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https://w.atwiki.jp/darkgarden/pages/16.html
LIFEは1.5*(GRADE最大値+1) 例えばトカエルは1.5*(9+1)=15,ミスティックは1.5*(29+1)=45 ○モンスター一覧 名称 POWER 力 スキル スキル名 属性 本体,通常攻撃,スキル GRADE フワアのPOWER 画像URL トカエル POWER 1 スキル 無 属性 陰,陽,無 GRADE 0~9 http //castlenirvana.sakura.ne.jp/mongura-fm/vulture.html シードボーイ POWER 3 スキル 無 属性 陰,陽,無 GRADE 0~9 http //castlenirvana.sakura.ne.jp/mongura2/mandragora.html マニアックボール POWER 13 スキル 無 属性 陰,陽,無 GRADE 10~19 http //castlenirvana.sakura.ne.jp/mongura-fm/tiran.html バーサーカー POWER 10 スキル ダブルアタック 属性 陰,陽,陽 GRADE 10~19 http //castlenirvana.sakura.ne.jp/mongura/fenrirknight.html ミスティック POWER 21 スキル パラライズ 属性 陰,陽,無 GRADE 20~29 http //castlenirvana.sakura.ne.jp/mongura/decoy.html ホワイトキラー POWER 24 スキル バインド 属性 陽,陽,無 GRADE 20~29 http //castlenirvana.sakura.ne.jp/mongura2/fallingangel.html マンドラゴラ POWER 22 スキル デス 属性 陰,陰,無 GRADE 30~39 http //castlenirvana.sakura.ne.jp/mongura-fm/mb25-m.html クリミナルフェザー POWER 31 スキル クリティカル 属性 陰,陽,陰 GRADE 30~39 http //castlenirvana.sakura.ne.jp/mongura/gate.html マッシューバ POWER 40 スキル ポイズン 属性 陰,陰,無 GRADE 40~49 http //castlenirvana.sakura.ne.jp/mongura/sylphide2.html フィシュトル POWER 45 スキル パラライズ 属性 陽,陽,無 GRADE 40~49 http //castlenirvana.sakura.ne.jp/mongura-fm/sandrat.html
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Agarabi【agd】 アガラビ語 00 Trans-New Guinea 01 Kainantu-Goroka 02 Kainantu 03 Gadsup-Auyana-Awa Latin script【Latn】 《現》living language パプアニューギニア【PG】 言語名別称 alternate names Agarabe Bare 方言名 dialect names 表記法 writing Agarabi writing system?Latin script【Latn】 参考文献 references WEB ISO 639-3 MultiTree Glottolog Ethnologue Wikipedia
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各藩国リンク集 にゃんにゃん共和国 [藩国] フィールド・エレメンツ・グローリー http //www.zekuu.com/field/ 海法よけ藩国 http //eyedress.at.webry.info/ 鍋の国 http //ginbar-net.hp.infoseek.co.jp/apr/ 世界忍者国 http //richmam.xtr.jp/kingdom/ るしにゃん王国 http //gamechaki.kotonet.com/index.htm 玄霧藩国 http //kisaragi-atsushi.hp.infoseek.co.jp/genmutop.html キノウツン藩国 http //www23.atwiki.jp/kinoutun/ 紅葉国 http //www.sevenspirals.net/cgi-bin/wiki/wiki.cgi? 羅玄王国 http //ragen.s7.xrea.com/x/aplow/index.php akiharu国 http //hpcgi2.nifty.com/fakeradio/idwiki/wiki.cgi ナニワアームズ商藩国 http //dorill.at.webry.info/ レンジャー連邦 http //www23.atwiki.jp/ty0k0 フィーブル藩国 http //heartland.geocities.jp/feebleyuyu/main.html ながみ藩国 http //toyoasihara.hp.infoseek.co.jp/cgi-bin/idwiki/wiki.cgi （←直接入力してください） アルトピニャーノ藩国 http //www.oresyougun.com/nyan2/ 芥辺境藩国 http //www.geocities.jp/akuta5121/ リワマヒ国 http //ninjagames.at.webry.info/ ゴロネコ藩国 http //www.geocities.jp/nekoshiki2000/ 無名騎士藩国 http //spiritofsamurai.hp.infoseek.co.jp/han/ [準藩国] 劉輝国 http //www.geocities.jp/higatoshiya/index3.htm わんわん帝國 [藩国] 詩歌藩国 http //www009.upp.so-net.ne.jp/raiilu/ よんた藩国 http //rimorobo.hp.infoseek.co.jp/index2.htm Flores valerosas bonitas ～麗しき勇気ある花たちの国～ http //www23.atwiki.jp/fvb_sakura/ 土場藩国 http //trpg-2maho.sakura.ne.jp/dva/ え～藩国 http //e-s.at.webry.info/200612/article_1.html 人狼領地 http //wolf108.at.webry.info/ 愛鳴藩国 http //www23.atwiki.jp/aimeihankoku/ ビギナーズ王国 http //www.geocities.jp/takumahp/test/index.html ジェントルラット藩国 http //utyuseizin.at.webry.info/ ほねっこ男爵領 http //hiki.trpg.net/wanwan/ たけきの藩国 http //www009.upp.so-net.ne.jp/take_kinoko/ になし藩国 http //www.emerald.rm.st/ninashi/ 奇眼藩国 http //odd.s201.xrea.com/hankoku.html ヲチ藩国 http //wochi.blog85.fc2.com/ 越前藩国 http //www.geocities.jp/central_w7/html/top.html 冬の京 http //www.cronos.ne.jp/~tdsnihon/idress/ [準藩国] 神聖巫女連 http //nanakazari.web.fc2.com/ グローリーオブマージャン http //niceguys2006.web.fc2.com/ １月７日現在の勢力図 （）は準藩国です。 トップページ
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【Tags Gumi Konata-P S t3 tA tT 3】 Original Music title 334人の敵 English music title Enemy of A Lonely Person / 334 Enemies Romaji music title Sanbyaku Sanjuu Yo Nin no Teki Music Lyrics written, Voice edited by こなたP (Konata-P) Music arranged by こなたP (Konata-P) Singer(s) Gumi (Megpoid) Whisper 334 also means "samishii (lonely)" as a pun. Click here for the original Japanese Lyrics English Lyrics (translated by antony)： Yes, now it s all over. It s no use crying I was disliked. This is it. Now then, I ll kill the face which was ready I ll bet "I wonder if you discovered that I was the lowest scum who s alone" Once I spit that out Even if love blooms there, it will die down The one who is getting broken is me. And that s your fault, not mine I sob and I get drawn alone I didn t call you, I didn t ask you, I just hate you I m not crying at all, there s even no love, It s just drifting far away If it s impossible to notice it s the first and it s the last, I ll just sleep alone I don t have any interests, I won t believe, If I ll disappear anyway It s too late, It s already gone, I don t even feel The meaning of my life, The brain itself will just go rotten and die, I ll just say it alone "Sighs, I m tired now" , The words I spit out float in the air and stay there I guess I ve been used to not doing anything for a long time And, I ll moan that I have no talents or love Surely I ll get jealous of something looks good on outwards Every time I lose relationships, I ll wish that I want to disappear Nothing I can do with something I lost and I don t even feel like taking it back Again I ll get rusted at here As I ve kept myself on the payroll, do I have any counter value? Something like I ve been nagged was a delusion, I guess I got worked up about and I m like a treasure buried in the earth Is it possible take back my nature that turned to ashes? Do decreasing roots even abandon me? I was starting to sense it was my fault that I was pushed into this I have forgotten that until now I came to notice that after I became all alone It s dark I didn t call you, I didn t ask you, I just hate you I m not crying at all, there s even no love, It s just drifting far away If it s impossible to notice it s the first and it s the last, I ll just sleep alone I don t have any interests, I won t believe, If I ll disappear anyway It s too late, It s already gone, I don t even feel The meaning of my life, The brain itself will just go rotten and die, I ll just say it alone Romaji lyrics (transliterated by antony)： hai mou owari da naita tte dameda kirawaretanda yo kitto are da saa dewa mitsukurotteita kao wa korusu koto ni shiyou sate wa "saiteina hitori bocchi tte koto ga minukaretandarou ka" tte hakeba ai nante soko ni saita to shitemo kareteshimaudarou kowareteku nowa boku no hou de warui nowa kimi no hou da samezame to nakeba hitori oboreru yondenai yo kiitenai yo daikiraina dake de naitenai yo aimo nai yo tookunatteiku dake de saisho datte saigo datte kizukenai no nara hitori nemuru dake kyoumi nai yo shinjinai yo douse kieru nara mou osoi yo tou ni nai yo ikiteru wake sura kanjinai yo nou jitai mo kusariyuku dake da hitori kataru dake "haa mou tsukareta na" haita kotoba chuu ni ukandewa sotto tamaru zutto nani mo shinai nante koto ni nareteitandarou soshite sai toka ai ga nai nante nageki misekake bakari ni kitto netami kankei ga kuzuresatteiku tabi ni kietakunarudarou nakushita nowa shikatanakute torimodosu ki mo nakute mata boku wa koko de hitori sabiteyuku kaigoroshita boku no kyou ni taika nante aru ka sainamareta da nante mousou datta no deshou kanchigai de maiagatte marude tsuchi no naka umaru zai no you hai ninatta boku no saga wa torikaeseru no ka hetteiku ne desura boku wo misuteru ka oikomareta no datte jibun no sei da towa kanjihajimeteta ima made zutto wasureteta tatta hitori ni natte kigatsuita kurai yondenai yo kiitenai yo daikiraina dake de naitenai yo aimo nai yo tookunatteiku dake de saisho datte saigo datte kizukenai no nara hitori nemuru dake kyoumi nai yo shinjinai yo douse kieru nara mou osoi yo tou ni nai yo ikiteru wake sura kanjinai yo nou jitai mo kusariyuku dake da hitori kataru dake [Konata-P, KonataP]
https://w.atwiki.jp/gamemusicbest100/pages/7485.html
ローラ・シギハラ アメリカで活動しているシンガーソングライター。日系アメリカ人でフランス人の母と日本人の父を持つ。日本名は「鴫原ローラ」。 子供の頃からピアノを習い音楽に親しむ。ビデオゲームにも大きくのめり込み、ゲーム音楽に対して強い関心を持つ。 大学卒業後は音楽教材を製作する会社に就職するが、それと同時にゲーム音楽制作活動も開始する。 PopCap Gamesの『Plants vs. Zombies』で、主題歌である「Uraniwa ni Zombies ga!」をボーカルを担当をすることで一躍有名に。 他には『To the Moon』や『Finding Paradise』といったFreebird Gamesのゲームにもボーカルに参加している。 また自らゲーム作りに携わることもあり、これまでにRPGツクール製の『Melolune』や『Rakuen』を製作している。 日本のゲームも大好きということで特にスクウェアの『クロノ・トリガー』の大ファンだという。 クロノシリーズのアレンジアルバム「ハルカナルトキノカナタヘ」では「サラのテーマ」や「時の回廊」のアレンジやボーカルを担当した。 参加作品の一例 World of Warcraft ("Blood Elf Druids") Plants vs. Zombies ("Uraniwa ni Zombies ga!") Minecraft ("Cube Land"・"From the Ground Up") Melolune (ゲーム製作) To the Moon ("Everything s Alright") The Basement Collection ("Aether C") Penny Arcade s On The Rain-Slick Precipice Of Darkness Episode 4 ("Fish Force") High School Story ("First Day") Cosmic Star Heroine ("Talk Back") Rakuen (ゲーム製作) Finding Paradise ("Wish My Life Away") DELTARUNE ("Don t Forget") Dunk Lords (BGM作曲)
https://w.atwiki.jp/pyopyo0124/pages/33.html
CHAPTER XVIII UP CHAPTER XX CHAPTER XIX A Concert a Catastrophe and a Confession "MARILLA, can I go over to see Diana just for a minute?" asked Anne, running breathlessly down from the east gable one February evening. "I don t see what you want to be traipsing about after dark for," said Marilla shortly. "You and Diana walked home from school together and then stood down there in the snow for half an hour more, your tongues going the whole blessed time, clickety-clack. So I don t think you re very badly off to see her again." "But she wants to see me," pleaded Anne. "She has something very important to tell me." "How do you know she has?" "Because she just signaled to me from her window. We have arranged a way to signal with our candles and cardboard. We set the candle on the window sill and make flashes by passing the cardboard back and forth. So many flashes mean a certain thing. It was my idea, Marilla." "I ll warrant you it was," said Marilla emphatically. "And the next thing you ll be setting fire to the curtains with your signaling nonsense." "Oh, we re very careful, Marilla. And it s so interesting. Two flashes mean, `Are you there? Three mean `yes and four `no. Five mean, `Come over as soon as possible, because I have something important to reveal. Diana has just signaled five flashes, and I m really suffering to know what it is." "Well, you needn t suffer any longer," said Marilla sarcastically. "You can go, but you re to be back here in just ten minutes, remember that." Anne did remember it and was back in the stipulated time, although probably no mortal will ever know just what it cost her to confine the discussion of Diana s important communication within the limits of ten minutes. But at least she had made good use of them. "Oh, Marilla, what do you think? You know tomorrow is Diana s birthday. Well, her mother told her she could ask me to go home with her from school and stay all night with her. And her cousins are coming over from Newbridge in a big pung sleigh to go to the Debating Club concert at the hall tomorrow night. And they are going to take Diana and me to the concert--if you ll let me go, that is. You will, won t you, Marilla? Oh, I feel so excited." "You can calm down then, because you re not going. You re better at home in your own bed, and as for that club concert, it s all nonsense, and little girls should not be allowed to go out to such places at all." "I m sure the Debating Club is a most respectable affair," pleaded Anne. "I m not saying it isn t. But you re not going to begin gadding about to concerts and staying out all hours of the night. Pretty doings for children. I m surprised at Mrs. Barry s letting Diana go." "But it s such a very special occasion," mourned Anne, on the verge of tears. "Diana has only one birthday in a year. It isn t as if birthdays were common things, Marilla. Prissy Andrews is going to recite `Curfew Must Not Ring Tonight. That is such a good moral piece, Marilla, I m sure it would do me lots of good to hear it. And the choir are going to sing four lovely pathetic songs that are pretty near as good as hymns. And oh, Marilla, the minister is going to take part; yes, indeed, he is; he s going to give an address. That will be just about the same thing as a sermon. Please, mayn t I go, Marilla?" "You heard what I said, Anne, didn t you? Take off your boots now and go to bed. It s past eight." "There s just one more thing, Marilla," said Anne, with the air of producing the last shot in her locker. "Mrs. Barry told Diana that we might sleep in the spare-room bed. Think of the honor of your little Anne being put in the spare-room bed." "It s an honor you ll have to get along without. Go to bed, Anne, and don t let me hear another word out of you." When Anne, with tears rolling over her cheeks, had gone sorrowfully upstairs, Matthew, who had been apparently sound asleep on the lounge during the whole dialogue, opened his eyes and said decidedly "Well now, Marilla, I think you ought to let Anne go." "I don t then," retorted Marilla. "Who s bringing this child up, Matthew, you or me?" "Well now, you," admitted Matthew. "Don t interfere then." "Well now, I ain t interfering. It ain t interfering to have your own opinion. And my opinion is that you ought to let Anne go." "You d think I ought to let Anne go to the moon if she took the notion, I ve no doubt" was Marilla s amiable rejoinder. "I might have let her spend the night with Diana, if that was all. But I don t approve of this concert plan. She d go there and catch cold like as not, and have her head filled up with nonsense and excitement. It would unsettle her for a week. I understand that child s disposition and what s good for it better than you, Matthew." "I think you ought to let Anne go," repeated Matthew firmly. Argument was not his strong point, but holding fast to his opinion certainly was. Marilla gave a gasp of helplessness and took refuge in silence. The next morning, when Anne was washing the breakfast dishes in the pantry, Matthew paused on his way out to the barn to say to Marilla again "I think you ought to let Anne go, Marilla." For a moment Marilla looked things not lawful to be uttered. Then she yielded to the inevitable and said tartly "Very well, she can go, since nothing else ll please you." Anne flew out of the pantry, dripping dishcloth in hand. "Oh, Marilla, Marilla, say those blessed words again." "I guess once is enough to say them. This is Matthew s doings and I wash my hands of it. If you catch pneumonia sleeping in a strange bed or coming out of that hot hall in the middle of the night, don t blame me, blame Matthew. Anne Shirley, you re dripping greasy water all over the floor. I never saw such a careless child." "Oh, I know I m a great trial to you, Marilla," said Anne repentantly. "I make so many mistakes. But then just think of all the mistakes I don t make, although I might. I ll get some sand and scrub up the spots before I go to school. Oh, Marilla, my heart was just set on going to that concert. I never was to a concert in my life, and when the other girls talk about them in school I feel so out of it. You didn t know just how I felt about it, but you see Matthew did. Matthew understands me, and it s so nice to be understood, Marilla." Anne was too excited to do herself justice as to lessons that morning in school. Gilbert Blythe spelled her down in class and left her clear out of sight in mental arithmetic. Anne s consequent humiliation was less than it might have been, however, in view of the concert and the spare-room bed. She and Diana talked so constantly about it all day that with a stricter teacher than Mr. Phillips dire disgrace must inevitably have been their portion. Anne felt that she could not have borne it if she had not been going to the concert, for nothing else was discussed that day in school. The Avonlea Debating Club, which met fortnightly all winter, had had several smaller free entertainments; but this was to be a big affair, admission ten cents, in aid of the library. The Avonlea young people had been practicing for weeks, and all the scholars were especially interested in it by reason of older brothers and sisters who were going to take part. Everybody in school over nine years of age expected to go, except Carrie Sloane, whose father shared Marilla s opinions about small girls going out to night concerts. Carrie Sloane cried into her grammar all the afternoon and felt that life was not worth living. For Anne the real excitement began with the dismissal of school and increased therefrom in crescendo until it reached to a crash of positive ecstasy in the concert itself. They had a "perfectly elegant tea;" and then came the delicious occupation of dressing in Diana s little room upstairs. Diana did Anne s front hair in the new pompadour style and Anne tied Diana s bows with the especial knack she possessed; and they experimented with at least half a dozen different ways of arranging their back hair. At last they were ready, cheeks scarlet and eyes glowing with excitement. True, Anne could not help a little pang when she contrasted her plain black tam and shapeless, tight-sleeved, homemade gray-cloth coat with Diana s jaunty fur cap and smart little jacket. But she remembered in time that she had an imagination and could use it. Then Diana s cousins, the Murrays from Newbridge, came; they all crowded into the big pung sleigh, among straw and furry robes. Anne reveled in the drive to the hall, slipping along over the satin-smooth roads with the snow crisping under the runners. There was a magnificent sunset, and the snowy hills and deep-blue water of the St. Lawrence Gulf seemed to rim in the splendor like a huge bowl of pearl and sapphire brimmed with wine and fire. Tinkles of sleigh bells and distant laughter, that seemed like the mirth of wood elves, came from every quarter. "Oh, Diana," breathed Anne, squeezing Diana s mittened hand under the fur robe, "isn t it all like a beautiful dream? Do I really look the same as usual? I feel so different that it seems to me it must show in my looks." "You look awfully nice," said Diana, who having just received a compliment from one of her cousins, felt that she ought to pass it on. "You ve got the loveliest color." The program that night was a series of "thrills" for at least one listener in the audience, and, as Anne assured Diana, every succeeding thrill was thrillier than the last. When Prissy Andrews, attired in a new pink-silk waist with a string of pearls about her smooth white throat and real carnations in her hair--rumor whispered that the master had sent all the way to town for them for her--"climbed the slimy ladder, dark without one ray of light," Anne shivered in luxurious sympathy; when the choir sang "Far Above the Gentle Daisies" Anne gazed at the ceiling as if it were frescoed with angels; when Sam Sloane proceeded to explain and illustrate "How Sockery Set a Hen" Anne laughed until people sitting near her laughed too, more out of sympathy with her than with amusement at a selection that was rather threadbare even in Avonlea; and when Mr. Phillips gave Mark Antony s oration over the dead body of Caesar in the most heartstirring tones--looking at Prissy Andrews at the end of every sentence--Anne felt that she could rise and mutiny on the spot if but one Roman citizen led the way. Only one number on the program failed to interest her. When Gilbert Blythe recited "Bingen on the Rhine" Anne picked up Rhoda Murray s library book and read it until he had finished, when she sat rigidly stiff and motionless while Diana clapped her hands until they tingled. It was eleven when they got home, sated with dissipation, but with the exceeding sweet pleasure of talking it all over still to come. Everybody seemed asleep and the house was dark and silent. Anne and Diana tiptoed into the parlor, a long narrow room out of which the spare room opened. It was pleasantly warm and dimly lighted by the embers of a fire in the grate. "Let s undress here," said Diana. "It s so nice and warm." "Hasn t it been a delightful time?" sighed Anne rapturously. "It must be splendid to get up and recite there. Do you suppose we will ever be asked to do it, Diana?" "Yes, of course, someday. They re always wanting the big scholars to recite. Gilbert Blythe does often and he s only two years older than us. Oh, Anne, how could you pretend not to listen to him? When he came to the line, "THERE S ANOTHER, not A SISTER, he looked right down at you." "Diana," said Anne with dignity, "you are my bosom friend, but I cannot allow even you to speak to me of that person. Are you ready for bed? Let s run a race and see who ll get to the bed first." The suggestion appealed to Diana. The two little white-clad figures flew down the long room, through the spare-room door, and bounded on the bed at the same moment. And then--something--moved beneath them, there was a gasp and a cry--and somebody said in muffled accents "Merciful goodness!" Anne and Diana were never able to tell just how they got off that bed and out of the room. They only knew that after one frantic rush they found themselves tiptoeing shiveringly upstairs. "Oh, who was it--WHAT was it?" whispered Anne, her teeth chattering with cold and fright. "It was Aunt Josephine," said Diana, gasping with laughter. "Oh, Anne, it was Aunt Josephine, however she came to be there. Oh, and I know she will be furious. It s dreadful--it s really dreadful--but did you ever know anything so funny, Anne?" "Who is your Aunt Josephine?" "She s father s aunt and she lives in Charlottetown. She s awfully old--seventy anyhow--and I don t believe she was EVER a little girl. We were expecting her out for a visit, but not so soon. She s awfully prim and proper and she ll scold dreadfully about this, I know. Well, we ll have to sleep with Minnie May--and you can t think how she kicks." Miss Josephine Barry did not appear at the early breakfast the next morning. Mrs. Barry smiled kindly at the two little girls. "Did you have a good time last night? I tried to stay awake until you came home, for I wanted to tell you Aunt Josephine had come and that you would have to go upstairs after all, but I was so tired I fell asleep. I hope you didn t disturb your aunt, Diana." Diana preserved a discreet silence, but she and Anne exchanged furtive smiles of guilty amusement across the table. Anne hurried home after breakfast and so remained in blissful ignorance of the disturbance which presently resulted in the Barry household until the late afternoon, when she went down to Mrs. Lynde s on an errand for Marilla. "So you and Diana nearly frightened poor old Miss Barry to death last night?" said Mrs. Lynde severely, but with a twinkle in her eye. "Mrs. Barry was here a few minutes ago on her way to Carmody. She s feeling real worried over it. Old Miss Barry was in a terrible temper when she got up this morning--and Josephine Barry s temper is no joke, I can tell you that. She wouldn t speak to Diana at all." "It wasn t Diana s fault," said Anne contritely. "It was mine. I suggested racing to see who would get into bed first." "I knew it!" said Mrs. Lynde, with the exultation of a correct guesser. "I knew that idea came out of your head. Well, it s made a nice lot of trouble, that s what. Old Miss Barry came out to stay for a month, but she declares she won t stay another day and is going right back to town tomorrow, Sunday and all as it is. She d have gone today if they could have taken her. She had promised to pay for a quarter s music lessons for Diana, but now she is determined to do nothing at all for such a tomboy. Oh, I guess they had a lively time of it there this morning. The Barrys must feel cut up. Old Miss Barry is rich and they d like to keep on the good side of her. Of course, Mrs. Barry didn t say just that to me, but I m a pretty good judge of human nature, that s what." "I m such an unlucky girl," mourned Anne. "I m always getting into scrapes myself and getting my best friends--people I d shed my heart s blood for--into them too. Can you tell me why it is so, Mrs. Lynde?" "It s because you re too heedless and impulsive, child, that s what. You never stop to think--whatever comes into your head to say or do you say or do it without a moment s reflection." "Oh, but that s the best of it," protested Anne. "Something just flashes into your mind, so exciting, and you must out with it. If you stop to think it over you spoil it all. Haven t you never felt that yourself, Mrs. Lynde?" No, Mrs. Lynde had not. She shook her head sagely. "You must learn to think a little, Anne, that s what. The proverb you need to go by is `Look before you leap --especially into spare-room beds." Mrs. Lynde laughed comfortably over her mild joke, but Anne remained pensive. She saw nothing to laugh at in the situation, which to her eyes appeared very serious. When she left Mrs. Lynde s she took her way across the crusted fields to Orchard Slope. Diana met her at the kitchen door. "Your Aunt Josephine was very cross about it, wasn t she?" whispered Anne. "Yes," answered Diana, stifling a giggle with an apprehensive glance over her shoulder at the closed sitting-room door. "She was fairly dancing with rage, Anne. Oh, how she scolded. She said I was the worst-behaved girl she ever saw and that my parents ought to be ashamed of the way they had brought me up. She says she won t stay and I m sure I don t care. But Father and Mother do." "Why didn t you tell them it was my fault?" demanded Anne. "It s likely I d do such a thing, isn t it?" said Diana with just scorn. "I m no telltale, Anne Shirley, and anyhow I was just as much to blame as you." "Well, I m going in to tell her myself," said Anne resolutely. Diana stared. "Anne Shirley, you d never! why--she ll eat you alive!" "Don t frighten me any more than I am frightened," implored Anne. "I d rather walk up to a cannon s mouth. But I ve got to do it, Diana. It was my fault and I ve got to confess. I ve had practice in confessing, fortunately." "Well, she s in the room," said Diana. "You can go in if you want to. I wouldn t dare. And I don t believe you ll do a bit of good." With this encouragement Anne bearded the lion in its den--that is to say, walked resolutely up to the sitting-room door and knocked faintly. A sharp "Come in" followed. Miss Josephine Barry, thin, prim, and rigid, was knitting fiercely by the fire, her wrath quite unappeased and her eyes snapping through her gold-rimmed glasses. She wheeled around in her chair, expecting to see Diana, and beheld a white-faced girl whose great eyes were brimmed up with a mixture of desperate courage and shrinking terror. "Who are you?" demanded Miss Josephine Barry, without ceremony. "I m Anne of Green Gables," said the small visitor tremulously, clasping her hands with her characteristic gesture, "and I ve come to confess, if you please." "Confess what?" "That it was all my fault about jumping into bed on you last night. I suggested it. Diana would never have thought of such a thing, I am sure. Diana is a very ladylike girl, Miss Barry. So you must see how unjust it is to blame her." "Oh, I must, hey? I rather think Diana did her share of the jumping at least. Such carryings on in a respectable house!" "But we were only in fun," persisted Anne. "I think you ought to forgive us, Miss Barry, now that we ve apologized. And anyhow, please forgive Diana and let her have her music lessons. Diana s heart is set on her music lessons, Miss Barry, and I know too well what it is to set your heart on a thing and not get it. If you must be cross with anyone, be cross with me. I ve been so used in my early days to having people cross at me that I can endure it much better than Diana can." Much of the snap had gone out of the old lady s eyes by this time and was replaced by a twinkle of amused interest. But she still said severely "I don t think it is any excuse for you that you were only in fun. Little girls never indulged in that kind of fun when I was young. You don t know what it is to be awakened out of a sound sleep, after a long and arduous journey, by two great girls coming bounce down on you." "I don t KNOW, but I can IMAGINE," said Anne eagerly. "I m sure it must have been very disturbing. But then, there is our side of it too. Have you any imagination, Miss Barry? If you have, just put yourself in our place. We didn t know there was anybody in that bed and you nearly scared us to death. It was simply awful the way we felt. And then we couldn t sleep in the spare room after being promised. I suppose you are used to sleeping in spare rooms. But just imagine what you would feel like if you were a little orphan girl who had never had such an honor." All the snap had gone by this time. Miss Barry actually laughed--a sound which caused Diana, waiting in speechless anxiety in the kitchen outside, to give a great gasp of relief. "I m afraid my imagination is a little rusty--it s so long since I used it," she said. "I dare say your claim to sympathy is just as strong as mine. It all depends on the way we look at it. Sit down here and tell me about yourself." "I am very sorry I can t," said Anne firmly. "I would like to, because you seem like an interesting lady, and you might even be a kindred spirit although you don t look very much like it. But it is my duty to go home to Miss Marilla Cuthbert. Miss Marilla Cuthbert is a very kind lady who has taken me to bring up properly. She is doing her best, but it is very discouraging work. You must not blame her because I jumped on the bed. But before I go I do wish you would tell me if you will forgive Diana and stay just as long as you meant to in Avonlea." "I think perhaps I will if you will come over and talk to me occasionally," said Miss Barry. That evening Miss Barry gave Diana a silver bangle bracelet and told the senior members of the household that she had unpacked her valise. "I ve made up my mind to stay simply for the sake of getting better acquainted with that Anne-girl," she said frankly. "She amuses me, and at my time of life an amusing person is a rarity." Marilla s only comment when she heard the story was, "I told you so." This was for Matthew s benefit. Miss Barry stayed her month out and over. She was a more agreeable guest than usual, for Anne kept her in good humor. They became firm friends. When Miss Barry went away she said "Remember, you Anne-girl, when you come to town you re to visit me and I ll put you in my very sparest spare-room bed to sleep." "Miss Barry was a kindred spirit, after all," Anne confided to Marilla. "You wouldn t think so to look at her, but she is. You don t find it right out at first, as in Matthew s case, but after a while you come to see it. Kindred spirits are not so scarce as I used to think. It s splendid to find out there are so many of them in the world." 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OGU... Ogura, Michiko. 2018. "How Free the Translation could be Choicies of Verb Forms in Lindisfarne and Rushworth Versions of the Gospels", in Aspects of Medieval English Language and Literature Proceedings of the Fifth International Conference of the Society of Historical English Language and Linguistics, ed. Michiko Ogura Hans Sauer, pp. 179-196. Bern Peter Lang. Ogura, Michiko. 2017. "Compound Reflexive as a Metrical Filler, or Self in Himself used as an Alliterating Element?". Studies in English Literature, English Number 58 77-96. Ogura, Michiko. 2017. "Only Borrowed or Translated? –Acceptability of Christian Terms". Essays and Studies in British American Literature 63 81-94. Ogura, Michiko. 2017. "Resumptive Pronouns in Old English Relative Clauses", in English without Boundaries Reading English from China to Canada, ed. Jane Roberts Trudi L. Darby, pp. 180-194. Cambridge Cambridge Scholars Press. Ogura, Michiko. 2017. "Binomials, Word Pairs and Variation as a Feature of Style in Old English Poetry", in Binomials in the History of English, ed. Kopaczyk, Joanna, and Hans Sauer, pp. 63-81. Cambridge Cambridge University Press. Ogura, Michiko. 2017. "Pronoun Retention in Old and Middle English Relative Clauses". Poetica 87 31-45. Ogura, Michiko. 2017. "What Really Happened to 'Impersonal' and 'Reflexive' Constructions in Medieval English", in Essays and Studies in Middle English, ed. Jacek Fisiak, M. Bator M. Sylwanowicz, pp. 141-162. Frankfurt am Mein Peter Lang. Ogura, Michiko. 2016. "Stylistic Devices for Introducing Direct Speech in Old English Poetry". Studies in Medieval English Language and Literature 31 1-18. Ogura, Michiko. 2016. "OE God, Hlaford and Drihten". SELIM 21 81-104. Ogura, Michiko. 2016. "Some Peculiar Forms of Old English Verbs". Studia Anglica Posnaniensia 51(2) 31-43. Ogura, Michiko. 小倉美知子. 2015. 『変化に重点を置いた英語史』 東京 英宝社. Ogura, Michiko. 2014. "Word Pairs as Components of Variation in Old English Poetry". Colloquia 35 251-270. Ogura, Michiko. 2013. Words and Expressions of Emotion in Medieval English. Frankfurt am Main Peter Lang 2013 Ogura, Michiko. 2004. "The king liked pears A choice rather than a change". Otto Jespersen Festschrift for the 80th Birthday of Professor Sung-Sik Cho. Seul Hankook Munhwasa. 494-509. Ogura, Michiko. 2002. Verbs of Motion in Medieval English. Cambridge D. S. Brewer. Ogura, Michiko. 1996. Verbs in Medieval English Differences in Verb Choice in Verse and Prose. The Hague Walter de Gruyter. Ogura, Michiko. 1992. "Simple Verbs, Prefixed Verbs and Verb-Particle Combinations in OE and ME Works". Studies in Modern English 8 55-73. Ogura, Michiko. 1992. "Shall (not) mowe, or Double Auxiliary Constructions in Middle English". Review of English Studies. Ogura, Michiko. 1990. "What has Happened to 'Impersonal' Constructions?". Neuphilologische Mitteilungen 91 31-55. Ogura, Michiko Hans Sauer. (ed.) 2018. Aspects of Medieval English Language and Literature Proceedings of the Fifth International Conference of the Society of Historical English Language and Linguistics. Bern Peter Lang. Ogura, Mieko. 1987. Historical English Phonology A Lexical Perspective. Tokyo Kenkyusha. Ogura, Mieko. 1990. Dynamic Dialectology. Tokyo Kenkyusha. Ogura, Mieko. 1993. "The Development of Periphrastic Doin English A Case of Lexical Diffusion in Syntax." Diachronica10 51-85. Ogura, Mieko. 1995. "The Development of Middle English /i / and /u / A Reply to Labov (1992, 1994)". Diachronica 12 31-53. Ogura, Mieko. 2012. "The Timing of Language Change", in The Handbook of Historical Sociolinguistics, ed. Juan Manuel Hernández-Campoy Juan Camilo Conde-Silvestre, 427-450. Oxford Wiley-Blackwell. Ogura, Mieko. forthcoming. Language Evaluation as a Complex Adaptive System A Multidisciplinary Approach to the History of English. New York Oxford University Press. Ogura, Mieko William S-Y. Wang. 1996. "Snowball Effect in Lexical Diffusion The Development of -s in the Third Person Singular Present Indivative in English", in English Historical Linguistics 1994 Papers from the 8th International Congress on English Historical Linguistics, ed. Derek Brinton, 119-141. Amsterdam John Benjamins. Ogura, Mieko William S-Y. Wang. 1998. "Evolution Theory and Lexical Diffusion", in Advances in English Historical Linguistics, ed. Jacck Fisiak Marcin Krygier, 315-334. Berlin/New York Mouton de Gryter. Ogura, Mieko William S-Y. Wang. 2008. "Dynamix Dialectology and Social Networks", in English Historical Linguistics 2006 Vol. III Geo-Historical Variation in English, ed. Marina Dossena, 131-151. Amsterdam/Philadelphia John Benjamins. Ogura, Mieko William S-Y. Wang. 2022. "Ambiguity resolution and the evolution of homophones in English", in English Historical Linguistics Change in Structure and Meaning, ed. Bettelou Los, Claire Cowie, Patrick Honeybone Graeme Trousdale, pp. 62-90. Amsterdam John Benjamins. Ogura, Mika. 小倉美加. 2018. 「ジェフリー・チョーサーの夢物語詩における「ソング」の文学的受容とその意味について」『情報コミュニケーション学研究』18 111-130. Ogura, Yoshiro. 小倉慶郎. 2016. 「日英オノマトペの考察 日英擬音語・擬態語の全体像を概観する」『大阪大学日本語日本文化教育センター授業研究』14 23-33. Oguro, Shoichi. 小黒昌一. 1976. 「日英の敬語表現」『英語教育』1976年12月号.
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