#Koji kata

[selketshaula]

BAT X BAT by Pi.Sit

[kryptonbabe]

Japanese Superman?

No, a common mistake - this is actually Rocketman, Kitaro Mizuki's 1958 brain child, his debut manga with cover art by Koji Kata (against Mizuki's will, which I get it, the character on the original cover - 2nd image - barely resembles the one in the book). If you look at the inside panels Rocketman is obviously a Superman ripoff, but his story is way different than Clark's origin. Although buying a copy of this would cost me a small fortune where I live, I managed to find some versions of the book synopsis online.

Dr. Uetsuto departs via rocket to investigate a second moon that appeared in the night sky, but the rocket is sabotaged by his rival Dr. Dorai, so it crashes and Uetsuto's corpse sinks to the bottom of the sea. However, right before the crash, Uetsuto came into contact with a mysterious being named Guraya who enters his body like a parasite, causing Uetsuto to later resurrect and with superpowers. Uetsuto becomes the mysterious hero Rocketman and battles against Dr. Dorai's giant robot Neo-Dorai.

The "powers through parasite infection" concept reminded me of Venom, a character I'm not really knledgeble about, but I do know his creation happened in the early 1980s, which means Rocketman super-powered parasite pre-dates Marvel's symbiote by 20 years or so... and I mean nothing by this, ideas come and go, Mizuki himself was no stranger to ripping off occidental comics (which I don't get nearly as mad as when it's occidental companies ripping off artists from other countries, I admit I'm a biased person).

On the other hand, another synopsis online doesn't even mention Superman Rocketman, and the plot seems to revolve strongly around the two opposing scientists and a giant jellyfish creature, described as the Guraya/Dr. Uetsuto creature (below).

My main sources were blog entries translated from Japanese and fan made wiki pages, so it's really hard to know for sure the details of the story that were not lost in translation or omitted (to avoid spoilers maybe - although there's no translation of the book in any western language that I managed to find). I wish I had the source material to write a more accurate description of this oddity, for now that's all I know.

Below it's Mizuki Shigeru's intended and unused cover art for Rocketman, inspired by Fritz Lang's film Metropolis (two Metropolis for the price of one) and H.G. Wells' Space War, a far superior art compared to the one they used.

[apothecaryscript]

Drama CD of The Apothecary Diaries vol.9 (1/3) / 薬屋のひとりごと 9巻 ドラマCD (1/3)　

Please note that the English lines are just my translation.

This post cannot be reblogged, and please do not repurpose it, since I have no intention of infringing the copyright of this drama CD and I don’t want this post to be distributed to an unspecified number of people.

So if you’d like to share this post with someone, please advise them to visit my blog. I’ll put a link to this post on the home page of my blog.

（ノック/Nokku/Knocking）

猫猫「失礼いたします」

Maomao “Shitsurei-itashi-masu.”

Maomao “Please excuse me.”

失礼致します(しつれいいたします/Shitsurei-itashi-masu): “Please excuse me.”

失礼する(Simple form, without Keigo)

失礼します(With Keigo, polite form)

失礼致します(With Keigo, humble form, the politest)

玉葉妃「猫猫ね。どうぞ」

Gyokuyo-hi “Maomao-ne. Dozo.”

Concubine Gyokuyou “Maomao. Come in.”

猫猫「何かご用でしょうか。玉葉様、と…壬氏様に高順様」

Maomao “Nanika goyo deshoka? Gyokuyo-sama, to… Jinshi-sama-ni Gaoshun-sama.”

Maomao “Is there something I can help you with? Lady Gyokuyou, and… Master Jinshi and Master Gaoshun.”

壬氏「久しぶりだな」

Jinshi “Hisashi-buri dana”

Jinshi “It’s been a while.”

高順「お久しぶりです」

Gaoshun “O-hisashi-buri desu.”

Gaoshun “It has been a while.”

猫猫「数日ぶりですけど」（面倒ごとの予感…）

Maomao “Sujitsu-buri desu-kedo.” (Mendo-gotono yokan…)

Maomao “It’s been just a few days since I last saw you, though.” (I have a feeling this is going to be troublesome…)

玉葉妃「あら？私を置いてお話はずるくない？」

Gyokuyo-hi “Ara? Watashi’o oite ohanashiwa zuruku-nai?”

Concubine Gyokuyou “Oh? Isn’t it unfair to leave me out of conversation?”

ずるい/Zurui: unfair, sneaky, shady, cunning, cheating

猫猫「滅相もございません、玉葉様」（玉葉妃、目が爛々としている…！）

Maomao “Messomo gozai-masen, Gyokuyo-sama.” (Gyokuyo-hi, mega ran-ran-to shite-iru…!)

Maomao “That’s not true, Lady Gyokuyou.” (Lady Gyokuyou’s eyes are shining…!)

滅相(めっそう/Messo)もございません: very polite and formal way of saying “Not at all”, words that completely deny what has been said just before. Without Keigo(Honorific words), it will be 「滅相もない」.

玉葉妃「まあいいわ。誰の用で呼び出されたか分かるわよね。今日はどんな厄介事を持ってきたのかしら？ほら、猫猫も座ってちょうだい」

Gyokuyo-hi “Maa iiwa. Dareno yode yobida-saretaka wakaru-wayone. Kyowa donna yakkai-goto’o motte-kitano-kashira? Hora, Maomao-mo suwatte chodai.”

Concubine Gyokuyou “Well, that’s fine. I’m sure you know who called you here for business. I wonder what kind of trouble they’ve brought today. Come on, please sit down too, Maomao.”

猫猫「では、お言葉に甘えさせていただきます」（一体何なんだか…）

Maomao “Dewa, okotobani amae-sasete itadaki-masu.” (Ittai nan-nandaka…)

Maomao “I appreciate your kind words.” (What on earth is that…?)

お言葉に甘えて(おことばにあまえて/Okotobani amaete): I’ll gladly take you up on that, Accepting your kind offer, Thanks for your kind offer. It’s the phrase which is often used when accepting other person’s kind offer. “～させていただきます” is Keigo(humble type) of “する(do)”.

壬氏「先日、とある方が亡くなった」

Jinshi “Senjitsu, toaru-kataga nakunatta.”

Jinshi “A certain someone passed away the other day.”

猫猫「とある方？」（まさか、殺人とか言い出さないだろうか…！）

Maomao “Toaru-kata?” (Masaka, satsujin-toka iida-sanai-daroka…!)

Maomao “A certain someone?” (Don’t tell me that’s murder or something…!)

玉葉妃「最近？もしかして、その人って…」

Gyokuyo-hi “Saikin? Moshika-shite, sono hitotte…”

Concubine Gyokuyou “Recently? Mabe the person is…”

壬氏「玉葉妃も、ご存知ですよね。先日、後宮内で葬儀があったばかりですから」

Jinshi “Gyokuyo-himo, gozonji desu-yone. Senjitsu, kokyu-naide sogiga atta-bakari desu-kara.”

Jinshi “Concubine Gyokuyou, you also know her, right? The funeral was held in the rear palace just the other day.”

玉葉妃「ええ…ずっと後宮にいた人ですから。長年伏せっていた中、風邪をこじらせたそうですね」

Gyokuyo-hi “Ee… Zutto kokyuni ita hito desu-kara. Naga-nen fusette-ita-naka, kaze’o koji-raseta-so-desune.”

Concubine Gyokuyou “Yes… She has been in the rear palace for a long time. It seems that she developed a bad cold while lying down for many years.”

こじらせる/Kojiraseru: complicate, aggravate

猫猫（風邪？ということは、事件性はなさそうだ）

Maomao (Kaze? To-iu-kotowa, jiken-seiwa nasa-soda.”

Maomao (Cold? So it doesn’t seem like an incident.)

壬氏「はい。玉葉妃の言う通り、先帝の中級妃、佩芳（ベイファン）殿です。彼女が死の間際に、遺言を遺しました。彼女が作った最後の曲、及び、残した他の曲を、ある人物に譲渡したいと」

Jinshi “Hai. Gyokuyo-hino iu-toori, senteino chukyu-hi, Beifan-dono desu. Kanojoga shino magiwani, yuigon’o nokoshi-mashita. Kanojoga tsukutta saigono kyoku, oyobi, nokoshita hokano kyoku’o, aru jinbutsuni joto-shitai-to.”

Jinshi “Yes. As you said, it’s Lady Beifang, a mid-ranking concubine of the previous emperor. On her deathbed, she left a will saying that she wanted to give the last piece she composed, along with the other pieces she left behind, to a certain person.”

遺言(ゆいごん/Yuigon): a will

玉葉妃「あら。誰が譲り受けるのかしら。佩芳様の曲なら誰でも欲しがるわよね。あの優しい音色は、彼女にしか作れないわ」

Gyokuyo-hi “Ara. Darega yuzuri-ukeruno-kashira. Beifan-samano kyoku-nara dare-demo hoshigaru-wayone. Ano yasashii neirowa, kanojo-ni-shika tsukure-naiwa.”

Concubine Gyokuyou “Oh, I wonder who will inherit it. Anyone would want Lady Beifang’s music. Only she can create that gentle melody.”

壬氏「はい、その通りです。未公開の曲があれば、誰もが欲しがりましょう。しかし困ったことに、肝心の誰に渡すかというのが分からないまま、息を引き取られた」

Jinshi “Hai, sono toori desu. Mikokaino kyokuga areba, daremoga hoshi-gari-masho. Shikashi komatta-kotoni, kanjin’no dareni watasuka-to-iu-noga wakara-nai-mama, iki’o hikito-rareta.”

Jinshi “Yes, that’s true. If there were unreleased songs, everyone would want them. But the problem was, she passed away without telling who she was going to give them to.”

息を引き取る(いきをひきとる/Iki’o hiki-toru): take one’s last breath, breathe one’s last, pass away

玉葉妃「つまり、誰が相続人か分からないと？」

Gyokuyo-hi “Tsumari, darega sozoku-ninka wakara-naito?”

Concubine Gyokuyou “So you don’t know who the heir is?”

猫猫（ほうほう）

Maomao (Ho-ho.)

Maomao (I see.)

壬氏「その通りです。佩芳殿は、名も知らぬ人たちと、��で曲のやりとりをしていたのです。その誰かだろうと、当たりはつけてみたものの、はっきりと分からない。誰か分からないと、故人も浮かばれない。ということで、調査のために、玉葉妃の侍女を一人貸してもらいたいのですが」

Jinshi “Sono toori desu. Beifan-donowa, namo shiranu hito-tachito, fumide kyokuno yaritori’o shite-itano-desu. Sono dareka daroto, atariwa tsukete-mita-monono, hakkirito wakara-nai. Dareka wakara-naito, kojinmo ukabare-nai. To-iu-kotode, chosano tameni, Gyokuyo-hino jijo’o hitori kashite-morai-taino-desuga.”

Jinshi “That is correct. Lady Beifang exchanged musical compositions in writing with unknown people. I have tried to guess that the heir may be one of them, but I am unable to identify it. If we do not know who it is, the deceased will not rest in peace. Therefore, I would like to borrow one of Concubine Gyokuyou’s ladies in waiting to investigate.”

故人(こじん/Kojin): the deceased

玉葉妃「あらあ～。どうしましょうか？ねえ、猫猫？」

Gyokuyo-hi “Araaaa. Do shima-shoka? Nee, Maomao?”

Concubine Gyokuyou “Oh my. What should we do? Hey, Maomao.”

猫猫「同意を求められても全く分からないのですが…」

Maomao “Doi’o motome-rare-temo mattaku wakara-naino-desuga…”

Maomao “Even if I’m asked for consent, I have no idea what to do…”

玉葉妃「そうよね。でも何事も挑戦よ。後で話を聞かせてね」

Gyokuyo-hi “So-yone. Demo nanigoto-mo chosen’yo. Atode hanashi’o kikasetene.”

Concubine Gyokuyou “That’s true. But everything is a challenge. Tell me more about it later.”

猫猫（妃…！楽しそうに送り出さないで…！）

Maomao (Kisaki…! Tanoshi-soni okuri-dasa-naide…!)

Maomao (Lady…! Don’t send me off so happily…!)

壬氏「というわけだ。行くぞ、薬屋」

Jinshi “To-iu wakeda. Ikuzo, Kusuriya.”

Jinnshi “Well then, let’s go, Apothecary.”

猫猫「…はい」（こりゃまた、めんどくさそうな話だ）

Maomao “…Hai.” (Korya mata, mendo-kusa-sona hanashida.)

Maomao “…Yes.” (This seems like a quite troublesome story.)

―――――――――――――――――――――――――――――

高順「小猫。ここが佩芳様が安置されていた廟です。既に遺体は墓地に埋葬されていますが、別れを惜しむ女官たちが毎日やって来るのです」

Gaoshun “Shaomao. Kokoga Beifan-samaga anchi sarete-ita byo desu. Sudeni itaiwa bochini maiso sarete-imasuga, wakare’o oshimu nyokan-tachiga mainichi yatte-kuruno-desu.”

Gaoshun “Xiaomao. This is the temple where Lady Beifang was laid to rest. Her body has already been buried in the cemetery, but servants come here every day to say goodbye.”

猫猫「随分、愛された方のようですね」

Maomao “Zuibun, ai-sareta katano yodesune.”

Maomao “It seems like she was a very loved person.”

壬氏「十歳で入内して、三十五年。昔はよく、後宮の北で自慢の横笛を披露されていたらしいが、十年ほど前から体を壊してしまい、作曲に専念されるようになった。どの曲も名曲で、宮廷楽団にも曲を提供することもあった」

Jinshi “Jussaide judai-shite, sanju-go-nen. Mukashiwa yoku, kokyuno kitade jimanno yoko-bue’o hiro sarete-ita rashiiga, ju-nen-hodo mae-kara karada’o kowashite-shimai, sakkyokuni sen’nen-sareru-yoni natta. Dono kyokumo meikyokude, kyutei-gakudan-nimo kyoku’o teikyo-suru-kotomo atta.”

Jinshi “She entered the rear palace at the age of ten, and it has been 35 years since then. It seems that she used to often show off her proud transverse flute playing in the north of the rear palace, but about ten years ago, her health began to deteriorate, and she began to devote herself to composing. All of her compositions are masterpieces, and she has even provided pieces for the palace orchestra.”

入内する(じゅだいする/Judai-suru): enter the palace to get married with the emperor or someone of extremely high-ranking.

猫猫「それは、一度聴いてみたかったです」

Maomao “Sorewa, ichido kiite-mita-katta desu.”

Maomao “I wish I could listen to it even once.”

壬氏「宮廷楽団が演奏したものは、まさに、天上の調べのようだったぞ」

Jinshi “Kyutei-gakudanga enso-shita-monowa, masani, tenjono shirabeno yo-dattazo.”

Jinshi “The music performed by the palace orchestra sounded exactly like a heavenly tune.”

猫猫「お前が言うか」

Maomao “Omaega iuka.”

Maomao “Look who’s talking.”

壬氏「なんか言ったか？」

Jinshi “Nanka ittaka?”

Jinshi “Did you say something?”

猫猫「いいえ、何も言っていません」（あー危ない、危ない）

Maomao “Iie, nanimo itte ima-sen.” (Aaa abunai, abunai.)

Maomao “No, I said nothing.” (Oh, that was a close one.)

高順「では、佩芳様の宮に向かいます」

Gaoshun “Dewa, Beifan-samano miyani mukai-masu.”

Gaoshun “Then, let’s head to Lady Beifang’s residence.”

宮(みや/Miya): In the rear palace, there are a lot of concubines. High-ranking concubines have their palaces, middle-ranking concubines have their buildings, and low-ranking concubines have their rooms. 宮(Miya) means palace or buildings, but it’s confusing with “the rear palace” itself, so I translate it as Lady Beifang’s 'residence' here.

猫猫「季節の変わり目に体調を崩し、そのまま息を引き取られたそうですが、後宮内でまともに治療ができないとはいえ、お里下がりはできなかったのでしょうか？十年前から体調を崩しているのなら、なおさら」

Maomao “Kisetsuno kawarimi-ni taicho’o kuzushi, sono-mama iki’o hikito-rareta so-desuga, kokyu-naide matomoni chiryoga deki-nai-towa-ie, osato-sagariwa deki-nakattano-deshoka? Ju-nen-mae-kara taicho’o kuzushite-iruno-nara, naosara.”

Maomao “She apparently fell ill with the change of seasons and passed away. Even though she couldn’t receive proper treatment within the palace, couldn’t she have been sent home? Especially if she had been in poor health for the past ten years.”

お里下がり(おさとさがり/Osato-sagari): someone in the palace’s going back her home (Once she entered the palace for marriage, she can never go back home basically. So it means the same as a dismissal and a divorce.) Just for your information, we say “里帰り(さとがえり/sato-gaeri)” or “帰省(きせい/Kisei)” for normal people’s going back their parents’ home.

猫猫（やぶの腕を考えたら、後宮にいても意味がないと分かるはずなのに…）

Maomao (Yabuno ude’o kangae-tara, kokyuni itemo imiga naito wakaru-hazu-nanoni…)

Maomao (Considering Quack Doctor’s skills, it should be obvious that there are no point in her being in the rear palace…)

高順「佩芳様は、本格的な治療を受けるつもりはなかったようです。意識が朦朧とするまで、侍女たちには何も言うなと口止めしていたくらいですから。それに――」

Gaoshun “Beifan-samawa, honkaku-tekina chiryo’o ukeru tsumoriwa nakatta-yodesu. Ishikiga moroto suru-made, jijo-tachi-niwa nanimo iuna-to kuchi-dome shite-ita-kurai desu-kara. Soreni――”

Gaoshun “Lady Beifang did not seem to have any intention of undergoing any serious treatment. Since she had told her ladies-in-waiting not to tell anything about her bad health to others outside, until just before she became unconscious. And―”

猫猫「それに？」

Maomao “Soreni?”

Maomao “And?”

壬氏「お里下がりはできなかった。佩芳殿は、実を伴った妃だったからな」

Jinshi “Osato-sagariwa deki-nakatta. Beifan-donowa, jitsu’o tomonatta kisaki datta-karana.”

Jinshi “She couldn’t leave the rear palace. Lady Beifang was a concubine both in name and in reality.”

実を伴う(じつをともなう/Jitsu’o tomonau): real, with the facts

名実共に(めいじつともに/Meijitsu Tomoni): both in name and in reality

I translated into “both in name and in reality” as it means almost same and is easier for you to understand.

猫猫「あ…つまり、お手付きだったわけですね」（お手付き…すなわち、先の帝と閨を共にしたことを言う）

Maomao “A… Tsumari, otetsuki datta wake desune.” (Otetsuki… Sunawachi, sakino mikadoto neya’o Tomoni shita-koto’o iu.)

Maomao “Ah… so in other words, she ‘had been touched.’” (‘Had been touched’… meaning that she had spent the nights with the previous emperor.)

お手付き(おてつき/Otetsuki): Normally it means “touching a wrong card in playing card games” but it also means “being touched by someone in a high-ranking position in a sexual meaning,” especially in old times.

壬氏「そうだ。例え子は産まずとも、国の頂に立つお方に触れられた者は、後宮から出ることはできない。よほど家臣に望まれて下賜されることがなければ、生涯を後宮で過ごすことになる」

Jinshi “Soda. Tatoe kowa umazu-tomo, kunino itadaki-ni tatsu okatani fure-rareta monowa, kokyu-kara deru-kotowa deki-nai. Yohodo kashin’ni nozo-marete kashi sareru-kotoga nakereba, shogai’o kokyude sugosu kotoni naru.”

Jinshi “That’s right. Even if she doesn’t give birth to a child, once she has been touched by the person who stands at the top of the country, she cannot leave the rear palace. Unless she is bestowed on one of his vassals who strongly wishes to receive her, she will spend the rest of her life in the rear palace.”

猫猫「しかも十で入内したのですね…」(うわぁ…うわぁ…！)

Maomao “Shikamo too-de judai shitano-desune…” (Uwaa…uwaa…!)

Maomao “And she entered the rear palace at the age of ten…” (Ugh…ugh…!)

壬氏「そうだ。先帝の性癖について、聞いたことがあるのか？」

Jinshi “Soda. Senteino seiheki-ni tsuite, kiita-kotoga aru-noka?”

Jinshi “Right. Have you ever heard about the previous emperor’s sexual proclivity?”

猫猫「園遊会の時に、熟れた果実よりも、青い果実を好むと聞きました。今の主上のお好みが正反対で良かったとすら思います」（つまり幼女趣味だ。今の主上は巨乳好き）

Maomao “En’yu-kaino tokini, ureta kajitsu yorimo, aoi kajitsu’o konomuto kiki-mashita. Imano shujono okonomiga sei-hantaide yokatta-to-sura omoi-masu.” (Tsumari yojo-shumi-da. Imano shujowa kyonyu-zuki.)

Maomao “During the garden party, I heard that he preferred unripe fruit to ripe fruit. I even think that it’s good that the current emperor has the exact opposite taste.” (In other words, he had a taste for young girls. The current emperor likes big breasts.)

壬氏「考えると頭が痛い」

Jinshi “Kangaeruto atamaga itai.”

Jinshi “It gives me a headache just thinking about it.”

猫猫「壬氏様には関係ないでしょう。ただ、当事者にとっては、たまったものではないでしょうね」

Maomao “Jinshi-sama-niwa kankei-nai-desho. Tada, tojisha-ni-tottewa, tamatta-mono-dewa nai-deshone.”

Maomao “It probably has nothing to do with you, Master Jinshi. However, it must be very unpleasant for the people involved.”

―――――――――――――――――――――――――――――――

壬氏「ここが、佩芳殿の宮だ」

Jinshi “Kokoga, Beifan-donono miyada.”

Jinshi “This is the residence of Lady Beifang.”

猫猫「随分と年季が入っていますね」

Maomao “Zuibun’to nenkiga haitte-imasune.”

Maomao “It’s pretty old-fashioned.”

壬氏「五十年ほど前、佩芳殿が入内する前に建てられたものだ。その前の主(あるじ)は、妃としての役割が果たせないと、お里下がりになったと聞いたことがある」

Jinshi “Goju-nen-hodo mae, Beifan-donoga judai-suru-maeni tate-rareta monoda. Sono maeno arujiwa, kisaki-to-shiteno yakuwariga hatase-naito, osato-sagarini nattato kiita-kotoga aru.”

Jinshi “It was built about 50 years ago, before Lady Beifang entered the rear palace. I’ve heard that the previous master here was returned her parents’ home because she was unable to fulfill her role as a concubine.”

猫猫「後宮は厳しいところですね…」

Maomao “Kokyuwa kibishii tokoro desune…”

Maomao “The rear palace is a tough place…”

壬氏「むしろ、外に出られたことは、幸福かもしれない」

Jinshi “Mushiro, sotoni derareta kotowa, kofuku kamo shire-nai.”

Jinshi “In fact, it might be a blessing that she was able to go outside.”

―――――――――――――――――――――――――――――――

嬌嬌「お待ちしておりました、壬氏様」

Kyokyo “Omachi-shite ori-mashita, Jinshi-sama.”

Kyokyo “We’ve been waiting for you, Master Jinshi.”

猫猫（中年の女官…。四十後半くらいか？佩芳とやらの侍女か）

Maomao (Chunenno nyokan… Yonju-kohan kuraika? Beifan-to-yarano jijoka.)

Maomao (A middle-aged court lady… in her late forties? She may be the lady-in-waiting for a Lady Beifang.)

壬氏「早速だが、部屋を調べさせてもらおう。あと、この女官は書類の仕分けなど、事務作業が得意なので連れて来た。何か質問されたら、答えてやってくれ」

Jinshi “Sassoku-daga, heya’o shirabe-sasete-morao. Ato, kono nyokanwa shoruino shiwake-nado, jimu-sagyoga tokui-nanode tsurete-kita. Nanika shitsumon sare-tara, kotaete-yatte-kure.”

Jinshi “Let me check the room right away. Also, I brought this lady over because she’s good at clerical work, like sorting documents. If she has any questions, please answer them.”

猫猫「猫猫といいます」

Maomao “Maomao-to ii-masu.”

Maomao “My name is Maomao.”

嬌嬌「かしこまりました」

Kyokyo “Kashiko-mari-mashita.”

Kyokyo “I understand.”

猫猫「すみません。一応お名前を伺ってもよろしいでしょうか？」

Maomao “Sumi-masen. Ichio onamae’o ukagattemo yoroshii-deshoka?”

Maomao “Excuse me. Can I just ask your name?”

一応(いちおう/Ichio): just in case, for now, just a little (Maomao gave her name to Kyokyo, and in general Kyokyo should have given her name to Maomao in return. So Maomao had to ask her name to Kyokyo, and added “一応” in order to show her it’s not big deal in asking her name.)

嬌嬌「嬌嬌と申します。佩芳様の侍女頭でした」

Kyokyo “Kyokyo-to moshi-masu. Beifan-samano jijo-gashira deshita.”

Kyokyo “My name is Kyokyo. I was the head lady-in-waiting for Lady Beifang.”

猫猫「よろしくお願いします。この宮は、随分賑やかですね」

Maomao “Yoroshiku onegai-shimasu. Kono miyawa, zuibun nigiyaka desune.”

Maomao “Nice to meet you. This place is very lively.”

嬌嬌「申し訳ありません。佩芳様が好きな曲なのでございます。せめて喪に服している間は演奏したいと、皆の意見が一致しました。うるさいのであれば止めますが、どうしましょうか？」

Kyokyo “Moshi-wake ari-masen. Beifan-samaga sukina kyoku-nanode gozai-masu. Semete moni fuku-shite-iru aidawa enso-shitaito, minano ikenga icchi shima-shita. Urusai-node areba tome-masuga, do-shimashoka?”

Kyokyo “I’m sorry. It’s a song that Lady Beifang liked. We all agreed that we wanted to play it at least while we were in mourning. If it’s too noisy we’ll stop, but what do you think?”

壬氏「いや、気にしないでいい。佩芳殿の音楽隊だ」

Jinshi “Iya, kini shinaide ii. Beifan-donono ongaku-tai-da.”

Jinshi “No, don’t worry about it. It’s the Lady Beifang’s music band.”

猫猫「音楽隊？」

Maomao “Ongaku-tai?”

Maomao “Music band?”

高順「音楽隊は、後宮女官たちの有志が集まってできたものです。長年、佩芳様を中心に活動しておりました。娯楽が少ない後宮では人気なのですが、小猫は知りませんでしたか？」

Gaoshun “Ongaku-taiwa, kokyu-nyokan-tachino yushiga atsumatte dekita-mono-desu. Naga-nen, Beifan-sama’o chushin’ni katsudo-shite ori-mashita. Gorakuga sukunai kokyu-dewa ninki nano-desuga, Shaomaowa shiri-masen-deshitaka?”

Gaoshun “The music band was formed by volunteers from the ladies-in-waiting of the rear palace. For many years, it has been led by Lady Beifang. It is popular in the rear palace where there is little entertainment. Didn’t you know about it, Xiaomao?”

猫猫「そんなのがあったんですね。若い人が多いですね」

Maomao “Sonna’noga attan-desune. Wakai hitoga ooi desune.”

Maomao “I didn’t know there was such a thing. There are a lot of young people here, right?”

猫猫（音楽には興味ないからなあ。花街にいた頃は、せいぜい手習い程度に仕込まれたぐらいだし）

Maomao (Ongaku-niwa kyomi-nai-kara-naa. Hanamachi-ni ita korowa, seizei tenarai-teidoni shiko-mareta gurai-dashi.)

Maomao (I’m not interested in music. When I was in the pleasure district, I was only taught music to a basic level at most.)

高順「後宮の年季は基本二年ですし、延長しても五年が限度です。よほど上に気に入られない限り、五年以上勤める女官はいません」

Gaoshun “Kokyuno nenkiwa kihon ni-nen desushi, encho-shitemo go-nen-ga gendo desu. Yohodo ueni kini-irare-nai-kagiri, go-nen-ijo tsutomeru nyokanwa imasen.”

Gaoshun “The standard term for a position in the rear palace is two years, and even if it is extended, it is limited to five years. Unless a woman is favored by her superiors, no woman will stay there for more than five years.”

猫猫（後宮という制度を考えたら、そういうものだろうな。当たり前のことを聞いてしまった）

Maomao (Kokyuto-iu seido’o kangae-tara, so-iu mono darona. Atari-maeno koto’o kiite-shimatta.)

Maomao (Considering the institution of the rear palace, that’s probably how it is. I’ve asked the obvious question.)

壬氏「何をコソコソ話している？」

Jinshi “Nani’o koso-koso hanashite-iru?”

Jinshi “What are you whispering about?”

高順「いえ、何でもございません��

Gaoshun “Ie, nan-demo gozai-masen.”

Gaoshun “No, it’s nothing.”

猫猫「特に何もありません」

Maomao “Tokuni nanimo ari-masen.”

Maomao “Nothing in particular.”

壬氏「そうか」

Jinshi “Soka.”

Jinshi “Is that so?”

猫猫「部下が勝手に話してるのが気に食わないなんて、器が小さい」

Maomao “Bukaga katteni hana-shiteru-noga kini kuwanai-nante, utsuwaga chiisai.”

Maomao “You have a small heart if you don’t like your subordinates talking on their own.”

壬氏「何か言ったか？」

Jinshi “Nanika ittaka?”

Jinshi “Did you say something?”

猫猫「いいえ、何でもありません」

Maomao “Iie, nan-demo ari-masen.”

Maomao “No, it’s nothing.”

嬌嬌「こちらでございます」

Kyokyo “Kochirade gozai-masu.”

Kyokyo “Here it is.”

猫猫「これが妃の部屋ですか…！」

Maomao “Korega kisakino heya desuka…!”

Maomao “Is this the room of Lady Beifang…?”

壬氏「ああ。ちょっと驚くだろう？」

Jinshi “Aa. Chotto odoroku-daro?”

Jinshi “Yeah. It’s a bit surprising, isn’t it?”

猫猫（なぜ壬氏が誇らしげに言うのだろう？）

Maomao (Naze Jinshiga hokorashi-geni iuno-daro?)

Maomao (Why does Jinshi say it so proudly?)

猫猫「すごい本の数ですね」（寝台と机、あと楽器が一つある以外は棚だらけだ。かさ張るからか。紙の本が多いな）

Maomao “Sugoi honno kazu desune.” (Shindaito tsukue, ato gakkiga hitotsu aru igaiwa tana-darakeda. Kasabaru-karaka. Kamino honga ooi-na.)

Maomao “That’s an incredible number of books.” (Apart from the bed, desk, and one instrument, the room is full of shelves. Because they are bulky, maybe. There are a lot of paper books.)

嬌嬌「ほとんど本ではなく、佩芳様に送られて来た文と譜面を束ねています。佩芳様は、後宮の外でも有名で…、作曲だけではなく、編曲や変奏の依頼が数多くありました」

Kyokyo “Hotondo hon-dewa naku, Beifan-samani oku-rarete-kita fumito fumen’o tabanete-imasu. Beifan-samawa, kokyuno soto-demo yumeide… Sakkyoku-dake-dewa naku, henkyoku-ya henso’no iraiga kazu-ooku ari-mashita.”

Kyokyo “Most of the books are not books, but a collection of letters and musical scores sent to Lady Beifang. Lady Beifang is famous even outside the rear palace… and she has received many requests not only for composition but also for arrangements and variations.”

壬氏「後宮に入らなければ、もっと楽人として名を馳せただろう」

Jinshi “Kokyuni haira-nakereba, motto gakujin-to-shite na’o haseta-daro.”

Jinshi “If she hadn’t entered the rear palace, she would have been more famous as a musician.”

名を馳せる(なをはせる/Nao haseru): make a name for oneself, establish a reputation, become famous

猫猫「そんな才ある方を入内させたのですね…」

Maomao “Sonna sai aru kata’o judai sasetano-desune…”

Maomao “So, even such a talented person was sent into the rear palace…”

嬌嬌「差し出がましいことですが、弁明を。佩芳様の御父上は、佩芳様のことを思って入内させられました」

Kyokyo “Sashide-gamashii koto-desuga, benmei’o. Beifan-samano ochichi-uewa, Beifan-samano koto’o omotte judai sase-rare-mashita.”

Kyokyo “I’m afraid but I’d like to explain. Lady Beifang’s father had her enter the rear palace out of consideration for her.”

壬氏「そうだろうな」

Jinshi “So darona.”

Jinshi “That’s probably true.”

猫猫「どうしてですか？」

Maomao “Doshite desuka?”

Maomao “Why?”

壬氏「佩芳殿は生まれつき、両の目を患っていた」

Jinshi “Beifan-donowa umare-tsuki, ryono me’o wazuratte-ita.”

Jinshi “Lady Beifang was born with problems in both eyes.”

生まれつき(うまれつき/Umare-tsuki): born with, by nature

嬌嬌「はい。佩芳様の御両親は、なかなか子宝に恵まれませんでした。ようやく佩芳様が生まれたのは、旦那様が四十八の時だったそうです。財を遺そうにも、後見人がおられず、将来を不安に思っていらっしゃいました。そこに、後宮へ入って妃の位につけばと、話が舞い込んで…」

Kyokyo “Hai. Beifan-samano goryoshinwa, naka-naka kodakarani megumare-masen-deshita. Yoyaku Beifan-samaga umareta-nowa, danna-samaga shiju-hachino toki datta-sodesu. Zai’o nokoso-nimo, koken-ninga orarezu, shorai’o fuan’ni omotte-rasshai-mashita. Sokoni, kokyu’e haitte kisakino kuraini tsukeba-to, hanashiga maikonde…”

Kyokyo “Yes. Lady Beifang’s parents were not blessed with children for a long time. Finally, Lady Beifan was born when the Master was 48 years old. Even though they wanted to leave their fortunes for her, they had no guardian and were worried about her future. Then, they received an offer to enter the rear palace and become a concubine…”

猫猫（きっと旦那様とやらも騙されたのだろう。まさか帝が幼女趣味とは思うまい）

Maomao (Kitto danna-sama-to-yaramo dama-saretano-daro. Masaka mikadoga yojo-shumi-towa omou-mai.)

Maomao (I’m sure the master was fooled as well. There’s no way he knew the emperor had a taste for young girls.)

騙される(だまされる/Dama-sareru): be deceived, be fooled

騙す(だます/Damasu): deceive

猫猫「随分詳しいのですね。入内前からお仕えしていたのですか？」

Maomao “Zuibun kuwashiino-desune. Judai-mae-kara otsukae-shite-itano-desuka?”

Maomao “You know a lot about this. Have you served her since before she became the concubine?”

お仕えする(おつかえする/Otsukae-suru): serve = お(Keigo, humble) + 仕え(つかえ) + する

仕える(つかえる/Tsukaeru) : serve (simple form)

嬌嬌「はい。私(わたくし)は、琴が得意でしたので、佩芳様がたまたま私の曲を聞き、気に入って下さり、侍女にと引き取られました。目が見えぬことで不自由がないようにと、後宮までお供させてもらった次第でございます」

Kyokyo “Hai. Watakushiwa, kotoga tokui deshita-node, Beifan-samaga tama-tama watashino kyoku’o kiki, kini itte-kudasari, jijo-nito hikitorare-mashita. Mega mienu-kotode fujiyuga nai-yonito, kokyu-made otomo sasete-moratta shidaide gozai-masu.”

Kyokyo “Yes. I was good at playing the koto, so when Lady Beifang happened to hear my music, she liked it and took me in as her lady-in-waiting. I was allowed to accompany her to the rear palace so that she would not be inconvenienced by her blindness.”

琴(こと/Koto): Japanese harp

たまたま(Tama-tama): happen to, by chance = 偶然(ぐうぜん/Guzen)

猫猫（元は平民の子か何かか…）

Maomao (Motowa heimin’no koka nanika-ka…)

Maomao (Maybe she was originally a commoner or something…)

壬氏「というわけだ。せめて、佩芳殿の遺言だけは、聞き届けてやるべきだろう」

Jinshi “To-iu-wakeda. Semete, Beifan-donono yuigon-dakewa, kiki-todokete-yaru beki-daro.”

Jinshi “That’s why. We should at least make Lady Beifang’s last wish come true.”

聞き届ける(ききとどける/Kiki-todokeru): listening to and meeting the request

聞き届けてやる(simple) = 聞き届けてあげる(friendly)

猫猫（そこだけは賛成だ）

Maomao (Soko-dakewa sanseida.)

Maomao (That’s the point I agree with.)

猫猫「ところで、遺された曲というのは？」

Maomao “Tokorode, noko-sareta kyokuto iu-nowa?”

Maomao “By the way, what song was left behind?”

遺された(のこされた/Noko-sareta): being left behind (The owner already passed away.)

遺す(のこす/Nokosu): leave behind (The Kanji “遺” means the death. If living one leaves, we use “残す” which is also read as “nokosu”.)

壬氏「それなら、こちらで預かっている。佩芳殿が生前に、最後の曲になるからと、持ってきたのだ。私もまだ見ていない」

Jinshi “Sore-nara, kochirade azukatte-iru. Beifan-donoga seizen’ni, saigono kyokuni naru-karato, motte-kita-noda. Watashimo mada mite-inai.”

Jinshi “We keep it. When Lady Beifang was still alive, she brought it to us and said it would be her last song. I haven’t seen it yet.”

生前(せいぜん/Seizen): When the deceased was still alive

猫猫（なるほどねぇ。貴重な曲なら、情報漏洩はいけないものねぇ）

Maomao (Naruhodo-nee. Kichona kyoku-nara, joho-roei’wa ikenai-mono-nee.)

Maomao (I see. If it’s a valuable song, it’s not good to leak information about it.)

情報漏洩(じょうほうろうえい/Joho-roei): information leak

嬌嬌「では、私はしばし待機しておりますので」

Kyokyo “Dewa, watakushiwa shibashi taiki-shite orimasu-node.”

Kyokyo “Then I will wait here for a while.”

しばし(Shibashi): for a while, = しばらく

壬氏「ああ。聞きたいことがあったら呼ぶ」

Jinshi “Aa. Kikitai kotoga attara yobu.”

Jinshi “Yes. If there’s anything to ask, I’ll call you.”

―――――――――――――――――――――――――――――――

壬氏「どうだ？何か分かりそうか？」

Jinshi “Doda? Nanika wakari-soka?”

Jinshi “How is it? Do you think you can figure anything out?”

猫猫「分かるも何も、まだ来たばかりで何も見ておりません。とりあえず、文を確認してもよろしいでしょうか？」

Maomao “Wakarumo-nanimo, mada kita-bakaride nanimo mite-ori-masen. Tori-aezu, fumi’o kakunin-shitemo yoroshii-deshoka?”

Maomao “Well, I don’t know at all, as I’ve just arrived and haven’t seen anything yet. For now, can I take a look at the letters?”

とりあえず(Tori-aezu): for now, for the moment, anyway, tentatively

壬氏「好きにしろ」

Jinshi “Sukini shiro.”

Jinshi “Do as you like.”

猫猫「はい、っと」（とりあえず、上から順番に見ていくか…）

Maomao “Hai, tto.” (Tori-aezu, ue-kara junban’ni mite-ikuka…)

Maomao “Okay, okay.” (For now, let’s look at them in order from the top…)

順番に(じゅんばんに/Junban-ni): in order, in turn

高順「小猫、これを使って下さい。身長が届かないでしょうから。他に取りたい物があれば、取りますので」

Gaoshun “Shaomao, kore’o tsukatte-kudasai. Shinchoga todoka-nai-desho-kara. Hokani tori-tai monoga areba, tori-masu-node.”

Gaoshun “Xiaomao, please use this. Otherwise, you can’t reach it. If there’s anything else you want to get, I’ll get it for you.”

猫猫「助かります」

Maomao “Tasukari-masu.”

Maomao “That would be helpful.”

壬氏「高順は気が利くなぁ～」

Jinshi “Gaoshunwa kiga kiku-naaaa.”

Jinshi “Gaoshun is so attentive.”

気が利く(きがきく/Kiga-kiku): attentive, thoughtful

猫猫「ええ、大変素晴らしい官だと思いますぅ」（誰かと違って、マメである）

Maomao “Ee, taihen subarashii kan-dato omoi-masuu.” (Darekato chigatte, mame-de aru.)

Maomao “Yes, I think he’s a wonderful officer.” (Unlike someone, he’s diligent.)

マメな(Mamena): diligent, methodical, meticulous

高順「小猫、少し黙ってください」

Gaoshun “Shaomao, sukoshi damatte kudasai.”

Gaoshun “Xiaomao, please be quiet for a moment.”

猫猫「失礼しました。大人しく仕事をします」

Maomao “Shitsurei shima-shita. Otonashiku shigoto’o shimasu.”

Maomao “Excuse me. I’ll just do my job quietly.”

大人しく(おとなしく/Otonashiku): quietly, obediently

猫猫「うーん、ほとんどが工尺譜(コウシャクフ)ですね。手紙というべきものはありますが、時節の挨拶と、作曲か変奏か編曲かの依頼内容くらいです」

Maomao “Uuun, hotondoga ‘koshaku-fu’ desune. Tegami-to-iu-beki-monowa ari-masuga, jisetsuno aisatsuto, sakkyoku’ka henso’ka henkyoku’ka-no irai-naiyo kurai-desu.”

Maomao “Well, most of them are the scores called ‘gongche notation.’ There are letters, but they are just seasonal greetings and requests for compositions, variations, or arrangements.”

猫猫（工尺譜。音を一音ずつ、ハ、ス、イ、ジャン、チェ、コン、ハン、リュ、ウ、イ、で表した楽譜だ。音と共に歌詞も書かれている。楽譜は、花街で遣り手婆(やりてばばあ)に暗記するまで読ませられたことを思い出すなあ）

Maomao (Koshaku-fu. Oto’o ichi-on-zutsu, Ha, Su, I, Jan, Che, Kon, Han, Ryu, U, I, de arawashita gakufu-da. Ototo tomoni kashimo kakarete-iru. Gakufuwa, hanamachi-de Yarite-Babaa-ni anki-suru-made yomase-rareta koto’o omoi-dasu-naa.)

Maomao (Gongche notation. It’s a musical score in which each note is represented by Ha, Su, I, Jan, Che, Kong, Han, Ryu, U, I. The lyrics are written along with the notes. It reminds me of the time when an old Madam at the pleasure district made me read the score until I had it memorized.)

楽譜(がくふ/Gakufu): score, sheet music

猫猫「上から順に、古いもののようです」（どれも工尺譜の字が同じだ。写し取ったものだろうな。おや、この段から赤字が入れられた譜面が入っているぞ）

Maomao “Ue-kara junni, furui monono-yodesu.” (Doremo koshakufu-no jiga onajida. Utsushi-totta-mono darona. Oya, kono dan-kara akajiga ire-rareta fumenga haitte-iruzo.)

Maomao “It seems like sorted from top, in order from oldest to newest.” (All gongche notations have the same handwriting. They must have been transcribed. Oh, from this shelf onwards, there are scores with red corrections.)

猫猫「赤字が入っている譜面がありますが、こちらが原本ですか？」

Maomao “Akajiga haitte-iru fumenga ari-masuga, kochiraga genpon desuka?”

Maomao “There’s some scores with some correction in red ink. Are these the original?”

原本(げんぽん/Gen-pon): the original

嬌嬌「はい、そうですが何か？」

Kyokyo “Hai, so-desuga nanika?”

Kyokyo “Yes, that’s right, but why?”

猫猫「年代が古い冊子には、原本の譜面が入っていないのですが…別に保存してあるのかと」

Maomao “Nendaiga furui sasshi-niwa, genpon’no fumenga haitte-inaino-desuga… Betsuni hozon shite-aru-nokato.”

Maomao “The old booklets don’t contain the original music score… I wonder if it’s been stored somewhere else.”

壬氏「そうなのか？」

Jinshi “So-nanoka?”

Jinshi “Is that so?”

嬌嬌「以前は原本に赤字を入れて、そのまま返却しておりました。しかし、原本を返すことで、佩芳様が変奏・編曲したことを隠し、全て自分の手柄にする人が現れましたので、証拠として原本を取っておくことにしたのです。日付も入れてもらっています」

Kyokyo “Izenwa genponni akaji’o irete, sono-mama henkyaku shite-ori-mashita. Shikashi, genpon’o kaesu-kotode, Beifan-samaga henso, henkyoku-shita-koto’o kakushi, subete jibun’no tegarani suru hitoga araware-mashita-node, shoko-to-shite genpon’o totte-oku-kotoni shitano-desu. Hizukemo irete-moratte-imasu.”

Kyokyo “Previously, we would mark the originals in red and return them as is. By returning the originals, however, there were people who would hide the fact that Lady Beifang had made variations and arrangements and take all the credit for themselves, so we decided to keep the originals as evidence. We also have the date marked in.”

～の手柄にする(～のてがらにする/～no tegarani suru): take credit for～

手柄(てがら/Tegara): credit, achievement

証拠として(しょうことして/Shoko-to-shite): as evidence

猫猫（原本の譜面には、楽団の印(いん)が入っている。これで自作発言をしてしまえば、個人だけではなく、楽団の名誉もなくなるな）

Maomao (Genpon’no fumen-niwa, gakudan’no inga haitte-iru. Korede jisaku-hatsugen’o shite-shimaeba, kojin-dake-dewa naku, gakudan’no meiyomo naku-naruna.)

Maomao (The original score has the orchestra’s stamp on it. If he were to claim it as his own work, not only would he lose his reputation, but the orchestra’s reputation as well.)

猫猫「ところで、佩芳様はどうやって編曲・変奏をしていたのですか？」

Maomao “Tokorode, Beifan-samawa do-yatte henkyoku, henso’o shite-itano-desuka?”

Maomao “By the way, how did Lady Beifang arrange and vary the music?”

嬌嬌「佩芳様は、文や譜面を読むことができないので、主に私や他の侍女たちが曲を弾き、佩芳様が一通り聴いたところで、修正箇所を口頭で入れておりました」

Kyokyo “Beifan-samawa, fumiya fumen’o yomu-kotoga dekinai-node, omoni watakushiya hokano jijo-tachiga kyoku’o hiki, Beifan-samaga hito-toori kiita-tokorode, shusei-kasho’o kotode irete ori-mashita.”

Kyokyo “Since Lady Beifang could not read letters or music scores, I and the other ladies-in-waiting mainly played the music, and when Lady Beifang had listened to it, she verbally made any corrections.”

猫猫「えっと…つまり、初めて聴いた一曲を通しただけで、おかしなところが分かるのですか？」

Maomao “Etto… Tsumari, hajimete kiita ikkyoku’o tooshita-dakede, okashina tokoroga wakaruno-desuka?”

Maomao “Um… so you’re saying that she could tell there’s something strange about a song just by listening to it once for the first time?”

嬌嬌「はい。一度聴いた曲は、歌詞も忘れませんでした。音階も全て覚えていました」

Kyokyo “Hai. Ichido kiita kyokuwa, kashimo wasure-masen-deshita. Onkaimo subete oboete-imashita.”

Kyokyo “Yes. Once she listened to the song, she never forgot the lyrics. She remembered all the notes as well.”

音階(おんかい/Onkai): musical notes, musical scale

猫猫（大した才能だな…）

Maomao (Taishita saino dana…)

Maomao (What a talent…)

壬氏「さすがだな。私も数回聞かないと、覚えられないぞ」

Jinshi “Sasuga-dana. Watashimo su-kai kika-naito, oboe-rare-naizo.”

Jinshi “That’s impressive. I have to listen to it a few times before I can remember it.”

猫猫「数回で覚えられれば、十分かと思います」

Maomao “Su-kaide oboe-rarereba, jubun-kato omoi-masu.”

Maomao “If you can remember it after a few times, I think that’s enough.”

壬氏「そ、そうか？」

Jinshi “So, soka?”

Jinshi “Oh, really?”

猫猫（けっ。何気に優秀なんだよな。変態でなければ）

Maomao (Ke. Nanigeni yushu nan-dayona. Hentai-de nakereba.)

Maomao (tsk. He’s kind of excellent. If only he wasn’t a pervert.)

何気に(なにげに/Nanigeni): somehow, kind of

猫猫「では、作曲する時は、歌詞と音階を口頭で言ってもらい、それを書き留めていたんでしょうか？」

Maomao “Dewa, sakkyoku-suru tokiwa, kashito onkai’o kotode itte-morai, sore’o kaki-tomete-itan-deshoka?”

Maomao “So when she was composing, did you have her say the lyrics and the notes out loud and then you wrote them down?”

嬌嬌「はい。書き留めたら、歌いながら楽器で演奏し、音階に変更が無いか、確かめておりました」

Kyokyo “Hai. Kaki-tome-tara, utai-nagara gakkide enso-shi, onkaini henkoga naika, tashikamete-ori-mashita.”

Kyokyo “Yes. After I wrote it down, I would play the instrument while singing it to make sure there were no changes to the scale.”

歌いながら(うたいながら/Utai-nagara): while singing

～しながら(～shi-nagara): while ～ing

猫猫「では、最後の曲も、嬌嬌様が書き留めていたんですか？」

Maomao “Dewa, saigono kyokumo, Kyokyo-samaga kaki-tomete-itan-desuka?”

Maomao “Then, did you write down the last song as well, Lady Kyokyo?”

嬌嬌「いえ、私は全て書き留めていたわけではないです。佩芳様は持病のため、長時間作曲ができなかったので…」

Kyokyo “Ie, watakushiwa subete kaki-tomete-ita wake-dewa nai-desu. Beifan-samawa jibyono tame, cho-jikan sakkyokuga deki-nakatta-node…”

Kyokyo “No, I didn’t write everything down. Because Lady Beifang’s chronic illness meant she couldn’t compose for long hours…”

持病(じびょう/Jibyo): chronic illness

猫猫「ぶつ切りになって、複数の手で書き留めていたと」

Maomao “Butsu-giri-ni natte, fukusuno tede kaki-tomete-ita-to.”

Maomao “You mean, it was chopped up and written down by multiple hands.”

嬌嬌「その通りです」

Kyokyo “Sono-toori desu.”

Kyokyo “That’s right.”

猫猫「では、曲の全容は嬌嬌様も分からないわけですね」

Maomao “Dewa, kyokuno zen’yowa Kyokyo-samamo wakara-nai wake desune.”

Maomao “So even you don’t know the full story of the song, Lady Kyokyo.”

嬌嬌「あいにく…申し訳ありません」

Kyokyo “Ainiku… Moshi-wake ari-masen.”

Kyokyo “Unfortunately… I’m sorry.”

壬氏「手紙は、宛名ごとには並べられていないのか？」

Jinshi “Tegamiwa, atena-goto-niwa narabe-rarete-inai-noka?”

Jinshi “Aren’t the letters sorted by addressee?”

嬌嬌「はい。個人からの依頼は受けませんでした。個人で送ってこられる方は、以前自作発言をした人もいたので…楽団のお墨付きでないと、受け取らないようにしたのです」

Kyokyo “Hai. Kojin-karano iraiwa uke-masen-deshita. Kojinde okutte-korareru katawa, izen jisaku-hatsugen’o shita hitomo ita-node… Gakudan’no otsumi-tsukide naito, uketora-nai-yoni shitano-desu.”

Kyokyo “No. We didn’t accept requests from individuals. Some people who sent in pieces individually had previously claimed they made the pieces themselves, so we decided not to accept pieces without the orchestra’s approval.”

お墨付き(おすみつき/Osumi-tsuki): stamp of approval, endorsement

壬氏「個人では、検閲で弾くのか」

Jinshi “Kojin-dewa, ken’etsu-de hajiku-noka.”

Jinshi “Do you censor and block it from individuals?”

検閲する(けんえつする/ken’etsu-suru): censor

猫猫（検閲… 後宮の文は、全て内容を確認されてからでしか、届けられないからなぁ）

Maomao (Ken’etsu… Kokyuno fumiwa, subete naiyo’o kakunin-sarete-kara-de-shika, todoke-rare-nai-kara-naa.)

Maomao (Censored… All letters to the rear palace can only be delivered after their contents have been checked.)

高順「楽団ごとにも分けていないのですね」

Gaoshun “Gakudan-goto-nimo wakete-inaino-desune.”

Gaoshun “But you don’t separate them by orchestra either, do you?”

嬌嬌「はい。違う楽団に移動した方もいますので、あえて分けておりません」

Kyokyo “Hai. Chigau gakudan’ni ido-shita katamo imasu-node, aete wakete-ori-masen.”

Kyokyo “No. Some of them have moved to other orchestras, so we haven’t separated them.”

移動する(いどうする/ido-suru): move

猫猫「文があるのでしたら、筆跡鑑定をして分類しますか？面倒だけど、できないことはない」

Maomao “Fumiga aruno-deshitara, hisseki-kantei’o shite bunrui shimasuka? Mendo-dakedo, dekinai-kotowa nai.”

Maomao “As there are letters, shall we do a handwriting analysis and classify it? It’s a hassle, but it’s not impossible.”

筆跡鑑定(ひっせきかんてい/Hisseki-kantei): handwriting analysis, handwriting identification

壬氏「それは私も提示したが、楽人というのは、音楽以外のことはあまりしたくない性格らしい」

Jinshi “Sorewa watashimo teiji-shitaga, gakujin-to-iu-nowa, ongaku-igaino kotowa amari shitaku-nai seikaku rashii.”

Jinshi “I also suggested that, but it seems that musicians are not the type to want to do much other than music.”

猫猫「すなわち？」

Maomao “Sunawachi?”

Maomao “That is?”

高順「字が達者ではないので、上手い者に代筆をさせるのです」

Gaoshun “Jiga tassha-dewa nai-node, umai mononi daihitsu’o saseruno-desu.”

Gaoshun “They are not good at writing, so they get someone who is good at writing to write it for them.”

達者な(たっしゃな/tasshana): be good at = 得意な(とくいな/Tokuina)、～するのが上手(じょうず/Jozu)な、上手い(うまい/Umai)

猫猫（字くらい自分で書け！…とは言えないか。何だよ、どこまでも不親切すぎる！というか、こんなんで分かるかよ。いや、不親切すぎないか？）

Maomao (Ji-kurai jibunde kake! …towa ie-naika. Nan-dayo, doko-mademo fushinsetsu-sugiru! To-iuka, konnande wakaru-kayo. Iya, fushinsetsu-sugi-naika?)

Maomao (I can’t say ‘at least write it yourself!’ What’s this? Everything’s too unkind! Or rather, how can I find in the situation like this? Oh no, isn’t it really too unkind?)

不親切な(ふしんせつな/Fushinsetsuna): unkind  不(ふ/Fu): un + 親切な(しんせつな/shinsetsuna): kind

猫猫「では、その中で、佩芳様が気になっていた譜などありますか？覚えていればでいいのですが」

Maomao “Dewa, sono nakade, Beifan-samaga kini natte-ita fu-nado ari-masuka? Oboete-irebade iino-desuga.”

Maomao “Then, among those, is there any particular piece of music that Lady Beifang was interested in? If you remember, please tell me.”

猫猫（楽人なら、いい曲を作る相手にこそ、自分の曲を贈りたいと考えるかもしれない）

Maomao (Gakujin-nara, ii kyoku’o tsukuru aiteni-koso, jibunno kyoku’o okuritai-to kangaeru-kamo shire-nai.)

Maomao (As she’s a musician, she might want to give her song to someone who writes great songs.)

嬌嬌「あ、それなら…、これと…これ��。あとこれ、これと…」

Kyokyo “A, sore-nara…, koreto… koremo. Ato kore, koreto…”

Kyokyo “Oh, then… this and… this, too. And this, and this…”

猫猫「ず、随分多いですね」（簡単に割り出せる量じゃないぞ）

Maomao “Zu, Zuibun ooi desune.” (Kantanni wari-daseru ryo-ja naizo.)

Maomao “Th-That’s quite a lot, isn’t it?” (It’s not an amount that can be easily checked.)

量(りょう/Ryo): amount, quantity, volume

嬌嬌「多くの曲を愛する人でしたから…」

Kyokyo “Ookuno kyoku’o aisuru hito deshita-kara…”

Kyokyo “Since she loved a lot of music…”

猫猫「ああ…。嬌嬌様に心当たりとかは…」

Maomao “Aa… Kyokyo-samani kokoro-atari-tokawa…”

Maomao “Ah… Don’t you have any idea, Lady Kyokyo?”

嬌嬌「申し訳ありません」

Kyokyo “Moshi-wake ari-masen.”

Kyokyo “I’m sorry.”

猫猫「ううう…」

Maomao “Uuu…”

Maomao “Ugh…”

壬氏「頑張ってくれ。次の仕事に行ってくる。夕方にもう一度来る」

Jinshi “Ganbatte-kure. Tsugino shigotoni itte-kuru. Yugatani mo-ichido kuru.”

Jinshi “Do your best. I’m off to my next job. I’ll come back in the evening.”

高順「小猫、差し入れは何がよろしいでしょうか？」

Gaoshun “Shaomao, sashi-irewa naniga yoroshii deshoka?”

Gaoshun “Xiaomao, what would you like to bring?”

差し入れ(さしいれ/Sashi-ire): small gift, treat, bringing some food for working people

猫猫「お二人共、帰るのですか!?」

Maomao “Ofutari-tomo, kaeruno-desuka!?”

Maomao “Are you two going home!?”

高順「仕事が溜まっております故」

Gaoshun “Shigotoga tamatte-orimasu-yue.”

Gaoshun “We have a lot of work piling up.”

猫猫（後は任せたってか!? この野郎）

Maomao (Atowa makasetatteka!? Kono yaro.)

Maomao (You leave the rest to me!? You bastard!)

猫猫「ザッ茶?と煎餅。あと肉入りの饅頭があれば十分です。できれば酒があれば…」

Maomao “XX-chato senbei. Ato niku-irino manjuga areba jubun desu. Dekireba sakega areba…”

Maomao “Tea, rice crackers, and some meat buns will be enough. If possible, some alcohol…”

I heard “zaccha” and I searched for it on the internet, but couldn’t find any matching name of tea. So I’m not sure but it may be a kind of tea.

壬氏「酒は却下だ」

Jinshi “Sakewa kyakkada.”

Jinshi “No Alcohol.”

却下(きゃっか/Kyakka): rejection, to be rejected

猫猫（ハァ…。やるしかないか…）

Maomao (Haa… Yaru-shika naika…)

Maomao (I guess I have no choice…)

(Continue to 2/3...)

[trojerucica-blr]

Snimci incidenta na Pravnom u tabloidima, studenti pitaju: Policija u sl...

Ako pravda ne moze da se zadovolji atipicno"jahanjem po paragrafu",moze uzimanjem pravde u svoje ruke-REVOLUCIJOM!!! JA SAM SE VEC DOVOLJNO NAJELA NEPRAVDE I NASILJA TAKO DA SAM SITA SVEGA!!!NAKON PROMJENE VLASTI DS U SNS 1.INDIKACIJA DA TO NIJESU ISTINITOSNE PROMJENE,NARAVNO BILI SU SUDSKI POSTUPCI KOJE SAM VODILA BILI SU I NADALJE I DALJE JESU NEPRAVEDNI I SELEKTIVNI,UPERENI PROTIV ZRTVE. I HLADAN TUS U KABINETU NIKOLICA I VUCICA U CIKA LJUBINOJ ULICI 4.KATA DIREKTNOM IZJAVOM TAJSONA-JUMBE ZORANA OBIJEZBEDJENJA KABINETA NEPOSREDNO PRED OCEKIVANU POBJEDU SNS-"SACEKAJ PLAVUSICE DA SE DOMOGNEMO VLASTI,PA CEMO DA UZIVAMO"-CIO SVIJET MI SE SRUSIO U TOM MOMENTU-PREKASNO NAZALOST,STAZ ZRTVE NASILJA I SISTEMSKE ZRTVE U OVAKVOM   (Anthro Halaust: Triumph Of Satan)HOLOKAUSTU-BEZAKONJA PREVAZILAZI PARANORMALNI FENOMEN: KAKO JE MOGUCE DA DRZAVA U TOJ RAZMJERI POSTANE NEUREDJENA PERSONIFIKACIJA BEZAKONJA I DA BIH OSTVARILA REALNU ODSTETU ZA SVEKOLIKO NASILJE I TRAUMU NADAMNOM BILA BIH PREBOGATA BOGATIJA OD DISKUTABILNOG FENOMENA DIGITALNE ERE ELONA MASKA BEZ IOLE PREDIMENZIONIRANOSTI,HIPERBOLE I GRADACIJE TERORA.FAKAT!!!

JA SAM SE VEC DOVOLJNO NAJELA NEPRAVDE I NASILJA TAKO DA SAM SITA SVEGA!!!NAKON PROMJENE VLASTI DS U SNS 1.INDIKACIJA DA TO NIJESU ISTINITOSNE PROMJENE,NARAVNO BILI SU SUDSKI POSTUPCI KOJE SAM VODILA BILI SU I NADALJE I DALJE JESU NEPRAVEDNI I SELEKTIVNI,UPERENI PROTIV ZRTVE.

I HLADAN TUS U KABINETU NIKOLICA I VUCICA U CIKA LJUBINOJ ULICI 4.KATA DIREKTNOM IZJAVOM TAJSONA-JUMBE ZORANA OBIJEZBEDJENJA KABINETA NEPOSREDNO PRED OCEKIVANU POBJEDU SNS-"SACEKAJ PLAVUSICE DA SE DOMOGNEMO VLASTI,PA CEMO DA UZIVAMO"-CIO SVIJET MI SE SRUSIO U TOM MOMENTU-PREKASNO

NAZALOST,STAZ ZRTVE NASILJA I SISTEMSKE ZRTVE U OVAKVOM (Anthro Halaust: Triumph Of Satan)HOLOKAUSTU-BEZAKONJA PREVAZILAZI PARANORMALNI FENOMEN: KAKO JE MOGUCE DA DRZAVA U TOJ RAZMJERI POSTANE NEUREDJENA PERSONIFIKACIJA BEZAKONJA I DA BIH OSTVARILA REALNU ODSTETU ZA SVEKOLIKO NASILJE I TRAUMU NADAMNOM BILA BIH PREBOGATA BOGATIJA OD DISKUTABILNOG FENOMENA DIGITALNE ERE ELONA MASKA BEZ IOLE PREDIMENZIONIRANOSTI,HIPERBOLE I GRADACIJE TERORA.FAKAT!!!

SLABA VAJDA JE OD UTJEHE DA NIJESAM LIKVIDIRANA POPUT SABORCA VLADIMIRA CVIJANA KAD SAM ZIVA SAHRANJENA SA O,000RSD ZAKUCANA I ZABETONIRANA BEZ IKAKVE MOGUCNOSTI ZA PROSPERITET I PROGRES,PA GDJE JE TO ISCEZLO LAZNO PREDIZBORNO OBECANJE PATOLOSKOG LAZOVA AV-VISE POSLA ZA BEOGRADJANE!!!NIJE UPITNOG OBLIKA,VEC KONSTATACIJA!!!I ZASTO III OJT RUSI I VJT NENAD STEFANOVIC I APELACIONO TUZILASTVO MOJE REALNO OSNOVANE KRIVICNE PRIJAVE PROTIV AVucica I CRNOG ZAGORA SNS POLITIKINOG ALMANAHA ZAGORKE DOLOVAC.

VAS SISTEM JE TRUO I OGREZAO U KORUPCIJU NEPOVRATA,UKOLIKO SE NEPREPORODI KORIJENITIM PROMJENAMA,DA I OVI I ONI ODU U ZATVOR,A DA DODJU KOMPLETNO NOVI SUSTAV PONIKAO OD NEAFIRMIRANIH PRAVEDNIKA.DA NEMA NEDODIRLJIVIH,JER KAO STO JE DANAS TIRANIN AV I DOLOVAC NEDODIRLJIV TUZILASTVU

DOJUCER JE TO BIO MOJ EX MUZ GORAN M.MARKOVIC KOJI JE BIO NADREDJEN GCZS I VORTAO ME KAKO JE HTIO PO PITANJU SOPSTVENE DJECE-VRSIO NASILJE NAD NAMA MUSKOM PRIVILEGIJOM MOCI I AUTORITETOM PRIVIDNE MOCI NAJBAHATIJE MOGUCE!!!STO OSTAVLJA DALEKOSEZNE POSLJEDICE NA NAS-MENE I DJECU.

STO JE NAJGORE U SVEMU U GENOCIDNOJ SRBIJI ZEMLJE TERORA ITEKAKO VAZI KRILATICA 1 ZRTVA ZAUVJEK ZRTVA I 1 DELIKWENT ZAUVJEK DELIKWENT,NASILNIK I SILOVATELJ POPUT PROFILA BEZLICJA I NISTAVILA SUMANUTOG AV VODJE!!!

[froissage]

(milka)

Zatvara vrata kupaonice i vraća se na krevet. Uzima teglicu s krastavcima koja uvijek stoji na noćnome stoliću pokraj kreveta i nastavlja ih grickati kao da su čips. Ponudila bi ih i Josipu, ali zna da ih ne smije jesti zbog gastritisa. Nepokretno leži na krevetu uz nju i prazno zuri u ružičasti plafon. Pomazi ga po naboranom čelu i nasmiješi mu se. Još uvijek ga voli, čak i sada kada je star i nepokretan. I na mijenjanje njegovih pelena se navikla, i na činjenicu da ga mora hraniti, dizati s kolica kada ide na WC ili pod tuš, ali samo na jedno se nikako ne može naviknuti. Nikako, ali nikako ne može preboljeti to da ne može razgovarati s njom. Njegova usta su nijema i uvijek nekako neprirodno poluotvorena. Moždani joj ga je oduzeo cijelog.  

I dok u zamračenoj sobi trpa krastavce u usta, sve dok se teglica ne isprazni i na dnu ne ostane samo mutni ocat pomiješan s ljetnim biljem, na ulicu se spušta netipična ljetna magla. Milka se uz stenjanje diže s kreveta i razvlači zavjese. Mutna svjetlost padne na njezino naborano lice, duboko plave oči i prašnjavu spavaću sobu. Podrigne se i popravi frizuru. Baš se loše osjeća danas. Možda je do previše krastavaca, a možda ipak do starosti. Najradije bi se ubila, ali preslaba je za dignuti ruku na sebe. Posebno danas. A i ima posla. Namješta gaće i pod prstima između nogu osjeća poveću rupu kroz koju je nestašno ispao busen sijedih dlaka nalik na palmicu i komad mlohave kože za koji više nije sigurna gdje mu je točno mjesto na tijelu. Odvratna je samoj sebi i izbjegava pogled na ovalno podno ogledalo u hodniku, iako je preko njega već mjesecima prebačena požutjela plahta. Bolje da se ne vidi ovakva. Poludjela bi kao svoja majka. 

No, sada se mora urediti, vrijeme je da ode na popodnevnu kavicu sa Zoricom. Josip će ionako spavati do večeri, a tada ga mora samo nahraniti. Već je pripremila varivo od graha s malo kranjske kobasice, samo će ga kasnije morati podgrijati. To će mu biti dovoljno, udebljao se od nekretanja, ta stara niškorist i napuhnuo poput balona. Gunđala bi naglas, ali ne smije ga probuditi. Iz ormara izvlači šarenu haljinu na božure i slamnati šešir s kojeg visi svilena crvena marama. Nije se običavala pretjerano uređivati za izlaske, ali Zorica je ipak malo finija gospođa i za nju se vrijedi ljepše urediti. Zajedno su radile u odvjetničkom uredu sve do penzije. Lijepo su živjele, vraćale se kući s posla punih vrećica, putovale po cijelome svijetu sa svojim muževima i nikad nisu imale djecu. Proklele su svoje maternice u korist ugodnijeg života. Zorica je sada udovica. Sretnica, često je mislila Milka, pa i sada kada prska parfem na svoja prozirna žilava zapešća. Bit će i ona uskoro, misli i zaključava vrata stana. 

Spušta se izlizanim stepenicama s trećeg kata zgrade u Erdödyjevoj ulici. Na stubištu sreće mladog susjeda s donjeg kata koji često vikendima sluša preglasnu glazbu pa mu zove policiju. Svejedno ga srdačno pozdravlja, dok on na to samo kimne glavom. Dosta mu je te stare krave. Shvatio je nedavno da ima krevet točno ispod njene spavaće sobe i da svake večeri kroz tanki plafon čuje hrskanje krastavaca. Zakleo bi se da čuje i kako žvače. Marko mu se samo smije, ali on je zaista čuje i uvjeren je da to radi namerno njemu u inat. Izluđuje ga, ali s obzirom na to da njen muž neće još dugo, nada se da neće i ona. Možda će se stan prodavati po odličnoj cijeni pa će ga moći kupiti za sebe i Marka. Ako ne prekinu dotad. U posljednje vrijeme je baš gad prema njemu. Ulazi u stan i nervozno baca torbu s laptopom u kut. Danas će se posebno žestoko posvađati s njim jer je nadrkan od previše posla. 

Milka se na ulici osjeća slobodno. Rekla bi čak i mlađe. U ovoj ulici natkrivenoj zelenim krošanjama lipa je odrasla. Ovdje je učila svoje prve korake, razbijala koljena padajući s bicikla, trčala po kiši nakon škole i prvi put se zaljubila. Ne i posljednji put, naravno. Trebalo je dosta vremena i mnogih usiljenih “Volim i ja tebe…” dok u Lisinskome nakon koncerta nije upoznala Josipa, markantnog i visokog violinista, velikih nježnih ruku i ugodnog dubokog glasa. Istu večer se poševila s njim. Bože, kako je bio zgodan, i danas bi se pojebala s njim kad bi u njemu bilo barem malo više života. I mirisao je na ljetne livade, na morske obale kojima su zajedno šetali, mladi i neokaljani starošću, u one dane kada je život bio ljepši, a koža na licu mekša i sjajnija. Toliko joj nedostaje to vrijeme, ah. Voljela bi da barem na trenutak može ponovno proživjeti samo dio tih lijepih uspomena. 

Ali u redu. Ljeto je. Stara je, ali ljeto je. Oduvijek je voljela ljeto jer se tada osjećala najviše živom. Zbog ljeta je vrijedilo živjeti. Korača ulicama kojima je nebrojeno puta prošla do sada i čini joj se kao da ponovno ima petnaest. Njen korak je lak, a kosti ne bole. Takvi trenuci su rijetki, ali svaki puta uživa u njima. Promatra ljude u prolazu, ali ne predugo, ipak želi da svi pogledi budu upereni u nju. Danas je stavila poseban Chanelov ruž boje krvi koji čuva samo za posebne prilike. Nada se da ga nije razmazala putem, a ne može provjeriti jer nije ponijela torbicu u kojoj drži ogledalce. Osjeća kako joj znoj u malim potočićima teče niz leđa jer ljeto tako želi. Ljeto je tako lijepo. Žeže.

Do Kvatrića stiže brže nego što je mislila. Ponosno se smiješi sama sebi i namješta šešir na glavi. Golubovi se hlade na duguljastoj drvetom obloženoj fontani. Na Kvatriću nema ničeg lijepog više, mislila je. I one cvjećarice su postale gore nego što su bile njihove majke koje su prodavale to isto cvijeće prije nego što ih je išijas potjerao u rane penzije. Milku nije bilo briga previše zapravo. Ona je poletna i sretna. Barem danas. 

A evo i Zorice. Opet ima novu haljinu, prokletnica, čak je i smršavila od dijalize otkad ju je prošli put vidjela. Ljetni povjetarac mrsi njene sijede vlasi koje na suncu djeluju zlatno. Ljube se u mirisna našminkana lica i instinktivno mrnje prema suncu odmahujući rukom. Prokleto bilo, kažu, a zapravo uživaju u vrućini. Tako je odvratno vruće, govore si i kunu te sjedaju na polupraznu terasu kafića. Naručuju kavu s hladnim mlijekom i čašu ledene vode da se rashlade barem malo. Zorica iz svoje vintage torbice vadi lepezu koju je kupila u kineskom dućanu, a svima laže da joj ju je donijela prijateljica iz Japana. Milka maše rukom i čašom hladi vrat. Rado bi je stavila između nogu jer se tamo najviše užarila i ušvicala, ali nije pristojno. To će kod kuće. 

Smije se na Zoričine šale i promatra bore na njenom licu, a najradije bi zaplakala. Zna da ne smije, ni to nije pristojno. Zapravo je obuzimaju valovi tuge koje ne zna kontrolirati. I gleda Zoricu ravno u njene smeđe oči uokvirene licem koje na trenutke više ne prepoznaje. Želi je pamtiti kao lijepu mladu ženu koju je tek upoznala na faksu, sasvim slučajno u kantini, kada su zajedno sjedile pod pauzama od suhoparnih predavanja u menzi jele lošu, ali jeftinu hranu u sva ona podneva, naslagana u različitim godišnjim dobima i bojama. I vječna svjetlost koja je obasjavala njihova lica bila je nježnija od pudera, pera i vremena. Bile su tako lijepe, a nisu si nikada to rekle. Bile su toliko mlade da sada to više ne mogu pojmiti. Svakodnevni mirisi sve više blijede, vid postaje mutniji, a glas tiši i tiši, sve dok jednog dana posve ne utihne. 

Bliži se podne i dan postaje sve vrućiji. Dosta joj je. Želi kući jer zna da treba nahraniti Josipa. Reći će Zorici da je umorna i da mora dovršiti grah koji je napola skuhala prije kave. Zorica neće dovoditi u pitanje istinitost toga što je rekla i pohvalit će se da danas naručuje ćevape iz svoje omiljene pečenjarnice. Reći će joj da se nada da će se udebljati o njih i kao u šali se nasmijati, a zapravo se potajno nadati tome. Zagrlit će se i svaka otići u svome smjeru. Milka u predručkovnu vrevu Kvatrića prema Krešimircu, a Zorica u smjeru Srebrnjaka, uzbrdo, odakle se prema gradu spušta mlaki zrak sa Sljemena, koji hladi suncem okupana lica djece u igri.

Ulaskom u stan je odahnula. Cijela je mokra poput stare kuhinjske krpe. Skida se do grudnjaka i gaća te naglas govori da je vrijeme ručka. U svojoj glavi Josipu, ali zapravo više samoj sebi jer je ogladnila od vrućine. Kroz otvoren prozor dopire cvrkut ptica dok u loncu podgrijava grah. Dodat će i par kapi octa u lonac prije serviranja u tanjur, tako da ga lakše provare. U posebnu zdjelicu odvojit će dio graha Josipu i zgnječiti ga vilicom jer siroti nema snage, a ni zube za žvakanje. Da ga toliko ne voli, smjestila bi ga u starački, ovako nema srca. 

Prvo će se ona najesti, uz to popiti čašicu domaće višnjevače i onda zapaliti cigaretu. Dozvolila si je samo jednu dnevno, nakon ručka, češće od toga ne smije jer je počne mučiti astma i pluća joj u noći beče poput violine. Ponekad popuši još jednu, potajno, najčešće u proljeće kada je zrak idealan za pušenje. Sada zamišljeno gleda kroz otvoren prozor, podbočena na dlan, ispuhuje dim i ovo je jedini trenutak u danu kada ne razmišlja ni o čemu drugome. Udah, dim se lijepi za pluća, i izdah oblaka dima prema ljetnim krošnjama lipa. I tako sve dugo dok ne osjeti žarenje na prstima kojima drži cigaretu. 

Nakon što nahrani Josipa, iako neuspješno jer većina hrane završi na jastuku pored njegove glave, upalit će televizor i praviti se da gleda program. Ništa je više ne zanima, ni serije, ni vijesti, ni dokumentarci o saharskim životinjama, baš ništa. Bacila bi taj televizor kroz prozor, ali preslaba je i ne može ga podići. Zaspat će vrlo brzo, umorit će se od prebacivanja programa, i zaboraviti da je htjela popiti još jednu kavu prije popodnevnog drijemeža. Sanjat će mnogo. I previše za svoje godine. U snovima se u ogledalima vidi još u cvijetu mladosti, tu je i Josip ponekad, ali najčešće ga ne viđa tamo, valjda jer ga previše gleda u stvarnome životu. Drijemat će tako dugo dok se dan ne pretvori u noć i dok promet na ulici ne zamre. Zamijenit će ga dječja cika, razgovori turista u prolazu i pokoji lavež pasa u obližnjem haustoru. A čim se spusti mrak na Erdödyjevu ulicu, ona se vraća barem trideset godina unatrag, u svoju mladost, u prošlost koja se tada čini kao da leži na dlanu svakog prolaznika. 

Milka otvara oči, gunđa si u bradu da je zaspala. Josip mora popiti svoje tablete koje ga održavaju na ovom mizernom životu. Šepajući se dovlači do noćnog ormarića, istresa par tableta na svoj naborani dlan i kao svaki dan u posljednja dva tjedna, promatrajući njegove mutne oči, i zamišljajući da diše, baca tablete na pod. “Evo, popio si ih, tako treba.”, kaže, i legne pokraj njegovog beživotnog tijela.

HH.

[623duck]

2023.05.20

ドキュメンタリー映画『世界で戦うフィルムたち』

本日より、池袋シネマ・ロサにて劇場公開です。 そのほかの劇場は順次公開してまいりますので、続報をお楽しみに。 ーー Documentary film "The Night Before Upheaval"

The film will open today at the Ikebukuro Cinema Rosa. Other theaters will follow in due course, so please look forward to further updates.

【あらすじ】

世界に向けて挑戦を続ける若手映画監督・亀山睦木が、日本映画の未来を模索した実録ドキュメンタリー。

亀山監督は自身の監督作「12ヶ月のカイ」を110以上もの海外の映画���に応募し、現地の声を聞くためアメリカからヨーロッパまで足を運んだ。その道のりを追い、キャストやスタッフの思いを込めた作品を1人でも多くの観客に観てもらうべく奮闘する亀山監督の姿を映し出す。

さらに亀山監督は、日本を代表する俳優・寺島しのぶ、ハリウッド作品も手がける清水崇監督や北村龍平監督ら映画関係者にインタビューを敢行。世界で活躍する日本人の経験や、若手監督・俳優のリアルな苦悩が本人たちの言葉で語られる。 ーー 【STORY】 This is a true-life documentary by Mutsuki Kameyama, a young film director who continues to challenge the world, in search of the future of the Japanese film industry.

Kameyama submitted their film "12 Months of KAI" to over 110 overseas film festivals, and traveled from the U.S. to Europe to hear the voices of local audiences. The film follows Kameyama's journey and their struggle to get as many viewers as possible to see their film, which is filled with the thoughts and feelings of the cast and crew.

They also interviewed leading Japanese actor Shinobu Terajima, as well as directors Takashi Shimizu and Ryuhei Kitamura, who have also worked on Hollywood productions, and others involved in the film industry. In their own words, they speak of the experiences of Japanese filmmakers working around the world and the real-life struggles of young directors and actors.

【出演】

北村龍平 谷垣健治 清水崇 深田晃司 片山慎三 祐真キキ / 寺島しのぶ 松本卓也 宇賀那健一 戸田彬弘 野本梢 加藤綾佳 石橋夕帆 田中大貴 皆川暢二 中屋柚香 中垣内彩加 工藤孝生 岡田深 大石菊華 今村左悶 カン・ハンナ Michael A Stackpole Neilson Black Louis Savy 掛尾良夫 矢田部吉彦

【スタッフ】

監督：亀山睦木 企画 : noadd プロデューサー : 浦野大輔 吉野匡志 鈴木遥 山田百合菜 アソシエイトプロデューサー : 吉丸佳予子 音楽 : 今村左悶 イラスト : カタユキコ キャスティング : 本間祐樹 ( スカリー ) 神原健太朗 門田治子　 ヘアメイク : 清水彩美 光倉カオル (dynamic 所属) スタイリスト : 中井綾子 (crepe 所属) モーショングラフィック: 小野越生 整音・音響効果 : 松野泉 製作・配給 :ノアド株式会社　 助成 : 文化庁「ARTS for the future! 」補助対象事業 ーー 【Interviewee】

Ryuhei Kitamura, Kenji Tanigaki, Takashi Shimizu, Koji Fukada Shinzo Katayama, Kiki Sukezane / Shinobu Terajima Takuya Matsumoto, Kenichi Ugana, Akihiro Toda, Kozue Nomoto Ayaka Kato, Yuho Ishibashi, Daiki Tanaka, Youji Minagawa Yuzuka Nakaya, Ayaka Nakagochi, Kosei Kudo, Jin Okada Kikka Oiwa, Samon Imamura, Kang Hanna Michael A Stackpole, Neilson Black, Louis Savy, Yoshio Kakeo, Yoshi Yatabe

【Staff】

Director：Mutsuki Kameyama Producer : Daisuke Urano, Tadashi Yoshino, Haruka Suzuki, Yurina Yamada Associate Producer : Kayoko Yoshimaru Music : Samon Imamura Illustlation : Yukiko Kata Casting : Yuki Honma (SKALY), Kentaro Kanbara, Haruko Monda　 Hair and Make : Ayami Shimizu, Kaoru Mitsukura(dynamic) Stylist : Ayako Nakai(crepe) Motion Graphic : Essei Ono Sound Design & Effects : Izumi Matsuno Produce & Distribution : noadd Inc. Supported by Agency for Cultural Affairs「ARTS for the future! 」

[poeticlicense12345]

Soba 2303

“Hotel je lijepo uređen! Misliš li da zaslužuje najviših deset zvjezdica, a ne devet?” Brunhilda upita Beschtiju dok su išle prema svojoj sobi. “Da mislim, ako ne računamo ponašanje recepcionara zbog kojega bi trebao imati najviše pet”, Beschtija joj odgovori.

Dugogodišnje prijateljice Brunhilda i Beschtija su na nagradnoj igri dobile dvotjedni odmor na Marsu u hotelu Red Star sa devet zvjezdica. Nagrada je uključivala, osim ugodnog smještaja i odlične hrane, i jednodnevni (po Zemaljskom vremenu) posjet toplicama koji je od hotela bio udaljen svega nekoliko kilometara, dvodnevno razgledavanje površine crvenog planeta, jednodnevni posjet arheološkom nalazištu (koje dokazuje, tvrde arheolozi, da je na Marsu do prije 250 milijuna godina vladala inteligentna civilizacija), te po cijelo bogatstvo od 10 000 Red dolara. Naravno, crvene novčanice su se mogle iskoristiti samo na Marsu. Cijeli grad pod kupolom je bio ispunjen raznolikim programima: mogli ste otići u bar i slušati kloniranog Elvisa, u hologramski luna park gdje je trenutno hit simulacija Napoleonovih bitaka (bile su tu i simulacije prosvjeda hipija iz 60-ih godina 20. stoljeća, mogli ste sudjelovati u Prvom i Drugom Svjetskom ratu, pokušati spriječiti Kennedyevo ubojstvo, biti Sherlock Holmes, kralj Tomislav, ili jednostavno pobijediti Krešimira Ćosića u slobodnim bacanjima, te tisuće drugih simulacija), u areni loviti divovske štakore vozeći se na mototrkaču, pojesti domaću pitu od sira kloniranih ovaca, otići na natjecanje u ispijanju piva,… mogli ste raditi mnogo toga što je na Zemlji bilo zabranjeno već stoljećima. Bio je to Mars, ili Divlji Zapad, kako su ga zvali.

Soba im se nalazila na 23 katu. Izašle su iz dizala te pogledale niz dugačak hodnik koji je imao raskrižje na sredini. Odmah su ugledale natpis 2303 jer su njihova vrata bila treća od dizala (svaki kat je imao 100 soba, cijeli hotel je imao 8000 soba, 92 kata). Prislonile su kažiprste na senzore i vrata su im se otvorila. Oduševile su se, dva ogromna kreveta u spavaćoj sobi, mala blagavaonica, veliki toalet, ugodni kožni naslonjači i fotelje u dnevnoj sobi čiji je zid prekrivao golemi ekran. Stvari koje su ih već čekale u sobi su raspremile. Budući da su već bile gladne, naručile su nešto iz izbora Zemaljske hrane. Nakon ručka su odlučile poći u razgledavanje grada sa kamerama. Ispred samog hotela su ugledale veliku reklamu ELVIS KRALJ. Nastupao je u obližnjem baru za koji sat. Krenule su šetati ulicama usput snimajući zgrade i kuće. Bilo je tu loših hotela sa dvije, tri zvjezdice, raznih barova, klubova, koncertnih dvorana u kojima je svaki dan nastupala neka zvijezda sa Zemlje, mogli ste vidjeti kako ulicom prolazi Sadam Husein te ga tražiti autogram, ili se slikati s njim, mogli ste ući u kuću poznate obitelji Simpson te s Homerom gledati TV i piti pivo, bilo je tu mnogo toga zanimljivoga što ste mogli raditi i snimiti.

Brunhilda i Beschtija su odlučile otići u hologramski luna park na jednu od simulacija. Od tolikih mogućnosti izabrale su Drugi Svjetski rat. Prije ulaska u hologramsku prostoriju, morale su popiti nekakvu tekućinu koja je neutralizirala šokove, kako se ne bi dogodilo da posjetitelju otkaže srce, ili dobije trajne psihičke smetnje (tekućina je također djelovala na osjećaj vremena, mogli ste u hologramskoj simulaciji provesti svega dva sata i pritom imati osjećaj kao da ste unutra prisutni danima. Odabrale su Savezničke snage i dan D.

…Odjednom su na leđima osjetile težinu ratne opreme, u ruci su nosile pušku. Sa svih strana su se čuli pucnjevi, zastrašiva buka i miris baruta su progutali čisti zrak, gorak okus na jeziku. Trčale su obalom kao izbezumljene. Pored njih je nešto eksplodiralo, a u ušima zujalo. Bacile su se na zemlju. Dogovorile su se kako će otpuzati do prvog grmlja te izviditi situaciju pa tek onda odlučiti što će dalje. Bile su zbunjene jer njihovih vojnika nije bilo nigdje, čak ni neprijatelja nisu vidjele. Čule su samo strahovitu pucnjavu. Puzale su do prvih grmova nekih petstotinjak metara. Tamo su se sakrile među grmovima i kamenjem. Pokušale su razmotriti situaciju, ali nisu znale što bi napravile. Nisu imale pomoći, niti vidjeli makar jednog neprijatelja. Odlučili su se pognuto kretati kroz grmlje prema pucnjevima. Tek nakon pola sata kretanja, pucnjava je utihnula. Ugledale su jednog neprijateljskog vojnika koji im je bio okrenut leđima i pušio cigaretu. Obadvije su naciljale. Vojnik je pao poput kruške. Oprezno su se približavale kako bi bile sigurne da je mrtav (jer ako poginu u simulaciji, hologram se prekida). Vojnik je ipak bio mrtav, a cigareta u njegovim ustima se dimila. Primjetile su kako i one imaju cigarete i šibice zataknute za kacigu. Sjele su na pod da zapale jednu. “Ne mogu vjerovati! Cigareta miriše kao prava.” Začuđeno reče Brunhilda. “Cigarete i jesu stvarne!” odbrusi joj Beschtija, “Nije mi samo jasno kako to da smo same. Ako je ovo dan D, kako nema Saveznika? Idemo dalje!”

Hodale su dalje skrivajući se iza drveća. Tu i tamo bi naletjele na kojega vojnika. Oprezno bi naciljale i pucale. Dobro im je išlo. Uskoro su u daljini ugledale veliki rov. Bacile su se na zemlju te polagano prikradale držeći oko na ciljniku. Pred samim rovom, trenutak prije nego su htjele zaviriti u njega, netko im je prišao s leđa. Okrenule su se te vidjele nekoliko vojnika kako drže puške uperene u njih. Čule su nekoliko pucnjeva. Osjetile su jaku vrućinu u prsima i vratu.

Polagano su se budile sa bolovima u prsima i vratu. Ležale su na krevetu i buljile u strop. Shvatile su kako se nalaze u svojoj hotelskoj sobi. Pitale su se što se dogodilo? Obadvijema su prsa i vrat bili zavijeni. Brunhilda se pokušala dignuti sa kreveta.

U kutu sobe je ugledala čovjeka koji je sjedio na stolcu i pušio cigaru. Bio je to klonirani Edo Maajka. Izbezumljene i polugole su se trgnule iz kreveta te ga Yy upita: “Što je ovo?! Kako si ušao ovamo? Tko ti je dozvolio?” “Polagano, polagano sestre!”, reče Edo, “Tu sam sa određenim razlogom.” “Kojim? U ulozi voajera?!” upita Xx. “Međuostalim, no pustimo sad to”, reče Edo kroz smijeh, “Tu sam da vam ponudim jedan dogovor. Ukratko bih vam objasnio. U hologramu je došlo do greške, pa ste ranjene kao u stvarnom svijetu. Vlasnik hologramskog luna parka je moj prijatelj. Stvari stoje otprilike ovako: Odštetu za to što ste ranjene, dobit ćete veliku nagradu. Pod dva uvjeta. Prvi je da nitko ne smije saznati kako ste ranjene, a drugi kako nam morate pomoći u jednoj akciji koju planiramo već godinama izvesti. Za tu akciju trebamo baš vas dvije. Zašto? Zato jer niste klonovi i sigurno se ne bi željeli vratiti na Zemlju kada ne biste morali. To znam jer prisluškujemo svakog Zemljana koji dolazi na Mars, a nije klon.” “Koliko novaca?” reče Brunhilda. “Ovako, ostajete na Marsu zauvijek i moći ćete putovati, zabavljati se i sve ono što bi ste htjeli raditi na Marsu do kraja vaših života. To je vaša nagrada.” Reče Edo. “Što moramo napraviti?” upita Brunhilda. Edo se diže sa stolca, ugasi cigaru i reče: “Ako pristajete na pogodbu, pođite sa mnom?” “U redu, samo da se ne vratimo na Zemlju! Čekaj ispred vrata, moramo se obući!” reče Brunhilda. “Kako god!” i zatvori Edo vrata.

Na brzinu su se obukle te izašle u hodnik. Edo ih je odveo u jedan bar…

Bio je to tipičan bar na Marsu: ogroman šank, mnogo fotelja, osvijetljen plavim svjetlom,… Edo ih je odveo do jednih vrata na kojima je pisalo SKLADIŠTE. Ušli su u tu prostoriju, i bilo je to malo skladište, ali je imalo i skriven prolaz. Prošli su kroz uski prolaz, pognuti hodali nekakvim hodnikom i došli do vrata. Iza tih vrata su se nalazile stepenice za dolje. Pošli su njima te došli do nekakvog neuređenog i mračnog tunela. Hodali su možda jedan kilometar. Došli su do nekakvih vrata i ušli. Nalazili su se u nekakvoj malenoj prostoriji koja je na vrhu imala otvor, a iza toga otvora su se nalazile metalne ljestve. Edo im je rekao da će im biti mjesto gdje idu biti poznato, pritom se nasmijao. Penjanje uz ljestve je bilo naporno. Činilo se kao da se penju cijelu vječnost. Izašli su u nekakav skučeni prostor. Tu je također bio tajni prolaz. Edo ga je otvorio, našli su se ponovo u hotelskoj sobi 2303.

Brunhilda i Beschtija su bile zbunjene. Nikada ne bi pomislile da se u njihovoj sobi nalazi tajni prolaz. Iznenađenjima nije bilo kraja. Edo ih je odveo u toalet. U toaletu im je također pokazao tajni prolaz. Brunhilda ga je upitala zašto odmah nisu išli tim prolazom iz kupaonice. Rekao im je kako su morali postupiti ovako zbog sigurnosnih razloga. Uvijek postoji mogućnost da ih netko prati. Prošli su kroz prolaz ugrađen u zidne pločice te ugledali još jedne ljestve koje vode prema gore. Ovaj put su se nešto kraće penjali. Opet su izašli u nekakvu skučenu prostoriju, a iz nje u jednu ogromnu prostoriju bez vrata i prozora…

Prostorija je izgledala poput nekakvog laboratorija, ili poput radnog mjesta u nekoj firmi. Brunhilda i Beschtija nisu mogle vjerovati tko je sve u njoj bio. Sve sami klonovi i likovi iz crtića: Sadam Husein, klaun Krusty, Bill Gates, George Bush, Louis Armstrong, Janis Joplin, Leonardno Di Caprio, Staljin, Musolini, Josip Broz Tito, Michael Jackson, Tereza Kesovija, Vesna Pusić, Homer Simpson, Ivo Sanader, Ivica Račan, Jimi Hendrix, i monogi drugi.

Edo im je objasnio kao su oni banda klonova i likova iz crtića koji hoće zavladati Zemljom. Godinama već rade na tom planu. Plan im je konačno ostvariv, ali trebaju pomoć nekoga tko nije klon, ili lik iz crtića. Objasnio im je kako imaju najbolje hakere klonove, dobavljače oružja i svih drugih potrepština koje su potrebne kako bi se osvojio jedan planet. Sve što su trebale učiniti je da im daju svoj otisak prstiju te nekoliko kapljica svoje krvi. Te dvije stvari su im bile potrebne za razbijanje šifre u Zemaljskom sistemu.

Brunhilda ih je upitala kada bi trebali početi sa akcijom. Homer Simpson im reče kako bi odmah trebali uništiti sve sisteme i komunikacije na Zemlji. Brunhilda i Beschtija pristaju uz uvjete koje im je obećao Edo: vječni ostanak na Marsu i provod do smrti.

… prislonile su svoje dlanove na nekakav uređaj priključen na računalo. Sadam Husein im je uzeo krv te zajedno sa Terezom Kesovijom radio nekakve pokuse s njom. Sve što je Brunhildi i Beschtiji sada preostalo je čekati. Klonovi i likovi iz crtića su obavljali posao. Jedni su proučavali krvi i otiske prstiju, a drugi na računalu.

Jimi Hendrix nije previše bio zaposlen pa su s njim porazgovarale. Saznale su mnogo informacija o organizaciji i njenim planovima. Saznale su kako će nakon uništenja svih komunikacija i sistema na Zemlji nastati opći kaos. Život na Zemlji će se unazaditi barem 500 godina, tj. barem 500 godina Zemljani neće moći ponovo doći na Mars. Do tada će se klonovi i likovi iz crtića razviti u moćnu naciju. Na svom planetu će osnovati i pokrenuti: gradove, sela, pa i veće regije, proizvodnju hrane, proizvodnju oružja, sve ono što je potrebno kako bi opstali kao samostalan planet.

… prošlo je skoro 20 sati od kako su došli u ovu tajnu prostoriju. Sve je bilo spremno za “invaziju” na Zemlju. Samo je trebalo pritisnuti “enter” na tipkovnici. Edo ih je zamolio da to učine one ako žele. Brunhilda i Beschtija su pristale kao da igraju nekakvu igru, a ne unazaduju planet za 500-tinjak godina. Brunhilda je Beschtiju primila za ruku te su ispružile kažiprst. Došli su do tipkovnice i gledale u “enter”…

Istog trenutka u sobu je upala skupina dobro naoružanih vojnika. Svi su se prepali, ostali su zaleđeni od straha. Vojnici su vikali: “Stoj! Da se nitko nije pomaknuo!” Zatim su skinuli maske sa glava te se počeli smijati. Bili su to dečki iz Hladnog Piva: “Šala, šala, samo nastavite!” Smijali su se kao blesavi. Brunhilda i Beschtija su pritisnule “enter”. Beschtija reče: “Vidimo se za 500- tinjak godina!”

20.01.2004.

text author: Klaun Van Trenda

[dijetemjeseca]

U sakralnoj arhitekturi, nakon razdoblja starohrvatske umjetnosti, predsromanike u kojoj su nastale brojne male crkvice raznolikih oblika, ali poglavito centralnih tipova, rana romanika u 11. stoljeću počinje gradnjom brojnih trobrodnih i troapsidalnih bazilika, sa stupovima i lukovima arkada, te drvenim stropovima, što ih uza svoje samostane grade benediktinci koji dolaze iz Italije. Takvog tipa je crkva sv. Marije benediktinki u Zadru. Uz nju je očuvan i ranokršćanski zvonik što ga je dao sagraditi ugarsko-hrvatski kralj Koloman - okrunjen 1102. u Biogradu - kad je 1105. ušao u Zadar. Zvonik se otvara monoforama i biforama do lože sa zvona, a izvana ima natpis što spominje Kolomana i datum. Na kockastim kapitelima što podupiru rebra križnog svoda na prvome katu zvonika uklesano je također kraljevo ime: COL.. OMA.NUS.REX. Kao što su kapiteli najjednostavnijeg oblika (kocke zaobljenih uglova), tako i rebra svoda imaju jenostavan pravokutan presjek (poput pojasnica), jer je taj križni svod jedan od najranijih pouzdano datiranih u Europi, a vjerojatno su ga gradili francuski graditelji, jer tamo ima sličnih svodova. (Ivančić; 2005., 39-40)

Zvonik sv. Marije u Zadru oblikovan je kao gotovo geometrijski čista prizma na koju se nadovezuje mnogo niža piramida. I osnovna građevna jedinica - kamen klesanac - uobličena je kao pravilno tijelo. Plohe volumena raščlanjene su plitkim udubljenjima stranica od prvog kata do ispod vrha, zbog čega uglovi izgledaju ojačani, a stranice uokvirene ravnim pojasom, koji se penje kroz sve katove, pravokutno lomi i spušta natrag do visokog podnožja. Sredina udubljenog dijela stranice ojačana je plitkim istakom, koji seže prema naprijed do osnovne ravnine zida, a u visinu do vijenca šestog kata. Prostor koji ostaje između uglova i tog istaka ispunjen je na četvrtom i petom katu biforama. Na završnom katu bifore se - zbog prekida središnjeg pilastra - spajaju u kvadriforu. Vidimo kako raščlanjenje ploha plitkim udubljenjima istovremeno služi da se čitav volumen omeđi i da se odrede, uokvire površine gdje će zid nestati probijanjem prozora. Dekorativni elementi uvjetovani su funkcionalnim. (Damjanov; 1991., 186)

[lyraaaa10]

Susyi

 sushi adalah makanan Jepang yang terdiri dari nasi yang dibentuk bersama lauk (neta) berupa makanan laut, daging, sayuran mentah atau sudah dimasak.[2] Nasi susyi mempunyai rasa masam yang lembut karena dibumbui campuran cuka beras, garam, dan gula.

Asal usul kata sushi (susyi) adalah kata sifat untuk rasa masam yang ditulis dengan huruf kanji sushi (酸し). Pada awalnya, sushi yang ditulis dengan huruf kanji 鮓 merupakan istilah untuk salah satu jenis pengawetan ikan disebut gyoshō (魚醤) yang membaluri ikan dengan garam dapur, bubuk ragi (麹, koji) atau ampas sake (糟, kasu). Penulisan sushi menggunakan huruf kanji 寿司 yang dimulai pada zaman Edo periode pertengahan merupakan cara penulisan ateji (menulis dengan huruf kanji lain yang berbunyi yang sama).

Nigirizushi dikenal di Jepang sejak zaman Edo. Sebelum zaman Edo, sebagian besar susyi yang dikenal di Jepang adalah jenis oshizushi (susyi yang dibentuk dengan cara ditekan-tekan di dalam wadah kayu persegi).[5] Pada zaman dulu, orang Jepang mungkin kuat makan karena susyi selalu dihidangkan dalam porsi besar. Susyi sebanyak 1 kan (1 porsi) setara dengan 9 kan (9 porsi) susyi zaman sekarang, atau kira-kira sama dengan 18 kepal susyi (360 gram). Satu porsi susyi zaman dulu yang disebut ikkanzushi mempunyai neta yang terdiri dari 9 jenis makanan laut atau lebih.

Pada zaman Edo periode akhir, di Jepang mulai dikenal bentuk awal dari nigirizushi. Namun ukuran porsi nigirizushi sudah dikurangi agar lebih mudah dinikmati. Ahli susyi bernama Hanaya Yohei menciptakan susyi jenis baru yang sekarang disebut edomaezushi.[5] Namun ukuran susyi ciptaannya besar-besar seperti onigiri. Pada masa itu, teknik pendinginan ikan masih belum maju. Akibatnya, ikan yang diambil dari laut sekitar Jepang harus diolah lebih dulu agar tidak rusak bila dijadikan susyi.

Sampai tahun 1970-an susyi masih merupakan makanan mewah. Rakyat biasa di Jepang hanya makan susyi untuk merayakan acara-acara khusus, dan terbatas pada susyi pesan-antar. Dalam manga, sering digambarkan pegawai kantor yang pulang tengah malam ke rumah dalam keadaan mabuk. Oleh-oleh yang dibawa untuk menyogok istri yang menunggu di rumah adalah susyi. Walaupun rumah makan kaitenzushi yang pertama sudah dibuka tahun 1958 di Osaka, penyebarannya ke daerah-daerah lain di Jepang memakan waktu lama. Makan susyi sebagai acara seluruh anggota keluarga terwujud pada tahun 1980-an sejalan dengan makin meluasnya kaitenzushi.

Keberhasilan kaitenzushi mendorong perusahaan makanan untuk memperkenalkan berbagai macam bumbu susyi instan yang memudahkan ibu rumah tangga membuat susyi di rumah. chirashizushi atau temakizushi dapat dibuat dengan bumbu instan ditambah nasi, makanan laut, tamagoyaki dan nori.

1. Resep dasar sushi

Bahan:

Beras putih

Beras ketan

Cuka beras, bisa dibeli di swalayan Jepang

Gula pasir

Garam

Nori (rumput laut untuk pembungkus yang bisa dibeli di swalayan)

Berbagai macam isi (filling) sesuai selera

Gulungan bambu untuk mengulung sushi (bisa dibeli di swalayan)

Cara membuat:

Siapkan alas sushi dari bambu, lalu lapisi dengan selembar nori. Pada bagian atasnya taruh nasi secara perlahan hingga seluruh nori tertutup nasi.

Atur isian sesuai yang dinginkan dari ujung ke ujung pada bagian atas nasi.

Gulung sushi secara perlahan-lahan sampai ke ujung perhatikan agar saat menggulung harus benar-benar padat. Potong setebal kurang lebih 2 cm dan sajikan dengan kecap asin, wasabi, dan cabe merah bubuk. 

2. Resep sushi salmon

Bahan:

Nasi sushi secukupnya

Beberapa potong salmon segar

Garam secukupnya bubuk

Lada secukupnya

Air dari jeruk lemon atau jeruk nipis

Cara membuat:

Lumuri salmon dengan lada dan garam secukupnya salmon.

Beri perasan jeruk lemon pada kedua sisinya.

Panggang dalam oven selama 10 menit.

Setelah matang, potong kecil-kecil dan isikan ke dalam gulungan nasi.

Kalian juga dapat menggunakan salmon dalam kaleng. Buka kalengnya dan isikan salmon ke dalam gulungan nasi.

[remenar]

[TILT] Conway's Law i zašto ga ne bi trebali ignorirati

Conway's Law

Conway's Law kaže da organizacije dizajniraju sustave prema strukturi timova. Konkretnije, prema postojećoj komunikacijskoj strukturi timova. Pojam je definirao Melwin Conway 1967 godine . Praktičnije definirano: organizacije grade arhitekturu softverskog rješenja bazirano na postojećim kompetencijama te hijerarhijskoj i komunikacijskoj strukturi. Rezultat je "ukalupljivanje" tehničkog rješenja organizacijskim ograničenjima. Dodatno, tehnička struktura rješenja interakcijski je ograničena zbog organizacijskih komunikacijskih restrikcija. U konačnici: tehničko rješenja "fita" organizaciji umjesto zahtjevima korisnika i tržišta.

Da li je to nužno loše? Ovisi koga pitate. Prema nekima to je apsolutno poželjno. Drugi kažu sasvim suprotno. Treći kažu da je to kompromis između želja i stvarnosti, generalno nepoželjno ali potrebno zbog ograničenja ljudskih kapaciteta . Kako god gledali na taj fenomen, brojna istraživanja potvrđuju hipotezu Conway's Law .

Inverse Conway Maneuver

Posljednjih godina sve češće se upotrebljava pojam "Inverse Conway Maneuver". Prevedeno na hrvatski - inverzni Conway manevar. Kao da je ispao iz neke vojne literature o borbenoj taktici i manevrima. Inverse Conway Maneuver kaže da prvo definiramo arhitekturu željenog rješenja te interakciju tog rješenja s ostatkom ekosustava pri tome ignorirajući trenutnu organizacijsku strukturu (organigram). Na temelju tog znanja tek tada gradimo timove koji mogu podržati izradu željene arhitekture. Detaljnije je moguće pročitati u i . Sada kad znate za Conway's Law, što dalje? U biti imate tri mogućnosti: - praviti se da taj fenomen nije stvaran (to-se-ne-događa-meni-već-susjedu) - svjesno prihvatiti ograničenja i prednosti tog fenomena - pronaći način kako ga iskoristiti u svoju korist - odigrati Inverse Conway Maneuver: - za sva postojeća rješenja neće biti lako. Zahtijevat će jako puno truda da se monoliti "razbiju" na logičke cjeline (fracture planes) - vidi za detalje - za sve novo - svjesno prvo gradite željenu arhitekturu rješenja (target condition ) te potom gradite timove i interakcije timova prema definiranom ciljanom stanju - sve navedeno - rekao sam tri, od kuda sad ovo. Realno, ovo nije realno...

Za one koji žele znati više

1. Mel Conway hompage, http://www.melconway.com/Home/Conways_Law.html 2. The Visible Hand: The Managerial Revolution in American Business, ALFRED D. CHANDLER, 1977, Harvard University Press, Belknap Press, https://www.jstor.org/stable/j.ctvjghwrj 3. Usability issues in website design, Nigel Bevan, 1999, https://experiencelab.typepad.com/files/usability-issues-in-website-design-1.pdf 4. MacCormack, Alan, Carliss Baldwin, and John Rusnak. 2012. “Exploring the Duality Between Product and Organizational Architectures: A Test of the ‘mirroring’ Hypothesis.” Research Policy 41 (8) (October): 1309–1324. doi:10.1016/j.respol.2012.04.011., https://dash.harvard.edu/bitstream/handle/1/34403525/maccormackbaldwinrusnak_exploring-the-duality.pdf 5. The influence of organizational structure on software quality: an empirical case study, Nachiappan Nagappan, Brendan Murphy , Victor Basili, ICSE '08: Proceedings of the 30th international conference on Software engineering, May 2008, Pages 521–530, https://dl.acm.org/doi/10.1145/1368088.1368160 6. Contending with Creaky Platforms CIO, Matthew Simons, Jonny Leroy, Cutter IT, November 30, 2010 https://www.cutter.com/article/contending-creaky-platforms-cio-416286 7. Team Topologies: Organizing Business and Technology Teams for Fast Flow, Matthew Skelton, Manuel Pais, It Revolution Press, 2019, https://itrevolution.com/product/team-topologies/ 8. Toyota Kata: Managing People for Improvement, Adaptiveness and Superior Results, Mike Rother, McGraw-Hill Companies, 2009, https://www.mheducation.co.uk/toyota-kata-managing-people-for-improvement-adaptiveness-and-superior-results-9780071635233-emea Read the full article

[selketshaula]

黄金バット (2) by Pi.Sit

[anamon-book]

こどもの四季　加太こうじ・ぶん、滝平二郎・きりえ 河出文庫 カバー＝イラスト・滝平二郎＋デザイン・長谷川洋子、デザイン・粟津潔

[giornalepop]

FANTAMAN, IL GIUSTIZIERE DI ATLANTIDE

FANTAMAN, IL GIUSTIZIERE DI ATLANTIDE

Guardando, negli anni ottanta, i cartoni animati di Fantaman trasmessi dalle televisioni private siamo rimasti un po’ tutti sorpresi della sua somiglianza esteriore con Kriminal.

Nel 1964 in Italia, Max Bunker (Luciano Secchi) e Magnus (Roberto Raviola) iniziano le pubblicazioni di Kriminal. Il fuorilegge senza scrupoli indossa un teschio come maschera e una calzamaglia gialla con…

[stickytablet]

This is just a little timeline for the Koji & Kikami story to help me keep everything organized

263 - The child of Katas lands in Yunzabit Heights

310 - The child of Katas leaves Yunzabit Heights

380 - Garlic’s plan to put out the Sacred Fire is hatched

395 - Garlic seeks out Annin under the guise of training

400 - Kikami is taken under Annin’s wing

433 - Koji is born

444 - Koji’s home catches fire, family dies

454 - Annin sends Garlic and Kikami to seek training from the Sacred Tower so one of them might become the next Guardian; Garlic changes his plans to make use of the opportunity; Kikami is betrayed and crashes into Koji’s homestead

454 - 455 - The Spice Rack Saga; Kikami and Koji go on a road trip to find the Sacred Tower while being hunted by Garlic’s demon’s; Garlic reaches Korin Tower and has to keep up the façade of goodness to assure his spot as Guardian

Late 455 - 456 - The Garlic War; Kikami and Koji reach Korin Tower and reveal Garlic’s scheme to Korin; a bunch of fighting, idk I’ve not hammered out this part yet; The Guardian confronts Garlic, Garlic opens up the Deadzone and is pushed in by the Guardian

456 - 459 - The Guardian Arc; Peace time; Kikami trains to become the next guardian; *UPDATE* Koji learns magic, uses gardening skills to make Senzu beans grow (Korin has had a difficult time with them); It’s revealed that Garlic Jr exists and wants revenge; Arc finishes with Kami and Piccolo splitting

460 - The Guardian dies; Kami ascends to Guardian; filler with Koji/find something useful for Koji to do; Piccolo begins to scheme and build his army; Piccolo seeks out Garlic Jr, use his Deadzone technique to lock away Kami (keep Piccolo unopposed by a serious threat while not threatening Kami’s life) in exchange for a seat at the table for world domination

461- 465 - The Piccolo War (plus Garlic Jr) Saga; This one’s a mess buckle up; Piccolo and Garlic begin reign of terror; Other stuff; Koji is killed (not sure if by Piccolo or Garlic Jr) while advancing plot/protecting village (noble sacrifice? *UPDATE* delivering senzu beans, stolen by garlic/piccolo?), enough strength for a tearful goodbye with Kami; Pissed Kami fights somebody, Deadzone is opened, maybe Garlic Jr falls in (?); Master Mutaito adapts the Deadzone technique into the Evil Containment Wave; Piccolo is sealed away in rice cooker; Kami creates the dragon balls, wishes Koji back to life but something in the way/not within Shennron’s power, instead wishes her soul proper rest in afterlife (because she was killed by demons, soul forced to aimlessly wander in misery)

741 - Koji is reincarnated, born to Shirumo and Dr Mito Chondria under the name Miso Chondria

[tjarimrkve]

Dragi moji, (1)

moram biti sumorna i reći da se ozbiljno brinem.

Moj ostanak u Milanu sa Doricom se odužio. Grad je prekrasan, no, nažalost, preraskošan za skroman sazdržaj naših geldtašni. Svoj cirićki džeparac sam spiskala u prvih tjedan dana, tijekom kojih smo se selile u sve oskudnije i oskudnije prostore. Trenutno smo u hotelu “Autopark” u predgrađu Milana. 

Dovde smo hodale jer nemamo dovoljno za prijevoz, čak ni Arturovim biciklom, na čijoj zadnjici vožnju mladić naplaćuje svega petnaesta šilinga. Cesta je glatka gdje je za aute, ali grbava i teško prohodna tamo gdje šeću nemudri, oskudno opremljeni turisti. Za najam sobe šarmantno označene La caldaia, polukrevetnog zdanja sa jednom policom za toaletnine, trenutno radimo sitne popravke po dražesnom “Autoparku” - sve od šarafljenja lustera u strop do podmazivanja mašinerije za laštenje peciva žumanjkom. Kažu da su to prava talijanska peciva, laštena talijanskim jajima, no brine me što se dotična jaja dopremaju u bijeloj kanti označenoj Tuorlo.

Nije sve crno i prisivo, upoznale smo doista dragu i darežljivu gospođu Solange sa petog kata - uvijek galantno odjevenu, u stole i fine trikotažne komade. Ona nam ponekad nesebično podari ostatke svog uvijek nenadmašivo otmjenog objeda - prekjučer smo čak večerale što Dorica vragolasto naziva pizdom lignje! Vrijedilo je cijeli dan mijenjati gume na usisivačima za taj žilavi, neukrotiv vršak.

Obećali su, ako sutra dovršimo renovaciju predsjedničkih odaja, da će nam podariti stolac, naš vlastiti stolac, koji ćemo smjeti odnijeti u našu zagušljivu caldaiu i čuvati ga tamo sve dok ne bude potreban u blagovaonici. Dorica i ja smo ga odlučile okititi žbunjem i tratinčicama iz obližnje šikare kad nam pristigne.

Pišite mi!

Vječno vaša,

Dr. Iva

[vstranslations]

Aklo ft. Norikiyo - Baby Listen Up - Lyrics

song (spotify) Japanese/Romaji/English lyrics under the cut

お前までソレ言うかね…　 その御託に今　頷けないな 俺だって今日朝起きて　　 昨日の続きを終わらせてたんだ Baby Listen up その答えなら　 もしかしたらそう　言葉じゃ無いもん Baby Listen up　その答えなら　 もしかしたらそう　言葉じゃ無いもん　

I Know You You Know Me 色々お互い行かない理想通り そりゃ素直には言えないI’m Sorry まだ途中のままにしてたいストーリー 先延ばし　時間が欲しい　 空気の中に注入したFeelings “ずるいよね”って君の思いもそこら中にぷかぷか浮かんでる

I Know You You Know Me 君の笑わせ方は100通り 悲しませ方ならば少ないし増やしたいとも思わない だから今日はもうそっとしとこうよ　 それはまた今度で残しとこうよ　 今じゃないって鍵かけたドア Lock 無理にこじ開けたのそっちの方だろ

お前までソレ言うかね…　 その御託に今　頷けないな 俺だって今日朝起きて　　 昨日の続きを終わらせてたんだ Baby Listen up その答えなら　 もしかしたらそう　言葉じゃ無いもん Baby Listen up　その答えなら　 もしかしたらそう　言葉じゃ無いもん　

昨日の夜ならくだまいて　 二日酔いでまた頭いてぇ 頼むよBabyねぇ泣かないで　 お前の胸にも穴空いてる 掴んで覗いた乾いたドーナツ　 俺ってさ居ない方が？ 俺が皿でも洗おうか？　 とか言って味気ねぇもんをただ頬張る

I know you. You know me 耳を塞いでおりゃす通り 君が知ってる俺はその都度したい事をする　 先の先はねぇ未来予想図 I know you. You know meこれでも理解してるつもり 君は友達と比べて違いをそう言う　 世間体みてぇなもん以外をFor You 欲しいの？あの指輪？　 豪邸とかはおりゃまだ無理だ 面目ねぇつーかなんつーかね…　 5回踏んでんだけどランプがねぇしな　 俺の車にブレーキはねぇがココも幸せっていう駅じゃね？　 只の紙切れ押すハンコ　 以上お前のそばに居るよちゃんと

お前までソレ言うかね…　 その御託に今　頷けないな 俺だって今日朝起きて　　 昨日の続きを終わらせてたんだ Baby Listen up その答えなら　 もしかしたらそう　言葉じゃ無いもん Baby Listen up　その答えなら　 もしかしたらそう　言葉じゃ無いもん　

--

Omae made sore iu ka ne sono gotaku ni ima unazukenai na ore datte kyou asa okite kinou no tsuzuki o owarasetetanda Baby Listen up, sono kotae nara moshikashitara sou kotoba ja nai mon Baby Listen up, sono kotae nara moshikashitara sou kotoba ja nai mon

I Know You You Know Me, iroiro otagai ikanai risou toori sorya sunao ni wa ienai I’m sorry mada tochuu no mama ni shitetai sutoorii saki nobashi jikan ga hoshii kuui no naka ni chuunyuu shita feelings zurui yo ne tte kimi no omoi mo sokora naka ni pukapuka ukanderu

I Know You You Know Me, kimi no warawase kata wa hyaku doori kanashimase kata naraba sukunai shi fuyashitai tomo omowanai dakara kyou wa mou sotto shitokou yo sore wa mada kondo de nokoshi tokou yo ima ja nai tte kagi kaketa doa lock muri ni koji aketa no socchi no hou daro

Omae made sore iu ka ne sono gotaku ni ima unazukenai na ore datte kyou asa okite kinou no tsuzuki o owarasetetanda Baby Listen up, sono kotae nara moshikashitara sou kotoba ja nai mon Baby Listen up, sono kotae nara moshikashitara sou kotoba ja nai mon

Kinou no yoru nara kudamaite futsuka yoi de mata atama itee tanomu yo baby nee nakanai de omae no mune ni mo ana aiteru tsukande nozoita kawaita doonatsu ore tte inai hou ga? ore ga sara demo araou ka? toka itte miki nee mon o tada hoo baru

I know you. You know me, mimi o fusaide oryasu toori kimi ga shitteru ore wa sono tsudo shitai koto o suru saki no saki wa nee, mirai yosouzu I know you. You know me, kore demo rikai shiteru tsumori kimi wa tomodachi to kurabete chigai o sou iu seken mitee na mon igai o for you hoshii no? ano yubiwa? goutei toka wa orya mada muri da menboku nee tsuuka nan tsuuka nee go-kai fundenda kedo ranpu ga nee shi na ore no kuruma ni bureeki wa nee ga koko mo shiawase tte iu wake ja ne? tada no kami kire osu hanko ijou omae no soba ni iru yo chanto

Omae made sore iu ka ne sono gotaku ni ima unazukenai na ore datte kyou asa okite kinou no tsuzuki o owarasetetanda Baby Listen up, sono kotae nara moshikashitara sou kotoba ja nai mon Baby Listen up, sono kotae nara moshikashitara sou kotoba ja nai mon

--

To think even you would say that to me… I can’t agree with the shit you’re telling me I woke up this morning, needing to end what we started yesterday Baby listen up, I think your real answer is clear from the way you’re acting Baby listen up, I think your real answer is clear from the way you’re acting

I Know You You Know Me, a lot of things won’t go the way we imagine But I can’t tell you that straight up, I’m sorry A story I want to forever leave unfinished Gotta put it off, I need more time Our feelings hang heavy in the air between us Your distrust of me is bubbling up to the surface, too

I Know You You Know Me, there’s 100 ways to make you laugh There’s not many ways to make you sad, and I’m not tryna find more So let’s take things slow for today Let’s put this aside for another time You’re the one who said “Not right now” and left me uselessly trying to pry open the locked door

To think even you would say that to me… I can’t agree with the shit you’re telling me I woke up this morning, needing to end what we started yesterday Baby listen up, I think your real answer is clear from the way you’re acting Baby listen up, I think your real answer is clear from the way you’re acting

I mutter nonsense about what happened last night My head still hurts from the hangover Please, baby, don’t cry There’s an empty space in your heart too I pick up and look at the dried-out donuts Would you like it better if I wasn’t here? Would you like it if I washed the dishes? I stuff my face instead of saying pointless words

I know you. You know me, I’ll go off and do my thing when you stop listening to me; you know that’s how I am This thing won’t last, it’s not in my future plans I know you. You know me, I thought you’d already know this much I’m different with you than my friends, ‘cause everything we do privately is for you Do you want that ring? Though I can’t buy a mansion for us or anything I dunno if you could say I’m ashamed of that… I’ve hit the gas 5 times, but I’ve got no ramp to take off from There’s no brakes in my ride, but this can be fun too, can’t it? Just put the little stamp on this scrap of paper, and I swear I’ll be by your side forever

To think even you would say that to me… I can’t agree with the shit you’re telling me I woke up this morning, needing to end what we started yesterday Baby listen up, I think your real answer is clear from the way you’re acting Baby listen up, I think your real answer is clear from the way you’re acting