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https://w.atwiki.jp/eq2since2006/pages/402.html
【Queen Varronik】 Lv64▲▲＋Slithis(取巻き)Lv64▲2匹 アチーブメント：有り 関連クエスト： 名前 コメント
https://w.atwiki.jp/pocketplanes/pages/241.html
PORT HEDLAND [ポートヘッドランド] PORT HEDLAND は OCEANIA に位置する人口約 0.01 millionの都市。 PORT HEDLAND Airportは Class 1 の空港。 “PORT HEADLAND IS A NATURAL DEEP ANCHORAGE PORT WHICH SERVES AS THE MAIN FUEL AND CONTAINER RECEIVAL POINT FOR THE REGION.” OPEN(coins) 1060coins 宣伝(coins) 11060coins レベル1 レベル2 レベル3 アップグレードコスト(coins) - 2120 3180 LAYOVERS 5 10 15 CLOSE時の払戻(coins) 530 1590 3180 空港 一覧 AFRICA [アフリカ] AL FASHIR・ALGIERS・BAMAKO・BEIRA・BENGHAZI・CAIRO・CAPE TOWN・CASABLANCA・DAKAR・DJIBOUTI・DURBAN・HARARE・IN SALAH・JOHANNESBURG・JUBA・KADUNA・KAMPALA・KANANGA・KHARTOUM・KINSHASA・KISANGANI・LAGOS・LILONGWE・LIVINGSTONE・LOBITO・MAHAJANGA・MOGADISHU・MOMBASA・MONROVIA・NAIROBI・PORT ELIZABETH・PORT SUDAN・TIMBUKTU・TRIPOLI・WINDHOEK・ZANZIBAR ASIA [アジア] ADEN・AHMEDABAD・ANADYR・BAGHDAD・BANGALORE・BANGKOK・BEIJING・BUTWAL・CEBU・CHENGDU・DELHI・DHAKA・GUANGZHOU・HANOI・HARBIN・HONG KONG・HYDERABAD・ISTANBUL・JAKARTA・JERUSALEM・KABUL・KANDAHAR・KARACHI・KOLKATA・KUCHING・KUWAIT CITY・LHASA・MAGADAN・MANILA・MUMBAI・MUSCAT・NAGASAKI・NANPING・NORILSK・NOVOSIBIRSK・OSAKA・PADANG・PALU・PEVEK・PORT MORESBY・RANGOON・RIYADH・SAPPORO・SENDAI・SEOUL・SHANGHAI・SHENYANG・SINGAPORE・TAIPEI・TEHRAN・TIKSI・TOKYO・ULAN BATOR・URUMQI・VLADIVOSTOK・XI AN・XINING・YAKUTSK・YINCHUAN EUROPE [ヨーロッパ] AMSTERDAM・ATHENS・BARCELONA・BEIRUT・BELFAST・BELGRADE・BERGEN・BERLIN・BERN・BORDEAUX・BRUSSELS・BUCHAREST・COPENHAGEN・CORDOBA(SPAIN)・GLASGOW・HAMMERFEST・HELSINKI・KIEV・LISBON・LONDON・LULEA・LYON・MADRID・MANCHESTER・MINSK・MOSCOW・MUNICH・MURMANSK・NAPLES・OSLO・OULU・PARIS・PERM・PRAGUE・REYKJAVIK・RIGA・ROME・ST.PETERSBURG・STOCKHOLM・TBILISI・TRONDHEIM・VENICE・VIENNA・VOLGOGRAD・WARSAW NORTH AMERICA [北アメリカ] ANCHORAGE・ATLANTA・BARROW・BISMARCK・BOSTON・CALGARY・CANCUN・CHARLESTON・CHICAGO・CHIHUAHUA・CINCINNATI・DALLAS・DENVER・DETROIT・EDMONTON・FAIRBANKS・GOOSE BAY・GUATEMALA・HAVANA・HILO・HONOLULU・HOUSTON・INUVIK・IQALUIT・JUNEAU・KANSAS CITY・KETCHIKAN・LAS VEGAS・LOS ANGELES・MEXICO CITY・MIAMI・MINNEAPOLIS・MONTERREY・MONTREAL・NEW ORLEANS・NEW YORK・NOME・NUUK・OAXACA・ORLANDO・OTTAWA・PANAMA CITY・PHILADELPHIA・PHOENIX・PORTLAND・QUEBEC・SALT LAKE CITY・SAN DIEGO・SAN FRANCISCO・SAN JOSE・SANTO DOMINGO・SASKATOON・SEATTLE・SPOKANE・ST.LOUIS・THUNDER BAY・TORONTO・VANCOUVER・WASHINGTON DC・WHITEHORSE・WINNIPEG・YELLOWKNIFE SOUTH AMERICA [南アメリカ] ARAGUAINA・ASUNCION・BARILOCHE・BELEM・BOGOTA・BRASILIA・BUENOS AIRES・CAMPO GRANDE・CARACAS・CORDOBA(ARGENTINA)・CUIABA・CUZCO・EASTER ISLAND・FORTALEZA・GEORGETOWN・IQUITOS・LA PAZ・LIMA・MANAUS・PORTO VELHO・PUNTA ARENAS・QUITO・RECIFE・RIO DE JANEIRO・SALVADOR・SANTIAGO・SAO PAULO・TERESINA OCEANIA [オセアニア] ADELAIDE・ALICE SPRINGS・AUCKLAND・BRISBANE・BROKEN HILL・BROOME・CAIRNS・CHRISTCHURCH・DARWIN・GERALDTON・HOBART・KALGOORLIE・KATHERINE・MELBOURNE・MOUNT ISA・NEWMAN・PERTH・PORT HEDLAND・ROCKHAMPTON・SYDNEY・WELLINGTON
https://w.atwiki.jp/macrossuf/pages/245.html
CHRONICLE 銀河クジラの歌う星 詳細 ミッション概要： バサラの歌を銀河に響かせろ。 天候 時刻 制限時間 レベル 目標 機体指定 - - 10 00 Lv8 銀河クジラに歌を聞かせよ敵を殲滅せよ VF-19P BGM 開始時 友軍 ガムリン木崎（VF-22 ガムリン機） グラハム・ホイリー（潜水服） 増援 敵機 初期配置 増援 第一陣： 第二陣： 第三陣： 敵エース 攻略ポイント キャンペーンの方とは似て非なるミッション。 こちらは銀河クジラにも歌を聞かせて撤退させなければならない。 銀河クジラは定期的にガード不可の衝撃波を発射してくる。 足を止めていると当たってしまうが、範囲が広いため動き回っても結構当たってしまう。。 攻撃力は高くないのでHPと射撃防御を強化しておけばさほど気にする必要は無い。 高ランクを取るためには全ての銀河クジラを歌で撤退させねばならないが 敵を放置していると銀河クジラが一匹くらいやられてしまうので、先に敵のほうから片付けていく ゲージが溜まったら惜しみなくSPAを使っていこう。 ランク PT以上でS PT94800以上でSS 隠し ミッションテンプレート Ver.1.11
https://w.atwiki.jp/hellgate_london/pages/172.html
Unique Hunter Armors Unique Hunter Armors Belts Gloves Helm Pants Shoulders Boots Torso Armor [部分編集] Belts Base Item Name Drawcord Hitch Hiker? Belt Blackburn s Belt? Webbing Vanderbeam s Webbing? Braces Pierson s Braces Buckle Belle s Buckle? Toolbelt Kaiser s Kit? Waistguard Liu s Automated Waistguard? Harness Kalan s Harness Holster Gun Sling? Web Belt Multitask Holder? Ammo Belt Kuiper s Belt? Packer Sherpa s Companion [部分編集] Gloves Base Item Name Handgrips Banehunter Grips? Gloves Snarefist? Gunners B.I.G. Gunns? Flexers Platinum Spans Slips Slips of the Silent Death? Ringers Berk s Ringers? Handguards TPJ Handguards Duellos Duellos of the Duelist Vices Underhanders? Systems Houston s Administrated Systems? Drivers Wheldon s Wheelgrips? Flexers Scaper-X-Flexers [部分編集] Helm Base Item Name - Eyes of the Maverick Hardcover Brian s Braincase? Powerhelm S.P.D. Ranger Helm? PASGT Docenturian Helm? CVC Ihringer s Encasement Faceplate Helm of the Arachnid? Faceguard Skullshell? Brainpan Head Case? Domeshield Kokeeno s Domeshield WAG Helm WAG Rebreather? SA-13 Headgear SA-13 Airlock? Farsights Eagle Eyes? Truesights Sophitia s Vision [部分編集] Pants Base Item Name Ballistic Leg Guards Rouse s Deflectors? Actuated Leg Guards Steelshanks? Striders Lanzer s Longrunners Titanium Sheaths Biogram Sheaths? Sheaths Crouching Tigers? Scaled Leggings Bughides? Reflex Guards Digitron Brace? Jambarts Recon Jambarts Plated Leathers Reinforcers? Impact Leggings Destriders? Leg Plates Anodized Leggings? Locktights LYC Locktights [部分編集] Shoulders Base Item Name CAS-42 Shoulders Ceramic Plated Armguards? Cappers Atlas Burden? Capsons Tyne s Capsons? Deflectors Fontaine s Impressive Pair Holds Irongrip Holds? Shoulderpads Asymmetric Defenders? Shoulderguards Flipped Defenders? Shoulderplates Advanced Scout Shoulderplates Glancers Traphazards? Impact Pads Harry s Hardcase? Steadiers SuE Steadiers Slants Scrapper Slants [部分編集] Boots Base Item Name Strider Boots Tiffney s Nefarious Boots Oxonians Kyle s Everpresents Silent But Deadly [部分編集] Torso Armor Base Item Name Ballistic Vest Plausible Deniability? Arclite Armor Keffer s Defensive Array? Armored Jacket Halfpixel Protector? Titanium Jack Reap3r s Reinforced Jack Vest Hardstop Vest? Chestguard Hero s Halfshell? Reflex Armor Nanodyne Reflex Armor? Multitask Plate Northrop s Guru Terminator Vest Slugstumper? Ballistica Milo s Reprieve? Body Armor Invader Armor? Safeguard Scale of Sydonai
https://w.atwiki.jp/oper/pages/1807.html
ATTO TERZO Scena Prima (Astolfo, Ruggiero) RUGGIERO Morto Orlando tu credi? ASTOLFO E sol desio L onor del rogo all onorata salma, E alle ceneri illustri urna condegna. RUGGIERO A penetrar nell erto della rupe Giù nel profondo speco L alato mio destrier ti serva all uopo. ASTOLFO Sì, contro Alcina alla vendetta Accingiamoci, o Ruggier Melissa puote Quelle mura d acciaro A nostri passi aprir; se meco sei, Se l amazzone nostra a noi s unisce Nulla temo il poter de Stigj dei. Dove il valor combatte Nulla il vigor potrà D inferno irato. Se l empietà s abbatte, Contro del suo rigor Congiura il fato. Scena Seconda (Ruggiero, Bradamante in abito da uomo) RUGGIERO Vendetta, sì, cor mio. BRADAMANTE La tenti invano. RUGGIERO Non può mancar ciò che negli astri è fisso Sitibondo di sangue a darne aita Tu al fianco pur riappendesti il brando. BRADAMANTE Ma perché sola io voglio L onor del colpo, e sola averlo io posso Colà dentro racchiusa è la fatale Urna, ch eterno fa il poter de l empia. RUGGIERO La rapirem... BRADAMANTE Melissa, infin Melissa Come rapirla ignora, e chiusa il vedi, D acciar la soglia, ed immortale è il fiero Custode delle ceneri famose. RUGGIERO Ritiramci, sen viene Alcina al tempio. BRADAMANTE Vedrai per me della crudel lo scempio. Scena Terza (Alcina; Ruggiero e Bradamante in disparte) ALCINA L arco vo frangerti, La face spegnerti Tiranno barbaro, Nume d amor. Ma invan minaccio amor, ride il superbo Dell ire insane mie te se non posso Atterirò di Flegetonte i Dei. Numi orrendi d Averno Sin dal profondo inferno L orride piume a miei comando ergete. Volate, che tardate a cenni miei? Che sì pigri, che sì... BRADAMANTE (in disparte) Dormon di Lete ALCINA Iniqui, e rei Vuò saper di Ruggiero, o d Acheronte Verrò a predare il regno. RUGGIERO (in disparte) Orgogliosa. BRADAMANTE Ma in vano. ALCINA Lassa! Sordo l inferno, Sordo il ciel, che far degg io? Del gran saggio Merlin parli lo spirto. Aprite, o mura, il varco Alla vostra Reina. (Si spezza in due parti il muro d acciaio, e si scuopre il tempio d Eccate Inferna, vedesi nel tempio la statua del famoso Mago Merlino appoggiata ad un urna entro cui stanno le di lui ceneri; d interno è chiusa da balaustri di ferro, e vi sta alla custodia l inviolabile Aronte con mazza impugnata; da una parte Ara d Eccate.) RUGGIERO (in disparte) O portento. BRADAMANTE (in disparte) O stupor. ALCINA Se mai d Alcina Spirto celeste i prieghi udisti, e i pianti T impietosiro il ciel dove risiedi, I di lei prieghi ascolta, I di lei pianti vedi, E del mesto suo cor pietà ti prenda. RUGGIERO (a Bradamante) Ti assista amor. BRADAMANTE (Ad Alcina) Bellissima reina, il tuo Ruggiero sovra alato destriero agl’amor tuoi, a’ sdegni miei s’è tolto. ALCINA Avrà ch’il segua. (fra sè) Oh, che bel volto. (A Bradamante) Di, leggiadro guerrier, come t’appelli? BRADAMANTE Aldarico son io. Ruggiero infido d’una germana mia il credulo bel cor trasse ad amore, poscia ingrato, incostante l’abbandonò! Per cancellar quest’onta sieguo in Ruggier la mia vendetta, e il trovo, ma in van, ch’ei spiega ratto all’aure, ai venti, mincciando a me morte a te ruina. ALCINA Oh, folle! Eterno è il gran poter d’Alcina. RUGGIERO (in disparte) Superba! ALCINA Crede forse per lui ch’io disperar mi deggia? Come raggio di sol non manca a stella non manca donna bella mai gentile amator. RUGGIERO (fra sè) La intendo! BRADAMANTE Oh cieco ai rai del tuo bellissimo sembiante! ALCINA Lieto, cor mio, ch’hai ritrovato amante. Aldarico, il mio volto per te, qualunque ei sia. Scena Quarta (Alcina, Bradamante, Orlando, Ruggiero) ORLANDO Cortese Ifigenia il furibondo Oreste Sen viene a te, che dalla Grecia è in bando. BRADAMANTE (fra sé) Misero! RUGGIERO (in disparte) Che mai vedo? ALCINA È stolto Orlando? ORLANDO (a Bradamante) Ah, ah, che vedo mai? Questa spada è rubata, ell è di Marte. Contro le donne a rivoltar le carte. BRADAMANTE (fra sè) S anco mi scopre, è folle. ORLANDO (ad Alcina) Per te c è poi di brutto, Cadrà se non rimedi, In precipizio, ed in ruina il tutto. ALCINA Perché? BRADAMANTE (in disparte) Che dirà mai? ORLANDO (ad Alcina) Senti. Senti, senti, e compiangi La storia miserabile, ma vera. Il mio povero amore una bellezza Avea invitato al ballo, allora quando Madama crudeltà, monsù rigore, Nemici giuratissimi d amore Fecero il bel desire (ahi, cruda sorte) Fecero il bel desir riuscire invano. RUGGIERO (a parte) Così guida empia sorte! ALCINA (a Bradamante) È affatto insano. ORLANDO All invito gentil, ch amor le fa Madam la crudeltà, Con guardo torvo e minaccioso aspetto Disse petit fripon, je ne veux pas; Ed il rigor, presa beltà per mano, Lasciò con passo grave e ciera brutta, Il mio povero amore a bocca asciutta. Deh appaghi ella il mio amor meco danzando. Danziam signora la follia d Orlando. Suonate, suonate! La la la la la la. (in atto di danzare) RUGGIERO (in disparte) Il compiango ORLANDO (ad Alcina) Signora a chi dich io? (prendendo per mano Alcina) ALCINA (ad Orlando) Tant audace con me? BRADAMANTE (ad Alcina) Deh, spegni o bella L ira che t arde in cuor. ALCINA Legge è un tuo cenno. L alto eroe come mai perduto ha il senno? ORLANDO Vola vola vola vola vola. Che vola? Amor che fugge. Apollo, Vedete dietro a lui montato in furia, Per l altissima ingiuria Fatta all onesta sua Dafne pudica Mettendo nel bordello il casto alloro, Quando Angelica fu sposa a Medoro. Scena Quinta (Angelica, Alcina, Orlando, Bradamante, Ruggiero) ANGELICA Come purpureo fiore languendo muore Che il vomere al passar tagliato lassa. ALCINA Qual voce? ORLANDO Zitto zitto. ANGELICA Così langue, in un seno amante, core Se lungi dal suo ben la vita passa. RUGGIERO (in disparte) È la donna crudele. ORLANDO Oh l incostante Mia preferita amante, Che di stirpe si vanta d Anfione Canta per suo diporto una canzone. Canta tu pur, che te ne priego. BRADAMANTE È folle. (ad Alcina) Rendi contento, o bella, il suo desire. ALCINA. Si appaghi la sua brama. ORLANDO Canterai? ALCINA Canterò. ORLANDO Lodato il cielo. ALCINA Che dolce più, che più giocondo stato, V è mai quaggiù d un amoroso core. Che viver più felice, e fortunato Quanto il trovarvi in compagnia d amore. ANGELICA Ma se lungi è il suo ben qual più doglioso Stato v è mai d un cor che sia amoroso. ORLANDO (ad Angelica) Prenderla voglio affé t ho colta. ANGELICA Aita. ORLANDO Vous voudrez bien un coup me perdoner Madame la cruanté. ANGELICA Cieli, che vedo mai? ORLANDO L abbiam prigion. (ad Alcina) Deh, renda il tuo rigore Al mio povero amore La rapita beltà. ANGELICA (ridendo) Strana follia! ORLANDO Comment, vous donc riez? Ventre bleu, la railleuse! Irriterò contro i tuoi sciocchi errori Le donne i cavalier l arme, e gl amori. ALCINA Amor dov il guidasti! BRADAMANTE (guardando Angelica e Ruggiero) Alma di fera. RUGGIERO Dispietato core. ANGELICA (ad Orlando) Renderà il mio rigore, La rapita beltà, Medoro, oh Dio! BRADAMANTE Troppo fosti spietata. ANGELICA Ebbi sempre pietà de suoi tormenti. ORLANDO Menti, sentiti l eco. L ingiuriato mio povero amore, Da cui la speme ha già tolto congedo Ti dice, facend eco al mio dolore Menti, barbara donna, io non ti credo. ANGELICA Poveri affetti miei, siete innocenti. Ma ingiusto è quel timor, Che al vostro bel candor, Il pregio toglie. Ingrato io ti direi, t inganni e menti; Ma no, che la mia fé Oltraggi per mercé In pace accoglie. Scena Sesta (Orlando, Alcina, Bradamante, Ruggiero) ORLANDO Ella parte. Mirate La menzogna con lei. Ch orridi mostri! Nelle diverse sue faccie deformi Molti sembrano, è vero, Endimioni, Ma basilischi son, serpi, e dragoni. Gli seguirò, Gli atterrerò, Gli struggerò, Gl annienterò. Vai dicendo di no? (ad Aronte) Resta qui, Alcide, alla tua Iole appresso, E n averai la nuova adesso adesso. RUGGIERO (in disparte) Quanto mi fa pietà. BRADAMANTE (ad Alcina, additando Aronte) Chi è il minaccioso? ALCINA Aronte egl è guerriero Feroce, invulnerabile, e fatale, Sinché sostien la ferrea mazza in pugno. BRADAMANTE E di ferrea catena Alla destra l annoda. ALCINA Or venga l empio Ruggiero, e provi di sua spada il taglio. Quella catena a far mia possa eterna Con la spuma di Cerbero lo stesso Tartareo Re temprò d Averno al foco. BRADAMANTE L arcano m ha scoperto a poco a poco. ALCINA Vanne Aldarico, e là dove tu miri Rider più verde il suol colà mi attendi. BRADAMANTE Qui lascerò Ruggier? Parto, ma peno. Io son ne lacci tuoi, E ti prometto il cor Fede, e costanza. Vado riposo in te; Sovvengati che sei La mia speranza. Scena Settima (Ruggiero, Medoro) MEDORO Oh Ruggier! Menzognera Dunque la fama fu di tua incostanza! RUGGIERO D incostanza che parli? MEDORO Fuggire i primi desiati lacci Dell amorosa Alcina, Spegner nel cor che prima ardea le faci. RUGGIERO Si fuggono a ragion lacci inonesti, E spengonsi a dovere impure faci. MEDORO Tal che dunque egli è vero... RUGGIERO Che se il pria amato error poscia si aborre, Costanza è allora il variar pensiero. Scena Ottava (Angelica, Ruggiero, Medoro) ANGELICA Costanza è allora il variar pensiero? MEDORO Con tanto ardor chi si difende è reo. ANGELICA (in disparte) Di che mai si favella? RUGGIERO Allor sarei Colpevole se te reo non punissi. Ma non degna Ruggiero Contro il molle tuo sen stringer la spada. ANGELICA Al maggior uopo io giunsi MEDORO Entro al molle mio seno alberga un core, Ch al tuo ceder non sa. ANGELICA (in disparte) Vezzoso ardire. RUGGIERO Eh taci, e va di tua bellezza armato A far preda de cuori. MEDORO (snudando la spada) Il brando stringi. ANGELICA (tra sé) È tempo ch io mi scopra. RUGGIERO (strappando la spada di mano a Medoro) È mio il tuo ferro. ANGELICA E se brami vendetta è tuo il mio petto. RUGGIERO Quello è un campo da te, prendi il tuo brando; E tu donna (il mio labbro nulla dice di più) donna m intendi? Porta altrove il tuo amor, per te va insano Il fiore degl eroi. ANGELICA Se vago volto Il genio alletta e il cor, senti Ruggiero Costanza è allora il variar pensiero. Scena Nona (Orlando solo) ORLANDO Fonti di pianto Piangete tanto fino a che in lacrime struggasi il cor. Mio cor amante sei di diamante s’oggi non spezzati al mio dolor. No no, ti dico, no. Forse pretendi Ombra squallida e nera Di spaventarmi? No no, non è morta. Morta credea la crudeltà, Nerone, E sorto d Acheronte Volea ch io le cantassi il Gazarone. Ma morta so ben io ch ella non è, Che mi lacera il cor, fuggi da me. Scendi nel Tartaro Per farti vindice Contro una furia Bella, e crudel. Furia bella e crudel? Sono ben tutte, Furie le donne brutte, Ma Angelica è una furia e pur è bella. Angelica? Sì, Angelica, che già Tanto fedel mi protestava amore. Ma che vedo? Ella è d essa, il cor s arrabbia. (vede la statua di Merlino, e se la figura Angelica) Angelica, mio bene. In faccia mia Dunque ardsci fellon tenerla in gabbia? (ad Aronte) Romperò questi ferri, e che pretendi? (va per rompere i balaustri, Aronte li si oppone in atto di combattere) Combattere! Hai ragion. Via ti difendi. Dell idra ha il cuoio addosso, (a parte) anima mia Pianger la sento. Ah, crudo, Non reggerai contro il mio cor irato. (combatte di nuovo, e taglia la catena, che tiene la mazza legata al braccio d Aronte, gliela strappa di mano, ed egli si mette a lottare) Oh, oh, l ho disarmato. Vanne, minacci ancor? La tua pazzia Più non merta, fellon, la pietà mia. Sorge il sangue E il furor langue Già caduto è morto al suol. (rompe i balaustri con la mazza d Aronte) Con l istesse armi sue vi spezzo, o ferri. Sospirata mia bella. Oh, quanto è dura, (abbracciando la statua) Intirizzita è certo di paura. (levando la statua) Non temer, no, cor mio. Ti stringe Orlando al sen. Quanto fracasso. (mossa la statua dal luogo resta l isola deserta tutta balze, e dirupi, con albero a cui in un trofeo sono appese le arme d Orlando) Cos è? treman le mura in fin dal fondo? Volan per l aria i tetti, Traballa il suol! Forse ruina il mondo! Son pur stanco! Pur lasso! Or che tratto ho il mio ben dal ferreo laccio Vuò chiuder gl occhi al sonno. Tal Borea riposò d Orizia in braccio. (si addormenta) Scena Decima (Alcina, Orlando, Bradamante, Ruggiero) ALCINA Infelice, ove fuggo? Ove m ascondo? Son vinta e vilipesa. Ingiusto cielo! Immortal mi facesti, ed il tuo dono Rende la fiera mia cagione eterna, Perché immortal sarà meco il mio duolo. (vede Orlando che dorme) Il feroce nemico in braccio al sonno! Cielo, giusto or dirò, che a mia vendetta Apri pietoso il varco. (snuda un pugnale) Cado da grande or che la mia ruina Meco ti opprime. (si avventa ad Orlando) RUGGIERO (trattenendola) Ferma. BRADAMANTE Ah, iniqua Alcina. ALCINA. Ruggier, che vedo? RUGGIERO In me non più Ruggiero, Ma vedi il tuo persecutor più fiero. ALCINA (a Bradamante) Aldarico, amor mio. BRADAMANTE In me ravvisa, Bradamante, la tua più gran nemica. Scena Undicesima (Angelica e Medoro fuggitivi, Bradamante, Alcina) ANGELICA Salvamci. MEDORO E dove, o bella? BRADAMANTE (arrestando Angelica) Arresta il piede. MEDORO Che fia! ANGELICA Cieli! BRADAMANTE Ecco lei, ch ingannatrice (a Ruggiero) Trasse alla rupe Orlando, Per lei va folle errando. ALCINA. (ad Angelica) Amica, non è persa ogni speranza. ANGELICA Ma veggo, ahimè, l ultima tua ruina. Scena Dodicesima (Astolfo con soldati di Logistilla, Angelica, Medoro, Bradamante, Alcina, Orlando) ASTOLFO Angelica si arresti, e pera Alcina. BRADAMANTE Astolfo! ALCINA (a parte) Ahimè! RUGGIERO Dove sin or? (ad Astolfo additando Alcina) Ti piansi Vittima sfortunata al furor di colei. ASTOLFO Nulla può in me ch in mio poter ho i dei. BRADAMANTE Ma Orlando! RUGGIERO Insano ei scorre... BRADAMANTE (scuotendolo) Orlando! RUGGIERO (scuotendolo) Orlando. ALCINA Oh, mio tormento. ORLANDO (svegliandosi) Orlando D Angelica è nel sen. Qual lume, oh Dio? (vedendo la face) Sovra l ignuda terra ignudo Orlando! Misero! Dove sono? Chi son? Chi cerco? Oh, Dei! Ahi, ch in mirar me stesso, Me non ravviso in me, se non la colpa. ALCINA O, ingiusti numi, o fati, o avverse stelle, Troppo fiero è il mio duolo, e l onta mia. Ti perdo, empio Ruggiero, e già riveggo In Alderico ancor la mia rivale, Tutto per me è fatale. Torna il senno ad Orlando E senza forza è in fin la mia magia. Oh ingiusti numi! O fati! O avverse stelle! Anderò, chiamerò dal profondo L empie furie del baratro immondo. Chiederò negl abissi vendetta Dell offeso e tradito mio amor. BRADAMANTE (ad Orlando additandole Alcina) Vedi, ch è tuo trionfo L eccidio della rea. ORLANDO Malagigi, i tuoi detti ora comprendo Dopo distrutta Alcina Le fortune in amor mi serba il cielo Con tormelo dal cor. ANGELICA O mio rossore! ORLANDO Godi, o bella, il tuo sposo, e tu garzone La tua consorte in pace. Il ciel v ha uniti, In dolce amico nodo. Egli sia eterno, e nol rallenti, mai Non che lo sciolga, invida sorte amara. ASTOLFO Saggio chi dal fallir prudenza impara. CORO Con mirti e fiori Volate amori A coronare Costanza e fé. S ama costante, Fedele, amante, Gode in amare Per fin mercé. ATTO TERZO Scena Prima (Astolfo, Ruggiero) RUGGIERO Morto Orlando tu credi? ASTOLFO E sol desio L onor del rogo all onorata salma, E alle ceneri illustri urna condegna. RUGGIERO A penetrar nell erto della rupe Giù nel profondo speco L alato mio destrier ti serva all uopo. ASTOLFO Sì, contro Alcina alla vendetta Accingiamoci, o Ruggier Melissa puote Quelle mura d acciaro A nostri passi aprir; se meco sei, Se l amazzone nostra a noi s unisce Nulla temo il poter de Stigj dei. Dove il valor combatte Nulla il vigor potrà D inferno irato. Se l empietà s abbatte, Contro del suo rigor Congiura il fato. Scena Seconda (Ruggiero, Bradamante in abito da uomo) RUGGIERO Vendetta, sì, cor mio. BRADAMANTE La tenti invano. RUGGIERO Non può mancar ciò che negli astri è fisso Sitibondo di sangue a darne aita Tu al fianco pur riappendesti il brando. BRADAMANTE Ma perché sola io voglio L onor del colpo, e sola averlo io posso Colà dentro racchiusa è la fatale Urna, ch eterno fa il poter de l empia. RUGGIERO La rapirem... BRADAMANTE Melissa, infin Melissa Come rapirla ignora, e chiusa il vedi, D acciar la soglia, ed immortale è il fiero Custode delle ceneri famose. RUGGIERO Ritiramci, sen viene Alcina al tempio. BRADAMANTE Vedrai per me della crudel lo scempio. Scena Terza (Alcina; Ruggiero e Bradamante in disparte) ALCINA L arco vo frangerti, La face spegnerti Tiranno barbaro, Nume d amor. Ma invan minaccio amor, ride il superbo Dell ire insane mie te se non posso Atterirò di Flegetonte i Dei. Numi orrendi d Averno Sin dal profondo inferno L orride piume a miei comando ergete. Volate, che tardate a cenni miei? Che sì pigri, che sì... BRADAMANTE (in disparte) Dormon di Lete ALCINA Iniqui, e rei Vuò saper di Ruggiero, o d Acheronte Verrò a predare il regno. RUGGIERO (in disparte) Orgogliosa. BRADAMANTE Ma in vano. ALCINA Lassa! Sordo l inferno, Sordo il ciel, che far degg io? Del gran saggio Merlin parli lo spirto. Aprite, o mura, il varco Alla vostra Reina. (Si spezza in due parti il muro d acciaio, e si scuopre il tempio d Eccate Inferna, vedesi nel tempio la statua del famoso Mago Merlino appoggiata ad un urna entro cui stanno le di lui ceneri; d interno è chiusa da balaustri di ferro, e vi sta alla custodia l inviolabile Aronte con mazza impugnata; da una parte Ara d Eccate.) RUGGIERO (in disparte) O portento. BRADAMANTE (in disparte) O stupor. ALCINA Se mai d Alcina Spirto celeste i prieghi udisti, e i pianti T impietosiro il ciel dove risiedi, I di lei prieghi ascolta, I di lei pianti vedi, E del mesto suo cor pietà ti prenda. RUGGIERO (a Bradamante) Ti assista amor. BRADAMANTE (Ad Alcina) Bellissima reina, il tuo Ruggiero sovra alato destriero agl’amor tuoi, a’ sdegni miei s’è tolto. ALCINA Avrà ch’il segua. (fra sè) Oh, che bel volto. (A Bradamante) Di, leggiadro guerrier, come t’appelli? BRADAMANTE Aldarico son io. Ruggiero infido d’una germana mia il credulo bel cor trasse ad amore, poscia ingrato, incostante l’abbandonò! Per cancellar quest’onta sieguo in Ruggier la mia vendetta, e il trovo, ma in van, ch’ei spiega ratto all’aure, ai venti, mincciando a me morte a te ruina. ALCINA Oh, folle! Eterno è il gran poter d’Alcina. RUGGIERO (in disparte) Superba! ALCINA Crede forse per lui ch’io disperar mi deggia? Come raggio di sol non manca a stella non manca donna bella mai gentile amator. RUGGIERO (fra sè) La intendo! BRADAMANTE Oh cieco ai rai del tuo bellissimo sembiante! ALCINA Lieto, cor mio, ch’hai ritrovato amante. Aldarico, il mio volto per te, qualunque ei sia. Scena Quarta (Alcina, Bradamante, Orlando, Ruggiero) ORLANDO Cortese Ifigenia il furibondo Oreste Sen viene a te, che dalla Grecia è in bando. BRADAMANTE (fra sé) Misero! RUGGIERO (in disparte) Che mai vedo? ALCINA È stolto Orlando? ORLANDO (a Bradamante) Ah, ah, che vedo mai? Questa spada è rubata, ell è di Marte. Contro le donne a rivoltar le carte. BRADAMANTE (fra sè) S anco mi scopre, è folle. ORLANDO (ad Alcina) Per te c è poi di brutto, Cadrà se non rimedi, In precipizio, ed in ruina il tutto. ALCINA Perché? BRADAMANTE (in disparte) Che dirà mai? ORLANDO (ad Alcina) Senti. Senti, senti, e compiangi La storia miserabile, ma vera. Il mio povero amore una bellezza Avea invitato al ballo, allora quando Madama crudeltà, monsù rigore, Nemici giuratissimi d amore Fecero il bel desire (ahi, cruda sorte) Fecero il bel desir riuscire invano. RUGGIERO (a parte) Così guida empia sorte! ALCINA (a Bradamante) È affatto insano. ORLANDO All invito gentil, ch amor le fa Madam la crudeltà, Con guardo torvo e minaccioso aspetto Disse petit fripon, je ne veux pas; Ed il rigor, presa beltà per mano, Lasciò con passo grave e ciera brutta, Il mio povero amore a bocca asciutta. Deh appaghi ella il mio amor meco danzando. Danziam signora la follia d Orlando. Suonate, suonate! La la la la la la. (in atto di danzare) RUGGIERO (in disparte) Il compiango ORLANDO (ad Alcina) Signora a chi dich io? (prendendo per mano Alcina) ALCINA (ad Orlando) Tant audace con me? BRADAMANTE (ad Alcina) Deh, spegni o bella L ira che t arde in cuor. ALCINA Legge è un tuo cenno. L alto eroe come mai perduto ha il senno? ORLANDO Vola vola vola vola vola. Che vola? Amor che fugge. Apollo, Vedete dietro a lui montato in furia, Per l altissima ingiuria Fatta all onesta sua Dafne pudica Mettendo nel bordello il casto alloro, Quando Angelica fu sposa a Medoro. Scena Quinta (Angelica, Alcina, Orlando, Bradamante, Ruggiero) ANGELICA Come purpureo fiore languendo muore Che il vomere al passar tagliato lassa. ALCINA Qual voce? ORLANDO Zitto zitto. ANGELICA Così langue, in un seno amante, core Se lungi dal suo ben la vita passa. RUGGIERO (in disparte) È la donna crudele. ORLANDO Oh l incostante Mia preferita amante, Che di stirpe si vanta d Anfione Canta per suo diporto una canzone. Canta tu pur, che te ne priego. BRADAMANTE È folle. (ad Alcina) Rendi contento, o bella, il suo desire. ALCINA. Si appaghi la sua brama. ORLANDO Canterai? ALCINA Canterò. ORLANDO Lodato il cielo. ALCINA Che dolce più, che più giocondo stato, V è mai quaggiù d un amoroso core. Che viver più felice, e fortunato Quanto il trovarvi in compagnia d amore. ANGELICA Ma se lungi è il suo ben qual più doglioso Stato v è mai d un cor che sia amoroso. ORLANDO (ad Angelica) Prenderla voglio affé t ho colta. ANGELICA Aita. ORLANDO Vous voudrez bien un coup me perdoner Madame la cruanté. ANGELICA Cieli, che vedo mai? ORLANDO L abbiam prigion. (ad Alcina) Deh, renda il tuo rigore Al mio povero amore La rapita beltà. ANGELICA (ridendo) Strana follia! ORLANDO Comment, vous donc riez? Ventre bleu, la railleuse! Irriterò contro i tuoi sciocchi errori Le donne i cavalier l arme, e gl amori. ALCINA Amor dov il guidasti! BRADAMANTE (guardando Angelica e Ruggiero) Alma di fera. RUGGIERO Dispietato core. ANGELICA (ad Orlando) Renderà il mio rigore, La rapita beltà, Medoro, oh Dio! BRADAMANTE Troppo fosti spietata. ANGELICA Ebbi sempre pietà de suoi tormenti. ORLANDO Menti, sentiti l eco. L ingiuriato mio povero amore, Da cui la speme ha già tolto congedo Ti dice, facend eco al mio dolore Menti, barbara donna, io non ti credo. ANGELICA Poveri affetti miei, siete innocenti. Ma ingiusto è quel timor, Che al vostro bel candor, Il pregio toglie. Ingrato io ti direi, t inganni e menti; Ma no, che la mia fé Oltraggi per mercé In pace accoglie. Scena Sesta (Orlando, Alcina, Bradamante, Ruggiero) ORLANDO Ella parte. Mirate La menzogna con lei. Ch orridi mostri! Nelle diverse sue faccie deformi Molti sembrano, è vero, Endimioni, Ma basilischi son, serpi, e dragoni. Gli seguirò, Gli atterrerò, Gli struggerò, Gl annienterò. Vai dicendo di no? (ad Aronte) Resta qui, Alcide, alla tua Iole appresso, E n averai la nuova adesso adesso. RUGGIERO (in disparte) Quanto mi fa pietà. BRADAMANTE (ad Alcina, additando Aronte) Chi è il minaccioso? ALCINA Aronte egl è guerriero Feroce, invulnerabile, e fatale, Sinché sostien la ferrea mazza in pugno. BRADAMANTE E di ferrea catena Alla destra l annoda. ALCINA Or venga l empio Ruggiero, e provi di sua spada il taglio. Quella catena a far mia possa eterna Con la spuma di Cerbero lo stesso Tartareo Re temprò d Averno al foco. BRADAMANTE L arcano m ha scoperto a poco a poco. ALCINA Vanne Aldarico, e là dove tu miri Rider più verde il suol colà mi attendi. BRADAMANTE Qui lascerò Ruggier? Parto, ma peno. Io son ne lacci tuoi, E ti prometto il cor Fede, e costanza. Vado riposo in te; Sovvengati che sei La mia speranza. Scena Settima (Ruggiero, Medoro) MEDORO Oh Ruggier! Menzognera Dunque la fama fu di tua incostanza! RUGGIERO D incostanza che parli? MEDORO Fuggire i primi desiati lacci Dell amorosa Alcina, Spegner nel cor che prima ardea le faci. RUGGIERO Si fuggono a ragion lacci inonesti, E spengonsi a dovere impure faci. MEDORO Tal che dunque egli è vero... RUGGIERO Che se il pria amato error poscia si aborre, Costanza è allora il variar pensiero. Scena Ottava (Angelica, Ruggiero, Medoro) ANGELICA Costanza è allora il variar pensiero? MEDORO Con tanto ardor chi si difende è reo. ANGELICA (in disparte) Di che mai si favella? RUGGIERO Allor sarei Colpevole se te reo non punissi. Ma non degna Ruggiero Contro il molle tuo sen stringer la spada. ANGELICA Al maggior uopo io giunsi MEDORO Entro al molle mio seno alberga un core, Ch al tuo ceder non sa. ANGELICA (in disparte) Vezzoso ardire. RUGGIERO Eh taci, e va di tua bellezza armato A far preda de cuori. MEDORO (snudando la spada) Il brando stringi. ANGELICA (tra sé) È tempo ch io mi scopra. RUGGIERO (strappando la spada di mano a Medoro) È mio il tuo ferro. ANGELICA E se brami vendetta è tuo il mio petto. RUGGIERO Quello è un campo da te, prendi il tuo brando; E tu donna (il mio labbro nulla dice di più) donna m intendi? Porta altrove il tuo amor, per te va insano Il fiore degl eroi. ANGELICA Se vago volto Il genio alletta e il cor, senti Ruggiero Costanza è allora il variar pensiero. Scena Nona (Orlando solo) ORLANDO Fonti di pianto Piangete tanto fino a che in lacrime struggasi il cor. Mio cor amante sei di diamante s’oggi non spezzati al mio dolor. No no, ti dico, no. Forse pretendi Ombra squallida e nera Di spaventarmi? No no, non è morta. Morta credea la crudeltà, Nerone, E sorto d Acheronte Volea ch io le cantassi il Gazarone. Ma morta so ben io ch ella non è, Che mi lacera il cor, fuggi da me. Scendi nel Tartaro Per farti vindice Contro una furia Bella, e crudel. Furia bella e crudel? Sono ben tutte, Furie le donne brutte, Ma Angelica è una furia e pur è bella. Angelica? Sì, Angelica, che già Tanto fedel mi protestava amore. Ma che vedo? Ella è d essa, il cor s arrabbia. (vede la statua di Merlino, e se la figura Angelica) Angelica, mio bene. In faccia mia Dunque ardsci fellon tenerla in gabbia? (ad Aronte) Romperò questi ferri, e che pretendi? (va per rompere i balaustri, Aronte li si oppone in atto di combattere) Combattere! Hai ragion. Via ti difendi. Dell idra ha il cuoio addosso, (a parte) anima mia Pianger la sento. Ah, crudo, Non reggerai contro il mio cor irato. (combatte di nuovo, e taglia la catena, che tiene la mazza legata al braccio d Aronte, gliela strappa di mano, ed egli si mette a lottare) Oh, oh, l ho disarmato. Vanne, minacci ancor? La tua pazzia Più non merta, fellon, la pietà mia. Sorge il sangue E il furor langue Già caduto è morto al suol. (rompe i balaustri con la mazza d Aronte) Con l istesse armi sue vi spezzo, o ferri. Sospirata mia bella. Oh, quanto è dura, (abbracciando la statua) Intirizzita è certo di paura. (levando la statua) Non temer, no, cor mio. Ti stringe Orlando al sen. Quanto fracasso. (mossa la statua dal luogo resta l isola deserta tutta balze, e dirupi, con albero a cui in un trofeo sono appese le arme d Orlando) Cos è? treman le mura in fin dal fondo? Volan per l aria i tetti, Traballa il suol! Forse ruina il mondo! Son pur stanco! Pur lasso! Or che tratto ho il mio ben dal ferreo laccio Vuò chiuder gl occhi al sonno. Tal Borea riposò d Orizia in braccio. (si addormenta) Scena Decima (Alcina, Orlando, Bradamante, Ruggiero) ALCINA Infelice, ove fuggo? Ove m ascondo? Son vinta e vilipesa. Ingiusto cielo! Immortal mi facesti, ed il tuo dono Rende la fiera mia cagione eterna, Perché immortal sarà meco il mio duolo. (vede Orlando che dorme) Il feroce nemico in braccio al sonno! Cielo, giusto or dirò, che a mia vendetta Apri pietoso il varco. (snuda un pugnale) Cado da grande or che la mia ruina Meco ti opprime. (si avventa ad Orlando) RUGGIERO (trattenendola) Ferma. BRADAMANTE Ah, iniqua Alcina. ALCINA. Ruggier, che vedo? RUGGIERO In me non più Ruggiero, Ma vedi il tuo persecutor più fiero. ALCINA (a Bradamante) Aldarico, amor mio. BRADAMANTE In me ravvisa, Bradamante, la tua più gran nemica. Scena Undicesima (Angelica e Medoro fuggitivi, Bradamante, Alcina) ANGELICA Salvamci. MEDORO E dove, o bella? BRADAMANTE (arrestando Angelica) Arresta il piede. MEDORO Che fia! ANGELICA Cieli! BRADAMANTE Ecco lei, ch ingannatrice (a Ruggiero) Trasse alla rupe Orlando, Per lei va folle errando. ALCINA. (ad Angelica) Amica, non è persa ogni speranza. ANGELICA Ma veggo, ahimè, l ultima tua ruina. Scena Dodicesima (Astolfo con soldati di Logistilla, Angelica, Medoro, Bradamante, Alcina, Orlando) ASTOLFO Angelica si arresti, e pera Alcina. BRADAMANTE Astolfo! ALCINA (a parte) Ahimè! RUGGIERO Dove sin or? (ad Astolfo additando Alcina) Ti piansi Vittima sfortunata al furor di colei. ASTOLFO Nulla può in me ch in mio poter ho i dei. BRADAMANTE Ma Orlando! RUGGIERO Insano ei scorre... BRADAMANTE (scuotendolo) Orlando! RUGGIERO (scuotendolo) Orlando. ALCINA Oh, mio tormento. ORLANDO (svegliandosi) Orlando D Angelica è nel sen. Qual lume, oh Dio? (vedendo la face) Sovra l ignuda terra ignudo Orlando! Misero! Dove sono? Chi son? Chi cerco? Oh, Dei! Ahi, ch in mirar me stesso, Me non ravviso in me, se non la colpa. ALCINA O, ingiusti numi, o fati, o avverse stelle, Troppo fiero è il mio duolo, e l onta mia. Ti perdo, empio Ruggiero, e già riveggo In Alderico ancor la mia rivale, Tutto per me è fatale. Torna il senno ad Orlando E senza forza è in fin la mia magia. Oh ingiusti numi! O fati! O avverse stelle! Anderò, chiamerò dal profondo L empie furie del baratro immondo. Chiederò negl abissi vendetta Dell offeso e tradito mio amor. BRADAMANTE (ad Orlando additandole Alcina) Vedi, ch è tuo trionfo L eccidio della rea. ORLANDO Malagigi, i tuoi detti ora comprendo Dopo distrutta Alcina Le fortune in amor mi serba il cielo Con tormelo dal cor. ANGELICA O mio rossore! ORLANDO Godi, o bella, il tuo sposo, e tu garzone La tua consorte in pace. Il ciel v ha uniti, In dolce amico nodo. Egli sia eterno, e nol rallenti, mai Non che lo sciolga, invida sorte amara. ASTOLFO Saggio chi dal fallir prudenza impara. CORO Con mirti e fiori Volate amori A coronare Costanza e fé. S ama costante, Fedele, amante, Gode in amare Per fin mercé. Vivaldi,Antonio/Orlando furioso
https://w.atwiki.jp/dominions3/pages/326.html
Iron Pigs Trample能力を持つIron Pigを7体作成します Iron Pigs ジェム 疲労 内部ID 383 10 使用 水中判定 効果 効果量 儀式 Summon 主属性 主Lv 効果発生数 射程距離 Earth 3 7 副属性 副Lv 効果範囲 命中補正 Nature 1 0 領域 Lv 防御判定 抵抗判定 Alteration 6 専用国家 ゲーム内説明文 The caster transforms seven ordinary boars into beings of flesh and steel. People do not like to be permanently transformed and would probably revolt against masters that tried to curse them with iron bodies. Pigs, on the other hand, are not bothered, or at least they don t complain. Pigs are also preferred to dogs, as they have the size and strength to trample human-sized opponents. The transformation does not make the pigs braver. 和訳 術者は、7匹のごく普通の猪の肉体を鋼に変換します。人間は永久的な変化を望まず、彼らを永久に鉄の体へと変えようとした主に対して反抗するでしょう。一方で、豚は気にしないか、少なくとも文句は言いません。彼らは人間程度の大きさの敵を踏みつけるサイズと力を持つため、犬よりも豚が好まれます。この変化は豚を勇敢にすることはありません。 注記 なんだかまともなことを言っているような気もしてくるが、やっぱり何かおかしい理論の元に成り立つ魔法。間違っては無い・・・のだろう。きっと。 変換されたIron Pigは防御力20を持つ。あくまで皮膚と外層だけを変換しているそうで、残念ながら完全鋼鉄製の人工物と違い属性耐性は一切持たない。電撃耐性にペナルティが付かなかっただけマシだろうか。 武器は噛みつきのみだがTrampleを持つ。サイズは3なので、人間程度の相手しか蹂躙できないし威力も高くは無いものの、その分数が出しやすいので気楽に突撃させられる。 HPは15止まりだし、何より士気が民兵並みの8しかないので不利になるとすぐ逃げてしまう点に注意。象ほど悲惨なことにはならないかもしれないが、逃げるときに味方ごと吹っ飛ばして行く点は変わらない。 またIron DragonのようにMindlessではないのでAweで止められることも多いし、動物なのでAnimal Aweでも止まってしまう。士気が低いために効果を受けやすいので要注意。 ついでに動物なので魔法抵抗も悲惨。まっすぐこの魔法を目指したのでもなければ敵の魔法研究も進んできているはずなので、少数だけ出しても軽く始末される可能性が高いのも忘れないこと。 なお、マップ移動力は3ある上に普通の生物なので、一般の指揮官でも率いれる上に騎兵の行軍にさえ付いていけるのは隠れた利点。Forest Survivalがあるので森林地帯もそのまま突っ切れる。 また特殊な仕様として、Marverniでの詠唱時に限りGreat Boarの能力を基準とした強化型、Iron Boarが出てくる。Great Boarよりも若干動きが遅いが、HPと防御力に優れる。Sacredでもあるため、Iron Pigよりは格段に優秀。 コメント 名前 コメント
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Human Figure Proportions - Cranial Units - Robert Beverly Hale 人体の比率 - Robert Beverly Haleによる頭蓋ユニット - https //www.youtube.com/watch?v=uJMoplyGboI http //www.proko.com/human-figure-proportions-cranium-unit-hale/ In the last lesson we looked at Dr.Paul Richer s system of measuring human proportions based on the height of the head. 前回のレッスンでは、 Dr.Paul Richerの 頭の高さに基づいた人体比率についてみていきました。 In this lesson we ll take a look at a different approach, based on the same proportions as Richer s, but uses a different unit for measuring. 今回のレッスンでは、 違うアプローチに取り組みます。 Richerのと同じ比率に基づきますが、 異なる計測の単位を用います。 At first glance head height seems like the logical unit to measure from. 一見したところ、 頭の高さというのは計測するのに理にかなっているように見えます。 It s the most commonly used method and the one used by most canons throughout history. それは最もよく使われるメソッドであり、 歴史を通して最も確立された規範です。 If Leonardo DaVinci used it, it must be the best way, right? レオナルド・ダ・ヴィンチが使っているのだから、 最も優れた方法ですよね？ [show daVinci s Vitruvian man] Well, that s up to each artist to decide, but although it s not as popular, Robert Beverly Hale s Cranial method definitely gives The Head Height method a run for its money. 勿論、それは個々のアーティストが決めることです。 しかし、先に述べたほどに一般的でないとしても、 Robert Beverly Haleの頭蓋メソッドは、 頭の高さのメソッドといい勝負をするでしょう。 Since no method is perfect, you choose which one works best for you. どのメソッドも完璧ではないので、 皆さんに合うものを選んでください。 Hale s method uses the size of the cranium as the unit. Haleのメソッドは、頭蓋(頭の骨から下あごを除いた部分)の大きさを単位として使います。 This method is used today by artist like Glenn Vilppu, Marshall Vandruff and Michael Mentler. このメソッドは、今日では、Glenn Vilppu、 Marshall Vandruff、Michael Mentlerなどの アーティストが用いています。 The advantage of this method is that many important skeletal landmarks correspond to this unit, unlike with the head method that aligns with nipples and navel as landmarks, which vary a lot more than skeletal landmarks. このメソッドの利点は、 多くの骨格上のの目印がこのユニットに対応していることです。 目印としての乳首や臍 (それらは骨格上の目印より変化しやすいものです) に沿った頭部メソッドとは違うわけです。 Also the size of the cranium can be measured from any head angle and doesn t change. また、頭蓋の大きさは、どんな頭の方向からも計れまた変化しません。 However the length of the head changes as the jaw open and closes, or as the head is foreshortened. しかしながら、頭の長さは顎が開いたり閉じたり または短縮遠近されると変化します。 Hale s method seems to be more consistent and more reliable when drawing a person in a pose. Haleのメソッドは、ポーズの最中の人物を描くときには より一貫性と信頼性があるように思えます。 I asked Marshall Vandruff why he prefers it and this it what he said. 私はMarshall Vandruffに、なぜこの方法を好むのか問いました。 そして彼が言ったことがこれです。 I don t like the head-length system. 私は頭の長さ式を好みません。 It s great for straight-on studies, but it breaks down when you foreshorten anything, especially when you foreshorten the head. 棒立ちには良いですが、 何か短縮遠近したものを描こうとするときに破綻します。 とりわけ頭が短縮遠近しているときです。 Unless you have a full-view of the head, you have no unit to begin. 頭全体が見えているときでない限り、 始めるべき単位が見つかりません。 I like Robert Beverly Hale s head-width system for a number of reasons, The first is that you can find head width when the head is in any position - it makes a sphere at back of the cranium, and a sphere never foreshortens. 私は、Robert Beverly Haleの頭の幅方式を色々な理由から好んでいます。 第一に、頭蓋の後ろの方は球状になっており、いかなる姿勢においても 短縮遠近されないためその幅は変わりません。 This is a measurement that echoes through the body and isn t dependent on seeing the height of the head. このことは、人体全体にわたって反響し、 頭の高さを比較単位にするやり方に依存しません。 If you can draw a ball, you can look at a head in any position and deduce that ball. もし皆さんがボールを描けるのなら、 どの体勢の頭を見てもそのボールを推測できます。 Ok, let s go over the details of this method. はい、このメソッドの詳細を見ていきましょう。 The unit itself can be measured from the back view by taking the width or height of the cranium. 計測の単位は、 人体の後ろから見たときの頭蓋の幅もしくは高さから得られます。 From the front you can use the width or the height down to the bottom of the nose. 前からは、 幅か、もしくは鼻の底までの高さを使えます。 But, keep in mind that the bottom of the nose will only align with the cranium if the head isn t facing up or down. しかし、 覚えておいてほしいのは、 鼻の底までの高さを使えるのは、 頭が上を向いたり下を向いたりしていない場合だけです。 So, the width is more reliable from the front. ですので、前から見た場合、横幅のほうが信頼できる指標になります。 From the side you should use the height of the cranium, since the width is too long. 横から見た場合、頭蓋の高さを使いましょう。 幅は長すぎるからです。 An additional quarter of a unit is added on to the front. 頭蓋にユニットに頭蓋ユニットの1/4を加えたものが横幅になります。 This cranial unit can be measured with the width or height from any angle even when the head is foreshortened because the shape of a ball isn t affected by foreshortening. 球形は、短縮遠近に影響されませんので、 たとえ頭が短縮遠近されたときでも、 頭蓋ユニットは、どのアングルからでも、その高さと幅で測ることができます。 A ball is a ball from any angle. ボールはどのアングルから見てもボールです。 So, we ll take this cranial size and think of it as a box unit. さて、この頭蓋の大きさを把握したら、 それを箱型のユニットとして考えてみましょう。 We ll use this box to find 3dimensiomal placement of the landmarks on the skeleton. この箱を、骨格上の目印の三次元的な配置を見つけるために使いましょう。 One unit down brings you to the pit of the neck. 箱一つを下げると、首の下のくぼみです。 For the torso let s use a width of two units. トルソの幅は、2ユニットです。 The sternum is one unit long not including the xiphoid process. 胸骨は、剣状突起を含まない場合1ユニットです。 One more down to the corners of the ribcage at the 10th ribs. もう1ユニット下がると、胸郭の角、第10肋骨のあるあたりです。 So, notice how the width the rib cage doesn t quite reach the edges of this 2x2 box. 胸郭がこの2x2ボックスの幅に完全には達していないことに気を付けてください。 And the top plane of the rib cage, indicated by the oval of the first rib, faces towards the front as you can see from this side view. そして、胸郭のてっぺんの面は、第1肋骨による楕円形で形作られていますが、 今皆さんの視点からは正面を向いています。 So, the back of the ribcage is up higher than this 2x2 box. ですので、胸郭の背後は、2x2ボックスの高さより若干高くなっています。 The length of each clavicle is 1 unit. 各々の鎖骨の長さは1ユニットです。 Keep in mind that these units are slightly separated because of the gap at the pit of the neck. これらのユニット(鎖骨)は首のくぼみの隙間のせいで 若干分かれていることに気を付けてください。 In the back, the width and height of the scapulas fit into the box. 背後では、肩甲骨の幅と高さは箱に一致します。 In a relaxed position the distance between the scapulas near the bottom is also 1 unit. 中立姿勢では、 肩甲骨の底あたり同士の距離もまた1ユニットです。 One more unit down takes us to the corners of the pelvis, known as the ASIS. もう1ユニット下がると、骨盤の角です。 ASISとして知られています。 And one more down just past the bottom of the pelvis. もう1ユニット下がると、ちょうど骨盤の底です。 On a male, the distance between the greater trochanters is two units. 男性では、大転子同士の距離は2ユニットです。 The width of the pelvis is equal to the ribcage. 骨盤の幅は、胸郭と同じです。 The 10 rib and ASIS points also line up. 第10肋骨とASISは同じ線上に並びます。 On a female the width of the Pelvis is 2 units and it no longer aligns with the rib cage. 女性では、 骨盤の幅は2ユニットで、胸郭とは並びません。 The distance between the greater trochanters is wider too. 大転子同士の距離も広くなっています。 On the pelvis there are also some convenient alignments using half units. 骨盤に於いて、ユニット半分単位を用いた 便利な整列が存在します。 The top of the iliac crest is at the halfway mark of this box and the top of the pubic bone and greater trochanters is at the halfway mark here. 腸骨稜の頂点は、この箱の半分のところであり、 また、恥骨のてっぺんと大転子は、この箱半分のところにあります。 So, when drawing the front of the pelvis, look for these 5 points and remember their distances. ですので、骨盤の正面を描くときには、 これら五つの点を探し、それらの距離を思い出してください。 From the side, the pit of the neck and the ribcage align with the edges. 横から見ると、 首のくぼみと、胸郭は、箱の境界に整列しています。 Then the sternum comes out forward and the cartilage continues to come forward past the pit of the neck about half a unit. その後、胸骨は前方に飛び出、 軟骨が胸骨を超え、おおよそユニット半分ほど飛び出ます。 The depth of the pelvis is conveniently 1 unit. 骨盤の奥行きは、都合のいいことに1ユニットです。 We ve already found the placement of the greater trochanters relative to the pelvis. 我々はすでに、骨盤に対する大転子の位置を見つけています。 3 units down ends at the connection of the bottom of the femur and top of the tibia. 3ユニット下がると、大腿骨の底の接続部と、脛骨のてっぺんです。 Another 3 units to the heels. さらに3ユニット下がるとかかとです。 The foot from the side is 1.5 units long and half a unit tall. 側面から見た足(くるぶしから下)は、1.5ユニットの長さで、高さはユニット半分です。 Finally the arms. 最後に腕です。 The length of the humerus is 2 units. 上腕骨の長さは2ユニットです。 And from the elbow to the knuckles of the hand is another 2 units. 肘から手のナックルまではまた2ユニットです。 The hand itself is a bit longer than 1 unit. 手自身は1ユニットより若干長くなっています。 That s it! 以上です。 Since this system uses a 3-dimensional box for measuring, one of its advantages is that it s manageable when something is foreshortened, as long as you are capable of drawing a box in perspective. このシステムは計測に三次元の箱を使っているので、 その利点の一つが、 皆さんが遠近法に於いて箱を描くことが出来るのならば、 何か短縮遠近されたときに使いやすいということです。 If not, then you might need to go back to the structure lesson and practice that again. もしできないのならば、構造のレッスンに戻って練習しなおしましょう。 So, for example with this foreshortened leg.. 例として、この短縮遠近された足です。 We know from the top of the greater trochanter to the bottom of the femur is 3 boxes long. 我々は、大転子から大腿骨の底までは 箱三つ分だということを理解しているわけです。 So, if we can draw these 3 boxes in perspective, we can then fit the leg into those boxes. ですので、透視図法で三つの箱を描けば、 脚をその箱に収めることができるわけです。 Ok, so we ve explored 3 different systems of human proportions. はい、 我々は三つの異なる人体比率のシステムを探求しました。 Like I said, these work really well in neutral poses and as a general guide when you re drawing from your imagination. 私が述べたように、 これらは、皆さんが想像から人物を描く場合、 中立姿勢と一般的なガイドとして役に立ちます。 Sometimes it can come in handy when drawing from a model. 時々モデルから描く場合にも役に立つでしょう。 But, when you re drawing from a model or photo reference, measuring is much more practical. しかし、皆さんがモデルもしくは写真資料から描く場合、 このような計測はより実践的なものとなるでしょう。 So, in the next lesson I ll show you how to lay-in your drawing using various measuring techniques. ですので、 次のレッスンでは、 様々な計測の技術を用いてどのように紙面に配置するか お見せします。 "You are an artist now, you must make your own decisions. あなたはもはや一人の芸術家なので、 あなたはあなた自身の決定を下さなければならない。 Do you prefer the proportions of Rubens or Michelangelo? あなたはルーベンス、もしくはミケランジェロの比率どちらを好みますか？ Or would you like to leave the ball of the abdomen out altogether, like Henry Moore?" または、ヘンリー・ムーアのように、 腹部のボールを取り去ってしまいたいですか？ Robert Beverly Hale I ve created a downloadable diagram that you can print out for your reference. 皆さんが資料としてプリントアウトできるようにダウンロードできる図表を用意しました。 Find the link in the description below. 下にあるビデオの説明にリンクがあります。 And I have posters available for purchase at proko.com/store. またはproko.com/storeでポスターが買えます。
https://w.atwiki.jp/wiki-inspiron/pages/59.html
Inspiron 530のCPUを載せ替えたい Core 2 DuoはBIOS 1.0.15以上でE8600まで搭載可能：マザーボードはG33M02 E6750からE8400への載せ替え例あり（XP）：詳細は下記のHPの記事を参照のこと 45nmプロセスの最新Core 2 Duoを試す http //nattokude.gozaru.jp/nikki/penryn/1_outline.html E6850からE8600への載せ替え例あり（BIOSは1.0.18、Vista/Windows 7のデュアルブート） G33M02ではCore 2 Quadは搭載不可：下記を参照のこと 「Q6600(G0)、起動しませんでした」 http //bbs.kakaku.com/bbs/0010X119293/SortID=7074115/ なお、ビックカメラではQ6600搭載のInspiron 530を販売していた 「D90V-F･D E L L･Inspiron 530 D90V-F （2009年春モデル）」 オンラインストアでもカスタマイズでQ8200を選択可能だった時あり Pentium Dual-Core E6700の動作例あり Pentium Dual-Core E6800の動作例あり（BIOSは1.0.16） Celeron D 347は搭載しても動作しない 通りがかりの者ですが、Intel VTをサポートしないCPUに注意。Windows 7 の XPモードを利用するには、Intel VTをサポートするCPUが必要です。（2010/03/19 VTサポートは不要になりました） 参考URL：http //journal.mycom.co.jp/news/2010/03/19/016/index.html ZDNetにつぎのような情報があります（2009年5月5日現在） YESがIntel VTサポート有りです。ご参考まで。 Desktop CPUS Core 2 Duo E4300/4400/4500/4600/4700NO E6300/6320/6400/6420/6540/6550YES E6600/6700/6750/6850YES E7200/7300/7400/7500NO E8190NO E8200/8300/8400/8500/8600YES Core 2 Extreme QX6700/6800/6850YES QX9650/9770/9775YES X6800YES Core 2 Quad Q6600/6700YES Q8200/8200S/8300/8400/8400SNO Q9300/9400/9400SYES Q9450/9550/9550S/9650YES Core i7/Core i7 Extreme I7-920/940YES I7-965YES Pentium D/Pentium EE 805/820/830/840NO 915/925/935/945NO 920/930/940/950/960YES 955/965YES Pentium for Desktop E2140/2160/2180/2200/2220NO E5200/5300/5400NO
https://w.atwiki.jp/elvis/pages/8579.html
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Functional Materials in New Millennium Systems From Science into Applications The Cyrill Hilsum Symposium Proceedings of a Meeting Held at the University of Surrey on 29 May 1996 (Festschriften) Inst of Materials? M. J. Kelly? InstofMaterials? M.J.Kelly? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-Electrical&Electronics-Electronics-General? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-MaterialsScience-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Electronics-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-MaterialsScience-General? Subjects-Science-General Growth and Processing of Electronic Materials (Workshop Proceedings) Maney Pub? Neil McN Alford? ManeyPub? NeilMcNAlford? ジャンル別? ユーズドブック(洋書)-Engineering Subjects-Engineering-Electrical&Electronics-Electronics-General? Subjects-Engineering-Electrical&Electronics-General? 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Practical Tasks Electrical Installation Series, Intermediate Course (Electrical Installation Series Intermediate Course) Intl Thomson Business Pr? E. G. Stocks? John N. A. Hooper? Malcom Doughton? C. Duncan? IntlThomsonBusinessPr? E.G.Stocks? JohnN.A.Hooper? MalcomDoughton? C.Duncan? ジャンル別? ユーズドブック(洋書)-Engineering Substores-UnknownASINs-40? Subjects-Engineering-Electrical&Electronics-Electronics-General? Subjects-Engineering-Electrical&Electronics-General? Subjects-Engineering-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-Electronics-General? Subjects-Professional&Technical-Engineering-Electrical&Electronics-General? Subjects-Professional&Technical-Engineering-General Subjects-Science-General Subjects-Science-Mathematics-General? Subjects-Science-Technology-General&Reference Supplying Installations Advanced Course (Electrical Installation Series) Delmar Pub? Malcom Doughton? C. Duncan? DelmarPub? MalcomDoughton? 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