約 5,694,606 件
https://w.atwiki.jp/touhoukashi/pages/4749.html
【登録タグ EastNewSound Lyrical Crimson T いずみん 曲 月まで届け、不死の煙】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/touhoukashi/pages/1659.html
【登録タグ Demystify Feast こ めらみぽっぷ 二色蓮花蝶 〜 Red and White 凋叶棕 奉 曲】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/pyopyo0124/pages/17.html
CHAPTER I UP CHAPTER III CHAPTER II Matthew Cuthbert is surprised Matthew Cuthbert and the sorrel mare jogged comfortably over the eight miles to Bright River. It was a pretty road, running along between snug farmsteads, with now and again a bit of balsamy fir wood to drive through or a hollow where wild plums hung out their filmy bloom. The air was sweet with the breath of many apple orchards and the meadows sloped away in the distance to horizon mists of pearl and purple; while "The little birds sang as if it were The one day of summer in all the year." Matthew enjoyed the drive after his own fashion, except during the moments when he met women and had to nod to them-- for in Prince Edward island you are supposed to nod to all and sundry you meet on the road whether you know them or not. Matthew dreaded all women except Marilla and Mrs. Rachel; he had an uncomfortable feeling that the mysterious creatures were secretly laughing at him. He may have been quite right in thinking so, for he was an odd-looking personage, with an ungainly figure and long iron-gray hair that touched his stooping shoulders, and a full, soft brown beard which he had worn ever since he was twenty. In fact, he had looked at twenty very much as he looked at sixty, lacking a little of the grayness. When he reached Bright River there was no sign of any train; he thought he was too early, so he tied his horse in the yard of the small Bright River hotel and went over to the station house. The long platform was almost deserted; the only living creature in sight being a girl who was sitting on a pile of shingles at the extreme end. Matthew, barely noting that it WAS a girl, sidled past her as quickly as possible without looking at her. Had he looked he could hardly have failed to notice the tense rigidity and expectation of her attitude and expression. She was sitting there waiting for something or somebody and, since sitting and waiting was the only thing to do just then, she sat and waited with all her might and main. Matthew encountered the stationmaster locking up the ticket office preparatory to going home for supper, and asked him if the five-thirty train would soon be along. "The five-thirty train has been in and gone half an hour ago," answered that brisk official. "But there was a passenger dropped off for you--a little girl. She s sitting out there on the shingles. I asked her to go into the ladies waiting room, but she informed me gravely that she preferred to stay outside. `There was more scope for imagination, she said. She s a case, I should say." "I m not expecting a girl," said Matthew blankly. "It s a boy I ve come for. He should be here. Mrs. Alexander Spencer was to bring him over from Nova Scotia for me." The stationmaster whistled. "Guess there s some mistake," he said. "Mrs. Spencer came off the train with that girl and gave her into my charge. Said you and your sister were adopting her from an orphan asylum and that you would be along for her presently. That s all I know about it--and I haven t got any more orphans concealed hereabouts." "I don t understand," said Matthew helplessly, wishing that Marilla was at hand to cope with the situation. "Well, you d better question the girl," said the station- master carelessly. "I dare say she ll be able to explain-- she s got a tongue of her own, that s certain. Maybe they were out of boys of the brand you wanted." He walked jauntily away, being hungry, and the unfortunate Matthew was left to do that which was harder for him than bearding a lion in its den--walk up to a girl--a strange girl--an orphan girl--and demand of her why she wasn t a boy. Matthew groaned in spirit as he turned about and shuffled gently down the platform towards her. She had been watching him ever since he had passed her and she had her eyes on him now. Matthew was not looking at her and would not have seen what she was really like if he had been, but an ordinary observer would have seen this A child of about eleven, garbed in a very short, very tight, very ugly dress of yellowish-gray wincey. She wore a faded brown sailor hat and beneath the hat, extending down her back, were two braids of very thick, decidedly red hair. Her face was small, white and thin, also much freckled; her mouth was large and so were her eyes, which looked green in some lights and moods and gray in others. So far, the ordinary observer; an extraordinary observer might have seen that the chin was very pointed and pronounced; that the big eyes were full of spirit and vivacity; that the mouth was sweet-lipped and expressive; that the forehead was broad and full; in short, our discerning extraordinary observer might have concluded that no commonplace soul inhabited the body of this stray woman- child of whom shy Matthew Cuthbert was so ludicrously afraid. Matthew, however, was spared the ordeal of speaking first, for as soon as she concluded that he was coming to her she stood up, grasping with one thin brown hand the handle of a shabby, old-fashioned carpet-bag; the other she held out to him. "I suppose you are Mr. Matthew Cuthbert of Green Gables?" she said in a peculiarly clear, sweet voice. "I m very glad to see you. I was beginning to be afraid you weren t coming for me and I was imagining all the things that might have happened to prevent you. I had made up my mind that if you didn t come for me to-night I d go down the track to that big wild cherry-tree at the bend, and climb up into it to stay all night. I wouldn t be a bit afraid, and it would be lovely to sleep in a wild cherry-tree all white with bloom in the moonshine, don t you think? You could imagine you were dwelling in marble halls, couldn t you? And I was quite sure you would come for me in the morning, if you didn t to-night." Matthew had taken the scrawny little hand awkwardly in his; then and there he decided what to do. He could not tell this child with the glowing eyes that there had been a mistake; he would take her home and let Marilla do that. She couldn t be left at Bright River anyhow, no matter what mistake had been made, so all questions and explanations might as well be deferred until he was safely back at Green Gables. "I m sorry I was late," he said shyly. "Come along. The horse is over in the yard. Give me your bag." "Oh, I can carry it," the child responded cheerfully. "It isn t heavy. I ve got all my worldly goods in it, but it isn t heavy. And if it isn t carried in just a certain way the handle pulls out--so I d better keep it because I know the exact knack of it. It s an extremely old carpet-bag. Oh, I m very glad you ve come, even if it would have been nice to sleep in a wild cherry-tree. We ve got to drive a long piece, haven t we? Mrs. Spencer said it was eight miles. I m glad because I love driving. Oh, it seems so wonderful that I m going to live with you and belong to you. I ve never belonged to anybody--not really. But the asylum was the worst. I ve only been in it four months, but that was enough. I don t suppose you ever were an orphan in an asylum, so you can t possibly understand what it is like. It s worse than anything you could imagine. Mrs. Spencer said it was wicked of me to talk like that, but I didn t mean to be wicked. It s so easy to be wicked without knowing it, isn t it? They were good, you know--the asylum people. But there is so little scope for the imagination in an asylum--only just in the other orphans. It was pretty interesting to imagine things about them--to imagine that perhaps the girl who sat next to you was really the daughter of a belted earl, who had been stolen away from her parents in her infancy by a cruel nurse who died before she could confess. I used to lie awake at nights and imagine things like that, because I didn t have time in the day. I guess that s why I m so thin--I AM dreadful thin, ain t I? There isn t a pick on my bones. I do love to imagine I m nice and plump, with dimples in my elbows." With this Matthew s companion stopped talking, partly because she was out of breath and partly because they had reached the buggy. Not another word did she say until they had left the village and were driving down a steep little hill, the road part of which had been cut so deeply into the soft soil, that the banks, fringed with blooming wild cherry-trees and slim white birches, were several feet above their heads. The child put out her hand and broke off a branch of wild plum that brushed against the side of the buggy. "Isn t that beautiful? What did that tree, leaning out from the bank, all white and lacy, make you think of?" she asked. "Well now, I dunno," said Matthew. "Why, a bride, of course--a bride all in white with a lovely misty veil. I ve never seen one, but I can imagine what she would look like. I don t ever expect to be a bride myself. I m so homely nobody will ever want to marry me-- unless it might be a foreign missionary. I suppose a foreign missionary mightn t be very particular. But I do hope that some day I shall have a white dress. That is my highest ideal of earthly bliss. I just love pretty clothes. And I ve never had a pretty dress in my life that I can remember--but of course it s all the more to look forward to, isn t it? And then I can imagine that I m dressed gorgeously. This morning when I left the asylum I felt so ashamed because I had to wear this horrid old wincey dress. All the orphans had to wear them, you know. A merchant in Hopeton last winter donated three hundred yards of wincey to the asylum. Some people said it was because he couldn t sell it, but I d rather believe that it was out of the kindness of his heart, wouldn t you? When we got on the train I felt as if everybody must be looking at me and pitying me. But I just went to work and imagined that I had on the most beautiful pale blue silk dress--because when you ARE imagining you might as well imagine something worth while--and a big hat all flowers and nodding plumes, and a gold watch, and kid gloves and boots. I felt cheered up right away and I enjoyed my trip to the Island with all my might. I wasn t a bit sick coming over in the boat. Neither was Mrs. Spencer although she generally is. She said she hadn t time to get sick, watching to see that I didn t fall overboard. She said she never saw the beat of me for prowling about. But if it kept her from being seasick it s a mercy I did prowl, isn t it? And I wanted to see everything that was to be seen on that boat, because I didn t know whether I d ever have another opportunity. Oh, there are a lot more cherry-trees all in bloom! This Island is the bloomiest place. I just love it already, and I m so glad I m going to live here. I ve always heard that Prince Edward Island was the prettiest place in the world, and I used to imagine I was living here, but I never really expected I would. It s delightful when your imaginations come true, isn t it? But those red roads are so funny. When we got into the train at Charlottetown and the red roads began to flash past I asked Mrs. Spencer what made them red and she said she didn t know and for pity s sake not to ask her any more questions. She said I must have asked her a thousand already. I suppose I had, too, but how you going to find out about things if you don t ask questions? And what DOES make the roads red?" "Well now, I dunno," said Matthew. "Well, that is one of the things to find out sometime. Isn t it splendid to think of all the things there are to find out about? It just makes me feel glad to be alive-- it s such an interesting world. It wouldn t be half so interesting if we know all about everything, would it? There d be no scope for imagination then, would there? But am I talking too much? People are always telling me I do. Would you rather I didn t talk? If you say so I ll stop. I can STOP when I make up my mind to it, although it s difficult." Matthew, much to his own surprise, was enjoying himself. Like most quiet folks he liked talkative people when they were willing to do the talking themselves and did not expect him to keep up his end of it. But he had never expected to enjoy the society of a little girl. Women were bad enough in all conscience, but little girls were worse. He detested the way they had of sidling past him timidly, with sidewise glances, as if they expected him to gobble them up at a mouthful if they ventured to say a word. That was the Avonlea type of well-bred little girl. But this freckled witch was very different, and although he found it rather difficult for his slower intelligence to keep up with her brisk mental processes he thought that he "kind of liked her chatter." So he said as shyly as usual "Oh, you can talk as much as you like. I don t mind." "Oh, I m so glad. I know you and I are going to get along together fine. It s such a relief to talk when one wants to and not be told that children should be seen and not heard. I ve had that said to me a million times if I have once. And people laugh at me because I use big words. But if you have big ideas you have to use big words to express them, haven t you?" "Well now, that seems reasonable," said Matthew. "Mrs. Spencer said that my tongue must be hung in the middle. But it isn t--it s firmly fastened at one end. Mrs. Spencer said your place was named Green Gables. I asked her all about it. And she said there were trees all around it. I was gladder than ever. I just love trees. And there weren t any at all about the asylum, only a few poor weeny-teeny things out in front with little whitewashed cagey things about them. They just looked like orphans themselves, those trees did. It used to make me want to cry to look at them. I used to say to them, `Oh, you POOR little things! If you were out in a great big woods with other trees all around you and little mosses and Junebells growing over your roots and a brook not far away and birds singing in you branches, you could grow, couldn t you? But you can t where you are. I know just exactly how you feel, little trees. I felt sorry to leave them behind this morning. You do get so attached to things like that, don t you? Is there a brook anywhere near Green Gables? I forgot to ask Mrs. Spencer that." "Well now, yes, there s one right below the house." "Fancy. It s always been one of my dreams to live near a brook. I never expected I would, though. Dreams don t often come true, do they? Wouldn t it be nice if they did? But just now I feel pretty nearly perfectly happy. I can t feel exactly perfectly happy because--well, what color would you call this?" She twitched one of her long glossy braids over her thin shoulder and held it up before Matthew s eyes. Matthew was not used to deciding on the tints of ladies tresses, but in this case there couldn t be much doubt. "It s red, ain t it?" he said. The girl let the braid drop back with a sigh that seemed to come from her very toes and to exhale forth all the sorrows of the ages. "Yes, it s red," she said resignedly. "Now you see why I can t be perfectly happy. Nobody could who has red hair. I don t mind the other things so much--the freckles and the green eyes and my skinniness. I can imagine them away. I can imagine that I have a beautiful rose-leaf complexion and lovely starry violet eyes. But I CANNOT imagine that red hair away. I do my best. I think to myself, `Now my hair is a glorious black, black as the raven s wing. But all the time I KNOW it is just plain red and it breaks my heart. It will be my lifelong sorrow. I read of a girl once in a novel who had a lifelong sorrow but it wasn t red hair. Her hair was pure gold rippling back from her alabaster brow. What is an alabaster brow? I never could find out. Can you tell me?" "Well now, I m afraid I can t," said Matthew, who was getting a little dizzy. He felt as he had once felt in his rash youth when another boy had enticed him on the merry-go- round at a picnic. "Well, whatever it was it must have been something nice because she was divinely beautiful. Have you ever imagined what it must feel like to be divinely beautiful?" "Well now, no, I haven t," confessed Matthew ingenuously. "I have, often. Which would you rather be if you had the choice--divinely beautiful or dazzlingly clever or angelically good?" "Well now, I--I don t know exactly." "Neither do I. I can never decide. But it doesn t make much real difference for it isn t likely I ll ever be either. It s certain I ll never be angelically good. Mrs. Spencer says--oh, Mr. Cuthbert! Oh, Mr. Cuthbert!! Oh, Mr. Cuthbert!!!" That was not what Mrs. Spencer had said; neither had the child tumbled out of the buggy nor had Matthew done anything astonishing. They had simply rounded a curve in the road and found themselves in the "Avenue." The "Avenue," so called by the Newbridge people, was a stretch of road four or five hundred yards long, completely arched over with huge, wide-spreading apple-trees, planted years ago by an eccentric old farmer. Overhead was one long canopy of snowy fragrant bloom. Below the boughs the air was full of a purple twilight and far ahead a glimpse of painted sunset sky shone like a great rose window at the end of a cathedral aisle. Its beauty seemed to strike the child dumb. She leaned back in the buggy, her thin hands clasped before her, her face lifted rapturously to the white splendor above. Even when they had passed out and were driving down the long slope to Newbridge she never moved or spoke. Still with rapt face she gazed afar into the sunset west, with eyes that saw visions trooping splendidly across that glowing background. Through Newbridge, a bustling little village where dogs barked at them and small boys hooted and curious faces peered from the windows, they drove, still in silence. When three more miles had dropped away behind them the child had not spoken. She could keep silence, it was evident, as energetically as she could talk. "I guess you re feeling pretty tired and hungry," Matthew ventured to say at last, accounting for her long visitation of dumbness with the only reason he could think of. "But we haven t very far to go now--only another mile." She came out of her reverie with a deep sigh and looked at him with the dreamy gaze of a soul that had been wondering afar, star-led. "Oh, Mr. Cuthbert," she whispered, "that place we came through--that white place--what was it?" "Well now, you must mean the Avenue," said Matthew after a few moments profound reflection. "It is a kind of pretty place." "Pretty? Oh, PRETTY doesn t seem the right word to use. Nor beautiful, either. They don t go far enough. Oh, it was wonderful--wonderful. It s the first thing I ever saw that couldn t be improved upon by imagination. It just satisfies me here"--she put one hand on her breast--"it made a queer funny ache and yet it was a pleasant ache. Did you ever have an ache like that, Mr. Cuthbert?" "Well now, I just can t recollect that I ever had." "I have it lots of time--whenever I see anything royally beautiful. But they shouldn t call that lovely place the Avenue. There is no meaning in a name like that. They should call it--let me see--the White Way of Delight. Isn t that a nice imaginative name? When I don t like the name of a place or a person I always imagine a new one and always think of them so. There was a girl at the asylum whose name was Hepzibah Jenkins, but I always imagined her as Rosalia DeVere. Other people may call that place the Avenue, but I shall always call it the White Way of Delight. Have we really only another mile to go before we get home? I m glad and I m sorry. I m sorry because this drive has been so pleasant and I m always sorry when pleasant things end. Something still pleasanter may come after, but you can never be sure. And it s so often the case that it isn t pleasanter. That has been my experience anyhow. But I m glad to think of getting home. You see, I ve never had a real home since I can remember. It gives me that pleasant ache again just to think of coming to a really truly home. Oh, isn t that pretty!" They had driven over the crest of a hill. Below them was a pond, looking almost like a river so long and winding was it. A bridge spanned it midway and from there to its lower end, where an amber-hued belt of sand-hills shut it in from the dark blue gulf beyond, the water was a glory of many shifting hues--the most spiritual shadings of crocus and rose and ethereal green, with other elusive tintings for which no name has ever been found. Above the bridge the pond ran up into fringing groves of fir and maple and lay all darkly translucent in their wavering shadows. Here and there a wild plum leaned out from the bank like a white-clad girl tip-toeing to her own reflection. From the marsh at the head of the pond came the clear, mournfully-sweet chorus of the frogs. There was a little gray house peering around a white apple orchard on a slope beyond and, although it was not yet quite dark, a light was shining from one of its windows. "That s Barry s pond," said Matthew. "Oh, I don t like that name, either. I shall call it--let me see--the Lake of Shining Waters. Yes, that is the right name for it. I know because of the thrill. When I hit on a name that suits exactly it gives me a thrill. Do things ever give you a thrill?" Matthew ruminated. "Well now, yes. It always kind of gives me a thrill to see them ugly white grubs that spade up in the cucumber beds. I hate the look of them." "Oh, I don t think that can be exactly the same kind of a thrill. Do you think it can? There doesn t seem to be much connection between grubs and lakes of shining waters, does there? But why do other people call it Barry s pond?" "I reckon because Mr. Barry lives up there in that house. Orchard Slope s the name of his place. If it wasn t for that big bush behind it you could see Green Gables from here. But we have to go over the bridge and round by the road, so it s near half a mile further." "Has Mr. Barry any little girls? Well, not so very little either--about my size." "He s got one about eleven. Her name is Diana." "Oh!" with a long indrawing of breath. "What a perfectly lovely name!" "Well now, I dunno. There s something dreadful heathenish about it, seems to me. I d ruther Jane or Mary or some sensible name like that. But when Diana was born there was a schoolmaster boarding there and they gave him the naming of her and he called her Diana." "I wish there had been a schoolmaster like that around when I was born, then. Oh, here we are at the bridge. I m going to shut my eyes tight. I m always afraid going over bridges. I can t help imagining that perhaps just as we get to the middle, they ll crumple up like a jack-knife and nip us. So I shut my eyes. But I always have to open them for all when I think we re getting near the middle. Because, you see, if the bridge DID crumple up I d want to SEE it crumple. What a jolly rumble it makes! I always like the rumble part of it. Isn t it splendid there are so many things to like in this world? There we re over. Now I ll look back. Good night, dear Lake of Shining Waters. I always say good night to the things I love, just as I would to people. I think they like it. That water looks as if it was smiling at me." When they had driven up the further hill and around a corner Matthew said "We re pretty near home now. That s Green Gables over--" "Oh, don t tell me," she interrupted breathlessly, catching at his partially raised arm and shutting her eyes that she might not see his gesture. "Let me guess. I m sure I ll guess right." She opened her eyes and looked about her. They were on the crest of a hill. The sun had set some time since, but the landscape was still clear in the mellow afterlight. To the west a dark church spire rose up against a marigold sky. Below was a little valley and beyond a long, gently-rising slope with snug farmsteads scattered along it. From one to another the child s eyes darted, eager and wistful. At last they lingered on one away to the left, far back from the road, dimly white with blossoming trees in the twilight of the surrounding woods. Over it, in the stainless southwest sky, a great crystal-white star was shining like a lamp of guidance and promise. "That s it, isn t it?" she said, pointing. Matthew slapped the reins on the sorrel s back delightedly. "Well now, you ve guessed it! But I reckon Mrs. Spencer described it so s you could tell." "No, she didn t--really she didn t. All she said might just as well have been about most of those other places. I hadn t any real idea what it looked like. But just as soon as I saw it I felt it was home. Oh, it seems as if I must be in a dream. Do you know, my arm must be black and blue from the elbow up, for I ve pinched myself so many times today. Every little while a horrible sickening feeling would come over me and I d be so afraid it was all a dream. Then I d pinch myself to see if it was real--until suddenly I remembered that even supposing it was only a dream I d better go on dreaming as long as I could; so I stopped pinching. But it IS real and we re nearly home." With a sigh of rapture she relapsed into silence. Matthew stirred uneasily. He felt glad that it would be Marilla and not he who would have to tell this waif of the world that the home she longed for was not to be hers after all. They drove over Lynde s Hollow, where it was already quite dark, but not so dark that Mrs. Rachel could not see them from her window vantage, and up the hill and into the long lane of Green Gables. By the time they arrived at the house Matthew was shrinking from the approaching revelation with an energy he did not understand. It was not of Marilla or himself he was thinking of the trouble this mistake was probably going to make for them, but of the child s disappointment. When he thought of that rapt light being quenched in her eyes he had an uncomfortable feeling that he was going to assist at murdering something--much the same feeling that came over him when he had to kill a lamb or calf or any other innocent little creature. The yard was quite dark as they turned into it and the poplar leaves were rustling silkily all round it. "Listen to the trees talking in their sleep," she whispered, as he lifted her to the ground. "What nice dreams they must have!" Then, holding tightly to the carpet-bag which contained "all her worldly goods," she followed him into the house. CHAPTER I UP CHAPTER III 今日 - | 昨日 - | Total - since 04 June 2007 last update 2007-06-05 01 32 53 (Tue)
https://w.atwiki.jp/elvis/pages/1990.html
Fruits of Winter Harrap?Bernard Clavel Castle of Books Chronicle Books Llc (Juv)?Bernard ClavelYan Nascimbene Spaniard, The Harrap?Bernard Clavel Cargo Pour L'enfer Pocket?Bernard Clavel Les Petits Bonheurs Michel albin SA,France?Bernard Clavel La Revolte a Deux Sous Michel albin SA,France?Bernard Clavel La Lumiere Du Lac Pocket?Bernard Clavel Iroquoise (Easy Reader) Accent Educational Publishers Ltd?Bernard Clavel La Guingette Editions 84?Bernard Clavel Lord of the River Collins?Bernard ClavelE Walter? Les grands malheurs Bernard Clavel Le Voyage Du Pere Editions 84?Bernard Clavel Wo die Baeume den Himmel beruehren Schneekluth Verlag Kg?Bernard Clavel Traumland Schneekluth Verlag Kg?Bernard Clavel Kinder im Elend AT Verlag?Bernard Clavel Leyendas De Montanas Y Bosques Norma S a Editorial?Bernard Clavel L' Iroquoise (Facile a Lire) Grafisk?Bernard Clavel Abendlaeuten Schneekluth Verlag Kg?Bernard Clavel Strom des Lichts Schneekluth Verlag Kg?Bernard Clavel Leyendas Del Mar Norma S a Editorial?Bernard Clavel Les roses de Verdun. interforum editis?Bernard Clavel Goldene Wildnis. Droemer Knaur?Bernard Clavel Truphemus (Maitres D'hier Et D'aujourd'hui) La Bibliotheque des Arts (FR)?Bernard ClavelCharles Juliet?Rene Deroudille?Jean-Jacques Lerrant? Wo der Ahorn Fruechte traegt. Droemer Knaur?Bernard Clavel Traumland. Btb?Bernard Clavel Goldene Wildnis. Ein kanadischer Abenteuer- Roman. Goldmann Wilhelm GmbH?Bernard Clavel Wo die Baeume den Himmel beruehren. Btb?Bernard Clavel Wo der Ahorn Fruechte traegt Schneekluth Verlag Kg?Bernard Clavel Nacht ueber Malataverne Ravensburger Buchverlag G?Bernard Clavel Nacht ueber Malataverne. Ravensburger Buchverlag G?Bernard Clavel Pirates du Rhone. interforum editis?Bernard Clavel La Table du Roi. interforum editis?Bernard Clavel Meurtre sur le Grandvaux interforum editis?Bernard Clavel La saison des loups. Les colonnes du ciel, 1 interforum editis?Bernard Clavel
https://w.atwiki.jp/oper/pages/2990.html
第１幕 フィレンツェの聖マリア教会の前の広場、聖ヨハネの祝日 No.1 イントロダクション ケッコ、乞食たち 今日はフィレンツェの守護聖人ヨハネの祝日、 教会の門の前はものすごい人だかりだ。 老いも若きも、富める者も貧しき者も、 とまることなく群衆がなだれ込んで来る。 俺たち乞食にはもってこいの稼ぎ時だ！ 懇願し、拝んで立ってれば、今日はたっぷり入ってくる！ オ慈悲ヲ、オ憐レミヲ、腹ペコデ死ニソウデス。 ケッコ お前、アンセルモ、そこに立て、ジャコメット、お前はあそこだ！ティタ ナナは俺のそば、各々持ち場について、 ひたすら憐れっぽくおすがりする、稼いだものはみんなで分ける。 さぁ早く、さっさと持ち場につくんだ。 レオネット （こっそり出て来て） ベアトリーチェ夫人が僕を待ってる、可愛い人よ、なんてずる賢い！ ご亭主はまだ旅行中、奥方は退屈している。 そこで僕に鍵をくれた、行き方はよく分かってる。 合唱 トララ ラ ラ、走レ、市場ニ一ッ飛ビシテ楽シモウ。 レオネット 君たちは歌ってなさい、僕は抜ける。 （家の中に姿を消す） ケッコ サッサト前ヘ、注意しろ。サッサト前ヘ！俺のする通りにしろ！ 合唱 いい天気、陽が射して外に出たくなる。 手を動かしたくなって、殺風景な白壁を花環で飾る。 オイーラ、オイラ 道々は色とりどりに飾られ、みんなの顔も幸せそう。 ココ見テモ、ソコ見テモ、何モカモ元気クレル。 上見テモ、下見テモ、何モカモ楽シミニ誘ウ。 遊ボウ、サァ、サァ、行コウ、オイラ！ いい天気、陽が射して 等々。 そう、今朝フィレンツェは町中、喜びに溢れている、 我らが町の守護聖人ヨハネの祝日だから。 乞食たち オ慈悲ヲ、オ憐レミヲ、腹ペコデ死ニソウデス。 合唱 嘆きは無用、楽しくて足萎えまでもが踊り出す。 ほら、学生らがやって来る、いつだって喜びが生れる所へはどこへでも こちらへ、こちらへ、おめでとう。 学生たち 僕らは気楽な大学生、ここではバラが咲き誇っている！ 僕らはこの歓喜の声を今すぐ伝えるつもりだ！ 仲間たちよ、君らの歌をここで聞かせてくれ！ 思い切り声をあげて僕らの歌を楽しく響かせよう。 その歌はあらゆる美女の心をとりこにし、 その感謝の眼差しは歌い手を最高に幸せにしてくれる！ 合唱 イタリア、愛ノ女神ヴィーナスノ故郷ガ呼吸スルト 木ノ枝ハマタ広ガッテ、愛ニ生キ返ル。 みんな楽しみにしている！ この時を喜びに捧げよ！ いい天気、陽が射して、等々。 （屋台の本屋が台車を引いて登場） 屋台の本屋 あの人気のシリーズの新作が出たよ、誰か買わんかね？誰か？ 合唱 新作だって？ 急いで行こう。 屋台の本屋 急がないで、すぐにご期待にそうよ。 新作だよ、出たばかりだよ。 聞いてびっくり、急いで買ってね！ まずはこれ、サッケッティの物語、 そう、上手いこと書くね、すばらしい！ いかに見事などんでん返しがあるか、 すべてがおさまり、上手くいく！ これが彼の新作「粉屋と修道院長」！ 合唱 何だって？ 「粉屋と修道院長」だって。 屋台の本屋 バイオッコ銅貨10、ただ同然！ ここ、フィレンツェ生まれの鋭い作家だ、 気晴らしにはもってこいだ、いいね、 その作風は溌剌、生き生きとして、燃えるよう。 しっかり聞いてね、君らのスキャンダルの友、 これは「枢機卿の女友達」だ！ 合唱 「枢機卿の女友達」だって！ 屋台の本屋 バイオッコ銅貨15､法外な安値だ！ 他の誰とも違う、比類なき面白さならやっぱり ぴったりくるのはジョヴァンニ・ボッカチオ！ 合唱 ボッカチオ！ ボッカチオ！ 屋台の本屋 彼には未だ作品になってない、君らに言いたいことがいっぱいある。 今まで誰もしたことのない工夫とユーモアに溢れてる。 彼の最新作は、スピノロッチョとゼッパ。 女たち いいじゃない、面白そう！ 男たち 嘘八百だ。恥を知れ！ 屋台の本屋 そこから亭主は、復讐の仕方を学ぶ、 これを読むと、抱腹絶倒。 女たち 真実をついている、辛辣だわ！ 男たち 全く無意味だ、頭がおかしい！ 屋台の本屋 特に大事なのは、これが事実だということ、 最近ここで起こったことだ、こと細かに書いてある！ その人生から真実と事実を読むのだ。 最新作を買ったり買ったり、１冊１リラ。 男たち でっち上げだ、大胆不敵、無礼な！ 恥を知れ、ちぇっ！ 女たち ハハ、見てごらん、カンカンに怒ってる、 作家さんはよく知ってるもんね。 男たち 奴の手からその紙屑を破り捨てろ！ 奴を地獄へ！ 失せやがれ！ ボッカチオヲ引キズリ下ロセ！ 地獄ヘ落チロ！ 等々。 女たち ダメよ、うっちゃって、私らは読みたいわ！ ボッカチオ万歳！ この怒り方を見てよ！ 騒ぎ立て、叫びまくる。ハハハ、笑わずにいられる？ あんなに叫びまくるのは、ハハハ、本当のことが書かれてるからよ。 ハハ！ その通り！ 私らにはボッカチオがいる！ おしゃべりしながら、いつも才気に溢れている。でも あんたらの怒り方が、あんたらを笑いものにしてるんだよ！ 男たち 恥を知れ！ 黙れ！ 俺らが奴にどこかで出くわしてるだと！ そんなことはない！ あいつが俺らを侮辱していいわけがないだろう？ そうだ、ダメだ、あいつめ！ 何処かで俺らが奴に感づいたら、匕首を構えろ！ 俺らの怒りに奴は震え上がるぞ、ならず者め！ 女たち あんたらの脅しに彼は震えあがったりはしないよ、 そんな奴らを怖がるものか！ あんたらはまず彼を捕まえて、それから縛り首にするんだろ！ 私らがいる限り、あんたらには捕まえられないよ。 男たち 奴をひっ捕まえてやる、滅多打ちにしてやる！ 殺してやる！ なぶり殺ししてやりたい、あいつを！ 黙れ！ 女たち やだね！ 男たち 性悪女！ 女たち ばか！ 男たち がみがみ婆あ！ 女たち アホ！ 私らの爪を甘く見るんじゃないよ！ さもないといい結果にならないよ、 私らの爪のことは分かってるよね、ちくしょう！ 男たち 俺らのげんこつを甘く見るな、 さもないといい結果にならないぞ、 俺らのげんこつは分かってるな、ちくしょう！ 男女とも 茶番劇はもうたくさん、 はらわたが煮えくりかえる！ さぁ来い！ 男たち さぁ来い、性悪女！ 女たち さぁ来い、アホ！ 屋台の本屋 （舞台裏で） あの人気のシリーズの新作が出たよ！ 男たち （突進して） あんな本、読ませてなるものか、 罪滅ぼししてもらおう。 女たち （急いで行く） あの本買わなくちゃ、 紙は大切に、代わるものはない。 No.2 セレナードとアンサンブル スカルツァ 可愛い子ちゃん、聞いておくれ、 俺の切ないこの愛のため息を！ 大好きなお前に、キスを送るよ、 恋やつれするほどのこの思い。 俺の歌、フィルリルリ、フィルリルレラ、 この響き、フィルリルリ、フィルリルレラ、 ウンと言って、フィルリルラ、傍にいるのは、フィルリルラ、 お前の一番愛する亭主だよ。 レオネット （ベアトリーチェの家の中から叫ぶ） 大変だ、助けてくれ！ スカルツァ （びっくりして中断する） レオネット こん畜生！ スカルツァ 俺を避ける、お前と別れる、 俺たちそうなりそうだったこともある！ でもお前の傍にやっぱりいるよ、 おぉお前にまた会える喜び！ 俺の歌、フィルリルリ、フィルリルレラ、等々 ベアトリーチェ （家の中から） 助けて、誰か、早く！ スカルツァ （震えて） あれはベ、ベ、ベアトリーチェの声だ。どうしたんだ？ ベアトリーチェ 助けて、早く来て！ スカルツァ あいつを助けに行きたいが、脚が震えて！ ベアトリーチェ （外に跳び出て来て） 助けて！ （家の中から剣のぶつかり合う音が聞える） スカルツァ 前へ進め？ 勇気を持て！ は、あいつだ、よかった！ 可愛い女房、真っ青な顔して！ 何があった？ おぉ、言ってくれ、何が？ ベアトリーチェ スカルツァ！ あんた！ いいところに来てくれたわ、 何ていいタイミング、天の采配！ いい具合に来てくれて、嬉しいわ！ スカルツァ 何をおびえているんだ？ ベアトリーチェ 怖くて！ スカルツァ 言ってくれ。 ベアトリーチェ 言えないわ！ でも、黙って、聞いてね、そしたら怖くて震えるわ！ たった今私の部屋に、かっこいい男が絶望して入り込んできたの。 「マダム、助けて！追い駆けられてる、 命を狙われてる、ここに匿ってください！」 私はその人を隠して、ドアを閉めた。あぁ、そこへまたひとりの騎士が！ それもまた負けず劣らずかっこいい男なのよ。 激怒してこう言うの。「あの臆病者を何処に隠した！」 誓って言おうとしたけど、聞く耳を持たなかった、 私を押しのけ、剣を振り回し、切るわ突くわ！ 私はもうふらふらで、叫んで、逃げて、あぁ！ 有難いことに、あんたが近くにいてくれる、 私を支えて、倒れそう！ スカルツァ 奇妙な出来事！ とても不思議だ！ 俺は不安でたまらない！ ベアトリーチェ その人若くてかっこよかった、色白で血色がよくて、 目からは愛の情熱が輝いていた！ ボッカチオ （舞台裏で） 待て、切り刻んでやる、悪党め！ スカルツァ （心配そうに） 奴らだ、こっちに来るぞ！ レオネット （舞台裏で） 仮面をつけても分かっている、くせ者め！ スカルツァ 奴らだ、剣で戦ってる、振り回して、襲い掛かる！ （レオネットとボッカチオは剣を振り回しながら家の中から出て来る） レオネット （防戦しながら） ここでお前が血を流すまでは おちおち眠れぬ。 ボッカチオ （レオネットに突進しながら） 立て、この弱虫、 今にくし刺しにしてやる。 ベアトリーチェ 誰か来て！ 誰か助けて！ こっちへ来て！ ボッカチオ、レオネット さあこい、やるか！ 殺してやる。さあこい、やるか、気をつけろ！ かかってこい、この弱虫！ スカルツァ とんでもなく恐ろしいことが！ 仲裁する奴は、誰もいないのか？ 奴らはすっかり頭がおかしい。 あぁ、誰も助けてくれないのか？ ベアトリーチェ （独白） あの二人、上手いことやるわ！ ボッカチオ 臆病者！ 女たらし！ 覚えていろ、 のがすものか、今に成敗してやる！ レオネット 俺に謝れ、一気に行くぞ！ これでも受けろ。 （スカルツァは仲裁しようとするが、二人から襲われる） スカルツァ あぅ、あぅ、これでは俺が襲われる！ ボッカチオ、レオネット 邪魔する奴は、用心しろ！ 阻止する奴は、やっつけるぞ！ スカルツァ 奥さん、あいつら騒がしとこう！俺らが中に入ろぅ！ スカルツァ、ベアトリーチェ それが多分一番いい！ スカルツァ そして誰も中に入らんように、鍵かけよう。 ベアトリーチェ 家ん中入ろう。 ボッカチオ、レオネット お前を切り刻んでやる！ スカルツァ 怖くてここから動けない。 ベアトリーチェ 来てよ！ ボッカチオ 死ネ！ レオネット ごろつきめ！ スカルツァ クタバレ！ ボッカチオ 臆病者！ 女たらし！ 等々。 学生たち （急いで集って来て） 喧嘩だぞ！やれやれ！ 喧嘩のある所に僕らは行く！冗談でも本気でも！ ベアトリーチェ 人が増えてる、このアホ！ 怖気づいてうろたえて！ スカルツァ 人が増えてる、俺はアホだ！ どうしていいか、分からない。 ボッカチオ、レオネット 踏み込め、守れ、突撃！ 最後に勝つのは俺だ！ 学生たち （喧嘩しながら） 結構な憂さ晴らしだ、やれやれ！ ちゃんと打ち込めば、冗談でも最後は本気になる。 ベアトリーチェ あの人、この茶番を本当だと思ってる！ 計略は実にうまくいった。 ボッカチオ、レオネット さあ来い、踏み込め、守れ、突け、 今に永遠の眠りに就かせてやる！ スカルツァ あぁ、さっきからずっとやっていて、 まだどちらも倒れない。 イザベッラ、ボッカチオ、学生たち、民衆 剣が光り唸ろうとも、危険はない。 撃ちこみ唸りをあげようとも、見せかけだけ。 楽譜通りに撃ってるだけで、拍子は崩さない。 何て愉快な作品、何て見事な音楽！ スカルツァ 剣が恐ろしい唸り声をあげ、 右へ左へ音を立てて撃ちこまれる。。 ここにいてはまわりは危険がいっぱい！ 楽譜通りに撃ちこまれているが、俺は用心しないと。 ミスすることもあるから、俺は逃げておこう！ ボッカチオ、レオネット、学生たち 臆病者、女たらし、 俺に謝れ、等々。 ベアトリーチェ 上手いこといったわ、あたしの勝ち、作戦はうまくいった。 あの人まだ震えてる、あの哀れなバカ！ スカルツァ 四方八方からずっと危険が迫ってくる！ No.3 リートと合唱 ボッカチオ ひとりの若者がそこに立っていた。 遥か向こうのある人の方を窺っていた。 その人がやがて近づいて来る、女だ、それから男。 その美しい女は血がたぎっているように見える、 その瞳からは愛の炎が燃えている。 品のよい夫の顔はというと、燃えてはいない。 そこに立って若者は、火のような眼差しを送る。 愛に応えてくれるのを祈りながら、すると彼女は、送り返す。 彼は夢見心地、彼女は幸せ、彼女の夫もうっとりしている、 可愛い妻が上機嫌だから、そして三人の散歩は続く。 僕はといえばこの場で小説の新しいネタを見つけた、 即座にペンを手に取る。 こんな話は古臭い、ありふれている、 でもやっぱり面白いのだ。 前もって、分かっているに違いない、 これから何が起こるか！ この作品にあることは、誰にも分かりきっている、 眼差し、顔つき、言葉、歩み、すべてが関係している。 人間を知っていさえすれば、跡をたどるのは簡単だ。 味方してくれるのはユーモアとファンタジーだけ。 だがそこから名声を得るのは僕ではない、 君たちが僕に霊感を与え、この話を語ってくれたのだ！ レオネット、学生たち そう、彼に霊感を与えたのは、僕らだ、 この話を彼に語ったのは、僕らだ。 ボッカチオ 僕の話が、うすぼんやりしたままなら、 それは僕の罪だ、君たちがそう言うなら。 だが僕が思うに、こういう罪はしばしば稼ぎのネタでもあるのだ。 僕が出会いたいと思っていた人の中から 稀にある人が僕を恨んだりする。 誰もが言う「誰のことだか、もう分ってる。 これは私の友人のことだ！」と。 誰もが嬉しそうに手をこすって、囁く「あいつに起こったことそのままだ」と。 だが当の本人は自分のことだと最後まで思わない。 「これは隣人のことだ、賭けてもいい、 以前から私はあの女を怪しいと思ってたんだ。 スキャンダルだ、私は間違ってないだろう？ この発見は全く大したものだ！」 その時この善人には帽子の下に小さな角が二つついているが、 それを不愉快に思うこともない。 彼が帽子をとって挨拶すると、誰にでも見える、 ただ彼だけが、自分の額に生えているとは思っていない。 そうして僕は何百もの話を語ることができるだろう、 何も創り出す必要はない、必要なのはしっかり見ることだ。 この作品にあることは、眼差し、顔つき、等々。 （退場） No.4 小二重唱 フィアメッタ、ペロネッラ 明るく澄んだ鐘の音が鳴って、 信心深い人々を教会に招く、 敬虔な気持ちでミサに出掛け、 神様のことだけを思う！ ペロネッラ 教会へ行くのは大好き。 フィアメッタ （こっそり独白） あの若者は今日は何処にいるのかしら？ ペロネッラ この新しいドレス、長すぎるみたい。 フィアメッタ （同上） まだ見つけられない。 ペロネッラ （ドレスの丈を直しながら） 今日は遅れてはいけないわ、 だって私たちの守護聖人の日ですもの。 フィアメッタ （密かに） あぁ、あの人が来てくれさえしたら、 それだけで私はもう守られているようなもの。 二人 神様のことだけを思う、等々。 ペロネッラ どの家もきれいに花環で飾られていること！ フィアメッタ （独白） ではあの人は先にもう広場に来ているのね！ ペロネッラ 日曜日の晴れ着を着て町中が輝いている。 フィアメッタ あの時あの人はあそこに立って私の方を見ていた！ ペロネッラ 今日神様に私たちの過ちの許しを請うのです。 フィアメッタ あの人を見つけられさえすれば、それだけでいい。 二人 神様のことだけを思う、等々。 No.5 ロマンス フィアメッタ 私がただあなたを愛するなら、 誠実さはいらない。 この愛はほんのつぼみで、 誠実さはそのつぼみから出て来るの。 だからこのつぼみの世話をする、 それが美しく咲くように、 それが満開に花開くように、 目配りをして。 誠実であろうとなかろうと！ だってたとえ誠実でなくても 愛はしばしば燃え上る。 でも愛のない誠実さだけでは まだ誰も幸福にしない。 だからこのつぼみの世話をする、 それが美しく咲くように、 それが満開に花開くように、 目配りをして。 誠実であろうとなかろうと！ No.5a 合唱 合唱 明るく澄んだ鐘の音が鳴って、信心深い人々を教会に招く、 敬虔な気持ちでミサに行って来た、 今は清々しい気持ち。 No,6 二重唱 ボッカチオ （乞食の格好をして） 哀れな盲（めしい）にお恵みを、 哀れな定めにお情けを！ 慰めと希望をお与えください、 さすれば熱き感謝の気持ちをあなたに！ フィアメッタ （少し戻って） 今聞こえたのは？ 心臓がドキドキする！ そう、そうだわ！ あの人の声！ ボッカチオ （独白） 彼女がためらっている！ 考え込んでいる！ （大声で）哀れな盲にお恵みを、等々。 フィアメッタ （独白） 自分で乞食だと言って、 私に気づかれていないと思っている。 今に分かる、今に分かる、 このゲームがどう展開するか！ ボッカチオ ひと言、君の甘いひと言で 僕はすぐに大金持ちのように豊かになれる！ フィアメッタ ひと言？ ボッカチオ 心こめた、甘いひと言！ フィアメッタ ひと言？ ボッカチオ おぉ、僕にひと言話しかけて。 フィアメッタ ひと言、って言った？ ボッカチオ 後生だから！ フィアメッタ 私のひと言！ ボッカチオ ほんの甘いひと言で、僕は豊かになれる！ フィアメッタ 「たったひと言、たったひと言！」 それだけで、もう十分！ 私にはこの大胆なゲームが奇妙に、奇妙に、思われる！ その願い、その願いも慎ましくささやか、 やっぱり、やっぱり乞食には、用心しないと！ ボッカチオ そんなひと言、そんなひと言とよく言う、やたらによく、 彼女には僕の大胆なゲームが奇妙に、奇妙に、思われる。 この言葉だけで、もう終わり、もう終わりではない、 やっぱり恥知らずの乞食のままではいられない！ お願いだ、空しく請い願うだけではいやだ。 フィアメッタ 望みもなくあの人はここを立ち去ったりはしない、 この哀れな男の願いが私の心に響く！ 私は喜んで施しをしてあげたい、 だってあなたは視力を失ってしまっているから。 ボッカチオ そう、太陽の光が僕を眩ませて以来、 僕はこの世界の他のものが全て見えなくなった。 だが君の眼差しだけが この暗い夜をすぐに明るくすることができる！ フィアメッタ 今に分かる、彼の目的が何か、このゲームがどう展開するか！ ボッカチオ 君の眼差し、それだけが幸福をくれる、 僕に、光と生命を返してくれる！ フィアメッタ 眼差し？ ボッカチオ 僕をひと目でいいから見て！ すると、僕が失ったものが、戻ってくる！ フィアメッタ ひと目と言うの？ ボッカチオ 後生だから！ フィアメッタ 私の眼差し？ ボッカチオ 今すぐ優しい、甘い眼差しを僕に！ 二人 そんなひと目、そんなひと目、それだけで、もう十分！ 私/彼女にはこの大胆なゲームが奇妙に、奇妙に、思われる！ フィアメッタ その願い、その願いも慎ましくささやか、 やっぱり、やっぱり乞食には、用心しないと。 そのひと言、そのひと目が愛と幸福を告げる！ ボッカチオ この眼差しだけで、もう終わり、もう終わりではない、 やっぱり恥知らずの乞食のままではいられない！ 後生だから、僕に愛の甘い幸福をお恵みください！ フィアメッタ ではこれで、行かせて！ ボッカチオ まずお許しを フィアメッタ それから何？ ボッカチオ あなたの手を！ フィアメッタ だめ、あぁ、だめよ！乞食はいつだって慎ましくないと！ ボッカチオ さようなら、さようなら。 僕の大胆さを許してください！ 感謝します！ あなたのために祈ります！ フィアメッタ さようなら、さようなら！あなたはちゃんと慎ましくしないとだめよ。 許してあげる。えぇ、あなたを許してあげるわ！ 二人 さようなら！ No.7 フィナーレ 全員 町の立派な市民たちよ、考えてみろ、 我々がいかに扱われ侮辱されているか！ 不当に、先例なく、ひどく、扱われている、 我々の声は聞こえていない。 だがそんな風に我々を侮辱し嘲笑するボッカチオは 罰せられてはいない、気をつけろ！ たゆまず、奴を捕まえたら、奴に物語の償いをさせるか、させないか！ ロッテリンギ 市長は殆ど目を向けてくれない、 簡単にこう言う、お前らは余りに愚かだ！ 合唱 冗談ではすまされない！ ランベルトゥッチョ 奴は俺を見て、こう言った、 見るからに田舎者だ。 合唱 どうしてそれが分かった？ ロッテリンギ 俺にはこう言った、お前らはアホだ。 合唱 奇妙な話だ！ ランベルトゥッチョ 奴は俺を門前払いした。 合唱 分かりきったことだ！ ロッテリンギ、ランベルトゥッチョ 嘲りにはやはり復讐せねば、 蜂起するのはまず市民の義務だ。 そうだ、名誉回復だ、一斉蜂起だ！ ほかに手段はない！ 全員 やろう！我々は自分で蜂起するのだ！ 町の立派な市民たちよ、等々。 そうだ、自分であのならず者に、あいつに報いてやろう！ そうすれば名誉回復できる。一斉蜂起だ。一斉蜂起だ！ 今日は自分で革命を起こそう！ （スカルツァ以外、全員退場） 学生たち （舞台裏で） 床屋の親父！床屋の親父！床屋の親父！ いつまでここで待たせる気だ！ トファーノ、チチビオ （跳び出て来て、スカルツァを引っ張ってきて） おい、床屋！ さっさと鋏を持って、髭と髪を短くしてくれ。 スカルツァ 政府を転覆させてやるのだ。 トファーノ、チチビオ 入って来い！ スカルツァ （中に向って叫ぶ） いやだ、いやだ！ グイド、チスティ 髭を剃り、髪を切るのがあんたの仕事だろう！ スカルツァ （前と同様に） 今や政治が俺を呼んでいる！ トファーノ、チチビオ、グイド、チスティ 来い、仕事しろ、さっさとやれ！ スカルツァ 俺に構うな、地獄へ行け！ ベアトリーチェ お聞き、みんなが呼んでるよ！ さぁ石鹸！ レオネット スカルツァ親父！ そろそろ始めようじゃないか！ スカルツァ ここで市民の義務が俺を呼ぶ。 ベアトリーチェ 入って、自分の義務を果たしなさい！ ボッカチオ （出て来て） 客を待たせるんじゃない！ ベアトリーチェ そうよ行って、そうよ行って、待たせるんじゃない！ スカルツァ 灯りもないのに髭が剃れるか？ ボッカチオ、レオネット、学生たち 1時間も待ってるんだ、もう堪忍袋の緒が切れる！ スカルツァ 俺はここで革命を起こす、その主役が俺だ！ ベアトリーチェ 待ってよ、あんた、捕まえた！ （退場） ボッカチオ、レオネット、学生たち 待て、親父、報いを受けるぞ！ 俺らは家じゅうをぶち壊し、椅子も机も放りだすぞ！ スカルツァ そういう声で脅すのはやめてくれ！ 今に来るぞ！ 今に来るぞ！ 一斉蜂起はもう始まっている！ （男たちがピエトロを引っ張って来る） 合唱 とっ捕まえろ、破廉恥野郎め！この野郎にしかるべき報いだ！ ピエトロ （抵抗しながら） 皆さんがたは人違いされている！ ボッカチオ、レオネット、学生たち どうした？ 何の叫びだ？ 冗談か？ 喧嘩か？ ロッテリンギ、ランベルトゥッチョ、男性合唱 復讐する時が来た。 奴が我々を嘲笑した罪の報いだ！ ピエトロ 僕はその当人ではない、断言する！ ボッカチオ、レオネット、学生たち 誰を連れて来たんだ？ どうする気だ？ こいつは何者だ？ ロッテリンギ、ランベルトゥッチョ、男性合唱 待て、お前に教えてやる、 罪の報いは免れない、 ぶって殴って仕返ししてやる！ ピエトロ 違う、放してくれ、それは僕じゃない。 ロッテリンギ、ランベルトゥッチョ、男性合唱 これがスピネロッチョの分だ、こっちを見ろ、 これがゼッパの分、そして他の者たちの分も これでもか、これでもか、これでも喰らえ、 自業自得の罪の報いだ。 ブッフェルマッコ、カランドリン、トレッロ、カリセンディ、サラディンの分だ 罪の報いを受けろ！ ピエトロ 待ってくれ、僕の言うことも聞いてくれ、 僕はそんな名誉は受けられない！ 聞いてくれ、聞いてくれ、無駄な骨折りはやめろ、 君らは立派な紳士だろう、僕を信じてくれ、 それはまったくの誤解だ！ 聞いてくれ、聞いてくれ、間違いだ、 君らは完全に勘違いしている。 間違えられるのは名誉なことだが！ ボッカチオ、レオネット、学生たち 人違いだ、 ボッカチオと間違えている、僕らには分かっている。 待て、奴はボッカチオじゃない。 それは全くの勘違いだ、 放してやれ、放してやれ、違ってる！ 女性合唱 こっちへ来る、男たちが大勢やって来る。 見かけない人も、危険な状態で。 男性合唱 一人分ずつ罪の報いだ！ スカルツァ （ピエトロに気がついて） 待て、裏切者だって、待ってくれ！ この人を知ってる、これ以上するな、 旅の途中で一緒だった、ピエトロだ、パレルモのプリンスだ！ 合唱 （ピエトロを放して） プリンスだって、本当か？ スカルツァ 殿下！ アンサンブル ピエトロ 僕はプリンスだ、それで何か？ 君らの骨折は無駄だった お忍びできたのにばれてしまった、僕はボッカチオじゃない！ 楽しむのが目的だった。 殴ったことは水に流してやる、 僕の領民じゃないから、 だから慈悲深く許してやらなければ！ ベアトリーチェ、ボッカチオ、ロッテリンギ、レオネット あの方はプリンス、正真正銘、お忍びでここにやって来た、 楽しむのが目的だった、 やっと滅多打ちから解放された、 もともとあの方に向けてのものではないので 寛大な心でお許しくださるに違いない。 合唱 あぁ、あの方はプリンスだ、許してください！ 許してください、厚かましくも我らの手が 勘違いからあんたを叩いてしまった。 殿下、寛大な心で許し給え、 どうして我々がそんなことをしましょう、 殿下の胸を突くなど、 殿下を叩こうとしたのではありません、 ですから寛大な心でお許しを！ 屋台の本屋 （舞台裏で） あの人気のシリーズの新作が出たよ、 誰か買わんかね、誰か？ ロッテリンギ ボッカチオはとり逃がしたが、作品はまだある！ 急げ、本を没収だ、それから裁判だ！ 合唱 破廉恥漢を罰せよ、炎で復讐だ！ ロッテリンギ 立て兄弟よ、あの本屋を連れて来い！ 合唱 本を持ってこい、没収だ、 抵抗すると、お前も痛い目にあうぞ！ 屋台の本屋 何ですって、旦那がた、力づくで 商売を邪魔するんですか、うちの店を、営業を？ 代わりに税金を払ってくれるんですね。 ロッテリンギ さっさと本の山を積み上げろ、 乞食どもががらくたに火をつけてくれる！ 合唱 その通りだ、それがいい！ がらくたを全部火の中へ！ ボッカチオ （乞食の格好で、意に反して薪の山に火をつけながら） たとえ奴らが僕の作品を燃やそうとも、 真実は誤魔化されない、 消えることなく、不死鳥となって甦る！ ロッテリンギ、ランベルトゥッチョ、スカルツァ （進み出て） 罰当たりな本を、火に捧げてくれよう。 不愉快なものは、この世に無きものにしてやる。 赤々と燃えながら、火がたち昇る時、 悪意に満ちた作品はあらゆる力を失う！ ボッカチオ、レオネット、学生たち （同様に進み出て） この愚行は戦争だ、と我々は声を揃えて叫ぶ！ 真実よ生き残れ、ユーモアに幸あれ、 無きものにしようと奴らが火に捧げたものが 明るく輝いている、 いつかまたそれは世界を明るく照らす！ あの炎から不死鳥となって復活する。 合唱 炎を煽れ、火に風を送れ、風を送れ！ 罰当たりな本を、火に捧げてくれよう。 不愉快なものは、この世に無きものにしてやる。 ボッカチオ、レオネット、学生たち 奴らが弾劾するものは、等々。 合唱 炎を見よ、葉っぱのように1枚１枚燃え尽きていく、 風を送り洪水となれ、あおいで地獄の業火となれ！ ボッカチオ、レオネット、学生たち 怒りで紙を、地獄の業火で 奴らが焼き尽くし、荒廃させても、 その精神は消え失せない、不死鳥となって甦る。 ERSTER AKT Freier Platz vor der Kirche Santa Maria - am Johannestag Nr. 1 - Introduktion CHECCO und die BETTLER Heut am Tag des Patron von Florenz Ist am Kirchtore stark die Frequenz. Jung und alt, reich und arm, Ohne Halt drängt der Schwarm; Da wird reiche Ernte für uns Bettler sein! Wenn wir flehen, bittend stehen, trägt es heut uns etwas ein! Misericordia, pietà, moro di fame. CHECCO Du Anselmo, stehst da, Giacometto, du dort! Tita Nana mir nah, jeder hat seinen Ort, Recht erbärmlich nur geheult - und was einkommt, wird geteilt. Nur schnell, nur schnell an Ort und Stell ! LEONETTO geheimnisvoll auftretend Mich erwartet Frau Beatrice - holdes Weibchen, o wie schlau! ihr Gemahl ist noch auf Reisen, und es langweilt sich die Frau. Drum vertraut sie mir den Schlüssel, und ich kenn den Weg genau. CHOR Tralla la la, corri, vola alla fiera a giubilar. LEONETTO Singt nur, Freunde, ohne mich. Er verschwindet im Hause CHECCO Presto avanti - jetzt acht geben. Presto avanti! Macht s nur wie ich! CHOR Schöner Tag - Sonnenschein lockt hinaus und ladet ein. Alles reget flink die Hände, schmückt mit Kränzen kahle Wände. Oi---la oila Alle Strassen bunt geschmückt, alle Mienen froh beglückt, Mira quà, mira la; tutto invita a rallegrar. Guarda sù - guarda giu; tutto tenta ad alletar A giubilar. a esaltar, su, su - a vol oila! Schöner Tag - Sonnenschein usw., usw. Ja der Morgen findet ganz Florenz im Freudentaumel schon, Denn wir feiern ja den Namenstag von unserm Schutzpatron! DIE BETTLER Misericordia, pietà moro di fame. CHOR Keine Klage walte da, voll Lust soll tanzen selbst der Lahme. Seht, dort nahen die Studenten, stets dabei, wo Freude spriesst! - Hieher, hieher, seid froh begrüsst. STUDENTEN Flotte Studiosen, hier gibt s Rosen in der herrlichsten Pracht! Den Jubel zu teilen ohne Weilen sind wir bedacht! Gefährten, lasst eure Lieder hier ertönen! Mit vollstem Klang halle freudig unser Sang. Das Lied erobert die Herzen aller Schönen, ihr Dankesblick sei dem Sänger höchstes Glück! CHOR Italia, suol di Venere l amor in te respira Le frondi ancor si tenere ah si rivivon d amor. Alle seid lustbereit! Weiht die Zeit der Fröhlichkeit! Schöner Tag, Sonnenschein - usw. Der Kolporteur tritt mit einem Handwägelchen auf KOLPORTEUR Neueste Novellen aus den besten Quellen, wer kaufet? Wer? CHOR Novellen? Schnell hieher! KOLPORTEUR Langsam, will euch gleich zufriedenstellen, Neueste Novellen, eben erschienen! Höret und staunet und kauft geschwinde! Erst von Sacchetti sind hier Geschichten. Ja, der versteht sich auf das Dichten, Exzellent! Wie der vollendet die Handlung wendet; Wie alles passt. wie alles klappt! Hier sein "Müller und der Abt"! CHOR Wie heisst s? Der Müller und der Abt! KOLPORTEUR Zehn Bajocchi, - gar kein Geld! Hier. Fiorentino, der feinste Schreiber, Der angenehmste Zeitvertreiber - Eminent! Sein Stil ist blühend, lebendig, glühend! Merkt auf, ihr Freunde des Skandals! Hier ,,Die Freundin des Kardinals!" CHOR Die Freundin des Kardinals! KOLPORTEUR Fünfzehn Bajocchi, ein Schandpreis - Doch mit niemand zu vergleichen und von keinem zu erreichen Unterhält und stimmt uns froh Giovanni Boccaccio! CHOR Boccaccio! Boccaccio! KOLPORTEUR Der weiss vieles euch zu sagen, was sich niemals zugetragen. An Erfindung und Humor tat s ihm keiner je zuvor. Hier sein allerneuestes Thema - Spinolloccio und Zeppa! DIE WEIBER Ganz verlockend, int ressant! DIE MÄNNER Nichts als Lüge. Schmach und Schand ! KOLPORTEUR Daraus lernt der Ehemann, wie er Rache nehmen kann. Wenn ihr leset diese Sachen, werdet bersten ihr vor Lachen! DIE WEIBER Höchstwahrscheinlich, sehr pikant! DIE MÄNNER Lauter Unsinn, kein Verstand! KOLPORTEUR Und was ganz besonders war Die Geschichte ist auch wahr! Sie soll jüngst passiert hier sein, wie s zu lesen ist haarklein! Aus dem Leben treu und wahr. Kaufet meine neuste War . - Eine Lira s Exemplar. DIE MÄNNER Das ist erlogen, frech, ungezogen! Er soll sich schämen, pfui! DIE WEIBER Haha, o seht, wie zornentbrannt, Weil sie der Dichter hat erkannt. DIE MÄNNER Reisst den Wisch ihm aus der Hand! Jagt ihn zum Teufel! Fort mit ihm! Abassso Boccaccio! Va in malora! (usw.) DIE WEIBER Nein, lasst ihn gehn! Wir wollen s lesen! Evviva Boccaccio! Seht doch die Wut! Wie sie toben, wie sie schrein; hahaha; da soll man nicht lachen? Etwas Wahres muss dran sein; hahaha, weil sie gar so schrein! Haha! recht so! Uns bleibt Boccaccio! Doch unterhaltend, stets Geist entfaltend. Eure Wut aber macht, dass man über euch lacht! DIE MÄNNER Schämt euch! Schweiget! O wir treffen ihn schon irgendwo! Das geht nicht so! Der Wicht soll uns nicht höhnen? Nein, das soll er nicht, der Wicht! Wenn wir ihn irgendwo wittern, greift zum Dolch! Vor unsrer Wut soll er zittern, dieser Strolch! DIE WEIBER Vor eurem Drohen wird er schwerlich zittern, Er fürchtet wenig sich vor solchen Rittern! Erst müsst ihr ihn fangen, dann wird er gehangen! Solange wir da sind, kriegt ihr ihn nicht. DIE MÄNNER Wir packen ihn, wir prügeln ihn! Wir töten ihn! Wir woll n ihn massakrieren, den Wicht! Schweigt doch! - DIE WEIBER Just nicht! DIE MÄNNER Schlangen! DIE WEIBER Tölpel! DIE MÄNNER Zangen! DIE WEIBER Tröpfe! Trauet unsern Nägeln nicht. Sonst nimmt das Ding kein gutes End , ihr kennt doch unsre Nägel, Sapperment! DIE MÄNNER Traut nur unsern Fäusten nicht, Sonst nimmt das Ding kein gutes End , Ihr kennt ja unsre Fäuste, Sapperment! ZUSAMMEN Das Possenspiel wird jetzt zuviel - Es kocht das Blut in höchster Wut! Kommt nur heran! DIE MÄNNER Kommt doch, Schlangen! DIE WEIBER Kommt doch, Tröpfe! KOLPORTEUR hinter der Szene Neueste Novellen! Aus den besten Quellen! DIE MÄNNER fortstürzend Seine Bücher wollen wir Vernichten hier, sie büssen uns dafür! DIE WEIBER nacheilend Seine Bücher kaufen wir, schont das Papier, es kann ja nichts dafür! Nr. 2 - Serenade und Ensemble SCALZA Holde Schöne, hör diese Töne, Hör mein zärtliches Liebesgestöhne! Dir, o Süsse, send ich die Küsse, Send ich schmachtende Liebesgrüsse! Mein Gesang firuliruli, firulirulera. Dieser Klang firuliruli, firulirulera, Sagt dir ja, firulirula, wer dir nah, firulirula, Dein geliebtester Gatte ist da! LEONETTO Aus dem Hause Beatricens schreiend Weh mir! Hilfe! SCALZA hält betroffen inne LEONETTO Verdammte Katzen! SCALZA Mich zu meiden, von dir zu scheiden, O wie nahe ging das uns beiden! Doch zu stehen in deiner Nähen, O beglückendes Wiedersehen! Mein Gesang firuliruli, firulirulera - usw. BEATRICE Stimme im Hause Zu Hilfe! Rettet! Schnell! SCALZA zitternd Das war Be-be-beatrice! Was mag da geschehen sein? BEATRICE Zu Hilfe, eilet zur Stell ! SCALZA Ihr zu Hilfe möcht ich eilen, doch es zittert mein Gebein! BEATRICE heraustretend Hilfe! Man hört drinnen Degen klirren SCALZA Vorwärts? Mut! Ha, sie kommt - das ist gut! Liebes Weib, wie bist du blass! Was ist geschehen? Oh, sag doch - was? - BEATRICE Scalza! Mann! Du kommst mir g rade Wie geschickt durch Himmelsgnade! Nun bin ich schon wieder froh, du kommst gerade apropos! SCALZA Was drohet dir? BEATRICE s ist zum Verzagen! SCALZA So sage mir - BEATRICE s ist kaum zu sagen! Doch - schweig still - hör mich an - und erbebend bebe dann! In mein Kämmerlein drang soeben, voll Verzweiflung ein schöner Mann "Madonna, helft! Man verfolgt mich, Bedroht mein Leben, gönnet mir Zuflucht hier!" Ich versteckt ihn - schloss die Tür. Ach - da kam ein Kavalier! Der schien mir schöner fast noch als jener! - Wütend sprach er "Wo steckt dieser feige Wicht!" - Wollt ihn beschwören, er wollt nichts hören, Stösst mich zurück und fuchtelt und haut und sticht! Schon wank ich - rufe - fliehe - ach! Gottlob, da seh ich in deiner Näh mich Halte mich - mir wird schwach! SCALZA Sonderbares Abenteuer! Sehr kurios! Meine Angst ist ungeheuer, riesengross! BEATRICE Er war so jung und schön wie Milch und Blut; Aus seinem Auge strahlte Liebesglut! BOCCACCIO hinter der Szene Wart nur, ich frikassiere dich, Bube! SCALZA ängstlich Ha, sie sind s -- sie kommen schon heran! LEONETTO hinter der Szene Trotz deiner Larve kenn ich dich, Bandit! SCALZA Sie kommen, - mit - Degen. - sie drohen - mit Schlägen! - Leonetto und Boccaccio treten fechtend aus dem Haus LEONETTO parierend Ich geb mich nicht zur Ruh , Bis nicht dein Blut hier fliesst! - BOCCACCIO auf Leonetto eindringend So steh doch, Memme, du Gleich wirst du aufgespiesst! BEATRICE Weh uns! Wer hilft? Herbei! BOCCACCIO und LEONETTO So stelle dich und fürchte mich! ich töte dich! Stell dich! Nun denn, hab acht! Jetzt gilt s, du Memme! SCALZA Es ist entsetzlich schauderhaft! Ist niemand da, der Ordnung schafft? Von Sinnen sind sie ganz und gar. Ach, wer hilft aus der Gefahr? BEATRICE für sich Recht natürlich spielt das Paar! BOCCACCIO Feigling! Verführer! Du sollst dran denken, Will dir s nicht schenken, dich treff ich gleich! LEONETTO Büsse mir jetzt dafür, nimm den Streich! Dann parier diesen hier. Scalza versucht zu vermitteln und wird von beiden getroffen SCALZA Au! Au! Jeder Streich trifft mich zugleich! BOCCACCIO und LEONETTO Wer uns störet, hüte sich! Wer uns wehret, fällt durch mich! SCALZA Liebes Weib, lass sie hier schrein! Gehn wir hinein! SCALZA und BEATRICE Das wird wohl das beste sein! SCALZA Wir schliessen dann vor jedermann uns drinnen ein. BEATRICE Wir gehn hinein! BOCCACCIO und LEONETTO Ha, ich zeichne dir das Fell! SCALZA Ich kann vor Angst nicht von der Stell ! BEATRICE Komm doch! BOCCACCIO Mori! LEONETTO Schurke! SCALZA Crepa! BOCCACCIO Feigling! Verführer! usw. DIE STUDENTEN herbeieilend Da gibt es Rauferei! Haha, juchhei! Gern sind wir auch dabei! Ob Spass - ob Ernst es sei! BEATRICE Jetzt sind s noch mehr! Der Tropf! Vor Angst verliert er ganz den Kopf! SCALZA Jetzt sind s noch mehr! Ich Tropf! Ich weiss nicht, wo mir steht der Kopf! BOCCACCIO und LEONETTO Fall aus - parier - so stich! Zum Schluss bleib doch der Sieger ich! DIE STUDENTEN fechten Ha, wie uns das ergötzt, Haha, juchhei! Wenn s tüchtig Hiebe setzt. - Aus Spass wird Ernst zuletzt. BEATRICE Er hält den Scherz für wahr! Die List gelang uns ganz und gar. BOCCACCIO und LEONETTO Voran! Fall aus, parier - stoss zu, Bald send ich dich zur ew gen Ruh! SCALZA Ach, schon so lang stösst man herum, Und s fällt noch immer keiner um. BEATRICE, BOCCACCIO, STUDENTEN und VOLK Ob Degen blitzen und klirren, gibt s doch nicht Gefahr, Die Hiebe fallen und schwirren, flach nur immerdar. Hier setzt es Schläge nach Noten, drum ist s im Takt geboten! Welch ein lustiges Stück, ha, welch liebliche Musik! SCALZA Fürchterlich die Degen klirren. Rechts und links die Hiebe schwirren, Rings umgeben von Gefahr ist man dabei fürwahr! Es setzet Schläge hier nach Noten, drum scheint Vorsicht mir geboten. Leicht passiert ein Missgeschick - ziehn wir lieber uns zurück! BOCCACCIO, LEONETTO und STUDENTEN Feigling, Verführer, Büsse mir jetzt dafür! usw. BEATRICE Ja, es ist gelungen, der Sieg ist errungen, gelungen ist die List. Ha, er zittert, bebet, ach, der arme Narr! SCALZA Hier droht immerdar von allen Seiten uns Gefahr! Nr. 3 - Lied und Chor BOCCACCIO Ich sehe einen jungen Mann dort stehn. Nach einem fernen Gegenstande spähn; Der Gegenstand kommt näher bald heran - s ist Weib - und Mann Das hübsche Weibchen scheint von heissem Blut, Aus ihren Augen strahlet Liebesglut; Aus ihres würd gen Gatten Angesicht - da strahlt das nicht! Doch der Jüngling, der dort stehet, sendet einen Feuerblick, Der um Gegenliebe flehet - und sie - sendet ihn zurück. Er ist selig - sie beglücket; auch der Gatte scheint entzücket, Dass sein Weibchen gar so heiter, und zu drei n spaziert man weiter. Aber ich hab auf der Stelle meinen Stoff für die Novelle, Nehm die Feder gleich zur Hand. Der Gegenstand ist alt - bekannt - Und dennoch immer wieder int ressant. Nur muss man verstehen, im voraus zu sehen Was noch wird geschehen! - Das ist doch jedem klar, was hier im Werke war; Blick, Miene, Worte und Gang steh n im Zusammenhang. Kennt man die Menschen nur, kommt leicht man auf die Spur; Humor und Phantasie allein muss Beistand leihn. Doch davon gebühret mir ja nicht der Ruhm, Dazu habt ihr mich inspiriert - und die Novelle mir diktiert! LEONETTO und STUDENTEN Ja wir sind es, die ihn inspiriert, Wir sind s, die die Novelle ihm diktiert. BOCCACCIO Dass ich erzähl , was dunkel bleiben sollt , Ist meine einz ge Schuld, wenn ihr s so wollt; Doch diese Schuld kann oftmals, wie ich mein , Verdienst auch sein. Und g rad von denen, die ich treffen wollt , Hat selten einer mir darob gegrollt; Ein jeder sagt "Ich weiss schon, wer gemeint; Der ist s - mein Freund!" Jeder reibt sich froh die Hände, flüstert "Recht ist ihm geschehn." Doch der Richt ge will am Ende niemals sich getroffen sehn. ,, s gilt dem Nachbarn, wetten möcht ich, Längst war mir die Frau verdächtig. Ein Skandal ist s, hab nicht recht ich? Die Entdeckung ist ganz prächtig!" Dabei trägt auch dieser Gute ein Paar Hörnlein unterm Hute, Ohne dass es ihn verdriesst. Ein jeder sieht s - sobald er grüsst Nur er ahnt nicht, was seiner Stirn entspriesst! Viel hundert Geschichten könnt so ich berichten, Brauch gar nichts zu dichten - brauch nur zu sehen klar, Was hier im Werke war Blick, Miene - usw. Ab Nr. 4 - Duettino FIAMETTA und PERONELLA Die Glocken läuten hell und rein, Sie laden alle Frommen ein, Mit andachtsvollem Sinn geht man zur Messe hin, Und denket nur an Gott allein! PERONELLA Zur Kirche ist mein liebster Gang. FIAMETTA verstohlen für sich Wo heut der junge Mann nur steckt? PERONELLA Mein neues Kleid scheint fast zu lang. FIAMETTA wie oben Noch hab ich nirgends ihn entdeckt. PERONELLA antreibend Heut darf man zu spät nicht kommen, Gilt s doch unserm Schutzpatron. FIAMETTA heimlich Ach, wär er nur hergekommen, Wüsst ich bessern Schutz mir schon! BEIDE Und denken nur an Gott allein - usw. PERONELLA Wie sind die Häuser bunt bekränzt! FIAMETTA für sich Sonst war er auf dem Platze hier! PERONELLA Im Sonntagsstaate alles glänzt. FIAMETTA Dann stand er dort und blickt nach mir! PERONELLA Um Vergebung unsrer Sünden beten heute wir zum Herrn. FIAMETTA Wüsste ich nur ihn zu finden, ich vergäb s ihm ja so gern. BEIDE Und denken nur an Gott allein usw. Nr. 5 - Romanze FIAMETTA Hab ich nur deine Liebe - die Treue brauch ich nicht. Die Liebe ist die Knospe nur, aus der die Treue bricht. Drum sorge für die Knospe, dass sie auch schön gedeih , Auf dass sie sich in vollster Pracht entfalten mag, o gib drauf acht. Ob mit - ob ohne Treu ! Denn selbst auch ohne Treue hat Liebe oft entzückt, Doch Treue ohne Lieb allein hat keinen noch beglückt! Drum sorge für die Knospe, dass sie auch schön gedeih , Auf dass sie sich in vollster Pracht entfalten mag, o gib drauf acht. Ob mit - ob ohne Treu ! Nr. 5a - Chor CHOR Die Glocken läuten hell und rein - sie laden alle Frommen ein; Mit andachtsvollem Sinn ging man zur Kirche hin -- Um jetzt - dem Frohsinn sich zu weihn. Nr. 6 - Duett BOCCACCIO als Bettler Ein armer Blinder flehet um Erbarmen. O habet Mitleid mit dem Los der Armen! O spendet Trost und Hoffnung mir, Und heisser Dank wird Euch dafür! FIAMETTA zurückweichend Was hör ich? Wie pocht das herz mir bang! Ja, ja! s ist seiner Stimme Klang! BOCCACCIO für sich Sie zögert! Sie sinnt! laut Ein armer Blinder flehet um Erbarmen - usw. FIAMETTA für sich Da er ein Bettler sich genannt, Sei er von mir auch nicht erkannt. Will doch sehn - will doch sehn - Wie sich noch wendet - dieses Spiel! BOCCACCIO Ein Wort, ein süsses Wort von Euch Macht schnell mich gleich dem Krösus reich! FIAMETTA Ein Wort? BOCCACCIO Ein einzig trautes, süsses Wort! FIAMETTA Ein Wort? BOCCACCIO O sprecht zu mir ein einzig Wort. FIAMETTA Ein Wort, sagt ihr? BOCCACCIO Erbarmet Euch! FIAMETTA Ein Wort von mir! BOCCACCIO Mich macht es reich, das einz ge süsse Wort! FIAMETTA Nur ein Wort, - nur ein Wort! klingt so wenig, - ist so viel! Sonderbar - sonderbar - scheinet mir dies kühne Spiel! ist der Wunsch - ist der Wunsch auch bescheiden nur und klein, Muss man doch - muss man doch auf der Hut - bei Bettlern sein! BOCCACCIO Solch ein Wort - solch ein Wort saget oft unendlich viel Sonderbar - sonderbar scheinet ihr mein kühnes Spiel. Abgetan - abgetan ist s nicht mit dem Wort allein - Doch es darf unverschämt kein Bettler sein! Ich bitt gar schön, lasst mich nicht vergeblich flehn. FIAMETTA Ohne Hoffnung indes soll von hier er nicht gehn; Mich rührt des Armen bittend Flehn! Gern hätt ich Tröstung Euch gespendet - Da Ihr verlor t das Augenlicht! BOCCACCIO Ja, seit ein Strahl der Sonne mich geblendet, Sah alles andre auf der Welt ich nicht! Doch kann ein einz ger Blick von Euch Die dunkle Nacht erhellen gleich! FIAMETTA Will doch sehn, was sein Ziel - wie sich wendet dieses Spiel! BOCCACCIO Ein Blick von Euch - ein einz ger Blick gibt Seligkeit, Gibt Licht und Leben mir zurück! FIAMETTA Ein Blick? BOCCACCIO O spendet mir den einz gen Blick! Er gibt - was ich verlor - zurück! FIAMETTA Ein Blick sagt ihr? BOCCACCIO Erbarmet Euch! FIAMETTA Ein Blick von mir? BOCCACCIO Gewährt mir gleich den holden, süssen Blick! BEIDE Solch ein Blick - solch ein Blick, ist so wenig und doch viel! Sonderbar - sonderbar scheinet ihr/mir das kühne Spiel! FIAMETTA Ist der Wunsch - ist der Wunsch, auch bescheiden nur und klein, Muss man doch, muss man doch, auf der Hut bei Bettlern sein. Solch ein Wort, solch ein Blick, kündet Liebe und Glück! BOCCACCIO Abgetan abgetan ist s nicht mit dem Blick allein - Doch es darf, doch es darf unverschämt kein Bettler sein! Erbarmet Euch, gönnet mir der Liebe süsses Glück! FIAMETTA Und nun fort - lasst mich gehn! BOCCACCIO Erst vergönnt - FIAMETTA Was denn noch? BOCCACCIO Eure Hand! FIAMETTA Nein, oh, nein! Stets soll ein Bettler bescheiden sein! BOCCACCIO Lebet wohl, lebet wohl. Wollt die Kühnheit mir verzeihn! Habet Dank! In mein Gebet schliess ich Euch ein! FIAMETTA Lebet wohl, lebet wohl! - Hübsch bescheiden müsst Ihr sein. Ich verzeih . Ja - ich will Euch verzeihn! BEIDE Lebt wohl! Nr. 7 - Finale ALLE Ehrsame Bürger der Stadt o bedenkt, Wie man behandelt uns hat und gekränkt! Ungerecht, beispiellos und schlecht ist es - wie man verfährt, Unsre Stimme nicht hört. Doch Boccaccio, der so uns gekränkt und verlacht - Dem sei nicht seine Strafe geschenkt; habet acht! Ohne Rast, wenn wir ihn gefasst, - büss er die Geschicht - eher nicht! LOTTERINGHI Der Podestà dreht kaum sich um - Sagt kurz Ihr seid - zu dumm! CHOR Das geht über n Spass! LAMBERTUCCIO Mich schaut er an, und sagte dann Ihr scheint ein Grobian. CHOR Woher weiss er das? LOTTERINGHI Ihr seid ein Tropf, sagt er mir! CHOR Das ist sonderbar! LAMBERTUCCIO Mich warf er gar aus der Tür. CHOR Das war deutlich klar! LOTTERINGHI und LAMBERTUCCIO Doch gerächt sei der Hohn! Rebellion ist nun erste Bürgerpflicht. Ja, wir woll n Satisfaktion! Rebellion! Andres Mittel gibt es nicht! ALLE Drum voran! In Person machen wir Rebellion! Ha! Ehrsame Bürger der Stadt usw. Ja in Person gebt dem Kujon, gebt ihm den Lohn! Nur so wird uns Satisfaktion! Rebellion. Rebellion! Heute schon in Person machet Revolution! Alle ab, ausser Scalza STUDENTEN hinter der Szene Herr Barbier! Herr Barbier! Herr Barbier! Wie lange soll man warten hier! TOFANO und CHICHIBIO herauseilend, Scalza zurückhaltend Ei, Barbiere! Schnell die Schere, sollt uns Bart und Haare kürzen. SCALZA Ich muss die Regierung stürzen. TOFANO und CHICHIBIO Kommt herein! SCALZA hineinrufend Nein, nein! GUIDO und CISTI Zum Rasieren, zum Frisieren, ihr gehört in die Butik ! SCALZA wie vorher Jetzt ruft mich die Politik! - TOFANO, CHICHIBIO, GUIDO und CISTI Kommt, bedienet uns, eilet schnell! SCALZA Meinethalben geht zur Höll ! BEATRICE Hörst du, wie sie schrein! Seife sie doch ein! LEONETTO Meister Scalza! Wollet endlich doch beginnen! SCALZA Mich ruft Bürgerpflicht von hinnen. BEATRICE Hinein - tu deine Pflicht! BOCCACCIO heraustretend Lasst die Kunden warten nicht! - BEATRICE So geh - so geh - lass sie warten nicht! - SCALZA Kann ich rasieren ohne Licht? BOCCACCIO, LEONETTO und die STUDENTEN Wir warten eine Stunde, bald reisset die Geduld uns schon! SCALZA Ich mache hier Revolution, bin ja dabei die Hauptperson! BEATRICE Wart nur, Patron, dich krieg ich schon! ab BOCCACCIO, LEONETTO, STUDENTEN Wart nur, Patron, dir wird dein Lohn! Wir demolieren das ganze Haus und werfen Stühl und Bänk hinaus! SCALZA Lasst doch das Drohn in solchem Ton! Da sind sie schon! sie kommen schon! Die Rebellion beginnet schon! Männer schleppen Pietro herbei CHOR Packt ihn, den Frechen! Es werde dem Patron verdienter Lohn! PIETRO sich sträubend Die Herren irren sich gewiss in der Person! BOCCACCIO, LEONETTO, STUDENTEN Was ist das? Welch ein Geschrei? Ist das ein Spass? Rauferei? LOTTERINGHI, LAMBERTUCCIO, MÄNNERCHOR Zeit ist s zu rächen, Was er an uns verbrach durch seinen Hohn! PIETRO Der Rechte bin ich nicht, versichert hab ich s schon! BOCCACCIO, LEONETTO, STUDENTEN Wen bringt hier man daher? Was wollt ihr? Was soll der? LOTTERINGHI, LAMBERTUCCIO, MÄNNERCHOR Wart nur, wir lehren dich erzählen, Dein Lohn soll dir nicht fehlen. - Mit Püffen und Schlägen bezahlen wir dich! PIETRO Nein, lasst mich los, s ist nicht für mich! LOTTERINGHI, LAMBERTUCCIO, MÄNNERCHOR Für deinen Spinelloccio, schau her, Für deine Zeppa und dergleichen mehr Nimm dies, nimm das, empfang nur bar Dein wohlverdientes Honorar. Für Buffelmacco, Calandrin, Torello, Carisendi, Saladin Empfang nun bar dein Honorar! PIETRO So wartet doch, und schenket mir Gehör! Ich darf nicht akzeptieren solche Ehr ! Höret mich, höret mich, bemüht euch nicht, Ihr werten Herren, glaubet mir, Es herrscht ein Missverständnis hier! Höret mich, höret mich, es ist nicht wahr, Im Irrtum seid ihr ganz und gar - Ich danke für solch Honorar! BOCCACCIO, LEONETTO, STUDENTEN Der Fremde ist s, Und für Boccaccio hält man ihn, nun wird uns alles klar. O haltet ein, Boccaccio ist das nicht! Ein Irrtum waltet hier fürwahr Lasst ab, lasst ab, es ist nicht wahr! FRAUENCHOR Hierher - hier findet ihr fürwahr die ganze Heldenschar; Ein Fremder auch sogar, der in Gefahr. MÄNNERCHOR Für jedes einz ge Exemplar empfange bar dein Honorar! SCALZA erkennt Pietro Haltet, Hochverräter - haltet ein! Ich erkenn ihn - geht nicht weiter; War auf Reisen sein Begleiter - Pietro ist s - Palermos Prinz! CHOR ablassend von Pietro Er, der Prinz - ist s wahr? SCALZA Durchlaucht - Hoheit! Ensemble PIETRO Ein Prinz bin ich - was ist s denn mehr? Umsonst bemüht habt ihr euch sehr Enthüllt ist das Inkognito, noch bin ich nicht Boccaccio! Mich amüsieren war mein Zweck; Nun hab ich zwar die Schläge weg - Indes gehör n sie gar nicht mein, Drum muss ich gnädig wohl verzeihn! BEATRICE, BOCCACCIO, ISABELLA, LOTTERINGHI und LEONETTO Er ist ein Prinz, sonst gar nichts mehr, inkognito kam er hieher, Sich amüsieren war sein Zweck, Nun hat er zwar die Schläge weg - Doch da dieselben nicht gehören sein, So muss er gnädig auch verzeihn! CHOR Ja - er ist ein Prinz! Verzeiht! Verzeiht, wenn unsere freche Hand Euch hat berührt aus Missverstand. Durchlauchtigster, geruhet gnädig zu verzeihn, Wie hätten sonst wir können wag n Euch die durchlaucht gen Rippen zu zerschlag n, Die Schläge sollten ja für Euch nicht sein, Drum wollet gnädig uns verzeihn! KOLPORTEUR hinter der Szene Neueste Novellen ans den besten Quellen. Wer kaufet, wer? LOTTERINGHI Boccaccio ist entronnen, doch seine Werke nicht! Eilt, sie zu konfiszieren, dann halten wir Gericht! CHOR Bestrafet den Frechen, die Flamme soll rächen! LOTTERINGHI Auf Brüder, her mit dem Kolporteur! CHOR Die Bücher her, sie werden konfisziert, Bei Gegenwehr wirst selbst du massakriert! KOLPORTEUR Wie, meine Herrn, mit offner Gewalt Stör n Sie Gewerbe, Geschäft, Unterhalt? Hab ja dafür meine Steuern bezahlt. LOTTERINGHI Schnell erbaut den Scheiterhaufen dann, Jener Bettler zünd den Bettel an! CHOR So ist s recht - so ist s gut! Den ganzen Bettel in die Glut! BOCCACCIO als Bettler, zündet wider Willen den Scheiterhaufen an Mögen sie mein Werk verbrennen - Wahrheit lässt sich nicht verkennen, Wird nie vergehn, muss als Phönix auferstehn! LOTTERINGHI, LAMBERTUCCIO und SCALZA vortretend Was wir verdammen, das weihen wir den Flammen; Was uns missfällt, sei vernichtet für die Welt! Wenn lodernd in Klarheit das Feuer wallt empor, Sein Werk der Bosheit auch alle Macht verlor! BOCCACCIO, LEONETTO und STUDENTEN ebenfalls vortretend Krieg sei der Dummheit, rufen wir im Chore! Hoch leb die Wahrheit, heil sei dem Humore! Was zur Vernichtung den Flammen sie weihn, Strahlt in hellem Schein, Leuchtend erhellt es einst noch die Welt! Es wird aus den Flammen als Phönix erstehn. CHOR Schüret den Flammenschein, blast in die Glut hinein; blast hinein! Was wir verdammen, das weihen wir den Flammen; Was uns missfällt, sei vernichtet für die Welt! BOCCACCIO, LEONETTO, STUDENTEN Was sie verdammen - usw. CHOR Seht die Flamme, wie sie zehrt wie sie Blatt um Blatt verheert, Blast hinein in die Flut, fachet an die Höllenglut! BOCCACCIO, LEONETTO, STUDENTEN Lasst sie zehren, wild verheeren Das Papier mit Wut - in der Höllenglut, Wird der Geist doch nie vergehn, muss als Phönix auferstehn. この日本語テキストは、 クリエイティブ・コモンズ・ライセンス の下でライセンスされています。@ Aiko Oshio Suppé,Franz von/Boccaccio/II
https://w.atwiki.jp/elvis/pages/7864.html
Elementary Blueprint Reading for Machinists (Delmar Learning Blueprint Reading Series) Delmar Pub? David L. Taylor? DelmarPub? DavidL.Taylor? ジャンル別? Subjects-Engineering-Aerospace-AdvancedMechanics? Subjects-Engineering-Automotive? Subjects-Engineering-Civil-Mechanics? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Machinery? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Engineering-Mechanical-General? Subjects-Nonfiction-Automotive-Industry? Subjects-Professional&Technical-Engineering-Civil-Mechanics? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Machinery? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Aerospace-AdvancedMechanics? Subjects-Professional&Technical-Engineering-Automotive? Subjects-Professional&Technical-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Understanding Construction Drawings Delmar Pub? Mark W. Huth? DelmarPub? MarkW.Huth? ジャンル別? Subjects-Engineering-Civil-Construction-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Home&Garden-HomeDesign-Buildings&Construction? Subjects-Professional&Technical-Engineering-Civil-Construction-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Science-General Subjects-Science-Technology-General&Reference Modern Diesel Technology Electronic Diesel Engine Diagnosis Delmar Pub? Sean Bennett? DelmarPub? SeanBennett? ジャンル別? Subjects-Engineering-Automotive? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Engineering-Reference? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-Repair? Subjects-Nonfiction-Automotive-Trucks&Vans? Subjects-Nonfiction-Automotive-Mechanics-Engine? Subjects-Nonfiction-Automotive-Mechanics-FuelSystems? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Automotive? Subjects-Professional&Technical-Engineering-Reference? Subjects-Science-General Subjects-Science-Technology-General&Reference Automotive Service Inspection, Maintenance, And Repair, 2e + Natef Jobsheets A1-a8 Delmar Pub? Tim Gilles? Jack Erjavec? DelmarPub? TimGilles? JackErjavec? ジャンル別? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-Repair? Subjects-Science-Technology-General&Reference Modern Diesel Technology Electricity and Electronics Delmar Pub? Joseph Bell? DelmarPub? JosephBell? ジャンル別? Subjects-Engineering-Automotive? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Engineering-Reference? Subjects-Nonfiction-Transportation-General? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-Repair? Subjects-Nonfiction-Automotive-Trucks&Vans? Subjects-Nonfiction-Automotive-Mechanics-ElectricalSystems? Subjects-Nonfiction-Automotive-Mechanics-FuelSystems? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Automotive? Subjects-Professional&Technical-Engineering-Reference? Subjects-Science-Technology-General&Reference Typographic Design In The Digital Studio Design Concepts Delmar Pub? David A. Amdur? DelmarPub? DavidA.Amdur? ジャンル別? Subjects-Arts&Photography-GraphicDesign-GraphicArts-General? Subjects-Business&Investing-Careers-Guides? Subjects-Computers&Internet-Programming-Graphics&Multimedia-General? Subjects-Computers&Internet-GraphicDesign-General? Subjects-Computers&Internet-Hardware-SystemArchitecture-DigitalDesign? Subjects-Engineering-Electrical&Electronics-Electronics-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Electronics-General? Subjects-Reference-Publishing&Books-General? Subjects-Reference-General? Subjects-Reference-Careers-Guides? Subjects-Science-Technology-General&Reference Clinical Application Of Mechanical Ventilation Workbook Delmar Pub? David W. Chang? DelmarPub? DavidW.Chang? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference Modeling And Control Of Dynamic Systems Lab Manual Delmar Pub? Macia Narciso? Susilo Sapto? DelmarPub? MaciaNarciso? SusiloSapto? ジャンル別? Substores-UnknownASINs-64? Subjects-Engineering-ComputerTechnology-Robotics&Automation? Subjects-Engineering-Mechanical-Robotics? Subjects-Professional&Technical-Engineering-ComputerTechnology-Robotics&Automation? Subjects-Professional&Technical-Engineering-Mechanical-Robotics? Subjects-Science-General Subjects-Science-Technology-General&Reference Technician's Guide to Programmable Controllers Delmar Pub? Richard A. Cox? Terry R. Borden? DelmarPub? RichardA.Cox? TerryR.Borden? ジャンル別? Subjects-Computers&Internet-Hardware-Microprocessors&SystemDesign-General? Subjects-Engineering-ComputerTechnology-Robotics&Automation? Subjects-Engineering-Electrical&Electronics-ElectricityPrinciples? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Engineering-Mechanical-Automation? Subjects-Engineering-Reference? Subjects-Professional&Technical-Engineering-ComputerTechnology-Robotics&Automation? Subjects-Professional&Technical-Engineering-Electrical&Electronics-ElectricityPrinciples? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Mechanical-Automation? Subjects-Professional&Technical-Engineering-Reference? Subjects-Science-General Subjects-Science-Technology-General&Reference Architectural Drafting Assignments Using Auto CAD Autodesk Pr (Short Disc)? Myron R. Brower? AutodeskPr(ShortDisc)? MyronR.Brower? ジャンル別? Subjects-Arts&Photography-Architecture-Drawing&Modelling-General? Subjects-Arts&Photography-Architecture-Drawing&Modelling-CAD-AutoCAD? Subjects-Computers&Internet-GraphicDesign-CAD-AutoCAD? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Architecture-Drawing&Modelling-General? Subjects-Professional&Technical-Architecture-Drawing&Modelling-CAD-AutoCAD? Subjects-Science-General Subjects-Science-Technology-General&Reference The Guidebook For Linemen And Cablemen Delmar Pub? Wayne Van Soelen? DelmarPub? WayneVanSoelen? ジャンル別? Subjects-Engineering-Electrical&Electronics-ElectricityPrinciples? Subjects-Engineering-Electrical&Electronics-Electronics-General? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Engineering-Reference? Subjects-Engineering-Energy-Electric-General? Subjects-Engineering-Energy-Electric-PowerDistribution? Subjects-Professional&Technical-Engineering-Electrical&Electronics-ElectricityPrinciples? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Electronics-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Reference? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-Engineering-Energy-Electric-General? Subjects-Professional&Technical-Engineering-Energy-Electric-PowerDistribution? Subjects-Reference? Subjects-Science-General Subjects-Science-Reference-Engineering? Subjects-Science-Technology-General&Reference Technosophy Strategic Approaches to the Assessment and Management of Manufacturing Technology Innovation (Nato Asi Series. Partnership Sub-Series 4, Science and Technology Policy, V. 21) Springer? Slovenia) NATO Advanced Research Workshop on The Strategic Approaches to the Assessment and Management of Manufacturing Technology Innovation (1997 Bled? Paul Levy? Mihael Junkar? Springer? Slovenia)NATOAdvancedResearchWorkshoponTheStrategicApproachestotheAssessmentandManagementofManufacturingTechnologyInnovation(1997 Bled? PaulLevy? MihaelJunkar? ジャンル別? Subjects-Business&Investing-Management&Leadership-Management? Subjects-Business&Investing-Management&Leadership-ManagementScience? Subjects-Business&Investing-Management&Leadership-OperationsResearch? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialTechnology? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialTechnology? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Manufacturing? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Management? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-ManagementScience? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-OperationsResearch? Subjects-Science-General Subjects-Science-Technology-General&Reference Natural Boundary Integral Method and Its Applications (Mathematics and Its Applications, Volume 539) Springer? De-Hao Yu? Springer? De-HaoYu? ジャンル別? Subjects-Medicine-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-DifferentialEquations? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-MathematicalAnalysis? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-FiniteMathematics? Subjects-Science-General Subjects-Science-Mathematics-MathematicalAnalysis? Subjects-Science-Mathematics-PureMathematics-FiniteMathematics? Subjects-Science-Mathematics-Applied-General? Subjects-Science-Mathematics-Applied-DifferentialEquations? Subjects-Science-Physics-Dynamics-General? Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-General? Molten Salts From Fundamentals to Applications (Nato Science Series, Series 2 Mathematics, Physics and Chemistry, Volume 52) Springer? Marcelle Gaune-Escard? Springer? MarcelleGaune-Escard? ジャンル別? Substores-UnknownASINs-35 Subjects-Medicine-General? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Analytic? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Geology? Subjects-Science-Chemistry-Analytic? Subjects-Science-EarthSciences-Geology-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-General? Handbook of Massive Data Sets (Massive Computing) Springer? James M. Abello? Panos M. Pardalos? Mauricio G. C. Resende? Springer? JamesM.Abello? PanosM.Pardalos? MauricioG.C.Resende? ジャンル別? Subjects-Computers&Internet-Networking-DataintheEnterprise-StatisticalComputing? Subjects-Computers&Internet-Software-Design&Development-StructuredDesign? Subjects-Computers&Internet-Databases-DatabaseDesign? Subjects-Computers&Internet-Databases-General? Subjects-Computers&Internet-General? Subjects-Medicine-General? Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-General? A Framework for Visualizing Information (Kluwer International Series on Hci, 1) Kluwer Academic Pub? Ed H. Chi? KluwerAcademicPub? EdH.Chi? ジャンル別? Subjects-Computers&Internet-WebDevelopment-HTML,Graphics,&Design-WebGraphics? Subjects-Computers&Internet-Programming-GameProgramming? Subjects-Computers&Internet-Games&StrategyGuides-Programming? Subjects-Computers&Internet-GraphicDesign-General? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference Atomistic Aspects of Epitaxial Growth (Nato Science Series II Mathematics, Physics and Chemistry) Kluwer Academic Pub? Miroslav Kotrla? Nicolas I. Papanicolaou? Dimitri D. Vvendensky? Luc T. Wille? KluwerAcademicPub? MiroslavKotrla? NicolasI.Papanicolaou? DimitriD.Vvendensky? LucT.Wille? ジャンル別? Subjects-Engineering-Chemical-Materials? Subjects-Engineering-Electrical&Electronics-Semiconductors? Subjects-Engineering-MaterialsScience-General? Subjects-Engineering-MaterialsScience-MechanicalPropertiesofSolids? Subjects-Professional&Technical-Engineering-Chemical-Materials? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Semiconductors? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-MaterialsScience-MechanicalPropertiesofSolids? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Physical&Theoretical? Subjects-Professional&Technical-ProfessionalScience-Physics-SolidStatePhysics? Subjects-Science-Chemistry-Physical&Theoretical-General? Subjects-Science-EarthSciences-Crystallography? Subjects-Science-General Subjects-Science-Physics-Solid-StatePhysics-General? Subjects-Science-Technology-General&Reference Atomistic Aspects of Epitaxial Growth (NATO Science Series II Mathematics, Physics and Chemistry) Springer? Miroslav Kotrla? Nicolas I. Papanicolaou? Dimitri D. Vvendensky? Luc T. Wille? Springer? MiroslavKotrla? NicolasI.Papanicolaou? DimitriD.Vvendensky? LucT.Wille? ジャンル別? Subjects-Engineering-Chemical-Materials? Subjects-Engineering-Electrical&Electronics-Semiconductors? Subjects-Engineering-MaterialsScience-General? Subjects-Engineering-MaterialsScience-MechanicalPropertiesofSolids? Subjects-Professional&Technical-Engineering-Chemical-Materials? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Semiconductors? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-MaterialsScience-MechanicalPropertiesofSolids? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Physical&Theoretical? Subjects-Professional&Technical-ProfessionalScience-Physics-SolidStatePhysics? Subjects-Science-Chemistry-Physical&Theoretical-General? Subjects-Science-General Subjects-Science-Physics-Solid-StatePhysics-General? Subjects-Science-Technology-General&Reference Detection of Explosives and Landmines Methods and Field Experience (NATO Science Series II Mathematics, Physics and Chemistry) Springer? Hiltmar Schubert? Andrey Kuznetsov? Springer? HiltmarSchubert? AndreyKuznetsov? ジャンル別? Subjects-Engineering-SpecialTopics-Measurement? Subjects-Engineering-Chemical-General? Subjects-Engineering-Chemical-Thermodynamics? Subjects-Professional&Technical-Engineering-Chemical-General? Subjects-Professional&Technical-Engineering-Chemical-Thermodynamics? Subjects-Professional&Technical-Engineering-SpecialTopics-Measurement? Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Science-Chemistry-General&Reference? Subjects-Science-Chemistry-ChemicalEngineering? Subjects-Science-Experiments,Instruments&Measurement-Measurement? Subjects-Science-Experiments,Instruments&Measurement-ScientificInstruments? Subjects-Science-General Subjects-Science-Technology-General&Reference Principles and Methods for Accelerated Catalyst Design Testing (NATO Science Series II Mathematics, Physics and Chemistry) Kluwer Academic Pub? Eric G. Derouane? Valentin Parmon? Francisco Lemos? Fernando Ramoa Ribeiro? KluwerAcademicPub? EricG.Derouane? ValentinParmon? FranciscoLemos? FernandoRamoaRibeiro? ジャンル別? Subjects-Engineering-Chemical-General? Subjects-Professional&Technical-Engineering-Chemical-General? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Physical&Theoretical? Subjects-Science-Chemistry-Physical&Theoretical-General? Subjects-Science-Chemistry-ChemicalEngineering? Subjects-Science-General Subjects-Science-Technology-General&Reference Multisensor Fusion (NATO Science Series II Mathematics, Physics and Chemistry) Kluwer Academic Pub? Anthony K. Hyder? KluwerAcademicPub? AnthonyK.Hyder? ジャンル別? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-MachineLearning? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-Robotics? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-ComputerMathematics? Subjects-Engineering-Civil-RemoteSensing? Subjects-Engineering-ComputerTechnology-Robotics&Automation? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-Mechanical-Robotics? Subjects-Medicine-InternalMedicine-Neurology-Neuroscience? Subjects-Professional&Technical-Engineering-Civil-RemoteSensing? Subjects-Professional&Technical-Engineering-ComputerTechnology-Robotics&Automation? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-Mechanical-Robotics? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-InternalMedicine-Neurology-Neuroscience? Symmetric Functions 2001 Surveys of Developments and Perspectives (Nato Science Series II Mathematics, Physics and Chemistry) Kluwer Academic Pub? Sergey Fomin? KluwerAcademicPub? SergeyFomin? ジャンル別? Subjects-Medicine-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-Algebra-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-Combinatorics? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-DiscreteMathematics? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Science-General Subjects-Science-Mathematics-PureMathematics-Algebra-General? Subjects-Science-Mathematics-PureMathematics-Combinatorics? Subjects-Science-Mathematics-PureMathematics-DiscreteMathematics? Subjects-Science-Physics-General? Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-General? Symmetric Functions 2001 Surveys of Developments and Perspectives (NATO Science Series II Mathematics, Physics and Chemistry) Springer? Sergey Fomin? Springer? SergeyFomin? ジャンル別? Subjects-Medicine-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-Algebra-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-Combinatorics? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-PureMathematics-Algebra-General? Subjects-Science-Mathematics-PureMathematics-Combinatorics? Subjects-Science-Physics-General? Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-General? Around Glare A New Aircraft Material in Context Springer? Coen Vermeeren? Springer? CoenVermeeren? ジャンル別? Subjects-Engineering-Aerospace? Subjects-Engineering-Automotive? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-Aerospace? Subjects-Professional&Technical-Engineering-Automotive? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Subjects-Science-Astronomy-Aeronautics&Astronautics? Difference Schemes With Operator Factors (Mathematics and Its Applications (Kluwer )) Springer? A. A. Samarskii? Piotr P. Matus? Petr N. Vabishchevich? Springer? A.A.Samarskii? PiotrP.Matus? PetrN.Vabishchevich? ジャンル別? Subjects-Medicine-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-DifferentialEquations? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-FiniteMathematics? Subjects-Professional&Technical-ProfessionalScience-Mathematics-MathematicalPhysics? Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-MathematicalAnalysis? Subjects-Science-Mathematics-PureMathematics-FiniteMathematics? Subjects-Science-Mathematics-Applied-DifferentialEquations? Subjects-Science-Mathematics-MathematicalPhysics? Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-General? Metrical Theory of Continued Fractions (Mathematics and Its Applications (Kluwer )) Springer? Marius Iosifescu? Cor Kraaikamp? Springer? MariusIosifescu? CorKraaikamp? ジャンル別? Subjects-Medicine-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-Statistics? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-StochasticModeling? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-NumberTheory? Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-Infinity? Subjects-Science-Mathematics-PureMathematics-NumberTheory? Subjects-Science-Mathematics-Applied-Probability&Statistics? Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-General? Computational Modeling of Homogeneous Catalysis (Catalysis By Metal Complexes) Springer? Feliu Maseras? Agusti Lledos? Springer? FeliuMaseras? AgustiLledos? ジャンル別? Subjects-Medicine-General? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Inorganic? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Physical&Theoretical? Subjects-Science-Chemistry-Inorganic? Subjects-Science-Chemistry-Physical&Theoretical-General? Subjects-Science-Chemistry-Catalysis? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-General? Subjects-Computers&Internet-ComputerScience-Modeling&Simulation? Topological Rings Satisfying Compactness Conditions (Mathematics and Its Applications (Kluwer )) Springer? Mihail Ursul? Springer? MihailUrsul? ジャンル別? Subjects-Medicine-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Geometry&Topology-Topology? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-Algebra-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-GroupTheory? Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-PureMathematics-Algebra-General? Subjects-Science-Mathematics-PureMathematics-GroupTheory? Subjects-Science-Mathematics-Geometry&Topology-Topology? Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-General? Lyapunov-Schmidt Methods in Nonlinear Analysis and Applications (Mathematics and Its Applications (Kluwer )) Kluwer Academic Pub? Boris Loginov? Aleksandr Sinitsyn? Michail Falaleev? Nikolay Sidorov? KluwerAcademicPub? BorisLoginov? AleksandrSinitsyn? MichailFalaleev? NikolaySidorov? ジャンル別? Subjects-Medicine-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-DifferentialEquations? Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-Applied-DifferentialEquations? Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-General? Industrial Applications of the Mossbauer Effect Proceedings of the Isiame 2000, Held in Virginia Beach, Usa, 13-18 August 2000 Kluwer Academic Pub? Desmond C. Cook? Gilbert R. Hoy? KluwerAcademicPub? DesmondC.Cook? GilbertR.Hoy? ジャンル別? Substores-UnknownASINs-35 Subjects-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Science-General Subjects-Science-Physics-General? Subjects-Science-Physics-NuclearPhysics-General? Subjects-Science-Technology-General&Reference Pragmatist Ethics for a Technological Culture (The Library of Environmental, Agricultural, and Food Ethics, V. 3) Springer? Jozef Keulartz? Michiel Korthals? Maarje Schermer? Tsjalling Swierstra? Springer? JozefKeulartz? MichielKorthals? MaarjeSchermer? TsjallingSwierstra? ジャンル別? Subjects-Business&Investing-BusinessLife-Ethics? Subjects-Nonfiction-Philosophy-Ethics&Morality? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-Philosophy-Movements-Pragmatism? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-BusinessEthics? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Technology&Society? Preservation of the Integrity of Electronic Records (Archivist's Library, V. 2) Springer? Luciana Duranti? Terence M. Eastwood? Heather MacNeil? Springer? LucianaDuranti? TerenceM.Eastwood? HeatherMacNeil? ジャンル別? Subjects-Business&Investing-General? Subjects-Entertainment-PopCulture-General? Subjects-Nonfiction-SocialSciences-PopularCulture? Subjects-Nonfiction-SocialSciences-Library&InformationScience-General? Subjects-Nonfiction-SocialSciences-Library&InformationScience-LibraryManagement? Subjects-Nonfiction-Education-Reference-General? Subjects-Nonfiction-Education-General? Subjects-Professional&Technical-Education-Reference? Subjects-Science-Technology-General&Reference An Institutional Basis for Environmental Stewardship The Structure and Quality of Property Rights (Environment and Policy, 35) Springer? Doris A. Fuchs? Springer? DorisA.Fuchs? ジャンル別? Subjects-Business&Investing-Biographies&Primers-PopularEconomics? Subjects-Business&Investing-Economics-NaturalResources Subjects-Medicine-General? Subjects-Nonfiction-Politics-General? Subjects-Nonfiction-SocialSciences-PoliticalScience-LevelsofGovernment-FederalGovernment? Subjects-Nonfiction-Government-PublicPolicy? Subjects-Nonfiction-Economics-General? Subjects-Nonfiction-Economics-NaturalResources Subjects-Outdoors&Nature-Ecology-LivingontheLand? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Accounting&Finance-Economics-General? Subjects-Professional&Technical-Accounting&Finance-Economics-NaturalResources Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-General? Micro Total Analysis Systems, 2002 Proceedings of the Tas 2002 Symposium, Held in Nara New Public Hall, Nara, Japan 3-7 November 2002 Kluwer Academic Pub? Yoshinobu Baba? Shuichi Shoji? Japan) Mu Tas Symposium (2002 Nara? A. J. van den Berg? KluwerAcademicPub? YoshinobuBaba? ShuichiShoji? Japan)MuTasSymposium(2002Nara? A.J.vandenBerg? ジャンル別? Substores-UnknownASINs-35 Subjects-Professional&Technical-ProfessionalScience-Chemistry-Physical&Theoretical? Subjects-Science-Chemistry-Analytic? Subjects-Science-Chemistry-Physical&Theoretical-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Technology-Nanotechnology? According to the Book Using Timss to Investigate the Translation of Policy into Practice Through the World of Textbooks Kluwer Academic Pub? Gilbert A. Valverde? KluwerAcademicPub? GilbertA.Valverde? ジャンル別? Subjects-Nonfiction-Philosophy-Science? Subjects-Nonfiction-Education-General? Subjects-Professional&Technical-Education-General? Subjects-Science-History&Philosophy-General? Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-Study&Teaching? Subjects-Science-Technology-General&Reference According to the Book Using Timss to Investigate the Translation of Policy into Practice Through the World of Textbooks Springer? Gilbert A. Valverde? Leonard J. Bianchi? Richard G. Wolfe? William H. Schmidt? Richart T. Houang? Springer? GilbertA.Valverde? LeonardJ.Bianchi? RichardG.Wolfe? WilliamH.Schmidt? RichartT.Houang? ジャンル別? Subjects-Nonfiction-Philosophy-Science? Subjects-Nonfiction-Education-General? Subjects-Professional&Technical-Education-General? Subjects-Science-History&Philosophy-General? Subjects-Science-Technology-General&Reference Qcd Perspectives on Hot and Dense Matter (Nato Science Series II Mathematics, Physics and Chemistry, Volume 87) Springer? Jean-Paul Blaizot? E. Lancu? Springer? Jean-PaulBlaizot? E.Lancu? ジャンル別? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Professional&Technical-ProfessionalScience-Physics-NuclearPhysics? Subjects-Science-General Subjects-Science-Physics-General? Subjects-Science-Physics-NuclearPhysics-Atomic&NuclearPhysics? Subjects-Science-Physics-NuclearPhysics-General? Subjects-Science-Technology-General&Reference Emerging Applications of Vacuum-Arc-Produced Plasma, Ion and Electron Beams (Nato Science Series II Mathematics, Physics and Chemistry) Kluwer Academic Pub? E. M. Oks? Ian G. Brown? KluwerAcademicPub? E.M.Oks? IanG.Brown? ジャンル別? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-Energy-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Engineering-Energy-General? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Professional&Technical-ProfessionalScience-Physics-NuclearPhysics? Subjects-Professional&Technical-ProfessionalScience-Physics-SolidStatePhysics? Subjects-Science-General Subjects-Science-Physics-General? Subjects-Science-Physics-Solid-StatePhysics-General? Subjects-Science-Physics-Solid-StatePhysics-PlasmaPhysics? Subjects-Science-Physics-NuclearPhysics-General? Subjects-Science-Technology-General&Reference Emerging Applications of Vacuum-Arc-Produced Plasma, Ion and Electron Beams (Nato Science Series II Mathematics, Physics and Chemistry, Volume 88) Springer? Efim Oks? Ian G. Brown? Springer? EfimOks? IanG.Brown? ジャンル別? Subjects-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Professional&Technical-ProfessionalScience-Physics-NuclearPhysics? Subjects-Professional&Technical-ProfessionalScience-Physics-SolidStatePhysics? Subjects-Science-General Subjects-Science-Physics-General? Subjects-Science-Physics-Solid-StatePhysics-General? Subjects-Science-Physics-NuclearPhysics-General? Subjects-Science-Technology-General&Reference Pragmatist Ethics for a Technological Culture (International Library of Environmental, Agricultural and Foo) Kluwer Academic Pub? Jozef Keulartz? Jozef Northals? Michiel Korthals? Michiel Schermer? Swierstra Swierstrak? KluwerAcademicPub? JozefKeulartz? JozefNorthals? MichielKorthals? MichielSchermer? SwierstraSwierstrak? ジャンル別? Subjects-Business&Investing-BusinessLife-Ethics? Subjects-Nonfiction-Philosophy-Ethics&Morality? Subjects-Nonfiction-Philosophy-General? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-BusinessEthics? Subjects-Science-Technology-General&Reference Mineral Resource Base of the Southern Caucasus and Systems for Its Management in the Xxist Century (Nato Science Series Earth and Environmental Sciences, 4) Kluwer Academic Pub? Georgia) NATO Advanced Research Workshop Mineral Resource Base of the Southern Caucasus and Systems for its Management in the XXI Century (2001 Tbilisi? Georges Morizot? KluwerAcademicPub? Georgia)NATOAdvancedResearchWorkshop MineralResourceBaseoftheSouthernCaucasusandSystemsforitsManagementintheXXICentury (2001 Tbilisi? GeorgesMorizot? ジャンル別? Subjects-Engineering-Civil-Mining? Subjects-Engineering-Civil-Environmental-Mining? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-Civil-Mining? Subjects-Professional&Technical-Engineering-Civil-Environmental-Mining? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Geology? Subjects-Science-EarthSciences-Geology-General? Subjects-Science-EarthSciences-Geophysics? Subjects-Science-EarthSciences-Prospecting&Mining? Subjects-Science-General Subjects-Science-Technology-General&Reference Mineral Resource Base of the Southern Caucasus and Systems for Its Management in the Xxist Century Proceedings of the NATO Advanced Research Workshop, Held in Tbilisi, Georgia, 3-6 April 2001 (Nato Science Series Earth and Environmental Sciences, 4) Springer? Alexander G. Tvalchrelidze? Georges Morizot? Springer? AlexanderG.Tvalchrelidze? GeorgesMorizot? ジャンル別? Substores-UnknownASINs-35 Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Professional&Technical-ProfessionalScience-Physics-Nanostructures? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Geology? Subjects-Science-EarthSciences-Geology-General? Subjects-Science-EarthSciences-Geophysics? Subjects-Science-General Subjects-Science-Physics-Nanostructures? Subjects-Science-Technology-General&Reference Green Industrial Applications of Ionic Liquids (Nato Science Series II Mathematics, Physics and Chemistry) Kluwer Academic Pub? Greece) NATO Advanced Research Workshop on Green Industrial Applications of Ionic Liquids (2000 Herakleion? Kenneth R. Seddon? Sergei Volkov? KluwerAcademicPub? Greece)NATOAdvancedResearchWorkshoponGreenIndustrialApplicationsofIonicLiquids(2000 Herakleion? KennethR.Seddon? SergeiVolkov? ジャンル別? Substores-UnknownASINs-35 Subjects-Engineering-Chemical-General? Subjects-Medicine-Specialties-Pathology-ClinicalChemistry? Subjects-Professional&Technical-Engineering-Chemical-General? Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Professional&Technical-Medical-Medicine-InternalMedicine-Pathology-ClinicalChemistry? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Organic? Subjects-Professional&Technical-ProfessionalScience-Mathematics-MathematicalPhysics? Subjects-Science-Chemistry-Organic-General? Subjects-Science-Chemistry-Industrial&Technical? Subjects-Science-Chemistry-ChemicalEngineering? Subjects-Science-General Subjects-Science-Mathematics-MathematicalPhysics? Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-Specialties-Pathology-ClinicalChemistry? Green Industrial Applications of Ionic Liquids (NATO Science Series II Mathematics, Physics and Chemistry) Kluwer Academic Pub? Robin D. Rogers? Kenneth R. Seddon? Sergei Volkov? KluwerAcademicPub? RobinD.Rogers? KennethR.Seddon? SergeiVolkov? ジャンル別? Substores-UnknownASINs-35 Subjects-Professional&Technical-ProfessionalScience-Chemistry-Organic? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Physical&Theoretical? Subjects-Professional&Technical-ProfessionalScience-Mathematics-MathematicalPhysics? Subjects-Science-Chemistry-Organic-General? Subjects-Science-Chemistry-Physical&Theoretical-General? Subjects-Science-Chemistry-Industrial&Technical? Subjects-Science-General Subjects-Science-Mathematics-MathematicalPhysics? Subjects-Science-Technology-General&Reference Recent Advances in Integrated Design and Manufacturing in Mechanical Engineering Kluwer Academic Pub? Idmme Conference 2002 Clermont-ferrand? Grigore Gogu? Patrick Chedmail? Pascal Ray? KluwerAcademicPub? IdmmeConference2002Clermont-ferrand? GrigoreGogu? PatrickChedmail? PascalRay? ジャンル別? Substores-UnknownASINs-35 Subjects-Business&Investing-Management&Leadership-ManagementScience? Subjects-Engineering-Aerospace-AdvancedMechanics? Subjects-Engineering-Civil-Mechanics? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Civil-Mechanics? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Professional&Technical-Engineering-Aerospace-AdvancedMechanics? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-ManagementScience? Subjects-Science-General Subjects-Science-Technology-General&Reference Ocean-Atmosphere Interactions (Ocean Sciences Research, 3) Springer? Yoshiaki Toba? Springer? YoshiakiToba? ジャンル別? Substores-UnknownASINs-35 Subjects-Outdoors&Nature-Ecology-Rivers? Subjects-Outdoors&Nature-Environment-Weather? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Meteorology-General? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-EarthSciences-Geology-General? Subjects-Science-EarthSciences-Meteorology-General? Subjects-Science-EarthSciences-Rivers? Subjects-Science-EarthSciences-Weather? Subjects-Science-General Subjects-Science-Nature&Ecology-Oceans&Seas-Oceanography-General? Subjects-Science-Technology-General&Reference The Chemistry of Superheavy Elements Kluwer Academic Pub? Matthias Schadel? KluwerAcademicPub? MatthiasSchadel? ジャンル別? Substores-UnknownASINs-35 Subjects-Medicine-Specialties-Pathology-ClinicalChemistry? Subjects-Professional&Technical-Medical-BasicSciences-Chemistry? Subjects-Professional&Technical-Medical-Medicine-InternalMedicine-Pathology-ClinicalChemistry? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Inorganic? Subjects-Professional&Technical-ProfessionalScience-Chemistry-Physical&Theoretical? Subjects-Professional&Technical-ProfessionalScience-Physics-NuclearPhysics? Subjects-Science-Chemistry-General&Reference? Subjects-Science-Chemistry-Inorganic? Subjects-Science-Chemistry-Physical&Theoretical-General? Subjects-Science-Chemistry-NuclearChemistry? Subjects-Science-General Subjects-Science-Physics-NuclearPhysics-General? Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-Specialties-Pathology-ClinicalChemistry? Discovering Reality Feminist Perspectives on Epistemology, Metaphysics, Methodology, and Philosophy of Science (Synthese Library) Kluwer Academic Pub? Sandra G. Harding? Merrill B. Hintikka? KluwerAcademicPub? SandraG.Harding? MerrillB.Hintikka? ジャンル別? Substores-UnknownASINs-35 Subjects-Nonfiction-Philosophy-Epistemology? Subjects-Nonfiction-Philosophy-Modern? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Nonfiction-Women sStudies-FeministTheory? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Discovering Reality Feminist Perspectives on Epistemology, Metaphysics, Methodology, and Philosophy of Science (Synthese Library, Volume 161) Springer? Sandra G. Harding? Merrill B. Hintikka? Springer? SandraG.Harding? MerrillB.Hintikka? ジャンル別? Substores-UnknownASINs-35 Subjects-Nonfiction-Philosophy-Epistemology? Subjects-Nonfiction-Philosophy-General? Subjects-Nonfiction-Philosophy-Modern? Subjects-Nonfiction-SocialSciences-Sociology-General? Subjects-Nonfiction-Women sStudies-FeministTheory? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Approaches to Handling Environmental Problems in the Mining and Metallurgical Regions (NATO Science Series IV Earth and Environmental Sciences) Springer? Walter Leal Filho? Irina Butorina? Springer? WalterLealFilho? IrinaButorina? ジャンル別? Substores-UnknownASINs-35 Subjects-Engineering-Civil-Environmental-Pollution-Air? Subjects-Outdoors&Nature-Ecology-General? Subjects-Outdoors&Nature-Environment-EnvironmentalScience Subjects-Professional&Technical-Engineering-Civil-Environmental-Pollution-Air? Subjects-Professional&Technical-ProfessionalScience-BiologicalSciences-Ecology? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-EnvironmentalScience? Subjects-Science-EarthSciences-EnvironmentalScience Subjects-Science-EarthSciences-Ecology-General? Subjects-Science-General Subjects-Science-Nature&Ecology-General? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-General&Reference 洋書
https://w.atwiki.jp/bana/pages/213.html
レイダー副官の紹介 The following set of missions was introduced in 2.1 Patch, introducing the player to Warlord Gantas three lieutenants early in the story. Each of these lieutenants also have their own World Map location, which becomes revealed when the player first meets each lieutenant. Note that certain missions have high resource demands in order to complete, especially at low player levels. First Raid Assault and Battery Tronk Call 突いて、突いて、突きまくれ (Poking and Prodding) 大砲を取り上げろ (Taking Out the Big Guns) トロンクスマッシュ！ (Tronk Smash!) パンクごときで (A Minor Flat) スナイパー狩り (Snipe Hunt) サリンのご紹介 (Introducing Sarin) The Best Defense Resource Management Factory Factor Rescue 911 Que Sarin, Sarin An Enigma Wrapped in a Riddle Chasing a Shadow Mirror, Mirror, Mirror, Mirror Calling Out the Moonlight The Fire This Time Like a Thief in the Night Dancing in the Moonlight First Raid Available at Level ? (new mission chain) Defeat Raiders on the World Map! (5 groups) The Raiders (Level 10-15) appear close to their Training Camp, Depot and Fortress. Reward 800 XP Next Mission Assault and Battery Assault and Battery Go to the Raider Outpost Fight the Raiders! (unlocks after completing the first part) The player will be taken to Tronk s Base (Level 25), where the encounter, "Mortar Ambush", awaits. The Northern Frontier World Map location, Tronk s Base , becomes available. Reward 850 XP Next Mission Tronk Call Tronk Call Go to the Tronk s Base Fight Tronk! The player will face Tronk (level 15), but defeating Tronk is not required to complete the mission. Reward 900 XP Next Mission Poking and Prodding 突いて、突いて、突きまくれ (Poking and Prodding) トロンクの本拠地へ行く トロンクの鉄の山を襲撃する (x3) 報酬 1,000 XP Next Mission 大砲を取り上げろ 大砲を取り上げろ (Taking Out the Big Guns) トロンクの本拠地へ行く トロンクの火薬庫を襲撃する (x1) 報酬 850 XP Next Mission トロンクスマッシュ！ トロンクスマッシュ！ (Tronk Smash!) トロンクの本拠地へ行く トロンクを倒す Note 13名のユニットで3連続の戦いとなります。 報酬 1,500 XP、戦闘で5 ドクロ Next Mission パンクごときで パンクごときで (A Minor Flat) 道具工房を建設 パンク防止タイヤを作る (x4) Note タイヤのコストは、木：2000です。 報酬 1,250 XP Next Mission スナイパー狩り スナイパー狩り (Snipe Hunt) 地図へ行く レイダースナイパーを追い出す Note モーガン、パーキンスと自軍4ユニットでサリンと初戦闘です。 この戦闘はサリン以外の敵ユニットを倒せばクリア出来ます。 報酬 1,500 XP Next Mission サリンのご紹介 サリンのご紹介 (Introducing Sarin) サリンの本拠地へ行く サリンの勢力をやっつける！ Go to the Raider Outpost! Defeat Sarin s forces! The first objective is replaced by the second when the player goes to Sarin s Base. Defeating the encounter, Raider Snipers , completes the mission. Strategy (by firebolt55439) Sarin has 3 Raider Outcasts, or Snipers as you may call them. I have Grenadiers at rank 4, and have unlocked "Handful of Grenades", and with 2 "d01 Proto-Stalker" specimens, you can defeat his forces with only a few Grenadier casualties. Make the entire front row Grenadiers at rank 4, and the back row with 2 spaced out Proto-Stalkers (spaced out to avoid Radier Bombadiers). Keep using handful of grenades and the Proto-Stalkers 2nd attack, and you should be able to defeat him quite quickly. Reward 2,000 XP Next Mission The Best Defense The Best Defense Go to Sarin s Base Destroy Sarin s Watch Towers (3 towers) Note Some players report a bug in which this mission does not complete properly for them, no matter how many towers they destroy. One workaround that has helped some people is to directly attack the damaged tower locations. Destroying these watch towers are extremely hard because they have 580 hp/armor and can kill most units availible in 1 hit. If you have completed the mission where you defeat Ashe s troops, use the two gun trucks and one bazooka you got to defeat the watch towers. You can also rank up grenadiers to rank 4 and research the ability were you can throw 3 grinades at once. It is recommended that you destroy the watch towers guarding the shelter near the back of the camp because you will eventually have to raid that shelter Reward 2,000 XP Next Mission Resource Management Resource Management Go to Sarin s Base Attack Sarin s Coal Nodes (3 nodes) Reward 2,000 XP Next Mission Factory Factor Factory Factor Go to Sarin s Base Attack Sarin s Weapon Storehouse Sarin s Guard must be defeated before the actual storehouse can be attacked for mission completion. Reward 1,500 XP Next Mission Rescue 911 Rescue 911 Go to Sarin s Base Attack the Prison! Lt Morgan and Ramsey have fallen for Sarin s trap and the player has to bust them out. Reward 1,750 XP Next Mission Que Sarin, Sarin Que Sarin, Sarin Go to Sarin s Base Defeat Sarin! Similar to the major confrontation against Tronk, the battle against Sarin is 3 consecutive waves where the player can field 13 units (every space on the battlefield). Reward 2,500 XP Next Mission An Enigma Wrapped in a Riddle An Enigma Wrapped in a Riddle Repel the Raider Infiltration! (2 groups) The two encounters appear asRaiders, just like any other Raider invader. However, they tend to consist of more Dust Walkers. Reward 3,000 XP Next Mission Chasing a Shadow Chasing a Shadow Follow the Raider to her base Defeat the Raider Ambush! The second objective replaces the first after the player goes to Blade s Base. The battle consists of 2 waves, and consists of numerous Dust Walkers. Reward 2,250 XP Next Mission Mirror, Mirror, Mirror, Mirror Mirror, Mirror, Mirror, Mirror Make 4 Giant Mirrors Reward 2,000 XP Next Mission Calling Out the Moonlight Calling Out the Moonlight Go to Crazy Blade s base Defeat Crazy Blades! Crazy Blades appears in this battle, but does not have to be defeated for mission completion. Reward 2,750 XP Next Mission The Fire This Time The Fire This Time Build a Guard Post Reward 2,000 XP Next Mission Like a Thief in the Night Like a Thief in the Night Go to Crazy Blades base Attack Crazy Blades Oil (3 nodes) Despite the mission graphic, the player only earns credit for raiding the untapped oil deposits, not the Oil Pumps on her base. Reward 3,000 XP Next Mission Dancing in the Moonlight Dancing in the Moonlight Go to Crazy Blades base Defeat Crazy Blades! The third and final confrontation against the Raider Lieutenants allows the player to field 13 units (every space on the battlefield). The battle consists of 3 waves and includes a lot of Dust Walkers. The battle also awards the most Skulls of the 3 lieutenant major battles (7 Skulls). Crazy blades has three attacks, one that is like a dustwalkers attack, one that can only target snipers and one that can only target tanks. crazy blades can kill most snipers in one hit with her anti sniper attack and can peirce the armor of tanks pretty well with her anti tank attack. Be careful. Reward 3,500 XP Next Mission None as of 2.1.
https://w.atwiki.jp/elvis/pages/7955.html
Microcomputer Applications A Hands-On Approach to Problem Solving Addison-Wesley? Larry Joel Goldstein? Addison-Wesley? LarryJoelGoldstein? ジャンル別? Subjects-Computers&Internet-Programming-General? Subjects-Computers&Internet-Hardware-PCs? Subjects-Science-Technology-General&Reference Calculus and the Computer Addison-Wesley Pub (Sd)? William F. Oberle? Addison-WesleyPub(Sd)? WilliamF.Oberle? ジャンル別? Substores-UnknownASINs-6? Subjects-Computers&Internet-Programming-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-Calculus? Subjects-Science-Mathematics-MathematicalAnalysis? Subjects-Science-Mathematics-PureMathematics-Calculus? Subjects-Science-Technology-General&Reference The Conference on Computers in Physics Instruction Proceedings Addison-Wesley? Edward F. Redish? John S. Risley? Addison-Wesley? EdwardF.Redish? JohnS.Risley? ジャンル別? Substores-UnknownASINs-6? Subjects-Computers&Internet? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Science-General Subjects-Science-Physics-General? Subjects-Science-Technology-General&Reference High-performance Computer Architecture Addison-Wesley Educational Publishers Inc.,U.S.? Harold S. Stone? Addison-WesleyEducationalPublishersInc.,U.S.? HaroldS.Stone? ジャンル別? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference Computer Models for Operations Management Longman Higher Education? Owen P. Hall? LongmanHigherEducation? OwenP.Hall? ジャンル別? Subjects-Business&Investing-Management&Leadership-OperationsResearch? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-OperationsResearch? Subjects-Science-Technology-General&Reference Developments in Concurrency and Communication (The Year of Programming Series) Addison-Wesley Pub (Sd)? C. A. R. Hoare? Addison-WesleyPub(Sd)? C.A.R.Hoare? ジャンル別? Substores-UnknownASINs-6? Subjects-Computers&Internet-Programming-General? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference Cost Estimation for Software Development (International Computer Science) Addison-Wesley? Bernard Londeix? Addison-Wesley? BernardLondeix? ジャンル別? Subjects-Business&Investing-Economics? Subjects-Computers&Internet-Software-Design&Development-SoftwareDevelopment? Subjects-Computers&Internet-Programming-General? Subjects-Engineering-Economics? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-EngineeringEconomics? Subjects-Nonfiction-Economics? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-EngineeringEconomics? Subjects-Professional&Technical-Engineering-Economics? Subjects-Professional&Technical-Accounting&Finance-Economics? Subjects-Science-Technology-General&Reference A Method of Programming Addison-Wesley? Edsger W. Dijkstra? W. H. J. Feijen? Joke Sterringa? Addison-Wesley? EdsgerW.Dijkstra? W.H.J.Feijen? JokeSterringa? ジャンル別? Substores-UnknownASINs-6? Subjects-Computers&Internet-ComputerScience-SoftwareEngineering-Methodology? Subjects-Computers&Internet-Programming-General? Subjects-Science-Technology-General&Reference Engineering Mathematics A Modern Foundation for Electronic, Electrical and Control Engineers Addison-Wesley? Tony Croft? Robert Davison? Martin Hargreaves? Addison-Wesley? TonyCroft? RobertDavison? MartinHargreaves? ジャンル別? Subjects-Engineering-Telecommunications? Subjects-Professional&Technical-Engineering-Telecommunications? Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Mathematics-Applied-General? Subjects-Science-Mathematics-Applied-Engineering-General? Subjects-Science-Technology-General&Reference Expert Systems A Decision Support Approach With Applications in Management and Finance (The Insight Series in Artificial Intelligence) Addison-Wesley? Michel Klein? Leif B. Methlie? Addison-Wesley? MichelKlein? LeifB.Methlie? ジャンル別? Subjects-Business&Investing-Finance-CorporateFinance? Subjects-Business&Investing-Management&Leadership-Decision-Making&ProblemSolving? Subjects-Computers&Internet-Networking-DataintheEnterprise-ExpertSystems? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-ComputerMathematics? Subjects-Professional&Technical-Accounting&Finance-Finance-CorporateFinance? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Decision-Making&ProblemSolving? Subjects-Science-General Subjects-Science-Technology-General&Reference Logic Programming Systematic Program Development (International Series in Logic Programming) Addison-Wesley? Yves Deville? Addison-Wesley? YvesDeville? ジャンル別? Substores-UnknownASINs-6? Subjects-Computers&Internet-ComputerScience-SoftwareEngineering? Subjects-Computers&Internet-Programming-General? Subjects-Computers&Internet-Programming-Languages&Tools-General? Subjects-Science-Technology-General&Reference Introduction to Ultrahigh Energy Cosmic Ray Physics (Frontiers in Physics) Addison-Wesley Pub (Sd)? Pierre Sokolosky? Addison-WesleyPub(Sd)? PierreSokolosky? ジャンル別? Substores-UnknownASINs-6? Subjects-Professional&Technical-ProfessionalScience-Physics-NuclearPhysics? Subjects-Science-General Subjects-Science-Physics-NuclearPhysics-General? Subjects-Science-Physics-NuclearPhysics-ParticlePhysics? Subjects-Science-Physics-Astrophysics? Subjects-Science-Technology-General&Reference Engineering Management Prentice Hall? F. F. Mazda? PrenticeHall? F.F.Mazda? ジャンル別? Subjects-Business&Investing-Management&Leadership-Industrial? Subjects-Business&Investing-Management&Leadership-Management? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Engineering-Management? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-Engineering-Management? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Industrial? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Management? Subjects-Science-General Subjects-Science-Technology-General&Reference Fortran from Pascal Addison-Wesley? Patrick D. Terry? Addison-Wesley? PatrickD.Terry? ジャンル別? Subjects-Computers&Internet-Programming-General? Subjects-Computers&Internet-Programming-Languages&Tools-Fortran-General? Subjects-Computers&Internet-Programming-Languages&Tools-Pascal? Subjects-Computers&Internet-Programming-Languages&Tools-General? Subjects-Science-Technology-General&Reference Logic Programming and Knowledge Engineering (International Computer Science Series) Addison-Wesley? Tore Amble? Addison-Wesley? ToreAmble? ジャンル別? Subjects-Computers&Internet-Networking-DataintheEnterprise-ExpertSystems? Subjects-Computers&Internet-ComputerScience-SoftwareEngineering? Subjects-Computers&Internet-Programming-General? Subjects-Science-Technology-General&Reference Expert Process Planning for Manufacturing Addison-Wesley? Tien-Chien Chang? Addison-Wesley? Tien-ChienChang? ジャンル別? Subjects-Business&Investing-Management&Leadership-QualityControl? Subjects-Computers&Internet-Networking-DataintheEnterprise-ExpertSystems? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-QualityControl? Subjects-Science-General Subjects-Science-Technology-General&Reference The Craft of Software Engineering (International Computer Science Series) Addison-Wesley? Allen Macro? John Buxton? Addison-Wesley? AllenMacro? JohnBuxton? ジャンル別? Substores-UnknownASINs-6? Subjects-Computers&Internet-ComputerScience-SoftwareEngineering? Subjects-Computers&Internet-Programming-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Elementary Statistics Addison-Wesley Educational Publishers Inc.,U.S.? Neil A. Weiss? Addison-WesleyEducationalPublishersInc.,U.S.? NeilA.Weiss? ジャンル別? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-Statistics? Subjects-Science-Mathematics-Applied-Probability&Statistics? Subjects-Science-Technology-General&Reference Pax Computer High-Speed Parallel Processing and Scientific Computing (Addison-Wesley Series in Electrical and Computer Engineering) Addison-Wesley? Tsutomu Hoshino? Harlod S. Stone? Susan Goldman? Addison-Wesley? TsutomuHoshino? HarlodS.Stone? SusanGoldman? ジャンル別? Subjects-Computers&Internet-ComputerScience-Circuitry-Communication&SignalProcessing? Subjects-Computers&Internet-Hardware-SystemArchitecture-ParallelComputing? Subjects-Computers&Internet-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Algorithmics Addison Wesley? David Harel? AddisonWesley? DavidHarel? ジャンル別? Subjects-Computers&Internet-ComputerScience-Algorithms-General? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference Computers in the Language Classroom Addison-Wesley Pub (T)? R. Hertz? Addison-WesleyPub(T)? R.Hertz? ジャンル別? Substores-UnknownASINs-6? Subjects-Nonfiction-SocialSciences-Linguistics-General? Subjects-Nonfiction-SocialSciences-Linguistics-Applied? Subjects-Reference-Words&Language-Linguistics? Subjects-Science-Technology-General&Reference Logo and Models of Computation An Introduction to Computer Science Addison-Wesley Pub (Sd)? Michael E. Burke? L Roland Genise? Addison-WesleyPub(Sd)? MichaelE.Burke? LRolandGenise? ジャンル別? Substores-UnknownASINs-6? Subjects-Computers&Internet-Programming-General? Subjects-Computers&Internet-Programming-Languages&Tools-Cobol? Subjects-Science-Technology-General&Reference World of Mathematics, Science and Technology Addison Wesley Publishing Company? AddisonWesleyPublishingCompany? ジャンル別? Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Technology-General&Reference Analysis on Manifolds (Advanced Book Classics) Westview Pr (Trd)? James R. Munkres? WestviewPr(Trd)? JamesR.Munkres? ジャンル別? Substores-UnknownASINs-6? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Geometry&Topology-DifferentialGeometry? Subjects-Science-General Subjects-Science-Mathematics-PureMathematics-Calculus? Subjects-Science-Mathematics-Geometry&Topology-DifferentialGeometry? Subjects-Science-Technology-General&Reference Modern Control Systems Addison-Wesley? Richard C. Dorf? Robert H. Bishop? Addison-Wesley? RichardC.Dorf? RobertH.Bishop? ジャンル別? Subjects-Engineering-ComputerTechnology-Robotics&Automation? Subjects-Engineering-Mechanical-Automation? Subjects-Engineering-Mechanical-Robotics? Subjects-Professional&Technical-Engineering-ComputerTechnology-Robotics&Automation? Subjects-Professional&Technical-Engineering-Mechanical-Automation? Subjects-Professional&Technical-Engineering-Mechanical-Robotics? Subjects-Science-General Subjects-Science-Technology-General&Reference Numerical Analysis for Applied Mathematics, Science, and Engineering Perseus Books (Sd)? Donald Greenspan? Vicenzo Casulli? PerseusBooks(Sd)? DonaldGreenspan? VicenzoCasulli? ジャンル別? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-MathematicalAnalysis? Subjects-Science-General Subjects-Science-Mathematics-MathematicalAnalysis? Subjects-Science-Mathematics-PureMathematics-Calculus? Subjects-Science-Mathematics-Applied-General? Subjects-Science-Technology-General&Reference Foundations of Mechanics A Mathematical Exposition of Classical Mechanics With an Introduction to the Qualitative Theory of Dynamical Systems and A Perseus Books (Sd)? Ralph Abraham? Jerrold E. Marsden? PerseusBooks(Sd)? RalphAbraham? JerroldE.Marsden? ジャンル別? Substores-UnknownASINs-6? Subjects-Professional&Technical-ProfessionalScience-Physics-Mechanics? Subjects-Science-Physics-Mechanics? Subjects-Science-Technology-General&Reference Handbook of Algorithms and Data Structures in Pascal and C (International Computer Science Series) Addison-Wesley Pub (Sd)? Gaston H. Gonnet? R. Baeza-Yates? Addison-WesleyPub(Sd)? GastonH.Gonnet? R.Baeza-Yates? ジャンル別? Subjects-Computers&Internet-Software-Design&Development-SoftwareDesign? Subjects-Computers&Internet-ComputerScience-Algorithms-General? Subjects-Computers&Internet-ComputerScience-Algorithms-C&C++? Subjects-Computers&Internet-ComputerScience-Algorithms-DataStructures? Subjects-Computers&Internet-Programming-General? Subjects-Computers&Internet-Programming-Languages&Tools-C&C++-General? Subjects-Computers&Internet-Programming-Languages&Tools-C&C++-WindowsProgramming? Subjects-Computers&Internet-Programming-Languages&Tools-Pascal? Subjects-Computers&Internet-Programming-Languages&Tools-General? Subjects-Computers&Internet-Databases-General? Subjects-Science-Technology-General&Reference Lagrangian Interaction An Introduction to Relativistic Symmetry in Electrodynamics and Gravitation Perseus Books (Sd)? Noel A. Doughty? PerseusBooks(Sd)? NoelA.Doughty? ジャンル別? Subjects-Computers&Internet-ComputerScience-Circuitry-Electrodynamics? Subjects-Engineering-Electrical&Electronics-ElectricityPrinciples? Subjects-Professional&Technical-Engineering-Electrical&Electronics-ElectricityPrinciples? Subjects-Professional&Technical-ProfessionalScience-Physics-Electromagnetism? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Science-General Subjects-Science-Physics-General? Subjects-Science-Physics-Electromagnetism-General? Subjects-Science-Physics-Electromagnetism-Electricity? Subjects-Science-Technology-General&Reference Japanese Perspectives in Software Engineering Addison-Wesley? Yoshihiro Matsumoto? Yutaka Ohno? Addison-Wesley? YoshihiroMatsumoto? YutakaOhno? ジャンル別? Substores-UnknownASINs-6? Subjects-Computers&Internet-Software-Design&Development-SoftwareDesign? Subjects-Computers&Internet-ComputerScience-SoftwareEngineering? Subjects-Computers&Internet-Programming-General? Subjects-Science-Technology-General&Reference Logic for Computer Science (International Computer Science Series) Addison-Wesley? Steve Reeves? Michael Clarke? Addison-Wesley? SteveReeves? MichaelClarke? ジャンル別? Subjects-Computers&Internet-Software-Design&Development-SoftwareDesign? Subjects-Computers&Internet-General? Subjects-Computers&Internet-Programming-Logic? Subjects-Science-Mathematics-PureMathematics-Logic? Subjects-Science-Technology-General&Reference Electric Circuit Analysis Principles and Applications (Electronic System Engineering) Addison-Wesley Pub (Sd)? K. F. Sander? Addison-WesleyPub(Sd)? K.F.Sander? ジャンル別? Substores-UnknownASINs-6? Subjects-Computers&Internet-ComputerScience-Circuitry-CircuitComponents? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Engineering-Electrical&Electronics-Circuits-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Circuits-General? Pascal Precisely for Engineers and Scientists Addison-Wesley? Judy Bishop? Nigel Bishop? Addison-Wesley? JudyBishop? NigelBishop? ジャンル別? Subjects-Computers&Internet-Programming-Languages&Tools-Pascal? Subjects-Computers&Internet-Programming-Languages&Tools-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Engineers in Business The Principles of Management and Product Design Addison-Wesley? Mike Lanigan? Addison-Wesley? MikeLanigan? ジャンル別? Subjects-Business&Investing-General? Subjects-Business&Investing-Management&Leadership-Management? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Management? Subjects-Science-Technology-General&Reference Data Communications for Engineers Addison-Wesley? Michael Duck? Peter Bishop? Richard Read? Addison-Wesley? MichaelDuck? PeterBishop? RichardRead? ジャンル別? Subjects-Computers&Internet-Networking-Networks,Protocols&APIs-Networks? Subjects-Computers&Internet-Networking-Networks,Protocols&APIs-General? Subjects-Computers&Internet-General? Subjects-Engineering-General? Subjects-Engineering-Telecommunications-General? Subjects-Professional&Technical-Engineering-Telecommunications-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Subjects-Science-Technology-General&Reference David Cohn's Autocad Release 14 Essentials Addison-Wesley Pub (Sd)? David S. Cohn? Addison-WesleyPub(Sd)? DavidS.Cohn? ジャンル別? Subjects-Arts&Photography-Architecture-Drawing&Modelling-CAD-AutoCAD14? Subjects-Arts&Photography-Architecture-Drawing&Modelling-CAD-AutoCAD? Subjects-Arts&Photography-Architecture-Drawing&Modelling-CAD-CAD&CAM? Subjects-Computers&Internet-GraphicDesign-General? Subjects-Computers&Internet-GraphicDesign-CAD-AutoCAD14? Subjects-Computers&Internet-GraphicDesign-CAD-AutoCAD? Subjects-Computers&Internet-GraphicDesign-CAD-CAD&CAM? Subjects-Engineering-ComputerTechnology-AutoCAD? Subjects-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Engineering-ComputerTechnology-AutoCAD? Subjects-Professional&Technical-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Architecture-Drawing&Modelling-CAD-AutoCAD14? Subjects-Professional&Technical-Architecture-Drawing&Modelling-CAD-AutoCAD? Subjects-Professional&Technical-Architecture-Drawing&Modelling-CAD-CAD&CAM? Subjects-Science-General Subjects-Science-Technology-General&Reference Computer Models for Management Science Addison-Wesley? Warren J. Erikson? Owen P. Hall? Addison-Wesley? WarrenJ.Erikson? OwenP.Hall? ジャンル別? Substores-UnknownASINs-6? Subjects-Business&Investing-Management&Leadership-Management? Subjects-Business&Investing-Management&Leadership-SystemsAnalysis? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Management? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-SystemsAnalysis? Subjects-Science-General Subjects-Science-Technology-General&Reference Energy Principles, Problems, Alternatives Addison-Wesley? Joseph M. Priest? Addison-Wesley? JosephM.Priest? ジャンル別? Subjects-Business&Investing-Industries&Professions-RealEstate-General? Subjects-Engineering-Civil-Environmental-General Subjects-Engineering-Energy-General? Subjects-Engineering-General? Subjects-Engineering-Mechanical-General? Subjects-Outdoors&Nature-Ecology-LivingontheLand? Subjects-Professional&Technical-Engineering-Civil-Environmental-General Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Energy-General? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-Accounting&Finance-Industries&Professions-RealEstate-General? Subjects-Professional&Technical-ProfessionalScience-Physics-Energy? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Science-General Subjects-Science-Physics-Energy? Subjects-Science-Physics-General? Subjects-Science-Technology-General&Reference Introduction to the Theory of Neural Computation (Santa Fe Institute Studies in the Sciences of Complexity Lecture Notes) Perseus Books (Sd)? John Hertz? Anders Krogh? Richard G. Palmer? PerseusBooks(Sd)? JohnHertz? AndersKrogh? RichardG.Palmer? ジャンル別? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-NeuralNetworks? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-TheoryofComputing? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-ComputerMathematics? Subjects-Computers&Internet-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Graphics for Engineers Addison Wesley Longman Publishing Co? James H. Earle? AddisonWesleyLongmanPublishingCo? JamesH.Earle? ジャンル別? Subjects-Computers&Internet-GraphicDesign-General? Subjects-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Engineering-Reference? Subjects-Professional&Technical-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Engineering-Reference? Subjects-Science-Technology-General&Reference Topics in Advanced Quantum Mechanics Addison Wesley? Barry R. Holstein? AddisonWesley? BarryR.Holstein? ジャンル別? Subjects-Professional&Technical-ProfessionalScience-Physics-QuantumTheory? Subjects-Science-History&Philosophy-HistoryofScience? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Physics-General? Subjects-Science-Physics-QuantumTheory? Subjects-Science-Technology-General&Reference Mathematica for the Sciences Addison-Wesley Pub (Sd)? Richard E. Crandall? Addison-WesleyPub(Sd)? RichardE.Crandall? ジャンル別? Subjects-Computers&Internet-Software-Business-Mathematica? Subjects-Nonfiction-Philosophy-Science? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-General? Subjects-Science-General Subjects-Science-History&Philosophy-General? Subjects-Science-Mathematics-Applied-General? Subjects-Science-Technology-General&Reference Class Field Theory (Advanced Book Classics) Addison-Wesley Pub (Sd)? Emil Artin? John Tate? Addison-WesleyPub(Sd)? EmilArtin? JohnTate? ジャンル別? Substores-UnknownASINs-6? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-NumberTheory? Subjects-Science-General Subjects-Science-Mathematics-PureMathematics-Algebra-General? Subjects-Science-Mathematics-PureMathematics-NumberTheory? Subjects-Science-Technology-General&Reference Analysis on Manifolds Perseus Books (Sd)? James R. Munkres? PerseusBooks(Sd)? JamesR.Munkres? ジャンル別? Substores-UnknownASINs-6? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Geometry&Topology-DifferentialGeometry? Subjects-Science-General Subjects-Science-Mathematics-PureMathematics-Calculus? Subjects-Science-Mathematics-Geometry&Topology-GeneralGeometry? Subjects-Science-Mathematics-Geometry&Topology-DifferentialGeometry? Subjects-Science-Technology-General&Reference Electrodynamics of Particles and Plasmas (Advanced Book Classics) Perseus Books (Sd)? P. C. Clemmow? Jude P. Dougherty? PerseusBooks(Sd)? P.C.Clemmow? JudeP.Dougherty? ジャンル別? Subjects-Computers&Internet-ComputerScience-Circuitry-Electrodynamics? Subjects-Engineering-Electrical&Electronics-ElectricityPrinciples? Subjects-Professional&Technical-Engineering-Electrical&Electronics-ElectricityPrinciples? Subjects-Professional&Technical-ProfessionalScience-Physics-Electromagnetism? Subjects-Science-General Subjects-Science-Physics-General? Subjects-Science-Physics-Solid-StatePhysics-PlasmaPhysics? Subjects-Science-Physics-Electromagnetism-General? Subjects-Science-Physics-Electromagnetism-Electricity? Subjects-Science-Technology-General&Reference Computers and DNA The Proceedings of the Interface Between Computation Science and Nucleic Acid Sequencing Workshop, Held December 12 to 16, 1988 in Santa Fe, New (Santa Fe Institute Studies in the Sciences of Complexity Proceedings) Perseus Books (Sd)? N. M.) Interface between Computation Science and Nucleic Acid Sequencing Workshop (1988 Santa Fe? George I. Bell? Thomas G. Marr? PerseusBooks(Sd)? N.M.)InterfacebetweenComputationScienceandNucleicAcidSequencingWorkshop(1988 SantaFe? GeorgeI.Bell? ThomasG.Marr? ジャンル別? Substores-UnknownASINs-6? Subjects-Computers&Internet? Subjects-Medicine-BasicScience-Physiology? Subjects-Professional&Technical-Medical-BasicSciences-Cytology? Subjects-Science-Evolution-MolecularBiology? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-BiologicalSciences-Biology-General? Subjects-Science-BiologicalSciences-Biology-CellBiology? Subjects-Science-Medicine-BasicScience-Physiology? Computers and DNA The Proceedings of the Interface Between Computation Science and Nucleic Acid Sequencing Workshop, Held December 12 to 16, 1988 I (Santa Fe Institute Studies in the Sciences of Complexity Proceedings) Perseus Books (Sd)? N. M.) Interface between Computation Science and Nucleic Acid Sequencing Workshop (1988 Santa Fe? George I. Bell? Thomas G. Marr? PerseusBooks(Sd)? N.M.)InterfacebetweenComputationScienceandNucleicAcidSequencingWorkshop(1988 SantaFe? GeorgeI.Bell? ThomasG.Marr? ジャンル別? Substores-UnknownASINs-6? Subjects-Computers&Internet-Databases-General? Subjects-Professional&Technical-Medical-BasicSciences-Cytology? Subjects-Science-Evolution-Genetics? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-BiologicalSciences-Biology-CellBiology? Graphics Technology Addison-Wesley? James H. Earle? Addison-Wesley? JamesH.Earle? ジャンル別? Subjects-Computers&Internet-WebDevelopment-HTML,Graphics,&Design-WebGraphics? Subjects-Computers&Internet-GraphicDesign-General? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Engineering-Reference? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Professional&Technical-Engineering-Mechanical-Drafting&MechanicalDrawing? Subjects-Professional&Technical-Engineering-Reference? Subjects-Professional&Technical-Engineering-General Subjects-Reference-General? Subjects-Science-Technology-General&Reference Fundamentals of Electricity Basic Principles Addison-Wesley? Consumers Power Co.? Addison-Wesley? ConsumersPowerCo.? ジャンル別? Substores-UnknownASINs-6? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-Telecommunications? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-Telecommunications? Subjects-Science-General Subjects-Science-Technology-General&Reference Fundamentals of Electricity Alternate Current Addison-Wesley Pub (Sd)? Consumers Power Co.? Addison-WesleyPub(Sd)? ConsumersPowerCo.? ジャンル別? Substores-UnknownASINs-6? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-Telecommunications? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-Telecommunications? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Technology-General&Reference 洋書
https://w.atwiki.jp/touhoukashi/pages/6127.html
【登録タグ Ark Brown E FELICIDADE 曲 永遠の巫女 発熱巫女～ず】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/touhoukashi/pages/6120.html
【登録タグ E FELT Fairy Queen Rebirth Story 亡き王女の為のセプテット 曲 美歌】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*