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https://w.atwiki.jp/tljtrans/pages/158.html
It s an old man...I think. Difficult to tell, since they re all kinda wrinkly. It s an old Alatien man. When this city was inhabited by its original population, that tower was probably an important one, part of a temple, or a palace. Now, though, it s just another ruin. The tower has toppled, though what caused it, I can only guess. Disuse, perhaps, or an earthquake. Nature s reclaiming lost ground. The contrast between wilderness and civilization is such a striking image. I almost wish I had my canvas and paints with me now. The flowers will one day cover the walls and ruins, and man s creation will be forever lost to nature. Hello. Good day, stranger. What would you here among the Alatien? I need to speak with the Teller. The Teller? Go down into the city, and you will see the castle. The Teller, she keeps to the tower. She s old, and her eyes don t take well to the sun. Hello. Did you see the Teller yet? Do you know one of the four tales of Winds, Stars, Sea and Homecoming? Mine is the Tale of Sea, human. Uh, no. Then you should. Would you mind telling it to me? I would be happy to do so. This is the Tale of Sea, told in my own words as it was told to me by my teacher, in his words, and to him by his teacher, in his words. This was a very, very long time ago, when the Alatien were a strong people, and we could spend days riding the hot winds above the seas. We hunted fish, then, and we were at war with the Maerum... ...the Wettails. Akalas was one of the strongest warriors there was -- his claws were sharp and long, his beak pointy, and his teeth strong. So one day, the Teller of Akalas city asked him to perform a very important, and very special duty -- to bring a sacred jewel to the Teller of an Alatien town across the sea. This particular jewel was very important because it signified a union between the two towns, and it would benefit the people of both that it was delivered safely, and promptly. Akalas grinned, and told the Teller that he would deliver the jewel both quickly and safely, and that she was not to worry. But the Teller did worry, because Akalas was young, and too sure of himself. So Akalas set out across the sea on his flight. It was on the fourth day that he spotted something in the water that caught his attention, and forgetting his duty, and following his curiosity... ...Akalas dived towards the water to investigate. When he came closer, he saw that there were Maerum in the water, foolishly hunting close to the surface, and Akalas saw an opportunity to again prove his might... ...as a great warrior to his people, and to capture the fins of a few Wettails. But this time, Akalas arrogance got the better of him, because the Maerum had set a trap! As he dived towards the Maerum with his claws, a spear shot up from the water to hit him. Akalas struck the water, and dropped the jewel he was carrying, and it was all he could do not to drown. Akalas was bleeding, and the Maerum were grabbing on to his wings and his legs, but he fought bravely, and finally he managed to escape. But even though he now lived, he was dead inside... ...because the shame of losing the sacred jewel would always be with him. But she wanted to test him, and to teach him that sharp claws, a pointy beak, and strong teeth are not all a warrior needs -- that a warrior must also be wise, and careful. Akalas could not return to his village, because he had neglected his duty to his Teller and to his people, and so he went away to a small island where he could be alone. To himself and his people, Akalas now became the Lost One, he who had been on a sacred mission, but had failed in his arrogance. A year passed, and one day Akalas met with human traders from a ship that came close to his island. From the traders, Akalas heard speak of a hideous creature that lived in the sea -- the Octa wo. Akalas was admired by everyone in his clan, and because of this, he was cocky, and arrogant. The Octa wo was said to have a third eye, like a jewel, and that this eye pulled hapless sailors into its deadly eight-armed grasp. Akalas knew immediately that the Octa wo s third eye had to be the jewel that he lost in the sea a year ago, and he now saw the opportunity to redeem himself. But Alatien were not used to water, and the thought of submerging himself in the cold, harsh ocean chilled Akalas to his heart. But he was the Lost One, and if, in his death, he could at the very least redeem himself... ...to his own heart, then it would be worth it. So Akalas fashioned himself a spear, because in the water his claws and his beak would be too slow, and he flew out to where the Octa wo was last seen... ...and then Akalas dived into the sea. The dark water closed in on him, and his wings and legs went numb, but still Akalas kept pushing down until he saw the lair of the Octa wo. Spotting Akalas, the Octa wo attacked, and Akalas saw the monster s third eye, his sacred jewel, shining bright in the darkness, and his heart was filled with a sense of duty and courage that he had never felt before. But as he began fighting the eight-armed monster, Akalas realized that, if he were to fight like he usually did, he would not stand a chance. He would have to think differently. And so Akalas tricked the Octa wo into following him through a tight chasm, where the monster got stuck, and then he swam above it, and using his spear, tipped a rock on top of the Octa wo. Swimming back down again, the Octa wo was flailing helplessly. Now, almost out of air, Akalas took the sacred jewel from the Octa wo s head, and swam back up. Finally, Akalas could deliver the sacred jewel to the town across the sea, and upon returning to his village, he went to the Teller, bowed his head, and said... "Forgive me, Teller, for in my arrogance I thought I could do everything. But I could not, and I became the Lost One because of it." "You were lost," said the Teller, "but you are no more..." "...because now you see the limits of your own strength, and you will know that a warrior must be careful, and wise, in addition to being strong, and fierce." This was the Tale of Sea, and I told it in my own words as told to me by my teacher. Thanks.
https://w.atwiki.jp/tsukune/pages/199.html
General Scene Settings Preferences シーンの大枠の設定 1. 1.File ⇒ Preferences（プリファレンセス） 2.プルダウンメニューからGeneral Scene Settings（ジェネラル・シーン・セッティングス）を選択します。 030-7.jpg 3.以下のオプションを選択します。 3D Unit System（スリー・ディー・ユニット・システム） 計測目盛に使う単位を、U.S.とMetricのどちらかにします。ここで選択した単位が、すべての３D要素の計測単位となります。 Time Units(タイム・ユニッツ) 時間の計測単位をSMPTEかフレーム数かで選択します。 Frames Per Second（フレームス・パー・セカント） 秒間何コマのアニメーションを作成するか、起動時の値を決めておくことができます。デフォルトで24fpsで、1から60の間で設定できます。訳注：いつでも変更可能です。 Interactive Renderer（インタラクティブ・レンダラー） 作業中のリアルタイム表示に使うレンダラーを選べます。OpenGLかSoftwareかを選択できます。訳注：アセンブル・ルームでより詳細な設定ができます。 Tweener(トゥィーナー) キーフレーム（重要、あるいは大きな変化のあるコマ）から次のキーフレームまでを補完する（トゥィーン）、デフォルトのアルゴリズムを選べます。Bezier(ベジェ)、Discrete(ディスクリート)、Fomula（フォーミュラ）、Noise Tweener（ノイズ・トゥィーナ）、Oscillate（オッシレート）、Spline（スプライン）、Velocity(ヴェロシティ)からの選択です。詳細は“Tweenerｓ”を参照してください。 Dragging a Browser Shader into the Scene（ドラッギング・ア・ブラウザ・シェーダー・イントゥ・ザ・シーン） ブラウザ・トレイに並んでいるシェーダーをオブジェクトにドロップして適応する際、既に同じシェーダーがシーン内で使われている場合に、新たにドロップしたシェーダーをどのように扱うかを設定します。 Ask what to do with duplicatesをチェックすると、毎回複製を作るかどうかを問うダイアログを出します。 Create a new Master Shaderをチェックすると、新たにドロップされたシェーダーはそのたびに複製された新しいマスターシェーダーとして扱われます。
https://w.atwiki.jp/pqjp/pages/20.html
?xml version="1.0"? TextLibrary Text tag="[Conv_Q0I4a_NAME1]" Emperor Selentius XVII /Text Text tag="[Conv_Q0I4a_0000]" I have returned, your Majesty. Have you finished composing your reply to the Queen? /Text Text tag="[Conv_Q0I4a_0001]" I have returned, your Majesty. Have you finished composing your reply to the Queen? /Text Text tag="[Conv_Q0I4a_0002]" I have returned, your Majesty. Have you finished composing your reply to the Queen? /Text Text tag="[Conv_Q0I4a_0003]" I have returned, your Majesty. Have you finished composing your reply to the Queen? /Text Text tag="[Conv_Q0I4a_0004]" Almost... As I said, it can apos;t be rushed. But, meanwhile, since I have a member of the Agarian Knights here in Selentia, I would be doing my own Empire a disservice if I did not ask one more favor. /Text Text tag="[Conv_Q0I4a_0005]" Almost... As I said, it can apos;t be rushed. But, meanwhile, since I have a member of the Agarian Knights here in Selentia, I would be doing my own Empire a disservice if I did not ask one more favor. /Text Text tag="[Conv_Q0I4a_0006]" Almost... As I said, it can apos;t be rushed. But, meanwhile, since I have a member of the Agarian Knights here in Selentia, I would be doing my own Empire a disservice if I did not ask one more favor. /Text Text tag="[Conv_Q0I4a_0007]" Almost... As I said, it can apos;t be rushed. But, meanwhile, since I have a member of the Agarian Knights here in Selentia, I would be doing my own Empire a disservice if I did not ask one more favor. /Text Text tag="[Conv_Q0I4a_0008]" Another favor? I remind you that the Queen requires my services as well. Will you assure me that you will have your reply prepared when I return? /Text Text tag="[Conv_Q0I4a_0009]" Another favor? I remind you that the Queen requires my services as well. Will you assure me that you will have your reply prepared when I return? /Text Text tag="[Conv_Q0I4a_0010]" Another favor? I remind you that the Queen requires my services as well. Will you assure me that you will have your reply prepared when I return? /Text Text tag="[Conv_Q0I4a_0011]" Another favor? I remind you that the Queen requires my services as well. Will you assure me that you will have your reply prepared when I return? /Text Text tag="[Conv_Q0I4a_0012]" Oh, yes, yes, yes! You Agarians are so kind, so thoughtful, so full of honor. We could learn a lot from you... /Text Text tag="[Conv_Q0I4a_0013]" Oh, yes, yes, yes! You Agarians are so kind, so thoughtful, so full of honor. We could learn a lot from you... /Text Text tag="[Conv_Q0I4a_0014]" Oh, yes, yes, yes! You Agarians are so kind, so thoughtful, so full of honor. We could learn a lot from you... /Text Text tag="[Conv_Q0I4a_0015]" Oh, yes, yes, yes! You Agarians are so kind, so thoughtful, so full of honor. We could learn a lot from you... /Text Text tag="[Conv_Q0I4a_0016]" Indeed! Perhaps I could teach you... AFTER I deliver your reply to my Queen. Now, what is it you want me to do? /Text Text tag="[Conv_Q0I4a_0017]" Indeed! Perhaps I could teach you... AFTER I deliver your reply to my Queen. Now, what is it you want me to do? /Text Text tag="[Conv_Q0I4a_0018]" Indeed! Perhaps I could teach you... AFTER I deliver your reply to my Queen. Now, what is it you want me to do? /Text Text tag="[Conv_Q0I4a_0019]" Indeed! Perhaps I could teach you... AFTER I deliver your reply to my Queen. Now, what is it you want me to do? /Text Text tag="[Conv_Q0I4a_0020]" It apos;s my daughter, you see. It has been arranged that she is to wed Utrarg of Trarg - leader of the Horse Tribes south of our Empire. The marriage will herald the beginnings of a glorious alliance. /Text Text tag="[Conv_Q0I4a_0021]" It apos;s my daughter, you see. It has been arranged that she is to wed Utrarg of Trarg - leader of the Horse Tribes south of our Empire. The marriage will herald the beginnings of a glorious alliance. /Text Text tag="[Conv_Q0I4a_0022]" It apos;s my daughter, you see. It has been arranged that she is to wed Utrarg of Trarg - leader of the Horse Tribes south of our Empire. The marriage will herald the beginnings of a glorious alliance. /Text Text tag="[Conv_Q0I4a_0023]" It apos;s my daughter, you see. It has been arranged that she is to wed Utrarg of Trarg - leader of the Horse Tribes south of our Empire. The marriage will herald the beginnings of a glorious alliance. /Text Text tag="[Conv_Q0I4a_0024]" Where exactly do I fit into this... arrangement? /Text Text tag="[Conv_Q0I4a_0025]" Where exactly do I fit into this... arrangement? /Text Text tag="[Conv_Q0I4a_0026]" Where exactly do I fit into this... arrangement? /Text Text tag="[Conv_Q0I4a_0027]" Where exactly do I fit into this... arrangement? /Text Text tag="[Conv_Q0I4a_0028]" She needs an escort. I want you to travel to Barthel, collect her, and see that she arrives safely in Trarg. Just a short, easy journey. Nothing to it, really. /Text Text tag="[Conv_Q0I4a_0029]" She needs an escort. I want you to travel to Barthel, collect her, and see that she arrives safely in Trarg. Just a short, easy journey. Nothing to it, really. /Text Text tag="[Conv_Q0I4a_0030]" She needs an escort. I want you to travel to Barthel, collect her, and see that she arrives safely in Trarg. Just a short, easy journey. Nothing to it, really. /Text Text tag="[Conv_Q0I4a_0031]" She needs an escort. I want you to travel to Barthel, collect her, and see that she arrives safely in Trarg. Just a short, easy journey. Nothing to it, really. /Text Text tag="[Conv_Q0I4a_0032]" If the journey is so easy, why do you need me? /Text Text tag="[Conv_Q0I4a_0033]" If the journey is so easy, why do you need me? /Text Text tag="[Conv_Q0I4a_0034]" If the journey is so easy, why do you need me? /Text Text tag="[Conv_Q0I4a_0035]" If the journey is so easy, why do you need me? /Text Text tag="[Conv_Q0I4a_0036]" Well, you see... my daughter, Serephine, is less than happy about the arrangement. She doesn apos;t want to marry Lord Utrag. /Text Text tag="[Conv_Q0I4a_0037]" Well, you see... my daughter, Serephine, is less than happy about the arrangement. She doesn apos;t want to marry Lord Utrag. /Text Text tag="[Conv_Q0I4a_0038]" Well, you see... my daughter, Serephine, is less than happy about the arrangement. She doesn apos;t want to marry Lord Utrag. /Text Text tag="[Conv_Q0I4a_0039]" Well, you see... my daughter, Serephine, is less than happy about the arrangement. She doesn apos;t want to marry Lord Utrag. /Text Text tag="[Conv_Q0I4a_0040]" And you want me to change her mind? You need a matchmaker, not a knight! /Text Text tag="[Conv_Q0I4a_0041]" And you want me to change her mind? You need a matchmaker, not a knight! /Text Text tag="[Conv_Q0I4a_0042]" And you want me to change her mind? You need a matchmaker, not a knight! /Text Text tag="[Conv_Q0I4a_0043]" And you want me to change her mind? You need a matchmaker, not a knight! /Text Text tag="[Conv_Q0I4a_0044]" Heavens no! Not even an influential knight of your stature could change Serephine apos;s mind! No, I just don apos;t trust my guards to escort Serephine. They could easily be seduced, or bribed. But you...well, the Agarian Knights are incorruptible, aren apos;t they? /Text Text tag="[Conv_Q0I4a_0045]" Heavens no! Not even an influential knight of your stature could change Serephine apos;s mind! No, I just don apos;t trust my guards to escort Serephine. They could easily be seduced, or bribed. But you...well, the Agarian Knights are incorruptible, aren apos;t they? /Text Text tag="[Conv_Q0I4a_0046]" Heavens no! Not even an influential knight of your stature could change Serephine apos;s mind! No, I just don apos;t trust my guards to escort Serephine. They could easily be seduced, or bribed. But you...well, the Agarian Knights are incorruptible, aren apos;t they? /Text Text tag="[Conv_Q0I4a_0047]" Heavens no! Not even an influential knight of your stature could change Serephine apos;s mind! No, I just don apos;t trust my guards to escort Serephine. They could easily be seduced, or bribed. But you...well, the Agarian Knights are incorruptible, aren apos;t they? /Text Text tag="[Conv_Q0I4a_0048]" Fine... fine. I apos;ll complete this task for you. But when I return, I must have your reply. /Text Text tag="[Conv_Q0I4a_0049]" Fine... fine. I apos;ll complete this task for you. But when I return, I must have your reply. /Text Text tag="[Conv_Q0I4a_0050]" Fine... fine. I apos;ll complete this task for you. But when I return, I must have your reply. /Text Text tag="[Conv_Q0I4a_0051]" Fine... fine. I apos;ll complete this task for you. But when I return, I must have your reply. /Text /TextLibrary
https://w.atwiki.jp/pyopyo0124/pages/42.html
CHAPTER XXVII UP CHAPTER XXIX CHAPTER XXVIII An Unfortunate Lily Maid "OF course you must be Elaine, Anne," said Diana. "I could never have the courage to float down there." "Nor I," said Ruby Gillis, with a shiver. "I don t mind floating down when there s two or three of us in the flat and we can sit up. It s fun then. But to lie down and pretend I was dead--I just couldn t. I d die really of fright." "Of course it would be romantic," conceded Jane Andrews, "but I know I couldn t keep still. I d be popping up every minute or so to see where I was and if I wasn t drifting too far out. And you know, Anne, that would spoil the effect." "But it s so ridiculous to have a redheaded Elaine," mourned Anne. "I m not afraid to float down and I d love to be Elaine. But it s ridiculous just the same. Ruby ought to be Elaine because she is so fair and has such lovely long golden hair-- Elaine had `all her bright hair streaming down, you know. And Elaine was the lily maid. Now, a red-haired person cannot be a lily maid." "Your complexion is just as fair as Ruby s," said Diana earnestly, "and your hair is ever so much darker than it used to be before you cut it." "Oh, do you really think so?" exclaimed Anne, flushing sensitively with delight. "I ve sometimes thought it was myself--but I never dared to ask anyone for fear she would tell me it wasn t. Do you think it could be called auburn now, Diana?" "Yes, and I think it is real pretty," said Diana, looking admiringly at the short, silky curls that clustered over Anne s head and were held in place by a very jaunty black velvet ribbon and bow. They were standing on the bank of the pond, below Orchard Slope, where a little headland fringed with birches ran out from the bank; at its tip was a small wooden platform built out into the water for the convenience of fishermen and duck hunters. Ruby and Jane were spending the midsummer afternoon with Diana, and Anne had come over to play with them. Anne and Diana had spent most of their playtime that summer on and about the pond. Idlewild was a thing of the past, Mr. Bell having ruthlessly cut down the little circle of trees in his back pasture in the spring. Anne had sat among the stumps and wept, not without an eye to the romance of it; but she was speedily consoled, for, after all, as she and Diana said, big girls of thirteen, going on fourteen, were too old for such childish amusements as playhouses, and there were more fascinating sports to be found about the pond. It was splendid to fish for trout over the bridge and the two girls learned to row themselves about in the little flat-bottomed dory Mr. Barry kept for duck shooting. It was Anne s idea that they dramatize Elaine. They had studied Tennyson s poem in school the preceding winter, the Superintendent of Education having prescribed it in the English course for the Prince Edward Island schools. They had analyzed and parsed it and torn it to pieces in general until it was a wonder there was any meaning at all left in it for them, but at least the fair lily maid and Lancelot and Guinevere and King Arthur had become very real people to them, and Anne was devoured by secret regret that she had not been born in Camelot. Those days, she said, were so much more romantic than the present. Anne s plan was hailed with enthusiasm. The girls had discovered that if the flat were pushed off from the landing place it would drift down with the current under the bridge and finally strand itself on another headland lower down which ran out at a curve in the pond. They had often gone down like this and nothing could be more convenient for playing Elaine. "Well, I ll be Elaine," said Anne, yielding reluctantly, for, although she would have been delighted to play the principal character, yet her artistic sense demanded fitness for it and this, she felt, her limitations made impossible. "Ruby, you must be King Arthur and Jane will be Guinevere and Diana must be Lancelot. But first you must be the brothers and the father. We can t have the old dumb servitor because there isn t room for two in the flat when one is lying down. We must pall the barge all its length in blackest samite. That old black shawl of your mother s will be just the thing, Diana." The black shawl having been procured, Anne spread it over the flat and then lay down on the bottom, with closed eyes and hands folded over her breast. "Oh, she does look really dead," whispered Ruby Gillis nervously, watching the still, white little face under the flickering shadows of the birches. "It makes me feel frightened, girls. Do you suppose it s really right to act like this? Mrs. Lynde says that all play-acting is abominably wicked." "Ruby, you shouldn t talk about Mrs. Lynde," said Anne severely. "It spoils the effect because this is hundreds of years before Mrs. Lynde was born. Jane, you arrange this. It s silly for Elaine to be talking when she s dead." Jane rose to the occasion. Cloth of gold for coverlet there was none, but an old piano scarf of yellow Japanese crepe was an excellent substitute. A white lily was not obtainable just then, but the effect of a tall blue iris placed in one of Anne s folded hands was all that could be desired. "Now, she s all ready," said Jane. "We must kiss her quiet brows and, Diana, you say, `Sister, farewell forever, and Ruby, you say, `Farewell, sweet sister, both of you as sorrowfully as you possibly can. Anne, for goodness sake smile a little. You know Elaine `lay as though she smiled. That s better. Now push the flat off." The flat was accordingly pushed off, scraping roughly over an old embedded stake in the process. Diana and Jane and Ruby only waited long enough to see it caught in the current and headed for the bridge before scampering up through the woods, across the road, and down to the lower headland where, as Lancelot and Guinevere and the King, they were to be in readiness to receive the lily maid. For a few minutes Anne, drifting slowly down, enjoyed the romance of her situation to the full. Then something happened not at all romantic. The flat began to leak. In a very few moments it was necessary for Elaine to scramble to her feet, pick up her cloth of gold coverlet and pall of blackest samite and gaze blankly at a big crack in the bottom of her barge through which the water was literally pouring. That sharp stake at the landing had torn off the strip of batting nailed on the flat. Anne did not know this, but it did not take her long to realize that she was in a dangerous plight. At this rate the flat would fill and sink long before it could drift to the lower headland. Where were the oars? Left behind at the landing! Anne gave one gasping little scream which nobody ever heard; she was white to the lips, but she did not lose her self-possession. There was one chance--just one. "I was horribly frightened," she told Mrs. Allan the next day, "and it seemed like years while the flat was drifting down to the bridge and the water rising in it every moment. I prayed, Mrs. Allan, most earnestly, but I didn t shut my eyes to pray, for I knew the only way God could save me was to let the flat float close enough to one of the bridge piles for me to climb up on it. You know the piles are just old tree trunks and there are lots of knots and old branch stubs on them. It was proper to pray, but I had to do my part by watching out and right well I knew it. I just said, `Dear God, please take the flat close to a pile and I ll do the rest, over and over again. Under such circumstances you don t think much about making a flowery prayer. But mine was answered, for the flat bumped right into a pile for a minute and I flung the scarf and the shawl over my shoulder and scrambled up on a big providential stub. And there I was, Mrs. Allan, clinging to that slippery old pile with no way of getting up or down. It was a very unromantic position, but I didn t think about that at the time. You don t think much about romance when you have just escaped from a watery grave. I said a grateful prayer at once and then I gave all my attention to holding on tight, for I knew I should probably have to depend on human aid to get back to dry land." The flat drifted under the bridge and then promptly sank in midstream. Ruby, Jane, and Diana, already awaiting it on the lower headland, saw it disappear before their very eyes and had not a doubt but that Anne had gone down with it. For a moment they stood still, white as sheets, frozen with horror at the tragedy; then, shrieking at the tops of their voices, they started on a frantic run up through the woods, never pausing as they crossed the main road to glance the way of the bridge. Anne, clinging desperately to her precarious foothold, saw their flying forms and heard their shrieks. Help would soon come, but meanwhile her position was a very uncomfortable one. The minutes passed by, each seeming an hour to the unfortunate lily maid. Why didn t somebody come? Where had the girls gone? Suppose they had fainted, one and all! Suppose nobody ever came! Suppose she grew so tired and cramped that she could hold on no longer! Anne looked at the wicked green depths below her, wavering with long, oily shadows, and shivered. Her imagination began to suggest all manner of gruesome possibilities to her. Then, just as she thought she really could not endure the ache in her arms and wrists another moment, Gilbert Blythe came rowing under the bridge in Harmon Andrews s dory! Gilbert glanced up and, much to his amazement, beheld a little white scornful face looking down upon him with big, frightened but also scornful gray eyes. "Anne Shirley! How on earth did you get there?" he exclaimed. Without waiting for an answer he pulled close to the pile and extended his hand. There was no help for it; Anne, clinging to Gilbert Blythe s hand, scrambled down into the dory, where she sat, drabbled and furious, in the stern with her arms full of dripping shawl and wet crepe. It was certainly extremely difficult to be dignified under the circumstances! "What has happened, Anne?" asked Gilbert, taking up his oars. "We were playing Elaine" explained Anne frigidly, without even looking at her rescuer, "and I had to drift down to Camelot in the barge--I mean the flat. The flat began to leak and I climbed out on the pile. The girls went for help. Will you be kind enough to row me to the landing?" Gilbert obligingly rowed to the landing and Anne, disdaining assistance, sprang nimbly on shore. "I m very much obliged to you," she said haughtily as she turned away. But Gilbert had also sprung from the boat and now laid a detaining hand on her arm. "Anne," he said hurriedly, "look here. Can t we be good friends? I m awfully sorry I made fun of your hair that time. I didn t mean to vex you and I only meant it for a joke. Besides, it s so long ago. I think your hair is awfully pretty now--honest I do. Let s be friends." For a moment Anne hesitated. She had an odd, newly awakened consciousness under all her outraged dignity that the half-shy, half-eager expression in Gilbert s hazel eyes was something that was very good to see. Her heart gave a quick, queer little beat. But the bitterness of her old grievance promptly stiffened up her wavering determination. That scene of two years before flashed back into her recollection as vividly as if it had taken place yesterday. Gilbert had called her "carrots" and had brought about her disgrace before the whole school. Her resentment, which to other and older people might be as laughable as its cause, was in no whit allayed and softened by time seemingly. She hated Gilbert Blythe! She would never forgive him! "No," she said coldly, "I shall never be friends with you, Gilbert Blythe; and I don t want to be!" "All right!" Gilbert sprang into his skiff with an angry color in his cheeks. "I ll never ask you to be friends again, Anne Shirley. And I don t care either!" He pulled away with swift defiant strokes, and Anne went up the steep, ferny little path under the maples. She held her head very high, but she was conscious of an odd feeling of regret. She almost wished she had answered Gilbert differently. Of course, he had insulted her terribly, but still--! Altogether, Anne rather thought it would be a relief to sit down and have a good cry. She was really quite unstrung, for the reaction from her fright and cramped clinging was making itself felt. Halfway up the path she met Jane and Diana rushing back to the pond in a state narrowly removed from positive frenzy. They had found nobody at Orchard Slope, both Mr. and Mrs. Barry being away. Here Ruby Gillis had succumbed to hysterics, and was left to recover from them as best she might, while Jane and Diana flew through the Haunted Wood and across the brook to Green Gables. There they had found nobody either, for Marilla had gone to Carmody and Matthew was making hay in the back field. "Oh, Anne," gasped Diana, fairly falling on the former s neck and weeping with relief and delight, "oh, Anne--we thought--you were--drowned--and we felt like murderers--because we had made--you be--Elaine. And Ruby is in hysterics--oh, Anne, how did you escape?" "I climbed up on one of the piles," explained Anne wearily, "and Gilbert Blythe came along in Mr. Andrews s dory and brought me to land." "Oh, Anne, how splendid of him! Why, it s so romantic!" said Jane, finding breath enough for utterance at last. "Of course you ll speak to him after this." "Of course I won t," flashed Anne, with a momentary return of her old spirit. "And I don t want ever to hear the word `romantic again, Jane Andrews. I m awfully sorry you were so frightened, girls. It is all my fault. I feel sure I was born under an unlucky star. Everything I do gets me or my dearest friends into a scrape. We ve gone and lost your father s flat, Diana, and I have a presentiment that we ll not be allowed to row on the pond any more." Anne s presentiment proved more trustworthy than presentiments are apt to do. Great was the consternation in the Barry and Cuthbert households when the events of the afternoon became known. "Will you ever have any sense, Anne?" groaned Marilla. "Oh, yes, I think I will, Marilla," returned Anne optimistically. A good cry, indulged in the grateful solitude of the east gable, had soothed her nerves and restored her to her wonted cheerfulness. "I think my prospects of becoming sensible are brighter now than ever." "I don t see how," said Marilla. "Well," explained Anne, "I ve learned a new and valuable lesson today. Ever since I came to Green Gables I ve been making mistakes, and each mistake has helped to cure me of some great shortcoming. The affair of the amethyst brooch cured me of meddling with things that didn t belong to me. The Haunted Wood mistake cured me of letting my imagination run away with me. The liniment cake mistake cured me of carelessness in cooking. Dyeing my hair cured me of vanity. I never think about my hair and nose now--at least, very seldom. And today s mistake is going to cure me of being too romantic. I have come to the conclusion that it is no use trying to be romantic in Avonlea. It was probably easy enough in towered Camelot hundreds of years ago, but romance is not appreciated now. I feel quite sure that you will soon see a great improvement in me in this respect, Marilla." "I m sure I hope so," said Marilla skeptically. But Matthew, who had been sitting mutely in his corner, laid a hand on Anne s shoulder when Marilla had gone out. "Don t give up all your romance, Anne," he whispered shyly, "a little of it is a good thing--not too much, of course--but keep a little of it, Anne, keep a little of it." CHAPTER XXVII UP CHAPTER XXIX 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 19 22 (Tue)
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翻訳 Script_10_Room_Service_fmv_subtitles Script_10_Room_Service01_subtitles Script_10_Room_Service02_subtitles Script_10_Room_Service03_subtitles Script_10_Room_Service04_subtitles Script_10_Room_Service05_subtitles Script_10_Room_Service06_subtitles Script_10_Room_Service07_subtitles Script_10_Room_Service08_subtitles Script_10_Room_Service09_subtitles Script_10_Room_Service10_subtitles Script_10_Room_Service11_subtitles Script_10_Room_Service12_subtitles Script_10_Room_Service13_subtitles Script_10_Room_Service14_subtitles Script_10_Room_Service15_subtitles Script_10_Room_Service16_subtitles Script_10_Room_Service17_subtitles Script_10_Room_Service18_subtitles Script_10_Room_Service19_subtitles Script_10_Room_Service30_subtitles Script_10_Room_Service31_subtitles Script_10_Room_Service32_subtitles Script_10_Room_Service33_subtitles Script_10_Room_Service34_subtitles Script_10_Room_Service40_subtitles Script_10_Room_Service41_subtitles TextDatabase Chapter 10 第10章 Room Service ルームサービス Villa Scaletta, June 15th, 1951 1951年6月15日 スカレッタの別荘 見方 原文 訳文
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タグ stf化不要 ⇒loading\tips.stf(2)へ続く index name value_en value_ja 78 accuracy Accuracy does two things 1. Determines probability of hitting the target. 2. If your accuracy is greater than defensive skills of your target, you do additional damage. The combat level difference between you and the target also has an effect on how often and how hard you hit. 命中精度は2つの事柄に影響します 1. ターゲットへの当たり易さを決定する。 2. 命中精度がターゲットの防御スキルを上回った場合に、追加ダメージを与える。 プレイヤーとターゲットのコンバット･レベルの差も、攻撃の当たり易さとダメージ量に影響します。 19 accuracy_meter The accuracy meter, next to the health bars of your target, shows your relative bonus to hit the current target - this takes into account only a few variables, such as range, posture, movement, and the type of weapon you are using, but can be a helpful indicator for determining the best combat tactics. ターゲットのヘルス･バーの隣にある命中精度メーターは、現在のターゲットに対する命中率のボーナスを示します。距離、姿勢、移動、プレイヤーの使っている武器の種類といったいくつかの要素から計算されます。戦術を決定するための指標となります。 20 action_bar_abilities The Abilities and Commands menu (Control + A) shows all the commands you have by default (such as moods and emotes) and all the commands you gain with new skills. If you are having trouble finding a command, go to this menu. アビリティ/コマンド･メニュー（Ctrl+A）は、初めからプレイヤーが持っているコマンド（気分や感情など）と新たなスキルとして取得したコマンドのすべてを表示します。コマンドを探すのに困ったら、このメニューを開いてみましょう。 21 action_bar_character_sheet Your character sheet (Control + C by default) shows many vital statistics for your character, including your current health pools, injuries, faction standing, badges, and history. It is good to regularly check your character sheet. キャラクター･シート（初期設定の場合Ctrl+C）は、現在のヘルスや健康状態、ファクション、バッジや経歴などプレーヤー･キャラクターの様々な情報を表示します。キャラクターシートは定期的にチェックしておくのが望ましいでしょう。 22 action_bar_community The community screen (Control + P by default) lets you find other players. To find a group, or someone with specific skills, or maybe just a new friend, use this screen. コミュニティ画面（初期設定ではCtrl+P）で他のプレイヤーを探すのに使います。グループや、特定のスキルを持ったプレイヤー、あるいは新しい友人を探すことができます。 23 action_bar_datapad The datapad (Control + D) carries information about your current mission, waypoints, planetary Points of Interest and known schematics (the things you can craft). データパッド（Ctrl+D）で現在のミッション、ウェイポイント、惑星のイベント･ポイント、およびプレイヤーが作成可能な設計図の情報を確認できます。 24 action_bar_game_menu The game menu (Shift + Escape) gives you quick buttons for disconnecting from the game. You can also view the game credits from this window. Press Escape again or Resume play to exit from this menu without exiting the game. ゲーム･メニュー（Shift+Escape）にはゲームからログアウトするためのクイック･ボタンがあります。このメニューからゲーム･クレジットを見ることもできます。 ゲームを終了せずに、このウィンドウを閉じるには、もう一度ESCキーを押すか、「ゲーム再開」をクリックしてください。 25 action_bar_help The help button or (Control + H) brings up the Holocron. Named for the great library of the Jedi Knights, the Holocron contains valuable information on all aspects of Star Wars Galaxies. There is even a Frequently Asked Questions section. ヘルプボタン（Ctrl+H）はホロクロンを呼び出します。ジェダイ騎士団の偉大なライブラリの名を取ったこの機能には、スター･ウォーズ ギャラクシーズをあらゆる角度から捉えた様々な情報が収められています。FAQもここにあります。 26 action_bar_inventory This button (or Control + I) provides access to your inventory, where you can equip or unequip items, trade them, or move them around. このボタン（Ctrl+I）でインベントリーにアクセスします。インベントリーではアイテムの装備や解除、取引、移動を行う事が出来ます。 27 action_bar_mail Mail is available in-game by pressing Control + E (by default). You can send mail messages to any player, if you know their name. Messages will be saved for recipients who aren t online. When they next log in, they will see that they have new mail. ゲーム内のメールのやり取りはCtrl+E（初期設定）を押して行います。名前さえ知っていれば、あらゆるプレイヤーにメールを送信出来ます。オンラインではないプレイヤーにも送信が可能で、その場合、メッセージは受取人が次回ログインした際に配達されます。 28 action_bar_options The Options menu (Control + O by default) contains hundreds of options, from graphics options to gameplay. Check this page to customize your interface to your own preferences. オプション･メニュー（初期設定ではCtrl+O）には、グラフィックス･オプションからゲームプレイに至るまでの数百のオプションが含まれています。ここで設定することで、自分の好み通りにインターフェイスをカスタマイズすることができます。 29 action_bar_skills The Skills menu (Control + S) shows all the skills you currently have, the ones you can work toward, and all the skills available in the game. スキル･メニュー（Ctrl+S）には、現在プレイヤーが所持しているすべてのスキルと次に取得可能なスキル、およびゲーム内で取得可能なすべてのスキルが表示されます。 30 banking You can deposit your money at any bank (mission rewards automatically go there). You can store a number of items in a safety deposit box in the planetary bank you have joined. You may retrieve items from your safety deposit box from any bank terminal on the same planet. クレジットはどこのバンクでも預けることができます（ミッションの報酬は自動的に銀行に振り込まれます）。また、プレイヤーが加入している惑星の銀行の貸金庫にも多くのアイテムを預けることができます。預けたアイテムは、同じ惑星上であれば、どのバンク･ターミナルからでも取り出すことが可能です。 53 bestine_politics Imperial politics rage in Bestine where the next governor s aide will control the fate of the capitol city. Registering with a candidate can help decide whether it is a city of commerce for merchants or defense from the savage Sand People. ベスティンでは帝国官僚の権力闘争が繰り広げられています。次期副総督がこの大都市の進む道を左右することになるでしょう。候補者に対し登録することで、ベスティンが商業都市の道を歩むのか、野蛮なサンド･ピープル(Sandpeople)に対する防衛拠点となるのか、その選択に加わることできます。 61 camp_rules_changed Camp restrictions have been changed. Players no longer need to be in camps to pull out vehicles, mounts, droids or pets and can pull them out wherever they are, eliminating the player inconveniences of having to find rural areas far from cities, lairs and other no-build zones in order to build a camp. キャンプ制限が変わりました。ビークルや乗り物、ドロイドまたはペットを出すためにキャンプに入る必要はありません。キャンプするためにシティやダンジョン、その他の建築不可ゾーンから遠く離れた辺境を探さなくてはならない不便はなくなりました。 31 camping_safely You cannot exit the game swiftly in dangerous areas. To exit swiftly in the wild, you need to be in a camp and to use the /logout command. If you use /quit, your character will remain in the world for a few minutes. 危険な場所ではすぐにゲームから抜け出すことができません。街の外でゲームから抜け出すには、キャンプして/logoutコマンドを使う必要があります。/quitコマンドを使った場合、プログラムは終了しますが、プレイヤーキャラクターはその世界(サーバー)に数分間残ってしまいます。 48 charactersheet Your character sheet displays your current health pools, injuries, faction standing, badges, and history. Press Control + C (by default) to see the character sheet. For more information, consult the Holocron (Control + H). キャラクター･シート(初期設定でCtrl+C)には、プレイヤーの現在のヘルス･プール、健康状態、ファクションの状態、バッジおよび履歴が表示されます。さらに詳しい情報が必要なときは、ホロクロン（Ctrl+H）を参照してください。 9 chase_cam You can turn a "chase camera" on and off using the period on the numeric keypad. When chase cam is on, the camera will automatically lock to the back of your head. You can swing it to a different location by holding down the 0 on the numeric keypad while moving your mouse, or by using the 8, 4, 6, and 2 keys. The 5 key will recenter the camera to its default location. テンキーのピリオドを押すと「追尾カメラ」のオン･オフが切り替わります。追跡カメラをオンにすると、カメラは自動的にプレイヤーの頭の後ろに固定されます。カメラの向きを変えるには、テンキーの0を押しながらマウスを動かすか、またはテンキーの8、4、6、2を使います。5を押すとカメラは正面、つまりデフォルトの位置に戻ります。 10 chat_tab If you drag a tab off of your chat box onto a different location on your screen, it will create a completely new chat window. チャット･ボックスのタブを画面の別の場所にドラッグすると、その場所に新しいチャット･ウィンドウが作成されます。 81 choosing_auto_attack You can choose your auto-attack by CTRL-Clicking on any attack available to you. When you attack with this ability, your character will perform this attack whenever it is available. Ctrlキーを押しながら攻撃アビリティをクリックすると自動攻撃になります。プレイヤー･キャラクターは、実行可能になりしだい選択された攻撃を行います。 32 city_map The overhead city map ("M" key by default) shows you buildings and walls in the city you are in, as well as the names of important buildings. To zoom in and out on the map, scroll the mouse wheel while holding down the Control key. オーバーヘッド･ シティ･マップ（初期設定ではMキー）は、プレイヤーのいるシティの建物と壁を表示します。また、重要な建物の名前も表示されます。マップの拡大縮小は、コントロールキーを押しながらマウス･ホイールをスクロールさせて行います。 33 cloning It s a good idea to register at a cloning facility when adventuring at a new location to avoid excessive wounds or unwanted relocation. Note that cybernetics may go bad when they are attached to your new clone. If this happens, they need to be replaced. Go to the second floor of a medical center and see the cybernetics expert to replace the faulty part with one that works properly. 新しい場所に冒険するときは深刻なウーンズや思わぬ場所で再生されることを避けるためにクローニングを行っておくほうがよいでしょう。 クローンに臨時的に取り付けられたサイバネティックは、時間がたつと故障してしまう事があります。故障した場合は医療センターの２階にいるサイバネティック･エキスパートに故障箇所の交換を依頼してください。 49 cntrllight To see your immediate surroundings in dark areas, press Control + L (by default) to bring up a personal light source. Don t worry about alerting enemies; no one can see this light but you. 暗い場所ですぐ近くを確認するには、Ctrl+L（初期設定）を押して個人用の光源を使用します。敵に警戒する必要はありません。この光を見ることができるのは自分だけです。 85 combat_end If you find yourself in a combat stance, but without an enemy to fight, try pressing the escape key. If the enemy is no longer able to attack you, or you have moved out of its range, this will take you out of combat. 戦闘状態になっているにも関わらず敵がいない場合には、ESCキーを押してみてください。敵が攻撃不能かプレイヤーが敵の攻撃範囲にいない場合には、戦闘状態から抜けることができます。 82 combat_level Combat level is a device used to measure general combat effectiveness of a character. It is tied to the number of skill boxes you have in the combat professions. You gain Combat Levels by gaining combat skill boxes. コンバット･レベルとは、キャラクターの戦闘能力を総合的に表す概念です。これは所有するコンバット･プロフェッションのスキル･ボックスの数に依存しています。コンバット･レベルは、コンバット･スキル･ボックスを増やすことで上昇します。 83 combat_levels_group While in a group, the combat system effectively sets you at the same level as the highest member in the group. All bonuses based on the difference between the group level and the target level apply. For example, if the combat levels of a group are 61, 54, 45, and 80, every member of this group will be considered to be Combat Level 80 for the duration of the group. グループを組むと、各メンバーのコンバット･レベルが最高のレベルを持つメンバーと同じレベルに設定されます。すべてのボーナスは、グループ･レベルとターゲット･レベルの差を基準に適用されます。 例えば、グループ･メンバーのコンバット･レベルがそれぞれ６１、５４、４５、８０だとすると、グループを組んでいる間メンバー全員のコンバットレベルが８０になります。 34 combat_queue The combat queue lets you see what combat commands you are getting ready to execute. You can enter multiple commands in the queue, and they will be executed in the order entered. コンバット･キューは、現在プレイヤーが実行可能なコンバット･コマンドを表示します。このキューには複数のコマンドを入力できます。コマンドは入力された順番に実行されます。 50 combatstates Icons appear beside your health bars when you are in combat, poisoned, intimidated, and in a variety of other situations. For more information, consult the Holocron (Control + H). ヘルス･バーの隣にあるアイコンは、戦闘時に毒、恐怖、その他の様々な状況を表示します。さらに詳しい情報が必要なときは、ホロクロン（Ctrl+H）を参照してください。 12 consider To decide whether to attack an enemy, look at the mark next to their name. Green means the target is easily defeated. Blue means the fight will be challenging. White means the target has equivalent skills to you and the fight will be a close one. If the mark is yellow or orange, fighting this creature will be a dangerous proposition. If the mark is red or purple, the enemy is too dangerous to attack on your own right now. 相手と戦って勝ち目があるかどうか判断するには、相手の名前の横にあるマークを確認します。マークが緑なら、簡単に勝てる相手、青なら若干手ごたえがあるでしょう。白であれば、実力が伯仲していて、５分５分の勝負となります。マークが黄色またはオレンジの相手に闘いを挑むのは、危険な賭けです。赤と紫の相手には、１人で臨んでも勝ち目はまずないでしょう。 56 contraband Imperial Stormtroopers regularly scan citizens for contraband goods such as sliced weapons or illegal spice. Violations often result in an unpleasant encounter. 帝国のストームトルーパーは、改造兵器や不法なスパイスといった禁制品を取り締まるために市民を定期的にスキャンしています。違反者は後悔する目に遭うことになるでしょう。 66 corellian_corvette The Corellian Corvette is our first space-based adventure and a familiar Star Wars setting with 9 separate quests. There are three missions for Rebels, three missions for Imperials and three missions for neutral players. Different objectives will be required to complete the Corvette missions, based on who you re working for, and what task they ve assigned you. コレリアン･コルヴェットは、最初に導入された「宇宙規模」の冒険で、スター･ウォーズの有名な設定を使った、9つの独立したクエストから成ります。反乱軍に3つ、帝国軍に3つ、中立のプレイヤーに3つのミッションがあります。コルヴェット･ミッションの達成には、プレイヤーが誰のために働いているのか、そして割り当てられた任務の内容によってそれぞれ異なったゴールがあります。 35 creating_macro You can create a "macro" (a set of stored commands) by going to the Abilities and Commands Menu (Control + A by default) and choosing the "create macro" button. Macros can be very useful, and are highly customizable. アビリティ/コマンド･メニューから「マクロ作成」ボタンを選ぶことでプレイヤーは「マクロ」（コマンドをまとめて記述したもの）を作成することができます。マクロはとても便利で高い柔軟性があります。 47 cycling_chat_tabs You can cycle through chat tabs quickly with Control + Home. Ctrl+Homeでチャット･タブを素早く切り替えることができます。 59 droid_enhancements Visit with your local Droid Engineer to see the latest droids. There are new modules that give a helping hand to new players in combat. 最寄のドロイド･エンジニアを訪ねて、最新型ドロイドをチェックしてみてください。新規プレイヤーに最適な、戦闘時に手を貸してくれる新しいモジュールが用意されています。 60 droid_repair_kits When your droid gets a little worn down from adventuring with you, be sure to use the Droid Repair Kits to fix your droid s damage and the Droid Reconstruction Kits to fix your droid s wounds. ドロイドは旅を続けるうちに少しずつ壊れていきます。ドロイド修理キットとドロイド修復キットを使ってドロイドのウーンズを修理しておくよう気を使ってください。 73 emperors_palace Imperial Loyalists wishing for an audience with the Emperor should travel to Naboo and make their way to the Emperor s Palace at +2400, -3900. Speak with the woman named Kaja Or Zee. She will start you on your path becoming a loyal citizen of the Empire. 皇帝への謁見を願う帝国支持者ならば、ナブーへと旅して皇帝の宮殿のある(+2400, -3900)へ向かうべきでしょう。カジャ･オージー(Kaja Or Zee)という女性と話をします。帝国の忠実な市民としての道が開かれるでしょう。 39 finding_resources Finding resources, especially rare ones, can be hard. It s important to move around when you are surveying and looking for them. You may survey while running or while in a vehicle. Look for the highest concentration possible, because the higher the concentration, the more resources you can gain per sample. リソースの発見、特に希少リソースの発見は困難です。さまざまな場所でリソースを探すことが重要です。「サーベイ」による資源調査は走りながらや乗り物に乗りながらでも実行可能です。最も資源の集積している場所を見つけ出してください。集積度が高いほど、一度のサンプルで多くのリソースを得ることができます。 6 framerate_and_network You can see your framerate and your network performance by turning on the network performance monitor on the Options menu. It is found in the Misc category. オプション･メニューからネットワーク･パフォーマンス･モニターを選択すると、フレームレートとネットワーク･パフォーマンスが表示されます。ネットワーク･パフォーマンス･モニターは、メニューの「その他」に振り分けられています。 55 geo_lab On Yavin 4, rumors persist about a hidden research lab used by the Geonosians to create mutant creatures for their execution arenas. ヤヴィンⅣには、処刑闘技場用のミュータント･クリーチャーを作るジオノージアンの秘密の研究所があるという噂があります。 54 good_eats Around the galaxy, chefs are now experimenting with new recipes. Certain entrees actually help diners to concentrate better on their skills or offer an array of other helpful benefits. 銀河中の料理人たちが、新しいレシピを求めて日々その腕をふるっています。スキルの効果を高めるほか様々な効果をもつ特別な料理が存在するのです。 7 group_menu Groups in Star Wars Galaxies can hold up to 8 people. If your group menu doesn t display everyone in the group, resize the menu to display more names by going into cursor mode and dragging the bottom edge of the group display. スター･ウォーズ ギャラクシーズでは８人までのグループを作ることができます。グループ･メニューにグループ全員の名前が出ていない場合は、カーソル･モードでグループ･ディスプレイの端をドラッグして全員の名前が出るようにメニューの大きさを変更します。 40 healing There are three kinds of damage normal damage (which heals naturally over time or by a medic), wounds (which require a doctor to heal), and battle fatigue (which requires an entertainer in a venue like a cantina). Wounds will also heal slowly while you are in a medical center and while you are offline. ダメージには、時間の経過やメディックの治療によって回復する「通常ダメージ」、回復にドクターを必要とする「ウーンズ」、カンティーナなどでエンターティナーの演技を見て癒す「疲弊度」の３種類があります。 ウーンズは医療センターにいる場合や、オフラインになっている状態でも徐々に回復してゆきます。 41 health_indicator Your health indicator defaults to the upper left-hand corner of your display. The red bar represents your health pool, green is your action pool, and blue is your mind pool. As enemies damage you, your heal pool drops. If your health pool drops to 0, you become incapacitated. ヘルス･インジケーターは、初期設定で画面左上にあります。赤いバーはヘルス･プール、緑はプレイヤーのアクション･プール、青はマインド･プールです。アクションを行うことで、これらのプールは減っていきます。ヘルスが0になった場合、プレイヤーは行動不能になってしまいます! 51 hospital If your character has medical skills, you ll like hospitals. You ll gain experience at the hospital for healing other characters wounds and injuries. プレイヤー･キャラクターに医療スキルがあれば、病院はお気に入りの場所になるでしょう。医療スキルがあれば他のキャラクターの病気や怪我を治すことで経験値を得ることができます。 76 huff_darklighters_missing_heirloom South of Anchorhead is the famed Huff Darklighter Estate. Help the father of the Rebel hero, Biggs Darklighter, find a lost family heirloom. Start your adventure by speaking with Huff s Guard at -697, -6731. Earn his trust and he will get you into Huff s good graces. アンカーヘッドの南は、有名なハフ･ダークライター(Huff Darklighter)の住まいです。反乱軍の英雄ビッグス･ダークライターの父親を助け、失われた家宝を見つけます。(-697, -6731)でハフの護衛に話しかけることで冒険が始まります。護衛の信頼を得れば、ハフの心証を良くしてくれるでしょう。 86 inspiration_buffs Visit your local entertainer to gain inspiration! Inspiration increases your experience gain and your crafting effectiveness while you are inspired. 地元のエンターティナーを訪ねてインスピレーションを受けましょう! インスピレーションは、あなたの経験値やクラフティング効率を高めます。 42 insurance If your character dies, you ll wish you d insured your items at a cloning facility. Most uninsured items will decay by 5% when you clone. Insurance will not protect cybernetics, however. Also, be aware that PVP combat and death does not cause item decay, nor does it complete an insurance contract. プレイヤー･キャラクターが死んでしまったときに、クローン施設でアイテムに保険をかけておけばよかったと思うことがあるかもしれません。保険がかけられていないアイテムは、クローン再生時に5%損傷します。サイバネティックに保険をかけることはできません。 また、PvPにより死亡した場合、アイテムは損傷せず、保険が使われることもありません。 77 inventory_control Tired of double-clicking on a resource item in your inventory to check a crafting value? Open your Options menu by pressing Ctrl-O and then the Interface button. Scroll to the bottom of the window and you will find a list of crafting interests, such as Overall Quality, Conductivity, and Flavor. By checking the corresponding box, your inventory will now display the number of your choice. インベントリーのリソース･アイテムの質を、効率よくチェックする方法をご存知ですか？ Ctrl+Oでオプション･メニューを開いてみてください。ウィンドウの一番下までスクロールすると総合品質や伝導性、風味といったクラフティング要素のリストがあります。ボックスにチェックを入れることで、選択した要素の数値がインベントリーに表示されるようになります。 71 jabbas_palace Make your way out into the deserts of Tatooine to -5861, -6206 and in through the front door of Jabba s magnificent palace! Head inside and talk to a rodian named Reelo Baruk. If you do some work for him and get in Jabba s good graces, you might be able to make your way into Jabba s throne room. タトゥイーンの砂漠(-5861, -6206)へ向かい、ジャバの壮大な宮殿に足を踏み入れましょう! 宮殿内にいるリーロ･バルク(Reelo Baruk)というローディアンと話をします。彼の仕事をすれば、ジャバの心証をよくすることができます。ジャバの謁見室に入ることもできるようになるでしょう。 64 junk_dealers Players are now able to go adventuring, collect various loot drops from NPC s, and take it to a Junk Dealer to sell. Junk Dealers won t buy just anything. Dealers may purchase common items but each may also specialize in arms or other finery. They also give away loot kits if you ask for one. プレイヤーは、冒険に出てNPCからの戦利品を集め、それをジャンク･ディーラーの所に持ち込んで売ることができます。ジャンク･ディーラーは何でも買い取るわけではありません。一般的なアイテムならどこでも売れますが、武器やその他の装飾品などはそれぞれに専門化されています。また、ジャンク･ディーラーからはルート･キットを受け取ることができます。 8 keymaps You can change the entire keymap to suit your playstyle. In the Options menu, choose Controls. At the bottom of that window, choose Keymap. You can then adjust your key assignments individually or choose from one of the preset keymaps. Note that with some of the setups, not all key assignments may be changed. If you find that you cannot change a particular key assignment, try another preset keymaps as a starting point. すべてのキーマップは手早く簡単に他のゲームに似せた設定に変えることができます。オプションメニューからコントロールを選び、ウィンドウの下側にあるプルダウンメニューを開き、初期設定の4つのキーマップの内から1つを選びます。 キーマップによっては変更できないキーも存在するため、必要に応じて異なるキーマップを選んでからカスタマイズを行ってください。 57 library The librarian in the Palace of Theed enjoys entertaining visitors with interesting games of trivia. To protect precious knowledge, the library is deep within the Palace. シードの宮殿の図書館員は、トリビア･ゲームで訪問者を歓待することで知られています。しかし、その貴重な知識を守るため、図書館は宮殿の奥深くに隠されています。 16 light It can get dark out there! Fortunately, every character is equipped with a personal light source. You can activate it by pressing Control + L (by default). Neither NPCs nor other players can see your personal light, so don t worry about it attracting unwanted attention. 周囲が暗いときもあるでしょう。キャラクターは個人用の光源を装備しています。Ctrl+L（初期設定の場合）で光源を使います。 NPCや他のプレイヤーは、この個人用光源を見ることはできないので、自分の居場所を周囲に知らせる心配はありません。 68 manual_turret_attacks Now soldiers in the Galactic Civil War can get the best use out of their turrets with Manual Control. Now players can control turrets and manually aim them to attack enemy forces. This will help defenders protect their HQ and make attackers be more organized when attacking a base. 銀河内乱を戦っている兵士の皆さんに朗報です。ターレットの手動制御が可能になり、より効率的な戦闘を行えるようになりました。これにより基地を防衛しやすくなり、攻撃側にも組織だった戦術が求められるようになります。 79 melee_combat_professions Melee combat professions may wear heavier armor and have a higher damage mitigation skill set than ranged combat professions, allowing them to go toe-to-toe with enemies and take damage. They generally do not do as much damage as their ranged counterparts, however. メレー･コンバット･プロフェッションはレンジ･コンバット･プロフェッションに比べて、重いアーマーを装備可能でダメージ軽減スキルも優れています。メレー･プロフェッションは、これらの要素により敵と直接向き合って戦うことができます。ただし、一般的に同等のレンジ･プロフェッションほどのダメージを与えることはできません。 4 movement Moving around in combat makes you much harder to hit, but it will also spoil your aim. You can see how accurate your shots will be by looking at the number displayed to the left of your target s status, over their head. 戦闘の際、動き回ることで攻撃を受けにくくなりますが、同時にこちらも狙いを付けにくくなります。自分の射撃の命中率は、ターゲットの頭上にあるターゲットステータスの左側に数字として表示されます。 36 new_chat_tabs Right-click the top of the chat window to create a new chat tab or change the size of the chat text. New chat tabs can be customized. For instance, you could set up a separate tab that shows only chat messages sent by members of your current group, or only Instant Messages from friends. チャット･ウィンドウの上部を右クリックすると新しいチャット･タブの作成やチャット･テキストのサイズを変更できます。新しいチャット･タブはカスタマイズすることができます。例えば、現在のグループのメンバーから送信されたメッセージや友人からのインスタント･メッセージだけを表示する独立したタブを作ることができます。 62 new_mounts Visit your local Creature Handler to saddle up one of two new player mounts Banthas and Cu Pas! 新しい騎乗クリーチャー、バンサ(Bantha)とク＝パ(Cu Pa)に鞍をつけるには、地元のクリーチャー･ハンドラーを訪ねてください。 69 new_user_experience For our new players coming into the game and for players trying out one of the Starting Professions for the first time, a whole new quest-based learning experience will help show them the ins and outs of the game. Look for your "helper droid" to guide your way! ゲームを始めたばかりのプレイヤーと初めての基本プロフェッションに挑戦するプレイヤーにゲームのさまざまな機能を紹介する、全く新しいクエストベースのチュートリアルが用意されています。ゲームのプレイ方法についてガイドを受けるには、「ヘルパー･ドロイド」を探してください。 43 planetary_map The planetary map (Control V by default) lets you see an orbital view of your area, including the locations of any nearby cities or landmarks. From this map, you can view, create, destroy, and rename waypoints. This map also allows you to find facilities, trainers, and vendors as well. プラネタリー･マップ（初期設定でCtrl+V）で、プレイヤーのいるエリアを軌道上から見た視点を得られます。これには、近くのシティやランドマークが示されます。 マップには、各種施設やトレーナー、ベンダーの位置も表示されます。 63 player_city_garages Architects and Mayors can collaborate to add vehicle garages to their city at city level 2. Now players will be able to repair their vehicles in many more locations. To repair a vehicle, call your vehicle in the vicinity of a vehicle garage. Right click on the vehicle and choose Repair Vehicle. Little repairs will keep your vehicle in good working order. Disabled vehicles may not be repaired at a garage. アーキテクトと市長は、自分たちのシティ･レベル2のシティにビークル･ガレージを増やすために協力することができます。これによりビークルを修理することができる場所が増えます。 ビークルを修理するには、ガレージの近くで所有するビークルを呼び出します。次に右クリックして、「修理」を選択してください。ビークルは一度壊れてしまうとガレージで修理を行えなくなりますので、こまめに手入れしておくのが望ましいでしょう。 75 politics_in_bestine Rich in history and political intrigue, Bestine is a place where citizens and travelers alike can take part in the struggle between two ambitious young politicians. Get involved and decide which power broker you want to support by making your way to Tatooine. Start by speaking with Governor Tour Aryon in the Capitol building at -1137, -3563. 数多くの歴史と策謀に彩られたべスティンでは市民も旅行者も一様に2人の若い野心的な政治家の権力争いに巻き込まれています。あえて関わりを持つのであれば、タトゥイーンでの身の振り方しだいで、どちらの陣営に力を貸すかが決まるでしょう。議事堂(-1137, -3563)にいるトゥアー･アリオン総督と話をします。 3 postures You can kneel, sit, stand, or lay prone in Star Wars Galaxies. These all provide different defensive benefits and penalties when in combat. For example, laying prone will increase your accuracy when firing, but will make you very vulnerable to melee attacks. スター･ウォーズ ギャラクシーズでは、屈む、座る、立つ、伏せるといった姿勢を取る事が出来ます。戦闘における各姿勢には利点と弱点があり、例えば、伏せていると射撃の命中率が上がりますが、逆に直接攻撃を受けやすくなります。 2 radial Left-clicking on a target will display a radial menu of actions that you can perform on the target. You ll know that all the options have shown up once the menu stops animating. ターゲットを左クリックするとターゲットに対し実行できるアクションのラジアル･メニューが表示されます。メニューのアニメーションが止まると、すべてのオプションの表示が完了します。 17 radial_shortcut You can instantly bring up a radial menu on your current target by pressing the tilde key ~. When a radial menu is up, you can select an option from it instantly by pressing the corresponding number. （チルダ）を押すと現在のターゲットのラジアル･メニューを呼び出すことができます。ラジアル･メニューが出ている間、対応する数字を押して直接そのオプションを選択することができます。 80 ranged_combat_professions Ranged combat professions have a higher damage output skill set than the melee combat professions, but may not wear the heavier armor and do not have the damage mitigation skills of the melee combat professions. レンジ･コンバット･プロフェッションはメレー･コンバット･プロフェッションに比べて、高いダメージを与えるスキルを持っています。だたし、移動速度も若干遅く、ダメージ軽減スキルもありません。 52 resources To harvest a creature, right-click on its corpse and choose Harvest Resources and then the item to harvest. A character with Scout skills can harvest meat, hide, or bone from a slain creature. These resources may be used to craft items. Multiple scouts can each harvest resources from the same creature. クリーチャーを解体してリソースを採取するには、クリーチャーの死骸を右クリックして「リソース回収」を選択し、採取したいアイテムを選択します。スカウトのスキルがあれば、クラフトのリソースとなる、肉や革、骨を採取する弧ができます。 複数のスカウトは同じクリーチャーからそれぞれにリソースを回収することができます。 37 second_row_of_toolbar You can resize the toolbar vertically to create a second row on your toolbar. This second row uses the Shift + F# keys. ツールバーを延長して2列目を作ることができます。第2列目はShift+F#の形で使用します。 72 secret_rebel_base Join the Rebellion and fight against the Empire! Start your adventure by speaking with a hero of the Rebel Alliance, C-3PO on Corellia at -6505, 5985. He has important missions issued from the Rebel High Command that are vital to the success of the Rebellion. 反乱軍に加わり帝国軍と戦いましょう! あなたの冒険は、コレリアの(-6505, 5985)にいる反乱同盟軍の英雄C-3POと話をすることから始まります。彼は反乱軍最高司令部から発せられた、勝利に欠かすことのできない重要な任務を携えています。 70 shuttleport_times Increased Imperial efficiency has led to a decrease in shuttleport times. Shuttles now arrive every 5 minutes. 帝国の効率化キャンペーンによって、シャトル発着場の待ち時間が減少しました。シャトルは毎分到着します。 65 smugglers_and_the_underworld Smugglers with experience in the underworld can now take their junk items to the Jawa Junk Dealers at the mountain fortress! 犯罪社会で経験のある密輸業者は、山の要塞にいるジャワ(Jawa)のジャンク･ディーラーにジャンク･アイテムを持ち込むことができます! 84 special_abilities Learning how to effectively use special abilities can make the difference between a good player and a great player. Special abilities are no longer restricted to specific weapons, only weapon classes, such as ranged weapons vs melee weapons. For instance, the pistoleer ability Burst Shot is no longer restricted to the pistol, but may be used with any ranged weapons. スペシャル･アビリティを使いこなせるかどうかが、普通のプレイヤーと上級プレイヤーの違いを生みます。もはやスペシャル･アビリティは特定のウェポンに依存せず、レンジ･ウェポンかメレー･ウェポンかといったウェポン･クラスだけが問題になります。例えば、ピストラーのアビリティであるバースト･ショットは、ピストルだけでなくあらゆるレンジ･ウェポンで使用できます。 13 states Some enemies may use an attack that puts your character into a "state." States are conditions that can be applied to you, such as dizziness or blindness. States appear in a box to the side of the screen. Medics may cure states with the ability "Stabilizers." States will also clear themselves over time. 受ける攻撃によって、ある「状態」にさせられることがあります。状態には、めまい、盲目、行動不能などがあります。状態は画面横端のボックスに表示されます。 メディックは「スタビライザー」の能力で、状態を治療することができます。また、時間が経てば自然に状態から回復します。 1 tabbing Using the default keymap, you can use the TAB key to cycle through visible targets. 初期設定のキーマップでは、TABキーで視界に入ったターゲットの切り替えを行います。 45 target_display The target display shows your currently selected target. This shows their health, action, and mind, and shows what target you are attacking, healing, talking to, or trading with. ターゲット･ディスプレイは、現在プレイヤーが選択しているターゲットを表示します。攻撃、治療、会話、取引をしている相手のヘルス、アクション、マインドをここで確認することができます。 74 the_warren There is a top secret Imperial secret research lab run by Boris Teraud and something has gone horribly wrong. Make your way to the Warren on Dantooine at -555, -3825. Search out the Escapee who can usually be found within 200-300 meters in front of the warren itself. Only he can give you what you need to get inside. ボーリス･テロード(Boris Teraud)が管理するトップ･シークレットの帝国秘密研究所があり、何か恐ろしい悪事が進行中です。ダントゥインのワレン(-555, -3825)に向かいます。ワレンの正面から200から300メートル離れた場所に逃亡者がいるはずです。彼なくして秘密研究所に入ることはできません。 5 toolbar If you want to make a shortcut for using an item, you can simply drag the item from your inventory into your toolbar. For example, to make a shortcut for drawing your weapon, you can drag your blaster to an empty toolbar slot. Pressing that hotkey will switch to that weapon, or put away the weapon if it is equipped. This trick works for any usable or wearable item including droids, armor, clothes, etc. アイテムのショートカットを作成するには、インベントリーからツールバーにアイテムをドラッグします。例えば、武器（例：ブラスター）を装備するためのショートカットを作成するには、まず装備したいブラスターを空のツールバー･スロットにドラッグします。スロットのホットキーを押すと、そのスロットに設定されている武器に持ち替えます。また、現在手に持っている武器のホットキーを押すと、装備を外します。 この機能は、ドロイド、アーマー、服など使用や装備可能な全てのアイテムで有効です。 14 two_row_toolbar If you don t need two rows of hotkeys, grab the bottom edge of the toolbar and resize it so that you have only one row of hotkeys on each pane. ホットキーの数が２列分では多すぎる場合は、ツールバー下側の端を掴み、サイズを調整してください。１列に変更する事が出来ます。 18 ui_colors On the Interface screen of the Options menu, you can select from a variety of color schemes for the user interface. オプション･メニューのインターフェイス画面から、ユーザー･インターフェイスの配色を選択出来ます。 11 unix_shortcuts You can use an exclamation point, along with the first few letters of a previous command beginning with the same letters. For example "!abc" will repeat the last command that started with "abc." You can also use the caret to correct a typo in a previous command. Entering ^tyop^typo will repeat the previous line, with "tyop" changed to "typo." !（エクスクラメーション･マーク）と以前に入力したコマンドの最初の数文字を使うことで、以前に入力したコマンドを繰り返すことができます「!abc」で「abc」で始まる最新のコマンドが繰り返されます。 58 up_and_down Players can move items up and down in player houses, merchant tents, player association guild halls and all player city structures. Create a Macro or use the radial menu to take advantage of the vertical object movement in player structures. プレイヤーの家や商人のテント、プレイヤーが参加しているギルド･ホールおよびシティ内のあらゆるプレイヤー用建物の中では、アイテムの移動が可能です。マクロを作成したりラジアル･メニューを使う事で、プレイヤー用建物の中のオブジェクトの垂直移動を楽に行えます。 46 waypoints Waypoints are beacons from the sky that you can place anywhere, and see on your display. You can send waypoints to your friends in mail. Type /waypoint to create one quickly at your location. You may also create a waypoint at another location by adding coordinates. An example of this is /waypoint 1000 1000. ウェイポイントは、惑星上空から発信されるビーコンで、プレイヤーが自由に設置することが出来ます。ウェイポイントはメールで友人に送信することが出来ます。/waypointと入力するとすぐにあなたのいる場所にウェイポイントが作成されます。また、座標を続けて指定することで、その座標へのウェイポイントを作成することも可能です。例 /waypoint 1000 1000 44 windows Did you know that every display window can be moved to any location and resized to any size? Click and drag a corner or an edge to resize a window. Click and drag the top edge to move it. すべてのディスプレイ･ウィンドウは、位置や大きさの変更が可能です。 サイズの調整はウィンドウの角や端をクリック、ドラッグして行います。ウィンドウを移動させる場合は、上端をクリックし、好きな位置までドラッグします。 67 wookiee_armor Armor for Wookiees! Kashyyykian Ceremonial Armor is the first set of armor added to the Galaxy for our furry friends. ウーキーのアーマー!キャシーキアン･セレモニアル･アーマーは毛だらけの彼らのために加わった銀河初のアーマー･セットです。 ⇒loading\tips.stf(2)へ続く
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CHAPTER XXXIII UP CHAPTER XXXV CHAPTER XXXIV A Queen s Girl 単数形なので、あくまでもアンのこと、ね 第34章 クィーン学院の女子学生（松本訳） The next three weeks were busy ones at Green Gables, for Anne was getting ready to go to Queen s, and there was much sewing to be done, 「much sewing to be done」アンやマリラが縫いものをしたのでしょう and many things to be talked over and arranged. Anne s outfit was ample and pretty, for Matthew saw to that, and Marilla for once made no objections whatever to anything he purchased or suggested. More-- one evening she went up to the east gable with her arms full of a delicate pale green material. 「material」まだ、材料でしかない "Anne, here s something for a nice light dress for you. I don t suppose you really need it; you ve plenty of pretty waists; but I thought maybe you d like something real dressy to wear if you were asked out anywhere of an evening in town, to a party or anything like that. I hear that Jane and Ruby and Josie have got `evening dresses, as they call them, and I don t mean you shall be behind them. 「I don t mean you shall be behind them」マリラは見栄っ張りのところがある。アラン牧師夫妻を迎えた tea のときもそう（「Marilla was determined not to be eclipsed by any of the Avonlea housekeepers.」「"Well, do as you like," said Marilla, who was quite determined not to be surpassed by Mrs. Barry or anybody else.」CHAPTER XXI with impression? A New Departure in Flavorings ）。次の文でアラン夫人が出てくるのは、マリラの見栄っ張りを読者に思い出させるための仕組みかもしれません I got Mrs. Allan to help me pick it in town last week, and we ll get Emily Gillis to make it for you. 「we ll」willとなっているからには、これから頼みに行く。weだからアラン夫人もマリラと一緒に頼みに行くことになっているのでしょう、きっと Emily has got taste, and her fits aren t to be equaled." "Oh, Marilla, it s just lovely," said Anne. "Thank you so much. I don t believe you ought to be so kind to me--it s making it harder every day for me to go away." 「it s making it」はじめの it は、マリラの親切（具体的にどれを差すのかよくわからない）。つぎの it は（いわゆる）仮主語（あ、これは主語じゃないかな） The green dress was made up with as many tucks and frills and shirrings as Emily s taste permitted. Anne put it on one evening for Matthew s and Marilla s benefit, and recited "The Maiden s Vow" for them in the kitchen. 「in the kitchen」Mary, Queen of Scots を納屋で聞かせてくれとマシューに言われて興醒めになったことがありましが（「"Well now, you might recite it for me some of these days, out in the barn," suggested Matthew.」CHAPTER XXIV with impression? Miss Stacy and Her Pupils Get Up a Concert）、今回はキッチンでのリサイタル。もちろんホワイトサンズホテルで演じたもの As Marilla watched the bright, animated face and graceful motions her thoughts went back to the evening Anne had arrived at Green Gables, and memory recalled a vivid picture of the odd, frightened child in her preposterous yellowish-brown wincey dress, the heartbreak looking out of her tearful eyes. Something in the memory brought tears to Marilla s own eyes. "I declare, my recitation has made you cry, Marilla," said Anne gaily stooping over Marilla s chair to drop a butterfly kiss on that lady s cheek. "Now, I call that a positive triumph." "No, I wasn t crying over your piece," said Marilla, who would have scorned to be betrayed into such weakness by any poetry stuff. "I just couldn t help thinking of the little girl you used to be, Anne. And I was wishing you could have stayed a little girl, even with all your queer ways. You ve grown up now and you re going away; and you look so tall and stylish and so--so--different altogether in that dress--as if you didn t belong in Avonlea at all-- and I just got lonesome thinking it all over." ここは、アンがあまりに朗らかなので、マリラの心境を思うと泣けてくるところ "Marilla!" Anne sat down on Marilla s gingham lap, 「on Marilla s gingham lap」重くはないのかっ、アン！いくらスリムでも40kgはあるでしょうに。ということで、どん、と乗っかってしまったのではなく、あくまで自分の足で体重は支えていたと信じたい took Marilla s lined face between her hands, and looked gravely and tenderly into Marilla s eyes. "I m not a bit changed-- not really. 「I m not a bit changed--not really.」と言えるようになったとき、子は親離れできたことになる I m only just pruned down and branched out. 「prune down」枝を払う、「branch out」枝を伸ばす The real ME--back here--is just the same. It won t make a bit of difference where I go or how much I change outwardly; at heart I shall always be your little Anne, who will love you and Matthew and dear Green Gables more and better every day of her life." 「her life」ここでは、Anneを関係代名詞 whoで受けていて、そのwhoの所有格なので、myではなく、herになっている Anne laid her fresh young cheek against Marilla s faded one, and reached out a hand to pat Matthew s shoulder. Marilla would have given much just then to have possessed Anne s power of putting her feelings into words; but nature and habit had willed it otherwise, and she could only put her arms close about her girl and hold her tenderly to her heart, wishing that she need never let her go. マリラがしゃべりすぎないのがいいと思うのは、日本人だから、かしら Matthew, with a suspicious moisture in his eyes, got up and went out-of-doors. Under the stars of the blue summer night he walked agitatedly across the yard to the gate under the poplars. "Well now, I guess she ain t been much spoiled," he muttered, proudly. "I guess my putting in my oar occasional never did much harm after all. 「oar」口を出す、というときには、オールを使う、ようです。have an oar in every man s boat だれのことにも口を出す She s smart and pretty, and loving, too, which is better than all the rest. smart（賢さ）やpretty（外見）よりもloving（感情／心）をマシューはアンの美点と考えている。（たぶん）読者も賛同するところ She s been a blessing to us, and there never was a luckier mistake than what Mrs. Spencer made--if it WAS luck. I don t believe it was any such thing. It was Providence, because the Almighty saw we needed her, I reckon." 運ではなく、神意であり、神様がわたしたちにアンを必要としていたと見ぬいていたのだ。アンがはじめてグリーンゲイブルズに来たとき、マシューはわしらがアンに役立つかもしれない、と思わず言ってしまいました（"We might be some good to her," said Matthew suddenly and unexpectedly. CHAPTER III with impression? Marilla Cuthbert is Surprised）。しかし、結果として、アンがマシューとマリラのふたりに必要な人だった、とコトバで意識を表わす場面に、ここはなっています。なお、Puffin Books版では、WASは小文字で斜字体 The day finally came when Anne must go to town. She and Matthew drove in one fine September morning, after a tearful parting with Diana and an untearful practical one-- on Marilla s side at least--with Marilla. But when Anne had gone Diana dried her tears and went to a beach picnic at White Sands with some of her Carmody cousins, where she contrived to enjoy herself tolerably well; while Marilla plunged fiercely into unnecessary work 「unnecessary work」感情が整理できないときのマリラの癖、ですね。CHAPTER XIV with impression? Anne s Confession でも、Marilla worked fiercely and scrubbed the porch floor and the dairy shelves when she could find nothing else to do. Neither the shelves nor the porch needed it--but Marilla did. ということがありました and kept at it all day long with the bitterest kind of heartache--the ache that burns and gnaws and cannot wash itself away in ready tears. But that night, when Marilla went to bed, acutely and miserably conscious that the little gable room at the end of the hall was untenanted by any vivid young life and unstirred by any soft breathing, she buried her face in her pillow, and wept for her girl in a passion of sobs that appalled her when she grew calm enough to reflect how very wicked it must be to take on so about a sinful fellow creature. 「a sinful fellow creature」文面上はアンが sinful ということになりますが、（たぶん）キリスト教では人間はすべてsinfulであるので、アンを特に非難しているわけではない Anne and the rest of the Avonlea scholars reached town just in time to hurry off to the Academy. 「reached town just in time」何時集合かはわかりませんが、昼からとしても、アヴォンリーをかなり早く出発したはず。CHAPTER XXIX with impression An Epoch in Anne s Life では、As Charlottetown was thirty miles away and Mr. Barry wished to go and return the same day, it was necessary to make a very early start. とあるので That first day passed pleasantly enough in a whirl of excitement, meeting all the new students, learning to know the professors by sight and being assorted and organized into classes. Anne intended taking up the Second Year work being advised to do so by Miss Stacy; 「taking up the Second Year work」直訳すれば、「２年目の勉強も履修する」。なので、後で説明があるように、２年ではなく、１年でFirst Classの教員免許が取得できる。標準では１年履修するとSecond Class Licenceが取得でき、それに加え、さらにwork（標準では２年目に取得する：アンはこれも１年目に履修することにした）の単位を取得するとFirst Class Licenceが取得できる、という仕組みなのがわかる。なお、松本訳では、（たぶん、混乱のないように）アンのような履修をすることを「第一課程に入る」と訳している。これは、「Second Class work」（すこし後ででてくる）を第二課程と訳すこととして、それに対応させるためでしょう Gilbert Blythe elected to do the same. This meant getting a First Class teacher s license in one year instead of two, if they were successful; but it also meant much more and harder work. Jane, Ruby, Josie, Charlie, and Moody Spurgeon, not being troubled with the stirrings of ambition, were content to take up the Second Class work. 「the Second Class work」直訳すれば、「二級免許のための勉強」。the があることから、すでに話題になったこと、または、既知のことであり、それはつまり教員免許のworkのこと Anne was conscious of a pang of loneliness when she found herself in a room with fifty other students, not one of whom she knew, except the tall, brown-haired boy across the room; and knowing him in the fashion she did, did not help her much, 「did not help her much」それは君次第でしょう、アン as she reflected pessimistically. Yet she was undeniably glad that they were in the same class; the old rivalry could still be carried on, and Anne would hardly have known what to do if it had been lacking. "I wouldn t feel comfortable without it," 「wouldn t」仮定法。「without it」ならば、心地よくないだろう。ちょっとひねくれていやしませんか、アン she thought. "Gilbert looks awfully determined. I suppose he s making up his mind, here and now, to win the medal. 「the medal」the と定冠詞ですが、はじめて出てきています。ということは、the medalはクィーン学院の学生には「常識」として知られている、または、カナダのacademy（専門学校？）ではメダルの授与がふつうにあったことを意味する（そう理解させたい）のでしょう。この章でも後でもう少し話明がでてきますが、あまり説明らしい説明ではないので、読者に「既知」なのを前提としているのでしょう What a splendid chin he has! I never noticed it before. I do wish Jane and Ruby had gone in for First Class, too. I suppose I won t feel so much like a cat in a strange garret when I get acquainted, though. I wonder which of the girls here are going to be my friends. It s really an interesting speculation. Of course I promised Diana that no Queen s girl, no matter how much I liked her, should ever be as dear to me as she is; but I ve lots of second-best affections to bestow. I like the look of that girl with the brown eyes and the crimson waist. She looks vivid and red-rosy; 「rosy」有望な、明るい、楽観的な、の意味もある。もちろん、バラのような、の意味がここでは適切ですが、言葉の広がりかたとして there s that pale, fair one gazing out of the window. 「fair」公正な,有望なの意味もある。もちろん、金髪、色白、青い目、の意味がここでは適切ですが、言葉の広がりかたとして She has lovely hair, and looks as if she knew a thing or two about dreams. I d like to know them both--know them well--well enough to walk with my arm about their waists, and call them nicknames. But just now I don t know them and they don t know me, and probably don t want to know me particularly. Oh, it s lonesome!" It was lonesomer still when Anne found herself alone in her hall bedroom that night at twilight. She was not to board with the other girls, who all had relatives in town to take pity on them. Miss Josephine Barry would have liked to board her, but Beechwood was so far from the Academy that it was out of the question; 「Beechwood was so far from the Academy」試験のときは、お昼ご飯を食べに戻っていますが（「At noon we went home for dinner and then back again for history in the afternoon.」CHAPTER XXXII with impression The Pass List Is Out）、馬車で移動したのかしら？？？ so miss Barry hunted up a boarding-house, assuring Matthew and Marilla that it was the very place for Anne. "The lady who keeps it is a reduced gentlewoman," explained Miss Barry. "Her husband was a British officer, and she is very careful what sort of boarders she takes. Anne will not meet with any objectionable persons under her roof. The table is good, and the house is near the Academy, in a quiet neighborhood." All this might be quite true, and indeed, proved to be so, but it did not materially help Anne in the first agony of homesickness that seized upon her. She looked dismally about her narrow little room, with its dull-papered, pictureless walls, its small iron bedstead and empty book- case; 「its dull-papered, pictureless walls, its small iron bedstead and empty book-case」アンの部屋とは違うところを強調。もちろん、淋しいときは、違いだけが気になるものです and a horrible choke came into her throat as she thought of her own white room at Green Gables, where she would have the pleasant consciousness of a great green still outdoors, of sweet peas growing in the garden, and moonlight falling on the orchard, of the brook below the slope and the spruce boughs tossing in the night wind beyond it, of a vast starry sky, and the light from Diana s window shining out through the gap in the trees. やはり自然が気になる、アンでした Here there was nothing of this; Anne knew that outside of her window was a hard street, 「a hard street」舗装した道路。舗装そのものは近代のものではなく、かなり古くからある。してあるかどうかは別 with a network of telephone wires shutting out the sky, 「with a network of telephone wires shutting out the sky」松本訳注第34章(1) p. 527参照 the tramp of alien feet, 「the tramp of alien feet」松本訳注第34章(2) p. 528参照 and a thousand lights gleaming on stranger faces. 「a thousand lights gleaming」松本訳注第34章(3) p. 528参照 このあたり「クイーン学院に入学するときのシャーロットタウンの様子」もどうぞ She knew that she was going to cry, and fought against it. "I WON T cry. あとでジェーンも泣いたと言いますが、毎週帰れるのに（CHAPTER XXXV with impression The Winter at Queen s）、ホームシックになってしまうのは、ひとつは新しい学校の環境（友人、知人が少ない：これはアヴォンリーのように全員のことをよく知っている環境から移った人にはかなり不安がでるはず）。もうひとつは、毎週帰れるとはいえ、電話で話ができるわけでもない状況。淋しさが強くなるのは当然でしょう It s silly--and weak--there s the third tear splashing down by my nose. There are more coming! I must think of something funny to stop them. But there s nothing funny except what is connected with Avonlea, and that only makes things worse--four--five--I m going home next Friday, but that seems a hundred years away. 「a hundred years away」おおげさな！ Oh, Matthew is nearly home by now-- 「Matthew is nearly home by now」「マシューは家に着くころね。」シャーロットタウンからアヴォンリーまでは半日かかる。松本訳では「ああ、今頃、マシューは、そろそろ畑から家に戻る頃ね」（p. 404）としていて普段の生活を思い出していると解釈している。is だからどちらも可でしょう and Marilla is at the gate, looking down the lane for him--six--seven--eight-- oh, there s no use in counting them! They re coming in a flood presently. I can t cheer up--I don t WANT to cheer up. It s nicer to be miserable!" The flood of tears would have come, no doubt, had not Josie Pye appeared at that moment. 「had not Josie Pye appeared」= if Josie Pye had not appeared 仮定法 In the joy of seeing a familiar face Anne forgot that there had never been much love lost between her and Josie. As a part of Avonlea life even a Pye was welcome. "I m so glad you came up," Anne said sincerely. "You ve been crying," remarked Josie, with aggravating pity. "I suppose you re homesick--some people have so little self-control in that respect. I ve no intention of being homesick, I can tell you. Town s too jolly after that poky old Avonlea. I wonder how I ever existed there so long. You shouldn t cry, Anne; it isn t becoming, for your nose and eyes get red, and then you seem ALL red. 「you seem ALL red」鼻と目が赤くなったら、髪が赤いのだから全部赤になる。ここまでいじわるなことどうして考えつくのでしょう？？？ I d a perfectly scrumptious time in the Academy today. Our French professor is simply a duck. 「a duck」かわいい人。鳥のカモ／アヒル。後ろ参照 His moustache would give you kerwollowps of the heart. Have you anything eatable around, Anne? I m literally starving. Ah, I guessed likely Marilla d load you up with cake. That s why I called round. Otherwise I d have gone to the park to hear the band play with Frank Stockley. He boards same place as I do, 「He boards same place as I do」ジョージーは親戚のところに下宿しているはずですが（She was not to board with the other girls, who all had relatives in town to take pity on them. 少し上のほうにあります）、フランク・ストックリーも下宿しているということはジョージーの親戚は下宿屋をやっているんでしょうか and he s a sport. 「a sport」いいやつ。プレイボーイ He noticed you in class today, and asked me who the red-headed girl was. I told him you were an orphan that the Cuthberts had adopted, and nobody knew very much about what you d been before that." 「you were an orphan that the Cuthberts had adopted, and nobody knew very much about what you d been before that」事実ではある。しかし、事実のうち何を相手に伝えるかによって、話し手の心が出る。ジョージーは、まったく…… Anne was wondering if, after all, solitude and tears were not more satisfactory than Josie Pye s companionship when Jane and Ruby appeared, each with an inch of Queen s color ribbon--purple and scarlet--pinned proudly to her coat. As Josie was not "speaking" to Jane just then she had to subside into comparative harmlessness. "Well," said Jane with a sigh, "I feel as if I d lived many moons since the morning. 「moons」monthsではなくmoonsといってるところが、ちょっと気どっているというか、はずかしさを隠しているというか I ought to be home studying my Virgil-- 「Virgil」松本訳注第34章(4) p. 528参照 松本訳の注によると Virgil はラテン語。ジェーンはラテン語が不得意だったはずなのに予習しなくていいの？と突っこみたくなるような話になっている。（Mine is geometry of course, and Jane s is Latin, and Ruby and Charlie s is algebra, and Josie s is arithmetic. CHAPTER XXXI with impression Where the Brook and River Meet） that horrid old professor gave us twenty lines to start in on tomorrow. But I simply couldn t settle down to study tonight. Anne, methinks I see the traces of tears. 「methink」［古］私には思われる。古い言葉を使っているので、この内容では、ジョーシーと違ってジェーンがアンに対してやわらかく気遣いのある言い方をしている。しかも、少しあとに、わたしも泣いてたの、と言っているし If you ve been crying DO own up. It will restore my self-respect, for I was shedding tears freely before Ruby came along. I don t mind being a goose so much if somebody else is goosey, too. 「goose」ばか、弱虫。家禽のガチョウ、野生の鳥のガン。弱虫といった感じの言葉はいくつもあると思われるのに goose を使ったのは、上でジョージーがフランス語の教授を duck と言ったらでしょうね（逆に goose を使ったので上で duck としたのかもしれません） Cake? 「Cake?」おしゃべりをしている間にマリラが持たせてくれたケーキをアンは出してきたようです You ll give me a teeny piece, won t you? 「teeny」［話］ちっちゃい（tiny） Thank you. It has the real Avonlea flavor." Ruby, perceiving the Queen s calendar lying on the table, wanted to know if Anne meant to try for the gold medal. Anne blushed and admitted she was thinking of it. "Oh, that reminds me," said Josie, なんだかんだといってもジョージーも役に立つことを言う "Queen s is to get one of the Avery scholarships after all. The word came today. Frank Stockley told me--his uncle is one of the board of governors, you know. It will be announced in the Academy tomorrow." An Avery scholarship! Anne felt her heart beat more quickly, and the horizons of her ambition shifted and broadened as if by magic. Before Josie had told the news Anne s highest pinnacle of aspiration had been a teacher s provincial license, 「a teacher s provincial license」教員免許は州が出すことがわかる。現在の日本では各都道府県の教育委員会 First Class, at the end of the year, and perhaps the medal! But now in one moment Anne saw herself winning the Avery scholarship, taking an Arts course at Redmond College, 「an Arts course」村岡訳では、「芸術科」と訳していますが、ここは文学のコースと考えるのが適当でしょう。arts の意味は広いので。芸術科なら、fine artsのような感じかしら。松本訳では「文学部」 「Redmond College」松本訳注第34章(5) p. 528参照 and graduating in a gown and mortar board, 「a gown and mortar board」ガウンと角帽。イギリスとその植民地だった国の大学では卒業式はガウンと房のついた角帽（ほかの西洋の国はよくわかりません）。mortar boardはモルタルの練り板、こて板の意味もある。関連性がよくわからない、似ているからとの説明のある辞書もある。コテ板と……似ているかなあ before the echo of Josie s words had died away. For the Avery scholarship was in English, and Anne felt that here her foot was on native heath. 「her foot was on native heath」松本訳注第34章(6) p. 529参照 A wealthy manufacturer of New Brunswick had died and left part of his fortune to endow a large number of scholarships to be distributed among the various high schools and academies of the Maritime Provinces, 「the Maritime Provinces」松本訳注第34章(7) p. 529参照 according to their respective standings. There had been much doubt whether one would be allotted to Queen s, but the matter was settled at last, and at the end of the year the graduate who made the highest mark in English and English Literature would win the scholarship-- two hundred and fifty dollars a year for four years at Redmond College. 「An Avery scholarship」エイヴリー奨学金：この「赤毛のアン」ではレイモンド大学の文学専攻に進学する人に毎年250ドル、４年間与えられることになっています。この奨学金の名前にちなんで、プリンスエドワード島大学（Univerisity of Prince Edward Island）では、英語専攻の学生１人を選び、１年間1,000ドルをエイヴリー奨学金として授与しています プリンスエドワード島大学は、クィーン学院のモデルとなった Prince of Walse College（当時は学士号の授与権はなかった：1960年代になって）と、同じくシャーロットタウンにあったSt. Dunstan’s University（1914年より学位授与できるようになった）が合併したもののようです。いずれにせよアンがクィーン学院に入学したときは、クィーンは「大学」ではなかったので、BAを取るためには進学しなくてはならなかったわけです No wonder that Anne went to bed that night with tingling cheeks! "I ll win that scholarship if hard work can do it," she resolved. "Wouldn t Matthew be proud if I got to be a B.A.? 「B.A.」Bachelor of Arts。無理矢理訳すと文学士。文系の学士号はB.A.（ビーエイ）で、理系の学士号がB.Sc.（ビーエスシー、または、B.S. ビーエス：Bachelor of Science）であって、（ほかにもあるかもしれないけれど）この２種類が広くカバーしているようです。なので、文学士と訳すと狭すぎのきらいがある場合もありますが、ここでは英語学／英文学の専攻なので文学士は適切。なお、現在の日本では学士（○○）と日本語で表記し、かっこの中の○○はバラエティに富んでいます（富みすぎってほどあります） Oh, it s delightful to have ambitions. I m so glad I have such a lot. And there never seems to be any end to them-- that s the best of it. Just as soon as you attain to one ambition you see another one glittering higher up still. It does make life so interesting." CHAPTER XXXIII UP CHAPTER XXXV 29 July 2007 30 July 2007 微修正 今日 - | 昨日 - | Total - since 29 July 2007 last update 2007-07-30 18 00 02 (Mon)
https://w.atwiki.jp/multiwinia_jp/
@wikiがやらかしたので、折を見て引き上げます。(2014/03/10) このwikiについて Multiwiniaを日本語化しようというwikiです。 問題を見つけたり、疑問点のある方は、2chの該当スレッドまでご連絡願います。 翻訳作業をされた方は、アップロードページへ翻訳したテキストファイル（WordやExcelも可）をアップロードをしたうえで2chの該当スレッドまでご連絡願います。 直接編集することもできます。頻繁に更新される方は、ユーザー登録をすると画像認証無しで編集できます。（捨てアド推奨） 管理人が編集とレイアウトを担当します。気が向いたら翻訳もするかも。しないかも。 Multiwiniaを日本語化する時に必要な情報 基本 拡張子が.datのファイルは、全てrar形式の圧縮ファイルです。拡張子を.rarに変えて解凍することで中を見ることができます。 一部のファイルはパスワードがかかっていますが、日本語化に当たっては見れなくても支障は無さそうです。 メッセージ Multiwiniaのメッセージはmain.datの中のdata/language/english.txtに書かれています。 multiwinia.exe.exeと同じフォルダにdataフォルダを作り、その中にlanguageフォルダを作り、その中にjapanese.txtを置くと、オプションの言語設定からjapaneseが選択できるようになり、選択するとjapanese.txtの内容を参照します。 日本語化する場合、japanese.txtはビッグエンディアンのUnicodeで保存する必要があります。 文章が自動で折り返すときに、右端の文字が消えやすいので、長い文は改行マーク(\n)で適当に強制改行させると良いです。 フォントファイル フォントファイルはmultiwinia.exeと同じフォルダにdataフォルダを作り、その中にtexturesフォルダを作り、その中にunicodeフォルダを作り、その中に規定のファイル名でBMPファイルを置くと使えるようになります。 ファイル名の書式は、「ヘッダー」.「Unicode上位バイト」+00.「Unicode上位バイト」+ff.bmpです。ヘッダーeditor/speccy/squareの3種類です。3種類とも作成する必要があります。 Unicode上位バイトUnicodeは2バイトで1文字を表現します。たとえばひらがな・カタカナは30 00～30 FFに含まれるので、上位バイトは30になります。 ひらがな・カタカナのフォントファイルは、上記の理由によりeditor.3000.30ff.bmpとspeccy.3000.30ff.bmpとsquare.3000.30ff.bmpの3つになります。
https://w.atwiki.jp/mafia2transj/pages/133.html
n_ snoring sounds Hey! Who the fuck are you! Hey! Hey! What the hell are you doing here?! Ah, shit! We got a visitor! Hey, who s that?! Stop! Hey! You! Who the hell are you! Guys! There s somebody here! Hey, I see you, asshole! Whoever you are, you re in deep shit now! Hey, stop right there! n_Hey, don t spend all day out here, huh? I don t want to do this by myself! n_Just having one fucking smoke. Relax. n_Yeah, heard that one before, pal. So, uh, what s going on with them guys? Don t know what you re talking about. Hey, I seen some strange shit around here, but... You ain t seen nothing, ain t heard nothing, ain t gonna talk about nothing. Got it? Yeah, yeah... uh, forget I asked, alright? n_Hey, what was that screaming? n_Nothing. One of them pigs must ve squeeled. n_What? Na, that was no pig, that sounded like - n_You got shit in your ears? That was a pig! Just ignore it. n_Yeah, but - n_Hey, you new around here or what?! Shut the fuck up, and get back to work, or that ain t gonna be the only pig that s squeeling. n_OK, OK... n_Hey, he s here already. Who s them guys with him? n_Hey, that s Tony Balls. One of the Falcone guys. n_No shit? n_Yeah. What the fuck is going on? Don t look like Tony came here voluntarily. n_Hey, who s the little guy? n_Dunno. Never seen him before. n_Fuck. I hope the boss knows what he s doing here. n_Of course the boss knows what Luca s doing. Something like this... Luca couldn t do it all by himself. The boss d have to give the order. n_Hey, I was just wondering. n_So, uuh... you still thinking about quitting? n_Yeah. Probably next month. n_And what you re gonna do then? n_Well, I was thinking of maybe... you know... becoming a voice actor... n_You kidding me? Who the hell would hire you? n_Hey, you two. Shift s over. n_W-What do you mean shift s over? n_You got shit in your ears? I said you re done for today. n_...but I ain t done pounding the beefsteak. n_Hey, don t make me say it again. Shift s over. Get the hell out of here. n_Alright, fine by me. n_Damn straight. Let s go. Hey! Everything OK out there? Yeah! It s all good boss. Get over here then, I need your help with something! Uh, be right there! あぁ, そこにおいてくれ!
https://w.atwiki.jp/pyopyo0124/pages/34.html
CHAPTER XIX UP CHAPTER XXI CHAPTER XX A Good Imagination Gone Wrong Spring had come once more to Green Gables--the beautiful capricious, reluctant Canadian spring, lingering along through April and May in a succession of sweet, fresh, chilly days, with pink sunsets and miracles of resurrection and growth. The maples in Lover s Lane were red budded and little curly ferns pushed up around the Dryad s Bubble. Away up in the barrens, behind Mr. Silas Sloane s place, the Mayflowers blossomed out, pink and white stars of sweetness under their brown leaves. All the school girls and boys had one golden afternoon gathering them, coming home in the clear, echoing twilight with arms and baskets full of flowery spoil. "I m so sorry for people who live in lands where there are no Mayflowers," said Anne. "Diana says perhaps they have something better, but there couldn t be anything better than Mayflowers, could there, Marilla? And Diana says if they don t know what they are like they don t miss them. But I think that is the saddest thing of all. I think it would be TRAGIC, Marilla, not to know what Mayflowers are like and NOT to miss them. Do you know what I think Mayflowers are, Marilla? I think they must be the souls of the flowers that died last summer and this is their heaven. But we had a splendid time today, Marilla. We had our lunch down in a big mossy hollow by an old well--such a ROMANTIC spot. Charlie Sloane dared Arty Gillis to jump over it, and Arty did because he wouldn t take a dare. Nobody would in school. It is very FASHIONABLE to dare. Mr. Phillips gave all the Mayflowers he found to Prissy Andrews and I heard him to say `sweets to the sweet. He got that out of a book, I know; but it shows he has some imagination. I was offered some Mayflowers too, but I rejected them with scorn. I can t tell you the person s name because I have vowed never to let it cross my lips. We made wreaths of the Mayflowers and put them on our hats; and when the time came to go home we marched in procession down the road, two by two, with our bouquets and wreaths, singing `My Home on the Hill. Oh, it was so thrilling, Marilla. All Mr. Silas Sloane s folks rushed out to see us and everybody we met on the road stopped and stared after us. We made a real sensation." "Not much wonder! Such silly doings!" was Marilla s response. After the Mayflowers came the violets, and Violet Vale was empurpled with them. Anne walked through it on her way to school with reverent steps and worshiping eyes, as if she trod on holy ground. "Somehow," she told Diana, "when I m going through here I don t really care whether Gil--whether anybody gets ahead of me in class or not. But when I m up in school it s all different and I care as much as ever. There s such a lot of different Annes in me. I sometimes think that is why I m such a troublesome person. If I was just the one Anne it would be ever so much more comfortable, but then it wouldn t be half so interesting." One June evening, when the orchards were pink blossomed again, when the frogs were singing silverly sweet in the marshes about the head of the Lake of Shining Waters, and the air was full of the savor of clover fields and balsamic fir woods, Anne was sitting by her gable window. She had been studying her lessons, but it had grown too dark to see the book, so she had fallen into wide-eyed reverie, looking out past the boughs of the Snow Queen, once more bestarred with its tufts of blossom. In all essential respects the little gable chamber was unchanged. The walls were as white, the pincushion as hard, the chairs as stiffly and yellowly upright as ever. Yet the whole character of the room was altered. It was full of a new vital, pulsing personality that seemed to pervade it and to be quite independent of schoolgirl books and dresses and ribbons, and even of the cracked blue jug full of apple blossoms on the table. It was as if all the dreams, sleeping and waking, of its vivid occupant had taken a visible although unmaterial form and had tapestried the bare room with splendid filmy tissues of rainbow and moonshine. Presently Marilla came briskly in with some of Anne s freshly ironed school aprons. She hung them over a chair and sat down with a short sigh. She had had one of her headaches that afternoon, and although the pain had gone she felt weak and "tuckered out," as she expressed it. Anne looked at her with eyes limpid with sympathy. "I do truly wish I could have had the headache in your place, Marilla. I would have endured it joyfully for your sake." "I guess you did your part in attending to the work and letting me rest," said Marilla. "You seem to have got on fairly well and made fewer mistakes than usual. Of course it wasn t exactly necessary to starch Matthew s handkerchiefs! And most people when they put a pie in the oven to warm up for dinner take it out and eat it when it gets hot instead of leaving it to be burned to a crisp. But that doesn t seem to be your way evidently." Headaches always left Marilla somewhat sarcastic. "Oh, I m so sorry," said Anne penitently. "I never thought about that pie from the moment I put it in the oven till now, although I felt INSTINCTIVELY that there was something missing on the dinner table. I was firmly resolved, when you left me in charge this morning, not to imagine anything, but keep my thoughts on facts. I did pretty well until I put the pie in, and then an irresistible temptation came to me to imagine I was an enchanted princess shut up in a lonely tower with a handsome knight riding to my rescue on a coal-black steed. So that is how I came to forget the pie. I didn t know I starched the handkerchiefs. All the time I was ironing I was trying to think of a name for a new island Diana and I have discovered up the brook. It s the most ravishing spot, Marilla. There are two maple trees on it and the brook flows right around it. At last it struck me that it would be splendid to call it Victoria Island because we found it on the Queen s birthday. Both Diana and I are very loyal. But I m sorry about that pie and the handkerchiefs. I wanted to be extra good today because it s an anniversary. Do you remember what happened this day last year, Marilla?" "No, I can t think of anything special." "Oh, Marilla, it was the day I came to Green Gables. I shall never forget it. It was the turning point in my life. Of course it wouldn t seem so important to you. I ve been here for a year and I ve been so happy. Of course, I ve had my troubles, but one can live down troubles. Are you sorry you kept me, Marilla?" "No, I can t say I m sorry," said Marilla, who sometimes wondered how she could have lived before Anne came to Green Gables, "no, not exactly sorry. If you ve finished your lessons, Anne, I want you to run over and ask Mrs. Barry if she ll lend me Diana s apron pattern." "Oh--it s--it s too dark," cried Anne. "Too dark? Why, it s only twilight. And goodness knows you ve gone over often enough after dark." "I ll go over early in the morning," said Anne eagerly. "I ll get up at sunrise and go over, Marilla." "What has got into your head now, Anne Shirley? I want that pattern to cut out your new apron this evening. Go at once and be smart too." "I ll have to go around by the road, then," said Anne, taking up her hat reluctantly. "Go by the road and waste half an hour! I d like to catch you!" "I can t go through the Haunted Wood, Marilla," cried Anne desperately. Marilla stared. "The Haunted Wood! Are you crazy? What under the canopy is the Haunted Wood?" "The spruce wood over the brook," said Anne in a whisper. "Fiddlesticks! There is no such thing as a haunted wood anywhere. Who has been telling you such stuff?" "Nobody," confessed Anne. "Diana and I just imagined the wood was haunted. All the places around here are so--so--COMMONPLACE. We just got this up for our own amusement. We began it in April. A haunted wood is so very romantic, Marilla. We chose the spruce grove because it s so gloomy. Oh, we have imagined the most harrowing things. There s a white lady walks along the brook just about this time of the night and wrings her hands and utters wailing cries. She appears when there is to be a death in the family. And the ghost of a little murdered child haunts the corner up by Idlewild; it creeps up behind you and lays its cold fingers on your hand--so. Oh, Marilla, it gives me a shudder to think of it. And there s a headless man stalks up and down the path and skeletons glower at you between the boughs. Oh, Marilla, I wouldn t go through the Haunted Wood after dark now for anything. I d be sure that white things would reach out from behind the trees and grab me." "Did ever anyone hear the like!" ejaculated Marilla, who had listened in dumb amazement. "Anne Shirley, do you mean to tell me you believe all that wicked nonsense of your own imagination?" "Not believe EXACTLY," faltered Anne. "At least, I don t believe it in daylight. But after dark, Marilla, it s different. That is when ghosts walk." "There are no such things as ghosts, Anne." "Oh, but there are, Marilla," cried Anne eagerly. "I know people who have seen them. And they are respectable people. Charlie Sloane says that his grandmother saw his grandfather driving home the cows one night after he d been buried for a year. You know Charlie Sloane s grandmother wouldn t tell a story for anything. She s a very religious woman. And Mrs. Thomas s father was pursued home one night by a lamb of fire with its head cut off hanging by a strip of skin. He said he knew it was the spirit of his brother and that it was a warning he would die within nine days. He didn t, but he died two years after, so you see it was really true. And Ruby Gillis says--" "Anne Shirley," interrupted Marilla firmly, "I never want to hear you talking in this fashion again. I ve had my doubts about that imagination of yours right along, and if this is going to be the outcome of it, I won t countenance any such doings. You ll go right over to Barry s, and you ll go through that spruce grove, just for a lesson and a warning to you. And never let me hear a word out of your head about haunted woods again." Anne might plead and cry as she liked--and did, for her terror was very real. Her imagination had run away with her and she held the spruce grove in mortal dread after nightfall. But Marilla was inexorable. She marched the shrinking ghost-seer down to the spring and ordered her to proceed straightaway over the bridge and into the dusky retreats of wailing ladies and headless specters beyond. "Oh, Marilla, how can you be so cruel?" sobbed Anne. "What would you feel like if a white thing did snatch me up and carry me off?" "I ll risk it," said Marilla unfeelingly. "You know I always mean what I say. I ll cure you of imagining ghosts into places. March, now." Anne marched. That is, she stumbled over the bridge and went shuddering up the horrible dim path beyond. Anne never forgot that walk. Bitterly did she repent the license she had given to her imagination. The goblins of her fancy lurked in every shadow about her, reaching out their cold, fleshless hands to grasp the terrified small girl who had called them into being. A white strip of birch bark blowing up from the hollow over the brown floor of the grove made her heart stand still. The long-drawn wail of two old boughs rubbing against each other brought out the perspiration in beads on her forehead. The swoop of bats in the darkness over her was as the wings of unearthly creatures. When she reached Mr. William Bell s field she fled across it as if pursued by an army of white things, and arrived at the Barry kitchen door so out of breath that she could hardly gasp out her request for the apron pattern. Diana was away so that she had no excuse to linger. The dreadful return journey had to be faced. Anne went back over it with shut eyes, preferring to take the risk of dashing her brains out among the boughs to that of seeing a white thing. When she finally stumbled over the log bridge she drew one long shivering breath of relief. "Well, so nothing caught you?" said Marilla unsympathetically. "Oh, Mar--Marilla," chattered Anne, "I ll b-b-be contt-tented with c-c-commonplace places after this." CHAPTER XIX UP CHAPTER XXI 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 22 34 (Tue)