nntsuzu/KFTT huggingface dataset:
English: Nevertheless, there is a view that makurakotoba are basically rhetorical games (associations or puns), on the grounds that a good many makurakotoba in "Manyoshu" are actually made up from associations or puns, and what is more, Origuchi's explanation is hard to prove with distinct evidence (although it is inevitable because the periods in question left no written materials).
Japanese: ただし、一方には『万葉集』における枕詞の実態としては連想や語呂合わせによるものもかなり多いこと、くわえて折口の説明は（文字資料の残らない時代を問題としているためやむを得ないのでもあるが）証拠を得難いことなどを問題として、そもそも枕詞とは言語遊戯（連想や語呂合わせ）であったとする理解もある。
English: Moreover, after "Kokin Wakashu" (A Collection of Ancient and Modern Japanese Poetry), because the chief aim shifted to the arrangement of the format rather than the meaning and the interesting transition of words, the creation of new makurakotoba basically tended to decrease for a while.
Japanese: なお、『古今和歌集』以降では意味よりも形式をととのえること、語の転換の面白さに主眼が置かれるようになり、基本的には新しい枕詞の創作も暫時、減少していく傾向にある。
English: Also, there are many cases in which the effort to find a way to change how the old makurakotoba precede the other words; for example, while makurakotoba 'isonokami' precedes 'furu' in "Manyoshu," ARIWARA no Narihira made it precede 'furinisi,' which resembles 'furu' in pronunciation, whereas makurakotoba 'hisakatano' precedes 'ama,' 'yoru,' and 'ame' in "Manyoshu," KI no Tomonori made it precede 'hikari.'
Japanese: また『万葉集』では「降る」にかかっていた枕詞「いそのかみ」を同音の「古りにし」にかけたり（在原業平）、やはり「天」「夜」「雨」にかかっていた「久方の」を「光」にかける（紀友則）のように、古い枕詞のかかりかたに工夫を加えるケースも多い。
English: As the samples of the rhetorical games since "Manyoshu," we can show the instances such as 'ashihiki no' -> 'ashi wo hikizurinagara noboru' (to climb with dragging legs) -> 'yama' (a mountain), 'azusayumi' -> 'yumi no gen wo haru' (to stretch a bowstring) -> 'haru' (spring), and so on.
Japanese: 『万葉集』以来の言語遊戯の例としては、「足引きの」→「足を引きながら登る」→「山」、「梓弓」→「弓の弦を張る」→「春」などの例を挙げることができる。
English: However, the original meaning of 'ashihiki no' is not 'ashi wo hiku' (to drag legs), because there is some doubt in the ancient special Kana usage, and this is regarded as the Hitomaro's new interpretation.
Japanese: ただし、「あしひきの」は上代特殊仮名遣の問題から、もともとは「足を引く」の意味ではなく、これは人麻呂による新しい解釈と目される。
English: Also, we can find a few instances of three-syllable or four-syllable makurakotoba such as 'chiba no,' 'tobu tori,' 'soramitsu,' etc. in the samples of the ancient literature.
Japanese: また、上代文学の例では「ちばの」「とぶとり」「そらみつ」のように三音節・四音節の枕詞も数例認められる。
English: From this point, it is thought that makurakotoba became five-syllable phrases under the influence of the formalization of Misohitomoji (thirty-one characters).
Japanese: このことから、枕詞が五音節化するのは三十一文字の定型化とかかわっていると考えられる。
English: We cannot know exactly when the formalization was completed, but can guess that it was Hitomaro who revised 'sora mitsu' into 'sora ni mitsu' ("Manyoshu" Vol. 1, 29th poem), so it is true that this kajin (waka poet) made a significant contribution to the creation and reinterpretation of makurakotoba.
Japanese: 定形化の成立が何時頃であるのかは詳らかではないが、「そらみつ」を「そらにみつ（空に満つ）」と改めたのも人麻呂であろうと思われ（『万葉集』巻1・29番歌）、枕詞の創造・再解釈に関しては、この歌人によるところが多いことは事実である。
English: In "Manyoshu" the five-syllable makurakotoba are used basically, so they are supposed to have gotten formalized about the seventh century.
Japanese: 『万葉集』は基本的には五音節の枕詞が使用されており、七世紀頃には固定化されていったものと思われる。
English: There are many studies in which the relationship between makurakotoba and himakura (a subjected word of makurakotoba) is classified, among which Shiro SAKAIDA classifies it most roughly as follows:
Japanese: 枕詞と被枕との関係を分類したものについては、いくつもの研究があるが、もっとも大別的な分類をおこなった境田四郎の説（によって示せば、以下のようになる。
English: To speak most roughly, we can recognize two kinds of makurakotoba, the ones preceding based on the pronunciation and the ones preceding based on the meaning.
Japanese: きわめて大雑把に示せば、音でかかるものと意味でかかるものの2種類が枕詞には認められることになる。
English: Especially, Yuka FUJIMURA insists that in most makurakotoba 'makurakotoba' have almost the same meaning as 'himakura.'
Japanese: 特に、藤村由加によると、枕詞のほとんどは「枕詞」と「被枕詞」がほぼ同義になるという。
English: The reason why they are used in that way is that it is the objective of makurakotoba to emphasize the words by repeating words of a similar meaning (at the ancient language level).
Japanese: なぜそういう用法をなすかというと、（古代語レベルで）同じ意味の言葉を重ねることで、その言葉を強調するのが枕詞の目的であるとしている。
English: "Shui wakashu" is the third imperial anthology of Japanese poetry after Kokin wakashu (Collection of Ancient and Modern Japanese poems) and Gosen wakashu (Later Collection of Japanese poems), and is the last one of the so called 'Sandai shu' (The Collections of Three Eras).
Japanese: 『拾遺和歌集』（しゅういわかしゅう）は、古今和歌集・後撰和歌集に次ぐ第三番目の勅撰和歌集で、いわゆる「三代集」の最後にあたる。
English: It has been said since ancient times that Emperor Kazan selected the poems himself, or he ordered FUJIWARA no Nagato (or Nagayoshi) and MINAMOTO no Michinari to select them, but there is no positive proof.
Japanese: 古来、花山天皇の親撰もしくは院が藤原長能・源道済に撰進させたといわれてきたが、確証はない。
English: It is thought to have been compiled based on "Shui sho" selected by FUJIWARA no Kinto, considering the similarity with the name (the issue of which one was the earlier was controversial for a long time, but in modern days the theory that "Shui sho" was the earlier has been established).
Japanese: 藤原公任の撰という『拾遺抄』との命名の相似性を考え、それをベースに編まれたと思われる（両者の先後関係については、古来論争が続いて来たが、近代になって拾遺抄から拾遺集へとの説が固着した）。
English: It consists of approximately 1350 poems: twenty volumes organized under headings of spring, summer, autumn, winter, congratulations, parting, acrostics, miscellaneous (One, Two), Kagura uta (poems, the theme of which is sacred Shinto dancing), love (five volumes), miscellaneous spring, miscellaneous autumn, miscellaneous congratulations, miscellaneous love, and laments.
Japanese: 春、夏、秋、冬、賀、別、物名、雑（上・下）、神楽歌、恋（五巻）、雑春、雑秋、雑賀、雑恋、哀傷の二十巻、約1350首からなる。
English: The name 'Shui' means to glean excellent poems that had not been selected in the previous imperial collections, and by definition, while many poets from Kokin wakashu including KI no Tsurayuki (107) were selected again, poets from Manyo shu (Collection of Ten Thousand Leaves) such as KAKINOMOTO Hitomaro (104) were re-evaluated, and poems by ONAKATOMI no Yoshinobu (59), KIYOHARA no Motosuke (48) and TAIRA no Kanemori (39) from Gosen wakashu era were added.
Japanese: 「拾遺」の名義は前代の勅撰集に漏れた秀歌を拾い集める意で、その名の通り、この集では紀貫之（107首）をはじめとする古今歌人が引き続き多数入集する一方、柿本人麻呂（104首）ら万葉集歌人が再評価され、大中臣能宣（59首）・清原元輔（48首）・平兼盛（39首）ら後撰集時代の歌人の作が新たに補われた。
English: Shui shu (abridged form of Shui wakashu) in general has a plain and graceful style, and includes many poems for formal occasions such as ga no uta (poems for congratulations), byobu uta (poems matching with a painting on the byobu, folding screen), and poems for uta awase (poetry competition), and especially includes excellent ones of love, eight of which were selected for Ogura Hyakunin Isshu (the Ogura One Hundred Poets, One Poem Each).
Japanese: 『拾遺集』は総じて平明優美な歌風で、賀歌・屏風歌・歌合など晴れの歌が多いが、殊に恋歌はすぐれ、小倉百人一首に8首も採られている。
English: Gosenwakashu is the second imperial waka (Japanese poetry) collection compiled in response to a command issued by Emperor Murakami.
Japanese: 後撰和歌集（ごせんわかしゅう）は、村上天皇の下命によって編纂された第二番目の勅撰和歌集。
English: Following the example of "Kokinwakashu" (Collection of Japanese Poetry, Old and New), it is in twenty books and the arrangement of the poems is as follows; three books are devoted to spring poems; one to summer poems; three to autumn poems; one to winter poems; six to love poems; four to miscellaneous poems; one to parting poems including travel poems; one to congratulatory poems including lamenting poems, and the total number of the poems is 1425.
Japanese: 体裁は『古今和歌集』に倣い、春（上・中・下）、夏、秋（上・中・下）、冬、恋（六巻）、雑（四巻）、離別（附　羇旅）、賀歌（附　哀傷）の二十巻からなり、総歌数は1425首。
English: The date of presentation of the completed manuscript is not certain because, unlike Kokinwakashu, Gosenwakashu has no preface.
Japanese: 後撰和歌集には、古今和歌集のような序文が付されていないため、その成立年時は不明である。
English: However, it seems to have been presented by 957, because a chronicle shows that the poetry bureau was established at Shoyosha (Nashitsubo, Ladies' Quarters) in the court in November 951 and that the five officers in Nashitsubo, MINAMOTO Shitago, ONAKATOMI no Yoshinobu, KIYOHARA no Motosuke, SAKANOUE no Mochiki, and KI no Tokibumi, carried out works deciphering the text of the "Manyoshu" (Collection of Ten Thousand Leaves) and compiling a new imperial collection of waka, and that, as the head of the poetry bureau, FUJIWARA no Koretada directed the compilation.
Japanese: だが、天暦5年（951年）10月、宮中の昭陽舎（梨壺）に撰和歌所が置かれ、その寄人に任命された源順・大中臣能宣・清原元輔・坂上望城・紀時文（以上、梨壺の五人）が中心となって『万葉集』の訓詁と新たな勅撰集の編纂に当たり、藤原伊尹が別当となってそれを統括した旨、史書に見えるので、遅くとも天暦末年には奏覧されたと見られる。
English: Tsuneya OKUMURA argues that it was completed between 955 and 958, judging from the way of spelling the poets' names.
Japanese: 奥村恒哉は、作者名の表記の仕方から、天暦9年から天徳(日本)2年（958年）の間に成立したとする。
English: On the other hand, Hiroshi YAMAGUCHI argues that Empress FUJIWARA no Onshi held a chrysanthemum contest in Shoyosha on December 7, 953 and died the next year, and therefore Gosenwakashu had been completed at that time.
Japanese: また山口博は、天暦7年（953年）10月28日(旧暦)に皇太后藤原穏子により昭陽舎で菊合が開かれており、穏子は翌年昭陽舎で没していることから、その頃には完成していたとしている。
English: FUJIWARA no Kiyosuke, Kigin KITAMURA, and Umashi NAKAYAMA assert the old theory that Gosenwakashu is an 'unfinished manuscript,' because of its lack of preface, lack of narrative kotobagaki (prose prefaces), the unsystematic arrangement of the poems, and repeat appearance of poems.
Japanese: また、序文がないことや詞書が物語的であること、部立てと配列の乱れ、歌の重出などから、後撰和歌集が「未定稿」であったとする説が古来からあり、藤原清輔や北村季吟、中山美石などが主張している。
English: Toshio MURASE argues that a draft was circulated and came down to following generations because the authorized manuscript was burned in the fire of the court on October 16, 960.
Japanese: 村瀬敏夫は、天徳4年（960年）9月23日(旧暦)に内裏の火災があり、その際に奏覧本（正式な本）が炎上したために、草稿本が流布し後世に伝来したのではないかとしている。
English: Kokinshu poets figured prominently also in Gosenwakashu, which includes eighty-one poems by KI no Tsurayuki, seventy-two by Ise (a poet), and twenty-four by FUJIWARA no Kanesuke, partially because no more than forty years had passed since the compilation of "Kokinshu."
Japanese: 『古今集』撰進から四十余年しか経っていないこともあり、紀貫之（81首）・伊勢(歌人)（72首）・藤原兼輔（24首）ら、古今時代の歌人が再び主役を演じた。
English: Among the poets at the time of the compilation, FUJIWARA no Morosuke, FUJIWARA no Saneyori, and FUJIWARA no Atsutada are represented in the collection with the most poems, and the large number of poems by poets of the highest social positions are included, while female poets such as Nakatsukasa and Ukon are largely represented in the collection.
Japanese: 入集を果たした当代歌人の中で、上位は藤原師輔・同藤原実頼・同藤原敦忠などで、権門の作が多く採られているが、中務・右近(歌人)ら当代の女流歌人の活躍も見られる。
English: Or, narrative kotobagaki may have left unedited, because Gosenwakashu was the 'unfinished manuscript' as mentioned above.
Japanese: これについては上記のように「未定稿」であるため、物語的な詞書が残ったとする見解がある。
English: A feature of the collection is the large number of 'profane poems' based on the daily life of the aristocracy, such as the dialogue poems typified by the exchange between Emperor Uda and FUJIWARA no Tokihira, and between FUJIWARA no Nakahira and Ise.
Japanese: 宇多天皇や藤原時平、藤原仲平と伊勢との間の贈答をはじめとする贈答歌など、貴人の日常生活に基づいた「褻（け）の歌」が多いのもこの集の特色である。
English: It includes many waka poems by the poet ARIWARA no Narihira and the hero is called by his cognomen (Chapter 63).
Japanese: 歌人在原業平の和歌を多く採録し、主人公を業平の異名で呼んだりしている（第63段）。
English: Nevertheless, he does no appear under his real name in the text and there are a number of poems and episodes that cannot be ascribed to his biography.
Japanese: ただし作中に業平の実名は出ず、また業平に伝記的に帰せられない和歌や挿話も多い。
English: It is noteworthy that "The Tale of Genji" refers to "The Tales of Ise" as 'outdated.'
Japanese: 『源氏物語』には『伊勢物語』を「古い」とする記述が見られ、注目される。
English: The question of its authorship is inextricably linked to the question of its textual formation.
Japanese: 『伊勢物語』の作者論は、作品そのものの成立論と不即不離の関係にある。
English: In former times the controversy over the completion of the text was divided into three: before, during, or after the composition of "Kokin Wakashu" (A Collection of Ancient and Modern Japanese Poetry) and "Gosen Wakashu" (A Later Selected Collection of Japanese Poetry).
Japanese: 古く『古今和歌集』と『後撰和歌集』の成立時期の前・間・後のいずれの時期で成立したか説が分かれていた。
English: In FUJIWARA no Kiyosuke's "Fukurozoshi" (Notes in a Folder, the Collection of Poetic Lore on poetics), Kensho's "Kokinshu Chu" (Commentary of the Kokinshu) and in the postscript to vulgate copies of the manuscript transcribed by FUJIWARA no Sadaie, Narihira is suggested as the author of "The Tales of Ise."
Japanese: 藤原清輔の歌学書『袋草子』や『古今集注』の著者顕昭さらに藤原定家の流布本奥書に業平であろうと記述がある。
English: Another ascribed its authorship to Ise, who was the only female poet in the poetry circle in the Engi era, based on the title of "The Tales of Ise."
Japanese: また伊勢物語という題名から作者を延喜歌壇の紅一点の伊勢であるからとの説もある。
English: Recently, therefore, many have considered it necessary to dissociate the text from the legendary authorship of Narihira and "Narihirashu" (Collection of Poems of ARIWARA no Narihira).
Japanese: 近年ではそのような業平の伝説や、『業平集』とは一線を画す必要があると考えられている。
English: One hypothesis states that tales that were included in the collection of poems of Narihira or had been handed down in his family gradually developed into the 125 chapters as we now know them, through the addition of supplementary chapters by later redactors.
Japanese: 元来業平の歌集や家に伝わっていた話が、後人の補足などによって段階的に現在の125段に成長していったという仮説である。
English: The assumption of the later addition of chapters is, however, questionable, as no manuscript with more than 125 chapters has been confirmed.
Japanese: ただし増補があったとするには、現行の125段本以外の本がほぼ確認できないという弱みがある。
English: As some have pointed out, if the text had been orderly arranged at the final stage, the person who did this editing must be regarded the author.
Japanese: 最終的に秩序だって整理されたとするならば、その整理者をいわゆる作者とすべきではないか、という指摘も見られる。
English: Literary works, whether poetry or prose, before pre-modern times are assumed to have been based on earlier works.
Japanese: 近代以前の作品の有り方は、和歌にせよ散文にせよそれ以前の作品を踏まえるのが前提であると考えられる。
English: Making allowances for such cases, in recent years KI no Tsurayuki and others have often been mentioned as individual authors.
Japanese: そのような場合も含めて、個人の作者として近年名前が挙げられる事が多いのは、紀貫之らである。
English: A central piece of each chapter is constituted by dokueika (waka composed without a specific addressee in mind) in which the hero expresses his sentiments or zotoka (poems composed with a specific addressee in mind) which he exchanges with others.
Japanese: 主人公の男が己の思いを詠み上げた独詠歌や、他者と詠み交わした贈答歌が各段の中核をなす。
English: The hero is never called Narihira although many waka poems by ARIWARA no Narihira (825-880) are cited and his close relatives and acquaintances appear in the text.
Japanese: 在原業平（825-880）の和歌を多く含み、業平の近親や知己も登場するけれども、主人公が業平と呼ばれることはない。
English: In some tales (e.g., Chapter 23 on the so-called 'Tsutsu Izutsu' (lit. a well curb)), countrymen who have nothing to do with Narihira, who is a nobleman of imperial lineage, are made into the protagonists.
Japanese: 王統の貴公子であった業平とは関わらないような田舎人を主人公とする話（23段いわゆる「筒井筒」など）も含まれている。
English: For these reasons, one hesitates to assert that the hero is Narihira and prefers to state that he has something of Narihira or he is a man like Narihira.
Japanese: よって、主人公を業平と断言することははばかられ、業平の面影があるとか、業平らしき男、と言われる。
English: He has been referred to from days of old as 'once-upon-a-time man' based on the opening line of chapters.
Japanese: また、章段の冒頭表現にちなんで、「昔男」と呼ぶことも、古くから行われてきた。
English: The chapters cover broad subjects from heterosexual love, to parent-child love, to master-subject love, to friendship and social life.
Japanese: 各話の内容は男女の恋愛を中心に、親子愛、主従愛、友情、社交生活など多岐にわたる。
English: Not only the hero but also many characters who associate with him are referred to as a 'woman' or 'person.'
Japanese: 主人公だけでなく、彼と関わる登場人物も匿名の「女」や「人」であることが多い。
English: Which is why "The Tales of Ise" does not merely remain as a narrative about Narihira but can be a universal narrative that describes many aspects of human relations.
Japanese: そのため単に業平の物語であるばかりでなく、普遍的な人間関係の諸相を描き出した物語となりえている。
English: At times, multiple chapters constitute a serialized story and at times, a single chapter tells an independent story.
Japanese: 複数の段が続き物の話を構成している場合もあれば、1段ごとに独立した話となっている場合もある。
English: Even in the latter case, however, adjacent chapters are loosely connected by sharing common words, phrases, or contents.
Japanese: 後者の場合でも、近接する章段同士が語句を共有したり内容的に同類であったりで、ゆるやかに結合している。
English: In the extant manuscripts, the text begins with the hero just having undergone the ceremony of coming-of-age celebration and ends with his writing a waka poem anticipatory of his death.
Japanese: 現存の伝本では、元服直後を描く冒頭と、死を予感した和歌を詠む末尾がある。
English: Between these two episodes are inserted the following episodes: the hero's tragic love affair with Nijo no Kisaki, 'Azuma Kudari' where he journeys into Eastern provinces, his amour with Ise Saigu (Vestal Virgin of Ise), and the master-subject love between Imperial Prince Koretaka and him.
Japanese: この間に、二条后との悲恋や、東国へ流離する「東下り（あずまくだり）」、伊勢の斎宮との交渉や惟喬親王との主従愛を描く挿話が置かれる。
English: In the latter part of the text the hero appears as an old man, which imparts a broad structure of biography to the narrative.
Japanese: 後半には老人となった男が登場するという、ゆるやかな一代記的構成をとっている。
English: A scholars has described such a structure as the "comb-teeth organization" by way of the metaphor of the comb in which the framework of biography is filled with a row of teeth that are individual episodes recounting the truths of love.
Japanese: 一代記というフレームに、愛情のまことをちりばめた小話が列をなしてる様を櫛にたとえて櫛歯式構成という学者もいる。
English: The text underscores that the Ki clan are in more reduced circumstances than ancient records would tell us.
Japanese: 作中での彼らは古記録から考えられる以上に零落した境遇が強調されている。
English: This can be taken as the aesthetic rendering of the clan who remained graceful even though, for some reason, they failed to defeat the Fujiwara clan in their political strife.
Japanese: 何らかの意図で藤原氏との政争に敗れても、優美であったという紀氏の有り様を美しく描いているとも考えられる。
English: It seems that manuscripts that began with the episode of the hero's liaison with the Vestal Virgin of Ise once existed.
Japanese: なお、斎宮との交渉を描く章段を冒頭に置く本もかつては存在したらしい。
English: In the present, however, one of the most cogent theories is that the title derives from the 69th chapter set in Ise Province (where a man supposed to be ARIWARA no Narihira commits adultery with the Vestal Virgin of Ise).
Japanese: 現在は、第69段の伊勢国を舞台としたエピソード（在原業平と想定される男が、伊勢斎宮と密通してしまう話）に由来するという説が最も有力視されている。
English: This theory assumes, on the one hand, that the chapter is a highlight of the text, and, on the other, that it was originally an opening episode.
Japanese: その場合、この章段がこの作品の白眉であるからとする理解と、本来はこの章段が冒頭にあったからとする理解とがある。
English: The former interpretation cannot really explain why this chapter rather than famous chapters like "Nijo no Kisaki" or "Azumakudari" had to be selected.
Japanese: 前者は、二条后や東下りなど他の有名章段ではなくこの章段が選ばれた必然性がいまひとつ説明できない。
English: The latter has met the criticism that such a form of texts would have been re-edited by later redactors to justify the title.
Japanese: 後者は、そのような形態の本はむしろ書名に合わせるために後世の人間によって再編されたものではないかとの批判もある。
English: Narihira's adulterous relationship with the Saigu of Ise had a grave impact on the aristocratic society of the day.
Japanese: また、業平による伊勢斎宮との密通は、当時の貴族社会へ非常に重大な衝撃を与えた。
English: "The Tale of Genji" (the chapter on Agemaki of "Genji Monogatari") cites the title called "Zaigo ga Monogatari" (the Tales of Zaigo, who refers to Narihira who was the fifth son of the Ariwara clan).
Japanese: また、源氏物語（総角(源氏物語)の巻）には、『在五が物語』（在五は、在原氏の第五子である業平を指す）という書名が見られる。
English: As a document on the ideal of 'irogonomi' (heroic love-making) "The Tales of Ise" was very influential on later prose narratives such as "The Tale of Genji" as well as waka poems.
Japanese: 「いろごのみ」の理想形を書いたものとして、『源氏物語』など後代の物語文学や、和歌に大きな影響を与えた。
English: Common themes are found in "Yamato Monogatari" (the Tales of Yamamoto) that was completed slightly later (in ca. 950).
Japanese: やや遅れて成立した歌物語、『大和物語』（950年頃成立）にも、共通した話題がみられる。
English: Waka poems that are considered to have been taken from "The Tales of Ise" are included in "Gosen Wakashu" and "Shui Wakashu" (A Collection of Gleanings of Japanese Poems).
Japanese: 『後撰和歌集』や『拾遺和歌集』にも『伊勢物語』から採録されたと考えられる和歌が見られる。
English: They each developed their own interpretations of the text and provided sources for later works such as "Noh Izutsu."
Japanese: それぞれ独自の伊勢物語理解を展開し、それが能『井筒(能)』などの典拠となった。
English: After pre-modern times, the text became the basis of parodies such as "Nise Monogatari" (the Tales of Pseudo-Ise).
Japanese: 近世以降は、『仁勢物語』（にせものがたり）をはじめとする多くのパロディ作品の元となった。
English: In our times too, it gave rise to mock "Ise Monogatari" such as "Ese Monogatari" (the Tales of Ese by Yoshinori SHIMIZU).
Japanese: 現代でも『江勢物語』（えせものがたり、清水義範著）といった模倣が生まれている。
English: The mother of FUJIWARA no Michitsuna (c. 936 - June 7, 995) was a waka poet in the mid Heian period.
Japanese: 藤原道綱母（ふじわらのみちつなのはは、承平(日本)6年（936年）？-長徳元年5月2日_(旧暦)（995年））は平安時代中期の歌人である。
English: Michitsuna's mother was also one of the medieval 36 Immortal Poets and one of the 36 Immortal Lady Poets.
Japanese: また、道綱母も中古三十六歌仙の一人であり、女房三十六歌仙の一人でもある。
English: Her husband, who became Sessho (regent), did not pay attention to her, so she was said to be lonely in her later years, but details are unknown.
Japanese: 晩年は摂政になった夫に省みられる事も少なく寂しい生活を送ったと言われているが詳細は不明。
English: In Kagero Nikki, her last diary entry was on New Year's Eve at the age of 39, which was 20 years before date of her death.
Japanese: 蜻蛉日記は没年より約二十年前、三十九歳の大晦日を最後に筆が途絶えている。
English: Poem 53 - Lying all alone moaning the fact that you are not coming, do you realize the emptiness of that night till the daylight comes ("Shui Waka Shu" [Collection of Gleanings], Koiuta [lovers poetry] Part Four, poem 912).
Japanese: 53番なげきつつひとりぬる夜のあくるまはいかに久しきものとかはしる（「拾遺和歌集」恋四・912）
English: It consists of 40 volumes in total and covers 95 years, ranging from 697, the first year of the Emperor Monmu's reign, to 791, the reign of Emperor Kanmu.
Japanese: 文武天皇元年（697年）から桓武天皇の延暦10年（791年）まで95年間の歴史を扱い、全40巻から成る。
English: The first half of the book was originally planned to consist of 30 volumes in total and cover the years ranging from 697, the first year of the Emperor Monmu's reign, to 757, the reign of Empress Koken.
Japanese: 前半ははじめ、文武天皇元年（697年）から天平宝字元年（757年）、孝謙天皇の治世までを扱う30巻の曹案として作られた。
English: Emperor Konin ordered ISHIKAWA no Natari, OMI no Mifune, and TAIMA no Nagatsugu to revise the work, but they lost A Record of the First Year of the Tenpyo Hoji Era and could not finish the revision (there is an opinion that due to the many political conflicts which occurred before and after the year 757, they could not reach an agreement about writing the history, so they pretended that it had been lost).
Japanese: 光仁天皇が、修正を石川名足、淡海三船、当麻永嗣に命じたが、彼らは天平宝字元年紀を紛失した上、未遂に終わった（この年の前後には政争絡みの事件も多かったため、執筆者間で意見が纏めることが出来ずに紛失という事にしたとする説もある）。
English: Emperor Kanmu ordered SUGANO no Mamichi, AKISHINO no Yasuhito, and NAKASHINA no Kotsuo to complete the work, and thus the volumes totaled 20.
Japanese: 桓武天皇の命により編纂を菅野真道、秋篠安人、中科巨都雄が引継ぎ、全20巻とした。
English: Emperor Kanmu gave an order to compile the latter half of the book that was supposed to deal with the history dating from 758 to perhaps 777 (the reigns of Emperor Junnin to Emperor Konin).
Japanese: 後半は当初、天平宝字2年（758年）からおそらく宝亀8年（777年）、淳仁天皇から光仁天皇までを扱うものとして、桓武天皇の命で編纂された。
English: The 20-volume work which had been compiled by ISHIKAWA no Natari and KAMITSUKENU no Okawa was reduced to 14 volumes by FUJIWARA no Tsugutada, SUGANO no Mamichi, and AKISHINO no Yasuhito, then it was completed in 794.
Japanese: 石川名足、上毛野大川が詔によって編集した20巻を、藤原継縄、菅野真道、秋篠安人が14巻に縮め、延暦13年（794年）にいったん完成した。
English: SUGANO no Mamichi, AKISHINO no Yasuhito and NAKASHINA no Kotsuo added six more volumes to the work, which covered the incidents that had occurred before 791 in the reign of Emperor Kanmu, thus brought the total to 20 volumes.
Japanese: 菅野真道、秋篠安人、中科巨都雄は、さらに6巻、すなわち桓武天皇の治世のうち延暦10年（791年）までを加え、全20巻とした。
English: It was in 797 that the work consisting of 40 volumes in total was completed.
Japanese: 以上あわせて40巻の編纂が成ったのは、延暦16年（797年）であった。
English: There are differences in contents between the imperial collections of the history books "Nihon Shoki," which described the process of unifying the country of "Japan," and "Zoku Nihonshi," which dealt with the history of the country after its formation.
Japanese: “日本”という国家が形成されていく過程を描いた『日本書紀』とその国家が形成された後の歩みを描いた『続日本史』以後の勅撰国史ではその内容に違いが生じてくる。