nntsuzu/KFTT huggingface dataset:
English: Seikichi and Osayo are hiding in the hermitage of Saishin (Osayo's father) together with their young child.
Japanese: 清吉とおさよは幼いわが子とともに、おさよの父西心の庵室に潜伏している。
English: Seikichi learns that he killed Osayo's younger brother without knowing that, and confesses the fact to her.
Japanese: 清吉は知らぬこととはいえ自分がおさよの弟を殺した事実を知り、涙ながらにおさよに告白する。
English: They struggle in an suicide attempt, when Seikichi kills Osayo by mistake.
Japanese: 二人は自殺しよう争うはずみに、あやまって清吉はおさよを殺してしまう。
English: Shobei tries to escape by hiding himself in the coffin, but gets captured (in this scene, Seikichi's sentiment is well expressed by a scene borrowed from Yosogoto Joruri "Koimusume Mukashi Hachijo" [The Love-Inspired Murder; also known as Okoma Saiza], "Suzugamori Hikimawashi Scene" [the scene of a criminal being dragged to the execution ground]).
Japanese: 正兵衛は棺桶に隠れて脱走しようとするが捕らえられる（この場では他所事浄瑠璃『恋娘昔八丈』（お駒才三）「鈴が森引き回しの段」が使われ、清吉の心情を上手く表している）。
English: As Shinshichi has much concern with the title of his works, 'kosode (a kimono with short sleeves worn as under clothing by the upper classes)' from "Kosode Soga Azami no Ironui" refers to the scene where Seishin receives a kosode when being expelled; 'azami' expresses the name 'Seikichi ONIAZAMI'; and 'iro' implies iromachi (red-light district) where Izayoi works.
Japanese: 題名に凝る新七らしく、『小袖曾我薊色縫』の「小袖」は追放される清心に小袖を渡す場面を、「薊」は「鬼薊清吉」の薊の字を、「色」は十六夜の働く「色街」の色の字を、それぞれ利かせている。
English: However, the officials kept an eye on this story by the fact that it included the incident of Edo-jo Castle Gokinzo Yaburi and ordered the ommision of many parts in the performance to the extent that the audience could not follow the story.
Japanese: しかし官憲に江戸城御金蔵破りの一件を仕組んだ事が睨まれたため、上演中にかなりの場面が飛ばされ、筋がわからなくなるほどだった。
English: In 1886, after Shinshichi KAWATAKE changed his name into Mokuami, he wrote "Shisenryo Koban no Umenoha," a documentary dramatization of the Edo-jo Castle Gokinzo Yaburi.
Japanese: 河竹新七は、黙阿弥と改名後の明治18年(1886)に『四千両小判梅葉』を脚色し、実録風の江戸城御金蔵破りを劇化している。
English: In "Inasegawa," the love story of Kodanji, a plain-looking man and Kumesaburo, a beautiful actor of female role is well expressed in the atmosphere of Edo (old Tokyo), effectively using Kiyomoto bushi (theatrical music) "Umeyanagi Nakamoyoizuki."
Japanese: 『稲瀬川』は、風采の上がらない小團次と美しい女形の粂三郎の色模様を、清元節の『梅柳中宵月』を使って江戸情緒たっぷりに表されている。
English: Kumesaburo was so glamorous that Kodanji said this with a sigh.
Japanese: 粂三郎の妖艶さは、小團次が溜息混じりにこう言うほどのものだったという。
English: Shinshichi had the young actor Kumesaburo perform in different hairstyles; plenty of beautiful black hair in Act One; butch haircut in Act Two; short hair in Acts Three and Four.
Japanese: 新七はまだ若手の粂三郎に、第一幕は豊かな黒髪、第二幕は坊主頭、第三・四幕は短めと、それぞれ異なる髪型をこなさせた。
English: So the stage direction was changed like this: first Osayo wears a hood; and at the ending of this act, Saishin takes off the hood, saying "Let the master see your hair after the change," and Osayo gets bashful, saying "Oh, I am so embarrassed," when revealing her butch haircut.
Japanese: それで、はじめ頭巾を被り、幕切れで「変わりし頭を旦那様に」と西心が頭巾をとり、おさよの坊主頭が出て、ここで「あれ、お恥ずかしゅうございます」と、おさよが恥らう演出に替えた。
English: At present, the pair is Nizaemon KATAOKA (the fifteenth) and Tamasaburo BANDO (the fifth).
Japanese: 今日では片岡仁左衛門(15代目)と坂東玉三郎(5代目)などが代表的な取り合わせ。
English: Kuzumochi in Okinawa are made of sweet potato starch called imokuzu instead of kuzuko.
Japanese: また沖縄でのくず餅は葛粉の代わりに芋くずと呼ばれるサツマイモデンプンからつくられる。
English: Those with transparent dough wrapped around red bean paste are called "manju" (dumpling) as manju Japanese cakes, which are popular summer desserts because of their cool appearance, and specialties of Hirama-ji Temple in Kawasaki City, Kanagawa Prefecture, Ikegami-honmon-ji Temple in Ota Ward, Tokyo, and Kameidoten-jinja Shrine in Koto Ward, Tokyo.
Japanese: 透明な生地に餡を包んだものは饅頭和菓子としての饅頭と呼ばれ、涼しげな見た目から夏の菓子として人気があり、神奈川県川崎市平間寺と東京都大田区池上本門寺と東京都江東区亀戸天神社の名物でもある。
English: In late Edo period, people started to call those made of fermented wheat flour also kuzumochi (in different Chinese characters).
Japanese: 江戸後期に入り、小麦粉を発酵したものから作られた菓子もくずもち（久寿餅）とよばれるようになった。
English: Though these two kinds of kuzumochi are often confused, those of eastern Japan made of fermenting wheat flour starch and those in western Japan made of hon-kuzu (real kudzu powder) are completely different from each other, including their recipes and historical backgrounds.
Japanese: 混同される事も多いが、東日本の小麦粉澱粉を発酵させて作る久寿餅と西日本の本葛から作る葛餅は製法・歴史的経緯含め全く別のものである。
English: This kuzumochi are made of starch refined from wheat flour and fermented by lactic acid bacteria, and have a unique flavor.
Japanese: これは小麦粉から精製したデンプンを乳酸菌で発酵させたものであり、独特の風味がある。
English: However, the way to serve kuzumochi is similar to that of western-Japan, sprinkled with soy flour or dark molasses.
Japanese: ただし、食べ方は関西風の葛餅同様、黄粉（きなこ）をまぶす他、黒蜜などでも賞味する。
English: Let it cool in water and cut into pieces of proper size, or shape into round dumplings with wet hands.
Japanese: 練りあがったものを水で冷やして適当な形に切るか、濡らした手でちぎって丸めるとでき上がり。
English: Sugar may be added to the dough, but it tastes much sweeter if sprinkled over the completed kuzumochi.
Japanese: 生地に砂糖を入れることもあるが、でき上がったものに砂糖をかけたほうがより強く甘味を感じられる。
English: As cooling it in a refrigerator spoils the transparency of the dough and its texture, it is better to cool it with running water or water with ice.
Japanese: 冷蔵庫に入れると色が濁って食感が落ちるので、流水か氷水で冷やすとよい。
English: Those made of real kuzuko (kudzu starch) keeps transparency and smooth texture even when it is cooled, compared with those made of potato starch, etc.
Japanese: 本くず粉（くずでんぷん）を使用した葛餅はジャガイモ等のデンプンで作った葛餅に比べて、冷やしても透明感が失われにくくなめらかな口当たりである。
English: The hand-made products can be enjoyed only for about two days, but those sold at supermarkets in low prices are added much sugar and have been processed for longer preservation, thus they are enjoyable for somewhat longer than hand-made ones.
Japanese: 手作りのものではおいしく食べられる期間は2日ほどだが、スーパーマーケットなどで安く出回っているものは、砂糖が大量に入っており、長く保存できるような加工がされているため若干日持ちが良い。
English: The powder produced from the roots of kudzu plant is called hon-kuzu, which has smooth texture and some bitterness originally.
Japanese: クズの根から作られる粉は本葛粉と呼ばれ、なめらかで口当たりが良が、本来多少の苦味を伴う。
English: Because the production of hon-kuzu is little and it is expensive, even most of the products sold as 'hon-kuzu' is mixed with starch of wheat, potato, sweet potato and so on.
Japanese: 本葛粉は生産量が少なく高価であるため、現在「本葛粉」として市販されている物でさえコムギやジャガイモ、サツマイモ（甘藷）やなどのデンプンを混入した物が多い。
English: However, in western Japan, especially in Kinki and Kyushu regions, it is relatively more available thanks to many production areas.
Japanese: ただし、西日本、特に産地の多い近畿や九州では本葛粉が比較的手に入りやすい。
English: As to production of hon-kuzu, because of the aging of those who dig the roots of kudzu plant and decrease of natural resource, the ratio of the China-made powder available in Japan is currently increasing.
Japanese: 本葛粉の生産はクズの根を掘り出す人の高齢化と天然資源の減少によって、現在、国内で出回る本葛粉にしめる中国製の割合が高まっている。
English: Regarding the Chinese products, there are many cases to call them Japanese hon-kuzu, which are made of jikkon-kudzu (kudzu plant) imported from China and processed in Japan, or Japanese powder mixed with Chinese one.
Japanese: 中国製については、中国から寒根葛（葛）の根を輸入し国内で製造した物を国産本葛と表示している例や、国産本葛と中国産葛を混ぜ合わせて国産本葛としている例が多々見受けられる。
English: The danger of agricultural chemicals left in the roots of jikkon-kudzu (kudzu) produced in China has become a problem.
Japanese: 中国産の寒根葛（葛）の根のポストハーベスト（残留農薬）の危険性が問題になっている。
English: Currently, the major production area of hon-kuzu in Japan is Kagoshima Prefecture, but you can rely on the three farmers using the products made in southern Kyushu.
Japanese: 国内産本葛の大生産地は、現在、鹿児島であるが南九州産を原料とする三軒は、信頼のおける生産者といえるだろう。
English: * Kuzu-ne roots produced in Taiwan are roots of Taiwan kuzu, those produced in China are root of Shina-no-kuzu (Chinese kuzu), thus, from a botanical standpoint, they are not same species as those produced in Japan.
Japanese: ※　台湾産の葛根は、タイワンクズ、中国産の葛根は、シナノクズ、日本産の葛根とは、植物学的には同種類ではない
English: Currently, as there is no obligation for hon-kuzu concerning the indication of the raw materials and the place of origin, the indication of hon-kuzu may not guarantee that it is a domestic product, which means that products without description concerning its raw materials and the place of its origin on its product information label may be mingled with those made in foreign countries.
Japanese: 現在、本葛には、原料原産地名の表示義務がない為、本葛の表示があっても国産とは限らないのが現状、商品内容表示に原料原産地名の表示のない物については、外国産が混じっていると言える。
English: Some foreign songs such as Yankee Doodle (Anglo-American song) use the Jinku-style lyrics.
Japanese: ヤンキードゥードゥル等、外国曲にこの形式の歌詞を当てはめたものもある。
English: Hinowan refers to lacquered bowls produced in and around Hino-cho, Gamo-gun, Shiga Prefecture.
Japanese: 日野椀（ひのわん）は滋賀県蒲生郡日野町(滋賀県)とその周辺で生産された漆器。
English: In 1533 Sadahide GAMO, a feudal lord of the region, divided the Hino castle town and ordered 'kijishi' (wood masters) and 'nurishi' (lacquerers) to live in Kataji-machi (present Kinei-cho) and Nurishi-machi (present Oshari-cho), respectively.
Japanese: 天文2年（1533年）に領主蒲生定秀氏が日野城下町の町割を実施し、堅地町（現金英町）・塗師町（現御舎利町）に木地師・塗師を住まわせる。
English: In 1590 Ujisato GAMO who had shifted his territory to Ise Matsugashima moved to Aizu.
Japanese: 天正18年（1590年）、伊勢松ヶ島へ転封していた蒲生氏郷が会津に移ることになった。
English: The introduction of the Hino lacquering technique helped develop Aizu lacquerware.
Japanese: なお、このため会津塗器は日野塗の技術導入により発展したと考えられている。
English: During the Genna era (1615 - 1623) Hino merchants vigorously promoted Hino lacquerware, which was thereby restored.
Japanese: 元和年間（1615年～1623年）、日野商人の活躍により、日野塗が復興する。
English: In 'Kefukigusa' (a theoretical script on Haikai poems) published by Shigeyori MATSUE probably in 1645, 'Goki' (articles for the Buddhist altar) is mentioned as a specialty in Omi Hino.
Japanese: 正保2年1645年公刊と考えられている松江重頼の俳諧作法書「毛吹草」にも、近江日野の名物として「五器（ごき）」が挙げられている。
English: The production of Hinowan gradually declined partly because the merchants replaced their major merchandise with medicine, and partly because Hino was devastated in 1756 by a great fire (that reduced about 80% of the downtown to ruins).
Japanese: その後、日野商人の主力商品が薬に代わったことや、宝暦6年1756年の日野大火（市街地の約８割を焼失）で打撃を受け徐々に衰微。
English: Most of the lacquerware which was produced in earlier times and which still remain includes ritual utensils characterized by their thickness and high bases.
Japanese: 初期に生産され今も残存する器は祭器が多く見られ、厚手・高い高台を特徴とする。
English: In the Edo period the Hino merchants peddled hinowan which became widespread as daily lacquerware all over Japan.
Japanese: 江戸時代に庶民使いの漆器として、日野商人による行商で全国へ広まった。
English: The Hino merchants contracted out wood masters and lacquerers, whom they had provided technical instructions, to produce Hinowan in various places.
Japanese: 日野商人が全国に点在する木地師や塗師に技術指導をした上で製造委託をしていた。
English: Hinowan whose production ceased a long time ago has been recently reproduced in Hino-cho by Koji KITAGAWA, a wood craft artist of 'The Association for the Restoration of Hinowan.'
Japanese: 長く製造は途絶えていたが、「日野椀復興の会」の木工作家北川高次氏により近年日野町で再び製造され始めている。
English: He successfully produced lacquerware for daily use which does not contain synthetic petroleum material such as polyurethane, using specially refined natural lacquer called 'MR lacquer.'
Japanese: 「MR漆」という特別精製の天然漆を用いて、ウレタン等の石油合成素材を用いない、普段使いに耐える漆器の製造に成功している。
English: This is a simple story, in which the characters are based on real people, regarded as a typical work in the Meiji period.
Japanese: すっきりした筋立ての中に実在の人物を登場させるという、典型的な明治時代の作品。
English: At a tavern in Shinagawa called Shimazakiro, a sumo wrestler named Yotsuguruma Daihachi and some young members of the Me-gumi firefighting brigade quarrelled over something very trivial.
Japanese: 品川の料亭島崎楼で、力士の四つ車大八とめ組の若い者がささいなことから口論となる。
English: However, a samurai, who was a fan of Yotsuguruma Daihachi, happened to be there and spoke out, "There is a big difference in degree between a sumo wrestler and a mere fireman."
Japanese: しかし、同席していた四つ車大八の贔屓の武士が「力士と鳶風情では身分が違う」という。
English: Tatsugoro got angry with his words, saying, "Excuse me, Sir. Sumo wrestlers and firemen are all the same human being, aren't they? Don't degrade us."
Japanese: その言葉に辰五郎は「モシ旦那、角力だって鳶の者だって同じ人間だ。そんなに安くしなさんな。」と腹を立てる。
English: After the scene of Tachimawari (a stylized fight scene) of Sewa Danmari (a "fight in the dark" and a pantomime scene in a sewamono drama [domestic dramas that deal with the lives of commoners]), Kisaburo, the boss, who was just passing by in Kago (a palanquin), found Tatsugoro's wallet.
Japanese: 世話だんまりの立ちまわりの後、駕籠で通りかかった顔役喜三郎は辰五郎の財布を拾う。
English: In the playhouse located in the precincts of Shinmei Shrine in Shiba, sumo wrestlers including Yotsuguruma Daihachi and Kuryuzan Namiemon quarrelled again with young members of the Me-gumi firefighter brigade.
Japanese: 芝の神明社境内の芝居小屋で、またしても四つ車と九竜山浪右衛門ら力士とめ組の若い者が喧嘩をする。
English: Tatsugoro, who happened to pass by, could not overlook the situation and tried to settle the quarrel; however, he backed off because the manager of the playhouse intervened to calm the quarrel.
Japanese: 通りかかった辰五郎は我慢できず決着をつけようとするが、芝居小屋の太夫元の仲裁で引き下がる。
English: Tatsugoro, who prepared himself for the eventuality that the quarrel might be inevitable, went to Kisaburo's place in Sukiyagashi and hinted that he might part with him.
Japanese: 最早喧嘩は避けられないと覚悟を決めた辰五郎は数奇屋河岸の喜三郎のもとに行き、それとなく暇乞いを告げる。
English: Reading what Tatsugoro had in mind, Kisaburo showed the above-mentioned wallet to him and warned, "What if something really bad happens to you?"
Japanese: それと察した喜三郎は、以前八つ山下で拾った件の財布を見せ、大きな間違いになったらどうすると意見をする。
English: Kisaboro's words weighed heavily on Tatsugoro's mind; Tatsugoro looked so indecisive that his wife Onaka pronounced a divorce between them.
Japanese: 喜三郎の意見に悩む辰五郎は、女房のお仲に意気地がないから離縁すると言い出される。
English: Tatsugoro was also blamed by Kame-emon, a sworn brother who happened to be there; Tatsugoro, who tried to control his temper, lost his patience, and spoke his mind at last, bringing out a letter of divorce he had already prepared.
Japanese: 居合せた兄弟分の亀右衛門にも非難され、辛抱していた辰五郎だが、ついに以前から用意していた離縁状を逆に突き付け、心中を語る。
English: He went to the Shinmei Shrine where the sumo performance was to be held after saying farewell to his wife Onaka and children, who were gazing fondly at Tatsugoro's heroic appearance.
Japanese: 颯爽たる姿に喜ぶお仲とわが子に別れを告げ、辰五郎は相撲の興行場所の神明社に向かう。
English: A big quarrel between the local firefighters led by Tatsugoro and sumo wrestlers such as Kuryuzan and Yotsuguruma took place in the precincts of the Shinmei Shrine.
Japanese: 神明社内で辰五郎ひきいる町火消しと九竜山・四つ車ら力士との大喧嘩が繰り広げられる。
English: Kisaburo wearing two happi coats together, one for Machi bugyo (town magistate) and the other for Jisha bugyo (magistrate of temples and shrines), intervened to calm the quarrel; the situation was peaceably settled that two sides would leave the matter to the authorities.
Japanese: 町奉行と寺社奉行の法被を重ね着した喜三郎の仲裁により、双方お上に訴える事で収束する。
English: Especially, Act three is a supplementary work by Mokuami KAWAKITA, of which his rich description exhaustively shows his mature literary style.
Japanese: とくに三幕目は河竹黙阿弥の補作で、こくのある描写が熟練の技を見せている。
English: Kikugoro was such a perfectionist that he took the trouble to ask the relevant people of the Me-gumi firefighter brigade to make the stage setting of Tatsugoro's place.
Japanese: 辰五郎内の舞台は、凝り性の菊五郎がわざわざめ組の関係者に問い合わせて作った。
English: The successful effect of off-stage music and the sophisticated interpretation of the Edo sewamono drama can be fully appreciated.
Japanese: 下座音楽の巧みな効果、洗練された江戸生世話物の演出などが堪能できる。
English: Kikugoro the fifth was good at the role of a fireman such as Umekichi in "Mekuranagaya Umega Kagatobi" known as "Kagatobi" (The Firefighters of the Kaga clan) or Sashichi in "Edosodachi Omatsuri Sashichi" (The Festival and Sashichi, a Son of Edo) known as "Omatsuri Sashichi;" he left oral instructions of various ways of acting.
Japanese: 五代目菊五郎は『盲長屋梅加賀鳶』（加賀鳶）の梅吉や『江戸育御祭左七』（お祭り左七）の左七など町火消役を得意としたが、さまざまな演じ方の口伝を残している。
English: For example, when walking, he always lifted each foot forward like walking on a high scaffolding.
Japanese: たとえば、歩くときは高い足場を歩くように、互いの足を前に出すように歩く、と決めている。
English: Later, the role of Tatsugoro was performed by Uzaemon ICHIMURA the fifteenth, Shoroku ONOE the second, Kanzaburo NAKAMURA the seventeenth, and Kikugoro ONOE the seventh, who were all good at acting in the Edo-style sewamono drama.
Japanese: その後、辰五郎役は市村羽左衛門(15代目)、尾上松緑(2代目)、中村勘三郎(17代目)、そして尾上菊五郎(7代目)と、江戸前の世話物を得意とする役者が勤めている。
English: Shoroku the second commented, "Since it is a quarrel of rough-spoken Edokko (a true native of Edo), it does not require things like Hara (a technique for conveying the qualities of a character without relying on the gestures or words). Especially, when acting the role of Tatsugoro, we should do it without Hara.　Or rather, the form or style is the key; we have adopted a cool and smart approach."
Japanese: 二代目松緑が「江戸っ子の喧嘩ですから、ハラも何んもないもので、どっちかといえば辰五郎の場合なんか、あんまりハラがあってはいけないんです。これはむしろ形のもので、粋に粋に、という行き方できてるんですね」と語った。
English: His comment clearly demonstrates past circumustances of Kabuki, in which if only the outward appearances of characters worked well, the performance would draw a large audience.
Japanese: このような解析は、登場人物の外づらが決まれば興行も大入りとなった往事の歌舞伎の様子を端的に言いあわらしている。
English: In the choreography where the setting is usually dark, the actors on the stage move violently, engaged in mortal combat groping with each other or scrambling for a key object in the story.
Japanese: 登場人物が暗闇（くらやみ）という設定の中で、互いに探り合いながら死闘を繰り広げたり、物語の鍵となる物品を奪い合ったりする立ち回りをすること。
English: It is said that performances in the choreography started in kaomisekogyo (an all-star performance) during the Anei era (1772 - 1781) in Edo.
Japanese: 安永年間（1772–81年）に江戸の顔見世興行において始められたと伝わる。
English: The performance is usually played in the following way: In a night scene at a hokora (a small shrine) on a mountain, suspicious people in a bizarre costumes and makeup appea on stage as bandits (for example, TAIRA no Masakado), or as pilgrims (for example, FUJIWARA no Sumitomo), and fight each other silently for a treasure in exagerrated movements, accompanied by the slow rhythm of Kagura (sacred music and dancing performed at shrine).
Japanese: 夜の山中の祠を舞台に、奇抜な扮装と化粧を施した怪人物たちが、山賊実は平将門、巡礼実は藤原純友などといった役で登場し、神楽などのゆっくりとした伴奏に乗せて、大きな動きで宝物を巡って無言で争う様式が普通である。
English: At the end of the performance, the black curtain in the background is dropped suddenly, making the stage lighted, and then the main curtain is closed after the actors on the stage make their final poses.
Japanese: 最期は、後の黒幕がはらりと落ちて舞台が明るくなり、舞台の俳優は見得をして幕となる。
English: To make the story better understood by the audience, a scene to make the relationships between the characters on the danmari stage clear is provided for after the main curtain is closed.This scene is called "danmari-hodoki" (literaly, unraveling the danmari).
Japanese: 観客にわかりやすいよう、後の幕でだんまりに出た人物の人間関係が明らかになる場面が用意されており、これを「だんまりほどき」という。
English: Initially, the kaomise performance, the first performance of the year, included a scene to introduce the zagashira (the leader of an actor troupe)-class actors in a contract with the theater to the audience, regardless of the story to be performed, and was called "omemie-danmari" (literally danmari for introducing actors).
Japanese: 当初は、筋に関係なく一年間の興行期間の最初の興行である顔見世で、劇場と契約した座頭級の役者を観客に紹介するための見せ場で、「お目見えだんまり」と呼ばれていた。
English: Initially, the introduction of zagashira-class actors took the simple forms of each making a long speech, called "tsurane," or fighting violently between two actors.
Japanese: 当初は、座頭級の役者の紹介は、「連ね」という長い科白を言い合ったり、一対一で乱闘したりするなど、素朴なものであった。
English: However, over time, it changed into elaborate bizarre performances.
Japanese: しかしながら、時代の変遷とともに手の込んだ異様な様の演出に変貌した。
English: In the Kasei (1804 - 1928) culture era, the nature of the performance changed further, resulting in visual changes where the costumes of the actors on stage were removed during their performances to alter their roles to that of other characters: For example, the actor who wore a face mask for a tengu (long-nosed goblin) in a black costume suddenly changed into a bandit in a gorgeous costume.
Japanese: 化政文化にはさらに演出が変化し、黒服で天狗の面をつけていた者がいきなり豪華な衣装の盗賊に代わるなど、演技の途中で役者の衣装を引きぬいて別の人物に変えるといった視覚的な変化を追究するようになった。
English: Before, danmari was played in Jidaimono (historical dramas), it also was played in sewamono (plays dealing with the lives of ordinary people) by Nanboku TSURUYA IV (the fourth).
Japanese: また従前は時代物のみにあっただんまりが、鶴屋南北(4代目)によって世話物の演目にも取り入られるようになった。
English: Nowadays, danmari in jidaimono is called "jidai-danmari," which includes "danmari at the Kurama mountain," "danmari at Miya-jima Island," and "danmari at Ichinohara."
Japanese: 今日では時代物ででるだんまりを「時代だんまり」といい、「鞍馬山のだんまり」「宮島のだんまり」「市原野のだんまり』などがこれにあたる。
English: With no specific story, ten plus actors appear on a stage and perform a play entangled with each other.
Japanese: あらすじらしいものはなく、ただ十数人の役者が舞台上に登場してにからみ合う。
English: In sewamono, many of the scenarios include a danmari scene, where an actor acquires a prop, such as a letter or a treasure sword, and a new development starts on the next scene.
Japanese: 世話物では、物語の一部としてだんまりがでて、そこで手紙や宝刀などの小道具が登場人物の一人の手に入り、次の幕で新たな展開になるといった筋書きが多い。
English: Such danmari include the 'Ombobori scene' in Tokaido Yotsuya Kaidan (Tokaido Yotsuya ghost stories), the 'Mount Maruzuka scene' in "Nanso satomi hakken-den" (the story of the eight dog samurai and a princess of the Satomi family in the Nanso region), the 'Inasegawa Hyappongui scene' in "Sato Moyo Azami no Ironui" (Izayoi Seishin), the 'Yatsuyamasita scene" in "Kamino Megumi Wago no Torikumi" (Megumi no kenka (the fight of megumi), and the 'Akamonmae scene" in "Mekuranagaya Umegakagatobi" (Kagatobi).
Japanese: 『東海道四谷怪談』の「隠亡掘の場」、『南総里見八犬伝』の「円塚山の場」、『花街模様薊色縫』（十六夜清心）の「百本杭の場」、『神明恵和合取組』（め組の喧嘩）の「八ツ山下の場」、『盲長屋梅加賀鳶』（加賀鳶）の「赤門前の場」などがこれにあたる。
English: Danmari-o-kimekomu,' meaning keeping silent, originates in 'danmari' in kabuki, and has been changed into 'danmari' (meaning being silent).
Japanese: 黙秘をつらぬくことを「だんまりを決め込む」というが、その語源はこの歌舞伎の「だんまり」で、これが転じて「黙り」となったもの。
English: It was inspired by the sight of a helpless man of warrior class who came to Mokuami's house to sell ink brushes and from the tragic incident in which a mother living behind his house became insane and threw her own child into a river.
Japanese: 黙阿弥の家に筆を売りに来た士族の哀れな姿と、自宅の裏に住んでいた母親が発狂して我が子を川に投げ落とす騒動をヒントに作ったといわれている。
English: After the Meiji Restoration, the new government implemented 'Chitsuroku-shobun' (Abolition Measure of Hereditary Stipend) which was the abolishment of salary-like payments to members of the warrior or samurai hierarchy in exchange for lump-sum payments in order to solve financial problems.
Japanese: 明治維新後、新政府は財政問題解決のため、旧武士階級の士族に一時金の代りに俸録米支給を打ち切る「秩禄処分」を行った。
English: As a result of this, people in the warrior class failed in their unaccustomed businesses called 'shizoku no shoho' (former-samurai way of business) one after another, and the discontent with the government led to the argument for Seikanron (the conquest of Korea) and the outbreak of the Seinan War
Japanese: ために、「士族の商法」と呼ばれた慣れない商売に失敗して没落する士族が続出し、政府への不満は征韓論や西南戦争へ繋がっていく。
English: The main character is a man who was left behind in this new age and it is a valuable source of information to understand the social problems in the early Meiji period.
Japanese: そんな新時代に取り残された人物を主人公にしており、明治初期の社会問題をうかがう貴重な資料でもある。
English: The theme of a ruined man of the warrior class was taken up by many literary works of the Meiji period such as "Shimoyonokane Juji no Tsujiura"(Frosty Night Bell and 10 O'clock Fortune-Teller at the Corner) by the same Mokuami and "Unagi-ya" (eel restaurant) which is a rakugo (comic story telling).
Japanese: この没落士族のテーマは、同じ黙阿弥の『霜夜鐘十時辻占』、落語の『鰻屋(落語)』や明治期の文学作品に多く取り上げられている。
English: The original work consisted of two stories, one about Kobei and another about a Robber Yojiro SHOTENGU, but currently the second act only which is about Kobei is performed.
Japanese: 原作は、幸兵衛の筋と盗賊小天狗要二郎の筋に分かれているが、現在は二幕目の幸兵衛の件が専ら上演される。
English: In this play, the Gidayu dialogue in "Kaze-ni-Kuruu Kawabe-no-Me-Yanagi," a performance of Kiyomoto which is a kind of Yosogoto Joruri is so effective that the glamorous music can just amplify the grisly tragedy of Kobei and make the audience satisfied with his superior capability in writing the play.
Japanese: ここでは余所事浄瑠璃の清元『風狂川辺芽柳』に義太夫の掛け合いが効果的で、華やかな音楽がかえって陰惨な幸兵衛の悲劇を倍増させ、黙阿弥の優れた作劇術が堪能できる。
English: Kobei FUNADU of the warrior class has failed in an unfamiliar business and has become bankrupt, and now lives with his wife, two daughters and one-year-old unweaned child in obscurity in a tenement house on a back street in Fukagawa (in Koto Ward, Tokyo).
Japanese: 士族船津幸兵衛は、慣れない商売に失敗し没落、妻と二人の娘1歳の乳飲み子と深川_(江東区)の裏長屋に逼塞している。