nntsuzu/KFTT huggingface dataset:
English: The author, born in 1946, actually realized 'the Chinese spirit' claimed by Norinaga MOTOORI, and hesitantly considered it.
Japanese: 1946年生まれの著者が、本居宣長のいう「漢意（からごころ）」を実感として分かってしまった、とこれを逡巡・考察する。
English: "Japan Corporate, a System of the International and Interdisciplinary Research" by Ronald Philip Dore, NTT Publishing Co., Ltd, 1995
Japanese: ロナルド・フィリップ・ドーア『国際・学際研究システムとしての日本企業』NTT出版　1995年
English: Since around the latter half of the 1970s, the tone of argument as follows could be seen a lot; 'Japanese-style management' such as lifetime employment and a seniority system form the foundation of economic development in Japan (Japanese-style management).
Japanese: 1970年代後半頃から、終身雇用・年功序列などの「日本的経営」が日本の経済発展の基盤にあるという論調が多く見られるようになった（日本的経営論）。
English: "What kind of Japan would it be without Japanese-style capitalism" by Yusuke FUKADA and Ronald Philip Dore, Kobunsha Co., Ltd., 1993
Japanese: 深田祐介、ロナルド・フィリップ・ドーア『日本型資本主義なくしてなんの日本か』光文社　1993年
English: "The Japanese System That Denies Human Happiness" by Karel van Wolferen, 1994
Japanese: カレル・ヴァン・ウォルフレン『人間を幸福にしない日本というシステム』　1994年
English: It criticized Japanese feudal system, or a fictive family relationship between a boss and his underlings, from the viewpoint of the sociology of law.
Japanese: 法社会学の立場から、親分子分といった擬制家族関係から日本社会の封建制を批判した
English: "Personal Relations in a Vertical Society: A theory of Homogeneous Society" by Chie NAKANE, Kodansha Gendai Shinsho, 1967
Japanese: 中根千枝『タテ社会の人間関係―単一社会の理論』講談社現代新書　1967年
English: "The History of Japan" (also known as "Travelogue by an Envoy to Japan," "Records by an Envoy to the East India Company," "Travelogue by an Envoy to the Dutch East India Company and Imperial Japan," "Major Envoys to Japanese Emperor from the Dutch East India Company") by Anoldus Montanus van Bergen (1625 - 1683, a Dutch), 1669.
Japanese: アーノルダス・モンタヌス（AnoldusMontanusvanBergen、1625年-1683年、オランダ人）『日本誌』（別名『日本遺使紀行』『東インド会社遺使録』『オランダ東インド会社日本帝国遺使紀行』『オランダ連合東インド会社の日本皇帝への主要なる遺使』）　1669年
English: "Amoenitatum Exoticarum" and "The History of Japan" by Engelbert Kaempfer (1651 - 1716, German), 1712 and 1727 respectively
Japanese: エンゲルベルト・ケンペル（EngelbertKaempfer、1651年-1716年、ドイツ人）『廻国奇観』　1712年、『日本誌』　1727年
English: "Japan and Japanese" and "Representative Men of Japan" (revised edition) by Kanzo UCHIMURA, 1894 and 1908, respectively.
Japanese: 内村鑑三『代表的日本人』（『JapanandJapanese』1894年、改訂版『RepresentativeMenofJapan』1908年）
English: "BUSHIDO THE SOUL of JAPAN - Another of the History of the Intercourse between the U.S. and Japan" by Inazo NITOBE, The Leeds and Biddle Company, 1900
Japanese: 新渡戸稲造『武士道』（『BUSHIDOTHESOULofJAPAN-AnotheroftheHistoryoftheIntercoursebetweentheU.S.andJapan』　TheLeedsandBiddleCompany　1900年）
English: The author was a Christian and a scholar who had a wife of US citizen, and was active in Japan, the United States and European countries.
Japanese: アメリカ合衆国国民を妻に持ち、キリスト教徒で、学者として日本と欧米で活動をした著者である。
English: He was asked about Japanese moral doctrine and customs, hesitantly thinking about such things and concluding that they were based on Bushido, so he commented and explained them in the book.
Japanese: 彼は日本の道徳理念・慣習について問われ、逡巡した後その源は武士道だと行き着き、これを解説、説明する書。
English: He investigated Japanese art following Ernest Fenollosa, which led him to be aware of Japan, and in this book he throw a question of the way that self-containment should be through tea ceremony to the United States and European countries, which were in a golden age of imperialism.
Japanese: アーネスト・フェノロサに付いて日本美術の調査をしたのをきっかけに日本に目覚めた著者が、帝国主義全盛時代の欧米に、茶を通して自己充足の在り方を投げかけた書。
English: Monzaemon CHIKAMATSU (1653 - January 6, 1725) was a kabuki and joruri (ballad drama) playwright who wrote many great works during the Genroku era in the early Edo period.
Japanese: 近松門左衛門（ちかまつもんざえもん、近松門左衞門、承応2年（1653年）-享保9年11月22日(旧暦)（1725年1月6日））は江戸時代前期の元禄期に活躍した歌舞伎・浄瑠璃の作者である。
English: Monzaemon was first an in-house joruri playwright at Takemoto-za theater, later becoming a kabuki and kyogen (a generic term for a Kabuki drama) playwright midway through his career, before returning to write joruri again.
Japanese: 竹本座に属する浄瑠璃作者で、中途で歌舞伎狂言作者に転向したが、再度浄瑠璃に戻った。
English: At around the same time KI no Kaion also wrote a joruri play based on love suicides - the same topic used by Monzaemon - and indeed love suicides inspired by these plays became fashionable.
Japanese: 同時期に紀海音も門左衛門と同じ題材に基づいた心中浄瑠璃を書いており、当時これに触発されて心中が流行したのは事実である。
English: However only until after the Meiji period were the sewamono joruri plays of Monzaemon critically acclaimed.
Japanese: しかし、世話物中心に門左衛門の浄瑠璃を捉えるのは近代以後の風潮に過ぎない。
English: Monzaemon is believed to have stated that the appeal of art lies in the slender margin between the real and the unreal (called the 'kyojitsuhimaku' theory).
Japanese: また、門左衛門は「虚実皮膜論」という芸術論を持ち、芸の面白さは虚と実との皮膜にあると唱えたといわれる。
English: This idea was introduced as Monzaemon's by Ikan HOZUMI in "Naniwa Miyage" (Souvenir of Naniwa) but there are no theories on performing art written by Monzaemon himself.
Japanese: しかし、これは穂積以貫が記録した『難波土産』に門左衛門の語として書かれているだけであり、門左衛門自身が書き残した芸能論はない。
English: The anniversary of his death, 22 November (the date is based on the old calendar and was kept even after the introduction of the modern calendar in the Meiji era), is called CHIKAMATSU mourning, Sorinshi mourning, or Sorin mourning (Sorinshi and Sorin were his pen names) and these terms are used as seasonal words of winter in haiku poetry.
Japanese: 忌日の11月22日（明治以降は新暦で行われる）は近松忌、巣林子忌、または巣林忌と呼ばれ、冬の季語である。
English: Monzaemon's parents were Nobuyoshi SUGIMORI, a feudal retainer of the Echizen domain whose master was Masachika MATSUDAIRA, and Kisato, Hogen Ichiku OKAMOTO's daughter (Hogen is a title for a professional like a doctor or an artist and OKAMOTO was a doctor's family).
Japanese: 門左衛門は、松平昌親に仕える越前藩士・杉森信義と医者の家系である岡本為竹法眼の娘・喜里の間に生まれた。
English: The most likely contenders for the location of his birthplace are either Echizen or Hagi City, Nagato Province (the family line of the SUGIMORI is historically the retainer of the Mori clan, whose feudal land was in Nagato Province) but there are other contenders including Karatsu City in Hizen Province or Yodo domain.
Japanese: 出生地については越前説と長門国萩市（もともと杉椙氏は毛利氏家臣の系統である）が有力な説となっているが、肥前国唐津市、淀藩説など他にも諸説がある。
English: Monzaemon himself left health care instructions believed to be in his own handwriting in Kosai-ji Temple in Amagasaki City, Settsu Province.
Japanese: 門左衛門自身についても、摂津国尼崎市の広済寺に自筆と伝えられる養生訓が伝わっている。
English: Then for some time there is no record except one poem by Monzaemon, together with poems by his parents and other people, included in "Takaragura" (The Treasure House) by Genrin YAMAOKA.
Japanese: ここから先は、山岡元隣『宝蔵』（寛文11年(1671)）に両親等とともに門左衛門の一句が収められている他はしばらく伝記が途絶える。
English: From around the Enpo or Tenna eras he started to write for a joruri performer, Kaganojo UJI and also a kabuki performer, Tojuro SAKATA.
Japanese: 延宝、天和(日本)頃より浄瑠璃の宇治加賀掾や歌舞伎の坂田藤十郎等のための作品を書いた。
English: However, because the custom of the time was that the name of a playwright was not credited with a play, Monzaemon's works were not identified.
Japanese: しかしこの当時の、作品に作者の名を出さない慣習から、近松作品は特定されていない。
English: In 1683 "Yotsugi Soga" (The Soga Successor), which tells the story following the Soga brothers' revenge, was performed in the Uji-za theater.
Japanese: 天和3年(1683)、曾我兄弟の仇討ちの後日談を描いた『世継曾我』（よつぎそが）が宇治座で上演された。
English: Monzaemon continued to release masterpieces one after another in collaboration with Gidayu, and for the first time his name, Monzaemon CHIKAMATSU, was credited as the author of "Sasaki Okagami," staged in 1686 in the Takemoto-za theater.
Japanese: その後も義太夫と組んで名作を次々に発表し、貞享3年(1686)、竹本座上演の『佐々木大鑑』で初めて作者名として近松門左衛門と記載した。
English: In 1705 Izumo TAKEDA became the managing director of Takemoto-za theater, and Monzaemon wrote "Yomei Tenno Shokunin Kagami" (The Mirror of the Craftsmen of the Emperor Yomei) for its kaomisekogyo (all-star performance).
Japanese: 宝永2年(1705)に竹本座の座元が竹田出雲に替わっての顔見世興行『用明天王職人鑑』。
English: He thus become an in-house playwright of the theater and moved to Osaka to focus on a new joruri play.
Japanese: これからは座付作者となり、住居も大坂に移って浄瑠璃の新作に専念した。
English: In 1714 Monzaemon dedicated himself to promoting the restoration of Kosai-ji Temple, Amagasaki.
Japanese: 正徳(日本)4年(1714)には尼崎の広済寺再興の折りに、本願人として尽力した。
English: "Kokusenya Kassen," a jidaimono first performed in 1715, enjoyed great popularity and was staged at the Takemoto-za theater for seventeen months in a row starting from October.
Japanese: 正徳5年(1715)の時代物『国性爺合戦』は、10月から竹本座にて17ヶ月の連続公演となる人気を博す。
English: Monzaemon had a wife and three sons, with the second and the third sons taking jobs related to joruri.
Japanese: 門左衛門の家族は妻と3人の息子がおり、次男と三男は浄瑠璃関係の仕事に就いている。
English: This is because many people committed copycat double suicides, even though Shinjumono elicited great sympathy and became hugely popular.
Japanese: 心中物は大変庶民の共感を呼び、人気を博したが、こうした作品の真似をして心中をする者が続出するようになったためである。
English: Historically, Chinese literature had centered on verse, except for historical pieces and pieces about the philosophy of religion, and the oldest anthology of Chinese poems is "Shi Jing", which is one of the Five Classic Texts of Confucianism.
Japanese: 歴史や宗教哲学のものを除けば韻文が中心だった中国文学の歴史の中で、五経のひとつとして中国最古の詩編『詩経』が生まれた。
English: About 200 years after "Shi Jing", "Chu Ci" (Songs of Chu) was composed in the Chu dynasty and during the Han dynasty "Fu" style, which was descended from "Chu Ci", flourished.
Japanese: それから200年ほど後、楚の国で『楚辞』が生まれ、漢の時代にその系統を汲む賦が栄えた。
English: This collection and subsequent songs were also called "gafu."
Japanese: そこで集められた歌謡、あるいはそれ以後の歌謡は「楽府」（がふ）と呼ばれた。
English: Gafu were originally poems accompanied by music, but the music was lost as time went by and only the words and their titles were passed down.
Japanese: 楽府は詩に楽曲が伴ったものであったが、やがてその楽曲は失われ、楽辞と題のみが伝えられた。
English: In the empire of Cao Wei in the Three Kingdoms period, a father and his two sons (known as the three Caos) established kanshi as a national art: Emperor Wu Cao Cao, Emperor Wen Cao Pi, and Cao Zhi (192 - 232), most importantly the father Cao Cao.
Japanese: 三国時代(中国)の魏(三国)の武帝曹操、文帝曹丕、曹植（192年-232年）親子の三曹（特に曹操）が国家芸術としての漢詩を確立した。
English: Tao Yuan-Ming (365 - 427) was popular in the period of the Southern and Northern dynasties when culture, such as the tea ceremony, developed.
Japanese: 茶などの文化が発展した南北朝時代(中国)には、陶淵明（365年-427年）が活躍した。
English: Poetry starting to be composed outside the court in the period of the Tang dynasty, together with poets such as Li Bai (701 - 762), Du Fu (712 - 770), and Wei Wang, led to the increasing popularity of Chinese poetry.
Japanese: 唐の時代に入ると詩は宮廷を離れ、李白（701年-762年）、杜甫（712年-770年）、王維らによる詩の黄金期が築かれた。
English: Kanshi was born as Chinese literature but later it also began to be produced in Japan when Chinese civilization was introduced.
Japanese: 漢詩は中国文学の中で生まれたが、中華文明の伝来に伴い日本でも作られるようになった。
English: In 751 "Kaifuso" (Fond Recollections of Poetry), which is regarded as a very early collection of Kanshi in Japan, was compiled.
Japanese: 751年には日本におけるごく初期の漢詩集として『懐風藻』が編纂された。
English: In the ninth century, three chokusenshu (anthologies of poems collected by Imperial command) were compiled: "Ryounshu"(Higher Than Clouds) in 814, "Bunkashureishu" (Spectacular Phrase Collection) in 824, and "Keikokushu" (The Prosperous Country) in 827.
Japanese: 9世紀には、814年『凌雲集』818年『文華秀麗集』827年『経国集』と三つの勅撰集が編まれた。
English: It was not until "Kokin Wakashu" (Collection of Ancient and Modern Japanese Poetry) was compiled in 905 that waka (Japanese poetry written in Japanese characters rather than Chinese characters) stood on an equal footing to kanshi in Japanese literature.
Japanese: その後905年に『古今和歌集』が編纂されるまで、和歌は日本文学の中で漢詩と対等な位置を得られなかった。
English: In stories of the Heian period, the word "a poem" without any modifier meant a kanshi, and the Japanese reading of the word added next to it meant "Chinese song."
Japanese: 平安時代の物語などでは、「詩」と単に書けば漢詩を意味し、「からうた」という訓がつけられた。
English: Representative poets of these periods are Shushin GIDO, Chushin ZEKKAI or Sojun IKKYU ("Kyounshu" Mad Cloud Collection).
Japanese: 代表詩人には義堂周信、絶海中津があり、一休宗純には『狂雲集』がある。
English: The peak of Japanese kanshi was in the periods of Edo and early Meiji and many poets called "bunjin" (literati) were produced in the background of Neo-Confucianism.
Japanese: 日本漢詩の頂点は、江戸期から明治初期にかけての時期であり、朱子学を背景に「文人」と呼ばれる詩人たちを多く輩出した。
English: In the early Edo period, Jozan ISHIKAWA and Nissei were popular, and then the pupils of Sorai OGYU were known for colorful Tang style poems in the middle of the Edo period.
Japanese: 江戸前期の石川丈山、日政らの後、江戸中期には荻生徂徠の門人たちが派手な唐詩風で活躍した。
English: Although Japanese kanshi rapidly declined during the twentieth century, intellectuals who received an education of sinology such as Soseki NATSUME, Ogai MORI and Atsushi NAKAJIMA had a taste for kanshi.
Japanese: 20世紀以降は急速に衰退したが、夏目漱石や森鴎外、中島敦ら漢学教育を受けた文化人は漢詩をたしなんだ。
English: Even for those who do not produce Kanshi themselves, in the world of shigin or calligraphy, kanshi is a part of the basic culture as a thing to be read or viewed.
Japanese: また、みずからはつくらないのものの、詩吟や書道の世界では、漢詩はよむもの・みるものとして基礎的な教養の一部となっている。
English: However, kanshi produced in Japan of course does not consider the Chinese pronunciation and because of this many Japanese kanshi are regarded as poor in the light of the home Chinese standard (they don't sound beautiful when recited using Chinese pronunciation).
Japanese: ただし、日本で創作された漢詩は（当然の話ではあるが）中国語での発音を考慮していないため、それが原因で本場中国の基準からすると下手糞扱い（中国語発音で漢詩を吟じると響きがよくない）されるものが多いと言われる。
English: This is said to be because of the adverse effect of Chinese literature learning in Japan, where an excessive importance was attached to "kundoku" (reading Chinese texts as Japanese texts), rather than to "ondoku" (the Chinese-style reading of a character).
Japanese: これは日本の漢文学習で音読が軽視され、訓読が過度に重視された弊害とも言われる。
English: It is said that an original rhythm of a kanshi can be appreciated when using the classical Japanese pronunciation based on historical kana orthography although not using Chinese sound.
Japanese: 中国語音ではなくとも、日本語音、とりわけ歴史的仮名遣いであらわされた古典音で吟じた場合、本来の漢詩のリズムを味わうことができるとも言われる。
English: Kotai-shi refers to all kanshi produced before and in the period of the Tang dynasty and to kanshi which were produced after the period of the Tang dynasty but have an old form.
Japanese: 古体詩は唐以前に作られた漢詩の全てと唐以後に作られた古い形式の漢詩を言う。
English: On the other hand, kintai-shi (modern style poetry) is a kanshi produced based on the new style which was defined after the Tang dynasty.
Japanese: 他方近体詩は唐以後に定められた新しいスタイルに則って詠まれた漢詩である。
English: Kintai-shi are classified into zekku (quatrain) of 5 syllables, zekku of 6 syllables, zekku of 7 syllables, risshi (consisting of eight lines) of 5 syllables, risshi of 7 syllables, hairitsu (consisting of 12 or more lines) of 5 syllables and hairitsu of 7 syllables according to the number of lines and syllables in one line.
Japanese: 句数・１句の字数から五言絶句・六言絶句・七言絶句・五言律詩・七言律詩・五言排律・七言排律に分類される。
English: As well as in Japan, Kanshi were produced in Korea, Vietnam and the Ryukyu Islands as Chinese civilization was introduced.
Japanese: 朝鮮、ヴェトナム（越南）、琉球でも日本同様中華文明の伝来と共に漢詩が作られた。
English: However, due to the abolition of the use of Chinese characters in Korea and Vietman, the tradition of kanshi literature faced a serious crisis.
Japanese: しかし近代に至り、朝鮮、ヴェトナムで漢字が廃止されたため漢詩文学の伝統は大きな危機にさらされた。
English: Consequently, Chinese characters became unfamiliar to common people and the culture through which they could know their history was lost.
Japanese: 一般民衆で漢字が浸透していないため自分達の歴史を感じる文化が失われた。
English: It was expressed as 'Nenokatasukuni' (根堅州國) or 'Sokotsunenokuni' (底根國) in "Kojiki" (The Records of Ancient Matters), 'Nenokuni' (根国) in "Nihonshoki" (Chronicles of Japan), 'Nenokuni sokonokuni' (根の国底の国) or 'Sokonenokuni' (底根の国) in a Shinto prayer.
Japanese: 『古事記』では「根堅州國」（ねのかたすくに）・「底根國」(そこつねのくに）、『日本書紀』では根国（ねのくに）、祝詞では根の国底の国（ねのくにそこのくに）・底根の国（そこねのくに）と書かれる。
English: "Kojiki" explains that the entrance to the Nenokuni was Yomotsu Hirasaka (the slope that leads to Yominokuni, the land of the dead), which was the same entrance to Yomi (also known as Yominokuni) (see the section of a visit to Nenokuni in the article of the myth of Okuninushi [chief god of Izumo in southern Honshu Island, Japan, and the central character in the important cycle of myths set in that region]).
Japanese: 根の国は、その入口を黄泉と同じ黄泉平坂（よもつひらさか）としている記述が『古事記』にある（大国主の神話根の国訪問）。
English: In the Shinto prayer of purification carried out on the last day of June, however, the Nenokuni is the country beyond the ocean or the bottom of the sea rather than below ground.
Japanese: しかし六月晦の大祓の祝詞では根の国は地下ではなく海の彼方または海の底にある国としている。
English: Kunio YANAGIDA considered that it has been changed as the Nenokuni locates underground because the word 'Ne' in the Nenokuni was the same as 'Niraikanai,' the belief in the other world handed down in Ryukyu, and expressed as '根' (ne; literally means a root) in Chinese character.
Japanese: 柳田國男は、根の国の「ネ」は琉球の他界信仰である「ニライカナイ」と同じものであるとし、それに「根」の字が宛てられたために地下にあるとされるように変化したとしている。
English: In an opinion, originally Takamanohara (plain of high heaven) and the Nenokuni were located in the same level as Ashihara no Nakatsukuni (literally, "Central Land of Reed Plains," which refers to the human world), but Takamanohara was moved to upper so the Nenokuni was considered to be located underground.
Japanese: また、高天原も根の国も元は葦原中国と水平の位置にあったのが、高天原を天上に置いたために根の国は地下にあるとされるようになったとする説もある。
English: Anyway, people considered that the Nenokuni was underground, which led it to be identified with the Yominokuni, the land of the dead.
Japanese: いずれにしても、根の国が地下にあるとされたことで、それが死者の国である黄泉の国と同一視されるようになった。
English: In a Shinto prayer, sin and impurity were washed away to the Nenokuni, and it was considered the root of evil spirits and noxious vapor.
Japanese: 祝詞においては、罪穢れは根の国に押し流すとしていたり、悪霊邪鬼の根源とされたりしている。
English: On the other hand, "Kojiki" states that Okuninushi brought back a sword, a bow and arrow, and a koto (a zither-like Japanese musical instrument) that would be a basis of regal power from the Nenokuni, while Susano (god in Japanese Mythology) called the Nenokuni 'Haha no kuni' (the Dead Mother Country).
Japanese: 逆に、『古事記』では大国主が王権の根拠となる刀・弓矢・琴を根の国から持ち帰っていたり、スサノオが根の国を「妣（はは）の国」と呼んでいたりする。
English: From these things, it is considered that the Nenokuni was regarded as a world that had both positive and negative distinctions.
Japanese: これらのことから、根の国は正と負両方の性格を持った世界と捉えられていたと考えられる。
English: Kunio YANAGIDA claimed that the Nenokuni was originally the land of life and wealth (the root of the country) because the Nenokuni was cognate with 'nirai.'
Japanese: 柳田國男は根の国が「ニライ」と同根であるとの考えから、根の国は本来は生命や富の根源の地（＝根の国）であったとしている。
English: While some people claimed that it was obvious the Nenokuni was located underground, some have tried to interpret the myth realistically and guess where it was since old days.
Japanese: 根の国のあった場所は言うまでもなく地下であるという主張もあるが、一方で古くから神話を現実的に解釈し、地上のどこかに当てる説が行われた。
English: The burial mound which is said where Izanami was buried from ancient times is located in Yasugi City in Shimane Prefecture, which is located between Yonago City in Tottori Prefecture and Higashiizumo Town in Shimane Prefecture, where the place named Yomi is located and where a presumed location of Yomotsuhira-saka is placed, respectively.
Japanese: 特に、夜見（よみ）という地名のある鳥取県米子市と、黄泉平坂の比定地のある島根県東出雲町の間の島根県安来市には、古くからイザナミのものと伝えられる御神陵がある。
English: Because of this, Biten YASUMOTO wrote in his book, 'Yamatai Koku and Izumo Shinwa' (Yamatai Kingdom and Myths of Izumo), that the whole eastern part of Izumo was the Nenokuni.
Japanese: そのことからこの出雲東部一帯が根の国とする説が安本美典著「邪馬台国と出雲神話」では述べられている。
English: There is also a view that Kii Province, especially Kumano Sanzan (three major shrines, Kumano-Hongu-Taisha, Kumano-Hayatama-Taisha and Kumano-Nachi-Taisha), which had a close connection with Susano, was the Nenokuni due to the description in the myth that Okuninushi went to 'Kinokuni' (the land of Ki) before he visited the Nenokuni.
Japanese: また、大国主が根の国へ行く前に「木の国」へ行ったとの記述が神話にあることから、紀伊国、特にスサノオとの縁が深い熊野三山であるとする説もある。
English: Kumano has been a holy ground of the other world since ancient times where Izanami was buried according an arufumi (alternative variants) of "Nihonshoki."
Japanese: 『日本書紀』の一書にイザナミが熊野に葬られたとの記述もあるように、熊野もまた古来より他界信仰の霊地であった。
English: However, those who support the opinion of Izumo objected that they just associated 'ne' (a root) with 'ki' (a tree).
Japanese: ただし、出雲説を支持する立場からは、「根」からの連想で「木」を持ち出しただけであるとする反論もある。
English: The story was centered on three characters; the main character Bunzo, his female cousin Osei, and his friend Honda.
Japanese: 主人公の文三とその従姉妹のお勢、友人の本田の三人の姿を中心に描かれている。
English: It was Shimei's representative work written in a colloquial style that declared the beginning of the modern Japanese novel.
Japanese: 言文一致の文体（ダ体）で書かれた日本の近代小説の始まりを告げた作品で、四迷の代表作。
English: Dissatisfied with Shoyo TSUBOUCHI's "Essence of Novels," Shimei wrote this novel in rivalry with "Tosei shosei katagi" (The Character of Modern Students).
Japanese: 坪内逍遥の『小説神髄』を読んで満足しなかった四迷が『当世書生気質』に対抗して書いた。
English: At first this novel was published in the name of Yuzo TSUBOUCHI, the real name of Shoyo, who received half of the royalties as reward.
Japanese: 当初は坪内逍遥の本名「坪内雄蔵」の著者名で発表され、逍遥は報酬として印税の半分を受け取っていた。
English: Shimei, however, was not satisfied with the quality of the novel that kept him away from writing any novel for about twenty years.
Japanese: しかし四迷は出来に満足せず、この後約20年間ほど小説の執筆から離れてしまった。
English: He lost his job at a public office although he didn't made any particular blunder, and his pride couldn't allow him to ask his former superior for reinstatement and left him in agony.
Japanese: とくに何かをしくじったわけでもないが役所を免職になってしまい、プライドの高さゆえに上司に頼み込んで復職願いを出すことができずに苦悶する。
English: His friend Noboru HONDA, on the other hand, was shrewed man and making his way in life, so Bunzo's female cousin Osei who once was interested in Bunzo was now keen on Honda.
Japanese: だが一方で要領のいい本田昇は出世し、一時は文三に気があった従妹のお勢の心は本田の方を向いていくようである。
English: Osei's mother Omasa was also disgusted with Bunzo, who couldn't believe Osei's change of her mind but could do nothing about it while thinking about Honda and Osei in a self-centered way.
Japanese: お勢の母親のお政からも愛想を尽かされる中、お勢の心変わりが信じられない文三は、本田やお勢について自分勝手に様々な思いを巡らしながらも、結局何もできないままである。
English: Shimei was under strong influence of Russian literature, so he wrote "Ukigumo" based on coeval Russian author Ivan Goncharov's "Oblomov."
Japanese: ロシア文学から強い影響を受けた四迷は、同時代のロシアの作家イワン・ゴンチャロフの『オブローモフ』をこの作品のモデルにしたと言われている。
English: In the third chapter, Bunzo's monologues increased and the narrator stepped back to the background who was in the first chapter telling the story to the readers and notably seized the control of the story.
Japanese: 第三篇では文三の独白の部分が増大し、第一篇で顕著に見られた、読者への呼びかけをしながら物語をあたかも主導するような語り手の姿は背景に退いている。
English: As the story progresses, descriptions in the text and titles of chapters lose the touch of mocking or frivolous nature with elaborative choices of words.
Japanese: 文章中の描写や各章の名称においても、凝った見立てに基づいた戯作調の表現は物語が進むごとに次第になくなっていく。
English: Although this story is said to be incomplete, the third chapter is concluded with "The end".
Japanese: この作品は未完であると言われるが、第三篇の末尾には「終」と明記されている。
English: The story is still said to be unfinished because notes for this novel were discovered that seemed to be a plot of the sequel, so no one knows whether Futabatei regarded "Ukigumo" as unfinished or not.
Japanese: それでも未完とされるのは続編の構想と思われる作品メモが発見されたからであり、二葉亭の意思として未完であったかどうかはわからない。
English: In the first volume, Tsubouchi stated that the essence of novels is to describe human nature and description of the society and public morals should come next, and in the second volume he showed specific approaches.
Japanese: 上巻において、小説で大切なことはまず人情を描くことで、次に世の中の様子や風俗の描写であると論じ、下巻において具体的な方法を示す。
English: Japanese literature in the early Meiji Period can be classified in two main categories: gesaku literature (literary work of a playful, mocking, joking, silly or frivolous nature) literature based on gesaku in the Edo period and political novels to introduce Western thoughts and customs and enlighten the readers.
Japanese: 明治に入ってからの日本文学は、江戸の戯作の流れを汲む戯作文学か、西洋の思想・風俗を伝え啓蒙するための政治小説が中心だった。
English: However, in "Essence of Novels" Tsubouchi argued that literature should exclude moral and utilitarian aspects and focus on objective descriptions to emphasize psychological realism, and his opinion significantly contributed the birth of modern literature in Japan.
Japanese: が、『小説神髄』は道徳や功利主義的な面を文学から排して客観描写につとめるべきだと述べ、心理的写実主義を主張することで日本の近代文学の誕生に大きく寄与した。
English: Under the influence of Shoyo TSUBOUCHI, he further deepened the content critically in order to compensate for shortcomings of "Essence of Novels."
Japanese: 坪内逍遥に影響を受け、さらに批判的に内容を深め『小説神髄』の欠点を補う。