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CHAPTER I UP CHAPTER III CHAPTER II Matthew Cuthbert is surprised Matthew Cuthbert and the sorrel mare jogged comfortably over the eight miles to Bright River. It was a pretty road, running along between snug farmsteads, with now and again a bit of balsamy fir wood to drive through or a hollow where wild plums hung out their filmy bloom. The air was sweet with the breath of many apple orchards and the meadows sloped away in the distance to horizon mists of pearl and purple; while "The little birds sang as if it were The one day of summer in all the year." Matthew enjoyed the drive after his own fashion, except during the moments when he met women and had to nod to them-- for in Prince Edward island you are supposed to nod to all and sundry you meet on the road whether you know them or not. Matthew dreaded all women except Marilla and Mrs. Rachel; he had an uncomfortable feeling that the mysterious creatures were secretly laughing at him. He may have been quite right in thinking so, for he was an odd-looking personage, with an ungainly figure and long iron-gray hair that touched his stooping shoulders, and a full, soft brown beard which he had worn ever since he was twenty. In fact, he had looked at twenty very much as he looked at sixty, lacking a little of the grayness. When he reached Bright River there was no sign of any train; he thought he was too early, so he tied his horse in the yard of the small Bright River hotel and went over to the station house. The long platform was almost deserted; the only living creature in sight being a girl who was sitting on a pile of shingles at the extreme end. Matthew, barely noting that it WAS a girl, sidled past her as quickly as possible without looking at her. Had he looked he could hardly have failed to notice the tense rigidity and expectation of her attitude and expression. She was sitting there waiting for something or somebody and, since sitting and waiting was the only thing to do just then, she sat and waited with all her might and main. Matthew encountered the stationmaster locking up the ticket office preparatory to going home for supper, and asked him if the five-thirty train would soon be along. "The five-thirty train has been in and gone half an hour ago," answered that brisk official. "But there was a passenger dropped off for you--a little girl. She s sitting out there on the shingles. I asked her to go into the ladies waiting room, but she informed me gravely that she preferred to stay outside. `There was more scope for imagination, she said. She s a case, I should say." "I m not expecting a girl," said Matthew blankly. "It s a boy I ve come for. He should be here. Mrs. Alexander Spencer was to bring him over from Nova Scotia for me." The stationmaster whistled. "Guess there s some mistake," he said. "Mrs. Spencer came off the train with that girl and gave her into my charge. Said you and your sister were adopting her from an orphan asylum and that you would be along for her presently. That s all I know about it--and I haven t got any more orphans concealed hereabouts." "I don t understand," said Matthew helplessly, wishing that Marilla was at hand to cope with the situation. "Well, you d better question the girl," said the station- master carelessly. "I dare say she ll be able to explain-- she s got a tongue of her own, that s certain. Maybe they were out of boys of the brand you wanted." He walked jauntily away, being hungry, and the unfortunate Matthew was left to do that which was harder for him than bearding a lion in its den--walk up to a girl--a strange girl--an orphan girl--and demand of her why she wasn t a boy. Matthew groaned in spirit as he turned about and shuffled gently down the platform towards her. She had been watching him ever since he had passed her and she had her eyes on him now. Matthew was not looking at her and would not have seen what she was really like if he had been, but an ordinary observer would have seen this A child of about eleven, garbed in a very short, very tight, very ugly dress of yellowish-gray wincey. She wore a faded brown sailor hat and beneath the hat, extending down her back, were two braids of very thick, decidedly red hair. Her face was small, white and thin, also much freckled; her mouth was large and so were her eyes, which looked green in some lights and moods and gray in others. So far, the ordinary observer; an extraordinary observer might have seen that the chin was very pointed and pronounced; that the big eyes were full of spirit and vivacity; that the mouth was sweet-lipped and expressive; that the forehead was broad and full; in short, our discerning extraordinary observer might have concluded that no commonplace soul inhabited the body of this stray woman- child of whom shy Matthew Cuthbert was so ludicrously afraid. Matthew, however, was spared the ordeal of speaking first, for as soon as she concluded that he was coming to her she stood up, grasping with one thin brown hand the handle of a shabby, old-fashioned carpet-bag; the other she held out to him. "I suppose you are Mr. Matthew Cuthbert of Green Gables?" she said in a peculiarly clear, sweet voice. "I m very glad to see you. I was beginning to be afraid you weren t coming for me and I was imagining all the things that might have happened to prevent you. I had made up my mind that if you didn t come for me to-night I d go down the track to that big wild cherry-tree at the bend, and climb up into it to stay all night. I wouldn t be a bit afraid, and it would be lovely to sleep in a wild cherry-tree all white with bloom in the moonshine, don t you think? You could imagine you were dwelling in marble halls, couldn t you? And I was quite sure you would come for me in the morning, if you didn t to-night." Matthew had taken the scrawny little hand awkwardly in his; then and there he decided what to do. He could not tell this child with the glowing eyes that there had been a mistake; he would take her home and let Marilla do that. She couldn t be left at Bright River anyhow, no matter what mistake had been made, so all questions and explanations might as well be deferred until he was safely back at Green Gables. "I m sorry I was late," he said shyly. "Come along. The horse is over in the yard. Give me your bag." "Oh, I can carry it," the child responded cheerfully. "It isn t heavy. I ve got all my worldly goods in it, but it isn t heavy. And if it isn t carried in just a certain way the handle pulls out--so I d better keep it because I know the exact knack of it. It s an extremely old carpet-bag. Oh, I m very glad you ve come, even if it would have been nice to sleep in a wild cherry-tree. We ve got to drive a long piece, haven t we? Mrs. Spencer said it was eight miles. I m glad because I love driving. Oh, it seems so wonderful that I m going to live with you and belong to you. I ve never belonged to anybody--not really. But the asylum was the worst. I ve only been in it four months, but that was enough. I don t suppose you ever were an orphan in an asylum, so you can t possibly understand what it is like. It s worse than anything you could imagine. Mrs. Spencer said it was wicked of me to talk like that, but I didn t mean to be wicked. It s so easy to be wicked without knowing it, isn t it? They were good, you know--the asylum people. But there is so little scope for the imagination in an asylum--only just in the other orphans. It was pretty interesting to imagine things about them--to imagine that perhaps the girl who sat next to you was really the daughter of a belted earl, who had been stolen away from her parents in her infancy by a cruel nurse who died before she could confess. I used to lie awake at nights and imagine things like that, because I didn t have time in the day. I guess that s why I m so thin--I AM dreadful thin, ain t I? There isn t a pick on my bones. I do love to imagine I m nice and plump, with dimples in my elbows." With this Matthew s companion stopped talking, partly because she was out of breath and partly because they had reached the buggy. Not another word did she say until they had left the village and were driving down a steep little hill, the road part of which had been cut so deeply into the soft soil, that the banks, fringed with blooming wild cherry-trees and slim white birches, were several feet above their heads. The child put out her hand and broke off a branch of wild plum that brushed against the side of the buggy. "Isn t that beautiful? What did that tree, leaning out from the bank, all white and lacy, make you think of?" she asked. "Well now, I dunno," said Matthew. "Why, a bride, of course--a bride all in white with a lovely misty veil. I ve never seen one, but I can imagine what she would look like. I don t ever expect to be a bride myself. I m so homely nobody will ever want to marry me-- unless it might be a foreign missionary. I suppose a foreign missionary mightn t be very particular. But I do hope that some day I shall have a white dress. That is my highest ideal of earthly bliss. I just love pretty clothes. And I ve never had a pretty dress in my life that I can remember--but of course it s all the more to look forward to, isn t it? And then I can imagine that I m dressed gorgeously. This morning when I left the asylum I felt so ashamed because I had to wear this horrid old wincey dress. All the orphans had to wear them, you know. A merchant in Hopeton last winter donated three hundred yards of wincey to the asylum. Some people said it was because he couldn t sell it, but I d rather believe that it was out of the kindness of his heart, wouldn t you? When we got on the train I felt as if everybody must be looking at me and pitying me. But I just went to work and imagined that I had on the most beautiful pale blue silk dress--because when you ARE imagining you might as well imagine something worth while--and a big hat all flowers and nodding plumes, and a gold watch, and kid gloves and boots. I felt cheered up right away and I enjoyed my trip to the Island with all my might. I wasn t a bit sick coming over in the boat. Neither was Mrs. Spencer although she generally is. She said she hadn t time to get sick, watching to see that I didn t fall overboard. She said she never saw the beat of me for prowling about. But if it kept her from being seasick it s a mercy I did prowl, isn t it? And I wanted to see everything that was to be seen on that boat, because I didn t know whether I d ever have another opportunity. Oh, there are a lot more cherry-trees all in bloom! This Island is the bloomiest place. I just love it already, and I m so glad I m going to live here. I ve always heard that Prince Edward Island was the prettiest place in the world, and I used to imagine I was living here, but I never really expected I would. It s delightful when your imaginations come true, isn t it? But those red roads are so funny. When we got into the train at Charlottetown and the red roads began to flash past I asked Mrs. Spencer what made them red and she said she didn t know and for pity s sake not to ask her any more questions. She said I must have asked her a thousand already. I suppose I had, too, but how you going to find out about things if you don t ask questions? And what DOES make the roads red?" "Well now, I dunno," said Matthew. "Well, that is one of the things to find out sometime. Isn t it splendid to think of all the things there are to find out about? It just makes me feel glad to be alive-- it s such an interesting world. It wouldn t be half so interesting if we know all about everything, would it? There d be no scope for imagination then, would there? But am I talking too much? People are always telling me I do. Would you rather I didn t talk? If you say so I ll stop. I can STOP when I make up my mind to it, although it s difficult." Matthew, much to his own surprise, was enjoying himself. Like most quiet folks he liked talkative people when they were willing to do the talking themselves and did not expect him to keep up his end of it. But he had never expected to enjoy the society of a little girl. Women were bad enough in all conscience, but little girls were worse. He detested the way they had of sidling past him timidly, with sidewise glances, as if they expected him to gobble them up at a mouthful if they ventured to say a word. That was the Avonlea type of well-bred little girl. But this freckled witch was very different, and although he found it rather difficult for his slower intelligence to keep up with her brisk mental processes he thought that he "kind of liked her chatter." So he said as shyly as usual "Oh, you can talk as much as you like. I don t mind." "Oh, I m so glad. I know you and I are going to get along together fine. It s such a relief to talk when one wants to and not be told that children should be seen and not heard. I ve had that said to me a million times if I have once. And people laugh at me because I use big words. But if you have big ideas you have to use big words to express them, haven t you?" "Well now, that seems reasonable," said Matthew. "Mrs. Spencer said that my tongue must be hung in the middle. But it isn t--it s firmly fastened at one end. Mrs. Spencer said your place was named Green Gables. I asked her all about it. And she said there were trees all around it. I was gladder than ever. I just love trees. And there weren t any at all about the asylum, only a few poor weeny-teeny things out in front with little whitewashed cagey things about them. They just looked like orphans themselves, those trees did. It used to make me want to cry to look at them. I used to say to them, `Oh, you POOR little things! If you were out in a great big woods with other trees all around you and little mosses and Junebells growing over your roots and a brook not far away and birds singing in you branches, you could grow, couldn t you? But you can t where you are. I know just exactly how you feel, little trees. I felt sorry to leave them behind this morning. You do get so attached to things like that, don t you? Is there a brook anywhere near Green Gables? I forgot to ask Mrs. Spencer that." "Well now, yes, there s one right below the house." "Fancy. It s always been one of my dreams to live near a brook. I never expected I would, though. Dreams don t often come true, do they? Wouldn t it be nice if they did? But just now I feel pretty nearly perfectly happy. I can t feel exactly perfectly happy because--well, what color would you call this?" She twitched one of her long glossy braids over her thin shoulder and held it up before Matthew s eyes. Matthew was not used to deciding on the tints of ladies tresses, but in this case there couldn t be much doubt. "It s red, ain t it?" he said. The girl let the braid drop back with a sigh that seemed to come from her very toes and to exhale forth all the sorrows of the ages. "Yes, it s red," she said resignedly. "Now you see why I can t be perfectly happy. Nobody could who has red hair. I don t mind the other things so much--the freckles and the green eyes and my skinniness. I can imagine them away. I can imagine that I have a beautiful rose-leaf complexion and lovely starry violet eyes. But I CANNOT imagine that red hair away. I do my best. I think to myself, `Now my hair is a glorious black, black as the raven s wing. But all the time I KNOW it is just plain red and it breaks my heart. It will be my lifelong sorrow. I read of a girl once in a novel who had a lifelong sorrow but it wasn t red hair. Her hair was pure gold rippling back from her alabaster brow. What is an alabaster brow? I never could find out. Can you tell me?" "Well now, I m afraid I can t," said Matthew, who was getting a little dizzy. He felt as he had once felt in his rash youth when another boy had enticed him on the merry-go- round at a picnic. "Well, whatever it was it must have been something nice because she was divinely beautiful. Have you ever imagined what it must feel like to be divinely beautiful?" "Well now, no, I haven t," confessed Matthew ingenuously. "I have, often. Which would you rather be if you had the choice--divinely beautiful or dazzlingly clever or angelically good?" "Well now, I--I don t know exactly." "Neither do I. I can never decide. But it doesn t make much real difference for it isn t likely I ll ever be either. It s certain I ll never be angelically good. Mrs. Spencer says--oh, Mr. Cuthbert! Oh, Mr. Cuthbert!! Oh, Mr. Cuthbert!!!" That was not what Mrs. Spencer had said; neither had the child tumbled out of the buggy nor had Matthew done anything astonishing. They had simply rounded a curve in the road and found themselves in the "Avenue." The "Avenue," so called by the Newbridge people, was a stretch of road four or five hundred yards long, completely arched over with huge, wide-spreading apple-trees, planted years ago by an eccentric old farmer. Overhead was one long canopy of snowy fragrant bloom. Below the boughs the air was full of a purple twilight and far ahead a glimpse of painted sunset sky shone like a great rose window at the end of a cathedral aisle. Its beauty seemed to strike the child dumb. She leaned back in the buggy, her thin hands clasped before her, her face lifted rapturously to the white splendor above. Even when they had passed out and were driving down the long slope to Newbridge she never moved or spoke. Still with rapt face she gazed afar into the sunset west, with eyes that saw visions trooping splendidly across that glowing background. Through Newbridge, a bustling little village where dogs barked at them and small boys hooted and curious faces peered from the windows, they drove, still in silence. When three more miles had dropped away behind them the child had not spoken. She could keep silence, it was evident, as energetically as she could talk. "I guess you re feeling pretty tired and hungry," Matthew ventured to say at last, accounting for her long visitation of dumbness with the only reason he could think of. "But we haven t very far to go now--only another mile." She came out of her reverie with a deep sigh and looked at him with the dreamy gaze of a soul that had been wondering afar, star-led. "Oh, Mr. Cuthbert," she whispered, "that place we came through--that white place--what was it?" "Well now, you must mean the Avenue," said Matthew after a few moments profound reflection. "It is a kind of pretty place." "Pretty? Oh, PRETTY doesn t seem the right word to use. Nor beautiful, either. They don t go far enough. Oh, it was wonderful--wonderful. It s the first thing I ever saw that couldn t be improved upon by imagination. It just satisfies me here"--she put one hand on her breast--"it made a queer funny ache and yet it was a pleasant ache. Did you ever have an ache like that, Mr. Cuthbert?" "Well now, I just can t recollect that I ever had." "I have it lots of time--whenever I see anything royally beautiful. But they shouldn t call that lovely place the Avenue. There is no meaning in a name like that. They should call it--let me see--the White Way of Delight. Isn t that a nice imaginative name? When I don t like the name of a place or a person I always imagine a new one and always think of them so. There was a girl at the asylum whose name was Hepzibah Jenkins, but I always imagined her as Rosalia DeVere. Other people may call that place the Avenue, but I shall always call it the White Way of Delight. Have we really only another mile to go before we get home? I m glad and I m sorry. I m sorry because this drive has been so pleasant and I m always sorry when pleasant things end. Something still pleasanter may come after, but you can never be sure. And it s so often the case that it isn t pleasanter. That has been my experience anyhow. But I m glad to think of getting home. You see, I ve never had a real home since I can remember. It gives me that pleasant ache again just to think of coming to a really truly home. Oh, isn t that pretty!" They had driven over the crest of a hill. Below them was a pond, looking almost like a river so long and winding was it. A bridge spanned it midway and from there to its lower end, where an amber-hued belt of sand-hills shut it in from the dark blue gulf beyond, the water was a glory of many shifting hues--the most spiritual shadings of crocus and rose and ethereal green, with other elusive tintings for which no name has ever been found. Above the bridge the pond ran up into fringing groves of fir and maple and lay all darkly translucent in their wavering shadows. Here and there a wild plum leaned out from the bank like a white-clad girl tip-toeing to her own reflection. From the marsh at the head of the pond came the clear, mournfully-sweet chorus of the frogs. There was a little gray house peering around a white apple orchard on a slope beyond and, although it was not yet quite dark, a light was shining from one of its windows. "That s Barry s pond," said Matthew. "Oh, I don t like that name, either. I shall call it--let me see--the Lake of Shining Waters. Yes, that is the right name for it. I know because of the thrill. When I hit on a name that suits exactly it gives me a thrill. Do things ever give you a thrill?" Matthew ruminated. "Well now, yes. It always kind of gives me a thrill to see them ugly white grubs that spade up in the cucumber beds. I hate the look of them." "Oh, I don t think that can be exactly the same kind of a thrill. Do you think it can? There doesn t seem to be much connection between grubs and lakes of shining waters, does there? But why do other people call it Barry s pond?" "I reckon because Mr. Barry lives up there in that house. Orchard Slope s the name of his place. If it wasn t for that big bush behind it you could see Green Gables from here. But we have to go over the bridge and round by the road, so it s near half a mile further." "Has Mr. Barry any little girls? Well, not so very little either--about my size." "He s got one about eleven. Her name is Diana." "Oh!" with a long indrawing of breath. "What a perfectly lovely name!" "Well now, I dunno. There s something dreadful heathenish about it, seems to me. I d ruther Jane or Mary or some sensible name like that. But when Diana was born there was a schoolmaster boarding there and they gave him the naming of her and he called her Diana." "I wish there had been a schoolmaster like that around when I was born, then. Oh, here we are at the bridge. I m going to shut my eyes tight. I m always afraid going over bridges. I can t help imagining that perhaps just as we get to the middle, they ll crumple up like a jack-knife and nip us. So I shut my eyes. But I always have to open them for all when I think we re getting near the middle. Because, you see, if the bridge DID crumple up I d want to SEE it crumple. What a jolly rumble it makes! I always like the rumble part of it. Isn t it splendid there are so many things to like in this world? There we re over. Now I ll look back. Good night, dear Lake of Shining Waters. I always say good night to the things I love, just as I would to people. I think they like it. That water looks as if it was smiling at me." When they had driven up the further hill and around a corner Matthew said "We re pretty near home now. That s Green Gables over--" "Oh, don t tell me," she interrupted breathlessly, catching at his partially raised arm and shutting her eyes that she might not see his gesture. "Let me guess. I m sure I ll guess right." She opened her eyes and looked about her. They were on the crest of a hill. The sun had set some time since, but the landscape was still clear in the mellow afterlight. To the west a dark church spire rose up against a marigold sky. Below was a little valley and beyond a long, gently-rising slope with snug farmsteads scattered along it. From one to another the child s eyes darted, eager and wistful. At last they lingered on one away to the left, far back from the road, dimly white with blossoming trees in the twilight of the surrounding woods. Over it, in the stainless southwest sky, a great crystal-white star was shining like a lamp of guidance and promise. "That s it, isn t it?" she said, pointing. Matthew slapped the reins on the sorrel s back delightedly. "Well now, you ve guessed it! But I reckon Mrs. Spencer described it so s you could tell." "No, she didn t--really she didn t. All she said might just as well have been about most of those other places. I hadn t any real idea what it looked like. But just as soon as I saw it I felt it was home. Oh, it seems as if I must be in a dream. Do you know, my arm must be black and blue from the elbow up, for I ve pinched myself so many times today. Every little while a horrible sickening feeling would come over me and I d be so afraid it was all a dream. Then I d pinch myself to see if it was real--until suddenly I remembered that even supposing it was only a dream I d better go on dreaming as long as I could; so I stopped pinching. But it IS real and we re nearly home." With a sigh of rapture she relapsed into silence. Matthew stirred uneasily. He felt glad that it would be Marilla and not he who would have to tell this waif of the world that the home she longed for was not to be hers after all. They drove over Lynde s Hollow, where it was already quite dark, but not so dark that Mrs. Rachel could not see them from her window vantage, and up the hill and into the long lane of Green Gables. By the time they arrived at the house Matthew was shrinking from the approaching revelation with an energy he did not understand. It was not of Marilla or himself he was thinking of the trouble this mistake was probably going to make for them, but of the child s disappointment. When he thought of that rapt light being quenched in her eyes he had an uncomfortable feeling that he was going to assist at murdering something--much the same feeling that came over him when he had to kill a lamb or calf or any other innocent little creature. The yard was quite dark as they turned into it and the poplar leaves were rustling silkily all round it. "Listen to the trees talking in their sleep," she whispered, as he lifted her to the ground. "What nice dreams they must have!" Then, holding tightly to the carpet-bag which contained "all her worldly goods," she followed him into the house. CHAPTER I UP CHAPTER III 今日 - | 昨日 - | Total - since 04 June 2007 last update 2007-06-05 01 32 53 (Tue)
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【登録タグ DJ A.Q. S 初音ミク 曲】 作詞：DJ A.Q. 作曲：DJ A.Q. 唄：初音ミク 曲紹介 今回は前回アップしていた「Sweet Cat Dreaming」のプチPVって言ってもいいくらいの作品です。 使用していたミクはDeviantartからの「JohnSu」さんのHalfne Miku Studioを利用しました。 歌詞 （動画より転載） 昼間なんて関係ない 眠そうに倒れかけてる 子猫がなんだか可愛い過ぎる ねぇ、青ゾラはなんで 白い雲があって 素敵な時間を止めたい スィートな顔眠って 時間の流れ忘れ 夢見てる猫の様に 僕は夢に落ちてゆく （間奏） スィートな顔眠って 時間の流れ忘れ 夢見てる猫の様に 僕は夢に落ちてゆく スィートな顔眠って 時間の流れ忘れ 夢見てる猫の様に 僕は夢に落ちてゆく 落ちてゆく 落ちてゆく Uhh コメント 名前 コメント
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7/16 台風被害の現状から立ち直る考えが浮かばず、自らメガンテを唱えて逝去 【ルート別サブタイトル】Setting sun 【ライター】 ハサミ 【エンド予定】姫・実妹・義妹・幼なじみ・友人 あらすじ ざっとした説明 プロット もう少し詳しい説明 シーン割 更に突っ込んだ説明 プロローグ 1話前半
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Shooting Star Warrior Shooting Star Warrior アーティスト Guilty Kiss 発売日 2021年7月28日 レーベル ランティス デイリー最高順位 1位(2021年7月28日) 週間最高順位 1位(2021年8月3日) 月間最高順位 1位(2021年7月) 年間最高順位 18位(2021年) 初動売上 22495 累計売上 27186 週間1位 月間1位 収録内容 曲名 タイアップ 視聴 1 Shooting Star Warrior ラブライブ! サンシャイン!! 2 Deep Sea Cocoon 3 Strawberry Trapper REMIX 4 Strawberry Trapper 5 Guilty Night, Guilty Kiss! 6 Guilty Eyes Fever 7 コワレヤスキ 8 Shadow gate to love 9 Nameless Love Song 10 New Romantic Sailors REMIX 11 New Romantic Sailors 12 Love Pulsar 13 Phantom Rocket Adventure 14 Guilty!? Farewell party ランキング 週 月日 順位 変動 週/月間枚数 累計枚数 1 8/3 1 新 22495 22495 2021年7月 1 新 22495 22495 2 8/10 2 ↓ 3712 26207 3 8/17 7 ↓ 480 26687 4 8/24 13 ↓ 287 26974 5 8/31 212 27186 2021年8月 8 ↓ 4691 27186 関連CD Strawberry Trapper コワレヤスキ New Romantic Sailors
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KUNG FU FIGHTING(激) 曲名 アーティスト フォルダ 難易度 BPM NOTES/FA(SA) その他 KUNG FU FIGHTING BUS STOP ft. CARL DOUGLAS 1st 激7 116 161 / 0 Ver.Aにて2016/05/30削除 STREAM VOLTAGE AIR FREEZE CHAOS 37 33 20 0 10 楽譜面(5) / 踊譜面(6) / 激譜面(7) / 鬼譜面(10) 属性 カニ歩き、同時踏み 譜面 http //www.ddr.sh/steps/basic/k/kung_fu/8m_kung_fu_a_d.html 解説 ＤＰ激は最も簡単な譜面に分類される。８分はあれど４ｔｈ追加譜面なのでカニ歩きのみで、非常に踏みやすい。ＢＰＭが遅いので８分に怖がらず落ち着いて踏もう -- 名無しさん (2014-08-12 01 41 31) 名前 コメント コメント(私的なことや感想はこちら) 名前 コメント
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アーチェト村崩壊前(Archet) タイプ レベル クエスト名称（英/和） 備考 4 SWEET BILBERRY TEA/甘いコケモモ茶 備考 4 A VERY EMPTY BELLY/大空腹 備考 4 THE COURAGEOUS FARMHANDS/勇敢な農場員 備考 4 A GIFT FOR AMDIR/アムディアへの贈り物 前提 SWEET BILBERRY TEA Archet村人との会話 ハンター小屋中での会話 Blackwoldのセリフ アーチェト村崩壊後(Archet) タイプ レベル クエスト名称（英/和） 備考 5 A MESSAGE OF THANKS/感謝の手紙 ポストの手紙から開始 5 A THREAT FROM SPIDERS/蜘蛛の脅威 備考 5 HENGTACER FARM/ヘングステーサ－農場 ポストの手紙から開始 6 DISEASE AMONG THE BOARS/猪の流行病 備考 7 FINDING REASON/理由探し 前提 A THREAT FROM SPIDERS 7 MESSAGE TO TAYLOR GREEN/テイラーグリーンへの伝言 前提 BUILDER EARUR 8 BUILDER EARUR/建築家EARUR 備考 クラフト 7 STRONG OF ARMS AND SHARP OF MIND/強い腕っぷしと鋭い知性 備考 9 SPIDER-BANE/スパイダーベイン 前提 FINDING REASON 小谷村(Combe) タイプ レベル クエスト名称（英/和） 備考 7 BENEATH THE HANGING TREE/首吊りの木の下で 備考 8 DEN OF WOLVES/狼の隠れ処 前提 MESSAGE TO TAYLOR GREEN 8 THE LOGGER S LEDGER/木こりの台帳 前提 BENEATH THE HANGING TREE 8 PICKTHORN S TREASURE/突っつき茨の宝 前提 THE LOGGER S LEDGER 8 RURIK FENNEL LOCKSMITH/ 前提 BLACKWOLD VALUABLES 9 MOURNING THE DEAD/死者への弔い 備考 9 RECONNECTING TIES/関係修復 備考 9 BLACKWOLD VALUABLES/ブラックウォルドの貴重品 備考 9 UNPAID DEBTS/未納の負債 備考 9 POSCO S UNCLE/ポスコの叔父 小谷村東の材木場 9 OLD BAUMAN S FARM/バウマン翁の農場 備考 10 MORE TREASURE/蜘蛛の巣の宝 前提 UNPAID DEBTS 10 BLACKWOLD THIEVES/ 前提 RURIK FENNEL LOCKSMITH 12 FRIENDSHIPS RENEWED/復活した友情 備考 ブリー村 タイプ レベル クエスト名称（英/和） 備考 14 MEETING THE MAYOR / 村長との面会 14 A TOUR OF BREE / ブリー村巡り 前提：MEETING THE MAYOR 14 THE TROUBLE WITH THE SOUTHERNERS / 南方人のトラブル 前提：A TOUR OF BREE 14 TROUBLE IN BUCKLAND / バック郷の災難 備考 21 GRAEME’S THANKS / グレアムの感謝 前提：REST, MY BROTHER t レベル クエスト名称（英/和） 備考 t レベル クエスト名称（英/和） 備考 t ベレル クエスト名称（英/和） 備考 t レベル クエスト名称（英/和） 備考 t レベル クエスト名称（英/和） 備考 t レベル クエスト名称（英/和） 備考 t レベル クエスト名称（英/和） 備考 t レベル クエスト名称（英/和） 備考 t レベル クエスト名称（英/和） 備考 t レベル クエスト名称（英/和） 備考 グリムブリアー巡視隊長の小屋 タイプ レベル クエスト名称（英/和） 備考 14 SHARKEY S MEN / シャーキーの男たち 14 SHADOW OF THE WHITE HAND / 白の手の影 前提：シャーキーの男たち 15 ROUGE S GALLERY / 悪党どもの回廊 前提：白の手の影 15 SHARKEY S PLAN / シャーキーの計画 前提：悪党どもの回廊 15 THE VALE OF ANDRATH / アンドラスの谷 前提：シャーキーの計画 15 THE FLOW OF GOODS / 物資流通 前提：シャーキーの計画 14 A DWARF-MADE BLADE / ドワーフ工の刃 備考 14 GETTING THE BLADE BACK / 刃を取り戻せ 前提：ドワーフ工の刃 14 FORGING A NEW BLADE / 一振り入魂 刃を取り戻せ SFS 15 A BLADE FOR A LIFE / 一生ものの刃 前提：一振り入魂 17 ALONG THE GREAT EAST ROAD / 大東街道に沿って 前提：グリムブリアーへの報告 t レベル クエスト名称（英/和） 備考 t レベル クエスト名称（英/和） 備考 t ベレル クエスト名称（英/和） 備考 塚山丘陵 タイプ レベル クエスト名称（英/和） 備考 18 THE FAILED DELIVERY / 届かなかった報せ 備考 18 THE SEARCH FOR LALIA / ラリアを探して 備考 18 LALIA’S SAFE PASSAGE / ラリアの安全な帰路 備考 18 CARRIERS OF DISEASE / 疫病の運び手 備考 18 CALMING THE WAKE / 目覚めた者を鎮める 備考 18 HOWLS THAT SHAKE THE SPIRIT / 魂を揺るがす吠え声 備考 18 THE DEAD SPIRE / 死の尖塔 備考 18 DIGGING IN THE DIRT / 泥を掘って 備考 19 TREASURES OF CARDOLAN / カルドランの財宝 備考 19 FIELD TO THE SOUTH / 南への活路 備考 19 A RING WANDERED AWAY / さまよい出た指輪 備考 19 SHIELD-BROTHER / 盾持つ兄弟 前提：A RING WANDERED AWAY FS 20 BONE MAN / 骨男 前提：盾持つ 20 ADDIE S MISSING SONS / アディの息子たちの行方 備考 20 FIND MALIN / マリンを探せ 備考 20 ONE LAST CHANCE / 最後のチャンス 前提：マリンを探せ 20 BOUNTY BARGHEST EYES / 報奨：バーゲストの目 備考 20 BOUNTY CARDOLAN RELICS / 報奨：カルドランの遺物 備考 20 BOUNTY WIGHT-SKULLS / 報奨：塚人の頭蓋骨 備考 21 REST, MY BROTHER / 眠れ、我が兄弟 前提：骨男 21 FROM DEATH, COMES LIFE / 死から生へ 備考 21 AT THE FOREST EDGE / 森のはずれで 備考 21 UNFORTUNATE HARVEST / UNFORTUNATE HARVEST 備考 t レベル クエスト名称（英/和） 備考 t レベル クエスト名称（英/和） 備考 大塚山 タイプ レベル クエスト名称（英/和） 備考 FS 23 COLLECTING HISTORY / 歴史収集 前提：カルドランの財宝 FS 24 PURGING THE DEAD / クエスト名称（英/和） 前提：目覚めた者を鎮める タイプ レベル クエスト名称（英/和） 備考 タイプ レベル クエスト名称（英/和） 備考 アンドラスの谷 タイプ レベル クエスト名称（英/和） 備考 15 BRIGANDS AND HALF-ORCS / 山賊と半オーク 前提：アンドラスの谷 16 MUST HAVE... / なくてはならぬ... 前提：アンドラスの谷 16 NEEKER-BREAKER / コウベサセ虫 前提：アンドラスの谷 16 SHARKEY S LIEUTENANT / シャーキーの副官 前提：アンドラスの谷 16 SOUTHERN FIEND / 南方の悪鬼 前提：アンドラスの谷 16 INFORMING GRIMBRIAR / グリムブリアーへの報告 前提：シャーキーの副官 アドソの野営地 39 39 344 158 タイプ レベル クエスト名称（英/和） 備考 16 ADSO S DELIVERY / アドソの配達 備考 17 A MATTER OF FEED / 賄いの問題 前提：アドソの配達 17 SUPPLIES AND DEMANDS / 供給と需要 前提：アドソの配達 17 DOWN-PAYMENTS / 頭金 前提：アドソの配達 17 WOLF-PELTS / 狼の毛皮 前提：賄いの問題 17 SEARCHING FOR FRESH SPRING / 新鮮な湧き水を探して 前提：賄いの問題 17 IN THE SHADOW OF GIANTS / 大樹の影に 前提：賄いの問題 17 THREATS AND FOLLOW-THROUGH / 脅しと実行 前提：頭金 17 PAYING BILLS / 支払手形 前提：頭金 17 PAYMENT IN FULL / 完済 備考 17 A MATTER OF WARMTH / 暖かさの問題 備考 バック郷 タイプ レベル クエスト名称（英/和） 備考 14 OLD FORESTRY / 古森 備考 15 UNWELCOME STRANGERS / 招かれざるよそ者 備考 15 ROLLO AND DODERIC / ロロとドデリック 備考 15 OLD FOREST INVESTIGATION / 古森の調査 備考
https://w.atwiki.jp/ketcindy-eng/pages/14.html
1. The screens of Cinderella When you double-click template.cdy into the "ketcindy" folder, you can open the main screen of Cinderella. White border is represented the drawing area in TeX, and you can change it by moving the points SW and NE. #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (title=) Three buttons "Parent", "Texview" and "Exekc" in the main screen are the KeTcindy buttons for writing out the data of drawings into the TeX file. There are tool buttons at the top and bottom of the main screen, the tool buttons that you frequently used are the followings. After drawing, you always press the "elements move" button. #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (title=) #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (title=) 2. Draw figures in Cinderella (0) First, you erase the triangle drawn on template.cdy, and create an empty cdy file, and save it as basic1.cdy. When you click to select the "Script / CindyScript" in the top menu bar, it appears script editor. #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (title=) When you add / / to the beginning of the 10th line, you can comment out the line. You return to the main screen, and click the three points mark button, which means "select all points", in the toolbar at the top of the screen. Then the main screen is as follows. #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (title=) You click the rubber mark button, which means "to erase the selected element", in the toolbar at the top of the main screen, and the main screen is as follows. #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (title=) Finally, when you select the "File / Save As" in the the top menu bar, the destination folder appears, and you can rename basic1.cdy and save it. Let s try the following tasks using the basic1.cdy file. (1) Draw a triangle using the "add a line" button. Press the left button at the position of A, and drag to the position of the B, and release the button. Similarly, pull the line segmens BC and CA. The segments are drawn as the blue lines. The last segment CA has flashed (highlight). When you have finished drawing, you always return to move mode ("elements move"). #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (title=) (2) Select "script / CindyScript" from the top menu. Since the script editor is opened in another window, click on "Draw / figures" and it is as follows. #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (title=) (3) Change Fhead (file name) as follows Fhead="basic1"; (4) Write the following commands between "Ketinit();" and "Windispg();". Addax(0); No axes in the TeX figure. Listplot([A,B,C,A]); Draw the triangle ABC by connecting segments in the order of A, B, C and A. (5) When you press the gear mark at the right corner (the left of "?") of the top menu bar, the results are displayed at the bottom. You can run "Shift+Enter" (Recommended). Remark) When you see an example of using a a short description of the command "List", you may write the following. Help("List"); The description is displayed in the bottom area (called the console) at run time. #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (title=) (6) When you return to the main screen, all edges of the triangle change to the black lines. It represents that it has been drawn using KeTCindy commands. #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (title=) (7) Let s display the figure in the PDF file. When you press the "Texview" button and press the "Exekc" button, the batch processing starts and you can see the PDF file. #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (title=) Remark) In the case of Mac, if it does not work or come out errors, thereis no execution right of kc.sh. You work the followings. 1) Delete kc.sh in the "ketcindy/ketwork" folder. 2) Return to Cinderella, and press the "Texview" button. 3) You can see the new kc.sh in the "ketwork" folder. 4) Select the new kc.sh, and select "File / Information". 5) Go to "Open with this application / Others", and select "terminal". 6) Press the "Change All" button. Return to Cinderella, and press the "Exekc" button in the main screen. If it still does not work, you do the following. Launch the Terminal in the "Applications / Utilities", and run the following two lines cd /Applications/KeTCindy/ketwork chmod +x kc.sh (8) All TeX files and PDF files are generated in the "KeTCindy/ketwork" folder. basic1.tex the TeX figure file basic1maic.tex the main TeX document inserted into basic1.tex basic1main.pdf the PDF file compiled the main TeX document Remark) You can insert the TeX figure file into another TeX file by the TeX command "\input". \input{basic1.tex} It is written into basic1main.tex. #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (title=)
https://w.atwiki.jp/shinichiro1129/pages/20.html
[PROJECT Design] not rootean , not infinet skeletons to contents tolerant for fail(challenge it!!) Do for all(shape it self) updating systems costomarily record everything ■COMPREHENSION {make it realize with 5W1H questionaries} Project foundaion who-Team building,stake holder relation map Team building Forming（チーム形成）→Storming（嵐の状態）→Norming（チーム意識形成）→Performing（目的志向の行動）→Adjourning（解散） 【Director】red{Dicision making-Take responsibility(leader ship,high performance)} 【Manager】blue{maintain databace,obligation to make all menber s progress comprehension} when-term difining what-material where-Work envilonment construckting Meeting system frequency,period,object,subject documents,report detabase construck easy to do everything (accece,edit,update,) Problem Defining why-problem finding background investigation Investigation web→library→reference→bookstore [library] category→free word→magazine ↓ copy ↓ rent Project Planning how-phase planning Work Breakdown Structur→task dealing→check list■ASSUMPTION meking 【VISION】 [vivid images, ■Specific ■Measurable ■Achievable ■Result-oriented ■Time-bound} factor list up parameter← ↓ brain storming user test Questionariese ↓ ↑ Screeningwhy screening sense-analysis ↓ combination check →■EXECUTION・experience expansion by rough model why screening contents ↓ style ↓ taste■REVIEW ・Next task
https://w.atwiki.jp/wing-guild/pages/23.html
Emerald Wing Sapphire Wing Ruby Wing Fluorite Wing Garnet Wing Amethyst Wing Diamond Wing Metal Wing Lapis Wing Platina Wing Jade Wing Obsidian Wing の12ギルド(2009/04/30時点)で構成されるギルドグループ。 ギルド数も構成メンバー(メインキャラ約70名)もアルディア最大。 関連項目 名前 コメント
https://w.atwiki.jp/93727/pages/64.html
歌詞 動画 アルバム曲目リスト Artist Backstreet Boys Album Unbreakable Year 2007 Title Trouble Is 歌詞 Mmhm, yeah How come You never know what you got Until it’s gone To bad Because I never felt so good with anyone How fooled was I Into thinking I was gonna be alright Okay, fine So every day I try a little harder To forget her Lie here convince myself Tomorrow will be better The trouble is I can’t get her out of my mind When I close my eyes at night Who’s gonna save me Now she’s gone The trouble is There’s a part of me That still can’t let go Of her memory And now I know what it is Love is what the trouble is Love is what the trouble is How come she said You never wear your heart Where I can see Too bad Cause now I’m the one who’s sorry, yeah How stupid was I Into thinking I was gonna be alright Okay, fine So everyday I find a little something To remind me No matter how I try I can’t put the past behind me The trouble is I can’t get her out of my mind When I close my eyes at night Who’s gonna save me Now she’s gone The trouble is There’s a part of me That still can’t let go Of her memory And now I know what it is Love is what the trouble is Love has let me go I’m alright, I’m okay I’ll be fine, give it time But the only trouble is I can’t get her out of my mind When I close my eyes at night Who’s gonna save me Now she’s gone The trouble is There’s a part of me That still can’t let go Of her memory And now I know what it is And now I know what it is Cause love is what the trouble is The trouble Love, love is what the trouble is Hey, hey 動画 アルバム 曲目リスト Unbreakable (Snys) 1. Intro 2. Everything But Mine 3. Inconsolable 4. Something That I Already Know 5. Helpless When She Smiles 6. Any Other Way 7. One In A Million 8. Panic 9. You Can Let Go 10. Trouble Is 11. Treat Me Right 12. Love Will Keep You Up All Night 13. Unmistakable 14. Unsuspecting Sunday Afternoon NEVER GONE (+DVD / PAL 0) ディスク：1 1. Incomplete 2. Just Want You To Know 3. Crawling Back To You 4. Weird World 5. I Still 6. Poster Girl 7. Lose It All 8. Climbing The Walls 9. My Beautiful Woman 10. Safest Place To Hide 11. Siberia 12. Never Gone 13. Song For The Unloved (Bonus Track) 14. Rush Over Me (Bonus Track) ディスク：2 1. Incomplete Video (Available in Dolby Digital Stereo and 5.1 Digital Surround) 2. Making of Incomplete 3. Photo Gallery (14 photos set to Incomplete Instrumental) 4. Bonus Audio Track Last Night You Saved My Life (Available in Dolby Digital Stereo and 5.1 Digital Surround) Greatest Hits-Chapter One 1. I want it that way 2. Everybody (Backstreet s back) 3. As long as you love me 4. Show me the meaning of being lonely 5. Quit playing games (with my heart) 6. We ve got it going on 7. All I have to give 8. Larger than life 9. I ll never break your heart 10. The call 11. Shape of my heart 12. Get down (You re the one for me) 13. Anywhere for you 14. The one 15. More than that 16. The perfect fan Black Blue 1. The Call 2. Shape of My Heart 3. Get Another Boyfriend 4. Shining Star 5. I Promise You (With Everything I Am) 6. The Answer to Our Life 7. Everyone 8. More Than That 9. Time 10. Not For Me 11. Yes I Will 12. It s True 13. How Did I Fall in Love With You Millennium 1. Larger Than Life 2. I Want It That Way 3. Show Me the Meaning of Being Lonely 4. It s Gotta Be You 5. I Need You Tonight 6. Don t Want You Back 7. Don t Wanna Lose You Now 8. One 9. Back to Your Heart 10. Spanish Eyes 11. No One Else Comes Close 12. Perfect Fan バックストリーツ・バック - Backstreet s Back（1997年8月1日） 1. Everybody (Backstreet s Back) 2. As Long as You Love Me 3. All I Have to Give 4. That s the Way (I Like It) 5. 10,000 Promises 6. Like a Child 7. Hey, Mr. DJ (Keep Playin This Song) 8. Set Adrift on Memory Bliss 9. That s What She Said 10. If You Want It to Be Good Girl (Get Yourself a Bad Boy) 11. If I Don t Have You imageプラグインエラー ご指定のURLはサポートしていません。png, jpg, gif などの画像URLを指定してください。 バックストリート・ボーイズ - Backstreet Boys（1996年11月21日） 1. We ve Got It Goin On 2. Anywhere for You 3. Get Down (You re the One for Me) 4. I ll Never Break Your Heart 5. Quit Playing Games (With My Heart) 6. Boys Will Be Boys 7. Just to Be Close to You 8. I Wanna Be With You 9. Every Time I Close My Eyes 10. Darlin 11. Let s Have a Party 12. Roll with It 13. Nobody But You 14. Don t Leave Me 15. We ve Got It Goin On (Marcus Radio Mix) 16. I Wanna Be With You (Amadin s Club Mix) 上へ