nntsuzu/KFTT huggingface dataset:
English: Literary style (Kanbun style): Heaven (God) created millions of millions of humans and gave all of them undeprivable rights.
Japanese: 文語体（漢文調）：天ノ人ヲ生ズルハ億兆皆（みな）同一轍ニテ、之ニ附与スルニ動カス可カラザルノ通義ヲ以テス。
English: That is to say, these rights make us alive, seek freedom and pray for happiness with no one unable to do anything against them.
Japanese: 即（すなわ）チ其通義トハ人ノ自カラ生命ヲ保シ自由ヲ求メ幸福ヲ祈ルノ類ニテ、他ヨリ之ヲ如何トモス可ラザルモノナリ。
English: Colloquial style Japanese: In the fall of the middle September, I found myself sitting in a certain birch woods all day.
Japanese: 口語体：秋九月中旬といふころ、一日自分がさる樺の林の中に座してゐたことが有ツた。
English: Since this morning it has been drizzling on and off, and when it stopped, slightly warm sunshine fell: How fickle the sky has been!
Japanese: 今朝から小雨が降りそそぎ、その晴れ間にはおりおり生ま煖かな日かげも射して、まことに気まぐれな空ら合ひ。
English: An extreme decline of the colloquial style literature! We have been told about the phrase by Saburo SHIMADA, the revered old Mr. FUKUZAWA and another one or two persons.
Japanese: 口語体文学極衰!　この言葉を吾々は島田三郎氏、福沢諭吉翁及び其他一二の人から聞きました。
English: Mr. SHIMADA said sadly that literature today had been written for the public taste, the revered old Mr. FUKUZAWA sighed that no person of letters now had been able to produce new ideas and thoughts, and other people criticized that literature today was based on mammonism.
Japanese: 今日の文学は世の好尚のために書く文学と云つて島田氏は嘆かれ、今の文学者に一機軸を出すものが無いとて福沢翁は呟かれ、其他の人は今日の文学を拝金主義の下に立つものと評されました。
English: Literal style: When a black colored car stopped at the gate, her parents, thinking that their daughter had come back, always greeted her, but tonight she left the car which she had picked up on the street and stood with a heavy heart in front of the lattice door ("Jyusanya" by HIGUCH Iichiyo, 1895, from Iwanami Bunko)
Japanese: 文語体：例は威勢よき黒ぬり車の、それ門に音が止まつた娘ではないかと両親に出迎はれつる物を、今宵は辻より飛びのりの車さへ帰して悄然と格子戸の外に立てば、（樋口一葉『十三夜』1895年）岩波文庫から
English: Generally speaking, nothing is more dreadful than debt in the world, apart from assassination.
Japanese: およそ世の中に何が怖いと言っても、暗殺は別にして、借金ぐらい怖いものはない。
English: Colloquial style: Junichi KOIZUMI left the inn in Shibahikagecho, asking people questions with a Tokyo gridded map in his hand, and got on a train for Ueno at Shimbshi Station.
Japanese: 口語体：小泉純一は芝日蔭町の宿屋を出て、東京方眼図を片手に人にうるさく問うて、新橋停留場から上野行の電車に乗った。
English: (Abbreviated), Junichi who came from the countryside uses a Tokyo dialect which he has learned in novels.
Japanese: （略）田舎から出て来た純一は、小説で読み覚えた東京詞（ことば）を使うのである。
English: Bankara is a pun for the word haikara (westernized appearances or life styles).
Japanese: バンカラ（ばんから・蛮殻/蛮カラ）とは、ハイカラ（西洋風の身なりや生活様式）をもじった語である。
English: The word which means rude or barbarous was created as an antithesis of haikara.
Japanese: 明治期に、ハイカラに対する粗野や野蛮とするアンチテーゼとして創出されたもの。
English: Generally speaking, it refers to violent speech and behavior or a person who behaves in such a way.
Japanese: 一般的には言動などが荒々しいさま、またあえてそのように振る舞う人をいう。
English: A selected intangible cultural property refers to intangible cultural property whose expense related to record, preservation and disclosure is partly subsidized by public funds, except important intangible cultural properties.
Japanese: 選択無形文化財（せんたく　むけい　ぶんかざい）とは、重要無形文化財以外の無形文化財のうち、記録・保存・公開に関する経費の一部に公費による補助を充てることができるもの。
English: The formal name is Intangible cultural properties requiring special measures such as the creation of records.
Japanese: 正式名称は記録作成等の措置を講ずべき無形の文化財（きろくさくせいとうのそちをこうずべきむけいのぶんかざい）。
English: The chief of the Agency for the Cultural Affairs may select an especially necessary property out of intangible cultural properties except important intangible cultural properties, and may create, preserve or disclose its record by himself; The government may subsidize a part of the expense related to the disclosure of such intangible cultural property, or the creation, preservation or disclosure of its record to the appropriate person.
Japanese: 文化庁長官は、重要無形文化財以外の無形文化財のうち特に必要のあるものを選択して、自らその記録を作成し、保存し、又は公開することができるものとし、国は、適当な者に対し、当該無形文化財の公開又はその記録の作成、保存若しくは公開に要する経費の一部を補助することができる。
English: The property selected by the chief of the Agency for the Cultural Affairs under this provision is called "Intangible cultural properties requiring special measures such as the creation of records" and commonly called "Selected intangible cultural property."
Japanese: としており、この規定により文化庁長官によって選択されたものを、「記録作成等の措置を講ずべき無形の文化財」、通称「選択無形文化財」という。
English: The performing arts including music, dance and drama, and the techniques playing an important role in such performing arts' establishment and construction, which possesses a high value for seeing the history of transition of the performing art in this country.
Japanese: 音楽、舞踊、演劇その他の芸能及びこれらの芸能の成立、構成上重要な要素をなす技法のうち我が国の芸能の変遷の過程を知る上に貴重なもの
English: The applied art including pottery, dyeing, lacquer work and gold work, which possesses a high value for seeing the history of transition of the applied art in this country.
Japanese: 陶芸、染織、漆芸、金工その他の工芸技術のうち我が国の工芸技術の変遷の過程を知る上に貴重なもの
English: It has often been performed for a long time as evidenced by the fact that this title can be found in a lecture about Sarugaku by Zeami and "Tadasugawara Kanjin Sarugaku-ki"has recorded this having been performed in 1464.
Japanese: 作品名は世阿弥の申楽談義にみえ、『糺河原勧進猿楽記』に寛正5年（1464年）上演の記録があるなど、古くから頻繁に上演されてきた。
English: Yashima is based on stories such as 'Yuminagashi,' which is a story in the Tale of the Heike, Vol.11, and the great performance of MINAMOTO no Yoshitsune and his retainers at the battle of Yashima as well as the suffering of the warlord who spent the afterlife in a hell known as Shurado (which is short for Ashurado: World of Fighting and Slaughter), are written in a flowing and elegant style.
Japanese: 平家物語の巻十一「弓流し」などから取材され、屋島の戦いにおける源義経主従の活躍と修羅道におちた武将の苦しみが流麗な文体で描かれている。
English: The work is written in the classic form of Fukushiki Mugen-Noh, which consists of three parts: a first part in which travelling monks happen to see fishermen, the Kyogen part (a farce played during a Noh play cycle) in which the fishermen have disappeared and the monks ask a local villager about this mystery, and a last part in which the main character Yoshitsune appears as a ghost.
Japanese: 作品は典型的な複式夢幻能の形式をとり、旅の僧が漁師にであう前段、漁師がきえた後、僧がその不思議を土地の住人にたずねる狂言部分、主人公義経が生前の姿であらわれる後段の三部構成をとる。
English: (note: the text shown below in bold <usually shown in Italics> is quoted from Yokyoku [Noh song].)
Japanese: （注以下弱い強調<通常は斜体で表示される>でしめした部分は、謡曲本文(ほんもん)の引用である。）
English: (Although, as stated in the references, the quotation comes from "Yokyoku Taikan" [a complete anthology of Noh plays], the kanji and punctuation used by the author of this webpage may differ from that of the original text.)
Japanese: （なお引用にあたってはおもに参考文献にあげた『謡曲大観』を参照しているが、漢字変換、句読点のうちかた等は、執筆者独自のものである。）
English: A monk journeying from Kyoto with his retainers passes by Yashima Bay in Sanuki Province and decides to ask if he can stay for one night at a cottage where salt is made in pans.
Japanese: 都の僧が旅の途中讃岐屋島の浦をとおりかかり、塩屋（塩を焼く海人の家）に一夜の宿をさだめようとする。
English: The fisherman starts telling the monk a story of a Genpei War that happened in the area in olden times.
Japanese: 漁師は都の僧にむかって、そのむかしこの地でおこった源平合戦の物語をはじめる。
English: It was a battle of an offshore fleet of the Taira clan against forces of the Minamoto clan led by Yoshitsune, on May 7, 1184 (the historical date for the actual battle was March, 1185).
Japanese: 元暦元年三月十八日（実際に戦いのあった歴史的日付は文治元年2月）海に浮かぶ平氏の軍団と、それを攻める源氏義経軍との合戦である。
English: The fisherman describes every detail of incidents such as the following: the kumiuchi scene (grappling fight) between Shiro MIHONOYA of the Minamoto clan and TAIRA no Kagekiyo of the Taira clan (this legendary fight is called 'Shikorobiki' in Japanese); the scene in which Yoshitsune's trusted retainer, Tsugunobu SATO, was struck by an arrow and died while rescuing Yoshitsune; and the scene in which Kikuo—a beloved son of TAIRA no Noritsune, who shot the arrow that killed Tsugunobu SATO—dies.
Japanese: 源氏の三保谷四郎と平氏の平景清との組討（「しころびき」という）の模様や、義経をまもって敵の矢にあたってたおれた腹心佐藤継信、その矢を射た平教経の愛童菊王の死など、漁師があまりにも詳しく語った。
English: The monk feels suspicious of the fisherman, who disappears saying the followings.
Japanese: そこで、都の僧が不審を感ずると、漁師は以下のように言って消えうせた。
English: With the break of day, when the tide is out, it will be the time of the battle'
Japanese: 「潮のおつる暁ならば修羅の時になるべし（潮のひくあけがたに戦いの時になるだろう）。」
English: [snip] Don't wake me up from the dream of this transient world, Yoshitsune ['eternally'].'
Japanese: 「（中略）よしつねのうきよの夢ばしさましたまふなよ（よし、常の、この世の夢をさましてくれるな）。」
English: The real owner of the cottage (Tokoro no mono = an inhabitant of the place) comes in for a look-around.
Japanese: そこへ塩屋の本当のあるじ（所の者＝この場所の住人）が見回りにやってくる。
English: When the monk says 'I'm here with the permission of the fisherman,' the owner suspects that the monk might be telling a lie because surely the local people wouldn't let others stay here.
Japanese: 僧が「漁師の許可を得てここを借りているのだ」というと、この塩屋は自分のものだから、地元のものが勝手に人をとめるはずはない、僧がうそをいっているのではないかと疑う。
English: The monk from Kyoto tells him what has happened to him just now and asks the Tokoro no mono if he knows about the battle between the Minamoto and Taira clans.
Japanese: 都の僧は、いましがたおこったことについて話し、所の者に源平両家の合戦について知っているかと問う。
English: The Tokoro no mono tells the monk the story of the battle waged here in the past (it is the same story as the one told by the fisherman in the first part, but it is a convention of noh to change the spoken style from the metrical style used by Shite in the first part to a colloquial style in ai kyogen).
Japanese: 所の者はここで昔おこなわれた戦いの話をしてきかせる（前段の漁師の話と同内容、ただし間狂言は前段のシテが語った韻文を口語体で語るのが能の常道である）。
English: As the monk thanks him and asks who the fisherman was, Tokoro no mono answers that it might have been a ghost of Yoshitsune, and he leaves the scene saying that he is going to prepare some accommodation for the monk.
Japanese: 都の僧は礼をいい、さきほどの漁師はなにものだったのだろうかと問うと、所の者は義経の霊ではないかと答え、宿を用意するといって退場する。
English: While the monk from Kyoto is taking a nap, Yoshitsune's ghost appears wearing armor (Yoshitsune appears in a costume consisting of a plate, happi [workman's livery coat] and hangiri [divided brocade skirts with pleats in front and stiffened backs decorated with bold designs in either brocade or gold or silver leaf] in Shura-noh).
Japanese: 都の僧がこの場で仮寝していると、甲冑に身をかためた体(てい)（修羅能では厚板、法被、半切という装束でその体をあらわす）で義経の幽霊があらわれる。
English: Telling the monk that 'the battle fought between on the land and sea is unforgettable,' Yoshitsune recalls details of the battle, that is, taking back his bow at the risk of his life, by riding on his horse into the sea to avoid the enemy and taking it from where he had dropped it.
Japanese: 「船と陸（くが）との合戦の道　忘れえぬ（陸と海との合戦を忘れられない）」と妄執をのべ、この地で弓をおとし、敵にとられじと馬を海にのりいれて、命をかけて弓をとりかえしたことなどを思い出して語る。
English: Being excited, the ghost of Yoshitsune exhibits a dance expressesing his suffering from shura (scenes of fighting) and reenacting his battle with Noritsune.
Japanese: こうして気分がたかまり、教経との戦いの再現など修羅の苦しみをあらわす舞をまう。
English: The enemies that I thought were seagulls and the battle cries that I thought was the wind blowing through the bay of Takamatsu.'
Japanese: 「かたきとみえしは群れゐるかもめ、ときの声ときこえしは浦風なりけり（敵とみえたのは群れいるかもめ、鬨の声ときこえたのは高松の浦を吹く風だった）。」
English: The wind blew so harshly through Takamatsu Bay that it became a morning storm.'
Japanese: 「高松の浦風なりけり、高松の朝嵐とぞなりにける（その風は激しく、朝の嵐となった）。」
English: Betobeto-san is one of Yokai (Japanese folk monsters), and follows a man walking in the dark at night.
Japanese: べとべとさんは日本の妖怪の一種で、暗い夜道を歩く人間の後をつけてくる。
English: Although you hear the footsteps, they say that it is harmless to human, but if you are afraid of the footsteps, say "Betobeto-san, osaki ni okoshi (please go ahead)," (in Nara Prefecture) or "osaki ni dozo (after you)," (in Shizuoka Prefecture), then it will leave the man whom it has followed.
Japanese: 足音がするのみで人に危害を加えることはないとされるが、足音を不気味に感じるときには「べとべとさん、御先にお越し」（奈良県）または「お先にどうぞ」（静岡県）と唱えれば、ついてきた人間から離れるという。
English: Shigeru MIZUKI, an artist of Yokai manga, commented that he had encountered one which was suspected to be this Yokai.
Japanese: 妖怪漫画家・水木しげるはこの妖怪と思われるものと遭遇したことがあると語っている。
English: Although it is an invisible creature, only making sounds, Shigeru MIZUKI depicted it through his imagination as a creature of round head with legs sticking out from it, with its big funny mouth opened as if it is smiling (the depiction is no more than a creation by Mizuki).
Japanese: 元来音だけで姿が見えない存在なのだが、その姿は水木しげるの想像によって図化されており、丸い頭部に足が生えた格好で、微笑んだような愛嬌のある口が大きく開いている（※図化された姿はあくまで水木の創作である）。
English: It is one of popular Yokai, as many people feel that it is cute because of the gestures it makes when disappearing or its depicted appearance.
Japanese: 消えるときの仕草や図化された姿などから、愛らしさを感じる者が多く、人気がある妖怪の一つである。
English: In "The First Popularity Contest of Yokai" held by the tourist association of Sakaiminato City, Tottori Prefecture, it won the 9th place.
Japanese: 鳥取県境港市の観光協会による「第1回妖怪人気投票」では、9位に選ばれている。
English: Teketeke has become known recently and is also a similar creature as Yokai of footsteps, but totally a subject to be feared.
Japanese: 近年知られる、テケテケも足音の妖怪としてほぼ同様の存在であるが、こちらは完全に恐怖の対象として語られる存在である。
English: Funa benkei (船弁慶: Benkei in the Boat) is a Noh play based on "Heike Monogatari" (The tale of the Heike) and "Azuma Kagami" (The Mirror of the East).
Japanese: 船弁慶（ふなべんけい）は、『平家物語』、『吾妻鏡』などに取材した能作品。
English: The colorful and dramatic structure of this play features MINAMOTO no Yoshitsune, MUSASHIBO Benkei, Shizukagozen and TAIRA no Tomomori as the main characters, with Noh-Shite playing totally different roles in the first half and the second half.
Japanese: 源義経、武蔵坊弁慶、静御前、平知盛を主たる登場人物とし、前半と後半で能シテの演じる役柄がまったく異なるなど、華やかで劇的な構成が特徴である。
English: This Noh play begins with MINAMOTO no Yoshitsune escaping to Saigoku (the western part of Japan [a region including Kyushu, but ranging as far east as Kinki]) because he was viewed with suspicion by MINAMOTO no Yoritomo after subduing the Taira clan.
Japanese: 源義経が平氏を討伐したのち、源頼朝に疑われて西国に落ちるところからこの能ははじまる。
English: The play is divided into the first part, featuring a sorrowful parting between Yoshitsune and his lover Shizukagozen and the second part, focused on a dramatic scene in which the ghost of TAIRA no Tomomori harrows Yoshitsune and his retainers at sea.
Japanese: 前段は義経の愛人静御前と義経の哀切な別れ、後段では平知盛の霊が海上で義経主従を悩ます劇的な場面で構成されている。
English: Shite-kata has to play totally different characters - Shizukagozen and then the ghost of Tomomori - in the first and second halves of the same noh play.
Japanese: シテ方は静御前と知盛の霊というまったく異なったキャラクターを一つの能の前半、後半で演じ分けなければならない。
English: Benkei, who comes on stage with Yoshitsune, announces that Yoshitsune has decided to go to Saigoku because he got on the wrong side of Yoritomo.
Japanese: 義経とともに登場した弁慶が、義経が頼朝にうとまれたため西国に下るときめたことを語る。
English: After a travel scene from the southern suburbs in Kyoto, they walk through Iwashimizu to Daimotsu-ura cove and arrive at their destination, Daimotsu-ura cove, and ask a fisherman who lives there to arrange accommodation and a boat for them.
Japanese: 京の南郊、岩清水をとおって、大物浦までの道行が謡われたあと、目的地の大物に到着、この地に住む漁師に宿と船の用意をたのむ。
English: Once they are settled in their accommodation, Benkei puts forward a suggestion to Yoshitsune to send back Shizukagozen to Kyoto, and when Yoshitsune agrees Benkei goes to the other inn where Shizuka is staying.
Japanese: その宿で、弁慶は静御前を都にかえすよう義経に進言、義経が承知するので、弁慶は静のいる別の旅宿にむかう。
English: Praising Shizuka for her bravery in coming along with him so far, Yoshitsune tells Shizuka to go back to Kyoto and wait for a chance.
Japanese: 義経は、ここまでけなげについてきた静をほめ、都に帰って時節を待てと命じる。
English: Shizuka apologizes for having suspected that the suggestion had come from Benkei, and Benkei himself sheds tears of sympathy at the impending separation of Yoshitsune and Shizuka.
Japanese: 静は弁慶の独断かと疑っていたことをわび、弁慶も義経と静の別れにもらい泣きをする。
English: The boat prepared for Yoshitsune and his retainers including Benkei is unmoored and waiting for them.
Japanese: 義経、弁慶主従をのせるために用意された船はともづなを解き、主従の乗るのを待っている。
English: The fisherman who arranged the boat comes on stage and announces that he shed tears at seeing the separation of Yoshitsune and Shizuka.
Japanese: 船の用意をしていた漁師が登場、義経と静の別れの様子をみて落涙したと語る。
English: When Benkei asks if he could arrange a boat secretly, the fisherman says that a fast boat is available.
Japanese: ところで内密に船は用意したかと弁慶が問うと、船足の速い船を用意したと漁師は答える。
English: A retainer of Yoshitsune arrives at that moment, and reports that Yoshitsune says they should postpone their departure because of strong winds.
Japanese: そこへ義経の従者がきて、義経が風が強いので出発を延期しようといっていると報告する。
English: Benkei, guessing that Yoshitsune wants to stay there a little longer since he is reluctant to part from Shizuka, orders the fisherman to set the boat to bear off soon, saying that Yoshitsune, who entered a battlefield despite a tempest, shouldn't say such a weak-hearted thing.
Japanese: 義経は静との名残をおしんでもうしばらく逗留するつもりだと推量した弁慶は、以前は大風でも戦場で船をだしていた義経が、そのように気弱いことをいっていてはいけない、すぐにでも船を出す、用意せよと漁師に命じる。
English: Ai kyogen, or the fisherman comes to the stage with an artificial boat and tells everyone to get on the boat.
Japanese: 船のかたちのつくりものをもってでてきた間狂言、すなわち漁師は、皆さん船にのってくださいという。
English: While rowing the boat, the fisherman asks Benkei to help him be put in charge of this stretch of the sea when Yoshitsune returns to power at some future time.
Japanese: 彼はこぎながら、いずれ義経が都に復帰したおりには、この海の支配をわたしにまかせてくださいと頼む。
English: As the wind blows down from Mukoyama (present-day Mt. Rokko) and their boat is being swept further out from shore, a retainer worries that the boat has been possessed by a monster.
Japanese: 武庫山（いまの六甲山）から風が吹き降り、船がだんだん沖合いに流されていくので、従者がこの船にはあやかしがついているのではないかと心配する。
English: As the waves get higher while they talk the fisherman tells the retainer not to say such an unlucky thing.
Japanese: そんな不吉なことはいってはならんという漁師との問答のあいだも、波はますます高くなる。
English: Benkei raises his voice, 'Oh, it's strange! Over the sea from here is the Heike clan that was ruined at Saigoku,' to which Yoshitsune replies nonchalantly that he is not suprised the Heike clan might create a curse in this way, since they themselves sank into the ocean after many bad deeds.
Japanese: 弁慶が「あら不思議や海上を見れば、西国に滅びし平家の一門」と声をあげると、義経はいまさらおどろくことではないではないか、悪逆の限りをつくして海に沈んだ平家一門のことだ、たたりをするのはあたりまえだろうと平然といいはなつ。
English: Both sides fight hard, and eventually Benkei's prayer helps to get the ghost of Tomomori to recede with the ebb tide.
Japanese: 双方きびしくせめぎあうが弁慶の祈りが功を奏し知盛の霊は引き潮に引かれて遠ざかっていく。
English: "Haikkara" is a Japanese word that means airs, persons, and things and so on that suggest westernized appearances and way of life.
Japanese: ハイカラ（はいから）は、西洋風の身なりや生活様式をする様、人物、事物などを表す日本語の単語。
English: It is a vogue/slang word which appeared in the 30's of the Meiji period (1897), used frequently particularly from the Taisho period to the early Showa period.
Japanese: 明治30年代に始まる流行語・俗語で、大正期から昭和前期までは特に盛んに用いられた。
English: Moreover, the verb "haiakaru" deriving from the word haikara also appeared and was used as a "haikatta person" and so on.
Japanese: また「ハイカる」という動詞も派生し、「ハイカった人」などのように用いられた。
English: However, from the late Showa period to the Heisei period, when western culture became widespread, the word was less frequently used in its original meaning, rather used frequently in symbolizing the fashions of the time when this word became popular or in producing a retrospective atmosphere.
Japanese: しかし西洋文化が浸透した昭和末から平成にかけては、原義に近いニュアンスで使用されることは少なくなり、むしろこの語が流行した時代風俗を象徴したり、懐古調の雰囲気を出すために使用されることが多くなった。
English: Therefore, it is sometimes used in the dramas, novels and so on to reflect characters' ages or the periods they lived in.
Japanese: このため、ドラマや小説などでは人物の年齢や時代を演出するのにも用いられることもある。
English: It comes from high-collar (haikara) shirts that were very popular as men's Western clothes in the early Meiji period.
Japanese: 語源は明治期の男子洋装の流行であったハイカラー（highcollar、高襟）のシャツより。
English: Hanzan ISHIKAWA in the Yokohama Mainichi Shimbun, referring to politicians and government officials in their high collar clothes, began to use expressions such as "Haikaraa Sect" or "Hai-karaa Party" in his column "Tosei Jinbutsu Hyo (Contemporary Personal Criticisms)" from about 1899 to 1900, which caused the word "haikara "to become popular.
Japanese: このような高い襟をつけた政治家や官吏を指して横浜毎日新聞の石川半山が紙面の『当世人物評』において1899年～1900年（明治32～33）頃から「ハイカラア派」・「ハイ、カラア党」などと使い始めたのが流行したもの。
English: Some books suggest that this word was first used on June 21, 1900, however, it had been used before that time, which makes this suggestion untrue.
Japanese: 一部の書籍には1900年（明治33）6月21日に初めてこの言葉を使ったとの説も見えるが、同評ではそれ以前から使用されており、初出の日付としては事実ではない。
English: At the beginning he mocked at conservatives as "Chonmage (Topknot) sect", and, in contrast, criticized affected manners of people who advocated opening Japan to the West and liberals by calling them haikara from their symbolic high collar clothes.
Japanese: 当初は保守主義者を「ちょんまげ党」と揶揄し、対比して開国主義者や進歩主義者のキザな感じを冷評する際に、その象徴として特徴的な高襟の服装を指したものであった。
English: Therefore, the word originally had a strong negative meaning referring to westoxication/ flirtatious manners of following only outer aspects and patterns, but came to include an affirmative meaning of progressive/modernized/gorgeous/decent/fashionable and so on.
Japanese: 従って本来は西洋かぶれ・外面や形式のみを追い求める軽佻浮薄な様子などの負の意味が強かったが、転じて、進歩的・近代的・華麗・優美・お洒落など、肯定的な意味合いも強くなった。
English: Hanzan's "Tosei Jinbutsu Hyo" was made up of unconventional and outpoken expresions and had a style easy to read fast and with full of new and coined words, and he said that he created other new words such as "Chiyomumage Party", "Pistol Party", "Cosmetic Party","Necktie Party" and so on, but he said that "these words did not become popular only with an exception of haikara, which became extraordinarily popular" (ISHIKAWA,1912).
Japanese: 半山の『当世人物評』は洒脱で辛口な文章と、次々と繰り出される新語・造語でテンポ良く読ませるスタイルをとっており、他にもチヨム髷党、ピストル党、コスメチツク党、ネクタイ党等々の語が新作されたが、本人曰くこれらは「少しも流行しなかッたが、唯此のハイカラと云ふ一語だけが、馬鹿に大流行を来した」（石川、1912）という。
English: Kendo ISHII explained the reason that only the word haikara became popular in the "Chapter of the Beginning of Haikara" in his "Meiji Jibutsu Kigen"(1908).
Japanese: なぜハイカラという語のみが流行したかについては、石井研堂（1908）が『明治事物起源』という本の中の「ハイカラの始」という項で説明している。
English: The Chapter says that the word became popular because of newspaper reports that in a farewell party at the Metropaul Hotel for Yosaburo TAKEKOSHI, who was going to study in Europe, one of the guest speakers, Midori KOMATSU made a funny speech, in which he said, "Being haikara means rather being civilized and Hanzan (he was attending the party) himself, who was mocking at haikara, is here in this evening party, wearing high collar clothes".
Japanese: それによれば1900年（明治33）8月10日、竹越与三郎の洋行送別会が築地のメトロポールホテルで催された際、来客の何人かが演説をしたが、そのうちの一人である小松緑がハイカラーであることはむしろ文明的で、ハイカラを揶揄していた張本人の半山（彼も出席していた）でさえ今夕はハイカラーを着ているではないかと滑稽演説をし、このことが各新聞で取り上げられたことで流行したとしている。
English: Hanzan ISHIKAWA, who invented this word, wrote about its origin in the chapter of "The Guido Verbeck's Second Pistol " in his book "Uhitosoroku" as follows (old-style kanji are changed into new kanji):
Japanese: この語を「発明」した石川半山はその由来について、自著『烏飛兎走録』の「第二　グイド・フルベッキのピストル」（p11-19）の章で以下のように書いている（旧漢字は新漢字に変更してある）：
English: "The Pistol in Mr. Verbeck's Story" is a story that when Hanzan met Verbeck in the Marumo Hotel in Matsumoto city, where he was boarding, Verbeck told Hanzan that he was advised by his European friend not to go to Japan because it was dangerous in Japan with people wearing chonmage, which was a pistol with which to shoot Europeans.
Japanese: なお「フルベツキ先生の話のピストル」とは、1895年（明治28）4月25日、当時半山が下宿していた松本市の丸茂旅館でフルベッキと会った際、フルベッキがかつて西洋人の友人に、日本人の丁髷は西洋人を撃つピストルだから日本に行くのは危険だ、と日本行を止められことがあったと語ったもの。
English: The story came out from regarding chonmage, which looked like a pistol, as a symbol of anti-westernism/conservatism.
Japanese: ちょん髷を反西洋・保守主義の象徴とみなし、その形状がピストルに似ていたことから出た話である。
English: The ''Meiji Jibutsu Kigen' written by kendo ISHII is a book that explains things and events that started in the Meiji period, based on the past newspapers and magazines, and the origin of the word haikara is described in the book (pp.67-69) as follows (old-style kanji are changed into new kanji):
Japanese: 石井研堂（1908）による『明治事物起源』は明治に始まる種々の事物・事象について、過去の新聞雑誌の記事などを元に解説したもので、以下はハイカラの語の由来を説明した一文である（同書p.67-69、旧漢字は新漢字に変更してある）：
English: From 1898 to 1899, Mr.Hanzan ISHIKAWA, a journalist of the Mainichi Shimbun, often used the word haikara in his newspaper to make sarcastic remarks on people including Kentaro KANEKO, who returned from Europe.
Japanese: 明治三十一二年の比、毎日新聞記者石川半山氏、ハイカラーといふ語を紙上に掲げ、金子堅太郎氏の如き、洋行帰りの人々を冷評すること度々なりし。
English: The air of a person in high collar clothes and his serious face, somewhat suggesting that he has recently returned from Europe, are in the extremity of snobbery.
Japanese: 泰西新流行の襟の特に高きを用ひて済まし顔なる様、何となく新帰朝をほのめかすに似て、気障＜きざ＞の限りなりければなり。