nntsuzu/KFTT huggingface dataset:
English: Among townspeople, tabo puffed out downward, called Fukurotsuki, was prevailing (although men did not practice nukiemon).
Japanese: 町人の場合は袋付という、下に膨らませた髱が主流になった(但し男性は抜き衣紋をしない)。
English: As for the female hairstyles, the popularity of Toro-bin declined, and the hairstyles almost same as the current ones, such as the following, took root in these days: Takashimada (a decorative female wig), Tsubushi shimada (a hairstyle worn by young unmarried women, courtesans and geisha), Yuiwata (a hairstyle like cotton wrapped up), Momoware (literally, split peach; a female hairstyle in kimono in which the bun is split and a red fabric is woven in the center), Marumage (a rounded hairstyle for married women), and Sakikogai (a variation of the Shimada knot with remaining hair arranged with a stick called "kogai").
Japanese: 女性の髪型は灯籠鬢の流行が下火になったが、高島田、つぶし島田、結綿、桃割れ、丸髷、先笄、等、ほぼ現行の髪型が、この時期に定着した。
English: Among common samurai families and townspeople, tabo was generally puffed out downward in the Kanto region and puffed a little round in the Kansai region.
Japanese: 一般武家、町人は、関東では下に膨らませる、関西では、少しだけ、丸く膨らませるのが主流になった。
English: With regard to the women's hairstyles, the western styles emerged on one hand, but on the other hand hairstyles that can be said to be hybrids between traditional styles and western styles, such as the followings, were invented to suit both western and Japanese clothes: Sokuhatsu (western hairdo), Yakaimaki (a bun hairdo which was popular in the Meiji Period), Mimikakushi (a bun hairdo which was popular in the Taisho Period), Yukuefumei mage (a bun hairdo without a topknot), and so on.
Japanese: 女性の場合は洋風の髪型が登場し始めた一方で、折衷ともいえる、束髪、夜会巻き、耳隠し、行方不明髷、等の洋服、和服双方に合う髪型も考案された。
English: Nihyakusankochi-mage, which was a popular hairstyle after the Russo-Japanese War, had forward protruding hair on the top front of the head and high tied hair at the top.
Japanese: 二百三高地髷（にひゃくさんこうちまげ）は、日露戦争後に日本で流行した髪形で、前髪を張り出すとともに頭頂部に束ねた髪を高くまとめていた。
English: Before the wartime regime was established, the traditional Japanese coiffures were still worn (along with thick makeup like Shironuri [white makeup]) only when women wore Japanese clothes.
Japanese: 戦時体制に入るまでは和服の場合に限り従来の日本髪(と、白塗りの厚化粧)も依然として結われた。
English: Although the Japanese coiffure culture almost perished except in kabuki (the traditional drama performed by male actors), period dramas, karyukai (the world of geisha), and the wedding industry, people today usually dress the new Japanese coiffure when wearing haregi (festive dress) in New Year's day and other occasions.
Japanese: 日本髪文化は歌舞伎、時代劇、花柳界、結婚産業以外では殆ど衰退したが現在では正月等の晴れ着の場合に新日本髪を結う場合が多い。
English: *Girls: before the secondary sex characteristics; Young women: unmarried women after the secondary sex characteristics; Married women: possibly include unmarried women aged 18 or older
Japanese: ※少女：第二次性徴前、妙齢：第二次性徴後の未婚、既婚：18歳以上の未婚を含む場合有り
English: Osuberakashi: a hairstyle of the women of both the nobles and the daimyo families from the Heian Period to early-modern times
Japanese: 大垂髪（おおすべらかし）：平安から近世にかけての貴族や大名家などの女性の髪形。
English: Warikanoko: A hairstyle with both stylishness and cuteness which gave an impression that Chigomage was made to lie flat backward.
Japanese: 割り鹿の子（わりかのこ）：稚児髷を後に寝かせた感じの粋と可憐を兼ね備えた髪型。
English: Gakuyaicho: This hairstyle was also called Hawase or Maeware, where hair is parted in the middle without making the forelock stand up.
Japanese: 楽屋銀杏（がくやいちょう）：はわせ、前割れともよばれる、前髪を立てずに中央で分けた髪型。
English: It refers to "Danjuro ICHIKAWA" (a stage name taken on by kabuki actors of the Ichikawa family) which is the "soke" (head of the family) of the Ichikawa family of kabuki, and during Danjuro's absence, it refers to one of the family heads of the soke, Ebizo ICHIKAWA, Shinnosuke ICHIKAWA, or Sansho ICHIKAWA (Refer to 'Naritaya').
Japanese: 歌舞伎の市川一門の宗家である市川團十郎をさす語、また團十郎が不在のときは宗家の当主である市川海老蔵・市川新之助・市川三升のいずれかをさす語→「成田屋」を参照。
English: It is to consider figuratively the successive Danjuro ICHIKAWA (during Danjuro's absence, it would be one of the family heads of soke, Ebizo ICHIKAWA, Shinnosuke ICHIKAWA, or Sansho ICHIKAWA) as the soke of kabuki, on the respect of being a special actor who represents kabuki, and especially as the founder and successor of their "oiegei" (the specialty of a family or a school of the performing arts), "aragoto" (dynamic performance of kabuki, featuring exaggerated posture, makeup, and costume) (Refer to 'Ichikawa-ryu').
Japanese: 代々の市川團十郎（團十郎が不在のときは宗家当主の海老蔵・新之助・三升のいずれか）が歌舞伎を代表する特別な役者であり、特にそのお家芸である荒事の創始者・継承者であることを尊重して、比喩的にこれを歌舞伎の宗家とみなすこと→「市川流」を参照。
English: Shuppinshu is an alcohol beverage brewed for the purpose of entering the shows or competition.
Japanese: 出品酒（しゅっぴんしゅ）とは、鑑評会などに出品される目的で製造されるアルコール飲料である。
English: Although shuppinshu has many points which come under other alcoholic beverages, this article particularly refers to Japanese sake.
Japanese: どの分野の酒でもあてはまる点も多いが、このページでは日本酒を念頭において記する。
English: Shuppinshu is regarded as the antonym of ryutsushu which is distributed and sold on the open market.
Japanese: 出品酒は、一般市場に流通し市販される流通酒（りゅうつうしゅ）の対義語としてとらえられる。
English: As shuppinshu is made with the best choices in all process including materials and brewing method, the finished product is a high-class sake.
Japanese: 出品酒は、原料、製法などすべての面において最高の選択肢を採用するため、出来上がりは高級酒である。
English: There is no point if ryutsushu are not sold well because of the high retail price, however high its quality is.
Japanese: 流通酒は、どんなに高級酒に仕上げても、小売価格が高くなって売れなければしかたがない。
English: So it is common to find a point of compromise to sell the sake at given price, only concerned whether it will turn a profit.
Japanese: だから、採算が取れるかどうかを心配して、ある一線で妥協することが通常だ。
English: On the other hand, as for shuppinshu the purpose is to show the high technique level of the sakagura (sake brewer).
Japanese: その点、出品酒の場合は、その酒蔵の技術水準の高さを公に披露することが目的である。
English: As they took no account of the profit for the brewery's honor, the brewed sake can become as much high-class as it is.
Japanese: 蔵の面目がかかっているために採算は度外視されるので、いくらでも高級酒になりうる。
English: Figuratively speaking, shuppinshu is equivalent to a Formula One car that draws the global attention and is made with the finest skills of the auto maker.
Japanese: たとえて言うならば、出品酒は自動車メーカーが世界中が注目しているF-1レース用に持てる技術の粋を結集して造った作品である。
English: On the other hand, ryutsushu is equivalent to a marchandise made by regarding the cost performance as important for daiy use, even though it is based on its slills.
Japanese: 流通通酒はその技術を基にしながらも日常の使用に即したコストパフォーマンスを重視して造った商品である。
English: But shuppinshu is brewed, bearing in mind that it is 'tasted' by the appraisers, tasters and critics.
Japanese: だが、出品酒は鑑評者や試飲者や批評家に「味わわれる」ことを念頭において造られる。
English: The tasters to appraise the sake first taste the sake in their mouth, then spit it into the enamel vessels set beside them.
Japanese: 鑑評する試飲者は酒を口の中で味わったあとは備えつけの琺瑯（ほうろう）に吐き出していく。
English: Because of these reasons, 'to be tasted' means that the taster holds the glass, smells the fragrance coming up from the sake, holds it in a mouth and appreciates it on every point of the tongue with smelling the sake.
Japanese: このような事情から、「味わわれる」とは、試飲者が酒のつがれた酒器をとり、上立香を嗅いで、口にふくみ、含み香を嗅ぎながら舌の隅々で鑑賞するまでのことでありる。
English: And the tasting does not mean the smooth sensation and kaeriga (fragrance after gulping down) that comes back to the mouth when you gulpe down.
Japanese: ゴクリと飲み込む喉越しや、飲んだ後に立ち返ってくる返り香などは味わわないことを意味する。
English: As a result, shuppinshu is brewed almost without considering the taste and fragrance after it is put into the mouth and gulped down.
Japanese: その結果、出品酒では口に含んだからあとの味わいや香りはほとんど考えないで造られる。
English: Teiseihakushu is a kind of Japanese sake developed around 2005.
Japanese: 低精白酒（ていせいはくしゅ）とは、2005年ごろ開発された日本酒の一種である。
English: In the making of sake, the more sakamai (rice for brewing sake) is polished, the more part around the rice grain which is cause of zatsumi (unfavorable taste of sake) is got rid of.
Japanese: 日本酒を造るために、酒米は精米すればするほど、完成酒の雑味の原因となる米粒の周囲の部分が取り除かれる。
English: In order to produce the high-class sake including Nihonshu Ginjoshu (high-quality sake brewed at low temperatures from rice grains milled to 60 % weight or less), it is considered that such high level rice-polishing technique, that is, low rice-polishing ratio, is indispensable.
Japanese: 日本酒吟醸酒を初めとする高級酒の製造には、こうした高度な精米技術、すなわち低い精米歩合は必須とされる。
English: However, before a vertical-type rice-milling machine which was developed in 1930's, sake was produced with low level rice polishing technique, that is, with sakamai of high polishing ratio.
Japanese: しかし1930年代に縦型精米機が登場する以前は、日本酒は低い精米技術、すなわち高い精米歩合の酒米で造られていた。
English: In that sense, it can be also said that teiseihakushu has been developed to seek the good old taste which sake originally had.
Japanese: その意味で、もともと日本酒が持っていた昔の良さを探究しているともいえる。
English: And as for regulations about the polishing ratio of junmaishu (sake made without added alcohol or sugar), there was a provision until 2003 that said 'junmaishu shall be made with polishing ratio of 70 percent or less.'
Japanese: また、純米酒の精米歩合をめぐる法規制として、平成15年（2003年）までは「精米歩合が70％以下のもの」という項目があった。
English: But, as the provision has been eliminated in 2004, it became possible to produce these kind of sake.
Japanese: だが、平成16年（2004年）以降それが削除されたため、こうした酒種の開発が可能になった。
English: In addition, the sake has been produced partly with a view to obtaining the customers in overseas market who are pleased with sake as 'wine made from only rice (rice wine).'
Japanese: また、日本酒を「米だけで造ったワイン（ricewine）」として喜ぶ海外市場をターゲットにした側面もある。
English: Nara Tokae is the annual event that has been held in Nara (mostly in and around Nara Park) in the early August (for ten days) since 1999 using the candles called toka (lantern).
Japanese: なら燈花会（ならとうかえ）は、1999年から毎年8月上旬（10日間）に、奈良市（奈良公園一帯）で開催される燈花と呼ばれるろうそくを使用した行事。
English: The event is named 'Tokae' because in Buddhism the lump is considered something auspicious.
Japanese: 仏教においてこれを縁起の良いものとすることに由来して「燈花会」と命名されている。
English: In the event fantastic and mysterious atmosphere is produced, and the festival has become established as one of the summer features in Nara.
Japanese: 幻想的かつ神秘的な雰囲気が演出され、奈良における夏の風物詩として定着した。
English: Sometimes the residents' communities and shopping arcades hold their own Tokae during this period.
Japanese: 奈良市内の各自治会や商店街がこの期間独自で燈花会を開催することがある。
English: At first the floating candles made from commercially available normal paraffin were used.
Japanese: 当初のろうそくは、通常のパラフィンを使用した一般的に市販されている材質の物によるフローティングキャンドルであった。
English: In around 2003, however, the candles were changed into the ones made with natural material and eco-friendly palm oil so that deer may not be poisoned if they should eat them.
Japanese: だが、2003年頃に、自然環境に優しいパーム油脂を使用し、万が一鹿が口にしても安全な天然由来素材を使用した物に変更した。
English: The candles made from natural materials emit little soot, so, as a result, the number of cleaning up the cups that hold candles has decreased.
Japanese: この天然由来のろうそくは煤がほとんど出ないため、結果的にろうそくを受けるカップの清掃作業回数も削減された。
English: Since 2005 colored cups started to be used, making the festival more colorful.
Japanese: 2005年からは、カラーカップも使用し、色に因るデザイン化も図っている。
English: The most of the cups currently used are 'non-burnable cups' with which incombustible materials are used, and by doing so further safety measures have been taken.
Japanese: 現在使用している大半の物は不燃材料を使用した「燃えないカップ」になり、更なる安全対策を施した。
English: The number of 'registered volunteers' that do the work of lightening the candles and cleanup for the days during the festival is about from 200 to 300 a day.
Japanese: 当日の火付け点灯・後かたづけなどを行う当日の「登録サポーター」は一日当たり200人から300人前後である。
English: So the festival is managed by 400 per day and in total 4000 volunteers.
Japanese: このため、合計一日当たり400人、延べ4000人程度のボランティアで運営している。
English: Ikkyaku Itto, the visitors can light their own candles and put them on the festival site (500 yen).
Japanese: 一客一燈-客が自分でろうそくに火を燈し、並べることができる（500円）。
English: Honoakari Live (concert), the live concert in which invited various instrument players and vocalists perform concert surrounded by the light of the candles.
Japanese: ほのあかりライブ-様々な楽器演奏者や声楽者を招きろうそくの明かりに囲まれて行うライブ。
English: Award in the field of the industry and environment in the 7th Furusato Award by Japan Center for Regional Development
Japanese: （財）地域活性化センター　第7回ふるさとイベント大賞　産業・環境部門賞受賞
English: Get off the bus at 'Himuro-jinja National Museum' or 'Daibutsuden Kasuga-taisha mae' of the outer loop of the Nara Kotsu City Loop Bus.
Japanese: 奈良交通市内循環バス外回り「氷室神社・国立博物館」･「大仏殿春日大社前」下車。
English: The name of the work often appeared in '能之留帖' written by Nakataka SHIMOTSUMA who was an amateur Noh actor in the late Sengoku Period (period of warring states).
Japanese: 戦国時代(日本)末期の素人能役者下間仲孝の演能記録「能之留帖」に頻出している。
English: As Tokitsune YAMASHINA gave a commentary to it by the order of Hideyoshi TOYOTOMI, it is also a Noh play that has been loved since the period.
Japanese: また、豊臣秀吉の命をうけて山科言経らが注釈をするなど、その当時からよく好まれた能である。
English: A stage setting of a white platform with white arrows sticking in it and props are set on the stage by koken (stage assistant).
Japanese: 舞台には、白い壇に白羽の矢が立った能作リ物、小道具が後見の手ですえらる。
English: Arriving at Kamo Shrine, the priest sees a platform with a white arrow sticking it built on the riverside.
Japanese: 賀茂社についたところで、川辺に壇がつくられ白羽の矢が立っているのを見る。
English: Then two young women appear there and sing 'We have come to this riverside of Kamo to draw clear water.'
Japanese: そこに若い女が二人あらわれ、「御手洗や清き心に澄む水の賀茂の河原にいづるなり」と歌う。
English: I'm a priest of Muro and it seems that you enshrine a god by building a platform and sticking an arrow into a piece of white cloth, but is there any special reason for doing so?'
Japanese: 「自分は室の神官です。この川辺に壇を築き白い布に白羽の矢をたてて、神を祭っておられるようですが、これはどのようないわれがあるのでしょう。」
English: A woman named Hada no Ujinyo who used to live in this place drew water from the river mornings and evenings to offer the god.
Japanese: 「昔この地に住んでおりました秦の氏女という女性が、朝な夕なこの川の水をくみ、神にたむけておりました。
English: Taking it home, she put it on the eaves of her hermitage, and she got pregnant and gave birth to a boy baby.
Japanese: それを持ち帰って庵の軒にさしておりますと、女は懐妊して男児を産みました。
English: Asked by the people who his father is when the boy was three, the mother answered that this arrow is his father.
Japanese: この子が三歳になったとき、父はだれだと人々がいいますので、氏女はこの矢ですと申しました。
English: Upon the answering, the arrow suddenly turned into a thunder and up went to the heaven and become the figure of a god.
Japanese: すると、たちまち、その矢は雷となり、天にのぼって、神の姿となったのです。
English: Another woman says, 'The boy and his mother has now turned into two gods, and the three gods are enshrined as the three gods of Kamo.
Japanese: もう一人の娘は「その母子も神となって、賀茂の三柱の神としてまつられています。」という。
English: The women quote a waka (Japanese traditional poem of thirty one syllables) by KAMO no Chomei in Shin Kokinshu (Japanese literary anthology) 'ishikawaya semi no ogawa no kiyokereba (if the stream in Semi is clear)' and then they start to dance.
Japanese: 女たちは「石川やせみの小川の清ければ」と、新古今集にある鴨長明の和歌をひき、やがて舞になる。
English: They quote the names of the rivers of Kibune-gawa River, Oi-gawa River and Kiyotaki-gawa River one after another, sing old poem related to the rivers and dance together.
Japanese: 貴船川、大井川、清滝川と次々に川の名前をつらね、それにまつわる古歌を謡い、連れ舞する。
English: Then the women answers by saying, 'We will tell you only our names. We may be royal gods related to the white arrow of mayumi (archery).' and leave the scene.
Japanese: すると、女は「名ばかりは白真弓のやごとなき神ぞかし（名ばかりは知らせましょう、わたしたちは、白い真弓の矢にゆかりの、やんごとない神かもしれません）」と、言い残して、退場する。
English: Massha no kami says that the god of Kamo is pleased with the priest's visit and he will dance because he was ordered to dance by the god.
Japanese: 室の神官の参拝を賀茂の神が喜んでおられ、舞を舞えと命じられたので舞うという。
English: The god plays Taikomono (music of Noh with Taiko, a drum) valiantly singing 'When the time of Narukami arrives, gokokuhojo (bumper crop of cereals) protects the land.'
Japanese: 「鳴神の鼓の時も至れば、五穀豊穣も国土を守護し」と謡いつつ勇壮な働事太鼓物をする。
English: Ichomage is the most popular men's hairstyle through the Edo period.
Japanese: 銀杏髷（いちょうまげ）とは江戸時代を通して最も一般的だった男性の髪形を指す。
English: ('Chonmage' commonly known nowadays refers to this hairstyle; however, 'Chonmage' was originally a poor-looking hairstyle worn by thin-haired old men, and is a completely different thing.)
Japanese: （現在一般に「ちょんまげ」と呼ばれるのはこの髷のことだが、本来の「丁髷」は髪の少ない老人などが結う貧相な髷を言う言葉でまったくの別物。）
English: The front part of the head is shaved, and the rest of hair is tied into a topknot, which is folded on the top of the head with its ends splayed out to form a ginkgo leaf (in many cases, the ends of the topknot are not splayed out elaborately).
Japanese: 月代（さかやき）を剃り、髻を作って頭頂部に向けて折り返しその先（刷毛先）を銀杏の葉のように広げたもの（広げない場合も多い）。
English: Men's hairstyles of the warrior class were characteristically arranged in such a way that a topknot was made long, the front part of the head was shaved narrowly, sideburns were left natural, and the back part was tied tightly so as to look simple and austere.
Japanese: 武家の男髷の特徴は、髷が長く、月代は狭く側頭部の生え際（小鬢）を自然のままに残す、髱は、ひっつめて質実剛健な感じにすること。
English: However, some of Yoriki (police sergeant), who had to disguise themselves as townspeople for the sake of their duties, shaved their hairline straightly just like townspeople.
Japanese: ただし、任務の都合上、町人に変装することもある与力などには町人と同じように生え際をまっすぐにそり落とすものもいた。
English: Many of them were said to be fashionable and worthy of being called 'Edo no san otoko' (men with three popular occupations in Edo: Yoriki [a police sergeants], Rikishi [a sumo wrestler], and Hikeshi [a fireman]).
Japanese: 「江戸の三男」（えどのさんおとこ）にふさわしい粋な人物が多かったらしい。
English: Except some dandies, many samurai warriors including 'Asagiura' (a country samurai), who was a typical example of a rustic fellow, were fond of Oicho (a more elaborate form of Ichomage).
Japanese: 野暮の代名詞である「浅黄裏」をはじめ、一部のしゃれ者を除いた武士の多くには大銀杏が好まれた。
English: Characteristically, the U-shaped part of the topknot called magejiri protruded straightly from the back of the head, and the topknot was longer than that of townspeople's Ichomage, and the end of the topknot slightly touched the top of the head almost without being crushed.
Japanese: 髷尻と呼ばれる髷の折り返しの元の部分が後頭部より後ろに真っ直ぐ出っ張っているのが特徴で、町人の銀杏髷より髷が長く、髷先は頭頂部に触れるくらいで刷毛先はほとんどつぶれない。
English: Especially, some unsophisticated feudal lords in local provinces showed off the thick and long topknot, which stuck out from the top of the head, as if they put a semicylindrical-shaped Kamaboko (fish sausage) on their head.
Japanese: なかでも野暮ったい田舎の藩主などは頭頂部より前にのめりだすような、まるで蒲鉾をくっつけた状態の太長い髷をこれ見よがしに結うものもいた。
English: Yoriki called 'Fujo yakunin' (dirty officials), who lived among townspeople to be engaged in criminal investigation, arranged their hair more stylish similar to townspeople's Ichomage.
Japanese: 武士ではあるが、町人の中に住まって犯罪捜査に従事する「不浄役人」の与力はもっと町方風の粋な銀杏髷を結っている。
English: One example was neat and tidy looking 'Hosohake Shoicho' (small ginkgo leaf style), in which the ends of the topknot were splayed lightly, and the front part of the head was widely shaved; so it is equally close to both hairstyles of samurai and townspeople.
Japanese: 髷先を軽く広げ月代の広いサッパリとした「細刷毛小銀杏」がそれで、町人とも武士とも見分けがつきにくい。
English: Ronin (masterless samurai), who also lived among townspeople, saved their money by not shaving the front part of the head neatly and left the hair growing which looked like close-cropped hairstyle.
Japanese: 同じ街中で暮らすにしても浪人などは月代をきれいに剃らず節約のため五分刈り状態で伸ばしていた。
English: So-called 'Edokko' (a person born and bred in Edo) was particular about his hairstyle and frequently visited a barbershop to have his hair cut neatly, so that the barber shop became a good meeting place.
Japanese: いわゆる「江戸っ子」は髪形に気を使っていて、いつもきれいに剃りあげようと散髪屋に足しげく通ったために散髪屋が社交場になるほどだった。
English: Townspeople were definitely fond of 'Shoicho' hairstyle; however, a slight difference came out according to occupation.
Japanese: 彼らの好みはやはり「小銀杏」だが、ここでも職業によって微妙に違いが見られる。
English: The ends of the topknot, which was barely seen from the front, almost slid down the head, and the U-shaped part of the topknot was very short and compact.
Japanese: 正面からはちらりとしか見えない髷先などは頭から落ちかけているような状態で、髷尻もぽっちりとして短く小さい。
English: Additionally, spirited craftsmen were fond of the hairstyle in which the U-shaped part of the topknot was bent up at the tip, and the ends of the topknot that was fairly thick and short were roughly splayed out to look manly.
Japanese: 一方、伝法肌の職人は、髷尻短く反りあがり、全体に太短い髷は先を散らして男っぽく結い上げる。
English: In contrast, craftsmen who were fond of simple styles made the topknot thin, and twisted the ends of the topknot sideways a little.
Japanese: 逆にすっきりした髷が好みの職人は細い髷にして刷毛先を粋にちょっと曲げてみたりなどもした。
English: Young girls had "Keshibozu" hairstyle (the hair shaved except at the top of the head like a poppy's fruit) until the age of six to eight; however, after that, they began to wear their hair long.
Japanese: 6～8歳くらいまでは少女も芥子坊主だが、これを過ぎると髪の毛を伸ばし始める。
English: Young girls also had hairstyles like Ichomage and Ichokuzushi (a variation of Ichomage) (called 'Takenofushi' in the Kansai Region) until their hair grew long enough to wear Yuiwata (hair style like cotton wrapped up), Momoware (literally, split peach; female hair style in kimono that the bun is split and a red fabric woven in the center), or Chigomage (hairstyle for kids) hairstyles (Sometimes they had also Otabakobon hairstyle [hairstyle resembling a handle of a tobacco tray]).
Japanese: 十分に伸びて結綿、桃割れや稚児髷を結える様になるまでの間、少女も銀杏髷や銀杏崩し（関西では「竹の節」と呼ばれる）を結う（おたばこぼんの場合もある）。
English: Tekomai, which is now performed mostly by young women in festivals, originated from geisha in male clothing.
Japanese: 現在は祭りで若い女性が扮する場合が多い手古舞は元々は芸者の男装に由来。
English: It was first performed by Danjuro ICHIKAWA (the second) at Kawarazaki Kabuki Theater in 1737.
Japanese: 元文2年（1737年）、江戸河原崎座で、市川團十郎(2代目)により初演された。
English: It is a story about TAIRA no Kagekiyo sneeking into the Mikawa no Kami (Governor of Mikawa Province), Noriyori's castle disguised as Cho Hi in order to murder him since he was going after the throne, and meets Shigetada HATAKEYAMA disguised as Kanu from Setsu, and shows aragoto.
Japanese: 皇位をうかがう三河守範頼をとどめるため、平景清が張飛に扮して範頼の館へ忍びこみ、折から関羽に扮した畠山重忠が来合わせたのとともに荒事芸を見せる話。
English: It has long been unperformed, so the detailed storyline is unknown, but it was said to have been a peculiar aragoto which shows the actors riding on horses, being full beard, and in Tang dynasty Chinese costume, with using "Seiryuto" (machete).
Japanese: 長らく上演が途絶えていたためにくわしい筋はよくわからないが、馬に乗り、大髭、唐装束、青竜刀を用いての一風変った荒事だったらしい。
English: Its detail has not been handed down, but there was a "mie" (a pose) of Kanu by stroking his beard, and this 'Kanu-mie' (a pose of Kanu) has come down up to now (such as in "Heike nyogo no shima" (The Heike and the Island of Women).
Japanese: 細部はほとんど伝わっていないが、関羽が髭をしごいて見得をきる型があったらしく、これが「関羽見得」として現在まで伝わっている（『平家女護島』など）。
English: Sadanji ICHIKAWA (the second) in Taisho period, and Shoroku ONOE (the second) in 1965, both revived the performances respectively.
Japanese: 大正期に市川左團次(2代目)が、昭和40年(1965年)に尾上松緑(2代目)がそれぞれ復活上演した。
English: In 1699, Danjuro ICHIKAWA (the first) first performed at Edo Nakamura-za Theater.
Japanese: 元禄十二年(1699年)、江戸中村座において、市川團十郎(初代)により初演。
English: The story is about an extermination of the vengeful spirit of Fujitsubo driven by jealousy, but the script has not been handed down, so its detail is unknown.
Japanese: 嫉妬にかられた藤壺の生霊を退治する内容らしいが、台本が伝わらないため詳細は不明。
English: It had long been unperformed, but was revived by Sansho ICHIKAWA (the fifth) (scripted by Shiko YAMAZAKI) in 1936, and by Shoroku ONOE (the second) (scripted by Ginsaku TOBE) respectively.
Japanese: 長らく上演が絶えていたが、1936年に市川三升(5代目)（山崎紫紅脚本）や1986年に尾上松緑(2代目)（戸部銀作脚本）によってそれぞれ復活上演された。
English: Imagination inspired by such as "nishikie" (colored woodblock prints) was widely added to the both stories.
Japanese: 内容的には、いずれも錦絵などを参考にして想像を大幅に加えたものである。
English: The first performance was presumably Tokimune SOGA in "Kokusenya Takenuki Goro" (Coxinga and Bamboo-Uprooting Goro) played by Danjuro ICHIKAWA (the second) at Edo Nakamura-za Theater in 1727.
Japanese: 享保12年(1727年)、江戸中村座の『国性爺竹抜五郎』（こくせんや・たけぬき-ごろう）において市川團十郎_(2代目)が勤めた曾我時致が初出か。
English: It is about the main character who wears striking style of red facial makeup, jirkin with gold rivets, an upswept wig, belted three swords, a hat of woven bamboo and a straw raincoat, carries a green bamboo and appears on a stage, then pushes evil or vengeful spirits which are trying to reach "hanamichi" (a passage through audience to stage) back on the main stage.
Japanese: 主人公が紅筋隈、鋲打ちの胴着、菱皮鬘、三本太刀の格好に、竹の子笠・蓑を身につけ、大青竹をかかえて登場し、悪霊・怨霊などが花道に来ようとするのを本舞台に押しもどす、といった内容。
English: Nowadays oshimodoshi appears at the climax of "Narukami" (The Rolling God) and "Musume Dojoji" (The maiden at Dojo-ji Temple) (although it depends on the form of acting).
Japanese: 現在では『鳴神』や『娘道成寺』の最後に押戻が登場する（ただし型による）。