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• オペラ対訳プロジェクト - Strauss,Richard/Arabella/II-1

  https://w.atwiki.jp/oper/pages/618.html

  管理人より こちらに掲載している原語リブレットはどうやらホーフマンスタールの生台本だったようで、シュトラウスが音楽を付けてない部分や追加した詩句があるようです。生台本は話のつながりがスムーズな点もあるということで、wagnerianchanさまはそのまま訳出してくれました。管理人がシュトラウスがカットした原語部分をグレーにする処理を行っています。通常のリブレット日本語対訳はこちらをご覧ください。 → メモ@広報室 第２幕 （１８６０年代様式で豪華に飾られた公衆舞踏会ホールの控え室。左右には、円柱と襞付きカーテンのある待合室のような空間がある。舞台中央では、階段がギャラリーにつながっていき、そこから舞踏会の大広間を見下ろせるようになっている。大広間へは、左右の階段を通しても下りて行けるようになっている。 アラベラ、その後に続くアデライーデは、大勢の紳士達に取り巻かれながら、ギャラリーから階段をゆっくりと降りてくる。 ヴァルトナーとマンドリカは、下のほう、舞台の脇のほうに立っている。二人とも黒い上着を着て、首に巻きつけるタイプの黒いネクタイをしている） MANDRYKA 天から舞い降りた天使のような方だ！ WALDNER ふむ、やっとか！いつも３０分遅刻するな。 MANDRYKA ああ、ヴァルトナーさん、ヴァルトナーさん！ WALDNER そんなに強く手を握られますと、 私は３日間カードが持てなくなってしまいます。 さあ、お出でなさい！ご紹介いたしましょう！ なぜ尻込みしているのです！ （アデライーデとアラベラは階段を下りきって、少し左寄りに進む。お付きの男たちは、後ろにとどまったままでいる） ADELAIDE （小声でアラベラに） あの方よ。いろいろ言いすぎたかしら？ ARABELLA （そちらの方を見た様子も見せずに） ママ･･･今、本当に決定的な時なのよ！ ADELAIDE ひどく真っ青ね！ねえ、具合でも悪いの？ 座りましょうか？それとも出て行きましょうか？ ARABELLA いいえ、ほっといて、ママ。 ほんのちょっと、一人にしといて。 （アデライーデは、二人の男達に近づいて行く） WALDNER （アデライーデを迎えながら） どうしたんだ？ ADELAIDE あの子に少し時間をあげて！ WALDNER 何のために？ ADELAIDE 急に不安になったみたい。 あの子の性格を知ってるでしょ。 WALDNER そんな馬鹿なこと言っている場合か！ お前にマンドリカ氏を紹介しよう。 （アデライーデが差し出した手に、マンドリカはキスをする） ARABELLA （皆のもとに来て） ママ･･･来たわよ。 WALDNER 我が娘アラベラです。 （マンドリカは深々とお辞儀をする。アデライーデは、ヴァルトナーを舞台袖に連れて行き、二人は舞台右側へと退場する。マンドリカは何一つ言葉を発することなくアラベラを見つめている） ARABELLA こんな場所に興味のあるお方には 見えませんけれど。 （扇子であおぎながら） どうして、ここにお出でになったの？ MANDRYKA ウィーンにですか？ ARABELLA この舞踏会にですよ！ MANDRYKA なぜここへ来たかとおっしゃるのですね？アラベラ伯爵令嬢。 Dominik （後ろからやって来て、アラベラをダンスに誘おうとする） ワルツをお相手願えませんでしょうか？ ARABELLA （ドミニクに） また後ほど。今はこの方とお話ししているのです。 （舞台左手に進む。ドミニクは退場） MANDRYKA （やや間をおいて） お父様から何も聞いておられないのですか？ ARABELLA （腰を下ろし、扇子で 隣に座るよう合図する） 父からどんな話を聞いていれば良かったのでしょう？ ELEMER （後ろからやって来て、アラベラに） ワルツをお相手願えませんでしょうか？ ARABELLA また後ほど。今はここにいたいのです。 （エレメルは一礼して去っていく） ARABELLA （マンドリカを見つめる） 父からどんな話を聞いていれば良かったのでしょう？ MANDRYKA 私のことを何も聞いておられないのですか？ （アラベラは、知らないと首を振る） 私には妻がおりました。美しく、天使のように清らかな妻が。 しかし、たった２年間ともに過ごしただけで、 早くも神に召されてしまったのです。 あの頃、私はまだ若く、天使のようなあの妻に ふさわしい男ではなかったのかも知れません。 （首をうなだれる） ARABELLA （少し間をおいてから、ちょっといたずらっぽく） お父様が私に伝えたかったというのは、 そのことなの？ MANDRYKA （きわめて真面目に、ずっしりとした声で） お許しください。農夫みたいな男なのです。 とにかく鈍くって、力が強いだけが 取り柄のような男なのです。 （突然、意を決したように） あなたは美しい。アラベラ･･･ その美しいお顔を写真で拝見した時、 すぐに私の心は燃え上がってしまったのです。 ARABELLA （眉をひそめながら） いったいなぜスラヴォニアで 私の写真なぞ・・・？ MANDRYKA （アラベラを見つめて） なぜ写真を･･･？どうでもいいことです！ あなたは余りにも美しい！あなたの表情にひそむ魔力は、まるで蝋に押し付けて型を取ったように、私の心に刻みつけられました！いつも野や森に取り囲まれている純朴な男には、あなたの魔力はあまりにも大きすぎるのです。 いまや私は夢見る者･･･ 何かに取り憑かれた男になってしまい、 心に固く決したのです。 心に固く決めてしまえば、 その通り行動せずにはおれない男なのです。 Arabella （マンドリカの抑制しつつも激しい口調にびっくりして、立ち上がる） MANDRYKA （立ち上がって） 伯爵令嬢･･･外の世界は、私の世界とは違うことを忘れておりました。 ここは、私の領地の森や野原ではありませんでしたな。 不器用な話でダンスの邪魔をしたことをお許しください。 LAMORAL （後ろからアラベラに近付いてきて） お話し中ですが、ワルツのお相手をお願いできますでしょうか？ ARABELLA いいえ。ラモラルさん、また後ほど。 このお方ともう少しお話ししたいのです。 もし、この方が腰を下ろしてお話しして下さればですけど。 （ラモラルは一礼して去っていく） ARABELLA （腰を下ろし、マンドリカにも座るよう手で促す） 父が申しておりましたわ。 あなたは私との結婚を望んでおられると・・・。 ですが、私たちがどのような者であるか、 ご存知なのですか？ 世間の目に照らせば、もはやそれほどの者ではないのですよ・・・残念ながら、若干うさんくさい家族と言っても良いぐらいなのです！ MANDRYKA アラベラ･･･あなたのお血筋は、 お顔に、きちんと表れています！ 私は領民に指示を下す立場にありますが、 その私に指示を出すぐらいのことで 満足できましたら、 私に付き添って領地に帰り、 女領主となってください！ あなたはシルクの床の上で、 孔雀に餌をあげていればよいのです。 あなたより高位の身分だと 思い上がる者など一人もいません。 王様や皇帝や皇妃でもない限り･･･！ 誰もそんなことを思う者はいません！ ARABELLA （独り言で） 私にふさわしい人･･･口に出さずつぶやいたその人･･･ その私にふさわしい人が・・・一人ここにいて・・・ 目の前にいきなり立ったなら･･･私そう言ったわね･･･ 私を見つめ、私も見つめ返したら、 もう言い逃れたり 問いかけたりはしない・・・ いいえ！太陽の光にきらめく川面を 見つめるように、全てがはっきり見えているの！ MANDRYKA 私の屋敷の脇を明るく静かに流れるドナウ川が、 あなたを私のもとに連れて来てくれたのです！ 類いなく美しい方！ （秘密をささやくかのように） 今晩、眠りにつく時には、もうそうなるのですよ・・・ 君が、ぼくの領地の村娘だとしましょう。 君は、お父さまの家の裏手にある井戸に行って 清らかな水を盃に汲んでこなければなりません。 玄関で、ぼくに盃を渡した瞬間、 君とぼくとは結ばれるのです。 神の御前で、人々の面前で・・・ ああ、世界で一番美しい方！ ARABELLA あなたのような方を、私は今まで見たことがないわ。 ご自身の生き方の流儀を常に身にまとっていて、あなたに属していないものは、まるでこの場に存在しないかのようね。 MANDRYKA だからこそ素晴らしいものを崇めることなしには生きていられないのです。今この瞬間に、私が崇めているのはあなたです。 あなたを私の妻に選んだのです。 私が領主たるところ、 あなたは女領主となりますし、 私が支配者たるところ、 あなたもまた支配者となるでしょう！ ARABELLA （とても小さな声で、マンドリカと声を合わせて） あなたこそ私を支配する人、私はあなたに従います。 これからは、あなたの家が私の家。 お墓の中まで付き添ってまいります。 MANDRYKA 世界で一番美しい人･･･君を崇めずにはいられない･･･ ARABELLA 私は全てをあなたに捧げます･･･ 時が果てるまでずっと。 （声音をがらっと変えつつも、真剣に） ですが今は、お先にお帰り下さい。お願いですわ。 MANDRYKA あなたは？ ARABELLA ここに残ります。 （マンドリカは一礼する） もう少し踊って、私の娘時代に別れを告げたいのです。 ほんの１時間ほどよ。お許しくださいますか？ MANDRYKA あなたが、ここにいるのなら、 私の居場所もここにしかありません。 （アラベラは眉をひそめる） ですが、声をかけるには およびませんので！ （御者たちと舞踏会の客たちが大勢、舞踏会の広間から階段を上って舞台にあふれ出てくる。その中には御者舞踏会の歌姫ミッリのほか、似たような娘たちと３人の伯爵もいる） ARABELLA （マンドリカを見つめながら） 本当にいいの？ MANDRYKA もちろん！さあ！お気に召すまま、するがいい！ （舞台の脇に退き、出てくる人々のために道を空けながら） みなさま、道をおゆずりください、 東西南北ばらばらに！ 少女にダンスを踊らせてあげてください。 お父様の家から嫁ぐ前に！ （とても人目を引く舞踏会用ドレスを着た可愛らしい歌姫ミッリが、手に大きなブーケを持って、舞台中央に出て来ていたアラベラに歩み寄る） DOMINIK （ミッリにくっついて歩きながら） 舞踏会には、女王が必要さ！ ミッリは、御者たちの触れ役。 ぼくたちは、とうに彼女に忠誠を捧げた体！ DIE FIAKERMILLI （アラベラの前で膝を屈めてお辞儀し、ブーケを手渡す。軽々しい、ほとんど厚かましいような調子で） ウィーンの殿方は、天文学に通じていらっしゃるわ・・・ きっと天文台のご出身なんでしょうけど、なんでこうなったのかは皆目ご存知ない！ ウィーンの殿方はいとも素早く新たなスターを探し出して、 その女性を天空の 女王になさるのだわ・・・ さあ、声をそろえて歌いましょう・・・ 「あなた様こそ我らの宴の女王です！」 DIE GRAFEN UND FIAKER さあ、声をそろえて歌いましょう・・・ 「あなた様こそ我らの宴の女王です！」 （歌姫ミッリは、歌い終わると、すぐ厚かましくも大胆なヨーデルを歌い始める。ヨーデルは響き始めたワルツにつながっていく。ミッリがワルツの音色にあわせてヨーデルを歌う中を、アラベラはブーケから花を抜いて、貴族たちや御者たちに配っていく。 しまいに、ほとんど花が抜き取られてしまったブーケを彼らの方に投げると、ドミニクの手を取り、二人で舞踏会の広間へと降りて行く。すると全員がその後に続く。 マンドリカがその様子を見送った後、振り向くと、ちょうどアデライーデが舞台右手から出て来る。同時にマッテオも左手から出てくる。おどおどと彼の後を追いかけてくるズデンカは、少年の服装にもかかわらず、その上に背広のような上着を羽織り、円柱の陰に隠れている） ADELAIDE （マンドリカに） あなた、おひとり？アラベラはどこ？ MANDRYKA 舞踏会の女王という務めを果たしに行きましたよ。 MATTEO （誰もいない空間に向かって） あのひとは、ぼくを忘れてしまったのだ・・・ あの人の美しさに酔っているこのぼくを！ ADELAIDE お目々がきらきら輝いているわね。 どういうことかしら？ ZDENKA （マッテオの後ろから、不安そうに） 君のことを思っているよ。 ぼくは知っているんだ、マッテオ！ お姉さんは君の瞳しか目に入らないんだ。 MANDRYKA （アデライーデに） ああ、伯爵夫人。あなたご自身もまだお若くて、たいそう魅力的ですよ。あの人のお母様だというのに！ いったいいかなる言葉をもってすれば、 あなたに感謝の意を伝えられましょう！ （親しさをこめて、彼女の手にキスする） MATTEO （一歩前に進み出て） みんなに花を！ みんなに微笑みを！ みんなに自分自身を！ ぼくには何が残されているんだ？ ADELAIDE （マンドリカに） ああ、予測できましたこと？私に何が起こるかを！ 私のお友達！私の男の子！私の騎士！ 胸がいっぱいで、 おすそ分けしなくちゃいけないぐらい！ 夫にも、娘にも！だめよ、まだここにいて！ あら、あの人だわ！ あなたを抱きしめてもらわないと！ （舞台右手へ走って退場） ZDENKA （切実に、やさしく、マッテオに） すべて君のために取っておいてあるよ。 お姉さんは、君の悲しみを必要としている。 まるで、心のすべてを投げ入れる 噴水のようにね・・・。 他の人達の心は浅すぎるんだもの！ MATTEO （放心したように口に出す） 残されたことは一つ・・・ガリツィアへ行く。 あの人を忘れるために・・・まだ間に合うならば！ もし手遅れだとしたら・・・もう一つの手段しかない！ （マッテオは前に出てくる。ズデンカは左手に取り残され、人目にも分かるほど恐怖にとらわれている） ZDENKA パパ！ママ！誰にも見られたくない！ どこに行くの？マッテオ？ （マッテオは舞台後方に行き、暗い顔で舞踏会の広間を見降ろす。アデライーデとヴァルトナーが舞台右側からマンドリカのほうにやって来る。ズデンカは舞台左手に姿を消す） ADELAIDE ああ、テオドール！ここにお出でですよ。テオドール！ WALDNER （気さくな調子で） どんなご様子ですかな？我が友マンドリカの甥っ子どの。 お見受けするところ、伯父様と同じく、ご婦人の扱い方を心得ておられるようですが！ まあ！どうぞ！抱擁していただけますかな！ MANDRYKA 幸運な男として、あなたの前に立てて幸せです・・・ （軽く抱擁する） 恥ずかしくなってしまうぐらい幸せなのです！ まるで、あなたが目にしている私は、 大の男ではなく、 我らの領地の村で夕方を待っている 若者のような気持ちです・・・ 辺りは真っ暗で、灯がともりはじめた時のような！ ですが、若者は知っています。今その少女が自宅で待ち構えていることを。時が来れば、その娘は泉へと飛んでいき、 若者のために清らかな水を一杯汲んでくるでしょう。 暗い戸口で若者に手渡すための水を。 ADELAIDE ああ、何と繊細な。 うっとりするような田舎のならわしですこと！ 私のふるさとの空気を感じましたわ。 先祖の城館でのことです。 あそこでも村が眠りにつく時には・・・ WALDNER （制止する身振りをして、とても急いで） お呼びいただければ、すぐ参りますので！ （小声で） 勘弁してくれ！せっかく勝っているんだ！ （舞台右手に退場） （マンドリカは手を高く上げ、指をパチッと鳴らす。すかさず、ヴェルコ、デューラ、ヤンケルが集まってくる。彼らは黒い燕尾服を着ているが、ボタンは金属製である） MANDRYKA （舞台右手で） テーブルを持ってくるんだ。食事としよう。 （すぐに見習いをしたがえ、メニューを持った給仕係が出てくる） MANDRYKA （アデライーデに） シャンパンはどうします？お命じください！ （給仕係はアデライーデにワインリストを手渡す） ADELAIDE モエ・シャンドンね。辛すぎず甘すぎないのを・・・ 私の婚約の時もそうだったわ！ MANDRYKA 瓶で３０本持ってくるんだ！ （ワインリストを指差して） テーブルには６本、 大広間には注いで回れ・・・ あと３０本！ さらに３０本だ！ ヴェルコ、指示を出せ！ 広間の隅にはアイスクーラーを！ 広間にいると、誰が魔法にかかって 御者の姿に変えられた伯爵なのか、 誰が裏返しに服を着て 伯爵になった御者なのか、まるで分かりゃしない！ 俺が楽しむように、みんな楽しむがいいさ！ どんどん注文をよこせ！ ADELAIDE （ロブスター、雉肉、アイスクリームなどの皿を受け取りながら） お花はないかしら？ MANDRYKA （急いで） 気をつけるんだ、デューラ！ 御者を一人、もう一人と雇って、 花屋の扉を開けるんだ。 きれいな花売り娘たちを起こして、 倉庫にある花を片っ端から出させるんだ！ 馬車を花で飾れ。 赤と白の椿で飾るんだ。 あの人に花の上で踊ってもらい、 娘時代に別れを告げてもらおう！ 最後に私がこの手を広げたら、 もうダンスは踊らない。 私の手のひらの上で踊るのさ！ ADELAIDE ああ、まるで私の娘時代の夢を再び見ているみたい！ あなたは気前がいいし、力にあふれている・・・ てきぱきと命令を下すし、きっと怒った時は怖いんでしょうね・・・あなたの醸しだす信頼感は・・・ 言葉にできないほどよ！ 早く私の手を取って、ギャラリーに連れて行って下さい！ ZWEITER AUFZUG Vorraum zu einem öffentlichen Ballsaal, prunkvoll im Geschmack der 1860er Jahre. Logenartige Räume, aus Säulen und Draperien, links und rechts. In der Mitte Treppe zu einer Estrade, von der man in den eigentlichen Ballsaal hinabsieht, und zu dem man links und rechts von dieser Treppe hinabsteigt. Arabella und hinter ihr Adelaide, von mehreren Herren begleitet, steigen langsam die Treppe von der Estrade herab. Waldner und Mandryka stehen unten, seitwärts. Beide im schwarzen Frack, mit umgeschlungener schwarzer Cravatte. MANDRYKA Das ist ein Engel, der vom Himmel niedersteigt! WALDNER Na, endlich! Immer eine halbe Stund' zu spät. MANDRYKA O Waldner, Waldner! WALDNER Wenn du meine Hand so druckst werd ich drei Tag' lang keine Karten halten können. jetzt komm! ich stell dich vor! Was gehst du denn zurück! Adelaide mit Arabellaa, unten angelangt, treten etwas nach links. Die begleitenden Herren sind zurückgeblieben ADELAIDE leise zu Arabella Dort steht er. Habe ich zuviel gesagt? ARABELLA ohne dass sie hinzusehen scheint Mama- das ist jetzt wirklich die Entscheidung! ADELAIDE Du bist sehr blass! Ist dir nicht wohl, mein Kind? Willst du dich setzen? willst du fort? ARABELLA Nein, lass Mama. Nur einen Augenblick lass mich allein. Adelaide geht auf die beiden Herren zu WALDNER ihr entgegen Was ist denn? ADELAIDE Lass ihr einen Augenblick! WALDNER Zu was denn? ADELAIDE Eine plötzliche Beklommenheit. Du kennst ihre Natur. WALDNER Jetzt ist nicht Zeit für solche Faxen! Hier stell' ich Dir Herrn von Mandryka vor. Adelaide reicht Mandryka die Hand, die er küsst ARABELLA Zu ihnen gehend Mama, da bin ich. WALDNER Meine Tochter Arabella. Mandryka verneigt sich tief. Adelaide zieht Waldner bei Seite. Sie verschwinden rechts. Mandryka sieht Arabella an, ohne ein Wort herauszubringen ARABELLA Sie sehn nicht aus wie jemand, den das alles da interessiert. Indem sie sich fächelt Was führt sie dann hierher? MANDRYKA Nach Wien? ARABELLA Hierher auf diesen Ball! MANDRYKA Sie fragen mich, was mich hierherführt, Gräfin Arabella? Dominik kommt von rückwärts, will Arabella zum Tanz holen Darf ich vielleicht um einen Walzer bitten? ARABELLA zu Dominik Später. jetzt sprech ich hier mit diesem Herrn. Sie tritt nach links. Dominik ab MANDRYKA nach einer kleinen Pause So hat Ihr Vater Ihnen nichts gesagt? ARABELLA setzt sich und winkt ihm mit dem Fächer, sich neben sie zu setzen Was hätte er mir sagen sollen? ELEMER kommt von rückwärts zu Arabella Darf ich vielleicht um diesen Walzer bitten? ARABELLA Später. Jetzt bleib ich hier. Elemer verneigt sich und geht ARABELLA sieht Mandryka an Was hätte mir mein Vater sagen sollen? MANDRYKA Sie wissen nichts von mir? Arabella schüttelt den Kopf Ich habe eine Frau gehabt, sehr schön, sehr engelsgut. Sie ist zwei Jahre nur bei mir geblieben, dann hat der Herr Gott sie zu sich gerufen schnell. Zu jung war ich und noch nicht gut genug für einen solchen Engel. Er senkt den Kopf ARABELLA nach einer kleinen Pause, mit ein wenig Schelmerei Ist es das, was mein Vater mir erzählen sollte? MANDRYKA sehr ernst und schwer Verzeihen Sie, ich bin ein halber Bauer, bei mir geht alles langsam, aber stark. Wie mit plötzlichem Entschluss Sie sind schön, Arabella - Ihr schönes Gesicht auch auf einem Bild verbrennt schon die Seele! ARABELLA mit einem Stirnrunzeln Wie kommt man eigentlich da unten in Slawonien zu einem Bild von mir? MANDRYKA sieht sie an Wie man zu einem Bild - das ist ja gleich! - So schön sind Sie - eine Gewalt ist da in Ihren Zügen sich einzudrücken in die Seele wie in weiches Wachs! Über den einfachen Menschen, den Felder und Wälder umgeben, ist eine solche Gewalt sehr gross, und er wird wie ein Träumer, wie ein Besessener wird er und fasst den Entschluss mit der Seele, einen ganzen Entschluss und wie er entschlossen ist, so muss er handeln. Arabella erschrickt vor der dumpfen Heftigkeit, steht auf MANDRYKA steht auf Gräfin, ich habe vergessen wie anderswo anders die Welt ist. Hier sind nicht meine Wälder und Felder, Sie müssen verzeihen meine unschicklichen Reden, womit ich Sie hindre am Tanzen. LAMORAL kommt von rückwärts zu Arabella Darf ich jetzt stören und um einen Walzer bitten? ARABELLA Nein. Später, Lamoral, ich möcht mit dem Herrn da noch ein bissl reden, wenn er - vielleicht - sich wieder niedersetzen wird. Lamoral verneigt sich und geht ARABELLA setzt sich und winkt Mandryka, sich zu setzen Sie wollen mich heirathen, sagt mein Vater ja haben Sie denn eine Ahnung wer wir sind? Wir sind nicht grad sehr viel, nach dem Mass dieser Welt - wir laufen halt so mit als etwas zweifelhafte Existenzen! MANDRYKA Ihren Stammbaum, Arabella, den tragen Sie in Ihr Gesicht geschrieben! und wenn Ihnen genug ist über einen zu gebieten der selbst wieder gebietet über viele so kommen Sie mit mir und sei'n die Herrin! Sie werden Pfauen weiden auf seidenem Boden und das wird nicht geschehen dass jemand sich dünkt über Ihnen es sei denn der König und Kaiser und seine Kaiserin! - aber sonst niemand! ARABELLA vor sich Der Richtige - so hab' ich still zu mir gesagt, Der Richtige, wenns einen gibt für mich, der wird auf einmal da stehen, so hab' ich gesagt, und wird mich anschaun und ich ihn und keine Winkelzüge werden sein und keine Fragen, nein, alles hell und offen, wie ein lichter Fluss, auf dem die Sonne blitzt! MANDRYKA So fliesst der helle stille Donau mir beim Haus vorbei, und hat mir dich gebracht! du Allerschönste! Geheimnisvoll Und heute abend noch, zur Schlafenszeit - wärst du ein Mädchen aus der Dörfer einem meinigen, du müsstest mir zum Brunnen gehen hinter deines Vaters Haus und klares Wasser schöpfen einen Becher voll und mir ihn reichen vor der Schwelle, dass ich dein Verlobter bin vor Gott und vor den Menschen, meine Allerschönste! ARABELLA So wie Sie sind, so hab ich keinen Menschen je gesehn! Sie bringen Ihre eigene Lebensluft mit sich und was nicht Ihnen zugehört, das ist nicht da für Sie. MANDRYKA Darum kann ich erst leben wenn ich etwas Herrliches erhöhe über mich, und so in dieser Stunde erhöh ich dich, und wähle dich zu meiner Frau und wo ich Herr bin, wirst du Herrin sein und wirst gebieten, wo ich der Gebieter bin! ARABELLA ganz leise, mit ihm Und du wirst mein Gebieter sein und ich dir untertan dein Haus wird mein Haus sein, in deinem Grab will ich mit dir begraben sein - MANDRYKA meine Allerschönste, in dieser Stunde erhöh ich dich. ARABELLA so gebe ich mich dir auf Zeit und Ewigkeit. Ihren Ton völlig ändernd, aber ernst jetzt aber fahren Sie nachhaus. Ich bitte Sie darum. MANDRYKA Und Sie? ARABELLA Ich bleibe noch. Mandryka verneigt sich Ich möchte tanzen noch, und Abschied nehmen von meiner Mädchenzeit, nur eine Stunde lang. Gewähren Sie mir die? MANDRYKA Wenn Sie hier bleiben, so ist mein Platz nicht anderswo als hier. Arabella runzelt die Stirn Sie aber brauchen nicht ein einziges Wort an mich zu richten! Ein Schwarm von Fiakern und Ballgästen, darunter auch die Fiakermilli und einige solche Mädchen, und die drei Grafen, kommt aus dem Tanzsaal herauf auf die Bühne ARABELLA sieht Mandryka an Darf ich? MANDRYKA Sie dürfen! ja! Sie dürfen alles was Sie wollen! Indem er zur Seite tritt und den Herankommenden den Weg freigibt Tretet auseinander, gute Menschen, nach den vier Weltseiten auseinander! Lasst die junge Magd ein Kleines tanze eh vom Väterchen sie noch vermählt wird! Die Fiakermilli, eine hübsche Person in einem sehr auffallenden Ballkleid, ein grosses Bukett in der Hand, tritt aus dem Schwarm heraus auf Arabella zu, die jetzt in der Mitte steht DOMINIK neben Milli tretend Der Ball begehrt nach seiner Königin! die Milli ist der Herold der Fiaker wir haben unsre Huldigung ihr in den Mund gelegt! DIE FIAKERMILLI indem sie mit einem Knix Arabella das Bukett überreicht, leichtfertig, fast frech Die Wiener Herrn verstehen sich auf die Astronomie Die könnten von der Sternwart sein und wissen gar nicht wie! Sie finden einen neuen Stern gar schnell heraus die Wiener Herrn den machen sie zur Königin an ihrem Firmament Zu der dann schallt es im Verein du sollst unsres Festes Königin sein! DIE GRAFEN UND FIAKER Zu der dann schallt es im Verein Du sollst unsres Festes Königin sein. Die Fiakermilli geht sogleich aus ihrem Lied in ein freches übermütiges Jodeln über. Der Jodler bildet die Überleitung zu dem nun einsetzenden Walzer. Arabella, unter den Klängen des Walzers den Milli mitjodelt, nimmt Blumen aus dem Bukett und verteilt sie unter die Herren und Fiaker. Zuletzt wirft sie das ausgeplünderte Bukett unter sie und nimmt Dominiks Arm, und steigt mit ihm in den Ballsaal hinab, von allen gefolgt. Mandryka sieht ihnen nach, dann wendet er sich. Adelaide erscheint in diesem Augenblick von rechts. Matteo ist zugleich links herausgetreten, Zdenka schüchtern hinter ihm, in Knabenkleidern, aber einer Art von schwarzem Frack, sich hinter einer Säule deckend ADELAIDE auf Mandryka zu Sie sind allein? Wo ist Arabella? MANDRYKA Wo ihre Pflicht sie ruft als Königin des Balles. MATTEO in die Luft Wie sie mich vergisst - im Rausch ihrer Schönheit! ADELAIDE Ihre Augen leuchten. Wie darf ich das deuten? ZDENKA hinter Matteo, ängstlich Sie denkt an dich, ich weiss es, Matteo! Ihre Blicke nur nimmt sie in acht. MANDRYKA auf Adelaide zu O Gräfin, Sie selber so jung noch, so reizend - und Sie ihre Mutter! mit was für Worten womit denn auf Erden vermöchte ich Ihnen zu danken! Er küsst ihr mit Innigkeit die Hand MATTEO tritt einen Schritt hervor Die Blumen für alle! für alle ihr Lächeln! sie selber für alle! was bleibt für mich? ADELAIDE Zu Mandryka O könnten Sie ahnen, was in mir vorgeht! mein Freund! mein Sohn! mein fahrender Ritter! Zu viel für mein Herz. Ich muss es teilen! Zu ihm, zu ihr! Nein, bleiben Sie hier! ich finde ihn! er muss Sie umarmen! Sie eilt rechts ab ZDENKA innig aber zart, zu Matteo Für dich bleibt Alles sie braucht deine Trauer tief wie ein Brunnen ihre ganze Seele hineinzuwerfen - Seicht sind die andern! MATTEO vor sich Eines bleibt fort nach Galizien, und sie vergessen - wenn ich noch kann! Und ist's dazu zu spät - so gibt es noch ein andres Mittel! Er geht nach vorne, Zdenka bleibt links, aus Furcht, gesehen zu werden ZDENKA Der Papa! die Mama! dass keiner mich sieht! Wohin gehst du, Matteo? Matteo geht in den Hintergrund, starrt düster in den Ballsaal hinab. Adelaide und Waldner, von rechts, auf Mandryka zu. Zdenka verschwindet links ADELAIDE O Theodor! hier ist er, Theodor! WALDNER jovial Wie stehst du vor mir, neveu meines alten Mandryka? Mir scheint, du verstehst, wie man Frauen gewinnt, so gut wie der Onkel! Na! Teschek! umarme mich schon! MANDRYKA Glücklich, du Guter steh ich vor euch - leichte Umarmung glücklich so sehr, dass ich fast muss mich schämen! - Nicht wie ein Mann steh ich vor euch gar wie ein Bursch, der auf den Abend wartet - in unseren Dörfern - wenn alles dunkel, gelöscht sind die Feuer! aber er weiss, im Haus ihres Vaters wartet das Mädel, dann schlüpft sie zum Brunnen und schöpft für ihn einen Trunk klaren Wassers den reicht sie ihm von der finsteren Schwelle. ADELAIDE O welche Zartheit, bezaubernde ländliche Sitte! Ich fühle die Luft meiner Heimat um mich, und das Schloss meiner Väter, drunten schlummernd das Dorf - WALDNER mit einer abwehrenden Gebärde sehr eilig Ich stehe sofort zur Verfügung! Leise Lass mich! ich bin im Gewinn! Ab rechts Mandryka hebt seine Hand und schnalzt mit den Fingern; sofort sind Welko, Djura und Jankel um ihn; alle im schwarzen Frack, aber mit Metallknöpfen MANDRYKA rechts Hierher einen Tisch. Wir werden soupieren. Sogleich ein Kellner mit einer Karte und Kellnerjungen MANDRYKA zu Adelaide Welchen Champagner? befehlen Sie selber! Kellner praesentiert Adelaide die Weinkarte ADELAIDE Moët-Chandon, halb herb und halb süss - der war es bei meiner Verlobung! MANDRYKA Dreissig Flaschen von diesem! Er zeigt in die Weinkarte Sechs für den Tisch und die andern herumservieren im Saal - und noch einmal dreissig! und noch einmal dreissig! Welko, du ordnest! Eiskübel in jede Ecke! bis sie alle im Saal da nimmermehr wissen ob sie sind Grafen, verhext in Fiakerkutscher, oder Fiakerkutscher, umgekrempelt in Grafen! Sie sollen sich freuen, wenn ich mich freue! Befehlen weiter! ADELAIDE indessen man ihr Hummern, Fasanen, Eiscremen etc. praesentiert Haben wir Blumen? MANDRYKA schnell Aufpassen, Djüra! Nimmst einen Fiaker und noch einen zweiten aufsperren lasst dir die Gärtnergeschäfte, aufwecken die hübschen Verkäuferinnen, ausräumen sollen sie ihre Keller! Füllst einen Wagen an mit Rosen, einen mit roten und weissen Camelien. Walzer soll sie auf Blumen tanzen Abschied nehmen von Mädchenzeiten! Später breit ich meine Hände sie wird nicht mehr Walzer tanzen aber tanzen auf meinen Händen! ADELAIDE O wie ich den Traum meiner Mädchenzeit w ederfinde ! Grossmütig sind Sie, und voller Stärke - knapp im Befehl, und sicherlich furchtbar im Zürnen - welch ein Vertrauen flössen Sie ein, O unsagbar! Schnell Ihren Arm und führen Sie mich auf die Estrade! この日本語テキストは、 クリエイティブ・コモンズ・ライセンス の下でライセンスされています。@wagnerianchan Strauss,Richard/Arabella/II-2

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From Jupiter to Genesis A Cal-tech Grad's Testimony With an African-american-israelite Xlibris Corp?　Anthony Sneed?　 XlibrisCorp?　AnthonySneed?　ジャンル別?　 Subjects-Religion&Spirituality-Bible&OtherSacredTexts-Bible-StudyGuides,History&Reference-General?　 Subjects-Religion&Spirituality-Bible&OtherSacredTexts-Bible-StudyGuides,History&Reference-Reference-Criticism&Interpretation-General?　Subjects-Science-Technology-General&Reference Sometimes You Feel Like a Nut An Insider's Look at the California Almond Belt Xlibris Corp?　David O. Smith?　 XlibrisCorp?　DavidO.Smith?　ジャンル別?　Subjects-Home&Garden-Gardening&Horticulture-General?　Subjects-Science-Technology-General&Reference U.s. Design Patent Do It Yourself! The Easy Guide to Applying And Getting a Design Patent Simple And Easy Instructions for the Prose Inventor Xlibris Corp?　Kay H. 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  Aircraft Fabric Covering An Aviation Maintenance Publishing, Inc. Training Manual Aviation Book Co?　Neal Carlson?　 AviationBookCo?　NealCarlson?　ジャンル別?　Substores-UnknownASINs-28?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General　Subjects-Science-General　Subjects-Science-Technology-General&Reference Applied Science for the Aviation Technician Aviation Maintenance Pub?　Dale Crane?　 AviationMaintenancePub?　DaleCrane?　ジャンル別?　Subjects-Engineering-Aerospace-Aerodynamics?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-Aerospace-Aerodynamics?　Subjects-Professional&Technical-Engineering-General Aircraft Inspection and Maintenance Records Aviation Maintenance Pub?　John Enga?　 AviationMaintenancePub?　JohnEnga?　ジャンル別?　Substores-UnknownASINs-28?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General Aircraft Weight and Balance (An Iap, Inc. Training Manual) Aviation Maintenance Pub?　Joe Schafer?　 AviationMaintenancePub?　JoeSchafer?　ジャンル別?　Substores-UnknownASINs-28?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General Aircraft Propellers and Controls Aviation Maintenance Pub?　Frank Delp?　 AviationMaintenancePub?　FrankDelp?　ジャンル別?　Subjects-Engineering-General?　Subjects-Nonfiction-Transportation-General?　Subjects-Professional&Technical-Engineering-General　Subjects-Science-General Aircraft Corrosion Control Aviation Maintenance Pub?　Dale Crane?　 AviationMaintenancePub?　DaleCrane?　ジャンル別?　Subjects-Engineering-Aerospace-StructuralDynamics?　Subjects-Engineering-General?　 Subjects-Professional&Technical-Engineering-Aerospace-StructuralDynamics?　Subjects-Professional&Technical-Engineering-General　Subjects-Reference-General? Aircraft Technical Dictionary (Aviation Training Course Series) Iap?　James Foye?　Inc. 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Aircraft Governors Aviation Maintenance Pub?　Frank Delp?　 AviationMaintenancePub?　FrankDelp?　ジャンル別?　Substores-UnknownASINs-28?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General　Subjects-Science-General　Subjects-Science-Technology-General&Reference Aircraft Tires and Tubes Aviation Maintenance Pub?　Dale Crane?　 AviationMaintenancePub?　DaleCrane?　ジャンル別?　Substores-UnknownASINs-28?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General Technical Instruction A Handbook for Technical Instructors (Ea-183-2) Iap?　 Iap?　ジャンル別?　Subjects-Engineering-General?　Subjects-Nonfiction-Transportation-Aviation-Repair&Maintenance?　Subjects-Nonfiction-Education-General?　Subjects-Professional&Technical-Engineering-General Introduction to Aircraft Flight Test Engineering (An Iap, Inc. Training Manual) Jeppesen Sanderson?　Hubert C. Smith?　 JeppesenSanderson?　HubertC.Smith?　ジャンル別?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General　Subjects-Science-General Airframe Section Textbook, Chapters One Through Nine Aviation Maintenance Pub?　Dale Crane?　 AviationMaintenancePub?　DaleCrane?　ジャンル別?　Substores-UnknownASINs-28?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General Crash, Fire and Rescue Handbook/Order Number Ea-250-2 (Iap Inc Training Manual) Iap?　Charles Bellomo?　John Lynch?　 Iap?　CharlesBellomo?　JohnLynch?　ジャンル別?　Substores-UnknownASINs-28?　Subjects-Engineering-General?　Subjects-Nonfiction-Transportation-Aviation-General?　Subjects-Professional&Technical-Engineering-General　Subjects-Science-General Aircraft Gas Turbine Powerplants Aviation Maintenance Pub?　Charles Otis?　 AviationMaintenancePub?　CharlesOtis?　ジャンル別?　Subjects-Engineering-General?　Subjects-Nonfiction-Transportation-Aviation-Repair&Maintenance?　Subjects-Nonfiction-Transportation-General?　Subjects-Professional&Technical-Engineering-General Private Pilot Question Book, 1984 Aviation Book Co?　John E. 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Avionics Fundamentals (Iap Training Manual) Iap?　 Iap?　ジャンル別?　Subjects-Engineering-General?　Subjects-Engineering-Aerospace-Avionics?　Subjects-Professional&Technical-Engineering-General　Subjects-Professional&Technical-Engineering-Aerospace-Avionics?　Subjects-Reference-General? Aircraft Sheet Metal (Order No. Ea-Sm) Iap?　Nick Bonacci?　 Iap?　NickBonacci?　ジャンル別?　Substores-UnknownASINs-28?　Subjects-Engineering-General?　Subjects-Nonfiction-Transportation-Aviation-Repair&Maintenance?　Subjects-Professional&Technical-Engineering-General　Subjects-Science-General　Subjects-Science-Technology-General&Reference Airline Transport Pilot, Aircraft Flight Dispatcher, and Flight Navigator Question Book Including Answers, Explanations and References (9-1-89-9-91) Jeppesen Sanderson?　 JeppesenSanderson?　ジャンル別?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General　Subjects-Reference-General? Aviation Mechanic Airframe Knowledge Test Question Bank 1998 (Ea-Faa-T-8080-12cx) Aviation Maintenance Pub?　 AviationMaintenancePub?　ジャンル別?　Substores-UnknownASINs-28?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General Aviation Electronics Iap?　Keith Bose?　 Iap?　KeithBose?　ジャンル別?　Subjects-Engineering-Electrical&Electronics-Electronics-General?　Subjects-Engineering-General?　 Subjects-Nonfiction-Transportation-Aviation-Piloting&FlightInstruction?　 Subjects-Professional&Technical-Engineering-Electrical&Electronics-Electronics-General?　Subjects-Professional&Technical-Engineering-General　Subjects-Reference-General?　Subjects-Science-Astronomy-Aeronautics&Astronautics? Aircraft Radio Systems Jeppesen Sanderson?　James Powell?　 JeppesenSanderson?　JamesPowell?　ジャンル別?　Substores-UnknownASINs-28?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General　Subjects-Science-General　Subjects-Science-Astronomy-Aeronautics&Astronautics? Aircraft Electrical Systems Single and Twin Engine Jeppesen Sanderson?　J. E. Bygate?　 JeppesenSanderson?　J.E.Bygate?　ジャンル別?　Substores-UnknownASINs-28?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General　Subjects-Science-General　Subjects-Science-Technology-General&Reference　Subjects-Science-Astronomy-Aeronautics&Astronautics? Advanced Composites Jeppesen Sanderson?　Cindy Foreman?　 JeppesenSanderson?　CindyForeman?　ジャンル別?　Subjects-Engineering-General?　Subjects-Nonfiction-Education-General?　Subjects-Professional&Technical-Engineering-General　Subjects-Professional&Technical-Education-General? Transport Category Aircraft Systems (An Iap, Inc. Training Manual) Jeppesen Sanderson?　Tom Wild?　 JeppesenSanderson?　TomWild?　ジャンル別?　Substores-UnknownASINs-28?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General　Subjects-Science-General Aircraft Gas Turbine Engines of the World and Dictionary of the Gas Turbine Iap?　Charles E. 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Aircraft Technical Dictionary Jeppesen Sanderson?　David Jones?　James Foye?　Dale Crane?　David Aircraft Technical Dictionary Jones?　 JeppesenSanderson?　DavidJones?　JamesFoye?　DaleCrane?　DavidAircraftTechnicalDictionaryJones?　ジャンル別?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General　Subjects-Reference-General? Electrical Systems for A PS (Ea-412) Iap?　 Iap?　ジャンル別?　Subjects-Engineering-Electrical&Electronics-ElectricityPrinciples?　Subjects-Engineering-Electrical&Electronics-General?　Subjects-Engineering-General?　 Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialTechnology?　 Subjects-Professional&Technical-Engineering-Electrical&Electronics-ElectricityPrinciples?　 Subjects-Professional&Technical-Engineering-Electrical&Electronics-General?　 Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialTechnology?　Subjects-Professional&Technical-Engineering-General　Subjects-Science-General The General Mechanics FAA Exam Book 1992-94 Jeppesen Sanderson?　 JeppesenSanderson?　ジャンル別?　Substores-UnknownASINs-28?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General　Subjects-Reference-General? Air Frame Mechanics FAA Exam Book, 1992-94/Ea-Faa-T-8080-120X Jeppesen Sanderson?　 JeppesenSanderson?　ジャンル別?　Subjects-Business&Investing-General?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General Global Navigation for Pilots Iap?　Dale De Remer?　Donald W. McLean?　 Iap?　DaleDeRemer?　DonaldW.McLean?　ジャンル別?　Substores-UnknownASINs-28?　Subjects-Engineering-General?　Subjects-Professional&Technical-Engineering-General A P Technician Airframe Instructor Guide Iap?　David L. 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Reference Manual of Countermeasures for Hazardous Substance Releases Hemisphere Pub?　Walter Unterberg?　 HemispherePub?　WalterUnterberg?　ジャンル別?　Subjects-Engineering-Civil-Environmental-General　Subjects-Engineering-Civil-Environmental-HazardousWaste?　Subjects-Engineering-Civil-Environmental-Pollution-Air?　Subjects-Engineering-General?　Subjects-Engineering-MaterialsScience-General?　 Subjects-Professional&Technical-Engineering-Civil-Environmental-General　 Subjects-Professional&Technical-Engineering-Civil-Environmental-HazardousWaste?　 Subjects-Professional&Technical-Engineering-Civil-Environmental-Pollution-Air?　Subjects-Professional&Technical-Engineering-MaterialsScience-General?　Subjects-Professional&Technical-Engineering-General　Subjects-Professional&Technical-CivilService-Firefighting&Prevention?　Subjects-Science-General Odor and Corrosion Control in Sanitary Sewerage Systems and Treatment Plants Hemisphere Pub?　Robert P. G. Bowker?　John M. Smith?　Neil A. 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• Anne of Green Gables　のぺーじ - CHAPTER XV

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  CHAPTER XIV UP CHAPTER XVI CHAPTER XV A Tempest in the School Teapot "What a splendid day!" said Anne, drawing a long breath. "Isn t it good just to be alive on a day like this? I pity the people who aren t born yet for missing it. They may have good days, of course, but they can never have this one. And it s splendider still to have such a lovely way to go to school by, isn t it?" "It s a lot nicer than going round by the road; that is so dusty and hot," said Diana practically, peeping into her dinner basket and mentally calculating if the three juicy, toothsome, raspberry tarts reposing there were divided among ten girls how many bites each girl would have. The little girls of Avonlea school always pooled their lunches, and to eat three raspberry tarts all alone or even to share them only with one s best chum would have forever and ever branded as "awful mean" the girl who did it. And yet, when the tarts were divided among ten girls you just got enough to tantalize you. The way Anne and Diana went to school WAS a pretty one. Anne thought those walks to and from school with Diana couldn t be improved upon even by imagination. Going around by the main road would have been so unromantic; but to go by Lover s Lane and Willowmere and Violet Vale and the Birch Path was romantic, if ever anything was. Lover s Lane opened out below the orchard at Green Gables and stretched far up into the woods to the end of the Cuthbert farm. It was the way by which the cows were taken to the back pasture and the wood hauled home in winter. Anne had named it Lover s Lane before she had been a month at Green Gables. "Not that lovers ever really walk there," she explained to Marilla, "but Diana and I are reading a perfectly magnificent book and there s a Lover s Lane in it. So we want to have one, too. And it s a very pretty name, don t you think? So romantic! We can t imagine the lovers into it, you know. I like that lane because you can think out loud there without people calling you crazy." Anne, starting out alone in the morning, went down Lover s Lane as far as the brook. Here Diana met her, and the two little girls went on up the lane under the leafy arch of maples--"maples are such sociable trees," said Anne; "they re always rustling and whispering to you"--until they came to a rustic bridge. Then they left the lane and walked through Mr. Barry s back field and past Willowmere. Beyond Willowmere came Violet Vale--a little green dimple in the shadow of Mr. Andrew Bell s big woods. "Of course there are no violets there now," Anne told Marilla, "but Diana says there are millions of them in spring. Oh, Marilla, can t you just imagine you see them? It actually takes away my breath. I named it Violet Vale. Diana says she never saw the beat of me for hitting on fancy names for places. It s nice to be clever at something, isn t it? But Diana named the Birch Path. She wanted to, so I let her; but I m sure I could have found something more poetical than plain Birch Path. Anybody can think of a name like that. But the Birch Path is one of the prettiest places in the world, Marilla." It was. Other people besides Anne thought so when they stumbled on it. It was a little narrow, twisting path, winding down over a long hill straight through Mr. Bell s woods, where the light came down sifted through so many emerald screens that it was as flawless as the heart of a diamond. It was fringed in all its length with slim young birches, white stemmed and lissom boughed; ferns and starflowers and wild lilies-of-the-valley and scarlet tufts of pigeonberries grew thickly along it; and always there was a delightful spiciness in the air and music of bird calls and the murmur and laugh of wood winds in the trees overhead. Now and then you might see a rabbit skipping across the road if you were quiet--which, with Anne and Diana, happened about once in a blue moon. Down in the valley the path came out to the main road and then it was just up the spruce hill to the school. The Avonlea school was a whitewashed building, low in the eaves and wide in the windows, furnished inside with comfortable substantial old-fashioned desks that opened and shut, and were carved all over their lids with the initials and hieroglyphics of three generations of school children. The schoolhouse was set back from the road and behind it was a dusky fir wood and a brook where all the children put their bottles of milk in the morning to keep cool and sweet until dinner hour. Marilla had seen Anne start off to school on the first day of September with many secret misgivings. Anne was such an odd girl. How would she get on with the other children? And how on earth would she ever manage to hold her tongue during school hours? Things went better than Marilla feared, however. Anne came home that evening in high spirits. "I think I m going to like school here," she announced. "I don t think much of the master, through. He s all the time curling his mustache and making eyes at Prissy Andrews. Prissy is grown up, you know. She s sixteen and she s studying for the entrance examination into Queen s Academy at Charlottetown next year. Tillie Boulter says the master is DEAD GONE on her. She s got a beautiful complexion and curly brown hair and she does it up so elegantly. She sits in the long seat at the back and he sits there, too, most of the time--to explain her lessons, he says. But Ruby Gillis says she saw him writing something on her slate and when Prissy read it she blushed as red as a beet and giggled; and Ruby Gillis says she doesn t believe it had anything to do with the lesson." "Anne Shirley, don t let me hear you talking about your teacher in that way again," said Marilla sharply. "You don t go to school to criticize the master. I guess he can teach YOU something, and it s your business to learn. And I want you to understand right off that you are not to come home telling tales about him. That is something I won t encourage. I hope you were a good girl." "Indeed I was," said Anne comfortably. "It wasn t so hard as you might imagine, either. I sit with Diana. Our seat is right by the window and we can look down to the Lake of Shining Waters. There are a lot of nice girls in school and we had scrumptious fun playing at dinnertime. It s so nice to have a lot of little girls to play with. But of course I like Diana best and always will. I ADORE Diana. I m dreadfully far behind the others. They re all in the fifth book and I m only in the fourth. I feel that it s kind of a disgrace. But there s not one of them has such an imagination as I have and I soon found that out. We had reading and geography and Canadian history and dictation today. Mr. Phillips said my spelling was disgraceful and he held up my slate so that everybody could see it, all marked over. I felt so mortified, Marilla; he might have been politer to a stranger, I think. Ruby Gillis gave me an apple and Sophia Sloane lent me a lovely pink card with `May I see you home? on it. I m to give it back to her tomorrow. And Tillie Boulter let me wear her bead ring all the afternoon. Can I have some of those pearl beads off the old pincushion in the garret to make myself a ring? And oh, Marilla, Jane Andrews told me that Minnie MacPherson told her that she heard Prissy Andrews tell Sara Gillis that I had a very pretty nose. Marilla, that is the first compliment I have ever had in my life and you can t imagine what a strange feeling it gave me. Marilla, have I really a pretty nose? I know you ll tell me the truth." "Your nose is well enough," said Marilla shortly. Secretly she thought Anne s nose was a remarkable pretty one; but she had no intention of telling her so. That was three weeks ago and all had gone smoothly so far. And now, this crisp September morning, Anne and Diana were tripping blithely down the Birch Path, two of the happiest little girls in Avonlea. "I guess Gilbert Blythe will be in school today," said Diana. "He s been visiting his cousins over in New Brunswick all summer and he only came home Saturday night. He s AW FLY handsome, Anne. And he teases the girls something terrible. He just torments our lives out." Diana s voice indicated that she rather liked having her life tormented out than not. "Gilbert Blythe?" said Anne. "Isn t his name that s written up on the porch wall with Julia Bell s and a big `Take Notice over them?" "Yes," said Diana, tossing her head, "but I m sure he doesn t like Julia Bell so very much. I ve heard him say he studied the multiplication table by her freckles." "Oh, don t speak about freckles to me," implored Anne. "It isn t delicate when I ve got so many. But I do think that writing take-notices up on the wall about the boys and girls is the silliest ever. I should just like to see anybody dare to write my name up with a boy s. Not, of course," she hastened to add, "that anybody would." Anne sighed. She didn t want her name written up. But it was a little humiliating to know that there was no danger of it. "Nonsense," said Diana, whose black eyes and glossy tresses had played such havoc with the hearts of Avonlea schoolboys that her name figured on the porch walls in half a dozen take-notices. "It s only meant as a joke. And don t you be too sure your name won t ever be written up. Charlie Sloane is DEAD GONE on you. He told his mother--his MOTHER, mind you--that you were the smartest girl in school. That s better than being good looking." "No, it isn t," said Anne, feminine to the core. "I d rather be pretty than clever. And I hate Charlie Sloane, I can t bear a boy with goggle eyes. If anyone wrote my name up with his I d never GET over it, Diana Barry. But it IS nice to keep head of your class." "You ll have Gilbert in your class after this," said Diana, "and he s used to being head of his class, I can tell you. He s only in the fourth book although he s nearly fourteen. Four years ago his father was sick and had to go out to Alberta for his health and Gilbert went with him. They were there three years and Gil didn t go to school hardly any until they came back. You won t find it so easy to keep head after this, Anne." "I m glad," said Anne quickly. "I couldn t really feel proud of keeping head of little boys and girls of just nine or ten. I got up yesterday spelling `ebullition. Josie Pye was head and, mind you, she peeped in her book. Mr. Phillips didn t see her--he was looking at Prissy Andrews--but I did. I just swept her a look of freezing scorn and she got as red as a beet and spelled it wrong after all." "Those Pye girls are cheats all round," said Diana indignantly, as they climbed the fence of the main road. "Gertie Pye actually went and put her milk bottle in my place in the brook yesterday. Did you ever? I don t speak to her now." When Mr. Phillips was in the back of the room hearing Prissy Andrews s Latin, Diana whispered to Anne, "That s Gilbert Blythe sitting right across the aisle from you, Anne. Just look at him and see if you don t think he s handsome." Anne looked accordingly. She had a good chance to do so, for the said Gilbert Blythe was absorbed in stealthily pinning the long yellow braid of Ruby Gillis, who sat in front of him, to the back of her seat. He was a tall boy, with curly brown hair, roguish hazel eyes, and a mouth twisted into a teasing smile. Presently Ruby Gillis started up to take a sum to the master; she fell back into her seat with a little shriek, believing that her hair was pulled out by the roots. Everybody looked at her and Mr. Phillips glared so sternly that Ruby began to cry. Gilbert had whisked the pin out of sight and was studying his history with the soberest face in the world; but when the commotion subsided he looked at Anne and winked with inexpressible drollery. "I think your Gilbert Blythe IS handsome," confided Anne to Diana, "but I think he s very bold. It isn t good manners to wink at a strange girl." But it was not until the afternoon that things really began to happen. Mr. Phillips was back in the corner explaining a problem in algebra to Prissy Andrews and the rest of the scholars were doing pretty much as they pleased eating green apples, whispering, drawing pictures on their slates, and driving crickets harnessed to strings, up and down aisle. Gilbert Blythe was trying to make Anne Shirley look at him and failing utterly, because Anne was at that moment totally oblivious not only to the very existence of Gilbert Blythe, but of every other scholar in Avonlea school itself. With her chin propped on her hands and her eyes fixed on the blue glimpse of the Lake of Shining Waters that the west window afforded, she was far away in a gorgeous dreamland hearing and seeing nothing save her own wonderful visions. Gilbert Blythe wasn t used to putting himself out to make a girl look at him and meeting with failure. She SHOULD look at him, that red-haired Shirley girl with the little pointed chin and the big eyes that weren t like the eyes of any other girl in Avonlea school. Gilbert reached across the aisle, picked up the end of Anne s long red braid, held it out at arm s length and said in a piercing whisper "Carrots! Carrots!" Then Anne looked at him with a vengeance! She did more than look. She sprang to her feet, her bright fancies fallen into cureless ruin. She flashed one indignant glance at Gilbert from eyes whose angry sparkle was swiftly quenched in equally angry tears. "You mean, hateful boy!" she exclaimed passionately. "How dare you!" And then--thwack! Anne had brought her slate down on Gilbert s head and cracked it--slate not head--clear across. Avonlea school always enjoyed a scene. This was an especially enjoyable one. Everybody said "Oh" in horrified delight. Diana gasped. Ruby Gillis, who was inclined to be hysterical, began to cry. Tommy Sloane let his team of crickets escape him altogether while he stared open-mouthed at the tableau. Mr. Phillips stalked down the aisle and laid his hand heavily on Anne s shoulder. "Anne Shirley, what does this mean?" he said angrily. Anne returned no answer. It was asking too much of flesh and blood to expect her to tell before the whole school that she had been called "carrots." Gilbert it was who spoke up stoutly. "It was my fault Mr. Phillips. I teased her." Mr. Phillips paid no heed to Gilbert. "I am sorry to see a pupil of mine displaying such a temper and such a vindictive spirit," he said in a solemn tone, as if the mere fact of being a pupil of his ought to root out all evil passions from the hearts of small imperfect mortals. "Anne, go and stand on the platform in front of the blackboard for the rest of the afternoon." Anne would have infinitely preferred a whipping to this punishment under which her sensitive spirit quivered as from a whiplash. With a white, set face she obeyed. Mr. Phillips took a chalk crayon and wrote on the blackboard above her head. "Ann Shirley has a very bad temper. Ann Shirley must learn to control her temper," and then read it out loud so that even the primer class, who couldn t read writing, should understand it. Anne stood there the rest of the afternoon with that legend above her. She did not cry or hang her head. Anger was still too hot in her heart for that and it sustained her amid all her agony of humiliation. With resentful eyes and passion-red cheeks she confronted alike Diana s sympathetic gaze and Charlie Sloane s indignant nods and Josie Pye s malicious smiles. As for Gilbert Blythe, she would not even look at him. She would NEVER look at him again! She would never speak to him!! When school was dismissed Anne marched out with her red head held high. Gilbert Blythe tried to intercept her at the porch door. "I m awfully sorry I made fun of your hair, Anne," he whispered contritely. "Honest I am. Don t be mad for keeps, now." Anne swept by disdainfully, without look or sign of hearing. "Oh how could you, Anne?" breathed Diana as they went down the road half reproachfully, half admiringly. Diana felt that SHE could never have resisted Gilbert s plea. "I shall never forgive Gilbert Blythe," said Anne firmly. "And Mr. Phillips spelled my name without an e, too. The iron has entered into my soul, Diana." Diana hadn t the least idea what Anne meant but she understood it was something terrible. "You mustn t mind Gilbert making fun of your hair," she said soothingly. "Why, he makes fun of all the girls. He laughs at mine because it s so black. He s called me a crow a dozen times; and I never heard him apologize for anything before, either." "There s a great deal of difference between being called a crow and being called carrots," said Anne with dignity. "Gilbert Blythe has hurt my feelings EXCRUCIATINGLY, Diana." It is possible the matter might have blown over without more excruciation if nothing else had happened. But when things begin to happen they are apt to keep on. Avonlea scholars often spent noon hour picking gum in Mr. Bell s spruce grove over the hill and across his big pasture field. From there they could keep an eye on Eben Wright s house, where the master boarded. When they saw Mr. Phillips emerging therefrom they ran for the schoolhouse; but the distance being about three times longer than Mr. Wright s lane they were very apt to arrive there, breathless and gasping, some three minutes too late. On the following day Mr. Phillips was seized with one of his spasmodic fits of reform and announced before going home to dinner, that he should expect to find all the scholars in their seats when he returned. Anyone who came in late would be punished. All the boys and some of the girls went to Mr. Bell s spruce grove as usual, fully intending to stay only long enough to "pick a chew." But spruce groves are seductive and yellow nuts of gum beguiling; they picked and loitered and strayed; and as usual the first thing that recalled them to a sense of the flight of time was Jimmy Glover shouting from the top of a patriarchal old spruce "Master s coming." The girls who were on the ground, started first and managed to reach the schoolhouse in time but without a second to spare. The boys, who had to wriggle hastily down from the trees, were later; and Anne, who had not been picking gum at all but was wandering happily in the far end of the grove, waist deep among the bracken, singing softly to herself, with a wreath of rice lilies on her hair as if she were some wild divinity of the shadowy places, was latest of all. Anne could run like a deer, however; run she did with the impish result that she overtook the boys at the door and was swept into the schoolhouse among them just as Mr. Phillips was in the act of hanging up his hat. Mr. Phillips s brief reforming energy was over; he didn t want the bother of punishing a dozen pupils; but it was necessary to do something to save his word, so he looked about for a scapegoat and found it in Anne, who had dropped into her seat, gasping for breath, with a forgotten lily wreath hanging askew over one ear and giving her a particularly rakish and disheveled appearance. "Anne Shirley, since you seem to be so fond of the boys company we shall indulge your taste for it this afternoon," he said sarcastically. "Take those flowers out of your hair and sit with Gilbert Blythe." The other boys snickered. Diana, turning pale with pity, plucked the wreath from Anne s hair and squeezed her hand. Anne stared at the master as if turned to stone. "Did you hear what I said, Anne?" queried Mr. Phillips sternly. "Yes, sir," said Anne slowly "but I didn t suppose you really meant it." "I assure you I did"--still with the sarcastic inflection which all the children, and Anne especially, hated. It flicked on the raw. "Obey me at once." For a moment Anne looked as if she meant to disobey. Then, realizing that there was no help for it, she rose haughtily, stepped across the aisle, sat down beside Gilbert Blythe, and buried her face in her arms on the desk. Ruby Gillis, who got a glimpse of it as it went down, told the others going home from school that she d "acksually never seen anything like it--it was so white, with awful little red spots in it." To Anne, this was as the end of all things. It was bad enough to be singled out for punishment from among a dozen equally guilty ones; it was worse still to be sent to sit with a boy, but that that boy should be Gilbert Blythe was heaping insult on injury to a degree utterly unbearable. Anne felt that she could not bear it and it would be of no use to try. Her whole being seethed with shame and anger and humiliation. At first the other scholars looked and whispered and giggled and nudged. But as Anne never lifted her head and as Gilbert worked fractions as if his whole soul was absorbed in them and them only, they soon returned to their own tasks and Anne was forgotten. When Mr. Phillips called the history class out Anne should have gone, but Anne did not move, and Mr. Phillips, who had been writing some verses "To Priscilla" before he called the class, was thinking about an obstinate rhyme still and never missed her. Once, when nobody was looking, Gilbert took from his desk a little pink candy heart with a gold motto on it, "You are sweet," and slipped it under the curve of Anne s arm. Whereupon Anne arose, took the pink heart gingerly between the tips of her fingers, dropped it on the floor, ground it to powder beneath her heel, and resumed her position without deigning to bestow a glance on Gilbert. When school went out Anne marched to her desk, ostentatiously took out everything therein, books and writing tablet, pen and ink, testament and arithmetic, and piled them neatly on her cracked slate. "What are you taking all those things home for, Anne?" Diana wanted to know, as soon as they were out on the road. She had not dared to ask the question before. "I am not coming back to school any more," said Anne. Diana gasped and stared at Anne to see if she meant it. "Will Marilla let you stay home?" she asked. "She ll have to," said Anne. "I ll NEVER go to school to that man again." "Oh, Anne!" Diana looked as if she were ready to cry. "I do think you re mean. What shall I do? Mr. Phillips will make me sit with that horrid Gertie Pye--I know he will because she is sitting alone. Do come back, Anne." "I d do almost anything in the world for you, Diana," said Anne sadly. "I d let myself be torn limb from limb if it would do you any good. But I can t do this, so please don t ask it. You harrow up my very soul." "Just think of all the fun you will miss," mourned Diana. "We are going to build the loveliest new house down by the brook; and we ll be playing ball next week and you ve never played ball, Anne. It s tremendously exciting. And we re going to learn a new song-- Jane Andrews is practicing it up now; and Alice Andrews is going to bring a new Pansy book next week and we re all going to read it out loud, chapter about, down by the brook. And you know you are so fond of reading out loud, Anne." Nothing moved Anne in the least. Her mind was made up. She would not go to school to Mr. Phillips again; she told Marilla so when she got home. "Nonsense," said Marilla. "It isn t nonsense at all," said Anne, gazing at Marilla with solemn, reproachful eyes. "Don t you understand, Marilla? I ve been insulted." "Insulted fiddlesticks! You ll go to school tomorrow as usual." "Oh, no." Anne shook her head gently. "I m not going back, Marilla. I ll learn my lessons at home and I ll be as good as I can be and hold my tongue all the time if it s possible at all. But I will not go back to school, I assure you." Marilla saw something remarkably like unyielding stubbornness looking out of Anne s small face. She understood that she would have trouble in overcoming it; but she re-solved wisely to say nothing more just then. "I ll run down and see Rachel about it this evening," she thought. "There s no use reasoning with Anne now. She s too worked up and I ve an idea she can be awful stubborn if she takes the notion. Far as I can make out from her story, Mr. Phillips has been carrying matters with a rather high hand. But it would never do to say so to her. I ll just talk it over with Rachel. She s sent ten children to school and she ought to know something about it. She ll have heard the whole story, too, by this time." Marilla found Mrs. Lynde knitting quilts as industriously and cheerfully as usual. "I suppose you know what I ve come about," she said, a little shamefacedly. Mrs. Rachel nodded. "About Anne s fuss in school, I reckon," she said. "Tillie Boulter was in on her way home from school and told me about it." "I don t know what to do with her," said Marilla. "She declares she won t go back to school. I never saw a child so worked up. I ve been expecting trouble ever since she started to school. I knew things were going too smooth to last. She s so high strung. What would you advise, Rachel?" "Well, since you ve asked my advice, Marilla," said Mrs. Lynde amiably--Mrs. Lynde dearly loved to be asked for advice--"I d just humor her a little at first, that s what I d do. It s my belief that Mr. Phillips was in the wrong. Of course, it doesn t do to say so to the children, you know. And of course he did right to punish her yesterday for giving way to temper. But today it was different. The others who were late should have been punished as well as Anne, that s what. And I don t believe in making the girls sit with the boys for punishment. It isn t modest. Tillie Boulter was real indignant. She took Anne s part right through and said all the scholars did too. Anne seems real popular among them, somehow. I never thought she d take with them so well." "Then you really think I d better let her stay home," said Marilla in amazement. "Yes. That is I wouldn t say school to her again until she said it herself. Depend upon it, Marilla, she ll cool off in a week or so and be ready enough to go back of her own accord, that s what, while, if you were to make her go back right off, dear knows what freak or tantrum she d take next and make more trouble than ever. The less fuss made the better, in my opinion. She won t miss much by not going to school, as far as THAT goes. Mr. Phillips isn t any good at all as a teacher. The order he keeps is scandalous, that s what, and he neglects the young fry and puts all his time on those big scholars he s getting ready for Queen s. He d never have got the school for another year if his uncle hadn t been a trustee--THE trustee, for he just leads the other two around by the nose, that s what. I declare, I don t know what education in this Island is coming to." Mrs. Rachel shook her head, as much as to say if she were only at the head of the educational system of the Province things would be much better managed. Marilla took Mrs. Rachel s advice and not another word was said to Anne about going back to school. She learned her lessons at home, did her chores, and played with Diana in the chilly purple autumn twilights; but when she met Gilbert Blythe on the road or encountered him in Sunday school she passed him by with an icy contempt that was no whit thawed by his evident desire to appease her. Even Diana s efforts as a peacemaker were of no avail. Anne had evidently made up her mind to hate Gilbert Blythe to the end of life. As much as she hated Gilbert, however, did she love Diana, with all the love of her passionate little heart, equally intense in its likes and dislikes. One evening Marilla, coming in from the orchard with a basket of apples, found Anne sitting along by the east window in the twilight, crying bitterly. "Whatever s the matter now, Anne?" she asked. "It s about Diana," sobbed Anne luxuriously. "I love Diana so, Marilla. I cannot ever live without her. But I know very well when we grow up that Diana will get married and go away and leave me. And oh, what shall I do? I hate her husband--I just hate him furiously. I ve been imagining it all out--the wedding and everything--Diana dressed in snowy garments, with a veil, and looking as beautiful and regal as a queen; and me the bridesmaid, with a lovely dress too, and puffed sleeves, but with a breaking heart hid beneath my smiling face. And then bidding Diana goodbye-e-e--" Here Anne broke down entirely and wept with increasing bitterness. Marilla turned quickly away to hide her twitching face; but it was no use; she collapsed on the nearest chair and burst into such a hearty and unusual peal of laughter that Matthew, crossing the yard outside, halted in amazement. When had he heard Marilla laugh like that before? "Well, Anne Shirley," said Marilla as soon as she could speak, "if you must borrow trouble, for pity s sake borrow it handier home. I should think you had an imagination, sure enough." CHAPTER XIV UP CHAPTER XVI 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 24 51 (Tue)

• Vocaloid English & Romaji Lyrics @wiki - 結ンデ開イテ羅刹ト骸 Close and Open, the Rakshasa and the Corpse (Musunde Hiraite Ra...)

  https://w.atwiki.jp/vocaloidenglishlyric/pages/453.html

  【Tags Hachi Miku tC tJ M】 Original Music title 結ンデ開イテ羅刹ト骸 English music title Close and Open, the Rakshasa and the Corpse / Join Up, Open Up, the Rakshasa and the Corpse Romaji music title Musunde Hiraite Rasetsu to Mukuro Music Lyrics written, Voice edition by ハチ(Hachi) Music arranged by ハチ(Hachi) Singer(s) 初音ミク (Hatsune Miku) Click here for the original Japanese Lyrics English Lyrics (translated by animeyay)： "Now, tonight, again, let's party freely, together with the low-tier members from Hell. What will be degraded at the bay of this banquet, is found within the atrocity and savagery among us, so pure and clean that it is wicked." A cat, who has lost a leg, is snickering this way "The young lady over there, let's play!" The red string tied to its collar cannot possibly be used in place of its lost leg. Ya, ya, ya, ya, I, don't, wanna! A row of lined-up stupas are singing "The young lady over there, let's dance!" The flowers sneakily blooming underfoot are grimacing and grumbling. The carp streamers are showing their bellies, inside which heaps of skulls are buried. Yai, yai, shall we go play? Yai, yai, smile, simle. Rai, rai, join up, open up. Rai, rai, the Rakshasa and the corpse. One, two, three, and again open up. Five, six, seven, and raise your hands up high. A collar tied to a pine tree, hanging and swinging, let's all join up together, everyone together! "For a pointless side show, we first clap, then throw it into the fireplace to burn." The lowly python dies at the foot of the gravestones. The assembled relatives of the dead have begun fighting. "I made a vow with him when he was still alive!" No matter what you claim, the dead will never talk. Ya, ya, ya, ya, I, hate, this. Please buy all these pretty flowers, one after another, buy away all these cute children. The unsold ones are the unrefined ugly ones; they are crying in a corner, unnoticed by anybody. Yai, yai, shall we play a prank? Yai, yai, dance, dance. Rai, rai, join up, open up. Rai, rai, the Rakshasa and the corpse. Three, two, one, and hold the breath. Seven, eight, ten, and again join up. Bearing burns not even blacksmiths can endure, the cat now goes to close the open sliding door. In the end, it's all other people's business. In the end, it's all other people's business. In the end, it's all other people's business. About others' misfortune, we'll just feign ignorance. Yai, yai, shall we conceive a child? Yai, yai, be lost, be lost, in this world. Rai, rai, captivated by the vanity of the world. Rai, rai, the Rakshasa and the corpse. One, two, three, and again open up. Five, six, seven, and raise your hands up high. Before the rooster can start crowing, my belly will be empty. One, two, three, see you tomorrow! "Just like the Rakshasa, with its throat raged, it drinks the hot blood of a struggling python. Everything will eventually shift and change. Even as I'm saying this, many things are changing. In the end, what kind of story was it telling? Oh well, let's end our idle gossips. Now, please give me some applause." One, two, three, see you tomorrow! [Translation Notes] The exact meaning of the lyrics is open to interpretation. The author himself, Hachi, wrote on his blog and he was talking about how innocent children's "innocence" can actually turn destructive and evil, and also criticizing the general cold and indifferent attitude of the public. He added at the end, however, that he was "limited" in what he could say. The fans on the web, though, seem to be more inclined to believe that the song is actually about the tragic life of the Japanese prostitutes ("cats" in slang). The prostitutes "join up" with and "open up" for their patrons, abort the babies that they accidentally conceive (skulls in their belly), and get right back into business the next day (before the rooster could crow). It is also said that the title of the song, the Rakshasa and the corpse, hints at the cruel relationship between the patron (a man-eating demon) and the prostitute (a corpse). English Lyrics (translated by vgboy / vgperson)： Yes, yes, tonight, they are again at ease. A grouping of devils... And as they descend upon feasts, The evils of the pure Shall be revealed by horrible atrocities. The three-legged cat laughs, "Go and we shall play, girl" The red string on its collar Cannot substitute for its leg No, no, no, no, no means no The towering, lined-up tablets sing, "Go and we shall dance, girl" The flowers blooming at their feet Frown and complain This flag shows your belly, Filled with skulls Yai, yai, shall we go play? Yai, yai, to laugh and laugh Rai, rai, close and open Rai, rai, the Rakshasa and the corpse To one, two, three, open again To five, six, seven, put your hand up From the pine trees, a collar fills the air with ringing All, all, all will be closed Clap at the entertainment, Then burn it in the fireplace. In front of the humble departed python's grave, Its relatives gather and bicker "In life, I made a promise to him" Dead men lie no longer No, no, no, no, no means no So happy to have been bought, One by one, cute children are sold In the end, the worst child remains, Crying, and no one even knows Yai, yai, shall we play a prank? Yai, yai, to dance and dance Rai, rai, close and open Rai, rai, the Rakshasa and the corpse To three, two, one, hold your breath To seven, eight, ten, close again Even the highest of mansions are susceptible to the flames The cat goes to close the sliding door In the end, everyone is but a stranger In the end, everyone is but a stranger In the end, everyone is but a stranger The sorrows of strangers... we know not! Yai, yai, shall we reproduce? Yai, yai, to trick and trick the world Rai, rai, charming as the alphabet* Rai, rai, the Rakshasa and the corpse To one, two, three, open again To five, six, seven, put your hand up Belly thinning as the birds won't cease singing To one, two, three, back again tomorrow Grab for the throat as the demonic Rakshasa, And suck out the blood as swiftly as a python. It is destiny for all things to fade. Even now, many do. So, what kind of story was that, do you think? Ah, let's stop with such wild gossip. Now, lend me your hands. To one, two, three, back again tomorrow [Translation note] As odd as the translation on YouTube is in places, "A-B-C-D-ENCHANTMENT" is pretty much the best thing I've ever read. Anyway, it's not really the alphabet, but I think it's almost equivalent. The part about children being "bought" refers to the Japanese children's game Hana Ichi Monme (which is actually mentioned by name). Normally, it involves representatives from teams playing rock paper scissors and the winner choosing to bring over a player from the other team until one team is out of players. Normally, the team that won sings "we're so happy we won, hana ichi monme" afterwards. However, the words for "won" and "bought" are both "katte," so Hachi turned it into a pun of sorts about the transfer of players being "buying" and "selling." Romaji lyrics (transliterated by vgboy / vgperson)： Saasaa, koyoi mo bureikou Gokusotsushuu sura makikonde Utage no se nite narisagaru wa Junshinmuku koshitsu no warui Akukyaku hidoi ni gozaimasu Kataashi nakushita neko ga warau "Soko iku ojousan odorimasho" Kubiwa ni tsunagaru akai himo wa Kataashi no kawari ni nacchainai Ya ya ya ya iya iya iya Retsunasu sotoba no gun ga utau "Soko iku ojousan asobimasho" Ashimoto hisoka ni saita hana wa Shikame tsurashite wa gucchiteru Hara o miseta koinobori Haranda no wa sarekoube Yai yai asobi ni yukou ka Yai yai warae ya warae Rai rai musunde hiraite Rai rai Rasetsu to mukuro Hitotsu futatsu mittsu de mata haraite Itsutsu muttsu nanatsu de sono te o ue ni Matsu no ki ni wa kubiwa de chuu bura rinrin Minna minna minna de musubimasho Sagaranu yokyou wa te o tataki, Zashiki no irori ni kubesarase Gesen na uwabami bozen de yuku Takaridasu shinzoku arasoi "Seizen kare to yakusokushita zo" Osoboku mo shinin ni guchi wa nashi Ya ya ya ya iya iya iya Katte ureshii hana ichimonme Tsugitsugi to urareru kawaii ko-chan Saigo ni nokoru wa gehin na fusu Dare ni mo shirarezu ni naiteiru Yai yai itazura shiyou ka Yai yai odore ya odore Rai rai musunde hiraite Rai rai Rasetsu to mukuro Mittsu futatsu hitotsu de iki o koroshite Nanatsu yattsu too de mata musunde Takadono sae mo taekane yakedo o seifui Neko wa aketa fusama o shimete iku Kekkyoku mina-sama tanin-goto Kekkyoku mina-sama tanin-goto Kekkyoku mina-sama tanin-goto Tanin no fukou wa shiranpuri! Yai yai kodzukuri shiyou ka Yai yai yomae ya yomae Rai rai irohani horebore Rai rai Rasetsu to mukuro Hitotsu futatsu mittsu de mata hiraite Itsutsu muttsu nanatsu de sono te o ue ni Tori ga naite shimawanu uchi ni harahera Hitotsu futatsu mittsu de mata ashita Akki Rasetsu no gotoku sono nodo takerase, Abareru uwabami no ikichi o susuru. Subete wa utsurou no de gozaimasu. Ima koushiteiru aidani mo, iroiro na mono ga. Hate, nan no hanashi o shiteita kana? Maa, sonna yotabanashi wa owari ni shimashou. Saa, o-te o haishaku. Hitotsu futatsu mittsu de mata ashita

• オペラ対訳プロジェクト - Gluck,Christoph Willibald/Orpheus und Eurydike/ActⅠ

  https://w.atwiki.jp/oper/pages/560.html

  ERSTER AUFZUG Ouvertüre Ein Hain mit dem Grabmal der Eurydike ERSTE SZENE Orpheus, Chor Nr. 1 - Chor CHOR この小暗き森に、 エウリディーチェ、 汝が影墓の辺にいば、 ORPHEUS エウリディーチェ。 CHOR 聞けこの歎を。 涙を、 涙を見よ。流す涙を。 ORPHEUS エウリディーチェ。 CHOR 棄てられし夫の泣くを。 哀れと見よ。傷ましと見よ。 ORPHEUS エウリディーチェ。 CHOR 亡き汝帰り来。 いたつきに悩めり。 来よや。来て救えかし。 Nr. 2 - Rezitativ ORPHEUS 友よ。歎に痛こそ増せ。 薦めよ、亡き御魂に 贄を今一度。 墓に蒔け、花を。 Nr. 3 - Pantomime Während der Pantomime bekränzen die Gefährten das Grabmal der Eurydike, die Nymphen streuen Blumen. Nr. 4 - Chor CHOR この小暗き森に、 エウリディーチェ、 汝が影墓の辺にいば、 聞けこの歎を涙を、 涙を見よ。流す涙を。 見よ、流す涙を。 Während des Nachspiels entfernt sich langsam der Chor. Nr. 5 - Rezitativ ORPHEUS 皆往け。 墓の辺におらばや。 艱をのみ友として。 Nr. 6 - Ritornell ZWEITE SZENE Orpheus allein. Nr. 7 - Arie ORPHEUS 我はかこてり 曙に、 夕蔭に、夕蔭に。 逝きし君よ。 我は呼べど 答せぬ、答せぬ。 Nr. 8 - Rezitativ ORPHEUS エウリディーチェ。　エウリディーチェ。 亡き魂。今いづこ。 夫、我傷みて 絶間なく 汝をぞ呼べる。 神々、汝を返せ。 呼べども風に消さるる、風に消さるる。 Nr. 9 - Arie ORPHEUS 懐かしさに、 立ち別れし岸にいて、 岸にいて、 高く呼ぶ名ぞ徒に 反響する、 反響する、反響する。 Nr. 10 - Rezitativ ORPHEUS エウリディーチェ。エウリディーチェ。 聞えたる汝が名ぞ。 呼ぶを森も聞きつ。 谷も聞きつ。 老木の幹、 若木の小枝に、 汝が名刻みつ。 エウリディーチェ逝きぬ。 我のみ生く。 神よ。君なくば、 吾も死なばや。 Nr. 11 - Arie ORPHEUS 袖ぞ濡るる、 夜明くるより暮るるまで、 暮るるまで。 水は咽ぶ、 歎く我身打ちまねび、 打ちまねび。 Nr. 12 - Rezitativ ORPHEUS 心なのアヘロンの荒神、 力強き神、 プルトの仰い、 そしみて行い果たし、 美しきも、 若きも撰ばず、 はしき我妻を奪いぬ。 哀しきかな。 妻を盛の花を 散らしつるよ、 荒き汝が手。 情なの神よ。 我に返せ。 いでや、降らむ、黄泉の岸に。 我声、我色和めむ汝を。 縦し汝怒るとも、 いかで恐れめや。 DRITTE SZENE Orpheus. Amor AMOR 恋の神ぞ来し、慰めに。 頼めよ。チエウス汝を憐む。 黄泉へ、いざ降り行け。捜せ、 エウリディーチェを影の群に。 Nr. 13 - Arie AMOR 汝が絃の音色聞せよ、黄泉にて。 和めよ、荒神の怒。 さらば女汝と帰らむ。さらば女汝と帰らむ。 ORPHEUS あな、相見むとや。 AMOR 汝が絃の音色聞せよ、 黄泉にて。 和めよ、荒神の怒。 さらば女汝と帰らむ。さらば女汝と帰らむ。 Nr. 14 - Rezitativ ORPHEUS あな、相見むとや。 AMOR さはれ。汝堪うべしや。 汝を神等の 逢わせむ試に。 ORPHEUS 否。女のために、 何をか恐るべき。 AMOR さらば御旨聞け。 帰り着くまでは、 努面をな見そ。 見ば、妻とはに帰る期あらじ。 大御教ぞ。 神の御恵にな背きそ。 Nr. 15 - Arie AMOR 神の仰善く守りて、 黙あり堪え忍ぶ。 これぞ男子なる。 忍ぶ。 これぞ男子なる。 楽しさ又得まほしくば、 涙払え。 楽しき日は汝を待てり。 得まほしくば、 涙払え。 VIERTE SZENE Orpheus allein. Nr. 16 - Rezitativ ORPHEUS 何と云いし。 エウリディーチェを 又も得べしとや。 さわれわが悲しさや いや増さむ。 めぐり逢わむ時 見も倚り添いも えせずあらば。 恋人よ。 汝はた悲み怒りて 吾を見む。 あわれ、その様思い 見てだに 血も氷とならむとす。 堪へなむ。いでや。為し遂げむ。 往きて死なむ勝れり、 女を棄てて、 世の中にあらむよりは。 神々。守れ。 まつろう身を。 ERSTER AUFZUG Ouvertüre Ein Hain mit dem Grabmal der Eurydike ERSTE SZENE Orpheus, Chor Nr. 1 - Chor CHOR O wenn in diesen dunklen Hainen, Eurydike, noch dein Schatten um dein ödes Grabmal schwebt - ORPHEUS Eurydike! CHOR Ach, so höre diese Klagen, sieh die Tränen, die wir trauernd vergiessen für dicht ORPHEUS Eurydike! CHOR Sieh deinen Gatten, den Verlass nen, weinen, rührt sein Klagen dich nicht? ORPHEUS Eurydike! CHOR Du Entfloh ne, kehr ihm wieder! Bange Trauer beugt tief ihn nieder, komm, Teure, banne den tötenden Gram! Nr. 2 - Rezitativ ORPHEUS O Freunde, dieses Klagen vermehrt nur meine Leiden! Den heiligen Manen Eurydikens bringt nun das letzte Totenopfer, und streuet Blumen auf ihr Grab. Nr. 3 - Pantomime Während der Pantomime bekränzen die Gefährten das Grabmal der Eurydike, die Nymphen streuen Blumen. Nr. 4 - Chor CHOR O wenn in diesen dunklen Hainen, Eurydike, noch dein Schatten um dein ödes Grabmal schwebt, ach, so höre diese Klagen, sieh die Tränen, die wir trauernd vergiessen für dich Während des Nachspiels entfernt sich langsam der Chor. Nr. 5 - Rezitativ ORPHEUS Lasst mich allein! Dies Grab ist meinem Schmerze heilig, und keiner sei mit mir als nur mein Kummer. Nr. 6 - Ritornell ZWEITE SZENE Orpheus allein. Nr. 7 - Arie ORPHEUS So klag ich ihren Tod dem frühen Morgenrot, dem Abendschimmer; doch sie, des Orkus Raub, bei meinem Rufen taub, antwortet nimmer. Nr. 8 - Rezitativ ORPHEUS Eurydike, Eurydike! Teurer Schatten! Ach, wie weit bist du? Dein Gemahl, tief in Trauer versenkt und gefoltert vom Schmerz, ruft dich immer, fordert von den Göttern dich wieder. Die Winde, ach, entführen seine Klagen. Nr. 9 - Arie ORPHEUS Wehklagend irr ich so, dort, wo sie mir entfloh, am Ufer nieder; des süssen Namens Schall tönt dann der Widerhall mitleidig wieder. Nr. 10 - Rezitativ ORPHEUS Eurydike, Eurydikel Dein süsser Name tönt überall. Der Hain hat ihn oft von mir gehört, jedes Tal kennet ihn; in entlaubte Stämme, in die Rinde junger Eichen grub meine Hand ihn zitternd. Eurydike ist nicht mehr, ach! und ich lebe noch! Götter, gebt Leben ihr wieder oder gebt auch mir den Tod! Nr. 11 - Arie ORPHEUS Weinend gedenk ich dein, früh, wenn der Tag erscheint, spät, wenn er schwindet. Voll Mitleid mit meiner Qual, murmelt der Fluss im Tal, wer nur gibt Antwort mir. Nr. 12 - Rezitativ ORPHEUS Grausame Götter Acherons, des Reichs der Schatten, ihr, die ihr herrschet mit Schrecken, dienstbar Plutos Machtgebote, die ihr begierig seine Befehle erfüllt, die nichts erweicht und rührt, nicht die Jugend, nicht die Schönheit; ihr habt mir geraubt die zärtlich treue Gattin, o welch hartes Geschick! Nicht sie, im Zauber holder Jugend, verschonte eure Hand voll Mord und Raubbegier? Unerbittliche Tyrannen! Ich ford re sie zurück! Ja, ich steige hinab zu des Orkus Gestaden; meine Klagen, meine Tränen sollen beugen euren Grimm; kühn mit eurer Wut mich zu messen, fühl ich Kraft, fühl ich Mut genug! DRITTE SZENE Orpheus. Amor AMOR Gott Amor kommt zum Trost dem verzweifelnden Gatten. Vertraue mir, denn Zeus hat dein Schicksal gerührt. Zum Reich des Orkus darfst du gehen; dort siehst du Eurydike im stillen Reich der Schatten. Nr. 13 - Arie AMOR Deines Harfenspiels Harmonien stimme dort an mit milder Glut; bezähmst du der Tyrannen entsetzliche Wut, wirst du aus jenem Reich mit ihr in Frieden ziehen. ORPHEUS Wie, ich soll sie wiedersehn? AMOR Deines Harfenspiels Harmonien stimme dort an mit milder Glut; bezähmst du der Tyrannen entsetzliche Wut, wirst du aus jenem Reich mit ihr in Frieden ziehen. Nr. 14 - Rezitativ ORPHEUS Wie, ich soll sie wiedersehn? AMOR Ja; doch vernimm vorher, was dir nach der Götter Geheiss auferlegt zu tun und zu dulden. ORPHEUS O kein Befehl schreckt mich zurück, für sie besteh ich jede Prüfung. AMOR So höre, was dir Zeus befiehlt Eh du die Erde erreichest, hüte dich, einen Blick auf die Gattin zu tun, sonst verwirkst du ihr Leben und verlierst sie auf ewig. So lautet das Gebot, so verlangt es Zeus!. Seiner Gnade bezeig dich wert! Nr. 15 - Arie AMOR Mit Freuden den Willen der Götter erfüllen, vor ihnen sich beugen, und dulden und schweigen, beglücket den Mann. Soll süsses Entzücken dich wieder beglücken, so hemme die Klage, die seligsten Tage erwarten dich dann. VIERTE SZENE Orpheus allein. Nr. 16 - Rezitativ ORPHEUS Was hör ich? Ist es wahr? Eurydike werde ich sehn, meine Eurydike? Doch doppelt Leiden wird mich erfüllen in jener Stunde, wenn ich, berauschet vor Wonne, auf sie nicht dürfte blicken, nicht drücken sie ans Herz! O du Geliebte, Beute wirst du tödlichem Schmerz! Schon seh ich keine Wahl! Mich foltert dies Schreckensbild; ach, schon bei dem Gedanken fühl ich in den Adern erstarren mein Blut. Tragen will ich s, ich will es mutig vollenden! Mein Unglück, nicht länger ist s zu tragen, und lieber will ich erliegen den Gefahren, als ohne sie leben! Götter, leiht mir euren Schutz, ich werde gehorchen! Gluck,Christoph Willibald/Orpheus und Eurydike/ActⅡ

• michealfeng@ ウィキ - Greatest Laptop Baggage For your Business enterprise Traveler

  https://w.atwiki.jp/michealfeng/pages/19.html

  Traveling as soon as a yr for any getaway somewhere about the seaside to sip frozen beverages, and getting to go away your laptop in your house, is another thing. Nonetheless, a lot of the company vacationers who hit the street as soon as per month or when a week don t have that luxurious. With air journey limitations on baggage becoming limited, and just downright pricey, this means that the issey miyake tote company traveler ought to pick out his / her laptop bag correctly. It has to be easy to carry, suit quite not simply a laptop computer but a variety of items, and easily stow within the overhead or maybe the seat in entrance. Types and colors fluctuate determined by a regular flyer s taste, but a lot of the very best personal computer bags have particular characteristics in prevalent. Trolley sleeve A lot of regular flyers try out to stay away from examining baggage, not simply as a consequence of the cost, but thanks to the added stress and time the procedure provides to the journey. This typically results in 1 bag with clothes and essentials (frequently on wheels) and after that a "personal item" such as the laptop computer bag. The easiest way to zip via airports is for that laptop computer bag to slide on top of the wheeled bag to become ready to ride alongside. The laptop bag stays set up simply because a trolley sleeve slides quickly more than the tackle with the wheeled bag. Working through airports with Cell Edge s everyday tote laptop bag, one example is, is not hard for this reason element. Wheeled laptop computer bag Not all laptop luggage have them, but wheels surely pace up obtaining throughout the airport and can preserve a traveler s back on the identical time. A wheeled notebook bag is perfect for your day-tripper who just has to have the laptop and maybe a modify of shirt, or maybe with the commuter managing with the streets with the city. Superior Sierra s variable-wheeled dior bags sale laptop computer scenario is a digital office on wheels, featuring protection for a laptop and compartments for anything at all that somebody will need to carry to get a day s worthy of of business. The telescoping cope with retracts to ensure someone can hand carry the bag and afterwards stow it conveniently under the seat in front. Organizer pockets You ll find under no circumstances sufficient pockets for the traveler. Obtaining exterior pockets for tickets and also a h2o bottle would make for simple accessibility. A front zipper pocket with slots for small business playing cards, keys, and phone/PDA is usually a necessity. During the interior, acquiring huge compartments for several projects will continue to keep a traveler organized over the road. Skooba satchel two.0 luxe has all of this and weighs significantly less than three lbs (not surprisingly, that is right before every thing is packed into it.) Padded shoulder strap The following best thing to possessing a wheeled laptop computer situation, for the individual who is carrying a laptop computer temporary on his shoulder or donning a notebook backpack, is padded shoulder straps. With even the least amount of fat, a bag strap can dig into the shoulder otherwise properly padded. The Manhattan Portage wallstreeter laptop messenger is surely an instance of a designer laptop bag that gives a cushioned shoulder strap for any snug journey.

• mein Deutsch 勉強帳 - Passwort Deutsch 4

  https://w.atwiki.jp/garucchi/pages/4.html

  Lektion 19 - An der Nordseekueste Seite 8-9 Aufgabe -An der Nordsee Küste Seite 10-11 Aufgabe -Inseln im stürmischen Meer Seite 12-13 Aufgabe -Meer erleben Seite 14-15 Aufgabe -Seewind Aufgabe -Seewind 2 Seite 16-17 Aufgabe -Der Seeräuber Klaus Störtebeker Seite 18 Aufgabe -Ein Getränk aus Übersee Lektion 20 - Im Saarland Seite 20-21 Aufgabe -Im Saarland Seite 22-23 Aufgabe -Mladen Fanics Stuation Seite 24-25 Seite 25-6←添削してね Aufgabe -Familie Laubensteins Autounfall Aufgabe -Familie Laubensteins Autounfall 2 Seite 26-27 Aufgabe -Helmut Rivoirs Versicherungen

• 0x0b - html&xml

  https://w.atwiki.jp/0x0b/pages/75.html

  仕様 SGML(Standard Generalized Markup Language) ISO 8879 1986 JIS X 4151 1992 DSSSL(Document Style Semantics and Specification Language) DTD(Document Type Definition) DSDL(Document Schema Definition Languages) TEX HTML HTML 4.01 Specification HTML 5 XML XML1.0 XML1.1 SAX(Simple API for XML) XML-RPC XML Schema XSL(Extensible Stylesheet Language) XSLT(XSL Transformations) XPath(XML Path Language) XSL-FO(XSL Formatting Objects) XPL(XML Paper Specification) XUL(XML User Interface Language) XML Information Set, XML Infoset XML Schema TREX(Tree Regular Expressions for XML) RELAX(Regular Language description for XML) RELAX NG Namespaces in XML XML Signature XAdES(XML Advanced Electronic Signatures) XML Encryption SOAP Canonical XML XML Inclusions XQuery XPointer(XML Pointer Language) StAX(Streaming API for XML - Java SimpleXML - PHP System.Xml.XmlReader - .NET Framework JAXB(Java Architecture for XML Binding) XLink XML Media Types RFC 3023 Atom RFC4287 RFC5023 (Representational State Transfer) DocBook、RSS、MathML(Mathematical Markup Language)、ebXML、Scalable Vector Graphics (SVG)、 MusicXML VML(VoiceXML) XML Base ISO/IEC 8825-4 2002 Information technology -- ASN.1 encoding rules XML Encoding Rules (XER) ISO/IEC 8825-5 2004 Information technology -- ASN.1 encoding rules Mapping W3C XML schema definitions into ASN.1 ISO/IEC 9075-14 2006 Information technology -- Database languages -- SQL -- Part 14 XML-Related Specifications (SQL/XML) ISO 10303-28 2007 Industrial automation systems and integration -- Product data representation and exchange -- Part 28 Implementation methods XML representations of EXPRESS schemas and data, using XML schemas ISO/IEC 13250-3 2007 Information technology -- Topic Maps -- Part 3 XML syntax ISO/IEC 13522-5 1997 Information technology -- Coding of multimedia and hypermedia information -- Part 5 Support for base-level interactive applications ISO/IEC 13522-8 2001 Information technology -- Coding of multimedia and hypermedia information -- Part 8 XML notation for ISO/IEC 13522-5 ISO/IEC 18056 2007 Information technology -- Telecommunications and information exchange between systems -- XML Protocol for Computer Supported Telecommunications Applications (CSTA) Phase III ISO/IEC 19503 2005 Information technology -- XML Metadata Interchange (XMI) ISO/IEC 19776-1 2005 Information technology -- Computer graphics, image processing and environmental data representation -- Extensible 3D (X3D) encodings -- Part 1 Extensible Markup Language (XML) encoding ISO/IEC 22537 2006 Information technology -- ECMAScript for XML (E4X) specification ISO 22643 2003 Space data and information transfer systems -- Data entity dictionary specification language (DEDSL) -- XML/DTD Syntax ISO/IEC 23001-1 2006 Information technology -- MPEG systems technologies -- Part 1 Binary MPEG format for XML ISO 24531 2007 Intelligent transport systems -- System architecture, taxonomy and terminology -- Using XML in ITS standards, data registries and data dictionaries XHTML XHTML™ 1.0 The Extensible HyperText Markup Language (Second Edition) MHTML RFC2110 (旧) RFC2557 (新) MIMEタイプ Multipurpose Internet Mail Extensions (MIME) Part 1~3 RFC 2045, RFC 2046, RFC 2047 Multipurpose Internet Mail Extensions(MIME) Part Five Conformance Criteria and Examples RFC 2049 MIME Parameter Value and Encoded Word Extensions Character Sets, Languages, and Continuations RFC2231 Media Type Specifications and Registration Procedures RFC 4288 Multipurpose Internet Mail Extensions (MIME) Part Four Registration Procedures RFC 4289(旧RFC 2048) Returning Values from Forms multipart/form-data RFC2388 Internet Message Format RFC 5322 (旧RFC 822、RFC 2822) SMTP RFC5321, RFC2821, RFC821 Communicating Presentation Information in Internet Messages The Content-Disposition Header Field RFC2183 Uniform Resource Identifiers (URI) Generic Syntax RFC3986 (旧) RFC1738 Uniform Resource Locators (URL) RFC1808 Relative Uniform Resource Locators RFC2396 Uniform Resource Identifiers (URI) Generic Syntax IRI(Internationalized Resource Identifier) RFC 3987 XRI(Extensible Resource Identifier) The 'text/html' Media Type RFC2854 仕様 マークアップ言語①視覚マークアップ(暗黙) ②手続きマークアップ(明示) ③意味マークアップ 他の用途での利用 Tex SGML(Standard Generalized Markup Language) HTML(HyperText Markup Language) XML(Extensible Markup Language) XHTML(Extensible HyperText Markup Language) マークアップ言語 コンピュータ言語の一種 GML(Generalized Markup Language)から派生 文章の構造（段落など）、見栄え（フォントサイズなど）に関する指定を文章とともにテキストファイルに記述するための言語 文章に対するそれらの指定をマークアップ (markup) と呼び、マークアップを記述するための文字列をタグ (tag) と呼ぶ テキスト＋マークアップ命令 ①視覚・②手続き・③意味マークアップに分類 ①視覚マークアップ(暗黙) テキスト中の「手掛かり」から文書構造を推論 改行、スペース、行送り、中央ぞろえ等 ②手続きマークアップ(明示) ファイル中の出現順で処理系に解釈 テキストを並べ書式指定の命令（ディレクティブ）を指示 後にはそれらの効果を打ち消す命令 マクロやスタックモデルなどのより高度なシステムならば、この煩わしさは軽減される チューリング完全なプログラミング言語に相当 例：nroff, troff, TeX, Lout ③意味マークアップ 必ずしも特定の見栄えなどの処理上の意味を与えることなく、テキストの断片に印を付けていくもの 例えば、Atomシンディケーション言語には updated タイムスタンプを印すマークアップがあり、情報項目が最後にいつ更新されたのかを発行者が表明するのに使われる。 Atomの規格ではupdatedの意味するものについて論じており、そのマークアップ形式についても規定されているが、それがユーザに対してどのように表示されるのか、またそもそも表示されるべきなのかについては何の規定もない。このマークアップは処理系ごとに様々な用途に使われ、その中にはAtom言語の設計者たちが予想もしなかったものが多く含まれるだろう。SGMLとXMLは意味マークアップ言語の設計を支援するために設計された仕様（メタ言語）である。 以上は概念的な分類であって、実際にはどのシステムでも別種のマークアップが共存している。例えばHTMLでは、純粋な手続きマークアップ（ボールドのためのBなど）と純粋な意味マークアップ（BLOCKQUOTEやHREF属性など）が共存している。HTMLにはさらにPRE要素があり、視覚マークアップの領域を囲んで、テキストをタイプしたとおりに表示させることもできる。 マークアップ要素とその使用に関する規則は通例、特定の企業やコミュニティごとの様々な種類の文書に対応するため、標準化団体によって開発される。最初期の例としてはCALSがあり、アメリカ軍で技術マニュアルに利用されていた。すぐに大規模文書を管理する必要のある企業がこれに続きだし、航空機、電気通信、自動車、コンピュータハードウェアのマニュアル用のタグ群が開発された。これはこの種のマニュアルの多くが電子的に配布されるきっかけとなり、企業は1つの（意味マークアップによる）オリジナルから印刷物、オンライン、CD版などを作り出すことができた。特筆すべき例はサン・マイクロシステムズであり、ジョン・ボサック（en）がSGMLを複数媒体向けの文書配布に採用し、大幅なコスト削減を達成した。 よく知られたマークアップ言語 DocBook、MathML、SVG、Open eBook、TEI、XBRLなど 多くはテキストのためのものだが、その他の用途で使われる専門化された言語もある。 汎用マークアップとは意味マークアップの別名 現在のほとんどの意味マークアップシステムは文書を木構造に構造化する。また同時に、文書の一部分を文書内の他の箇所から参照する（クロス・リファレンス）手段を提供している。構造化によって、ソフトウェアが文書構造を（BLOBではないものとして）把握することができ、文書はデータベースとして扱うことが可能になる。リレーショナル・データベースが持っているような厳格なスキーマを持たないので、「半構造化データベース（semi-structured database）」と呼ばれる。 000年を過ぎたころから、木構造以外の文書構造に関する大きな関心が現れてきた。例えば、古代の宗教文学では文献構造（本、章、節、文）以外にも、修辞構造や散文構造が広く用いられる（ストーリー、引用章句、段落、など）。これらの文書単位は文中でたびたび交差するので、簡単には木構造のマークアップシステムでデータ化することはできない。このような構造をサポートする文書モデリングシステムにはMECS（ウィトゲンシュタインの作品を電子化するために開発された）、TEI Guidelinesの一部、LMNL、CLIX、などがある。 意味マークアップの第一の長所はその自由度だとみなされている。テキストの断片が「どのように表示されるべきか」ではなく「何であるか」と印されていたなら、その言語の設計者が予想もしていなかった便利な用途でその断片を処理する処理系が作られるかもしれない。例を挙げると、HTMLのハイパーリンクは、元々、リンクをたどる人の手で利用されるために設計されたが、WWW検索エンジンによって、インデックスするべき新しいリソースを発見するため、またウェブ上のリソースの人気を測るためにも利用されている。 意味マークアップはまた、必要になったときに文書の見栄えを変更する作業も単純化する。これは文書の見栄えと内容が密接に結びついていないからである。例えばイタリックを強調と外国語であることを示すために使うとする。ここで両方が単にイタリックと（視覚的にまたは手続き的に）マークアップされたなら、2つを選り分けることが困難になる。もし、あとから外国語をイタリックにしないと決め直したら、全てのイタリック部分を見直して、1つずつ選り分けるしか方法がない。しかし始めから、2つの場合が別のタグで（意味的に）マークアップされていたのなら、互いに干渉しあうことなく、見栄えの変更ができるようになる。 他の用途での利用 マークアップ言語のアイデアはテキスト文書に関するものとして生まれたが、ベクターグラフィックス、Webサービス、ウェブシンディケーション、セマンティック・ウェブ、ユーザーインタフェースなどの分野での利用も増えている。これらのほとんどはXMLのアプリケーションである。XMLを使用することで、複数のマークアップ言語を合成することが可能となる。例としては、XHTML+SMIL やXHTML+MathML+SVGがある。 Tex 数学書を業務品質で組むためのテキストやフォントに関する綿密なレイアウト機能を目標としている ユーザーに高いスキルを要求するため、主に学術分野で使われ、理数系の出版物・論文などではデファクトスタンダードとなっている。TeXのマクロパッケージであるLaTeXはTeX上で意味マークアップシステムを構築しており、広く用いられている。 SGML(Standard Generalized Markup Language) マークアップは文書の構造面に専念し、視覚的な表現に関しては処理系に任せるべきだ、という思想 文書にマークアップを含める構文や、どんなタグがどこで使えるのかなどを記述する構文（DTD）を規定 これによって、文書作成者は望むマークアップを、最も意図に近いものや母語で名前が付いているものなど、何でも作成し、利用することができた。それゆえ、SGMLは正しくはメタ言語であり、多くの具体的なマークアップ言語がそれから派生していった。80年代から現在に至るまで、ほとんどの新しいマークアップ言語はSGMLに基づいたものであった。TEIやDocBookなどがその例である。SGMLは1986年にISO 8879として国際標準になった。 非常に大きな規模の文書を扱う現場で広く受け入れられ、利用された。しかしながら、一般的には覚えるのが煩わしくて難しいとみなされている。これは多彩すぎる機能と高すぎる柔軟性を実現した副作用である。複雑な仕様の例として、SGMLでは終了タグ（または開始タグかその両方）が文脈によって省略可能となっているが、これは過労気味のサポートスタッフがマークアップを手動で行うような場合にキーストロークの節約が望まれている、との配慮によるものである。 World Wide Web(W3C)勧告 HTML(HyperText Markup Language) 1991年になると、SGMLが商用のデータベース用途にしか使われない傾向が強くなってきた。一方、（文書をプロプライエタリなバイナリフォーマットで保存する）WYSIWYGツールがその他の文書処理用途では受け入れられていた。 そんな折、SGMLの構文を使ってHTMLは作られた。 HTMLは他のSGMLベースのタグ言語とよく似ているが、よりシンプルなものとして誕生し、当初は形式的なDTDを持っていなかった。 DeRose はHTMLによる意味マークアップ(SGML)の使用が、ウェブに柔軟性と拡張性をもたらし、その成功の有力な要因となったと主張している(その他の要因にはURLの概念やブラウザの無料配布などがある)。現在、HTMLはおそらく世界で最もよく使われているマークアップ言語であろう。 しかしながら、HTMLがマークアップ言語であるという事実については異論を唱える研究者もいる。その異論とは、HTMLはタグの配置を制限しており、タグに他のタグ内に入れ子になることと文書のルートタグになることの両方を要求している、というものである。このため、そのような研究者たちはHTMLは階層型データモデルに従う「コンテナ言語」ではないかと述べている。 HTML4.01 SGMLに Strict、Transitional、FramesetがDTDで定義されている HTML5.0 XML(Extensible Markup Language) 対象をインターネット上の文書に特化することで、SGMLを単純化したサブセットを作ることが目的 XMLはSGMLと同じようにメタ言語である。また、（"extensible"という名のとおり）利用者が必要な要素を追加したり、名前空間を使って複合文書を作ったりして拡張することが容易にできる。 名前空間などを用いないXML文書はSGML文書でもあるため、XMLへの乗り換えはそれほど困難でなく、既存のSGMLの利用者およびソフトウェアは比較的容易にXMLに移行することができた。XMLはSGMLの多くのより複雑な機能を省いており、学習や実装を容易にしている。他の改良点には、多言語環境でのSGMLの問題点を修正したことや、スキーマがない文書でも利用を可能にしたことなどがある。 XMLはそもそも文書や出版物などの半構造データのために設計されたものである。しかしながら、その単純さと柔軟性のバランスの良さから、他の用途でも急速に受け入れられていった。例えば、アプリケーション間でデータをやりとりするために利用されたり、アプリケーションの設定ファイルの構造として利用されたりもしている。 XHTML(Extensible HyperText Markup Language) 2000年の1月から、HTMLについてのすべてのW3C勧告は、SGMLではなくXMLに基づいたものになった。Extensible Hypertext Markup Language を略してXHTMLという。（XはExの発音から。） HTMLとXHTMLとの違いで顕著なものの1つ 「すべてのタグは閉じなければならない」 br のような「空の」HTMLタグは「閉じる」必要がある。XHTML 1.0勧告内のAppendixにあるHTML Compatibility Guidelines[5]では、 br / のように要素名の後に空白文字と斜線を入れて閉じる形を推奨している。 他に開始タグ内の属性値はすべて引用符 で囲わなければならないという点がある。 また、HTMLとは異なり、大文字と小文字は厳密に区別される。

• Vocaloid English & Romaji Lyrics @wiki - トルエン Toluene (Toruen)

  https://w.atwiki.jp/vocaloidenglishlyric/pages/1196.html

  【Tags Luka Owata-P tT T】 Original Music title トルエン English music title Toluene Romaji music title Toruen Music Lyrics written, Voice edited by オワタP (Owata-P) Music arranged by オワタP (Owata-P) Singer 巡音ルカ (Megurine Luka) This song is included in "Benzene" series. Click here for the original Japanese Lyrics English Lyrics (translated by animeyay)： [It's a tale of inhuman things driven mad by jealousy--. Welcome to the beginning of that. That which is born out of feigned sympathy--self-righteousness. That which arises out of envy--the feeling of jealousy.] [Toluene--methylbenzene, is an organic compound classified as an aromatic hydrocarbon. Its chemical formula is C6H5CH3, where a benzene has one of its hydrogen atoms replaced by a methyl group. Under room temperature, it is volatile and inflammable, so it's classified as a "Class 4, 1st kerosene" hazardous material (in Japan). Under the Japanese Poison Control Law, it's considered a hazardous substance.] [Since it is a type of poison, it's something that's originally not needed at all. That is, they will only keep losing everything they have-- their "self", others, and even their most precious self-respect-- They're nothing more than objects of people's ridicules. Recognized by no one, they make themselves slowly disintegrate--.] [Their "self", saturated with feigned sympathy and pretentious logics and ethics, only through condemning others...] Toluene. [A spontaneous destruction of their originally non-existent identity. C7H8] Toluene. [They have never had a true "self". They were not humans, but merely creatures called "Homo sapiens". ] Toluene. [They're neither recognized nor able to become aware of themselves. In the end, there's nothing left for them--.] Toluene. Toluene. Toluene. [Everything is just bluff. Life is filled with nothing but utter defeats.] ***** ***** ***** ***** ***** ***** ***** *** Toluene. [They're imposters after all. They are creatures who know nothing of true wrath or hatred. The source of their identity is jealousy--] Toluene. [They feel self-satisfied looking at those below, and feel revolted looking at those above.] Toluene. [Within the society of anonymity, they are beat up in stark nakedness. The first cue that will cause a mass society to degenerate is jealousy. Those who are involved are unaware of their involvement. They are creatures who will destroy not only themselves, but also everything else.] Toluene. [Eventually, they lose the essence and reality-- they can do nothing more than looking despising others...] Toluene. [They can merely keep despising others... They can merely keep nitpicking others...] Toluene. [Their selves and the world are painted over and consolidated with lies. The truth..., just where might it be...? Perhaps even truth itself has become nothing more than poison.] Does this song have a meaning? The meaning to this verse... Does this song have a meaning? The meaning to this verse... does exist. ***** ***** [They conduct themselves based on their vanity and selfishness.] ***** ***** [On the inside, do they already know it's evil to do so?] ***** ***** [It's a way for them merely to hide their own weakness--] ***** ***** [They are creatures filled with jealousy instead of earnest anger.] ***** ***** [Do they intend to remain trapped in the cycle of hypocrisy and jealousy?] ***** ***** [What must they do to break out of it?] ***** ***** [What is right?] ***** ***** [In a world filled with vanity, jealousy, grudge, and self-interest...] [Are they going to break down without ever understanding anything?] Romaji lyrics (transliterated by animeyay)： [netami kurutta hito narazaru mono no monogatari--. sono hajimari e, youkoso. gizen ni yoru mono--dokuzen senbou yori kuru mono--shittoshin] [toruen--mechirubenzen houkouzoku tanka-suiso ni zoku suru yuuki kagoubutsu shiseishiki C6H5CH3 benzen no suiso genshi hitotsu o mechiru-ki de chikan jouon de kihatusei ga aru, inkasei o yuu suru kikenbutsu daishirui daiichi sekiyurui dokubutsu oyobi gekibutsu torishimarihou ni yori gekibutsu ni shitei] [ikitsuku saki wa dokugekibutsu honrai wa hitsuyou to sarenai mono sunawachi, subete o ushinatte iku dake na no da. yagate, jiga mo, hito mo, ichiban daiji na jisonshin sura mo-- choushou no taishou de shika nai. dare ni mo mitomerarezu, mizukara o houkai sasete iku--.] [gizen ni michita jiga kyozou darake no ronri hoka o otoshimeru koto de] toruen [mizukara no houkai moto yori nai, aidentiti C7H8] toruen [hontou no jiga nado, nakatta no da. hito de wa naku, hito to iu mono de shika nakatta. ] toruen [mitomerarezu, jikaku dekizu. saigo ni wa, nani mo nokoranai--.] toruen toruen toruen [subete wa kyosei shougai, haiboku o tsuzukeru no mi.] ***** ***** ***** ***** ***** ***** ***** *** toruen [shosen wa nisemono hontou no ikari, urami o shiranai monotachi. aidentiti no gensen wa, netami--] toruen [shita ni mieru mono o mite etsu ni hairu shita ni mieru mono o mite hankan o idaku] toruen [tokumei shakai ni oite wa mukidashi no mama butsukerareru taishuu shakai ga taihai shite iku saisho no kikkake wa netami toujisha-domo wa, mujikaku na no de aru] jiko dake de naku, subete o houkai saseru dake no mono] toruen [yagate, honshitsu o miushinatte iku-- hoka o mikudasu koto de shika...] toruen [hoka o otoshimeru koto de shika... hoka no ara o sagasu koto de shika...] toruen [uso de nurikatamerareta jibun, sekai. shinjitsu wa..., doko na no ka...? mohaya sono sonzai wa, doku de shika nai no da.] kono uta ni imi wa aru no? kono uta ni imi wa... kono uta ni imi wa aru no? kono uta ni imi wa... aru yo ***** ***** [kyoeishin ya rikoshin nado kara okonawareru] ***** ***** [naimenteki ni aku de aru to shitte iru no ka?] ***** ***** [mizukara no yowasa o kakusu tame dake no shudan--] ***** ***** [sei naru ikari de wa naku, netami yori wakiagaru mono de shika nai.] ***** ***** [gizen to shitto to iu rinne o meguritsuzukeru no ka?] ***** ***** [dou sureba nukedaseru no ka?] ***** ***** [nani ga tadashii no ka?] ***** ***** [kyoei to shitto to shien to shiyoku ni afureta sekai de...] [nani mo wakaranai mama, kowareru dake na no ka?] [Owata-P, OwataP, Garuna]