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Management Principles and Practices for Technical Communicators (Technical Communication) Longman Pub Group? R. Stanley Dicks? LongmanPubGroup? R.StanleyDicks? ジャンル別? Substores-UnknownASINs-8 Subjects-Business&Investing? Subjects-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Engineering-ComputerTechnology-TechnicalWriting? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Reference-Writing-Academic&Commercial? Subjects-Reference-Writing-Technical? Subjects-Science-General Subjects-Science-Technology-TechnicalThinking&Writing? Introduction to Statistics Addison Wesley? Richard De Deveaux? AddisonWesley? RichardDeDeveaux? ジャンル別? Substores-UnknownASINs-8 Subjects-Science-Mathematics-Applied-Probability&Statistics? Calculus and Its Applications Addison-Wesley? Marvin L. Bittinger? Addison-Wesley? MarvinL.Bittinger? ジャンル別? 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Test Methods for Assessing the Susceptibility of Prestressing Steel to Hydrogen Induced Scc (European Federation of Corrosion) Maney Pub? B. Iseke? ManeyPub? B.Iseke? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-General? Subjects-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General A Working Party Report on the Use of Corrosion Inhibitors in Oil and Gas Production (European Federation of Corrosion) Maney Publishing? J.W. Palmer? W. Hedges? J.L. Dawson? ManeyPublishing? J.W.Palmer? W.Hedges? J.L.Dawson? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-ProfessionalScience-Physics-Nanostructures? Subjects-Science-Physics-Nanostructures? Cascade Separation of Powders Cambridge Intl Science Pub? E. Barsky? M. Barsky? CambridgeIntlSciencePub? E.Barsky? 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Der alte finstre Diener stürzt, gefolgt von drei andern Dienern, aus dem Hof lautlos herein, wirft sich vor Orest nieder, küsst seine Füsse, die andern Orests Hände und den Saum seines Gewandes ELEKTRA kaum ihrer mächtig Wer bist du denn? Ich fürchte mich. OREST sanft Die Hunde auf dem Hof erkennen mich, und meine Schwester nicht? ELEKTRA aufschreiend Orest! ELEKTRA ganz leise, bebend Orest! Orest! Orest! Es rührt sich niemand. O lass deine Augen mich sehn! Traumbild, mir geschenktes Traumbild, schöner als alle Träume. Hehres, unbegreifliches, erhabenes Gesicht, o bleib bei mir! Lös nicht in Luft dich auf, vergeh mir nicht, vergeh mir nicht, es sei denn, das ich jetzt gleich sterben muss und du dich anzeigst und mich hollen kommst dann sterb ich seliger als ich gelebt. Orest! Orest! Orest! Nein, du sollst mich nicht umarmen! Tritt weg, ich schäme mich vor dir. Ich weiss nicht, wie du mich ansiehst. Ich bin nur mehr der Leichnam deiner Schwester, mein armes Kind. Ich weiss, es schaudert dich vor mir. Und war doch eines Königs Tochter! Ich glaube, ich war schön wenn ich die Lampe ausblies vor meinem Spiegel, fühlt ich es mit keuschem Schauer. Ich fühlt es, wie der dünne Strahl des Mondes in meines Körpers weisser Nacktheit badete so wie in einem Weiher, und mein Haar war solches Haar, vor dem die Männer zittern, dies Haar, versträhnt, beschmutzt, erniedrigt, verstehst du s, Bruder? Ich habe alles, was ich war, hingeben müssen. Meine Scham hab ich geopfert, die Scham, die süsser als Alles ist, die Scham, die wie der Silberdunst, der milchige des Monds, um jedes Weib herum ist und das Grässliche von ihr und ihrer Seele weghält, Verstehst du s, Bruder! diese süssen Schauder hab ich dem Vater opfern müssen. Meinst du, wenn ich an meinem Leib mich freute, drangen seine Seufzer, drang nicht sein Stöhnen an mein Bette? Eifersüchtig sind die Toten und er schickte mir den Hass, den hohläugigen Hass als Bräutigam. So bin ich eine Prophetin immerfort gewesen und habe nichts hervorgebracht aus mir und meinem Leib als Flüche und Verzweiflung. Was schaust du ängstlich um dich? sprich zu mir! sprich doch! Du zitterst ja am ganzen Leib! OREST Lass zittern diesen Leib. Er ahnt welchen Weg ich ihn führe. ELEKTRA Du wirst es tun? Allein? Du armes Kind. OREST Die diese Tat mir auferlegt, ELEKTRA Du wirst es tun! OREST die Götter, werden da sein, mir zu helfen. Ich will es tun, ich will es eilig tun. ELEKTRA Der ist selig, der tun darf! Die Tat ist wie ein Bette, auf dem die Seele ausruht, wie ein Bett von Balsam, drauf die Seele ruhen kann, die eine Wunde ist, ein Brand, ein Eiter und eine Flamme! OREST Ich werde es tun! Ich werde es tun! ELEKTRA Der ist selig, der seine Tat zu tun kommt, selig der, der ihn ersehnt, selig der ihn erschaut! Selig, wer ihn erkennt, selig, wer ihn berührt! Selig, wer ihm das Beil aus der Erde gräbt, selig, wer ihm die Fakkel hält, selig, selig, wer ihm öffnet die Tür. Der Pfleger Orests steht in der Hoftür, ein starker Greis mit blitzenden Augen DER PFLEGER DES OREST Seid ihr von Sinnen, dass ihr euren Mund nicht bändigt, wo ein Hauch, ein Laut, ein Nichts uns und das Werk verderben kann -- Zu Orest in fliegender Eile Sie wartet drinnen. Ihre Mägde suchen nach dir. Es ist kein Mann im Haus. Orest! Orest reckt sich auf, seinen Schauder bezwingend. Die Tür des Hauses erhellt sich. Es erscheint eine Dienerin mit einer Fackel, hinter ihr die Vertraute. Elektra ist zurückgesprungen, steht im Dunkel. Die Vertraute verneigt sich gegen die beiden Fremden, winkt, ihr hinein zu folgen. Die Dienerin befestigt die Fackel an einem eisernen Ring im Türpfosten. Orest und der Pfleger gehen hinein. Orest schliesst einen Augenblick, schwindelnd, die Augen, der Pfleger ist dicht hinter ihm, sie tauschen einen schnellen Blick. Die Tür schliesst sich hinter ihnen ELEKTRA allein, in entsetzlicher Spannung. Sie läuft auf einem Strich vor der Tür hin und her, mit gesenkten Kopf, wie das gefangene Tier im Käfig. Steht plötzlich still Ich habe ihm das Beil nicht geben können! Sie sind gegangen und ich habe ihm das Beil nicht geben können. Es sind keine Götter im Himmel! Abermals ein furchtbares Warten. Von ferne tönt drinnen, gellend, der Schrei Klytämnestras. ELEKTRA schreit auf wie ein Dämon Triff noch einmal! Von drinnen ein zweiter Schrei. Aus dem Wohngebäude links kommen Chrysothemis und eine Schar Dienerinnen heraus. Elektra steht in der Tür, mit dem Rücken an die Tür gepresst CHRYSOTHEMIS Es muss etwas geschehen sein. ERSTE MAGD Sie schreit so aus dem Schlaf. ZWEITE MAGD Es müssen Männer drin sein. Ich habe Männer gehen hören. DRITTE MAGD Alle Türen sind verriegelt. VIERTE MAGD Es sind Mörder! Es sind Mörder im Haus! ERSTE MAGD schreit auf Oh! ZWEITE und DRITTE MAGD, sechs andere DIENERINEN Was ist? ERSTE MAGD Seht ihr denn nicht dort in der Tür steht einer! CHRYSOTHEMIS Das ist Elektra! das ist ja Elektra! ERSTE, ZWEITE, DRITTE und VIERTE MAGD Elektra, Elektra! ERSTE UND ZWEITE MAGD Warum spricht sie denn nicht? CHRYSOTHEMIS Elektra, warum sprichst du denn nicht? VIERTE MAGD Ich will hinaus und Männer holen. Läuft rechts hinaus CHRYSOTHEMIS Mach uns doch die Tür auf, Elektra! Elektra! 6 DIENERINNEN Elektra, lass uns in s Haus! VIERTE MAGD zurückkommend Zurück! Aegisth! Zurück in unsre Kammern! schnell! Aegisth kommt durch den Hof! Wenn er uns findet und wenn im Hause was geschehen ist, lässt er uns töten. 6 DIENERINNEN Aegisth! ERSTE, ZWEITE und DRITTE MAGD Aegisth! CHRYSOTHEMIS Zurück! ALLE zurück! zurück! Sie verschwinden im Hause links. Aegisth tritt rechts durch die Hoftür auf AEGISTH an der Tür stehend bleibend He! Lichter! Lichter! Ist niemand da, zu leuchten? Rührt sich keiner von allen diesen Schuften? Kann das Volk mir keine Zucht annehmen! ELEKTRA nimmt die Fackel von dem Ring, läuft hinunter, ihm entgegen, und verneigt sich vor ihm AEGISTH erschrickt vor der wirren Gestalt im zuckenden Licht,weicht zurück Was ist das für ein unheimliches Weib? Ich hab verboten, dass ein unbekanntes Gesicht mir in die Nähe kommt! Erkennt sie, zornig. Was, du? Wer heisst dich, mir entgegentritten? ELEKTRA Darf ich nicht leuchten? AEGISTH Nun, dich geht die Neuigkeit ja doch vor allen an. Wo find ich die fremden Männer, die das von Orest uns melden? ELEKTRA Drinnen. Eine liebe Wirtin fanden sie vor, und sie ergetzen sich mit ihr. AEGISTH Und melden also wirklich, dass er gestorben ist, und melden so, dass nicht zu zweifeln ist? ELEKTRA O Herr, sie melden s nicht mit Worten bloss, nein, mit leibhaftigen Zeichen, an denen auch kein Zweifel möglich ist. AEGISTH Was hast du in der Stimme? Und was ist in dich gefahren, dass du nach dem Mund mir redest? Was taumelst du so hin und her mit deinem Licht! ELEKTRA Es ist nichts anderes, als dass ich endlich klug ward und zu denen mich halte, die die Stärkern sind. Erlaubst du, dass ich voran dir leuchte? AEGISTH etwas zaudernd Bis zur Tür. Was tanzest du? Gib Obacht. ELEKTRA indem sie ihn, wie in einem unheimlichen Tanz, umkreist, sich plötzlich tief bückend Hier! die Stufen, dass du nicht fällst. AEGISTH an der Haustür Warum ist hier kein Licht? Wer sind die dort? ELEKTRA Die sind s, die in Person dir aufzuwarten wünschen, Herr. Und ich, die so oft durch freche unbescheidne Näh dich störte, will nun endlich lernen, mich im rechten Augenblick zurückzuziehen. Aegisth geht ins Haus. Stille. Lärm drinnen. AEGISTH erscheint an einem kleinen Fenster, reisst den Vorhang weg, schreiend Helft! Mörder! helft dem Herren! Mörder, Mörder! Sie morden mich! Hört mich niemand? hört mich niemand? Er wird weggezerrt. Noch einmal erscheint Aegisths Gesicht am Fenster ELEKTRA reckt sich auf Agamemnon hört dich! AEGISTH er wird fortgerissen Weh mir! Elektra steht, furchtbar atmend, gegen das Haus gekehrt. Die Frauen kommen von links herausgelaufen, Chrysothemis unter ihnen. Wie besinnungslos laufen sie gegen die Hoftür. Dort machen sie plötzlich Halt, wenden sich CHRYSOTHEMIS Elektra! Schwester! komm mit uns! O komm mit uns! es ist der Bruder drin im Haus! es ist Orest, der es getan hat! Stimmen hinter der Scene im Hause Orest! Orest! Orest! Getümmel im Hause, Stimmengewirr, aus dem sich ab und zu die Rufe des Chors "Orest" bestimmter abheben Komm! Er steht im Vorsaal, alle sind um ihn, und küssen seine Füsse, alle, die Aegisth von Herzen hassten, haben sich geworfen auf die andern, überall in allen Höfen liegen Tote, alle, die leben, sind mit Blut bespritzt und haben selbst Wunden, und doch strahlen alle, alle umarmen sich -- Draussen wachsender Lärm, der sich jedoch, wenn Elektra beginnt, mehr und mehr nach den äusseren Höfen rechts und im Hintergrunde verzogen hat. die Frauen sind hinausgelaufen, Chrysothemis allein, von draussen fällt Licht herein und jauchzen, tausend Fackeln sind angezündet. Hörst du nicht, so hörst du denn nicht? ELEKTRA auf der Schwelle kauernd Ob ich nicht höre? ob ich die Musik nicht höre? sie kommt doch aus mir. Die Tausende, die Fackeln tragen und deren Tritte, deren uferlose Myriaden Tritte überall die Erde dumpf dröhnen machen, alle warten auf mich ich weiss doch, dass sie alle warten, weil ich den Reigen führen muss, und ich kann nicht, der Ozean, der ungeheure, der zwanzigfache Ozean begräbt mir jedes Glied mit seiner Wucht, ich kann mich nicht heben! CHRYSOTHEMIS fast schreiend vor Erregung Hörst du denn nicht, sie tragen ihn, sie tragen ihn auf ihren Händen, ELEKTRA springt auf. Vor sich hin, ohne auf Chrysothemis zu achten Wir sind bei den Göttern, wir Vollbringenden. Sie fahren dahin wie die Schärfe des Schwerts durch uns, die Götter, CHRYSOTHEMIS allen sind die Gesichter verwandelt, allen schimmern die Augen und die alten Wangen von Tränen! Alle weinen, hörst du s nicht? ELEKTRA aber ihre Herrlichkeit ist nicht zu viel für uns! Ich habe Finsternis gesät und ernte Lust über Lust. CHRYSOTHEMIS Gut sind die Götter, gut! ELEKTRA Ich war ein schwarzer Leichnam unter Lebenden, CHRYSOTHEMIS Es fängt ein Leben für dich und mich und alle Menschen an. ELEKTRA und diese Stunde bin ich das Feuer des Lebens, und meine Flamme verbrenn die Finsternis der Welt. CHRYSOTHEMIS Die über schwänglich guten Götter sind s, die das geben haben. ELEKTRA Mein Gesicht muss weisser sein als das weissglüh nde Gesicht des Monds. CHRYSOTHEMIS Wer hat uns je geliebt? ELEKTRA Wenn einer auf mich sieht, muss er den Tod empfangen oder muss vergehn vor Lust. CHRYSOTHEMIS Wer hat uns je geliebt? ELEKTRA Seht ihr denn mein Gesicht? Seht ihr das Licht, das von mir ausgeht? CHRYSOTHEMIS Nun ist der Bruder da, und Liebe fliesst über uns wie Öl und Myrrhen. Liebe ist Alles! Wer kann leben ohne Liebe? ELEKTRA Ai! Liebe tötet, aber keiner fährt dahin und hat die Liebe nicht gekannt! CHRYSOTHEMIS Elektra, ich muss bei meinem Bruder stehn! Sie läuft hinaus Elektra schreitet von der Schwelle herunter. Sie hat den Kopf zurückgeworfen wie eine Mänade. Sie wirft die Kniee, sie reckt die Arme aus, es ist ein namenloser Tanz, in welchem sie nach vorwärts schreitet CHRYSOTHEMIS erscheint wieder an der Tür, hinter ihr Fackeln, Gedräng, Gesichter von Männern und Frauen Elektra! ELEKTRA bleibt stehen, sieht starr auf sie hin Schweig, und tanze. Alle müssen herbei! hier schliesst euch an! Ich trage die Last des Glückes, und ich tanze vor euch her. Wer glücklich ist wie wir, dem ziemt nur eins schweigen und tanzen! Sie tut noch einige Schritte des angespanntesten Triumphes... Elektra stürzt zusammen. Chrysothemis zu ihr. Elektra liegt starr CHRYSOTHEMIS läuft an die Tür des Hauses, schlägt daran Orest! Orest! Stille Vorhang Der alte finstre Diener stürzt, gefolgt von drei andern Dienern, aus dem Hof lautlos herein, wirft sich vor Orest nieder, küsst seine Füsse, die andern Orests Hände und den Saum seines Gewandes ELEKTRA kaum ihrer mächtig Wer bist du denn? Ich fürchte mich. OREST sanft Die Hunde auf dem Hof erkennen mich, und meine Schwester nicht? ELEKTRA aufschreiend Orest! ELEKTRA ganz leise, bebend Orest! Orest! Orest! Es rührt sich niemand. O lass deine Augen mich sehn! Traumbild, mir geschenktes Traumbild, schöner als alle Träume. Hehres, unbegreifliches, erhabenes Gesicht, o bleib bei mir! Lös nicht in Luft dich auf, vergeh mir nicht, vergeh mir nicht, es sei denn, das ich jetzt gleich sterben muss und du dich anzeigst und mich hollen kommst dann sterb ich seliger als ich gelebt. Orest! Orest! Orest! Nein, du sollst mich nicht umarmen! Tritt weg, ich schäme mich vor dir. Ich weiss nicht, wie du mich ansiehst. Ich bin nur mehr der Leichnam deiner Schwester, mein armes Kind. Ich weiss, es schaudert dich vor mir. Und war doch eines Königs Tochter! Ich glaube, ich war schön wenn ich die Lampe ausblies vor meinem Spiegel, fühlt ich es mit keuschem Schauer. Ich fühlt es, wie der dünne Strahl des Mondes in meines Körpers weisser Nacktheit badete so wie in einem Weiher, und mein Haar war solches Haar, vor dem die Männer zittern, dies Haar, versträhnt, beschmutzt, erniedrigt, verstehst du s, Bruder? Ich habe alles, was ich war, hingeben müssen. Meine Scham hab ich geopfert, die Scham, die süsser als Alles ist, die Scham, die wie der Silberdunst, der milchige des Monds, um jedes Weib herum ist und das Grässliche von ihr und ihrer Seele weghält, Verstehst du s, Bruder! diese süssen Schauder hab ich dem Vater opfern müssen. Meinst du, wenn ich an meinem Leib mich freute, drangen seine Seufzer, drang nicht sein Stöhnen an mein Bette? Eifersüchtig sind die Toten und er schickte mir den Hass, den hohläugigen Hass als Bräutigam. So bin ich eine Prophetin immerfort gewesen und habe nichts hervorgebracht aus mir und meinem Leib als Flüche und Verzweiflung. Was schaust du ängstlich um dich? sprich zu mir! sprich doch! Du zitterst ja am ganzen Leib! OREST Lass zittern diesen Leib. Er ahnt welchen Weg ich ihn führe. ELEKTRA Du wirst es tun? Allein? Du armes Kind. OREST Die diese Tat mir auferlegt, ELEKTRA Du wirst es tun! OREST die Götter, werden da sein, mir zu helfen. Ich will es tun, ich will es eilig tun. ELEKTRA Der ist selig, der tun darf! Die Tat ist wie ein Bette, auf dem die Seele ausruht, wie ein Bett von Balsam, drauf die Seele ruhen kann, die eine Wunde ist, ein Brand, ein Eiter und eine Flamme! OREST Ich werde es tun! Ich werde es tun! ELEKTRA Der ist selig, der seine Tat zu tun kommt, selig der, der ihn ersehnt, selig der ihn erschaut! Selig, wer ihn erkennt, selig, wer ihn berührt! Selig, wer ihm das Beil aus der Erde gräbt, selig, wer ihm die Fakkel hält, selig, selig, wer ihm öffnet die Tür. Der Pfleger Orests steht in der Hoftür, ein starker Greis mit blitzenden Augen DER PFLEGER DES OREST Seid ihr von Sinnen, dass ihr euren Mund nicht bändigt, wo ein Hauch, ein Laut, ein Nichts uns und das Werk verderben kann -- Zu Orest in fliegender Eile Sie wartet drinnen. Ihre Mägde suchen nach dir. Es ist kein Mann im Haus. Orest! Orest reckt sich auf, seinen Schauder bezwingend. Die Tür des Hauses erhellt sich. Es erscheint eine Dienerin mit einer Fackel, hinter ihr die Vertraute. Elektra ist zurückgesprungen, steht im Dunkel. Die Vertraute verneigt sich gegen die beiden Fremden, winkt, ihr hinein zu folgen. Die Dienerin befestigt die Fackel an einem eisernen Ring im Türpfosten. Orest und der Pfleger gehen hinein. Orest schliesst einen Augenblick, schwindelnd, die Augen, der Pfleger ist dicht hinter ihm, sie tauschen einen schnellen Blick. Die Tür schliesst sich hinter ihnen ELEKTRA allein, in entsetzlicher Spannung. Sie läuft auf einem Strich vor der Tür hin und her, mit gesenkten Kopf, wie das gefangene Tier im Käfig. Steht plötzlich still Ich habe ihm das Beil nicht geben können! Sie sind gegangen und ich habe ihm das Beil nicht geben können. Es sind keine Götter im Himmel! Abermals ein furchtbares Warten. Von ferne tönt drinnen, gellend, der Schrei Klytämnestras. ELEKTRA schreit auf wie ein Dämon Triff noch einmal! Von drinnen ein zweiter Schrei. Aus dem Wohngebäude links kommen Chrysothemis und eine Schar Dienerinnen heraus. Elektra steht in der Tür, mit dem Rücken an die Tür gepresst CHRYSOTHEMIS Es muss etwas geschehen sein. ERSTE MAGD Sie schreit so aus dem Schlaf. ZWEITE MAGD Es müssen Männer drin sein. Ich habe Männer gehen hören. DRITTE MAGD Alle Türen sind verriegelt. VIERTE MAGD Es sind Mörder! Es sind Mörder im Haus! ERSTE MAGD schreit auf Oh! ZWEITE und DRITTE MAGD, sechs andere DIENERINEN Was ist? ERSTE MAGD Seht ihr denn nicht dort in der Tür steht einer! CHRYSOTHEMIS Das ist Elektra! das ist ja Elektra! ERSTE, ZWEITE, DRITTE und VIERTE MAGD Elektra, Elektra! ERSTE UND ZWEITE MAGD Warum spricht sie denn nicht? CHRYSOTHEMIS Elektra, warum sprichst du denn nicht? VIERTE MAGD Ich will hinaus und Männer holen. Läuft rechts hinaus CHRYSOTHEMIS Mach uns doch die Tür auf, Elektra! Elektra! 6 DIENERINNEN Elektra, lass uns in s Haus! VIERTE MAGD zurückkommend Zurück! Aegisth! Zurück in unsre Kammern! schnell! Aegisth kommt durch den Hof! Wenn er uns findet und wenn im Hause was geschehen ist, lässt er uns töten. 6 DIENERINNEN Aegisth! ERSTE, ZWEITE und DRITTE MAGD Aegisth! CHRYSOTHEMIS Zurück! ALLE zurück! zurück! Sie verschwinden im Hause links. Aegisth tritt rechts durch die Hoftür auf AEGISTH an der Tür stehend bleibend He! Lichter! Lichter! Ist niemand da, zu leuchten? Rührt sich keiner von allen diesen Schuften? Kann das Volk mir keine Zucht annehmen! ELEKTRA nimmt die Fackel von dem Ring, läuft hinunter, ihm entgegen, und verneigt sich vor ihm AEGISTH erschrickt vor der wirren Gestalt im zuckenden Licht,weicht zurück Was ist das für ein unheimliches Weib? Ich hab verboten, dass ein unbekanntes Gesicht mir in die Nähe kommt! Erkennt sie, zornig. Was, du? Wer heisst dich, mir entgegentritten? ELEKTRA Darf ich nicht leuchten? AEGISTH Nun, dich geht die Neuigkeit ja doch vor allen an. Wo find ich die fremden Männer, die das von Orest uns melden? ELEKTRA Drinnen. Eine liebe Wirtin fanden sie vor, und sie ergetzen sich mit ihr. AEGISTH Und melden also wirklich, dass er gestorben ist, und melden so, dass nicht zu zweifeln ist? ELEKTRA O Herr, sie melden s nicht mit Worten bloss, nein, mit leibhaftigen Zeichen, an denen auch kein Zweifel möglich ist. AEGISTH Was hast du in der Stimme? Und was ist in dich gefahren, dass du nach dem Mund mir redest? Was taumelst du so hin und her mit deinem Licht! ELEKTRA Es ist nichts anderes, als dass ich endlich klug ward und zu denen mich halte, die die Stärkern sind. Erlaubst du, dass ich voran dir leuchte? AEGISTH etwas zaudernd Bis zur Tür. Was tanzest du? Gib Obacht. ELEKTRA indem sie ihn, wie in einem unheimlichen Tanz, umkreist, sich plötzlich tief bückend Hier! die Stufen, dass du nicht fällst. AEGISTH an der Haustür Warum ist hier kein Licht? Wer sind die dort? ELEKTRA Die sind s, die in Person dir aufzuwarten wünschen, Herr. Und ich, die so oft durch freche unbescheidne Näh dich störte, will nun endlich lernen, mich im rechten Augenblick zurückzuziehen. Aegisth geht ins Haus. Stille. Lärm drinnen. AEGISTH erscheint an einem kleinen Fenster, reisst den Vorhang weg, schreiend Helft! Mörder! helft dem Herren! Mörder, Mörder! Sie morden mich! Hört mich niemand? hört mich niemand? Er wird weggezerrt. Noch einmal erscheint Aegisths Gesicht am Fenster ELEKTRA reckt sich auf Agamemnon hört dich! AEGISTH er wird fortgerissen Weh mir! Elektra steht, furchtbar atmend, gegen das Haus gekehrt. Die Frauen kommen von links herausgelaufen, Chrysothemis unter ihnen. Wie besinnungslos laufen sie gegen die Hoftür. Dort machen sie plötzlich Halt, wenden sich CHRYSOTHEMIS Elektra! Schwester! komm mit uns! O komm mit uns! es ist der Bruder drin im Haus! es ist Orest, der es getan hat! Stimmen hinter der Scene im Hause Orest! Orest! Orest! Getümmel im Hause, Stimmengewirr, aus dem sich ab und zu die Rufe des Chors "Orest" bestimmter abheben Komm! Er steht im Vorsaal, alle sind um ihn, und küssen seine Füsse, alle, die Aegisth von Herzen hassten, haben sich geworfen auf die andern, überall in allen Höfen liegen Tote, alle, die leben, sind mit Blut bespritzt und haben selbst Wunden, und doch strahlen alle, alle umarmen sich -- Draussen wachsender Lärm, der sich jedoch, wenn Elektra beginnt, mehr und mehr nach den äusseren Höfen rechts und im Hintergrunde verzogen hat. die Frauen sind hinausgelaufen, Chrysothemis allein, von draussen fällt Licht herein und jauchzen, tausend Fackeln sind angezündet. Hörst du nicht, so hörst du denn nicht? ELEKTRA auf der Schwelle kauernd Ob ich nicht höre? ob ich die Musik nicht höre? sie kommt doch aus mir. Die Tausende, die Fackeln tragen und deren Tritte, deren uferlose Myriaden Tritte überall die Erde dumpf dröhnen machen, alle warten auf mich ich weiss doch, dass sie alle warten, weil ich den Reigen führen muss, und ich kann nicht, der Ozean, der ungeheure, der zwanzigfache Ozean begräbt mir jedes Glied mit seiner Wucht, ich kann mich nicht heben! CHRYSOTHEMIS fast schreiend vor Erregung Hörst du denn nicht, sie tragen ihn, sie tragen ihn auf ihren Händen, ELEKTRA springt auf. Vor sich hin, ohne auf Chrysothemis zu achten Wir sind bei den Göttern, wir Vollbringenden. Sie fahren dahin wie die Schärfe des Schwerts durch uns, die Götter, CHRYSOTHEMIS allen sind die Gesichter verwandelt, allen schimmern die Augen und die alten Wangen von Tränen! Alle weinen, hörst du s nicht? ELEKTRA aber ihre Herrlichkeit ist nicht zu viel für uns! Ich habe Finsternis gesät und ernte Lust über Lust. CHRYSOTHEMIS Gut sind die Götter, gut! ELEKTRA Ich war ein schwarzer Leichnam unter Lebenden, CHRYSOTHEMIS Es fängt ein Leben für dich und mich und alle Menschen an. ELEKTRA und diese Stunde bin ich das Feuer des Lebens, und meine Flamme verbrenn die Finsternis der Welt. CHRYSOTHEMIS Die über schwänglich guten Götter sind s, die das geben haben. ELEKTRA Mein Gesicht muss weisser sein als das weissglüh nde Gesicht des Monds. CHRYSOTHEMIS Wer hat uns je geliebt? ELEKTRA Wenn einer auf mich sieht, muss er den Tod empfangen oder muss vergehn vor Lust. CHRYSOTHEMIS Wer hat uns je geliebt? ELEKTRA Seht ihr denn mein Gesicht? Seht ihr das Licht, das von mir ausgeht? CHRYSOTHEMIS Nun ist der Bruder da, und Liebe fliesst über uns wie Öl und Myrrhen. Liebe ist Alles! Wer kann leben ohne Liebe? ELEKTRA Ai! Liebe tötet, aber keiner fährt dahin und hat die Liebe nicht gekannt! CHRYSOTHEMIS Elektra, ich muss bei meinem Bruder stehn! Sie läuft hinaus Elektra schreitet von der Schwelle herunter. Sie hat den Kopf zurückgeworfen wie eine Mänade. Sie wirft die Kniee, sie reckt die Arme aus, es ist ein namenloser Tanz, in welchem sie nach vorwärts schreitet CHRYSOTHEMIS erscheint wieder an der Tür, hinter ihr Fackeln, Gedräng, Gesichter von Männern und Frauen Elektra! ELEKTRA bleibt stehen, sieht starr auf sie hin Schweig, und tanze. Alle müssen herbei! hier schliesst euch an! Ich trage die Last des Glückes, und ich tanze vor euch her. Wer glücklich ist wie wir, dem ziemt nur eins schweigen und tanzen! Sie tut noch einige Schritte des angespanntesten Triumphes... Elektra stürzt zusammen. Chrysothemis zu ihr. Elektra liegt starr CHRYSOTHEMIS läuft an die Tür des Hauses, schlägt daran Orest! Orest! Stille Vorhang (libretto Hugo von Hofmannsthal) Strauss,Richard/Elektra
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I. 大収穫謝恩歌 汝を取り囲みし、夜と闇とを讃えよ 集い来たれ 仰ぎて天を見よ 今この時からは、もはや逃れられぬのだ 天の思し召しの僅かなることを、心から讃えよ 天は知る由もない 汝らの名も、また顔も 汝らの生くることをも、知る者とてないのだ 汝らの傍らで生き死にする草木と獣物とを讃えよ その様を見よ 草木と獣物とは生き また、汝らと共に死んでいくのだ 寒冷と暗黒と腐敗とを讃えよ 見上げるが良い 汝らにもたらされる物は無い そして誰にも惜しまれずに死んでいくのだ II. 物語詩 溺れ死んだ娘について その娘が溺れ死んで、川を流されて行った時のこと 小さなせせらぎから大きな河へと漂い 空はとても不思議なオパールの色に輝いていた まるで骸を慰めてでもいるかのように 水草や藻に絡め取られるものだから 骸はゆっくりと重さを増していった 冷やかに魚たちは娘の股座に潜り込む 草木や動物はなおも娘の最期の道行きを重いものにするのだ 暮れ方になると空は煙るように暗くなり 夜には満天の星空が天に浮かぶ明かりとなった だが朝が来れば明るくなる、その繰り返し まだ娘の元にも、昼と夜とが訪れるのだ 娘の血の気ない身体が水の中で腐れていった時に やがて（本当にゆっくりだったけど）、神様もだんだんと娘のことを忘れていった まずはその顔を、そしてその手を、、 最後の最後にその髪を やがて娘は塵芥となり、流れの中の塵芥の中に紛れていった III. 慰霊碑 ここに乙女眠る ここに眠れる乙女はヨハンナ・ベック 亡くなった時、既にその純潔は失われていた 男たちが引導を渡したのだ かくして乙女は甘美な生から逃れ去ったのだ 安らかに眠れ、安らかに眠れ IV. 凱旋門の下に埋められた無名兵士についての第一の報告 我らは山々より来たり 我らは山々から、また大海原から来た あいつをぶち殺すために 我らはあいつを荒縄で捕らようと、手を伸ばして モスクワからマルセイユの都まで包囲した それから大砲を用意して、あいつに狙いを定めた いつ何時でも、どこへあいつが逃れたとしても撃てるように あいつが我らを見つけて逃げたとしても撃てるように 我らは四年の長きに渡って、集まってきたのだ 我らの務めをたゆまず果たして、立ち上がったのだ 瓦礫の山と化した街に向かい、我らは数多の言語で呼びかけた 山々から大海原にいたるまで あいつのいるところで 四年目にしてようやく、あいつをぶち殺したのだ そこに我らは立ち会ったのだ あいつが生まれ落ちたのは 死の際にあって見るためだったのだ 我ら全員を そこには一人の女もいて、あいつを産み落とした女だった 女は黙したままでいた、我らがあいつを連れ出しても こんな母胎など引き裂かれてしまえばいい アーメン！ 女は自らあいつをぶち殺して 我らはあいつに暴行を加えたから、あいつの顔はメチャメチャになった 我らの拳で殴り続けて あいつが誰なのかも、分からないようにしたのだ もはや、あいつは誰かの息子ではなくなったのだ あいつの身体は鉱石の下に埋めた あいつの故郷でもある我らの街まで運び 石の下に葬ったのだ、そこは門の下で 凱旋門と呼ばれていた 石の目方は一千貫目もあった かくして無名兵士は 裁きの日まで、いつまでも立ち続け そして、それと目に止まることもないままに 神の前を歩くのだ それでもなお、再び光の中へ向かい 我らに認めさせようとするのだ 公正を求めて V. 凱旋門の下に埋められた無名兵士についての第二の報告 全てを我は語れり 私の語ったすべて 無名兵士の殺害と死 その顔が滅茶苦茶にされたこと それから私の語った殺害者たちの骨折りも その復活を阻止しようとしてしたことも これは事実なのだ だが、兵士は二度と帰らないのだ その顔は君らと同じように生き生きとしていたんだ 打ちのめされて、二目と見られないものになるまでは それから兵士は この世界で再びまみえることはない 完全な形でも、粉々の欠片でも 今日この日でも、終末の日でも その口も 最後の審判が来ても開かれることはない そこに裁きはない 君らの兄弟は 死んでしまって、その骸の上には岩が置かれている だから私は嘆くんだ いかなる嘲りであろうと、だから私は悲しみを胸に秘めておこう だが私は君らに請う、この兵士を 再び打ち殺そうとしているようだけれど 静まるんだ！ 新たにことを起こすんじゃない 争いだなんて、もう兵士は死んでいるのだから それでも、なお、お願いする、また兵士のことも もはや、ぶち殺されているのだから ほんの小さな石でも取り除いて欲しい その骸に置かれた石を 勝利の雄叫びは いらないんだ、そんなことすると 私を苦しめるんだ、だから私が その撃ち殺された者のことを もう忘れてしまったとしても、兵士を思い出すんだ 君たちは毎日、君たちはまだ 生きていて、それに君たちは 今もなお、撃ち殺されていないのだから なぜ、それでいけないんだ？ VI. 大収穫謝恩歌（ダ・カーポ） 汝を取り囲みし、夜と闇とを讃えよ 集い来たれ 仰ぎて天を見よ 今この時からは、もはや逃れられぬのだ 寒冷と暗黒と腐敗とを讃えよ 見上げるが良い 汝らにもたらされる物は無い そして誰にも惜しまれずに死んでいくのだ (「III. 慰霊碑」の差し替えられる前の歌詞) III. 墓碑銘 紅の薔薇に 赤のローザもまた、今はもういない もう死んでしまって、葬られた場所を知る者もいないのだ 貧乏人たちに真実を教えてやったから 金持ちたちには生かしてはおけなかったのだ 安らかに眠れ、安らかに眠れ (製作時にスコアからカットされた曲) I. 樫の下なるポツダムを 樫の下なるポツダムを、 とある真昼時のこと、歩いて行く行列があった。 先頭は太鼓でしんがりは旗。 その間には棺が一つ、人々は運んでいった。 樫の下なるポツダムを、 百年来の塵の中を、 六人の者達が一つの棺を運んでいった。 鉄兜と柏葉の勲章で飾りつけて。 棺には真っ赤な文字で、 銘が記されていた。 不格好な書体で、 「かくて英雄故郷へ帰る。 かくて英雄故郷へ帰る。」と。 それは、死んでいった多くの者達への、 思い出のためだった。 その故郷に生を請け、 シュマン・ドゥ・ダムの地に果てていった者達への。 「お国のため」と言う言葉に踊らされ、 誠心誠意を尽くして這いずり回った者達に、 故国はこの棺でそれに報いたのだ。 かくて英雄故郷へ帰る！ そこで彼らはポツダム中を練り歩いた。 シュマン・ドゥ・ダムで死んだ男のために。 でもそこへ緑色の制服を着た警官がやって来て、 彼らみんなを叩きのめしてしまった。 II. 死んだ兵隊の伝説 開戦から四年も経つというのに 平和の訪れる望みはなかった。 兵隊はその責任を果たそうとして 戦場で死を遂げた。 それで戦争が終わった訳ではなかったから それを聞いて皇帝はがっかりした。 彼の兵隊が死んでしまったことが いささか時期尚早に思われたのだ。 墓地にも夏が訪れて 兵隊は安らかに眠っていた。 ある夜、そこへやって来たのは 軍事医務委員会御一行だった。 医務委員会の連中は のこのこ墓場までやって来て 聖別された墓掘り用のスコップで 戦死した兵隊を掘り起こした。 兵隊、あるいはかつては兵隊だった物体を ドクトルは子細に診察した。 ドクトルの診断は「甲種合格」 臆病風に吹かれて逃げ出しただけだ。 そこで彼らはすぐに兵隊を連れ出した。 その夜は青々として晴れ渡っていた。 鉄かぶとを被せられていなかったなら 故郷の星も見えただろうに。 兵隊の腐れ果てた身体に 彼らは火酒を注いだ。 兵隊の腕には二人の看護婦がすがり付き もう一人、なかば裸の女もくっ付いていた。 兵隊の腐敗臭がひどかったために びっこの坊主が先導を務め、 兵隊の廻りで香炉を振って 臭わないように気を配った。 楽の音がジャンジャカジャンと鳴り響き 勇壮に行進曲を奏で出すと、 兵隊は訓練されたとおりに ケツから足を振り上げてみせた。 兵隊の腕を取って両脇から支えながら 仲よく歩いていたのは二人の衛生兵。 一度でも手を放すと兵隊は転んで糞まみれになってしまうし、 そんなことは許されない行為だったからだ。 彼らは兵隊の経帷子を 黒白赤に染め抜いた。 彼らがそれを捧げ持って運べば、 糞の色はもう分からなくなっていた。 燕尾服を着た一紳士が 胸を張って一行の先導を務めた。 彼は一人のドイツ人として 自らの責務に目覚めたのだ。 ジャンジャカジャンと彼らは兵隊を引っ張って 薄暗い石畳の道を下っていった。 兵隊はふらつきながらも彼らと歩調を合わせていた。 さながら嵐の中の雪の一ひらのように。 猫がニャーニャー鳴いて、犬はワンワン吠え、 野鼠までチューチュー言ってうるさかった。 動物にはフランス式の知らんぷりなんかできない。 それじゃあ礼儀に欠けるから。 一行が村を通り過ぎた時に 村中の女たちが出迎えた。 木々までが腰を屈め、空には満月が輝き、 そして誰も彼もが万歳の声を上げた。 ジャンジャカジャンにご機嫌よう！ 女に犬にハゲ坊主！ その真ん中の死んだ兵隊は 酔っ払いの猿みたいだった。 一行が村を通り過ぎた時に いつの間にか兵隊の姿は見えなくなった。 兵隊の廻りの一帯は一杯だったのだ。 ジャンジャカジャンと万歳で。 歌ったり踊ったりの大騒ぎの中で 兵隊の姿は見えなくなった。 上から見れば見えただろうが 空には星しかいなかった。 空の星もいつかは消えて やがては夜明けが訪れる。 けれども兵隊は訓練されたとおりに 戦場で死を遂げるために進んでいくのだった。 I. Großer Dankchoral Lobet die Nacht und die Finsternis, die euch umfangen! Kommet zuhauf! Schaut in den Himmel hinauf Schon ist der Tag euch verfangen. Lobet von Herzen das schlechte Gedächtnis des Himmels! Und dass er nicht Weiß euren Nam noch Gesicht. Niemand weiß, dass ihr noch da seid. Lobet das Gras und die Tiere, die neben euch leben und sterben! Sehet, wie ihr Lebet das Gras und das Tier. Und es muss auch mit euch sterben. Lobet die Kälte, die Finsternis und das Verderben! Schauet hinan Es kommet nicht auf euch an. Und ihr könnt unbesorgt sterben II. Ballade Vom ertrunkenem Mädchen Als sie ertrunken war und hinunter schwamm Von den Bächen in die größeren Flüsse, Schien der Opal des Himmels sehr wundersam, Als ob er die Leiche begütigen müsse. Tang und Algen hielten sich an ihr ein, So dass sie langsam viel schwerer ward. Kühl die Fische schwammen an ihrem Bein, Pflanzen und Tiere beschwerten noch ihre letzte Fahrt. Und der Himmel ward abends dunkel wie Rauch Und hielt nachts mit den Sternen das Licht in Schwebe. Aber früh ward er hell, dass es auch Noch für sie Morgen und Abend gebe. Als ihr bleicher Leib im Wasser verfaulet war, Geschah es (sehr langsam), dass Gott sie allmählich vergaß. Erst ihr Gesicht, dann die Hände und ganz zuletzt erst ihr Haar. Dann ward sie Aas in Flüssen mit vielem Aas. III. Marterl Hier ruht die Jungfrau Hier ruht die Jungfrau Johanna Beck. Als sie starb, war ihre Unschuld schon vorher weg. Die Männer haben ihr den Rest gegeben, Drum floh sie aus diesem süßen Leben. Ruhe sanft, ruhe sanft. IV. Erster Bericht über den Unbekannten Soldaten unter dem Triumphbogen Wir kamen von den Gebirgen Wir kamen von den Gebirgen und vom Weltmeer, Um ihn zu erschlagen. Wir fingen ihn mit Stricken, langend Von Moskau bis zur Stadt Marseille Und stellten auf Kanonen, ihn erreichend An jedem Punkt, wo er hinfliehen konnte, Wenn er uns sah. Wir versammelten uns vier Jahre lang, Legten nieder unsere Arbeit und standen In den zerfallenen Städten, uns zurufend in vielen Sprachen Von den Gebirgen bis zum Weltmeer, Wo er sei. So erschlugen wir ihn im vierten Jahr. Dabei waren, Die er war geboren zu sehn Um sich stehend zur Zeit seines Todes Wir alle. Und dabei war eine Frau, die ihn geboren hatte Und die geschwiegen hatte, als wir ihn holten. Der Schoß sei ihr ausgerissen, Amen! Als sie ihn aber erschlagen hatten, Richteten wir ihn zu, dass er sein Gesicht verlor Durch die Spuren unsrer Fäuste. So machten wir ihn unkenntlich, Dass er keines Menschen Sohn mehr sei. Und gruben ihn aus unter dem Erz, Trugen ihn heim in unsere Stadt und Begruben ihn unter dem Stein, und zwar unter einem Bogen, genannt Bogen des Triumphs, Welcher wog tausend Zentner, dass Der Unbekannte Soldat Keinesfalls aufstünde am Tag des Gerichts Und unkenntlich Wandelte vor Gott, Dennoch wieder im Licht Und bezeichnete uns Kenntliche Zur Gerechtigkeit. V. Zweiter Bericht über den Unbekannten Soldaten unter dem Triumphbogen Alles, was ich euch sagte Alles was ich euch sagte Über Ermordung und Tod des Unbekannten Soldaten Und die Verwüstung seines Gesichts, Auch was ich euch sagte über die Bemühung seiner Mörder, Ihn zu hindern am Wiederkommen, Ist wahr. Aber er kommt nicht wieder Sein Gesicht war lebendig wie das eure, Bis es zerschmettert wurde und nicht mehr war. Und er ward Nicht mehr gesehen auf dieser Welt, Weder ganz noch zerschmettert, Weder heute noch am Ende der Tage, Und sein Mund Wird nicht reden am Jüngsten Gericht. Es wird kein Gericht sein, Sondern euer Bruder Ist tot und tot ist der Stein über ihm, Und ich bedaure Jeglichen Hohn, und ziehe zurück meine Klage. Aber ich bitte euch, da ihr ihn Nun einmal erschlagen habt, Still! Fangt nicht von neuen an Zu streiten, da er doch tot ist. Aber doch bitte ich, da ihr ihn also Erschlagen habt Entfernt wenigstens Den Stein über ihm, Denn dieses Triumphgeheul Ist doch nicht nötig und macht Mir Kummer, denn mich, Der ich den Erschlagenen Schon vergessen hatte, erinnert er Täglich an euch, die ihr noch Lebt, und die ihr Immer noch nicht erschlagen seid. Warum denn nicht? VI. Großer Dankchoral (da capo) Lobet die Nacht und die Finsternis, die euch umfangen! Kommet zuhauf! Schaut in den Himmel hinauf Schon ist der Tag euch verfangen. Lobet die Kälte, die Finsternis und das Verderben! Schauet hinan Es kommet nicht auf euch an. Und ihr könnt unbesorgt sterben (Alternate of III. Marterl) III. Grabschrift Die rote Rosa Die rote Rosa schon lang verschwand. Die ist tot, ihr Aufenthaltsort ist unbekannt. Weil sie den Armen hat die Wahrheit gesaget Drum haben sie die Reichen aus dem Leben gejaget. Ruhe sanft, Ruhe sanft. (Deleted from the score) I. Zu Potsdam unter den Eichen Zu Potsdam unter den Eichen Im hellen Mittag ein Zug Vorn eine Trommel und hinten eine Fahn In der Mitte einen Sarg man trug. Zu Potsdam unter den Eichen Im hundertjährigen Staub Da trugen sechse einen Sarg Mit Helm und Eichenlaub. Und auf dem Sarge mit Menigerot Da war geschrieben ein Reim Die Buchstaben sahen häßlich aus »Jedem Krieger sein Heim! Jedem Krieger sein Heim!« Das war zum Angedenken An manchen toten Mann Geboren in der Heimat Gefallen am Chemin des Dames. Gekrochen einst mit Herz und Hand Dem Vaterland auf den Leim Belohnt mit dem Sarge vom Vaterland Jedem Krieger sein Heim! So zogen sie durch Potzdam Für den Mann am chemin des Dames Da kam die grüne Polizei Und haute sie zusamm. II. Legende vom toten Soldaten Und als der Krieg im vierten Jahr Keinen Ausblick auf Frieden bot Da zog der Soldat seine Konsequenz Und starb den Heldentod. Der Krieg war aber noch nicht gar Drum tat es dem Kaiser leid Daß seine Soldat gestorben war Es schien ihm noch vor der Zeit. Der Sommer zog über die Gräber her Und der Soldat schlief schon Da kam eines Nachts eine militär- ische ärztliche Kommission. Es zog die ärztliche Kommission Zum Gottesacker hinaus Und grub mit geweihtem Spaten den Gefallnen Soldaten aus. Der Doktor besah den Soldaten genau Oder was von ihm noch da war Und der Doktor fand, der Soldat war k.v. Und er drückte sich vor der Gefahr. Und sie nahmen sogleich den Soldaten mit Die Nacht war blau und schön. Mann konnte, wenn man keinen Helm aufhatte Die Sterne der Heimat sehn. Sie schütteten ihm einen feurigen Schnaps In den verwesten Leib Und hängten zwei Schwestern in seinen Arm Und ein halb entblößtes Weib. Und weil der Soldat nach Verwesung stinkt Drum hinkt ein Pfaffe voran Der über ihn ein Weihrauchfaß schwingt Daß er nicht stinken kann. Voran die Musik mit Tschindrara Spielt einen flotten Marsch. Und der Soldat, so wie er’s gelernt Schmeißt seine Beine vom Arsch. Und brüderlich den Arm um ihn Zwei Sanitäter gehn Sonst flög er noch in den Dreck ihnen hin Und das darf nicht geschehn. Sie malten auf sein Leichenhemd Die Farben Schwarz-Weiß-Rot Und trugen’s vor ihm her; man sah Vor Farben nicht mehr den Kot. Ein Herr im Frack schritt auch voran Mit einer gestärkten Brust Der war sich als ein deutscher Mann Seiner Pflicht genau bewußt. So zogen sie mit Tschindrara Hinab die dunkle Chaussee Und der Soldat zog taumelnd mit Wie im Sturm die Flocke Schnee. Die Katzen und die Hunde schrein Die Ratzen im Feld pfeifen wüst Sie wollen nicht französisch sein Weil das eine Schande ist. Und wenn sie durch die Dörfer ziehn Waren alle Weiber da Die Bäume verneigten sich, Vollmond schien Und alles schrie hurra. Mit Tschindrara und Wiedersehn! Und Weib und Hund und Pfaff! Und mitten drin der tote Soldat Wie ein besoffner Aff. Und wenn sie durch die Dörfer ziehn Kommt’s, daß ihn keiner sah So viele waren herum um ihn Mit Tschindrara und Hurra. So viele tanzten und johlten um ihn Daß ihn keiner sah. Mann konnte ihn einzig von oben noch sehn Und da sind nur Sterne da. Die Sterne sind nicht immer da Es kommt ein Morgenrot. Doch der Soldat, so wie er’s gelernt Zieht in den Heldentod. 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。@ hanmyo Weill,Kurt/Das Berliner Requiem
https://w.atwiki.jp/oper/pages/1546.html
［後方の扉が開く。三人はみな立ち上がる。ゾフィーとマリアンネは右へ移動する。オクタヴィアンは左手前方へ。ファニナルが男爵を儀礼的に導き、敷居をまたいでゾフィーのもとへ案内しつつ、優先権を彼に与える。レルヒェナウの家僕たちがどこへでもついてくる。まず司祭と息子の小姓。それから側近の狩人がよく似たごろつきを連れて。この同類は殴られた鼻に絆創膏をしており、さらに、甜菜畑からそのままお仕着せに詰め込まれたような同類が二人。みな主人と同様、小さなミルテの花束をつけている。2人のファニナルの召使いたちは後方にとどまる。］ ファニナル 閣下に許嫁をご紹介いたします。 男爵 ［お辞儀をし、それからファニナルへ］ 結構！おめでとうございます。 ［彼はゾフィーの手に口づけ、同時に確かめる］ きれいな手首だ。これは非常に重視している点だよ。市民階級以下にはめったにない貴重品なのだ。 オクタヴィアン ［抑えた声で］ ぞっとする（熱くなったり寒くなったりする）。 ファニナル ちょっとよろしいでしょうか、我が忠実なるマリアンネ・ライトメッツェリン嬢を… ［紹介を受けたマリアンネは3度深く膝を曲げて礼をする。］ 男爵 ［同時にいやそうに手で拒否する］ そういうのはやめてくれ。さあ、我が薔薇の騎士様にご挨拶をしよう。 ［ファニナルとともにオクタヴィアンに歩み寄り、お辞儀をし、オクタヴィアンも返礼をする。］ ［レルヒェナウの随行者がようやく静止するが、その直前にゾフィーをほとんど突き倒し、右手後方へ数歩引き下がる。］ ゾフィー ［マリアンネとともに右手に立ち、抑えた声で］ あれはいったいどんなご作法？まるで馬商人みたいに、それに私を買ったとでも思ってるみたいに。 マリアンネ カヴァリエ（紳士）とは縛られない、気さくな振る舞いをするものですから仕方ありません。あの方がどなたで、あなたをどのようにしてくださるかを自分に言い聞かせて、しかめ面は早くおやめなさい。 男爵 ［紹介の姿勢のまま、ファニナルへ］ まったく驚きですよ、こちらの若殿がとある人物に似てる体といったら。私生児がおるんですよ、とってもかわいいのが、妹にね。 ［無様になれなれしく］ 地位のある人々の間では秘密ではありませんよ。侯爵夫人ご自身の口からなされたのですし、 ［ゆったりと］ ファニナル家も、いわば、いまや親戚に属するのですから、恨みに思いなさんな、ロフラーノ、 ［どんどん不作法になって］ お前の父親がいたずらっ子だったからといってな、ここにいらしたらよい仲間をお認めになるでしょうな、 ［笑いながら］ 亡きマルキーズ様は。私自身も除外しませんよ。 ［ファニナルへ］ 見なさい、殿、あそこの背の高いのを、あのブロンドの、あちらの後ろにいるのをごらんなさい。指で指し示すことはしませんがね、だが貴族的な風采のためにはっきりと目立っているでしょう。だがまったく特別なやつですよ。何も言いませんがね、父親ですから、ですが抜け目のない奴ですよ。 ゾフィー 今度は私をこうやって立たせっぱなしにしているわ、あのがさつな人！そしてあれが私の許嫁なんだわ。しかもあばただらけよ、ああ神様！ マリアンネ さあ、もしあの方を前からみてお気に召さないのなら、高慢ちきお嬢さん、後ろからみてごらんなさい。そうすれば何かが見えるでしょう、なにかお気に召すものが。 ゾフィー 何が見えるのか、知りたいものだわ。 マリアンネ ［彼女の口まねをしてからかう］ 何が見えるのか、知りたいものだわ。あの方は皇帝の侍従でいらして、あなたの守護聖人がご主人様としてもったいなくもお与えくださった方ですよ。そんなの一目で見て取れることでしょう。 ［執事が愛想よくレルヒェナウの人々に近付き、外へ案内する。同時にファニナルの家僕たちも二人を残して退出し、その二人はワインと菓子を給仕する。］ ファニナル ［男爵へ］ お気に召すといいのですが…古いトカイでございます。 ［オクタヴィアンと男爵は取って飲む。］ 男爵 ご立派、ファニナル、よくわきまえてますな。古いトカイを若い娘に添えて出すと。あなたに満足しましたよ。 ［オクタヴィアンへ］ こういったちんけな貴族たちには常に、我々と同列だと思っちゃいけないことを教えてやらんとね、常に腰を低くしているべきことをね。 オクタヴィアン ［辛辣に］ 閣下に深く感謝いたします。まことに世の作法をよくご存じでらっしゃる。今日、明日にでも大使をおつとめになれますよ。 男爵 ［野卑に］ ではあの娘をこちらに連れてくるとしましょう。今度は会話の仕方を教えてあげないとね、その様子で彼女がどのくらい気が利いているかみるんです。 ［向こうへ行き、ゾフィーの手をつかみ、連れてくる。］ エ・ビアン！さあ、我々と一緒におしゃべりしなさい、私とタヴェル兄とね。お話ししてご覧なさい、 ［座って、彼女を膝の上に半座りさせようとする。］ この結婚で何が一番うれしいのかを。 ゾフィー ［彼から逃げる。］ 何を考えてらっしゃるんですか？ 男爵 ［気楽に］ わあ！何を考えているか！私のすぐそばに来なさい、そしたら私が何を考えているか、あなたに教えてあげよう。 ［同時にゾフィーはより激しく彼から身を遠ざけようとする。］ もしかしてあなたに対して ［気楽に］ 儀典長のように振る舞う方がお好みかい？ “mill pardon” （幾重にもお詫びを）とか “dévotion” （敬愛）とか「やめて」とか「尊重して」とか？ ゾフィー まことにその方がはるかに好きですわ！ 男爵 ［笑いながら］ 私はいやだね！わかったかね！私はまったくもっていやだ！ただ正直で、オープンで、愛嬌のあるほめ言葉が好みだよ。 ファニナル ［オクタヴィアンに二つ目の椅子を勧めるが、オクタヴィアンは断る。独白］ この我が家のさま！あちらにはレルヒェナウ家の方が座り、ご立派な様子で我がゾフェルを愛撫され、 ［より強く］ まるですでに娶られたかのように…そしてあちらにはロフラーノ家の方が、まったくそれが当然であるかのように…ロフラーノ伯爵の一人が、他の何者でもなく、上席司厨長侯爵のご兄弟が。 オクタヴィアン ［独白］ あいつめ、 ［激高して］ いつか僕が剣を持っている時に出会ってやりたい、おまえが叫んでも警護が誰も聞えないところでな。ああ、僕が望むのはそれだけだ！ ゾフィー ［男爵に］ ああやめてください、私たちそんなに近しくありませんでしょう！ 男爵 ［ゾフィーに］ ひょっとしてタヴェル兄様がいるから恥ずかしいのかい？それは間違っているよ。お聞き。パリではね、もちろんお作法に関しては有名なところだろう？あそこでは、若夫婦が何をしようと全くかまわないんだよ…誰でも呼ばれずともそれを見てかまわないんのさ、そうさ、王自身でさえ… ［男爵はどんどん親密さを増し、彼女はどうしたら抜け出せるのかわからない。］ オクタヴィアン ［激高して］ あの野郎が、あんなに図々しく、あんなに恥知らずに彼女と一緒にいるのを見なくてはならないなんて。ああ、ここから立ち去れたならよかったのに！ ファニナル ［独白］ 壁がガラスでできていて、ウィーンの市民階級のねたみ屋どもがみな、彼らが内輪で一緒にああやって座っているのを見られたらよかったのに！そのためならレルヒェンフェルダーの角の家をあげてもいい、誓ってだ！ 男爵 ［ゾフィーに］ ばかげた考えはおよしなさい！あなたは今や僕のものなんだから！なにもかもうまくいくさ。いい子にしなさい！全部、滞りなくいくから！［半ば独白で、彼女を愛撫しながら］ ちょうど僕好み！若鶏みたいな肩。ひどくやせぎすだが… それはかまわん。それより白い、白くて輝いている、なんて素晴らしい！僕にはほんとうにレルヒェナウ家の運があるなあ！ ゾフィー ［体を引き離し、地団駄を踏む］ 男爵 ［おもしろがって］ まったく気まぐれなおつむだね！ ［立ち上がって彼女の後を追って］ 頬に血をのぼせてるのかい、人の手がやけどするくらい？ ゾフィー ［怒りで真っ赤になったり真っ青になったり］ 手をそこからお離しください！ オクタヴィアン ［沈黙の怒りのうちに、手に持ったグラスを握りつぶし、その破片を床に投げつける。］ マリアンネ ［優雅にオクタヴィアンのもとへ走って戻り、破片を拾い上げ、うっとりと彼に耳打ちする。］ まったく打ち解けた方ですね、男爵様は！楽しいですわね、なんでも思いつきになられて、男爵様は！ 男爵 ［ゾフィーのすぐとなりで］ 僕にとってこれ以上のものはない！思い焦がれるのやら情愛のこもったのやらなんか、この半分も満足さしてくれないさ、まったく！ ゾフィー ［鋭く、面と向かって］ そういうつもりではありません、あなたを満足させようなんて！ 男爵 ［くつろいで］ そうしてくれますよ、あなたがそのつもりであろうとなかろうとね。 マリアンネ ［ファニナルへ］ まったく打ち解けた方ですね、男爵様は！楽しいですわね、なんでも思いつきになられて、男爵様は！ ファニナル ［お目付役へ］ 壁がガラスでできていて、ウィーンの市民階級のねたみ屋どもがみな、彼らが内輪で一緒にああやって座っているのを見られたらよかったのに。 オクタヴィアン ［独白、怒りで青ざめて］ 出てけ、出てけ、さよならなしにだ！そのほかには何をやっても無駄だ、僕は混乱させるようなことはできないんだから！この部屋を出て行くんだ！ただ出てけ。 ［この間に公証人が書記とともに入ってきて、ファニナルの執事の案内を受ける。執事はフォン・ファニナル氏にそっと伝える。ファニナルは後方の公証人に歩み寄り、彼と言葉を交わし書記が差し出した書類の束から一枚をとって確認する。］ ゾフィー ［歯の間から］ 今まで私にそのようなお話をした方は一人としておりません！ ［激高して］ 知りたいものですわ、あなたが私とあなたについてどのように思われているのか。あなたは私にとってなんですの？ 男爵 ［くつろいで］ 一夜にして、とっても優しくわからせてあげるよ、私があなたにとって何かを。そっくりそのまま歌に言うようにね。この歌知ってる？ラ、ラ、ラ、ラ、ラ… ［とても感情豊かに］ 僕が君の全てになる！僕となら、僕となら、どんな部屋も君には小さすぎない。僕なしでは、僕なしでは、毎日が君にはとても不安。僕となら、僕となら、 ［図々しく鈍重に］ どんな夜も君には長すぎない、どんな夜も君には長すぎない… ゾフィー ［彼が彼女をますます強く抱きしめるので、彼女は身をもぎ放し、彼を激しく突き放す。］ マリアンネ ［今度はゾフィーへ、慌てて］ まったく打ち解けた方ですね、男爵様は！楽しいですわね、なんでも思いつきになられて、 ［必死ににゾフィーを説得して］ なんでも思いつきになられて！男爵様は、男爵様は！ オクタヴィアン ［目を向けずに、しかし進行している事態を全て見て取りながら］燃えさかる石炭の上に立っているぞ！自分の皮を突き破りそうだ（怒っているぞ）！僕はこの一時間に全ての我が罪を償った。 男爵 ［独白、とても楽しげに］ まことにもって！僕には本当にレルヒェナウの運がある。世のいかなる他のものも、 強い抵抗ほど僕を燃え上がらせ、また激しく若返らせるものはない。 ［ファニナルと公証人、その後ろに書記は、左側前方に来ている。］ ［男爵は、公証人を見つけるやいなや、ゾフィーへ熱心に、彼女の中で何が起きているかを感じ取りもせずに］ だが今はちょっと仕事をしないと。失礼させてね。あちらで大事な用があるから。そのあいだ、タヴェル兄があなたのお相手をしてくれるからね！ ファニナル もしよろしければ、婿殿！ 男爵 ［熱心に］ もちろんよろしいですとも。 ［通り過ぎざまにオクタヴィアンへ、なれなれしく体に触れながら］ なにも反対しませんから、あなたが彼女にちょっと色目を使いたいとしてもね、兄さん、今でもまた後でもね。まだまったくのお触りなしちゃんでしょう。役に立つと思いますよ、彼女がもう少し世慣れしたほうがね。若い、まだ乗られたことのない馬と同じですよ。全て最後に控えた配偶者の益となりますから、自身の結婚特権を上手に使うことさえ心得ていればね。 ［男爵は左へ行く。公証人を中に通した召使いがこの間に左手の扉を開けておいてあったのだ。ファニナルと公証人は中に入っていこうとする。男爵はファニナルをじろじろと見て、それとなく、三歩距離をとるように示す。ファニナルは恭しく下がる。男爵は先に行き（先行権をとり）、ファニナルが三歩の距離を保っているか確かめ、もったいぶって左手の扉から出て行く。ファニナルがその後に、それから公証人、そして書記が続く。召使いが左手の扉を閉じて退出するが、控えの間に続く観音開きの扉は開けたままにしておく。給仕の召使いは先にすでに退場している。］ ゾフィー ［右手、混乱し、屈辱を感じながら立つ。］ マリアンネ ［彼女の脇で扉に向かってひざまづき、扉が閉じるまで姿勢を保つ。］ オクタヴィアン ［後方に目をやって他の人々が去ったことを確認し、興奮で震えつつ、素早くゾフィーのもとへ歩み寄る。］ あちらのあの野郎と結婚するのですか、マ・クズィーネ？ ゾフィー ［一歩彼に歩み寄り、静かに］ 決して！ ［お目付役に目をやって］ 神様、あなたと二人きりだったなら！そうしたらあなたにお願いができるのに、そうしたらあなたにお願いができるのに！ オクタヴィアン ［声を抑えて、素早く］ どんなことです、あなたが私にお願いしたいのは？ 急いでおっしゃってください！ ゾフィー ［もう一歩彼に歩み寄り］ ああ神様。どうか私を助けてください！でもあなたは私を助けたくないはず、だってあなたは彼の従兄弟ですもの。 オクタヴィアン ［熱烈に］ 彼を従兄弟と呼ぶのは礼儀上に過ぎません。神に称賛と感謝を、昨日までの人生で彼に一度たりとも会わなかったことに！ ［控えの間を横切って屋敷の下女の一人が逃げてゆく。その後をレルヒェナウの召使いたちが追い回している。小姓と、鼻に絆創膏をつけた召使いが、かわいい若い女の子を追いかけ、彼女を応接間の敷居のところであやうくもほとんど追いつめる。］ ファニナルの執事 ［困惑して走り込んでくる。］ レルヒェナウの方々は火酒をしたたかがぶ飲みされ、奉公人たちに襲いかかられて、トルコ人やクロアチア人より何十倍もひどいです。 マリアンネ 私どもの人間を誰かよんでらっしゃい。彼らはいったいどこにいるの？［執事とともに立ち去る。しつこい二人の男からその獲物を引き離し、女の子を連れて行く。全員いなくなり、控えの間は空になる。］ ゾフィー ［いまや見張られていないとなり、より自由な調子で］ あなたをご信頼できるのなら、モン・クザン、世の他の誰でもなく、あなただけが私を助けられるのです、もしあなたがただ善意をおもちなら！ オクタヴィアン まずあなた自身が自分を助けなければなりません。そうすれば私もあなたを助けましょう。あなたがまずあなた自身のためにすべきことをすれば、私もあなたのためにすべきことをしましょう。 ゾフィー ［信じきって、ほとんど愛情にあふれて］ それはなんですか、私はまずなにをしなければならないのですか？ オクタヴィアン ［静かに］ それはあなたがよく知っているでしょう！ ゾフィー ［彼にじっとまなざしを向けて］ そしてまた、あなたが私にしてくださることはなんですか、さあ私におっしゃってください！ オクタヴィアン ［決心して］ いまやあなたは我々二人のためにたった一人で責任を負わなければならないのですよ！ ゾフィー なんですって、我々二人のために？ああ、もういちど言ってください！ オクタヴィアン ［静かに］ 我々二人のために！ ゾフィー ［没入した恍惚の中で］ 人生でこんなに美しいことを聞いたことはないわ！ オクタヴィアン ［より強く］ あなたと私のために、あなたは抵抗し、このまま… ゾフィー このまま？ オクタヴィアン あなたのままでいなくてはいけません。 ゾフィー ［彼の手をとり、その上に身をかがめ、彼が手を引っ込めることが出来る前に素早く口づける。彼は彼女の口に接吻する。］ オクタヴィアン ［彼女は彼に寄り添い、彼は彼女を腕の中に抱きしめる。情愛を込めて］ その眼に涙を溜めてあなたは僕のところへいらした、僕に訴えるために、不安からあなたは僕に寄りかかるほかなかった、あなたのかわいそうなお心はすっかり弱気になってしまわれた。そして僕は今、あなたの友人であることを明らかにしなければならないのに、まったくもってどうしたらいいのかわからない！僕にはあまりにすばらしくて、あまりに特別で、僕はあなたを引き止めずにはいられない。答えをくれ、でも黙って教えてくれ。あなたは自分から僕のところへ来たの？はい、いいえ？はい、いいえ？言葉を使わずに言って…あなたは喜んでそうしたの？言って、それともただ困ったから？ただ困ったからすべてを僕のところへ持って来たの、あなたの心やあなたの愛らしい顔を？ねえ、こんな気がしない？いつかどこかの美しい夢のなかでかつてこんなことがなかった？あなたは僕のようには感じない？ねえ、あなたは僕のようにそう感じない？僕の心も魂もあなたのもとにとどまるよ、あなたが行くところ、とまるところに、永遠にいつまでも。 ゾフィー ［同時に彼に］ 私はあなたのそばに隠れたい、そしてこれ以上世の中について知りたくありません。あなたがこのように私をあなたの腕の中に抱いてくだされば、どんな醜いものにも動じずにすみます。ここにずっといたいのです、ここに！そして黙って、そしてたとえ私にまたなにか起ころうとも、梢の中の鳥のように守られて、じっとして、感じて。あなたが、あなたがそばにいらっしゃる！私は心の中では不安で怖じ気づいているはずなのに、それどころか私はあなたから喜びと幸せだけを感じて、苦痛はみな去り、言葉で言い表すことはできない！私はなにか間違ったことをしたのかしら？わたしはただ困っていたの！そうしたらあなたが私のそばにいたの！そこにあなたの顔があった、あなたの若くて明るい目が、私はそちらに向きあった、あなたの愛しい顔に、そしてそれからというものまったく何もわからない…私にはなに一つ。私のそばにいて、ああ、私のそばにいて。私にあなたの保護をお与えください、あなたが望むようにしますから。ただ私のそばにいてください！私にあなたの保護をお与えください… ［後方の角にある隠し扉から左にヴァルツァッキ、右にアンニナが滑り込み、音もなく、様子をさぐりにやってくる。音なくゆっくりとつま先立って忍び寄る。］ ［オクタヴィアンはゾフィーを引き寄せ、口に接吻する。その間、イタリア人たちは彼らのすぐ後ろに来て、安楽椅子の後ろに身を屈める。この時、彼らは前に飛び出し、アンニナはゾフィーを、ヴァルツァッキはオクタヴィアンを捕らえる。］ ヴァルツァッキとアンニナ ［叫ぶ］ レルヒェナウ男爵様、レルヒェナウ男爵様！ オクタヴィアン ［左手に激しく動く］ ヴァルツァッキ ［オクタヴィアンを抑えるのに苦労しつつ、息を切らしてアンニナへ］走って閣下をツレてこい。ハヤく、とにかくハヤく！オレはこのトノを抑えてないと。 アンニナ このお嬢さんを放したら、私のとこから逃げちゃうよ！ ヴァルツァッキとアンニナ レルヒェナウ男爵様！いらしてご覧くだせえ、花嫁様が若いカヴァリエ（紳士）と一緒です！急いでいらして、こちらへいらして！ ［男爵が左手の扉から入場し、イタリア人たちが犠牲者たちを放して、脇に飛び退き、男爵にむかって意味深長な身振りでお辞儀をする。］ エッコ（ほら）！ Die Tür rückwärts geht auf. Alle drei erheben sich. Sophie und Marianne treten nach rechts. Octavian nach links vorne. Faninal führt den Baron zeremoniös über die Schwelle und auf Sophie zu, indem er ihm den Vortritt lässt. Die Lerchenau’sche Livree folgt auf Schritt und Tritt zuerst der Almosenier mit dem Sohn und Leibkammerdiener. Dann folgt der Leibjäger mit einem ähnlichen Lümmel, der ein Pflaster über der eingeschlagenen Nase trägt, und noch zwei von der gleichen Sorte, vom Rübenacker her in die Livree gesteckt. Alle tragen wie ihr Herr, Myrtensträusschen. Die zwei Faninalschen Boten bleiben im Hintergrunde. FANINAL Ich präsentiere Euer Gnaden Dero Zukünftige. BARON macht die Reverenz, dann zu Faninal Deliciös! Mach’ Ihm mein Kompliment. Er küsst Sophie die Hand, gleichsam prüfend Ein feines Handgelenk. Darauf halt’ ich gar viel. Ist unter Bürgerlichen eine seltne Distinktion. OCTAVIAN halblaut Es wird mir heiß und kalt. FANINAL Gestatten, dass ich die getreue Jungfer Marianne Leitmetzerin... Marianne präsentierend, die dreimal tief knickst. BARON indem er unwillig abwinkt Lass Er das weg. Begrüß’ Er jetzt mit mir meinen Herrn Rosenkavalier. Er tritt mit Faninal auf Octavian zu, unter Reverenz, die Octavian erwidert. Das Lerchenau’sche Gefolge kommt endlich zum Stillstand, nachdem es Sophie fast umgestoßen, und retiriert sich um ein paar Schritte. SOPHIE mit Marianne rechtsstehend, halblaut Was sind das für Manieren? Ist da leicht ein Roßtauscher und kommt ihm vor, er hätt’ mich eingekauft? MARIANNE Ein Kavalier hat halt ein ungezwungenes, leutseliges Betragen. Sag’ dir vor, wer er ist, und zu was er dich macht, so werden dir die Faxen gleich vergeh’n. BARON während des Aufführens zu Faninal Ist gar zum Staunen, wie der junge Herr jemand gewissem ähnlich sieht; hat ein Bastardel, recht ein saubres, zur Schwester. plump vertraulich Ist kein Geheimnis unter Personen von Stand. Hab’s aus der Fürstin eignem Mund, gemächlich und weil der Faninal sozusagen jetzo zu der Verwandtschaft gehört, mach’ dir keine Depit darum, Rofrano, immer breiter dass dein Vater ein Streichmacher war, befindet sich dabei in guter Kompanie, lachend der sel’ge Herr Marchese. Ich selber exkludier’ mich nicht. zu Faninal Seh’, Liebden, schau dir dort den Langen an, den blonden, hinten dort. Ich will ihn nicht mit Fingern weisen, aber er sticht wohl hervor durch eine adelige Kontenance. Ist aber ein ganz besondrer Kerl. Sagt nichts, weil ich der Vater bin, hat’s aber faustdick hinter den Ohren. SOPHIE Jetzt läßt er mich so steh’n, der grobe Ding! Und das ist mein Zukünftiger. Und blattersteppig ist er auch, o mein Gott! MARIANNE Na, wenn er Dir von vorn nicht gefallt, Du Jungfer Hochmut, so schau’ ihn Dir von rückwärts an da wirst was seh’n, was Dir schon gefallen wird. SOPHIE Möcht’ wissen, was ich da schon sehen werd’. MARIANNE ihr nachspottend Möcht’ wissen, was ich da schon sehen werd’. Dass es ein kaiserlicher Kämmerer ist, den dir dein Schutzpatron als Herr Gemahl spendiert hat. Das kannst’ seh’n mit einem Blick. Der Haushofmeister tritt verbindlich auf die Lerchenau’schen Leute zu und führt sie ab. Desgleichen tritt die Faninal’sche Livree ab, bis auf zwei, welche Wein und Süssigkeiten servieren. FANINAL zum Baron Belieben jetzt vielleicht - ist ein alter Tokaier. Octavian und Baron bedienen sich. BARON Brav, Faninal, Er weiß, was sich gehört. Serviert einen alten Tokaier zu einem jungen Mädel. Ich bin mit ihm zufrieden. zu Octavian Musst denen Bagatelladeligen immer zeigen, dass nicht für unsres gleichen sich anseh’n dürfen, muss immer was von Herablassung dabei sein. OCTAVIAN spitzig Ich muss Deine Liebden sehr bewundern. Hast wahrhaft große Weltmanieren. Könnt’st einen Embassadeur vorstellen heut’ oder morgen. BARON derb Ich hol’ mir jetzt das Mädel her. Soll uns jetzt Konversation vormachen, damit ich seh’, wie sie beschlagen ist. Baron geht hinüber, nimmt Sophie bei der Hand, führt sie mit sich. Eh bien! Nun plauder’ Sie uns eins, mir und dem Vetter Taverl. Sag’ Sie heraus, Baron setzt sich, will sie halb auf seinen Schoss ziehen. auf was Sie sich halt’ in der Eh’ am meisten freut. SOPHIE entzieht sich ihm. Wo denkt Er hin? BARON behaglich Pah! Wo ich hindenk’! Komm Sie da ganz nah’ zu mir, dann will ich Ihr erzählen, wo ich hindenk’. gleiches Spiel, Sophie entzieht sich ihm heftiger Wär’ ihr leicht präferabel, dass behaglich man gegen Ihrer den Ceromonienmeister sollt’ hervortun? Mit „mill pardon“ und „dévotion“ und „Geh’ da weg“ und „hab’ Respekt“? SOPHIE Wahrhaftig und ja gefiele mir das besser! BARON lachend Mir auch nicht! Da sieht Sie! Mir auch ganz und gar nicht! Bin einer biedern offen herzigen Galanterie recht zugetan. FANINAL nachdem er Octavian den zweiten Stuhl angeboten hat, den dieser ablehnt, für sich Wie ist mir denn! Da sitzt ein Lerchenau und karessiert in Ehrbarkeit mein Sopherl, stärker als wär’ sie ihm schon angetraut - und da steht ein Rofrano, grad’ als müsst’s so sein - ein Graf Rofrano, sonsten nix, der Bruder vom Marchese Obersttruchsess. OCTAVIAN für sich Das ist ein Kerl, zornig dem möcht’ ich wo begegnen mit meinem Degen da, wo ihn kein Wächter schreien hört. Ja, das ist alles was ich möcht’! SOPHIE zum Baron Ei lass’ Er doch, wir sind nicht so vertraut! BARON zu Sophie Geniert Sie sich leicht vor dem Vetter Taverl? Da hat sie Unrecht. Hör’ Sie, in Paris, wo doch die hohe Schul’ ist für Manieren, gibt’s frei nichts, was unter jungen Eheleuten geschieht - wozu man nicht Einladungen ließ ergeh’n zum Zuschau’n, ja an den König selber - Er wird immer zärtlicher, sie weiß sich kaum zu helfen. OCTAVIAN wütend Dass ich das Mannsbild sehen muss, so frech, so unverschämt mit ihr. Könnt’ ich hinaus und fort von hier! FANINAL für sich Wär’ nur die Mauer da von Glas, dass alle bürgerlichen Neidhammel von Wien sie en famille beisammen so sitzen seh’n! Dafür wollt’ ich mein Lerchenfelder Eckhaus geben, meiner Seel! BARON zu Sophie Lass’ Sie die Flausen nur! Gehört doch jetzo mir! Geht all’s recht. Sei Sie gut! Geht all’s so wie am Schnürl! halb für sich, sie kajolierend Ganz meine Maßen! Schultern wie ein Henderl. Hundsmager noch - das macht nichts, aber weiß, weiß mit einem Glanz, wie ich ihn ästimier! Ich hab’ halt ja ein Lerchenauisch’ Glück! SOPHIE reißt sich los und stampft auf BARON vergnügt Ist Sie ein rechter Capricenschädel! auf und ihr nach Steigt Ihr das Blut gar in die Wangen, dass man sich die Hand verbrennt? SOPHIE rot und blass vor Zorn Lass Er die Hand davon! OCTAVIAN in stummer Wut, zerdrückt das Glas, das er in der Hand hält, und schmeisst die Scherben zu Boden. MARIANNE läuft mit Grazie zu Octavian zurück, hebt die Scherben auf und raunt ihm mit Entzücken zu Ist recht ein familiärer Mann, der Herr Baron! Man delektiert sich, was er all’s für Einfälle hat, der Herr Baron! BARON dicht bei Sophie Geht mir nichts darüber! Könnt’ mich mit Schmachterei und Zärtlichkeit nicht halb so glücklich machen, meiner Seel’! SOPHIE scharf, ihm ins Gesicht Ich denk’ nicht dran, dass ich Ihn glücklich mach’! BARON gemütlich Sie wird es tun, ob Sie daran wird denken oder nicht. MARIANNE zu Faninal Ist recht ein familiärer Mann, der Herr Baron. Man delectiert sich, was er all’s für Einfälle hat, der Herr Baron. FANINAL zur Duenna Wär’ nur die Mauer da von Glas, dass alle bürgerlichen Neidhammel von Wien sie könnten en famille beisammen so sitzen seh’n. OCTAVIAN vor sich, blass vor Zorn Hinaus, hinaus und kein Adieu! Sonst steh’ ich nicht dafür, dass ich nicht was Verwirrtes tu! Hinaus aus diesen Stuben! nur hinaus. Indessen ist der Notar mit dem Schreiber eingetreten, eingeführt durch Faninal’s Haushofmeister. Dieser meldet ihn dem Herrn von Faninal leise. Faninal geht zum Notar nach rückwärts hin, spricht mit ihm und sieht einen vom Schreiber vorgehaltenen Aktenfaszikel durch. SOPHIE zwischen den Zähnen Hat nie kein Mann dergleichen Reden nicht zu mir geführt! wütend Möcht’ wissen, was Ihm dünkt von mir und Ihm. Was ist Er denn zu mir? BARON gemütlich Wird kommen über Nacht, dass Sie ganz sanft wird wissen, was ich bin zu ihr. Ganz wie’s im Liedel heißt. Kennt Sie das Liedel? La la la la la - recht gefühlvoll wie ich Dein Alles werde sein! Mit mir, mit mir keine Kammer Dir zu klein, ohne mich, ohne mich jeder Tag Dir so bang, mit mir, mit mir frech und plump keine Nacht dir zu lang, keine Nacht dir zu lang - SOPHIE Da er sie immer fester an sich drückt, reißt sie sich los und stößt ihn heftig zurück. MARIANNE jetzt zu Sophie eilend Ist recht ein familiärer Mann, der Herr Baron! Man delectiert sich, was er all’s für Einfälle hat, krampfhaft in Sophie hineinredend was er all’s für Einfäll’ hat! Der Herr Baron, Der Herr Baron! OCTAVIAN ohne hinzusehen, und doch sieht er alles, was vorgeht Ich steh auf glüh’n den Kohlen! Ich fahr’ aus meiner Haut! Ich büss’ in dieser einen Stund’ all’ meine Sünden ab. BARON für sich, sehr vergnügt Wahrhaftig und ja! Ich hab’ halt ein Lerchenauisch’ Glück. Gibt gar nichts auf der Welt, was mich so entflamiert und also vehement verjüngt als wie ein rechter Trotz! Faninal und der Notar, hinter ihnen der Schreiber, sind an der linken Seite nach vorn gekommen. Baron, sowie er den Notar erblickt, eifrig zu Sophien, ohne zu ahnen, was in ihr vorgeht. Doch gibt’s Geschäfter jetzt muss mich dispensieren bin dort von Wichtigkeit. Indessen der Vetter Taverl leistet Ihr Gesellschaft! FANINAL Wenn es jetzt belieben tät’, Herr Schwiegersohn! BARON eifrig Natürlich wird’s belieben. Im Vorbeigeh’n zu Octavian, den er vertraulich anfasst Hab’ nichts dawider, wenn Du ihr möchtest Äugerl machen, Vetter, jetzt oder künftig hin. Ist noch ein rechter Rührnichtan. Betracht’s als förderlich, je mehr sie degourdiert wird. Ist wie bei einem jungen, ungerittenen Pferd. Kommt all’s dem Angetrauten letzterdings zugut, wofern er sein eh’lich Privilegium zu Nutz’ zu machen weiß. Baron geht nach links. Der Diener, der den Notar einließ, hat indessen die Tür links geöffnet. Faninal und der Notar schicken sich an, hinein zu gehen. Der Baron misst Faninal mit dem Blick und bedeutet ihm, drei Schritte Distanz zu nehmen. Faninal tritt devot zurück. Der Baron nimmt den Vortritt, vergewissert sich, dass Faninal drei Schritte Abstand hat, und geht gravitätisch durch die Tür links ab. Faninal hinter ihm, dann der Notar, dann der Schreiber. Der Bediente schließt die Tür links und geht ab, läßt aber die Flügeltür nach dem Vorsaal offen. Der servierende Diener ist schon früher abgegangen. SOPHIE rechts, steht verwirrt und beschämt. MARIANNE neben ihr, knixt nach der Tür hin, bis sie sich schließt. OCTAVIAN mit einem Blick hinter sich, gewiss zu sein, dass die andern abgegangen sind, tritt schnell zu Sophie hinüber, bebend vor Aufregung. Wird Sie das Mannsbild da heiraten, ma Cousine? SOPHIE einen Schritt auf ihn zu, leise Nicht um die Welt! mit einem Blick auf die Duenna Mein Gott, wär’ ich allein mit ihm! Dass ich ihn bitten könnt’, dass ich Ihn bitten könnt’! OCTAVIAN halblaut, schnell Was ist’s, das Sie mich bitten möcht? Sag’ Sie mir’s schnell! SOPHIE noch einen Schritt näher zu ihm O mein Gott, dass Er mir halt hilft! Und Er wird mir nicht helfen wollen, weil es halt sein Vetter ist. OCTAVIAN heftig Nenn’ ihn Vetter aus Höflichkeit; Gott sei Lob und Dank, hab’ ihn im Leben vor dem gestrigen Tage nie geseh’n. Quer durch den Vorsaal flüchten einige von den Mägden des Hauses, denen die Lerchenau’schen Bedienten auf den Fersen sind. Der Leiblakai und der mit dem Pflaster auf der Nase jagen einem hübschen, jungen Mädchen nach und bringen sie fast an der Schwelle zum Salon bedenklich in die Enge. FANINALSCHE HAUSHOFMEISTER kommt verstört hereingelaufen. Die Lerchenau’schen sind voller Branntwein gesoffen und geh’n aufs Gesinde los, zwanzigmal ärger als Türken und Kroaten. MARIANNE Hol’ Er von unseren Leuten, wo sind denn die? läuft ab mit dem Haushofmeister; sie entreißen den beiden Zudringlichen ihre Beute und führen das Mädchen ab; alles verliert sich, der Vorsaal bleibt leer. SOPHIE nun, da sie unbeobachtet ist, mit freier Stimme Zu Ihm hätt’ ich ein Zutrau’n, mon Cousin, so wie zu Niemand auf der Welt, dass Er mir könnte helfen, wenn Er nur den guten Willen hätt! OCTAVIAN Erst muss Sie sich selber helfen, dann hilf ich Ihr auch. Tu Sie das erst für sich, dann tu ich was für Sie. SOPHIE zutraulich, fast zärtlich Was ist denn das, was ich zuerst muss tun? OCTAVIAN leise Das wird Sie wohl wissen! SOPHIE Den Blick unverwandt auf ihn Und was ist das, was Er für mich will tun, nun sag’ Er mir’s! OCTAVIAN entschlossen Nun muss Sie ganz allein für uns zwei einsteh’n! SOPHIE Wie, für uns zwei? O sag’ Er’s noch einmal! OCTAVIAN leise Für uns zwei! SOPHIE mit hingegebenem Entzücken Ich hab’ im Leben so was Schönes nicht gehört! OCTAVIAN stärker Für sich und mich muss Sie sich wehren und bleiben... SOPHIE Bleiben? OCTAVIAN was Sie ist. SOPHIE nimmt seine Hand, beugt sich darüber, küsst sie schnell, eh’ er sie ihr entziehen kann; er küsst sie auf den Mund. OCTAVIAN indem er sie, die sich an ihn schmiegt, in den Armen hält, zärtlich Mit Ihren Augen voll Tränen kommt Sie zu mir, damit Sie sich beklagt, vor Angst muss Sie an mich sich lehnen, Ihr armes Herz ist ganz verzagt. Und ich muss jetzt als Ihren Freund mich zeigen und weiß noch gar nicht, wie! Mir ist so selig, so eigen, dass ich dich halten darf Gib Antwort, aber gib sie mit Schweigen Bist du von selber so zu mir gekommen? Ja, oder nein? Ja, oder nein? Du musst es nicht mit Worten sagen - hast Du es gern getan? Sag’ oder nur aus Not? Nur aus Not - so alles zu mir hergetragen, Dein Herz, Dein liebliches Gesicht? Sag’ ist Dir nicht, dass irgendwo in irgend einem schönen Traum das einmal schon so war? Spürst Du’s wie ich? Sag’; spürst Du’s so wie ich? Mein Herz und Seel’ wird bei Ihr bleiben, wo Sie geht und steht, bis in alle Ewigkeit. SOPHIE gleichzeitig zu ihm Ich möchte mich bei Ihm verstecken und nichts mehr wissen von der Welt. Wenn Er mich so in Seinen Armen hält, kann mich nichts Hässliches erschrecken. Da bleiben möcht’ ich, da! und schweigen und was mir auch gescheh’, geborgen wie der Vogel in den Zweigen, stillsteh’n und spüren Er, Er ist in der Näh’! Mir müsste angst und bang im Herzen sein, statt dessen fühl’ ich nur Freud’ und Seligkeit und keine Pein, ich könnt’ es nicht mit Worten sagen! Hab’ ich was Unrechtes getan? Ich war halt in der Not! Da war Er mir nah’! Da war es Sein Gesicht, Sein Augen jung und licht, auf das ich mich gericht’, sein liebes Gesicht und seitdem weiß ich halt nichts - nights mehr von mir. Bleib’ Du nur bei mir, o bleib’ bei mir. Er muss mir Seinen Schutz vergönnen, was Er will, werd’ ich können bleib’ nur Er bei mir! Aus den geheimen Türen in den rückwärtigen Ecken gleiten links Valzacchi, rechts Annina lautlos spähend heraus. Lautlos schleichen sie langsam auf den Zehen näher. Octavian zieht Sophie an sich, küsst sie auf den Mund; in diesem Augenblick sind die Italiener dicht hinter ihnen, sie ducken sich hinter den Lehnsesseln. Jetzt springen die Beiden Italiener hervor, Annina packt Sophie, Valzacchi fasst Octavian. VALZACCHI und ANNINA schreiend Herr Baron von Lerchenau, Herr Baron von Lerchenau! OCTAVIAN springt zur Seite nach rechts VALZACCHI der Mühe hat, ihn zu halten, atemlos zu Annina Lauf’ und ol’ seine Gnade. Snell, nur snell! Ik muss ‘alten diese’err! ANNINA Lass ich die Fräulein aus, lauft sie mir weg! VALZACCHI und ANNINA Herr Baron von Lerchenau! Komm, zu seh’n die Fräulein Braut, mit eine junge Kavalier! Kommen eilig, kommen hier! Der Baron tritt aus der Tür links, die Italiener lassen ihre Opfer los, springen zur Seite, verneigen sich vor dem Baron mit vielsagender Gebärde. Ecco! 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。@mmnakai Strauss,Richard/Der Rosenkavalier/II-3+
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SMP Coding Guideline 勝手な和訳 以下ページの勝手な和訳です。 http //www.minecraftforge.net/wiki/SMP_Coding_Guidelines 2013/09/09 訳終了 目次 はじめに In general ブロックの配置/破壊 Blocks setting/breaking Tile Entities Items Entity (EntityItem 以外) Entities (that aren't EntityItem) Graphics/Models/Rendering/Sound 編集 はじめに In general Minecraft のサーバ (もしくは、その他の一般的なゲームサーバ) がどのように動いているか、考えてみて下さい。 基本的にクライアントとサーバでは同じゲームが動いていますが、サーバはあなたが何をすることが出来て何をすることが出来ないかの判定を受け持っているため、クライアント側で何が起きているかの更新を受け取り続ける必要があります。 Minecraft のサーバは非常に柔軟であり、(特にplayerの動きについては) 鷹揚に受け入れてしまいます。そのため、「一段の段差を登れるようにする」ような簡単な動作を行う mod であれば、サーバ側に変更を加えることなく動作させることが出来ます。 しかし、これには限度があります。default では、明白に飛んでいるような動作や異常な移動速度は kick されます。 Minecraft の同期の仕組みは "おおざっぱ" であり、Block や Entity の位置情報は数秒に一回程度しかクライアントへ送信されません。そのため、クライアントの動作はサーバ側と極力同じように動作する必要があるのです。 Consider how Minecraft servers (or any game servers) work. Basically, both your client and the server are running the same game, but the server has authority over what you can or cannot do, and because of that, needs to be kept updated about what your client does. The Minecraft server is very flexible when it comes to allowing things (especially player movement), so simple clientside mods like stepping over 1 height blocks are possible without changing anything on the server. However, it does by default make sure you cannot fly too obviously, and does only allow you to move so fast before kicking. Minecraft synchronizes very lazyily, Blocks and Entity Positions only get sent every couple seconds to a client, so your clientside needs to do pretty much the same as your serverside. 「…で、SMP 用のコードはどう書けばいいの？」って？ では何が必要か見ていきましょう。 So how do I code now for SMP? Let s clarify what needs to be networked 編集 ブロックの配置/破壊 Blocks setting/breaking 特に通常の Modding と変わりません。 あなたは Block を変更する Mod を作る場合、クライアントとサーバのどちらにあるかを区別する必要はありません。 クライアント側のワールドを構成するブロックは数秒ごとに更新されますし、クライアント側での World.setBlock はサーバ側へ影響を及ぼしません。 No. You do not have to change anything to have a Block-changing mod work on server, you do not have to think about distinguishing client/server, the clientside "Block ID at World XYZ" is synchronized every couple seconds, and a clientside World.setBlock wont do anything on a server. ( It will only make your client already presume the new Block, which means you will have no glitch until the server sends you the new data ) Tile Entities 変更点があります。 すべての Inventory や Container はクライアント側とサーバ側の双方で保存されますが、もし差異が生じた場合、サーバ側のデータによってクライアント側のデータが上書きされます。 Forge の IGuiHandler クラスや、MinecraftForge.registerGuiHandler 関数のコードを参照すれば、利用方法のアイデアが浮かぶと思います。 Strong Hint EntityPlayer.openGui をクライアント/サーバのどちらでも利用するのがお勧めです。 Yes. Any Inventory/Container is stored both client and serverside, but if they differ, the server will always override (and overwrite) your client s inventory. Read the Forge IGuiHandler and MinecraftForge.registerGuiHandler source to get an idea of how to accomplish networking here. Strong Hint Use EntityPlayer.openGui both client and server, in which case you don t even need to have differing client/server sources. Check out existing Forge Mods on how to pull it off. 編集 Items 特に変更点はありません。 アイテムを使用する関数はクライアント/サーバの双方で呼び出されますが、SMP で機能するようにするためにあなたが変更を加えなければならない部分はありません。 Note ただし！ Entity を発生されるアイテムについては注意が必要です。"Entity" の項目を参照してください。 Note2 地面に落ちているアイテムは含みません。落ちているアイテムは EntityItem のインスタンスですが、これについて何かしなくてはならない事はありません。 No. The item usage methods are called both on client and server, which generally means you don t have to change anything to keep your Item working in SMP. NOTE This does not include an Item that spawns Entities of any kind! See "Entities". NOTE #2 This does not include dropped Items. Dropped anything is an instance of EntityItem, which generally does not need any actions on your part. 編集 Entity (EntityItem 以外) Entities (that aren t EntityItem) 対応が必要です。 少なくとも、クライアントが Entity の発生を伝える Packet を受け取れるように Forge に EntityTracker を登録する必要があります。 あなたの Mod が Entity を発生させる時は、実施するワールドがリモートであることを確認してください。（ worldObj.isRemote == false） もし間違えると、見た目だけのにせものの Entity が発生します。 Yes. At the very least, you need to tell Forge to register an EntityTracker for clients to receive spawn packets about your Entities. Whenever your mod spawns an Entity, make sure the World is not a remote World (so worldObj.isRemote must be false), or you will have a dummy dupe Entity. あなたは通常必要です network field の値をサーバからクライアントへ バニラの DataWatchers のコードを読んでみてください。狼のテイムに関するコードは、教材として非常に良いものです。 できる限り、DataWatchers を使用するようにしてください。 あなたの DataWatcher 用に値を選択する場合、Overclasses DataWatcher value のために空きを残すようにしたほうが良いです。 それらが、いつ・より多くの数字を占有しようとするかわからないからです。 Hint クライアント側で dataWatchers を変更しないようにしてください。もし変更した場合、サーバ側からの更新との仁義なき戦いが待っています。 You will usually need to network field values from server to client (prominent vanilla example being taming). Read the vanilla code on DataWatchers, the Wolf taming code is an excellent learning example. Use DataWatchers whenever possible. When selecting a value for your DataWatcher better leave space to the Overclasses DataWatcher values - you never know if and when they decide to occupy more numbers. Hint Make sure the client cannot *write* to dataWatchers or there will be a merciless update battle. あなたがしようとしていることによっては、dataWatchers では達成できないかもしれません。 特に迅速な反応が必要な場合には、Forge Packets のコードを読んで、利用してみてください。 For stuff you absolutely cannot do through dataWatchers, perhaps because response time is critical, read up on Forge Packets and how to use them. もしあなたが Forge ISpawnHandler Interface を実装した場合、新たに発生した Entity には追加の ByteStream が用意されるため、好きなものをやり取りすることができます。 If you implement the Forge ISpawnHandler Interface, it will automatically pass an additional ByteStream to newly spawned Entities of yours, and you can put anything you desire and need into that stream. 注意 あなたのクライアントは、基本的にはサーバと同じコードで Entity を処理しています。しかし、そのためにはサーバと同じ情報が必要です。あなたの Entity が World に変化を生じさせる場合は、クライアント側がそれを知る方法を準備する必要があります。 Remember Your client simulates any given Entity with basically the same code the server is running. But it needs to have the same data! So if your World changes something in your Entity, make sure the client gets notified about it! 編集 Graphics/Models/Rendering/Sound 音声・描画に関する事柄は、完全にすべてクライアント側にあります。 もしブロックや Entity が音を生じるようにした場合、クライアント側のクラスはクライアント側とサーバ側の両方の world でそれが起こるようにしなくてはなりません。 もしどのような音が生じるかを決めるために何かのデータが必要な場合は、Forge Packets を読んで、サーバからクライアントへデータパケットを送るようにする必要があります。 テクスチャについても同様です。 もしクライアントのデフォルト設定から何か変更があった場合、クライアント側へどうにかして伝える必要があります。 もしなにもなければ、特になにもする必要はありません。 Anything audiovisual is completely clientside. If your Blocks or Entities create sounds, make sure the clientside classes will create those in both client and server worlds. If you need any data to decide what sounds need to be played - read up on Forge Packets and send Packets with that data from sever to client. Same for textures. If they change from the client default at any moment in time, you need to notify clients about it somehow. If not, you need not do anything. 「何も教えてくれてないじゃないか！」 その通り！ 手取り足取りでは、modding が出来るようにならない、と私は考えています。 バニラのコードを読んでください。 他の人々が作成した SMP版 mod のコードを読んでください。 そして、観察し、学んでください。 基本的なコンセプトを理解しさえすれば、それは難しい事ではありません。 詳細について知りたければ、IRC で質問をするという方法もあるのですから。 「You still havent told me anything!!」 Correct! I do not believe holding someone s hand will make any decent modder out of him. Read the vanilla source, read other people s SMP mods source, OBSERVE AND LEARN. It s not particularly hard once you get the concepts. And you can always ask in the IRC channels for specifics. 一般的なポイントをあといくつか挙げておきます。 Some more pointers for coding in general すべきこと Do あなたのコードにコメントを書きましょう。また、名前をつける時は意味のある名前にしましょう あなた自身や誰かが数ヵ月後にそのコードを見たときに、関数のことを「何かしているヤツ」と呼ぶ羽目になります。 Notch のクラスから継承しているあなたのクラスの全ての関数には、@Override アノテーションをつけましょう MCP が関数名のマッピングを変更した場合、すぐに知ることが出来ます。 World に変化を及ぼす「すべての」関数は、現在の World （そして必要なら player）を引数として渡すようにしましょう サーバ側から見ると、多くの world と多くの player が居るのです。 Minecraft のコードやクラスを出来るだけ利用しましょう 利用したほうが作業が減りますし、Minecraft との親和性も増します。 World.isRemote を利用して、modが動作している world がクライアントかサーバかを判別しましょう。そして、明確なコードを書きましょう コード上のその場所で何をしているかを明確にすることで、厄介なバグを取り除く作業が後々楽になります。 MinecraftForge のクラスをいろいろと見てみてください 特に、ModLoader.getMinecraftServerInstance.configManager が何をしているかを見てみてください。 comment your code, and give everything meaningful names. If you or someone else looks at it months later, you will curse the guy who called this method "doStuff" put @Override annotations on every method your custom classes inherit from Notch classes. If MCP changes mappings, you will know immediatly. make sure *any* World interaction methods always pass the current World as argument, and the player if one is concerned. A server has multiple Worlds and many players. use MC code and -classes wherever possible. It saves work and makes your mod comply better with Minecraft. use World.isRemote to decide if a world is client or serverside, and act accordingly write clean, legible code. It makes the pesky bug hunting later a lot easier if you can actually comprehend what you did there. check out the MinecraftForge class on what it has to offer you also check out ModLoader.getMinecraftServerInstance.configManager on what it offers (in particular, sending Packets to players) すべきではないこと Don t 絶対確実にクライアント側であることが保証できないが、ModLoader.getMinecraftInstance.theWorld や ModLoader.getMinecraftInstance.thePlayer を使用する これらの関数は、サーバ側では決して動作しません。 2 行の変更のために、minecraft のクラスをまるごとコピーする extends や @Override を利用して、変更したい部分だけを変更しましょう。 World.isRemote が true の時（サーバ側ではない）に、World.spawnEntity を使う やめましょう。 特に方針や方向性は決まってないが、とりあえずコードを書いてみる 後になってコードを修正しようとしたときに、少なくとも 3 倍以上の労力が必要となるでしょう use ModLoader.getMinecraftInstance.theWorld and ModLoader.getMinecraftInstance.thePlayer in anything that isn t strictly client. This will NEVER work on a server. copy entire minecraft classes only to change 2 lines. Use "extends" and "@Override" on what you need changed! use World.spawnEntity when World.isRemote is true. Never. code without a plan. If you have to unscrew your code later, you will do the triple amount of work at least. 編集
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Harpercollins? GrahamRobson? ジャンル別? Substores-UnknownASINs-24? Subjects-Engineering-General? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-ClassicCars? Subjects-Professional&Technical-Engineering-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Jaguar XJ40 Patrick Stephens Ltd? Andrew Whyte? PatrickStephensLtd? AndrewWhyte? ジャンル別? Subjects-Engineering-General? Subjects-Nonfiction-Automotive-Foreign? Subjects-Nonfiction-Automotive-Luxury? Subjects-Professional&Technical-Engineering-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Classic Competition Motorcycles Harpercollins? Bob Currie? Harpercollins? BobCurrie? ジャンル別? Subjects-Engineering-General? Subjects-History-Europe-England-General? Subjects-Nonfiction-Automotive-Motorcycles-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Subjects-Science-Technology-General&Reference Planetary Exploration Thirty Years of Unmanned Space Probes Harpercollins? Arthur Smith? Harpercollins? ArthurSmith? ジャンル別? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Reference-General? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Collecting, Restoring and Driving Classic Cars Harpercollins? Graham Robson? Harpercollins? GrahamRobson? ジャンル別? Substores-UnknownASINs-24? Subjects-Engineering-General? Subjects-Nonfiction-Automotive-ClassicCars? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Subjects-Science-Technology-General&Reference Porsche Progress Patrick Stephens Ltd? Michael Cotton? PatrickStephensLtd? MichaelCotton? ジャンル別? Subjects-Engineering-General? Subjects-Nonfiction-Automotive-Foreign? Subjects-Nonfiction-Automotive-General? Subjects-Nonfiction-Automotive-Luxury? Subjects-Professional&Technical-Engineering-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Nonlinear Stochastic Control Systems Taylor & Francis Ltd? Anthony Thomas Fuller? Taylor&FrancisLtd? AnthonyThomasFuller? ジャンル別? Subjects-Engineering-General? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-Physics? Measurement of Man at Work Taylor & Francis? W. T. Singleton? John Graham Fox? D. J. C. Whitfield? Taylor&Francis? W.T.Singleton? JohnGrahamFox? D.J.C.Whitfield? ジャンル別? Subjects-Engineering-General? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-General Europe's Giant Accelerator Taylor & Francis Ltd? Maurice Goldsmith? E. Shaw? Taylor&FrancisLtd? MauriceGoldsmith? E.Shaw? ジャンル別? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-Education-Experiments&Projects? Subjects-Science-Physics-General? Manufacturing Systems Engineering Taylor & Francis? Katsundo Hitomi? Taylor&Francis? KatsundoHitomi? ジャンル別? Substores-UnknownASINs-24? Subjects-Business&Investing-Management&Leadership-Management? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-BusinessManagement-Management&Leadership-Management? Subjects-Science-Technology-General&Reference Fitting the Task to the Man Taylor & Francis Ltd? E. Grandjean? H. Olroyd? Taylor&FrancisLtd? E.Grandjean? H.Olroyd? ジャンル別? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Medicine-BasicScience-Physiology? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-General Subjects-Science-Medicine-BasicScience-Physiology? Complex Variable Method for Linear Multivariable Feedback System Taylor & Francis Ltd? Alistair G.J. MacFarlane? Taylor&FrancisLtd? AlistairG.J.MacFarlane? ジャンル別? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-Technology-General&Reference Design for Work and Use (Case Studies in Ergonomics Practice) Taylor & Francis? H. G. Maule? Taylor&Francis? H.G.Maule? ジャンル別? Subjects-Business&Investing-Management&Leadership-QualityControl? Subjects-Computers&Internet-Business&Culture-ProjectManagement-Ergonomics? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Engineering-Reference? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Engineering-Reference? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-BusinessManagement-Management&Leadership-QualityControl? Subjects-Science-General Subjects-Science-Reference-Engineering? The Ergonomics of Workspaces and Machines Taylor & Francis Ltd? T.S. Clark? E.N. Corlett? Taylor&FrancisLtd? T.S.Clark? E.N.Corlett? ジャンル別? Subjects-Computers&Internet-Business&Culture-ProjectManagement-Ergonomics? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-General Ergonomics Society Taylor & Francis Ltd? Karenna Coombes? Taylor&FrancisLtd? KarennaCoombes? ジャンル別? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-General Introduction to Polymer Mechanics Taylor & Francis? R. G. C. Arridge? Taylor&Francis? R.G.C.Arridge? ジャンル別? Subjects-Engineering-General? Subjects-Engineering-MaterialsScience-PolymerScience? Subjects-Engineering-MaterialsScience-MechanicalPropertiesofSolids? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-MaterialsScience-PolymerScience? Subjects-Professional&Technical-Engineering-MaterialsScience-MechanicalPropertiesofSolids? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-General Ergonomics International 85 Taylor & Francis? Ivan Brown? Rainer Goldsmith? Murry Sinclair? Taylor&Francis? IvanBrown? RainerGoldsmith? MurrySinclair? ジャンル別? Subjects-Computers&Internet-Business&Culture-ProjectManagement-Ergonomics? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-Mechanical-General? Subjects-Professional&Technical-Engineering-General The Ergonomics of Working Postures Models, Methods and Cases (International Occupational Ergonomics Symposium//Proceedings) Taylor & Francis? Nigel Corlett? John R. Wilson? Taylor&Francis? NigelCorlett? JohnR.Wilson? ジャンル別? Subjects-Business&Investing-Careers-Entrepreneurship? Subjects-Computers&Internet-Business&Culture-ProjectManagement-Ergonomics? Subjects-Engineering-Electrical&Electronics-Antennas&Radar? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Safety&Health? Subjects-Medicine-Administration&Policy-PublicHealth? Subjects-Medicine-Specialties-Obstetrics&Gynecology? Subjects-Medicine-Specialties-Occupational&IndustrialMedicine? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Antennas&Radar? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Safety&Health? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-Medical-Medicine-InternalMedicine-Occupational? Subjects-Reference-Careers-Entrepreneurship? Subjects-Science-Technology-Safety&Health? Subjects-Science-Medicine-Administration&Policy-PublicHealth? Subjects-Science-Medicine-Specialties-Obstetrics&Gynecology? Subjects-Science-Medicine-Specialties-Occupational&IndustrialMedicine? Contemporary Ergonomics 1986 Taylor & Francis? David J. Osborne? Taylor&Francis? DavidJ.Osborne? ジャンル別? Subjects-Computers&Internet-Business&Culture-ProjectManagement-Ergonomics? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-General International Reviews of Ergonomics Current Trends in Human Factors Research and Practice (International Reviews of Ergonomics) Taylor & Francis? David J. Oborne? Taylor&Francis? DavidJ.Oborne? ジャンル別? Subjects-Computers&Internet-Business&Culture-ProjectManagement-Ergonomics? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-General Human Aspects of Computer-Aided Design Taylor & Francis? Ann Majchrzak? Tien-Chien Chang? Taylor&Francis? AnnMajchrzak? Tien-ChienChang? ジャンル別? Subjects-Computers&Internet-Software-Design&Development-SoftwareDesign? Subjects-Computers&Internet-Business&Culture-ProjectManagement-Ergonomics? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Professional&Technical-Engineering-General Control of Mammal Pests Taylor & Francis? C. G. J. Richards? Taylor&Francis? C.G.J.Richards? ジャンル別? Subjects-Engineering-General? Subjects-Home&Garden-Gardening&Horticulture-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-BiologicalSciences-Botany-General? Manual Materials Handling Taylor & Francis? M. M. Ayoub? Anil Mital? Taylor&Francis? M.M.Ayoub? AnilMital? ジャンル別? Subjects-Computers&Internet-Business&Culture-ProjectManagement-Ergonomics? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Engineering-Reference? Subjects-Medicine-Administration&Policy-PublicHealth? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-General? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-IndustrialDesign? Subjects-Professional&Technical-Engineering-Reference? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Subjects-Science-Reference-Engineering? Subjects-Science-Technology-Safety&Health? Subjects-Science-Medicine-Administration&Policy-PublicHealth? New Methods in Applied Ergonomics The Proceedings of the Second International Occupational Ergonomics Symposium Zadar, Yugoslavis, 14-16 April 1987 (International Occupational Ergonomics Symposium//Proceedings) Taylor & Francis? John R. Wilson? E. Nigel Corlett? Llija Manenica? Taylor&Francis? JohnR.Wilson? E.NigelCorlett? LlijaManenica? ジャンル別? Subjects-Computers&Internet-Business&Culture-ProjectManagement-Ergonomics? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Contemporary Ergonomics Taylor & Francis Ltd? E D Megaw? Taylor&FrancisLtd? EDMegaw? ジャンル別? Subjects-Engineering-General? Subjects-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-Industrial,Manufacturing&OperationalSystems-Ergonomics? Subjects-Professional&Technical-Engineering-General Subjects-Professional&Technical-Engineering-General 洋書
https://w.atwiki.jp/reisiki/pages/87.html
# Doxyfile 1.5.8 # This file describes the settings to be used by the documentation system# doxygen (www.doxygen.org) for a project## All text after a hash (#) is considered a comment and will be ignored# The format is # TAG = value [value, ...]# For lists items can also be appended using # TAG += value [value, ...]# Values that contain spaces should be placed between quotes (" ") #---------------------------------------------------------------------------# Project related configuration options#--------------------------------------------------------------------------- # This tag specifies the encoding used for all characters in the config file # that follow. The default is UTF-8 which is also the encoding used for all # text before the first occurrence of this tag. Doxygen uses libiconv (or the # iconv built into libc) for the transcoding. See # http //www.gnu.org/software/libiconv for the list of possible encodings. DOXYFILE_ENCODING = UTF-8 # The PROJECT_NAME tag is a single word (or a sequence of words surrounded # by quotes) that should identify the project. PROJECT_NAME = siki # The PROJECT_NUMBER tag can be used to enter a project or revision number. # This could be handy for archiving the generated documentation or # if some version control system is used. PROJECT_NUMBER = ver.090625 # The OUTPUT_DIRECTORY tag is used to specify the (relative or absolute) # base path where the generated documentation will be put. # If a relative path is entered, it will be relative to the location # where doxygen was started. If left blank the current directory will be used. OUTPUT_DIRECTORY = docs # If the CREATE_SUBDIRS tag is set to YES, then doxygen will create # 4096 sub-directories (in 2 levels) under the output directory of each output # format and will distribute the generated files over these directories. # Enabling this option can be useful when feeding doxygen a huge amount of # source files, where putting all generated files in the same directory would # otherwise cause performance problems for the file system. CREATE_SUBDIRS = NO # The OUTPUT_LANGUAGE tag is used to specify the language in which all # documentation generated by doxygen is written. Doxygen will use this # information to generate all constant output in the proper language. # The default language is English, other supported languages are # Afrikaans, Arabic, Brazilian, Catalan, Chinese, Chinese-Traditional, # Croatian, Czech, Danish, Dutch, Farsi, Finnish, French, German, Greek, # Hungarian, Italian, Japanese, Japanese-en (Japanese with English messages), # Korean, Korean-en, Lithuanian, Norwegian, Macedonian, Persian, Polish, # Portuguese, Romanian, Russian, Serbian, Serbian-Cyrilic, Slovak, Slovene, # Spanish, Swedish, and Ukrainian. OUTPUT_LANGUAGE = Japanese # If the BRIEF_MEMBER_DESC tag is set to YES (the default) Doxygen will # include brief member descriptions after the members that are listed in # the file and class documentation (similar to JavaDoc). # Set to NO to disable this. BRIEF_MEMBER_DESC = YES # If the REPEAT_BRIEF tag is set to YES (the default) Doxygen will prepend # the brief description of a member or function before the detailed description. # Note if both HIDE_UNDOC_MEMBERS and BRIEF_MEMBER_DESC are set to NO, the # brief descriptions will be completely suppressed. REPEAT_BRIEF = YES # This tag implements a quasi-intelligent brief description abbreviator # that is used to form the text in various listings. Each string # in this list, if found as the leading text of the brief description, will be # stripped from the text and the result after processing the whole list, is # used as the annotated text. Otherwise, the brief description is used as-is. # If left blank, the following values are used ("$name" is automatically # replaced with the name of the entity) "The $name class" "The $name widget" # "The $name file" "is" "provides" "specifies" "contains" # "represents" "a" "an" "the" ABBREVIATE_BRIEF = # If the ALWAYS_DETAILED_SEC and REPEAT_BRIEF tags are both set to YES then # Doxygen will generate a detailed section even if there is only a brief # description. ALWAYS_DETAILED_SEC = NO # If the INLINE_INHERITED_MEMB tag is set to YES, doxygen will show all # inherited members of a class in the documentation of that class as if those # members were ordinary class members. Constructors, destructors and assignment # operators of the base classes will not be shown. INLINE_INHERITED_MEMB = YES # If the FULL_PATH_NAMES tag is set to YES then Doxygen will prepend the full # path before files name in the file list and in the header files. If set # to NO the shortest path that makes the file name unique will be used. FULL_PATH_NAMES = NO # If the FULL_PATH_NAMES tag is set to YES then the STRIP_FROM_PATH tag # can be used to strip a user-defined part of the path. Stripping is # only done if one of the specified strings matches the left-hand part of # the path. The tag can be used to show relative paths in the file list. # If left blank the directory from which doxygen is run is used as the # path to strip. STRIP_FROM_PATH = # The STRIP_FROM_INC_PATH tag can be used to strip a user-defined part of # the path mentioned in the documentation of a class, which tells # the reader which header file to include in order to use a class. # If left blank only the name of the header file containing the class # definition is used. Otherwise one should specify the include paths that # are normally passed to the compiler using the -I flag. STRIP_FROM_INC_PATH = # If the SHORT_NAMES tag is set to YES, doxygen will generate much shorter # (but less readable) file names. This can be useful is your file systems # doesn t support long names like on DOS, Mac, or CD-ROM. SHORT_NAMES = NO # If the JAVADOC_AUTOBRIEF tag is set to YES then Doxygen # will interpret the first line (until the first dot) of a JavaDoc-style # comment as the brief description. If set to NO, the JavaDoc # comments will behave just like regular Qt-style comments # (thus requiring an explicit @brief command for a brief description.) JAVADOC_AUTOBRIEF = NO # If the QT_AUTOBRIEF tag is set to YES then Doxygen will # interpret the first line (until the first dot) of a Qt-style # comment as the brief description. If set to NO, the comments # will behave just like regular Qt-style comments (thus requiring # an explicit \brief command for a brief description.) QT_AUTOBRIEF = NO # The MULTILINE_CPP_IS_BRIEF tag can be set to YES to make Doxygen # treat a multi-line C++ special comment block (i.e. a block of //! or /// # comments) as a brief description. This used to be the default behaviour. # The new default is to treat a multi-line C++ comment block as a detailed # description. Set this tag to YES if you prefer the old behaviour instead. MULTILINE_CPP_IS_BRIEF = NO # If the INHERIT_DOCS tag is set to YES (the default) then an undocumented # member inherits the documentation from any documented member that it # re-implements. INHERIT_DOCS = YES # If the SEPARATE_MEMBER_PAGES tag is set to YES, then doxygen will produce # a new page for each member. If set to NO, the documentation of a member will # be part of the file/class/namespace that contains it. SEPARATE_MEMBER_PAGES = NO # The TAB_SIZE tag can be used to set the number of spaces in a tab. # Doxygen uses this value to replace tabs by spaces in code fragments. TAB_SIZE = 8 # This tag can be used to specify a number of aliases that acts # as commands in the documentation. An alias has the form "name=value". # For example adding "sideeffect=\par Side Effects \n" will allow you to # put the command \sideeffect (or @sideeffect) in the documentation, which # will result in a user-defined paragraph with heading "Side Effects ". # You can put \n s in the value part of an alias to insert newlines. ALIASES = # Set the OPTIMIZE_OUTPUT_FOR_C tag to YES if your project consists of C # sources only. Doxygen will then generate output that is more tailored for C. # For instance, some of the names that are used will be different. The list # of all members will be omitted, etc. OPTIMIZE_OUTPUT_FOR_C = NO # Set the OPTIMIZE_OUTPUT_JAVA tag to YES if your project consists of Java # sources only. Doxygen will then generate output that is more tailored for # Java. For instance, namespaces will be presented as packages, qualified # scopes will look different, etc. OPTIMIZE_OUTPUT_JAVA = NO # Set the OPTIMIZE_FOR_FORTRAN tag to YES if your project consists of Fortran # sources only. Doxygen will then generate output that is more tailored for # Fortran. OPTIMIZE_FOR_FORTRAN = NO # Set the OPTIMIZE_OUTPUT_VHDL tag to YES if your project consists of VHDL # sources. Doxygen will then generate output that is tailored for # VHDL. OPTIMIZE_OUTPUT_VHDL = NO # Doxygen selects the parser to use depending on the extension of the files it parses. # With this tag you can assign which parser to use for a given extension. # Doxygen has a built-in mapping, but you can override or extend it using this tag. # The format is ext=language, where ext is a file extension, and language is one of # the parsers supported by doxygen IDL, Java, Javascript, C#, C, C++, D, PHP, # Objective-C, Python, Fortran, VHDL, C, C++. For instance to make doxygen treat # .inc files as Fortran files (default is PHP), and .f files as C (default is Fortran), # use inc=Fortran f=C EXTENSION_MAPPING = # If you use STL classes (i.e. std string, std vector, etc.) but do not want # to include (a tag file for) the STL sources as input, then you should # set this tag to YES in order to let doxygen match functions declarations and # definitions whose arguments contain STL classes (e.g. func(std string); v.s. # func(std string) {}). This also make the inheritance and collaboration # diagrams that involve STL classes more complete and accurate. BUILTIN_STL_SUPPORT = YES # If you use Microsoft s C++/CLI language, you should set this option to YES to # enable parsing support. CPP_CLI_SUPPORT = NO # Set the SIP_SUPPORT tag to YES if your project consists of sip sources only. # Doxygen will parse them like normal C++ but will assume all classes use public # instead of private inheritance when no explicit protection keyword is present. SIP_SUPPORT = NO # For Microsoft s IDL there are propget and propput attributes to indicate getter # and setter methods for a property. Setting this option to YES (the default) # will make doxygen to replace the get and set methods by a property in the # documentation. This will only work if the methods are indeed getting or # setting a simple type. If this is not the case, or you want to show the # methods anyway, you should set this option to NO. IDL_PROPERTY_SUPPORT = YES # If member grouping is used in the documentation and the DISTRIBUTE_GROUP_DOC # tag is set to YES, then doxygen will reuse the documentation of the first # member in the group (if any) for the other members of the group. By default # all members of a group must be documented explicitly. DISTRIBUTE_GROUP_DOC = NO # Set the SUBGROUPING tag to YES (the default) to allow class member groups of # the same type (for instance a group of public functions) to be put as a # subgroup of that type (e.g. under the Public Functions section). Set it to # NO to prevent subgrouping. Alternatively, this can be done per class using # the \nosubgrouping command. SUBGROUPING = YES # When TYPEDEF_HIDES_STRUCT is enabled, a typedef of a struct, union, or enum # is documented as struct, union, or enum with the name of the typedef. So # typedef struct TypeS {} TypeT, will appear in the documentation as a struct # with name TypeT. When disabled the typedef will appear as a member of a file, # namespace, or class. And the struct will be named TypeS. This can typically # be useful for C code in case the coding convention dictates that all compound # types are typedef ed and only the typedef is referenced, never the tag name. TYPEDEF_HIDES_STRUCT = NO # The SYMBOL_CACHE_SIZE determines the size of the internal cache use to # determine which symbols to keep in memory and which to flush to disk. # When the cache is full, less often used symbols will be written to disk. # For small to medium size projects ( 1000 input files) the default value is # probably good enough. For larger projects a too small cache size can cause # doxygen to be busy swapping symbols to and from disk most of the time # causing a significant performance penality. # If the system has enough physical memory increasing the cache will improve the # performance by keeping more symbols in memory. Note that the value works on # a logarithmic scale so increasing the size by one will rougly double the # memory usage. The cache size is given by this formula # 2^(16+SYMBOL_CACHE_SIZE). The valid range is 0..9, the default is 0, # corresponding to a cache size of 2^16 = 65536 symbols SYMBOL_CACHE_SIZE = 0 #---------------------------------------------------------------------------# Build related configuration options#--------------------------------------------------------------------------- # If the EXTRACT_ALL tag is set to YES doxygen will assume all entities in # documentation are documented, even if no documentation was available. # Private class members and static file members will be hidden unless # the EXTRACT_PRIVATE and EXTRACT_STATIC tags are set to YES EXTRACT_ALL = NO # If the EXTRACT_PRIVATE tag is set to YES all private members of a class # will be included in the documentation. EXTRACT_PRIVATE = YES # If the EXTRACT_STATIC tag is set to YES all static members of a file # will be included in the documentation. EXTRACT_STATIC = YES # If the EXTRACT_LOCAL_CLASSES tag is set to YES classes (and structs) # defined locally in source files will be included in the documentation. # If set to NO only classes defined in header files are included. EXTRACT_LOCAL_CLASSES = YES # This flag is only useful for Objective-C code. When set to YES local # methods, which are defined in the implementation section but not in # the interface are included in the documentation. # If set to NO (the default) only methods in the interface are included. EXTRACT_LOCAL_METHODS = YES # If this flag is set to YES, the members of anonymous namespaces will be # extracted and appear in the documentation as a namespace called # anonymous_namespace{file} , where file will be replaced with the base # name of the file that contains the anonymous namespace. By default # anonymous namespace are hidden. EXTRACT_ANON_NSPACES = YES # If the HIDE_UNDOC_MEMBERS tag is set to YES, Doxygen will hide all # undocumented members of documented classes, files or namespaces. # If set to NO (the default) these members will be included in the # various overviews, but no documentation section is generated. # This option has no effect if EXTRACT_ALL is enabled. HIDE_UNDOC_MEMBERS = NO # If the HIDE_UNDOC_CLASSES tag is set to YES, Doxygen will hide all # undocumented classes that are normally visible in the class hierarchy. # If set to NO (the default) these classes will be included in the various # overviews. This option has no effect if EXTRACT_ALL is enabled. HIDE_UNDOC_CLASSES = NO # If the HIDE_FRIEND_COMPOUNDS tag is set to YES, Doxygen will hide all # friend (class|struct|union) declarations. # If set to NO (the default) these declarations will be included in the # documentation. HIDE_FRIEND_COMPOUNDS = NO # If the HIDE_IN_BODY_DOCS tag is set to YES, Doxygen will hide any # documentation blocks found inside the body of a function. # If set to NO (the default) these blocks will be appended to the # function s detailed documentation block. HIDE_IN_BODY_DOCS = NO # The INTERNAL_DOCS tag determines if documentation # that is typed after a \internal command is included. If the tag is set # to NO (the default) then the documentation will be excluded. # Set it to YES to include the internal documentation. INTERNAL_DOCS = YES # If the CASE_SENSE_NAMES tag is set to NO then Doxygen will only generate # file names in lower-case letters. If set to YES upper-case letters are also # allowed. This is useful if you have classes or files whose names only differ # in case and if your file system supports case sensitive file names. Windows # and Mac users are advised to set this option to NO. CASE_SENSE_NAMES = NO # If the HIDE_SCOPE_NAMES tag is set to NO (the default) then Doxygen # will show members with their full class and namespace scopes in the # documentation. If set to YES the scope will be hidden. HIDE_SCOPE_NAMES = NO # If the SHOW_INCLUDE_FILES tag is set to YES (the default) then Doxygen # will put a list of the files that are included by a file in the documentation # of that file. SHOW_INCLUDE_FILES = YES # If the INLINE_INFO tag is set to YES (the default) then a tag [inline] # is inserted in the documentation for inline members. INLINE_INFO = YES # If the SORT_MEMBER_DOCS tag is set to YES (the default) then doxygen # will sort the (detailed) documentation of file and class members # alphabetically by member name. If set to NO the members will appear in # declaration order. SORT_MEMBER_DOCS = NO # If the SORT_BRIEF_DOCS tag is set to YES then doxygen will sort the # brief documentation of file, namespace and class members alphabetically # by member name. If set to NO (the default) the members will appear in # declaration order. SORT_BRIEF_DOCS = YES # If the SORT_GROUP_NAMES tag is set to YES then doxygen will sort the # hierarchy of group names into alphabetical order. If set to NO (the default) # the group names will appear in their defined order. SORT_GROUP_NAMES = YES # If the SORT_BY_SCOPE_NAME tag is set to YES, the class list will be # sorted by fully-qualified names, including namespaces. If set to # NO (the default), the class list will be sorted only by class name, # not including the namespace part. # Note This option is not very useful if HIDE_SCOPE_NAMES is set to YES. # Note This option applies only to the class list, not to the # alphabetical list. SORT_BY_SCOPE_NAME = YES # The GENERATE_TODOLIST tag can be used to enable (YES) or # disable (NO) the todo list. This list is created by putting \todo # commands in the documentation. GENERATE_TODOLIST = YES # The GENERATE_TESTLIST tag can be used to enable (YES) or # disable (NO) the test list. This list is created by putting \test # commands in the documentation. GENERATE_TESTLIST = YES # The GENERATE_BUGLIST tag can be used to enable (YES) or # disable (NO) the bug list. This list is created by putting \bug # commands in the documentation. GENERATE_BUGLIST = YES # The GENERATE_DEPRECATEDLIST tag can be used to enable (YES) or # disable (NO) the deprecated list. This list is created by putting # \deprecated commands in the documentation. GENERATE_DEPRECATEDLIST= YES # The ENABLED_SECTIONS tag can be used to enable conditional # documentation sections, marked by \if sectionname ... \endif. ENABLED_SECTIONS = # The MAX_INITIALIZER_LINES tag determines the maximum number of lines # the initial value of a variable or define consists of for it to appear in # the documentation. If the initializer consists of more lines than specified # here it will be hidden. Use a value of 0 to hide initializers completely. # The appearance of the initializer of individual variables and defines in the # documentation can be controlled using \showinitializer or \hideinitializer # command in the documentation regardless of this setting. MAX_INITIALIZER_LINES = 50 # Set the SHOW_USED_FILES tag to NO to disable the list of files generated # at the bottom of the documentation of classes and structs. If set to YES the # list will mention the files that were used to generate the documentation. SHOW_USED_FILES = YES # If the sources in your project are distributed over multiple directories # then setting the SHOW_DIRECTORIES tag to YES will show the directory hierarchy # in the documentation. The default is NO. SHOW_DIRECTORIES = NO # Set the SHOW_FILES tag to NO to disable the generation of the Files page. # This will remove the Files entry from the Quick Index and from the # Folder Tree View (if specified). The default is YES. SHOW_FILES = YES # Set the SHOW_NAMESPACES tag to NO to disable the generation of the # Namespaces page. This will remove the Namespaces entry from the Quick Index # and from the Folder Tree View (if specified). The default is YES. SHOW_NAMESPACES = YES # The FILE_VERSION_FILTER tag can be used to specify a program or script that # doxygen should invoke to get the current version for each file (typically from # the version control system). Doxygen will invoke the program by executing (via # popen()) the command command input-file , where command is the value of # the FILE_VERSION_FILTER tag, and input-file is the name of an input file # provided by doxygen. Whatever the program writes to standard output # is used as the file version. See the manual for examples. FILE_VERSION_FILTER = # The LAYOUT_FILE tag can be used to specify a layout file which will be parsed by # doxygen. The layout file controls the global structure of the generated output files # in an output format independent way. The create the layout file that represents # doxygen s defaults, run doxygen with the -l option. You can optionally specify a # file name after the option, if omitted DoxygenLayout.xml will be used as the name # of the layout file. LAYOUT_FILE = #---------------------------------------------------------------------------# configuration options related to warning and progress messages#--------------------------------------------------------------------------- # The QUIET tag can be used to turn on/off the messages that are generated # by doxygen. Possible values are YES and NO. If left blank NO is used. QUIET = NO # The WARNINGS tag can be used to turn on/off the warning messages that are # generated by doxygen. Possible values are YES and NO. If left blank # NO is used. WARNINGS = YES # If WARN_IF_UNDOCUMENTED is set to YES, then doxygen will generate warnings # for undocumented members. If EXTRACT_ALL is set to YES then this flag will # automatically be disabled. WARN_IF_UNDOCUMENTED = YES # If WARN_IF_DOC_ERROR is set to YES, doxygen will generate warnings for # potential errors in the documentation, such as not documenting some # parameters in a documented function, or documenting parameters that # don t exist or using markup commands wrongly. WARN_IF_DOC_ERROR = YES # This WARN_NO_PARAMDOC option can be abled to get warnings for # functions that are documented, but have no documentation for their parameters # or return value. If set to NO (the default) doxygen will only warn about # wrong or incomplete parameter documentation, but not about the absence of # documentation. WARN_NO_PARAMDOC = YES # The WARN_FORMAT tag determines the format of the warning messages that # doxygen can produce. The string should contain the $file, $line, and $text # tags, which will be replaced by the file and line number from which the # warning originated and the warning text. Optionally the format may contain # $version, which will be replaced by the version of the file (if it could # be obtained via FILE_VERSION_FILTER) WARN_FORMAT = "!!$file($line) $text" # The WARN_LOGFILE tag can be used to specify a file to which warning # and error messages should be written. If left blank the output is written # to stderr. WARN_LOGFILE = DoxygenLog.txt #---------------------------------------------------------------------------# configuration options related to the input files#--------------------------------------------------------------------------- # The INPUT tag can be used to specify the files and/or directories that contain # documented source files. You may enter file names like "myfile.cpp" or # directories like "/usr/src/myproject". Separate the files or directories # with spaces. INPUT = . # This tag can be used to specify the character encoding of the source files # that doxygen parses. Internally doxygen uses the UTF-8 encoding, which is # also the default input encoding. Doxygen uses libiconv (or the iconv built # into libc) for the transcoding. See http //www.gnu.org/software/libiconv for # the list of possible encodings. INPUT_ENCODING = shift_jis # If the value of the INPUT tag contains directories, you can use the # FILE_PATTERNS tag to specify one or more wildcard pattern (like *.cpp # and *.h) to filter out the source-files in the directories. If left # blank the following patterns are tested # *.c *.cc *.cxx *.cpp *.c++ *.java *.ii *.ixx *.ipp *.i++ *.inl *.h *.hh *.hxx # *.hpp *.h++ *.idl *.odl *.cs *.php *.php3 *.inc *.m *.mm *.py *.f90 FILE_PATTERNS = # The RECURSIVE tag can be used to turn specify whether or not subdirectories # should be searched for input files as well. Possible values are YES and NO. # If left blank NO is used. RECURSIVE = YES # The EXCLUDE tag can be used to specify files and/or directories that should # excluded from the INPUT source files. This way you can easily exclude a # subdirectory from a directory tree whose root is specified with the INPUT tag. EXCLUDE = # The EXCLUDE_SYMLINKS tag can be used select whether or not files or # directories that are symbolic links (a Unix filesystem feature) are excluded # from the input. EXCLUDE_SYMLINKS = NO # If the value of the INPUT tag contains directories, you can use the # EXCLUDE_PATTERNS tag to specify one or more wildcard patterns to exclude # certain files from those directories. Note that the wildcards are matched # against the file with absolute path, so to exclude all test directories # for example use the pattern */test/* EXCLUDE_PATTERNS = # The EXCLUDE_SYMBOLS tag can be used to specify one or more symbol names # (namespaces, classes, functions, etc.) that should be excluded from the # output. The symbol name can be a fully qualified name, a word, or if the # wildcard * is used, a substring. Examples ANamespace, AClass, # AClass ANamespace, ANamespace *Test EXCLUDE_SYMBOLS = # The EXAMPLE_PATH tag can be used to specify one or more files or # directories that contain example code fragments that are included (see # the \include command). EXAMPLE_PATH = # If the value of the EXAMPLE_PATH tag contains directories, you can use the # EXAMPLE_PATTERNS tag to specify one or more wildcard pattern (like *.cpp # and *.h) to filter out the source-files in the directories. If left # blank all files are included. EXAMPLE_PATTERNS = # If the EXAMPLE_RECURSIVE tag is set to YES then subdirectories will be # searched for input files to be used with the \include or \dontinclude # commands irrespective of the value of the RECURSIVE tag. # Possible values are YES and NO. If left blank NO is used. EXAMPLE_RECURSIVE = NO # The IMAGE_PATH tag can be used to specify one or more files or # directories that contain image that are included in the documentation (see # the \image command). IMAGE_PATH = # The INPUT_FILTER tag can be used to specify a program that doxygen should # invoke to filter for each input file. Doxygen will invoke the filter program # by executing (via popen()) the command filter input-file , where filter # is the value of the INPUT_FILTER tag, and input-file is the name of an # input file. Doxygen will then use the output that the filter program writes # to standard output. If FILTER_PATTERNS is specified, this tag will be # ignored. INPUT_FILTER = # The FILTER_PATTERNS tag can be used to specify filters on a per file pattern # basis. Doxygen will compare the file name with each pattern and apply the # filter if there is a match. The filters are a list of the form # pattern=filter (like *.cpp=my_cpp_filter). See INPUT_FILTER for further # info on how filters are used. If FILTER_PATTERNS is empty, INPUT_FILTER # is applied to all files. FILTER_PATTERNS = # If the FILTER_SOURCE_FILES tag is set to YES, the input filter (if set using # INPUT_FILTER) will be used to filter the input files when producing source # files to browse (i.e. when SOURCE_BROWSER is set to YES). FILTER_SOURCE_FILES = NO #---------------------------------------------------------------------------# configuration options related to source browsing#--------------------------------------------------------------------------- # If the SOURCE_BROWSER tag is set to YES then a list of source files will # be generated. Documented entities will be cross-referenced with these sources. # Note To get rid of all source code in the generated output, make sure also # VERBATIM_HEADERS is set to NO. SOURCE_BROWSER = YES # Setting the INLINE_SOURCES tag to YES will include the body # of functions and classes directly in the documentation. INLINE_SOURCES = NO # Setting the STRIP_CODE_COMMENTS tag to YES (the default) will instruct # doxygen to hide any special comment blocks from generated source code # fragments. Normal C and C++ comments will always remain visible. STRIP_CODE_COMMENTS = YES # If the REFERENCED_BY_RELATION tag is set to YES # then for each documented function all documented # functions referencing it will be listed. REFERENCED_BY_RELATION = NO # If the REFERENCES_RELATION tag is set to YES # then for each documented function all documented entities # called/used by that function will be listed. REFERENCES_RELATION = NO # If the REFERENCES_LINK_SOURCE tag is set to YES (the default) # and SOURCE_BROWSER tag is set to YES, then the hyperlinks from # functions in REFERENCES_RELATION and REFERENCED_BY_RELATION lists will # link to the source code. Otherwise they will link to the documentation. REFERENCES_LINK_SOURCE = YES # If the USE_HTAGS tag is set to YES then the references to source code # will point to the HTML generated by the htags(1) tool instead of doxygen # built-in source browser. The htags tool is part of GNU s global source # tagging system (see http //www.gnu.org/software/global/global.html). You # will need version 4.8.6 or higher. USE_HTAGS = NO # If the VERBATIM_HEADERS tag is set to YES (the default) then Doxygen # will generate a verbatim copy of the header file for each class for # which an include is specified. Set to NO to disable this. VERBATIM_HEADERS = YES #---------------------------------------------------------------------------# configuration options related to the alphabetical class index#--------------------------------------------------------------------------- # If the ALPHABETICAL_INDEX tag is set to YES, an alphabetical index # of all compounds will be generated. Enable this if the project # contains a lot of classes, structs, unions or interfaces. ALPHABETICAL_INDEX = NO # If the alphabetical index is enabled (see ALPHABETICAL_INDEX) then # the COLS_IN_ALPHA_INDEX tag can be used to specify the number of columns # in which this list will be split (can be a number in the range [1..20]) COLS_IN_ALPHA_INDEX = 5 # In case all classes in a project start with a common prefix, all # classes will be put under the same header in the alphabetical index. # The IGNORE_PREFIX tag can be used to specify one or more prefixes that # should be ignored while generating the index headers. IGNORE_PREFIX = #---------------------------------------------------------------------------# configuration options related to the HTML output#--------------------------------------------------------------------------- # If the GENERATE_HTML tag is set to YES (the default) Doxygen will # generate HTML output. GENERATE_HTML = YES # The HTML_OUTPUT tag is used to specify where the HTML docs will be put. # If a relative path is entered the value of OUTPUT_DIRECTORY will be # put in front of it. If left blank `html will be used as the default path. HTML_OUTPUT = html # The HTML_FILE_EXTENSION tag can be used to specify the file extension for # each generated HTML page (for example .htm,.php,.asp). If it is left blank # doxygen will generate files with .html extension. HTML_FILE_EXTENSION = .html # The HTML_HEADER tag can be used to specify a personal HTML header for # each generated HTML page. If it is left blank doxygen will generate a # standard header. HTML_HEADER = # The HTML_FOOTER tag can be used to specify a personal HTML footer for # each generated HTML page. If it is left blank doxygen will generate a # standard footer. HTML_FOOTER = docs/hooter.html # The HTML_STYLESHEET tag can be used to specify a user-defined cascading # style sheet that is used by each HTML page. It can be used to # fine-tune the look of the HTML output. If the tag is left blank doxygen # will generate a default style sheet. Note that doxygen will try to copy # the style sheet file to the HTML output directory, so don t put your own # stylesheet in the HTML output directory as well, or it will be erased! HTML_STYLESHEET = docs/doxygen.css # If the HTML_ALIGN_MEMBERS tag is set to YES, the members of classes, # files or namespaces will be aligned in HTML using tables. If set to # NO a bullet list will be used. HTML_ALIGN_MEMBERS = YES # If the HTML_DYNAMIC_SECTIONS tag is set to YES then the generated HTML # documentation will contain sections that can be hidden and shown after the # page has loaded. For this to work a browser that supports # JavaScript and DHTML is required (for instance Mozilla 1.0+, Firefox # Netscape 6.0+, Internet explorer 5.0+, Konqueror, or Safari). HTML_DYNAMIC_SECTIONS = NO # If the GENERATE_DOCSET tag is set to YES, additional index files # will be generated that can be used as input for Apple s Xcode 3 # integrated development environment, introduced with OSX 10.5 (Leopard). # To create a documentation set, doxygen will generate a Makefile in the # HTML output directory. Running make will produce the docset in that # directory and running "make install" will install the docset in # ~/Library/Developer/Shared/Documentation/DocSets so that Xcode will find # it at startup. # See http //developer.apple.com/tools/creatingdocsetswithdoxygen.html for more information. GENERATE_DOCSET = NO # When GENERATE_DOCSET tag is set to YES, this tag determines the name of the # feed. A documentation feed provides an umbrella under which multiple # documentation sets from a single provider (such as a company or product suite) # can be grouped. DOCSET_FEEDNAME = # When GENERATE_DOCSET tag is set to YES, this tag specifies a string that # should uniquely identify the documentation set bundle. This should be a # reverse domain-name style string, e.g. com.mycompany.MyDocSet. Doxygen # will append .docset to the name. DOCSET_BUNDLE_ID = # If the GENERATE_HTMLHELP tag is set to YES, additional index files # will be generated that can be used as input for tools like the # Microsoft HTML help workshop to generate a compiled HTML help file (.chm) # of the generated HTML documentation. GENERATE_HTMLHELP = NO # If the GENERATE_HTMLHELP tag is set to YES, the CHM_FILE tag can # be used to specify the file name of the resulting .chm file. You # can add a path in front of the file if the result should not be # written to the html output directory. CHM_FILE = # If the GENERATE_HTMLHELP tag is set to YES, the HHC_LOCATION tag can # be used to specify the location (absolute path including file name) of # the HTML help compiler (hhc.exe). If non-empty doxygen will try to run # the HTML help compiler on the generated index.hhp. HHC_LOCATION = # If the GENERATE_HTMLHELP tag is set to YES, the GENERATE_CHI flag # controls if a separate .chi index file is generated (YES) or that # it should be included in the master .chm file (NO). GENERATE_CHI = NO # If the GENERATE_HTMLHELP tag is set to YES, the CHM_INDEX_ENCODING # is used to encode HtmlHelp index (hhk), content (hhc) and project file # content. CHM_INDEX_ENCODING = # If the GENERATE_HTMLHELP tag is set to YES, the BINARY_TOC flag # controls whether a binary table of contents is generated (YES) or a # normal table of contents (NO) in the .chm file. BINARY_TOC = NO # The TOC_EXPAND flag can be set to YES to add extra items for group members # to the contents of the HTML help documentation and to the tree view. TOC_EXPAND = NO # If the GENERATE_QHP tag is set to YES and both QHP_NAMESPACE and QHP_VIRTUAL_FOLDER # are set, an additional index file will be generated that can be used as input for # Qt s qhelpgenerator to generate a Qt Compressed Help (.qch) of the generated # HTML documentation. GENERATE_QHP = NO # If the QHG_LOCATION tag is specified, the QCH_FILE tag can # be used to specify the file name of the resulting .qch file. # The path specified is relative to the HTML output folder. QCH_FILE = # The QHP_NAMESPACE tag specifies the namespace to use when generating # Qt Help Project output. For more information please see # http //doc.trolltech.com/qthelpproject.html#namespace QHP_NAMESPACE = # The QHP_VIRTUAL_FOLDER tag specifies the namespace to use when generating # Qt Help Project output. For more information please see # http //doc.trolltech.com/qthelpproject.html#virtual-folders QHP_VIRTUAL_FOLDER = # If QHP_CUST_FILTER_NAME is set, it specifies the name of a custom filter to add. # For more information please see # http //doc.trolltech.com/qthelpproject.html#custom-filters QHP_CUST_FILTER_NAME = # The QHP_CUST_FILT_ATTRS tag specifies the list of the attributes of the custom filter to add.For more information please see # a href="http //doc.trolltech.com/qthelpproject.html#custom-filters" Qt Help Project / Custom Filters /a . QHP_CUST_FILTER_ATTRS = # The QHP_SECT_FILTER_ATTRS tag specifies the list of the attributes this project s # filter section matches. # a href="http //doc.trolltech.com/qthelpproject.html#filter-attributes" Qt Help Project / Filter Attributes /a . QHP_SECT_FILTER_ATTRS = # If the GENERATE_QHP tag is set to YES, the QHG_LOCATION tag can # be used to specify the location of Qt s qhelpgenerator. # If non-empty doxygen will try to run qhelpgenerator on the generated # .qhp file. QHG_LOCATION = # The DISABLE_INDEX tag can be used to turn on/off the condensed index at # top of each HTML page. The value NO (the default) enables the index and # the value YES disables it. DISABLE_INDEX = NO # This tag can be used to set the number of enum values (range [1..20]) # that doxygen will group on one line in the generated HTML documentation. ENUM_VALUES_PER_LINE = 4 # The GENERATE_TREEVIEW tag is used to specify whether a tree-like index # structure should be generated to display hierarchical information. # If the tag value is set to FRAME, a side panel will be generated # containing a tree-like index structure (just like the one that # is generated for HTML Help). For this to work a browser that supports # JavaScript, DHTML, CSS and frames is required (for instance Mozilla 1.0+, # Netscape 6.0+, Internet explorer 5.0+, or Konqueror). Windows users are # probably better off using the HTML help feature. Other possible values # for this tag are HIERARCHIES, which will generate the Groups, Directories, # and Class Hierarchy pages using a tree view instead of an ordered list; # ALL, which combines the behavior of FRAME and HIERARCHIES; and NONE, which # disables this behavior completely. For backwards compatibility with previous # releases of Doxygen, the values YES and NO are equivalent to FRAME and NONE # respectively. GENERATE_TREEVIEW = NONE # If the treeview is enabled (see GENERATE_TREEVIEW) then this tag can be # used to set the initial width (in pixels) of the frame in which the tree # is shown. TREEVIEW_WIDTH = 6 # Use this tag to change the font size of Latex formulas included # as images in the HTML documentation. The default is 10. Note that # when you change the font size after a successful doxygen run you need # to manually remove any form_*.png images from the HTML output directory # to force them to be regenerated. FORMULA_FONTSIZE = 10 #---------------------------------------------------------------------------# configuration options related to the LaTeX output#--------------------------------------------------------------------------- # If the GENERATE_LATEX tag is set to YES (the default) Doxygen will # generate Latex output. GENERATE_LATEX = NO # The LATEX_OUTPUT tag is used to specify where the LaTeX docs will be put. # If a relative path is entered the value of OUTPUT_DIRECTORY will be # put in front of it. If left blank `latex will be used as the default path. LATEX_OUTPUT = # The LATEX_CMD_NAME tag can be used to specify the LaTeX command name to be # invoked. If left blank `latex will be used as the default command name. LATEX_CMD_NAME = # The MAKEINDEX_CMD_NAME tag can be used to specify the command name to # generate index for LaTeX. If left blank `makeindex will be used as the # default command name. MAKEINDEX_CMD_NAME = # If the COMPACT_LATEX tag is set to YES Doxygen generates more compact # LaTeX documents. This may be useful for small projects and may help to # save some trees in general. COMPACT_LATEX = NO # The PAPER_TYPE tag can be used to set the paper type that is used # by the printer. Possible values are a4, a4wide, letter, legal and # executive. If left blank a4wide will be used. PAPER_TYPE = # The EXTRA_PACKAGES tag can be to specify one or more names of LaTeX # packages that should be included in the LaTeX output. EXTRA_PACKAGES = # The LATEX_HEADER tag can be used to specify a personal LaTeX header for # the generated latex document. The header should contain everything until # the first chapter. If it is left blank doxygen will generate a # standard header. Notice only use this tag if you know what you are doing! LATEX_HEADER = # If the PDF_HYPERLINKS tag is set to YES, the LaTeX that is generated # is prepared for conversion to pdf (using ps2pdf). The pdf file will # contain links (just like the HTML output) instead of page references # This makes the output suitable for online browsing using a pdf viewer. PDF_HYPERLINKS = NO # If the USE_PDFLATEX tag is set to YES, pdflatex will be used instead of # plain latex in the generated Makefile. Set this option to YES to get a # higher quality PDF documentation. USE_PDFLATEX = NO # If the LATEX_BATCHMODE tag is set to YES, doxygen will add the \\batchmode. # command to the generated LaTeX files. This will instruct LaTeX to keep # running if errors occur, instead of asking the user for help. # This option is also used when generating formulas in HTML. LATEX_BATCHMODE = NO # If LATEX_HIDE_INDICES is set to YES then doxygen will not # include the index chapters (such as File Index, Compound Index, etc.) # in the output. LATEX_HIDE_INDICES = NO #---------------------------------------------------------------------------# configuration options related to the RTF output#--------------------------------------------------------------------------- # If the GENERATE_RTF tag is set to YES Doxygen will generate RTF output # The RTF output is optimized for Word 97 and may not look very pretty with # other RTF readers or editors. GENERATE_RTF = NO # The RTF_OUTPUT tag is used to specify where the RTF docs will be put. # If a relative path is entered the value of OUTPUT_DIRECTORY will be # put in front of it. If left blank `rtf will be used as the default path. RTF_OUTPUT = # If the COMPACT_RTF tag is set to YES Doxygen generates more compact # RTF documents. This may be useful for small projects and may help to # save some trees in general. COMPACT_RTF = NO # If the RTF_HYPERLINKS tag is set to YES, the RTF that is generated # will contain hyperlink fields. The RTF file will # contain links (just like the HTML output) instead of page references. # This makes the output suitable for online browsing using WORD or other # programs which support those fields. # Note wordpad (write) and others do not support links. RTF_HYPERLINKS = NO # Load stylesheet definitions from file. Syntax is similar to doxygen s # config file, i.e. a series of assignments. You only have to provide # replacements, missing definitions are set to their default value. RTF_STYLESHEET_FILE = # Set optional variables used in the generation of an rtf document. # Syntax is similar to doxygen s config file. RTF_EXTENSIONS_FILE = #---------------------------------------------------------------------------# configuration options related to the man page output#--------------------------------------------------------------------------- # If the GENERATE_MAN tag is set to YES (the default) Doxygen will # generate man pages GENERATE_MAN = NO # The MAN_OUTPUT tag is used to specify where the man pages will be put. # If a relative path is entered the value of OUTPUT_DIRECTORY will be # put in front of it. If left blank `man will be used as the default path. MAN_OUTPUT = # The MAN_EXTENSION tag determines the extension that is added to # the generated man pages (default is the subroutine s section .3) MAN_EXTENSION = # If the MAN_LINKS tag is set to YES and Doxygen generates man output, # then it will generate one additional man file for each entity # documented in the real man page(s). These additional files # only source the real man page, but without them the man command # would be unable to find the correct page. The default is NO. MAN_LINKS = NO #---------------------------------------------------------------------------# configuration options related to the XML output#--------------------------------------------------------------------------- # If the GENERATE_XML tag is set to YES Doxygen will # generate an XML file that captures the structure of # the code including all documentation. GENERATE_XML = NO # The XML_OUTPUT tag is used to specify where the XML pages will be put. # If a relative path is entered the value of OUTPUT_DIRECTORY will be # put in front of it. If left blank `xml will be used as the default path. XML_OUTPUT = # The XML_SCHEMA tag can be used to specify an XML schema, # which can be used by a validating XML parser to check the # syntax of the XML files. XML_SCHEMA = # The XML_DTD tag can be used to specify an XML DTD, # which can be used by a validating XML parser to check the # syntax of the XML files. XML_DTD = # If the XML_PROGRAMLISTING tag is set to YES Doxygen will # dump the program listings (including syntax highlighting # and cross-referencing information) to the XML output. Note that # enabling this will significantly increase the size of the XML output. XML_PROGRAMLISTING = NO #---------------------------------------------------------------------------# configuration options for the AutoGen Definitions output#--------------------------------------------------------------------------- # If the GENERATE_AUTOGEN_DEF tag is set to YES Doxygen will # generate an AutoGen Definitions (see autogen.sf.net) file # that captures the structure of the code including all # documentation. Note that this feature is still experimental # and incomplete at the moment. GENERATE_AUTOGEN_DEF = YES #---------------------------------------------------------------------------# configuration options related to the Perl module output#--------------------------------------------------------------------------- # If the GENERATE_PERLMOD tag is set to YES Doxygen will # generate a Perl module file that captures the structure of # the code including all documentation. Note that this # feature is still experimental and incomplete at the # moment. GENERATE_PERLMOD = NO # If the PERLMOD_LATEX tag is set to YES Doxygen will generate # the necessary Makefile rules, Perl scripts and LaTeX code to be able # to generate PDF and DVI output from the Perl module output. PERLMOD_LATEX = NO # If the PERLMOD_PRETTY tag is set to YES the Perl module output will be # nicely formatted so it can be parsed by a human reader. This is useful # if you want to understand what is going on. On the other hand, if this # tag is set to NO the size of the Perl module output will be much smaller # and Perl will parse it just the same. PERLMOD_PRETTY = NO # The names of the make variables in the generated doxyrules.make file # are prefixed with the string contained in PERLMOD_MAKEVAR_PREFIX. # This is useful so different doxyrules.make files included by the same # Makefile don t overwrite each other s variables. PERLMOD_MAKEVAR_PREFIX = #---------------------------------------------------------------------------# Configuration options related to the preprocessor #--------------------------------------------------------------------------- # If the ENABLE_PREPROCESSING tag is set to YES (the default) Doxygen will # evaluate all C-preprocessor directives found in the sources and include # files. ENABLE_PREPROCESSING = YES # If the MACRO_EXPANSION tag is set to YES Doxygen will expand all macro # names in the source code. If set to NO (the default) only conditional # compilation will be performed. Macro expansion can be done in a controlled # way by setting EXPAND_ONLY_PREDEF to YES. MACRO_EXPANSION = NO # If the EXPAND_ONLY_PREDEF and MACRO_EXPANSION tags are both set to YES # then the macro expansion is limited to the macros specified with the # PREDEFINED and EXPAND_AS_DEFINED tags. EXPAND_ONLY_PREDEF = NO # If the SEARCH_INCLUDES tag is set to YES (the default) the includes files # in the INCLUDE_PATH (see below) will be search if a #include is found. SEARCH_INCLUDES = YES # The INCLUDE_PATH tag can be used to specify one or more directories that # contain include files that are not input files but should be processed by # the preprocessor. INCLUDE_PATH = # You can use the INCLUDE_FILE_PATTERNS tag to specify one or more wildcard # patterns (like *.h and *.hpp) to filter out the header-files in the # directories. If left blank, the patterns specified with FILE_PATTERNS will # be used. INCLUDE_FILE_PATTERNS = # The PREDEFINED tag can be used to specify one or more macro names that # are defined before the preprocessor is started (similar to the -D option of # gcc). The argument of the tag is a list of macros of the form name # or name=definition (no spaces). If the definition and the = are # omitted =1 is assumed. To prevent a macro definition from being # undefined via #undef or recursively expanded use the = operator # instead of the = operator. PREDEFINED = # If the MACRO_EXPANSION and EXPAND_ONLY_PREDEF tags are set to YES then # this tag can be used to specify a list of macro names that should be expanded. # The macro definition that is found in the sources will be used. # Use the PREDEFINED tag if you want to use a different macro definition. EXPAND_AS_DEFINED = # If the SKIP_FUNCTION_MACROS tag is set to YES (the default) then # doxygen s preprocessor will remove all function-like macros that are alone # on a line, have an all uppercase name, and do not end with a semicolon. Such # function macros are typically used for boiler-plate code, and will confuse # the parser if not removed. SKIP_FUNCTION_MACROS = YES #---------------------------------------------------------------------------# Configuration additions related to external references #--------------------------------------------------------------------------- # The TAGFILES option can be used to specify one or more tagfiles. # Optionally an initial location of the external documentation # can be added for each tagfile. The format of a tag file without # this location is as follows # TAGFILES = file1 file2 ... # Adding location for the tag files is done as follows # TAGFILES = file1=loc1 "file2 = loc2" ... # where "loc1" and "loc2" can be relative or absolute paths or # URLs. If a location is present for each tag, the installdox tool # does not have to be run to correct the links. # Note that each tag file must have a unique name # (where the name does NOT include the path) # If a tag file is not located in the directory in which doxygen # is run, you must also specify the path to the tagfile here. TAGFILES = # When a file name is specified after GENERATE_TAGFILE, doxygen will create # a tag file that is based on the input files it reads. GENERATE_TAGFILE = # If the ALLEXTERNALS tag is set to YES all external classes will be listed # in the class index. If set to NO only the inherited external classes # will be listed. ALLEXTERNALS = NO # If the EXTERNAL_GROUPS tag is set to YES all external groups will be listed # in the modules index. If set to NO, only the current project s groups will # be listed. EXTERNAL_GROUPS = YES # The PERL_PATH should be the absolute path and name of the perl script # interpreter (i.e. the result of `which perl ). PERL_PATH = #---------------------------------------------------------------------------# Configuration options related to the dot tool #--------------------------------------------------------------------------- # If the CLASS_DIAGRAMS tag is set to YES (the default) Doxygen will # generate a inheritance diagram (in HTML, RTF and LaTeX) for classes with base # or super classes. Setting the tag to NO turns the diagrams off. Note that # this option is superseded by the HAVE_DOT option below. This is only a # fallback. It is recommended to install and use dot, since it yields more # powerful graphs. CLASS_DIAGRAMS = YES # You can define message sequence charts within doxygen comments using the \msc # command. Doxygen will then run the mscgen tool (see # http //www.mcternan.me.uk/mscgen/) to produce the chart and insert it in the # documentation. The MSCGEN_PATH tag allows you to specify the directory where # the mscgen tool resides. If left empty the tool is assumed to be found in the # default search path. MSCGEN_PATH = # If set to YES, the inheritance and collaboration graphs will hide # inheritance and usage relations if the target is undocumented # or is not a class. HIDE_UNDOC_RELATIONS = YES # If you set the HAVE_DOT tag to YES then doxygen will assume the dot tool is # available from the path. This tool is part of Graphviz, a graph visualization # toolkit from AT T and Lucent Bell Labs. The other options in this section # have no effect if this option is set to NO (the default) HAVE_DOT = YES # By default doxygen will write a font called FreeSans.ttf to the output # directory and reference it in all dot files that doxygen generates. This # font does not include all possible unicode characters however, so when you need # these (or just want a differently looking font) you can specify the font name # using DOT_FONTNAME. You need need to make sure dot is able to find the font, # which can be done by putting it in a standard location or by setting the # DOTFONTPATH environment variable or by setting DOT_FONTPATH to the directory # containing the font. DOT_FONTNAME = Tahoma # The DOT_FONTSIZE tag can be used to set the size of the font of dot graphs. # The default size is 10pt. DOT_FONTSIZE = 8 # By default doxygen will tell dot to use the output directory to look for the # FreeSans.ttf font (which doxygen will put there itself). If you specify a # different font using DOT_FONTNAME you can set the path where dot # can find it using this tag. DOT_FONTPATH = "E \Program Files\Graphviz2.22\etc\fonts\tahoma.ttf" # If the CLASS_GRAPH and HAVE_DOT tags are set to YES then doxygen # will generate a graph for each documented class showing the direct and # indirect inheritance relations. Setting this tag to YES will force the # the CLASS_DIAGRAMS tag to NO. CLASS_GRAPH = YES # If the COLLABORATION_GRAPH and HAVE_DOT tags are set to YES then doxygen # will generate a graph for each documented class showing the direct and # indirect implementation dependencies (inheritance, containment, and # class references variables) of the class with other documented classes. COLLABORATION_GRAPH = YES # If the GROUP_GRAPHS and HAVE_DOT tags are set to YES then doxygen # will generate a graph for groups, showing the direct groups dependencies GROUP_GRAPHS = YES # If the UML_LOOK tag is set to YES doxygen will generate inheritance and # collaboration diagrams in a style similar to the OMG s Unified Modeling # Language. UML_LOOK = YES # If set to YES, the inheritance and collaboration graphs will show the # relations between templates and their instances. TEMPLATE_RELATIONS = NO # If the ENABLE_PREPROCESSING, SEARCH_INCLUDES, INCLUDE_GRAPH, and HAVE_DOT # tags are set to YES then doxygen will generate a graph for each documented # file showing the direct and indirect include dependencies of the file with # other documented files. INCLUDE_GRAPH = YES # If the ENABLE_PREPROCESSING, SEARCH_INCLUDES, INCLUDED_BY_GRAPH, and # HAVE_DOT tags are set to YES then doxygen will generate a graph for each # documented header file showing the documented files that directly or # indirectly include this file. INCLUDED_BY_GRAPH = YES # If the CALL_GRAPH and HAVE_DOT options are set to YES then # doxygen will generate a call dependency graph for every global function # or class method. Note that enabling this option will significantly increase # the time of a run. So in most cases it will be better to enable call graphs # for selected functions only using the \callgraph command. CALL_GRAPH = YES # If the CALLER_GRAPH and HAVE_DOT tags are set to YES then # doxygen will generate a caller dependency graph for every global function # or class method. Note that enabling this option will significantly increase # the time of a run. So in most cases it will be better to enable caller # graphs for selected functions only using the \callergraph command. CALLER_GRAPH = YES # If the GRAPHICAL_HIERARCHY and HAVE_DOT tags are set to YES then doxygen # will graphical hierarchy of all classes instead of a textual one. GRAPHICAL_HIERARCHY = YES # If the DIRECTORY_GRAPH, SHOW_DIRECTORIES and HAVE_DOT tags are set to YES # then doxygen will show the dependencies a directory has on other directories # in a graphical way. The dependency relations are determined by the #include # relations between the files in the directories. DIRECTORY_GRAPH = YES # The DOT_IMAGE_FORMAT tag can be used to set the image format of the images # generated by dot. Possible values are png, jpg, or gif # If left blank png will be used. DOT_IMAGE_FORMAT = png # The tag DOT_PATH can be used to specify the path where the dot tool can be # found. If left blank, it is assumed the dot tool can be found in the path. DOT_PATH = "../../../../Program Files/Graphviz2.22/bin" # The DOTFILE_DIRS tag can be used to specify one or more directories that # contain dot files that are included in the documentation (see the # \dotfile command). DOTFILE_DIRS = # The DOT_GRAPH_MAX_NODES tag can be used to set the maximum number of # nodes that will be shown in the graph. If the number of nodes in a graph # becomes larger than this value, doxygen will truncate the graph, which is # visualized by representing a node as a red box. Note that doxygen if the # number of direct children of the root node in a graph is already larger than # DOT_GRAPH_MAX_NODES then the graph will not be shown at all. Also note # that the size of a graph can be further restricted by MAX_DOT_GRAPH_DEPTH. DOT_GRAPH_MAX_NODES = 30 # The MAX_DOT_GRAPH_DEPTH tag can be used to set the maximum depth of the # graphs generated by dot. A depth value of 3 means that only nodes reachable # from the root by following a path via at most 3 edges will be shown. Nodes # that lay further from the root node will be omitted. Note that setting this # option to 1 or 2 may greatly reduce the computation time needed for large # code bases. Also note that the size of a graph can be further restricted by # DOT_GRAPH_MAX_NODES. Using a depth of 0 means no depth restriction. MAX_DOT_GRAPH_DEPTH = 5 # Set the DOT_TRANSPARENT tag to YES to generate images with a transparent # background. This is disabled by default, because dot on Windows does not # seem to support this out of the box. Warning Depending on the platform used, # enabling this option may lead to badly anti-aliased labels on the edges of # a graph (i.e. they become hard to read). DOT_TRANSPARENT = YES # Set the DOT_MULTI_TARGETS tag to YES allow dot to generate multiple output # files in one run (i.e. multiple -o and -T options on the command line). This # makes dot run faster, but since only newer versions of dot ( 1.8.10) # support this, this feature is disabled by default. DOT_MULTI_TARGETS = YES # If the GENERATE_LEGEND tag is set to YES (the default) Doxygen will # generate a legend page explaining the meaning of the various boxes and # arrows in the dot generated graphs. GENERATE_LEGEND = YES # If the DOT_CLEANUP tag is set to YES (the default) Doxygen will # remove the intermediate dot files that are used to generate # the various graphs. DOT_CLEANUP = YES #---------------------------------------------------------------------------# Options related to the search engine#--------------------------------------------------------------------------- # The SEARCHENGINE tag specifies whether or not a search engine should be # used. If set to NO the values of all tags below this one will be ignored. SEARCHENGINE = YES