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CHAPTER XVIII UP CHAPTER XX CHAPTER XIX A Concert a Catastrophe and a Confession "MARILLA, can I go over to see Diana just for a minute?" asked Anne, running breathlessly down from the east gable one February evening. "I don t see what you want to be traipsing about after dark for," said Marilla shortly. "You and Diana walked home from school together and then stood down there in the snow for half an hour more, your tongues going the whole blessed time, clickety-clack. So I don t think you re very badly off to see her again." "But she wants to see me," pleaded Anne. "She has something very important to tell me." "How do you know she has?" "Because she just signaled to me from her window. We have arranged a way to signal with our candles and cardboard. We set the candle on the window sill and make flashes by passing the cardboard back and forth. So many flashes mean a certain thing. It was my idea, Marilla." "I ll warrant you it was," said Marilla emphatically. "And the next thing you ll be setting fire to the curtains with your signaling nonsense." "Oh, we re very careful, Marilla. And it s so interesting. Two flashes mean, `Are you there? Three mean `yes and four `no. Five mean, `Come over as soon as possible, because I have something important to reveal. Diana has just signaled five flashes, and I m really suffering to know what it is." "Well, you needn t suffer any longer," said Marilla sarcastically. "You can go, but you re to be back here in just ten minutes, remember that." Anne did remember it and was back in the stipulated time, although probably no mortal will ever know just what it cost her to confine the discussion of Diana s important communication within the limits of ten minutes. But at least she had made good use of them. "Oh, Marilla, what do you think? You know tomorrow is Diana s birthday. Well, her mother told her she could ask me to go home with her from school and stay all night with her. And her cousins are coming over from Newbridge in a big pung sleigh to go to the Debating Club concert at the hall tomorrow night. And they are going to take Diana and me to the concert--if you ll let me go, that is. You will, won t you, Marilla? Oh, I feel so excited." "You can calm down then, because you re not going. You re better at home in your own bed, and as for that club concert, it s all nonsense, and little girls should not be allowed to go out to such places at all." "I m sure the Debating Club is a most respectable affair," pleaded Anne. "I m not saying it isn t. But you re not going to begin gadding about to concerts and staying out all hours of the night. Pretty doings for children. I m surprised at Mrs. Barry s letting Diana go." "But it s such a very special occasion," mourned Anne, on the verge of tears. "Diana has only one birthday in a year. It isn t as if birthdays were common things, Marilla. Prissy Andrews is going to recite `Curfew Must Not Ring Tonight. That is such a good moral piece, Marilla, I m sure it would do me lots of good to hear it. And the choir are going to sing four lovely pathetic songs that are pretty near as good as hymns. And oh, Marilla, the minister is going to take part; yes, indeed, he is; he s going to give an address. That will be just about the same thing as a sermon. Please, mayn t I go, Marilla?" "You heard what I said, Anne, didn t you? Take off your boots now and go to bed. It s past eight." "There s just one more thing, Marilla," said Anne, with the air of producing the last shot in her locker. "Mrs. Barry told Diana that we might sleep in the spare-room bed. Think of the honor of your little Anne being put in the spare-room bed." "It s an honor you ll have to get along without. Go to bed, Anne, and don t let me hear another word out of you." When Anne, with tears rolling over her cheeks, had gone sorrowfully upstairs, Matthew, who had been apparently sound asleep on the lounge during the whole dialogue, opened his eyes and said decidedly "Well now, Marilla, I think you ought to let Anne go." "I don t then," retorted Marilla. "Who s bringing this child up, Matthew, you or me?" "Well now, you," admitted Matthew. "Don t interfere then." "Well now, I ain t interfering. It ain t interfering to have your own opinion. And my opinion is that you ought to let Anne go." "You d think I ought to let Anne go to the moon if she took the notion, I ve no doubt" was Marilla s amiable rejoinder. "I might have let her spend the night with Diana, if that was all. But I don t approve of this concert plan. She d go there and catch cold like as not, and have her head filled up with nonsense and excitement. It would unsettle her for a week. I understand that child s disposition and what s good for it better than you, Matthew." "I think you ought to let Anne go," repeated Matthew firmly. Argument was not his strong point, but holding fast to his opinion certainly was. Marilla gave a gasp of helplessness and took refuge in silence. The next morning, when Anne was washing the breakfast dishes in the pantry, Matthew paused on his way out to the barn to say to Marilla again "I think you ought to let Anne go, Marilla." For a moment Marilla looked things not lawful to be uttered. Then she yielded to the inevitable and said tartly "Very well, she can go, since nothing else ll please you." Anne flew out of the pantry, dripping dishcloth in hand. "Oh, Marilla, Marilla, say those blessed words again." "I guess once is enough to say them. This is Matthew s doings and I wash my hands of it. If you catch pneumonia sleeping in a strange bed or coming out of that hot hall in the middle of the night, don t blame me, blame Matthew. Anne Shirley, you re dripping greasy water all over the floor. I never saw such a careless child." "Oh, I know I m a great trial to you, Marilla," said Anne repentantly. "I make so many mistakes. But then just think of all the mistakes I don t make, although I might. I ll get some sand and scrub up the spots before I go to school. Oh, Marilla, my heart was just set on going to that concert. I never was to a concert in my life, and when the other girls talk about them in school I feel so out of it. You didn t know just how I felt about it, but you see Matthew did. Matthew understands me, and it s so nice to be understood, Marilla." Anne was too excited to do herself justice as to lessons that morning in school. Gilbert Blythe spelled her down in class and left her clear out of sight in mental arithmetic. Anne s consequent humiliation was less than it might have been, however, in view of the concert and the spare-room bed. She and Diana talked so constantly about it all day that with a stricter teacher than Mr. Phillips dire disgrace must inevitably have been their portion. Anne felt that she could not have borne it if she had not been going to the concert, for nothing else was discussed that day in school. The Avonlea Debating Club, which met fortnightly all winter, had had several smaller free entertainments; but this was to be a big affair, admission ten cents, in aid of the library. The Avonlea young people had been practicing for weeks, and all the scholars were especially interested in it by reason of older brothers and sisters who were going to take part. Everybody in school over nine years of age expected to go, except Carrie Sloane, whose father shared Marilla s opinions about small girls going out to night concerts. Carrie Sloane cried into her grammar all the afternoon and felt that life was not worth living. For Anne the real excitement began with the dismissal of school and increased therefrom in crescendo until it reached to a crash of positive ecstasy in the concert itself. They had a "perfectly elegant tea;" and then came the delicious occupation of dressing in Diana s little room upstairs. Diana did Anne s front hair in the new pompadour style and Anne tied Diana s bows with the especial knack she possessed; and they experimented with at least half a dozen different ways of arranging their back hair. At last they were ready, cheeks scarlet and eyes glowing with excitement. True, Anne could not help a little pang when she contrasted her plain black tam and shapeless, tight-sleeved, homemade gray-cloth coat with Diana s jaunty fur cap and smart little jacket. But she remembered in time that she had an imagination and could use it. Then Diana s cousins, the Murrays from Newbridge, came; they all crowded into the big pung sleigh, among straw and furry robes. Anne reveled in the drive to the hall, slipping along over the satin-smooth roads with the snow crisping under the runners. There was a magnificent sunset, and the snowy hills and deep-blue water of the St. Lawrence Gulf seemed to rim in the splendor like a huge bowl of pearl and sapphire brimmed with wine and fire. Tinkles of sleigh bells and distant laughter, that seemed like the mirth of wood elves, came from every quarter. "Oh, Diana," breathed Anne, squeezing Diana s mittened hand under the fur robe, "isn t it all like a beautiful dream? Do I really look the same as usual? I feel so different that it seems to me it must show in my looks." "You look awfully nice," said Diana, who having just received a compliment from one of her cousins, felt that she ought to pass it on. "You ve got the loveliest color." The program that night was a series of "thrills" for at least one listener in the audience, and, as Anne assured Diana, every succeeding thrill was thrillier than the last. When Prissy Andrews, attired in a new pink-silk waist with a string of pearls about her smooth white throat and real carnations in her hair--rumor whispered that the master had sent all the way to town for them for her--"climbed the slimy ladder, dark without one ray of light," Anne shivered in luxurious sympathy; when the choir sang "Far Above the Gentle Daisies" Anne gazed at the ceiling as if it were frescoed with angels; when Sam Sloane proceeded to explain and illustrate "How Sockery Set a Hen" Anne laughed until people sitting near her laughed too, more out of sympathy with her than with amusement at a selection that was rather threadbare even in Avonlea; and when Mr. Phillips gave Mark Antony s oration over the dead body of Caesar in the most heartstirring tones--looking at Prissy Andrews at the end of every sentence--Anne felt that she could rise and mutiny on the spot if but one Roman citizen led the way. Only one number on the program failed to interest her. When Gilbert Blythe recited "Bingen on the Rhine" Anne picked up Rhoda Murray s library book and read it until he had finished, when she sat rigidly stiff and motionless while Diana clapped her hands until they tingled. It was eleven when they got home, sated with dissipation, but with the exceeding sweet pleasure of talking it all over still to come. Everybody seemed asleep and the house was dark and silent. Anne and Diana tiptoed into the parlor, a long narrow room out of which the spare room opened. It was pleasantly warm and dimly lighted by the embers of a fire in the grate. "Let s undress here," said Diana. "It s so nice and warm." "Hasn t it been a delightful time?" sighed Anne rapturously. "It must be splendid to get up and recite there. Do you suppose we will ever be asked to do it, Diana?" "Yes, of course, someday. They re always wanting the big scholars to recite. Gilbert Blythe does often and he s only two years older than us. Oh, Anne, how could you pretend not to listen to him? When he came to the line, "THERE S ANOTHER, not A SISTER, he looked right down at you." "Diana," said Anne with dignity, "you are my bosom friend, but I cannot allow even you to speak to me of that person. Are you ready for bed? Let s run a race and see who ll get to the bed first." The suggestion appealed to Diana. The two little white-clad figures flew down the long room, through the spare-room door, and bounded on the bed at the same moment. And then--something--moved beneath them, there was a gasp and a cry--and somebody said in muffled accents "Merciful goodness!" Anne and Diana were never able to tell just how they got off that bed and out of the room. They only knew that after one frantic rush they found themselves tiptoeing shiveringly upstairs. "Oh, who was it--WHAT was it?" whispered Anne, her teeth chattering with cold and fright. "It was Aunt Josephine," said Diana, gasping with laughter. "Oh, Anne, it was Aunt Josephine, however she came to be there. Oh, and I know she will be furious. It s dreadful--it s really dreadful--but did you ever know anything so funny, Anne?" "Who is your Aunt Josephine?" "She s father s aunt and she lives in Charlottetown. She s awfully old--seventy anyhow--and I don t believe she was EVER a little girl. We were expecting her out for a visit, but not so soon. She s awfully prim and proper and she ll scold dreadfully about this, I know. Well, we ll have to sleep with Minnie May--and you can t think how she kicks." Miss Josephine Barry did not appear at the early breakfast the next morning. Mrs. Barry smiled kindly at the two little girls. "Did you have a good time last night? I tried to stay awake until you came home, for I wanted to tell you Aunt Josephine had come and that you would have to go upstairs after all, but I was so tired I fell asleep. I hope you didn t disturb your aunt, Diana." Diana preserved a discreet silence, but she and Anne exchanged furtive smiles of guilty amusement across the table. Anne hurried home after breakfast and so remained in blissful ignorance of the disturbance which presently resulted in the Barry household until the late afternoon, when she went down to Mrs. Lynde s on an errand for Marilla. "So you and Diana nearly frightened poor old Miss Barry to death last night?" said Mrs. Lynde severely, but with a twinkle in her eye. "Mrs. Barry was here a few minutes ago on her way to Carmody. She s feeling real worried over it. Old Miss Barry was in a terrible temper when she got up this morning--and Josephine Barry s temper is no joke, I can tell you that. She wouldn t speak to Diana at all." "It wasn t Diana s fault," said Anne contritely. "It was mine. I suggested racing to see who would get into bed first." "I knew it!" said Mrs. Lynde, with the exultation of a correct guesser. "I knew that idea came out of your head. Well, it s made a nice lot of trouble, that s what. Old Miss Barry came out to stay for a month, but she declares she won t stay another day and is going right back to town tomorrow, Sunday and all as it is. She d have gone today if they could have taken her. She had promised to pay for a quarter s music lessons for Diana, but now she is determined to do nothing at all for such a tomboy. Oh, I guess they had a lively time of it there this morning. The Barrys must feel cut up. Old Miss Barry is rich and they d like to keep on the good side of her. Of course, Mrs. Barry didn t say just that to me, but I m a pretty good judge of human nature, that s what." "I m such an unlucky girl," mourned Anne. "I m always getting into scrapes myself and getting my best friends--people I d shed my heart s blood for--into them too. Can you tell me why it is so, Mrs. Lynde?" "It s because you re too heedless and impulsive, child, that s what. You never stop to think--whatever comes into your head to say or do you say or do it without a moment s reflection." "Oh, but that s the best of it," protested Anne. "Something just flashes into your mind, so exciting, and you must out with it. If you stop to think it over you spoil it all. Haven t you never felt that yourself, Mrs. Lynde?" No, Mrs. Lynde had not. She shook her head sagely. "You must learn to think a little, Anne, that s what. The proverb you need to go by is `Look before you leap --especially into spare-room beds." Mrs. Lynde laughed comfortably over her mild joke, but Anne remained pensive. She saw nothing to laugh at in the situation, which to her eyes appeared very serious. When she left Mrs. Lynde s she took her way across the crusted fields to Orchard Slope. Diana met her at the kitchen door. "Your Aunt Josephine was very cross about it, wasn t she?" whispered Anne. "Yes," answered Diana, stifling a giggle with an apprehensive glance over her shoulder at the closed sitting-room door. "She was fairly dancing with rage, Anne. Oh, how she scolded. She said I was the worst-behaved girl she ever saw and that my parents ought to be ashamed of the way they had brought me up. She says she won t stay and I m sure I don t care. But Father and Mother do." "Why didn t you tell them it was my fault?" demanded Anne. "It s likely I d do such a thing, isn t it?" said Diana with just scorn. "I m no telltale, Anne Shirley, and anyhow I was just as much to blame as you." "Well, I m going in to tell her myself," said Anne resolutely. Diana stared. "Anne Shirley, you d never! why--she ll eat you alive!" "Don t frighten me any more than I am frightened," implored Anne. "I d rather walk up to a cannon s mouth. But I ve got to do it, Diana. It was my fault and I ve got to confess. I ve had practice in confessing, fortunately." "Well, she s in the room," said Diana. "You can go in if you want to. I wouldn t dare. And I don t believe you ll do a bit of good." With this encouragement Anne bearded the lion in its den--that is to say, walked resolutely up to the sitting-room door and knocked faintly. A sharp "Come in" followed. Miss Josephine Barry, thin, prim, and rigid, was knitting fiercely by the fire, her wrath quite unappeased and her eyes snapping through her gold-rimmed glasses. She wheeled around in her chair, expecting to see Diana, and beheld a white-faced girl whose great eyes were brimmed up with a mixture of desperate courage and shrinking terror. "Who are you?" demanded Miss Josephine Barry, without ceremony. "I m Anne of Green Gables," said the small visitor tremulously, clasping her hands with her characteristic gesture, "and I ve come to confess, if you please." "Confess what?" "That it was all my fault about jumping into bed on you last night. I suggested it. Diana would never have thought of such a thing, I am sure. Diana is a very ladylike girl, Miss Barry. So you must see how unjust it is to blame her." "Oh, I must, hey? I rather think Diana did her share of the jumping at least. Such carryings on in a respectable house!" "But we were only in fun," persisted Anne. "I think you ought to forgive us, Miss Barry, now that we ve apologized. And anyhow, please forgive Diana and let her have her music lessons. Diana s heart is set on her music lessons, Miss Barry, and I know too well what it is to set your heart on a thing and not get it. If you must be cross with anyone, be cross with me. I ve been so used in my early days to having people cross at me that I can endure it much better than Diana can." Much of the snap had gone out of the old lady s eyes by this time and was replaced by a twinkle of amused interest. But she still said severely "I don t think it is any excuse for you that you were only in fun. Little girls never indulged in that kind of fun when I was young. You don t know what it is to be awakened out of a sound sleep, after a long and arduous journey, by two great girls coming bounce down on you." "I don t KNOW, but I can IMAGINE," said Anne eagerly. "I m sure it must have been very disturbing. But then, there is our side of it too. Have you any imagination, Miss Barry? If you have, just put yourself in our place. We didn t know there was anybody in that bed and you nearly scared us to death. It was simply awful the way we felt. And then we couldn t sleep in the spare room after being promised. I suppose you are used to sleeping in spare rooms. But just imagine what you would feel like if you were a little orphan girl who had never had such an honor." All the snap had gone by this time. Miss Barry actually laughed--a sound which caused Diana, waiting in speechless anxiety in the kitchen outside, to give a great gasp of relief. "I m afraid my imagination is a little rusty--it s so long since I used it," she said. "I dare say your claim to sympathy is just as strong as mine. It all depends on the way we look at it. Sit down here and tell me about yourself." "I am very sorry I can t," said Anne firmly. "I would like to, because you seem like an interesting lady, and you might even be a kindred spirit although you don t look very much like it. But it is my duty to go home to Miss Marilla Cuthbert. Miss Marilla Cuthbert is a very kind lady who has taken me to bring up properly. She is doing her best, but it is very discouraging work. You must not blame her because I jumped on the bed. But before I go I do wish you would tell me if you will forgive Diana and stay just as long as you meant to in Avonlea." "I think perhaps I will if you will come over and talk to me occasionally," said Miss Barry. That evening Miss Barry gave Diana a silver bangle bracelet and told the senior members of the household that she had unpacked her valise. "I ve made up my mind to stay simply for the sake of getting better acquainted with that Anne-girl," she said frankly. "She amuses me, and at my time of life an amusing person is a rarity." Marilla s only comment when she heard the story was, "I told you so." This was for Matthew s benefit. Miss Barry stayed her month out and over. She was a more agreeable guest than usual, for Anne kept her in good humor. They became firm friends. When Miss Barry went away she said "Remember, you Anne-girl, when you come to town you re to visit me and I ll put you in my very sparest spare-room bed to sleep." "Miss Barry was a kindred spirit, after all," Anne confided to Marilla. "You wouldn t think so to look at her, but she is. You don t find it right out at first, as in Matthew s case, but after a while you come to see it. Kindred spirits are not so scarce as I used to think. It s splendid to find out there are so many of them in the world." CHAPTER XVIII UP CHAPTER XX 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 22 55 (Tue)
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The Sign Of Collapse/Akino Praise me by your lie with your life Break me by your heart cast a spell Chase me in the dark with eternal flame wasn t worldwide fame your wish? And what I hope to see in your eyes Lily is the sign of collapse You ll filled with dismay, rise and fall down What I sing is a song for dead Lily is the sign of collapse You try to jive to live! In this dark, I call your name Pin a curse for tragic memories, dying Curtain rises for my race I can see your racial regret Hold these torches for the fair If you want to be the queen Leave your life away You could be darkness Wicked witches in your heart When you lose yourself Raise your head, cry for mercy from the cave Feel my hand,freee over Look alive and hold these torches for the fair I m just calling, wherever Long Ver. Praise me by your lie with your life Break me by your heart cast a spell Chase me in the dark with eternal flame wasn t worldwide fame your wish? And what I hope to see in your eyes Lily is the sign of collapse You ll filled with dismay, rise and fall down what I sing is a song for caves And what I dance is prayer for dead Lily is the sign of collapse You try to jive to live for morning Cry Dawn Sigh, Pray Ice Crush Try ro kill the pain Raise a flag No flaws when you wish in my cave Lily say the wolrdwhen you down This lonh lost world, Sound for the mode Dizzy, take a bone, set for the keel You row the boat when you find out Lily came to sigh in your eyes You try to jive to live! In this dark, I call your name Pin a curse for tragic memories, dying Curtain rises for my race I can see your racial regret Hold these torches for the fair Frozen roses are on my firld I finished gathering them in caves Lily for the chanfe of my life These torches for this phase of folky What I chase is a curve for dead And what I gaze is prayer for live Lily is the sigh of collapse You tye to jive to feel! I can see your face of doubt Fill with eyes for fear You could be darkness Raise your face to see the light Take a step to worse This is my precious torch for all the fair If you want to be the queen Leave your life away You could be darkness Wicked witches in your heart When you lose yourself Raise your head, cry for mercy from the cave Feel my hand,freee over Look alive and hold these torches for the fair I m just calling, wherever
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Hand of Midas 価格 1900 材料 Gloves of Haste(500)+Recipi(1400) 所持効果 攻撃速度+30% 使用効果 Transmute 対象のCreep一体を一撃で殺す。Creepのレベルに応じて、追加収入を得る。 追加収入はlv6creepで２００、lv5creepで１３０ 消費マナ：75 クールダウン：100秒 コメント 堀内いません(´；ω；`)かわいそうです
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入手方法 詳説・特徴 関連リンク Tear of Purity Lapis Amulet ステータス要求値：LEVEL20 +(20-30) to IntelligenceIntelligenceに+(20-30) Grants Level 10 Purity of Elements Skillレベル10のPurity of Elementsが使用可能になる +(5-10) to all Attributes全ステータスに+(5-10) +(20-40) to maximum Life最大Life+(20-40) 5% chance to Avoid Elemental Ailments5%の確率でElemental Ailmentsを回避する A shimmering symbol of Purity, clear as water,but I know better than most how quicklyPurity can succumb to Corruption.How quickly water turns to blood.- Victario, the People s Poet 入手方法 カード等のドロップ以外の入手方法 アイテム 必要数 備考 Custodians of Silence 1 Arrogance of the Vaal 8 Jack in the Box 4 詳説・特徴 このアイテムからベンダーレシピ、予言等で変換して得られるアイテム 変換先 変換元 必要数 備考 Blood of Corruption Tear of Purity 1 Corrupt時にランダムで変化 Vaal Orb 1 関連リンク 英wiki https //pathofexile.gamepedia.com/Tear_of_Purity Unique Amulets 一覧
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Hall of Meatチャレンジ 「Meat in Training」 Own it Trigger a Bail in the Air空中でインテンショナルワイプアウト（LT+RT+LS押し込み+RS押し込み） Bail in a Cannonball poseインテンショナルワイプアウト後、キャノンボール（RS上）で落下 Bail in a Judo Kick poseインテンショナルワイプアウト後、ジュードーキック（RS右）で落下 Bail in a Torpedo poseインテンショナルワイプアウト後、トーピドー（RS左）で落下 Bail in a Spread Eagle poseインテンショナルワイプアウト後、スプレッドイーグル（RS下）で落下 Break a Bone骨折する HoMの基本はインテンショナルワイプアウト、故意の転倒を覚えることから始まる。わざと体勢を崩してみよう。 あとは指示された方向にRSを押し、HoM中に出せるジェスチャーをひとつひとつ覚えていこう。 最後に空中での姿勢制御（LS）を指示されるが、とにかく落ちればOKだ。 Hall of Meatチャレンジ 「Balcony Bailing」 Own it Cannonball down the Stairsキャノンボールで階段に落ちる Push-off the Stairs階段でプッシュオフする Kill it Cannonball down the Stairs Push-off the Stairs Score 50,000 HoM Points50,000点以上のスコアを出す 続いてskate3から追加されたHoMの新動作、Push-off（プッシュオフ）を勉強するための課題。 転倒中地面についている状態でタイミングよくRTを押すと、手や足を使って転倒距離を延ばすことができる。 RTで動く部位は各ジェスチャーごとに異なる。キャノンボールの場合は足が反応する。 Hall of Meatチャレンジ 「ClockKnocker」 Own it Bail into the Center Dumpster中央のゴミ箱にぶつかる Bail into the Left Dumpster左のゴミ箱にぶつかる Bail into the Right Dumpster右のゴミ箱にぶつかる Bail into the Bike Racksバイクラックにぶつかる Bail into the Vending Machines自動販売機にぶつかる Kill it Cannonball into the Center Dumpstarキャノンボールで中央のゴミ箱にぶつかる Torpedo into the Left Dumpsterトーピドーで左のゴミ箱にぶつかる Torpedo into the Right Dumpsterトーピドーで右のゴミ箱にぶつかる Spread Eagle into the Bike Racksスプレッドイーグルでバイクラックにぶつかる Judo Kick the Vending Machinesジュードーキックで自動販売機にぶつかる スプレッドイーグル（RS下）の滞空時間を利用して遠くの目標に到達するための練習的チャレンジ。 スプレッドイーグルの状態でLSを入力すると、スカイダイビングのような姿勢制御ができる。 遠くの目標に近付くにはスプレッドイーグル＋前傾姿勢（RS下＋LS上）で飛行距離を伸ばす必要がある。 また、スプレッドイーグルは直進するよりもカーブしながら目標に向かう方が飛距離が伸びる性質があることを覚えておこう。 Hall of Meatチャレンジ「Bridge of Meat」 Own it Beat the Target Score Kill it Beat the Target Score Bailed Between the Pillars 2分間に150,000点。Kill条件のPillarsとは橋の支柱のこと。キッカーを目安に6箇所を通過することになる。 キッカーを見ると高くジャンプしたくなってしまうが、通過と同時にインテンショナルワイプアウトをするだけでいい。 特に橋の右側、もう一本ある橋との間に落ちてキャノンボールでころがり続けると高得点を期待できる。 Hall of Meatチャレンジ「Going...going...Gone!」 Own it Ride Down the Extension Bail to Peterson Pavilion Kill it Ride Down the Extensionエクステンション（スタジアムの支柱）に着地する Bail Across and land on Emblem地面に描かれたエンブレムに着地する まず最初のエクステンションに降りることが難しいが、それさえできてしまえばどうということはない。 エクステンションへの着地に成功したらブレーキをかけて一旦完全停止し、エンブレムの見える場所まで徒歩で移動しよう。 あとは適当にジャンプしてインテンショナルワイプアウトを入れ、エンブレムを目指せばいい。 Hall of Meatチャレンジ「Meateor Shower」 Own it Beat the Target Score Kill it Beat the Target Score Bones Broken ただ単に落ちるだけのチャレンジだが、微妙に高さも速度もないので得点を稼ぎにくい。 Kill条件の骨折回数は20回。Kill挑戦時は骨折の回数よりもターゲットスコアの上昇の方が厳しくなってくる。 1回のキャノンボールで40,000点程度稼ぐのを目安として、骨折回数は後回しにして考えよう。 Hall of Meatチャレンジ「Studious Skydive」 Own it Bail from the Library to the Target Kill it Torpedo into the Target キッカーの角度が微妙に飛びづらい感じになっているので、キッカーを利用するつもりなら多少芝生にはいる覚悟で角度調整しよう。 むしろキッカーを完全に無視し、ハンドレールでグラインドしてそこから飛び出す方が調整はしやすい。 飛び出すことに成功さえしてしまえば、あとはトーピドーでターゲットに向かうだけだ。 Hall of Meatチャレンジ「Tumbleweed」 Own it Ledges Hit Reach the Archweay Kill it Ledges Hit 80,00pt Bail to the Archway 80,000点を出すこと自体は非常に簡単で、問題はアーチに辿り着くこと。これが非常に難しい。 キッカーから右前方に飛び出し、キャノンボールとプッシュオフでころがりながら進んで正面の岩場を回避する。 ふたつのレッジ（崖の途中にある台地）を通過したら、あとはスプレッドイーグルで距離を稼いでもいい。 とにかく様々なHoM操作の応用を求められるので覚悟して挑んでほしい。 Hall of Meatチャレンジ「Body Bag Tag」 Own it Spots Bailed Kill it Spots Bailed with 40,000pt 3分間以内に10箇所のパッドすべてで40,000点以上出すというKill条件はかなり厳しい。 特に奥の方にある2枚つながったパッドや、剣先のようなカタチをしたオブジェクトは到達するだけでも困難だ。 スプレッドイーグルの飛距離を伸ばすためのコツをもう一度思い出そう。 慣れればむしろ遠くにあるパッドよりも、近くにあるパッドの方が場所を把握しにくく狙いにくいと感じるかもしれない。 Hall of Meatチャレンジ「Bone Kubes」 Own it 25,000pt Bail Break a Leg Bone脚の骨を骨折する Break your Spine背骨を骨折する Break your Collar Bone鎖骨を骨折する Break 4 Bones in One Bail1回の墜落で4本以上骨折する Break your Hips尾てい骨を骨折する Break your Hand手の骨を骨折する Break your Skull頭蓋骨を骨折する Break 8 Bones in One Bail1回の墜落で8本以上骨折する 60,000pt Bail Kill it Beat the Target Score Break a Leg Bone Break your Spine Break your Collar Bone Break 4 Bones in One Bail Break your Hips Break your Hand Break your Skull Break 8 Bones in One Bail 25,000pt Bail 60,000pt Bail Kill条件のターゲットスコアは合計300,000点。他の条件をクリアしていくうちに自然と達成できるだろう。 骨折する箇所を指定されてはいるが、あまり気にしなくても落ちているうちに勝手に折れることが多い。 Hall of Meatチャレンジ「Meat Chute」 Own it Gap into the Pipe Crash into the Billboard Kill it Gap into the Pipeギャップして下のパイプに進入する Crash into the Billboard正面の看板に衝突する Bail onto a Billboard Light看板の照明灯にぶつかる やることは非常にシンプルかつ派手で気持ちいいのだが、マップの読み込みが非常に煩わしいチャレンジ。 Kill条件はあくまでぶつかるだけであって、引っ掛かって落ちないようにするなどという高度な要求ではない。 Hall of Meatチャレンジ「Sherwin Shred」 Own it Score HoM Points through the Hoop Kill it Torpedo through the Hoop Cannonball through the Hoop Spread Eagle through the Hoop Judo Kick through the Hoop Score HoM Points through the Hoop 高層ビルから落下して、向かいのビルの根元にある庭園の屋根を通過する。スプレッドイーグルから移行しよう。 Kill条件に必要な得点は275,000点なので、初回プレイ時には到達できない仕様になっている。 Hall of Meatチャレンジ「Spilled Meat」 Own it Bail through the Tower to the Bridge Kill it Bail through the Tower to the Bridge Bail into 3 Barrels バンクから飛び上がって貯水タンクの支柱の間を抜け、奥に見えるゴールラインを通過すればクリア。 Kill条件にあるバレル（金属製の樽）は貯水タンクからゴールラインの間に無数に置いてあるので、プッシュオフでぶつかりまくろう。 Hall of Meatチャレンジ「Wing of Meat」 Own it Bail along the Awnings Kill it Push-off the end of each Awning Bail to the Final Awning Score 80,000 HoM Points ビルの屋上から連なる複数のAwning（天幕）の上を転倒しつつ進み、最後に離れたAwningに衝突する。 Kill条件を満たすことができる場所がわかりづらいので、一度Ownでクリアしてから再挑戦しよう。 3箇所に円で示されるので、そのなかでプッシュオフをおこない、最後のAwningにスプレッドイーグルで近付こう。 Hall of Meatチャレンジ「Commuter Calamity」 Own it Knock down a commuter Kill it Knock down 2 commuters通勤客をふたり倒せ 工場の屋根から飛び降り、道路の向かい側にあるバス停の通勤客を倒すという穏やかではないチャレンジ。 ノックダウンというのは通勤客にただぶつかるだけではなく、完全に転倒状態に持ち込まなくてはならない。 スプレッドイーグルはコントロールしやすいが勢いがないため、そのままぶつかっても転倒させることはできない。 途中からキャノンボールに移行するのがオススメ。プッシュオフでも転倒は狙える。 Hall of Meatチャレンジ「Falling Rocks!」 Own it Do a 50,000 point bail Kill it Do a 90,000 point bail 採石場の通路から加速し、好きな位置から落下して規定の得点以上を出せればクリア。 オススメはやはり一番下に見えるトンネルの内部を目指すこと。トンネルに続く坂道を利用してもいいだろう。 途中でエリア範囲外に出てしまうという警告が出るが、得点はつくので無視してチャレンジを続行しよう。 Hall of Meatチャレンジ「Free Ride」 Own it Bail into a vehicle Kill it Torpedo into a vehicleトーピドーで自動車に衝突する 工場の屋上から飛び降り、地上の車道を通行している自動車に衝突すればクリア。 デフォルトのスタート地点からだと通行中の自動車を確認しづらいので、正面の赤いパイプの上にマーカーを設置しよう。 信号待ちをしているところにスプレッドイーグルで近付き、ほどよいタイミングでトーピドーに切り替えればOK。 Hall of Meatチャレンジ「Man Overboard」 Own it Bail through the broken roof Kill it Bail through the broken roof Break 5 bones 造船所に放置された船底から飛び出し、廃工場の屋根にあいた穴を通過するというテクニカルなチャレンジ。 クリア条件として、船底に落下して屋根の穴を通過するという一連の条件を満たしていなければならないので スタート地点を変更して屋根の穴をダイレクトに狙う等のチートは不可能。 穴の手前の屋根あたりにバウンドしてから通過するような感じにすると5箇所の骨折も達成しやすい。 穴の開いている屋根のひとつ上にある屋根に落ちてから、穴に向かって転がり落ちるという方法もある。 Hall of Meatチャレンジ「Stuntman」 Own it Bail for 12 second Kill it Bail for 18 second18秒間転倒し続ける 採石場の崖から飛び降り、プラントなどを経由して一番下にあるトンネル付近までとにかく時間をかけて転倒する。 コツはギリギリ落ちるか落ちないかぐらいのへりに乗り、プッシュオフ数回でそこから落下…という手順を繰り返すこと。 基本はキャノンボールだが、落下する場所を選択するためにスプレッドイーグルも応用してみよう。 Hall of Meatチャレンジ「Thorax Crunch」 Own it Break 50 bones Bail onto the storage crate Do all 4 tweaks in one bail Bail into the lamppost Do a 90,000 point bail Bail onto the roof Do 3 Push Offs in one bail Smack into the I-beams Bail for 13 seconds Push off the crane support Torpedo into the forklift Do a Hand Gesture while bailing Get 1,000,000 HOM points Kill it Break 75 bones合計75本骨折する Bail onto the storage crate左遠方に吊り下げられたコンテナの上面に落下する Do all 4 tweaks in one bail1回の転倒中に4つのヒネりを入れる Bail into the lamppost遠方の街灯に衝突する Do a 110,000 point bail110,000点以上の転倒 Bail onto the roof右遠方の屋根の上に落下する Do 6 Push Offs in one bail1回の転倒でプッシュオフを6回入れる Smack into the I-beams鉄骨に衝突する Bail for 20 seconds20秒間転倒し続ける Push off the crane supportクレーンの支柱の上でプッシュオフする Torpedo into the forkliftフォークリフトにトーピドーで衝突する Do a Hand Gesture while bailing落下中にハンドジェスチャーを入れる Get 1,000,000 HOM points合計1,000,000点稼ぐ HoMの最終課題は高さも条件もハンパではない。生半可なルート選択やプッシュオフでは到底クリアできない。 特に骨折本数は厳しくなりがち。本数を稼ぐには1回の転倒時間を短く切り詰めること。 特定のターゲットに落下する条件は、達成した直後にAボタンを押してすぐにリセットをおこなうこと。 110,000点以上の転倒・プッシュオフ6回・20秒間以上の転倒の3つが大きな壁になることが予想される。 この3つのうちどれかひとつでもクリアできる糸口を見つけられれば、他をクリアするのは難しくないだろう。 むしろ、どれかひとつをクリアすれば他のふたつも同時にクリアできる可能性がある。他にも… 左遠方のコンテナに向かってスプレッドイーグルで飛びつつ、途中で一瞬だけジュードーキックを入れる コンテナの上面にキャノンボールで落下し、コンテナの上から地面に落ちる間にトーピドーを入れる …という感じに、複数の課題を同時にクリアできる方法を考えつつ挑もう。 直接地面に落下するダイブは骨折本数の調整以外では絶対におこなわないこと。 クレーン途中の足場やフルパイプの上などを経由した方が転倒時間の延長、プッシュオフのチャンス増加につながる。
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- visitors Application of regulatory sequence analysis and metabolic network analysis to the interpretation of gene expression data psu.edu [PDF]J Van Helden, D Gilbert, L Wernisch, M Schroeder, … - Computational …, 2001 - Springer http //scholar.google.com/scholar?q=related JS_4j3CP5nEJ scholar.google.com/ hl=ja as_sdt=2000 Comparative metabolic network analysis of two xylose fermenting recombinant Saccharomyces cerevisiae strains T Grotkjær, P Christakopoulos, J Nielsen, L … - Metabolic Engineering, 2005 - Elsevier http //scholar.google.com/scholar?q=related m6nOh8HQbaIJ scholar.google.com/ hl=ja as_sdt=2000 The recombinant xylose fermenting strain Saccharomyces cerevisiae TMB3001 can grow on xylose, but the xylose utilisation rate is low. One important reason for the inefficient fermentation of xylose to ethanol is believed to be the imbalance of redox co-factors. In the present ... The Edinburgh human metabolic network reconstruction and its functional analysis nih.gov [HTML]H Ma, A Sorokin, A Mazein, A Selkov, E … - Molecular systems …, 2007 - nature.com http //scholar.google.com/scholar?q=related pgWLepUKeS0J scholar.google.com/ hl=ja as_sdt=2000 ... A main objective of human metabolic network analysis is to see how it is related with human disease. More than 10 000 human genes (half of the whole genome) have been reported to be related with one or more human diseases in the OMIM database (Hamosh et al, 2005). ... Reconstruction of metabolic networks from genome data and analysis of their global structure for various organisms oxfordjournals.org [PDF]H Ma, AP Zeng - Bioinformatics, 2003 - Oxford Univ Press http //scholar.google.com/scholar?q=related SuHZgSLeNw8J scholar.google.com/ hl=ja as_sdt=2000 ... It is one of the main tasks of metabolic network analysis to find possible conversion pathways between two metabolites. There may be many different pathways between two metabolites, among them the shortest pathway is of particular interest for network analysis. ... Metabolic network analysis of an adipoyl-7-ADCA-producing strain of Penicillium chrysogenum elucidation of adipate degradation J Thykaer, B Christensen, J Nielsen - Metabolic Engineering, 2002 - Elsevier http //scholar.google.com/scholar?q=related gycTvJYwT9kJ scholar.google.com/ hl=ja as_sdt=2000 An adipoyl-7-ADCA-producing, recombinant strain of Penicillium chrysogenum was characterized by metabolic network analysis, with special focus on the degradation of adipate and determination of the metabolic fluxes. Degradation of the side-chain precursor, adipate, causes an ... Potential metabolic limitations in lysine production by Corynebacterium glutamicum as revealed by metabolic network analysis JA Hollander - Applied Microbiology and Biotechnology, 1994 - Springer http //scholar.google.com/scholar?q=related BwIeARCnafMJ scholar.google.com/ hl=ja as_sdt=2000 Corynebacterium glutamicum and closely related Brevi- bacterium species are the most important organisms used for the industrial fermentative production of ly- sine. Although wild-type strains do not excrete lysine at all, classical mutation programs have resulted in strains ... Metabolic flux and metabolic network analysis of Penicillium chrysogenum using 2D [13C, 1H] COSY NMR measurements and cumulative bondomer simulation WA van Winden, WM van Gulik, D … - Biotechnology and …, 2003 - Wiley Online Library http //scholar.google.com/scholar?q=related Jy6SBrqyeHAJ scholar.google.com/ hl=ja as_sdt=2000 Abstract At present two alternative methods are avail- able for analyzing the fluxes in a metabolic network (1) combining measurements of net conversion rates with a set of metabolite balances including the cofactor bal- ances, or (2) leaving out the cofactor balances and fitting the ... Metabolic‐flux and network analysis in fourteen hemiascomycetous yeasts LM Blank, F Lehmbeck, U Sauer - FEMS yeast research, 2005 - Wiley Online Library http //scholar.google.com/scholar?q=related ILl2ugZn3ZcJ scholar.google.com/ hl=ja as_sdt=2000 ... (5). Oxaloacetate14 mit was estimated using Eq. (6)[16] (6). 2.6Metabolic-network analysis. We used a previously constructed metabolic network [1,24], which consists of the PP pathway, glycolysis, TCA cycle, gluconeogenesis, malic enzyme and by-product formation reactions. ... 13C metabolic flux analysis W Wiechert - Metabolic Engineering, 2001 - Elsevier http //scholar.google.com/scholar?q=related Eat1pl-yJGQJ scholar.google.com/ hl=ja as_sdt=2000 ... 6. B. Christensen and J. Nielsen, Metabolic network analysis, a powerful tool in metabolic engineering. Adv. Biochem. Eng. ... 209–231. 7. B. Christensen and J. Nielsen, Metabolic network analysis of Penicillium chrysogenum using 13 C-labeled glucose. Biotechnol. Bioeng. ... Multiple knockout analysis of genetic robustness in the yeast metabolic network tau.ac.il [PDF]D Deutscher, I Meilijson, M Kupiec, E Ruppin - Nature genetics, 2006 - nature.com http //scholar.google.com/scholar?q=related X5cH6RUwUF0J scholar.google.com/ hl=ja as_sdt=2000 ... | PubMed |; Kitano, H. Biological robustness. Nat. Rev. Genet. 5, 826–837 (2004). | Article | PubMed | ISI | ChemPort |; Papp, B. , Pál, C. Hurst, LD Metabolic network analysis of the causes and evolution of enzyme dispensability in yeast. Nature 429, 661–664 (2004). ...
https://w.atwiki.jp/pyopyo0124/pages/28.html
CHAPTER XIII UP CHAPTER XV CHAPTER XIV Anne s Confession ON the Monday evening before the picnic Marilla came down from her room with a troubled face. "Anne," she said to that small personage, who was shelling peas by the spotless table and singing, "Nelly of the Hazel Dell" with a vigor and expression that did credit to Diana s teaching, "did you see anything of my amethyst brooch? I thought I stuck it in my pincushion when I came home from church yesterday evening, but I can t find it anywhere." "I--I saw it this afternoon when you were away at the Aid Society," said Anne, a little slowly. "I was passing your door when I saw it on the cushion, so I went in to look at it." "Did you touch it?" said Marilla sternly. "Y-e-e-s," admitted Anne, "I took it up and I pinned it on my breast just to see how it would look." "You had no business to do anything of the sort. It s very wrong in a little girl to meddle. You shouldn t have gone into my room in the first place and you shouldn t have touched a brooch that didn t belong to you in the second. Where did you put it?" "Oh, I put it back on the bureau. I hadn t it on a minute. Truly, I didn t mean to meddle, Marilla. I didn t think about its being wrong to go in and try on the brooch; but I see now that it was and I ll never do it again. That s one good thing about me. I never do the same naughty thing twice." "You didn t put it back," said Marilla. "That brooch isn t anywhere on the bureau. You ve taken it out or something, Anne." "I did put it back," said Anne quickly--pertly, Marilla thought. "I don t just remember whether I stuck it on the pincushion or laid it in the china tray. But I m perfectly certain I put it back." "I ll go and have another look," said Marilla, determining to be just. "If you put that brooch back it s there still. If it isn t I ll know you didn t, that s all!" Marilla went to her room and made a thorough search, not only over the bureau but in every other place she thought the brooch might possibly be. It was not to be found and she returned to the kitchen. "Anne, the brooch is gone. By your own admission you were the last person to handle it. Now, what have you done with it? Tell me the truth at once. Did you take it out and lose it?" "No, I didn t," said Anne solemnly, meeting Marilla s angry gaze squarely. "I never took the brooch out of your room and that is the truth, if I was to be led to the block for it--although I m not very certain what a block is. So there, Marilla." Anne s "so there" was only intended to emphasize her assertion, but Marilla took it as a display of defiance. "I believe you are telling me a falsehood, Anne," she said sharply. "I know you are. There now, don t say anything more unless you are prepared to tell the whole truth. Go to your room and stay there until you are ready to confess." "Will I take the peas with me?" said Anne meekly. "No, I ll finish shelling them myself. Do as I bid you." When Anne had gone Marilla went about her evening tasks in a very disturbed state of mind. She was worried about her valuable brooch. What if Anne had lost it? And how wicked of the child to deny having taken it, when anybody could see she must have! With such an innocent face, too! "I don t know what I wouldn t sooner have had happen," thought Marilla, as she nervously shelled the peas. "Of course, I don t suppose she meant to steal it or anything like that. She s just taken it to play with or help along that imagination of hers. She must have taken it, that s clear, for there hasn t been a soul in that room since she was in it, by her own story, until I went up tonight. And the brooch is gone, there s nothing surer. I suppose she has lost it and is afraid to own up for fear she ll be punished. It s a dreadful thing to think she tells falsehoods. It s a far worse thing than her fit of temper. It s a fearful responsibility to have a child in your house you can t trust. Slyness and untruthfulness--that s what she has displayed. I declare I feel worse about that than about the brooch. If she d only have told the truth about it I wouldn t mind so much." Marilla went to her room at intervals all through the evening and searched for the brooch, without finding it. A bedtime visit to the east gable produced no result. Anne persisted in denying that she knew anything about the brooch but Marilla was only the more firmly convinced that she did. She told Matthew the story the next morning. Matthew was confounded and puzzled; he could not so quickly lose faith in Anne but he had to admit that circumstances were against her. "You re sure it hasn t fell down behind the bureau?" was the only suggestion he could offer. "I ve moved the bureau and I ve taken out the drawers and I ve looked in every crack and cranny" was Marilla s positive answer. "The brooch is gone and that child has taken it and lied about it. That s the plain, ugly truth, Matthew Cuthbert, and we might as well look it in the face." "Well now, what are you going to do about it?" Matthew asked forlornly, feeling secretly thankful that Marilla and not he had to deal with the situation. He felt no desire to put his oar in this time. "She ll stay in her room until she confesses," said Marilla grimly, remembering the success of this method in the former case. "Then we ll see. Perhaps we ll be able to find the brooch if she ll only tell where she took it; but in any case she ll have to be severely punished, Matthew." "Well now, you ll have to punish her," said Matthew, reaching for his hat. "I ve nothing to do with it, remember. You warned me off yourself." Marilla felt deserted by everyone. She could not even go to Mrs. Lynde for advice. She went up to the east gable with a very serious face and left it with a face more serious still. Anne steadfastly refused to confess. She persisted in asserting that she had not taken the brooch. The child had evidently been crying and Marilla felt a pang of pity which she sternly repressed. By night she was, as she expressed it, "beat out." "You ll stay in this room until you confess, Anne. You can make up your mind to that," she said firmly. "But the picnic is tomorrow, Marilla," cried Anne. "You won t keep me from going to that, will you? You ll just let me out for the afternoon, won t you? Then I ll stay here as long as you like AFTERWARDS cheerfully. But I MUST go to the picnic." "You ll not go to picnics nor anywhere else until you ve confessed, Anne." "Oh, Marilla," gasped Anne. But Marilla had gone out and shut the door. Wednesday morning dawned as bright and fair as if expressly made to order for the picnic. Birds sang around Green Gables; the Madonna lilies in the garden sent out whiffs of perfume that entered in on viewless winds at every door and window, and wandered through halls and rooms like spirits of benediction. The birches in the hollow waved joyful hands as if watching for Anne s usual morning greeting from the east gable. But Anne was not at her window. When Marilla took her breakfast up to her she found the child sitting primly on her bed, pale and resolute, with tight-shut lips and gleaming eyes. "Marilla, I m ready to confess." "Ah!" Marilla laid down her tray. Once again her method had succeeded; but her success was very bitter to her. "Let me hear what you have to say then, Anne." "I took the amethyst brooch," said Anne, as if repeating a lesson she had learned. "I took it just as you said. I didn t mean to take it when I went in. But it did look so beautiful, Marilla, when I pinned it on my breast that I was overcome by an irresistible temptation. I imagined how perfectly thrilling it would be to take it to Idlewild and play I was the Lady Cordelia Fitzgerald. It would be so much easier to imagine I was the Lady Cordelia if I had a real amethyst brooch on. Diana and I make necklaces of roseberries but what are roseberries compared to amethysts? So I took the brooch. I thought I could put it back before you came home. I went all the way around by the road to lengthen out the time. When I was going over the bridge across the Lake of Shining Waters I took the brooch off to have another look at it. Oh, how it did shine in the sunlight! And then, when I was leaning over the bridge, it just slipped through my fingers--so--and went down--down--down, all purply-sparkling, and sank forevermore beneath the Lake of Shining Waters. And that s the best I can do at confessing, Marilla." Marilla felt hot anger surge up into her heart again. This child had taken and lost her treasured amethyst brooch and now sat there calmly reciting the details thereof without the least apparent compunction or repentance. "Anne, this is terrible," she said, trying to speak calmly. "You are the very wickedest girl I ever heard of." "Yes, I suppose I am," agreed Anne tranquilly. "And I know I ll have to be punished. It ll be your duty to punish me, Marilla. Won t you please get it over right off because I d like to go to the picnic with nothing on my mind." "Picnic, indeed! You ll go to no picnic today, Anne Shirley. That shall be your punishment. And it isn t half severe enough either for what you ve done!" "Not go to the picnic!" Anne sprang to her feet and clutched Marilla s hand. "But you PROMISED me I might! Oh, Marilla, I must go to the picnic. That was why I confessed. Punish me any way you like but that. Oh, Marilla, please, please, let me go to the picnic. Think of the ice cream! For anything you know I may never have a chance to taste ice cream again." Marilla disengaged Anne s clinging hands stonily. "You needn t plead, Anne. You are not going to the picnic and that s final. No, not a word." Anne realized that Marilla was not to be moved. She clasped her hands together, gave a piercing shriek, and then flung herself face downward on the bed, crying and writhing in an utter abandonment of disappointment and despair. "For the land s sake!" gasped Marilla, hastening from the room. "I believe the child is crazy. No child in her senses would behave as she does. If she isn t she s utterly bad. Oh dear, I m afraid Rachel was right from the first. But I ve put my hand to the plow and I won t look back." That was a dismal morning. 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. Then she went out and raked the yard. When dinner was ready she went to the stairs and called Anne. A tear-stained face appeared, looking tragically over the banisters. "Come down to your dinner, Anne." "I don t want any dinner, Marilla," said Anne, sobbingly. "I couldn t eat anything. My heart is broken. You ll feel remorse of conscience someday, I expect, for breaking it, Marilla, but I forgive you. Remember when the time comes that I forgive you. But please don t ask me to eat anything, especially boiled pork and greens. Boiled pork and greens are so unromantic when one is in affliction." Exasperated, Marilla returned to the kitchen and poured out her tale of woe to Matthew, who, between his sense of justice and his unlawful sympathy with Anne, was a miserable man. "Well now, she shouldn t have taken the brooch, Marilla, or told stories about it," he admitted, mournfully surveying his plateful of unromantic pork and greens as if he, like Anne, thought it a food unsuited to crises of feeling, "but she s such a little thing--such an interesting little thing. Don t you think it s pretty rough not to let her go to the picnic when she s so set on it?" "Matthew Cuthbert, I m amazed at you. I think I ve let her off entirely too easy. And she doesn t appear to realize how wicked she s been at all--that s what worries me most. If she d really felt sorry it wouldn t be so bad. And you don t seem to realize it, neither; you re making excuses for her all the time to yourself--I can see that." "Well now, she s such a little thing," feebly reiterated Matthew. "And there should be allowances made, Marilla. You know she s never had any bringing up." "Well, she s having it now" retorted Marilla. The retort silenced Matthew if it did not convince him. That dinner was a very dismal meal. The only cheerful thing about it was Jerry Buote, the hired boy, and Marilla resented his cheerfulness as a personal insult. When her dishes were washed and her bread sponge set and her hens fed Marilla remembered that she had noticed a small rent in her best black lace shawl when she had taken it off on Monday afternoon on returning from the Ladies Aid. She would go and mend it. The shawl was in a box in her trunk. As Marilla lifted it out, the sunlight, falling through the vines that clustered thickly about the window, struck upon something caught in the shawl--something that glittered and sparkled in facets of violet light. Marilla snatched at it with a gasp. It was the amethyst brooch, hanging to a thread of the lace by its catch! "Dear life and heart," said Marilla blankly, "what does this mean? Here s my brooch safe and sound that I thought was at the bottom of Barry s pond. Whatever did that girl mean by saying she took it and lost it? I declare I believe Green Gables is bewitched. I remember now that when I took off my shawl Monday afternoon I laid it on the bureau for a minute. I suppose the brooch got caught in it somehow. Well!" Marilla betook herself to the east gable, brooch in hand. Anne had cried herself out and was sitting dejectedly by the window. "Anne Shirley," said Marilla solemnly, "I ve just found my brooch hanging to my black lace shawl. Now I want to know what that rigmarole you told me this morning meant." "Why, you said you d keep me here until I confessed," returned Anne wearily, "and so I decided to confess because I was bound to get to the picnic. I thought out a confession last night after I went to bed and made it as interesting as I could. And I said it over and over so that I wouldn t forget it. But you wouldn t let me go to the picnic after all, so all my trouble was wasted." Marilla had to laugh in spite of herself. But her conscience pricked her. "Anne, you do beat all! But I was wrong--I see that now. I shouldn t have doubted your word when I d never known you to tell a story. Of course, it wasn t right for you to confess to a thing you hadn t done--it was very wrong to do so. But I drove you to it. So if you ll forgive me, Anne, I ll forgive you and we ll start square again. And now get yourself ready for the picnic." Anne flew up like a rocket. "Oh, Marilla, isn t it too late?" "No, it s only two o clock. They won t be more than well gathered yet and it ll be an hour before they have tea. Wash your face and comb your hair and put on your gingham. I ll fill a basket for you. There s plenty of stuff baked in the house. And I ll get Jerry to hitch up the sorrel and drive you down to the picnic ground." "Oh, Marilla," exclaimed Anne, flying to the washstand. "Five minutes ago I was so miserable I was wishing I d never been born and now I wouldn t change places with an angel!" That night a thoroughly happy, completely tired-out Anne returned to Green Gables in a state of beatification impossible to describe. "Oh, Marilla, I ve had a perfectly scrumptious time. Scrumptious is a new word I learned today. I heard Mary Alice Bell use it. Isn t it very expressive? Everything was lovely. We had a splendid tea and then Mr. Harmon Andrews took us all for a row on the Lake of Shining Waters--six of us at a time. And Jane Andrews nearly fell overboard. She was leaning out to pick water lilies and if Mr. Andrews hadn t caught her by her sash just in the nick of time she d fallen in and prob ly been drowned. I wish it had been me. It would have been such a romantic experience to have been nearly drowned. It would be such a thrilling tale to tell. And we had the ice cream. Words fail me to describe that ice cream. Marilla, I assure you it was sublime." That evening Marilla told the whole story to Matthew over her stocking basket. "I m willing to own up that I made a mistake," she concluded candidly, "but I ve learned a lesson. I have to laugh when I think of Anne s `confession, although I suppose I shouldn t for it really was a falsehood. But it doesn t seem as bad as the other would have been, somehow, and anyhow I m responsible for it. That child is hard to understand in some respects. But I believe she ll turn out all right yet. And there s one thing certain, no house will ever be dull that she s in." CHAPTER XIII UP CHAPTER XV 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 25 11 (Tue)
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SS Title Guardian Of The Farm Type Quest Faction - Attribute - Archetype Fighter Level - Game Text - Card Number 1U-(Uncommon,Oathbound) Lore -
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THANKS ■2006/3/15発売 ■初回盤【CD】PCCA-02252 ￥3,150 （1）初回限定ジャケット （2）特典ポスター付 ■通常盤【CD】PCCA-02253 ￥3,150 （1）初回盤と異なるジャケット （2）初回入荷分のみトレーディングカード封入（全1種類） ■収録曲 01.1or8（作詞 shungo./作曲 Martin Ankelius/T2Ya/編曲 Martin Ankelius/T2Ya/Koma2 Kaz） 02.Hush...!（作詞 shungo./作曲 Lasse Andersson/Anuj Nair/編曲 Koma2 Kaz） 03.Still on the street（作詞 shungo./作曲 Kazuhiro Hara/編曲 Keiji Tanabe） 04.Midnight Venus（作詞 Aya Harukazu/作曲 Lasse Andersson/Nicci Notini Wallin/Peter Hallstrom/Herbie Crichlow/編曲 Koma2 Kaz） 05.IT S IN THE STARS(Japanese Version)（作詞 shungo./作曲 Lasse Andersson/Thomas Thornholm/編曲 Koma2 Kaz） 06.LIGHT（作詞/作曲/編曲 Hiroaki Hayama） 07.十六夜の月～unplugged～（作詞 shungo./作曲 Ryoki Matsumoto/編曲 Daisuke Kahara/Nozomi Furukawa） 08.約束のカケラ～acoustic～（作詞 Kiyohito Komatsu/作曲 Ryoki Matsumoto/編曲 Daisuke Kahara/Nozomi Furukawa） 09.影法師（作詞 shungo./作曲 Lasse Andersson/編曲 Koma2 Kaz） 10.Balance（作詞/作曲 Kiyohito Komatsu/編曲 Daisuke Kahara） 11.Stomp（作詞/作曲 Kentaro Akutsu/編曲 Koma2 Kaz） 12.Sup wassup!!（作詞/作曲 Kentaro Akutsu/編曲 Koma2 Kaz） 13.蝉時雨（作詞/作曲 Kiyohito Komatsu/編曲 Yasuaki Maejima） ■受賞歴 IFPI香港ベストセールス賞日韓部門 best seller album 2006 ■オリコン 週間最高順位：４位 登場回数：６回
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Edge Of Eternity エッジ・オブ・エタニティ 機種：PC 作曲者：光田康典、Cédric Menendez 開発元：Midgar Studio 発売元：Dear Villagers, Maple Whispering Limited 発売年：2021年 概要 フランスのMidgar Studioが開発したオープンワールド系のRPG。 JRPGをリスペクト作品した作品と言われており、戦闘はいかにもJRPGを彷彿されるようなターン制のシステムとなっている。 2018年からアーリーアクセス版が公開されていたが、2021年にSteamより正式リリース版が発売された。 音楽はフランス人作曲家のCédric Menendez氏に加え、プロキオン・スタジオの光田康典氏も1部の楽曲制作に参加。 聞きやすいオーケストラ系のBGMで構成されており、こちらもJRPGらしさを印象付けるような仕上がりとなっている。 サントラはSteamにて発売されている。ただし全曲ではなく1部のみの収録。 収録曲(サウンドトラック順) 曲名 作・編曲者 補足 順位 Main Theme 光田康典 タイトル画面 Oversized Two Handed Sword Cédric Menendez 通常戦闘 Theme of Daryon Battle of Eternity 光田康典 ボス戦 The Lone Arch Standing Over the Land Footsteps on the City Floor Cédric Menendez Theme of Selene Tyr-Caelum 光田康典 In the Mood for a Brawl Cédric Menendez The Silver-Haired Goddess Elysian Fields Theme of Fallon 光田康典 The Consort Cédric Menendez The Scorched Halcyon Theme of Eline 光田康典 Song Of Eternity Cédric Menendez サウンドトラック Edge Of Eternity - OST PV