nntsuzu/KFTT huggingface dataset:
English: It was a mixture of a writing style modeled after a translation of a classical Chinese text into Japanese and the Japanese sentences written in hiragana (Japanese syllabary characters), which was created by simplifying the Manyo-kana, an archaic form of the Japanese language.
Japanese: 万葉仮名を崩して生まれた平仮名による和文と、漢文の書き下しである漢文訓読体とが合流して生まれた。
English: Japanese people made use of both Chinese characters and expressive Japanese at the same time in order to write more effectively.
Japanese: これによって漢字を含みながらも和文の持つ自在な表現力を持つ文章が手に入った。
English: The earliest representative work of literature written in the mixed writing of Japanese and Chinese is "Konjaku Monogatari" (The Tale of Times Now Past), followed by "Tsurezure gusa" (Essays in Idleness) and "Heike Monogatari" (The Tale of the Heike).
Japanese: 和漢混淆文で書かれた最初期の文学としては『今昔物語』、その後の代表的な日本文学としては、『徒然草』や『平家物語』などが挙げられる。
English: As to the editor of Kaifuso, the most popular opinion has been that it was the great grandson of Emperor Kobun OMI no Mifune and while other people such as ISONOKAMI no Yakatsugu and FUJIWARA no Yoshio were also considered, it remains inconclusive.
Japanese: 編者は弘文天皇の曾孫にあたる淡海三船と考える説が有力である、また他に石上宅嗣、藤原刷雄、等が擬されているが確証はない。
English: 116 poems written by 64 poets between the Omi and Nara periods have been compiled in Kaifuso but the preface mentioned 120 poems instead suggesting that the existing copy is different from the original.
Japanese: 近江朝から奈良朝までの64人の作者による116首の詩を収めるが、序文には120とあり、現存する写本は原本と異なると想像されている。
English: Most of the poems included in Kaifuso are five-character-line poems being vastly different from the seven-character-line poems dominating the 3 collections of Chinese poetry compiled by imperial command in the early Heian period.
Japanese: 作品のほとんどは五言詩で、平安初期の勅撰3詩集が七言詩で占められているのと大きく異なる。
English: The authors included emperors, imperial princes such as Imperial Princes Kawashima and Otsu, princes without imperial proclamation), retainers, Buddhist monks and the like.
Japanese: 作者は、天皇をはじめ、大友・川島皇子・大津皇子などの皇子・諸王・諸臣・僧侶など。
English: The style of poems reflected considerable Chinese, particularly, the frivolous Rikuchoshi (the Six Dynasties poetry) influence but began to suggest the effect of the early Tang Dynasty period.
Japanese: 作風は中国大陸、ことに浮華な六朝詩の影響が大きいが、初唐の影響も見え始めている。
English: In ancient Japan, the introduction of Chinese poems reflected Japan's attempt on transition towards a country under the ritsuryo system to join the continent culture.
Japanese: 古代日本で漢詩が作られ始めるのは、当然大陸文化に連なろうとする律令国家へ歩みが反映されている。
English: According to the preface of "Kaihuso," a peaceful society thanks to the stable government of the Omi period was conducive to developing poetry and numerous works were created.
Japanese: 『懐風藻』の序文によれば、近江朝の安定した政治による平和が詩文の発達を促し、多くの作品を生んだという。
English: In "Kaifuso," in addition, Chinese poems written by FUJIWARA no Fuhito, whose works were not among the poems in "Manyoshu," were included, whereas, Chinese poems by OTOMO no Yakamochi were included in "Mayoshu" but not in "Kaifuso."
Japanese: なお、『懐風藻』には『万葉集』に歌のない藤原不比等の漢詩が収められており、大伴家持は、『万葉集』に漢詩を残すものの、『懐風藻』には作品がない。
English: Poem to admonish the clan' was written by OTOMO no Yakamochi when OTOMO no Kojihi was removed from the post of Izumo no kami (governor of Izumo Province) fallen victim to the slander by OMI no Mifune in 756.
Japanese: 大伴家持の「族をさとす歌」は、天平勝宝8歳に、淡海三船の讒言によって大伴古慈悲が出雲守を解任された時に詠まれたものである。
English: The Thirty-Six Master Poets is a collective term for the 36 master waka poets included in "the Thirty-six Master Poets Selection" as selected by FUJIWARA no Kinto.
Japanese: 三十六歌仙（さんじゅうろっかせん）とは、藤原公任の『三十六人撰』に載っている和歌の名人36人の総称である。
English: Nishi honganji bon sanjurokunin kasyu (The works of the thirty-six master poets in Nishi Hongan-ji Temple) is the oldest existing copy of the summarization of poems of these 36 poets.
Japanese: 三十六人の家集を集大成した現存する最古の写本は、西本願寺本三十六人家集である。
English: Influenced by the Thirty-six Master Poets, other master poet designations such as the Medieval 36 Master Poets and Nyobo sanjurokkasen (Thirty-six female poets of Nyobo sanjurokunin utaawase) were established later on.
Japanese: これに影響されて、中古三十六歌仙や女房三十六歌仙などが後世にできた。
English: Thirty-six syllable renga (the linked verse) is referred to as 'kasen' (master poet) after the Thirty-Six Master Poets.
Japanese: なお連歌の形式で三十六句のものを「歌仙」と呼ぶのは、これにちなんだものである。
English: The Medieval 36 Immortal Poets is a collective term for the 36 master poets of waka included in "Nochi no Rokurokusen" (an anthology of poems collected by FUJIWARA no Norikane) compiled by FUJIWARA no Norikane.
Japanese: 中古三十六歌仙（ちゅうこさんじゅうろっかせん）とは、藤原範兼の『後六々撰』に載っている和歌の名人36人の総称。
English: The Medieval 36 Master Poets was termed after the Thirty-six Master Poets that had been selected and those poets who were outstanding yet are not included in the Thirty-six Master Poets as well as those that were active in the subsequent days.
Japanese: 三十六歌仙が選ばれた後に称されたもので、三十六歌仙に属されなかったが秀でた歌人とそれ以後の時代の歌人が選ばれている。
English: The chapter name is derived from the poem Hikaru Genji composed, "It catches the scent of memory, and favors the village where the orange blossoms fall."
Japanese: 巻名は光源氏の詠んだ歌「タチバナの香をなつかしみホトトギス花散る里をたづねてぞとふ」に因む。
English: It came to be one of the score names of such traditional performing arts as koawase (incense-smelling game) and kisenryu-tosenkyo no meitei (rating of the kisen style fan-tossing game).
Japanese: 転じて香合せ、其扇流投扇興の銘定、などの伝統的芸事の得点名のひとつ。
English: Her younger sister, the third daughter Hanachirusato, was Genji's lover, and the sisters lived in obscurity under the Genji's patronage after the Emperor's death.
Japanese: 妹の三の君（花散里）は源氏の恋人で、姉妹は院の没後源氏の庇護を頼りにひっそりと暮らしていた。
English: Hikaru Genji, on his way, wrote a poem to a woman of Nakagawa whom he once met, but who gently rejected him, perhaps because she had already changed her mind.
Japanese: 訪問の途中、かつて会った中川の女の元に歌を詠みかけるが、既に心変わりしてしまったのかやんわりと拒絶される。
English: At the Nyogo's residence filled with the aroma of tachibana (mandarin orange tree) flowers, Genji talked with Nyogo quietly about the singing of little cuckoos which reminded him of the old days, and later secretly visited San no kimi.
Japanese: 女御の邸は橘の花が香り、昔を忍ばせるほととぎすの声に源氏は女御としみじみと昔話を語り合い、その後そっと三の君を訪れた。
English: She made her first appearance in the Chapter of "Hanachirusato" and her name came from the aforementioned Waka poem, from which the chapter name was derived.
Japanese: 「花散里」帖に初登場し、その呼称は巻名の由来ともなった上記の和歌による。
English: Genji's father's Reikeiden no nyogo, Kiritsubotei was her elder sister and seems to have been associated with Genji from her earlier years.
Japanese: 源氏の父桐壺帝の麗景殿女御を姉に持ち、源氏とは若い頃から関係があったと見られる。
English: She was not so good looking but had a gentle and modest nature, was of high birth, and was good at sewing and dyeing.
Japanese: 容貌はそれほど美しくはないが温和な慎ましい性格で出自も高く、また裁縫・染物などにも堪能な女性。
English: At first, she was one of Genji's lovers, but was later received into the west annex of the newly built Nijohigashi no in ("Matsukaze," Genji Monogatari), and after Rokujo in was built, became the lady of Natsu no machi (the rooms called 'summer town') and also was called "Natsu no onkata" (lady of summer town) or "Higashi no onkata" (lady of eastern Rokujo in, or "Otome" in Genji Monogatari).
Japanese: 始めは源氏の通い所の一人であったが、後新造の二条東院の西の対に迎えられ（「松風(源氏物語)」）、六条院造営後は夏の町の主となって「夏の御方」「東の御方」とも呼ばれる（「少女(源氏物語)」）。
English: Although her marital affairs with Genj ended early on, she won his confidence due to her home-oriented and trustworthy personality, and reared Yugiri (Genji Monogatari) and Tamakazura (Genji Monogatari) functioning as their mother, and later took in one of Yugiri's children and nurtured the child as her grandchild.
Japanese: 源氏とは早くから夫婦の営みは途絶えていたが、家庭的で信頼の置ける人柄を見込まれて夕霧(源氏物語)と玉鬘(源氏物語)の母代わりとなり、後には夕霧の子の一人を孫として引き取り愛育した。
English: She exited from the story with the final appearance in the "Maboroshi" (Genji Monogatari) chapter, and after Genj's death, inherited his Nijohigashi no in and moved into it again ("Nioumiya").
Japanese: 「幻(源氏物語)」帖を最後に物語から退場、源氏の死後は二条東院を遺産として譲り受け、再びそちらに移った（「匂宮」）。
English: Ukiyo Zoshi is one of the major literary forms in the early Kinsei Bungaku (Japanese Edo period literature).
Japanese: 浮世草子（うきよぞうし）は、江戸時代に生まれた前期近世文学の主要な文芸形式のひとつ。
English: A series of works starting with "Koshoku ichidai otoko" (Life of an amorous man, published in 1682) by Saikaku IHARA are called Ukiyo Zoshi today, as works which made a clear departure from then existing Kana Zoshi (stories written in kana), which were then called "Kusa Zoshi" (illustrated story books), the distinction between "Kana Zoshi" and "Ukiyo Zoshi" was not made until later.
Japanese: 井原西鶴の『好色一代男』（1682年刊行）以降の一連の作品を、それまでの仮名草子とは一線を画するものとして、今日では浮世草子と呼ぶ（当時は「草双紙」と呼ばれ、「仮名草子」・「浮世草子」はのちになって区別されたもの）。
English: During the Genroku era, it became popular around Osaka and many works were written on wide variety of common people's lives (Ukiyo means not only world in general but matters of love and sensuality).
Japanese: 元禄期、大坂を中心に流行し、民衆生活の幅広い主題を扱って多くの作品が書かれた（浮世には世間一般という意味と、色事、好色といった意味がある）。
English: Books published by the Hachimonjiya (a bookstore) in Kyoto were called "Hachimonjiya-bon," and were published from the Genroku era to the Meiwa era in the mid-18th century.
Japanese: 京都の八文字屋から出版されたものは特に「八文字屋本（はちもんじやぼん）」と呼び、元禄から18世紀中頃の明和期まで刊行された。
English: The works of Saikaku, who is considered the founder, are the most famous and, excepting some works such as "Seken musuko katagi" (Characters of worldly young men), and "Seken musume yoshi" (Looks of worldly young women) by Kiseki EJIMA, there were few famous works published after that.
Japanese: 創始者と言える西鶴の業績が最も著名であり、江島其磧の『世間子息気質』『世間娘容姿』など一部を除き、後に続いた作品に有名なものは少ない。
English: Otogi Zoshi are illustrated short stories, and the style, established during the Muromachi period into the Edo period.
Japanese: 御伽草子（おとぎぞうし）とは、室町時代から江戸時代にかけて成立した、短編の絵入り物語、およびそれらの形式。
English: Although a little more than 100 books are said to be known popularly, the true number is unknown because some books have the same titles and different contents and vice versa.
Japanese: そのうち世に知られている物は100編強だともいわれるが、同名で内容の違うものやその逆のパターンなどがあり、正確なところはわからない。
English: While they flourished around the Muromachi period, they came to be referred to as Otogi Zoshi in the 18th century, around the Kyoho era when Seiemon SHIBUKAWA in Osaka published the following 23 books under the category of "Otogi Bunko" or "Otogi Zoshi."
Japanese: 室町時代を中心に栄えたが、御伽草子の名で呼ばれるようになったのは18世紀、およそ享保年間に大坂の渋川清右衛門が『御伽文庫』または『御伽草子』として以下の23編を刊行してからのことである。
English: Bunsho Soshi - Hachikazuki (The bowl bearer) - Komachi Soshi – Onzoshi shima watari - Karaito Soshi - Kohata-kitsune - Nanakusa Soshi - Sarugenji Zoshi - Monogusataro - Sazareishi - Hamaguri no Soshi - Koatsumori - Nijushi-ko - Bontenkoku - Nosesaru Soshi - Neko no Soshi - Hamaide Soshi - Izumishikibu - Issunboshi - Saiki - Urashimataro - Shutendoji - Nekobue Soshi
Japanese: 文正草子-鉢かづき-小町草子-御曹司島わたり-唐糸草子-木幡（こはた）狐-七草草子-猿源氏草子-物ぐさ太郎-さざれ石-蛤の草子-小敦盛-二十四孝-梵天国（ぼんてんこく）-のせ猿草子-猫の草子-浜出（はまいで）草子-和泉式部-一寸法師-さいき-浦島太郎-酒顛童子-横笛草子
English: Many are based on ancient fairy tales such as "Neko no Soshi", which is understood to have originated at the beginning of the 17th century.
Japanese: 古くからのお伽話によるものも多いが、たとえば『猫の草子』のように成立が17世紀初頭と見られるものもある。
English: There are some stories which have common contents with other categories of literature, such as "Yokobue Soshi" in which a similar story to "Heike Monogatari" (The tale of the Heike) is found.
Japanese: また、『平家物語』に類似の話が見られる『横笛草子』のように他のテキストとの間に共通する話もある。
English: There are some stories that became subject matter for classical performing arts like "Dojoji-engi," and some that are handed down to the present day as popular folk tales such as "Issun boshi" (dwarf).
Japanese: 『道成寺縁起』のように古典芸能の素材になったり『一寸法師』のように一般的な昔話として現代まで伝えられるものもある。
English: Many of Otogi Zoshi were created as copy printings with illustrations, which had a strong element to amuse people.
Japanese: 御伽草子の多くは挿絵入りの写本として創られ、絵を楽しむ要素も強かった。
English: The plots are simple and ambiguous, as many Setsuwa (anecdotes) are, and many are simple, lacking complicated composition and detailed descriptions.
Japanese: 筋は多くの説話がそうであるように素朴で多義的であり、複雑な構成や詳細な描写には乏しい単純なものが多い。
English: However, that is not to say that all Otogi Zoshi were reading material only for women and children, and the narrative forms of Otogi Zoshi are thought to have been created as a result of complicated, overlapping conditions of various recreations during that period when narratives began to be enjoyed by general public.
Japanese: しかし、そのことをもって、御伽草子全てを婦女童幼の読み物であると断定するべきではなく、物語が庶民に楽しめるものになっていったこの時代に、色々な創作・享受の条件が複雑に重なった結果、御伽草子のような形の物語群が生まれたと思われる。
English: The social situation of that time is glimpsed in the implications behind the humor, which also provides clues to understanding medieval folk beliefs.
Japanese: 面白さの裏にある寓意に当時の世相が垣間見られ、中世の民間信仰を理解する手がかりともなっている。
English: Also, compared with Kana Soshi and Ukiyo Zoshi, which came later, many Otogi Zoshi stories are of unknown authorship.
Japanese: また、後に生まれる仮名草子や浮世草子に比べて御伽草子の話の数々は作者未詳である。
English: Many Otogi Zoshi are collected in the "Muromachijidai Monogatari Taisei" (Kadokawa Shoten Publishing Co., Ltd.).
Japanese: 『室町時代物語大成』（角川書店）によって多くの御伽草子がまとめられている。
English: Independent of these Otogi Zoshi, there is a collection of short stories called "Otogizoshi" that Osamu DAZAI wrote on the subject of Japanese folk stories.
Japanese: これらの御伽草子とは別物だが、太宰治が日本の昔話などを題材に執筆した『お伽草紙』という短編小説集がある。
English: This is a work that Osamu DAZAI wrote in an air-raid shelter during World War II, and is based on an illustrated book called "Mukashi-mukashi no ohanashi-yo" (literally, this is a story of a long, long time ago), which was read to children.
Japanese: 太宰治が第二次世界大戦の中、防空壕の中で子どもに読んで聞かせる「ムカシムカシノオ話ヨ」という絵本を元に練り上た作品。
English: It is characterized by his uniquely humorous and witty interpretation and narrative tones put into folk stories/fairy tales well known by every Japanese.
Japanese: 日本人の誰もが知って居る民話・御伽話の中に込められた作者独特のユーモア・ウィットに富んだ解釈や語り口調が特徴。
English: The author's deep insight into human nature is reflected in this book by his bold and self-deprecating imagination, thus it can be regarded as an outstanding work among his other parodies.
Japanese: 大胆で自虐的な空想が日頃の作者の深い人間洞察を反映しており、他のパロディと呼ばれる作品の中でも傑出した作品と言える。
English: DAZAI kept publishing many works even in the so-called literary drought under severe censorship during World War II..
Japanese: 第二次世界大戦下、言論統制の厳しい、文学不毛と呼ばれた時代において、太宰は多くの作品を発表し続けた。
English: "Otogizoshi" Shincho Bunko (books published by SHINCHOSHA Publishing Co., Ltd.) (Commentary: Takeo OKUNO) ISBN 4-10-100607-5
Japanese: 『お伽草紙』新潮文庫　(解説：奥野健男)　ISBN4-10-100607-5
English: Kana Zoshi refers collectively to stories/practical texts of Kinsei Bungaku (Japanese Edo period literature) written in kana characters, or a mixture of kanji and kana, during the early Edo period.
Japanese: 仮名草子（かなぞうし）とは、江戸時代初期に仮名(文字)、もしくは仮名交じり文で書かれた、近世文学における物語・実用的な文章を総称したもの。
English: It was created as an extension of Otogi Zoshi and published as reading material for the general public written in kana characters, on all sorts of topics.
Japanese: 御伽草子の延長に生まれ、仮名を用いた庶民向けの読み物として出版され、雑多な分野を含む。
English: Many of the authors were from the intellectual class of the time, and Ryoi ASAI, Shosan SUZUKI, Mitsuhiro KARASUMARU are well known.
Japanese: 作者の多くは当時の知識人層であり、浅井了意、鈴木正三（しょうさん）、烏丸光広らが知られている。
English: Such excellent literary works as "Koshoku ichidai otoko" (Life of an amorous man) by Saikaku IHARA were written as Kana Zoshi, which later came to be distinguished as Ukiyo Zoshi (stories of the floating world).
Japanese: 仮名草子の中から井原西鶴による『好色一代男』などの優れた文芸が著されるようになり、これは後に浮世草子と区別して呼ばれるようになる。
English: There were stories, collections of anecdotes, and comical stories, including Confucian lessons and works used as practical guidebooks such as Meisho annai-ki (guidebook of famous sites), Yaro hyoban-ki (reviews of the actors) and Yujo hyoban-ki (reviews of the courtesans).
Japanese: 儒教的な教訓を含んだ物語や説話集、笑話のほか、名所案内記、また野郎評判記、遊女評判記のように実用的なガイドブックとして読まれたものもある。
English: There is a series of Kana Zoshi called "Kana Zoshi Shusei" (Tokyodo Publishing Co., Ltd., 45 volumes in all) which consists of approximately 200 books (44 volumes have been published as of September 2008).
Japanese: 仮名草子の叢書として約200編を収める「仮名草子集成」（全45巻、東京堂出版）がある（2008年9月現在、44巻まで刊行）。
English: On the basis of the lessons given by the deceased father, Kanami, Zeami added to this book his own interpretation from a standpoint of the art he acquired himself.
Japanese: 亡父観阿弥の教えをもとに、世阿弥自身が会得した芸道の視点からの解釈を加えた著述になっている。
English: It consists of 7 books in all, the first 3 of which are thought to have been written in 1400, and the rest written and revised during the period of about 20 years after that.
Japanese: 全七編あり、最初の三つが応永7年（1400年）に、残りがその後20年くらいかけて執筆・改訂されたと考えられている。
English: Expressions such as "Yugen" (the subtle and profound), "Monomane" (impersonation) and "Hana" (flower), which indicate the essential points of performance, are based on this work.
Japanese: 「幽玄」「物真似」「花」といった芸の神髄を語る表現はここにその典拠がある。
English: The term "Kadensho" was used at one time, but as a result of subsequent research, the term is understood today as a misnomer.
Japanese: 『花伝書』との通称が使われていた頃もあったが、後の研究の結果、現在では誤称とされる。
English: It has been translated into foreign languages several times under the titles of "Kadensho," "Flowering Spirit" and so on, and is thus recognized also in other countries.
Japanese: Kadensho、FloweringSpiritなどの題名で何度か外国語訳もされ、日本国外でも評価されている。
English: It is the seventh anthology of Hachidaishu (the eight Imperial anthologies of Japanese poetry), and was completed before "Shin Kokin Wakashu" (New Collection of Ancient and Modern Japanese Poetry) and after "Shika Wakashu" (Shika Collection of Japanese Poems).
Japanese: 『詞花和歌集』の後、『新古今和歌集』の前に位置し、八代集の第七である。
English: In 1183, Emperor Goshirakawa ordered FUJIWARA no Toshinari to compile the anthology, and on May 27, 1188, he submitted it to the Emperor for inspection.
Japanese: 寿永二年（1183年）後白河天皇の下命により、藤原俊成が着手し、文治四年（1188年）4月22日に奏覧。
English: It consists of twenty volumes, including 1288 poems categorized into Spring (two volumes), Summer, Autumn (two volumes), Winter, Separation, Journey, Elegies, Celebration, Love (five volumes), Miscellaneous (three volumes), Shakyamuni's teachings, and Gods of Heaven and Earth.
Japanese: 構成は春（上・下）、夏、秋（上・下）、冬、離別、羇旅、哀傷、賀、恋（五巻）、雑（上・中・下）、釈教、神祇の部立からなる二十巻で、歌数は1288首。
English: It contains excellent poems that had not been selected for the successive Chokusenshu (anthologies of poems collected by imperial command) and poems composed by the contemporary poets; the oldest poems were made during 990 to 995 (in fact, the beginning of the period from 987 and 989), the reign of the Emperor Ichijo.
Japanese: 一条天皇朝の正暦年間（実は永延の始め）を上限に、代々の勅撰集に漏れた秀歌や、当代の歌人の作品を収める。
English: Toshinari selected poems putting a high value on a refined style and delineation of feelings, so the anthology is characterized by 'subtle and profound' beauty and poetic devices such as honkadori (adaptation of a famous poem).
Japanese: 選歌の方針は格調と抒情性を重んじ、俊成が唱えた「幽玄」の心や、本歌取りなどの技巧を特色とする。
English: The poems selected most were composed by MINAMOTO no Toshiyori (52 poems), who was a selector of "Kinyo Wakashu" (Kinyo Collection of Japanese Poems); Toshinari's poems were selected the second most (36 poems).
Japanese: 最多入集歌人は『金葉和歌集』撰者の源俊頼（52首）で、俊成自身（36首）がそれに次ぐ。
English: Other contemporary poets were Shune, the Buddhist priest Eni (also known as Saigyo), Taikenmonin Horikawa and Imperial Princess Shikishi, while the dynastic poets who had composed prominent poems were Izumi Shikibu, Murasaki Shikibu, OE no Masafusa and FUJIWARA no Kinto.
Japanese: 他に当代歌人では俊恵・円位法師（西行）・待賢門院堀河・式子内親王、王朝歌人では和泉式部・紫式部・大江匡房・藤原公任などが目立つ。
English: In opposition to the preceding anthology titled "Shika," the contemporary poets were considered important again, and the number of selected poems by contemporary poets comprised half the total number offered in the work.
Japanese: 先の『詞花』に反して当代重視主義に戻り、同時代の入集歌数は全体の半数に及んだ。
English: When TAIRA no Tadanori was driven out of the capital, he stopped at the residence of FUJIWARA no Toshinari and left a scroll of his poems.
Japanese: 平忠度が都落ちの最中、藤原俊成の屋敷へ立ち寄って自分の歌を書いた巻物を託した。
English: Among the commentaries on "Senzai Wakashu" that have been published recently, the following ones are easy to obtain: 'New Japanese Classic Literature Systematic Edition' by Iwanami Shoten, Publishers and 'A New Version of Comprehensive National Poems.'
Japanese: 最近出版された『千載和歌集』の注釈本で入手しやすいのは、岩波書店の「新日本古典文学大系」本と、「新編国歌大観」本である。
English: KIYOHARA no Motosuke (908 - June 990) was a poet and a scholar who lived during the Heian period.
Japanese: 清原元輔（きよはらのもとすけ、延喜8年（908年）-永祚(日本)2年（990年）6月）は平安時代の歌人、学者。
English: His father was KIYOHARA no Harumitsu, the governor of Shimotsuke Province (some people believe his father's name was Akitada, but this is thought to be a mistake caused by the confusion with the father of FUJIWARA no Motosuke), and his grandfather is KIYOHARA no Fukayabu, a senior officer of the Office of the Imperial Household (some people believe he was Motosuke's father).
Japanese: 父は下野国守・清原春光（父の名を「顕忠」とする説は、藤原元輔の父と混同した誤りと考えられている）、祖父は内蔵允・清原深養父（元輔の父を深養父とする説もある）。
English: He assumed various positions, such as the governor of Kawachi Province and the governor of Higo Province, and he was given the rank of Jugoinojo (Junior Fifth Rank, Upper Grade) in March 980.
Japanese: 河内国・肥後国の国守を歴任し、980年（天元(日本)3年）3月、従五位上に至る。
English: He started to work on the compilation of the "Gosenwakashu" (Later Collection of Japanese Poetry) as one of the Nashitsubo no Gonin (five key members of the imperial bureau of poetry) in November 951.
Japanese: 951年（天暦5年）10月より、梨壺の五人のひとりとして『後撰和歌集』の編纂に当たった。
English: One story in "Makuranososhi" (The Pillow Book) has it that Sei Shonagon was allowed not to make poems when she started to work at the Imperial Court, as she said she did not want to make any poems because her poems might bring shame on her father, and this story tells that Motosuke was such a great poet.
Japanese: 元輔が歌人として高名だったことは、『枕草子』にみえる、女房勤めした折に清少納言が「父の名を辱めたくないので歌は詠まない」といって許されたという挿話からも伺える。
English: Haikai is a form of Japanese literature (or a work of haikai) that generally flourished during the Edo period.
Japanese: 俳諧（はいかい）とは、主に江戸時代に栄えた日本文学の形式、また、その作品のこと。
English: Strictly speaking, it is called haikai no renga (humorous linked poem) or haikai renga, which diverged from the orthodox renga, being made more playful, so it's a form of group literature as well as a general term for the forms of hokku (the first line of a waka poem) and renku (a linked verse).
Japanese: 正しくは俳諧の連歌あるいは俳諧連歌と呼び、正統の連歌から分岐して、遊戯性を高めた集団文芸であり、発句や連句といった形式の総称である。
English: It became common to appreciate the hokku only, which came to be the origin of haiku established during the Meiji period.
Japanese: 松尾芭蕉の登場により冒頭の発句の独立性が高まり、発句のみを鑑賞する事も多く行われるようになり、明治時代に成立した俳句の源流となる。
English: Hokku, as an individual art of creation, can be identified as haiku, which is a form of modern literature that became completely independent from hokku.
Japanese: 時に作者個人の創作たる発句を完全に独立させた近代文芸の俳句と同一視される。
English: Those who enjoyed haikai as a hobby were called 'yuhai,' but a yuhai was not considered to be a haikai poet.
Japanese: 本業があって趣味として俳諧を楽しむ人は「遊俳」と呼ばれ、遊俳は俳諧師とは呼ばれない。
English: The form of literature in which expressions in renga (linked verse) were made more humorous and sophisticated in order to enjoy them readily was called 'haikai renga' or 'haikai no renga,' and it flourished.
Japanese: 室町時代に、和歌の連歌の表現を滑稽・洒脱にして、より気軽に楽しめるようにした文芸が、「俳諧連歌」、もしくは「俳諧の連歌」と呼ばれ、栄えた。
English: It had been considered just a branch form of renga, but it prospered with the work of Sokan YAMAZAKI and other people.
Japanese: 連歌の傍流といった位置づけであったが、山崎宗鑑らによって大いに栄えた。
English: Haikai renga, as created by the Teitoku School, were called 'Teimon ha' (Teimon School), characterizing a period in history, and their popularity nearly exceeded that of the stiff, orthodox renga.
Japanese: 貞徳の一門による俳諧連歌は「貞門派」と呼ばれ一時代を築き、堅苦しい正統の連歌をしのぐ程の人気を誇った。
English: However, in opposition to the 'antique style' of poetry made by Teitoku, a 'new style' appeared and deprived the Teimon School of its high social status.
Japanese: しかしやがて貞徳らによるそれまでの「古風」に対して新しい表現「新風」が現れて貞門の地位を奪った。
English: The new style of poetry was called 'Danrin ha' (Danrin school), and Saikaku IHARA, who established ukiyo zoshi (popular stories of everyday life in the Edo period), joined the school with the renga poet Soin NISHIYAMA at the head of the list.
Japanese: 新風は「談林派」と呼ばれ、連歌師でもあった西山宗因を筆頭に、浮世草子を成立させた井原西鶴らが参画していた。
English: After the Danrin school finished its short golden age, Basho MATSUO appeared and established the new style called 'bafu.'
Japanese: 談林派が十年ほどの短い最盛期を終えると、その後には松尾芭蕉があらわれ、「蕉風」と呼ばれる作風を示した。