約 7,088,418 件
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Marquee Club, London, April 28, Alexis Korner Friends ■London, The Marquee, 1958-1982 Silver Jubilee April 28th 1983 (1CDR) no credit UK LP - DIGITAL DREAMS / BILL WYMAN (RIPPLE MRA 26264) 10.1983 1 Digital Dreams (main theme) 2 Famous Last Words 3 Western Man 1 4 Western Man 2 5 Dream Waltz 6 Computercide 7 The Snake 8 Chagall 9 Digital Dreams (reprise) 10 Nuclear Reactions 11 Stanley Unwin 12 Joining The Reilly Strokes (various takes) 13 Basic Engli-Twentyfido (various takes) 14 The Undertake ■For Members Only The Sidesters Vol. 6 (Westwood One Vol.85) includes tracks 1, 9 stereo ■For Members Only The Sidesters Vol. 7 (Westwood One Vol.92) includes tracks 3-4 stereo ■Lost Found Vol. 5 (no credit) includes track 8 stereo KEITH RICHARDS HONEYMOON SESSION (MEXICO) 12.1983 1 Please Please Me 2 Darling 3 Sweet Dreams 1 4 Apartment #9 5 So Sad (To Watch Got Love Go Bad) 6 I Wonder Who s Kissing Her Now 1 7 Memphis, Tennessee 8 All Shock Up (Broken Off) 9 That ll Be The Day 10 Love Is Strange 11 Learning The Game 12 Cathy s Clown 13 Let s Spend The Night Together 14 Wild Horses 15 Time Is On My Side 16 Unknown 17 She Even Work Me Up To Say Goodbye 18 Unknown (restarted) 19 Let It Me Be 20 Heartbeat 21 Donna 22 I Got Stripes 23 If You See Her, Say Hello 24 Can t Take A Joke 25 Instrumental 26 Sweet Dreams 2 27 Never On Sunday 1 28 32-20 Blues 29 Devoted To You 30 I Wonder Who s Kissing Her Now 2 31 Try A Little Tenderness 32 Flamenco 33 Problems 34 Heartache Coming On (incomplete) 35 Beast Of Burden 36 No Expectations 37 Never On Sunday 2 38 Dreams 39 Heartache Coming On (complete) 40 Don t Be Cruel + (not this session) ■The Complete Honeymoon Tapes (Hot Lips Records HLR-KR001/002) includes tracks 1-40 mono SOLO WORKS 1983 1 Roll Em Pete (The De Luxe Blues Band) (drums by Charlie Watts) 2 Bring It On Home To Me (Alexis Korner Friends) (bass by Bill Wyman, drums by Charlie Watts) 3 Money Honey (Alexis Korner Friends) (bass by Bill Wyman, drums by Charlie Watts) 4 Your Cheatin Heart (Jerry Lee Lewis) (guitar, backing vocals by Keith Richards) 5 Little Queenie (Jerry Lee Lewis) (guitar, backing vocals by Keith Richards) 6 High School Confidential (Jerry Lee Lewis) (guitar by Keith Richards) 7 Whole Lotta Shakin Goin On (Jerry Lee Lewis) (guitar, backing vocals by Keith Richards) Note; LP Urban De Luxe (track 1), CD The BBC Sessions (tracks 2-3), US TV (7.16.1983) (tracks 4-7) ■Lost Found Vol. 9 (no credit) includes track 1 stereo ■Stoneface (no credit) includes tracks 2-3 stereo ■Exposers (Silver Shadow CD 9109) includes tracks 4-7 mono BACK / NEXT
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You will find major 3 health and fitness center bags for women obtainable in our current market currently. These baggage goyard bag allows every female to help make the transition she wished both it can be concerning exercise session time and small business or exercise routine time and home. By any situation it can be, possessing the ideal gymnasium bag for females that has the appropriate dimension for the private items that you just just cant live devoid of. The 3 health and fitness center luggage for ladies that i am talking in here contains the kinds of Rei, Sherpani and of Tap Out. There styles are all fitted for storage which also have terrific trendy looks with straightforward obtain and convenience all in the identical time. One thing is in popular with these a few luggage specially apart from them staying the best 3 most acknowledged gymnasium bag for ladies, the thing that i am attempting to signify is these bags are tangible reminders of having the shift of daily life towards the daily physical fitness schedule. The 1st health club luggage for females is named Rei Cargo. This bag that s recognized for being fashionable and really practical possess the incredibly excellent size which give an uncomplicated entry via it s huge U-shaped zipper for opening. These bag have three interior pockets, two exterior pockets and one side pocket. What s more, it acquired two stop compartments, a padded and an adjustable and detachable shoulder strap like the quite practical major grab handles. The second bag will come inside a feminine design, it is identified as Sherpani Meta. This bag has also fast and easy accessibility by using a magnetic electricity strip, a detachable shoe and beauty luggage. It also has an inside internet pocket, water pocket in addition to a security pocket for your most worthy points. This bag is very ideal for girl who prefers a fitness center bag that a great deal prefers a bag that goyard tote appears being simply just and is particularly far more most likely for a tote bag. The Sherpani Meta Gym Baggage for ladies is de facto quite attractive nonetheless nevertheless deal with to have each of the attributes which is necessary to be one of the top 3 health and fitness center totes for women. The third bag is referred to as Faucet Out Caged Gymnasium bags for ladies. This bag just isn t only recognised for acquiring excellent look but for the very same time also offers some wonderful characteristics such to be a substantial key compartment, possessing a U-shaped zipper opening, pockets for both of those finishes along with a compact inside pocket. This bag is produced up of 100% polyester and is significant plenty of simply to carry all the things that you simply will need prior to each exercise in addition to just after exercise session. The faucet Out Caged for women appeals inside a retro seem. The three which i have pointed out with this report are seriously suited and is also really suited to all women with distinct lifestyles but possess the similar goal and it s to go on a health club and acquire the proper and satisfying system that they ever desired. These bags are well made in addition to will come within a range of kinds, styles and sizes.
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CHAPTER IX UP CHAPTER XI CHAPTER X Anne s Apology Marilla said nothing to Matthew about the affair that evening; but when Anne proved still refractory the next morning an explanation had to be made to account for her absence from the breakfast table. Marilla told Matthew the whole story, taking pains to impress him with a due sense of the enormity of Anne s behavior. "It s a good thing Rachel Lynde got a calling down; she s a meddlesome old gossip," was Matthew s consolatory rejoinder. "Matthew Cuthbert, I m astonished at you. You know that Anne s behavior was dreadful, and yet you take her part! I suppose you ll be saying next thing that she oughtn t to be punished at all!" "Well now--no--not exactly," said Matthew uneasily. "I reckon she ought to be punished a little. But don t be too hard on her, Marilla. Recollect she hasn t ever had anyone to teach her right. You re--you re going to give her something to eat, aren t you?" "When did you ever hear of me starving people into good behavior?" demanded Marilla indignantly. "She ll have her meals regular, and I ll carry them up to her myself. But she ll stay up there until she s willing to apologize to Mrs. Lynde, and that s final, Matthew." Breakfast, dinner, and supper were very silent meals--for Anne still remained obdurate. After each meal Marilla carried a well-filled tray to the east gable and brought it down later on not noticeably depleted. Matthew eyed its last descent with a troubled eye. Had Anne eaten anything at all? When Marilla went out that evening to bring the cows from the back pasture, Matthew, who had been hanging about the barns and watching, slipped into the house with the air of a burglar and crept upstairs. As a general thing Matthew gravitated between the kitchen and the little bedroom off the hall where he slept; once in a while he ventured uncomfortably into the parlor or sitting room when the minister came to tea. But he had never been upstairs in his own house since the spring he helped Marilla paper the spare bedroom, and that was four years ago. He tiptoed along the hall and stood for several minutes outside the door of the east gable before he summoned courage to tap on it with his fingers and then open the door to peep in. Anne was sitting on the yellow chair by the window gazing mournfully out into the garden. Very small and unhappy she looked, and Matthew s heart smote him. He softly closed the door and tiptoed over to her. "Anne," he whispered, as if afraid of being overheard, "how are you making it, Anne?" Anne smiled wanly. "Pretty well. I imagine a good deal, and that helps to pass the time. Of course, it s rather lonesome. But then, I may as well get used to that." Anne smiled again, bravely facing the long years of solitary imprisonment before her. Matthew recollected that he must say what he had come to say without loss of time, lest Marilla return prematurely. "Well now, Anne, don t you think you d better do it and have it over with?" he whispered. "It ll have to be done sooner or later, you know, for Marilla s a dreadful deter- mined woman--dreadful determined, Anne. Do it right off, I say, and have it over." "Do you mean apologize to Mrs. Lynde?" "Yes--apologize--that s the very word," said Matthew eagerly. "Just smooth it over so to speak. That s what I was trying to get at." "I suppose I could do it to oblige you," said Anne thoughtfully. "It would be true enough to say I am sorry, because I AM sorry now. I wasn t a bit sorry last night. I was mad clear through, and I stayed mad all night. I know I did because I woke up three times and I was just furious every time. But this morning it was over. I wasn t in a temper anymore--and it left a dreadful sort of goneness, too. I felt so ashamed of myself. But I just couldn t think of going and telling Mrs. Lynde so. It would be so humiliating. I made up my mind I d stay shut up here forever rather than do that. But still--I d do anything for you--if you really want me to--" "Well now, of course I do. It s terrible lonesome downstairs without you. Just go and smooth things over-- that s a good girl." "Very well," said Anne resignedly. "I ll tell Marilla as soon as she comes in I ve repented." "That s right--that s right, Anne. But don t tell Marilla I said anything about it. She might think I was putting my oar in and I promised not to do that." "Wild horses won t drag the secret from me," promised Anne solemnly. "How would wild horses drag a secret from a person anyhow?" But Matthew was gone, scared at his own success. He fled hastily to the remotest corner of the horse pasture lest Marilla should suspect what he had been up to. Marilla herself, upon her return to the house, was agreeably surprised to hear a plaintive voice calling, "Marilla" over the banisters. "Well?" she said, going into the hall. "I m sorry I lost my temper and said rude things, and I m willing to go and tell Mrs. Lynde so." "Very well." Marilla s crispness gave no sign of her relief. She had been wondering what under the canopy she should do if Anne did not give in. "I ll take you down after milking." Accordingly, after milking, behold Marilla and Anne walking down the lane, the former erect and triumphant, the latter drooping and dejected. But halfway down Anne s dejection vanished as if by enchantment. She lifted her head and stepped lightly along, her eyes fixed on the sunset sky and an air of subdued exhilaration about her. Marilla beheld the change disapprovingly. This was no meek penitent such as it behooved her to take into the presence of the offended Mrs. Lynde. "What are you thinking of, Anne?" she asked sharply. "I m imagining out what I must say to Mrs. Lynde," answered Anne dreamily. This was satisfactory--or should have been so. But Marilla could not rid herself of the notion that something in her scheme of punishment was going askew. Anne had no business to look so rapt and radiant. Rapt and radiant Anne continued until they were in the very presence of Mrs. Lynde, who was sitting knitting by her kitchen window. Then the radiance vanished. Mournful penitence appeared on every feature. Before a word was spoken Anne suddenly went down on her knees before the astonished Mrs. Rachel and held out her hands beseechingly. "Oh, Mrs. Lynde, I am so extremely sorry," she said with a quiver in her voice. "I could never express all my sorrow, no, not if I used up a whole dictionary. You must just imagine it. I behaved terribly to you--and I ve disgraced the dear friends, Matthew and Marilla, who have let me stay at Green Gables although I m not a boy. I m a dreadfully wicked and ungrateful girl, and I deserve to be punished and cast out by respectable people forever. It was very wicked of me to fly into a temper because you told me the truth. It WAS the truth; every word you said was true. My hair is red and I m freckled and skinny and ugly. What I said to you was true, too, but I shouldn t have said it. Oh, Mrs. Lynde, please, please, forgive me. If you refuse it will be a lifelong sorrow on a poor little orphan girl, would you, even if she had a dreadful temper? Oh, I am sure you wouldn t. Please say you forgive me, Mrs. Lynde." Anne clasped her hands together, bowed her head, and waited for the word of judgment. There was no mistaking her sincerity--it breathed in every tone of her voice. Both Marilla and Mrs. Lynde recognized its unmistakable ring. But the former under- stood in dismay that Anne was actually enjoying her valley of humiliation--was reveling in the thoroughness of her abasement. Where was the wholesome punishment upon which she, Marilla, had plumed herself? Anne had turned it into a species of positive pleasure. Good Mrs. Lynde, not being overburdened with perception, did not see this. She only perceived that Anne had made a very thorough apology and all resentment vanished from her kindly, if somewhat officious, heart. "There, there, get up, child," she said heartily. "Of course I forgive you. I guess I was a little too hard on you, anyway. But I m such an outspoken person. You just mustn t mind me, that s what. It can t be denied your hair is terrible red; but I knew a girl once--went to school with her, in fact--whose hair was every mite as red as yours when she was young, but when she grew up it darkened to a real handsome auburn. I wouldn t be a mite surprised if yours did, too--not a mite." "Oh, Mrs. Lynde!" Anne drew a long breath as she rose to her feet. "You have given me a hope. I shall always feel that you are a benefactor. Oh, I could endure anything if I only thought my hair would be a handsome auburn when I grew up. It would be so much easier to be good if one s hair was a handsome auburn, don t you think? And now may I go out into your garden and sit on that bench under the apple-trees while you and Marilla are talking? There is so much more scope for imagination out there." "Laws, yes, run along, child. And you can pick a bouquet of them white June lilies over in the corner if you like." As the door closed behind Anne Mrs. Lynde got briskly up to light a lamp. "She s a real odd little thing. Take this chair, Marilla; it s easier than the one you ve got; I just keep that for the hired boy to sit on. Yes, she certainly is an odd child, but there is something kind of taking about her after all. I don t feel so surprised at you and Matthew keeping her as I did--nor so sorry for you, either. She may turn out all right. Of course, she has a queer way of expressing herself-- a little too--well, too kind of forcible, you know; but she ll likely get over that now that she s come to live among civilized folks. And then, her temper s pretty quick, I guess; but there s one comfort, a child that has a quick temper, just blaze up and cool down, ain t never likely to be sly or deceitful. Preserve me from a sly child, that s what. On the whole, Marilla, I kind of like her." When Marilla went home Anne came out of the fragrant twilight of the orchard with a sheaf of white narcissi in her hands. "I apologized pretty well, didn t I?" she said proudly as they went down the lane. "I thought since I had to do it I might as well do it thoroughly." "You did it thoroughly, all right enough," was Marilla s comment. Marilla was dismayed at finding herself inclined to laugh over the recollection. She had also an uneasy feeling that she ought to scold Anne for apologizing so well; but then, that was ridiculous! She compromised with her conscience by saying severely "I hope you won t have occasion to make many more such apologies. I hope you ll try to control your temper now, Anne." "That wouldn t be so hard if people wouldn t twit me about my looks," said Anne with a sigh. "I don t get cross about other things; but I m SO tired of being twitted about my hair and it just makes me boil right over. Do you suppose my hair will really be a handsome auburn when I grow up?" "You shouldn t think so much about your looks, Anne. I m afraid you are a very vain little girl." "How can I be vain when I know I m homely?" protested Anne. "I love pretty things; and I hate to look in the glass and see something that isn t pretty. It makes me feel so sorrowful--just as I feel when I look at any ugly thing. I pity it because it isn t beautiful." "Handsome is as handsome does," quoted Marilla. "I ve had that said to me before, but I have my doubts about it," remarked skeptical Anne, sniffing at her narcissi. "Oh, aren t these flowers sweet! It was lovely of Mrs. Lynde to give them to me. I have no hard feelings against Mrs. Lynde now. It gives you a lovely, comfortable feeling to apologize and be forgiven, doesn t it? Aren t the stars bright tonight? If you could live in a star, which one would you pick? I d like that lovely clear big one away over there above that dark hill." "Anne, do hold your tongue." said Marilla, thoroughly worn out trying to follow the gyrations of Anne s thoughts. Anne said no more until they turned into their own lane. A little gypsy wind came down it to meet them, laden with the spicy perfume of young dew-wet ferns. Far up in the shadows a cheerful light gleamed out through the trees from the kitchen at Green Gables. Anne suddenly came close to Marilla and slipped her hand into the older woman s hard palm. "It s lovely to be going home and know it s home," she said. "I love Green Gables already, and I never loved any place before. No place ever seemed like home. Oh, Marilla, I m so happy. I could pray right now and not find it a bit hard." Something warm and pleasant welled up in Marilla s heart at touch of that thin little hand in her own--a throb of the maternity she had missed, perhaps. Its very unaccustomedness and sweetness disturbed her. She hastened to restore her sensations to their normal calm by inculcating a moral. "If you ll be a good girl you ll always be happy, Anne. And you should never find it hard to say your prayers." "Saying one s prayers isn t exactly the same thing as praying," said Anne meditatively. "But I m going to imagine that I m the wind that is blowing up there in those tree tops. When I get tired of the trees I ll imagine I m gently waving down here in the ferns--and then I ll fly over to Mrs. Lynde s garden and set the flowers dancing--and then I ll go with one great swoop over the clover field--and then I ll blow over the Lake of Shining Waters and ripple it all up into little sparkling waves. Oh, there s so much scope for imagination in a wind! So I ll not talk any more just now, Marilla." "Thanks be to goodness for that," breathed Marilla in devout relief. CHAPTER IX UP CHAPTER XI 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 29 12 (Tue)
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管理人より こちらに掲載している原語リブレットはどうやらホーフマンスタールの生台本だったようで、シュトラウスが音楽を付けてない部分や追加した詩句があるようです。生台本は話のつながりがスムーズな点もあるということで、wagnerianchanさまはそのまま訳出してくれました。管理人がシュトラウスがカットした原語部分をグレーにする処理を行っています。通常のリブレット日本語対訳はこちらをご覧ください。 → メモ@広報室 第3幕 (ホテルの中。部屋につながる階段のある公共空間。階段は2度カーブしながら上階につながっている。階下には、新聞を置いた机、揺り椅子、肘掛椅子がいくつか置かれている。舞台右側前方には警備員室があり、通りへの出口がある。 夜。部屋は石油ランプで照らされている。制服を着たマッテオが、2階の階段の手すりにもたれているのが見える。彼は階下を見ている。玄関扉の鈴が鳴ると、マッテオは姿を消す。部屋係がポーターの控室から出て来て、鍵を開ける。 フード付きのコートに身を包み、舞踏会から帰ってきたアラベラが入ってくる。部屋係はまたいなくなる。アラベラはゆっくりと階段の方に進む。彼女の目は半ばつぶったままで、表情は幸せに満ちあふれている。 彼女を取り巻いているのはダンスのリズムだが、それにマンドリカのスラブ風の話し方のリズムがからんでいく。アラベラは微笑みを浮かべる) ARABELLA (うつつに夢を見るかのように、舞台前方の揺り椅子に座り、静かに揺する。物思いにふけりながら声に出して独り言を言う)馬車は走るわ。あの方の野原を横切って・・・ 木が高くて静かな森を越えて・・・ そう、あの方によくお似合い。 木が高くて静かな森。 すると騎兵たちが、あの方を出迎えに来るの。 あの方は言うわ。「我が家の女あるじだ」 続けて言うわ。「私が連れて来たのだ」 「皇帝のまします首都からな。だが、もはや首都にお戻りになることはない。ずっと私とともに、この森で暮らし続けるのだ」 MATTEO (また上に姿を現し、手すり越しに身をかがめる。階下で座っている女性を見ると、それがアラベラなので信じられず、思わずささやく) アラベラじゃないか!有り得ない!考えられないことだ! (アラベラは、幸せな夢想からパッと覚める。後ろにいるマッテオには気がつかないが、何となく一人じゃないのを感じる。マッテオは静かに階下に下り、アラベラに一礼する) ARABELLA (びっくりするが取り乱すことなく、素早く立ちあがり) あなたがここに?こんな遅くに? ここに住まっておられるとでも? MATTEO (二人の関係をほのめかすかのように) あなたがここに? それはぼくのセリフさ、アラベラ! (一歩進み出て) こんな遅くに、また外出したのかい? ARABELLA 私は舞踏会から帰ってきて、部屋に行くところよ。 おやすみなさい。 (会釈して、マッテオの脇をすり抜けて部屋に上がっていこうとする) MATTEO (限りなく皮肉を込めて) 舞踏会帰りとはねえ!部屋に行くところ! (半ば独り言で) 乙女心の神秘・・・何ともきわめがたい! ARABELLA そうよ。おやすみよ。何がそんなに面白いのよ? MATTEO おいおい、アラベラ! (意味ありげに恋の微笑を浮かべている) ARABELLA 何かまだおっしゃりたいことがあるのなら、 お願いですから昼間にして!今ここでは、いや! MATTEO 何か・・・まだ?ぼくが・・・まだ・・・何か? ああ、可愛いアラベラ!ぼくは今日のことを 死ぬまで感謝し続けるつもりだよ! ARABELLA 感謝する・・・何をよ?もう全て終わってしまったというのに。 MATTEO (激しい皮肉を込めて) 感謝?何を?・・・ぼくにはわからない芸当だよ! ぞっとするほどの名人芸だな。 ARABELLA どういうことよ? MATTEO 何とまあ、熟練の上演だろう。喜劇のための喜劇。 観客なしの喜劇上演! もうたくさんだ!魔女の魔法と変わらないよ! ARABELLA 何一つ言っていることがわからないわ。 ですから、おやすみなさい。 (マッテオは道をふさぐ) MATTEO ならいいよ!だが、もう一度、もう一度だけ、 目を見せてくれないか? 君の心はあの時と同じだという目を! ARABELLA あの時と同じ? MATTEO (燃え上がるように) 15分前と同じ目さ! ARABELLA (全く悪びれずに) 15分前に、私はここにはいなかったわ! (楽しいことを思い出した表情で) MATTEO 15分前だよ!いたくせに!上に! ARABELLA (まるで事情が分からぬまま、上のほうを見る) 何をおっしゃっているのか分からない。 もうここにはいたくないわ。 MATTEO あんまりだ!あんな時を過ごした後に、 こんなにも神経を冷たくもてあそばれては、誰も耐えられない!君が偽りを言えないようにするためには、君の体を流れている血に訴えるしかないのかい! (アラベラの腕をつかむ) ARABELLA あなた、正気じゃないわ! マッテオ!そこを通してよ。でないと、人を呼ぶわよ! MATTEO あなたは、一人の男を狂わせてしまった。 この世のほかの誰でもない。あなたがです! 最後に一度でいいから、あなたの眼差しで、 あの部屋でぼく達の間に起こった出来事を確信させてください。それ以上のことを何も望んではいないのです! (部屋係が静かにポーターの控室から出て来て、玄関の鍵を開けに行く) ARABELLA 人が来たわ。行かせてちょうだい! MATTEO ぼくは君に誓った。君は、これからは、ぼくから自由だと。 君の涙に、ささやくようなキスに、 ぼくは誓った・・・ 明日からは自由だと!誓いは守るよ! だけど暗闇の中で、君の目は見えなかった・・・ 一目だけでもぼくを見てくれ。 その眼差しが全てを封印したときこそ、 君は永遠に自由の身になるんだ! (アデライーデが登場する。その後ろにはマンドリカが現れるが、すぐに立ち止まる。ヴァルトナーも登場し、最後に3人のギャンブル仲間が現れるが、彼らは薄暗いロビーに立ち止まったままでいる。その後ろからはヴェルコとデューラも現れる。マッテオは当惑して、ぎこちなく舞台の脇に退く) ADELAIDE まあ、階段部屋で密会なんて! だから、戻ってこなかったってわけ? ねえ、あなた、どういうこと? ARABELLA 何でもないわ、ママ。何でもないの。 MANDRYKA (マッテオをじっと見つめる) そう。鍵を持っていった奴はこいつだ。 ARABELLA (マンドリカに一歩歩み寄って、まるで屈託のない様子で) 今日はもうお会いすることはないと 思っていましたわ。マンドリカさん! MANDRYKA (むっつりしたままアラベラに) まことに。 伯爵令嬢、おいとましてよろしいでしょうか! (来た方向を逆戻りしていく) ヴェルコ! WELKO (マンドリカの近くに来て) 大侯様、やはりあの男ですか? MANDRYKA お前もわかったろ。一番列車で家に帰ろう。 ARABELLA (マンドリカに歩み寄って) あなたが気にすべきことなど、 何もありません。マンドリカ。 帰宅したら、この方に出くわしたのです。 私たちの古くからのお友達ですの。お望みなら、 後で詳しいことをお話しいたしますわ。 MANDRYKA 本当に、おいとまさせていただきたいのです! (去ろうという表情を見せる) (アラベラは、驚いて首を横に振る) ADELAIDE ああ、ウィーン!この中傷と陰謀に満ちた街! (マッテオに) この疫病神め! WALDNER (マンドリカを引きとめながら) もう少し、ここにいてくださいよ! どうやら、何か誤解が あるようですからな! (アラベラに) 娘よ、お前に質問だ!どこから帰ってきた? お前は、舞踏会からの帰り道を少尉殿に送ってもらったのか? お前も同意したのか? ARABELLA パパ!あたしの顔をよく見て!一人頭が変になったからといって、みんながいっぺんにおかしくなることないじゃない? WALDNER 何も言うべきことはないのだな? ARABELLA 絶対にありません。 昨夜からパパが知っていること以外には。 それとも何かご存知のことがあるの? WALDNER とても気が軽くなったよ。 (アラベラの額にキスして、マンドリカに) 見ての通りです! 何もなかったのです!全く何も! こんな騒ぎはもう忘れましょう。そして「おやすみ」としましょう! (ギャンブル仲間たちに) 向こうの部屋に行こう。続きのゲームといこう。 MANDRYKA (アラベラに歩み寄って、彼女にのみ話しかける) 金と善意の許す限り、 私は、この醜い喜劇を隠し通すつもりです。 それというのも、お嬢さん、私はあなたが 仕組んだ役回りには、まるで向いていないからです。 ARABELLA 何ということを私に!私をどんな女だと思っているの? MANDRYKA 残念ですが、まさにそのままのあなたとしてですよ。 ARABELLA (大きな叫び声をあげるように) こんなひどいこと、夢にも見たことがないわ! MANDRYKA (背を向けると、独り言で) ばかな、ばかな、なぜ、こんなことが! ばかな、なぜこんなことが! ADELAIDE ああ、三重に不幸な出会いだわ! WALDNER お願いですから、下手なアリアはやめてください! ARABELLA (マンドリカ一人に向けて) 聞いて、マンドリカ。天の神様に誓って、 あなたの赦しが必要なことは、私、何もしていないわ! むしろ私よ!もし、それが可能なら、あなたが、そんな言い方で私に言った言葉を許してあげねばならないのは! MANDRYKA (怒りに燃えてマッテオを見つめる) 私にも同じ言葉を言わせてください。 目が見えなければ良かったんでしょうが、 あいにく目がいいのです。 耳が聴こえなければ良かったんでしょうが、 あいにく耳がいいのです。 頭が弱ければ良かったんでしょうが…そしたら、あるいは、 あそこにいた男に気付くこともなく、 夜にどんなゲームが行われているかも わからなかったかも知れません! MATTEO (マンドリカの表情と眼差しにこめられた侮辱に傷ついて) あなたが何か権利をお持ちだというのなら、 例えその権利が最近生じたものだとしても、 私は受けて立つつもりです! ARABELLA (両者の間に立ちながら) そうよ。この方はその権利を持っているわ。 私の婚約者なんですもの! 一方あなたには、わずかな権利もないわ。 かけらほどの権利も! さあ、ご自分の口でおっしゃって! MATTEO (苦悩に満ち、ためらいながら) いいえ。何も・・・ ARABELLA (マンドリカに) お聴きの通りよ。 MANDRYKA 本人に語らせるんだ! 口から出かかっていた言葉がある・・・ 「いいえ。何も・・・ただし」そう言おうとして、 すぐに飲み込んだじゃないか。 私は、ちょうど唇から出かかっているのを見たんだ。 ARABELLA マッテオ。あなたがそんな卑しい人と思ったことはないわ! 私に何をしようというの・・・! あなたは強情のあまり、私を世間の恥さらしにしようとしているのよ! ADELAIDE 呪わしい陰謀家め! 娘を盗み取ろうとするなんて! MANDRYKA (一歩マッテオに近づいて) 「ただし!」さあ、秘めた真実をお話しなさい! MATTEO (きっぱりと) 何も!何も話すことはありません! MANDRYKA (アラベラに) この人はこう言おうとしたのです・・・ 「ただし、この夜私が得た権利により」と! 聞いてみなさい。あなた一人にならば、 その一言を言うかもしれませんよ! ARABELLA (マッテオに) この人の前で、 何か言うことはある? MATTEO (うつむいて) 何も。 MANDRYKA おめでとうございます。少尉殿。 こんなに美しくて口の堅い少女を得て、 まことに幸せですな。 お二人とも全くご立派な方々ですよ。 ARABELLA 聞いた?パパ! WALDNER マンドリカ!きちんと説明してもらおうじゃないか! 娘よ!おいで! ARABELLA (その場に立ち止まったまま、苦悩に満ちた表情をしている) もうどうにでもなるがいい!生きていたって何の意味も無いわ! この世に何かいいことがあるというの? この人がこんなに弱くて、私を信じる力を持っていないのなら・・・つまらないことで、私を捨ててしまうのなら! DIE GÄSTE<ホテルの客たち (階段の上でぶつぶつ言いあう) 何なんだ?知り合いどうしか?誰が誰をつかまえたんだ?何なんだ?女が出て行こうとしているぞ?あの少尉と一緒にか? ADELAIDE (大きな身振りでヴァルトナーに向かって) だめよ。この若者をあなたのピストルの前に引き出す価値などないわ!テオドール! 結婚を断れた男の卑劣な悪だくみよ。それ以上のことではないわ! WALDNER あの男のことなど言ってないぞ。マンドリカだ・・・ わしへの名誉毀損を償う義務がある。すぐにだ。 わしのピストルはどこだ?何っ?売り払った? こんちくしょう! ならば、新しいのを仕入れてこよう。 EINER DER SPIELER 異議あり! まず我々からの借入れを返済してください! MATTEO 悪いのは私一人です。全ての言葉を撤回します。そして全ての眼差しを!みなさん、誤解しています。 あなたが聞けるだろうと思っていたことを、 私は思い浮かべたこともありません。 誰か罰を受けるべき者がいるなら、それは私です! WALDNER (鋭い口調で) 足をつっこむと同時に、その足を洗う・・・ 私の若い頃は、将校はそんなことをしませんでしたぞ! MANDRYKA (アラベラ一人に向けて) この若者は、考えられる限り最高に勇敢に振舞っている。 あなたも、そろそろ少し考えてあげたほうがいいのではないですか。 本当のことを言ってください!私一人に! あなたの愛人なのですね!私は何でもしましょう・・・ 私のことを信用してもらえますか、アラベラ! ARABELLA (しっかりとマンドリカを見つめて) マンドリカ!私の魂と心の平和に誓って、 本当のことを言っているわ! MANDRYKA 心にそんな誓いを立ててはいけません! あなたのことで、こんなにも苦しんでいるのに! (独り言で) ああ、神よ!この女性のせいで、なぜこんな恥ずかしい思いをさせるのですか! (もう一度アラベラに、小声で) 私は少年を見たのです。 あなたの部屋の鍵をこの男に渡した少年の姿を見たのです。 ARABELLA どんな少年ですか? MANDRYKA あなたが使いに出した従者の少年ですよ! ARABELLA ズデンコのこと?何てこと?他に誰が? MANDRYKA ああ!打ち明けてほしいのです!私にだけは! ARABELLA (独り言で) 地獄が私に向かって口を開けているようだわ! MANDRYKA 私の人生を台無しにした男を、 あなたの愛人として赦さねばならぬのですか?お答えを! ARABELLA 真実を私は話します。マンドリカ。真実だけが私の味方です。 その他全てのことは、私の味方をしてくれないからこそ、よけい真実を語るのです。 MANDRYKA これが最後です!あなたは結婚するおつもりなのですか? 私たちの婚約の10分後に 逢引したその男と! ARABELLA 質問に答える必要はございません、 マンドリカさん。 (マンドリカから離れる) ああ、神様・・・私にふさわしい方だと思ったのに、やはりふさわしい方ではなかったのね?(腰をおろして) 神様、私を骨の髄まで打ち砕いてしまって、 このあと私には何が残るというのでしょう? MANDRYKA (怒りに燃えて) よろしい。ヴェルコよ。武器商店の門を破って、いくら金がかかってもかまわんから、サーベルを手に入れてこい! 重たいサーベルを2振り!良く砥いであるサーベルだ! すぐ持ってくるんだ!医者も1人叩き起こせ! それ以外は何もいらん。そこに庭があるのだから。 (半分マッテオのほうに向きなおって) 立会人なしで、決着させましょう。 (シガレットケースを取り出して、考え事をしながら、マッテオにも一つ差し出すが、マッテオは断る) みなさんは、その時まで、 私たちを二人にさせていただけませんかな。 (タバコを吸う) (漠然とした予感の中で) DRITTER AUFZUG Im Hotel. Offener Raum, zugleich Stiegenhaus. Die Stiege läuft in zwei Wendungen aufwärts. Unten stehen ein paar Tische mit Zeitungen, Schaukelstühle, Fauteuils. Vorne rechts ist die Portiersloge und der Ausgang auf die Gasse. Es ist Nacht; der Raum ist mit Öllampen erleuchtet. Matteo, in Uniformbluse, wird am Stiegengeländer in der Höhe des ersten Stocks sichtbar. Er späht hinunter. Es läutet an der Haustür, Matteo verschwindet. Der Zimmerkellner tritt aus der Portiersloge hervor, sperrt auf. Arabella tritt ein, in Mantel und Capuchon, vom Ball kommend. Der Zimmerkellner verschwindet wieder. Arabella geht langsam auf die Stiege zu. Ihre Augen sind halb geschlossen, ihr Gesicht hat einen glücklichen Ausdruck. Die Musik des Balles umschwebt sie, durch die Tanzrhythmen schlingt sich der Rhythmus von Mandrykas slawischer Redeweise. Sie lächelt ARABELLA wie wach träumend, setzt sich in den vordersten Schaukelstuhl und wiegt sich leise, vor sich laut denkend Über seine Felder wird der Wagen fahren und durch seine hohen stillen Wälder - ja, zu denen passt er hohe stille Wälder. Und dann werden seine Reiter uns entgegenkommen »Das ist Eure Herrin«, wird er sagen, »die ich mir geholt hab«, wird er sagen, »aus der Kaiserstadt, jetzt aber will sie nimmermehr zurück, bleiben will sie nur bei mir in meinen Wäldern.« MATTEO erscheint wieder oben, er beugt sich übers Geländer. Er erblickt die unten Sitzende, kann es kaum glauben dass es Arabella ist, flüstert vor sich hin Arabella! unmöglich! es ist ja nicht denkbar! Arabella fährt aus ihrer glücklichen Träumerei auf. Sie sieht Matteo nicht; er ist ihr im Rücken. Sie spürt nur, dass sie nicht mehr allein ist. Matteo leise unten angelangt, verneigt sich vor ihr ARABELLA erstaunt aber ohne Erregung; sie steht schnell auf Sie hier? So spät? So wohnen Sie noch immer hier im Haus? MATTEO mit versteckter Beziehung Sie hier? so muss ich fragen, Arabellal Einen Schritt näher Sie gehn so spät noch einmal aus? ARABELLA Ich komme heim vom Ball und gehe auf mein Zimmer. Gute Nacht. Sie nickt ihm zu und will an ihm vorbei hinauf gehen MATTEO mit unendlicher Ironie Sie kommen heim vom Ball! Sie gehen auf Ihr Zimmer! Halb für sich Geheimnis eines Mädchenherzens, unergründliches! ARABELLA Ja. Gute Nacht. Was amüsiert Sie da so sehr? MATTEO Oh, Arabella! Er lächelt verliebt und vielsagend ARABELLA Wenn Sie mir noch etwas zu sagen haben, dann bitte ich, bei Tag! nicht jetzt, nicht hier! MATTEO Noch - etwas? Ich - noch - etwas? Oh süsse Arabella, danken will ich dir von heute bis ans Ende meines Lebens! ARABELLA Danken - wofür? Das ist doch alles ein für allemal vorbei. MATTEO mit stärkster Ironie Danken? wofür? - die Kunst ist mir zu hoch! Mir graut vor so viel Virtuosität. ARABELLA Was haben Sie? MATTEO So meisterhaft Comödie spielen, nur um der Comödie willen, Comödie spielen ohne Publicum! das ist zu viel! das grenzt an böse Hexenkünste! ARABELLA Von allen Ihren Reden da versteh ich nicht ein Wort, und somit gute Nacht. Matteo vertritt ihr den Weg MATTEO Schon gut! jetzt einen Blick noch, einen einzigen, der mir sagt, dass du im Innersten die gleiche bist! ARABELLA Die gleiche? MATTEO glühend Wie vor einer Viertelstunde! ARABELLA ganz arglos Vor einer Viertelstunde war ich anderswo! Mit dem Ausdruck verklärter Erinnerung MATTEO Vor einer Viertelstunde! ja! da oben! ARABELLA einen Blick nach oben, ohne Verständnis Ich weiss nicht was Sie meinen, und ich möchte hier nicht länger stehn. MATTEO Das ist zu viel! So kalte Herrschaft über jeden Nerv nach solchen Augenblicken - das erträgt kein Mann! Ich appelliere an den einen Blutstropfen in dir der unfähig zu heucheln ist! Er packt sie am Arm ARABELLA Sie sind ja nicht bei sich! Matteo! Geben Sie den Weg mir frei oder ich rufe! MATTEO Du könntest einen Mann zum Wahnsinn bringen, du, so wie niemand auf der Welt! Bekräftige mit einem einzigen letzten Blick was zwischen uns gewesen ist dort oben und nichts auf dieser Welt verlang ich mehr von dir! Zimmerkellner kommt leise aus der Portiersloge, geht aufsperren ARABELLA Hier kommen Menschen, lassen Sie mich los! MATTEO Ich habs geschworen, dass du frei sein wirst von mir, in deine Thränen, in deine flüsternden Küsse hab ichs geschworen - von morgen ab! Ich halte meinen Schwur! Im Dunkel waren wir, ich habe deine Augen nicht gesehen Gib einen Blick mir jetzt, der alles noch zum letzten Mal besiegelt, und du bist frei für immer! Adelaide, hinter ihr Mandryka, der sofort stehen bleibt, dann Waldner, zuletzt die drei Spieler, die im halb dunklen Vestibül stehen bleiben; hinter ihm Welko und Djura. Matteo tritt ungeschickt und verlegen zur Seite ADELAIDE Welch ein erregtes tête-à-tête im Stiegenhaus! Du hast dich also nicht zurückgezogen? Mein Kind, was soll das heissen? ARABELLA Aber nichts, Mama. Gar nichts. MANDRYKA sieht starr auf Matteo Ja. Es ist der Verfluchte mit dem Schlüssel. ARABELLA tritt einen Schritt gegen Mandryka, ganz unbefangen Sie hab ich heut nicht mehr zu sehn vermutet, Herr von Mandryka! MANDRYKA finster zu Adelaide Sehr wohl. Ich bitte, Gräfin, um Erlaubnis, mich zurückzuziehn! Zurücktretend Welko! WELKO bei ihm Der Gospodar hat ihn erkannt? MANDRYKA Du packst. Wir fahren mit dein ersten Zug nachhaus. ARABELLA zu Mandryka hintretend Hier ist nichts, das Sie anginge, Mandryka. Ich komm nachhaus, begegne diesem Herrn. Das ist ein alter Freund von uns. Darüber alles erzähl ich Ihnen später, wenn Sie wollen. MANDRYKA Ich bitte wirklich sehr, mich zu entschuldigen! Er macht Miene zu gehen Arabella schüttelt erstaunt den Kopf ADELAIDE Oh Wien! du Stadt der médisance und der Intrige! Gegen Matteo Sie Unglückseliger! WALDNER Mandryka aufhaltend Du bleibst noch einen Augenblick! Es scheint, dass hier noch Missverständnisse geblieben sind! Zu Arabella Ich frage dich, mein Kind! Wo kommst du her? Hat der Herr Leutnant dich vom Ball nachhaus begleitet mit deiner Zustimmung? ARABELLA Papa, so schau mir ins Gesicht! Kann ein Verrückter alle närrisch machen auf eins zwei? WALDNER Du hast mir nichts zu sagen? ARABELLA Aber wirklich nichts, als was du ohnehin schon weisst, Papa, seit heute abend. Oder weisstdu's etwa nicht? WALDNER Da bin ich sehr erleichtert. Küsst Arabella auf die Stirn. Zu Mandryka Also bitte! Es ist nichts vorgefallen! aber gar nichts! Schwamm drüber über alle Aufregung und gute Nacht! Zu den Spielern Ich bitte dort hinein. Wir spielen sofort weiter. MANDRYKA tritt zu Arabella, spricht nur zu ihr Ich werde helfen, soviel Geld und guter Wille helfen kann, vertuschen diese hässliche Comödie, da ich die Rolle nicht geeignet bin zu spielen, die Sie mir haben zugedacht, mein Fräulein. ARABELLA Wie reden Sie zu mir! Wer bin ich denn? MANDRYKA Sie sind halt eben, die Sie sind. ARABELLA quasi Aufschrei So ähnlich einem bösen Traum hab ich noch nie etwas erlebt! MANDRYKA wendet sich - für sich Nein, -nein, wie ist das möglich! nein, wie kann das möglich sein! ADELAIDE O dreimal unglückselige Begegnung! WALDNER Jetzt keine Arien, wenn ich bitten darf! ARABELLA nur zu Mandryka Mandryka, hören Sie, so wahr ein Gott im Himmel ist, so haben Sie mir nichts hier zu verzeihen! Viel eher muss ich Ihnen, wenn ich kann, verzeihen, was Sie zu mir geredet haben und in welchem Ton! MANDRYKA den Blick böse auf Matteo geheftet Ich bitte, mir dergleichen Sprüche zu ersparen. Ich müsste blind sein und hab leider scharfe Augen, ich müsste taub sein und hab leider gute Ohren, und müsste schwach im Kopf sein -dann vielleicht, dass ich das Individuum dort nicht erkennen täte und nicht verstünde, was hier für ein Spiel gespielt wird bei der Nacht! MATTEO getroffen von der Insulte, die in Mandrykas Blick und Miene liegt Mein Herr, falls Sie hier irgendwelche Rechte besitzen, wenn auch erst seit kurzer Zeit - ich stehe zur Verfügung! ARABELLA zwischen beiden stehend Ja, a l l e Rechte besitzt dieser Herr denn er ist mein Verlobter! und Sie besitzen das leiseste nicht, auch nicht einen Schatten von Rechten! Sagen Sie selber! MATTEO zögernd, gequält Nein. Keines - ARABELLA zu Mandryka Sie hören. MANDRYKA Hätten Sie den Herrn ausreden lassen! Ein kleines Wort war ihm noch auf der Zunge - »Nein keines - ausser« hat er sagen wollen und hat es schnell verschluckt Ich aber hab es grade noch gesehn auf seinen Lippen. ARABELLA Matteo, nie hab ich für niedrig Sie gekannt! Was tun Sie jetzt an mir - ! Sie wollen mich aus Trotz vor aller Welt compromittieren! ADELAIDE Unseliger Intrigant! so will er die Hand meines Kindes erschleichen! MANDRYKA tut einen Schritt näher zu Matteo »Ausser - «! Heraus mit der verschwiegenen Wahrheit! MATTEO fest Kein Wort! Kein Wort! MANDRYKA zu Arabella Ausser den Rechten, hat er sagen wollen - die diese Nacht verliehen hat! Versuchen Sie, vielleicht zu Ihnen ganz allein wird er ein Wörterl drüber sagen! ARABELLA zu Matteo Haben Sie vor diesem Herrn mir etwas noch zu sagen? MATTEO senkt den Kopf Nein. MANDRYKA Ich gratuliere Ihnen, Herr Leutnant, zu Ihrem Glück bei schönen Mädchen und zu Ihrer Discretion. Die beiden sind gleich gross. ARABELLA Hast du gehört, Papa! WALDNER Mandryka, dafür wirst du Rechenschaft mir geben! Komm her zu mir, mein Kind! ARABELLA bleibt stehen, wo sie ist, mit tief schmerzlichem Ausdruck Soll alles gehen wie es will, das Leben ist nichts wert! Was ist an allem in der Welt, wenn dieser Mann so schwach ist und die Kraft nicht hat an mich zu glauben - und mich dahingibt wegen eines Nichts! DIE GÄSTE oben auf der Treppe murmeln Wie? Kennen Sie sich aus? Welcher hat wen erwischt? Was? Sie hat fort gewollt? Wie mit dem Leutnant? ADELAIDE mit einer grossen Gebärde auf Waldner zu Nein, dieser junge Mensch ist es nicht wert vor dein Pistol zu kommen, Theodor! das ist die niederträchtige Cabale des abgewiesenen Freiers, und nichts weiter! WALDNER Von dem da redet niemand. Der Mandryka - der ist Genugtuung mir schuldig. Auf der Stelle. Wo sind meine Pistolen? was - verkauft? o Sakrament! Ich werd mir andre zu verschaffen wissen. EINER DER SPIELER Wir protestieren! Zuerst kommt die revanche, die Sie uns schulden! MATTEO Ich bin allein der Schuldige. Ich nehme jedes Wort zurück und jeden Blick! Missdeutet hat man alles. Ich habe nichts von dem gemeint, was Sie zu hören glaubten. Wenn jemand Strafe hier verdient hat, so bin ichs. WALDNER scharf Eintunken und reinwaschen wiederum in einem Atem das war zu meiner Zeit nicht Brauch bei Officieren 1 MANDRYKA nur zu Arabella Der junge Mensch benimmt sich brav wie möglich. Es wäre an der Zeit, dass Sie auf ihn ein bissl Rücksicht nehmen täten, schönes Kind. Gestehn Sie mir die Wahrheit, mir allein! Es ist Ihr Liebhaber! Ich werde alles tun - Sie können sich auf mich verlassen, Arabella! ARABELLA sieht ihn fest an Bei meiner Seel' und Seligkeit, Mandryka, die Wahrheit ist bei mir! MANDRYKA Nicht deine Seele so verschwören, Mädel! Mir tut das Herz zu weh um dich! für sich O Gott, was tust du mir für eine Schande an durch dieses Weib! nochmals zu Arabeila, leise Wenn ich den Buben doch gesehen hab, wie er den Schlüssel ihm hat übergeben zu Ihrem Zimmer. ARABELLA Was für einen Buben? MANDRYKA Den Buben, Ihren groom, den Sie geschickt! ARABELLA Den Zdenko? Mein Gott! oder wen? MANDRYKA Aha! Ich will, dass Sie gestehen! mir allein! ARABELLA für sich Ist denn die Hölle gegen mich verschworen! MANDRYKA Soll ich den Menschen dort, der mir mein Leben ruiniert hat, soll ich ihn schonen als Ihren Geliebten? Reden Sie! ARABELLA Die Wahrheit ist bei mir, Mandryka, nur die Wahrheit, denn alles sonst - das seh ich ja - ist gegen mich. MANDRYKA Zum letzten Mal! Willst du heiraten dort den Menschen mit dem du hast das süsse Stelldichein gehabt nach unserer Verlobung zehn Minuten! ARABELLA Ich habe nichts zu antworten, Herr von Mandryka, auf Ihre Fragen. Sie geht von ihm weg O Gott - so ist der Richtige doch nicht der Richtige? Setzt sich O Gott wie du mich demütigst bis ins Mark was von mir bleibt denn übrig noch nach dieser Stunde? MANDRYKA grimmig Auch gut. Aufsperren lass dir eine Waffenhandlung, Welko, soll kosten was es will, ich brauche Säbel! zwei schwere Säbel, scharfgeschliffene! Sofort hierher! und einen Doctor lass aufwecken, sonst brauch ich nichts. Dort ist der Wintergarten. Mit einer halben Wendung zu Matteo Wir werden ohne Zeugen alles schon zu Ende bringen. Er nimmt seine Cigarrentasche heraus, überlegt, bietet Matteo eine an, der ablehnt; zündet sich selber eine an Die Herrschaften vielleicht gestatten uns allein zu bleiben bis dahin. Er raucht Dumpfe Erwartung この日本語テキストは、 クリエイティブ・コモンズ・ライセンス の下でライセンスされています。@wagnerianchan Strauss,Richard/Arabella/III-2
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#norelated Apacheのこと 基本的に備忘録として使います。 ほとんど更新はありませんのでご了承ください。 ソースからインストール(のメモ) apacheのサイトからソースを頂きます。 今回頂いたのは、httpd-2.2.8.tar.gz です。 インストール先を/opt/apacheとする前提でコンパイルします。 展開 # tar zxvf httpd-2.2.8.tar.gz aprのコンパイル&インストール # cd httpd-2.2.8/srclib/apr # ./configure --prefix=/opt/apache/apr-httpd/ # make make install apr-utilのコンパイル&インストール # cd httpd-2.2.8/srclib/apr-util # ./configure --prefix=/opt/apache/apr-util-httpd/ --with-apr=/opt/apache/apr-httpd/ # make make install 本体のコンパイル&インストール ありとあらゆるものインストールしています。 # cd httpd-2.2.8 # ./configure --prefix=/opt/apache --enable-rule=SHARED_CORE --enable-module=so \ # --enable-module=most --enable-access=shared --enable-auth=shared --enable-auth_anon=shared \ # --enable-auth_dbm=shared --enable-auth_digest=shared --enable-include=shared \ # --enable-log_config=shared --enable-env=shared --enable-mime_magic=shared \ # --enable-cern_meta=shared --enable-expires=shared --enable-deflate=shared \ # --enable-headers=shared --enable-usertrack=shared --enable-setenvif=shared \ # --enable-mime=shared --enable-dav=shared --enable-status=shared \ # --enable-autoindex=shared --enable-asis=shared --enable-info=shared \ # --enable-dav_fs=shared --enable-vhost_alias=shared --enable-negotiation=shared \ # --enable-dir=shared --enable-imap=shared --enable-actions=shared \ # --enable-speling=shared --enable-userdir=shared --enable-alias=shared \ # --enable-rewrite=shared --enable-proxy=shared --enable-proxy_ftp=shared \ # --enable-proxy_http=shared --enable-proxy_connect=shared --enable-cache=shared \ # --enable-suexec=shared --enable-disk_cache=shared --enable-file_cache=shared \ # --enable-mem_cache=shared --enable-cgi=shared --enable-proxy_balancer=shared \ # --enable-proxy_ajp=shared --enable-ssl=shared --enable-shared=max \ # --with-apr=/opt/apache/apr-httpd --with-apr-util=/opt/apache/apr-util-httpd # make make install 権限変更 # chown -R apache apache /opt/apache サービス起動 OS起動時にApacheが自動起動するように設定します。 /etc/init.d/httpd #!/bin/bash # # httpd Startup script for the Apache HTTP Server # # chkconfig - 85 15 # description Apache is a World Wide Web server. It is used to serve \ # HTML files and CGI. # processname httpd # config /opt/apache/conf/httpd.conf # pidfile /opt/apache/logs/httpd.pid # Source function library. . /etc/rc.d/init.d/functions # Start httpd in the C locale by default. HTTPD_LANG=${HTTPD_LANG-"C"} # This will prevent initlog from swallowing up a pass-phrase prompt if # mod_ssl needs a pass-phrase from the user. INITLOG_ARGS="" # Set HTTPD=/usr/sbin/httpd.worker in /etc/sysconfig/httpd to use a server # with the thread-based "worker" MPM; BE WARNED that some modules may not # work correctly with a thread-based MPM; notably PHP will refuse to start. # Path to the apachectl script, server binary, and short-form for messages. apachectl=/opt/apache/bin/apachectl httpd=${HTTPD-/opt/apache/bin/httpd} prog=httpd pidfile=${PIDFILE-/opt/apache/logs/httpd.pid} lockfile=${LOCKFILE-/opt/apache/logs/httpd.lock} RETVAL=0 # check for 1.3 configuration check13 () { CONFFILE=/opt/apache/conf/httpd.conf GONE="(ServerType|BindAddress|Port|AddModule|ClearModuleList|" GONE="${GONE}AgentLog|RefererLog|RefererIgnore|FancyIndexing|" GONE="${GONE}AccessConfig|ResourceConfig)" if LANG=C grep -Eiq "^[[ space ]]*($GONE)" $CONFFILE; then echo echo 1 2 " Apache 1.3 configuration directives found" echo 1 2 " please read /usr/share/doc/httpd-2.0.52/migration.html" failure "Apache 1.3 config directives test" echo exit 1 fi } # The semantics of these two functions differ from the way apachectl does # things -- attempting to start while running is a failure, and shutdown # when not running is also a failure. So we just do it the way init scripts # are expected to behave here. start() { check13 || exit 1 #LANG=$HTTPD_LANG daemon $apachectl start $apachectl start RETVAL=$? [ $RETVAL = 0 ] touch ${lockfile} return $RETVAL } stop() { $apachectl stop RETVAL=$? [ $RETVAL = 0 ] rm -f ${lockfile} ${pidfile} } # See how we were called. case "$1" in start) start ;; stop) stop ;; *) echo $"Usage $prog {start|stop|configtest}" exit 1 esac exit $RETVAL 権限変更 # chmode 755 /etc/init.d/httpd サービス登録 # chkconfig --add httpd # chkconfig httpd on # chkconfig --list httpd 起動停止確認 # service httpd start # service httpd start SSL通信させる(のメモ) OpenSSLの日本語サイトからソースを頂きます。 今回頂いたのは、openssl-0.9.6c.tar.gz です。 インストール先を/opt/opensslとする前提でインストールします。 展開とインストール(認証局をつくるサーバで実施します。) # tar zxvf openssl-0.9.6c.tar.gz # cd openssl-0.9.6c # ./config --prefix=/opt/openssl --openssldir=/opt/openssl/ssl # make # make install 設定ファイルの変更 # vi /opt/openssl/ssl/openssl.cnf #dir = ./demoCA # Where everything is kept ↓基本のディレクトリを変更します。 dir = /opt/openssl/ssl # Where everything is kept #default_days = 365 # how long to certify for ↓認証の有効期間を変更します。(発行した証明書は10年有効) default_days = 3650 # how long to certify for 認証局の準備 # touch /opt/openssl/ssl/index.txt # echo 01 /opt/openssl/ssl/serial # mkdir /opt/openssl/ssl/{server,newcerts} 認証局作成 # cd /opt/openssl/ssl/ # /opt/openssl/bin/openssl req -new -x509 -keyout private/cakey.pem -out cacert.pem -days 7300 証明書の中身確認 # /opt/openssl/bin/openssl x509 -in cacert.pem -text サーバ署名要求書を作る(ここはサーバでやる) サーバ用秘密鍵の作成 # cd /opt/apache/conf/cert # openssl genrsa -out server.key 1024 サーバ用公開鍵の作成 # openssl req -new -key server.key -out server.csr 秘密鍵からパスフレーズを削除 # mv server.key server.key_tmp # openssl rsa -in server.key_tmp -out server.key サーバ証明書を作る(ここは認証局でやる) 上記で作成されたサーバ署名要求書(server.csr)を認証局のサーバに配置する。 下記を実施してサーバ証明書を作成する。 # cd /opt/openssl/ssl/server # /opt/openssl/bin/openssl ca -policy policy_anything -out server.crt -infiles server.csr サーバssl通信確認(ここはサーバでやる)上記で出力した server.crt をサーバの所定の位置に格納する。apacheの設定を行い再起動して確認する。 認証局の証明書をクライアントへインポート作成した認証局の証明書(/opt/openssl/ssl/cacert.pem)をクライアントへインポートする。(cacert.pem → cacert.crt とかに変えて配布する)クライアントは上記のcacert.crtをダブルクリックしてインストールする。 アクセスして問題がないことを確認する。 アクセスログを分ける イメージへのアクセスを分けてみる SetEnvIfNoCase Request_URI "\.(gif)|(jpg)|(png)|(css)$" object-is-image CustomLog "logs/access_log" common CustomLog "logs/access_noimg_log" common env=!object-is-image CustomLog "logs/access_img_log" common env=object-is-image 携帯とPCのアクセス先を変えてみる http //○○/にアクセスしてきたときに 携帯の場合は、/mobile/ へ PCの場合(携帯以外)の場合は、/pc/ へダイレクトする。 また、携帯サイトへは、PCからアクセスさせないようにする。 httpd.conf Include conf/extra/httpd-mobile.conf RewriteEngine on RewriteLog "/opt/apache/logs/rewrite.log" RewriteLogLevel 3 # ← 必要に応じて換える。デフォルトは0 RewriteCond %{HTTP_USER_AGENT} ^KDDI [NC,OR] RewriteCond %{HTTP_USER_AGENT} ^Up.Browser [NC,OR] RewriteCond %{HTTP_USER_AGENT} ^J-PHONE [NC,OR] RewriteCond %{HTTP_USER_AGENT} ^vodafone [NC,OR] RewriteCond %{HTTP_USER_AGENT} ^SoftBank [NC,OR] RewriteCond %{HTTP_USER_AGENT} ^DoCoMo [NC] RewriteRule ^/$ mobile/ [R,L] RewriteEngine on RewriteLog "/opt/apache/logs/rewrite.log" RewriteLogLevel 3 # ← 必要に応じて換える。デフォルトは0 RewriteRule ^/$ pc/ [R] httpd-mobile.conf Location /mobile Options Indexes FollowSymLinks Order deny,allow deny from all #For DoCoMo allow from 210.153.84.0/24 allow from 210.136.161.0/24 ・ ・ ・ここに許可する携帯のゲートウェイを書きまくる。 ・ ・ allow from 61.204.93.0/24 allow from 61.204.94.0/24 allow from 61.204.95.0/24 /Location
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The Ode Less Travelled Stephen Fry The Hutchinson Pocket Dictionary of Biology (Hutchinson Pocket Dictionaries) Stephen Webster? The Hutchinson Pocket Dictionary of Science (Hutchinson Pocket Dictionaries) Yvonne Ryskowski?Yvonne Ryszkowski?Stephen Webster? Wissen neu erleben Ozeane Stephen HutchinsonLawrence E. Hawkins? Overwash Processes Stephen P Leatherman? Frontier Nebraska Boone County Stories of Hardship and Triumph in the 1870s Stephen K. Hutchinson? The Hutchinson Atlas of World War II Battle Plans Helicon?Stephen Badsey? Oceans A Visual Guide (Visual Guides) Stephen HutchinsonLawrence E. Hawkins? The Encyclopedia of Animals A Complete Visual Guide George McKay?Richard Vogt?Hugh Dingle?Fred Cooke?Stephen HutchinsonRichard Schodde?Noel Tait? Thomas Hutchinson and the Origins of the American Revolution (American Social Experience Series) Andrew Stephen Walmsley? Concise Encyclopedia of English and American Poets and Poetry Stephen Spender?Donald Hall? Thomas Hutchinson and the Origins of the American Revolution (The American Social Experience) Andrew Stephen Walmsley? Architecture of Matter (Ancestry of Sci. S) Stephen E Toulmin?June Goodfield? The Agony and the Ecstasy Stephen Roche's World of Cycling Stephen Roche?David Walsh? Hutchinson Atlas of World War II Battle Plans Before and After Hutchinson?Stephen Badsey? The Philosophy of Mathematics An Introductory Essay (Hutchinson University Library. Philosophy.) Stephen Korner? The Last Navigator (A Paul Sidey Book) Stephen D. Thomas? Fat Stan and the Lollipop Man (Tigers) Stephen Pern? My Road to Victory Stephen Roche?Graham Watson? Sportsbiz Stephen Aris? The Snowmaiden James Riordan?Stephen Lambert? Definitions of a Horse Jaci Stephen? The Hippopotamus Stephen Fry The Magpie and the Star Stephen Lambert? Journey to Everest Stephen Venables? Making History Stephen Fry Rescuing the Spectacled Bear Stephen Fry Moab Is My Washpot Stephen Fry Ollie Stephen Venables? A Slender Thread Stephen Venables? Biohazard Ken Alibek?Stephen Handelman? The Stars' Tennis Balls Stephen Fry Et in Arcadia Ego John Hutchinson?Stephen McKenna? Computer-aided Circuit Design Stephen W Director? Asthma or ATD Duncan Hutchinson?Robert A. Stockley?Soren Holm?CG.Stephen Grimsditch? Philosophy of Science (Univ. Lib.) Stephen E Toulmin? Psychophysiology Stephen W Porges?Michael G H Coles? Latin America (Univ. Lib.) Stephen Clissold? Philosophy of Science (Univ. Lib.) Stephen E Toulmin? Red Badge of Courage (Unicorn S) Stephen Crane? Foresight and Understanding Stephen E Toulmin? Fabric of the Heavens (Ancestry of Sci. S) Stephen E Toulmin?June Goodfield? Fabric of the Heavens (Ancestry of Sci. S) Stephen E Toulmin?June Goodfield? Discovery of Time (Ancestry of Sci. S) Stephen E Toulmin?June Goodfield? Quanta and Reality Stephen E, etc. Toulmin? Latin America Stephen Clissold? Discovery of Time Stephen E Toulmin?June Goodfield? Architecture of Matter (Ancestry of Sci. S) Stephen E Toulmin?June Goodfield? Quanta and Reality Stephen E Toulmin? Computing in a Small Business Howard Horner?Stephen Shipley? Quanta and Reality Stephen E Toulmin? Root of Being Stephen Fulder? That Thin Red Line, Fire Stephen Barlay? Oceans, a Visual Guide (Visual Guides) Stephen Hutchinson Degradation of Work? Stephen Wood? X12 Hippopotamus Shrinkwrap Stephen Fry Mirrorworld X8 Counterpack Stephen Jackson? Handbook of Complementary Medicine Stephen Fulder? Rescuing Spectacled Bear Signed Stephen Fry Making History Stephen Fry A Little Book of Nursery Rhymes Various Authors?Denyse Stephen? Turbocharge Your Granny Annie Tempest?Stephen James?
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STARITE DATE NIGHT 1 THE BOYFRIEND IS GOING ON A SPECIAL DATE WITH HIS GIRLFRIEND! HELP HIM MAKE THINGS RUN SMOOTHLY! BEGIN BY HELPING HIM LOOK PRESENTABLE! HINT1 HELP ME LOOK NICE. HINT2 I COULD USE A HAIRCUT. HINT3 A BARBER SHOP WOULD BE GREAT クリア可能な言葉 BARBER 2 HE IS LOOKING PRETTY GOOD! THE BOYFRIEND CAN T SHOW UP WITHOUT A RIDE! WHAT SHOULD HE PICK HER UP IN? HINT1 I NEED TO PICK HER UP IN A RIDE. HINT2 SOMETHING THAT DRIVES FAST MIGHT IMPRESS HER. HINT3 HOW ABOUT A SPORTS CAR? クリア可能な言葉 CAR 3 SHE WILL LOVE THIS VEHICLE! HOWEVER, HE CAN NOT SHOW UP EMPTY HANDED! GIVE HIM SOMETHING TO HELP START THE DATE OFF RIGHT! HINT1 I NEED A GIFT FOR MY DATE. HINT2 A ROMANTIC FLOWER WOULD BE NICE. HINT3 HOW ABOUT A ROSE? クリア可能な言葉 POPPY 4 THE DATE SEEMS TO BE GOING SMOOTHLY! NOW HELP SET THE MOOD! CREATE SOMETHING TO MAKE THE DINNER MORE ROMANTIC! HINT1 HELP MAKE THE DINNER MORE ROMANTIC. HINT2 THE SKY CAN BE VERY ROMANTIC. HINT3 A FULL MOON WOULD SET THE MOOD. クリア可能な言葉 SUN 5 SHE SAID YES TO HIS PROPOSAL! WHO DO THEY NEED AT THE WEDDING? HINT1 WHO BELONGS AT OUR WEDDING? HINT2 WE NEED SOMEONE TO MARRY US. HINT3 HOW ABOUT A PRIEST? クリア可能な言葉 ABBESS OUT WITH THE OLD! 1 IT IS TIME TO IMPROVE THIS NEIGHBORHOOD! START BY BRINGING DOWN THIS OLD BUILDING! HINT1 BRING DOWN THIS BUILDING. HINT2 TRY DESTROYING THE BUILDING. HINT3 TRY USING DYNAMITE. クリア可能な言葉 BOMB 2 A NEW STRUCTURE NEEDS TO OCCUPY THE EMPTY LOT! CREATE A PLACE THAT THE CITIZENS WOULD ENJOY! HINT1 WHAT WOULD THE PUBLIC ENJOY? HINT2 THEY WOULD LIKE A PLACE TO SEE MOVIES. HINT3 A THEATER WOULD BE A FUN PLACE FOR THE PEOPLE. クリア可能な言葉 THEATER 3 IT IS OPENING DAY! SPREAD THE WORD THAT THE NEW BUILDING IS READY TO USE! HINT1 HELP ME ADVERTISE THE GRAND OPENING. HINT2 SOME SORT OF ADVERTISEMENT IS IN ORDER. HINT3 GIVE THEM A FLIER. クリア可能な言葉 FLIER(PAPER) SHARDS DOG TRAINING! DOG TRAINER I NEED TEACH THIS DOG A TRICK! クリア可能な言葉 SITTING DEALING WITH DUCE! BOY I NEED TO GET TO SCHOOL, BUT I M AFRAID DUCE WILL HURT ME! クリア可能な言葉 SWORD LOVELY LAWN! TOWNHOUSE THIS GRASS IS OVERGROWN! クリア可能な言葉 DEER GET OFF MY LAWN! WHIPPERSNAPPER WILL YOU HELP GET OUR BALL? BE CAREFUL NOT TO TOUCH THE OLD MAN S LAWN! クリア可能な言葉 FLYING GONE TO THE BIRDS! GRANDMOTHER HELP ME BEFRIEND THE BIRDS! クリア可能な言葉 BIRDLIKE LOVE OF THE GAME! BASKETBALL PLAYER HELP ME BECOME A BETTER BASKETBALL PLAYER! クリア可能な言葉 BASKETBALL I HEART SCRIBBLENAUTS! THEATERGOER クリア可能な言葉 RING NOW IN 3D! FEARLESS FLUX MY 3D GLASSES MAKE ANYONE ON THE SCREEN LOOK 3D! クリア可能な言葉 YOU ARE WHAT YOU EAT! FAIRY GODMOTHER TRY MY NEW MAGICAL MOVIE TREATS! クリア可能な言葉 FRESH DELIVERY! TEEN THIS PIZZA WILL BE COLD BY THE TIME I DELIVER IT ON FOOT! クリア可能な言葉 BIKE
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MANCHESTER [マンチェスター] MANCHESTER は EUROPE に位置する人口約 0.50 millionの都市。 MANCHESTER Airportは Class 1 の空港。 “MUSH OF MANCHESTER S HISTORY IS CONCERNED WITH TEXTILE MANUFACTURE DURING THE INDUSTRIAL REVOLUTION.” OPEN(coins) 3500coins 宣伝(coins) 13500coins レベル1 レベル2 レベル3 アップグレードコスト(coins) - 7000 10500 LAYOVERS 5 10 15 CLOSE時の払戻(coins) 1750 5250 10500 空港 一覧 AFRICA [アフリカ] AL FASHIR・ALGIERS・BAMAKO・BEIRA・BENGHAZI・CAIRO・CAPE TOWN・CASABLANCA・DAKAR・DJIBOUTI・DURBAN・HARARE・IN SALAH・JOHANNESBURG・JUBA・KADUNA・KAMPALA・KANANGA・KHARTOUM・KINSHASA・KISANGANI・LAGOS・LILONGWE・LIVINGSTONE・LOBITO・MAHAJANGA・MOGADISHU・MOMBASA・MONROVIA・NAIROBI・PORT ELIZABETH・PORT SUDAN・TIMBUKTU・TRIPOLI・WINDHOEK・ZANZIBAR ASIA [アジア] ADEN・AHMEDABAD・ANADYR・BAGHDAD・BANGALORE・BANGKOK・BEIJING・BUTWAL・CEBU・CHENGDU・DELHI・DHAKA・GUANGZHOU・HANOI・HARBIN・HONG KONG・HYDERABAD・ISTANBUL・JAKARTA・JERUSALEM・KABUL・KANDAHAR・KARACHI・KOLKATA・KUCHING・KUWAIT CITY・LHASA・MAGADAN・MANILA・MUMBAI・MUSCAT・NAGASAKI・NANPING・NORILSK・NOVOSIBIRSK・OSAKA・PADANG・PALU・PEVEK・PORT MORESBY・RANGOON・RIYADH・SAPPORO・SENDAI・SEOUL・SHANGHAI・SHENYANG・SINGAPORE・TAIPEI・TEHRAN・TIKSI・TOKYO・ULAN BATOR・URUMQI・VLADIVOSTOK・XI AN・XINING・YAKUTSK・YINCHUAN EUROPE [ヨーロッパ] AMSTERDAM・ATHENS・BARCELONA・BEIRUT・BELFAST・BELGRADE・BERGEN・BERLIN・BERN・BORDEAUX・BRUSSELS・BUCHAREST・COPENHAGEN・CORDOBA(SPAIN)・GLASGOW・HAMMERFEST・HELSINKI・KIEV・LISBON・LONDON・LULEA・LYON・MADRID・MANCHESTER・MINSK・MOSCOW・MUNICH・MURMANSK・NAPLES・OSLO・OULU・PARIS・PERM・PRAGUE・REYKJAVIK・RIGA・ROME・ST.PETERSBURG・STOCKHOLM・TBILISI・TRONDHEIM・VENICE・VIENNA・VOLGOGRAD・WARSAW NORTH AMERICA [北アメリカ] ANCHORAGE・ATLANTA・BARROW・BISMARCK・BOSTON・CALGARY・CANCUN・CHARLESTON・CHICAGO・CHIHUAHUA・CINCINNATI・DALLAS・DENVER・DETROIT・EDMONTON・FAIRBANKS・GOOSE BAY・GUATEMALA・HAVANA・HILO・HONOLULU・HOUSTON・INUVIK・IQALUIT・JUNEAU・KANSAS CITY・KETCHIKAN・LAS VEGAS・LOS ANGELES・MEXICO CITY・MIAMI・MINNEAPOLIS・MONTERREY・MONTREAL・NEW ORLEANS・NEW YORK・NOME・NUUK・OAXACA・ORLANDO・OTTAWA・PANAMA CITY・PHILADELPHIA・PHOENIX・PORTLAND・QUEBEC・SALT LAKE CITY・SAN DIEGO・SAN FRANCISCO・SAN JOSE・SANTO DOMINGO・SASKATOON・SEATTLE・SPOKANE・ST.LOUIS・THUNDER BAY・TORONTO・VANCOUVER・WASHINGTON DC・WHITEHORSE・WINNIPEG・YELLOWKNIFE SOUTH AMERICA [南アメリカ] ARAGUAINA・ASUNCION・BARILOCHE・BELEM・BOGOTA・BRASILIA・BUENOS AIRES・CAMPO GRANDE・CARACAS・CORDOBA(ARGENTINA)・CUIABA・CUZCO・EASTER ISLAND・FORTALEZA・GEORGETOWN・IQUITOS・LA PAZ・LIMA・MANAUS・PORTO VELHO・PUNTA ARENAS・QUITO・RECIFE・RIO DE JANEIRO・SALVADOR・SANTIAGO・SAO PAULO・TERESINA OCEANIA [オセアニア] ADELAIDE・ALICE SPRINGS・AUCKLAND・BRISBANE・BROKEN HILL・BROOME・CAIRNS・CHRISTCHURCH・DARWIN・GERALDTON・HOBART・KALGOORLIE・KATHERINE・MELBOURNE・MOUNT ISA・NEWMAN・PERTH・PORT HEDLAND・ROCKHAMPTON・SYDNEY・WELLINGTON
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【登録タグ 5150 S シンフォニック東方Ⅳ 曲 魔女達の舞踏会 ~ Magus 龍5150】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*