nntsuzu/KFTT huggingface dataset:
English: When the monk speaks to her, she gazes at the well of memories and begins to speak of the old days, while concealing the fact that she is Narihira's wife.
Japanese: 僧が彼女に話しかけると、彼女は業平の妻である事を隠しつつも、想い出の井戸を見つめ、昔を語り出す。
English: She tells of how in the past, she kept her unfaithful husband by her side through her love and devotion (refer to the story Tsutsuizutsu).
Japanese: 他の女のもとに通う夫をひたむきな愛情でつなぎ止めた過去を語る(詳細は筒井筒参照)。
English: They used to play together around the izutsu, chatting happily and looking at each other's reflections on the surface of the water.'
Japanese: 「二人は井筒のまわりで仲良く語り合ったり、水面に互いの姿を移して遊んだりしていました。」
English: However, when they reached adolescence they both got more and more self-conscious and drifted apart from each other.'
Japanese: 「しかし、年頃になると、互いに恥ずかしくなり疎遠になってしまいました。」
English: I have grown a lot taller than those days when I used to play with you and we compared our heights with the izutsu.'
Japanese: 「昔あなたと遊んでいた幼い日に、井筒と背比べした私の背丈はずっと高くなりましたよ。」
English: The hair I used to compare with you has grown a lot longer, past my shoulders.'
Japanese: 「あなたと比べあった、振り分け髪も肩を過ぎてすっかり長くなりました。」
English: She is dressed as a man, wearing a court cap and noshi (everyday clothing for nobles at the time) which used to belong to Narihira.
Japanese: 彼女は業平の形見の冠と直衣(＝当時の貴族の普段着)を身に着け、男装していた。
English: Then she says 'though it is embarrassing,' and dances the Jo-no-mai, imitating Narihira when he was still alive.
Japanese: そして「恥ずかしいことだが」と言いつつ、在りし日の業平をまねて序ノ舞を舞う。
English: While she dances, she remembers the old days when she waited for a husband who would not return.
Japanese: 舞いながら彼女は、帰るはずもない夫をいつまでも待ち続けた昔を思い出す。
English: As she sings a poem from 'Tsutsuizutsu' which Narihira sent her, she realizes that she has grown old.
Japanese: 彼女は業平が自分に送ってくれた「筒井筒」の歌を口ずさむうちに、自分が老いてしまった事に気付かされる。
English: Then she reflects her figure, wearing Narihira's noshi, on the surface of the water just as she used to when she was a child.
Japanese: そして業平の直衣を身に着けたその姿で、子供の頃したように、自分の姿を水面にうつす。
English: Then she disappears like withering flower leaving only its scent behind, and the monk wakes up with the toll of dawn.
Japanese: そして萎む花が匂いだけを残すかのように彼女は消え、夜明けの鐘とともに僧は目覚めるのだった。
English: In the story of 'Tsutsuizutsu' in Ise Monogatari, a woman rejects an offer for marriage to wait for her beloved man, and after marriage, again waits for her unfaithful husband's return.
Japanese: 伊勢物語の筒井筒の物語で、女は縁談を断って愛する男を待ち続け、結婚後も浮気する夫の帰りを待ち続けている。
English: Therefore the Noh version of Izutsu has re-interpreted the story of Tsutsuizutsu as a story of a wife waiting for her beloved husband, and there are several waka (traditional Japanese poems) that have been added, expressing the bitterness and sense of loss related to waiting.
Japanese: それゆえ能の井筒では筒井筒の物語を、愛する夫を待ち続ける物語として再解釈しており、待ち続ける辛さや喪失感を詠った和歌がいくつか追加されている。
English: The piece starts with the Buddhist rites for the dead husband, going to the story of the wife waiting for her unfaithful husband, and finally to the heart of the story, the beginning of their relationship.
Japanese: 夫の死後の弔いから始まり、浮気する夫を待ち続けた話へと向かい、そして最後に物語の核心である夫との馴れ初めへと向かう。
English: The original verse in the poem from Ise Monogatari is 'Tsutsuizutsu, to the izutsu, my stature, has well passed' – the last line has been changed to 'it has grown taller.'
Japanese: 伊勢物語では「筒井筒、井筒にかけしまろがたけ、過ぎにけらしな」と詠われていたところが「生(お)いしけりしな」に改編されている。
English: She realizes she has grown old while singing the poem from 'Tsutsuizutsu,' because the word 'grow' has the same pronunciation as the word 'age.'
Japanese: 「筒井筒」を口ずさんだシテは「生(お)いしけりしな」という言葉から自分が老(お)いてしまった事に気づく。
English: Izutsu quotes a part of the poem that begins with 'Mayumi Tsukuyumi...' from passage 24 of Ise Monogatari, therefore there is an interpretation that the female Shite and the woman in passage 24 are one and the same.
Japanese: 井筒では伊勢物語24段から「真弓槻弓...」の歌の一部が引用されており、それゆえシテの女を24段の女と同一視する解釈がある。
English: According to this interpretation, the husband goes to the capital for court duty after the incident of Tatsuta-yama Mountain, and is not heard from again.
Japanese: この解釈に従えば、竜田山の件があった後、夫は宮廷勤めの為都にいってしまい、そのまま音沙汰がなくなる。
English: The woman waits for her husband's return, but 3 years later, she finally gives up and decides to marry another man.
Japanese: 女は帰らぬ夫を待ち続けたが、３年後、ついに諦めて別の男の元へと嫁ぐ事にする。
English: The woman goes after her husband but is unable to catch up with him, and her strength gives out and she dies.
Japanese: 女は夫を追いかけるが、追いつく事ができないまま力尽きて死んでしまう。
English: It is believed that wearing Narihara's clothes as an expression of longing for him would induce a sense of euphoria in her, taking her back to a time when their love was as yet untroubled, because it would give her a sense of fulfillment through her being possessed by Narihira or achieving a curious kind of unification with him.'
Japanese: 「業平を恋慕う表現として、その形見を身につけることにより、業平が憑依するような、あるいはふしぎな一体化をとげたような充足感が生れて、二人の愛が全き姿であった日に遡りつつ一つの陶酔を生むことが可能だと考えられた」
English: In the first half, while the female Shite is speaking to the monk about her memories with her husband, she recalls a poem she had dedicated to him a long time ago.
Japanese: まず前段、シテの女が僧に夫との想い出を話す中、女はむかし夫に詠んだ歌を回想する。
English: When the wind blows white waves can be seen out at sea (robbers strike on Mt. Tatsuta-yama), I worry that you travel alone at night.
Japanese: 風が吹くと沖の白波が立つ、ではないがその龍田山を越えて、夜道をあの人が一人でいくのが心配だなあ。
English: In the latter part, appearing in the monk's dream in her husband's noshi, she recalls a poem she had composed while waiting in vain for her husband.
Japanese: 後段、夫の直衣を身に着けて女が僧の夢の中に現れたとき、帰らぬ夫を待ち続けた頃に詠んだ歌を思い出す
English: Although cherry blossoms are said to be insincere as they are scattered by the wind in no time, they bloom beautifully waiting even for you, who comes so infrequently each year.
Japanese: 風にすぐ散ってしまう桜は不実だと言われていますが、一年のうち滅多に来ないあなたをもちゃんと待ってこのようにきれいに咲いているのですよ。
English: Then she mutters 'Now that 'Mayumi Tsukuyumi (many) years have passed' since the old days of tsutsuizutsu, I shall dance like my husband,' and starts to dance.
Japanese: そして「筒井筒の昔から「真弓槻弓年を経」た今、夫の真似をして舞いを舞ってみよう」と呟いて舞いはじめる。
English: Stay with him for many months and years (like there are different types of bows, we shared many experiences over many years), and be good to him in the same way that I treasured you.
Japanese: その人と長い年月連れ添って、わたしがあなたをいとしんだように、新しい夫と仲よくしなさい
English: As she dances in the moonlight she mutters, "when was it that I sang "the moon is not the moon from long ago, the spring of long ago."'
Japanese: 月の光に照らされながら舞っているうちに女は「「月やあらぬ春や昔」と詠んだのはいつのことだろうか」と呟く。
English: I wonder if the moon is not the same moon as the past, I wonder if the spring is not the same spring as the past.
Japanese: 月は昔と同じ月ではないのだろうか、春は昔と同じ春ではないのだろうか。
English: Now that you are not here, both the moon I gaze at or the spring I spend alone feel different from last year, but I continue even now to think of you
Japanese: あの方のいらっしゃらない今、一人で眺める月も過ごす春も、去年とは違うように感じられるが、私だけは今もあなたを想い続けている
English: After this poem about the bitterness of waiting is recollected, the poem of 'Tsutsuizutsu' is sung once again, and she realizes that she has grown old from the word 'grow' which has the same pronunciation as 'age.'
Japanese: こうして待つ事の辛さを詠んだ歌が回想された後、最後に再び「筒井筒」の歌が詠まれ、「生(お)いしけりしな」という言葉から自分が老いてしまった事に気付く。
English: Then she looks down into the izutsu of memories and bursts into tears as she sees her husband's face reflected.
Japanese: そして彼女が想い出の井筒をのぞきこむと、そこに夫の面影を見出し、泣きくずれるのである。
English: The part 'Only the name remains, Ariwara-dera Temple has fallen to ruins' should 'show a feeling of attachment to the ruins'.
Japanese: 「名ばかりは在原寺の跡古りて」のところは「古跡を恋慕するこころを外想に顕すべし」
English: The utsurimai (transitional dance) (to dance like Narihira) is an 'otokohakase' (male role) dance, and 'in the korekiri (=the last part) the role should feature both male and female aspects'
Japanese: 移り舞(＝(業平を)まねて舞う事)は「男はかせ」の舞であり、「此キリ(＝終末部分)男博士、女博士まじれり」
English: For the part looking down into the izutsu, 'the section where she says, "how dear to see, even if it's myself how dear it is to see," is sometimes said as kenyou (to read things as is in waka) of yin yang'
Japanese: 井筒をのぞきこむ部分に関して、「みればなつかしや我ながらなつかしやと云所に陰陽の見樣といふ事あり」
English: Regarding the utsurimai, 'even though it is a female role playing a male role, to make it a male role after the later Dewa (name of hayashi) means to make it an utsurimai to a man of the past'
Japanese: 移り舞に関して、「男博士にする女博士なれども、跡の出羽(＝囃子の名前)より男博士にするは、昔男に移り舞といふ事なり」
English: For the part of looking down into the izutsu, 'walk over to the stage setting and stand in front of it, hold the fan up like a scepter with both hands, and look into the well with longing'
Japanese: 井筒をのぞきこむ部分に関して、「作り物の前へ行き立ち、扇を笏のやうに立て、両手に持ちて、見ればなつかしやと井の内みる」
English: Regarding Izutsu, the master Roppeita KITA (the 14th) has said, 'That's a Shukugen no mai (dance for words of congratulations).'
Japanese: また、名人喜田六平太(十四世)は井筒に関して「ありゃぁ、祝言の舞いだよ」と述べていた。
English: Tobishoku (same as hikiya [a workman who moves a whole building without demolishing] and yarikata [a workman who make a rough design before building]) generally means a workman specializing in working in high places in the construction industry.
Japanese: 鳶職（とびしょく）（曳き屋、遣り方と同じ）とは、一般的に建設業で、高い所での作業を専門とする職人を指す。
English: Tobishoku is collectively called 'steeplejack and navvy' since it is engaged in foundation work including jigyo (the part under the foundation) and basic kenchiishidumi (kenchiishi stone masonry work) in machiba (the housing market in which local workmen engaged in constructing traditional wooden buildings).
Japanese: 町場では地業も行う基礎工事、簡単な間知石積など、またこれ等の事から「鳶、土工（土方）」と一括りで呼ばれる。
English: Depending on the type of work and occupation, tobishoku is sometimes classified into 'ashibatobi,' 'juryotobi,' and 'tekkotsutobi.'
Japanese: 作業の種類や職業などによって「足場鳶」「重量鳶」「鉄骨鳶」などに分けられることがある。
English: Among the workmen in the construction sites, tobishoku is also called 'on-site brilliance' because it gracefully moves about in high places.
Japanese: 建築現場の職人の間では、高所を華麗に動き回る事から「現場の華」とも称される。
English: The main tool used by tobishoku was tobiguchi (a firefighter's hook), meaning that it is linked to machihikeshi or fire brigade (used when demolishing fire-spread houses), hashigonori or ladder-top performers (used when supporting the ladder) or kiyari or heavy load pullers (used when carrying the log).
Japanese: 道具として代表的なものが鳶口でありこの事からも町火消（延焼家屋を曳き倒すときに使う）、梯子乗り（梯子を支えるのに使う）、木遣り（木をやりまわすのに必要）とは不可分であると言える。
English: Additionally, kiyarikata and kiyarishu are other names for tobishoku, originated from the word 'yarikata.'
Japanese: または木遣り方、木遣り衆などもとび職の別名であり、遣り方の語源である。
English: In Asuka period, tobishoku was called ukan and sakan, which vaguely refers to either the current plasterer and other fushingyo (construction workers) as ukan, or the plasterer and the carpenter; however, it is recorded that some Anoshu (group of stonemason), who were active in building castles in Azuchi-Momoyama period, switched jobs and became hikiya after the castle construction was terminated.
Japanese: 飛鳥時代には右官、左官と言う名称で今で言う左官業とそれ以外の普請業を右官といった説や左官、大工説などはっきりしないが、安土桃山時代に城普請で活躍した穴太衆（あのうしゅう）の一部が城普請が無くなってから曳き屋に転業したという記録が残っている。
English: Carpenters were called jishadaiku (same as miyadaiku, who were specialists in the construction of temples and shrines), machidaiku, or nochobadaiku, which can be traced back to machi bugyo (town magistrate) and jisha bugyo (magistrate of temples and shrines) in Edo period, who were self-governors with administrative jurisdiction, and tobishoku were called machitobi and nochobatobi in the same manner, but not jishatobi at all.
Japanese: 江戸時代の町奉行、寺社奉行という行政上の自治管轄の名残りにより、寺社大工（宮大工）、町大工、野帳場大工という様に大工は呼称されるが、町鳶、野帳場鳶という呼称に対し寺社鳶という表現はほとんど聞かれない。
English: The work includes jigyo (ground leveling, excavation), foundation work, scaffold erection, and muneage (framework assembly).
Japanese: 作業内容は地業（地均し、掘削）、基礎工事、足場の架設、棟上（軸組の組み立て）。
English: The other work includes building demolition, hikiya (refer to the below classification for the details) and kiyari (lumber carrier).
Japanese: その他は建築解体、曳き屋（詳しくは下記分類参照）、木遣り（木材の運搬）。
English: There have been the communities such as machi (town) or machiba as a unit of mutual aid across Japan since ancient times, and such communities had a variety of authority as a public unit of self-government in the cities until the Edo period.
Japanese: 古くから日本各地では相互扶助の単位として町あるいは町場という共同体があり、江戸時代までは都市部の公的な自治単位として多くの権限を有していた。
English: Matsurigoto (self-government, and rites and festivals) for people living in the cities was traditionally administered by this unit, and many places still continue to have such customary practice.
Japanese: 都市部の庶民のまつりごと（自治、祭礼）は伝統的にこの単位で行われ、その慣行が今でも残っているところも少なくない。
English: In these autonomous places, machitobi was engaged in mutual activities for ceremonial occasions, fire activities (as machihikeshi or fire brigade), rites and festivals (construction of dashi [floats] and mikoshi [portable shrines]), construction and maintenance of town infrastructure including bridges; well roofs; well sweeps and water supply manholes; and wooden pipes and ditch covers, working together with machidaiku (carpenters).
Japanese: こうした自治の場で町鳶は冠婚葬祭の互助活動などや消火（町火消）、祭礼（山車・神輿の作成）、橋、井戸の屋根、つるべや上水道の枡、木管や下水道のどぶ板といった町内インフラストラクチャーの作成、保守などを、町大工（大工）と協力して担ってきた。
English: It can be described in modern language that infrastructure was created by carpenters and events were conducted by tobishoku.
Japanese: 現代で言えばインフラストラクチャーを大工が作りイベントを鳶職が行ったといえる。
English: In construction industry, it was an unwritten law that people hire their own local tobishoku if they live in the same town, or if not, they had to have a decent excuse or offer some apologies.
Japanese: 普請においてその町に住むものはその土地の鳶職を使うのが不文律でありそれをたがえる時はそれなりの理由と挨拶が欠かせなかった。
English: This kind of things was not particularly unique to tobishoku and it explains how the money circulates in a town as a form of mutual aid.
Japanese: またこの様なことは鳶職に限ったことではなく町の中でお金が循環するという相互扶助でもある。
English: The shop owners and the workmen were strongly favored among the town communities; however, the unwritten law had less binding, implying that people took pride in their own workers with the prefix 'machi' in the occupational titles, such as machitobi, machidaiku, and machihikeshi.
Japanese: しかし町の中でも商店や職人を積極的に贔屓にするが、不文律の拘束は弱く、町鳶、町大工、町火消しなどの「町」を冠する職方には我々の町の、という誇りをこめたニュアンスがある。
English: It is likely that most well-established tobishoku are shrine parishioners, as well as yorishiro (person who is capable of attracting kami [the spirits] who receive the oracle).
Japanese: ほとんどの老舗の鳶職は神社の氏子であり神託を受ける者として神の依り代であるともいえる。
English: Kiyari, which means carrying (transporting or moving) logs and lumber, refers to a song (a work song) sung by machihikeshi (fire brigade).
Japanese: 木遣り（きやり）、木を遣り渡す,回す（運ぶ、動かす）という意味、町火消に唄われる唄（作業唄）を唄うこと。
English: Since building temples and houses itself was considered auspicious events, kiyari began to be sung as the festive song.
Japanese: 寺社や家などを建築すること自体が慶事であったことからおめでたい唄として唄われるようになった。
English: In the middle of Edo period, kiyari was actively sung among tobishoku, and since machihikeshi was mainly composed of tobishoku, kiyariuta (kiyari song) naturally spread into machihikeshi and was passed on from one to another.
Japanese: 江戸の中期ごろには鳶職人の間で盛んに唄われていた、町火消が鳶職人を中心に組織されたため、木遣り唄も自然と町火消の中に溶け込み受け継がれていった。
English: When singing a kiyariuta, a kiyarishi (kiyari workman) as a leader and other kiyarishi who chant chorus sing alternately.
Japanese: （木遣り唄を唄う場合は、音頭をとる木遣師と、受声を出す木遣師が交互に唄う)。
English: Today, kiyariuta is often sung at the Shinto-style wedding ceremonies, jichinsai, muneage, and shunkoshiki, and it is said that it has a power (the divine power) to bring the state of perfect health, the safety of one's family, and prosperous trade.
Japanese: いまでは神道式の結婚式、地鎮祭、棟上、竣工式によく唄われ、無病息災、家内安全、商売繁盛をもたらす力（神通力）があるといわれる。
English: Tobishoku mainly carries on the traditional performing arts such as shishimai (lion dance), hashigonori (ladder-top stunt), and matoimai (dance using firemen's flags) with the rewards since there are no officially registered jobs today such as kagura dancer (Shinto theatrical dancer) and machihikeshi.
Japanese: 獅子舞や梯子乗り、纏舞い（まといまい）の伝統芸能であり御利益も神楽や町火消が職業として公的にない今、主に鳶職が伝承している。
English: At rites and festivals, there are many tobishoku (same as tekiya [street vendors]) who sell rakes, daruma (Dharma dolls), hagoita (battledores) and morning glories in the precincts of shrines and temples holding festivals, fairs and markets (Tori no ichi [open-air market], Daruma-ichi [fair of Dharma dolls], Hagoita-ichi [battledore fair] and Asagao-ichi [Morning-glory fair]), and along the sando (approach to the temples) or in Monzen-machi (temple towns), after receiving the oracle by communicating with temples.
Japanese: 祭礼時に祭、縁日、市（酉の市、だるま市、羽子板市、朝顔市）の境内、参道、門前町などで寺社との取り交わしにより神託を受け（熊手、達磨、羽子板、朝顔）などを売る（的屋と同じ）ものも多い。
English: In many cases, either tobishoku, or gardeners and farmers who work as tobishoku at the same time, make and sell New year's decorations and kadomatsu (a pine tree decoration for new year).
Japanese: 正月のお飾り、門松の作成、販売も鳶職もしくは、植木屋、農家、が鳶職と兼業している者が行っていることが多い。
English: At Onbashira-sai Festival (log-rolling in Suwa) held in Nagano Prefecture, a person who sings kiyari at the edge of the sacred tree is a successor to his ancestor who used to be tobishoku.
Japanese: 長野県の御柱祭（諏訪の木落とし）でも御神木の先端で木遣りを唄うのは祖先がとび職であったものが世襲している。
English: At Kishiwada Danjiri Matsuri Festival held in Osaka Prefecture, daikugata (a young star who dances on top of danjiri [decorative portable shrine]) refers to machitobi and machidaiku among daikugatashu (group of carpenters).
Japanese: 大阪の岸和田だんじり祭の大工方（だんじりの上で舞う花形）というのは、大工方衆で町鳶、町大工をさす。
English: As a performer who plays a role in the same traditional performing arts, tobishoku has a strong connection with other performers in grand sumo tournament, kabuki (traditional drama performed by male actors), rakugo kyokai (association of Japanese verbal entertainment), and karyukai (world of the geisha), and is often invited to their grand naming ceremonies to highlight the atmosphere.
Japanese: 大相撲、歌舞伎、落語協会、花柳界と同じ伝統芸能を担う者としての繋がりも強く、襲名の時は華を添える為によく招かれる。
English: The consideration of the time and effort spent by tobishoku for the lucky charms sold at rites and festivals and for the mutual aid activities was paid by showing appreciation or giving congratulatory and commemorative gifts, not by offering the payment.
Japanese: 祭礼時の縁起物や互助活動の手間に対する対価は謝意であり、祝儀不祝儀であり代金ではない。
English: Because tobishoku can be engaged in activities with cultural values besides its regular trade and regarded as a cross-trained worker, it can also called machitobi and machidaiku.
Japanese: 本業以外での文化的価値と多能工（色々な職能を持つ）であることから町鳶、町大工と並び称された。
English: (The term nochoba [also written as '野丁場'] means the areas where the future towns will be built, such as developed lands or reclaimed lands, or the work sites where its size cannot be categorized or over-categorized as a town, or the properties not registered based on land survey (or without registration).)
Japanese: （野丁場ともいう、造成地や埋立地など町の形成される前の場所や町という単位からはずれる、または超える規模の仕事の場所、検地（野帳簿ない）の出来ていない土地をさす。）
English: Besides working simply in high places, ashibatobi is required to assemble scaffolds based on proper judgment of the condition or the workability in the area and the efficiency at the time of disassembling depending on the various situations.
Japanese: 単に高所作業を行うだけでなく、設置場所の状態や作業性、足場解体時の効率など、その場に応じて的確に判断して組み立てることが求められる。
English: In most cases, ashibatobi, as a member of the company organization, has a contract for scaffold rental, erection and disassembly on construction sites.
Japanese: 会社組織として、建築現場の仮設足場のレンタル・据付・解体を一体となって請け負っている場合が多い。
English: Tekkotsutobi is a workman who operates a crane to hoist and assemble (also called 'takekata' or 'tatekomi') steel members such as columns and beams manufactured in iron factories to construct steel buildings.
Japanese: 鉄骨構造の建築物において、鉄工所などで製作された柱や梁になる鋼材をクレーンなどで吊り上げて組み立てる(建て方・建て込みとも呼ばれる)鳶。
English: Juryotobi is also responsible for installing heavy items (such as large machines) inside buildings.
Japanese: また、建物内部の重量物（大型機械など）の据付（設置）を行うのも重量鳶である。
English: In comparison to ashibatobi and tekkotsutobi, juryotobi requires a high level of expertise and is often engaged in plant work, air conditioning and plumbing work, and a partial work on electrical equipment.
Japanese: 足場・鉄骨鳶に比べて専門性が高く、プラント・空調給排水設備・電気設備工事の一部を重量鳶が仕事する場合も多い。
English: Sodentobi has knowledge of electrical work and is engaged in the installation and maintenance of high voltage overhead power lines.
Japanese: 電気工事の知識を持ち、特別高圧架空送電線の敷設や保守作業などを行う。
English: Nowadays, due to the shortage of workers, overhead power line companies have a difficulty in securing the human resources.
Japanese: 近年は担い手が少ないため、送電線架線工会社は人員の確保に困窮している。
English: In the preparatory stage of foundation work, the enclosure can be built with wood piles and rails as benchmark, which is called 'yarikata,' another name for tobishoku.
Japanese: 基礎工事の準備段階として木杭と貫でベンチマークとなる囲いを作るこれを「遣り方」といい、鳶職の別名になった。
English: Hikiya worker separates a structural building from its foundation, and moves or relocates the upper portion of the building to another place without demolishing or dismantling it.
Japanese: 建築物を基礎から分離し上物は解体、分解せずそのままの形で移動、移設する職業。
English: Although hikiya worker had a long history and was engaged in a part of occupational competence required by tobishoku, many specialists nowadays use the jack up system controlled by highly-industrialized computers.
Japanese: 歴史的に古く鳶職の職能の一部だったが、最近は高度に工業化されたコンピューター制御のジャッキアップシステムを駆使する専門業者も多い。
English: Speaking of firefighting activities performed by machihikeshi, the activities were regarded as rough works involving the prompt demolition of fire-spread houses and their neighboring houses to create fire lines, and it is undeniable that such techniques used in dangerous areas in emergencies became the cornerstone of demolition work.
Japanese: また町火消の消火活動自体が、延焼家屋やその周辺の家屋を素早く曳き倒し（解体、壊す）防火帯をつくるという荒っぽい作業であったが、その緊急時、危険な場所での技術が解体業の礎になったことは否めない。
English: After boiler rooms were built into public bath houses, chimney installations and heights were specified by a law.
Japanese: 銭湯がボイラー室を持つようになり、法律によって煙突の設置と高さが定められた。
English: Accordingly, chimney cleaners became independent mainly from machitobi as a specialist who cleans and inspects chimneys; however, it is now said that there are only a few remaining even in the metropolitan area because the number of public bath houses decreased drastically.
Japanese: その事により掃除や点検をする専門職として主に町鳶から分業したが、現在、銭湯自体が激減し都心部でも数人しかいないといわれている。
English: Among skills tests, there is a skills assessment test for First Class, Second Class, or Third Class of 'Certified Steeplejack.'
Japanese: 技能検定の中に「とび技能士」の一級技能士、二級技能士、三級技能士の技能検定試験がある。
English: Tobishoku sometimes wear flare pants, jikatabi (split-toes heavy cloth shoes with rubber soles), tekko (covering for the back side of the hand and the wrist), and kyahan (foot cover).
Japanese: 裾が広がったズボン、地下足袋、手甲（てっこう）脚袢（きゃはん）などを着用していることもある
English: Eiji Happo (the eight basic techniques) is a term to express that the Chinese character '永(ei)' contains all the 八法 (happo or hachiho, eight techniques) that are required in calligraphy.
Japanese: 永字八法（えいじはっぽう、えいじはちほう）とは、漢字の「永」の字には、書道に必要な技法8種が全て含まれているという事を表した言葉。
English: They are 側(soku, dot), 勒(roku, horizontal stoke), 努(do, vertical stroke), 趯(teki, hook), 策(saku, horizontal stroke with right upward ending), 掠(ryaku, stroke diagonally left down),啄(taku, short stroke diagonally left down), 磔(taku, stroke diagonally right down).
Japanese: 側（ソク、点）、勒（ロク、横画）、努（ド、縦画）、趯（テキ、はね）、策（サク、右上がりの横画）、掠（リャク、左はらい）、啄（タク、短い左はらい）、磔（タク、右はらい）。
English: Based on 'taihon hippo (most writing techniques), i.e. tenkaku hattai (eight basic elements of characters) are included in character "永",' and 'happo (eight techniques) were created at the beginning of the use of reiji (Chinese characters written in the demotic semi-square style), and '八体 (eight shapes) which have been passed from Houhan's SAI Shigyoku via SHO and O to later generations are sufficient for ten thousands characters,' which are stated in Tang's CHO Kaikan, "Gyokudo Kinkei", a theory has been put forward for its origin that SAI En, SHO Yo, and WANG Xizhi initiated.
Japanese: その由来には唐の張懐瓘『玉堂禁経』にある「大凡筆法、点画八体は『永』字に備わる」「八法は隷字の始めに起こり、後漢の崔子玉より、鍾・王を歴て以下、伝授し用うる所の八体は万字に該す」といった記述から崔瑗・鍾繇・王羲之説が唱えられてきた。
English: Also in the literature of Song dynasty, CHI Ei theory (Song's SHU Chobun, "Syoen Seika"), CHO Kyoku theory (Song's CHIN Shi, "Bokuchi-hen") and so on can be found.
Japanese: また、宋代の文献には智永説（宋・朱長文『書苑菁華』）、張旭説（宋・陳思『墨池編』）などが見られる。