約 5,769,776 件
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1. Mondestrunken Den Wein, den man mit Augen trinkt, Gießt Nachts der Mond in Wogen nieder, Und eine Springflut überschwemmt Den stillen Horizont. Gelüste, schauerlich und süß, Durchschwimmen ohne Zahl die Fluten! Den Wein, den man mit Augen trinkt, Gießt Nachts der Mond in Wogen nieder. Der Dichter, den die Andacht treibt, Berauscht sich an dem heil gen Tranke, Dem Himmel wendet er verzückt Das Haupt und taumelnd saugt und schlürft er Den Wein, den man mit Augen trinkt. 2. Colombine Des Mondlichts bleiche Blüten, Die weißen Wunderrosen, Blühn in den Julinächten - O bräch ich eine nur! Mein banges Leid zu lindern, Such ich am dunklen Strome Des Mondlichts bleiche Blüten, Die weißen Wunderrosen. Gestillt wär all mein Sehnen, Dürft ich so märchenheimlich, so selig leis - entblättern Auf deine braunen Haare Des Mondlichts bleiche Blüten! 3. Der Dandy Mit einem phantastischen Lichtstrahl Erleuchtet der Mond die krystallnen Flakons Auf dem schwarzen, hochheiligen Waschtisch Des schweigenden Dandys von Bergamo. In tönender, bronzener Schale Lacht hell die Fontäne, metallischen Klangs. Mit einem phantastischen Lichtstrahl Erleuchtet der Mond die krystallnen Flakons. Pierrot mit dem wächsernen Antlitz Steht sinnend und denkt wie er heute sich schmink? Fort schiebt er das Rot und des Orients Grün Und bemalt sein Gesicht in erhabenem Stil Mit einem phantastischen Mondstrahl. 4. Eine blasse Wäscherin Eine blasse Wäscherin Wäscht zur Nachzeit bleiche Tücher, Nackte, silberweiße Arme Steckt sie nieder in die Flut. Durch die Lichtung schleichen Winde, Leis bewegen sie den Strom. Eine blasse Wäscherin Wäscht zur Nachtzeit bleiche Tücher. Und die sanfte Magd des Himmels, Von den Zweigen zart umschmeichelt, Breitet auf die dunklen Wiesen Ihre lichtgewobnen Linnen - Eine blasse Wäscherin. 5. Valse de Chopin Wie ein blasser Tropfen Bluts Färbt die Lippen einer Kranken, Also ruht auf diesen Tönen Ein vernichtungßüchtger Reiz. Wilder Lust Accorde Stören Der Verzweiflung eisgen Traum - Wie ein blasser Tropfen Bluts Färbt die Lippen einer Kranken. Heiß und jauchzend, süß und schmachtend, Melancholisch düstrer Walzer, Kommst mir nimmer aus den Sinnen! Haftest mir an den Gedanken, Wie ein blasser Tropfen Bluts! 6. Madonna Steig, o Mutter aller Schmerzen, Auf den Altar meiner Verse! Blut aus deinen magren Brüsten Hat des Schwertes Wut vergossen. Deine ewig frischen Wunden, Gleichen Augen, rot und offen. Steig, o Mutter aller Schmerzen, Auf den Altar meiner Verse! In den abgezehrten Händen Hältst du deines Sohnes Leiche, Ihn zu zeigen aller Menschheit - Doch der Blick der Menschen meidet Dich, o Mutter aller Schmerzen! 7. Der kranke Mond Du nächtig todeskranker Mond Dort auf des Himmels schwarzem Pfühl, Dein Blick, so fiebernd übergroß, Bannt mich wie fremde Melodie. An unstillbarem Liebesleid Stirbst du, an Sehnsucht, tief erstickt, Du nächtig todeskranker Mond Dort auf des Himmels schwarzem Pfühl. Den Liebsten, der im Sinnenrausch Gedankenlos zur Liebsten schleicht, Belustigt deiner Strahlen Spiel - Dein bleiches, qualgebornes Blut, Du nächtig todeskranker Mond. 8. Nacht Finstre, schwarze Riesenfalter Töteten der Sonne Glanz. Ein geschlossnes Zauberbuch, Ruht der Horizont - verschwiegen. Aus dem Qualm verlorner Tiefen Steigt ein Duft, Erinnrung mordend! Finstre, schwarze Riesenfalter Töteten der Sonne Glanz. Und vom Himmel erdenwärts Senken sich mit schweren Schwingen Unsichtbar die Ungetüme Auf die Menschenherzen nieder . . . Finstre, schwarze Riesenfalter. 9. Gebet an Pierrot Pierrot! Mein lachen Hab ich verlernt! Das Bild des Glanzes Zerfloß - Zerfloß! Schwarz weht die Flagge Mir nun vom Mast. Pierrot! Mein Lachen Hab ich verlernt! O gib mir wieder, Roßarzt der Seele, Schneemann der Lyrik, Durchlaucht vom Monde, Pierrot - mein Lachen! 10. Raub Rote, fürstliche Rubine, Blutge Tropfen alten Ruhmes, Schlummern in den Totenschreinen, Drunten in den Grabgewölben. Nachts, mit seinen Zechkumpanen, Steigt Pierrot hinab - zu rauben Rote, fürstliche Rubine, Blut ge Tropfen alten Ruhmes. Doch da - sträuben sich die Haare, Bleiche Furcht bannt sie am Platze Durch die Finsternis - wie Augen! - Stieren aus den Totenschreinen - Rote, fürstliche Rubine. 11. Rote Messe Zu grausem Abendmahle, Beim Blendeglanz des Goldes, Beim Flackerschein der Kerzen, Naht dem Altar - Pierrot! Die Hand, die gottgeweihte, Zerreißt die Priesterkleider Zu grausem Abendmahle, Beim Blendeglanz des Goldes. Mit segnender Gebärde Zeigt er den bangen Seelen Die triefend rote Hostie Sein Herz - in blutgen Fingern - Zu grausem Abendmahle! 12. Galgenlied Die dürre Dirne Mit langem Halse Wird seine letzte Geliebte sein. In seinem Hirne Steckt wie ein Nagel Die dürre Dirne Mit langem Halse. Schlank wie die Pinie, Am Hals ein Zöpfchen - Wollüstig wird sie Den Schelm umhalsen, Die dürre Dirne! 13. Enthauptung Der Mond, ein blankes Türkenschwert Auf einem schwarzen Seidenkissen, Gespenstisch groß - dräut er hinab Durch schmerzendunkle Nacht. Pierrot irrt ohne Rast umher Und starrt empor in Todesängsten Zum, Mond, dem blanken Türkenschwert Auf einem schwarzen Seidenkissen. Es schlottern unter ihm die Knie, Ohnmächtig bricht er jäh zusammen. Er wähnt es sause strafend schon Auf seinen Sünderhals hernieder Der Mond, das blanke Türkenschwert. 14. Die Kreuze Heilige Kreuze sind die Verse, Dran die Dichter stumm verbluten, Blindgeschlagen von der Geier Flatterndem Gespensterschwarme! In den Leibern schwelgten Schwerter, Prunkend in des Blutes Scharlach! Heilge Kreuze sind die Verse, Dran die Dichter stumm verbluten. Tot das Haupt - erstarrt die Locken - Fern, verweht der Lärm des Pöbels. Langsam sinkt die Sonne nieder, Eine rote Königskrone. Heilge Kreuze sind die Verse! 15. Heimweh Lieblich klagend - ein kristallnes Seufzen Aus Italiens alter Pantomime, Klingts herüber wie Pierrot so hölzern, So modern sentimental geworden. Und es tönt durch seines Herzens Wüste, Tönt gedämpft durch alle Sinne wieder, Lieblich klagend - ein kristallnes Seufzen Aus Italiens alter Pantomime. Da vergißt Pierrot die Trauermienen! Durch den bleichen Feuerschein des Mondes, Durch des Lichtmeers Fluten schweift die Sehnsucht Kühn hinauf, empor zum Heimathimmel, Lieblich klagend - ein kristallnes Seufzen! 16. Gemeinheit In den blanken Kopf Cassanders, Dessen Schrein die Luft durchzetert, Bohrt Pierrot mit Heuchlermienen, Zärtlich - einen Schädelbohrer! Darauf stopft er mit dem Daumen Seinen echten türkischen Tabak In den blanken Kopf Cassanders, Dessen Schrein die Luft durchzetert! Dann dreht er ein Rohr von Weichsel Hinten in die glatte Glatze Und behäbig schmaucht und pafft er Seinen echten türkischen Tabak Aus dem blanken Kopf Cassanders! 17. Parodie Stricknadeln, blank und blinkend, In ihrem grauen Haar, Sitzt die Duenna murmelnd, Im roten Röckchen da. Sie wartet in der Laube, Sie liebt Pierrot mit Schmerzen, Stricknadeln, blank und blinkend, In ihrem grauen Haar. Da plötzlich - horch! - ein Wispern! Ein Windhauch kichert leise Der Mond, der böse Spötter, Äfft nach mit seinen Strahlen - Stricknadeln, blink und blank. 18. Der Mondfleck Einen weißen Fleck des hellen Mondes Auf dem Rücken seines schwarzen Rockes, So spaziert Pierrot im lauen Abend, Aufzusuchen Glück und Abenteuer. Plötzlich stört ihn was an seinem Anzug. Er beschaut sich rings und findet richtig - Einen weißen Fleck des hellen Mondes Auf dem Rücken seines schwarzen Rockes. Warte! denkt er das ist so ein Gipsfleck! Wischt und wischt, doch bringt ihn nicht herunter Und so geht er, giftgeschwollen weiter, Reibt und reibt bis an den frühen Morgen - Einen weißen Fleck des hellen Mondes. 19. Serenade Mit groteskem Riesenbogen Kratzt Pierrot auf seiner Bratsche, Wie der Storch auf einem Beine, Knipst er trüb ein Pizzicato. Plötzlich naht Cassander, wütend Ob des nächt gen Virtuosen - Mit groteskem Riesenbogen Kratzt Pierrot auf seiner Bratsche. Von sich wirft er jetzt die Bratsche Mit der delikaten Linken Faßt den Kahlkopf er am Kragen - Träumend spielt er auf der Glatze Mit groteskem Riesenbogen. 20. Heimfahrt Der Mondstrahl ist das Ruder, Seerose dient als Boot Drauf fährt Pierrot gen Süden Mit gutem Reisewind. Der Strom summt tiefe Skalen Und wiegt den leichten Kahn. Der Mondstrahl ist das Ruder. Seerose dient als Boot. Nach Bergamo, zur Heimat, Kehrt nun Pierrot zurück; Schwach dämmert schon im Osten Der grüne Horizont. Der Mondstrahl ist das Ruder. 21. O alter Duft O alter Duft aus Märchenzeit Berauschest wieder meine Sinne! Ein närrisch Heer von Schelmerein Durchschwirrt die leichte Luft. Ein glückhaft Wünschen macht mich froh Nach Freuden, die ich lang verachtet O alter Duft aus Märchenzeit, Berauschest wieder mich! All meinen Unmut gab ich preis; Aus meinem sonnumrahmten Fenster Beschau ich frei die liebe Welt Und träum hinaus in selge Weiten . . . O alter Duft - aus Märchenzeit! 1. Mondestrunken Den Wein, den man mit Augen trinkt, Gießt Nachts der Mond in Wogen nieder, Und eine Springflut überschwemmt Den stillen Horizont. Gelüste, schauerlich und süß, Durchschwimmen ohne Zahl die Fluten! Den Wein, den man mit Augen trinkt, Gießt Nachts der Mond in Wogen nieder. Der Dichter, den die Andacht treibt, Berauscht sich an dem heil gen Tranke, Dem Himmel wendet er verzückt Das Haupt und taumelnd saugt und schlürft er Den Wein, den man mit Augen trinkt. 2. Colombine Des Mondlichts bleiche Blüten, Die weißen Wunderrosen, Blühn in den Julinächten - O bräch ich eine nur! Mein banges Leid zu lindern, Such ich am dunklen Strome Des Mondlichts bleiche Blüten, Die weißen Wunderrosen. Gestillt wär all mein Sehnen, Dürft ich so märchenheimlich, so selig leis - entblättern Auf deine braunen Haare Des Mondlichts bleiche Blüten! 3. Der Dandy Mit einem phantastischen Lichtstrahl Erleuchtet der Mond die krystallnen Flakons Auf dem schwarzen, hochheiligen Waschtisch Des schweigenden Dandys von Bergamo. In tönender, bronzener Schale Lacht hell die Fontäne, metallischen Klangs. Mit einem phantastischen Lichtstrahl Erleuchtet der Mond die krystallnen Flakons. Pierrot mit dem wächsernen Antlitz Steht sinnend und denkt wie er heute sich schmink? Fort schiebt er das Rot und des Orients Grün Und bemalt sein Gesicht in erhabenem Stil Mit einem phantastischen Mondstrahl. 4. Eine blasse Wäscherin Eine blasse Wäscherin Wäscht zur Nachzeit bleiche Tücher, Nackte, silberweiße Arme Steckt sie nieder in die Flut. Durch die Lichtung schleichen Winde, Leis bewegen sie den Strom. Eine blasse Wäscherin Wäscht zur Nachtzeit bleiche Tücher. Und die sanfte Magd des Himmels, Von den Zweigen zart umschmeichelt, Breitet auf die dunklen Wiesen Ihre lichtgewobnen Linnen - Eine blasse Wäscherin. 5. Valse de Chopin Wie ein blasser Tropfen Bluts Färbt die Lippen einer Kranken, Also ruht auf diesen Tönen Ein vernichtungßüchtger Reiz. Wilder Lust Accorde Stören Der Verzweiflung eisgen Traum - Wie ein blasser Tropfen Bluts Färbt die Lippen einer Kranken. Heiß und jauchzend, süß und schmachtend, Melancholisch düstrer Walzer, Kommst mir nimmer aus den Sinnen! Haftest mir an den Gedanken, Wie ein blasser Tropfen Bluts! 6. Madonna Steig, o Mutter aller Schmerzen, Auf den Altar meiner Verse! Blut aus deinen magren Brüsten Hat des Schwertes Wut vergossen. Deine ewig frischen Wunden, Gleichen Augen, rot und offen. Steig, o Mutter aller Schmerzen, Auf den Altar meiner Verse! In den abgezehrten Händen Hältst du deines Sohnes Leiche, Ihn zu zeigen aller Menschheit - Doch der Blick der Menschen meidet Dich, o Mutter aller Schmerzen! 7. Der kranke Mond Du nächtig todeskranker Mond Dort auf des Himmels schwarzem Pfühl, Dein Blick, so fiebernd übergroß, Bannt mich wie fremde Melodie. An unstillbarem Liebesleid Stirbst du, an Sehnsucht, tief erstickt, Du nächtig todeskranker Mond Dort auf des Himmels schwarzem Pfühl. Den Liebsten, der im Sinnenrausch Gedankenlos zur Liebsten schleicht, Belustigt deiner Strahlen Spiel - Dein bleiches, qualgebornes Blut, Du nächtig todeskranker Mond. 8. Nacht Finstre, schwarze Riesenfalter Töteten der Sonne Glanz. Ein geschlossnes Zauberbuch, Ruht der Horizont - verschwiegen. Aus dem Qualm verlorner Tiefen Steigt ein Duft, Erinnrung mordend! Finstre, schwarze Riesenfalter Töteten der Sonne Glanz. Und vom Himmel erdenwärts Senken sich mit schweren Schwingen Unsichtbar die Ungetüme Auf die Menschenherzen nieder . . . Finstre, schwarze Riesenfalter. 9. Gebet an Pierrot Pierrot! Mein lachen Hab ich verlernt! Das Bild des Glanzes Zerfloß - Zerfloß! Schwarz weht die Flagge Mir nun vom Mast. Pierrot! Mein Lachen Hab ich verlernt! O gib mir wieder, Roßarzt der Seele, Schneemann der Lyrik, Durchlaucht vom Monde, Pierrot - mein Lachen! 10. Raub Rote, fürstliche Rubine, Blutge Tropfen alten Ruhmes, Schlummern in den Totenschreinen, Drunten in den Grabgewölben. Nachts, mit seinen Zechkumpanen, Steigt Pierrot hinab - zu rauben Rote, fürstliche Rubine, Blut ge Tropfen alten Ruhmes. Doch da - sträuben sich die Haare, Bleiche Furcht bannt sie am Platze Durch die Finsternis - wie Augen! - Stieren aus den Totenschreinen - Rote, fürstliche Rubine. 11. Rote Messe Zu grausem Abendmahle, Beim Blendeglanz des Goldes, Beim Flackerschein der Kerzen, Naht dem Altar - Pierrot! Die Hand, die gottgeweihte, Zerreißt die Priesterkleider Zu grausem Abendmahle, Beim Blendeglanz des Goldes. Mit segnender Gebärde Zeigt er den bangen Seelen Die triefend rote Hostie Sein Herz - in blutgen Fingern - Zu grausem Abendmahle! 12. Galgenlied Die dürre Dirne Mit langem Halse Wird seine letzte Geliebte sein. In seinem Hirne Steckt wie ein Nagel Die dürre Dirne Mit langem Halse. Schlank wie die Pinie, Am Hals ein Zöpfchen - Wollüstig wird sie Den Schelm umhalsen, Die dürre Dirne! 13. Enthauptung Der Mond, ein blankes Türkenschwert Auf einem schwarzen Seidenkissen, Gespenstisch groß - dräut er hinab Durch schmerzendunkle Nacht. Pierrot irrt ohne Rast umher Und starrt empor in Todesängsten Zum, Mond, dem blanken Türkenschwert Auf einem schwarzen Seidenkissen. Es schlottern unter ihm die Knie, Ohnmächtig bricht er jäh zusammen. Er wähnt es sause strafend schon Auf seinen Sünderhals hernieder Der Mond, das blanke Türkenschwert. 14. Die Kreuze Heilige Kreuze sind die Verse, Dran die Dichter stumm verbluten, Blindgeschlagen von der Geier Flatterndem Gespensterschwarme! In den Leibern schwelgten Schwerter, Prunkend in des Blutes Scharlach! Heilge Kreuze sind die Verse, Dran die Dichter stumm verbluten. Tot das Haupt - erstarrt die Locken - Fern, verweht der Lärm des Pöbels. Langsam sinkt die Sonne nieder, Eine rote Königskrone. Heilge Kreuze sind die Verse! 15. Heimweh Lieblich klagend - ein kristallnes Seufzen Aus Italiens alter Pantomime, Klingts herüber wie Pierrot so hölzern, So modern sentimental geworden. Und es tönt durch seines Herzens Wüste, Tönt gedämpft durch alle Sinne wieder, Lieblich klagend - ein kristallnes Seufzen Aus Italiens alter Pantomime. Da vergißt Pierrot die Trauermienen! Durch den bleichen Feuerschein des Mondes, Durch des Lichtmeers Fluten schweift die Sehnsucht Kühn hinauf, empor zum Heimathimmel, Lieblich klagend - ein kristallnes Seufzen! 16. Gemeinheit In den blanken Kopf Cassanders, Dessen Schrein die Luft durchzetert, Bohrt Pierrot mit Heuchlermienen, Zärtlich - einen Schädelbohrer! Darauf stopft er mit dem Daumen Seinen echten türkischen Tabak In den blanken Kopf Cassanders, Dessen Schrein die Luft durchzetert! Dann dreht er ein Rohr von Weichsel Hinten in die glatte Glatze Und behäbig schmaucht und pafft er Seinen echten türkischen Tabak Aus dem blanken Kopf Cassanders! 17. Parodie Stricknadeln, blank und blinkend, In ihrem grauen Haar, Sitzt die Duenna murmelnd, Im roten Röckchen da. Sie wartet in der Laube, Sie liebt Pierrot mit Schmerzen, Stricknadeln, blank und blinkend, In ihrem grauen Haar. Da plötzlich - horch! - ein Wispern! Ein Windhauch kichert leise Der Mond, der böse Spötter, Äfft nach mit seinen Strahlen - Stricknadeln, blink und blank. 18. Der Mondfleck Einen weißen Fleck des hellen Mondes Auf dem Rücken seines schwarzen Rockes, So spaziert Pierrot im lauen Abend, Aufzusuchen Glück und Abenteuer. Plötzlich stört ihn was an seinem Anzug. Er beschaut sich rings und findet richtig - Einen weißen Fleck des hellen Mondes Auf dem Rücken seines schwarzen Rockes. Warte! denkt er das ist so ein Gipsfleck! Wischt und wischt, doch bringt ihn nicht herunter Und so geht er, giftgeschwollen weiter, Reibt und reibt bis an den frühen Morgen - Einen weißen Fleck des hellen Mondes. 19. Serenade Mit groteskem Riesenbogen Kratzt Pierrot auf seiner Bratsche, Wie der Storch auf einem Beine, Knipst er trüb ein Pizzicato. Plötzlich naht Cassander, wütend Ob des nächt gen Virtuosen - Mit groteskem Riesenbogen Kratzt Pierrot auf seiner Bratsche. Von sich wirft er jetzt die Bratsche Mit der delikaten Linken Faßt den Kahlkopf er am Kragen - Träumend spielt er auf der Glatze Mit groteskem Riesenbogen. 20. Heimfahrt Der Mondstrahl ist das Ruder, Seerose dient als Boot Drauf fährt Pierrot gen Süden Mit gutem Reisewind. Der Strom summt tiefe Skalen Und wiegt den leichten Kahn. Der Mondstrahl ist das Ruder. Seerose dient als Boot. Nach Bergamo, zur Heimat, Kehrt nun Pierrot zurück; Schwach dämmert schon im Osten Der grüne Horizont. Der Mondstrahl ist das Ruder. 21. O alter Duft O alter Duft aus Märchenzeit Berauschest wieder meine Sinne! Ein närrisch Heer von Schelmerein Durchschwirrt die leichte Luft. Ein glückhaft Wünschen macht mich froh Nach Freuden, die ich lang verachtet O alter Duft aus Märchenzeit, Berauschest wieder mich! All meinen Unmut gab ich preis; Aus meinem sonnumrahmten Fenster Beschau ich frei die liebe Welt Und träum hinaus in selge Weiten . . . O alter Duft - aus Märchenzeit! Schönberg,Arnold/Pierrot lunaire
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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)
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HER... Herdan, G.1956,"Chaucer s Authorship of the Equatorie of the Planets ". Language 32 254-9. Herdan, G.1966.The Advanced Theory of Language as Choice and Chance. N. Y. Springer-Verlag. Hermeston, Rod. 2011. " The Blaydon Races Lads and Lasses, Song Tradition and te Evolution of an Anthem". Language and Literature 20(4) 269-282. Hermeston, Rod. 2017. "Language, Differentiation and Convergence The Shifting Ideologies of Tyneside Dialect Song in the Nineteenth Century", in Dialect and Literature in the Long Nineteenth Century, ed. Jane Hodson. London New York Routledge. Hernandez, Nuria. 2011. "Personal Pronouns", in A Comparative Grammar of British English Dialects Modals, Pronouns and Complement Clauses, ed. Nuria Hernandez, Daniela Kolbe Monika Edith Schulz, pp. 53–191. Berlin Mouton de Gruyter. Hernández, Nuria, Daniela Kolbe Monika Edith Schulz. 2011. A Comparative Grammar of British English Dialects Modals, Pronouns and Complement Clauses. Berlin Mouton de Gruyter. Hernández-Campoy, J.M. Conde-Silvestre, J.C. (2015). "Assessing Variability and Change in Early English Letters". In A. Auer, D. Schreier R. J. Watts (eds.), Letter Writing and Language Change. Cambridge Cambridge University Press, 14-34. Hernández-Campoy, Juan M. 2016. "Authorship and Gender in English Historical Sociolinguistic Research Samples from the Paston Letters", in Current Trends in Historical Sociolinguistics, ed. Cinzia Russi, pp. 108-142. De Gruyter. Hernández-Campoy, Juan M. Tamara García-Vidal. 2018. "Style-Shifting and Accommodative Competence in Late Middle English Written Correspondence Putting Audience Design to the Test of Time". Folia Linguistica Historica 39(2) 383–420. Hernández-Campoy, Juan M. Tamara García-Vidal. 2018. "Persona management and identity projection in English medieval society Evidence from John Paston II". Journal of Historical Sociolinguistics 4(1) 1–31. Herriman, J. 1998. "Descriptions of Woman and Man in Present-Day English". Moderne Sprak XCII(2) 136-142. Herrmann, Tanja. 2005. "Relative Clauses in English Dialects of the British Isles". in A Comparative Grammar of British English Dialects Agreement, Gender, Relative Clauses, ed. Kortmann et al. Berlin Mouton de Gruyter. Herskovits, Annette. 1986. Language and Spatial Cognition An Interdisciplinary Study of the Prepositions in English. Cambridge Cambridge University Press.
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ZWEITER AUFZUG ERSTE SZENE Die Bühne stellt im Vordergrund eine Strasse im Längendurchschnitt dar, welche in der Mitte von einer schmalen Gasse, nach dem Hintergrunde zu krumm abbiegend, durchschnitten wird, so dass sich in Front zwei Eckhäuser darbieten, von denen das eine reichere - rechts - das Haus Pogners, das andere einfachere - links - das des Hans Sachs ist. - Vor Pogners Haus eine Linde; vor dem Sachsens ein Fliederbaum. Heiterer Sommerabend, im Verlaufe der ersten Auftritte allmählich einbrechende Nacht. David ist darüber her, die Fensterläden nach der Gasse zu von aussen zu schliessen. Andere Lehrbuben tun das gleiche bei anderen Häusern LEHRBUBEN an der Arbeit Johannistag! Johannistag! Blumen und Bänder, so viel man mag! DAVID leise für sich Das Blumenkränzlein von Seiden fein möcht es mir balde beschieden sein! MAGDALENE ist mit einem Korbe am Arm aus Pogners Haus gekommen und sucht David unbemerkt sich zu nähern Pst, David! DAVID nach der Gasse zu sich umwendend, heftig Ruft ihr schon wieder? Singt allein eure dummen Lieder! Er wendet sich unwillig zur Seite LEHRBUBEN zuerst Magdalenes Stimme nachahmend David, was soll s? Wärst nicht so stolz, schaut st besser um, wärst nicht so dumm! Johannistag! Johannistag! Wie der nur die Jungfer Lene nicht kennen mag! MAGDALENE David, hör doch! Kehr dich zu mir! DAVID Ach, Jungfer Lene! Ihr seid hier? MAGDALENE auf ihren Korb deutend Bring dir was Gut s; schau nur hinein! Das soll für mein lieb Schätzel sein. Erst aber schnell, wie ging s mit dem Ritter? Du rietest ihm gut? Er gewann den Kranz? DAVID Ach, Jungfer Lene! Da steht s bitter; der hat versungen und ganz vertan! MAGDALENE erschrocken Versungen? Vertan? DAVID Was geht s Euch nur an? MAGDALENE den Korb, nach welchem David die Hand ausstreckt, heftig zurückziehend Hand von der Taschen! Nichts zu naschen! Hilf Gott! Unser Junker vertan! Sie geht mit Gebärden der Trostlosigkeit ins Haus zurück. David sieht verblüfft nach Die LEHRBUBEN welche unbemerkt nähergeschlichen waren und gelauscht hatten, präsentieren sich jetzt, wie glückwünschend, David Heil, Heil zur Eh dem jungen Mann! Wie glücklich hat er gefreit! Wir hörten s all und sahen s an der er sein Herz geweiht, für die er lässt sein Leben, die hat ihm den Korb nicht gegeben. DAVID auffahrend Was steht ihr hier faul? Gleich haltet das Maul! Die LEHRBUBEN schliessen einen Ring um David und tanzen um ihn Johannistag! Johannistag! Da freit ein jeder, wie er mag. Der Meister freit, der Bursche freit! Da gibt s Geschlamb und Geschlumbfer. Der Alte freit die junge Maid, der Bursche die alte Jumbfer! Juchhei! Juchhei! Johannistag! David ist im Begriff wütend dreinzuschlagen, als Sachs, der aus der Gasse hervorgekommen, dazwischentritt. Die Lehrbuben fahren auseinander SACHS zu David Was gibt s? Treff ich dich wieder am Schlag? DAVID Nicht ich! Schandlieder singen die. SACHS Hör nicht drauf! Lern s besser wie sie! Zur Ruh ! Ins Haus! Schliess und mach Licht! Die Lehrbuben zerstreuen sich DAVID Hab ich heut Singstund ? SACHS Nein, singst nicht zur Straf für dein heutig frech Erdreisten. Die neuen Schuh steck mir auf den Leisten! David und Sachs sind in die Werkstatt eingetreten und gehen durch eine innere Tür ab ZWEITE SZENE Pogner und Eva, vom Spaziergang heimkehrend, die Tochter leicht am Arme des Vaters eingehängt, sind schweigsam die Gasse heraufgekommen POGNER noch auf der Gasse, durch eine Klinze im Fensterladen von Sachs Werkstatt spähend Lass seh n, ob Nachbar Sachs zu Haus? Gern spräch ich ihn. Trät ich wohl ein? David kommt mit Licht aus der Kammer, setzt sich damit an den Werktisch am Fenster und macht sich über die Arbeit her EVA spähend Er scheint daheim kommt Licht heraus. POGNER Tu ich s? Zu was doch? - Besser, nein! Er wendet sich ab Will einer Selt nes wagen, was liess er sich dann sagen? - - Er sinnt nach War er s nicht, der meint , ich ging zu weit? Und blieb ich nicht im Geleise, war s nicht auf seine Weise? Doch war s vielleicht auch - Eitelkeit? Er wendet sich zu Eva Und du, mein Kind, du sagst mir nichts? EVA Ein folgsam Kind, gefragt nur spricht s. POGNER Wie klug! Wie gut! - Komm, setz dich hier ein Weil noch auf die Bank zu mir. Er setzt sich auf die Steinbank unter der Linde EVA Wird s nicht zu kühl? ‘s war heut gar schwül. POGNER Nicht doch, ‘s ist mild und labend; gar lieblich lind der Abend. Eva setzt sich zögernd und beklommen Pogner zur Seite Das deutet auf den schönsten Tag, der morgen soll erscheinen. o Kind, sagt dir kein Herzensschlag, welch Glück dich morgen treffen mag, wenn Nüremberg, die ganze Stadt mit Bürgern und Gemeinen, mit Zünften, Volk und hohem Rat, vor dir sich soll vereinen, dass du den Preis, das edle Reis, erteilest als Gemahl dem Meister deiner Wahl? EVA Lieb Vater, muss es ein Meister sein? POGNER Hör wohl ein Meister deiner Wahl. Magdalene erscheint an der Tür und winkt Eva EVA zerstreut Ja - meiner Wahl! Doch tritt nur ein - Laut zu Magdalene gewandt Gleich, Lene, gleich! -zum Abendmahl. Sie steht auf POGNER ärgerlich aufstehend ‘s gibt doch keinen Gast? EVA wie zuvor Wohl den Junker? POGNER verwirrt Wieso? EVA Sahst ihn heut nicht? POGNER halb für sich nachdenklich zerstreut Ward sein nicht froh. - Sich zusammennehmend Nicht doch! Was denn? Sich vor die Stirn klopfend Ei, werd ich dumm? EVA Lieb Väterchen, komm! Geh , kleid dich um! POGNER während er ins Haus vorangeht Hm! - Was geht mir im Kopf doch ,rum? MAGDALENE heimlich zu Eva Hast was heraus? EVA ebenso Blieb still und stumm. MAGDALENE Sprach David meint , er habe vertan. EVA erschrocken Der Ritter! Hilf Gott, was fing ich an? Ach, Lene, die Angst! Wo was erfahren? MAGDALENE Vielleicht vom Sachs? EVA heiter Ach, der hat mich lieb! Gewiss, ich geh hin. MAGDALENE Lass drin nichts gewahren! Der Vater merkt es, wenn man jetzt blieb . Nach dem Mahl dann hab ich dir noch was zu sagen, im Abgehen auf der Treppe was jemand geheim mir aufgetragen. EVA sich umwendend Wer denn? Der Junker? MAGDALENE Nichts da! Nein, Beckmesser! EVA Das mag was Rechtes sein! Sie geht in das Haus, Magdalene folgt ihr DRITTE SZENE Sachs ist, in leichter Hauskleidung, von innen in die Werkstatt zurückgekommen. Er wendet sich zu David, der an seinem Werktische verblieben ist SACHS Zeig her! - ‘s ist gut. - Dort an die Tür riick mir Tisch und Schemel herfür! - Leg dich zu Bett! Steh auf beizeit verschlaf die Dummheit, sei morgen gescheit! DAVID während er den Tisch und Schemel richtet Schafft Ihr noch Arbeit? SACHS Kümmert dich das? DAVID für sich Was war nur der Lene? Gott weiss, was! - Warum wohl der Meister heute wacht? SACHS Was stehst noch? DAVID Schlaft wohl, Meister! SACHS Gut Nacht! David geht in die der Gasse zu gelegene Kammer ab ザックス （仕事の準備を整えて、扉の前に置いてある椅子に腰を下ろすが、再び仕事はそっちのけにして、閉じられた扉の下部に腕をもたせながら、よりかかる） ニワトコのなんともいい香りがする。 やさしくも、強く、ふくよかな香りだ！ この香りに、体の疲れはほどけ、 言うべきことを、言う気が出てくる。 だが、私ごときが何を言えるというのだ？ 貧しく無学な私ごとき者が！ 友よ・・・私が仕事に身が入らないときは、 どうか好きなようにさせてくれ。 皮をなめしていたほうがよっぽどいいのだから！ 詩作などほったらかして。 （ザックスは激しく、大きな音を立てながら、靴屋の仕事に取りかかる。だが、また中断すると、もう一度背中をもたれ、物思いに沈む） ふうむ・・・どうも今日はうまくいかぬようだ。 心では感じているのに・・・頭では分からない・・・ 捉えることができないのに・・・忘れることもできない。 ついに捉え切ったぞと思えば・・・こんどは測ることができない！だが、測れるはずがあろうか？ そもそも測りがたきものに思えるのだから。 全く規則には沿っていないのに、 それでいて間違いなど一つもなかった。 昔なじみの響きなのに、それでいて新鮮だった。 まるで五月の鳥の歌声のようだった！ だとすれば、鳥の声に耳を傾け、 我を失って狂ったように 鳥のまねをして歌う者は、 嘲られ、屈辱を味わうというのか・・・。 あれは春の命令・・・甘美な衝動・・・ それが、あの若者の胸を突き動かしていた。 しかし、歌わざるを得ないことを、歌っただけではないか！ しかも、そのとおりに歌えたのだ。 私はそれに気づき、稀有のことだと感じ入ったのだ。 今日歌った鳥のくちばしは、 実に愛らしかった。 あの鳥は、他の名人たちを不安にさせたようだが、 このハンス・ザックスには大いに気に入った。 （落ち着いて快活に仕事に取りかかる） ZWEITER AUFZUG ERSTE SZENE Die Bühne stellt im Vordergrund eine Strasse im Längendurchschnitt dar, welche in der Mitte von einer schmalen Gasse, nach dem Hintergrunde zu krumm abbiegend, durchschnitten wird, so dass sich in Front zwei Eckhäuser darbieten, von denen das eine reichere - rechts - das Haus Pogners, das andere einfachere - links - das des Hans Sachs ist. - Vor Pogners Haus eine Linde; vor dem Sachsens ein Fliederbaum. Heiterer Sommerabend, im Verlaufe der ersten Auftritte allmählich einbrechende Nacht. David ist darüber her, die Fensterläden nach der Gasse zu von aussen zu schliessen. Andere Lehrbuben tun das gleiche bei anderen Häusern LEHRBUBEN an der Arbeit Johannistag! Johannistag! Blumen und Bänder, so viel man mag! DAVID leise für sich Das Blumenkränzlein von Seiden fein möcht es mir balde beschieden sein! MAGDALENE ist mit einem Korbe am Arm aus Pogners Haus gekommen und sucht David unbemerkt sich zu nähern Pst, David! DAVID nach der Gasse zu sich umwendend, heftig Ruft ihr schon wieder? Singt allein eure dummen Lieder! Er wendet sich unwillig zur Seite LEHRBUBEN zuerst Magdalenes Stimme nachahmend David, was soll s? Wärst nicht so stolz, schaut st besser um, wärst nicht so dumm! Johannistag! Johannistag! Wie der nur die Jungfer Lene nicht kennen mag! MAGDALENE David, hör doch! Kehr dich zu mir! DAVID Ach, Jungfer Lene! Ihr seid hier? MAGDALENE auf ihren Korb deutend Bring dir was Gut s; schau nur hinein! Das soll für mein lieb Schätzel sein. Erst aber schnell, wie ging s mit dem Ritter? Du rietest ihm gut? Er gewann den Kranz? DAVID Ach, Jungfer Lene! Da steht s bitter; der hat versungen und ganz vertan! MAGDALENE erschrocken Versungen? Vertan? DAVID Was geht s Euch nur an? MAGDALENE den Korb, nach welchem David die Hand ausstreckt, heftig zurückziehend Hand von der Taschen! Nichts zu naschen! Hilf Gott! Unser Junker vertan! Sie geht mit Gebärden der Trostlosigkeit ins Haus zurück. David sieht verblüfft nach Die LEHRBUBEN welche unbemerkt nähergeschlichen waren und gelauscht hatten, präsentieren sich jetzt, wie glückwünschend, David Heil, Heil zur Eh dem jungen Mann! Wie glücklich hat er gefreit! Wir hörten s all und sahen s an der er sein Herz geweiht, für die er lässt sein Leben, die hat ihm den Korb nicht gegeben. DAVID auffahrend Was steht ihr hier faul? Gleich haltet das Maul! Die LEHRBUBEN schliessen einen Ring um David und tanzen um ihn Johannistag! Johannistag! Da freit ein jeder, wie er mag. Der Meister freit, der Bursche freit! Da gibt s Geschlamb und Geschlumbfer. Der Alte freit die junge Maid, der Bursche die alte Jumbfer! Juchhei! Juchhei! Johannistag! David ist im Begriff wütend dreinzuschlagen, als Sachs, der aus der Gasse hervorgekommen, dazwischentritt. Die Lehrbuben fahren auseinander SACHS zu David Was gibt s? Treff ich dich wieder am Schlag? DAVID Nicht ich! Schandlieder singen die. SACHS Hör nicht drauf! Lern s besser wie sie! Zur Ruh ! Ins Haus! Schliess und mach Licht! Die Lehrbuben zerstreuen sich DAVID Hab ich heut Singstund ? SACHS Nein, singst nicht zur Straf für dein heutig frech Erdreisten. Die neuen Schuh steck mir auf den Leisten! David und Sachs sind in die Werkstatt eingetreten und gehen durch eine innere Tür ab ZWEITE SZENE Pogner und Eva, vom Spaziergang heimkehrend, die Tochter leicht am Arme des Vaters eingehängt, sind schweigsam die Gasse heraufgekommen POGNER noch auf der Gasse, durch eine Klinze im Fensterladen von Sachs Werkstatt spähend Lass seh n, ob Nachbar Sachs zu Haus? Gern spräch ich ihn. Trät ich wohl ein? David kommt mit Licht aus der Kammer, setzt sich damit an den Werktisch am Fenster und macht sich über die Arbeit her EVA spähend Er scheint daheim kommt Licht heraus. POGNER Tu ich s? Zu was doch? - Besser, nein! Er wendet sich ab Will einer Selt nes wagen, was liess er sich dann sagen? - - Er sinnt nach War er s nicht, der meint , ich ging zu weit? Und blieb ich nicht im Geleise, war s nicht auf seine Weise? Doch war s vielleicht auch - Eitelkeit? Er wendet sich zu Eva Und du, mein Kind, du sagst mir nichts? EVA Ein folgsam Kind, gefragt nur spricht s. POGNER Wie klug! Wie gut! - Komm, setz dich hier ein Weil noch auf die Bank zu mir. Er setzt sich auf die Steinbank unter der Linde EVA Wird s nicht zu kühl? ‘s war heut gar schwül. POGNER Nicht doch, ‘s ist mild und labend; gar lieblich lind der Abend. Eva setzt sich zögernd und beklommen Pogner zur Seite Das deutet auf den schönsten Tag, der morgen soll erscheinen. o Kind, sagt dir kein Herzensschlag, welch Glück dich morgen treffen mag, wenn Nüremberg, die ganze Stadt mit Bürgern und Gemeinen, mit Zünften, Volk und hohem Rat, vor dir sich soll vereinen, dass du den Preis, das edle Reis, erteilest als Gemahl dem Meister deiner Wahl? EVA Lieb Vater, muss es ein Meister sein? POGNER Hör wohl ein Meister deiner Wahl. Magdalene erscheint an der Tür und winkt Eva EVA zerstreut Ja - meiner Wahl! Doch tritt nur ein - Laut zu Magdalene gewandt Gleich, Lene, gleich! -zum Abendmahl. Sie steht auf POGNER ärgerlich aufstehend ‘s gibt doch keinen Gast? EVA wie zuvor Wohl den Junker? POGNER verwirrt Wieso? EVA Sahst ihn heut nicht? POGNER halb für sich nachdenklich zerstreut Ward sein nicht froh. - Sich zusammennehmend Nicht doch! Was denn? Sich vor die Stirn klopfend Ei, werd ich dumm? EVA Lieb Väterchen, komm! Geh , kleid dich um! POGNER während er ins Haus vorangeht Hm! - Was geht mir im Kopf doch ,rum? MAGDALENE heimlich zu Eva Hast was heraus? EVA ebenso Blieb still und stumm. MAGDALENE Sprach David meint , er habe vertan. EVA erschrocken Der Ritter! Hilf Gott, was fing ich an? Ach, Lene, die Angst! Wo was erfahren? MAGDALENE Vielleicht vom Sachs? EVA heiter Ach, der hat mich lieb! Gewiss, ich geh hin. MAGDALENE Lass drin nichts gewahren! Der Vater merkt es, wenn man jetzt blieb . Nach dem Mahl dann hab ich dir noch was zu sagen, im Abgehen auf der Treppe was jemand geheim mir aufgetragen. EVA sich umwendend Wer denn? Der Junker? MAGDALENE Nichts da! Nein, Beckmesser! EVA Das mag was Rechtes sein! Sie geht in das Haus, Magdalene folgt ihr DRITTE SZENE Sachs ist, in leichter Hauskleidung, von innen in die Werkstatt zurückgekommen. Er wendet sich zu David, der an seinem Werktische verblieben ist SACHS Zeig her! - ‘s ist gut. - Dort an die Tür riick mir Tisch und Schemel herfür! - Leg dich zu Bett! Steh auf beizeit verschlaf die Dummheit, sei morgen gescheit! DAVID während er den Tisch und Schemel richtet Schafft Ihr noch Arbeit? SACHS Kümmert dich das? DAVID für sich Was war nur der Lene? Gott weiss, was! - Warum wohl der Meister heute wacht? SACHS Was stehst noch? DAVID Schlaft wohl, Meister! SACHS Gut Nacht! David geht in die der Gasse zu gelegene Kammer ab SACHS legt sich die Arbeit zurecht, setzt sich an der Tür auf den Schemel, lässt aber die Arbeit wieder liegen und lehnt, mit dem Arm auf den geschlossenen Unterteil des Türladens gestützt, sich zurück Was duftet doch der Flieder so mild, so stark und voll! Mir löst es weich die Glieder, will, dass ich was sagen soll. Was gilt s, was ich dir sagen kann? Bin gar ein arm einfältig Mann! Soll mir die Arbeit nicht schmecken, gäbst, Freund, lieber mich frei; tät besser, das Leder zu strecken, und liess alle Poeterei. Er nimmt heftig und geräuschvoll die Schusterarbeit vor. Lässt wieder ab, lehnt sich von neuem zurück und sinnt nach Und doch, ‘s will halt nicht geh n. Ich fühl s - und kann s nicht versteh n - kann s nicht behalten - doch auch nicht vergessen; und fass ich es ganz - kann ich s nicht messen! Doch wie wollt ich auch messen, was unermesslich mir schien? Kein Regel wollte da passen und war doch kein Fehler drin. Es klang so alt und war doch so neu wie Vogelsang im süssen Mai! Wer ihn hört und wahnbetört sänge dem Vogel nach, dem brächt es Spott und Schmach. - Lenzes Gebot, die süsse Not, die legt es ihm in die Brust nun sang er, wie er musst ! Und wie er musst - so konnt er s; das merkt ich ganz besonders. Dem Vogel, der heut sang, dem war der Schnabel hold gewachsen macht er den Meistern bang, gar wohl gefiel er doch Hans Sachsen. Er nimmt mit heiterer Gelassenheit seine Arbeit vor 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 Wagner,Richard/Die Meistersinger von Nürnberg/ActⅡ-2
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Enterprise File Synchronization and Sharing Market Size, Segments Of The Tech World and Revenue, Recent Trends, Size, CAGR, Industry Size Growth High State Research By 2027 Market Scenario The Enterprise File Synchronization and Sharing Market Size is growing rapidly. Market growth attributes to the rising adoption of enterprise adopt synchronization sharing (EFSS) technologies in businesses. Besides, the increasing need to protect data from consumer-based apps to store access and merge corporate data outside of the IT department foster market growth. Moreover, increasing numbers of businesses worldwide, escalate the growth of the market. According to Market Research Future (MRFR), the global enterprise file synchronization sharing market is expected to garner a valuation of around USD 11 BN by 2023, growing at approximately 28% CAGR throughout the forecast period (2017 to 2023). Increasing digitalization in file sharing solutions and business processes boost the growth of the market. Rising BYOD trends to improve work efficiency and reduce the company s operational expenses impact the market growth positively. COVID-19 Analysis The business impact of SARS-CoV-2 has been felt across diverse sections of the information technology industry, albeit at different levels. Companies in the technology sector that supply services for verticals like travel, retail, hospitality, and entertainment have noted a dramatic decrease in sales, while the firms that provide services related to remote worker solutions have observed the opposite. Enterprise File Synchronization Sharing Market ’s fate post pandemic has been relatively less grim compared to Education Services (ES) and Professional Services (PS) that are mostly dependent on components that are generally on-site. In a nutshell, COVID-19 impact on managed services has been fruitful, with the market growth enhanced than before. Given the prevalent lockdown situation, managed services vendors are now investing heavily in remote-centric worker solutions, which can make the market highly resilient in the coming years, even as the world is currently rushing to achieve a COVID-19 breakthrough. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/6294 Competitive Outlook Players leading the enterprise file synchronization sharing market include Microsoft Corporation (US), Dropbox (US), Citrix Systems (US), IBM Aspera (US), BlackBerry (Canada), VMware Inc. (US), OpenText (Canada), Google Inc. (US), Thru. Inc. (US), Egnyte (US), Syncplicity (US), Acronis International (Switzerland), SkySync (US), j2 Global (US), HighQ Solutions (UK), ownCloud (Germany), Nextcloud (Germany), CodeLathe (FileCloud) (US), Qnext Corp. (FileFlex) (Canada), Intralinks (US), XMedius Solutions (Canada), Northbridge Secure Systems (Australia), Inspire-Tech (Singapore/US), Wanpath LLC (US), CTERA Networks (Israel/US), and Accellion (US), among others. Segmentation By Component Standalone EFSS Solution, Integrated EFSS Solution, and others. By Deployment Type On-Cloud and On-Premises. By Organization Size Large Enterprises and small medium-sized enterprises (SMEs). By Vertical BFSI, Software Technology, Government Public Sector, Healthcare, Legal, Education, Retail, Media Entertainment, and others. By Regions Europe, North America, APAC, and Rest of the World. Regional Analysis Europe dominates the global enterprise file synchronization sharing market. The leading market share attributes to the continuous adoption of the latest technological advancements, such as integrating cloud and mobile technologies within traditional enterprise file sharing and synchronization solutions. Also, early adoption and constant innovation by the organizations substantiate the growth of the regional market. The European enterprise file synchronization sharing market is projected to retain its dominance throughout the estimated period. North America stands second in the global enterprise file synchronization sharing market. The market is driven by the presence of several notable players and well-equipped infrastructure that allows development and early adoption of technologies. The US and Canada are the key growth contributors to the regional market. Additionally, various dynamic diversified multinational organizations foster the growth of the regional market. The North American enterprise file synchronization sharing market is expected to create a substantial revenue pocket during the forecast period. Table of Contents 1Executive Summary 2Scope of the Report 2.1Market Definition 2.2Scope of the Study 2.2.1Research objectives 2.2.2Assumptions Limitations 2.3Markets Structure Continued…. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/enterprise-file-synchronization-sharing-market-6294 List of Tables Table1 Global Enterprise File Synchronization Sharing Market, By Region, 2020–2027 Table2 North America Enterprise File Synchronization Sharing Market, By Country, 2020–2027 Table3 Europe Enterprise File Synchronization Sharing Market, By Country, 2020–2027 Continued… List of Figures FIGURE 1 Global Enterprise File Synchronization Sharing Market Segmentation FIGURE 2 Forecast Methodology FIGURE 3 Porter’s Five Forces Analysis Of Global Enterprise File Synchronization Sharing Market Continued… Trending #MRFR Report** https //ictmrfr.blogspot.com/2022/04/geofencing-market-companies-growth-with.html https //blogfreely.net/pranali004/telecom-expense-management-market-size-impressive-cagr-changing-business-scope https //postheaven.net/pranali004/financial-app-industry-impressive-cagr-changing-business-needs-scope-of https //market-research-future.tribe.so/post/openstack-service-market-research-impressive-cagr-changing-scope-of-current--6263de46791566c10c79891e https //www.scutify.com/articles/2022-04-24-infrastructure-as-a-service-industry-cagr-changing-business-scope-of-current-and-future-industry- About Market Research Future Market Research Future (MRFR) has created a niche in the world of market research. It is counted among the top market research companies that offer well-researched and updated market research reports and insights to businesses of all sizes. What sets us apart is our super-responsive team that offers quality work keeping clients abridged of the prospective challenges and opportunities in various markets. Our team is adept in their space as well as patiently listens to every client. The best part is they know their work inside out and possess the expertise to guide the client in the right direction and achieve results on a tight deadline. We are a one-stop solution for all your data research needs. Our team does not believe in the “one size fits all” approach to creating a report that is detailed and concise. We handle 13 industry verticals including Healthcare, Chemicals and Materials, Information and Communications Technology, Semiconductor and Electronics, Energy and Power, Food, Beverages Nutrition, Automobile, Consumer and Retail, Aerospace and Defense, Industrial Automation and Equipment, Packaging Transport, Construction, and Agriculture. With our unique approach for every market report, we aim to reach the zenith in qualitative business intelligence and syndicated market research. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com
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It Professional's Guide to Business And Finance Techrepublic Inc? Techrepublic? TechrepublicInc? Techrepublic? ジャンル別? Subjects-Business&Investing-Finance-Budgeting? Subjects-Business&Investing-General? Subjects-Business&Investing-Management&Leadership-Systems&Planning? Subjects-Professional&Technical-Accounting&Finance-Finance-Budgeting? Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Systems&Planning? Subjects-Science-Technology-General&Reference An Elementary Treatment of the Theory of Spinning Tops and Gyroscopic Motion - Illustrated Merchant Books? Harold Crabtree? MerchantBooks? HaroldCrabtree? ジャンル別? Subjects-Science-Technology-General&Reference French English English French Technical Dictionary I B D Ltd? Guy Malgorn? IBDLtd? GuyMalgorn? ジャンル別? Subjects-Nonfiction-Education-Reference-Dictionaries&Thesauri-English(All)? Subjects-Nonfiction-Education-LanguageInstruction? Subjects-Reference-Dictionaries&Thesauruses-English(All)? 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Global Positioning System Theory and Practice Springer-Verlag? B. Hofmann-Wellenhof? H. Lichtenegger? J. Collins? Springer-Verlag? B.Hofmann-Wellenhof? H.Lichtenegger? J.Collins? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-SpecialTopics-MilitaryEngineering? Subjects-Engineering-Civil-Surveying&Photogrammetry? Subjects-Engineering-Civil-Transportation&Highway? Subjects-Professional&Technical-Engineering-Civil-Surveying&Photogrammetry? Subjects-Professional&Technical-Engineering-Civil-Transportation&Highway? Subjects-Professional&Technical-Engineering-SpecialTopics-MilitaryEngineering? Subjects-Professional&Technical-ProfessionalScience-EarthSciences-Geography? Subjects-Science-General Subjects-Science-Technology-General&Reference Development of Knowledge-Based Systems for Engineering (Cism International Centre for Mechanical Sciences Courses and Lectures) Springer Verlag Wien? Carlo Tasso? E. R. De Arantese Oliveira? SpringerVerlagWien? CarloTasso? 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Subjects-Science-Technology-General&Reference Agent Technologies, Infrastructures, Tools, and Applications for E-Services Node 2002 Agent-Related Workshops, Erfurt, Germany, October 2002 Revised Papers (Lecture Notes in Computer Science) Springer? Ryszard Kowalczyk? Jorg P. Muller? Huaglory Tianfield? Rainer Unland? Springer? RyszardKowalczyk? JorgP.Muller? HuagloryTianfield? RainerUnland? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-WebDevelopment-Scripting&Programming-Agents? Subjects-Computers&Internet-Networking-Networks,Protocols&APIs-Networks? Subjects-Computers&Internet-Networking-Networks,Protocols&APIs-General? Subjects-Computers&Internet-Software-Design&Development-SoftwareDevelopment? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Computers&Internet-General? Subjects-Science-Technology-General&Reference Transport Developments and Innovations in an Evolving World (Advances in Spatial Science) Springer? 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Subjects-Professional&Technical-Accounting&Finance-Economics-Theory? Subjects-Professional&Technical-Accounting&Finance-Economics-Urban&Regional? Subjects-Science-General Subjects-Science-Technology-General&Reference Springer Complete Catalogue Springer-Verlag Berlin and Heidelberg GmbH & Co. K? Springer Verlag? Springer-VerlagBerlinandHeidelbergGmbH&Co.K? SpringerVerlag? ジャンル別? Substores-UnknownASINs-47? Subjects-Medicine? Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-Medicine? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-Science? Subjects-Reference-Publishing&Books-Bibliographies&Indexes-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Medicine? Numerical Techniques for Stochastic Optimization Springer-Verlag Berlin and Heidelberg GmbH & Co. K? Yuri Ermoliev? Roger J.-B. Wets? Springer-VerlagBerlinandHeidelbergGmbH&Co.K? YuriErmoliev? RogerJ.-B.Wets? ジャンル別? Substores-UnknownASINs-47? Subjects-Nonfiction-ForeignLanguageNonfiction-German? Subjects-Science-Technology-General&Reference Expert Systems in Engineering Springer-Verlag Berlin and Heidelberg GmbH & Co. K? D.T. Pham? Springer-VerlagBerlinandHeidelbergGmbH&Co.K? D.T.Pham? ジャンル別? ユーズドブック(洋書)-Computers&Internet? Subjects-Computers&Internet-Networking-DataintheEnterprise-ExpertSystems? Subjects-Computers&Internet-ComputerScience-ArtificialIntelligence-General? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-Technology-General&Reference The Theory of Stochastic Processes I (Classics in Mathematics) Springer? I. I. Gihman? A. V. Skorohod? I. I. Gikhman? A. V. Skorokhod? S. Kotz? Springer? I.I.Gihman? A.V.Skorohod? I.I.Gikhman? A.V.Skorokhod? S.Kotz? ジャンル別? Substores-UnknownASINs-66? Subjects-Professional&Technical-ProfessionalScience-Mathematics-Applied-Statistics? 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Subjects-Computers&Internet-Networking-Networks,Protocols&APIs-General? Subjects-Computers&Internet-Software-Design&Development-SoftwareDevelopment? Subjects-Computers&Internet-Programming-General? Subjects-Computers&Internet-General? Subjects-Science-General Subjects-Science-Mathematics-PureMathematics-Logic? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-General&Reference 洋書
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Excel⇒HTML変換表 Excel⇒HTML変換表 べた打ちでExcellを書くには.... a タグ ASPからExcelを出力する際に必要なヘッダー フォントフォントサイズ 斜体 太字 フォントの種類 フォントサイズ 高さ・幅高さ指定 幅指定 セルセルの書式のフォーマットの指定 セルの結合 セルの背景色を指定する 折り返し禁止 縮小して全体を表示 垂直表示 文字の傾き セルの文字色の変更 セルに罫線を引く 斜めに罫線を引く セルに数値をセットする パーセンテージ 出力結果 インデント 位置 下線 べた打ちでExcellを書くには.... ①基本はHTMLで書けばいける ②たまにHTMLで書けないMS独自仕様がある a タグ HTMLの a タグと同じです。 セル内の値に使用すれば文字にリンクが張られる。 ASPからExcelを出力する際に必要なヘッダー Response.ContentType = "application/vnd.ms-excel" Response.AddHeader "content-disposition","inline; filename=xxxxx.xls" フォント フォントサイズ font-size [数値]pt; 斜体 font-style italic; 太字 font-weight 700; フォントの種類 font-family "ＭＳ Ｐゴシック", monospace; http //www.htmq.com/style/font-family.shtml フォントサイズ font-size [数値]pt; http //www.htmq.com/style/font-size.shtml 高さ・幅 高さ指定 mso-height-source userset; 高さを指定する際にTR内のStyle内に記述し、、styleのheightで高さを指定する 幅指定 mso-width-alt 不明、幅の指定をしたときに勝手にできる。 mso-width-source userset; 幅を指定する際にテーブル内の COL 内のstyleに記述し、styleのwidthで幅を指定する セル セルの書式のフォーマットの指定 mso-number-format mso-number-format \@ テキスト形式 mso-number-format "0\.000" 3桁数値 mso-number-format \#\,\#\#0\.000 3桁カンマ区切り数値 mso-number-format "mm\/dd\/yy" 日付 mso-number-format "d\\-mmm\\-yyyy" その他日付 mso-number-format Percent セルの結合 colspanとrowspanです。HTMLのテーブルと一緒です。 セルの背景色を指定する mso-pattern auto [網掛設定]; background [色]; 網掛設定で使用できる種類。何かしら指定しないと背景色の指定ができないので注意してください。 折り返し禁止 white-space normal; http //www.htmq.com/style/white-space.shtml 縮小して全体を表示 mso-text-control shrinktofit; 垂直表示 layout-flow vertical; 文字の傾き mso-rotate [数値]; セルの文字色の変更 color [色] セルに罫線を引く 通常のstyleのボーダ指定と同じ。 (例) border .5pt solid; border 1.0pt solid; border 2.0pt double; 上下左右ごとの指定も可能 border-top 1.0pt solid ; border-right none; border-bottom 2.0pt double; border-left 4.0px solid;} 斜めに罫線を引く mso-diagonal-up .5pt solid windowtext; 左から右に上昇するからUP mso-diagonal-down .5pt solid windowtext; 左から右に下降するからDOWN セルに数値をセットする x num="(式)" 実数 出力結果 x num="111" パーセンテージ 出力結果 x num="0.15" 15% インデント mso-char-indent-count [数値] 数字に記入した数値量分インデントされる 位置 text-align [位置] 位置に記入されたところにセルの値が寄せられる left, center, rightに寄せられる。 下線 text-decoration underline; text-underline-styleを指定しない場合はデフォルトのsingleが表示される text-underline-style [線];