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https://w.atwiki.jp/it_certification/pages/148.html
1. 履歴 2. はじめに 3. バーチャルホストの設定3.1. ポートの設定 3.2. バーチャルホスト設定ファイルの読み込み 3.3. バーチャルホストの有効化 3.4. 各バーチャルホストの設定 4. バーチャルホストの確認4.1. httpd.conf 構文チェック 4.2. httpdの再起動 4.3. バーチャルホストの構成確認 4.4. index.htmlの配布 4.5. ブラウザによる確認 1. 履歴 2010/08/01 初稿 2. はじめに Apache HTTP Serverでバーチャルホストの設定を行い、複数のWEBサイトを起動させます。 本手順では、「ポートベース」のバーチャルホストを設定します。 Dynamips, coLinux併存環境にて、QoS検証が可能な環境を構築する事を目的とします。 設定概要は以下の通りです。 port DocumentRoot 10880 C \Program Files\Apache Software Foundation\Apache2.2\htdocs 10881 C \Program Files\Apache Software Foundation\Apache2.2\htdocs10881 10882 C \Program Files\Apache Software Foundation\Apache2.2\htdocs10882 3. バーチャルホストの設定 3.1. ポートの設定 Listenするポート番号を定義します。httpd.confファイルでListenで始まる行を検索し、以下の通り変更します。 変更前 Listen 80 変更後 Listen 10880 Listen 10881 Listen 10882 3.2. バーチャルホスト設定ファイルの読み込み バーチャルホスト設定が記述されている設定ファイルを読み込むよう変更します。httd.confファイルでhttpd-vhosts.confが含まれる行を検索し、以下の通り変更します。 変更前 #Include conf/extra/httpd-vhosts.conf 変更後 Include conf/extra/httpd-vhosts.conf 3.3. バーチャルホストの有効化 バーチャルホストを有効にする設定を記述します。extra\httpd-vhosts.confファイルを以下の通り変更します。 変更前 NameVirtualHost * 80 変更後 NameVirtualHost * 10880 NameVirtualHost * 10881 NameVirtualHost * 10882 3.4. 各バーチャルホストの設定 各バーチャルホストの設定を行います。QoS検証を行うのにそれほど複雑な設定は必要ないので、本手順ではDocumentRootとアクセス権のみを設定します。extra\httpd-vhosts.confファイルを以下の通り変更します。 変更前 VirtualHost * 80 ServerAdmin webmaster@dummy-host.hoge.local DocumentRoot "C /Program Files/Apache Software Foundation/Apache2.2/docs/dummy-host.hoge.local" ServerName dummy-host.hoge.local ServerAlias www.dummy-host.hoge.local ErrorLog "logs/dummy-host.hoge.local-error.log" CustomLog "logs/dummy-host.hoge.local-access.log" common /VirtualHost VirtualHost * 80 ServerAdmin webmaster@dummy-host2.hoge.local DocumentRoot "C /Program Files/Apache Software Foundation/Apache2.2/docs/dummy-host2.hoge.local" ServerName dummy-host2.hoge.local ErrorLog "logs/dummy-host2.hoge.local-error.log" CustomLog "logs/dummy-host2.hoge.local-access.log" common /VirtualHost 変更後 VirtualHost * 10880 DocumentRoot "C /Program Files/Apache Software Foundation/Apache2.2/htdocs" /VirtualHost VirtualHost * 10881 DocumentRoot "C /Program Files/Apache Software Foundation/Apache2.2/htdocs10881" Directory "C /Program Files/Apache Software Foundation/Apache2.2/htdocs10881" Order allow,deny Allow from all /Directory /VirtualHost VirtualHost * 10882 DocumentRoot "C /Program Files/Apache Software Foundation/Apache2.2/htdocs10882" Directory "C /Program Files/Apache Software Foundation/Apache2.2/htdocs10882" Order allow,deny Allow from all /Directory /VirtualHost 4. バーチャルホストの確認 4.1. httpd.conf 構文チェック Test Configurationを実行し、httpd.confの構文エラーがない事を確認します。 4.2. httpdの再起動 Apache HTTP Serverを再起動され、バーチャルホストの設定を読み込ませます。 4.3. バーチャルホストの構成確認 httpdに-Sオプションを付けて実行すると、バーチャルホストの構成を確認する事ができます。実行例は以下の通りです。 C \ "C \Program Files\Apache Software Foundation\Apache2.2\bin\httpd.exe" -S Warning DocumentRoot [C /Program Files/Apache Software Foundation/Apache2.2/htd ocs10881] does not exist Warning DocumentRoot [C /Program Files/Apache Software Foundation/Apache2.2/htd ocs10882] does not exist httpd.exe Could not reliably determine the server s fully qualified domain name , using 192.168.200.100 for ServerName VirtualHost configuration wildcard NameVirtualHosts and _default_ servers * 10882 is a NameVirtualHost default server 192.168.200.100 (C /Program Files/Apache Software Founda tion/Apache2.2/conf/extra/httpd-vhosts.conf 37) port 10882 namevhost 192.168.200.100 (C /Program Files/Apache Software Foundation/Apache2.2/conf/extra/httpd-vhosts.conf 37) * 10881 is a NameVirtualHost default server 192.168.200.100 (C /Program Files/Apache Software Founda tion/Apache2.2/conf/extra/httpd-vhosts.conf 33) port 10881 namevhost 192.168.200.100 (C /Program Files/Apache Software Foundation/Apache2.2/conf/extra/httpd-vhosts.conf 33) * 10880 is a NameVirtualHost default server 192.168.200.100 (C /Program Files/Apache Software Founda tion/Apache2.2/conf/extra/httpd-vhosts.conf 29) port 10880 namevhost 192.168.200.100 (C /Program Files/Apache Software Foundation/Apache2.2/conf/extra/httpd-vhosts.conf 29) Syntax OK C \ 4.4. index.htmlの配布 下記ディレクトリにindex.htmlを配置します。(Linux版の方はパーミッションにも注意して下さい) virtual host 配布先 備考 port 10880 C \Program Files\Apache Software Foundation\Apache2.2\htdocs\index.html Apahceインストール時に自動的に作成されます port 10881 C \Program Files\Apache Software Foundation\Apache2.2\htdocs10881\index.html port 10882 C \Program Files\Apache Software Foundation\Apache2.2\htdocs10882\index.html 4.5. ブラウザによる確認 下記URLをブラウザで閲覧し、各バーチャルホストのindex.htmlが見える事を確認します。 virtual host url port 10880 http //localhost 10880/ port 10880 http //localhost 10881/ port 10880 http //localhost 10882/
https://w.atwiki.jp/oper/pages/725.html
ACTE CINQUIÈME PREMIER TABLEAU （Le bord de la mer couvert de tentes troyennes. On voit les vaisseaux troyens dans le port. Il fait nuit. Un jeune matelot phrygien chante en se balançant au haut du mât d'un navire. Deux sentinelles montent la garde devant les tentes au fond de la scène.） N° 38 – Chanson d'Hylas ▼HYLAS▲ Vallon sonore, Où dès l'aurore Je m'en allais chantant, hélas! Sous tes grands bois chantera-t-il encore, Le pauvre Hylas?… Berce mollement sur ton sein sublime, Ô puissante mer, l'enfant de Dindyme! Fraîche ramée, Retraite aimée Contre les feux du jour, hélas! Quand rendras-tu ton ombre parfumée Au pauvre Hylas?… Berce mollement sur ton sein sublime, Ô puissante mer, l'enfant de Dindyme! Humble chaumière Où de ma mère Je reçus les adieux, ▼PREMIÈRE SENTINELLE▲ Il rêve à son pays… ▼DEUXIÈME SENTINELLE▲ Qu'il ne reverra pas. ▼HYLAS▲ Hélas! Reverra-t-il ton heureuse misère, Le pauvre Hylas?… Berce mollement sur ton sein sublime, Ô puissante mer, l'enfant… （Il s'endort.） N° 39 – Récitatif et chœur （Entrent Panthée et les chefs troyens.） ▼PANTHÉE▲ Préparez tout, il faut partir enfin. Énée en vain Voit avec désespoir l'angoisse de la reine, La gloire et le devoir sauront briser sa chaîne Et son cœur sera fort au moment des adieux. ▼PANTHÉE, LES CHEFS▲ Chaque jour voit grandir la colère des dieux. Des signes effrayants déjà nous avertissent; La mer, les monts, les bois profonds gémissent; Sous d'invisibles coups nos armes retentissent; Comme dans Troie en la fatale nuit, Hector, dont l'œil courroucé luit, En armes apparaît; un chœur d'ombres le suit; Et ces morts irrités La nuit dernière encore ont crié trois fois… ▼LES OMBRES▲ Italie! Italie! Italie! ▼PANTHÉE, LES CHEFS▲ Dieux vengeurs! c'est leur voix!… Nous avons trop longtemps bravé l'ordre céleste; Quittons sans plus tarder ce rivage funeste! A demain! à demain! Préparons tout, il faut partir enfin. （Ils entrent dans les tentes.） N° 40 – Duo （Les deux soldats en sentinelle marchent, l'un de droite à gauche, l'autre de gauche à droite. Ils s'arrêtent de temps en temps l'un près de l'autre vers le milieu du théâtre.） ▼PREMIÈRE SENTINELLE▲ Par Bacchus! ils sont fous avec leur Italie!… Je n'ai rien entendu. ▼DEUXIÈME SENTINELLE▲ Ni moi. ▼PREMIÈRE SENTINELLE▲ La belle vie, Pourtant, qu'on mène ici! ▼DEUXIÈME SENTINELLE▲ Dans plus d'une maison Nous trouvons et bon vin et grasse venaison. ▼PREMIÈRE SENTINELLE▲ A ma belle Carthaginoise, Je puis déjà parler phénicien. ▼DEUXIÈME SENTINELLE▲ La mienne comprend le Troyen, M'obéit sans me chercher noise. ▼PREMIÈRE SENTINELLE▲ La tienne comprend le Troyen? ▼DEUXIÈME SENTINELLE▲ M'obéit sans me chercher noise. La femme n'est point rude ici pour l'étranger. ▼ENSEMBLE▲ Non, la femme n'est point rude ici pour l'étranger. ▼PREMIÈRE SENTINELLE▲ Et l'on nous veut faire changer Ces douceurs contre un long voyage! ▼DEUXIÈME SENTINELLE▲ Les caresses de l'orage! ▼PREMIÈRE SENTINELLE▲ La faim. ▼DEUXIÈME SENTINELLE▲ La soif. ▼PREMIÈRE SENTINELLE▲ Vingt maux d'enfer! ▼DEUXIÈME SENTINELLE▲ Et tous les ennuis de la mer! ▼PREMIÈRE SENTINELLE▲ Maudite folie! ▼DEUXIÈME SENTINELLE▲ Pour cette Italie… ▼PREMIÈRE SENTINELLE▲ Où nous devons jouir du fruit de nos travaux… ▼ENSEMBLE▲ En nous faisant rompre les os! ▼DEUXIÈME SENTINELLE▲ Encor pâtir! ▼PREMIÈRE SENTINELLE▲ Encor pâtir! Notre lot est l'obéissance. ▼DEUXIÈME SENTINELLE▲ Silence! Je vois Énée à grands pas accourir. （Les deux sentinelles s'éloignent et disparaissent.） N° 41 – Récitatif mesuré et air ▼ÉNÉE▲ （s'avançant dans une grande agitation） Inutiles regrets!… je dois quitter Carthage! Didon le sait… son effroi, sa stupeur, En l'apprenant, ont brisé mon courage… Mais je le dois… il le faut! Non, je ne puis oublier la pâleur Frappant de mort son beau visage, Son silence obstiné, ses yeux Fixes et pleins d'un feu sombre… En vain ai-je parlé des prodiges sans nombre Me rappelant l'ordre des dieux, Invoqué la grandeur de ma sainte entreprise, L'avenir de mon fils et le sort des Troyens, La triomphale mort par les destins promise, Pour couronner ma gloire aux champs ausoniens; Rien n'a pu la toucher; sans vaincre son silence J'ai fui de son regard la terrible éloquence. Ah! quand viendra l'instant des suprêmes adieux, Heure d'angoisse et de larmes baignée, Comment subir l'aspect affreux De cette douleur indignée?… Lutter contre moi-même et contre toi, Didon! En déchirant ton cœur implorer mon pardon! En serai-je capable?… En un dernier naufrage, Ah! puissé-je périr, si je quittais Carthage Sans te revoir pourtant!… Sans la voir? lâcheté! Mépris des droits sacrés de l'hospitalité! Non, non reine adorée, Âme sublime et par moi déchirée, Bienfaitrice des miens! Non, je veux te revoir, Une dernière fois presser tes mains tremblantes, Arroser tes genoux de mes larmes brûlantes, Dussé-je être brisé par un tel désespoir. N° 42 – Scène ▼CHŒUR D'OMBRES▲ Énée!… ▼ÉNÉE▲ Encor ces voix! （Les quatre spectres voilés paraissent successivement, l'un à l'entrée des coulisses à gauche du spectateur, l'autre à l'entrée des coulisses à droite, les deux autres au fond du théâtre. Au-dessus de la tête de chacun d'eux brille une couronne de petites flammes pâles.） ▼ÉNÉE▲ De la sombre demeure, Messager menaçant, qui donc t'a fait sortir?… ▼LE SPECTRE DE PRIAM▲ （visible） Ta faiblesse et ta gloire… ▼ÉNÉE▲ Ah! je voudrais mourir! ▼LE SPECTRE DE PRIAM▲ Plus de retards! ▼LE SPECTRE DE CHORÈBE▲ （invisible） Pas un jour! ▼LES SPECTRES D'HECTOR ET DE CASSANDRE▲ （invisibles） Pas une heure! ▼LE SPECTRE DE PRIAM▲ （levant son voile devant les yeux d'Énée） Je suis Priam!… il faut vivre et partir! （Sa couronne s'éteint, il disparaît. Énée, s'élançant éperdu vers le côté droit de la scène, y rencontre le spectre de Chorèbe.） ▼LE SPECTRE DE CHORÈBE▲ （levant son voile） Je suis Chorèbe! Il faut partir et vaincre! （Sa couronne s'éteint, il disparaît. Énée, reculant vers le fond du théâtre, y rencontre les deux autres spectres. Cassandre a le bras gauche appuyé sur l'épaule d'Hector. Hector est armé de pied en cap.） ▼ÉNÉE▲ （les reconnaissant au moment où ils se dévoilent） Hector! dieux de l'Érèbe!… Cassandre!… ▼LES SPECTRES DE CASSANDRE et D'HECTOR▲ Il faut vaincre et fonder!… （Leurs couronnes s'éteignent, ils disparaissen.） ▼ÉNÉE▲ Je dois céder A vos ordres impitoyables! J'obéis, j'obéis, spectres inexorables! Je suis barbare, ingrat; vous l'ordonnez, grands dieux! Et j'immole Didon, en détournant les yeux! N° 43 – Scène et chœur ▼ÉNÉE▲ （passant devant les tentes） Debout, Troyens, éveillez-vous, alerte! Le vent est bon, la mer nous est ouverte! Éveillez-vous! Il faut partir avant le lever du soleil! ▼LES TROYENS▲ （dans les tentes） Alerte!… entendez-vous, amis, la voix d'Énée?… （Ils sortent des tentes） Donnez partout le signal du réveil… ▼ÉNÉE▲ （à un chef） Va, cours, porte cet ordre à l'oreille étonnée D'Ascagne Qu'il se lève et qu'il se rende à bord! Avant le jour il faut quitter le port. Ma tâche, jusqu'au bout, grands dieux, sera remplie, Alerte, amis! profitons des instants! Coupez les câbles, il est temps! En mer! en mer! Italie! Italie! ▼CHŒUR▲ Voici le jour, profitons des instants! Coupons les câbles, il est temps! En mer! en mer! Italie! Italie! ▼ÉNÉE▲ （se tournant du côté du palais de Didon） A toi mon âme! Adieu! digne de ton pardon, Je pars, noble Didon! L'impatient destin m'appelle; Pour la mort des héros, je te suis infidèle. （Tous se précipitent hors de la scène dans diverses directions, comme pour faire des préparatifs de départ. On voit les vaisseaux commencer à se mettre en mouvement. Éclairs et tonnerre lointain.） N° 44 – Duo et chœur ▼DIDON▲ Errante sur tes pas, Sous la foudre qui gronde, J'ai voulu voir, je vois et ne crois pas… Tu prépares ta fuite? ▼ÉNÉE▲ En ma douleur profonde, Chère Didon, épargnez-moi! ▼DIDON▲ Tu pars? tu pars? Sans remords! Quoi! Dédaigneux du sceptre de Libye, En m'arrachant le cœur tu cours en Italie! ▼ÉNÉE▲ J'ai trop tardé… des dieux les ordres souverains… ▼DIDON▲ Il part!… il suit la voix d'implacables destins, Sans écouter la mienne! à ses lâches dédains Il me voit exposer ma douleur surhumaine, （Elle voit un groupe de Troyens sourire en la regardant.） Et ma beauté de reine Aux rires insolents de ces ingrats Troyens!… ▼ÉNÉE▲ Didon! ▼DIDON▲ Sans qu'à l'aspect d'une telle misère La pitié d'une larme humecte sa paupière! Tu pars? Non ! ce n'est pas Vénus qui t'enfanta, Quelque louve hideuse aux forêts t'allaita! ▼ÉNÉE▲ Ô reine, quand à vous se dévoua mon âme, Elle subit la loi d'un immortel amour, Et jusqu'au dernier jour Mon cœur vivra de cette flamme… ▼DIDON▲ Tais-toi! rien ne t'arrête; La mort qui plane sur ma tête, Ma honte, mon amour, notre hymen commencé, Mon nom du livre d'or dès ce jour effacé! Encor, si de ta foi, j'avais un tendre gage, Oui, si d'un fils d'Énée Le fier et doux visage Me rappelant tes traits, souriait sur mon sein, Je serais moins abandonnée… ▼ÉNÉE▲ Je vous aime, Didon grâce! l'ordre divin Pouvait seul emporter la cruelle victoire. （On entend la fanfare de la marche troyenne.） ▼DIDON▲ A ce chant de triomphe où rayonne ta gloire, Je te vois tressaillir! Tu pars? ▼ÉNÉE▲ Je dois partir… ▼DIDON▲ Tu pars? ▼ÉNÉE▲ Mais pour mourir, Obéissant aux dieux, Je pars et je vous aime! ▼DIDON▲ Ne sois plus longtemps par mes cris arrêté, Monstre de piété! Va donc, va! je maudis et tes dieux et toi-même! （Elle sort. Des groupes de soldats troyens occupés des préparatifs du départ passent et se dirigent vers les vaisseaux.） ▼ÉNÉE, LES TROYENS▲ Italie! （Ascagne arrive conduit par un chef troyen. Énée monte sur un vaisseau.） DEUXIÈME TABLEAU （Un appartement de Didon. Le jour se lève.） N° 45 – Scène ▼DIDON▲ Va, ma sœur, l'implorer De mon âme abattue L'orgueil a fui. Va! ce départ me tue Et je le vois se préparer. ▼ANNA▲ Hélas! moi seule fus coupable, En vous encourageant à former d'autres nœuds. Peut-on lutter contre les dieux?… Son départ est inévitable, Et pourtant il vous aime. ▼DIDON▲ Il m'aime! non! non! son cœur est glacé! Ah! je connais l'amour, et si Jupiter même M'eût défendu d'aimer, mon amour insensé De Jupiter braverait l'anathème. Mais va, ma sœur, allez, Narbal, le supplier Pour qu'il m'accorde encore Quelques jours seulement. Humblement je l'implore Ce que j'ai fait pour lui, pourra-t-il l'oublier, Et repoussera-t-il cette instance suprême De vous, sage Narbal, de toi, ma sœur, qu'il aime?… N° 46 – Scène ▼CHŒUR▲ （au loin derrière la scène） En mer, voyez! six vaisseaux! sept! neuf! dix! ▼IOPAS▲ （entrant） Les Troyens sont partis! ▼DIDON▲ Qu'entends-je? ▼IOPAS▲ Avant l'aurore Leur flotte était en mer, on l'aperçoit encore! ▼DIDON▲ Dieux immortels! il part! Armez-vous, Tyriens! Carthaginois, courez, poursuivez les Troyens! Courbez-vous sur les rames, Volez sur les eaux, Lancez des flammes, Brûlez leurs vaisseaux! Que la ville entière… Que dis-je?… impuissante fureur! Subis ton sort et désespère, Dévore ta douleur, Ô malheureuse! Et voilà donc la foi de cette âme pieuse! J'offrais un trône!… Ah! je devais alors Exterminer la race vagabonde De ces maudits, et disperser sur l'onde Les débris de leurs corps! C'est alors qu'il fallait prévoir leur perfidie, Livrer leur flotte à l'incendie, Et me venger d'Énée et lui servir enfin Les membres de son fils en un hideux festin! A moi, dieux des enfers! l'Olympe est inflexible!… Aidez-moi! que par vous mon cœur soit enflammé D'une haine terrible Pour ce fugitif que j'aimai! Du prêtre de Pluton, qu'on réclame l'office! Pour apaiser mes douloureux transports, A l'instant même offrons un sacrifice Aux sombres déités de l'empire des morts! Qu'on élève un bûcher! Que les dons du perfide Et ceux que je lui fis, Dans la flamme livide, Souvenirs détestés, disparaissent!… Sortez! ▼NARBAL▲ （à Anna） Son regard m'épouvante, ô princesse, restez! ▼DIDON▲ Anna, suivez Narbal. ▼ANNA▲ Que ma sœur me pardonne! ▼DIDON▲ Je suis reine et j'ordonne; Laissez-moi seule, Anna. （Anna, Narbal et Iopas sortent.） N° 47 – Monologue （Didon parcourt la scène en s'arrachant les cheveux, se frappant la poitrine et poussant des cris inarticulés.） ▼DIDON▲ Ah! Ah! （Elle s'arrête brusquement.） Je vais mourir… Dans ma douleur immense submergée Et mourir non vengée!… Mourons pourtant! oui, puisse-t-il frémir A la lueur lointaine de la flamme de mon bûcher! S'il reste dans son âme quelque chose d'humain, Peut-être il pleurera sur mon affreux destin. Lui, me pleurer!… Énée!… Énée!… Oh! mon âme te suit, A son amour enchaînée, Esclave, elle l'emporte en l'éternelle nuit… Vénus! rends-moi ton fils!… Inutile prière D'un cœur qui se déchire!… A la mort tout entière Didon n'attend plus rien que de la mort. N° 48 – Air ▼DIDON▲ Adieu, fière cité, qu'un généreux effort Si promptement éleva florissante; Ma tendre sœur qui me suivis errante, Adieu, mon peuple, adieu; adieu, rivage vénéré, Toi qui jadis m'accueillis suppliante; Adieu, beau ciel d'Afrique, astres que j'admirai Aux nuits d'ivresse et d'extase infinie; Je ne vous verrai plus, ma carrière est finie!… （Elle sort à pas lents.） ▼TROISIÈME TABLEAU▲ N° 49 – Cérémonie funèbre （Une partie des jardins de Didon, sur le bord de la mer. Un vaste bûcher est élevé; on y monte par les gradins latéraux. Sur la plate-forme du bûcher sont placés un lit, une toge, un casque, une épée avec son baudrier, et un buste d'Énée.） （Entrent les Prêtres de Pluton, revêtus de costumes funèbres, ils viennent processionnellement se grouper auprès de deux autels où brillent des flammes verdâtres, puis Anna, Narbal, et enfin Didon voilée et couronnée de feuillage. Pendant la première partie du chœur des prêtres, Anna, s'approchant de sa sœur, lui dénoue sa chevelure et lui ôte le cothurne de son pied gauche.） ▼CHŒUR DE PRÊTRES DE PLUTON▲ Dieux de l'oubli, dieux du Ténare, Au cœur blessé rendez la force et le repos! Des profondeurs du noir Tartare Entendez-nous, Hécate, Érèbe, et toi Chaos! ▼ANNA ET NARBAL▲ （étendant le bras droit du côté de la mer） S'il faut enfin qu'Énée aborde en Italie, Qu'il y trouve un obscur trépas! Que le peuple latin à l'ombrien s'allie Pour arrêter ses pas! Percé d'un trait vulgaire en la mêlée ardente, Qu'il reste abandonné sur l'arène sanglante, Pour servir de pâture aux dévorants oiseaux! Entendez-nous, Hécate, Érèbe, et toi Chaos! ▼LES PRÊTRES, ANNA, NARBAL▲ Dieux de l'oubli, dieux du Ténare, Au cœur blessé rendez la force et le repos ! Des profondeurs du noir Tartare Entendez-nous, Hécate, Érèbe, et toi Chaos! N° 50 – Scène ▼DIDON▲ （parlant comme en songe） Pluton… semble m'être propice… En ce cruel instant… Narbal… ma sœur C'en est fait… achevons le pieux sacrifice… Je sens rentrer le calme… dans mon cœur. （Deux prêtres portant le premier autel s'avancent de gauche à droite, deux autres portant le second s'avancent de droite à gauche et font en se croisant ainsi le tour du bûcher. Didon, le pied gauche nu, les cheveux épars, après avoir déposé sur l'un des autels sa couronne de feuillage, le suit d'un pas saccadé. Pendant ce mouvement processionnel, Anna est à genoux à droite de la scène et Narbal à gauche. Entre eux le grand-prêtre de Pluton, debout, étend, en la tenant des deux mains, la fourche plutonique vers le bûcher. Enfin, saisi d'une énergie convulsive, Didon monte d'un pas rapide les degrés du bûcher. Parvenue au sommet, elle saisit la toge d'Énée, détache le voile brodé d'or qui couvre sa tête, et les jetant l'une et l'autre sur le bûcher, elle dit ） D'un malheureux amour, funestes gages, Dans la flamme emportez avec vous mes chagrins! （Elle considère les armes d'Énée） Ah! （Elle se prosterne sur le lit, qu'elle embrasse avec des sanglots convulsifs. Elle se relève et prenant l'épée elle dit d'un ton prophétique ） Mon souvenir vivra parmi les âges. Mon peuple accomplira d'héroïques destins. Un jour sur la terre africaine, Il naîtra de ma cendre un glorieux vengeur… J'entends déjà tonner son nom vainqueur. Annibal! Annibal! d'orgueil mon âme est pleine! Plus de souvenirs amers! C'est ainsi qu'il convient de descendre aux enfers! （Elle tire l'épée du fourreau, se frappe et tombe sur le lit.） N° 51 – Chœur ▼TOUS▲ Ah! au secours! au secours! la reine s'est frappée! （Narbal sort comme pour aller chercher du secours） ▼CHŒUR▲ （derrière la scène et accourant） Quels cris! ah! dans son sang trempée La reine meurt! （Narbal rentre, le grand chœur entre en scène） Est-il vrai? jour d'horreur! malheur! ▼DIDON▲ （se relevant appuyée sur son coude） Ah! （Elle retombe.） ▼ANNA▲ （sur le bûcher） Ma sœur! （Didon se relève.） ▼DIDON▲ Ah!… （Elle lève les yeux au ciel et retombe gémissant.） ▼ANNA▲ C'est moi, C'est ta sœur qui t'appelle… ▼DIDON▲ （se relevant à demi） Ah! Des destins ennemis… implacable fureur… Carthage périra! N° 52 – Imprécation （On voit dans une gloire lointaine le Capitole romain au fronton duquel brille ce mot ROMA. Devant le Capitole défilent des légions et un empereur entouré d'une cour de poètes et d'artistes. Pendant cette apothéose, invisible aux Carthaginois, on entend au loin la Marche troyenne transmise aux Romains par la tradition et devenue leur chant de triomphe.） ▼DIDON▲ Rome… Rome… immortelle! （Elle retombe, et meurt. Anna tombe évanouie à côté d'elle. Le peuple de Carthage, s'avançant vers l'avant-scène et tournant le dos au bûcher, lance son imprécation, premier cri de guerre punique, contrastant par sa fureur avec la solennité de la Marche triomphale.） ▼CHŒUR▲ Haine éternelle à la race d'Énée! Qu'une guerre acharnée Précipite à jamais nos fils contre ses fils! Que par nos vaisseaux assaillis Leurs vaisseaux dans la mer profonde Périssent abîmés! Que sur la terre et l'onde Nos derniers descendants, contre eux toujours armés, De leur massacre, un jour, épouvantent le monde! ACTE CINQUIÈME PREMIER TABLEAU Le bord de la mer couvert de tentes troyennes. On voit les vaisseaux troyens dans le port. Il fait nuit. Un jeune matelot phrygien chante en se balançant au haut du mât d'un navire. Deux sentinelles montent la garde devant les tentes au fond de la scène. N° 38 – Chanson d'Hylas HYLAS Vallon sonore, Où dès l'aurore Je m'en allais chantant, hélas! Sous tes grands bois chantera-t-il encore, Le pauvre Hylas?… Berce mollement sur ton sein sublime, Ô puissante mer, l'enfant de Dindyme! Fraîche ramée, Retraite aimée Contre les feux du jour, hélas! Quand rendras-tu ton ombre parfumée Au pauvre Hylas?… Berce mollement sur ton sein sublime, Ô puissante mer, l'enfant de Dindyme! Humble chaumière Où de ma mère Je reçus les adieux, PREMIÈRE SENTINELLE Il rêve à son pays… DEUXIÈME SENTINELLE Qu'il ne reverra pas. HYLAS Hélas! Reverra-t-il ton heureuse misère, Le pauvre Hylas?… Berce mollement sur ton sein sublime, Ô puissante mer, l'enfant… Il s'endort. N° 39 – Récitatif et chœur Entrent Panthée et les chefs troyens. PANTHÉE Préparez tout, il faut partir enfin. Énée en vain Voit avec désespoir l'angoisse de la reine, La gloire et le devoir sauront briser sa chaîne Et son cœur sera fort au moment des adieux. PANTHÉE, LES CHEFS Chaque jour voit grandir la colère des dieux. Des signes effrayants déjà nous avertissent; La mer, les monts, les bois profonds gémissent; Sous d'invisibles coups nos armes retentissent; Comme dans Troie en la fatale nuit, Hector, dont l'œil courroucé luit, En armes apparaît; un chœur d'ombres le suit; Et ces morts irrités La nuit dernière encore ont crié trois fois… LES OMBRES Italie! Italie! Italie! PANTHÉE, LES CHEFS Dieux vengeurs! c'est leur voix!… Nous avons trop longtemps bravé l'ordre céleste; Quittons sans plus tarder ce rivage funeste! A demain! à demain! Préparons tout, il faut partir enfin. Ils entrent dans les tentes. N° 40 – Duo Les deux soldats en sentinelle marchent, l'un de droite à gauche, l'autre de gauche à droite. Ils s'arrêtent de temps en temps l'un près de l'autre vers le milieu du théâtre. PREMIÈRE SENTINELLE Par Bacchus! ils sont fous avec leur Italie!… Je n'ai rien entendu. DEUXIÈME SENTINELLE Ni moi. PREMIÈRE SENTINELLE La belle vie, Pourtant, qu'on mène ici! DEUXIÈME SENTINELLE Dans plus d'une maison Nous trouvons et bon vin et grasse venaison. PREMIÈRE SENTINELLE A ma belle Carthaginoise, Je puis déjà parler phénicien. DEUXIÈME SENTINELLE La mienne comprend le Troyen, M'obéit sans me chercher noise. PREMIÈRE SENTINELLE La tienne comprend le Troyen? DEUXIÈME SENTINELLE M'obéit sans me chercher noise. La femme n'est point rude ici pour l'étranger. ENSEMBLE Non, la femme n'est point rude ici pour l'étranger. PREMIÈRE SENTINELLE Et l'on nous veut faire changer Ces douceurs contre un long voyage! DEUXIÈME SENTINELLE Les caresses de l'orage! PREMIÈRE SENTINELLE La faim. DEUXIÈME SENTINELLE La soif. PREMIÈRE SENTINELLE Vingt maux d'enfer! DEUXIÈME SENTINELLE Et tous les ennuis de la mer! PREMIÈRE SENTINELLE Maudite folie! DEUXIÈME SENTINELLE Pour cette Italie… PREMIÈRE SENTINELLE Où nous devons jouir du fruit de nos travaux… ENSEMBLE En nous faisant rompre les os! DEUXIÈME SENTINELLE Encor pâtir! PREMIÈRE SENTINELLE Encor pâtir! Notre lot est l'obéissance. DEUXIÈME SENTINELLE Silence! Je vois Énée à grands pas accourir. Les deux sentinelles s'éloignent et disparaissent. N° 41 – Récitatif mesuré et air ÉNÉE s'avançant dans une grande agitation Inutiles regrets!… je dois quitter Carthage! Didon le sait… son effroi, sa stupeur, En l'apprenant, ont brisé mon courage… Mais je le dois… il le faut! Non, je ne puis oublier la pâleur Frappant de mort son beau visage, Son silence obstiné, ses yeux Fixes et pleins d'un feu sombre… En vain ai-je parlé des prodiges sans nombre Me rappelant l'ordre des dieux, Invoqué la grandeur de ma sainte entreprise, L'avenir de mon fils et le sort des Troyens, La triomphale mort par les destins promise, Pour couronner ma gloire aux champs ausoniens; Rien n'a pu la toucher; sans vaincre son silence J'ai fui de son regard la terrible éloquence. Ah! quand viendra l'instant des suprêmes adieux, Heure d'angoisse et de larmes baignée, Comment subir l'aspect affreux De cette douleur indignée?… Lutter contre moi-même et contre toi, Didon! En déchirant ton cœur implorer mon pardon! En serai-je capable?… En un dernier naufrage, Ah! puissé-je périr, si je quittais Carthage Sans te revoir pourtant!… Sans la voir? lâcheté! Mépris des droits sacrés de l'hospitalité! Non, non reine adorée, Âme sublime et par moi déchirée, Bienfaitrice des miens! Non, je veux te revoir, Une dernière fois presser tes mains tremblantes, Arroser tes genoux de mes larmes brûlantes, Dussé-je être brisé par un tel désespoir. N° 42 – Scène CHŒUR D'OMBRES Énée!… ÉNÉE Encor ces voix! Les quatre spectres voilés paraissent successivement, l'un à l'entrée des coulisses à gauche du spectateur, l'autre à l'entrée des coulisses à droite, les deux autres au fond du théâtre. Au-dessus de la tête de chacun d'eux brille une couronne de petites flammes pâles. ÉNÉE De la sombre demeure, Messager menaçant, qui donc t'a fait sortir?… LE SPECTRE DE PRIAM visible Ta faiblesse et ta gloire… ÉNÉE Ah! je voudrais mourir! LE SPECTRE DE PRIAM Plus de retards! LE SPECTRE DE CHORÈBE invisible Pas un jour! LES SPECTRES D'HECTOR ET DE CASSANDRE invisibles Pas une heure! LE SPECTRE DE PRIAM levant son voile devant les yeux d'Énée Je suis Priam!… il faut vivre et partir! Sa couronne s'éteint, il disparaît. Énée, s'élançant éperdu vers le côté droit de la scène, y rencontre le spectre de Chorèbe. LE SPECTRE DE CHORÈBE levant son voile Je suis Chorèbe! Il faut partir et vaincre! Sa couronne s'éteint, il disparaît. Énée, reculant vers le fond du théâtre, y rencontre les deux autres spectres. Cassandre a le bras gauche appuyé sur l'épaule d'Hector. Hector est armé de pied en cap. ÉNÉE les reconnaissant au moment où ils se dévoilent Hector! dieux de l'Érèbe!… Cassandre!… LES SPECTRES DE CASSANDRE et D'HECTOR Il faut vaincre et fonder!… Leurs couronnes s'éteignent, ils disparaissen. ÉNÉE Je dois céder A vos ordres impitoyables! J'obéis, j'obéis, spectres inexorables! Je suis barbare, ingrat; vous l'ordonnez, grands dieux! Et j'immole Didon, en détournant les yeux! N° 43 – Scène et chœur ÉNÉE passant devant les tentes Debout, Troyens, éveillez-vous, alerte! Le vent est bon, la mer nous est ouverte! Éveillez-vous! Il faut partir avant le lever du soleil! LES TROYENS dans les tentes Alerte!… entendez-vous, amis, la voix d'Énée?… Ils sortent des tentes Donnez partout le signal du réveil… ÉNÉE à un chef Va, cours, porte cet ordre à l'oreille étonnée D'Ascagne Qu'il se lève et qu'il se rende à bord! Avant le jour il faut quitter le port. Ma tâche, jusqu'au bout, grands dieux, sera remplie, Alerte, amis! profitons des instants! Coupez les câbles, il est temps! En mer! en mer! Italie! Italie! CHŒUR Voici le jour, profitons des instants! Coupons les câbles, il est temps! En mer! en mer! Italie! Italie! ÉNÉE se tournant du côté du palais de Didon A toi mon âme! Adieu! digne de ton pardon, Je pars, noble Didon! L'impatient destin m'appelle; Pour la mort des héros, je te suis infidèle. Tous se précipitent hors de la scène dans diverses directions, comme pour faire des préparatifs de départ. On voit les vaisseaux commencer à se mettre en mouvement. Éclairs et tonnerre lointain. N° 44 – Duo et chœur DIDON Errante sur tes pas, Sous la foudre qui gronde, J'ai voulu voir, je vois et ne crois pas… Tu prépares ta fuite? ÉNÉE En ma douleur profonde, Chère Didon, épargnez-moi! DIDON Tu pars? tu pars? Sans remords! Quoi! Dédaigneux du sceptre de Libye, En m'arrachant le cœur tu cours en Italie! ÉNÉE J'ai trop tardé… des dieux les ordres souverains… DIDON Il part!… il suit la voix d'implacables destins, Sans écouter la mienne! à ses lâches dédains Il me voit exposer ma douleur surhumaine, Elle voit un groupe de Troyens sourire en la regardant. Et ma beauté de reine Aux rires insolents de ces ingrats Troyens!… ÉNÉE Didon! DIDON Sans qu'à l'aspect d'une telle misère La pitié d'une larme humecte sa paupière! Tu pars? Non ! ce n'est pas Vénus qui t'enfanta, Quelque louve hideuse aux forêts t'allaita! ÉNÉE Ô reine, quand à vous se dévoua mon âme, Elle subit la loi d'un immortel amour, Et jusqu'au dernier jour Mon cœur vivra de cette flamme… DIDON Tais-toi! rien ne t'arrête; La mort qui plane sur ma tête, Ma honte, mon amour, notre hymen commencé, Mon nom du livre d'or dès ce jour effacé! Encor, si de ta foi, j'avais un tendre gage, Oui, si d'un fils d'Énée Le fier et doux visage Me rappelant tes traits, souriait sur mon sein, Je serais moins abandonnée… ÉNÉE Je vous aime, Didon grâce! l'ordre divin Pouvait seul emporter la cruelle victoire. On entend la fanfare de la marche troyenne. DIDON A ce chant de triomphe où rayonne ta gloire, Je te vois tressaillir! Tu pars? ÉNÉE Je dois partir… DIDON Tu pars? ÉNÉE Mais pour mourir, Obéissant aux dieux, Je pars et je vous aime! DIDON Ne sois plus longtemps par mes cris arrêté, Monstre de piété! Va donc, va! je maudis et tes dieux et toi-même! Elle sort. Des groupes de soldats troyens occupés des préparatifs du départ passent et se dirigent vers les vaisseaux. ÉNÉE, LES TROYENS Italie! Ascagne arrive conduit par un chef troyen. Énée monte sur un vaisseau. DEUXIÈME TABLEAU Un appartement de Didon. Le jour se lève. N° 45 – Scène DIDON Va, ma sœur, l'implorer De mon âme abattue L'orgueil a fui. Va! ce départ me tue Et je le vois se préparer. ANNA Hélas! moi seule fus coupable, En vous encourageant à former d'autres nœuds. Peut-on lutter contre les dieux?… Son départ est inévitable, Et pourtant il vous aime. DIDON Il m'aime! non! non! son cœur est glacé! Ah! je connais l'amour, et si Jupiter même M'eût défendu d'aimer, mon amour insensé De Jupiter braverait l'anathème. Mais va, ma sœur, allez, Narbal, le supplier Pour qu'il m'accorde encore Quelques jours seulement. Humblement je l'implore Ce que j'ai fait pour lui, pourra-t-il l'oublier, Et repoussera-t-il cette instance suprême De vous, sage Narbal, de toi, ma sœur, qu'il aime?… N° 46 – Scène CHŒUR au loin derrière la scène En mer, voyez! six vaisseaux! sept! neuf! dix! IOPAS entrant Les Troyens sont partis! DIDON Qu'entends-je? IOPAS Avant l'aurore Leur flotte était en mer, on l'aperçoit encore! DIDON Dieux immortels! il part! Armez-vous, Tyriens! Carthaginois, courez, poursuivez les Troyens! Courbez-vous sur les rames, Volez sur les eaux, Lancez des flammes, Brûlez leurs vaisseaux! Que la ville entière… Que dis-je?… impuissante fureur! Subis ton sort et désespère, Dévore ta douleur, Ô malheureuse! Et voilà donc la foi de cette âme pieuse! J'offrais un trône!… Ah! je devais alors Exterminer la race vagabonde De ces maudits, et disperser sur l'onde Les débris de leurs corps! C'est alors qu'il fallait prévoir leur perfidie, Livrer leur flotte à l'incendie, Et me venger d'Énée et lui servir enfin Les membres de son fils en un hideux festin! A moi, dieux des enfers! l'Olympe est inflexible!… Aidez-moi! que par vous mon cœur soit enflammé D'une haine terrible Pour ce fugitif que j'aimai! Du prêtre de Pluton, qu'on réclame l'office! Pour apaiser mes douloureux transports, A l'instant même offrons un sacrifice Aux sombres déités de l'empire des morts! Qu'on élève un bûcher! Que les dons du perfide Et ceux que je lui fis, Dans la flamme livide, Souvenirs détestés, disparaissent!… Sortez! NARBAL à Anna Son regard m'épouvante, ô princesse, restez! DIDON Anna, suivez Narbal. ANNA Que ma sœur me pardonne! DIDON Je suis reine et j'ordonne; Laissez-moi seule, Anna. Anna, Narbal et Iopas sortent. N° 47 – Monologue Didon parcourt la scène en s'arrachant les cheveux, se frappant la poitrine et poussant des cris inarticulés. DIDON Ah! Ah! Elle s'arrête brusquement. Je vais mourir… Dans ma douleur immense submergée Et mourir non vengée!… Mourons pourtant! oui, puisse-t-il frémir A la lueur lointaine de la flamme de mon bûcher! S'il reste dans son âme quelque chose d'humain, Peut-être il pleurera sur mon affreux destin. Lui, me pleurer!… Énée!… Énée!… Oh! mon âme te suit, A son amour enchaînée, Esclave, elle l'emporte en l'éternelle nuit… Vénus! rends-moi ton fils!… Inutile prière D'un cœur qui se déchire!… A la mort tout entière Didon n'attend plus rien que de la mort. N° 48 – Air DIDON Adieu, fière cité, qu'un généreux effort Si promptement éleva florissante; Ma tendre sœur qui me suivis errante, Adieu, mon peuple, adieu; adieu, rivage vénéré, Toi qui jadis m'accueillis suppliante; Adieu, beau ciel d'Afrique, astres que j'admirai Aux nuits d'ivresse et d'extase infinie; Je ne vous verrai plus, ma carrière est finie!… Elle sort à pas lents. TROISIÈME TABLEAU N° 49 – Cérémonie funèbre Une partie des jardins de Didon, sur le bord de la mer. Un vaste bûcher est élevé; on y monte par les gradins latéraux. Sur la plate-forme du bûcher sont placés un lit, une toge, un casque, une épée avec son baudrier, et un buste d'Énée. Entrent les Prêtres de Pluton, revêtus de costumes funèbres, ils viennent processionnellement se grouper auprès de deux autels où brillent des flammes verdâtres, puis Anna, Narbal, et enfin Didon voilée et couronnée de feuillage. Pendant la première partie du chœur des prêtres, Anna, s'approchant de sa sœur, lui dénoue sa chevelure et lui ôte le cothurne de son pied gauche. CHŒUR DE PRÊTRES DE PLUTON Dieux de l'oubli, dieux du Ténare, Au cœur blessé rendez la force et le repos! Des profondeurs du noir Tartare Entendez-nous, Hécate, Érèbe, et toi Chaos! ANNA ET NARBAL étendant le bras droit du côté de la mer S'il faut enfin qu'Énée aborde en Italie, Qu'il y trouve un obscur trépas! Que le peuple latin à l'ombrien s'allie Pour arrêter ses pas! Percé d'un trait vulgaire en la mêlée ardente, Qu'il reste abandonné sur l'arène sanglante, Pour servir de pâture aux dévorants oiseaux! Entendez-nous, Hécate, Érèbe, et toi Chaos! LES PRÊTRES, ANNA, NARBAL Dieux de l'oubli, dieux du Ténare, Au cœur blessé rendez la force et le repos ! Des profondeurs du noir Tartare Entendez-nous, Hécate, Érèbe, et toi Chaos! N° 50 – Scène DIDON parlant comme en songe Pluton… semble m'être propice… En ce cruel instant… Narbal… ma sœur C'en est fait… achevons le pieux sacrifice… Je sens rentrer le calme… dans mon cœur. Deux prêtres portant le premier autel s'avancent de gauche à droite, deux autres portant le second s'avancent de droite à gauche et font en se croisant ainsi le tour du bûcher. Didon, le pied gauche nu, les cheveux épars, après avoir déposé sur l'un des autels sa couronne de feuillage, le suit d'un pas saccadé. Pendant ce mouvement processionnel, Anna est à genoux à droite de la scène et Narbal à gauche. Entre eux le grand-prêtre de Pluton, debout, étend, en la tenant des deux mains, la fourche plutonique vers le bûcher. Enfin, saisi d'une énergie convulsive, Didon monte d'un pas rapide les degrés du bûcher. Parvenue au sommet, elle saisit la toge d'Énée, détache le voile brodé d'or qui couvre sa tête, et les jetant l'une et l'autre sur le bûcher, elle dit D'un malheureux amour, funestes gages, Dans la flamme emportez avec vous mes chagrins! Elle considère les armes d'Énée Ah! Elle se prosterne sur le lit, qu'elle embrasse avec des sanglots convulsifs. Elle se relève et prenant l'épée elle dit d'un ton prophétique Mon souvenir vivra parmi les âges. Mon peuple accomplira d'héroïques destins. Un jour sur la terre africaine, Il naîtra de ma cendre un glorieux vengeur… J'entends déjà tonner son nom vainqueur. Annibal! Annibal! d'orgueil mon âme est pleine! Plus de souvenirs amers! C'est ainsi qu'il convient de descendre aux enfers! Elle tire l'épée du fourreau, se frappe et tombe sur le lit. N° 51 – Chœur TOUS Ah! au secours! au secours! la reine s'est frappée! Narbal sort comme pour aller chercher du secours CHŒUR derrière la scène et accourant Quels cris! ah! dans son sang trempée La reine meurt! Narbal rentre, le grand chœur entre en scène Est-il vrai? jour d'horreur! malheur! DIDON se relevant appuyée sur son coude Ah! Elle retombe. ANNA sur le bûcher Ma sœur! Didon se relève. DIDON Ah!… Elle lève les yeux au ciel et retombe gémissant. ANNA C'est moi, C'est ta sœur qui t'appelle… DIDON se relevant à demi Ah! Des destins ennemis… implacable fureur… Carthage périra! N° 52 – Imprécation On voit dans une gloire lointaine le Capitole romain au fronton duquel brille ce mot ROMA. Devant le Capitole défilent des légions et un empereur entouré d'une cour de poètes et d'artistes. Pendant cette apothéose, invisible aux Carthaginois, on entend au loin la Marche troyenne transmise aux Romains par la tradition et devenue leur chant de triomphe. DIDON Rome… Rome… immortelle! Elle retombe, et meurt. Anna tombe évanouie à côté d'elle. Le peuple de Carthage, s'avançant vers l'avant-scène et tournant le dos au bûcher, lance son imprécation, premier cri de guerre punique, contrastant par sa fureur avec la solennité de la Marche triomphale. CHŒUR Haine éternelle à la race d'Énée! Qu'une guerre acharnée Précipite à jamais nos fils contre ses fils! Que par nos vaisseaux assaillis Leurs vaisseaux dans la mer profonde Périssent abîmés! Que sur la terre et l'onde Nos derniers descendants, contre eux toujours armés, De leur massacre, un jour, épouvantent le monde! Berlioz,Hector/Les Troyens
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【登録タグ MONEY MONEY おてんば恋娘 暁Records Stack 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 ); 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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 }; 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The Acts of the Apostles (Ancient Greek Πράξεις τῶν Ἀποστόλων, Práxeis tôn Apostólōn; Latin Āctūs Apostolōrum), often referred to simply as Acts, is the fifth book of the New Testament; it tells of the founding of the Christian church and the spread of its message to the Roman empire.[1] Acts is the second half of a two-part work, referred to as Luke-Acts, by the same anonymous author, referred to as Luke the Evangelist, and usually dated to around 80-90 CE.[2][3] The first part, the Gospel of Luke, tells how God fulfilled his plan for the world s salvation through the life, death and resurrection of Jesus of Nazareth, the promised Messiah. Acts continues the story of Christianity in the 1st century, beginning with the Ascension of Christ. The early chapters, set in Jerusalem, describe the Day of Pentecost (the coming of the Holy Spirit) and the growth of the church in Jerusalem. Initially the Jews are receptive to the Christian message, but soon they turn against the followers of the Messiah. Rejected by the Jews, under the guidance of the Apostle Peter the message is taken to the Gentiles. The later chapters tell of Paul s conversion, his mission in Asia Minor and the Aegean, and finally his imprisonment in Rome, where, as the book ends, he awaits trial. Luke-Acts is an attempt to answer a theological problem, namely how the Messiah of the Jews came to have an overwhelmingly non-Jewish church; the answer it provides, and its central theme, is that the message of Christ was sent to the Gentiles because the Jews rejected it.[1] Contents [hide] 1 Composition and setting 1.1 Title, unity of Luke-Acts, authorship and date 1.2 Genre, sources and historicity of Acts 1.3 Audience and authorial intent 1.4 Manuscripts 2 Structure and content 2.1 Structure 2.2 Outline 2.3 Content 3 Theology 4 Comparison with other writings 4.1 Gospel of Luke 4.2 Pauline epistles 5 See also 6 References 7 Bibliography 8 External links Composition and setting[edit] Main article Authorship of Luke–Acts Ministry of the Apostles Russian icon by Fyodor Zubov, 1660 Title, unity of Luke-Acts, authorship and date[edit] The title "Acts of the Apostles" (Greek Πράξεις ἀποστόλων Praxeis Apostolon) was first used by Irenaeus in the late 2nd century. It is not known whether this was an existing title or one invented by Irenaeus; it does seem clear, however, that it was not given by the author.[4] The gospel of Luke and Acts make up a two-volume work which scholars call Luke-Acts.[3] Together they account for 27.5% of the New Testament, the largest contribution attributed to a single author, providing the framework for both the Church s liturgical calendar and the historical outline into which later generations have fitted their idea of the story of Jesus and the early church.[5] The author is not named in either volume.[6] According to Church tradition dating from the 2nd century, he was the "Luke" named as a companion of the apostle Paul in three of the letters attributed to Paul himself; this view is still sometimes advanced, but "a critical consensus emphasizes the countless contradictions between the account in Acts and the authentic Pauline letters."[7] (An example can be seen by comparing Acts accounts of Paul s conversion (Acts 9 1-31, 22 6-21, and 26 9-23) with Paul s own statement that he remained unknown to Christians in Judea after that event (Galatians 1 17-24).)[8] He admired Paul, but his theology was significantly different from Paul s on key points and he does not (in Acts) represent Paul s views accurately.[9] He was educated, a man of means, probably urban, and someone who respected manual work, although not a worker himself; this is significant, because more high-brow writers of the time looked down on the artisans and small business-people who made up the early church of Paul and were presumably Luke s audience.[10] The earliest possible date for the composition of Acts is set by the events with which it ends, Paul s imprisonment in Rome c.63 CE, but an early date is now rarely put forward.[11][12] The last possible date would be set by its first definite citation by another author, but there is no unanimity on this–some scholars find echoes of Acts in a work from c.95 CE called I Clement, while others see no indisputable citation until the middle of the 2nd century.[11] If Acts uses Josephus as a source, as has been proposed, then it must have been composed after 93 CE; it does not show any knowledge of Paul s letters, a fact which also supports a late date; and the social situation it reflects is one in which the faithful need "shepherds" to protect them from heretical (possibly Marcionite) "wolves", which again reflects a late date.[11] Most experts therefore date it to around 80-90 CE, although some suggest 90-110, [2] and there is evidence that it was still being substantially revised well into the 2nd century.[13] Genre, sources and historicity of Acts[edit] Luke (or more accurately the anonymous author of Luke-Acts) describes his work, Luke-Acts, as a "narrative" (diegesis). Acts, the second part, is widely thought of as a history, but it lacks exact analogies in Hellenistic or Jewish literature.[14] The title "Acts of the Apostles" (Praxeis Apostolon) would seem to identify it with the genre telling of the deeds and achievements of great men (praxeis), but it was not the title given by the author.[4] Luke seems to have taken as his model the works of two respected Classical authors, Dionysius of Halicarnassus, who wrote a well-known history of Rome, and the Jewish historian Josephus, author of a history of the Jews.[15] Like them he anchors his history by dating the birth of the founder (Romulus for Dionysius, Moses for Josephus, Jesus for Luke) and like them he tells how the founder is born from God, taught authoritatively, and appeared to witnesses after death before ascending to heaven.[15] By and large the sources for Acts can only be guessed at,[16] but Luke would have had access to the Septuagint (a Greek translation of the Jewish scriptures), the gospel of Mark and the collection of "sayings of Jesus" called the Q source.[17] He transposed a few incidents from Mark s gospel to the time of the Apostles – for example, the material about "clean" and "unclean" foods in Mark 7 is used in Acts 10, and Mark s account of the accusation that Jesus has attacked the Temple (Mark 14 58) is used in a story about Stephen (Acts 6 14).)[18] There are also points of contacts (meaning suggestive parallels but something less than clear evidence) with 1 Peter, the Letter to the Hebrews, and 1 Clement.[19] Other sources can only be inferred from internal evidence – the traditional explanation of the three "we" passages, for example, is that they represent eye-witness accounts.[20] The search for such inferred sources was popular in the 19th century, but by the mid-20th it had largely been abandoned.[21] Acts was read as a reliable history of the early church well into the post-Reformation era. By the 17th century, however, biblical scholars began to notice that it was incomplete and tendentious – its picture of a harmonious church is quite at odds with that given by Paul s letters, and it omits important events such as the deaths of both Peter and Paul. The mid-19th century scholar Ferdinand Baur suggested that Luke had re-written history to present a united Peter and Paul and advance a single orthodoxy against the Marcionites. (Marcion was a 2nd-century heretic who wished to cut Christianity off entirely from the Jews). Baur continues to have enormous influence, but today there is less interest in determining Luke s historical accuracy (although this has never died out) than in understanding his theological program.[22] Audience and authorial intent[edit] Luke was written to be read aloud to a group of Jesus-followers gathered in a house to share the Lord s supper.[15] The author assumes an educated Greek-speaking audience, but directs his attention to specifically Christian concerns rather than to the Greco-Roman world at large.[23] He begins his gospel with a preface addressed to Theophilus, informing him of his intention to provide an "ordered account" of events which will lead his reader to "certainty".[10] He did not write in order to provide Theophilus with historical justification – "did it happen?" – but to encourage faith – "what happened, and what does it all mean?"[24] Acts (or Luke-Acts) is intended as a work of "edification."[25] Edification means "the empirical demonstration that virtue is superior to vice,"[26] but is not all of Luke s purpose. He also engages with the question of a Christian s proper relationship with the Roman Empire, the civil power of the day could a Christian obey God and also Caesar? The answer is ambiguous.[27] The Romans never move against Jesus or his followers unless provoked by the Jews, in the trial scenes the Christian missionaries are always cleared of charges of violating Roman laws, and Acts ends with Paul in Rome proclaiming the Christian message under Roman protection; at the same time, Luke makes clear that the Romans, like all earthly rulers, receive their authority from Satan, while Christ is ruler of the kingdom of God. [28] Luke-Acts can be also seen as a defense of (or "apology" for) the Jesus movement addressed to the Jews the bulk of the speeches and sermons in Acts are addressed to Jewish audiences, with the Romans featuring as external arbiters on disputes concerning Jewish customs and law.[27] On the one hand Luke portrays the Christians as a sect of the Jews, and therefore entitled to legal protection as a recognised religion; on the other, Luke seems unclear as to the future God intends for Jews and Christians, celebrating the Jewishness of Jesus and his immediate followers while also stressing how the Jews had rejected God s promised Messiah.[29] Manuscripts[edit] There are two major textual variants of Luke-Acts, the Western text-type and the Alexandrian. The oldest complete Alexandrian manuscripts date from the 4th century and the oldest Western ones from the 6th, with fragments and citations going back to the 3rd. Western texts of Acts are 10% longer than Alexandrian texts, the additions tending to enhance the Jewish rejection of the Messiah and the role of the Holy Spirit, in ways that are stylistically different from the rest of Acts.[30] These conflicts suggest that Luke-Acts was still being substantially revised well into the 2nd century.[13] The majority of scholars prefer the Alexandrian (shorter) text-type over the Western as the more authentic, but this same argument would favour the Western over the Alexandrian for the gospel of Luke, as in that case the Western version is the shorter. The debate therefore continues.[30] Structure and content[edit] Acts 1 1-2a from the 14th century Minuscule 223 Structure[edit] Acts has two key structural principles. The first is the geographic movement from Jerusalem, centre of God s Covenantal people the Jews, to Rome, centre of the Gentile world. This structure reaches back to the author s preceding work, the Gospel of Luke, and is signaled by parallel scenes such as Paul s utterance in Acts 19 21, which echoes Jesus words 9 51 (Paul has Rome as his destination, as Jesus had Jerusalem). The second key element is the roles of Peter and Paul, the first representing the Jewish Christian church, the second the mission to the Gentiles.[31] Transition reprise of the preface addressed to Theophilus and the closing events of the gospel (Acts 1-1 26) Petrine Christianity the Jewish church from Jerusalem to Antioch (Acts 2 1-12 25) 2 1-8 1 - beginnings in Jerusalem 8 2-40 - the church expands to Samaria and beyond 9 1-31 - conversion of Paul 9 32-12 25 - the conversion of Cornelius, and the formation of the Antioch church Pauline Christianity the Gentile mission from Antioch to Rome (Acts 13 1-28 21) 13 1-14 28 - the Gentile mission is promoted from Antioch 15 1-35 - the Gentile mission is confirmed in Jerusalem 15 36-28 31 - the Gentile mission, climaxing in Paul s passion story in Rome (21 17-28 31) Outline[edit] Dedication to Theophilus (1 1–2) Resurrection appearances (1 3) Great Commission (1 4–8) Ascension (1 9) Second Coming Prophecy (1 10–11) Matthias replaced Judas (1 12–26) the Upper Room (1 13) Holy Spirit came at Pentecost (2), see also Paraclete Peter healed a crippled beggar (3 1–10) Peter s speech at the Temple (3 11–26) Peter and John before the Sanhedrin (4 1–22) Resurrection of the dead (4 2) Believers Prayer (4 23–31) Everything is shared (4 32–37) Ananias and Sapphira (5 1–11) Signs and Wonders (5 12–16) Apostles before the Sanhedrin (5 17–42) Seven Greeks appointed (6 1–7) Saint Stephen before the Sanhedrin (6 8–7 60) The "Cave of the Patriarchs" was located in Shechem (7 16) "Moses was educated in all the wisdom of the Egyptians" (7 22) First mentioning of Saul (Paul the Apostle) in the Bible (7 58) Paul the Apostle confesses his part in the martyrdom of Stephen (7 58-60) Saul persecuted the Church of Jerusalem (8 1–3) Philip the Evangelist (8 4–40) Simon Magus (8 9–24) Ethiopian eunuch (8 26–39) Conversion of Paul the Apostle (9 1–31, 22 1–22, 26 9–24) Paul the Apostle confesses his active part in the martyrdom of Stephen (22 20) Peter healed Aeneas and raised Tabitha from the dead (9 32–43) Conversion of Cornelius (10 1–8, 24–48) Peter s vision of a sheet with animals (10 9–23, 11 1–18) Church of Antioch founded (11 19–30) term "Christian" first used (11 26) Saint James the Great executed (12 1–2) Peter s rescue from prison (12 3–19) Death of Herod Agrippa I [in 44] (12 20–25) "the voice of a god" (12 22) Mission of Barnabas and Saul (13–14) "Saul, who was also known as Paul" (13 9) called "gods ... in human form" (14 11) Council of Jerusalem (15 1–35) Paul separated from Barnabas (15 36–41) 2nd and 3rd missions (16–20) Areopagus sermon (17 16-34) "God...has set a day" (17 30–31) Trial before Gallio c. 51–52 (18 12–17) Trip to Jerusalem (21) Before the people and the Sanhedrin (22–23) Before Felix–Festus–Agrippa II (24–26) Trip to Rome (27–28) called a god on Malta (28 6) Content[edit] See also Early Christianity and Jewish Christians The Gospel of Luke began with a prologue addressed to Theophilus; Acts likewise opens with an address to Theophilus and refers to "my earlier book", almost certainly the gospel. The apostles and other followers of Jesus meet and elect Matthias to replace Judas as a member of The Twelve. On Pentecost, the Holy Spirit descends and confers God s power on them, and Peter, along with John, preaches to many in Jerusalem, and performs Christ-like healings, casting out of evil spirits, and raising of the dead. At first many Jews follow Christ and are baptized, but the Christians begin to be increasingly persecuted by the Jews. Stephen is arrested for blasphemy, and after a trial, is found guilty and stoned by the Jews. Stephen s death marks a major turning point the Jews have rejected the message, and henceforth it will be taken to the Gentiles.[32] The message is taken to the Samaritans, a people rejected by Jews, and to the Gentiles. Saul of Tarsus, one of the Jews who persecuted the Christians, is converted by a vision to become a follower of Christ (an event which Luke regards as so important that he relates it three times). Peter, directed by a series of visions, preaches to Cornelius the Centurion, a Gentile God-fearer, who becomes a follower of Christ. The Holy Spirit descends on Peter and Cornelius, thus confirming that the message of eternal life in Christ is for all mankind. The Gentile church is established in Antioch (north-western Syria, the third-largest city of the empire), and here Christ s followers are first called Christians.[33] The mission to the Gentiles is promoted from Antioch and confirmed at meeting in Jerusalem between Paul and the leadership of the Jerusalem church. Paul spends the next few years traveling through western Asia Minor and the Aegean,preaching, converting Gentiles, and founding new churches. On a visit to Jerusalem he is set on by a Jewish mob. Saved by the Roman commander, he is accused by the Jews of being a revolutionary, the "ringleader of the sect of the Nazarenes", and imprisoned. Paul asserts his right as a Roman citizen, to be tried in Rome and is sent by sea to Rome, where he spends another two years under house arrest, proclaiming the Kingdom of God and teaching the "Lord Jesus Christ". Acts ends abruptly without recording the outcome of Paul s legal troubles.[citation needed] Theology[edit] Paul s conversion, from Livre d Heures d Étienne Chevalier (c. 1450–1460), Jean Fouquet, in the Château de Chantilly. Prior to the 1950s Luke-Acts was seen as a historical work, written to defend Christianity before the Romans or Paul against his detractors; since then, however, the tendency has been to see the work as primarily theological.[34] Luke s theology is expressed primarily through his overarching plot, the way scenes, themes and characters combine to construct his specific worldview.[35] His "salvation history" stretches from the Creation to the present time of his readers, in three ages first, the time of "the Law and the Prophets" (Luke 16 16), the period beginning with Genesis and ending with the appearance of John the Baptist (Luke 1 5-3 1); second, the epoch of Jesus, in which the Kingdom of God was preached (Luke 3 2-24 51); and finally the period of the Church, which began when the risen Christ was taken into Heaven, and would end with his second coming.[36] Luke-Acts is an attempt to answer a theological problem, namely how the Messiah promised to the Jews came to have an overwhelmingly non-Jewish church; the answer it provides, and its central theme, is that the message of Christ was sent to the Gentiles because the Jews rejected it.[1] This theme is introduced at the opening of the gospel of Luke, when Jesus, rejected in Nazareth, recalls that the prophets were rejected by Israel and accepted by Gentiles; at the end of the gospel he commands his disciples to preach his message to all nations, "beginning from Jerusalem." He repeats the command in Acts, telling them to preach "in Jerusalem, in all Judea and Samaria, and to the end of the Earth." They then proceed to do so, in the order outlined first Jerusalem, then Judea, then Samaria, then the entire (Roman) world.[37] For Luke, the Holy Spirit is the driving force behind the spread of the Christian message, and he places more emphasis on it than do any of the other evangelists. The Spirit is "poured out" at Pentecost, on the first Samaritan and Gentile believers, and on disciples who had been baptised only by John the Baptist, each time as a sign of God s approval. The Holy Spirit represents God s power (At his ascension, Jesus tells his followers, "You shall receive power when the Holy Spirit has come upon you") through it the disciples are given speech to convert thousands in Jerusalem, forming the first church (the term is used for the first time in Acts 5).[38] Comparison with other writings[edit] Saint Paul Writing His Epistles, ascribed to Valentin de Boulogne, 17th century Gospel of Luke[edit] As the second part of the two-part work Luke-Acts, Acts has significant links to the gospel of Luke. Major turning points in the structure of Acts, for example, find parallels in Luke the presentation of the child Jesus in the Temple parallels the opening of Acts in the Temple, Jesus forty days of testing in the wilderness prior to his mission parallel the forty days prior to his Ascension in Acts, the mission of Jesus in Samaria and the Decapolis (the lands of the Samaritans and Gentiles) parallels the missions of the Apostles in Samaria and the Gentile lands, and so on (see Gospel of Luke). These parallels continue through both books.[39] There are also differences between Luke and Acts, amounting at times to outright contradiction. For example, the gospel seems to place the Ascension on Easter Sunday, immediately after the Resurrection, while Acts 1 puts it forty days later.[40] There are similar conflicts over the theology. While not seriously questioning the single authorship of Luke-Acts, these differences do suggest the need for caution in seeking too much consistency in books written in essence as popular literature.[41] Pauline epistles[edit] Acts agrees with Paul s letters on the major outline of Paul s career as Saul he is converted and becomes Paul the Christian missionary and apostle, establishing new churches in Asia Minor and the Aegean and struggling to free Gentile Christians from the Jewish Law. There are also agreements on many incidents, such as Paul s escape from Damascus, where he is lowered down the walls in a basket. But details of these same incidents are frequently contradictory for example, according to Paul it was a pagan king who was trying to arrest him in Damascus, but according to Luke it was, characteristically, the Jews (2 Corinthians 11 33 and Acts 9 24). Many of the disagreements are not so immediately obvious Acts speaks of "Christians" and "disciples", but Paul never uses either term, and there are striking differences in the accounts of Paul s relationship with the Jerusalem church and its leaders (Acts 9-15 vs. Galatians 1-2). Acts omits much from the letters, notably Paul s problems with his congregations (internal difficulties are said to be the fault of the Jews instead), and his apparent final rejection by the church leaders in Jerusalem (Acts has Paul and Barnabas deliver an offering that is accepted, a trip that has no mention in the letters). There are also major differences between Acts on Paul on Christology (the understanding of Christ s nature), eschatology (understanding of the "last things"), and apostleship.[42] See also[edit] Historical reliability of the Acts of the Apostles List of Gospels List of omitted Bible verses Textual variants in the Acts of the Apostles Acts of the Apostles (genre) Acts of Andrew Acts of Barnabas Acts of John Acts of the Martyrs Acts of Paul Acts of Paul and Thecla Acts of Peter Acts of Peter and Paul Acts of Peter and the Twelve Acts of Pilate Acts of Philip Acts of Thomas Acts of Timothy The Lost Chapter of the Acts of the Apostles References[edit] ^ Jump up to a b c Burkett 2002, p. 263. ^ Jump up to a b Charlesworth 2008, p. no page number. ^ Jump up to a b Burkett 2002, p. 195. ^ Jump up to a b Matthews 2011, p. 12. Jump up ^ Boring 2012, p. 556. Jump up ^ Burkett 2002, p. 196. Jump up ^ Theissen Merz 1998, p. 32. Jump up ^ Perkins 1998, p. 253. Jump up ^ Boring 2012, p. 590. ^ Jump up to a b Green 1997, p. 35. ^ Jump up to a b c Boring 2012, p. 587. Jump up ^ Theissen Merz 1996 [tr. 1998], p. 32. ^ Jump up to a b Perkins 2009, p. 250-253. Jump up ^ Aune 1988, p. 77. ^ Jump up to a b c Balch 2003, p. 1104. Jump up ^ Bruce 1990, p. 40. Jump up ^ Boring 2012, p. 577. Jump up ^ Witherington 1998, p. 8. Jump up ^ Boring 2012, p. 578. Jump up ^ Bruce 1990, p. 40-41. Jump up ^ Boring 2012, p. 579. Jump up ^ Holladay 2011, p. no page numbers. Jump up ^ Green 1995, p. 16-17. Jump up ^ Green 1997, p. 36. Jump up ^ Fitzmyer 1998, p. 55-65. Jump up ^ Aune 1988, p. 80. ^ Jump up to a b Pickett 2011, p. 6-7. Jump up ^ Boring 2012, p. 562. Jump up ^ Boring 2012, p. 563. ^ Jump up to a b Thompson 2010, p. 332. Jump up ^ Boring 2012, p. 569-570. Jump up ^ Burkett 2002, p. 265. Jump up ^ Burkett 2002, p. 266. Jump up ^ Buckwalter 1996, p. 6. Jump up ^ Allen 2009, p. 326. Jump up ^ Evans 2011, p. no page numbers. Jump up ^ Burkett 2002, p. 264. Jump up ^ Burkett 2002, p. 268-270. Jump up ^ Tremmel 2011, p. 59. Jump up ^ Zwiep 2010, p. 39. Jump up ^ Parsons 1993, p. 17-18. Jump up ^ Boring 2012, p. 581, 588-590.The Acts of the Apostles (Ancient Greek Πράξεις τῶν Ἀποστόλων, Práxeis tôn Apostólōn; Latin Āctūs Apostolōrum), often referred to simply as Acts, is the fifth book of the New Testament; it tells of the founding of the Christian church and the spread of its message to the Roman empire.[1] Acts is the second half of a two-part work, referred to as Luke-Acts, by the same anonymous author, referred to as Luke the Evangelist, and usually dated to around 80-90 CE.[2][3] The first part, the Gospel of Luke, tells how God fulfilled his plan for the world s salvation through the life, death and resurrection of Jesus of Nazareth, the promised Messiah. Acts continues the story of Christianity in the 1st century, beginning with the Ascension of Christ. The early chapters, set in Jerusalem, describe the Day of Pentecost (the coming of the Holy Spirit) and the growth of the church in Jerusalem. Initially the Jews are receptive to the Christian message, but soon they turn against the followers of the Messiah. Rejected by the Jews, under the guidance of the Apostle Peter the message is taken to the Gentiles. The later chapters tell of Paul s conversion, his mission in Asia Minor and the Aegean, and finally his imprisonment in Rome, where, as the book ends, he awaits trial. Luke-Acts is an attempt to answer a theological problem, namely how the Messiah of the Jews came to have an overwhelmingly non-Jewish church; the answer it provides, and its central theme, is that the message of Christ was sent to the Gentiles because the Jews rejected it.[1] Contents [hide] 1 Composition and setting 1.1 Title, unity of Luke-Acts, authorship and date 1.2 Genre, sources and historicity of Acts 1.3 Audience and authorial intent 1.4 Manuscripts 2 Structure and content 2.1 Structure 2.2 Outline 2.3 Content 3 Theology 4 Comparison with other writings 4.1 Gospel of Luke 4.2 Pauline epistles 5 See also 6 References 7 Bibliography 8 External links Composition and setting[edit] Main article Authorship of Luke–Acts Ministry of the Apostles Russian icon by Fyodor Zubov, 1660 Title, unity of Luke-Acts, authorship and date[edit] The title "Acts of the Apostles" (Greek Πράξεις ἀποστόλων Praxeis Apostolon) was first used by Irenaeus in the late 2nd century. It is not known whether this was an existing title or one invented by Irenaeus; it does seem clear, however, that it was not given by the author.[4] The gospel of Luke and Acts make up a two-volume work which scholars call Luke-Acts.[3] Together they account for 27.5% of the New Testament, the largest contribution attributed to a single author, providing the framework for both the Church s liturgical calendar and the historical outline into which later generations have fitted their idea of the story of Jesus and the early church.[5] The author is not named in either volume.[6] According to Church tradition dating from the 2nd century, he was the "Luke" named as a companion of the apostle Paul in three of the letters attributed to Paul himself; this view is still sometimes advanced, but "a critical consensus emphasizes the countless contradictions between the account in Acts and the authentic Pauline letters."[7] (An example can be seen by comparing Acts accounts of Paul s conversion (Acts 9 1-31, 22 6-21, and 26 9-23) with Paul s own statement that he remained unknown to Christians in Judea after that event (Galatians 1 17-24).)[8] He admired Paul, but his theology was significantly different from Paul s on key points and he does not (in Acts) represent Paul s views accurately.[9] He was educated, a man of means, probably urban, and someone who respected manual work, although not a worker himself; this is significant, because more high-brow writers of the time looked down on the artisans and small business-people who made up the early church of Paul and were presumably Luke s audience.[10] The earliest possible date for the composition of Acts is set by the events with which it ends, Paul s imprisonment in Rome c.63 CE, but an early date is now rarely put forward.[11][12] The last possible date would be set by its first definite citation by another author, but there is no unanimity on this–some scholars find echoes of Acts in a work from c.95 CE called I Clement, while others see no indisputable citation until the middle of the 2nd century.[11] If Acts uses Josephus as a source, as has been proposed, then it must have been composed after 93 CE; it does not show any knowledge of Paul s letters, a fact which also supports a late date; and the social situation it reflects is one in which the faithful need "shepherds" to protect them from heretical (possibly Marcionite) "wolves", which again reflects a late date.[11] Most experts therefore date it to around 80-90 CE, although some suggest 90-110, [2] and there is evidence that it was still being substantially revised well into the 2nd century.[13] Genre, sources and historicity of Acts[edit] Luke (or more accurately the anonymous author of Luke-Acts) describes his work, Luke-Acts, as a "narrative" (diegesis). Acts, the second part, is widely thought of as a history, but it lacks exact analogies in Hellenistic or Jewish literature.[14] The title "Acts of the Apostles" (Praxeis Apostolon) would seem to identify it with the genre telling of the deeds and achievements of great men (praxeis), but it was not the title given by the author.[4] Luke seems to have taken as his model the works of two respected Classical authors, Dionysius of Halicarnassus, who wrote a well-known history of Rome, and the Jewish historian Josephus, author of a history of the Jews.[15] Like them he anchors his history by dating the birth of the founder (Romulus for Dionysius, Moses for Josephus, Jesus for Luke) and like them he tells how the founder is born from God, taught authoritatively, and appeared to witnesses after death before ascending to heaven.[15] By and large the sources for Acts can only be guessed at,[16] but Luke would have had access to the Septuagint (a Greek translation of the Jewish scriptures), the gospel of Mark and the collection of "sayings of Jesus" called the Q source.[17] He transposed a few incidents from Mark s gospel to the time of the Apostles – for example, the material about "clean" and "unclean" foods in Mark 7 is used in Acts 10, and Mark s account of the accusation that Jesus has attacked the Temple (Mark 14 58) is used in a story about Stephen (Acts 6 14).)[18] There are also points of contacts (meaning suggestive parallels but something less than clear evidence) with 1 Peter, the Letter to the Hebrews, and 1 Clement.[19] Other sources can only be inferred from internal evidence – the traditional explanation of the three "we" passages, for example, is that they represent eye-witness accounts.[20] The search for such inferred sources was popular in the 19th century, but by the mid-20th it had largely been abandoned.[21] Acts was read as a reliable history of the early church well into the post-Reformation era. By the 17th century, however, biblical scholars began to notice that it was incomplete and tendentious – its picture of a harmonious church is quite at odds with that given by Paul s letters, and it omits important events such as the deaths of both Peter and Paul. The mid-19th century scholar Ferdinand Baur suggested that Luke had re-written history to present a united Peter and Paul and advance a single orthodoxy against the Marcionites. (Marcion was a 2nd-century heretic who wished to cut Christianity off entirely from the Jews). Baur continues to have enormous influence, but today there is less interest in determining Luke s historical accuracy (although this has never died out) than in understanding his theological program.[22] Audience and authorial intent[edit] Luke was written to be read aloud to a group of Jesus-followers gathered in a house to share the Lord s supper.[15] The author assumes an educated Greek-speaking audience, but directs his attention to specifically Christian concerns rather than to the Greco-Roman world at large.[23] He begins his gospel with a preface addressed to Theophilus, informing him of his intention to provide an "ordered account" of events which will lead his reader to "certainty".[10] He did not write in order to provide Theophilus with historical justification – "did it happen?" – but to encourage faith – "what happened, and what does it all mean?"[24] Acts (or Luke-Acts) is intended as a work of "edification."[25] Edification means "the empirical demonstration that virtue is superior to vice,"[26] but is not all of Luke s purpose. He also engages with the question of a Christian s proper relationship with the Roman Empire, the civil power of the day could a Christian obey God and also Caesar? The answer is ambiguous.[27] The Romans never move against Jesus or his followers unless provoked by the Jews, in the trial scenes the Christian missionaries are always cleared of charges of violating Roman laws, and Acts ends with Paul in Rome proclaiming the Christian message under Roman protection; at the same time, Luke makes clear that the Romans, like all earthly rulers, receive their authority from Satan, while Christ is ruler of the kingdom of God. [28] Luke-Acts can be also seen as a defense of (or "apology" for) the Jesus movement addressed to the Jews the bulk of the speeches and sermons in Acts are addressed to Jewish audiences, with the Romans featuring as external arbiters on disputes concerning Jewish customs and law.[27] On the one hand Luke portrays the Christians as a sect of the Jews, and therefore entitled to legal protection as a recognised religion; on the other, Luke seems unclear as to the future God intends for Jews and Christians, celebrating the Jewishness of Jesus and his immediate followers while also stressing how the Jews had rejected God s promised Messiah.[29] Manuscripts[edit] There are two major textual variants of Luke-Acts, the Western text-type and the Alexandrian. The oldest complete Alexandrian manuscripts date from the 4th century and the oldest Western ones from the 6th, with fragments and citations going back to the 3rd. Western texts of Acts are 10% longer than Alexandrian texts, the additions tending to enhance the Jewish rejection of the Messiah and the role of the Holy Spirit, in ways that are stylistically different from the rest of Acts.[30] These conflicts suggest that Luke-Acts was still being substantially revised well into the 2nd century.[13] The majority of scholars prefer the Alexandrian (shorter) text-type over the Western as the more authentic, but this same argument would favour the Western over the Alexandrian for the gospel of Luke, as in that case the Western version is the shorter. The debate therefore continues.[30] Structure and content[edit] Acts 1 1-2a from the 14th century Minuscule 223 Structure[edit] Acts has two key structural principles. The first is the geographic movement from Jerusalem, centre of God s Covenantal people the Jews, to Rome, centre of the Gentile world. This structure reaches back to the author s preceding work, the Gospel of Luke, and is signaled by parallel scenes such as Paul s utterance in Acts 19 21, which echoes Jesus words 9 51 (Paul has Rome as his destination, as Jesus had Jerusalem). The second key element is the roles of Peter and Paul, the first representing the Jewish Christian church, the second the mission to the Gentiles.[31] Transition reprise of the preface addressed to Theophilus and the closing events of the gospel (Acts 1-1 26) Petrine Christianity the Jewish church from Jerusalem to Antioch (Acts 2 1-12 25) 2 1-8 1 - beginnings in Jerusalem 8 2-40 - the church expands to Samaria and beyond 9 1-31 - conversion of Paul 9 32-12 25 - the conversion of Cornelius, and the formation of the Antioch church Pauline Christianity the Gentile mission from Antioch to Rome (Acts 13 1-28 21) 13 1-14 28 - the Gentile mission is promoted from Antioch 15 1-35 - the Gentile mission is confirmed in Jerusalem 15 36-28 31 - the Gentile mission, climaxing in Paul s passion story in Rome (21 17-28 31) Outline[edit] Dedication to Theophilus (1 1–2) Resurrection appearances (1 3) Great Commission (1 4–8) Ascension (1 9) Second Coming Prophecy (1 10–11) Matthias replaced Judas (1 12–26) the Upper Room (1 13) Holy Spirit came at Pentecost (2), see also Paraclete Peter healed a crippled beggar (3 1–10) Peter s speech at the Temple (3 11–26) Peter and John before the Sanhedrin (4 1–22) Resurrection of the dead (4 2) Believers Prayer (4 23–31) Everything is shared (4 32–37) Ananias and Sapphira (5 1–11) Signs and Wonders (5 12–16) Apostles before the Sanhedrin (5 17–42) Seven Greeks appointed (6 1–7) Saint Stephen before the Sanhedrin (6 8–7 60) The "Cave of the Patriarchs" was located in Shechem (7 16) "Moses was educated in all the wisdom of the Egyptians" (7 22) First mentioning of Saul (Paul the Apostle) in the Bible (7 58) Paul the Apostle confesses his part in the martyrdom of Stephen (7 58-60) Saul persecuted the Church of Jerusalem (8 1–3) Philip the Evangelist (8 4–40) Simon Magus (8 9–24) Ethiopian eunuch (8 26–39) Conversion of Paul the Apostle (9 1–31, 22 1–22, 26 9–24) Paul the Apostle confesses his active part in the martyrdom of Stephen (22 20) Peter healed Aeneas and raised Tabitha from the dead (9 32–43) Conversion of Cornelius (10 1–8, 24–48) Peter s vision of a sheet with animals (10 9–23, 11 1–18) Church of Antioch founded (11 19–30) term "Christian" first used (11 26) Saint James the Great executed (12 1–2) Peter s rescue from prison (12 3–19) Death of Herod Agrippa I [in 44] (12 20–25) "the voice of a god" (12 22) Mission of Barnabas and Saul (13–14) "Saul, who was also known as Paul" (13 9) called "gods ... in human form" (14 11) Council of Jerusalem (15 1–35) Paul separated from Barnabas (15 36–41) 2nd and 3rd missions (16–20) Areopagus sermon (17 16-34) "God...has set a day" (17 30–31) Trial before Gallio c. 51–52 (18 12–17) Trip to Jerusalem (21) Before the people and the Sanhedrin (22–23) Before Felix–Festus–Agrippa II (24–26) Trip to Rome (27–28) called a god on Malta (28 6) Content[edit] See also Early Christianity and Jewish Christians The Gospel of Luke began with a prologue addressed to Theophilus; Acts likewise opens with an address to Theophilus and refers to "my earlier book", almost certainly the gospel. The apostles and other followers of Jesus meet and elect Matthias to replace Judas as a member of The Twelve. On Pentecost, the Holy Spirit descends and confers God s power on them, and Peter, along with John, preaches to many in Jerusalem, and performs Christ-like healings, casting out of evil spirits, and raising of the dead. At first many Jews follow Christ and are baptized, but the Christians begin to be increasingly persecuted by the Jews. Stephen is arrested for blasphemy, and after a trial, is found guilty and stoned by the Jews. Stephen s death marks a major turning point the Jews have rejected the message, and henceforth it will be taken to the Gentiles.[32] The message is taken to the Samaritans, a people rejected by Jews, and to the Gentiles. Saul of Tarsus, one of the Jews who persecuted the Christians, is converted by a vision to become a follower of Christ (an event which Luke regards as so important that he relates it three times). Peter, directed by a series of visions, preaches to Cornelius the Centurion, a Gentile God-fearer, who becomes a follower of Christ. The Holy Spirit descends on Peter and Cornelius, thus confirming that the message of eternal life in Christ is for all mankind. The Gentile church is established in Antioch (north-western Syria, the third-largest city of the empire), and here Christ s followers are first called Christians.[33] The mission to the Gentiles is promoted from Antioch and confirmed at meeting in Jerusalem between Paul and the leadership of the Jerusalem church. Paul spends the next few years traveling through western Asia Minor and the Aegean,preaching, converting Gentiles, and founding new churches. On a visit to Jerusalem he is set on by a Jewish mob. Saved by the Roman commander, he is accused by the Jews of being a revolutionary, the "ringleader of the sect of the Nazarenes", and imprisoned. Paul asserts his right as a Roman citizen, to be tried in Rome and is sent by sea to Rome, where he spends another two years under house arrest, proclaiming the Kingdom of God and teaching the "Lord Jesus Christ". Acts ends abruptly without recording the outcome of Paul s legal troubles.[citation needed] Theology[edit] Paul s conversion, from Livre d Heures d Étienne Chevalier (c. 1450–1460), Jean Fouquet, in the Château de Chantilly. Prior to the 1950s Luke-Acts was seen as a historical work, written to defend Christianity before the Romans or Paul against his detractors; since then, however, the tendency has been to see the work as primarily theological.[34] Luke s theology is expressed primarily through his overarching plot, the way scenes, themes and characters combine to construct his specific worldview.[35] His "salvation history" stretches from the Creation to the present time of his readers, in three ages first, the time of "the Law and the Prophets" (Luke 16 16), the period beginning with Genesis and ending with the appearance of John the Baptist (Luke 1 5-3 1); second, the epoch of Jesus, in which the Kingdom of God was preached (Luke 3 2-24 51); and finally the period of the Church, which began when the risen Christ was taken into Heaven, and would end with his second coming.[36] Luke-Acts is an attempt to answer a theological problem, namely how the Messiah promised to the Jews came to have an overwhelmingly non-Jewish church; the answer it provides, and its central theme, is that the message of Christ was sent to the Gentiles because the Jews rejected it.[1] This theme is introduced at the opening of the gospel of Luke, when Jesus, rejected in Nazareth, recalls that the prophets were rejected by Israel and accepted by Gentiles; at the end of the gospel he commands his disciples to preach his message to all nations, "beginning from Jerusalem." He repeats the command in Acts, telling them to preach "in Jerusalem, in all Judea and Samaria, and to the end of the Earth." They then proceed to do so, in the order outlined first Jerusalem, then Judea, then Samaria, then the entire (Roman) world.[37] For Luke, the Holy Spirit is the driving force behind the spread of the Christian message, and he places more emphasis on it than do any of the other evangelists. The Spirit is "poured out" at Pentecost, on the first Samaritan and Gentile believers, and on disciples who had been baptised only by John the Baptist, each time as a sign of God s approval. The Holy Spirit represents God s power (At his ascension, Jesus tells his followers, "You shall receive power when the Holy Spirit has come upon you") through it the disciples are given speech to convert thousands in Jerusalem, forming the first church (the term is used for the first time in Acts 5).[38] Comparison with other writings[edit] Saint Paul Writing His Epistles, ascribed to Valentin de Boulogne, 17th century Gospel of Luke[edit] As the second part of the two-part work Luke-Acts, Acts has significant links to the gospel of Luke. Major turning points in the structure of Acts, for example, find parallels in Luke the presentation of the child Jesus in the Temple parallels the opening of Acts in the Temple, Jesus forty days of testing in the wilderness prior to his mission parallel the forty days prior to his Ascension in Acts, the mission of Jesus in Samaria and the Decapolis (the lands of the Samaritans and Gentiles) parallels the missions of the Apostles in Samaria and the Gentile lands, and so on (see Gospel of Luke). These parallels continue through both books.[39] There are also differences between Luke and Acts, amounting at times to outright contradiction. For example, the gospel seems to place the Ascension on Easter Sunday, immediately after the Resurrection, while Acts 1 puts it forty days later.[40] There are similar conflicts over the theology. While not seriously questioning the single authorship of Luke-Acts, these differences do suggest the need for caution in seeking too much consistency in books written in essence as popular literature.[41] Pauline epistles[edit] Acts agrees with Paul s letters on the major outline of Paul s career as Saul he is converted and becomes Paul the Christian missionary and apostle, establishing new churches in Asia Minor and the Aegean and struggling to free Gentile Christians from the Jewish Law. There are also agreements on many incidents, such as Paul s escape from Damascus, where he is lowered down the walls in a basket. But details of these same incidents are frequently contradictory for example, according to Paul it was a pagan king who was trying to arrest him in Damascus, but according to Luke it was, characteristically, the Jews (2 Corinthians 11 33 and Acts 9 24). Many of the disagreements are not so immediately obvious Acts speaks of "Christians" and "disciples", but Paul never uses either term, and there are striking differences in the accounts of Paul s relationship with the Jerusalem church and its leaders (Acts 9-15 vs. Galatians 1-2). Acts omits much from the letters, notably Paul s problems with his congregations (internal difficulties are said to be the fault of the Jews instead), and his apparent final rejection by the church leaders in Jerusalem (Acts has Paul and Barnabas deliver an offering that is accepted, a trip that has no mention in the letters). There are also major differences between Acts on Paul on Christology (the understanding of Christ s nature), eschatology (understanding of the "last things"), and apostleship.[42] See also[edit] Historical reliability of the Acts of the Apostles List of Gospels List of omitted Bible verses Textual variants in the Acts of the Apostles Acts of the Apostles (genre) Acts of Andrew Acts of Barnabas Acts of John Acts of the Martyrs Acts of Paul Acts of Paul and Thecla Acts of Peter Acts of Peter and Paul Acts of Peter and the Twelve Acts of Pilate Acts of Philip Acts of Thomas Acts of Timothy The Lost Chapter of the Acts of the Apostles References[edit] ^ Jump up to a b c Burkett 2002, p. 263. ^ Jump up to a b Charlesworth 2008, p. no page number. ^ Jump up to a b Burkett 2002, p. 195. ^ Jump up to a b Matthews 2011, p. 12. Jump up ^ Boring 2012, p. 556. Jump up ^ Burkett 2002, p. 196. Jump up ^ Theissen Merz 1998, p. 32. Jump up ^ Perkins 1998, p. 253. Jump up ^ Boring 2012, p. 590. ^ Jump up to a b Green 1997, p. 35. ^ Jump up to a b c Boring 2012, p. 587. Jump up ^ Theissen Merz 1996 [tr. 1998], p. 32. ^ Jump up to a b Perkins 2009, p. 250-253. Jump up ^ Aune 1988, p. 77. ^ Jump up to a b c Balch 2003, p. 1104. Jump up ^ Bruce 1990, p. 40. Jump up ^ Boring 2012, p. 577. Jump up ^ Witherington 1998, p. 8. Jump up ^ Boring 2012, p. 578. Jump up ^ Bruce 1990, p. 40-41. Jump up ^ Boring 2012, p. 579. Jump up ^ Holladay 2011, p. no page numbers. Jump up ^ Green 1995, p. 16-17. Jump up ^ Green 1997, p. 36. Jump up ^ Fitzmyer 1998, p. 55-65. Jump up ^ Aune 1988, p. 80. ^ Jump up to a b Pickett 2011, p. 6-7. Jump up ^ Boring 2012, p. 562. Jump up ^ Boring 2012, p. 563. ^ Jump up to a b Thompson 2010, p. 332. Jump up ^ Boring 2012, p. 569-570. Jump up ^ Burkett 2002, p. 265. Jump up ^ Burkett 2002, p. 266. Jump up ^ Buckwalter 1996, p. 6. Jump up ^ Allen 2009, p. 326. Jump up ^ Evans 2011, p. no page numbers. Jump up ^ Burkett 2002, p. 264. Jump up ^ Burkett 2002, p. 268-270. Jump up ^ Tremmel 2011, p. 59. Jump up ^ Zwiep 2010, p. 39. Jump up ^ Parsons 1993, p. 17-18. Jump up ^ Boring 2012, p. 581, 588-590.
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Subjects-Professional&Technical-Engineering-Electrical&Electronics-Electronics-Microelectronics? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Semiconductors? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-ProfessionalScience-Physics-General? Subjects-Science-General Subjects-Science-Physics-General? Subjects-Science-Technology-General&Reference Semantic Integration of Heterogeneous Software Specifications (E a T C S Monographs on Theoretical Computer Science) Springer? Martin Grogbse-Rhode? Martin Grobe-Rhode? Martin Grosse-Rhode? Springer? MartinGrogbse-Rhode? MartinGrobe-Rhode? MartinGrosse-Rhode? ジャンル別? Substores-UnknownASINs-47? Subjects-Computers&Internet-Software-Design&Development-SoftwareDevelopment? Subjects-Computers&Internet-Programming-General? Subjects-Computers&Internet-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Combinatorial Pattern Matching 14th Annual Symposium, Cpm 2003, Morelia, Michoacn, Mexico, June 25-27, 2003, Proceedings (Lecture Notes in Computer Science) Springer? Ricardo Baeza-Yates? Edgar Chavez? Maxime Crochemore? Springer? RicardoBaeza-Yates? EdgarChavez? MaximeCrochemore? ジャンル別? Substores-UnknownASINs-47? Subjects-Computers&Internet-General? Subjects-Professional&Technical-ProfessionalScience-Mathematics-PureMathematics-DiscreteMathematics? Subjects-Science-Mathematics-PureMathematics-Combinatorics? Subjects-Science-Mathematics-PureMathematics-DiscreteMathematics? Subjects-Science-Technology-General&Reference Applications and Theory of Petri Nets, 2003 24th International Conference, Icatpn 2003, Eindhoven, the Netherlands, June 23-27, 2003, Proceedings (Lecture Notes in Computer Science) Springer? Wil Van Der Aalst? Eike Best? Wil Van Der Aalst? Springer? WilVanDerAalst? EikeBest? WilVanDerAalst? ジャンル別? 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England) International Conference on Industrial & Engineering Applications of Artificial Intelligence & Expert Systems (16th 2003 Loughborough? Chris Hinde? Ali Moonis? Moonis Ali? Paul W. H. Chung? Springer? England)InternationalConferenceonIndustrial&EngineeringApplicationsofArtificialIntelligence&ExpertSystems(16th 2003 Loughborough? ChrisHinde? AliMoonis? MoonisAli? PaulW.H.Chung? ジャンル別? Subjects-Computers&Internet-WebDevelopment-Scripting&Programming-Agents? Subjects-Computers&Internet-Networking-DataintheEnterprise-DistributedComputing? Subjects-Computers&Internet-Networking-DataintheEnterprise-ExpertSystems? Subjects-Computers&Internet-Software-Design&Development-SoftwareDevelopment? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-MachineVision? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-HumanVision&LanguageSystems? Subjects-Computers&Internet-Programming-General? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference Parallel Computing Technologies 7th International Conference, Pact 2003, Nizhni Novgorod, Russia, September 15-19, 2003 Proceedings (Lecture Notes in Computer Science) Springer? R. S. F. S. R.) International Conference on Parallel Computing Technologies (7th 2003 Nizhegorodskaia guberniia? Victor Malyshkin? Springer? R.S.F.S.R.)InternationalConferenceonParallelComputingTechnologies(7th 2003 Nizhegorodskaiaguberniia? VictorMalyshkin? ジャンル別? Subjects-Computers&Internet-Software-Design&Development-SoftwareDevelopment? Subjects-Computers&Internet-Programming-General? Subjects-Computers&Internet-Hardware-SystemArchitecture-ParallelComputing? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference Control of Uncertain Systems With Bounded Inputs (Lecture Notes in Control and Information Sciences) Springer-Verlag? Sophie Tarbouriech? Germain Garcia? Springer-Verlag? SophieTarbouriech? GermainGarcia? ジャンル別? Subjects-Engineering-Aerospace-AdvancedMechanics? Subjects-Engineering-Civil-Mechanics? Subjects-Engineering-ComputerTechnology-Robotics&Automation? Subjects-Engineering-Electrical&Electronics-DigitalDesign? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-General? Subjects-Engineering-Mechanical-General? Subjects-Engineering-Mechanical-Robotics? Subjects-Engineering-Mechanical-ControlEngineering-AdaptiveControl? Subjects-Professional&Technical-Engineering-Civil-Mechanics? Subjects-Professional&Technical-Engineering-ComputerTechnology-Robotics&Automation? Subjects-Professional&Technical-Engineering-Electrical&Electronics-DigitalDesign? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-Aerospace-AdvancedMechanics? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Mechanical-Robotics? Subjects-Professional&Technical-Engineering-Mechanical-ControlEngineering-AdaptiveControl? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Computers&Internet-ComputerScience-Algorithms-Real-TimeDataProcessing? Software Process Technology 9th European Workshop, Ewspt 2003, Helsinki, Finland, September 1-2, 2003 Proceedings (Lecture Notes in Computer Science) Springer? Finland) Ewspt 200 (2003 Helsinki? Flavio Oquendo? Springer? Finland)Ewspt200(2003Helsinki? FlavioOquendo? ジャンル別? Subjects-Computers&Internet-Software-Design&Development-SoftwareDevelopment? Subjects-Computers&Internet-Programming-General? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference Biopolyesters (Advances in Biochemical Engineering/Biotechnology) Springer? W. Babel? A. Steinbuchel? Harvey W. Blanch? C. L. Cooney? I. Endo? S. O. Enfors? 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Style Wars Sidgwick & Jackson?Peter York Plan for New York City The MIT Press?Peter Richards? Plan for New York City The MIT Press?Peter Richards? New York Nocturnes Dover Publications Inc.?Peter Fink? The New York Times Practical Guide to Practically Everything The Essential Companion for Everyday Life St Martins Pr?Amy D. Bernstein?Peter W. Bernstein? Honore Lannuier Cabinet Maker from Paris The Life and Work of a French Ebeniste in Federal New York (Metropolitan Museum of Art) Metropolitan Museum of Art?Peter M. Kenny?Frances F. Bretter?Ulrich Leben?Bruce White? New York Eats The Food Shoppers Guide to the Freshest Ingredients, the Best Takeout and Baked Goods and the Most Unsual Marketplaces in All of N Y St Martins Pr?Ed Levine?Peter Cunningham?Hilda Bijur? The Detectives/Their Toughest Cases in Their Own Words St Martins Pr?Peter A. Micheels? The Mystery Roast Picador USA?Peter Gadol? The Renaissance (Studies in European History (New York, N.Y.).) Zed Books?Peter Burke? 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The Harvey Lectures Delivered Under the Auspices of the Harvey Society of New York 1998-99 (Harvey Lectures) Wiley-Liss?William Harvey?Elaine Fuchs?Tony Hunter?Lily Yeh Jan?Yuh Nung Jan?Peter G. Schultz?Paul B. Sigler?D. J. Weatherall?Mark M. Davis? Knowledge Sharing in the Integrated Enterprise Interoperability Strategies for the Enterprise Architect (International Federation for Information Processing) Springer-Verlag New York Inc (C)?Peter Bernus?Mark Fox? The Basal Ganglia VIII (Advances in Behavioral Biology) Springer-Verlag New York Inc.?J. P. Bolam?Cali A. Ingham?Peter James Magill? The Legend of New Amsterdam Doubleday?Peter Spier? Handbook of Neurochemistry And Molecular Neurobiology Degenerative Diseases of the Nervous System Springer-Verlag New York Inc.?Moussa Youdin?Peter Riederer? Moleculary Targeted Therapy for Childhood Cancer Springer-Verlag New York Inc.?Peter Houghton?Robert Arceci? Digger A Novel Putnam Pub Group?Peter Burchard? Distributed and Parallel Systems Cluster and Grid Computing Springer-Verlag New York Inc (C)?Peter Kacsuk? Men's Lives Vintage Books?Peter Matthiessen? Embedded System Design Springer-Verlag New York Inc (C)?Peter Marwedel? The Harvey Lectures Series 91 Delivered Under the Auspices of the Harvey Society of New York 1995-1996 (Harvey Lectures) Wiley-Liss?Larry Gold?Nancy Kleckner?Henry A. Lester?Norman R. Pace?Stuart Lee Schreiber?Peter Walker?Keith R. Yamamoto? Political Ecology Global and Local (Innis Series) Routledge?York University?Roger Keil?Leesa Fawcett?Peter Penz?David Bell? Political Ecology Global and Local (Innis Centenary Series) Routledge?York University?Roger Keil?Leesa Fawcett?Peter Penz?David Bell? Leap Year A Novel Penguin USA (P)?Peter Cameron? The Renaissance of Takefu How People and the Local Past Changed the Civic Life of a Regional Japanese Town (East Asia (New York, N.Y.).) Routledge?Guven Peter Witteveen? 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The Amphibians And Reptiles of New York State Identification, Natural History, And Conservation Oxford Univ Pr (Txt)?James P. Gibbs?Alvin R. Breisch?Peter K. Ducey?Glenn Johnson?John Behler? The Dongan Papers 1683-1688 Admiralty Court and Other Records of the Administration of New York Governor Thomas Dongan (The New York Historical Man) Syracuse Univ Pr (Sd)?Peter R. Christoph? The Dongan Papers, 1683-1688 Files of the Provincial Secretary of New York During the Administration of Governor Thomas Dongan (New York Historical Manuscripts Series, Vol 35) Syracuse Univ Pr (Sd)?Peter R. Christoph? The Amphibians And Reptiles of New York State Identification, Natural History, And Conservation Oxford Univ Pr (Txt)?James P. Gibbs?Alvin R. Breisch?Peter K. Ducey?Glenn Johnson?John Behler? Tenure Preferences (Centre for Housing Policy Discussion Paper) University of York Centre for Housing Policy?Ngai Ming Yip?Peter McLaverty? York, Notts, Derby Coalfields (Col. Units Geog.) 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Market scenario The Intelligent Process Automation Market will register a CAGR of 11.91%, witnessing substantial growth during the forecast period. The market has a market value of USD 8200.3 million in 2019, and the same is expected to reach USD 1,4392.4 million by the end of the current forecast period. North America accounted for the most significant market value of USD 2624.6 million in 2018; the market is expected to register a CAGR of 10.83% during the forecast period. Intelligent process automation (IPA) stands for application technology. Its software is designed with extra features like artificial intelligence and related new technologies, including cognitive automation, machine learning, and computer vision, which are used for high volume handling and repeatable tasks. It is constructive in improving business processes by reducing the human hand to assist workers by eliminating repetitive, replicable, and routine tasks. Thus, it enhances the customer experience by simplified methods and techniques. Furthermore, this IPA helps in doing the work in a simple and better way within time and improves the processes efficiency degree and response time. Hence, it increases the worker’s performance customer experience and also helps in reducing the operational risks. To design a new generation of hardware and software to automate industrial processes, there is a need for a few factors like improvement in sensors, advances in machine learning techniques, and increasing computing power is helpful. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/6065 Competitive Outlook This can lower administration costs while simultaneously catering to demand of clients with the help of virtual assistants. The aim of Lab Tech for expanding its application for billing, contract renewal, management, and other ad hoc tasks can bode well for the market. Some prominent global companies are as follows ,UiPath, Inc. (US),Blue Prism Group (UK),Dell EMC Corp. (US),SAP SE (Germany),IBM Corporation (US) Segmentation The Intelligent Process Automation Market will register a CAGR of 11.91%, witnessing substantial growth during the forecast period. The market has a market value of USD 8200.3 million in 2019, and the same is expected to reach USD 1,4392.4 million by the end of the current forecast period. North America accounted for the most significant market value of USD 2624.6 million in 2018; the market is expected to register a CAGR of 10.83% during the forecast period. Intelligent process automation (IPA) stands for application technology. Its software is designed with extra features like artificial intelligence and related new technologies, including cognitive automation, machine learning, and computer vision, which are used for high volume handling and repeatable tasks. It is constructive in improving business processes by reducing the human hand to assist workers by eliminating repetitive, replicable, and routine tasks. Thus it enhances the customer experience by simplified methods and techniques. Furthermore, this IPA helps in doing the work in a simple and better way within time and improves the processes efficiency degree and response time. Hence, it increases the worker’s performance customer experience and also helps in reducing the operational risks. To design a new generation of hardware and software to automate industrial processes, there is a need for a few factors like improvement in sensors, advances in machine learning techniques, and increasing computing power is helpful. Regional Analysis Globally, the intelligence process automation based on the region is divided into four main geographies North America, Asia-Pacific, Europe, and the rest of the world. During the review period, North America is expected to dominate the largest intelligent process automation market share due to its established infrastructure for developing advanced technologies in the region, which leads to fast-paced development. Industry News In June 2019, to extend automation capabilities intelligently in the cloud, a major key player Blue Prism acquired an intelligent automation industry, Thoughtonomy. To combine AI, RPA, cloud deployment in a single platform, this acquisition proves to be futuristic and helpful and is for scaling automation strategy at a high rate. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/intelligent-process-automation-market-6065 Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure 3Market Research Methodology 3.1Research Process 3.2Secondary Research 3.3Primary Research 3.4Forecast Model Continued…. List of Tables TABLE 1 LIST OF ASSUMPTIONS 31 TABLE 2 GLOBAL INTELLIGENT PROCESS AUTOMATION MARKET, BY DATA TYPE, 2020–2027 (USD MILLION) 44 TABLE 3 STRUCTURED MARKET ESTIMATES FORECAST, BY REGION, 2020–2027 (USD MILLION) 45 Continued…. Trending Report** https //pranali04.edublogs.org/2022/01/03/b2b-telecommunications-market-trends-outlook-by-types-applications-end-users-and-business-opportunities-segmentation-growth-demand-target-forecast-by-2027/ https //ict268262635.wordpress.com/2022/04/06/email-marketing-market-major-application-third-party-usage-micro-market-pricing-analysis-and-geographical-analysis-forecast-to-2030/ https //ict268262635.wordpress.com/2022/04/06/mobile-cloud-service-market-major-application-third-party-usage-micro-market-pricing-analysis-and-geographical-analysis-forecast-to-2030/ About Market Research Future Market Research Future (MRFR) has created a niche in the world of market research. It is counted among the top market research companies that offer well-researched and updated market research reports and insights to businesses of all sizes. What sets us apart is our super-responsive team that offers quality work keeping clients abridged of the prospective challenges and opportunities in various markets. Our team is adept in their space as well as patiently listens to every client. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com/