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https://w.atwiki.jp/touhoukashi/pages/77.html
【登録タグ P Phantasm Brigade Silver Forest Silver Forest 2006-2012 BESTⅠ さゆり ネクロファンタジア 曲】 【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 ); 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} /** 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 ; 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https://w.atwiki.jp/marketresearch/pages/14.html
Research Analysis The market research report profiles well-balanced information with previous as well as future results with an aim to offer a better understanding of the Recycled Thermoplastic Market. The market report further offers an in-depth view of the leading factors that are related to increasing the demand growth for Recycled Thermoplastic Market. Not only this but also in this study the readers can get an in-depth report of the possibilities in combination with the latest trends in the targeted market. It is also a detailed combination of 10 years old qualitative and quantitative analysis of the industry that has been presented in the report with an aim to help the market players to increase maximum profit in the sector. The market research report also provides information on the record of individual sales records that are made with the expected revenue over the forecast period. This research report provides an extensive examination of all the related segments present in the industry. Moreover, it throws light on the recent development as well as the opportunity is that is going on in the Recycled Thermoplastic Market. Get a Sample PDF File@ https //www.quincemarketinsights.com/request-sample-88267?pu Market Report Features Overview Of The Market Report The market research report offers a detailed quantitative as well as qualitative overview of the market for Recycled Thermoplastic Market on the basis of area, category, product, competitors, and application. In terms of expanded coverage, the market report is further extended in terms of end-user market analysis and the comprehensive producer profile. Market Segmentation Of Recycled Thermoplastic Market Market The market segmentation of the Recycled Thermoplastic Market is done on the basis of technology, product type, application, distribution channel, and end-user. Geographical segmentation is also being done to get valuable insights into the Recycled Thermoplastic Market. Geographical Analysis Doing the geographical analysis is very important to know about the broad feature of the market. In this section, the readers can get a comprehensive analysis of the Recycled Thermoplastic Market based on the geographical location. This section throws light on the demand and sales output for the Recycled Thermoplastic Market at the national and international levels. The study is being done taking into account some of the major geographic regions such as North America, Europe, Asia Pacific, South America, Middle East, and Africa. Make an Enquiry for purchasing this Report @ https //www.quincemarketinsights.com/enquiry-before-buying/enquiry-before-buying-88267?pu Market Key Highlights The market report on the Recycled Thermoplastic Market is a summary of the current market situation for the Recycled Thermoplastic Market. Moreover, the analysis provides information regarding the newly launched product and also the products that are to be launched during the forecast period. The study also includes minute details regarding market share, segment, trends, growth and forecast W Plastics, Plastipak Holdings, Inc., PARC Corporation, Clear Path Recycling, B. Schoenberg and Co., Custom Polymers Inc., RJM International Inc., Suez SA, Merlin Plastics Alberta Inc., Ricova International Inc. Quince Market Insights Top Trending Research Report* https //qmi189135117.wordpress.com/2022/09/16/cumene-sulfonic-acid-market-size-industry-growth-rate-global-share-upcoming-trends-leading-players-products-and-services-overview-forecast-to-2032/ https //qmi189135117.wordpress.com/2022/09/16/3-hexenyl-salicylate-market-key-findings-growth-prospects-and-size-by-country-top-manufacturer-expansion-plans-and-business-strategy-forecast-to-2032/ https //qmi189135117.wordpress.com/2022/09/16/ethylene-glycol-monostearate-market-trends-growth-size-swot-analysis-opportunity-assessment-by-forecast-to-2021-drivers-and-applications-are-pertinent-for-sustenance-during-the-forecast-period-20/ Details Contained In The Recycled Thermoplastic Market Report 2021 Market Overview 1.1 Market Introduction 1.2 Market Analysis By Type 1.2.1 Type 1 1.2.2 Type 2 1.3 Market Analysis By Applications 1.3.1 Application 1 1.3.2 Application 2 1.4 Market Analysis by Regions 1.4.1 North America 1.4.2 Europe 1.4.3 Asia Pacific 1.4.4 South America 1.4.5 the Middle East and Africa Market Scope Market Segmentation by type, application, end-users and regions Market Size estimation Market Competition Key Market Leaders Conclusions The market research report offers a detailed study of the Recycled Thermoplastic Market which include market shares, size and growth opportunities by applications, product types and geographic regions. Not only this but also the report also contains a detailed summary of the leading market players. The experts have also mentioned the market growth, threats, opportunities and risks. About Us QMI has the most comprehensive collection of market research products and services available on the web. We deliver reports from virtually all major publications and refresh our list regularly to provide you with immediate online access to the world’s most extensive and up-to-date archive of professional insights into global markets, companies, goods, and patterns. Contact us Quince Market Insights Phone +1 208 405 2835 Email sales@quincemarketinsights.com Website https //www.quincemarketinsights.com/
https://w.atwiki.jp/touhoukashi/pages/211.html
【登録タグ Alstroemeria Records BLUE NOTE C Exserens - A selection of Alstroemeria Records nomico クリスタライズシルバー 曲】 【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 = /(?=^|.*
https://w.atwiki.jp/orange3/pages/6.html
htmlフォルダ admin? adventurer_guildsman? auction? chamberlain? classmaster? CommunityBoard? custom? default? doormen? fisherman? guard? help? merchant? mercmanager? observation? olympiad? seven_signs? siege? teleporter? symbolmaker? trainer? villagemaster? tutorial? warehouse? × npcbusy.htm × npcdefault.htm × territorystaus.htm
https://w.atwiki.jp/vocaloidenglishlyric/pages/318.html
【Tags Hoehoe-P Miku Nanou tH H】 Original Music Title ハロ／ハワユ Hello / How Are You (Haro / Hawayu) Music Lyrics written, Voice edited by ナノウ (Nanou) / ほえほえP(Hoehoe-P) Music arranged by ナノウ (Nanou) / ほえほえP(Hoehoe-P) Singer 初音ミク (Hatsune Miku) Append SOFT Click here for the original Japanese Lyrics English Lyrics (translated by animeyay)： Hello! I opened my window and whispered. How are you? Alone in my room, with no one. Morning! The morning has arrived, with a heavy downpour. Tick-tack. Someone please rewind my spring for me. Hello! I think that kind of person appeared only in old anime. How are you? I am so jealous, that someone can be loved by all. Sleeping... I must stop saying silly things and start preparing. Crying... In order to hide my tear marks. "Oh well whatever" has become my favorite phrase. That line from yesterday went straight over my head "I don t have any expectations of you anymore." Well, even I myself don t have any expectations of myself, but still, what was THAT for?! The words that escaped from my throat were nothing but lies. Today, too, I have wasted some valuable words, as I continue living my life. Why is it that you end up hiding it? Is it that you re scared of being laughed at? Is it that you don t want to meet anyone? Is that really true? Drowning in a sea of the name "ambiguity", I m suffering because I can no longer breathe. I now have a small urge to listen to someone s voice. I am so weak. With my preparation going nowhere at all, I start thinking with my hazy head "Should I just find a reason so that I can rest now?" Nah, I know, I know, I m just saying things, that s all, but I m not going to rest, so don t get angry at me. Be I happy or miserable, the morning sun will rise fairly and cruelly. I m already trying my best just to live, what else do you possibly expect of me? Why do you end up being bothered by this? Is it that you actually want to be loved? Who was it that let go of your hand? Have you come to a realization? If my life has a time card, then exactly when do I get off my "work"? Who will pay me my salary for having been living all this time? Thank you! I actually want to say "thank you". Thank you! I actually want to say "thank you". Thank you! Even if just for once, while I lament from the bottom of my heart, I actually want to say "thank you". Why is it that you end up hiding it? Is that you actually want me to ask you about it? I promise that I will not laugh, so why don t you trying tell me? I won t know anything if you don t open your mouth. You won t convey anything by merely thinking in your head. What a troublesome species of organism, the one called "human", that is. Hello! How are you? To you, I say "Hello! How are you?" English Lyrics (translated by Kumoriha)： Hello. I open the window and murmur softly. How are you? Nobody is here as I am alone in this room. Morning. Morning is here, a downpouring morning. Tick-tock. Someone is winding my dial. Hello. That kind of thing happened in old anime, huh? How are you? I m envious, to be loved by everyone. Sleeping. Without saying stupid things, I have to prepare. Crying. So I can hide the tracks of my tears. "Well, whatever" has already become my favorite phrase. Yesterday s words suddenly pass my mind. "I m not expecting you at all anymore." That s...well... I m not expecting myself or anything, but what exactly do you intend? The words about to come reach my throat, but when I open my mouth, what come out are lies. As it is, I live on wasting valuable words. Why are you hiding it? Is being laughed it scary? You don t want to see anyone? Is that true? The "ambiguity" is drowned in the sea. It hurts so much I can t breathe. I want to hear your voice a bit now. How weak. In the middle of the stopped preparation, I thought in my hazy mind, "Let s just find a reason to rest." Ah, no, I understand. Somehow I just wanted to say that. I know, so don t be angry. Happy? Unhappy? To equality and cruelty the morning sun rises. Giving my all just to live, what more do I wish for? Why do you care about this? Do you really want to be loved? Who was the one who let go of that hand? Did you notice? If life had a time card, then what time would the ending time be? And as for the salary for my life, who would be paying? Thank you. I want to say thank you. Thank you. I want to say thank you. Thank you. Just once is fine. From the bottom of my heart, as I m crying, I want to say thank you. Why are you hiding it? Do you really want me to hear? I won t laugh or anything, so won t you try saying it? If you don t open your mouth, I won t understand. If you only think it, it won t be conveyed. They re quite troublesome beings, aren t they? Humans, that is. Hello. How are you? To you-Hello, how are you? English Lyrics (translated by vgboy / vgperson)： Hello - I opened the window, and softly whispered out How are you? There s no one here, I m alone in the room Mornin - The morning s come, a morning of pouring rain Tick-tock - Somebody, wind up my coil... Hello - In an old anime, that was how it was How are you - So enviable, everyone being loved Sleepin - Don t say anything stupid, I have to prepare Cryin - To hide the traces of my tears Now... My favorite phrase is "fine, who cares" Suddenly, yesterday s words come to mind "Well, I don t have any hope for you anymore..." And well, but, I... I don t have any hope for myself, But just what did you mean to say that for, I ask? Words have come up to the throat, But all that comes out the mouth is lies So today, once again, I m precious Wasting my words, I live on... Why hide away, I ask? Is it so scary to laugh, I ask? Do you not want to see anyone, I ask? Is that the truth, I ask? Cast down in a sea of ambiguity, It s too painful for me to even breathe Now, I just want to hear the slightest voice I m really so weak... Amid preparing to proceed not at all, I think in my dim head, "Should we just take a break from giving reasons to things now?" No, no, I understand, I say I just tried to say whatever I could I understand, so please don t get mad Happiness, perhaps, unhappiness, perhaps Equally, cruelly, The morning sun rises Just living on, Me, with all my might, More than this, what do I wish for...? Why worry about it, I ask? Do you really want to be loved, I ask? Who was it that took away their hand, I ask? Do you notice, I ask? If life had a time card, What would be my ending time? And the wages for my hours alive... Who s going to pay them, I ask? Thank you - I just want to say thanks Thank you - I just want to say thanks Thank you - Just once would be fine So from the bottom of my heart, weeping away, I just want to say thanks...! Why hide away, I ask? Do you really want to listen, I ask? You ve never smiled or laughed, So I ask, can t we try to talk? If you don t open your mouth, I don t know; What you re thinking doesn t get told Such troublesome creatures, aren t we? It s just being human... Hello, how are you? Hello, how are you? Hello, how are you? So I ask you hello, how are you? Singable English Lyrics (translated by madokaueno)： (Hello) I open my window And whisper quietly (How are you?) In a room all by myself There s nobody here (Morning) The night is breaking The rain is falling down again (Tick tock) Somebody please come and wind me up today (Hello) I remember this cartoon from a long time ago (How are you?) I was so jealous - he was loved by everybody (Sleeping) Enough with the daydreaming - I have to get ready soon (Crying) So I can hide the evidence of my tears It s become a habit to just say "Oh well" And I remember what you said to me yesterday "I won t expect anything from you anymore" Well, come on I don t expect much from myself either But what kind of reaction were you hoping to get? All of these honest words are waiting to be free but What eventually come out were lies And this is how I live, floating aimlessly by Just sitting here, wasting all my precious words Tell me why you keep silent and hide it all? Are you that afraid of somebody laughing? You say you want to be alone - to leave you alone But is that how you really feel? I m drowning in a sea of "maybe"s and "what if"s It s getting harder and harder to breathe And now all I want to do is hear your voice I know I m not that strong I m trying to get ready for the rest of my day but my brain s not working - nothing s getting done I think, "Maybe I should make up an excuse and just stay home" Oh, come on, I know that won t work I don t intend to actually carry it out I know, I know, so don t be mad at me Whether I m happy, whether I m unhappy Justly, cruelly, the sun will always rise I have my hands full just trying to make it through the day Now tell me - what more do you expect from me? You don t have to let everything get to you I know that you just want to be loved. But who was the one who gave up first? Have you realized yet? If there s a time card for the life I ve lived Then I wonder what time mine ends? And who will pay the salary for the span of my life? Thank you I want to tell you how grateful I am Thank you I want to tell you how thankful I am Thank you It only has to be just one time I just want to cry without holding anything back Telling you thank you, thank you Tell me why you keep silent and hide it all? I know that you just want to be heard And I promise that I won t laugh or judge So why don t you talk to me? No one will understand if you don t speak out and Just thinking it will never do I know it s troublesome but it s human You and I, and everyone Hello How are you I say to you Hello. How are you? Romaji lyrics (transliterated by Kumoriha)： mado wo akete chiisaku tsubuyaita HAWAYU dare mo inai heya de hitori MOONIN asa ga kita yo doshaburi no asa ga TIKUTAKU watashi no NEJI wo dareka maite HARO mukashi no ANIME ni sonna no itakke na HAWAYU urayamashii na minna ni aisarete SURIIPIN baka na koto ittenaide shitaku wo shinakucha KURAIN namida no ato wo kakusu tame mou kuchiguse ni natta "maa ikka" kinou no kotoba ga futo atama wo yogiru "mou kimi ni ha zenzen kitai shitenai kara" sorya maa watashi datte jibun ni kitai nado shitenai keredo ARE ha ittai dou iu tsumori desu ka nodomoto made dekakatta kotoba kuchi wo tsuite deta no ha uso kou shite kyou mo watashi ha kichou na kotoba wo rouhi shite ikite yuku naze kakushite shimau no desu ka warawareru no ga kowai no desu ka dare ni mo aitakunai no desu ka sore hontou desu ka aimai to iu na no umi ni oborete iki mo dekinai hodo kurushii no sukoshi koe ga kikitaku narimashita hontou ni yowai na ikkou ni susumanai shitaku no tochuu mourou toshita atama de omou "mou riyuu wo tsukete yasunde shimaou kana" iya iya wakattemasu tte nantonaku ittemita dake da yo wakatteru kara okoranaide yo shiawase darou to fushiawase darou to byoudou ni zankoku ni asahi ha noboru ikiteiku dake de seiippai no watashi ni kore ijou nani wo nozomu to iu no naze ki ni shite shimau no desu ka hontou ha aisaretai no desu ka sono te wo hanashita no ha dare desu ka ki ga tsuitemasu ka jinsei ni TAIMUKAADO ga aru nara owari no jikan ha nanji nandarou watashi ga ikita bun no kyuuryou ha dare ga haraun desu ka SANKYUU arigatou tte iitai no SANKYUU arigatou tte iitai yo SANKYUU ichido dake demo ii kara kokoro no soko kara oonaki shinagara arigatou tte iitai no naze kakushite shimau no desu ka hontou ha kiite hoshii no desu ka zettai ni warattari shinai kara hanashite mimasen ka kuchi wo akanakereba wakaranai omotteru dake de ha tsutawaranai nante mendoukusai ikimono deshou ningen to iu no ha HARO HAWAYU anata ni HARO HAWAYU [Hoehoe-P, HoehoeP]
https://w.atwiki.jp/touhoukashi/pages/4876.html
【登録タグ ESQUARIA I U.N.オーエンは彼女なのか？ reproduction 中恵光城 曲】 【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 ); 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} .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 }; 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https://w.atwiki.jp/xbox360score/pages/1677.html
The Testament of Sherlock Holmes 項目数：32 総ポイント：1000 難易度： 北米版・欧州版共に別実績。 アジア版は国内本体起動可。 香港マケプレのゲームオンデマンドは欧州版扱い。国内本体で購入、起動可能。 Law of Nature One s ideas must be as broad as Nature if they are to interpret Nature. Well done! 30 The Legacy I must compliment you exceedingly upon the zeal and the intelligence which you have shown. 150 Stage Manager A simple trick, but exceedingly effective! 20 Bomb Defuser You never can resist a touch of the dramatic! 20 A Fine Romance The most winning woman I ever knew was hanged for poisoning. But I digress. You found the letter! 20 Melomania You are a conductor of light! You discovered the hidden code. 20 Number Lover With all respect for your natural acumen, you handled that very well. You opened the safe box! 20 Master of Deduction Genius is an infinite capacity for taking pains. Bravo! 30 Deduction Apprentice To a great mind, nothing is little. You completed the first deduction board. 20 Lockpicker I can see that you are a force to be reckoned with. 20 Lazarus An isolated phenomenon? A brain without a heart? I trust that you did not judge me so quickly! 50 Desperately Seeking Sherlock I would have made an actor – and a rare one. You deduced my disguise. 20 Breaking the Law I have a great deal of respect for your judgement. You opened the safe room! 30 Prison Break A trusty comrade is always of use. Well done. And yet one got away... 20 First-Class Chemist It was the bisulphate of baryta! 20 Pea-Souper Moonshine is a brighter thing than fog, but this is a pea-souper! You asked for Help a great deal. 10 A Very Fine Loafer There are in you the makings of a very fine loafer. 20 The Brain I never get your limits... there are unexplored possibilities about you. 100 Watson Alone The one fixed point in a changing age. 20 Anarchy in the UK There are always some lunatics about. It would be a dull world without them. 20 Minesweeper Your nerves are fairly proof! 50 Finders Key-pers You handled that with less than your usual – that is to say, you handled it well. You found the key! 30 Attention to Detail You have a turn for both observation and deduction! 30 Freedom of the Press The Press is a most valuable institution – if you only know how to use it! 20 The Holmesian I was sure that I might rely on you. You found all the items from my past adventures. 30 The Gambler You have never failed to play the game! 20 Hidden Message See the value of imagination! 20 Garden Gumshoe With your usual happy mixture of cunning and audacity, you recovered all that was stolen! 20 Sleuth-Hound The beautiful, faithful nature of dogs! 50 Blackmailer Your morals don t improve! 20 Safecracker You would make a highly efficient criminal. 20 Elementary It seems you share my love of all that is bizarre. You recovered the Samoan necklace, well done! 30 Walkthrough 以下の 5 つ以外はストーリークリアで解除できる。 Pea-Souper 前作と違って LT はゲージがたまらないと使用できない。 これを 15 回使用すると解除。 The Holmesian Elementary を解除したあとに Baker Street をいろいろ調べられるようになる。 このとき、 「暖炉の上の紙」 「ワトソンの部屋（左）入口の上の槍」 「ワトソンの部屋のタイプライター」 「ホームズの部屋の胸像」 を調べると解除。 A Very Fine Loafer Whitechapel に移動後、その辺の一般人 3 人に話しかけると解除。 Blackmailer 墓地の小屋の子供に「Afraid」 ホームズを探してる時、おばさんに「I work for the hygiene service」続けて「I will tell the police」 序盤の Baker Street での「Blackmail」は必要なさそう？ The Brain すべてのパズルをスキップせずにクリアすると解除。
https://w.atwiki.jp/touhoukashi/pages/6459.html
【登録タグ Nana Takahashi SOUND HOLIC V 幻想の地下大線路網 曲 虹 -NIJI- 龍王殺しのプリンセス】 【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; 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} /** 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; 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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 }; 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https://w.atwiki.jp/pyopyo0124/pages/62.html
CHAPTER XXXII UP CHAPTER XXXIV CHAPTER XXXIII The Hotel Concert 第33章 ホテルの演芸会（コンサート）（松本訳） "Put on your white organdy, by all means, Anne," advised Diana decidedly. They were together in the east gable chamber; outside it was only twilight--a lovely yellowish-green twilight with a clear-blue cloudless sky. A big round moon, slowly deepening from her pallid luster into burnished silver, hung over the Haunted Wood; the air was full of sweet summer sounds--sleepy birds twittering, freakish breezes, faraway voices and laughter. But in Anne s room the blind was drawn and the lamp lighted, for an important toilet was being made. The east gable was a very different place from what it had been on that night four years before, 「four years before」そろそろ終盤モードになって、回想している when Anne had felt its bareness penetrate to the marrow of her spirit with its inhospitable chill. CHAPTER III with impression? Marilla Cuthbert is Surprised との比較 Changes had crept in, Marilla conniving at them resignedly, until it was as sweet and dainty a nest as a young girl could desire. 「young girl」もちろん little ではないけれども、big でもない。bigよりも young のほうが大人っぽい気がするのは気のせいかしら The velvet carpet with the pink roses and the pink silk curtains of Anne s early visions had certainly never materialized; but her dreams had kept pace with her growth, 「her dreams had kept pace with her growth」そうでなくちゃ。ここでも、growth 成長が重要なキーワードとなっている and it is not probable she lamented them. The floor was covered with a pretty matting, 床といえば、マリラお手製の丸いマットがあっただけ。「The floor was bare, too, except for a round braided mat in the middle such as Anne had never seen before.」CHAPTER III with impression? Marilla Cuthbert is Surprised and the curtains that softened the high window and fluttered in the vagrant breezes were of pale-green art muslin. 窓はフリルがついているだけで白だった。「the window, with an icy white muslin frill over it」CHAPTER III with impression? Marilla Cuthbert is Surprised The walls, hung not with gold and silver brocade tapestry, but with a dainty apple-blossom paper, 壁にはもちろん何もなかった。「The whitewashed walls were so painfully bare and staring that she thought they must ache over their own bareness. 」CHAPTER III with impression? Marilla Cuthbert is Surprised もちろん、sheはアン 「apple-blossom」りんごの花といえば、もちろん、White Way of Delight 歓びの白い路（松本訳）（CHAPTER II with impression Matthew Cuthbert is surprised ） were adorned with a few good pictures given Anne by Mrs. Allan. Miss Stacy s photograph occupied the place of honor, 「photograph」当時は、せがんでいただいたものなのでしょうか。それとも、差し上げたものなのでしょうか（ステイシー先生からアンへとなると差し上げるは言葉遣いがちょっとヘンですが。あ、プレゼントと言えばいいのか）。アヴォンリーやカーモディには写真屋さんはなさそうなので、撮影や焼き増しはシャーロットタウンで、かしら？ and Anne made a sentimental point of keeping fresh flowers on the bracket under it. Tonight a spike of white lilies faintly perfumed the room like the dream of a fragrance. There was no "mahogany furniture," but there was a white-painted bookcase filled with books, 「bookcase」本棚といえば、本の入っていないトマスのおばさんの、ガラスの扉のもの。「a bookcase in her sitting room with glass doors. There weren t any books in it」 そして、もちろん、ケイティ・モーリス（CHAPTER VIII with impression? Anne s Bringing-up Is Begun） a cushioned wicker rocker, a toilet table befrilled with white muslin, a quaint, gilt-framed mirror with chubby pink Cupids and purple grapes painted over its arched top, 「mirror」鏡といえば、縦8インチ、横6インチの小さなもの「a little six-by-eight mirror」（CHAPTER III with impression? Marilla Cuthbert is Surprised） that used to hang in the spare room, 「in the spare room」客用寝室に掛けてあっただけあって、紫（最も高貴な色）が使ってあったり、キューピッドがいたりする and a low white bed. 「bed」ベッドは、古風の高さのあるものでした。「the bed, a high, old-fashioned one, with four dark, low- turned posts.」（CHAPTER III with impression? Marilla Cuthbert is Surprised）いつ替えたのでしょう。ベッドの中にもぐったとかベッドの上に倒れた／腰かけたといった描写はいくつもありますが、ベッドそのものの描写はない などなどと、読者に思い出してもらいたいという仕掛けが、あまり工夫されているわけでもなくあるパラグラフ Anne was dressing for a concert at the White Sands Hotel. The guests had got it up in aid of the Charlottetown hospital, and had hunted out all the available amateur talent in the surrounding districts to help it along. Bertha Sampson and Pearl Clay of the White Sands Baptist choir 「Pearl Clay of the White Sands Baptist choir」パール・クレイ（真珠色の粘土）、ホワイトサンズ（白い砂）。物語クラブでお話を作ったとき、ダイアナは困るとすぐに登場人物を殺してしまうとアンは批評していましたが（CHAPTER XXVI with impression The Story Club Is Formed ）、登場人物の名前に困ると、つい、土地の名前を借りてくる癖がモードにはあった？？？（Charlotte Gillisがシャーロットタウンに行く前のところに出てきたり…… CHAPTER XXIX with impression An Epoch in Anne s Life ） 「Baptist」松本訳注第33章(1) p. 525参照 had been asked to sing a duet; Milton Clark of Newbridge was to give a violin solo; Winnie Adella Blair of Carmody was to sing a Scotch ballad; 気にしすぎでしょうけども「Winnie Adella Blair of Carmody」の頭文字がWABCとABCになっているのも意味があるか（あまり面白くない駄洒落かなにか）と思ってしまったり…… and Laura Spencer of Spencervale Spencervaleの Laura Spencerさん…… and Anne Shirley of Avonlea were to recite. As Anne would have said at one time, it was "an epoch in her life," 「"an epoch in her life"」もう、自分の作品を「古典扱い」にしている？＞モードやりすぎよ…… CHAPTER XXIX with impression An Epoch in Anne s Life ） and she was deliciously athrill with the excitement of it. Matthew was in the seventh heaven of gratified pride over the honor conferred on his Anne 「the seventh heaven」チャーリー・スローンとマシューは似ている……（CHAPTER XVII with impression? A New Interest in Life） and Marilla was not far behind, although she would have died rather than admit it, and said she didn t think it was very proper for a lot of young folks to be gadding over to the hotel without any responsible person with them. Anne and Diana were to drive over with Jane Andrews and her brother Billy in their double-seated buggy; and several other Avonlea girls and boys were going too. There was a party of visitors expected out from town, and after the concert a supper was to be given to the performers. 「supper」ホテルの夕食はディナーじゃなかったの？残念。そういえば、アンはダイアナと一緒にバリーさんに連れていってもらってディナーをいただいたんでしょうか。この丁度１年前あたりのことですが（CHAPTER XXX with impression The Queens Class Is Organized） "Do you really think the organdy will be best?" queried Anne anxiously. "I don t think it s as pretty as my blue-flowered muslin--and it certainly isn t so fashionable." "But it suits you ever so much better," said Diana. "It s so soft and frilly and clinging. The muslin is stiff, and makes you look too dressed up. But the organdy seems as if it grew on you." Anne sighed and yielded. Diana was beginning to have a reputation for notable taste in dressing, and her advice on such subjects was much sought after. She was looking very pretty herself on this particular night in a dress of the lovely wild-rose pink, from which Anne was forever debarred; but she was not to take any part in the concert, so her appearance was of minor importance. All her pains were bestowed upon Anne, who, she vowed, must, for the credit of Avonlea, be dressed and combed and adorned to the Queen s taste. "Pull out that frill a little more--so; here, let me tie your sash; now for your slippers. I m going to braid your hair in two thick braids, and tie them halfway up with big white bows-- 「braids」緑色に髪を染めてしまって、ばっさり切ってから（CHAPTER XXVII with impression Vanity and Vexation of Spirit）、２年４ヶ月。みっともないということはないにせよ、まだあまり長くなっていないはず。せいぜい、肩くらい。そうすると、太めに編んだ２本の髪を大きな白いリボンでまとめてちょっと浮かすといっても、短いので、編んだ髪をきゅっと後ろでまとめて（まとめ方によってはおだんご？）白いリボンに隠れるくらいでしょうか no, don t pull out a single curl over your forehead--just have the soft part. There is no way you do your hair suits you so well, Anne, and Mrs. Allan says you look like a Madonna when you part it so. I shall fasten this little white house rose just behind your ear. There was just one on my bush, and I saved it for you." "Shall I put my pearl beads on?" asked Anne. "Matthew brought me a string from town last week, and I know he d like to see them on me." Diana pursed up her lips, put her black head on one side critically, and finally pronounced in favor of the beads, which were thereupon tied around Anne s slim milk-white throat. "There s something so stylish about you, Anne," said Diana, with unenvious admiration. "You hold your head with such an air. I suppose it s your figure. I am just a dumpling. I ve always been afraid of it, and now I know it is so. Well, I suppose I shall just have to resign myself to it." "But you have such dimples," said Anne, smiling affectionately into the pretty, vivacious face so near her own. 「the pretty, vivacious face so near her own」顔を近づけて：ふたりの親しさ、近しさがよくでている。これを読むと、ダイアナとはじめて会った日の様子を読者に思い出させる、そういうふうに仕込んであるとは考えすぎ？「The two little girls walked with their arms about each other.」（CHAPTER XII with impression? A Solemn Vow and Promise） "Lovely dimples, like little dents in cream. I have given up all hope of dimples. My dimple-dream will never come true; but so many of my dreams have that I mustn t complain. Am I all ready now?" "All ready," assured Diana, as Marilla appeared in the doorway, a gaunt figure with grayer hair than of yore and no fewer angles, but with a much softer face. 「a gaunt figure with grayer hair than of yore and no fewer angles, but with a much softer face.」マリラもいくらか変わったところがある。やせていかつい体つきは変わらないが、白髪が増え、やさしい顔つきになった「Marilla was a tall, thin woman, with angles and without curves; her dark hair showed some gray streaks ... She looked like a woman of narrow experience and rigid conscience, which she was; but there was a saving something about her mouth which, if it had been ever so slightly developed, might have been considered indicative of a sense of humor.」（CHAPTER I with impression Mrs. Rachel Lynde is Surprised） "Come right in and look at our elocutionist, Marilla. Doesn t she look lovely?" 「elocutionist」あとでプロがでてくる伏線 Marilla emitted a sound between a sniff and a grunt. "She looks neat and proper. 「She」会話の流れからだけでなく、アンをSheと言っていることからも、ダイアナと話していることがわかる。少なくともはじめは I like that way of fixing her hair. But I expect she ll ruin that dress driving over there in the dust and dew with it, and it looks most too thin for these damp nights. Organdy s the most unserviceable stuff in the world anyhow, and I told Matthew so when he got it. But there is no use in saying anything to Matthew nowadays. Time was when he would take my advice, 「Time was when」= There was time when but now he just buys things for Anne regardless, and the clerks at Carmody know they can palm anything off on him. 「palm off」だましてつかませる：あとで、palmも鍵になる マシューがアンの服を、レイチェルやマリラの助けを借りずに買ってやっている！はいはい、ちゃんと CHAPTER XXV with impression? Matthew Insists on Puffed Sleeves を思い出しましたよ Just let them tell him a thing is pretty and fashionable, and Matthew plunks his money down for it. Mind you keep your skirt clear of the wheel, Anne, and put your warm jacket on." 「your... Anne」ここではもちろん、アンに言っている Then Marilla stalked downstairs, thinking proudly how sweet Anne looked, with that "One moonbeam from the forehead to the crown" 「One moonbeam from the forehead to the crown」松本訳注第33章(2) p. 525参照 and regretting that she could not go to the concert herself to hear her girl recite. "I wonder if it IS too damp for my dress," said Anne anxiously. "Not a bit of it," said Diana, pulling up the window blind. "It s a perfect night, and there won t be any dew. Look at the moonlight." "I m so glad my window looks east into the sunrising," said Anne, この言葉を聞いて（読んで）、アンがグリーンゲイブルズではじめて迎えた朝の様子（CHAPTER IV with impression? Morning at Green Gables）を思い出してしまうのは、モードのワナにはまってしまったのかしら going over to Diana. "It s so splendid to see the morning coming up over those long hills and glowing through those sharp fir tops. It s new every morning, 「It s new every morning」松本訳注第33章(3) p. 525参照 and I feel as if I washed my very soul in that bath of earliest sunshine. Oh, Diana, I love this little room so dearly. I don t know how I ll get along without it when I go to town next month." "Don t speak of your going away tonight," begged Diana. "I don t want to think of it, it makes me so miserable, and I do want to have a good time this evening. What are you going to recite, Anne? And are you nervous?" "Not a bit. I ve recited so often in public I don t mind at all now. 緊張していないとの答えも、あとの伏線 I ve decided to give `The Maiden s Vow. 「The Maiden s Vow」松本訳注第33章(4) p. 526参照 It s so pathetic. Laura Spencer is going to give a comic recitation, but I d rather make people cry than laugh." "What will you recite if they encore you?" "They won t dream of encoring me," scoffed Anne, who was not without her own secret hopes that they would, and already visioned herself telling Matthew all about it at the next morning s breakfast table. "There are Billy and Jane now-- I hear the wheels. Come on." Billy Andrews insisted that Anne should ride on the front seat with him, so she unwillingly climbed up. She would have much preferred to sit back with the girls, where she could have laughed and chattered to her heart s content. このdouble-seated buggyに、アン、ビリーが前、ダイアナ、ジェーンが後ろに乗り込んだということは２列はみな前向き There was not much of either laughter or chatter in Billy. He was a big, fat, stolid youth of twenty, with a round, expressionless face, and a painful lack of conversational gifts. 「a painful lack of conversational gifts」このビリーの描写、ちょっとひどーい But he admired Anne immensely, and was puffed up with pride over the prospect of driving to White Sands with that slim, upright figure beside him. Anne, by dint of talking over her shoulder to the girls and occasionally passing a sop of civility to Billy--who grinned and chuckled and never could think of any reply until it was too late--contrived to enjoy the drive in spite of all. It was a night for enjoyment. The road was full of buggies, all bound for the hotel, and laughter, silver clear, echoed and reechoed along it. When they reached the hotel it was a blaze of light from top to bottom. They were met by the ladies of the concert committee, one of whom took Anne off to the performers dressing room which was filled with the members of a Charlottetown Symphony Club, 「Charlottetown Symphony Club」松本訳注第33章(5) p. 527参照 among whom Anne felt suddenly shy and frightened and countrified. Her dress, which, in the east gable, had seemed so dainty and pretty, now seemed simple and plain--too simple and plain, she thought, among all the silks and laces that glistened and rustled around her. 「the silks and laces」ここでは特定の、ではないのですが、絹とレースで華やかさを表している What were her pearl beads compared to the diamonds of the big, handsome lady near her? And how poor her one wee white rose must look beside all the hothouse flowers the others wore! Anne laid her hat and jacket away, and shrank miserably into a corner. She wished herself back in the white room at Green Gables. It was still worse on the platform of the big concert hall of the hotel, where she presently found herself. The electric lights dazzled her eyes, 「electric lights」電灯！ the perfume and hum bewildered her. She wished she were sitting down in the audience with Diana and Jane, who seemed to be having a splendid time away at the back. She was wedged in between a stout lady in pink silk and a tall, scornful-looking girl in a white-lace dress. 「a stout lady in pink silk and a tall, scornful-looking girl in a white-lace dress」絹やレースの華やかなドレスを着た人の代表（ほとんど生贄？）の登場 The stout lady occasionally turned her head squarely around and surveyed Anne through her eyeglasses until Anne, acutely sensitive of being so scrutinized, felt that she must scream aloud; and the white-lace girl kept talking audibly to her next neighbor about the "country bumpkins" and "rustic belles" in the audience, languidly anticipating "such fun" from the displays of local talent on the program. Anne believed that she would hate that white-lace girl to the end of life. 「to the end of life」久々の big words Unfortunately for Anne, a professional elocutionist was staying at the hotel and had consented to recite. She was a lithe, dark-eyed woman in a wonderful gown of shimmering gray stuff like woven moonbeams, with gems on her neck and in her dark hair. She had a marvelously flexible voice and wonderful power of expression; the audience went wild over her selection. Anne, forgetting all about herself and her troubles for the time, listened with rapt and shining eyes; but when the recitation ended she suddenly put her hands over her face. She could never get up and recite after that--never. Had she ever thought she could recite? Oh, if she were only back at Green Gables! 「if she were only」仮定法：できさえすればいいのに、できない At this unpropitious moment her name was called. Somehow Anne--who did not notice the rather guilty little start of surprise the white-lace girl gave, and would not have understood the subtle compliment implied therein if she had--got on her feet, and moved dizzily out to the front. She was so pale that Diana and Jane, down in the audience, clasped each other s hands in nervous sympathy. Anne was the victim of an overwhelming attack of stage fright. Often as she had recited in public, she had never before faced such an audience as this, and the sight of it paralyzed her energies completely. Everything was so strange, so brilliant, so bewildering--the rows of ladies in evening dress, the critical faces, the whole atmosphere of wealth and culture about her. Very different this from the plain benches 「Very different this from」たぶん、This was very different fromとすると普通の文になる at the Debating Club, filled with the homely, sympathetic faces of friends and neighbors. These people, she thought, would be merciless critics. Perhaps, like the white-lace girl, they anticipated amusement from her "rustic" efforts. She felt hopelessly, helplessly ashamed and miserable. Her knees trembled, her heart fluttered, a horrible faintness came over her; not a word could she utter, and the next moment she would have fled from the platform despite the humiliation which, she felt, must ever after be her portion if she did so. But suddenly, as her dilated, frightened eyes gazed out over the audience, she saw Gilbert Blythe away at the back of the room, bending forward with a smile on his face--a smile which seemed to Anne at once triumphant and taunting. In reality it was nothing of the kind. Gilbert was merely smiling with appreciation of the whole affair in general and of the effect produced by Anne s slender white form and spiritual face against a background of palms in particular. 「palms」またもやpalm。ここでは、ヤシ／シュロの木ととるのが素直。palmの入ったイディオムでは、上のマシューのところの「だましてつかませる（palm off）」のほか、「yeild (give) the palm to ～に勝ちを譲る、負ける」もある。ここは、ギルバートがアンの出演を素直に認めていて、しかも、自分が出ていないことも許している、ということがあるのかも、なんて思ってしまったり。想像しすぎかしら。againstという単語からそんな気がしてきてしまったのですが……。ギルバートはもう何度も出演している、という話題がCHAPTER XIX with impression? A Concert a Catastrophe and a Confession にあったりします。 "Hasn t it been a delightful time?" sighed Anne rapturously. "It must be splendid to get up and recite there. Do you suppose we will ever be asked to do it, Diana?" "Yes, of course, someday. They re always wanting the big scholars to recite. Gilbert Blythe does often and he s only two years older than us. もっともこれはThe Avonlea Debating Clubの話で、ホワイトサンズのホテルのConcertに比べれば小さなもの。 Josie Pye, whom he had driven over, sat beside him, and her face certainly was both triumphant and taunting. But Anne did not see Josie, and would not have cared if she had. She drew a long breath and flung her head up proudly, courage and determination tingling over her like an electric shock. She WOULD NOT fail before Gilbert Blythe-- またまたあ、もう…… he should never be able to laugh at her, never, never! Her fright and nervousness vanished; and she began her recitation, her clear, sweet voice reaching to the farthest corner of the room without a tremor or a break. Self-possession was fully restored to her, and in the reaction from that horrible moment of powerlessness she recited as she had never done before. When she finished there were bursts of honest applause. Anne, stepping back to her seat, blushing with shyness and delight, found her hand vigorously clasped and shaken by the stout lady in pink silk. "My dear, you did splendidly," she puffed. "I ve been crying like a baby, actually I have. There, they re encoring you-- they re bound to have you back!" "Oh, I can t go," said Anne confusedly. "But yet--I must, or Matthew will be disappointed. He said they would encore me." "Then don t disappoint Matthew," said the pink lady, laughing. Smiling, blushing, limpid eyed, Anne tripped back and gave a quaint, funny little selection that captivated her audience still further. The rest of the evening was quite a little triumph for her. When the concert was over, the stout, pink lady--who was the wife of an American millionaire--took her under her wing, and introduced her to everybody; and everybody was very nice to her. The professional elocutionist, Mrs. Evans, came and chatted with her, telling her that she had a charming voice and "interpreted" her selections beautifully. 「"interpreted"」わざわさクォーテーションで（Puffin Books版ではシングル）囲んでいるところを見ると、「解釈」と「演出（表現）」の両方をもったいぶって説明され、ほめられたんでしょうか Even the white-lace girl paid her a languid little compliment. They had supper in the big, beautifully decorated dining room; 「supper」やはりdinnerではないので、少し軽い？ Diana and Jane were invited to partake of this, also, since they had come with Anne, but Billy was nowhere to be found, having decamped in mortal fear of some such invitation. He was in waiting for them, with the team, 「team」（車、ソリにつながれた）動物の１組。大型馬車だけあって、２頭立て？ however, when it was all over, and the three girls came merrily out into the calm, white moonshine radiance. Anne breathed deeply, and looked into the clear sky beyond the dark boughs of the firs. Oh, it was good to be out again in the purity and silence of the night! 人工的な室内よりやっぱりプリンスエドワード島の自然のほうがいい、は、アンのいつもの、そして、下での発言にある気持そのもの。あ、ここでは、CHAPTER II with impression Matthew Cuthbert is surprised の「This Island is the bloomiest place. I just love it already, and I m so glad I m going to live here. I ve always heard that Prince Edward Island was the prettiest place in the world, and I used to imagine I was living here, but I never really expected I would.」とのアンのおしゃべりを思い出すべきでしょうか How great and still and wonderful everything was, with the murmur of the sea sounding through it and the darkling cliffs beyond like grim giants guarding enchanted coasts. "Hasn t it been a perfectly splendid time?" sighed Jane, as they drove away. "I just wish I was a rich American and could spend my summer at a hotel and wear jewels and low-necked dresses and have ice cream and chicken salad every blessed day. 「chicken salad」鶏料理はやはり贅沢？ I m sure it would be ever so much more fun than teaching school. Anne, your recitation was simply great, although I thought at first you were never going to begin. I think it was better than Mrs. Evans s." "Oh, no, don t say things like that, Jane," said Anne quickly, "because it sounds silly. It couldn t be better than Mrs. Evans s, you know, for she is a professional, and I m only a schoolgirl, with a little knack of reciting. I m quite satisfied if the people just liked mine pretty well." "I ve a compliment for you, Anne," said Diana. "At least I think it must be a compliment because of the tone he said it in. Part of it was anyhow. There was an American sitting behind Jane and me--such a romantic-looking man, with coal-black hair and eyes. Josie Pye says he is a distinguished artist, and that her mother s cousin in Boston is married to a man that used to go to school with him. Well, we heard him say--didn t we, Jane?--`Who is that girl on the platform with the splendid Titian hair? She has a face I should like to paint. There now, Anne. But what does Titian hair mean?" "Being interpreted it means plain red, I guess," laughed Anne. "Titian was a very famous artist who liked to paint red-haired women." 「Titian」松本訳注第33章(6) p. 527参照 "DID you see all the diamonds those ladies wore?" sighed Jane. "They were simply dazzling. Wouldn t you just love to be rich, girls?" "We ARE rich," said Anne staunchly. "Why, we have sixteen years to our credit, 胸の張れる１６年間。こういうメッセージ性はこの「赤毛のアン」の人気のひとつかも。そして、アンがグリーンゲイブルズに来てから幸せな日々を過ごしてきたことの意味でもある and we re happy as queens, and we ve all got imaginations, more or less. Look at that sea, girls--all silver and shadow and vision of things not seen. We couldn t enjoy its loveliness any more if we had millions of dollars and ropes of diamonds. You wouldn t change into any of those women if you could. Would you want to be that white-lace girl and wear a sour look all your life, as if you d been born turning up your nose at the world? Or the pink lady, kind and nice as she is, so stout and short that you d really no figure at all? Or even Mrs. Evans, with that sad, sad look in her eyes? She must have been dreadfully unhappy sometime to have such a look. You KNOW you wouldn t, Jane Andrews!" これ、アン。アラン夫人の言葉を忘れたのかい。Mrs. Allan says we should never make uncharitable speeches; but they do slip out so often before you think, don t they?CHAPTER XXVI with impression The Story Club Is Formed "I DON T know--exactly," said Jane unconvinced. "I think diamonds would comfort a person for a good deal." ジェーンのこの言葉も、それはそれで普通の感覚 "Well, I don t want to be anyone but myself, even if I go uncomforted by diamonds all my life," declared Anne. "I m quite content to be Anne of Green Gables, with my string of pearl beads. I know Matthew gave me as much love with them as ever went with Madame the Pink Lady s jewels." ワタシはワタシ。グリーンゲイブルズのアンでいたい。こういうふうに言える子供時代を過ごせるのは幸せ CHAPTER XXXII UP CHAPTER XXXIV 27 28 July 2007 今日 - | 昨日 - | Total - since 27 July 2007 last update 2007-07-28 13 14 05 (Sat)
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!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "DTD/xhtml1-transitional.dtd" !-- Japanese Translated by Testing Engineer s Forum (TEF) in Japan, Working Group of TestLink Japanese Translation Project -- html xmlns="http //www.w3.org/1999/xhtml" lang="jp" head meta http-equiv="Content-Type" content="text/html; charset=UTF-8" / meta http-equiv="Content-language" content="jp" / meta name="author" content="Martin Havlat" / meta name="copyright" content="GNU" / meta name="robots" content="NOFOLLOW" / title TestLink Help Glossary of Terms /title link rel="stylesheet" type="text/css" href="{$basehref}{$smarty.const.TL_THEME_CSS_DIR}tl_docs.css" / /head body h1 TestLinkで使用されている用語の注解 /h1 div id="menu" a href="javascript window.close();" class="tlButton" 閉じる /a a href="javascript history.back();" class="tlButton" 戻る /a a href="{$basehref}lib/general/show_help.php?help=content locale={$locale}" class="tlButton" ヘルプ 目次 /a /div h2 範囲 /h2 p この資料は設計概念を表示しています、 用語と定義はテストの専門用語を理解することに役立ちます。 イタリック体の説明はTestLinkの語法です。 /p h2 定義 /h2 ul li a name="actualoutcome" /a b 実際の結果 /b テストでコンポーネントやシステムが出力、表示した結果。 /li li a name="bug" /a b バグ /b (= a href="#fault" フォールト /a )要求された機能をコンポーネントまたはシステムに果たせなくする、コンポーネントまたはシステム中の不備。たとえば不正な命令、データ定義。実行中に欠陥に遭遇した場合、コンポーネントまたはシステムの故障を引き起こす。 /li li a name="coverageitem" /a b カバレッジ アイテム /b a href="#testing" テスト /a /li カバレッジの基礎となる実体や属性。たとえば同値分割やコード命令。 li a name="error" /a b エラー /b 間違った結果を生み出す人間の行為。 /li li a name="expectedresults" /a b 予想結果 /b (= 予測結果 または 予想結果)指定の条件下で a href="#testspec" 仕様 /a やほかの情報から予測できるコンポーネントやシステムの動作。 /li li a name="failure" /a b 故障 /b コンポーネントやシステムが期待した機能、サービス、結果を提供できないこと。 /li li a name="fault" /a b フォールト /b (= バグ)要求された機能をコンポーネントまたはシステムに果たせなくする、コンポーネントまたはシステム中の不備。たとえば不正な命令、データ定義。実行中に欠陥に遭遇した場合、コンポーネントまたはシステムの故障を引き起こす。 /li li a name="steps" /a b ステップ /b (= テストシナリオ, 入力)開始点から終了点に至る一連のテスト実行のアクション /li li a name="testproject" /a b テストプロジェクト /b span class="italic" テストプロジェクトはTestLinkデータの一番上位の構造です。 すべてのデータ(ユーザ情報を除いて)は活動しているテストプロジェクトに関連付けられます。 /span /li li a name="testcasesuite" /a b テストケーススイート /b 対象のコンポーネントまたはシステムのために a href="#testcase" テストケース /a をまとめたもの。ひとつのテストの事後条件は次のテストの前提条件として利用される。 span class="italic" TestLinkではテスト仕様またはテスト計画でテストケースをまとめるために使用される。 /span /li li a name="testcoverage" /a b テストカバレッジ /b 指定の網羅条件を a href="#testcasesuite" テストスイート /a が実行した度合。パーセンテージで表す。 /li li b a name="testexecution" /a テスト実行 /b テスト対象のコンポーネントやシステムでテストを実行し a href="#actualoutcome" 実際の結果 /a を出力するプロセス。 br/ span class="italic" テストケーススイートはテストケースから割り当てられたテスト仕様でテストケースを定義している。 /span /li li a name="testplan" /a b テスト計画 /b 計画されたテスト活動の狙い、アプローチ、リソーススケジュールを記述するドキュメント。テストアイテム、テストすべき特色となる機能、テスティングタスク、各タスクを行う人、テスト担当者の独立の度合い、テスト環境、使われるテスト設計技法と入口・出口基準、それらの選択の理論的根拠、それに代替計画を必要とするあらゆるリスクを特定する。これはテスト計画プロセスの記録である。 br/ span class="italic" TestLinkはテスト計画にてユーザの割り当て、ビルド、テストケーススイートを定義できる。 /span /li li a name="testspec" /a b テスト仕様 /b 各々の a href="#testcase" テストケース /a 、 a href="#coverageitem" カバレッジアイテム /a 、テストにおけるソフトウェアの初期状態、 a href="#steps" ステップ /a 、そして a href="#expectedresults" 予想結果 /a 。 /li li a name="testing" /a b テスト /b ひとつ以上のテストケースの組み合わせ /li li a name="testcase" /a b テストケース /b a href="#steps" ステップ /a 、実行前条件値、 a href="#expectedresults" 予想結果 /a そして実行事後条件の組み合わせで、特定のプログラムのシナリオを用いることや指定された要件の遵守を検証することのような特定の目的またはテスト条件のために開発されたもの。 /li /ul /body /html