nntsuzu/KFTT huggingface dataset:
English: His first son Hinasuke ARASHI took the role of Goemon as well in 1800 when "Sanmon Gosan-no-kiri" was performed in Edo for the first time.
Japanese: その長男の嵐雛助は、寛政12(1800)年に『楼門五三桐』が江戸で初演された時に五右衛門を演じている。
English: Unlike his father, Hinasuke excelled at acting as 'tachi-yaku' (male part); he was successful in the role of Goemon and he also played Goemon on other programs many times.
Japanese: 父とは打って変わって二代目は立役を得意とした立役で、その豪快な五右衛門は一躍彼の当たり役となり、『山門』以外の演目でも五右衛門を何度も演じている。
English: His performance had a great influence on the later performances of Goemon beyond generations.
Japanese: この二代目の演技が後々まで歌舞伎の石川五右衛門のあり方に大きな影響を与ることになった。
English: The role of Goemon requires not only technique but also broad-mindedness of the actor himself.
Japanese: 五右衛門は演じる役者の技量もさることながら、役者の人間の大きさも必要な役どころといわれる。
English: For that reason, in the Meiji era, some connoisseurs to believe that Goemon by Shikan NAKAMURA (the fourth) was better than Goemon by Danjuro ICHIKAWA (the ninth) who was highly respected and called 'Geki-sei' (saint of play).
Japanese: その意味で、明治期に「劇聖」と呼ばれた市川團十郎(9代目)の五右衛門よりも、同時期の中村芝翫(4代目)の五右衛門の方が見ごたえがあると評した歌舞伎通も多かった。
English: In recent years, Enjaku JITSUKAWA (the second)'s performance as Goemon has is still said to be especially wonderful when he acted in Tokyo Gekijo Theatre in May, 1950; that performance was even recorded in a movie.
Japanese: 近年では昭和25(1950)年5月に實川延若(2代目)が東京劇場で演じた五右衛門が後世に語り継がれるほどの名舞台で、映画にも記録された。
English: At that time, Enjaku had difficulty with his legs so he couldn't move smoothly,.However, in the movie, his Goemon is so powerful that the audience is sighed with admiration.
Japanese: すでに延若は脚が不自由になっており、動くことすら困難を伴う状態だったが、その五右衛門の迫力は圧巻で、記録映画では観客が感嘆のどよめきを漏らすのを聞き取ることができる。
English: In order to record Enjaku's Goemon as one of the excellent performances filling the history of kabuki, a tapestry was woven based on the picture by Katsuyuki NABEI, and it is hung in the lobby of Kabuki-za Theatre.
Japanese: 延若の五右衛門は歌舞伎史に残る名演として、鍋井克之の画によりタペストリーに織られ、歌舞伎座のロビーに飾られている。
English: As in every kabuki, "Sanmon" gains additional attraction when it is performed by first-class actors.
Japanese: なお他の歌舞伎の演目がどれもそうであるように、『山門』も大看板の組み合わせで上演されるとその魅力は倍増する。
English: In 1931, when Utaemon NAKAMURA (the fifth) played Goemon and Ganjiro NAKAMURA (the first) played Hisayoshi, every day during the performance, audience shouted against the actors on the stage: "Futari de Nisen-ryo!" (You two are worth two thousand ryo)
Japanese: 昭和6(1931)年に中村歌右衛門(5代目)の五右衛門と中村鴈治郎(初代)の久吉で行った公演では、連日大向こうから「二人で二千両！」という掛け声がかかったという。
English: As the nickname suggests, one of the highlights of "Sanmon" is when the set of Sanmon Gate of Nanzen-ji Temple comes up from below the stage by the mechanism of seri (trapdoor), and if there were no seri, Hisayoshi couldn't appear on the stage and the story couldn't go on.
Japanese: 『山門』はその通称が語るように南禅寺山門がせり上がるところが大きな見所だが、そもそもこのせり上げができないと久吉が舞台上に登場できないので話にならない。
English: In the past, the Minami-za Theatre of Kyoto, which had been as famous as the Kabuki-za Theatre of Tokyo, had 'ko-zeri' for moving actors, but however, didn't have 'o-zeri' for moving big sets, so one of the masterpieces of kabuki "Sanmon" hadn't been performed in the theatre for a long time.
Japanese: ところが東の歌舞伎座と並び称される西の京都南座には、役者を上げ下げする「小迫り」はあっても大道具を上げ下げできる「大迫り」がなかったので、歌舞伎の代表作の一つであるこの演目を上演することが長らく出来なかった。
English: Later, after major repairs, an o-zeri was built and "Sanmon" was performed for the first time in the theatre as the kaomise (opening of the season) of 1991, at that time, Nizaemon KATAOKA (the thirteenth) played Goemon and Baiko ONOE (the seventh) played Hisayoshi.
Japanese: 大規模な改修工事の末大迫りが装備され、山門が舞台上にその姿を初めて現したのは平成3(1991)年の顔見世、十三代目片岡仁左衛門の五右衛門、七代目尾上梅幸の久吉で演じられた時だった。
English: The Goemon's line at the opening was originally simpler: "Someone says that a spring view is worth one thousand ryo, however, that is a small comparison; to me, it is worth ten thousand ryo."
Japanese: 冒頭の五右衛門の台詞は、初演当初は「春の眺めは値千両とは小さい譬（たと）え。この五右衛門の目からは値万両」という簡略なものだった。
English: That original line had been added exaggerations and repetition such as "chi-se-e, chi-se-e" (small, small), "atai man-ryo, man-man-ryo" (worth ten thousand ryo, hundred million ryo), at last some actor said, "man-ryo, man-ryo, man-man-ryo" (ten thousand ryo, ten thousand ryo, hundred million ryo).
Japanese: これがいつしが誇張されて「小せえ、小せえ」「値万両、万々両」のリフレインになり、なかには「万両、万両、万々両」と言ったものまであった。
English: With regards to the exaggerations about the money, once Mitsugoro BANDO (the eighth) had commented: "It is just like a business city."
Japanese: このように金額がどんどん膨らんでゆくさまを坂東三津五郎(8代目)は「いかにも商都らしいね」と評したことがある。
English: "Sangaku" means mathematical puzzles or solutions described on wooden tablets or set in frames, which were dedicated to Shinto shrines or temples during the Edo Period in Japan.
Japanese: 算額（さんがく）とは、江戸時代の日本で、額や絵馬に数学の問題や解法を記して、神社や寺院に奉納したものである。
English: It is said that each sangaku was dedicated by a person who had solved the mathematical puzzle, as a token of his gratitude to the gods and in hope that he would devote more efforts to his studies.
Japanese: 算額は、和算において、数学の問題が解けたことを神仏に感謝し、ますます勉学に励むことを祈念して奉納されたと言われる。
English: Gradually, shrines and temples gathering people became places where mathematical puzzles were published, and some dedicated difficult puzzles or puzzles without attaching solutions, while others dedicated solutions of the puzzles or puzzles reconstructed based on them.
Japanese: やがて、人びとの集まる神社仏閣を数学の問題の発表の場として、難問や、問題だけを書いて解答を付けずに奉納するものも現れ、それを見て解答や想定される問題を再び算額にして奉納することも行われた。
English: No such custom can be found in any other country in the world and the culture of dedicating mathematical puzzles is said to be unique to Japan.
Japanese: このような算額奉納の習慣は世界中をみても他に類例がなく、日本独特の文化といわれる。
English: The culture clearly represents the Japanese way of thinking, in which even mathematics is regarded as 'accomplishments of art' and some of the puzzles have been designated as Important Cultural Properties or Folk Cultural Properties.
Japanese: 数学をも「芸道」ととらえる日本人の思考法がよくあらわれており、その一部は重要文化財や文化財民俗文化財に指定されている。
English: The culture of dedicating mathematical puzzles is appreciated as having served as a catalyst for introducing Western-style mathematics into Japan in the Meiji Period.
Japanese: 明治時代になると、日本には西洋式数学が導入されることとなったが、算額奉納の風習は、この導入を容易にしたとも評価されている。
English: According to the survey conducted in 1997, there are 975 surviving sets of sangaku in Japan.
Japanese: 1997年（平成9年）に行われた調査結果によると、日本全国には975面の算額が現存している。
English: Among those existing sangaku, the one bearing the earliest date is sangaku of the year 1683 dedicated to the Hoshinomiya-jinja Shrine located in Sano City, Tochigi Prefecture.
Japanese: これら現存する算額で最古の記年銘をもつものは栃木県佐野市の星宮神社に奉納された天和(日本)3年（1683年）のものであった。
English: According to "Sangaku Enteiki "(detail of sangaku) written by Yoshimasu MURASE in 1681, there were sangaku at various parts of Edo in the middle of the 17th century, and examples dedicated to the Meguro Fudo temple are described in the book.
Japanese: 延宝8年（1681年）の村瀬義益『算学淵底記』によれば、17世紀中頃には江戸の各地に算額があったことが記されており、ここでは目黒不動の算額の問題が紹介されている。
English: In the latter half of the 17th century, sangaku puzzles were collected and compiled as mathematical books and the first one among those published as books is said to be "Shinpeki Sanpo" (Perfect Mathematics or Mathematics on God's wall) of the year 1789, which was edited by Sadasuke FUJITA.
Japanese: 17世紀後半には算額に書かれた問題を集めて数学書にするものも現れ、出版物としての算額集の最初は寛政元年（1789年）藤田貞資『神壁算法』とされる。
English: The culture of dedicating sangaku prevailed nationwide in the mid-Edo Period, and particularly its popularity peaked in the Kansei, kyowa, Bunka and Bunsei eras (1789 to 1829) that, as records say, sometimes gathered more than 100 dedications annually.
Japanese: 算額奉納の習慣は、江戸中期に入ると全国的に盛行し、とくに寛政・享和・文化(元号)・文政のころは最も隆盛し、1年に奉納数が100を越えたこともあったといわれている。
English: Recently, there are movements for reappraising the value of sangaku in various places of Japan and in some areas, the number of people who dedicate sangaku to shrines and temples is increasing.
Japanese: 近年、算額の価値を見直す動きが各地でみられ、一部では算額を神社仏閣に奉納する人びとも増えている。
English: Although most of these sangaku are not based on the traditional Japanese wasan, this cultural trend itself is interesting anyway in that it shows Japanese people's liking for mathematics.
Japanese: これは直接和算の伝統を受け継いだものではないことが多いが、いずれにしても日本人の数学好きをあらわす文化事象として興味深い。
English: Tohoku and Kanto regions have many of the existing sangaku and the prefecture that has the largest number of sangaku is Fukushima Prefecture with 103 sets, followed by Iwate Prefecture with 93 sets, Saitama Prefecture with 91 sets and Gunma Prefecture.
Japanese: 現存する算額は関東地方や東北地方が多く、もっとも多いのが福島県の103面、次いで岩手県93面、埼玉県91面、群馬県などとなっている。
English: Kijimadaira-mura Village of Nagano Prefecture, having eight old sangaku is an example of a small mountainous village having an extremely dense distribution of sangaku.
Japanese: 長野県木島平村の算額8面は、山間部の小村としてはきわめて濃密に分布している例である。
English: Also, Isaniwa-jinja Shrine located in Matsuyama City, Ehime Prefecture, has 22 old sangaku dedicated thereto, and the number is the largest among those known to have survived in one location.
Japanese: また、愛媛県松山市の伊佐爾波神社には22面の算額が奉納されており、これは1箇所で確認されているものとしては最多である。
English: Those sangaku remaining in Isaniwa-jinja Shrine were compiled into a pictorial record "Dogo Hachiman Isaniwa-jinja no sangaku" (sangaku of the Dogo Hachiman Isaniwa-jinja Shrine) and published by the shrine.
Japanese: 伊佐爾波神社の算額については、『道後八幡伊佐爾波神社の算額』として図録にまとめられ、同神社より発行されている。
English: Kugeaku is a role in Kabuki, representing a noble (Kuge) of high rank who plots to usurp the imperial throne.
Japanese: 公家悪（くげあく）は歌舞伎の役柄の一つで、皇位を奪おうとする身分の高い貴族（公家）を表している。
English: He wears a wig called "Oji" with a deformed style of long hair, and a beard called Higekazura.
Japanese: 「王子」とよばれる長髪をデフォルメした鬘と鬚鬘とよばれる顎鬚をつけている。
English: He is dressed up as above to represent a great evil because he attempts to rule the world with his superhuman power and authority.
Japanese: 超人的な力を持ち権力を操り天下を狙うので上記のような扮装で巨悪を表現する。
English: After the Meiji period, actors like Utaemon NAKAMURA the fifth, Mitsugoro BANDO the eighth and Nizaemon KATAOKA the third gave great performances as Kugeaku.
Japanese: 近代では五代目中村歌右衛門・八代目阪東三津五郎・十三代目片岡仁左衛門などが公家悪に優れた演技を示していた。
English: "Imose-yama Onna Teikin" (Proper Upbringing of a Young Lady at Mount Imose) is a play of Ningyo Joruri (traditional Japanese puppet theater) and Kabuki.
Japanese: 妹背山婦女庭訓（いもせやまおんなていきん）は、人形浄瑠璃及び歌舞伎の演目。
English: It is a great work in the life of Hanji CHIKAMATSU, and it is legend that its success revived Takemoto-za Theater that almost went bankrupt.
Japanese: 近松半二の畢生の大作で、つぶれかけていた竹本座がこの作品のヒットで息を吹き返したという伝説を持つ。
English: It is set around the times of the Taika Reforms in 645, rather old times among the plays of Gidayu Kyogen (Kabuki adaptation of the puppet theater).
Japanese: 大化の改新（645年）前後を舞台としており、時代設定としては義太夫狂言中かなり古い。
English: SOGA no Iruka, son of Emishi, is meditating, being upset at his father's violent act, and thinking deeply, he reproves his father.
Japanese: 蝦夷の子蘇我入鹿は、父の暴挙に怒り座禅をしているが、思いつめて父に意見する。
English: Emishi, getting furious, kills his wife and tells Iruka to hand over the covenant of rebellion, but then Daihanji Kiyotsune and ABE no Chunagon (middle councilor ABE) come to investigate the rebellion of Emishi.
Japanese: 怒った蝦夷は妻を斬り、入鹿に謀反の連判状を渡すよう詰め寄るが、蝦夷謀反の取り調べに大判事清常と安倍中納言が来る。
English: Iruka has superhuman power because his father Emishi made his wife drink the blood of a white male deer before his birth.
Japanese: 入鹿は父蝦夷が白い牡鹿の血を妻に飲ませて産ませたため、超人的な力を持つ。
English: The emperor escapes into the house of Shibaroku in the mountains, where it suddenly turns into a temporal palace.
Japanese: 山中の芝六の家は帝が逃げ込んだことで、にわか仕込みの宮中に早変わり。
English: A big fuss is caused by many court ladies and nobles who come along, a debt collector who comes to urge payment, those who perform Manzai (a kind of performing art for celebration) to relieve the emperor's boredom, and so on.
Japanese: 多数の官女公家がつめかけ、そこに借金とりが催促に来るわ、無聊を慰めるため帝に万歳を披露するなど大騒ぎである。
English: Sansaku, son of Shibaroku, tries to take the guilt on himself and receive punishment by Ishikozume (a death penalty that buries a guilty person alive in a hole filled with stones), but he is saved by Kamatari and also Uneme and the divine mirror are found.
Japanese: その罪を芝六の子・三作が引き被り、石子詰の刑を受けようとするが、鎌足の働きで助けられ、采女と神鏡も見つかる。
English: He unreasonably demands that Kiyosumi give Koganosuke as his vassal, and Sadaka to give Hinadori as his concubine, and orders them, handing branches of flowers, to throw the flowers in the Yoshino-gawa River for acceptance.
Japanese: 清澄と定高に久我之助をわが家臣に、雛鳥を我が側室にせよと無理難題を言い渡し、花の枝を渡して返事に吉野川に流せと命令する。
English: Although they both try to save the other's child, they each learn across the river that both children are dead.
Japanese: たがいに相手の子の命を救おうとするのだが、川ごしに双方とも死んだことを知る。
English: Sadaka floats the head of Hinagiku with Hina-ningyo (dolls and miniature instruments displayed at the Girls' Festival) in the river to send it to Daihanji, while gorgeous yet sad Joruri (dramatic narrative chanted to a shamisen accompaniment) is played on the musicians' stage; it chants, 'marriage furniture, food box, container, papier-mache dog, and many chests (these are all the instruments included in Hina-ningyo). If she was alive, they would have been real presents once in life, lined up for five or seven cho (distance unit; a cho is about 109 m).'
Japanese: 「嫁入り道具、行器、長持犬張子、小袖箪笥の幾さおも、命ながらへ居るならば、一世一度の送り物、五丁七丁続く程」の華やかにも悲しい床の浄瑠璃に合わせ、定高は雛鳥の首を雛人形とともに川に流し大判事に受け取らせる。
English: Omiwa, daughter of Sugisakaya sake shop at the foot of Mt. Miwa, falls in love at first sight with Motome SONOHARA, a handsome Eboshi (formal headwear for court nobles) maker who lives in the house next door.
Japanese: 三輪山のふもとの杉酒屋の娘・お三輪は、隣に住む烏帽子折の美男子・園原求女に一目ぼれする。
English: It represents, with dance, the strife between Princess Tachibana and Omiwa over Motome, with its setting at Kasuga-taisha Shrine.
Japanese: 求女をめぐる橘姫、お三輪の争いを、夜の春日大社を舞台に所作事で演じる。
English: However, Iruka does not believe it and tells others to hold Fukashichi hostage until he confirms the truth, and leaving the scene, goes inside.
Japanese: しかし、納得しない入鹿は実否をただすまで鱶七を人質にせよと言い棄てて奥に入る。
English: Princess Tachibana arrives home as Joruri I being played on the musicians' stage and comes to the passage, 'to love is to suffer. Princess Tachibana leaves and returns in secret, walking through dewy grass.'
Japanese: 「されば恋する身ぞつらや。出ずるも入るも、忍ぶ草、露踏み分けて橘姫」の床の浄瑠璃の言葉どおり、橘姫が帰ってくる。
English: Princess Tachibana swears to Motome that she will seize, at the risk of her life, the treasure sword of Totsuka that Iruka has, in order to marry him.
Japanese: 橘姫は求女に、妻になるため、命にかけて入鹿が所持する十握の宝剣を奪うことを誓う。
English: As Joruri comes to the passage, 'as a single quail got lost, Omiwa runs, tracing footsteps on grass and losing her breath,' Omiwa, after the thread has broken, finally reaches the palace.
Japanese: 「迷いはぐれし、かた鶉、草の靡くをしるべにて、いきせきお三輪は走り入り、」の浄瑠璃になり、お三輪は糸が切れてようように御殿にたどりつく。
English: Omiwa finally goes mad with jealousy and tries to enter the building swinging her hair wildly, and then Fukashichi stabs her.
Japanese: ついに嫉妬に狂ったお三輪は、髪振り乱し建物に入ろうすると、鱶七に刺される。
English: Goro says to Omiwa, 'Be happy, woman. You deserve to be a wife in an honorable family because you, by giving up your life, will give your beloved man credit and a method of destroying Iruka. Good job.'
Japanese: 五郎はお三輪に、「女悦べ。それでこそ天晴高家の北の方、命捨てたる故により、汝が思う御方の手柄となり入鹿を滅ぼす術の一つ、オゝ出かしたなあ。」と声をかける。
English: He tells her that he has come to kill Iruka on the orders of his lord, but has known that the power of Iruka will diminish if he plays a flute after pouring on it the blood of black-hoofed deer and the vital blood of a woman mad with jealousy, and this is why he has stabbed her while feeling sorry.
Japanese: 主君の命を受け、入鹿を討つべく来たのであるが、爪黒の鹿の血と嫉妬に狂う女の生血を鹿笛にかけて吹けば、入鹿の力が衰えることを知り、不憫ながらもお前を刺したと告げる。
English: Omiwa, knowing that her self-sacrifice will actually help her lover Motome, who is in fact FUJIWARA no Tankai, dies with pleasure.
Japanese: お三輪は自己犠牲が恋人・求女、実は藤原淡海のためになることを知り、嬉しげに死んでいく。
English: Iruka, whose supernatural power has been diminished by mystical power of the flute, is killed, and to everyone's delight, the emperor comes back to the throne and restores the peace.
Japanese: 鹿笛の霊力で魔力の衰えた入鹿は討たれ、めでたく帝は復位、平和が訪れる。
English: The loyal vassals are rewarded in Shiga no Miyako (the ancient capital of Japan in current Shiga, also called Otsu no Miyako), and a Buddhist service is held for Koganosuke and Hinadori.
Japanese: 志賀の都で忠臣たちへ恩賞が授与され、久我之助と雛鳥の供養が行われる。
English: This play is very unique among Joruri plays, for its setting in ancient times, the motif of myths and legends like Ama no Iwato (the Heavenly Rock Cave: the myth that the Goddess of Sun hid herself in the cave), Jusan-gane (Thirteen Bells: the legend that a 13-year-old boy who had killed a deer was punished by Ishikozume) and Kinukake Yanagi (Robe Draped over a Willow: the legend about a court who lady drowned herself in Sarusawa-ike Pond), and particularly its structure similar to current fantasy action, which makes Iruka a horrible monster and the good guys who search for his weakness.
Japanese: 古代を舞台にし、天の岩戸・十三鐘・絹懸柳などの神話伝説をモチーフにしている点、とりわけ入鹿を恐るべき怪物にし、その弱点を求めて善玉が活躍するという現代のファンタジーアクションに通じる構成は、他の浄瑠璃作品と比べ極めて異色。
English: Yasuji TOITA appreciated it and said, 'it has an epic and romantic idea like musical dramas of Richard Wagner.'
Japanese: 戸板康二はこれを評して「リヒャルト・ワーグナーの楽劇のような大規模でロマンテイックな着想がある」といった。
English: In fact, the story is that when this play was first introduced to the West, a French composer Giacomo Meyerbeer tried to compose an opera called "The Blind Emperor."
Japanese: 実際に、本作が西欧に初めて紹介されると、これに感化されたフランスの作曲家ジャーコモ・マイアーベーアは『盲目の皇帝』というオペラを作ることを模索したという逸話がある。
English: The stage is gorgeously decorated with cherry blossoms in full bloom and displays for the Girls' Festival to emphasize the tragedy.
Japanese: 舞台は満開の桜に雛祭りの飾り付けという絢爛たるもので、悲劇性が強調される。
English: It has great scenes, full of tragic atmosphere, where both parents kill their children and inform the other of it, Sadaka floats the head of Hinadori in the river with instruments displayed for the Girl's Festival, and Daihanji receives it with a bow.
Japanese: 双方の親が子を手にかけ手真似で知らせたり、雛鳥の首を雛祭りの道具の乗せて定高が川に流し、大判事が弓で受け取る場面は悲壮感溢れる名場面である。
English: In fact, he wants to burst into tears, holding the hands of his son, but he cries only in his heart without directly showing his sorrow, suppressing his own feelings; this rigidness of ancient samurai rather makes the audience feel sorry for the parents and children.
Japanese: 本当なら息子と手を取り合って、わーっと泣きたい心境なのですが、その悲しみを露骨に出さず涙を抑えて心で泣く、大義のために私情を殺すという古武士の硬骨を見せることで、逆に親子の哀れさがお客様に伝わるのです。
English: The center as a river, the stage is divided into Kamite (the right-hand side as seen from audience seats) as the Mansion of Daihanji on Mt. Se, the world of man, and Shimote (the left-hand side as seen from audience seats) as the Mansion of Sadaka on Mt. Imo, the world of woman, and also Joruri players on the musicians' stage are divided into Kamite and Shimote.
Japanese: 真ん中の河の流れを中心に、舞台上手は背山で大判事の屋敷＝男の世界、下手の妹山は定高の屋敷＝女の世界、また床の浄瑠璃もそれぞれ上手、下手に分かれる。
English: Listen, my son Kiyofune (Koganosuke's real name). What your soul is at your death decides what your next life will be. Dying for fidelity, let your soul accompany your lord and father and witness the victory over the emperor's enemy. Now, we have permitted you and Hinagiku to marry each other forever. You shall pass through the palace of Enma (the King of Hell who passes judgement on the dead) introducing yourselves aloud as ones who have died for fidelity and virtue.'
Japanese: 「倅清舟承れ。人間最期の一念によって、輪廻の生を引くとかや。忠義に死する汝が魂魄、君父の影身に付き添うて、朝敵退治の勝ち戦を、草葉の陰より見物せよ。今雛鳥と改めて、親が許して尽未来まで、変わらぬ夫婦。忠臣貞女の操を立て、死したる者と高声に、閻魔の庁を名乗って通れ。」
English: These famous heartbreaking lines of Daihanji are the climax of the whole play.
Japanese: この大判事の臓腑をえぐる名セリフ、ここが全編のクライマックスである。
English: The story that the lovers whose families are enemies are united by death is very similar to "Romeo and Juliet" by William Shakespeare.
Japanese: 仲の悪い家の恋人たちが死によって結ばれる筋は、ウィリアム・シェイクスピアの『ロミオとジュリエット』に酷似しており、影響を指摘する意見もある。
English: Also in the Ningyo Joruri version, it has excellent music and the stereotyped structure that Tayu (chanters) and shamisen players are divided into Kamite and Shimote, playing Daihanji and Sadaka respectively.
Japanese: 浄瑠璃でも、上手と下手に太夫と三味線が別れ、それぞれ大判事と定高を演じるステレオタイプの構成で音楽的にも優れている。
English: Sumitayu TAKEMOTO the seventh, a Bunraku (Ningyo Joruri) player, recognized the importance of this scene and said, 'this is the climax. Chanting such excellent "Yama" to each other cannot bore the audience. If it does, that is the fault of Tayu.'
Japanese: 文楽の七代目竹本住太夫は全編の「クライマックスですからね。こんな結構な『山』を掛け合いで語って、お客さんを居眠りさせたら太夫の責任」と、この段の重要性を語っている。
English: The famous actors for Sadaka are Baigyoku NAKAMURA the third and Utaemon NAKAMURA the sixth, and for Daihanji, Nizaemon KATAOKA the eleventh, Kichiemon NAKAMURA the first and Shoroku ONOE the second.
Japanese: 定高は中村梅玉(3代目)、中村歌右衛門(6代目)、大判事は片岡仁左衛門(11代目)、中村吉右衛門(初代)、尾上松緑(2代目)が当たり役としていた。
English: The play performed today is based on the performance at the Kabuki-za Theater in September 1941, interpreted by Onitaro OKA, with Kichiemon the first as Daihanji, Baigyoku the third as Sadaka, Tokizo the third as Koganosuke and Utaemon NAKAMURA the sixth as Hinadori.
Japanese: なお今日演じられるのは1941年（昭和16年）9月歌舞伎座上演、岡鬼太郎演出、初代吉右衛門の大判事・三代目梅玉の定高、三代目時蔵の久我之助、六代目中村歌右衛門の雛鳥によるテキストが底本となっている。
English: The role of Iruka had been emphasized long before Danjuro ICHIKAWA the ninth played the double role of Iruka and Omiwa during the Meiji period, although it has become more moderate since then.
Japanese: 明治期に市川團十郎(9代目)が入鹿とお三輪を二役で演じてからは入鹿の演じ方が抑えられるようになったが、以前はかなり入鹿の演出に重点が置かれていた。
English: During the Taisho period, Udanji ICHIKAWA the second in Osaka played it flamboyantly, using Danjiri-bayashi (music performed in festivals) in the action scene before the curtain falls.
Japanese: 大正期に大阪の市川右團次(2代目)が演じたのは、幕切れの立ち回りにだんじり囃子を用いた派手なものであった。
English: Omiwa's costume is decorated with the Juroku Musashi pattern (pattern derived from a chess-like game during the Edo period), invented by Danjuro the ninth.
Japanese: また、お三輪の衣装の十六むさしのデザインは、九代目團十郎の考案したものである。
English: Although jealousy makes her look harsh, she is a lady deep inside. Because when Fukashichi stabs her, she understands and dies with pleasure as a lady, what her true soul is, keeping her love for Motome.'
Japanese: 「疑着の相できつくなっても、芯はあくまで娘でなくてはいけないのです。鱶七に刺されて、納得して、本心の娘に戻って求女のことを思い続けて喜んで死んでいくのですから。」
English: The role of Omiwa has been gradually refined by great actors like Hanshiro IWAI the fifth in olden times, Danjuro the ninth and Kikugoro ONOE the fifth during the Meiji period, and during this century Kikugoro ONOE the sixth, Utaemon NAKAMURA the sixth and Baiko ONOE the seventh.
Japanese: お三輪は古くは岩井半四郎(5代目)、明治期の九代目團十郎、尾上菊五郎(5代目)、今世紀には尾上菊五郎(6代目)、中村歌右衛門(6代目)、尾上梅幸(7代目)ら名優によってそのつど洗練されていった。
English: The famous actors for Fukashichi include Danjuro the ninth and Shikan NAKAMURA the fourth during the Meiji period, and in this century, Kichiemon NAKAMURA the first, Shoroku ONOE the second and Ganjiro NAKAMURA the second.
Japanese: 鱶七は明治期の九代目團十郎、中村芝翫(4代目)、今世紀には中村吉右衛門(初代)、尾上松緑(2代目)、中村鴈治郎(2代目)などが有名。
English: The scene of 'Takesu' (literally means 'Sparrow and Bamboo') is so called because Omiwa is told by court ladies (who bully her) to sing Mago-uta (a kind of folk song sung by packhorse drivers) of 'Take ni Suzume no' (Sparrow and Bamboo) to be allowed to see Motome, and she dances with her right shoulder bared, the bottom left of her clothes folded, a cloth headband on her head, and a spool in her hands.
Japanese: 「竹雀」の由来は、お三輪が官女（いじめの官女）たちに、求女に会いたければ「竹に雀の」馬子歌を歌えと言われ、右肌を脱ぎ左の裾を端折り、手拭いの鉢巻に糸を巻くおだまきを持って踊ることに由来する。
English: Kikugoro the sixth played it with gestures of chasing a horse, without a dance, but Onitaro OKA criticized him for not dancing.
Japanese: 六代目菊五郎は踊らず馬を追うしぐさで演じたが、岡鬼太郎から踊るべきだと批判された。
English: In the Meiji period, there was a scene, before the curtain fell, where she flipped after picking a fight with Fukashichi, and then a skilled actress beautifully swings her long red Hakama (skirt).
Japanese: 明治期には、幕切れに鱶七に絡んだ後トンボを切る演出があって、腕達者な役者は裾の長い緋色の袴を美しく捌いて見せた。
English: A teacher, watching the scene about bullying Omiwa, was said to have murmured, 'people bullied even during the old times.'
Japanese: また、お三輪をいじめる場面では見学していた教師が「昔もいじめがあったのですね。」とつぶやいたと言う。
English: The woman buying tofu is called 'Omura,' a minor role, but played by famous actors like Kanzaburo NAKAMURA the seventeenth, Gonjuro KAWARAZAKI the third and Ennosuke ICHIKAWA the third, as a 'treat.'
Japanese: 豆腐買いの女は「おむら」という役割であるが、軽い役ながら中村勘三郎(17代目)、河原崎権十郎(3代目)、市川猿之助(3代目)などの看板役者が「御馳走」として出る。