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Neue Gartenparadiese fuer Kinder Clare MatthewsClive Nichols ESEC '87 (Lecture Notes in Computer Science) Howard K. Nichols?Dan Simpson? Die wiederentdeckte Kunst des Zuhoerens Michael P. Nichols? Chopper Dave NicholsMichael Lichter Die Psychologie des Tarot Sallie Nichols? Law Enforcement Patrol Operations Police Systems and Practices Larry Nichols? Law Enforcement Patrol Operations Police Systems and Practices Larry Nichols? Law Enforcement Patrol Operations Police Systems and Practices Larry D. Nichols? Law Enforcement Patrol Operations Larry D. Nichols? Texas Peace Officer The Basic Training Course Ray K. Robbins?Larry Nichols?Donald Harrelson? The California Peace Officer Ray K. Robbins?Larry D. Nichols?Barry F. Dineen? Texas Peace Officer Ray K. Robbins?Larry Nichols?Donald Harrelson? Www.Imaging Efficient Image Preparation for the World Wide Web (Design Directories) Robin NicholsPhilip Andrews? Backstreet Boys The Unofficial Book Angie Nichols? Backstreet Boys Confidential Angie Nichols? Britney Spears Angela Nichols? 98 Degrees The Unofficial Book Angie Nichols? N Sync Angie Nichols? N Snyc Confidential Angie Nichols? Boundary Waters James Nichols? Twenty Best Film Plays Dudley Nichols? Specialty Cookbooks A Subject Guide (Garland Reference Library of the Humanities) Harriet Ostroff?Tom Nichols? Ending Marriage, Keeping Faith A New Guide Through the Spiritual Journey of Divorce J. Randall Nichols? Point-Of-Care Testing Performance Improvement and Evidence-Based Outcomes (Medical Psychiatry) James H. Nichols? Commentary On Peter Jude Martin Luther?John Nichols Lenker? Guidelines for Nurse Practitioners in Gynecologic Settings Joellen W. Hawkins?Diane M. Roberto-Nichols?J. Lynn Stanley-Haney? Transitions in a Woman's Life Major Life Events in Developmental Context (Springer Series Focus on Women) Ramona Thieme Mercer?Elizabeth Gackstetter Nichols?Glen Caspers Doyle? Lincoln and the Indians Civil War Policy and Politics David A. Nichols? J.C.Nichols and the Shaping of Kansas City William S. Worley? J.C. Nichols and the Shaping of Kansas City Innovation in Planned Residential Communities William S. Worley? Dancing on the Stones Selected Essays John Treadwell Nichols? Dancing on the Stones Selected Essays John Treadwell Nichols? Perspectives on Campus Tensions Papers Prepared for the Special Committee on Campus Tensions Special Committee on Campus Tensions?Kenneth E. Boulding?David C. Nichols? Day by Day Through the New Testament The Gospels (Day by Day Through the New Testament) C. William Nichols? Day by Day Through the New Testament Acts to Revelation C. William Nichols? Day by Day Through the Psalms C. William Nichols? Discovering the Plain Truth How the Worldwide Church of God Encountered the Gospel of Grace Larry A. Nichols?George Mather? Classic American Cars Richard Nichols? Corvette 1953 To Present Richard Nichols? Dream Cars Richard Nichols? America's Classic Cars Richard Nichols? The Winter Garden Structure, Planting and Romance in the Garden in Winter (Gardens) Eluned Price?Clive Nichols 50 Quick Healthy Vegetarian Dishes Step by Step Annie Nichols Kid on the River Dean Nichols? Two Cats to Puerto Rico A Sialor's Yarns and Observations Dean Nichols? Copper Sands The N.P.M.W.A.R.A. Dean Nichols? Isaiah Thomas Printer Writer and Collector A Paper Read April 12, 1911, Before the Club of Odd Volumes (Burt Franklin Research Source Works Series, 438) Charles Nichols? I'm No Ordinary Chicken (Young Friends Series) Roy Nichols?Doris Nichols?Paul Mangold? Nobody Likes Me Roy Nichols?Doris Nichols? Will You Be My Friend (Young Friends Series) Roy Nichols?Doris Nichols?Paul Mangold? How Mountain Gorillas Live (Animal Worlds) Virginia Harrison?Michael Nichols? Mountain Gorillas in Danger (Animal Worlds) Rita Ritchie?Michael Nichols? Democracy and the Churches James Hastings Nichols? Primer for Protestants James Hastings Nichols? Ariadne's Lives Nina Davinci Nichols? Composition Starters Austin Nichols? Storytimes for Two-Year-Olds Judy Nichols?Lori D. Sears? Storytimes for Two-Year-Olds Judy Nichols?Lori D. Sears? Storytimes for Two-year-olds Judy Nichols?Lori D. Sears? Readings in American Government Mary P. Nichols? Maintaining Nonunion Status Cornelius Quinn?Thomas Hill?James L. Nichols? Research and Development and the Prospects for International Security Frederick Seitz?Rodney W Nichols? Theory and Practice of Microprocessors Kenneth Graham Nichols? Theory and Practice of Microprocessors Kenneth Graham Nichols?E. J. Zaluska? Citizens and Statesmen A Study of Aristotle's Politics Mary P. Nichols? Citizens and Statesmen A Study of Aristotle's Politics Mary P. Nichols? Reconstructing Woody Art, Love, and Life in the Films of Woody Allen Mary P. Nichols? Reconstructing Woody Art, Love, and Life in the Films of Woody Allen Mary P. Nichols? Palladio in America Walter Muir Whitehill?Frederic D Nichols? Michael Graves Buildings and Projects, 1990-1994 Michael Graves?Karen Nichols?Lisa Burke?Patrick Burke?Janet Abrams? Michael Graves Buildings and Projects 1990-1994 Janet Abrams?Karen Nichols?Lisa Burke?Patrick Burke? Potatoes From Pancakes to Pommes Frites Annie NicholsPeter Myers Michael Graves Buildings and Projects 1995-2003 Francisco Sanin?Karen Nichols? Christmas With Southern Living, 1988 (Christmas With Southern Living) Kathleen English?Alison Nichols? Creative Ideas for Christmas 1988 (American Country Christmas) Kathleen English?Alison Nichols? Hooked on Traprock Rock Climbing in Central Connecticut Ken Nichols? Every Day With God A Child's Daily Bible (Selections from the International Children's Bible) Doris Nichols?Roy Nichols?Jim Padgett? Building Sales With Demographics and Psychographics The Road to Your Most Profitable Markets Judith E. Nichols? The Book of Druidry Ross Nichols? Spread of Educational Technology Philip Hills?John Gilbert? Perspectives on Academic Gaming and Simulation One and Two Jacquetta Megarry? Simulation in Management and Business Education Lynyon Gray?Ian Waitt? Expatriate Compensation and Benefits An Employer's Handbook John Rayman?Bill Twinn? The Canti With a Selection of His Prose Giacomo Leopardi?J. G. Nichols? Risk Business British Industrial Design Innovation Michael Blakstad? The Guinness Sports Yearbook David Coleman?Peter Nichols? Seeable Signs The Iconography of the Seven Sacraments, 1350-1544 Ann Eljenholm Nichols? Designing With Grc A Briefing Guide for Architects John Young? Traditional English Pub A Way of Drinking Ben Davis? Specification Clauses for Rehabilitation and Conversion Work Anthony Richardson?Levitt Bernstein? The Stubble Field Mary Nichols? Abortion and Martyrdom Aidan Nichols? Wisdom from Above Aidan Nichols? The Poetry of Sir Philip Sidney (English Texts Studies) J.G. Nichols? Advances in Non-Destructive Examination for Structural Integrity R. W. Nichols? Towards the Community University Case Studies of Innovation and Community Service (International Yearbook of Educational and Training Technology) David C. B. Teather? Aerosol Particle Size Analysis Good Calibration Practices W. D. Griffiths?D. Mark?I. A. Marshall?A. L. Nichols? Developing Landscapes of Lowland Britain The Archaeology of the British Gravels a Review (Occasional Papers, 14) M. Fulford?E. Nichols? Social Survey Methods A Guide for Development Workers (Oxfam Development Guidelines) Paul Nichols? The Colloquies and Selected Letters Guido Gozzano?J. G. Nichols? Halcyon Gabriele D Annunzio?J.G. Nichols? Stagecoach A Film by John Ford and Dudley Nichols (Classic Film Scripts) Dudley Nichols? Non-Ferrous Metals Their Role in Industrial Development Lotte Muller-Oblsen? Curves (Shape Play) Frank Nichols? The Shape of Catholic Theology Aidan Nichols? The Thought of Pope Benedict XVI An Introduction to the Theology of Joseph Ratzinger Aidan Nichols? The Fat Black Woman's Poems (Virago Poets) Grace Nichols? Whole of a Morning Sky Grace Nichols? Whole of a Morning Sky Grace Nichols? Classic Cars Richard Nichols?Patrick B. Whitehouse? Actors at Work Rosemarie Tichler?Barry Jay Kaplan?Mike Nichols? Psychoeducation An Idea Whose Time Has Come (Third Ccbd Mini-Library Series) Mary M. Wood?Larry K. Brendtro?Frank A. Fecser?Polly Nichols? How to Show Your Own Dog Virginia Nichols? Workshop Solutions Tips and Techniques for the Do-It-Yourselfer (Home Workshop Series) Workbench Magazine? Woodworking Workbook T. Nichols? Lora Webb Nichols Homesteader's Daughter, Miner's Bride Nancy F. Anderson?Kathy Evertz?Lora Webb Nicholas? On Yankee Station The Naval Air War over Vietnam John B. Nichols?Barrett Tillman? The Great Apes Between Two Worlds Michael Nichols? The Stubble Field Mary Nichols? Life Cycle Investing Investing for the Times of Your Life Donald R. Nichols? The Complete Book of Gold Investing Jeffrey A. Nichols? The Dow Jones-Irwin Guide to Zero Coupon Investments Donald R. Nichols? The Handbook of Investor Relations Donald R. Nichols? Guide to Reference Books for School Media Centers (Guide to Reference Materials for School Media Centers) Margaret Irby Nichols?Christine Gehrt Wynar? Young People's Books in Series Fiction and Non-Fiction, 1975-1991 Judith K. Rosenberg?C. Allen Nichols? Building Dances A Guide to Putting Movements Together/Includes Book and Dance Cards Susan McGreevy-Nichols?Helene Scheff? Dakota Grammar With Texts and Ethnography Stephen R. Riggs?James Owen Dorsey?John D. Nichols Stephen Long and American Frontier Exploration Roger L. Nichols?Patrick L. Halley? 50 Activities for Developing Supervisory Skills Jan Nichols? Meaning of Mannerism Franklin W. Robinson?Stephen G. Nichols? Mimesis From Mirror to Method, Augustine to Descartes John D. Lyons?Stephen G. Nichols? Francis W Edmonds American Master in the Dutch Tradition H. Nichols B. Clark? River Runners' Guide to Utah and Adjacent Areas Gary C. Nichols? River Runners' Guide to Utah and Adjacent Areas Gary C. Nichols? Money Sense The Parents' Guide to Teaching Children About Money Harwood S. Nichols? God the Universe and Self Lonnie J. Nichols? New Orleans (Downtown America Book) Joan Kane Nichols? Jonathan Edwards' Resolutions And Advice to Young Converts Jonathan Edwards?Stephen J. Nichols? Jonathan Edwards A Guided Tour to His Life and Thought Stephen J. Nichols? Martin Luther A Guided Tour of His Life and Thought Stephen J. Nichols? Martin Luther's 95 Theses Martin Luther?Stephen J. Nichols? Anne Bradstreet A Guided Tour of the Life And Thought of a Puritan Poet Heidi L. Nichols? J. Gresham Machen A Guided Tour of His Life and Thought Stephen J. Nichols? Pages from Church History A Guided Tour of Christian Classics Stephen J. Nichols? J. Gresham Machen's The Gospel And The Modern World And Other Short Writings J. Gresham Machen?Stephen J. Nichols? An Absolute Sort of Certainty The Holy Spirit and the Apologetics of Jonathan Edwards Stephen J. Nichols? The Trinity River Mike Nichols?Thomas Southall?Luther Smith? Reach for the Top Women and the Changing Facts of Work Life (A Harvard Business Review Book) Nancy Ann Nichols? Reach for the Top Women and the Changing Facts of Work Life Nancy Ann Nichols? Institutional Effectiveness and Outcomes Assessment Implementation on Campus A Practitioner's Handbook James O. Nichols? A Practitioner's Handbook for Institutional Effectiveness and Student Outcomes Assessment Implementation James O. Nichols? The Departmental Guide to Implementation of Student Outcomes Assessment and Institutional Effectiveness by James O. Nichols James O. Nichols? Assessment Case Studies Common Issues in Implementation With Various Campus Approaches to Resolution James O. Nichols? A Practitioner's Handbook for Institutional Effectiveness and Student Outcomes Assessment Implementation James O. Nichols? The Departmental Guide and Record Book for Student Outcomes Assessment and Institutional Effectiveness James O. Nichols? The Departmental Guide and Record Book for Student Outcomes Assessment and Institutional Effectiveness James O. Nichols?Karen W. Nichols? General Education Assessment for Improvement of Student Academic Achievement Guidance for Academic Departments and Committees James O. Nichols?Karen W. Nichols? Dog Training Projects for Young People Joel M. McMains?Anita Nichols? The French Legation in Texas Nancy Nichols Barker? The Self in the System Expanding the Limits of Family Therapy Michael P. Nichols? Show Your Own Dog Virginia Tuck Nichols? Jung and Tarot An Archetypal Journey Sallie Nichols? Jung and Tarot An Archetypal Journey Sallie Nichols? Currency of the Heart A Year of Investing, Death, Work, and Coins (The Iowa Series) Donald R. Nichols?Patricia Hampl?Carl H. Klaus? Fundamentals of Oil Gas Accounting Rebecca A. Gallun?John W. Stevenson?Linda M. Nichols? Fundamentals of Oil and Gas Accounting Rebecca A. Gallun?Charlotte J., Ph.D. Wright?Linda M. Nichols?John W. Stevenson? On the Mesa John Nichols? A Fragile Beauty John Nichols' Milagro Country John Treadwell Nichols? Medieval Religious Women Distant Echoes (Cistercian Studies Series) John A. Nichols?Lillian Thomas Shank? Distant Echoes (Cistercian Studies Series, No 71) John A. Nichols?Lillian Thomas Shank? Medieval Religious Women Peaceweavers (Cistercian Studies Series) Lillian Thomas Shank?John A. Nichols? Story of the Great March George Ward Nichols? The Drum Handbook Buying, Maintaining, and Getting the Best from Your Drum Kit Geoff Nichols? Nick and the Cyclones Mike Chapman? Building More Dances Blueprints for Putting Movements Together Susan McGreevy-Nichols?Helene Scheff?Marty Sprague? Summer Words, 2000 Robert Nichols? The History of Pediatrics, 1850-1950 (Nestle Nutrition Workshop Series) Buford L. Nichols?Angel Ballabriga?Norman Kretchmer? Merry Hall (Beverley Nichols Trilogy) Beverley Nichols?Nichols Beverley? Beverly Nichols A Life Bryan Connon? Laughter on the Stairs (Merry Hall Trilogy) Beverley Nichols? Sunlight on the Lawn (Beverley Nichols Trilogy) Beverley Nichols? Garden Open Today Beverley Nichols? Garden Open Tomorrow Beverley Nichols? Beverley Nichols' Cats' A. B. C Beverley Nichols? Down The Garden Path Bryan Connon?Beverley Nichols? A Thatched Roof (Beverley Nichols's Allways Trilogy) Roy C. Dicks?Beverley Nichols? A Village In A Valley (Beverley Nichols's Allways Trilogy) Bryan Connon?Beverley Nichols? Green Grows the City The Story of a London Garden Beverley Nichols? Down the Kitchen Sink Beverley Nichols? Black Men in Chains Narratives by Escaped Slaves Charles Harold Nichols? Sweet and Hard Cider Annie Proulx?Lew Nichols? Sweet and Hard Cider Making It, Using It and Enjoying It Annie Proulx?Lew Nichols? Cider Making, Using Enjoying Sweet Hard Cider Annie Proulx?Lew Nichols? Black Hawk And the Warrior's Path (American Biographical History Series) Roger L. Nichols? Animals of Africa Thomas B. Allen?Frans Lanting?Michael Nichols?Mitsuaki IwagoJim Brandenburg? God's Plans for Your Finances Dwight Nichols? Investing in Uncertain Times Donald R. Nichols? Personal Investor's Complete Book of Bonds Donald R. Nichols? Lectionary-Based Gospel Dramas Seasons of Advent, Christmas, and Epiphany Sheilo O. Connell-Roussell?Terri Vorndran Nichols? Charlotte Hornets (NBA Today (Mankato, Minn.).) John Nichols?Richard Rambeck? Miami Heat Story (NBA Today (Mankato, Minn.).) John Nichols?Richard Rambeck? Minnesota Timberwolves (NBA Today (Mankato, Minn.).) John Nichols?Richard Rambeck? Orlando Magic (NBA Today (Mankato, Minn.).) John Nichols?Richard Rambeck? The History of the Florida Marlins (Baseball (Mankato, Minn.).) John Nichols? The History of the Tampa Bay Devil Rays (Baseball (Mankato, Minn.).) John Nichols? Big Red! The Nebraska Cornhuskers Story (College Football Today (Mankato, Minn.).) John Nichols? Milagro Beanfield War John Treadwell Nichols? Socrates and the Political Community An Ancient Debate (Suny Series in Political Theory Contemporary Issues) Mary P. Nichols? Socrates and the Political Community An Ancient Debate (Suny Series in Political Theory) Mary P. Nichols? Sex Differences Modern Biology and the Unisex Fallacy Yves Christen?Nichols Davidson? Silk Stalkings When Women Write of Murder Victoria Nichols?Susan Thompson? Slow Monkeys and Other Stories Jim Nichols? Angels and Anger Five Canadian Acadian Plays in Translation Glen Freeman Nichols? The Poacher's Daughter Mary Nichols? Portage Lake Memories of an Ojibwe Childhood Maude Kegg?John Nichols? Glen Canyon Images of a Lost World Tad Nichols? Chistes Hispanic Humor of Northern New Mexico and Southern Colorado Nasario Garcia?John Nichols? Chistes Hispanic Humor of Northern New Mexico and Southern Colorado John Nichols?Nasario Garcia? Archaeology The Study of the Past Peter Nichols?Belia Nichols?Linda Battles Herron? Mastodon Hunters to Mound Builders North American Archaeology Peter Nichols?Bella Nichols? "Mr. McCamery" Claude W. Brown The Life of a Texas Oil Man Robert Nash?Peggy Nichols Nash? Art of Henna The Ultimate Body Art Book Kit Pamela Nichols? The Art of Henna The Ultimate Body Art Book and Kit Pamela Nichols? A Century in the Works Freese and Nichols Consulting Engineers 1894-1994 Simon W. Freese?Deborah Lightfoot Sizemore? Erosion and Productivity of Soil Containing Rock Fragments (S S S a Special Publication) J. D. Nichols?P. L. Brown?William J. Grant? Research in Urban Policy Coping With Urban Austerity (Research in Urban Policy) Terry Nichols Clark? Research in Urban Policy Fiscal Austerity and Urban Management Volume 2 Part A (Research in Urban Policy) Terry Nichols Clark? Freedom from Financial Bondage How to Overcome Financial Frustration and Walk in God's Supernatural Provisions Dwight Nichols? Force Outboards 1984-99 Repair Manual 3-150 Horsepower, 1-4 Cylinder (Seloc Marine Tune-Up and Repair Manuals) Nichols Publishing? Gorilla Struggle for Survival in the Virungas Michael Nichols?George B. Schaller?Nan Richardson? Gorilla Struggle for Survival in the Virungas Michael Nichols?George B. Schaller?Nan Richardson? Brutal Kinship Michael Nichols?Jane Goodall International Relations Theory A Critical Bibliography A. J. R. Groom? Atlantic Alliance A Bibliography (216p) Colin Gordon? Future With Microelectronics Forecasting the Effects of Information Technology (234p) Iann Barron? Study and Teaching of International Relations A Perspective on Mid-Career Education Randolph C. Kent?Gunnar P. Nielsson? Group Tutoring Concepts and Case Studies Wyn Bramley? Aid in Africa Guy Arnold? Guide to Precious Metals and Their Markets Peter Robbins? Air Conditioning and Energy Conservation A. F. C. Sherratt? Psychology of Written Communication Selected Readings James Hartley? Microcomputers in Secondary Education Proceedings of the Conference of the British Educational Research Association, 1980 Jim Howe?Peter Ross? Green Grows the City The Story of a London Garden Beverley Nichols? Pitfalls and Planning in Student Teaching John Heywood? A Handbook of Game Design Henry Ellington? Changing Priorities in Teacher Education Richard Goodings? Mergers, Motives, Modes, Methods Walter Goldberg? Curriculum Theory in Adult and Lifelong Education Colin Griffin? Video in Higher Education Ortrun Zuber-Skerritt? Case Studies in Game Design Henry Ellington?Eric Addinall?Fred Percival? Mitchell's Movement Control in the Fabric of Buildings Philip Rainger? Construction Project Management Using Small Computers Glen Peters? Marinas A Working Guide to Their Development and Design Donald W. Adie? The London Metal Exchange A Commodity Market Robert Gibson-Jarvie? Designing Instructional Systems A. J. Romiszowski? Behaviour Technology A New Approach to Managing People at Work Michael Wellin? Report Writing for Architects David Chappell? Energy Conservation Equipment Rudolph Maximilian Eugen Diamant? The Skills of Leadership John Eric Adair? Stress in Teaching Jack Dunham? Integrated Programs for Handicapped Adolescents and Adults (Rehabilitation Education a Series in Developmental Handicap, Vol. 1) Roy I. Brown? Developing Auto-Instructional Materials From Programmed Texts to Cal and Interactive Video (Instructional Development, No 2) A. J. Romiszowski? Skills of Human Relations Training A Guide for Managers and Practitioners Leslie Rae? The Future of Urban Form The Impact of New Technology John Brotchie?Peter Newton?Peter Hall?Peter Nijkamp? Designing Instructional Text James Hartley? Computer-Aided Management A Manager's Guide to Profitable Computing Norman Sanders? Guide to World Commodity Markets Gerald Roberts? Multi-Story Buildings in Steel F. Hart?W. Henn?H. Sontag?Bernard Godfrey? Shopping Centre Development Policies and Prospects John A. Dawson?J. Dennis Lord? Games for Social and Life Skills Tim Bond? Industrial Product Innovation Organisation and Management F. A. Johne? International Yearbook of Educational and Instructional Technology, 1986/87 (International Yearbook of Educational and Training Technology) Chris W. Osborne? Dictionary of Instructional Technology (Aett Occasional Publication, No. 6) Henry Ellington?Duncan Harris?N. D. C. Harris? Producing Instructional Systems Lesson Planning for Individualized and Group Learning Activities (Instructional Development, No 1) A. J. Romiszowski? The Skills of Communicating Bill P. Scott? Theoretical and Conceptual Bases of Instructional Design Rita Richey? Multinational Enterprise An Encyclopedic Dictionary of Concepts and Terms Ankie Hoogvelt?Anthony G. Puxty? Landscape Planning (The Built Environment Series) Tom Turner? CAD and Robotics in Architecture and Construction Proceedings of the Joint International Conference at Marseilles, 25-27 June 1986 The Ergonomics Payoff Designing the Electronic Office Rani Lueder? Architectural Design and CAD Yvon Gardan? Challenges in Educational Management Principles into Practice W. F. Dennison? Developing Auto-Instructional Materials From Programmed Texts to Cal and Interactive Video (Instructional Development, No 2) A. J. Romiszowski? Assessing Students How Shall We Know Them? Derek Rowntree? Dictionary of Computing Information Technology A. J. Meadows?M. Gordon?A. Singleton? Teaching Mathematics 5 to 11 David Lumb? Teaching Mathematics 5 to 11 David Lumb? Doing Business in Korea Arthur M. Whitehill? Air Conditioning Impact on the Built Environment A. F. C. Sherratt? Playgrounds The Planning, Design and Construction of Play Environments Peter Heseltine?John Holborn? The Art and Craft of Course Design Tony Earl? Leadership Training Through Gaming Power, People and Problem-Solving Elizabeth M. Christopher?Larry E. Smith? The Marketing Mirage How to Make It a Reality Colin McIver? Simulations A Handbook for Teachers and Trainers Ken Jones? A Business Plan Planning for the Small Business Alan West? Understanding Teenagers' Reading Reading Processes and the Teaching of Literature Jack Thomson? Prolog, Children and Students (Fifth Generation Computing in Education Series) Jon Nichol?Jonathan Briggs?Jackie Dean? Developing Student Autonomy in Learning David Boud? The Skills of Interviewing A Guide for Managers and Trainers Leslie Rae? Corporate Cash Management Philippa L. Back?
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NO MORE HEROES 2 DESPERATE STRUGGLE(ノーモア★ヒーローズ2 デスパレート・ストラグル) 機種：Wii 作曲者：福田淳 他 開発元：グラスホッパー・マニファクチュア 発売元：マーベラスエンターテイメント 発売日：2010年 概要 GHM製作のアクションゲーム『ノーモア★ヒーローズ』の続編。 今作は多数のゲストアーティストを迎えており、音楽面ではかなり豪華な作りとなっている。 前作のリミックスアルバム「No More Heroes Sound Tracks Dark Side」の楽曲が多数使用されている。 ノーモア★ヒーローズ2 デスパレート・ストラグル オリジナル・サウンドトラック トラック 曲名 補足 作曲者 ゲストアーティスト 歌 順位 Disc1 1 Sonic Smooth オープニング 駒木根"VARI"将友 THE RIOT -怒りの十代- 2 Sling Shot vs. Rank No.51 - Skelter Helter 駒木根"VARI"将友 THE RIOT -怒りの十代- 3 Charging Katana タイトル画面 福田淳 4 Bates モーテル “NO MORE HEROES” FIBER JERRY FIBER JERRY 5 Surf Santa Destroy サンタデストロイ マップ 後藤和浩 NEUTRINO 6 It's kill or be killed mix Rank No.50ステージ 吉岡たく 吉岡たく FUKUJUThomas Richardson(作詞) 第17回993位第2回ゲームソング284位第2回掘り出し44位一面202位 7 Nathan is Our Boss vs. Rank No.50 ネイサン・コープランド 吉岡たく 吉岡たく IGARASHI（Fullmember）(ラップ・作詞) 8 Necessary! RANK No.25 登場 福田淳 9 Death Parade March vs. Rank No.25 渡辺良 CONVEX REBEL 10 The Upside ナオミの研究所 FIBER JERRY FIBER JERRY 11 Burning Daylight Rank No.25ステージ FIBER JERRY FIBER JERRY 12 Dose of Innocence vs. キミー・ハウエル 後藤和浩編曲：福田淳 NEUTRINO 13 Masked de Shopping エアポート51 福田淳 14 N.M.H The Outer Rim Remix Rank No.24 ステージ 高田雅史 The Outer Rim 15 Subuta.2 vs. Rank No.24/vs. Rank No.7 MACHINE HEAD MACHINE HEAD 16 Sub Crazy 浜辺の工事現場 マル HONDALADY 17 Sound's Asylum Rank No.23ステージ 小森雄介 18 Cheap Whiskey vs. Rank No.23 小森雄介 19 Deep Sub 高架下 後藤和浩 NEUTRINO 20 Tiger Style スロット技 「クランベリー・チョコレート・サンデー」 福田淳 21 Happy War More vs. Rank No.10 萩尾雅彦 22 Level Up Man ランクアップ演出 駒木根"VARI"将友 Disc2 1 Sleepy House over Yonder 幕間：覗き小屋 福田淳 2 Ms. Teller Rank No.09ステージ 吉岡たく 吉岡たく 3 Money Shot vs. Rank No.09 吉岡たく 吉岡たく 4 Kill U 2wise Over vs. Rank No.08 白井智廣 NEUTRINO 5 With You, Without You 浜辺のレストラン 渡辺良 CONVEX REBEL 6 We Are Finally Cowboys [Golden Brown Mix] vs.ミミー 福田淳編曲：マル HONDALADY 7 Play with Me, Dance with Me ライアン山崎のトレーニングジム 萩尾雅彦 8 Go Go Muscle Muscle Training 福田淳 9 Energy Loop Stamina Training 福田淳 10 No More Riot Rank No.50ステージ-2 駒木根"VARI"将友KIYO-SICK THE RIOT -怒りの十代- 飯田和敏(作詞) 11 Philistine vs. Rank No.04(JP,EU版) マル作詞：相良伸彦、Brian Gray編曲：福田淳 HONDALADY Nadia Gifford 第5回782位第6回583位第7回284位第8回111位第9回173位第10回85位第11回115位第12回842位第13回485位第14回351位第15回591位第16回537位第17回321位2010年80位第2回ゲームソング284位第3回ゲームソング79位夜124位歴代190位 12 Pi Pa Po Rank No.03ステージ 萩尾雅彦 13 Shoegazer Watched the Stars vs. Rank No.03 MARU HONDALADY 14 Sub Smash 路地裏 後藤和浩編曲：日比野則彦 NEUTRINO 15 Tooth Paste Rank No.02ステージ 白井智廣 NEUTRINO 16 Subuta.1 vs. Rank No.02 MACHINE HEAD MACHINE HEAD 2010年156位 17 Debt Free Rank No.01ステージ 白井智廣 NEUTRINO 18 Feet on the Air vs. Rank No.01 後藤和浩 NEUTRINO編曲：Missile Chewbuck(R) 19 Titanium Batt vs. Rank No.01-2 後藤和浩 NEUTRINO編曲：Missile Chewbuck(R) 20 Travesty vs. Rank No.01-3 白井智廣 NEUTRINO 21 No More No スタッフロール1 駒木根"VARI"将友作詞：飯田和敏 THE RIOT -怒りの十代- 佐藤 類ココロ 22 Do you want more! スタッフロール2 駒木根"VARI"将友 THE RIOT -怒りの十代- Disc3 1 純白の恋人 ビザジェリ5 アニメオープニングビデオ 福田淳作詞：市来信高編曲：マル 日高里奈稲村優奈吉田仁美花村怜美中山恵里奈 2 Logotipo de Insectos Bug Out タイトルロゴ表示 福田淳 3 Los Insectos Danosos Bug Out タイトル画面 福田淳 4 Insectos a Cabo Game Start Bug Out ジングル ゲームスタート 福田淳 5 Muchos Insectos Danosos Bug Out ステージスタート 福田淳 6 Reptiles Insectos Bug Out ステージ1 福田淳 7 Insectos Aplasados Bug Out ステージ1、2、3、クリア 福田淳 8 Salto de Insectos Bug Out ステージ2 福田淳 9 Insectos a Cabo 1 Bug Out 残り1匹 福田淳 10 Al Acecho de Insectos Bug Out ステージ3 福田淳 11 Insectos a Cabo Envenenar Bug Out 毒状態 福田淳 12 Malditos Insectos Bug Out ステージ4 福田淳 13 Insectos a Cabo Todo Claro Bug Out ステージ4クリア 福田淳 14 Insectos a Cabo Game Over Bug Out ゲームオーバー 福田淳 15 TT Pipe Logo LAY THE PIPE タイトルロゴ表示 福田淳 16 We Lay Pipe LAY THE PIPE タイトル画面 福田淳 17 Pipe On LAY THE PIPE ゲームスタート 福田淳 18 TT Pipe Inc. 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このテンプレはポリウト方式で作成されています。 こちらの役名一覧に和訳を記載して管理人までお知らせください。 こちらの対訳テンプレートはスウェーデン版です 完成したボストン版日本語対訳はこちら Atto Primo Quadro I （In fondo, l'ingresso nelle stanze del re. È il mattino. Deputati,gentiluomini, popolani, ufficialli; sul dinanzi, Horn, Ribbing e loro ardenti. Tutti aspettano che sidesti il re.） ▼UFFICIALI, GENTILUOMINI▲ Posa in pace, a' bei sogni ristora, O Gustavo, il tuo nobile cor. A te scudo su questa dimora Sta d'un vergine mondo l'amor. ▼HORN, RIBBING, E LORO ARDERENTI▲ E sta l'odio che prepara il fio, Ripensando ai caduti per te. Come speri, disceso l'oblio Sulle tombe infelici non é. （Entra Oscar dalla stanze del re.） ▼OSCAR▲ S'avanza il re. ▼GUSTAVO▲ （salutando gli astanti） Amici miei… Soldati… （ai deputati nel ricevere delle suppliche） E voi del par diletti a me! Porgete A me s'aspetta; io deggio Su' miei figli vegliar, perché sia pago Ogni voto, se giusto. Bello il poter non é, che de' soggetti Le lagrime non terge, e ad incorrotta Gloria non mira. ▼OSCAR▲ （a Gustavo） Leggere vi piaccia Delle danze l'invito. ▼GUSTAVO▲ Avresti alcuna Beltà dimenticato? ▼OSCAR▲ （porgendogli un foglio） Eccovi i nomi. ▼GUSTAVO▲ （leggendo, tra sé） (Amelia… ah, dessa ancor! L'anima mia In lei rapita ogni grandezza oblia! La rivedrà nell'estasi Raggiante di pallore… E qui sonar d'amore La sua parola udrà. O dolce notte, scendere Tu puoi gemmata a festa Ma la mia stella é questa Che il ciel non ha!) ▼HORN, RIBBING E LORO ADERENTI▲ （sommessamente） L'ora non é, ché tutto Qui d'operar ne toglie Dalle nemiche soglie Meglio l'uscir sarà. ▼OSCAR, UFFICIALI, GENTILUOMINI▲ Con generoso affetto Entro se stesso assorto, Il nostro bene oggetto De' suoi pensier farà. ▼GUSTAVO▲ (Ah! E qui sonar d'amore La sua parola udrà.) （ad Oscar） Il cenno mio di là con essi attendi. （Tutti s'allontanano. Oscar esce per ultimo e incontra Anckarström al limitare.） ▼OSCAR▲ （a Anckarström） Libero é il varco a voi. ▼ANCKARSTRÖM▲ (Deh, come triste appar!) ▼GUSTAVO▲ (Amelia!) ▼ANCKARSTRÖM▲ （chinandosi） Sire… ▼GUSTAVO▲ (O ciel! lo sposo suo!) ▼ANCKARSTRÖM▲ （accostandosi） Turbato il mio Signor, mentre dovunque il nome suo Inclito suona? ▼GUSTAVO▲ Per la gloria é molto, Nulla per col. Segreta, acerba cura M'opprime. ▼ANCKARSTRÖM▲ E d'onde? ▼GUSTAVO▲ Ah no… non più… ▼ANCKARSTRÖM▲ Dirolla Io la cagion. ▼GUSTAVO▲ (Gran Dio!) ▼ANCKARSTRÖM▲ So tutto… ▼GUSTAVO▲ E che? ▼ANCKARSTRÖM▲ So tutto. Già questa soglia istessa Non t'é securo asilo. ▼GUSTAVO▲ Prosegui. ▼ANCKARSTRÖM▲ Un reo disegno Nell'ombre si matura, I giorni tuoi minaccia. ▼GUSTAVO▲ （con gioia） Ah!… gli é di ciò che parli? Altro non sai? ▼ANCKARSTRÖM▲ Se udir ti piace i nomi… ▼GUSTAVO▲ Che importa? Io li disprezzo. ▼ANCKARSTRÖM▲ Svelarli é mio dover. ▼GUSTAVO▲ Taci nel sangue Contaminarmi allor dovrei. Non fia, Nol vo'. Del popol mio L'amor mi guardi e mi protegga Iddio. ▼ANCKARSTRÖM▲ Alla vita che t'arride Di speranze e gaudio piena, D'altre mille e mille vite Il destino s'incatena! Te perduto, ov'é la patria Col suo splendido avvenir? E sarà dovunque, sempre Chiuso il varco alle ferite, Perché scudo del tuo petto È del popolo l'affetto? Dell'amor più desto é l'odio Le sue vittime a colpir. ▼OSCAR▲ （all'entrata） Il primo giudice. ▼GUSTAVO▲ S'avanzi. ▼GIUDICE▲ （offrendogli dispacci a firmare） Sire! ▼GUSTAVO▲ Che leggo!… il bando ad una donna! Or d'onde? Qual é il suo nome?… di che rea? ▼GIUDICE▲ S'appella Ulrica, dell'immondo Sangue gitano. ▼OSCAR▲ Intorno a cui s'affollano Tutte le stirpi. Del futuro l'alta Divinatrice… ▼GIUDICE▲ Che nell'antro abbietto Chiama i peggiori, d'ogni reo consiglio Sospetta già. Dovuto é a lei l'esiglio, Né muta il voto mio. ▼GUSTAVO▲ （ad Oscar） Che ne di' tu? ▼OSCAR▲ Difenderla vogl'io. Volta la terrea Fronte alle stelle, Come sfavilla La sua pupilla, Quando alle belle Il fin predice Mesto o felice Dei loro amor! È con Lucifero D'accordo ognor. ▼GUSTAVO▲ Che vaga coppia… Che protettor! ▼OSCAR▲ Chi la profetica Sua gonna afferra, O passi 'l mare, Voli alla guerra, Le sue vicende Soavi, amare Da questa apprende Nel dubbio cor. È con Lucifero D'accordo ognor. ▼GIUDICE▲ Sia condannata! ▼OSCAR▲ （verso il re） Assolverla degnate. ▼GUSTAVO▲ Ebben, tutti chiamate Or v'apro un mio pensier. （Anckarström ed Oscar invitano a rientrar gli usciti.） ▼GUSTAVO▲ Signori oggi d'Ulrica Alla magioni v'invito, Ma sotto altro vestito; Io là sarò. ▼ANCKARSTRÖM▲ Davver? ▼GUSTAVO▲ Sì, vo' gustar la scena. ▼ANCKARSTRÖM▲ L'idea non é prudente. ▼OSCAR▲ La trovo anzi eccellente, Feconda di piacer. ▼ANCKARSTRÖM▲ Te ravvisar taluno Ivi potria. ▼GUSTAVO▲ Qual tema! ▼HORN E RIBBING ▲ （sogghignando） Ve', ve', di tutto trema Codesto consiglier. ▼GUSTAVO▲ （ad Oscar） E tu m'appronta un abito Da pescator. ▼HORN, RIBBING E LORO ADERENTI▲ （sottovoce） Chi sia Che alla vendetta l'adito Non s'apra alfin colà? ▼GUSTAVO▲ Ogni cura si doni al diletto, E s'accorra nel magico tetto Tra la folla de' creduli ognuno S'abbandoni e folleggi con me. ▼ANCKARSTRÖM▲ E s'accorra, ma vegli 'l sospetto Sui perigli che fremono intorno, Ma protegga il magnanimo petto Di chi nulla paventa per sé. ▼OSCAR▲ L'indovina ne dice di belle, E sta ben che l'interroghi anch'io; Sentirò se m'arridon le stelle, Di che sorti benefica m'é. ▼GUSTAVO▲ Ogni cura si doni al piacer. ▼ANCKARSTRÖM▲ E s'accorra e si vegli. ▼GUSTAVO▲ Dunque, signori, aspettovi, Incognito, alle tre Nell'antro dell'oracolo, Della gran maga al pié. ▼OSCAR, UFFICIALI, GENTILUOMINI▲ Teco sarem di subito, Incogniti, alle tre Nell'antro dell'oracolo, Della gran maga al pié. ▼ANCKARSTRÖM▲ E s'accorra, ma vegli 'l sospetto （ecc.） ▼HORN, RIBBING E LORO ADERENTI▲ Senza posa vegliamo all'intento, Né si perda ove scocchi il momento. Forse l'astro che regge il suo fato Nell'abisso là spegnersi de'. ▼GUSTAVO▲ Alle tre nell'antro dell'oracolo. Ogni cura si doni al diletto, E s'accorra al fatidco tetto Per un di si folleggi, si scherzi, Mai la vita più cara non é. ▼UFFICIALI, GENTILUOMINI▲ Sì! Alfin brilli d'un po' di follia Questa vita che il cielo ne dié. ▼ANCKARSTRÖM▲ Ma protegga il magnanimo petto Di chi nulla paventa per sé. ▼OSCAR▲ Sentirò se m'arridon le stelle, Qual presagio le dettan per me. ▼HORN, RIBBING E LORO ADERENTI▲ Forse l'astro che regge il suo fato Nell'abisso là spegnersi de'. ▼TUTTI▲ Alle tre, alle tre. ▼GUSTAVO▲ Dunque, signori, aspettovi, （ecc.） ▼TUTTI GLI ALTRI▲ Teco sarem di subito, （ecc.） Quadro II （A sinistra un camino, il fuoco é acceso, e la caldaiamagica fuma sovra un treppié; dallo stesso lato l'uscio d'un oscuro recesso. Sul davanti,una piccola porta segreta. Nel fondo, l'entrata della porta maggiore con ampia finestra da lato. Inmezzo, una rozza tavola, e pendenti dal tetto e dalle pareti stromenti ed arredi analoghi che alluogo.） （Nel fondo uomini e donne del popolo. Ulrica presso la tavola; poco distanti, un fanciullo ed unagiovinetta che le domandano la buona ventura.） ▼POPOLANE▲ Zitti… l'incanto non déssi turbare. Il demonio tra breve halle a parlare. ▼ULRICA▲ Re dell'abisso, affrettati, Precipita per l'etra, Senza librar la folgore Il tetto mio penétra. Omai tre volte l'upupa Dall'alto sospirò; La salamandra ignivora Tre volte sibilò… E delle tombe il gemito Tre volte a me parlò. （Gustavo entra vestito da pescatore, avanzandosi tra la folla, né scorgendo alcuno deisuoi.） ▼GUSTAVO▲ Arrivo il primo! ▼POPOLANE▲ （respingendolo） Villano, dà indietro. （Gustavo s'allontana ridendo.） Oh, come tutto riluce di tetro! ▼ULRICA▲ （con esaltazione, delcamando） È lui, é lui! ne' palpiti Come risento adesso La voluttà riardere Del suo tremendo amplesso! La face del futuro Nella sinistra egli ha. M'arrise al mio scongiuro, Rifolgorar la fa Nulla, più nulla ascondersi Al guardo mio potrà! （Batte al suolo esparisce.） ▼POPOLANE▲ Evviva la maga! ▼ULRICA▲ （di sotterra） Silenzio, silenzio! ▼CRISTIANO▲ （rompendo la calca） Su, fatemi largo, saper vo' il mio fato. Del re sono servo, son suo marinaro La morte per esso più volte ho sfidato; Tre lustri son corsi del vivere amaro, Tre lustri che nulla s'é fatto per me. ▼ULRICA▲ （ricomparnedo） E chiedi? ▼CRISTIANO▲ Qual sorte pel sangue versato mi attende. ▼GUSTAVO▲ (Favella da franco soldato.） ▼ULRICA▲ （a Cristano） La mano. ▼CRISTIANO▲ Prendete. ▼ULRICA▲ （osservando la mano） Rallegrati omai In breve dell'oro e un grado t'avrai. （Gustavo trae un rotolo e vi scrive su.） ▼CRISTIANO▲ Scherzate? ▼ULRICA▲ Va pago. ▼GUSTAVO▲ （ponendolo in tasca a Cristiano che non s'avvede） (Mentire non de'.) ▼CRISTIANO▲ A fausto presagio ben vuolsi mercé. （Frugando trova il rotolo su cui legge estatico ） "Gustavo al suo caro Cristiano uffiziale." Per bacco!… non sogno! dell'oro ed un grado! Evviva! Evviva! ▼POPOLANE▲ Evviva la nostra Sibilla immortale, Che spande su tutti ricchezze e piacer. （S'ode picchiare alla piccola porta.） ▼POPOLANE▲ Si batte! （Ulrica va ad aprire ed entra un servo.） ▼GUSTAVO▲ (Che veggo! sull'uscio segreto Un servo d'Amelia!) ▼SERVO▲ （sommessamente ad Ulrica, ma inteso da Gustavo） Sentite la mia Signora, che aspetta là fuori, vorria Pregarvi in segreto d'arcano parer. ▼GUSTAVO▲ (Amelia!) ▼ULRICA▲ S'inoltri, ch'io tutti allontano. ▼GUSTAVO▲ (Non me.) （Il servo parte.） ▼ULRICA▲ Perché possa rispondere a voi È d'uopo che innanzi m'abbocchi a Satano; Uscite, lasciate ch'io scruti nel ver. ▼CRISTIANO, POPOLANE▲ Usciamo, si lasci che scruti nel ver. （Mentre tutti s'allontanano, Gustavo s'asconde. Amelia entra agitatissima.） ▼ULRICA▲ Che v'agita cosi? ▼AMELIA▲ Segreta, acerba Cura che amor destò… ▼GUSTAVO▲ （nascosto） (Che ascolto!) ▼ULRICA▲ E voi cercate? ▼AMELIA▲ Pace… svellermi dal petto Chi sì fatale e desïato impera! Lui, che su tutti il ciel arbitro pose. ▼GUSTAVO▲ (Che ascolto? Anima mia!) ▼ULRICA▲ L'oblio v'é dato. Arcane Stille conosco d'una magic'erba, Che rinnovella il cor… Ma chi n'ha d'uopo Spiccarla debbe di sua man nel fitto Delle notti. Funereo È il loco. ▼AMELIA▲ Ov'é? ▼ULRICA▲ L'osate voi? ▼AMELIA▲ （risoluta） Sì, qual esso sia. ▼ULRICA▲ Dunque ascoltate Della città all'occaso, Là dove al tetro lato Batte la luna pallida Sul campo abbominato… Abbarbica gli stami, A quelle pietre infami, Ove la colpa scontasi Coll'ultimo sospir! ▼AMELIA▲ Mio Dio! qual loco! ▼ULRICA▲ Attonita e già tremante siete? ▼GUSTAVO▲ (Pover cor!) ▼ULRICA▲ V'esanima? ▼AMELIA▲ Agghiaccio… ▼ULRICA▲ E l'oserete? ▼AMELIA▲ Se tale é il dover mio Troverò possa anch'io. ▼ULRICA▲ Stanotte? ▼AMELIA▲ Sì. ▼GUSTAVO▲ (Non sola Ché te degg'io seguir.) ▼AMELIA▲ Consentimi, o Signore, Virtù ch'io lavi 'l core. E l'infiammato palpito Nel petto mio sopir. ▼ULRICA▲ Va, non tremar, l'incanto Inaridisce il pianto. Osa e berrai nel farmaco L'oblio de'tuoi martir. ▼GUSTAVO▲ (Ah! Ardo, e seguirla ho fisso Se fosse nell'abisso, Pur ch'io respiri, Amelia, L'aura de' tuoi sospir.) ▼VOCI▲ （dal fondo） Figlia d'averno, schiudi la chiostra, （spinte alla porta） E tarda meno a noi ti mostra. ▼ULRICA▲ （ad Amelia） Presto, partite… Addio. ▼AMELIA▲ Stanotte… Addio. ▼GUSTAVO▲ (Non sola ché te degg'io seguir!) （Amelia fugge per la porta segreta. Ulrica apre l'entrata maggiore entrano Horn, Ribbing eaderenti, Oscar, gentiluomini e ufficiali travestiti bizzarramente, ai quali s'unisce Gustavo.） ▼HORN, RIBBING, CORO▲ Su, profetessa, monta il treppié, Canta il futuro, ▼OSCAR▲ Ma il re dov'é? ▼GUSTAVO▲ （fattosi presso a lui） Taci, nascondile che qui son io. （poi volto rapidamente ad Ulrica） Or tu, Sibilla, che tutto sai, Della mia stella mi parlerai. ▼HORN, RIBBING, CORO▲ Canta il futuro, canta il futuro! ▼GUSTAVO▲ Di' tu se fedele Il flutto m'aspetta, Se molle di pianto La donna diletta Dicendomi addio Tradì l'amor mio. Con lacere vele E l'alma in tempesta, I solchi so franger Dell'onda funesta, L'averno ed il cielo Irati sfidar. Sollecita esplora, Divina gli eventi Non possono i fulmin, La rabbia de' venti, La morte, l'amore Sviarmi dal mar. ▼OSCAR, HORN, RIBBING, CORO▲ Non possono i fulmin, La rabbia de' venti, La morte, l'amore Sviarlo dal mar. ▼GUSTAVO▲ Sull'agile prora Che m'agita in grembo, Se scosso mi sveglio Ai fischi del nembo, Ripeto fra' tuoni Le dolci canzoni, Le dolci canzoni Del tetto natio, Che i baci ricordan Dell'ultimo addio, E tutte raccendon Le forze tua profezia, Di ciò che può sorger Dal fato qual sia; Nell'anime nostre Non entra terror. ▼OSCAR, HORN, RIBBING, CORO,▲ Nell'anime nostre Non entra terror. ▼ULRICA▲ Chi voi siate, l'audace parola Può nel pianto prorompere un giorno, Se chi sforza l'arcano soggiorno Va la colpa nel duolo a lavar. Se chi sfida il suo fato insolente Deve l'onta nel fato scontar. ▼GUSTAVO▲ Orsù, amici. ▼HORN▲ Ma il primo chi fia? ▼OSCAR▲ Io. ▼GUSTAVO▲ （offrendo la plama ad Ulrica） L'onore a me cedi. ▼OSCAR▲ E lo sia. ▼ULRICA▲ （solennemente, esaminando la mano） È la destra d'un grande, vissuto Sotto gli astri di Marte. ▼OSCAR▲ Nel vero ella colse. ▼GUSTAVO▲ Tacete. ▼ULRICA▲ （staccandosi da lui） Infelice… Va… mi lasica… Non chieder di più. ▼GUSTAVO▲ Su, prosegui. ▼ULRICA▲ No… lasciami. ▼GUSTAVO▲ Parla. ▼ULRICA▲ （evitando） Va… Te ne prego. ▼OSCAR, HORN, RIBBING, CORO▲ （a Ulrica） Eh, finiscilla omai. ▼GUSTAVO▲ Te lo impongo. ▼ULRICA▲ Ebben, presto morrai. ▼GUSTAVO▲ Se sul campo d'onor, ti so grado. ▼ULRICA▲ （con più forza） No… per man d'un amico. ▼OSCAR▲ Gran Dio! Quale orror! ▼HORN, RIBBING, CORO▲ Quale orror! ▼ULRICA▲ Così scritto è lassù. ▼GUSTAVO▲ （guardandosi intorno） È scherzo od é follia Siffatta profezia Ma come fa da ridere La lor credulità! ▼ULRICA▲ （passando innanzi a Horn e Ribbing） Ah voi, signori, a queste Parole mie funeste Voi non osate ridere; Che dunque in cor vi sta? ▼HORN E RIBBING▲ La sua parola é dardo, È fulmine lo sguardo, Dal confidente démone Tutto coestei risà. ▼OSCAR, CORO▲ Ah! Tal fia dunque il fato? Ch'ei cada assassinato? Al sol pensarci l'anima Abbrividendo va. ▼GUSTAVO▲ Finisici il vaticnio. Di', chi fia dunque l'uccisor? ▼ULRICA▲ Chi primo Tua man quest'oggi stringerà. ▼GUSTAVO▲ （con vivacità） Bennissimo. （offrendo la destra ai circostanti che non osano toccare） Qual é di voi, che provi L'oracolo bugiardo? Nessuno! （Anckarström appare all'entrata.） ▼GUSTAVO▲ （accorrendo a lui e stringendogli la mano） Eccolo. ▼HORN, RIBBING, CORO▲ È desso! ▼HORN E RIBBING▲ （ai loro aderenti） Respiro; il caso ne salvò. ▼CORO▲ （contro Ulrica） L'oracolo mentiva. ▼GUSTAVO▲ Sì; perché la man che stringo È del più fido amico mio! ▼ANCKARSTRÖM▲ Gustavo! ▼ULRICA▲ （riconoscendo il re） Il re!… ▼GUSTAVO▲ （a lei） Né chi fossi il genio tuo Ti rivelò, né che voleano al bando Oggi dannarti. ▼ULRICA▲ Me? ▼GUSTAVO▲ （gettandole una borsa） T'acqueta e prendi. ▼ULRICA▲ Magnanimo tu sei, ma v'ha fra loro Il traditor; più d'uno Forse… ▼HORN E RIBBING▲ (Gran Dio!) ▼GUSTAVO▲ Non più. ▼CRISTIANO, CORO▲ （da lontano） Viva Gustavo! ▼OSCAR, ULRICA, GUSTAVO, ANCKARSTRÖM, HORN, RIBBING▲ Quai voci? ▼CORO▲ （da lontano） Viva! ▼CRISTIANO▲ （dal fondo, volto ai suoi） È lui, ratti movete, é lui Il nostro amico e padre. （Marinai, uomini e donne del popolo s'affollano all'entrata.） Tutti con me chinatevi al suo piede E l'inno suoni della nostra fé. ▼CRISTIANO, CORO▲ O figlio della patria, Amor di questa terra! Reggi felice, arridano Gloria e salute a te. ▼OSCAR▲ Il più superbo alloro Che vince ogni tesoro Alla tua chioma intrecciano RIconoscenza a fé. ▼GUSTAVO▲ E posso alcun sospetto Alimentar nel petto, Se mille cuori battono Per immolarsi a me? ▼ANCKARSTRÖM▲ Ma la sventura é cosa Pur ne' trionfi ascosa, Là dove il fato ipocrita Veli una rea mercé. ▼HORN, RIBBING E LORO ADERENTI▲ （fra loro） Chiude al ferir la via Questa servil genìa, Che sta lambendo l'idolo, E che non sa il perché. ▼ULRICA▲ Non crede al proprio fato Ma pur morrà piagato. Sorrise al mio presagio Ma nella fossa ha il pié. Atto Primo Quadro I In fondo, l'ingresso nelle stanze del re. È il mattino. Deputati,gentiluomini, popolani, ufficialli; sul dinanzi, Horn, Ribbing e loro ardenti. Tutti aspettano che sidesti il re. UFFICIALI, GENTILUOMINI Posa in pace, a' bei sogni ristora, O Gustavo, il tuo nobile cor. A te scudo su questa dimora Sta d'un vergine mondo l'amor. HORN, RIBBING, E LORO ARDERENTI E sta l'odio che prepara il fio, Ripensando ai caduti per te. Come speri, disceso l'oblio Sulle tombe infelici non é. Entra Oscar dalla stanze del re. OSCAR S'avanza il re. GUSTAVO salutando gli astanti Amici miei… Soldati… ai deputati nel ricevere delle suppliche E voi del par diletti a me! Porgete A me s'aspetta; io deggio Su' miei figli vegliar, perché sia pago Ogni voto, se giusto. Bello il poter non é, che de' soggetti Le lagrime non terge, e ad incorrotta Gloria non mira. OSCAR a Gustavo Leggere vi piaccia Delle danze l'invito. GUSTAVO Avresti alcuna Beltà dimenticato? OSCAR porgendogli un foglio Eccovi i nomi. GUSTAVO leggendo, tra sé (Amelia… ah, dessa ancor! L'anima mia In lei rapita ogni grandezza oblia! La rivedrà nell'estasi Raggiante di pallore… E qui sonar d'amore La sua parola udrà. O dolce notte, scendere Tu puoi gemmata a festa Ma la mia stella é questa Che il ciel non ha!) HORN, RIBBING E LORO ADERENTI sommessamente L'ora non é, ché tutto Qui d'operar ne toglie Dalle nemiche soglie Meglio l'uscir sarà. OSCAR, UFFICIALI, GENTILUOMINI Con generoso affetto Entro se stesso assorto, Il nostro bene oggetto De' suoi pensier farà. GUSTAVO (Ah! E qui sonar d'amore La sua parola udrà.) ad Oscar Il cenno mio di là con essi attendi. Tutti s'allontanano. Oscar esce per ultimo e incontra Anckarström al limitare. OSCAR a Anckarström Libero é il varco a voi. ANCKARSTRÖM (Deh, come triste appar!) GUSTAVO (Amelia!) ANCKARSTRÖM chinandosi Sire… GUSTAVO (O ciel! lo sposo suo!) ANCKARSTRÖM accostandosi Turbato il mio Signor, mentre dovunque il nome suo Inclito suona? GUSTAVO Per la gloria é molto, Nulla per col. Segreta, acerba cura M'opprime. ANCKARSTRÖM E d'onde? GUSTAVO Ah no… non più… ANCKARSTRÖM Dirolla Io la cagion. GUSTAVO (Gran Dio!) ANCKARSTRÖM So tutto… GUSTAVO E che? ANCKARSTRÖM So tutto. Già questa soglia istessa Non t'é securo asilo. GUSTAVO Prosegui. ANCKARSTRÖM Un reo disegno Nell'ombre si matura, I giorni tuoi minaccia. GUSTAVO con gioia Ah!… gli é di ciò che parli? Altro non sai? ANCKARSTRÖM Se udir ti piace i nomi… GUSTAVO Che importa? Io li disprezzo. ANCKARSTRÖM Svelarli é mio dover. GUSTAVO Taci nel sangue Contaminarmi allor dovrei. Non fia, Nol vo'. Del popol mio L'amor mi guardi e mi protegga Iddio. ANCKARSTRÖM Alla vita che t'arride Di speranze e gaudio piena, D'altre mille e mille vite Il destino s'incatena! Te perduto, ov'é la patria Col suo splendido avvenir? E sarà dovunque, sempre Chiuso il varco alle ferite, Perché scudo del tuo petto È del popolo l'affetto? Dell'amor più desto é l'odio Le sue vittime a colpir. OSCAR all'entrata Il primo giudice. GUSTAVO S'avanzi. GIUDICE offrendogli dispacci a firmare Sire! GUSTAVO Che leggo!… il bando ad una donna! Or d'onde? Qual é il suo nome?… di che rea? GIUDICE S'appella Ulrica, dell'immondo Sangue gitano. OSCAR Intorno a cui s'affollano Tutte le stirpi. Del futuro l'alta Divinatrice… GIUDICE Che nell'antro abbietto Chiama i peggiori, d'ogni reo consiglio Sospetta già. Dovuto é a lei l'esiglio, Né muta il voto mio. GUSTAVO ad Oscar Che ne di' tu? OSCAR Difenderla vogl'io. Volta la terrea Fronte alle stelle, Come sfavilla La sua pupilla, Quando alle belle Il fin predice Mesto o felice Dei loro amor! È con Lucifero D'accordo ognor. GUSTAVO Che vaga coppia… Che protettor! OSCAR Chi la profetica Sua gonna afferra, O passi 'l mare, Voli alla guerra, Le sue vicende Soavi, amare Da questa apprende Nel dubbio cor. È con Lucifero D'accordo ognor. GIUDICE Sia condannata! OSCAR verso il re Assolverla degnate. GUSTAVO Ebben, tutti chiamate Or v'apro un mio pensier. Anckarström ed Oscar invitano a rientrar gli usciti. GUSTAVO Signori oggi d'Ulrica Alla magioni v'invito, Ma sotto altro vestito; Io là sarò. ANCKARSTRÖM Davver? GUSTAVO Sì, vo' gustar la scena. ANCKARSTRÖM L'idea non é prudente. OSCAR La trovo anzi eccellente, Feconda di piacer. ANCKARSTRÖM Te ravvisar taluno Ivi potria. GUSTAVO Qual tema! HORN E RIBBING sogghignando Ve', ve', di tutto trema Codesto consiglier. GUSTAVO ad Oscar E tu m'appronta un abito Da pescator. HORN, RIBBING E LORO ADERENTI sottovoce Chi sia Che alla vendetta l'adito Non s'apra alfin colà? GUSTAVO Ogni cura si doni al diletto, E s'accorra nel magico tetto Tra la folla de' creduli ognuno S'abbandoni e folleggi con me. ANCKARSTRÖM E s'accorra, ma vegli 'l sospetto Sui perigli che fremono intorno, Ma protegga il magnanimo petto Di chi nulla paventa per sé. OSCAR L'indovina ne dice di belle, E sta ben che l'interroghi anch'io; Sentirò se m'arridon le stelle, Di che sorti benefica m'é. GUSTAVO Ogni cura si doni al piacer. ANCKARSTRÖM E s'accorra e si vegli. GUSTAVO Dunque, signori, aspettovi, Incognito, alle tre Nell'antro dell'oracolo, Della gran maga al pié. OSCAR, UFFICIALI, GENTILUOMINI Teco sarem di subito, Incogniti, alle tre Nell'antro dell'oracolo, Della gran maga al pié. ANCKARSTRÖM E s'accorra, ma vegli 'l sospetto ecc. HORN, RIBBING E LORO ADERENTI Senza posa vegliamo all'intento, Né si perda ove scocchi il momento. Forse l'astro che regge il suo fato Nell'abisso là spegnersi de'. GUSTAVO Alle tre nell'antro dell'oracolo. Ogni cura si doni al diletto, E s'accorra al fatidco tetto Per un di si folleggi, si scherzi, Mai la vita più cara non é. UFFICIALI, GENTILUOMINI Sì! Alfin brilli d'un po' di follia Questa vita che il cielo ne dié. ANCKARSTRÖM Ma protegga il magnanimo petto Di chi nulla paventa per sé. OSCAR Sentirò se m'arridon le stelle, Qual presagio le dettan per me. HORN, RIBBING E LORO ADERENTI Forse l'astro che regge il suo fato Nell'abisso là spegnersi de'. TUTTI Alle tre, alle tre. GUSTAVO Dunque, signori, aspettovi, ecc. TUTTI GLI ALTRI Teco sarem di subito, ecc. Quadro II A sinistra un camino, il fuoco é acceso, e la caldaiamagica fuma sovra un treppié; dallo stesso lato l'uscio d'un oscuro recesso. Sul davanti,una piccola porta segreta. Nel fondo, l'entrata della porta maggiore con ampia finestra da lato. Inmezzo, una rozza tavola, e pendenti dal tetto e dalle pareti stromenti ed arredi analoghi che alluogo. Nel fondo uomini e donne del popolo. Ulrica presso la tavola; poco distanti, un fanciullo ed unagiovinetta che le domandano la buona ventura. POPOLANE Zitti… l'incanto non déssi turbare. Il demonio tra breve halle a parlare. ULRICA Re dell'abisso, affrettati, Precipita per l'etra, Senza librar la folgore Il tetto mio penétra. Omai tre volte l'upupa Dall'alto sospirò; La salamandra ignivora Tre volte sibilò… E delle tombe il gemito Tre volte a me parlò. Gustavo entra vestito da pescatore, avanzandosi tra la folla, né scorgendo alcuno deisuoi. GUSTAVO Arrivo il primo! POPOLANE respingendolo Villano, dà indietro. Gustavo s'allontana ridendo. Oh, come tutto riluce di tetro! ULRICA con esaltazione, delcamando È lui, é lui! ne' palpiti Come risento adesso La voluttà riardere Del suo tremendo amplesso! La face del futuro Nella sinistra egli ha. M'arrise al mio scongiuro, Rifolgorar la fa Nulla, più nulla ascondersi Al guardo mio potrà! Batte al suolo esparisce. POPOLANE Evviva la maga! ULRICA di sotterra Silenzio, silenzio! CRISTIANO rompendo la calca Su, fatemi largo, saper vo' il mio fato. Del re sono servo, son suo marinaro La morte per esso più volte ho sfidato; Tre lustri son corsi del vivere amaro, Tre lustri che nulla s'é fatto per me. ULRICA ricomparnedo E chiedi? CRISTIANO Qual sorte pel sangue versato mi attende. GUSTAVO (Favella da franco soldato.) ULRICA a Cristano La mano. CRISTIANO Prendete. ULRICA osservando la mano Rallegrati omai In breve dell'oro e un grado t'avrai. Gustavo trae un rotolo e vi scrive su. CRISTIANO Scherzate? ULRICA Va pago. GUSTAVO ponendolo in tasca a Cristiano che non s'avvede (Mentire non de'.) CRISTIANO A fausto presagio ben vuolsi mercé. Frugando trova il rotolo su cui legge estatico "Gustavo al suo caro Cristiano uffiziale." Per bacco!… non sogno! dell'oro ed un grado! Evviva! Evviva! POPOLANE Evviva la nostra Sibilla immortale, Che spande su tutti ricchezze e piacer. S'ode picchiare alla piccola porta. POPOLANE Si batte! Ulrica va ad aprire ed entra un servo. GUSTAVO (Che veggo! sull'uscio segreto Un servo d'Amelia!) SERVO sommessamente ad Ulrica, ma inteso da Gustavo Sentite la mia Signora, che aspetta là fuori, vorria Pregarvi in segreto d'arcano parer. GUSTAVO (Amelia!) ULRICA S'inoltri, ch'io tutti allontano. GUSTAVO (Non me.) Il servo parte. ULRICA Perché possa rispondere a voi È d'uopo che innanzi m'abbocchi a Satano; Uscite, lasciate ch'io scruti nel ver. CRISTIANO, POPOLANE Usciamo, si lasci che scruti nel ver. Mentre tutti s'allontanano, Gustavo s'asconde. Amelia entra agitatissima. ULRICA Che v'agita cosi? AMELIA Segreta, acerba Cura che amor destò… GUSTAVO nascosto (Che ascolto!) ULRICA E voi cercate? AMELIA Pace… svellermi dal petto Chi sì fatale e desïato impera! Lui, che su tutti il ciel arbitro pose. GUSTAVO (Che ascolto? Anima mia!) ULRICA L'oblio v'é dato. Arcane Stille conosco d'una magic'erba, Che rinnovella il cor… Ma chi n'ha d'uopo Spiccarla debbe di sua man nel fitto Delle notti. Funereo È il loco. AMELIA Ov'é? ULRICA L'osate voi? AMELIA risoluta Sì, qual esso sia. ULRICA Dunque ascoltate Della città all'occaso, Là dove al tetro lato Batte la luna pallida Sul campo abbominato… Abbarbica gli stami, A quelle pietre infami, Ove la colpa scontasi Coll'ultimo sospir! AMELIA Mio Dio! qual loco! ULRICA Attonita e già tremante siete? GUSTAVO (Pover cor!) ULRICA V'esanima? AMELIA Agghiaccio… ULRICA E l'oserete? AMELIA Se tale é il dover mio Troverò possa anch'io. ULRICA Stanotte? AMELIA Sì. GUSTAVO (Non sola Ché te degg'io seguir.) AMELIA Consentimi, o Signore, Virtù ch'io lavi 'l core. E l'infiammato palpito Nel petto mio sopir. ULRICA Va, non tremar, l'incanto Inaridisce il pianto. Osa e berrai nel farmaco L'oblio de'tuoi martir. GUSTAVO (Ah! Ardo, e seguirla ho fisso Se fosse nell'abisso, Pur ch'io respiri, Amelia, L'aura de' tuoi sospir.) VOCI dal fondo Figlia d'averno, schiudi la chiostra, spinte alla porta E tarda meno a noi ti mostra. ULRICA ad Amelia Presto, partite… Addio. AMELIA Stanotte… Addio. GUSTAVO (Non sola ché te degg'io seguir!) Amelia fugge per la porta segreta. Ulrica apre l'entrata maggiore entrano Horn, Ribbing eaderenti, Oscar, gentiluomini e ufficiali travestiti bizzarramente, ai quali s'unisce Gustavo. HORN, RIBBING, CORO Su, profetessa, monta il treppié, Canta il futuro, OSCAR Ma il re dov'é? GUSTAVO fattosi presso a lui Taci, nascondile che qui son io. poi volto rapidamente ad Ulrica Or tu, Sibilla, che tutto sai, Della mia stella mi parlerai. HORN, RIBBING, CORO Canta il futuro, canta il futuro! GUSTAVO Di' tu se fedele Il flutto m'aspetta, Se molle di pianto La donna diletta Dicendomi addio Tradì l'amor mio. Con lacere vele E l'alma in tempesta, I solchi so franger Dell'onda funesta, L'averno ed il cielo Irati sfidar. Sollecita esplora, Divina gli eventi Non possono i fulmin, La rabbia de' venti, La morte, l'amore Sviarmi dal mar. OSCAR, HORN, RIBBING, CORO Non possono i fulmin, La rabbia de' venti, La morte, l'amore Sviarlo dal mar. GUSTAVO Sull'agile prora Che m'agita in grembo, Se scosso mi sveglio Ai fischi del nembo, Ripeto fra' tuoni Le dolci canzoni, Le dolci canzoni Del tetto natio, Che i baci ricordan Dell'ultimo addio, E tutte raccendon Le forze tua profezia, Di ciò che può sorger Dal fato qual sia; Nell'anime nostre Non entra terror. OSCAR, HORN, RIBBING, CORO, Nell'anime nostre Non entra terror. ULRICA Chi voi siate, l'audace parola Può nel pianto prorompere un giorno, Se chi sforza l'arcano soggiorno Va la colpa nel duolo a lavar. Se chi sfida il suo fato insolente Deve l'onta nel fato scontar. GUSTAVO Orsù, amici. HORN Ma il primo chi fia? OSCAR Io. GUSTAVO offrendo la plama ad Ulrica L'onore a me cedi. OSCAR E lo sia. ULRICA solennemente, esaminando la mano È la destra d'un grande, vissuto Sotto gli astri di Marte. OSCAR Nel vero ella colse. GUSTAVO Tacete. ULRICA staccandosi da lui Infelice… Va… mi lasica… Non chieder di più. GUSTAVO Su, prosegui. ULRICA No… lasciami. GUSTAVO Parla. ULRICA evitando Va… Te ne prego. OSCAR, HORN, RIBBING, CORO a Ulrica Eh, finiscilla omai. GUSTAVO Te lo impongo. ULRICA Ebben, presto morrai. GUSTAVO Se sul campo d'onor, ti so grado. ULRICA con più forza No… per man d'un amico. OSCAR Gran Dio! Quale orror! HORN, RIBBING, CORO Quale orror! ULRICA Così scritto è lassù. GUSTAVO guardandosi intorno È scherzo od é follia Siffatta profezia Ma come fa da ridere La lor credulità! ULRICA passando innanzi a Horn e Ribbing Ah voi, signori, a queste Parole mie funeste Voi non osate ridere; Che dunque in cor vi sta? HORN E RIBBING La sua parola é dardo, È fulmine lo sguardo, Dal confidente démone Tutto coestei risà. OSCAR, CORO Ah! Tal fia dunque il fato? Ch'ei cada assassinato? Al sol pensarci l'anima Abbrividendo va. GUSTAVO Finisici il vaticnio. Di', chi fia dunque l'uccisor? ULRICA Chi primo Tua man quest'oggi stringerà. GUSTAVO con vivacità Bennissimo. offrendo la destra ai circostanti che non osano toccare Qual é di voi, che provi L'oracolo bugiardo? Nessuno! Anckarström appare all'entrata. GUSTAVO accorrendo a lui e stringendogli la mano Eccolo. HORN, RIBBING, CORO È desso! HORN E RIBBING ai loro aderenti Respiro; il caso ne salvò. CORO contro Ulrica L'oracolo mentiva. GUSTAVO Sì; perché la man che stringo È del più fido amico mio! ANCKARSTRÖM Gustavo! ULRICA riconoscendo il re Il re!… GUSTAVO a lei Né chi fossi il genio tuo Ti rivelò, né che voleano al bando Oggi dannarti. ULRICA Me? GUSTAVO gettandole una borsa T'acqueta e prendi. ULRICA Magnanimo tu sei, ma v'ha fra loro Il traditor; più d'uno Forse… HORN E RIBBING (Gran Dio!) GUSTAVO Non più. CRISTIANO, CORO da lontano Viva Gustavo! OSCAR, ULRICA, GUSTAVO, ANCKARSTRÖM, HORN, RIBBING Quai voci? CORO da lontano Viva! CRISTIANO dal fondo, volto ai suoi È lui, ratti movete, é lui Il nostro amico e padre. Marinai, uomini e donne del popolo s'affollano all'entrata. Tutti con me chinatevi al suo piede E l'inno suoni della nostra fé. CRISTIANO, CORO O figlio della patria, Amor di questa terra! Reggi felice, arridano Gloria e salute a te. OSCAR Il più superbo alloro Che vince ogni tesoro Alla tua chioma intrecciano RIconoscenza a fé. GUSTAVO E posso alcun sospetto Alimentar nel petto, Se mille cuori battono Per immolarsi a me? ANCKARSTRÖM Ma la sventura é cosa Pur ne' trionfi ascosa, Là dove il fato ipocrita Veli una rea mercé. HORN, RIBBING E LORO ADERENTI fra loro Chiude al ferir la via Questa servil genìa, Che sta lambendo l'idolo, E che non sa il perché. ULRICA Non crede al proprio fato Ma pur morrà piagato. Sorrise al mio presagio Ma nella fossa ha il pié. Verdi,Giuseppe/Un Ballo in Maschera+/II
https://w.atwiki.jp/wiki5_sera/pages/171.html
まえがき へんてこ腕時計のまとめページを作ってみる。 とりあえず定番リンク シーホープ：ART DESIGN WATCH http //www.seahope.com/ http //store.yahoo.co.jp/art-designwatch/index.html Tokyoflash（シーホープの海外向けHP?） http //tokyoflash.com/ Wrist Dreams（へんてこ腕時計のニュースサイト） http //www.wristdreams.com/ 時計屋さん http //www.10keiya.com/ http //www.10keiya.com/category/c195000_001.html コレクターの方のページ http //henwatch.hp.infoseek.co.jp/ http //homepage.mac.com/utdesign/watch/ http //homepage2.nifty.com/speedster/1481010top.htm 個人的にはアナログ時計が読めない子なんで、デジタルが好き。 ましてや文字盤に何にも描いてないアナログはありえない。 そんな奴が適当に書いてます。基本的に個人用の覚え書きです。 目次 まえがき 目次 バングルっぽい アナログっぽいデジタルっぽい 逆にアナログすぎる デジアナっぽい ばかでっかい じゃぴょん 逆回転っぽい 変態アナログ その他アナログ 映画のタイアップとか すごくすごいの 未だ未整理 あとがき バングルっぽい Fossilのスタルクウォッチhttp //www.rakuten.co.jp/nuts/400167/427174/362721/ http //www.fossil.com/～ 竜頭は痛い。のでバングルタイプのシンプルな形で突起が無い、スタルクの特に初期の頃のがお気に入り。 セイコー スペクトラム。電子インク。http //www.seiko-watch.co.jp/～ 試作の頃のデザインのが良かったかな。 アナログっぽいデジタルっぽい Ｉ PATTERN http //www.seahope.com/page064.html solsuno http //www.solsunoworld.com/world_division/jap/spec01jp.htm FUSION http //www.seahope.com/page067.html METRO http //www.store-mix.com/～ 逆にアナログすぎる http //japanese.engadget.com/2006/01/30/approx-watch/ 上のに似てるかな？FOSSILのフランク・ゲーリーhttp //www.rakuten.co.jp/nuts/427131/575579/ #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (06080637.JPG) http //www.rakuten.co.jp/katsuboya/137722/426810/ ゲーリーさんは、もともとこんな手書きアナログをデザインしてた。 デジアナっぽい o.d.m.のアンカンプロマイシングてのhttp //www.g-tokei.com/odm.htm STORM NAVIGATOR http //frogman-web.hp.infoseek.co.jp/watch/storm.htm ばかでっかい GLYCINE F104 http //www.rakuten.co.jp/katsuboya/149524/150620/ アナログだとこんなんが馬鹿っぽくていい感じ。 ZENO http //www.rakuten.co.jp/katsuboya/152617/194409/ でもこれはなんでもないアナログだから馬鹿っぽいのであって、 GLYCINE AIRMAN７ http //www.rakuten.co.jp/katsuboya/149524/408497/ これとか NAUTICA N-MX62 http //www.rakuten.co.jp/katsuboya/137355/369887/ こうなっちゃうとかっこよくなっちゃって無しかな。 MUSK MR2129 http //store.yahoo.co.jp/big-market/muskc0a4b3.html こりゃやりすぎだし。てゆうかリューズが飾りってのが無し。 じゃぴょん ジャン イヴhttp //www.yoka-tokei.com/jendeve.htm フランクミュラーhttp //www.lexson.co.jp/franck38_5qqq.htm#9 ジェラルド・ジェンタhttp //www.ts-horiuchi.jp/tsdat/1803.html アナログでもジャンピングアワーは面白いね。 逆回転っぽい サルバトーレマーラhttp //item.rakuten.co.jp/mens/woml036/ 逆回転とか。 石川時計眼鏡店さんの逆回転時計http //www2.wind.ne.jp/time/24h_1.htm 群馬にもこんな時計屋さんがあるんだ。 もういっちょ。逆回転時計は他にも左利きさん専門店とかでも見かけるね。 変態アナログ Carlo Ferrara http //www.tokei2000.com/history/carlo.htm http //www.lexson.co.jp/brand36.htm abacus http //www.amitacorp.co.jp/abacus/index2.html マジック・オブ・タイム／トト・ロットhttp //www.beyes.jp/shop/fathersgarden/511877.php アバカスの新しいの。ロト付き。 アースウォッチhttp //www.endogem.co.jp/wn1.htm その他アナログ グレース・ファブリオ アシンメトリックhttp //www.yoka-tokei.com/grace2.htm NUTS COLLECTIONのMARRE MOEREL http //www.rakuten.co.jp/nuts/427131/285534/431453/ PLUGUE FLAP STRAP http //www.tictac-web.com/original_ladys.html#plugue 映画のタイアップとか HAMILTON X-01 http //www.rakuten.co.jp/katsuboya/145705/442523/ 2001年宇宙の旅のやつ Android ALIEN http //www.android-usa.com/watch.php?sku=AD52BBU 映画関連でもうひとつ。リベリオンのやつ。 http //www.tanomi.com/limited/html/00025.html ２連アナログだとこんなのも。私は胃薬入れときます。 http //eg.nttpub.co.jp/news/20010612_05.html リストホロ。全然違うじゃん、がっかり。 spoon web http //dianaweb.fc2web.com/new_page_8.htm リストホロのベースらしい。 ウルトラセブンの すごくすごいの QUINTINGのミステリーウォッチhttp //www.quinting-watches.com/frameset_eng.htm ここのクロノグラフ凄ぇ。 #ref error ：ご指定のファイルが見つかりません。ファイル名を確認して、再度指定してください。 (06080634.JPG) 2530万円http //pya.cc/pyaimg/pimg.php?imgid=23575 個人で作ってるんで、ちょっと違うけど。http //www.eager-beavers.net/products/shouhin_guide.cgi?temp=TMP0 かっこよすぎ。 未だ未整理 http //www.otium-uhren.de/index.html http //www.thixwatch.com/ http //depart.livedoor.com/search/gci/?o= p=1 word=thix http //www.10keiya.com/category/c165000_001.html http //ecustom.listing.rakuten.co.jp/～ http //www.super-brandstreet.com/～ あとがき http //www.crepha.jp/index.html http //www.crepha.jp/products/watch/tel_list1.html とまぁいろいろ書きましたが、結論としては近所のＤＩＹ屋さんで買った千円でおつりが来ちゃうテルバのストップウォッチ付きが一番だったりして。 あ、そうだ。なんか管理人さんが好きそうな腕時計知ってたら、そっと教えてあげてください。 すごく見づらそう。http //www.urwerk.com/ o.d.m.のバングル風。http //www.wristdreams.com/archives/000896.html あ、o.d.m.のオフィシャルhttp //www.odm-design.com/home.html バングルっつえばこんなのも。http //www.wristdreams.com/archives/000920.html お安いジャンピングアワー。http //www.gizmodo.jp/2007/01/cgjhd.html 最近ｍｐ４腕時計がちらほら出てきてるけど、その本命っぽい。http //japanese.engadget.com/2007/01/12/iriver-bluetooth-usb-bracelet/ -- かりんにん (2007-01-21 16 29 17) 砂時計腕時計http //www.seihin.com/s/2007/01/28_2327.php ある意味砂時計http //www.gizmodo.jp/2007/01/post_805.html ｍｐ４腕時計バングル風味http //www.wristdreams.com/archives/001167.html -- かんにりん (2007-02-09 01 35 01) なんかユビキタス。http //www.gizmodo.jp/2007/02/just_in_time_1.html -- かにんりん (2007-02-11 11 04 26) なんかスパムが多いんで、一旦書き込み出来なくします。てゆうか、俺しか書き込まないし。-- かんににん (2007-03-07 22 46 03) http //www.gizmodo.jp/2007/03/post_1142.html -- かんににん (2007-03-20 00 00 01)
https://w.atwiki.jp/oper/pages/654.html
ERSTER TEIL Nr. 1 Einleitung Die Vorstellung des Chaos Rezitativ mit Chor RAPHAEL Im Anfange schuf Gott Himmel und Erde, und die Erde war ohne Form und leer, und Finsternis war auf der Fläche der Tiefe. CHOR Und der Geist Gottes Schwebte auf der Fläche der Wasser, Und Gott sprach Es werde Licht! Und es ward Licht. URIEL Und Gott sah das Licht, daß es gut war, und Gott schied das Licht von der Finsternis. Nr. 2 Arie mit Chor URIEL Nun schwanden vor dem heiligen Strahle Des schwarzen Dunkels gräuliche Schatten Der erste Tag entstand. Verwirrung weicht, und Ordnung keimt empor. Erstarrt entflieht der Höllengeister Schar In des Abgrunds Tiefen hinab Zur ewigen Nacht. CHOR Verzweiflung, Wut und Schrecken Begleiten ihren Sturz, Und eine neue Welt Entspringt auf Gottes Wort. Nr. 3 Rezitativ RAPHAEL Und Gott machte das Firmament und teilte die Wasser, die unter dem Firmament waren, von den Gewässern, die ober dem Firmament waren, und es ward so. Da tobten brausend heftige Stürme; wie Spreu vor dem Winde, so flogen die Wolken, die Luft durchschnitten feurige Blitze und schrecklich rollten die Donner umher. Der Flut entstieg auf sein Geheiß der allerquickende Regen, der allerverheerende Schauer, der leichte, flockige Schnee. Nr. 4 Chor mit Sopransolo GABRIEL Mit Staunen sieht das Wunderwerk Der Himmelsbürger frohe Schar, Und laut ertönt aus ihren Kehlen Des Schöpfers Lob, Das Lob des zweiten Tags. CHOR Und laut ertönt aus ihren Kehlen Des Schöpfers Lob, Das Lob des zweiten Tags. Nr. 5 Rezitativ RAPHAEL Und Gott sprach Es sammle sich das Wasser unter dem Himmel zusammen an einem Platz und es erscheine das trockne Land; und es ward so. Und Gott nannte das trockne Land "Erde" und die Sammlung der Wasser nannte er "Meer"; Und Gott sah, daß es gut war. Nr. 6 Arie RAPHAEL Rollend in schäumenden Wellen Bewegt sich ungestüm das Meer. Hügel und Felsen erscheinen, Der Berge Gipfel steigt empor. Die Fläche, weit gedehnt, Durchläuft der breite Strom In mancher Krümme. Leise rauschend gleitet fort Im stillen Tal der helle Bach. Nr. 7 Rezitativ GABRIEL Und Gott sprach Es bringe die Erde Gras hervor, Kräuter. die Samen geben, und Obstbäume, die Früchte bringen ihrer Art gemäß, die ihren Samen in sich selbst haben auf der Erde; und es ward so. Nr. 8 Arie GABRIEL Nun beut die Flur das frische Grün Dem Auge zur Ergötzung dar. Den anmutsvollen Blick Erhöht der Blumen sanfter Schmuck. Hier duften Kräuter Balsam aus, Hier sproßt den Wunden Heil. Die Zweige krümmt der goldnen Früchte Last; Hier wölbt der Hain zum kühlen Schirme sich, Den steilen Berg bekrönt ein dichter Wald. Nr. 9 Rezitativ URIEL Und die himmlischen Heerscharen verkündigten den dritten Tag, Gott preisend und sprechend Nr. 10 Chor CHOR Stimmt an die Saiten, ergreift die Leier, Laßt euren Lobgesang erschallen! Frohlocket dem Herrn, dem mächtigen Gott, Denn er hat Himmel und Erde Bekleidet in herrlicher Pracht! Nr. 11 Rezitativ URIEL Und Gott sprach Es sei n Lichter an der Feste des Himmels, um den Tag von der Nacht zu scheiden und Licht auf der Erde zu geben, und es seien diese für Zeichen und für Zeiten und für Tage und für Jahre. Er machte die Sterne gleichfalls. Nr. 12 Rezitativ URIEL In vollem glanze steiget jetzt Die Sonne strahlend auf, Ein wonnevoller Bräutigam, Ein Riese stolz und froh, Zu rennen seine Bahn. Mit leisem Gang und sanftem Schimmer Schleicht der Mond die stille Nacht hindurch. Den ausgedehnten Himmelsraum Ziert ohne Zahl der hellen Sterne Gold. Und die Söhne Gottes Verkündigten den vierten Tag Mit himmlischem Gesang, Seine Macht ausrufend also Nr. 13 Chor mit Soli CHOR Die Himmel erzählen die Ehre Gottes, Und seiner Hände Werk Zeigt an das Firmament. GABRIEL, URIEL, RAPHAEL Dem kommenden Tage sagt es der Tag, Die Nacht, die verschwand, der folgenden Nacht CHOR Die Himmel erzählen die Ehre Gottes, Und seiner Hände Werk Zeigt an das Firmament. GABRIEL, URIEL, RAPHAEL In alle Welt ergeht das Wort, Jedem Ohre klingend, Keiner Zunge fremd CHOR Die Himmel erzählen die Ehre Gottes, Und seiner Hände Werk Zeigt an das Firmament. ZWEITER TEIL Nr. 14 Rezitativ GABRIEL Und Gott sprach Es bringe das Wasser in der Fülle hervor webende Geschöpfe, die Leben haben, und Vögel, die über der Erde fliegen mögen in dem offenen Firmamente des Himmels. Nr. 15 Arie GABRIEL Auf starkem Fittiche Schwinget sich der Adler stolz Und teilet die Luft Im schnellesten Fluge Zur Sonne hin. Den Morgen grüßt Der Lerche frohes Lied, Und Liebe girrt Das zarte Taubenpaar. Aus jedem Busch und Hain erschallt Der Nachtigallen süße Kehle. Noch drückte Gram nicht ihre Brust, Noch war zur Klage nicht gestimmt Ihr reizender Gesang. Nr. 16 Rezitativ RAPHAEL Und Gott schuf große Walfische und ein jedes lebende Geschöpf, das sich beweget, und Gott segnete sie, sprechend Seid fruchtbar alle, mehret euch, Bewohner der Luft, vermehret euch Und singt auf jedem Aste! Mehret euch, ihr Flutenbewohner, Und füllet jede Tiefe! Seid fruchtbar, wachset, mehret euch, Erfreuet euch in eurem Gott! Nr. 17 Rezitativ RAPHAEL Und die Engel rührten ihr unsterblichen Harfen und sangen die Wunder des fünften Tags. Nr. 18 Terzett GABRIEL In holder Anmut stehn, Mit jungem Grün geschmückt, Die wogigten Hügel da. Aus ihren Adern quillt In fließendem Kristall Der kühlende Bach hervor. URIEL In frohen Kreisen schwebt, Sich wiegend in der Luft, Der munteren Vögel Schar. Den bunten Federglanz Erhöht im Wechselflug Das goldene Sonnenlicht. RAPHAEL Das helle Naß durchblitzt Der Fisch und windet sich Im steten Gewühl umher. Vom tiefsten Meeresgrund Wälzet sich Leviathan Auf schäumender Well empor. GABRIEL, URIEL, RAPHAEL Wie viel sind deiner Werk , o Gott! Wer fasset ihre Zahl? Wer, o Gott! Wer fasset ihre Zahl? Nr. 19 Chor mit Soli CHOR Der Herr ist groß in seiner Macht, Und ewig bleibt sein Ruhm. Nr. 20 Rezitativ RAPHAEL Und Gott sprach Es bringe die Erde hervor lebende Geschöpfe nach ihrer Art Vieh und krichendes Gewürm und Tiere der Erde nach ihren Gattungen. Nr. 21 Rezitativ RAPHAEL Gleich öffnet sich der Erde Schoß Und sie gebiert auf Gottes Wort Geschöpfe jeder Art, In vollem Wuchs und ohne Zahl. Vor Freude brüllend steht der Löwe da. Hier schießt der gelenkige Tiger empor. Das zackige Haupt erhebt der schnelle Hirsch. Mit fliegender Mähne springt und wieh rt Voll Mut und Kraft das edle Roß. Auf grünen Matten weidet schon Das Rind, in Herden abgeteilt. Die Triften deckt, als wie gesät, Das wollenreiche, sanfte Schaf. Wie Staub verbreitet sich In Schwarm und Wirbel Das Heer der Insekten. In langen Zügen kriecht Am Boden das Gewürm. Nr. 22 Arie RAPHAEL Nun scheint in vollem Glanze der Himmel, Nun prangt in ihrem Schmucke die Erde. Die Luft erfüllt das leichte Gefieder, Das Wasser schwellt der Fische Gewimmel, Den Boden drückt der Tiere Last. Doch war noch alles nicht vollbracht. Dem ganzen fehlte das Geschöpf, Das Gottes Werke dankbar sehn, Des Herren Güte preisen soll. Nr. 23 Rezitativ URIEL Und Gott schuf den Menschen nach seinem Ebenbilde, nach dem Ebenbilde Gottes schuf er ihn. Mann und Weib erschuf er sie. Den Atem des Lebens hauchte er in sein Angesicht, und der Mensch wurde zur lebendigen Seele. Nr. 24 Arie URIEL Mit Würd und Hoheit angetan, Mit Schönheit, Stärk und Mut begabt, Gen Himmel aufgerichtet steht der Mensch, Ein Mann und König der Natur. Die breit gewölbt erhabne Stirn Verkünd t der Weisheit tiefen Sinn, Und aus dem hellen Blicke strahlt Der Geist, des Schöpfers Hauch und Ebenbild. An seinen Busen schmieget sich Für ihn, aus ihm geformt, Die Gattin, hold und anmutsvoll. In froher Unschuld lächelt sie, Des Frühlings reizend Bild, Ihm Liebe, Glück und Wonne zu. Nr. 25 Rezitativ RAPHAEL Und Gott sah jedes Ding, was er gemacht hatte; und es war sehr gut. Und der himmlische Chor feierte das Ende des sechsten Tages mit lautem Gesang Nr. 26 Chor CHOR Vollendet ist das große Werk, Der Schöpfer sieht s und freuet sich. Auch unsre Freund erschalle laut, Des Herren Lob sei unser Lied! Nr. 27 Terzett GABRIEL, URIEL Zu dir, o Herr, blickt alles auf. Um Speise fleht dich alles an. Du öffnest deine Hand, Gesättigt werden sie. RAPHAEL Du wendest ab dein Angesicht, Da bebet alles und erstarrt. Du nimmst den Odem weg, In Staub zerfallen sie. GABRIEL, URIEL, RAPHAEL Den Odem hauchst du wieder aus, Und neues Leben sproßt hervor. Verjüngt ist die Gestalt der Erd An Reiz und Kraft. Nr. 28 Chor CHOR Vollendet ist das große Werk, Des Herren Lob sei unser Lied! Alles lobe seinen Namen, Denn er allein ist hoch erhaben! Alleluja! Alleluja! DRITTER TEIL Nr. 29 Orchestereinleitung und Rezitativ URIEL Aus Rosenwolken bricht, Geweckt durch süßen Klang, Der Morgen jung und schön. Vom himmlischen Gewölbe Strömt reine Harmonie Zur Erde hinab. Seht das beglückte Paar, Wie Hand in Hand es geht! Aus ihren Blicken strahlt Des heißen Danks Gefühl. Bald singt in lautem Ton Ihr Mund des Schöpfers Lob; Laßt unsre Stimme dann Sich mengen in ihr Lied. Nr. 30 Duett mit Chor EVA und ADAM Von deiner Güt , o Herr und Gott, Ist Erd und Himmel voll. Die Welt, so groß, so wunderbar, Ist deiner Hände Werk. CHOR Gesegnet sei des Herren Macht, Sein Lob erschall in Ewigkeit. ADAM Der Sterne hellster, o wie schön Verkündest du den Tag! Wie schmückst du ihn, o Sonne du, Des Weltalls Seel und Aug ! CHOR Macht kund auf eurer weiten Bahn Des Herren Macht und seinen Ruhm! EVA Und du, der Nächte Zierd und Trost, Und all das strahlend Heer, Verbreitet überall sein Lob In euerm Chorgesang. ADAM Ihr Elemente, deren Kraft Stets neue Formen zeugt, Ihr Dünst und Nebel, Die der Wind versammelt und vertreibt EVA, ADAM und CHOR Lobsinget alle Gott, dem Herrn, Groß wie sein Nam ist seine Macht. EVA Sanft rauschend lobt, o Quellen, ihn! Den Wipfel neigt, ihr Bäum ! Ihr Pflanzen duftet, Blumen haucht Ihm euern Wohlgeruch! ADAM Ihr, deren Pfad die Höh n erklimmt, Und ihr, die niedrig kriecht, Ihr, deren Flug die Luft durchschneid t, Und ihr im tiefen Naß EVA, ADAM und CHOR Ihr Tiere, preiset alle Gott! Ihn lobe, was nur Odem hat! EVA und ADAM Ihr dunklen Hain , ihr Berg und Tal , Ihr Zeugen unsres Danks, Ertönen sollt ihr früh und spät Von unserm Lobgesang. CHOR Heil dir, o Gott, o Schöpfer, Heil! Aus deinem Wort entstand die Welt, Dich beten Erd und Himmel an, Wir preisen dich in Ewigkeit! Nr. 31 Rezitativ ADAM Nun ist die erste Pflicht erfüllt, Dem Schöpfer haben wir gedankt. Nun folge mir, Gefährtin meines Lebens! Ich leite dich, und jeder Schritt Weckt neue Freud in unsrer Brust, Zeigt Wunder überall. Erkennen sollst du dann, Welch unaussprechlich Glück Der Herr uns zugedacht. Ihn preisen immerdar, Ihm weihen Herz und Sinn. Komm, folge mir, ich leite dich. EVA O du., für den ich ward, Mein Schirm, mein Schild, mein All! Dein Will ist mir Gesetz. So hat s der Herr bestimmt, Und dir gehorchen bringt Mir Freude, Glück und Ruhm. Nr. 32Duett ADAM Holde Gattin, dir zur Seite Fließen sanft die Stunden hin. Jeder Augenblick ist Wonne, Keine Sorge trübet sie. EVA Teurer Gatte, dir zur Seite, Schwimmt in Freuden mir das Herz. Dir gewidmet ist mein Leben, Deine Liebe sei mein Lohn. ADAM Der tauende Morgen, O wie ermuntert er! EVA Die Kühle des Abends, O wie erquicket sie! ADAM Wie labend ist Der runden Früchte Saft! EVA Wie reizend ist Der Blumen süßer Duft! EVA und ADAM Doch ohne dich, was wäre mir - ADAM Der Morgentau, EVA Der Abendhauch, ADAM Der Früchte Saft, EVA Der Blumen Duft. EVA und ADAM Mit dir erhöht sich jede Freude, Mit dir genieß ich doppelt sie, Mit dir ist Seligkeit das Leben, Dir sei es ganz geweiht! Nr. 33 Rezitativ URIEL O glücklich Paar, und glücklich immerfort, Wenn falscher Wahn euch nicht verführt, Noch mehr zu wünschen als ihr habt, Und mehr zu wissen als ihr sollt! Nr. 34 Schlußchor mit Soli CHOR Singt dem Herren alle Stimmen! Dankt ihm alle seine Werke! Laßt zu Ehren seines Namens Lob im Wettgesang erschallen! Des Herren Ruhm, er bleibt in Ewigkeit! Amen! ERSTER TEIL Nr. 1 Einleitung Die Vorstellung des Chaos Rezitativ mit Chor RAPHAEL Im Anfange schuf Gott Himmel und Erde, und die Erde war ohne Form und leer, und Finsternis war auf der Fläche der Tiefe. CHOR Und der Geist Gottes Schwebte auf der Fläche der Wasser, Und Gott sprach Es werde Licht! Und es ward Licht. URIEL Und Gott sah das Licht, daß es gut war, und Gott schied das Licht von der Finsternis. Nr. 2 Arie mit Chor URIEL Nun schwanden vor dem heiligen Strahle Des schwarzen Dunkels gräuliche Schatten Der erste Tag entstand. Verwirrung weicht, und Ordnung keimt empor. Erstarrt entflieht der Höllengeister Schar In des Abgrunds Tiefen hinab Zur ewigen Nacht. CHOR Verzweiflung, Wut und Schrecken Begleiten ihren Sturz, Und eine neue Welt Entspringt auf Gottes Wort. Nr. 3 Rezitativ RAPHAEL Und Gott machte das Firmament und teilte die Wasser, die unter dem Firmament waren, von den Gewässern, die ober dem Firmament waren, und es ward so. Da tobten brausend heftige Stürme; wie Spreu vor dem Winde, so flogen die Wolken, die Luft durchschnitten feurige Blitze und schrecklich rollten die Donner umher. Der Flut entstieg auf sein Geheiß der allerquickende Regen, der allerverheerende Schauer, der leichte, flockige Schnee. Nr. 4 Chor mit Sopransolo GABRIEL Mit Staunen sieht das Wunderwerk Der Himmelsbürger frohe Schar, Und laut ertönt aus ihren Kehlen Des Schöpfers Lob, Das Lob des zweiten Tags. CHOR Und laut ertönt aus ihren Kehlen Des Schöpfers Lob, Das Lob des zweiten Tags. Nr. 5 Rezitativ RAPHAEL Und Gott sprach Es sammle sich das Wasser unter dem Himmel zusammen an einem Platz und es erscheine das trockne Land; und es ward so. Und Gott nannte das trockne Land "Erde" und die Sammlung der Wasser nannte er "Meer"; Und Gott sah, daß es gut war. Nr. 6 Arie RAPHAEL Rollend in schäumenden Wellen Bewegt sich ungestüm das Meer. Hügel und Felsen erscheinen, Der Berge Gipfel steigt empor. Die Fläche, weit gedehnt, Durchläuft der breite Strom In mancher Krümme. Leise rauschend gleitet fort Im stillen Tal der helle Bach. Nr. 7 Rezitativ GABRIEL Und Gott sprach Es bringe die Erde Gras hervor, Kräuter. die Samen geben, und Obstbäume, die Früchte bringen ihrer Art gemäß, die ihren Samen in sich selbst haben auf der Erde; und es ward so. Nr. 8 Arie GABRIEL Nun beut die Flur das frische Grün Dem Auge zur Ergötzung dar. Den anmutsvollen Blick Erhöht der Blumen sanfter Schmuck. Hier duften Kräuter Balsam aus, Hier sproßt den Wunden Heil. Die Zweige krümmt der goldnen Früchte Last; Hier wölbt der Hain zum kühlen Schirme sich, Den steilen Berg bekrönt ein dichter Wald. Nr. 9 Rezitativ URIEL Und die himmlischen Heerscharen verkündigten den dritten Tag, Gott preisend und sprechend Nr. 10 Chor CHOR Stimmt an die Saiten, ergreift die Leier, Laßt euren Lobgesang erschallen! Frohlocket dem Herrn, dem mächtigen Gott, Denn er hat Himmel und Erde Bekleidet in herrlicher Pracht! Nr. 11 Rezitativ URIEL Und Gott sprach Es sei n Lichter an der Feste des Himmels, um den Tag von der Nacht zu scheiden und Licht auf der Erde zu geben, und es seien diese für Zeichen und für Zeiten und für Tage und für Jahre. Er machte die Sterne gleichfalls. Nr. 12 Rezitativ URIEL In vollem glanze steiget jetzt Die Sonne strahlend auf, Ein wonnevoller Bräutigam, Ein Riese stolz und froh, Zu rennen seine Bahn. Mit leisem Gang und sanftem Schimmer Schleicht der Mond die stille Nacht hindurch. Den ausgedehnten Himmelsraum Ziert ohne Zahl der hellen Sterne Gold. Und die Söhne Gottes Verkündigten den vierten Tag Mit himmlischem Gesang, Seine Macht ausrufend also Nr. 13 Chor mit Soli CHOR Die Himmel erzählen die Ehre Gottes, Und seiner Hände Werk Zeigt an das Firmament. GABRIEL, URIEL, RAPHAEL Dem kommenden Tage sagt es der Tag, Die Nacht, die verschwand, der folgenden Nacht CHOR Die Himmel erzählen die Ehre Gottes, Und seiner Hände Werk Zeigt an das Firmament. GABRIEL, URIEL, RAPHAEL In alle Welt ergeht das Wort, Jedem Ohre klingend, Keiner Zunge fremd CHOR Die Himmel erzählen die Ehre Gottes, Und seiner Hände Werk Zeigt an das Firmament. ZWEITER TEIL Nr. 14 Rezitativ GABRIEL Und Gott sprach Es bringe das Wasser in der Fülle hervor webende Geschöpfe, die Leben haben, und Vögel, die über der Erde fliegen mögen in dem offenen Firmamente des Himmels. Nr. 15 Arie GABRIEL Auf starkem Fittiche Schwinget sich der Adler stolz Und teilet die Luft Im schnellesten Fluge Zur Sonne hin. Den Morgen grüßt Der Lerche frohes Lied, Und Liebe girrt Das zarte Taubenpaar. Aus jedem Busch und Hain erschallt Der Nachtigallen süße Kehle. Noch drückte Gram nicht ihre Brust, Noch war zur Klage nicht gestimmt Ihr reizender Gesang. Nr. 16 Rezitativ RAPHAEL Und Gott schuf große Walfische und ein jedes lebende Geschöpf, das sich beweget, und Gott segnete sie, sprechend Seid fruchtbar alle, mehret euch, Bewohner der Luft, vermehret euch Und singt auf jedem Aste! Mehret euch, ihr Flutenbewohner, Und füllet jede Tiefe! Seid fruchtbar, wachset, mehret euch, Erfreuet euch in eurem Gott! Nr. 17 Rezitativ RAPHAEL Und die Engel rührten ihr unsterblichen Harfen und sangen die Wunder des fünften Tags. Nr. 18 Terzett GABRIEL In holder Anmut stehn, Mit jungem Grün geschmückt, Die wogigten Hügel da. Aus ihren Adern quillt In fließendem Kristall Der kühlende Bach hervor. URIEL In frohen Kreisen schwebt, Sich wiegend in der Luft, Der munteren Vögel Schar. Den bunten Federglanz Erhöht im Wechselflug Das goldene Sonnenlicht. RAPHAEL Das helle Naß durchblitzt Der Fisch und windet sich Im steten Gewühl umher. Vom tiefsten Meeresgrund Wälzet sich Leviathan Auf schäumender Well empor. GABRIEL, URIEL, RAPHAEL Wie viel sind deiner Werk , o Gott! Wer fasset ihre Zahl? Wer, o Gott! Wer fasset ihre Zahl? Nr. 19 Chor mit Soli CHOR Der Herr ist groß in seiner Macht, Und ewig bleibt sein Ruhm. Nr. 20 Rezitativ RAPHAEL Und Gott sprach Es bringe die Erde hervor lebende Geschöpfe nach ihrer Art Vieh und krichendes Gewürm und Tiere der Erde nach ihren Gattungen. Nr. 21 Rezitativ RAPHAEL Gleich öffnet sich der Erde Schoß Und sie gebiert auf Gottes Wort Geschöpfe jeder Art, In vollem Wuchs und ohne Zahl. Vor Freude brüllend steht der Löwe da. Hier schießt der gelenkige Tiger empor. Das zackige Haupt erhebt der schnelle Hirsch. Mit fliegender Mähne springt und wieh rt Voll Mut und Kraft das edle Roß. Auf grünen Matten weidet schon Das Rind, in Herden abgeteilt. Die Triften deckt, als wie gesät, Das wollenreiche, sanfte Schaf. Wie Staub verbreitet sich In Schwarm und Wirbel Das Heer der Insekten. In langen Zügen kriecht Am Boden das Gewürm. Nr. 22 Arie RAPHAEL Nun scheint in vollem Glanze der Himmel, Nun prangt in ihrem Schmucke die Erde. Die Luft erfüllt das leichte Gefieder, Das Wasser schwellt der Fische Gewimmel, Den Boden drückt der Tiere Last. Doch war noch alles nicht vollbracht. Dem ganzen fehlte das Geschöpf, Das Gottes Werke dankbar sehn, Des Herren Güte preisen soll. Nr. 23 Rezitativ URIEL Und Gott schuf den Menschen nach seinem Ebenbilde, nach dem Ebenbilde Gottes schuf er ihn. Mann und Weib erschuf er sie. Den Atem des Lebens hauchte er in sein Angesicht, und der Mensch wurde zur lebendigen Seele. Nr. 24 Arie URIEL Mit Würd und Hoheit angetan, Mit Schönheit, Stärk und Mut begabt, Gen Himmel aufgerichtet steht der Mensch, Ein Mann und König der Natur. Die breit gewölbt erhabne Stirn Verkünd t der Weisheit tiefen Sinn, Und aus dem hellen Blicke strahlt Der Geist, des Schöpfers Hauch und Ebenbild. An seinen Busen schmieget sich Für ihn, aus ihm geformt, Die Gattin, hold und anmutsvoll. In froher Unschuld lächelt sie, Des Frühlings reizend Bild, Ihm Liebe, Glück und Wonne zu. Nr. 25 Rezitativ RAPHAEL Und Gott sah jedes Ding, was er gemacht hatte; und es war sehr gut. Und der himmlische Chor feierte das Ende des sechsten Tages mit lautem Gesang Nr. 26 Chor CHOR Vollendet ist das große Werk, Der Schöpfer sieht s und freuet sich. Auch unsre Freund erschalle laut, Des Herren Lob sei unser Lied! Nr. 27 Terzett GABRIEL, URIEL Zu dir, o Herr, blickt alles auf. Um Speise fleht dich alles an. Du öffnest deine Hand, Gesättigt werden sie. RAPHAEL Du wendest ab dein Angesicht, Da bebet alles und erstarrt. Du nimmst den Odem weg, In Staub zerfallen sie. GABRIEL, URIEL, RAPHAEL Den Odem hauchst du wieder aus, Und neues Leben sproßt hervor. Verjüngt ist die Gestalt der Erd An Reiz und Kraft. Nr. 28 Chor CHOR Vollendet ist das große Werk, Des Herren Lob sei unser Lied! Alles lobe seinen Namen, Denn er allein ist hoch erhaben! Alleluja! Alleluja! DRITTER TEIL Nr. 29 Orchestereinleitung und Rezitativ URIEL Aus Rosenwolken bricht, Geweckt durch süßen Klang, Der Morgen jung und schön. Vom himmlischen Gewölbe Strömt reine Harmonie Zur Erde hinab. Seht das beglückte Paar, Wie Hand in Hand es geht! Aus ihren Blicken strahlt Des heißen Danks Gefühl. Bald singt in lautem Ton Ihr Mund des Schöpfers Lob; Laßt unsre Stimme dann Sich mengen in ihr Lied. Nr. 30 Duett mit Chor EVA und ADAM Von deiner Güt , o Herr und Gott, Ist Erd und Himmel voll. Die Welt, so groß, so wunderbar, Ist deiner Hände Werk. CHOR Gesegnet sei des Herren Macht, Sein Lob erschall in Ewigkeit. ADAM Der Sterne hellster, o wie schön Verkündest du den Tag! Wie schmückst du ihn, o Sonne du, Des Weltalls Seel und Aug ! CHOR Macht kund auf eurer weiten Bahn Des Herren Macht und seinen Ruhm! EVA Und du, der Nächte Zierd und Trost, Und all das strahlend Heer, Verbreitet überall sein Lob In euerm Chorgesang. ADAM Ihr Elemente, deren Kraft Stets neue Formen zeugt, Ihr Dünst und Nebel, Die der Wind versammelt und vertreibt EVA, ADAM und CHOR Lobsinget alle Gott, dem Herrn, Groß wie sein Nam ist seine Macht. EVA Sanft rauschend lobt, o Quellen, ihn! Den Wipfel neigt, ihr Bäum ! Ihr Pflanzen duftet, Blumen haucht Ihm euern Wohlgeruch! ADAM Ihr, deren Pfad die Höh n erklimmt, Und ihr, die niedrig kriecht, Ihr, deren Flug die Luft durchschneid t, Und ihr im tiefen Naß EVA, ADAM und CHOR Ihr Tiere, preiset alle Gott! Ihn lobe, was nur Odem hat! EVA und ADAM Ihr dunklen Hain , ihr Berg und Tal , Ihr Zeugen unsres Danks, Ertönen sollt ihr früh und spät Von unserm Lobgesang. CHOR Heil dir, o Gott, o Schöpfer, Heil! Aus deinem Wort entstand die Welt, Dich beten Erd und Himmel an, Wir preisen dich in Ewigkeit! Nr. 31 Rezitativ ADAM Nun ist die erste Pflicht erfüllt, Dem Schöpfer haben wir gedankt. Nun folge mir, Gefährtin meines Lebens! Ich leite dich, und jeder Schritt Weckt neue Freud in unsrer Brust, Zeigt Wunder überall. Erkennen sollst du dann, Welch unaussprechlich Glück Der Herr uns zugedacht. Ihn preisen immerdar, Ihm weihen Herz und Sinn. Komm, folge mir, ich leite dich. EVA O du., für den ich ward, Mein Schirm, mein Schild, mein All! Dein Will ist mir Gesetz. So hat s der Herr bestimmt, Und dir gehorchen bringt Mir Freude, Glück und Ruhm. Nr. 32Duett ADAM Holde Gattin, dir zur Seite Fließen sanft die Stunden hin. Jeder Augenblick ist Wonne, Keine Sorge trübet sie. EVA Teurer Gatte, dir zur Seite, Schwimmt in Freuden mir das Herz. Dir gewidmet ist mein Leben, Deine Liebe sei mein Lohn. ADAM Der tauende Morgen, O wie ermuntert er! EVA Die Kühle des Abends, O wie erquicket sie! ADAM Wie labend ist Der runden Früchte Saft! EVA Wie reizend ist Der Blumen süßer Duft! EVA und ADAM Doch ohne dich, was wäre mir - ADAM Der Morgentau, EVA Der Abendhauch, ADAM Der Früchte Saft, EVA Der Blumen Duft. EVA und ADAM Mit dir erhöht sich jede Freude, Mit dir genieß ich doppelt sie, Mit dir ist Seligkeit das Leben, Dir sei es ganz geweiht! Nr. 33 Rezitativ URIEL O glücklich Paar, und glücklich immerfort, Wenn falscher Wahn euch nicht verführt, Noch mehr zu wünschen als ihr habt, Und mehr zu wissen als ihr sollt! Nr. 34 Schlußchor mit Soli CHOR Singt dem Herren alle Stimmen! Dankt ihm alle seine Werke! Laßt zu Ehren seines Namens Lob im Wettgesang erschallen! Des Herren Ruhm, er bleibt in Ewigkeit! Amen! Haydn,Franz Joseph/Die Schöpfung
https://w.atwiki.jp/oper/pages/282.html
第７場 ロザリンデ、アイゼンシュタイン、後でアデーレ ＜アイゼンシュタイン＞ あれが弁護人だぜ！あんなナンセンスなやつを裁判所にはびこらせちゃいかんな！ ＜ロザリンデ＞ かわいそうなガブリエル！８日間も - しかも今日から！ ＜アイゼンシュタイン＞ しかも今日からさ！ （歌う） お別れしなきゃならないなんて！ ＜ロザリンデ＞ こんな素敵なテナーを有罪なんて 野蛮人だわ！ ＜アイゼンシュタイン＞ やつらは俺のテナーも一緒に閉じ込めて置きたいんだろうよ、だけどなんとかもぎ取ったぜ 自由にできる数時間ほどを お前と最後の食事ができるようにと （ベルを鳴らす） やつらを責めるわけにもいかないさ：三度も招待を受けて一度も行かなかったんだからな！ ＜アデーレ＞ （涙ぐんだ目、小さな声で） 御用ですか？ ＜アイゼンシュタイン＞ どうしたんだ？何で泣いてるんだ？俺のためにじゃないよな アデーレ？ ＜アデーレ＞ （すすり泣き） あたしのかわいそうな叔母さん！ ＜ロザリンデ＞ 死にそうな重い病気なのだそうよ！ ＜アイゼンシュタイン＞ 重い病気だって？俺は彼女がブドウ畑でロバに乗ってるところを見て来たばかりだぜ ＜アデーレ＞ （ひとりごと） しまった！ ＜ロザリンデ＞ （アデーレを見ながら） 叔母さんは病気なのよね？ ＜アデーレ＞ 知りません お医者さまがロバを診察していたのかどうかなんて ＜アイゼンシュタイン＞ 今から急いで「ゴールデンライオン」で 晩飯を注文してきてくれ。 良質で高級なものなら何でも届けてくれと。 （アデーレ 行こうとする） もう一つ！戻っってきたら俺の古着の中から一番汚くて古いやつを選んで置いてくれ、破けてみすぼらしいのがいい ＜アデーレ＞ 物乞いでもされるんですか？ ＜アイゼンシュタイン＞ いや 今夜そういうお仲間になるつもりはないさ。まず夕食だ！俺は今夜だけはこのファミリーテーブルで食事を取りたいんだ ＜アデーレ＞ （出がけに叫ぶ） ファルケ博士！ 第８場 ロザリンデ、アイゼンシュタイン、ファルケ博士 ＜ファルケ＞ （非常に陽気に） ああ、やつはまだここにいたか！ （ロザリンデの手にキス） 奥様 いつもお美しい！心よりお祝い申し上げますよ あなたがこの暴君から８日間も離れていられるなんて （アイゼンシュタインに手を差し出して） しかしお前もツイてるな。３日も追加して貰えるなんてなかなかの成果だぞ。裁判所に感謝の手紙でも出したらどうだ！ ＜ロザリンデ＞ ちょっと、博士！ ＜アイゼンシュタイン＞ ほっとけよ。ひどく落ち込んでる時には、こんな悪ふざけも気にならないもんなんだ！地下倉庫に行って何か持ってきてくれ。この悪い舌を静めるんだ どんどん辛口になる前に ＜ロザリンデ＞ これ以上の悪い冗談はないわ 博士！私たちはこのかわいそうな囚人が少しでも元気になれるようにしてあげなくちゃ （退場） 第９場 アイゼンシュタイン、ファルケ ＜ファルケ＞ （ロザリンデの後ろから声をかける） もちろん、こいつを元気づけるためにここにいるんですよ 美しい奥様！ （アイゼンシュタインにそっと） 俺はお前をすばらしい晩餐会に招待しに来たんだ オペラのすてきな幕間劇付きの ＜アイゼンシュタイン＞ お前正気か？俺は一時間以内に処罰を受けなきゃなんないんだぜ ＜ファルケ＞ 牢屋に入るのは明日の朝早くで大丈夫だ。今日は俺と一緒にオルロフスキー邸に行こう 若いロシアのプリンスで そこで湯水のように金を使ってる。女もそこにたくさんいるぜ。女だぞ おい 全くの花盛りなんだぞ ツバキからスミレまでの！ ＜アイゼンシュタイン＞ オペラ座のなじみの踊り子の女たちは？ ＜ファルケ＞ 何考えてんだ？ （舌打ちして） 第一カドリールの俊英もいれば、若い新人も何人かいるぜ 言ってみりゃ ねずみちゃんてとこかな。 ＜アイゼンシュタイン＞ おい 口が渇いてきちまったぜ！ けどプリンスかあ．．． ＜ファルケ＞ 俺の知り合いから若いのを何人か呼んでくるように言われてんだけどな ＜アイゼンシュタイン＞ そりゃ嬉しいなあ そういう愛すべき仲間の中に入れて貰えるのは！ ＜ファルケ＞ そりゃいつでもトンデモないアイディアで一杯の連中だからな 例えば３年前、シェーレンドルファーでの仮面舞踏会の時に ＜アイゼンシュタイン＞ 俺は蝶々に、お前はコウモリに扮したな。ハハ！覚えてるか？ ＜ファルケ＞ （きっぱりと） 忘れられるわけないだろ！ ＜アイゼンシュタイン＞ そりゃ最高の冗談だったからな！ ＜ファルケ＞ ああ、蝶々にとってはな、だがこうもりの方はそうじゃないぜ！ ＜アイゼンシュタイン＞ 今日主審をしてたヘリング博士もそこにいたっけな。腹を抱えて笑っていたもんで言えなかった 「うまく行ったな 兄弟」って。そいつが今日法廷に俺を呼び出して 「名前は？」と聞き、８日の刑をくらわせたんだぜ。まったくとんでもない親友さ！ （ポケットから時計を取り出し、ゆらゆらと揺らす） ＜ファルケ＞ ああ、これがかの「ねずみ取り」だな！ ＜アイゼンシュタイン＞ どういう意味だ？ ＜ファルケ＞ みんな言ってるぞ お前がその可愛らしい時計ですべての「椿姫」たちを誘惑してるって。もしやらせてくれるなら、これは君のものだってな ＜アイゼンシュタイン＞ だけどまだ誰にもやってないぜ！ （笑う） ＜ファルケ＞ ひでえ奴だ。お前は今夜もまたその餌を垂らすんだろ、俺がお前もパーティの参加者のひとりに数えてるもんだから？ Nr. 3 - デュエット ＜ファルケ＞ 一緒に行こうぜ 晩餐会へ そいつはすぐ近くであるのさ お前が静かな牢屋の中で 二日酔いを覚ますのはその後だ お前だって人生を楽しまなくちゃな 陽気な兄弟分になろうぜ！ バレリーナたちは 軽やかな足取りで 目のくらむような衣装を着て お前をバラの鎖で縛るんだ ポルカの音楽が誘うように鳴り響けば 友よ 分かるか 若返るんだぜ！ さんざめく音がきらめくホールの中に響き キレイな歌姫たちと すごい御馳走にありつく 時間はあっという間に過ぎるさ 喜びと笑いのうちに それでお前も元気になるのさ つらいことを皆忘れて 牢屋でお前がへこまないように 何でもお前のやりたいことをしろよ 気晴らしになることを 分かってるな？ ＜アイゼンシュタイン＞ 分かってるさ－ だけど女房にゃ知られちゃまずいな ＜ファルケ＞ お別れに優しくキスしてやればいい 言うのさ：さよなら 俺のかわいい子猫ちゃん ってな ＜アイゼンシュタイン＞ いや違う！ 俺のねずみちゃん って言うのさ だって猫みたいに俺は忍び出るんだからな この家からそっと ＜ファルケ＞ だって猫みたいにお前は忍び出るんだからな この家からそっと そして、彼女がぐっすり眠っている間、 お前は行ってるんだ 牢屋の代わりに 俺と天国の饗宴へ！ ＜アイゼンシュタイン＞ お前と天国の饗宴へ！ ＜ファルケ＞ 俺はお前を外国人として連れていくぜ 「ルナール侯爵」とそこでお前は名乗るんだ そうすりゃ誰も気づかない やれるか？ ＜アイゼンシュタイン＞ ああ、ちょっとなあ．．． ＜ファルケ＞ やれよ！ ＜アイゼンシュタイン＞ けどなあ．．． ＜ファルケ＞ お前はしなきゃダメなんだ 健康のためにも必要なのさ！ ＜アイゼンシュタイン＞ ああ、分かった お前が正しい そういう口実も悪くない！ ＜ファルケ＞ 牢屋でお前がへこまないように．．． ＜アイゼンシュタイン＞ 牢屋で俺がへこまないように．．． ＜二人＞ 何でもお前（俺）のやりたいことをするのさ 気晴らしになることを ＜ファルケ＞ じゃあお前来るんだな？ ＜アイゼンシュタイン＞ 行かずにいられるか？ああ、一緒に行こうぜ ＜ファルケ＞ 悪魔にお前の遠慮なんかくれちまえ！ ＜二人＞ 晩餐会が今宵 俺たちを招く こんな凄いのは今までにはないぜ 可愛い女の子が 選び放題 気ままに皆 そこで笑い歌う ラララ．．． （二人は陽気に部屋中を踊りまわる ロザリンデ入ってくる） 第１０場 アイゼンシュタイン、ファルケ、ロザリンデ ＜ロザリンデ＞ （破れたコートと古い帽子を手に驚いてこの踊り手たちを見つめる） 何なのいったい？ ＜アイゼンシュタイン、ファルケ＞ （踊りを中断する） ＜ロザリンデ＞ いったい何をしてるの、あなた？ ＜ファルケ＞ （いささか恥ずかしそうに） いや別に、うまくいったかい？ ＜アイゼンシュタイン＞ 俺を慰めてくれたのさ ＜ファルケ＞ 難しい任務だったが、俺は何とかやり遂げた ＜アイゼンシュタイン＞ ああ、俺は監獄に行ってやるぜ 派手な祝宴に行くみたいにな！ ＜ファルケ＞ ところでいったい何を持ってこられたのですか 奥様？ ＜ロザリンデ＞ 牢屋に入るための衣装よ （アイゼンシュタインの頭に帽子をかぶせる） 帽子の具合はちょうどいいかしら？ ＜アイゼンシュタイン＞ （帽子を投げ捨てる） こりゃなんなんだよ！お前 俺を泥棒にするつもりか？ ＜ロザリンデ＞ でも、あなたそうアデーレに命じたじゃない．．． ＜ファルケ＞ （コートを手に取って） それにこのコート！こんなのを着ていったら、看守に２５年くらい歓迎され続けるかも知れませんよ！ ＜ロザリンデ＞ （びっくりして） まあ！ ＜ファルケ＞ （自分の帽子を手に取る） 奥様．．． ＜ロザリンデ＞ もう帰られるのですか？ ＜ファルケ＞ もう夜も遅いですし、私は刑務所長のフランク氏のところも訪ねて行きたいのです。そこで待っていることにしますよ、わが友アイゼンシュタインを！ （退場） ＜アイゼンシュタイン＞ （彼に声をかける） ねずみちゃんによろしく伝えてくれよな！ 第１１場 ロザリンデ、アイゼンシュタイン。 ＜ロザリンデ＞ ねずみちゃん？ ＜アイゼンシュタイン＞ もちろん、ねずみちゃんさ！ねずみは、刑務所の詩情を象徴する生き物だろ ＜ロザリンデ＞ なんてことなの、ねずみと一緒にあなた押し込められるの！ ＜アイゼンシュタイン＞ なぜだめなんだ？奴らはかなりコミカルな生き物だろ。一緒に刑務所暮らしを満喫するのさ。 （歌う） ユッヘイッサ ホッサッサ トラララ！ ＜ロザリンデ＞ 今はユッヘイッサ ホッサッサなんて呑気に歌ってる時間はないでしょ！ ＜アイゼンシュタイン＞ いや、これは俺が着て行く服を考える時間なのさ。 ＜ロザリンデ＞ 刑務所に行くための服を？ ＜アイゼンシュタイン＞ もちろんさ！ファルケが言うにはあそこの中にだって社交界が見つかる可能性がかなりあるんだそうだからな。 （ロザリンデの額にキス） 俺は知ってるぜ 何を着ればいいか 黒いベルベットとシルクで 山高帽だ すぐに戻ってくるからな！ （退場） 第12場 ロザリンデ、後でアデーレ ＜ロザリンデ＞ 一人で あの人まるで別人みたいだわ！刑務所に行くのがそんなに嬉しいのかしら。私にもこのどん底の状況で何をすればよいか分かっていればいいのだけれど？ 私は彼に会うことを誓ってしまった、一度その深刻な誓ってしまったからには、どんなに厳しくても、その誓いを守らなければいけないのよ！ ＜アデーレ＞ （鼻の穴にバラの花束を突っ込んだイノシシの頭のプレートを運んできて） 「ライオン」は、このイノシシの頭を寄こしてきました ＜ロザリンデ＞ それであなたはそのモンスターを受け取ったの？ ＜アデーレ＞ だって他になかったんです ＜ロザリンデ＞ （イノシシの頭の前で物思いにふけって） だから私は（彼を）受け入れなければならないの？ ＜アデーレ＞ もちろんです もうお金払っちゃったんですから！ ＜ロザリンデ＞ （アデーレを無視して） 私は誓いを守らなければならないわ。でも一度彼を入れたら、すぐに出て行ってもらうことにしましょう。でもアデーレが邪魔にならないようにしなければ （アデーレに） ねえ、年老いた病気の叔母さんはロバに乗った後はどんな具合なの？ ＜アデーレ＞ えっ、そうですね！状態はまあ．．． ＜ロザリンデ＞ 年老いた病気の叔母さんじゃなくて健康な若い従兄弟なんでしょう？ ＜アデーレ＞ 奥様 よしてください．．． ＜ロザリンデ＞ でもどうでもいいわ、叔母でも従兄弟でも、私はあなたに何も聞かずにお休みをあげる ＜アデーレ＞ 本当ですか、奥様？ でもさっきはダメっておっしゃったんじゃ？ ＜ロザリンデ＞ あの時は機嫌が悪かったの 今は気分がずっと良くなったからよ ＜アデーレ＞ 高貴なご領主様が投獄されるからじゃないんですか？ ＜ロザリンデ＞ 生意気ね！ ＜アデーレ＞ すみません 奥様！ 第１３場 ロザリンデ、アデーレ、アイゼンシュタイン ＜アイゼンシュタイン＞ （エレガントな舞踏会の衣装で、香りを振りまきながら） うん 髪にはヴィオレ·ド·マースだな ハンカチにはフルールドランジュ！あとは燕尾服にオーデコロンをかければ完璧だ。アデーレ、聞いてるか？ オーデコロンを持っておいで ＜アデーレ＞ （香水のビンを渡す） ＜アイゼンシュタイン＞ （振りまきながら） これでけっこういい香りになってきたな！ ＜ロザリンデ＞ こんな立派な舞踏会の衣装を着て牢屋でいったい何をするの？ ＜アイゼンシュタイン＞ こうしてやつらにプライドを見せつけてやるのさ！あの泥棒紳士諸君にわれわれが見下されないようにな。花がないかな、バラでもツバキでも．．． （豚の頭の鼻のところの花束に気づき） 失礼、イノシシ男爵殿！ （彼のボタン穴にバラを挿す） ＜ロザリンデ＞ 信じられない！ ＜アイゼンシュタイン＞ じゃあ時間だ。さらば！ ＜ロザリンデ＞ どうして？夕食もせずに？ ＜アイゼンシュタイン＞ 俺はねずみちゃんたちと食うのさ ＜アデーレ＞ じゃあこの豚の頭はどうなるのかしら？ ＜ロザリンデ＞ あなたの気の毒な病気の叔母さんに持っていってあげて！ ＜アデーレ＞ ありがとうございます、奥様！病気の叔母さんの弱った胃袋もたちまち回復するでしょう！ ＜アイゼンシュタイン＞ （愛情をこめて腕を広げて） ロザリンデ、俺の大切なロザリンデ！ ＜ロザリンデ＞ （彼の腕に回りながら飛び込み） かわいそうなガブリエル ＜アイゼンシュタイン＞ 甘い夢を見てお休みよ 俺が眠れぬ夜を一晩中過ごしている間 （ダンスのステップをする） ＜アデーレ＞ （ため息をつき） なんて悲しいんでしょう！ ＜アイゼンシュタイン＞ こんな時には人は悲しみで死んでしまうか それとも急いでお互いお別れするかのどちらかを選ぶしかない。お別れする方を選ぼう！ ＜ロザリンデ＞ （すすり泣きながら） 無理よ！ ＜アデーレ＞ やってみるだけしてくださいよ。多分効果がありますから！ ＜アイゼンシュタイン＞ しっかりしろ 妻よ しっかりしろ！ Nr. 4 - 三重唱 ＜ロザリンデ＞ それじゃ私はひとりっきりね ８日間も あなたなしで！ どうやったら私は伝えられるのかしら 私の嘆きの この激しさを！ どうやって私は耐えればいいのでしょう、 夫が私を残して行ってしまうのに？ 誰に私は、この苦しみを訴えればいいのでしょう おお神さま どうして心は乱れるの 私はあなたのことを想い続けるわ 朝のコーヒーの時間にも あなたの分も淹れるのよ 空のカップを見つめて あなたに挨拶をおくることもできないのね 悲しみながら私はきっと その黒くて苦いコーヒーを飲み干すの ああ！ ＜アイゼンシュタイン＞ おお神さま どうして心は騒ぐんだ！ ＜三人で＞ おお神さま どうして心は騒ぐの！ おや どうして おや どうして こんなに心は騒ぐの！ ＜ロザリンデ＞ 信じあった夫婦はどこ お昼の時間がやってきたのに？ ステーキや スープ ローストビーフ でも夫はいない！ そして夜の帳が降りるときには 私はまた涙にくれる 私の苦しみは限りないの！ ＜三人で＞ おお神さま どうして心は騒ぐの！ おや どうして おや どうして こんなに心は騒ぐの！ ＜アイゼンシュタイン＞ 嘆いていて何になる 頭が変になりそうだぜ ＜ロザリンデ＞ 私の頭はボーッとしてる ＜アデーレ＞ （豚の頭（料理）を持ち上げて） あたしのはこの中よ！ ＜アイゼンシュタイン＞ じゃあな、俺は行かなくちゃならない！ ＜ロザリンデ＞ さよなら あなたは行かなくちゃいけないのね！ ＜アデーレ＞ お元気で ご主人様は行かなくちゃいけない ＜三人で＞ だけどまだひとつだけ甘い慰めが残ってる ＜アデーレ＞ 再びまた会えることが 再びまた会えることが！ ＜三人で＞ おお神さま おや どうして こんなに心は騒ぐの！ アイゼンシュタインは踊りながら退場 アデーレが続く ロザリンデが残される SIEBENTER AUFTRITT Rosalinde. Eisenstein. Später Adele. EISENSTEIN Ist das ein Vertreter! Solch blühender Unsinn hat noch in keinem Gerichtssaal gewuchert! ROSALINDE Mein armer Gabriel! Acht lange Tage - und heute noch! EISENSTEIN Heute noch! singt Es muss geschieden sein! ROSALINDE Und mit so einem Tenor haben sie dich verurteilen können, die Barbaren! EISENSTEIN Sie haben mich mit meinem Tenor gleich dort behalten wollen, und ich habe verflucht zu Kreuze kriechen müssen, bis man mir noch ein paar Stunden Freiheit bewilligt hat, um mit dir speisen zu können klingelt Verdenken kann ich s ihnen nicht dreimal haben sie mich eingeladen; wer aber nicht kam, war ich! ADELE mit verweinten Augen, gepresster Stimme Befehlen? EISENSTEIN Was bedeutet das? Du hast geweint? Doch nicht um mich, Adele? ADELE schluchzt Meine arme Tante! ROSALINDE Die arme Frau ist sterbenskrank! EISENSTEIN Sterbenskrank? Ich habe sie ja soeben hoch zu Esel in die Weinberge reiten sehen. ADELE für sich O verwünscht! ROSALINDE blickt auf Adele So krank ist sie? ADELE Wer weiss, ob ihr der Doktor nicht den Esel verordnet hat? EISENSTEIN Eile jetzt in den "Goldenen Löwen" und bestelle ein delikates Souper. Was gut und teuer ist, soll man uns liefern. Adele will fort Noch eins! Wenn du zurückkehrst, suchst du mir aus meinen alten Kleidern den ältesten, schmutzigsten, zerrissensten und miserabelsten Anzug heraus. ADELE Wollen Euer Gnaden betteln gehen? EISENSTEIN Nein, aber ich will nicht angebettelt werden in der Gesellschaft, deren Mitglied ich heute nacht sein werde. Vor allem das Souper! Ich will mir heute noch bene tun an meinem Familientische. ADELE meldet im Abgehen Herr Dr. Falke! ACHTER AUFTRITT Rosalinde. Eisenstein. Dr. Falke. FALKE sehr heiter Ah, da ist er noch! küsst Rosalinde die Hand Mein Kompliment, schönste aller Frauen! Ich gratuliere von Herzen, dass Sie den Tyrannen auf acht Tage loswerden. reicht Eisenstein die Hand Aber auch dir wünsche ich Glück, denn die Zugabe von drei Tagen ist immerhin eine Errungenschaft, für die du dem Gerichtshofe eine Dankadresse schuldig bist! ROSALINDE Aber Herr Doktor! EISENSTEIN Lass ihn nur. Wer den Schaden hat, braucht für den Spott nicht zu sorgen! Schicke in den Keller, liebe Frau; die böse Zunge muss genetzt werden, wenn sie nicht zu spitz werden soll. ROSALINDE Keine schlechten Witze mehr, lieber Doktor! Wir müssen ja unseren armen Arrestanten ein wenig aufzuheitern suchen. ab NEUNTER AUFTRITT Eisenstein. Falke. FALKE Rosalinde nachrufend Freilich, ihn zu zerstreuen und aufzuheitern bin ich ja da, schöne Frau! leiser zu Eisenstein Ich komme, dich zu einem fürstlichen Souper mit den reizenden Koryphäen der Oper einzuladen. EISENSTEIN Bist du toll? Ich muss ja binnen einer Stunde meine Strafe antreten. FALKE Den Arrest kannst du morgen in aller Frühe antreten. Heute gehst du mit mir in die Villa Orlofskys, des jungen russischen Fürsten, der hier im Bade fabelhafte Summen verschwendet. Damen findest du dort, Damen, sag ich dir, ein wahrer Blütenflor, von der Kamelie bis zum Veilchen! EISENSTEIN Sind die Damen etwa die alte Garde der Oper? FALKE Wo denkst du hin? zungenschnalzend Die Eliteder ersten Quadrille und dann einige von dem jugendlichen Nachwuchs, die sogenannten Ratten. EISENSTEIN Teufel, mir wässert der Mund! Aber der Prinz ... FALKE ... hat mich dringend ersucht, einige junge Lebemänner meiner Bekanntschaft einzuladen. EISENSTEIN Man schmeichelt mir allerdings, dass ich ein liebenswürdiger Gesellschafter bin! FALKE Und dabei immer mit den tollsten Einfällen bei der Hand, zum Beispiel vor drei Jahren, als wir den Scheelendorfer Maskenball besuchten ... EISENSTEIN Ich als Papillon, du als Fledermaus. Haha! Erinnerst du dich noch? FALKE bedeutungsvoll Oh, so etwas vergisst man nicht so leicht! EISENSTEIN Es war ein kapitaler Spass! FALKE. O ja, für den Papillon, aber nicht für die Fledermaus! EISENSTEIN Dr. Häring, der heute präsidierte, war auch dabei. Hielt sich den Bauch vor Lachen und konnte mir nicht oft genug zurufen "Das ist dir gelungen, Bruder!" - Und heute trug er mich "Wie heissen Sie?" Und diktierte mir acht Tage. Oh, dieser schlechte gute Freund! zieht seine Uhr aus der Tasche, lässt sie repetieren. FALKE. Ah, da ist ja der gewisse Rattenfänger! EISENSTEIN Was meinst du? FALKE Man behauptet, dass du mit dieser niedlichen Repetieruhr alle Kameliendamen köderst, wenn du ihnen den Hof machst. Du versprichst sie einer jeden ... EISENSTEIN ... aber gegeben habe ich sie noch keiner! lacht FALKE Spitzbube, du wirst heute nacht abermals diesen Köder auswerfen können, denn ich rechne damit, dass du von der Partie bist? Nr. 3 - Duett FALKE Komm mit mir zum Souper, Es ist ganz in der Näh. Eh du in der stillen Kammer Laborierst am Katzenjammer, Musst du dich des Lebens freun, Ein fideler Bruder sein! Ballerinen, leicht beschwingt, In den blendendsten Toiletten, Fesseln dich mit Rosenketten, Wenn die Polka lockend klingt. Freundchen, glaub mir, das verjüngt! Bei rauschenden Tönen im blendenden Saal Mit holden Sirenen beim Göttermahl, Da fliehen die Stunden in Lust und Scherz, Da wirst du gesunden von allem Schmerz. Soll dir das Gefängnis nicht schädlich sein, Musst du etwas tun, dich zu zerstreun. Siehst du das ein? EISENSTEIN Das seh ich ein. - Doch meine Frau, die darf nichts wissen. FALKE Du wirst zum Abschied zärtlich sie küssen, Sagst Lebewohl, mein süsses Kätzchen! EISENSTEIN Nein, nein! Mein Mauserl, sage ich, Denn als Katze schleich ich selbst Aus dem Hause mich. FALKE Denn als Katze schleichst du selbst Aus dem Hause dich. - Und während sie schläft ganz fest, Gehst du statt in deinen Arrest Mit mir zu dem himmlischen Fest! EISENSTEIN Mit dir zu dem himmlischen Fest! FALKE Ich führe dich als Fremden ein, "Marquis Renard" sollst dort du sein. So wird man nichts erfahren können. Willst du? EISENSTEIN Ach, ich wäre schon erbötig ... FALKE Du musst! EISENSTEIN Wenn nur ... FALKE Du musst dir s vergönnen, Zur Gesundheit ist s ja nötig! EISENSTEIN Ja, ich glaub, du hast recht. Die Ausred ist nicht schlecht! FALKE Soll dir das Gefängnis nicht schädlich sein ... EISENSTEIN Soll mir das Gefängnis nicht schädlich sein ... BEIDE .... Musst du (Muss ich) etwas tun, dich (mich) zu zerstreun! FALKE So kommst du? EISENSTEIN Wer kann widerstehn? Ja, ich bin dabei. FALKE Zum Teufel mit deiner Leimsiederei! BEIDE Ein Souper uns heute winkt, Wie noch gar keins dagewesen Schöne Mädchen, auserlesen, Zwanglos man dort lacht und singt. Lalalala ... Beide tanzen lustig durchs Zimmer, während Rosalinde eintritt. ZEHNTER AUFTRITT Eisenstein. Falke. Rosalinde. ROSALINDE mit einem zerrissenen Rock und alten Hut blickt erstaunt auf die Tanzenden Was ist denn das? EISENSTEIN, FALKE unterbrechen den Tanz ROSALINDE Was treibt ihr denn, meine Herrn? FALKE etwas verlegen Nicht wahr, das ist mir gelungen? EISENSTEIN Er hat mich getröstet. FALKE Eine schwierige Aufgabe, aber ich habe sie glücklich gelöst. EISENSTEIN Jawohl, ich gehe jetzt in meinen Arrest, als ob ich zu einem Lustgelage ginge! FALKE Was bringen Sie uns denn da, gnädige Frau? ROSALINDE Die Toilette für unseren Arrestanten. drückt Eisenstein den Hut auf den Kopf Ist dir der Hut recht? EISENSTEIN schleudert den Hut fort Warum nicht gar! Willst du denn einen Räuber aus mir machen? ROSALINDE Aber du befahlst ja Adele ... FALKE nimmt den Rock Und dieser Kittel! Wenn du den anlegst, lässt dich der Gefängnisdirektor gleich mit 25 bewillkommnen! ROSALINDE erschrocken Himmel! FALKE greift nach seinem Hute Gnädige Frau ... ROSALINDE Sie wollen uns schon verlassen? FALKE Es ist schon spät, und ich will dem Gefängnisdirektor, Herrn Frank, seinen neuen Hausgenossen anmelden. Ich werde dich dort erwarten, Freund Eisenstein! ab EISENSTEIN ruft ihm nach Meine Empfehlung an die Ratten! ELFTER AUFTRITT Rosalinde. Eisenstein. ROSALINDE An die Ratten!? EISENSTEIN Natürlich an die Ratten! Die Ratten illustrieren die Poesie des Kerkers. ROSALINDE Gerechter Gott, bei den Ratten wirst du einquartiert! EISENSTEIN Warum denn nicht? Es sind ja ganz possierliche Tierchen. Ich werde mich gut mit ihnen unterhalten. singt Juchheissa, hopsassa, trallala! ROSALINDE Aber jetzt ist doch nicht Zeit, juchheissa, hopsassa zu singen! EISENSTEIN Nein, denn es ist Zeit, an meine Toilette zu denken. ROSALINDE Toilette fürs Strafhaus? EISENSTEIN Natürlich! Falke meint, es sei leicht möglich, dass ich dort eine geschlossene Gesellschaft finde. küsst Rosalinde auf die Stirn Ich weiss, wie ich mich kleide In schwarzen Samt und Seide Mit einem Chapeau bas - Gleich bin ich wieder da! ab ZWÖLFTER AUFTRITT Rosalinde. Später Adele. ROSALINDE allein Der Mann ist ja wie ausgewechselt! Mir scheint, er freut sich ordentlich, eingesperrtzu werden. Wenn ich nur wüsste, was ich mit dem da unten anfangen soll? Ich habe geschworen, ihn zu empfangen, und wenn man einmal einen solchen schweren Schwur schwört, muss man diesen Schwur halten, sei es noch so schwer! ADELE bringt auf einer Platte einen Wildschweinkopf mit einem Rosenbukett im Rüssel Der "Löwe" schickt diesen wilden Schweinskopf. ROSALINDE Und du hast das Ungeheuer angenommen? ADELE Er hat sonst nichts vorrätig gehabt. ROSALINDE sinnend vor dem Schweinskopf So muss ich ihn denn annehmen? ADELE Freilich, ich habe ihn ja schon bezahlt! ROSALINDE ohne auf Adele zu achten Meinen Schwur muss ich halten. Empfangen werde ich ihn, aber nur, um ihn gleich wieder zu entlassen. Aber Adele muss ich mir aus dem Wege schaffen. laut zu Adele Nun, wie befindet sich denn deine alte kranke Tante nach der Eselspartie? ADELE I nu ... so so! Den Umständen angemessen ... ROSALINDE Sollte diese alte kranke Tante nicht ein junger, gesunder Vetter sein? ADELE Gnädige Frau, ich bitte recht sehr ... ROSALINDE Aber gleichviel, Tante oder Vetter, ich gebe dir den Urlaub ohne Fragezeichen. ADELE Wahrhaftig, gnädige Frau? Aber früher haben Sie mir ihn rundweg abgeschlagen? ROSALINDE Weil ich früher verdriesslich war, jetzt bin ich bei besserer Laune. ADELE Weil der gnädige Herr eingesperrt wird? ROSALINDE Mamsell Naseweis! ADELE Bitte um Verzeihung, gnädige Frau! DREIZEHNTER AUFTRITT Rosalinde. Adele. Eisenstein. EISENSTEIN in eleganter Balltoilette, parfümiert sich So die Haare Violet de Mars, die Wäsche Fleur d Orange! Jetzt habe ich nur noch den Frack zu wässern mit Eau de Cologne. Hast du nicht gehört, Adele? Eau de Cologne habe ich befohlen. ADELE holt einen Flakon EISENSTEIN sich bespritzend So, jetzt dufte ich anständig! ROSALINDE Und diese strenge Balltoilette hast du für die Gefangenen gemacht? EISENSTEIN Damit sie sehen, dass ich ihrer würdig bin! Diese Herren Spitzbuben pflegen uns gleich über die Achsel anzuschauen. Habt ihr nicht eine Rose, Kamelie oder ... bemerkt das Bukett im Rüssel des Schweinskopfes erlauben schon, Baron Wildschwein! befestigt die Rosen in seinem Knopfloch. ROSALINDE Unbegreiflich! EISENSTEIN Aber es ist Zeit. Leb wohl! ROSALINDE Wie? Ohne zu soupieren? EISENSTEIN Ich werde mit den Ratten soupieren. ADELE Und was geschieht mit dem Schweinskopf? ROSALINDE Bring ihn deiner armen kranken Tante! ADELE Tausend Dank, gnädige Frau! Das wird die arme Frau mit dem schwachen Magen recht erquicken! EISENSTEIN affektiert die Arme ausbreitend Rosalinde, meine teure Rosalinde! ROSALINDE bewegt in seine Arme stürzend Mein armer Gabriel? EISENSTEIN Süsse Träume mögen dich umgaukeln, während ich die ganze Nacht ruhelos durchwachen werde. macht Tanzschritte ADELE seufzt Wie traurig! EISENSTEIN In solcher Situation hat man nur die Wahl, entweder in Schmerz zu vergehen oder sich rasch voneinander loszureissen. Reissen wir uns los! ROSALINDE schluchzt Unmöglich! ADELE Probieren Sie es nur; vielleicht geht s doch! EISENSTEIN Ermanne dich, Weib, ermanne dich! Nr. 4 - Terzett ROSALINDE So muss allein ich bleiben Acht Tage ohne dich? Wie soll ich dir beschreiben Mein Leid so fürchterlich? Wie werd ich es ertragen, Dass mich mein Mann verliess? Wem soll mein Leid ich klagen? O Gott, wie rührt mich dies! Ich werde dein gedenken Des Morgens beim Kaffee, Wenn ich dir ein will schenken, Die leere Tasse seh. Kann keinen Gruss dir winken. Aus Jammer werd ich g wiss Ihn schwarz und bitter trinken! - Ach! EISENSTEIN O Gott, wie rührt mich dies! ALLE DREI O Gott, wie rührt mich dies! O je, o je, wie rührt mich dies! ROSALINDE Wo bleibt die traute Gruppe, Kommt Mittag dann heran? Beim Rindfleisch wie zur Suppe, Zum Braten - keinen Mann! Und sinkt der nächt ge Schleier, Gibt s wieder mir nen Riss, Mein Schmerz wird ungeheuer! ALLE DREI O Gott, wie rührt mich dies! O je, o je, wie rührt mich dies! EISENSTEIN Was soll das Klagen frommen, Den Kopf verlier ich schier, ROSALINDE Mein Kopf ist ganz benommen. ADELE den Schweinskopf nehmend Den meinen hab ich hier! EISENSTEIN Leb wohl, ich muss nun gehen. ROSALINDE Leb wohl, du musst nun gehen. ADELE Leb wohl, er muss nun gehen. ALLE DREI Doch bleibt ein Trost so süss ADELE Es gibt ein Wiedersehen, es gibt ein Wiedersehen! ALLE DREI O Gott, o je, wie rührt mich dies! Eisenstein tanzt ab. Adele folgt, während Rosalinde zurückbleibt. 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。@ 藤井宏行 Strauss,Johann II/Die Fledermaus/I-3
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Fundamentals of Heat Transfer in Forced Convection 1994 Proceedings International Mechanical Engineering Congress Exposition (1994 Chicago, Il) ((Htd Ser.; Vol. 285)) Ga.) International Mechanical Engineering Congress and Exposition (1996 Atlanta?American Society of Mechanical Engineers Heat Transfer Division?Frank W. Schmidt?R. J. Moffat? National Geographic's Guide to America's Historic Places (National Geographic) Michael Lewis?Thomas Schmidt?National Geographic Society? National Geographic Guide to America's Historic Places Michael Lewis?Thomas Schmidt?National Geographic Society? National Geographic's Driving Guides to America The Rockies Montana, Idaho, Wyoming, and Colorado (National Geographic's Driving Guides to America) Thomas Schmidt?Michael Lewis?National Geographic Society? National Geographic's Driving Guides to America Canada (Driving Guides to America) Katherine Ashenburg?Alison Kahn?Jeremy Schmidt?Thomas Schmidt? 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【Tags Luka Miku Owata-P Rin sezu tR R】 Original Music title リンちゃんなう！ English music title Rin-chan now! Romaji music title Rin-chan Nau! Lyrics written by sezu / 杉の人(Suginohito) Music written, Voice edition by オワタP (Owata-P) Music arranged by オワタP (Owata-P) Singer(s) 初音ミク (Hatsune Miku), 巡音ルカ (Megurine Luka), 鏡音リン (Kagamine Rin) Click here for the original Japanese Lyrics English Lyrics (translated by animeyay)： Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!!! Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!!! Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!!! Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!!! (^ω^≡^ω^) oh oh oh oh I want to go huggie-huggie with Rin-chan. Trembling with excitement, I want to pin her down and squeeze her in my embrace. Of course, it's not impossible for her to bite my arm. You can bite if you want, Rin-chan! I want to go shopping together with Rin-chan, and then, with a nonchalant expression, say to her, "This is a date, right?", just to make her extremely conscious of it. Rin'chan's ribbon is attached to an Alice band. In the morning, I want to switch it with a set of cat ears, just to see how long it'll take her to notice, but before I could notice, Rin-chan would have already gone out of the house, and when she'd finally have returned in the evening, she'd grip her cat-ear headband in her hand and glare my way with a red face, so that I could reflect on my wrongdoing. (^ω^≡^ω^) oh oh oh oh I want to make Rin-chan the center of my pampering attention. While watching Rin-chan acting nervously and suspiciously because she's not used to having others' attention, I want to give her even more attention. I want to spoil her even more. I want to do whatever I can to prevent Rin-chan from searching "Kagamine Rin R-18" on Pixiv. At the event place of the VOC@LOiD M@STER, I want to have Rin-chan cosplay as Luka. I want to subconsciously move the focus of my eyes to her out-of-place flat chest, causing her to say "I'm changing it back." and try to run away, so that I can frantically chase after her. (^ω^≡^ω^) oh oh oh oh When I wake up in the morning, I want to find a suddenly more grown Rin-chan, and I will remain quiet at my lunch table because I'll be too busy thinking about how to approach her, and I want to feel apologetic somehow for making her use a pink bowl. After the meal, even if she says to me that she will do the dishes, I still want to be polite and respectful by replying "Ah, I shall do it!" Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!!! Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!!! Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!!! Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!! (^ω^≡^ω^) oh oh oh oh I want to come across Rin-chan working as a maid at a maid cafe when she's supposedly disallowed from having a job, and I want to fully enjoy her flustered and nervous reaction when she sees me. Since Rin-chan always speaks in a formal way, whenever she does that, I want to gear the conversation towards something on the line of "You don't need to be so tense." "Ye...Yes ma'am!" When Rin murmurs to herself "Magical Girl, huh...?" I want to say to her, "If Rin-chan is a magical girl, she would probably be called MagicaRin." But since I would most likely only get a bitter smile back, I'll want to keep that thought to myself. (^ω^≡^ω^) oh oh oh oh When Rin-chan comes back tired and sits right next to me on the sofa, I want her to lean on my shoulder and sleep, so that I'll feel warm. I want Rin to close her eyes and stick her lips my way, and then I, although feeling uneasy and unsure, would try to act cool and flick her forehead. I want to run into Rin-chan in the street when she's wearing glasses, and I want her to say some excuses such as "I normally wear contacts, okay?!" Then, when I comment honestly on how nice her glasses actually look on her, I want her to hang her head and stay quiet out of embarrassment. (^ω^≡^ω^) oh oh oh oh I want to get a text from Rin-chan that says "I've loved you for a long time." and feel startled. After I reply "You're funny lol", and get all worked up and excited from her next text that says "Oopsies, but you're about the only person I can send this kind of text to lol", I want to then get another text that says "Just kidding of course!", which will make me become jaded and unable to believe anything anymore. Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!!! Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!!! Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!!! Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!!! Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!!! Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!!! Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!!! Rin-chan now! Rin-chan now!! Rin-chan Rin-chan Rin-chan now!!! Romaji lyrics (transliterated by animeyay)： Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! (^ω^≡^ω^) oh oh oh oh Rin-chan o gyuugyuu shitai na jitajita suru no o osaekonde gyuutte shitai na ude kamareru no mo ari da yo kande ii yo Rin-chan Rin-chan to futari de kaimono ni iku koto ni natte, nan de mo nai kao de "deeto da nee" tte itte mechakucha ni ishiki sasetai. Rin-chan no ribon wa kachuusha ni tsuite imasu ga, asa, kossori nekomimi ni surikaete, itsu kizuku ka naa to omotte itara, Rin-chan ga dekaketa no ni boku ga kizukazu, yuugata kaette kita Rin-chan ga nekomimi kachuusha o nigirishimete makka na kao de nirande kita tame, hansei shitai. (^ω^≡^ω^) oh oh oh oh Rin-chan o chiyahoya shitai. chiyahoya sarenarete'nai Rin-chan ga kyodou-fushin ni naru no o mite, sarani chiyahoya shitai. chiyahoya shitai. Rin-chan ga Pixiv de "Kagamine Rin R-juuhachi" de kensaku o kakeru no o zenryoku de soshi shitai. boomasu kaijou de wa Rin-chan ni ruka-kosu shite moraitai. shikashi, kyouretsu na iwakan o hassuru pettanko na mune ni muishiki ni me ga itte shimai, "mo, mou kigaeru" to nigedasou to suru Rin-chan o hisshi ni foroo shitai. (^ω^≡^ω^) oh oh oh oh asa okiru to ikinari seichou shite ita Rin-chan ni, dou sesshite ii ka wakarazu ni shokujichuu mo kotobazukuna ni nari, pinku no o-chawan to ka tsukawasete'ru no ga nazeka moushiwake naku naritai. shokugo, o-sara arau ne to ka iwarete mo "a boku ga yarimasu!" to ka keigo ni naritai. Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! (^ω^≡^ω^) oh oh oh oh Rin-chan ga baito-kinshi na no ni meido kissa de meido-san shite'ru no ni dekuwashite, gikochinai sugata o osametai. Rin-chan ga itsu made datte mo keigo na no de, sono tabi ni "sonna kinchou shinakute ii yo" "ha, hai" mitai na kaiwa o maikai yaritai. mahou shoujo ka...tte tsubuyaite'ru Rin-chan ni "Rin-chan ga mahou shoujo ni nattara majikkurin da ne" to ka koe o kaketakute, demo kitto nigawarai shika kaette konai kara gaman shitai. (^ω^≡^ω^) oh oh oh oh tsukarete kaette kita Rin-chan ga sofa de tonari ni suwatte, sono mama kata ni yorikakatte nete shimai, atatakaku naritai. Rin-chan ga me o tojite kuchibiru o kochira ni mukeru no de, shibashi douyou shite mayotte, sore o omote ni dasanai you ni, dekopin shitai. machi de deatta Rin-chan wa nanto megane o tsukete ori, koe o kakeru to "fudan wa kontakuto na'n da kedo ne!" to iiwake suru kedo, sono megane mo niatte'n ja'n, to honshin o kuchi ni shita tokoro, utsumuite mugon ni nararetai. (^ω^≡^ω^) oh oh oh oh "zutto mae kara suki deshita" tte meeru o Rin-chan kara morai, dokitto shitai. "usotsukuna" to okuru to "bareta? demo konna meeru okureru no kimi kurai dakara sa" tte kaette kite dokidoki shita ato "mochiron uso!" to kite, nani mo shinjirarenaku naritai. Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! Rin-chan nau! Rin-chan nau!! Rin-chan Rin-chan Rin-chan nau!!! [[Owata-P, OwataP, Garuna, sezu, Suginohito]
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Claude-Henri Watelet, 1718- 1786. Watelet L art de peindre, 1760. a http //books.google.co.jp/books?id=hhJ4oyu1sKsC source=gbs_navlinks_s L art de peindre, 1760. b http //books.google.co.jp/books?id=LAcUAAAAQAAJ source=gbs_navlinks_s http //books.google.co.jp/books?id=Ltc9AAAAcAAJ source=gbs_navlinks_s 1760年の『絵画術』には複数の版があり、頁付けが若干異なる（出版社等は同じ）。 [Jollet 2005]は1761年版を使用 L art de peindre, 1761. http //books.google.co.jp/books?id=RMg9AAAAcAAJ source=gbs_navlinks_s 末尾にLettre à M*** sur L art de peindreを追加 Dictionnaire des beaux-arts, 2 vol., 1788-91, Complété par Pierre-Charles Lévesque et d’autres auteurs. Dictionnaire de arts de peinture, sculpture et gravure, 5 vol., 1792, [Réédition en fac-similé L. F. Prault, Paris / Minkoff, Genève, 1972] Dictionnaire, t. 1. http //books.google.co.jp/books?id=EsU9AAAAcAAJ source=gbs_navlinks_s Dictionnaire, t. 1. a http //books.google.co.jp/books?id=Vcc-AAAAcAAJ source=gbs_navlinks_s Dictionnaire, t. 2.(Oxford) http //books.google.co.jp/books?id=ySgGAAAAQAAJ source=gbs_navlinks_s Dictionnaire, t. 2.(univ. Michigan) ocrの精度が比較的高い http //books.google.co.jp/books?id=Ma54ehfILJkC source=gbs_navlinks_s Dictionnaire, t. 2. a http //books.google.co.jp/books?id=cMc-AAAAcAAJ source=gbs_navlinks_s Dictionnaire, t. 3.(Oxford) http //books.google.co.jp/books?id=AikGAAAAQAAJ source=gbs_navlinks_s Dictionnaire, t. 3. http //books.google.co.jp/books?id=UPP6LZMxeVQC source=gbs_navlinks_s Dictionnaire, t. 4.(OXford) http //books.google.co.jp/books?id=JSkGAAAAQAAJ source=gbs_navlinks_s Dictionnaire, t. 4. a http //books.google.co.jp/books?id=AxM0oLfGfIEC source=gbs_navlinks_s Dictionnaire, t. 4. （比較的精度高い） http //books.google.co.jp/books?id=23hJyjryzpkC source=gbs_navlinks_s Dictionnaire, t. 5.(Oxford) http //books.google.co.jp/books?id=ICsGAAAAQAAJ source=gbs_navlinks_s Dictionnaire, t. 5. http //books.google.co.jp/books?id=0Mc-AAAAcAAJ source=gbs_navlinks_s http //books.google.co.jp/books?id=WM-2BG9U1z8C source=gbs_navlinks_s ******************************