約 7,133,297 件
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member ( L to R ) Charlie Watts drums Keith Richards guitar, vocal Mick Jagger vocal, guitar Ronnie Wood guitar ex-member Brian Jones guitar Mick Taylor guitar Bill Wyman bass LiveHyde Park Live Bang In Nagoya 4/5/06 Live @ Saitama Super Arena, Saitama April 2nd 2006 Sweet Thing That You Promised ( 2003 ) Live In Japan, Tokyo Dome 1995 Voodoo At Halloween Oakland 10/31/94 Eric Clapton And His Rolling Stones Can You Hear The Mobile The Mixes Album The Trident Mixes R.S.V.P. The Beggar's Banquet Sessions Clean Cuts vol.2 Clean Cuts vol.1 Live Hyde Park Live [ Disc 1 ] 1. Start Me Up / 2. It s Only Rock N Roll / 3. Tumbling Dice ( ダイスをころがせ ) / 4. Emotional Rescue / 5. Street Fighting Man / 6. Ruby Tuesday / 7. Doom And Gloom / 8. Paint It Black ( 黒くぬれ ) / 9. Honky Tonk Women / 10. You Got The Silver / 11. Before They Make Me Run [ Disc 2 ] 1. Miss You / 2. Midnight Rambler / 3. Gimme Shelter / 4. Jumpin Jack Flash / 5. Sympathy For The Devil ( 悪魔を憐れむ歌 ) / 6. Brown Sugar / 7. You Can t Always Get What You Want ( 無情の世界 ) / 8. ( I Can t Get No ) Satisfaction Bang In Nagoya 4/5/06 Live @ Nagoya Dome, Nagoya, Aichi April 5th 2006 Disc 1 1. Opening / 2. Jumpin Jack Flash / 3. It s Only Rock N Roll / 4. She s So Cold / 5. Oh No, Not You Again / 6. Ruby Tuesday / 7. Rain Fall Down / 8. You Got Me Rockin / 9. Gimme Shelter / 10. Tumbling Dice / 11. Band Introductions / 12. This Place Is Empty / 13. Happy Disc 2 1. Miss You / 2. Rough Justice / 3. Get Off Of My Cloud / 4. Honky Tonk Women / 5. Sympathy For The Devil / 6. Paint It Black / 7. Start Me Up / 8. Brown Sugar / 9. You Can t Always Get What You Want / 10. ( I Can t Get No ) Satisfaction Live @ Saitama Super Arena, Saitama April 2nd 2006 Disc 1 1. Opening / 2. Jumpin Jack Flash / 3. It s Only Rock N Roll / 4. Let s Spend The Night Together / 5. Oh No Not You Again / 6. Sway / 7. Wild Horses / 8. Rain Fall Down / 9. Midnight Rambler / 10. Tumbling Dice / 11. Introductions / 12. This Place Is Empty / 13. Happy Disc 2 1. Miss You / 2. Rough Justice / 3. Start Me Up / 4. Honky Tonk Women / 5. Sympathy For The Devil / 6. Paint It Black / 7. Brown Sugar / 8. You Can t Always Get What You Want / 9. ( I Can t Get No ) Satisfaction Sweet Thing That You Promised ( 2003 ) Live @ Budokan, Tokyo March 10th 2003 Disc 1 1. Opening / 2. Jumpin Jack Flash / 3. You Got Me Rocking / 4. Live With Me / 5. Let It Bleed / 6. No Expectations / 7. Rocks Off / 8. Everybody Need Someone To Love / 9. Worried About You / 10. Midnight Rambler / 11. Bband Introductions Disc 2 1. Slipping Away / 2. Before They Make Me Run / 3. Start Me Up / 4. It s Only Rock N Roll / 5. Rock Me Baby / 6. Can t You Hear Me Knockin / 7. Honky Tonk Women / 8. Tumbling Dice / 9. Brown Sugar / 10. Satfisfaction Live In Japan, Tokyo Dome 1995 Live @ Tokyo Dome, Tokyo March 12th 1995 Disc 1 1. Introduction / 2. Not Fade Away / 3. Tumbling Dice / 4. You Got Me Rocking / 5. Live With Me / 6. Rocks Off / 7. Sparks Will Fly / 8. Satisfaction / 9. Angie / 10. Sweet Virginia / 11. Rock And A Hard Place / 12. Love Is Strong / 13. I Go Wild Disc 2 1. Miss You / 2. Band Introductions / 3. Honky Tonk Women / 4. Before They Make Me Run / 5. Slipping Away / 6. Sympathy For The Devil / 7. Monkey Man / 8. Street Fighting Man / 9. Start Me Up / 10. It s Only Rock N Roll / 11. Brown Sugar / 12. Jumpin Jack Flash Voodoo At Halloween Oakland 10/31/94 Live @ Oakland Coliseum, Oakland, CA October 31st 1994 Disc 1 1. Not Fade Away / 2. Tumbling Dice / 3. You Got Me Rocking / 4. Shattered / 5. Rocks Off / 6. Sparks Will Fly / 7. ( I Can t Get No ) Satisfaction / 8. Beast Of Burden / 9. Out Of Tears / 10. ( Doo Doo Doo Doo Doo ) Heartbreaker / 11. Love Is Strong / 12. It s All Over Now / 13. I Go Wild Disc 2 1. Miss You / 2. Band Intros / 3. Honky Tonk Woman / 4. Before They Make Me Run / 5. The Worst / 6. Sympathy For The Devil / 7. Monkey Man / 8. Street Fighting Man / 9. Start Me Up / 10. It s Only Rock Roll / 11. Brown Sugar / 12. Jumping Jack Flash Eric Clapton And His Rolling Stones Live @ Madison Square Garden, New York City, US June 22nd 1975 Disc 1 1. Fanfare For The Common Man / 2. Honky Tonk Women / 3. All Down The Line / 4. If You Can t Rock Me / 5. Get Off Of My Cloud / 6. Star Star / 7. Gimme Shelter / 8. Ain t Too Proud To Beg / 9. You Gotta Move / 10. You Can t Always Get What You Want / 11. Band Introduction / 12. Happy / 13. Tumbling Dice / 14. It s Only Rock N Roll Disc 2 1. Doo Doo Doo Doo Doo / 2. Fingerprint File / 3. Angie / 4. Wild Horses / 5. That s Life / 6. Outa Space / 7. Brown Sugar / 8. Midnight Rambler / 9. Rip This Joint / 10. Street Fighting Man / 11. Jumping Jack Flash / 12. Sympathy For The Devil Can You Hear The Mobile Rehearsals In Rotterdam, Netherlands August 18-23th 1973 Goats Head Soup Tour Rehearsals 1973 Disc 1 1. Rocks Off / 2. 100 Years Ago / 3. Can You Hear The Music / 4. Hide Your Love / 5. Angie / 6. Shine A Light / 7. Star Star / 8. Jam ～ Gimme Shelter / 9. Heartbreaker ( Doo Doo Doo Doo Doo ) ～ 100 Years Ago / 10. Dancing With Mr. D / 11. Brown Sugar Disc 2 1. Star Star ～ Jam / 2. Can You Hear The Music / 3. Star Star ～ Dancing With Mr. D ～ 100 Years Ago / 4. Angie / 5. Jam ～ Tumbling Dice ～ Jumping Jack Flash ～ Jam / 6. Heartbreaker ( Doo Doo Doo Doo Doo ) / 7. Happy ～ Heartbreaker ( Doo Doo Doo Doo Doo ) ～ Can You Hear The Music ～ Heartbreaker ( Doo Doo Doo Doo Doo ) / 8. Can You Hear The Music ～ Heartbreaker ( Doo Doo Doo Doo Doo ) / 9. Shine A Light / 10. 100 Years Ago ～ Shine A Light The Mixes Album 2007年 1. Undercover Of The Night [ Extended Cheeky mix ] / 2. Sexdrive [ Michael Brauer s club version ] / 3. Terryfying [ Steve Thompson 12 remix ] / 4. Too Much Blood [ Chris Kimsey s main vocal mix ] / 5. Harlem Shuffle [ 12 inch only mix ] / 6. Miss You [ Original 12 inch mix ] / 7. Rock And A Hard Place [ Bonus Beats mix ] / 8. Winning Ugly [ London Mix ] / 9. Mixed Emotions [ Chris Kimsey s mix ] / 10. Rock And A Hard Place [ Don Was Michael Brauer dance mix ] / 11. Dancing In The Street [ Steve Thompson Michael Barbiero long mix ] / 12. Tumbling Dice [ Chris Kimsey the GLIMMER TWINS live mix ] The Trident Mixes 1. Jiving Sister Fanny / 2. I m Going Down / 3. I Don t Know / 4. Give Me A Hamburger [ unfinished song ] / 5. Downtown Susie / 6. Blood Red Wine / 7. Traveling Man / 8. Family / 9. Still A Fool [ long, funky ver. ] / 10. Family [ retake ] / 11. Leather Jacket [ instrumental ] / 12. Dancing In The Light [ instrumental ] / 13. Potted Shrimp [ instrumental ] / 14. Alladin Story [ instrumental ] / 15. And I Was A Country Boy [ instrumental ] / 16. Who Am I ? Outtakes from Tident Studios, London, 1969. With Nicky Hopkins. Some of these tracks are on Metamorphisis. R.S.V.P. The Beggar s Banquet Sessions 1. Sympathy For The Devil [ the Neptunes remix / radio edit ] / 2. No Expectations / 3. Dear Doctor #1 / 4. Parachute Woman / 5. Jigsaw Puzzle / 6. Instramental / 7. Prodigal Son / 8. Stray Cat Blues / 9. Factory Girl / 10. Salt Of The Earth / 11. Stuck Out All Alone / 12. Sweet Lucy / 13. Highway Child / 14. Still A Fool / 15. Dear Doctor #2 / 16. Dear Doctor #3 / 17. Dear Doctor #4 Beggars Banquet Sessions recorded at the Olympic Studios May-June 1968 Clean Cuts vol.2 1. Memory Motel / 2. You Better Move on / 3. Route 66 / 4. Memphis Tennessee / 5. Paint It Black [ backing track ] / 6. 19th Nervous Breakdown / 7. I Can See It [ backing track ] / 8. Memo From Turner [ extended intro ] / 9. Honky Tonk Woman [ extended intro ] / 10. Let It Bleed / 11. Ventilator Blues [ slow extended ] / 12. Happy [ Slow Down version ] / 13. 100 Years Ago / 14. Living In The Heart Of Love / 15. Through The Lonely Nights / 16. My First Plea / 17. Think I´m Going Mad / 18. The Harder They Come / 19. You re Too Much / 20. Your Angel Steps Out Of Heaven Clean Cuts vol.1 1. Intro / 2. Cops And Robbers / 3. Get A Line On You / 4. Criss Cross Man aka Save Me / 5. Drift Away / 6. Let s Go Steady / 7. We Had It All / 8. Finger Print Files [ Killer version ] / 9. Claudine / 10. Drift Away [ Fast version ] / 11. I m Gonne Drive / 12. So Young / 13. Jump On Top Of Me Baby / 14. The Storm / 15. Honest I Do / 16. Chain Of Fools / 17. Angie
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In the Court of the Crimson King 名盤 オススメ In the Wake of Poseidon オススメ Lizard Islands Larks Tongues in Aspic 名盤 オススメ Red 名盤 Discipline
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Queen ＜Release Data＞ 1973.07.13（UK） 1974.03.25（Japan） ＜Track List＞ Side-A Keep Yourself Alive Doing All Right Great King Rat My Fairy King Side-B Liar The Night Comes Down Modern Times Rock n Roll Son And Daughter Jesus Seven Seas Of Rhye(Instrumental) Extra Mad The Swine
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THE STORY OF FEATHER THE STORY OF FEATHER アーティスト 国木田花丸(高槻かなこ) 発売日 2022年3月4日 レーベル ランティス デイリー最高順位 1位(2022年3月4日) 週間最高順位 3位(2022年3月8日) 月間最高順位 10位(2022年3月) 年間最高順位 56位(2022年) 初動売上 6430 累計売上 8702 収録内容 曲名 タイアップ 視聴 Disc1 1 青空Jumping Heart ラブライブ! サンシャイン!! キャラソン 2 ハミングフレンド 3 夢で夜空を照らしたい 4 未熟DREAMER 5 想いよひとつになれ 6 MIRAI TICKET 7 サンシャインぴっかぴか音頭 8 ユメ語るよりユメ歌おう Disc2 9 未来の僕らは知ってるよ ラブライブ! サンシャイン!! キャラソン 10 君の瞳を巡る冒険 11 MY舞☆TONIGHT 12 MIRACLE WAVE 13 WATER BLUE NEW WORLD 14 WONDERFUL STORIES 15 “MY LIST” to you! 16 勇気はどこに？君の胸に！ 17 やあ！行雲流水!? ランキング 週 月日 順位 変動 週/月間枚数 累計枚数 1 3/8 3 新 6430 6430 2 3/15 5 ↓ 1634 8064 3 3/22 ↓ 395 8459 4 3/29 243 8702 関連CD What a Wonderful Dream!!
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THE ASSAULT ON ARCHET 依頼者：JON BRACKENBROOK Jon Brackenbrookと彼のハンター達が既に燃え盛るArchetの村外れに到着した。 彼らの村を救う絶体絶命の危機は始まろうとしています。 あなたはなんとか間に合った。 Jon Brackenbrook 「奴らは我々を目視している 移動しよう！」 目的１ ●Jon Brackenbrookと話す ●Jon Brackenbrookを守る Jon Brackenbrook 「遅かったか」 「アーチェトは火の海だ！」 「東門を抜けるから、ここでグズグズしてる時間はないぞ」 「私たちも安全ではなことに恐怖を感じる・・」 目的2 ●Jon Brackenbrookの側で戦う Jon Brackenbrook 「父を助けるんだ！」 Jailor Ned Pruner 「うぁぁぁぁ！」 Otto the Brigand 「Ned よくも捕らえてくれたな」 hunter 「見失った！ヤツらは我等が見えてる？」 「何？どこだ？」 Otto the Brigand 「哀れなNedどうしてやろうか！」 「彼らが見ている、俺はやるぞ」 Peg Pruner 「止まれ！Ned、今行くぞ」 Jailor Ned Pruner 「哀れな！」 Otto the Brigand 「よくも囚えてくれたなPruner！」 Peg Pruner 「なぜこの扉を閉めた？」 JON BRACKENBROOK 「Nedを助けろ！」 Otto the Brigand 「十分楽しんだ。下がるぞ！」 「私の靴を舐めるか？看守？」 Jailor Ned Pruner 「動けない・・」 Peg Pruner 「この鍵を壊してくれない？」 Jailor Ned Pruner 「Peg 何処にいる・・」 目的3 ●Ned Prunerと話す ●Jon Brackenbrookを守る Jailor Ned Pruner 「Amdir、Amdirが閉めたんだ」 「彼は私たちを奴らの殺戮から逃がしてくれた」 「あなたは彼を助けにいってくれ、村民も守ってくれ！」 「BlackwoldはホビットとCaptainを狙っている」 「炎の中に何かを見た、行ってくれ！」 「彼らを助けてくれ！」 目的4 ●Jon Brackenbrookと話す ●Jon Brackenbrookを守る Jon Brackenbrook 「Calder Cobと裏切り者Ottoは丁度私が恐れていた戦いを仕掛けたばかりだ」 「私達はMad Badger INNへの道を見つけないと」 「Pegは私達に広場への道から行けと言った」 「恐らくそこから行けるだろう」 「ついてきてくれ！」 Peg Pruner 「Ned!なんてこと・・」 「あなたは村民を見つけたら逃がしてやって」 「Blackwoldたちは村のいたる場所を攻撃している」 「急いで、Amdirを見つけてBlackwoldを倒して！」 「私とかわいそうなNedはほっといて」 Jon Brackenbrook 「広場の安全を確保しよう、ついてきてくれ」 「この道は塞がれているようだ！新しい道を見つけよう」 「この先だ」 「よく戦ってくれた！しかしこの先に嫌な予感がする」 目的5 ●Jon Brackenbrookと話す ●Jon Brackenbrookを守る Jon Brackenbrook 「広場は安全になったぞ、しかし私達は進まないと！」 「もし私達がグズグズしてると、アーチェトは敗れてしまう！」 「村中央への別ルートを探そう！」 Jon Brackenbrook 「工房エリアを護ろう、来てくれ！」 「あの邪悪な悪魔たちは我らの村に手間取ってる。希望はまだある！」 「見ろ！Atliがいるぞ！まだ敗れていない」 「ようやく会えたな友よ。工房は安全か？」 Atli Spider-bane 「Blackwoldの連中はついさっき、そこの建物から進入してきたぞ、Jon」 「合流して、ヤツらを叩こう、そこを取り戻す！」 「なんてこった！遅かったか。アーチを護らないと・・見ろ！」 Blackwold 「Angmarがおまえのドアをノックする時、おまえは土下座する」 Jon Brackenbrook 「最悪の事態を食い止めないと！」 目的6 ●Jon Brackenbrookの側で戦う Jon Brackenbrook 「君はよくやってくれた、友よ、しかし私達にはもう戦力がない」 「我等は広場と工房を守った」 「Mad Badger INNは燃えてしまった」 「恐らく父は生きてはいる、が・・わずかな希望だ」 「Atliとついて来てくれ！我等はこの村が壊滅するのを防ぐべきだ」 Jon Brackenbrook 「我等はここだ、父は生きている。私にはわかる」 「父よ！助太刀にきたぞ！」 Captain Brackenbrook 「ワシは生きているぞ息子よ、しかしワシは連戦で疲れている」 「Archetは陥落したのか？私がバカだった！」 JON BRACKENBROOK 「燃え尽きる時間ではない。我等は安全になるまで守らないと」 Captain Brackenbrook 「わかった。ワシはホビットたちと怪我人を護衛しよう。攻撃してくれるか？」 「仕掛けるんだ！ワシらを守ってくれ」 目的7 ●Blackwoldと彼等のリーダーを倒す ●Jon Brackenbrookを守る JON BRACKENBROOK 「最後の害虫退治の準備だ」 Blckwold 「最悪の時間のおでましだ」 「Skunkwoodの異人と取引をすべきではなかった・・・」 「我々の友人は北から来た、おまえらには最悪すぎるほど最高だぜ！」 Cargul 「遊びは終わりだ！我々は野伏のために来た！」 Captain Brackenbrook 「Calde Cob、何でおまえがいる？何しに来た？」 Calder Cob 「いつも関係はあったのさ、Captain,あなたの見てないところでな、私のことは理解できまい」 Captain Brackenbrook 「ワシが知っているすべては、オマエが家と皆を裏切ったということだ、恥じるべきだ」 Cargul 「話は終わりにしろ。Amdirは今よりMordorの従者だ。Dunadaと共に来い」 Amdir 「はい、マスター」 Captain Brackenbrook 「何が起きた？？」 「Amdir！行ってはいかん、ワシとここに居るんだ！」 Cargul 「Calder Cob、おまえが来た目的を果たせ」 Cader Cob 「喜んで。私はArchetで力を得たんだ、Brackenbrook！」 JON BRACKENBROOK 「父よ！！あああ・・」 目的8 ●Jon Brackenbrookと話す ●Jon Brackenbrookを守る JON BRACKENBROOK 「今日は最悪の日となった」 「アーチェトは燃え上がり、父は死んだ、そして野伏は連れていかれた」 「今、村の火が治まるのを待つしかできることはない」 「幸運と共に、我等はみすぼらしくなった村を再建しよう」 目的9 ●Jon Brackenbrookと話す JON BRACKENBROOK 「今夜はなんと悲劇的な事があった夜なんであろう！」 「しかしBlackwoldの脅威は撃退した」 「しかし、そう長くない間に、また襲って来るかもしれない」 「Angmarの悪の主人と共に」 背景 Archet村は襲撃を受けた。 Jon Brackenbrookと彼のハンター達は村の東門から突入する事にした。 あなたは先頭に立ち、Mundo,Celandine,Amdir,Captain Brackenbrookの現在をつきとめろ。 クエスト・データ 適正レベル：5 クエスト・タイプ：ソロ 前提クエスト：THE STORM IS UPON US 派生クエスト：[[]]
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「THE THEME OF B.J.」（ザ・テーマ・オブ・ビージェイ）は、松本孝弘の楽曲。作曲は松本孝弘。 2003年12月に放送された日本テレビ系アニメ『ブラック・ジャック2時間スペシャル〜命をめぐる4つの奇跡〜』のオープニングとなったインストゥルメンタル曲で、アルバム『House Of Strings』『New Horizon』に「BLACK JACK」と改題してそれぞれ異なるアレンジで収録されているが、原曲は2014年未音源化となっている。 バージョン THE THEME OF B.J. BLACK JACKアルバム『House Of Strings』に収録。オーケストラバージョンとなっている。 BLACK JACKアルバム『New Horizon』に収録。『House Of Strings』に収録されたものとタイトルが同じだが、こちらはジャズバージョンとなっている。 参加アーティスト 原曲 松本孝弘：ギター・作曲・編曲 徳永暁人：編曲 BLACK JACK（『House Of Strings』収録テイク） 松本孝弘：ギター・作曲・編曲 池田大介：編曲 SEO HYUN-SEOK：Conductor KANGNAM WARD SYMPHONY ORCHESTRA (KOREA) BLACK JACK（『New Horizon』収録テイク） 松本孝弘：ギター・作曲・編曲 寺地秀行：編曲 グレッグ・アダムス：トランペット リー・ソーンバーグ：トロンボーン 小野塚晃：ウーリッツァー トラヴィス・カールトン：ベース ジョン・フェラーロ：ドラム ライブ披露 Collaboration 2004 松本孝弘 ｢華｣ with 東京都交響楽団 Tak Matsumoto LIVE 2014 -New Horizon-（BLUE NOTE TOKYO公演より日替わりで演奏） 収録作品 リリース日 タイトル 備考 2004年11月24日 House Of Strings 「BLACK JACK」（オーケストラver.）での収録 2012年6月20日 Strings Of My Soul 初回限定盤の特典DVDに「Collaboration 2004 松本孝弘 ｢華｣ with 東京都交響楽団」でのライブ映像を収録 2014年4月30日 New Horizon 「BLACK JACK」（ジャズver.）での収録
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The CataclysmはDivination Cardの一種 交換可能アイテム 入手方法 関連リンク The Cataclysm 必要枚数 13枚 Level 21 Spell GemCorrupted The mighty warriors traded in blows, the nimble archers in arrows, yet it was the brazen thaumaturgists who would bring catastrophe to all. 交換可能アイテム レベル21のスペルジェム。 入手方法 このカードがドロップするエリア Strange Sinkhole • Concealed Cavity • Sunken Shingle • Clouded Ridge • Forgotten Oubliette • Remote Gulch • Cremated Archives (Act 10) • Narrow Ravine • Mystical Clearing • Covered-up Hollow • Hidden Patch • Entombed Alcove • Secret Laboratory • Secluded Copse • Forbidden Chamber • Quarantined Quarters • Inner Grounds • Sealed Corridors • Restricted Gallery • Disused Furnace • Blind Alley • Entombed Chamber • Sacred Chambers • Stagnant Canal • Walled-off Ducts • Neglected Cellar • Arcane Chambers • Forgotten Conduit • Ancient Catacomb • Haunted Mineshaft • Abandoned Dam • Desolate Track • Reclaimed Barracks • Sealed Basement • Secluded Canal • Forbidden Archives • Cremated Archives (Act 5) • Twisted Inquisitorium • Deathly Chambers • Restricted Collection • Side Chapel • Radiant Pools • Clouded Ledge • Flooded Complex • Forbidden Shrine • Sealed Repository • Evacuated Quarter • Concealed Caldarium • Moonlit Chambers • Shifting Sands • Forgotten Gulch • Desolate Isle • Dusty Bluff カード等のドロップ以外の入手方法 アイテム 必要数 備考 The Gambler 5 Stacked Deck 1 関連リンク 英wiki https //pathofexile.gamepedia.com/The_Cataclysm Divination Card
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I INTRODUCTION I イントロダクション The best things in an artist s work are so much a matter of intuition, that there is much to be said for the point of view that would altogether discourage intellectual inquiry into artistic phenomena on the part of the artist. Intuitions are shy things and apt to disappear if looked into too closely. And there is undoubtedly a danger that too much knowledge and training may supplant the natural intuitive feeling of a student, leaving only a cold knowledge of the means of expression in its place. For the artist, if he has the right stuff in him, has a consciousness, in doing his best work, of something, as Ruskin has said, not in him but through him. He has been, as it were, but the agent through which it has found expression. 芸術家の作品の中でもっとも良いものは直観に満ちているので、芸術家の要素をなす芸術的才能なるものについての知的な探究を完全に思いとどまらせようとする立場にとってはかなり有利である。直観は引っ込み思案で、近づいて見ようとすれば消えてしまいやすいものである。そして過剰な知識とトレーニングには、学生の自然で直観的な感性を、表現の意味についての冷めた知識に置き換えてしまうおそれがたしかにある。芸術家としては、彼が正しい資質を備えており、傑作を描く中でラスキンの言う「彼の中にはないが彼の中を通る」何ものかについての自覚を持つならば、彼はいわばそれを通して表現を発見する代理人であるだろう。 Talent can be described as that which we have, and Genius as that which has us. Now, although we may have little control over this power that has us, and although it may be as well to abandon oneself unreservedly to its influence, there can be little doubt as to its being the business of the artist to see to it that his talent be so developed, that he may prove a fit instrument for the expression of whatever it may be given him to express; while it must be left to his individual temperament to decide how far it is advisable to pursue any intellectual analysis of the elusive things that are the true matter of art. 才能は「われわれが持っているもの」、天才は「われわれをとらえるもの」と言える。さて、われわれはこの「われわれをとらえる」力をほとんどコントロールできないし、そのうえわれわれはその影響力にいやおうなく溺れてしまうが、どんな表現であれそれに適切な道具を示せるほどに才能を伸ばすようにするのが、芸術家の仕事であるということには、ほとんど疑いがないだろう。他方、芸術の本質というつかみどころのないものを知的に分析することを続けるのがどれだけ賢明であるかどうかは、彼個人の気質によって判断されるはずである。 Provided the student realises this, and that art training can only deal with the perfecting of a means of expression and that the real matter of art lies above this and is beyond the scope of teaching, he cannot have too much of it. For although he must ever be a child before the influence that moves him, if it is not with the knowledge of the grown man that he takes off his coat and approaches the craft of painting or drawing, he will be poorly equipped to make them a means of conveying to others in adequate form the things he may wish to express. Great things are only done in art when the creative instinct of the artist has a well-organised executive faculty at its disposal. このことや、芸術のトレーニングはある表現手段の徹底を扱うにすぎないこと、また本当の芸術というものはその上に存在し、教育の範疇を超えているということを理解している生徒は、いすぎて困るということはない。なぜなら彼は彼を動かす影響力の前では子ども同然でさえあるが、もし彼にコートを脱ぎペインティングやドローイングの技術に近づくだけの成長した人間の知性がなければ、彼は自分が表現したいことを十分な形式で他人に伝える手段にすることができないだろう。偉大なものは、芸術家の創造的直観が、彼が自由に使えるよく組織されたな実践的な能力を持つときに、芸術においてのみなされる。 ＊ ＊ ＊ ＊ ＊ * * * * * Of the two divisions into which the technical study of painting can be divided, namely Form and Colour, we are concerned in this book with Form alone. But before proceeding to our immediate subject something should be said as to the nature of art generally, not with the ambition of arriving at any final result in a short chapter, but merely in order to give an idea of the point of view from which the following pages are written, so that misunderstandings may be avoided. 絵画の技術的な学習は、フォルムと色という、2つの領域に分けられるが、われわれは本書においてフォルムのみを扱う。しかし本論に進む前に、芸術一般の本質についていくらか言及しておくべきだろう。これはいきなり最終的な結論に達しようというのではなく、以降の論述が立脚する視点の考え方を示し、誤解を避けるためのものにすぎない。 The variety of definitions that exist justifies some inquiry. The following are a few that come to mind Art is nature expressed through a personality. But what of architecture? Or music? Then there is Morris s Art is the expression of pleasure in work. But this does not apply to music and poetry. Andrew Lang s Everything which we distinguish from nature seems too broad to catch hold of, while Tolstoy s An action by means of which one man, having experienced a feeling, intentionally transmits it to others is nearer the truth, and covers all the arts, but seems, from its omitting any mention ofrhythm, very inadequate. 存在する数多くの定義がいくつかの探究を正当化している。以下に思いつくものを若干挙げてみよう。 「芸術とは個性を通して表現される本質である」 しかし建築はどうだろう？ あるいは音楽は？ それならウィリアム・モリスによるものがある。 「芸術とは仕事における喜びの表現である」 しかしこれは音楽と詩には当てはまらない。アンドリュー・ラングによる、 「われわれが自然から区別するすべてのもの」 という定義は広すぎて捉えられない。一方、トルストイの 「ある感情を経験した人間が、それを他者に伝えようとして用いられる行為」 という定義はより真実に近く、すべての芸術をカバーしているが、しかし“リズム”について言及していない点で、あまり適当ではないように思われる。 ＊ ＊ ＊ ＊ ＊ * * * * * Now the facts of life are conveyed by our senses to the consciousness within us, and stimulate the world of thought and feeling that constitutes our real life. Thought and feeling are very intimately connected, few of our mental perceptions, particularly when they first dawn upon us, being unaccompanied by some feeling. But there is this general division to be made, on one extreme of which is what we call pure intellect, and on the other pure feeling or emotion. The arts, I take it, are a means of giving expression to the emotional side of this mental activity, intimately related as it often is to the more purely intellectual side. The more sensual side of this feeling is perhaps its lowest, while the feelings associated with the intelligence, the little sensitivenesses of perception that escape pure intellect, are possibly its noblest experiences. さて、現実は知覚によってわれわれの意識に伝えられ、われわれの真の生活を構成する思考と感覚の世界を刺激する。思考と感覚はひじょうに密接に繋がっており、精神的認識は、とくにはじめてそれがもたらされる場合、ほとんど何らかの感覚を伴う。しかしここに一般的な区分を設けて、一方の極を純粋な知性、他方を純粋な感覚や感情と呼ぶことにしよう。私の言う芸術とは、この精神的活動の感覚的側面に表現を与える手段のことであり、それはじっさいはより純粋な知的側面としばしば密接に結びつく。この感覚の官能的な部分が多いものは、おそらく最低だろう。一方、知性に結びついた感覚、つまり純然たる知性を逃れるだけのごくわずかな感受性は、もっとも崇高な体験であるだろう。 Pure intellect seeks to construct from the facts brought to our consciousness by the senses, an accurately measured world of phenomena, uncoloured by the human equation in each of us. It seeks to create a point of view outside the human standpoint, one more stable and accurate, unaffected by the ever-changing current of human life. It therefore invents mechanical instruments to do the measuring of our sense perceptions, as their records are more accurate than human observation unaided. 純粋な知性は、知覚によってわれわれの意識にもたらされた事実から、正確に計測され、誰にとっても等しいありのままの現象界を組み立てようとする。それは人間の外に立ち、たとえ現在の人間の生活が変わったとしても影響をを受けないような、より確実かつ正確な視点を作ろうとする。それゆえ、知性はわれわれの知覚を計測するのに機械的な道具を発明する。それらの記録は、機械の補助のない人間が行う観察よりも正確なのだ。 But while in science observation is made much more effective by the use of mechanical instruments in registering facts, the facts with which art deals, being those of feeling, can only be recorded by the feeling instrument--man, and are entirely missed by any mechanically devised substitutes. しかし、科学的観測では事実の記載に機械的道具を使うことがより有効だとしても、芸術が扱う事実は、感覚的道具――人間によってしか記録できず、機械的に発明された物体によってはまったく理解できない。 The artistic intelligence is not interested in things from this standpoint of mechanical accuracy, but in the effect of observation on the living consciousness--the sentient individual in each of us. The same fact accurately portrayed by a number of artistic intelligences should be different in each case, whereas the same fact accurately expressed by a number of scientific intelligences should be the same. 芸術的な知性は、この機械的正確さの観点から見たものではなく、生きた認識――感覚を持ったわれわれ個人――についての観察結果に関心を持つ。科学者たちが同じ事実を正確に表現すればどれも同一になるが、芸術家たちが正確に描いた同じ事実は、それぞれ異なったものになるにちがいない。 But besides the feelings connected with a wide range of experience, each art has certain emotions belonging to the particular sense perceptions connected with it. That is to say, there are some that only music can convey those connected with sound; others that only painting, sculpture, or architecture can convey those connected with the form and colour that they severally deal with. しかし幅広い経験と結びついた感覚のほかに、それぞれの芸術には、それと関係する特別な知覚を伴った、ある感情が存在する。すなわち、音と関係するものは、音楽だけが伝えることができ、フォルムと色に関係するものは、それらを各々扱う絵画、彫刻、建築だけが伝えることができる。 In abstract form and colour--that is, form and colour unconnected with natural appearances--there is an emotional power, such as there is in music, the sounds of which have no direct connection with anything in nature, but only with that mysterious sense we have, the sense of Harmony, Beauty, or Rhythm (all three but different aspects of the same thing). 抽象的なフォルムと色、つまり自然にはないフォルムと色には、感情的なパワーがある。それはまるで音楽――そこでは音が自然とは直接には結びつかず、われわれが持つその不思議な感覚、すなわち、調和、美、リズム（これら3つは同じものの異なる側面を表す）だけに結びついている――にあるようなパワーである。 This inner sense is a very remarkable fact, and will be found to some extent in all, certainly all civilised, races. And when the art of a remote people like the Chinese and Japanese is understood, our senses of harmony are found to be wonderfully in agreement. Despite the fact that their art has developed on lines widely different from our own, none the less, when the surprise at its newness has worn off and we begin to understand it, we find it conforms to very much the same sense of harmony. この内的な感覚は非常に重要な事実であり、すべての（たしかにすべての文明的な）人種に広範に見出されるはずである。そして中国や日本のような遠く離れた人々の芸術が理解されるとき、われわれの調和の感覚が驚くほど同じであることがわかる。彼らの芸術がわれわれのものとは大きく異なる系譜の中で発展してきたという事実にもかかわらず、それでもなお、その目新しさへの驚きが薄れてそれを理解しはじめたときには、われわれはそれがわれわれの調和の感覚とひじょうによく一致していることを知るのである。 But apart from the feelings connected directly with the means of expression, there appears to be much in common between all the arts in their most profound expression; there seems to be a common centre in our inner life that they all appeal to. Possibly at this centre are the great primitive emotions common to all men. The religious group, the deep awe and reverence men feel when contemplating the great mystery of the Universe and their own littleness in the face of its vastness--the desire to correspond and develop relationship with the something outside themselves that is felt to be behind and through all things. Then there are those connected with the joy of life, the throbbing of the great life spirit, the gladness of being, the desire of the sexes; and also those connected with the sadness and mystery of death and decay, c. しかし表現方法と直接関係する感覚のほかにも、全ての芸術に共通するものは、彼らの最も深い表現の中に多く見られる。われわれの内的生活には、彼ら全てがそれに訴える共通の核心があるように思われる。おそらく、この核心にあるものは、全ての人間に共通する偉大で原始的な感情だろう。宗教家たちは、大いなる宇宙の神秘とその広大に対する己の卑小さについて人間が熟考したときに感じる深い畏怖と尊敬の念――彼らの外部にあり、あらゆるものを通してその存在を感じられるあの何ものかと通じて関係を深めたいという欲求――を集合させる。そしてこれらを、生の楽しみ、偉大な魂の鼓動、生きることの喜び、性への欲望、また死や衰えの悲しみと神秘といったことと結びつける。 The technical side of an art is, however, not concerned with these deeper motives but with the things of sense through which they find expression; in the case of painting, the visible universe. しかし、芸術の技術的な側面は、これら深遠なモチーフとではなく、彼らが表現を見つける感覚についてのことがらと関係がある。絵画の場合、それは視覚の宇宙である。 The artist is capable of being stimulated to artistic expression by all things seen, no matter what; to him nothing comes amiss. Great pictures have been made of beautiful people in beautiful clothes and of squalid people in ugly clothes, of beautiful architectural buildings and the ugly hovels of the poor. And the same painter who painted the Alps painted the Great Western Railway. 芸術家は見たものすべてから芸術表現への刺激を受けることができる。たとえどんなものでも、彼にとって不都合なものはない。偉大な絵画は、美しい服装の美しい人々と、醜い服を着た汚い人々、そして美しい建築と、貧民の掘っ立て小屋から作られる。そしてアルプスを描いたその同じ画家が、グレート・ウェスタン鉄道を描くのである。［訳者注：ターナーおじさんのこと］ The visible world is to the artist, as it were, a wonderful garment, at times revealing to him the Beyond, the Inner Truth there is in all things. He has a consciousness of some correspondence with something the other side of visible things and dimly felt through them, a still, small voice which he is impelled to interpret to man. It is the expression of this all-pervading inner significance that I think we recognise as beauty, and that prompted Keats to say Beauty is truth, truth beauty. 目に見える世界は芸術家のものであり、いわばすばらしい衣服である。それはときどき彼に、すべてに内在する内なる真実の向こうを見せてくれる。彼は視角の向こう側にあるものと通じているという意識を持ち、誰かに説明したくなるような「静かで、小さな声」を通してそれをかすかに感じる。このすべてに広がる内的な意味の表現こそが、われわれが美として認識し、ジョン・キーツにかのように言わしめたものである。 「美は真であり、真は美である」 And hence it is that the love of truth and the love of beauty can exist together in the work of the artist. The search for this inner truth is the search for beauty. People whose vision does not penetrate beyond the narrow limits of the commonplace, and to whom a cabbage is but a vulgar vegetable, are surprised if they see a beautiful picture painted of one, and say that the artist has idealised it, meaning that he has consciously altered its appearance on some idealistic formula; whereas he has probably only honestly given expression to a truer, deeper vision than they had been aware of. The commonplace is not the true, but only the shallow, view of things. それゆえ真と美への愛は芸術家の作品の中でともに存在できることになる。この内的な真理の探究が美の探究である。凡庸さの狭い限界を超えた認識をする視点を持たない人々（彼らにとってキャベツは庶民の野菜でしかないのだが）は、芸術家の描いた美しい絵を見て驚き、そしてこう言うのである。この芸術家はそれを理想化した、つまり彼はその外観をある理想的な様式に意識的に変化させたのだと。しかし彼はおそらく、彼らがすでに気づいていたある真なる深遠なビジョンに対して誠実に表現を与えただけだろう。平凡さは真実ではなく、単にものの見方の浅薄さにすぎない。 [Illustration Plate II. DRAWING BY LEONARDO DA VINCI FROM THE ROYAL COLLECTION AT WINDSOR _Copyright photo, Braun Co._] Fromentin s Art is the expression of the invisible by means of the visible expresses the same idea, and it is this that gives to art its high place among the works of man. Beautiful things seem to put us in correspondence with a world the harmonies of which are more perfect, and bring a deeper peace than this imperfect life seems capable of yielding of itself. Our moments of peace are, I think, always associated with some form of beauty, of this spark of harmony within corresponding with some infinite source without. Like a mariner s compass, we are restless until we find repose in this one direction. In moments of beauty (for beauty is, strictly speaking, a state of mind rather than an attribute of certain objects, although certain things have the power of inducing it more than others) we seem to get a glimpse of this deeper truth behind the things of sense. And who can say but that this sense, dull enough in most of us, is not an echo of a greater harmony existing somewhere the other side of things, that we dimly feel through them, evasive though it is. But we must tread lightly in these rarefied regions and get on to more practical concerns. By finding and emphasising in his work those elements in visual appearances that express these profounder things, the painter is enabled to stimulate the perception of them in others. In the representation of a fine mountain, for instance, there are, besides all its rhythmic beauty of form and colour, associations touching deeper chords in our natures--associations connected with its size, age, and permanence, c.; at any rate we have more feelings than form and colour of themselves are capable of arousing. And these things must be felt by the painter, and his picture painted under the influence of these feelings, if he is instinctively to select those elements of form and colour that convey them. Such deeper feelings are far too intimately associated even with the finer beauties of mere form and colour for the painter to be able to neglect them; no amount of technical knowledge will take the place of feeling, or direct the painter so surely in his selection of what is fine. There are those who would say, This is all very well, but the painter s concern is with form and colour and paint, and nothing else. If he paints the mountain faithfully from that point of view, it will suggest all these other associations to those who want them. And others who would say that the form and colour of appearances are only to be used as a language to give expression to the feelings common to all men. Art for art s sake and Art for subject s sake. There are these two extreme positions to consider, and it will depend on the individual on which side his work lies. His interest will be more on the aesthetic side, in the feelings directly concerned with form and colour; or on the side of the mental associations connected with appearances, according to his temperament. But neither position can neglect the other without fatal loss. The picture of form and colour will never be able to escape the associations connected with visual things, neither will the picture all for subject be able to get away from its form and colour. And it is wrong to say If he paints the mountain faithfully from the form and colour point of view it will suggest all those other associations to those who want them, unless, as is possible with a simple-minded painter, he be unconsciously moved by deeper feelings, and impelled to select the significant things while only conscious of his paint. But the chances are that his picture will convey the things he was thinking about, and, in consequence, instead of impressing us with the grandeur of the mountain, will say something very like See what a clever painter I am! Unless the artist has painted his picture under the influence of the deeper feelings the scene was capable of producing, it is not likely anybody will be so impressed when they look at his work. And the painter deeply moved with high ideals as to subject matter, who neglects the form and colour through which he is expressing them, will find that his work has failed to be convincing. The immaterial can only be expressed through the material in art, and the painted symbols of the picture must be very perfect if subtle and elusive meanings are to be conveyed. If he cannot paint the commonplace aspect of our mountain, how can he expect to paint any expression of the deeper things in it? The fact is, both positions are incomplete. In all good art the matter expressed and the manner of its expression are so intimate as to have become one. The deeper associations connected with the mountain are only matters for art in so far as they affect its appearance and take shape as form and colour in the mind of the artist, informing the whole process of the painting, even to the brush strokes. As in a good poem, it is impossible to consider the poetic idea apart from the words that express it they are fired together at its creation. Now an expression by means of one of our different sense perceptions does not constitute art, or the boy shouting at the top of his voice, giving expression to his delight in life but making a horrible noise, would be an artist. If his expression is to be adequate to convey his feeling to others, there must be some arrangement. The expression must be ordered, rhythmic, or whatever word most fitly conveys the idea of those powers, conscious or unconscious, that select and arrange the sensuous material of art, so as to make the most telling impression, by bringing it into relation with our innate sense of harmony. If we can find a rough definition that will include all the arts, it will help us to see in what direction lie those things in painting that make it an art. The not uncommon idea, that painting is the production by means of colours of more or less perfect representations of natural objects will not do. And it is devoutly to be hoped that science will perfect a method of colour photography finally to dispel this illusion. What, then, will serve as a working definition? There must be something about feeling, the expression of that individuality the secret of which everyone carries in himself; the expression of that ego that perceives and is moved by the phenomena of life around us. And, on the other hand, something about the ordering of its expression. But who knows of words that can convey a just idea of such subtle matter? If one says Art is the rhythmic expression of Life, or emotional consciousness, or feeling, all are inadequate. Perhaps the rhythmic expression of life would be the more perfect definition. But the word life is so much more associated with eating and drinking in the popular mind, than with the spirit or force or whatever you care to call it, that exists behind consciousness and is the animating factor of our whole being, that it will hardly serve a useful purpose. So that, perhaps, for a rough, practical definition that will at least point away from the mechanical performances that so often pass for art, #the Rhythmic expression of Feeling# will do for by Rhythm is meant that ordering of the materials of art (form and colour, in the case of painting) so as to bring them into relationship with our innate sense of harmony which gives them their expressive power. Without this relationship we have no direct means of making the sensuous material of art awaken an answering echo in others. The boy shouting at the top of his voice, making a horrible noise, was not an artist because his expression was inadequate--was not related to the underlying sense of harmony that would have given it expressive power. [Illustration Plate III. STUDY FOR APRIL In red chalk on toned paper.] Let us test this definition with some simple cases. Here is a savage, shouting and flinging his arms and legs about in wild delight; he is not an artist, although he may be moved by life and feeling. But let this shouting be done on some ordered plan, to a rhythm expressive of joy and delight, and his leg and arm movements governed by it also, and he has become an artist, and singing and dancing (possibly the oldest of the arts) will result. Or take the case of one who has been deeply moved by something he has seen, say a man killed by a wild beast, which he wishes to tell his friends. If he just explains the facts as he saw them, making no effort to order his words so as to make the most telling impression upon his hearers and convey to them something of the feelings that are stirring in him, if he merely does this, he is not an artist, although the recital of such a terrible incident may be moving. But the moment he arranges his words so as to convey in a telling manner not only the plain facts, but the horrible feelings he experienced at the sight, he has become an artist. And if he further orders his words to a rhythmic beat, a beat in sympathy with his subject, he has become still more artistic, and a primitive form of poetry will result. Or in building a hut, so long as a man is interested solely in the utilitarian side of the matter, as are so many builders to-day, and just puts up walls as he needs protection from wild beasts, and a roof to keep out the rain, he is not yet an artist. But the moment he begins to consider his work with some feeling, and arranges the relative sizes of his walls and roof so that they answer to some sense he has for beautiful proportion, he has become an artist, and his hut has some architectural pretensions. Now if his hut is of wood, and he paints it to protect it from the elements, nothing necessarily artistic has been done. But if he selects colours that give him pleasure in their arrangement, and if the forms his colour masses assume are designed with some personal feeling, he has invented a primitive form of decoration. And likewise the savage who, wishing to illustrate his description of a strange animal he has seen, takes a piece of burnt wood and draws on the wall his idea of what it looked like, a sort of catalogue of its appearance in its details, he is not necessarily an artist. It is only when he draws under the influence of some feeling, of some pleasure he felt in the appearance of the animal, that he becomes an artist. Of course in each case it is assumed that the men have the power to be moved by these things, and whether they are good or poor artists will depend on the quality of their feeling and the fitness of its expression. [Illustration Plate IV. STUDY ON TISSUE-PAPER IN RED CHALK FOR FIGURE OF BOREAS] The purest form of this rhythmic expression of feeling is music. And as Walter Pater shows us in his essay on The School of Giorgione, music is the type of art. The others are more artistic as they approach its conditions. Poetry, the most musical form of literature, is its most artistic form. And in the greatest pictures form, colour, and idea are united to thrill us with harmonies analogous to music. The painter expresses his feelings through the representation of the visible world of Nature, and through the representation of those combinations of form and colour inspired in his imagination, that were all originally derived from visible nature. If he fails from lack of skill to make his representation convincing to reasonable people, no matter how sublime has been his artistic intention, he will probably have landed in the ridiculous. And yet, #so great is the power of direction exercised by the emotions on the artist that it is seldom his work fails to convey something, when genuine feeling has been the motive#. On the other hand, the painter with no artistic impulse who makes a laboriously commonplace picture of some ordinary or pretentious subject, has equally failed as an artist, however much the skilfulness of his representations may gain him reputation with the unthinking. The study, therefore, of the #representation of visible nature# and of #the powers of expression possessed by form and colour# is the object of the painter s training. And a command over this power of representation and expression is absolutely necessary if he is to be capable of doing anything worthy of his art. This is all in art that one can attempt to teach. The emotional side is beyond the scope of teaching. You cannot teach people how to feel. All you can do is to surround them with the conditions calculated to stimulate any natural feeling they may possess. And this is done by familiarising students with the best works of art and nature. * * * * * It is surprising how few art students have any idea of what it is that constitutes art. They are impelled, it is to be assumed, by a natural desire to express themselves by painting, and, if their intuitive ability is strong enough, it perhaps matters little whether they know or not. But to the larger number who are not so violently impelled, it is highly essential that they have some better idea of art than that it consists in setting down your canvas before nature and copying it. 芸術を構成するものについて理解している美術学生の少なさは、おどろくべきことである。彼らはおそらく、絵画によって彼ら自身を表現したいという自然な欲求によって駆り立てられている。もし彼らの直観的な能力が十分に強いのであれば、彼らが知っているどうかはたいした問題ではないだろう。しかしそこまで暴力的に駆り立てられない多くの学生にとって、芸術についてよりよく理解することは、自然の前にキャンバスを据えてそれを模写することよりも、ひじょうに重要で不可欠なことである。 Inadequate as this imperfect treatment of a profoundly interesting subject is, it may serve to give some idea of the point of view from which the following pages are written, and if it also serves to disturb the copying theory in the minds of any students and encourages them to make further inquiry, it will have served a useful purpose. 大いに興味深い主題についてこのような不完全な論じ方をするのは不適当であるが、以降の論述がもとづく視点の考え方を示すことにはなるだろう。そしてまた、学生の心に浮かぶ「模写説」を防ぎ、彼らをさらなる探究へ促すことにもなったのならば、役立つ目的は果たしたことになる。
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第１幕 第１場 アーサー王はサクソン人との戦いのさなかにケントを除く彼の王国のすべてを確保している サクソン人たちはオズワルドに率いられており 彼は自らの王座だけでなく 彼の愛する盲目のエメライン コーンウォールの公爵コノンの娘を手に入れようとしている アーサー王は異教徒の侵略者との最終決戦のために彼女を逃がす 第２場 異教徒の礼拝の場所 三体のサクソン人の神 ウォーデン トール フレイヤが台座に置かれた祭壇がある オズワルド 彼の魔術師オズモンド それと大地の悪霊のグリムバルドは戦いの勝利を確実にするために生贄を連れて来て儀式の準備をしている グリムバルドは戸口のところに行き 白衣を着て手に剣を持った六人のサクソン人たちと再び戻ってくる 彼らは広がって三人対三人で互いに向かい合って並ぶ 舞台の残りの部分は司祭たちや歌手たちで満たされている 【バス】 ウォーデンよ まず御身に 戦で勝ち取った乳白色の駿馬を われらは生贄とする 【コーラス】 われらは生贄とする 【テナー II】 われらが次の奉納は トール 御身の雷神の息子に もう一頭の別の馬を 【コーラス】 われらは生贄とする 【バス】 三番目は （フリースランド種の馬を） ウォーデンの妻にして トールの母親に そして今、我々は三神すべてに奉納をなした 【コーラス】 われらは生贄をなした 【テナー I＆II】 白い馬は声を上げていななき ウォーデンにわれらは感謝を捧ぐ ウォーデンにわれら誓う ウォーデン われらの守り神に 【コーラス】 ウォーデンにわれらは感謝を捧ぐ ウォーデンにわれら誓う ウォーデン われらの守り神に 【ソプラノ】 運命は決した そしてタンファンは喜ぶ 死の不安より汝らは解放されるであろう 【コーラス】 勇敢な魂が、物語の中で甦る 名誉を尊び 死を軽蔑し 名声を得るのだ 命を捨てて 死ぬのだ そして栄光の果実を刈り取れ 【テナー I】 私はお前たち皆を呼び寄せる ウォーデンの広間に お前たちの寺院のまわりには ツタが絡みつき 杯は栄冠輝き そしてたくさんの金色に輝く鉢がある そこでお前たちは笑い 踊り 飲み干すのだ ブリタニア人を大胆にする飲み物を 【コーラス】 ウォーデンの広間に たくさんの金色に輝く鉢があるところ われらは笑い 踊り 飲み干すのだ ブリタニア人を大胆にする飲み物を 六人のサクソン人が生贄にされるために司祭たちに連れて行かれる 一同退場 舞台裏で戦闘が行われていることがドラムやトランペット 戦いの雄叫びや襲撃の音で示される そのあとブリトン人たちは 勝利の喜びを表し 勝利の歌を歌う 【テナー II】 来い もし貴様がその気なら われらのトランペットは鳴り響く 来い もし貴様に勇気があるなら そう敵も応える 行くぞ 行くぞ 行くぞ 行くぞ 二重の 二重の、二重の連打は叫ぶ 雷鳴のようなドラムの 【コーラス】 来い もし貴様がその気なら われらのトランペットは鳴り響く 【テナー II】 今 彼らは全力で突撃する 今 彼らは再び結集する 神々は天よりこの狂気の業をご覧になり そして憐れみ給う 金のために滅びる人類を 【コーラス】 今 彼らは全力で突撃する．．． 【テナー II】 力尽きしサクソン人らは 彼らの陣地を捨て 彼らのトランペットは響きが衰えゆく 彼らは逃げ出す 逃げ出す 逃げ出す 逃げ出す 勝利だ 勝利だ 勇敢なブリトン人は叫ぶ 【コーラス】 力尽きしサクソン人らは 彼らの陣地を捨て．．． 【テナー II】 今こそ勝利を収めん 略奪へとわれらは走る われらは恋人のもとに戻る 幸運な貿易商のように 破れし侵略者からの戦利品と共に意気揚々と 【コーラス】 今こそ勝利を収めん．．． ACT ONE FIRST SCENE King Arthur has secured all of his kingdom except Kent in the course of the battles with the Saxons; they are led by Oswald, who has set out to win not only his throne but his love, the blind Emmeline, daughter of Conon, Duke of Cornwall. Arthur takes leave of her for the final, decisive battle against the heathen invader. SECOND SCENE A place of heathen worship; the three saxon gods, Woden, Thor and Freya placed on pedestals; an altar. Oswald, his magician Osmond and the earthly evil spirit Grimbald have brought victims for a sacrifice, to ensure victory in battle, and are preparing for the rites. Grimbald goes to the door, and re-enters with six Saxons in white, with swords in their hands. They range, themselves three and three in opposition to each other. The rest of the stage is filled with priests and singers. BASS Woden, first to thee A milk-white steed, in battle won, We have sacrific d. CHORUS We have sacrific d. TENOR II Let our next oblation be To Thor, thy thund ring son, Of such another. CHORUS We have sacrific d. BASS A third (of Friesland breed was he) To Woden s wife, and to Thor s mother; And now we have aton d all three. CHORUS We have sacrific d. TENOR I II The white horse neigh d aloud. To Woden thanks we render, To Woden we have vow d, To Woden, our defender. CHORUS To Woden thanks we render, To Woden we have vow d, To Woden, our defender. SOPRANO The lot is cast, and Tanfan pleas d; Of mortal cares you shall be eas d. CHORUS Brave souls, to be renown d in story. Honour prizing, Death despising, Fame acquiring By expiring, Die and reap the fruit of glory. TENOR I I call you all To Woden s Hall, Your temples round With ivy bound In goblets crown d, And plenteous bowls of burnish d gold, Where ye shall laugh And dance and quaff The juice that makes the Britons bold. CHORUS To Woden s Hall all, Where in plenteous bowls of burnish d gold, We shall laugh And dance and quaff The juice that makes the Britons bold. The six Saxons are led off by the priests, in order to be sacrificed. Exeunt omnes. A battle supposed to be given behind the scenes, with drums, trumpets, and military shouts and excursions, after which the Britons, expressing their joy for the victory, sing this song of triumph. TENOR II "Come if you dare," our trumpets sound. "Come if you dare," the foes rebound. We come, we come, we come, we come," Says the double, double, double beat of the thund ring drum. CHORUS "Come if you dare," our trumpets sound, etc. TENOR II Now they charge on amain. Now they rally again. The Gods from above the mad labour behold, And pity mankind that will perish for gold. CHORUS Now they charge on amain, etc. TENOR II The fainting Saxons quit their ground, Their trumpets languish in their sound, They fly, they fly, they fly, they fly, "Victoria, Victoria," the bold Britons cry. CHORUS The fainting Saxons quit their ground, etc. TENOR II Now the victory s won, To the plunder we run, We return to our lasses like fortunate traders, Triumphant with spoils of the vanquish d invaders. CHORUS Now the victory s won, etc. Purcell,Henry/King Arthur/II
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The Testament of Sherlock Holmes 項目数：32 総ポイント：1000 難易度： 北米版・欧州版共に別実績。 アジア版は国内本体起動可。 香港マケプレのゲームオンデマンドは欧州版扱い。国内本体で購入、起動可能。 Law of Nature One s ideas must be as broad as Nature if they are to interpret Nature. Well done! 30 The Legacy I must compliment you exceedingly upon the zeal and the intelligence which you have shown. 150 Stage Manager A simple trick, but exceedingly effective! 20 Bomb Defuser You never can resist a touch of the dramatic! 20 A Fine Romance The most winning woman I ever knew was hanged for poisoning. But I digress. You found the letter! 20 Melomania You are a conductor of light! You discovered the hidden code. 20 Number Lover With all respect for your natural acumen, you handled that very well. You opened the safe box! 20 Master of Deduction Genius is an infinite capacity for taking pains. Bravo! 30 Deduction Apprentice To a great mind, nothing is little. You completed the first deduction board. 20 Lockpicker I can see that you are a force to be reckoned with. 20 Lazarus An isolated phenomenon? A brain without a heart? I trust that you did not judge me so quickly! 50 Desperately Seeking Sherlock I would have made an actor – and a rare one. You deduced my disguise. 20 Breaking the Law I have a great deal of respect for your judgement. You opened the safe room! 30 Prison Break A trusty comrade is always of use. Well done. And yet one got away... 20 First-Class Chemist It was the bisulphate of baryta! 20 Pea-Souper Moonshine is a brighter thing than fog, but this is a pea-souper! You asked for Help a great deal. 10 A Very Fine Loafer There are in you the makings of a very fine loafer. 20 The Brain I never get your limits... there are unexplored possibilities about you. 100 Watson Alone The one fixed point in a changing age. 20 Anarchy in the UK There are always some lunatics about. It would be a dull world without them. 20 Minesweeper Your nerves are fairly proof! 50 Finders Key-pers You handled that with less than your usual – that is to say, you handled it well. You found the key! 30 Attention to Detail You have a turn for both observation and deduction! 30 Freedom of the Press The Press is a most valuable institution – if you only know how to use it! 20 The Holmesian I was sure that I might rely on you. You found all the items from my past adventures. 30 The Gambler You have never failed to play the game! 20 Hidden Message See the value of imagination! 20 Garden Gumshoe With your usual happy mixture of cunning and audacity, you recovered all that was stolen! 20 Sleuth-Hound The beautiful, faithful nature of dogs! 50 Blackmailer Your morals don t improve! 20 Safecracker You would make a highly efficient criminal. 20 Elementary It seems you share my love of all that is bizarre. You recovered the Samoan necklace, well done! 30 Walkthrough 以下の 5 つ以外はストーリークリアで解除できる。 Pea-Souper 前作と違って LT はゲージがたまらないと使用できない。 これを 15 回使用すると解除。 The Holmesian Elementary を解除したあとに Baker Street をいろいろ調べられるようになる。 このとき、 「暖炉の上の紙」 「ワトソンの部屋（左）入口の上の槍」 「ワトソンの部屋のタイプライター」 「ホームズの部屋の胸像」 を調べると解除。 A Very Fine Loafer Whitechapel に移動後、その辺の一般人 3 人に話しかけると解除。 Blackmailer 墓地の小屋の子供に「Afraid」 ホームズを探してる時、おばさんに「I work for the hygiene service」続けて「I will tell the police」 序盤の Baker Street での「Blackmail」は必要なさそう？ The Brain すべてのパズルをスキップせずにクリアすると解除。