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クリムゾンスカイ High Road To Revenge part33-169～171 169 ：クリムゾンスカイ High Road To Revenge：2007/09/22(土) 05 47 38 ID jET/amTI0 大戦の終結は、希望をもたらす筈だった。 禁酒法の失策と大恐慌により、合衆国政府はその機能を停止。 州国は次々と独立を宣言し、厳しい国境が築かれた。 そして国境を越えるために発達したのが、飛行船による交通技術であり、 同時に、飛行機を駆る荒くれ者たち「空賊」が誕生する。 空賊「フォーチュンハンター」のボスであるネイサン･ザッカリー。 いつものように見知らぬベッドで目覚めた彼だが、博打で大負けした後だった。 胴元がいけ好かない奴だったので、仕返しに彼の基地を粉砕してやる。 そんな折、ネイサンは十数年来の親友であるファッセンベンデル博士の工場を訪れる。 博士の発明品：嵐を生み出すストームジェネレーターは平和利用にも兵器運用にも 転用できる危険な装置だ。博士はフォンマイセンという昔の研究仲間で、 危険思想のナチ野郎に発明品を狙われているらしい。彼から極秘で設計図を預かる。 だが次の訪問では、博士は物言わぬ姿に変わり果てていた。 博士の報復を決意したネイサンは、彼の最期の足取りを辿る。 博士が材料調達に訪れていた、アリコのチタン鉱山を探す。 他の空賊を撃退して現地のインディアンと交友を広げながら調査を続ける。 チタン鉱山を陣取っていたのは有力空賊であるレッドスケル軍と、 以前戦闘になった大型兵器と似たビックリドッキリメカであった。 レッドスケルの首領、カーンがアジトを構える大都市シカゴに向かう。 カーンとネイサンは元仲間だったが、交渉は決裂する。 相棒が捕まったので、報復にカーンの倉庫を爆破して反撃。 悪党と組んだことを後悔しつつも、死を前に潔いカーンを許すネイサン。 レッドスケルと同盟を結び、シカゴの防衛にビル街を駆ける。 だが戦闘後の打ち上げで、クルー(女)に裏切られて設計図を奪われてしまう。 裏切り者の足取りを辿り、フォーチュンハンターは南米へ。 ロストシティの遺跡地下に建設されていた秘密基地に進入する。 裏切ったクルーはフォンマイセンと口論の末で殺されていた。 ストームジェネレータを搭載した超大型飛行船を追い、シカゴへ。 嵐のシカゴでの激戦で、遂にフォンマイセンの野望を打ち砕く。 171 ：名無しさん＠お腹いっぱい。：2007/09/22(土) 15 02 53 ID fv2eAk690 169 High Road To Revenge乙です。 だいぶ前に出たPC版クリムゾンスカイと舞台設定や主人公が同じだから 普通の移植なのかと思ってたけど、ストーリーは別物になってるんですね。
https://w.atwiki.jp/btbuilder/pages/31.html
RBR long track making guide This is a guide to building long rally tracks using BTB v0.7 or later. After recently spending several days creating my first really really long rally track, I though it would be helpful to others to learn from my experience. Here s how the first part of the track looks after 3 long days of creation ... BTB is aiming to provide an RBR experience that is better than the original. The format we use allows us (eventually) to do much more than if we’d stuck with the original RBR format. Internally we use technology that allows several hundred thousand objects to line a long stage. The creation of that environment is easier with BTB by the use of the Object planting tools and String Objects. Everything created by these tools is efficiently loaded and displayed using the RBR RX plugin coded by black f. Having completed this stage, as much as I intend to for now, there are some things I would do differently had I to create it all again. So here are the steps I will take in my next track. The Track Create a basic path using Nodes spaced 300-400 meters apart in the top view to create the whole track. (Note For speed reasons I have recommended that you use multiple tracks, and I still do. I intend to create a tool to split tracks but that might be a while). Adjust the height of one Node, then select XXX number of nodes nearby and use the Smooth Nodes by height popup menu to smooth out the change in height between those nodes. Repeat this step until you have a good height variation. Add more Nodes by selecting and splitting track sections. Adjust the direction and height of these nodes. This will take some time. Leave some sections long and straight, others windy and hilly to give variety. Use the surface modifier to add variety to the track’s cross-section. This can add bumps ditches and camber to the road. Initially set the Panel Size to 20m so that recalculation is performed quickly. Afterwards you can set it to lower values for more track detail. I steer clear of the width and camber tools. Use the terrain tool to create 20 meters of terrain either side of your track. Use the randomness and slope it slightly upwards. This will act as a safety barrier when you test your track. Place a large object such as house or large tree every 3 kms along your track. This helps to identify different parts of your track when editing it later. Export to RBR and drive it. Then remove the terrain and go back to step 3 and adjust until you have a track that drives well. (I could have spent more time doing that myself .. but, well this was just a demo). It is important to get the above steps done and your track driving well before continuing further. It is much harder to go back from here and re-edit the track and terrain. You can move the start position to help test the track in smaller pieces. Textures Add/edit your own textures to the scenery. Some people have great skill in this area (not me) and it shows in the result. You can edit the textures in the RBR track folder and press F2 to see their immediate impact. The track cross section can be made to have the center part as road with the edges being grass or dirt. Each texture file has a corresponding *.rbr file that provides the physical characteristics of the surface determining the sound and grip levels. These can be edited using the RBR_MaterialEditor in the Support\RBR\MaterialEditor folder. See the BTB manual for more help (press F1). I wish I had more time to devote to this myself as they play a very important role in obtaining a good feeling for your roads. Terrain Add around 20m of terrain either side of the track. The Quick Add tool of BTB is designed to generate the driveable terrain very quickly. It is important not to try and overuse this tool to cover everything as you should only be trying to make part of the terrain a driveable surface. Anything that is going to be out of bounds should be marked as non-collideable. Use the Pull tool to enlarge the boundary of your terrain for the entire track. This is best done by selecting the outer edge of terrain anchors and dragging it outwards. I set Reduce to 4 to dramatically lower the polygon count. Section, by section highlight the polygons created in step 11 and Split them into a new Terrain Area. I name this “Outer” and keep it as one big terrain area to begin with. Later you could divide it into smaller areas so that the LOD ability helps increase frame rates. Use the Raise/Lower and Flatten tools to alter the terrain in the 3d view. Limit the visible terrain to just a few Terrain areas Left and Right of the road and slowly work your way along it to add variety. You can’t resist, so drive it again now. Go back to 13 until you are happy or fed up. ;) Objects and SObjects If you do go back to terrain editing after adding BObjects and SObjects, be sure to turn off these items to speed up recalculations of your track. Note when you switch back to editing BObjects or SObjects there will be a delay as they get recalculated to sit on the terrain. Depending on the type of track you are creating will determine what objects you put in and how densely it will be populated. This is where your artistic and aesthetic talents are needed. Keep Objects logically grouped by type, merge multiple groups of the same type of Object into one to make management easier. Add SObjects in order from the start of the track to the end as this makes finding them easier later on. Set LOD and collision values to fine tune the track. Use the latest Object Add to Track tool for relatively rapid planting of the entire track. Test by click-dragging on the track first in order to get the density right (press the Delete key afterwards to remove). I will be making this faster in a future update. Test many times and repeat until happy. OK, that’s it from me for now. My eyes are starting to blink and stay closed for longer than they stay open. 引用 http //forum.racedepartment.com/bobs-track-builder/17184-rbr-long-track-making-guide.html
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CATEGORY Name="LoadTexts" Entry Name="Loading" ロード中... /Entry Loading... Entry Name="ClickToContinue" クリックしてください /Entry Click to continue. Entry Name="01_to_02" 2001年 5月[br]どれだけのあいだ気を失っていたのか はっきりとはわからないが、私の頭はまだ痛みを感じていた。まだそれほど時間は経っていないのか、彼らが私の頭を本気で強烈に殴ったのか、どちらかだ。[br]ここで何が起こったのか、何の手がかりもなかった。そして突然、そんなことは気にならなくなった。私は脱出しなければならないのだ。 /Entry May, 2001[br]I wasn t sure how long I d been out, but my head still hurt - either it hadn t been long, or they hit me really hard.[br][br]I didn t have a clue what was going on and, all of a sudden, I really didn t care. I was getting out. Entry Name="03_to_04" もしこの「拠点」が 食堂のセキュリティと同じくらい手の込んだ場所なら、私はこれからそれを体験することになるだろう、と思った。この先何があるかもわからなかったが、私はこの状況に慣れ始めていた。 /Entry If this stronghold was anything like as elaborate as its security, I was in for an experience. I didn t know what to expect, but I was getting used to that. Entry Name="04_to_05" この下水道が唯一の出口のようだが、もはや私は脱出を望んでいなかった。私の父は何かを見つけた。だから私は、父が何を見つけたのかを知らなければならない。さもないと、全てが無駄になってしまう。 /Entry The sewers seemed like the only route out, but it wasn t out I wanted anymore. My father had found something, and I needed to know what - without that, everything would have been for nothing. Entry Name="06_to_07" 感染。その言葉が 私に関わってくると聞いたとき、胸の鼓動が高まった。それでも、私にとっては、父を探す理由が 一つ増えただけのことに過ぎなかったようだ。優しげな声を聞いて 嫌な気分になることはないが、私は強く確信していた。いつか彼女は発狂してしまうのだろう。 /Entry Infected. I d skipped a beat when I heard that word in association with me. Still, it seemed like just one more reason to find my father. Hearing a friendly voice hadn t hurt either - but by that point, I was pretty certain she d turn out to be crazy. Entry Name="07_to_08_or_09" 攻撃され、感染し、恐怖に襲われ・・・ そして今、私は声を聞いていた。そう、ここの発狂してしまった者たちと同じように、あの声は私にさえ聞こえていたのだ。それでも、私はとにかく 書庫へ入る方法を探し出さなければならなかった。 /Entry Savaged, infected, terrified... and now I was hearing voices. Yep, just about everyone down here turns out to be crazy, even me. Regardless, I needed to find a way through and into the library. Entry Name="07_to_13" I d picked up some baggage on the way, but finally I was close to my goal. I was sure answers lay behind that door. They were answers I should have set out to find when I received my father s letter in 2000. Why did I wait a whole year to come here? /Entry Entry Name="13_to_14" I barely even thought about my father s death - I guess I wasn t expecting to find him any other way. I was determined to complete his work, find an answer to the infection and then contact the hive . /Entry Entry Name="14_to_15" A cure! I had my doubts by then, but I didn t have much choice. I resolved to find Amabel, and put things right. /Entry Entry Name="19_to_16" With the substance in tow, I was close to ridding myself of the disease. Once that was done, I hoped I d be able to contact the Tuurngait mind, as had my father. I had to know what it was they d told him to make him give up like that. I had to put an end to this. /Entry Entry Name="18_to_16" I still have no words for what Clarence did. For what I did. I held my anger tight to my chest, and used it. I used it to keep going. I intended to use it to cure myself of Clarence forever. /Entry /CATEGORY
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UP CHAPTER II CHAPTER I Mrs. Rachel Lynde is Surprised 第1章 レイチェル・リンド夫人の驚き（松本訳） Mrs. Rachel Lynde lived just where the Avonlea main road dipped down into a little hollow, fringed with alders and ladies eardrops 「Rachel Lynde」松本訳注第1章(1) p. 449参照 「Avonlea」松本訳注第1章(2) p. 450参照 「alder」ハンノキ Alnus 写真はウィキペディアをどうぞ 「ladies eardrops」フクシア Fuchsia 写真はウィキペディアをどうぞ 「ladies eardrops」は、モードの手書き原稿では、「jewelweed」となっているそうです。薄荷さんの「完訳・赤毛のアン」フクシアの謎にありました。この完訳は松本訳のこと。プリンスエドワード島では野生のフクシアはない（野外では育たない）のではないか、ということのようです。jewelweed Impatiens capensis は東北大学のPlant Evolutionary Biology（植物進化生物学と訳せましょう）の研究室のウェブページにあるそうです（ちゃんとありました）。東北大学の英語版公式ページでPlant Evolutionary Biologyを標榜するのは牧研究室のようです and traversed by a brook that had its source away back in the woods of the old Cuthbert place; it was reputed to be an intricate, headlong brook in its earlier course through those woods, with dark secrets of pool and cascade; but by the time it reached Lynde s Hollow it was a quiet, well-conducted little stream, for not even a brook could run past Mrs. Rachel Lynde s door without due regard for decency and decorum; 「decency and decorum」どちらも、礼儀正しい、上品の意味。似た意味の言葉、しかも発音が似ている言葉を繰り返して、強調している。しつこくならないように和訳するのは難しいかも it probably was conscious that Mrs. Rachel was sitting at her window, keeping a sharp eye on everything that passed, from brooks and children up, and that if she noticed anything odd or out of place she would never rest until she had ferreted out the whys and wherefores thereof. 「ferret」捜し（探り）出す／（白イタチを使って）狩りをする。名詞の ferret は白イタチ。白イタチ（ferret）から連想する何かがあるのでしょうか。それともこういうときは、これが普通なのかしら 「the whys and wherefores」いろいろな理由／原因。これも似た意味の言葉、しかも発音が似ている言葉を繰り返し。ですが、常套句のようです There are plenty of people in Avonlea and out of it, who can attend closely to their neighbor s business by dint of neglecting their own; but Mrs. Rachel Lynde was one of those capable creatures who can manage their own concerns and those of other folks into the bargain. She was a notable housewife; her work was always done and well done; she "ran" the Sewing Circle, helped run the Sunday-school, and was the strongest prop of the Church Aid Society and Foreign Missions Auxiliary. Yet with all this Mrs. Rachel found abundant time to sit for hours at her kitchen window, 「Mrs. Rachel」First name だけに Mrs を付けるのは、学校では習わなかった気がしますが、『アン』にはたくさんでてきます knitting "cotton warp" quilts-- 「knitting "cotton warp" quilts」松本訳注第1章(3) p. 450参照 she had knitted sixteen of them, as Avonlea housekeepers were wont to tell in awed voices--and keeping a sharp eye on the main road that crossed the hollow and wound up the steep red hill beyond. Since Avonlea occupied a little triangular peninsula jutting out into the Gulf of St. Lawrence with water on two sides of it, 「the Gulf of St. Lawrence」松本訳注第1章(4) p. 450参照 anybody who went out of it or into it had to pass over that hill road and so run the unseen gauntlet of Mrs. Rachel s all-seeing eye. She was sitting there one afternoon in early June. The sun was coming in at the window warm and bright; the orchard on the slope below the house was in a bridal flush of pinky- white bloom, hummed over by a myriad of bees. Thomas Lynde-- a meek little man whom Avonlea people called "Rachel Lynde s husband"--was sowing his late turnip seed on the hill field beyond the barn; 「turnip」カブ Brassica rapa 写真はウィキペディア（英語版）にあります。たぶん今日本で栽培しているものよりも小さい and Matthew Cuthbert ought to have been sowing his on the big red brook field away over by Green Gables. 「Matthew Cuthbert」松本訳注第1章(5) p. 451参照 「Green Gables」松本訳注第1章(6) p. 451参照 Mrs. Rachel knew that he ought 「he ought」to have been sowing ... が省略されている because she had heard him tell Peter Morrison the evening before in William J. Blair s store over at Carmody that he meant to sow his turnip seed the next afternoon. Peter had asked him, of course, for Matthew Cuthbert had never been known to volunteer information about anything in his whole life. And yet here was Matthew Cuthbert, at half-past three on the afternoon of a busy day, placidly driving over the hollow and up the hill; moreover, he wore a white collar and his best suit of clothes, 「a white collar and his best suit of clothes」まさに一張羅。カラーを付けるというよりは、カラーのある服を着ているということではないかと思いますが……、どうなんでしょう、このころの男性ファッションは。カラーがセパレートなのはよっぽど大きなカラーということになろうかと思いますが。とすると、「白襟のシャツと最上の上着を着こみ」といったところでしょうか which was plain proof that he was going out of Avonlea; and he had the buggy 「buggy」二人乗りの馬車 and the sorrel mare, which betokened that he was going a considerable distance. Now, where was Matthew Cuthbert going and why was he going there? Had it been any other man in Avonlea, 「Had it been ...」仮定法 Mrs. Rachel, deftly putting this and that together, might have given a pretty good guess as to both questions. But Matthew so rarely went from home that it must be something pressing and unusual which was taking him; he was the shyest man alive and hated to have to go among strangers or to any place where he might have to talk. Matthew, dressed up with a white collar and driving in a buggy, was something that didn t happen often. Mrs. Rachel, ponder as she might, could make nothing of it and her afternoon s enjoyment was spoiled. "I ll just step over to Green Gables after tea 「after tea」ということは夕方。 and find out from Marilla where he s gone and why," 「Marilla」松本訳注第1章(7) p. 451参照 the worthy woman finally concluded. "He doesn t generally go to town this time of year and he NEVER visits; if he d run out of turnip seed he wouldn t dress up and take the buggy to go for more; he wasn t driving fast enough to be going for a doctor. Yet something must have happened since last night to start him off. I m clean puzzled, that s what, and I won t know a minute s peace of mind or conscience until I know what has taken Matthew Cuthbert out of Avonlea today." Accordingly after tea Mrs. Rachel set out; she had not far to go; the big, rambling, orchard-embowered house where the Cuthberts lived was a scant quarter of a mile up the road from Lynde s Hollow. To be sure, the long lane made it a good deal further. Matthew Cuthbert s father, as shy and silent as his son after him, had got as far away as he possibly could from his fellow men without actually retreating into the woods when he founded his homestead. 「when he founded his homestead」マシューのお父さんが開墾したようですね Green Gables was built at the furthest edge of his cleared land and there it was to this day, barely visible from the main road along which all the other Avonlea houses were so sociably situated. Mrs. Rachel Lynde did not call living in such a place LIVING at all. "It s just STAYING, that s what," she said as she stepped along the deep-rutted, grassy lane bordered with wild rose bushes. 「deep-rutted、grassy lane」深い轍のある、ということは、草の生えた小径とはいえ、普段馬車か荷車が通れるだけの幅がある。同じ lane でも Lover s Lane（恋人たちの小径（CHAPTER XV with impression? A Tempest in the School Teapot））は、普段は牛の歩くところなので、深い轍はなく狭い 「rose」Rosa sp. バラはややこしくてよくわかりません。ただ、俗称として wild rose というなら、花弁が八重ではないものでしょう。なので、例えば、こんな感じ "It s no wonder Matthew and Marilla are both a little odd, living away back here by themselves. Trees aren t much company, though dear knows if they were there d be enough of them. 「dear knows」= God knows 誰も知らない I d ruther look at people. To be sure, they seem contented enough; but then, I suppose, they re used to it. A body can get used to anything, even to being hanged, as the Irishman said." 「as the Irishman said」松本訳注第1章(8) p. 451参照 With this Mrs. Rachel stepped out of the lane into the backyard of Green Gables. Very green and neat and precise was that yard, set about on one side with great patriarchal willows 「willows」ヤナギ。Salix sp. ヤナギ属には大きなものから草丈ほどの小さなもの（極寒の種類らしい）もあるそうです。しかしここでは、家の主のような大きな木。写真はウィキペディア（英）、やウィキペディア（日）をどうぞ and the other with prim Lombardies. 「Lombardies」= Lombardy poplars セイヨウハコヤナギ。いわゆるポプラ。Populus nigra var. italica。 北海道大学のポプラ並木と同じ種類のようです。写真はウィキペディアにあります。ポプラもヤナギ科だとは知りませんでした。このイタリア原産の背の高いポプラのことをわざわざ Lombardies（複数なのは１本じゃないだけ）とするのは、ちょっと気取っているような気がしますが、気のせい？ Not a stray stick nor stone was to be seen, for Mrs. Rachel would have seen it if there had been. Privately she was of the opinion that Marilla Cuthbert swept that yard over as often as she swept her house. One could have eaten a meal off the ground without overbrimming the proverbial peck of dirt. 「the proverbial peck of dirt」松本訳注第1章(9) p. 452参照 Mrs. Rachel rapped smartly at the kitchen door and stepped in when bidden to do so. The kitchen at Green Gables was a cheerful apartment-- 「apartment」部屋 or would have been cheerful 「would have been cheerfu」仮定法 if it had not been so painfully clean as to give it something of the appearance of an unused parlor. Its windows looked east and west; through the west one, looking out on the back yard, came a flood of mellow June sunlight; but the east one, whence you got a glimpse of the bloom white cherry-trees in the left orchard 「white cherry-trees in the left orchard 」果樹園にある桜の木ということはサクランボの木。ですので、sour cherry Prunus cerasus ではないでしょうか。実の写真はウィキペディア（英）にあります。サクラ全般についてはウィキペディア（英）もどうぞ and nodding, slender birches down in the hollow by the brook, 「birch」カバ。ここでは幹の白いカバかと思います。このあと、何度も white birch が出てくるので。とすると、幹の白いカバは、Betula papyrifera。写真はウィキペディア（英）にあります。この白いカバの分布はeFloras.org（英）をどうぞ。日本のシラカバ（Betula platyphylla var. japonica）とは別種らしい（ウィキペディア（日）にはそうある。こちらにも写真はありますが、見た目はよくわかりません） was greened over by a tangle of vines. 「vine」つた、か何か、のツル植物。この記述だけではよくわかりません（やはりキャベンディッシュに行かないとわからないことがある……） Here sat Marilla Cuthbert, when she sat at all, always slightly distrustful of sunshine, which seemed to her too dancing and irresponsible a thing for a world which was meant to be taken seriously; and here she sat now, knitting, and the table behind her was laid for supper. 「supper」夕食。『赤毛のアン』では食事を表わす表現がいくつも出てきて、難しい。dinner、tea、supper、lunch。同じことをふたつで指すこともあって。朝食は breakfast だけですが Mrs. Rachel, before she had fairly closed the door, had taken a mental note of everything that was on that table. There were three plates laid, so that Marilla must be expecting some one home with Matthew to tea; 「tea」これは上で出てきた、supper を指す but the dishes were everyday dishes and there was only crab-apple preserves and one kind of cake, 「only crab-apple preserves」松本訳注第1章(10) p. 452参照 「crab-apple」野生のりんご。Malus sp. crabappleと呼ぶのはいろいろな種があるようですが、いずれも実の小さい野生りんご。写真はウィキペディア（英）にあります（わかりづらいかもしれません） so that the expected company could not be any particular company. Yet what of Matthew s white collar and the sorrel mare? Mrs. Rachel was getting fairly dizzy with this unusual mystery about quiet, unmysterious Green Gables. "Good evening, Rachel," Marilla said briskly. 「briskly」マリラがきびきびと答えを返しているので、このあとリンド夫人が体を心配しているというのが、ずれている感じを強調する "This is a real fine evening, isn t it? Won t you sit down? How are all your folks?" Something that for lack of any other name might be called friendship existed and always had existed between Marilla Cuthbert and Mrs. Rachel, in spite of--or perhaps because of--their dissimilarity. Marilla was a tall, thin woman, with angles and without curves; her dark hair showed some gray streaks and was always twisted up in a hard little knot behind with two wire hairpins stuck aggressively through it. She looked like a woman of narrow experience and rigid conscience, which she was; but there was a saving something about her mouth which, if it had been ever so slightly developed, might have been considered indicative of a sense of humor. このマリラの描写は、CHAPTER XXXIII with impression The Hotel Concert で比較される "We re all pretty well," said Mrs. Rachel. "I was kind of afraid YOU weren t, though, when I saw Matthew starting off today. I thought maybe he was going to the doctor s." Marilla s lips twitched understandingly. She had expected Mrs. Rachel up; she had known that the sight of Matthew jaunting off so unaccountably would be too much for her neighbor s curiosity. "Oh, no, I m quite well although I had a bad headache yesterday," she said. "Matthew went to Bright River. 「only crab-apple preserves」松本訳注第1章(11) p. 452参照 We re getting a little boy from an orphan asylum in Nova Scotia 「Nova Scotia」ノヴァスコシア（松本訳）。アルファベット表記を見ると、New Scotland のこととわかる（たぶんラテン語化している） and he s coming on the train tonight." If Marilla had said that Matthew had gone to Bright River to meet a kangaroo from Australia 「a kangaroo from Australia」オーストラリアからやって来たカンガルー。大英帝国の一員のオーストラリアには親しみがあるのでしょうね Mrs. Rachel could not have been more astonished. She was actually stricken dumb for five seconds. 「actually stricken dumb for five seconds」ここで、actually striken としているのは、口も聞けないほど唖然としてという例えとして dumb を使うことがあるのですが、ここでは、本当に５秒間も口を聞かなかった、と強調している。しかし……、この表現は面白いのでしょうか？？？ It was unsupposable that Marilla was making fun of her, but Mrs. Rachel was almost forced to suppose it. "Are you in earnest, Marilla?" she demanded when voice returned to her. 「voice returned to her」本当に口が聞けなくなったので、声が出せるようになって、という話の流れ "Yes, of course," said Marilla, as if getting boys from orphan asylums in Nova Scotia were part of the usual spring work on any well-regulated Avonlea farm instead of being an unheard of innovation. Mrs. Rachel felt that she had received a severe mental jolt. She thought in exclamation points. A boy! Marilla and Matthew Cuthbert of all people adopting a boy! From an orphan asylum! Well, the world was certainly turning upside down! She would be surprised at nothing after this! Nothing! "What on earth put such a notion into your head?" she demanded disapprovingly. This had been done without her advice being asked, and must perforce be disapproved. "Well, we ve been thinking about it for some time-- 「it」孤児をもらうこと。どれを指すのかは……よくわかりませんが「We are getting ... tonight」でしょうか all winter in fact," returned Marilla. "Mrs. Alexander Spencer was up here one day before Christmas 「Mrs. Alexander Spencer」夫人の名前（first name）を出さない表現。アレクザンダー・スペンサーの夫人。Mrs. Rachel とはいちばん離れた表現。あまり親しくないか、リンド夫人はよく知らないだろうことを考えてか and she said she was going to get a little girl from the asylum over in Hopeton in the spring. Her cousin lives there and Mrs. Spencer has visited here and knows all about it. 「Mrs. Spencer has visited here」スペンサー夫人がやってきて。ここは、Puffin Books版では「Mrs. Spencer has visited her」スペンサー夫人がその従姉妹のところを訪れて。となっていて全然意味が違っている。文脈からすれば、これは、her（従姉妹）を訪れることにならないと通じない。「従姉妹は lives で住んでいる（事実）、スペンサー夫人は has visited で訪れたことがある（経験）、だから、スペンサー夫人は知っている（knows：結果としての事実）となるのでしょうから So Matthew and I have talked it over off and on ever since. 「it」これも前と同じ、孤児をもらうこと We thought we d get a boy. Matthew is getting up in years, you know--he s sixty-- and he isn t so spry as he once was. His heart troubles him a good deal. And you know how desperate hard it s got to be to get hired help. 「how desperate hard」hard は desperate を修飾する副詞 There s never anybody to be had but those stupid, half-grown little French boys; 「half-grown little French boys」松本訳注第1章(12) p. 452参照 and as soon as you do get one broke into your ways 「broke into」break into ～の状態になる and taught something he s up and off to the lobster canneries or the States. 「the lobster canneries」松本訳注第1章(13) p. 453参照 At first Matthew suggested getting a Home boy. But I said `no flat to that. `They may be all right--I m not saying they re not--but no London street Arabs for me, I said. 「street Arabs」浮浪児。Puffin Books版では、street arabs と a が小文字。たぶん、今なら、arab の単語は使わないでしょうね。PC の時代ですから（politically correct） `Give me a native born at least. There ll be a risk, no matter who we get. But I ll feel easier in my mind and sleep sounder at nights if we get a born Canadian. So in the end we decided to ask Mrs. Spencer to pick us out one when she went over to get her little girl. We heard last week she was going, so we sent her word by Richard Spencer s folks at Carmody to bring us a smart, likely boy of about ten or eleven. We decided that would be the best age--old enough to be of some use in doing chores right off 「chore」（家・農場の）雑用 and young enough to be trained up proper. We mean to give him a good home and schooling. 「a good home and schooling」これは、アンが来てからしばらくの間、マシューとマリラの間で話し合われたこともない（物語の上では記述がない）ので、アンが女の子であるからといって、ふたりの気持ちは大きな変化はなかったに違いありません。明確に話が出るのは、クイーン学院に行かせようかどうかというところくらいでしょうか（CHAPTER XXV with impression]] Matthew Insists on Puffed Sleeves） We had a telegram from Mrs. Alexander Spencer today--the mail-man brought it from the station-- 「We had a telegram from Mrs. Alexander Spencer today--the mail-man brought it from the station--」電報の場合は駅から直接配ってくれたようですね。カナダの電信の歴史はよくわかりませんが、鉄道を敷くと、線路に沿って電信線を伸ばしたのかもしれませんが……。そこまで電化が進んでいないでしょうねぇ。とすると、これはそうじゃなくて、シャーロットタウンに電信を受けるところがあって（郵便局かもしれません）、そこから郵便とともに電報も列車で運ばれ、郵便局の人は電報を配ってくれたのでしょうか saying they were coming on the five-thirty train tonight. So Matthew went to Bright River to meet him. Mrs. Spencer will drop him off there. Of course she goes on to White Sands station herself." 「White Sands」松本訳注第1章(14) p. 453参照 Mrs. Rachel prided herself on always speaking her mind; she proceeded to speak it now, having adjusted her mental attitude to this amazing piece of news. "Well, Marilla, I ll just tell you plain that I think you re doing a mighty foolish thing--a risky thing, that s what. You don t know what you re getting. You re bringing a strange child into your house and home 「your house and home」建物／敷地としての house と 家族の中に入り込む家庭としての home の概念を区別。日本語では上手く書き分けるのは難しいところ and you don t know a single thing about him nor what his disposition is like nor what sort of parents he had nor how he s likely to turn out. Why, it was only last week I read in the paper how a man and his wife up west of the Island took a boy out of an orphan asylum and he set fire to the house at night--set it ON PURPOSE, Marilla--and nearly burnt them to a crisp in their beds. And I know another case where an adopted boy used to suck the eggs--they couldn t break him of it. If you had asked my advice in the matter--which you didn t do, Marilla--I d have said for mercy s sake not to think of such a thing, that s what." This Job s comforting seemed neither to offend nor to alarm Marilla. 「Job s comforting」松本訳注第1章(15) p. 453参照 She knitted steadily on. 「She knitted steadily on.」気持ちをその人の行動で表現する。驚くなり動揺したなら編み物を止めるはず、という前提がある（しつこい？ だったらごめんななさい） "I don t deny there s something in what you say, Rachel. I ve had some qualms myself. But Matthew was terrible set on it. I could see that, so I gave in. It s so seldom Matthew sets his mind on anything that when he does I always feel it s my duty to give in. And as for the risk, there s risks in pretty near everything a body does in this world. There s risks in people s having children of their own if it comes to that--they don t always turn out well. And then Nova Scotia is right close to the Island. It isn t as if we were getting him from England or the States. He can t be much different from ourselves." "Well, I hope it will turn out all right," said Mrs. Rachel in a tone that plainly indicated her painful doubts. "Only don t say I didn t warn you if he burns Green Gables down or puts strychnine in the well--I heard of a case over in New Brunswick where an orphan asylum child did that and the whole family died in fearful agonies. Only, it was a girl in that instance." "Well, we re not getting a girl," said Marilla, as if poisoning wells were a purely feminine accomplishment and not to be dreaded in the case of a boy. "I d never dream of taking a girl to bring up. 「I d never dream of taking a girl to bring up.」女の子を育てようとはしていない、と強調。さらに次の文でも。アンが来たときの状況の伏線となる。アンが来ることは、読者にとってはほとんど自明なので（本の題名からしても、そして、きっと本の紹介でもアンが来ることは書かれるでしょうから）、来てどうなるかの伏線と考えなければなるまい、と思うのです I wonder at Mrs. Alexander Spencer for doing it. But there, SHE wouldn t shrink from adopting a whole orphan asylum if she took it into her head." Mrs. Rachel would have liked to stay until Matthew came home with his imported orphan. But reflecting that it would be a good two hours at least before his arrival she concluded to go up the road to Robert Bell s and tell the news. It would certainly make a sensation second to none, and Mrs. Rachel dearly loved to make a sensation. So she took herself away, somewhat to Marilla s relief, for the latter felt her doubts and fears reviving under the influence of Mrs. Rachel s pessimism. "Well, of all things that ever were or will be!" ejaculated Mrs. Rachel when she was safely out in the lane. "It does really seem as if I must be dreaming. Well, I m sorry for that poor young one and no mistake. Matthew and Marilla don t know anything about children and they ll expect him to be wiser and steadier that his own grandfather, if so be s he ever had a grandfather, 「if so be s he ever had a grandfather」be s がよくわからない。be は be動詞で、仮定法で原型になっているのでしょうけれども、 sが何なのかが…… そこで「"if so be s"」をキーワードにして、検索をしてみたら、面白いページ発見（ここ）。日本人がわからないと質問し、ネイティブ英語話者があーかも、こーかも、と書いています。日本人がわからなくても、ここは、おっけいなのです！議論を読み解くのは何か混乱してしまうのですが、be s は、be as の略と考えればよさそうです。この議論（というか質疑というか）から受け取れるメッセージは、１．古い英語なので現代英語と違うところがある、２．この英語表現はアナタは使ってはいけない、３．『赤毛のアン』は多少難しいところもあるけれも面白いからがんばって読んでね、です。これから英語で読もうとしている方にははげみになるでしょう！ジツはこの第１章の印象を書くのは全部読んだ後なので、ワタシへの励ましには時すでに遅し、でしたが（印象は第26章から書きはじめ、最後まで書いたので第１章に戻ってきたのです） which is doubtful. It seems uncanny to think of a child at Green Gables somehow; there s never been one there, for Matthew and Marilla were grown up when the new house was built-- 「the new house was built」今のグリーンゲイブルズができたときには、マシューもマリラも大きくなっていた。その前はどうだったのでしょう……。建て替え、かしら if they ever WERE children, which is hard to believe when one looks at them. I wouldn t be in that orphan s shoes for anything. My, but I pity him, that s what." So said Mrs. Rachel to the wild rose bushes out of the fulness of her heart; but if she could have seen the child who was waiting patiently at the Bright River station at that very moment her pity would have been still deeper and more profound. UP CHAPTER II 19 August 2007 8 October 2007 一番上のリンクのミスを訂正 今日 - | 昨日 - | Total - since 19 August 2007 last update 2007-10-08 17 02 35 (Mon)
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オフラインとオンラインで遊べます 曲を指定された条件でクリアすると写真をGet Chapter Challenges Modeはチャプターの曲を連続プレイ CHAPTER 1 The Cavern 63 1. Twist And Shout 2. Boys 3. Do You Want To Know A Secret 4. I Saw Her Standing There CHAPTER 2 The Ed Sullivan Show 64 1. I Want To Hold Your Hand 2. Can t Buy Me Love 3. A Hard Day s Night 4. I Wanna Be Your Man CHAPTER 3 Shea Stadium 65 1. Ticket To Ride 2. I m Looking Through You 3. Eight Days A Week 4. If I Needed Someone 5. I Feel Fine CHAPTER 4 Budokan 66 1. Day Tripper 2. And Your Bird Can Sing 3. Drive My Car 4. Taxman 5. Paperback Writer CHAPTER 5 Abbey Road 66- 67 1. Yellow Submarine 2. Sgt.Pepper s Lonely Hearts Club Band / With A Little Help From My Friends 3. Lucy In The Sky With Diamonds 4. Getting Better 5. Within You Without You / Tomorrow Never Knows 6. Good Morning Good Morning CHAPTER 6 Abbey Road 67- 68 1. I Am The Walrus 2. Hello Goodbye 3. Hey Bulldog 4. Back In The U.S.S.R 5. Dear Prudence 6. While My Guitar Gently Weeps CHAPTER 7 Abbey Road 68- 69 1. Helter Skelter 2. Revolution 3. Birthday 4. Octopus s Garden 5. Something 6. Come Together 7. Here Comes The Sun CHAPTER 8 Apple Corps Rooftop 69 1. Dig A Pony 2. I ve Got A Feeling 3. Don t Let Me Down 4. I Me Mine 5. I Want You(She s So Heavy) 6. Get Back Encore 1. The End
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Scratchin' on another door Waiting for a chance to score some more "Whatcha' doin?" I can see my life before me I know that I can't afford procrastination I don't wanna be on an empty road Full of these empty promises I've got something more to give this universe Now! I've got so much more And my word is my ammunition I've got something more to give this universe Start listening to it I'm out of breath Fighting back tears Been waiting for years For a moment like this I'm out of breath And I can't find the words It's chance in a lifetime I don't want to miss Gonna give it my all 'Till I stand or I fall Gonna test every limit Break every wall 'Cause I want you to know That I'll never let go 'Till I get my moment of glory And I can almost taste it Add libs I'm out of breath I'm out of breath Teah, but I'll keep on runnin'
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あの春の騒動。 天蓋領域としては一敗地にまみれたわけではあるが、インターフェースとしてはその限りではなかった。 性能的には情報統合思念体を上回るものであり、そのテストとしては満足いくものであった。 しかし。誤算もまたあった。 『インターフェースの自我の発生』 インターフェース名、周防九曜。 このインターフェースは、春の騒動以来行動を起こすようになった。 それだけに破棄を目論んでいたのだが、手出し出来ない次元に再度このインターフェースは送られた。 理由は不明。理由などないのかも知れない。 だが。これは好機でもある。 情報統合思念体を倒す、そして。神の力をあの少女に移し、自らの影響力を最大に発揮するまたとない機会。 天蓋領域は、現在をそう位置付けた。 一方、情報統合思念体は今回を、情報フレアの観測のチャンスだと位置付けている。 仮に観測されるならば、と思い、インターフェースの申請に従い朝倉涼子を再度送り込んだ。 『未来』のインターフェースも現代に通信し、天蓋領域のプロトコルを送ってきたのも、望外の幸運であった。 インターフェース名『長門有希』。 今暫くは、彼女に全権を与えるのも悪くない。 だが。対策も打っておく。 情報観測の機会は多い程に良い。 情報統合思念体は、そう考えた。 ―――――――――――――――― あの春の騒動が発端となった、今回。渡橋は全てを知っている。 自らがどのような力を持ち、どのような手段を用いてどのような結末を辿ったかも。 それは傷となり、一生消えない汚点として彼女の中に残った。 だからこそ、今。『自分はここにいる。』 自分の鎖。それは時を越える位に強い。昨日の夜に会った、愛する人。 彼は『いつでも』自分の側にいてくれる。それは、自分が『望んだ』から。 この汚点は、消してはいけないものだ。だが。 『鎖』を外した未来があってもいいはずだ。 ただ、それは『望み』でなく『たられば』。願ってはいないし、仮にそう望まれないならば、それは自分の汚点だと考えていた部分は思い違いとなる。 そうあって欲しいが、願ってはいない。何故なら。自分の願いは全て、ジョン・スミスが叶えてくれたから。だから、願う事はしない。 時空を越えた今も――――それは絶対に変わらない。 自分はハルヒの側で、彼女の納得いく結末を見届ける。 それが、どのような結末であっても。 橘京子は、久々に浮き立っていた。 「明日は、もっといい日になりそうなのです！」 佐々木からのメールで、自分も明日は古泉達に会えるようだ。 お風呂に入り、身を清めて何かあってもいいように準備は万全。 財布に近藤さん、そして多少多目の金額を持っていく。 まぁ、これは完全に不測の事態に備えてだ。 「んんっ、もう！ダメなのですよ！」 ここが彼女の自宅、そしてお風呂であった事は幸いであろう。 真っ赤になった彼女は、どこからどう見ても色ボケ以外何者でもないから……。 賢明な読者諸氏は、彼女が辿る運命……いや、未来については御理解されているであろう。 全てが終わったあと。彼女は長門とみくるに尋ねた。 「私が幸せになるシーケンスは存在するのですか……？」 「何をもって幸せとするか、私には判断出来ない。」 「すみません。禁則事項です。」 当然ながら、答えて貰えるわけもなく。 橘は、みくるに迫った。 「ないとは言えないのですよね？！」 「ふええ！こ、古泉くんと幸せになります！」 泣きそうな顔になりながら、みくるが答えた。 「良かったぁ……」 胸を撫で下ろす橘だが…… 「朝比奈みくる。あなたは未来に関しての話題で確定した事を話す時は、嘘しか言えない。本当に確定した事は、言葉にならないはず。」 「ふぅえ？！な、長門さん！しーですよ、しー！」 みくるが真っ赤になる。 「あ、あはは…………」 ということは。どう足掻いても絶望。そう言えるだろう。 「すまない。」 橘は、長門の言葉に奈落に落とされた。 「不幸なのです……」 がっくりと肩を落とす橘。 何をもって幸せとするか、判断が難しいのだが……どちらかというと絶対に不幸な方の橘京子であった……。 To Be Continued 『Cross Road』3
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●○crossroadsの歴史を大公開○● 2005年 ８月１～３日 Next Leader’s Project （これが元となった合宿です。） ８月３日 打ち上げ、Crossroads立ち上げへ １０月２日 ホームページ作成講座 １０月２３日 企画プレゼンテーション 団体名crossroads決定 団体のコンセプト決定 １１月１２日 新入生歓迎会＆交流会 １２月１８日 国際交流パーティー 2006年 １月６日 新年会 ２月３日 第一回総会 ５月２０日 第１回ツアー＠鎌倉 ６月９日 第二回総会 ６月２５日 第２回ツアー＠葛西臨海公園 ８月５日 第３回ツアー＠川越 ８月２８～３０日 Step Up Summer 2006 １０月９日 第三回総会 １１月２５日 第３回ツアー＠浅草 １２月２日 クリスマスパーティー １２月２９日 自己分析企画、忘年会 １月５日 しゃべりまくろす、新年会 １月３１日 他己分析企画 ２月４日 第四回総会
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【登録タグ O Samyu-0- 初音ミク 曲】 作詞：Samyu-0- 作曲：Samyu-0- 編曲：Samyu-0- 唄：初音ミク 曲紹介 春らしい可愛いラブポップ 爽やかなメロディの中、ミクの可愛い歌声がボクに語りかけてくる 胸の鼓動を現したリズム、ミクの台詞等可愛さが沢山詰まっています。 繰り返す度にキミとボクのキモチが溢れていく歌 歌詞 One Love いつものようにね To Love 待っててあげるわ ちょっとつれないときにも きっと想っているの One Love きみだけなんだよ Too Love 笑ってあげるの だから楽しませてよね もっと一緒にいて ね♪ くるくる まわる♡(ハート)に 想いこめておくるの ゆらゆら ゆれる世界で 君にちゃんと届くかな？ lalala.... キミはなにをしてる？ ボクはボクは キミを見ている キミはなにをしてる？ ボクはキミに 笑いかけてる キミはなにをしてる？ ボクはきみを 想っているの キミはなにをしてる？ ボクはボクは キミに恋してる One Love つらいときにはね To Heart 温めてあげるわ なんて 言ってみただけよ ちょっと期待したでしょ？ うふふ♪ ドキドキ めぐる♡(ハート)で 想い伝えてあげる キラキラ輝くキミの ひとみをもっと見てたい キミはなにをしてる？ ボクはキミを みつめているの キミはなにをしてる？ ボクはキミに 探しているの キミはなにをしてる？ ボクはボクは キミを待ってる キミはなにをしてる？ ボクはキミの 夢を見ている Uh... wow lov'in Uh... wow yeah キミはなにをしてる？ ボクはボクは キミを見ている キミはなにをしてる？ ボクはキミに 笑いかけてる キミはなにをしてる？ ボクはキミを 想っているの キミはなにをしてる？ ボクはキミに恋してる ♥キミはなにをしてる？ キミのすぐそばで たった一つの愛をみつけたいの だからね キミはなにをしてる？ キミのすぐそばで たった一つの愛を唄いたいの いつまでも Refrain ♥ （動画より転載） コメント チョー可愛い歌詞とメロディ！爽やかだしイイ曲～＾＾気に入りました！ -- ねね (2012-10-29 22 18 30) 名前 コメント
https://w.atwiki.jp/slayerisgod/pages/24.html
MEGADETH year タイトル 順位 1986 Peace Sells...But Who s Buying? 76 1988 So Far, So Good... So What! 28 1990 Rust In Peace 23 1992 Countdown To Extinction 2 1994 Youthanasia 4 1995 Hidden Treasures (EP) 90 1997 Cryptic Writings 10 1999 Risk 16 2001 The World Needs A Hero 16 2002 Rude Awakening 115 2004 The System Has Failed 18 2005 Greatest Hits Back To The Start 65 2007 United Abominations 8