natgillin/translations-raw huggingface dataset:
The position as chief of this organization was succeeded by the descendant of Motouji ASHIKAGA, a son of Takauji, who served the position of Kanto control (関東管領).
長官は鎌倉公方で尊氏の子・足利基氏の子孫が世襲し、関東管領が補佐した。
Throughout the Muromachi period, Kamakura-kubo (鎌倉公方) was opposed to bakufu and also became gradually opposed to the Uesugi clan, who held the position of Kanto control.
室町時代を通じて鎌倉公方は幕府と対立し、関東管領を務める上杉氏とも対立していった。
To compete with such power, Bakufu directly hired strong local persons in the land of Kanto and Mutsu, as Kyoto Fuchi-shu.
これに対抗するため、幕府は関東や陸奥の有力国人を京都扶持衆として直臣化した。
Consequently, in the era of Yoshinori ASHIKAGA the fourth Kamakura-kubo, Mochiuji ASHIKAGA, who raised the Eikyo Rebellion, was conquered and temporarily direct rule by the shogun was exercised but eventually failed; subsequently, Mochiuji's son Shigeuji ASHIKAGA was made the new Kamakura-kubo.
このため、足利義教の代に永享の乱を起こした第4代鎌倉公方・足利持氏を攻め滅ぼして一時直接統治を図るが失敗に終わり、持氏の子・足利成氏を新しい鎌倉公方とした。
However, Shigeuji also raised the Kyotoku Rebellion and escaped to Koga-jo Castle, where he named himself Koga-kubo (古河公方), and as the Uesugi clan split into the Yamanouchi Uesugi and Ogigayatsu Uesugi families, the Kanto region was in a state of turbulence before the Onin War started.
だが成氏も享徳の乱を起こして、古河城に逃れて古河公方を名乗り、更に上杉氏は山内上杉家と扇谷上杉家に分裂したため、応仁の乱が始まるよりも前に関東地方は騒乱状態となる。
Bakufu refused to simply wait with its arms folded but instead sent the younger brother of the eighth shogun, Yoshimasa ASHIKAGA, Masatomo ASHIKAGA, to Kanto (Horikoshi-kubo (堀越公方)).
幕府も手を拱いているだけではなく、8代将軍足利義政の弟・足利政知を関東に派遣する（堀越公方）。
However, Horikoshi-kubo was also defeated after Masatomo's death by Moritoki ISE (Soun HOJO), a major vassal of the Imagawa clan, and this ended in failure.
だが、堀越公方も政知の死後に今川氏重臣・伊勢盛時（北条早雲）によって倒されて、失敗に終わった。
Also, Koga-kubo, after splitting off Oyumi-kubo (小弓公方), was made a puppet of the Go-Hojo clan, who were descendants of Moritoki.
古河公方も小弓公方との分裂を経て、盛時の子孫である後北条氏によって傀儡化させられていくのである。
In Kyushu, Kyushu Tandai, headquartered in Hakata (Fukuoka City, Fukuoka Prefecture), was established.
九州には本拠を博多（福岡県福岡市）に置く九州探題が設置される。
Initially, Sadayo IMAGAWA (Ryoshun), who had been ordered to subdue Nancho powers such as Imperial Prince Kanenaga, assumed the position, but the Bakufu feared that Ryoshun would establish his own power in Kyushu; after Ryoshun was dismissed, descendants of the Shibukawa clan succeeded in the position.
初めは懐良親王ら南朝勢力の討伐に任じられた今川貞世（了俊）が就くが、了俊が九州で独自の勢力を築くと幕府に警戒され、了俊が解任された後は渋川氏の世襲となる。
In the Tohoku Region Oshu control (奥州管領) was established, which was abolished when two countries of Ou became under the control of Kamakura-fu, and during a certain period Inamura-kubo (稲村公方) and Sasagawa-kubo (篠川公方) were established.
東北地方には奥州管領が設置され、奥羽2国が鎌倉府の管轄下に組み込まれると廃止されて一時期には稲村公方と篠川公方が設置されている。
Oshu Tandai (奥州探題) was established during the era of Yoshimitsu ASHIKAGA, and Iekane SHIBA was assigned.
足利義満の時代には奥州探題が設置され、斯波家兼が任じられる。
Ushu Tandai (羽州探題) split after the death of Iekane, and the Shiba clan of Dewa became the Mogami clan.
家兼の死後に羽州探題が分裂し、出羽の斯波氏は最上氏となる。
Upon the abasement of the Shogun's authority after the Onin Rebellion, Sankan Shishiki (other than the Hosokawa clan) also fell, and when in the middle of the Age of Civil War the power of the Hosokawa clan weakened, the various systems of Muromachi Bakufu became mere terms.
応仁の乱以降、将軍の権威が失墜すると細川氏以外の三管四職も没落し、さらに戦国時代中期に至って細川氏の勢力が減退すると室町幕府の諸制度は形骸化していった。
Meanwhile, the regional ruling classes called Kokujin (国人) gained power.
その間、国人と呼ばれる在地支配層が台頭していった。
In the southern part of Yamashiro Province, where the Yamashironokuni Riot occurred, self-government (in addition to regional ruling classes, farmers, etc.) also participated.
山城国南部では山城国一揆が形成され、地域住民（在地支配層の他、農民等も参加）による自治に至った事例もある。
Such Kokujin powers were regrouped/merged and developed into strong warring lordships, which competed with each other and grew in power; they replaced government by Bakufu and gave rise to the trend of civil war that followed.
これらの国人勢力も互いに整理統合されながら、強力な戦国大名が成長し、これが群雄割拠して幕府支配に取って代わり、以後の戦国時代への流れを作ってゆくことになる。
The majority of the financial income of Muromachi Bakufu came from Goryo-sho (御料所), which was directly controlled by Bakufu; but often, during the war of the Northern and Southern Courts, the Goryo-sho became a target and were taken by the opposing Nancho side, or were given away as rewards for one's own army, and the scale of Goryo-sho is considered to be smaller than that of Kamakura Bakufu or Edo Bakufu.
室町幕府の財政は幕府直轄の御料所からの収入が主であったが、南北朝の戦乱の際に敵対する南朝側より狙われて奪取されたり、自軍への恩賞にされてしまうケースも多く、鎌倉幕府や江戸幕府に比べて小規模であったと考えられている。
Additionally, Tansen (段銭) and Munabetsu-sen (棟別銭), etc., were charged.
他に臨時の段銭や棟別銭などが徴収された。
Operating taxes, etc., were collected from merchants in exchange for the special privileges and protection provided to them, and Tsuryou (津料) was charged from various ports and Sekisen (tolls) from barriers.
商人に対しては特権や保護の代償に営業税などを取り、各港からの津料、関所のからの関銭（通行税）も徴収された。
Furthermore, when a permanent right to charge Yakusen (役銭) from Doso (土倉) and Sakaya (酒屋) in Kyoto was allowed during the era of Yoshimitsu ASHIKAGA, Yakusen were charged together with Tansen, Munabetsu-sen, etc., by the doso appointed by Bakufu, who were referred to as Nosen-kata.
なお、足利義満の時代に京都の土倉や酒屋に対して恒常的に役銭を取る権利を認められると、段銭や棟別銭などとともに納銭方と呼ばれる幕府御用達の土倉によって徴収された。
Nosen-kata were later also entrusted with clerical matters such as the safekeeping/bookkeeping of tax income, and such doso were referred to as Kubo-okura (公方御倉).
後に納銭方は幕府の委託を受けて税収の保管・出納の事務等も任されるようになり、こうした土倉を公方御倉と呼んだ。
Furthermore, when Yoshimitsu initiated trade between Japan and Ming, profit by Chubunsen (抽分銭) also became the income of Bakufu.
更に義満が日明貿易を始めると貿易そのものや抽分銭による収益も幕府収入となる。
Due to the limited numbers of trade activities, they remained as income of a temporary nature, but it is said that there were cases where income from a single trade was as great as the other tax income of several years.
貿易の回数が限られていたために臨時収入的なものに留まったが、1回の貿易で他の税収の数年分の収益を挙げる事もあったとされている。
Other special income included Reisen (礼銭) and Buichisen (分一銭).
また、他の臨時収入的なものとして礼銭や分一銭などが挙げられる。
Furthermore, since the latter half of the fifteenth century, action was taken to make the Yamashiro Province (within Kyoto) a Goryo-sho.
更に15世紀後半以後には京都のある山城国国内の御料所化にも着手している。
Waka is a fixed form of poem that has been created since Jodai (mainly the Nara period).
和歌（わか）は、上代から日本で行われた定型の歌。
The people who compose Waka are called Kajin poets.
和歌を詠む人のことを歌人という。
Appellation
呼び名
Waka is a name in contrast to the Chinese poetry, and it is also called Yamatouta (大和歌・倭歌) or just Uta.
和歌とは漢詩に対する呼称で、やまとうた（大和歌・倭歌）、あるいは単にうたという。
In the Nara period it was called Waka (倭歌) or Washi (倭詩).
奈良時代には倭歌（わか）・倭詩（わし）とも言った。
In a broad sense, Waka means Choka (long poem), Tanka (short poem), Sedoka (head-repeated poem), Katauta (half poem), and Bussokusekika (Buddha's footprint stone poem), but in a narrow sense it designates only Tanka of 31 syllables.
和歌は広義には長歌・短歌・旋頭歌・片歌及び仏足石歌の総称だが、狭義には31音を定型とする短歌のことを指す。
Therefore, it is also called Misohitomoji (31 syllables.)
そのため、三十一文字（みそひともじ）とも言われる。
Also, it is called Yakumo, the name of which is based on the first word of the poem Susanoo (a deity in Japanese mythology) composed, and the poem is considered the first Waka in Japanese mythology: 'Clouds (Yakumo), actively upwelling covered the eightfold fence.It makes the eightfold fence to have my new wife stay in the house.Great eightfold fence.'
また、日本神話ではスサノオが詠った「八雲立つ出雲八重垣妻ごめに八重垣作るその八重垣を」が最初の和歌とされることから、その初めの語句を取って八雲（やくも）ともいう。
Yakumo-no-michi' means 'Kado (the art of Waka poetry).'
「八雲の道」といえば「歌道」のことである。
Just like 'Yakumo-no-michi,' 'Shikishima-no-michi (Roads in Japan)' means Kado.
「八雲の道」と同じく「歌道」を表す言葉に「敷島の道」がある。
Shikishima means Yamato or Japan, so it literally means 'roads in Japan.'
敷島（しきしま）は大和あるいは日本を意味し、直訳すれば「日本の道」という意味になる。
It suggests that to compose poems was the Japanese traditional culture.
歌を詠むことが日本古来の文化であったことを示している。
Also, there is a unique form of poem called Ryuka (Ryukyu poetry) in Okinawa Prefecture.
なお、沖縄県には琉歌というやや独特の形式がある。
Waka means Uta (song) and fixed-form poetry consisting of five and seven syllables and written in Yamato-kotoba (a word of purely Japanese origin).
和歌は、五音と七音を標準とする大和ことばによる定型詩（し）、または詩（うた、音楽）である。
Waka is considered to be both literature and music, but generally it is taken as one genre of Japanese literature, so the element of 'Uta' has been excluded in Japanese education.
文学としての解釈と音楽としての解釈の二通りがあるが、一般的には国文学の中の1つとして解釈されるため、学校教育において「うた」の要素は排除されている。
Katauta
片歌
Tercets of five, seven and seven syllables
五七七の三句。
It is a half-poem that is sung by one of the two people, and it is the shortest poem.
二つに分かれて唱和する片方で、最短の歌。
Sedoka
旋頭歌
Two tercets of five, seven and seven syllables each
五七七、五七七の形式。
It is a repeated form of Katauta, and most of the Sedoka is Mondoka (dialogue poem).
片歌を二回繰り返したもので、問答歌が多い。
Choka
長歌
It consists of alternating lines of five and seven syllables, and ends with an extra seven-syllable line.
五七、五七、…、五七、七の形式。
The five and seven syllables are repeated more than three times, and then seven-syllable line is added at the end.
五七を三回以上繰り返し、最後を七音を加える。
Choka had been seen a lot in Manyoshu (Collection of Ten Thousand Leaves), but it was not composed any more when Kokinshu (Collection of Poems Ancient and Modern) was compiled.
万葉集に多く見えるが、古今集の時点ではすでに作られなくなっている。
Choka was mainly composed in public, and was followed by Hanka (envoi).
主に公の場でうたわれるもので、反歌を伴う。
Tanka
短歌
It consists of five lines of five, seven, five, seven and seven syllables.
五七、五七、七の形式。
Later the form was divided into two parts (the first part of five, seven and seven syllables, and the latter part of seven and seven syllables), and then Renga (linked verse) and Haikai (17-syllable verse) were generated.
のちに五七五と七七に分ける形式が発生し、連歌、俳諧が発生する。
Bussokusekika form
仏足石歌体
It consists of six lines of five, seven, five, seven, seven and seven syllables.
五七、五七、七七の形式。
Imayo (an ancient verse form)
今様
It consists of eight lines of seven, five, seven, five, seven, five, seven and five syllables.
七五、七五、七五、七五の形式。
It was created in the middle of the Heian period.
平安中期に発生。
Jinku poetry (Dodoitsu)
甚句（都々逸）
It consists of four lines of seven, seven, seven and five syllables.
七七、七五の形式。
It was created in the Edo period.
江戸時代に発生。
It is often seen in Minyo (folk songs) of all areas in Japan.
全国各地の民謡に多い。
Hayashikotoba (a meaningless refrain used to maintain the rhythm of a song) is often inserted into it.
囃子言葉が挿入される場合も多い。
It is also said that the name of Dodoitsu appeared after the last days of the Tokugawa government.
なお、都々逸という呼称は幕末以降にできたとも言われる。
Makura kotoba (pillow word)
枕詞
Jo kotoba (introductive word)
序詞
Kake kotoba (pivot word)
掛詞
Engo (related word)
縁語
Honkatori (adaptation of a famous poem)
本歌取り
Taigendome (noun appearing at the end of Waka)
体言止め
Tsuiku (couplet)
対句
Kugire (caesura)
句切れ
Hiko is to recite Waka to a tune, and there are some schools of reciting such as the AYANOKOJI School and the REIZEI School.
披講とは、和歌に節を付けて詠み上げることで、綾小路流や冷泉流などの流派が存在する。
Today it is seen at the New Year Imperial Poetry Reading Party, certain events in shrines, etc.
現在では宮中の歌会始や神社での行事などで見ることができる。
Before the fixed form of Waka was established, it had been called Jodai Kayo.
定型が完成する以前の和歌を上代歌謡という。
It is also said that the screams and cheers let out with excitement increasingly grew to be songs sung in groups at festivals and during laborious work.
感情の高まりから発せられた叫び・掛け声が次第に成長して、祭りや労働の際に集団で歌われる歌となったものとも言われる。
Most of them are considered to have been lost without being written down, but about 300 poems have survived in the books of "Kojiki (Records of Ancient Matters)," "Nihon shoki (Chronicles of Japan)," "Fudoki (notes on local legends and geography)," "Manyoshu," "Kogoshui (commentaries on ancient words and practices)," "Kinkafu (poetry collection)" and "Bussokusekika hi (stele)."
多くは文字に記されることなく失われてしまったとされるが、『古事記』『日本書紀』『風土記』『万葉集』『古語拾遺』『琴歌譜』『仏足石歌碑』などに約300首残っている。
There was a group event called Utagaki (dancing and singing feast of young men and women) as one of the customs in those days.
当時の習慣として、歌垣という集団行事があった。
Jodai Kayo came to be an origin of ceremonial songs such as Kagurauta (songs) and Saibara (folk songs), which were accompanied with instruments, and its form and poetic devices became progenitors of the later Waka.
上代歌謡は神楽歌や催馬楽などの楽器を伴う儀式歌の源流となるが、その歌体・技巧は後の和歌の母胎となっている。
Jodai Kayo in "Kojiki" and "Nihon shoki" were especially called Kiki kayo.
『古事記』『日本書紀』に採られた上代歌謡を、特に記紀歌謡という。
They are not independent ballads but used to enhance an effect of narrative, and some of them are said to have been creative songs or ceremonial songs made by court people.
独立した歌謡ではなく、物語の効果を高めるために用いられていることが多いが、宮廷人が歌った儀式の歌謡や、創作もあるとされている。
Poetic devices such as Tsuiku, Kurikaeshi (repetition), Makura kotoba, Jo kotoba, etc., were used for a verse form of basic lines of five and seven syllables, like Katauta, Sedoka, Tanka and Choka.
片歌・旋頭歌・短歌・長歌などの五音と七音を標準とする歌体に、対句・くりかえし・枕詞・序詞などの技法が用いられた。
The other ballads in the same period were of the kind inscribed on the monument of Bussokusekika in Yakushi-ji Temple in Nara and "Kinkafu," which was a book on the Wagon (a Japanese string instrument, also called the Yamatogoto, that consisted of a flat, shallow sound box with six strings, much like a zither), was copied in the middle of the Heian period.
他にも記紀の時代の歌謡には、奈良の薬師寺の仏足石歌碑に刻まれた歌、平安時代中期に書写された和琴の譜本『琴歌譜』がある。
In the process of giving unification to Japan, Chinese poetry was introduced to Japan from the Chinese Continent, and under its influence poems to express individual feelings were energetically composed.
統一国家が確立してゆく中で、大陸から漢詩が入ってきた影響もあり、個人の気持ちを個々に表現する歌が盛んに作られるようになった。
Those poems were compiled into "Manyoshu."
それらを大成したのが『万葉集』である。
According to the notes in Manyoshu, there had been some other anthologies before Manyoshu, such as "Kokashu (Collection of Old Poetry)," "KAKINOMOTO no Hitomaro's Collection," "Kasanokanamura Collection," "TAKAHASHI no Mushimaro's Collection of Poetry," "Book of poetry of TANABE no Sakimaro," "Ruiju-karin (Collection of Poetry)," etc., but none of them has survived.
万葉集の注記によると、万葉集以前にも『古歌集』『柿本人麻呂歌集』『笠金村歌集』『高橋虫麻呂歌集』『田辺福麻呂歌集』『類聚歌林』などがあったとされるが、現存していない。
It is said that Manyoshu was compiled by many people over a long period of time, but it was OTOMO no Yakamochi who in the end edited and made a 20-volume anthology as it is.
万葉集は長い期間を経て何人もの人々によってまとめられたが、最終的に現在の20巻のかたちに編集したのは大伴家持だと言われている。
Manyoshu contains about 4500 poems, the earliest of which was composed in the reign of Emperor Nintoku, but most of them were being made during the period of less than 100 years from the Asuka period to the middle of the Nara period.
約4500首が収められており、その最も古いものは仁徳天皇期のものであるが、大部分は飛鳥時代から奈良時代中期にかけての約百年弱のもので占められている。
Most of the poems have realistic and objective styles, and there are some poems made by people in general, such as Azumauta poetry and Sakimori-no-uta (frontier guards' poems) besides the poems of court nobles.
現実的・写実的な歌風が多く、貴族の歌のほかに東歌・防人歌など民衆の歌もある。
During the early Heian period, Chinese poetry overwhelmed Waka as a public literature.
平安時代初期には漢詩文が公的な文学として和歌を圧倒した。
Zotoka (poems exchanged between a man and a woman) became the leading style of Waka, and the number of Waka composed in the Imperial Court decreased compared with that of the Nara period.
和歌は私的に交わされる贈答歌が主となり、宮廷で詠まれることは奈良時代と比較すると少なくなった。
However, in the middle of the Heian period the decline of Tang and abolishment of Kentoshi (the embassy to the Tang dynasty) lessened the influence of Chinese culture, and Kokufu bunka was developed.
しかし、平安時代中期になって、唐の衰退やそれに伴う遣唐使の廃止により中国の文化的影響力は減少し、国風文化の時代となった。
In its process, Waka gradually regained its position as an official culture along with the development of Kana characters (the Japanese syllabaries), and Uta awase (poetry match) came to be held.
その過程で、仮名文字の発達とあいまって和歌は次第に公的な文化として復権し、歌合も行われるようになった。
In the book of "Shinsen Manyoshu (Newly Selected Manyoshu)," Japanese poems were put beside the Chinese poems, which suggested that the Japanese poetry was regaining its status as an official literature.
『新撰万葉集』には漢詩（からうた）と和歌（やまとうた）が並べて書かれ、和歌が公的な文学としての地位を回復してゆく姿が見られる。
Under such circumstances, "Kokin wakashu (Collection from Ancient and Modern Times)," the first anthology of Japanese poetry compiled by Imperial command, was made and offered to the emperor.
こうした中で最初の勅撰和歌集『古今和歌集』が撰進された。
Subsequently, Waka became a synonym for Tanka.
この頃から、和歌というと短歌形式のものをさすようになった。
"Kokin wakashu" was compiled by Imperial command of Emperor Daigo in 905; the compilers were KI no Tsurayuki, KI no Tomonori, OSHIKOCHI no Mitsune and MIBU no Tadamine.
延喜5年（905年）醍醐天皇の勅命によって、紀貫之・紀友則・凡河内躬恒・壬生忠岑の4人によって編纂されたのが『古今和歌集』である。
It contains about 1000 poems in 20 volumes, which were composed after "Manyoshu."
『万葉集』以後の歌約1000首を20巻に収めている。
Intellectual and ideal styles of poetry are characteristic of this collection.
理知的・観念的な歌風が特色である。
Fifty years later, in the reign of Emperor Murakami, Wakadokoro (Bureau of Poetry) was established, where Nashitsubo no Gonin (Five Men of the Pear Chamber) read the Chinese characters in "Manyoshu," which was already difficult to read at that time, in the Japanese pronunciation, and compiled and dedicated "Gosen wakashu (Later Collection of Japanese Poetry)" to the Emperor.
それから半世紀のちの村上天皇の頃に和歌所が置かれ、当時すでに読みにくくなっていた『万葉集』の訓読と『後撰和歌集』の撰進が梨壺の五人によって行われた。
Most of the poems are Zotoka written by court nobles, and there is a tendency toward narrative poems.
貴族の贈答歌が中心で、物語化の傾向がある。
More 50 years later, around the reign of Emperor Ichijo, "Shui wakashu (Collection of Gleanings)" was compiled and dedicated to the emperor.
さらに半世紀後の一条天皇の頃に、『拾遺和歌集』が撰進された。
It followed a tradition of "Kokin wakashu," which had elegant, refined styles.
典雅で格調正しい『古今和歌集』の伝統を受け継ぐものになっている。
During the late Heian period, the Sekkan (regent and chief councilor) government began to decline, and a change occurred in the aristocratic culture.
平安時代後期には摂関政治が衰退し始め、貴族文化に変化が訪れた。
"Go shui wakashu (Later Collection of Gleanings)" was compiled around this time and was dedicated to the Emperor.
そのころ撰進されたのが『後拾遺和歌集』である。
Compared with the conservative "Go shui wakashu," the following "Kinyo wakashu (A Collection of Golden Leaves)" was innovative and focused on fresh descriptive poems; however, the subsequent "Shika wakashu (A Collection of Verbal Flowers of Japanese Poetry)" marked a return to the conservative style.
保守的な『後拾遺和歌集』に対し、次の『金葉和歌集』は清新な叙景歌が中心で革新的なものであったが、続く『詞花和歌集』は再び保守的なものになっている。
After the Genpei War (the final struggle between the Taira and Genji (Minamoto) clans), the Retired Emperor Go-Shirakawain ordered FUJIWARA no Toshinari to compile "Senzai wakashu (Collection of a Thousand Years)."
源平の争乱の後、後白河院の命で藤原俊成が『千載和歌集』を撰進した。
It shows a tendency toward the principle of art for art's sake in the destruction of the aristocracy and the rise of samurai warriors, elevating the status of waka in the late Heian period.
貴族社会の崩壊、武士の台頭という混乱の中で芸術至上的な傾向を示し、平安時代末期の和歌を一つの高みに導いた。
The following "Shin kokin wakashu (New Collection of Ancient and Modern Japanese Poetry)" was compiled and dedicated to the emperor by Toshinari's disciple.
俊成の弟子が撰進したのが次に述べる『新古今和歌集』である。
In the Kamakura period, court nobles who had been deprived of their power came to depend on the traditional culture, so they composed waka energetically.
鎌倉時代に入ると、政権を奪われた貴族たちは伝統文化を心のより所にしたため、和歌は盛んに詠まれた。
Bearing feelings of rivalry toward Kamakura, the Retired Emperor Go-Tobain who showed much enthusiasm for Waka ordered the compilation of "Shin kokin wakashu."
鎌倉への対抗意識もあって和歌に非常な熱意を示した後鳥羽院の命で撰進されたのが『新古今和歌集』である。
Most of the poems were not based on real experiences but on a fictional world.
現実の体験ではなく、頭の中で作り上げた世界を詠んだものがほとんどを占める。
The principle of art for art's sake, as seen in Senzai wakashu, was further refined, and poetic devices reached their culmination.
千載和歌集でみられた芸術至上主義がさらに進み、技巧は極致に達した。
On the other hand, the following two people were respected: Saigyo, who made poems on love toward nature and his view of life, and MINAMOTO no Sanetomo, who composed poems in the Manyo style.
その一方で自然への愛や人生観を詠んだ西行、万葉調の源実朝も尊ばれた。
After the death of FUJIWARA no Sadaie, who had been a central figure in the compilation of "Shin kokin wakashu," his son Tameie became a mentor of the Tanka Composers' Society, but after Tameie passed away, both the Fujiwara family and the Tanka Composers' Society were divided into three schools: the NIJO, KYOGOKU and REIZEI.
『新古今和歌集』編纂の中心人物だった藤原定家の死後は、その子の為家が歌壇の指導者だったが、為家が亡くなると、家系も歌壇も二条派・京極派・冷泉派の三派に分かれた。
The three schools struggled to attain leadership, and both the NIJO and KYOGOKU schools compiled collections of poems one after another by imperial command.
三派は主導権をめぐって争い、うち二条派と京極派は次々と勅撰集を編纂した。
Since around the period of the Northern and Southern Courts (Japan), waka came to be composed mainly by monks and samurai, while the composition of waka spread to local samurai, and some of the waka that lapsed into formalism declined.
南北朝時代(日本)ごろから、和歌は僧侶や武士を中心に詠まれるようになるが、地方武士にも普及する一方で、形式主義に流れた和歌は衰退していった。
In the early modern times, traditional studies of waka were compiled into a book, and many kajin poets appeared, but waka had already been perfected as 'kado,' so a new style did not emerge.
近世初期には伝統的な歌学が集大成され、多くの歌人が生まれたが、既に「歌道」として完成された芸術になっていたため新しい歌風は生まれなかった。
Compared with haikai, which had been just generated, waka was traditional Japanese culture that had continued since Jodai (ancient times); therefore, its degree of innovation was suppressed.
誕生まもない俳諧に比べて、上代からの伝統的日本文化である和歌の革新は抑制された。
At the end of the early modern times, a new movement of waka arose in Kyoto, and there appeared the Keien school of jigenin (a court official who has not obtained the imperial ordinance of promotion) derived from the NIJO school of dojo (a family who is allowed to be promoted to court noble).
近世後期になると京都から新しい和歌の動きが起こり、堂上の二条派から派生した地下人の桂園派が登場した。
The Keien school had been a leading school in the Tanka Composers' Society until the early Meiji period.
桂園派は明治時代初期まで歌壇に重きをなした。
Highly educated people of the early Meiji period played important roles in the Tanka Composers' Society, as represented by the Outadokoro School and Keien School, but people who intended waka reform (Shiki MASAOKA, Tekkan YOSANO, and so on) criticized both the style and elegant poetic devices of daiei (poetry composed on a given theme), and thus there emerged a new style of waka suitable for the new era.
明治時代初期の歌壇は、御歌所派や桂園派などの江戸期からの伝統的な文化人たちが担ってきたが、和歌改革を志す人々（正岡子規や与謝野鉄幹ら）によって題詠による作歌・風雅な趣向が批判され、新時代に相応しい新しい和歌が生まれた。
However, in order to discern the new Waka from the traditional one, these new poems came to be commonly called 'Tanka' (see also Tanka).
しかし、伝統的な和歌と区別するために、やがてこれらの新しい歌は「短歌」と呼称するのが普通となった（短歌の項も参照のこと）。
People who compose waka are called kajin poets.
和歌をよむ人を歌人という。
They are also called Utabito.
うたびと、うたびと、とも。
See also the list of kajin poets.
歌人一覧を併せて参照の事。
Kasei (great poet) is an honorific title given to a master of Waka.
歌聖（かせい）は和歌の名手に対する尊称。
It not only shows respect to the Kajin poet but also indicates those who are treated as gods in Kado, such as KAKINOMOTO no Hitomaro and YAMABE no Akahito.
単なる敬意を示すのみではなく、歌道において神としてあがめられる歌人を指しており、具体的には柿本人麻呂と山部赤人をいう。
Kashu is a book in which Waka are collected.
和歌を集めて本にしたものを歌集という。
Chokusen wakashu (Chokusen shu)
勅撰和歌集（勅撰集）
The collection was compiled by imperial order.
勅命・院宣を奉じて編纂した歌集。
Shisen wakashu (personal collection of poetry), or Shisen shu
私撰和歌集（私撰集）
A collection of poems compiled by individuals or nongovernmental circles
個人、民間が撰定した歌集。
Above all, Ogura Hyakunin isshu (One Hundred Poems by One Hundred Poets), compiled by FUJIWARA no Sadaie, is familiar to everyone, and it has had great influence on the Japanese people's appreciation of waka.
中でも藤原定家による小倉百人一首は大変よく親しまれており、日本人の和歌に対する見方に大きな影響を与えている。
Shikashu (personal collection)
私家集
A collection of poems written by a single author.
個人の歌を集めた歌集。
Because waka began as accompaniment to a tune, the number of letters (the number of syllables, or mora) is not strictly confined if it is read in a singsong manner.
和歌は、節（ふし）を付けて詠うものとして始まったため、節にのっていれば文字数（音節数・モーラ数）の規定はややゆるい。
Therefore, as long as it is read in a singsong manner the poem doesn't essentially seem to have 'extra syllables or insufficient syllables,' even if it doesn't consist of lines with five and seven syllables.
すなわち、節にのっていれば、五音・七音以外の音節数であっても実質的には「字余り・字足らず」ではない。
The idea of 'extra or insufficient syllables' arose from a sense of beauty for a fixed form of verse to write down instead of reciting it.
「字余り・字足らず」という考え方は、詠うことよりも、書き留めた際の定型詩としての美意識から生まれた言葉である。
In the context of Western music, waka has a slow quadruple time that establishes its rhythm in sets of two bars.
西洋音楽による解釈では、和歌はテンポの遅い四分の四拍子で、2小節で1セットのリズムを作っている。