紫罗兰第九话ed

❶ 求紫罗兰永恒花ed みちしるべ的原版伴奏！拜托了！

密码:2wkq 专辑里有伴奏

❷ 动画致命紫罗兰044的OP

MY father's family name being Pirrip, and my christian name Philip, my infant tongue could make of both names nothing longer or more explicit than Pip. So, I called myself Pip, and came to be called Pip.
I give Pirrip as my father's family name, on the authority of his tombstone and my sister - Mrs Joe Gargery, who married the blacksmith. As I never saw my father or my mother, and never saw any likeness of either of them (for their days were long before the days of photographs), my first fancies regarding what they were like, were unreasonably derived from their tombstones. The shape of the letters on my father's, gave me an odd idea that he was a square, stout, dark man, with curly black hair. From the character and turn of the inscription, `Also Georgiana Wife of the Above,' I drew a childish conclusion that my mother was freckled and sickly. To five little stone lozenges, each about a foot and a half long, which were arranged in a neat row beside their grave, and were sacred to the memory of five little brothers of mine - who gave up trying to get a living, exceedingly early in that universal struggle - I am indebted for a belief I religiously entertained that they had all been born on their backs with their hands in their trousers-pockets, and had never taken them out in this state of existence.

Ours was the marsh country, down by the river, within, as the river wound, twenty miles of the sea. My first most vivid and broad impression of the identity of things, seems to me to have been gained on a memorable raw afternoon towards evening. At such a time I found out for certain, that this bleak place overgrown with nettles was the churchyard; and that Philip Pirrip, late of this parish, and also Georgiana wife of the above, were dead and buried; and that Alexander, Bartholomew, Abraham, Tobias, and Roger, infant children of the aforesaid, were also dead and buried; and that the dark flat wilderness beyond the churchyard, intersected with dykes and mounds and gates, with scattered cattle feeding on it, was the marshes; and that the low leaden line beyond, was the river; and that the distant savage lair from which the wind was rushing, was the sea; and that the small bundle of shivers growing afraid of it all and beginning to cry, was Pip.

`Hold your noise!' cried a terrible voice, as a man started up from among the graves at the side of the church porch. `Keep still, you little devil, or I'll cut your throat!'

A fearful man, all in coarse grey, with a great iron on his leg. A man with no hat, and with broken shoes, and with an old rag tied round his head. A man who had been soaked in water, and smothered in mud, and lamed by stones, and cut by flints, and stung by nettles, and torn by briars; who limped, and shivered, and glared and growled; and whose teeth chattered in his head as he seized me by the chin.

`O! Don't cut my throat, sir,' I pleaded in terror. `Pray don't do it, sir.'

`Tell us your name!' said the man. `Quick!'

`Pip, sir.'

`Once more,' said the man, staring at me. `Give it mouth!'

`Pip. Pip, sir.'

`Show us where you live,' said the man. `Pint out the place!'

I pointed to where our village lay, on the flat in-shore among the alder-trees and pollards, a mile or more from the church.

The man, after looking at me for a moment, turned me upside down, and emptied my pockets. There was nothing in them but a piece of bread. When the church came to itself - for he was so sudden and strong that he made it go head over heels before me, and I saw the steeple under my feet - when the church came to itself, I say, I was seated on a high tombstone, trembling, while he ate the bread ravenously.

`You young dog,' said the man, licking his lips, `what fat cheeks you ha' got.'

I believe they were fat, though I was at that time undersized for my years, and not strong.

`Darn Me if I couldn't eat em,' said the man, with a threatening shake of his head, `and if I han't half a mind to't!'

I earnestly expressed my hope that he wouldn't, and held tighter to the tombstone on which he had put me; partly, to keep myself upon it; partly, to keep myself from crying.

`Now lookee here!' said the man. `Where's your mother?'

`There, sir!' said I.

He started, made a short run, and stopped and looked over his shoulder.

`There, sir!' I timidly explained. `Also Georgiana. That's my mother.'

`Oh!' said he, coming back. `And is that your father alonger your mother?'

`Yes, sir,' said I; `him too; late of this parish.'

`Ha!' he muttered then, considering. `Who d'ye live with - supposin' you're kindly let to live, which I han't made up my mind about?'

`My sister, sir - Mrs Joe Gargery - wife of Joe Gargery, the blacksmith, sir.'

`Blacksmith, eh?' said he. And looked down at his leg.

After darkly looking at his leg and me several times, he came closer to my tombstone, took me by both arms, and tilted me back as far as he could hold me; so that his eyes looked most powerfully down into mine, and mine looked most helplessly up into his.

`Now lookee here,' he said, `the question being whether you're to be let to live. You know what a file is?'

`Yes, sir.'

`And you know what wittles is?'

`Yes, sir.'

After each question he titled me over a little more, so as to give me a greater sense of helplessness and danger.

`You get me a file.' He tilted me again. `And you get me wittles.' He tilted me again. `You bring 'em both to me.' He tilted me again. `Or I'll have your heart and liver out.' He tilted me again.

I was dreadfully frightened, and so giddy that I clung to him with both hands, and said, `If you would kindly please to let me keep upright, sir, perhaps I shouldn't be sick, and perhaps I could attend more.'

He gave me a most tremendous dip and roll, so that the church jumped over its own weather-cock. Then, he held me by the arms, in an upright position on the top of the stone, and went on in these fearful terms:

`You bring me, to-morrow morning early, that file and them wittles. You bring the lot to me, at that old Battery over yonder. You do it, and you never dare to say a word or dare to make a sign concerning your having seen such a person as me, or any person sumever, and you shall be let to live. You fail, or you go from my words in any partickler, no matter how small it is, and your heart and your liver shall be tore out, roasted and ate. Now, I ain't alone, as you may think I am. There's a young man hid with me, in comparison with which young man I am a Angel. That young man hears the words I speak. That young man has a secret way pecooliar to himself, of getting at a boy, and at his heart, and at his liver. It is in wain for a boy to attempt to hide himself from that young man. A boy may lock his door, may be warm in bed, may tuck himself up, may draw the clothes over his head, may think himself comfortable and safe, but that young man will softly creep and creep his way to him and tear him open. I am a keeping that young man from harming of you at the present moment, with great difficulty. I find it wery hard to hold that young man off of your inside. Now, what do you say?'

I said that I would get him the file, and I would get him what broken bits of food I could, and I would come to him at the Battery, early in the morning.

`Say Lord strike you dead if you don't!' said the man.

I said so, and he took me down.

`Now,' he pursued, `you remember what you've undertook, and you remember that young man, and you get home!'

`Goo-good night, sir,' I faltered.

`Much of that!' said he, glancing about him over the cold wet flat. `I wish I was a frog. Or a eel!'

At the same time, he hugged his shuddering body in both his arms - clasping himself, as if to hold himself together - and limped towards the low church wall. As I saw him go, picking his way among the nettles, and among the brambles that bound the green mounds, he looked in my young eyes as if he were eluding the hands of the dead people, stretching up cautiously out of their graves, to get a twist upon his ankle and pull him in.

When he came to the low church wall, he got over it, like a man whose legs were numbed and stiff, and then turned round to look for me. When I saw him turning, I set my face towards home, and made the best use of my legs. But presently I looked over my shoulder, and saw him going on again towards the river, still hugging himself in both arms, and picking his way with his sore feet among the great stones dropped into the marshes here and there, for stepping-places when the rains were heavy, or the tide was in.

The marshes were just a long black horizontal line then, as I stopped to look after him; and the river was just another horizontal line, not nearly so broad not yet so black; and the sky was just a row of long angry red lines and dense black lines intermixed. On the edge of the river I could faintly make out the only two black things in all the prospect that seemed to be standing upright; one of these was the beacon by which the sailors steered - like an unhooped cask upon a pole - an ugly thing when you were near it; the other a gibbet, with some chains hanging to it which had once held a pirate. The man was limping on towards this latter, as if he were the pirate come to life, and come down, and going back to hook himself up again. If gave me a terrible turn when I thought so; and as I saw the cattle lifting their heads to gaze after him, I wondered whether they thought so too. I looked all round for the horrible young man, and could see no sings of him. But, now I was frightened again, and ran home without stopping.

❸ 紫罗兰的永恒花园佳句

1.描写紫罗兰的好词佳句

紫罗兰把香气留在了踩扁了它的脚踝上，这就是宽恕。

冬天，紫罗兰依然不失高贵，这时候的她，是与腊梅不分上下的，娇艳的花朵挺立在风雪中，独自与腊梅做伴，享受冬天寒冷的惬意，唱响冬天的进行曲！小孩见到她，不住赞叹：“在冬天也有这样美丽的花呀！”

在春的温暖，夏的炎热，秋的凉爽，冬的寒冷里，你没有丝毫的改变，你在一年四季里是最美的，我多么羡慕啊

紫罗兰的花瓣大大的，呈五角星状，花蕊长长的，仿佛要把人卷进去似的，那淡蓝色的花瓣，那浅黄色的花蕊，让人如痴如醉。玫瑰都会羡慕她那高雅的气质，君子兰也会羡慕她那与众不同的特点。

她，高雅美丽，她，芳香扑鼻，总是在群芳吐艳、姹紫嫣红时炫出最耀眼的一面。在有紫罗兰的花丛中，无论是玫瑰，还是野蔷薇，或是铃兰，都比不上她！不管在她美丽的时候，精力旺盛的时候，还是熟睡的时候，她都一样引人注目，都是第一个被发现的花朵。

2.紫罗兰永恒花园ED みちしるべ 歌词加平假名

歌名：みちしるべ

歌手：茅原实里

填 词：茅原实里

谱 曲：菊田大介

歌词：

あなたの声が道しるべ

你的声音就是我的路标

一羽の鸟が 鸣いている

一只鸟儿在啼啭

名前のない空に わたしを探して

于无名的青空下 寻觅着我的身影

优しさで编み続けた

乘着以温柔编织出的摇篮

ゆりかごで明日へいこう

一同启航前往明天吧

晴れの日も雨の日にも

不论晴空万里或是风雨交加

あなたを守るために

也会为了守护你不惜一切

かけがえのない宝物

无可替代的宝物

名前のない花は 静かに眠るよ

无名之花 静静地陷入沉睡

色なき风が 呼んでいる

无色的风在呼唤我们

希う故郷 懐かしい香る

憧憬的故乡弥漫着怀念的气味

远く幼い记忆は

遥远的童年记忆

阳だまりのようなぬくもり

充满宛如向阳处的温暖

泡沫の梦から覚め

从泡沫之梦苏醒

孤独が“ひとり”と知った

知晓到孤身一人便是孤独

授けられた翼を 羽ばたかせて

展开被赋予的翅膀 向天空高飞

飞ぶことをやめないと约束しよう

一同许下永不放弃翱翔的誓约

ひとりじゃない

我并不孤单

愿いはひとつだけ あなたの幸せ

我只有一个愿望 那就是你的幸福

优しさで编み続けた

乘着以温柔编织出的摇篮

ゆりかごで明日をいこう

一同启航前往明天吧

晴れの日も雨の日にも

不论晴空万里或是风雨交加

「爱してる」を伝えて…

也会将「我爱你」传达予你…

この街に生まれたのは

生于这个城市

あなたと巡り逢うため

就是为了与你相遇

この街に生まれたから

正因为生于这个城市

あなたに巡り逢えた

我才有幸与你相遇

一羽の鸟が 飞んでいく

一只鸟儿往远方飞走了

名前のない空に 明日を探して

于无名的青空下 寻觅着明天

(3)紫罗兰第九话ed扩展阅读：

作品主角薇尔莉特的魅力在于纯粹之美。人类在成为大人后或多或少都会变得世俗，身上有着各种各样的社会责任和繁杂的事情，不能再拥有孩子一般的纯粹天真的感情。动画的主题曲的演唱者TRUE希望通过演唱《紫罗兰永恒花园》的主题曲，向观众说出“谢谢你”几个字，并且希望观众能够意识到这些话语的重要性。

2018年7月2日，官方宣布了《紫罗兰永恒花园》完全新作剧场版动画的制作决定。剧场版动画由京都动画负责制作，预计于2020年1月上映。

参考资料：《路标》（みちしるべ）——网络

3.《紫罗兰永恒花园》这部动漫,它的好看点是什么

看的是制作水准，至少在我看过的动漫里，京紫的画质，分镜，人物表情，人物配音，细节表现，画面渲染，音乐渲染，远近景的切换，故事节奏的把握，不能说是每项都是最佳，但是综合的表现来说是我迄今为止看过的所以动漫最棒的。

确实，京紫的故事类型可能比较小众，甚至满足不了现在许多的男孩子想看的需求（手动滑稽），我本人对京紫的故事类型也是并无大感，甚至在听到别人安利之前完全没有过想看的欲望。

但是当我看京紫之后，单论故事它没有打动我，但是它讲故事的方式却触动了我，甚至有时候会带入剧情，让自己被感动到。这就很厉害了。

这大概就是同一个故事，用捧读去讲它和抑扬顿挫绘声绘色并且富有感情的去讲它的区别。

京紫就是赢在这种制作上，就像一个好的故事人能把一个平凡的故事讲得有趣一样。

如果认真耐下心去看京紫的话，就会发现，京紫的画面确实很美，时不时插入的背景音乐也很应景，人物的表情，眼中的闪光都有良好的表现，抛开故事类型来说，京紫的故事节奏把握的还可以，让人不感觉很赶也不感觉很拖拉，就会很舒服。

总体来说我感觉京紫大概就是个赢在制作上的动漫，就算有可能以后剧情上烂尾了，那么我对京紫的评价估计也不会低多少，它代表着一种动漫制作的新高度，一种动漫完全有可能胜过电影大作场景的可能，不过对于那些喜欢少年拯救世界、揭露人生哲理等，超级剧情向作品的人，可能京紫并不适合他们的口味。

❹ 这是出自哪里的

这是日本动漫《紫罗兰永恒花园》，图片中的人物是薇尔莉特·伊芙加登【cv：石川由依、季冠霖（中配版）】，图片中的片段是出自其ED画面的

《紫罗兰永恒花园》介绍

动画《紫罗兰永恒花园》改编自日本小说家晓佳奈原作的同名轻小说。2016年5月27日，在京都动画官方网站内，宣布了《紫罗兰永恒花园》TV动画化的决定。电视动画于2018年1月10日首播，全13集。其中TV未放送的第14话收录在DVD&BD第4卷中。另有动画电影2部。中国大陆独家播放平台bilibili出品制作其中配版，中配版配音工作室为冠声文化，配音导演为季冠霖，预计于2021年7月播出。

动画电影《紫罗兰永恒花园外传 - 永远与自动手记人偶 -》于2019年9月6日上映于日本，并在2020年1月10日于中国大陆正式上映[2]。

动画电影《剧场版紫罗兰永恒花园》原定将于2020年4月24日上映 ，后延期至同年9月18日。

剧情简介：

某个大陆的、某个时代。

大陆南北分割的战争结束了，世界逐渐走向了和平。

在战争中、作为军人而战斗的薇尔莉特·伊芙加登离开了军队，来到了大港口城市。怀抱着战场上一个对她而言比谁都重要的人告诉了她“某个话语”――。

街道上人群踊跃，有轨电车在排列着煤气灯的马路上穿梭着。薇尔莉特在霍金斯中校的公司做“代写书信”的工作。那是根据委托人的想法来组织出相应语言的工作。

她直面着委托人、触碰着委托人内心深处的坦率感情。与此同时，薇尔莉特在记录书信时，也逐渐接近那天少佐基尔伯特对自己讲的那句话的真正含义。

制作人员：

• 原作：《紫罗兰永恒花园》晓佳奈（KAesuma文库、京都动画）

• 导演：石立太一

• 剧本统筹：吉田玲子

• 角色设计：高濑亚贵子

• 剧本演出：藤田春香

• 世界观设定：铃木贵昭

• 美术导演：渡边美希子

• 色彩设计：米田侑加

• 摄影导演：船本孝平

• 3D导演：山本伦

• 道具设定：高桥博行、太田稔

• 剪辑：重村建吾

• 音响导演：鹤冈阳太

• 音乐制作人：斋藤滋

• 音乐：Evan Call

• 音乐制作：Lantis、Miracle Bus

• 动画制作：京都动画

• 出品：《紫罗兰永恒花园》制作委员会

（部分资料来源：网络）

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