nntsuzu/KFTT huggingface dataset:
English: (Translation) I left behind my children who were holding onto my robe and crying (because he was about to set out for Sakimori duty), although their mother was not even there for them.
Japanese: (現代語訳)韓衣にすがって泣きつく子どもたちを(防人に出るため)置いてきてしまったなあ、母もいないのに
English: Oborozukiyo (also called Oborozukuyo) is a fictional character in "The Tale of Genji" written by Murasaki Shikibu.
Japanese: 朧月夜（おぼろづくよ、おぼろづきよ）は紫式部の物語『源氏物語』の架空の登場人物。
English: This name (Oborozukiyo or the misty moon) comes from a waka poem composed by OE no Chisato, 'There is nothing like a night in spring with a hazy moon, neither shining brightly nor clouded'.
Japanese: この名は大江千里(歌人)の和歌「照りもせず曇りもはてぬ春の夜の朧月夜にしく（似る）ものぞなき」に由来する。
English: She was nobly born as Roku no Kimi (the sixth daughter) of the Udaijin (Minister of the Right), who had been in power during the reign of Emperor Kiritsubo, and was also Lady Kokiden's younger sister.
Japanese: 当時権勢を誇った桐壺帝の右大臣の六の君（六番目の娘）で、弘徽殿女御の妹という高貴な生まれ。
English: After the death of Lady Aoi, the Udaijin considered marrying her to Genji, but Lady Kokiden was vehemently against it.
Japanese: 葵の上の死後、右大臣は源氏と結婚させることも考えたが、弘徽殿女御が猛反対した。
English: At first she lived in the Tokaden pavilion as the chief of the Joganden pavilion, then she became the chief of Naishi no Tsukasa (the Handmaids' office) and moved to Kokiden (one of the Heian Palace buildings).
Japanese: 始め貞観殿の別当として登華殿にあり、後に尚侍（ないしのかみ）となって弘徽殿に移る。
English: While receiving the favor of Emperor Suzaku due to her beauty and her modern, fashionable personality, she continued to meet in secret with Genji.
Japanese: その美貌と当世風で華やかな人柄から朱雀帝の寵愛を一身に受ける一方、源氏との逢瀬も密かに続けていた。
English: However, it made the Udaijin and Empress Dowager Kokiden furious when the relationship between herself and Genji was exposed, and it was one of the reasons that resulted in Genji being exiled to Suma.
Japanese: が、彼女との関係が発覚したことが右大臣と弘徽殿大后の怒りを買い、源氏須磨流しの一因となった。
English: The Naniwa-zu no uta (waka of Naniwa-zu Port) appears in the Kanajo (Japanese preface) of Kokin Wakashu (Collection of Ancient and Modern Poems) as 'the poem written on the emperor of Osazaki' composed by Wani (Wang In).
Japanese: 難波津の歌（なにわづのうた）は、古今和歌集の仮名序で「おほささきのみかどをそへたてまつれるうた」として紹介されている王仁の和歌。
English: After the death of Emperor Ojin, Prince Uji no Waki-iratsuko and Osazaki no Mikoto (Prince Osazaki) tried to convince each other to ascend to the throne, but it lay vacant for three years.
Japanese: 応神天皇の死後、菟道稚郎子（うじのわきいらつこ）皇子と大雀命（おおさざきのみこと）が互いに譲り合ったため3年間空位となっていた。
English: In the end, Osazaki no Mikoto acceded to the throne and became Emperor Nintoku, and this poem is said to have been composed at that time to pray for prosperity in his reign.
Japanese: 皇位に大雀命が就き、仁徳天皇となった際にその治世の繁栄を願った歌と言われる。
English: As the kanajo says of this poem, alongside the poem of Mt. Asaka, 'people who practice writing with a brush will start from this,' it was a poem traditionally used by those starting the study of calligraphy.
Japanese: 仮名序で安積山の歌と並んで「手習ふ人のはじめにもしける」と言われたように、古来書道の初学としても用いられた。
English: In fact, together with a shusho mokkan (a wooden tablet used for writing practice) unearthed from the ruins of Kannonji in Tokushima Prefecture, likely a product of the seventh century, and which had 'Naniwa-tsu ni Sakuya kono hana' (奈尓波ツ尓昨久矢己乃波奈, On the Beach of Naniwa, the flowers bloom) written upon it in Manyo-gana (a syllabary used in the Manyoshu [Collection of Ten Thousand Leaves]), many wooden tablets with this poem written on it have been unearthed from ruins all over the country.
Japanese: 実際に徳島県の観音寺遺跡から、万葉仮名で「奈尓波ツ尓昨久矢己乃波奈」と記された7世紀のものとみられる習書木簡が出土しているのをはじめ、各地から数多くこの歌を記した木簡が出土している。
English: In the Heian period, the 'Naniwa-zu no poem' was considered as the epitome of 'a poem which everyone knows.'
Japanese: 平安時代には「難波津の歌」と言えば「誰でも知っている歌」の代名詞とされる。
English: In karuta (Japanese playing cards) tournaments, people have a custom of intoning the Naniwa-zu no uta before starting the competition.
Japanese: 競技かるたにおいては競技の開始時に難波津の歌を詠むことが通例となっている。
English: "Pine Trees" is an ink painting on a pair of six-folded screens, and Tohaku HASEGAWA's best known work.
Japanese: 松林図屏風（しょうりんずびょうぶ）は、長谷川等伯の代表作で、6曲1双の屏風画である。
English: When Tohaku HASEGAWA completed the wall painting formerly at Shoun-ji Temple (currently the painting on the fusuma sliding doors at the Chishakuin Temple), his son Kyuzo died young at the age of 26.
Japanese: 長谷川等伯が祥雲寺障壁画（現・智積院襖絵）を完成させた頃、息子の久蔵が26歳の若さで亡くなった。
English: The style of painting trees indicates the influence of Mokkei whom Tohaku secretly respected as a mentor, but he completely absorbed this technique as a part of his unique style of painting, rather than merely imitating his mentor.
Japanese: 樹木の描き方には、等伯が私叙した牧谿の影響が見られるが、もはや模倣の域ではなく完全に自己の画風に取り込んでいる。
English: On the seashore of the Noto Peninsula, Tohaku's birthplace, the pine trees are still standing as drawn in this picture.
Japanese: 等伯の生まれ育った能登の海浜には、今もこの絵のような松林が広がっている。
English: This ink painting, full of Japanese sensitivity, must be the fruit of the combination of the scenery of Tohaku's birthplace still in his mind and the technique of Mokkei.
Japanese: 彼の脳裏に残った故郷の風景と牧谿の技法と結びついて、このような日本的な情感豊かな水墨画が誕生したと言えよう。
English: The misaligned seams of the paper between the two right panels and the four left panels on the right screen and between the three right panels and the three left panels on the left screen suggest that the paper was meant for drafts.
Japanese: 右隻の右2扇分と左4扇分との間、左隻の右3扇分と左3扇分との間に紙継ぎのずれが見えるため、もともと下絵として描かれていた可能性もある。
English: If the seams were to be aligned, the composition would form a gentle triangle starting from the mountain on the top of the first right panel on the left screen, to the signatures and seals placed to the right on both edges along the extension of the slopes.
Japanese: 継ぎ目を元の状態に戻すと、左隻の右1扇目上部の山から緩やかな三角形の構図になっており、丁度のその延長上の両端に落款が押されている。
English: It was relatively recently, in 1932, when this painting became famous.
Japanese: 本作品が世に知られるようになったのは、比較的新しく昭和7年（1932年）のことである。
English: Immediately after that, it was designated as a National Treasure, indicating the huge impact that the excellent quality of this work had.
Japanese: その後直ちに国宝に指定されており、この作品の高い画質が与えた衝撃の強さを物語っている。
English: A close replica of "Pine Trees" was found in 1997 and it was assumed that a painter who was very close to Tohaku imitated the masterpiece.
Japanese: 1997年には、松林図屏風とそっくりな作品が発見されており、等伯にごく近い絵師が本作を模倣したものと推定される。
English: This story covers the days and life of Takamitsu FUJIWARA until he moved to Tonomine and entered into priesthood in August 961, mainly through Japanese poems exchanged between Takamitsu and his wife and sister.
Japanese: 藤原高光が961年（応和元年）8月多武峯に移り、草庵をむすぶまでを、藤原高光と妻、妹らとのあいだでかわされた和歌を中心に叙する。
English: "Kurama Tengu" is the title of the series of historical novels written by Jiro OSARAGI in Taisho and Showa periods, as well as the name of its protagonist.
Japanese: 『鞍馬天狗』（くらまてんぐ）は、大佛次郎の大正・昭和期における時代小説、およびその主人公の名前である。
English: The novels, one of the most famous popular fictions in Japan, depicts the activities of a royalist who called himself 'Kurama Tengu' (a long-nosed goblin who lives on Mt. Kurama) at the end of the Edo period.
Japanese: 幕末期を舞台に「鞍馬天狗」を名乗る勤王志士の活躍を描いたもので、大衆小説の代表作である。
English: Since it started in 1924, a total of 47 long novels and short stories have been published until 1965.
Japanese: 1924年（大正13年）の誕生以降、1965年（昭和40年）まで長編・短編併せて計47作が発表された。
English: The movies starring Arakan, or Kanjuro ARASHI, were so famous that the image of Kurama Tengu recalled for many was greatly influenced by the acting of Kanjuro ARASHI.
Japanese: 特にアラカンこと嵐寛寿郎が主役の映画作品は有名であり、一般に思い浮かべられる鞍馬天狗像は嵐寛寿郎の演じたものの影響が強い。
English: The series was set at the end of the Edo period, and some stories include historical events such as the Namamugi Incident and the Conspiracy of the Hamaguri-gomon Gate.
Japanese: 幕末期を舞台にしており、生麦事件・蛤御門の変といった歴史上の事件を背景としたものもある。
English: (Some of the stories published consecutively in the magazine 'Pocket' were a series. "Kurama Tengu Taorezu" (Kurama Tengu is not defeated) follows "Tengu Daoshi" (Defeating Tengu)).
Japanese: （「ポケット」連載分は一連につながっている所がある。また『鞍馬天狗倒れず』は『天狗倒し』の続きとなっている）。
English: Cities of Kyoto and Osaka were the central cites of stories such as; "Kakubei Jishi" (traveling entertainers who wear lion masks and perform tumbling acts) and "Tengu Kaijo" (a circular on Tengu).
Japanese: 『角兵衛獅子』『天狗廻状』のように京都・大阪市が中心的な舞台となる。
English: But some stories took place in the Kanto region including Edo and Yokohama City, and others took place in far-away towns such as Matsumae-cho (Hokkaido).
Japanese: だが、作品によっては江戸・横浜市の関東地方、果ては松前町(北海道)といった場所も舞台となる。
English: In some works he called himself Yakichiro TATEOKA, or Yukichi UNNO.
Japanese: また作品によっては館岡弥吉郎（たておかやきちろう）、海野雄吉（うんのゆうきち）とも名乗る。
English: Regarding his features and figure, he was depicted in "Kakubei Jishi" as 'a man of about 165 cm in height, medium build, with a fair-complexion, a well-formed nose and beautiful eyes.'
Japanese: その容姿は、『角兵衛獅子』に「身長五尺五寸ぐらい。中肉にして白皙、鼻筋とおり、目もと清（すず）し。」という描写がある。
English: Typically he wore a Sojuro hood and a kimono with the family crest, but without a formal haori (a Japanese half-coat) nor a hakama (pleated and divided skirt made in fine stripes) in films starring Arakan.
Japanese: 宗十郎頭巾に紋付の着流し姿をしたイメージは、アラカン主演の映画における姿である。
English: Though he was a royalist who was worried about the future of Japan, he was sometimes connected with Kaishu KATSU, who worked for the bakufu (Japanese feudal government headed by a shogun), and also had a strange friendship with Isami KONDO of Shinsengumi (a group who guarded Kyoto during the end of Tokugawa Shogunate).
Japanese: 日本の未来を思う討幕派の志士ではあるが、幕府側である勝海舟と繋がったり、新選組の近藤勇とも奇妙な交友関係をもつ。
English: He was quite critical of authority; after the Meiji Restoration he was sometimes negative against the Meiji government.
Japanese: また、明治維新後は明治政府に対して否定的な部分を持つなど、権力の批判者であることを貫いている。
English: His past remained in mystery; there was a rumor that he was probably a survivor of the Tengu-to (Tengu Party), but this is unconfirmed.
Japanese: その素性は謎が多く、天狗党の生き残りではないかと言われたこともあるが定かではない。
English: The author seemed to have a plan that Kurama Tengu would be killed in a street fight during the Paris Commune that was also the stage of Osaragi's another work "Pari Moyu" (Paris Burns).
Japanese: 作者は鞍馬天狗の最後は『パリ燃ゆ』の舞台であるパリ・コミューンの市街戦で戦死させる構想を持っていたという。
English: The movie versions of Kurama Tengu start from "Nyonin Jigoku" (Hell with Women) starring Ensho JITSUKAWA in 1924 to "Shin Kurama Tengu, Gojozaka no Ketto" (The Dual at the Slope of Gojo, The New Kurama Tengu) starring Raizo ICHIKAWA (the eighth Kurama Tengu) in 1965.
Japanese: 鞍馬天狗の映画版は、1924年の実川延笑主演の『女人地獄』に始まり、1965年の市川雷蔵(8代目)主演の『新鞍馬天狗五条坂の決闘』まである。
English: Kurama Tengu by Arakan was the most famous because more than forty films starred Kanjuro ARASHI (at that time known by the name of Chozaburo ARASHI).
Japanese: その内40本以上はアラカンこと嵐寛寿郎（当初は嵐長三郎名義）が演じており、アラカンの鞍馬天狗が最も有名である。
English: But many of the "Kurama Tengu" films produced before World War II were lost, and are unable to be watched now.
Japanese: しかし、戦前撮られた『鞍馬天狗』には紛失・消失してしまい、現在では観られないものが多々ある。
English: Soon after having joined the company of Makino, Arashi was handed the 1927 March issue of the Shonen Club (Boys' Club) magazine by Shozo MAKINO who said, 'Choose a role that you want to play from the stories here.'
Japanese: マキノ入社直後、嵐はマキノ省三から「このなかからやりたい役を選べ」と雑誌『少年倶楽部』昭和2年（1927年）3月号を渡される。
English: Reading "Kakubei Jishi," he said that he wanted to play Kurama Tengu, and thus Arashi made his screen debut in "Kurama Tengu Yobun, Kakubei Jishi" (A Side Story of Kurama Tengu, Kakubei Jishi).
Japanese: 嵐は『角兵衛獅子』を読み、鞍馬天狗をやりたいと伝えたことにより、『鞍馬天狗余聞・角兵衛獅子』で映画デビューを果たす事となる。
English: Since then, Arashi was considered most suitable for the role and performed Kurama Tengu in more than forty movies produced by several film studios: Kan Pro (production), Toa Kinema, Shinko (Shinko Kinema Production), Nikkatsu (Nikkatsu Corporation), Toho (Toho Co., Ltd.), and Toei (Toei Company, Ltd.).
Japanese: その後、嵐のはまり役として寛プロ・東亜キネマ・新興・日活・東宝・東映とまたに駆けて40本以上もの鞍馬天狗映画に出演した。
English: Those films with the exciting sword fights in which Kurama Tengu played by Arashi slashed down his enemies one after another continued to charm audiences for a long time.
Japanese: 嵐扮する鞍馬天狗が敵を次々と切り倒すその壮快なチャンバラ劇は長きに渡り大衆を魅了し続けた。
English: In 1954 Osaragi demanded that Arashi stop performing Kurama Tengu, claiming that his copyright was ignored, his titles were stolen and the original content was rewritten, and Kurama Tengu in the films slashed too many people with his sword, which was against Osaragi's intention.
Japanese: 1954年、大佛は著作権無視、原作を書き換えて題名だけ盗んでいる、映画の鞍馬天狗は人を斬りすぎて原作者の意向を無視している等との理由を挙げて非難し、嵐が演ずる鞍馬天狗の中止を要求。
English: So, Osaragi himself established 'Tengu Productions,' took up the position of producer, and began producing "Shin Kurama Tengu" series starring Akio KOBORI in the same year.
Japanese: そして大佛は自ら「天狗ぷろだくしょん」を設立してプロデューサーに就任し、同年より小堀明男の主演による『新鞍馬天狗』シリーズの製作を開始。
English: It is said that a huge sum of money equal to the costs of filming five Kurama Tengu movies by Arakan, was used for each movie.
Japanese: この作品にはアラカンの鞍馬天狗なら5本は撮れると言われた程の資金が毎回投入されたと言われる。
English: Shin Kurama Tengu attracted much attention at first since the film was produced by the author himself.
Japanese: この『新鞍馬天狗』は、原作者自ら手掛ける映画作品として当初話題にはなった。
English: But once the film was on screen, Kobori as the character of Tengu was always compared with Arashi and severely criticized.
Japanese: しかし、いざ完成した作品は、小堀の天狗姿が常に嵐と比較されて酷評ばかりされた。
English: It was an obvious mistake in casting when Kyo SHIMURA, already in his fifties and had been performing grandfatherly roles was selected for the role of Isami KONDO.
Japanese: 近藤勇役に当時既に五十代で老け役も演じていた志村喬を起用するなど配役に無理があった。
English: Furthermore, at the climax of the story, Tengu only pointed his gun at his enemy, preached about the good cause and retreated without fighting which completely ignored the framework and style of historical drama that the spectators loved.
Japanese: その上、ストーリーもクライマックスで、天狗が敵に拳銃を構えるだけ構えて大儀を唱えて挙句に戦うことなく退散してしまうなど、大衆が好む時代劇の骨法や様式を完全に無視したものであった。
English: Without stirring any sense of excitement, the contents were, in a sense, nothing but for Osaragi's self-satisfaction.
Japanese: その爽快感も全く欠落した内容は、ある意味で大佛の自己満足にしか過ぎない代物であった。
English: It came to a miserable end when it was severely criticized as 'the flop that would go down in Japanese movie history,' or 'Osaragi stained his own career as a writer.'
Japanese: 「日本映画史に残る大失敗作」「大佛が作家としての自身のキャリアに自ら疵を付けた」と酷評された程の悲惨な結果に終わった。
English: It also hampered the acting career of Kobori, who performed Tengu.
Japanese: 天狗役を演じた小堀にとってもまた、巻き添えを食らう形で俳優キャリアの疵となってしまった。
English: Shin Kurama Tengu' produced by Osaragi, starring Kobori was a box-office bomb, and each film made movie theater owners increasingly vocal about their dissatisfaction, grudges, and protests against Osaragi.
Japanese: 大佛プロデュース・小堀主演の『新鞍馬天狗』の興行成績は惨憺たるもので、作を重ねる毎に映画館サイドからの大佛に対する不満・怨嗟・抗議の声だけが増えてゆく始末であった。
English: In the end, Osaragi could not disprove the harsh criticism of his films being trash and did not shoot the ten films as scheduled but finished with the third film "Shin Kurama Tengu, Yudachi no Bushi" (The New Kurama Tengu, The Samurai in the Shower).
Japanese: 結局、大駄作という酷評を覆す事はできず、全10作を予定するも、第3作『新鞍馬天狗夕立の武士』を最後に打ち切りとなる。
English: The movie theater owners who had lost huge sums of money three times over "Shin Kurama Tengu" strongly demanded from Osaragi the revival of Arakan as Kurama Tengu to compensate for their damages.
Japanese: この『新鞍馬天狗』で3度も煮え湯を飲まされる格好になった映画館サイドは、その損失補填を理由に大佛にアラカンの鞍馬天狗の復活を強硬に要求した。
English: Even the great author Osaragi had to accept their proposal, and thus the Kurama Tengu played by Arakan returned.
Japanese: さすがの大佛もこれは呑まざるを得ず、ここにアラカンの鞍馬天狗が復活した。
English: But because of these circumstances, Arashi was not very enthusiastic; only two films were made, and that was the end of it.
Japanese: だが、そこまでの経緯が経緯ゆえにもはや嵐自身も乗り気ではなく、僅か2作品で打ち止めとなった。
English: After that, Chiyonosuke AZUMA and Raizo ICHIKAWA performed Tengu in the movies, but neither of them made many films.
Japanese: その後、映画では東千代之介と市川雷蔵が天狗を演じたものの、いずれも長続きせずに終わっている。
English: Although it is one of Sotatsu's masterpieces, it was not widely known about until the 1960s because it was exported to the U.S. during the late Meiji Period.
Japanese: 宗達の代表作の一つだが、明治時代後半にアメリカ合衆国に輸出され、1960年代まであまり存在を知られていなかった。
English: It is said that this work would have been designated as a National Treasure if it had been kept in Japan.
Japanese: 日本に残っていれば間違いなく国宝に指定されていただろう、といわれる作品である。
English: Having discerned that the picture was originally called 'Araiso Byobu (Rough Shoreline),' it is assumed that it is a picture of the shoreline near Sumiyoshi, Osaka.
Japanese: かつては荒磯屏風（あらいそびょうぶ）と呼ばれていたことがわかっており、大阪の住吉付近の海岸を書いたものと見られている。
English: Shoan TANI (1589-1644), a wealthy merchant in Sakai, requested the production of this picture and donated it to Shoun-ji Temple in Sakai.
Japanese: 堺市の豪商であった谷正安（1589年－1644年）が作成を依頼し、堺の祥雲寺に寄贈された。
English: The picture was kept in the temple at least until 1902.
Japanese: その後、少なくとも1902年までは祥雲寺にあったことがわかっている。
English: This picture shows the rough waves of the impressive golden sea in a dynamic way.
Japanese: 激しく波打つ黄金色の海が印象的な作品で、荒れる海をダイナミックに描いた作品である。
English: Korin OGATA painted Waves at Matsushima by imitating Sotatsu's work of the same title, and he made at least four pictures with the same motif.
Japanese: 尾形光琳の描いた松島図屏風は、宗達が描いたものを模したものであり、光琳は少なくとも4回描いている。
English: Today, his most famous one is in the collection at the Museum of Fine Arts, Boston, which Ernest Fenollosa bought.
Japanese: 現在ボストン美術館にあるものが有名で、これはアーネスト・フェノロサが買い求めたものである。
English: Korin's works including the one in Boston have been brought overseas, resulting in Korin's worldwide renown.
Japanese: これを含めた光琳の作品が海外に渡ることにより、光琳が世界的に高い評価を得ることに繋がった。
English: Korin imitated Sotatsu's Waves at Matsushima, but he composed the picture quite differently.
Japanese: 光琳の松島図屏風は、模したものでありながら、宗達のものとは構図がかなり異なる。
English: This fact indicates that Korin introduced his own personality to the work while imitating Sotatsu's picture.
Japanese: これは光琳が宗達に倣いつつも、光琳独自の感覚を取り入れたものであることを示している。
English: As mentioned above, Sotatsu's work used to be called 'Rough Shoreline' instead of 'Waves at Matsushima.'
Japanese: 上述のとおり、宗達の画は本来「荒磯屏風」と呼ばれており、「松島図屏風」ではなかった。
English: Hoitsu respected Korin as a mentor and made Korin's works famous, but it is said that Hoitsu was unfamiliar with the relation between Sotatsu and Korin, and he didn't know of Sotatsu's 'Fujin Raijin zu' (The Wind and Thunder Gods) which is quite well known today.
Japanese: 抱一は、光琳に私淑し、光琳の画を広く世に知らしめた人物であるが、宗達と光琳の関係については詳しくなく、現在では有名な宗達の風神雷神図の存在を知らなかったと言われている。
English: Therefore, it seems that Hoitsu called Korin's replica 'Waves at Matsushima' either by mistake or because it was a picture of matsu (pines) and shima (island).
Japanese: そのため、光琳の模写した画を勘違いしたか、あるいは「松と島の図」ということからか、「松島図屏風」と呼んだといわれる。
English: That is why the title became popular for Korin's works, and gradually Sotatsu's original works came to be called 'Waves at Matsushima' as well.
Japanese: これで光琳の画については「松島図屏風」の名が定着したが、さらにその手本である宗達の画もいつの間にか「松島図屏風」と呼ばれるようになった、と考えられている。
English: It seems that Hoitsu was not much interested in 'Waves at Matsushima' and didn't make a replica of Korin's work, while he did imitate 'The Wind and Thunder Gods.'
Japanese: 抱一は「松島図屏風」にはあまり関心を示さなかったと見られ、風神雷神図で行ったような、光琳の画の模写は行っていない。
English: One theory states that Hoitsu misunderstood 'Waves at Matsushima' to be a picture of pine trees and an island, and thus wasn't interested in the motif.
Japanese: これは「松島図屏風」を「松島の画」と勘違いし、画題に面白みがない、と感じたため、という説がある。
English: With the old capital, Kyoto, as the setting, it describes the checkered destinies of twin sisters separated at birth.
Japanese: 古都・京都を舞台に、生き別れになった双子の姉妹の数奇な運命を描いた物語。
English: "Chanoyu Ichie Shu (Collection on the Oneness of Chanoyu)" is a book on tea ceremony written by Naosuke II (title in tea ceremony: Sokan), the lord of the Hikone Domain in the end of the Edo Period.
Japanese: 茶湯一会集(ちゃのゆいちえしゅう)は、江戸時代末期の彦根藩主井伊直弼(茶号/宗観)の著による茶書である。
English: This book propagates the concept of 'Ichigo ichie' (meeting only once in a lifetime) which advocates a thoughtful attitude from the host during a tea ceremony.
Japanese: 茶道における「一期一会」の理念を広めており、茶の湯における主客の深い心構えを提唱している。
English: At the beginning of this book consisting of 23 articles, Ii states the idea of 'ichigo ichie': "We should keep in mind that an encounter today can never be experienced again, so the host should pay attention to every single matter and guests should never neglect the host's care; both should communicate in earnest."
Japanese: 二十三ヵ条にわたる本文の冒頭に「一期一会」の思想を、『本日の出会いは、再び同じ出会いではないと考え、主人は全てのことに、気を配り、客も亭主の趣向を何一つおろそかにせず、心に留めて、双方が誠意をもって交わるべきである』と主張している。
English: It is quite interesting that Ii, a statesman at the time of political turmoil at the end of Tokugawa Shogunate, wrote a book advocating absolute stillness during a tea ceremony, which continues to make the book attractive to people throughout the ages.
Japanese: 激動の幕末にあって、静寂の極致のような茶室での心を、時の為政者である直弼が残していることは興味深く後世における本書の魅力となっている。
English: The descriptions in the book indicate that Chanoyu Ichie Shu was completed in 1858, two years before Ii was assassinated in the Sakuradamongai Incident.
Japanese: 成立は、本文中の記述から安政5年と考えられ、桜田門外で非業の死を遂げる2年前とみられる。
English: The Big Four of the Kyoto school refers to the following four scholars who belonged to the Kyoto School: Masaaki KOSAKA, Keiji NISHITANI, Iwao KOYAMA and Shigetaka SUZUKI.
Japanese: 京都学派四天王（きょうとがくはしてんのう）とは高坂正顕、西谷啓治、高山岩男、鈴木成高の京都学派に属する四人の学者のことである。
English: After World War II, they were purged from Kyoto University on charges of having assisted the war effort (Masaaki KOSAKA and Keiji NISHITANI were later reinstated at Kyoto University).
Japanese: 戦後、戦争協力の廉で京都大学を離れた（高坂正顕、西谷啓治は後に京都大学に復帰）。
English: During the war, they were participants in the symposiums on 'The World Historic Position and Japan' ('The World Historic Position and Japan' in the January 1942 issue, 'The Ethics and Historical Position of the East Asia Co-prosperity Sphere' in the April 1942 issue and 'The Philosophy of Total War' in the January 1943 issue), which appeared three times in "Chuo koron" magazine from 1942 to the following year and in these they had tried to determine what the ideological standing of the Greater East Asia War was from the point of view of the 'philosophy of world history.'
Japanese: 戦時下の1942年から翌年にかけて『中央公論』誌上で三回にわたり掲載され、大東亜戦争を「世界史の哲学」の立場から思想的に位置付けようと試みた「世界史的立場と日本」座談会（「世界史的立場と日本」1942年一月号、「東亜共栄圏の倫理性と歴史性」1942年四月号、「総力戦の哲学」1943年一月号）の出席者である。
English: They were regular participants of closed-door meetings during the Greater East Asia War that were periodically held between the Kyoto School and the Imperial Japanese Navy, topics being about the overthrow of the Tojo cabinet and the restoration of the course of the Imperial Japanese Army.
Japanese: 大東亜戦争中に京都学派と大日本帝国海軍との間で定期的に行われ、東條内閣打倒や大日本帝国陸軍の方針の是正が話し合われた秘密会合の常連出席者であった。
English: Although the 'philosophy of world history' was criticized as being the ideology of the kokutai (national polity) by the Kodo-ha ('Imperial Way' faction) of the Imperial Japanese Army, there is another view that it was heavily based on Shumei OKAWA's "Colonization in Early-modern European History."
Japanese: 「世界史の哲学」は大日本帝国陸軍の皇道派により国体思想として攻撃されていたが、大川周明『近世欧羅巴植民史』の亜流とする説もある。
English: Roppyakuban Uta-awase was an uta-awase (poetry contest) in the Kamakura period hosted by FUJIWARA no Yoshitsune.
Japanese: 六百番歌合（ろっぴゃくばんうたあわせ）とは、鎌倉時代に藤原良経主催でなされた歌合。
English: It is known for the judge FUJIWARA no Toshinari's statement that, 'It is to be regretted that there are poets who compose poems without reading The Tale of Genji.'
Japanese: 判者藤原俊成の判詞「源氏物語見ざる歌詠みは遺恨の事なり」などで知られる。
English: As for the category of love, a revolutionary attempt was made to subdivide and systematize the topic; for example, the first 25 topics were set to follow the progression of a love affair, and the rest of the 25 topics were grouped together as the 'love which is told under the guise of things' type.
Japanese: 恋部は前半25題が恋の進行状態による設題、後半25題が「寄物恋」型の組題となっているなど、題詠の細分化と体系づけが考慮された画期的な試みとなっている。
English: The poems composed for this uta-awase were acclaimed in the "Shinkokin Wakashu" (New Collection of Ancient and Modern Japanese Poetry), in which 34 poems were selected from among them.
Japanese: 『新古今和歌集』は本歌合の作品を極めて高く評価しており、34首が同集に入撰している。