nntsuzu/KFTT huggingface dataset:
English: Although he was supposed to be 'the sixth' of Bunraku KATSURA, he took the liberty of calling himself the eighth because eight (八) spreads out wide toward the end, which means good luck.
Japanese: 本来は桂文楽の「六代目」に当るが、八は末広がりで縁起がいいということで、勝手に八代目と名乗った。
English: His representative act included "Akegarasu" (The Raven at the First Light) and "Unagi no Taiko" (Male Geisha and Eel).
Japanese: 代表的な演目は『明烏（あけがらす）』、『鰻の幇間（うなぎのたいこ）』等。
English: But, at the National Small Theater in 1971, he was stumped about the character name 'Koemon KAMIYA' during performing "Daibutsu Mochi" (Buddha's Cake), and he withdrew saying 'I will learn once again.'
Japanese: が、1971年国立小劇場で『大仏餅』を口演中に登場人物の「神谷幸右衛門」の名前が出てこなくなり「もう一度勉強し直して参ります」として下がった。
English: He was a rakugoka who dominated in the high-growth period with taking song phrases such as 'Yoshiko san,' and gags and puns in his style.
Japanese: 「よしこさーん」などの歌謡フレーズ、ギャグや駄洒落を取り入れたスタイルで、高度成長期に一世を風靡した落語家。
English: But after the death of his father, he trained under Enkyo TSUKINOYA (later Enzo TACHIBANAYA (the seventh)), a disciple of his father.
Japanese: が、父の死後は嘗て父の弟子であった月の家圓鏡（後の橘家圓蔵(7代目)）に師事する。
English: When he was young, it was pointed out that his performance was immature while he was popular among the public, but after his serious illness, his performance mellowed.
Japanese: 若い頃は大衆ウケする反面、芸が未熟と指摘もあったが、大病の後、芸は老成した。
English: He didn't succeed to the name Shozo after all, and he excused himself from the nomination for succession to the name of Kosanji YANAGIYA or Enkyo TSUKINOYA (according to "Hanashimo Kenmo Shizentai" (Stories and Swords with Natural Stance) by Kosan YANAGIYA the fifth), and he spent the whole life with one stage name.
Japanese: 正蔵襲名は遂に適わず、柳家小三治や月の家圓鏡などの襲名の薦めも辞退し（5代目柳家小さん『咄も剣も自然体』より）、生涯一つ名で通した。
English: His sons are Shozo HAYASHIYA (the ninth) (the oldest son) and Ippei HAYASHIYA (the second son), and his daughters are talents, Midori EBINA (the wife of Ryuta MINE) and Yasuha (the ex-wife of Koasa SHUNPUTEI), and his wife is an essayist Kayoko EBINA.
Japanese: 息子に林家正蔵(9代目)（長男）、林家いっ平（次男）、娘はタレント海老名美どり（峰竜太夫人）、泰葉（春風亭小朝元夫人）、妻はエッセイスト海老名香葉子（えびなかよこ）。
English: It is a general term for Beicho KATSURA (the third), Harudanji KATSURA (the third), Shokaku SHOFUKUTEI (the sixth) and Bunshi KATSURA (the fifth), who made efforts in restoring Kamigata rakugo at the time when it almost disappeared.
Japanese: 当時、消えかかっていた上方落語の復興に尽力した、桂米朝(3代目)・桂春団治(3代目)・笑福亭松鶴(6代目)・桂文枝(5代目)の総称。
English: It is a general term for Danshi TATEKAWA, Enraku SANYUTEI (the fifth) (retired), Shincho KOKONTEI and Ryucho SHUNPUTEI (the fifth), rakugoka in Tokyo who were young at the time, and emerged with the entertainment boom arisen mainly from TV in the 1960s.
Japanese: 1960年代にテレビを中心にして起こった演芸ブームで台頭した、東京の当時の若手落語家立川談志・三遊亭圓楽(5代目)（引退）・古今亭志ん朝・春風亭柳朝(5代目)の総称。
English: But he turned to rakugo when he was in college, and became a disciple of Beicho KATSURA (the third), where he learned classical rakugo.
Japanese: が、大学時に落語に転向し、桂米朝(3代目)に入門、古典落語を修める。
English: However, he devoted himself to seeking comedy rather than mastering classic aesthetics, which resulted in bringing him the nickname 'King of great laughter.'
Japanese: しかし古典の美学を究めるより、笑いを求めて精進の結果、「爆笑王」の異名を取るに至った。
English: He was the best known as a theorist in the rakugo world, and he argued that 'relaxation of tension' would cause laughter.
Japanese: 落語界きっての理論家でもあり、「緊張の緩和」によって笑いが起こるとした。
English: However, he was full of distress in terms of his performance - He broke relations with his master due to the difference of their direction, and he suffered depression from his performance.
Japanese: が、路線の違いを巡って師匠と絶縁したり、晩年は芸に悩んでうつ病になるなど、芸の上では悩みが多かった。
English: Kamigata hanashika is Hanashika (professional Rakugo storyteller) of Kamigata rakugo, traditional Japanese comic storytelling as performed in the Kyoto-Osaka region.
Japanese: 上方噺家（かみがたはなしか）とは、上方落語を話す噺家（落語家）のこと。
English: Existing stage names of Kamigata hanashika are Shofukutei, Katsura, Hayashiya, Tsukitei, Tachibanaya, Tuyu (no), Morino, (and Akashiya).
Japanese: 現存する上方噺家の亭号は、笑福亭、桂、林家、月亭、橘家、立花家、露（の）、森乃、（明石家）である。
English: There used to be Tachikawa and Sanyutei, but the former extinguished in the Meiji era and the latter after the Pacific War.
Japanese: かつては立川、三遊亭もあったが、前者は明治期に、後者は太平洋戦争後に断絶している。
English: Shofukutei family can be genealogically divided into Shokaku family of Osaka and Fukumatsu family of Kyoto.
Japanese: 笑福亭一門は、系譜的には大阪の松鶴一門と京都の福松一門とに分かれる。
English: Fukumatsu family, however, has changed its stage name to 'Morino' and their Jomon (family crest) from 'Gomaizasa' (five bamboo grasses) to 'Owl.'
Japanese: 但し福松一門は、現在は亭号を「森乃」とし、定紋も「五枚笹」から「梟（ふくろう）」に改めている。
English: Kamigata Hayashiya of today is genealogically regarded as a branch of Shofukutei (Shokaku family), since the five-generation Shokyo SHOFUKUTEI succeeded the professional name of the second-generation Somemaru HAYASHIYA to reestablish the family.
Japanese: 現在の上方林家は五代目笑福亭松喬が二代目林家染丸を襲名して再興したため、系譜上は笑福亭（松鶴一門）の傍流とされる。
English: Because of this background of reestablishment, they have 'Somemaru' as the family tomena (uninherite name) instead of original 'Shoza HAYASHIYA.'
Japanese: また、再興の経緯から、現在は「染丸」を、旧来の「林家正三」（しょうざ）に代わる一門の止め名としている。
English: Today's Kamigata Hayashiya is divided into the fourth-generation Somemaru family (including the third-generation Somegoro group and the fourth-generation Kosome group) and the third-generation Somezo family.
Japanese: 現在の上方林家は四代目染丸一門（三代目染語楼系統、四代目小染系統を含む）と三代目染三一門に分かれる。
English: On the other hand the latter was established as a result of clash between Somezo and the sixth-generation Shokaku and established Kansai Rakugo Literature Association, and includes freelance or amateur Rakugo storytellers.
Japanese: 一方、後者は染三が六代目松鶴との確執の末関西落語文芸協会を興し分離した物で、フリーまたはアマチュアの落語家が多い。
English: The wooden body is square and flat, and both sides are covered with skin; the neck extends through the body, on which strings are plucked with a bachi (a plectrum) shaped like a ginkgo leaf.
Japanese: 四角状の扁平な木製の胴の両面に皮を張り、胴を貫通して伸びる棹に張られた弦を、通常、イチョウ形の撥（ばち）で弾き演奏する。
English: It probably originated between fifteenth and sixteenth century, having a relatively short history for a traditional Japanese musical instrument.
Japanese: 成立は15世紀から16世紀にかけてとされ、和楽器の中では、比較的歴史が浅いと言える。
English: Generally, it is played with a bachi in the shape of a spatula, but there are fine differences depending upon the rendition of shamisen music.
Japanese: 基本的にはヘラ状の撥を用いるが、三味線音楽の種目により細部に差異がある。
English: In the world of traditional Japanese music of the early-modern times, especially the world of jiuta (a genre of traditional songs with shamisen accompaniment), sokyoku (koto music) (combined with the kokyu (Chinese fiddle) music, they are called "sankyoku" or instrumental trio), and so on; shamisen is sometimes called 'sangen' (a three-stringed musical instrument), written as '三弦' or '三絃.'
Japanese: 近世邦楽の世界、特に地歌・箏曲の世界（三曲）等では「三弦（さんげん）」、または「三絃」と呼称し、表記する事も多い。
English: The instrument itself consists of 'tenjin' (or itogura: pegbox), 'sao' (neck), and 'do' (body).
Japanese: 楽器本体は「天神」（糸倉）、「棹」（ネック）、「胴」（ボディ）から成る。
English: Many sao are divided into three parts: kamizao, nakazao, and shimozao, and this kind of sao is called 'mitsuore' (threefold).
Japanese: さらに棹は上棹、中棹、下棹の3つに分割出来るものが多く、このような棹を「三つ折れ」という。
English: It is mainly designed for storage and portability, and also to prevent sao from becoming warped.
Japanese: これは主に収納や持ち運びの便のため、また棹に狂いが生じにくくするためである。
English: The material used for high-grade instruments is koki (a kind of tree) (grown in India); there are also other kinds of sao made of rosewood or quince (grown in Southeast Asia including Thailand, Myanmar, and Laos).
Japanese: 素材には高級品ではコウキ（こうき）材（インド産）を用いるが、シタン（したん）、カリン(マメ科)（かりん）材（タイ・ミャンマー・ラオスなどの東南アジア産）の棹もある。
English: For some unique articles, sandalwood and Bombay black wood are also used.
Japanese: 特殊なものとしてビャクダン（びゃくだん）やタガヤサン（たがやさん）を使うこともある。
English: Although the abdominal skin of cats had been generally used, because of its high price and decline in production, nowadays dog skin is used for practice shamisen and others, accounting for seventy-percent of the total.
Japanese: 皮は一般にネコの腹を使用していたが、高価な事と生産量の減少により現在は稽古用など全体の7割程度が犬の皮を使用している。
English: When the skin of a female-cat is used for shamisen, it is said that a virgin cat is ideal because she-cats get their skin scratched by tomcats during mating; in fact, the skin of young female-cats before mating is too thin, so a slightly thick skin after the scratch healed is often used.
Japanese: 雌猫は交尾の際、雄猫に皮を引っ掛かれてしまうため雌猫の皮を用いる場合は交尾未経験の個体を選ぶ事が望ましいと言われているが、実際には交尾前の若猫の皮は薄い為、傷の治ったある程度の厚みの有る皮を使用することが多い。
English: Each string varies in thickness, and the size to use depends on the rendition of shamisen music.
Japanese: それぞれ様々な太さがあり、三味線音楽の種目ごとに使用するサイズが異なる。
English: This mechanism makes the instrument twang from the open string of ichi no ito touching the sao slightly, increasing harmonic overtones to sound more appealing and sustains longer.
Japanese: これは一の糸の開放弦をわずかに棹に接触させることによって「ビーン」という音を出させるもので、倍音成分を増やして音色に味を付け、響きを延ばす効果がある。
English: Although the sound caused by this is a kind of noise, it is indispensable for shamisen music.
Japanese: これによって発する音は一種のノイズであるが、三味線の音には欠かせないものである。
English: Although biwa and some other instruments also have 'sawari,' shamisen, unlike other instruments, has 'sawari' only for ichi no ito, but ni no ito and san no ito also have sounds of the same effects caused by resonance on certain points (which change according to tunings) to hold down the strings.
Japanese: 「さわり」の機構を持つ楽器は琵琶など他にもあるが、三味線の特徴は一の糸のみに「さわり」がついているにもかかわらず、二の糸や三の糸の特定の押さえる場所にも（調弦法により変化する）、共鳴によって同様の効果をもつ音があることである。
English: This makes the sound rich and, because the sound resonates differently with the type of tuning, it creates an atmosphere distinctive of the tuning.
Japanese: これにより響きが豊かになるとともに、調弦の種類により共鳴する音が変わるので、その調弦法独特の雰囲気をかもし出す要因ともなっている。
English: There are several types of tuning for shamisen and, unlike violin and some other instruments, shamisen is tuned up according to the music, even during the performance.
Japanese: 三味線にあっては、調弦は複数のパターンがあり、ヴァイオリン等と異なり、曲によって、また曲の途中でも調弦を変化させる。
English: There are various kinds of tuning to cover every different key, and also to create a different atmosphere depending upon the tuning (See also 'Jiuta' for details).
Japanese: 調弦法が多種あるのは、異なる調に対応するためと、響きによる雰囲気の違いのためである（詳しくは「地歌」を参照）。
English: Hon-choshi (the basic tuning method) -Ni no ito is tuned a perfect forth above ichi no ito, with san no ito an octave above.
Japanese: 本調子-一の糸に対し、二の糸を完全４度高く、三の糸をオクターブ高く合わせる。
English: Ni-agari (the second raised) - Ni no ito is tuned a perfect fifth above ichi no ito, with san no ito an octave above.
Japanese: 二上がり-一の糸に対し、二の糸を完全５度高く、三の糸をオクターブ高く合わせる。
English: San-sagari (the third lowered) - Ni no ito is tuned a perfect forth above ichi no ito, with san no ito a minor seventh below.
Japanese: 三下がり-一の糸に対し、二の糸を完全4度高く、三の糸を短７度高く合わせる。
English: Its transition between sao and do is different from other kinds of shamisen during frequent use of high notes.
Japanese: 高いポジションを多用するため、棹の胴との接合部が他の三味線とは異なっている。
English: Among others in the family, shamisen is shaped by inserting the neck into the body; instruments of this kind are seen all over the world, and a guitar and a sitar are deemed to be the same type.
Japanese: その中でも胴に長い棹を差し込んだ形状をしており、このような楽器は世界各地に見られ、ギターやシタールも同じ仲間と見なされている。
English: On the other hand, instruments with the neck and the body united in a single body or something close to it, like biwa (Japanese lute) or lute, are considered to be of a different type, even within the same lute family.
Japanese: いっぽう同じリュート属でも琵琶やリュートなど棹と胴が一体化もしくはそれに近いものとは別の系統とされる。
English: Stringed instruments of lute family, having an oval body covered with skin and attached to long cylindrical neck, were already drawn in wall paintings of ancient Egypt.
Japanese: 楕円形の胴に革を張り、棒状の長い棹を取り付けたリュート属弦楽器は、すでに古代エジプトの壁画に見られる。
English: On the other hand, an instrument of the same type appeared in China during the Qin Dynasty, which developed into haegeum and later became rabab when the Turks brought it to the Middle East.
Japanese: 一方同じような楽器が中国秦代にも現れ、やがて奚琴となり、トルコ族によって中東に伝えられてラバーブになった。
English: There is a theory that the rabab developed into the sitar of the Middle East and Iran (Persia) ('Haegeum theory of the origin of bowed string instruments' by Kazuo HARA, a kokyu player).
Japanese: このラバーブが後に中東及びイラン（ペルシャ）のシタールとなったという説がある（胡弓演奏家・原一男による「擦弦楽器奚琴起源説」）。
English: It was brought to Ryukyu through trade between the Ryukyu Kingdom and China (Fuzhou), and became sanshin.
Japanese: 琉球王国と中国（福州）との貿易により琉球にもたらされ、三線（サンシン）となった。
English: Although some say that this is the original form of shamisen (another theory holds that the Chinese sanxian was introduced to Japan by way of Ryukyu), the sanshin was later perfected through the influence, in reverse, of shamisen in the mainland.
Japanese: これが三味線の原型という説もある（中国の三弦そのものが琉球経由で日本に入ったとする説もある）が、その後三線は本土の三味線から逆影響を受けて完成した。
English: For these backgrounds, it is still called by two different names in Okinawa Prefecture: 'sanshin' in Chinese, and 'shamisen' in Japanese.
Japanese: このような理由にもより、沖縄県では今でも中国風に「サンシン」と呼んだり、日本風に「シャミセン」と呼んだり、二つの呼称が併存している。
English: At the end of the sixteenth century, Ryukyu trade brought Chinese sanxian into Sakai City, and it was improved in a short period to become shamisen.
Japanese: 16世紀末、琉球貿易により堺市に中国の三弦がもたらされ、短期間の内に三味線へと改良された。
English: Although it is slender, its basic shape is nearly the same as today's shamisen.
Japanese: 華奢なものの、すでに基本的に現在の三味線とほとんど変わらない形状をしている。
English: For improvements made from sanxian as a foreign instrument to the shamisen, blind musicians of Todo-za (the traditional guild for the blind) played an important part.
Japanese: 外国楽器である三弦から三味線への改良に関しては、当道座の盲人音楽家との関連が重要である。
English: It is expressed in the change of plucking method: sanxian was plucked with giso (a pick shaped like a nail), but shamisen was plucked with bachi for 'Heikyoku' (the music played on Heike biwa as accompaniment for the recitation of Heike monogatari) which they specialized in.
Japanese: 三弦が義爪を使って弾奏していたのを改め、三味線の弾奏に彼らが専門としていた「平曲（平家琵琶）」の撥を援用したのもそのあらわれである。
English: It is believed that various measures were tried for adding biwa's subdued, massive, and dramatic tone to the shamisen, which originally had a rather light tone.
Japanese: また琵琶の音色の持つ渋さや重厚感、劇的表現力などを、本来どちらかといえば軽妙な音色を持つ三味線に加えるために様々な工夫がなされたものと思われる。
English: It is said that Kengyo (the highest title of the official ranks within the Todo-za) ISHIMURA, among blind musicians, were the most involved in the improvement of shamisen, its development to art music, and the creation of jiuta.
Japanese: とくに石村検校は三味線の改良、芸術音楽化、地歌の成立に大きく関わった盲人音楽家であろうと言われる。
English: In this way shamisen acquired a versatility of expression as an instrument to play a wide range of melodies: light and heavy, sad and merry; and jiuta, the first item of shamisen music, was born by Kengyo ISHIMURA and others at the very beginning of the Edo period.
Japanese: こうして軽重哀楽を様々に幅広く表現することのできる楽器となり、江戸時代に入るとすぐ、石村検校らにより最初の三味線音楽種目である地歌が生まれる。
English: Since shamisen was also adopted into a narrative called Joruri, shamisen music had been roughly divided in two: 'utai mono' (lyrical song) and 'katari mono' (narrative), and then they have repeated subdivisions that developed much further.
Japanese: また語り物である浄瑠璃にも取り入れられ、三味線音楽は「歌いもの」「語り物」の二つの流れに大きく分かれ、更に分化を繰り返して大きく発展していく。
English: It came to be used for a wide range of music, such as art music and popular songs in the cities, and later also for Minyo (a traditional folk song) in the countryside.
Japanese: また都市の芸術音楽から流行歌、やがて地方の民謡にまで盛んに使われるようになった。
English: Thus shamisen has led and supported various Japanese music of recent times, adding further improvements at the same time, and has become the leading stringed instrument of Japan.
Japanese: こうして様々な近世邦楽をリードし支え、それと同時に更なる改良が加えられ、日本を代表する弦楽器となった。
English: In Japanese music history, common people never had any musical instruments, except for fue (Japanese flute), drum, and bell in kagura (sacred music and dancing performed at shrines), until the appearance of the shamisen.
Japanese: 日本音楽史上、一般民衆が楽器を手にするのは、神楽の笛、太鼓、鈴を除けば、三味線を待たなければならなかった。
English: It was originally 'kuchijamisen o hiku' (to play oral shamisen), that is, to imitate the tones of shamisen, what it comes down to is an imitation or a lie.
Japanese: 本来は「口三味線を弾く」、つまり口で三味線の音色を真似る事から、偽物、虚言という意味。
English: Examples are, 'in mah-jongg, saying to have a hand which is completely different from the real one, to put the opponents off their guard or set them on their guard,' or, 'in a preliminary match of motor sports, running in a far worse time than the real ability as a strategy for putting the rivals off guard,' and so on.
Japanese: たとえば「マージャンで、実際の手とは全く異なる手が出来ているように言い、相手を油断させたり警戒させたりする」「モータースポーツの予選でのかけひきで、実力よりはるかに遅いタイムを出してライバルチームを油断させる」など。
English: Shamisen gai (Lingula) is an animal belonging to Brachiopoda Phylum, Lingulata Class, 無穴目, Lingulidae Family.
Japanese: シャミセンガイは腕足動物門腕足綱無穴目シャミセンガイ科に属する動物。
English: Because its fruit resembles bachi used with shamisen, it is called by the name prefixed by 'pen pen,' imitative sound of shamisen.
Japanese: これは果実が三味線の撥に似ているため、三味線音の擬音「ペンペン」を冠したもの。
English: In ancient China, each day in the new year's week was designated as the day of a certain animal, with the first day as the day of the rooster, the second day as the day of the dog, the third the boar, the fourth the sheep, the fifth the ox, the sixth the horse respectively.
Japanese: 古来中国では、正月の1日をニワトリの日、2日を狗（犬）の日、3日をイノシシ（ブタ）の日、4日をヒツジの日、5日をウシの日、6日をウマの日としていた。
English: The seventh day was designated as the day of the human being, and punishment on the criminals was avoided on the day.
Japanese: そして、7日目を人の日（人日）とし、犯罪者に対する刑罰は行わないことにしていた。
English: There was a custom to eat hot soup with seven kinds of vegetables, which was introduced to Japan and it eventually became the seven-herb rice porridge.
Japanese: また、この日には7種類の野菜（七草）を入れた羹（あつもの）を食べる習慣があり、これが日本に伝わって七種粥となった。
English: It subsequently became the official event of the Edo bakufu (Japanese feudal government headed by a shogun) to have the dish on January 7, when all the warriors including the great general celebrated the day eating nanakusa rice porridge.
Japanese: 江戸幕府の公式行事となり、征夷大将軍以下全ての武士が七種粥を食べて人日の節句を祝った。
English: It is said that before clipping, bathing one's hands in the water with seven herbs to soften the nails makes one not catch cold throughout the year.
Japanese: 七種を浸した水に爪をつけて、柔かくしてから切ると、その年は風邪をひかないと言われている。
English: In a strict sense, wasan refers to mathematics developed by Takakazu SEKI that flourished during the Edo period, but in a wider sense, it refers to mathematics in general practiced and studied in Japan before the introduction of mathematics from Europe.
Japanese: 狭義には大いに発展した江戸時代の関孝和以降のそれを指すが、西洋数学導入以前の数学全体を指すこともある。
English: Various and advanced mathematics, algebra, integration method, and geometry were developed independently of European influence.
Japanese: 欧州の影響外で独自に様々な高度な数学、代数学、積分法、幾何が発展した。
English: In 'Kyusho Sanjutsu,' the topics including the methods of calculating dimensions, proportion, inverse proportion, and the Pythagorean theorem are explained.
Japanese: 「九章算術」では面積の計算法、比例、反比例、ピタゴラスの定理などが紹介されている。
English: Since the seventh century, Japanese envoys to the Chinese Sui and Tang Dynasties were sent, and as a result, Chinese culture was introduced to Japan on a larger scale.
Japanese: 7世紀以降、遣隋使、遣唐使の派遣などにより、中国の文化が日本に次々と流入するようになる。
English: In Taiho Code, based on the Chinese system of centralized governance, there were the governmental posts of San hakase (Professor of Mathematics) and Sanshi (a court official in charge of calculation).
Japanese: 中国の律令制を元に作られた大宝律令では、算博士・算師と呼ばれる官職が定められていた。
English: As well as contributing to the education of Sanshi, to be a San hakase, it was required to have extent knowledge of Chinese mathematical books such as "Kyusho Sanjutsu" (sando, or arithmetic).
Japanese: 算博士は算師の育成にあたるとともに、『九章算術』を始めとした中国の算書の知識が要求された（算道）。
English: Ever since I started to sleep on the hand of my new wife as a pillow, soft as young grass/ It is no longer possible to be separated from her over night/ How could I, when there is not a speck of hate in my heart (Wakakusa no niitamakura o makisomete yo o ya hedateru nikuku aranakuni: vol.11; no.2542).
Japanese: 若草乃新手枕乎巻始而夜哉将間二八十一不在國（わかくさの　にひたまくらを　まきそめて　よをやへだてる　にくくあらなくに　巻十一　2542番）
English: For the word 'kuku' (homonymous with '9x9'), the kanji characters of '八十一,' that denotes '81,' were used, indicating that multiplication tables were already known in Japan at that time.
Japanese: 「くく」という読みに「八十一」という漢字が当てられており、すでに九九が日本で知られていたことがわかる。
English: It is not known what kind of mathematics was practiced during the medieval period and the early-modern period before the Edo period.
Japanese: 中世および江戸時代以前の近世において、どのような数学が行われたかは全く分かっていない。
English: It seems that Kyusho Sanjutsu was scattered and lost during this time, but a certain level of knowledge of mathematics must have been required for civil engineering, architecture, finance, and the calculation of the calendar.
Japanese: 九章算術などは散逸してしまったようであるが、土木、建築、財務、暦の計算などにある程度の数学が必要であったことは確かである。
English: For there is a story about an old man who lived during the Edo period remembering using sangi (arithmetic blocks) around the time of the Taiko kenchi (Hideyoshi TOYOTOMI's nationwide land survey), and also for the fact that the method for calculating square roots recorded in "Jinkoki" is similar to calculations using sangi, it is thought that sangi was used as a primary tool for calculation up until just before the Edo period.
Japanese: 江戸時代の古老が太閤検地のころは算木を使った、と回想しており、また『塵劫記』の開平計算が算木による方法に近いことから、江戸時代直前まで算木が優勢であったと思われる。
English: Although it is not known when the abacus, used for everyday calculations until the time the electronic calculator became widely used, was introduced to Japan, there is an explanation of the method of calculating using an abacus in "Warizan sho" (the Book of Division) written by Shigeyoshi MORI in 1622.
Japanese: 日常の計算を電卓の普及まで担い続けたそろばんは、いつ導入されたかは不明であるが、毛利重能の『割算書』（1622年、元和８年）ではそろばんを用いた計算が解説されている。
English: The beginning of the great development was triggered by "Jinkoki," written by Mitsuyoshi YOSHIDA in Kyoto during 1627.
Japanese: このきっかけになったのが1627年、京都の吉田光由によって書かれた『塵劫記』である。
English: In it, there are explanations of practical mathematics such as how to use the abacus and the surveying method, as well as mathematical games such as 'mamakodate' and 'nezumisan.'
Japanese: そろばんの使用法や測量法といった実用数学に加え、「継子立て」や「ねずみ算」といった数学遊戯が紹介されている。
English: "Jinkoki" became a bestseller, and was used as a classic textbook for elementary mathematics throughout the Edo period.
Japanese: 『塵劫記』はベストセラーとなり、初等数学の標準的教科書として江戸時代を通じて用いられた。
English: Many books that imitated "Jinkoki," as well as books including "jinhoki" in their titles, were published.
Japanese: また、本書を模倣したり、書名を『○○塵劫記』としたものも多く出版された。
English: Although "Jinkoki" was an elementary textbook, some mathematical problems (idai) were presented at the end of certain editions without answers as a challenge to other mathematicians.
Japanese: 『塵劫記』は初等的な教科書だったが、ある版には巻末に他の数学者への挑戦として、答えをつけない問題（遺題）を出した。
English: Since then, the chain of solving an idai and presenting a new one in a new edition started (the succession of idai), and as such, the mathematical problems in wasan became increasingly technical and complicated beyond practical needs.
Japanese: これ以降、先に出された遺題を解き新たな遺題を出すという連鎖（遺題継承）が始まり、和算で扱われる問題は急速に実用の必要を超え、技巧化・複雑化した。
English: During the trends of that time, mathematical problems, not easily be solved using the basic method of calculation, started to crop up.
Japanese: そして、その中に簡単な算術的手法では手に負えない問題が現れるようになった。
English: Kazuyuki SAWAMURA introduced Tengen-jutsu (an algebra developed during 13th century China), which was an algebra equation for a variable number and its numerical method of solution, in his book "Kokon Sanpo-ki" (Old and New Mathematics), and he further presented a problem that required an algebra equation containing various numbers that could not be solved using only Tengen-jutsu as an idai to the book.
Japanese: 沢村一之は『古今算法記』で中国の天元術、すなわち一変数の代数方程式とその数値的解法を導入し、また、同書の遺題で天元術では扱えない複数の変数をもった代数方程式を必要とする問題を提出した。
English: As a response to this challenge, Takakazu SEKI from Edo and Yoshizane TANAKA from Kyoto created Tenzan-jutsu (also called Bosho-ho) in succession.
Japanese: これに応えて、江戸の関孝和や京都の田中由真（たなかよしざね）があいついで点竄術（傍書法）を創造した。
English: This was how such a uniquely Japanese 'wasan' came into being that went beyond the level of merely studying Chinese mathematics, hitherto a model for everything with regard to mathematics.
Japanese: ここにおいて、日本の数学はそれまで全ての規範であった中国数学の学習の範囲を超えて独創の段階に入り、日本独自の「和算」が生まれた。