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Basic Automotive Jobs Study Guide Delmar Pub? Delmar? DelmarPub? Delmar? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference A46 Automotive Safety Systems Explained Delmar Pub? Bergwall Productions Inc.? DelmarPub? BergwallProductionsInc.? ジャンル別? Substores-UnknownASINs-21? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Nonfiction-Automotive-Industry? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Science-General Subjects-Science-Technology-General&Reference Formats-Audiocassettes-General? A46-M Automotive Safety System Bergwall Productions? Bergwall Productions Inc.? BergwallProductions? BergwallProductionsInc.? ジャンル別? Substores-UnknownASINs-21? Subjects-Science-General Subjects-Science-Technology-General&Reference A46.1 Active Safety Systems Delmar Pub? Bergwall Productions Inc.? DelmarPub? BergwallProductionsInc.? ジャンル別? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Science-General Subjects-Science-Technology-General&Reference Formats-Audiocassettes-General? A46.2 Passive Safety Systems Delmar Pub? Bergwall Productions Inc.? DelmarPub? BergwallProductionsInc.? ジャンル別? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Science-General Subjects-Science-Technology-General&Reference Formats-Audiocassettes-General? A46.3 Inflatable Restraints Delmar Pub? Bergwall Productions Inc.? DelmarPub? BergwallProductionsInc.? ジャンル別? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Science-General Subjects-Science-Technology-General&Reference Formats-Audiocassettes-General? A46.4 Inflatable Restraint Servicing Delmar Pub? Bergwall Productions Inc.? DelmarPub? BergwallProductionsInc.? ジャンル別? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Science-General Subjects-Science-Technology-General&Reference Formats-Audiocassettes-General? E24-M Electrical Circuit Troubleshooting Bergwall Productions? Bergwall Productions Inc.? BergwallProductions? BergwallProductionsInc.? ジャンル別? Substores-UnknownASINs-21? Subjects-Science-General Subjects-Science-Technology-General&Reference Electronic Emission Control Delmar Pub? Bergwall Productions Inc.? DelmarPub? BergwallProductionsInc.? ジャンル別? Substores-UnknownASINs-21? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Science-General Subjects-Science-Technology-General&Reference Working Safely in the Automotive Shop Study Guide Delmar Pub? Marchetti? DelmarPub? Marchetti? ジャンル別? Substores-UnknownASINs-21? Subjects-Science-General Subjects-Science-Technology-General&Reference Automotive Test Equipment Study Guide Delmar Pub? Bilotta? DelmarPub? Bilotta? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference Pe16 Basic Electric Dc Circuit Activity Sheets Delmar Pub? Bergwall Productions Inc.? DelmarPub? BergwallProductionsInc.? ジャンル別? Substores-UnknownASINs-21? Subjects-Science-General Subjects-Science-Technology-General&Reference Pe22 Work Safe With Electrical-Program Activity Sheets Delmar Pub? Bergwall Productions Inc.? DelmarPub? BergwallProductionsInc.? ジャンル別? Substores-UnknownASINs-21? Subjects-Science-General Subjects-Science-Technology-General&Reference Pf50 Weld Shop Safety-Program Activity Sheets Delmar Pub? Bergwall Productions Inc.? DelmarPub? BergwallProductionsInc.? ジャンル別? Substores-UnknownASINs-21? Subjects-Science-General Subjects-Science-Technology-General&Reference Pe45 Introduction Resident Wiring-Activity Sheets Delmar Pub? Bergwall Productions Inc.? DelmarPub? BergwallProductionsInc.? ジャンル別? Substores-UnknownASINs-21? Subjects-Science-General Subjects-Science-Technology-General&Reference F53.4 Tig Welding With Aluminum Delmar Pub? Bergwall Productions Inc.? DelmarPub? BergwallProductionsInc.? ジャンル別? Substores-UnknownASINs-21? Subjects-Business&Investing-Careers-Guides? Subjects-Reference-Careers-Guides? Subjects-Science-General Subjects-Science-Technology-General&Reference Formats-Audiocassettes-General? A49 Four Wheel Alignment Video Package Delmar Pub? Bergwall Productions Inc.? DelmarPub? BergwallProductionsInc.? ジャンル別? Substores-UnknownASINs-21? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Science-General Subjects-Science-Technology-General&Reference Formats-Audiocassettes-General? A49.1 Alignment Angles Delmar Pub? DelmarPub? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference Formats-Audiocassettes-General? A49.2 Pre-Alignment Inspection Delmar Pub? DelmarPub? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference Formats-Audiocassettes-General? A49.3 Alignment Equipment Delmar Pub? DelmarPub? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference Formats-Audiocassettes-General? A49.4 Four Wheel Alignmentprocedures Delmar Pub? DelmarPub? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference Formats-Audiocassettes-General? The Almanac of Fascinating Beginnings From the Academy Awards to the Xerox Machine Citadel Pr? Norman King? CitadelPr? NormanKing? ジャンル別? Subjects-Reference-Almanacs&Yearbooks-Almanacs? Subjects-Reference-General? Subjects-Science-Technology-General&Reference Peculiar Patents A Collection of Unusual and Interesting Inventions from the Files of the U.S. Patent Office Citadel Pr? Rick Feinberg? CitadelPr? RickFeinberg? ジャンル別? Subjects-Engineering-Patents&Inventions? Subjects-Professional&Technical-Engineering-Patents&Inventions? Subjects-Reference-General? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Bipquiz Inventions Sterling Pub Co Inc? Bruno Heitz? SterlingPubCoInc? BrunoHeitz? ジャンル別? Subjects-Children sBooks-Ages9-12-General? Subjects-Children sBooks-Arts&Music-Crafts&Hobbies? Subjects-Entertainment-Puzzles&Games-General? Subjects-Entertainment-Puzzles&Games-Quizzes? Subjects-Science-Technology-General&Reference Shop Savvy Tips, Techniques Jigs for Woodworkers Metalworkers Sterling Pub Co Inc? Roy Moungovan? SterlingPubCoInc? RoyMoungovan? ジャンル別? Subjects-Arts&Photography-Art-Instruction&Reference-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Home&Garden-Crafts&Hobbies-General? Subjects-Home&Garden-Crafts&Hobbies-Woodworking-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Science-Technology-General&Reference Workshop Math Sterling Pub Co Inc? Robert Scharff? SterlingPubCoInc? RobertScharff? ジャンル別? Subjects-Engineering-Mechanical-General? Subjects-Home&Garden-Crafts&Hobbies-General? Subjects-Home&Garden-Crafts&Hobbies-Woodworking-Projects? Subjects-Home&Garden-General? Subjects-Literature&Fiction-WorldLiterature-Mythology-General? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Science-Mathematics-Applied-Engineering-General? Subjects-Science-Technology-General&Reference Japanese Woodworking Tools Selection, Care and Use Sterling Pub Co Inc? Henry Lanz? SterlingPubCoInc? HenryLanz? ジャンル別? Subjects-Home&Garden-Crafts&Hobbies-General? Subjects-Home&Garden-Crafts&Hobbies-Woodworking-General? Subjects-Science-Technology-General&Reference Radial Arm Saw Techniques Sterling Pub Co Inc? Roger W. Cliffe? SterlingPubCoInc? RogerW.Cliffe? ジャンル別? Substores-UnknownASINs-21? Subjects-Home&Garden-Crafts&Hobbies-General? Subjects-Home&Garden-Crafts&Hobbies-Woodworking-General? Subjects-Home&Garden-Crafts&Hobbies-Woodworking-Tools? Subjects-Science-Technology-General&Reference The Complete Book of Portable Power Tool Techniques Sterling Pub Co Inc? R. J. De Cristoforo? SterlingPubCoInc? R.J.DeCristoforo? ジャンル別? Subjects-Home&Garden-Crafts&Hobbies-General? Subjects-Home&Garden-Crafts&Hobbies-Woodworking-General? Subjects-Home&Garden-Crafts&Hobbies-Woodworking-Tools? Subjects-Home&Garden-How-to&HomeImprovements-PowerTools? Subjects-Science-Technology-General&Reference Portable Circular Sawing Machine Techniques Sterling Pub Co Inc? Roger W. Cliffe? SterlingPubCoInc? RogerW.Cliffe? ジャンル別? Subjects-Engineering-Civil-Construction-Carpentry? Subjects-Home&Garden-Crafts&Hobbies-General? Subjects-Home&Garden-Crafts&Hobbies-Woodworking-General? Subjects-Professional&Technical-Engineering-Civil-Construction-Carpentry? Subjects-Science-Technology-General&Reference Projects for the Router Sterling Pub Co Inc? Casey Chaffin? SterlingPubCoInc? CaseyChaffin? ジャンル別? Subjects-Home&Garden-Crafts&Hobbies-General? Subjects-Home&Garden-Crafts&Hobbies-Woodworking-General? Subjects-Science-Technology-General&Reference Workshop Formulas, Tips and Data Sterling Pub Co Inc? Kenneth M. Swezey? SterlingPubCoInc? KennethM.Swezey? ジャンル別? Substores-UnknownASINs-21? Subjects-Home&Garden-Crafts&Hobbies-General? Subjects-Home&Garden-HomeDesign-Remodeling&Renovation-General? Subjects-Home&Garden-How-to&HomeImprovements-HomeRepair? Subjects-Science-Technology-General&Reference 365 Super Science Experiments With Everyday Materials Sterling Pub Co Inc (J)? Muriel Mandell? Anthony D. Fredericks? Louis V. Loeschnig? Judy Breckenridge? E. Richard Churchill? Frances W. Zweifel? SterlingPubCoInc(J)? MurielMandell? AnthonyD.Fredericks? LouisV.Loeschnig? JudyBreckenridge? E.RichardChurchill? FrancesW.Zweifel? ジャンル別? Subjects-Children sBooks-Science,Nature&HowItWorks-Experiments&Projects-General? Subjects-Science-Technology-General&Reference Subjects-Teens-Science&Technology-General? Expert Fly-Tying Sterling Pub Co Inc? Paul Fling? Donald Puterbaugh? SterlingPubCoInc? PaulFling? DonaldPuterbaugh? ジャンル別? Subjects-Home&Garden-Antiques&Collectibles? Subjects-Outdoors&Nature-Ecology-LivingontheLand-Hunting&Fishing-Fishing-FlyFishing-FlyTying? Subjects-Outdoors&Nature-Ecology-LivingontheLand-Hunting&Fishing-Fishing-FlyFishing-General? Subjects-Science-Technology-General&Reference Subjects-Sports-General? Subjects-Sports-Hunting&Fishing-Fishing-FlyFishing-FlyTying? Subjects-Sports-Hunting&Fishing-Fishing-FlyFishing-General? Router Handbook Sterling Pub Co Inc? Patrick Spielman? SterlingPubCoInc? PatrickSpielman? ジャンル別? Substores-UnknownASINs-21? Subjects-Home&Garden-Crafts&Hobbies-General? Subjects-Home&Garden-Crafts&Hobbies-Woodworking-General? Subjects-Science-Technology-General&Reference Tool Grinding and Sharpening Handbook Sterling Pub Co Inc? Glenn D. Davidson? SterlingPubCoInc? GlennD.Davidson? ジャンル別? Subjects-Engineering-Mechanical-General? Subjects-Home&Garden-Crafts&Hobbies-General? Subjects-Home&Garden-How-to&HomeImprovements-PowerTools? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Science-Physics-Applied? Subjects-Science-Technology-General&Reference Millwork Handbook Sterling Pub Co Inc? John E. Hiro? SterlingPubCoInc? JohnE.Hiro? ジャンル別? Subjects-Engineering-Civil-Construction-BuildingConstruction? Subjects-Engineering-Civil-Construction-Carpentry? Subjects-Home&Garden-Crafts&Hobbies-Woodworking-General? Subjects-Home&Garden-HomeDesign-Remodeling&Renovation-General? Subjects-Home&Garden-How-to&HomeImprovements-Carpentry? Subjects-Professional&Technical-Engineering-Civil-Construction-BuildingConstruction? Subjects-Professional&Technical-Engineering-Civil-Construction-Carpentry? Subjects-Science-Technology-General&Reference Green Gold Japan, Germany, the United States, and the Race for Environmental Technology Beacon Pr? Curtis Moore? Alan Miller? BeaconPr? CurtisMoore? AlanMiller? ジャンル別? Subjects-Business&Investing-Economics-NaturalResources Subjects-Business&Investing-General? Subjects-Business&Investing-International-General? Subjects-Engineering-Civil-Environmental-SolidWasteManagement? Subjects-Nonfiction-CurrentEvents-Poverty-SocialServices&Welfare? Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-SolidWasteManagement? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-Technology-General&Reference Teaching Technology from a Feminist Perspective A Practical Guide (The Athene Series) Teachers College Pr? Joan Rothschild? TeachersCollegePr? JoanRothschild? ジャンル別? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Nonfiction-Women sStudies-FeministTheory? Subjects-Science-Technology-General&Reference Machina Ex Dea Feminist Perspectives on Technology (Athene) Teachers College Pr? Joan Rothschild? TeachersCollegePr? JoanRothschild? ジャンル別? Subjects-Nonfiction-SocialSciences-GenderStudies-Women? Subjects-Nonfiction-SocialSciences-General? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Nonfiction-SocialSciences-Sociology-SocialTheory? Subjects-Nonfiction-Women sStudies-FeministTheory? Subjects-Science-Technology-General&Reference Teaching Technology from a Feminist Perspective A Practical Guide (Athene Series) Teachers College Pr? Joan Rothschild? TeachersCollegePr? JoanRothschild? ジャンル別? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Nonfiction-Women sStudies-FeministTheory? Subjects-Science-Technology-General&Reference Technology in Early America (Needs Opportunities for Study) University of North Carolina Press? Brooke Hindle? UniversityofNorthCarolinaPress? BrookeHindle? ジャンル別? Subjects-Science-Technology-General&Reference Technology in the Garden Research Parks and Regional Economic Development Univ of North Carolina Pr? Michael I. Luger? Harvey A. Goldstein? UnivofNorthCarolinaPr? MichaelI.Luger? HarveyA.Goldstein? ジャンル別? Subjects-Business&Investing-Management&Leadership-OperationsResearch? Subjects-Nonfiction-SocialSciences-HumanGeography? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-OperationsResearch? Subjects-Science-Technology-General&Reference Substores-UnknownASINs-jp-unknown1? Machine-Age Ideology Social Engineering and American Liberalism, 1911-1939 Univ of North Carolina Pr? John M. Jordan? UnivofNorthCarolinaPr? JohnM.Jordan? ジャンル別? Subjects-Engineering-General? Subjects-Engineering-Mechanical-General? Subjects-Entertainment-PopCulture-General? Subjects-History-Americas-UnitedStates-General? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Nonfiction-SocialSciences-PopularCulture? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Technology&Society? Technology in the Garden Research Parks and Regional Economic Development Univ of North Carolina Pr? Michael I. Luger? Harvey A. Goldstein? UnivofNorthCarolinaPr? MichaelI.Luger? HarveyA.Goldstein? ジャンル別? Subjects-Outdoors&Nature-Ecology-General? Subjects-Outdoors&Nature-Reference? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Nature&Ecology-General? Subjects-Science-Technology-General&Reference Substores-UnknownASINs-jp-unknown1? A Very Different Age Americans of the Progressive Era Hill & Wang Pub? Steven J. Diner? Hill&WangPub? StevenJ.Diner? ジャンル別? Subjects-History-Americas-UnitedStates-19thCentury-Reconstruction? Subjects-History-Americas-UnitedStates-19thCentury-TurnoftheCentury? Subjects-History-Americas-UnitedStates-20thCentury-Depression? Subjects-History-Americas-UnitedStates-General? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Civilizing the Machine Technology and Republican Values in America, 1776-1900 Hill & Wang Pub? John F. Kasson? Hill&WangPub? JohnF.Kasson? ジャンル別? Subjects-History-Americas-UnitedStates-19thCentury-General? Subjects-History-Americas-UnitedStates-General? Subjects-Nonfiction-SocialSciences-Sociology-SocialTheory? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Technology&PublicPolicy? Subjects-Science-Technology-Technology&Society? Beyond Oil The View From Hubbert's Peak Farrar Straus & Giroux (T)? Kenneth S. Deffeyes? FarrarStraus&Giroux(T)? KennethS.Deffeyes? ジャンル別? Subjects-Engineering-Energy-General? Subjects-Engineering-Petroleum,Mining&Geological-Petroleum? Subjects-Engineering-Petroleum,Mining&Geological-PetroleumGeology? Subjects-Professional&Technical-Engineering-Petroleum,Mining&Geological-Petroleum? 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Subjects-Science-Technology-General&Reference Input/Output (Understanding Computers) Time Life Education? TimeLifeEducation? ジャンル別? Substores-UnknownASINs-21? Subjects-Computers&Internet-ComputerScience-SoftwareEngineering-InformationSystems? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference Subjects-Teens-Science&Technology-General? Subjects-Teens-Science&Technology-Computers? Subjects-Science-Technology-General&Reference 洋書
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The Beginning of Wisdom Sermons for Pentecost Middle Third (Cycle B First Lesson Texts) Css Pub Co? Sue Anne Steffey Morrow? CssPubCo? SueAnneSteffeyMorrow? Substores-UnknownASINs-35 Subjects-Religion&Spirituality-Christianity-Clergy-Sermons? Subjects-Religion&Spirituality-Christianity-Bibles-General? Daring to Hope Sermons for Pentecost (Last Third) Css Pub Co? John P. Rossing? CssPubCo? JohnP.Rossing? Substores-UnknownASINs-35 Subjects-Religion&Spirituality-Christianity-Clergy-Sermons? Subjects-Religion&Spirituality-Christianity-Bibles-General? Subjects-Religion&Spirituality-OtherPractices-Ritual? Contemporary Lectionary Prayers, Cycle B C S S Publishing Company? Dennis Koch? CSSPublishingCompany? DennisKoch? Substores-UnknownASINs-35 Subjects-Reference-General? Lectionary Worship AIDS, Series III Css Pub Co? David B. Hostetter? CssPubCo? DavidB.Hostetter? Substores-UnknownASINs-35 Subjects-Religion&Spirituality-Christianity-Clergy-Preaching? Subjects-Religion&Spirituality-Christianity-Clergy-Sermons? Subjects-Religion&Spirituality-Christianity-Evangelism-Missions&MissionaryWork? Miracle in the Bethlethem Inn A Christmas Play Css Pub Co? Mary Lu Warstler? CssPubCo? MaryLuWarstler? Substores-UnknownASINs-35 Subjects-Arts&Photography-PerformingArts-Theater-General? Subjects-Entertainment-PerformingArts-Theater-General? Subjects-Literature&Fiction-Drama-General? Subjects-Literature&Fiction-WorldLiterature-UnitedStates? Subjects-Religion&Spirituality-Christianity-Holidays-Christmas-General? Homiletic Meditations Cycle B Advent Through the Transfiguration of Our Lord Css Pub Co? Frederick C. Edwards? CssPubCo? FrederickC.Edwards? Substores-UnknownASINs-35 Subjects-Religion&Spirituality-Christianity-Clergy-Sermons? Subjects-Religion&Spirituality-Christianity-Evangelism-Missions&MissionaryWork? Subjects-Religion&Spirituality-Christianity-Worship&Devotion-Meditations? Homiletic Meditations Cycle B Lent Through the Ascension of Our Lord Css Pub Co? Frederick C. Edwards? CssPubCo? FrederickC.Edwards? Substores-UnknownASINs-35 Subjects-Religion&Spirituality-Christianity-Clergy-Sermons? Homiletic Meditations Cycle B Pentecost Through the Feast of Christ the King Css Pub Co? Frederick C. Edwards? CssPubCo? FrederickC.Edwards? undefined undefined A More Urgent Season Sermons and Object Lessons for Advent, Christmas, and Epiphany Css Pub Co? Erskine White? CssPubCo? ErskineWhite? Substores-UnknownASINs-35 Subjects-Religion&Spirituality-Christianity-Clergy-Sermons? Easter Joy Exploring the Origins of Easter Symbols Css Pub Co? Jane C. Lawrence? Susan M. Imes? CssPubCo? JaneC.Lawrence? SusanM.Imes? undefined undefined This New Life Together Css Pub Co? CssPubCo? Substores-UnknownASINs-35 Subjects-Religion&Spirituality-Christianity-General? Subjects-Religion&Spirituality-Spirituality-Inspirational? Lost in the Woods A 12-Step Approach to Spiritual Growth Css Pub Co? Douglas Gast? CssPubCo? DouglasGast? Substores-UnknownASINs-35 Subjects-Religion&Spirituality-Christianity-ChristianLiving-General? From Private to Pastor Css Pub Co? Victor O. Mennicke? CssPubCo? VictorO.Mennicke? Substores-UnknownASINs-35 Subjects-Religion&Spirituality-Christianity-Protestantism-General? Tools for the Carpenter Over 30 Fun Lessons for Children Css Pub Co? Jacqueline Quern? CssPubCo? JacquelineQuern? Substores-UnknownASINs-35 Subjects-Religion&Spirituality-Christianity-Clergy-Sermons? Towers in the Light Rebuilding the Liberal Christian Vision and the Mainline Church Css Pub Co? James Albert Flurer? CssPubCo? JamesAlbertFlurer? Substores-UnknownASINs-35 Subjects-Religion&Spirituality-Christianity-General? His Everlasting Hand In My Grief Fairway Press? Betty M. Schnell? FairwayPress? BettyM.Schnell? Substores-UnknownASINs-35 Subjects-Religion&Spirituality-Christianity-ChristianLiving-Counseling? Hearts and Bones Expanding Compassion and Consciousness Through Relationship Css Pub Co? Michael Maloney? Mollie Summerland? CssPubCo? MichaelMaloney? MollieSummerland? Substores-UnknownASINs-35 Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Nonfiction-SocialSciences-Sociology-Culture? From the Attic of Civilization Rembrandt and His Biblical Art Css Pub Co? Leonard S. Girsh? CssPubCo? LeonardS.Girsh? Substores-UnknownASINs-35 Subjects-Arts&Photography-Art-Painting-General? Subjects-Religion&Spirituality-Christianity-Bibles-General? Evangelism The First Business of the Church Css Pub Co? E. Dale Click? CssPubCo? E.DaleClick? Substores-UnknownASINs-35 Subjects-Religion&Spirituality-Christianity-Evangelism-General? Subjects-Religion&Spirituality-Christianity-Protestantism-Pentecostal? Subjects-Religion&Spirituality-Spirituality-General? Edgar and the Pink Sucker Css Pub Co? Angel Fluker? Dan Jankowski? CssPubCo? AngelFluker? DanJankowski? 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Subjects-Parenting&Families-General? The Road Best Traveled Through the Bible in 365 Devotions CSS Publishing Company? G. A. Barbee? CSSPublishingCompany? G.A.Barbee? Substores-UnknownASINs-35 Subjects-Religion&Spirituality-Spirituality-Devotionals? The Old Testament/36 Audio Cassettes (King James Version) Dugan Pub Inc? DuganPubInc? undefined undefined African Americans in U.S. History Through 1877 (The Newcomers Series/Volume a) Fearon/Janus/Quercus? Barbara Reeves? Fearon/Janus/Quercus? BarbaraReeves? Substores-UnknownASINs-35 Subjects-History-Americas-UnitedStates? Hispanics in United States History Through 1865 (The Newcomers Series) Globe Fearon Co? Frank De Varona? GlobeFearonCo? FrankDeVarona? undefined undefined Eastern Europe Since 1945 Globe Fearon Co? Michael Kort? GlobeFearonCo? MichaelKort? undefined undefined Exploring American Citizenship Globe Fearon Co? John R. O Connor? Robert M. Goldberg? GlobeFearonCo? JohnR.O Connor? RobertM.Goldberg? 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Earth Science Workshop Three Understanding Space Globe Fearon Co? Seymour Rosen? GlobeFearonCo? SeymourRosen? Substores-UnknownASINs-35 Subjects-Science? Physics Workshop 1 Globe Fearon Co? GlobeFearonCo? Substores-UnknownASINs-35 Subjects-Science? Physics Workshop 2 Globe Fearon Co? GlobeFearonCo? undefined undefined Physics Workshop 3 Globe Fearon Co? GlobeFearonCo? Substores-UnknownASINs-35 Subjects-Science? Globe Biology Globe Fearon Co? Leonard Bernstein? GlobeFearonCo? LeonardBernstein? ユーズドブック(洋書)-Teens? Substores-UnknownASINs-35 Subjects-Children sBooks-Science,Nature&HowItWorks-Biology? Subjects-Teens-Science&Technology-General? Concepts and Challenges in Earth Science Globe Fearon Co? Alan Winkler? Leonard Bernstein? Martin Schachter? Stanley Wolfe? GlobeFearonCo? AlanWinkler? LeonardBernstein? MartinSchachter? StanleyWolfe? ユーズドブック(洋書)-Teens? Substores-UnknownASINs-35 Subjects-Children sBooks-Science,Nature&HowItWorks-EarthSciences-Nonfiction? Subjects-Teens-Science&Technology-General? Subjects-Teens-Science&Technology-EarthScience? Concepts and Challenges in Physical Science Globe Fearon Co? Alan Winkler? Leonard Bernstein? Martin Schachter? Stanley Wolfe? GlobeFearonCo? AlanWinkler? LeonardBernstein? MartinSchachter? StanleyWolfe? Substores-UnknownASINs-35 Subjects-Science? Exploring Careers (Mathematics Workshop) Fearon/Janus/Quercus? Fearon/Janus/Quercus? undefined undefined Exploring Careers (Mathematics Workshop) Fearon/Janus/Quercus? Fearon/Janus/Quercus? undefined undefined Concepts and Challenges in Life Science Globe Fearon Co? Alan Winkler? Leonard Bernstein? Martin Schachter? Stanley Wolfe? GlobeFearonCo? AlanWinkler? LeonardBernstein? MartinSchachter? StanleyWolfe? undefined undefined Globe High School Mathematics Globe Fearon Co? GlobeFearonCo? undefined undefined Mathematics Workshop Basic Skills, Book 1 Fearon/Janus/Quercus? 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DRITTER AUFZUG Eine öde, von dichtem Gebüsch umwachsene Felsschlucht. Über eine kleine Anhöhe rechts führt ein steiler Pfad herein. Im Vordergrund links eine von Trauerweiden umgebene Quelle, in deren Nähe ein Moossitz.Vollmondnacht ERSTER AUFTRITT Adolar schwarz gerüstet, das Schwert, mit dem er sich den Weg gebahnt, in der Hand, steigt langsam den Pfad von rechts nieder und bleibt, im Kampfe mit sich, sinnend stehen. Euryanthe in wallendem Haar und in einem einfachen weissen Kleide, folgt ihm matt und bebend Nr. 15 - Recitativ und Duett Recitativ EURYANTHE Hier weilest du? Hier darf ich ruhn? Sich rechts vorn an ein Felsstück lehnend O gönn auch Frieden meiner Seele nun! Bei Sonnenglut, bei Sternenschimmer Durchirrtest du den öden Hain, Sie wendet sich mit einigen Schritten zu ihm Verschmähtest Rast und Labung immer, Und neben dir, o Gott! war ich allein! Sei milde nun! Adolar wendet sich und blickt sie durchbohrend an. EURYANTHE flieht von ihm Weh! solch ein Blick ist Tod! Was ist s, dass mir dein Zürnen droht? Du wendest dich hinweg von meinen Leiden? Lass mich nicht ohne Trost verscheiden! Ein lindernd Wort nur lass der Lipp entbeben, Nur einen Blick, wie du mir sonst gegeben! ADOLAR Dies ist der Ort, So schaurig, öd und still, Wie meine That ihn will! Ich führte dich zum Tode fort. EURYANTHE Barmherzigkeit! ADOLAR Vernimm mein letztes Wort! Es wecke meine Stimme Dein schlummerndes Gewissen! Du sollst in meinem Grimme Erbarmen nicht vermissen. Bereu ! EURYANTHE Ich bin mir Liebe nur bewusst! Fühlst du nicht meine Treu in deiner Brust? ADOLAR Du, die entweiht das heiligste Vertrauen, Den Himmel log und barg des Abgrunds Grauen - Duett ADOLAR Wie liebt ich dich! Du warst mein höchstes Gut! Du warst mein höchstes Gut! wie liebt ich dich! EURYANTHE O stille deines Zornes Glut! Mein Herz ist rein, wie meine Thaten. ADOLAR Der höchsten Liebe sprachst du Hohn! So grässlich ward noch nie die Treu verraten; Empfange nun der Unthat Lohn! EURYANTHE O höre mich. ADOLAR Zu oft von deinen Lippen Hört ich den holden Liebeton. Sirenenlied an Todesklippen, Verstumm auf ewig! EURYANTHE Kann nichts dich bewegen, So töte mich! Mein letzter Hauch ist Segen Für dich, mein letzter Herzschlag dir geweiht! ADOLAR Verworfene! Zum Tode sei bereit! EURYANTHE Du klagst mich an! ADOLAR Der Tod macht dich - EURYANTHE O herbe Pein! ADOLAR Von Makel rein! EURYANTHE Vertraun und Glauben sind geschwunden - ADOLAR Der Tod macht dich von Makel rein! EURYANTHE Du klagst mich an - ADOLAR Im Sterben nur - EURYANTHE O herbe Pein! ADOLAR Kannst du gesunden! EURYANTHE Vertraun und Glauben sind verschwunden, So bittrer Tod war nie gefunden, Mein Leben war in dir allein! ADOLAR Mein Herzblut quillt aus deinen Wunden! Weh, dass ich muss dein Richter sein! EURYANTHE Du klagst mich an! ADOLAR Der Tod macht dich - EURYANTHE O herbe Pein! ADOLAR Von Makel rein! EURYANTHE Vertraun und Glauben sind verschwunden, Mein Leben war in dir allein! Du klagst mich an, o herbe Pein, Mein Leben war in dir allein! ADOLAR Weh, dass ich muss dein Richter sein! Der Tod macht dich von Makel rein, Weh, dass ich muss dein Richter sein! EURYANTHE scheint Grässliches zu gewahren und eilt zurück an Adolars Brust, als wolle sie ihn schützen Entsetzen! rette dich! Nach links hineinsehend Sieh, eine Schlange, fürchterlich, Wälzt sich herbei durch das Gestein! Hinweg, lass mich das Opfer sein! Für dich zu sterben, o versage Dies höchste Glück nicht meinem Fleh n! Schon naht die Schlange, flüchte! ADOLAR sie von sich stossend Nicht verzage! Mit Gott will ich den Kampf bestehn! Ab nach links vorn ZWEITER AUFTRITT Euryanthe allein Nr. 16 - Arioso und Recitativ EURYANTHE in heftiger Angst Schirmende Engel Schar, Wachend allimmerdar, In tiefster Mächte Schoss Über der Menschen Los, Blicke herab! Schirmende Engelschar, blicke herab! Schäumend in Kampfes Wut, Qualmend in Dampf und Glut Dringet die Feindin ein! O wo wird Hilfe sein In dieser Not? Wie sie dichter ihn umzingelt, Sich nach seinem Herzen ringelt! Weh! er fällt! - Nein! mein Held Ringt sich auf und hochgeschwungen Blitzt sein Schwert! Es ist gelungen! Heil! der Sieg ist ihm gegeben! Seele, fühle ganz dein Glück! O was ist mein Leben Gegen diesen Augenblick! - Sie eilt in höchster Freudigkeit dem zurückkehrenden Adolar entgegen DRITTER AUFTRITT Euryanthe. Adolar zu ihrer Linken Recitativ EURYANTHE Nun lass mich sterben! ADOLAR Nein, das sei mir fern! Dich töten war der Ehre streng Gebot, Du aber wolltest gehn für mich in Tod, So kann ich nicht dein Richter sein; Im Schutz des Höchsten bleibe hier allein! Er eilt, nach schmerzlichem innern Kampf sich losreissend, mit einem letzten Blick auf Euryanthe nach links ab VIERTER AUFTRITT Euryanthe allein Nr. 17 - Recitativ und Kavatine Recitativ EURYANTHE So bin ich nun verlassen, So muss ich hier erblassen Im öden Felsenthal, In Einsamkeit und Qual! Was rieselst du im Haine, Du Quelle, mildiglich? Was blickst mit goldnem Scheine, So lieblich, Mond, auf mich? Nicht sieget deine Pracht Ob meiner Leiden Nacht. Wo irr ich hin? Ach, nirgend hin! Die ganze Welt ist öd und leer, Mir bleibet keine Heimat mehr! Kavatine Hier dicht am Quell, wo Weiden stehn, Die Sterne hell durchschauen, Da will ich mir den Tod erflehn, Mein stilles Grab mir bauen. Wohl kommt auch er einst weit daher, Und findet kaum die Stätte mehr; Dann rauscht ihm sanft die Weide zu Sie fand von Lieb und Leide Ruh ! Die Blum im Thaue spricht Nein sie verriet dich nicht! Sie sinkt erschöpft auf den Moossitz an der Quelle links hin. Die Morgenröte bricht an. Bauern Männerchor, treten beim Beginn der Hornmusik von links hinten auf und nehmen die rechte Seite FÜNFTER AUFTRITT Euryanthe. Bauern. Dann Jäger und Musikanten Nr. 18 - Jägerchor Die erste Strophe entfernt. CHOR Die Thale dampfen, die Höhen glühn, Welch fröhlich Jagen im Waldesgrün! Der Morgen weckt zu frischer Lust, Hoch schwillt die Brust, des Siegs bewusst. Dringt mutig durch Schluchten und Moor, Lasst schmettern die Hörner im Chor Ihr Fürsten der Waldung hervor! Die Jäger kommen von rechts hinten und nehmen die linke Seite. Die Musikanten folgen ihnen, indem sie die Mitte nehmen CHOR Nun freudig sieget das goldne Licht, Vom Bogen flieget des Pfeils Gewicht, Ereilt den Aar auf luft gem Horst, Erlegt die Schlang im dichten Forst. Wohlauf denn durch Schluchten und Moor, Lasst schmettern die Hörner im Chor Ihr Fürsten der Waldung hervor! Der König erscheint nach Beendigung des Jagdchors auf der kleinen Anhöhe rechts. Vier Pagen und zwei Jagdjunker folgen ihm und nehmen dann hinter ihm Aufstellung SECHSTER AUFTRITT Die Vorigen. Der König und Gefolge KÖNIG blickt nach links vorn hinein und scheint dort die getötete Schlange wahrzunehmen O seht! die Schlang erlegt von starker Hand! CHOR hat inzwischen Euryanthe bemerkt und lenkt des Königs Aufmerksamkeit auf sie Und hier in Thränen eine zarte Frau! KÖNIG ist herabgestiegen und hat sich Euryanthe genähert Wer du auch sein magst, holde Unbekannte, Verbanne jede Scheu, blick auf zu mir, Des Unglücks Hort, dein König, spricht zu dir! Euryanthe wendet ihr Antlitz gegen den König, ohne aufzustehn KÖNIG UND CHOR sie erkennend Himmel! Euryanthe! Jäger ziehen sich nach rechts vor die Bauern Nr. 19 - Duett mit Chor EURYANTHE Lasst mich hier in Ruh erblassen, Gönnt mir diese letzte Huld! KÖNIG Nein, ich will dich nicht verlassen, Komm , zu sühnen deine Schuld! EURYANTHE Meine Brust ist rein von Schuld. KÖNIG Du nicht schuldig? Dürft ich s hoffen? CHOR Hilf uns auf der Wahrheit Spur! EURYANTHE Eglantines flehend Kosen Lockt mir mein Geheimnis ab; Natter war sie unter Rosen, Die den Tod mir schmeichelnd gab. KÖNIG Euryanthe, sprichst du Wahrheit, O so nimm mein Wort zum Pfand, Höllentrug bring ich zur Klarheit, Neu knüpf ich dein schönes Band. EURYANTHE Wiedersehn! Sich langsam aufrichtend Mich ihm versöhnen, Wär es möglich? CHOR Hoffe! Lebe! EURYANTHE Stürb ich hin in diesen Tönen! CHOR Hoffe! EURYANTHE Täuscht mich nicht! KÖNIG Glaube, hoffe, lebe! CHOR Glaube, hoffe, liebe, lebe! EURYANTHE O wie ich bebe! o kann ich s fassen! Nr. 20 - Arie mit Chor EURYANTHE in Wonneglut aufspringend Zu ihm, zu ihm, zu ihm! o weilet nicht! Wo bist du meines Daseins Licht? Wo bist du wo bist du, wo? Zu ihm, dass ich ihn fest umfasse, Ihn nimmer, nimmer lasse! So Herz an Herzen, Aug in Auge, Aus seinen Blicken Leben sauge! Wo bist du meines Daseins Licht, Dass ich dich fest umfasse, Nimmer, nimmer lasse! Wo bist du, wo bist du? Zu ihm, o weilet nicht! CHOR. Fort - o weilet nicht! EURYANTHE Zu ihm, zu ihm, zu ihm! O weilet nicht! Wo bist du meines Daseins Licht? Wo bist du, wo bist du, wo? Zu ihm, zu ihm, zu ihm! CHOR Fort, fort, fort! o weilet nicht! Fort, o weilet nicht! fort zu ihm! EURYANTHE Dass ich ihn fest umfasse, Ihn nimmer, nimmer lasse! Herz an Herzen, Aug in Auge Seiner Blicke Leben sauge! Dass ich ihn fest umfasse, Nimmer lasse, nimmer lasse! Zu ihm! o Hoffnung! Himmelsstrahl! Ich trag es nicht! Ich sterb in Wonn und Qual! Ich trag es nicht! Ich sterb in Wonn und Qual! CHOR Hoffe, liebe, lebe! Dir winkt ein Himmelsstrahl! EURYANTHE Ach! Sie sinkt zusammen CHOR O Jammer, unerhört! O lieblichste der Blüten, Wie hat so früh das Wüten Des Sturmes dich zerstört! Alle umstehen Euryanthe mit teilnahmsvollen Gebärden Verwandlung Freier Platz vor der Burg Nevers, deren Eingangsthor man links hinten hoch oben erblickt; die Zugbrücke führt auf einen im Zickzack nach unten verlaufenden Weg. Im Vordergrunde rechts und links die Hütten der Landleute; rechts vorn diejenige des Brautpaars. Rasenbänke rechts und links ganz vorn. In weiter Ferne sieht man die weinumlaubten Berge der schönen Landschaft SIEBENTER AUFTRITT Die Brautmutter. Der Bräutigam. Die Braut. Bertha. Bauern und Bäuerinnen. Man beglückwünscht das Brautpaar und schmückt dessen Hütte rechts vorn mit Blumengewinden Nr. 21 - Tanz mit Gesang und Chor Pas de cinq Bauerntanz Gesang und Chor. BERTHA Der Mai bringt frische Rosen dar, Die Rose schmückt der Jungfrau Haar, Und niemand weiss im grünen Mai, Was Rose, noch was Mädchen sei. CHOR Berthas Gesang mit teilnehmenden Gebärden begleitend Denn was da blüht, ist Ros im Mai. BERTHA Der Mai bringt frische Blüten viel, Die Liebe ist des Maien Spiel, Und niemand weiss im grünen Mai, Was Blüte, noch was Liebe sei. CHOR Denn was da blüht, das liebt im Mai! BERTHA Der Mai bringt dir, du teures Paar, Der Blüten allerschönste dar. Wohl wisst ihr zwei im grünen Mai, Wie selig Lieb und Treue sei. CHOR Denn eure Treu krönt heut der Mai! Adolar mit gesenktem Visier, wankt, ohne das festliche Treiben zu beachten, von rechts hinten herzu und steht sinnend rechts vorn ACHTER AUFTRITT Die Vorigen. Adolar. Alle Übrigen sind erstaunt über das Erscheinen des Unbekannten ADOLAR Giebts keine Treu auf weiter Erde mehr, Davon, davon ist mir das Herz so schwer. In Liebesglut ist nichts als Wankelmut, Am falschen Herzen sich s gefährlich ruht. DIE LANDLEUTE Welch Klagen hier trübt froher Liebe Mut? ADOLAR Fahr hin, fahr hin, du süsser Liebestraum, Gieb dunkler Nacht und ihren Schrecken Raum. Nacht ohne Licht herein mit Stürmen bricht; Heimat, versag ein Grab dem Müden nicht. Er öffnet sein Visier. Die Landleute erkennen ihren Herrn; freudige Bewegung CHOR Er ist s, o Glück, o neuer Hoffnung Licht! BERTHA So musste der ersehnte Tag erscheinen! ALLE Geliebter Herr! willkommen bei den deinen! ADOLAR Hinweg! Lasst meiner Trauer mich! BERTHA Hier schlägt noch jedes Herz für dich! CHOR Führ an der Jugend mut ge Schar, befreie Dein seufzend Land - ADOLAR Du süsse, heil ge Treue! Du lebst, doch nicht in Euryanthes Brust! CHOR Den schnödesten Verdacht entferne, Ich spreche Wahrheit sonder Scheu Es wankten eh des Himmels Sterne, Als unsrer süssen Herrin Treu ! ADOLAR Nein! sie verriet mich! BERTHA Hör gewicht ge Kunde Mit deinem Feind ist Eglantin im Bunde, Auf deiner Ahnen stolzem Sitz, Wo du ihr Zuflucht einst gegeben, Will Lysiart heut zur Herrin sie erheben. ADOLAR Allwaltender, wo ist dein Blitz?! Nr. 22 - Solo mit Chor BERTHA UND CHOR Vernichte kühn das Werk der Tücke, Vertrau der Liebe und dem Glücke! Es jauchzt dir zu dein ganzes Land, Zum Schwert für dich greift jede Hand! ADOLAR Hilf mir durchschau n das Werk der Tücke, Allwissender, mit klarem Blicke; Gieb Kraft zum Siege meiner Hand, Für Ehre, Treue, Gut und Land. Er schliesst seinen Helm und tritt beobachtend nach links vorn NEUNTER AUFTRITT Die Vorigen. Die Personen des Hochzeitsmarsches Nr. 23 - Hochzeitsmarsch und Chor Die acht Trompeter welche aus dem Eingangsthor des Schlosses links hinten den Hochzeitszug eröffnen, beginnen die Marschmusik. Es folgen ihnen im Marsch ohne Tritt ein Offizier, zwei Fahnenträger mit schwarzen Fahnen, zwei Fahnenträger mit den Fahnen von Nevers und Rethel, vierzehn Soldaten, zwei Chorknaben mit Fahnen, zwei Chorknaben mit Räucherbecken, zwei Chorknaben mit Lichtern, zwei Geistliche, Lysiart und Eglantine totenbleich, zwei Pagen die Eglantines Schleppe tragen, vier Damen, vierzehn Ritter, ein Offizier, zwei Fahnenträger mit den Fahnen von Nevers und Rethel, zwölf Soldaten. Die Fahnenträger mit den schwarzen Fahnen nehmen am untern Ausgang des vom Schloss herabkommenden Weges Aufstellung. Der erste Offizier mit den beiden andern Fahnenträgern und die vierzehn Soldaten marschieren nach rechts und von da nach links um den Raum und nehmen zuerst auf der linken Seite Aufstellung, um den Zug, der den ganzen Raum umschreitet, an sich vorüber ziehen zu lassen; dann ziehen sie sich nach rechts hinüber und nehmen dort Aufstellung. Der letzte Offizier mit seinen zwei Fahnenträgern und zwölf Soldaten nimmt auf dem Burgweg Aufstellung LANDLEUTE Das Frevlerpaar! Weh diesem Bunde! ADOLAR O klopfend Herz - sei stark zu dieser Stunde! EGLANTINE mit Gebärden des Schmerzes, indem sie mit Entsetzen, das in Wahnsinn übergeht, stehen bleibt Ich kann nicht weiter! Todesschauer Durchrieseln mein Gebein! Mich drückt die Luft - Sieh! Emma steigt aus dunkler Gruft, Sie winket mir mit starrer Hand! Was forderst du zurück der Rache Pfand? Ich gab es hin, die Unschuld zu ermorden! Hinweg! Hier bin ich Herrscherin geworden! Auf ewig, Lysiart, bin ich dein! Geschmiedet ist der Trauring, fest und eigen, Mit Meineid, Blut und Thränen - kannst du schweigen? Sei ruhig! Nacht hüllt unsre Thaten ein! Lysiart schaut sie ingrimmig an CHOR Welch Entsetzen! Welch Gericht! Die Vergeltung schlummert nicht. LYSIART Hört! dass Wahnsinn aus ihr spricht! ADOLAR für sich Ha! mir tagt ein schrecklich Licht! Vortretend, Lysiart zur Linken Erzittre, ruchlos Paar! Es naht die Rache. Der Himmel führt bedrückter Unschuld Sache! LYSIART Was zischest aus dem Staub du, nicht ger Wurm? Vasallen, werft den Fremdling in den Turm! Die vierzehn Ritter zur Linken, wollen auf Adolar eindringen ADOLAR zu ihnen Mich wollt ihr fahen? mich? Er schlägt den Helmsturz auf CHOR in freudigem Erstaunen, in Jubel ausbrechend Heil, Adolar, in seiner Väter Hallen! Die Ritter drängen sich um ihn CHOR Geliebter, unsre Demut dich versöhne! EGLANTINE aus dumpfer Betäubung erwachend und in die Arme ihrer rechts vorn stehenden Frauen sinkend Er ist s! in seiner Glorie, seiner Schöne! Weh mir! LYSIART Verderben, Fluch euch allen! Verwegne Knechte, büssend sollt ihr fallen! Nr. 24 - Chor mit Duett DIE RITTER Chor, sich drohend gegen Lysiart gruppierend Trotze nicht, Vermessener! Strafe dräut, Verräter. Tilgt das Werk der Nacht! Zittre, Gottvergessener! Birg dich, Missethäter! Gottes Auge wacht. ADOLAR Zum Kampf, zum Gottgerichte, Verruchter Frevler, du! LYSIART Dass ich dich, Feind! vernichte, Jauchzt mir der Abgrund zu! ADOLAR Dein schwarzes Herz durchwühle Mein sieggewohnter Stahl! LYSIART Dein strömend Herzblut kühle Der Seele Folterqual! ADOLAR Dein schwarzes Herz durchwühle Mein sieggewohnter Stahl! LYSIART Dein strömend Herzblut kühle Der Seele Folterqual! CHOR Trotze nicht, Vermessener! Zittre, Gottvergessener! Trotze nicht, Vermessener! Strafe dräut, Verräter, Tilgt, das Werk der Nacht! Erzittre, Gottvergessener! Birg dich, Missethäter! Gottes Auge wacht! ADOLAR Dein schwarzes Herz durchwühle Mein sieggewohnter Stahl! LYSIART Dein strömend Herzblut kühle Der Seele Folterqual! CHOR Zittre, Gottvergessener! ADOLAR Zum Kampf! Zum Gottgerichte! Verruchter Frevler du! Trotze nicht! Gottes Auge wacht! LYSIART Zum Kampf! will nicht um Mitleid werben, Heran! ich bin bereit! heran! CHOR Birg dich, Missethäter! Gottes Auge wacht! Schande nur und Verderben Ist ewig dir geweiht! Trotze nicht! trotze nicht! Gottes Auge wacht! Adolar, Lysiart ziehen die Schwerter und dringen aufeinander ein. Der König, zwei Jagdjunker, vier Pagen nahen sich von rechts hinten. Die zwei Jagdjunker trennen die Kämpfenden ZEHNTER AUFTRITT Der König nimmt zwischen Lysiart und Adolar die Mitte. Die vier Pagen stehen hinter ihm. Die beiden Jagdjunker nehmen, zurückstehend, zur Linken des Königs Aufstellung Nr. 25 - Finale KÖNIG zürnend Lasst ruhn das Schwert, der höchste Richter naht, Der Rächer jeder Frevelthat! Alle beugen sich ehrerbietig. Lysiart das Schwert senkend, tritt zurück ADOLAR knieend Mein König, hör den grässlichsten Verrat! Wir sind getäuschet, aller Tugend Bildnis War Euryanthe! - Weh mir! in der Wildnis Verlassen irret sie umher! Hilf, rette, strafe! KÖNIG Hemme deine Klagen, Fass dich, als Held das Grässlichste zu tragen, Dich segnend ist das treuste Herz gebrochen! EGLANTINE in teuflischer Lust auffahrend Triumph! gerochen Ist meine Schmach! der Feindin Herz gebrochen! Es stürmt der Tod durch deine Brust! Betrogner! war dir meine Glut bewusst, Wie legtest sorglos und vermessen Die Schlange du an der Geliebten Brust? So hattest du mein Flehn vergessen? Vergessen meinen Todesschmerz? Vergessen deines Kaltsinns Hohn? Vergessen meines Zornes Drohn? ADOLAR Abscheuliche! EGLANTINE Grausamer Adolar! Verzweifle, da sie schuldlos war! Ich war s, von deren Hand den Ring Der kühne Räuber dort empfing. Ich war s, die ihn der Gruft entwandte. Rein, wie das Licht, war Euryanthe! CHOR O höllischer Verrat! o herb Geschick! LYSIART nähert sich Eglantine Wahnsinn ge! EGLANTINE Schnödes Werkzeug meiner Rache, Dich schleudr ich in dein Nichts zurück! LYSIART Was hält mich, dass ich dich zermalme, Meineidige! Verräterin! Er stösst sie nieder. Eglantine fällt ihren Frauen in die Arme, die sie nach rechts vorn abführen CHOR Ruchloser Mörder! KÖNIG winkt Führt zum Tod ihn! ADOLAR Nein, gebt ihn frei! Lasst ganz sein Werk ihn krönen. Hier ist mein Herz, der Mörder sei Befriedigt. - Gott! wen nannt ich Mörder? Ich! Ich bin der Mörder und der Fluch trifft mich! Wer mordete mit wildem Triebe Die höchste Treue, Glauben, Unschuld, Liebe! Wo lebt ein Frevler sonst, als ich? Er versinkt in dumpfe Verzweiflung. Der König winkt noch einmal. Lysiart wendet sich nach hinten. Die beiden Jagdjunker, der Offizier rechts hinten und sechs Mann seiner Soldaten begleiten Lysiart als Gefangenen nach rechts hinten hinaus. Hornsignale rechts hinten CHOR DER JÄGER rechts hinten O Wonne! sie atmet! sie lebet! Euryanthe, Chor der Jäger kommen von rechts hinten ELFTER AUFTRITT Die Vorigen. Euryanthe zu Adolar in den Vordergrund eilend. Jagdchor Duett mit Chor Der Jagdchor nimmt vor den Trompetern Ausstellung. Adolar kniet vor Euryanthe. Der König in der Mitte, hinter beiden stehend EURYANTHE, ADOLAR Hin nimm die Seele mein, Atme mein Leben ein! Hin nimm die Seele mein, Mein Leben atme ein, Ganz bin ich dein! Lass mich in Lust und Wehn An deiner Brust vergehn! CHOR O Lust nach Todespein, O Treue, stark und rein, Du sein, er dein! Holdseliger Verein, O Lust nach Todespein! Recitativ ADOLAR von Entzückung ergriffen Ich ahne, Emma, selig ist sie jetzt Der Unschuld Thräne hat den Ring benetzt. Treu bot dem Mörder Rettung an für Mord, Ewig vereint mit Udo weilt sie dort! König nähert sich und vereinigt die Hände der Liebenden Schlusschor EURYANTHE, ADOLAR Nun selig Glück will jedes Leid versöhnen! CHOR Nun feiert hoch in vollen Jubeltönen Der Ritter Schmuck, die treu ste aller Schönen. Geprüftes Paar, besiegt ist Nacht und Tod, Die Wahrheit strahlt im reinsten Morgenrot, Der Himmel schirmt dies Band! Heil Adolar! In vollen Jubeltönen! Heil Euryanth ! Der Treusten aller Schönen. Heil Adolar! Heil Euryanth . DRITTER AUFZUG Eine öde, von dichtem Gebüsch umwachsene Felsschlucht. Über eine kleine Anhöhe rechts führt ein steiler Pfad herein. Im Vordergrund links eine von Trauerweiden umgebene Quelle, in deren Nähe ein Moossitz.Vollmondnacht ERSTER AUFTRITT Adolar schwarz gerüstet, das Schwert, mit dem er sich den Weg gebahnt, in der Hand, steigt langsam den Pfad von rechts nieder und bleibt, im Kampfe mit sich, sinnend stehen. Euryanthe in wallendem Haar und in einem einfachen weissen Kleide, folgt ihm matt und bebend Nr. 15 - Recitativ und Duett Recitativ EURYANTHE Hier weilest du? Hier darf ich ruhn? Sich rechts vorn an ein Felsstück lehnend O gönn auch Frieden meiner Seele nun! Bei Sonnenglut, bei Sternenschimmer Durchirrtest du den öden Hain, Sie wendet sich mit einigen Schritten zu ihm Verschmähtest Rast und Labung immer, Und neben dir, o Gott! war ich allein! Sei milde nun! Adolar wendet sich und blickt sie durchbohrend an. EURYANTHE flieht von ihm Weh! solch ein Blick ist Tod! Was ist s, dass mir dein Zürnen droht? Du wendest dich hinweg von meinen Leiden? Lass mich nicht ohne Trost verscheiden! Ein lindernd Wort nur lass der Lipp entbeben, Nur einen Blick, wie du mir sonst gegeben! ADOLAR Dies ist der Ort, So schaurig, öd und still, Wie meine That ihn will! Ich führte dich zum Tode fort. EURYANTHE Barmherzigkeit! ADOLAR Vernimm mein letztes Wort! Es wecke meine Stimme Dein schlummerndes Gewissen! Du sollst in meinem Grimme Erbarmen nicht vermissen. Bereu ! EURYANTHE Ich bin mir Liebe nur bewusst! Fühlst du nicht meine Treu in deiner Brust? ADOLAR Du, die entweiht das heiligste Vertrauen, Den Himmel log und barg des Abgrunds Grauen - Duett ADOLAR Wie liebt ich dich! Du warst mein höchstes Gut! Du warst mein höchstes Gut! wie liebt ich dich! EURYANTHE O stille deines Zornes Glut! Mein Herz ist rein, wie meine Thaten. ADOLAR Der höchsten Liebe sprachst du Hohn! So grässlich ward noch nie die Treu verraten; Empfange nun der Unthat Lohn! EURYANTHE O höre mich. ADOLAR Zu oft von deinen Lippen Hört ich den holden Liebeton. Sirenenlied an Todesklippen, Verstumm auf ewig! EURYANTHE Kann nichts dich bewegen, So töte mich! Mein letzter Hauch ist Segen Für dich, mein letzter Herzschlag dir geweiht! ADOLAR Verworfene! Zum Tode sei bereit! EURYANTHE Du klagst mich an! ADOLAR Der Tod macht dich - EURYANTHE O herbe Pein! ADOLAR Von Makel rein! EURYANTHE Vertraun und Glauben sind geschwunden - ADOLAR Der Tod macht dich von Makel rein! EURYANTHE Du klagst mich an - ADOLAR Im Sterben nur - EURYANTHE O herbe Pein! ADOLAR Kannst du gesunden! EURYANTHE Vertraun und Glauben sind verschwunden, So bittrer Tod war nie gefunden, Mein Leben war in dir allein! ADOLAR Mein Herzblut quillt aus deinen Wunden! Weh, dass ich muss dein Richter sein! EURYANTHE Du klagst mich an! ADOLAR Der Tod macht dich - EURYANTHE O herbe Pein! ADOLAR Von Makel rein! EURYANTHE Vertraun und Glauben sind verschwunden, Mein Leben war in dir allein! Du klagst mich an, o herbe Pein, Mein Leben war in dir allein! ADOLAR Weh, dass ich muss dein Richter sein! Der Tod macht dich von Makel rein, Weh, dass ich muss dein Richter sein! EURYANTHE scheint Grässliches zu gewahren und eilt zurück an Adolars Brust, als wolle sie ihn schützen Entsetzen! rette dich! Nach links hineinsehend Sieh, eine Schlange, fürchterlich, Wälzt sich herbei durch das Gestein! Hinweg, lass mich das Opfer sein! Für dich zu sterben, o versage Dies höchste Glück nicht meinem Fleh n! Schon naht die Schlange, flüchte! ADOLAR sie von sich stossend Nicht verzage! Mit Gott will ich den Kampf bestehn! Ab nach links vorn ZWEITER AUFTRITT Euryanthe allein Nr. 16 - Arioso und Recitativ EURYANTHE in heftiger Angst Schirmende Engel Schar, Wachend allimmerdar, In tiefster Mächte Schoss Über der Menschen Los, Blicke herab! Schirmende Engelschar, blicke herab! Schäumend in Kampfes Wut, Qualmend in Dampf und Glut Dringet die Feindin ein! O wo wird Hilfe sein In dieser Not? Wie sie dichter ihn umzingelt, Sich nach seinem Herzen ringelt! Weh! er fällt! - Nein! mein Held Ringt sich auf und hochgeschwungen Blitzt sein Schwert! Es ist gelungen! Heil! der Sieg ist ihm gegeben! Seele, fühle ganz dein Glück! O was ist mein Leben Gegen diesen Augenblick! - Sie eilt in höchster Freudigkeit dem zurückkehrenden Adolar entgegen DRITTER AUFTRITT Euryanthe. Adolar zu ihrer Linken Recitativ EURYANTHE Nun lass mich sterben! ADOLAR Nein, das sei mir fern! Dich töten war der Ehre streng Gebot, Du aber wolltest gehn für mich in Tod, So kann ich nicht dein Richter sein; Im Schutz des Höchsten bleibe hier allein! Er eilt, nach schmerzlichem innern Kampf sich losreissend, mit einem letzten Blick auf Euryanthe nach links ab VIERTER AUFTRITT Euryanthe allein Nr. 17 - Recitativ und Kavatine Recitativ EURYANTHE So bin ich nun verlassen, So muss ich hier erblassen Im öden Felsenthal, In Einsamkeit und Qual! Was rieselst du im Haine, Du Quelle, mildiglich? Was blickst mit goldnem Scheine, So lieblich, Mond, auf mich? Nicht sieget deine Pracht Ob meiner Leiden Nacht. Wo irr ich hin? Ach, nirgend hin! Die ganze Welt ist öd und leer, Mir bleibet keine Heimat mehr! Kavatine Hier dicht am Quell, wo Weiden stehn, Die Sterne hell durchschauen, Da will ich mir den Tod erflehn, Mein stilles Grab mir bauen. Wohl kommt auch er einst weit daher, Und findet kaum die Stätte mehr; Dann rauscht ihm sanft die Weide zu Sie fand von Lieb und Leide Ruh ! Die Blum im Thaue spricht Nein sie verriet dich nicht! Sie sinkt erschöpft auf den Moossitz an der Quelle links hin. Die Morgenröte bricht an. Bauern Männerchor, treten beim Beginn der Hornmusik von links hinten auf und nehmen die rechte Seite FÜNFTER AUFTRITT Euryanthe. Bauern. Dann Jäger und Musikanten Nr. 18 - Jägerchor Die erste Strophe entfernt. CHOR Die Thale dampfen, die Höhen glühn, Welch fröhlich Jagen im Waldesgrün! Der Morgen weckt zu frischer Lust, Hoch schwillt die Brust, des Siegs bewusst. Dringt mutig durch Schluchten und Moor, Lasst schmettern die Hörner im Chor Ihr Fürsten der Waldung hervor! Die Jäger kommen von rechts hinten und nehmen die linke Seite. Die Musikanten folgen ihnen, indem sie die Mitte nehmen CHOR Nun freudig sieget das goldne Licht, Vom Bogen flieget des Pfeils Gewicht, Ereilt den Aar auf luft gem Horst, Erlegt die Schlang im dichten Forst. Wohlauf denn durch Schluchten und Moor, Lasst schmettern die Hörner im Chor Ihr Fürsten der Waldung hervor! Der König erscheint nach Beendigung des Jagdchors auf der kleinen Anhöhe rechts. Vier Pagen und zwei Jagdjunker folgen ihm und nehmen dann hinter ihm Aufstellung SECHSTER AUFTRITT Die Vorigen. Der König und Gefolge KÖNIG blickt nach links vorn hinein und scheint dort die getötete Schlange wahrzunehmen O seht! die Schlang erlegt von starker Hand! CHOR hat inzwischen Euryanthe bemerkt und lenkt des Königs Aufmerksamkeit auf sie Und hier in Thränen eine zarte Frau! KÖNIG ist herabgestiegen und hat sich Euryanthe genähert Wer du auch sein magst, holde Unbekannte, Verbanne jede Scheu, blick auf zu mir, Des Unglücks Hort, dein König, spricht zu dir! Euryanthe wendet ihr Antlitz gegen den König, ohne aufzustehn KÖNIG UND CHOR sie erkennend Himmel! Euryanthe! Jäger ziehen sich nach rechts vor die Bauern Nr. 19 - Duett mit Chor EURYANTHE Lasst mich hier in Ruh erblassen, Gönnt mir diese letzte Huld! KÖNIG Nein, ich will dich nicht verlassen, Komm , zu sühnen deine Schuld! EURYANTHE Meine Brust ist rein von Schuld. KÖNIG Du nicht schuldig? Dürft ich s hoffen? CHOR Hilf uns auf der Wahrheit Spur! EURYANTHE Eglantines flehend Kosen Lockt mir mein Geheimnis ab; Natter war sie unter Rosen, Die den Tod mir schmeichelnd gab. KÖNIG Euryanthe, sprichst du Wahrheit, O so nimm mein Wort zum Pfand, Höllentrug bring ich zur Klarheit, Neu knüpf ich dein schönes Band. EURYANTHE Wiedersehn! Sich langsam aufrichtend Mich ihm versöhnen, Wär es möglich? CHOR Hoffe! Lebe! EURYANTHE Stürb ich hin in diesen Tönen! CHOR Hoffe! EURYANTHE Täuscht mich nicht! KÖNIG Glaube, hoffe, lebe! CHOR Glaube, hoffe, liebe, lebe! EURYANTHE O wie ich bebe! o kann ich s fassen! Nr. 20 - Arie mit Chor EURYANTHE in Wonneglut aufspringend Zu ihm, zu ihm, zu ihm! o weilet nicht! Wo bist du meines Daseins Licht? Wo bist du wo bist du, wo? Zu ihm, dass ich ihn fest umfasse, Ihn nimmer, nimmer lasse! So Herz an Herzen, Aug in Auge, Aus seinen Blicken Leben sauge! Wo bist du meines Daseins Licht, Dass ich dich fest umfasse, Nimmer, nimmer lasse! Wo bist du, wo bist du? Zu ihm, o weilet nicht! CHOR. Fort - o weilet nicht! EURYANTHE Zu ihm, zu ihm, zu ihm! O weilet nicht! Wo bist du meines Daseins Licht? Wo bist du, wo bist du, wo? Zu ihm, zu ihm, zu ihm! CHOR Fort, fort, fort! o weilet nicht! Fort, o weilet nicht! fort zu ihm! EURYANTHE Dass ich ihn fest umfasse, Ihn nimmer, nimmer lasse! Herz an Herzen, Aug in Auge Seiner Blicke Leben sauge! Dass ich ihn fest umfasse, Nimmer lasse, nimmer lasse! Zu ihm! o Hoffnung! Himmelsstrahl! Ich trag es nicht! Ich sterb in Wonn und Qual! Ich trag es nicht! Ich sterb in Wonn und Qual! CHOR Hoffe, liebe, lebe! Dir winkt ein Himmelsstrahl! EURYANTHE Ach! Sie sinkt zusammen CHOR O Jammer, unerhört! O lieblichste der Blüten, Wie hat so früh das Wüten Des Sturmes dich zerstört! Alle umstehen Euryanthe mit teilnahmsvollen Gebärden Verwandlung Freier Platz vor der Burg Nevers, deren Eingangsthor man links hinten hoch oben erblickt; die Zugbrücke führt auf einen im Zickzack nach unten verlaufenden Weg. Im Vordergrunde rechts und links die Hütten der Landleute; rechts vorn diejenige des Brautpaars. Rasenbänke rechts und links ganz vorn. In weiter Ferne sieht man die weinumlaubten Berge der schönen Landschaft SIEBENTER AUFTRITT Die Brautmutter. Der Bräutigam. Die Braut. Bertha. Bauern und Bäuerinnen. Man beglückwünscht das Brautpaar und schmückt dessen Hütte rechts vorn mit Blumengewinden Nr. 21 - Tanz mit Gesang und Chor Pas de cinq Bauerntanz Gesang und Chor. BERTHA Der Mai bringt frische Rosen dar, Die Rose schmückt der Jungfrau Haar, Und niemand weiss im grünen Mai, Was Rose, noch was Mädchen sei. CHOR Berthas Gesang mit teilnehmenden Gebärden begleitend Denn was da blüht, ist Ros im Mai. BERTHA Der Mai bringt frische Blüten viel, Die Liebe ist des Maien Spiel, Und niemand weiss im grünen Mai, Was Blüte, noch was Liebe sei. CHOR Denn was da blüht, das liebt im Mai! BERTHA Der Mai bringt dir, du teures Paar, Der Blüten allerschönste dar. Wohl wisst ihr zwei im grünen Mai, Wie selig Lieb und Treue sei. CHOR Denn eure Treu krönt heut der Mai! Adolar mit gesenktem Visier, wankt, ohne das festliche Treiben zu beachten, von rechts hinten herzu und steht sinnend rechts vorn ACHTER AUFTRITT Die Vorigen. Adolar. Alle Übrigen sind erstaunt über das Erscheinen des Unbekannten ADOLAR Giebts keine Treu auf weiter Erde mehr, Davon, davon ist mir das Herz so schwer. In Liebesglut ist nichts als Wankelmut, Am falschen Herzen sich s gefährlich ruht. DIE LANDLEUTE Welch Klagen hier trübt froher Liebe Mut? ADOLAR Fahr hin, fahr hin, du süsser Liebestraum, Gieb dunkler Nacht und ihren Schrecken Raum. Nacht ohne Licht herein mit Stürmen bricht; Heimat, versag ein Grab dem Müden nicht. Er öffnet sein Visier. Die Landleute erkennen ihren Herrn; freudige Bewegung CHOR Er ist s, o Glück, o neuer Hoffnung Licht! BERTHA So musste der ersehnte Tag erscheinen! ALLE Geliebter Herr! willkommen bei den deinen! ADOLAR Hinweg! Lasst meiner Trauer mich! BERTHA Hier schlägt noch jedes Herz für dich! CHOR Führ an der Jugend mut ge Schar, befreie Dein seufzend Land - ADOLAR Du süsse, heil ge Treue! Du lebst, doch nicht in Euryanthes Brust! CHOR Den schnödesten Verdacht entferne, Ich spreche Wahrheit sonder Scheu Es wankten eh des Himmels Sterne, Als unsrer süssen Herrin Treu ! ADOLAR Nein! sie verriet mich! BERTHA Hör gewicht ge Kunde Mit deinem Feind ist Eglantin im Bunde, Auf deiner Ahnen stolzem Sitz, Wo du ihr Zuflucht einst gegeben, Will Lysiart heut zur Herrin sie erheben. ADOLAR Allwaltender, wo ist dein Blitz?! Nr. 22 - Solo mit Chor BERTHA UND CHOR Vernichte kühn das Werk der Tücke, Vertrau der Liebe und dem Glücke! Es jauchzt dir zu dein ganzes Land, Zum Schwert für dich greift jede Hand! ADOLAR Hilf mir durchschau n das Werk der Tücke, Allwissender, mit klarem Blicke; Gieb Kraft zum Siege meiner Hand, Für Ehre, Treue, Gut und Land. Er schliesst seinen Helm und tritt beobachtend nach links vorn NEUNTER AUFTRITT Die Vorigen. Die Personen des Hochzeitsmarsches Nr. 23 - Hochzeitsmarsch und Chor Die acht Trompeter welche aus dem Eingangsthor des Schlosses links hinten den Hochzeitszug eröffnen, beginnen die Marschmusik. Es folgen ihnen im Marsch ohne Tritt ein Offizier, zwei Fahnenträger mit schwarzen Fahnen, zwei Fahnenträger mit den Fahnen von Nevers und Rethel, vierzehn Soldaten, zwei Chorknaben mit Fahnen, zwei Chorknaben mit Räucherbecken, zwei Chorknaben mit Lichtern, zwei Geistliche, Lysiart und Eglantine totenbleich, zwei Pagen die Eglantines Schleppe tragen, vier Damen, vierzehn Ritter, ein Offizier, zwei Fahnenträger mit den Fahnen von Nevers und Rethel, zwölf Soldaten. Die Fahnenträger mit den schwarzen Fahnen nehmen am untern Ausgang des vom Schloss herabkommenden Weges Aufstellung. Der erste Offizier mit den beiden andern Fahnenträgern und die vierzehn Soldaten marschieren nach rechts und von da nach links um den Raum und nehmen zuerst auf der linken Seite Aufstellung, um den Zug, der den ganzen Raum umschreitet, an sich vorüber ziehen zu lassen; dann ziehen sie sich nach rechts hinüber und nehmen dort Aufstellung. Der letzte Offizier mit seinen zwei Fahnenträgern und zwölf Soldaten nimmt auf dem Burgweg Aufstellung LANDLEUTE Das Frevlerpaar! Weh diesem Bunde! ADOLAR O klopfend Herz - sei stark zu dieser Stunde! EGLANTINE mit Gebärden des Schmerzes, indem sie mit Entsetzen, das in Wahnsinn übergeht, stehen bleibt Ich kann nicht weiter! Todesschauer Durchrieseln mein Gebein! Mich drückt die Luft - Sieh! Emma steigt aus dunkler Gruft, Sie winket mir mit starrer Hand! Was forderst du zurück der Rache Pfand? Ich gab es hin, die Unschuld zu ermorden! Hinweg! Hier bin ich Herrscherin geworden! Auf ewig, Lysiart, bin ich dein! Geschmiedet ist der Trauring, fest und eigen, Mit Meineid, Blut und Thränen - kannst du schweigen? Sei ruhig! Nacht hüllt unsre Thaten ein! Lysiart schaut sie ingrimmig an CHOR Welch Entsetzen! Welch Gericht! Die Vergeltung schlummert nicht. LYSIART Hört! dass Wahnsinn aus ihr spricht! ADOLAR für sich Ha! mir tagt ein schrecklich Licht! Vortretend, Lysiart zur Linken Erzittre, ruchlos Paar! Es naht die Rache. Der Himmel führt bedrückter Unschuld Sache! LYSIART Was zischest aus dem Staub du, nicht ger Wurm? Vasallen, werft den Fremdling in den Turm! Die vierzehn Ritter zur Linken, wollen auf Adolar eindringen ADOLAR zu ihnen Mich wollt ihr fahen? mich? Er schlägt den Helmsturz auf CHOR in freudigem Erstaunen, in Jubel ausbrechend Heil, Adolar, in seiner Väter Hallen! Die Ritter drängen sich um ihn CHOR Geliebter, unsre Demut dich versöhne! EGLANTINE aus dumpfer Betäubung erwachend und in die Arme ihrer rechts vorn stehenden Frauen sinkend Er ist s! in seiner Glorie, seiner Schöne! Weh mir! LYSIART Verderben, Fluch euch allen! Verwegne Knechte, büssend sollt ihr fallen! Nr. 24 - Chor mit Duett DIE RITTER Chor, sich drohend gegen Lysiart gruppierend Trotze nicht, Vermessener! Strafe dräut, Verräter. Tilgt das Werk der Nacht! Zittre, Gottvergessener! Birg dich, Missethäter! Gottes Auge wacht. ADOLAR Zum Kampf, zum Gottgerichte, Verruchter Frevler, du! LYSIART Dass ich dich, Feind! vernichte, Jauchzt mir der Abgrund zu! ADOLAR Dein schwarzes Herz durchwühle Mein sieggewohnter Stahl! LYSIART Dein strömend Herzblut kühle Der Seele Folterqual! ADOLAR Dein schwarzes Herz durchwühle Mein sieggewohnter Stahl! LYSIART Dein strömend Herzblut kühle Der Seele Folterqual! CHOR Trotze nicht, Vermessener! Zittre, Gottvergessener! Trotze nicht, Vermessener! Strafe dräut, Verräter, Tilgt, das Werk der Nacht! Erzittre, Gottvergessener! Birg dich, Missethäter! Gottes Auge wacht! ADOLAR Dein schwarzes Herz durchwühle Mein sieggewohnter Stahl! LYSIART Dein strömend Herzblut kühle Der Seele Folterqual! CHOR Zittre, Gottvergessener! ADOLAR Zum Kampf! Zum Gottgerichte! Verruchter Frevler du! Trotze nicht! Gottes Auge wacht! LYSIART Zum Kampf! will nicht um Mitleid werben, Heran! ich bin bereit! heran! CHOR Birg dich, Missethäter! Gottes Auge wacht! Schande nur und Verderben Ist ewig dir geweiht! Trotze nicht! trotze nicht! Gottes Auge wacht! Adolar, Lysiart ziehen die Schwerter und dringen aufeinander ein. Der König, zwei Jagdjunker, vier Pagen nahen sich von rechts hinten. Die zwei Jagdjunker trennen die Kämpfenden ZEHNTER AUFTRITT Der König nimmt zwischen Lysiart und Adolar die Mitte. Die vier Pagen stehen hinter ihm. Die beiden Jagdjunker nehmen, zurückstehend, zur Linken des Königs Aufstellung Nr. 25 - Finale KÖNIG zürnend Lasst ruhn das Schwert, der höchste Richter naht, Der Rächer jeder Frevelthat! Alle beugen sich ehrerbietig. Lysiart das Schwert senkend, tritt zurück ADOLAR knieend Mein König, hör den grässlichsten Verrat! Wir sind getäuschet, aller Tugend Bildnis War Euryanthe! - Weh mir! in der Wildnis Verlassen irret sie umher! Hilf, rette, strafe! KÖNIG Hemme deine Klagen, Fass dich, als Held das Grässlichste zu tragen, Dich segnend ist das treuste Herz gebrochen! EGLANTINE in teuflischer Lust auffahrend Triumph! gerochen Ist meine Schmach! der Feindin Herz gebrochen! Es stürmt der Tod durch deine Brust! Betrogner! war dir meine Glut bewusst, Wie legtest sorglos und vermessen Die Schlange du an der Geliebten Brust? So hattest du mein Flehn vergessen? Vergessen meinen Todesschmerz? Vergessen deines Kaltsinns Hohn? Vergessen meines Zornes Drohn? ADOLAR Abscheuliche! EGLANTINE Grausamer Adolar! Verzweifle, da sie schuldlos war! Ich war s, von deren Hand den Ring Der kühne Räuber dort empfing. Ich war s, die ihn der Gruft entwandte. Rein, wie das Licht, war Euryanthe! CHOR O höllischer Verrat! o herb Geschick! LYSIART nähert sich Eglantine Wahnsinn ge! EGLANTINE Schnödes Werkzeug meiner Rache, Dich schleudr ich in dein Nichts zurück! LYSIART Was hält mich, dass ich dich zermalme, Meineidige! Verräterin! Er stösst sie nieder. Eglantine fällt ihren Frauen in die Arme, die sie nach rechts vorn abführen CHOR Ruchloser Mörder! KÖNIG winkt Führt zum Tod ihn! ADOLAR Nein, gebt ihn frei! Lasst ganz sein Werk ihn krönen. Hier ist mein Herz, der Mörder sei Befriedigt. - Gott! wen nannt ich Mörder? Ich! Ich bin der Mörder und der Fluch trifft mich! Wer mordete mit wildem Triebe Die höchste Treue, Glauben, Unschuld, Liebe! Wo lebt ein Frevler sonst, als ich? Er versinkt in dumpfe Verzweiflung. Der König winkt noch einmal. Lysiart wendet sich nach hinten. Die beiden Jagdjunker, der Offizier rechts hinten und sechs Mann seiner Soldaten begleiten Lysiart als Gefangenen nach rechts hinten hinaus. Hornsignale rechts hinten CHOR DER JÄGER rechts hinten O Wonne! sie atmet! sie lebet! Euryanthe, Chor der Jäger kommen von rechts hinten ELFTER AUFTRITT Die Vorigen. Euryanthe zu Adolar in den Vordergrund eilend. Jagdchor Duett mit Chor Der Jagdchor nimmt vor den Trompetern Ausstellung. Adolar kniet vor Euryanthe. Der König in der Mitte, hinter beiden stehend EURYANTHE, ADOLAR Hin nimm die Seele mein, Atme mein Leben ein! Hin nimm die Seele mein, Mein Leben atme ein, Ganz bin ich dein! Lass mich in Lust und Wehn An deiner Brust vergehn! CHOR O Lust nach Todespein, O Treue, stark und rein, Du sein, er dein! Holdseliger Verein, O Lust nach Todespein! Recitativ ADOLAR von Entzückung ergriffen Ich ahne, Emma, selig ist sie jetzt Der Unschuld Thräne hat den Ring benetzt. Treu bot dem Mörder Rettung an für Mord, Ewig vereint mit Udo weilt sie dort! König nähert sich und vereinigt die Hände der Liebenden Schlusschor EURYANTHE, ADOLAR Nun selig Glück will jedes Leid versöhnen! CHOR Nun feiert hoch in vollen Jubeltönen Der Ritter Schmuck, die treu ste aller Schönen. Geprüftes Paar, besiegt ist Nacht und Tod, Die Wahrheit strahlt im reinsten Morgenrot, Der Himmel schirmt dies Band! Heil Adolar! In vollen Jubeltönen! Heil Euryanth ! Der Treusten aller Schönen. Heil Adolar! Heil Euryanth . Weber,Carl Maria von/Euryanthe
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ERSTER TEIL Nr. 1 Einleitung Die Vorstellung des Chaos Rezitativ mit Chor RAPHAEL Im Anfange schuf Gott Himmel und Erde, und die Erde war ohne Form und leer, und Finsternis war auf der Fläche der Tiefe. CHOR Und der Geist Gottes Schwebte auf der Fläche der Wasser, Und Gott sprach Es werde Licht! Und es ward Licht. URIEL Und Gott sah das Licht, daß es gut war, und Gott schied das Licht von der Finsternis. Nr. 2 Arie mit Chor URIEL Nun schwanden vor dem heiligen Strahle Des schwarzen Dunkels gräuliche Schatten Der erste Tag entstand. Verwirrung weicht, und Ordnung keimt empor. Erstarrt entflieht der Höllengeister Schar In des Abgrunds Tiefen hinab Zur ewigen Nacht. CHOR Verzweiflung, Wut und Schrecken Begleiten ihren Sturz, Und eine neue Welt Entspringt auf Gottes Wort. Nr. 3 Rezitativ RAPHAEL Und Gott machte das Firmament und teilte die Wasser, die unter dem Firmament waren, von den Gewässern, die ober dem Firmament waren, und es ward so. Da tobten brausend heftige Stürme; wie Spreu vor dem Winde, so flogen die Wolken, die Luft durchschnitten feurige Blitze und schrecklich rollten die Donner umher. Der Flut entstieg auf sein Geheiß der allerquickende Regen, der allerverheerende Schauer, der leichte, flockige Schnee. Nr. 4 Chor mit Sopransolo GABRIEL Mit Staunen sieht das Wunderwerk Der Himmelsbürger frohe Schar, Und laut ertönt aus ihren Kehlen Des Schöpfers Lob, Das Lob des zweiten Tags. CHOR Und laut ertönt aus ihren Kehlen Des Schöpfers Lob, Das Lob des zweiten Tags. Nr. 5 Rezitativ RAPHAEL Und Gott sprach Es sammle sich das Wasser unter dem Himmel zusammen an einem Platz und es erscheine das trockne Land; und es ward so. Und Gott nannte das trockne Land "Erde" und die Sammlung der Wasser nannte er "Meer"; Und Gott sah, daß es gut war. Nr. 6 Arie RAPHAEL Rollend in schäumenden Wellen Bewegt sich ungestüm das Meer. Hügel und Felsen erscheinen, Der Berge Gipfel steigt empor. Die Fläche, weit gedehnt, Durchläuft der breite Strom In mancher Krümme. Leise rauschend gleitet fort Im stillen Tal der helle Bach. Nr. 7 Rezitativ GABRIEL Und Gott sprach Es bringe die Erde Gras hervor, Kräuter. die Samen geben, und Obstbäume, die Früchte bringen ihrer Art gemäß, die ihren Samen in sich selbst haben auf der Erde; und es ward so. Nr. 8 Arie GABRIEL Nun beut die Flur das frische Grün Dem Auge zur Ergötzung dar. Den anmutsvollen Blick Erhöht der Blumen sanfter Schmuck. Hier duften Kräuter Balsam aus, Hier sproßt den Wunden Heil. Die Zweige krümmt der goldnen Früchte Last; Hier wölbt der Hain zum kühlen Schirme sich, Den steilen Berg bekrönt ein dichter Wald. Nr. 9 Rezitativ URIEL Und die himmlischen Heerscharen verkündigten den dritten Tag, Gott preisend und sprechend Nr. 10 Chor CHOR Stimmt an die Saiten, ergreift die Leier, Laßt euren Lobgesang erschallen! Frohlocket dem Herrn, dem mächtigen Gott, Denn er hat Himmel und Erde Bekleidet in herrlicher Pracht! Nr. 11 Rezitativ URIEL Und Gott sprach Es sei n Lichter an der Feste des Himmels, um den Tag von der Nacht zu scheiden und Licht auf der Erde zu geben, und es seien diese für Zeichen und für Zeiten und für Tage und für Jahre. Er machte die Sterne gleichfalls. Nr. 12 Rezitativ URIEL In vollem glanze steiget jetzt Die Sonne strahlend auf, Ein wonnevoller Bräutigam, Ein Riese stolz und froh, Zu rennen seine Bahn. Mit leisem Gang und sanftem Schimmer Schleicht der Mond die stille Nacht hindurch. Den ausgedehnten Himmelsraum Ziert ohne Zahl der hellen Sterne Gold. Und die Söhne Gottes Verkündigten den vierten Tag Mit himmlischem Gesang, Seine Macht ausrufend also Nr. 13 Chor mit Soli CHOR Die Himmel erzählen die Ehre Gottes, Und seiner Hände Werk Zeigt an das Firmament. GABRIEL, URIEL, RAPHAEL Dem kommenden Tage sagt es der Tag, Die Nacht, die verschwand, der folgenden Nacht CHOR Die Himmel erzählen die Ehre Gottes, Und seiner Hände Werk Zeigt an das Firmament. GABRIEL, URIEL, RAPHAEL In alle Welt ergeht das Wort, Jedem Ohre klingend, Keiner Zunge fremd CHOR Die Himmel erzählen die Ehre Gottes, Und seiner Hände Werk Zeigt an das Firmament. ZWEITER TEIL Nr. 14 Rezitativ GABRIEL Und Gott sprach Es bringe das Wasser in der Fülle hervor webende Geschöpfe, die Leben haben, und Vögel, die über der Erde fliegen mögen in dem offenen Firmamente des Himmels. Nr. 15 Arie GABRIEL Auf starkem Fittiche Schwinget sich der Adler stolz Und teilet die Luft Im schnellesten Fluge Zur Sonne hin. Den Morgen grüßt Der Lerche frohes Lied, Und Liebe girrt Das zarte Taubenpaar. Aus jedem Busch und Hain erschallt Der Nachtigallen süße Kehle. Noch drückte Gram nicht ihre Brust, Noch war zur Klage nicht gestimmt Ihr reizender Gesang. Nr. 16 Rezitativ RAPHAEL Und Gott schuf große Walfische und ein jedes lebende Geschöpf, das sich beweget, und Gott segnete sie, sprechend Seid fruchtbar alle, mehret euch, Bewohner der Luft, vermehret euch Und singt auf jedem Aste! Mehret euch, ihr Flutenbewohner, Und füllet jede Tiefe! Seid fruchtbar, wachset, mehret euch, Erfreuet euch in eurem Gott! Nr. 17 Rezitativ RAPHAEL Und die Engel rührten ihr unsterblichen Harfen und sangen die Wunder des fünften Tags. Nr. 18 Terzett GABRIEL In holder Anmut stehn, Mit jungem Grün geschmückt, Die wogigten Hügel da. Aus ihren Adern quillt In fließendem Kristall Der kühlende Bach hervor. URIEL In frohen Kreisen schwebt, Sich wiegend in der Luft, Der munteren Vögel Schar. Den bunten Federglanz Erhöht im Wechselflug Das goldene Sonnenlicht. RAPHAEL Das helle Naß durchblitzt Der Fisch und windet sich Im steten Gewühl umher. Vom tiefsten Meeresgrund Wälzet sich Leviathan Auf schäumender Well empor. GABRIEL, URIEL, RAPHAEL Wie viel sind deiner Werk , o Gott! Wer fasset ihre Zahl? Wer, o Gott! Wer fasset ihre Zahl? Nr. 19 Chor mit Soli CHOR Der Herr ist groß in seiner Macht, Und ewig bleibt sein Ruhm. Nr. 20 Rezitativ RAPHAEL Und Gott sprach Es bringe die Erde hervor lebende Geschöpfe nach ihrer Art Vieh und krichendes Gewürm und Tiere der Erde nach ihren Gattungen. Nr. 21 Rezitativ RAPHAEL Gleich öffnet sich der Erde Schoß Und sie gebiert auf Gottes Wort Geschöpfe jeder Art, In vollem Wuchs und ohne Zahl. Vor Freude brüllend steht der Löwe da. Hier schießt der gelenkige Tiger empor. Das zackige Haupt erhebt der schnelle Hirsch. Mit fliegender Mähne springt und wieh rt Voll Mut und Kraft das edle Roß. Auf grünen Matten weidet schon Das Rind, in Herden abgeteilt. Die Triften deckt, als wie gesät, Das wollenreiche, sanfte Schaf. Wie Staub verbreitet sich In Schwarm und Wirbel Das Heer der Insekten. In langen Zügen kriecht Am Boden das Gewürm. Nr. 22 Arie RAPHAEL Nun scheint in vollem Glanze der Himmel, Nun prangt in ihrem Schmucke die Erde. Die Luft erfüllt das leichte Gefieder, Das Wasser schwellt der Fische Gewimmel, Den Boden drückt der Tiere Last. Doch war noch alles nicht vollbracht. Dem ganzen fehlte das Geschöpf, Das Gottes Werke dankbar sehn, Des Herren Güte preisen soll. Nr. 23 Rezitativ URIEL Und Gott schuf den Menschen nach seinem Ebenbilde, nach dem Ebenbilde Gottes schuf er ihn. Mann und Weib erschuf er sie. Den Atem des Lebens hauchte er in sein Angesicht, und der Mensch wurde zur lebendigen Seele. Nr. 24 Arie URIEL Mit Würd und Hoheit angetan, Mit Schönheit, Stärk und Mut begabt, Gen Himmel aufgerichtet steht der Mensch, Ein Mann und König der Natur. Die breit gewölbt erhabne Stirn Verkünd t der Weisheit tiefen Sinn, Und aus dem hellen Blicke strahlt Der Geist, des Schöpfers Hauch und Ebenbild. An seinen Busen schmieget sich Für ihn, aus ihm geformt, Die Gattin, hold und anmutsvoll. In froher Unschuld lächelt sie, Des Frühlings reizend Bild, Ihm Liebe, Glück und Wonne zu. Nr. 25 Rezitativ RAPHAEL Und Gott sah jedes Ding, was er gemacht hatte; und es war sehr gut. Und der himmlische Chor feierte das Ende des sechsten Tages mit lautem Gesang Nr. 26 Chor CHOR Vollendet ist das große Werk, Der Schöpfer sieht s und freuet sich. Auch unsre Freund erschalle laut, Des Herren Lob sei unser Lied! Nr. 27 Terzett GABRIEL, URIEL Zu dir, o Herr, blickt alles auf. Um Speise fleht dich alles an. Du öffnest deine Hand, Gesättigt werden sie. RAPHAEL Du wendest ab dein Angesicht, Da bebet alles und erstarrt. Du nimmst den Odem weg, In Staub zerfallen sie. GABRIEL, URIEL, RAPHAEL Den Odem hauchst du wieder aus, Und neues Leben sproßt hervor. Verjüngt ist die Gestalt der Erd An Reiz und Kraft. Nr. 28 Chor CHOR Vollendet ist das große Werk, Des Herren Lob sei unser Lied! Alles lobe seinen Namen, Denn er allein ist hoch erhaben! Alleluja! Alleluja! DRITTER TEIL Nr. 29 Orchestereinleitung und Rezitativ URIEL Aus Rosenwolken bricht, Geweckt durch süßen Klang, Der Morgen jung und schön. Vom himmlischen Gewölbe Strömt reine Harmonie Zur Erde hinab. Seht das beglückte Paar, Wie Hand in Hand es geht! Aus ihren Blicken strahlt Des heißen Danks Gefühl. Bald singt in lautem Ton Ihr Mund des Schöpfers Lob; Laßt unsre Stimme dann Sich mengen in ihr Lied. Nr. 30 Duett mit Chor EVA und ADAM Von deiner Güt , o Herr und Gott, Ist Erd und Himmel voll. Die Welt, so groß, so wunderbar, Ist deiner Hände Werk. CHOR Gesegnet sei des Herren Macht, Sein Lob erschall in Ewigkeit. ADAM Der Sterne hellster, o wie schön Verkündest du den Tag! Wie schmückst du ihn, o Sonne du, Des Weltalls Seel und Aug ! CHOR Macht kund auf eurer weiten Bahn Des Herren Macht und seinen Ruhm! EVA Und du, der Nächte Zierd und Trost, Und all das strahlend Heer, Verbreitet überall sein Lob In euerm Chorgesang. ADAM Ihr Elemente, deren Kraft Stets neue Formen zeugt, Ihr Dünst und Nebel, Die der Wind versammelt und vertreibt EVA, ADAM und CHOR Lobsinget alle Gott, dem Herrn, Groß wie sein Nam ist seine Macht. EVA Sanft rauschend lobt, o Quellen, ihn! Den Wipfel neigt, ihr Bäum ! Ihr Pflanzen duftet, Blumen haucht Ihm euern Wohlgeruch! ADAM Ihr, deren Pfad die Höh n erklimmt, Und ihr, die niedrig kriecht, Ihr, deren Flug die Luft durchschneid t, Und ihr im tiefen Naß EVA, ADAM und CHOR Ihr Tiere, preiset alle Gott! Ihn lobe, was nur Odem hat! EVA und ADAM Ihr dunklen Hain , ihr Berg und Tal , Ihr Zeugen unsres Danks, Ertönen sollt ihr früh und spät Von unserm Lobgesang. CHOR Heil dir, o Gott, o Schöpfer, Heil! Aus deinem Wort entstand die Welt, Dich beten Erd und Himmel an, Wir preisen dich in Ewigkeit! Nr. 31 Rezitativ ADAM Nun ist die erste Pflicht erfüllt, Dem Schöpfer haben wir gedankt. Nun folge mir, Gefährtin meines Lebens! Ich leite dich, und jeder Schritt Weckt neue Freud in unsrer Brust, Zeigt Wunder überall. Erkennen sollst du dann, Welch unaussprechlich Glück Der Herr uns zugedacht. Ihn preisen immerdar, Ihm weihen Herz und Sinn. Komm, folge mir, ich leite dich. EVA O du., für den ich ward, Mein Schirm, mein Schild, mein All! Dein Will ist mir Gesetz. So hat s der Herr bestimmt, Und dir gehorchen bringt Mir Freude, Glück und Ruhm. Nr. 32Duett ADAM Holde Gattin, dir zur Seite Fließen sanft die Stunden hin. Jeder Augenblick ist Wonne, Keine Sorge trübet sie. EVA Teurer Gatte, dir zur Seite, Schwimmt in Freuden mir das Herz. Dir gewidmet ist mein Leben, Deine Liebe sei mein Lohn. ADAM Der tauende Morgen, O wie ermuntert er! EVA Die Kühle des Abends, O wie erquicket sie! ADAM Wie labend ist Der runden Früchte Saft! EVA Wie reizend ist Der Blumen süßer Duft! EVA und ADAM Doch ohne dich, was wäre mir - ADAM Der Morgentau, EVA Der Abendhauch, ADAM Der Früchte Saft, EVA Der Blumen Duft. EVA und ADAM Mit dir erhöht sich jede Freude, Mit dir genieß ich doppelt sie, Mit dir ist Seligkeit das Leben, Dir sei es ganz geweiht! Nr. 33 Rezitativ URIEL O glücklich Paar, und glücklich immerfort, Wenn falscher Wahn euch nicht verführt, Noch mehr zu wünschen als ihr habt, Und mehr zu wissen als ihr sollt! Nr. 34 Schlußchor mit Soli CHOR Singt dem Herren alle Stimmen! Dankt ihm alle seine Werke! Laßt zu Ehren seines Namens Lob im Wettgesang erschallen! Des Herren Ruhm, er bleibt in Ewigkeit! Amen! ERSTER TEIL Nr. 1 Einleitung Die Vorstellung des Chaos Rezitativ mit Chor RAPHAEL Im Anfange schuf Gott Himmel und Erde, und die Erde war ohne Form und leer, und Finsternis war auf der Fläche der Tiefe. CHOR Und der Geist Gottes Schwebte auf der Fläche der Wasser, Und Gott sprach Es werde Licht! Und es ward Licht. URIEL Und Gott sah das Licht, daß es gut war, und Gott schied das Licht von der Finsternis. Nr. 2 Arie mit Chor URIEL Nun schwanden vor dem heiligen Strahle Des schwarzen Dunkels gräuliche Schatten Der erste Tag entstand. Verwirrung weicht, und Ordnung keimt empor. Erstarrt entflieht der Höllengeister Schar In des Abgrunds Tiefen hinab Zur ewigen Nacht. CHOR Verzweiflung, Wut und Schrecken Begleiten ihren Sturz, Und eine neue Welt Entspringt auf Gottes Wort. Nr. 3 Rezitativ RAPHAEL Und Gott machte das Firmament und teilte die Wasser, die unter dem Firmament waren, von den Gewässern, die ober dem Firmament waren, und es ward so. Da tobten brausend heftige Stürme; wie Spreu vor dem Winde, so flogen die Wolken, die Luft durchschnitten feurige Blitze und schrecklich rollten die Donner umher. Der Flut entstieg auf sein Geheiß der allerquickende Regen, der allerverheerende Schauer, der leichte, flockige Schnee. Nr. 4 Chor mit Sopransolo GABRIEL Mit Staunen sieht das Wunderwerk Der Himmelsbürger frohe Schar, Und laut ertönt aus ihren Kehlen Des Schöpfers Lob, Das Lob des zweiten Tags. CHOR Und laut ertönt aus ihren Kehlen Des Schöpfers Lob, Das Lob des zweiten Tags. Nr. 5 Rezitativ RAPHAEL Und Gott sprach Es sammle sich das Wasser unter dem Himmel zusammen an einem Platz und es erscheine das trockne Land; und es ward so. Und Gott nannte das trockne Land "Erde" und die Sammlung der Wasser nannte er "Meer"; Und Gott sah, daß es gut war. Nr. 6 Arie RAPHAEL Rollend in schäumenden Wellen Bewegt sich ungestüm das Meer. Hügel und Felsen erscheinen, Der Berge Gipfel steigt empor. Die Fläche, weit gedehnt, Durchläuft der breite Strom In mancher Krümme. Leise rauschend gleitet fort Im stillen Tal der helle Bach. Nr. 7 Rezitativ GABRIEL Und Gott sprach Es bringe die Erde Gras hervor, Kräuter. die Samen geben, und Obstbäume, die Früchte bringen ihrer Art gemäß, die ihren Samen in sich selbst haben auf der Erde; und es ward so. Nr. 8 Arie GABRIEL Nun beut die Flur das frische Grün Dem Auge zur Ergötzung dar. Den anmutsvollen Blick Erhöht der Blumen sanfter Schmuck. Hier duften Kräuter Balsam aus, Hier sproßt den Wunden Heil. Die Zweige krümmt der goldnen Früchte Last; Hier wölbt der Hain zum kühlen Schirme sich, Den steilen Berg bekrönt ein dichter Wald. Nr. 9 Rezitativ URIEL Und die himmlischen Heerscharen verkündigten den dritten Tag, Gott preisend und sprechend Nr. 10 Chor CHOR Stimmt an die Saiten, ergreift die Leier, Laßt euren Lobgesang erschallen! Frohlocket dem Herrn, dem mächtigen Gott, Denn er hat Himmel und Erde Bekleidet in herrlicher Pracht! Nr. 11 Rezitativ URIEL Und Gott sprach Es sei n Lichter an der Feste des Himmels, um den Tag von der Nacht zu scheiden und Licht auf der Erde zu geben, und es seien diese für Zeichen und für Zeiten und für Tage und für Jahre. Er machte die Sterne gleichfalls. Nr. 12 Rezitativ URIEL In vollem glanze steiget jetzt Die Sonne strahlend auf, Ein wonnevoller Bräutigam, Ein Riese stolz und froh, Zu rennen seine Bahn. Mit leisem Gang und sanftem Schimmer Schleicht der Mond die stille Nacht hindurch. Den ausgedehnten Himmelsraum Ziert ohne Zahl der hellen Sterne Gold. Und die Söhne Gottes Verkündigten den vierten Tag Mit himmlischem Gesang, Seine Macht ausrufend also Nr. 13 Chor mit Soli CHOR Die Himmel erzählen die Ehre Gottes, Und seiner Hände Werk Zeigt an das Firmament. GABRIEL, URIEL, RAPHAEL Dem kommenden Tage sagt es der Tag, Die Nacht, die verschwand, der folgenden Nacht CHOR Die Himmel erzählen die Ehre Gottes, Und seiner Hände Werk Zeigt an das Firmament. GABRIEL, URIEL, RAPHAEL In alle Welt ergeht das Wort, Jedem Ohre klingend, Keiner Zunge fremd CHOR Die Himmel erzählen die Ehre Gottes, Und seiner Hände Werk Zeigt an das Firmament. ZWEITER TEIL Nr. 14 Rezitativ GABRIEL Und Gott sprach Es bringe das Wasser in der Fülle hervor webende Geschöpfe, die Leben haben, und Vögel, die über der Erde fliegen mögen in dem offenen Firmamente des Himmels. Nr. 15 Arie GABRIEL Auf starkem Fittiche Schwinget sich der Adler stolz Und teilet die Luft Im schnellesten Fluge Zur Sonne hin. Den Morgen grüßt Der Lerche frohes Lied, Und Liebe girrt Das zarte Taubenpaar. Aus jedem Busch und Hain erschallt Der Nachtigallen süße Kehle. Noch drückte Gram nicht ihre Brust, Noch war zur Klage nicht gestimmt Ihr reizender Gesang. Nr. 16 Rezitativ RAPHAEL Und Gott schuf große Walfische und ein jedes lebende Geschöpf, das sich beweget, und Gott segnete sie, sprechend Seid fruchtbar alle, mehret euch, Bewohner der Luft, vermehret euch Und singt auf jedem Aste! Mehret euch, ihr Flutenbewohner, Und füllet jede Tiefe! Seid fruchtbar, wachset, mehret euch, Erfreuet euch in eurem Gott! Nr. 17 Rezitativ RAPHAEL Und die Engel rührten ihr unsterblichen Harfen und sangen die Wunder des fünften Tags. Nr. 18 Terzett GABRIEL In holder Anmut stehn, Mit jungem Grün geschmückt, Die wogigten Hügel da. Aus ihren Adern quillt In fließendem Kristall Der kühlende Bach hervor. URIEL In frohen Kreisen schwebt, Sich wiegend in der Luft, Der munteren Vögel Schar. Den bunten Federglanz Erhöht im Wechselflug Das goldene Sonnenlicht. RAPHAEL Das helle Naß durchblitzt Der Fisch und windet sich Im steten Gewühl umher. Vom tiefsten Meeresgrund Wälzet sich Leviathan Auf schäumender Well empor. GABRIEL, URIEL, RAPHAEL Wie viel sind deiner Werk , o Gott! Wer fasset ihre Zahl? Wer, o Gott! Wer fasset ihre Zahl? Nr. 19 Chor mit Soli CHOR Der Herr ist groß in seiner Macht, Und ewig bleibt sein Ruhm. Nr. 20 Rezitativ RAPHAEL Und Gott sprach Es bringe die Erde hervor lebende Geschöpfe nach ihrer Art Vieh und krichendes Gewürm und Tiere der Erde nach ihren Gattungen. Nr. 21 Rezitativ RAPHAEL Gleich öffnet sich der Erde Schoß Und sie gebiert auf Gottes Wort Geschöpfe jeder Art, In vollem Wuchs und ohne Zahl. Vor Freude brüllend steht der Löwe da. Hier schießt der gelenkige Tiger empor. Das zackige Haupt erhebt der schnelle Hirsch. Mit fliegender Mähne springt und wieh rt Voll Mut und Kraft das edle Roß. Auf grünen Matten weidet schon Das Rind, in Herden abgeteilt. Die Triften deckt, als wie gesät, Das wollenreiche, sanfte Schaf. Wie Staub verbreitet sich In Schwarm und Wirbel Das Heer der Insekten. In langen Zügen kriecht Am Boden das Gewürm. Nr. 22 Arie RAPHAEL Nun scheint in vollem Glanze der Himmel, Nun prangt in ihrem Schmucke die Erde. Die Luft erfüllt das leichte Gefieder, Das Wasser schwellt der Fische Gewimmel, Den Boden drückt der Tiere Last. Doch war noch alles nicht vollbracht. Dem ganzen fehlte das Geschöpf, Das Gottes Werke dankbar sehn, Des Herren Güte preisen soll. Nr. 23 Rezitativ URIEL Und Gott schuf den Menschen nach seinem Ebenbilde, nach dem Ebenbilde Gottes schuf er ihn. Mann und Weib erschuf er sie. Den Atem des Lebens hauchte er in sein Angesicht, und der Mensch wurde zur lebendigen Seele. Nr. 24 Arie URIEL Mit Würd und Hoheit angetan, Mit Schönheit, Stärk und Mut begabt, Gen Himmel aufgerichtet steht der Mensch, Ein Mann und König der Natur. Die breit gewölbt erhabne Stirn Verkünd t der Weisheit tiefen Sinn, Und aus dem hellen Blicke strahlt Der Geist, des Schöpfers Hauch und Ebenbild. An seinen Busen schmieget sich Für ihn, aus ihm geformt, Die Gattin, hold und anmutsvoll. In froher Unschuld lächelt sie, Des Frühlings reizend Bild, Ihm Liebe, Glück und Wonne zu. Nr. 25 Rezitativ RAPHAEL Und Gott sah jedes Ding, was er gemacht hatte; und es war sehr gut. Und der himmlische Chor feierte das Ende des sechsten Tages mit lautem Gesang Nr. 26 Chor CHOR Vollendet ist das große Werk, Der Schöpfer sieht s und freuet sich. Auch unsre Freund erschalle laut, Des Herren Lob sei unser Lied! Nr. 27 Terzett GABRIEL, URIEL Zu dir, o Herr, blickt alles auf. Um Speise fleht dich alles an. Du öffnest deine Hand, Gesättigt werden sie. RAPHAEL Du wendest ab dein Angesicht, Da bebet alles und erstarrt. Du nimmst den Odem weg, In Staub zerfallen sie. GABRIEL, URIEL, RAPHAEL Den Odem hauchst du wieder aus, Und neues Leben sproßt hervor. Verjüngt ist die Gestalt der Erd An Reiz und Kraft. Nr. 28 Chor CHOR Vollendet ist das große Werk, Des Herren Lob sei unser Lied! Alles lobe seinen Namen, Denn er allein ist hoch erhaben! Alleluja! Alleluja! DRITTER TEIL Nr. 29 Orchestereinleitung und Rezitativ URIEL Aus Rosenwolken bricht, Geweckt durch süßen Klang, Der Morgen jung und schön. Vom himmlischen Gewölbe Strömt reine Harmonie Zur Erde hinab. Seht das beglückte Paar, Wie Hand in Hand es geht! Aus ihren Blicken strahlt Des heißen Danks Gefühl. Bald singt in lautem Ton Ihr Mund des Schöpfers Lob; Laßt unsre Stimme dann Sich mengen in ihr Lied. Nr. 30 Duett mit Chor EVA und ADAM Von deiner Güt , o Herr und Gott, Ist Erd und Himmel voll. Die Welt, so groß, so wunderbar, Ist deiner Hände Werk. CHOR Gesegnet sei des Herren Macht, Sein Lob erschall in Ewigkeit. ADAM Der Sterne hellster, o wie schön Verkündest du den Tag! Wie schmückst du ihn, o Sonne du, Des Weltalls Seel und Aug ! CHOR Macht kund auf eurer weiten Bahn Des Herren Macht und seinen Ruhm! EVA Und du, der Nächte Zierd und Trost, Und all das strahlend Heer, Verbreitet überall sein Lob In euerm Chorgesang. ADAM Ihr Elemente, deren Kraft Stets neue Formen zeugt, Ihr Dünst und Nebel, Die der Wind versammelt und vertreibt EVA, ADAM und CHOR Lobsinget alle Gott, dem Herrn, Groß wie sein Nam ist seine Macht. EVA Sanft rauschend lobt, o Quellen, ihn! Den Wipfel neigt, ihr Bäum ! Ihr Pflanzen duftet, Blumen haucht Ihm euern Wohlgeruch! ADAM Ihr, deren Pfad die Höh n erklimmt, Und ihr, die niedrig kriecht, Ihr, deren Flug die Luft durchschneid t, Und ihr im tiefen Naß EVA, ADAM und CHOR Ihr Tiere, preiset alle Gott! Ihn lobe, was nur Odem hat! EVA und ADAM Ihr dunklen Hain , ihr Berg und Tal , Ihr Zeugen unsres Danks, Ertönen sollt ihr früh und spät Von unserm Lobgesang. CHOR Heil dir, o Gott, o Schöpfer, Heil! Aus deinem Wort entstand die Welt, Dich beten Erd und Himmel an, Wir preisen dich in Ewigkeit! Nr. 31 Rezitativ ADAM Nun ist die erste Pflicht erfüllt, Dem Schöpfer haben wir gedankt. Nun folge mir, Gefährtin meines Lebens! Ich leite dich, und jeder Schritt Weckt neue Freud in unsrer Brust, Zeigt Wunder überall. Erkennen sollst du dann, Welch unaussprechlich Glück Der Herr uns zugedacht. Ihn preisen immerdar, Ihm weihen Herz und Sinn. Komm, folge mir, ich leite dich. EVA O du., für den ich ward, Mein Schirm, mein Schild, mein All! Dein Will ist mir Gesetz. So hat s der Herr bestimmt, Und dir gehorchen bringt Mir Freude, Glück und Ruhm. Nr. 32Duett ADAM Holde Gattin, dir zur Seite Fließen sanft die Stunden hin. Jeder Augenblick ist Wonne, Keine Sorge trübet sie. EVA Teurer Gatte, dir zur Seite, Schwimmt in Freuden mir das Herz. Dir gewidmet ist mein Leben, Deine Liebe sei mein Lohn. ADAM Der tauende Morgen, O wie ermuntert er! EVA Die Kühle des Abends, O wie erquicket sie! ADAM Wie labend ist Der runden Früchte Saft! EVA Wie reizend ist Der Blumen süßer Duft! EVA und ADAM Doch ohne dich, was wäre mir - ADAM Der Morgentau, EVA Der Abendhauch, ADAM Der Früchte Saft, EVA Der Blumen Duft. EVA und ADAM Mit dir erhöht sich jede Freude, Mit dir genieß ich doppelt sie, Mit dir ist Seligkeit das Leben, Dir sei es ganz geweiht! Nr. 33 Rezitativ URIEL O glücklich Paar, und glücklich immerfort, Wenn falscher Wahn euch nicht verführt, Noch mehr zu wünschen als ihr habt, Und mehr zu wissen als ihr sollt! Nr. 34 Schlußchor mit Soli CHOR Singt dem Herren alle Stimmen! Dankt ihm alle seine Werke! Laßt zu Ehren seines Namens Lob im Wettgesang erschallen! Des Herren Ruhm, er bleibt in Ewigkeit! Amen! Haydn,Franz Joseph/Die Schöpfung
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Subjects-Professional&Technical-Engineering-General Seeds for the Future The Impact of Genetically Modified Crops on the Environment Comstock Pub Assoc? Jennifer A. Thomson? ComstockPubAssoc? JenniferA.Thomson? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Outdoors&Nature ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Engineering-Bioengineering-Biotechnology? Subjects-Outdoors&Nature-Environment-Conservation? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Bioengineering-Biotechnology? Subjects-Professional&Technical-ProfessionalScience-AgriculturalSciences-CropScience? Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Biotechnology? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-General Subjects-Science-Nature&Ecology-Environment-Conservation? Subjects-Science-BiologicalSciences-Biotechnology? 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Subjects-Engineering-Civil-Structural? Subjects-Professional&Technical-Engineering-Civil-Structural? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-VectorAnalysis? Subjects-Science-General Subjects-Science-Mathematics-Applied-VectorAnalysis? Modern High-end Valve Amplifiers Elektor Electronics Publishing? I.R.Menno Van Der Veen? ElektorElectronicsPublishing? I.R.MennoVanDerVeen? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Substores-UnknownASINs-30? Subjects-Computers&Internet-ComputerScience-Circuitry-CircuitComponents? Subjects-Engineering-Electrical&Electronics-Circuits? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Circuits? Subjects-Science-Physics-Applied? Handbook of Biological Confocal Microscopy (The Language of Science) Plenum Pub Corp? James B. Pawley? PlenumPubCorp? 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Subjects-Science-Medicine-General? Norton Commando Owners Workshop Manual 750, 850. Thru 68 - 77 (Haynes Norton Commando Owners Workshop Manual) Haynes Pubns? Jeff Clew? John Harold Haynes? HaynesPubns? JeffClew? JohnHaroldHaynes? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Nonfiction? ユーズドブック(洋書)-Professional&Technical? Subjects-Engineering-Automotive? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-Motorcycles-General? Subjects-Nonfiction-Automotive-Motorcycles-Repair&Performance? Subjects-Nonfiction-Automotive-Repair? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Automotive? Finite Element Analysis Theory and Application With Ansys Prentice Hall College Div? Saeed Moaveni? PrenticeHallCollegeDiv? SaeedMoaveni? ユーズドブック(洋書)-Computers&Internet? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Professional&Technical? ユーズドブック(洋書)-Science? Subjects-Computers&Internet-Networking-DataintheEnterprise-StatisticalComputing? Subjects-Computers&Internet-ComputerScience-SoftwareEngineering-Methodology? Subjects-Computers&Internet-General? Subjects-Engineering-Aerospace-AdvancedMechanics? Subjects-Engineering-Civil-Mechanics? Subjects-Engineering-General? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Civil-Mechanics? Subjects-Professional&Technical-Engineering-Aerospace-AdvancedMechanics? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-DifferentialEquations? Subjects-Professional&Technical-ProfessionalScience-Mathematics-MathematicalAnalysis? Subjects-Science-General Subjects-Science-Mathematics-Applied-DifferentialEquations? Subjects-Science-Mathematics-Applied-Engineering-Boundary&FiniteAnalysis? Wastewater Collection System Operator Certification Studybook Water Environment Federation? Water Environment Federation? WaterEnvironmentFederation? WaterEnvironmentFederation? ユーズドブック(洋書)-Engineering Substores-UnknownASINs-36? Subjects-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Reference-Education-TestGuides-Careers-VocationalTests? Subjects-Science-General Third Century of Biochemical Oxygen Demand Water Environment Federation? Rodger B. Baird? Roy-Keith Smith? WaterEnvironmentFederation? RodgerB.Baird? Roy-KeithSmith? ユーズドブック(洋書)-Engineering Substores-UnknownASINs-36? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Civil-Environmental-WaterQuality&Treatment? Subjects-Outdoors&Nature-Environment-WaterSupply? 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Subjects-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Science-General Manual De Refrigeracion Y Aire Acondicionado Una Guia a Paso A Paso / A Step-by-Step Guide (Coleccion Como Hacer Bien Y Facilmente/How to Do It Right and Easy Colection) Luis Lesur? undefined LuisLesur? ユーズドブック(洋書)-Engineering Subjects-Engineering-Civil-Construction-Heating,Ventilation&AirConditioning? Subjects-Nonfiction-ForeignLanguageNonfiction-Spanish? Subjects-Professional&Technical-Engineering-Civil-Construction-Heating,Ventilation&AirConditioning? Clear and Cloudy Boundary Layers Edita KNAW? A.A.M. Holtslag? P.G. Duynkerke? EditaKNAW? A.A.M.Holtslag? P.G.Duynkerke? ユーズドブック(洋書)-Engineering Substores-UnknownASINs-55? Subjects-Engineering-SpecialTopics-AppliedAtmosphericSciences? Subjects-Professional&Technical-Engineering-SpecialTopics-AppliedAtmosphericSciences? 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Miscible Polymer Blends Background and Guide for Calculations and Design Destech Pubns Inc? Michael M. Coleman? Paul C. Painter? DestechPubnsInc? MichaelM.Coleman? PaulC.Painter? ユーズドブック(洋書)-Engineering Subjects-Engineering-Chemical-PolymerChemistry? Subjects-Engineering-MaterialsScience-PolymerScience? Subjects-Professional&Technical-Engineering-Chemical-PolymerChemistry? Subjects-Professional&Technical-Engineering-MaterialsScience-PolymerScience? Subjects-Science-General Application of Remote Sensing Technology to Marine Fisheries An Introductory Manual (Fao Fisheries Technical Paper) Food & Agriculture Org? M. Butler? Food&AgricultureOrg? M.Butler? ユーズドブック(洋書)-Engineering ユーズドブック(洋書)-Outdoors&Nature Substores-UnknownASINs-55? Subjects-Engineering-Civil-RemoteSensing? Subjects-Outdoors&Nature-NaturalResources-Fisheries&Aquaculture? Subjects-Professional&Technical-Engineering-Civil-RemoteSensing? 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Subjects-Professional&Technical-Engineering-Civil-Construction-BuildingConstruction? Gastrow Injection Molds 2e Hanser Gardner Publications? Lindner? Hans Gastrow? HanserGardnerPublications? Lindner? HansGastrow? ユーズドブック(洋書)-Engineering Substores-UnknownASINs-45? Subjects-Engineering-Chemical-PolymerChemistry? Subjects-Engineering-Chemical-General? Subjects-Engineering-Reference? Subjects-Professional&Technical-Engineering-Chemical-PolymerChemistry? Subjects-Professional&Technical-Engineering-Chemical-General? Subjects-Professional&Technical-Engineering-Reference? Subjects-Reference? Subjects-Science-Chemistry-Industrial&Technical? Subjects-Science-Chemistry-ChemicalEngineering? ユーズドブック(洋書)-Engineering 洋書
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Opening the Shot ショットを開く ショットのトラッキングを始めるには、起動後File/New（ファイル/新規）やFile/Import/Shot（ファイル/入力/ショット）を選択します。 AVI、QTムービー、MPEGファイル、連番ファイルの最初のフレームのJPEG、TIFF、BMP、SGI、Cineon、SMPTE DPX、Targaファイルなどを選択する必要があります。 Macでは、正しく書き出されていれば、ファイルの種類は拡張子が無くとも自動的に決められます（OSXで定められている拡張子に限ります）。 PCかMacで、もしイメージファイルに拡張子がなかったりファイルの種類が判らないときには、Open File（ファイルを開く）ダイアログボックスで、Just Open It（それを開く）を選択して、それで表示されたファイルを選択すると、SynthEyesが自動的に種類を判定します。 注意 SynthEyesは、セキュリティの確立された環境で、既知のイメージ上での使用を前提としています。インターネットまたは他の未知の要因から得られたイメージによってもたらされるウィルスに対抗するようにアップデートされることはありません。そのようなイメージは、SynthEyesまたはコンピュータを破壊する原因になったり、あるいは、危険なソフトウェアによって不正にのっとられる原因になるかもしれません。 SynthEyesは、通常ファイル・シーケンスごとに1つのIFL(画像ファイルリスト)ファイルを作成し、イメージと同じフォルダに、それを書き出します。 IFLは全体のシーケンスのための信頼できるプレースホルダとして機能し、SynthEyesが全てのシーケンスを再チェックする必要がないので、特にネットワークを介してのシーケンスの開き直す時間を節約します。IFLファイルがあなたの画像管理システムと相性が悪い、もしくはあなたが異なったマシンから同じ画像シーケンスを頻繁に開くなら、各コンピュータから異なったファイル名の、同じ画像シーケンスを作り出して、あなたはWriteをオフにすることができます。 preferenceの Match image-sequence frame # s は,シーケンスの初めに余分なフレームを生成するよう、設定されます。そのため、SynthEyesフレーム番号はファイルのフレーム番号に合います。（全体のショットが既にありましたらこの必要は全くありません。）。この設定はいつもこのマッチング(シーケンスの番号を合わせる事)を必要とするある他のプログラムとの相互作用を簡素化できます。そして、ショットの‘in ポイントの周りで編集が変化した時の変更をより簡単にすることができます。 （下記のPrepend Additional Frames setting（前もって付加フレームを設定する）を参照。） このpreferenceが、全く他のアプリケーションまたはそれらのエクスポーターと必ずしも互換性を持つというわけではありません。 それを使用する前に、このpreferenceをテストして、影響を必ず熟知しておいてください。 Basic Open-Shot Settings 次の設定があなたのショットと一致するように調整してください。 あなたはこれらの設定をShot/Edit Shotの後に変えることができます。 もしあなたが始めるときに全ての設定を理解していなくても、うろたえないでください；多くは高度な状況の時だけに提供します。 Image Aspect は正しい結果を得る上で最も重要になる設定です。 Maya ユーザーが Maya プリセットに対応しているプリセットを使うことを望むかもしれません。 Image Preprocessingボタンが、もう１つのパネルを起動することに注意してください；私たちは、基本的なオープンショット・ダイアログの後にそれらを設定します。 Start Frame, End Frame フレームの範囲を調整します。このパネル、またはタイムバーの枠の端の「+-」をshift+ドラッグすることで調整できます。 Frame rate 通常1秒当たりのフレーム数は、24、24.98、または29.97です。NTSCは米国と日本、PALはヨーロッパで使用されます。 一般に、フィルムは24fpsです。 高(低)フレームレートショットやマルチメディアプロジェクトの為に、他のレートを設定することもできます。ソフトウェアによっては25か30fpsに、(小数点を)丸めるかもしれません。 SynthEyesは、あなたが正確であるか大体の値を使用するかどうか気にかけません。 Interlacing フィルムかプログレッシブ・スキャンDVの時はNone。25/30fpsはYesを(常に他のフィールドをスキップします)。 急速なぶれをトラッキングする能力をいくらか損失しますが、必要なトラッキングの量を最小にします。 同じものにYesとButを使用してください。Butは、他のフィールドを保つときに使用してください。インターレースビデオの最初のフィールドによって、Starting OddかStarting Evenを使用してください。推測でなら、いったんショットを開いた後、いくつかのフレームをコマ送りしてください。2ステップで次のコマに行くなら、一旦戻ってShot/Edit Shotメニューの項目を選択し、設定を修正してください。JPEGシーケンスなどのnon-field-savvyコーデックで圧縮されたソースビデオにはYesかNoneを使用してください。 Apply Preset 異なったフィルム形式のリストをドロップダウンからクリックしてください。それらの1つを選択すると、 Image Aspect ・ Back Plate ・ Anamorphic Squeeze や、大部分のパラメーターがプリセットによって設定されるでしょう。あなたは、自分のプリセットを、作成・変更・消去できます。プリセットリストの一番下の、 Save As や Delete を使用して、登録します。 Image aspect ratio(縦横比) 画像の幅を高さで割った値。1.333はビデオ,1.777はHDTV, 2.35や他の値はフィルムです。注意 通常、これはimage preprocessorへの縦横比入力です。 右下に示された“Final aspect”は、 image preprocessor から出て来る縦横比です。 ひずみを適用し、 image preprocessor がモードを適用するように設定されるなら、このスピナーの値は出力された縦横比です。(その比は、オリジナルのショットの縦横比です)。 右下で“Final aspect”を見る代わりに、“source aspect.”とラベルされて、入力されたイメージの縦横比は出てくるでしょう。 Pixel aspect ratio それぞれの画素の縦横比。 (画素の縦横比は最終的なイメージのためのもので、アナモルフィック・ネガの画素の、細い幅ではない。) Back Plate Width バーチャルカメラの焦点距離の解析を決定し、“film”の幅を設定します。 特定のカメラにおいて、焦点距離とバックプレート幅の実際の値が、“book values” といつもわずかに異なっていることに注意してください。注意 Mayaはこの値に関して、非常に気難しいです。 Back Plate Height 幅、イメージ比率および縮尺から計算された、フィルムの高さ。 Back Plate Units. in が表示されている時はインチ、 mm の時はミリメートルです。 クリックして、希望する方に変更してください。 Anamorphic Squeeze アナモルフィック・レンズがフィルム・カメラで使用されているとき、ワイドスクリーンイメージをより細長いネガまで絞ります。 圧縮要素は多くの絞りがどうかかわるかを反映します。2の値は、最終的なイメージがマイナス2倍広いことを意味します。 圧縮を便利に提供します。それは全体的なSynthEyesシーンで必要ではありません。 Negative s Aspect アナモルフィックな圧縮が存在していない場合、最終的なイメージと同じ値の、マイナス縦横比。 イメージの比率と圧縮要素から計算されています。 Prepend Extra Frames shot/Change Shot Imageryメニューアイテムの間だけ、選択可能です。 このスピナーは、追加フレームがショットの始めに加えられるのを示し、それは全てのトラッカー、 オブジェクトのパス、スプラインなどは後でショットにかほど移行するべきです。 Exposure Adjustment 読まれた、多くの絞り値による、ショットの露出の増減の調節。 値を変えると、メインウィンドウが更新されます。 これは、CineonやDPXなどの特定の画像形式だけに反応します。浮動小数点形式のOpenEXRは特に重要です。 HiRez 手動トラッキングのための、画素間の再サンプリングと補間法の量のプリセット。 いくらかトラッキングが遅くなりますが、より大きい値とより高度なタイプはより鮮明なイメージを与え、 より良いトラッキングデータになるかもしれない。 デフォルトのLinear x 4で、大概十分でしょう。 より高度なタイプは、高品質の圧縮されていないソース場面のために検討することができます。 Queue Length RAMに格納する(全てのフレームが望ましい)、フレームの数。 関連しているディスプレイには、どのくらいのメモリがコンピュータに残っているかを示しています。 Photoshopや3Dアプリケーションの様なRAMが必要な他のアプリケーションは蓄えたメモリー容量を減少させるかもしれません。 とにかく、SynthEyesを稼働している間、それらの他のアプリケーションを一時的に遅くなるのを気にしないならば、マシンの多くの物理メモリ(RAM)を必要とする、キューの長さを要求できます。 比較的わずかなメモリー容量だけが、1,000個以上のフレーム、または大きい・動作中・フィルムスキャンのショットを除いた、自動トラッキングのために必要です。 16 Bit/Channel 入力ファイルが1チャンネルあたり16bitなら、16bitで処理されるか8bitに減らすかを、このチェックボックスで制御します。 8bitのイメージは多少正確ではありませんが、軽く、16bitと比べると速いです。 逆に、16bitのイメージは正確ですが、重く、8bitに比べると遅いです。 あなたは、16bitで自動トラッキングをし、そして、ショットを素早くスクラブするために、8bitに落とすことができます。 Keep Alpha チェックすると、ファイルを開くときに、SynthEyesはアルファチャンネル付きで処理します(ロトスコープするために、アルファチャンネルの使用が無いように見えても)。 レンズディストーションやスタビライズのために image preprocessor を使い、アルファチャンネルも一緒に書き出したいとき、チェックしてください。 Image Preprocessing 様々なイメージレベル調整で、トラッキングをよりやり易くする、画像前処理(準備)ダイアログがあります (マシンよりも、人間の為のもの)。 色やガンマなどの調節ができ、シングルチャンネルや表示領域を制限するなど、メモリの使用を抑えるオプションもあります。 また、このダイアログは、スタビライズ機能も提供します。 Memory Status 画像の解像度・画像のRAMに取り込まれるサイズ(MB表記)・ショットのスレーム数・ マシンが使える残りのRAMの量と、シーケンスを取り込むのに必要なメモリー容量の見積もりが表示されます。 最後の必要メモリー容量が、目安に過ぎないことに注意してください。この後の(トラッキング等の)処理によって、 変わってきます。1フレーム目のサイズで必要なメモリー量を計算しているので、 Image Preprocessing システムで表示領域を変更した場合、 非常に不正確になります。 また、 Image Preprocessing 処理後から出てくる、最終的な縦横比もここに示されています。 それは Image Preprocessing によって実行された、再サンプリング、パディング(空白部分の埋め合わせ)、 およびクロッピング(必要な領域を指定し、画像を切り取ること)を反映します。 ロードした後に ショットをロードするためにOKを押すと、素早くアクセス出来るように、RAMにシーケンスを読み込み始めます。 ショットを通して、再生やスクラブをするのに、プレイバーとタイムバーを使用できます。注意! この処理は、RAIDディスクなどの高速処理量装置を利用して出来るだけ速くすべてをロードしようとし、プロセッサに負荷を掛けます。 しかしながら、フッテージが低帯域幅のリモートドライブの状態だと、OSがデータを得ようとして、マシンは一時的に鈍くなるかもしれません。 これを避けたいなら、 Shot メニューで Enable Prefetch をオフにするか、または preference の Prefetch enable をオフに変更してください。 下記のような、RAMにイメージを読み込むのに役立つ、 Image Preprocessing を使用できます。 ショットがRAMをうまく読み込まなくても、timebarの小さい緑色の、赤い再生マーカーを使用することでショットの一部のRAM再生を得ることができます。 あなたはループにしたい部分をドラッグすることができます。 時々、全体のショットを開きたくなるかもしれませんが、読み込んでいる部分だけをトラッキング・解析してください。 タイムバーのショットの両端をshift+ドラッグして、再生範囲を変更できます。 ここで、座標系タイプ(MAX, Maya, Lightwaveなどに適したもの)を選んでください。 必要なら、 scene setting や preference の調整をしてください。 Changing the Imagery You may need to replace the imagery of a shot, for example, with lower- or higher-resolution versions. Use theShot/Change Shot Imagesmenu item to do this. The shot settings dialog will re-appear, so you can adjust or correct settings such as the aspect ratio. When activated as part of Change Shot Images, the shot settings dialog also features aPrepend Extra Framessetting. If you have tracked a shot, but suddenly the director wants to extend a shot with additional frames at the beginning, use the Change Shot Images selection, re-select the shot with the additional images, and set the Prepend Extra Frames setting to the number of additional frames. This will shift all the trackers, splines, object paths, etc later in the shot by that amount. You can extend the trackers or add additional ones, and re-solve the shot. Note that if frames from the beginning of the shot are no longer needed, you should leave them in place, but change the shot start value by shift-dragging it in the time bar. あなたは例えば、ショットの画質を低い、あるいはより高い解像度のバージョンで置き換える必要があるかもしれません。 これを行うために、Shot/Change Shot Imagesmenu項目を使用してください。 shot settings dialog が再び表示されるでしょう、それであなたはアスペクト比のような設定を調整したり修正することができます。 Change Shot Imagesの一部として作動するるとき、shot settings dialogは同じくPrepend Extra Framessetting として起用します。 もしあなたがショットを追跡した、しかし突然ディレクタが始めに追加のフレームでショットを拡張することを望むなら、Change Shot Images セレクションを使って、ショットの追加のイメージを再び選択して、Prepend Extra Framesで追加のフレームをセットしてください。 これはその量によってショットすべてのトラッカー、スプライン、オブジェクトパスなどを変えるでしょう。 あなたはトラッカーを延長するか、あるいは追加を加えて、ショットを解決することができます。 もしショットの最初からのフレームがもう必要とされないなら、実施されているままにしておくべきであることに注意してください、しかし、タイムバーにそれをシフト - ドラッグで、ショットのスタート値を変えてください。 Image Preprocessing Basics The image preparation dialog provides a range of capabilities aimed at the following primary issues · Stabilizing the images, reducing wobbles and jiggles in the source imagery, · Making features more visible, especially to you for supervised tracking, · Reducing the amount of memory required to store the shot in RAM, to facilitate real-time playback, · Correcting image geometry distortion or the optic axis position. You can activate the image preprocessing panel either from the Open-Shot dialog, or from the Shot menu directly. The individual controls of the image preprocessor are spread among several tabbed subpanels, much like the main SynthEyes window. These include Rez, Levels, Cropping, Stabilize, Lens, Adjust, Output, and ROI. As you modify the image preprocessing controls, you can use the frame spinner and assorted buttons to move through the shot to verify that the settings are appropriate throughout it. Fetching and preprocessing the images can take a while, especially with film-resolution images. You can control whether or not the image updates as you change the frame# spinner, using the control button on the right hand side of the image preprocessor. The image preprocessing engine affects the shots as they are read from disk, before they are stored in RAM for tracking and playback. The preprocessing engine can change the image resolution, aspect ratio, and overall geometry. Accordingly, youmust take care if you change the image format---if you change the image geometry, you may need to use theApply to Trackersbutton, or you will have to delete the trackers and do them over, since their positions will no longer match the image currently being supplied by the preprocessing engine. (The apply/remove lens distortion script can also help recover.) The image preprocessor allows you to create presets within a scene, so that you can use one preset for the entire scene, and a separate preset for a small region around a moving object, for example. Image Adjustments As mentioned, the image adjustments allow you to fix up the image a bit to make it easier for you and SynthEyes to see the features to be tracked. The preprocessor s image adjustments encompass the basic saturation and hue, level adjustments, and channel selection. The level adjustments map the specified Low level to blackest black out (luma=0), and specified High level to whitest white (luma=1), so that you can select a portion of the dynamic range to examine. The Mid level is mapped to 50% gray (luma=0.5) by performing a gamma-type adjustment; the gamma value is displayed and can be modified. You should be a bit careful that in the interests of making the image look good on your monitor, you don’t compress the dynamic range into the upper end of brightness, which reduces that actual contrast available for tracking. The level adjustments can be animated to adjust over the course of the shot, see the section on animated shot setup below. It may be worthwhile to use only one of the R, G, or B channels for tracking, or perhaps the basic luminance, as obtained using the Channel setting. (The Alpha channel can also be selected, mainly for a quick check of the alpha channel.) If you think selecting a single channel might be a good idea, be sure to check them all. If you are tracking small colored trackers, especially on video, you will find they often aren’t very colorful. Rather than trying to increase the saturation, use a different channel. For example, with small green markers for face tracking, the red channel is probably the best choice. The blue channel is usually substantially noisier than red or green. The hue adjustment can be used to tweak the color before the channel selection; by making yellows red, you can have a virtual yellow channel, for example. Note that you can change the image adjustments in this section without having to re-track, since the overall image geometry does not change. Minimizing Grain The grain in film images can perturb tracking somewhat. Use the Blur setting on the image preparation panel to slightly filter the image, minimizing the grain. This tactic can be effective for compression artifacts as well. SynthEyes can stabilize the images, re-size them, or correct for lens distortion. As it does that, it interpolates between the existing pixels. There are severalinterpolation modesavailable. You can produce a sharper image when you are re-sampling using the more advanced modes, but you increase the grain as you do so. Handling Strobes and Explosion Shots Quickly varying lighting can cause problems for tracking, especially supervised tracking. You can reduce the lighting variations by hi-pass filtering the image with the Hi-Pass setting. The image will turn into a fairly monotonous gray version (consider using only the Luma channel to save memory). The Hi-Pass setting is also a Gaussian filter size, but it is generally much larger than a 2-pixel blur to compensate for grain, say around 10 pixels. The larger the value, the more the original image will “show through,” which is not necessarily the objective, and the longer it will take to process. You can increase the hi-pass image contrast using the Levels settings, for example low=0.25, high=0.75. You can use a small blur for grain/compression in conjunction with the high-pass filtering. It will also reduce any slight banding if you have used the Levels to expand the range. Memory Reduction It is much faster to track, and check tracking, when the shot is entirely in the PC s RAM memory, as fetching each image from disk, and possibly decompressing it, takes an appreciable amount of time. This is especially true for film-resolution images, which take up more of the RAM, and take longer to load from disk. SynthEyes offers several ways to control RAM consumption, ranging from blunt to scalpel-sharp. Starting from the basic Open-Shot dialog, if your source images have 16 bit data, you can elect to reduce them to 8 bit for storage, by unchecking the 16-bit checkbox and reducing memory by a factor of two. Of course, this doesn’t help if the image is already 8 bit. If you have a 2K or 4K resolution film image, you might be able to track at a lower resolution. The DeRez control allows you to select ½ or ¼ image resolution selections. If you reduce resolution by ½, the storage required drops to ¼ the previous level, and a reduction by ¼ reduces the storage to 1/16ththe prior amount, since the resolution reduction affects both horizontal and vertical directions. Note that by reducing the incoming image resolution, your tracks will have a higher noise level which may be unacceptable; this is your decision. If you can track using only a single channel, such as R, G, or luma, you obtain an easy factor of 3 reduction in storage required. The most precise storage reduction tool is theRegion Of Interest (ROI), which preserves only a moving portion of the image that you specify, and makes the rest black. The black portion does not require any RAM storage, so if the ROI is only 1/8ththe width and height of the image, a reduction by 1/64thof storage is obtained. The region of interest is very useful with object-type shots, such as tracking a face or head, a chestplate, a car driving by, etc, where the interesting part is comparatively small. The ROI is also very useful in supervised tracking, where the ROI can be set up for a region of trackers; once that region is tracked, a different ROI can be configured for the next group. A time savings can be achieved even though the next group will require an image sequence reload. (See the section on presets, below, to be able to save such configurations.) The ROI is controlled by dragging it with the left mouse button in the Image Preprocessing dialog s viewport. Dragging the size-control box at its lower right of the ROI will change the ROI size. The next section describes animating the preprocessing level and ROI. It can also be helpful to adjust the ROI controls when doing supervised tracking of shots that contain a non-image border as an artifact of tracking. This extra border can defeat the mechanism that turns off supervised trackers when they reach the edge of the frame, because they run out of image to track before reaching the actual edge. Once the ROI has been decreased to exclude the image border, the trackers will shut off when they go outside the usable image. As with the image adjustments, changing the memory controls does not require any re-tracking, since the image geometry does not change. Animated Shot Setup The Level, Saturation/Hue, lens Field of View, Distortion/Scale, stabilizer adjustment, and Region of Interest controls may be animated, changing values over the course of the shot. Normally, when you alter the Level or ROI controls, a key at the first frame of the shot is changed, setting a fixed value over the entire shot. To animate the controls, turn on the Make Keys checkbox () at lower right of the image prep dialog. Changes to the animated controls will now create keys at the current frame, causing the spinners to light up with a red outline on keyframes. You can delete a keyframe by right-clicking a spinner. If you turn off Make Keys after creating multiple keys, subsequent changes will affect only the keyframe at the start of the shot (frame zero), and not subsequent keys, which will rarely be useful. You can navigate within the shot using the next frame and previous frame buttons, the next/previous key buttons, or the rewind and to-end buttons. Temporarily Disabling Preprocessing Especially when animating a ROI, it can be convenient to temporarily turn off most of the image preprocessor, to help you find what you are looking for. The enable button (a stoplight) at the lower right will do this. The color modifications, level adjustment, blur, down-sampling, channel selection, and ROI are all disabled by the enable button. The padding and lens distortion are not affected, since they change the image geometry—you do not want that to change or you can not then place the ROI in the correct location. Disabling Prefetch SynthEyes reads your images into RAM using a sophisticated multithreaded prefetch engine, which runs autonomously much of the time when nothing else is going on. If you have a smaller machine or are maybe trying to run some renders in the background, you can turn off theShot/Enable prefetchsetting on the main menu. Get Going!You don’t have to wait for prefetch to finish after you open a shot. It doesn’t need courtesy. You can plough ahead with what you want to do; the prefetcher is designed to work quietly in the background. Correcting Lens Distortion Most animation software assumes that the camera is perfect, with no lens distortion, and the camera s optic axis falls exactly in the center of the image. Of course, the real world is not always so accommodating. SynthEyes offers two methods to determine the lens distortion, either via a manual process that examines the image curvature of lines that are straight in the real world, or as a result of the solving process, if enough reliable trackers are available. SynthEyes accommodates the distortion, but your animation package probably will not. As a consequence, a particular workflow is required that we will introduce shortly and in the section on Lens Distortion. The image preprocessing system lets distortion be removed, though after doing so, any tracking must be repeated or corrected, making the manual distortion determination more useful for this purpose. The image preprocessing dialog offers a spinner to set the distortion to match that determined. A Scale spinner allows the image to be scaled up or down a bit as needed to compensate for the effect of the distortion removal. You can animate the distortion and scale to correct for varying distortion during zoom sequences. Image Centering The camera s optic axis is the point about which the image expands or contracts as objects move closer or further away. Lens distortion is also centered about this point. By convention of SynthEyes and most animation and compositing software, this point must fall at the exact center of the image. Usually, the exact optic center location in the image does not greatly affect the 3-D solving results, and for this reason, the optic center location is notoriously difficult to determine from tracking data without a laboratory-grade camera and lens calibration. Assuming that the optic axis falls in the center is good enough. There are two primary exceptions when an image has been cropped off-center, or when the shot contains a lot of camera roll. If the camera rolls a lot, it would be wise to make sure the optic axis is centered. Images can be cropped off-center during the first stages of the editorial process (when a 4 3 image is cropped to a usable 16 9 window), or if a film camera is used that places the optic axis allowing for a sound channel, and there is none, or vice versa (none is allowed for, but there is one). Image stabilization or pan/scan-type operations can also destroy image centering, which is why SynthEyes provides the tools to perform them itself, so they can be done correctly. Of course, shots will arrive that have been seriously cropped already. For this reason, the image preprocessing stage allows images to be padded up to their original size, putting the optic axis back at the correct location. Note that padding up is necessary, not even further cropping! It will be important to identify the degree of earlier cropping, to enable it to be corrected. The Fix Cropping (Pad) controls have two sets of three spinners, three each for horizontal and for vertical. Both directions operate the same way. Suppose you have a film scan such that the original image, with the optic axis centered, was 33 mm wide, but the left 3 mm were a sound track that has been cropped. You would enter 3 mm into the Left Crop spinner, 30 mm into the Width Used spinner, and 0 mm into the Right Crop spinner. The image will be padded back up to compensate for the imagery lost during cropping. The Width Used spinner is actually only a calculation convenience; if you later reentered the image preprocessing dialog you would see that the Left Crop was 0.1 and the Width Used 1.0, ie that 10% of the final width was cropped from the left. The Fix Cropping (Pad) controls change the image aspect ratio and image resolution values on the Open Shot dialog, since the image now includes the padded regions. The padding region will not use extra RAM, however. Image Preparation Preset Manager It can be helpful to have several different sets of image preprocessor settings, tailored to different regions of the image, or to different moving objects, or different sections of the overall shot. A preset manager permits this; it appears as a drop-down list at the center-bottom of the image preparation dialog. You can create a preset by selecting the New Preset item from the list; you will be prompted for the name (which you can later change via Rename). The new preset is created with the current settings, your new preset name appears and is selected in the preset manager listbox, and any changes you make to the panel continue to update your new preset. (This means that when you are creating several presets in a row, create each preset before modifying the controls for that preset.) Once you have created several presets, you can switch among them using the preset manager list. All changes in the image preprocessor controls update the preset active at that time. If you want to play for a bit without affecting any of your existing presets, switch to thePreset Mgr.setting, which acts as a catchall (it disconnects you from all presets). If you then decide you want to keep the settings, create a new preset. To reset the image preprocessor controls (and any active preset) back to the initial default conditions, which do nothing to the incoming image, select the Reset item from the preset manager. When you are creating several presets, this can be handy, allowing you to start a new preset from scratch if that is quicker. Finally, you can delete the current preset by selecting the Delete item. Rendering Sequences for Later Compositing The tracking results provided by SynthEyes will not produce a match within your animation or compositing package unless that package also uses the same padded, stabilized, resampled, and undistorted footage that SynthEyes tracked. This is also true of SynthEyes s perspective window. Use the Save Sequence button on the Image Preparation dialog s Output tab to save the processed sequence. If the source material is 16 bit, you can save the results as 16 bit or 8 bit. You can also elect whether or not to save an alpha channel, if present. If the source has an alpha channel, but you are not given the option to save it, open the Edit Shot dialog and turn on the Keep Alpha checkbox. Output file formats include Quicktime, BMP, Cineon, DPX, JPEG, OpenEXR, PNG, SGI, Targa, TIFF(Mac only). Details of supported number of bits per channel and alpha availability vary with format and platform. If you have stabilized the footage, you will want to use this stabilized footage subsequently. However, if you have only removed distortion, you have an additional option that maximized image quality and minimizes the amount of changes made to the original footage you can take your rendered effects and run them back through the image preprocessor (or maybe your compositing package) to re-introduce the distortion and cropping specified in the image preprocessing panel, using the Apply It checkbox. This redistorted footage can then be composited with theoriginalfootage, preserving the match. The complexity of this workflow is an excellent argument for using high-quality lenses and avoiding excessively wide fields of view (short focal lengths). You can also use theSave Sequence dialogto render an alpha mask version of theroto-spline informationand/orgreen-screenkeys.
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誰でもお気軽にご質問ください！ 暇な人がきっと迅速かつ丁寧に、 それでいてまったりほろ苦く答えてくれると思います。 （よくある質問を考えるのが面倒だったのは言うまでもなくお察しください） 例： Ｑ．黒薔薇は廃人チームなの？？ Ａ．違うよ。ぜんぜん違う。 ちょっとプレイ期間が長いだけのライトユーザーだよ＾＾ Ｑ．ミサカより御坂美琴の方が圧倒的に可愛いよ？ -- とうま (2009-04-01 14 35 25) Ａ．うん。そうだね。箱のほうがかわいいね。 ＞トーマ Ｑ．エゴだよそれは -- そそり勃て！絶倫丸！！ (2009-04-03 11 01 53) Ａ．ダンボールを再利用して箱を作ればそれはエコだよ。 Ｑ．いいえ違います、ミサカのほうがかわいいです -- すいか (2009-04-13 11 32 16) Ａ．だめだこいつ早く何とかしないと・・・ ＞ミサミサ Ｑ．どん空の人間からみたら廃人集団です -- Sparkler (2009-04-15 04 39 42) Ａ．あっちょんぶりけ。そんな馬鹿な。 Ｑ．任意のコンパクトで単純なゲージ群 G に対して R 4 上の自明でないヤン-ミルズ場の量子論が存在し、質量ギャップが存在することを示せるか？」 -- ウイルスバスター入れたらＯＳ吹っ飛んだ (2009-06-21 23 51 15) Ａ．そうだね、任意のコンバットで単細胞生物なゲジゲジ（ワラジムシかもしれない）の群れを吹っ飛ばしたり、ガッツのＧに対してＲ４という年齢制限を設けるのはヤン・デルの漁師論からして質量的差異がコメントの最後に”」”を付与されるのは当然の学会の公式的見解だったね。だからにして我々チーム：黒薔薇は最終兵器ウイルスバスターを使用して自己防衛的に君のＯＳを木っ端ミジンコに破壊せねばならなかったんだ。わかってくれるね？ Ｑ．ポアンカレ予想は一般化（高次元に拡張）できる。それは次のようなものである。n次元ホモトピー球面はn次元球面に同相であるこのようにポアンカレ予想をn次元に一般化するとn=2での成立は古典的な事実であり、n?4の場合は既に証明が得られている。n?5の時はスティーヴン・スメイルによって（1960年）、n=4の時はマイケル・フリードマンによって（1981年）証明された。両人とも、その業績からフィールズ賞を受賞している。スメイルの証明は微分位相幾何学的なものであったが、フリードマンの証明は純粋に位相幾何学的なものである。実際、フリードマンの結果はその直後にドナルドソンによる異種4次元ユークリッド空間（位相的には通常の4次元空間だが、微分構造が異なるもの）の発見へとつながった。以上よりオリジナルである3次元ポアンカレ予想のみを残し、高次元ポアンカレ予想は先に決着してしまった（もっとも、微分同相については4次元ポアンカレ予想も未解決と言われる）。数学的に厳密ではないが、たとえて言えば、宇宙の中の任意の一点から長いロープを結んだロケットが宇宙を一周して戻ってきて、ロープの両端を引っ張ってロープを全て回収できた場合、宇宙の形は概ね球体（＝ドーナツ型のような穴のある形、ではない）と言えるのか -- 読んでないけどきっとそれがあの作品の良さでもあるんじゃないかな。 (2009-06-21 23 56 01) Ａ．うん。n=2の時はスティーヴン・スメイル、n=4の時はマイケル・フリードマンが球体だね。つまり読んでないけどそれが俺とお前と大五郎現象と呼ばれる、不思議液体が流体力学的にシュレーディンガーの方程式「１＋１＝田」や覇道方程式の適用範囲内である昔の友は今の友状態であると学術的に言えるね。それがその作品のよさかはわからないな。だって読んでないもの。 Ｑ．北海道の人は雪食べるんですか？ -- 名無しさん (2009-09-22 18 19 46) Ａ．北海道在住の方がいるのかいないのか、はたまた田舎に帰っているのか僕にはよく分からないけど代わりにわかる範囲でお答えさせて頂きます。その前に一つ、天然の雪には大気中の塵や嫌な成分が含まれていたりします。地上に積もっている綺麗そうな粉雪であっても、通りかかった犬がマーキン【こなぁあああゆきぃいいいいい】していた箇所であった等の可能性も有りますし、できるだけ【こなぁああああゆきぃいいいい】しない方がいいでしょう。なのでもしかしたら北海道人は【こなぁあああゆきぃいいいいい】【こなぁあああゆきぃいいいいい】う。私は食しましたけどね【こなぁあああゆきぃいいいいい】。こなゆき。 Ｑ．明日来てくれるかな？ -- 名無しさん (2010-02-08 03 19 01) Ａ． , -─‐- ､. / ,r─--ゝ、 . ,' / --＼ l ＼ ─‐- 〉 . l i⌒ｉ| ━ / | | h |! ｀ヽ . │ ヽ._| _,ノ r_ _） 明日から |. / | l`====ゝ がんばるんじゃない…… ／＼ / l ヾ=＝ﾃ ＜今日…今日「だけ」 ／＼. ＼/ ヽ､.＿＿_,ﾉ がんばるんだっ…！ / ＼. ＼ / 今日をがんばった者……… / ＼ ＼ / 今日をがんばり始めた者にのみ… / ＿/ ＼ l 明日が来るんだよ………！ ／ ｀ヽ.＼| …と言うわけで…今日来てくれるよっ……！ Ｑ．君も一発屋になってみないか？ -- 名無しさん (2010-05-20 03 18 06) Ａ．不発よりはいいでしょ。 ┌───────┐ │夏だねぇ│ └─ν─────┘ /)／) /／／ . (＠＠)⌒＞‥..‥ `/´ ￣ Ｑ．あの ぼく チーム入りたいです どうすればなれますか？ どうしたら飴もらえますか？ -- 名無しさん (2010-05-25 17 54 46) Ａ．調べてみたよ！ チームの作成方法／飴の収集方法 えっ質問の意図と違うって？嫌だなぁ、それはラグオルで聞いてよね！ Ｑ．フルーツオレってどんな果物入ってるんですか？ -- 名無しさん (2010-05-27 08 30 39) Ａ．恐らく・・・ここからは推察になりますが宜しいでしょうか？ まず「フルーツオレ」と言う単語を分析しましょう。まず「フルーツオレ」とは単語として「フルーツ」と「オ・レ」に分かれていると考えられます。この「オ」"au" は前置詞 "a" +男性型単数形定冠詞 「レ」"le" の縮約型であり、"lait" は牛乳のことである。つまり男の飲み物である事が窺えるね？ちなみにサモア独立国にオ・レ・アオ・オ・レ・麻呂という称号があるらしいけど関係ないそうです。 さて、この「フルーツ」とは何なのか。質問された方がどんな果物が入っているのか？と仰っている通り、「Fruit」とは直訳で「果物」になるわけです。しかし、少々待って欲しい。この「Fruit」には重大な意味が含まれています。辞典によると、1 果物, 果実／2 種子をもつ実／3 農産物／4 所産, 成果, 結果, 報い, 利益／5 同性愛の男, ホモセクシャル。 お分かりいただけただろうか。「フルーツ・オ・レ」とは果実のように甘美な漢的エキスが入った飲み物だったんだよ！！！！！ Ｑ．童貞ですか？ -- 名無しさん (2010-06-16 15 41 20) Ａ． /＼＿＿_／＼ ／ ⌒ ⌒ ＼ | （ ●）, 、（●）u | お前俺に惚れてるのか？ | ,,ノ(、_, )ヽ、,,U | |////,.‐＝‐、 //// | ＼ ｀ニニ´ . ／ ／｀ー‐--‐‐―´´＼ Ｑ．明々後日の次ってなんていえばいいですか？ -- 名無しさん (2010-06-17 22 36 29) Ａ．みょうみょうごにちの次はみょうみょうみょうごにちだと思います。その次はみょうみょうみょうみょうごにちだと思います。そして更にその次は…いや明々後日の次はもしかしたらみょみょみょうごにちかもしれないなぁ。いやいやもしかしたらみょーーーごにち？みょーん。 ⇒本当の答え Ｑ．あの 質問にこたえてくれてありがとうございました ぼく、チームに入りたいです サスケっていうキャラなのでおねがいします -- 名無しさん (2010-06-18 16 46 36) Ａ．お近くの係員までお尋ね下さいませ。なお、その他ご不明な点などがございましたらお近くの係員までお尋ね下さいませ。詳しくはお近くの係員までお尋ね下さいませ。 Ｑ．火星人ってなんですか。 -- 名無しさん (2010-08-23 19 34 21) Ａ．火星人とは・・・まず火星人を知る為には我々の前世にまで遡らなくてはならない。だがカマキリの雄というのは、子作りをした後に雌に食べられてしまうので注意だ。 さてカマキリと前世の話は実は全く関係ないので置いておき、本題の火星人とは何か。その昔、古代ローマではカセ・Yeah・仁と名乗る男がおったそうな。彼はホイミスライムのような姿をしておった。彼の隣人が後の火星人であったというのが今の所の最有力説である。これにはかのインド人、インディアンもビックリである。 Ｑ．今度の日曜日暇ですか？ 僕は暇じゃないです。 -- 名無しさん (2010-09-07 10 25 50) Ａ．自分が暇ではないのに他人の暇が気になる、まずはその真意を推し量ろうと思う。考えられる可能性としては３つ。１つ目：俺に惚れている。２つ目：俺に掘れている。３つ目：むしろ掘りたい、いや掘られたい。 ・・・このように推理している事から導き出される私の答えはこうだ！暇だ！ Ｑ．最近火星人がガルドを捜し求めているらしいです。 -- 名無しさん (2010-09-09 22 53 56) Ａ．火星にもガルドがあるんですか？驚きです。今度遊びに行ってもいいですか？ Ｑ．オナニーってなんですか -- unk (2010-09-10 11 42 50) Ａ．前略～中略～後略。 Ｑ．その火星人かＰＳＯやってて 黒薔薇知ってるらしいんですが・・・？ -- 名無しさん (2010-09-11 02 14 57) Ａ．火星人orＰＳＯをやるという表現に対し、我々の考えを改めなけければいけないようだね。ゲームの固有名詞である「ＰＳＯ」に対して、orを使うという事はつまり、ここでいう「火星人」というものはゲームと対等の意義を持つ動的単語と言えますね？それでいて我々PSOのチーム「黒薔薇」を知っていると言う事はつまり・・・どういうことだってばよ？日本語でおｋ。 Ｑ．まっまんこ！？ -- unk (2010-09-14 23 01 19) Ａ．いいえ、マ●コデラックスです。 Ｑ．うわさを聞いて登場だぜ -- 火星人 (2010-09-19 20 18 34) Ａ．水星人がログアウトしました。 金星人がログアウトしました。 地球人がログアウトしました。 ブーマもログアウトしました。 Ｑ．ちんちんをこすると気持ちいいんですよね？ ぼくちんちんついてないのですが どうすればいいですか＞＜ -- 名無しさん (2010-10-17 06 02 28) Ａ．はい、ボクもついてないです＾＾ Ｑ．面白い人を自称するのはサムイのでお止めになられた方がよろしいと思いますよ。 （特にスパーク○ーさん） -- 名無しさん (2010-10-27 11 31 55) Ａ．はい、ごめんなさい、もうしません＾＾ Ｑ．ここで紹介されてる隆Dq貢って人はドラゴンネストで 煙たがられている同じ名前の人いるんだけど、同一人物ってことでおｋ？ -- 名無しさん (2010-11-09 16 18 16) Ａ．はい、存じません＾＾ Ｑ．半年近く入ってないのに、俺の人気は衰えることを知らないんですね -- Sparkler (2010-12-06 13 09 57) Ａ．はい、あと１年はもちます＾＾ ↓↓質問はここから！↓↓ ミサカより御坂美琴の方が圧倒的に可愛いよ？ -- とうま (2009-04-01 14 35 25) エゴだよそれは -- そそり勃て！絶倫丸！！ (2009-04-03 11 01 53) いいえ違います、ミサカのほうがかわいいです -- すいか (2009-04-13 11 32 16) どん空の人間からみたら廃人集団です -- Sparkler (2009-04-15 04 39 42) 任意のコンパクトで単純なゲージ群 G に対して R 4 上の自明でないヤン-ミルズ場の量子論が存在し、質量ギャップが存在することを示せるか？」 -- ウイルスバスター入れたらＯＳ吹っ飛んだ (2009-06-21 23 51 15) ポアンカレ予想は一般化（高次元に拡張）できる。それは次のようなものである。 n次元ホモトピー球面はn次元球面に同相である このようにポアンカレ予想をn次元に一般化するとn=2での成立は古典的な事実であり、n?4の場合は既に証明が得られている。n?5の時はスティーヴン・スメイルによって（1960年）、n=4の時はマイケル・フリードマンによって（1981年）証明された。両人とも、その業績からフィールズ賞を受賞している。スメイルの証明は微分位相幾何学的なものであったが、フリードマンの証明は純粋に位相幾何学的なものである。実際、フリードマンの結果はその直後にドナルドソンによる異種4次元ユークリッド空間（位相的には通常の4次元空間だが、微分構造が異なるもの）の発見へとつながった。以上よりオリジナルである3次元ポアンカレ予想のみを残し、高次元ポアンカレ予想は先に決着してしまった（もっとも、微分同相については4次元ポアンカレ予想も未解決と言われる）。 数学的に厳密ではないが、たとえて言えば、宇宙の中の任意の一点から長いロープを結んだロケットが宇宙を一周して戻ってきて、ロープの両端を引っ張ってロープを全て回収できた場合、宇宙の形は概ね球体（＝ドーナツ型のような穴のある形、ではない）と言えるのか -- 読んでないけどきっとそれがあの作品の良さでもあるんじゃないかな。 (2009-06-21 23 56 01) 北海道の人は雪食べるんですか？ -- 名無しさん (2009-09-22 18 19 46) 明日来てくれるかな？ -- 名無しさん (2010-02-08 03 19 01) 君も一発屋になってみないか？ -- 名無しさん (2010-05-20 03 18 06) あの ぼく チーム入りたいです どうすればなれますか？ どうしたら飴もらえますか？ -- 名無しさん (2010-05-25 17 54 46) フルーツオレってどんな果物入ってるんですか？ -- 名無しさん (2010-05-27 08 30 39) 童貞ですか？ -- 名無しさん (2010-06-16 15 41 20) 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