nntsuzu/KFTT huggingface dataset:
English: This type of imperative form with "-ro" was used in Ancient Japanese of the 8th century, especially in the eastern Japan in ancient times, but now it has become the standard in Modern Japanese.
Japanese: 8世紀の古代日本語、なかでも東日本の方言では古くこのような「-ろ」命令形が用いられていたが、現代日本語においてはもはやこれが標準となっている。
English: Linked forms in which the existence of "zo, nam, ya, ka" caused the sentence to end with an attributive form became marginalized and disrupted in format, with the generalization of an attributive form being used as an end-form.
Japanese: 連体形で文末を結ぶ「ぞ・なむ・や・か」の係結びは、連体形終止の一般化と共に意義を失い、形式も混乱していった。
English: Linked forms in which the existence of "koso" caused the sentence to end with a classical imperfective form were more and more often accompanied by an adversative conjunction but remained for a longer time than the linked forms with an attributive form.
Japanese: 已然形で結ぶ「こそ」の係結びも、逆接の接続助詞を伴ったものが増えてきたが、連体形係結びに比べて後代まで残った。
English: The perfective represented by "nu," "tsu" and "ri" and the past tense represented by "ki," "shi" and "keri" were obsolete and the perfect aspect "tari" developed into the general past tense.
Japanese: 完了を表す「ぬ」「つ」「り」、過去の時制を表す「き」「し」「けり」は廃れていき、代わりに完了相「たり」が一般的な過去時制へと発展していった。
English: "Mu,"an auxiliary verb for conjecture, went through several phonetic changes (mu > m > N > ũ).
Japanese: 推量を表す助動詞「む」はmu>m>N>ũと、何度も音声学上の変化を経ている。
English: It becomes a long vowel when followed by a thematic vowel of the imperfective form, but a sound "-y-" is sometimes inserted immediately before it.
Japanese: 未然形の語幹の母音と結びつく場合には長母音化を起こすが、その直前に-y-の音が挿入されることがある。
English: 草子洗小町' (Soshi arai Komachi; aka. 草紙洗 [Soshi Arai] or 草紙洗小町 [Soshi arai Komachi]) is a Noh program categorized into sanbanme-mono (third-category plays), genzai kazura-mono (realistic women plays) and daishomono (plays with three instruments of fue [a Japanese flute], kozutsumi and ozutsumi [small and large hand drums]).
Japanese: 「草子洗小町」（そうしあらいこまち、草紙洗、草紙洗小町とも）は、能の演目の一つで、三番目物、現在鬘物、大小物に分類される。
English: The story is set in Uta Awase (a poetry contest) and depicts ONO no Komachi's wit, which leads to uncovering an evil plot of OTOMO no Kuronushi.
Japanese: 歌合を舞台に小野小町が、大伴黒主の姦策を機知によって退ける様を描く。
English: In the poetry contest, OTOMO no Kuronushi (Waki: supporting actor) was going to compete against ONO no Komachi (Shite: main actor).
Japanese: 大伴黒主（ワキ）は、歌合で小野小町（シテ）を相手にすることとなった。
English: Kuronushi, who knew there was no chance of winning, sneaked into Komachi's house the day before the contest to eavesdrop on the poems Komachi prepared for the contest.
Japanese: しかしとても勝ち目がないと考えた黒主は、歌合の前日、小町の邸に忍び込み、小町が明日のために詠んだ歌を盗み聞きする。
English: The contest started with master poets gathered including KI no Tsurayuki (Tsure: accompanying actor), and as soon as Komachi's poem was read out, Kuronushi criticized it by saying 'it is not her original, but one of existing poems.'
Japanese: 歌合当日、紀貫之（ツレ）を初め歌人たちが居並ぶ中で小町の歌が詠み上げられるが、黒主は「その歌は既存の古歌である」と難ずる。
English: Kuronushi showed his bound book of "Manyoshu" (Collection of Ten Thousand Leaves) as an evidence to prove that her poem was from it.
Japanese: 証拠として黒主が取り出した『万葉集』の草子には、確かにその歌が書き込まれていた。
English: Although Komachi faced a difficult situation, she detected Kuronushi's lie and rinsed the bound book with water with lord's permission.
Japanese: 窮地に立たされる小町だが、黒主の入れ筆と見破り、許しを得て水を以ってその草子を洗う。
English: Then the line added by Kuronushi disappeared at once, and his foul deed was revealed.
Japanese: するとたちまち黒主の書き足した歌は消え失せ、彼の悪事が明らかとなる。
English: After his evil deed was all uncovered, Kuronushi tried to kill himself, but Komachi dissuaded him and performed a celebration dance.
Japanese: 全てが露見した黒主は自害しようとするが、小町はそれをとりなして、祝言の舞を舞う。
English: Although a specific source is unknown, it is speculated that the story can be based on the anecdotes of TAIRA no Munenaka from "Zoku Koji Dan"(narrative in Kamakura period), in which a poetry contest hosted by MINAMOTO no Morofusa was portrayed.
Japanese: 特定の典拠となった作品は不明であるが、『続古事談』に見える源師房家での歌合における平棟仲の逸話などから創作されたとも想像される。
English: Both ONO no Komachi and OTOMO no Kuronushi were amongst six master poets, and "Kokin Wakashu" Kanajo (Preface of Kokinwakashu written in kana by KI no Tsurayuki) contains the famous review of the two; Komachi is referred to as 'she is beautiful as if she is a descendant of a beautiful Princess Sotoori-hime in ancient times.
Japanese: 小野小町、大伴黒主はともに六歌仙に数えられる歌人であり、『古今和歌集』仮名序で、小町は「いにしへの衣通姫の流なり。
English: It is as if a woodcutter who carries firewood is taking a rest behind beautiful flowers.
Japanese: いはば薪を負へる山人の花の陰にやすめるが如し」と評されたことが良く知られる。
English: In this poetry contest, prominent poets including KI no Tsurayuki, the reviewer of the two, OSHIKOCHI no Mitsune and MIBU no Tadamine are amongst the attendance.
Japanese: また、その評の筆者である紀貫之を初め、凡河内躬恒、壬生忠岑といった著名な歌人たちが、歌合の参加者として曲中に名を連ねている。
English: The title of the play varies with schools; '草子洗小町' is used for Kanze-ryu school, '草紙洗' for Hosho-ryu, Konparu-ryu and Kongou-ryu schools, and '草紙洗小町' for Kita-ryu school.
Japanese: 観世流では「草子洗小町」、宝生流・金春流・金剛流では「草紙洗」、喜多流では「草紙洗小町」とそれぞれ曲名の表記が異なる。
English: Hosho-ryu school has its own Kogaki, 'Ranbyoshi', which adopts different costumes and final dance performance from Kanze-ryu school.
Japanese: 宝生流では「乱拍子」があり、後ジテの装束、最後の舞などに違いがある。
English: This story is reviewed as 'childlike' both for the eccentric idea to 'rinse Soshi with water' and for Komachi's childish poem itself during the play, and also the plot is seen as 'unrealistic and having many historical errors,' because master poets from different times are portrayed as if they lived in the same period.
Japanese: 活躍した時代の異なる歌人たちを同時代の人物として一同に会するなど、史的考証の面では明らかな誤りが多く、また「草紙を洗う」という突飛な展開や、小町が作中で詠む歌など「稚気あふれる作品」と評され、「荒唐無稽」な筋立ての能である。
English: However, it is also reviewed as 'an excellent work in which a skillful playwriting helps many scene changes to go through smoothly' and also as 'humorous and gorgeous like an imperial-court picture scroll,' because the Uta Awase at an imperial court added flamboyance to the story.
Japanese: しかしながら劇作の巧みさにより、「場面転換が多いわりには間然するところがない」優れた舞台作品であり、また内裏歌合の場面の華麗さもあって、「王朝絵巻ふうの、しかもユーモラスな味わいをもった能」と評される。
English: In Noh, plays featuring ONO no Komachi is called 'Nana Komachi' (Seven Komachi) and there are many of them; however, this play is the only one, among frequently-played works, that portrays young and beautiful Komachi, while other Komachi stories depict old and ugly Komachi who fell from grace.
Japanese: また、能では小野小町を題材とした能は「七小町」と言われるように多く存在するが、他の曲では小町が落魄した凄惨な老婆の姿で登場するのに対し、本曲は現行曲では唯一若く美しい小町をシテとする曲としても知られる。
English: Shoen UEMURA, a Japanese-style painter, painted 'Soshi Arai Komachi' based on the performance played by Iwao KONGO.
Japanese: 日本画家の上村松園が、金剛巌が演じた本曲に題を採り「草紙洗小町」を描いている。
English: It is a joyous program which prays and celebrates universal peace and everlasting state.
Japanese: 天下泰平、国家の長久を祈念し、祝福するという、おめでたい内容である。
English: It is the shortest program which is played today and is known as a program for a beginner.
Japanese: 能の現行演目の中では最も短いもので、初心者向きの入門曲として知られている。
English: On New Year's day at the imperial court of capital of Tang, the first Sechi-e (seasonal court banquet) of the year was held.
Japanese: 新春、唐の都の朝廷において、年の最初の四季の節会（せちえ、季節の変わり目の祝祭）が催された。
English: In the palace of magnificent splendor, the emperor receives celebration from government officials and nobilities, and all people gather there.
Japanese: 絢爛豪華な宮殿で皇帝は百官卿相（ひゃっかんけいしょう・役人と貴族）の拝賀を受け、万民もその場に集う。
English: The emperor feels good about it and has people play bugaku (traditional Japanese court music accompanied by dancing) and dances by himself, then returns to Chosei-den Hall (the Hall of Everlasting Life).
Japanese: それに気を良くした皇帝は舞楽を奏させて自ら舞い、長生殿に戻っていく。
English: Awa Wasanbonto is traditionally made Japanese refined sugar particularly produced in Tokushima Prefecture.
Japanese: 阿波和三盆糖（あわわさんぼんとう）は、徳島県で生産した和三盆で、伝統的に生産されている砂糖の一種。
English: The name "Awa Wasanbonto" comes from the fact that Wasanbon sugar (Japanese traditional refined sugar) is produced in the Awa Province, present-day Tokushima Prefecture.
Japanese: 阿波国である徳島県で和三盆を生産していることから阿波和三盆糖と呼ばれる。
English: At present, Awa Wasanbonto is cultivated and manufactured only in such regions as Itano-cho and Dosei-cho, Awa City.
Japanese: 現在、阿波和三盆糖が栽培、製造されているのは板野町と阿波市土成町のみである。
English: It originated from the fact that a villager named Tokuya MARUYAMA went to the Hyuga Province (present-day Miyazaki Prefecture) and returned having mastered the way to cultivate sugar cane seedling.
Japanese: 丸山徳弥という村人が日向国（現在の宮崎県）へ赴き、サトウキビの苗と栽培法を習得して帰ったのが始まりと云われている。
English: Formerly, sugar was widely produced by ordinary farmers; however, at present, only Okada Seitojo (sugar refinery) (Izumiya, Kamiita-cho, Itaya-gun, Tokushima Prefecture) preserves the traditional way of hand-made sugar.
Japanese: かつては一般の農家でも砂糖作りが盛んであったが、昔ながらの手作業で製造しているのは、徳島県内では現在、岡田製糖所（徳島県板野郡上板町泉谷）のみである。
English: O-muko (written as '大向う' or '大向こう'; literally, 'the welcome other side') comes originally from seats seen from the stage, and at present, it is used as a term referring to the front seats of the third floor of theatres and to the audience at those seats (in present Kabuki-za Theatre of Tokyo, it refers to the seats for b-class tickets and the seats on the highest balcony for a single act).
Japanese: 大向う（大向こう、おおむこう）とは、芝居小屋の三階正面席、またそこに坐る客を指す隠語・通言（現在の歌舞伎座では、構造上三階Ｂ席から幕見席あたりを指すものとして理解されている。）、つまり大向うとは、舞台上から見た客席の位置に由来する。
English: The term, o-muko is used for mainly the audience of kabuki, and it often refers to 'migousha' (connoisseur) who takes those cheaper seats to come to the theatre very often; Kabuki-za Theatre might have set up 'maku-mi-seki' (seats on the highest balcony for a single act) originally for those connoisseurs.
Japanese: 主として歌舞伎で用いられ、安価な席にたびたび通ってくる見巧者の客（歌舞伎座が設けている幕見席とは、そうした客のための席だったともいえるだろう）を指す。
English: O-muko wo Unaraseru' (literally, 'make o-muko hum,' means making a deep impression on the o-muko) means that the actor did an excellent job of acting enough to make those connoisseurs admire his performance.
Japanese: 「大向うを唸らせる」といえば、そういった芝居通をも感心させるほどの名演であることを意味する。
English: O-muko also means 'kakegoe' (cheering) by the audience at o-muko and such audience.
Japanese: 1から転じて、大向うに坐った客が掛ける掛声、またそれを掛ける客のこと。
English: In the past, during some performances, actors skillfully used kakegoe, then such collaboration between actors and audiences had gradually become set, and at present some performances can't be formed without kakegoe.
Japanese: 歌舞伎の中には、俳優が大向うの掛け声を巧く利用した演出がいつしか定着し、その掛け声がないと進行できないような舞踊もある。
English: Some audiences practicing kakegoe are given a free pass 'kido-gomen' on condition the audience has to belong to a kakegoe society ('kakegoe no kai').
Japanese: 劇場は、掛け声をかける者の一部に、掛け声の会に所属することを条件に木戸御免（きどごめん：芝居などに料金を払わず入れること）の許可証を発行している。
English: Note that '大向う' (o-muko) originally means the other side seen from the stage ('向う' (muko) means 'the other side'), and '大' represents the respect from actors toward audiences based on the idea 'the visitors are the gods' (often used in service industry as 'the customer is always right'), therefore, it is a wrong usage when audience says 'I'll do o-muko.'
Japanese: なお、本来「大向う」とは舞台から見た「向う」側であり、「お客様は神様」という発想から偉いという意味の「大」をつけた役者側から見た尊敬語なので、掛け声を掛ける者が「私、大向うをやります」などと言うのは誤った用法である。
English: Kabuki has been developed as popular entertainment, therefore, the audience doesn't need to get tensed up as long as they have good manners using common sense.
Japanese: 歌舞伎はその歴史的経緯から庶民的娯楽の側面が強く、常識の範疇でマナーを守れば本来、あまり緊張し肩肘はって観劇する必要はない。
English: However, as for kakegoe, since there are shouts from the audience during performances and it sometimes might become annoying, there are unwritten rules as follows.
Japanese: しかし、掛け声は上演中に観客から声を発する行為であり無制限に行えば雑音となるため、不文律として以下に挙げられる決まりごとが言われることが多い。
English: Those seats are cheaper, and shouts from such seats sound well in the whole place because the ceiling reflects the voices.
Japanese: 「安いから」「天井に近く、声が天井に反射してとても通りやすいから」という理由である。
English: Besides, the shouts from the anterior seats make the audience sitting in the posterior seats feel left out.
Japanese: 前方の座席から声がかかると、後方の客はのけものになったような気になってしまう。
English: Good timing of kakegoe: It is different for each performance; usually, the audience practices kakegoe while the actors are crossing 'hana-michi' (elevated runway), walking in or out of 'age-maku' (the end of a hana-michi; hana-michi is stretched from age-maku to the stage, actors use it for performing important scenes and entrances and exits), doing 'hikkomi' (exit), performing 'mie' poses and during 'hyoshi-gi' (wooden clappers) are beaten at 'maku-gire' (the end of an act).
Japanese: タイミング狂言によってさまざまなポイントがあるが、「面張り（とくに揚幕）」「引っ込み」「見得（ツケが入る）」「幕切れの拍子木」にかけるのが一般的である。
English: Basically, kabuki actors should be called by yago, not by myoseki ('yago' is substitute name which actor calls himself; in the Edo period kabuki actors were not allowed to use their surnames, so they used yago; 'myoseki' is a successive name); therefore, the twelfth Danjuro ICHIKAWA (myoseki) should not be called 'Ichikawa-san' nor 'Danjuro-san' ('san' means 'Mr.'), he should be called 'Narita-ya-san' ('Narita-ya' is his yago).
Japanese: そもそも歌舞伎役者は姓名ではなく屋号で呼びかけるのが礼儀（「市川さん」｢團十郎さん」ではなく、｢成田屋さん」と呼ぶ）。
English: The prefix 'o' shouldn't be used for Narita-ya, Otowa-ya, Nakamura-ya, Kinokuni-ya and so on.
Japanese: ただし「大」は成田屋・音羽屋・中村屋・紀伊国屋などには決してつかない。
English: Prefix '豆' (mame): It is used for underage star actors of the up-coming generation.
Japanese: ｢豆」（まめ）：その屋号の次世代の代表格でまだ成人に達していない者に対して
English: 3. Using names of towns where the actors' houses are located: It is used for actors co-starring with higher-ranked actors who share the same yago and are not relatives.
Japanese: 3.役者の自宅の町名その役者が、近親以外で同じ屋号の格上の役者と同じ舞台に立つときには、屋号を用いないで町名で掛ける。
English: Among audiences of kabuki, "Kyu-daime" (the ninth) usually refers to the ninth Danjuro ICHIKAWA, "Roku-daime" (the sixth) usually refers to the sixth Kikugoro ONOE, therefore, at present, "Kyu-daime" and "Roku-daime" are rarely used for the other actors.
Japanese: ただし歌舞伎の世界では通常「九代目」といえば市川團十郎(9代目)のことを、「六代目」といえば尾上菊五郎(6代目)のことを指すので、「九代目」「六代目」という声が掛かることはまずない。
English: "Ginko-in" (bank clerk) for Sansho ICHIKAWA (the fifth) who had resigned as an office worker to succeed to Danjuro ICHIKAWA
Japanese: 銀行員！（市川三升(5代目)、サラリーマンから転職して市川團十郎を継いだため）
English: Following this manner, audience shouldn't call Koshiro MATSUMOTO (the ninth) "La Mancha no Otoko" ("Man of La Mancha" in which Koshiro played the leading part), nor call Kichiemon NAKAMURA (the second) "Onihei Hanka-cho" ("Onihei's Crimes Note" in which Kichiemon played the leading part).
Japanese: 「ラ・マンチャの男」（松本幸四郎(9代目)）とか「鬼平犯科帳」（中村吉右衛門(2代目)）などとは決して掛けないのが礼儀。
English: 6. Surnames of actors: Used when almost all the co-starring actors share the same yago, and when the address of the actors as the above example No. 3 is unknown, and when the actors belong to Zenshin-za and don't have myoseki (successive names) of kabuki, and so on.
Japanese: 6.役者の姓一座のほぼ全員が同じ屋号をもつ場合、上記3で役者の住所が不明な場合、前進座の役者で歌舞伎の名跡を得ていない場合などにこれが出る。
English: "Hasegawa" for Kazuo HASEGAWA who had returned his myoseki 'Chojiro HAYASHI' and yago 'Narikoma-ya' when he had left Shochiku Movie Studio (in the procedure, myoseki is returned to the society formed of the people sharing the same yago).
Japanese: 長谷川！（長谷川一夫、松竹長谷川一夫松竹離脱事件をきっかけに歌舞伎の名跡「林長二郎」を成駒屋に返上したため）
English: "Otosan Sokkuri" or "…daime Sokkuki "(you are just like your father or just like the …th); this kakegoe is to cheer when a young actor challenges to play a role in which a deceased star actor had made a hit, however, it is usually used to criticize performances for poverty of originality.
Japanese: お父さんそっくり！/〜代目そっくり！（名人として知られた故人の当たり役に若い当代が挑む場合などでは応援の掛け声となるが、通常は「独自性に乏しい」という批判的な掛け声）
English: "Daikon Yakusha" or "Heta-kuso" (you bad actor); at present these kakegoe are rarely heard, however, until before the War, they had been often heard in theatres.
Japanese: 大根役者！/へたくそ！（今ではこうした厳しい声はまず掛からないが、戦前までは日常的だったとされる。）
English: At the performances in which the performers are good at, the audience does kakegoe with expectation; for example, at the opening of the song "Iroha-okuri" of the scene "Terakoya" of "Sugawara-denju Tenarai-Kagami."
Japanese: その演者の得意な演目に際し、期待をこめて掛ける事が多い（『菅原伝授手習鑑・寺子屋』の「いろは送り」の前など）。
English: Simple kakegoe "O-dogu" (sceneshifters) is allowed, however, another kakegoe "Hasegawa" is often heard since the sceneshifters' names had been 'Kanbei HASEGAWA' for generations during the Edo period.
Japanese: 単に「大道具！」と掛かることもあるが、江戸の芝居の大道具は代々「長谷川勘兵衛」が受け持っていたので、その姓をとって「長谷川！」と掛けることが多い。
English: At a famous kabuki "Yotsuya Kaidan", the kakegoe "Hasegawa" is especially often heard, because those incredibly creative sets for the play were invented by the eleventh Kanbei HASEGAWA.
Japanese: 『四谷怪談』の仕掛けは十一代目長谷川勘兵衛が独自に考案した極めて独創性の高い装置であることから、この演目では「長谷川！」が掛かることが特に多い。
English: There is an anecdote that tells about actor Kazuo HASEGAWA being confused by the kakegoe "Hasegawa" because he had been called byhis surname after leaving Shochiku.
Japanese: なお松竹離脱後の長谷川一夫にも「長谷川！」という声が掛かったので、本人は当惑したという逸話も残っている。
English: Some performances can't be completed without kakegoe; in such performances, kakegoe is not second fiddle.
Japanese: 演目によっては舞台の色を添える脇役的なものではなく、大向うが必要不可欠である。
English: Following the cheerful dance by many actors, the leading actor comes to the stage.
Japanese: 始めは、大勢の共演者が賑やかに踊り、盛り上がったところで主演役者が現れる。
English: That play is often performed as the comeback play after the leading actor takes a long rest because of a serious illness.
Japanese: この狂言は、大病を患い長期休養した役者の復帰狂言として使われることが多い。
English: Basically chari should be refrained from since it often breaks the mood of the performances for evoking rather a malicious laugh.
Japanese: チャリを入れて悪ウケを誘い舞台を壊すことが多いため原則的には行わない方がよい。
English: However, sometimes a moderate chari triggers a higher enthusiasm for the performance.
Japanese: しかし、稀に場の雰囲気を壊さない範囲でのチャリ掛けから、観客が却って引き込まれ盛り上がる場合もある。
English: In comedies, sometimes actors take advantage of the energy of chari to arouse the audience to enthusiasm.
Japanese: またチャリの笑いのエネルギーを、おかしみのある芝居では役者が引き継いで盛り上げる場合もある。
English: Example 1: In "Migawari Zazen," in the scene the leading character is about to go to the other woman, grinning from ear to ear, says: "To Hanago's place."
Japanese: （例）身替座禅で、浮気相手の「花子が許へ..」と満面の笑みを浮かべたときに
English: Example 2: In "Ishi-kiri Kajiwara," at the scene the leading character cuts a huge stone basin in half in an instant
Japanese: （例）石切梶原で、刀で巨大な石（の手水鉢）を一瞬のうちに真っ二つに切り
English: Example 4: When a real father and son play the roles of a parent and a child (sometimes mother and daughter), at the scene such actors embrace each other shedding tears of emotion
Japanese: （例）劇中の役者がたまたま実際の親子で、その二人が抱き合って感涙に咽ぶとても感動的なシーン。
English: Kabuki is just a performing art, so there is no strict rule; however, the audience comes to see the stage, not to pay for kakegoe, therefore, o-muko should be careful that kakegoe doesn't spoil the performance.
Japanese: 基本的に芸能であるので、絶対的な価値観というものは存在しないが、掛け声を聞きに観劇料を払ってきている客はいないので、場を白けさせぬよう大向うは強く自律すべき点である。
English: Shizuo YAMAKAWA, a former newscaster of NHK, is known as an o-muko who did such chari.
Japanese: 元日本放送協会アナウンサーの山川静夫は、このような掛け声を掛けたことで知られている。
English: The whole audience burst into laughter and lost their concentration on the stage.
Japanese: （見物客）「わはははははは」（舞台と関係ない笑い。舞台はもうどうでもよくなっている）
English: By accident, NHK was recording the performance, so the complete Yamakawa chari has been kept in NHK record library as well.
Japanese: 偶然にもこの日はNHKの収録の当日で、この山川の活躍の一部始終はNHKレコードライブラリーの中に保存されている。
English: Listening to the record, it is known that O-Harima waited until the audience settled down, and at miraculously good timing, resumed performing as the bad cha-bozu (tea-server); he took advantage of the laughter triggered by Yamakawa's chari and finished the performance perfectly fascinating the audience.
Japanese: そのため、このあと、大播磨は絶妙な間合いで笑いが引くのをまってから、悪徳坊主の面白みをチャリの笑いから引き継ぎ、観客を魅了する名人芸で見事に演じきる様を、現代でも聞くことができる。
English: If Yamakawa did the chari expecting that the expert O-harima would be able to use the chari in good way, Yamakawa is considered to have had a good technique; however, this is doubtful.
Japanese: 「名人、大播磨なら大丈夫」とばかりに山川がやったとしたならなかなかに巧いとも言えるが、あくまで結果論であろう。
English: O-muko who belong to such society have the free pass 'kido-gomen'.
Japanese: 木戸御免となる特権（特権としているのは、大向うと呼ばれる当事者たちである）がある。
English: It is said that Japanese whisky is closer to Scotch whisky than to Irish whisky.
Japanese: ジャパニーズ・ウイスキーはアイリッシュ・ウイスキーよりもスコッチ・ウイスキーに近いとされている。
English: Among them, Suntory Holdings Limited (Suntory Liquors Limited since April 1, 2009) and THE NIKKA WHISKY DISTILLING CO., LTD. are especially noticeable.
Japanese: なかでもサントリー（2009年4月1日以降はサントリー酒類）とニッカウヰスキーの2社が挙げられる。
English: Both companies produce single malts and blended whiskies.
Japanese: この2社ではシングルモルト、ブレンデッドウイスキーの両方を製造している。
English: Shinjiro TORII and Masataka TAKETSURU are indispensable when it comes to the history of Japanese whisky.
Japanese: 鳥井信治郎と竹鶴政孝はジャパニーズ・ウイスキーの歴史に触れるうえで欠かせない人物である。
English: Torii at first worked in a whole sale drug company as an apprentice, and later founded Kotobukiya Limited (later Suntory Liquors Limited).
Japanese: 鳥井はもともと薬種問屋で丁稚として奉公していたが、その後寿屋（のちのサントリー酒類）を設立する。
English: And later, he succeeded by selling 'Akadama Port Wine,' which he developed based on Portuguese wine.
Japanese: だが、ポルトガルワインをもとに独自開発した「赤玉ポートワイン」を販売して成功する。
English: However, Torii was not satisfied with the success of Akadama Port Wine and started a new project that would become his great achievement in his life.
Japanese: ところが鳥井は赤玉ポートワインでの成功に満足せず、生涯の業績となるような新しい事業に着手した。
English: Torii decided to build the first whisky distillery in Japan in Yamazaki where SEN no Rikyu built his chashitsu (tea-ceremony room), Shimamoto Town, Osaka Prefecture over strong opposition in the company.
Japanese: 鳥井は社内の反対を押し切って、千利休が茶室を設けた大阪府島本町の山崎の地に日本初のウイスキー蒸留所の建設を決定した。
English: Taketsuru had learned the distillation technique in Scotland and came back to Japan in the early 1920's with the knowledge acquired there.
Japanese: 竹鶴はスコットランドで蒸留技法を学んでおり、1920年代初頭にそこで得た知識を日本に持って帰っていた。
English: While he was working for Kotobukiya Limited, he played an important role in building Yamazaki Distillery.
Japanese: 寿屋で勤務していたあいだ、竹鶴は鳥井の山崎蒸溜所設置に重要な役割を果たす。
English: In 1934, Taketsuru resigned from Kotobukiya Limited and founded Dainipponkaju Co., Ltd. (later Nikka Whisky).
Japanese: 1934年、竹鶴は寿屋を退職して大日本果汁（のちのニッカウヰスキー）を設立する。
English: (Hanyu City, Saitama Prefecture. TOASHUZO sold the distillery, but the company that bought it withdrew from whisky production.)
Japanese: （埼玉県羽生市。東亜酒造が売却するも、売却先の企業がウイスキー事業から撤退）
English: It was once considered that the whisky that was not produced in Scotland did not meet the standard of traditional Scotch whisky even if the whisky was produced in the style of Scotch whisky.
Japanese: かつてはスコッチ・ウイスキーの様式で製造されていてもスコットランドで生産されていないウイスキーは、伝統的なスコッチ・ウイスキーの基準を満たさないと考えられてきた。
English: Because of this, Japanese whisky was mostly for Japan's domestic market.
Japanese: そのため近年までジャパニーズ・ウイスキーの市場はほぼ日本国内向けであった。
English: But later, many blind tastings were held by Whisky Magazine.
Japanese: ところがその後、ウイスキーマガジンによるブラインド・テイスティングが多く催されている。
English: In the tastings, Japanese whiskies were tasted as well as malt whiskies produced in the distilleries regarded as excellent even in Scotland.
Japanese: その場においてはスコットランドでも優秀とされる蒸留所で生産されたモルト・ウイスキーに並んで、ジャパニーズ・ウイスキーもテイスティングの対象となっている。
English: In the results of the tastings, Japanese single malts (especially ones produced in Yoichi and Yamazaki) received more than once higher evaluation than single malts of Scotch whisky.
Japanese: 一度ならずそのテイスティングの結果で、ジャパニーズのシングルモルト（とくに余市と山崎）はスコッチのシングルモルトよりも高い評価を受けている。
English: Producing Japanese whisky started with duplicating the production method of Scotch whisky.
Japanese: ジャパニーズ・ウイスキーの製造はスコッチ・ウイスキーの製造方式を再現するというところから始められた。
English: The pioneers of Japanese whisky learned the producing process of Scotch whisky.
Japanese: 竹鶴などのジャパニーズ・ウイスキーの先駆者たちはスコッチ・ウイスキーの製造過程を学んだ。
English: Yamazaki, where the first distillery in Japan was built, was chosen for the location because the place was more convenient due to the economic limitation to build it.
Japanese: 日本初の蒸留所が造られた山崎は経済的な制約があり、より便利な場所に建設することが重視された。
English: On the other hand, Yoichi was chosen for the location to build the distillery because the landscape and weather are similar to those of Scotland.
Japanese: だが、余市はとくにその地形や気候がスコットランドに似ているため、蒸留所の設置場所として選定された。
English: One aspect of the styles of Japanese whisky is that the method of producing blended whisky and features of the whisky industry in Japan are different from those in Scotland.
Japanese: ジャパニーズ・ウイスキーのスタイルの一面として、ブレンデッドウイスキーの生産方法や日本におけるウイスキー業界の異なる性質が挙げられる。