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Update： March 11th 2013. 1 03 am (Japan time) Posted by Mika Iwamuro Visitors total： - today： - yesterday： - (Mon) March 11th 2013, the white dog Lee-chan is still missing. The real owner Mr. Okubo is still looking for his white dog (named Lee-chan) desperately. The real owner of Japan Two Loyal Tsunami Dogs, Mr. Okubo described how he felt [1](2) http //youtu.be/llqfGPkKlPg June 30th 2012 Ms. Akiko Fujimura’s talk show, at Yokohama Japan. Akiko is Nippon SPCA founder (Japanese animal protection group). (Translation and filming, by Mika Iwamuro.) I still don t work on subtitles on this move, but I finished just translation below. [Ms. Kaori Hayakawa] Today everyone, I want you to buy this book, which was written by Ms. Fujimura wrote "Victim Pets Rescue". The dog on a cover, Is there anyone who watched this dog? Ah, there is. Before this work, Aftermath of the Earthquake, on the broadcast, I knew this one. The dog became very famous in various ways. The owner of the dog, Mr. Okubo, please come. Everybody, please greet him with applause. Ms. Fujimura, could you introduce him to everyone simply? [Ms. Akiko Fujimura] Yes well.. Today he came here from far away, thanks Mr. Okubo. His house was washed away by the tsunami, so he lives in other place now. This dog was televised, and now the dog, over 100,000 video views on youtube. Not just in Japan, but also overseas, CNN, ABC, actually these two dogs were televised. He is the owner of these dogs. In fact, this dog, brown one named Mei-chan was found, and another white dog named Lee-chan is still missing. I hope that white dog will be found, so I wrote the book. I appreciate, he came here from far away, while he is busy. I think I would like to hear from him, I hope everyone listen to the end. [Ms. Kaori Hayakawa] All right, there is only one mike, so first of all, I would like to hear various things from Mr. Okubo. Thank you for coming. [Mr. Okubo] Ah. [Ms. Kaori Hayakawa] The disaster area still... I have seen Yokohama-city, it seems that we have gotten back to our ordinary days. But still... How is it the status in disaster area now? [Mr. Okubo] The situation is still unchanged... I m anxious about the future. [Ms. Kaori Hayakawa] I agree.. When you suffered from the earthquake, what the situation was you in? Your dogs and your family, suffered in different locations? [Mr. Okubo] Yes. [Ms. Kaori Hayakawa] How was it in the aftermath of the disaster? [Mr. Okubo] The first, my family flashed into my mind. [Ms. Kaori Hayakawa] You and your family suffered in different locations. Could you tell me the details in that situation? How could you meet your family again? [Mr. Okubo] Then I returned my home by car.. and I rescued my dogs. Ah.. first, I looked for my family, and I rescued my dogs.. [Ms. Kaori Hayakawa] Then your dogs were in your house? [Mr. Okubo] Yes, no human was in my house, when my parent went to work, so there were only my dogs. [Ms. Kaori Hayakawa] Arahama-district is the area had huge damage by the tsunami. When you rescued your dogs, before the tsunami came? [Mr. Okubo] Yes, before it came. [Ms. Kaori Hayakawa] You rescued your dogs by your quick wit. [Mr. Okubo] Yes..I wanted to save my dogs anyway. After rescued, my dog showed me her very joy, and she seemed concerned about me, she licked my face. In a car, she had licked my face scores of times, so when I thought that I may can t drive a car. [Ms. Kaori Hayakawa] Your dog felt so relieved. These dogs were rescued once by Mr. Okubo. But after that why were they in the situation on TV? Everyone wonder when what happened? You rescued your dogs once, after that.... [Mr. Okubo] I rescued them..and I took refuge in the elementary school with my dogs. I kept my dogs on a lead in the elementary school. However, I couldn t take my dogs, when I took refuge by helicopter. (A Self-Defense Forces Personnel told him that helicopter does not take the dogs. In Japan, in an emergency, people take priority over animals. Even if Self-Defense Forces have enough space for some dogs in helicopter, then they abandon dogs, It s the "rule" in Japan. I am ashamed it as a Japanese, I think that Japan has no right to sell any animals.) [Mr. Okubo] So...I left my dogs in the elementary school. [Ms. Kaori Hayakawa] You could take refuge with your dogs once, but after that, you had to take in helicopter to refuge other place, then you couldn t take them in helicopter. [Mr. Okubo] Yes, I couldn t stay there until the end. [Ms. Kaori Hayakawa] Ah....and after that, dogs got lost? [Mr. Okubo] When I took in helicopter, I kept my dogs on a leash. But I returned there a few days later, it seems that someone went of the leash on my dogs, one dog (white dog) was not there..... (A man told Mr. Okubo "There is some dog food for a week-10 days in Elementary School.", so he left his two dogs in Elementary School, and he went to the work of the Volunteer fire department to help other people.) [Ms. Kaori Hayakawa] Even though you rescued your dogs once, and kept them on a leash, but after that someone unleash for some reason... And the dog got lost.. [Mr. Okubo] Yes... [Ms. Kaori Hayakawa] How many people, is there anyone who has seen this video? There are the people raise hands.. I watched this video, too. Aftermath the earthquake, it became the talk of the whole huge people. So many people said "What happened afterwards?" on many blog. For example Ms. Aya Sugimoto s blog, on her comment field, "What happened on the dogs afterwards?" "Does anyone know of the dogs safe?", so many people all over Japan were worried about these dogs. (Ms. Aya Sugimoto is a Japanese famous TV talent. She has been working on animal welfare.) After that many rumors have appeared "I heard these dogs were rescued" "It seems that the dogs were rescued", and I had believed in that false reports, too. And when I read Ms. Fujimura s book, I noticed the white dog has been missing, even now she is still missing. Have you known a false rescued report? [Mr. Okubo] .......Yes... I have known. [Ms. Kaori Hayakawa] What did you think of when you hear that? [Mr. Okubo] I thought that "where is my dog?" "if my dog is truly somewhere, we want her to come back to us." my family said, too. [Ms. Kaori Hayakawa] Not only Mr. Okubo, but also many people have been looking for their pets, have you tried something to find your dog? [Mr. Okubo] We have been to the seaside over and over, I have thought my dog may be somewhere. (and also Mr. Okubo visited animal control center in Miyagi-prefecture, in May to July 2011. ) [Ms. Kaori Hayakawa] I see, now, there is the photo of the dogs, on the left side, rare dog breeds Brittany Spaniel, Mei-chan, she already was rescued and she has been together with Okubo family. [Mr. Okubo] Yes. [Ms. Kaori Hayakawa] Mei-chan was found. [Mr. Okubo] Yes, when I got back the school, Mei came close to me. (March 18th 2011) Mei had a sad expression on her face, so I felt Lee got lost... [Ms. Kaori Hayakawa] Then another dog, Lee-chan was not there. And Mr. Okubo has tried to hardly to search for Lee-chan, but Lee-chan is still missing. [Mr. Okubo] Yes... Details and Timeline (Fri) March 11th, 2011 Mr. Hisato Okubo is a very courageous and tender and loyal person. On March 11th, 2011, when the tsunami came, the moment Mr. Hisato Okubo heard the tsunami warning, he returned his home, and he took his two dogs (Mei-chan and Lee-chan) and took refuge to the fives floor in Elementary School. Soon after that, his house was washed away by the tsunami. If Mr. Okubo did not return his home, maybe Mei-chan is no more... Mei-chan (brown tan dog) was rescued by Mr. Okubo who is her real owner, on March 18th 2011. (Sat)March 12, 2011 Mr. Okubo joined the volunteer of fire department. A man told him "There is some dog foods for a week-10 days in Elementary School.", so he left two dogs in Elementary School, and he went to the work of the Volunteer fire department to help other people. Until March 12, 2011, two dogs were chained in Elementary School, but it seems that someone lost the chaine... (Sun) March 13th, 2011 and in the evening on (Sun) March 13th, 2011, two dogs were filmed by Japanese Fuji Television crew. (Mon) March 14, 2011, about 7 am (Japan time) The photo of Lee-chan was taken by Takuya Imai who is a cameraman of Japan Nikkei news paper, at near by Madoka-Ann, on March 14th, 2011. about 7 am Madoka-Ann was the place where the dogs filmed by Fuji TV 津波で倒壊した家に残る犬（14日午前、仙台市若林区）＝写真 今井拓也 A dog stay with a house which was collapsed by tsunami (March 14th, 2011. Morning, Arahama) = The picture by Takuya Imai When these dogs filmed by Fuji TV on March 13th 2011, 4-5 pm, white dog (Lee-chan) laid herself down on the ground, but next morning Lee-chan stood up by herself in Nikkei photo. Their real owner Mr. Okubo and his family said “This dog of the photo is Lee!” (Mon) March 14th 2011, about 9 40 pm (Japan time) The two stay together tsunami dogs were aired on Japanese Fuji TV. http //www.youtube.com/watch?v=uct9Kzjw9XY sns=em (Thu) March 17th, 2011. about5 30 pm (Japan time) Japanese Fuji Television reported false rescue story "both dogs were rescued by an animal protection group". http //www.youtube.com/watch?v=5awVBo7WSaw sns=em (Fri) March 18th, 2011. CNN reported false rescue story "both dogs were rescued by bikers". http //www.youtube.com/watch?v=2B0YuxmtlOA sns=em The rescue reports on CNN/FujiTV/more are based on the rumor on Facebook page and were not checked out. On March 18, 2011, Mr. Okubo found Mei-chan in Arahama elementary school in Sendai-city Japan. But Lee-chan was not there. Thereafter, Mr. Okubo and his family have been looking for Lee-chan desperately. At that time, Mr. Okubo and his family were still not knowing that their dogs were aired on the TV around the world, because their home was washed away by the tsunami, and they lost TV and internetwork environment, many other victims, too. So they have been looking for Lee-chan intently, since March 18th 2011. About late of July, 2011. Fuji TV reporter Mr. Yamashina visited Okubo s house. Mr. Yamashina saw Mei-chan and made sure that Mei-chan is the same dog aired on Fuji TV. Mr. Yamashina told Mr. Okubo "There is a rumor that a dog was rescued by a man who live in Chiba prefecture." Mr. Okubo and his family said "If that man has Lee, we want him to return Lee to us." But as everyone know, that man has not rescued the two dogs. September 8th, 2011, I could contact with Mr. Okubo for the first time, thanks to everyone s efforts, thank you 2 channel users, thank you Global Animal and GA readers! Thank you Mr. Harigaya! If it were not for GA reports and GA reader s comments, and 2 channel user s posts, and Mr. Harigaya s advice, I could not contact Mr. Okubo. GA reports and GA readers comments encouraged me very much many time. NipponSPCA in Disaster area nipponspca2011/11/05 http //www.youtube.com/watch?v=BmMSUzflbZc sns=em Akiko Fujimura who is the Nippon SPCA founder, met the dog owner Mr. Okubo on September 14th 2011 for the first time, when she actually saw brown tan dog named Mei. March - April 2012, Mei eat food, this movie was taken by Mika, on Aplil 1st 2012. http //www.youtube.com/watch?v=Mjn6O4Lf_yE sns=em I phoned the owner of two tsunami dogs Mr. Okubo on September 8th 2011, for the first time. And I met the owner in March - April 2012, for the first time. When I actually saw brown tan dog named Mei-chan. Mei-chan is very cute very fine. (Sat) June 30th, 2012 I went Akiko Fujimura s talk event on, at Yokohama Kanagawa Japan. Ms. Akiko Fujimura (left), Mika Iwamuro (middle), Mr. Okubo (right) Ms. Akiko is so cute, but my face was oily and shining , right man is Mr. Okubo who is the owner of Lee-chan Akiko s blog. (All in Japanese) 震災ペットを救う！トークイベント3カ所全て満員御礼☆ 2012/07/01 12 36 http //ameblo.jp/73akiko/entry-11291415235.html ■Several Major Medias reported a false rescue story "both dogs were rescued" around the world update February 7th, 2013. (Japan time) http //www18.atwiki.jp/2dogs/pages/34.html Two years ago, after the Japan Big Earthquake Tsunami, in March 2011, Fuji TV(Japan), CNN, NPR, TYT, CBS(America), UK telegraph, ITN(England), Apple Daily(Hong Kong), Russian TV, more, Several major media reported false rescue story “Two loyal tsunami dogs were rescued by an animal rescue. Happy ending!” . But in fact, white dog (female setter) is still missing since (Mon) March 14th 2011. Major media still have NOT corrected their wrong reports. There were NO film/picture of after dogs were rescued, on major medias rescue report. There were only stray dogs, on their rescue report. The rescue reports on CNN/FujiTV/more are based on the rumor on Facebook page and were not checked out. And March 11th 2013, even now, Fuji TV has never corrected their wrong report "both dogs were rescued". Many Japanese (including me and Mr. Okubo) have asked Fuji TV to correct their wrong report many time, again and again. If Fuji TV reported the truth, Lee-chan would be found. But Fuji TV always says “The person in charge is currently not present” and ignore our voice. Maybe, if Fuji TV reports the truth (Lee-chan is still missing), then Fuji TV lose their popularity and Fuji lose the benefit. So Japanese media has not report the truth. Till now, I also sent some message to CNN, NPR, UK telegraph, ABC, but I have no reply. And I asked some Japanese media to report the truth, but they said We cannot air that story because that story is sad, and we may cannot get audience measurement. If white dog will be found, may we air that story ." “We don’t have the authority to correct the Fuji TV false report.” March 10th 2013, even now, his White Setter has been missing since March 14 2011. Even now, Mr. Okubo is still looking for this white dog desperately for two years. Brown tan dog named Mei-chan was rescued by their real owner Mr. Okubo on March 18th 2011, and brown tan dog has been together with Mr. Okubo. It was wrong report that both two dogs were rescued by bikers. We already asked Kahoku news paper (Japanese Tohoku region local news paper) to report an article of missing Lee-chan, this article will be reported on March 11th (tomoeeow) on Kahoku news paper morning edition. This morning edition is delivered to 44 thousand houses in 6 prefectures of Tohoku region (mainly Miyagi-prefecture) every day. (Arahama Sendai-city is in Miyagi-prefecture Japan) But it is not a free service. I and some Japanese spent our money to it, we expect that effect. But if Lee-chan was adopted to far away from Miyagi-prefecture in Japan, when it is hard for us to find Lee-chan, so I asked many Japanese to share spread to help find missing Lee-chan, all over Japan. And I want to request many overseas people to share spread the truth of missing Lee-chan on internet Email. I hope the truth will win the false rescue rumors and false major media. We want as many people as possible to know that Lee-chan is still missing and their real owner Mr. Okubo is still looking for Lee-chan desperately. I can no longer be expected major media report the truth. So please your help. Please share spread this fact on Facebook, Twitter, blog, other SNS, and Email. I think that if many people spread the truth on Internet Email all over the world, then many people know the truth, and Lee-chan will surely be found! Even now, many people believe that Lee-chan (white dog) was already rescued. So even now, fake rescue rumors are hindering us from searching for the missing white dog (Lee-chan). In fact, Mei-chan (brown tan dog) was rescued by her real owner Mr. Okubo, I think this is Real Brave Story. A man said "Major media make money by publishing stories people want to know. It is not about the truth. Two dogs were rescued was a good story, even if it s a lie." Everyone! Do you want FAKE good story? I say “NO”. There are several possible. I want to try all means possible to find Lee-chan. I thought there is possibility that Lee-chan is dead. But at the same time there is possibility that Lee –chan is alive! Maybe Lee chan was rescued by foreign people, and carried somewhere. Maybe Lee chan was rescued neighbor and she is alive, and neighbor does not have Internet, so neighbor does not know that the owner is looking for Lee chan. There are many possible. I want to try all means possible to find Lee-chan. Do you know someone who had been in Sendai around March to April 2011? Actually, PETA Asia, Kinship Circle, HIS, and more foreign animal rescuers and foreign cameraman and foreign human rescues had been in Sendai Japan just after the earthquake in March 2011. So it s some possible that Lee-chan was rescued by overseas people. But I don’t know other foreign animal rescue team and other people. If you know, please tell them this information, and tell me (Mika Iamuro email twodogs_tottorimiyagi_mii3328@yahoo.co.jp). I have asked AFN, Heart Tokushima, PETA Asia, HSI, kinship circle, ASPCA, and Yoshiko Wada. AFN, Heart Tokushima, PETA Asia, HSI, Yoshiko said that they have not had the information of dog who like Lee-chan. Kinship Circle, ASPCA, Ashley Fruno, have not replied me. I was able to contact dog s owner on September 8th 2011, for the first time. I didn t know about white dog has been missing, until I heard it from dog s owner. I have been looking for Lee (white dog) since September 2011. During that time, some people have told me "There are not only these two famous dogs, there are many other animals who need rescue." I knew. Everyone knew that. Needless to say, there are a lot of animals need rescue around the world. If there are many other animals need rescue, then should we abandon two dogs? You don t care if two dogs dies? Why don t you think try to help both animals(2 dogs and many other animals)? Many people are saying "Don t forget Fukushima animals! I want to help many animals." What is the difference between Lee-chan (white setter) and Fukushima animals? I think that there is NO difference Lee-chan and Fukushima animals. Both animals should be rescued. I don t want you to forget about Lee-chan (one of two loyal tsunami dogs who filmed by Fuji TV.). (Mon) March 11th 2013, Lee-chan is still missing, even now, her owner is still looking for Lee-chan desperately since March 2011. Lee-chan is her owner s treasure, family. Lee-chan already helped many victim animals, Lee-chan and Mei-chan attracted the people s attention to many victim animals, all over the world. Let s repay their loyal. Please help us find Lee-chan. Let’s reunite Lee-chan with her real owner Mr. Okubo and Mei-chan ! Their real owner Mr. Okubo and his family said "If a person who saved Lee hope that he/she keep Lee, it wouldn t be a problem. I would like to thank you so much for saving Lee." "I want to make clear dead or alive." "I still will not give up about Lee." "I want to meet Lee again." I really hope Lee-chan will be found this year and reunite her owner Mei-chan. March 11th 2013, the white dog is still missing. The White Setter named Lee has been missing since March 14 2011. Even now, their real owner Mr. Okubo has been looking for Lee desperately. Feature of the missing dog Name Lee (Lee-chan, ‘chan’ is Japanese honorific.) English setter Female Large dog Totally white on her body Her ears are right brown She has gray spotted around her nose Then she had silver chains around her neck Then 8 years old (Now 10 years old) Then not spay Then not microchipped Gentle Friendly When Last Seen Monday March 14th 2011 about 7 am, a photo of Lee-chan was taken by Takuya Imai who is a cameraman of Nikkei newspaper, near the place dogs filmed by Fuji TV. And March 13th 2011 about 4-5 pm, Lee-chan was filmed by Fuji TV crew. Where Last Seen Nearby 円庵(まどか庵 Madoka-Ann which was light meal shop.), near the Sendai Municipal Arahama Elementary School, in Arahama, Wakabayashi-ku, Sendai-shi, Miyagi-ken, Japan. Nearby Miyagi Prefectural Road137, Arahama-Haranomachi Line in Japan. More details (Please click read) http //www48.atwiki.jp/2dogsdemosoft/pages/20.html Thank you so much for many help. We need your help and eyewitness in Sendai. If anyone had info on the missing Lee-chan (white female setter), whoever please tell me (Mika Iwamuro) via facebook or Email twodogs_tottorimiyagi_mii3328@yahoo.co.jp And if you have any questions on this page, please feel free to contact admin (Mika Iwamuro) at any time. 2dogs BBS http //www1.rocketbbs.com/110/NagisaK.html Please feel free to post your message. Editor ;s name Mika Iwamuro (Handle tottorimiyagi, mii, 2dogs) Facebook｜Mika Iwamuro http //www.facebook.com/photo.php?fbid=420833198002550 set=a.371098812975989.90415.100002276214962 type=3 theater (Please share!) Youtube｜mii169686 (Mika Iwamuro) http //www.youtube.com/user/mii169686 I m @tottorimiyagi on Twitter http //twtr.jp/user/tottorimiyagi (Please RT) リーちゃんを探すページ：http //www18.atwiki.jp/2dogs/pages/35.html (日本語ページ) If you access this page from your cell phone, then often 403 error occur. In that case, would you please access this page again after a short interval, and you can watch this page. アクセス集中時、携帯からウィキが403エラーで閲覧できなくなる場合がありますが、時間を置いてアクセスしていただけば、また見れるようになります。
https://w.atwiki.jp/oper/pages/2299.html
Overture ACT I (A palace. Enter Titania, leading the Indian boy, the fairies attending) FAIRIES Come, come, come, let us leave the town, and in some lonely place, where Crowds and noise were never known, resolve to spend our days. In pleasant shades upon the grass at night our selves we ll lay; our days in harmless sport shall pass, thus time shall slide away. (Enter fairies, leading a drunkard and blinded poet) Scene of the drunken poet DRUNKEN POET Fill up the bowl, then... 1st FAIRY, CHORUS Trip it, trip it in a ring; around this mortal dance, and sing. POET Enough, enough, we must play at blind man s buff. Turn me round, and stand away, I ll catch whom I may. 2nd FAIRY, CHORUS About him go, so, so, so, pinch the wretch from top to toe; pinch him forty, forty times, pinch till he confess his crimes. POET Hold you damn d tormenting punk, I do confess... FAIRIES What, what... POET I m drunk, as I live boys, drunk. FAIRIES What art thou, speak? POET If you will know it, I am a scurvy poet. FAIRIES Pinch him, pinch him for his crimes, his nonsense and his Dogrel rhymes. POET Hold! Oh! Oh! Oh! FAIRIES Confess more, more. POET I confess I m very poor. Nay prithee do not pinch me so, good dear devil let me go; and as I hope to wear the bays, I ll write a sonnet in thy praise. FAIRIES Drive em hence, away, away, let em sleep till break of day. First act tune Jig ACT II (A wood, by moon-light. Enter Titania and her train. While the fairies dance the scene changes to a prospect of grotto s, arbors, and delightful walks; the arbors are adorn d with all variety of flowers, the grotto s supported by terms, these lead to two arbors on either side of the scene, of a great length, whose prospect runs toward the two angles of the house. Between these two arbors in the great grotto, which is continued by several arches, to the farther end of the house) Prelude and song Come all ye songsters of the sky, wake, and assemble in this wood; but no ill-boding Bird be night, none but the harmless and the good. Prelude CHORUS May the god of wit inspire, the sacred nine to bear a part; and the blessed heavenly quire, shew the utmost of their art. While Eccho shall in sounds remote, repeat each note, each note, each note. (Then a composition of instrumental music, in imitation of an eccho.) Eccho CHORUS Now join your warbling voices all. (Then a fairy dance) A dance of fairies Song and Chorus Sing while we trip it on the green; but no ill vapours rise or fall, nothing offend our fairy queen. (Titania leaves down. Enter Night, Mystery, Secresie, Sleep, and their attendants.) NIGHT See, even night her self is here, to favour your design; and all her peaceful train in near, that men to sleep incline. Let noise and care, doubt and despair, envy and Spight, (the fiends delight) be ever Banish d hence, let soft repose, her eye-lids close; and murmuring streams, bring pleasing dreams; let nothing stay to give offence. MYSTERY I am come to lock all fast, love without me cannot last. Love, like counsels of the wise, must be hid from vulgar eyes. Tis holy, and we must conceal it, they profane it, who reveal it. SECRESIE One charming night gives more delight, than a hundred lucky days. Night and I improve the tast, make the pleasure longer last, a thousand, thousand several ways. SLEEP Hush, no more, be silent all, sweet repose has clos d her eyes. Soft as feather d snow does fall! Softly, softly, steal from hence. No noise disturb her sleeping sence. A dance for the followers of Night (Oberon squeezes the flowers on Titania; Lysander and Hermia fall asleep.) ACT III (Enter Titania, Bottom and fairies. The scene changes to a great wood, a long row of large trees on each side; a river in the middle, two rows of lesser trees of a different kind just on the side of the river, which meet in the middle, and make so marry arches, two great dragons make a bridge over the river, their bodies form two arches, through which two swans are seen in the river at a great distance. Enter a troop of fawns, dryads and naides) CHORUS If love s a sweet passion, why does it torment? If a bitter, oh tell me whence comes my content? Since I suffer with pleasure, why should I complain, or grieve at my fate, when I know tis in vain? Yet so pleasing the pain is, so soft is the dart, that at once it both wounds me, and tickles my heart. I press her hand gently, look languishing down, and by passionate silence I make my love known. But oh! how I m blest when so kind she does prove, by some willing mistake to discover her love. When in striving to hide, she reveals all her flame, and our eyes tell each other, what neither dares name. Symphony while the swans come forward (While the symphony s playing, the two swans come swimming on through the arches to the bank of the river, as if they would land; these turn themselves into fairies and dance; at the same time the bridge vanishes, and the trees that were arch d, raise themselves upright) Dance for the fairies (Four savages enter, fright the fairies away, and dance an entry) Dance for the green men Song Ye gentle spirits of the air, appear; prepare, and joyn your tender voices here. Catch, and repeat the trembling sounds anew, soft as her sighs and sweet as pearly dew. Run new division, and such measures keep, as when you lull the god of love asleep. (Enter Coridon and Mopsa) Dialogue between Coridon and Mopsa CORIDON Now the maids and the men are making of hay, we h ve left the dull fools, and are stolen away. Then Mopsa no more be coy as before, but let us merrily play, and kiss the sweet time away. MOPSA Why, how now, Sir Clown, what makes you so bold? I d have ye to know I m not made of that mold. I tell you again, maids must never kiss no men. No, no, no kissing at all; I ll not kiss, till I kiss you for good and all. CORIDON Not kiss you at all? MOPSA No, no, no kissing at all! CORIDON Why no kissing at all? MOPSA I ll not kiss, till I kiss you for good and all. CORIDON Should you give me a score, twould not lessen your store, then bid me chearfully kiss, chearfully kiss and take, and take, my fill of your bliss. MOPSA I ll not trust you so far, I know you too well; should I give you an Inch, you d soon take an ell. Then lordlike you rule, and laugh at the fool. No, no... CORIDON So small a request, you must not, you cannot, you shall not deny, nor will I admit of another reply. MOPSA Nay, what do you mean? O fie, fie, fie! Song A NYMPH When I have often heard young maids complaining, that when men promise most they most deceive, then I thought none of them worthy my gaining; and what they swore, resolv d ne re to believe. But when so humbly he made his addresses, with looks so soft, and with language so kind, I thought it sin to refuse his caresses; nature o ercame, and I soon chang d my mind. Should he employ all his wit in deceiving, stretch his invention, and artfully feign; I find such charms, such true joy in believing, I ll have the pleasure, let him have pain. If he proves perjur d, I shall not be cheated, he may deceive himself, but never me; this what I look for, and shan t be defeated, for I ll be as false and inconstant as he. Dance of Haymakers Song and chorus A thousand, thousand ways we ll find to entertain the hours no two shall e re be known so kind, no life so blest as ours. Third act tune Hornpipe ACT IV Symphony (The scene changes to a garden of fountains. A sonata plays while the sun rises, it appears red through the mist, as it ascends it dissipates the vapours, and is seen in its full lustre; then the scene is perfectly discovered, the fountains enrich d gilding, and adorn d with statues; the view is terminated by a walk of cypress trees which lead to a delightful bower. Before the trees stand rows of marble columns, which support many walks which rise by stairs to the top of the house; the stairs are adorn d with figures on pedestals, and rails; and balasters on each side of em. Near the top, vast quantities of water break out of the hills, and fall in mighty cascade s to the bottom of the scene, to feed the fountains which are on each side. In the middle of the stage is a very large fountain, where the water rises about twelve foot. Then the Four Seasons enter, with their several attendants) Solo and Chorus ONE OF THE ATTENDANTS Now the night is chas d away, all salute the rising sun; this that happy, happy day, the birth-day of king Oberon. Duet TWO OTHERS Let the fifes, and the clarions, and shrill trumpets sound, and the arch of high heav n the clangor resound. Entry of Phoebus (A machine appears, the clouds break from before it, and Phoebus appears in a chariot drawn by four horses) PHOEBUS When a cruel long winter has frozen the earth, and nature imprison d seeks in vain to be free; I dart forth my beams, to give all things a birth, making spring for the plants, every flower, and each tree. Tis I who give life, warmth, an vigour to all, even love who rules all things in earth, air, and sea; would languish, and fade, and to nothing would fall, the world to its chaos would return, but for me. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. SPRING Thus the ever grateful spring, does her yearly tribute bring; all your sweets before him lay, then round his altar sing, and play. SUMMER Here s the summer, sprightly, gay, smiling, wanton, fresh, and fair; adorn d with all the flowers of may, whose various sweets perfume the air. AUTUMN See my many colour d fields, and loaded trees my will obey; all the fruit that autumn yields, I offer to the god of day. WINTER Now winter comes slowly, pale, meager, and old, first trembling with age, and then quiv ring with cold; benum d with hard frosts, and with snow cover d o re, prays the sun to restore him, and sings as before. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. (After a short time all go out except Robin-Good-Fellow, who applies the juice of the herb to Lysander s eyes) Fourth act tune Air ACT V Prelude (While a symphony plays, the machine moves forward, and the peacocks spread their tails, and fill the middle of the theatre.) Epithalamium JUNO Thrice happy lovers, may you be for ever, ever free, from that tormenting devil, jealousie. From all that anxious care and strife, that attends a married life be to one another true, kind to her as she to you, and since the errors of this night are past, may he be ever constant, she for ever chast. (The machine aspends. After Juno s song, Oberon asks to hear the plaint of Laura for her departed love.) The plaint O let me weep, for ever weep, my eyes no more the shall welcome sleep; I ll hide me from the sight of day, and sigh, and sigh my soul away. He s gone, he s gone, his loss deplore; and I shall never see him more. (While the scene is darken d, a single entry is danded.) Entry dance (Then a symphony is play d) Symphony (After that the scene is suddenly illuminated, and discovers a transparent prospect of a Chinese garden, the architecture, the trees, the plants, the fruits, the birds, the beasts quite different to what we have in this part of the word. It is terminated by an arch, through which is seen other arches with close arbors, and a row of trees to the end of the view. Over it is a hanging garden, which rises by several ascents to the top of the house; it is bounded on either side with pleasant bowers, various trees, and numbers of strange birds flying in the air, on the top of a platform is a fountain, throwing up water, which falls into a large basin. A Chinese man enters and sings) Song A CHINESE MAN Thus the gloomy world at first began to shine, and from the power divine a glory round about it hurl d; which made it bright, and gave it birth in light. Then were all minds as pure, as those ethereal streams; in innocence secure, not subject to extreams. There was no room then for empty fame, no cause for pride, ambition wanted aim. CHINESE WOMAN Thus happy and free, thus treated are we with nature s chiefest delights. We never cloy, but renew our joy, and one bliss another invites. CHORUS Thus wildly we live, thus freely we give, what heaven as freely bestows. We were not made for labour and trade, which fools on each other impose. CHINESE MAN Yes, Daphne, in your looks I find the charms by which my heart s betray d; then let not your disdain unbind the prisoner that your eyes have made. She that in love makes least defence, wounds ever with the surest dart; beauty may captivate the sence, but kindness only gains the heart. (Six monkeys come from between the trees and dance) Monkeys dance (Two women sing in parts) 1st WOMAN Hark how all things with one sound rejoice, and the world seems to have one voice. 2nd WOMAN Hark now the echoing air a triumph sings, and all around pleas d Cupids clap their wings. CHORUS Hark! Hark! 2nd WOMAN Sure the dull god of marriage does not hear BOTH We ll rouse him with a charm. Hymen, appear! CHORUS Hymen, appear! BOTH Our Queen of Night commands thee not to stay. Appear! CHORUS Our Queen... (Enter Hymen.) Prelude HYMEN See, see, I obey. My torch has long been out, I hate on loose dissembled vows to wait, where hardly love out-lives the wedding-night, false flames, love s meteors, yield my torch no light. (Six pedestals of china-work rise from under the stage; they support six large vases of porcelain, in which six china-orange-trees.) BOTH WOMEN Turn then the eyes upon those glories there, and catching flames will on thy torch appear. HYMEN My torch, indeed, will from such brightness shine, love ne er had yet such altars, so divine. (The pedestals move toward the front of the stage, and the grand dance begins of twenty-four persons; then Hymen and the two women sing together.) TRIO They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. CHORUS They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. (All the dancers join in it.) Chaconne Dance for Chinese man and woman. Overture ACT I (A palace. Enter Titania, leading the Indian boy, the fairies attending) FAIRIES Come, come, come, let us leave the town, and in some lonely place, where Crowds and noise were never known, resolve to spend our days. In pleasant shades upon the grass at night our selves we ll lay; our days in harmless sport shall pass, thus time shall slide away. (Enter fairies, leading a drunkard and blinded poet) Scene of the drunken poet DRUNKEN POET Fill up the bowl, then... 1st FAIRY, CHORUS Trip it, trip it in a ring; around this mortal dance, and sing. POET Enough, enough, we must play at blind man s buff. Turn me round, and stand away, I ll catch whom I may. 2nd FAIRY, CHORUS About him go, so, so, so, pinch the wretch from top to toe; pinch him forty, forty times, pinch till he confess his crimes. POET Hold you damn d tormenting punk, I do confess... FAIRIES What, what... POET I m drunk, as I live boys, drunk. FAIRIES What art thou, speak? POET If you will know it, I am a scurvy poet. FAIRIES Pinch him, pinch him for his crimes, his nonsense and his Dogrel rhymes. POET Hold! Oh! Oh! Oh! FAIRIES Confess more, more. POET I confess I m very poor. Nay prithee do not pinch me so, good dear devil let me go; and as I hope to wear the bays, I ll write a sonnet in thy praise. FAIRIES Drive em hence, away, away, let em sleep till break of day. First act tune Jig ACT II (A wood, by moon-light. Enter Titania and her train. While the fairies dance the scene changes to a prospect of grotto s, arbors, and delightful walks; the arbors are adorn d with all variety of flowers, the grotto s supported by terms, these lead to two arbors on either side of the scene, of a great length, whose prospect runs toward the two angles of the house. Between these two arbors in the great grotto, which is continued by several arches, to the farther end of the house) Prelude and song Come all ye songsters of the sky, wake, and assemble in this wood; but no ill-boding Bird be night, none but the harmless and the good. Prelude CHORUS May the god of wit inspire, the sacred nine to bear a part; and the blessed heavenly quire, shew the utmost of their art. While Eccho shall in sounds remote, repeat each note, each note, each note. (Then a composition of instrumental music, in imitation of an eccho.) Eccho CHORUS Now join your warbling voices all. (Then a fairy dance) A dance of fairies Song and Chorus Sing while we trip it on the green; but no ill vapours rise or fall, nothing offend our fairy queen. (Titania leaves down. Enter Night, Mystery, Secresie, Sleep, and their attendants.) NIGHT See, even night her self is here, to favour your design; and all her peaceful train in near, that men to sleep incline. Let noise and care, doubt and despair, envy and Spight, (the fiends delight) be ever Banish d hence, let soft repose, her eye-lids close; and murmuring streams, bring pleasing dreams; let nothing stay to give offence. MYSTERY I am come to lock all fast, love without me cannot last. Love, like counsels of the wise, must be hid from vulgar eyes. Tis holy, and we must conceal it, they profane it, who reveal it. SECRESIE One charming night gives more delight, than a hundred lucky days. Night and I improve the tast, make the pleasure longer last, a thousand, thousand several ways. SLEEP Hush, no more, be silent all, sweet repose has clos d her eyes. Soft as feather d snow does fall! Softly, softly, steal from hence. No noise disturb her sleeping sence. A dance for the followers of Night (Oberon squeezes the flowers on Titania; Lysander and Hermia fall asleep.) ACT III (Enter Titania, Bottom and fairies. The scene changes to a great wood, a long row of large trees on each side; a river in the middle, two rows of lesser trees of a different kind just on the side of the river, which meet in the middle, and make so marry arches, two great dragons make a bridge over the river, their bodies form two arches, through which two swans are seen in the river at a great distance. Enter a troop of fawns, dryads and naides) CHORUS If love s a sweet passion, why does it torment? If a bitter, oh tell me whence comes my content? Since I suffer with pleasure, why should I complain, or grieve at my fate, when I know tis in vain? Yet so pleasing the pain is, so soft is the dart, that at once it both wounds me, and tickles my heart. I press her hand gently, look languishing down, and by passionate silence I make my love known. But oh! how I m blest when so kind she does prove, by some willing mistake to discover her love. When in striving to hide, she reveals all her flame, and our eyes tell each other, what neither dares name. Symphony while the swans come forward (While the symphony s playing, the two swans come swimming on through the arches to the bank of the river, as if they would land; these turn themselves into fairies and dance; at the same time the bridge vanishes, and the trees that were arch d, raise themselves upright) Dance for the fairies (Four savages enter, fright the fairies away, and dance an entry) Dance for the green men Song Ye gentle spirits of the air, appear; prepare, and joyn your tender voices here. Catch, and repeat the trembling sounds anew, soft as her sighs and sweet as pearly dew. Run new division, and such measures keep, as when you lull the god of love asleep. (Enter Coridon and Mopsa) Dialogue between Coridon and Mopsa CORIDON Now the maids and the men are making of hay, we h ve left the dull fools, and are stolen away. Then Mopsa no more be coy as before, but let us merrily play, and kiss the sweet time away. MOPSA Why, how now, Sir Clown, what makes you so bold? I d have ye to know I m not made of that mold. I tell you again, maids must never kiss no men. No, no, no kissing at all; I ll not kiss, till I kiss you for good and all. CORIDON Not kiss you at all? MOPSA No, no, no kissing at all! CORIDON Why no kissing at all? MOPSA I ll not kiss, till I kiss you for good and all. CORIDON Should you give me a score, twould not lessen your store, then bid me chearfully kiss, chearfully kiss and take, and take, my fill of your bliss. MOPSA I ll not trust you so far, I know you too well; should I give you an Inch, you d soon take an ell. Then lordlike you rule, and laugh at the fool. No, no... CORIDON So small a request, you must not, you cannot, you shall not deny, nor will I admit of another reply. MOPSA Nay, what do you mean? O fie, fie, fie! Song A NYMPH When I have often heard young maids complaining, that when men promise most they most deceive, then I thought none of them worthy my gaining; and what they swore, resolv d ne re to believe. But when so humbly he made his addresses, with looks so soft, and with language so kind, I thought it sin to refuse his caresses; nature o ercame, and I soon chang d my mind. Should he employ all his wit in deceiving, stretch his invention, and artfully feign; I find such charms, such true joy in believing, I ll have the pleasure, let him have pain. If he proves perjur d, I shall not be cheated, he may deceive himself, but never me; this what I look for, and shan t be defeated, for I ll be as false and inconstant as he. Dance of Haymakers Song and chorus A thousand, thousand ways we ll find to entertain the hours no two shall e re be known so kind, no life so blest as ours. Third act tune Hornpipe ACT IV Symphony (The scene changes to a garden of fountains. A sonata plays while the sun rises, it appears red through the mist, as it ascends it dissipates the vapours, and is seen in its full lustre; then the scene is perfectly discovered, the fountains enrich d gilding, and adorn d with statues; the view is terminated by a walk of cypress trees which lead to a delightful bower. Before the trees stand rows of marble columns, which support many walks which rise by stairs to the top of the house; the stairs are adorn d with figures on pedestals, and rails; and balasters on each side of em. Near the top, vast quantities of water break out of the hills, and fall in mighty cascade s to the bottom of the scene, to feed the fountains which are on each side. In the middle of the stage is a very large fountain, where the water rises about twelve foot. Then the Four Seasons enter, with their several attendants) Solo and Chorus ONE OF THE ATTENDANTS Now the night is chas d away, all salute the rising sun; this that happy, happy day, the birth-day of king Oberon. Duet TWO OTHERS Let the fifes, and the clarions, and shrill trumpets sound, and the arch of high heav n the clangor resound. Entry of Phoebus (A machine appears, the clouds break from before it, and Phoebus appears in a chariot drawn by four horses) PHOEBUS When a cruel long winter has frozen the earth, and nature imprison d seeks in vain to be free; I dart forth my beams, to give all things a birth, making spring for the plants, every flower, and each tree. Tis I who give life, warmth, an vigour to all, even love who rules all things in earth, air, and sea; would languish, and fade, and to nothing would fall, the world to its chaos would return, but for me. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. SPRING Thus the ever grateful spring, does her yearly tribute bring; all your sweets before him lay, then round his altar sing, and play. SUMMER Here s the summer, sprightly, gay, smiling, wanton, fresh, and fair; adorn d with all the flowers of may, whose various sweets perfume the air. AUTUMN See my many colour d fields, and loaded trees my will obey; all the fruit that autumn yields, I offer to the god of day. WINTER Now winter comes slowly, pale, meager, and old, first trembling with age, and then quiv ring with cold; benum d with hard frosts, and with snow cover d o re, prays the sun to restore him, and sings as before. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. (After a short time all go out except Robin-Good-Fellow, who applies the juice of the herb to Lysander s eyes) Fourth act tune Air ACT V Prelude (While a symphony plays, the machine moves forward, and the peacocks spread their tails, and fill the middle of the theatre.) Epithalamium JUNO Thrice happy lovers, may you be for ever, ever free, from that tormenting devil, jealousie. From all that anxious care and strife, that attends a married life be to one another true, kind to her as she to you, and since the errors of this night are past, may he be ever constant, she for ever chast. (The machine aspends. After Juno s song, Oberon asks to hear the plaint of Laura for her departed love.) The plaint O let me weep, for ever weep, my eyes no more the shall welcome sleep; I ll hide me from the sight of day, and sigh, and sigh my soul away. He s gone, he s gone, his loss deplore; and I shall never see him more. (While the scene is darken d, a single entry is danded.) Entry dance (Then a symphony is play d) Symphony (After that the scene is suddenly illuminated, and discovers a transparent prospect of a Chinese garden, the architecture, the trees, the plants, the fruits, the birds, the beasts quite different to what we have in this part of the word. It is terminated by an arch, through which is seen other arches with close arbors, and a row of trees to the end of the view. Over it is a hanging garden, which rises by several ascents to the top of the house; it is bounded on either side with pleasant bowers, various trees, and numbers of strange birds flying in the air, on the top of a platform is a fountain, throwing up water, which falls into a large basin. A Chinese man enters and sings) Song A CHINESE MAN Thus the gloomy world at first began to shine, and from the power divine a glory round about it hurl d; which made it bright, and gave it birth in light. Then were all minds as pure, as those ethereal streams; in innocence secure, not subject to extreams. There was no room then for empty fame, no cause for pride, ambition wanted aim. CHINESE WOMAN Thus happy and free, thus treated are we with nature s chiefest delights. We never cloy, but renew our joy, and one bliss another invites. CHORUS Thus wildly we live, thus freely we give, what heaven as freely bestows. We were not made for labour and trade, which fools on each other impose. CHINESE MAN Yes, Daphne, in your looks I find the charms by which my heart s betray d; then let not your disdain unbind the prisoner that your eyes have made. She that in love makes least defence, wounds ever with the surest dart; beauty may captivate the sence, but kindness only gains the heart. (Six monkeys come from between the trees and dance) Monkeys dance (Two women sing in parts) 1st WOMAN Hark how all things with one sound rejoice, and the world seems to have one voice. 2nd WOMAN Hark now the echoing air a triumph sings, and all around pleas d Cupids clap their wings. CHORUS Hark! Hark! 2nd WOMAN Sure the dull god of marriage does not hear BOTH We ll rouse him with a charm. Hymen, appear! CHORUS Hymen, appear! BOTH Our Queen of Night commands thee not to stay. Appear! CHORUS Our Queen... (Enter Hymen.) Prelude HYMEN See, see, I obey. My torch has long been out, I hate on loose dissembled vows to wait, where hardly love out-lives the wedding-night, false flames, love s meteors, yield my torch no light. (Six pedestals of china-work rise from under the stage; they support six large vases of porcelain, in which six china-orange-trees.) BOTH WOMEN Turn then the eyes upon those glories there, and catching flames will on thy torch appear. HYMEN My torch, indeed, will from such brightness shine, love ne er had yet such altars, so divine. (The pedestals move toward the front of the stage, and the grand dance begins of twenty-four persons; then Hymen and the two women sing together.) TRIO They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. CHORUS They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. (All the dancers join in it.) Chaconne Dance for Chinese man and woman. Purcell,Henry/The Fairy Queen
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Content Analytics Market Overview Content Analytics Market is defined as a group of technologies that can process digital content and use behavior while engaging and consuming the content. For instance, news sites, social media platforms, customers, documents etc., to answer specific questions. Content is one of the important tools for enhancing and exposing the market to engage consumers. It is a way to engage the consumers and keep them on their toes. It fulfills required business goals like brand awareness, increasing revenue, creating leads, etc.; in the pandemic, several market revenue decreased. However, the rising use of cloud-based technologies increased in the COVID 19 outbreak, due to which the market got positively impacted. The effect of the pandemic is decreasing, and it will accelerate the market. The tech giants are forming new developments, and regions rising digitalization will push the market towards potential growth. As cloud technologies are easing business operations, it will increase the demand for content analysis; these factors will fuel the market. The increasing popularity of online mediums such as Instagram, Facebook, Linkedin, and youtube upsurge the demand for content analytics and will help in the market s progression, creating many opportunities for the Content Analytics Market. Many companies adopt content analytic software for major growth; such advantages will foster the market. The inability and disruption in the industrial operation and supply chain function are huge restraints for the market. Still, people are there who lack awareness, and the growing concern and the data breach are challenges the market will have to cross to gain growth. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/3956 Major Key Players Due to the presence of multiple players who strive to capture a greater share, the global content analytics market appears to be moderately fragmented during the forecast period of 2017 and 2023. The report published by Market Research Future has profiled the significant players in the content analytics market to provide a comprehensive overview of their operations and strategies. Some of these prominent players present in the global Content Analytics Market include International Business Machine Corporation (U.S.), Adobe Systems, INC. (U.S.), Clarabridge, INC. (U.S.), Interactive Intelligence Group, INC. (U.S.), Opentext Corporation (Canada), Oracle Corporation (U.S.), Verint Systems (U.S.), Nice Systems LTD. (Israel), SAP SE (Germany), and SAS Institute, INC. (U.S.). Segmental Analysis The Content Analytics Market is segmented by application, deployment and vertical. The market is divided into the on-premise and cloud-based on the application segment. The cloud-based content analysis software will gain a high growth rate in the forecast period. The application segment is bifurcated into social media analytics, web analytics, text analytics, speech analytics, etc. Social media analytics will dominate the market in the forecast period as most people spend their time on social platforms. Not only people but different enterprises and industries also use this platform to improve market growth as this increases exposure. The variables of the vertical segment of the Content Analytics Market are IT and Telecommunication, media and entertainment, retail and consumer goods, healthcare, government, BFSI, travel and hospitality, and others. Regional Analysis The Content Analytics Market is studied in five major regions such as North America, Asia Pacific, Europe and other parts. North America will register a high CAGR in the market in the forecast period. The presence of major vendors and the rising use of content analytic software will improve the market condition in the forecast period. The Asia Pacific is growing in the second position due to the high adoption of digitalization. The region is also experiencing high development in IT structure and will propel the market. Industry Update LinkedIn has announced to the customers that it is bringing some new tools for creators, including improved content analytics, new profile video tools, newsletter showcase options, a subscriber bell for update notifications, etc. Access Report Details @ https //www.marketresearchfuture.com/reports/content-analytics-market-3956 Table of Contents 1 Market Introduction 1.1 Introduction 1.2 Scope of Study 1.2.1 Research objective 1.2.2 Assumptions 1.2.3 Limitations 1.3 Market Structure 2 Research Methodology 2.1 Research Type 2.2 Primary Research 2.3 Secondary Research 2.4 Forecast Model 2.4.1 Market Data Collection, Analysis Forecast 2.4.2 Market Size Estimation Continued…. View Similar Report** Mobile Security Software Market https //writeonwall.com/mobile-security-software-market-size-key-players-with-product-particulars-applications-future-trend-business-growth-market-size-key-players-update-business-statistics-and-forecast-till-20/ Casino Market https //tealfeed.com/antivirus-software-industrykey-players-product-particulars-breig Antivirus Software Market https //tealfeed.com/antivirus-software-industrykey-players-product-particulars-breig List of Tables Table 1 Content Analytics Market, By Application Table 2 Content Analytics Market, By Deployment Table 3 Content Analytics Market, By Vertical Table 4 Content Analytics Market, By Region Table 5 North America Content Analytics Market, By Application Continued…. List of Figures Figure 1 Research Type Figure 2 Content Analytics Market By Application (%) Figure 3 Content Analytics Market By Deployment (%) Figure 4 Content Analytics Market By Vertical (%) Figure 5 Content Analytics Market By Region (%) Continued… About Market Research Future At Market Research Future (MRFR), we enable our clients to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. MRFR team have supreme objective to provide the optimum quality market research and intelligence services to our clients. Our market research studies by Solutions, Application, Logistics and market players for global, regional, and country level market segments, enable our clients to see more, know more, and do more, which help to answer all their most important questions. 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卒論テーマ：部屋の照明色彩の心理的影響5月19日 雨宮メモ色光の心理的効果について、実用例と研究を紹介します。研究はほとんどないようです。卒論は、実際の部屋で行うより、より単純な設定、短い時間で行う方がよさそうです。このページでは、色光の心理的効果の情報を示します。個人用のページも別に用意しました。1.色光の心理的効果：実例紹介青色防犯灯の情報http //homepage2.nifty.com/forceb/aoirobouhantou.htm青色ダイエットhttp //www.blue-diet.com/index.htmlドイツのカラーサウナの情報「発掘！あるある大事典２」でドイツの「カラーサウナ」が紹介されているそうです。http //plaza.rakuten.co.jp/hitorigoto12/diary/200612040000/あるあるネタですが、実際ドイツでカラーサウナが普及しているのは事実のようです。ドイツ人の留学生にも直接確認しました。北ヨーロッパの人の光への渇望は、ちょっと特別な感じもします。http //blog.livedoor.jp/colorwellness/2.色光の心理的効果：研究紹介 (a)刺激として用いる色彩：（1）照明、（3）環境色、（2)、(4)、(5)、(6)色片 (b)被験者からとる反応： 気分（Core Affect）の変化：(1)不安、（2）POMS、(3)作業効率・エラー・不安・抑鬱・覚醒 対象への印象（affective quality）の評定：（4）快不快・覚醒度・力量 色の嗜好・見え方の変化：（5）色の見え方の変化、(6) 色の嗜好照明が気分（Core Affect）に与える影響を測定しているのは（1）のみです。短時間でも赤と黄が状態不安を増すという結論を出しています。ただし、状態不安しか調べておらず、実験コントロールにも問題があります。 環境色（3）や色片（2）を刺激として使った実験では、気分（Core Affect）にはあまり明確な変化は生じてなかったようです。（3）は時間を増すと効果が出たかもしれませんが。 （5）､(6)は色彩が気分を変えるのではなく、気分やメタ動機付け状態によって、色の見え方や色彩指呼が変わるという、逆方向の因果関係の研究です。 対象の色彩の印象（affective quality）の評定は非常に研究が多いです。（4）はそのなかでは、組織的ですぐれた研究です。しかしこれは気分やCore Affectへの影響ではありません。affective qualityとCore Affectの区別については、最後にメモを示します。 （1）Jacobs Suess（1975) Percept Mot Skills. 1975 Aug;41(1) 207-10. Effects of four psychological primary colors on anxiety state. Jacobs KW Suess JF. Effects of the four psychological primary colors were assessed by randomly assigning 40 undergraduates (13 male, 27 female) to 4 treatment groups, with each group receiving either red, yellow, green, or blue illumination. Anxiety state was assessed at 5-min. intervals using the State-Trait Anxiety Inventory. The red and yellow groups had significantly higher A-state scores than the blue and green groups, and these values did not change significantly during the 15-min. testing session. 赤、青、緑、黄の四色の照明を用いて、15分間、5分ごとに状態不安を測定しています。赤と黄のみ状態不安が有意に増えたという結論を出しています。実験参加者を10人づつの、四群に分けていますが、コントロール群を設けていません。また状態不安しか測定してないなど、やや不十分な実験です。 （2）Jacobs Blandino (1992) Percept Mot Skills. 1992 Aug;75(1) 267-71. Effects of color of paper on which the Profile of Mood States is printed on the psychological states it measures. Jacobs KW, Blandino SE. The Profile of Mood States was printed on four different colors of paper (yellow, red, green, blue) and white to test whether the color of paper would influence mood state scores of 246 college students. Univariate analyses of variance identified color effects only on the Fatigue scale. 四色の色の紙を用いて、POMS（多面的感情状態尺度）で感情への影響を調べています。疲労についてのみ、色による有意な差があったという結果です。 (3)Ainsworth ,Simpson , Cassell (1993) Percept Mot Skills. 1993 Feb;76(1) 235-41. Effects of three colors in an office interior on mood and performance. Ainsworth RA,Simpson L, Cassell D. This study examined the effects of three hues on subjects performance and mood while in an office work environment for 1 hour. Pretest/posttest measurements were completed. Work performance was measured using words typed, typing errors, and a ratio of errors to words typed. Anxiety, depression, and arousal were measured by the Eight State Questionnaire of Curran and Cattell. A total of 45 women, ages 18 to 24 years, were tested individually in a single office space 15 when the office walls were painted red/warm, 15 when walls were blue-green/cool, and 15 when walls were white/neutral. Analysis of covariance of posttest measurements with the pretest as a covariate showed no significant differences among the three groups on performance or scores on anxiety, depression, and arousal. If color of the environment has an effect on work performance or mood, either the effect was too small to be detected with samples of 15 subjects or longer participation than one hour was required. 三種類の色の部屋で1時間タイピングの作業をしたときの、作業速度、エラー、不安、抑鬱、覚醒の変化を調べています。色による有意な差は見いだされませんでした。 (4)Valdez Mehrabian(1994) J Exp Psychol Gen. 1994 Dec;123(4) 394-409. Effects of color on emotions. Valdez P, Mehrabian A. Emotional reactions to color hue, saturation, and brightness (Munsell color system and color chips) were investigated using the Pleasure-Arousal-Dominance emotion model. Saturation (S) and brightness (B) evidenced strong and consistent effects on emotions. Regression equations for standardized variables were; Pleasure = .69B + .22S, Arousal = -.31B + .60S, Dominance = -.76B + .32S. Brightness effects were nearly the same for chromatic and achromatic colors. Blue, blue-green, green, red-purple, purple, and purple-blue were the most pleasant hues, whereas yellow and green-yellow were the least pleasant. Green-yellow, blue-green, and green were the most arousing, whereas purple-blue and yellow-red were the least arousing. Green-yellow induced greater dominance than red-purple. 色票への感情反応（Russell2003のCore Affect説の用語に従って区別すると、観察者の内面に生ずるCore Affectではなく、対象に付与されるAffective Qualityです。）を組織的に調べています。 (5)Barrick ,Taylor, Correa(2002) J Affect Disord. 2002 Feb;68(1) 67-71. Color sensitivity and mood disorders biology or metaphor? Barrick CB,Taylor D, Correa EI. A familiar but overlooked symptom in affective disorders is patient self-report of alterations in color sensitivity. Anecdotal and empirical evidence have suggested an association between mood and color sensitivity. The purpose of this pilot study was to test three hypotheses concerning the relationship between mood disorders and color sensitivity. METHODS Using a cross-sectional survey design consisting of a sample of 120 inpatients and outpatients, color sensitivity was assessed by the patient s response to a self-report depression scale item, "I notice that everything seems gray/cloudy/drab/lacking color". RESULTS Color sensitivity significantly correlated with depression in the total sample (P=0.001).The other two hypotheses approached significance but were not supported. DISCUSSION These findings suggest there is evidence that color sensitivity is impaired during depression. Further research using a larger, more homogeneous sample and longitudinal design whereby measures of mood and color sensitivity are correlated before, during, and after treatment in depressed and manic patients would be justified. A study using ophthalmological instrumentation to measure color sensitivity would provide objective, hard evidence of the association between color sensitivity and depression. CONCLUSIONS Whether color perception is metaphorically reported by patients to describe their mood or a biological phenomenon remains to be validated. Findings seem to lend support to the conclusion that abnormalities in brain function alter retinal function. 抑鬱状態になると、すべてもものが灰色でどんよりして、くすんで、カラフルでなくなる用に実際に感ずるという調査です。著者達は、これがたんなる比喩ではなく、実際に色の見え方が変わるのだと主張しています。 (6)Walters,., Apter, Svebak. (1982). Walters, J., Apter, M. J., Svebak, S. (1982). Colour preference, arousal and the theory of psychological reversals. Motivation and Emotion, 6,193ｰ215. 覚醒回避のTelic状態では寒色系の色を、覚醒追求のParatelic状態では暖色系の色彩を好むという実験です。 参考：Core AffectとAffective Qualityの関係 1.Core Affect core affectとは：core affectは、"最もシンプルな生の感覚"として意識的にアクセス可能な神経生理学的状態である。一般的に"feeling"と呼ばれるものに近い。Thayer (1989) の"activation"、Watson Tellegen (1985) の"affect"、Morris (1989) の"mood"にも近い。どの時点でも、core affectは快-不快、覚醒度の2次元座標上に表現される。内的もしくは外的な刺激に応じて逐次変動し（同じ状態に長く留まることもある）、よく"気分"として認知される。強いcore affectは意識的に認知されるが、通常は意識的な世界の背景として存在する。 core affect変動の原因。core affectの日常的なベースラインには個人差がある。・内的な原因：免疫細胞の活動，サーカディアンリズム，ホルモンの変化なども影響する。外的な原因：あらゆる外的な刺激はcore affectに影響を与える。イメージも大きな影響を持つ。 core affectの機能：core affectの変化により人は原因を知ろうとする：注意や認知のアクセシビリティを高める。すなわちcore affectは，いわゆる気分一致の原則で人の認知をガイドする。 2.Affective Quality 外界の志向的対象は全て何らかのaffective qualityを有している。人はそのaffective qualityを知覚（解釈）し、その刺激への反応を定める。evaluation, automatic evaluation, appraisalなど呼ばれてきた(Bargh, 1997, Zajonc, 1980)。affective qualityの知覚はcore affectと相互依存関係にあるが、概念的には区別される。外的刺激なしにcore affectは変化するし、affective qualityを知覚してもcore affectが変化するとは限らない：鬱の人が美しい夕日を見たときなど。 3.Core AffectとAffective Qualityの関係 affective qualityはcore affectと違う：両者は影響を与え合うが，乖離することもある． core affectには志向的対象がないが，affective qualityにはある． affective qualityを知覚しても， core affectが変化しないことがある："delicious meal"を素早く読むとcore affectが変化するだろうか．変化してもその程度は小さいだろう． 評価の基準が違う：affective qualityは他の刺激，core affectは別時点のcore affect． ?実証的知見：あるaffective qualityを持った刺激は，core affectの変化を生じさせずに，情報処理プロセスに影響を与える (Soldat, Sinclair, Mark, 1997)． Substitution Hypothesis affective qualityはcore affectと別だが，お互いに影響を与え合う． core affectはaffective qualityを推定するための貴重な情報源． substitution仮説：現在のcore affectが刺激のaffective qualityを推定するのに使用される (Schwarz Clore, 1983)．特に，不確実性が高い状況でその傾向は強まる．