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The story below is originally published on Mainichi Daily News by Mainichi Shinbun (http //mdn.mainichi.jp). They admitted inventing its kinky features, or rather deliberately mistranslating them from the original gossip magazine. In fact, this is far from the general Japanese behavior or sense of worth. このページは、毎日新聞事件の検証のための配信記事対訳ページです。直接ジャンプして来られた方は、必ずFAQをお読みください。 ※ この和訳はあくまでもボランティアの方々による一例であり、翻訳の正確さについては各自判断してください。もし誤訳（の疑い）を発見した場合には、直接ページを編集して訂正するか翻訳者連絡掲示板に報告してください。 Crazed teens spice up gang-bashing by adding girl's cut off finger to curry potいかれたティーン、切断された少女の指をカレー鍋に入れることで、集団暴行にスパイスを加える 参考資料 拡散状況 関連ページ Crazed teens spice up gang-bashing by adding girl s cut off finger to curry pot いかれたティーン、切断された少女の指をカレー鍋に入れることで、集団暴行にスパイスを加える 元記事(削除済み)：http //mdn.mainichi.jp/culture/waiwai/news/20070530p2g00m0dm002000c 0 Crazed teens spice up gang-bashing by adding girl s cut off finger to curry pot 2007,5,30 Shukan Gendai 6/9 By Ryann Connell いかれたティーン、切断された少女の指をカレー鍋に入れることで、集団暴行にスパイスを加える 2007年5月30日 週刊現代 6/9 ライアン・コネル記 1 If the sight of a teenage girl staggering along a road in Matsuzaka, Mie Prefecture, in the early hours of the morning while naked from the waist down and covered in blood was not sufficient enough to shock, her tale of how she got that way has certainly sent a chill down spines, according to Shukan Gendai (6/9). たとえ三重県松坂の道路沿いを早朝下半身が裸のままよろよろ歩くティーンエイジの少女の光景にショックを受けなくても、どのようにして彼女はそんな目にあったのかという彼女の話には、背筋の凍る思いが確実にするだろう。週刊現代(6/9)より 2 "She told me, I ve been gang-bashed and they cut my finger off. They would have killed me if I hadn t done something radical, so I jumped into the drain and hid under the water until they went away, " the newspaper deliveryman who discovered the 18-year-old tells Shukan Gendai. "She was pretty hysterical. The top of her little finger had been perfectly severed. Her white jacket was drenched with fresh blood. I realized something big had happened, so I called the delivery center and they alerted the police and called for an ambulance. The girl was trembling with both fright and the cold, but she was screaming I don t want any ambulance, just take me home as fast as possible. " 「彼女は私にこう言いました。『私は集団暴行を受けて、私の指を切り落とされました。もし私が思い切ったことをしなかったらあの人たちは私を殺していたでしょう、なので私は下水溝に飛び込み、あの人たちが行ってしまうまで水中に隠れ続けました』」と、この18歳の少女を発見した新聞配達員は週刊現代に語る。 「彼女は相当ヒステリックになっていました。彼女の小指の先端は完全に切断されていました。彼女の白いジャケットは鮮血にまみれていました。なにかとんでもないことが起こったのだとわかったので、私は配達センターに電話をかけ、配達センターの人が警察に通報し救急車を呼びました。少女は恐怖と寒さのために震えていましたが、「救急車はいらない、出来るだけ早くおうちに帰らせて」と叫んでいました。 3 Hours after the teen was rescued, police arrested two boys on assault charges -- a 17-year-old schoolboy and an unemployed teen aged 15 -- and two girls -- an 18-year-old temp worker and a jobless 17-year-old. The alleged victim had been an online pen pal of the two girls arrested, but had made the mistake of posting a message saying the older girl had fallen pregnant. このティーン・エイジャーが救助されてから数時間後、2人の少年--17歳の学生と無職の15歳--と2人の少女--18歳の臨時雇用者と無職の17歳--を、警察は暴行容疑で逮捕した。 被害者と報じられている少女は、逮捕された2人の少女のネット上のペンフレンドだったが、年長のほうの少女が妊娠してしまったというメッセージを投稿するという失敗をおかしていた。 4 The girl was called over to the temp worker s apartment in Matsuzaka during the day on May 18, where she was greeted by the two lads -- the younger of who was seeing the 18-year-old temp worker -- and the other arrested girl. Cops say the four subjected the 18-year-old woman to 36 hours of beating, as well as lopping off large chunks of her hair. 5月18日の日中、松坂にある臨時雇用者のアパートメントへくるように、少女は呼ばれた。そこで彼女は2人の少年に出迎えられた--若い方は18歳の臨時雇用者と交際していて、もう一人は別の逮捕されることになった少女と交際していた。 警察によれば、4人は被害者の18歳の女性を36時間に渡って打ちすえていて、また彼女の髪の毛をたくさん切り落としていた。 5 "She suffered serious injuries, including a broken eyebrow bone. The beating went right through the 18th and into the 19th when the 15-year-old boy pulled out a knife and sliced off the pinky on her right hand," a national daily s reporter tells Shukan Gendai. "She must have been in enormous pain. After they saw what happened to her, the other two girls said they felt sick and went out of the room." 「彼女は眉骨の骨折など、深刻な傷をつけられていました。打擲は18回以上に及び、15歳の少年がナイフを取り出して少女の右手の小指を切り落としたのは19回目でした」と、日刊全国紙の記者は週刊現代に語る。 「彼女は途方もない痛みに苦しんでいたに違いありません。少女の身に起こったことをみたあと、他の二人の少女は気分が悪くなり部屋を出ました」 6 Cutting off the young woman s finger wasn t enough, though, and the quartet allegedly continued their assault on the woman. When she saw a chance to slip out of the apartment, she took it and raced out. だが、少女の指を切り落とすだけでは十分ではなく、四人組は少女に対する暴行を続けたと報じられている。 少女はアパートメントから抜け出す機会があったときに、イチかバチか外へ走ってでた。 7 "She thought she d be killed if she stayed there much longer, so she ran out and jumped into a sewage drain not far away. She hid there and the four kids couldn t find her. Eventually they returned to the apartment," the reporter says. 「少女はこれ以上そこにいたら殺されてしまうと思ったので、走りだしてそれほど遠くない下水溝の中に飛び込みました。少女はそこに隠れ、4人組は少女を見つけることができませんでした。結局4人組はアパートメントへと帰りました』と記者はいう。 8 Not long after the girl was rescued, police swooped in and arrested the four teens. A raid on the apartment where the girl was purportedly attacked unearthed her severed finger -- in a pot containing the leftovers of a curry meal. 少女が救助されてから程なく、警察がやってきてティーンエイジャー4人組を逮捕した。 少女が暴行を受けたとされるアパートメントの捜査の結果、少女の切断された指が発見された--カレーの残り物が入った鍋の中で。 9 "The arrested kids said they put the finger in a garbage bag, but a cop who went to the scene said they d tried to hide it in the curry," a police investigation insider tells Shukan Gendai, adding that the girl had little hope of seeing her damaged digit restored. "Unless a finger has been cut off cleanly, the chances of rejoining it are slim. And it didn t help her, either, that it took several hours to find the finger." (By Ryann Connell) May 30, 2007 「逮捕された未成年たちは、指をゴミ袋に入れたといいましたが、現場に行った刑事は四人組は、指をカレーの中に隠そうとしたといいました」と、警察の捜査の内部を知るものは週刊現代に語り、少女の損壊した指が修復される見込みは殆ど無いと付け加える。 「指が清潔に切断されない限り、指を接合させられる可能性はあまりません。そして指を見つけるまで数時間かかった事実もまた、彼女にとって役には立ちませんでした」 (ライアン・コネル記) 2007年5月30日 参考資料 事件概要 http //blog.livedoor.jp/dqnplus/archives/976829.html http //www.47news.jp/CN/200705/CN2007052001000615.html 拡散状況 Daily Kos http //www.dailykos.com/story/2007/5/30/83453/9820 The Black Ship http //www.theblackship.com/forum/japan-tabloid-news/749-crazed-teens-spice-up-gang-bashing-adding-girls-cut-off-finger-curry-pot.html ルーマニア語サイト http //www.japonika.myforum.ro/pro-si-contra-sutienelor-in-japonia-vt101.html 関連ページ Daily Kos The Black Ship 毎日新聞英語版から配信された記事2007年(1月 - 6月) 記事が及ぼした影響
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【Tags OSTER project Rin tI O】 Original Music Title おひめさまになりたいのっ！ I Wanna Be a Princess! (Ohime-sama ni Naritai no!) Music Lyrics written, Voice edited by OSTER project Music arranged by OSTER project Singer 鏡音リン (Rin Kagamine) Click here for the original Japanese Lyrics English Lyrics (translated by ikuy398)： As usual, when I wake up today, Next to a canopy bed Warm bagel sandwiches And a call "Good morning, princess" Gorgeously in the morning, I take a soapy bath with a cat-legged bathtub And I ve been buried in tons of soap bubbles popping up I woke up at the moment I ve dreamed of that story for ten odd years I know It s about a turning point of the complexion Even a prince on a white horse is going to turn back Hurry up and pick me up I want to be a princess It s not that it doesn t suit my character but is something that any girl s thinking Please pick me up, my prince The robe of night fell Under the chandelier of night sky I d love to feel a night wind at a rococo balcony on my own Even though a pretty dress with ribbons and frills can t be put on without a shirring I have a passion for carbs after all I always can t slim down Still I want to be a princess Bearing up under everyone s cold eyes Girl s heart bursts again today Understand this feeling After all I want to be a princess How dare you say I m old enough to get real! Girls are living with dreams Or get to be wilting When are you going to pick me up, dear prince who loves irritating me? My life plan s completely messed up Even a white horse or zebra or donkey or dog or cat or llama or alpaca or whatever, now pick me up! I want to be a princess I won t allow anyone to interfere with my ambition Surrounded with stuffed animals I take a siesta The dinner is full-course If I become a princess someday I ll eat bucket puddings to death So, till the time comes I ll keep on dieting and go to an aesthetic salon too Please pick me up, my prince English Lyrics (translated by animeyay)： When I wake up today, right by my canopy bed is a steamy hot bagel sandwich, while a voice greets "Good morning, Princess." Right in the morning, I take a bubbly bath gorgeously in a claw-foot bathtub. Buried in a ridiculous amount of soap bubbles, I suddenly woke up for real! I ve been having this dream for over 10 years; my skin is probably starting to look so wrinkly, that even my prince on a white horse might turn back and leave. Please hurry up and come for me. I really want to become a princess, not those characters you have in your mind. Every girl has this wish. Please come for me, my prince. As darkness veils the sky, under the starry chandeliers, on a Rococo-style balcony, I want to feel the night breeze alone. A dress with very cute ribbons and frills can only be worn if there are elastic shirrings. I guess I can t resist the carbohydrates after all, since I haven t been able to slim down one bit. But I really want to become a princess. I won t be discouraged by other people s icy looks. My maiden heart is erupting once again today, so please understand my feelings. So I really want to become a princess. How could you say "Grow up and face reality"?! Girls must live with their dreams, otherwise they will wither away. Just when will you come for me, my prince on a white horse who likes to tease me so? My life s plan is in a real mess right now, so ride on your white horse, or zebra, or donkey, or dog, or cat, or llama, or alpaca, or what have you, anything s fine, just come for me already! I really want to become a princess. I won t let anyone interfere with my ambition. My afternoon nap will be surrounded by plush toys, and my dinners will always be full courses. When I do become a princess, I will eat lots of flans until I get sick of them. So until that time, I will work hard on my diet, and keep visiting beauty salons. Please come for me, my prince. Romaji lyrics (transliterated by animeyay)： kyou mo me ga sameru to tengai-zuki no beddo no yoko ni hokahoka beeguru sando to "ohayou gozaimasu ohime-sama" no kakegoe asa kara goojasu ni nekoashi basutabu de awaawa no ofuro tairyou hassei shita shabon ni umoreta toko de me ga sameta sonna yume o mite haya juusuunen sorosoro ohada mo magarikado ne hakuba no ouji mo hikikaeshichau wa hayaku mukae ni kite watashi ohime-sama ni naritai no kyara ja nai to ka sonna n ja nakute onnanoko wa dare de mo omotte ru mukae ni kite ne My prince yoru no tobari orite hoshizora no shanderia no shita rokoko-chou no barukonii de hitori yokaze o kanjite mitai ribon to furiru no kawaii doresu mo shaaringu nai to kirarenai no ni tansuikabutsu ni wa yappari me ga nakute zutto yaserarenai dakedo ohime-sama ni naritai no minna no hiyayaka na shisen ni makezu otome-gokoro wa kyou mo bakuhatsu yo kono kimochi wakatte datte ohime-sama ni naritai no ii toshi shite genjitsu miro da nante onnanoko wa yume to ikinakya shiorete shimau mono yo itsu ni nattara mukae ni kuru no yo jirashi ga osuki na ouji-sama watashi no jinsei sekkei mechakucha yo hakuba de mo shimauma de mo roba de mo inu de mo neko de mo ryama demo arupaka de mo mou nan de mo ii kara mukae ni kinasai watashi ohime-sama ni naritai no yabou wa dare ni mo jama sasenai wa nuigurumi ni hakomarete shiesuta dinaa wa furu-koosu itsuka ohime-sama ni natta nara baketsu-purin o shinu hodo taberu no dakara sono toki ga kuru made wa daietto ganbaru kara esute ni mo kayou kara mukae ni kite ne My prince
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Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Technology&PublicPolicy? Science and Technology in Latin America (Cartermill Guides to World Science Technology) Gale Group? C. Koper? Christopher Roper? Jorge Silva? GaleGroup? C.Koper? ChristopherRoper? JorgeSilva? ジャンル別? Subjects-Business&Investing-Management&Leadership-Production&Operations? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Production&Operations? Subjects-Reference-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Science and Technology in Australasia Antarctica and the Pacific Islands (Guides to World Science and Technology, 11) Longman Pub Group? Jarlath Ronayne? Campbell Boag? LongmanPubGroup? JarlathRonayne? CampbellBoag? ジャンル別? Subjects-Biographies&Memoirs-SpecificGroups-Scientists? Subjects-Nonfiction-Politics-General? Subjects-Reference? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofScience? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Technology&PublicPolicy? Subjects-Travel-PolarRegions-Antarctica? Dictionary of Inventions and Discoveries Muller? Ernest Frank Carter? Muller? ErnestFrankCarter? ジャンル別? Subjects-Science-Technology-General&Reference New Sources of Energy and Power Frederick Muller Ltd? Egon Larsen? FrederickMullerLtd? EgonLarsen? ジャンル別? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Science-Physics-Applied? Subjects-Science-Technology-General&Reference Unlocking the Atom Frederick Muller Ltd? Michael Longstaff? FrederickMullerLtd? MichaelLongstaff? ジャンル別? Subjects-Engineering? Subjects-History-Europe-England-General? Subjects-Professional&Technical-Engineering? Subjects-Science-Physics-Applied? Subjects-Science-Technology-General&Reference Pioneers of Computing Frederick Muller Ltd? F.G. Ashurst? FrederickMullerLtd? F.G.Ashurst? ジャンル別? Subjects-Computers&Internet-Business&Culture-Biographies? Subjects-Science-Physics-Applied? Subjects-Science-Technology-General&Reference Japanese Motorcycles (A Charles Herridge Book) Frederick Muller Ltd? Cyril Ayton? FrederickMullerLtd? CyrilAyton? ジャンル別? Subjects-Engineering-General? Subjects-Nonfiction-Automotive-Motorcycles-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-Technology-General&Reference How Things Work Paladin? Paladin? ジャンル別? Subjects-Science-Technology-General&Reference Inventions No One Mentions Scholastic Trade? Chip Lovitt? ScholasticTrade? ChipLovitt? ジャンル別? Subjects-Children sBooks-Baby-3-General? Subjects-Children sBooks-Literature? Subjects-Science-Technology-General&Reference What If? Fifty Discoveries That Changed the World Scholastic Paperbacks? Dian Dincin Buchman? Sele Groves? ScholasticPaperbacks? DianDincinBuchman? SeleGroves? ジャンル別? Substores-UnknownASINs-14? Subjects-Children sBooks-Literature? Subjects-Science-Technology-General&Reference The Real McCoy The Life of an African-American Inventor Scholastic Trade? Wendy Towle? Wil Clay? ScholasticTrade? WendyTowle? WilClay? ジャンル別? Subjects-Biographies&Memoirs-General? Subjects-Children sBooks-Science,Nature&HowItWorks-General? Subjects-Science-Technology-General&Reference What a Great Idea Inventions That Changed the World Scholastic Trade? Steve Tomecek? Dan Stuckenschneider? ScholasticTrade? SteveTomecek? DanStuckenschneider? ジャンル別? Subjects-Children sBooks-Ages9-12-General? Subjects-Children sBooks-Reference&Nonfiction-General? Subjects-Children sBooks-Science,Nature&HowItWorks-General? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference The Interdisciplinary Imperative Interactive Research and Education, Still an Elusive Goal in Academia Writers Club Pr? Rustum Roy? WritersClubPr? RustumRoy? ジャンル別? Subjects-Nonfiction-Education-EducationTheory-Research? Subjects-Professional&Technical-Education-Theory-Research? Subjects-Science-General Subjects-Science-Technology-General&Reference Write Better and Get Ahead at Work Successful Methods for Writing the Easy, Natural Way Iuniverse Inc? Michael Dolan? IuniverseInc? MichaelDolan? ジャンル別? Subjects-Business&Investing-BusinessLife-Communication-General? Subjects-Business&Investing-BusinessLife-Communication-BusinessWriting? Subjects-Business&Investing-General? Subjects-Business&Investing-Reference-Writing? Subjects-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Professional&Technical-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Reference-Writing-Technical? Subjects-Reference-Writing-Business? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-TechnicalThinking&Writing? Keyword Index 1999 Fda Model Food Code Backinprint.Com? Gary Barnes? Backinprint.Com? GaryBarnes? ジャンル別? Subjects-Engineering-Reference? Subjects-Law-PerspectivesonLaw-Jurisprudence? Subjects-Law-LawPractice-Reference? Subjects-Nonfiction-Law-PerspectivesonLaw-Jurisprudence? Subjects-Nonfiction-Law-LawPractice-Reference? Subjects-Professional&Technical-Engineering-Reference? Subjects-Professional&Technical-Law-LawPractice-Reference? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-FoodSciences-General? Subjects-Reference-ConsumerGuides? Subjects-Reference-General? Subjects-Reference-Law? Subjects-Science-Reference-Engineering? Subjects-Science-Technology-General&Reference Subjects-Science-AgriculturalSciences-FoodScience? Hobby Farming A Collection of Articles for the Novice Farmer Writers Club Pr? Don De Beyer? WritersClubPr? DonDeBeyer? ジャンル別? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-AgriculturalSciences-General? A Beginner's Guide to Understanding Technical Support Writers Club Pr? Jose-Albin D. Afable? WritersClubPr? Jose-AlbinD.Afable? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference Substores-UnknownASINs-jp-unknown1? Blazing Trails Finite Element Pioneers in Milwaukee Iuniverse Inc? Vern Overbye? Paul Bodine? IuniverseInc? VernOverbye? PaulBodine? ジャンル別? Substores-UnknownASINs-14? Subjects-Science-General Subjects-Science-Technology-General&Reference Chemistry in a Day of Student's Life Writers Club Pr? Mahadev M. Kumbar? WritersClubPr? MahadevM.Kumbar? ジャンル別? Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Professional&Technical-ProfessionalScience-Physics-MolecularPhysics? Subjects-Science-Chemistry-General&Reference? Subjects-Science-General Subjects-Science-Physics-MolecularPhysics? Subjects-Science-Technology-General&Reference Left Overs An Auto Auction Memoir Iuniverse Inc? Gerald A. Rogers? IuniverseInc? Gerald A. Rogers? ジャンル別? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Safety&Health? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-Industry? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Safety&Health? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Safety&Health? Pitfalls of a Returning Resident Lament on Our Times Iuniverse Inc? Nathan Sap? IuniverseInc? NathanSap? ジャンル別? Subjects-Biographies&Memoirs-General? Subjects-Biographies&Memoirs-Memoirs? Subjects-Nonfiction-Politics-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Answering The Call Communication Technologies And The Not-for-profit Organization Iuniverse Inc? Joseph Robert Liberto? IuniverseInc? JosephRobertLiberto? ジャンル別? Subjects-Business&Investing-BusinessLife-Communication-General? Subjects-Engineering-Telecommunications-General? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Professional&Technical-Engineering-Telecommunications-General? Subjects-Science-General Subjects-Science-Technology-General&Reference The Nunex Method A 7-step Guide For Documenting Technical Projects Successfully Iuniverse Inc? Richard Nunez? John Palmisano? Eric Shapiro? IuniverseInc? RichardNunez? JohnPalmisano? EricShapiro? ジャンル別? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference J2ee Simplified A Practical Guide to J2ee Project Technologies for Project Managers And Other Non-developer Team Members Iuniverse Inc? Gregory Powell? IuniverseInc? GregoryPowell? ジャンル別? Subjects-Computers&Internet-Software-Design&Development-SoftwareProjectManagement? Subjects-Computers&Internet-ComputerScience-SoftwareEngineering-InformationSystems? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference Quest for the Perfect Strawberry A Case Study of the California Strawberry Commission And the Strawberry Industry a Descriptive Model for Marketing Order Evaluation Iuniverse Inc? Herbert Baum? IuniverseInc? HerbertBaum? ジャンル別? Subjects-Business&Investing-Biographies&Primers-PopularEconomics? Subjects-Business&Investing-Economics-Exports&Imports? Subjects-Business&Investing-General? Subjects-Nonfiction-Economics-Exports&Imports? Subjects-Nonfiction-Economics-General? Subjects-Professional&Technical-Accounting&Finance-Economics-Exports&Imports? Subjects-Professional&Technical-Accounting&Finance-Economics-General? Subjects-Science-Technology-General&Reference Nothing to Hide Privacy in the 21st Century Iuniverse Inc? Mark R Keeler? IuniverseInc? MarkRKeeler? ジャンル別? Subjects-Engineering-Telecommunications-General? Subjects-Professional&Technical-Engineering-Telecommunications-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Technology-General&Reference 洋書
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Idea to Marketplace An Inventor's Guide Hp Books? Thomas R. Lampe? HpBooks? ThomasR.Lampe? ジャンル別? Subjects-Business&Investing-General? Subjects-Engineering-Patents&Inventions? Subjects-Law-IntellectualProperty-General? Subjects-Nonfiction-Law-IntellectualProperty-General? Subjects-Professional&Technical-Engineering-Patents&Inventions? Subjects-Reference-General? Subjects-Science-Technology-General&Reference Sheet Metal Handbook Hp Books? Ron Fournier? Sue Fournier? HpBooks? RonFournier? SueFournier? ジャンル別? Subjects-Engineering-General? Subjects-Engineering-Materials-Metallurgy? Subjects-Engineering-Reference? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-Customize? Subjects-Nonfiction-Automotive-Repair-Body&Fenders? Subjects-Professional&Technical-Engineering-Reference? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-Engineering-Materials-Metallurgy? Subjects-Science-General Subjects-Science-Technology-General&Reference Turbo BASIC Programmes for Scientists and Engineers Longman Higher Education? A Miller? LongmanHigherEducation? AMiller? ジャンル別? Subjects-Nonfiction-Philosophy-Science? Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Up and Running With Autosketch 3 Sybex Inc? Robert Shepherd? SybexInc? RobertShepherd? ジャンル別? Subjects-Arts&Photography-Architecture-Drawing&Modelling-CAD-CAD&CAM? Subjects-Computers&Internet-GraphicDesign-DesktopPublishing-General? Subjects-Computers&Internet-GraphicDesign-CAD-CAD&CAM? Subjects-Computers&Internet-General? Subjects-Engineering-ComputerTechnology-CAD&CAM? Subjects-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Engineering-ComputerTechnology-CAD&CAM? Subjects-Professional&Technical-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Architecture-Drawing&Modelling-CAD-CAD&CAM? Subjects-Science-Technology-General&Reference The Smithsonian Book of Invention Smithsonian Inst Pr? SMITHSONIAN BOO? SmithsonianInstPr? SMITHSONIANBOO? ジャンル別? Subjects-Arts&Photography-Photography-General? Subjects-Outdoors&Nature-Ecology-General? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Nature&Ecology-General? Subjects-Science-Technology-General&Reference Illustrations Humana Pr? Graham T. Richardson? HumanaPr? GrahamT.Richardson? ジャンル別? Substores-UnknownASINs-28? Subjects-Arts&Photography-GraphicDesign? Subjects-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofScience? Subjects-Science-Technology-General&Reference Microwave Techniques and Protocols (None) Humana Pr? Richard T. Giberson? Richard S. Demaree? HumanaPr? RichardT.Giberson? RichardS.Demaree? ジャンル別? Subjects-Engineering-Telecommunications-Microwaves? Subjects-Medicine-BasicScience-Biochemistry? Subjects-Medicine-Specialties-Pathology-LaboratoryMedicine? Subjects-Professional&Technical-Engineering-Telecommunications-Microwaves? Subjects-Professional&Technical-Medical-BasicSciences-Biochemistry? Subjects-Professional&Technical-Medical-Medicine-InternalMedicine-Pathology-LaboratoryMedicine? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-Biochemistry? Subjects-Science-Chemistry-Spectroscopy-General? Subjects-Science-Chemistry-Biochemistry? Subjects-Science-Experiments,Instruments&Measurement-Microscopes&Microsocopy? Subjects-Science-Experiments,Instruments&Measurement-Biology? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-BasicScience-Biochemistry? Subjects-Science-Medicine-Specialties-Pathology-LaboratoryMedicine? Electrical Wiring Residential, Utility, Service Areas Amer Assn for Vocational? Thomas S. Colvin? AmerAssnforVocational? ThomasS.Colvin? ジャンル別? Subjects-Engineering-Electrical&Electronics-General? Subjects-Home&Garden-How-to&HomeImprovements-Electrical? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Reference-General? Subjects-Science-Physics-Applied? Subjects-Science-Technology-General&Reference Architect or Bee? South End Pr? Mike Cooley? SouthEndPr? MikeCooley? ジャンル別? Subjects-Computers&Internet-Business&Culture-FutureofComputing? Subjects-Literature&Fiction-General-Contemporary? Subjects-Nonfiction-SocialSciences-Sociology-SocialTheory? Subjects-Science-General Subjects-Science-Technology-General&Reference Prime Time Activism Media Strategies for Organizing South End Pr? Charlotte Ryan? SouthEndPr? CharlotteRyan? ジャンル別? Subjects-Business&Investing-Marketing&Sales-PublicRelations? Subjects-Nonfiction-Politics-General? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Nonfiction-SocialSciences-PoliticalScience-ComparativeGovernment? Subjects-Professional&Technical-BusinessManagement-Marketing&Sales-PublicRelations? Subjects-Science-Technology-General&Reference The New Handbook of Stage Lighting Graphics Drama Pub? William B. Warfel? DramaPub? WilliamB.Warfel? ジャンル別? Subjects-Arts&Photography-PerformingArts-Theater-General? Subjects-Arts&Photography-PerformingArts-Theater-Stagecraft? Subjects-Entertainment-PerformingArts-Theater-General? Subjects-Entertainment-PerformingArts-Theater-Stagecraft? Subjects-Reference-General? Subjects-Science-Technology-General&Reference Ortho's Patio Plans (Ortho's All About Home Improvement) Better Homes & Gardens Books? Sharon Ross? Ortho Books? Barbara Sabella? BetterHomes&GardensBooks? SharonRoss? OrthoBooks? BarbaraSabella? ジャンル別? Subjects-Engineering-Civil-Construction-BuildingConstruction? Subjects-Engineering-Civil-Construction-General? Subjects-Home&Garden-Gardening&Horticulture-Outdoor&RecreationalAreas? Subjects-Home&Garden-HomeDesign-Buildings&Construction? Subjects-Home&Garden-HomeDesign-Remodeling&Renovation-General? Subjects-Professional&Technical-Engineering-Civil-Construction-BuildingConstruction? Subjects-Professional&Technical-Engineering-Civil-Construction-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Ortho's All About Kitchen Remodeling (Ortho's All About Home Improvement) Better Homes & Gardens Books? Larry Hodgson? Ortho Books? John Riha? Karen K. Johnson? BetterHomes&GardensBooks? LarryHodgson? OrthoBooks? JohnRiha? KarenK.Johnson? ジャンル別? Subjects-Business&Investing-Industries&Professions-Hospitality,Travel&Tourism? Subjects-Engineering-Civil-Construction-BuildingConstruction? Subjects-Home&Garden-HomeDesign-Remodeling&Renovation-General? Subjects-Home&Garden-HomeDesign-Remodeling&Renovation-Kitchens? Subjects-Professional&Technical-Engineering-Civil-Construction-BuildingConstruction? Subjects-Science-Technology-General&Reference Subjects-Travel-Reference&Tips-Food&Lodging? Ortho's All About Home Offices (Ortho's All About Home Improvement) Better Homes & Gardens Books? Jeff Beneke? Ortho Books? Douglas Rossi? Karen K. Johnson? BetterHomes&GardensBooks? JeffBeneke? OrthoBooks? DouglasRossi? KarenK.Johnson? ジャンル別? Substores-UnknownASINs-63? Subjects-Business&Investing-SmallBusiness&Entrepreneurship-HomeBased? Subjects-Engineering-Civil-Construction-BuildingConstruction? Subjects-Home&Garden-HomeDesign-Remodeling&Renovation-General? Subjects-Home&Garden-General? Subjects-Professional&Technical-Engineering-Civil-Construction-BuildingConstruction? Subjects-Science-Technology-General&Reference Ortho's 50 Quick Home Improvements (Ortho's All About Home Improvement) Ortho Books? Sharon Ross? David Toht? Ortho Books? Karen Johnson Mark Egge? Pamela Drury Wattenmaker? OrthoBooks? SharonRoss? DavidToht? OrthoBooks? KarenJohnson? MarkEgge? PamelaDruryWattenmaker? ジャンル別? Substores-UnknownASINs-29? Subjects-Engineering-Civil-Construction-BuildingConstruction? Subjects-Home&Garden-HomeDesign-Remodeling&Renovation-General? Subjects-Home&Garden-How-to&HomeImprovements-Do-It-Yourself? Subjects-Professional&Technical-Engineering-Civil-Construction-BuildingConstruction? Subjects-Science-Technology-General&Reference Ortho's All About Storage Solutions (Ortho's All About Home Improvement) Better Homes & Gardens Books? David Toht? Ortho Books? Jim Sanders? Paul Ehrlich? BetterHomes&GardensBooks? DavidToht? OrthoBooks? JimSanders? PaulEhrlich? ジャンル別? Subjects-Home&Garden-HomeDesign-Remodeling&Renovation-General? Subjects-Home&Garden-How-to&HomeImprovements-Cleaning,Caretaking&Relocating? Subjects-Home&Garden-How-to&HomeImprovements-Do-It-Yourself? Subjects-Science-Technology-General&Reference Ortho's All About Landscape Construction Basics (Ortho's All About Home Improvement) Ortho Books? Ortho? Larry Erickson? OrthoBooks? Ortho? LarryErickson? ジャンル別? Substores-UnknownASINs-63? Subjects-Home&Garden-Gardening&Horticulture-Landscape? Subjects-Home&Garden-Gardening&Horticulture-Outdoor&RecreationalAreas? Subjects-Science-Technology-General&Reference Ortho's All About Masonry Basics (Ortho's All About Home Improvement) Ortho Books? Meredith Books? Ortho Books? Larry Erickson? OrthoBooks? MeredithBooks? OrthoBooks? LarryErickson? ジャンル別? Subjects-Engineering-Civil-Construction-BuildingConstruction? Subjects-Engineering-Civil-Construction-General? Subjects-Engineering-Civil-Construction-Masonry? Subjects-Engineering-Civil-Surveying&Photogrammetry? Subjects-Home&Garden-How-to&HomeImprovements-Masonry? Subjects-Professional&Technical-Engineering-Civil-Construction-BuildingConstruction? Subjects-Professional&Technical-Engineering-Civil-Construction-General? Subjects-Professional&Technical-Engineering-Civil-Construction-Masonry? Subjects-Professional&Technical-Engineering-Civil-Surveying&Photogrammetry? Subjects-Science-General Subjects-Science-Technology-General&Reference 0Rtho's All About Plumbing Basics (Ortho's All About Home Improvement) Ortho Books? Ort? OrthoBooks? Ort? ジャンル別? Subjects-Engineering-Civil-Construction-BuildingConstruction? Subjects-Engineering-Civil-Construction-General? Subjects-Engineering-Civil-Construction-Plumbing? Subjects-Home&Garden-How-to&HomeImprovements-Plumbing&HouseholdAutomation? Subjects-Professional&Technical-Engineering-Civil-Construction-BuildingConstruction? Subjects-Professional&Technical-Engineering-Civil-Construction-General? Subjects-Professional&Technical-Engineering-Civil-Construction-Plumbing? Subjects-Science-Technology-General&Reference Panzergrenadiers in Action (Weapons) Squadron/Signal Pubns? Ronald L. Redmon? Squadron/SignalPubns? RonaldL.Redmon? ジャンル別? Substores-UnknownASINs-29? Subjects-History-Americas-UnitedStates-20thCentury-WorldWarII-General? Subjects-History-Europe-General? Subjects-History-Europe-Germany-General? Subjects-History-Military-Weapons&Warfare-Conventional-ArmoredVehicles? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Hu-16 Albatross in Action (New Jersey History Series) Squadron/Signal Publications, Inc.? Robert D. Migliardi? Squadron/SignalPublications,Inc.? RobertD.Migliardi? ジャンル別? Substores-UnknownASINs-29? Subjects-History-Military? Subjects-Science-Technology-General&Reference B-52 Walk Around (Walk Around Series) Squadron/Signal Pubns? Lou Drendel? Squadron/SignalPubns? LouDrendel? ジャンル別? Subjects-History-Military-Aviation? Subjects-Nonfiction-Transportation-Aviation-General? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Walk Around #8 P-40 Warhawk (Coleccion Caniqui) Squadron/Signal Pubns? Lou Drendel? Squadron/SignalPubns? LouDrendel? ジャンル別? Substores-UnknownASINs-29? Subjects-History-Military-Aviation? Subjects-Nonfiction-Transportation-Aviation-General? Subjects-Science-Technology-General&Reference M3 Half-Track in Action (Squadron/Signal Publications Armor) Squadron/Signal Pubns? Jim Mesko? Squadron/SignalPubns? JimMesko? ジャンル別? Subjects-History-Military-Weapons&Warfare? Subjects-History-MilitaryScience? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Essex Class Carriers in Action (Warships) Squadron/Signal Pubns? Michael C. Smith? Ernesto Cumpian? Don Greer? Squadron/SignalPubns? MichaelC.Smith? ErnestoCumpian? DonGreer? ジャンル別? Subjects-History-Americas-UnitedStates-20thCentury-WorldWarII-Naval? Subjects-History-Military-Naval? Subjects-History-MilitaryScience? Subjects-Nonfiction-Transportation-Ships-BoatBuilding? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Walk Around P-47 Thunderbolt (Walk Around) Squadron/Signal Publications, Inc.? Lou Drendel? Squadron/SignalPublications,Inc.? LouDrendel? ジャンル別? Substores-UnknownASINs-29? Subjects-Engineering-SpecialTopics-MilitaryEngineering? Subjects-History-Military-Aviation? Subjects-Nonfiction-Transportation-Aviation-General? Subjects-Professional&Technical-Engineering-SpecialTopics-MilitaryEngineering? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Science and Technology Policy Perspectives Perspectives for the 1980s (Annals of the New York Academy of Sciences, V. 334.) New York Academy of Sciences? International Conference on Science and Technology Policy? Herbert I. Fusfeld? Carmela S. Haklisch? New York University? NewYorkAcademyofSciences? InternationalConferenceonScienceandTechnologyPolicy? HerbertI.Fusfeld? CarmelaS.Haklisch? NewYorkUniversity? ジャンル別? Substores-UnknownASINs-29? Subjects-Science-General Subjects-Science-Technology-General&Reference Bridge to the Future A Centennial Celebration of the Brooklyn Bridge (Annals of the New York Academy of Sciences) New York Academy of Sciences? Margaret Latimer? NewYorkAcademyofSciences? MargaretLatimer? ジャンル別? Substores-UnknownASINs-29? Subjects-Engineering-Civil-Surveying&Photogrammetry? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Nonfiction-UrbanPlanning&Development-General? Subjects-Nonfiction-Transportation-General? Subjects-Professional&Technical-Engineering-Civil-Surveying&Photogrammetry? Subjects-Science-Technology-General&Reference Sixth International Conference on Collective Phenomena Reports from the Moscow Refusnik Seminar (Annals of the New York Academy of Sciences) New York Academy of Sciences? swed International Conference on Collective Phenomena 1983 Stockholm? Inga Fischer-Hjalmars? Joel L. Lebowitz? New York Academy of Sciences? israe International Conference on Collective Phenomena 1984 Tel Aviv? NewYorkAcademyofSciences? swedInternationalConferenceonCollectivePhenomena1983Stockholm? IngaFischer-Hjalmars? JoelL.Lebowitz? NewYorkAcademyofSciences? israeInternationalConferenceonCollectivePhenomena1984TelAviv? ジャンル別? Substores-UnknownASINs-29? Subjects-Nonfiction-Politics-Activism? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-BehavioralSciences-BehavioralPsychology? Ethical Issues Associated With Scientific and Technological Research for the Military (Annals of the New York Academy of Sciences) New York Academy of Sciences? Carl Mitcham? Philip Siekevitz? NewYorkAcademyofSciences? CarlMitcham? PhilipSiekevitz? ジャンル別? Subjects-Business&Investing-BusinessLife-Ethics? Subjects-Engineering-SpecialTopics-MilitaryEngineering? Subjects-Nonfiction-Philosophy-Ethics&Morality? Subjects-Professional&Technical-Engineering-SpecialTopics-MilitaryEngineering? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-BusinessEthics? Subjects-Science-General Subjects-Science-Technology-General&Reference Progress in Recombinant DNA Technology and Applications (Annals of the New York Academy of Sciences) New York Academy of Sciences? Ales Prokop? Rakesh K. Bajpai? NewYorkAcademyofSciences? AlesProkop? RakeshK.Bajpai? ジャンル別? Subjects-Engineering-Bioengineering-Biotechnology? Subjects-Professional&Technical-Engineering-Bioengineering-Biotechnology? 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（クリソテミス駈け出して、内庭の扉口に出て来る。傷ついた獣のように、高い声を上げてわめく） クリソテミス （叫びながら） オレストが。 オレストが死んだ。 エレクトラ （正気を失ったように、目で稲光をさせる） 静かにおし。 クリソテミス オレストが死んだ。 エレクトラ （唇を動かす） クリソテミス わたしが今居た所では、みんなそれを知っていた。 みんな集っていて、みんなそれを知っていた。 知らないのはわたしたちだけよ。 エレクトラ 誰が知るものか。 クリソテミス 誰でもみんな知っているよ。 エレクトラ 誰も知っている筈がない、ほんとうのことではないもの。 クリソテミス （地面の上に体を投げかける） エレクトラ （クリソテミスを引き起しながら） ほんとうではない、 ほんとうではないというに。どうしてほんとうなものか。 それはほんとうではないよ。 クリソテミス 見知らぬ人たちが塀の外に来て立っている、 その知らせを持って、見知らぬ人たちが使に来ている。 年寄りと若い男と二人で来ている。 みんなにこの人たちは話をした。 みんなその人たちのまわりで環になって話を聞いているわ。 それは誰だってもう知っているわ。 エレクトラ （一番上の強さで ） ほんとうなものか。 クリソテミス わたしたちのことは誰も考えもしないわ。 死んだのだよ。エレクトラ、死んだのだよ。 よその外国で死んだのですよ。死んだのです。 よその国の土に埋められたのです。 自分の馬にころされて引きずられたのですよ。 若い僕 （家の中から駈け出して来て、敷居際にうずくまる女達の体につまづいてとび上がりながら） どけ。誰だ、扉口でこそこそしているのは。 いやはや、とんでもない奴だ。おいこら、厩番、こらやい。 老いた僕 （暗い顔をした老人、内庭の扉口にあらわれる） 厩番に何か用かい。 若い僕 馬に鞍を置いてくれ、出来るだけ早くだよ。 いいかい。馬でも、驢馬でも、 まかりまちがったら牛でもいい、何でも早いに限るよ。 老いた僕 誰が乗るのだ。 若い僕 そういうこなたさまが乗るのだよ。 目をまるくするない。おれが乗るのだ。早くしておくれ。 さっさとね。おれがのるのだ。大いそぎだ。大いそぎだ。 これから野へ行って、王さまに申上げねばならぬ。 大切な口上を申し上げに行くのだ。 大切とも、大切とも、それは大切な、何のお前のよぼくた馬の一匹位、乗りつぶしてもかまわぬほどの大切な御口上だ。 老いた僕 （出て行く） エレクトラ （ひとり言、しずかに、とても力強く） ではいよいよ、わたしたちの手でそれをしなければならない。 クリソテミス （当惑したように問いかける） エレクトラ。 エレクトラ わたしたちがだよ。 わたしたち二人でしなければならないのだよ。 クリソテミス 何をえ、エレクトラ。 エレクトラ 今日に限るのだ。今夜に限るのだ。 クリソテミス 何をさ。ねえさま。 エレクトラ 何をだと。 わたしたち二人の上にかかって来た為事をさ。 あの人はもう帰って来られないのだし、 クリソテミス （だんだん恐ろしくなって） 何の為事をさ。 エレクトラ これからお前とわたしは一緒に行って、 女とその夫を、殺さなければならないのだよ。 クリソテミス ねえさま、お前、おかあさまのことをいうの。 エレクトラ あの女のことだ。それからあの男もだよ。 もう猶予する所はない。すぐやるのだよ。 エレクトラ 黙っておいで。何もいってはならないぞ。 外に考えることもいらぬ、ただどうしてとだけ。 どうしてそれを為しとげるかということだけ考えればいいのだよ。 クリソテミス わたしがかい。 エレクトラ ああお前とわたしとで。 誰も外にあるものか。 クリソテミス わたしたちがやるというの。わたしたちが、わたしたちが。わたしたち二人が。この二本の手で。 エレクトラ 得物の用意はわたしにまかせて置けばいい。 エレクトラ 斧とえ。ああ斧か。おとうさまを殺した斧で クリソテミス まあお前は。 恐しいことだ。 エレクトラ オレストのためにわたしはしまって置いたのだよ。 こうなればわたしたちがこれをつかわなければならぬ。 クリソテミス お前がかい、お前のその腕でエギストどのを殺すのかい。 エレクトラ 初めに女を殺して、それから男だ、初めに男、それから女、 どちらでもいい。 クリソテミス 恐ろしいことだ。 エレクトラ 二人の寝る表の部屋には誰も休んではいないのだ。 クリソテミス 寝ている中にそっと殺すつもりなの。 エレクトラ 眠っている人間は繋がれている獣も同じことだ。 二人一緒に寝ているのでなければ、 わたし一人でもやって見せる。 けれどもお前が来てくれなければ困る。 クリソテミス （逃身になって） エレクトラ。 エレクトラ お前がさ。お前がさ。 お前は力が強いのだからね。 （じりじりとクリソテミスに近づき、） お前は何という強い体だ。 処女のままの夜を送っているのがお前の体を強くしたのだよ。 お前の体のどこにも、力があふれているのだ。 筋がはりきれそうにもり上がっている、 すらりとのびた両足に。 何というすらりとした、しなやかな、かるがると抱きしめられそうな腰つきをしているでしょう。 どんな隙間からでもぬけられよう、 窓からでもぬけ出せよう。 わたしに腕をさわらせておくれ。 まあ何という冷たい、かたい体でしょう。 お前が逃身になって行く時、 わたしはお前の腕がどんな腕だということが分かる。 お前は自分を引きよせるものを押し返す力がある。 お前はあたし位、いいえ、男一人位でも、その腕で絞め上げることができよう。お前の体のどこにも、力があふれているのだ。 その力は、岩間から冷たい、せかれた水のように流れ出すのだよ。 その力はお前のがっしりした肩の上に、髪の毛と一緒に流れているのだよ。 お前の肌の冷たい底にあたたかい血の動くのを感じている。わたしの頬はお前のみづみづした腕にうく脂でうるんでいる、 お前には力があふれているのだ、お前は美しい、 お前は熟れきった果実のようだ。 クリソテミス 離して下さい。 エレクトラ いいえ、わたしは離すまい。 わたしのこの情ない萎びきった両腕で、 わたしはお前の体にからみつく、お前があらがえばあらがうほど、 お前は結び目をいよいよ堅くするだけだよ。 わたしはまといつくばかりだよ。わたしの心の根をお前の土におろし、わたしの意志の血をお前の体に植えるばかりだよ。 クリソテミス 離して下さいよ。 （二三歩逃げ出す、エレクトラ狂気のように後を追って、衣の据を掴む） エレクトラ いいえ。 わたしは離さないよ。 クリソテミス エレクトラ、わたしの言うことを聞いて下さいね。 お前は賢い人なのだから、一緒にここから逃げる工夫をして下さい。一緒に広い世界へ逃げて下さい。 エレクトラ、助けて。一緒に逃げて下さい。 エレクトラ 今からわたしは、これまでのお前のきょうだいのようでない、 いいねえさまになりましょう。 まめまめしくわたしはお前の部屋に上がって、 お前の花婿さまに仕えましょう。 その人のためにわたしは、お前に香油を塗って上げよう。 香の高い湯の中で、若い白鳥のようにお湯を使わせて上げよう。 やがて花婿さまが被ぎの下でもう焚松のように赤くなっているお前をば、強い腕に引き抱えて、新枕の閨へ連れて行くまで、お前の頭をわたしの胸に埋めさせて上げよう。 クリソテミス （目を閉じる） いけない、いけない、ねえさま。 この家でそんなことをいってはいけないわ。 エレクトラ そうだよ、そうだよ、きょうだいというよりも以上にこれからわたしはお前につくすつもりだよ。女奴隷のようにわたしはお前に仕えるよ。お前がお産で寝ている時には、わたしは夜も昼もお前の病床につききって、蝿を追って上げたり、水をついだりして上げるよ。それからお前のむき出しな膝の上に幼いものが、抱かれて、ふと物おどろきでもしそうにした時、わたしはその子を高くさし上げてあげよう。それは高々と差し上げると、やがてその子が高い高いをして笑う顔が、お前の心の奥底までしみ入って、わずかに最後までのこった鉄のようなにくしみの心も、その太陽の光の前にあと方なく消えてしまってお前は明るい喜びの涙にひたって、泣くようになるだろうよ。 クリソテミス ああ、もうわたしをここから連れて行って下さい。 ここにいるとわたしは死にます。 エレクトラ （クリソテミスの膝に伏して） お前がおこって、結んだ時の唇は美しい。 お前の清らかな、堅い唇から、こうして今わたしがしているように、あの二人がお前に脆いた時、 死の女神のように恐ろしい、 叫びごえを立ててくれなければならないよ。 クリソテミス 何をお前は言っているの。 エレクトラ （立ち上がりながら） この家から、わたしから、別れて行く前に、 お前はそれをしなければならないのだから。 クリソテミス （物を言おうとする） エレクトラ （妹の口を抑えて） お前にはこれより外に出て行く道はないのだよ。 わたしはお前のロから、きっとそれをするという誓いを聞くまで 離しはしないから。 クリソテミス （ふりもぎる） 離して下さい。 エレクトラ （またつかまえる） 今夜みんな寝静まった時 梯子段のロまでくるとお誓い。 クリソテミス 離して下さい。 エレクトラ （衣の裾をつかむ） これ小むすめ、抵抗おしでない。 お前の体には一たらしでも血のしみはつかないのだよ。 血だらけの着物をぬいで、もとの清い体のままさっさと婚礼の肌着に着更えることもできるのだよ。 クリソテミス 離して下さい。 エレクトラ そう臆病では仕方がない。今こそ恐れのためにふるえているものの、やがて夜な夜なの歓楽のふるえに変わるのだからね。 クリソテミス わたしには出来ないもの。 エレクトラ お言い、今夜来ると。 クリソテミス わたしにはできないもの。 エレクトラ ごらん、わたしはこの通りお前の前に脆く。 お前の足に接吻する。 クリソテミス （扉の中に駈けて入りながら） わたしにはできないもの。 エレクトラ 畜生。 （狂気のような決意を以て） よし、そんなら、一人でやる。 （家の扉口の横手の壁際に行って、熱心に、音を立てずに、獣のように土を掘りはじめる。ふと掘る手をやめてそこらを見まわす。また掘りはじめる。ふとまたそこらを見まわす。耳を立てる。また掘りはじめる。オレスト、内庭の扉ロに立つ。最後の残光をうけてくっきりと黒い姿を刻み出す。中に入る。エレクトラふと目をつける。オレストしずかに近づく。その視線がエレクトラの上に落ちるようになる。エレクトラあわてて立ち上がる。） エレクトラ （ふるえて） 見なれない人だね。 お前は何の用があるの。何と思ってこの夕闇にこの辺をうろつきまわって、ひとのすることをのぞくのだ。 わたしはここに用があるのだ。 お前のかまったことではない。 わたしにかまわないでおくれ。 オレスト わたしはここに待つ人があるのだ。 エレクトラ 待つとえ。 オレスト だがお前もここの御殿の人かな。 この御殿の女たちの一人かな。 エレクトラ そうだよ、わたしはこの御殿に奉公しているのだよ。 だがお前は何もここに為事はない筈だよ。 さあ、それでもうおかえり、おかえり。 オレスト わたしはここで待っているのだ 中から声をかけるのを。 エレクトラ 中から声を。嘘をお言い。 御主人のお留守だということをわたしは知っている。 するとあの方だが、あの方がお前に何の用事があろう。 オレスト わたしとほかにもう一人、一緒に来た男と二人で、 ここの奥方に用事を一つ頼まれて来たのだ。 オレスト わたしたちはあの方に使を頼まれて来た。わたしたちは目の前であの方の息子のオレストの死んだのを見て知っているのだから、それをしらせにやって来たのだ。あの人は自分の乗った馬に蹴られたのだ、わたしはあの人とちょうど同じ年頃だし、昼も夜も連れ立っていた仲間なのだから。 エレクトラ わたしはいつまでお前の顔を見ていなければならないのか。 お前はわたしのかなしい片隅に来て、不幸の先ぶれを曳きずり歩くのか。不幸のほら貝ふき。 お前はそのしらせをあちらの御殿の、それを聞いて嬉しがる人たちの所へ持って行って、吹き立てたらいいではないか。 お前の目はじっとわたしを見つめているのに、あの人の目は膠の塊になった。お前のロは開いたり、しまったりするのに、 あの人のロは土で一杯つまっている。 お前は生きているのに、あの人は、 お前なぞよりはずっと立派な、ずっと気高い、その生きていることは何千倍も大事であったあの人はもう死んでしまった。 オレスト オレストのことはそれ位にして下さい。 あの男は生きている間あまり気楽にくらしすぎたのだ。 上にいます神々は、あまり朗らかな歓楽の調子にがまんをなされぬ。それだけであの男は死ななければならなかった。 エレクトラ でもわたしは ここに寝ころんでしらせを聞いている。あの子がもう二度と帰って来ない、もうもうニ度と帰って来ないしらせを聞いている。あの子があの土の下の巌と巌との峡間に寝ている知らせを聞いている。 それをあの御殿の中にいる女は却って生きながらえて歓楽をつくしているのを知っている。この獣の子らはその洞穴の中で生きて、飲んだり食ったり眠ったりしているのを知っている。そしてわたしはこの地の上に森の獣のようでもなく、一人さびしく苦しく、生きている。 オレスト ではお前は誰です。 エレクトラ わたしが誰であろうと、お前に何のかかわったことがある。 オレスト どうもそれにちがいない、お前は死んだ人たちに、 アガメムノンとオレストに、血のつながっている一人だね。 エレクトラ つながつていると。 わたしこそその血だ。 わたしこそあの犬のように流された アガメムノン王の血だ。 エレクトラこそわたしだ。 オレスト いや。 エレクトラ この男はそれを拒むのだよ。この男は わたしをからかって、わたしの名まで取って行ってしまうのだ。 オレスト エレクトラ。 エレクトラ それもわたしに父親がないからだ。 オレスト エレクトラ。 エレクトラ 兄弟がないからだ。 子供のなぐさみ者だからだ。 オレスト エレクトラ。エレクトラ。 ではこれがあの人か。 わたしは現にあの人に逢っているのか。このお前が みんながお前を飢えさせたのではなかったか。それとも、 みんながお前を打ちたたいたのか。 エレクトラ 着物をお離し。 お前の目で穴をあけておくれでない。 オレスト あいつらは毎晩お前をどうしたのだ。 お前の目は気味がわるい。 エレクトラ 離しておくれ。 オレスト お前の頬はこけている。 エレクトラ 中へおはいり、そこにはわたしの妹がいる。 妹は今頃お祝いの支度に忙がしがっているであろう。 オレスト エレクトラ、まあ聞いて下さい。 エレクトラ わたしはお前が誰だか知りたくもない。 わたしは誰の顔も見たくはない。 オレスト わたしのいうことを聞いて下さい、 わたしはもう時間がない。聞いて下さい。 オレストは生きているのですぞ。 エレクトラ （ふリ返って倒れ伏す） オレスト 音を立ててはいけない。 さわいではあの人のためにならない。 エレクトラ それでは自由の身なのかい。どこにいるのかい。 オレスト あの人はわたしと同じに達者でいる。 エレクトラ ではあいつらがあの子を絞め殺さぬうちに、早く救って下さい。 オレスト わたしの父親の亡骸にかけて。 そのために、その子はここへ来たのだ。 エレクトラ （その音声がはっと胸にこたえて） ではお前は、誰です。 （暗い顔をした老僕、内庭へ音も立てずに、つとはいって来る。三人の僕がつづく。老僕はオレストの前に体を投げ伏し、その足に接吻する。他の者は手や服のすそに接吻する） エレクトラ （やっと我に返って） お前は誰です。わたしは恐ろしい。 オレスト （しずかに） 屋敷内の犬どももわたしを見知っているのに、 わたしのねえさまが知らぬというのは。 エレクトラ （さけび立てる） オレストだ。 エレクトラ （声をほそめて、ふるえながら） オレストだ。オレストだ。オレストだ。 誰も立ちさわぐものはない。 まあお前の目でわたしを見ておくれ。 夢ではないか、わたしがいままで見たどんな夢よりも美しい、高貴な、いいようのない高貴な顔、わたしと一緒に居ておくれ。空に消えてしまわないで、わたしをおいていかないで、おいていかないでおくれわたしが今すぐ死なねばならず、お前が現れたのは、わたしを迎えに来たからだというなら、わたしは生きているよりずっと幸せに死ぬことができよう。 オレストだ。オレストだ。オレストだ。 いいえ、お前はわたしを抱いてはならないよ。 退いていて下さい。わたしはお前に逢うのがはずかしい。 わたしはお前にどう見えるか知らない。 わたしはただ昔の姉の亡骸というだけだもの。 気の毒な子供が。 わたしには分かっている。お前はわたしを見て身ぶるいした。 それでも昔は王の娘であった。 わたしはもとは美しかったと思う。 わたしは鏡でわざと明りを消して処女らしいふるえを感じながら 闇に輝く素肌を思った。 わたしはそれを感じたのだよ、月のこまやかな光が私の白い裸の上を泳いで、まるで池の中のように映えたときに。 そしてわたしの髪の毛は、 その前で男たちがふるえるほどな髪の毛であった。 その髪の毛も塵にまみれて、汚れくさって、情なくなっている。 弟、それがお前に分かるかい。 わたしはわたしであった一切を捧げなくてはならなかったのだからね。わたしは何よりも甘い処女の羞恥をまで犠牲にあげなければならなかったのだよ。 銀のけむりのように、月のように、 女という女の体を包んでいる羞恥を わたしは捧げてしまったのだよ。 弟、それがお前に分かるかい。 そのやさしい羞恥をば、わたしはおとうさまのために犠牲に上げなければならなかったのだよ。 よしわたしが肉体の快楽にふけっても、部屋の外ではおとうさまのため息がきこえるだろうとは思わないか。わたしの閨に近くおとうさまの啜り泣きが迫って来るとは思わないか。 死人というものは嫉妬深いものだ。 おとうさまはわたしに向って、花婿の代りに、憎しみをば、 あのうつろな目の憎しみをば送って下すったのだよ。 それから始終預言ばかりする女になった。 わたしから、わたしの体から出るものは、 呪詛と絶望ばかりになった。 何をお前は物おじするように、そこらをきょろきょろ見まわすの。 わたしにお言い。 さあ言ってお呉れ。 お前は体中ふるわしているではないか。 オレスト この体がふるえるのはかまわずにおいて下さい。 どの道へあの男を連れ出そうと思ってふるえるのだ。 エレクトラ お前はするつもりなのだね。 たった一人で。 気の毒な子供が。 オレスト それにしても手を下すのはわたしです。 エレクトラ お前はそれをしとげるでしょう。 オレスト 神々も来て助けて下さるでしょう。 やってやるぞ。 急いでやるぞ。 エレクトラ それをやりとげるものはめぐまれる。 その為事は霊魂の休む寝床のようなものだ。 霊魂の休める香油の寝床のようなものだ。 それは傷だ、火傷だ、膿だ。炎だ。 オレスト やってやるぞ。やってやるぞ。 エレクトラ ただ一人実行するものはめぐまれる。 その人を待ち望むものはめぐまれる。その人を待ちこがれるものはめぐまれる。その人をみとめるものはめぐまれる。その人に触れるものはめぐまれる。 その人のために地の中から斧をほり出すものはめぐまれる。 その人のために焚松を捧げるものはめぐまれる。 その人のために扉を開くものはめぐまれる。 （オレストの付人、内庭の扉口に立つ。目の光る頑丈作りの老人。） オレストの付人 あなたは正気を失わっしゃれましたか、なぜ口を結んでいられませぬ。ここでは息づかい一つ物音一つ、虚無すらも為事の破れになるのではありませんか。 （オレストに向い翔けるような早口で） みんなあちらで待っておりますぞ。 女どもがあなたを探しておりますぞ。 家のなかには誰もおりませぬぞ、オレストさま。 （戦慄を抑えながら、体をおこす。御殿の扉の中が明るくなる。一人の侍女焚松をもって現れる。その後にお側付の侍女が従う。エレクトラつとはねかえって、暗の中にかくれる。お側付の侍女、二人の客に肯ずいて見せ、自分の後につづけと目くばせする。侍女、扉の柱の鉄の環に焚松を結びつける。オレストと付人は中に入る。オレストは一瞬間くらくらとなって目をふさぐ。付人すぐ跡にぴったり従う、二人はふといち早い目交せをしあう。扉は後からすぐしまる。） エレクトラ （一人、こらえることのできない緊張。彼女は一直線に扉の前を行ったり来たリ、深く首を垂れて、檻につながれた野獣のようである。ふと彼女は立ちすくむ） わたしはあの子に斧を渡さなかった。 あの子は行ってしまった。 わたしは斧を渡せばよかったのに。 ああ、天には神々さまはないのかねえ （また苦しい待望。遠くから、部屋の中から、劈く（つんざく）ように叫び出すクリテムネストラの悲鳴） エレクトラ （悪鬼のように叫ぶ） 打てもう一辺。 （中から第二の叫声。左手の下家の中からクリソテミスと婢女たちの群が出て来る。エレクトラ扉口にぴったり背中を押しつけて、立っている） クリソテミス 何かあったのではないか。 第一の婢 あの方はあのように、夢を見ては声をお立てになるのですよ。 第二の婢 男の人達が中にいるにちがいない。 男の人達のはいって行く音をわたしは聞いたもの。 第三の婢 扉という扉には閂がかかつている。 第四の婢 人殺しだ。 御殿の中に人殺しがあるよ。 第一の婢 （さけび出す） おお。 第二第三の婢、他六人の婢 どうしたのだい。 第一の婢 まあ見てごらん、扉口に人がいる。 クリソテミス あれはエレクトラだ。ああ、ほんとうにエレクトラだ。 第一第二第三第四の婢 エレクトラだ。エレクトラだ。 第一第二の婢 なぜあの人は物を言わないのだ。 クリソテミス エレクトラ、どうして物を言わないの。 第四の婢 わたしは行って、男の人たちを呼んで来よう。 （右手の方へ駈けて出て行く。） クリソテミス 扉を明けさせて下さい、 エレクトラ。エレクトラ。 六人の婢 はいらせて下さい、エレクトラさま。 第四の婢 （戻って来る） お帰りだわ。 エギストさまだ。みんなの部屋へお帰り。早く。 エギストさまが内庭からおかえりだよ。 あの方がわたしたちをお見付けになって、 しかも御殿の中に何事か起ったというのでは、 わたしたちはきっと殺される。 六人の婢 エギストさまだ。 第一第二第三の婢 エギストさまだ。 クリソテミス おかえり。 全員 さあ早くかえろう。かえろう。 （みんな左手の下家の中へ消える。エギスト右手の入口に現る。） エギスト （開いたままの戸口で） これ、明しを持って来い、明しを。 誰も居らぬのか。明しを持って来ぬか。 このろくでなしども、一人も動き出すものはないのか。 しつけの悪いやつらばかりだ。 エレクトラ （扉ロの環から焚松を外し、下へ駈け下リてエギストの前に出て、体を屈める） エギスト （またたく燈火の中に異様な姿を見て、びっくりして後じさりする） 何という気味の悪い女だ。 見知らぬ顔のものを傍へよこすなと言い付けてあるではないか。 （エレクトラを認めて、腹を立てたように） 何だ、貴さまか。 誰が貴さまに出迎えをせいと言った。 エレクトラ わたしが明しを上げましてはなりませんか。 エギスト ふん、お前は何よりも変ったことが好きなのだな。 オレストのしらせを持って来たという、他国者はどこにいる。 エレクトラ 中に。やさしい女あるじさまに呼ばれて、 おもてなしをうけております。 エギスト ではまったくあれは死んだという知らせが来たのか。 それに疑のないという証拠をもって来たのか。 エレクトラ まああなた、あの人たちはそれを言葉でしらせて来ただけではない、いいえ、生きたしるしを持って来ました、 それに何の疑うところもないのでございます。 エギスト 何という含み声をしているのだ。 それに一体何と思って、 わしにロをきこうという気になったのだ。 何だってお前は焚松なぞを持って、ここらをうろついているのだ。 エレクトラ それはわたくしにやっと、物が分かって来たからでございます。 お力のあるあなたさまにおすがりする気になったからでございます。こうして明しを捧げて御案内することを許して下さいますでしょうね。 エギスト （ためらいがちに言う） 扉のところまで。 何をお前は踊るのだ。気をつけぬか。 エレクトラ （薄気味の悪い舞踏でも踊るようにエギストのまわりをとびながら、ふと腰をかがめる） さあどうぞ。段々をおつまづきにならないように。 エギスト （扉口で） どうしてここに明しがないのだ。 あそこに誰がいるのだ。 エレクトラ あれこそ体ごとあなたに侍（かしづ）きたいと望んでいる人でございます、 さてわたくしも。これまでは恥しらずに、礼をわきまえずに、お傍近くを汚しましたが、今日からはそうあるべき瞬間にはそっと退いておりますことを知りましてございます。 （エギスト家の中へ入る。静か。やがて物音） エギスト （小窓の傍にあらわれ、 幕を上げて人を呼び立てる） 助けてくれ。人ごろしだ。主人を助けぬか。人殺しだ。人殺しだ。わしを殺しに来たのだ。 誰も聞えないのか。 誰も聞えないのか。 （引きもどされる。 もう一度エギストの顔が窓際にあらわれる。） エレクトラ （すっと立ち上がって） アガメムノンが聞いているぞよ。 エギスト （引きずリ去られる） ううん、くるしい。 （エレクトラ気味悪く息づかいをしながら、御殿の方へふりむいて立つ。婢女ども左手から出て来る。その中にクリソテミスも交っている。正気を失ったもののようにクリソテミスは内庭の扉口の方へ駈けていく、そこでふと立ち止まってふりかえる。） クリソテミス エレクトラ、ねえさま、わたしと一緒においでなさい。 さあ一緒においでなさい。 中にいるのはにいさまですよ。 オレストがそれをしたのですよ。 （舞台裏、家の中から声、「オレスト！オレスト！オレスト！」 家の中に騒乱、合唱がそこかしこから「オレスト」の声を上げる。） おいでなさい。 にいさまは大広間に立っていますわ。 みんながまわりをとりまいていますわ、 足に接吻していますわ。 これまで内証でエギストを憎んでいた人たちは、 のこらずあの人方になって、 どこもここも内庭という内庭は敵味方の屍骸がころがっているわ。 生きているものも体中血にまみれて 傷を負っているわ。 みんなはでもうれしそうに、抱き合って。 （外にはいよ盛んになって行く物音。これ、しかし、エレクトラが開始されたときに、より多くの右側の外側の内庭に、背景を移動しています。女たちはみな駈け出して行って、クリソテミス一人のこる。外から火の光が中に落ちてくる。） 歓びの叫び声をあげている。まあ何千とない焚松がともされた。 お前聞えないの。じゃあ聞えないのね。 エレクトラ （敷居の上に蹲（うづくま）りながら） わたしに聞えないというのかい。 わたしにあの音楽が聞えないというのかい。 何のあれはみんたわたしの心の中からおこる音楽なのだ。 何千人が焚松をふりかざして、その足音は、 その幾万無量劫無辺際の足音は、大地の隅から隅までに とどろとどろと重たくとどろいている、 それはみんなわたしを待っているのだよ。 あれらがみんな待っているわけをわたしは知っている。 あれらは、循環舞踏の音頭をわたしにとってもらいたいのだよ。 でもわたしには出来ない。 それははてをしらない二十部の大海が。 そののこらずの重みでわたしの手足をおさえているのだよ。 わたしは体を持ち上げることもできないのだよ。 クリソテミス （興奮しきって叫び出したように） お前はあれを聞かないの。 みんなは、にいさまを手かきにしてかつぎ上げている。 エレクトラ （跳び起きる。クリソテミスには目をくれずに） わたしたちは神々とともにある。成し遂げたのです。神々はわたしたちの間を剣の切っ先のごとく通り抜けていきます、神々は、 クリソテミス みんな顔が変わってしまった。 みんな涙で目をも、 しなびた頬をも輝かしている。 みんな泣いている。あの声が聞えないの。 エレクトラ しかし神々の栄光は、いくら多くても多すぎることはない。わたしは闇の種をまいたが歓びにつぐ歓びを刈り取ったのだ。 クリソテミス 神々はすばらしい。 エレクトラ わたしは生者のなかでひとり黒い体をしていた。 クリソテミス これが始まりなのです、あなたにもわたしにも、すべての人たちにも エレクトラ それが今このとき、わたしは生命の炎なのだ。その炎は世界の闇を焼き尽くすのだ。 クリソテミス これを与えてくれた善き神々は世にあまねく栄えるでしょう。 エレクトラ わたしの顔は白く輝く月貌よりも青白いにちがいない。 クリソテミス 誰がこれほどにわたしたちを愛してくれたでしょう エレクトラ わたしを見る者は、死にいだかれるか、歓喜のなかで滅び行くであろう。 クリソテミス 誰がこれほどにわたしたちを愛してくれたでしょう エレクトラ では、わたしの顔がみえるかい、光がみえるかい、わたしから放たれる光が クリソテミス にいさまはあそこにある。そして愛は香油のようにわたしたちを通って流れ出す。愛が満ちているわ。愛なしで生きられて。 エレクトラ ああ、愛は殺すのだ。だが愛を知らずして誰が死ねよう。 クリソテミス エレクトラ、わたしはにいさまと一緒に立ちたいの。（彼女は駈け行く） （エレクトラ、敷居から下へ下りかける。彼女はメナード(*1)のように頭をうしろにふり仰向ける。 膝をつき出して両腕を張って、それは名のつけようのない一種の舞踏の形のまま、前の方へ歩いて行く。） クリソテミス （再び焚松をかざして扉口に現れる。雑踏。大勢の男女の顔） エレクトラ。 エレクトラ （立ち上がって、じっと彼女の顔を見つめる） 黙って、お踊り、 みんなここへ来なければいけないよ。 ここへ来て一緒におなり。 わたしは幸福の重荷をしょっている。 わたしはお前たちの前で舞踏するのだよ。 わたしたちのように幸福なものに、 ふさわしいことはただ一つあるだけだ。 黙って踊る。それだけだ。 （二三歩緊張しきった勝利の歩みを運ぶと、崩れるように倒れる。クリソテミス彼女に近づく。エレクトラは凝りついたように倒れている） クリソテミス （下家の扉口まで走って行って戸を叩く） オレスト。オレスト。 （沈黙。） （幕） Chrysothemis kommt, laufend, zur Hoftür herein, laut heulend wie ein verwundetes Tier CHRYSOTHEMIS schreiend Orest! Orest ist tot! ELEKTRA winkt ihr ab, wie von Sinnen Sei still! CHRYSOTHEMIS Orest ist tot! ELEKTRA bewegt die Lippen CHRYSOTHEMIS Ich kam hinaus, da wussten sie's schon! Alle standen herum und alle wussten es schon, nur wir nicht. ELEKTRA Niemand weiss es. CHRYSOTHEMIS Alle wissen's! ELEKTRA Niemand kann's wissen denn es ist nicht wahr. CHRYSOTHEMIS wirft sich verzweifelt auf den Boden ELEKTRA Chrysothemis emporreissend Es ist nicht wahr! Es ist nicht wahr! ich sag' dir doch! es ist nicht wahr! CHRYSOTHEMIS Die Fremden standen an der Wand, die Fremden, die hergeschickt sind, es zu melden zwei, ein Alter und ein Junger. Allen hatten sie's schon erzählt, im Kreise standen alle um sie herum und alle, Alle, wussten es schon. ELEKTRA mit höchster Kraft Es ist nicht wahr. CHRYSOTHEMIS An uns denkt niemand. Tot! Elektra, tot! Gestorben in der Fremde! Tot! Gestorben dort in fremdem Land. Von seinen Pferden erschlagen und geschleift. EIN JUNGER DIENER kommt eilig aus dem Haus, stolpert über die vor der Schwelle Liegende hinweg Platz da! wer lungert so vor einer Tür? Ah, konnt' mir's denken! Heda, Stallung! he! EIN ALTER DIENER finsteren Gesichts, zeigt sich an der Hoftür Was soll's im Stall? EIN JUNGER DIENER Gesattelt soll werden, und so rasch als möglich! hörst du? ein Gaul, ein Maultier, oder meinetwegen auch eine Kuh, nur rasch! EIN ALTER DIENER Für wen? EIN JUNGER DIENER Für den, der dir's befiehlt. Da glotzt er! Rasch, für mich! Sofort! für mich! Trab, trab! Weil ich hinaus muss auf's Feld, den Herren holen, weil ich ihm Botschaft zu bringen habe, grosse Botschaft, wichtig genug, um eine eurer Mähren im Abgehen zu Tod zu reiten. EIN ALTER DIENER auch der Alte verschwindet ELEKTRA vor sich hin, leise und sehr energisch Nun muss es hier von uns geschehn. CHRYSOTHEMIS verwundert fragend Elektra? ELEKTRA Wir! Wir beide müssen's tun. CHRYSOTHEMIS Was, Elektra? ELEKTRA Am besten heut', am besten diese Nacht. CHRYSOTHEMIS Was, Schwester? ELEKTRA Was? Das Werk, das nun auf uns gefallen ist, weil er nicht kommen kann CHRYSOTHEMIS angstvoll steigernd Was für ein Werk? ELEKTRA Nun müssen du und ich hingehn und das Weib und ihren Mann erschlagen. CHRYSOTHEMIS Schwester, sprichst du von der Mutter? ELEKTRA Von ihr. Und auch von ihm. Ganz ohne Zögern muss es geschehn. ELEKTRA Schweig still. Zu sprechen ist nichts. Nichts gibt es zu bedenken, als nur wie? wie wir es tun. CHRYSOTHEMIS Ich? ELEKTRA Ja. Du und ich. Wer sonst? CHRYSOTHEMIS Wir, wir beide sollen hingehn? Wir? wir zwei? mit unsern beiden Händen? ELEKTRA Dafür lass du mich nur sorgen. ELEKTRA Das Beil! das Beil, womit der Vater ― CHRYSOTHEMIS Du? Entsetzliche, du hast es? ELEKTRA Für den Bruder bewahrt' ich es. Nun müssen wir es schwingen. CHRYSOTHEMIS Du? diese Arme den Aegisth erschlagen? ELEKTRA erst sie, dann ihn, erst ihn, dann sie, gleichviel. CHRYSOTHEMIS Ich fürchte mich. ELEKTRA Es schläft niemand in ihrem Vorgemach. CHRYSOTHEMIS Im Schlaf sie morden! ELEKTRA Wer schläft, ist ein gebundnes Opfer. Schliefen sie nicht zusamm', könnt' ich's allein vollbringen. So aber musst du mit. CHRYSOTHEMIS abwehrend Elektra! ELEKTRA Du! Du! denn du bist stark! Dicht bei Chrysothemis Wie stark du bist! dich haben die jungfräulichen Nächte stark gemacht. Überall ist so viel Kraft in dir! Sehnen hast du wie ein Füllen. Schlank sind deine Füsse. Wie schlank und biegsam leicht umschling ich sie deine Hüften sind! Du windest dich durch jeden Spalt, du hebst dich durch's Fenster! Lass mich deine Arme fühlen wie kühl und stark sie sind! Wie du mich abwehrst, fühl' ich, was das für Arme sind. Du könntest erdrükken, was du an dich ziehst. Du könntest mich, oder einen Mann in deinen Armen ersticken, Überall ist so viel Kraft in dir! Sie strömt wie kühles verhaltnes Wasser aus dem Fels. Sie flutet mit deinen Haaren auf die starken Schultern herab. Ich spüre durch die Kühle deiner Haut das warme Blut hindurch, mit meiner Wange spür ich den Flaum auf deinen jungen Armen. Du bist voller Kraft, du bist schön, du bist wie eine Frucht an der Reife Tag. CHRYSOTHEMIS Lass mich! ELEKTRA Nein ich halte dich! Mit meinen traurigen verdorrten Armen umschling ich deinen Leib, wie du dich sträubst, ziehst du den Knoten nur noch fester, ranken will ich mich rings um dich versenken meine Wurzeln in dich und mit meinem Willen dir impfen das Blut! CHRYSOTHEMIS Lass mich! Flüchtet ein paar Schritte. Elektra wild ihr nach, fasst sie am Gewand ELEKTRA Nein! Ich lass dich nicht. CHRYSOTHEMIS Elektra, hör mich. Du bist so klug, hilf uns aus diesem Haus, hilf uns ins Freie. Elektra, hilf uns, hilf uns in's Freie... ELEKTRA Von jetzt an will ich deine Schwester sein, so wie ich niemals deine Schwester war! Getreu will ich mit dir in deiner Kammer sitzen und warten auf den Bräutigam, für ihn will ich dich salben und ins duftige Bad sollst du mir tauchen wie der junge Schwan und deinen Kopf an meiner Brust verbergen bevor er dich, die durch die Schleier glüht wie eine Fackel, in das Hochzeitsbett mit starken Armen zieht. CHRYSOTHEMIS schliesst die Augen Nicht, Schwester, nicht. Sprich nicht ein solches Wort in diesem Haus. ELEKTRA O ja! weit mehr als Schwester bin ich dir von diesem Tage an ich diene dir wie deine Sklavin. Wenn du liegst in Weh'n, sitz ich an deinem Bette Tag und Nacht, wehr' dir die Fliegen, schöpfe kühles Wasser, und wenn auf einmal auf dem nackten Schoss dir ein Lebendiges liegt, erschreckend fast, so heb' ich's empor, so hoch! damit sein Lächeln hoch von oben in die tiefsten geheimsten Klüfte deiner Seele fällt und dort das letzte, eisig Grässliche vor dieser Sonne schmilzt und du's in hellen Tränen ausweinen kannst. CHRYSOTHEMIS O bring' mich fort! Ich sterb' in diesem Haus! ELEKTRA an den Knieen der Chrysothemis Dein Mund ist schön, wenn er sich einmal auftut um zu zürnen! Aus deinem reinen starken Mund muss furchtbar ein Schrei hervorsprüh'n, furchtbar wie der Schrei der Todesgöttin, wenn man unter dir so daliegt, wie nun ich. CHRYSOTHEMIS Was redest du? ELEKTRA aufstehend Denn eh du diesem Haus und mir entkommst, musst du es tun! CHRYSOTHEMIS will reden ELEKTRA hält ihr den Mund zu Dir führt kein Weg hinaus als der. Ich lass' dich nicht, eh du mir Mund auf Mund es zugeschworen, dass du es tun wirst. CHRYSOTHEMIS windet sich los Lass mich! ELEKTRA fasst sie wieder Schwör', du kommst heut Nacht, wenn alles still ist, an den Fuss der Treppe. CHRYSOTHEMIS Lass mich! ELEKTRA hält sie am Gewand Mädchen, sträub' dich nicht! es bleibt kein Tropfen Blut am Leibe haften schnell schlüpfst du aus dem blutigen Gewand mit reinem Leib ins hochzeitliche Hemd. CHRYSOTHEMIS Lass mich! ELEKTRA Sei nicht zu feige! Was du jetzt an Schaudern überwindest, wird vergolten mit Wonneschaudern Nacht für Nacht ― CHRYSOTHEMIS Ich kann nicht! ELEKTRA Sag, dass du kommen wirst! CHRYSOTHEMIS Ich kann nicht! ELEKTRA Sieh, ich lieg' vor dir, ich küsse deine Füsse! CHRYSOTHEMIS ins Haustor entspringend Ich kann nicht! ELEKTRA Sei verflucht! mit wilder Entschlossenheit Nun denn allein! Sie fängt an der Wand des Hauses, seitwärts der Türschwelle, eifrig zu graben an, lautlos, wie ein Tier. Elektra hält mit Graben inne sieht sich um, gräbt wieder. Elektra sieht sich von Neuem um und lauscht. Elektra gräbt wieder. Orest steht in der Hoftür, von der letzten Helle sich schwarz abhebend. Er tritt herein. Elektra blickt auf ihn. Er dreht sich langsam um, so dass sein Blick auf sie fällt. Elektra fährt heftig auf ELEKTRA zitternd Was willst du, fremder Mensch? was treibst du dich zur dunklen Stunde hier herum, belauerst, was andre tun! Ich hab' hier ein Geschäft. Was kümmert's dich! Lass mich in Ruh! OREST Ich muss hier warten. ELEKTRA Warten? OREST Doch du bist hier aus dem Haus? bist eine von den Mägden dieses Hauses? ELEKTRA Ja, ich diene hier im Haus. Du aber hast hier nichts zu schaffen. Freu dich und geh. OREST Ich sagte dir, ich muss hier warten, bis sie mich rufen ELEKTRA Die da drinnen? Du lügst. Weiss ich doch gut, der Herr ist nicht zu Haus'. Und sie, was sollte sie mit dir? OREST Ich und noch einer, der mit mir ist, wir haben einen Auftrag an die Frau. OREST Wir sind an sie geschickt, weil wir bezeugen können, dass ihr Sohn Orest gestorben ist vor unsern Augen. Denn ihn erschlugen seine eignen Pferde. Ich war so alt wie er und sein Gefährte bei Tag und Nacht. ELEKTRA Muss ich dich noch sehn? Schleppst du dich hierher in meinen traurigen Winkel, Herold des Unglücks! Kannst du nicht die Botschaft austrompeten dort, wo sie sich freu'n! Dein Aug' da starrt mich an und seins ist Gallert. Dein Mund geht auf und zu und seiner ist mit Erde vollgefropft. Du lebst, und er, der besser war als du und edler tausendmal, und tausendmal so wichtig, dass er lebte. er ist hin! OREST Lass den Orest. Er freute sich zu sehr an seinem Leben, die Götter droben vertragen nicht den allzuhellen Laut der Lust. So musste er denn sterben. ELEKTRA Doch ich! doch ich! da liegen, und zu wissen, dass das Kind nie wieder kommt, nie wieder kommt. Dass das Kind da drunten in den Klüften des Grausens lungert, dass die da drinnen leben und sich freuen, dass dies Gezücht in seiner Höhle lebt und isst und trinkt und schläft und ich hier droben wie nicht das Tier des Waldes einsam und grässlich lebt ich hier droben allein. OREST Wer bist denn du? ELEKTRA Was kümmert's dich, wer ich bin. OREST Du musst verwandtes Blut zu denen sein, die starben, Agamemnon und Orest. ELEKTRA Verwandt? ich bin dies Blut! ich bin das hündisch vergossene Blut des Königs Agamemnon! Elektra heiss' ich. OREST Nein! ELEKTRA Er leugnet's ab. Er bläst auf mich und nimmt mir meinen Namen. OREST Elektra! ELEKTRA Weil ich nicht Vater hab', OREST Elektra! ELEKTRA noch Bruder, bin ich der Spott der Buben! OREST Elektra! Elektra! So seh' ich sie? ich seh' sie wirklich? du? So haben sie dich darben lassen oder ― sie haben dich geschlagen? ELEKTRA Lass mein Kleid, wühl nicht mit deinem Blick daran. OREST Was haben sie gemacht mit deinen Nächten! Furchtbar sind deine Augen. ELEKTRA Lass mich! OREST Hohl sind deine Wangen! ELEKTRA Geh ins Haus, drin hab' ich eine Schwester, die bewahrt sich für Freudenfeste auf! OREST Elektra, hör mich. ELEKTRA Ich will nicht wissen, wer du bist. Ich will niemand sehen! OREST Hör mich an, ich hab' nicht Zeit. Hör zu. Orestes lebt. ELEKTRA wirft sich herum OREST Wenn du dich regst, verrätst du ihn. ELEKTRA So ist er frei? wo ist er? OREST Er ist unversehrt wie ich. ELEKTRA So rett ihn doch! bevor sie ihn erwürgen. OREST Bei meines Vaters Leichnam! dazu kam ich her! ELEKTRA von seinen Ton getroffen Wer bist denn du? Der alte finstre Diener stürzt, gefolgt von drei andern Dienern, aus dem Hof lautlos herein, wirft sich vor Orest nieder, küsst seine Füsse, die andern Orests Hände und den Saum seines Gewandes ELEKTRA kaum ihrer mächtig Wer bist du denn? Ich fürchte mich. OREST sanft Die Hunde auf dem Hof erkennen mich, und meine Schwester nicht? ELEKTRA aufschreiend Orest! ELEKTRA ganz leise, bebend Orest! Orest! Orest! Es rührt sich niemand. O lass deine Augen mich sehn! Traumbild, mir geschenktes Traumbild, schöner als alle Träume. Hehres, unbegreifliches, erhabenes Gesicht, o bleib bei mir! Lös nicht in Luft dich auf, vergeh mir nicht, vergeh mir nicht, es sei denn, das ich jetzt gleich sterben muss und du dich anzeigst und mich hollen kommst dann sterb ich seliger als ich gelebt. Orest! Orest! Orest! Nein, du sollst mich nicht umarmen! Tritt weg, ich schäme mich vor dir. Ich weiss nicht, wie du mich ansiehst. Ich bin nur mehr der Leichnam deiner Schwester, mein armes Kind. Ich weiss, es schaudert dich vor mir. Und war doch eines Königs Tochter! Ich glaube, ich war schön wenn ich die Lampe ausblies vor meinem Spiegel, fühlt ich es mit keuschem Schauer. Ich fühlt' es, wie der dünne Strahl des Mondes in meines Körpers weisser Nacktheit badete so wie in einem Weiher, und mein Haar war solches Haar, vor dem die Männer zittern, dies Haar, versträhnt, beschmutzt, erniedrigt, verstehst du's, Bruder? Ich habe alles, was ich war, hingeben müssen. Meine Scham hab' ich geopfert, die Scham, die süsser als Alles ist, die Scham, die wie der Silberdunst, der milchige des Monds, um jedes Weib herum ist und das Grässliche von ihr und ihrer Seele weghält, Verstehst du's, Bruder! diese süssen Schauder hab' ich dem Vater opfern müssen. Meinst du, wenn ich an meinem Leib mich freute, drangen seine Seufzer, drang nicht sein Stöhnen an mein Bette? Eifersüchtig sind die Toten und er schickte mir den Hass, den hohläugigen Hass als Bräutigam. So bin ich eine Prophetin immerfort gewesen und habe nichts hervorgebracht aus mir und meinem Leib als Flüche und Verzweiflung. Was schaust du ängstlich um dich? sprich zu mir! sprich doch! Du zitterst ja am ganzen Leib! OREST Lass zittern diesen Leib. Er ahnt welchen Weg ich ihn führe. ELEKTRA Du wirst es tun? Allein? Du armes Kind. OREST Die diese Tat mir auferlegt, ELEKTRA Du wirst es tun! OREST die Götter, werden da sein, mir zu helfen. Ich will es tun, ich will es eilig tun. ELEKTRA Der ist selig, der tun darf! Die Tat ist wie ein Bette, auf dem die Seele ausruht, wie ein Bett von Balsam, drauf die Seele ruhen kann, die eine Wunde ist, ein Brand, ein Eiter und eine Flamme! OREST Ich werde es tun! Ich werde es tun! ELEKTRA Der ist selig, der seine Tat zu tun kommt, selig der, der ihn ersehnt, selig der ihn erschaut! Selig, wer ihn erkennt, selig, wer ihn berührt! Selig, wer ihm das Beil aus der Erde gräbt, selig, wer ihm die Fakkel hält, selig, selig, wer ihm öffnet die Tür. Der Pfleger Orests steht in der Hoftür, ein starker Greis mit blitzenden Augen DER PFLEGER DES OREST Seid ihr von Sinnen, dass ihr euren Mund nicht bändigt, wo ein Hauch, ein Laut, ein Nichts uns und das Werk verderben kann ― Zu Orest in fliegender Eile Sie wartet drinnen. Ihre Mägde suchen nach dir. Es ist kein Mann im Haus. Orest! Orest reckt sich auf, seinen Schauder bezwingend. Die Tür des Hauses erhellt sich. Es erscheint eine Dienerin mit einer Fackel, hinter ihr die Vertraute. Elektra ist zurückgesprungen, steht im Dunkel. Die Vertraute verneigt sich gegen die beiden Fremden, winkt, ihr hinein zu folgen. Die Dienerin befestigt die Fackel an einem eisernen Ring im Türpfosten. Orest und der Pfleger gehen hinein. Orest schliesst einen Augenblick, schwindelnd, die Augen, der Pfleger ist dicht hinter ihm, sie tauschen einen schnellen Blick. Die Tür schliesst sich hinter ihnen ELEKTRA allein, in entsetzlicher Spannung. Sie läuft auf einem Strich vor der Tür hin und her, mit gesenkten Kopf, wie das gefangene Tier im Käfig. Steht plötzlich still Ich habe ihm das Beil nicht geben können! Sie sind gegangen und ich habe ihm das Beil nicht geben können. Es sind keine Götter im Himmel! Abermals ein furchtbares Warten. Von ferne tönt drinnen, gellend, der Schrei Klytämnestras. ELEKTRA schreit auf wie ein Dämon Triff noch einmal! Von drinnen ein zweiter Schrei. Aus dem Wohngebäude links kommen Chrysothemis und eine Schar Dienerinnen heraus. Elektra steht in der Tür, mit dem Rücken an die Tür gepresst CHRYSOTHEMIS Es muss etwas geschehen sein. ERSTE MAGD Sie schreit so aus dem Schlaf. ZWEITE MAGD Es müssen Männer drin sein. Ich habe Männer gehen hören. DRITTE MAGD Alle Türen sind verriegelt. VIERTE MAGD Es sind Mörder! Es sind Mörder im Haus! ERSTE MAGD schreit auf Oh! ZWEITE und DRITTE MAGD, sechs andere DIENERINEN Was ist? ERSTE MAGD Seht ihr denn nicht dort in der Tür steht einer! CHRYSOTHEMIS Das ist Elektra! das ist ja Elektra! ERSTE, ZWEITE, DRITTE und VIERTE MAGD Elektra, Elektra! ERSTE UND ZWEITE MAGD Warum spricht sie denn nicht? CHRYSOTHEMIS Elektra, warum sprichst du denn nicht? VIERTE MAGD Ich will hinaus und Männer holen. Läuft rechts hinaus CHRYSOTHEMIS Mach uns doch die Tür auf, Elektra! Elektra! 6 DIENERINNEN Elektra, lass uns in's Haus! VIERTE MAGD zurückkommend Zurück! Aegisth! Zurück in unsre Kammern! schnell! Aegisth kommt durch den Hof! Wenn er uns findet und wenn im Hause was geschehen ist, lässt er uns töten. 6 DIENERINNEN Aegisth! ERSTE, ZWEITE und DRITTE MAGD Aegisth! CHRYSOTHEMIS Zurück! ALLE zurück! zurück! Sie verschwinden im Hause links. Aegisth tritt rechts durch die Hoftür auf AEGISTH an der Tür stehend bleibend He! Lichter! Lichter! Ist niemand da, zu leuchten? Rührt sich keiner von allen diesen Schuften? Kann das Volk mir keine Zucht annehmen! ELEKTRA nimmt die Fackel von dem Ring, läuft hinunter, ihm entgegen, und verneigt sich vor ihm AEGISTH erschrickt vor der wirren Gestalt im zuckenden Licht,weicht zurück Was ist das für ein unheimliches Weib? Ich hab' verboten, dass ein unbekanntes Gesicht mir in die Nähe kommt! Erkennt sie, zornig. Was, du? Wer heisst dich, mir entgegentritten? ELEKTRA Darf ich nicht leuchten? AEGISTH Nun, dich geht die Neuigkeit ja doch vor allen an. Wo find' ich die fremden Männer, die das von Orest uns melden? ELEKTRA Drinnen. Eine liebe Wirtin fanden sie vor, und sie ergetzen sich mit ihr. AEGISTH Und melden also wirklich, dass er gestorben ist, und melden so, dass nicht zu zweifeln ist? ELEKTRA O Herr, sie melden's nicht mit Worten bloss, nein, mit leibhaftigen Zeichen, an denen auch kein Zweifel möglich ist. AEGISTH Was hast du in der Stimme? Und was ist in dich gefahren, dass du nach dem Mund mir redest? Was taumelst du so hin und her mit deinem Licht! ELEKTRA Es ist nichts anderes, als dass ich endlich klug ward und zu denen mich halte, die die Stärkern sind. Erlaubst du, dass ich voran dir leuchte? AEGISTH etwas zaudernd Bis zur Tür. Was tanzest du? Gib Obacht. ELEKTRA indem sie ihn, wie in einem unheimlichen Tanz, umkreist, sich plötzlich tief bückend Hier! die Stufen, dass du nicht fällst. AEGISTH an der Haustür Warum ist hier kein Licht? Wer sind die dort? ELEKTRA Die sind's, die in Person dir aufzuwarten wünschen, Herr. Und ich, die so oft durch freche unbescheidne Näh' dich störte, will nun endlich lernen, mich im rechten Augenblick zurückzuziehen. Aegisth geht ins Haus. Stille. Lärm drinnen. AEGISTH erscheint an einem kleinen Fenster, reisst den Vorhang weg, schreiend Helft! Mörder! helft dem Herren! Mörder, Mörder! Sie morden mich! Hört mich niemand? hört mich niemand? Er wird weggezerrt. Noch einmal erscheint Aegisths Gesicht am Fenster ELEKTRA reckt sich auf Agamemnon hört dich! AEGISTH er wird fortgerissen Weh mir! Elektra steht, furchtbar atmend, gegen das Haus gekehrt. Die Frauen kommen von links herausgelaufen, Chrysothemis unter ihnen. Wie besinnungslos laufen sie gegen die Hoftür. Dort machen sie plötzlich Halt, wenden sich CHRYSOTHEMIS Elektra! Schwester! komm mit uns! O komm mit uns! es ist der Bruder drin im Haus! es ist Orest, der es getan hat! Stimmen hinter der Scene im Hause Orest! Orest! Orest! Getümmel im Hause, Stimmengewirr, aus dem sich ab und zu die Rufe des Chors "Orest" bestimmter abheben Komm! Er steht im Vorsaal, alle sind um ihn, und küssen seine Füsse, alle, die Aegisth von Herzen hassten, haben sich geworfen auf die andern, überall in allen Höfen liegen Tote, alle, die leben, sind mit Blut bespritzt und haben selbst Wunden, und doch strahlen alle, alle umarmen sich ― Draussen wachsender Lärm, der sich jedoch, wenn Elektra beginnt, mehr und mehr nach den äusseren Höfen rechts und im Hintergrunde verzogen hat. die Frauen sind hinausgelaufen, Chrysothemis allein, von draussen fällt Licht herein und jauchzen, tausend Fackeln sind angezündet. Hörst du nicht, so hörst du denn nicht? ELEKTRA auf der Schwelle kauernd Ob ich nicht höre? ob ich die Musik nicht höre? sie kommt doch aus mir. Die Tausende, die Fackeln tragen und deren Tritte, deren uferlose Myriaden Tritte überall die Erde dumpf dröhnen machen, alle warten auf mich ich weiss doch, dass sie alle warten, weil ich den Reigen führen muss, und ich kann nicht, der Ozean, der ungeheure, der zwanzigfache Ozean begräbt mir jedes Glied mit seiner Wucht, ich kann mich nicht heben! CHRYSOTHEMIS fast schreiend vor Erregung Hörst du denn nicht, sie tragen ihn, sie tragen ihn auf ihren Händen, ELEKTRA springt auf. Vor sich hin, ohne auf Chrysothemis zu achten Wir sind bei den Göttern, wir Vollbringenden. Sie fahren dahin wie die Schärfe des Schwerts durch uns, die Götter, CHRYSOTHEMIS allen sind die Gesichter verwandelt, allen schimmern die Augen und die alten Wangen von Tränen! Alle weinen, hörst du's nicht? ELEKTRA aber ihre Herrlichkeit ist nicht zu viel für uns! Ich habe Finsternis gesät und ernte Lust über Lust. CHRYSOTHEMIS Gut sind die Götter, gut! ELEKTRA Ich war ein schwarzer Leichnam unter Lebenden, CHRYSOTHEMIS Es fängt ein Leben für dich und mich und alle Menschen an. ELEKTRA und diese Stunde bin ich das Feuer des Lebens, und meine Flamme verbrenn die Finsternis der Welt. CHRYSOTHEMIS Die über schwänglich guten Götter sind's, die das geben haben. ELEKTRA Mein Gesicht muss weisser sein als das weissglüh'nde Gesicht des Monds. CHRYSOTHEMIS Wer hat uns je geliebt? ELEKTRA Wenn einer auf mich sieht, muss er den Tod empfangen oder muss vergehn vor Lust. CHRYSOTHEMIS Wer hat uns je geliebt? ELEKTRA Seht ihr denn mein Gesicht? Seht ihr das Licht, das von mir ausgeht? CHRYSOTHEMIS Nun ist der Bruder da, und Liebe fliesst über uns wie Öl und Myrrhen. Liebe ist Alles! Wer kann leben ohne Liebe? ELEKTRA Ai! Liebe tötet, aber keiner fährt dahin und hat die Liebe nicht gekannt! CHRYSOTHEMIS Elektra, ich muss bei meinem Bruder stehn! Sie läuft hinaus Elektra schreitet von der Schwelle herunter. Sie hat den Kopf zurückgeworfen wie eine Mänade. Sie wirft die Kniee, sie reckt die Arme aus, es ist ein namenloser Tanz, in welchem sie nach vorwärts schreitet CHRYSOTHEMIS erscheint wieder an der Tür, hinter ihr Fackeln, Gedräng, Gesichter von Männern und Frauen Elektra! ELEKTRA bleibt stehen, sieht starr auf sie hin Schweig, und tanze. Alle müssen herbei! hier schliesst euch an! Ich trage die Last des Glückes, und ich tanze vor euch her. Wer glücklich ist wie wir, dem ziemt nur eins schweigen und tanzen! Sie tut noch einige Schritte des angespanntesten Triumphes... Elektra stürzt zusammen. Chrysothemis zu ihr. Elektra liegt starr CHRYSOTHEMIS läuft an die Tür des Hauses, schlägt daran Orest! Orest! Stille Vorhang Strauss,Richard/Elektra+
https://w.atwiki.jp/w41s/pages/8.html
FAQ Q 価格と発売時期は？ A 一万円前後で発売されるそうです。 新規なら割引をつけて本体価格のみなら5千円弱の所も。 W41Sならさくらやで新規1円で売ってたよ。 発売日 地域 1月27日 北海道・東北・関東・北陸・中国・九州 1月28日 中部・関西・沖縄 2月1日 四国 Q ジョグは？ A 残念ながら付いていないようです もうWINでは出ないんでしょうか… Q 猪木ってなに？ A 流出したパンフレットの画像がゆがんでいたために端末の下側が出っ張っているのではないかという憶測が飛び交い、猪木と呼ばれていた時期がありました Q パールホワイトの中のピンクはW32Sみたいな色？ A 薄いベージュのようなピンク。男が使っても気にならないぐらい薄い色。モック見て来い。 Q W21SにあってW41Sまでで無くなったり変更されたものって何？ A ・ジョグ ・メイン、サブ液晶の大きさ ・カメラの画素数と種類 Q Suica対応してないの？ A 対応しています Q アズライトブルーのことグフって言う人がいるけど？ A ザクとは違うらしいです Q マスストレージモードには対応してないの？ A 対応しているようです Q 試供品のＵＳＢケーブルってなんなの？ A 別売のWINUSBケーブルと変わらない機能を果たす。 でもあくまで試供品と書いてるのには意味がありそう Q 着せ変えってあるの？ A 現在5種類あるようです Q USB経由でﾒﾓｽﾃ内のﾃﾞｰﾀ管理できる？ A できる。ドライバ入れる必要あるけど Q サブディスプレイのしたのヒゲって何するもんなの？ A ヒゲと上のWINの出っ張りで、フェリカにかざす時のスペーサーになるという機能らしい。 Q OSがWindows2000 professionalなのだがPCの対応スペックOS以外全部満たしてるんだけど au music port使えるかな？ A Win2000だと、途中で「Xｐではないのでインストールできない」というダイアログがでて終了してしまう。 XP買うか、アップデートされるよう祈って待つかのどっちか Q CDからMusic Portに落としてケータイに移した音楽って着うたに出来る？ |A |できないくさい% 7C Q ATRAC3対応してるよね？ A してないくさい Q ……ATRAC3対応してるよね？ A …してないくさい Q パンフの「その他Ｅメール機能」の、 ・なかよしボックス ・インフォボックス ってなに？ A なかよしボックスは登録した相手との送受信メールのやりとりをまとめて読むことができるフォルダ 送・受信ボックス内の登録した相手のメールにリンクしてるだけなので容量に影響はない インフォボックスは広告メール専用の受信フォルダ Q PCサイトビュアーのPCスクリーンモードって 選択とか出来るの？それともみるだけ？ A 見るだけぽい Q ＯＳが2000なんでａｍｐが使えない ＵＳＢで繋いで音楽入れたいんですけど 保存フォルダと拡張し教えてください A \MOBILE\AU\DF\D_SD\の中にSDS_XXXX.3g2で保存すれば聞けるけど aMPから聞くことはﾓﾑｰﾘ！o(ﾟДﾟ)っ Q サブディスプレイのバックライトって着信ランプと連動みたいですが、 通話中とかお知らせで光ったりするのでしょうか？ A 機能の設定メニューの中で着信ランプ設定があって 通話中点灯と不在お知らせ機能が設定できる グフ…… -- (ﾟдﾟ) (2006-01-26 16 57 27) a -- a (2006-01-28 17 30 15) PCサイトビュアーのPCスクリーンモードって選択とか出来るの？それともみるだけ？ -- 名無しさん (2006-02-05 18 19 01) ＯＳが2000なんでａｍｐが使えないＵＳＢで繋いで音楽入れたいんですけど保存フォルダと拡張し教えてください -- 初めてのａｕ (2006-02-25 20 21 23) サブディスプレイのバックライトって着信ランプと連動みたいですが、通話中とかお知らせで光ったりするのでしょうか？ -- ぽぉ (2006-02-26 22 50 30) えせ着（mmf）何ｋまで着信音登録できますか？ -- kazumi (2006-03-07 01 39 07) 既存の自作フルを再生できるのでしょうか？また、データフォルダのオートプレイ機能はあるのでしょうか？ -- 21CA使用中 (2006-03-10 22 27 34) W32Sと比べてW41Sの細かな改善点ありますか？普段の利用に関してを中心に知りたいです -- ktkr (2006-04-03 01 31 37) nullcrowd patter 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Two Hearts http //www.dailymotion.com/video/x36yw_phil-collins-two-hearts Phil Collins - True Colors http //www.dailymotion.com/video/x3r8j_phil-collins-true-colors Phil Lynott - Nineteen http //www.youtube.com/watch?v=fo6VDPjuChE (TV) Phil Lynott - Yellow Pearl http //www.youtube.com/watch?v=FOAtVIJovdw Phil Lynott Gary Moore - Out in the Fields http //www.youtube.com/watch?v=M11hclR7MoU Philip Bailey Phil Collins - Easy Lover http //www.dailymotion.com/video/xes20_phil-collins-easy-lover Philip Bailey - Walking on the Chinese Wall http //www.dailymotion.com/video/xtlo4_philip-bailey-chinese-walls Philip Oakey Giorgio Moroder - Together in Electric Dreams http //www.dailymotion.com/video/x1gsgk_philip-oakeygiorgio-moroder-togethe Pigbag - Papa s Got A Brand New Pigbag http //www.youtube.com/watch?v=wHhzgeBoAWU (TOTP) Pink Floyd - Learning To Fly http //www.dailymotion.com/video/x1wri_pink-floyd-learning-to-fly Pink Floyd - High Hopes http //www.dailymotion.com/video/x1ftl_high-hopes-pink-floyd Pink Floyd - 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Call It Love http //www.youtube.com/watch?v=LhsLd_xAQc8 The Pogues - A Fairytale Of New York http //www.youtube.com/watch?v=4JZ2kuuEz4Q The Pogues - A Pair of Brown Eyes http //www.youtube.com/watch?v=ucgYq5NcSps The Pogues - Fiesta http //www.youtube.com/watch?v=KF2e3RRfXYg The Pogues - Live Concert 1985 http //www.youtube.com/watch?v=DAKyA2ttv0I The Pogues - Live in japan http //www.youtube.com/watch?v=zwnxhBGoErI The Pogues - Very Drunk Interview http //www.youtube.com/watch?v=SirutCHZ-QI The Pogues - Yeah, Yeah, Yeah http //youtube.com/watch?v=cPxASwg8WEI The Pogues ft.Katie Melua - FAIRYTALE OF NEW YORK [CDUK 24.12.05 http //www.youtube.com/watch?v=7uw8Guwz_MA Pointer sisters - back in my arms http //www.dailymotion.com/video/xtoc9_pointer-sisters-back-in-my-arms Pointer Sisters - He Turned Me Out http //www.dailymotion.com/video/x12trz_pointer-sisters-he-turned-me-out The Pointer Sisters - Fire http //www.dailymotion.com/video/xeiim_the-pointer-sisters Pointer Sisters - Automatic http //www.dailymotion.com/video/xh41q_pointer-sisters-automatic Pointer Sisters - Dare Me http //www.youtube.com/watch?v=ZUD0NSuv3fY The Pointer Sisters-Neutron Dance http //www.dailymotion.com/video/xr0w7_the-pointer-sistersneutron-dance The Pointer Sisters - Slow Hand http //www.dailymotion.com/video/x130iw_the-pointer-sisters-slow-hand Pointer Sisters - I m So Excited http //www.dailymotion.com/video/x4cf6_pointer-sisters-im-so-excited Pointer Sisters - Jump http //www.dailymotion.com/video/xzqsn_the-pointer-sistersjump Poison - I WANT ACTION http //www.youtube.com/watch?v=LwQQAmaosAU Poison - Every Rose Has It s Thorn http //www.dailymotion.com/relevance/search/Poison%2B-%2BEvery%2BRose%2BHas%2BI/video/x1787u_poison-every-rose-has-its-thorn Poison - Fallen angel http //www.youtube.com/watch?v=63Qf0_5tpn0 The Police - Synchronicity I http //www.youtube.com/watch?v=0A154OavghI The Police - De Do Do Do, De Da Da Da http //www.dailymotion.com/relevance/search/the%2Bpolice%2B%2Bdo%2Bdo/video/xavfi_1980the-police-de-do-do-de-da-da-da The Police - Don t Stand So Close To Me http //www.youtube.com/watch?v=gXU8kCrRHJY The Police - Don t Stand So Close To Me 86 http //www.youtube.com/watch?v=jo3NetTOiVs The Police - Every Breath You Take http //youtube.com/watch?v=KqgDiRFEbIA The Police - Every Little Thing She Does Is Magic http //www.dailymotion.com/video/xjtfu_the-police-video-ever The Police - So lonely http //www.dailymotion.com/video/x184i1_the-police-so-lonely The Police - Synchronicity II http //www.dailymotion.com/relevance/search/The%2BPolice%2BSynchronicity/video/xb0n_the-police-synchronicity-ii The Police - Wrapped Around Your Finger http //www.dailymotion.com/relevance/search/The%2BPolice%2BWrapped/video/x14cyo_the-policewrapped-around-your-finge THE POLICE - KING OF PAIN http //www.dailymotion.com/video/x1ajps_king-of-pain The Power Station - Communication http //www.youtube.com/watch?v=IWy1dS9IL98 The Power Station - Get It On (Bang a Gong) http //www.dailymotion.com/video/x8g93_power-station-get-it-on The Power Station - Some Like It Hot http //www.youtube.com/watch?v=KBgtx-fo8vk JTの曲紹介付き http //www.youtube.com/watch?v=zBd5IeZZ3qg Prefab Sprout - Cars and girls http //www.youtube.com/watch?v=PJMLB3GaUs0 Prefab Sprout - Johnny Johnny http //www.youtube.com/watch?v=bLPyrLfOYuo Prefab Sprout - The King Of Rock And Roll http //www.youtube.com/watch?v=mHKL01vA0Ig Prefab Sprout - When Love Breaks Down http //www.youtube.com/watch?v=7m2dvkAItYk Prefab Sprout - Hey Manhattan! http //www.youtube.com/watch?v=qfqLL-vQxig The Pretenders - Back On The Chain Gang http //www.youtube.com/watch?v=1R6cFyJbSp0 The Pretenders - Don t Get Me Wrong http //www.youtube.com/watch?v=M9gBTIOxodA The Pretenders - Middle Of The Road http //www.youtube.com/watch?v=E8fMf_eoHAU Pretty Poison - Catch Me (I m Falling) http //www.youtube.com/watch?v=omx7u0ZWUAY The Primitives - Crash http //www.youtube.com/watch?v=YE49S6i4QXE http //www.youtube.com/watch?v=ZvLtgzXONzA The Primitives - Secrets http //www.youtube.com/watch?v=9Z4DW9DST60 Prince - 1999 http //www.dailymotion.com/video/x1w7y_prince-1999 Prince - Little Red Corvette http //www.dailymotion.com/video/xgo1s_prince-little-red-corvette Prince - I Would Die 4 U http //www.dailymotion.com/video/xu3za_prince-the-revolutioni-would-die-4 Prince the Revolution - When doves cry http //www.dailymotion.com/video/x9d1w_prince-when-doves-cry Prince the Revolution - Let s Go Crazy http //www.dailymotion.com/video/x3vx4e_lets-go-crazyprince-the-revolution_music Prince the Revolution - Purple Rain http //www.dailymotion.com/video/xkc1c_purple-rain live in tokyo http //www.dailymotion.com/video/x2nre_prince-purple-rain-live-in-tokyo Prince the Revolution - Glam Slam http //www.dailymotion.com/video/xi9tp_prince-glam-slam Prince The Revolution- Raspberry Beret http //www.dailymotion.com/video/xgs9p_prince-raspberry-beret Prince The Revolution - America http //www.dailymotion.com/video/xhm4f_prince-america Prince - Kiss http //www.dailymotion.com/video/x32au_princekiss Prince - Sexy MF (Uncensored) http //www.dailymotion.com/video/xgu2v_prince-sexy-mf Prince Sheena Easton - U Got The Look http //www.dailymotion.com/video/xi8ny_prince-ft-sheena-easton-u-got-the-l Prince - Batdance http //www.dailymotion.com/video/xdv1x_prince-batdance Prince - Mountains http //www.dailymotion.com/video/xgwgv_prince-mountains Prince - I Wanna Be Your Lover http //www.dailymotion.com/video/x11vb5_prince-i-wanna-be-your-lover http //www.dailymotion.com/video/xjz4d_prince-i-wanna-be-your-loverclip The Proclaimers - I m Gonna Be (500 Miles) http //www.youtube.com/watch?v=q_6zpImqa20 The Proclaimers - Letter From America http //www.youtube.com/watch?v=S_Y1zklOQPs Prophet - Sound of a Breaking Heart http //www.youtube.com/watch?v=2b6R1tasaMI Propaganda - Dr.Mabuse http //www.youtube.com/watch?v=DNJ0dbCVXng (first version) http //www.youtube.com/watch?v=Fjpu1LVrlxo Propaganda - Duel http //www.youtube.com/watch?v=DjJQQ_gFEWw http //www.youtube.com/watch?v=jreqyeZsdYo Propaganda - P. Machinery http //www.youtube.com/watch?v=Yq_P96ZHqss http //www.youtube.com/watch?v=segQf7-KviI Pseudo Echo - Funky Town http //www.youtube.com/watch?v=QIJ-ztWhV5I Psychedelic Furs - Heartbreak Beat http //www.youtube.com/watch?v=qUonCMNX6O8 Psychedelic Furs - Love My Way http //www.youtube.com/watch?v=dZ6rR5C2aOw Psychedelic Furs - Pretty In Pink http //www.youtube.com/watch?v=9iPZIUK7jFs Public Enemy - Nighttrain http //www.youtube.com/watch?v=jEDRrQ4-DUc Public Image Limited - Flowers of Romance http //www.youtube.com/watch?v=qdAnlXhyikw Public Image Limited - Poptones http //www.youtube.com/watch?v=o57zgo0jCBA Public Image Limited - Rise http //www.youtube.com/watch?v=IuKFivWIyzY http //www.youtube.com/watch?v=jPj-8_wOZcA Public Image Limited - This Is Not A Love Song http //www.youtube.com/watch?v=6aumejrcEHs
https://w.atwiki.jp/pocketplanes/pages/298.html
MANCHESTER [マンチェスター] MANCHESTER は EUROPE に位置する人口約 0.50 millionの都市。 MANCHESTER Airportは Class 1 の空港。 “MUSH OF MANCHESTER S HISTORY IS CONCERNED WITH TEXTILE MANUFACTURE DURING THE INDUSTRIAL REVOLUTION.” OPEN(coins) 3500coins 宣伝(coins) 13500coins レベル1 レベル2 レベル3 アップグレードコスト(coins) - 7000 10500 LAYOVERS 5 10 15 CLOSE時の払戻(coins) 1750 5250 10500 空港 一覧 AFRICA [アフリカ] AL FASHIR・ALGIERS・BAMAKO・BEIRA・BENGHAZI・CAIRO・CAPE TOWN・CASABLANCA・DAKAR・DJIBOUTI・DURBAN・HARARE・IN SALAH・JOHANNESBURG・JUBA・KADUNA・KAMPALA・KANANGA・KHARTOUM・KINSHASA・KISANGANI・LAGOS・LILONGWE・LIVINGSTONE・LOBITO・MAHAJANGA・MOGADISHU・MOMBASA・MONROVIA・NAIROBI・PORT ELIZABETH・PORT SUDAN・TIMBUKTU・TRIPOLI・WINDHOEK・ZANZIBAR ASIA [アジア] ADEN・AHMEDABAD・ANADYR・BAGHDAD・BANGALORE・BANGKOK・BEIJING・BUTWAL・CEBU・CHENGDU・DELHI・DHAKA・GUANGZHOU・HANOI・HARBIN・HONG KONG・HYDERABAD・ISTANBUL・JAKARTA・JERUSALEM・KABUL・KANDAHAR・KARACHI・KOLKATA・KUCHING・KUWAIT CITY・LHASA・MAGADAN・MANILA・MUMBAI・MUSCAT・NAGASAKI・NANPING・NORILSK・NOVOSIBIRSK・OSAKA・PADANG・PALU・PEVEK・PORT MORESBY・RANGOON・RIYADH・SAPPORO・SENDAI・SEOUL・SHANGHAI・SHENYANG・SINGAPORE・TAIPEI・TEHRAN・TIKSI・TOKYO・ULAN BATOR・URUMQI・VLADIVOSTOK・XI AN・XINING・YAKUTSK・YINCHUAN EUROPE [ヨーロッパ] AMSTERDAM・ATHENS・BARCELONA・BEIRUT・BELFAST・BELGRADE・BERGEN・BERLIN・BERN・BORDEAUX・BRUSSELS・BUCHAREST・COPENHAGEN・CORDOBA(SPAIN)・GLASGOW・HAMMERFEST・HELSINKI・KIEV・LISBON・LONDON・LULEA・LYON・MADRID・MANCHESTER・MINSK・MOSCOW・MUNICH・MURMANSK・NAPLES・OSLO・OULU・PARIS・PERM・PRAGUE・REYKJAVIK・RIGA・ROME・ST.PETERSBURG・STOCKHOLM・TBILISI・TRONDHEIM・VENICE・VIENNA・VOLGOGRAD・WARSAW NORTH AMERICA [北アメリカ] ANCHORAGE・ATLANTA・BARROW・BISMARCK・BOSTON・CALGARY・CANCUN・CHARLESTON・CHICAGO・CHIHUAHUA・CINCINNATI・DALLAS・DENVER・DETROIT・EDMONTON・FAIRBANKS・GOOSE BAY・GUATEMALA・HAVANA・HILO・HONOLULU・HOUSTON・INUVIK・IQALUIT・JUNEAU・KANSAS CITY・KETCHIKAN・LAS VEGAS・LOS ANGELES・MEXICO CITY・MIAMI・MINNEAPOLIS・MONTERREY・MONTREAL・NEW ORLEANS・NEW YORK・NOME・NUUK・OAXACA・ORLANDO・OTTAWA・PANAMA CITY・PHILADELPHIA・PHOENIX・PORTLAND・QUEBEC・SALT LAKE CITY・SAN DIEGO・SAN FRANCISCO・SAN JOSE・SANTO DOMINGO・SASKATOON・SEATTLE・SPOKANE・ST.LOUIS・THUNDER BAY・TORONTO・VANCOUVER・WASHINGTON DC・WHITEHORSE・WINNIPEG・YELLOWKNIFE SOUTH AMERICA [南アメリカ] ARAGUAINA・ASUNCION・BARILOCHE・BELEM・BOGOTA・BRASILIA・BUENOS AIRES・CAMPO GRANDE・CARACAS・CORDOBA(ARGENTINA)・CUIABA・CUZCO・EASTER ISLAND・FORTALEZA・GEORGETOWN・IQUITOS・LA PAZ・LIMA・MANAUS・PORTO VELHO・PUNTA ARENAS・QUITO・RECIFE・RIO DE JANEIRO・SALVADOR・SANTIAGO・SAO PAULO・TERESINA OCEANIA [オセアニア] ADELAIDE・ALICE SPRINGS・AUCKLAND・BRISBANE・BROKEN HILL・BROOME・CAIRNS・CHRISTCHURCH・DARWIN・GERALDTON・HOBART・KALGOORLIE・KATHERINE・MELBOURNE・MOUNT ISA・NEWMAN・PERTH・PORT HEDLAND・ROCKHAMPTON・SYDNEY・WELLINGTON
https://w.atwiki.jp/pyopyo0124/pages/39.html
CHAPTER XXIV UP CHAPTER XXVI CHAPTER XXV Matthew Insists on Puffed Sleeves Matthew was having a bad ten minutes of it. He had come into the kitchen, in the twilight of a cold, gray December evening, and had sat down in the woodbox corner to take off his heavy boots, unconscious of the fact that Anne and a bevy of her schoolmates were having a practice of "The Fairy Queen" in the sitting room. Presently they came trooping through the hall and out into the kitchen, laughing and chattering gaily. They did not see Matthew, who shrank bashfully back into the shadows beyond the woodbox with a boot in one hand and a bootjack in the other, and he watched them shyly for the aforesaid ten minutes as they put on caps and jackets and talked about the dialogue and the concert. Anne stood among them, bright eyed and animated as they; but Matthew suddenly became conscious that there was something about her different from her mates. And what worried Matthew was that the difference impressed him as being something that should not exist. Anne had a brighter face, and bigger, starrier eyes, and more delicate features than the other; even shy, unobservant Matthew had learned to take note of these things; but the difference that disturbed him did not consist in any of these respects. Then in what did it consist? Matthew was haunted by this question long after the girls had gone, arm in arm, down the long, hard-frozen lane and Anne had betaken herself to her books. He could not refer it to Marilla, who, he felt, would be quite sure to sniff scornfully and remark that the only difference she saw between Anne and the other girls was that they sometimes kept their tongues quiet while Anne never did. This, Matthew felt, would be no great help. He had recourse to his pipe that evening to help him study it out, much to Marilla s disgust. After two hours of smoking and hard reflection Matthew arrived at a solution of his problem. Anne was not dressed like the other girls! The more Matthew thought about the matter the more he was convinced that Anne never had been dressed like the other girls--never since she had come to Green Gables. Marilla kept her clothed in plain, dark dresses, all made after the same unvarying pattern. If Matthew knew there was such a thing as fashion in dress it was as much as he did; but he was quite sure that Anne s sleeves did not look at all like the sleeves the other girls wore. He recalled the cluster of little girls he had seen around her that evening--all gay in waists of red and blue and pink and white--and he wondered why Marilla always kept her so plainly and soberly gowned. Of course, it must be all right. Marilla knew best and Marilla was bringing her up. Probably some wise, inscrutable motive was to be served thereby. But surely it would do no harm to let the child have one pretty dress--something like Diana Barry always wore. Matthew decided that he would give her one; that surely could not be objected to as an unwarranted putting in of his oar. Christmas was only a fortnight off. A nice new dress would be the very thing for a present. Matthew, with a sigh of satisfaction, put away his pipe and went to bed, while Marilla opened all the doors and aired the house. The very next evening Matthew betook himself to Carmody to buy the dress, determined to get the worst over and have done with it. It would be, he felt assured, no trifling ordeal. There were some things Matthew could buy and prove himself no mean bargainer; but he knew he would be at the mercy of shopkeepers when it came to buying a girl s dress. After much cogitation Matthew resolved to go to Samuel Lawson s store instead of William Blair s. To be sure, the Cuthberts always had gone to William Blair s; it was almost as much a matter of conscience with them as to attend the Presbyterian church and vote Conservative. But William Blair s two daughters frequently waited on customers there and Matthew held them in absolute dread. He could contrive to deal with them when he knew exactly what he wanted and could point it out; but in such a matter as this, requiring explanation and consultation, Matthew felt that he must be sure of a man behind the counter. So he would go to Lawson s, where Samuel or his son would wait on him. Alas! Matthew did not know that Samuel, in the recent expansion of his business, had set up a lady clerk also; she was a niece of his wife s and a very dashing young person indeed, with a huge, drooping pompadour, big, rolling brown eyes, and a most extensive and bewildering smile. She was dressed with exceeding smartness and wore several bangle bracelets that glittered and rattled and tinkled with every movement of her hands. Matthew was covered with confusion at finding her there at all; and those bangles completely wrecked his wits at one fell swoop. "What can I do for you this evening, Mr. Cuthbert?" Miss Lucilla Harris inquired, briskly and ingratiatingly, tapping the counter with both hands. "Have you any--any--any--well now, say any garden rakes?" stammered Matthew. Miss Harris looked somewhat surprised, as well she might, to hear a man inquiring for garden rakes in the middle of December. "I believe we have one or two left over," she said, "but they re upstairs in the lumber room. I ll go and see." During her absence Matthew collected his scattered senses for another effort. When Miss Harris returned with the rake and cheerfully inquired "Anything else tonight, Mr. Cuthbert?" Matthew took his courage in both hands and replied "Well now, since you suggest it, I might as well--take--that is--look at--buy some--some hayseed." Miss Harris had heard Matthew Cuthbert called odd. She now concluded that he was entirely crazy. "We only keep hayseed in the spring," she explained loftily. "We ve none on hand just now." "Oh, certainly--certainly--just as you say," stammered unhappy Matthew, seizing the rake and making for the door. At the threshold he recollected that he had not paid for it and he turned miserably back. While Miss Harris was counting out his change he rallied his powers for a final desperate attempt. "Well now--if it isn t too much trouble--I might as well--that is--I d like to look at--at--some sugar." "White or brown?" queried Miss Harris patiently. "Oh--well now--brown," said Matthew feebly. "There s a barrel of it over there," said Miss Harris, shaking her bangles at it. "It s the only kind we have." "I ll--I ll take twenty pounds of it," said Matthew, with beads of perspiration standing on his forehead. Matthew had driven halfway home before he was his own man again. It had been a gruesome experience, but it served him right, he thought, for committing the heresy of going to a strange store. When he reached home he hid the rake in the tool house, but the sugar he carried in to Marilla. "Brown sugar!" exclaimed Marilla. "Whatever possessed you to get so much? You know I never use it except for the hired man s porridge or black fruit cake. Jerry s gone and I ve made my cake long ago. It s not good sugar, either--it s coarse and dark--William Blair doesn t usually keep sugar like that." "I--I thought it might come in handy sometime," said Matthew, making good his escape. When Matthew came to think the matter over he decided that a woman was required to cope with the situation. Marilla was out of the question. Matthew felt sure she would throw cold water on his project at once. Remained only Mrs. Lynde; for of no other woman in Avonlea would Matthew have dared to ask advice. To Mrs. Lynde he went accordingly, and that good lady promptly took the matter out of the harassed man s hands. "Pick out a dress for you to give Anne? To be sure I will. I m going to Carmody tomorrow and I ll attend to it. Have you something particular in mind? No? Well, I ll just go by my own judgment then. I believe a nice rich brown would just suit Anne, and William Blair has some new gloria in that s real pretty. Perhaps you d like me to make it up for her, too, seeing that if Marilla was to make it Anne would probably get wind of it before the time and spoil the surprise? Well, I ll do it. No, it isn t a mite of trouble. I like sewing. I ll make it to fit my niece, Jenny Gillis, for she and Anne are as like as two peas as far as figure goes." "Well now, I m much obliged," said Matthew, "and--and--I dunno--but I d like--I think they make the sleeves different nowadays to what they used to be. If it wouldn t be asking too much I--I d like them made in the new way." "Puffs? Of course. You needn t worry a speck more about it, Matthew. I ll make it up in the very latest fashion," said Mrs. Lynde. To herself she added when Matthew had gone "It ll be a real satisfaction to see that poor child wearing something decent for once. The way Marilla dresses her is positively ridiculous, that s what, and I ve ached to tell her so plainly a dozen times. I ve held my tongue though, for I can see Marilla doesn t want advice and she thinks she knows more about bringing children up than I do for all she s an old maid. But that s always the way. Folks that has brought up children know that there s no hard and fast method in the world that ll suit every child. But them as never have think it s all as plain and easy as Rule of Three--just set your three terms down so fashion, and the sum ll work out correct. But flesh and blood don t come under the head of arithmetic and that s where Marilla Cuthbert makes her mistake. I suppose she s trying to cultivate a spirit of humility in Anne by dressing her as she does; but it s more likely to cultivate envy and discontent. I m sure the child must feel the difference between her clothes and the other girls . But to think of Matthew taking notice of it! That man is waking up after being asleep for over sixty years." Marilla knew all the following fortnight that Matthew had something on his mind, but what it was she could not guess, until Christmas Eve, when Mrs. Lynde brought up the new dress. Marilla behaved pretty well on the whole, although it is very likely she distrusted Mrs. Lynde s diplomatic explanation that she had made the dress because Matthew was afraid Anne would find out about it too soon if Marilla made it. "So this is what Matthew has been looking so mysterious over and grinning about to himself for two weeks, is it?" she said a little stiffly but tolerantly. "I knew he was up to some foolishness. Well, I must say I don t think Anne needed any more dresses. I made her three good, warm, serviceable ones this fall, and anything more is sheer extravagance. There s enough material in those sleeves alone to make a waist, I declare there is. You ll just pamper Anne s vanity, Matthew, and she s as vain as a peacock now. Well, I hope she ll be satisfied at last, for I know she s been hankering after those silly sleeves ever since they came in, although she never said a word after the first. The puffs have been getting bigger and more ridiculous right along; they re as big as balloons now. Next year anybody who wears them will have to go through a door sideways." Christmas morning broke on a beautiful white world. It had been a very mild December and people had looked forward to a green Christmas; but just enough snow fell softly in the night to transfigure Avonlea. Anne peeped out from her frosted gable window with delighted eyes. The firs in the Haunted Wood were all feathery and wonderful; the birches and wild cherry trees were outlined in pearl; the plowed fields were stretches of snowy dimples; and there was a crisp tang in the air that was glorious. Anne ran downstairs singing until her voice reechoed through Green Gables. "Merry Christmas, Marilla! Merry Christmas, Matthew! Isn t it a lovely Christmas? I m so glad it s white. Any other kind of Christmas doesn t seem real, does it? I don t like green Christmases. They re not green-- they re just nasty faded browns and grays. What makes people call them green? Why--why--Matthew, is that for me? Oh, Matthew!" Matthew had sheepishly unfolded the dress from its paper swathings and held it out with a deprecatory glance at Marilla, who feigned to be contemptuously filling the teapot, but nevertheless watched the scene out of the corner of her eye with a rather interested air. Anne took the dress and looked at it in reverent silence. Oh, how pretty it was--a lovely soft brown gloria with all the gloss of silk; a skirt with dainty frills and shirrings; a waist elaborately pintucked in the most fashionable way, with a little ruffle of filmy lace at the neck. But the sleeves--they were the crowning glory! Long elbow cuffs, and above them two beautiful puffs divided by rows of shirring and bows of brown-silk ribbon. "That s a Christmas present for you, Anne," said Matthew shyly. "Why--why--Anne, don t you like it? Well now--well now." For Anne s eyes had suddenly filled with tears. "Like it! Oh, Matthew!" Anne laid the dress over a chair and clasped her hands. "Matthew, it s perfectly exquisite. Oh, I can never thank you enough. Look at those sleeves! Oh, it seems to me this must be a happy dream." "Well, well, let us have breakfast," interrupted Marilla. "I must say, Anne, I don t think you needed the dress; but since Matthew has got it for you, see that you take good care of it. There s a hair ribbon Mrs. Lynde left for you. It s brown, to match the dress. Come now, sit in." "I don t see how I m going to eat breakfast," said Anne rapturously. "Breakfast seems so commonplace at such an exciting moment. I d rather feast my eyes on that dress. I m so glad that puffed sleeves are still fashionable. It did seem to me that I d never get over it if they went out before I had a dress with them. I d never have felt quite satisfied, you see. It was lovely of Mrs. Lynde to give me the ribbon too. I feel that I ought to be a very good girl indeed. It s at times like this I m sorry I m not a model little girl; and I always resolve that I will be in future. But somehow it s hard to carry out your resolutions when irresistible temptations come. Still, I really will make an extra effort after this." When the commonplace breakfast was over Diana appeared, crossing the white log bridge in the hollow, a gay little figure in her crimson ulster. Anne flew down the slope to meet her. "Merry Christmas, Diana! And oh, it s a wonderful Christmas. I ve something splendid to show you. Matthew has given me the loveliest dress, with SUCH sleeves. I couldn t even imagine any nicer." "I ve got something more for you," said Diana breathlessly. "Here-- this box. Aunt Josephine sent us out a big box with ever so many things in it--and this is for you. I d have brought it over last night, but it didn t come until after dark, and I never feel very comfortable coming through the Haunted Wood in the dark now." Anne opened the box and peeped in. First a card with "For the Anne-girl and Merry Christmas," written on it; and then, a pair of the daintiest little kid slippers, with beaded toes and satin bows and glistening buckles. "Oh," said Anne, "Diana, this is too much. I must be dreaming." "I call it providential," said Diana. "You won t have to borrow Ruby s slippers now, and that s a blessing, for they re two sizes too big for you, and it would be awful to hear a fairy shuffling. Josie Pye would be delighted. Mind you, Rob Wright went home with Gertie Pye from the practice night before last. Did you ever hear anything equal to that?" All the Avonlea scholars were in a fever of excitement that day, for the hall had to be decorated and a last grand rehearsal held. The concert came off in the evening and was a pronounced success. The little hall was crowded; all the performers did excellently well, but Anne was the bright particular star of the occasion, as even envy, in the shape of Josie Pye, dared not deny. "Oh, hasn t it been a brilliant evening?" sighed Anne, when it was all over and she and Diana were walking home together under a dark, starry sky. "Everything went off very well," said Diana practically. "I guess we must have made as much as ten dollars. Mind you, Mr. Allan is going to send an account of it to the Charlottetown papers." "Oh, Diana, will we really see our names in print? It makes me thrill to think of it. Your solo was perfectly elegant, Diana. I felt prouder than you did when it was encored. I just said to myself, `It is my dear bosom friend who is so honored. " "Well, your recitations just brought down the house, Anne. That sad one was simply splendid." "Oh, I was so nervous, Diana. When Mr. Allan called out my name I really cannot tell how I ever got up on that platform. I felt as if a million eyes were looking at me and through me, and for one dreadful moment I was sure I couldn t begin at all. Then I thought of my lovely puffed sleeves and took courage. I knew that I must live up to those sleeves, Diana. So I started in, and my voice seemed to be coming from ever so far away. I just felt like a parrot. It s providential that I practiced those recitations so often up in the garret, or I d never have been able to get through. Did I groan all right?" "Yes, indeed, you groaned lovely," assured Diana. "I saw old Mrs. Sloane wiping away tears when I sat down. It was splendid to think I had touched somebody s heart. It s so romantic to take part in a concert, isn t it? Oh, it s been a very memorable occasion indeed." "Wasn t the boys dialogue fine?" said Diana. "Gilbert Blythe was just splendid. Anne, I do think it s awful mean the way you treat Gil. Wait till I tell you. When you ran off the platform after the fairy dialogue one of your roses fell out of your hair. I saw Gil pick it up and put it in his breast pocket. There now. You re so romantic that I m sure you ought to be pleased at that." "It s nothing to me what that person does," said Anne loftily. "I simply never waste a thought on him, Diana." That night Marilla and Matthew, who had been out to a concert for the first time in twenty years, sat for a while by the kitchen fire after Anne had gone to bed. "Well now, I guess our Anne did as well as any of them," said Matthew proudly. "Yes, she did," admitted Marilla. "She s a bright child, Matthew. And she looked real nice too. I ve been kind of opposed to this concert scheme, but I suppose there s no real harm in it after all. Anyhow, I was proud of Anne tonight, although I m not going to tell her so." "Well now, I was proud of her and I did tell her so fore she went upstairs," said Matthew. "We must see what we can do for her some of these days, Marilla. I guess she ll need something more than Avonlea school by and by." "There s time enough to think of that," said Marilla. "She s only thirteen in March. Though tonight it struck me she was growing quite a big girl. Mrs. Lynde made that dress a mite too long, and it makes Anne look so tall. She s quick to learn and I guess the best thing we can do for her will be to send her to Queen s after a spell. But nothing need be said about that for a year or two yet." "Well now, it ll do no harm to be thinking it over off and on," said Matthew. "Things like that are all the better for lots of thinking over." CHAPTER XXIV UP CHAPTER XXVI 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 20 30 (Tue)
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まえがき へんてこ腕時計のまとめページを作ってみる。 とりあえず定番リンク シーホープ：ART DESIGN WATCH http //www.seahope.com/ http //store.yahoo.co.jp/art-designwatch/index.html Tokyoflash（シーホープの海外向けHP?） http //tokyoflash.com/ Wrist Dreams（へんてこ腕時計のニュースサイト） http //www.wristdreams.com/ 時計屋さん http //www.10keiya.com/ http //www.10keiya.com/category/c195000_001.html コレクターの方のページ http //henwatch.hp.infoseek.co.jp/ http //homepage.mac.com/utdesign/watch/ http //homepage2.nifty.com/speedster/1481010top.htm 個人的にはアナログ時計が読めない子なんで、デジタルが好き。 ましてや文字盤に何にも描いてないアナログはありえない。 そんな奴が適当に書いてます。基本的に個人用の覚え書きです。 目次 まえがき 目次 バングルっぽい アナログっぽいデジタルっぽい 逆にアナログすぎる デジアナっぽい ばかでっかい じゃぴょん 逆回転っぽい 変態アナログ その他アナログ 映画のタイアップとか すごくすごいの 未だ未整理 あとがき バングルっぽい Fossilのスタルクウォッチhttp //www.rakuten.co.jp/nuts/400167/427174/362721/ http //www.fossil.com/～ 竜頭は痛い。のでバングルタイプのシンプルな形で突起が無い、スタルクの特に初期の頃のがお気に入り。 セイコー スペクトラム。電子インク。http //www.seiko-watch.co.jp/～ 試作の頃のデザインのが良かったかな。 アナログっぽいデジタルっぽい Ｉ PATTERN http //www.seahope.com/page064.html solsuno http //www.solsunoworld.com/world_division/jap/spec01jp.htm FUSION http //www.seahope.com/page067.html METRO http //www.store-mix.com/～ 逆にアナログすぎる http //japanese.engadget.com/2006/01/30/approx-watch/ 上のに似てるかな？FOSSILのフランク・ゲーリーhttp //www.rakuten.co.jp/nuts/427131/575579/ #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (06080637.JPG) http //www.rakuten.co.jp/katsuboya/137722/426810/ ゲーリーさんは、もともとこんな手書きアナログをデザインしてた。 デジアナっぽい o.d.m.のアンカンプロマイシングてのhttp //www.g-tokei.com/odm.htm STORM NAVIGATOR http //frogman-web.hp.infoseek.co.jp/watch/storm.htm ばかでっかい GLYCINE F104 http //www.rakuten.co.jp/katsuboya/149524/150620/ アナログだとこんなんが馬鹿っぽくていい感じ。 ZENO http //www.rakuten.co.jp/katsuboya/152617/194409/ でもこれはなんでもないアナログだから馬鹿っぽいのであって、 GLYCINE AIRMAN７ http //www.rakuten.co.jp/katsuboya/149524/408497/ これとか NAUTICA N-MX62 http //www.rakuten.co.jp/katsuboya/137355/369887/ こうなっちゃうとかっこよくなっちゃって無しかな。 MUSK MR2129 http //store.yahoo.co.jp/big-market/muskc0a4b3.html こりゃやりすぎだし。てゆうかリューズが飾りってのが無し。 じゃぴょん ジャン イヴhttp //www.yoka-tokei.com/jendeve.htm フランクミュラーhttp //www.lexson.co.jp/franck38_5qqq.htm#9 ジェラルド・ジェンタhttp //www.ts-horiuchi.jp/tsdat/1803.html アナログでもジャンピングアワーは面白いね。 逆回転っぽい サルバトーレマーラhttp //item.rakuten.co.jp/mens/woml036/ 逆回転とか。 石川時計眼鏡店さんの逆回転時計http //www2.wind.ne.jp/time/24h_1.htm 群馬にもこんな時計屋さんがあるんだ。 もういっちょ。逆回転時計は他にも左利きさん専門店とかでも見かけるね。 変態アナログ Carlo Ferrara http //www.tokei2000.com/history/carlo.htm http //www.lexson.co.jp/brand36.htm abacus http //www.amitacorp.co.jp/abacus/index2.html マジック・オブ・タイム／トト・ロットhttp //www.beyes.jp/shop/fathersgarden/511877.php アバカスの新しいの。ロト付き。 アースウォッチhttp //www.endogem.co.jp/wn1.htm その他アナログ グレース・ファブリオ アシンメトリックhttp //www.yoka-tokei.com/grace2.htm NUTS COLLECTIONのMARRE MOEREL http //www.rakuten.co.jp/nuts/427131/285534/431453/ PLUGUE FLAP STRAP http //www.tictac-web.com/original_ladys.html#plugue 映画のタイアップとか HAMILTON X-01 http //www.rakuten.co.jp/katsuboya/145705/442523/ 2001年宇宙の旅のやつ Android ALIEN http //www.android-usa.com/watch.php?sku=AD52BBU 映画関連でもうひとつ。リベリオンのやつ。 http //www.tanomi.com/limited/html/00025.html ２連アナログだとこんなのも。私は胃薬入れときます。 http //eg.nttpub.co.jp/news/20010612_05.html リストホロ。全然違うじゃん、がっかり。 spoon web http //dianaweb.fc2web.com/new_page_8.htm リストホロのベースらしい。 ウルトラセブンの すごくすごいの QUINTINGのミステリーウォッチhttp //www.quinting-watches.com/frameset_eng.htm ここのクロノグラフ凄ぇ。 #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (06080634.JPG) 2530万円http //pya.cc/pyaimg/pimg.php?imgid=23575 個人で作ってるんで、ちょっと違うけど。http //www.eager-beavers.net/products/shouhin_guide.cgi?temp=TMP0 かっこよすぎ。 未だ未整理 http //www.otium-uhren.de/index.html http //www.thixwatch.com/ http //depart.livedoor.com/search/gci/?o= p=1 word=thix http //www.10keiya.com/category/c165000_001.html http //ecustom.listing.rakuten.co.jp/～ http //www.super-brandstreet.com/～ あとがき http //www.crepha.jp/index.html http //www.crepha.jp/products/watch/tel_list1.html とまぁいろいろ書きましたが、結論としては近所のＤＩＹ屋さんで買った千円でおつりが来ちゃうテルバのストップウォッチ付きが一番だったりして。 あ、そうだ。なんか管理人さんが好きそうな腕時計知ってたら、そっと教えてあげてください。 すごく見づらそう。http //www.urwerk.com/ o.d.m.のバングル風。http //www.wristdreams.com/archives/000896.html あ、o.d.m.のオフィシャルhttp //www.odm-design.com/home.html バングルっつえばこんなのも。http //www.wristdreams.com/archives/000920.html お安いジャンピングアワー。http //www.gizmodo.jp/2007/01/cgjhd.html 最近ｍｐ４腕時計がちらほら出てきてるけど、その本命っぽい。http //japanese.engadget.com/2007/01/12/iriver-bluetooth-usb-bracelet/ -- かりんにん (2007-01-21 16 29 17) 砂時計腕時計http //www.seihin.com/s/2007/01/28_2327.php ある意味砂時計http //www.gizmodo.jp/2007/01/post_805.html ｍｐ４腕時計バングル風味http //www.wristdreams.com/archives/001167.html -- かんにりん (2007-02-09 01 35 01) なんかユビキタス。http //www.gizmodo.jp/2007/02/just_in_time_1.html -- かにんりん (2007-02-11 11 04 26) なんかスパムが多いんで、一旦書き込み出来なくします。てゆうか、俺しか書き込まないし。-- かんににん (2007-03-07 22 46 03) http //www.gizmodo.jp/2007/03/post_1142.html -- かんににん (2007-03-20 00 00 01)