their report. But as of February 10th 2013, major media still have NOT corrected their wrong reports. So many many people still believe that two loyal tsunami dogs were rescued by bikers who are Sakurai s friends. Even now(February 10th 2013), Sakurai s lies and major media s wrong report are hindering us from searching for the white dog. Major media reported false information, and they took part in a scam, and they are hindering us from searching for the white dog, but major media still have NOT corrected their wrong reports. A man said "Major media make money by publishing stories people want to know. It is not about the truth. Kenn Sakurai rescue was a good story, even if it s a lie." Do you want FAKE good story? I NEVER want to know any lies. I always want to know the TRUTH, whatever good or bad. I and many Japanese requested Fuji TV to correct their wrong report, but Fuji has never replied us. Maybe, if Fuji TV report the truth(white dog is still missing), then Fuji TV lose their popularity and Fuji lose the benefit. So Japanese media has not report the truth. It is mortifying! But we will do all know. March 19, 2011, morning. Global Animal interviewed Mr. Sakurai. The co-founders of GlobalAnimal.org spoke by phone with Mr. Kenn Sakurai. "He said that he himself did not rescue the dogs, but rather, friends of his who are off-road bikers did. Mr. Sakurai says he promised the bikers that he wouldn’t reveal the location of the veterinarian because they don’t want animal rescue organizations to take the dogs for their own fundraising purposes." http //www.globalanimal.org/2011/03/19/japans-animal-victims-truth-news-vs-rumors-facebook/32951/ March 19, 2011. Kenn Sakurai posted on his FB page. "I will send you the money back." http //www.examiner.com/dog-rescue-in-national/kenn-sakurai-japan-s-loyal-friends-rescuer-or-shameless-fraud March 21, 2011. Kenn Sakurai posted on his FB page. “We wish to have the more images on those dogs but simply impossible for now. No cell phone reception” March 22nd, 2011 Life with dogs posted an animal on their site. "When we were interviewed Friday, it was still believed that the dogs were safe, but pointed questions directed at Kenn Sakurai were going unanswered, raising suspicions about his fundraising activities on behalf of the dogs." http //www18.atwiki.jp/2dogs/pages/4.html March 24, 2011 2 14am Kenn Sakurai posted a lie on his facebook page "brown dog is having his or her leg and toe soared and lost consciousness." http //www18.atwiki.jp/2dogs/pages/51.html In fact the brown tan dog and her owner were already together on March 24, 2011. when brown tan dog was very fine. March 25, 2011. Global Animal posted an article. "Still No ‘Proof Of Life,’ Despite Rumor Mill" "There is still no independent, verifiable‘proof of life’for these two dogs beyond the word of one man who has never seen the dogs himself." http //www.globalanimal.org/2011/03/25/still-no-proof-of-life-for-loyal-dogs-despite-rumormill/33710/ March 26, 2011. A Japanese interpreter asked Kenn Sakurai "A Russian TV want to interview about two dogs, so could you tell us where dogs are?" on twitter. But March 28, 2011. Kenn Sakurai replied that "I promised not to tell. So sorry, I cannot tell you." on twitter. Kenn Sakurai has been trying to avoid from all interview and a meeting. Fuji TV, APF News(Japan), CNN(America), Russian TV, Akiko Fujimura(the owner of Nippon SPCA), and I(Mika), Numerous news agencies and others have tried (unsuccessully) to contact Ken Sakurai. Ken Sakurai has refused to provide any proof, and he refused to see me and Akiko and any other news crew. April 4, 2011. Kenn Sakurai started selling the charity T-shut on his facebook page (and butch Japan s facebook page). But i could not find any photo of Butch T-shut wherever on Internet, and where does the proceeds go? About the Donations and the T-Shirt matter http //www18.atwiki.jp/2dogs/pages/3.html May 21, 2011, 7 03 pm(Japan time) A Japanese person asked Mr. Sakurai on twitter. "@ButchJapan Mr. Sakurai, excuse me...about Fuji TV dogs, have you seen rescued dogs? Were they really rescued?" May 22, 2011 12 13 am (Japan time) Butch Japan answered "@*********_**** We will never answer about it on Twitter." May 22, 2011 12 17 am Besides Butch Japan answered on twitter. "@*********_**** Here is Butch Japan s corporate site, It is not good to ask personal questions, via not DM. please contact our president directly. If he is not at office, president will get back to you, but our company has no part in that matter." It s unnatural. Butch Japan posted "Fuji TV dogs were rescued by biker who are Sakurai s friends/underlings." on their company twitter, and on their company facebook page, in Japanese language, many times. And some Japanese people said "I bought Butch food because I heard that president Sakurai rescued Fuji TV dogs, but after I knew the truth, I will never forgive Butch Japan!" "Our company has no part in that matter." ? It is improbable. June 8, 2011. Some Japanese people were concerned about two dogs, and they suspected Sakurai s rescue story, and they made a thread on 2channel in order to verify dogs s whereabouts. (2channel is a big BBS in Japan) フジＴＶで放送された被災犬の行方を検証するスレ http //c.2ch.net/test/-/dog/1307535741/i フジＴＶで放送された被災犬の行方を検証するスレ２ http //yuzuru.2ch.net/test/read.cgi/dog/1317719783/ June 10, 2011. Mr. Sakurai asked LIA (Life Investigation Agency, an self‐appointed animal protection group) to delete LIA s blog which written about Sakurai s bikers rescued two dogs by baby sling. Sakurai claimed that LIA was using two dogs to collect money. Funny, Mr. Sakurai was using two dogs to collect money. Mr. Sakurai is obviously a scam. Sakurai has no rights to say that. June-July, 2011. Some Japanese (including me) sent some email and phoned to Fuji TV "Have you seen two dogs? How did you come by that information two dogs were rescued ? there is some possibility that Kenn Sakurai is a scam." But Fuji TV has never replied to us. About late of July, 2011. Fuji TV reporter Mr. Yamashina visited dogs owner s house. Mr. Yamashina saw Mei (brown tan dog) and made sure that Mei is the same dog aired on Fuji TV. Mr. Yamashina told dogs owner "There is a rumor that a dog was rescued by a man who live in Chiba prefecture." Mr. O and his family said "If that man has Lee (white dog), we want him to return Lee to us." But as everyone know, Kenn Sakurai is a lair, Sakurai has nothing but his dog (sumile). August 24, 2011. I told Mr. Harigaya (he is APF news crew and a member of Farm of Hope[M Farm]) about two tsunami dogs and Sakurai. As of August 24, 2011, I still not knew that white dog is missing, and I haven t met dogs owner yet. September 8, 2011. I phoned the two dogs owner on September 8th 2011, for the first time. I heard owner s voice, i was moved by the sad voice in which the owner spoke "white dog is still missing". I repented, I should have noticed Sakurai s lies earlier. If i/other people noticed his lies earlier, maybe Lee-chan was found long time ago. I was unable to repress my indignation at Sakurai s lies. At that time, I had bad back pain since July 2011, so I could not move long range transport, so I asked Mr. Harigaya to visit and interview Mr. O. September 13, 2011. I received an email and Mei-chan s photo via cell phone from dogs s owner, it s my treasure. I have never published this photo yet. I only showed this photo to Mr. Harigaya and some of my friends. September 14, 2011. Mr. Harigaya visited dog owner s house on September 14th 2011, for the first time. When Akiko Fujimura(the owner of Nippon SPCA) went to the dog owner s house with Mr. Harigaya. Akiko Fujimura met dog owner on September 14th 2011, for the first time, too. Ms. Fujimura heard information about the real dog owner Mr. O was found, from Mr. Harigaya. But as of September 14th 2011, Mr. Harigaya not told me about Ms. Fujimura, so I didn t know Ms. Fujimura met Mr. O. They actually saw brown tan dog. Thanks to everyone s efforts, thank you 2 channel users, thank you Global Animal and GA readers! Thank you Mr. Harigaya! If it were not for GA reports and GA reader s comments, and 2 channel user s posts, and Mr. Harigaya s advice, I could not contact the real owner. About late in September 2011. Akiko Fujimura sent a FAX to Sakurai. If it were not for Akiko s action, maybe there was no progress. I am grateful to Akiko that Akiko sent FAX to Kenn Sakurai. About early in October 2011. Akiko then received a response by Kenn’s attorney. Kenn’s attorney outlined he cannot reveal the name of the pet’s owner, cannot agree or disagree, as the microchip information is deemed privileged information. If that was so. Kenn wouldn’t have the information either. And I heared that Ms. Fujimura contacted dog s owner, from dogs s owner. Late in October 2011. Mr. Harigaya said "APF does not have our own TV station, so we told some Japanese TV station about two dogs s story, but they said We cannot air that story because that story is sad, and we may cannot get audience measurement. If white dog will be found, may we air that story ." Fuji TV, CNN, more, reported FAKE good story "both dogs were rescued", but they have NEVER reported true story "white dog has been missing. Their owner looking for white dog frantically". So i asked dogs s owner "Can i post Mei-chan s photo on my blog?" November 1, 2011. Akiko Fujimura published Mei-chan s photos and two dogs s story, via Hachiko Coalition facebook page. UPDATE JAPAN One Loyal Tsunami Dog Found http //www.globalanimal.org/2011/11/01/update-japan-one-loyal-tsunami-dog-found/43001/ But Ms. Fujimura did not tell me about it, so I was confused. But, I wanted to tell GA readers and 2channel users about Mei-chan was found by her real owner, and Lee-chan has been missing, their owner has been looking for Lee-chan since a long time ago. Ms. Fujimura published it and I attained my purpose at least. November 3, 2011. APF news Farm Sunctuary Farm of Hope ~Hukushima~ Official BLOG Kurumi-chan and Lee-chan http //www18.atwiki.jp/2dogs/pages/57.html November 15, 2011. I phoned an attorney who is employed by Sakurai, when I referred to Akiko s FAX. Sakurai s attorney said "We have heard from Mr. Sakurai as a witness what he knows about dog. But we have not seen the dog who was rescued by Mr. Sakurai, and we have not checked the information about microchip with our own eyes." http //www18.atwiki.jp/2dogs/pages/62.html (Mon)December 26, 2011. I phoned Butch Japan, when Kenn Sakurai s wife said "Fuji TV dogs s story has no connection with our company (Butch Japan). That was our President s own personal matter." and "Takeshi Sakurai", why does Sakurai use fake name Kenn? http //www18.atwiki.jp/2dogs/pages/43.html Late in December 2011. I sent a message Butch Pet Foods in New Zealand at December 2011. But I have not received a reply from them. Also, some Japanese people sent Butch NZ a message, but No one received their reply. So I m considering boycott Butch Pet Food. http //www18.atwiki.jp/2dogs/pages/45.html April 1, 2012. I went to see Mei-chan s and Lee-chan s owner, for the first time. http //www18.atwiki.jp/2dogs/pages/55.html http //www.youtube.com/watch?v=Mjn6O4Lf_yE sns=em May 17, 2012 Akiko Fujimura published a new book about the loyal tsunami dogs. http //www18.atwiki.jp/2dogs/pages/44.html (Wed) May 23, 2012 I visited Butch Japan office in Chiba-prefecture. Sakurai s wife said "We do not have to apologize to the Lee-chan s owner." "About that, some people misunderstood and have sent us money as their pleases." http //www18.atwiki.jp/2dogs/pages/46.html (Sun) July 15, 2012. We held A protest demonstration against Fuji TV About false report Two Loyal Tsunami Dogs, at Tokyo Teleport Station where near the Fuji TV Headquarters Building in Odaiba Tokyo. Thank you for your help! http //www34.atwiki.jp/2dogs_demo/ But Fuji TV NEVER corrected their wrong report. We still continue to send Fuji TV a message. August 8, 2012 I showed this picture to dog owner. A dog stay with a house which was collapsed by tsunami (March 14th, 2011. Morning, Arahama) = This picture was taken by Takuya Imai The owner said "This dog is Lee!" Certainly Lee (white dog) was still alive until March 14th, 2011, 7 11 am. But Lee is still missing. http //www18.atwiki.jp/2dogs/pages/61.html The owner’s house and his cell phone were washed away by the tsunami on March 11th 2011. So the real owner Mr. O has no photo of Lee (white dog) witch before tsunami, but actually he has been together with his brown tan dog, their family vet in Sendai knew that he is the real owner of Mei Lee. And when Mei was a puppy, a man who lives Miyagi prefecture sent Mei to the owner, he said Mr. O is real owner of Mei. So we can prove all the reliable proof. September 17, 2012 PLEASE sign up CNN and click "This belongs on CNN"! The truth of two loyal tsunami dogs in Japanhttp //www18.atwiki.jp/2dogs/pages/77.html As of February 10th 2013, we still need your help! Please. As of (Sun) February 10th 2013. The real owner and we are still looking for Lee desperately. If you have any information about white female setter who from Sendai Japan, please tell us. We will greatly welcome any information. Thank you. Email twodogs_tottorimiyagi_mii3328@yahoo.co.jp http //www18.atwiki.jp/2dogs/pages/92.html We need eyewitness white setter in Sendai Japan. Feature of the Lee-chan White setter Large dog Totally white on her body Her ears are right brown She has gray spotted around her nose Then she had silver chains around her neck Female Then NOT microchipped Then not spay Now, 10 years old She is friendly Time The Last Witness Monday March 14th 2011 about 7am By. Takuya Imai he is a cameraman of Nikkei newspaper. And March 13, 2011 about 5pm Fuji TV reporter Mr. Yamashina saw these two dogs. Location The Last Witness near the Sendai Municipal Arahama Elementary School, in Arahama, Wakabayashi-ku, Sendai-shi, Miyagi-ken, Japan. Nearby Miyagi Prefectural Road137, Arahama-Haranomachi Line. I know after the tsunami, PETA Asia, ASPCA, Kinship Circle had been in Sendai at that time, but I don’t know other foreign animal rescue team. If you know, please tell me. I think that there is some possibility Lee-chan was rescued by overseas people, and she was adopted to overseas foster parent or out of Miyagi-prefecture, but those rescuers believed in false report and they might have not looked for the real owner. Translation two dogs of Arahama Sendai-city TOP page http //www18.atwiki.jp/2dogs/pages/1.html
https://w.atwiki.jp/w3cwiki/pages/4.html
W3C Multimodal Application Developer Feedback W3C Working Group Note 14 April 2006 This version http //www.w3.org/TR/2006/NOTE-mmi-dev-feedback-20060414/ Latest version http //www.w3.org/TR/mmi-dev-feedback/ Previous version This is the first publication. Editors Andrew Wahbe, VoiceGenie Technologies Gerald McCobb, IBM Klaus Reifenrath, Nuance Raj Tumuluri, Openstream Sunil Kumar, V-Enable Copyright © 2006 W3C® (MIT, ERCIM, Keio), All Rights Reserved. W3C liability, trademark and document use rules apply. Abstract Several years of multimodal application development in various business areas and on various device platforms has provided developers enough experience to provide detailed feedback about what they like, dislike, and want to see improve and continue. This experience is provided here as an input to the specifications under development in the W3C Multimodal Interaction and Voice Browser Activities. Status of this Document This section describes the status of this document at the time of its publication. Other documents may supersede this document. A list of current W3C publications and the latest revision of this technical report can be found in the W3C technical reports index at http //www.w3.org/TR/. This document is a W3C Working Group Note. It represents the views of the W3C Multimidal Interaction Working Group at the time of publication. The document may be updated as new technologies emerge or mature. Publication as a Working Group Note does not imply endorsement by the W3C Membership. This is a draft document and may be updated, replaced or obsoleted by other documents at any time. It is inappropriate to cite this document as other than work in progress. This document is one of a series produced by the Multimodal Interaction Working Group (Member Only Link), part of the W3C Multimodal Interaction Activity. The MMI activity statement can be seen at http //www.w3.org/2002/mmi/Activity. Comments on this document can be sent to www-multimodal@w3.org, the public forum for discussion of the W3C s work on Multimodal Interaction. To subscribe, send an email to www-multimodal-request@w3.org with the word subscribe in the subject line (include the word unsubscribe if you want to unsubscribe). The archive for the list is accessible online. This document was produced by a group operating under the 5 February 2004 W3C Patent Policy. This document is informative only. W3C maintains a public list of any patent disclosures made in connection with the deliverables of the group; that page also includes instructions for disclosing a patent. An individual who has actual knowledge of a patent which the individual believes contains Essential Claim(s) must disclose the information in accordance with section 6 of the W3C Patent Policy. Table of Contents * 1 Introduction * 2 What developers liked o 2.1 Reusable and pluggable modality components o 2.2 Modular modality components o 2.3 Declarative synchronization between modalities o 2.4 Scripting and semantic interpretation o 2.5 Styling * 3 What developers would like to see o 3.1 Global grammars o 3.2 Speech grammars for HTML links and controls o 3.3 Speech prompts for voice-enabled HTML links and controls o 3.4 Speech-enabled widgets o 3.5 Use speech to activate links and change focus o 3.6 Back functionality * 4 What developers would like to see continue and improve o 4.1 Support for both off-line and on-line multimodal interaction o 4.2 Support for events distributed over the network o 4.3 Support for implicit events o 4.4 VoiceXML tag and feature support o 4.5 Support for both directed and user-initiated dialogs o 4.6 Mixed-initiative interaction o 4.7 Access to speech confidence scores and n-best list by the application o 4.8 Access to device details o 4.9 Choice of ASR o 4.10 Controlling N-Best choice of ASR 1 Introduction IBM, VoiceGenie Technologies, Nuance, V-Enable, and OpenStream customers have been developing multimodal applications in a broad range of business areas, including Field-Force Productivity, Health Care and Life Sciences, Warehouse and Distribution, Industrial Plant Floor, Financial and Information Services, Directory Assistance, and the Mobile Web. Customer device platforms have included PC s (desktops, laptops, and tablets), PDA s, kiosks, appliances, equipment consoles, and web browser-based smart phones. The multimodal applications primarily extended the traditional GUI mode of interaction with speech, with the location of the speech services either local on the device or distributed on a remote server. Several XML markup languages were used to develop these applications, including XHTML+Voice (X+V) and xHMI. During the process of developing these applications, developers found features they liked about the development environment they were using and found features they thought were lacking. Their experiences were collected and are summarized here as feedback for the W3C Multimodal Interaction and Voice Browser Working Groups to consider when specifying future multimodal and voice authoring capabilities. We also solicit comments from the wider multimodal development community on the extent to which these observations are consistent with their own development experiences. The developers surveyed were expert in various programming languages and application environments. Developers expert in C/C++ and Java generally speech enabled native applications on small devices. Device platforms included Windows Mobile, BREW, embedded Linux, Symbian, and J2ME. Developers expert in the Web generally speech enabled browser based applications. Web browser platforms included Opera, Access NetFront, Windows Mobile Internet Explorer, and the Nokia Series 60. Web developers understood the web programming model very well but generally were new to speech. They liked XHTML, XML namespaces, XML Events, CSS, JavaScript, and VoiceXML with its ability to hide platform details. Developers expert in VoiceXML and dictation had backgrounds in speech and telephony and generally worked on adding GUI to voice and dictation applications. 2 What developers liked 2.1 Reusable and pluggable modality components Developers preferred to develop modality components that are reusable and pluggable. Use Case VoiceXML modality component A VoiceXML modality component is reused without modification in different multimodal applications. 2.2 Modular modality components Modular modality components are preferred because they can be authored separately by the modality experts. Use Case XHTML and VoiceXML modality components A VoiceXML expert authors the voice modality component and an XHTML expert authors the GUI component. Modality component coordination is handled independently, for example, by X+V sync and cancel elements. 2.3 Declarative synchronization between modalities Implicit event support includes both implicit event generation and implicit event handling. At different stages in the operation of the modality component, there will be either event generation or event handling by the component itself. Use Case X+V sync element The X+V sync element provides a declarative synchronization of XHTML form control elements and the VoiceXML field element. The sync element allows input from one speech or visual modality to set the field in the other modality. Also, setting the focus of an input element that is synchronized with a VoiceXML field updates the FIA to visit that VoiceXML field. 2.4 Scripting and semantic interpretation Developers liked support for modality component integration via scripting and semantic interpretation. Use Case Timed notifications of an operating room medical procedure A timed notification changes dynamically as time progresses. The notification depends on the current state of the application as well as the notification state. For a GUI+speech multimodal application a notification may be a TTS output and a new GUI page, corresponding to the next step of an operating room medical procedure. Use Case Integrated pen and speech interaction with a map The user says "zoom in here" while drawing an area on a map. The application responds by enlarging the detail of the area within the boundary drawn by the user. 2.5 Styling Developers liked CSS for styling each modality. For example, the CSS3 module for styling speech based on SSML was useful for styling the voice modality. Use Case TTS rendering of a news article on the web The news article is read by the computer in a realistic voice that uses a different sounding voices for headlines, section headings, and text. There are also a pauses between paragraphs and before article headlines. 3 What developers would like to see 3.1 Global grammars Developers would like support for top-level ("global") grammars that are active across multiple windows (e.g., HTML frames or portlets) of the application. Use Case Top-level menus An application has top level menus "buy", "sell", and "trade". At any time while involved in the "buy" dialog, a user can say "trade" and be switched to the "trade" multimodal dialog. 3.2 Speech grammars for HTML links and controls Developers would like support for explicitly adding speech grammars to activate HTML links and controls. An automatically created speech grammar may not capture everything the user may say. Use Case Hotel booking application get list of hotels Before booking a hotel reservation the user looks up a list of available hotels. On the page along with the reservation is a link labeled "Available Hotels." The developer anticipates that besides "available hotels", the user may say "show me the available hotels" or ask "what hotels are available", and adds these two phrases to the grammar for activating the link. Use Case Hotel booking application submit reservation The reservation form s submit button says "submit reservation", but the developer anticipates that a user might say "submit booking" instead, and adds "submit booking" to the grammar for activating the button. 3.3 Speech prompts for voice-enabled HTML links and controls Developers would like support for explicitly adding speech prompts to voice-enabled HTML hyperlinks and controls. The prompts can provide more information than the visual labels attached to the HTML hyperlinks and input fields. Use Case Hotel booking application enter Hotel name The user is prompted to enter a hotel name with the following TTS "please enter a hotel name. You can get a list of available hotels by saying show me available hotels. " 3.4 Speech-enabled widgets Developers would like to see speech enabled UI widgets which contain a simple dialog flow (e.g. widgets which contain confirmation or disambiguation steps). This allows an author to configure the dialog properties (prompts, grammars, confirmation-mode, confidence thresholds, etc.) of an HTML control or hyperlink. Use Case Hotel booking application confirm hotel The user says the name of one of the available hotels. The application repeats the name of the hotel back to the user and asks if it is correct. If the user says yes then the application fills in the HTML field with the user s input. 3.5 Use speech to activate links and change focus It should be easy to use speech to do more than fill in HTML form controls. For example, there should be declarative support for activating an HTML link or changing focus within an HTML page. Use Case Speech enabled bookmark page A page that displays the user s bookmarks is speech-enabled such that each bookmark has an associated grammar for moving the browser to the bookmarked page. 3.6 Back functionality Developers like to see support for a consistent and intuitive "back" handling across modalities. The browser "Back" multimodal functionality should be built-in and not require custom code. Use Case Browser "back" button The user can either press the browser back button or say "browser go back" to return to the previous multimodal page. All spoken commands which control the browser are preceded by "browser" so there is no collision with an application grammar. 4 What developers would like to see continue and improve 4.1 Support for both off-line and on-line multimodal interaction Multimodal interaction should be supported both for applications that are on-line, that is, are connected to the network, as well as for off-line applications. If the multimodal application goes from an on-line to an off-line state, multimodal interaction should still be supported by the modality components that run locally on the device. Use Case Access of medical information while walking down a hallway A doctor carrying a wireless tablet accesses patient medical information while walking down a hallway. Loss of wireless connectivity does not prevent the multimodal application from interacting with the doctor or presenting information it has stored on the doctor s tablet. Use Case Multimodal application in hospital operating room An off-line multimodal application in an operating room delivers timely instructions to the doctor. 4.2 Support for events distributed over the network Because a modality may be distributed on a remote server, there must be support for distributed events between a modality and the interaction manager. Use Case Driving directions A user accesses a multimodal driving directions application using a cell-phone. The application tells the user to turn right at the next intersection. An arrow pointing right pops up over a map. The application had received an event to display an arrow from the server. 4.3 Support for implicit events Implicit event support includes both implicit event generation and implicit event handling. At different stages in the operation of the modality component, there will be either event generation or event handling by the component itself. For example, the VoiceXML modality component could implicitly generate a focus event when the FIA selects a new form input item. Use Case Hotel booking application name, address, phone number A hotel booking application has a form with separate HTML input fields for entering name, street address, city, state and phone number. When the user selects one of the fields the user hears a prompt for entering the correction information into the field. The visual input focus is coordinated with the speech input focus. 4.4 VoiceXML tag and feature support VoiceXML support should include, for example, the object and mark tags and the "record while recognition is in progress" feature. Use case Windows program for calculating stock purchase totals The object element can be used to load a reusable platform-specific plug-in. For example, the application would load a Windows program which calculates stock purchase totals using the object element. Use case Read part of an e-mail message The mark tag can be used to mark how much of the text was actually read before the user left the page. When the user returns to the page the rest of the text can be read beginning where the user left off. Use case Unrecognized user input The recording of an unrecognized user input can be logged by the speech recognizer. 4.5 Support for both directed and user-initiated dialogs There must be arbitrary as well as procedural speech access to the visual application. For a dialog mechanism used in conjunction with a visual form there should be support for user-initiated dialogs. For example, the user should be able to jump to arbitrary points in the dialog by changing the visual focus (e.g., by clicking on a text box). Use Case Form filling for air travel reservation The air travel reservation application takes the user step by step through making a reservation, beginning with the origin and destination of the flight. After the user has been given a selection of flights, the user clicks on the visual departure date field to change the departure date. Use Case Application with two HTML forms The user is taken step-by-step through filling out a set of HTML fields in a form. Before all the fields have been filled, the user clicks on a field belonging to the other form. 4.6 Mixed-initiative interaction Dialog mechanisms that combine speech and text input must support mixed-initiative interaction. Use Case Flight reservation application A flight reservation application has separate HTML input fields for entering destination airport, date of travel and seating class. With a single utterance "I d like to go to San Francisco on April 20th, business class" the user fills in all the fields at one time. 4.7 Access to speech confidence scores and n-best list by the application Confidence scores and n-best lists are useful for example to allow the user to pick from a set of results supplied by an input recognizer. Use Case Select a football player A user says the name of a favorite football player. A number of players matched the user s input with the same low confidence score. Instead of asking the user to repeat the name, the application displays a visual list of player names that was matched. The user selects a name from the list. 4.8 Access to device details The developer would like access to device information such as, for example, the cell phone number, phone model, and display screen size. Typically in any mobile application the content is very specific to the device and at times personalized for the user. Access to device specific details such device model (e.g., Nokia 6680) helps the application reduce the grammar size and render device specific content. Access to user information such as the phone number allows the application to personalize the content for the user. Use Case Mobile appointment application When user George accesses the appointment application the application says "Welcome George " and presents a list of appointments for the day. The user can select any of his appointments by saying an appointment label shown on his phone. Each label is short enough to fit entirely on George s display. 4.9 Choice of ASR The developer would like to have more control over ASR. An example is the capability of a multimodal application to choose between a local ASR or network based ASR depending on the location of the grammar. The developer should be allowed to pick the ASR depending on the application logic. Use Case Music search mobile application In a music search mobile application the application uses network-based ASR to perform a search for a particular Artist/Album such as Green Day , 50 Cent etc. In case of network-based recognition the grammar is changing dynamically and is large in size. The same music application may use local ASR for the purpose navigating through the application using commands such as Home , Next Page etc. 4.10 Controlling N-Best choice of ASR The application should be able to control the number of results it wants from ASR based on either a number N (say return top 5 matches) or confidence score (say return 0.8 score). The developer should be able to author this N-Best list control. Use Case Select a football player mobile application As with the previous football player selection use case, the list of players is visually displayed for the user to select. The user can make a selection from the visual presentation. The ASR may return more than 10 results as part of its N-Best response mechanism. However, the application depending on the screen size may choose to display only the top 5 entries on the screen. The application requests only the top 5 players in the N-best result instead of receiving 10 results and then ignoring the last 5 results.
https://w.atwiki.jp/memo77/pages/45.html
PageLastUpdate 2009-04-10/total - /today - /yesterday - クリックすると見出し一覧を表示します MailAttachBooster最近のアップデート MailAttachBoosterってなに？ 動作確認環境 インストール・アンインストール いちばん簡単な使い方 主要な機能 ライセンス 制限等 宛先リストのフォーマット 拡張予定の機能 著作権、転載・配布、免責 謝辞 要望・サポート 同種ソフトMail Distributor ビジネスメール一括送信 for Excel with BASP21 開発用メモSystem.IO.Compression SharpZipLib comment MailAttachBooster 2008/07/15 Version 1.2.3109.43177 ⇒ Vectorのダウンロードページ ■使い方を画像付きで解説⇒MailAttachBooster/マニュアル MailAttachBoosterは基本的にはフリーソフトです。 フリーソフトとして使用する場合はメール本文の末尾に未登録表記が追加されます。 特に気にならない方はそのままお使いください。 ライセンス登録すると、未登録表記が出なくなります。 ※シェアウエア版がVectorに承認されたので、ライセンスの無料発行は終了しました。 最近のアップデート 2008/07/15 Version 1.1.2874.33072からの修正内容 1.拡張子で圧縮。 2.パスワードを暗号化して保存する。 3.起動時に送信リストを読み込む。 2007/11/14 Version 1.1.2874.14311からの修正内容 1.バージョンアップ時に送信リストが正しく出力されなくなっていた。 2.2回目以降に起動したときに環境によってウインドウサイズが小さくなる。 ご指摘ありがとうございました。 これ以前のバージョンには致命的なバグがあります。使用している方はいないと思いますが、必ず最新版をお使いください。 MailAttachBoosterってなに？ MailAttachBoosterは【宛先別】に【10個までの添付ファイル】を【指定した送信リスト】をもとに、一括送信できるアプリケーションです。 宛先リストはタブ区切りテキストファイルですので、Excelでもメモ帳でも作ることができます。 また相手先別のパスワードで添付ファイルを圧縮することができます。 大事な情報を誤って別の宛先に送っても開かれないので安心です。 ■参考画像■ 共通設定2タブ / 個別詳細タブ / 個別詳細(添付ファイル)タブ / 個別詳細(送信ログ)タブ imageプラグインエラー ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (mailAttachBooster6.jpg) 動作確認環境 Windows XP/2003/Vista + .Net Framework 2.0 インストール・アンインストール レジストリは使っていません。解凍して出てきたフォルダごと、好きなところに置いて下さい。MailAttachBooster.exeが実行ファイルです。 不要になったらフォルダごと削除してください。 いちばん簡単な使い方 1.送信したい添付ファイルを相手先別にわかりやすい名前で作成します。 [ファイル名_メールアドレス.doc]とかいいんじゃないでしょうか。 2.Excelで1行目の1列目に「To」2列目に「File0」とヘッダを入力します。 2行目から1列目にメールアドレス、2列目にファイルパスを入力します。 3.Excelから「名前をつけて保存」でファイルの形式を「テキスト(Tab区切り)」で保存します。 4.MailAttachBoosterを立ち上げ、smtpサーバーの設定を入力します。 5.Fromに自分のメールアドレス、Subjectに件名、Bodyに本文を入力します。 6.[送信リスト読み込み]をクリックし、2で作成したファイルを読み込みます。 7.[送信]をクリックすると、各アドレスに圧縮された添付ファイル付のメールが送信されます。 作成中ですが画像つきで解説しています→MailAttachBooster/マニュアル 主要な機能 1.宛先別に添付ファイルを10個まで指定できます。 2.宛先ごとにTo,Cc,Bcc,From,ReplyTo,Subject,Bodyを指定したリストを作って、その通りにメールを送信できます。 3.メールの各項目について、送付リストに指定された項目はリストの設定が、未指定の項目は共通設定が使われます。(送信リスト優先) 4.ファイルの拡張子別に圧縮するかしないかを設定できます。 5.複数のファイルをまとめて圧縮するか(書庫圧縮)、個別に圧縮するかを選べます。 6.添付ファイルすべてを共通パスワードで圧縮することも、送付リストで指定したパスワード(例えば電話番号など)で圧縮することもできます。また、送信時に自動的にパスワードを作り、あとから相手に知らせることもできます。 7.本文や件名をファイルから読み込めます。相手先別に挨拶だけをを変えて、本文はファイルからみ込むこともできます。 8.自分のアドレスにもbccで自動的に送信し、送信履歴を残せます。 9.送付したリストにMessage-IDをつけたリストを出力できます。 10.画面上で送信リストを追加/編集することができます。 ライセンス MailAttachBoosterは【基本的にはフリーソフト】です。 フリーソフトとして使用する場合は、メールの本文の末尾に下記の著作権表記が追加されます。 ================================================== This Mail Send By MailAttachBooster [Unregistered] Copyright (c) 2007-2008 by memo77 http //www31.atwiki.jp/memo77/ ================================================== 気にならなければ、そのままお使いください。 シェアウエアとしてライセンス登録すると著作権表記を消すことが出来ます。 ライセンスはFromに指定する1ドメインにつき1ライセンス必要です。 申し込み時に連絡欄に必要なドメイン名を記入してください。 ※ライセンスキーは@以降の文字列に対して発行するため、サブドメインで運用する場合はそれぞれライセンスが必要になります。 制限等 ・一回の送信で送信サーバーを切り替えることはできません。 ・Excelでリスト作成するのを前提にしているため、リストの各項目は255文字しか入力できません。共通設定を使用すれば、本文は32,767文字まで指定できます。 ・From,ReplyTo,Subjectは64文字までです。 ※ファイル名にメールアドレスを含ませようとしたときに、メールアドレスに使える記号でファイル名に使えないものが4種類（|?*/）ありますので注意が必要です。 まああまり使うとは思えない記号ですが。 メールアドレスに使える記号 !#$% *+-/=?^_`{|}~ ファイル名に使えない記号 "\/*?| 従って、メールアドレスに使われていてファイル名に使えない記号 |?*/ 宛先リストのフォーマット ・宛先リストにはヘッダが必要です。 ・どの列も省略できます。列の順序も前後しても構いません。 ・ヘッダは大文字と小文字を同一とみなして読み込みます。 To,Cc,Bcc,From,ReplyTo,Subject,Body,File0,File1,File2,File3,File4,File5,File6,File7,File8,File9 拡張予定の機能 ・yahooメールなどで本文のみのときはクリップマークがつかない用に対応 ・宛先や送信者名などに「 example@example 表示名」を設定可能に ・コマンドラインオプションによる自動実行 ・送信設定の保存/読み込み ・SQLSerevrへの送信リストの書き込み ・TLSでの暗号化通信/証明書の検証 著作権、転載・配布、免責 MailAttachBoosterの のドキュメントを含む、著作権のすべては memo77 に 帰属します。同梱のライブラリは各作者に著作権があります。 転載、及び配布は自由に行なっても頂いて結構です。配布内容を変更することはできません。 ※広く配布する場合などは事後でもメール連絡を頂けると喜びます。 作者は､ このプログラムの使用によって生じた損害等についてはいっさい保証する義務を負いません。 ご使用の際は十分なテストをしていただいた上で、自己責任で使ってください。 謝辞 .NetのSmtpClientにはいろいろ問題があるため、メール送信部分は「うーわーＰｒｏｊｅｃｔ」のライブラリを使用させていただきました。 .NET用メール送受信クラスライブラリ (TKMP.DLL) http //uwa.potetihouse.com/library/tkmpdll.html 優れたライブラリを無償で公開されているＴｏｋｉさんに感謝します。 Zip圧縮についてはアセンブリとしての利用であれば無償ということで、IC#Code の#ziplibを使わせていただきました。 http //www.icsharpcode.net/OpenSource/SharpZipLib/Default.aspx 優れたライブラリを公開されていることに感謝します。 要望・サポート 作者はサポートの義務を負いませんが、使ってくださる方がいればなるべくお助けしたいとは思っています。 機能改善や追加の要望があればお気軽にどうぞ。できる範囲で対応します。 使い方やヘルプについてもサイトで解説していく予定です。 なにかあれば↓にコメントでどうぞ。 同種ソフト Mail Distributor http //www.woodensoldier.info/soft/md.htm 作りはMailAttachBoosterよりしっかりしてます。たぶん。 通常のマーケティングにつかうならこっちのほうが便利。 私の必要とした添付ファイルの圧縮や、宛先別添付ファイルなどはできない。 ビジネスメール一括送信 for Excel with BASP21 http //www.partnersltd.jp/product/tool/001.html Excel VBAとBASP21で作られている。BASP21を別途落とさなきゃいけないのが面倒かな。 開発用メモ System.IO.Compression メールにファイルを添付するときに圧縮できるといいなと思ったら、System.IO.Compressionで簡単にできるらしい。 System.IO.Compressionいまいち。J#のほうがいいかなぁ。 http //hpcgi1.nifty.com/MADIA/VBBBS2/wwwlng.cgi?print+200407/04070072.txt System.IO.Packagingは3.0から・・・配布どうすべ・・・考え中 SharpZipLib http //www.icsharpcode.net/OpenSource/SharpZipLib/Default.aspx http //d.hatena.ne.jp/rich850/20070112 によると、改変しなければ特にGPLをうたう必要もなさそう。別にGPLでいいんだけどライセンスを理解してReadmeに書いたりするのがめんどくさいだけ(笑) 圧縮はSharpZipLibを使おう。ソースはdobonさんのところを参考に。 http //dobon.net/vb/dotnet/links/createzipfile.html comment このページの記述で聞きたいこととか間違ってることとかありましたらコメントを。 名前 コメント すべてのコメントを見る
https://w.atwiki.jp/mainichi-matome/pages/188.html
The story below is originally published on Mainichi Daily News by Mainichi Shinbun (http //mdn.mainichi.jp). They admitted inventing its kinky features, or rather deliberately mistranslating them from the original gossip magazine. In fact, this is far from the general Japanese behavior or sense of worth. このページは、毎日新聞事件の検証のための配信記事対訳ページです。直接ジャンプして来られた方は、必ずFAQをお読みください。 ※ この和訳はあくまでもボランティアの方々による一例であり、翻訳の正確さについては各自判断してください。もし誤訳（の疑い）を発見した場合には、直接ページを編集して訂正するか翻訳者連絡掲示板に報告してください。 "Ladies, the J-guys have spoken One night stands are out, facials are in"「日本の男が語る女性とは：一夜限りの関係なんてもう古い、今は顔射だよ」 元記事との比較 拡散状況 関連ページ "Ladies, the J-guys have spoken One night stands are out, facials are in" 「日本の男が語る女性とは：一夜限りの関係なんてもう古い、今は顔射だよ」 http //mdn.mainichi.jp/culture/waiwai/archive/news/2007/10/20071005p2g00m0dm010000c.html （2007年10月5日配信） 2007年のspa!10/9号から。比較的まとも。（大手新聞が載せるようなないようではないが） http //spa.fusosha.co.jp/spa0002/ent_3055.php Love may conquer all, but sometimes there are things you simply can’t turn a blind eye to. Spa! (10/9) finds out from 200 Japanese guys just what they will and won’t permit from their female partners. 愛はすべてを克服できるかもしれない、だが時に愛は盲目だ。 Spa!(10/9)は200人の日本男性に自分たちの女性パートナーにしてほしいこと、してほしくないことをそれぞれ聞いてみた。 Over 70 percent could accept the idea of their girlfriends or wives having had up to five sex partners before them. じつに70%を越える男性たちが、自分たちの彼女または妻に5人以上のセックスパートナーが以前いたとしても許せると答えた。 “I’d rather have had more partners, but I can handle it if she’s had four or five guys before me,” a 32-year-old self-employed man tells Spa! “If a woman has had dozens of sex partners she knows everything there is to know and there’s nothing there for me to teach her.” 「むしろ俺の方がパートナーは多かったぜ、でも俺の彼女が俺より前に4,5人の男と突き合ってたなら大丈夫だろ」 32歳になる自営業の男はSpa!にこう語ってくれた。 「もし女性の方がたくさんセックスパートナーを持っていたんなら知るべき事は全部知ってるだろうし、俺から教えられることは何もなくなっちゃうな」 Fewer doesn’t necessarily mean better, though. とはいうものの、少ない事が必ずしも良い事とはかぎらないようだ。 “If she’s only ever had one partner, I’d get the impression that she was involved in a really deep long-term relationship and that’s a bit scary,” a 27-year-old man says. “I’d rather she’d been with a few guys and knew her way around a bit.” 「もし彼女に元カレが一人しかいないんだとしたら、それはもうホントに深くて長いお付き合いをしてたんじゃないかって 思っちゃうね。ちょっとゾッとするよ」 27歳の男性はこう語ってくれた。 「できれば彼女には何人かに経験してもらっておいてほしいよ。それなら少しは空気も読んでくれるだろ」 Finding out that a woman had cheated on them had surprising results. If the other man was someone they didn’t know, 32 percent would still end the relationship immediately, but an almost equal 26 percent were prepared to look the other way and keep on going. Yet, if the illicit relationship took place with a boss, 74 percent would split instantly, while a friend would see 83 percent call it quits on the spot. 女性が浮気することについては驚くべき結果が得られた。 もしその第三者が自分の知らない男だったとしたら、32%の男性がすぐにでも関係を終了させるだろうと答えた。 しかしおよそ26%の男性は別の方法を模索し、関係そのものは維持すると答えている。だがこの許されざる関係に上司が絡んでいたとしたら、74%の男性が今すぐ別れると答えた。また、友達が絡んでいた場合は83%の男性が即刻別れると答えている。 Experience working in the adult entertainment industry was generally frowned on, too, with more than 70 percent saying that they would not be prepared to accept such a past if they were looking to get into a serious relationship with a woman. Still, there were some exceptions. アダルト娯楽産業に従事した経験のある女性に対しては概ね否定的である。70%を越える男性が女性との真面目なお付き合いに際して女性のそのような過去を受け入れたくはないと答えた。 “I’d be OK with her if she was only a nightclub hostess or had sold her soiled panties,” a 31-year-old construction industry worker tells Spa! “It’s not like they were having sex or anything.” 「ナイトクラブのホステスをやってたとか汚れた下着を売ってたぐらいなら俺は全然OKだよ」 31歳の建設業者はSpa!にこう語ってくれた。 「セックスとかやってたワケじゃないし」 Women who had worked at a soapland brothel or been among the spate of schoolgirl prostitutes who sold themselves to middle-aged men during the enjo kosai (a euphemism for prostitution that literally translates as “compensated dating”) boom of the mid- to late-1990s were extremely unpopular, with over 70 percent of men saying they’d never consider a relationship. Equally unpopular were women who had appeared in porno movies. ソープランドで働いたことのある女性や、1990年代半ばから後半にかけてブームとなった援助交際（報酬を伴うデートを意味する売春の婉曲表現）を通じて中年男性に体を売る多くの売春女子中高生は非常に人気が無い。 またAVに出演した女性も同様に人気が無い。 “Even soapland experience would be more acceptable than that,” a 26-year-old government worker tells Spa! “An adult movie can be kept forever and I couldn’t handle that.” 「ソープランドの経験であればほかよりいくぶんマシかな」 26歳の公務員はSpa!にこう語ってくれた。 「AVは永遠に記録が残るし、どうしようもないからね」 While men were generally evenly divided in their opinions about women who’d undergone an abortion, they were almost three times more likely to be repulsed by a woman who’d had a one-night stand with a man she’d never met before. 妊娠中絶を経験した女性に対しての男性の意見は基本的にそれぞれ分かれているが、見知らぬ男性と一夜限りの関係を持つ女性が3回も妊娠中絶すると、男性はひどく嫌悪する傾向にある。 “It shows a weak will,” a 25-year-old banker says. “And a lack of control of her sexual urges.” Women’s sexual adventure was also frowned up, with scatological experience or participation in a threesome strongly opposed. 「意志が弱いんじゃないの」25歳の銀行マンはこう答えた。 「性衝動をコントロールする力が欠けている」 女性の性的冒険も冷やかな目で見られている。スカトロや3Pの経験には強い反発がある。 “There must be quite a bit of guilt involved after being treated like a sex object by two guys at the same time,” a 30-year-old nurse says. “Please keep it to one guy at a time.” 「二人の男性から同時にセックス対象として扱われれば、とても大きな罪悪感を感じるはず」 30歳の看護師はこう答えた。 「たのむから一人の男性とやってくれよ」 Facials and swallowing, however, were widely approved. しかしながら顔面への射精と精液の嚥下は広く認識されている。 “There’s no problem,” the 32-year-old self-employed man tells Spa! “Everybody does that.” (By Ryann Connell) 「問題ナシだよ。」32歳の自営業の男はこうSpa!に答えてくれた。 「みんなやってることだし。」 （ライアン・コネル） 元記事との比較 232 名前：可愛い奥様 ﾒｪﾙ：sage 投稿日：2008/07/10(木) 10 40 20 ID q5hAk5Pj0 waiwai「日本の男が語る女性とは：一夜限りの関係なんてもう古い、今は顔射だよ」 （2007年10月5日配信） 元ネタ「超保存版 [女の微妙な過去]許容ライン大調査」（週刊SPA! 2007/10/9号） SPA!の記事は25〜35歳の男性200人に自分の彼女や妻の行為の許容ラインを聞いたもの。 借金、整形、非行など性的なこと以外も聞いています。 30歳前後の女性の過去、というのが前提になりますが、waiwaiには調査した男性の年齢について 書かれていないので読者が何歳くらいの日本人男女を想定するかは不明。 経験人数の許容ライン (waiwai)70％以上の男性が彼女や妻の5人以下のセックスパートナーを許容する。 (SPA!)1〜3人が41％で最多。続いて4〜５人が33％で "合わせて" 7 割以上。 ただし「7割強の男にとって許せるのは5人まで」という小見出しがついてるので waiwaiが意図的に数字を改変したとは言えないでしょう。 18歳から30歳まで2〜3年に一人彼氏が替わったとして5人までを目安として それ以上多いと"軽い"女性として敬遠されるとあります。 中絶について （引用）While men were generally evenly divided in their opinions about women who’d undergone an abortion, they were almost three times more likely to be repulsed by a woman who’d had a one-night stand with a man she’d never met before. （引用終わり） 英語は苦手なのですが、waiwaiのこの箇所は「一夜限りの関係を持った女性に対しては、 中絶経験の3倍の拒否感を持つ」という意味でしょうか？ SPA!の記事では中絶経験を拒絶するのが27％、即H経験を拒絶するのが38％で、 即H経験の方が拒否感が強いとは書かれていますが…… 263 名前：可愛い奥様 ﾒｪﾙ：sage 投稿日：2008/07/10(木) 10 52 51 ID 1zAuiRl80 232 「中絶経験のある女性に対しては嫌悪感を持つ男性とそうでない男性が半々といったところだが 行きずりの相手と関係したことのある女性に対しては、1：3の割合で拒否感を持つ傾向にある男性のほうが多い」 という意味になるかと。 意図的というより、誤訳なんじゃないかな・・・翻訳者の日本語読解力に難がある可能性が。 290 名前：可愛い奥様 ﾒｪﾙ：sage 投稿日：2008/07/10(木) 11 05 56 ID q5hAk5Pj0 263 232です。レスありがとうございます。 そういう意味だとすると、やっぱり元記事とはちょっと意味がちがいますね。 拡散状況 Barely 18 Movies http //www.barely18movies.com/blog/?p=752 Japanese Style Noodles http //www.japanesestylenoodles.com/waiwai/archive20071005 WaiWai Archive http //www.mainichiwaiwai.com/waiwai/2007/10/20071005.php Blogger 部分転載：http //erogarden.blogspot.com/2007/10/ladies-j-guys-have-spoken-one-night.html http //waiwaicolumn.blogspot.com/2009/02/ladies-j-guys-have-spoken-one-night.html 英語サイト http //www.traded.name/2007/10/05/japanese-sex-and-the-male-view/ 関連ページ Barely 18 Movies Blogger Japanese Style Noodles WaiWai Archive WaiWaiの記事を転載した英語サイト：T 元記事一覧 毎日新聞英語版から配信された記事2007年(7月 - 12月)
https://w.atwiki.jp/mainichi-matome/pages/5665.html
The story below is originally published on Mainichi Daily News by Mainichi Shinbun (http //mdn.mainichi.jp). They admitted inventing its kinky features, or rather deliberately mistranslating them from the original gossip magazine. In fact, this is far from the general Japanese behavior or sense of worth. このページは、毎日新聞事件の検証のための配信記事対訳ページです。直接ジャンプして来られた方は、必ずFAQをお読みください。 ※ この和訳はあくまでもボランティアの方々による一例であり、翻訳の正確さについては各自判断してください。もし誤訳（の疑い）を発見した場合には、直接ページを編集して訂正するか翻訳者連絡掲示板に報告してください。 Where are they now? The metamorphosis of the yamanba tribe彼女らは今どこに？ ヤマンバ族の変身 参考資料 拡散状況 関連ページ Where are they now? The metamorphosis of the yamanba tribe 彼女らは今どこに？ ヤマンバ族の変身 元記事（削除済み)：http //mdn.mainichi.jp/culture/waiwai/news/20010401p2g00m0dm998000c 0 Where are they now? The metamorphosis of the yamanba tribe 2001,04,01 SPA! by Ryann Connell 彼女らは今どこに？ ヤマンバ族の変身 2001,04,01 SPA! ライアン・コネル記 1 They kinda looked like pandas, with fluorescent make-up around their eyes and mouths. 目と口の周りにケバい化粧をした彼女たちはパンダみたいに見えた。 2 Their wild, dyed-blonde locks gave them the name yamanba, or mountain hags. And a couple of years ago, you could hardly go anywhere without seeing them staggering along in their micro-minis and platforms. 彼女たちはボウボウで金髪に染められた髪のふさのために、ヤマンバ（山の鬼婆）という名前をつけられた。 そして２・３年前なら、どこに行っても、マイクロミニとエロいハイヒールをはいて千鳥足で歩くヤマンバたちが見られない場所などほとんどなかった。 3 But now, Spa! says, the yamanba have pretty well disappeared, even from the streets of Tokyo s trendy Shibuya district - a place they once considered their own hallowed ground. しかし今では、SPA!がいうには、ヤマンバはすっかり姿を消してしまった。かつては彼女たちの聖地と考えられていた場所である、東京のトレンディーな渋谷の通りからもだ。 4 "Girls around 20 were the first generation to really consider Shibuya their own. The only environments they d really ever known were school and home. Then, for some unknown reason, from about 95 they just started hanging out around Shibuya. They made it their base to do as they liked," Chisako Wada, editor-in-chief of gotta-have teenzine Popteen, tells Spa! "Once they d found that base it probably gave birth to their street fashion. Up until then, any street fashion in Japan had been an imported one. Let s not forget the first street fashion in Japan was putting a hibiscus in your hair." 「２０歳前後の少女たちが、渋谷は自分たちのものだと本当に思った最初の世代です。彼女たちがそれまで知っていた環境といえば、学校と家庭だけでした。そして、理由はわかりませんが、９５年頃から、彼女たちは渋谷でぶらつき始めたのです。彼女たちは、渋谷を彼女たちが好きなことをする拠点にしました」と、ティーン必携の雑誌・ポップティーンの編集長である和田 知佐子はSPA!に語る。 「彼女たちがその拠点を見つけるとすぐ、渋谷が彼女たちのストリートファッションを誕生させたのでしょう」その時までは、日本のストリートファッションはどれも海外のそれを真似たものでした。日本初のストリートファッションが髪にハイビスカスをつけることだった、ということを忘れないようにしてください」 5 Wada continues, offering an explanation for the demise of the yamanba "I suppose they re getting a little anxious. We had an enormous reaction to a recent special we ran on finding yourself. It seems that wanting to find yourself so you feel strong is making these girls feel a bit ill at ease with their current lifestyles." 和田は続けてヤマンバが絶滅した理由を話す。「彼女たちは少し不安になってきたのではないか、と私は思います。最新号の『自分探し』について書いた特集には、膨大な反響がありました。少女たちの現在の生活スタイルのこともあって、『自分探しをはじめれば自分が強くなれる気がする』ということが、容易に少女たちにかなりの不安感を感じさせるようなのです。 6 Perhaps the staff at 109, the Shibuya department store the yamanba made their Mecca, know more than anybody else about why the flamboyant femmes have suddenly gone mainstream. "Now the girls who used to walk around with deeply tanned faces and the like have clearly adapted more adult-like tastes," a spokesman for the department store tells Spa! "It seems like we re welcoming the end of the culture that placed its prime focus on letting girls express their individuality in the most outrageous way." もしかしたら、ヤマンバのメッカであった渋谷の百貨店・１０９の店員が、なぜけばけばしい女性たちが突然主流派に移行したのか、他の誰よりもよく知っているのではないか。 「真っ黒に日焼けした顔をして仲間たちと一緒に歩き回っていた少女たちは、今では明らかにより大人っぽい趣味に順応していったのです」と、１０９のスポークスマンはSPA!に語る。 さながら、少女たちが自分らしさを不遜極まりないやり方で表現することを第一義とした文化の終焉を、私たちが喜んで受け入れているかのようです」 7 Some of the former yamanba seem to agree. 元ヤマンバの中にはこれに同意する人もいるようだ。 8 "I just got a little sick of all these people coming up to me and asking, What re you gonna do next? What re you gonna do next I was always trying to think up some new trend," says Tomomi Kudo, once the pin-up girl of the mountain hag generation and now an aspiring celebrity. "It sort of got to the stage where I d go outside and always be wondering what people were thinking about me." 「私の前に現れて『次はあなたは何をするの？』と訊ねる人たちに、私はかなりうんざりしちゃいました。私はずっとなにか新しいトレンドを考え出そうとしていたのです」というのは、かつては山姥世代のピンナップガールで今では向上心に燃える有名人である、工藤友美だ。 私が外出するときは、人は私のことをどう思っているのだろう、といつも疑問に思うほどにまでなっちゃったような感じでした」 参考資料 ポップティーン http //ja.wikipedia.org/wiki/Popteen 和田 知佐子 『美人百花』編集長 臨時株主総会にて取締役に新任。 工藤友美 http //spysee.jp/%E5%B7%A5%E8%97%A4%E5%8F%8B%E7%BE%8E/1373759/ 拡散状況 英語サイト http //www.japanfortheuninvited.com/articles/ganguro.html http //www.syberpunk.com/cgi-bin/index.pl?page=news6 関連ページ WaiWaiの記事を転載した英語サイト：J WaiWaiの記事を転載した英語サイト：S 毎日新聞英語版から配信された記事2001年 毎日新聞英語版から配信された記事一覧その2
https://w.atwiki.jp/penumbrajp/pages/135.html
CATEGORY Name="Flashbacks" Entry Name="CH01L02_JourneyToSanctum01_01" Alexander、それは城の中にあるのか？ /Entry Alexander, is it inside the castle? Entry Name="CH01L02_JourneyToSanctum01_02" ある意味な。こっちだ、ランタンを持って来い。君は以前精製所に行ったことがあったかね。 /Entry In a manner of speaking. Come, bring the lamp. You ve been to the refinery, have you not? Entry Name="CH01L02_JourneyToSanctum01_03" ないと思うが。そこはあれと繁がっているのか…何と言ったかな？ /Entry I don t believe I have. Is it connected to the... what did you call it? Entry Name="CH01L02_JourneyToSanctum01_04" 至聖所、もっとも大切な部屋だ、Daniel 。そこは精製所の向こうにある。つまり… /Entry The Inner Sanctum, my most precious chamber, Daniel. And it lies well beyond the refinery. In fact... Entry Name="CH01L02_JourneyToSanctum01_05" …ブレネンブルグ城の土台の下に存在しているのだ。 /Entry ... it lies beneath the very stone of Brennenburg. Entry Name="CH01L03_SecretBooks_01" 迅速に動け、一つ目を起動したらな…聞いているか？もし止まったらやり直しだぞ。 /Entry You have to be swift - when you activate the first one... you hear that? If it stops, you ll have to start over. Entry Name="CH01L03_SecretBooks_02" 少し度が過ぎていないか？ /Entry Isn t all this a bit excessive? Entry Name="CH01L03_SecretBooks_03" いくら慎重でも慎重すぎるってことはないぞ、Daniel 。 /Entry You can never be too careful, Daniel. Entry Name="CH01L03_DanielDiary03_01" 1839年5月17日 - 容赦ない石壁が崩れ落ちてから永遠にも感じられる時間が経った後、自分が絶望的な状況にあることを悟った。私は閉じ込められたのだった。 /Entry 17th of May 1839 - After pounding the unforgiving stone wall for what seemed like an eternity, I realized it was hopeless. I was trapped. Entry Name="CH01L03_DanielDiary03_02" 私は地面に空気の流れを感じ、神経を研ぎ澄ます様試みた。それが、私がかすかな青いきらめきを見たときであった。 /Entry I fell to the ground gasping for air, trying to focus. That s when I saw a faint blue shimmer. Entry Name="CH01L03_DanielDiary03_03" 私の弱りきった体は動かすには重かったが、私はなんとか魅惑的な光の方へ向かい、自分の体を押しやっていった。 /Entry My weakened body was heavy to carry but I managed to push myself toward the enchanting light. Entry Name="CH01L03_DanielDiary03_04" それは私を待っていた。密閉された漆黒の虚無の中で、私は神秘的な光に引き込まれるのを感じた。 /Entry It was waiting for me. Enclosed in dark nothingness, I felt myself drawn to the mystic light. Entry Name="CH01L03_DanielDiary03_05" 私は手を伸ばし、それを手の中に包み込んだ。 /Entry I reached out, closing it in my hands. Entry Name="CH01L03_DanielDiary03_06" かすかな輝きが指から漏れ、そして激しく輝き始め、私をどこかへ連れ去った。らせん状の塔、永遠に続く砂漠、そして有り得ない形状、開放される何者かの記憶。 /Entry The faint glow escaped my fingers and began to spark brightly and spirit me away. Unlocking alien memories of spiraling towers, endless deserts, and impossible geometry. Entry Name="CH01L03_DanielDiary03_07" 次に私が思い出せるのは石が持ち上げられ、軋む音である。アラブ人の声が私を安堵させる。そして非常に変わった遺物の砕けた破片が、私の手にしっかりと握られていた。 /Entry The next thing I can remember is the grating sound of stone being lifted. The voices of the Arabs pulling me to safety. And grasped firmly in my hands was the broken pieces of a most peculiar relic. Entry Name="CH01L04_CountChemistry_01" さらに赤銅鉱を。 /Entry There should be more cuprite. Entry Name="CH01L04_CountChemistry_02" ついでに硝酸を。 /Entry And one part aqua fortis. Entry Name="CH01L05_Transformation01_01" 男爵はどこに行ったんだ？ /Entry Where did the baron go? Entry Name="CH01L05_Transformation01_02" そんなことどうでもいいだろ。彼は私たちに一生分のワインを残して行ってくれた。あるいは明日までのな！ /Entry Who cares? He left us enough wine to last us a lifetime. Or at least until tomorrow! Entry Name="CH01L05_Transformation02_01" 何が起きた？胸が破裂しそうな感じだ。 /Entry What s happening? It feels like my chest is going to burst. Entry Name="CH01L05_Transformation02_02" 神よ、Wilhelm 、何をした！ /Entry My God, Wilhelm, do something! Entry Name="CH01L05_Transformation02_03" 受け入れろ。私たちはここから生きて出ることはできない。 /Entry Accept it. We re not getting out of here alive. Entry Name="CH01L05_Transformation02_04" よく言うな。 /Entry How can you say that? Entry Name="CH01L06_JourneyToSanctum02_01" ここは暗いな。 /Entry It sure is dark in here. Entry Name="CH01L06_JourneyToSanctum02_02" ああ、ある理由があるからな。望むならランプを点けてもいいぞ。 /Entry Yes, and there is a good reason for it. But you can light the lamp now, if you wish. Entry Name="CH01L06_JourneyToSanctum02_03" どんな理由が？この暗闇に。 /Entry What s the reason? For the darkness, that is. Entry Name="CH01L06_JourneyToSanctum02_04" 離れるな。迷わないように注意しろ。 /Entry Stay close - be careful not to stray. Entry Name="CH01L06_JourneyToSanctum02_05" どんな理由があるんだ？なぜこんなに暗いんだ？ /Entry What s the reason? Why is it so dark? Entry Name="CH01L06_JourneyToSanctum02_06" 注意しろ、Daniel 。重要なのはまっすぐ歩き、迷わないようにすることだ。 /Entry Pay attention, Daniel. It s important that you keep going straight and make sure not to stray. Entry Name="CH01L09_JourneyToSanctum03_01" "昇降部屋"があるんだな。それが私たちを至聖所に連れて行ってくれるのか？ /Entry You have an "ascending room". Will it take us to the Inner Sanctum? Entry Name="CH01L09_JourneyToSanctum03_02" 私たちの道程の昇降を手伝ってくれるだろう。君は以前エレベーターに乗ったことはあるのか？ /Entry It will definitely take care of the vertical part of our journey. So, you have ridden an elevator before? Entry Name="CH01L09_JourneyToSanctum03_03" ああ、リージェントパークのコロセウムで一回な。全景が見れる所まで連れて行ってくれた。 /Entry Yes, the Colosseum at Regent s Park has one. It takes you to the gallery where you can view the panorama. Entry Name="CH01L09_JourneyToSanctum03_04" 良し。これはその時より長くかかるかもしれんな…逆方向に。 /Entry Good. This ride might be a little longer - and in the other direction. Entry Name="CH01L10_DanielsMind01_01" 日記が無くなってしまった。彼らは私の日記の何を求めたんだ？My journal is gone. What would they want with my journal? /Entry Entry Name="CH01L10_DanielsMind02_01" 鍵は！どうかここにあってくれよ。 /Entry The key! Please, let it be here. Entry Name="CH01L10_DanielsMind03_01" あぁ、助かった、あったか。ここは良い隠し場所だったようだな。 /Entry Oh, thank God, there it is. I guess it is a good place to hide it, then. Entry Name="CH01L11_DogExperiment_01" あなたが何を申し出なければならないか、確認しましょう。 /Entry Let s see what you have to offer. Entry Name="CH01L11_DogExperiment_03" だが、私にはわかる。間違いなくそこにいる。 /Entry But I can sense it. It s definitely there. Entry Name="CH01L12_GirlChase01_01" お願いだ、解放してくれ。誰にも話しはしない。誓うよ。家に帰りたいだけなんだ。 /Entry Please, let me go. I won t tell anyone. I swear. I just want to go home. Entry Name="CH01L12_GirlChase02_01" なんであんたはこんなことをするんだ？！私から離れろ！ /Entry Why are you doing this?! Get away from me! Entry Name="CH01L12_GirlChase03_01" お願いだ、お慈悲を。 /Entry Please, I beg you. Entry Name="Test01" Clarenceは、巻き毛をカールする。 /Entry Clarence curls curls Entry Name="Test02" おぉーー、止めるなーーー /Entry ohhh ahhh don t stoooooooop Entry Name="CH01L11_DogExperiment_02" 何てこった。ノコギリを研いでおくべきだった。 /Entry What a mess. I should have sharpened the saw. Entry Name="CH01L00_DanielsMind01_01" 忘れるな…忘れてはならない。影が私を殺す…急がなくては。 /Entry Don t forget... some things mustn t be forgotten. The shadow hunting me... I must hurry. Entry Name="CH01L00_DanielsMind02_01" 私の名前はDaniel。私はロンドンの…あー…メイフェアに住んでいる。 /Entry My name is Daniel, I live in London at... at... Mayfair... Entry Name="CH01L00_DanielsMind03_01" 私に何が起きたんだ？狂ってる。忘れるな、忘れるな。彼を止めなくては。集中しろ！ /Entry What have I done? This is crazy. Don t forget, don t forget. I must stop him. Focus! Entry Name="CH01L00_DanielsMind04_01" 私の名前は…名前は…Danielだ。 /Entry My name is...is... I am Daniel. Entry Name="CH01L12_GirlChase01_02" 駄目だ、私から離れろ！一人にしてくれ！ /Entry No, get away from me! Leave me alone! Entry Name="CH01L05_Transformation02_05" Alexander、お前はクソッタレだ！私たちをここから出せ！ /Entry Alexander, you piece of shit! Let us out of here! Entry Name="CH02L15_JourneyToSanctum04_01" 来たまえ、こちらだ。 /Entry Come - this way. Entry Name="CH02L15_JourneyToSanctum04_02" 何だあれは？ /Entry What was that? Entry Name="CH02L15_JourneyToSanctum04_03" すまない。警告しておくべきだった。牢獄の看守は、私の男爵としての責務の一つなのだ。ここには犯罪者共が閉じ込められている。 /Entry Forgive me. I should have warned you. One of my responsibilities as a baron is that of a prison warden. This is where criminals are locked up. Entry Name="CH02L15_JourneyToSanctum04_04" 地下牢のようなものか。 /Entry Like a dungeon? Entry Name="CH02L15_JourneyToSanctum04_05" そのとおり。来たまえ、ぐずぐずするな。 /Entry Very much so. Come - don t linger. Entry Name="CH02L15_Interrogation_01" 彼女はどこだ？どこへ行った？ /Entry Where is she? Where did she go? Entry Name="CH02L15_Interrogation_02" いや、話すつもりはない。絶対にあなたには話さない。 /Entry No, I won t tell. I ll never tell you. Entry Name="CH02L15_Interrogation_03" 君はものごとを悪くしているだけだ。 /Entry You are just making things worse. Entry Name="CH02L15_Interrogation_04" なあ － ここは若い娘が一人で来るような場所じゃない。彼女は怪我をしたか、もっと悪いことになってるはずだ。この下でどんな恐ろしいことが待っているか、わからないぞ。 /Entry Look - this is no place for a young girl all by herself. She could be hurt or worse. There is no telling what horrors await down there. Entry Name="CH02L15_GirlEscape_01" でもお母さん、私、お母さんを残していきたくない。 /Entry But mother, I don t want to leave without you. Entry Name="CH02L15_GirlEscape_02" 急ぎなさい、あなたは行かなくてはいけないの。従者のGabrielを見つけて、王の家来に警告するよう伝えるのよ。 /Entry Hurry child - you must go. Find Gabriel the outrider and tell him to alert the king s men. Entry Name="CH02L15_GirlEscape_03" 嫌！お母さんも一緒に！ /Entry No, you come too! Entry Name="CH02L15_GirlEscape_04" お願い、もう私達にはこの穴を広げているゆとりは無いのよ。 /Entry Please, we don t have time to make the hole any wider. Entry Name="CH02L15_GirlEscape_05" でも… /Entry But -- Entry Name="CH02L15_GirlEscape_06" 誰か来る…急いで！お母さんがベッドで穴を隠すわ。全て上手く行く、約束するわ。 /Entry Someone is coming. Hurry! I ll cover the hole with the bed. Everything will be fine - I promise. Entry Name="CH02L15_PrisonerCaptured_01" おい！誰か！助けてくれ！ /Entry Hey! Anybody! Help! Entry Name="CH02L15_PrisonerCaptured_02" 神よ － こんなことは信じられない。なぜだ...私のせいなのか？私がこんな報いを受けるようなことを何かしたのか？私が言いたいのは...私は報いを受けているのか？ /Entry Christ - I don t believe this. Why... I mean why? What did I do to deserve this? I mean, it can t be... do I deserve this? Entry Name="CH02L15_PrisonerCaptured_03" これは私の過ちではなかった！ /Entry It wasn t my fault! Entry Name="CH02L15_PrisonerCaptured_04" なぜ彼はあそこに入っていったんだ？あなたは燃える家に入らない。彼はもっとよく知っておくべきだった。 /Entry Why did he have to go in there? You don t go into burning houses. He should have known better. Entry Name="CH02L16_JourneyToSanctum05_01" つまり、あんたは下水溝を輸送手段として使用しているということか？ /Entry So, you use the drain sewers as a means of transport? Entry Name="CH02L16_JourneyToSanctum05_02" そうだ。下水溝は地下泉からの水を捌ける為に作られており、広々としている。 /Entry Yes - they were built to divert water from an underground spring and are quite spacious. Entry Name="CH02L16_JourneyToSanctum05_03" 構造全体に自然と組み込まれているようにしか見えなかったが。 /Entry It seemed only natural to incorporate it in the overall structure. Entry Name="CH02L16_JourneyToSanctum05_04" しかし我々はこれを使用しない。 /Entry But we won t be using it. Entry Name="CH02L16_JourneyToSanctum05_05" 今日はしない。流れは季節に左右されるし、それに春になって湿った地下道が乾けば、有毒なキノコも生える。 /Entry Not today. The flow is seasonal and when the spring runs dry the damp tunnels produce a rather poisonous type of fungi. Entry Name="CH02L16_JourneyToSanctum05_06" 無論解毒剤はある。しかし、今日はそのような手間の掛かる事をする必要は無い。代わりにこちらへ来たまえ、もうすぐだ。 /Entry There is an antidote of course - but we won t be bothering with it today. Come, this way instead. We are almost there. Entry Name="CH02L18_CisternVisit_01" 泉からの水を節約していたな。 /Entry You are conserving water from the spring. Entry Name="CH02L18_CisternVisit_02" あぁ、下水溝内の水量を操作するのに役立つからな。それ以外にも、あらゆる事柄に対して役に立つ。 /Entry Yes, it enables me to control the water in the drain sewers to some extent. Also, it can be used for all sorts of purposes. Entry Name="CH02L18_CisternVisit_03" 例えば飲用だ。 /Entry Like for drinking. Entry Name="CH02L18_CisternVisit_04" そう、それもだな。しかし最も大切なのは、別の機構を動かすためにだ。 /Entry Well, that too. But mostly to run different machines. Entry Name="CH02L18_CisternVisit_05" そうか、水車だな。 /Entry Ah, like water mills. Entry Name="CH02L18_CisternVisit_06" そのとおり。 /Entry Exactly. Entry Name="CH02L19_MorgueVisit_01" 見たか、Daniel？遂にやってきたぞ。 /Entry Do you see, Daniel? It has yielded. Entry Name="CH02L19_MorgueVisit_02" 何がだ？ /Entry What? Entry Name="CH02L19_MorgueVisit_03" 影だ。 /Entry The shadow. Entry Name="CH02L19_MorgueVisit_04" 遂にか？ /Entry It has? Entry Name="CH02L19_MorgueVisit_05" 今のところは。来たまえ。ここを離れ、安全なところへ向かうぞ。 /Entry For now. Come. Let s get this out of here so we can get some peace. Entry Name="CH02L19_MorgueVisit_06" あぁ、行こう。しかし何処へ？ /Entry Yes, let s. Where to? Entry Name="CH02L19_MorgueVisit_07" 回廊を下る。モルグへだ。 /Entry Just down the corridor. To the morgue. Entry Name="CH02L19_MorgueVisit_08" 死体が更に多くある - そこへか？ /Entry Are there more - dead men there? Entry Name="CH02L19_MorgueVisit_09" 君は良くやった、Daniel。来たまえ、行くぞ。 /Entry You did well, Daniel. Come. Let s get going. Entry Name="CH02L19_FalseDeadPlague_01" 何？何が起こったんだ？どうして皆死んでるんだ…？ここはどこだ？ /Entry What? What happened? Why are all these dead...? Where am I? Entry Name="CH02L19_FalseDeadPlague_02" 何が起こってるんだ？！ /Entry What s happening?! Entry Name="CH02L19_FalseDeadPlague_03" 助けて！誰か、助けてくれ！ /Entry Help! Anybody, help! Entry Name="CH02L19_FalseDeadPlague_04" 2... 3日目だ。馬鹿げてる。 /Entry Two... Three days now. This is ridiculous. Entry Name="CH02L19_FalseDeadPlague_05" どうして誰もこの部屋に来ない！おい、誰か！ /Entry Why doesn t someone come to this room?! Hey! Anybody! Entry Name="CH02L19_FalseDeadPlague_06" ここでたった1人なのか？助けて、助けてくれ！ /Entry Am I all alone here? Help! Help!!! Entry Name="CH02L19_FalseDeadPlague_07" もう疲れた…もし眠ったら、この悪夢から覚めるのだろうか？そうでなければ、眠っている私を天の父が連れて行ってくれるよう祈ろう。 /Entry I m so tired... If I sleep - will I wake from this nightmare? If not, I pray my heavenly Father will take me in my sleep. Entry Name="CH02L20_PrisonerTransported_01" 何が起こってるんだ？ /Entry What s happening? Entry Name="CH02L20_PrisonerTransported_02" 何をする！？放せ！ /Entry What are you doing!? Let me go! Entry Name="CH02L20_PrisonerTransported_03" お願いだから連れて行かないでくれ、誰も戻らなかったんだ… /Entry Please don t take me - nobody ever returns... Entry Name="CH02L21_AlexanderAgrippa_01" Agrippa？君にはまだ起きていてもらう必要がある。注射器の感触はあるかね？ /Entry Agrippa? I need you to stay awake. Can you feel the syringe? Entry Name="CH02L21_AlexanderAgrippa_02" いや、何も感じないよ。 /Entry No, I can t feel anything. Entry Name="CH02L21_AlexanderAgrippa_03" Alexander？ /Entry Alexander? Entry Name="CH02L21_AlexanderAgrippa_04" なんだい？ /Entry Yes? Entry Name="CH02L21_AlexanderAgrippa_05" すぐに私は動けなくなるのかな？ /Entry Soon I won t even be able to move, will I? Entry Name="CH02L21_AlexanderAgrippa_06" 君の命は安全だよ。 /Entry Your life is safe. Entry Name="CH02L21_AlexanderAgrippa_07" そのことは疑ってないよ － だけど、生きる価値はあるんだろうか？ /Entry I don t doubt that - but will it be worth living? Entry Name="CH02L21_WaitRoom_01" これらの独房には、治療中の囚人を収容するつもりだ。あなたが送った人たちは、最終的にはここに来ることになる。 /Entry These cells are meant to hold prisoners who are under treatment. The people you send for will end up here. Entry Name="CH02L21_WaitRoom_02" 監禁それ自体は、拷問の前置きとして働くことを覚えておきたまえ。それに、自分のペースでやるべきだ。準備が整う前に、誰かを連れて来たりはするな。 /Entry Remember that the confinement itself works as a preamble to the torture and you should pace yourself. Don t take anyone before they are ready. Entry Name="CH02L21_WaitRoom_03" わかった。 /Entry Understood. Entry Name="CH02L21_WaitRoom_04" 拷問部屋からの音は、天井のパイプを通じて行き交う。君の犠牲者をうまく使って、一人の囚人の痛みを彼の独房仲間の恐怖に染み込ませるんだ。 /Entry Sounds from the torture chambers are shuttled in through those pipes in the ceiling. Manage your victims well and let one prisoner s pain instill terror in his cellmate. Entry Name="CH02L21_PrisonerWaitRoom_01" これを知ってるぞ。私は前からここにいるんだ。この味を知っている － 薄暗い霞の中で真実をぼやかすダマスカスの薔薇の味だ。 /Entry I know this. I ve been here already. I know this taste - the taste of Damascus Rose obfuscating the truth in a dim haze. Entry Name="CH02L21_PrisonerWaitRoom_02" 彼らは私の記憶から痕跡を消してしまうかもしれない。私の精神が沈黙したままであったとしても、この傷が多くを語っている。彼らは戻って来る。 /Entry They may sweep the traces from my memory, but my body remembers. These cuts speak volumes, even though my mind remains silent. They will be back. Entry Name="CH02L21_PrisonerWaitRoom_03" ああ、彼らは戻ってくるんだ。 /Entry Oh, they will be back. Entry Name="CH01L03_MapRoom_01" 城の大部分は古く、何世紀もの間、手入れをされていない。あの影が来れば、城が崩壊するのに長くはかからないだろう。 /Entry Much of the castle is old and hasn t been tended to for centuries. When the Shadow arrives, it won t take long until things start falling apart. Entry Name="CH01L03_MapRoom_02" どっちみち、我々は時間稼ぎをしているだけだ。できることをやろう。 /Entry We are just buying time anyway. Let s do what we can. Entry Name="CH01L03_MapRoom_03" 防護ついては、すべきことは余りない。脆くなった構造物を補強しておくべきだろう。大地は震え、なにもかもが我々の上に崩れ落ちて来る危険がある － 特に、下の階では。 /Entry There isn t much to be done about the wards. We should reinforce weak structures. The ground will tremble and there is a risk everything will cave in on us - especially downstairs. Entry Name="CH01L03_MapRoom_04" ここと...ここと...そして、そこ。召使いどもに取りかからせよう。 /Entry Here... here... and there. Let s get the servants working on it. Entry Name="CH02L22_JourneyToSanctum06_01" もう少し向こうだ。 /Entry Just a little further. Entry Name="CH02L22_JourneyToSanctum06_02" 地下世界に下るオルフェウスのようだな。 /Entry It s like Orpheus descending into the underworld. Entry Name="CH02L22_JourneyToSanctum06_03" 何か隠しているのか？ /Entry Are you hiding something? Entry Name="CH02L22_JourneyToSanctum06_04" どういう意味だい？ /Entry What do you mean? Entry Name="CH02L22_JourneyToSanctum06_05" 気にしないでくれ。 /Entry Never mind. Entry Name="CH02L22_JourneyToSanctum06_06" あなたの直感は － 並外れているな。 /Entry Your intuition is - remarkable. Entry Name="CH02L22_JourneyToSanctum06_07" 私が話について行ってるか、定かではないんだが... /Entry I m not sure I m following... Entry Name="CH02L22_JourneyToSanctum06_08" それは問題ではない。 /Entry It doesn t matter. Entry Name="CH02L22_JourneyToSanctum06_09" 結局、ただの伝説だ。 /Entry It s just a myth after all. Entry Name="Random_Escapee_01" おい、君。止まれ！ /Entry Hey, you. Stop! Entry Name="Random_Escapee_02" それ以上近寄るな！私は、出て行きたいだけだ。 /Entry Don t come any closer! I just want to leave. Entry Name="Random_Escapee_03" 君は、外へは行けない。危険すぎる。 /Entry You can t go outside. It s too dangerous. Entry Name="Random_Escapee_04" 私は、Gabrielに言っている。 /Entry I m telling Gabriel. /Entry Entry Name="Random_Escapee_05" 実に疑わしいね。 /Entry I doubt that very much. Entry Name="Random_Nightmares_01" Daniel? /Entry Daniel? Entry Name="Random_Nightmares_02" 何だ！？ /Entry What? Entry Name="Random_Nightmares_03" まだ悪夢を見ているようだな。 /Entry Still having nightmares, I see. Entry Name="Random_Nightmares_04" あぁ、こいつらから逃れられない。毎晩やってくるんだ。 /Entry Yes, I can t shake them. They come every night. Entry Name="Random_Nightmares_05" 我々はこれを止めることになる。分かるな。 /Entry We ll put a stop to them. You ll see. Entry Name="Random_Mirage01_01" 鞄を忘れるなよ、Daniel。 /Entry Don t forget your bag, Daniel. Entry Name="Random_Mirage01_02" 忘れないさ、Herbert。 /Entry I won t, Herbert. Entry Name="Random_Mirage01_03" 砂漠でパラソルを使うことは恥ではないぞ。ごく自然に、君の生存に不可欠なものだ。 /Entry There is no shame in using a parasol in the desert. As it happens, it s imperative to your survival. Entry Name="Random_Mirage01_04" しかし、こいつは馬鹿馬鹿しいな。 /Entry But it looks ridiculous. Entry Name="Random_Mirage01_05" 恥は死ぬよりもずっとマシだ、それは保証するよ。 /Entry The shame will hurt much less than dying, I assure you. Entry Name="Random_Mirage02_01" Herbert、どうやってこの場所を見つけたんだ？ /Entry Herbert, how did we find this place? Entry Name="Random_Mirage02_02" アルジェリアから戻った古い友人が地図をくれたのだ。 /Entry An old friend back in Algiers gave me a map. Entry Name="Random_Mirage02_03" どうして彼は我々と共に来ないんだ？来たくなかったのか？ /Entry Why isn t he with us? Didn t he want to come? Entry Name="Random_Mirage02_04" 来たがってはいたよ、Daniel。しかし、物事は常に我々の計画通りにいくとは限らないということだ。 /Entry He wanted to, Daniel. But things don t always turn out the way we plan. Entry Name="CH02L24_TortureWheel_01" 車輪は、処置の間、犠牲者をじっとさせておくのに有益だ。犠牲者は手足をスポークやリムにくくり付けられ、車輪の外周に沿って拘束されるか、あるいは単純に引き伸ばされる。 /Entry The wheel is good for keeping your victim still during the procedure. They can be bound around the circumference or simply stretched across, tying limbs to the spokes and rim. Entry Name="CH02L24_TortureWheel_02" あらゆる道具には、それぞれに使い道があり、好みのやり方で拷問を施してもよい。だが、車輪の長所は隙間だ。 /Entry All tools are, by this point, useful and you may administer the torture in any way you like. But the forte of the wheel is the gaps. Entry Name="CH02L24_TortureWheel_03" 犠牲者を死なせると決めたなら、犠牲者の手足を枠の間に折り重ねながら、ハンマーで打ち砕けばいい。 /Entry When you have decided that the victim shall die you can smash their limbs with a hammer, making them fold in between the frame. Entry Name="CH02L24_TortureWheel_04" だが、彼らは死んでしまう － 速すぎる、ということだ。 /Entry But they ll die - too quickly I mean. Entry Name="CH02L24_TortureWheel_05" いや、心配することはない。人間の身体は回復力に富んでいる。人間は、最終的に死ぬまで、数日間は生きていられる。 /Entry No, don t worry. The human body is much more resilient. They can survive for days until they finally succumb. Entry Name="CH02L23_PrisonerCage_01" どれくらいだ、男爵？！どれくらい私は耐えなければならないんだ？もう殺してくれ － 私を殺してくれ！ /Entry How much more, Baron?! How much more am I supposed to withstand? Kill me already - kill me! Entry Name="CH02L23_PrisonerCage_02" この者だ。彼を準備しろ。 /Entry This one. Prepare him. Entry Name="CH02L23_PrisonerDragged_01" 離せ、この人でなし！ /Entry Let me go, you brute! Entry Name="CH02L23_PrisonerDragged_02" 受け台の準備はできています。 /Entry The Cradle is ready. Entry Name="CH02L23_PrisonerDragged_03" よろしい。 /Entry Good. Entry Name="CH02L23_PrisonerDragged_04" お前は？お前は人間だ...どうしてこんなことに参加できるんだ？ /Entry You? You are a man... how can you partake in this? Entry Name="CH02L23_PrisonerDragged_05" 彼は大丈夫か？ /Entry Is he alright? Entry Name="CH02L23_PrisonerDragged_06" 彼は邪悪なものの一人だ。彼の嘘に注意を払うな。 /Entry He is one of the wicked. Don t pay his lies any attention. Entry Name="CH02L23_PrisonerDragged_07" 私は悪人じゃない。あれは事故だったんだ... /Entry I m not a bad man. It was an accident... Entry Name="CH02L23_PrisonerDragged_08" 彼は人間に火をつけた。 /Entry He set a man on fire. Entry Name="CH02L23_PrisonerDragged_09" あれは私の過ちではなかった！どうして誰も聞いてくれないんだ... /Entry It wasn t my fault! Why won t anyone listen... Entry Name="CH02L23_PrisonerDragged_10" 恐ろしいことだ。 /Entry That s horrible. Entry Name="CH02L23_PrisonerDragged_11" もちろんだ － 我々は、ここにいる怪物どもを処理している。 /Entry Of course - we are dealing with monsters here. Entry Name="CH02L23_PrisonerBeforeTorture_01" やめろ、やめろ、お願いだ。何でもやる、あなたが望むことは何でもやるから。 /Entry No, no, please. I ll do anything. Whatever you want. Entry Name="CH02L23_PrisonerBeforeTorture_02" 何でも...何でもやるよ。私は無実なんだ！ /Entry Anything... I ll do anything. I m innocent! Entry Name="CH02L24_DanielDiary07_03_01" 1839年8月15日 － 15th of August 1839 - 血の防護が、弱まっている。影が手招きし、その叫び声が、私の行動を骨抜きにしている。The blood wards are failing. The Shadow beckons and its cry disarms my actions. /Entry Entry Name="CH02L24_DanielDiary07_03_02" 急げ、無駄にする時間はない。あなたは、もう一人殺さなければならない。 /Entry Hurry, no time to spare. You have to kill another. Entry Name="CH02L24_DanielDiary07_03_03" Alexanderがナイフを作った。彼は、それで私にこの肉を切らせたがっている。 /Entry Alexander produces a knife. He wants me to cut the flesh. Entry Name="CH02L24_DanielDiary07_03_04" やれ、自分を守れ。彼は殺人者だ、Daniel。彼は邪悪だ － 冷酷な人殺しだ。 /Entry Do it, save yourself. He is a murderer, Daniel. He is evil - a cold blooded killer. /Entry Entry Name="CH02L24_DanielDiary07_03_05" 急げ！ /Entry Hurry! Entry Name="CH02L24_DanielDiary07_03_06" Alexander、私を放っておいてくれ。私は集中しなければならないんだ。 /Entry Alexander, you must let me be. I have to concentrate. Entry Name="CH02L24_DanielDiary07_03_07" そいつに絵を描け、線を引け。肉を切れ、血の滴りを見ろ － あれを来させろ。 /Entry Paint the man, cut the lines. Cut the flesh, watch the blood spill - let it come. Entry Name="CH02L24_DanielDiary07_03_08" お願いだ、私は何もしやしなかった。 /Entry Please, I didn t do anything. Entry Name="CH02L24_DanielDiary07_03_09" そいつに絵を描け、線を引け。そいつに絵を描け、線を引け。 /Entry Paint the man, cut the lines. Paint the man, cut the lines. Entry Name="CH02L24_DanielDiary07_03_10" お願いだ！あの男は泣いている。 /Entry Please! the man cries. Entry Name="CH02L24_DanielDiary07_03_11" シーッ、シーッ － いま君は眠っている。 /Entry Hush, hush - now you sleep. Entry Name="CH02L24_DanielDiary07_03_12" 私はうまくやった。誰かの為に一つの命。私の言うことを聞いているか、オーブの守護者、私は、この全てを、あなたの為にやった。いま、もう一度、私の領土からあなたの影を立ち退かせよ。 /Entry I did well. One life for another. You hear me, Guardian of the Orb, I did all this for you. Now, once more, withdraw your shadow from my domain. Entry Name="CH02L24_DanielDiary07_03_13" Alexander。時間があまりない。私は感じる。我々は、迅速に行動しなければならない。なんとしてもやるぞ。 /Entry Alexander. There isn t much time. I can feel it. We must act swiftly. I will do whatever it takes. Entry Name="CH03L26_DanielDiary08_01_01" 1839年8月18日 － 今宵、我々はオーブの力を解放し、私を追うあの影を完全に追い払う。 /Entry 18th of August 1839 - Tonight we will unlock the power of the Orb and ultimately banish the Shadow hunting me. Entry Name="CH03L26_DanielDiary08_01_02" あれがだんだんと私に迫って来ているのが感じられ、これまで以上に不安だ。 /Entry I feel it closing in on me and I fear for my life more than ever. Entry Name="CH03L26_DanielDiary08_01_03" アルトシュタットの外側には、酪農家のZimmermannが、彼の妻や三人の子供と暮らす小さな集落がある。 /Entry Just outside Altstadt lies a small settlement where Zimmermann, a dairy farmer, lives with his wife and three children. Entry Name="CH03L26_DanielDiary08_01_04" 我々の訪問は不意打ちで、AlexanderはHerr Zimmermannを他の者に警告させることなく、打ち倒すことが出来た。 /Entry We took the coach and went there. Our visit was unexpected and Alexander was able to strike Herr Zimmermann down without alerting the others. Entry Name="CH03L26_DanielDiary08_01_05" 彼が農場の労働者を探しに行ったので、私は子供達を探し始めた。 /Entry As he went to take care of the farm hands, I began to look for the children. Entry Name="CH03L26_DanielDiary08_01_06" 我々は、儀式を行うのに十分以上の囚人を手に入れられるだろう。 /Entry We should have more than enough prisoners to finish the ritual now. Entry Name="CH03L29_DanielRemorse_01" お願いだ...解放してくれ... /Entry Please... Let me go... Entry Name="CH03L29_DanielRemorse_02" 私は無実だ... /Entry I am innocent... Entry Name="CH03L29_DanielRemorse_03" あなたには決して話さない... /Entry I ll never tell you... /CATEGORY
https://w.atwiki.jp/v-lyrics/pages/239.html
2009-05-31 First Entry 2009-06-20 16 59 42 (Sat) Last update Trasnlated by soundares Title Lilachorn(That horn once again) Lyric "My brain might have a pothole" some one murmerd A sunshade-parasol is marking (the passage of) rythem though the sun was still dozing "頭に穴ボコができそう"誰かが呟いた 日傘がリズムを刻む でもまだ夏はうたたねしていたよ A safety wheel popped up at a asphalt and the album was flipped over At a reil crossing, a train outrun (my) heart-beat and I alone stand(-nailed) 補助輪がアスファルトに弾けて アルバムはめくれた 踏切列車鼓動を追い越して あたしはヒトリ立ちすくむ lilachorn Re.La Horn lilachorn Re.La Horn The window without a curtain was sometimes sacred The sky is always tender... though the color seem to have faded a good deal カーテンのない窓は 時に神聖だった 空はいつも優しいね ずいぶん色褪せたみたいだけどね An impatiens(=some kind of plant) and a medicinal(=forth) finger... there s no feel A shading of metronome and a distant night of(=under?) incandescent-lamp インパチェンスと薬指 感触がないの メトロノームの陰影と 白熱灯の遠い夜 Thank you is not enough. So, I will live. I thought of the distant sea. ありがとう じゃ足りない。 だから 生きるわ。 遙か 海を 想った。 Thank you is not enough. So, I will live. that day I promised that. ありがとう じゃ足りない。 だから生きるよ。 そう誓った あの日。 A cloud of dust, a secret body temperture, slight fever in the eyes I wish it ll cool I see, in a orange gap of a rubble. I m listening to time to progress 土煙秘密の体温 冷めて欲しい瞳の微熱 オレンジガレキの隙間から見える 時間が進むのを聞いてる At the top of sun shinning hill, I was measuring a heart of wind Now that I won t see her/him again, will a truely white dream be back? 日の照る丘のてっぺんで 風の心をはかってた もうあの人には会わないから 真っ白な夢 戻るかな The past that reflect in a mirror was still now fresh Time is always warm (isn t it) though it seem to have weathered quite a lot 鏡に映る過去は 今も新鮮だった 時はいつも温かいね ずいぶん風化したみたいだけどね (Hey) the numbers I have hurt (you) by word... I have counted till end The white and black of keyboard... A way back under moon light.. 言葉で傷つけた数を 最後まで数えたよ 鍵盤の白と黒 月明かりの帰り道 Thank you is not enough. So, I will live. I hoped for the distant sea. ありがとう じゃ足りない。 だから 生きるわ。 遥か 海を 願った Thank you is not enough. So, I will live. I promised that, that day. ありがとう じゃ足りない。 だから生きるよ。 そう誓った あの日 Standing at the edge of a break water, wave sounds break away It was like endless voice laughing.... (I) forgot (I) was breathing and... 防波堤の角に立って 波音がくずれていくのが 終わらない笑い声みたいだった 息をしてるのを忘れて The evening sun that shine at a fence The start line that can t be found That-person who taught me (those things is now)... フェンスに光る夕日 見つからないスタートライン 教えてくれたあの人は... A safety wheel popped up at a asphal and the album was flipped over At a reil crossing, a train outrun (my) heart-beat and I alone stand(-nailed) 補助輪がアスファルトに弾けて アルバムはめくれた 踏切列車鼓動を追い越して あたしはヒトリ立ちすくむ At the top of sun shinning hill, I was measuring a heart of wind Now that I won t see her/him again a truely white dream... will it be back 日の照る丘のてっぺんで 風の心をはかってた もうあの人には会わないから 真っ白な夢 戻るかな lilachorn Re.La Horn lilachorn Re.La Horn Thank you is not enough. So, I will live. Until the day I sleep under the sea ありがとう じゃ足りない。 だから生きるよ。 海に 眠る 日まで (Title was translated based on this site. "What is Lilachorn?" TY. http //detail.chiebukuro.yahoo.co.jp/qa/question_detail/q1020742530 Btw I thought I saw someone translate this nicely once but I just couldn t find it again so I did this) Comment If you have any advise or opinion for this post please write here.この投稿に対して助言、ご意見などありましたらこちらに書き込んで下さい。 Name Comment すべてのコメントを見る Thanks to my friend BookPeople for pointing out I was missing "is" on phrase Thank you is not enough other 2 miss spellings -- (soundares) 2009-06-20 16 58 49