翻訳と辞書
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・ The Voice in the Fog
・ The Voice in the Night
・ The Voice in the Wilderness
・ The Vision Factory (production company)
・ The Vision of Adamnán
・ The Vision of Constantine (Bernini)
・ The Vision of Delight
・ The Vision of Don Roderick
・ The Vision of Escaflowne
・ The Vision of Judgment
・ The Vision of Love
・ The Vision of Saint Eustace
・ The Vision of the Anointed
・ The Vision of the Blessed Hermann Joseph
・ The Vision of the Cross
The Vision of the Twelve Goddesses
・ The Vision to the Youth Bartholomew
・ The Visionaries
・ The Visionaries (film)
・ The Visions of Simone Machard
・ The Visit
・ The Visit (1964 film)
・ The Visit (2000 film)
・ The Visit (2015 film)
・ The Visit (book)
・ The Visit (Loreena McKennitt album)
・ The Visit (Ludus album)
・ The Visit (musical)
・ The Visit (play)
・ The Visit (song)


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The Vision of the Twelve Goddesses : ウィキペディア英語版
The Vision of the Twelve Goddesses

''The Vision of the Twelve Goddesses'' was an early Jacobean era masque, written by Samuel Daniel and performed in the Great Hall of Hampton Court Palace on the evening of Sunday, 8 January 1604. One of the earliest of the Stuart Court masques,〔A masque for male courtiers was staged two days earlier, on 6 January 1604; the text has not survived.〕 staged when the new dynasty had been in power less than a year and was closely engaged in peace negotiations with Spain,〔The masque's theme of peace celebrated the ceasefire with Spain, proclaimed by King James in March 1603, and reflected the intense peace negotiations which were to culminate in the Treaty of London at Somerset House in August 1604 and its ratification at Valladolid the following year. Present at the performance was the Spanish ambassador, the count of Villamediana, one of the Spanish negotiators of the treaty and a future writer of Spanish masques himself. Barroll (ed.), p 175.〕 ''The Vision of the Twelve Goddesses'' stood as a precedent and a pattern for the many masques that followed during the next four decades.
==Design==
The name of the masque's designer is not recorded in the historical sources; some scholars have argued that he may have been Inigo Jones,〔Law, pp. 17–18.〕 who had recently returned to England from the royal court of Anne's brother Christian IV of Denmark, and so had a connection with her courtly establishment. The stage set had clear similarities with Jones's later masque work; the set for ''The Vision'' consisted of a large mountain, plus a Temple of Peace and a Cave of Sleep at the opposite end of the hall.

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