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Days of future past デイズ・オブ・フューチャー・パスト 出版：1981年1月 タイトル：Uncanny X-MEN#141 概要 "Days of future past"はX-MENのストーリー。 これ自体はクロスオーバーではないが、クロスオーバー"Days of future present"へと続く重要なストーリーとなった。 内容 "Days of future past" Uncanny X-MEN#141 今(1981年）より30年後の2013年、ミュータントの迫害は激化していた。ミュータントを監視、攻撃するロボット『センチネル』によって、X-MENのみならず、ファンタスティック・フォーやアベンジャーズなど後天的に遺伝子が変質したヒーローまでもが殆ど殺害、逮捕されている。 絶望的な状況に陥ったヒーローたちはキティ・プライドを歴史の分岐点に送り、歴史を改変しようと計画する。 一方、現在ではミスティークが新ブラザーフッド・オブ・イビル・ミュータント結成。ミュータント排斥主義者、ロバート・ケリー上院議員を暗殺しようと企んでいた。 彼らは知らなかったが、このロバート・ケリーの暗殺こそが歴史の分岐点だったのだ。 レイチェル・サマーズ、ディスティニー、パイロ、アバランチが初登場。 "Mind out of time" Uncanny X-MEN#142 "Days of future past"の後編。 未来の世界では、生き残ったヒーローたちがセンチネルを無力化するため、その本拠地に攻撃をしかけていた。 一方、現在ではX-MENが苦闘の末にブラザーフッドを打ち負かし、ロバート・ケリー上院議員の命を救うことに成功する。 この結果によって絶望的な未来の世界が消滅することはなく、パラレルワールド（Earth-811）として残ったが、歴史の改変によって新たな希望のある未来が創り出された。 ただし、この時点でロバート・ケリーがミュータントをより脅威に感じたことに変わりはなく、ミュータントにとっても新たな脅威の始まりとなった。 実写映画の"X-MEN：ファースト・ジェネレーション"の続編タイトルはこの"Days of future past"と噂されている。
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Overture ACT I (A palace. Enter Titania, leading the Indian boy, the fairies attending) FAIRIES Come, come, come, let us leave the town, and in some lonely place, where Crowds and noise were never known, resolve to spend our days. In pleasant shades upon the grass at night our selves we ll lay; our days in harmless sport shall pass, thus time shall slide away. (Enter fairies, leading a drunkard and blinded poet) Scene of the drunken poet DRUNKEN POET Fill up the bowl, then... 1st FAIRY, CHORUS Trip it, trip it in a ring; around this mortal dance, and sing. POET Enough, enough, we must play at blind man s buff. Turn me round, and stand away, I ll catch whom I may. 2nd FAIRY, CHORUS About him go, so, so, so, pinch the wretch from top to toe; pinch him forty, forty times, pinch till he confess his crimes. POET Hold you damn d tormenting punk, I do confess... FAIRIES What, what... POET I m drunk, as I live boys, drunk. FAIRIES What art thou, speak? POET If you will know it, I am a scurvy poet. FAIRIES Pinch him, pinch him for his crimes, his nonsense and his Dogrel rhymes. POET Hold! Oh! Oh! Oh! FAIRIES Confess more, more. POET I confess I m very poor. Nay prithee do not pinch me so, good dear devil let me go; and as I hope to wear the bays, I ll write a sonnet in thy praise. FAIRIES Drive em hence, away, away, let em sleep till break of day. First act tune Jig ACT II (A wood, by moon-light. Enter Titania and her train. While the fairies dance the scene changes to a prospect of grotto s, arbors, and delightful walks; the arbors are adorn d with all variety of flowers, the grotto s supported by terms, these lead to two arbors on either side of the scene, of a great length, whose prospect runs toward the two angles of the house. Between these two arbors in the great grotto, which is continued by several arches, to the farther end of the house) Prelude and song Come all ye songsters of the sky, wake, and assemble in this wood; but no ill-boding Bird be night, none but the harmless and the good. Prelude CHORUS May the god of wit inspire, the sacred nine to bear a part; and the blessed heavenly quire, shew the utmost of their art. While Eccho shall in sounds remote, repeat each note, each note, each note. (Then a composition of instrumental music, in imitation of an eccho.) Eccho CHORUS Now join your warbling voices all. (Then a fairy dance) A dance of fairies Song and Chorus Sing while we trip it on the green; but no ill vapours rise or fall, nothing offend our fairy queen. (Titania leaves down. Enter Night, Mystery, Secresie, Sleep, and their attendants.) NIGHT See, even night her self is here, to favour your design; and all her peaceful train in near, that men to sleep incline. Let noise and care, doubt and despair, envy and Spight, (the fiends delight) be ever Banish d hence, let soft repose, her eye-lids close; and murmuring streams, bring pleasing dreams; let nothing stay to give offence. MYSTERY I am come to lock all fast, love without me cannot last. Love, like counsels of the wise, must be hid from vulgar eyes. Tis holy, and we must conceal it, they profane it, who reveal it. SECRESIE One charming night gives more delight, than a hundred lucky days. Night and I improve the tast, make the pleasure longer last, a thousand, thousand several ways. SLEEP Hush, no more, be silent all, sweet repose has clos d her eyes. Soft as feather d snow does fall! Softly, softly, steal from hence. No noise disturb her sleeping sence. A dance for the followers of Night (Oberon squeezes the flowers on Titania; Lysander and Hermia fall asleep.) ACT III (Enter Titania, Bottom and fairies. The scene changes to a great wood, a long row of large trees on each side; a river in the middle, two rows of lesser trees of a different kind just on the side of the river, which meet in the middle, and make so marry arches, two great dragons make a bridge over the river, their bodies form two arches, through which two swans are seen in the river at a great distance. Enter a troop of fawns, dryads and naides) CHORUS If love s a sweet passion, why does it torment? If a bitter, oh tell me whence comes my content? Since I suffer with pleasure, why should I complain, or grieve at my fate, when I know tis in vain? Yet so pleasing the pain is, so soft is the dart, that at once it both wounds me, and tickles my heart. I press her hand gently, look languishing down, and by passionate silence I make my love known. But oh! how I m blest when so kind she does prove, by some willing mistake to discover her love. When in striving to hide, she reveals all her flame, and our eyes tell each other, what neither dares name. Symphony while the swans come forward (While the symphony s playing, the two swans come swimming on through the arches to the bank of the river, as if they would land; these turn themselves into fairies and dance; at the same time the bridge vanishes, and the trees that were arch d, raise themselves upright) Dance for the fairies (Four savages enter, fright the fairies away, and dance an entry) Dance for the green men Song Ye gentle spirits of the air, appear; prepare, and joyn your tender voices here. Catch, and repeat the trembling sounds anew, soft as her sighs and sweet as pearly dew. Run new division, and such measures keep, as when you lull the god of love asleep. (Enter Coridon and Mopsa) Dialogue between Coridon and Mopsa CORIDON Now the maids and the men are making of hay, we h ve left the dull fools, and are stolen away. Then Mopsa no more be coy as before, but let us merrily play, and kiss the sweet time away. MOPSA Why, how now, Sir Clown, what makes you so bold? I d have ye to know I m not made of that mold. I tell you again, maids must never kiss no men. No, no, no kissing at all; I ll not kiss, till I kiss you for good and all. CORIDON Not kiss you at all? MOPSA No, no, no kissing at all! CORIDON Why no kissing at all? MOPSA I ll not kiss, till I kiss you for good and all. CORIDON Should you give me a score, twould not lessen your store, then bid me chearfully kiss, chearfully kiss and take, and take, my fill of your bliss. MOPSA I ll not trust you so far, I know you too well; should I give you an Inch, you d soon take an ell. Then lordlike you rule, and laugh at the fool. No, no... CORIDON So small a request, you must not, you cannot, you shall not deny, nor will I admit of another reply. MOPSA Nay, what do you mean? O fie, fie, fie! Song A NYMPH When I have often heard young maids complaining, that when men promise most they most deceive, then I thought none of them worthy my gaining; and what they swore, resolv d ne re to believe. But when so humbly he made his addresses, with looks so soft, and with language so kind, I thought it sin to refuse his caresses; nature o ercame, and I soon chang d my mind. Should he employ all his wit in deceiving, stretch his invention, and artfully feign; I find such charms, such true joy in believing, I ll have the pleasure, let him have pain. If he proves perjur d, I shall not be cheated, he may deceive himself, but never me; this what I look for, and shan t be defeated, for I ll be as false and inconstant as he. Dance of Haymakers Song and chorus A thousand, thousand ways we ll find to entertain the hours no two shall e re be known so kind, no life so blest as ours. Third act tune Hornpipe ACT IV Symphony (The scene changes to a garden of fountains. A sonata plays while the sun rises, it appears red through the mist, as it ascends it dissipates the vapours, and is seen in its full lustre; then the scene is perfectly discovered, the fountains enrich d gilding, and adorn d with statues; the view is terminated by a walk of cypress trees which lead to a delightful bower. Before the trees stand rows of marble columns, which support many walks which rise by stairs to the top of the house; the stairs are adorn d with figures on pedestals, and rails; and balasters on each side of em. Near the top, vast quantities of water break out of the hills, and fall in mighty cascade s to the bottom of the scene, to feed the fountains which are on each side. In the middle of the stage is a very large fountain, where the water rises about twelve foot. Then the Four Seasons enter, with their several attendants) Solo and Chorus ONE OF THE ATTENDANTS Now the night is chas d away, all salute the rising sun; this that happy, happy day, the birth-day of king Oberon. Duet TWO OTHERS Let the fifes, and the clarions, and shrill trumpets sound, and the arch of high heav n the clangor resound. Entry of Phoebus (A machine appears, the clouds break from before it, and Phoebus appears in a chariot drawn by four horses) PHOEBUS When a cruel long winter has frozen the earth, and nature imprison d seeks in vain to be free; I dart forth my beams, to give all things a birth, making spring for the plants, every flower, and each tree. Tis I who give life, warmth, an vigour to all, even love who rules all things in earth, air, and sea; would languish, and fade, and to nothing would fall, the world to its chaos would return, but for me. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. SPRING Thus the ever grateful spring, does her yearly tribute bring; all your sweets before him lay, then round his altar sing, and play. SUMMER Here s the summer, sprightly, gay, smiling, wanton, fresh, and fair; adorn d with all the flowers of may, whose various sweets perfume the air. AUTUMN See my many colour d fields, and loaded trees my will obey; all the fruit that autumn yields, I offer to the god of day. WINTER Now winter comes slowly, pale, meager, and old, first trembling with age, and then quiv ring with cold; benum d with hard frosts, and with snow cover d o re, prays the sun to restore him, and sings as before. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. (After a short time all go out except Robin-Good-Fellow, who applies the juice of the herb to Lysander s eyes) Fourth act tune Air ACT V Prelude (While a symphony plays, the machine moves forward, and the peacocks spread their tails, and fill the middle of the theatre.) Epithalamium JUNO Thrice happy lovers, may you be for ever, ever free, from that tormenting devil, jealousie. From all that anxious care and strife, that attends a married life be to one another true, kind to her as she to you, and since the errors of this night are past, may he be ever constant, she for ever chast. (The machine aspends. After Juno s song, Oberon asks to hear the plaint of Laura for her departed love.) The plaint O let me weep, for ever weep, my eyes no more the shall welcome sleep; I ll hide me from the sight of day, and sigh, and sigh my soul away. He s gone, he s gone, his loss deplore; and I shall never see him more. (While the scene is darken d, a single entry is danded.) Entry dance (Then a symphony is play d) Symphony (After that the scene is suddenly illuminated, and discovers a transparent prospect of a Chinese garden, the architecture, the trees, the plants, the fruits, the birds, the beasts quite different to what we have in this part of the word. It is terminated by an arch, through which is seen other arches with close arbors, and a row of trees to the end of the view. Over it is a hanging garden, which rises by several ascents to the top of the house; it is bounded on either side with pleasant bowers, various trees, and numbers of strange birds flying in the air, on the top of a platform is a fountain, throwing up water, which falls into a large basin. A Chinese man enters and sings) Song A CHINESE MAN Thus the gloomy world at first began to shine, and from the power divine a glory round about it hurl d; which made it bright, and gave it birth in light. Then were all minds as pure, as those ethereal streams; in innocence secure, not subject to extreams. There was no room then for empty fame, no cause for pride, ambition wanted aim. CHINESE WOMAN Thus happy and free, thus treated are we with nature s chiefest delights. We never cloy, but renew our joy, and one bliss another invites. CHORUS Thus wildly we live, thus freely we give, what heaven as freely bestows. We were not made for labour and trade, which fools on each other impose. CHINESE MAN Yes, Daphne, in your looks I find the charms by which my heart s betray d; then let not your disdain unbind the prisoner that your eyes have made. She that in love makes least defence, wounds ever with the surest dart; beauty may captivate the sence, but kindness only gains the heart. (Six monkeys come from between the trees and dance) Monkeys dance (Two women sing in parts) 1st WOMAN Hark how all things with one sound rejoice, and the world seems to have one voice. 2nd WOMAN Hark now the echoing air a triumph sings, and all around pleas d Cupids clap their wings. CHORUS Hark! Hark! 2nd WOMAN Sure the dull god of marriage does not hear BOTH We ll rouse him with a charm. Hymen, appear! CHORUS Hymen, appear! BOTH Our Queen of Night commands thee not to stay. Appear! CHORUS Our Queen... (Enter Hymen.) Prelude HYMEN See, see, I obey. My torch has long been out, I hate on loose dissembled vows to wait, where hardly love out-lives the wedding-night, false flames, love s meteors, yield my torch no light. (Six pedestals of china-work rise from under the stage; they support six large vases of porcelain, in which six china-orange-trees.) BOTH WOMEN Turn then the eyes upon those glories there, and catching flames will on thy torch appear. HYMEN My torch, indeed, will from such brightness shine, love ne er had yet such altars, so divine. (The pedestals move toward the front of the stage, and the grand dance begins of twenty-four persons; then Hymen and the two women sing together.) TRIO They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. CHORUS They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. (All the dancers join in it.) Chaconne Dance for Chinese man and woman. Overture ACT I (A palace. Enter Titania, leading the Indian boy, the fairies attending) FAIRIES Come, come, come, let us leave the town, and in some lonely place, where Crowds and noise were never known, resolve to spend our days. In pleasant shades upon the grass at night our selves we ll lay; our days in harmless sport shall pass, thus time shall slide away. (Enter fairies, leading a drunkard and blinded poet) Scene of the drunken poet DRUNKEN POET Fill up the bowl, then... 1st FAIRY, CHORUS Trip it, trip it in a ring; around this mortal dance, and sing. POET Enough, enough, we must play at blind man s buff. Turn me round, and stand away, I ll catch whom I may. 2nd FAIRY, CHORUS About him go, so, so, so, pinch the wretch from top to toe; pinch him forty, forty times, pinch till he confess his crimes. POET Hold you damn d tormenting punk, I do confess... FAIRIES What, what... POET I m drunk, as I live boys, drunk. FAIRIES What art thou, speak? POET If you will know it, I am a scurvy poet. FAIRIES Pinch him, pinch him for his crimes, his nonsense and his Dogrel rhymes. POET Hold! Oh! Oh! Oh! FAIRIES Confess more, more. POET I confess I m very poor. Nay prithee do not pinch me so, good dear devil let me go; and as I hope to wear the bays, I ll write a sonnet in thy praise. FAIRIES Drive em hence, away, away, let em sleep till break of day. First act tune Jig ACT II (A wood, by moon-light. Enter Titania and her train. While the fairies dance the scene changes to a prospect of grotto s, arbors, and delightful walks; the arbors are adorn d with all variety of flowers, the grotto s supported by terms, these lead to two arbors on either side of the scene, of a great length, whose prospect runs toward the two angles of the house. Between these two arbors in the great grotto, which is continued by several arches, to the farther end of the house) Prelude and song Come all ye songsters of the sky, wake, and assemble in this wood; but no ill-boding Bird be night, none but the harmless and the good. Prelude CHORUS May the god of wit inspire, the sacred nine to bear a part; and the blessed heavenly quire, shew the utmost of their art. While Eccho shall in sounds remote, repeat each note, each note, each note. (Then a composition of instrumental music, in imitation of an eccho.) Eccho CHORUS Now join your warbling voices all. (Then a fairy dance) A dance of fairies Song and Chorus Sing while we trip it on the green; but no ill vapours rise or fall, nothing offend our fairy queen. (Titania leaves down. Enter Night, Mystery, Secresie, Sleep, and their attendants.) NIGHT See, even night her self is here, to favour your design; and all her peaceful train in near, that men to sleep incline. Let noise and care, doubt and despair, envy and Spight, (the fiends delight) be ever Banish d hence, let soft repose, her eye-lids close; and murmuring streams, bring pleasing dreams; let nothing stay to give offence. MYSTERY I am come to lock all fast, love without me cannot last. Love, like counsels of the wise, must be hid from vulgar eyes. Tis holy, and we must conceal it, they profane it, who reveal it. SECRESIE One charming night gives more delight, than a hundred lucky days. Night and I improve the tast, make the pleasure longer last, a thousand, thousand several ways. SLEEP Hush, no more, be silent all, sweet repose has clos d her eyes. Soft as feather d snow does fall! Softly, softly, steal from hence. No noise disturb her sleeping sence. A dance for the followers of Night (Oberon squeezes the flowers on Titania; Lysander and Hermia fall asleep.) ACT III (Enter Titania, Bottom and fairies. The scene changes to a great wood, a long row of large trees on each side; a river in the middle, two rows of lesser trees of a different kind just on the side of the river, which meet in the middle, and make so marry arches, two great dragons make a bridge over the river, their bodies form two arches, through which two swans are seen in the river at a great distance. Enter a troop of fawns, dryads and naides) CHORUS If love s a sweet passion, why does it torment? If a bitter, oh tell me whence comes my content? Since I suffer with pleasure, why should I complain, or grieve at my fate, when I know tis in vain? Yet so pleasing the pain is, so soft is the dart, that at once it both wounds me, and tickles my heart. I press her hand gently, look languishing down, and by passionate silence I make my love known. But oh! how I m blest when so kind she does prove, by some willing mistake to discover her love. When in striving to hide, she reveals all her flame, and our eyes tell each other, what neither dares name. Symphony while the swans come forward (While the symphony s playing, the two swans come swimming on through the arches to the bank of the river, as if they would land; these turn themselves into fairies and dance; at the same time the bridge vanishes, and the trees that were arch d, raise themselves upright) Dance for the fairies (Four savages enter, fright the fairies away, and dance an entry) Dance for the green men Song Ye gentle spirits of the air, appear; prepare, and joyn your tender voices here. Catch, and repeat the trembling sounds anew, soft as her sighs and sweet as pearly dew. Run new division, and such measures keep, as when you lull the god of love asleep. (Enter Coridon and Mopsa) Dialogue between Coridon and Mopsa CORIDON Now the maids and the men are making of hay, we h ve left the dull fools, and are stolen away. Then Mopsa no more be coy as before, but let us merrily play, and kiss the sweet time away. MOPSA Why, how now, Sir Clown, what makes you so bold? I d have ye to know I m not made of that mold. I tell you again, maids must never kiss no men. No, no, no kissing at all; I ll not kiss, till I kiss you for good and all. CORIDON Not kiss you at all? MOPSA No, no, no kissing at all! CORIDON Why no kissing at all? MOPSA I ll not kiss, till I kiss you for good and all. CORIDON Should you give me a score, twould not lessen your store, then bid me chearfully kiss, chearfully kiss and take, and take, my fill of your bliss. MOPSA I ll not trust you so far, I know you too well; should I give you an Inch, you d soon take an ell. Then lordlike you rule, and laugh at the fool. No, no... CORIDON So small a request, you must not, you cannot, you shall not deny, nor will I admit of another reply. MOPSA Nay, what do you mean? O fie, fie, fie! Song A NYMPH When I have often heard young maids complaining, that when men promise most they most deceive, then I thought none of them worthy my gaining; and what they swore, resolv d ne re to believe. But when so humbly he made his addresses, with looks so soft, and with language so kind, I thought it sin to refuse his caresses; nature o ercame, and I soon chang d my mind. Should he employ all his wit in deceiving, stretch his invention, and artfully feign; I find such charms, such true joy in believing, I ll have the pleasure, let him have pain. If he proves perjur d, I shall not be cheated, he may deceive himself, but never me; this what I look for, and shan t be defeated, for I ll be as false and inconstant as he. Dance of Haymakers Song and chorus A thousand, thousand ways we ll find to entertain the hours no two shall e re be known so kind, no life so blest as ours. Third act tune Hornpipe ACT IV Symphony (The scene changes to a garden of fountains. A sonata plays while the sun rises, it appears red through the mist, as it ascends it dissipates the vapours, and is seen in its full lustre; then the scene is perfectly discovered, the fountains enrich d gilding, and adorn d with statues; the view is terminated by a walk of cypress trees which lead to a delightful bower. Before the trees stand rows of marble columns, which support many walks which rise by stairs to the top of the house; the stairs are adorn d with figures on pedestals, and rails; and balasters on each side of em. Near the top, vast quantities of water break out of the hills, and fall in mighty cascade s to the bottom of the scene, to feed the fountains which are on each side. In the middle of the stage is a very large fountain, where the water rises about twelve foot. Then the Four Seasons enter, with their several attendants) Solo and Chorus ONE OF THE ATTENDANTS Now the night is chas d away, all salute the rising sun; this that happy, happy day, the birth-day of king Oberon. Duet TWO OTHERS Let the fifes, and the clarions, and shrill trumpets sound, and the arch of high heav n the clangor resound. Entry of Phoebus (A machine appears, the clouds break from before it, and Phoebus appears in a chariot drawn by four horses) PHOEBUS When a cruel long winter has frozen the earth, and nature imprison d seeks in vain to be free; I dart forth my beams, to give all things a birth, making spring for the plants, every flower, and each tree. Tis I who give life, warmth, an vigour to all, even love who rules all things in earth, air, and sea; would languish, and fade, and to nothing would fall, the world to its chaos would return, but for me. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. SPRING Thus the ever grateful spring, does her yearly tribute bring; all your sweets before him lay, then round his altar sing, and play. SUMMER Here s the summer, sprightly, gay, smiling, wanton, fresh, and fair; adorn d with all the flowers of may, whose various sweets perfume the air. AUTUMN See my many colour d fields, and loaded trees my will obey; all the fruit that autumn yields, I offer to the god of day. WINTER Now winter comes slowly, pale, meager, and old, first trembling with age, and then quiv ring with cold; benum d with hard frosts, and with snow cover d o re, prays the sun to restore him, and sings as before. CHORUS Hail! Great parent of us all, light and comfort of the earth; before your shrine the seasons fall, thou who gives all nature birth. (After a short time all go out except Robin-Good-Fellow, who applies the juice of the herb to Lysander s eyes) Fourth act tune Air ACT V Prelude (While a symphony plays, the machine moves forward, and the peacocks spread their tails, and fill the middle of the theatre.) Epithalamium JUNO Thrice happy lovers, may you be for ever, ever free, from that tormenting devil, jealousie. From all that anxious care and strife, that attends a married life be to one another true, kind to her as she to you, and since the errors of this night are past, may he be ever constant, she for ever chast. (The machine aspends. After Juno s song, Oberon asks to hear the plaint of Laura for her departed love.) The plaint O let me weep, for ever weep, my eyes no more the shall welcome sleep; I ll hide me from the sight of day, and sigh, and sigh my soul away. He s gone, he s gone, his loss deplore; and I shall never see him more. (While the scene is darken d, a single entry is danded.) Entry dance (Then a symphony is play d) Symphony (After that the scene is suddenly illuminated, and discovers a transparent prospect of a Chinese garden, the architecture, the trees, the plants, the fruits, the birds, the beasts quite different to what we have in this part of the word. It is terminated by an arch, through which is seen other arches with close arbors, and a row of trees to the end of the view. Over it is a hanging garden, which rises by several ascents to the top of the house; it is bounded on either side with pleasant bowers, various trees, and numbers of strange birds flying in the air, on the top of a platform is a fountain, throwing up water, which falls into a large basin. A Chinese man enters and sings) Song A CHINESE MAN Thus the gloomy world at first began to shine, and from the power divine a glory round about it hurl d; which made it bright, and gave it birth in light. Then were all minds as pure, as those ethereal streams; in innocence secure, not subject to extreams. There was no room then for empty fame, no cause for pride, ambition wanted aim. CHINESE WOMAN Thus happy and free, thus treated are we with nature s chiefest delights. We never cloy, but renew our joy, and one bliss another invites. CHORUS Thus wildly we live, thus freely we give, what heaven as freely bestows. We were not made for labour and trade, which fools on each other impose. CHINESE MAN Yes, Daphne, in your looks I find the charms by which my heart s betray d; then let not your disdain unbind the prisoner that your eyes have made. She that in love makes least defence, wounds ever with the surest dart; beauty may captivate the sence, but kindness only gains the heart. (Six monkeys come from between the trees and dance) Monkeys dance (Two women sing in parts) 1st WOMAN Hark how all things with one sound rejoice, and the world seems to have one voice. 2nd WOMAN Hark now the echoing air a triumph sings, and all around pleas d Cupids clap their wings. CHORUS Hark! Hark! 2nd WOMAN Sure the dull god of marriage does not hear BOTH We ll rouse him with a charm. Hymen, appear! CHORUS Hymen, appear! BOTH Our Queen of Night commands thee not to stay. Appear! CHORUS Our Queen... (Enter Hymen.) Prelude HYMEN See, see, I obey. My torch has long been out, I hate on loose dissembled vows to wait, where hardly love out-lives the wedding-night, false flames, love s meteors, yield my torch no light. (Six pedestals of china-work rise from under the stage; they support six large vases of porcelain, in which six china-orange-trees.) BOTH WOMEN Turn then the eyes upon those glories there, and catching flames will on thy torch appear. HYMEN My torch, indeed, will from such brightness shine, love ne er had yet such altars, so divine. (The pedestals move toward the front of the stage, and the grand dance begins of twenty-four persons; then Hymen and the two women sing together.) TRIO They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. CHORUS They shall be as happy as they re fair; love shall fill all the places of care, and every time the sun shall display his rising light, it shall be to them a new wedding-day; and when he sets, a new nuptial-night. (All the dancers join in it.) Chaconne Dance for Chinese man and woman. Purcell,Henry/The Fairy Queen
https://w.atwiki.jp/stones/pages/44.html
COMPACT DISC (LABELS) Adam V111 Ltd Akashic American Concert Series Bad Wizard Banana Beautiful Buzz Big Music Black Light Black n Blue Bulldog Records Chamelion Records Chapter One Check This Out! Coast To Coast Continental Drift Contra Band Music Cool Blokes Production Crossfire Hurricane Crystal Cat Records Dandelion Devil Productions Digger Production Dirty Work Productions Doctor Gig Document Records Dog n Cat Records Dragoman Empress Valley Exile Exile Original Masters Extremly Rare Flashback Front Row GIN Network Glimmer Twins Records Golden Stars Great Dane Records Halcyon Hercules Home Records Hot Lips Records Idol Mind Productions Idol Mind Production Insect Records In The 60 s Invasion Unlimited King Kong Products King Snake Records Kisses De Luxe Kiss The Stone Kobra Records LH (No Credit) Lick Licks Living Legend Records Lobster Records Luna Records Maxi Melody Midnight Beat Mido Enterprize Mid Valley Mighty Diamonds Montserrat Records Moonlight Records Morganfield MUM Octopus Oh Boy Oil Well One Handred Club On Stage Records Optimum Out Of Control Records Outsider Bird Records Picaresque Sound Pignose Records (PGN 001/100) Pignose Records (PGN 101/141) Pyramid Records Rabbit Records Rattle Snake Rebel Yell Factory Red Devil Red Hot Risk Disc Rogue Rolling Stones Records Save The Earth Scorpio / Gold Standard Screamer Seagull Records Shaved Disc Silver Rarities Silverdiscs Sister Morphine Records SODD Sound Of Satisfaction Sound Shelter SRS Records Starlife Stoneage Music Stone Crazy Stonehenge Stones Of Fire Super Golden Radio Shows Sylph Records 20bit Master Recording T A Records Tarantura Tarkl Teddy Bear Records Terappin Records The Early Years The Eternal The Genuine Pig Records The Godfather Records The Golden Hit Records The Swingin Pig Records Tone Frayed Productions Totonka Trade Mark Of Quality Triangle Records Turd On The Run Typhoon Vague Records Vigotone Vinyl Gang Product (VGP-001/100) Vinyl Gang Product (VGP-101/200) Vinyl Gang Product (VGP-201/300) Vinyl Gang Product (VGP-301/378) Vinyl Gang Product (No Credit) Voodoo Weeping Goat Westwood One Radio Networks White Widow Records Windmill Discs WLR World Productions Of Compact Music Yellow Dog Zero Records Others (1964-1973 live) Others (1975-1982 live) Others (1989-1995 live) Others (1997-2003 live) Others (2005-2007 live)
https://w.atwiki.jp/prototype_game/pages/31.html
THE ALTERED WORLD Go to Dana s Safe House. Dana s Safe House-Midtown West Dana I think I might be able to get you close to McMllen. Dana The news has been showing an endless loop of BLACKWATCH Scientific Teams turning up at Hives. Dana Those teams have to be working for McMullen, right? Dana If they are, then one of them has got to know how to get to him. Get into one of those areas and draw McMullen in. Alex McMullen is the key to all of this. LOCATE McMULLEN GO to the HIVE to LURE McMULLEN OUT. Alex McMullen had research he know who s did what happened to me. I need to draw him out. FIND and CONSUME a COMMANDER among the suevivors. CONSUME the BLACKWATCH COMMANDER. WEB Cptn Derrik Kaufman The outbreaks seem to be centered around these area. The focus, as we ve seen, seems to be these buildings. Secure all marked areas for possible insertion of Director McMullen for direct study. He won t touch down until all sniffers read nominal, and make sure none are destroyed. Engagement protocols? Anything it takes to clear ths ground. When it s all-clear, sound off. GO to the next HIVE RESEARCH SITE and CHECK its ACTIVITY LEVELS. Alex McMullen s not going to show in an area with such high readings. BRING McMULLEN TO THE SITE SABOTAGE the VIRAL DETECTORS. DO NOT allow VIRAL DETECTORS to be DESTROYED or McMULLEN will avoid the area. SABOTAGING DETECTORS McMULLEN needs to believe the area is CLEAR OF INFECTION before he will land. APPROACH a VIRAL DETECTOR and PRESS Y to begin the SABOTAGING process. SABOTAGE the VIRAL DETECTORS. Dr.McMullen One of the arrays just went offline. What the hell s going on down there? Dr.McMullen What the... units three and four are reporting clean. Dr.McMullen Interesting...looks like infection levels are dropping throughout the area. GO to the LANDING ZONE to signal McMULLEN. Alex Sites clear, sir. What is your E.T.A? Dr.McMullen OK, people - we re clean across the board. McMullen inbound. BLACKWATCH TRANSPORT PILOT Taking us out, hold on, we re moving. Alex McMullen s gone! Son of a bitch! EVADE THE MILITARY EVADE or DEFEAT nearby ENEMIES to complete the MISSION.
https://w.atwiki.jp/diablo3story/pages/156.html
【編集の注意事項】 ・意訳を推奨しています。明らかに翻訳内容が間違っている時を除き、他者が翻訳した内容は消さないで下さい。 ・より良い翻訳を思いついた場合は、翻訳文を並べて記述してください。（既存の翻訳を削除しない）ですが、自信があれば上書きしても構いません。 ・併記された文章は折を見て管理人により１文に減少・修正され、全体の統一感を図ります。(2012/9/20追加) ・間違いや足りない会話があった場合、編集をお願いいたします。もしくは内容の一部（会話の１文）などを、下部コメントにてご連絡下さい。 【ACT 2-9】カルデウム襲撃（THE SCOURING OF CALDEUM） ▼ここから１ページ目［編集］ 離れの野営地《HIDDEN CAMP》 ［リアに話しかけると移動してしまうので、その前に］ 【選択肢】Magic (魔法) +... Barbalian Leah is growing powerful. リアはどんどん力強くなっているな。 DemonHunter Leah is growing powerful. リアはどんどん力強くなっているな。 Monk Leah is becoming powerful in her own right. リアは生来の力強さを発揮してきているな。 WitchDoctor Leah is growing into her own. リアはどんどん力強くなっているな。 Wizard Leah has become quite powerful. リアはかなり力強くなったな。 AdriaAdria The power was always within her. Now she s learning to control it. 力そのものは常に彼女の中にあったわ。ようやく制御の仕方を身に着けてきているのよ。 Barbalian You passed it on to her, then? ということは、彼女はあんたの力を継いでいるのか？ DemonHunter You passed it on to her, then? ということは、彼女はあんたの力を継いでいるのか？ Monk Then it was from you that her powers came? ということは、彼女の力はあなた譲りなのか？ WitchDoctor Did she get her power from you? 彼女の力はあなた譲りなのか？ Wizard Did she inherit her power from you? 彼女の力はあんたから受け継いだものなのか？ AdriaAdria I do not know where her power comes from. I spent a lifetime studying the ways of magic. It did not come so easily to me. 彼女の力が何によるものかはわからないわ。私は魔術の道を学ぶのに生涯を掛けてきたわ。簡単に身についたものではないの。 【選択肢】Adria s Quest (エイドリアの使命) +... AdriaAdria While I was in Tristram, Deckard Cain told me of a black soulstone crafted by a renegade Horadrim. I didn t think anything of it at the time, but later I realized its true significance. トリストラムにいた時に、デッカード・ケインがホラドリムの背教者によって作られたブラックソウルストーンについて教えてくれたわ。その時は何の興味もなかったんだけど、後になってその真の重要性に気がついたわ。 AdriaAdria I knew the essences of the five slain Lords of Hell still existed in our world, so I spent the last twenty years locating and preparing them to be drawn into the stone when it was finished. 私は殺された五つの魔王の本質が未だに私達の世界に存在することに気がついていたわ、それで私はここ二十年を魔王の本質の探索と、石が完成した際に吸収されるべく備えるのに費やしてきたわ。 Player共通 Finished? 完成した際に？ AdriaAdria Kulle was interrupted during his first attempt. Now that the soulstone is finally complete, the Lords of Hell have been trapped within it. クーレは最初の実験の最中に止められたのよ。そして終にソウルストーンが完成したあの時、地獄の王たちはその中に囚われたの。 【選択肢】Ensnaring Belial (ベリアルを罠にかけるには) +... AdriaAdria Controlling the Black Soulstone will be perilous. ブラックソウルストーンを操るのにはかなりの危険が伴うはずだわ。 Barbalian Are you sure you can do it? 自信はあるのか？ DemonHunter Will you be able to handle it? やれるのか？ Monk But you will be able to? お前ならできると？ WitchDoctor But you can do it? あなたにはできると？ Wizard Are you certain you can do it? できるって自信はあるのか？ AdriaAdria It won t be me who will use it. Only Leah, under my guidance, can wield it. 使うのは私ではないでしょうね。リアだけが、私の導きの元、それを操ることができるわ。 AdriaAdria Her power is far greater than mine, and it will ensure our success. 彼女の力は私より遥かに強いから、そのほうがきっとうまくいくわ。 LeahLeah We ve got to reach the Emperor! He said he can lead us to Belial! 皇帝のところへ行かなくちゃ！ベリアルのところへ案内できるって言ってたわ！ AdriaAdria Are you certain we can trust the child? あの子供は信用できるって自信はある？ Tyrael We have no choice. But know this if Belial gets desperate, he will unleash Hell upon Caldeum. 他に選択肢は無い。だが覚えておいてくれ。もしベリアルがやけくそになれば、奴はカルデウムに地獄を解き放つだろう。 LeahLeah So before we face him, we must evacuate the citizens. The Iron Wolves can help. それじゃ対面する前に、皆を避難させなくちゃ。アイアンウルフ隊なら手伝ってくれるはずよ。 ［移動開始（会話終了）］ Barbalian Then let us speak with them immediately. ではすぐに彼らと話に行こう。 DemonHunter Of course. Let s get going. もちろん。出発しよう。 Monk The people must be saved, but quickly. 皆を守らねば、それも速やかに。 WitchDoctor Leah is right. Let us go. リアは正しい。行こう。 Wizard Well said. Let us proceed. よく言った。取り掛かろう。 COMPLETE !［〆］Talk to Adria in the Hidden Camp (離れの野営地《HIDDEN CAMP》でエイドリアと話をする)} NEW !［ ］Find Asheara in the Caldeum Bazaar (カルデウム市場《CALDEUM BAZAAR》でアシュエラを見つける)} 【選択肢】The Jewel s Price (宝石のお値段) +... Covetous Shen I think I was wrong about the jewel I seek. It is not in this land either. What a pity. 探している宝石のことなんじゃが、どうもわしは間違っとったようじゃ。この土地にもないみたいじゃ。実に残念。 Barbalian Why do you want this jewel above all others? どうして他にもましてその宝石が欲しいんだ？ DemonHunter You seem to be a carefree man. Why are you looking for such a dangerous jewel? あんた呑気者に見えるんだが。どうしてそんな危険な宝石を探してるんだ？ Monk Why do you search for this cursed jewel? なぜその呪われた宝石を探しているんだ？ WitchDoctor Why do you search for this jewel so persistently? なぜそんなにしつこくその宝石を探しているんだ？ Wizard You said this jewel is yours, but not why you are looking for it. その宝石はあんたのだとは言ったけど、探している理由は教えてもらってないな。 Covetous Shen Because... it has killed thousands, and because I am the only one who can hold it without harm. それはな...そいつはもう何千人も殺しとるし、何の害もなく持っていられるのがわしだけなんじゃよ。 Barbalian Because you are a god? それはあんたが神だからか？ DemonHunter Because you are a god, correct? それはあんたが神だから、ということ？ Monk You are being foolish. Do you think you can touch it because you say you are a god? 馬鹿を言うな。お前は自分は神だからそれに触れられるとでも言うのか？ WitchDoctor Because you are a god? それはお前が神だからか？ Wizard Ah, I see. Because you are a god. あー、なるほどね。あんた神だもんね。 Covetous Shen No. Because it has already taken everything from me that matters. 違うわい。そいつはわしから欲しいものはもう全部取っていってしまったんじゃよ。 Covetous Shen But enough of that! I have gone too long without spiced beef and spicier wine! だがそんなことはどうでも良いんじゃ！わしは香辛料の効いた牛肉と、もっとスパイシーなワインともうずっとご無沙汰なんじゃ！ 【選択肢】The Black Soulstone (ブラックソウルストーン) +... Covetous Shen Do you think I could take a close look at that Black Soulstone? It s like nothing I ve ever seen before. ブラックソウルストーンをもうちょっとじっくり見せてもらえんかの？あんなもの、今まで見たことが無いんじゃ。 Barbalian It is too dangerous. 危険過ぎる。 DemonHunter The stone is very dangerous. あの石はとっても危ないんだよ。 Monk I don t know if that would be a good idea. あまり良い考えとは思えない。 WitchDoctor It is no ordinary stone. It is an object of great evil. あれはただの石じゃない。とても邪悪なものだ。 Wizard No. It is an object of immense power, not a jewel to be coveted. 駄目だ。あれは計り知れない力をもったもので、あんたが欲しがるような宝石じゃないんだよ。 covetedとcovetousとかかってるんだけど翻訳無理っす。 Covetous Shen You think too little of me. The object of my search is as dangerous as anything. My expertise may be of some use to you. I am, after all, quite well versed in the knowledge of jewels and stones. あんたわしを舐めとるな。わしが探しとるもんだって他にないぐらい危険なもんじゃ。わしの専門知識はあんたの役にたつはずじゃぞ。わしはな、ほかの何よりも宝石と石についての知識に精通しておるんじゃ。 【選択肢】Going to Tristram (トリストラムへ) +... Barbalian Why did you go to Tristram? 何故トリストラムへ行ったんだ？ DemonHunter What brought you to Tristram? どうしてトリストラムに行き着いたんだ？ Monk Why did you decide to move to Tristram? 何故トリストラムに移り住もうと決めたんだ？ WitchDoctor Why did you go to Tristram? 何故トリストラムへ行ったんだ？ Wizard How did you end up in Tristram? どんな事情でトリストラムに落ち着いた？ Haedrig Eamon You know, I ve asked myself that. It was Mira s idea. I wonder if she saw something and knew that I needed to be there to help you. 実はな、俺も同じ事を考えた事がある。ミラの思いつきだったんだ。もしかしたら彼女は何かを知っていて、俺があんたを助けるべくそこに居なくちゃならんことを知っていたのかもしれない。 Haedrig Eamon Did she know what was going to happen all along? 彼女は何が起こるか全て知っていたんだろうか？ Barbalian I share your grief, friend. But you should not dwell on the past--your wife would not want that. あんたの悲しみはわかるよ、友よ。だが過去に拘るべきではないんだ--あんたの奥さんだってそんな事は望んじゃいないだろう。 DemonHunter There s no point in asking yourself such questions. What is done is done. そんな事を自問したところで意味はないさ。過去は過去だ。 Monk Our lives upon this world are short and fleeting. You had many good years together. Do not dwell in regret. この世界での私達の命は短く、つかの間のものだ。あなた達は多くの幸せな年月を共にしたはずだ。後悔のうちに生きるべきではない。 WitchDoctor You had many years of love together. She would not want you to worry for her. あなた達は多くの年月を愛しあって過ごしたはずだ。彼女はあなたが彼女について思い悩む事を望んではいないはずだよ。 Wizard I m sorry, my friend. But you had many happy years together. I m sure she had no regrets. すまない、友よ。だがあんた達はたくさんの幸せな年月を共に過ごしたはずだ。彼女に後悔はなかったはずだよ。 Haedrig Eamon Thank you. I need a moment alone. ありがとう。ちょっと一人にしてくれ。 カルデウム市場《CALDEUM BAZAAR》 LeahLeah Belial has started his attack on the city! Let s go. Asheara is already at the sewers! ベリアルが街への攻撃を始めてしまったわ！行きましょう。アシェラはもう下水道にいるわ！ ［市民を誘導（以下、いずれか）］ LeahLeah Hurry! We ll keep you safe! 急いで、私達が守るわ！ LeahLeah Over here, quickly! こっちよ、早く！ LeahLeah It s safe down in the sewers! 下水道の下なら安全よ！ LeahLeah Down here! We ll protect you! この下へ！私達が守ってみせるわ！ LeahLeah Quick, into the sewers! 早く、下水道の中へ！ LeahLeah You ll be safe down here! この下なら安全よ！ 熱砂亭（ねっさてい）《SEARING SANDS INN》 Sadeir the Innkeeper I am not going to the sewers no matter what you say. I just bought these clothes. あんたが何と言おうが俺は下水道には行かない。この服、新調したばっかりなんだよ。 カルデウム市場《CALDEUM BAZAAR》 COMPLETE !［〆］Find Asheara in the Caldeum Bazaar (カルデウム市場《CALDEUM BAZAAR》でアシュエラを見つける)} NEW !［ ］Talk to Asheara (アシュエラに話しかける)} ［話しかける］ Barbalian Belial has forced our hand and started the killing. ベリアルはこちらの手に追い詰められて殺戮を始めたぞ。 表示{DemonHunter (Male)} Belial is starting to panic and tears the city apart to stop us. ベリアルはパニックを起こして、こっちの足止めのために街を破壊していぞ。 DemonHunter (Female) Belial is starting to panic and he tears the city apart to stop us. ベリアルはパニックを起こしている。奴はこっちの足止めのために街を破壊しているぞ。 Monk Belial is desperate. If he must, he will bring down the entire city to stop us. ベリアルはやぶれかぶれになっているな。奴は私達を止めるために必要となれば街全体を破壊するつもりだぞ。 WitchDoctor Belial knows we come for him. He will destroy this city to stop us. ベリアルは私達が奴を倒しにきた事を知っている。私達を止めるためにこの街を破壊するつもりだ。 Wizard Belial is raining fire down on the city in a desperate attempt to kill us. ベリアルは身も蓋もなく私達を殺そうと街に火を降らせているぞ。 Asheara When the fireballs began falling from the sky we started evacuating the people. They will be safe here. 空から火の玉が降り始めてからこっち、街の人たちを避難させていたんだ。ここなら皆安全だ。 Barbalian We will bring more of them down. ではもっと他のものを連れてこよう。 DemonHunter I ll bring as many as I can find. 見つけられるだけ見つけて連れてくるよ！ Monk We will save who we can. 助けられる限り助け出そう。 WitchDoctor We will save all that we can. 助けられるものは全て助け出そう。 Wizard We will bring as many down as we can. 出来る限りを尽くして連れてこよう。 Asheara The Iron Wolves will assist you to the death! アイアンウルフ隊は命を賭してでもお前を援護するぞ！ COMPLETE !［〆］Talk to Asheara (アシュエラに話しかける)} NEW !［ ］Lead Caldeum refugees to the Flooded Causeway (カルデウムの難民を水没した土手道に誘導しろ)} NEW !［ ］Bonus Caldeum refugees saved 0 (ボーナス 助けたカルデウムの難民の数 0)} Asheara The refugees must be evacuated here! 難民達をここに避難させるんだ！ LeahLeah I saw people hiding under the carts. Bring them to the sewers! 何人か荷車の下に隠れるところを見たわ。あの人達を下水道まで連れてきて！ AdriaAdria We can t risk our lives on this foolish heroism. We must go to the emperor immediately! こんな馬鹿げた英雄気取りの行動に命を賭けるなんて！今すぐに皇帝の所に向かうべきよ！ LeahLeah We can t let these people die, Mother. この人達を見殺しになんてできないわ、お母さん。 AdriaAdria They ll die anyway! But if we die, Belial wins! 誰だっていずれは死ぬわ！でも私達が死ねばベリアルが勝ってしまうのよ！ LeahLeah You may be right, but I still won t abandon them! そうかもしれないけど、それでも見捨てるなんてできないわ！ ［助けると、下記いずれか］ Refugee Help me! I can t die like this! 助けて！こんなところで死にたくない！ Refugee Please save me! I can t die like this! 誰か助けて！こんなところで死にたくない！ Refugee What is happening? 何が起こっているんだ？ Refugee Please, help me reach the sewers! お願いだ、下水道まで通れていってくれ！ Refugee The gods are punishing us for our sins! 神々が我々の罪に罰をくだされているんだ！ Refugee I never believed it would end like this! こんなことになるなんて、思ってもみなかった！ Refugee Won t anyone save us? 誰も助けてはくれないの？ Refugee Save yourself! It s the end of the world! 自分の身を守るんだ！こいつは世界の終わりだぞ！ Refugee Who has brought this wrath down upon us? 私達にこれほどの憤怒をくだしたのは誰なんだ？ Refugee We have nowhere to hide! 隠れる場所なんてどこにもないじゃないか！ Refugee Akarat save us! アカラよ、お助けください！ ［救助の合間に］ LeahLeah There are more people to the west, through the doors! 西にまだ人がいるわ、門の向こうよ！ LeahLeah Lead the rest of the people here before it s too late! 手遅れになる前に、残りの皆をここに連れてきて！ ［全員助ける or 時間が過ぎると］ 話しかけると次のクエスト 虚飾の王（LORD OF LIES） 【コメント注意事項】 ・既存の翻訳文章への指摘は、可能なら代替案（翻訳）を考えて当該の翻訳文章に並べて直接ページの編集をお願いいたします。 （既存の翻訳を削除せず、ご自分の翻訳を２行目に追加してください。管理人が後に良いと判断した翻訳のみ表示するように変更します） ・代替案が思い浮かばない場合は、翻訳者に失礼のならないよう、優しい文章で指摘してください。 ・ご指摘の際は、対象の箇所が特定できる原文の一部を記載下さい。 ・このコメント内で議論をしないで下さい。ご指摘、ご意見のみご報告下さい。 ・良識が欠けていたり、意義の無いコメントは削除させていただきます。 冒険者名 コメント すべてのコメントを見る ここもか！修正しました、報告ありがとうっ！ -- (管理人) 2012-07-26 08 15 04 【選択肢】Going to Tristram (トリストラムへ) のHaedrig Eamonの画像が宝石職人になってます。 -- (名無しさん) 2012-07-25 13 32 49 ア"－！編集権限を変更するのを失念していました。すまぬ！先ほど変更しておきました。 -- (管理人) 2012-07-08 10 47 31 ding! と言いたいところなんだけど、ACT2-7no3が編集できなくてまだ終わっていない.... -- (名無しさん) 2012-07-07 01 44 20
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ECHOES WR #147 -bass 2 bass- 6/26 12 00 ~ 7/2 23 59 選曲 あすや IIDX SPA Rank Name Score Result 1 hide 1739 result 2 レオポン 1653 result 3 ごま 1629 result 4 れい 1498 result 5 きるしゅ 1486 result 6 しん 888 result 7 えくすと 839 result 8 あすや 413 result DPA Rank Name Score Result 1 TsuBOX 1619 result Reflec Hard Rank Name Score Result 1 ごま 1739 result 2 レオポン 1653 result DDR ESP Rank Name Score Result 1 Tails 988670 result 2 hide 975750 result
https://w.atwiki.jp/tljtrans/pages/26.html
It s real wood. 本物の木よ。 When I was a baby, I used to be so afraid of wardrobes. Sometimes, I thought they were doors into other worlds. My imagination was way too fertile back then. 幼い頃、ワードローブがとっても怖かったわ。ときおり、異世界への入り口と思うこともあった。当時は想像力がたくましすぎたのね。 It s just a wardrobe. Nothing sinister about it. 普通のワードローブよ。怪しいところはない。 It s constable Guybrush, my toy mo-- Uhm, ape. (whispers) He doesn t much like being called a "monkey". これはガイブラシ巡査、私のおもちゃで―ええと、類人猿よ。(囁き) 彼は「サル」って呼び方が好きじゃないの。 In addition to being an ape, constable Guybrush plays drums in the Toyburg police corps marching band. Go figure. ただの類人猿じゃないわ、ガイブラシ巡査はトイバーグ警察吹奏楽団でドラムを叩くのよ。始め。 I could only carry one suitcase with me when I left home. There was so much I would ve loved to bring, but... C est la vie. At least it was a clean break with my past. 私は旅行鞄ひとつで家を出たの。もっといろんなものを持って来たかったけど…C est La Vieってやつよ。少なくとも過去のしがらみは捨てられたわ。 My suitcase. 私の旅行鞄。 All right, so my wardrobe is sort of chic-deficient, but I can t afford to be cutting edge. "Useful, practical and cheap" is my shopping mantra. そうね、私のワードローブはシックとはいえないわ、最先端にする余裕がないんだもの。私の買い物の主義は「便利、安い、実用的」よ。 When fame and wealth come knocking, I ll buy a wardrobe the size of an ocean liner and fill it with clothes for a million bucks. Right now, I ll try to focus on my work. 富と名声が手に入ったら、まるで外国船みたいなワードローブを買って、百万ドルで服を一杯に満たすのよ。さあ、仕事をがんばらなきゃ。 I guess when all my hard work starts paying off, I ll get a house and fill it with all kinds of new junk. The past -- who needs it? 仕事が実を結んだら、きっと買った家をありとあらゆる新しいガラクタで埋め尽くしちゃうんだわ。過去なんて―誰が求めるっていうの？ It s a bunch of drawings I drew when I was a kid. I don t even know why I brought them here. They mean absolutely nothing to me. この何枚ものスケッチは私が子供の頃に描いたのよ。どうして持って来たのかわからないわ。私には何の意味もないもの。 A bunch of useless old drawings. 何枚もの無意味な古いスケッチ。 An empty cardboard box. That s...so not interesting. 空の段ボール箱。別に…何の変哲もないわ。 Nothing in there. 空っぽ。 Nah, I m not the nostalgic type. I ll leave the past alone. I don t even know why I brought those drawings with me to the city. いえ、懐古趣味なんかじゃないわ。過去なんて放っておくつもり。どうしてこんなスケッチ持って来たのかしら。
https://w.atwiki.jp/nofx/pages/103.html
I go alone The Cost Of My Freedom Waiting For So Long Eight-Hour Drive Handsome Johnny I'm Not Afraid When I'm With You Love Me Slowly funny things Popcorn Love The Story Of The Fallin' Sleet Believer Coming Back To You Running On The Winding Road Longing(A Quiet Time) I go alone We all wanna be happy But it s so hard to do How I feel about me I talk a lot to myself and now I know In the end I must make it on my own Made my choice so I go alone My friends still are around me When I am down and out We have lots of good time But something deep inside is telling me In the end I must make it on my own Made my choice so I go alone Listen to the guitar, The voice and melodies Souds so sweet together Yet I have found the only way to go In the end I must make it on my own Made my choice so I go alone Made my choice so I go alone The Cost Of My Freedom I was a kid All I wanted was something called freedom Thought that I could break the chain Tried to catch the glory I didn t know that the glory also calls for sacrifice With the pleasure comes the pain Now I know It s the cost of my freedom Pay the price of loneliness Ah... It s the way of fate Let me confess I was broken by the weight of my success Like a blind man drives a car Hearded for a big crash I was alone Though I walked the streets with people all around And my search truly began Start again It s the cost of my freedom Pay the price of loneliness Ah... It s the way of fate It s the cost of my freedom Pay the price of loneliness Ah... It s the way of fate The winter broke and spring began The flowers bloomed across the land I found something to believe Now I finally can say Don t you warry anymore I found my peace It s the cost of my freedom Pay the price of loneliness Ah... It s the way of fate It s the cost of my freedom Pay the price of loneliness Ah... It s the way of fate I was a kid All I wanted was something called freedom Thought that I could break the chain Tried to catch the glory Waiting For So Long Sit on the sidewalk, I hold on to my knees I m all alone The rain begins to fall, I have no place to go What can I do? Who s gonna stop the rain? Cause I m lonely, I ve been waiting for so long Come talk to me, Listen to me, Be here with me You, Out there somewhere, I know it must be true Someone for me Life can be so hard, So come and ease my pain The sky is gray Who s gonna wipe these clouds away? Cause I m lonely, I ve been waiting for so long Come talk to me, Listen to me, Be here with me Sit on the sidewalk, I hold on to my knees I m all alone The rain begins to fall, I have no place to go What can I do? Eight-Hour Drive I m drivin to the town where my girl is livin Every weekend, it s my time to think of her all alone Eight-hour drive, but I don t care It s raining hard, but I don t care Cos when I end this fuckin drive, I m gonna see my baby I go to see my girl I go to see my lovely girl Eight-hour drive Sometimes I think of the day when we ll live together And everyday open my eyes and wake up with her smile Thinkin of her, I get excited and I need to take a shit Wow, when I end this fuckin drive, I m gonna see my baby I go to see my girl I go to see my lovely girl Eight-hour drive Eight-hour drive Eight-hour drive Handsome Johnny Hey, look yonder, tell me what you see Marching to the fields of Concord Looks like Handsome Johnny with a musket in his hand Marching to the Concord war, year, marching to the Concord war Hey, look yonder, tell me what you see Marching to the fields of Gettysburg Looks like Handsome Johnny with a flintlock in his hand Marching to the Gettysburg war, year, marching to the Gettysburg war It s a long hard road, It s a long hard road It s a long hard road, before we ll be free Before we ll be free Hey, look yonder, tell me what you see Marching to the fields of Dunkirk Looks like Handsome Johnny with a carbine in his hand Marching to the Dunkirk war, year, marching to the Dunkirk war It s a long hard road, It s a long hard road It s a long hard road, before we ll be free Before we ll be free Hey, look yonder, tell me what you see Marching to the fields of Korea Looks like Handsome Johnny with an M1 in his hand Marching to the Korean war, year, marching to the Korean war Hey, look yonder, tell me what you see Marching to the fields of Vietnam Looks like Handsome Johnny with an M15 Marching the Vietnam war, year, marching to the Vietnam war It s a long hard road, It s a long hard road It s a long hard road, before we ll be free Before we ll be free Before we ll be free We ll be free I m Not Afraid When I m With You Love Me Slowly I understand that you want to know bout me Do you think I m a mistery? Am I just too silent? Guess I could say, say the same thing bout you So darlin , Don t you hurry love Love is always such a thing Love me slowly cos we have lots of time Can t stop the world but let s go so, so slow Love me slowly cos we have lots of time You and I, Together forever Slowly we go Tu tu ru tu tu tu tu tu... Walk by my side, In the sand, What do we make? When we turn round then you will see Side by side, Four footprints What a surprise, Look how far we are goin Now don t you feel satisfied? When can we make footsprints six? Love me slowly cos we have lots of time Can t stop the world but let s go so, so slow Love me slowly cos we have lots of time You and I, Together forever Slowly we go Tu tu ru tu tu tu tu tu... funny things I like to horse around funny things I am hungry for stupid things Make a silly face Talk to the wall Make a gassy noise Pull down my pants Ah, ah, ah, ah, ah, ah, ah Year, year, year I like to horse around funny things I am hungry for stupid things If you don t like it I just don t care If I m fine with it I am O.K. Ah, ah, ah, ah, ah, ah, ah Year, year, year Popcorn Love When I m eatin popcorn It makes me feel happy I m poppin every kernel till it s white as snow Well, yesterday s popcorn It loses a flavor It s always stickin in my teeth Popcorn love I wanna popcorn love Please give me a little taste I need a popcorn love I have a new girlfriend She s like a brand new popcorn I m poppin every kernel till it s white as snow It s fresh, hot and fluffy But if it loses a flavor I m gonna eat it anyway Popcorn love I wanna popcorn love Please give me a little taste I need a popcorn love Popcorn love I wanna popcorn love Please give me a little taste I need a popcorn love I need a popcorn love The Story Of The Fallin Sleet Believer I m a believer Not just a dreamer Do you think I m strong? Do you think I m wrong? I m a believer Not just a dreamer Do you think I m strong? Do you think I m wrong? Look deep inside of me, Do you see what I see? Now I know my philosophy, I believe I must be me But this is not the time like it was in 69 You cannot run away to find love It s not out there, It s right inside your heart The more I live, The more I dream No way you can change my mind So don t you try to fight it Take my hand and you will see it too I m a believer Not just a dreamer Do you think I m strong? Do you think I m wrong? You can have anything you can dream, Anything But do you know just what you want? Then you can be confident They don t come walkin in, Give and get, Everything Why don t we change the world just like we want? If we believe, It s not too late to start The more I live, The more I dream No way you can change my mind So don t you try to fight it Take my hand and you will see it too Coming Back To You Missing you, Can t get you off my mind And the time - It goes by so slow Everyday just workin all the time Help me find my way back to you I m coming back to you, don t warry baby I m coming back to you I m coming back to you, cos it s my promise I m coming back to you Take my hand, I m reaching out to you You can hold the hand you cannot see If I fall or if I lose my way Please believe for you I did my best I m coming back to you, don t warry baby I m coming back to you I m coming back to you, cos it s my promise I m coming back to you Running On The Winding Road Running through the day and night Running all the time There s a road out before me and it s winding, never ending I cannot stop, I just keep going Jumping over gravel and rocks Through the troubled water With my eyes straight ahead like Forrest Gump in the movie Try not to feel any fear, not to fall Where am I 2007-01-10 (水) 21 54 36 Where will the road take me? I m just running on the winding road Where am I 2007-01-10 (水) 21 54 36 Where will the road take me? I m just running on the winding road, year Running through the rain and the snow Running in the sun Threre s a crossroad before me and there s someone there to meet me It could be you or may be not Suddenly I want to stop I have a new feeling And I know that the road is just the same as my own life So then I slowly start to run again Where am I 2007-01-10 (水) 21 54 36 Where will the road take me? I m just running on the winding road Where am I 2007-01-10 (水) 21 54 36 Where will the road take me? I m just running on the winding road, year Running on the winding road Running all my life Running on the winding road Running all my life Running on the winding road Longing(A Quiet Time)
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The Economic consequences of the peace Chapter II-Europe before the War Before 1870 different parts of the small continent of Europe had specialized in their own products; but, taken as a whole, it was substantially self-subsistent. And its population was adjusted to this state of affairs. After 1870 there was developed on a large scale an unprecedented situation, and the economic condition of Europe became during the next fifty years unstable and peculiar. The pressure of population on food, which had already been balanced by the accessibility of supplies from America, became for the first time in recorded history definitely reversed. As numbers increased, food was actually easier to secure. Larger proportional returns from an increasing scale of production became true of agriculture as well as industry. With the growth of the European population there were more emigrants on the one hand to till the soil of the new countries, and, on the other, more workmen were available in Europe to prepare the industrial products and capital goods which were to maintain the emigrant populations in their new homes, and to build the railways and ships which were to make accessible to Europe food and raw products from distant sources. Up to about 1900 a unit of labor applied to industry yielded year by year a purchasing power over an increasing quantity of food. It is possible that about the year 1900 this process began to be reversed, and a diminishing yield of Nature to man s effort was beginning to reassert itself. But the tendency of cereals to rise in real cost was balanced by other improvements; and—one of many novelties—the resources of tropical Africa then for the first time came into large employ, and a great traffic in oil-seeds began to bring to the table of Europe in a new and cheaper form one of the essential foodstuffs of mankind. In this economic Eldorado, in this economic Utopia, as the earlier economists would have deemed it, most of us were brought up. That happy age lost sight of a view of the world which filled with deep-seated melancholy the founders of our Political Economy. Before the eighteenth century mankind entertained no false hopes. To lay the illusions which grew popular at that age s latter end, Malthus disclosed a Devil. For half a century all serious economical writings held that Devil in clear prospect. For the next half century he was chained up and out of sight. Now perhaps we have loosed him again. What an extraordinary episode in the economic progress of man that age was which came to an end in August, 1914! The greater part of the population, it is true, worked hard and lived at a low standard of comfort, yet were, to all appearances, reasonably contented with this lot. But escape was possible, for any man of capacity or character at all exceeding the average, into the middle and upper classes, for whom life offered, at a low cost and with the least trouble, conveniences, comforts, and amenities beyond the compass of the richest and most powerful monarchs of other ages. The inhabitant of London could order by telephone, sipping his morning tea in bed, the various products of the whole earth, in such quantity as he might see fit, and reasonably expect their early delivery upon his doorstep; he could at the same moment and by the same means adventure his wealth in the natural resources and new enterprises of any quarter of the world, and share, without exertion or even trouble, in their prospective fruits and advantages; or be could decide to couple the security of his fortunes with the good faith of the townspeople of any substantial municipality in any continent that fancy or information might recommend. He could secure forthwith, if he wished it, cheap and comfortable means of transit to any country or climate without passport or other formality, could despatch his servant to the neighboring office of a bank for such supply of the precious metals as might seem convenient, and could then proceed abroad to foreign quarters, without knowledge of their religion, language, or customs, bearing coined wealth upon his person, and would consider himself greatly aggrieved and much surprised at the least interference. But, most important of all, he regarded this state of affairs as normal, certain, and permanent, except in the direction of further improvement, and any deviation from it as aberrant, scandalous, and avoidable. The projects and politics of militarism and imperialism, of racial and cultural rivalries, of monopolies, restrictions, and exclusion, which were to play the serpent to this paradise, were little more than the amusements of his daily newspaper, and appeared to exercise almost no influence at all on the ordinary course of social and economic life, the internationalization of which was nearly complete in practice. It will assist us to appreciate the character and consequences of the Peace which we have imposed on our enemies, if I elucidate a little further some of the chief unstable elements already present when war broke out, in the economic life of Europe. I. Population In 1870 Germany had a population of about 40,000,000. By 1892 this figure had risen to 50,000,000, and by June 30, 1914, to about 68,000,000. In the years immediately preceding the war the annual increase was about 850,000, of whom an insignificant proportion emigrated.[1] This great increase was only rendered possible by a far-reaching transformation of the economic structure of the country. From being agricultural and mainly self-supporting, Germany transformed herself into a vast and complicated industrial machine, dependent for its working on the equipoise of many factors outside Germany as well as within. Only by operating this machine, continuously and at full blast, could she find occupation at home for her increasing population and the means of purchasing their subsistence from abroad. The German machine was like a top which to maintain its equilibrium must spin ever faster and faster. In the Austro-Hungarian Empire, which grew from about 40,000,000 in 1890 to at least 50,000,000 at the outbreak of war, the same tendency was present in a less degree, the annual excess of births over deaths being about half a million, out of which, however, there was an annual emigration of some quarter of a million persons. To understand the present situation, we must apprehend with vividness what an extraordinary center of population the development of the Germanic system had enabled Central Europe to become. Before the war the population of Germany and Austria-Hungary together not only substantially exceeded that of the United States, but was about equal to that of the whole of North America. In these numbers, situated within a compact territory, lay the military strength of the Central Powers. But these same numbers—for even the war has not appreciably diminished them[2]—if deprived of the means of life, remain a hardly less danger to European order. European Russia increased her population in a degree even greater than Germany—from less than 100,000,000 in 1890 to about 150,000,000 at the outbreak of war;[3] and in the year immediately preceding 1914 the excess of births over deaths in Russia as a whole was at the prodigious rate of two millions per annum. This inordinate growth in the population of Russia, which has not been widely noticed in England, has been nevertheless one of the most significant facts of recent years. The great events of history are often due to secular changes in the growth of population and other fundamental economic causes, which, escaping by their gradual character the notice of contemporary observers, are attributed to the follies of statesmen or the fanaticism of atheists. Thus the extraordinary occurrences of the past two years in Russia, that vast upheaval of Society, which has overturned what seemed most stable—religion, the basis of property, the ownership of land, as well as forms of government and the hierarchy of classes—may owe more to the deep influences of expanding numbers than to Lenin or to Nicholas; and the disruptive powers of excessive national fecundity may have played a greater part in bursting the bonds of convention than either the power of ideas or the errors of autocracy. II. Organization The delicate organization by which these peoples lived depended partly on factors internal to the system. The interference of frontiers and of tariffs was reduced to a minimum, and not far short of three hundred millions of people lived within the three Empires of Russia, Germany, and Austria-Hungary. The various currencies, which were all maintained on a stable basis in relation to gold and to one another, facilitated the easy flow of capital and of trade to an extent the full value of which we only realize now, when we are deprived of its advantages. Over this great area there was an almost absolute security of property and of person. These factors of order, security, and uniformity, which Europe had never before enjoyed over so wide and populous a territory or for so long a period, prepared the way for the organization of that vast mechanism of transport, coal distribution, and foreign trade which made possible an industrial order of life in the dense urban centers of new population. This is too well known to require detailed substantiation with figures. But it may be illustrated by the figures for coal, which has been the key to the industrial growth of Central Europe hardly less than of England; the output of German coal grew from 30,000,000 tons in 1871 to 70,000,000 tons in 1890, 110,000,000 tons in 1900, and 190,000,000 tons in 1913. Round Germany as a central support the rest of the European economic system grouped itself, and on the prosperity and enterprise of Germany the prosperity of the rest of the Continent mainly depended. The increasing pace of Germany gave her neighbors an outlet for their products, in exchange for which the enterprise of the German merchant supplied them with their chief requirements at a low price. The statistics of the economic interdependence of Germany and her neighbors are overwhelming. Germany was the best customer of Russia, Norway, Holland, Belgium, Switzerland, Italy, and Austria-Hungary; she was the second best customer of Great Britain, Sweden, and Denmark; and the third best customer of France. She was the largest source of supply to Russia, Norway, Sweden, Denmark, Holland, Switzerland, Italy, Austria-Hungary, Roumania, and Bulgaria; and the second largest source of supply to Great Britain, Belgium, and France. In our own case we sent more exports to Germany than to any other country in the world except India, and we bought more from her than from any other country in the world except the United States. There was no European country except those west of Germany which did not do more than a quarter of their total trade with her; and in the case of Russia, Austria-Hungary, and Holland the proportion was far greater. Germany not only furnished these countries with trade, but, in the case of some of them, supplied a great part of the capital needed for their own development. Of Germany s pre-war foreign investments, amounting in all to about $6,250,000,000, not far short of $2,500,000,000 was invested in Russia, Austria-Hungary, Bulgaria, Roumania, and Turkey.[4] And by the system of "peaceful penetration" she gave these countries not only capital, but, what they needed hardly less, organization. The whole of Europe east of the Rhine thus fell into the German industrial orbit, and its economic life was adjusted accordingly. But these internal factors would not have been sufficient to enable the population to support itself without the co-operation of external factors also and of certain general dispositions common to the whole of Europe. Many of the circumstances already treated were true of Europe as a whole, and were not peculiar to the Central Empires. But all of what follows was common to the whole European system. III. The Psychology of Society Europe was so organized socially and economically as to secure the maximum accumulation of capital. While there was some continuous improvement in the daily conditions of life of the mass of the population, Society was so framed as to throw a great part of the increased income into the control of the class least likely to consume it. The new rich of the nineteenth century were not brought up to large expenditures, and preferred the power which investment gave them to the pleasures of immediate consumption. In fact, it was precisely the inequality of the distribution of wealth which made possible those vast accumulations of fixed wealth and of capital improvements which distinguished that age from all others. Herein lay, in fact, the main justification of the Capitalist System. If the rich had spent their new wealth on their own enjoyments, the world would long ago have found such a régime intolerable. But like bees they saved and accumulated, not less to the advantage of the whole community because they themselves held narrower ends in prospect. The immense accumulations of fixed capital which, to the great benefit of mankind, were built up during the half century before the war, could never have come about in a Society where wealth was divided equitably. The railways of the world, which that age built as a monument to posterity, were, not less than the Pyramids of Egypt, the work of labor which was not free to consume in immediate enjoyment the full equivalent of its efforts. Thus this remarkable system depended for its growth on a double bluff or deception. On the one hand the laboring classes accepted from ignorance or powerlessness, or were compelled, persuaded, or cajoled by custom, convention, authority, and the well-established order of Society into accepting, a situation in which they could call their own very little of the cake that they and Nature and the capitalists were co-operating to produce. And on the other hand the capitalist classes were allowed to call the best part of the cake theirs and were theoretically free to consume it, on the tacit underlying condition that they consumed very little of it in practice. The duty of "saving" became nine-tenths of virtue and the growth of the cake the object of true religion. There grew round the non-consumption of the cake all those instincts of puritanism which in other ages has withdrawn itself from the world and has neglected the arts of production as well as those of enjoyment. And so the cake increased; but to what end was not clearly contemplated. Individuals would be exhorted not so much to abstain as to defer, and to cultivate the pleasures of security and anticipation. Saving was for old age or for your children; but this was only in theory,—the virtue of the cake was that it was never to be consumed, neither by you nor by your children after you. In writing thus I do not necessarily disparage the practices of that generation. In the unconscious recesses of its being Society knew what it was about. The cake was really very small in proportion to the appetites of consumption, and no one, if it were shared all round, would be much the better off by the cutting of it. Society was working not for the small pleasures of to-day but for the future security and improvement of the race,—in fact for "progress." If only the cake were not cut but was allowed to grow in the geometrical proportion predicted by Malthus of population, but not less true of compound interest, perhaps a day might come when there would at last be enough to go round, and when posterity could enter into the enjoyment of our labors. In that day overwork, overcrowding, and underfeeding would have come to an end, and men, secure of the comforts and necessities of the body, could proceed to the nobler exercises of their faculties. One geometrical ratio might cancel another, and the nineteenth century was able to forget the fertility of the species in a contemplation of the dizzy virtues of compound interest. There were two pitfalls in this prospect lest, population till outstripping accumulation, our self-denials promote not happiness but numbers; and lest the cake be after all consumed, prematurely, in war, the consumer of all such hopes. But these thoughts lead too far from my present purpose. I seek only to point out that the principle of accumulation based on inequality was a vital part of the pre-war order of Society and of progress as we then understood it, and to emphasize that this principle depended on unstable psychological conditions, which it may be impossible to recreate. It was not natural for a population, of whom so few enjoyed the comforts of life, to accumulate so hugely. The war has disclosed the possibility of consumption to all and the vanity of abstinence to many. Thus the bluff is discovered; the laboring classes may be no longer willing to forego so largely, and the capitalist classes, no longer confident of the future, may seek to enjoy more fully their liberties of consumption so long as they last, and thus precipitate the hour of their confiscation. IV. The Relation of the Old World to the New The accumulative habits of Europe before the war were the necessary condition of the greatest of the external factors which maintained the European equipoise. Of the surplus capital goods accumulated by Europe a substantial part was exported abroad, where its investment made possible the development of the new resources of food, materials, and transport, and at the same time enabled the Old World to stake out a claim in the natural wealth and virgin potentialities of the New. This last factor came to be of the vastest importance. The Old World employed with an immense prudence the annual tribute it was thus entitled to draw. The benefit of cheap and abundant supplies resulting from the new developments which its surplus capital had made possible, was, it is true, enjoyed and not postponed. But the greater part of the money interest accruing on these foreign investments was reinvested and allowed to accumulate, as a reserve (it was then hoped) against the less happy day when the industrial labor of Europe could no longer purchase on such easy terms the produce of other continents, and when the due balance would be threatened between its historical civilizations and the multiplying races of other climates and environments. Thus the whole of the European races tended to benefit alike from the development of new resources whether they pursued their culture at home or adventured it abroad. Even before the war, however, the equilibrium thus established between old civilizations and new resources was being threatened. The prosperity of Europe was based on the facts that, owing to the large exportable surplus of foodstuffs in America, she was able to purchase food at a cheap rate measured in terms of the labor required to produce her own exports, and that, as a result of her previous investments of capital, she was entitled to a substantial amount annually without any payment in return at all. The second of these factors then seemed out of danger, but, as a result of the growth of population overseas, chiefly in the United States, the first was not so secure. When first the virgin soils of America came into bearing, the proportions of the population of those continents themselves, and consequently of their own local requirements, to those of Europe were very small. As lately as 1890 Europe had a population three times that of North and South America added together. But by 1914 the domestic requirements of the United States for wheat were approaching their production, and the date was evidently near when there would be an exportable surplus only in years of exceptionally favorable harvest. Indeed, the present domestic requirements of the United States are estimated at more than ninety per cent of the average yield of the five years 1909-1913.[5] At that time, however, the tendency towards stringency was showing itself, not so much in a lack of abundance as in a steady increase of real cost. That is to say, taking the world as a whole, there was no deficiency of wheat, but in order to call forth an adequate supply it was necessary to offer a higher real price. The most favorable factor in the situation was to be found in the extent to which Central and Western Europe was being fed from the exportable surplus of Russia and Roumania. In short, Europe s claim on the resources of the New World was becoming precarious; the law of diminishing returns was at last reasserting itself and was making it necessary year by year for Europe to offer a greater quantity of other commodities to obtain the same amount of bread; and Europe, therefore, could by no means afford the disorganization of any of her principal sources of supply. Much else might be said in an attempt to portray the economic peculiarities of the Europe of 1914. I have selected for emphasis the three or four greatest factors of instability,—the instability of an excessive population dependent for its livelihood on a complicated and artificial organization, the psychological instability of the laboring and capitalist classes, and the instability of Europe s claim, coupled with the completeness of her dependence, on the food supplies of the New World. The war had so shaken this system as to endanger the life of Europe altogether. A great part of the Continent was sick and dying; its population was greatly in excess of the numbers for which a livelihood was available; its organization was destroyed, its transport system ruptured, and its food supplies terribly impaired. It was the task of the Peace Conference to honor engagements and to satisfy justice; but not less to re-establish life and to heal wounds. These tasks were dictated as much by prudence as by the magnanimity which the wisdom of antiquity approved in victors. We will examine in the following chapters the actual character of the Peace. FOOTNOTES [1] In 1913 there were 25,843 emigrants from Germany, of whom 19,124 went to the United States. [2] The net decrease of the German population at the end of 1918 by decline of births and excess of deaths as compared with the beginning of 1914, is estimated at about 2,700,000. [3] Including Poland and Finland, but excluding Siberia, Central Asia, and the Caucasus. [4] Sums of money mentioned in this book in terms of dollars have been converted from pounds sterling at the rate of $5 to £1. [5] Even since 1914 the population of the United States has increased by seven or eight millions. As their annual consumption of wheat per head is not less than 6 bushels, the pre-war scale of production in the United States would only show a substantial surplus over present domestic requirements in about one year out of five. We have been saved for the moment by the great harvests of 1918 and 1919, which have been called forth by Mr. Hoover s guaranteed price. But the United States can hardly be expected to continue indefinitely to raise by a substantial figure the cost of living in its own country, in order to provide wheat for a Europe which cannot pay for it.
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Lode Stone 日本語訳：ロウド ストーン 性能 +9% 防御力増加(AE) +6% Armor Protection 28% 炎耐性(AE) 16% Fire Resistance 11～15% エナジー流出(AE) 6 ~ 8% Energy Drained +10% Increase Experience Required Player Level 27 解説