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https://w.atwiki.jp/warband/pages/485.html
ip_0.wenzitihuan|00.Translation work ip_0.wenzitihuan_text|The translation work is not good enough, and there still remain lots of text in companions’ stories and heroes’ stories in mind reading mission. We need more time to do this, and will try our best. If you can give any help, please connect me in MODDB/Nexusmods or workshop in Steam. ip_1.xiangxing|01. Nature system ip_1.xiangxing_text|Except for character, each hero has its own belief, which refers to its nature. According to description in “the Water Margin”, all hero’s nature can be divided into three kinds, i.e. loyalty, chivalry and bravery. In this game, nature has an influence to determine the possibility to recruit some particular hero in tavern. Besides, it also has an influence on interactions with lords, such as sending gifts, donating, blacksmithing, recruiting, converting and award for tasks. Same nature will provide an enhancement on the effect of these interaction. ip_2.zhiye|02. Career system ip_2.zhiye_text|Every hero has 1 or 2 careers, you can check it out in report or the character page. Every career will effect in battle while the hero is “on fire”, except Fisher and Taoist. Heroes can get career EXP by “on fire” status or working on the right center buildings. The higher REQ attribute the hero has, the more chance or effect will be. There are 15 careers total, here’s the list ^[Merchant] EFF get money, BUD Market, REQ INT ^[Farmer] EFF get food, increase prosperity, BUD Farm, REQ CHA ^[Warrior] EFF stop enemies (blue sign), BUD Camp, REQ STR ^[Artisan] EFF refill allies’ ammo and shield (player need press H), BUD Workshop, REQ INT ^ [Herder] EFF heal ally horses HP (player need press H), BUD Stable, REQ AGL ^[Titan] EFF reduce enemies morale and get chaos(green sign), BUD Training, REQ STR ^[Actor] EFF increase ally morale and make some ally heroes get excited too, BUD Downtown, REQ CHA ^ [Academic] EFF make enemies surrender, BUD College, REQ INT ^[Barkeeper] EFF make enemies or hero get drunk, 100% chance to capture (except bandit hero), BUD Tavern, REQ CHA ^ [Fisher] EFF make enemy heroes dead together while he's dying, BUD Fishery, REQ AGL^ [Thief] EFF invisible and steal enemies' equipment, BUD None, REQ AGL ^ [Doctor] EFF heal allies, BUD None, REQ INT ^ [Playboy] EFF make female enemies become allies(heart sign, 100% chance for enemy beauty), make female ally stronger, BUD None, REQ CHA ^ [Beauty] EFF make male enemies become allies(100% chance for enemy playboy) BUD None, REQ CHA ^ [Taoist] EFF enemies around him will take damage by percent per few second(red aura), but when he get excited, the aura will disappear, BUD None, REQ INT.^^Player can get one of first 9 career in the beginning, and then can learn the second from Han Bolong in Dong Jing tavern. ip_3.jianzhu|03. Building system ip_3.jianzhu_text|Each settlement has its own buildings. A city can have 10 buildings, and castle or fortress can have 7 buildings. These buildings can provide resources for the settlement. With your management and heroes’ work, these building can develop its scale. Buildings in bigger scale can provide more resource, and a more capable hero can make a larger increment on the building’s scale. ^If you are a governor of village, you may have the right to develop some building in the city which your village is subordinate to. If you have a city, a castle or fortress, you may appoint a hero in your team to work in it. If you are a king or field marshal, you may appoint governors of all cities as you please. Heroes will choose a suitable working post by themselves. Heroes’ profession and properties will make a special effect on buildings. Detail information can be found in building menu. ip_4.chengchi|04. New attributes for settlement ip_4.chengchi_text|Buildings have varied effects on attributes of settlements. Here the attributes are listed. ^Money financial income is used for recruiting soldiers, salary of lords, army equipment and so on. Food Food is consumed by soldiers daily, insufficient food supply will cause morale decline, casualties and fleeing. ^Population widely affects the attributes increments of settlement. Prosperity affects money income and population increasing. ^Equipment requirement for recruiting advanced soldiers. The higher rank is, the more equipment will be need. ^Horse requirement for recruiting cavalry. Each cavalry will consume 1 horse. ^Reserve force point requirement for recruiting advanced soldiers. Each training will consume 1 point. ^As Mount Blade Warband has already established a complete economy system, setting values for new parameters for this mode may take a long-term testing. In order to preserve the balance, most of new properties and attributes are set as a positive-related bonus, which means a high value will make a significant help, but low value may cause little negative effect. After evaluating the effect in this edition, the negative effect may be enhanced. ip_5.teji|05. Star skill ip_5.teji_text|The 108 heroes have their own star skills, you can check it out in their character info page. 5 kings and 100 vassals in Han, Liangshan, Zhao, Sha, Shu, plus 3 girls in companions which was Gu Dasao, Sun Erniang, Hu Sanniang are 108 heroes in the novel. ip_6.dantiao|06. Duel System ip_6.dantiao_text|If the strongest troop in enemy party are stronger than your party, they will call for a duel in the beginning of the battle. If not, player can also call for a duel. When the hero win the duel, he will get “on fire”, increase str and agl by temp, and the morale of his party will get higher. If the hero lose, his soldier in his party will get chaos or surrender. ip_7.gaoang|07. On Fire ip_7.gaoang_text|When a hero win the duel, or kill enough enemies, or was encouraged by an actor, he will get an “on fire” status. On this status, he will get a temp increase of attribute, recover hp. His career skill will effect and will speak his own dialog. ip_8.zhanchang|08. Sign in the battle ip_8.zhanchang_text|Chaos green sign;^ Immobilize blue sign;^ Fall in love Flower sign; ^ Taoist skill Red aura. ^ The higher leadership skill the leader was, the longer the status last. ip_9.shenqi|09. Legendary Item ip_9.shenqi_text|There’s purple color text in Legendary Item, and hero will get buff when equipped it.^ Player can get legendary item after battle by chance, or on duel to loot, or in some secret chest, or in the mission, or by some NPC.^ The stronger enemy is, the more chance you will get the unique loot. In addition, looting skill of main party also effect the chance.^ If player has not get unique loot for a long time, the chance will grow up slowly. ip_10.chenghao|10. Title system ip_10.chenghao_text|If you insist on doing something, you will get the corresponding title. These titles will help you do this better. ^ Players can view the title in the report menu, or quest pages. ip_11.huweidui|11. Guard party "ip_11.huweidui_text|If vassal has town or castle, he will recruit guard parties. Player can get guard party from mayor if joined a faction. Guard parties will demobilize the prisoners for money, and get new troops. The higher official player has, the more soldier the guard party can take. " ip_12.teshubingzhong|12. Special unit ip_12.teshubingzhong_text|Every contry has their own special unit. Player can not capture them by battle. Just talk to mayor of your faction, he will tell you what you need to train. ip_13.guanzhi|13. Official system ip_13.guanzhi_text|Players can gain merits when they join the country, and enough contribution can increase their official positions. ^Improve the official position to obtain attributes, increase the upper limit of the troops, issue squats, obtain special equipment for the country, and so on. ^ Players can be divided into official positions after independence, and different official positions have different effects. ip_14.waijiao|14. Diplomatic system ip_14.waijiao_text|When the player joins other faction, he can advise the king's diplomacy. ^ After the player independence, he can find an official or prime minister to carry out a series of diplomatic functions. ^After the player independence, he can deliver military orders to the subordinates in the camp menu. ip_15.qita|15. Other system ip_15.qita_text|There are so many functions and systems are from 108 Heroes in classic M B, so I don’t introduce them in the Warband M B info pages. You can just play and find it. If you have any questions, leave the message in NexusMODs/moddb/steam. Have Fun! ip_16.kuaijiejian|16. Hot keys ip_16.kuaijiejian_text|[M] on the battle Open/close the mini map;^[T] on the battle Show the morale and killing rank;^[H] on the battle career skill (Artisan/ Herder/Doctor);^[Y] on the map speed on (if Dai Zong is in your party);^[U] on the map hiding (if Shi Qian is in your party);^^If your own faction has enough vassals in Shu, when you on the battle [U] to start formation, [J] formation forward, [N] cancel the formation ip_17.shenqichengzhang|17. Suffix of legendary weapons ip_17.shenqichengzhang_text|Every legendary weapon has random suffix, which was Metal, Wood, Water, Fire, Earth. Every legendary weapon can get EXP by killing. The weapon has random max level, the most max level is 4, which needs 700 exp.^The first feature of legendary weapon is decide by the suffix, it should get 25 exp to unlock it. There also are two kinds of legendary weapon, one is only suitable for Taoist career, and another is not.^The 2-4 feature is random, which need 100/300/700 to unlock. And the value is depend on the color of the feature, which was green-blue-gold-orange.^^Warning Due to M B engine restrictions, you’d better DO NOT equip a same kind of item in one troop. For example, if player equip “Moon sword[Metal]” and “Moon sword[Wood]” at the same time, the “Moon sword[Wood]” won’t get any exp, and the skill of the feature won’t effect. ip_18.jingjichang|18. Tournament ip_18.jingjichang_text|Player can get special reward by join tourament for few times. ip_19.haohanchenghao|19. Titles of Heroes ip_19.haohanchenghao_text|In addition to the players, the hero can also get the corresponding title through different ways. After winning the title, there will be certain effects and random attributes and skill rewards. ^The hero can gain military strength by killing the enemy, and the value of the military power can be increased to obtain a random attribute reward. Military strength values can be viewed after the war and in the quest pages. ip_20.junzhixitong|20.Military system ip_20.junzhixitong_text|You can find Military Appointment menu in the camp or before battle.^[Commander] Player controlled character. When you learned mind reading and it’s not on CD, you can click the button to change commander before battle. The Leadership Level of player can increase whole party’s attribute, which have 10% effect. If there’s no leader in one class, the effect is 25%.^[Advisor] Party can use advisor skill on the battle. This function is unavailable in this version.^[Leader] Increase ATK/DEF of the class, take 50% effect.^[Attacker] Increase ATK of the class, take 20% effect.^[Defender] Increase DEF of the class, take 20% effect.^Besides, the relation of Leader/attacker/defender can also buff the class, take 20% effect. If they have same native, they will get more relation addition after battle. You can move your mouse to the number to check the percent. ^Leadership Level There are 5 level of leadership D, C, B, A, S. Each level also contain 3 level, which like C-, C, C+. There are two way when hero reach to A, power up ATK or DEF, like A+[A], or A-[D]. There are three way when hero reach to S, increase or decrease damage from cavalry /infantry /archers. Like S-[A]CAV, means leadership is S-, more ATK, and take extra damage to cavalry.^Heroes will get more leadership EXP if the soldier in his class kill more troops. The higher level troop is, the more EXP heroes will get. You can click the “Leadership Level” text to switch it to “Leadership EXP”. When the heroes in your party can level up to A or S, you should level it up manual and choose the direction. ip_21.bingzhongshixing|21. Leadership Level ip_21.bingzhongshixing_text|- Leadership level is effect not only player’s main party, but also every party. ^- If the troop equipped ranged weapons, he is the archers class. Other troops who have horses, are cavalry class, The rest are the infantry class.^- Every special unit has extra buff, such as Xu Ning Gold Lancers, which will inflict extra damage to cavalry.^- The default name of team “infantry/cavalry/archers” is just a name, not class. If you put a horseman in this team, he will get cavalry buff from leader/attacker/defender, not infantry buff.^- Troops in center or guard party will also get buff from his lord or leader.^- Heroes will also get the buff.^- Heroes only get 1/2 leadership EXP than soldiers by killing.^- The higher leadership skill the hero is, the more quickly leadership exp he get. ip_22.zhanqianbuzhen|22. Battle settings ip_22.zhanqianbuzhen_text|You can find Battle Setting menu in the camp or before battle. Make sure you set the leader of the team first.^ [Team Setting] Change the team order. ^[Formation Order] Click the team name to change the position, click the apply check to enable the form. ^[Grounp Leaders] Click the leader name on the right to switch the team. ip_23.duxinshuqianghua|23. Mind Reading power up ip_23.duxinshuqianghua_text|When you have been defeated on the battle, it will not come to an end. You can continue watching or quit.^ Press [Tab] key to quit the battle; Press [Space] key to change watching mode;^ Click [mouse left/right] button to switch heroes;^ Press [WASD] key to rotate camera; Press [Direction] key to move camera;^ Press [Enter] key to choose hero; Press [Left Ctrl] key to close the tip message.^Tips you can only control hero after you learned the mind reading, and you can only control the heroes in your party. ip_24.shenqiqianghua|24. Refine stones ip_24.shenqiqianghua_text|Refine stones unlock the higher exp level, the max level is 4, which is 700 exp.^Power up stones upgrade your legendary weapons' first feature by using power up stone, you should get at least 25 exp to unlock the feature. you can not upgrade the feature which was already orange color.^Reroll stones reroll your legendary weapon’s 2-4 random feature by using reroll stone, you should upgrade it to max level first, after my work finished, it will lose a few exp. Please put the weapon into first 3 inventory slots.^Owner stones set your legendary weapon’s owner by using owner stone, you should upgrade it to max level first. One kind of weapon can only set owner by 3 heroes at most, and one hero can only set 2 owner special item at most. Please put the weapon into first 3 inventory slots.^Besides Tang Long, Hou Jian and Huangfu Duan can also set armor or horses’ owner.^You can check your stones in collection page. ip_25.quanguowudaodahui|25. Tournament of China ip_25.quanguowudaodahui_text|You can join Tournament of China every month, it’s a 5v5 game, and if you win 3 of 5, you win.^- You can join the game if you joined a faction, or your party has more than 4 companions, or your own kingdom has more than 4 vassals.^- There are 3 fights Quarterfinals, Semifinals, and Finals. ^- The rule is as same as duel on the battle, ammo is only 10, star skill and Taoist skill will enable. Time limit is 90s, when time’s up, the hero who has more percent hp will win.^- Player can control hero by mind reading.^- If you win the finals, you will get lots of reward, and have chance to get extra reward from host.^- You can pay for a spy to watch opponent setting.^- You can also play the mode in main menu “Super Smash Mod” ip_26.zhiyexitong2|26. Extra career ip_26.zhiyexitong2_text|Player can get one of first 9 career in the beginning, and then can learn the second from Han Bolong in Dong Jing tavern.^- You should learned Mind Reading before you talk to Han Bolong.^- You can learned extra career if your career have been level 3, and there’s a hero who has level 4 career in your party. It will spend a whole day to learn it.
https://w.atwiki.jp/oper/pages/619.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 (アデライーデはマンドリカのエスコートを受けながら、後ろの階段を登っていく。舞台右手から出てきたテーブルの上には豪華な冷菜が置かれ、次から次へと置かれていく。 アラベラはドミニクにエスコートされながら、後方の舞踏会の広間から登場する。二人は向きを変えて舞台左手へと歩いて行く) ARABELLA さあ、これで、さよならね。ドミニクさん。 DOMINIK さよなら?もう帰宅されるのですか? ARABELLA (落ち着いて、快活に) これが私たちの最後のダンスだったのです。 いずれまたお会いすることもあるかも知れない。 ですが、ただ若い頃の知り合いとしてですわ。 DOMINIK アラベラ! (彼女の腕をつかんで) ARABELLA (するっと身をかわして) だめよ。ドミニク! 子供時代は別として、あなたは、 私を好きと言ってくれた 最初の男の人でしたね。私ほんとうに嬉しかったわ。 でも、私はあなたにふさわしい人ではなく、 残念ながら、あなたも私にふさわしい方ではなかった。 何もおっしゃらないで。ドミニク。エレメルが来ますわ。 さよなら! (エレメルにうなずきかける。ドミニクはゆっくりと去っていく) ELEMER (舞踏会の広間からやって来て、アラベラに近寄る) 今日ほど美しいあなたを見たことがない! 何かあったんだね! ARABELLA そうよ。エレメル。あったわ! ですから、今、私はあなたに手を差し出し、 さよならを告げるの。ありがとう、エレメル・・・ いくつも素敵な時があったわね・・・ ELEMER ベッラ。あったのだし、これからもあるのだよ! ARABELLA 手を握ったままにしないで。 すぐに私の指の力を感じて。 もう二度と会わなくとも、 良いお友達のままでいましょうね! ELEMER (怒って) あなたは、あのよそ者に恋したのですね。 あのヴァラキア人だか何だかに! ARABELLA 恋・・・それ以上のことですわ・・・ (エレメルはののしり始める) ARABELLA (穏やかに) この最後の時を台無しにしないで! さあ、ラモラルが来たわ。 私との最後のダンスの時を待っている! (ラモラルが舞踏会の広間から階段を登って登場する。舞台右手のテーブルクロスは取り払われている) ELEMER (アラベラにぴたっと体を寄せて) ぼくの妻になってください! いったい誰がぼくの邪魔をできるでしょう! ARABELLA 残念ですが私には別の幸せが定められているの。 (エレメルをその場に残し、ラモラルの方へと向かう。エレメルは左手から退場) LAMORAL ああ、アラベラ!舞踏会に、あなたほど美しい方はいません! ARABELLA (半ば自分に言い聞かせるように) そうよ。恋とは甘いもの。このくっついたり離れたりはね。 でも、それよりも千倍美しいものがあるわ! いつかあなたもきっとわかるわ。ひょっとしたらね・・・ LAMORAL 私に縁の遠い話などしないでください・・・ ARABELLA (真剣に) あなたにはまだ縁がない話ね。その通りね。 LAMORAL 不安になります。様子が違いますね、アラベラ! ぼくからあなたを奪ったのは誰なのです! ARABELLA 奪った?行ってちょうだい、おばかさんね! でも、最初で最後のキスを あなたにしてあげるわ。 (ラモラルに身をかがめ、素早く、額に軽くキスする。二人は舞台左手にいて、ややカーテンの陰に隠れている) LAMORAL (顔を輝かせて) この素晴らしいキスは、どなたから? ARABELLA (すぐラモラルから身を離して、舞台中央に進んで行く) 今日幸せを得た女の子からよ。 この子は、幸せすぎて一人でいなきゃならない。 自分の部屋で一人っきりになり、 幸せのあまり、長い時間、眠れもせず横になっているの! (口調を変えて) でも、もう一度だけワルツを踊りましょう。そしたら、おいとまするわ・・・もう二度と会うこともないでしょう! (ラモラルと舞踏会の広間に降りて行く。マッテオが舞台右手から出て来て、テーブルクロスの脇を通り過ぎる。ズデンカは左手から登場し、不安そうな様子で、人目につかない所からマッテオの様子を眺めている) MATTEO (独り言で) もう終わろう!終わりにし、けりをつけよう! さもなくば、ぼくは臆病者だ! ZDENKA ああ!なんて顔だ!恐ろしいほどの覚悟! (ズデンカの手招きに応じて、マッテオがやって来る。マンドリカはギャラリーから階段を下り、舞台を横切って、テーブルクロスのかかったテーブルへと進み、ヴェルコから報告を受けている) ZDENKA (とても不安そうに) またこんなになってしまって・・・?またこんな? MATTEO 胸の嵐に押しつぶされそうだ! ZDENKA お姉さんの想いは君にある!他の誰でもない! (マッテオは苦笑いする) ZDENKA うそだと思う? ぼくにこの手紙をくれたんだよ! これさ! (背広の胸ポケットに手を突っ込む) MATTEO (後じさりして舞台中央に出る) 受け取れない! それは、ぼくを終わらせてしまう! そう感じるんだ! (ズデンカは手紙を手にしたまま、逃げるマッテオを追う。マンドリカはそれに気付く。ヤンケルは、花束の山を運ぶ人々と一緒に、舞台右手から入ってくる。ズデンカはマッテオを舞台中央まで追いかけて行く) MATTEO 持ち去ってくれ!きっと、ぼくは終わってしまう! ZDENKA 受け取らねば!世界が変わるはずさ! それをこそ感じるんだ! MATTEO (手紙をつかむ) 鍵じゃないか? ZDENKA 受け取って!受け取ってよ! MATTEO (手紙の封を引きちぎって) 手紙はない!鍵だけ? 何かの冗談かい?ズデンコ、どうなんだ! ZDENKA (顔を真っ青にして、気を失いそうになりながら) お姉さんの鍵さ! MATTEO ああ、あの人の鍵だって? ZDENKA (ほとんど抑揚をつけずに) 部屋のさ。気をつけて。しまうんだ。 MATTEO 鍵だって・・・?気が狂いそうだ! ここは舞踏会かい?君はズデンコか? 下で踊っているのは、君の姉さんかい? 鍵とは・・・? ZDENKA お姉さんの部屋のさ。 MATTEO アラベラの部屋への鍵! (鍵を目の前にかかげる) MANDRYKA (体をびくっと震わせ) 俺の聴き違いか!? (ヤンケルが近づいてくるが、マンドリカは去るように合図し、2人の方へと近づいて行く) ZDENKA (赤くなったり青くなったりし、恥ずかしさを乗り越えようとしながら) 君は家に帰るんだ・・・お姉さんは15分もすればやって来るよ。 その鍵はお姉さんの部屋の隣室を開けるんだ。音も立てずに、お姉さんは君のもとにやって来る。マッテオ。君が今晩幸せになるためなら、お姉さんは何でもしてあげるつもりなんだよ! MATTEO 誓ってくれ、本当だね! アラベラの部屋の鍵なんだね! ZDENKA 君の手にあるじゃないか!まさに、その鍵を、 お姉さんは君に渡し、君の幸せのためなら、 何でもしてあげるつもりなんだ! もう行かなきゃ!人に見られちゃまずい! (舞台左手へと走って退場) MATTEO (独り言で) 乙女心の神秘・・・何ともきわめがたい! (急ぎ左手へと退場) MANDRYKA (一種固まった状態から突然目覚めたように) 待て!そこのお前、だれなんだ! ヴェルコ!走れ!あの男を取り押さえろ! 俺の前に引きずり出せ!あの鍵と一緒にな! (ドミニクとアデライーデは舞台左手から前のほうにやって来る) WELKO (自分の主人が誰をつかまえろと言っているのか分からず) 誰をですか?大侯さま?どの男です? こやつですか? (ドミニクを指差す) (ドミニクとアデライーデは舞台左手のソファーに腰を下ろしている) MANDRYKA (独り言で) もしや、ここには大勢アラベラという名の女がいるのか・・・ 俺の呪わしい猟師の耳が、 馬鹿で頑固な脳みそを欺いたのか・・・ だが、見知らぬ奴の笑い物になってるんじゃあるまいな? 部屋の鍵を贈るだと? 自分自身は、この舞踏会の広間で 踊っているというのに? (時計を見る) 時間はまだ残っているというのか・・・ 俺が、あの人に許した時間は・・・。 だが、それこそ間抜けな阿呆じゃないか? (ヴェルコに) もうよそう!食事の用意を続けるんだ! (せわしなく行ったり来たりする) 音楽は美しい・・・鍵のことじゃない。 ヴァイオリンが聴こえる・・・呪わしい鍵じゃない。 きっともうすぐ、あの人がここに来る。 私の目の前に。そうしたら、花を撒き散らして、 私の代わりに、花にあの人の足にキスさせるのだ。 ああ!今この瞬間も、あの人は踊り、 少女時代に別れを告げているんだ! DOMINIK ああ、なんと魅力的な女性でしょう! 昔は娘さんより美しかったでしょうに! ぼくのメランコリックな気持ちを癒す術もご存知のはずですよ。 ADELAIDE ドミニク!だめよ! あとで、二人っきりになったらね。 あの子がいなくなってからよ。 MANDRYKA (怒りに燃えて眺めながら) なぜ大勢こっちに来るのに、あの人はいないんだ? なぜ、いまいましい鍵の音ばかりガチャガチャ聞こえるんだ? DIE FIAKER-MILLI (エレメルの腕にもたれて、マンドリカに近づく。それ以外のカップル達も立っている) あなた様、改めて、お願い申し上げますわ。 舞踏会の女王をお返しくださいませ! MANDRYKA (激怒して、独り言で) この女、何を言うんだ?俺に、あの人を返せだと? 俺が閉じ込めたわけじゃない。 俺は鍵を持っていない。鍵は封筒の中さ。 (肘掛椅子を引っつかむと、背もたれがパキンと折れる。ヴェルコがシャンパンを差し出す) MANDRYKA (気持ちを抑えながら) お許しいただきたく存じます・・・ どなたさまもご同様に。お知り合いも見知らぬ方も! ELEMER だが、この素敵な時間を、アラベラ伯爵令嬢なしで 過ごしたくないものだな! MILLI どこに行けば会えるか、ご存知のくせに。 MANDRYKA (自分の首をつかんで、ネクタイをゆるめる) ご存知のくせにだと?鍵だ!ヴェルコ!探せ! 広間にお嬢様がいないか探すんだ! この広いウィーンで見つけたんだ。 こんなダンス小屋で見つけるのは、雑作もなかろう! (ヴェルコは走り去る) MANDRYKA (後ろから、太い声で呼びかける) ここに来てもらうよう頼むのだ!そのお気持がおありになるのなら!(続いて、エレメルの腕から離れていたミッリに) こんなに甘ったるい口には、さぞ甘い飲み物が必要でしょう! (ミッリにシャンパンのグラスを差し出す。ミッリはヨーデルで答える) JANKEL (小さな手紙をトレイにのせて持ってくる) 閣下へのお言伝ての手紙でございます。 MANDRYKA 鍵が中に入っていそうか? JANKEL はっ?鍵ですと? MANDRYKA (あわてて手紙をつかむが、なおも開けるのをためらう) おお、神様!なぜ、あの顔は、私の心をこんなにも 激しい力でとらえるようになったのでしょう! 恐ろしくてならない・・・ (舞台の脇に行って、封を切って中を読む。怒りに燃えながら文面を二度繰り返し読む) 「本日は、お休みを申し上げます。 お家に帰ります。 明日から私はあなたのもの」 小文字のaだけ!サインもない! 名前がないとは!こんなお人よし、 すぐだまされる男には、そんなものは要らないってのか! (苦い思いのあまり、わざと陽気に) 少女時代に別れを告げにゃならんのだとよ・・・ それには、あんなに細やかに気を使っていたのに、 サインには、気をつかう時間もないってのか! (無理して厚かましいぐらい陽気になり、再び人々の所に戻り、手で合図しながら) さあ、花をばらまけ!シャンパンだ! 左右の方々に注いで回れ。全員テーブルの下にぶっ倒れるまで・・・伯爵だろうが、御者だろうが、御者夫人だろうが、おかまいなしだ!今日は一切合財全部、 この俺の勘定だ! (給仕たちは散らばっていき、シャンペンを注いで回る) きれいなミッリよ、俺が何か歌ってやろうか? (彼女を引き寄せて) 俺も気持ち良くなるってもんだ! (ミッリは、言葉ではなく、やさしいヨーデルの歌声でそれに答える) MANDRYKA (自嘲と怒りの涙にまみれて) 森を歩いていたが、 どの森かも分からない。 少女と出会ったが、 誰の娘か分かったもんじゃない! その足をふんずけたが、 誰の足だかわかったもんじゃない。 大きな声で叫び出したが、 なぜなのかも分からんのだ。 恋とはどういうことか気がついた 男の姿を見るがいい! (ミッリはヨーデルのリフレインを繰り返す。マンドリカは彼女をソファーに座らせる。アデライーデはドミニクから離れて立ちあがる) DIE FIAKER-MILLI 恋とはどういうことか気がついた 男の姿を見るがいい! MANDRYKA あの男にお似合いなのは・・・ ワインを樽ごと飲むことよ。 ワインをしこたま飲むがいいわ。 でもグラスなど必要ない。 重たい樽から飲めばいいわ! もっと賢くなるまで、苦しむがいいわ! (ミッリはリフレインを繰り返す) あの男にお似合いなのは・・・ 女の子をあてがうことよ。 私をあげてよ。 でもベッドなんかあげなくていい。 (怒り狂って) あんな奴は、地べたに寝りゃいいのよ。 もっと賢くなるまで、苦しむがいいわ! (ミッリを手放すと、やにわに立ちあがる。ミッリはリフレインを繰り返す) DIE FIAKER-MILLI もっと賢くなるまで、苦しむがいいわ! MANDRYKA (ますます怒って、独り言で) 今日は家に帰ったのだ。鍵の男のところへ・・・ そして明日からは俺のものだと! ミッリ、花束をくれ! (彼女にキスをする) このウィーンでは、伯爵令嬢の部屋の 鍵の値段はいくらなんだ? ADELAIDE (いきなりマンドリカの前に現れて) マンドリカさん!娘はどこなの? MANDRYKA (ミッリを腕に抱いて立ったままで) 知るものですか!私には教えて下さいませんでしたから。もっとモエ・シャンドンをどうです? さあ!伯爵令嬢の母上にお注ぎするのだ! ADELAIDE (興奮して舞台右手に駆けて行く) あの人はどこ?あの人を呼ぶのよ! (ドミニクはあわてて舞台右手に行き、ヴァルトナーを探しに行く) ADELAIDE (マンドリカの所に戻り) 本当のことを言って!アラベラはどこ? MANDRYKA (粗野に) こちらがお聞きしたいところですよ、伯爵令嬢のお母上! (ヴァルトナーがドミニクと一緒に舞台右手に現れる。その後ろには、ギャンブル仲間の3人の男達) ADELAIDE ああ、テオドール! あなたの妻と娘を守って! WALDNER 何があったんだ?マンドリカ、何という振舞いだ? このわしの妻の前で! MANDRYKA お聴きの通りですよ! 田舎くさい間抜け男から脱皮して、ウィーンの伯爵然と 振舞うための修行中です! ここにおかけなさい。女もいますし、シャンパンもある。 さあどうぞ、ご自由に! WALDNER (前に詰め寄って) わしの娘はどこだ? MANDRYKA 残念ですが何も言うべきことはありません! 伯爵令嬢は、いつも楽しい時に、 どこかに隠れてしまうくせがあるようですな。 WALDNER (怒り狂ってアデライーデに) あの子はどこだ?どこにいるか教えろ! ADELAIDE 家ですわ。 WALDNER 知ってたのか?どういうことだ? ADELAIDE 思いつきよ!急にブルーな気持ちになったのよ! ただの気まぐれ!知ってるでしょ、あの子の性格。 WALDNER 本当に家にいるんだな? ADELAIDE テオドール! あなたの大切な妻と娘のことよ! WALDNER ならいい。わしらも家に行こう。すぐにだ。 お前は部屋をノックして、あの子の具合を教えてくれればいいんだ。そうすれば、全て丸くおさまる。 (怒りながら) あと2つほど、あなたと話したいことがある・・・ ですから、一緒に来ていただけますな。 MANDRYKA それは私としても望むところです。 (一礼し、アデライーデに腕を差し出す) WALDNER (ギャンブル仲間たちに) このつまらん誤解が解けたら、 すぐホテルで、ひと勝負しよう。 MANDRYKA (出口のドアに立ち止まり、後ろに呼び掛ける) お集まりの紳士淑女よ!今日は、私のご招待とさせていただきます! FIAKERMILLI やったあ!ご招待ですって! (客たちはシャンパングラスを高くかかげる。ヴェルコとデューラを先導に、マンドリカとアデライーデは出て行ってしまう。ヴァルトナーとギャンブル仲間たちがその後を追う) (幕が下りる) Sie nimmt seinen Arm und sie gehen rückwärts die Stufen hinauf. Von rechts wird ein Tisch hereingeschoben und für ein kaltes Souper prächtig gedeckt. Rechts wird weiter der Tisch gedeckt. Arabeila, an Dominiks Arm, kommt von rückwärts aus dem Tanzsaal. Sie wenden sich nach links ARABELLA Und jetzt sag ich Adieu, mein lieber Dominik. DOMINIK Adieu? Sie fahren schon nachhaus? ARABELLA ruhig, heiter Das war jetzt unser letzter Tanz für alle Zeit. Kann sein dass wir uns später einmal wiedersehn dann sind wir halt Bekannte aus der Jugendzeit. DOMINIK Arabella! Er fasst sie am Arm ARABELLA macht sich schnell los Nein. Dominik! Sie sind der erste Mann gewesen, Dominik, - von Buben red ich nicht - der mir gesagt hat, dass er mich gern hat, und es hat mich recht gefreut. Aber die Richtige für Sie die war ich nicht, und Sie halt nicht der Richtige für mich. Nicht reden, Dominik. Da kommt auch schon der Elemer. Adieu! Sie nickt Elemer zu. Dominik entfernt sich langsam ELEMER aus dem Tanzsaal kommend, auf Arabella zu So schön wie heut hab ich Sie nie gesehn! Mit Ihnen ist etwas passiert! ARABELLA Ja, Elemer, mit mir ist was passiert! Und darum geb ich Ihnen jetzt die Hand und sag Adieu, ich danke Ihnen, Elemer - es waren viele schöne Augenblicke drunter - ELEMER Es waren, Bella, und es werden sein! ARABELLA Nicht halten meine Hand, grad schnell den Druck von meinen Fingern spüren, und wissen dass wir gute Freunde sind wenn wir uns auch nicht wiedersehn! ELEMER Zornig Sie haben sich verliebt in diesen Fremden, diesen Wallachen oder was er ist! ARABELLA Verliebt - es ist wohl mehr - Elemer spottet ARABELLA sanft Nicht mir verderben diesen letzten Augenblick! Da kommt auch schon der Lamoral und wartet auf seinen letzten Tanz! Lamoral erscheint an der Stiege, aus dem Tanzsaal herauf. Rechts wird mit dem Tischdecken fortgefahren ELEMER dicht bei ihr Werden Sie meine Frau! Wer in der Welt ist, der mich hindern darf! ARABELLA Für mich war halt ein andres Glück bestimmt. Sie lässt ihn stehen und geht auf Lamoral zu. Elemer links ab LAMORAL O Arabella, gibts was Schöneres als Sie auf einem Ball! ARABELLA halb für sich Ja, süss ist die Verliebtheit, süss ist dieses Auf und Ab, aber es gibt was Schöneres tausendmal! und einmal wirst du's auch verstehn, vielleicht - LAMORAL Nicht reden jetzt von Anderm, das weit weg ist - ARABELLA ernst Für dich ists noch weit weg, da hast du recht. LAMORAL Ich ängstig mich. Sie sind so anders, Arabella! Es nimmt Sie mir wer weg! ARABELLA Wegnehmen? geh, du Bub! Aber da hast du deinen ersten und zugleich auch deinen letzten Kuss. Sie beugt sich zu ihm und küsst ihn schnell und leicht auf die Stirn. Sie stehen links, einigermassen gedeckt durch die Draperien LAMORAL strahlend Von wem hab ich den wunderbaren Kuss? ARABELLA sogleich ganz gelöst; sie tritt von ihm weg in die Mitte Von einem Mädel, das heut glücklich ist, so glücklich, dass sie ganz allein sein muss, ganz mit sich selbst allein in ihrem Zimmer, und lang noch liegen ohne Schlaf vor lauter Glück! Mit geändertem Ton Jetzt tanzen wir noch diesen Walzer aus dann fahr ich fort von euch - auf Nimmerwiedersehn! Ab mit ihm in den Tanzsaal. Matteo kommt von rechts, an den Tischdeckenden vorbei. Zdenka, links hervortretend, ängstlich, nicht gesehen zu werden, starrt auf ihn hinüber MATTEO fürr sich Fort mit mir! Fort und ein Ende! Sonst bin ich ein Feigling! ZDENKA O Gott! Seine Miene! wie grässlich entschlossen! Sie winkt ihm, er geht zu ihr hinüber. Mandryka kommt die Stufen von der Estrade herab, geht quer über die Bühne zu dem gedeckten Tisch hinüber, nimmt eine Meldung Welkos entgegen ZDENKA angstvoll Bist du schon wieder so - ? Hats dich schon wieder? MATTEO Rasend verzehrts mich! ZDENKA Sie denkt an dich! nichts andres denkt sie! Matteo lacht bitter ZDENKA man merkt die Lüge Sie hat mir einen Brief für dich gegeben! Hier ist er. Sie greift in die Brusttasche ihres Fracks MATTEO weicht zurück gegen die Mitte Ich nehme ihn nicht! Der bringt das Ende für immer! Ich fühl es! Zdenka folgt dem Zurückweichenden, den Brief in der Hand. Mandryka wird aufmerksam. Jankel mit Leuten, die eine Last von Blumen tragen, von rechts. Zdenka ist Matteo bis in die Mitte der Bühne gefolgt MATTEO Trag ihn zurück! Ich fühl dass es mein Abschied ist! ZDENKA Du musst ihn nehmen, alles wird anders! So fühl ihn doch! MATTEO fasst den Brief Ein Schlüssel? ZDENKA Nimm ihn! nimm ihn nur! MATTEO reisst den Brief auf Kein Brief! nur ein Schlüssel? Was sind das für Spässe? Zdenko, ich frage! ZDENKA blass, einer Ohnmacht nahe Das ist ihr Schlüssel! MATTEO O Ihr Schlüssel? ZDENKA fast tonlos Vom Zimmer. Gib acht. Versteck ihn. MATTEO Das ist der Schlüssel - ? ich bin nicht bei Sinnen! Sind wir auf dem Ball? Bist du der Zdenko? ist sie deine Schwester, die tanzt dort unten? Das ist der Schlüssel - ? ZDENKA Zu ihrem Zimmer. MATTEO Der Schlüssel zu Arabellas Zimmer! Er hält den Schlüssel vor sich MANDRYKA zuckt zusammen Ich hab mich verhört! Jankel will sich ihm nähern. Mandryka winkt ihm ab, tritt den Beiden näher ZDENKA bald rot, bald blass, die Scham überwindend Du sollst nachhaus - sie kommt in einer Viertelstunde. Der Schlüssel sperrt das Zimmer neben ihrem, lautlos kommt sie zu dir - Matteo, denn sie will ja alles tun damit du glücklich wirst noch diese Nacht! MATTEO Schwör mir, dass das wahr ist! Der Schlüssel zu Arabellas Zimmer! ZDENKA Du hast ihn ja! so wahr er sperrt so wahr will die, die ihn dir gibt heut alles tun, damit du glücklich wirst! Ich muss jetzt fort! mich darf man hier nicht sehn! Läuft links weg MATTEO vor sich Geheimnis eines Mädchenherzens, unergründliches! Schnell ab nach links MANDRYKA aus einer Art Starre jäh aufwachend Halt! du irgendeiner oder wer Du bist! Welko! laufen! halten dort den Menschen! Her mit ihm vor mich! den dort mit dem Schlüssel! Dominik mit Adelaide ist von links vorne aufgetreten WELKO unschlüssig, auf wen sein Herr ihn hetzen wollte Welchen, Gospodar? und was für einen? Diesen? Zeigt auf Dominik Dominik und Adelaide nehmen links auf einem Canapé Platz MANDRYKA vor sich Und wenn hier viele Arabella heissen - meine gottverdammten Jägerohren foppen meinen dummen harten Schädel - dass ich als ein Narr dasteh vor einem Fremden? Wird sie denn den Schlüssel schicken von dem Zimmer während selber sie hier tanzt im Ballsaal? Er sieht nach der Uhr Noch ist nicht einmal vorbei die Stunde die ich grad ihr freigegeben habe - also bin ich schon ein Narr und Esel? Zu Welko Alles lassen! Weitermachen dort am Esstisch! Er geht hastig auf und ab Schön ist die Musik, und nichts von Schlüssel, Geigen drin, und nicht verdammte Schlüssel und in paar Minuten wird sie dastehn 'da vor mir, und Blumen werd ich hinstreun dass statt meiner sie den Fuss ihr küssen. Haj! Wie tanzt sie jetzt und nimmt den Abschied in dieser Stunde von der Mädchenzeit! DOMINIK O bezaubernde Frau! Viel schöner als jemals die Tochter! Wie Sie die Melancholie mir zu heilen verstünden – ADELAIDE Dominik! Nicht! Aber später, ich werd’immer allein sein ohne mein Kind MANDRYKA Grimmig hinschauend Warum kommen viele und nicht sie darunter? Warum scheppern gottverdammte Schlüssel da dazwischen! DIE FIAKER-MILLI an Elemers Arm, auf Mandryka zu, andere Paare stellen sich dazu Mein Herr, schon wieder muss ich kommen und bitten geben Sie dem Ball die Königin zurück! MANDRYKA im Zorn, vor sich Was sagt das Frauenzimmer? Ich soll sie zurück ihr geben? Ich hab sie nicht eingesperrt. Ich hab den Schlüssel nicht. Er ist in dem Couvert. Er packt einen Sessel so dass dessen Lehne kracht. Welko bietet Champagner an MANDRYKA nimmt sich zusammen Ich bitte, dass Sie mir die Ehre geben - Sie alle wie Sie sind, bekannt und unbekannt! ELEMER Doch Gräfin Arabella wollen wir nicht in dem schönen Augenblick vermissen! MILLI Sie werden sicher sie zu finden wissen. MANDRYKA greift sich an den Hals, lockert die Cravatte Zu finden wissen? Schlüssel! Welko! Suchen! Die gnädige Fräulein suchen in dem Saal! Hast du gefunden in der grossen Wienerstadt wirst du zu finden wissen in der Tanzhütten dahier! Welko eilt ab MANDRYKA nachrufend, stark - und bitten sie hierher wenn sie die Gnade haben will! Dann zu Milli, die sich von Elemers Arm gelöst hat Ein solcher süsser Schnabel muss auch etwas Süsses trinken! Er serviert ihr ein Glas Champagner. Milli antwortet jodelnd JANKEL bringt ein Briefchen auf einem Tablett Da wäre ein Billet für Euer Gnaden. MANDRYKA Fühl ob ein Schlüssel drin ist? JANKEL Wie? ein Schlüssel? MANDRYKA nimmt hastig das Billet, zögert noch, es zu öffnen Wer, Herr Gott, hat diesem Gesicht so viel Gewalt gegeben über mich! dass ich mich fürchte jetzt - geht bei Seite, reisst das Couvert auf, liest, wiederholt den Inhalt, grimmig Für heute sag ich Ihnen gute Nacht. Ich fahr nachhaus. Von morgen an bin ich die Ihrige. Ein kleines a statt einer Unterschrift! Nicht einmal ihren Namen! Steht auch nicht dafür für einen Gimpel, einen auf den Leim gegangenen! Mit bitterer Lustigkeit Sie muss ja Abschied nehmen von der Mädchenzeit - dafür braucht sie die ganze Zärtlichkeit sie hat jetzt keine Zeit für zärtlichere Unterschrift! Er zwingt sich zu einer frechen Munterkeit, tritt wieder zu den andern zurück, winkt Wegschmeissen jetzt die Blumen! Schampus her! Servieren links und rechts, bis alle liegen unter'm Tisch - die Grafen und Fiaker und Fiakerbräute alle miteinander! Heut geht das Ganze, aber schon das Ganze auf meine Rechnung! Kellner verteilen sich, servieren allen Champagner Soll ich der schönen Milli jetzt vielleicht was singen? Er zieht sie an sich Ich wäre aufgelegt! Fiakermilli antwortet zärtlich, ohne Worte, mit einem Jodler MANDRYKA zwischen Selbstverspottung und zornigen Tränen Gieng durch einen Wald, weiss nicht durch welchen Fand ein Mädchen, weiss nicht, wessen Tochter! Trat ihm auf den Fuss, weiss nicht auf welchen, fieng es an zu schrein, weiss nicht warum doch seht den Wicht, wie der sich denkt die Liebe! Milli wiederholt jodelnd den Refrain, Mandryka zieht sie neben sich auf das Canapee nieder. Adelaide entzieht sich Dominik, steht auf DIE FIAKER-MILLI seht den Wicht, wie der sich denkt die Liebe! MANDRYKA Wohl stünds an, ihm Kanne Wein zu geben, Wein zu geben, Becher nicht zu geben mag der Wicht aus schwerer Kanne trinken! Mag sich plagen bis zu klugern Tagen! Milli jodelt den Refrain Wohl stünds an, mich Mädchen ihm zu geben mich zu geben, doch kein Bett zu geben grimmig mag der Kerl auf blosser Erde schlafen mag sich plagen bis zu klugern Tagen! Er lässt Milli, steht jäh auf. Milli wiederholt den Refrain DIE FIAKER-MILLI mag sich plagen bis zu klugern Tagen! MANDRYKA immer böser, für sich Für heut fahrt sie nachhaus zu ihrem Schlüsselherrn - von morgen an ist sie die meinige! Milli, gib mir ein Bussl! Küsst sie Wie viel kost't der Schlüssel für Comtessenzimmer hier in Wien? ADELAIDE plötzlich vor ihm Herr von Mandryka, wo ist meine Tochter? MANDRYKA stehend, Milli im Arm Weiss nicht! sie hat die Gnade nicht gehabt mir mitzuteilen. Wünschen noch Moët-Chandon? Hier ist! Servieren der Frau Gräfin Mutter! ADELAIDE aufgeregt nach rechts eilend Wo ist mein Mann? man suche meinen Mann! Dominik nach rechts, schnell, Waldner zu suchen ADELAIDE zurück zu Mandryka Lassen Sie sich beschwören! Wo ist Arabella? MANDRYKA frech Das frag ich selber die Frau Gräfin Mutter! Waldner erscheint rechts, mit Dominik, hinter ihm die drei Herren, mit denen er gespielt hat ADELAIDE O Theodor! Beschütze deine Frau und deine Tochter! WALDNER Was geht hier vor? Mandryka, wie benimmst du dich? in Gegenwart von meiner Frau! MANDRYKA Genau wie sichs gehört! Ich streife ab den dummen Kerl aus der Provinz und bin, wie unter wienerischen Grafen sich geziemt! Setz dich zu uns, sind Mädel da, is Schampus da, Teschek! bedien dich! WALDNER dicht vor ihm Wo ist meine Tochter? MANDRYKA Ich kann dir leider keine Auskunft geben! Comtessen scheint es, ziehen manchmal sich zurück in einem animierten Augenblick. WALDNER zu Adelaide, wütend Wo ist das Mädel? wissen will ich wo sie ist! ADELAIDE Zuhaus. WALDNER Du weisst es? was soll das bedeuten? ADELAIDE Ein Einfall! eine plötzliche Melancholie! eine Caprice! Du kennst ihr Naturell. WALDNER Du schwörst, sie ist zuhause? ADELAIDE Theodor! Es handelt sich um dein und meine Tochter! WALDNER Sehr gut. Wir fahren auch nachhause. Augenblicklich. Du klopfst an ihrer Tür und gibst uns Nachricht ob sie ganz wohl ist nur damit wir uns beruhigen. böse Dann spreche ich zwei Worte noch mit dir - darum wirst du die Güte haben, uns begleiten. MANDRYKA Es wird mir eine ganz besondere Ehre sein. Verneigt sich und gibt Adelaide den Arm WALDNER zu seinen Mitspielern Wir spielen augenblicklich weiter im Hotel, sobald das kleine Missverständnis da beseitigt ist. MANDRYKA an der Tür stehen bleibend, zurückrufend Die Herrn und Damen sind einstweilen meine Gäste! FIAKERMILLI Eljen! wir sind Ihre Gäste! Gäste heben die Champagnergläser. Mandryka mit Adelaide ist schon ab, Welko und Djura vor ihnen, Waldner mit den Spielern folgt Vorhang 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/III-1
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} /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/oper/pages/235.html
へロデの宮殿、饗宴の間に続いている大きなテラス。数人の兵士が胸壁に凭れている。右手に壮大な階段、左手後方に、青銅の枠の嵌め込まれた、古い地下水構。月が白々と輝いている。 第一場 <ナッラボート> 今宵のサロメ姫は、また一段と、麗(うるわ)しゅうておわす! <小姓> あの鏡のごとき月を見てたもれ、いかにも奇態なる様なれば。墓穴より抜け出したる女子のごと。 <ナッラボート> いかにも、大きに奇態よな。 白鳩の如き足をつけし、小さき姫君の姿に似たり。 舞を舞うておるように見ゆる。 <小姓> 身罷(みまか)りし女子(おなご)のようよな。 ゆるり、ゆるり、滑(ぬ)めるごとく行き行くよな。 (饗宴の間より騒音が響いてくる) <兵士 一> 何ぞの騒動(そうどく)ぞ! かくのごとく吠えおるは、いかなる獣(けだもの)ぞや? <兵士 二> ユダヤ人にてやある。 (そっけなく) 彼等(あいら)には常なる事ぞ。 己等の宗旨に拘(かかずろう)て、諍(あらごう)ておる。 <兵士 一> 戯(たわ)けよな、さしたることにて諍うなど。 <ナッラボート> 今宵のサロメ姫は、また一段と、麗しゅうておわす! <小姓> (不安げに) お前さまは、間なしに姫君を打見やりておわす。 見やり過ぎというものぞ。 危うきことにてそうろう。 禍(まが)事の、いで来るやもあらむ。 <ナッラボート> 今宵の姫君は、まことに麗しゅうておわす。 <兵士 一> 太守の殿には、気鬱なご様子にておわす。 <兵士 二> いかにも、殿には気鬱なご様子にておわす。 <兵士 一> 太守の殿には、いずれの方を打ち見やりておわすや? <兵士 二> 己は、存ぜぬ。 <ナッラボート> 姫君の、さても青褪むておわしまする。 かつて、かように青褪むる姫君を見掛くる事はあらず。 今宵の姫君は、白金の鏡に映す、白薔薇(そうび)の花影のごとくにておわす。 <小姓> (非常に不安げに) 姫君を見やりなされまするな。 お前さまは、姫君を見やり過ぎにておわす。 禍(まが)事の、いで来るやもあらむ。 <ヨカナアンの声> (地下水溝の中から) 吾が後より来たる人やある、その人は吾より強(こわ)し。 吾は彼の人の沓紐解くだに値わず。 ひとたび彼の人の来たるれば、荒(あばら)の地も歓呼し迎えむ。 ひとたび彼の人の来たるれば、光無き者の眼(まなこ)も白日を覚えむ。 ひとたび彼の人の来たるれば、音無き者の耳も開かむ。 <兵士 二> 彼奴の口、封ぜよ! やくたいも無きことばかり、言い罵りおる。 <兵士 一> あの者は聖(ひじり)にておわす。 きわめて、おとなしき男にておわす。 日毎、己が食い物を持て参ずるに、ねんごろに返り言をもうす。 <一人のカッパドキア人> 彼は、何者ぞ? <兵士 一> 予言(かねごと)をなす者なり。 <一人のカッパドキア人> 名は何ともうす? <兵士 一> ヨカナアン。 <一人のカッパドキア人> いずくより来たりし者か? <兵士 一> 砂漠の彼方より来たりし者にてそうろう。 彼の地では明暮、あまたの門徒衆、あの者をば囲みておりし。 <一人のカッパドキア人> あの者は、如何なる予言(かねごと)をなすや? <兵士 一> 如何なる予言(かねごと)やら、己には、一向合点がゆかぬ。 <一人のカッパドキア人> あの者を一目見るは、叶うや? <兵士 一> 叶い申さぬ。太守殿が封じられもうした。 <ナッラボート> (非常に興奮して) 姫君がお立ちめさる! 卓を離れめさるぞ。 いたく、お苛(いらち)のご気配なり。 我等の方にお成り召さるご様子ぞ。 <小姓> 姫君の方をば、打ち見遣りなされますな! <ナッラボート> まことに、我等の方にお成り召さるぞ。 <小姓> 後生にてそうろう、姫君を打ち見遣りなされますな! <ナッラボート> 姫君は、まこと、迷い子の鳩のごとくにておわす。 第二場 (興奮した様子でサロメが現れる) <サロメ> 酒宴の座ぞ疎ましや。 堰(せき)かぬるとはこのことぞ。 などて太守の殿は、かの如く目蓋(まなぶた)をひく付かせ、むぐらもちのごとき眼(まなこ)持て、間なしに妾を見遣りさるのか?奇態なことよ。母君の夫(つま)なるお人が、かのごとき眼もて妾をば見遣りなさるとは。 なんと、此処なる夜気の旨きことよ!ようよう、甦りし心地なり...彼処にては、エルサレムより参りしユダヤの族(やから)、彼等の痴(おこ)なる慣わしにかかづりおうて、気狂いせむばかりに諍うておる... エジプト人(びと)は無口なれど小賢し。荒びて、むくつけきローマ人(びと)の言語(ごんご)し下種下種なり... おお、ローマ人(びと)なる、まことに、うとましや! <小姓> (ナッラボートに向かって) 禍(まが)事の、いで来るやもあらむ。 などて、さほどに姫君を見遣りなさる? <サロメ> 月眺むるは、まことに、心地良きことよ。 月は白金の花のごと、冷ややかにして清らなり。 さなり、月は穢れ無き処女(おとめ)の麗しさなり。 <ヨカナアンの声> 見よ、主(しゅう)は来たりたもうた、人の子はいまや近きにおわす。 <サロメ> 何者なるか、いま、呼ばわりしは? <兵士 二> 予言(かねごと)をなす者にてそうろう。姫君。 <サロメ> ああ、かの予言(かねごと)をなす者なろう! 太守殿が怖れおわさるは? <兵士 二> 姫君、われら左様な事はとんと無沙汰にて居り申す。 最前呼ばわり申したは、予言(かねごと)をなすヨカナアンにてそうろう。 <ナッラボート> (サロメに向かって) 御気に召しますなれば、御輿、運びまいらせましょうや? 姫君、 夜(よさ)の御園生(みそのう)は、一際心地良きにてそうらえば。 <サロメ> 彼の者は、吾が母を構うて、忌まわしき事共言い散らしためれ、さならずや? <兵士 二> 姫君、彼奴の語るる事、我等には一向合点が行きもうさずにてそうろう。 <サロメ> さなり、彼は、吾が母を構うて、忌まわしき事共言い散らしつあるべし。 (一人の奴隷が登場) <奴隷> 姫君、宴(うたげ)の座に返りたまわりませ。太守の殿のお頼みてそうらえば。 <サロメ> (激しく) 妾は、座には立ち返らぬ。 (奴隷退場) <サロメ> 彼の予言(かねごと)語りは、年長けたる男(おのこ)なるや? <ナッラボート> (切迫して) 姫君、お立ち返りめさるるがよろしきに、 お許したまわりますれば、僕(やつかれ)お供つかまつりまする。 <サロメ> (さらに言い募って) 予言(かねごと)語りは、年長けた男(おのこ)なるや? <兵士 一> 否、姫君、いまだ若き男(おのこ)にてそうろう。 <ヨカナアンの声>========-- 歓ぶなかれ、パレスチナの民よ、汝を打ちし鞭は折れたりといえども。 蛇の種よりバジリスク*は生まれ、そ奴の孵化せしものは、あまたの飛鳥を飲み込むのじゃ。 <サロメ> さても不可思議なる声じゃ! 妾は、あの男と語り合うて見まほし... <兵士 二> 姫君様、太守殿には、いかなるお方といえども、彼の男と語リ合う事、お許しにはござりませぬ。 大僧正殿**にさえ、彼の男と語り合う事は禁じなされ申した。 <サロメ> 妾は、あの男と語り合うて見まほし。 <兵士 二> 無理にてござります。姫君様。 <サロメ> (ますます、興奮して) 妾は、あの男と語り合いたし... 予言(かなごと)語りを引き出してまいれ! <兵士 二> われらには許されておりませぬ。姫君様。 <サロメ> (地下水構に近寄り、中を覗き込む) 何と、中は暗闇ではないか! 恐ろしき事じゃろうのう、このような暗き穴の中に棲もうておるのは... 墓穴のようじゃ... (荒々しく) 聞こえぬのか? 預言(かねごと)語りを引き出せい! 妾は、あの男が見まほし! <兵士 一> 姫君様御望みなれど、われらには致し方ございませぬ。 <サロメ> (ナッラボートに目が止まる) あ! <小姓> おお、如何なることになろうや?私には分かる、禍がしき事が起きるのじゃ。 <サロメ> (ナッラボートに近づき、小声で、生き生きと喋る) そちが、叶のうてくれようのう、ナッラボートや? 妾は日頃より、そちを心よく思うておったぞ。 そちが、妾がために、為してくれるのじゃろう。 妾は、その不可思議なる予言(かねごと)語りを、一目見るのみじゃ。皆の者が、その男の噂をしておる。 妾は、太守殿は、あの男を恐れてござると見た。 <ナッラボート> 太守殿は、何者の願いにあれ、水構の蓋を開けることはならぬと、固く禁じなされ申した。 <サロメ> そちは、妾のために叶えてくりょう、ナッラボート。 (非常に、性急に) すれば、明日、妾が、神像の立ち並ぶ城門の路を輿でまかり行く折に、汝に、小さき花を落として遣わしょうぞ、小さき翠の花をな。 <ナッラボート> 姫君様、私めには叶えられませぬ、叶えられませぬ。 <サロメ> (きっぱりと) そちは、妾のために叶えてくりょうぞ、ナッラボートや。 そちは、妾のために叶えてくりょうことを、先刻承知済みじゃ。すれば、明日の朝まだき、妾は唐縮緬の被衣(かづき)の陰から、そちを一目、見遣ってやろうぞ、ナッラボートや、 妾がそちを見遣ってやるのじゃぞ。その折、微笑みをかけてくれるやも知れぬぞえ。妾を見や、ナッラボート。 ああ!そちは、よくよく承知しておるのじゃ、妾の頼みごとを、聞き入れてくりょうことを! そちは、最前より、承知しておるのじゃ! (強く) 妾には、分かっておるぞえ、そちが叶えてくりょうことが。 <ナッラボート> (兵士達に合図を送る) 預言(かねごと)語りを引き出してまいれ... あの男を見せよと、サロメ姫がご所望じゃ。 <サロメ> ああ! (預言者が地下水構から上ってくる) 第三場 (吾を忘れて予言者の姿に見とれていたサロメは、やがて彼の前から徐々に後じさりし始める) <ヨカナアン> (強く) 彼の男、何処(いずく)にやある、罪業の杯を溢るばかりに満たしたる者は? 彼の男、何処(いずく)にやある、群がる民の眼前にて、一日、銀の上着を身に纏うて死に行く者は? その男をば、此処に来さしめよ、砂漠に、はたまた、王達の棲家に轟き渡りし、世に告知する者の声をば聴かせむ。 <サロメ> 誰の事を言うておるのじゃ? <ナラボート> 誰にも思い及びませぬ、姫君様。 <ヨカナアン> その女、何処にや在る、彩色ほどこさるる男共の絵姿の前に佇みて、眼(まなこ)の法楽に負け、 カルデアの国に特使を遣わせし者は? <サロメ> (抑揚の無い声で) 彼は、妾が母上の事を言いなしておる。 <ナラボート> (激しく) そのような事はござりませぬ、姫君様。 <サロメ> (無気力に) そうじゃ、彼は、妾が母上の事を言いなしておる。 <ヨカナアン> その女、何処にや在る、アッシリアの首領どもに身を任せし者は? その女、何処にや在る、細やかに織り成しし麻衣を、大入道の如き体躯に纏いて、風信子石をひけらかせ、黄金の盾を手にせる、エジプトの若人(わこうど)共に身をまかせしは者は? 疾く行きて、かの女を罪業の閨(ねや)、畜生道の臥所(ふしど)より起たしめよ、しこうして、主が為に路踏み分くる者の言葉(ことのは)を聞かしめよ、かくて女、己が罪業をば悔ゆるべし。 はたまた女直ちに悔い改めねば、この場へ引き連れてまいれ、主の鞭は、告知者の手にあれば。 <サロメ> 恐ろしき男じゃ。 誠に恐ろしき男じゃ。 <ナラボート> 此処に留まりくださりますな、姫君様、お願いでござりまする! <サロメ> 彼の目こそは、分けても恐ろしい。 暗闇の洞窟のようじゃ、中には竜が棲みついておろう。 水底に月明かりのひらめき揺るる、黒き湖(みずうみ)のようじゃ そち等は、あの者が、今一度、口を利くと見るかえ? <ナラボート> (益々興奮して) 此処に留まりくださりますな、姫君様、 お願いでござりまする、どうか、彼処(かしこ)へ。 <サロメ> さても、さても、細やかにて居らす! 象牙(きさのき)細工の如き体じゃ。 彼は、あの月の如、穢れ無き体であろうよのう。 彼の肌えは、さぞや、冷や冷やとしておろうよのう。 も、ちっと、近こう寄りて見たいものじゃ。 <ナラボート> 姫君様、お止めくださりませ。 <サロメ> 妾は、あの者を、いま、些(ち)っと、よう見たいのじゃ。 <ナラボート> 姫君様、姫君様...。 <ヨカナアン> 吾に、見入りておる、彼の女子(おなご)は、誰(た)れじゃ?吾は、あのような目で見られとうは無いわ。 綺羅らに塗り上げられたる目蓋の下より、金色の眼(まなこ)持て、何故、かくの如く吾に見入るのじゃ? 吾は、あの女子が誰なるかを知らぬ。 吾は、あの女子が誰なるかを知りとうもないわ。 女子を、去らせい! あの者に、口を利きとうはない。 <サロメ> 妾は、サロメじゃ、ヘロディアの娘、ユダヤの太守の娘じゃ。 <ヨカナアン> 下がれ、バビロンの娘! 主に選ばれたる者に近寄るでない! 汝の母はこの世を快楽の酒で満たし、その罪業の深きは、神の耳にも届いておる。 <サロメ> いざいざ、物言うてたもれ、ヨカナアンや、汝の声音は楽の音のようじゃ。 <ナラボート> 姫君様、姫君様、姫君様! <サロメ> 物言うてたも! 言うてたも、ヨカナアンや、妾は、如何様にすべきとや? <ヨカナアン> ソドムの娘よ、吾が傍らに寄るな! 早々に、そなたの顔(かんばせ)をば被衣(かづき)で隠し、その髪に灰を被(かぶ)りて、砂漠の彼方に行き行きて、人の子の居ませる方(かた)を尋ぬるべし。 <サロメ> 人の子とは、たれの事じゃな? 彼もまた、そなたのごとく、麗しいかのう、ヨカナアンや? <ヨカナアン> 吾に 近寄るな! 吾はすでに、宮殿に死の使いの羽ばたくを聴きし... <サロメ> ヨカナアン! <ナラボート> 姫君様、後生でござります、中へお入りくだされ! <サロメ> ヨカナアン! 妾は、そなたの身体(からど)に惚れたぞえ、ヨカナアン! そなたの身体は、未だ鎌の切っ先も触れぬ、野辺の百合の如くに白し。 そなたの身体は、ユダヤの山稜の雪の如くに白し。 アラビアの女王の庭に咲く、薔薇の花すら、そなたの身体ほど白くはあらぬ、女王の庭の薔薇すら、 木々の葉に降り来る夕暮れの脛(はぎ)すら、海原に浸さるる月の乳房すら、地上のありとあらゆる物だにすら、そなたの身体の白さには勝てぬ! そなたの身体に、触れさせてたも! <ヨカナアン> 下がりおろう、バビロンの娘! 女子こそは、この世に悪を持ち来たりものなり。 吾に、物言うなかれ。 汝の声聞くだに穢らわしい! 吾は、唯一、吾が主、神の御声を聴くのみなり。 <サロメ> そなたの身体はうたてじゃ。 そなたの身体は、かったい病みのごとしじゃ。 漆喰で塗り固めた壁の様じゃ、毒蛇の這うた跡がある。 漆喰で塗り固めた壁の様じゃ、さそりの巣食うた跡がある。 そなたの体は、うたてなる物あまた塗り込めし、塚穴の様じゃ。そなたは、うたてじゃ、そなたの身体は、さても、うたてじゃ。そなたの髪に、妾は惚れたぞえ、ヨカナアン。 そなたの髪は葡萄(えび)の様じゃ、エドムの葡萄園に熟す、黒き葡萄の房の様じゃ。 そなたの髪は、杉の様じゃ、獅子や盗人に蔭を貸す、レバノンの大杉の様じゃ。 あらたまの月は面を隠し、天の星おののき瞬く、長き闇夜も、そなたの髪ほどには暗からず。 黙(もだ)せる森のごと... 世の中の如何なる物とて、そなたの、ぬばたまの髪に似たるは無し。そなたの髪に触れさせてたも! <ヨカナアン> 下がれ、ソドムの娘! 吾を弄(いら)うな! 吾が神、吾が主の御座所をば、汚すなかれ! <サロメ> そなたの髪は、うたてじゃ! そなたの髪は、塵芥にまみれておる。 茨の冠りを被いておるように見ゆるぞえ。 そなたの首をば、蛇(じゃ)の如く取り巻きて居るぞえ。 妾は、そなたの髪をば愛ではせぬ。 (激情をこめて) 妾の愛ずるは、そなたの口じゃぞ、ヨカナアン。 そなたの口は象牙(きさのき)造りの櫓(やぐら)に引き渡されし、紅(くれない)の細紐の様じゃ。 そなたの口は、白金の太刀にて断ち割られたる柘榴の実の様じゃ。 ティルスの庭に咲き出る薔薇の花よりなお紅き、 柘榴の花さえ、さほどに紅うはない。 王達の出陣を告げ、敵どもを震撼さす喇叭の音すら、 そなたの紅(くれない)の口ほどには燃えはせぬ。 そなたの口は葡萄(えび)の実を踏み潰す、地下蔵の酒作りの足より紅し。 そは、神殿に住みつきし、鳩鳥の足より紅し。 そなたの口は、海底のほの明かりにはびこる珊瑚の小枝の様じゃ、 モアブの鉱坑の丹砂より取り出ずる朱(あか)、王者の朱色じゃ。 (吾を忘れるほど興奮して) この世に、そなたの口ほど朱(あか)きものは、ゆめあるまじ。そなたの口、吸わせてたも。 <ヨカナアン> (低く、嫌悪を込めて) ゆめにも、許さじ、バビロンの娘、ソドムの娘よ.... ゆめにも! <サロメ> 妾は、そなたに口吸いするのじゃ、ヨカナアン。 妾は、そなたに口吸いするのじゃ... <ナラボート> (恐怖と絶望の極みにあって) 姫様、姫様、没薬(もつやく)の園のごとく芳しく、無垢なる小鳩のごとき姫様、この男をごらんになり召さるな。 かくのごとき言葉を、この男にお掛け召さるな。 私奴には、耐えられませぬ...。 <サロメ> 妾は、そなたに口吸いするのじゃ、ヨカナアン。 妾は、そなたに口吸いするのじゃ...。 (ナラボートは、吾と吾身を刺しつらぬき、サロメとヨカナアンの間に倒れて死ぬ) <サロメ> そなたの口、吸わせてくりょう、ヨカナアン! <ヨカナアン> 汝は、怖れを知らぬのか、ヘロディアスの娘よ? <サロメ> そなたの口、吸わせてくりょう、ヨカナアン! <ヨカナアン> 淫乱の申し子たる娘、汝を助け得る人は、ただ独りなり。 行きて、かの人を尋ねよ。 (温かさに溢れた声で) かの人を尋ねよ。 その人は、ガリレアの湖(うみ)の上の小舟に座して、徒弟等に法(のり)を説いておわす。 (非常に厳かに) 湖の岸辺に跪き、その人の名をば呼ばわるべし、その人は、彼を呼ばわるなべての者の傍らに来ますれば、やがて汝の傍らにも来らるるべし、さすればその御足の下(もと)に身を屈(くぐ)み、汝の罪の許しを受くるべし。 <サロメ> (気も狂わんばかりに) そなたの口、吸わせてたも、ヨカナアン! <ヨカナアン> 呪われてあれ、人の道ならぬ交じわりに身を任せたる母人の娘、呪われてあれ! <サロメ> そなたの口、吸わせてたも、ヨカナアン! <ヨカナアン> 吾は、汝を見とうもないわ。 汝、呪われてあれ、サロメ。 汝、呪われてあれ。 (彼は、再び、水構の中へ降りてゆく) Eine große Terrasse im Palast des Herodes, die an den Bankettsaal stößt. Einige Soldaten lehnen sich über die Brüstung. Rechts eine mächtige Treppe, links im Hintergrund eine alte Cisterne mit einer Einfassung aus grüner Bronze. Der Mond scheint sehr hell. Erste Szene NARRABOTH Wie schön ist die Prinzessin Salome heute nacht! PAGE Sieh die Mondscheibe, wie sie seltsam aussieht. Wie eine Frau, die aufsteigt aus dem Grab. NARRABOTH Sie ist sehr seltsam. Wie eine kleine Prinzessin, deren Füße weiße Tauben sind. Man könnte meinen, sie tanzt. PAGE Wie eine Frau, die tot ist. Sie gleitet langsam dahin. (Lärm im Bankettsaal) ERSTER SOLDAT Was für ein Aufruhr! Was sind das für wilde Tiere, die da heulen? ZWEITER SOLDAT Die Juden. (Trocken) Sie sind immer so. Sie streiten über ihre Religion. ERSTER SOLDAT Ich finde es lächerlich, über solche Dinge zu streiten. NARRABOTH Wie schön ist die Prinzessin Salome heute abend! PAGE (unruhig) Du siehst sie immer an. Du siehst sie zuviel an. Es ist gefährlich, Menschen auf diese Art anzusehn. Schreckliches kann geschehn. NARRABOTH Sie ist sehr schön heute abend. ERSTER SOLDAT Der Tetrarch sieht finster drein. ZWEITER SOLDAT Ja, er sieht finster drein. ERSTER SOLDAT Auf wen blickt er? ZWEITER SOLDAT Ich weiß nicht. NARRABOTH Wie blaß die Prinzessin ist. Niemals habe ich sie so blaß gesehn. Sie ist wie der Schatten einer weißen Rose in einem silbernen Spiegel. PAGE (sehr unruhig) Du mußt sie nicht ansehn. Du siehst sie zuviel an. Schreckliches kann geschehn. DIE STIMME DES JOCHANAAN (aus der Cisterne) Nach mir wird Einer kommen, der ist stärker als ich. Ich bin nicht wert, ihm zu lösen den Riemen an seinen Schuh n. Wenn er kommt, werden die verödeten Stätten frohlocken. Wenn er kommt, werden die Augen der Blinden den Tag sehn. Wenn er kommt, die Ohren der Tauben geöffnet. ZWEITER SOLDAT Heiß ihn schweigen! Er sagt immer lächerliche Dinge. ERSTER SOLDAT Er ist ein heil ger Mann. Er ist sehr sanft. Jeden Tag, den ich ihm zu essen gebe, dankt er mir. EIN CAPPADOCIER Wer ist es? ERSTER SOLDAT Ein Prophet. EIN CAPPADOCIER Wie ist sein Name? ERSTER SOLDAT Jochanaan. EIN CAPPADOCIER Woher kommt er? ERSTER SOLDAT Aus der Wüste. Eine Schar von Jüngern war dort immer um ihn. EIN CAPPADOCIER Wovon redet er? ERSTER SOLDAT Unmöglich ist s, zu verstehn, was er sagt. EIN CAPPADOCIER Kann man ihn sehn? ERSTER SOLDAT Nein, der Tetrarch hat es verboten. NARRABOTH (sehr erregt) Die Prinzessin erhebt sich! Sie verläßt die Tafel. Sie ist sehr erregt. Sie kommt hierher. PAGE Sieh sie nicht an! NARRABOTH Ja, sie kommt auf uns zu. PAGE Ich bitte dich, sieh sie nicht an! NARRABOTH Sie ist wie eine verirrte Taube. Zweite Szene (Salome tritt erregt ein) SALOME Ich will nicht bleiben. Ich kann nicht bleiben. Warum sieht mich der Tetrarch fortwährend so an mit seinen Maulwurfsaugen unter den zuckenden Lidern? Es ist seltsam, daß der Mann meiner Mutter mich so ansieht. Wie süß ist hier die Luft! Hier kann ich atmen ... Da drinnen sitzen Juden aus Jerusalem, die einander über ihre närrischen Gebräuche in Stücke reißen ... Schweigsame, list ge Ägypter und brutale ungeschlachte Römer mit ihrer plumpen Sprache ... O, wie ich diese Römer hasse! PAGE (zu Narraboth) Schreckliches wird geschehn. Warum siehst du sie so an? SALOME Wie gut ist s, in den Mond zu sehn. Er ist wie eine silberne Blume, kühl und keusch. Ja, wie die Schönheit einer Jungfrau, die rein geblieben ist. DIE STIMME DES JOCHANAAN Siehe, der Herr ist gekommen, des Menschen Sohn ist nahe. SALOME Wer war das, der hier gerufen hat? ZWEITER SOLDAT Der Prophet, Prinzessin. SALOME Ach, der Prophet! Der, vor dem der Tetrarch Angst hat? ZWEITER SOLDAT Wir wissen davon nichts, Prinzessin. Es war der Prophet Jochanaan, der hier rief. NARRABOTH (zu Salome) Beliebt es Euch, daß ich Eure Sänfte holen lasse, Prinzessin? Die Nacht ist schön im Garten. SALOME Er sagt schreckliche Dinge über meine Mutter, nicht wahr? ZWEITER SOLDAT Wir verstehen nie, was er sagt, Prinzessin. SALOME Ja, er sagt schreckliche Dinge über sie. (Ein Sklave tritt ein) SKLAVE Prinzessin, der Tetrarch ersucht Euch, wieder zum Fest hineinzugehn. SALOME (heftig) Ich will nicht hineingehn. (Der Sklave geht ab) SALOME Ist dieser Prophet ein alter Mann? NARRABOTH (dringender) Prinzessin, es wäre besser hineinzugehn. Gestattet, daß ich Euch führe. SALOME (gesteigert) Ist der Prophet ein alter Mann? ERSTER SOLDAT Nein, Prinzessin, er ist ganz jung. DIE STIMME DES JOCHANAAN Jauchze nicht, du Land Palästina, weil der Stab dessen, der dich schlug, gebrochen ist. Denn aus dem Samen der Schlange wird ein Basilisk kommen, und seine Brut wird die Vögel verschlingen. SALOME Welch seltsame Stimme! Ich möchte mit ihm sprechen ... ZWEITER SOLDAT Prinzessin, der Tetrarch duldet nicht, daß irgend wer mit ihm spricht. Er hat selbst dem Hohenpriester verboten, mit ihm zu sprechen. SALOME Ich wünsche mit ihm zu sprechen. ZWEITER SOLDAT Es ist unmöglich, Prinzessin. SALOME (immer heftiger) Ich will mit ihm sprechen ... Bringt diesen Propheten heraus! ZWEITER SOLDAT Wir dürfen nicht, Prinzessin. SALOME (tritt an die Cisterne heran und blickt hinunter) Wie schwarz es da drunten ist! Es muß schrecklich sein, in so einer schwarzen Höhle zu leben ... Es ist wie eine Gruft ... (wild) Habt ihr nicht gehört? Bringt den Propheten heraus! Ich möchte ihn sehn! ERSTER SOLDAT Prinzessin, wir dürfen nicht tun, was Ihr von uns begehrt. SALOME (erblickt Narraboth) Ah! PAGE O, was wird geschehn? Ich weiß, es wird Schreckliches geschehn. SALOME (tritt an Narraboth heran, leise und lebhaft sprechend) Du wirst das für mich tun, Narraboth, nicht wahr? Ich war dir immer gewogen. Du wirst das für mich tun. Ich möchte ihn bloß sehn, diesen seltsamen Propheten. Die Leute haben soviel von ihm gesprochen. Ich glaube, der Tetrarch hat Angst vor ihm. NARRABOTH Der Tetrarch hat es ausdrücklich verboten, daß irgend wer den Deckel zu diesem Brunnen aufhebt. SALOME Du wirst das für mich tun, Narraboth, (sehr hastig) und morgen, wenn ich in meiner Sänfte an dem Torweg, wo die Götzenbilder stehn, vorbeikomme, werde ich eine kleine Blume für dich fallen lassen, ein kleines grünes Blümchen. NARRABOTH Prinzessin, ich kann nicht, ich kann nicht. SALOME (bestimmter) Du wirst das für mich tun, Narraboth. Du weißt, daß du das für mich tun wirst. Und morgen früh werde ich unter den Musselinschleiern dir einen Blick zuwerfen, Narraboth, ich werde dich ansehn, kann sein, ich werde dir zulächeln. Sieh mich an, Narraboth, sieh mich an. Ah! wie gut du weißt, daß du tun wirst, um was ich dich bitte! Wie du es weißt! (Stark) Ich weiß, du wirst das tun. NARRABOTH (gibt den Soldaten ein Zeichen) Laßt den Propheten herauskommen ... die Prinzessin Salome wünscht ihn zu sehn. SALOME Ah! (Der Prophet kommt aus der Cisterne) Dritte Szene (Salome, in seinen Anblick versunken, weicht langsam vor ihm zurück) JOCHANAAN (stark) Wo ist er, dessen Sündenbecher jetzt voll ist? Wo ist er, der eines Tages im Angesicht alles Volkes in einem Silbermantel sterben wird? Heißt ihn herkommen, auf daß er die Stimme Dessen höre, der in den Wüsten und in den Häusern der Könige gekündet hat. SALOME Von wem spricht er? NARRABOTH Niemand kann es sagen, Prinzessin. JOCHANAAN Wo ist sie, die sich hingab der Lust ihrer Augen, die gestanden hat vor buntgemalten Männerbildern und Gesandte ins Land der Chaldäer schickte? SALOME (tonlos) Er spricht von meiner Mutter. NARRABOTH (heftig) Nein, nein Prinzessin. SALOME (matt) Ja, er spricht von meiner Mutter. JOCHANAAN Wo ist sie, die den Hauptleuten Assyriens sich gab? Wo ist sie, die sich den jungen Männern der Ägypter gegeben hat, die in feinem Leinen und Hyazinthgesteinen prangen, deren Schilde von Gold sind und die Leiber wie von Riesen? Geht, heißt sie aufstehn von dem Bett ihrer Greuel, vom Bett ihrer Blutschande; auf daß sie die Worte Dessen vernehme, der dem Herrn die Wege bereitet, und ihre Missetaten bereue. Und wenn sie gleich nicht bereut, heißt sie herkommen, denn die Geißel des Herrn ist in seiner Hand. SALOME Er ist schrecklich. Er ist wirklich schrecklich. NARRABOTH Bleibt nicht hier, Prinzessin, ich bitte Euch! SALOME Seine Augen sind von allem das Schrecklichste. Sie sind wie die schwarzen Höhlen, wo die Drachen hausen! Sie sind wie schwarze Seen, aus denen irres Mondlicht flackert. Glaubt ihr, daß er noch einmal sprechen wird? NARRABOTH (immer aufgeregter) Bleibt nicht hier, Prinzessin. Ich bitte Euch, bleibt nicht hier. SALOME Wie abgezehrt er ist! Er ist wie ein Bildnis aus Elfenbein. Gewiß ist er keusch wie der Mond. Sein Fleisch muß sehr kühl sein, kühl wie Elfenbein. Ich möchte ihn näher besehn. NARRABOTH Nein, nein, Prinzessin. SALOME Ich muß ihn näher besehn. NARRABOTH Prinzessin! Prinzessin ... JOCHANAAN Wer ist dies Weib, das mich ansieht? Ich will ihre Augen nicht auf mir haben. Warum sieht sie mich so an mit ihren Goldaugen unter den gleißenden Lidern? Ich weiß nicht, wer sie ist. Ich will nicht wissen, wer sie ist. Heißt sie gehn! Zu ihr will ich nicht sprechen. SALOME Ich bin Salome, die Tochter der Herodias, Prinzessin von Judäa. JOCHANAAN Zurück, Tochter Babylons! Komm dem Erwählten des Herrn nicht nahe! Deine Mutter hat die Erde erfüllt mit dem Wein ihrer Lüste, und das Unmaß ihrer Sünden schreit zu Gott. SALOME Sprich mehr, Jochanaan, deine Stimme ist wie Musik in meinen Ohren. NARRABOTH Prinzessin! Prinzessin! Prinzessin! SALOME Sprich mehr! Sprich mehr, Jochanaan, und sag mir, was ich tun soll? JOCHANAAN Tochter Sodoms, komm mir nicht nahe! Vielmehr bedecke dein Gesicht mit einem Schleier, streue Asche auf deinen Kopf, mach dich auf in die Wüste und suche des Menschen Sohn. SALOME Wer ist das, des Menschen Sohn? Ist er so schön wie du, Jochanaan? JOCHANAAN Weiche von mir! Ich höre die Flügel des Todesengels im Palaste rauschen ... SALOME Jochanaan! NARRABOTH Prinzessin, ich flehe, geh hinein! SALOME Jochanaan! Ich bin verliebt in deinen Leib, Jochanaan! Dein Leib ist weiß wie die Lilien auf einem Felde, von der Sichel nie berührt. Dein Leib ist weiß wie der Schnee auf den Bergen Judäas. Die Rosen im Garten von Arabiens Königin sind nicht so weiß wie dein Leib, nicht die Rosen im Garten der Königin, nicht die Füße der Dämmerung auf den Blättern, nicht die Brüste des Mondes auf dem Meere, nichts in der Welt ist so weiß wie dein Leib. Laß mich ihn berühren, deinen Leib! JOCHANAAN Zurück, Tochter Babylons! Durch das Weib kam das Übel in die Welt. Sprich nicht zu mir. Ich will dich nicht anhör n! Ich höre nur auf die Stimme des Herrn, meines Gottes. SALOME Dein Leib ist grauenvoll. Er ist wie der Leib eines Aussätzigen. Er ist wie eine getünchte Wand, wo Nattern gekrochen sind; wie eine getünchte Wand, wo die Skorpione ihr Nest gebaut. Er ist wie ein übertünchtes Grab voll widerlicher Dinge. Er ist gräßlich, dein Leib ist gräßlich. In dein Haar bin ich verliebt, Jochanaan. Dein Haar ist wie Weintrauben, wie Büschel schwarzer Trauben, an den Weinstöcken Edoms. Dein Haar ist wie die Cedern, die großen Cedern vom Libanon, die den Löwen und Räubern Schatten spenden. Die langen schwarzen Nächte, wenn der Mond sich verbirgt, wenn die Sterne bangen, sind nicht so schwarz wie dein Haar. Des Waldes Schweigen .... Nichts in der Welt ist so schwarz wie dein Haar. Laß mich es berühren, dein Haar! JOCHANAAN Zurück, Tochter Sodoms! Berühre mich nicht! Entweihe nicht den Tempel des Herrn, meines Gottes! SALOME Dein Haar ist gräßlich! Es starrt von Staub und Unrat. Es ist wie eine Dornenkrone auf deinen Kopf gesetzt. Es ist wie ein Schlangenknoten gewickelt um deinen Hals. Ich liebe dein Haar nicht. (Mit höchster Leidenschaft) Deinen Mund begehre ich, Jochanaan. Dein Mund ist wie ein Scharlachband an einem Turm von Elfenbein. Er ist wie ein Granatapfel, von einem Silbermesser zerteilt. Die Granatapfelblüten in den Gärten von Tyrus, glüh nder als Rosen, sind nicht so rot. Die roten Fanfaren der Trompeten, die das Nah n von Kön gen künden und vor denen der Feind erzittert, sind nicht so rot, wie dein roter Mund. Dein Mund ist röter als die Füße der Männer, die den Wein stampfen in der Kelter. Er ist röter als die Füße der Tauben, die in den Tempeln wohnen. Dein Mund ist wie ein Korallenzweig in der Dämm rung des Meer s, wie der Purpur in den Gruben von Moab, der Purpur der Könige. (Außer sich) Nichts in der Welt ist so rot wie dein Mund. Laß mich ihn küssen, deinen Mund. JOCHANAAN (leise, in tonlosem Schauder) Niemals, Tochter Babylons, Tochter Sodoms ... Niemals! SALOME Ich will deinen Mund küssen, Jochanaan. Ich will deinen Mund küssen. ... NARRABOTH (in höchster Angst und Verzweiflung) Prinzessin, Prinzessin, die wie ein Garten von Myrrhen ist, die die Taube aller Tauben ist, sieh diesen Mann nicht an. Sprich nicht solche Worte zu ihm. Ich kann es nicht ertragen. ... SALOME Ich will deinen Mund küssen, Jochanaan. Ich will deinen Mund küssen. (Narraboth ersticht sich und fällt tot zwischen Salome Jochanaan) SALOME Laß mich deinen Mund küssen, Jochanaan! JOCHANAAN Wird dir nicht bange, Tochter der Herodias? SALOME Laß mich deinen Mund küssen, Jochanaan! JOCHANAAN Tochter der Unzucht, es lebt nur Einer, der dich retten kann. Geh , such ihn. (Mit größter Wärme) Such ihn. Er ist in einem Nachen auf dem See von Galiläa und redet zu seinen Jüngern, (sehr feierlich) Knie nieder am Ufer des Sees, ruf ihn an und rufe ihn beim Namen, wenn er zu dir kommt, und er kommt zu allen, die ihn rufen, dann bücke dich zu seinen Füßen, daß er dir deine Sünden vergebe. SALOME (wie verzweifelt) Laß mich deinen Mund küssen, Jochanaan! JOCHANAAN Sei verflucht, Tochter der blutschänderischen Mutter, sei verflucht! SALOME Laß mich deinen Mund küssen, Jochanaan! JOCHANAAN Ich will dich nicht ansehn. Du bist verflucht, Salome. Du bist verflucht. (Er geht wieder in die Cisterne hinab) All rights reserved © Kimiyo Strauss,Richard/Salome/2
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installation アクセスログ解析visitors command設定ファイルに異常がないか調べる 静的モジュールを一覧する MPMを確認する方法 Ubuntu 8.04 で配布されているバイナリのApache/2.2.8のコンパイルオプションをチェック 忘れがちなdirective/ modulesMultiview ScoreBoardFile content negotiation - 言語や拡張子ごとにレスポンス内容を変更apacheによる暗黙のファイル名にパターン照合 ファイル名に対する拡張子をタイプマップファイルで指定する セキュリティのチェックリスト以下のディレクトリの権限をチェック ディレクティブサーバの署名 DAV ON Option Index FollowSymLinks Directory UserDir その他web scanners CGI設定ファイルやデータベースがDocumentRoot配下にないこと スクリプトが作成する一時ファイルがDocumentRoot配下に無いこと。バグが引き金になってサーバーサイドの情報を書き込む可能性があるから。逆に言うとApacheユーザが書き込み可能なディレクトリはDocumentRoot以下に持たないこと スクリプトの拡張子をURLに使用しないこと .pl .cgi mod_rewriteやフレームワークに備え付けのルーターを使用してマッピングを変更する。 Performance TuningApacheのDirectiveHostnameLookups AllowOverride None Option -FollowSymLinks installation 静的に組み込みたいモジュール 名前 組込可否 mod_auth_basic mod_authz_user mod_authn_file アクセスログ解析 visitors visitors visitorsはコマンドを打って、htmlを出力するという仕組みなので、cronにコマンドを登録する必要がある。 cronについて cronには2つの動作のさせ方がある。 + crontabコマンドでユーザごとのタスクを/var/spool/cron/(ubuntuの場合のパス)に保存する方法 + /etc/cron.hourly, cron.daily, ...にコマンドを保存する方法 - 上記の各ディレクトリ配下のコマンドは/etc/crontabが呼び出してくれている 詳しくは[[cronの設定 http //www.express.nec.co.jp/linux/distributions/knowledge/system/crond.html]]を参照 今回はcron.dailyにコマンドを追加する方法で設定する。/etc/cron.daily/visitorというファイルに以下の内容を記述する #!/bin/sh visitors -A -m 30 /var/log/apache2/access.log -o html /var/www/visitors/report.html 上記コマンドが期待の動作をするか試す場合は下記のようにしてあげないとリダイレクト後の権限がrootで動いてくれない sudo sh -c visitors -A -m 30 /var/log/apache2/access.log -o html /var/www/visitors/report.html /etc/cron.daily/visitorsをrwxrwxr-x(この権限って名前あったっけ?)にする。 chmod 775 /etc/cron.daily/visitors command 設定ファイルに異常がないか調べる $ apache2ctl configtest Syntax OK 静的モジュールを一覧する apache2 -l MPMを確認する方法 静的モジュールを一覧すると分かる。worker.cが組み込まれていればworker MPMで動作しており、prefork.cが組み込まれていればpreforkで動作している。 $ apache2 -l Compiled in modules core.c mod_log_config.c mod_logio.c worker.c http_core.c mod_so.c Ubuntu 8.04 で配布されているバイナリのApache/2.2.8のコンパイルオプションをチェック $ apache2 -V Server version Apache/2.2.8 (Ubuntu) Server built Mar 10 2009 18 05 43 Server s Module Magic Number 20051115 11 Server loaded APR 1.2.11, APR-Util 1.2.12 Compiled using APR 1.2.11, APR-Util 1.2.12 Architecture 32-bit Server MPM Worker threaded yes (fixed thread count) forked yes (variable process count) Server compiled with.... -D APACHE_MPM_DIR="server/mpm/worker" -D APR_HAS_SENDFILE -D APR_HAS_MMAP -D APR_HAVE_IPV6 (IPv4-mapped addresses enabled) -D APR_USE_SYSVSEM_SERIALIZE -D APR_USE_PTHREAD_SERIALIZE -D SINGLE_LISTEN_UNSERIALIZED_ACCEPT -D APR_HAS_OTHER_CHILD -D AP_HAVE_RELIABLE_PIPED_LOGS -D DYNAMIC_MODULE_LIMIT=128 -D HTTPD_ROOT="" -D SUEXEC_BIN="/usr/lib/apache2/suexec" -D DEFAULT_PIDLOG="/var/run/apache2.pid" -D DEFAULT_SCOREBOARD="logs/apache_runtime_status" -D DEFAULT_ERRORLOG="logs/error_log" -D AP_TYPES_CONFIG_FILE="/etc/apache2/mime.types" -D SERVER_CONFIG_FILE="/etc/apache2/apache2.conf" 忘れがちなdirective/ modules Multiview http //www.itmedia.co.jp/help/tips/linux/l0499.html ScoreBoardFile 親プロセスと子プロセス間の通信用にサーバーで使用されるファイルの設定 content negotiation - 言語や拡張子ごとにレスポンス内容を変更 apacheによる暗黙のファイル名にパターン照合 Multiview ファイル名に対する拡張子をタイプマップファイルで指定する AddHandler type-map セキュリティのチェックリスト @IT攻撃者に有効な情報を与えない対策 以下のディレクトリの権限をチェック ServerRoot rootユーザのみアクセス可能にする -rw-r--r-- 1 root root DocumentRoot Apacheのユーザ(Userディレクティブで定義されたユーザ)またはグループ(Groupディレクティブで定義されたグループ)のみがウェブコンテンツのディレクトリにアクセスできるようにする。Apache userは読み取り・実行アクセスのみ行うので書き込み権限は必要ない。書き込み -コンテンツ作成(手作業、プログラムによる静的ページの自動生成を含む) - はApacheのグループに所属しているユーザから行う。 $ chmod -R 2570 /www/htdocs -r-xrws--- 1 www-data www-data 2570の2はsetgid ScriptAlias Apacheのユーザ(Userディレクティブで定義されたユーザ)のみがアクセスできるようにする。Apache userは読み取り・実行アクセスのみ行うので書き込み権限は必要ない。CGIの自動生成を行わない限り、Apache group権限での書き込みは行われない。そのため、所有グループはApache groupではなく開発専用の別のグループを割り当てる。 #webevは開発グループ chown -R www-data.webdev /www/cgi-bin chmod -R 2570 /www/cgi-bin CustomLog Ubuntuの初期設定のまま変えない -rw-r----- 1 syslog adm -rw-r----- 1 root adm ディレクティブ サーバの署名 ServerSignature Off エラー画面などにサーバのバージョンなどの情報が表示されてしまうのを防ぐ ServerTokens ProductOnly HTTP Headerにサーバの情報が表示されてしまうのを防ぐ telnet open www.yourserver.com 80 Trying 10.0.0.2... Connected to www.yourserver.com Escape character is ^] . HEAD / 1.1 HTTP/1.1 403 Forbidden Date Mon, 09 Nov 2009 22 30 41 GMT Server Apache/2.2.9 (Ubuntu) DAV/2 SVN/1.5.1 Phusion_Passenger/2.2.5 Connection close Content-Type text/html; charset=iso-8859-1 それでも消えないHeader情報はmod_headersで消せる。 DAV ON DAVディレクティブがOnになっていると RESTが有効になってしまう。 例えば以下の例では/var/www/html/webdav以下のディレクトリでPUT DELETEなどのメソッドが有効である。 Directory /var/www/html/webdav DAV On /Directory 特定のメソッドの実行に人称を加えたい場合は以下の様にLImitで制限する。 Limit POST PUT DELETE Require valid-user /Limit Option Index Indexが上位から継承されているときは Option -Indexを指定し、それ以外の場合はOptionからIndexの指定を単に無くす。 FollowSymLinks FollowSymLinksディレクティブをはずす。もしくは-FollowSymLinksを指定する。 Directory 上位ディレクトリで全てDenyした上で下位ディレクトリをそれぞれ使用するタイミングでAllowする。 Directory / Order deny,allow Deny from all /Directory Directory “/www/htdocs” Order deny,allow Allow from all /Directory UserDir http //www.domain.com/~username が無効であることを確認 その他 ApacheをconfigureするときのオプションでSuExecが実行できるコマンドのPATHを指定できる。 --suexec-safepath=”/usr/local/bin /usr/bin /bin” 専用のフォルダを作成し、そこに実行するであろうコマンドのsymリンクだけを作成すればよい。 sudo mkdir /usr/bin/suexec ln /usr/bin/whois /usr/bin/suexec/whois web scanners http //www.devx.com/security/Article/39218/1954 CGI 設定ファイルやデータベースがDocumentRoot配下にないこと スクリプトが作成する一時ファイルがDocumentRoot配下に無いこと。バグが引き金になってサーバーサイドの情報を書き込む可能性があるから。逆に言うとApacheユーザが書き込み可能なディレクトリはDocumentRoot以下に持たないこと スクリプトの拡張子をURLに使用しないこと .pl .cgi mod_rewriteやフレームワークに備え付けのルーターを使用してマッピングを変更する。 Performance Tuning まず以下の項目をチェックする Memoryの検討 HDの検討 プロセッサーの検討はCGIが高度な計算をしる以外の場合は特に大きな効果がない ネットワークフローの検討 - bandwidthを他のサーバ(web svr, DB svr, NFS)と共有していないか確認する - Ethernet switch、Load balancerの導入、パケットの経路の確認 OSのチューニング - 後記 その上でApacheのDirectiveのTuningを開始する。 ApacheのDirective HostnameLookups HostnameLookupsはリクエストがあるたびにリモートホスト(クライアント)のホスト名を取りに行くので使わない AllowOverride None AllowOverride はNoneを設定する。そうでない場合、例えば%DocumentRoot%/images/photos/20090921/birthday.jpegへのリクエストは各階層において.htaccessを探すFileI/Oが発生する。 %DocumentRoot%/.htaccess %DocumentRoot%/images/.htaccess %DocumentRoot%/images/photos/20090921/.htaccess Option -FollowSymLinks FollowSymLinksはセキュリティを低下するため”-”を付け足すかserver sectionのOptionには記述しないでおきたいところ。しかし、その場合Apacheは各リクエストに対してlstat()を呼び出し、これがパフォーマンスの低下につながる。これを避けるにはOption FollowSymLinksを記述した上でシムリンクを検索する。 find your_top_web_directory -type l -print 以下広告
https://w.atwiki.jp/elvis/pages/6900.html
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Biology Chapters 1-21/Parts 1-4 Harcourt College Pub? Eldra P. Solomon? HarcourtCollegePub? EldraP.Solomon? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-BiologicalSciences? Technology in America A Brief History Wadsworth Pub Co? Alan I. Marcus? Howard P. Segal? WadsworthPubCo? AlanI.Marcus? HowardP.Segal? ジャンル別? Subjects-Computers&Internet-General? Subjects-History-Americas-UnitedStates-19thCentury-General? Subjects-History-Americas-UnitedStates-20thCentury-General? Subjects-Nonfiction-SocialSciences-Sociology-Culture? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Technical Communication Wadsworth Pub Co? Rebecca E. Burnett? WadsworthPubCo? RebeccaE.Burnett? ジャンル別? Substores-UnknownASINs-6? Subjects-Science-General Subjects-Science-Technology-General&Reference Technical Communication A Reader-Centered Approach Heinle & Heinle Pub? Paul V. Anderson? Heinle&HeinlePub? 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Franciscus Junius, 1591–1677 jp. フランキスクス・ユニウス fr. François du Jon De Pictura Veterum, 1637(1er). 1637 http //books.google.co.jp/books?id=Bj4VAAAAQAAJ source=gbs_navlinks_s 1637 http //books.google.co.jp/books?id=05-cdydS06AC source=gbs_navlinks_s The Painting of the Ancients, 1638. De Schilder-konst der Oude begrepen in drie boecken, 1641 De Pictura Veterum, 1694(2me). 1694 http //books.google.co.jp/books?id=tpFDAAAAcAAJ source=gbs_navlinks_s Lessing, Laokoon, XXIX. tr. jp. 斉藤栄治訳, 『ラオコオン』, 1970, 岩波文庫. Schon in seinen Schriften über die Nachahmung der griechischen Kunstwerke ist Herr Winckelmann einige Male durch den Junius verführt worden. Junius ist ein sehr verfänglicher Autor; sein ganzes Werk ist ein Cento, und da er immer mit den Worten der Alten reden will, so wendet er nicht selten Stellen aus ihnen auf die Malerei an, die an ihrem Orte von nichts weniger als von der Malerei handeln. ヴィンケルマン氏は、ギリシアの美術作品の模倣に関するその著作において、すでに再三ユニウスのために誤りを犯している。ユニウスはひどくあぶなっかしい著述家で、その全著作は一種のつぎはぎ細工である。彼はつねに古代人の言葉で語ろうとするので、原典では全く絵画と何の関係もない箇所をとってきて、それを絵画にあてはめることも稀ではない。 *********************************************
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SEED Plane Ability Edition În anul 70 e.n., războiul care a izbucnit între Plant și „Alianța Pământului” s-a intensificat când o rachetă nucleară a fost trasă asupra fabricii agricole Junius Seven. Războiul, care era de așteptat să se încheie cu o victorie pentru forțele superioare Aliate ale Pământului, se află într-un impas de 11 luni.În anul 71 e.n., Kira Yamato, un tânăr coordonator cu specializare în inginerie la o școală tehnică, trăia în pace în colonia Heliopolis din Orb, o țară neutră. Cu toate acestea, în cadrul acestei colonii, dezvoltarea a cinci costume mobile și construcția unui nou cuirasat de către Forțele Aliate se desfășoară în secret, iar la primirea acestor informații, escadrila Kruse a ZAFT începe o operațiune de a o sechestra pe cont propriu.Viața de zi cu zi s-a schimbat complet și colonia s-a transformat într-un câmp de luptă. În timp ce încearcă să scape, Kira ajunge la fabrica MS și întâlnește o luptă aprigă între soldații aliați și soldații ZAFT. Printre ei s-a numărat și cel mai bun prieten al său din copilărie, Athrun Zala.Athrun se reîntâlnește cu Kira într-un loc neașteptat și, deși este confuz, prinde MS „Aegis Gundam”. La îndemnul ofițerului tehnic al Alianței Murrue Ramius, care a fost prezent, Kira se îmbarcă în avionul rămas, Strike Gundam, și încearcă să evadeze. Cu toate acestea, el este prins într-o bătălie cu MS Jin din echipa lui Kruse, care îl aștepta. La început, Maryu, care nici măcar nu este pilot, pilotează aeronava cu brațul rănit din cauza focuri de armă cu Athrun, iar treptat este forțată într-un colț, dar când Kira se află într-o situație disperată, preia cu forța pilotul. , iar pilotul nu poate finaliza zborul. El face o ispravă de a rescrie instantaneu sistemul de operare al aeronavei sale și îl învinge pe Jin.Kira se reunește cu prietenii ei care scăpaseră în siguranță, dar bătălia continuă. Deoarece numai Kira se poate descurca cu Strike Gundam, Maryu îi cere să iasă pentru a scăpa cu succes din colonie. Pentru a-și proteja prietenii, Kira se urcă fără tragere la bord pe Strike Gundam și luptă împotriva ZAFT. Arhanghelul coboară pe Pământ după o bătălie în spațiu și se îndreaptă spre Alaska, cartierul general al Forțelor Aliate.Cu toate acestea, Kira începe treptat să aibă îndoieli cu privire la război pe măsură ce află de posibilitatea unui război de exterminare și de bătălia cu Andrew Baldfeld și alți inamici care o așteaptă când aterizează. Athrun o întâlnește pe câmpul de luptă și pe Cagalli Yura Athha, prințesa din Orb și, deși se ciocnesc, se împacă. Ei vorbesc despre lanțul negativ de evenimente, inclusiv atacul nuclear asupra centralei și Neutron Jammer care a fost aruncat pe Pământ ca răzbunare și treptat devin atrași unul de celălalt. Pe de altă parte, Rau Le Creuset, căpitanul echipei Cruze, se apropie de Patrick Zala, un dur ZAFT și tatăl lui Athrun.Arhanghelul luptă împotriva ZAFT la sol. În mijlocul acestui lucru, pasagera lui Blitz, Nicole Amalfi, este ucisă într-o luptă cu Aslan și prietenii săi. O ruptură apare în relația dintre Kira și Athrun, iar după o luptă aprigă, Strike și Aegis sunt învinși. În ciuda faptului că i-a pierdut pe Kira și pe tovarășul său Thor Koenig, Arhanghelul ajunge la Alaska JOSH-A, cartierul general al Forțelor Aliate. Între timp, Kira, care a fost rănită în bătălia crâncenă cu Athrun, stătea cu Lacus Clyne, fiica unui membru influent al Plantului, la aranjamentul maestrului Malkio.În acest moment, Patrick preluase controlul asupra fabricii și a efectuat o operațiune majoră numită „Operațiunea Spitbreak” ca o operațiune de curățare pentru a distruge Cartierul General al Federației Pământului. Kira primește vești despre un atac în Alaska, unde probabil că vor fi prietenii săi, și este mișcat de acest lucru, Lacus îi încredințează Kirei cel mai avansat costum mobil al ZAFT, Freedom Gundam.Alaska este în pericol de a fi distrusă de atacul total al ZAFT, iar Mu La Flaga, care se simte inconfortabil din cauza asta, decide să folosească super-arma „Cyclops” pentru a contracara atacul forțelor terestre ale ZAFT. El află că plănuiește o operațiune sinucigașă cu bombă care servește și ca eliminarea membrilor nedoriți ai organizației.După ce a fost informată de acest fapt de către Muu, Maryu încearcă să evadeze din Alaska, dar este forțată într-un colț de urmărirea lui ZAFT. Kira, care a primit Libertatea, coboară acolo și îl salvează pe Arhanghel. După ce a auzit informațiile din interior de la Murrieu, el îi sfătuiește pe soldații din ambele părți ale ZAFT aliat să se retragă. Cu toate acestea, Cyclops este activat și Alaska este distrusă. Pierderi uriașe apar din cauza soldaților de ambele părți care nu reușesc să scape. Frustrat de acest lucru, ZAFT atacă Panama, care a fost ținta inițială a Operațiunii Spit Break, dar războiul escaladează într-un război de exterminare în care chiar și cei care se predau sunt uciși.La fabrică, Patrick, care este învinuit pentru eșecul misiunii Alaska, arestează un membru moderat al parlamentului Pământului pentru cooperarea sa în capturarea Libertății de către Lacus Clyne. Mai mult, îi ordonă lui Athrun să primească noul costum mobil „Justice Gundam” (Justice) și să-l omoare pe Freedom capturat și pe martorii săi. Ca urmare a acestei serii de evenimente, tatăl lui Lacus, fostul președinte Siegel Klein, a fost împușcat și ucis, iar Lacus a scăpat, ascunzându-se în subteran și făcând emisiuni anti-război către cetățenii uzinei. Lacus îl întâlnește și pe Athrun și îl întreabă despre justiția bătăliei.După ce a evadat cu succes din Alaska, Arhanghelul devine suspicios cu privire la sacrificiile forțelor aliate față de aliații săi și se retrage la Orb. Cu toate acestea, globul este invadat și de complotul lui Murta Azrael, șeful complexului industrial militar aliat. Orb se ciocnește cu Forțele Aliate datorită propriilor forțe, Freedom, Strike reparat, Buster Gundam (Buster) care a devenit un aliat, Athrun care a dezertat de la ZAFT din cauza întrebării lui Lacus și a prezenței lui Cagalli, Justiție și alții, dar apărarea linia a fost încălcată și, după ce a scăpat de unele dintre trupele rămase și de succesorul său, Kagali, pe cuirasatul Kusanagi, Orb a autodistrus Insula Onogoro, care devenise un câmp de luptă. Tatăl adoptiv al lui Cagalli, Uzumi Nara Athha, care era o persoană puternică în Orb, a murit aici.Arhanghelul Kusanagi evadează în spațiu și se alătură cu Eternal, o facțiune moderată (facțiunea Klein) care a devenit o rezistență în cadrul Plant (alianță cu trei vase). El se ascunde în zona coloniei abandonate din Mendel, dar este urmărit de echipa Kruse a ZAFT și de Dominionul Aliat, care îl include pe Azrael, și se angajează într-o luptă dus-întors. Acolo, Kira află că Mendel este orașul ei natal, secretul nașterii sale și legătura ei cu Kruse. De asemenea, este dezvăluit că Kruse a urât lumea încă de la nașterea sa și o ducea la un război de dispariție. Mulțumită în parte aranjamentului lui Kruse, Azrael obține un Neutron Jammer Canceller care permite reutilizarea tehnologiei de fisiune nucleară într-o serie de bătălii și forțează un vot pentru a o transforma într-o rachetă nucleară. Boaz, una dintre bazele de apărare din prima linie a ZAFT, cade într-un atac nuclear, iar ZAFT își retrage linia de apărare la Jachin Due, o fortăreață satelit din apropierea coloniei sale de origine.Înfuriat de asta, Patrick decide să folosească arma supremă, arma nucleară Genesis. Pentru a ataca țara natală a lui Plant, începe o luptă între forțele aliate, care au invadat cu rachete nucleare, și Alianța cu trei nave, care vrea să oprească luptele. ZAFT a tăiat Forțele Aliate Pământului cu o salvă de arme nucleare Genesis și, într-un atac ulterior, a distrus Craterul Ptolemy, baza Forțelor Aliate de pe Lună. Mai mult, ne stabilim următoarele obiective pe Pământ. Înfuriată de asta, Murta Azrael ordonă un alt atac nuclear asupra centralei, dar acesta este blocat de alianța cu trei nave care intervine cu forța. După o luptă aprigă, Azrael a murit împreună cu nava sa Dominion.Kira luptă să oprească Genesis, care continuă să țintească Pământul și se confruntă cu costumul mobil al ZAFT „Providence Gundam” (Providence) și Kruse. Libertatea și Providența se ciocnesc, iar Kruse face apel la Kira cu privire la aspectele negative ale umanității, dar Kira respinge acest lucru și o învinge pe Providence. Libertatea este cuprinsă de o explozie și este grav avariată. În același timp, Geneza a fost distrusă și de autodistrugerea Justiției. În același timp, Patrick este împușcat ucis de un subordonat moderat din cadrul ZAFT, iar un parlamentar moderat care fusese reținut profită de confuzie și solicită încetarea focului coaliției.Kira, rănită în bătălia cu Kruse, plutește prin spațiu. Cagalli și Athrun au reușit să scape și s-au îndreptat spre el pe Strike Rouge. Arme Mobile Suit Gundam SEED