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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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2017年1月13日 新第０話：CHAOS;HEAD BS11デジタル：27時00分〜 西條拓巳：吉野裕行／咲畑梨深：喜多村英梨／蒼井セナ：生天目仁美／西條七海：宮崎羽衣／葉月志乃：青木紀子／高科史男：石田彰 将軍：代永翼／宮代拓留：松岡禎丞／キャスターＡ：小松奈生子／キャスターＢ：濱口綾乃／ネット民Ａ：原良丞／ネット民Ｂ：桶谷菜穂 ネット民Ｃ：野澤慧／ネット民Ｄ：橋本栞里 2017年1月13日 第１話：情報強者は事件を追う BS11デジタル：27時30分〜 宮代拓留：松岡禎丞／尾上世莉架：上坂すみれ／来栖乃々：ブリドカット・セーラ・恵美／香月華：仲谷明香／伊藤真二：藤原祐規 橘結衣：原由実／橘結人：菊池こころ／神成岳志：桐本拓哉／百瀬克子：くじら／佐久間恒：志村知幸／久野里澪：真田アサミ 有村雛絵：三森すずこ／女子アナ：神田みか／男Ａ：藤巻大悟／男Ｂ：風間勇刀／男Ｃ：ふくまつ進紗／女Ａ：堀越知恵 警官：小島英樹 2017年1月20日 第２話：事件が彼らを嘯く BS11デジタル：27時00分〜 宮代拓留：松岡禎丞／尾上世莉架：上坂すみれ／来栖乃々：ブリドカット・セーラ・恵美／有村雛絵：三森すずこ／香月華：仲谷明香 伊藤真二：藤原祐規／久野里澪：真田アサミ／神成岳志：桐本拓哉／百瀬克子：くじら／橘結衣：原由実／橘結人：菊池こころ 佐久間恒：志村知幸／川原雅司：阿部敦／エリン：加藤英美里／ハルカ：小日向茜／女子Ａ：竹尾歩美／男子Ａ：佐々木篤 男子Ｂ：山口正秀／男子Ｃ：伊達忠智 2017年1月27日 第３話：彼らのお祭りのお話の言い分 BS11デジタル：27時00分〜 宮代拓留：松岡禎丞／尾上世莉架：上坂すみれ／来栖乃々：ブリドカット・セーラ・恵美／有村雛絵：三森すずこ／香月華：仲谷明香 伊藤真二：藤原祐規／橘結衣：原由実／橘結人：菊池こころ／久野里澪：真田アサミ／神成岳志：桐本拓哉／佐久間恒：志村知幸 川原雅司：阿部敦／和久井修一：加藤将之／渡部友昭：井上剛／狂信者：木内太郎／執刀医：小島英樹 2017年2月3日 第４話：お話の裏側が妄想を始める BS11デジタル：27時00分〜 宮代拓留：松岡禎丞／尾上世莉架：上坂すみれ／来栖乃々：ブリドカット・セーラ・恵美／久野里澪：真田アサミ／伊藤真二：藤原祐規 山添うき：水瀬いのり／百瀬克子：くじら／乳母車の女：大原さやか／収容所の男：江藤博樹／老人：横田紘一／大谷悠馬：蓮岳大 高柳桃寧：本多真梨子／柿田広宣：高橋伸也／渡部友昭：井上剛 2017年2月10日 第５話：妄想の住人が騒ぎ迫る BS11デジタル：27時00分〜 宮代拓留：松岡禎丞／尾上世莉架：上坂すみれ／来栖乃々：ブリドカット・セーラ・恵美／有村雛絵：三森すずこ／伊藤真二：藤原祐規 山添うき：水瀬いのり／橘結衣：原由実／橘結人：菊池こころ／久野里澪：真田アサミ／神成岳志：桐本拓哉／百瀬克子：くじら 謎の少女：明坂聡美 2017年2月17日 第６話：侵した過去に間に合うために BS11デジタル：27時00分〜 宮代拓留：松岡禎丞／尾上世莉架：上坂すみれ／来栖乃々：ブリドカット・セーラ・恵美／有村雛絵：三森すずこ／伊藤真二：藤原祐規 香月華：仲谷明香／山添うき：水瀬いのり／久野里澪：真田アサミ／神成岳志：桐本拓哉／百瀬克子：くじら／謎の少女：明坂聡美 エリン：加藤英美里 2017年2月24日 第７話 BS11デジタル：27時00分〜 宮代拓留：松岡禎丞／尾上世莉架：上坂すみれ／来栖乃々：ブリドカット・セーラ・恵美／有村雛絵：三森すずこ／伊藤真二：藤原祐規 香月華：仲谷明香／佐久間恒：志村知幸／橘結衣：原由実／橘結人：菊池こころ／神成岳志：桐本拓哉／久野里澪：真田アサミ 山添うき：水瀬いのり／刑事Ａ：間宮康弘／刑事Ｂ：田代哲哉 2017年3月3日 第８話：錯綜する光と影に惑う思いは BS11デジタル：27時00分〜 宮代拓留：松岡禎丞／尾上世莉架：上坂すみれ／来栖乃々、南沢泉里：ブリドカット・セーラ・恵美／有村雛絵：三森すずこ 伊藤真二：藤原祐規／香月華：仲谷明香／神成岳志：桐本拓哉／久野里澪：真田アサミ／山添うき：水瀬いのり／大谷悠馬：蓮岳大 研究員Ａ：横田紘一／研究員Ｂ：山口正秀 2017年3月10日 第９話：錯綜する思惑の行き着くところ BS11デジタル：27時00分〜 宮代拓留：松岡禎丞／尾上世莉架：上坂すみれ／南沢泉里：ブリドカット・セーラ・恵美／有村雛絵：三森すずこ／香月華：仲谷明香 神成岳志：桐本拓哉／百瀬克子：くじら／久野里澪：真田アサミ／山添うき：水瀬いのり／橘結人：菊池こころ／ゲンさん：石住昭彦 キャスター：神田みか 2017年3月17日 第１０話：迫りくる過去の記憶 BS11デジタル：27時00分〜 宮代拓留：松岡禎丞／尾上世莉架：上坂すみれ／有村雛絵：三森すずこ／神成岳志：桐本拓哉／百瀬克子：くじら／久野里澪：真田アサミ 佐久間恒：志村知幸／松木和也：堀江瞬／拓留の母：森なな子／拓留の父：保村真／女教師：小堀友里絵／小４男子Ａ：古島清孝 小４男子Ｂ：重松千春／キャスター：藤堂真衣／小６女子Ａ：石川綾乃 2017年3月24日 第１１話：彼の戦い BS11デジタル：27時00分〜 宮代拓留：松岡禎丞／尾上世莉架：上坂すみれ／来栖乃々、南沢泉里：ブリドカット・セーラ・恵美／伊藤真二：藤原祐規 有村雛絵：三森すずこ／香月華：仲谷明香／橘結衣：原由実／橘結人：菊池こころ／山添うき：水瀬いのり／久野里澪：真田アサミ 神成岳志：桐本拓哉／百瀬克子：くじら／佐久間恒：志村知幸／渋谷区長：楠見尚己／人々Ａ：君嶋哲／人々Ｂ：真島駿一 人々Ｃ：有村百恵／人々Ｄ：奥畑幸典／人々Ｆ：松田颯水／人々Ｆ：森嶋秀太 2017年3月31日 第１２話：彼女の思惑終 BS11デジタル：27時00分〜 宮代拓留：松岡禎丞／尾上世莉架：上坂すみれ／南沢泉里：ブリドカット・セーラ・恵美／有村雛絵：三森すずこ／山添うき：水瀬いのり 香月華：仲谷明香／久野里澪：真田アサミ／神成岳志：桐本拓哉／百瀬克子：くじら／伊藤真二：藤原祐規／橘結衣：原由実 橘結人：菊池こころ／佐久間恒：志村知幸／渋谷区長：楠見尚己／若者男子Ａ：奥畑幸典／若者男子Ｂ：柴崎哲志 若者男子Ｃ：森嶋秀太／若者女子Ａ：松田颯水 http //cal.syoboi.jp/tid/4444
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Device Name Xiaomi 12S Ultra 小米 12S Ultra Model Name 2203121C (China) Code Name thor Color Black Dark Green SoC Qualcomm Snapdragon 8+ Gen1 SM8475 CPU 8-Core 3.19GHz TSMC 4nm TDP 10W 1x3.19 GHz Cortex-X2 3x2.75 GHz Cortex-A710 4x1.80 GHz Cortex-A510 GPU Adreno 730 @800MHz NPU Qualcomm Hexagon 780 RAM Samsung LPDDR5 3200MHz 8GB / 12GB Storage Samsung UFS 3.1 (3000MB/s) 256GB / 512GB Display 6.73" 20 9 1440x3200 522ppi Samsung E5 AMOLED LTPO Gen2 1000nits(HBM) 1500nits (Peak) Contrast 8,000,000 1 Adaptive Reflesh Rate Reflesh Rate 120Hz / Touch Sampling Rate 240Hz DCI-P3 100% / sRGB 100% / HDR10+ / Dolby Vision 10-bit Color Gorilla Glass Victus Always On Display Camera 50MP (Wide) F1.9 Octa-PDAF 1/1.02" 8P Lens HyperOIS / NightMode Sony IMX 989 8K @24fps / 4K @60fps / 1080p @1920fps 48MP (UltraWide) F2.2 1/2" Dual-PDAF 7P Lens MacroMode / NightMode Sony IMX 586 48MP (TelePhoto) F4.1, 50mm 1/2" PDAF 5x Optical Zoom NightMode 5x Optical Zoom 10x Hybrid Zoom 120x Digital Zoom Sony IMX 586 32MP Selfie F2.4 PDAF 1/3" 1080p@30fps / 720p @120fps Omnivision OV32B Battery 4860mAh Li-Pol Single-Cell USB 2.0 (Type-C 1.0) USB OTG Xiaomi Mi Turbo Charge USB Power Delivery 3.0 Qualcomm Quick Charge 4+ Wired 67W / Wireless 50W / Reverse Wireless 10W Xiaomi Surge P1 Chip (Charging) Xiaomi Surge G1 Chip (Battery) Audio Dual Stereo Speaker Tuned by Harman Kardon Dolby Atmos Compatible 24bit / 196KHz Network Modem Qualcomm Snapdragon X65 5G (Max 10Gbps) WLAN Wi-Fi a / b / g / n / ac / ax(6E) Wi-Fi Direct / Dual-Band / DLNA Bluetooth Bluetooth 5.2 A2DP / LE / aptX HD / aptX Adaptive / LHDC Band M2001J1C 2G - GSM 850 / 900 / 1800 / 1900 3G - HSDPA 800 / 850 / 900 / 1700(AWS) / 1900 / 2100 CDMA2000 4G - 1, 2, 3, 4, 5, 7, 8, 12, 17, 18, 19, 26, 34, 38, 39, 40, 41, 42 5G - 1, 3, 5, 8, 28, 38, 40, 41, 77, 78, 79 NanoSIM x2 DSDV GNSS GPS(L1+L5) / GLONASS(L1) / BDS(B1I+B1c+B2a) / GALILEO(E1+E5a) / QZSS(L1+L5) / NavIC(L5) Seculity Under Display Optical FingerPrint 2D Face Weight 225g Proof IP68 Cooling 3D Vapor Chamber 3160mm² OS China - Android 13 (MIUI 14.0.12.0) Download https //mifirm.net/model/thor.ttt Other GSMArena https //m.gsmarena.com/xiaomi_12s_ultra-11614.php telektlist https //telektlist.com/smartphone_info/xiaomi-12s-ultra/ This datasheet was prepared by NISMON.
https://w.atwiki.jp/vipkotei-j/pages/501.html
1 普通の人間のくせにやたら粋がっててもはや哀れみすら覚える東方ｷｬﾗ 2 名前：生涯孤独人 ◆Alice777vc [sage] 投稿日：2011/02/06(日) 03 23 29.25 ID w+d6ontj0 おい魔理沙を虐めるなよ・・・ 下痢をしたら死ぬ東方キャラ 3 名前：生涯孤独人 ◆Alice777vc [sage] 投稿日：2011/02/07(月) 02 43 06.41 ID 7Jjpesif0 お腹の調子が良いアリスちゃんちゅっちゅ！ 毎日乳酸菌摂ってるもんね 東方で一番シングルベッドで一緒に寝たいキャラ 5 名前：生涯孤独人 ◆Alice777vc [sage] 投稿日：2011/02/07(月) 23 55 03.16 ID 7Jjpesif0 身を寄せ合ってアリスちゃんちゅっちゅ！ もどる
https://w.atwiki.jp/oper/pages/843.html
ACT TWO Scene 1 (Solomon, Levite, Israelites) 22.- Chorus CHORUS From the censer curling rise grateful incense to the skies; heaven blesses David’s throne, happy, happy Solomon! Live, live for ever, pious David’s son; live, live for ever, mighty Solomon 23.- Recitative SOLOMON Prais’d be the Lord, form Him my wisdom springs; I bow in-raptur’d to the King of Kings. He led me, abject, to th’imperial state, when weak, and trembling for my future fate; strengthen’d by Him, each foe with horror fled, then impious Joab at the altar bled; the death he oft deserv’d stern Schimei found, and Adonijah sunk beneath the wound; forc’d by his crimes, I spoke a brother’s doom. Ah, may his vices perish in his tomb! 24.-Air When the sun o’er yonder hills pours in tides the golden day, or, when quiv’ring o’er the rills, in the west he dies away; he shall ever hear me sing praises to th’eternal King. 25.- Recitative LEVITE Great prince, thy resolution’ just; he never fails, in Heav’n who puts his trust; true worth consists not in the pride of state, ‘this virtue only makes a monarch great. 26.- Air Thrice bless’d that wise discerning king, who can each passion tame, and mount on virtue’s eagle wing to everlasting fame. Such shall as mighty patterns stand to princes yet unborn, to honour prompt each distant land, and future time adorn. Scene 2 (The previous and an attendant) 27.- Recitative ATTENDANT My sovereign liege, two women stand, and both beseech the king’s command to enter here. Dissolv’d in tears the one a new born infant bears; the other, fierce, and threat’ ning loud, declares her story to the crowd; and thus she clamours to the throng, "see we the King, he shall redress our wrong" SOLOMON Admit them straight; for when we mount the throne, our hours are all the people’s, not our own. Scene 3 (The previous and two harlots) FIRST HARLOT Thou Son of David, hear a mother’s grief; and let the voice of justice bring relief. This little babe my womb conceiv’d, the smiling infant I with joy receiv’d. That woman also bore a son, whose vital thread was quickly spun one house we both together kept; but once, unhappy, as I slept, she stole at midnight where I lay, bore my soft darling from my arms away, and left her child behind, a lump of lifeless clay and now – oh impious!- dares to claim my right alone, a mother’s name. 28.- Trio FIRST HARLOT Words are weak to paint my fears; heart-felt anguish, starting tears, best shall plead a mother’s cause. To thy throne, oh king, I bend, my cause is just, be thou my friend. SECOND HARLOT False is all her melting tale. SOLOMON Justice holds the lifted scale. SECOND HARLOT Then be just, and fear the laws. FIRST HARLOT Words are weak to paint my fears, etc. 29.- Recitative SOLOMON What says the other to th’imputed charge? Speak in thy turn, and tell thy wrongs at large. SECOND HARLOT I cannot varnish o’er my tongue, and colour fair the face of wrong. This babe in mine, the womb of earth intomb’d, conceals her little birth. Give me my child, my smiling boy, to cheer my breast with new-born joy. SOLOMON Hear me, ye women, and the king regard, who form his throne thus reads the just award each claim alike, let both their portions share; divide the babe, thus each her part shall bear. Quick, bring the faulchion, and the infant smite, nor further clamour for disputed right. 30.- Air SECOND HARLOT Thy sentence, great king, is prudent and wise, and my hopes on the wing quick bound for the prize. (Contented I hear, and approve the decree; for at least I shall tear the lov’d infant from thee) 31.- Recitative FIRST HARLOT Withhold, withhold the executing hand! Reverse, oh king, thy stern command. 32.- Air Can I see my infant gor’d with the fierce relentless sword? Can I see him yield his breath, smiling at the hand of death? And behold the purple tides gushing down his tender sides? Rather be my hopes beguil’d, take him all – but spare my child. 33.- Accompagnato SOLOMON Israel, attend to what your king shall say Think not I meant the innocent to slay. The stern decision was to trace with art, the secret dictates of the human heart. She who could bear the fierce decree to hear, nor send one sigh, nor shed one pious tear, must be a stranger to a mother’s name- Hence from my sight, nor urge a further claim! But you, whose fears a parent’s love attest, receive, and bind him to your beating breast to you, in justice, I the babe restore, and may you lose him form your arms no more. 34.- Duet FIRST HARLOT Thrice bless’d be the king, for he’s good and he’s wise. SOLOMON The Lord all these virtues has giv’n... FIRST HARLOT My gratitude calls streaming tears from my eyes. SOLOMON Thy thanks be return’d all to Heav’n. ‘Tis God that rewards, and will lift from the dust whom to crush proud oppressors endeavour. FIRST HARLOT How happy are those who in God put their trust! SOLOMON For His mercy endureth for ever. 35.- Chorus CHORUS OF ISRAELITES From the east unto the west, who so wise as Solomon? Who like Israel’s king is bless’d, who so worthy of a throne. 36. Recitative ZADOK From morn to eve I could enraptur d sing The various virtues of our happy king; In whom, with wonder, we behold combin d The grace of feature with the worth of mind. 37. Air See the tall palm that lifts the head On Jordan s sedgy side, His tow ring branches curling spread, And bloom in graceful pride. Each meaner tree regardless springs, Nor claims our scornful eyes; Thus thou art first of mortal kings, And wisest of the wise. See the tall palm... 38.- Recitative FIRST HARLOT No more shall armed bands our hopes destroy, peace waves her wing, and pours forth ev’ry joy. 39.- Air Beneath the vine, or fig-tree’s shade, ev’ry shepherd sings the maid, who his simple heart betray’d. In a rustic measure. While of torments he complains, all around the village swains catch the song, and feel his pains, mingling sighs with pleasure. 40.- Chorus CHORUS OF PRIESTS Swell, swell the full chorus to Solomon’s praise, record him, ye bards, as the pride of our days. Flow sweetly the numbers that dwell on his name, and rouse the whole nation in songs to his fame. ACT TWO Scene 1 (Solomon, Levite, Israelites) 22.- Chorus CHORUS From the censer curling rise grateful incense to the skies; heaven blesses David’s throne, happy, happy Solomon! Live, live for ever, pious David’s son; live, live for ever, mighty Solomon 23.- Recitative SOLOMON Prais’d be the Lord, form Him my wisdom springs; I bow in-raptur’d to the King of Kings. He led me, abject, to th’imperial state, when weak, and trembling for my future fate; strengthen’d by Him, each foe with horror fled, then impious Joab at the altar bled; the death he oft deserv’d stern Schimei found, and Adonijah sunk beneath the wound; forc’d by his crimes, I spoke a brother’s doom. Ah, may his vices perish in his tomb! 24.-Air When the sun o’er yonder hills pours in tides the golden day, or, when quiv’ring o’er the rills, in the west he dies away; he shall ever hear me sing praises to th’eternal King. 25.- Recitative LEVITE Great prince, thy resolution’ just; he never fails, in Heav’n who puts his trust; true worth consists not in the pride of state, ‘this virtue only makes a monarch great. 26.- Air Thrice bless’d that wise discerning king, who can each passion tame, and mount on virtue’s eagle wing to everlasting fame. Such shall as mighty patterns stand to princes yet unborn, to honour prompt each distant land, and future time adorn. Scene 2 (The previous and an attendant) 27.- Recitative ATTENDANT My sovereign liege, two women stand, and both beseech the king’s command to enter here. Dissolv’d in tears the one a new born infant bears; the other, fierce, and threat’ ning loud, declares her story to the crowd; and thus she clamours to the throng, "see we the King, he shall redress our wrong" SOLOMON Admit them straight; for when we mount the throne, our hours are all the people’s, not our own. Scene 3 (The previous and two harlots) FIRST HARLOT Thou Son of David, hear a mother’s grief; and let the voice of justice bring relief. This little babe my womb conceiv’d, the smiling infant I with joy receiv’d. That woman also bore a son, whose vital thread was quickly spun one house we both together kept; but once, unhappy, as I slept, she stole at midnight where I lay, bore my soft darling from my arms away, and left her child behind, a lump of lifeless clay and now – oh impious!- dares to claim my right alone, a mother’s name. 28.- Trio FIRST HARLOT Words are weak to paint my fears; heart-felt anguish, starting tears, best shall plead a mother’s cause. To thy throne, oh king, I bend, my cause is just, be thou my friend. SECOND HARLOT False is all her melting tale. SOLOMON Justice holds the lifted scale. SECOND HARLOT Then be just, and fear the laws. FIRST HARLOT Words are weak to paint my fears, etc. 29.- Recitative SOLOMON What says the other to th’imputed charge? Speak in thy turn, and tell thy wrongs at large. SECOND HARLOT I cannot varnish o’er my tongue, and colour fair the face of wrong. This babe in mine, the womb of earth intomb’d, conceals her little birth. Give me my child, my smiling boy, to cheer my breast with new-born joy. SOLOMON Hear me, ye women, and the king regard, who form his throne thus reads the just award each claim alike, let both their portions share; divide the babe, thus each her part shall bear. Quick, bring the faulchion, and the infant smite, nor further clamour for disputed right. 30.- Air SECOND HARLOT Thy sentence, great king, is prudent and wise, and my hopes on the wing quick bound for the prize. (Contented I hear, and approve the decree; for at least I shall tear the lov’d infant from thee) 31.- Recitative FIRST HARLOT Withhold, withhold the executing hand! Reverse, oh king, thy stern command. 32.- Air Can I see my infant gor’d with the fierce relentless sword? Can I see him yield his breath, smiling at the hand of death? And behold the purple tides gushing down his tender sides? Rather be my hopes beguil’d, take him all – but spare my child. 33.- Accompagnato SOLOMON Israel, attend to what your king shall say Think not I meant the innocent to slay. The stern decision was to trace with art, the secret dictates of the human heart. She who could bear the fierce decree to hear, nor send one sigh, nor shed one pious tear, must be a stranger to a mother’s name- Hence from my sight, nor urge a further claim! But you, whose fears a parent’s love attest, receive, and bind him to your beating breast to you, in justice, I the babe restore, and may you lose him form your arms no more. 34.- Duet FIRST HARLOT Thrice bless’d be the king, for he’s good and he’s wise. SOLOMON The Lord all these virtues has giv’n... FIRST HARLOT My gratitude calls streaming tears from my eyes. SOLOMON Thy thanks be return’d all to Heav’n. ‘Tis God that rewards, and will lift from the dust whom to crush proud oppressors endeavour. FIRST HARLOT How happy are those who in God put their trust! SOLOMON For His mercy endureth for ever. 35.- Chorus CHORUS OF ISRAELITES From the east unto the west, who so wise as Solomon? Who like Israel’s king is bless’d, who so worthy of a throne. 36. Recitative ZADOK From morn to eve I could enraptur d sing The various virtues of our happy king; In whom, with wonder, we behold combin d The grace of feature with the worth of mind. 37. Air See the tall palm that lifts the head On Jordan s sedgy side, His tow ring branches curling spread, And bloom in graceful pride. Each meaner tree regardless springs, Nor claims our scornful eyes; Thus thou art first of mortal kings, And wisest of the wise. See the tall palm... 38.- Recitative FIRST HARLOT No more shall armed bands our hopes destroy, peace waves her wing, and pours forth ev’ry joy. 39.- Air Beneath the vine, or fig-tree’s shade, ev’ry shepherd sings the maid, who his simple heart betray’d. In a rustic measure. While of torments he complains, all around the village swains catch the song, and feel his pains, mingling sighs with pleasure. 40.- Chorus CHORUS OF PRIESTS Swell, swell the full chorus to Solomon’s praise, record him, ye bards, as the pride of our days. Flow sweetly the numbers that dwell on his name, and rouse the whole nation in songs to his fame. Handel,George Frideric/Solomon/III
https://w.atwiki.jp/thecockrockshockpop/pages/1499.html
http //www.myspace.com/lethallipstick member Nick Grind vocal Mike Trash guitar Gary Grafixx bass Billy Lixx drums Wild Child Action Wild Child 2010年11月28日 ( HD ) 1. Wild Child / 2. Sleaze / 3. Shot Down Without Love / 4. Time Bomb / 5. Yesterday s Gone Tomorrow / 6. Bondage / 7. Never Let It Out Action 1990年9月1日 ( HD ) 1. Where The Action Stops 2. Pull The Trigger 3. Dancin With Dynamite
https://w.atwiki.jp/clickvip/pages/273.html
SET LIST for 3contries Radio 一番クリックした奴が優勝inパー速 外交部 Part3 http //ex14.vip2ch.com/test/read.cgi/part4vip/1183099640/ Travelling (J-POP/WOMAN) Shonen Jidai (Old J-POP/MAN) Memories Custom (J-POP/GROUP) Kimiwo Nosete (ANIME/WOMAN) UE WO MUITE ARUKOU (Old J-POP/MAN) Sima-Uta (J-POP/GROUP) OSCA (J-POP/WOMAN) Genisis Of Aquerion (ANIME) HANA (Traditional/Choras) Merry Christmas Mr.Lawrence (CINEMA/INSTRUMENTAL) Utada Hikaru - Travelling [2001] #ref error ：画像を取得できませんでした。しばらく時間を置いてから再度お試しください。 The singer, Utada Hikaru (1983-), one of the most well known Japanese artist has been making continuous hits ever since she debuted in 1998, Japan. The concept of this song "Traveling" is to cheer up everyone.It is simply about an ordinary person on Friday afternoon, but its upbeat rhythm and music are surely catchy. Hope you enjoy it, too. lyrics of the song, "Traveling" 歌詞的Traveling Inoue Yosui - Shounen Jidai [1992] #ref error ：画像を取得できませんでした。しばらく時間を置いてから再度お試しください。 "Shonen Jidai (boyhood)" is singing about a boy's sentimentality over the end of Summer Now that fun Summer days have passed, my heart is filled with happy memory. I am seeking the continued path of those happy days. Inoue Yosui (1948-) originally composed this song as a main theme of the movie with same title. However, the song has been widely used on TV programs and advertisements, and also on school book of music. This song has been very popular among various generation and became one of the most famous works of his. Spitz - Memories Custom [2000] #ref error ：画像を取得できませんでした。しばらく時間を置いてから再度お試しください。 Spitz is Japanese veteran rock band formed in 1987. As we can often hear their songs on TV dramas or commercials, it has got big popularity among all ages and genders.The characteristic of the band is a high range of the vocal, the wonder lyric, and the sound mixed pop rock. This is so abstract and memorable number of their works. "Memories-Custom". Kimi Wo Nosete (from "Castle in the Sky") [1986] #ref error ：画像を取得できませんでした。しばらく時間を置いてから再度お試しください。 Do you know Japanese animation film "Laputa Castle in the Sky" (1986) by Miyazaki Hayao ? His animation films are loved nationally cross over generations. Perhaps many people in the world know him through his works such as "Spirited Away" and "Howl's Moving Castle". The film "Castle in the Sky" is one of his best from his early works. Its plot is an adventure of a young boy and a girl in an alternative world motived by the late 19th Century of Europe. While it has been 20 years since the film is released, its quality and popularity are never faded today. Naturally, its theme song "Kimi Wo Nosete" got a nation-wide popularity in Japan. It is on school book of music, and sung by many people today. This song is composed by Hisaishi Joe (1950-), known as cooperation with film director such as Miyazaki Hayao and Kitano Takeshi. http //en.wikipedia.org/wiki/Hayao_Miyazaki http //en.wikipedia.org/wiki/Joe_Hisaishi http //en.wikipedia.org/wiki/Castle_in_the_Sky Sakamoto Kyu - UE O MUITE ARUKOU(SUKIYAKI) [1961] #ref error ：画像を取得できませんでした。しばらく時間を置いてから再度お試しください。 Sakamoto Kyu (1941-1985) was a popular singer who was active mainly in 1960's and 1970's. This is his most popular song. "UE O MUITE ARUKOU", or probably known as "SUKIYAKI", is selling over 10 million records worldwide since its release in Japan in 1961. In 1962, this song made a big hit in France, Belgium, Holland, and the UK. In the UK, Kenny Ball played this song and ranked the UK hit chart in 10th. In the US, this song earned the "Golden Disk Award" for the first time to Non-American record. While you can find word-to-word translation in the URL below, it sings about a man walking on the street at summer night. He is looking up sky, trying not to drop tears from his eyes. lyrics of the song, "Ueomuitearukou" The boom - Sima-Uta [1992] #ref error ：画像を取得できませんでした。しばらく時間を置いてから再度お試しください。 "Shima Uta" is from the impressions of the author Miyazawa Kazufumi (1966-) 's visit on Okinawa. While Okinawa's lovely southern islands for holiday resort, it also has a tragic side. Near the end of the 2nd world war, it was a battle site often referred as the "the Typhoon of Steel". "Shima Uta" hopes to send out an message from Okinawa to the world across the ocean the message is that the battle (the war) took away friends, lovers, family members, and everyone. What could we do to stop it. What can we do now not to repeat the same sort of tragedy happen again. Tokyo Jihen - OSCA (Oscar) [2007] #ref error ：画像を取得できませんでした。しばらく時間を置いてから再度お試しください。 This is the newest hit song from Japan released on last July, OSCA by Tokyo Jihen. Every single instruments sound very unique, and so does the vocal. It's famous singer Shiina Ringo (1978-) who is the main vocal of the band. Their style is sort of strange, and really unique that gets many people addicted to. The lyric on the song is almost meaningless! I know you guys' gonna be addicted to this. Enjoy the art of nonsense. Sousei no Aquarion (from "Genesis of Aquarion") [2005] #ref error ：画像を取得できませんでした。しばらく時間を置いてから再度お試しください。 This is the main theme song of "Genesis of Aquerion", which is a science fiction animation on the Earth in the future. In this story, once a disaster destroyed the world 12 thousands years before, and remaining human beings battle against disaster. This song got cult-like popularity among VIPPERs, and almost all Japanese Clickers have taken to this song. There's no limit of the power to accelerate their clicking speed. Taki Rentarou - Hana(Flower) [1900] #ref error ：画像を取得できませんでした。しばらく時間を置いてから再度お試しください。 Taki Rentarou (1879-1903) is one of the most important figure of Japanese modern music, and he is one of the first composer who expressed Japanese sensibility by using the idiom of European music.Even though he died at a young age, he had composed some prominent songs. This song, "Hana (Flower)" is one of the most popular songs composed by him. It is originally written for 2 female voice and piano accompaniment, and appeared in 1900, the late Meiji era. The motif of the song is the spring scenery of Sumida-gawa (Sumida River), which flows in Tokyo.The expression of the lyric much accords with melody, therefore we really love it, and still sing it. Sakamoto Ryuichi - Merry Christmas, Mr. Lawrence [1983] #ref error ：画像を取得できませんでした。しばらく時間を置いてから再度お試しください。 Sakamoto Ryuichi (1952-) is Japanese musician with a worldwide reputation, who is an Academy Awards-winning, Grammy-winning, and Golden Globe-winning. Sakamoto started his career from the late 1970s and joined the synth techno trio "Yellow Magic Orchestra" (YMO). The band succeeded internationally and influenced on the acid house and techno movements of the following decade. Next, he made a great success as film score composer. This is the main score of "Merry Christmas Mr.Lawrence", made him known to a broader public. The film, set in in Japanese war camp during the Second World War, deals with the peculiar friendship between Japanese soldiers and English prisoners beyond their position or culture.
https://w.atwiki.jp/vocaloidenglishlyric/pages/414.html
【Tags Miku Saion-P tA tS S】 Original Music title サラリーマンのうた English music title Song of Salaried Worker Romaji music title Sarariiman no Uta Music Lyrics written, Voice edition by 彩音P(Saion-P) Music arranged by 彩音P(Saion-P) Singer(s) 初音ミク (Hatsune Miku) Fanmade Promotional Video(s) Click here for the original Japanese Lyrics English Lyrics (translated by soundares)： Work hard Back home and all I do is sleep I m tired of everyday like this but Today, tomorrow...that s what I ll do Dive(Rush) into the usual door (at coach) Another day crowded. (At office) I work ... then work overtime, Go to the convenience store I m so familiar with (now) Nothing you could call it a trouble (Just) busy days... It s so ordinary that I m feeling like crying What I used to dream when I was a child was a Super hero...Me finishing the bad guys... Work hard Take a bath and all I do is sleep Take packed meal look healthy And another day to drink a bit (of alcohol) alone I made mistake on my work at office...Boss is furious I apologized and apologized.... Then I jumped out of bed. It was dream... Let me sleep in my day off...in comfort Shape-memory thing is enough with my shirt... Yet hear its slump in the world Busy after all is happy thing...maybe? Work hard Back home and all I do is sleep Work hard then Maybe I could be a help of something May something good happen tomorrow... Work hard Back home and all I do is sleep Work hard and Today, tomorrow... I ll live on Work hard Back home and all I do is sleep I m tired of everyday like this but Today, tomorrow... I ll live on Romaji lyrics (transliterated by haru47)： isshoukenmei hataraite ie ni kaeruto,tada neru dake konnna mainichi akita kedo, kyou mo asu mo tada kurikaesu itsumo no doa ni kakekomu kyou mo manin shigotoshite zangyoushite kayoinareta konbini e taishita mondai nanka nai isogashii hibi anmari futsuu de nandaka naketekita kodomo no koro ni yumemite ita no wa su-pa-hi-ro- warumono wo yattsukeru yo isshoukenmei hataraite furo ni haitte tada neru dake karada ni yosasouna bentou ni kyou mo hitori de chotto nomu dake kaisha de shigoto no misu wo shita okoru joushi ayamatte ayamatte tobiokitara yume datta... nekasete yo kyuujitsu kurai kimochiyoku keijoukioku wa shatsu dake de ii yo... soredemo mimi ni suru fukyou no yo no naka isogashii dake jitsu wa shiawase nano kamo ne? isshoukenmei hataraite ie ni kaeruto,tada neru dake isshoukenmei hatarakeba boku mo nanika no yaku ni tatsu kamo asu wa ii koto arimasu youni isshoukenmei hataraite ie ni kaette tada neru dake isshoukenmei hataraite kyou mo asu mo mata ikiteku isshoukenmei hataraite ie ni kaeruto,tada neru dake kon na mainichi akita kedo, kyou mo asu mo mata ikiteku [Saion-P, SaionP]
https://w.atwiki.jp/misutiru/pages/62.html
SOUNDTRACKS(サウンドトラックス) 2020/12/02 前アルバム 重力と呼吸 次アルバム Mr.Children 2011-2015 収録曲 1.DANCING SHOES? 2.Brand new planet? 3.turn over? 4.君と重ねたモノローグ 5.losstime? 6.Documentary Film? 7.Birthday 8.others? 9.The song of praise? 10.memories? + LIVE Documentary of SOUNDTRACKS "MINE"（初回限定盤A・Bのみ） 収録内容 1.OPENING 2.DANCING SHOES? 3.Documentary of SOUNDTRACKS I 4.Brand new planet? 5.Documentary of SOUNDTRACKS II 6.Documentary Film? 7.Documentary of SOUNDTRACKS III 8.others? 9.END ROLL Extra.Documentary Film? (MUSIC VIDEO) + レコード収録内容（初回生産限定アナログ盤） SIDE A 収録曲 1.DANCING SHOES? 2.Brand new planet? 3.turn over? 4.君と重ねたモノローグ 5.losstime? SIDE B 収録曲 6.Documentary Film? 7.Birthday 8.others? 9.The song of praise? 10.memories? Mr.Childrenの20枚目のアルバム。 初回限定盤A・B、通常盤、初回生産限定アナログ盤の全4形態で発売。初回限定盤AはDVD付属、初回限定盤BはBlu-ray付属、初回生産限定アナログ盤は重量盤レコード1枚のみ。DVDおよびBlu-rayには、撮り下ろし映像やレコーディング風景、メンバーへのインタビューで構成された約50分の映像『LIVE Documentary of SOUNDTRACKS "MINE"』と、「Documentary film」のミュージック・ビデオが収録されている。 本作のレコーディングはロンドンとロサンゼルスで行なわれた。海外でのレコーディングは2000年発売の9thアルバム『Q』以来およそ20年ぶりとなる。3月のロンドンでのレコーディングは、新型コロナウイルス感染症 (COVID-19) 拡大によるロックダウン直前での作業完了となった。 関連項目 重力と呼吸 miss you アルバム集