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PRACTICE SWING +●目次 参考動画 ～ゲイ･トニー "Gay Tony" の家～ ～ゴールデンピア・ゴルフクラブ、3階打席～ ～ゴールデンピア・ゴルフクラブ、コース上～ ～キャッスルガーデンシティ、キャッスル・ドライブ沿いの脇道～ ～ゲイ・トニーのマンション前～ ミッション終了 ～ミッション終了後電話～ 参考動画 GTA4 THE BALLAD OF GAY TONY part10 GTA4 THE BALLAD OF GAY TONY part11 Grand Theft Auto IV The Ballad of Gay Tony - Mission #4 Practice Swing 1/2 Grand Theft Auto IV The Ballad of Gay Tony - Mission #4 Practice Swing 2/2 ～ゲイ･トニー "Gay Tony" の家～ Gay Tony（ゲイ･トニー） Oh, where the fuck have you been, man? おい、一体ドコほっつき歩いてやがった？ Luis（ルイス） Yeah, I came as soon as I could. これでもできるだけ早く来たつもりだが。 Gay Tony I don t pay for as soon as I could . ”できるだけ早く”来る奴に給料を払っているつもりはない。 Gay Tony Sleeping with half the women in Liberty City, no doubt. リバティーシティの女の半分を寝とるつもりか、それはよかった。 Luis What s wrong with you, man? You re acting like an asshole. どうしたんだよ、なぁ？まるでバカそのものだぞ。 Gay Tony You think I don t know that? お前は私が知らないとでも思ったのか？ Gay Tony You think I like being like this? こうやって私が人に当たり散らすのが好きだとでも思ってるのか？ Luis Then what s wrong, T? じゃあどうしたんだよ、T（ゲイ・トニー）？ Gay Tony I ve fucked up. やっちまったんだよ。 Gay Tony Good and proper. まさに典型的だ。 Gay Tony I work Algonquin nightlife twenty years. I beat everyone. 私はこの20年、アルゴンクインのナイトライフを動かしてきた。全てを牛耳ってきた。 Gay Tony Mayors, rivals, drugs, everyone. And this time, I ve fucked up. 歴代の市長、競争相手、薬物、全部だ。でも今回は、やっちまった。 Gay Tony I m the only man この街の歴史で、 Gay Tony in the history of this town こんな男は他にはいないだろうよ、 Gay Tony with the hottest gay and straight clubs at the same time ゲイと異性愛者のための最高のクラブを一手に運営してきた上に、 Gay Tony and I am about to lose everything. その全てを失おうとしている男はな。 Luis What are you talking about, T? 何ワケのわからないこと言ってるんだ、T？ Gay Tony I don t know if it s that idiot Evan, or the economy, これが、あのバカのエヴァンのせいか、この経済のせいか、 Gay Tony or this fucking cocaine or the pills, which I am not taking anymore, もしくはこのコカインか、この睡眠薬のせいかもしれない、まぁもうやらないって決めているが。 Gay Tony but this time, I fucked up. でもホント今回だけは、私はやっちまったんだ。 Gay Tony I ve done a deal with the wrong devil, man. 間違って悪魔と俺は契約を結んでしまったらしい。 Gay Tony I am such an idiot. なんて私はバカなんだ。 Luis Things have been bad before, man 悪いことなら前からあったじゃないか。 Luis you get us out of it. I fight, 危機は脱することができる。俺が動いて、 Luis you plot, together we get out of it. アンタが支持を出す、一緒に危機を切り抜けるんだ。 Gay Tony Sure. But we ve never been this fucked before. そうだな。だが今度のは以前とは比べものにならないほどの大失態だ。 Luis Hey, you saved me, man, made me. なぁ、アンタは俺を救ってくれただろ、な、俺を育て上げてくれた。 Luis Gay Tony will always be the king of this town. ゲイ・トニーは常にこの街のキングであり続ける。 Luis You are this town. アンタがこの街なんだ。 Gay Tony I sold the business to two different people 私はこのクラブ運営のことで、異なる二人の人物に投資を募った、 Gay Tony and they each think they own the lot. でもそいつらどちらとも、お互いに事業の所有権は自分にあるって思ってんだ。 Gay Tony Man, we re fucked. ったく、もう私たちは終わりだよ。 Luis So, I ll go tell them they gave you the money as a present, そうか、じゃあ俺がそいつらに、アンタ宛のプレゼント用の札束を包むように言ってくる、 Luis and if they don t like it, もしそこでヤツらが拒みでもしたら Luis I take them to the special VIP room at the bottom of the West River. ヤツらをウエスト・リバーの底にある特別VIPルームに招待してやる。 Gay Tony It s going to be very crowded in the VIP room. そりゃあ、そのVIPルームはさぞかし混雑するだろうな。 Gay Tony These are not nice people and there s a lot of them, 奴らは善人とは程遠い人物たちで、その上、数が多いと来たもんだ、 Gay Tony and right now, you and me have to go play nice with one of them だから私もお前も行儀良くしておかないといけない、なんせこの後そいつらの一人と会うんだからな。 Gay Tony so they don t start sending rent a goombah into the club. せいぜいチンピラをクラブに送り込まれないように努力しなけりゃならん。 Gay Tony Fuck. 畜生。 Luis It s going to be okay, man. 大丈夫だって。 Gay Tony Yeah, whatever. そうかい、なんとでも言っとけ。 Gay Tony Meanwhile, there s a- there s this blogger, 話は変わるが、あの、ブ、ブロガーだっけ、 Gay Tony this nebbish with an internet connection, あのネットでつまらないことしか書かないあのカス、 Gay Tony bad mouthing me all over town. 街中で俺の悪口を垂れ流してる。 Gay Tony Do you know this guy? 知ってるか？ Gay Tony The Celebrinator ? 『ザ・セレビネーター』ってやつ。 Luis Celebre-what? セレブ…何だって？ Gay Tony I... whatever... Come on... 私は…まぁいい…行くぞ… Gay Tony Alright who s the girl? んでどの女だったんだ？ Luis There wasn t a girl, man. だから女とは会ってないって。 Gay Tony There s always a girl. いや、いつものように女に決まってる。 Gay Tony We re meeting Rocco at the driving range. 打ちっ放し場でロッコと会うことになってる。 ・ 指示 Go to the Golden Pier golf club. ・ ゴールデンピアのゴルフクラブまで行け。 Luis Fucking Rocco! After what happened in Chinatown, please tell me we gonna take a nine iron to his legs. ロッコの野郎め！チャイナタウンの一件があったっていうのに、9アイアンでヤツのスネをブッ叩いてやりたいぜ。 Gay Tony You think I like running around for that little shit? 私があのカスに振り回されるのが好きだとでも思ってるのか？ Gay Tony There was a time when the name Tony Prince meant something downtown. かつてダウンタウンでトニー・プリンスって名前を聞いて、ビビらないヤツはいなかったんだぞ。 Gay Tony If you think I signed up to be this boy scout mafioso s stooge with a big grin on my face... 私はマフィアの引き立て役としていつもニコニコしてる、こんなボーイスカウトになるために契約を結んだんじゃないかってお前は思ってるだろ… Luis Yeah, well, being his stooge s stooge ain t too much glomor neither. はいはい、そうだな、その引き立て役の引き立て役（つまり今のルイスのこと）でいるのも、魅力的な職業とは程遠い存在だがな。 Gay Tony Money makes a man do strange things. 金は人を狂わす。 Gay Tony Pussy makes him do stranger things, but luckily I m not susceptible to those perils like you are. 女はもっと人を狂わす。でも幸運なことに、そんな女の誘惑に弱いお前と違って、私にはその心配は全く無いがな。 Luis Toto don t get you killed nearly as much, if recent times is anything to go by. でも女はアンタを命の危険にさらしたりはしないだろ、この前の一件みたいに。 Gay Tony Don t underestimate it, Luis. The snatch has brought down empires bigger than our own. 女を甘く見すぎだぞ、ルイス。そういう女どもが多くの大事業をダメにしてきたんだよ。 Luis You should get some T-shirts made, T. Get out of the nightclub business and concentrate on your philosophical sayings. そんなに言うんなら、自分の信念をTシャツか何かに書いていつも掲示しててくれよ、T。いっそのことナイトクラブビジネスをやめて山にでもこもったほうが、己と向きあうのには適してるんじゃないか。 （ゴールデンピア南の駐車場に着く） Gay Tony Come on. He s in here. こっちだ。奴は中にいる。 ～ゴールデンピア・ゴルフクラブ、3階打席～ Rocco（ロッコ） Oh! おぉ！ Gay Tony Rock. Hey. How are you? ロック（ロッコのニックネーム）。やぁ。元気でやってるかい？ Rocco There they are. The spic and the fag. やっと、おでましだな。メキシコ野郎とオカマ野郎。 Rocco Tony, shit, you got burrito breath. You ain t been eating Mexican again have you? トニー、うわっ、お前メキシコ臭ぇぜ。メキシコ料理を食べるのだけはもうやめてくれよな。 Luis Yo Rock, you ve invested in the wrong clubs, man. Maybe Split Sides is more your vibe. ロック、投資するクラブを間違えたんじゃないのか。お前さんにはスプリット・サイズ（お笑い劇場）がお似合いだぜ。 Rocco Oh, baa da boom. I m sure I woulda found that funny if I spoke spic. おっとぉ、ゴメンよ。そのネタ、俺様がメキシコ野郎だったら面白さが理解できると思うんだが。 Rocco Real shame, I ll have to ask my maid to translate for me. 残念だなぁ、よし俺んトコの使用人に後でそのネタを訳してもらおう。 Gay Tony Rock, what do you need? ロック、何か用があるんだろ？ Rocco I need you to help me get some information out of this union prick who s decided to get an over inflated opinion of himself. 情報を引き出すのを手伝って欲しい、あのバカで大物気取りの労働組合の野郎からな。 Rocco These fucking guys, stuck in the 1970s or something. あの組合のヤツら、今が1970年代か何かと勘違いしてるんじゃないのか。 Luis Where is he? んでそいつはどこなんだ？ Rocco He s right... 奴は… （ロッコがスイングする） Rocco down... すぐ… （ロッコがボールを打つ） Rocco there. 下だ。 （ロッコの打ったボールが労働組合幹部 "Union official" から外れる） Rocco Fuck. 畜生め。 Union Official（労働組合役員） You fucking missed me you, you piece of shit. Fucking prick. ミスったぞ、クソったれが。このバカめ。 Rocco Oh, big man? でたな？得意のデカ口が。 Union Official -Yeah yeah you fuck, you missed me bitch. ほら、どうした、クソ野郎、腕が鈍ってるぜ、腰抜け。 Rocco -I m gonna get down there and go talk to him. 俺は下に行って、奴と話してくる。 Union Official -You missed. You swing like a fag. ミスったぞ。へなちょこスイングだ。 Rocco You hit him some balls when I tell you to. You think you can do that for me, Louise? ゴルフボールを奴に当てろ、俺の言う通りにな。俺のためならこれぐらい簡単だよな、ルイース？ Luis Yeah, I ll give it a try. あぁ、やるだけやってみるよ。 （ロッコからゴルフクラブを受け取る。ロッコは下に降りて組合役員が張り付けられているゴルフカートに乗る） ・ 指示 Hit the Union official with golf balls. ・ 労働組合役員をゴルフボールで痛めつけろ。 ・ 説明 Use （L） to change shot position. ・ 左スティックを動かして、立ち位置を変える。 ・ 説明 Press A to start backswing. ・ Aボタンでスイングを始める。 ・ 説明 To hit the ball, press A when the descending power-bar reaches the black marker. ・ ゲージバーが下に動いている時、黒いマーカーに来たところでAボタンを押せば、ボールを飛ばせる。 ・ 説明 Hold RT to zoom camera. ・ 右トリガーでズームする。 ・ 説明 Move ＜R＞ to rotate camera. ・ 右スティック左右で視点を動かす。 Luis What we doing, man? 何やってんだろうな、俺たち？ Gay Tony We re keeping our most important investor happy. Just hit it already. お得意様のご機嫌を損ねないようにしてるだけだ。さっさとやれ。 （ボールを打つまでのロッコの台詞：以下台詞ランダム） Rocco Don t pussy out now, Luis. Hit it. ヘタレになるのはやめてくれよ、ルイス。打て。 Rocco Break his balls, Lou. コイツの玉を潰してやれ、ロウ（ルイスのニックネーム）。 Rocco Hit him in the fucking face. コイツの顔に当てな。 Rocco Ain t you spics meant to have decent swings? Do it. メキシコ野郎はゴルフが得意じゃなかったっけ？さぁやれ。 Rocco Fore! フォア！ Rocco Don t be shy now. 遠慮すんなよ。 Rocco Let her rip, Lou. かっ飛ばせ、ロウ。 Rocco Come on, Lou. Hit it. 来いよ、ロウ。打て。 （一発目のボールを労働組合役員に当てる） Union Official Fuuhh! うぁぁぁ！ Rocco Fore! フォア！ （笑うロッコ） Rocco You gonna tell me who s holding out? 誰が悪あがきしてるのか言う気になったか？ Union Official Alright. Okay. Mel Toblowsky with Libel says he ain t gonna comply. He s working down Columbus Avenue. わかった。わかったから。メル・トプロウスキーだ、名誉毀損で訴えたアイツ、奴は要求に応じるつもりは無いってよ。奴はコロンバス・アベニューの工事現場で働いてる。 Rocco I ain t letting you off that easy. この程度で許す俺じゃないぜ。 Union Official I told you all I know. 知ってることは全て話した。 （ロッコがカートに組合役員を張り付けたまま動き出す） Luis Why s he moving it? なんで移動してるんだ？ Gay Tony Damned if I know. 知ったことか。 Luis Don t Rocco have someone else to hit the batting cage for him? 誰か他にゴルフ好きな奴を見つけられなかったのか、あのロッコは？ Gay Tony You ve met the guy, haven t you? I can t imagine he s got too many friends. アイツに会ったならわかるだろ、お前も？そんなことまでしてくれる友達がアイツにいるとは到底思えん。 （二発目のゴルフボールを労働組合役員に当てる） Union Official Gu-huh. Ow! ぐふぅ。おぅ！ Rocco There ya go. いいねぇ。 Rocco You and I both know that ain t it. そろそろ俺たちも打ち解けてきたみたいだな。 Union Official I hear Jack Duffy with the TWU might be with them. Okay, now fuck off already. 全米運輸労働者組合のジャック・ダフィーも絡んでるって話だ。これでいいだろ、さっさと解放してくれ。 Rocco This don t add up. そんなんじゃまだ筋が通ってないな。 Union Official Let me go! 離してくれ！ （ロッコがカートに組合役員を張り付けたまま再び動き出す） Luis There he goes again. また動き出した。 Gay Tony Where d you learn to play golf, Lou? そういえばゴルフなんてどこで学んだんだ、ロウ？ Luis Right here. Right now. Needs must, Tone. To be honest, I never fancied the game. 今、この場でだよ。やれと言われたからやっているだけだ。正直、こういう遊びは俺に合わない。 Luis I find the clothes you have to wear kind of unflattering. こんな事しなくていいように、アンタも時には媚びない態度を示すことが必要だと思うぜ。 Gay Tony When things calm down me and you should hit the links in Venturas. 事が落ち着いたら、私とお前でヴェンチュラスにゴルフにでも行くか。 Luis Sure thing, Tone. I can just see us now, a pair of terrible golfers, who just lost another million playing craps. そりゃいいね、トーン（ゲイ・トニーのニックネーム）。ゴルフに行ったはずが、クラップス（カジノゲームの一種）で遊ぶハメになって、何百万もスった様子が目に浮かぶよ。 （三発目のゴルフボールを労働組合役員に当てる） Union Official Uff. おふっ。 Rocco Yesh! よっし！ Rocco There s got to be more than just those two! さっきの二つの他にまだ言うべきことがあるだろ！ Union Official You fucking assholes. The head of the LTA is with the Messinas. There s no way you re gonna get those contracts. このクソったれ野郎。LTAのトップはな、メッシーナ・ファミリーと繋がってんだ。お前があんな契約を結ぶことなんて到底できないんだよ。 （当てるのに失敗する：以下台詞ランダム） Rocco You pulled it. プルショットかよ。 Gay Tony Breath, Lou. Remember to breathe. 深呼吸だ、ロウ。深呼吸するのを忘れるなよ。 Luis You my fucking caddy? アンタは俺のキャディか？ Rocco I thought they bred you tacos for sports. てっきりタコスはスポーツ用だと思ってたが。 Gay Tony You re not going to win any tour championships, that s for sure. 別にツアーの決勝で勝とうとかそういうのじゃないんだぞ、わかってるとは思うが。 Luis How am I supposed to hit it with you in my ear? アンタにごちゃごちゃ言われると、当たるものも当たらないんだが。 Rocco You Dominicans is meant to be athletes. お前らドミニカ人はスポーツマンのはずだろ。 Gay Tony Smoothly does it. Come on now. 滑らかにやるんだ。さぁ頑張れ。 Luis Enough of the commentary. 解説はもう結構だ。 Rocco I hope you didn t miss on purpose there. 目的を忘れてるんじゃないだろうな？ Gay Tony Bend the knees. It s all in the knees. 膝を曲げろ。膝こそ全てだ。 Luis You wanna step up, be my guest. 自分のスキルを上げたいなら、どうぞご勝手に。 Rocco You ever swung one of those things before? For Christ s sake! 今までに一度でもゴルフの球を打った経験あるのか？マジで頼むぜ！ Gay Tony Eye on the ball. ボールを見るんだ。 Luis Thanks, man. ありがとよ。 Rocco Get your fucking eye in, Lou. 一体どこ見てやがる、ロウ。 Gay Tony Now concentrate. 集中だ。 Luis Shut up a second. 少し黙っててくれ。 Rocco You people is more suited to being caddies. Shit. キャディの方がお似合いだったか。畜生め。 ～ゴールデンピア・ゴルフクラブ、コース上～ Union Official Any moment now my protection s gonna show and you guys are screwed. もうすぐウチらの取り立て屋が現れて、お前らを始末してくれるだろうよ。 Rocco We gonna do something about that. じゃあこっちもそれに対抗するまでだ。 （メッシーナの構成員がやってくる） Rocco I m fucked! Help me! ホントに来ちまったぜ！助けてくれ！ Gay Tony Much as it pains me, we better get down there. 自分でも恐ろしいほど気が進まないが、下に降りて援護した方が良さそうだ。 ・ 指示 Head down to the golf cart. ・ ゴルフカートがある場所まで降りろ。 ・ 説明 Hold A to run. Tap A repeatedly to sprint. ・ Aボタンを押している間、走ることができる。Aボタンを連打すれば速く走ることができる。 ・ 説明 Press （L） to crouch, this will make your aim more accurate. ・ 左スティックを押すことでしゃがむことができる、こうすることにより命中率が上がる。 （階段を降りるまで：以下台詞ランダム） Gay Tony Get down there, Lou. What are you waiting for? 降りるぞ、ロウ。何やってる？ Gay Tony Rocco s gonna be pissed if you re not down there soon. 早く下に降りないとロッコが殺られるぞ。 Gay Tony Anything happens to Rock, we ll be blamed. We gotta go, Lou. ロックに何かあったら、責任を負うのは私たちだ。行くぞ、ロウ。 Gay Tony Get down there. We re fucked if Rocco gets killed. 下に降りるぞ。ロッコが殺されれば、俺たちも後で殺される。 （下に降りる） Gay Tony I don t know if I should go out, Lou. 外に出て良いのかどうかわからん、ロウ。 Luis Okay. Stay back, Tone. オーケイ。じゃあ下がってろ、トーン。 ・ 指示 Clear the area of the Messinas. ・ エリア内のメッシーナを一掃しろ。 （銃撃戦の最中：以下台詞ランダム） Rocco Kill the Mex and the Homo if you gotta kill someone. そんなに人を殺したいなら、あそこにメキシカンとホモがいるぜ。 Union Official OH FUCK. おい、畜生。 Rocco You don t wanna be fucking with me. 俺を殺ろうなんて考えるなよ。 Union Official I DON T WANNA DIE. 死にたくないよ。 Rocco We was just havin a discussion. ちょっとお話をしてただけだって。 Union Official LEMME GO. 解放してくれ。 Rocco Fuck off! 失せろってんだ！ Union Official JESUS CHRIST. ああ神様。 Rocco I m a made guy. 俺はマフィアだぞ。 Union Official SHIT. クソッ。 Rocco You ain t got sanction for this. こんなん許可した覚えは無ぇぞ。 Union Official SHIT. LET ME GO. クソッ、俺を解放してくれ。 Gay Tony How s it going out there? 外はどうなってるんだ？ Union Official DON T FUCKING KILL ME. 頼むから殺さないで。 Rocco Blow me! 何すんだ！ Union Official HELP! 助けて！ Rocco This is just some innocent golf shit. ただ純粋にゴルフをしてただけだぜ。 Union Official HELP ME! HELP ME! 助けて！助けて！ Luis Screw you. くたばれ。 Gay Tony In case you were wondering, I m not enjoying this any more. 一応言っておくが、私はこの状況をこれ以上楽しむつもりはないぞ。 Union Official ASSHOLES! カスどもめ！ Luis You guidos got a problem. お前んトコのマフィアもダメだなぁ。 Gay Tony You need anything, just shout. 必要なものがあれば、そこから叫んでくれ。 （メッシーナの構成員をある程度倒す） Luis Tony, Let s move. トニー、行くぞ。 ・ 指示 Get into the golf cart. ・ ゴルフカートに乗り込め。 Gay Tony Rocco s going. Follow him. ロッコが行ったぞ。奴についていけ。 ・ 指示 Follow Rocco out of the golf club. ・ ゴルフ場を出るまでロッコについていけ。 Union Official ASSHOLES! カスどもめ！ Luis Yo, Rocco, you piece of shit, what you get us into? おい、ロッコ、このクソ野郎め、俺たちをどうするつもりだ？ Gay Tony Shut up, Lou! He didn t mean anything by it. 黙っとけ、ロウ！今回は別に奴の策略でも何でも無い。 Union Official SHIT. クソッ。 Luis Yo, T. I just love your new friends. Fucking fantastic guys. なぁ、T（ゲイ・トニーのニックネーム）。アンタの新しいお友達、俺は好きだぜ。面白い奴じゃないか。 Gay Tony Thanks, Lou. Sweet of you to say so. ありがとよ、ロウ。まさかお前からそんなお褒めの言葉をいただくなんてな。 Union Official DON T FUCKING KILL ME. 頼むから殺さないで。 Union Official SHIT. LET ME GO. クソッ、俺を解放してくれ。 Gay Tony Push it, Lou. Come on. We re nowhere near top speed in this thing. 飛ばせ、ロウ。何やってんだ。この車だったらまだ飛ばせるはずだぞ。 Luis Oh really, Tone? When did you became the golf buggy specialists? マジかよ、トーン？いつからゴルフカートの専門家になったんだ？ Gay Tony Oh I don t know. Just get us out of here and shut up. さぁな、知ったことか。とにかく黙って運転して、この状況をさっさと終わらせろ。 Union Official OH FUCK. おい、畜生。 Gay Tony How d we get into this situation? どうしてこんな状況になってしまうんだ？ Luis Running away from mobsters in a motherfucking golf cart? I think you got us here, T. Thanks for that. ゴルフカートでマフィアから逃げてる、この状況のことか？それならアンタのおかげだよ、T。どうもありがとうございました。 Luis Death with dignity, nice. これで尊厳死ってか、いいじゃないか。 Union Official HELP ME! HELP ME! 助けて！助けて！ ・ 指示 Park next to Rocco. ・ ロッコの隣に停まれ。 ～キャッスルガーデンシティ、キャッスル・ドライブ沿いの脇道～ Gay Tony That was a pleasant outing, Rock. Where s that put us with you know what? We square? とても面白い遠足だったぜ、ロック。んで参加した俺たちへ何かないのか？もうこれで借金はチャラだよな？ Rocco Square? What you borrowed? At those points? You ain t even making a dent on the interest. チャラだって？お前が何したってんだ？たったアレだけのことで？あんなの利子にも値しないぜ。 Rocco Besides, I m about to have to do all the messy work on this guy myself. つーか、俺はこの後、この男のためにわざわざ雑用もやらなきゃならないんだぜ。 Union Official No! But I-I-I told you shit. I told you everything. 嘘だろ！だってお、お、俺は話したじゃないか。俺はアンタに話すことは全て話した。 Rocco I ll see you girls later. じゃあな、腰抜けども。 Union Official Jesus. 畜生。 Gay Tony Come on. Let s head back to the apartment. よし、マンションまで戻るぞ。 ・ 指示 Take Tony back to his apartment. ・ トニーを自宅のマンションまで送れ。 Luis Hey, you know, I m really warming to that guy. Like a bad case of crabs. 俺はアイツに固執しすぎてるな。あの野郎、まるでシラミみたいな野郎だ。 Gay Tony Crabs are easier to get rid of. Believe me on that one. シラミは簡単に取り除くことができる。そんな気にするなって。 Luis Thank you for sharing. 俺のお悩みを共有してくれるなんて、どうもありがとさん。 Gay Tony We re business partners, we share everything. 私たちは仕事仲間じゃないか、全てを共有しておくのが当たり前さ。 Luis The emphasis is on business, bro. You can keep your crabs to yourself. 共有しておくのは仕事のことに関してだけだろ。これ以上アンタのシラミのお世話だけはゴメンだぜ。 Gay Tony Sorry, man, but I really got us in the shit here, Luis. 悪かったよ、こんな事に巻き込んで私が悪ぅございました。これでいいか、ルイス。 Luis Tony, man, you got to calm down. You re really pushing it. トニー、おい、少し休んだ方が良いな。気を張りすぎてんだよ。 Gay Tony Yeah, well. If you weren t out chasing tail, and this was a two man operation like it should be, ふん、そうかい。お前が図々しく顔を突っ込んできたりしなければ、私とアイツとの二人だけの問題にしておけば、 Gay Tony then maybe things would be holding together, better. 事態は今よりはもっと収拾がついただろうよ、もっと良い方向にな。 Luis Oh! I m getting blamed for this now? Oh of course. は？今回のは俺のせいだって言いたいのか？あぁ、そうですか。 Luis Whenever I come to the clubs you ask me to run off on some stupid errand like a chump. アンタは、俺がクラブに来たときにはいつも、俺をパシリとしてバカみたいにこき使って、 Luis You don t ever let me into the serious shit. And you do deals without even telling me. 大事な決め事のときには俺を除け者にして、取引があれば俺を通さずに勝手にやり始めると来たもんだ。 Luis Until it comes time to protect your ass from whoever you got your fatwa of the day from. そんなこと、いつかホントに死刑宣告されて俺に泣きついたりするときまでやり続けるつもりかよ。 Gay Tony Alright. Alright. Maybe I have taken you for granted. I ll change. I ll be better. わかった。わかった。私が思い上がりすぎてましたよ。考えを変えるよ。それでいいんだろ。 Luis Yeah, thank you, but I don t believe it. そうだよ、ありがと、だがアンタなんて当てにはしてないけどな。 ～ゲイ・トニーのマンション前～ Luis Here we are, bro. Rest up okay. ついたぜ。とりあえず休めよ、いいな。 Gay Tony Listen, Lou, would you mind paying Mori a visit. He says he needs help with something. その前にいいか、ロウ、モーリに挨拶しに行ってくれないか。アイツこの前手伝いが必要だって言ってたんだ。 Gay Tony I know he s a bit of a schmuck, but we owe the man money and I don t want him anywhere near the clubs. アイツの頭がおかしいのは承知のとおりだが、私はアイツから金を借りてる身で、なおかつ私はあんなヤツにクラブの周りをうろつかれたくない。 Luis I feel you there, T. That guy is a social atom bomb. I ll go see him. わかる気がするぜ、T。アイツは社交界での原爆みたいなもんだ。わかった、暇なときに寄るよ。 ミッション終了 報酬：$1500 ～ミッション終了後電話～ Luis Tone. トーン（ゲイ・トニーのニックネーム）。 Gay Tony Luis, what s gotten into you? Why haven t you been helping out at the club? ルイス、どこで油売ってんだ？クラブの手伝いをしてくれるんじゃなかったのか？ Luis You serious? I been running round this city getting shot at by assholes, doing hits for assholes, and hanging out with assholes, マジで言ってんのかよ？俺はな、街中をかけずりまわりながら、クソ野郎どもに撃たれ、クソ野郎どもの言う事を聞き、クソ野郎どもに付き合ってあげてる。 Luis so we can keep these places running. What else you expect me to be doing? 全てはクラブの経営のためなんだぞ。他にどうしろっていうんだ？ Gay Tony Standards have slipped, Lou. We re dead without this revenue stream. Just keep an eye on things, okay? 常に同じ状況とは限らないんだよ、ロウ。ちゃんとした売上を出さないと俺たちは終わりだ。ちゃんとクラブの様子に気を配っておいてくれよ、いいな？ Gay Tony Dessie s at Maisonette every night. Just talk to him and he ll explain everything. デシーが毎晩メゾネットで立ってる。アイツから詳細は全て聞いてくれ。 Luis Okay, T. Put your feet up. Relax. Enjoy yourself. オーケイ、T。楽にしてろ。リラックスしてろ。勝手にしやがれ。 ・ 説明 Go to the 手のマークicon in Maisonette 9 during its opening times of 9pm-6am to partake in the club management job. ・ クラブマネージメントの仕事を請け負うには、開業時間である午前9時～午後6時の間にメゾネット・９内の手のマークのアイコンのところに行け。
https://w.atwiki.jp/riftinfo/pages/276.html
RIFT 1.7 - 2012/02/01 == FEATURES ==LEVEL 45+ ITEMIZATION ADJUSTMENTS DUNGEON, EXPERT DUNGEON, AND CHRONICLE IMPROVEMENTS PVP UPDATES PVP SOUL UPDATES - PVP PLANAR ATTUNEMENT PVP EQUIPMENT UPDATES WARFRONTS - NOW WITH MERCENARIES NEW CHARACTER CREATION UPDATES USING A PRESET BUILD SOUL TREE CHANGES - NEW AND EXISTING CHARACTERS ADDITIONAL NEW PLAYER IMPROVEMENTS ASCENDED-LY EVER AFTER IN-GAME WEDDINGS GENERAL CURRENCY UPDATES RIFTS AND INVASIONS INSTANT ADVENTURE SOULS CLERICCABALIST DRUID INQUISITOR JUSTICAR PURIFIER SENTINEL SHAMAN WARDEN MAGEARCHON CHLOROMANCER DOMINATOR ELEMENTALIST PYROMANCER STORMCALLER WARLOCK ROGUEASSASSIN BLADEDANCER MARKSMAN NIGHTBLADE RANGER RIFTSTALKER WARRIORBEASTMASTER CHAMPION PALADIN PARAGON RIFTBLADE VOID KNIGHT ZONESDROUGHTLANDS EMBER ISLE GLOAMWOOD SCARWOOD REACH SHIMMERSAND STILLMOOR STONEFIELD DUNGEONS, SLIVERS, CHRONICLES, RAIDSCADUCEUS RISE DARKENING DEEPS DROWNED HALLS GREENSCALE'S BLIGHT [Raid] GREENSCALE'S BLIGHT THE FALLEN PRINCE [Chronicle] HAMMERKNELL [Raid] ITEMS CRAFTING ART AND AUDIO UI/SETTINGS == FEATURES == PvP Prestige updates, PvP Planar Attunements, and Warfront Mercenaries, oh my. Check out the PvP Update sections for a lot of info on the latest in RIFT PvP. Sweeping changes have come to the progression of gear at levels 45+. See ITEMIZATION ADJUSTMENTS, below, for details. No matter who you are, you now have twice as many Expert Dungeons to play in! The two tiers of Expert Dungeon difficulty have been combined into one. The new Soul Preset system is now available for use by all players, old and new. Check out USING A PRESET BUILD for info on how you can use the new, optional Purposes to try out new specs. Playing RIFT with that special someone? Maybe you d like to propose at the top of the Stonefield waterfall? IN-GAME WEDDINGS are now available for Ascended. A new Chronicle appears! Grab a friend and disguise yourself as Endless Cultists to infiltrate and sabotage Alsbeth s plans within the River of Souls! The Master Mode of Caduceus Rise is now available for the conquering! A sixth role is now available for purchase! KNOWN ISSUE Augmented items are getting some incorrect positive and negative bonuses with the 1.7 version. This is being fixed and the bonuses received from Augments should be returning to 1.6 values shortly. LEVEL 45+ ITEMIZATION ADJUSTMENTS With this patch we re focusing on improving gear progression in endgame content. The goal is to create a smoother high-end item progression and to ensure level 50 players can be competitive in either/both PvE or PvP with a clear route of content to upgrade through. The following improvements are being implemented toward this goal Content tier adjustments to better match with the items granted - Intro 50 content level 50 Dungeons, Chronicles, Rifts, and Zone Events. - "Tier 1" Expert Dungeons, Ember Isle, early Prestige Ranks, Expert Rifts, and Zone Events. - "Tier 2" Master Dungeons, entry Raids and Slivers, mid-Prestige Ranks, Raid Rifts, and Zone Events. - "Tier 3" Difficult Raids and Slivers, high-end Prestige Ranks. Items will improve consistently between tiers of content, instead of having small improvements early on followed by huge power jumps in later tiers. The overall power of a new level 50 character will be increased slightly, and the power differential for items between 50 and top-tier content will progress more evenly. DUNGEON, EXPERT DUNGEON, AND CHRONICLE IMPROVEMENTS The biggest change in support of the above progression is the combining of Expert Dungeons to a single difficulty tier, which impacts both gear dropped as well as LFG reward categories. The rest of the level 50 Dungeons and Chronicle content will be getting minor balance tweaks and major itemization adjustments. After these changes, the difficulty and rewards from content should be clearer between Chronicles/Level 50 Dungeons and Expert Dungeons. PVP UPDATES In the ongoing effort to more appropriately match up characters of different ranks, and give a smoother entry to high-level PvP, we will be revamping the existing Prestige system in 1.7. The Prestige system has expanded from 8 ranks to 40 - existing ranks will be converted to the appropriate rank on the updated scale. Bolstering is now enabled for level 50 Warfronts. Players entering a level 50 Warfront below Rank 13 will have their stats boosted to be more effective for both rank-appropriate and mixed-rank Warfronts. Marks of Retribution gained from closing PvP Rifts and completing weekly quests are now consumables that grant 1600 Favor. Existing Marks of Retribution have been converted back to Favor at 1600 Favor per Mark. Players who find themselves exceeding the current Favor cap after the conversion will need to spend that excess Favor and get below the cap before more can be earned. Reinforced Crystallized Insight is now available for purchase from Girdoom in Meridian and Templar Zim in Sanctum. These consumables grant 100,000 Planar Attunement experience at a cost of 15,000 Favor. PvP Rifts To encourage open-world PvP hotspots, only one PvP Rift can now be active at one time across all zones. Sealing a PvP Rift now grants a buff to your entire faction, Prismatic Glory , which increases Strength, Dexterity, Intelligence, Wisdom, and Endurance by 10, as well as increasing Prestige, Favor, and Planar Attunement experience gains by 5%. Removed grey-item drops from player corpses, and significantly increased coin drops. PVP SOUL UPDATES - PVP PLANAR ATTUNEMENT With 1.7, the PvP-specific Souls have been converted into a Planar Attunement-based character enhancement. A large amount of Planar Attunement experience is granted each time you gain a Rank in PvP. Yes, this will be granted retroactively for ranks already gained. The Achievement, I ve Got Soul and I Am a Soldier" is now a Legacy Achievement. PVP EQUIPMENT UPDATES We have made changes to Armor Mitigation in PVP to address a disparity between Physical and Elemental defenses. This will result in characters with high Armor Mitigation for their Calling at level 50 having the mitigation reduced in PvP and being hit by Physical attacks for damage values closer to current Elemental damage values. Removed Rank requirements from all PvP armor sets. You still need to purchase sets sequentially, but the limiting factor is now total Favor gained rather than rank. PvP weapons and Synergy Crystals will still require specific ranks to purchase and equip. PvP Synergy Crystals have a reduced notoriety requirement to equip. A new set requiring Rank 40 and Revered with the Order of the Eye or The Unseen has been added. The previously-Rank 3 and Rank 4 gear is now available without prior purchase requirements. The previously-Rank 7 and Rank 8 armor has been upgraded to include Vengeance, and the amount of Critical Hit on it reduced slightly. Increased the amount of Valor provided by all PvP armor sets. Added Valor to PvP set weapons. PvP Armor merchants now stock Bows for Defiants and Guns for Guardians. Rank 25 and Rank 36 Two-Handed Swords now available for Defiants. PvP One-handed Axes are now available for Guardians and Defiants at rank 1, 12, 25, and 36. Rank 25 and 36 Two-Handed Axes are now available for Guardians. PvP Armor set merchants now display items filtered by Calling. Filtering can still be disabled if you d like to purchase items designed for other Callings. Costume versions of PvP Rank armor are now available from Desma Chontos in Meridian, and Templar Sanzo in Sanctum. These still have rank requirements to equip. WARFRONTS - NOW WITH MERCENARIES In order to reduce queue times to as near-zero as possible, players may be added the opposing faction s Warfront team as a "Mercenary". Queue for Warfronts as normal and you may be assigned as a Mercenary when the Warfront map loads. You ll receive a Mercenary buff and on-screen callout and will be placed as part of the opposite faction s team. Coin is now granted for completing Warfronts. Damage dealt by your pet is now included in your leaderboard totals. Warfronts The quests given in Port Scion are now automatically removed when your character leaves the Warfront. Warfront Stockpile - Black Garden The leaderboard now displays the number of stones you ve carried throughout the game properly. REALLY IMPORTANT NOTE The changes below are in addition to the existing Soul and Role system and do not replace the current way Soul specs work - they are intended to make it easier for old and new players alike to become familiar with different potential specs and gameplay they may not have tried before. Think of them like guidelines; those of you more familiar with the Souls and abilities you want to use can continue to customize and swap things in and out at will. NEW CHARACTER CREATION UPDATES The Calling selection screen now calls out which roles a Calling is able to potentially fill - Tank, Damage, Healing, Support. After selecting a Calling, characters will be required to choose a “Purpose” (Preset Soul Combination) during character creation. Each Purpose will start out with a preset combination of souls, abilities and equipment. Players will have the opportunity to preview these before the character is created. New players can also preview what their character would look like in a variety of armor ranging from starting gear to epic endgame appearances! If you use the Randomize button after making changes to the character you are creating, there s now a warning prompt before it changes any settings. Updated the character selection screen with faction-sorted and colored Character listings. USING A PRESET BUILD Players always have the choice to make a custom build, or to play as one of the supplied preset builds. Preset builds will have a fixed progression path which can be previewed when you open the Soul Tree window. Characters with unspent Soul Points who are using preset souls will be guided to purchase specific abilities in the Soul Tree that are appropriate for their level. Players can view additional helpful tips and guides about their Purpose (and other available Purposes) by clicking on the Purpose button in the soul tree. At any time, a new character can spend their Soul Points in a non-highlighted ability or swap out a Soul with 0 points spent to further customize their spec. Doing so will set your Purpose to custom and remove the highlighted progression path. You now have access to all Souls from your Calling at level one, which means experienced players can immediately customize their starting Soul spec if they choose to not use the presets. SOUL TREE CHANGES - NEW AND EXISTING CHARACTERS When you open the Soul Tree you should see a window that looks pretty familiar! On the Soul Tree UI is a new button showing which Purpose is currently selected - this displays Custom for existing characters with their own specs set up. When viewing a Role that has 0 points spent in Souls, the Purpose button at the top of the UI can be used to view a list of preset Purposes that you can choose from to help set up your character s spec. Purposes are a combination of 3 Souls that have a highlighted ability progression path to suggest where to next spend Soul Points. When checking out Purposes, you ll see a description of what the spec is, some tips, and some important abilities for that particular combination. Selecting a Purpose will slot 3 souls into the Soul Tree UI and start showing the next suggested ability to spend points in. The Preview button at the top of the Soul Tree will place outlines around the abilities the Purpose will ultimately recommend through level 50. AT ANY TIME A Soul with 0 points spent can be exchanged with any other Soul, just like it works currently. AT ANY TIME You aren t forced to spent points only where the Purpose is suggesting - you can spend points in a non-highlighted ability and it will set your Purpose to Custom and stop highlighting abilities in the Soul Tree. Existing characters will receive any Souls they may be missing with this update. ADDITIONAL NEW PLAYER IMPROVEMENTS The number of aggressive monsters in Terminus and Mathosia have been reduced. Monsters in Terminus, Mathosia, Silverwood, and Freemarch have had their agro radius and run speeds adjusted. This will allow players to avoid surprise “Aggro” and flee combat easier when they get in over their heads. The hit points and damage dealt has been reduced on normal mobs from levels 1-17. A number of help tips have been updated to be easier to understand. ASCENDED-LY EVER AFTER IN-GAME WEDDINGS With 1.7 comes the introduction of in-game marriages and instanced wedding gatherings! See the Marriage Coordinators in Meridian or Sanctum to purchase rings you can use to tie the knot with your chosen. Both parties must agree to the marriage and can also choose to dissolve it at will. Marriage Coordinators also sell invitations, costume items, and other goodies for use with the new wedding instances! You can invite friends to join you for your very own wedding ceremony and resulting party. Using the wedding instances is not required for marrying another character. For detailed instructions on in-game marriage and what you can do with the wedding instances, see the Wedding Planner book also available through the Marriage Coordinator. As a note of caution, Dwarven weddings can get pretty rowdy! You may see your PvP flag turn on when entering the Dwarf-themed wedding instance. Being married in RIFT is meant to be an expression of partnership, and does not provide any additional gameplay benefit. You can see who a character is married to by inspecting them, but that s it! Interested in participating in a Valentine s Day world-record-setting event for the most marriages during a 24-hour period? See details on the blog at http //community.riftgame.com/en/2012/01/25/save-the-date-get-hitched-and-be-part-of-a-world-record-this-valentines-day/ Added an option to automatically decline all marriage proposals under Misc options. GENERAL A sixth role is now available for purchase! You know all those times you hit Leave Party instead of Ready Check ? Yeah, Leave Party got moved down to the bottom of the menu list. Increased the available Wardrobe slots to 5. Wardrobe slots now have toggles for armor visibility in that slot. Conversely, removed the Options entries for hide helmet and hide shoulderpads - if you currently have these enabled, your wardrobe slots will default to hiding these armor pieces. Newly acquired Abilities will now be displayed in a special pop-up UI window at the time they are learned, making it easy to drag new abilities directly to your hotbar or cancel them from the list if you don’t want to place them at that time. Added a new Lock XP checkbox to the Interface Misc settings pane. Checking it will stop your level 1-49 character from gaining experience until it is unchecked. Characters at the level cap and trial characters cannot lock their experience. You can now choose to disable auto-weapon-sheathing with a new Settings option Interface Misc Disable Auto Sheaths. You can now use the command /interact to interact with an NPC you have targeted if you are unable to right-click it. The maximum water depth that you can ride your mount in has been increased and made consistent across all player races. Female Dwarves should notice the biggest overall boost, while Bahmi males should see only a slight difference. Doubled the duration and removed the 2 minute cooldown on Omen Sight and Quantum Sight. The background color of target casting bars now correctly indicates their interruptible (blue) or non-interruptible (gold) status during cast time for channeled abilities. You can now split stacks in your bank even if your inventory is full. Dismiss Pet no longer cancels Veteran Reward Vendors or Personal Bankers. Applying a rune to an item now only pops a confirmation prompt if you will overwrite an existing rune. Fixed an issue that could cause a quest-giving item to stop offering the quest, even though it hadn t yet been accepted. Weekly Guild quests for Mining have been adjusted to require more raw ore and fewer gems. The guild perk Blood Thirsty will no longer be removed by triggering Killing Spree. Ascended Powers The Defiant Aura Augmentation and Guardian Holy Champion quests no longer require you to stand right by the questgiver to advance the quest. CURRENCY UPDATES Added Eternal Crystallized Insight, a new item that grants 100,000 Planar Attunement experience when consumed. Expert Dungeon, Raid, and Planar Goods merchants will now sell Eternal Crystallized Insight for their respective currencies. Players can now visit the Crafting Specialty Goods merchants to exchange Artisan Marks for Master Crafter Marks. You can now purchase Augment boxes for Artisan Marks instead of Planarite from the Crafting Specialty Goods merchant. Augment boxed now award special stat and dual-stat Augments more frequently. Added Exceptional Augment Boxes that contain Epic Augments to the Crafting Specialty Goods merchants. RIFTS AND INVASIONS Zone Events on Ember Isle now also grant Inscribed Sourcestone when event objectives are completed. Only players who have contributed during each event objective will receive these rewards. Some of the less difficult objectives will not be awarding Sourcestone. In order to maintain the same overall total Inscribed Sourcestone granted, the amount obtained from Colossi kills has been reduced. Rift-type content now takes gear into consideration when scaling, and will be slightly more difficult in the presence of highly geared characters. Puresource type reward containers now stack to 99. Fixed level requirements on various level 20-29 Earth Rift rewards, and some general 30-39 Rift rewards. The Invasion commander, Hardshell Nightmare, will no longer off itself after spending only a short while on Telaran soil. Guild Quest Upping the Ante Should now always give credit if a Rift is closed by a guildmember. INSTANT ADVENTURE Additional Planar Attunement experience is now granted for level 50 characters doing Instant Adventure. If an Adventure Group is waiting for a new chain of adventures to start, the teleport invitation for new group members now waits for the start of the next set. SOULS Planar Attunement Fixed a case where weapon-based stat bonuses from Planar Attunement could be lost and not appropriately granted when changing equipment. Mage and Cleric abilities that are low-ranked compared to your level now always use the ability cost of one rank below the max currently available to you. This won t change costs for characters who ve trained up their abilities to current rank as they level. Mage Charge is now reset to zero when changing roles. Fixed an issue causing some abilities that increase outgoing damage to combine with each other incorrectly. Characters will no longer be taken out of stealth when their guild increases a passive Perk. Mounting now cancels auto-attack, preventing you from accidentally dismounting due to an attack firing. Many tooltip clarity updates for abilities on Souls. CLERIC Reduced the mana cost of Area-of-Effect Heals. CABALIST Curse of Discord Fixed the durations on ranks 1-7. Dark Passage Now teleports 10 meters forward. DRUID Eruption of Life Now triggers off of any damage. Faerie s Favor Now instant-cast. Increased the healing amount. Now affects up to 4 additional party or raid members within a 20 meter radius if cast by the Greater Faerie. Faerie Healing Increased the amount healed. Fury of the Fae The Satyr will now autocast this even when out of combat. Mead Rush New ability usable by the Satyr. The Satyr charges at the enemy for a damaging strike. 10 second cooldown. Also, MMMEEEAAAADDD!! Trickster Spirit, Slothful Spirit, Spiteful Spirit These have all been changed to spells that deal Earth damage at a 30-meter range. INQUISITOR Clinging Spirit Can no longer get the ability effect without points spent in it. Corporal Punishment Duration is now 12 seconds. JUSTICAR Healer s Creed Now increases the healing you receive by 5-10%. Light Makes Right Now works properly immediately after being purchased. Rebuke Now works more consistently on different mob types in Dungeons and Raids. Reparation Now able to heal other party/raid members using Reparation. Healing from Reparation will not affect players with Mien of Honor currently active. Reprieve Increased the bonus from Spell Power. PURIFIER Divine Cascade Ability removed. Gathering of the Ancestors New spell available at 38 points. Places an absorption shield on up to 10 party or raid members within 35 meters. Cannot be applied again on the same target for 20 seconds - this is a separate ability blocker from the Ward of the Ancestors single-target shield. 30 second cooldown. Rise of the Phoenix New spell available at 44 points. Resurrects the target with 50% health and mana, can be used in combat. 5 minute cooldown. Surging Flames The triggered heal now has a 20 meter radius. Item Asphodel s Purifier Crystal 4-piece bonus now reduces damage taken by 7% for 10 seconds. This effect now overwrites and cannot be overwritten by Protect the Flock. SENTINEL Empowering Light Removed the pretty pointless range displayed on this ability - it s a PBAE, and remains a PBAE. Healing Communion, Healing Benediction Both spells now have a 20-meter radius. Life s Return Cooldown is now 5 minutes. Marked by the Light Now has a 15-meter radius. SHAMAN Battle Charge Reduced cooldown to 10 seconds. Brutalize Now deals 30-60% of Massive Blow s damage over 10 seconds. Reduced maximum stack size to 3. Dauntless Courage Now affects all melee damage. Ekkehard s Invocation New ability available after spending 15 points in Shaman. Instant-cast ranged spell that deals Air damage. Favored of the Valnir Now increases the duration of Lightning by 4-8 seconds, causing increased damage on each additional tick. Vengeance of the Frozen Earth Ability removed. WARDEN Cascade No longer has a mana cost. Deluge Will no longer generate infinitely-looping visuals in some cases. Healing Showers, Orbs of the Tide Both abilities now have a 20-meter radius. Healing Cataract Now has a 25-meter radius and affects up to 10 party or raid members. River of Life New spell available at 44 points; resurrects the target with 50% health and mana, can be used in combat. 5 minute cooldown. Ripple Now has a 20-meter radius. Tidal Resonance Fixed this ability not expiring correctly. Waterjet Reduced the benefit given to this spell by Spell Power. MAGE ARCHON Pillaging Stone The debuff portion of Rank 1 no longer persists through death. Flowing Sand Now provides the movement speed debuff even if the target is immune to the Snare portion. Reduced the cooldown to 45 seconds from 2 minutes. CHLOROMANCER Wild Abandon Fixed a case where this ability could break certain boss mob roots and snares when it shouldn t be able to. DOMINATOR Degeneration Ability added to the Dominator soul, obtained at 10 points. Now has a 15 second cooldown and can affect NPCs. Disorient The stun portion no longer persists through death. Incompetence No longer persists through death. ELEMENTALIST Icy Carapace Fixed a bug causing this ability to not work correctly when cast while Elemental Forces was active. PYROMANCER Burning Bright No longer gives separate bonuses for PvE and PvP. Cinder Burst Damage now reduced by 15% in PvP, instead of a 20% reduction. Fulminate Damage now reduced by 15% in PvP, instead of 20%. Inferno Now gives 10 Charge when cast. Lockdown Will now debuff the enemy, increasing the Fire damage they take, even if they are immune to the Snare portion. STORMCALLER Absolute Zero Fixed this causing more than one next cast of Icicle or Arctic Blast to cause a root effect. Electrocute The knockback should no longer occasionally fail. Flash Freeze This will now deal damage even if the target is immune to the root portion of the ability. Lightning Burst No longer has a damage penalty in PvP. Storm Shard Fixed an edge case where Storm Shard wouldn t apply the critical hit damage bonus. Fixed an issue where damage from Hailstorm and Eye of the Storm could be blocked by abilities like the Chloromancer s Wild Abandon. WARLOCK Item Nyx s Warlock Crystal Updated the 4-piece set bonus. It now reduces the cooldown of Empowered Darkness by 15 seconds, and casting Defile increases the total damage of your damage-over-time effects by 15% for 20 seconds. ROGUE ASSASSIN The Attack Power contribution to the damage from Poisons has increased. Expose Weakness Fixed a bug where the damage increase from Exposed Weakness was not applied to all three stacks of Serrated Blades damage. Leeching Poison The Attack Power contribution to the healing from Leeching Poison has increased. BLADEDANCER Blade and Fury Your Quick Strike and Precision Strike increase the damage of your next Keen Strike by 10-20%, up from 5-10%. Blade Finesse Functionality changed. Now increases the Attack Power bonus of your Finishers by 5-25%. This bonus is applied only to attacks using melee weapons. Combat Expertise Functionality changed. Now increases the Attack Power bonus of your Combo Point-generating abilities by 5-25%. Combat Culmination Functionality changed. Your Finishers cause Physical attacks to ignore 1-3% of the target s armor per Combo Point for 10 seconds. Deadly Dance Can now be triggered by Compound Attack. MARKSMAN Strafe The buff effect can no longer be purged while channeling. NIGHTBLADE The Attack Power contribution to the damage from weapon enchantments has been increased. Dusk to Dawn This is no longer a channeled ability but a straight damage-over-time ability. Now awards 2 Combo Points when used and does not give additional Combo Points per second. Energy cost reduced to 45 from 60. Cooldown reduced to 45 seconds from 1 minute. Damage has been reduced. RANGER King of the Jungle Now increases pet damage by 20%, increased from 10%. For every point in Ranger above 21, increases pet damage by 6% - increased from 3% per point. Feral Aggression Increases Critical Hit chance and also pet damage by 100% for 15 seconds. Cooldown reduced to 1 minute from 2. Pin Down Cooldown reduced to 1 minute from 3. Diffuse Cooldown reduced to 1 minute from 2. RIFTSTALKER Shadow Stalk Using this ability should no longer put both the player and the target into combat. Rift Barrier The damage shield from Rift Guard now only reflects damage from the first tick of a DoT, in line with other damage shields in the game. Planar Vortex The damage from Planar Vortex now takes the Riftstalker out of stealth. WARRIOR Power regeneration rate has been increased. Disarm abilities now properly block abilities that require either Ranged or Melee weapons. Bash, Furious Rage, Flinching Strike, and Face Slam no longer have multiple ranks to upgrade. BEASTMASTER Calming Influence Now obtained at 20 points in Beastmaster. Now puts a single target to sleep for 45 seconds - the target must not be in combat at the time of the effect. Any damage on the target removes Calming Influence. Only 1 target can be under Calming Influence at a time. Primal Rage - New Ability Increases the damage of attack abilities for the Beastmaster and their pet by 7% per Bleed effect on the target. Duration is increased by the number of attack points when used. Obtained at 44 points in Beastmaster. Enraged Companion Aura now grants a 7% bonus, increased from 5%, and overwrites the Reaver s Enraged Essence. Buff effect should no longer stick around after the pet is dismissed. CHAMPION Slayer s Bearing Now properly works with AoE attacks. Removed the reduced PvP effectiveness from Soldier s Bearing and Weapon Specialization. PALADIN Aggressive Block Now properly triggers Rising Waterfall. Preservation No longer prevented from being cast on a Paladin after the original target removes it. No longer causes you to enter combat. PARAGON Deadly Grace Fixed a bug causing Deadly Grace to deal less damage than it should. Force of Will Fixed a bug causing Force of Will to not effect AoE attacks. As a result, the critical hit damage bonus of all attacks has been changed to 3-10%, down from 10-30%. Rising Waterfall Will no longer immediately break the buff granted by Surging Energy when it critically hits. Can now trigger from Paladin s Aggressive Block. Removed the reduced PvP effectiveness from Teaching of the Five Rings. RIFTBLADE Stoneshield No longer causes the next ability to miss; instead, the next ability used on you will deal no damage. It also no longer triggers off of abilities the Riftblade used on themselves. VOID KNIGHT Spell Sunder Now checks for line of sight. Surge No longer ignores line of sight for threat generation. ZONES DROUGHTLANDS A new porticulum has been constructed in Fallback! Thwarting the Emberlord Fixed an issue that could cause this quest to not reset properly. EMBER ISLE Anchors to the Depths Fixed the placement of Shrines to Ithkus that were hiding under the sands. Crawl No More The catapults should no longer be stuck in a fired position when the catapult has an active target. Drakes in the Drift There is now a teleporter to the base of the Kelari tower when the quest is completed. Feline Intervention Fixed an issue causing the Corrupted Wildstalkers to not despawn correctly if left unconscious. Pyrkari at Large Fixed an issue where the pyrkari would sometimes not despawn when brought to the cages. The lasso effect now also leaves the pyrkari if the player who lassoed them dies. Raw Recruits The reset time for the Shamblers has been significantly increased. Recluse Wrangling The devour ability of the Recluse can now consume multiple spirits at once. Returning the Spirit Fixed a case where players would be unable to obtain the Blessed Water. Science Under Pressure There s now a higher chance for the Smoldering Piles to appear in larger numbers. Stavel will also leave properly if his timer runs out. The Nexus Infusion ability no longer works on the Bazaars in Ember Isle during the In Golden s Grasp event, since it doesn t actually do anything for them. Added a tutorial tip for new arrivals to Ember Isle that gives a heads-up about the potential difficulty of content on the island. GLOAMWOOD A new Guardian porticulum has been completed in Gloamwood at Tearfall Run. Notoriety items for the Waykeepers will no longer drop for Defiants. Dead Water The mobs inside the cave you enter on this quest now have a longer respawn time. SCARWOOD REACH Fall of House Aelfwar Quest should no longer get blocked sometimes by a nearby foothold. A Temporary Solution Players can now get a Pinch of Sourcestone Powder at any time while on this quest. SHIMMERSAND Additional NPCs in Shimmersand grant a small amount of Dragonslayer Covenant reputation when killed. STILLMOOR Monster Hunter of Stillmoor Now has additional item rewards available. One With Nature The Aelfwar House Signet item is now properly removed from players when this quest is completed. Additional NPCs in Stillmoor grant a small amount of Order of Mathos reputation when killed. The zone event The Blight should now properly award Glowing Puresource for participants who are on the quests Shield of the Land or Frontlines of the Planes. STONEFIELD A Failure of Leadership Quest location markers for this quest have been corrected. Dead Drop The Earthmaul Ward quest objective should be easier to find. Notoriety items for Granite Falls will no longer drop for Guardians. DUNGEONS, SLIVERS, CHRONICLES, RAIDS Expert and Master Dungeons, Raid Rifts, Slivers, and Raids Reduced the critical hit damage bonus that most regular NPCs get when they critically hit a target with insufficient Toughness. In effect, non-tanks should be less likely to be absolutely gutted when taking a critical hit by a general-population NPC in these areas. Characters of level 47+ now have a choice between 3 Plaques of Achievement or a random blue-quality item when they complete a random standard dungeon via LFG. New epic-quality loot has been added to the Chronicles for Greenscale s Blight, Hammerknell, and River of Souls. Sub-bosses in the Greenscale s Blight Chronicle now drop Plaques of Achievement. New epic-quality loot has been added to standard Abyssal Precipice, standard Charmer s Caldera, and standard Caduceus Rise. End bosses in standard Abyssal Precipice, Charmer s Caldera, and Caduceus Rise now drop Plaques of Achievement when defeated. Targets marked by Raid leaders are now visible to players who join the raid after the mark occurs. If your invitation to teleport to an instance fails because it is full, group/raid members can now trigger the teleport prompt an additional time by re-zoning into the instance. Fixed a case where a raid member could be stuck with a ready check and be unable to initiate another if they were a leader or assistant. Fixed a case where a raid member logging in right at the completion of a ready check would cause incorrect results to display. Fixed an issue in which NPCs in Rise of the Phoenix ran slower than intended. Characters under the effect of any type of Mind Control ability are no longer able to enter new instances - Chronicles, Dungeons, Warfronts, Slivers, or Raids. While in a LFG-formed random Expert group for an instance you already have a normal lockout for, you no longer get locked from your random version if disconnected before the first boss. CADUCEUS RISE Cinderstorm s Molten Cinders beams now appear properly in additional attempts after a wipe. Fixed the achievement, Bloody Bothersome, that was triggering incorrectly in Expert mode. Expert The Rapid Assault achievement should now award properly in both Caduceus Rise and Upper Caduceus Rise. Increased Caduceus health. Slightly decreased the health of Erupted Core. Drastically decreased the health of Erupted Ember. DARKENING DEEPS Fixed some collision on Scarn s elevator shaft. DROWNED HALLS Players who have been polymorphed by Hydriss should no longer get pushed outside of the encounter area by the Tsunami ability. GREENSCALE S BLIGHT [Raid] Added runspeed buffs to Hylas, Aleria, and Infiltrator Johlen. GREENSCALE S BLIGHT THE FALLEN PRINCE [Chronicle] Shadow of Metamorphosis should now properly end if you leave the zone while under the effect. HAMMERKNELL [Raid] Runebone Sorcerers Silent Void ability no longer roots targets inside the effect for the entire duration. Darktide Serpents Brine Net ability no longer roots targets inside the effect for the entire duration. Population mobs in Hammerknell award Planar Attunement experience more consistently. Inquisitor Garau Fixed Arcane Porters failing to spawn in certain situations. ITEMS Several Akylios relic items now have proc effects. Some non-relic Akylios items have also been upgraded. Hammerknell trinkets have been improved slightly. Costume versions of PvP Rank armor are now available from Desma Chontos in Meridian, and Templar Sanzo in Sanctum. These still have rank requirements to purchase. Updated the description text on Marks of Ascension and Greater Marks of Ascension. Random Augment boxes purchased with Planarite have been moved to the Planar Voucher merchant and had their costs adjusted. The stun effect on Gale Mirror, Torrential Mirror, Storm Mirror, Cyclonic Mirror, and Tempest Mirror (Air Rift consumables) no longer work on NPCs that are immune to stuns. Fixed a bug where some items showed a Vanity category instead of Costume . The artifacts from The Heir of Hammerknell set should now be listed in the Auction House as Collectibles rather than Quest Items. Some old items related to quests that are no longer in the game are now displayed as grey-quality loot items rather than quest items. Abyssal Soulstone Fixed a bug causing this essence to not work properly for Warriors. Amplified Soulstone Now properly increases damage from Elemental Touch. Elder Chain Coif Now properly gives Spell Critical Hit rather than Physical Critical Hit. Golem Inductor Will now proc slightly more often. Isle Embrosia can now be re-sold to NPCs after the buyback grace period has expired. Lavaforged Helmet incorrectly had Block on it which has been removed - the points have been redistributed into Dodge and Parry. The Planar Conqueror armor set is now compatible with Blighted Synergy Crystals. Fixed several Planar Lens items that had their stats removed. Scarn s Hide is now tradable and can be sold. Shimmering Windstone Increased Dexterity. Adjusted the NPC sale amount of Staff of Eruptions and Searing Obsidian Dagger. Rising Crest No longer usable by Clerics. Vornia s Chain Spaulders, Notched Weapon, Maelforge Acolyte s Hat, and Maelforge Acolyte s Slippers now all have proper NPC sale values. Wind s Breath Now procs slightly less often. CRAFTING Crafting will now use items directly from your bank No need to swap a bunch of items around before heading over to the crafting stations! Artificer The recipes for Diamond Focus and Diamond Icon have been changed from consuming 8 Brilliant Diamond and 4 Jagged Lightstone; they now require 1 Brilliant Diamond and 8 Orichalcum Bars. Apothecary The recipe for Mighty Intelligence Serum now requires 2 Basiliskweed Stems rather than 4. The Apothecary recipe, Growth Brew, now requires 1 Eternal Planar Dust and 1 Tempestflower Stem (additional Eternal Planar Dust and Gnarled Core material requirements removed). Carmintium Spellcutter The recipe and resulting item have both been renamed to Orichalcum Spellcutter to match the actually-required materials. The recipes for Tormentor s Robe and Tormentor s Shoulders are now Bind on Pickup. Fixed several crafting recipes that had a skill requirement to learn the recipe that didn t match the skill required to craft the item. Expert Dungeon dropped recipes have had material requirements updated to reflect the increased power of the crafted items. ART AND AUDIO Smoothed out the appearance of shadows in the distance. Added proper ambience sounds to caves on Ember Isle. Reduced the volume of steam geysers on Ember Isle around Scaldwater Fields and Wellspring Flats. Fixed ambient volume in Droughtlands not being correctly raised/lowered by whatever your Ambient Audio volume is set to. Added some visual effect improvements for the low-quality renderer. Mounts have more audio variety at audio and are not so silent! UI/SETTINGS Right-clicking on the party pet raid frame when using Show Party As Raid mode now shows the proper right-click menu. Party member selection hotkeys (default F1-F5) now work properly when your party is displayed as a raid. Raid member UI should be a bit better with displaying the state of logged out or AFK members. Group leaders are now indicated in Raids. Fixed occasional tooltip titles getting stuck on-screen when a debuff appeared under the mouse cursor on the Raid UI. Set Leader, Promote Assistant, and Demote Assistant menu options are now available through the Raid UI right-click menu while in Warfronts. Promote Assistant and Demote Assistant menu options are now available in the right-click menu on target, party, or raid member displays. Fixed a bug where sometimes the LFG window would think you were in an Instant Adventure group when you were, in fact, not. Target tooltips now show Elite for group and raid encounter NPCs. Fixed a loot confirmation popup sometimes appearing if you were grouped while looting an already-owned container (like the Rift Loot bag). Fixed a bug causing the combat log to not show the caster of certain abilities. Guild Wall Fixed the scroll-to-top reset when deleting comments. Guild Perk reset charges are now shown in the Guild Bank currency log. Your current target is now indicated by an icon on the minimap and main map. The icon will show red, yellow, or green, depending on whether the target is hostile, neutral, or friendly. Fixed the receive item spam in the chat window when combining stacks between your inventory and your bank. Defiants should no longer appear on the Guardian tabs of a Warfront leaderboard if they joined the Warfront while you were viewing that tab. Fixed the Warfront UI window being blank while your character is mind controlled. Tracking of completed Artifact sets no longer turns off after a loading screen is displayed. The Artifacts tab now shows the rewards to be gained from displayed Artifact sets. Fixed the Artifacts tab disappearing from the character window for those crazy players who completed all Artifact sets! Planar Attunement experience rewards for Achievements are now shown on the Achievement UI. Switching Roles with the Soul Tree open will cancel any previewing of souls or soul point spending in progress that has not been saved. Added a new splash screen after leveling up displaying your level and soul points available. The display can be clicked on to open the Soul Tree window if you are out of combat. The Abilities listing in the menu tray now glows when you have untrained abilities. Tweaked the ability tooltips when mousing over abilities in the Soul Tree window; they now show ability stats like cooldown and mana costs in the tooltip. Tooltips now properly display whether an ability is a ranged or melee effect based on the ability s use range and not general category. Tooltips for abilities with cooldowns now use abbreviated cooldown duration text. Fixed the mouse cursor not highlighting when targeting items you can salvage. Corrected zone event notice broadcasts to level channels for non-English language shards. If you get disconnected due to your shard being down, we now show a message letting you know this, instead of surprising you with a different shard s character select screen.
https://w.atwiki.jp/vals/pages/12.html
About Vals Vals is a Gnutella-baced file exchanging soft developed by Ms. Yuina(ゆいな). What is meaning of VaLs? Vals comes from "Variant all Loading soft." Special Features This helps you to search computer virus. You can the best use of this to seek whether is there a computer virus through a doubtful Link. In addition, you can down/upload your files faster than when you use other softs(like wi*ny). It sets up each node automatically. So you needn t set up node with yourself. A Japanese file can be retrieved more in detail by an adequate language retrieval. It corresponds to a lot of players such as media playr and itunes. A doubtful file such as spam can be put on the riddle by the specific technology in detail. Download VaLs VaLs ver1.02 (new ver1.02） Mirror link
https://w.atwiki.jp/udon888/pages/54.html
Discuss the details of the attractions. When looking at the itinerary, you should not only pay attention to the programs and attractions, whether they are in line with your interests, but also whether the labels are detailed. If the itinerary says a day of skiing in the Alps or a half-day tour of the Gold Coast , you must be careful. Because the Alps Mountain and the Gold Coast are very large, there are many local ski resorts or beaches, and their facilities, management, and natural conditions are quite different, and the services they enjoy are very different. In this case, you must ask the travel agency for the specific name and situation of the ski resort or bath. Although you may not know even if you say it, there must be a problem if the travel agency can t tell. If you say the name, be sure to write it down and see if it matches later. In addition, when consulting other travel agencies, you can ask about the place by the way. Competitors often tell the truth.5 stars hotels
https://w.atwiki.jp/chex/pages/331.html
Agrios / アグリオス Basic Information Type Two-Legged Durabilty 820p OKE Weight 4580kg Payload 12000kg Payload in Engine Power 150% 18000kg On-Board Arms 4 Weapon 1 Assault Gun, Beam Gun Weapon 2 Electromagnetic Pulse Gun, Napalm Gun, Shell, Shotgun Weapon 3 Rocket Launcher(S12/M6/L3) , Missile Launcher(S12/M6/L3), Land Mine Dispenser(6), Aerial Mine Dispenser(6), Special Launcher(Sonic Blaster(12),the others(6)) Weapon 4 The same as Weapon 3. On-Board Options 3 On-Board Energy 2400GJ 480kg On-Board Energy in its rate 150% 3600GJ 720kg Heat Resist 2200P Attack Attack Low Hit twice with Tonfa. Attack High Hit to right with Tonfa → left rotation . Attack Far Jumping left straight. Special Move Number Name Summary 1 Right Slash Tonfa attack rotating about 90 deg. to right! 2 Left Slash The converse of 1! 3 Back Slash Tnfa attack rotating about 180 deg. to left! Feature A two-legged which can be used since Carnage Heart EXA. This OKE is used as an OKE for this game’s tutorial and package illustration, which is this game’s face. The kind of equipable weapons is abundant and the attack is strong with its Tonfa. The advantage is that on-board arms is 4. However this OKE’s payload is little, so this OKE tends to over the payload rate 130% when this OKE equips all weapons for you to want use. Therefore this OKE has many limits after all. It can say that this OKE is for tutorial but difficult about its use. The best advantage of this OKE is to equip two types of main weapons. However this OKE’s payload is little as above, so it’s important how you deal with this problem.I think it good to a choice that you dare to make this OKE equip only one main weapon.
https://w.atwiki.jp/it_certification/pages/216.html
1. 目的 2. 構成2.1. 設定概要 2.2. 構成図 2.3. netファイル 2.4. 初期設定 3. [検証] HDLC3.1. HDLCの設定 3.2. 疎通確認 3.3. 設定確認 4. [検証] PPP 基本設定4.1. PPP 設定投入 4.2. 疎通確認 4.3. ルーティングテーブルの確認 5. [検証] PPP 静的なアドレス割当5.1. 設定投入 5.2. 設定確認 6. [検証] PPP プールによるアドレス割当6.1. 設定投入 6.2. 設定確認 1. 目的 Serial I/Fを介した接続方法について動作確認を行います。 2. 構成 2.1. 設定概要 特になし 2.2. 構成図 2.3. netファイル model = 3620 [localhost] [[3620]] image = C \Program Files\Dynamips\images\c3620-j1s3-mz.123-18.bin ram = 128 [[ROUTER R1]] s0/0 = R2 s0/0 [[ROUTER R2]] 2.4. 初期設定 R1 初期設定 R2 初期設定 3. [検証] HDLC 3.1. HDLCの設定 HDLCによる接続を設定します。 Serial I/Fではカプセル化のデフォルトがHDLCであるため、HDLCを明示的に設定する必要はありません。注意すべき点と言えば、片方をDTE, もう片方をDCEとして設定する事くらいです。 R1(config)#interface Serial0/0 R1(config-if)#ip address 192.168.12.1 255.255.255.0 R1(config-if)#no shutdown R2(config)#interface Serial0/0 R2(config-if)#ip address 192.168.12.2 255.255.255.0 R2(config-if)#clock rate 64000 R2(config-if)#no shutdown 3.2. 疎通確認 R1, R2間で疎通可能な事を確認します。 R1#ping 192.168.12.2 Type escape sequence to abort. Sending 5, 100-byte ICMP Echos to 192.168.12.2, timeout is 2 seconds !!!!! Success rate is 100 percent (5/5), round-trip min/avg/max = 28/32/36 ms R1# 3.3. 設定確認 HDLCでカプセル化されている事を確認します。 R1#show interfaces Serial 0/0 Serial0/0 is up, line protocol is up Hardware is M4T Internet address is 192.168.12.1/24 MTU 1500 bytes, BW 1544 Kbit, DLY 20000 usec, reliability 255/255, txload 1/255, rxload 1/255 Encapsulation HDLC, crc 16, loopback not set - カプセル化の方法を確認します。 4. [検証] PPP 基本設定 4.1. PPP 設定投入 R1, R2をPPPで接続します。設定は以下の通りです。 R1(config)#interface Serial0/0 R1(config-if)#encapsulation ppp R2(config)#interface Serial0/0 R2(config-if)#encapsulation ppp 4.2. 疎通確認 R1, R2間で疎通可能な事を確認します。 R1#ping 192.168.12.2 Type escape sequence to abort. Sending 5, 100-byte ICMP Echos to 192.168.12.2, timeout is 2 seconds !!!!! Success rate is 100 percent (5/5), round-trip min/avg/max = 32/45/84 ms R1# 4.3. ルーティングテーブルの確認 PPPで接続されている場合、ルーティングテーブル上はConnectedで表示されます。 R1#show ip route Codes C - connected, S - static, R - RIP, M - mobile, B - BGP D - EIGRP, EX - EIGRP external, O - OSPF, IA - OSPF inter area N1 - OSPF NSSA external type 1, N2 - OSPF NSSA external type 2 E1 - OSPF external type 1, E2 - OSPF external type 2 i - IS-IS, su - IS-IS summary, L1 - IS-IS level-1, L2 - IS-IS level-2 ia - IS-IS inter area, * - candidate default, U - per-user static route o - ODR, P - periodic downloaded static route Gateway of last resort is not set 192.168.12.0/24 is variably subnetted, 2 subnets, 2 masks C 192.168.12.0/24 is directly connected, Serial0/0 C 192.168.12.2/32 is directly connected, Serial0/0 R1# 5. [検証] PPP 静的なアドレス割当 5.1. 設定投入 PPPはIPCP(Internet Protocol Control Protocol)という規格を用いて、ピアにIPアドレスを割り当てる事ができます。以下は、R1に11.11.11.11/32を割り当てる設定です。 R1(config)#interface Serial0/0 R1(config-if)#ip address negotiated R2(config)#interface Serial0/0 R2(config-if)#peer default ip address 11.11.11.1 5.2. 設定確認 R1に割り当てられたIPアドレスを確認します。設定直後は、IPアドレスが割り当てられていません。 R1#show ip interface brief Interface IP-Address OK? Method Status Protocol Serial0/0 unassigned YES manual up up Serial0/1 unassigned YES unset administratively down down Serial0/2 unassigned YES unset administratively down down Serial0/3 unassigned YES unset administratively down down R1# IPCPによってアドレスが割り当てられる様子は、debug ppp negotiationで確認できます。デバッグを有効にし、R1 s0/0をshut no shutします。 R1#debug ppp negotiation PPP protocol negotiation debugging is on R1# R1(config)#interface Serial 0/0 R1(config-if)#shutdown R1(config-if)# *Mar 1 00 11 48.599 %LINK-5-CHANGED Interface Serial0/0, changed state to administratively down *Mar 1 00 11 48.635 Se0/0 PPP Sending Acct Event[Down] id[2] *Mar 1 00 11 48.639 Se0/0 CDPCP State is Closed *Mar 1 00 11 48.639 Se0/0 IPCP State is Closed *Mar 1 00 11 48.643 Se0/0 PPP Phase is TERMINATING *Mar 1 00 11 48.643 Se0/0 LCP State is Closed *Mar 1 00 11 48.643 Se0/0 PPP Phase is DOWN *Mar 1 00 11 49.599 %LINEPROTO-5-UPDOWN Line protocol on Interface Serial0/0, changed state to down R1(config-if)# R1(config-if)#no shutdown R1(config-if)# *Mar 1 00 11 54.835 Se0/0 PPP Outbound cdp packet dropped *Mar 1 00 11 56.807 %LINK-3-UPDOWN Interface Serial0/0, changed state to up *Mar 1 00 11 56.811 Se0/0 PPP Using default call direction *Mar 1 00 11 56.811 Se0/0 PPP Treating connection as a dedicated line *Mar 1 00 11 56.815 Se0/0 PPP Session handle[1F000002] Session id[2] *Mar 1 00 11 56.815 Se0/0 PPP Phase is ESTABLISHING, Active Open *Mar 1 00 11 56.819 Se0/0 LCP O CONFREQ [Closed] id 8 len 10 *Mar 1 00 11 56.819 Se0/0 LCP MagicNumber 0x001770AB (0x0506001770AB) *Mar 1 00 11 56.931 Se0/0 LCP I CONFREQ [REQsent] id 2 len 10 *Mar 1 00 11 56.935 Se0/0 LCP MagicNumber 0x00174DE5 (0x050600174DE5) *Mar 1 00 11 56.935 Se0/0 LCP O CONFACK [REQsent] id 2 len 10 *Mar 1 00 11 56.939 Se0/0 LCP MagicNumber 0x00174DE5 (0x050600174DE5) *Mar 1 00 11 56.939 Se0/0 LCP I CONFACK [ACKsent] id 8 len 10 *Mar 1 00 11 56.943 Se0/0 LCP MagicNumber 0x001770AB (0x0506001770AB) *Mar 1 00 11 56.943 Se0/0 LCP State is Open *Mar 1 00 11 56.947 Se0/0 PPP Phase is FORWARDING, Attempting Forward *Mar 1 00 11 56.947 Se0/0 PPP Phase is ESTABLISHING, Finish LCP *Mar 1 00 11 56.951 Se0/0 PPP Phase is UP *Mar 1 00 11 56.955 Se0/0 IPCP O CONFREQ [Closed] id 1 len 10 *Mar 1 00 11 56.955 Se0/0 IPCP Address 0.0.0.0 (0x030600000000) *Mar 1 00 11 56.959 Se0/0 CDPCP O CONFREQ [Closed] id 1 len 4 *Mar 1 00 11 56.963 Se0/0 PPP Process pending ncp packets *Mar 1 00 11 57.031 Se0/0 IPCP I CONFREQ [REQsent] id 1 len 10 *Mar 1 00 11 57.031 Se0/0 IPCP Address 192.168.12.2 (0x0306C0A80C02) *Mar 1 00 11 57.035 Se0/0 IPCP O CONFACK [REQsent] id 1 len 10 *Mar 1 00 11 57.039 Se0/0 IPCP Address 192.168.12.2 (0x0306C0A80C02) *Mar 1 00 11 57.039 Se0/0 IPCP I CONFNAK [ACKsent] id 1 len 10 *Mar 1 00 11 57.043 Se0/0 IPCP Address 11.11.11.11 (0x03060B0B0B0B) *Mar 1 00 11 57.043 Se0/0 IPCP O CONFREQ [ACKsent] id 2 len 10 *Mar 1 00 11 57.047 Se0/0 IPCP Address 11.11.11.11 (0x03060B0B0B0B) *Mar 1 00 11 57.051 Se0/0 CDPCP I CONFREQ [REQsent] id 1 len 4 *Mar 1 00 11 57.051 Se0/0 CDPCP O CONFACK [REQsent] id 1 len 4 *Mar 1 00 11 57.055 Se0/0 CDPCP I CONFACK [ACKsent] id 1 len 4 *Mar 1 00 11 57.055 Se0/0 CDPCP State is Open *Mar 1 00 11 57.091 Se0/0 IPCP I CONFACK [ACKsent] id 2 len 10 *Mar 1 00 11 57.095 Se0/0 IPCP Address 11.11.11.11 (0x03060B0B0B0B) *Mar 1 00 11 57.095 Se0/0 IPCP State is Open *Mar 1 00 11 57.099 Se0/0 IPCP Install negotiated IP interface address 11.11.11.11 - IPアドレスが割り当てられた事が分かります *Mar 1 00 11 57.107 Se0/0 IPCP Install route to 192.168.12.2 *Mar 1 00 11 57.115 Se0/0 IPCP Add link info for cef entry 192.168.12.2 *Mar 1 00 11 57.951 %LINEPROTO-5-UPDOWN Line protocol on Interface Serial0/0, changed state to up R1(config-if)# R1 s0/0にIPアドレスが割り当てられた事を確認します。 R1#show ip interface brief Interface IP-Address OK? Method Status Protocol Serial0/0 11.11.11.11 YES IPCP up up Serial0/1 unassigned YES unset administratively down down Serial0/2 unassigned YES unset administratively down down Serial0/3 unassigned YES unset administratively down down R1# 6. [検証] PPP プールによるアドレス割当 6.1. 設定投入 プールを用いてIPアドレスを割り当てる事も可能です。 R2(config)#ip local pool POOL_PPP 11.0.0.0 11.0.0.254 R2(config)# R2(config)#interface Serial0/0 R2(config-if)#peer default ip address pool POOL_PPP 6.2. 設定確認 R1 s0/0をshut no shutします。 R1(config)#interface Serial 0/0 R1(config-if)#shutdown R1(config-if)# *Mar 1 00 17 36.279 %LINK-5-CHANGED Interface Serial0/0, changed state to administratively down *Mar 1 00 17 36.283 Se0/0 PPP Sending Acct Event[Down] id[4] *Mar 1 00 17 36.287 Se0/0 CDPCP State is Closed *Mar 1 00 17 36.287 Se0/0 IPCP State is Closed *Mar 1 00 17 36.287 Se0/0 IPCP Remove link info for cef entry 192.168.12.2 *Mar 1 00 17 36.291 Se0/0 PPP Phase is TERMINATING *Mar 1 00 17 36.291 Se0/0 LCP State is Closed *Mar 1 00 17 36.295 Se0/0 PPP Phase is DOWN *Mar 1 00 17 36.303 Se0/0 IPCP Remove route to 192.168.12.2 *Mar 1 00 17 37.279 %LINEPROTO-5-UPDOWN Line protocol on Interface Serial0/0, changed state to down R1(config-if)#no shutdown R1(config-if)# *Mar 1 00 17 41.775 Se0/0 PPP Outbound cdp packet dropped *Mar 1 00 17 43.755 %LINK-3-UPDOWN Interface Serial0/0, changed state to up *Mar 1 00 17 43.759 Se0/0 PPP Using default call direction *Mar 1 00 17 43.759 Se0/0 PPP Treating connection as a dedicated line *Mar 1 00 17 43.763 Se0/0 PPP Session handle[E8000003] Session id[3] *Mar 1 00 17 43.763 Se0/0 PPP Phase is ESTABLISHING, Active Open *Mar 1 00 17 43.767 Se0/0 LCP O CONFREQ [Closed] id 9 len 10 *Mar 1 00 17 43.767 Se0/0 LCP MagicNumber 0x001CBBF0 (0x0506001CBBF0) *Mar 1 00 17 43.887 Se0/0 LCP I CONFREQ [REQsent] id 3 len 10 *Mar 1 00 17 43.891 Se0/0 LCP MagicNumber 0x001C9916 (0x0506001C9916) *Mar 1 00 17 43.891 Se0/0 LCP O CONFACK [REQsent] id 3 len 10 *Mar 1 00 17 43.895 Se0/0 LCP MagicNumber 0x001C9916 (0x0506001C9916) *Mar 1 00 17 43.895 Se0/0 LCP I CONFACK [ACKsent] id 9 len 10 *Mar 1 00 17 43.899 Se0/0 LCP MagicNumber 0x001CBBF0 (0x0506001CBBF0) *Mar 1 00 17 43.899 Se0/0 LCP State is Open *Mar 1 00 17 43.903 Se0/0 PPP Phase is FORWARDING, Attempting Forward *Mar 1 00 17 43.903 Se0/0 PPP Phase is ESTABLISHING, Finish LCP *Mar 1 00 17 43.907 Se0/0 PPP Phase is UP *Mar 1 00 17 43.911 Se0/0 IPCP O CONFREQ [Closed] id 1 len 10 *Mar 1 00 17 43.911 Se0/0 IPCP Address 0.0.0.0 (0x030600000000) *Mar 1 00 17 43.915 Se0/0 CDPCP O CONFREQ [Closed] id 1 len 4 *Mar 1 00 17 43.915 Se0/0 PPP Process pending ncp packets *Mar 1 00 17 43.947 Se0/0 IPCP I CONFREQ [REQsent] id 1 len 10 *Mar 1 00 17 43.951 Se0/0 IPCP Address 192.168.12.2 (0x0306C0A80C02) *Mar 1 00 17 43.951 Se0/0 IPCP O CONFACK [REQsent] id 1 len 10 *Mar 1 00 17 43.955 Se0/0 IPCP Address 192.168.12.2 (0x0306C0A80C02) *Mar 1 00 17 43.959 Se0/0 IPCP I CONFNAK [ACKsent] id 1 len 10 *Mar 1 00 17 43.959 Se0/0 IPCP Address 11.0.0.0 (0x03060B000000) *Mar 1 00 17 43.963 Se0/0 IPCP O CONFREQ [ACKsent] id 2 len 10 *Mar 1 00 17 43.963 Se0/0 IPCP Address 11.0.0.0 (0x03060B000000) *Mar 1 00 17 43.967 Se0/0 CDPCP I CONFREQ [REQsent] id 1 len 4 *Mar 1 00 17 43.971 Se0/0 CDPCP O CONFACK [REQsent] id 1 len 4 *Mar 1 00 17 43.971 Se0/0 CDPCP I CONFACK [ACKsent] id 1 len 4 *Mar 1 00 17 43.975 Se0/0 CDPCP State is Open *Mar 1 00 17 44.031 Se0/0 IPCP I CONFACK [ACKsent] id 2 len 10 *Mar 1 00 17 44.031 Se0/0 IPCP Address 11.0.0.0 (0x03060B000000) *Mar 1 00 17 44.035 Se0/0 IPCP State is Open *Mar 1 00 17 44.035 Se0/0 IPCP Install negotiated IP interface address 11.0.0.0 *Mar 1 00 17 44.051 Se0/0 IPCP Install route to 192.168.12.2 *Mar 1 00 17 44.059 Se0/0 IPCP Add link info for cef entry 192.168.12.2 *Mar 1 00 17 44.907 %LINEPROTO-5-UPDOWN Line protocol on Interface Serial0/0, changed state to up R1(config-if)# R1 s0/0にIPアドレスが割り当てられた事を確認します。 R1#show ip interface brief Interface IP-Address OK? Method Status Protocol Serial0/0 11.0.0.0 YES IPCP up up Serial0/1 unassigned YES unset administratively down down Serial0/2 unassigned YES unset administratively down down Serial0/3 unassigned YES unset administratively down down R1#
https://w.atwiki.jp/dooronron/pages/15.html
One of the central themes in W. J. Bate’s definitive John Keats is the “large, often paralyzing embarrassment ... that the rich accumulation of past poetry, as the eighteenth century had seen so realistically, can curse as well as bless.” As Mr. Bate remarks, this embarrassment haunted Romantic and haunts post-Romantic poetry, and was felt by Keats with a particular intensity. Somewhere in the heart of each new poet there is hidden the dark wish that the libraries be burned in some new Alexandrian conflagration, that the imagination might be liberated from the greatness and oppressive power of its own dead champions. Something of this must be involved in the Romantics’ loving struggle with their ghostly father, Milton. The role of wrestling Jacob is taken on by Blake in his “brief epic” Milton, by Wordsworth in The Recluse fragment, and in more concealed form by Shelley in Prometheus Unbound and Keats in the first Hyperion. The strength of poetical life in Milton seems always to have appalled as much as it delighted; in the fearful vigor of his unmatched exuberance the English master of the sublime has threatened not only poets, but the values once held to transcend poetry ... the Argument Held me a while misdoubting his Intent, HAROLD BLOOM Introduction 2 Harold Bloom That he would ruin (for I saw him strong) The sacred Truths to Fable and old Song (So Sampson grop’d the Temple’s Posts in spite) The World O’erwhelming to revenge his sight. The older Romantics at least thought that the struggle with Milton had bestowed a blessing without a crippling; to the younger ones a consciousness of gain and loss came together. Blake’s audacity gave him a Milton altogether fitted to his great need, a visionary prototype who could be dramatized as rising up, “unhappy tho’ in heav’n,” taking off the robe of the promise, and ungirding himself from the oath of God, and then descending into Blake’s world to save the later poet and every man “from his Chain of Jealousy.” Wordsworth’s equal audacity allowed him, after praising Milton’s invocatory power, to call on a greater Muse than Urania, to assist him in exploring regions more awful than Milton ever visited. The prophetic Spirit called down in The Recluse is itself a child of Milton’s Spirit that preferred, before all temples, the upright and pure heart of the Protestant poet. But the child is greater than the father, and inspires, in a fine Shakespearean reminiscence The human Soul of universal earth, Dreaming on things to come. Out of that capable dreaming came the poetic aspirations of Shelley and of Keats, who inherited the embarrassment of Wordsworth’s greatness to add to the burden of Milton’s. Yielding to few in my admiration for Shelley’s blank verse in Prometheus, I am still made uneasy by Milton’s ghost hovering in it. At times Shelley’s power of irony rescues him from Milton’s presence by the argument’s dissonance with the steady Miltonic music of the lyrical drama, but the ironies pass and the Miltonic sublime remains, testifying to the unyielding strength of an order Shelley hoped to overturn. In the lyrics of Prometheus Shelley is free, and they rather than the speeches foretold his own poetic future, the sequence of The Witch of Atlas, Epipsychidion and Adonais. Perhaps the turn to Dante, hinted in Epipsychidion and emergent in The Triumph of Life, was in part caused by the necessity of finding a sublime antithesis to Milton. With Keats, we need not surmise. The poet himself claimed to have abandoned the first Hyperion because it was too Miltonic, and his critics have agreed in not wanting him to have made a poem “that might have been written by John Milton, but one that was unmistakably by no other than John Keats.” In the Great Odes and The Fall of Hyperion Keats was to write poems unmistakably his own, as Endymion in another way had been his own. Introduction 3 Individuality of style, and still more of conception, no critic would now deny to the odes, Keats’s supreme poems, or to The Fall of Hyperion, which was his testament, and is the work future poets may use as Tennyson, Arnold and Yeats used the odes in the past. That Keats, in his handful of great poems, surpassed the Miltonhaunted poets of the second half of the eighteenth century is obvious to a critical age like our own, which tends to prefer Keats, in those poems, to even the best work of Blake, Wordsworth and Shelley, and indeed to most if not all poetry in the language since the mid-seventeenth century. Perhaps the basis for that preference can be explored afresh through a consideration of precisely how Keats’s freedom of the negative weight of poetic tradition is manifested in some of his central poems. Keats lost and gained, as each of the major Romantics did, in the struggle with the greatness of Milton. Keats was perhaps too generous and perceptive a critic, too wonderfully balanced a humanist, not to have lost some values of a cultural legacy that both stimulated and inhibited the nurture of fresh values. Mr. Bate finely says, commenting on Keats’s dedication sonnet to Leigh Hunt, that “when the imagination looks to any past, of course, including one’s own individual past, it blends memories and images into a denser, more massive unit than ever existed in actuality.” Keats’s confrontation with this idealized past is most direct from the Ode to Psyche on, as Mr. Bate emphasizes. Without repeating him on that ode, or what I myself have written elsewhere, I want to examine it again in the specific context of Keats’s fight against the too-satisfying enrichments with which tradition threatens the poet who seeks his own self-recognition and expressive fulfillment. Most readers recalling the Ode to Psyche think of the last stanza, which is the poem’s glory, and indeed its sole but sufficient claim to stand near the poet’s four principal odes. The stanza expresses a wary confidence that the true poet’s imagination cannot be impoverished. More wonderfully, the poet ends the stanza by opening the hard-won consciousness of his own creative powers to a visitation of love. The paradise within is barely formed, but the poet does not hesitate to make it vulnerable, though he may be condemned in consequence to the fate of the famished knight of his own faery ballad. There is triumph in the closing tone of To Psyche, but a consciousness also I think of the danger that is being courted. The poet has given Psyche the enclosed bower nature no longer affords her, but he does not pause to be content in that poet’s paradise. It is not Byzantium which Keats has built in the heretofore untrodden regions of his mind but rather a realm that is precisely not far above all breathing human passion. He has not assumed the responsibility of an expanded consciousness for the rewards of self4 Harold Bloom communing and solitary musing, in the manner of the poet-hero of Alastor, and of Prince Athanase in his lonely tower. He seeks “love” rather than “wisdom,” distrusting a reality that must be approached apart from men. And he has written his poem, in however light a spirit, as an act of self-dedication and of freedom from the wealth of the past. He will be Psyche’s priest and rhapsode in the proud conviction that she has had no others before him, or none at least so naked of external pieties. The wealth of tradition is great not only in its fused massiveness, but in its own subtleties of internalization. One does poor service by sandbagging this profoundly moving poem, yet even the heroic innovators but tread the shadowy ground their ancestors found before them. Wordsworth had stood on that ground, as Keats well knew, and perhaps had chosen a different opening from it, neither toward love nor toward wisdom, but toward a plain recognition of natural reality and a more sublime recognition-by-starts of a final reality that seemed to contain nature. Wordsworth never quite named that finality as imagination, though Blake had done so and the young Coleridge felt (and resisted) the demonic temptation to do so. Behind all these were the fine collapses of the Age of Sensibility, the raptures of Jubilate Agno and the Ode on the Poetical Character, and the more forced but highly impressive tumults of The Bard and The Progress of Poesy. Farther back was the ancestor of all such moments of poetic incarnation, the Milton of the great invocations, whose spirit I think haunts the Ode to Psyche and the Ode to a Nightingale, and does not vanish until The Fall of Hyperion and To Autumn. Hazlitt, with his usual penetration, praises Milton for his power to absorb vast poetic traditions with no embarrassment whatsoever “In reading his works, we feel ourselves under the influence of a mighty intellect, that the nearer it approaches to others, becomes more distinct from them.” This observation, which comes in a lecture Keats heard, is soon joined by the excellent remark that “Milton’s learning has the effect of intuition.” The same lecture, in its treatment of Shakespeare, influenced Keats’s conception of the Poetical Character, as Mr. Bate notes. Whether Keats speculated sadly on the inimitable power of Milton’s positive capability for converting the splendor of the past into a private expressiveness we do not know. But the literary archetype of Psyche’s rosy sanctuary is the poet’s paradise, strikingly developed by Spenser and Drayton, and brought to a perfection by Milton. I am not suggesting Milton as a “source” for Keats’s Ode to Psyche. Poets influence poets in ways more profound than verbal echoings. The paradise of poets is a recurrent element in English mythopoeic poetry, and it is perhaps part of the critic’s burden never to allow himself to yield to embarrassment when the riches of poetic tradition come crowding in upon him. Poets need to be selective; critics need the humility of a bad conscience when they Introduction 5 exclude any part of the poetic past from “tradition,” though humility is never much in critical fashion. Rimbaud put these matters right in one outburst “On n’a jamais bien jugé le romantisme. Qui l’aurait jugé? Les Critiques!!” Milton, “escap’t the Stygian pool,” hails the light he cannot see, and reaffirms his ceaseless wanderings “where the Muses haunt / clear Spring, or shady Grove,” and his nightly visits to “Sion and the flow’ry Brooks beneath.” Like Keats’s nightingale, he “sings darkling,” but invokes a light that can “shine inward, and the mind through all her powers / Irradiate.” The light shone inward, the mind’s powers were triumphant, and all the sanctities of heaven yielded to Milton’s vision. For the sanctuary of Milton’s psyche is his vast heterocosm, the worlds he makes and ruins. His shrine is built, not to the human soul in love, but to the human soul glorious in its solitude, sufficient, with God’s aid, to seek and find its own salvation. If Keats had closed the casement, and turned inward, seeking the principle that could sustain his own soul in the darkness, perhaps he could have gone on with the first Hyperion, and become a very different kind of poet. He would then have courted the fate of Collins, and pursued the guiding steps of Milton only to discover the quest was In vain—such bliss to one alone Of all the sons of soul was known, And Heav’n and Fancy, kindred pow’rs, Have now o’erturned th’inspiring bow’rs, Or curtain’d close such scene from ev’ry future view. Yeats, in the eloquent simplicities of Per Amica Silentia Lunae, saw Keats as having “been born with that thirst for luxury common to many at the outsetting of the Romantic Movement,” and thought therefore that the poet of To Autumn “but gave us his dream of luxury.” Yeats’s poets were Blake and Shelley; Keats and Wordsworth he refused to understand, for their way was not his own. His art, from The Wanderings of Oisin through the Last Poems and Plays, is founded on a rage against growing old, and a rejection of nature. The poet, he thought, could find his art only by giving way to an anti-self, which “comes but to those who are no longer deceived, whose passion is reality.” Yeats was repelled by Milton, and found no place for him in A Vision, and certainly no poet cared so little as Milton to express himself through an anti-self. In Blake’s strife of spectre and emanation, in Shelley’s sense of being shadowed by the alastor while seeking the epipsyche, Yeats found precedent for his own quest towards Unity of Being, the poet as daimonic man taking his mask from. a phase opposite to that of his own will. Like Blake and Shelley, Yeats sought certainty, but being of Shelley’s phase rather than 6 Harold Bloom Blake’s, he did not find it. The way of Negative Capability, as an answer to Milton, Yeats did not take into account; he did not conceive of a poet “certain of nothing but of the holiness of the Heart’s affections and the truth of Imagination.” (There is, of course, no irritable reaching after mere fact and reason in Yeats he reached instead for everything the occult sub-imagination had knocked together in place of fact and reason. But his motive was his incapability “of being in uncertainties, mysteries, doubts,” and the results are more mixed than most recent criticism will admit.) Keats followed Wordsworth by internalizing the quest toward finding a world that answered the poet’s desires, and he hoped to follow Shakespeare by making that world more than a sublime projection of his own ego. Shakespeare’s greatness was not an embarrassment to Keats, but the hard victories of poetry had to be won against the more menacing values of poetic tradition. The advance beyond the Ode to Psyche was taken in the Ode to a Nightingale, where the high world within the bird’s song is an expansion of the rosy sanctuary of Psyche. In this world our sense of actuality is heightened simultaneously with the widening of what Mr. Bate terms “the realm of possibility.” The fear of losing actuality does not encourage the dull soil of mundane experience to quarrel with the proud forests it has fed, the nightingale’s high requiem. But to be the breathing garden in which Fancy breeds his flowers is a delightful fate; to become a sod is to suffer what Belial dreaded in that moving speech Milton himself and the late C. S. Lewis have taught too many to despise. Milton, invoking the light, made himself at one with the nightingale; Keats is deliberate in knowing constantly his own separation from the bird. What is fresh in this ode is not I think a sense of the poet’s dialogue with himself; it is surprising how often the English lyric has provided such an undersong, from Spenser’s Prothalamion to Wordsworth’s Resolution and Independence. Keats wins freedom from tradition here by claiming so very little for the imagination in its intoxicating but harsh encounter with the reality of natural song. The poet does not accept what is as good, and he does not exile desire for what is not. Yet, for him, what is possible replaces what is not. There is no earthly paradise for poets, but there is a time of all-but-final satisfaction, the fullness of lines 35 to 58 of this ode. I do not think that there is, before Keats, so individual a setting-forth of such a time, anywhere in poetic tradition since the Bible. The elevation of Wordsworth in Tintern Abbey still trembles at the border of a theophany, and so derives from a universe centered upon religious experience. The vatic gift of Shelley’s self to the elements, from Alastor on, has its remote but genuine ancestors in the sibylline frenzies of traditions as ancient as Orphism. Blake’s moments of delight come as hard-won intervals of rest from an intellectual Introduction 7 warfare that differs little if at all from the struggles towards a revelatory awareness in Ezekiel or Isaiah, and there is no contentment in them. What Keats so greatly gives to the Romantic tradition in the Nightingale ode is what no poet before him had the capability of giving—the sense of the human making choice of a human self, aware of its deathly nature, and yet having the will to celebrate the imaginative richness of mortality. The Ode to a Nightingale is the first poem to know and declare, wholeheartedly, that death is the mother of beauty. The Ode to Psyche still glanced, with high good humor, at the haunted rituals of the already-written poems of heaven; the Ode to a Nightingale turns, almost casually, to the unwritten great poem of earth. There is nothing casual about the poem’s tone, but there is a wonderful lack of self-consciousness at the poem’s freedom from the past, in the poem’s knowing that death, our death, is absolute and without memorial. The same freedom from the massive beliefs and poetic stances of the past is manifested in the Ode on a Grecian Urn, where the consolations of the spirit are afforded merely by an artifice of eternity, and not by evidences of an order of reality wholly other than our own. Part of this poem’s strength is in the deliberate vulnerability of its speaker, who contemplates a world of values he cannot appropriate for his own, although nothing in that world is antithetical to his own nature as an aspiring poet. Mr. Bate states the poem’s awareness of this vulnerability “In attempting to approach the urn in its own terms, the imagination has been led at the same time to separate itself—or the situation of man generally—still further from the urn.” One is not certain that the imagination is not also separating itself from the essential poverty of man’s situation in the poem’s closing lines. Mr. Bate thinks we underestimate Keats’s humor in the Great Odes, and he is probably right, but the humor that apparently ends the Grecian Urn is a grim one. The truth of art may be all of the truth our condition can apprehend, but it is not a saving truth. If this is all we need to know, it may be that no knowledge can help us. Shelley was very much a child of Miltonic tradition in affirming the moral instrumentality of the imagination; Keats is grimly free of tradition in his subtle implication of a truth that most of us learn. Poetry is not a means of good; it is, as Wallace Stevens implied, like the honey of earth that comes and goes at once, while we wait vainly for the honey of heaven. Blake, Wordsworth, and Shelley knew in their different ways that human splendors had no sources but in the human imagination, but each of these great innovators had a religious temperament, however heterodox, and Keats had not. Keats had a clarity in his knowledge of the uniqueness and finality of human life and death that caused him a particular anguish on his own death-bed, but gave him, before that, the imagination’s gift of an absolute originality. The power of Keats’s imagination could never be 8 Harold Bloom identified by him with an apocalyptic energy that might hope to transform nature. It is not that he lacked the confidence of Blake and of Shelley, or of the momentary Wordsworth of The Recluse. He felt the imagination’s desire for a revelation that would redeem the inadequacies of our condition, but he felt also a humorous skepticism toward such desire. He would have read the prose testament of Wallace Stevens, Two Or Three Ideas, with the wry approval so splendid a lecture deserves. The gods are dispelled in mid-air, and leave “no texts either of the soil or of the soul.” The poet does not cry out for their return, since it remains his work to resolve life in his own terms, for in the poet is “the increasingly human self.” Part of Keats’s achievement is due then to his being perhaps the only genuine forerunner of the representative post-Romantic sensibility. Another part is centered in the Ode on Melancholy and The Fall of Hyperion, for in these poems consciousness becomes its own purgatory, and the poet learns the cost of living in an excitement of which he affirms “that it is the only state for the best sort of Poetry—that is all I care for, all I live for.” From this declaration it is a direct way to the generally misunderstood rigor of Pater, when he insists that “a counted number of pulses only is given to us of a variegated, dramatic life,” and asks “How may we see in them all that is to be seen in them by the finest senses?” Moneta, Keats’s veiled Melancholy, counted those pulses, while the poet waited, rapt in an apprehension attainable only by the finest senses, nearly betrayed by those senses to an even more premature doom than his destined one. What links together The Fall of Hyperion and its modern descendants like Stevens’s Notes toward a Supreme Fiction is the movement of impressions set forth by Pater, when analysis of the self yields to the poet’s recognition of how dangerously fine the sells existence has become. “It is with this movement, with the passage and dissolution of impressions, images, sensations, that analysis leaves off—that continual vanishing away, that strange, perpetual weaving and unweaving of ourselves.” Though there is a proud laughter implicit in the Ode on Melancholy, the poem courts tragedy, and again makes death the mother of beauty. Modern criticism has confounded Pater with his weaker disciples, and has failed to realize how truly Yeats and Stevens are in his tradition. The Ode on Melancholy is ancestor to what is strongest in Pater, and to what came after in his tradition of aesthetic humanism. Pater’s “Conclusion” to The Renaissance lives in the world of the Ode on Melancholy Great passions may give us this quickened sense of life, ecstasy and sorrow of love, the various forms of enthusiastic activity, disinterested or otherwise, which come naturally to many of us. Introduction 9 Only be sure it is passion—that it does yield you this fruit of a quickened, multiplied consciousness. The wakeful anguish of the soul comes to the courter of grief in the very shrine of pleasure, and the renovating powers of art yield the tragedy of their might only to a strenuous and joyful seeker. Keats’s problem in The Fall of Hyperion was to find again the confidence of Milton as to the oneness of his self and them, but with nothing of the Miltonic conviction that God had worked to fit that self and theme together. The shrines of pleasure and of melancholy become one shrine in the second Hyperion, and in that ruin the poet must meet the imaginative values of tradition without their attendant credences, for Moneta guards the temple of all the dead faiths. Moneta humanizes her sayings to our ears, but not until a poet’s courteous dialectic has driven her to question her own categories for mankind. When she softens, and parts the veils for Keats, she reveals his freedom from the greatness of poetic tradition, for the vision granted has the quality of a new universe, and a tragedy different in kind from the tragedy of the past Then saw I a wan face, Not pined by human sorrows, but bright-blanch’d By an immortal sickness which kills not; It works a constant change, which happy death Can put no end to; deathwards progressing To no death was that visage; it had pass’d The lily and the snow; and beyond these I must not think now, though I saw that face. But for her eyes I should have fled away. They held me back with a benignant light, Soft mitigated by divinest lids Half closed, and visionless entire they seem’d Of all external things— Frank Kermode finds this passage a prime instance of his “Romantic Image,” and believes Moneta’s face to be “alive only in a chill and inhuman way,” yet Keats is held back from such a judgment by the eyes of his Titaness, for they give forth “a benignant light,” as close to the saving light Milton invokes as Keats can ever get. Moneta has little to do with the Yeatsian concept of the poetic vision, for she does not address herself to the alienation of the poet. M. H. Abrams, criticizing Mr. Kermode, points to her emphasis on the poet as humanist, made restless by the miseries of mankind. Shelley’s 10 Harold Bloom Witch of Atlas, for all her playfulness, has more to do with Yeats’s formulation of the coldness of the Muse. Moneta is the Muse of mythopoeia, like Shelley’s Witch, but she contains the poetic and religious past, as Shelley’s capricious Witch does not. Taking her in a limited sense (since she incarnates so much more than this), Moneta does represent the embarrassments of poetic tradition, a greatness it is death to approach. Moneta’s perspective is close to that of the Rilkean Angel, and for Keats to share that perspective he would have to cease to depend on the visible. Moneta’s is a perfect consciousness; Keats is committed still to the oxymoronic intensities of experience, and cannot unperplex joy from pain. Moneta’s is a world beyond tragedy; Keats needs to be a tragic poet. Rilke dedicated himself to the task of describing a world regarded no longer from a human point of view, but as it is within the angel. Moneta, like this angel, does not regard external things, and again like Rilke’s angel she both comforts and terrifies. Keats, like Stevens, fears the angelic imposition of any order upon reality, and hopes to discover a possible order in the human and the natural, even if that order be only the cyclic rhythm of tragedy. Stevens’s definitive discovery is in the final sections of Notes toward a Supreme Fiction; Keats’s similar fulfillment is in his perfect poem, To Autumn. The achievement of definitive vision in To Autumn is more remarkable for the faint presence of the shadows of the poet’s hell that the poem tries to exclude. Mr. Bate calls the Lines to Fanny (written, like To Autumn, in October 1819) “somewhat jumbled as well as tired and flat,” but its nightmare projection of the imagination’s inferno has a singular intensity, and I think considerable importance Where shall I learn to get my peace again? To banish thoughts of that most hateful land, Dungeoner of my friends, that wicked strand Where they were wrecked and live a wrecked life; That monstrous region, whose dull rivers pour, Ever from their sordid urns unto the shore, Unown’d of any weedy-haired gods; Whose winds, all zephyrless, hold scourging rods, Iced in the great lakes, to afflict mankind; Whose rank-grown forests, frosted, black, and blind, Would fright a Dryad; whose harsh herbag’d meads Make lean and lank the starv’d ox while he feeds; There flowers have no scent, birds no sweet song, And great unerring Nature once seems wrong. Introduction 11 This may have begun as a fanciful depiction of an unknown America, where Keats’s brother and sister-in-law were suffering, yet it develops into a vision akin to Blake’s of the world of experience, with its lakes of menace and its forests of error. The moss-lain Dryads lulled to sleep in the forests of the poet’s mind in his Ode to Psyche, can find no home in this natural world. This is Keats’s version of the winter vision, the more powerful for being so unexpected, and clearly a torment to its seer, who imputes error to Nature even as he pays it his sincere and accustomed homage. It is this waste land that the auroras of Keats’s To Autumn transform into a landscape of perfection process. Does another lyric in the language meditate more humanly “the full of fortune and the full of fate”? The question is the attentive reader’s necessary and generous tribute; the critical answer may be allowed to rest with Mr. Bate, who is moved to make the finest of claims for the poem “Here at last is something of a genuine paradise.” The paradise of poets bequeathed to Keats by tradition is gone; a tragic paradise of naturalistic completion and mortal acceptance has taken its place. There are other Romantic freedoms won from the embarrassments of poetic tradition, usually through the creation of new myth, as in Blake and Shelley, or in the thematic struggle not to create a myth, as in the earlier work of Wordsworth and Coleridge. Keats found his dangerous freedom by pursuing the naturalistic implications of the poet’s relation to his own poem, and nothing is more refreshing in an art so haunted by aspirations to surpass or negate nature. Shelley, still joined to Keats in the popular though not the critical consciousness, remains the best poet to read in counterpoint to the Great Odes and The Fall of Hyperion. There is no acceptance in Shelley, no tolerance for the limits of reality, but only the outrageous desire never to cease desiring, the unflagging intensity that goes on until it is stopped, and never is stopped. Keats did what Milton might have done but was not concerned to do; he perfected an image in which stasis and process are reconciled, and made of autumn the most human of seasons in consequence. Shelley’s ode to autumn is his paean to the West Wind, where a selfdestroying swiftness is invoked for the sake of dissolving all stasis permanently, and for hastening process past merely natural fulfillment into apocalyptic renewal. Whether the great winter of the world can be relieved by any ode Keats tended to doubt, and we are right to doubt with him, but there is a hope wholly natural in us that no doubt dispels, and it is of this hope that Shelley is the unique and indispensable poet. 13 The total shape of the Ode on Indolence is, as I have said, a dialectical one of advance and refusal, advance and refusal, advance and refusal—the shape of a stalemate. At the moment represented by the ode, both the reverie of gestating vision and the regressive choice of preconscious insensibility are being jealously protected from the claims of the heart, of fame, and even of art itself. To think of constructing anything at all—a love affair, a place in the world of ambition, a poem—threatens the slumbering embryonic self. Keats finally remains obdurate, the dreamer of the dim dream, the viewer of the faint vision. But the strain evident in the disparate and parallel languages of Indolence, as well as in the inherent instability of the condition of spiritual stalemate, predicts a tipping of the balance as we know, it tips away from immobility toward love and art.1 The odes that follow Indolence investigate creativity by taking up various attitudes toward the senses, almost as though the odes were invented as a series of controlled experiments in the suppression or permission of sense-experience. Keats’s deliberate interest in sense-response has usually been cited as proof of his love of luxury or his minute apprehension of sensual fluctuation. It has not been generally realized that Keats’s search for “intensity” led him as much to a deliberate limiting of sense-variety as to a broadening of sensation, and led him as well to a search for an “intensity” of HELEN VENDLER Tuneless Numbers The Ode to Psyche From The Odes of John Keats. © 1983 by the President and Fellows of Harvard College. 14 Helen Vendler intellect that would rival the intensity of sense. In fact, the intensity to be found in the mind attracted Keats at least as much as, if not more than, the apparently easier intensity of sense; and the lapse of intensity following sexual climax seems to have been only an instance, for Keats, of a curious failure intrinsic to physical sensation itself. He described this eventual ennui of the senses at length in Fancy, contrasting it there with the associative powers of mental Fancy, which is able to assemble hybrid seasons and hybrid mistresses that combine all beauties and can never fade. Imaginative intellectual ecstasy seemed to Keats, at this point (Fancy was composed a few months before the odes), a more promising source of sustained intensity than physical sensation, and the second of the odes, the Ode to Psyche, is in this respect the most “puritanical” of the group in its intent (if not in its effect). It aims, whatever its sensual metaphors (and these will demand their own recognition later), at a complete, exclusive, and lasting annihilation of the senses in favor of the brain. The locus of reality in the ode passes from the world of myth to the world of mind, and the firm four-part structure emphasizes the wish to reproduce earlier sensual and cultic reality in a later interiorized form. The implicit boast of Psyche is that the “working brain” can produce a flawless virtual object, indistinguishable from the “real” object in the mythological or historical world. “O for a life of Thoughts,” says this ode, “instead of Sensations!” In Psyche Keats emerges from the chrysalis of indolence, permits his soul to become a winged spirit, and takes the smallest possible step toward the construction of a work of art. He concedes that he will shape his reverie toward some end (that reverie which had remained floating and inchoate in Indolence), but decides that it will prescind from the bodily senses, and will remain an internal making, as in Fancy, contained entirely within his own mind. The shape of the Ode to Psyche is, in its essence, the shape of that initial constructive act, and so is a very simple one. It is a reduplication-shape; we might compare it to the shape made by a Rorschach blot. Everything that appears on the left must reappear, in mirror image, on the right; or, in terms of the aesthetic of the ode, whatever has existed in “life” must be, and can be, restored in art. The notion of art which underlies Keats’s continual use of the trope of reduplication in the ode is a strictly mimetic one. The internal world of the artist’s brain can attain by the agency of Fancy—so the trope implies—a point-for-point correspondence with the external worlds of history, mythology, and the senses. The task of the poet is defined in excessively simple terms he is, in this instance, first to sketch the full presence of Psyche and her cult as they existed in the pagan past—that is, to show the locus of loss—and then to create by his art a new ritual and a new environment for Tuneless Numbers The Ode to Pysche 15 the restored divinity.2 Of course Psyche is incomplete without her other half, the god Cupid. Dissatisfied with the thinness of his allegorical and emblematic urn-figures in Indolence, and economically reducing his figures from three to two, Keats writes a hymn to the goddess traditionally representing the soul, but the soul under one aspect—the soul in love.3 Each of the subsequent odes worships a single divinity; each, like Psyche, is female; after Psyche, all are unpartnered. In the view of the Ode to Psyche, a pursuit of the most minute verisimilitude becomes the task of art, since divinity will not grace art with her presence if she lacks an exact interior re-creation of her former sensual and cultic world. In the fiction of this ode, art does not objectify the natural world in an external medium such as music or sculpture or even language. In the ode, Keats’s art is the insubstantial one of Fancy, the inner activity of the working brain, not even, as yet, the art of poetry embodied in words. The art in Psyche is the pre-art of purposeful, constructive, and scenic or architectural imaginings, not the art of writing; and the entire locus of this art is a mental domain, within the artist’s brain, where Fancy, engaging in a perpetual rivalry with nature, remains forever in a competitive (but apparently victorious) relation to an external world. In brief, in the Ode to Psyche Keats defines art as the purposeful imaginative and conceptualizing activity of the artist—entirely internal, fertile, competitive with nature, and successful insofar as it mimics nature, myth, and history with a painstaking spiritual verisimilitude. It is art without artifact. The artist is both worshiper of a divinity and its possessor the possession is envisaged here in mental, if erotic, terms, terms of invitation and entreaty rather than of domination or mastery. The shape of the poem pairs the opening tableau of the mythological Cupid and Psyche embowered in the forest with the closing envisaged tableau of the unpartnered Psyche awaiting Cupid in the bower of the artist’s brain; and, in the center, it juxtaposes the absent historical cult of Psyche with her imagined mental cult. I believe that the later odes demonstrate how unsatisfactory, on further reflection, Keats found this reduplicative mirrorimage conception of art—art as a wholly internalized, mimetic, imaginative activity. The ode declares, by its words and by its shape, that the creation of art requires the complete replacement of all memory and sense-experience by an entire duplication of the external world within the artist’s brain (a process we have seen, in its undirected and simply pastoral sense, in Indolence, where the soul, had itself become a lawn of flowers, complete with weather, light, and shade). Psyche asserts that by the constructive activity of the mind we can assert a victory, complete and permanent, over loss 4 16 Helen Vendler And there shall be for thee all soft delight That shadowy thought can win, A bright torch, and a casement ope at night, To let the warm Love in! The reparatory plot of the poem—the restoration of the proper cult and bower of Psyche—necessitates its mirror-shape, in which the second imaginative half of the poem reduplicates the first nostalgic portion, the replication in diction being most exact at the center of the poem. Psyche, because a late-born goddess, has, says Keats, no virgin choir to make delicious moan Upon the midnight hours; No voice, no lute, no pipe, no incense sweet From chain-swung censer teeming; No shrine, no grove, no oracle, no heat Of pale-mouth’d prophet dreaming. Keats will heal, one by one, with exact restitution, each of these lacks So let me be thy choir, and make a moan Upon the midnight hours; Thy voice, thy lute, thy pipe, thy incense sweet From swinged censer teeming; Thy shrine, thy grove, thy oracle, thy heat Of pale-mouth’d prophet dreaming. Yes, I will be thy priest. This nearly exact repetition (within a relatively short poem) of identical words, the earlier ones describing precise lacks, the later precise reparations, is adapted from Wordsworth’s reparatory technique of repetition in his Ode Intimations of Immortality.5 This strategy, unobtrusive in Wordsworth, is here verbally insisted on by Keats, so that the curative and restorative intent of this structure cannot be overlooked. At “So let me be thy choir,” the Ode to Psyche folds over upon itself and by repetition of diction intends to heal its wounds of loss. What is the wound that is being healed? It is, in Keats’s view, a wound to poetry itself, inflicted by Christianity. Because Christianity banished the pagan divinities, good and bad alike, the body of poetry inherited from the ancient world was, by Christian poets, mutilated. It was in Milton’s Nativity Tuneless Numbers The Ode to Pysche 17 Ode that Keats found the amplest description of the banishing of the pagan gods, and he borrows his vocabulary for Psyche from Milton’s equivocal and beautiful account of the effect of the nativity of Jesus on pagan religions. I quote Milton’s ode, italicizing Keats’s borrowings for Psyche The oracles are dumb, No voice or hideous hum Runs thro’ the arched roof in words deceiving. Apollo from his shrine Can no more divine, With hollow shriek the steep of Delphos leaving. No nightly trance, or breathed spell Inspires the pale-eyed priest from the prophetic cell. The lonely mountains o’er And the resounding shore; A voice of weeping heard and loud lament; From haunted spring, and dale Edg’d with poplar pale, The parting genius is with sighing sent; With flow’r-inwoven tresses torn The Nymphs in twilight shade of tangled thickets mourn. In consecrated earth, And on the holy hearth, The Lars, and lemures moan with midnight plaint; In urns, and altars round, A drear and dying sound Affrights the Flamens at their service quaint ... Peor and Baälim Forsake their temples dim; ... And mooned Ashtaroth, Heav’n’s queen and mother both, Now sits not girt with tapers’ holy shine. All of Keats’s Miltonic words in Psyche are drawn from Milton’s banishing of the gentler and more civilized pagan divinities; none is drawn from Milton’s subsequent stanzas on the defeat of the more “brutish” gods.6 It is not to Keats’s purpose here to suggest the darker side of the pagan pantheon. For 18 Helen Vendler him, the classical world (even in its latest manifestation, Psyche) represented a repository of truth-giving mythology, and not, as it did for Milton, “error” or “fable.” Therefore Keats’s description of Psyche echoes the superlatives of Spenser’s Hymn to Heavenly Beauty These thus in faire each other farre excelling, As to the Highest they approach more near, Yet is that Highest farre beyond all telling, Fairer than all the rest which there appear. Psyche, says Keats (recalling as well Shakespeare’s glow-worm), is the latest born and loveliest vision far Of all Olympus’ faded hierarchy! Fairer than Phoebe’s sapphire-region’d star, Or Vesper, amorous glow-worm of the sky; Fairer than these. Keats’s ode, then, is a hymn to pagan heavenly beauty which, in despite of Milton’s ritual banishing, he will restore to sovereignty and will duly worship, thereby replenishing an impoverished poetic world where, imagination lacks proper deities to worship.7 The goddess who has captured his veneration is Psyche, the soul in love, and the problem the poet sets himself is to find a spell powerful enough to conjure Psyche back into existence. In one sense, of course, Psyche exists eternally, forever entwined with Cupid, in the realm of mythic forms.8 Keats must find a liturgical language suitable for her eternal mythical being, and then a language seductive enough to woo her into an allegorical being, within his mind. Everyone has noticed the revelatory change in language which takes place in the poem the first two stanzas are written, as one critic put it, in “early Keats,” while the last stanza exhibits in part the language of “late Keats.”9 In this ode, the early language of erotic experience disputes the later language of aesthetic experience, as Psyche is embowered first with her lover Cupid in the forest of myth, but lastly with her poet-priest in his internalized shrine. Cupid and Psyche, though drawn, as Keats said in his letter sending the poem to his brother, from Apuleius, are described in terms Keats had gleaned from Lemprière. Keats’s decision to take up this material at this time, material which he had long known, is explained in part by his evolving notion of the world as a vale of soul-making, unfolded in the same letter as the poem. But Cupid and Psyche remind us too of Love and Poesy in the Ode on Indolence, Tuneless Numbers The Ode to Pysche 19 though they have exchanged sexes, with Love now a masculine Cupid, Poesy a Muse called Psyche. Ambition (which vanishes entirely from the later odes) is here still present in the vow, with something of a boast in it “Yes, I will be thy priest.” The motives of Love, Poesy, and Ambition are still intertwined, but Keats has decided to modify allegory as, a way of exemplifying them, and has turned to mythology instead—not entirely seriously, as he had in Endymion, but in a more playful and self-conscious way “I am more orthodox than to let a hethen Goddess be so neglected” (Letters, II, 106). Keats’s perplexity on the subject of mythology arose from his severe notion of what it was to tell the truth. Though he had (as I stood tip-toe reveals) adopted Wordsworth’s theory in The Excursion about the allegorical source of mythology—that it originated from an attempt to adorn natural sights with the charm of story (a narcissus drooping over a pool, the moon alone in the sky)—Keats had expressed, as early as Sleep and Poetry, a suspicion that the proper subject of poetry was not only “the realm ... / Of Flora, and old Pan” (101–102; that is, the realm of allegorized natural beauty like that of the narcissus or the moon), but also human life. In the realm of Flora he could read allegorically “a lovely tale of human life” (110), but he would have to bid those joys farewell, in leaving them for “a nobler life, / Where I may find the agonies, the strife / Of human hearts” (123–125). It is not clear to Keats whether he can write about those agonies in mythological terms at all. One of his reproaches of the Augustan poets seems to be their neglect of nature and mythology at once; and yet, when in Sleep and Poetry he begins to enumerate his own possible subjects, he does not come to mythology until he enters, in memory, the house of Leigh Hunt, and recalls looking with him at a portfolio including a picture of Bacchus and Ariadne. After that, there follows a confusion of subjects—nature, mythology, past poets, ancient heroes, and modern revolutionaries, not excepting the allegorical figure of “Sleep, quiet with his poppy coronet.” In turning in a “modern” and “worldly” way to the tale of Cupid and Psyche, a topic already the subject for sophisticated, even decadent, interpretation, both in literature and in the fine arts, Keats hoped, we may surmise, to enjoy the benefits of mythology without seeming to engage in a false archaism. His struggle with mythological material was not, as we shall see in the subsequent odes, to be so easily resolved, if only because he connected it so strongly with the pictorial and sensuous representational arts, rather than with thought and truth. Keats’s first sophisticating of mythology is evident in his assumption that it exists not so much in the pagan past as in an eternal region where, by purifying himself of skeptical modernity of thought (the dull brain that perplexes and retards), he may once again find himself. There is a formal 20 Helen Vendler liturgical beginning to this ode (to which I shall return), but its beginning in narrative time retells Keats’s penetration to that eternal region, as, by wandering “thoughtlessly” in a pastoral realm, he comes as spectator upon two winged creatures Their arms embraced, and their pinions too; Their lips touch’d not, but had not bade adieu, As if disjoined by soft-handed slumber, And ready still past kisses to outnumber At tender eye-dawn of aurorean love. We recognize this couple—this “happy, happy dove” and her “winged boy”—as sentimental adumbrations of the youth and maiden on the Grecian urn, warm in their “more happy love! more happy, happy love!” shaded by their happy, happy boughs which cannot “ever bid the spring adieu.” However, by the time Keats writes the Urn, though he is still using the Psyche language of double happiness and no need to bid adieu, he has recognized that the blissful stasis can only precede consummation, not, as in the more innocent Psyche, outlast it. (By “recognize” of course, I mean, “realize in language and structure”—there was no time in which Keats did not recognize these plain truths in life.) To present erotic desire unlessened by recent consummation, as Keats does here in the figures of Cupid and Psyche, is to imagine an eroticism without any share in the human cycle of desire and satiation. (Mythology thus becomes here the world of heart’s desire, which puts into question its capacity as a literary vehicle for the agonies of human hearts.) The symbolic landscape in which Cupid and Psyche lie avoids the passionate and unequilibrated; the flowers are hushed, their roots are cool, they are even cool-colored “blue, silver-white, and budded syrian” (corrected from the blushing eroticism of “freckle-pink”)—though no one knows what Keats intended “syrian” to convey. (His publishers changed it to “Tyrian.”) The lovers themselves lie calm-breathing. In short, the divine couple are the pure idealization of an eternal erotic desire for unsated and recurrent sexual experience with the same partner.10 In this fantasy, love and beauty are served, but truth of human experience is not. The poet-spectator, having had a vision of the eternal Psyche, decides, against Milton’s proscription of pagan gods, to restore her cult, and to that end addresses her liturgically with the words which formally open the ode. He hails her in terms deliberately borrowed from Lycidas (as indeed the flower-catalogue of Psyche’s forest bower is also partially so borrowed) just as “bitter constraint, and sad occasion dear” compel the uncouth swain, so Tuneless Numbers The Ode to Pysche 21 Keats’s “tuneless numbers” are wrung by “sweet enforcement and remembrance dear,” in piety and pity for the banished goddess. Keats’s numbers must be “tuneless” (that is, silent, offering no audible tones) because the audible lyre of the ancients has fallen into disuse, but also because his own song will be only a silent inward one, an unheard melody. Keats’s only audience, in the internal theater of his working brain, is Psyche herself, the soul, bereft of all other devotees. Keats’s pious memory of her existence, and his sense of obligation in re-creating, however late, her cult, explain his “remembrance dear” and “sweet enforcement” to this piety. Yet the echo of Lycidas also tells us that this poem is, like its Miltonic predecessor, an elegy for a vanished presence. The restoration of the forgotten Psyche is the real subject of the poet’s endeavor, and two forms of re-creation are attempted in the ode. In the first, which opens the ode, the beloved divinity is represented as existing eternally in a world accessible by dream or vision when the conscious mind is suppressed, a world exterior to the poetic self. Had she been only within, the poet’s vision of her could with propriety only be called a dream; but if she were without, he could genuinely affirm that he had seen her with awakened eyes. (Once again, I interrupt to say that I do not mean that Keats, in life, is uncertain whether or not he had had a dream or seen a vision. The diction of dream and waking is for Keats a way of making truth-claims; when he wishes to insist that poetry has something to offer us which is more than fanciful entertainment, he turns, as in his description of Adam’s dream, to the metaphor of awakening and finding it truth.) The early rhetorical question in this ode—“Surely I dreamt to-day, or did I see / The winged Psyche with awakened eyes?”—is clearly, as I will conclude later, meant to be answered, “With awakened eyes.” This, then, is the first restoration, a pastoral, “thoughtless” waking vision; the second is the restoration by consciously inward architectural reduplication, where Psyche will lie not in the forest grass but in the shrine of the working brain. The first restoration requires of the poet a mythological doubling of the self as a visible Cupid; in the second, the poet in his own person becomes the allegorical Love. In the drama of these parallel experiments—the poet in the first so passive, a thoughtless, wandering spectator, in the other so active, a creator with a working brain— lies the interest of the ode, and the proof of its evolution out of Indolence. The meaning of divinity changes in the two restorations in the first, divinity is conceived of as an idealized presence revealed in a past vision; in the second, divinity is conceived of as a presence which the poet must actively invoke, and create a repository for; and the intent of the poem in its latter part is consequently couched in the future tense of hope and will. The earlier part sees revelation as casual and easy 22 Helen Vendler So did he feel, who pull’d the boughs aside, That we might look into a forest wide, To catch a glimpse of Fauns and Dryades. That had been Keats’s earlier description, in I stood tip-toe (151–153), of the poet’s activity, in his writing motivated by “the fair paradise of Nature’s light” (126). Such a poet, Keats continues, would have been the one who wrote the tale of Cupid and Psyche, writing of them as if they were fauns and dryads, inhabitants of an unallegorized natural paradise, their tale one of charming adventure, happily ended (147–150) The silver lamp,—the ravishment,—the wonder— The darkness,—loneliness,—the fearful thunder; Their woes gone by, and both to heaven upflown, To bow for gratitude before Jove’s throne. But this facile parting of forest boughs to show us a tale of love lost and won is no longer Keats’s idea of art, nor of the use to which it can put mythology. Poetry is no longer entertaining tale-telling, or even seeing; it is active doing, the poet’s human work, here seen, however, as a private task rather than as a service to society. The Ode to Psyche intends a wresting away of Psyche from the past, and a seduction of her into the present. Though Keats’s first tones to the goddess are those of elegiac religious observance (“O Goddess! hear these tuneless numbers”), he ends with wooing And there shall be for thee all soft delight That shadowy thought can win, A bright torch, and a casement ope at night, To let the warm Love in! Though Psyche is originally said to lack a cult and prayers, what she is offered in the last stanza is a landscape and a chamber for love, all in the theater of the mind (which will become eventually Moneta’s hollow skull). The elements of erotic bower and sacred temple, which will fatefully lose their unison in The Fall of Hyperion, are still peacefully conjoined in the Ode to Psyche. The poet promises a “rosy sanctuary” (an erotic version of the Urn’s “green altar”), dressed “with the wreathed trellis of a working brain, / With buds, and bells, and stars without a name,” in a landscape where “the moss-lain Dryads” sleep there Psyche will find a fane that will be a bower for her and Cupid. These materials—wreath, trellis, bells, and moss in an Tuneless Numbers The Ode to Pysche 23 architectural setting—are also found (as Bloom early noted, in The Visionary Company, p. 394) in the beautiful “arbour” with its roof and doorway, placed near the opening of The Fall of Hyperion (25–29) I saw an arbour with a drooping roof Of trellis vines, and bells, and larger blooms Like floral-censers swinging light in air; Before its wreathed doorway, on a mound Of moss, was spread a feast of summer fruits. But on closer view the feast is seen to be over, and the arbor is littered with empty shells and half-bare grape stalks. When the poet consumes some of the remaining feast and drinks a draught of “transparent juice, / Sipp’d by the wander’d bee” (the nectar, we may suppose, of the gods), he sinks into a swoon, mastered by “the domineering potion.” When he awakes, he finds the landscape changed (60–62) The mossy mound and arbour were no more; I look’d around upon the carved sides Of an old sanctuary with roof august. In this fairy-tale substitution, the “drooping roof” of the trellised arbor has become the “roof august” of a sanctuary no longer rosy, like that of Psyche, but carved, as the later Keats fully accepts the separation of nature and art. Keats’s symbols in the epic imply his grand theme that while the first, youthful, perception of the world is erotic, the second, adult, one is sacrificial. As he wrote to Reynolds after completing, so far as we can judge, all the odes but Autumn, “I have of late been moulting not for fresh feathers wings they are gone, and in their stead I hope to have a pair of patient sublunary legs” (Letters, II, 128). In Indolence, Keats had ached, within his chrysalis, for wings; in Psyche, both Cupid and Psyche are winged creatures though not yet shown in flight; in Nightingale, Keats at last wills to fly, if not on actual wings, then on the viewless wings of Poesy. The erotic dream died only with difficulty; in Psyche Keats is still in the realm of wings and arbors, not steps and sanctuaries. But though in Psyche bower and sanctuary are still one, a strain is evident in the fabric of writing. The ode attains its greatest writing not in its description of the rosy sanctuary-bower at the close, but in the slightly earlier description of the landscape surrounding that fane, the landscape of the as yet untrodden region of the mind that lies beyond the Chamber of Maiden Thought. Keats had been in what he called “the infant or 24 Helen Vendler thoughtless Chamber” when the ode began, as he wandered in the forest “thoughtlessly.” When the working brain enters, he is no longer thoughtless we are, he says, “at length imperceptibly impelled by the awakening of the thinking principle—within us” into the second Chamber, that of Maiden Thought, and it is there that the working brain operates, as it does through most of Psyche, “intoxicated with the light and the atmosphere, seeing nothing but pleasant wonders.” That realm is still pastoral, but beyond it lie the “precipices” which show “untrodden green,” as Keats had said in his sonnet to Homer (Bate mentions the analogy in John Keats, p. 493) those steeps and cliffs are not barren, but green with a new, if more alpine, verdure. As one breathes in the atmosphere of the Chamber of Maiden Thought, Keats adds, in the famous letter I have been quoting (Letters, I, 280–281), that “among the effects this breathing is father of is that tremendous one of sharpening one’s vision into the heart and nature of Man—of convincing ones nerves that the World is full of Misery and Heartbreak, Pain, Sickness and oppression—whereby This Chamber of Maiden Thought becomes gradually darken’d and at the same time on all sides of it many doors are set open—but all dark—all leading to dark passages.” Keats had written this passage a year before writing the Ode to Psyche, and we sense a positive effort, at the close of the ode, to stave off the encroaching dark passages Yes, I will be thy priest, and build a fane In some untrodden region of my mind, Where branched thoughts, new grown with pleasant pain, Instead of pines shall murmur in the wind Far, far around shall those dark-cluster’d trees Fledge the wild-ridged mountains steep by steep. So the passage begins, opening into untrodden heights, and acceding to both the pain and the pleasure of thought as work which Indolence, refusing pain’s sting and pleasure’s wreath alike, had forbidden. But, as we recall, the rosy sanctuary finally seems to lie within a cultivated garden, “with buds, and bells, and stars without a name, / With all the gardener Fancy e’er could feign.” It is not, however, the “gardener” Fancy who created the wild-ridged mountains and the dark-clustered trees they are the creations rather of unconfined imagination, and they represent the sublime, as the garden represents the beautiful. Many parallels in sublimity have been cited for these lines, parallels from Milton and Shakespeare especially, but their effect in the poem—given their Miltonic origins in the setting of Paradise (Paradise Lost, IV) and in the mountains and steep of the Nativity Ode—resembles the effect in Wordsworth’s Immortality Ode of corresponding lines Tuneless Numbers The Ode to Pysche 25 The cataracts blow their trumpets from the steep; I hear the echoes from the mountains throng; The winds come to me from the fields of sleep. The winds, the mountains, and the steep form a characteristic Wordsworthian configuration of the sublime. The new dark-clustered thoughts this region will require will, Keats knows, give him pain, even though a pain which, because it calls up new creations, is compounded with pleasure. The new domain seems limitless “Far, far around shall those darkclustered trees / Fledge the wild-ridged mountains steep by steep.” The farreaching and arduous sublimity of soul here envisaged is not maintained; the poem returns to the delicate, the beautiful, and the sensuous. It is hardly accidental that Keats should appropriate to himself, in a poem about two winged creatures, new pinions of his own by using the word “fledge” of his mountain-thoughts;11 but the pinions, and the hope of steeps and mountains, show that Keats’s notion of the pursuit of sublimity here flies on eagle wings. The patient sublunary legs are still to come. The earthly paradise described in the last stanza of the ode is entirely nonseasonal, nonagricultural, and nonbucolic (there are no crops, no flocks); it is a paradise within the working brain. Keats uses the paradisal index—the “there” or là-bas or dahin of that “other country”—but he has abandoned the dream of a passively received revelatory vision with which he began. The chance sight of Cupid and Psyche is not one simply recoverable by a glimpse through forest boughs. Yet his new, allegorical, later paradise reduplicates the earlier, mythological one. There are, in the interior world, sleeping Dryads lain on moss, just as the sleeping Cupid and Psyche had been couched in grass; there are dark-clustered trees where there had been a forest; there is a murmur of pines where there had been a whispering roof of leaves, streams where there had been a brooklet, stars to replace Phoebe’s sapphire-regioned star, mental flowers where there had been mythological ones, soft delight where there had been soft-handed slumber, wide quietness where there had been calm breathing, a bright torch to substitute for the aurorean light, and a “warm Love” in place of the winged boy. In all of these ways, the internalized closing scene of the poem is a copy, in its imagery, of the opening forest scene, just as the second of the two central Miltonic stanzas of the ode is a copy, in its catalogue of reparation, of the first, with its catalogue of loss. The imperative of reduplication is as clear in the matching of bowers as in the matching of cultic pieties. However, what is missing in the tableau of the last stanza is of course crucial we miss the figural center of the opening tableau, the “two fair creatures” embracing. “Let me prepare toward thee,” Keats might be saying at the end of the poem, as he lavishes all 26 Helen Vendler his profusion of imagery on the prospective interior world to be inhabited by Psyche. But she is not yet visible there, nor is Cupid the close of the poem is an entreaty and a promise, as Keats writes the archetypal poem of an absent center. If the Ode to Psyche were simply a restitution of what Milton’s Nativity Ode had extirpated from English poetry, it would end with its restitutive fourth stanza of restored cultic practice. Milton’s ode is far grander, in poetic success, than Keats’s; but even in this novice effort Keats sees that what is life to Milton is death to him. It is not enough to restore Psyche’s cult with a twin stanza written in Milton’s religious vocabulary; Keats must reinvent Psyche’s cult in his own language, the vocabulary of the luxuriant eroticism of his initial vision.12 Milton’s pagan deities, as they are seen in the Nativity Ode, are in no way erotic even those who might have been are not so presented— Ashtaroth sits alone as heaven’s queen and mother, and Thammuz is dead. Psyche’s restoration, for Keats, must be not only the restoration of her cultvoice, lute, pipe, incense, shrine, grove, oracle, and prophet—but also the restoration of her atmosphere and presence. Milton’s austere language permits itself nostalgia but no more; Keats, as Psyche’s worshiper, requires the radiance of present conjuration. The radiant eroticizing of the interior landscape of the mind, as it is decked and adorned and decorated, is Keats’s chief intent, as he makes himself a mind seductive to Psyche. When Psyche will have been won, and Love will have entered, the initial tableau will have been reproduced entire—but this last tableau will be a wholly mental one, in which the mind has been furnished by Fancy for the amorous soul, and Love is a welcome guest. Keats’s characteristic erotic adjectives—soft, bright, warm, rosy—together with the activity of Fancy, his presiding genius loci, engaged in perpetual breeding of flowers, transform the mind from a place conventionally reserved for philosophical thought to a place where all possible thoughts and fancies (conceived after the manner of the poem Fancy) are eroticized by the goddess’s imagined arrival. Worship, work, and embrace will be one in the mind-garden, in which the more literal Miltonic cult of swinging censers and moaning choir gives way to a new cult of tuneless numbers, in which Psyche’s priest becomes himself her lyricist, her bower, and her Cupid. Nonetheless, in spite of this amorous and sensual redefinition of religion and of the functions of the creative mind, the deepest energies of the Ode to Psyche lie in two nonamorous places—in the sublime, uncultivated periphery, lying outside the bower, of new-grown thoughts, and in the bold claim not for amorousness but for independent divining power, outstripping the soft dimness of dreaming “I see, and sing, by my own eyes inspired.”13 These high and solitary sublimities—almost sequestered in this poem of Tuneless Numbers The Ode to Pysche 27 amorous contact and decorative luxuriance—predict the more solitary Keats of Urn, Autumn, and The Fall of Hyperion. And it must be remembered that the cost of the bower in Psyche is the total yielding up of the temporally bound senses for a wholly spiritual world, the consequent singing of numbers that must be tuneless (since they are embodied in no outward melody), and the absence of all audience for this song, except one’s own soul. These sacrifices of sense for mind, of melody for tunelessness, and of audience for a putative, though scarcely realized, solipsism, coexist uneasily with Keats’s sensually opulent style in the ode, a nonascetic style developed for the happier embraces, both spiritual and physical, of Endymion. The tension between the amorous mythological style and the desolate sacrificial implications of Psyche will not be solved conceptually until Keats writes the Ode on Melancholy, and not solved stylistically until he writes the ode To Autumn. But in the internalizing of divinity, Keats has already advanced, conceptually, beyond Endymion’s awkward doubling of the Indian Maid and Cynthia and beyond Indolence’s three self-projections. The wholly internalized Psyche—one’s own soul as interior paramour, as Stevens would call it—is one solution (but by no means a finally satisfactory one for Keats) to the question of the proper representation of divinity in art; and the internalized atemporal and nonagricultural bower is a solution (but again, for Keats, not an eventually satisfying one) to the problem of the modern representation of the locus amoenus, or beautiful place. Keats wished (as he says in his famous journal-letter immediately contemporary with the odes) to sketch this world as a “vale of Soul-making,” “a system of Salvation which does not affront our reason and humanity” It is pretty generally suspected that the christian scheme has been copied from the ancient Persian and greek Philosophers. Why may they not have made this simple thing even more simple for common apprehension by introducing Mediators and Personages in the same manner as in the hethen mythology abstractions are personified— (Letters, II, 103) Abstractions, Mediators, and Personages are the means of making moral truths “simple for common apprehension.” Keats’s own mythological and allegorical personages, whether Psyche or Moneta or Autumn, represent his groping after a method he thought common to all “systems of salvation,” and therefore true in a way beyond fancifulness. If Psyche, a “happy, happy dove,” seems to us understandably insufficient as a personage aiding in salvation, she is nonetheless proof of the immense if circumscribed faith Keats placed, at this time, in the active soul emerged from its chrysalis, in the 28 Helen Vendler strength of love in the soul, and in the imaginative force of the mind in finding constructive forms. The Ode to Psyche was of course inspired at least in part by the presence of Fanny Brawne next door in Wentworth Place, and Keats may not at first have been aware, as his ode took on its final dimensions, of the social, moral, and aesthetic restrictiveness of its wholly internalized, timeless, and tuneless cult. Psyche, his only audience for his tuneless numbers, both is and is not a mythological being, both is and is not an allegorical form. The ode does not solve the equivocal nature of her being, just as it does not solve the relation between beautiful Fancy and truthful Thought—the one concentrated in a small garden-fane full of happy spontaneity of erotic invention, the other mysteriously far-ranging, sublime, and connected with pain as with eagleaspiration. Cupid and Psyche together make up the actual joint divinity of the poem, and they stand for a unity of being through spiritualized eroticism, for flesh and soul in one couple—at the beginning not quite fused but not quite separate, at the end both invisible in darkness. It is a divinity Keats will forsake all his subsequent divinities in the odes, as I have said, are unpartnered females—the light-winged Dryad-nightingale, the unravished bride-Urn, veiled Melancholy, and the goddess Autumn.14 Psyche’s exact reduplicative pairing of the outside world (whether of myth or of cult) with the inside world (of mind or Fancy) enacts the erotic pairing of the sensual Cupid with the spiritual Psyche celebrated in the matter of the ode. This is Keats’s most hopeful ode, and yet his narrowest one. The willed pairing of flesh and soul in a perpetual and immortal embrace, the studied equivalence of the flowery bower of Nature and the architectural bower of Fancy, the total reconstitution of past religion in the present—the perfect “fit” of these competing realities is the dream embodied in the reduplicative shape of the Ode to Psyche. In the collapse of Keats’s hopes for a spiritual art exactly mimetic of the sensual vision there collapsed as well the erotic joint divinity, the happy coexistence of Fancy with Thought, the notion of art as idyllic verisimilitude, the concept of aesthetic activity as a purely interior working, the valuing of decorative, atemporal Beauty over austere, evolving Truth, and the pure idealization of the immortal soul rescued, by the agency of the poet, from the attrition of time. Psyche originally thought to find its distinctive language in the realm of religion mediated through Milton—as though the clear religion of heaven, as Keats wished to announce it, could borrow its diction from the religions of the past, Christian and pagan alike. Keats’s wish, expressed in the letter I have quoted, to find something to substitute for Christianity explains his first notion of a deity’s appropriate “numbers” as vows, voiced in piety, and culminating in a sanctuary. He will not cease to struggle for a religious Tuneless Numbers The Ode to Pysche 29 diction appropriate to his purposes, as The Fall of Hyperion testifies. But in mute confrontation with the religious language in Psyche there stand two other languages—that of pastoral eroticism and that of pastoral allegory, the first in the opening description of the forest bower, the second in the closing description of the cerebral fane. Each of these is contaminated, so to speak, by traces of the diction of religion; the diction of religion is contaminated, in its turn, by traces of them. The latter case is more quickly made Psyche is a vision, as a devotee might say, of a religious goddess, but she is addressed in the diction of physical love. She is the “loveliest” of visions, “fairer,” in this lover’s comparison, than Venus or Vesper, that “amorous glow-worm of the sky”; her choir is a virgin one making delicious moan (a detail not borrowed from Milton, but inserted by Keats), and her pale-mouthed prophet dreams in a fever of heat. She is brightest or bloomiest, and possessed of “lucent” fans (the adjective later repossessed for Fanny Brawne’s “warm, white, lucent, million-pleasured breast”). The religious, Miltonic edge is softened, warmed, coaxed into pastoral bloom. But that very bloom and heat is itself chilled or chastened by the religious use to which it is to be assimilated, into the formality of “O Goddess” and the austerity of “tuneless numbers.” With the introduction of Psyche’s “soft-conched ear” the earliest lines begin their modulation into sensuality, and yet a restraint put on sexual warmth causes the introduction into the forest embrace of the clear note of the brooklet, the cool note of the roots, and the denial of rosiness to the flowers. The suspension of the lovers’ lips checks the double embrace of arms and pinions (the latter the warmest, and most boyish, imagining in the poem—“Their arms embraced, and their pinions too,” a dream of an embrace doubled beyond merely human powers). The “trembled blossoms” and “tender eye-dawn” bear out the fragile and near virginal nature of this aurorean love; Keats is uneasy, given his purportedly religious aims, about the extent of the erotic that he can allow into his devotions. The governing question of the opening of the ode—“Who wast thou, O happy, happy dove?”—is, strictly speaking, epistemological rather than devotional, and springs, I think, from the opening of Indolence (already conceived even if not yet written down) “How is it, shadows, that I knew ye not?” Keats had asked that question in self-reproach, and then had exclaimed, in self-release, after seeing the three figures full-face, “I knew the three.” To know them is also, as Keats admits in wishing to banish them, to know “how change the moons.” In Psyche, “the winged boy I knew,” says Keats, but Psyche is at first strange, as the urn-figures in Indolence had been; she, like them, is eventually recognized.15 Keats here raises the question of what he knows when he knows these personages, and though he briefly considers that his glimpse might have been a dream, he decides, as I have 30 Helen Vendler said, that he saw them with awakened eyes I “saw” two fair creatures, he announces, and later adds, “I see, and sing, by my own eyes inspired”; Psyche is the loveliest seen thing, the loveliest “vision.” There is no further mention of dreaming, after Keats’s first wondering question; everything else in the text supports those “awakened eyes” in their seeing. Seeing, and knowing who it is that one sees, and seeing truly, not in dream, is the first condition of Keats’s clear religion, the opened eyes precluding any surrender to the drowsiness Keats strove to maintain in Indolence. For all the resemblance between Indolence and Psyche in what we might call their use of the diction of bedded grass, it is, we must recall, Keats who drowses, in Indolence, amid stirring shades and baffled beams, his head cool-bedded in the flowery grass; but in Psyche it is the sleeping lovers who lie calm-breathing on the bedded grass, and Keats has become the clear-sighted observer with awakened eyes. Therefore, “not seeled, but with open eyes” (Herbert), Keats sees his own former bower; like Ribh at the tomb of Baile and Aillinn, he has eyes by “solitary prayer / Made aquiline,” which see what they could not have seen when he drowsed in indolence. Keats as yet scarcely realizes whither his newly aquiline gaze will lead. Eventually, as we know, it will disclose to him, behind a parted veil, Moneta’s face. But for the moment Keats yearningly believes that he can, while lifting his own head from the grass, maintain a heavenly couple there in his place. The diction appropriate to their eroticism grows the chaster for his separated gaze, but it preserves enough warmth for knowledge and passion alike to be entertained in the hospitality of the poem. The curb Keats has put on erotic fever in this passage is clear when we glance back to the passage on Cupid and Psyche in I stood tip-toe (143–46) What Psyche felt, and Love, when their full lips First touch’d; what amorous, and fondling nips They gave each other’s cheeks; with all their sighs, And how they kist each other’s tremulous eyes. The balance of warm and cool is, in the ode, delicately kept in all the “stationing” of the first long stanza—the couple, though side by side, are nonetheless calm; embraced, they are disjoined; not bidding adieu, they are nevertheless not touching; they lie ready for a dawn that has not yet broken. The imagery of erotic pastoral is cooled not only by Keats’s detached seeing and knowing but also by his deliberately “tuneless” singing. Keats’s diction for the embracing couple here is far more secure than his diction with respect to himself. Though he begins in high seriousness, the Byronic irony fitfully evident in Indolence has its say here too, though shrunken to the brief double condescending to the “fond believing lyre” and Tuneless Numbers The Ode to Pysche 31 to “these days so far retir’d / From happy pieties.” This tone, never a successful one in Keats, marks an instability in his enterprise, and a doubt of the very possibility of ode-writing. How believing is his own lyre in this hymn; how remote can he be, in truth, from his own skeptical epoch? The irony in his joking tone about the neglected goddess in the letter to George does not survive very well its translation into verse. And of all the language in the poem, the language of religious cult, borrowed from Milton, is most derivative, and least Keatsian. The last diction invented in the poem is the diction for Psyche’s fane. It is at once the best and the feeblest in the poem, showing, as I have said earlier, the strain under which Keats is working. The feebleness is seen in two places in the random enumerative arabesque of “zephyrs, streams, and birds, and bees, / ... buds, and bells, and stars without a name,”16 and in the unselective amassing of Keatsian erotic words—rosy, soft, delight, bright, warm. But the diction of Psyche’s fane also possesses a strength; the fane is Keats’s first portrait of himself as artificer, as he becomes for the first time not the youth in love, the ambitious man, or even the votary of the demon Poesy (as he was in Indolence) but a maker of an object, here the goddess’s sanctuary. Emerged from his embryonic indolence, Keats is born into work; but his indecision about a proper diction for creativity disturbs him here. The diction of “the gardener Fancy” is still the diction of pastoral eroticism, that of “breeding”; and it issues (as in Fancy) in buds and flowerlike “stars” and “bells.” These Spenserian breedings take place in the realm of the Dryads, amid moss and streams and birds and bees, where lulling sleep is (as it was in Indolence) the governing mode of being. In conflict with this soft, mythic pastoral is the Shakespearean and Miltonic strenuousness of the fane’s mountain landscape; and yet the sublime landscape is itself vegetative, “grown” from that pain and pleasure which, though two separate things when refused in Indolence, grow to one paradoxical single thing, “pleasant pain,” when admitted to the precincts of mind. The phrase is of course a blemish on the poem; but like so many of Keats’s blemishes it stands for an intellectual insight for which he has not yet found the proper style in poetic language. Keats, at this moment, can only note, baldly, that pleasure and pain have some intimate connection; the answerable style for painful pleasure and pleasant pain is yet to be found. The diction of the fane is, as I have said, allegorical, as the original diction of Psyche’s bower is not (being mythological, and narrative). Keats had thought of following the line “Who breeding flowers, will never breed the same” with the line “So bower’d Goddess will I worship thee,” but he deleted it, realizing that his goddess was no longer in a bower but in a fane, that bower language is not fane language, that nature is not architectural 32 Helen Vendler artifact. Catching himself up short, he put in the open casement, that casement which in Indolence had so meltingly brought the man-made and the natural into conjunction, as “the open casement press’d a new-leaved vine.” Here, the open casement will serve, so the poem hopes, to admit warm Love, the human form divine, instead of the natural bloom. But the landscape has perceptibly, in the thought-burdened allegorical moment, darkened from the erotic one presented mythologically; the new forest region, unlike the original one, is unknown, as yet untrodden; there are branches rather than buds or blossoms; they cluster darkly; mountains loom, wild-ridged; instead of feathery pinions there is a sterner fledge of trees; zephyrs are replaced by wind. The darkness persists into the indeterminacy of “shadowy thought” at the end, as Keats undertakes at one and the same time the burden of allegorical writing and the architectural objectification of self in artifact, an artifact which remains as yet internalized in thought, but which has been effectively freed of its creator and endowed with architectural presence and topographical depth. The Ode to a Nightingale, which we next approach, marks a fresh approach to all the questions raised by the odes preceding it. In it Keats takes a step beyond the creative reverie of Indolence, beyond even the first creative interior constructions of mental Fancy in Psyche, and envisages the artist’s necessary embrace of a medium—in this case music, the art of Apollo. He thus takes up, in choosing music, the idea of an art which of its nature precludes mimesis and verisimilitude, an abstract art appealing only to the sensation of the ear, an art devoted, perforce, to a beauty to which truth is irrelevant. He will, pursuing his symbol of the artist as musician, adopt a more ironic view of aesthetic experience, one in which a remote composersinger, indifferent to and unconscious of any audience, pours forth a song to a listener who is physically so passive, being pure ear, as almost to approach the condition of insentience. In Nightingale the immortal world of art, far from being an exact reduplication of the world of life, as in Psyche, is in fact in all ways its opposite. In Psyche, the embracing sculptural frieze-figures are no longer allegories of the poet’s desire for ambition, love, and poesy, but rather have taken on a separate, objectified existence of their own. This existence lapses somewhat at the end, where the poet seems to prepare to become Cupid, but Psyche retains her independence. As a pagan goddess, she preexisted her poet, and does not depend on him for her essence, as the Love, Ambition, and Poesy of Indolence do. Keats’s attraction toward a presence less contingent than his own selfhood dictates several of his other objects of worship—a bird, an urn, a season. In the later odes, after Psyche, he goes beyond an interest only in the psychology of inner reparatory creation into an interest in artifact, medium, audience, and the intrinsic will-toTuneless Numbers The Ode to Pysche 33 annihilation in art itself. But in one aspect, Nightingale represents a regression from Psyche. Though the composer-singer-bird is not “indolent,” neither does she have a “working” brain; her art is one of happy spontaneity, coming as naturally as leaves to a tree. Keats still hopes that art need not be “work” intellectually planned. But the working brain will not be absent forever; art as work reappears with the Urn. NOTES 1. [Stillinger’s notes.] Text (including heading) from 1820. Variants and other readings from Keats’s draft (D), his letter to George and Georgiana Keats, 14 February–3 May 1819 (L), and transcripts by Brown (CB) and Woodhouse (W2). Heading Ode to] Ode To (Ode added afterward) D 4 into] to into L 5 dreamt] dreamt altered to dream’d W2 6 awaken’d] awaked L 9 couched] cl couched L 10 roof] fan D, L, W2, and originally CB; fan altered to roof by Keats in CB 13 ‘Mid] interlined above In D; Near W2 14 silverwhite] freckle pink in the margin (but silver-white undeleted in the text) in D; freckle-pink L; freckled, pink W2 14 Tyrian] syrian D, L, CB, W2 15 calm] soft CB 17 bade] bid D, L, W2 20 eye] dawning eye D 22 O happy] O p happy L 23 true!] ~ ? L 24 latest] lastest L 26 Phoebe’s] successively (a) Night’s wide full, (b) Night’s orb’d (c) Phoebe’s D 28 hast] hadst L 30 delicious] melodious D, CB, W2 32–34 No and no] No r and no r in all eight places in D 36 brightest] Bloomiest D, L, CB, W2 42 among] interlined above above D 43 by my] by (corrected by Keats to by my) CB 43 own] interlined above clear D 44 So] O D, L, CB, W2 45/46 Thy Altar heap’d with flowers, (written vertically in the margin with a mark for insertion after 45, the line and the mark then deleted) D 47 From] interlined above Thy D 57 lull’d] interlined above charmd L 57 to sleep] asleep altered to to sleep CB 62 feign] interlined above frame L 63 breeding ... breed] successively (a) plucks a thousand flower and never plucks (b) plucking flowers will never pluck (c) breeding flowers will never breed pluck (never deleted by mistake instead of pluck in the third version) D 63/64 So bower’d Goddess will I worship thee D 67 the ... Love] warm Love glide altered to the warm Love D; Love W2. 2. Psyche is “restored,” not “resurrected” she was forgotten, not dead; The opening tableau shows she is ever immortal. She is not a “dying immortal” or “immortal but also fading,” as Leon Waldoff would have it (“The Theme of Mutability in the ‘Ode to Psyche,’” PMLA [1977], 412). Psyche is, as Keats said, “neglected.” On the other hand, Waldoff ’s psychoanalytic reading of the ode as a “rescue fantasy” (p. 410), a “defense against irrevocable loss” (p. 415), and, finally, an “adaptation” (p. 417) are intelligent insights into the ode as a psychological document. His concluding emphasis on will and resolution is far truer to the poem than readings which emphasize only irony or an empty center. The long and sometimes fanciful discussion of the ode by Homer Brown (Diacritics 6 [1976], 49–56) considers, following Harold Bloom in the Map of Misreading (p. 153), that “Milton’s Satan as the artist of deceit at Eve’s ear becomes the ‘gardener Fancy’ and the speaker of Keats’s Ode” (p. 54). Brown urges too strongly that “the mortality of all the gods, including art, including the Psyche of this Ode, the mortality of all cultures” is Keats’s concern (p. 56). But the poem is a restoration poem (however qualified). It is a poem about substitution, as Brown says, but not about endless substitution around and over a Derridean absence such is not its tone. Leslie Brisman argues (“Keats, Milton, and What One May ‘Very Naturally Suppose’”) that Keats is engaging in the creation of a 34 Helen Vendler “countermyth” against the decay of nature, a countermyth asserting that “inspiration [is] renewed as faithfully as are plants and seasons” (p. 4). (See Milton and the Romantics 6 [1975], 4–7.) 3. I am not unaware by how much the poem falls short of its claim of restitution, nor of the ironies (discussed most recently by Sperry and Fry) that it encounters on its way to the final fane. But these difficulties in the path—culminating in the vacancy of the final tableau—do not defeat the passionate tone of the poem. Bloom, not insensitive to the ironies, yet speaks of the poem’s “rhapsodical climax,” and sees the open casement emphasizing “the openness of the imagination toward the heart’s affections” (Visionary Company, pp. 395, 397). It should not be forgotten that for Keats, especially in his moments of prizing verisimilitude, it was important to speak the truth about his life; one of the truths behind the Ode to Psyche was that he was not yet embowered with Fanny Brawne. That he still hoped and longed for her is evident from the final entreaty, and it goes counter to the current of the poem to prize its uncertainties over its hopes, still ardent and as yet undefeated. 4. Commentators have expended a good deal of effort on making an allegorical identification of Psyche. She is “the soul of human love” (G. Wilson Knight, The Starlit Dome, p. 302); the mind rescued by Love (Bate, John Keats, p. 490); the visionary imagination (Perkins, The Quest for Permanence, p. 222 ff.); the human-soul-in-love (Bloom, The Visionary Company, p. 390); “the simple consciousness of Being” (Fry, The Poet’s Calling in the English Ode, p. 226); “the goddess of the poetic soul, the Muse” (Sperry, Keats the Poet, p. 254); the “moth-goddess, who symbolized melancholic love” (Garrod, Keats, pp. 98–99); “the intelligent ‘Spark’ struggling to become a soul ... a love-goddess with an understanding of troubled human experience ... a personification of human nature subjected to an inevitable and cruel process of growing up and growing old” (Allott, “The ‘Ode to Psyche,’” in Muir, John Keats, pp. 84, 86); “Love itself, the poetic-butterfly-moth idea” (Jones, John Keats’s Dream of Truth, p. 206); and so on. Probably some such identification is necessary if one is to write about the poem at all; but surely the point to be made is that Keats is engaged in one of his recurrent recoils against emblematic allegory; such recoils always took him in the direction of mythology. Mythology was suggestive, emblematic allegory bald. Mythology, capable of motion, hovered; emblematic allegory was frozen in a single gesture. Mythology derived from narrative and came bearing, even if lightly, the aura of its narrative around it; allegory, originating in conceptualization, had no richness of story about it. The fluidity of concept associated here with Psyche comes precisely from her mythological origins; the ode marks Keats’s resistance to the “fair Maid, and Love her name” sort of writing, to which he had resorted in Indolence. 5. I discuss this art of wounds and cures at length in “Lionel Trilling and the Immortality Ode,” Salmagundi 41 (1978), 66–86. 6. Though critics mention the derivation of this passage from Milton, they have failed to see that Keats draws only on the passage about the more acceptable pagan gods, and they have not seen Keats’s anti-Miltonic aim—to put the gods back into English poetry, when Milton had banished them as unfit and false subjects for the Christian poet. 7. Allott (p. 87) and Sperry after her (p. 254) mention that Keats recalls the banning of pagan gods in Milton, but they do not see that Keats saw the ban as a loss to poetry, or that he is defying Miltonic truth-categories. Douglas Bush’s assumption that Keats adopted echoes from Milton “simply because they fitted his idea of providing [Psyche] with proper rites” seems to take too lightly Keats’s indignation that anyone should think it Tuneless Numbers The Ode to Pysche 35 possible to do without “the beautiful mythology of Greece.” See “The Milton of Keats and Arnold,” Milton Studies 11 (1978), 103. 8. She in fact is the only one of the “faded Olympians” not to have declined; she is still properly addressed as “brightest.” It therefore seems no part of Keats’s intent to show her as careworn and acquainted with grief, as Allott would have it (Muir, pp. 84, 86). 9. I owe this formulation to Professor Patrick Keane of Le Moyne College. 10. I cannot therefore share Fry’s conviction that the couple represent “the bisexual and at least partly daylit scene of creation that chaster poets, notably Collins, had tried to represent euphemistically” (The Poet’s Calling, p. 223). Nothing is being “created” by Cupid and Psyche, whether in the myth or in Keats’s poem; they are figures for sexuality, but not for procreation. (Keats’s departure from Comus, where Milton envisages twins born from the union of Cupid and Psyche, is explicit.) Nor can the forest scene be legitimately called a “primal scene” (Fry, p. 225) if those words are to carry the shock and dismay which Freud predicated in the mind of the child witnessing such a scene. Keats does not stand to his scene as a child witnessing a parental act; the scene is a projection of his own desire, and he cannot therefore be said to be, as Fry says he is, following Bloom, “the poet as voyeur” (p. 225). If Fry means that Cupid and Psyche are to be taken as figures drawn from Adam and Eve, then there is no reason to call the scene “bisexual,” at least not in the usual sense of that word. 11. He speaks of his “half-fledged brain” in a letter of July 1819 (Letters, II, 130). 12. The chiastic structural pattern of bower-cult-cult-bower (what I have called the mirror-image shape of the ode) seems to me clear enough to bring into question Fry’s notion that the shape of the ode is one of “rondure”—“The whole poem is the shrine, couched and soft-couched. It is a shell, rounded as the mind” (The Poet’s Calling, p. 227). 13. Homer Brown notes the defiance of Milton (“blind and blindly superstitious”) in these lines. But he thinks of Psyche as too exclusively one with Keats, contrasting Keats’s ode to the traditional ode “of worship to an otherness.” Keats is not writing a hymn to himself; Psyche is, not least, Fanny Brawne. See Brown, “Creations and Destroyings Keats’s Protestant Hymn, The ‘Ode to Psyche,’” Diacritics 6 (1976), 49–56. 14. Leon Waldoff, also making the point that Keats’s divinities are female (in a paper delivered at the MLA, 1980, and entitled “Processes of Imagination and Growth in Keats’s Odes”), argues psychoanalytically that all are attempts at the (impossible) restoring of a maternal image. 15. Lawrence Kramer in “The Return of the Gods Keats to Rilke,” Studies in Romanticism 17 (Fall 1978), 483–500, places the ode into a tradition of the theophanic poem, “the genre in which the return of the gods takes place” (p. 484), and writes very interestingly on “the riddle ritual” (p. 494) of the naming of Psyche, and the subsequent withholding of her name. 16. Sperry voices the same criticism (p. 259); but he is wrong in saying (p. 257) that the “buds ... burst into thought ‘with pleasant pain.’” They do not—only thoughts, in the form of trees on the steep, do. Fancy is not painful; thought is. Keats allows in his earthly paradise in this poem only flowers, not fruits, thus restricting his gardener to the single season of spring.
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Update 1.0.4 (2016/12/10) Update 1.0.3 (2016/12/6)Update Update 1.0.3 Part 2 (2016/12/7) Update 1.0.2 (2016/11/30) Update 1.0.1 (2016/11/25) Update 1.0 (2016/11/18) Beta Update 6 (2016/11/17) Beta Update 5 (2016/11/16) Beta Update 4 (2016/11/15) Beta Update 3 (2016/11/10) Beta Update 1 2 (2016/11/10) Update 1.0.4 (2016/12/10) http //steamcommunity.com/games/493340/announcements/detail/289751074104171083 Update 1.0.3 (2016/12/6) http //steamcommunity.com/games/493340/announcements/detail/289750654268977982 Update Update 1.0.3 Part 2 (2016/12/7) http //steamcommunity.com/games/493340/announcements/detail/289751074095855372 Update 1.0.2 (2016/11/30) http //steamcommunity.com/games/493340/announcements/detail/289750474005973982 Stability/crash fixes Functionality fixes "Don t block station" option doesn t always work for Monorail Chinese / Japanese / Korean fonts look unclear when using Community Translations Selecting Hard Challenge actually loads Hard Challenge Rather than Medium Text fixes "Kerb" is now "Curb" in American English "Total Research Spend" is now "Total Research Expenditure" Update 1.0.1 (2016/11/25) http //steamcommunity.com/games/493340/announcements/detail/289749803414191761 New blueprintsNew shops/facilities blueprints for all 5 themes New scenery blueprints for all 5 themes New coaster blueprints Added a "harder" challenge mode Crash fixes/stability improvements Optimisations Bug fixes Loading an old park will not reset your custom music Fix black artefacts on HD4000 machines Fix mouse issues on Windows 10 Insider Fix heatmaps when a train falls off the track Fix Priority Pass attendant animation issue Reduced CPU/GPU usage when the game is minimized Excitement, fear and nausea values now appear on coaster blueprints tooltip Tacos icons now appear in Guest Inventories correctly Fixed lights on dark ride in "The Creature Awakens" Allow guests to stand at different heights on raised queues/paths Guests re-equip balloons when leaving rides Fix issue where control rebinding s were not being reapplied if you cancelled out of a change Fix harness animation on Canyon Runner Star Studded Career achievement fix Guests now enter toilets/first aid centrally rather than clipping into the building Guests with nothing to do leave the park rather than idling on the spot Improved performance when editing terrain around water bodies QoL improvementsCoaster auto-avoid now ignores terrain when auto-tunnelling is selected Clicking a notification will now rotate the camera to focus on the affected facility/exit/entrance Height markers now appear when building downhill more often Community translations now support overriding the games font, allowing support for East Asian languages where characters were previously not included. Escape now exits the main menu Update 1.0 (2016/11/18) http //steamcommunity.com/games/493340/announcements/detail/356177263206331362 Planet Coaster Thrillseeker Edition The Planet Coaster Official Soundtrack. Enjoy an hours worth of pleasure to your ears! The Planet Coaster Digital Sketchbook. Let your imagination run wild with the sketchbook! What s better than the normal Coaster King mascot? The Golden Coaster King mascot! Why not show off your wares, your guests have the Golden Avatar baseball hat unlocked! Planet Coaster Final Steam achievements. There s 31 of those shinies, build and conquer! Steam trading cards. All 12 scenarios. Tutorial videos. Whether you are new to the genre or just need a refresher, we have you covered with our tutorials! Stability improvements. Further tweaks to texture streaming system. Beta Update 6 (2016/11/17) Stability improvements. Audio mix pass. Tuned texture streaming system. Beta Update 5 (2016/11/16) Improvements to the coaster building start flow Add Water Quality to the Graphics Options Stability fixes Performance improvements Beta Update 4 (2016/11/15) New rides Rolling River, Invincible, Chair-O-PlaneThese three new attractions are the perfect addition to your parks; you can add the stunning new Rolling River water ride, create a new epic coaster with the Invincible, or add a more gentle touch with the Chair-O-Plane! How exciting! BALLOONS!!The latest addition to the Planet Coaster shops is an all-time favourite, balloon shop Loony Blooons! We can’t wait to see your guests walking around with their colourful souvenirs. And even better, each balloon is on a string! More Shop news Themed hats, mayonnaise for Monsieur FritesWe have also added a variety of hats to be purchased in the Hat Shops, themed to Western, Sci-fi, and Fantasy; so your guests will have loads more options for funky headwear! Lastly, your guests can now choose to top their fries with... mayonnaise (YES, HOLLAND REPRESENT!), to give them the best of flavours at Monsieur Frites shops. Two new entertainers! You’ve already had some sneak previews of the two last additions to the park staff, but we’re so happy they are finally ready to join the family give a warm welcome to Miss Elly, our Western hot shot patrolling the grounds, and Tiki Chicken, the fiery, community-created flavour maker. Help System to... help! Scenario balancing to Pirate Battles and Monolith Thanks to your valuable feedback over the past few days of beta, we have made some balancing changes to the two Beta Scenarios even further; try your hand at them again and see if you can still pass them both with three stars! UI flow improvementsThe panel in the info panel and park management will now remember the last tab you were on; so you will not have to search for your active tabs again. More lights hooked up to Coaster Trigger system Get the most of triggered events with even more lighting options to spruce up your coaster ride! VIP Staff Pass now supports facial hair Get all the beards going this Movember! Polish, QOL and Balancing - more of this More optimisations the team has been working hard over the last few weeks to get framerate up even further for a smooth experience, and today s update has the latest fruits of their labours. Stability and compatibility improvements Boids Flocking Pigeons! PARK AREA IS NOW OVER 2.5 TIMES BIGGER THAN BEFORE! Beta Update 3 (2016/11/10) More series of crash fixes Fix error messages appearing in German Beta Update 1 2 (2016/11/10) Series of stability fixes Crash fix for using an avatar from Alpha 3 and editing in the avatar creator
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Code Geass 16. Nunnally Held Hostage In this world, evil can arise from the best of intentions. And there is good which can come from evil intentions. How then should Lelouch s actions be taken? Every man has his day of judgment, does he not? Geass he who uses this inhuman power will find his hearts isolated, whether he wants it that way or not. Thus he plummets into the abyss that lies between good and evil. But if a man can climb out of that abyss into the light, then that man has the soul of a king. STAGE 16 NUNNALLY HELD HOSTAGE Yes, that s right. The training for the post-refit Guren Mk-II is proceeding on schedule. Kyoto and the Military District of India have finally come to terms, so we re just waiting for Rakshata and her team to arrive. And the organization s changeover to a cell-based structure is now 92% complete. The members have also been ranked into 14 tiers. As you directed, we ve infiltrated all Britannian warehouses. Within the Kanto block, combat personnel have been dispersed to 564 separate locations. 32 of our positions have been uncovered; 11 of those were dummies. 47 members have been apprehended, but since information is now firewalled above class 8 members, the Britanninans aren t getting anything out of them. And now that we have the unreserved support of the Kyoto group, we re seeing almost no more cases of citizens tipping off the authorities. On that list of Britannian supporters... Yes, it s the group you made arrangements with. Oh, and we re still looking for information about Tohdoh and the Four Holy Swords. Understood. Continue with the work, all right? Are you sure you want me to be the messenger? If you look humble, they ll look down on you. That s how it works with the Chinese Federation. I don t know about that, but unlike you, I do have some humility. Good, now you can put it to use. How s your passport? Not a bad forgery. I m all set. Where are we going? Are we getting moved to another place again? It s one of the Kururugi s homes. This time, it s the main house, okay? Keep on walking, Suzaku. But... Keep walking. Where are we? It smells really bad here... We re going by a garbage dump. Right, Suzaku? What s wrong, Suzaku? I... I... Nunnally... My mother taught me that a warm touch is good for tears. Do you think it s true? I will... overcome this. Hey! Lelouch! Hm? What s up? Y know, we re gonna hold you back, if you don t start coming to class. I could say the same about you, right? I have work to do. It s just that the Black Knights have really been on the move lately. Hey, I thought you were in the engineering. Uh... we re shorthanded, so they move me around. Hmm... Still, how about dropping by for dinner more often? Nunnally misses you. Are you free this evening? Yeah, I could come tonight. But are you sure it s okay? I don t want to cause any-- Hey, Lelouch! What s wrong? I hear that the president s out doing a blind date thing again! Yeah. Today. Today?! Why didn t you tell me about it?! Because it d make you cry. Boys don t cry! It s okay. I didn t know about it either. Don t give me your emo routine! Emo? I guess compassion is not in fashion these days. So anyways, are we on for dinner tonight with Nunnally? Sure. What about school?! Don t worry, I ll be right back! I m just gonna go tell her about it! My life is over and he s worried about dinner? My classes don t start till second period, Sayoko. Huh? Are you surprised? Uh... Matchmaking dates are usually in hotels or restaurants. I--I suppose that s true, but I d heard you were very unique person, Lord Asplund. Unique! What a delightfully artful way to put it! I m surprised you re interested in a girl from the downgraded Ashford family after it lost its rank. Oh ho, but I couldn t care less about a loss of rank. Excuse me. I m sorry to trouble you. Not at all. Take your time. No need for that. Why draw it out? Let s get married. Huh?! That s it?! Getting cold feet? Nunnally! Suzaku s gonna-- Yes? Lelouch! Nunnally?! Where are you right now?! I don t know, but I can t move. Nunnally! It s me, Lulu. It can t be! You dropped your guard, Lelouch. Just cause you thought I was dead? Mao, listen. C.C. isn t here right now. That s why I came. Someone immune to my Geass would be troublesome now. I ll save my encounter with her for a later date. First I m going to pay you back for that little session the other day. You re somewhere within 500 meters of me. Of course. Want to try and find me? Your time limit is five hours. Oh, by the way, since the game is just between you and me, no using the cops as pawns this time. I don t really wanna get shot up again Although Britannian medical science is amazing. You can thank them for my return! You know, Lulu, when you used your Geass on those cops, you should ve told them to kill me, not just shoot me! You left off the finishing touch, and now your sister s in a bind! What a quandary! What a quagmire! What a crunch! Nunnally has nothing to do with this! It s not a very nice way to play a game, you know... Hmmm? If you do something to make my brother sad, I ll never forgive you! What a pair you are! I love this brother-sister thing. Hi, everyone! It s lunch time. Are you all eating-- A fight? Shirley and Lelouch? Right! She s pretending she doesn t know him, and the president said we re supposed to play along. Ohh, right! What s up with her blind date?! Never mind that. If Shirley and Lelouch are fighting-- Leave them alone. It s just a little lovers spat, that s all. Uh... but you-- Don t even think that way. I ve got nothing to do with him. So, he hasn t taken the plunge yet, huh? The plunge? Well, Lelouch is good with theories, but he s not so good with the real thing. Real thing? I mean he doesn t have experience. Experience?! Ah! Huh? What s the matter? Don t you like your food? Arthur, why do you always do this?! Hey, Lelouch! What happened with you and Shirley, huh? Huh? What? Just give her some flowers! And what about classes? You d better go to-- Uh... Excuse me. Oh, and I ll talk to you later about dinner. You think he s going gambling again, huh, Arthur? Uh? Lulu, if you do a handstand for searching for me, I ll extend your time limit an hour. He anticipated this. He wants to see me squirm. But what do I do? He must be within 500 meters if he s reading my mind, but... Lelouch. That s... I thought so. Something s happened to Nunnally. Welcome back. Uh, uh... R--right. Good timing. The meal s almost ready. Meal? You mean... did you go out shopping somewhere? No, I just used what you had around. Some people here are afraid of Britannians, so... Have you been able to remember anything yet? Sorry, nothing at all yet... That s okay. Don t push it. You re still healing. It s all right if it takes time to remember. Okay, it s ready. I sure hope you like it! Uh... Who kidnapped Nunnally? It can t be a Britannian or someone from the royal family. No, this has nothing to do with our blood line. Just a psychopath who wants to keep a girl all to himself. So is he threatening you? Yes. An investigation could reveal who we are. That s why I can t go to the army or the police. Then there s no choice. We ll have to do it on our own. This isn t about your gambling though, is it? It has nothing to do with that. Okay. Do you have any leads? Just this photo. And I know that he s somewhere very close by, watching me. And now that I think of it, I heard the sound of running water too! Water... The circulation system! The lower levels? Something s still off though. What? Normally, you d home in right on that. What is it? He changed the codes. We ll have to hack into the system. But... that s against school rules. I ll change it back later. Then let me do it. Too late. I got it. That was fast. You re a little too good at that. The student council has partial access to these areas. Lelouch, I see. This is how you ve been getting off campus, isn t it? Your little escape route. Huh? Uh yeah, sometimes. How s it look? You were right. The door s guarded. There s a machine gun linked to the security camera. The lag on these systems is tight 0.05 seconds. That means we can t access it this way. We ll head back up and disable the-- W--wait! Of all the reckless moves. Come on, let s go. Nunnally s waiting for us. Nunnally! L--Lelouch and Suzaku, is that you? I m so sorry! I ll cut you loose! Wait! Wait! Up there! A bomb... That s right, Lulu. I ll play along since Kururugi came on his own. Can t wait to see how you two deal with this! Nunnally, we re going to defuse the bomb. It s okay. Don t worry. Lelouch and I can do anything together. You know that. That s right. It s motion sensitive. A solenoid inside supplies energy that keeps it constantly moving. If an external force interferes with the motion, then the bomb-- explodes. Moving Nunnally even an inch will trigger it. That s the way it s set up. Can you calculate its range? It d wipe out everything within five or six hundred meters, minimum. Now what? We re beyond the reach of his Geass... Is he trying to mislead me? You think you know how to disarm it? Theoretically. The power line to the detonator would need to be severed. Since he s not a pro at this, I m sure I could figure out which lines are dummies. Still, we need to find another way to do it. Why? If we choose the right one... Because you d have to cut the line without disrupting the motion; which is impossible. I ll do it. There s no choice. No, Suzaku! We don t have enough information to pull it off! There s a time limit here; we can t afford to play it safe. As for information, it s staring you right in the face. I m a soldier, Lelouch. Can t you use that information? We still have toilet tissue? Hm? Huh? Stuck up little brats! No wonder I hate schools so much! Huh? What now? What s he got planned for me next? That camera trained on Nunnally is transmitting to Mao. Is he here? I can t believe he d still be here at the school. What a whack-job. I told Suzaku to stay with Nunnally, but that leaves me with only one option. Well, if it isn t Casanova! No weapons, no strategy. You didn t defuse the bomb, didn t deploy the Black Knights or your friend. What s wrong, Lulu? I m not explaining anything to you. The final game -- is it ready? Hmm, let s put an end to this... with your specialty. Hm? It s been a while since we could spend time like this. There ve been so many unexpected events since we came here. All of that desk work... it s making you fat. Hey, cut it out! That s not funny! Cornelia, don t you think this garden looks familiar? It s like Lady Marianne s. Now that you mention it. I heard Clovis ordered them to build it like this. I m surprised he liked her villa that much since he was always fighting with her son, Lelouch, there. He must have thought of Lelouch as his rival. Even though Lelouch was younger? Well, he kept paintings of Lelouch and the others. We ve found them after he was killed. I see... We need to stabilize this area and capture Zero fast... to avenge Clovis, as well as Lelouch and Nunnally. This land has taken the lives of three of our siblings. It s soaked in our family s blood. You see, the scale is the bomb s detonator and its cancellation switch. The chess pieces we capture will go here. If the needle swings all the way towards me, the bomb goes off. If it stings towards you, the bomb will be disarmed. In short, if you win the game, your sister s life will be saved. Your mind is twisted. No wonder C.C. left you. Provoking me won t work. I can read your thought, so I know what you re trying to do. I m afraid you re not the type of person who can keep your mind empty. There s the part of you that s a critic, constantly watching your own moves... and there s another part that s an observer watching the critic -- watching you. You re that kind of person. But I know all your thoughts, so I m always a step ahead. You can t win. Bravo! Your plan is to think of seven things at once to confuse me and trip me up! But you see, if I focus my Geass directly on you, it s easy to tell which one is your true thought. Ah, your last plan is failing as well. You underestimated me, that s why your sister is... "What do I do? I m out of strategies. I can t call for backup as long as Nunnally is being held hostage." Sorry, sorry, I dropped it. Your turn. Better hurry. Looky, looky, time is running out. Your little sister s not going to make it. Ah, is that the right move? Are you sure you wanna do that? Isn t this enough...? Huh? Please stop it, Mao... I can t hear you very well. You ve gotten everything you wanted! Let Nunnally go! Huh? I admit it... you have beaten me. Very well said! You re finally speaking the thoughts from the deepest part of your soul, huh? That feels great! Fantastic! But no. This is... checkmate. NO!!! Nunnally... Hmm, let me see if she s burst into little pieces. Hum? Ah?! What the? What?! Why is she--?! How did you?! You kept me focused on you! I am Warrant Officer Suzaku Kururugi of the Britannian military, and you are under arrest. Suzaku... You disarmed the bomb?! Impossible! You d have to match your speed to the pendulum! That s right. After Lelouch showed me which line to cut. I showed you? What are you saying? It was your plan cut the line then bust in here when I heard your scream. My plan? So that s it... right. Mao, it seems like it s my checkmate. Lelouch, don t tell me that you-- Yes. I gave Suzaku his instructions then used Geass on myself to forget so you couldn t find out. You believe that if you know a person s thoughts you know everything. That s why you narrowed your range and focused your all power on my mind. That was your mistake. That s ridiculous! You bet everything on one friend?! What if he d failed you?! Good point. To execute this plan, I had to trust Suzaku completely. Sayoko, everything s fine now. Right, go ahead. Sayoko? I ll have you free in a second. Hmph. You think you beat me, huh?! Stop it! Get your hands off of me, father killer! You killed your own father seven years ago. Humph. He called for do-or-die resistance, and you thought stopping him would end the war. What a childish idea. The fact is, you re a murderer! That s not true! I just...! I-- How lucky for you that no one ever found out. All the adults lied to protect you. But all the reports said his suicide was a protest against the military action. A big, fat lie. All of it. A lie... I didn t have any choice! If I didn t, Japan would have-- That s how you justify it in retrospect? Well it explains your death wish! You want to save people s lives? It s your own wretched soul you re trying to save. That s why you re always charging into danger, placing yourself on the edge of death! You re no hero; you re just trying to wash the blood off your hands! A little brat begging to be punished! MAO! NEVER SPEAK AGAIN! No! Mao! I did love you, Mao. Mao... I want you to go and wait for me. In C s world. I just... I just... I m a fool. In the end, I never asked the terms of the contract she made with Mao. And Suzaku... When we were reunited, why didn t I...? No... He s been trying to tell me for a long time now. I should have confronted him right from the start.