nntsuzu/KFTT huggingface dataset:
English: Volume Two: (Sumiyoshi Myojin), Tsurayuki, Ise, Akahito, Henjo, Tomonori, Komachi, Asatada, Takamitsu, Tadamine, Yoritomo, Shigeyuki, Saneakira, Shitago, Motosuke, Motozane, Nakafumi, Tadami, Nakatsukasa
Japanese: 下巻-（住吉明神）、貫之、伊勢、赤人、遍照、友則、小町、朝忠、高光、忠岑、頼基、重之、信明、順、元輔、元真、仲文、忠見、中務
English: It was believed that portraits were drawn by FUJIWARA no Nobuzane (1176 - 1265) and texts were by Yoshitsune KUJO (1169 - 1206), but there is no evidence for it.
Japanese: 古来、絵の筆者は藤原信実（1176-1265）、文字の筆者は九条良経（1169-1206）と伝承するが、確証はない。
English: It seemed that several people were involved in drawing portraits, and their painting style was that of a later period than the style employed in the portrait of the Emperor Gotoba (Minase-jingu Shrine collection, National Treasure) that is highly likely to be the work of Nobuzane.
Japanese: 絵の筆者は数人の手に分かれており、信実筆の可能性が高い後鳥羽天皇像（水無瀬神宮蔵、国宝）よりは様式的に時代が下るものと思われる。
English: It is also pointed out that the handwriting style of the text is close to that of the first and second chapter of Volume Three of the Jokyu version of "Kitano Tenjin Emaki" (an illustrated history of Kitano shrine) (National Treasure) written in the early 13th century.
Japanese: また、文字は13世紀前半の作である承久本『北野天神縁起絵巻』（国宝）の第3巻1・2段の詞書の書風に近いことが指摘されている。
English: Based on the study of painting and handwriting style described above as well as the tenseness in drawing of chest and sleeves of male poets, it is estimated that the Satake version hand scrolls were made in the mid-Kamakura Period in the 13th century.
Japanese: 以上の画風・書風の検討、また男性歌人像の装束の胸部や両袖部の張りの強さを強調した描き方などから、佐竹本の制作年代は鎌倉時代中期、13世紀と推定されている。
English: It is also noted that there are many errors and omissions in rank, name, and biography of poets in the Satake version.
Japanese: なお、佐竹本の位署・略歴等の文字には誤字脱字の多いことが指摘されている。
English: The poets included in the hand scrolls were from the days of "Manyoshu" to the 10th century at the latest; their portraits were, therefore, idealized versions instead of realistic portraits of living people.
Japanese: 描かれている歌人たちは、『万葉集』の時代から、下っても10世紀頃までの人物であり、当然ながら、現実のモデルを前に制作された肖像ではなく理想化された肖像である。
English: In principle, such portraits should depict only the figure of a poet without any scenery or furnishings.
Japanese: 画面には歌人の姿のみを描き、背景や調度品等は一切描かないのが原則である。
English: The only exception is the portrait of the High priestess (Saigu) Kishi; she is sitting on a tatami mat with ugen-beri (a hem made of silk fabrics colored in one color with sequential layers from light to dark) with a folding screen at the back and a kicho (a curtained frame put up to screen royal personages or noble ladies from direct view of those around them) at the front to indicate her noble status.
Japanese: ただし、中で身分の高い斎宮女御徽子のみは繧繝縁（うんげんべり）の上畳（あげだたみ）に座し、背後に屏風、手前に几帳を置いて、格の高さを表している。
English: Female poets are the High priestess Kishi, Kodai no Kimi, Ono no Komachi, Nakatsukasa, and Ise; among them, Kodai no Kimi, Ono no Komachi, and Nakatsukasa dress up in karaginu (a waist length Chinese style jacket) and mo (long pleated skirts), while Ise doesn't wear karaginu.
Japanese: 女性歌人は上記の斎宮女御のほか、小大君、小野小町、中務、伊勢で、小大君、小野小町、中務は唐衣に裳の正装であるが、伊勢は唐衣を略す。
English: Ono no Komachi, who is known as a rare beauty, turns backward and doesn't show her face to leave it to the viewer's imagination.
Japanese: また、絶世の美女とされた小野小町は顔貌が見えないように後向きに描かれ、容姿については鑑賞者の想像にゆだねる形となっている。
English: Male poets include 18 in sokutai (traditional ceremonial court dress), 7 in noshi (everyday clothes for nobles), 2 in kariginu (informal clothes for court nobles), 2 in kachi-e (similar clothes to kariginu), and 2 in clothes for Buddhist priests.
Japanese: 男性歌人像は束帯姿18、直衣（のうし）姿7、狩衣（かりぎぬ）姿2、褐衣（かちえ）姿2、僧侶2となっている。
English: Among them, FUJIWARA no Okikaze and FUJIWARA no Asatada turn backwards while FUJIWARA no Nakafumi sits with one knee drawn up, in order to add a variety to rather monotonous series of portraits.
Japanese: 男性像では藤原興風、藤原朝忠は後向きの体勢で描かれ、藤原仲文は脚を立膝とするなど、単調になりがちな画面に変化をつけている。
English: It should be noted that the original portrait of OSHIKOCHI no Mitsune was lost and substituted with the one by Tanyu KANO in the Edo Period.
Japanese: なお、凡河内躬恒の図は当初のものが失われ、江戸時代・狩野探幽筆のものに代わっている。
English: The thirty-six immortal poets had been portrayed up to early-modern times in various formats such as gajo (an album of paintings) and framed pictures, and many of those were articles of the deceased.
Japanese: 三十六歌仙は、近世に至るまで画帖、額絵などさまざまな形で絵画化され、遺品も多い。
English: Satake version is one of the earliest extant examples of the illustrated handscroll of thirty-six immortal poets along with the Agedatami version, and therefore it is evaluated as a representative work of portraits in the Yamato-e style (classical Japanese style painting) in the Kamakura Period.
Japanese: 佐竹本三十六歌仙絵巻は、上畳本三十六歌仙絵巻と並んで三十六歌仙図のうちでも最古の遺品であり、鎌倉時代の大和絵系肖像画を代表する作品と評されている。
English: According to "Kenkado Zatsuroku" by Osaka-based man of literature, Kenkado KIMURA (1736-1802), the Satake version was originally a hereditary article of the Shimogamo-jinja Shrine.
Japanese: 大坂在住の文人・木村兼葭堂（1736-1802年）の『蒹葭堂雑録』によると、元は下鴨神社に伝来したものである。
English: In 1917, the collection of the Satake family was put up for auction at the Tokyo Bijutsu Club in Ryogoku, Tokyo, and nine antique dealers in Tokyo and Kansai regions jointly bought the hand scrolls of the thirty-six immortal poets for 353,000 yen.
Japanese: 1917年（大正6年）、東京両国の東京美術倶楽部で佐竹家の所蔵品の売立てが行われ、三十六歌仙絵巻は東京と関西の古美術業者9店が合同で35万円3千円で落札した。
English: Although a simple comparison is not accurate, it can be roughly estimated that ten-thousand yen at that time is equivalent to 100 million yen at today's price.
Japanese: 単純には比較できないが、当時の1万円は21世紀初頭現在の約1億円に相当するとされる。
English: In the same year, industrialist Tadasaburo YAMAMOTO (1873-1927) bought the hand scrolls.
Japanese: 同年、この絵巻を購入したのは実業家の山本唯三郎（1873-1927年）であった。
English: Yamamoto was the founder of a trade firm called Shosho Yoko to export lumber and import coal in China, and made a fortune in the shipping industry.
Japanese: 山本は松昌洋行という貿易商社を起こし、中国で材木の輸出、石炭の輸入などの事業を行い、後に海運業で財を成した人物である。
English: He had a nickname 'Toradaijin' (Tiger Millionaire) because he went to the Korean Peninsula for tiger hunting, and he was a man full of heroic exploits and amusing anecdotes.
Japanese: 朝鮮半島へ虎狩りに行ったことから「虎大尽」の異名を取り、数々の武勇談や奇行に満ちた人物であった。
English: Due to the economic decline after World War I, Yamamoto was already required to give up the hand scrolls in 1919.
Japanese: 第一次大戦の終戦による経済状況の悪化に伴い、山本は早くも1919年にはこの絵巻を手放さざるをえなくなった。
English: In such a severe economic situation, however, no antique collector could buy such an expensive hand scroll by himself.
Japanese: ところが、時節柄、高価な絵巻を1人で買い取れる収集家はどこにもいなかった。
English: Antique dealers such as Shichibe HATTORI and Kahee TSUCHIHASHI were looking for someone who could buy the hand scrolls, and visited Takashi MASUDA (pen name Donno), industrialist, renowned master of the tea ceremony and art collector, for consultation.
Japanese: この絵巻の買い取り先を探していた服部七兵衛、土橋嘉兵衛らの古美術商は、当時、茶人・美術品コレクターとして高名だった、実業家益田孝（号鈍翁）のところへ相談に行った。
English: Although Masuda was known as the leading collector of the time, he couldn't afford the hand scrolls by himself, so he decided to divide the hand scrolls into each poet's portrait to distribute.
Japanese: 大コレクターとして知られた益田もさすがにこの絵巻を一人で買い取ることはできず、彼の決断で、絵巻は歌仙一人ごとに分割して譲渡することとなった。
English: Masuda appointed industrialists/masters of the tea ceremony Yoshio TAKAHASHI (pen name Soan) and Kota NOZAKI (pen name Genan) as mediators, and a renowned art scholar known for reproduction of hand scrolls, Shinbi TANAKA, as an advisor.
Japanese: 益田は実業家で茶人の高橋義雄（号箒庵）、同じく実業家で茶人の野崎廣太（号幻庵）を世話人とし、絵巻物の複製などで名高い美術研究家の田中親美を相談役とした。
English: Masuda then divided the hand scrolls of 36 poets into 37 pictures (including the picture of Sumiyoshi Myojin Shrine at the top of Volume Two) and tried to distribute each separated picture to 37 renderers by lottery.
Japanese: 三十六歌仙絵巻を37枚（下巻冒頭の住吉明神図を含む）に分割し、くじ引きで希望者に譲渡することとした。
English: The lottery was held on December 20, 1919, at the Masuda's residence in Gotenyama (present-day Kitashinagawa, Shinagawa Ward), Tokyo.
Japanese: 抽選会は1919年12月20日、東京の御殿山（現・品川区北品川）にあった益田の自邸で行われた。
English: The building was called 'Okyokan' and later brought over to the Tokyo National Museum where the building still exists today.
Japanese: この抽選会が行われた建物は「応挙館」と呼ばれ、後に東京国立博物館の構内に移築されて現存している。
English: Masuda himself participated in the lottery, and it was decided that one of the pictures was given to its former owner Tadasaburo Yamamoto.
Japanese: 抽選会には益田自身も参加し、また、旧所蔵者の山本唯三郎にも1枚が譲渡されることになった。
English: Masuda aimed to obtain the picture of the 'High priestess' that was the most sought-after among 36 poets with the highest price of 40,000 yen.
Japanese: 益田は、三十六歌仙の中でも最も人気が高く、最高値の4万円が付けられていた「斎宮女御」の入手をねらっていた。
English: In the prevailing story, Masuda was allotted the least popular picture of a 'Buddhist priest' and was completely displeased.
Japanese: 通説では、くじ引きの結果、益田にはもっとも人気のない「僧侶」の絵が当たってしまい、すっかり不機嫌になってしまった。
English: A participant who won the picture of the 'High priestess' offered to exchange it for the picture Masuda was allotted, and Masuda looked very satisfied with the picture of his dream.
Japanese: それで、「斎宮女御」のくじを引き当てた人物が「自分の引き当てた絵と交換しましょう」と益田に提案し、益田は「斎宮女御」を入手して満足そうであったという。
English: According to an article of Tokyo Asahi Shimbun on the day after the lottery, however, the picture Masuda was allotted first was the 'portrait of MINAMOTO no Shitago', not a picture of a priest; the details of what actually happened on the day of lottery remained unknown.
Japanese: もっとも、翌12月21日付け「東京朝日新聞」でこの絵巻売却の件が報道されたのを見ると、益田が最初に引き当てたのは僧侶像ではなく「源順像」だったことになっており、細かい点についての真相は不明である。
English: These 37 pieces were transferred from one owner to the other due to changes in the socioeconomic conditions and social turmoil after World War II, and many of the pictures were in collections of public or private museums.
Japanese: これら37分割された歌仙像は、その後も社会経済状況の変化、第二次大戦終了後の社会の混乱等により、次々と所有者が変わり、公立・私立の博物館・美術館の所蔵となっているものも多い。
English: On November 3, 1984, NHK broadcast a documentary program entitled 'Emaki Setsudan' (Divided Handscroll) on how the hand scrolls of the thirty-six immortal poets were divided into pieces and their vicissitudes, and related books were published, resulting in further attention to this subject.
Japanese: 1984年11月3日、NHKテレビで、三十六歌仙絵巻の分割とその後の流転をテーマにしたドキュメンタリー番組「絵巻切断」が放送され、関連書籍が発行されたことにより、この件はさらなる注目を集めることとなった。
English: In 1986, the Suntory Museum of Art that was in Akasaka, Tokyo, at the time held 'An Exhibition Commemorating the 25th Anniversary - Portraits of the Thirty-six Immortal Poets' in which 20 out of 37 pieces of Satake version were exhibited.
Japanese: 1986年には当時、東京・赤坂にあったサントリー美術館で「開館25周年記念展三十六歌仙絵」が開催され、佐竹本三十六歌仙絵37点のうち、20点が出品された。
English: Information about owners in 1919 is based on "Hiho Sanju-roku Kasen no Ruten: Emaki Setsudan" in References.
Japanese: 1919年当時の所有者については、参考文献に挙げた『秘宝三十六歌仙の流転絵巻切断』による。
English: Rokkasen are the following six poets that KI no Tsurayuki remarked as "poets of the best known of recent times" and commented on the style of poetry of each in "Kokin Wakashu Kanajo" (Preface of Kokin wakashu written in kana):
Japanese: 六歌仙は『古今和歌集仮名序』において紀貫之が「近き世にその名きこえたる人」として掲げた、各々の歌風を批評した六人の歌人である。
English: "Rokkasen" is, however, the term that was given later.
Japanese: ただし「六歌仙」という名称そのものは、後代になって呼ばれるようになったものである。
English: KI no tsurayuki merely listed the names of renowned modern poets, so there was no common style of poetry among them.
Japanese: 本来、単に貫之が近代の歌人として名のある者を列挙したに過ぎないものであるから、特に歌風などの共通性は見られない。
English: These six poets belonged to the years decades prior to the days of compilers of Kokin Wakashu (Collection of Ancient and Modern Japanese Poetry), so poems in the collection are divided into three periods: Period of Unknown Poets, Period of Rokkasen, and Period of Compilers.
Japanese: ただし古今集に収録された歌人群のなかでは、いずれも撰者達よりひと時代前の歌人であることから、古今集収録歌を三期に区分して、順に「詠人しらず時代」「六歌仙時代」「撰者時代」と称することがある。
English: In Kokin Wakashu Kanajo, KAKINOMOTO no Hitomaro and YAMABE no Akahito are remarked as Great Poets with special treatment; on the other hand, Rokkasen poets were evaluated as far inferior to two Great Poets, as described above.
Japanese: 古今和歌集仮名序では、柿本人麻呂と山部赤人の2人を歌聖として特別の扱いをしており、それに対して六歌仙はその2人には遠く及ばないとして、上記のようにあまり良い評価はされていない。
English: Poets other than Rokkasen were, however, regarded as too worse to refer to (There are others as well who are known, as numerous as the leaves of the trees of the forest, as widespread as the ivy which crawls in the fields, but they think anything they compose is poetry and do not know what poems are.), thus Rokkasen poets were valued as worth reviewing.
Japanese: しかしながら、六歌仙以外の歌人は評価にすら値しないとされているため(このほかの人々、その名聞こゆる野辺に生ふるかづらの這ひ広ごり林にしげき木の葉のごとくに多かれど、歌とのみ思ひてその様知らぬなるべし)、逆に6人を評価している事になる。
English: Akiko YOSANO (与謝野 晶子 or 與謝野晶子 in orthographic style; December 7, 1878 - May 29, 1942) is a kajin (waka poet), novelist, and thinker active during the Meiji through Showa Periods.
Japanese: 与謝野晶子（よさのあきこ、正字体：與謝野晶子、明治11年（1878年）12月7日-昭和17年（1942年）5月29日）は明治時代から昭和時代にかけて活躍した歌人、作家、思想家。
English: Shiyo Ho was born as the third daughter of Soshichi HO (father) and Tsune (mother) who ran a long-established Japanese confectionery shop 'Surugaya' in Kaino-cho, Sakai City (present-day Kaino-cho, Sakai Ward), Osaka Prefecture.
Japanese: 鳳志ようは、大阪府堺市甲斐町（現在の堺区甲斐町）で老舗和菓子屋「駿河屋」を営む、父・鳳宗七、母・津祢の三女として生まれた。
English: After entering Sakai Girl's School (present-day Osaka Prefectural Senyo Senior High School), she devoured the Japanese classics such as "The Tale of Genji."
Japanese: 堺女学校（現・大阪府立泉陽高等学校）に入学すると『源氏物語』などを読み始め古典に親しんだ。
English: In addition, she said, under her elder brother's influence, 'by the time I was twelve or thirteen, my greatest pleasure was reading literary magazines "Shigaramisoshi" (and later its successor "Mezamashigusa") and "Bungakukai" as well as novels by Koyo OZAKI, Rohan KODA, and Ichiyo HIGUCHI' ("Myojo" May 1906).
Japanese: また兄の影響を受け、「十二、三のころから、『柵草紙』（後には『めざまし草』）『文学界』や尾崎紅葉、幸田露伴、樋口一葉などの小説を読むのが一番の楽しみ」（『明星』明治39年5月）であった。
English: After participated in the Kansai Young Men's Literary Society, in 1900, she became acquainted with a waka poet Tekkan YOSANO at a poetry reading held at a Japanese-style hotel in Hamaderakoen and contributed her poem to "Myojo," an in-house magazine of Shinshisha (New Poetry Society) founded by Tekkan.
Japanese: 浪華青年文学会に参加の後、明治33年（1900年）、浜寺公園の旅館で行なわれた歌会で歌人・与謝野鉄幹と親しくなり、鉄幹が創立した新詩社の機関誌『明星』に短歌を発表。
English: In the following year she left her home and moved to Tokyo, and published her first poetry anthology "Midaregami" (Tangled hair) that expressed female sensuality in open fashion with which she established her style as a romantic poet.
Japanese: 翌年家を出て東京に移り、女性の官能をおおらかに謳う処女歌集『みだれ髪』を刊行し浪漫派の歌人としてのスタイルを確立した。
English: In September 1904, she published a poem "Kimi Shinitamou koto nakare" (Thou Shalt Not Die) in "Myojo."
Japanese: 明治37年（1904年）9月、『君死にたまふことなかれ』を『明星』に発表。
English: In 1911, she contributed a poem that started with 'Yama no ugoku hi kitaru' (The day comes when a mountain moves) to the first issue of "Seito," the first female literary magazine in Japan.
Japanese: 明治44年（1911年）には史上初の女性文芸誌『青鞜』創刊号に「山の動く日きたる」で始まる詩を寄稿した。
English: In 1912, Akiko followed Tekkan and moved to Paris, France.
Japanese: 明治45年（1912年）、晶子は鉄幹の後を追ってフランスのパリに行くことになった。
English: Ogai MORI helped her to raise money for going abroad with his wide range of literary works and large circle of contacts, and he also proofread "Shinyaku Genji Monogatari (New Translation of The Tale of Genji)" on behalf of Akiko to which he wrote the preface.
Japanese: 洋行費の工面は、森鴎外幅の広い文芸活動と交際が手助けをし、また『新訳源氏物語』の序文を書いた鴎外がその校正を代わった。
English: On May 5, 1912, the Yomiuri Shimbun started a series of articles entitled 'Atarashii Onna' (New Women) with an article on Akiko's voyage to Paris, and on the following day the newspaper reported her departure (some 500 people including Raicho HIRATSUKA saw her off).
Japanese: 同年5月5日、読売新聞が「新しい女」の連載を開始し、第一回に晶子のパリ行きを取り上げ、翌6日には晶子の出発の様子を報じた（平塚らいてうなど総勢500余名が見送った）。
English: On May 19, Akiko arrived in Paris via the Trans-Siberian Railway; during four months up to her leaving to Japan from Marseille, France on September 21, she visited England, Belgium, Germany, Austria, and the Netherlands and so on.
Japanese: 5月19日、シベリア鉄道経由でパリに到着した晶子は、9月21日にフランスのマルセイユ港から帰国の途につくまでの4ケ月間、イギリス、ベルギー、ドイツ、オーストリア、オランダなどを訪れた。
English: Two years after returning to Japan, she wrote a book with Tekkan called "Pari yori" (From Paris) in which she argued the necessity of education for women, stating '(snip) the first legitimate right to claim is the freedom of education.'
Japanese: また帰国してから2年後、鉄幹との共著『巴里より』で、「（上略）要求すべき正当な第一の権利は教育の自由である。」と、女性教育の必要性などを説いた。
English: Akiko and Tekkan had many children, but sales of Tekkan's poetry kept falling, so she worked very hard as the sole bread-winner until her husband gained a position as a college professor.
Japanese: 子だくさんだったが、鉄幹の詩の売れ行きは悪くなる一方で、彼が大学教授の職につくまで夫の収入がまったくあてにならず孤軍奮闘した。
English: She had to take every offer to make ends meet and even asked advanced payment for her poetry anthologies.
Japanese: 来る仕事はすべて引き受けなければ家計が成り立たず、歌集の原稿料を前払いしてもらっていたという。
English: While she was busy working and managing the household, she held improvised tanka poem meetings with women and wrote about 50,000 poems.
Japanese: 多忙なやりくりの間も、即興短歌の会を女たちとともに開いたりし、残した歌は5万首にも及ぶ。
English: Her energetic works include a contemporary translation of "The Tale of Genji" called "Shin Shin Genji," poetry, and critiques, and she also left a vast mark as a pioneering feminist.
Japanese: 『源氏物語』の現代語訳『新新源氏』、詩作、評論活動とエネルギッシュな人生を送り、女性解放思想家としても巨大な足跡を残した。
English: Her famous works include the poetry anthology "Midaregami" (Tangled hair) in 1901 that includes many passionate poems and "Kimi Shinitamou koto nakare" (Thou Shalt Not Die) made during the Russo-Japanese War.
Japanese: 情熱的な作品が多いと評される歌集『みだれ髪』明治34年（1901年）や日露戦争の時に歌った『君死にたまふことなかれ』が有名。
English: With the poetry anthology "Midaregami" (Tangled hair) she expressed female sensuality in open fashion at the time when it was outrageous that a woman expressed their ego and sexuality, and she established her style as a romantic poet.
Japanese: 歌集『みだれ髪』では、女性が自我や性愛を表現するなど考えられなかった時代に女性の官能をおおらかに詠い、浪漫派歌人としてのスタイルを確立。
English: The traditional poetry circles were offended by her poems, but the world was startled and enthusiastically supported her, so her poems had a significant impact on the circles.
Japanese: 伝統的歌壇から反発を受けたが、世間の耳目を集めて熱狂的支持を受け、歌壇に多大な影響を及ぼすこととなった。
English: In September 1904, she wrote the poem "Kimi Shinitamou koto nakare" (Thou Shalt Not Die) in Myojo on lamenting her younger brother who was recruited half a year ago and sent to the Siege of Port Arthur.
Japanese: 明治37年（1904年）9月、半年前に召集され旅順攻囲戦に加わっていた弟を嘆いて『君死にたまふことなかれ』を『明星』に発表。
English: In the third verse of the poem she wrote that the Emperor was not allowed to join the war himself; a literary critique Keigetsu OMACHI who was a close friend of Akiko, but at the same time a nationalist, criticized her by stating 'it was too audacious to say that what matters to you is your family and wife, that it doesn't matter if your country is destroyed, and that merchants are not bound to fight in the war.'
Japanese: その三連目で「すめらみことは戦いに　おおみずからは出でまさね（天皇は戦争に自ら出かけられない）」と唱い、晶子と親交の深い歌人であったが国粋主義者であった文芸批評家の大町桂月はこれに対して｢家が大事也、妻が大事也、国は亡びてもよし、商人は戦ふべき義務なしといふは、余りに大胆すぐる言葉」と批判した。
English: Akiko published "Hirakibumi" in the November issue of "Myojo" to criticize extreme patriotism by stating 'Dear Mr. Keigetsu, you said that I had very dangerous ideas, but don't you think that it is far more dangerous to tell young men to die for the country, and to cite loyalty, patriotism and the Imperial Ordinance on Education in any discussions, don't you?'
Japanese: 晶子は『明星』11月号に『ひらきぶみ』を発表、「桂月様たいさう危険なる思想と仰せられ候へど、当節のやうに死ねよ死ねよと申し候こと、またなにごとにも忠君愛国の文字や、畏おほき教育御勅語などを引きて論ずることの流行は、この方かへつて危険と申すものに候はずや｣と国粋主義を非難した。
English: (During the Russo-Japanese War, the suppression of free speech was not so fierce as that during war time in the Showa Period, and many other poets wrote poems deploring the war, including Seigo SHIROTORI, Naoe KINOSHITA, Kaizan NAKAZATO, and Kusuoko OTSUKA.)
Japanese: (日露戦争当時は満州事変後の昭和の戦争の時期ほど言論弾圧が厳しかったわけではなく、白鳥省吾、木下尚江、中里介山、大塚楠緒子らにも戦争を嘆く詩を垣間見ることができる。)
English: In the magazine "Taiyo," Keigetsu OMACHI published a thesis "Shiika no kotsuzui" (Bone marrow of poetry) to fiercely criticize Akiko, stating 'If you scrutinize Akiko's poetry from a perspective of imperial centrism, you can't help but scream that she is a traitor, betrayer, and offender who should be punished by the state.'
Japanese: 大町桂月は『太陽』誌上で論文『詩歌の骨髄』を掲載し「皇室中心主義の眼を以て、晶子の詩を検すれば、乱臣なり賊子なり、国家の刑罰を加ふべき罪人なりと絶叫せざるを得ざるものなり」と激しく非難した。
English: By negotiating with Akiko's husband Tekkan YOSANO and Shu HIRAIDE in person, Keigetsu, while he never changed his position that poetry should obey the nation and society in a particular situation, agreed to withdraw his criticism against Akiko calling her 'a traitor, betrayer, etc.,' and thus the dispute was settled.
Japanese: 夫・与謝野鉄幹と平出修の直談判により、桂月は「詩歌も状況によっては国家社会に服すべし」とする立場は変えなかったものの、晶子に対する「乱臣賊子云々」の語は取り下げ、論争は収束する。
English: When Keigetsu died of illness at the age of 57 on June 11, 1911, Akiko contributed a memoir to the newspaper "Kanagawa Boeki Shimpo."
Japanese: この後、大正14年（1911年）6月11日、桂月は57歳で病没するが『横浜貿易新報』に晶子は追憶をよせた。
English: Although this dispute left her image as an anti-war poet, when Submarine No.6 sunk in 1910, she wrote about ten poems including 'At the bottom of the sea; writing under the light of water; for farewell; the letters from Japanese men;' and during World War I, she wrote a poem entitled "War" that encourages and praises the war: 'This is the time to fight; even I, who usually detests war; feel excited these days.'
Japanese: この騒動のため晶子は「嫌戦の歌人」という印象が強いが、明治43年（1910年）に発生した第六潜水艇の沈没事故の際には、「海底の　水の明りにしたためし　永き別れの　ますら男の文」等約十篇の歌を詠み、第一次世界大戦の折は『戦争』という詩のなかで、「いまは戦ふ時である　戦嫌ひのわたしさへ　今日此頃は気が昂る」と極めて励戦的な戦争賛美の歌を作っている。
English: After the Manchurian Incident broke out, by taking into consideration that the wartime regime and Yokusan Taisei (Support system of Taisei Yokusan-kai - Imperial Rule Assistance Association) were strengthened, she approved and supported the establishment of Manchukuo and in "Hakuo-shu" that she published in 1942, she wrote poems that glorified and encouraged the war, completely opposite of her pervious work 'Kimi Shinitamou koto nakare.'
Japanese: 満州事変勃発以降は、戦時体制・翼賛体制が強化されたことを勘案しても、満州国成立を容認・擁護し、昭和17年（1942年）に発表した『白櫻集』で、以前の歌「君死にたまうことなかれ」とは正反対に、戦争を美化し、鼓舞する歌を作った。
English: Such poems include 'How strong, without fear of the heaven, they act worthy of themselves, in battle, our brave men' or the one dedicated to her fourth son who went to the war as an naval captain, which had the completely opposite meaning to "Kimi Shinitamou koto nakare:" 'As a naval captain, my son Shiro will join the Imperial force; Fight bravely.'
Japanese: 例えば、「強きかな　天を恐れず　地に恥ぢぬ　戦をすなる　ますらたけをは」や、海軍大尉として出征する四男に対して詠んだ『君死にたまうことなかれ』とは正反対の意味となる「水軍の　大尉となりて　わが四郎　み軍にゆく　たけく戦へ」など。
English: Based upon these facts, some comments about her conduct as being anti-war lacks consistency or she converted depending upon the tendency of the times by changing her sentiment.
Japanese: このようなことから、反戦としての立場に一貫性がなかった、あるいは時勢により心情を変化させた転向であると評する者もいる。
English: It should be noted, however, that she published the following poem dedicated to twelve people including Shusui sentenced to death in a case of high treason on March 7, 1911 on "Tokyo Nichinichi Newspaper": 'Ubuyanaru; by my pillow; standing in white; prisoners for high treason; their twelve coffins.'
Japanese: ただし、大逆事件では秋水ら死刑になった十二人に「産屋なる　わが枕辺に　白く立つ　大逆囚の　十二の棺」という歌を明治44年（1911年）3月7日に『東京日日新聞』に発表している。
English: Among those executed, Seinosuke OISHI was a member of "Myojo" whom Akiko knew well; and Suga KANNO was the only female and she asked her attorney Shu HIRAIDE to send her Akiko's poetry anthology while she was in detention before the verdict.
Japanese: 刑死者の一人大石誠之助は『明星』の同人で関わりも深く、また女性でただ一人死刑となった菅野スガは未決在監中に平出修弁護士に晶子の歌集の差し入れを頼んでいる。
English: Akiko was full of remorse for not giving the book to Suga in person and wrote her regrets in a letter to Tenmin KOBAYASHI.
Japanese: 晶子は直接差し入れなかったことを悔恨して小林天眠への手紙に残している。
English: In 1911, Akiko participated in the launch of the monthly magazine "Seito" that opened with her poem "Sozorogoto" that praised the magazine, and she was listed as 'one of the new women.'
Japanese: 明治44年に『青鞜』発刊に参加、『そぞろごと』で賛辞を贈って巻頭を飾り、「新しい女の一人」として名を寄せた。